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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf 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..c565c70 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #50150 (https://www.gutenberg.org/ebooks/50150) diff --git a/old/50150-0.txt b/old/50150-0.txt deleted file mode 100644 index 16e840e..0000000 --- a/old/50150-0.txt +++ /dev/null @@ -1,18663 +0,0 @@ -The Project Gutenberg EBook of The Devil is an Ass, by Ben Jonson - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Devil is an Ass - -Author: Ben Jonson - -Editor: William Savage Johnson - Albert S. Cook - -Release Date: October 7, 2015 [EBook #50150] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE DEVIL IS AN ASS *** - - - - -Produced by Charlene Taylor, Paul Marshall and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/Canadian Libraries) - - - - - - -Transcriber's Note: - - Underscores before and after a word or phrase indicate _italics_ - in the original text. - Equal signs before and after a word or phrase indicate =bold= - in the original text. - Caret symbols indicate superscript text. - Small capitals have been converted to ALL CAPITALS. - Old or archaic spellings have been preserved. - In the text of the actual play, lowercase “s” has been replaced by - the “long s”, “ſ”. The capital letter “W” is often replaced with - “VV”, the letter “v” and the letter “u” are used interchangeably, - and the letters "i" and "j" are also used interchangeably. - Many of the characters names in the play have various spellings, - e.g., MERE-CRAFT and MERECRAFT, MEERECRAFT - EVER-ILL and EVERILL - FITZ-DOTTEREL and FITZDOTTEREL - PIT_FAL and PITFALL - DIVEL and DIVELL. - The footnotes in the actual play were added by the author as part of - his thesis. The references for these footnotes are the line numbers. - Since each scene begins the line numbers over at 1, these footnotes - have been collected at the end of each scene, and refer to the - appropriate line in the preceding scene. - - - - - YALE STUDIES IN ENGLISH - ALBERT S. COOK, EDITOR - - XXIX - - THE DEVIL IS AN ASS - - BY BEN JONSON - - Edited with Introduction, Notes, and Glossary - - BY WILLIAM SAVAGE JOHNSON, Ph.D. - _Instructor in English in Yale University_ - - A Thesis presented to - the Faculty of the Graduate School of Yale University - in Candidacy for the Degree of - Doctor of Philosophy - - [Illustration] - - NEW YORK - HENRY HOLT AND COMPANY - 1905 - - Copyright by William Savage Johnson, 1905 - - PRESS OF THE TUTTLE, MOREHOUSE & TAYLOR COMPANY - - TO MY MOTHER - - - - -PREFACE - - -In _The Devil is an Ass_ Jonson may be studied, first, as a student; -secondly, as an observer. Separated by only two years from the -preceding play, _Bartholomew Fair_, and by nine from the following, -_The Staple of News_, the present play marks the close of an epoch in -the poet’s life, the period of his vigorous maturity. Its relations -with the plays of his earlier periods are therefore of especial -interest. - -The results of the present editor’s study of these and other -literary connections are presented, partly in the Notes, and partly -in the Introduction to this book. After the discussion of the -purely technical problems in Sections A and B, the larger features -are taken up in Section C, I and II. These involve a study of the -author’s indebtedness to English, Italian, and classical sources, and -especially to the early English drama; as well as of his own dramatic -methods in previous plays. The more minute relations to contemporary -dramatists and to his own former work, especially in regard to -current words and phrases, are dealt with in the Notes. - -As an observer, Jonson appears as a student of London, and a satirist -of its manners and vices; and, in a broader way, as a critic of -contemporary England. The life and aspect of London are treated, for -the most part, in the Notes; the issues of state involved in Jonson’s -satire are presented in historical discussions in Section C, III. -Personal satire is treated in the division following. - -I desire to express my sincere thanks to Professor Albert S. Cook -for advice in matters of form and for inspiration in the work; to -Professor Henry A. Beers for painstaking discussion of difficult -questions; to Dr. De Winter for help and criticism; to Dr. John M. -Berdan for the privilege of consulting his copy of the Folio; to -Mr. Andrew Keogh and to Mr. Henry A. Gruener, for aid in bibliographical -matters; and to Professor George L. Burr for the loan of books from -the Cornell Library. - -A portion of the expense of printing this book has been borne by the -Modern Language Club of Yale University from funds placed at its -disposal by the generosity of Mr. George E. Dimock of Elizabeth, -New Jersey, a graduate of Yale in the Class of 1874. - - W. S. J. - - YALE UNIVERSITY, - August 30, 1905. - - - - - CONTENTS - - INTRODUCTION PAGE - - A. EDITIONS OF THE TEXT xi - - B. DATE AND PRESENTATION xvii - - C. THE DEVIL IS AN ASS xix - - I. THE DEVIL PLOT xx - 1. The Devil in the pre-Shakespearian Drama xxii - 2. Jonson’s Treatment of the Devil xxiii - 3. The Influence of Robin Goodfellow - and of Popular Legend xxvi - 4. Friar Rush and Dekker xxvii - 5. The Novella of _Belfagor_ and the - Comedy of _Grim_ xxx - 6. Summary xxxiv - 7. The Figure of the Vice xxxiv - 8. Jonson’s Use of the Vice xxxvii - - II. THE SATIRICAL DRAMA xli - 1. General Treatment of the Plot xli - 2. Chief Sources of the Plot xlv - 3. Prototypes of the leading Characters lii - 4. Minor Sources liii - - III. SPECIFIC OBJECTS OF SATIRE liv - 1. The Duello liv - 2. The Monopoly System lviii - 3. Witchcraft lxii - - IV. PERSONAL SATIRE lxv - Mrs. Fitzdottrel lxvi - Fitzdottrel lxx - Wittipol lxxi - Justice Eitherside lxxi - Merecraft lxxii - Plutarchus Guilthead lxxiii - The Noble House lxxiv - - D. AFTER-INFLUENCE OF THE DEVIL IS AN ASS lxxiv - - APPENDIX--EXTRACTS FROM THE CRITICS lxxvi - - TEXT 1 - - NOTES 123 - - GLOSSARY 213 - - BIBILIOGRAPHY 237 - - INDEX 243 - - - - -INTRODUCTION - - -A. EDITIONS OF THE TEXT - - -_The Devil is an Ass_ was first printed in 1631, and was probably put -into circulation at that time, either as a separate pamphlet or bound -with _Bartholomew Fair_ and _The Staple of News_. Copies of this -original edition were, in 1640-1, bound into the second volume of the -First Folio of Jonson’s collected works.[1] In 1641 a variant reprint -edition of _The Devil is an Ass_, apparently small, was issued -in pamphlet form. The play reappears in all subsequent collected -editions. These are: (1) the ‘Third Folio’, 1692; (2) a bookseller’s -edition, 1716 [1717]; (3) Whalley’s edition, 1756; (4) John -Stockdale’s reprint of Whalley’s edition (together with the works -of Beaumont and Fletcher), 1811; (5) Gifford’s edition, 1816; (6) -Barry Cornwall’s one-volume edition, 1838; (7) Lieut. Col. Francis -Cunningham’s three-volume reissue (with some minor variations) of -Gifford’s edition, 1871; (8) another reissue by Cunningham, in -nine volumes (with additional notes), 1875. The _Catalogue_ of the -British Museum shows that Jonson’s works were printed in two volumes -at Dublin in 1729. Of these editions only the first two call for -detailed description, and of the others only the first, second, -third, fifth, and eighth will be discussed. - -=1631.= Owing to irregularity in contents and arrangement in -different copies, the second volume of the First Folio has been -much discussed. Gifford speaks of it as the edition of 1631-41.[2] -Miss Bates, copying from Lowndes, gives it as belonging to 1631, -reprinted in 1640 and in 1641.[3] Ward says substantially the -same thing.[4] In 1870, however, Brinsley Nicholson, by a careful -collation,[5] arrived at the following results. (1) The so-called -editions of the second volume assigned to 1631, 1640, and 1641 form -only a single edition. (2) The belief in the existence of ‘the -so-called first edition of the second volume in 1631’ is due to the -dates prefixed to the opening plays. (3) The belief in the existence -of the volume of 1641 arose from the dates of _Mortimer_ and the -_Discoveries_, ‘all the copies of which are dated 1641’, and of -the variant edition of _The Devil is an Ass_, which will next be -described. (4) The 1640 edition supplies for some copies a general -title-page, ‘R. Meighen, 1640’, but the plays printed in 1631 are -reprinted from the same forms. Hazlitt arrives at practically the -same conclusions.[6] - -The volume is a folio by measurement, but the signatures -are in fours. - -Collation: Five leaves, the second with the signature A_3 B-M in -fours. Aa-Bb; Cc-Cc_2 (two leaves); C_3 (one leaf); one leaf; D-I in -fours; two leaves. [N]-Y in fours; B-Q in fours; R (two leaves); S-X -in fours; Y (two leaves); Z-Oo in fours. Pp (two leaves). Qq; A-K in -fours. L (two leaves). [M]-R in fours. A-P in fours. Q (two leaves). -[R]-V in fours. - -The volume opens with _Bartholomew Fayre_, which occupies pages -[1-10], 1-88 (pages 12, 13, and 31 misnumbered), or the first group -of signatures given above. - -2. _The Staple of Newes_, paged independently, [1]-[76] -(pages 19, 22, and 63 misnumbered), and signatured independently -as in the second group above. - -3. _The Diuell is an Asse_, [N]-Y, paged [91]-170 (pages 99, 132, -and 137 misnumbered). [N] recto contains the title page (verso blank). -N_2 contains a vignette and the persons of the play on the recto, a -vignette and the prologue on the verso. N_3 to the end contains the -play proper; the epilogue being on the last leaf verso. - -One leaf (pages 89-90) is thus unaccounted for; but it is evident -from the signatures and pagination that _The Diuell is an Asse_ was -printed with a view to having it follow _Bartholomew Fayre_. These -three plays were all printed by I. B. for Robert Allot in 1631. -Hazlitt says that they are often found together in a separate volume, -and that they were probably intended by Jonson to supplement the -folio of 1616.[7] - -Collation made from copy in the library of Yale University at -New Haven. - -It was the opinion of both Whalley and Gifford that the publication -of _The Devil is an Ass_ in 1631 was made without the personal -supervision of the author. Gifford did not believe that Jonson -‘concerned himself with the revision of the folio, ... or, indeed, -ever saw it’. The letter to the Earl of Newcastle (_Harl. MS._ 4955), -quoted in Gifford’s memoir, sufficiently disproves this supposition, -at least so far as _Bartholomew Fair_ and _The Devil is an Ass_ -are concerned. In this letter, written according to Gifford about 1632, -Jonson says: ‘It is the lewd printer’s fault that I can send your -lordship no more of my book. I sent you one piece before, The Fair, -... and now I send you this other morsel, The fine gentleman that -walks the town, The Fiend; but before he will perfect the rest I fear -he will come himself to be a part under the title of The Absolute -Knave, which he hath played with me’. In 1870 Brinsley Nicholson -quoted this letter in _Notes and Queries_ (4th S. 5. 574), and -pointed out that the jocular allusions are evidently to _Bartholomew -Fair_ and _The Devil is an Ass_. - -Although Gifford is to some extent justified in his contempt for the -edition, it is on the whole fairly correct. - -The misprints are not numerous. The play is overpunctuated. -Thus the words ‘now’ and ‘again’ are usually marked off by -commas. Occasionally the punctuation is misleading. The mark of -interrogation is generally, but not invariably, used for that of -exclamation. The apostrophe is often a metrical device, and indicates -the blending of two words without actual elision of either. The most -serious defect is perhaps the wrong assignment of speeches, though -later emendations are to be accepted only with caution. The present -text aims to be an exact reproduction of that of the 1631 edition. - -1641. The pamphlet quarto of 1641 is merely a poor reprint of the -1631 edition. It abounds in printer’s errors. Few if any intentional -changes, even of spelling and punctuation, are introduced. Little -intelligence is shown by the printer, as in the change 5. I. 34 SN. -(references are to act, scene, and line) He flags] He stags. It is -however of some slight importance, inasmuch as it seems to have been -followed in some instances by succeeding editions (cf. the omission -of the side notes 2. I. 20, 22, 33, followed by 1692, 1716, and W; -also 2. I. 46 his] a 1641, f.). - -The title-page of this edition is copied, as far as the quotation -from Horace, from the title-page of the 1631 edition. For the -wood-cut of that edition, however, is substituted the device of a -swan, with the legend ‘God is my helper’. Then follow the words: -‘Imprinted at London, 1641.’ - -Folio by measurement; signatures in fours. - -Collation: one leaf, containing the title-page on the recto, verso -blank; second leaf with signature A_2 (?), containing a device (St. -Francis preaching to the birds [?]), and the persons of the play on -the recto, and a device (a saint pointing to heaven and hell) and the -prologue on the verso. Then the play proper; B-I in fours; K (one -leaf). The first two leaves are unnumbered; then 1-66 (35 wrongly -numbered 39). - -1692. The edition of 1692[8] is a reprint of 1631, but furnishes -evidence of some editing. Most of the nouns are capitalized, and -a change of speaker is indicated by breaking the lines; obvious -misprints are corrected: e. g., 1. 1. 98, 101; the spelling is -modernized: e. g., 1. 1. 140 Tiborne] Tyburn; and the punctuation is -improved. Sometimes a word undergoes a considerable morphological -change: e. g., 1. 1. 67 Belins-gate] Billings-gate; 1. 6. 172, 175 -venter] venture. Etymology is sometimes indicated by an apostrophe, -not always correctly: e. g., 2. 6. 75 salts] ’salts. Several changes -are uniform throughout the edition, and have been followed by all -later editors. The chief of these are: inough] enough; tother] -t’other; coozen] cozen; ha’s] has; then] than; ’hem] ’em (except G -sometimes); injoy] enjoy. Several changes of wording occur: e.g., 2. -1. 53 an] my; etc. - -1716. The edition of 1716 is a bookseller’s reprint of 1692. It -follows that edition in the capitalization of nouns, the breaking up -of the lines, and usually in the punctuation. In 2. 1. 78-80 over two -lines are omitted by both editions. Independent editing, however, is -not altogether lacking. We find occasional new elisions: e. g., 1. -6. 121 I’have] I’ve; at least one change of wording: 2. 3. 25 where] -were; and one in the order of words: 4. 2. 22 not love] love not. In -4. 4. 75-76 and 76-78 it corrects two wrong assignments of speeches. -A regular change followed by all editors is wiues] wife’s. - -1756. The edition of Peter Whalley, 1756, purports to be ‘collated -with all the former editions, and corrected’, but according to -modern standards it cannot be called a critical text. Not only -does it follow 1716 in modernization of spelling; alteration of -contractions: e. g., 2. 8. 69 To’a] T’a; 3. 1. 20 In t’one] Int’ one; -and changes in wording: e. g., 1. 1. 24 strengths] strength: 3. 6. -26 Gentleman] Gentlewoman; but it is evident that Whalley considered -the 1716 edition as the correct standard for a critical text, and -made his correction by a process of occasional restoration of the -original reading. Thus in restoring ‘Crane’, 1. 4. 50, he uses the -expression,--‘which is authorized by the folio of 1640.’ Again in 2. -1. 124 he retains ‘petty’ from 1716, although he says: ‘The edit. -of 1640, as I think more justly,--_Some_ pretty _principality_.’ -This reverence for the 1716 text is inexplicable. In the matter of -capitalization Whalley forsakes his model, and he makes emendations -of his own with considerable freedom. He still further modernizes the -spelling; he spells out elided words: e. g., 1. 3. 15 H’ has] he has; -makes new elisions: e. g., 1. 6. 143 Yo’ are] You’re; 1. 6. 211 I am] -I’m; grammatical changes, sometimes of doubtful correctness: e. g., -1. 3. 21 I’le] I’d; morphological changes: e. g., 1. 6. 121 To scape] -T’escape; metrical changes by insertions: e. g., 1. 1. 48 ‘to’; 4. 7. -38 ‘but now’; changes of wording: e. g., 1. 6. 195 sad] said; in the -order of words: e. g., 3. 4. 59 is hee] he is; and in the assignment -of speeches: e. g., 3. 6. 61. Several printer’s errors occur: e. g., -2. 6. 21 and 24. - -1816. William Gifford’s edition is more carefully printed than -that of Whalley, whom he criticizes freely. In many indefensible -changes, however, he follows his predecessor, even to the insertion -of words in 1. 1. 48 and 4. 7. 38, 39 (see above). He makes further -morphological changes, even when involving a change of metre: e.g., -1. 1. 11 Totnam] Tottenham; 1. 4. 88 phantsie] phantasie; makes new -elisions: e. g., 1. 6. 226 I ha’] I’ve; changes in wording: e. g., -2. 1. 97 O’] O!; and in assignment of speeches: e. g., 4. 4. 17. He -usually omits parentheses, and the following changes in contracted -words occur, only exceptions being noted in the variants: fro’] -from; gi’] give; h’] he; ha’] have; ’hem] them (but often ’em); i’] -in; o’] on, of; t’] to; th’] the; upo’] upon; wi’] with, will; yo’] -you. Gifford’s greatest changes are in the stage directions and -side notes of the 1631 edition. The latter he considered as of ‘the -most trite and trifling nature’, and ‘a worthless incumbrance’. He -accordingly cut or omitted with the utmost freedom, introducing new -and elaborate stage directions of his own. He reduced the number of -scenes from thirty-six to seventeen. In this, as Hathaway points out, -he followed the regular English usage, dividing the scenes according -to actual changes of place. Jonson adhered to classical tradition, -and looked upon a scene as a situation. Gifford made his alterations -by combining whole scenes, except in the case of Act 2. 3, which -begins at Folio Act 2. 7. 23 (middle of line); of Act 3. 2, which -begins at Folio Act 3. 5. 65 and of Act 3. 3, which begins at Folio -Act 3. 5. 78 (middle of line). He considered himself justified in -his mutilation of the side notes on the ground that they were not -from the hand of Jonson. Evidence has already been adduced to show -that they were at any rate printed with his sanction. I am, however, -inclined to believe with Gifford that they were written by another -hand. Gifford’s criticism of them is to a large extent just. The note -on ‘_Niaise_’, 1. 6. 18, is of especially doubtful value (see note). - -1875. ‘Cunningham’s reissue, 1875, reprints Gifford’s text without -change. Cunningham, however, frequently expresses his disapproval of -Gifford’s licence in changing the text’ (Winter). - -[1] The first volume of this folio appeared in 1616. A reprint of -this volume in 1640 is sometimes called the Second Folio. It should -not be confused with the 1631-41 Edition of the second volume. - -[2] Note prefixed to _Bartholomew Fair_. - -[3] _Eng. Drama_, p. 78. - -[4] _Eng. Drama_ 2. 296. - -[5] _N. & Q._ 4th Ser. 5. 573. - -[6] _Bibliog. Col._, 2d Ser. p. 320. - -[7] _Bibliog. Col._, p. 320. For a more detailed description of this - volume see Winter, pp. xii-xiii. - -[8] For a collation of this edition, see Mallory, pp. xv-xvii. - - -B. DATE AND PRESENTATION - -We learn from the title-page that this comedy was acted -in 1616 by the King’s Majesty’s Servants. This is further -confirmed by a passage in 1. 1. 80-81: - - Now? As Vice stands this present yeere? Remember, - What number it is. _Six hundred_ and _sixteene_. - -Another passage (1. 6. 31) tells us that the performance -took place in the Blackfriars Theatre: - - Today, I goe to the _Black-fryers Play-house_. - -That Fitzdottrel is to see _The Devil is an Ass_ we learn later -(3. 5. 38). The performance was to take place after dinner (3. 5. 34). - -At this time the King’s Men were in possession of two theatres, -the Globe and the Blackfriars. The former was used in the summer, -so that _The Devil is an Ass_ was evidently not performed during -that season.[9] These are all the facts that we can determine with -certainty. - -Jonson’s masque, _The Golden Age Restored_, was presented, according -to Fleay, on January 1 and 6. His next masque was _Christmas, his -Masque_, December 25, 1616. Between these dates he must have been -busy on _The Devil is an Ass_. Fleay, who identifies Fitzdottrel -with Coke, conjectures that the date of the play is probably late in -1616, after Coke’s discharge in November. If Coke is satirized either -in the person of Fitzdottrel or in that of Justice Eitherside (see -Introduction, pp. lxx, lxxii), the conjecture may be allowed to have -some weight. - -In 1. 2. 1 Fitzdottrel speaks of Bretnor as occupying the position -once held by the conspirators in the Overbury case. Franklin, who -is mentioned, was not brought to trial until November 18, 1615. -Jonson does not speak of the trial as of a contemporary or nearly -contemporary event. - -Act 4 is largely devoted to a satire of Spanish fashions. In 4. 2. 71 -there is a possible allusion to the Infanta Maria, for whose marriage -with Prince Charles secret negotiations were being carried on at this -time. We learn that Commissioners were sent to Spain on November -9 (_Cal. State Papers, Dom. Ser._), and from a letter of January -1, 1617, that ‘the Spanish tongue, dress, etc. are all in fashion’ -(_ibid._). - -These indications are all of slight importance, but from their united -evidence we may feel reasonably secure in assigning the date of -presentation to late November or early December, 1616. - -The play was not printed until 1631. It seems never to have been -popular, but was revived after the Restoration, and is given by -Downes[10] in the list of old plays acted in the New Theatre in Drury -Lane after April 8, 1663. He continues: ‘These being Old Plays, -were Acted but now and then; yet being well Perform’d were very -Satisfactory to the Town’. The other plays of Jonson revived by this -company were _The Fox_, _The Alchemist_, _Epicoene_, _Catiline_, -_Every Man out of his Humor_, _Every Man in his Humor_, and -_Sejanus_. Genest gives us no information of any later revival. - -[9] Collier, _Annals_ 3. 275, 302; Fleay, _Hist._ 190. - -[10] _Roscius Anglicanus_, p. 8. - - -C. THE DEVIL IS AN ASS - -Jonson’s characteristic conception of comedy as a vehicle for the -study of ‘humors’ passed in _Every Man out of his Humor_ into -caricature, and in _Cynthia’s Revels_ and _Poetaster_ into allegory. -The process was perfectly natural. In the humor study each character -is represented as absorbed by a single vice or folly. In the -allegorical treatment the abstraction is the starting-point, and the -human element the means of interpretation. Either type of drama, by -a shifting of emphasis, may readily pass over into the other. The -failure of _Cynthia’s Revels_, in spite of the poet’s arrogant boast -at its close, had an important effect upon his development, and the -plays of Jonson’s middle period, from _Sejanus_ to _The Devil is an -Ass_, show more restraint in the handling of character, as well as -far greater care in construction. The figures are typical rather than -allegorical, and the plot in general centres about certain definite -objects of satire. Both plot and characterization are more closely -unified. - -_The Devil is an Ass_ marks a return to the supernatural and -allegorical. The main action, however, belongs strictly to the type -of the later drama, especially as exemplified by _The Alchemist_. -The fanciful motive of the infernal visitant to earth was found to -be of too slight texture for Jonson’s sternly moral and satirical -purpose. In the development of the drama it breaks down completely, -and is crowded out by the realistic plot. Thus what promised at first -to be the chief, and remains in some respects the happiest, motive -of the play comes in the final execution to be little better than -an inartistic and inharmonious excrescence. Yet Jonson’s words to -Drummond seem to indicate that he still looked upon it as the real -kernel of the play.[11] - -The action is thus easily divisible into two main lines; the -devil-plot, involving the fortunes of Satan, Pug and Iniquity, and -the satirical or main plot. This division is the more satisfactory, -since Satan and Iniquity are not once brought into contact with the -chief actors, while Pug’s connection with them is wholly external, -and affects only his own fortunes. He is, as Herford has already -pointed out, merely ‘the fly upon the engine-wheel, fortunate to -escape with a bruising’ (_Studies_, p. 320). He forms, however, the -connecting link between the two plots, and his function in the drama -must be regarded from two different points of view, according as it -shares in the realistic or the supernatural element. - -[11] ‘A play of his, upon which he was accused, The Divell -is ane Ass; according to _Comedia Vetus_, in England the Divell -was brought in either with one Vice or other: the play done the Divel -caried away the Vice, he brings in the Divel so overcome with the -wickedness of this age that thought himself ane Ass. Παρεργους -[incidentally] is discoursed of the Duke of Drounland: the King -desired him to conceal it’.--_Conversations with William Drummond_, -Jonson’s _Wks._ 9. 400-1. - - - - -I. THE DEVIL-PLOT - - -Jonson’s title, _The Devil is an Ass_, expresses with perfect adequacy -the familiarity and contempt with which this once terrible personage -had come to be regarded in the later Elizabethan period. The poet, of -course, is deliberately archaizing, and the figures of devil and Vice -are made largely conformable to the purposes of satire. Several years -before, in the Dedication to _The Fox_,[12] Jonson had expressed his -contempt for the introduction of ‘fools and devils and those antique -relics of barbarism’, characterizing them as ‘ridiculous and exploded -follies’. He treats the same subject with biting satire in _The Staple -of News_.[13] Yet with all his devotion to realism in matters of petty -detail, of local color, and of contemporary allusion, he was, as we -have seen, not without an inclination toward allegory. Thus in _Every -Man out of his Humor_ the figure of Macilente is very close to a purely -allegorical expression of envy. In _Cynthia’s Revels_ the process was -perfectly conscious, for in the Induction to that play the characters -are spoken of as Virtues and Vices. In _Poetaster_ again we have the -purging of Demetrius and Crispinus. Jonson’s return to this field -in _The Devil is an Ass_ is largely prophetic of the future course -of his drama. The allegory of _The Staple of News_ is more closely -woven into the texture of the play than is that of _The Devil is an -Ass_; and the conception of Pecunia and her retinue is worked out with -much elaboration. In the Second Intermean the purpose of this play is -explained as a refinement of method in the use of allegory. For the old -Vice with his wooden dagger to snap at everybody he met, or Iniquity, -appareled ‘like Hokos Pokos, in a juggler’s jerkin’, he substitutes -‘vices male and female’, ‘attired like men and women of the time’. This -of course is only a more philosophical and abstract statement of the -idea which he expresses in _The Devil is an Ass_ (1. 1. 120 f.) of a -world where the vices are not distinguishable by any outward sign from -the virtues: - - They weare the same clothes, eate the same meate, - Sleep i’ the self-same beds, ride i’ those coaches. - Or very like, foure horses in a coach, - As the best men and women. - -_The New Inn_ and _The Magnetic Lady_ are also penetrated -with allegory of a sporadic and trivial nature. Jonson’s -use of devil and Vice in the present play is threefold. It -is in part earnestly allegorical, especially in Satan’s long -speech in the first scene; it is in part a satire upon the -employment of what he regarded as barbarous devices; and -it is, to no small extent, itself a resort for the sake of comic -effect to the very devices which he ridiculed. - -Jonson’s conception of the devil was naturally very far from mediæval, -and he relied for the effectiveness of his portrait upon current -disbelief in this conception. Yet mediævalism had not wholly died out, -and remnants of the morality-play are to be found in many plays of -the Elizabethan and Jacobean drama. Rev. John Upton, in his _Critical -Observations on Shakespeare_, 1746, was the first to point out the -historical connection between Jonson’s Vice and devils and those of -the pre-Shakespearian drama. In modern times the history of the devil -and the Vice as dramatic figures has been thoroughly investigated, the -latest works being those of Dr. L.W. Cushman and Dr. E. Eckhardt, -at whose hands the subject has received exhaustive treatment. The -connection with Machiavelli’s novella of _Belfagor_ was pointed out -by Count Baudissin,[14] _Ben Jonson und seine Schule_, Leipzig 1836, -and has been worked out exhaustively by Dr. E. Hollstein in a Halle -dissertation, 1901. Dr. C.H. Herford, however, had already suggested -that the chief source of the devil-plot was to be found in the legend -of Friar Rush. - -[12] _Wks._ 3. 158. - -[13] _Wks._ 5. 105 f. Cf. also Shirley, Prologue to _The Doubtful Heir_. - -[14] Count Baudissin translated two of Jonson’s comedies into German, - _The Alchemist_ and _The Devil is an Ass_ (_Der Dumme Teufel_). - - -1. _The Devil in the pre-Shakespearian Drama_ - -The sources for the conception of the devil in the mediæval drama -are to be sought in a large body of non-dramatic literature. In this -literature the devil was conceived of as a fallen angel, the enemy of -God and his hierarchy, and the champion of evil. As such he makes his -appearance in the mystery-plays. The mysteries derived their subjects -from Bible history, showed comparatively little pliancy, and dealt -always with serious themes. In them the devil is with few exceptions a -serious figure. Occasionally, however, even at this early date, comedy -and satire find place. The most prominent example is the figure of -Titivillus in the Towneley cycle. - -In the early moralities the devil is still of primary importance, and -is always serious. But as the Vice became a more and more prominent -figure, the devil became less and less so, and in the later drama his -part is always subordinate. The play of _Nature_ (c. 1500) is the first -morality without a devil. Out of fifteen moralities of later date -tabulated by Cushman, only four are provided with this character. - -The degeneration of the devil as a dramatic figure was inevitable. His -grotesque appearance, at first calculated to inspire terror, by its -very exaggeration produced, when once familiar, a wholly comic effect. -When the active comic parts were assumed by the Vice, he became a mere -butt, and finally disappears. - -One of the earliest comic figures in the religious drama -is that of the clumsy or uncouth servant.[15] Closely allied -to him is the under-devil, who appears as early as _The -Harrowing of Hell_, and this figure is constantly employed -as a comic personage in the later drama.[16] The figure of -the servant later developed into that of the clown, and in -this type the character of the devil finally merged.[17] - -[15] Eckhardt, p. 42 f.] - -[16] _Ibid._, p. 67 f.] - -[17] In general the devil is more closely related to the -clown, and the Vice to the fool. In some cases, however, the devil -is to be identified with the fool, and the Vice with the clown. - - -2. _Jonson’s Treatment of the Devil_ - -In the present play the devil-type is represented by the arch-fiend -Satan and his stupid subordinate, Pug. Of these two Satan received -more of the formal conventional elements of the older drama, while Pug -for the most part represents the later or clownish figure. As in the -morality-play Satan’s chief function is the instruction of his emissary -of evil. In no scene does he come into contact with human beings, and -he is always jealously careful for the best interests of his state. In -addition Jonson employs one purely conventional attribute belonging to -the tradition of the church- and morality-plays. This is the cry of -‘Ho, ho!’, with which Satan makes his entrance upon the stage in the -first scene.[18] Other expressions of emotion were also used, but ‘Ho, -ho!’ came in later days to be recognized as the conventional cry of the -fiend upon making his entrance.[19] - -How the character of Satan was to be represented is of course -impossible to determine. The devil in the pre-Shakespearian drama was -always a grotesque figure, often provided with the head of a beast and -a cow’s tail.[20] In the presentation of Jonson’s play the ancient -tradition was probably followed. Satan’s speeches, however, are not -undignified, and too great grotesqueness of costume must have resulted -in considerable incongruity. - -In the figure of Pug few of the formal elements of the -pre-Shakespearian devil are exhibited. He remains, of course, the -ostensible champion of evil, but is far surpassed by his earthly -associates, both in malice and in intellect. In personal appearance he -is brought by the assumption of the body and dress of a human being -into harmony with his environment. A single conventional episode, -with a reversal of the customary proceeding, is retained from the -morality-play. While Pug is languishing in prison, Iniquity appears, -Pug mounts upon his back, and is carried off to hell. Iniquity comments -upon it: - - The Diuell was wont to carry away the euill; - But, now, the Euill out-carries the Diuell. - -That the practice above referred to was a regular or even -a frequent feature of the morality-play has been disputed, -but the evidence seems fairly conclusive that it was common -in the later and more degenerate moralities. At any rate, -like the cry of ‘Ho, ho!’ it had come to be looked upon -as part of the regular stock in trade, and this was enough -for Jonson’s purpose.[21] This motive of the Vice riding the -devil had changed from a passive to an active comic part. -Instead of the devil’s prey he had become in the eyes of -the spectators the devil’s tormentor. Jonson may be looked -upon as reverting, perhaps unconsciously, to the original -and truer conception. - -In other respects Pug exhibits only the characteristics of the -inheritor of the devil’s comedy part, the butt or clown. As we have -seen, one of the chief sources, as well as one of the constant modes -of manifestation, of this figure was the servant or man of low social -rank. Pug, too, on coming to earth immediately attaches himself to -Fitzdottrel as a servant, and throughout his brief sojourn on earth he -continues to exhibit the wonted stupidity and clumsy uncouthness of -the clown. He appears, to be sure, in a fine suit of clothes, but he -soon shows himself unfit for the position of gentleman-usher, and his -stupidity appears at every turn. The important element in the clown’s -comedy part, of a contrast between intention and accomplishment, -is of course exactly the sort of fun inspired by Pug’s repeated -discomfiture. With the clown it often takes the form of blunders -in speech, and his desire to appear fine and say the correct thing -frequently leads him into gross absurdities. This is brought out with -broad humor in 4. 4. 219, where Pug, on being catechized as to what -he should consider ‘the height of his employment’, stumbles upon the -unfortunate suggestion: ‘To find out a good _Corne-cutter_’. His -receiving blows at the hand of his master further distinguishes him -as a clown. The investing of Pug with such attributes was, as we have -seen, no startling innovation on Jonson’s part. Moreover, it fell -into line with his purpose in this play, and was the more acceptable -since it allowed him to make use of the methods of realism instead -of forcing him to draw a purely conventional figure. Pug, of course, -even in his character of clown, is not the unrelated stock-figure, -introduced merely for the sake of inconsequent comic dialogue and rough -horse-play. His part is important and definite, though not sufficiently -developed. - -[18] In the Digby group of miracle-plays roaring by the devil is a -prominent feature. Stage directions in _Paul_ provide for ‘cryeing -and rorying’ and Belial enters with the cry, ‘Ho, ho, behold me’. -Among the moralities _The Disobedient Child_ may be mentioned. - -[19] So in _Gammer Gurton’s Needle_, c 1562, we read: ‘But -Diccon, Diccon, did not the devil cry ho, ho, ho?’ Cf. also the -translation of Goulart’s Histories, 1607 (quoted by Sharp, p. 59): -‘The fellow--coming to the stove--sawe the Diuills in horrible -formes, some sitting, some standing, others walking, some ramping -against the walles, but al of them, assoone as they beheld him, -crying Hoh, hoh, what makest thou here?’ - -[20] Cf. the words of Robin Goodfellow in _Wily Beguiled_ -(_O. Pl._, 4th ed., 9. 268): ‘I’ll put me on my great carnation-nose, -and wrap me in a rowsing calf-skin suit and come like some hobgoblin, -or some devil ascended from the grisly pit of hell’. - -[21] Cushman points out that it occurs in only one drama, -that of _Like will to Like_. He attributes the currency of the notion -that this mode of exit was the regular one to the famous passage in -Harsnet’s _Declaration of Popish Impostures_ (p. 114, 1603): ‘It was -a pretty part in the old church-playes, when the nimble Vice would -skip up nimbly like a jackanapes into the devil’s necke, and ride the -devil a course, and belabour him with his wooden dagger, till he made -him roare, whereat the people would laugh to see the devil so -vice-haunted’. The moralities and tragedies give no indication of -hostility between Vice and devil. Cushman believes therefore that -Harsnet refers either to some lost morality or to ‘Punch and Judy’. -It is significant, however, that in ‘Punch and Judy’, which gives -indications of being a debased descendant of the morality, the devil -enters with the evident intention of carrying the hero off to hell. -The joke consists as in the present play in a reversal of the usual -proceeding. Eckhardt (p. 85 n.) points out that the Vice’s cudgeling -of the devil was probably a mere mirth-provoking device, and -indicated no enmity between the two. Moreover the motive of the -devil as an animal for riding is not infrequent. In the _Castle of -Perseverance_ the devil carries away the hero, Humanum Genus. The -motive appears also in Greene’s _Friar Bacon and Friar Bungay_ and -Lodge and Greene’s _Looking Glass for London and England_, and -especially in _Histriomastix_, where the Vice rides a roaring devil -(Eckhardt, pp. 86 f.). We have also another bit of evidence from -Jonson himself. In _The Staple of News_ Mirth relates her reminiscences -of the old comedy. In speaking of the devil she says: ‘He -would carry away the Vice on his back quick to hell in every play’. - - -3. _The Influence of Robin Goodfellow and of Popular Legend_ - -A constant element of the popular demonology was the belief in the -kobold or elfish sprite. This figure appears in the mysteries in -the shape of Titivillus, but is not found in the moralities. Robin -Goodfellow, however, makes his appearance in at least three comedies, -_Midsummer Night’s Dream_, 1593-4, _Grim, the Collier of Croyden_, -c 1600, and _Wily Beguiled_, 1606. The last of these especially -approaches Jonson’s conception. Here Robin Goodfellow is a malicious -intriguer, whose nature, whether human or diabolical, is left somewhat -in doubt. His plans are completely frustrated, he is treated with -contempt, and is beaten by Fortunatus. The character was a favorite -with Jonson. In the masque of _The Satyr_, 1603,[22] that character -is addressed as Pug, which here seems evidently equivalent to Puck or -Robin Goodfellow. Similarly Thomas Heywood makes Kobald, Hobgoblin, -Robin Goodfellow, and Pug practically identical.[23] Butler, in the -_Hudibras_,[24] gives him the combination-title of good ‘Pug-Robin’. -Jonson’s character of Pug was certainly influenced in some degree both -by the popular and the literary conception of this ‘lubber fiend’. - -The theme of a stupid or outwitted devil occurred also both in ballad -literature[25] and in popular legend. Roskoff[26] places the change in -attitude toward the devil from a feeling of fear to one of superiority -at about the end of the eleventh century. The idea of a baffled devil -may have been partially due to the legends of the saints, where the -devil is constantly defeated, though he is seldom made to appear stupid -or ridiculous. The notion of a ‘stupid devil’ is not very common in -English, but occasionally appears. In the Virgilius legend the fiend -is cheated of his reward by stupidly putting himself into the physical -power of the wizard. In the Friar Bacon legend the necromancer delivers -an Oxford gentleman by a trick of sophistry.[27] In the story upon -which the drama of _The Merry Devil of Edmonton_ was founded, the devil -is not only cleverly outwitted, but appears weak and docile in his -indulgence of the wizard’s plea for a temporary respite. It may be said -in passing, in spite of Herford’s assertion to the contrary, that the -supernatural machinery in this play has considerably less connection -with the plot than in _The Devil is an Ass_. Both show a survival of -a past interest, of which the dramatist himself realizes the obsolete -character. - -[22] Cf. also _Love Restored_, 1610-11, and the - character of Puck Hairy in _The Sad Shepherd_. - -[23] _Hierarchie of the Blessed Angels_ 9. - -[24] Part 3. Cant. 1, l. 1415. - -[25] Cf. _Devil in Britain and America_, ch. 2. - -[26] _Geschichte des Teufels_ 1. 316, 395. - -[27] Hazlitt, _Tales_, pp. 39, 83. - - -4. _Friar Rush and Dekker_ - -It was the familiar legend of Friar Rush which furnished the groundwork -of Jonson’s play. The story seems to be of Danish origin, and first -makes its appearance in England in the form of a prose history -during the latter half of the sixteenth century. It is entered in -the _Stationer’s Register_ 1567-8, and mentioned by Reginald Scot in -1584.[28] As early as 1566, however, the figure of Friar Rush on a -‘painted cloth’ was a familiar one, and is so mentioned in _Gammer -Gurton’s Needle_.[29] The first extant edition dates from 1620, and has -been reprinted by W. J. Thoms.[30] The character had already become -partially identified with that of Robin Goodfellow,[31] and this -identification, as we have seen, Jonson was inclined to accept. - -In spite of many variations of detail the kernel of the Rush story is -precisely that of Jonson’s play, the visit of a devil to earth with -the purpose of corrupting men. Both Rush and Pug assume human bodies, -the former being ‘put in rayment like an earthly creature’, while the -latter is made subject ‘to all impressions of the flesh’. - -Rush, unlike his counterpart, is not otherwise bound to definite -conditions, but he too becomes a servant. The adventure is not of his -own seeking; he is chosen by agreement of the council, and no mention -is made of the emissary’s willingness or unwillingness to perform -his part. Later, however, we read that he stood at the gate of the -religious house ‘all alone and with a heavie countenance’. In the -beginning, therefore, he has little of Pug’s thirst for adventure, -but his object is at bottom the same, ‘to goe and dwell among these -religious men for to maintaine them the longer in their ungracious -living’. Like Pug, whose request for a Vice is denied him, he goes -unaccompanied, and presents himself at the priory in the guise of a -young man seeking service: ‘Sir, I am a poore young man, and am out of -service, and faine would have a maister’.[32] - -Most of the remaining incidents of the Rush story could not be used -in Jonson’s play. Two incidents may be mentioned. Rush furthers the -amours of his master, as Pug attempts to do those of his mistress. -In the later history of Rush the motive of demoniacal possession is -worked into the plot. In a very important respect, however, the legend -differs from the play. Up to the time of discovery Rush is popular -and successful. He is nowhere made ridiculous, and his mission of -corruption is in large measure fulfilled. The two stories come together -in their conclusion. The discovery that a real devil has been among -them is the means of the friars’ conversion and future right living. A -precisely similar effect takes place in the case of Fitzdottrel. - -The legend of Friar Rush had already twice been used -in the drama before it was adopted by Jonson. The play -by Day and Haughton to which Henslowe refers[33] is not -extant; Dekker’s drama, _If this be not a good Play, the -Diuell is in it_, appeared in 1612. Jonson in roundabout -fashion acknowledged his indebtedness to this play by the -closing line of his prologue. - - If this Play doe not like, the Diuell is in’t. - -Dekker’s play adds few new elements to the story. The first scene is -in the infernal regions; not, however, the Christian hell, as in the -prose history, but the classical Hades. This change seems to have -been adopted from Machiavelli. Three devils are sent to earth with -the object of corrupting men and replenishing hell. They return, on -the whole, successful, though the corrupted king of Naples is finally -redeemed. - -In certain respects, however, the play stands closer to Jonson’s drama -than the history. In the first place, the doctrine that hell’s vices -are both old-fashioned and outdone by men, upon which Satan lays so -much stress in his instructions to Pug in the first scene, receives a -like emphasis in Dekker: - - ... ’tis thought - That men to find hell, now, new waies have sought, - As Spaniards did to the Indies. - -and again: - - ... aboue vs dwell, - Diuells brauer, and more subtill then in Hell.[34] - -and finally: - - They scorne thy hell, hauing better of their owne. - -In the second place Lurchall, unlike Rush, but in the same way -as Pug, finds himself inferior to his earthly associates. He -acknowledges himself overreached by Bartervile, and confesses: - - I came to teach, but now (me thinkes) must learne. - -A single correspondence of lesser importance may be added. Both devils, -when asked whence they come, obscurely intimate their hellish origin. -Pug says that he comes from the Devil’s Cavern in Derbyshire. Rufman -asserts that his home is Helvetia.[35] - -[28] _Discovery_, p. 522. - -[29] _O. Pl._, 4th ed., 3. 213. - -[30] _Early Eng. Prose Romances_, London 1858. - -[31] See Herford’s discussion, _Studies_, p. 305; also _Quarterly -Rev._ 22. 358. The frequently quoted passage from Harsnet’s -_Declaration_ (ch. 20, p. 134), is as follows: ‘And if that the bowle -of curds and cream were not duly set out for Robin Goodfellow, the -Friar, and Sisse the dairy-maide, why then either the pottage was -burnt the next day, or the cheese would not curdle’, etc. Cf. also -Scot, _Discovery_, p. 67: ‘Robin could both eate and drinke, as being -a cousening idle frier, or some such roge, that wanted nothing either -belonging to lecherie or knaverie, &c’. - -[32] Cf. Pug’s words, 1. 3. 1 f. - -[33] See Herford, p. 308. - -[34] A similar passage is found in Dekker, _Whore of Babylon_, -_Wks._ 2. 355. The sentiment is not original with Dekker. -Cf. Middleton, _Black Book_, 1604: - - . . . And were it number’d well, - There are more devils on earth than are in hell. - -[35] Dekker makes a similar pun on Helicon in _News from - Hell_, _Non-dram Wks._ 2. 95. - - -5. _The Novella of Belfagor and the Comedy of Grim_ - -The relation between Jonson’s play and the novella attributed to -Niccolò Machiavelli (1469-1522) has been treated in much detail by Dr. -Ernst Hollstein. Dr. Hollstein compares the play with the first known -English translation, that by the Marquis of Wharton in 1674.[36] It is -probable, however, that Jonson knew the novella in its Italian shape, -if he knew it at all.[37] The Italian text has therefore been taken as -the basis of the present discussion, while Dr. Hollstein’s results, so -far as they have appeared adequate or important, have been freely used. - - ... And were it number’d well, - There are more devils on earth than are in hell. - -] - - -Both novella and play depart from the same idea, the visit of a devil -to earth to lead a human life. Both devils are bound by certain -definite conditions. Belfagor must choose a wife, and live with her ten -years; Pug must return at midnight. Belfagor, like Pug, must be subject -to ‘ogni infortunio nel quale gli uomini scorrono’. - -In certain important respects Machiavelli’s story differs essentially -from Jonson’s. Both Dekker and Machiavelli place the opening scene in -the classical Hades instead of in the Christian hell. But Dekker’s -treatment of the situation is far more like Jonson’s than is the -novella’s. Herford makes the distinction clear: ‘Macchiavelli’s Hades -is the council-chamber of an Italian Senate, Dekker’s might pass for -some tavern haunt of Thames watermen. Dekker’s fiends are the drudges -of Pluto, abused for their indolence, flogged at will, and peremptorily -sent where he chooses. Machiavelli’s are fiends whose advice he -requests with the gravest courtesy and deference, and who give it -with dignity and independence’. Further, the whole object of the -visit, instead of being the corruption of men, is a mere sociological -investigation. Pug is eager to undertake his mission; Belfagor is -chosen by lot, and very loath to go. Pug becomes a servant, Belfagor a -nobleman. - -But in one very important matter the stories coincide, that of the -general character and fate of the two devils. As Hollstein points out, -each comes with a firm resolve to do his best, each finds at once that -his opponents are too strong for him, each through his own docility -and stupidity meets repulse after repulse, ending in ruin, and each is -glad to return to hell. This, of course, involves the very essence of -Jonson’s drama, and on its resemblance to the novella must be based any -theory that Jonson was familiar with the latter. - -Of resemblance of specific details not much can be made. The two -stories have in common the feature of demoniacal possession, but -this, as we have seen, occurs also in the Rush legend. The fact that -the princess speaks Latin, while Fitzdottrel surprises his auditors -by his ‘several languages’, is of no more significance. This is one -of the stock indications of witchcraft. It is mentioned by Darrel, -and Jonson could not have overlooked a device so obvious. Certain -other resemblances pointed out by Dr. Hollstein are of only the most -superficial nature. On the whole we are not warranted in concluding -with any certainty that Jonson knew the novella at all. - -On the other hand, he must have been acquainted with -the comedy of _Grim, the Collier of Croydon_ (c 1600). -Herford makes no allusion to this play, and, though it was -mentioned as a possible source by A. W. Ward,[38] the subject -has never been investigated. The author of _Grim_ uses the -Belfagor legend for the groundwork of his plot, but handles -his material freely. In many respects the play is a close -parallel to _The Devil is an Ass_. The same respect for the -vices of earth is felt as in Dekker’s and Jonson’s plays. -Belphegor sets out to - - ... make experiment - If hell be not on earth as well as here. - -The circumstances of the sending bear a strong resemblance to the -instructions given to Pug: - - Thou shalt be subject unto human chance, - So far as common wit cannot relieve thee. - But whatsover happens in that time, - Look not from us for succour or relief. - This shalt thou do, and when the time’s expired, - Bring word to us what thou hast seen and done. - -So in Jonson: - - ... but become subject - To all impression of the flesh, you take, - So farre as humane frailty: ... - But as you make your soone at nights relation, - And we shall find, it merits from the State, - You shall haue both trust from vs, and imployment. - -Belphegor is described as ‘patient, mild, and pitiful’; and during his -sojourn on earth he shows little aptitude for mischief, but becomes -merely a butt and object of abuse. Belphegor’s request for a companion, -unlike that of Pug, is granted. He chooses his servant Akercock, -who takes the form of Robin Goodfellow. Robin expresses many of the -sentiments to be found in the mouth of Pug. With the latter’s monologue -(Text, 5. 2) compare Robin’s exclamation: - - Zounds, I had rather be in hell than here. - -Neither Pug (Text, 2. 5. 3-4) nor Robin dares to return without -authority: - - What shall I do? to hell I dare not go, - Until my master’s twelve months be expir’d. - -Like Pug (Text, 5. 6. 3-10) Belphegor worries over his reception in -hell: - - How shall I give my verdict up to Pluto - Of all these accidents? - -Finally Belphegor’s sensational disappearance through the -yawning earth comes somewhat nearer to Jonson than does -the Italian original. The English comedy seems, indeed, -to account adequately for all traces of the Belfagor story -to be found in Jonson’s play. - -[36] A paraphrase of _Belfagor_ occurs in the Conclusion of -Barnaby Riche’s _Riche his Farewell to Militarie Profession_, 1581, -published for the Shakespeare Society by J. P. Collier, 1846. The -name is changed to Balthasar, but the main incidents are the same. - -[37] Jonson refers to Machiavelli’s political writings in - _Timber_ (ed. Schelling, p. 38). - -[38] _Eng. Dram. Lit._ 2. 606. - - -6. _Summary_ - -It is certain that of the two leading ideas of Jonson’s comedy, the -sending of a devil to earth with the object of corrupting men is -derived from the Rush legend. It is probable that the no less important -motive of a baffled devil, happy to make his return to hell, is due -either directly or indirectly to Machiavelli’s influence. This motive, -as we have seen, was strengthened by a body of legend and by the -treatment of the devil in the morality play. - - -7. _The Figure of the Vice_ - -It is the figure of the Vice which makes Jonson’s satire on the -out-of-date moralities most unmistakable. This character has been -the subject of much study and discussion, and there is to-day no -universally accepted theory as to his origin and development. In the -literature of Jonson’s day the term Vice is almost equivalent to -harlequin. But whether this element of buffoonery is the fundamental -trait of the character, and that of intrigue is due to a confusion -in the meaning of the word, or whether the element of intrigue is -original, and that of buffoonery has taken its place by a process of -degeneration in the Vice himself, is still a disputed question. - -The theory of Cushman and of Eckhardt is substantially the same, -and may be stated as follows. Whether or not the Vice be a direct -descendant of the devil, it is certain that he falls heir to his -predecessor’s position in the drama, and that his development is -strongly influenced by that character. Originally, like the devil, he -represents the principle of evil and may be regarded as the summation -of the seven deadly sins. From the beginning, however, he possessed -more comic elements, much being ready made for him through the partial -degeneration of the devil, while the material of the moralities was -by no means so limited in scope as that of the mysteries. This comic -element, comparatively slight at first, soon began to be cultivated -intentionally, and gradually assumed the chief function, while the -allegorical element was largely displaced. In course of time the -transformation from the intriguer to the buffoon became complete.[39] -Moreover, the rapidity of the transformation was hastened by the -influence of the fool, a new dramatic figure of independent origin, -but the partial successor upon the stage of the Vice’s comedy part. As -early as 1570 the union of fool and Vice is plainly visible.[40] In -1576 we find express stage directions given for the Vice to fill in -the pauses with improvised jests.[41] Two years later a Vice plays the -leading rôle for the last time.[42] By 1584 the Vice has completely -lost his character of intriguer[43], and in the later drama he appears -only as an antiquated figure, where he is usually considered as -identical with the fool or jester.[44] Cushman enumerates the three -chief rôles of the Vice as the opponent of the Good; the corrupter of -man; and the buffoon. - -The Vice, however, is not confined to the moralities, but appears -frequently in the comic interludes. According to the theory of Cushman, -the name Vice stands in the beginning for a moral and abstract idea, -that of the principle of evil in the world, and must have originated -in the moralities; and since it is applied to a comic personage in -the interludes, this borrowing must have taken place after the period -of degeneration had already begun. To this theory Chambers[45] offers -certain important objections. He points out that, although ‘vices in -the ordinary sense of the word are of course familiar personages in the -morals’, the term Vice is not applied specifically to a character in -‘any pre-Elizabethan moral interlude except the Marian _Respublica_’, -1553. Furthermore, ‘as a matter of fact, he comes into the interlude -through the avenue of the farce’. The term is first applied to the -leading comic characters in the farces of John Heywood, _Love_ and -_The Weather_, 1520-30. These characters have traits more nearly -resembling those of the fool and clown than those of the intriguer of -the moralities. Chambers concludes therefore that ‘the character of the -vice is derived from that of the domestic fool or jester’, and that -the term was borrowed by the authors of the moralities from the comic -interludes. - -These two views are widely divergent, and seem at first wholly -irreconcilable. The facts of the case, however, are, I believe, -sufficiently clear to warrant the following conclusions: (1) The early -moralities possessed many allegorical characters representing vices -in the ordinary sense of the word. (2) From among these vices we may -distinguish in nearly every play a single character as in a preëminent -degree the embodiment of evil. (3) To this chief character the name of -Vice was applied about 1553, and with increasing frequency after that -date. (4) Whatever may have been the original meaning of the word, it -must have been generally understood in the moralities in the sense -now usually attributed to it; for (5) The term was applied in the -moralities only to a character in some degree evil. Chambers instances -_The Tide tarrieth for No Man_ and the tragedy of _Horestes_, where -the Vice bears the name of Courage, as exceptions. The cases, however, -are misleading. In the former, Courage is equivalent to ‘Purpose’, -‘Desire’, and is a distinctly evil character.[46] In the latter he -reveals himself in the second half of the play as Revenge, and although -he incites Horestes to an act of justice, he is plainly opposed to -‘Amyte’, and he is finally rejected and discountenanced. Moreover -he is here a serious figure, and only occasionally exhibits comic -traits. He cannot therefore be considered as supporting the theory -of the original identity of the fool and the Vice. (6) The Vice of -the comic interludes and the leading character of the moralities are -distinct figures. The former was from the beginning a comic figure or -buffoon;[47] the latter was in the beginning serious, and continued to -the end to preserve serious traits. With which of these two figures -the term Vice originated, and by which it was borrowed from the other, -is a matter of uncertainty and is of minor consequence. These facts, -however, seem certain, and for the present discussion sufficient: that -the vices of the earlier and of the later moralities represent the -same stock figure; that this figure stood originally for the principle -of evil, and only in later days became confused with the domestic -fool or jester; that the process of degeneration was continuous and -gradual, and took place substantially in the manner outlined by Cushman -and Eckhardt; and that, while to the playwright of Jonson’s day the -term was suggestive primarily of the buffoon, it meant also an evil -personage, who continued to preserve certain lingering traits from the -character of intriguer in the earlier moralities. - -[39] Eckhardt, p. 195. - -[40] In W. Wager’s _The longer thou livest, the more fool thou art_. - -[41] In Wapull’s _The Tide tarrieth for No Man_. - -[42] Subtle Shift in _The History of Sir Clyomon and Sir Clamydes_. - -[43] In Wilson’s _The Three Ladies of London_. - -[44] He is so identified in Chapman’s _Alphonsus, Emperor of Germany_ -c 1590 (_Wks._, ed. 1873, 3. 216), and in Stubbes’ _Anat._, 1583. -Nash speaks of the Vice as an antiquated figure as early as 1592 -(_Wks._ 2. 203). - -[45] _Med. Stage_, pp. 203-5. - -[46] Eckhardt, p. 145. - -[47] Sometimes he is even a virtuous character. See Eckhardt’s -remarks on _Archipropheta_, p. 170. Merry Report in Heywood’s -_Weather_ constantly moralizes, and speaks of himself as the servant -of God in contrast with the devil. - - -8. _Jonson’s Use of the Vice_ - -The position of the Vice has been discussed at some length because -of its very important bearing on Jonson’s comedy. It is evident, -even upon a cursory reading, that Jonson has not confined himself to -the conception of the Vice obtainable from a familiarity with the -interludes alone, as shown in Heywood’s farces or the comedy of _Jack -Juggler_. The character of Iniquity, though fully identified with the -buffoon of the later plays, is nevertheless closely connected in the -author’s mind with the intriguer of the old moralities. This is clear -above all from the use of the name Iniquity, from his association with -the devil, and from Pug’s desire to use him as a means of corrupting -his playfellows. Thus, consciously or unconsciously on Jonson’s part, -Iniquity presents in epitome the history of the Vice. - -His very name, as we have said, links him with the morality-play. In -fact, all the Vices suggested, Iniquity, Fraud, Covetousness, and Lady -Vanity, are taken from the moralities. The choice of Iniquity was -not without meaning, and was doubtless due to its more general and -inclusive significance. In Shakespeare’s time Vice and Iniquity seem -to have been synonymous terms (see Schmidt), from which it has been -inferred that Iniquity was the Vice in many lost moralities.[48] - -Of the original Vice-traits Iniquity lays vigorous claim to that of the -corrupter of man. Pug desires a Vice that he may ‘practice there-with -any play-fellow’, and Iniquity comes upon the stage with voluble -promises to teach his pupil to ‘cheat, lie, cog and swagger’. He offers -also to lead him into all the disreputable precincts of the city. -Iniquity appears in only two scenes, Act 1. Sc. 1 and Act 5. Sc. 6. In -the latter he reverses the usual process and carries away the devil to -hell. This point has already been discussed (p. xxiv). - -Aside from these two particulars, Iniquity is far nearer to the fool -than to the original Vice. As he comes skipping upon the stage in the -first scene, reciting his galloping doggerel couplets, we see plainly -that the element of buffoonery is uppermost in Jonson’s mind. Further -evidence may be derived from the particularity with which Iniquity -describes the costume which he promises to Pug, and which we are -doubtless to understand as descriptive of his own. Attention should -be directed especially to the wooden dagger, the long cloak, and the -slouch hat. Cushman says (p. 125): ‘The vice enjoys the greatest -freedom in the matter of dress; he is not confined to any stereotyped -costume; ... the opinion that he is always or usually dressed in a -fool’s costume has absolutely no justification’. The wooden dagger, a -relic of the Roman stage,[49] is the most frequently mentioned article -of equipment. It is first found (1553-8) as part of the apparel of Jack -Juggler in a print illustrating that play, reproduced by Dodsley. It is -also mentioned in _Like Will to Like_, _Hickescorner_, _King Darius_, -etc. The wooden dagger was borrowed, however, from the fool’s costume, -and is an indication of the growing identification of the Vice with -the house-fool. That Jonson recognized it as such is evident from his -_Expostulation with Inigo Jones_: - - No velvet suit you wear will alter kind; - A wooden dagger is a dagger of wood. - -The long cloak, twice mentioned (1. 1. 51 and 85), is another -property borrowed from the fool. The natural fool usually wore a -long gown-like dress,[50] and this was later adopted as a dress for -the artificial fool. Muckle John, the court fool of Charles I., was -provided with ‘a long coat and suit of scarlet-colour serge’.[51] - -Satan’s reply to Pug’s request for a Vice is, however, the most -important passage on this subject. He begins by saying that the Vice, -whom he identifies with the house fool, is fifty years out of date. -Only trivial and absurd parts are left for Iniquity to play, the -mountebank tricks of the city and the tavern fools. Douce (pp. 499 -f.) mentions nine kinds of fools, among which the following appear: -1. The general domestic fool. 4. The city or corporation fool. 5. -Tavern fools. Satan compares Iniquity with each of these in turn. The -day has gone by, he says: - - When euery great man had his _Vice_ stand by him, - In his long coat, shaking his wooden dagger. - -Then he intimates that Iniquity may be able to play the -tavern fool: - - Where canst thou carry him? except to Tauernes? - To mount vp ona joynt-stoole, with a _Iewes_-trumpe, - To put downe _Cokeley_, and that must be to Citizens? - -And finally he compares him with the city fool: - - Hee may perchance, in taile of a Sheriffes dinner, - Skip with a rime o’ the table, from _New-nothing_, - And take his _Almaine_-leape into a custard. - -Thus not only does Jonson identify the Vice with the fool, but with the -fool in his senility. The characteristic functions of the jester in the -Shakespearian drama, with his abundant store of improvised jests, witty -retorts, and irresistible impudence, have no part in this character. He -is merely the mountebank who climbs upon a tavern stool, skips over the -table, and leaps into corporation custards. - -Iniquity, then, plays no real part in the drama. His introduction is -merely for the purpose of satire. In _The Staple of News_ the subject -is renewed, and treated with greater directness: - -‘_Tat._ I would fain see the fool, gossip; the fool is the -finest man in the company, they say, and has all the wit: -he is the very justice o’ peace o’ the play, and can commit -whom he will and what he will, error, absurdity, as the toy -takes him, and no man say black is his eye, but laugh at him’. - -In _Epigram 115, On the Town’s Honest Man_, Jonson -again identifies the Vice with the mountebank, almost in -the same way as he does in _The Devil is an Ass_: - - ... this is one - Suffers no name but a description - Being no vicious person but the Vice - About the town; ... - At every meal, where it doth dine or sup, - The cloth’s no sooner gone, but it gets up, - And shifting of its faces, doth play more - Parts than the Italian could do with his door. - Acts old Iniquity and in the fit - Of miming gets the opinion of a wit. - -[48] This designation for the Vice first appears in _Nice Wanton_, -1547-53, then in _King Darius_, 1565, and _Histriomastix_, 1599 -(printed 1610). - -[49] Wright, _Hist. of Caricature_, p. 106. - -[50] Doran, p. 182. - -[51] _Ibid._, p. 210. - - - - -II. THE SATIRICAL DRAMA - - -It was from Aristophanes[52] that Jonson learned to combine with -such boldness the palpable with the visionary, the material with the -abstract. He surpassed even his master in the power of rendering the -combination a convincing one, and his method was always the same. Fond -as he was of occasional flights of fancy, his mind was fundamentally -satirical, so that the process of welding the apparently discordant -elements was always one of rationalizing the fanciful rather than -of investing the actual with a far-away and poetic atmosphere. Thus -even his purely supernatural scenes present little incongruity. Satan -and Iniquity discuss strong waters and tobacco, Whitechapel and -Billingsgate, with the utmost familiarity; even hell’s ‘most exquisite -tortures’ are adapted in part from the homely proverbs of the people. -In the use of his sources three tendencies are especially noticeable: -the motivation of borrowed incidents; the adjusting of action on a -moral basis: the reworking of his own favorite themes and incidents. - -[52] See Herford, p. 318. - - -1. _General Treatment of the Plot_ - -For the main plot we have no direct source. It represents, however, -Jonson’s typical method. It has been pointed out[53] that the -characteristic Jonsonian comedy always consists of two groups, the -intriguers and the victims. In _The Devil is an Ass_ the most purely -comic motive of the play is furnished by a reversal of the usual -relation subsisting between these two groups. Here the devil, who was -wont to be looked upon as arch-intriguer, is constantly ‘fooled off -and beaten’, and thus takes his position as the comic butt. Pug, in a -sense, represents a satirical trend. Through him Jonson satirizes the -outgrown supernaturalism which still clung to the skirts of Jacobean -realism, and at the same time paints in lively colors the vice of a -society against which hell itself is powerless to contend. It is only, -however, in a general way, where the devil stands for a principle, that -Pug may be considered as in any degree satirical. In the particular -incident he is always a purely comic figure, and furnishes the mirth -which results from a sense of the incongruity between anticipation and -accomplishment. - -Fitzdottrel, on the other hand, is mainly satirical. Through him Jonson -passes censure upon the city gallant, the attendant at the theatre, the -victim of the prevalent superstitions, and even the pretended demoniac. -His dupery, as in the case of his bargain with Wittipol, excites -indignation rather than mirth, and his final discomfiture affords us -almost a sense of poetic justice. This character stands in the position -of chief victim. - -In an intermediate position are Merecraft and Everill. They succeed in -swindling Fitzdottrel and Lady Tailbush, but are in turn played upon by -the chief intriguer, Wittipol, with his friend Manly. Jonson’s moral -purpose is here plainly visible, especially in contrast to Plautus, -with whom the youthful intriguer is also the stock figure. The motive -of the young man’s trickery in the Latin comedy is usually unworthy and -selfish. That of Wittipol, on the other hand, is wholly disinterested, -since he is represented as having already philosophically accepted the -rejection of his advances at the hands of Mrs. Fitzdottrel. - -In construction the play suffers from overabundance of material. -Instead of a single main line of action, which is given clear -precedence, there is rather a succession of elaborated episodes, -carefully connected and motivated, but not properly subordinated. The -plot is coherent and intricate rather than unified. This is further -aggravated by the fact that the chief objects of satire are imperfectly -understood by readers of the present day. - -Jonson observes unity of time, Pug coming to earth in -the morning and returning at midnight. With the exception -of the first scene, which is indeterminate, and seems at -one moment to be hell, and the next London, the action is -confined to the City, but hovers between Lincoln’s Inn, -Newgate, and the house of Lady Tailbush. Unity of action -is of course broken by the interference of the devil-plot and -the episodic nature of the satirical plot. The main lines -of action may be discussed separately. - -In the first act chief prominence is given to the intrigue -between Wittipol and Mrs. Fitzdottrel. This interest is -continued through the second act, but practically dropped -after this point. In Act 4 we find that both lovers have -recovered from their infatuation, and the intrigue ends by -mutual consent. - -The second act opens with the episode of Merecraft’s plot to gull -Fitzdottrel. The project of the dukedom of Drownedland is given chief -place, and attention is centred upon it both here and in the following -scenes. Little use, however, is made of it in the motivation of -action. This is left for another project, the office of the Master of -Dependencies (quarrels) in the next act. This device is introduced in -an incidental way, and we are not prepared for the important place -which it takes in the development of the plot. Merecraft, goaded by -Everill, hits upon it merely as a temporary makeshift to extort money -from Fitzdottrel. The latter determines to make use of the office in -prosecuting his quarrel with Wittipol. In preparation for the duel, -and in accordance with the course of procedure laid down by Everill, -he resolves to settle his estate. Merecraft and Everill endeavor to -have the deed drawn in their own favor, but through the interference -of Wittipol the whole estate is made over to Manly, who restores it to -Mrs. Fitzdottrel. This project becomes then the real turning-point of -the play. - -The episode of Guilthead and Plutarchus in Act 3 is only slightly -connected with the main plot. That of Wittipol’s disguise as a Spanish -lady, touched upon in the first two acts, becomes the chief interest of -the fourth. It furnishes much comic material, and the characters of -Lady Tailbush and Lady Eitherside offer the poet the opportunity for -some of his cleverest touches in characterization and contrast.[54] The -scene, however, is introduced for incidental purposes, the satirization -of foreign fashions and the follies of London society, and is -overelaborated. The catalogue of cosmetics is an instance of Jonson’s -intimate acquaintance with recondite knowledge standing in the way of -his art. - -Merecraft’s ‘after game’ in the fifth act is of the nature of an -appendix. The play might well have ended with the frustration of his -plan to get possession of the estate. This act is introduced chiefly -for the sake of a satire upon pretended demoniacs and witch-finders. It -also contains the conclusion of the devil-plot. - -_The Devil is an Ass_ will always remain valuable as a historical -document, and as a record of Jonson’s own attitude towards the abuses -of his times. In the treatment of Fitzdottrel and Merecraft among the -chief persons, and of Plutarchus Guilthead among the lesser, this -play belongs to Jonson’s character-drama.[55] It does not, however, -belong to the pure humor-comedy. Like _The Alchemist_, and in marked -contrast to _Every Man out of his Humor_, interest is sought in plot -development. In the scene between Lady Tailbush and Lady Eitherside, -the play becomes a comedy of manners, and in its attack upon state -abuses it is semi-political in nature. Both Gifford and Swinburne have -observed the ethical treatment of the main motives. - -With the exception of Prologue and Epilogue, the doggerel couplets -spoken by Iniquity, Wittipol’s song (2. 6. 94), and some of the -lines quoted by Fitzdottrel in the last scene, the play is written -in blank verse throughout. Occasional lines of eight (2. 2. 122), -nine (2. 1. 1), twelve (1. 1. 33) or thirteen (1. 1. 113) syllables -are introduced. Most of these could easily be normalized by a slight -emendation or the slurring of a syllable in pronunciation. Many of -the lines, however, are rough and difficult of scansion. Most of the -dialogue is vigorous, though Wittipol’s language is sometimes affected -and unnatural (cf. Act 1. Sc. 1). His speech, 1. 6. 111-148, is -classical in tone, but fragmentary and not perfectly assimilated. The -song already referred to possesses delicacy and some beauty of imagery, -but lacks Jonson’s customary polish and smoothness. - -As a work of art the play must rely chiefly upon the vigor of its -satiric dialogue and the cleverness of its character sketches. It lacks -the chief excellences of construction--unity of interest, subordination -of detail, steady and uninterrupted development, and prompt conclusion. - -[53] Woodbridge, _Studies_, p. 33. - -[54] Contrasted companion-characters are a favorite device with -Jonson. Compare Corvino, Corbaccio, and Voltore in _The Fox_, Ananias -and Tribulation Wholesome in _The Alchemist_, etc. - -[55] It should be noticed that in the case of Merecraft the method -employed is the caricature of a profession, as well as the exposition -of personality. - - -2. _Chief Sources of the Plot_ - -The first source to be pointed out was that of Act 1. Sc. 4-6.[56] -This was again noticed by Koeppel, who mentions one of the -word-for-word borrowings, and points out the moralistic tendency in -Jonson’s treatment of the husband, and his rejection of the Italian -story’s licentious conclusion.[57] The original is from Boccaccio’s -_Decameron_, the fifth novella of the third day. Boccaccio’s title -is as follows: ‘Il Zima dona a messer Francesco Vergellesi un suo -pallafreno, e per quello con licenzia di lui parla alla sua donna, ed -ella tacendo, egli in persona di lei si risponde, e secondo la sua -risposta poi l’effetto segue’. The substance of the story is this. Il -Zima, with the bribe of a palfrey, makes a bargain with Francesco. For -the gift he is granted an interview with the wife of Francesco and in -the latter’s presence. This interview, however, unlike that in _The -Devil is an Ass_, is not in the husband’s hearing. To guard against any -mishap, Francesco secretly commands his wife to make no answer to the -lover, warning her that he will be on the lookout for any communication -on her part. The wife, like Mrs. Fitzdottrel, upbraids her husband, -but is obliged to submit. Il Zima begins his courtship, but, though -apparently deeply affected, she makes no answer. The young man then -suspects the husband’s trick (e poscia s’incominciò ad accorgere dell’ -arte usata dal cavaliere). He accordingly hits upon the device of -supposing himself in her place and makes an answer for her, granting an -assignation. As a signal he suggests the hanging out of the window of -two handkerchiefs. He then answers again in his own person. Upon the -husband’s rejoining them he pretends to be deeply chagrined, complains -that he has met a statue of marble (una statua di marmo) and adds: -‘Voi avete comperato il pallafreno, e io non l’ho venduto’. Il Zima is -successful in his ruse, and Francesco’s wife yields completely to his -seduction. - -A close comparison of this important source is highly instructive. -Verbal borrowings show either that Jonson had the book before him, or -that he remembered many of the passages literally. Thus Boccaccio’s -‘una statua di marmo’ finds its counterpart in a later scene[58] where -Mrs. Fitzdottrel says: ‘I would not haue him thinke hee met a statue’. -Fitzdottrel’s satisfaction at the result of the bargain is like that -of Francesco: ‘I ha’ kept the contract, and the cloake is mine’ (omai -è ben mio il pallafreno, che fu tuo). Again Wittipol’s parting words -resemble Il Zima’s: ‘It may fall out, that you ha’ bought it deare, -though I ha’ not sold it’.[59] In the mouths of the two heroes, -however, these words mean exactly opposite things. With Il Zima it is a -complaint, and means: ‘You have won the cloak, but I have got nothing -in return’. With Wittipol, on the other hand, it is an open sneer, and -hints at further developments. The display of handkerchiefs at the -window is another borrowing. Fitzdottrel says sarcastically: - - ... I’ll take carefull order, - That shee shall hang forth ensignes at the window. - -Finally Wittipol, like Il Zima, suspects a trick when Mrs. -Fitzdottrel refuses to answer: - - How! not any word? Nay, then, I taste a tricke in’t. - -But precisely here Jonson blunders badly. In Boccaccio’s story the -trick was a genuine one. Il Zima stands waiting for an answer. When no -response is made he begins to suspect the husband’s secret admonition, -and to thwart it hits upon the device of answering himself. But in -Jonson there is no trick at all. Fitzdottrel does indeed require his -wife to remain silent, but by no means secretly. His command is placed -in the midst of a rambling discourse addressed alternately to his wife -and to the young men. There is not the slightest hint that any part -of this speech is whispered in his wife’s ear, and Wittipol enters -upon his courtship with full knowledge of the situation. This fact -deprives Wittipol’s speech in the person of Mrs. Fitzdottrel of its -character as a clever device, so that the whole point of Boccaccio’s -story is weakened, if not destroyed. I cannot refrain in conclusion -from making a somewhat doubtful conjecture. It is noticeable that while -Jonson follows so many of the details of this story with the greatest -fidelity he substitutes the gift of a cloak for that of the original -‘pallafreno’ (palfrey).[60] The word is usually written ‘palafreno’ and -so occurs in Florio. Is it possible that Jonson was unfamiliar with the -word, and, not being able to find it in a dictionary, conjectured that -it was identical with ‘palla’, a cloak? - -In other respects Jonson’s handling of the story displays his -characteristic methods. Boccaccio spends very few words in description -of either husband or suitor. Jonson, however, is careful to make plain -the despicable character of Fitzdottrel, while Wittipol is represented -as an attractive and high-minded young man. Further than this, both -Mrs. Fitzdottrel and Wittipol soon recover completely from their -infatuation. - -Koeppel has suggested a second source from the _Decameron_, Day 3, -Novella 3. The title is: ‘Sotto spezie di confessione e di purissima -coscienza una donna, innamorata d’un giovane, induce un solenne frate, -senza avvedersene egli, a dar modo che’l piacer di lei avessi intero -effetto’. The story is briefly this. A lady makes her confessor the -means of establishing an acquaintance with a young man with whom she -has fallen in love. Her directions are conveyed to him under the guise -of indignant prohibitions. By a series of messages of similar character -she finally succeeds in informing him of the absence of her husband -and the possibility of gaining admittance to her chamber by climbing a -tree in the garden. Thus the friar becomes the unwitting instrument of -the very thing which he is trying to prevent. So in Act 2. Sc. 2 and 6, -Mrs. Fitzdottrel suspects Pug of being her husband’s spy. She dares not -therefore send Wittipol a direct message, but requests him to cease his -attentions to her - - At the Gentlemans chamber-window in _Lincolnes-Inne_ there, - That opens to my gallery. - -Wittipol takes the hint, and promptly appears at the place indicated. - -Von Rapp[61] has mentioned certain other scenes as probably of -Italian origin, but, as he advances no proofs, his suggestions may be -neglected. It seems to me possible that in the scene above referred -to, where the lover occupies a house adjoining that of his mistress, -and their secret amour is discovered by her servant and reported to -his master, Jonson had in mind the same incident in Plautus’ _Miles -Gloriosus_, Act. 2. Sc. 1 f. - -The trait of jealousy which distinguishes Fitzdottrel was suggested -to some extent by the character of Euclio in the _Aulularia_, and a -passage of considerable length[62] is freely paraphrased from that -play. The play and the passage had already been used in _The Case is -Altered_. - -Miss Woodbridge has noticed that the scene in which Lady Tailbush and -her friends entertain Wittipol disguised as a Spanish lady is similar -to Act 3. Sc. 2 of _The Silent Woman_, where the collegiate ladies call -upon Epicoene. The trick of disguising a servant as a woman occurs in -Plautus’ _Casina_, Acts 4 and 5. - -For the final scene, where Fitzdottrel plays the part of a bewitched -person, Jonson made free use of contemporary books and tracts. The -motive of pretended possession had already appeared in _The Fox_ -(_Wks._ 3. 312), where symptoms identical with or similar to those in -the present passage are mentioned--swelling of the belly, vomiting -crooked pins, staring of the eyes, and foaming at the mouth. The -immediate suggestion in this place may have come either through the -Rush story or through Machiavelli’s novella. That Jonson’s materials -can be traced exclusively to any one source is hardly to be expected. -Not only were trials for witchcraft numerous, but they must have formed -a common subject of speculation and discussion. The ordinary evidences -of possession were doubtless familiar to the well-informed man without -the need of reference to particular records. And it is of the ordinary -evidences that the poet chiefly makes use. Nearly all these are found -repeatedly in the literature of the period. - -We know, on the other hand, that Jonson often preferred to get his -information through the medium of books. It is not surprising, -therefore, that Merecraft proposes to imitate ‘little Darrel’s tricks’, -and to find that the dramatist has resorted in large measure to this -particular source.[63] - -The Darrel controversy was carried on through a number of years between -John Darrel, a clergyman (see note 5. 3. 6), on the one hand, and -Bishop Samuel Harsnet, John Deacon and John Walker, on the other. Of -the tracts produced in this controversy the two most important are -Harsnet’s _Discovery of the Fraudulent Practises of John Darrel_,[64] -1599, and Darrel’s _True Narration of the Strange and Grevous -Vexation by the Devil of 7 Persons in Lancashire and William Somers -of Nottingham_, ... 1600. The story is retold in Francis Hutchinson’s -_Historical Essay concerning Witchcraft_, London, 1720. - -Jonson follows the story as told in these two books with considerable -fidelity. The accompaniments of demonic possession which Fitzdottrel -exhibits in the last scene are enumerated in two previous speeches. -Practically all of these are to be found in Darrel’s account: - - ... roule but wi’ your eyes, - And foam at th’ mouth. (Text, 5. 3. 2-3) - ... to make your belly swell, - And your eyes turne, to foame, to stare, to gnash - Your teeth together, and to beate your selfe, - Laugh loud, and faine six voices. (5. 5. 25 f.) - -They may be compared with the description given by Darrel: ‘He was -often seene ... to beate his head and other parts of his body against -the ground and bedstead. In most of his fitts, he did swell in his -body; ... if he were standing when the fit came he wold be cast -headlong upon the ground, or fall doune, drawing then his lips awry, -gnashing with his teeth, wallowing and foaming.... Presently after he -would laughe loud and shrill, his mouth being shut close’. (Darrel, -p. 181.) ‘He was also continually torne in very fearfull manner, and -disfigured in his face ... now he gnashed with his teeth; now he fomed -like to the horse or boare, ... not to say anything of his fearfull -staring with his eyes, and incredible gaping’. (Darrel, p. 183.) The -swelling, foaming, gnashing, staring, etc., are also mentioned by -Harsnet (pp. 147-8), as well as the jargon of languages (p. 165). - -The scene is prepared before Merecraft’s appearance (Text, 5. 5. 40. -Cf. _Detection_, p. 92), and Fitzdottrel is discovered lying in bed -(Text, 5. 5. 39; 5. 8. 40). Similarly, Somers performed many of his -tricks ‘under a coverlet’ (_Detection_, p. 104). Sir Paul Eitherside -then enters and ‘interprets all’. This is imitated directly from -Harsnet, where we read: ‘So. [Somers] acting those gestures M. Dar. -did expound them very learnedlye, to signify this or that sinne that -raigned in Nott. [Nottingham].’ Paul’s first words are: ‘This is the -_Diuell_ speakes and laughes in him’. So Harsnet tells us that ‘M. Dar. -vpon his first comming vnto Som. affirmed that it was not So. that -spake in his fitts, but the diuell by him’. Both Fitzdottrel (Text, 5. -8. 115) and Somers (_Narration_, p. 182) talk in Greek. The devil in -Fitzdottrel proposes to ‘break his necke in jest’ (Text, 5. 8. 117), -and a little later to borrow money (5. 8. 119). The same threat is -twice made in the _True Narration_ (pp. 178 and 180). In the second of -these passages Somers is met by an old woman, who tries to frighten him -into giving her money. Otherwise, she declares, ‘I will throwe thee -into this pit, and breake thy neck’. The mouse ‘that should ha’ come -forth’ (Text, 5. 8. 144) is mentioned by both narrators (_Detection_, -p. 140; _Narration_, p. 184), and the pricking of the body with -pins and needles (Text, 5. 8. 49) is found in slightly altered form -(_Detection_, p. 135; _Narration_, p. 174). Finally the clapping of the -hands (Text. 5. 8. 76) is a common feature (_Narration_, p. 182). The -last mentioned passage finds a still closer parallel in a couplet from -the contemporary ballad, which Gifford quotes from Hutchinson (p. 249): - - And by the clapping of his Hands - He shew’d the starching of our Bands. - -Of the apparatus supplied by Merecraft for the imposture, the soap, -nutshell, tow, and touchwood (Text, 5. 3. 3-5), the bladders and -bellows (Text, 5. 5. 48), some are doubtless taken from Harsnet’s -_Discovery_, though Darrel does not quote these passages in the -_Detection_. We find, however, that Darrel was accused of supplying -Somers with black lead to foam with (_Detection_, p. 160), and Gifford -says that the _soap_ and _bellows_ are also mentioned in the ‘Bishop’s -book’. - -Though Jonson drew so largely upon this source, many details are -supplied by his own imagination. Ridiculous as much of it may seem to -the modern reader, it is by no means overdrawn. In fact it may safely -be affirmed that no such realistic depiction of witchcraft exists -elsewhere in the whole range of dramatic literature. - -[56] Langbaine, _Eng. Dram. Poets_, p. 289. - -[57] _Quellen Studien_, p. 15. - -[58] 2. 2. 69. - -[59] Mentioned by Koeppel, p. 15. - -[60] So spelled in 1573 ed. In earlier editions ‘palafreno’. - -[61] _Studien_, p. 232. - -[62] See note 2. 1. 168 f. - -[63] Gifford points out the general resemblance. He uses Hutchinson’s - book for comparison. - -[64] This book, so far as I know, is not to be found in any American -library. My knowledge of its contents is derived wholly from -Darrel’s answer, _A Detection of that sinnful, shamful, lying and -ridiculous Discours, of Samuel Harshnet, entituled: A Discoverie, -etc.... Imprinted 1600_, which apparently cites all of Harsnet’s more -important points for refutation. It has been lent me through the -kindness of Professor George L. Burr from the Cornell Library. The -quotations from Harsnet in the following pages are accordingly taken -from the excerpts in the _Detection_. - - -3. _Prototypes of the leading Characters_ - -The position of the leading characters has already been indicated. Pug, -as the comic butt and innocent gull, is allied to Master Stephen and -Master Matthew of _Every Man in his Humor_, Dapper of _The Alchemist_, -and Cokes of _Bartholomew Fair_. Fitzdottrel, another type of the gull, -is more closely related to _Tribulation Wholesome_ in _The Alchemist_, -and even in some respects to Corvino and Voltore in _The Fox_. Wittipol -and Manly, the chief intriguers, hold approximately the same position -as Wellbred and Knowell in _Every Man in his Humor_, Winwife and -Quarlous in _Bartholomew Fair_, and Dauphine, Clerimont, and Truewit in -_The Silent Woman_. Merecraft is related in his character of swindler -to Subtle in _The Alchemist_, and in his character of projector to Sir -Politick Wouldbe in _The Fox_. - -The contemptible ‘lady of spirit and woman of fashion’ is one of -Jonson’s favorite types. She first appears in the persons of Fallace -and Saviolina in _Every Man out of his Humor_; then in _Cynthia’s -Revels_, where Moria and her friends play the part; then as Cytheris in -_Poetaster_, Lady Politick in _The Alchemist_, the collegiate ladies -in _The Silent Woman_, and Fulvia and Sempronia in _Catiline_. The same -affectations and vices are satirized repeatedly. An evident prototype -of Justice Eitherside is found in the person of Adam Overdo in -_Bartholomew Fair_. Both are justices of the peace, both are officious, -puritanical, and obstinate. Justice Eitherside’s denunciation of the -devotees of tobacco finds its counterpart in a speech in _Bartholomew -Fair_, and his repeated ‘I do detest it’ reminds one of Overdo’s -frequent expressions of horror at the enormities which he constantly -discovers. - - -4. _Minor Sources_ - -_The Devil is an Ass_ is not deeply indebted to the classics. Jonson -borrows twice from Horace, 1. 6. 131, and 2. 4. 27 f. The half dozen -lines in which the former passage occurs (1. 6. 126-132) are written in -evident imitation of the Horatian style. Two passages are also borrowed -from Plautus, 2. 1. 168 f., already mentioned, and 3. 6. 38-9. A single -passage (2. 6. 104 f.) shows the influence of Martial. These passages -are all quoted in the notes. - -The source of Wittipol’s description of the ‘Cioppino’, and the mishap -attendant upon its use, was probably taken from a contemporary book -of travels. A passage in Coryat’s _Crudities_ furnishes the necessary -information and a similar anecdote, and was doubtless used by Jonson -(see note 4. 4. 69). Coryat was patronized by the poet. Similarly, -another passage in the _Crudities_ seems to have suggested the project -of the forks (see note 5. 4. 17). - -A curious resemblance is further to be noted between several passages -in _The Devil is an Ass_ and _Underwoods 62_. The first draft of this -poem may have been written not long before the present play (see Fleay, -_Chron._ 1. 329-30) and so have been still fresh in the poet’s mind. -The passage _DA._ 3. 2. 44-6 shows unmistakably that the play was -the borrower, and not the poem. Gifford suggests that both passages -were quoted from a contemporary posture-book, but the passage in the -epigram gives no indication of being a quotation. - -The chief parallels are as follows: _U. 62._ 10-14 and _DA._ 3. 3. -165-6; _U. 62._ 21-2 and _DA._ 3. 3. 169-72; _U. 62._ 25-6 and _DA._ 3. -2. 44-6; _U. 62._ 45-8 and _DA._ 2. 8. 19-22. These passages are all -quoted in the notes. In addition, there are a few striking words and -phrases that occur in both productions, but the important likenesses -are all noted above. In no other poem except _Charis_, _The Gipsies_, -and _Underwoods 36_,[65] where the borrowings are unmistakably -intentional, is there any thing like the same reworking of material as -in this instance. - - - - -III. SPECIFIC OBJECTS OF SATIRE - - -_The Devil is an Ass_ has been called of all Jonson’s plays since -_Cynthia’s Revels_ the most obsolete in the subjects of its satire.[66] -The criticism is true, and it is only with some knowledge of the abuses -which Jonson assails that we can appreciate the keenness and precision -of his thrusts. The play is a colossal exposé of social abuses. It -attacks the aping of foreign fashions, the vices of society, and above -all the cheats and impositions of the unscrupulous swindler. But we -miss its point if we fail to see that Jonson’s arraignment of the -society which permitted itself to be gulled is no less severe than that -of the swindler who practised upon its credulity. Three institutions -especially demand an explanation both for their own sake and for their -bearing upon the plot. These are the duello, the monopoly, and the -pretended demoniacal possession. - -[65] See Introduction, Section C. IV. - -[66] Swinburne, p. 65. - - -1. _The Duello_ - -The origin of private dueling is a matter of some obscurity. It was -formerly supposed to be merely a development of the judicial duel or -combat, but this is uncertain. Dueling flourished on the Continent, -and was especially prevalent in France during the reign of Henry III. -Jonson speaks of the frequency of the practice in France in _The -Magnetic Lady_. - -No private duel seems to have occurred in England before the sixteenth -century, and the custom was comparatively rare until the reign of -James I. Its introduction was largely due to the substitution of the -rapier for the broadsword. Not long after this change in weapons -fencing-schools began to be established and were soon very popular. -Donald Lupton, in his _London and the Countrey carbonadoed_, 1632, -says they were usually set up by ‘some low-country soldier, who to -keep himself honest from further inconveniences, as also to maintain -himself, thought upon this course and practises it’.[67] - -The etiquette of the duel was a matter of especial concern. The two -chief authorities seem to have been Jerome Carranza, the author of a -book entitled _Filosofia de las Armas_,[68] and Vincentio Saviolo, -whose _Practise_ was translated into English in 1595. It contained two -parts, the first ‘intreating of the vse of the rapier and dagger’, the -second ‘of honor and honorable quarrels’. The rules laid down in these -books were mercilessly ridiculed by the dramatists; and the duello was -a frequent subject of satire.[69] - -By 1616 dueling must have become very common. Frequent references -to the subject are found about this time in the _Calendar of State -Papers_. Under date of December 9, 1613, we read that all persons who -go abroad to fight duels are to be censured in the Star Chamber. On -February 17, 1614, ‘a proclamation, with a book annexed’, was issued -against duels, and on February 13, 1617, the King made a Star Chamber -speech against dueling, ‘on which he before published a sharp edict’. - -The passion for dueling was turned to advantage by a set of improvident -bravos, who styled themselves ‘sword-men’ or ‘masters of dependencies,’ -a _dependence_ being the accepted name for an impending quarrel. These -men undertook to examine into the causes of a duel, and to settle or -‘take it up’ according to the rules laid down by the authorities on -this subject. Their prey were the young men of fashion in the city, -and especially ‘country gulls’, who were newly come to town and -were anxious to become sophisticated. The profession must have been -profitable, for we hear of their methods being employed by the ‘roaring -boys’[70] and the masters of the fencing schools.[71] Fletcher in _The -Elder Brother_, _Wks._ 10. 283, speaks of - - ... the masters of dependencies - That by compounding differences ’tween others - Supply their own necessities, - -and Massinger makes similar comment in _The Guardian_, _Wks._, p. 343: - - When two heirs quarrel, - The swordsmen of the city shortly after - Appear in plush, for their grave consultations - In taking up the difference; some, I know, - Make a set living on’t. - -Another function of the office is mentioned by Ford in _Fancies Chaste -and Noble_, _Wks._ 2. 241. The master would upon occasion ‘brave’ a -quarrel with the novice for the sake of ‘gilding his reputation’, and -Massinger in _The Maid of Honor_, _Wks._, p. 190, asserts that he would -even consent ‘for a cloak with thrice-died velvet, and a cast suit’ to -be ‘kick’d down the stairs’. In _A King and No King_, B. & Fl., _Wks._ -2. 310 f., Bessus consults with two of these ‘Gentlemen of the Sword’ -in a ridiculous scene, in which the sword-men profess the greatest -scrupulousness in examining every word and phrase, affirming that they -cannot be ‘too subtle in this business’. - -Jonson never loses an opportunity of satirizing these despicable -bullies, who were not only ridiculous in their affectations, but who -proved by their ‘fomenting bloody quarrels’ to be no small danger -to the state. Bobadill, who is described as a Paul’s Man, was in -addition a pretender to this craft. Matthew complains that Downright -has threatened him with the bastinado, whereupon Bobadill cries out -immediately that it is ‘a most proper and sufficient dependence’ and -adds: ‘Come hither, you shall chartel him; I’ll shew you a trick or -two, you shall kill him with at pleasure’.[72] Cavalier Shift, in -_Every Man out of his Humor_, among various other occupations has the -reputation of being able to ‘manage a quarrel the best that ever you -saw, for terms and circumstances’. We have an excellent picture of -the ambitious novice in the person of Kastrill in _The Alchemist_. -Kastrill, who is described as an ‘angry boy’, comes to consult Subtle -as to how to ‘carry a business, manage a quarrel fairly’. Face assures -him that Dr. Subtle is able to ‘take the height’ of any quarrel -whatsoever, to tell ‘in what degree of safety it lies’, ‘how it may be -borne’, etc. - -From this description of the ‘master of dependencies’ the exquisite -humor of the passage in _The Devil is an Ass_ (3. 3. 60 f.) can be -appreciated. Merecraft assures Fitzdottrel that this occupation, in -reality the refuge only of the Shifts and Bobadills of the city, is a -new and important office about to be formally established by the state. -In spite of all their speaking against dueling, he says, they have -come to see the evident necessity of a public tribunal to which all -quarrels may be referred. It is by means of this pretended office that -Merecraft attempts to swindle Fitzdottrel out of his entire estate, -from which disaster he is saved only by the clever interposition of -Wittipol. - -[67] Cf. also Gosson, _School of Abuse_, 1579; Dekker, _A Knight’s -Conjuring_, 1607; Overbury, _Characters_, ed. Morley, p. 66. - -[68] See _New Inn_ 2. 2; _Every Man in_ 1. 5; B. & Fl., -_Love’s Pilgrimage_, _Wks._ 11. 317, 320. - -[69] Cf. _Albumazar_, _O. Pl._ 7. 185-6; _Rom. and Jul._ 2. 4. -26; _Twelfth Night_ 3. 4. 335; _L. L. L._ 1. 2. 183; Massinger, -_Guardian_, _Wks._, p. 346. Mercutio evidently refers to Saviolo’s -book and the use of the rapier in _Rom. and Jul._ 3. 1. 93. Here the -expression, ‘fight by the book’, first occurs, used again by B. & -Fl., _Elder Brother_, _Wks._ 10. 284; Dekker, _Guls Horne-booke_, ch. -4; _As You Like it_ 5. 4. Dekker speaks of Saviolo, _Non-dram. -Wks._ 1. 120. - -[70] Overbury, ed. Morley, p. 72. - -[71] _Ibid._, p. 66. - -[72] _Every Man in_, _Wks._ 1. 35. - - -2. _The Monopoly System_ - -Jonson’s severest satire in _The Devil is an Ass_ is directed against -the projector. Through him the whole system of Monopolies is indirectly -criticised. To understand the importance and timeliness of this attack, -as well as the poet’s own attitude on the subject, it is necessary to -give a brief historical discussion of the system as it had developed -and then existed. - -Royal grants with the avowed intention of instructing the English in -a new industry had been made as early as the fourteenth century,[73] -and the system had become gradually modified during the Tudor dynasty. -In the sixteenth century a capitalist middle class rose to wealth and -political influence. During the reign of Elizabeth a large part of -Cecil’s energies was directed toward the economic development of the -country. This was most effectually accomplished by granting patents to -men who had enterprise enough to introduce a new art or manufacture, -whether an importation from a foreign country or their own invention. -The capitalist was encouraged to make this attempt by the grant of -special privileges of manufacture for a limited period.[74] The -condition of monopoly did not belong to the mediaeval system, but was -first introduced under Elizabeth. So far the system had its economic -justification, but unfortunately it did not stop here. Abuses began to -creep in. Not only the manufacture, but the exclusive trade in certain -articles, was given over to grantees, and commodities of the most -common utility were ‘ingrossed into the hands of these blood-suckers -of the commonwealth.[75] A remonstrance of Parliament was made to -Elizabeth in 1597, and again in 1601, and in consequence the Queen -thought best to promise the annulling of all monopolies then existing, -a promise which she in large measure fulfilled. But the immense growth -of commerce under Elizabeth made it necessary for her successor, James -I., to establish a system of delegation, and he accordingly adapted -the system of granting patents to the existing needs.[76] Many new -monopolies were granted during the early years of his reign, but in -1607 Parliament again protested, and he followed Elizabeth’s example by -revoking them all. After the suspension of Parliamentary government in -1614 the system grew up again, and the old abuses became more obnoxious -than ever. In 1621 Parliament addressed a second remonstrance to James. -The king professed ignorance, but promised redress, and in 1624 all the -existing monopolies were abolished by the Statute 21 James I. c. 3. In -Parliament’s address to James ‘the tender point of prerogative’ was -not disturbed, and it was contrived that all the blame and punishment -should fall on the patentees.[77] - -Of all the patents granted during this time, that which seems to have -most attracted the attention of the dramatists was one for draining the -Fens of Lincolnshire. Similar projects had frequently been attempted -during the sixteenth century. In the list of patents before 1597, -catalogued by Hulme, seven deal with water drainage in some form or -other. The low lands on the east coast of England are exposed to -inundation.[78] During the Roman occupation large embankments had been -built, and during the Middle Ages these had been kept up partly through -a commission appointed by the Crown, and partly through the efforts of -the monasteries at Ramsey and Crowland. After the dissolution of these -monasteries it became necessary to take up anew the work of reclaiming -the fen-land. An abortive attempt by the Earl of Lincoln had already -been made when the Statute 43 Eliz. c. 10. 11. was passed in the year -1601. This made legal the action of projectors in the recovery of marsh -land. Many difficulties, however, such as lack of funds and opposition -on the part of the inhabitants and neighbors of the fens, still stood -in their way. In 1605 Sir John Popham and Sir Thomas Fleming headed a -company which undertook to drain the Great Level of the Cambridgeshire -fens, consisting of more than 300,000 acres, at their own cost, on the -understanding that 130,000 acres of the reclaimed land should fall -to their share. The project was a complete failure. Another statute -granting a patent for draining the fens is found in the seventh year of -Jac. I. c. 20, and the attempt was renewed from time to time throughout -the reigns of James and Charles I. It was not, however, until the -Restoration that these efforts were finally crowned with success. - -When the remonstrance was made to James in 1621, the object of the -petitioners was gained, as we have seen, by throwing all the blame upon -the patentees and projectors. Similarly, the dramatists often prefer -to make their attack, not by assailing the institution of monopolies, -but by ridicule of the offending subjects.[79] Two agents are regularly -distinguished. There is the patentee, sometimes also called the -projector, whose part it is to supply the funds for the establishment -of the monopoly, and, if possible, the necessary influence at Court; -and the actual projector or inventor, who undertakes to furnish his -patron with various projects of his own device. - -Jonson’s is probably the earliest dramatic representation of the -projector. Merecraft is a swindler, pure and simple, whose schemes are -directed not so much against the people whom he aims to plunder by the -establishment of a monopoly as against the adventurer who furnishes -the funds for putting the project into operation: - - ... Wee poore Gentlemen, that want acres, - Must for our needs, turne fooles vp and plough _Ladies_. - -Both Fitzdottrel and Lady Tailbush are drawn into these schemes so -far as to part with their money. Merecraft himself pretends that he -possesses sufficient influence at Court. He flatters Fitzdottrel, who -is persuaded by the mere display of projects in a buckram bag, by -demanding of him ‘his count’nance, t’appeare in’t to great men’ -(2. 1. 39). Lady Tailbush is not so easily fooled, and Merecraft has -some difficulty in persuading her of the power of his friends at Court -(Act 4. Sc. 1). - -Merecraft’s chief project, the recovery of the drowned lands, is also -satirized by Randolph: - - I have a rare device to set Dutch windmills - Upon Newmarket Heath, and Salisbury Plain, - To drain the fens.[80] - -and in _Holland’s Leaguer_, Act 1. Sc. 5 (cited by Gifford): - - Our projector - Will undertake the making of bay salt, - For a penny a bushel, to serve all the state; - Another dreams of building waterworkes, - Drying of fenns and marshes, like the Dutchmen. - -In the later drama the figure of the projector appears several times, -but it lacks the timeliness of Jonson’s satire, and the conception -must have been largely derived from literary sources. Jonson’s -influence is often apparent. In Brome’s _Court Beggar_ the patentee is -Mendicant, a country gentleman who has left his rustic life and sold -his property, in order to raise his state by court-suits. The projects -which he presents at court are the invention of three projectors. Like -Merecraft, they promise to make Mendicant a lord, and succeed only in -reducing him to poverty. The character of the Court Beggar is given in -these words: ‘He is a Knight that hanckers about the court ambitious -to make himselfe a Lord by begging. His braine is all Projects, and -his soule nothing but Court-suits. He has begun more Knavish suits at -Court, then ever the Kings Taylor honestly finish’d, but never thriv’d -by any: so that now hee’s almost fallen from a Palace Begger to a -Spittle one’. - -In the _Antipodes_ Brome introduces ‘a States-man studious for the -Commonwealth, solicited by Projectors of the Country’. Brome’s list of -projects (quoted in Gifford’s edition) is a broad caricature. Wilson, -in the Restoration drama, produced a play called _The Projectors_, in -which Jonson’s influence is apparent (see Introduction, p. lxxv). - -Among the _characters_, of which the seventeenth century writers were -so fond, the projector is a favorite figure. John Taylor,[81] the -water-poet, furnishes us with a cartoon entitled ‘The complaint of M. -Tenterhooke the _Projector_ and Sir _T_homas Dodger the Patentee’. In -the rimes beneath the picture the distinction between the projector, -who ‘had the Art to cheat the Common-weale’, and the patentee, who -was possessed of ‘tricks and slights to pass the seale’, is brought -out with especial distinctness. Samuel Butler’s character[82] of the -projector is of less importance, since it was not published until -1759. The real importance of Jonson’s satire lies in the fact that it -appeared in the midst of the most active discussion on the subject of -monopolies. Drummond says that he was ‘accused upon’ the play, and that -the King ‘desired him to conceal it’.[83] Whether the subject which -gave offense was the one which we have been considering or that of -witchcraft, it is, however, impossible to determine. - -[73] Letters to John Kempe, 1331, Rymer’s _Foedera_; Hulme, _Law - Quarterly Rev._, vol. 12. - -[74] Cunningham, _Eng. Industry_, Part I, p. 75. - -[75] D’Ewes, _Complete Journal of the Houses of Lords and Commons_, - p. 646. - -[76] Cunningham, p. 21. - -[77] Craik 2. 24. Rushworth, _Collection_ 1. 24. - -[78] For a more detailed account of the drainage of the Lincolnshire - fens see Cunningham, pp. 112-119. - -[79] Cf. Dekker, _Non-dram. Wks._ 3. 367. - -[80] _Muse’s Looking Glass_, _O. Pl._ 9. 180 (cited by Gifford). - -[81] _Works_, 1641, reprinted by the Spenser Society. - -[82] _Character Writings_, ed. Morley, p. 350. - -[83] See p. xix. - - -3. _Witchcraft_ - -Witchcraft in Jonson’s time was not an outworn belief, but a living -issue. It is remarkable that the persecutions which followed upon this -terrible delusion were comparatively infrequent during the Middle -Ages, and reached their maximum only in the seventeenth century. - -The first English Act against witchcraft after the Norman Conquest was -passed in 1541 (33 Hen. VIII. c. 8). This Act, which was of a general -nature, and directed against various kinds of sorceries, was followed -by another in 1562 (5 Eliz. c. 16). At the accession of James I. in -1603 was passed 1 Jac. I. c. 12, which continued law for more than a -century. - -During this entire period charges of witchcraft were frequent. In -Scotland they were especially numerous, upwards of fifty being recorded -during the years 1596-7.[84] The trial of Anne Turner in 1615, in -which charges of witchcraft were joined with those of poisoning, -especially attracted the attention of Jonson. In 1593 occurred the -trial of the ‘three Witches of Warboys’, in 1606 that of Mary Smith, -in 1612 that of the earlier Lancashire Witches, and of the later -in 1633. These are only a few of the more famous cases. Of no less -importance in this connection is the attitude of the King himself. -In the famous _Demonology_[85] he allied himself unhesitatingly with -the cause of superstition. Witchcraft was of course not without -its opponents, but these were for the most part obscure men and of -little personal influence. While Bacon and Raleigh were inclining -to a belief in witchcraft, and Sir Thomas Browne was offering his -support to persecution, the cause of reason was intrusted to such -champions as Reginald Scot, the author of the famous _Discovery of -Witchcraft_, 1584, a work which fearlessly exposes the prevailing -follies and crimes. It is on this side that Jonson places himself. That -he should make a categorical statement as to his belief or disbelief -in witchcraft is not to be expected. It is enough that he presents -a picture of the pretended demoniac, that he makes it as sordid and -hateful as possible, that he draws for us in the person of Justice -Eitherside the portrait of the bigoted, unreasonable, and unjust judge, -and that he openly ridicules the series of cases which he used as the -source of his witch scenes (cf. Act. 5. Sc. 3). - -To form an adequate conception of the poet’s satirical purpose in -this play one should compare the methods used here with the treatment -followed in Jonson’s other dramas where the witch motive occurs. -In _The Masque of Queens_, 1609, and in _The Sad Shepherd_, Jonson -employed the lore of witchcraft more freely, but in a quite different -way. Here, instead of hard realism with all its hideous details, the -more picturesque beliefs and traditions are used for purely imaginative -and poetical purposes. - -_The Masque of Queens_ was presented at Whitehall, and dedicated to -Prince Henry. Naturally Jonson’s attitude toward witchcraft would here -be respectful. It is to be observed, however, that in the copious notes -which are appended to the masque no contemporary trials are referred -to. The poet relies upon the learned compilations of Bodin, Remigius, -Cornelius Agrippa, and Paracelsus, together with many of the classical -authors. He is clearly dealing with the mythology of witchcraft. -Nightshade and henbane, sulphur, vapors, the eggshell boat, and the -cobweb sail are the properties which he uses in this poetic drama. -The treatment does not differ essentially from that of Middleton and -Shakespeare. - -In _The Sad Shepherd_ the purpose is still different. We have none of -the wild unearthliness of the masque. Maudlin is a witch of a decidedly -vulgar type, but there is no satirical intent. Jonson, for the purpose -of his play, accepts for the moment the prevailing attitude toward -witchcraft, and the satisfaction in Maudlin’s discomfiture doubtless -assumed an acquiescence in the popular belief. At the same time the -poetical aspect is not wholly forgotten, and appears with especial -prominence in the beautiful passage which describes the witch’s forest -haunt, beginning: ‘Within a gloomy dimble she doth dwell’. _The Sad -Shepherd_ and the masque are far more akin to each other in their -treatment of witchcraft than is either to _The Devil is an Ass_. - -[84] See _Trials for Witchcraft 1596-7_, vol. 1, _Miscellany of the - Spalding Club_, Aberdeen, 1841. - -[85] First appeared in 1597. _Workes_, fol. ed., appeared 1616, the - year of this play. - - - - -IV. PERSONAL SATIRE - - -The detection of personal satire in Jonson’s drama is difficult, -and at best unsatisfactory. Jonson himself always resented it as an -impertinence.[86] In the present case Fleay suggests that the motto, -_Ficta, voluptatis causa, sint proxima veris_, is an indication that we -are to look upon the characters as real persons. But Jonson twice took -the pains to explain that this is precisely the opposite of his own -interpretation of Horace’s meaning.[87] The subject of personal satire -was a favorite one with him, and in _The Magnetic Lady_ he makes the -sufficiently explicit statement: ‘A play, though it apparel and present -vices in general, flies from all particularities in persons’. - -On the other hand we know that Jonson did occasionally indulge in -personal satire. Carlo Buffone,[88] Antonio Balladino,[89] and the -clerk Nathaniel[90] are instances sufficiently authenticated. Of these -Jonson advances a plea of justification: ‘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?’[91] - -In only one play do we know that the principal characters represent -real people. But between _Poetaster_ and _The Devil is an Ass_ there -is a vast difference of treatment. In _Poetaster_ (1) the attitude is -undisguisedly satirical. The allusions in the prologues and notices -to the reader are direct and unmistakable. (2) The character-drawing -is partly caricature, partly allegorical. This method is easily -distinguishable from the typical, which aims to satirize a class. -(3) Jonson does not draw upon historical events, but personal -idiosyncrasies. (4) The chief motive is in the spirit of Aristophanes, -the great master of personal satire. These methods are what we should -naturally expect in a composition of this sort. Of such internal -evidence we find little or nothing in _The Devil is an Ass_. Several -plausible identifications, however, have been proposed, and these we -must consider separately. - -The chief characters are identified by Fleay as follows: Wittipol is -Jonson. He has returned from travel, and had seen Mrs. Fitzdottrel -before he went. Mrs. Fitzdottrel is the Lady Elizabeth Hatton. -Fitzdottrel is her husband, Sir Edward Coke. - -=Mrs. Fitzdottrel=. The identification is based upon a series of -correspondences between a passage in _The Devil is an Ass_ (2. 6. -57-113) and a number of passages scattered through Jonson’s works. The -most important of these are quoted in the note to the above passage. To -them has been added an important passage from _A Challenge at Tilt_, -1613. Fleay’s deductions are these: (1) _Underwoods 36_ and _Charis_ -must be addressed to the same lady (cf. especially _Ch._, part 5). (2) -Charis and Mrs. Fitzdottrel are identical. The song (2. 6. 94 f.) is -found complete in the _Celebration of Charis_. In Wittipol’s preceding -speech we find the phrases ‘milk and roses’ and ‘bank of kisses’, which -occur in _Charis_ and in _U. 36_, and a reference to the husband who -is the ‘just excuse’ for the wife’s infidelity, which occurs in _U. -36_. (3) Charis is Lady Hatton. Fleay believes that _Charis_, part -1, in which the poet speaks of himself as writing ‘fifty years’, was -written c 1622-3; but that parts 2-10 were written c 1608. In reference -to these parts he says: ‘Written in reference to a mask in which -Charis represented Venus riding in a chariot drawn by swans and doves -(_Charis_, part 4), at a marriage, and leading the Graces in a dance -at Whitehall, worthy to be envied of the Queen (6), in which Cupid had -a part (2, 3, 5), at which Charis kissed him (6, 7), and afterwards -kept up a close intimacy with him (8, 9, 10). The mask of 1608, Feb. -9, exactly fulfils these conditions, and the Venus of that mask was -probably L. Elizabeth Hatton, the most beautiful of the then court -ladies. She had appeared in the mask of Beauty, 1608, Jan. 10, but -in no other year traceable by me. From the Elegy, G. 36, manifestly -written to the same lady (compare it with the lines in 5 as to “the -bank of kisses” and “the bath of milk and roses”), we learn that Charis -had “a husband that is the just excuse of all that can be done him”. -This was her second husband, Sir Edward Coke, to whom she was married -in 1593’. - -Fleay’s theory rests chiefly upon (1) his interpretation of _The -Celebration of Claris_; (2) the identity of Charis and Mrs. -Fitzdottrel. A study of the poem has led me to conclusions of a very -different nature from those of Fleay. They may be stated as follows: - -_Charis_ 1. This was evidently written in 1622-3. Jonson plainly says: -‘Though I now write fifty years’. Charis is here seemingly identified -with Lady Purbeck, daughter of Lady Hatton. Compare the last two lines -with the passage from _The Gipsies_. Fleay believes the compliments -were transferred in the masque at Lady Hatton’s request. - -_Charis_ 4 and 7 have every mark of being insertions. (1) They are in -different metres from each other and from the other sections, which in -this respect are uniform. (2) They are not in harmony with the rest of -the poem. They entirely lack the easy, familiar, half jocular style -which characterizes the eight other parts. (3) Each is a somewhat -ambitious effort, complete in itself, and distinctly lyrical. (4) In -neither is there any mention of or reference to Charis. (5) It is -evident, therefore, that they were not written for the _Charis_ poem, -but merely interpolated. They are, then, of all the parts the least -valuable for the purpose of identification, nor are we justified in -looking upon them as continuing a definite narrative with the rest of -the poem. (6) The evident reason for introducing them is their own -intrinsic lyrical merit. - -_Charis_ 4 was apparently written in praise of some pageant, probably a -court masque. The representation of Venus drawn in a chariot by swans -and doves, the birds sacred to her, may have been common enough. That -this is an accurate description of the masque of February 9, 1608 is, -however, a striking fact, and it is possible that the lady referred -to is the same who represented Venus in that masque. But (1) we do -not even know that Jonson refers to a masque of his own, or a masque -at all. (2) We have no trustworthy evidence that Lady Hatton was the -Venus of that masque. Fleay’s identification is little better than a -guess. (3) Evidence is derived from the first stanza alone. This does -not appear in _The Devil is an Ass_, and probably was not written at -the time. Otherwise there is no reason for its omission in that place. -It seems to have been added for the purpose of connecting the lyric -interpolation with the rest of the poem. - -_Charis_ 5 seems to be a late production. (1) Jonson combines in this -single section a large number of figures used in other places. (2) -That it was not the origin of these figures seems to be intimated by -the words of the poem. Cupid is talking. He had lately found Jonson -describing his lady, and Jonson’s words, he says, are descriptive of -Cupid’s own mother, Venus. So Homer had spoken of her hair, so Anacreon -of her face. He continues: - - By her looks I do her know - _Which you call_ my shafts. - -The italicized words may refer to _U. 36._ 3-4. They correspond, -however, much more closely to _Challenge_, _2 Cup._ The ‘bath your -verse discloses’ (l. 21) may refer to _DA._ 2. 6. 82-3. _U. 36._ 7-8 -or _Gipsies_ 15-6. - - ... the bank of kisses, - Where _you say_ men gather blisses - -is mentioned in _U. 36._ 9-10. ‘The passages in _DA._ and _Gipsies_[92] -are less close. The ‘valley _called_ my nest’ may be a reference to -_DA._ 2. 6. 74 f. Jonson had already spoken of the ‘girdle ’bout her -waist’ in _Challenge_, _2 Cup._ _Charis_ 5 seems then to have been -written later than _U. 36_, _Challenge_, 1613, and probably _Devil is -an Ass_, 1616. The evidence is strong, though not conclusive. - -_Charis_ 6 evidently refers to a marriage at Whitehall. That Cupid, who -is referred to in 2, 3, 5, had any part in the marriage of _Charis_ 6 -is nowhere even intimated. That Charis led the Graces in a dance is -a conjecture equally unfounded. Jonson of course takes the obvious -opportunity (ll. 20, 26) of playing on the name Charis. That this -occasion was the same as that celebrated in 4 we have no reason to -believe. It applies equally well, for instance, to _A Challenge at -Tilt_, but we are by no means justified in so limiting it. It may have -been imaginary. - -_Charis_ 7 was written before 1618, since Jonson quoted a part of it to -Drummond during his visit in Scotland (cf. _Conversations_ 5). It was -a favorite of the poet’s and this furnishes sufficient reason for its -insertion here. It is worthy of note that the two sections of _Charis_, -which we know by external proof to have been in existence before 1623, -are those which give internal evidence of being interpolations. - -_Summary._ The poem was probably a late production and of composite -nature. There is no reason for supposing that the greater part was not -written in 1622-3. The fourth and seventh parts are interpolations. -The first stanza of the fourth part, upon which the identification -largely rests, seems not to have been written until the poem was put -together in 1622-3. If it was written at the same time as the other -two stanzas, we cannot expect to find it forming part of a connected -narrative. The events described in the fourth and sixth parts are not -necessarily the same. There is practically no evidence that Lady Hatton -was the Venus of 1608, or that _Charis_ is addressed to any particular -lady. - -The other link in Fleay’s chain of evidence is of still weaker -substance. The mere repetition of compliments does not necessarily -prove the recipient to be the same person. In fact we find in these -very pieces the same phrases applied indiscriminately to Lady Purbeck, -Lady Frances Howard, Mrs. Fitzdottrel, perhaps to Lady Hatton, and even -to the Earl of Somerset. Of what value, then, can such evidence be? - -Fleay’s whole theory rests on this poem, and biographical evidence is -unnecessary. It is sufficient to notice that Lady Hatton was a proud -woman, that marriage with so eminent a man as Sir Edward Coke was -considered a great condescension (_Chamberlain’s Letters_, Camden Soc., -p. 29), and that an amour with Jonson is extremely improbable. - -=Fitzdottrel.= Fleay’s identification of Fitzdottrel with Coke rests -chiefly on the fact that Coke was Lady Hatton’s husband. The following -considerations are added. Fitzdottrel is a ‘squire of Norfolk’. Sir -E. Coke was a native of Norfolk, and had held office in Norwich. -Fitzdottrel’s rôle as sham demoniac is a covert allusion to Coke’s -adoption of the popular witch doctrines in the Overbury trial. His -jealousy of his wife was shown in the same trial, where he refused to -read the document of ‘what ladies loved what lords’, because, as was -popularly supposed, his own wife’s name headed the list. Jonson is -taking advantage of Coke’s disgrace in November, 1616. He had flattered -him in 1613 (_U. 64_). - -Our reasons for rejecting this theory are as follows: (1) The natural -inference is that Jonson would not deliberately attack the man whom -he had highly praised three years before. I do not understand Fleay’s -assertion that Jonson was always ready to attack the fallen. (2) The -compliment paid to Coke in 1613 (_U. 64_) was not the flattery of an -hour of triumph. The appointment to the king’s bench was displeasing to -Coke, and made at the suggestion of Bacon with the object of removing -him to a place where he would come less often into contact with the -king. (3) Fitzdottrel is a light-headed man of fashion, who spends his -time in frequenting theatres and public places, and in conjuring evil -spirits. Coke was sixty-four years old, the greatest lawyer of his -time, and a man of the highest gifts and attainments. (4) The attempted -parallel between Fitzdottrel, the pretended demoniac, and Coke, as -judge in the Overbury trial, is patently absurd. (5) If Lady Hatton had -not been selected for identification with Mrs. Fitzdottrel, Coke would -never have been dreamed of as a possible Fitzdottrel. - -=Wittipol.= He is a young man just returned from travel, which -apparently has been of considerable duration. He saw Mrs. Fitzdottrel -once before he went, and upon returning immediately seeks her out. -How does this correspond to Jonson’s life? _The Hue and Cry_ was -played February 9, 1608. According to Fleay’s interpretation, this was -followed by an intimacy with Lady Hatton. Five years later, in 1613, -Drummond tells us that Jonson went to France with the son of Sir Walter -Raleigh. He returned the same year in time to compose _A Challenge at -Tilt_, December 27. Three years later he wrote _The Devil is an Ass_ at -the age of forty-three. - -Wittipol intimates that he is Mrs. Fitzdottrel’s equal in years, in -fashion (1. 6. 124-5), and in blood (1. 6. 168). For Jonson to say this -to Lady Hatton would have been preposterous. - -=Justice Eitherside.= Only the desire to prove a theory at all costs -could have prevented Fleay from seeing that Coke’s counterpart is -not Fitzdottrel, but Justice Eitherside. In obstinacy, bigotry, and -vanity this character represents the class of judges with which -Coke identified himself in the Overbury trial. Nor are these merely -class-traits. They are distinctly the faults which marred Coke’s career -from the beginning. It is certain that Coke is partially responsible -for this portraiture. Overbury was a personal friend of the poet, and -the trial, begun in the previous year, had extended into 1616. Jonson -must have followed it eagerly. On the other hand, it is improbable that -the picture was aimed exclusively at Coke. He merely furnished traits -for a typical and not uncommon character. As we have seen, it is in -line with Jonson’s usual practise to confine personal satire to the -lesser characters. - -=Merecraft.= Fleay’s identification with Sir Giles Mompesson has very -little to commend it. Mompesson was connected by marriage with James -I.’s powerful favorite, George Villiers, later Duke of Buckingham. In -1616 he suggested to Villiers the creation of a special commission for -the purpose of granting licenses to keepers of inns and ale-houses. -The suggestion was adopted by Villiers; Mompesson was appointed to the -Commission in October, 1616, and knighted on November 18 of that year. -The patent was not sealed until March, 1617. His high-handed conduct -soon became unpopular, but he continued in favor with Villiers and -James, and his disgrace did not come until 1621. - -It will readily be seen that Mompesson’s position and career conform -in no particular to those of Merecraft in the present play. Mompesson -was a knight, a friend of the king’s favorite, and in favor with -the king. Merecraft is a mere needy adventurer without influence at -court, and the associate of ruffians, who frequent the ‘Straits’ and -the ‘Bermudas’. Mompesson was himself the recipient of a patent (see -section III. 2). Merecraft is merely the projector who devises clever -projects for more powerful patrons. Mompesson’s project bears no -resemblance to those suggested by Merecraft, and he could hardly have -attracted any popular dislike at the time when _The Devil is an Ass_ -was presented, since, as we have seen, his patent was not even sealed -until the following year. Finally, Jonson would hardly have attacked a -man who stood so high at court as did Mompesson in 1616. - -It is evident that Jonson had particularly in mind those projectors -whose object it was to drain the fens of Lincolnshire. The attempts, as -we have seen, were numerous, and it is highly improbable that Jonson -wished to satirize any one of them more severely than another. In a -single passage, however, it seems possible that Sir John Popham (see -page lx) is referred to. In Act 4. Sc. 1 Merecraft speaks of a Sir John -Monie-man as a projector who was able to ‘jump a business quickly’ -because ‘he had great friends’. That Popham is referred to seems not -unlikely from the fact that he was the most important personage who -had embarked upon an enterprise of this sort, that his scheme was one -of the earliest, that he was not a strict contemporary (d. 1607), and -that his scheme had been very unpopular. This is proved by an anonymous -letter to the king, in which complaint is made that ‘the “covetous -bloody Popham” will ruin many poor men by his offer to drain the fens’ -(_Cal. State Papers_, Mar. 14?, 1606). - -=Plutarchus Guilthead.= Fleay’s identification with Edmund Howes I am -prepared to accept, although biographical data are very meagre. Fleay -says: ‘Plutarchus Gilthead, who is writing the lives of the great -men in the city; the captain who writes of the Artillery Garden “to -train the youth”, etc. [3. 2. 45], is, I think, Edmond Howes, whose -continuation of Stow’s Chronicle was published in 1615.’ - -Howes’ undertaking was a matter of considerable ridicule to his -acquaintances. In his 1631 edition he speaks of the heavy blows and -great discouragements he received from his friends. He was in the habit -of signing himself ‘Gentleman’ and this seems to be satirized in 3. 1, -where Guilthead says repeatedly: ‘This is to make you a Gentleman’ (see -_N. & Q._ 1st Ser. 6. 199.). - -=The Noble House.= Two proposed identifications of the ‘noble house’, -which pretends to a duke’s title, mentioned at 2. 4. 15-6. have been -made. The expenditure of much energy in the attempt to fix so veiled -an allusion is hardly worth while. Jonson of course depended upon -contemporary rumor, for which we have no data. - -Cunningham’s suggestion that Buckingham is referred to is not -convincing. Buckingham’s father was Sir George Villiers of Brooksby in -Leicestershire. He was not himself raised to the nobility until August -27, 1616, when he was created Viscount Villiers and Baron Waddon. It -was not until January 5, 1617 (not 1616, as Cunningham says), that he -became Earl of Buckingham, and it is unlikely that before this time -any allusion to Villiers’ aspiration to a dukedom would have been -intelligible to Jonson’s audience. - -Fleay’s theory that the ‘noble house’ was that of Stuart may be -accepted provisionally. Lodowick was made Earl of Richmond in 1613, and -Duke in 1623. He was acceptable to king and people, and in this very -year was made steward of the household. - -[86] See Dedication to _The Fox_, Second Prologue to _The Silent -Woman_, Induction to _Bartholomew Fair_, _Staple of News_ -(Second Intermean), _Magnetic Lady_ (Second Intermean). - -[87] See the note prefixed to _Staple of News_, Act 3, and - the second Prologue for _The Silent Woman_. - -[88] _Ev. Man in._ - -[89] _Case is Altered._ - -[90] _Staple of News._ - -[91] Dedication to _The Fox_. - -[92] The passage from the _Gipsies_ especially finds a close parallel -in the fragment of a song in Marston’s _Dutch Courtezan_, 1605, _Wks._ -2. 46: - - Purest lips, soft banks of blisses, - Self alone deserving kisses. - -Are not these lines from Jonson’s hand? This was the year of his -collaboration with Marston in _Eastward Ho_. - - - - -D. AFTER-INFLUENCE OF THE DEVIL IS AN ASS - - -A few instances of the subsequent rehandling of certain motives in -this play are too striking to be completely overlooked. John Wilson, -1627-c 1696, a faithful student and close imitator of Jonson, produced -in 1690 a drama called _Belphegor_, or _The Marriage of the Devil, -a Tragi-comedy_. While it is founded on the English translation of -Machiavelli’s novella, which appeared in 1674, and closely adheres -to the lines of the original, it shows clear evidence of Jonson’s -influence. The subject has been fully investigated by Hollstein (cf. -_Verhältnis_, pp. 22-24, 28-30, 35, 43, 50). - -_The Cheats_, 1662, apparently refers to _The Devil is an Ass_ in -the _Prologue_. The characters of Bilboe and Titere Tu belong to the -same class of low bullies as Merecraft and Everill, but the evident -prototypes of these characters are Subtle and Face in _The Alchemist_. - -A third play of Wilson’s, _The Projectors_, 1664, shows unmistakable -influence of _The Devil is an Ass_. The chief object of satire is -of course the same, and the character of Sir Gudgeon Credulous is -modeled after that of Fitzdottrel. The scenes in which the projects are -explained, 2. 1 and 3. 1, are similar to the corresponding passages in -Jonson. The _Aulularia_ of Plautus is a partial source, so that the -play in some features resembles _The Case is Altered_. In 2. 1 Wilson -imitates the passage in the _Aulularia_, which closes Act 2. Sc. 1 of -_The Devil is an Ass_ (see note 2. 1. 168). - -Brome, Jonson’s old servant and friend, also handled the subject of -monopolies (see page lxi). Jonson’s influence is especially marked in -_The Court Beggar_. The project of perukes (_Wks._ 1. 192) should be -compared with Merecraft’s project of toothpicks. - -Mrs. Susanna Centlivre’s _Busie Body_ uses the motives borrowed from -Boccaccio (see pp. xlv ff.). The scenes in which these appear must have -been suggested by Jonson’s play (Genest 2. 419), though the author -seems to have been acquainted with the _Decameron_ also. In Act. 1. -Sc. 1 Sir George Airy makes a bargain with Sir Francis Gripe similar -to Wittipol’s bargain with Fitzdottrel. In exchange for the sum of a -hundred guineas he is admitted into the house for the purpose of moving -his suit to Miranda. ‘for the space of ten minutes, without lett or -molestation’, provided Sir Francis remain in the same room, though out -of ear shot (2d ed., p. 8). In Act 2. Sc. 1 the bargain is carried out -in much the same way as in Boccaccio and in Jonson. Miranda remaining -dumb and Sir George answering for her. - -In Act 3. Sc. 4 (2d ed., p. 38) Miranda in the presence of her -guardian sends a message by Marplot not to saunter at the garden gate -about eight o’clock as he has been accustomed to do, thus making an -assignation with him (compare _DA._ 2. 2. 52). - -Other motives which seem to show some influence of _The Devil is an -Ass_ are Miranda’s trick to have the estate settled upon her, Charles’ -disguise as a Spaniard, and Traffick’s jealous care of Isabinda. The -character of Marplot as comic butt resembles that of Pug. - -The song in _The Devil is an Ass_ 2. 6. 94 (see note) was imitated by -Sir John Suckling. - - - - -APPENDIX EXTRACTS FROM THE CRITICS - - -GIFFORD: There is much good writing in this comedy. All the speeches -of Satan are replete with the most biting satire, delivered with an -appropriate degree of spirit. Fitzdottrel is one of those characters -which Jonson delighted to draw, and in which he stood unrivalled, a -_gull_, i. e., a confident coxcomb, selfish, cunning, and conceited. -Mrs. Fitzdottrel possesses somewhat more interest than the generality -of our author’s females, and is indeed a well sustained character. In -action the principal amusement of the scene (exclusive of the admirable -burlesque of witchery in the conclusion) was probably derived from the -mortification of poor Pug, whose stupid stare of amazement at finding -himself made an _ass_ of on every possible occasion must, if portrayed -as some then on the stage were well able to portray it, have been -exquisitely comic. - -This play is strictly moral in its conception and conduct. Knavery and -folly are shamed and corrected, virtue is strengthened and rewarded, -and the ends of dramatic justice are sufficiently answered by the -simple exposure of those whose errors are merely subservient to the -minor interests of the piece. - -HERFORD (_Studies in the Literary Relations of England and Germany_, -pp. 318-20): Jonson had in fact so far the Aristophanic quality of -genius, that he was at once a most elaborate and minute student of the -actual world, and a poet of the airiest and boldest fancy, and that he -loved to bring the two rôles into the closest possible combination. No -one so capable of holding up the mirror to contemporary society without -distorting the slenderest thread of its complex tissue of usages; no -one, on the other hand, who so keenly delighted in startling away -the illusion or carefully undermining it by some palpably fantastic -invention. His most elaborate reproductions of the everyday world are -hardly ever without an infusion of equally elaborate caprice,--a leaven -of recondite and fantastic legend and grotesque myth, redolent of old -libraries and antique scholarship, furtively planted, as it were, in -the heart of that everyday world of London life, and so subtly blending -with it that the whole motley throng of merchants and apprentices, -gulls and gallants, discover nothing unusual in it, and engage with the -most perfectly matter of fact air in the business of working it out. -The purging of Crispinus in the _Poetaster_, the Aristophanic motive -of the _Magnetic Lady_, even the farcical horror of noise which is the -mainspring of the _Epicœne_, are only less elaborate and sustained -examples of this fantastic realism than the adventure of a Stupid -Devil in the play before us. Nothing more anomalous in the London of -Jonson’s day could be conceived; yet it is so managed that it loses -all its strangeness. So perfectly is the supernatural element welded -with the human, that it almost ceases to appear supernatural. Pug, the -hero of the adventure, is a pretty, petulant boy, more human by many -degrees than the half fairy Puck of Shakespeare, which doubtless helped -to suggest him, and the arch-fiend Satan is a bluff old politician, -anxious to ward off the perils of London from his young simpleton of a -son, who is equally eager to plunge into them. The old savage horror -fades away before Jonson’s humanising touch, the infernal world loses -all its privilege of peculiar terror and strength, and sinks to the -footing of a mere rival state, whose merchandise can be kept out of the -market and its citizens put in the Counter or carted to Tyburn. - -A. W. WARD (_Eng. Dram. Lit._, pp. 372-3): The oddly-named comedy -of _The Devil is an Ass_, acted in 1616, seems already to exhibit a -certain degree of decay in the dramatic powers which had so signally -called forth its predecessor. Yet this comedy possesses a considerable -literary interest, as adapting both to Jonson’s dramatic method, and -to the general moral atmosphere of his age, a theme connecting itself -with some of the most notable creations of the earlier Elizabethan -drama.... The idea of the play is as healthy as its plot is ingenious; -but apart from the circumstance that the latter is rather slow in -preparation, and by no means, I think, gains in perspicuousness as it -proceeds, the design itself suffers from one radical mistake. Pug’s -intelligence is so much below par that he suffers as largely on account -of his clumsiness as on account of his viciousness, while remaining -absolutely without influence upon the course of the action. The comedy -is at the same time full of humor, particularly in the entire character -of Fitzdottrel. - -SWINBURNE (_Study of Ben Jonson_, pp. 65-7): If _The Devil is an Ass_ -cannot be ranked among the crowning masterpieces of its author, it is -not because the play shows any sign of decadence in literary power or -in humorous invention. The writing is admirable, the wealth of comic -matter is only too copious, the characters are as firm in outline or as -rich in color as any but the most triumphant examples of his satirical -or sympathetic skill in finished delineation and demarcation of humors. -On the other hand, it is of all Ben Jonson’s comedies since the date -of _Cynthia’s Revels_ the most obsolete in subject of satire, the most -temporary in its allusions and applications: the want of fusion or even -connection (except of the most mechanical or casual kind) between the -various parts of its structure and the alternate topics of its ridicule -makes the action more difficult to follow than that of many more -complicated plots: and, finally, the admixture of serious sentiment and -noble emotion is not so skilfully managed as to evade the imputation of -incongruity. [The dialogue between Lady Tailbush and Lady Eitherside -in Act 4. Sc. 1 has some touches ‘worthy of Molière himself.’ In Act -4. Sc. 3 Mrs. Fitzdottrel’s speech possesses a ‘a noble and natural -eloquence,’ but the character of her husband is ‘almost too loathsome -to be ridiculous,’ and unfit ‘for the leading part in a comedy of -ethics as well as of morals.’] The prodigality of elaboration lavished -on such a multitude of subordinate characters, at the expense of all -continuous interest and to the sacrifice of all dramatic harmony, may -tempt the reader to apostrophize the poet in his own words: - - You are so covetous still to embrace - More than you can, that you lose all. - -Yet a word of parting praise must be given to Satan: a small part as -far as extent goes, but a splendid example of high comic imagination -after the order of Aristophanes, admirably relieved by the low comedy -of the asinine Pug and the voluble doggrel by the antiquated Vice. - - - - -TEXT - - -EDITOR’S NOTE - - -The text here adopted is that of the original edition of 1631. -No changes of reading have been made; spelling, punctuation, -capitalization, and italics are reproduced. The original pagination -is inserted in brackets; the book-holder’s marginal notes are inserted -where 1716 and Whalley placed them. In a few instances modern type has -been substituted for archaic characters. The spacing of the contracted -words has been normalized. - - 1641 = Pamphlet folio of 1641. - 1692 = The Third Folio, 1692. - 1716 = Edition of 1716 (17). - W = Whalley’s edition, 1756. - G = Gifford’s edition, 1816. - SD. = Stage directions at the beginning of a scene. - SN. = Side note, or book-holder’s note. - om. = omitted. - ret. = retained. - f. = and all later editions. - G§ = a regular change. After a single citation only - exceptions are noted. See Introduction, page xvi. - -Mere changes of spelling have not been noted in the variants. -All changes of form and all suggestive changes of punctuation have -been recorded. - - - - - THE DIUELL IS AN ASSE: - - A COMEDIE ACTED IN THE YEARE, 1616. - - _BY HIS MAIESTIES_ SERVANTS. - - The Author BEN: IONSON. - - HOR. _de_ ART. POET. - _Ficta voluptatis Cauſâ, ſint proxima veris._ - - [DEVICE OF A GRIFFIN’S HEAD ERASED] - - _LONDON_. - - Printed by _I. B._ for ROBERT ALLOT, and are - to be ſold at the ſigne of the _Beare_, in _Pauls_ - Church-yard. 1631. - - - - - THE PERSONS OF THE PLAY. - - SATAN. _The great diuell._ [93] - PVG. _The leſſe diuell._ - INIQVITY. _The Vice._ - FITZ-DOTTRELL. _A Squire of_ Norfolk. - Miſtreſſe FRANCES. _His wife._ 5 - MEERE-CRAFT. _The Proiector._ - EVERILL. _His champion._ - WITTIPOL. _A young Gallant._ - MANLY. _His friend._ - INGINE. _A Broaker._ 10 - TRAINES. _The Proiectors man._ - GVILT-HEAD. _A Gold-ſmith._ - PLVTARCHVS. _His ſonne._ - Sir POVLE EITHER-SIDE. _A Lawyer, and Iuſtice._ - Lady EITHER-SIDE. _His wife._ 15 - Lady TAILE-BVSH. _The Lady Proiectreſſe._ - PIT-FALL. _Her woman._ - AMBLER. _Her Gentlemanvſher._ - SLEDGE. _A Smith, the conſtable._ - SHACKLES. _Keeper of Newgate._ 20 - - SERIEANTS. - - _The Scene_, LONDON. - - - - -The Prologue. - - - _The_ DIVELL _is an_ Aſſe. _That is, to day, - The name of what you are met for, a new Play. - Yet, Grandee’s, would you were not come to grace - Our matter, with allowing vs no place. - Though you preſume_ SATAN _a ſubtill thing, 5 - And may haue heard hee’s worne in a thumbe-ring; - Doe not on theſe preſumptions, force vs act, - In compaſſe of a cheeſe-trencher. This tract - Will ne’er admit our_ vice, _becauſe of yours. - Anone, who, worſe then you, the fault endures 10 - That your ſelues make? when you will thruſt and ſpurne, - And knocke vs o’ the elbowes, and bid, turne; - As if, when wee had ſpoke, wee muſt be gone, - Or, till wee ſpeake, muſt all runne in, to one, - Like the young adders, at the old ones mouth? 15 - Would wee could ſtand due_ North; _or had no_ South, - _If that offend: or were_ Muſcouy _glaſſe, - That you might looke our_ Scenes _through as they paſſe. - We know not how to affect you. If you’ll come - To ſee new Playes, pray you affoord vs roome, 20 - And ſhew this, but the ſame face you haue done - Your deare delight, the_ Diuell _of_ Edmunton. - _Or, if, for want of roome it muſt miſ-carry, - ’Twill be but Iuſtice, that your cenſure tarry, - Till you giue ſome. And when ſixe times you ha’ ſeen’t, 25 - If this_ Play _doe not like, the Diuell is in’t._ - -[93] Dramatis Personæ 1716, f. G places the women’s names after those - of the men. - -[94] 1, 2 Devil 1692, f. - -[95] 4 Fabian Fitzdottrel G - -[96] 5 Mrs. Frances Fitzdottrel G || His wife] om. G - -[97] 9 Eustace Manly G - -[98] 10 Engine 1716, f. - -[99] 12 Thomas Gilthead G - -[100] 15 His wife] om. G - -[101] 18 Gentleman-usher to lady Tailbush G - -[102] 21 Serjeants, officers, servants, underkeepers, &c. G - -[103] 22 The] om. 1716, W - -[104] The Prologue.] follows the title-page 1716, W - -[105] 5 _subtle_ 1692 f. - -[106] 10 than 1692, f. passim in this sense. Anon 1692, f. - -[107] 12 o’] on G§ - -[108] 14 till] ’till 1716 - -[109] 25 ha’] have G§ - - - - -THE DIVELL IS AN ASSE. [95] - - -ACT. I. SCENE. I. - - -DIVELL. PVG. INIQVITY. - - Hoh, hoh, hoh, hoh, hoh, hoh, hoh, hoh, &c. - To earth? and, why to earth, thou foooliſh Spirit? - What wold’ſt thou do on earth? - - PVG. For that, great Chiefe! - As time ſhal work. I do but ask my mon’th. - Which euery petty _pui’nee Diuell_ has; 5 - Within that terme, the Court of _Hell_ will heare - Some thing, may gaine a longer grant, perhaps. - - SAT. For what? the laming a poore Cow, or two? - Entring a Sow, to make her caſt her farrow? - Or croſſing of a Mercat-womans Mare, 10 - Twixt this, and _Totnam_? theſe were wont to be - Your maine atchieuements, _Pug_, You haue ſome plot, now, - Vpon a tonning of Ale, to ſtale the yeſt, - Or keepe the churne ſo, that the buttter come not; - Spight o’ the houſewiues cord, or her hot ſpit? 15 - Or ſome good Ribibe, about _Kentiſh_ Towne, - Or _Hogſden_, you would hang now, for a witch, - Becauſe ſhee will not let you play round _Robbin_: - And you’ll goe ſowre the Citizens Creame ’gainſt Sunday? - That ſhe may be accus’d for’t, and condemn’d, 20 - By a _Middleſex_ Iury, to the ſatisfaction - Of their offended friends, the _Londiners_ wiues - Whoſe teeth were ſet on edge with it? Fooliſh feind, - Stay i’ your place, know your owne ſtrengths, and put not - Beyond the ſpheare of your actiuity. 25 - You are too dull a Diuell to be truſted [96] - Forth in thoſe parts, _Pug_, vpon any affayre - That may concerne our name, on earth. It is not - Euery ones worke. The ſtate of _Hell_ muſt care - Whom it imployes, in point of reputation, 30 - Heere about _London_. You would make, I thinke - An Agent, to be ſent, for _Lancaſhire_, - Proper inough; or ſome parts of _Northumberland_, - So yo’ had good inſtructions, _Pug_. - - PVG. _O Chiefe!_ - You doe not know, deare _Chiefe_, what there is in mee. 35 - Proue me but for a fortnight, for a weeke, - And lend mee but a _Vice_, to carry with mee, - To practice there-with any play-fellow, - And, you will ſee, there will come more vpon’t, - Then you’ll imagine, pretious _Chiefe_. - - SAT. What _Vice_? 40 - What kind wouldſt th’ haue it of? - - PVG. Why, any _Fraud_; - Or _Couetouſneſſe_; or Lady _Vanity_; - Or old _Iniquity_: I’ll call him hither. - - INI. What is he, calls vpon me, and would ſeeme to lack a _Vice_? - Ere his words be halfe ſpoken, I am with him in a trice; 45 - Here, there, and euery where, as the Cat is with the mice: - True _vetus Iniquitas_. Lack’ſt thou Cards, friend, or Dice? - I will teach thee cheate, Child, to cog, lye, and ſwagger, - And euer and anon, to be drawing forth thy dagger: - To ſweare by Gogs-nownes, like a lusty _Iuuentus_, 50 - In a cloake to thy heele, and a hat like a pent-houſe. - Thy breeches of three fingers, and thy doublet all belly, - With a Wench that shall feede thee, with cock-ſtones and gelly. - - PVG. Is it not excellent, _Chiefe_? how nimble he is! - - INI. Child of hell, this is nothing! I will fetch thee a leape 55 - From the top of _Pauls_-ſteeple, to the Standard in _Cheepe_: - And lead thee a daunce, through the ſtreets without faile, - Like a needle of _Spaine_, with a thred at my tayle. - We will ſuruay the _Suburbs_, and make forth our ſallyes, - Downe _Petticoate-lane_, and vp the _Smock-allies_, 60 - To _Shoreditch_, _Whitechappell_, and so to Saint _Kathernes_. - To drinke with the _Dutch_ there, and take forth their patternes: - From thence, wee will put in at _Cuſtome-houſe_ key there, - And ſee, how the Factors, and Prentizes play there, - Falſe with their Maſters; and gueld many a full packe, 65 - To ſpend it in pies, at the _Dagger_, and the _Wool-ſacke_. - - PVG. Braue, braue, _Iniquity_! will not this doe, _Chiefe_? - - INI. Nay, boy, I wil bring thee to the Bawds, and the Royſters, - At _Belins-gate_, feaſting with claret-wine, and oyſters, - From thence ſhoot the _Bridge_, childe, to the Cranes - i’ the _Vintry_, 70 - And ſee, there the gimblets, how they make their entry! - Or, if thou hadſt rather, to the _Strand_ downe to fall, - ’Gainſt the Lawyers come dabled from _Weſtminſter-hall_ [97] - And marke how they cling, with their clyents together, - Like Iuie to Oake; so Veluet to Leather: 75 - Ha, boy, I would ſhew thee. - - PVG. Rare, rare! - - DIV. Peace, dotard, - And thou more ignorant thing, that ſo admir’ſt. - Art thou the ſpirit thou ſeem’ſt? ſo poore? to chooſe - This, for a _Vice_, t’aduance the cauſe of _Hell_, - Now? as Vice ſtands this preſent yeere? Remember, 80 - What number it is. _Six hundred_ and _ſixteene_. - Had it but beene _fiue hundred_, though ſome _ſixty_ - Aboue; that’s _fifty_ yeeres agone, and _ſix_, - (When euery great man had his _Vice_ ſtand by him, - In his long coat, ſhaking his wooden dagger) 85 - I could conſent, that, then this your graue choice - Might haue done that with his Lord _Chiefe_, the which - Moſt of his chamber can doe now. But _Pug_, - As the times are, who is it, will receiue you? - What company will you goe to? or whom mix with? 90 - Where canſt thou carry him? except to Tauernes? - To mount vp ona joynt-ſtoole, with a _Iewes_-trumpe, - To put downe _Cokeley_, and that muſt be to Citizens? - He ne’re will be admitted, there, where _Vennor_ comes. - Hee may perchance, in taile of a Sheriffes dinner, 95 - Skip with a rime o’ the Table, from _New-nothing_, - And take his _Almaine_-leape into a cuſtard, - Shall make my Lad _Maioreſſe_, and her ſiſters, - Laugh all their hoods ouer their shoulders. But, - This is not that will doe, they are other things 100 - That are receiu’d now vpon earth, for Vices; - Stranger, and newer: and chang’d euery houre. - They ride ’hem like their horſes off their legges, - And here they come to _Hell_, whole legions of ’hem, - Euery weeke tyr’d. Wee, ſtill ſtriue to breed, 105 - And reare ’hem vp new ones; but they doe not ſtand, - When they come there: they turne ’hem on our hands. - And it is fear’d they haue a ſtud o’ their owne - Will put downe ours. Both our breed, and trade - VVill ſuddenly decay, if we preuent not. 110 - Vnleſſe it be a _Vice_ of quality, - Or faſhion, now, they take none from vs. Car-men - Are got into the yellow ſtarch, and Chimney-ſweepers - To their tabacco, and ſtrong-waters, _Hum_, - _Meath_, and _Obarni_. VVe muſt therefore ayme 115 - At extraordinary ſubtill ones, now, - When we doe ſend to keepe vs vp in credit. - Not old _Iniquities_. Get you e’ne backe, Sir, - To making of your rope of ſand againe. - You are not for the manners, nor the times: [98] 120 - They haue their _Vices_, there, moſt like to _Vertues_; - You cannnot know ’hem, apart, by any difference: - They weare the ſame clothes, eate the ſame meate, - Sleepe i’ the ſelfe-ſame beds, rid i’ thoſe coaches. - Or very like, foure horſes in a coach, 125 - As the beſt men and women. Tiſſue gownes, - Garters and roſes, foureſcore pound a paire, - Embroydred ſtockings, cut-worke ſmocks, and ſhirts, - More certaine marks of lechery, now, and pride, - Then ere they were of true nobility! 130 - But _Pug_, ſince you doe burne with ſuch deſire - To doe the Common-wealth of Hell ſome ſeruice; - I am content, aſſuming of a body, - You goe to earth, and viſit men, a day. - But you muſt take a body ready made, _Pug_, 135 - I can create you none: nor ſhall you forme - Your ſelfe an aery one, but become ſubiect - To all impreſſion of the fleſh, you take, - So farre as humane frailty. So, this morning, - There is a handſome Cutpurſe hang’d at _Tiborne_, 140 - Whoſe ſpirit departed, you may enter his body: - For clothes imploy your credit, with the Hangman, - Or let our tribe of Brokers furniſh you. - And, looke, how farre your ſubtilty can worke - Thorow thoſe organs, with that body, ſpye 145 - Amongſt mankind, (you cannot there want vices, - And therefore the leſſe need to carry ’hem wi’ you) - But as you make your ſoone at nights relation, - And we ſhall find, it merits from the State, - Your ſhall haue both truſt from vs, and imployment. 150 - - PVG. Most gracious _Chiefe_! - - DIV. Onely, thus more I bind you, - To ſerue the firſt man that you meete; and him - I’le ſhew you, now: Obserue him. Yon’ is hee, - _He ſhewes_ Fitz-dottrel _to him, comming forth_. - You ſhall ſee, firſt, after your clothing. Follow him: - But once engag’d, there you muſt ſtay and fixe; - Not ſhift, vntill the midnights cocke doe crow. - - PVG. Any conditions to be gone. - - DIV. Away, then. 157 - -[110] SD. DIVELL] _Devil_, 1692 || _Satan_ 1716, W || DIVELL ...] - _Enter_ SATAN _and_ PUG. G - -[111] 1 &c. om. G - -[112] 9 entering G - -[113] 10 Market 1641, 1692, 1716 || market W, G - -[114] 11 Tottenham G - -[115] 15 Housewive’s 1716 || housewife’s W, f. - -[116] 23 with’t W, G - -[117] 24 i’] in G§ || strength 1692, f. - -[118] 30 employs W, G - -[119] 33 enough 1692, f. - -[120] 34 you ’ad 1716 you had W, G - -[121] 38 there with 1692, f. - -[122] 41 th’] thou G Why any, Fraud, 1716 Why any: Fraud, W, G - -[123] 43 I’ll ...] _Sat._ I’ll ... W, G] _Enter_ INIQUITY. G - -[124] 48 cheate] to cheat W [to] cheat G - -[125] 57 Dance 1716 || dance 1641. W, G - -[126] 69 _Billings-gate_ 1692 _Billingsgate_ 1716 Billingsgate - W Billinsgate G - -[127] 76 thee.] thee--G || DIV.] Dev. 1692 || _Sat._ 1716, f. - -[128] 79 t’] to G - -[129] 84 5 () om. G§ - -[130] 98 Lady 1692, 1716 lady W, G - -[131] 101 Vices 1641, 1692, 1716, G vices W - -[132] 103 ’hem] ’em 1692, 1716, W passim them G§ - -[133] 106 ’hem om. G stand,] stand; G - -[134] 107 there:] there W there, G - -[135] 116 subtle 1692, f. - -[136] 120 manner G - -[137] 128 Embrothered 1641 Embroider’d 1716, f. stockins 1641 - -[138] 130 [_Exit Iniq._ G - -[139] 137 airy 1692, f. passim - -[140] 139 human W, G - -[141] 140 _Tyburn_ 1692, f. passim - -[142] 142 employ W, G - -[143] 146, 7 () ret. G - -[144] 147 wi’] with G§ - -[145] 150 employment W, G - -[146] 151, 157 DIV.] _Dev._ 1692 _Sat._ 1716, f. - -[147] 153 now] new 1716 - -[148] 153 SN.] _Shews him Fitzdottrel coming out of his - house at a distance._ G - -[149] 157 _Exeunt severally._ G - - -ACT. I. SCENE. II. - -FITZ-DOTTRELL. - - I, they doe, now, name _Bretnor_, as before, [97] - They talk’d of _Greſham_, and of Doctor _Fore-man_, - _Francklin_, and _Fiske_, and _Sauory_ (he was in too) - But there’s not one of theſe, that euer could - Yet ſhew a man the _Diuell_, in true ſort. 5 - They haue their chriſtalls, I doe know, and rings, - And virgin parchment, and their dead-mens ſculls - Their rauens wings, their lights, and _pentacles_, - With _characters_; I ha’ ſeene all theſe. But-- - Would I might ſee the _Diuell_. I would giue 10 - A hundred o’ theſe pictures, to ſee him - Once out of picture. May I proue a cuckold, - (And that’s the one maine mortall thing I feare) - If I beginne not, now, to thinke, the Painters - Haue onely made him. ’Slight, he would be ſeene, 15 - One time or other elſe. He would not let - An ancient gentleman, of a good houſe, - As moſt are now in _England_, the _Fitz-Dottrel’s_ - Runne wilde, and call vpon him thus in vaine, - As I ha’ done this twelue mone’th. If he be not, 20 - At all, why, are there Coniurers? If they be not, - Why, are there lawes againſt ’hem? The beſt artiſts - Of _Cambridge_, _Oxford_, _Middlesex_, and _London_, - _Essex_, and _Kent_, I haue had in pay to raiſe him, - Theſe fifty weekes, and yet h’appeares not. ’Sdeath, 25 - I ſhall ſuſpect, they, can make circles onely - Shortly, and know but his hard names. They doe ſay, - H’will meet a man (of himſelfe) that has a mind to him. - If hee would ſo, I haue a minde and a halfe for him: - He ſhould not be long abſent. Pray thee, come 30 - I long for thee. An’ I were with child by him, - And my wife too; I could not more. Come, yet, - _He expreſſes a longing to ſee the Diuell_ - Good _Beelezebub_. Were hee a kinde diuell, - And had humanity in him, hee would come, but - To ſaue ones longing. I ſhould vſe him well, 35 - I ſweare, and with reſpect (would he would try mee) - Not, as the Conjurers doe, when they ha’ rais’d him. - Get him in bonds, and ſend him poſt, on errands. - A thouſand miles, it is prepoſterous, that; [100] - And I beleeue, is the true cauſe he comes not. 40 - And hee has reaſon. Who would be engag’d, - That might liue freely, as he may doe? I ſweare, - They are wrong all. The burn’t child dreads the fire. - They doe not know to entertaine the _Diuell_. - I would ſo welcome him, obſerue his diet, 45 - Get him his chamber hung with _arras_, two of ’hem, - I’ my own houſe; lend him my wiues wrought pillowes: - And as I am an honeſt man, I thinke, - If he had a minde to her, too; I should grant him, - To make our friend-ſhip perfect. So I would not 50 - To euery man. If hee but heare me, now? - And ſhould come to mee in a braue young ſhape, - And take me at my word? ha! Who is this? - -[150] SD. ACT. I. om. 1716, f. (as regularly, after SC. I. of each -act.) ACT ...] SCENE II. _The street before Fitzdottrel’s House. -Enter_ FITZDOTTREL. G - -[151] 12 picture, 1641 - -[152] 17 a] as W [as] G || good] good a G - -[153] 21, 22 comma om. after ‘why’ and ‘Why’ 1692 f. - -[154] 25 h’] he G - -[155] 26 circle 1641 - -[156] 30 Prithee G - -[157] 31 An’] an G - -[158] 32 SN. _expresseth_ 1692, 1716, W || SN. om. G - - -ACT. I. SCENE. IIJ. - -PVG. FITZ-DOTTRELL. - - Sir, your good pardon, that I thus preſume - Vpon your priuacy. I am borne a Gentleman, - A younger brother; but, in ſome diſgrace, - Now, with my friends: and want ſome little meanes, - To keepe me vpright, while things be reconcil’d. 5 - Pleaſe you, to let my ſeruice be of vſe to you, Sir. - - FIT. Seruice? ’fore hell, my heart was at my mouth, - Till I had view’d his ſhooes well: for, thoſe roſes - Were bigge inough to hide a clouen foote. - _Hee lookes and ſuruay’s his feet: ouer and ouer._ - No, friend, my number’s full. I haue one ſeruant, 10 - Who is my all, indeed; and, from the broome - Vnto the bruſh: for, iuſt so farre, I truſt him. - He is my Ward-robe man, my Cater, Cooke, - Butler, and Steward; lookes vnto my horſe: - And helpes to watch my wife. H’has all the places, 15 - That I can thinke on, from the garret downward, - E’en to the manger, and the curry-combe. - - PVG. Sir, I ſhall put your worſhip to no charge, - More then my meate, and that but very little, - I’le ſerue you for your loue. - - FIT. Ha? without wages? 20 - I’le harken o’ that eare, were I at leaſure. - But now, I’m buſie. ’Pr’y the, friend forbeare mee, - And’ thou hadſt beene a _Diuell_, I ſhould ſay [101] - Somewhat more to thee. Thou doſt hinder, now, - My meditations. - - PVG. Sir, I am a _Diuell_. 25 - - FIT. How! - - PVG. A true _Diuell_, S^r. - - FIT. Nay, now, you ly: - Vnder your fauour, friend, for, I’ll not quarrell. - I look’d o’ your feet, afore, you cannot coozen mee, - Your ſhoo’s not clouen, Sir, you are whole hoof’d. - _He viewes his feete againe._ - PVG. Sir, that’s a popular error, deceiues many: 30 - But I am that, I tell you. - - FIT. What’s your name? - - PVG. My name is _Diuell_, S^r. - - FIT. Sai’ſt thou true. - - PVG. in-deed, S^r. - - FIT. ’Slid! there’s ſome _omen_ i’ this! what countryman? - - PVG. Of _Derby-ſhire_, S^r. about the _Peake_. - - FIT. That Hole - Belong’d to your Anceſtors? - - PVG. Yes, _Diuells_ arſe, S^r. 35 - - FIT. I’ll entertaine him for the name ſake. Ha? - And turne away my tother man? and ſaue - Foure pound a yeere by that? there’s lucke, and thrift too! - The very _Diuell_ may come, heereafter, as well. - Friend, I receiue you: but (withall) I acquaint you, 40 - Aforehand, if yo’ offend mee, I muſt beat you. - It is a kinde of exerciſe, I vſe. - And cannot be without. - - PVG. Yes, if I doe not - Offend, you can, ſure. - - FIT. Faith, _Diuell_, very hardly: - I’ll call you by your ſurname, ’cauſe I loue it. 45 - -[159] 46 ’hem] ’em G - -[160] 47 Wife’s 1716 wife’s W, G passim - -[161] 53 word?--_Enter_ PUG _handsomely shaped and apparelled_. G - -[162] SD. on. G - -[163] 9 SN. on. G || _Aside._ G - -[164] 13 m’acater W - -[165] 15 He has W, G - -[166] 17 Even G - -[167] 21 I’d W, G - -[168] 22 I am G ’Prythe 1692 ’Prithee 1716, W Prithee G - -[169] 23 An’ 1716, W An G || hadſt] hast 1692, 1716 - -[170] 26 Sir 1641. f. passim - -[171] 28 cozen 1692, f. passim - -[172] 29 SN. om. G - -[173] 31 that, I] that I 1692, f. - -[174] 37 t’other 1692, f. - -[175] 39 [_Aside._ G - -[176] 41 you W, G - - -ACT. I. SCENE. IIII. - -INGINE. WITTIPOL. MANLY. - FITZDOTTRELL. PVG. - - Yonder hee walkes, Sir, I’ll goe lift him for you. - - WIT. To him, good _Ingine_, raiſe him vp by degrees, - Gently, and hold him there too, you can doe it. - Shew your ſelfe now, a _Mathematicall_ broker. - - ING. I’ll warrant you for halfe a piece. - - WIT. ’Tis done, S^r. 5 - - MAN. Is’t poſſible there ſhould be ſuch a man? - - WIT. You ſhall be your owne witneſſe, I’ll not labour - To tempt you paſt your faith. - - MAN. And is his wife - So very handſome, ſay you? - - WIT. I ha’ not ſeene her, - Since I came home from trauell: and they ſay, 10 - Shee is not alter’d. Then, before I went, - I ſaw her once; but ſo, as ſhee hath ſtuck - Still i’ my view, no obiect hath remou’d her. - - MAN. ’Tis a faire gueſt, Friend, beauty: and once lodg’d [102] - Deepe in the eyes, ſhee hardly leaues the Inne. 15 - How do’s he keepe her? - - WIT. Very braue. Howeuer, - Himselfe be fordide, hee is ſenſuall that way. - In euery dreſſing, hee do’s ſtudy her. - - MAN. And furniſh forth himselfe ſo from the _Brokers_? - - WIT. Yes, that’s a hyr’d ſuite, hee now has one, 20 - To ſee the _Diuell_ is an _Aſſe_, to day, in: - (This _Ingine_ gets three or foure pound a weeke by him) - He dares not miſſe a new _Play_, or a _Feaſt_, - What rate ſoeuer clothes be at; and thinkes - Himſelfe ſtill new, in other mens old. - - MAN. But ſtay, 25 - Do’s he loue meat ſo? - - WIT. Faith he do’s not hate it. - But that’s not it. His belly and his palate - Would be compounded with for reaſon. Mary, - A wit he has, of that ſtrange credit with him, - ’Gainſt all mankinde; as it doth make him doe 30 - Iuſt what it liſt: it rauiſhes him forth, - Whither it pleaſe, to any aſſembly’or place, - And would conclude him ruin’d, ſhould hee ſcape - One publike meeting, out of the beliefe - He has of his owne great, and Catholike ſtrengths, 35 - In arguing, and diſcourſe. It takes, I ſee: - H’has got the cloak vpon him. - - Ingine _hath won_ Fitzdottrel, _to ’ſay on the cloake_. - - FIT. A faire garment, - By my faith, _Ingine_! - - ING. It was neuer made, Sir, - For three ſcore pound, I aſſure you: ’Twill yeeld thirty. - The pluſh, Sir, coſt three pound, ten ſhillings a yard! 40 - And then the lace, and veluet. - - FIT. I ſhall, _Ingine_, - Be look’d at, pretitly, in it! Art thou ſure - The _Play_ is play’d to day? - - ING. O here’s the bill, S^r. - _Hee giues him the_ Play-_bill_. - I’, had forgot to gi’t you. - - FIT. Ha? the _Diuell_! - I will not loſe you, Sirah! But, _Ingine_, thinke you, 45 - The Gallant is ſo furious in his folly? - So mad vpon the matter, that hee’ll part - With’s cloake vpo’ theſe termes? - - ING. Truſt not your _Ingine_, - Breake me to pieces elſe, as you would doe - A rotten _Crane_, or an old ruſty _Iacke_, 50 - That has not one true wheele in him. Doe but talke with him. - - FIT. I ſhall doe that, to ſatisfie you, _Ingine_, - And my ſelfe too. With your leaue, Gentlemen. - _Hee turnes to_ Wittipol. - Which of you is it, is ſo meere Idolater - To my wiues beauty, and ſo very prodigall 55 - Vnto my patience, that, for the ſhort parlee? - Of one ſwift houres quarter, with my wife, - He will depart with (let mee ſee) this cloake here - The price of folly? Sir, are you the man? - - WIT. I am that vent’rer, Sir. - - FIT. Good time! your name 60 - Is _Witty-pol_? - - WIT. The ſame, S^r. - - FIT. And ’tis told me, [103] - Yo’ haue trauell’d lately? - - WIT. That I haue, S^r. - - FIT. Truly, - Your trauells may haue alter’d your complexion; - But ſure, your wit ſtood ſtill. - - WIT. It may well be, Sir. - All heads ha’ not like growth. - - FIT. The good mans grauity, 65 - That left you land, your father, neuer taught you - Theſe pleaſant matches? - - WIT. No, nor can his mirth, - With whom I make ’hem, put me off. - - FIT. You are - Reſolu’d then? - - WIT. Yes, S^r. - - FIT. Beauty is the _Saint_, - You’ll ſacrifice your ſelfe, into the ſhirt too? 70 - - WIT. So I may ſtill cloth, and keepe warme your wiſdome? - - FIT. You lade me S^r! - - WIT. I know what you wil beare, S^r. - - FIT. Well, to the point. ’Tis only, Sir, you ſay, - To ſpeake vnto my wife? - - WIT. Only, to ſpeake to her. - - FIT. And in my preſence? - - WIT. In your very preſence. 75 - - FIT. And in my hearing? - - WIT. In your hearing: ſo, - You interrupt vs not. - - FIT. For the ſhort ſpace - You doe demand, the fourth part of an houre, - I thinke I ſhall, with ſome conuenient ſtudy, - And this good helpe to boot, bring my ſelfe to’t. 80 - - _Hee ſhrugs himſelfe vp in the cloake._ - - WIT. I aske no more. - - FIT. Pleaſe you, walk to’ard my houſe, - Speake what you liſt; that time is yours: My right - I haue departed with. But, not beyond, - A minute, or a ſecond, looke for. Length, - And drawing out, ma’aduance much, to theſe matches. 85 - And I except all kiſſing. Kiſſes are - Silent petitions ſtill with willing _Louers_. - - WIT. _Louers?_ How falls that o’ your phantſie? - - FIT. Sir. - I doe know ſomewhat. I forbid all lip-worke. - - WIT. I am not eager at forbidden dainties. 90 - Who couets vnfit things, denies him ſelfe. - - FIT. You ſay well, Sir, ’Twas prettily ſaid, that ſame, - He do’s, indeed. I’ll haue no touches, therefore, - Nor takings by the armes, nor tender circles - Caſt ’bout the waſt, but all be done at diſtance. 95 - Loue is brought vp with thoſe ſoft _migniard_ handlings; - His pulſe lies in his palme: and I defend - All melting ioynts, and fingers, (that’s my bargaine) - I doe defend ’hem, any thing like action. - But talke, Sir, what you will. Vſe all the _Tropes_ 100 - And _Schemes_, that Prince _Quintilian_ can afford you: - And much good do your _Rhetoriques_ heart. You are welcome, Sir. - _Ingine_, God b’w’you. - - WIT. Sir, I muſt condition - To haue this Gentleman by, a witneſſe. - - FIT. Well, - I am content, ſo he be ſilent. - - MAN. Yes, S r. 105 - - FIT. Come _Diuell_, I’ll make you roome, ſtreight. - But I’ll ſhew you - Firſt, to your Miſtreſſe, who’s no common one, - You muſt conceiue, that brings this game to ſee her. [104] - I hope thou’ſt brought me good lucke. - - PVG. I ſhall do’t. Sir. - -[177] SD. ACT. ...] _Enter, behind_, ENGINE, _with a cloke on his - arm_, WITTIPOL, _and_ MANLY. G - -[178] 5 [_Engine goes to Fitzdottrel and takes him aside._ G - -[179] 19 _Broker_ 1692, 1716 broker W - -[180] 20 on 1641, f. - -[181] 28 Marry 1692, f. - -[182] 32 whether 1716 - -[183] 36 SN. ’say] say 1641, f. SN. om. G - -[184] 37 _Fitz._ [_after saying on the cloke._] G - -[185] 42 prettily 1641. f. - -[186] 44 I’, had] I’d 1716 I had W, G gi’t] give it G - -[187] 48 upon 1716, f. - -[188] 50 _Cain_ 1692 _Cane_ 1716 - -[189] 51 with him] with W - -[190] 53 too. [_comes forward._] G SN. om. G - -[191] 60 venturer G - -[192] 62 You G§ - -[193] 70 comma om. after ‘selfe’ 1692, f. to W, G - -[194] 80 SN. _Hee_ om. G - -[195] 82 is om. 1641 - -[196] 85 may W, G - -[197] 88 phant’sie W phantasy G o’ret. G - -[198] 99 comma om. W, G - -[199] 102 [_Opens the door of his house._ G - -[200] 103 b’w’] be wi’ G - -[201] 108 this om. 1641 - -[202] 109 [_They all enter the house._ G - - -ACT. I. SCENE. V. - -VVITTIPOL. MANLY. - - _Ingine_, you hope o’ your halfe piece? ’Tis there, Sir. - Be gone. Friend _Manly_, who’s within here? fixed? - - Wittipol _knocks his friend o’ the breſt_. - - MAN. I am directly in a fit of wonder - What’ll be the iſſue of this conference! - - WIT. For that, ne’r vex your ſelfe, till the euent. 5 - How like yo’ him? - - MAN. I would faine ſee more of him. - - WIT. What thinke you of this? - - MAN. I am paſt degrees of thinking. - Old _Africk_, and the new _America_, - With all their fruite of Monſters cannot ſhew - So iuſt a prodigie. - - WIT. Could you haue beleeu’d, 10 - Without your ſight, a minde ſo ſordide inward, - Should be ſo ſpecious, and layd forth abroad, - To all the ſhew, that euer ſhop, or ware was? - - MAN. I beleeue any thing now, though I confeſſe - His _Vices_ are the moſt extremities 15 - I euer knew in nature. But, why loues hee - The _Diuell_ ſo? - - WIT. O S^r! for hidden treaſure, - Hee hopes to finde: and has propos’d himſelfe - So infinite a Maſſe, as to recouer, - He cares not what he parts with, of the preſent, 20 - To his men of Art, who are the race, may coyne him. - Promiſe gold-mountaines, and the couetous - Are ſtill moſt prodigall. - - MAN. But ha’ you faith, - That he will hold his bargaine? - - WIT. O deare, Sir! - He will not off on’t. Feare him not. I know him. 25 - One baſeneſſe ſtill accompanies another. - See! he is heere already, and his wife too. - - MAN. A wondrous handſome creature, as I liue! - -[203] SD. ACT. ...] om. SCENE III. _A Room in_ FITZDOTTREL’S _House_. - _Enter_ WITTIPOL, MANLY, _and_ ENGINE. G - -[204] 2 SN.] gone. [_Exit Engine._] || fixed! [_knocks him on the - breast._ G - -[205] 4 ’ll] will G - - -ACT. I. SCENE. VI. [105] - -FITZ-DOTTRELL. Miſtreſſe FITZ-DOTTRELL. - WITTIPOL. MANLY. - - Come wife, this is the Gentleman. Nay, bluſh not. - - M^rs. FI. Why, what do you meane Sir? ha’ you your reaſon? - - FIT. Wife, - I do not know, that I haue lent it forth - To any one; at leaſt, without a pawne, wife: - Or that I’haue eat or drunke the thing, of late, 5 - That ſhould corrupt it. Wherefore gentle wife, - Obey, it is thy vertue: hold no acts - Of diſputation. - - M^rs. FI. Are you not enough - The talke, of feaſts, and meetingy, but you’ll ſtill - Make argument for freſh? - - FIT. Why, carefull wedlocke, 10 - If I haue haue a longing to haue one tale more - Goe of mee, what is that to thee, deare heart? - Why ſhouldſt thou enuy my delight? or croſſe it? - By being ſolicitous, when it not concernes thee? - - M^rs. FI. Yes, I haue ſhare in this. The ſcorne will fall 15 - As bittterly on me, where both are laught at. - - FIT. Laught at, ſweet bird? is that the ſcruple? Come, come, - Thou art a _Niaiſe_. - _A_ Niaiſe _is a young Hawke, tane crying out of the neſt._ - Which of your great houſes, - (I will not meane at home, here, but abroad) - Your families in _France_, wife, ſend not forth 20 - Something, within the ſeuen yeere, may be laught at? - I doe not ſay ſeuen moneths, nor ſeuen weekes, - Nor ſeuen daies, nor houres: but ſeuen yeere wife. - I giue ’hem time. Once, within ſeuen yeere, - I thinke they may doe ſomething may be laught at. 25 - In _France_, I keepe me there, ſtill. Wherefore, wife, - Let them that liſt, laugh ſtill, rather then weepe - For me; Heere is a cloake coſt fifty pound, wife, - Which I can ſell for thirty, when I ha’ ſeene - All _London_ in’t, and _London_ has ſeene mee. 30 - To day, I goe to the _Black-fryers Play-houſe_, - Sit ithe view, ſalute all my acquaintance, - Riſe vp betweene the _Acts_, let fall my cloake, - Publiſh a handſome man, and a rich ſuite - (As that’s a ſpeciall end, why we goe thither, 35 - All that pretend, to ſtand for’t o’ the _Stage_) - The Ladies aske who’s that? (For, they doe come [106] - To ſee vs, _Loue_, as wee doe to ſee them) - Now, I ſhall loſe all this, for the falſe feare - Of being laught at? Yes, wuſſe. Let ’hem laugh, wife, 40 - Let me haue ſuch another cloake to morrow. - And let ’hem laugh againe, wife, and againe, - And then grow fat with laughing, and then fatter, - All my young Gallants, let ’hem bring their friends too: - Shall I forbid ’hem? No, let heauen forbid ’hem: 45 - Or wit, if’t haue any charge on ’hem. Come, thy eare, wife, - Is all, I’ll borrow of thee. Set your watch, Sir, - Thou, onely art to heare, not ſpeake a word, _Doue_, - To ought he ſayes. That I doe gi’ you in precept, - No leſſe then councell, on your wiue-hood, wife, 50 - Not though he flatter you, or make court, or _Loue_ - (As you muſt looke for theſe) or ſay, he raile; - What ere his arts be, wife, I will haue thee - Delude ’hem with a trick, thy obſtinate ſilence; - I know aduantages; and I loue to hit 55 - Theſe pragmaticke young men, at their owne weapons. - Is your watch ready? Here my ſaile beares, for you: - Tack toward him, ſweet _Pinnace_, where’s your watch? - - _He diſpoſes his wife to his place, and ſets his watch._ - - WIT. I’le ſet it. Sir, with yours. - - M^rs. FI. I muſt obey. - - MAN. Her modeſty ſeemes to ſuffer with her beauty, 60 - And ſo, as if his folly were away, - It were worth pitty. - - FIT. Now, th’are right, beginne, Sir. - But firſt, let me repeat the contract, briefely. - _Hee repeats his contract againe._ - I am, Sir, to inioy this cloake, I ſtand in, - Freely, and as your gift; vpon condition 65 - You may as freely, ſpeake here to my ſpouſe, - Your quarter of an houre alwaies keeping - The meaſur’d diſtance of your yard, or more, - From my ſaid Spouſe: and in my ſight and hearing. - This is your couenant? - - WIT. Yes, but you’ll allow 70 - For this time ſpent, now? - - FIT. Set ’hem ſo much backe. - - WIT. I thinke, I ſhall not need it. - - FIT. Well, begin, Sir, - There is your bound, Sir. Not beyond that ruſh. - - WIT. If you interrupt me, Sir, I ſhall diſcloake you. - Wittipol _beginnes_. - The time I haue purchaſt, Lady, is but ſhort; 75 - And, therefore, if I imploy it thriftily, - I hope I ſtand the neerer to my pardon. - I am not here, to tell you, you are faire, - Or louely, or how well you dreſſe you, Lady, - I’ll ſaue my ſelfe that eloquence of your glaſſe, 80 - Which can ſpeake these things better to you then I. - And ’tis a knowledge, wherein fooles may be - As wiſe as a _Count Parliament_. Nor come I, - With any preiudice, or doubt, that you [107] - Should, to the notice of your owne worth, neede 85 - Leaſt reuelation. Shee’s a ſimple woman, - Know’s not her good: (who euer knowes her ill) - And at all caracts. That you are the wife, - To ſo much blaſted fleſh, as ſcarce hath ſoule, - In ſtead of ſalt, to keepe it ſweete; I thinke, 90 - Will aske no witneſſes, to proue. The cold - Sheetes that you lie in, with the watching candle, - That ſees, how dull to any thaw of beauty, - Pieces, and quarters, halfe, and whole nights, ſometimes, - The Diuell-giuen _Elfine_ Squire, your husband, 95 - Doth leaue you, quitting heere his proper circle, - For a much-worſe i’ the walks of _Lincolnes Inne_, - Vnder the Elmes, t’expect the feind in vaine, there - Will confeſſe for you. - - FIT. I did looke for this geere. - - WIT. And what a daughter of darkneſſe, he do’s make you, 100 - Lock’d vp from all ſociety, or object; - Your eye not let to looke vpon a face, - Vnder a Conjurers (or ſome mould for one, - Hollow, and leane like his) but, by great meanes, - As I now make; your owne too ſenſible ſufferings, 105 - Without the extraordinary aydes, - Of ſpells, or ſpirits, may aſſure you, Lady. - For my part, I proteſt ’gainſt all ſuch practice, - I worke by no falſe arts, medicines, or charmes - To be said forward and backward. - - FIT. No, I except: 110 - - WIT. Sir I ſhall ease you. - - _He offers to diſcloake him._ - - FIT. Mum. - - WIT. Nor haue I ends, Lady, - Vpon you, more then this: to tell you how _Loue_ - Beauties good Angell, he that waits vpon her - At all occaſions, and no leſſe then _Fortune_, - Helps th’ aduenturous, in mee makes that proffer, 115 - Which neuer faire one was ſo fond, to loſe; - Who could but reach a hand forth to her freedome: - On the firſt ſight, I lou’d you: ſince which time, - Though I haue trauell’d, I haue beene in trauell - More for this second blessing of your eyes 120 - Which now I’haue purchas’d, then for all aymes elſe. - Thinke of it, Lady, be your minde as actiue, - As is your beauty: view your object well. - Examine both my faſhion, and my yeeres; - Things, that are like, are ſoone familiar: 125 - And Nature ioyes, ſtill in equality. - Let not the ſigne o’ the husband fright you, Lady. - But ere your ſpring be gone, inioy it. Flowers, - Though faire, are oft but of one morning. Thinke, - All beauty doth not laſt vntill the _autumne_. 130 - You grow old, while I tell you this. And ſuch, [108] - As cannot vſe the preſent, are not wiſe. - If Loue and Fortune will take care of vs, - Why ſhould our will be wanting? This is all. - What doe you anſwer, Lady? - - _Shee stands mute._ - - FIT. Now, the sport comes. 135 - Let him ſtill waite, waite, waite: while the watch goes, - And the time runs. Wife! - - WIT. How! not any word? - Nay, then, I taſte a tricke in’t. Worthy Lady, - I cannot be ſo falſe to mine owne thoughts - Of your preſumed goodneſſe, to conceiue 140 - This, as your rudeneſſe, which I ſee’s impos’d. - Yet, ſince your cautelous _Iaylor_, here ſtands by you, - And yo’ are deni’d the liberty o’ the houſe, - Let me take warrant, Lady, from your ſilence, - (Which euer is interpreted conſent) 145 - To make your anſwer for you: which ſhall be - To as good purpoſe, as I can imagine, - And what I thinke you’ld ſpeake. - - FIT. No, no, no, no. - - WIT. I ſhall reſume, S^r. - - MAN. Sir, what doe you meane? - - _He ſets_ M^r. Manly, _his friend, in her place_. - - WIT. One interruption more, Sir, and you goe 150 - Into your hoſe and doublet, nothing ſaues you. - And therefore harken. This is for your wife. - - MAN. You muſt play faire, S^r. - - WIT. Stand for mee, good friend. - _And ſpeaks for her._ - Troth, Sir, tis more then true, that you haue vttred - Of my vnequall, and ſo ſordide match heere, 155 - With all the circumſtances of my bondage. - I haue a husband, and a two-legg’d one, - But ſuch a moon-ling, as no wit of man - Or roſes can redeeme from being an Aſſe. - H’is growne too much, the ſtory of mens mouthes, 160 - To ſcape his lading: ſhould I make’t my ſtudy, - And lay all wayes, yea, call mankind to helpe, - To take his burden off, why, this one act - Of his, to let his wife out to be courted, - And, at a price, proclaimes his aſinine nature 165 - So lowd, as I am weary of my title to him. - But Sir, you ſeeme a Gentleman of vertue, - No leſſe then blood; and one that euery way - Lookes as he were of too good quality, - To intrap a credulous woman, or betray her: 170 - Since you haue payd thus deare, Sir, for a viſit, - And made ſuch venter, on your wit, and charge - Meerely to ſee mee, or at moſt to ſpeake to mee, - I were too ſtupid; or (what’s worſe) ingrate - Not to returne your venter. Thinke, but how, 175 - I may with ſafety doe it; I ſhall truſt - My loue and honour to you, and preſume; - You’ll euer huſband both, againſt this huſband; [109] - Who, if we chance to change his liberall eares, - To other enſignes, and with labour make 180 - A new beaſt of him, as hee ſhall deſerue, - Cannot complaine, hee is vnkindly dealth with. - This day hee is to goe to a new play, Sir. - From whence no feare, no, nor authority, - Scarcely the _Kings_ command, Sir, will reſtraine him, 185 - Now you haue fitted him with a _Stage_-garment, - For the meere names ſake, were there nothing elſe: - And many more ſuch iourneyes, hee will make. - Which, if they now, or, any time heereafter, - Offer vs opportunity, you heare, Sir, 190 - Who’ll be as glad, and forward to imbrace, - Meete, and enioy it chearefully as you. - I humbly thanke you, Lady. - - _Hee ſhifts to his owne place againe_ - - FIT. Keepe your ground Sir. - - WIT. Will you be lightned? - - FIT. Mum. - - WIT. And but I am, - By the ſad contract, thus to take my leaue of you 195 - At this ſo enuious distance, I had taught - Our lips ere this, to ſeale the happy mixture - Made of our ſoules. But we muſt both, now, yeeld - To the neceſſity. Doe not thinke yet, Lady, - But I can kiſſe, and touch, and laugh, and whiſper, 200 - And doe those crowning court-ſhips too, for which, - Day, and the publike haue allow’d no name - But, now, my bargaine binds me. ’Twere rude iniury, - T’importune more, or vrge a noble nature, - To what of it’s owne bounty it is prone to: 205 - Elſe, I ſhould ſpeake--But, Lady, I loue ſo well, - As I will hope, you’ll doe ſo to. I haue done, Sir. - - FIT. Well, then, I ha’ won? - - WIT. Sir, And I may win, too. - - FIT. O yes! no doubt on’t. I’ll take carefull order, - That ſhee ſhall hang forth enſignes at the window, 210 - To tell you when I am abſent. Or I’ll keepe - Three or foure foote-men, ready ſtill of purpoſe, - To runne and fetch you, at her longings, Sir. - I’ll goe beſpeake me ſtraight a guilt caroch, - For her and you to take the ayre in. Yes, 215 - Into _Hide-parke_, and thence into _Black-Fryers_, - Viſit the painters, where you may ſee pictures, - And note the propereſt limbs, and how to make ’hem. - Or what doe you ſay vnto a middling Goſſip - To bring you aye together, at her lodging? 220 - Vnder pretext of teaching o’ my wife - Some rare receit of drawing _almond_ milke? ha? - It shall be a part of my care. Good Sir, God b’w’you. - I ha’ kept the contract, and the cloake is mine. - - WIT. Why, much good do’t you S^r; it may fall out, [110] 225 - That you ha’ bought it deare, though I ha’ not ſold it. - - FIT. A pretty riddle! Fare you well, good Sir. - Wife, your face this way, looke on me: and thinke - Yo’ haue had a wicked dreame, wife, and forget it. - - _Hee turnes his wife about._ - - MAN. This is the ſtrangeſt motion I ere ſaw. 230 - - FIT. Now, wife, ſits this faire cloake the worſe vpon me, - For my great ſufferings, or your little patience? ha? - They laugh, you thinke? - - M^rs. FI. Why S^r. and you might ſee’t. - What thought, they haue of you, may be ſoone collected - By the young Genlemans ſpeache. - - FIT. Youug Gentleman? 235 - Death! you are in loue with him, are you? could he not - Be nam’d the Gentleman, without the young? - Vp to your Cabbin againe. - - M^rs. FI. My cage, yo’ were beſt - To call it? - - FIT. Yes, ſing there. You’ld faine be making - _Blanck Manger_ with him at your mothers! I know you. 240 - Goe get you vp. How now! what ſay you, _Diuell_? - -[206] SD. om. _Enter_ FITZDOTTRELL, _with Mrs._ FRANCES _his wife_. G - -[207] 9 Meetings 1692, 1716 meetings 1641, W, G - -[208] 11 I haue] I’ve W haue a] a 1641. f. - -[209] 18 SN. om. G - -[210] 19 () ret. G - -[211] 32 i’ the 1641, 1692, 1716, W in the G - -[212] 44 ’hem] ’em G - -[213] 46 ’t] it G || ’hem] ’em G - -[214] 49 gi’] give G - -[215] 51 though 1641, f. - -[216] 52 () om. G - -[217] 58 SN.] _He disposes his wife to her place._ G - -[218] 59 [_Aside._ G - -[219] 63 th’art 1641, 1692, 1716 they are W, G SN. om. G - -[220] 64 enjoy 1692, f. - -[221] 74 SN. om. G - -[222] 76 employ W, G - -[223] 83 came W - -[224] 88 characts 1692 Characts 1716 - -[225] 99 jeer W, G - -[226] 115 adventrous 1692, 1716 advent’rous W || th’] the G - -[227] 117 forth] out 1641 - -[228] 121 I’ haue] I have 1692 I’ve 1716, f. - -[229] 127 o’] of G - -[230] 134, 5 misplaced t adjusted 1692. f. - -[231] 135 SN. om. G - -[232] 139 my G - -[233] 143 you’re 1716, W you are G - -[234] 149, 153 SN. [_Sets Manly in his place, and speaks for the lady._ - (after ‘friend.’ 153) G - -[235] 154 utt’red 1692 utter’d 1716, f. - -[236] 160 He’s 1716, f. - -[237] 161 T’ escape W To ’scape 1716 - -[238] 172, 5 venture 1692, f. - -[239] 182 dealt 1692, f. - -[240] 187 nothing] no things 1692, 1716 - -[241] 191 embrace 1692, f. - -[242] 193 SN. om. 1641, 1692, 1716 || _Hee_ om. G - -[243] 194 lighten’d 1716, f. - -[244] 195 sad] said W, G - -[245] 211 I am] I’m W - -[246] 223 be wi’ G - -[247] 224 is mine] is mine owne 1641 is mine own - 1692 ’s mine own 1716, W, G - -[248] 226 I ha’] I’ve G [_Exit._ G - -[249] 229 Ya’ have 1692 You’ve 1716 You W, G SN. om. G - -[250] 230 [_Exit._ G - -[251] 235 Youug] Young 1641, f. || Gentlmans 1641 Gentleman’s 1692, - 1716 gentleman’s W, G - -[252] 240 him] it 1641 - -[253] 241 up.--[_Exit Mrs. Fitz. Enter_ PUG. G - - -ACT. I. SCENE. VII. - -PVG. FITZDOTTREL. INGINE. - - Heere is one _Ingine_, Sir, deſires to ſpeake with you. - - FIT. I thought he brought ſome newes, of a broker! Well, - Let him come in, good _Diuell_: fetch him elſe. - O, my fine _Ingine_! what’s th’affaire? more cheats? - - ING. No Sir, the Wit, the Braine, the great _Proiector_, 5 - I told you of, is newly come to towne. - - FIT. Where, _Ingine_? - - ING. I ha’ brought him (H’is without) - Ere hee pull’d off his boots, Sir, but ſo follow’d, - For buſineſſes: - - FIT. But what is a _Proiector_? - I would conceiue. - - ING. Why, one Sir, that proiects 10 - Wayes to enrich men, or to make ’hem great, - By ſuites, by marriages, by vndertakings: - According as he ſees they humour it. - - FIT. Can hee not coniure at all? - - ING. I thinke he can, Sir. - (To tell you true) but, you doe know, of late, 15 - The State hath tane ſuch note of ’hem, and compell’d ’hem, - To enter ſuch great bonds, they dare not practice. - - FIT. ’Tis true, and I lie fallow for’t, the while! - - ING. O, Sir! you’ll grow the richer for the reſt. - - FIT. I hope I ſhall: but _Ingine_, you doe talke 20 - Somewhat too much, o’ my courſes. My Cloake-cuſtomer - Could tell mee ſtrange particulars. - - ING. By my meanes? [111] - - FIT. How ſhould he haue ’hem elſe? - - ING. You do not know, S^r, - What he has: and by what arts! A monei’d man, Sir, - And is as great with your _Almanack-Men_, as you are! 25 - - FIT. That Gallant? - - ING. You make the other wait too long, here: - And hee is extreme punctuall. - - FIT. Is he a gallant? - - ING. Sir, you ſhall ſee: He’is in his riding ſuit, - As hee comes now from Court. But heere him ſpeake: - Miniſter matter to him, and then tell mee. 30 - -[254] SD. om. G - -[255] 3 _Exit Pug. Re-enter_ ENGINE. G - -[256] 4 th’] the G§ - -[257] 7 H’is] he’s 1716, f. () ret. G - -[258] 9 businesse 1641 - -[259] 12 undertaking 1641 - -[260] 16 ’hem] ’em G - -[261] 21 o’ ret. G - -[262] 27 a om. 1692, 1716, W - -[263] 28 He’is] He’s 1716 he’s W, G - -[264] 30 [_Exeunt._ G - - - - -ACT. IJ. SCENE. I. - - -MEER-CRAFT. FITZ-DOTTREL. INGINE. - TRAINES. PVG. - - Sir, money’s a whore, a bawd, a drudge; - Fit to runne out on errands: Let her goe. - _Via pecunia!_ when ſhe’s runne and gone, - And fled and dead; then will I fetch her, againe, - With _Aqua-vitæ_, out of an old Hogs-head! 5 - While there are lees of wine, or dregs of beere, - I’le neuer want her! Coyne her out of cobwebs, - Duſt, but I’ll haue her! Raiſe wooll vpon egge-ſhells, - Sir, and make graſe grow out o’ marro-bones. - To make her come. (Commend mee to your Miſtreſſe, 10 - _To a waiter._ - Say, let the thouſand pound but be had ready, - And it is done) I would but ſee the creature - (Of fleſh, and blood) the man, the _prince_, indeed, - That could imploy ſo many millions - As I would help him to. - - FIT. How, talks he? millions? 15 - - MER. (I’ll giue you an account of this to morrow.) - Yes, I will talke no leſſe, and doe it too; - _To another._ - If they were _Myriades_: and without the _Diuell_, - By direct meanes, it ſhall be good in law. - - ING. Sir. [112] - - MER. Tell M^r. _Wood-cock_, I’ll not faile to meet him 20 - _To a third._ - Vpon th’ _Exchange_ at night. Pray him to haue - The writings there, and wee’ll diſpatch it. Sir, - _He turnes to_ Fitz-dottrel. - You are a Gentleman of a good preſence, - A handſome man (I haue conſidered you) - As a fit ſtocke to graft honours vpon: 25 - I haue a proiect to make you a _Duke_, now. - That you muſt be one, within ſo many moneths, - As I ſet downe, out of true reaſon of ſtate, - You ſha’ not auoyd it. But you muſt harken, then. - - ING. Harken? why S^r, do you doubt his eares? Alas! 30 - You doe not know Maſter _Fitz-dottrel_. - - FIT. He do’s not know me indeed. I thank you, _Ingine_, - For rectifying him. - - MER. Good! Why, _Ingine_, then - _He turnes to_ Ingine. - I’le tell it you. (I see you ha’ credit, here, - And, that you can keepe counſell, I’ll not queſtion.) 35 - Hee ſhall but be an vndertaker with mee, - In a moſt feaſible bus’neſſe. It shall cost him - Nothing. - - ING. Good, S^r. - - MER. Except he pleaſe, but’s count’nance; - (That I will haue) t’appeare in’t, to great men, - For which I’ll make him one. Hee ſhall not draw 40 - A ſtring of’s purſe. I’ll driue his pattent for him. - We’ll take in Cittizens, _Commoners_, and _Aldermen_, - To beare the charge, and blow ’hem off againe, - Like ſo many dead flyes, when ’tis carryed. - The thing is for recouery of drown’d land, 45 - Whereof the _Crowne’s_ to haue his moiety, - If it be owner; Elſe, the _Crowne_ and Owners - To ſhare that moyety: and the recouerers - T’enioy the tother moyety, for their charge. - - ING. Thorowout _England_? - - MER. Yes, which will ariſe 50 - To eyghteene _millions_, ſeuen the firſt yeere: - I haue computed all, and made my ſuruay - Vnto an acre. I’ll beginne at the Pan, - Not, at the skirts: as ſome ha’ done, and loſt, - All that they wrought, their timber-worke, their trench, 55 - Their bankes all borne away, or elſe fill’d vp - By the next winter. Tut, they neuer went - The way: I’ll haue it all. - - ING. A gallant tract - Of land it is! - - MER. ’Twill yeeld a pound an acre. - Wee muſt let cheape, euer, at firſt. But Sir, 60 - This lookes too large for you, I ſee. Come hither, - We’ll haue a leſſe. Here’s a plain fellow, you ſee him, - Has his black bag of papers, there, in Buckram, - Wi’ not be ſold for th’Earledome of _Pancridge_: Draw, - Gi’ me out one, by chance. Proiect. 4. _Dog-skinnes?_ 65 - Twelue thouſand pound! the very worſt, at firſt. [113] - - FIT. Pray, you let’s ſee’t Sir. - - MER. ’Tis a toy, a trifle! - - FIT. Trifle! 12. thouſand pound for dogs-skins? - - MER. Yes, - But, by my way of dreſſing, you muſt know, Sir, - And med’cining the leather, to a height 70 - Of improu’d ware, like your _Borachio_ - Of _Spaine_, Sir. I can fetch nine thouſand for’t-- - - ING. Of the Kings glouer? - - MER. Yes, how heard you that? - - ING. Sir, I doe know you can. - - MER. Within this houre: - And reſerue halfe my ſecret. Pluck another; 75 - See if thou haſt a happier hand: I thought ſo. - _Hee pluckes out the 2. Bottle-ale._ - The very next worſe to it! Bottle-ale. - Yet, this is two and twenty thouſand! Pr’y thee - Pull out another, two or three. - - FIT. Good, ſtay, friend, - By bottle-ale, two and twenty thouſand pound? 80 - - MER. Yes, Sir, it’s caſt to penny-hal’penny-farthing, - O’ the back-ſide, there you may ſee it, read, - I will not bate a _Harrington_ o’ the ſumme. - I’ll winne it i’ my water, and my malt, - My furnaces, and hanging o’ my coppers, 85 - The tonning, and the ſubtilty o’ my yeſt; - And, then the earth of my bottles, which I dig, - Turne vp, and ſteepe, and worke, and neale, my ſelfe, - To a degree of _Porc’lane_. You will wonder, - At my proportions, what I will put vp 90 - In ſeuen yeeres! for ſo long time, I aske - For my inuention. I will ſaue in cork, - In my mere ſtop’ling, ’boue three thouſand pound, - Within that terme: by googing of ’hem out - Iuſt to the ſize of my bottles, and not ſlicing, 95 - There’s infinite loſſe i’ that. What haſt thou there? - O’ making wine of raiſins: this is in hand, now, - _Hee drawes out another_. Raiſines. - - ING. Is not that ſtrange, S^r, to make wine of raiſins? - - MER. Yes, and as true a wine, as the wines of _France_, - Or _Spaine_, or _Italy_, Looke of what grape 100 - My raiſin is, that wine I’ll render perfect, - As of the _muſcatell_ grape, I’ll render _muſcatell_; - Of the _Canary_, his; the _Claret_, his; - So of all kinds: and bate you of the prices, - Of wine, throughout the kingdome, halfe in halfe. 105 - - ING. But, how, S^r, if you raiſe the other commodity, Rayſins? - - MER. Why, then I’ll make it out of blackberries: - And it ſhall doe the ſame. ’Tis but more art, - And the charge leſſe. Take out another. - - FIT. No, good Sir. - Saue you the trouble, I’le not looke, nor heare 110 - Of any, but your firſt, there; the _Drown’d-land_: - If’t will doe, as you ſay. - - MER. Sir, there’s not place, - To gi’ you demonſtration of theſe things. [114] - They are a little to ſubtle. But, I could ſhew you - Such a neceſſity in’t, as you muſt be 115 - But what you pleaſe: againſt the receiu’d hereſie, - That _England_ beares no Dukes. Keepe you the land, S^r, - The greatneſſe of th’ eſtate ſhall throw’t vpon you. - If you like better turning it to money, - What may not you, S^r, purchaſe with that wealth? 120 - Say, you ſhould part with two o’ your millions, - To be the thing you would, who would not do’t? - As I proteſt, I will, out of my diuident, - Lay, for ſome pretty principality, - In _Italy_, from the Church: Now, you perhaps, 125 - Fancy the ſmoake of _England_, rather? But-- - Ha’ you no priuate roome, Sir, to draw to, - T’enlarge our ſelues more vpon. - - FIT. O yes, _Diuell_! - - MER. Theſe, Sir, are bus’neſſes, aske to be carryed - With caution, and in cloud. - - FIT. I apprehend, 130 - They doe ſo, S^r. _Diuell_, which way is your Miſtreſſe? - - PVG. Aboue, S^r. in her chamber. - - FIT. O that’s well. - Then, this way, good, Sir. - - MER. I ſhall follow you; _Traines_, - Gi’ mee the bag, and goe you preſently, - Commend my ſeruice to my Lady _Tail-buſh_. 135 - Tell her I am come from Court this morning; ſay, - I’haue got our bus’neſſe mou’d, and well: Intreat her, - That ſhee giue you the four-ſcore Angels, and ſee ’hem - Diſpos’d of to my Councel, Sir _Poul Eytherſide_. - Sometime, to day, I’ll waite vpon her Ladiſhip, 140 - With the relation. - - ING. Sir, of what diſpatch, - He is! Do you marke? - - MER. _Ingine_, when did you ſee - My couſin _Euer-ill_? keepes he ſtill your quarter? - I’ the _Bermudas_? - - ING. Yes, Sir, he was writing - This morning, very hard. - - MER. Be not you knowne to him, - That I am come to Towne: I haue effected 146 - A buſineſſe for him, but I would haue it take him, - Before he thinks for’t. - - ING. Is it paſt? - - MER. Not yet. - ’Tis well o’ the way. - - ING. O Sir! your worſhip takes - Infinit paines. - - MER. I loue Friends, to be actiue: 150 - A ſluggish nature puts off man, and kinde. - - ING. And ſuch a bleſſing followes it. - - MER. I thanke - My fate. Pray you let’s be priuate, Sir? - - FIT. In, here. - - MER. Where none may interrupt vs. - - FIT. You heare, _Diuel_, - Lock the ſtreete-doores faſt, and let no one in 155 - (Except they be this Gentlemans followers) - To trouble mee. Doe you marke? Yo’ haue heard and ſeene - Something, to day; and, by it, you may gather - Your Miſtreſſe is a fruite, that’s worth the ſtealing - And therefore worth the watching. Be you ſure, now [115] - Yo’ haue all your eyes about you; and let in 161 - No lace-woman; nor bawd, that brings French-maſques, - And cut-works. See you? Nor old croanes, with wafers, - To conuey letters. Nor no youths, diſguis’d - Like country-wiues, with creame, and marrow-puddings. 165 - Much knauery may be vented in a pudding, - Much bawdy intelligence: They’are ſhrewd ciphers. - Nor turne the key to any neyghbours neede; - Be’t but to kindle fire, or begg a little, - Put it out, rather: all out, to an aſhe, 170 - That they may ſee no ſmoake. Or water, ſpill it: - Knock o’ the empty tubs, that by the ſound, - They may be forbid entry. Say, wee are robb’d, - If any come to borrow a ſpoone, or ſo. - I wi’ not haue good fortune, or gods bleſſing 175 - Let in, while I am buſie. - - PVG. I’le take care, Sir: - They ſha’ not trouble you, if they would. - - FIT. Well, doe ſo. - -[265] SD. MEER. ...] _A Room in_ Fitzdottrel’s _House. -Enter_ FITZDOTTREL, ENGINE, _and_ MEERCRAFT, _followed by_ -TRAINS _with a bag, and three or four Attendants_. G - -[266] 1 ’s] is G - -[267] 10 SN. _To_ ...] [_To 1 Attendant._] G - -[268] 12 done. [_Exit 1 Attend._] G - -[269] 14 employ W, G - -[270] 15 How, talks] How talks 1716, f. - -[271] 17 SN.] [_To 2 Attendant._] [_Exit 2 Atten._ G || talke] - take 1641, 1716, f. - -[272] 18 _Myriads_ 1716 Myriads W myriads G - -[273] 20 SN. om. 1641, 1692. 1716, W [_to 3 Atten._] G || M^r.] - master G passim - -[274] 22 it. [_Exit 3 Atten._] G || SN. om. 1641, f. - -[275] 24 () om. W - -[276] 28 reasons G - -[277] 29 sha’] shall G - -[278] 33 SN. om. 1641. f. - -[279] 34 it om. 1641 - -[280] 34, 35, 39 () ret. G - -[281] 44 ’tis] it is G - -[282] 46 his] a 1641, f. - -[283] 50 Throughout 1641, 1692, 1716, W Thoroughout G - -[284] 53 an] my 1692, f. - -[285] 62 fellow, [_points to Trains_] G - -[286] 64 Wi’] Will W, G - -[287] 65 chance. [_Trains gives him a paper out of the bag._] G || -Project; foure 1641 Project: four 1692, 1716 Project four; W Project -four: G || Dog-skinnes] dogs-skins 1641 Dogs Skins 1692, 1716 dogs -skins W Dogs’ skins G - -[288] 67 see’t] see it G - -[289] 68 MER. Yes,] included in line 69 1692, 1716, W - -[290] 69 my om. 1641 - -[291] 76 SN. _Hee_ ...] [_Trains draws out another._] -(after ‘hand:’ 76) G - -[292] 78 Pr’y thee] Pry’thee W Prithee G - -[293] 78-80 Pr’y thee--pound? om. 1692, 1716 - -[294] 81 hal’] half G - -[295] 89 Proc’lane 1641 porcelane G - -[296] 93 above G - -[297] 97 O’] O! G || SN.] [_Trains draws out another._] G - -[298] 99 a om. 1641 - -[299] 103 Of the] Of 1641 - -[300] 114 subtile 1692, 1716, W - -[301] 115 in’t] in it G - -[302] 123 Dividend 1716 dividend W, G - -[303] 124 petty 1692, 1716, W - -[304] 131 so om. G sir.--_Enter_ PUG. G - -[305] 137 entreat W, G - -[306] 141 relation. [_Exit Trains._ G - -[307] 142 mark? [_Aside to Fitz._ G - -[308] 150 love] love, 1716, W - -[309] 154 us. [_Exeunt Meer. and Engine._ G - -[310] 157, 161 Yo’haue] You’ve 1716, W - -[311] 169 ’t] it G - -[312] 175 will G§ good fortune, gods blessing] G capitalizes throughout. - -[313] 177 _Exit._ G SD. om. G - - -ACT. II. SCENE. II. - -PVG. Miſtreſſe FITZDOTTRELL. - - I haue no ſingular ſeruice of this, now? - Nor no ſuperlatiue Maſter? I ſhall wiſh - To be in hell againe, at leaſure? Bring, - A _Vice_ from thence? That had bin ſuch a ſubtilty, - As to bring broad-clothes hither: or tranſport 5 - Freſh oranges into _Spaine_. I finde it, now: - My _Chiefe_ was i’ the right. Can any feind - Boaſt of a better _Vice_, then heere by nature, - And art, th’are owners of? Hell ne’r owne mee, - But I am taken! the fine tract of it 10 - Pulls mee along! To heare men ſuch profeſſors - Growne in our ſubtleſt _Sciences_! My firſt _Act_, now, - Shall be, to make this Maſter of mine cuckold: - The primitiue worke of darkneſſe, I will practiſe! - I will deſerue ſo well of my faire Miſtreſſe, 15 - By my diſcoueries, firſt; my counſells after; - And keeping counſell, after that: as who, - So euer, is one, I’le be another, ſure, - I’ll ha’ my ſhare. Most delicate damn’d fleſh! - Shee will be! O! that I could ſtay time, now, [116] 20 - Midnight will come too faſt vpon mee, I feare, - To cut my pleaſure-- - - M^rs. FI. Looke at the back-doore, - _Shee ſends_ Diuell _out_. - One knocks, ſee who it is. - - PVG. Dainty _ſhe-Diuell_! - - M^rs. FI. I cannot get this venter of the cloake, - Out of my fancie; nor the Gentlemans way, 25 - He tooke, which though ’twere ſtrange, yet ’twas handſome, - And had a grace withall, beyond the newneſſe. - Sure he will thinke mee that dull ſtupid creature, - Hee ſaid, and may conclude it; if I finde not - Some thought to thanke th’ attemp. He did preſume, 30 - By all the carriage of it, on my braine, - For anſwer; and will ſweare ’tis very barren, - If it can yeeld him no returne. Who is it? - - Diuell _returnes_. - - PVG. Miſtreſſe, it is, but firſt, let me aſſure - The excellence, of Miſtreſſes, I am, 35 - Although my Maſters man, my Miſstreſſe ſlaue, - The ſeruant of her ſecrets, and ſweete turnes, - And know, what fitly will conduce to either. - - M^rs. FI. What’s this? I pray you come to your ſelfe and thinke - What your part is: to make an anſwer. Tell, 40 - Who is it at the doore? - - PVG. The Gentleman, M^rs, - Who was at the cloake-charge to ſpeake with you, - This morning, who expects onely to take - Some ſmall command’ments from you, what you pleaſe, - Worthy your forme, hee ſaies, and gentleſt manners. 45 - - M^rs. FI. O! you’ll anon proue his hyr’d man, I feare, - What has he giu’n you, for this meſſage? Sir, - Bid him put off his hopes of ſtraw, and leaue - To ſpread his nets, in view, thus. Though they take - Maſter _Fitz-dottrell_, I am no ſuch foule, 50 - Nor faire one, tell him, will be had with ſtalking. - And wiſh him to for-beare his acting to mee, - At the Gentlemans chamber-window in _Lincolnes-Inne_ there, - That opens to my gallery: elſe, I ſweare - T’acquaint my huſband with his folly, and leaue him 55 - To the iuſt rage of his offended iealouſie. - Or if your Maſters ſenſe be not ſo quicke - To right mee, tell him, I ſhall finde a friend - That will repaire mee. Say, I will be quiet. - In mine owne houſe? Pray you, in thoſe words giue it him. 60 - - PVG. This is ſome foole turn’d! - - _He goes out._ - - M^rs. FI. If he be the Maſter, - Now, of that ſtate and wit, which I allow him; - Sure, hee will vnderſtand mee: I durſt not - Be more direct. For this officious fellow, - My husbands new groome, is a ſpie vpon me, 65 - I finde already. Yet, if he but tell him - This in my words, hee cannot but conceiue [117] - Himſelfe both apprehended, and requited. - I would not haue him thinke hee met a _ſtatue_: - Or ſpoke to one, not there, though I were ſilent. 70 - How now? ha’ you told him? - - PVG. Yes. - - M^rs. FI. And what ſaies he? - - PVG. Sayes he? That which my ſelf would ſay to you, if I durſt. - That you are proude, ſweet Miſtreſſe? and with-all, - A little ignorant, to entertaine - The good that’s proffer’d; and (by your beauties leaue) 75 - Not all ſo wiſe, as ſome true politique wife - Would be: who hauing match’d with ſuch a _Nupſon_ - (I ſpeake it with my Maſters peace) whoſe face - Hath left t’accuſe him, now, for’t doth confeſſe him, - What you can make him; will yet (out of ſcruple, 80 - And a ſpic’d conſcience) defraud the poore Gentleman, - At leaſt delay him in the thing he longs for, - And makes it hs whole ſtudy, how to compaſſe, - Onely a title. Could but he write _Cuckold_, - He had his ends. For, looke you-- - - M^rs. FI. This can be 85 - None but my husbands wit. - - PVG. My pretious M^rs. - - M. FI. It creaks his _Ingine_: The groome neuer durſt - Be, elſe, so ſaucy-- - - PVG. If it were not clearely, - His worſhipfull ambition; and the top of it; - The very forked top too: why ſhould hee 90 - Keepe you, thus mur’d vp in a back-roome, Miſtreſſe, - Allow you ne’r a caſement to the ſtreete, - Feare of engendering by the eyes, with gallants, - Forbid you paper, pen and inke, like Rats-bane. - Search your halfe pint of _muſcatell_, leſt a letter 95 - Be ſuncke i’ the pot: and hold your new-laid egge - Againſt the fire, leſt any charme be writ there? - Will you make benefit of truth, deare Miſtreſſe, - If I doe tell it you: I do’t not often? - I am ſet ouer you, imploy’d, indeed, 100 - To watch your ſteps, your lookes, your very breathings, - And to report them to him. Now, if you - Will be a true, right, delicate ſweete Miſtreſſe, - Why, wee will make a _Cokes_ of this _Wiſe Maſter_, - We will, my Miſtreſſe, an abſolute fine _Cokes_, 105 - And mock, to ayre, all the deepe diligences - Of ſuch a ſolemne, and effectuall Aſſe, - An Aſſe to ſo good purpoſe, as wee’ll vſe him. - I will contriue it ſo, that you ſhall goe - To _Playes_, to _Maſques_, to _Meetings_, and to _Feaſts_. 110 - For, why is all this Rigging, and fine Tackle, Miſtris, - If you neat handſome veſſells, of good ſayle, - Put not forth euer, and anon, with your nets - Abroad into the world. It is your fiſhing. [118] - There, you ſhal chooſe your friends, your ſeruants, Lady, - Your ſquires of honour; I’le conuey your letters, 116 - Fetch anſwers, doe you all the offices, - That can belong to your bloud, and beauty. And, - For the variety, at my times, although - I am not in due _ſymmetrie_, the man 120 - Of that proportion; or in rule - Of _phyſicke_, of the iuſt complexion: - Or of that truth of _Picardill_, in clothes, - To boaſt a ſoueraignty o’re Ladies: yet - I know, to do my turnes, ſweet Miſtreſſe. Come, kiſſe-- - - M^rs. FI. How now! - - PVG. Deare delicate Miſt. I am your ſlaue, 126 - Your little _worme_, that loues you: your fine _Monkey_; - Your _Dogge_, your _Iacke_, your _Pug_, that longs to be - Stil’d, o’ your pleaſures. - - M^rs. FIT. Heare you all this? Sir, Pray you, - Come from your ſtanding, doe, a little, ſpare 130 - _Shee thinkes her huſband watches._ - Your ſelfe, Sir, from your watch, t’applaud your _Squire_, - That ſo well followes your inſtructions! - -[314] 5 cloths G - -[315] 9 they’re 1716, f. || never G - -[316] 18 I will G - -[317] 22 pleasure--_Enter Mrs._ FITZDOTTREL. SN. om. G - -[318] 23 [_Aside and exit._ G - -[319] 24 venture 1692, f. - -[320] 26 it was G - -[321] 30 attempt 1641, f. - -[322] 33 SN.] _Re-enter_ PUG. G - -[323] 34 it is,] it is--W - -[324] 41 it om. 1692, f. || M^rs] Mistresse 1641 Mistris 1692 Mistress - 1716 mistress W, G - -[325] 48 put 1641, f. - -[326] 59 Period om. after ‘quiet’ 1716, f. - -[327] 61 SN.] [_Exit._ G - -[328] 70 _Re-enter_ PUG. G - -[329] 78, 80, 81 () ret. G - -[330] 79 ’t] it G - -[331] 84 hs] his 1641, f. - -[332] 86 M^rs. as in 2. 2. 41 || wit. [_Aside._ G - -[333] 88 saucy. [_Aside_. G - -[334] 91 black Room 1716 - -[335] 93 engendring 1641 - -[336] 100 employ’d 1716, f. - -[337] 112 your G - -[338] 123 _Piccardell_ 1641 - -[339] 126 Mist.] as in 2. 2. 41 - -[340] 130 _Mrs. Fitz._ [_aloud_] - -[341] 131 SN. om. G - - -ACT. II. SCENE. III. - -FITZ-DOTTRELL. Miſtreſſe FITZ-DOTTREL. PVG. - - How now, ſweet heart? what’s the matter? - - M^rs. FI. Good! - You are a ſtranger to the plot! you ſet not - Your fancy _Diuell_, here, to tempt your wife, - With all the inſolent vnciuill language, - Or action, he could vent? - - FIT. Did you so, _Diuell_? 5 - - M^rs. FIT. Not you? you were not planted i’ your hole to heare him, - Vpo’ the ſtayres? or here, behinde the hangings? - I doe not know your qualities? he durſt doe it, - And you not giue directions? - - FIT. You shall ſee, wife, - Whether he durſt, or no: and what it was, 10 - I did direct. - - _Her huſband goes out, and enters presently with a - cudgell vpon him._ - - PVG. Sweet Miſtreſſe, are you mad? - - FIT. You moſt mere Rogue! you open manifeſt Villaine! - You Feind apparant you! you declar’d Hel-hound! - - PVG. Good S^r. - - FIT. Good Knaue, good Raſcal, and good Traitor. - Now, I doe finde you parcel-_Diuell_, indeed. 15 - Vpo’ the point of truſt? I’ your firſt charge? - The very day o’ your probation? - To tempt your Miſtreſſe? You doe ſee, good wedlocke, - How I directed him. - - M^rs. FIT. Why, where S^r? were you? [119] - - FIT. Nay, there is one blow more, for exerciſe: 20 - _After a pause. He ſtrikes him againe_ - I told you, I ſhould doe it. - - PVG. Would you had done, Sir. - - FIT. O wife, the rareſt man! yet there’s another - To put you in mind o’ the laſt, ſuch a braue man, wife! - Within, he has his proiects, and do’s vent ’hem, - _and againe._ - The gallanteſt! where you _tentiginous_? ha? 25 - Would you be acting of the _Incubus_? - Did her ſilks ruſtling moue you? - - PVG. Gentle Sir. - - FIT. Out of my ſight. If thy name were not _Diuell_, - Thou ſhouldſt not ſtay a minute with me. In, - Goe, yet ſtay: yet goe too. I am reſolu’d. 30 - What I will doe: and you ſhall know’t afore-hand. - Soone as the Gentleman is gone, doe you heare? - I’ll helpe your liſping. Wife, ſuch a man, wife! - Diuell _goes out_. - He has ſuch plots! He will make mee a _Duke_! - No leſſe, by heauen! ſix Mares, to your coach, wife! 35 - That’s your proportion! And your coach-man bald! - Becauſe he ſhall be bare, inough. Doe not you laugh, - We are looking for a place, and all, i’ the map - What to be of. Haue faith, be not an Infidell. - You know, I am not eaſie to be gull’d. 40 - I ſweare, when I haue my _millions_, elſe. I’ll make - Another _Dutcheſſe_: if you ha’ not faith. - - M^rs. FI. You’ll ha’ too much, I feare, in theſe falſe ſpirits. - - FIT. Spirits? O, no such thing! wife! wit, mere wit! - This man defies the _Diuell_, and all his works! 45 - He dos’t by _Ingine_, and deuiſes, hee! - He has his winged ploughes, that goe with ſailes, - Will plough you forty acres, at once! and mills. - Will ſpout you water, ten miles off! All _Crowland_ - Is ours, wife; and the fens, from vs, in _Norfolke_, 50 - To the vtmoſt bound of _Lincoln-ſhire_! we haue view’d it, - And meaſur’d it within all; by the ſcale! - The richeſt tract of land, Loue, i’ the kingdome! - There will be made ſeuenteene, or eighteene _millions_; - Or more, as’t may be handled! wherefore, thinke, 55 - Sweet heart, if th’ haſt a fancy to one place, - More then another, to be _Dutcheſſe_ of; - Now, name it: I will ha’t what ere it coſt, - (If’t will be had for money) either here, 59 - Or’n _France_, or _Italy_. - - M^rs. FI. You ha’ ſtrange phantaſies! - -[342] SD. om. _Enter_ FITZDOTTREL. G - -[343] 1 ’s] is G - -[344] 2 set] see W - -[345] 7 upon G§ - -[346] 10, 11 Whether ... direct.] All in line 10. 1692, 1716 - -[347] 11 SN.] [_Exit. Re-enter_ FITZDOTTREL _with a cudgel_. G - -[348] 18 mistress! [_Beats Pug._ G - -[349] 20 SN.] [_Strikes him again._ G - -[350] 22, 23 yet ... last] euclosed by () W, G - -[351] 23 o’ ret. G - -[352] 25 where] were 1716, W Were G - -[353] 24 SN.] [_Beats him again._] G - -[354] 33 SN.] [_Exit Pug._] G - -[355] 46 _Engine_ 1716 Engine W engine G - -[356] 51 bounds 1692, f. || of] in G - -[357] 56 th’] thou G - -[358] 58 have ’t G - -[359] 60 Or’n] Or’in 1692 Or in 1716, f. - - -ACT. II. SCENE. IV. - - MERE-CRAFT. FITZ-DOTTRELL. - INGINE. - - Where are you, Sir? - - FIT. I ſee thou haſt no _talent_ [120] - This way, wife. Vp to thy gallery; doe, _Chuck_, - Leaue vs to talke of it, who vnderſtand it. - - MER. I thinke we ha’ found a place to fit you, now, Sir. - _Gloc’ſter_. - - FIT. O, no, I’ll none! - - MER. Why, S^r? - - FIT. Tis fatall. 5 - - MER. That you ſay right in. _Spenſer_, I thinke, the younger, - Had his laſt honour thence. But, he was but _Earle_. - - FIT. I know not that, Sir. But _Thomas_ of _Woodſtocke_, - I’m ſure, was _Duke_, and he was made away, - At _Calice_; as _Duke Humphrey_ was at _Bury_: 10 - And _Richard_ the third, you know what end he came too. - - MER. By m’faith you are cunning i’ the _Chronicle_, Sir. - - FIT. No, I confeſſe I ha’t from the _Play-bookes_, - And thinke they’are more _authentique_. - - ING. That’s ſure, Sir. - - MER. What ſay you (to this then) - - _He whiſpers him of a place._ - - FIT. No, a noble houſe. 15 - Pretends to that. I will doe no man wrong. - - MER. Then take one propoſition more, and heare it - As paſt exception. - - FIT. What’s that? - - MER. To be - _Duke_ of thoſe lands, you ſhall recouer; take - Your title, thence, Sir, _Duke_ of the _Drown’d lands_, 20 - Or _Drown’d-land_. - - FIT. Ha? that laſt has a good ſound! - I like it well. The _Duke_ of _Drown’d-land_? - - ING. Yes; - It goes like _Groen-land_, Sir, if you marke it. - - MER. I, - And drawing thus your honour from the worke, - You make the reputation of that, greater; 25 - And ſtay’t the longer i’ your name. - - FIT. ’Tis true. - _Drown’d-lands_ will liue in _Drown’d-land_! - - MER. Yes, when you - Ha’ no foote left; as that muſt be, Sir, one day. - And, though it tarry in your heyres, some _forty_, - _Fifty_ deſcents, the longer liuer, at laſt, yet, 30 - Muſt thruſt ’hem out on’t: if no quirk in law, - Or odde _Vice_ o’ their owne not do’it firſt. - Wee ſee thoſe changes, daily: the faire lands, - That were the _Clyents_, are the _Lawyers_, now: - And thoſe rich Mannors, there, of good man _Taylors_, 35 - Had once more wood vpon ’hem, then the yard, - By which th’ were meaſur’d out for the laſt purchaſe. [121] - Nature hath theſe viciſſitudes. Shee makes - No man a ſtate of perpetuety, Sir. - - FIT. Yo’ are i’ the right. Let’s in then, and conclude. 40 - _Hee ſpies_ Diuell. - I my ſight, againe? I’ll talke with you, anon. - -[360] SD. ACT. ...] om. _Enter_ MEERCRAFT _and_ ENGINE. G - -[361] 3 [_Exit Mrs. Fitz._ G - -[362] 6 comma after ‘thinke’ om. 1692, f. - -[363] 12 m’] my W, G - -[364] 13 have it G - -[365] 14,18 ’s] is W, G - -[366] 15 SN.] [_whispers him._] G - -[367] 15 period after ‘house’ om. 1716, f. - -[368] 26 ’t] it G - -[369] 32 do’t 1641 - -[370] 37 th’] they G - -[371] 40 You’re 1716, W || SN.] _Re-enter_ PUG. G - -[372] 41 [_Exeunt Fitz. Meer. and Engine._ G || I] I’ 1716, W In G - - -ACT. II. SCENE. V. - -PVG. - - Svre hee will geld mee, if I stay: or worſe, - Pluck out my tongue, one o’ the two. This Foole, - There is no truſting of him: and to quit him, - Were a contempt againſt my _Chiefe_, paſt pardon. - It was a ſhrewd diſheartning this, at firſt! 5 - Who would ha’ thought a woman ſo well harneſs’d, - Or rather well-capariſon’d, indeed, - That weares ſuch petticoates, and lace to her ſmocks, - Broad ſeaming laces (as I ſee ’hem hang there) - And garters which are loſt, if ſhee can ſhew ’hem, 10 - Could ha’ done this? _Hell!_ why is ſhee ſo braue? - It cannot be to pleaſe _Duke Dottrel_, ſure, - Nor the dull pictures, in her gallery, - Nor her owne deare reflection, in her glaſſe; - Yet that may be: I haue knowne many of ’hem, 15 - Beginne their pleaſure, but none end it, there: - (That I conſider, as I goe a long with it) - They may, for want of better company, - Or that they thinke the better, ſpend an houre; - Two, three, or foure, diſcourſing with their ſhaddow: 20 - But ſure they haue a farther ſpeculation. - No woman dreſt with ſo much care, and ſtudy, - Doth dreſſe her ſelfe in vaine. I’ll vexe this _probleme_, - A little more, before I leaue it, ſure. - -[373] SD. om. G - -[374] 5 disheartening G - -[375] 9 () ret. G - -[376] 17 () ret. G - -[377] 24 [_Exit._ G - - -ACT. IJ. SCENE. VI. - -WITTIPOL. MANLY. Miſtreſſe FITZ-DOTTREL. - PVG. - - This was a fortune, happy aboue thought, [122] - That this ſhould proue thy chamber: which I fear’d - Would be my greateſt trouble! this muſt be - The very window, and that the roome. - - MAN. It is. - I now remember, I haue often ſeene there 5 - A woman, but I neuer mark’d her much. - - WIT. Where was your ſoule, friend? - - MAN. Faith, but now, and then, - Awake vnto thoſe obiects. - - WIT. You pretend ſo. - Let mee not liue, if I am not in loue - More with her wit, for this direction, now, 10 - Then with her forme, though I ha’ prais’d that prettily, - Since I ſaw her, and you, to day. Read thoſe. - _Hee giues him a paper, wherein is the copy of a Song._ - They’ll goe vnto the ayre you loue ſo well. - Try ’hem vnto the note, may be the muſique - Will call her ſooner; light, ſhee’s here. Sing quickly. 15 - - M^rs. FIT. Either he vnderſtood him not: or elſe, - The fellow was not faithfull in deliuery, - Of what I bad. And, I am iuſtly pay’d, - That might haue made my profit of his ſeruice, - But, by miſ-taking, haue drawne on his enuy, 20 - And done the worſe defeate vpon my ſelfe. - Manly _ſings_, Pug _enters perceiues it_. - How! Muſique? then he may be there: and is sure. - - PVG. O! Is it ſo? Is there the enter-view? - Haue I drawne to you, at laſt, my cunning _Lady_? - The _Diuell_ is an _Aſſe_! fool’d off! and beaten! 25 - Nay, made an inſtrument! and could not ſent it! - Well, ſince yo’ haue ſhowne the malice of a woman, - No leſſe then her true wit, and learning, Miſtreſſe, - I’ll try, if little _Pug_ haue the malignity - To recompence it, and ſo ſaue his danger. 30 - ’Tis not the paine, but the diſcredite of it, - The _Diuell_ ſhould not keepe a body intire. - - WIT. Away, fall backe, ſhe comes. - - MAN. I’ll leaue you, Sir, - The Maſter of my chamber. I haue buſineſſe. - - WIT. M^rs! - - M^rs. FI. You make me paint, S^r. - - WIT. The’are faire colours, 35 - _Lady_, and naturall! I did receiue - Some commands from you, lately, gentle _Lady_, [123] - _This Scene is acted at two windo’s as out of_ - _two contiguous buildings._ - But ſo perplex’d, and wrap’d in the deliuery, - As I may feare t’haue miſ-interpreted: - But muſt make ſuit ſtill, to be neere your grace. 40 - - M^rs. FI. Who is there with you, S^r? - - WIT. None, but my ſelfe. - It falls out. _Lady_, to be a deare friends lodging. - Wherein there’s ſome conſpiracy of fortune - With your poore ſeruants bleſ affections. - - M^rs. FI. Who was it ſung? - - WIT. He, _Lady_, but hee’s gone, 45 - Vpon my entreaty of him, ſeeing you - Approach the window. Neither need you doubt him, - If he were here. He is too much a gentleman. - - M^rs. FI. Sir, if you iudge me by this ſimple action, - And by the outward habite, and complexion 50 - Of eaſineſſe, it hath, to your deſigne; - You may with Iuſtice, ſay, I am a woman: - And a ſtrange woman. But when you ſhall pleaſe, - To bring but that concurrence of my fortune, - To memory, which to day your ſelfe did vrge: 55 - It may beget ſome fauour like excuſe, - Though none like reaſon. - - WIT. No, my tune-full Miſtreſſe? - Then, ſurely, _Loue_ hath none: nor _Beauty_ any; - Nor _Nature_ violenced, in both theſe: - With all whoſe gentle tongues you ſpeake, at once. 60 - I thought I had inough remou’d, already, - That ſcruple from your breſt, and left yo’ all reaſon; - When, through my mornings perſpectiue I ſhewd you - A man ſo aboue excuſe, as he is the cauſe, - Why any thing is to be done vpon him: 65 - And nothing call’d an iniury, miſ-plac’d. - I’rather, now had hope, to ſhew you how _Loue_ - By his acceſſes, growes more naturall: - And, what was done, this morning, with ſuch force - Was but deuis’d to ſerue the preſent, then. 70 - That ſince _Loue_ hath the honour to approach - _He grows more familiar in his Court-ſhip._ - Theſe ſiſter-ſwelling breſts; and touch this ſoft, - And roſie hand; hee hath the skill to draw - Their _Nectar_ forth, with kiſſing; and could make - More wanton ſalts, from this braue promontory, 75 - Downe to this valley, then the nimble _Roe_; - _playes with her paps, kiſſeth her hands, &c._ - Could play the hopping _Sparrow_, ’bout theſe nets; - And ſporting _Squirell_ in theſe criſped groues; - Bury himſelfe in euery _Silke-wormes_ kell, - Is here vnrauell’d; runne into the ſnare, 80 - Which euery hayre is, caſt into a curle, - To catch a _Cupid_ flying: Bath himselfe - In milke, and roſes, here, and dry him, there; - Warme his cold hands, to play with this ſmooth, round, [124] - And well torn’d chin, as with the _Billyard_ ball; 85 - Rowle on theſe lips, the banks of loue, and there - At once both plant, and gather kiſſes. _Lady_, - Shall I, with what I haue made to day here, call - All ſenſe to wonder, and all faith to ſigne - The myſteries reuealed in your forme? 90 - And will _Loue_ pardon mee the blasphemy - I vtter’d, when I ſaid, a glaſſe could ſpeake - This beauty, or that fooles had power to iudge it? - - _Doe but looke, on her eyes! They doe light-- - All that_ Loue’s _world comprizeth! 95 - Doe but looke on her hayre! it is bright, - As_ Loue’s _ſtarre, when it riſeth! - Doe but marke, her fore-head’s ſmoother, - Then words that ſooth her! - And from her arched browes, ſuch a grace 100 - Sheds it ſelfe through the face; - As alone, there triumphs to the life, - All the gaine, all the good, of the elements ſtrife!_ - - _Haue you ſeene but a bright Lilly grow, - Before rude hands haue touch’d it? 105 - Haue you mark’d but the fall of the Snow, - Before the ſoyle hath ſmuch’d it? - Haue you felt the wooll o’ the Beuer? - Or Swans downe, euer? - Or, haue ſmelt o’ the bud o’ the Bryer? 110 - Or the Nard i’ the fire? - Or, haue taſted the bag o’ the Bee? - O, ſo white! O, ſo ſoft! O, ſo ſweet is ſhee!_ - -[378] SD. ACT. ...] om. SCENE II. Manly’s _Chambers in Lincoln’s Inn, -opposite_ Fitzdottrel’s _House. Enter_ WITTIPOL _and_ MANLY. G - -[379] 12 SN.] [_Gives him the copy of a song._ G - -[380] 15 _Mrs._ FITZDOTTREL _appears at a window of her house fronting - that of Manly’s Chambers_. G - -[381] 21 worst W || SN. _enters_] _enters and_ 1716, W || Manly ...] - _Manly sings. Enter_ PUG _behind_. G - -[382] 23 interview W, G - -[383] 24 least W - -[384] 27 you’ve 1716, W - -[385] 32 entire W, G || [_Aside and exit._ G - -[386] 33 I’ll] I W, G - -[387] 34 [_Exit_. G - -[388] 35 M^rs!] Mis! 1641 the rest as in 2. 2. 41 || They’re 1716, W - they are G || _Mrs. Fitz._ [_advances to the window._] G - -[389] 35, 36 The’are ... receiue] one line 1692, 1716, W - -[390] 37 SN. om. G - -[391] 39 t’] to 1692, f. - -[392] 62 y’all 1716, W - -[393] 64 he’s W, G - -[394] 71, 76 SN. om. G - -[395] 75 ’salts 1692 ’saults 1716 - -[396] 81 is, cast] is cast 1716, W - -[397] 88 I’ve W - -[398] 98 head’s] head 1641 - -[399] 100 a om. 1641 - -[400] 106 of the] the 1641 - -[401] 108, 112 o’] of W - -[402] 108 Beuer] beaver W, G - -[403] 110 smelt o’ret. G - - -ACT. II. SCENE. VII. - -FITZ-DOTTRELL. WITTIPOL. PVG. - - _Her huſband appeares at her back._ - Is shee ſo, Sir? and, I will keepe her ſo. - If I know how, or can: that wit of man - Will doe’t, I’ll goe no farther. At this windo’ - She ſhall no more be _buz’d_ at. Take your leaue on’t. - If you be ſweet meates, wedlock, or ſweet fleſh, 5 - All’s one: I doe not loue this _hum_ about you. - A flye-blowne wife is not ſo proper, In: [125] - For you, S^r, looke to heare from mee. - - _Hee ſpeakes out of his wiues window._ - - WIT. So, I doe, Sir. - - FIT. No, but in other termes. There’s no man offers - This to my wife, but paies for’t. - - WIT. That haue I, Sir. - - FIT. Nay, then, I tell you, you are. - - WIT. What am I, Sir? 11 - - FIT. Why, that I’ll thinke on, when I ha’ cut your throat. - - WIT. Goe, you are an _Aſſe_. - - FIT. I am reſolu’d on’t, Sir. - - WIT. I thinke you are. - - FIT. To call you to a reckoning. - - WIT. Away, you brokers blocke, you property. 15 - - FIT. S’light, if you ſtrike me, I’ll ſtrike your Miſtreſſe. - - _Hee ſtrikes his wife._ - - WIT. O! I could ſhoote mine eyes at him, for that, now; - Or leaue my teeth in’him, were they cuckolds bane, - Inough to kill him. What prodigious, - Blinde, and moſt wicked change of fortune’s this? 20 - I ha’ no ayre of patience: an my vaines - Swell, and my ſinewes ſtart at iniquity of it. - I ſhall breake, breake. - - _The_ Diuell _ſpeakes below_. - - PVG. This for the malice of it, - And my reuenge may paſſe! But, now, my conſcience - Tells mee, I haue profited the cauſe of Hell 25 - But little, in the breaking-off their loues. - Which, if some other act of mine repaire not, - I ſhall heare ill of in my accompt. - - Fitz-dottrel _enters with his wife as come downe_. - - FIT. O, Bird! - Could you do this? ’gainſt me? and at this time, now? - When I was ſo imploy’d, wholly for you, 30 - Drown’d i’ my care (more, then the land, I ſweare, - I’haue hope to win) to make you peere-leſſe? ſtudying, - For footemen for you, fine pac’d huiſhers, pages, - To ſerue you o’ the knee; with what Knights wife, - To beare your traine, and ſit with your foure women 35 - In councell, and receiue intelligences, - From forraigne parts, to dreſſe you at all pieces! - Y’haue (a’moſt) turn’d my good affection, to you; - Sowr’d my ſweet thoughts; all my pure purpoſes: - I could now finde (i’ my very heart) to make 40 - Another, _Lady Dutcheſſe_; and depoſe you. - Well, goe your waies in. _Diuell_, you haue redeem’d all. - I doe forgiue you. And I’ll doe you good. - -[404] SD. om. SN.] FITZ-DOTTRELL _appears at his Wife’s back_. G - -[405] 8 SN. om. G || you,] you, you, W, G - -[406] 11 are.] are--W, G - -[407] 13 Sir.] Sir--Ed. - -[408] 16 I will W, G - -[409] 16 SN.] [_Strikes Mrs. Fitz. and leads her out._ G - -[410] 17 my 1641 - -[411] 22 th’iniquity G - -[412] 23 SN. om [_Exit._ SCENE III. _Another Room in_ Fitzdottrel’s - _House. Enter_ PUG. G - -[413] 28 in om. 1641 || SN.] _Enter_ FITZDOTTREL _and his wife_. G - -[414] 30 employ’d 1716, f. - -[415] 31, 32 () ret. G - -[416] 38 You’ve 1716, f. || almost W, G - -[417] 42 [_Exit Mrs. Fitz._] G - -[418] 43 [_Exit Pug._ G - - -ACT. II. SCENE. VIIJ. - -MERE-CRAFT. FITZ-DOTTREL. INGINE. - TRAINES. - - Why ha you theſe excurſions? where ha’ you beene, Sir? [126] - - FIT. Where I ha’ beene vex’d a little, with a toy! - - MER. O Sir! no toyes muſt trouble your graue head, - Now it is growing to be great. You muſt - Be aboue all thoſe things. - - FIT. Nay, nay, ſo I will. 5 - - MER. Now you are to’ard the Lord, you muſt put off - The man, Sir. - - ING. He ſaies true. - - MER. You muſt do nothing - As you ha’ done it heretofore; not know, - Or ſalute any man. - - ING. That was your bed-fellow, - The other moneth. - - MER. The other moneth? the weeke. 10 - Thou doſt not know the priueledges, _Ingine_, - Follow that Title; nor how ſwift: To day, - When he has put on his Lords face once, then-- - - FIT. Sir, for theſe things I ſhall doe well enough, - There is no feare of me. But then, my wife is 15 - Such an vntoward thing! ſhee’ll neuer learne - How to comport with it. I am out of all - Conceipt, on her behalfe. - - MER. Beſt haue her taught, Sir. - - FIT. Where? Are there any Schooles for _Ladies_? Is there - An _Academy_ for women? I doe know, 20 - For men, there was: I learn’d in it, my ſelfe, - To make my legges, and doe my poſtures. - - ING. Sir. - Doe you remember the conceipt you had-- - O’ the Spaniſh gowne, at home? - - Ingine _whiſpers_ Merecraft, Merecraft _turnes to_ Fitz-dottrel. - - MER. Ha! I doe thanke thee, - With all my heart, deare _Ingine_. Sir, there is 25 - A certaine _Lady_, here about the Towne, - An _Engliſh_ widdow, who hath lately trauell’d, - But ſhee’s call’d the _Spaniard_; cauſe ſhe came - Lateſt from thence: and keepes the _Spaniſh_ habit. - Such a rare woman! all our women heere, 30 - That are of ſpirit, and faſhion flocke, vnto her, - As to their Preſident; their _Law_; their _Canon_; - More then they euer did, to _Oracle-Foreman_. - Such rare receipts ſhee has, Sir, for the face; - Such _oyles_; such _tinctures_; such _pomatumn’s_; 35 - Such _perfumes_; _med’cines_; _quinteſſences_, _&c._ - And ſuch a Miſtreſſe of behauiour; [127] - She knowes, from the _Dukes_ daughter, to the Doxey, - What is their due iuſt: and no more! - - FIT. O Sir! - You pleaſe me i’ this, more then mine owne greatneſſe, 40 - Where is ſhee? Let vs haue her. - - MER. By your patience, - We muſt vſe meanes; caſt how to be acquainted-- - - FIT. Good, S^r, about it. - - MER. We muſt think how, firſt. - - FIT. O! - I doe not loue to tarry for a thing, - When I haue a mind to’t. You doe not know me. 45 - If you doe offer it. - - MER. Your wife muſt ſend - Some pretty token to her, with a complement, - And pray to be receiu’d in her good graces, - All the great _Ladies_ do’t. - - FIT. She ſhall, ſhe ſhall, - What were it beſt to be? - - MER. Some little toy, 50 - I would not haue it any great matter, Sir: - A _Diamant_ ring, of _forty_ or _fifty_ pound, - Would doe it handſomely: and be a gift - Fit for your wife to ſend, and her to take. - - FIT. I’ll goe, and tell my wife on’t, ſtreight. 55 - - Fitz-dottrel _goes out_. - - MER. Why this - Is well! The clothes we’haue now: But, where’s this _Lady_? - If we could get a witty boy, now, _Ingine_; - That were an excellent cracke: I could inſtruct him, - To the true height. For any thing takes this _dottrel_. - - ING. Why, Sir your beſt will be one o’ the players! 60 - - MER. No, there’s no truſting them. They’ll talke on’t, - And tell their _Poets_. - - ING. What if they doe? The ieſt - will brooke the Stage. But, there be ſome of ’hem - Are very honeſt Lads. There’s _Dicke Robinſon_ - A very pretty fellow, and comes often 65 - To a Gentlemans chamber, a friends of mine. We had - The merrieſt ſupper of it there, one night, - The Gentlemans Land-lady invited him - To’a Goſſips feaſt. Now, he Sir brought _Dick Robinſon_, - Dreſt like a Lawyers wife, amongſt ’hem all; 70 - (I lent him cloathes) but, to ſee him behaue it; - And lay the law; and carue; and drinke vnto ’hem; - And then talke baudy: and ſend frolicks! o! - It would haue burſt your buttons, or not left you - A ſeame. - - MER. They ſay hee’s an ingenious youth! 75 - - ING. O Sir! and dreſſes himſelfe, the beſt! beyond - Forty o’ your very _Ladies_! did you ne’r ſee him? - - MER. No, I do ſeldome ſee thoſe toyes. But thinke you, - That we may haue him? - - ING. Sir, the young Gentleman - I tell you of, can command him. Shall I attempt it? 80 - - MER. Yes, doe it. - - _Enters againe._ - - FIT. S’light, I cannot get my wife - To part with a ring, on any termes: and yet, - The ſollen _Monkey_ has two. - - MER. It were ’gainst reaſon - That you ſhould vrge it; Sir, ſend to a Gold-ſmith, [128] - Let not her loſe by’t. - - FIT. How do’s ſhe loſe by’t? 85 - Is’t not for her? - - MER. Make it your owne bounty, - It will ha’ the better ſucceſſe; what is a matter - Of _fifty_ pound to you, S^r. - - FIT. I’haue but a hundred - _Pieces_, to ſhew here; that I would not breake-- - - MER. You ſhall ha’ credit, Sir. I’ll ſend a ticket 90 - Vnto my Gold-ſmith. Heer, my man comes too, - To carry it fitly. How now, _Traines_? What birds? - - Traines _enters_. - - TRA. Your Couſin _Euer-ill_ met me, and has beat mee, - Becauſe I would not tell him where you were: - I thinke he has dogd me to the houſe too. - - FIT. Well-- 95 - You ſhall goe out at the back-doore, then, _Traines_. - You muſt get _Guilt-head_ hither, by ſome meanes: - - TRA. ’Tis impoſſible! - - FIT. Tell him, we haue _veniſon_, - I’ll g’ him a piece, and ſend his wife a _Pheſant_. - - TRA. A Forreſt moues not, till that _forty_ pound, 100 - Yo’ had of him, laſt, be pai’d. He keepes more ſtirre, - For that ſame petty ſumme, then for your bond - Of _ſixe_; and _Statute_ of _eight_ hundred! - - FIT. Tell him - Wee’ll hedge in that. Cry vp _Fitz-dottrell_ to him, - Double his price: Make him a man of mettall. 105 - - TRA. That will not need, his bond is current inough. - -[419] SD. ACT. ...] om. _Enter_ MEERCRAFT _and_ ENGINE. G || II] - III 1641 - -[420] 6,7 Now ... Sir.] “Now ... sir.” W - -[421] 24 SN.] [_whispers Meercraft._] G - -[422] 28 she is W, G - -[423] 29 and om. 1641 - -[424] 31 fashion flocke,] fashion, flock 1692, f. - -[425] 36 &c.] _et caetera_; G - -[426] 45 to it G - -[427] 49 do it G - -[428] 52 _Diamond_ 1692, 1716 diamond W, G passim - -[429] 55 SN.] [_Exit._ G - -[430] 61 of it G - -[431] 64 _Dick_ 1692, 1716 Dick W Dickey G - -[432] 66 friend W, G - -[433] 69 T’a 1716, W - -[434] 81 SN....] Fit.... 1716 Fitz-dottrel ... W - _Re-enter_ FITZDOTTREL. G - -[435] 83 sullen 1692, f. - -[436] 85, 6 ’t] it G - -[437] 92 SN.] _Enter_ TRAINS. G - -[438] 95, 103 FIT.] _Meer._ W, G - -[439] 98 ’T] It G - -[440] 99 gi’ 1716, W give G [_Exit._ G - -[441] 106 [_Exeunt._ G - - - - -ACT. III. SCENE. I. [129] - - -GVILT-HEAD. PLVTARCHVS. - - All this is to make you a Gentleman: - I’ll haue you learne, Sonne. Wherefore haue I plac’d you - With S^r. _Poul Either-ſide_, but to haue ſo much Law - To keepe your owne? Beſides, he is a _Iuſtice_, - Here i’ the Towne; and dwelling, Sonne, with him, 5 - You ſhal learne that in a yeere, ſhall be worth twenty - Of hauing ſtay’d you at _Oxford_, or at _Cambridge_, - Or ſending you to the _Innes_ of _Court_, or _France_. - I am call’d for now in haſte, by Maſter _Meere-craft_ - To truſt Maſter _Fitz-dottrel_, a good man: 10 - I’haue inquir’d him, eighteene hundred a yeere, - (His name is currant) for a diamant ring - Of forty, ſhall not be worth thirty (thats gain’d) - And this is to make you a Gentleman! - - PLV. O, but good father, you truſt too much! - - GVI. Boy, boy, 15 - We liue, by finding fooles out, to be truſted. - Our ſhop-bookes are our paſtures, our corn-grounds, - We lay ’hem op’n for them to come into: - And when wee haue ’hem there, wee driue ’hem vp - In t’one of our two Pounds, the _Compters_, ſtreight, 20 - And this is to make you a Gentleman! - Wee Citizens neuer truſt, but wee doe coozen: - For, if our debtors pay, wee coozen them; - And if they doe not, then we coozen our ſelues. - But that’s a hazard euery one muſt runne, 25 - That hopes to make his Sonne a Gentleman! - - PLV. I doe not wiſh to be one, truely, Father. - In a deſcent, or two, wee come to be - Iuſt ’itheir ſtate, fit to be coozend, like ’hem. - And I had rather ha’ tarryed i’ your trade: 30 - For, ſince the _Gentry_ ſcorne the Citty ſo much, [130] - Me thinkes we ſhould in time, holding together, - And matching in our owne tribes, as they ſay, - Haue got an _Act_ of _Common Councell_, for it, - That we might coozen them out of _rerum natura_. 35 - - GVI. I, if we had an _Act_ firſt to forbid - The marrying of our wealthy heyres vnto ’hem: - And daughters, with ſuch lauiſh portions. - That confounds all. - - PLV. And makes a _Mungril_ breed, Father. - And when they haue your money, then they laugh at you: 40 - Or kick you downe the ſtayres. I cannot abide ’hem. - I would faine haue ’hem coozen’d, but not truſted. - -[442] SD. ACT. ... I. ...] ACT. ... I. _A Room in_ Fitzdottrel’s - _House. Enter_ THOMAS GILTHEAD _and_ PLUTARCHUS. G - -[443] 3 to om. 1692 t’ 1716 || _Poul_] _Pould_ 1641 - -[444] 9 I’m W, G - -[445] 12 () ret. G - -[446] 15 Boy, boy] Boy, by 1692 - -[447] 20 two om. 1692, 1716 || Int’one 1716, W into one G - -[448] 29 i’ their 1716, W in their G - - -ACT. III. SCENE. II. - - MERE-CRAFT. GVILT-HEAD. - FITZ-DOTTRELL. PLVTARCHVS. - - O, is he come! I knew he would not faile me. - Welcome, good _Guilt-head_, I muſt ha’ you doe - A noble Gentleman, a courteſie, here: - In a mere toy (ſome pretty Ring, or Iewell) - Of fifty, or threeſcore pound (Make it a hundred, 5 - And hedge in the laſt forty, that I owe you, - And your owne price for the Ring) He’s a good man, S^r, - And you may hap’ ſee him a great one! Hee, - Is likely to beſtow hundreds, and thouſands, - Wi’ you; if you can humour him. A great prince 10 - He will be ſhortly. What doe you ſay? - - GVI. In truth, Sir - I cannot. ’T has beene a long vacation with vs? - - FIT. Of what, I pray thee? of wit? or honesty? - Thoſe are your Citizens long vacations. - - PLV. Good Father do not truſt ’hem. - - MER. Nay, _Thom. Guilt-head_. 15 - Hee will not buy a courteſie and begge it: - Hee’ll rather pay, then pray. If you doe for him, - You muſt doe cheerefully. His credit, Sir, - Is not yet proſtitute! Who’s this? thy ſonne? - A pretty youth, what’s his name? - - PLV. _Plutarchus_, Sir, 20 - - MER. _Plutarchus!_ How came that about? - - GVI. That yeere S^r, - That I begot him, I bought _Plutarch’s_ liues, - And fell ſ’ in loue with the booke, as I call’d my ſonne - By’his name; In hope he ſhould be like him: - And write the liues of our great men! - - MER. I’ the City? [131] 25 - And you do breed him, there? - - GVI. His minde, Sir, lies - Much to that way. - - MER. Why, then, he is i’ the right way. - - GVI. But, now, I had rather get him a good wife, - And plant him i’ the countrey; there to vſe - The bleſſing I ſhall leaue him: - - MER. Out vpon’t! 30 - And loſe the laudable meanes, thou haſt at home, heere, - T’aduance, and make him a young _Alderman_? - Buy him a Captaines place, for ſhame; and let him - Into the world, early, and with his plume, - And Scarfes, march through _Cheapſide_, or along _Cornehill_, - And by the vertue’of thoſe, draw downe a wife 36 - There from a windo’, worth ten thouſand pound! - Get him the poſture booke, and’s leaden men, - To ſet vpon a table, ’gainst his Miſtreſſe - Chance to come by, that hee may draw her in, 40 - And ſhew her _Finsbury_ battells. - - GVI. I haue plac’d him - With Iustice _Eytherſide_, to get so much law-- - - MER. As thou haſt conſcience. Come, come, thou doſt wrong - Pretty _Plutarchus_, who had not his name, - For nothing: but was borne to traine the youth 45 - Of _London_, in the military truth-- - That way his _Genius_ lies. My Couſin _Euerill_! - -[449] SD. ACT. ...] _Enter_ MEERCRAFT. G - -[450] 7 ring. [_Aside to Gilthead._ - -[451] 15 Tom G - -[452] 20 ’s] is G - -[453] 23 so in W, G - -[454] 27 he’s W, G - -[455] 45,6 to ... truth] in italics G - -[456] 47 lies.--_Enter_ EVERILL. - - -ACT. III. SCENE. IIJ. - -EVER-ILL. PLVTARCHVS. GVILT-HEAD. - MERE-CRAFT. FITZDOTTRELL. - - O, are you heere, Sir? ’pray you let vs whiſper. - - PLV. Father, deare Father, truſt him if you loue mee. - - GVI. Why, I doe meane it, boy; but, what I doe, - Muſt not come eaſily from mee: Wee muſt deale - With _Courtiers_, boy, as _Courtiers_ deale with vs. 5 - If I haue a _Buſineſſe_ there, with any of them, - Why, I muſt wait, I’am ſure on’t, Son: and though - My _Lord_ diſpatch me, yet his worſhipfull man-- - Will keepe me for his ſport, a moneth, or two, - To ſhew mee with my fellow Cittizens. 10 - I muſt make his traine long, and full, one quarter; - And helpe the ſpectacle of his greatneſſe. There, - Nothing is done at once, but iniuries, boy: - And they come head-long! an their good turnes moue not, [124] - Or very ſlowly. - - PLV. Yet ſweet father, truſt him. 15 - - GVI. VVell, I will thinke. - - EV. Come, you muſt do’t, Sir. - I am vndone elſe, and your _Lady Tayle-buſh_ - Has ſent for mee to dinner, and my cloaths - Are all at pawne. I had ſent out this morning, - Before I heard you were come to towne, ſome twenty 20 - Of my epiſtles, and no one returne-- - - Mere-craft _tells him of his faults_. - - MER. VVhy, I ha’ told you o’ this. This comes of wearing - Scarlet, gold lace, and cut-works! your fine gartring! - VVith your blowne roſes, Couſin! and your eating - _Pheſant_, and _Godwit_, here in _London_! haunting 25 - The _Globes_, and _Mermaides_! wedging in with _Lords_, - Still at the table! and affecting lechery, - In veluet! where could you ha’ contented your ſelfe - With cheeſe, ſalt-butter, and a pickled hering, - I’ the Low-countries; there worne cloth, and fuſtian! 30 - Beene ſatisfied with a leape o’ your Hoſt’s daughter, - In garriſon, a wench of a ſtoter! or, - Your _Sutlers_ wife, i’ the leaguer, of two blanks! - You neuer, then, had runne vpon this flat, - To write your letters miſſiue, and ſend out 35 - Your priuy ſeales, that thus haue frighted off - All your acquaintance; that they ſhun you at diſtance, - VVorse, then you do the Bailies! - - EV. Pox vpon you. - I come not to you for counſell, I lacke money. - - _Hee repines._ - - MER. You doe not thinke, what you owe me already? - - EV. I? 40 - They owe you, that meane to pay you. I’ll beſworne, - I neuer meant it. Come, you will proiect, - I ſhall vndoe your practice, for this moneth elſe: - You know mee. - _and threatens him._ - - MER. I, yo’ are a right ſweet nature! - - EV. Well, that’s all one! - - MER. You’ll leaue this Empire, one day? 45 - You will not euer haue this tribute payd, - Your ſcepter o’ the ſword? - - EV. Tye vp your wit, - Doe, and prouoke me not-- - - MER. Will you, Sir, helpe, - To what I ſhall prouoke another for you? - - EV. I cannot tell; try me: I thinke I am not 50 - So vtterly, of an ore vn-to-be-melted, - But I can doe my ſelfe good, on occaſions. - - _They ioyne._ - - MER. Strike in then, for your part. M^r. _Fitz-dottrel_ - If I tranſgreſſe in point of manners, afford mee - Your beſt conſtruction; I muſt beg my freedome 55 - From your affayres, this day. - - FIT. How, S^r. - - MER. It is - In ſuccour of this Gentlemans occaſions, - My kinſ-man-- - Mere-craft _pretends_ buſineſſe. - - FIT. You’ll not do me that affront, S^r. - - MER. I am ſory you ſhould ſo interpret it, - But, Sir, it ſtands vpon his being inueſted 60 - In a new _office_, hee has ſtood for, long: [133] - - Mere-craft _describes the_ office _of_ Dependancy. - - _Maſter_ of the _Dependances_! A place - Of my proiection too, Sir, and hath met - Much oppoſition; but the State, now, ſee’s - That great neceſſity of it, as after all 65 - Their writing, and their ſpeaking, againſt _Duells_, - They haue erected it. His booke is drawne-- - For, ſince, there will be differences, daily, - ’Twixt Gentlemen; and that the roaring manner - Is growne offenſiue; that thoſe few, we call 70 - The ciuill men o’ the ſword, abhorre the vapours; - They ſhall refer now, hither, for their _proceſſe_; - And ſuch as treſſpaſe ’gainſt the rule of _Court_, - Are to be fin’d-- - - FIT. In troth, a pretty place! - - MER. A kinde of arbitrary _Court_ ’twill be, Sir. 75 - - FIT. I ſhall haue matter for it, I beleeue, - Ere it be long: I had a diſtaſt. - - MER. But now, Sir, - My learned councell, they muſt haue a feeling, - They’ll part, Sir, with no bookes, without the hand-gout - Be oyld, and I muſt furniſh. If’t be money, 80 - To me ſtreight. I am Mine, _Mint_ and _Exchequer_. - To ſupply all. What is’t? a hundred pound? - - EVE. No, th’ _Harpey_, now, ſtands on a hundred pieces. - - MER. Why, he muſt haue ’hem, if he will. To morrow, Sir, - Will equally ſerue your occaſion’s,---- 85 - And therefore, let me obtaine, that you will yeeld - To timing a poore Gentlemans diſtreſſes, - In termes of hazard.-- - - FIT. By no meanes! - - MER. I muſt - Get him this money, and will.-- - - FIT. Sir, I proteſt, - I’d rather ſtand engag’d for it my ſelfe: 90 - Then you ſhould leaue mee. - - MER. O good S^r. do you thinke - So courſely of our manners, that we would, - For any need of ours, be preſt to take it: - Though you be pleas’d to offer it. - - FIT. Why, by heauen, - I meane it! - - MER. I can neuer beleeue leſſe. 95 - But wee, Sir, muſt preſerue our dignity, - As you doe publiſh yours. By your faire leaue, Sir. - - _Hee offers to be gone._ - - FIT. As I am a Gentleman, if you doe offer - To leaue mee now, or if you doe refuſe mee, 99 - I will not thinke you loue mee. - - MER. Sir, I honour you. - And with iuſt reaſon, for theſe noble notes, - Of the nobility, you pretend too! But, Sir-- - I would know, why? a motiue (he a ſtranger) - You ſhould doe this? - - (EVE. You’ll mar all with your fineneſſe) - - FIT. Why, that’s all one, if ’twere, Sir, but my fancy. 105 - But I haue a _Buſineſſe_, that perhaps I’d haue - Brought to his _office_. - - MER. O, Sir! I haue done, then; - If hee can be made profitable, to you. [134] - - FIT. Yes, and it ſhall be one of my ambitions - To haue it the firſt _Buſineſſe_? May I not? 110 - - EVE. So you doe meane to make’t, a perfect _Buſineſſe_. - - FIT. Nay, I’ll doe that, aſſure you: ſhew me once. - - MER. S^r, it concernes, the firſt be a perfect _Buſineſſe_, - For his owne honour! - - EVE. I, and th’ reputation - Too, of my place. - - FIT. Why, why doe I take this courſe, elſe? 115 - I am not altogether, an _Aſſe_, good Gentlemen, - Wherefore ſhould I conſult you? doe you thinke? - To make a ſong on’t? How’s your manner? tell vs. - - MER. Doe, ſatisfie him: giue him the whole courſe. - - EVE. Firſt, by requeſt, or otherwiſe, you offer 120 - Your _Buſineſſe_ to the _Court_: wherein you craue: - The iudgement of the _Maſter_ and the _Aſsiſtants_. - - FIT. Well, that’s done, now, what doe you vpon it? - - EVE. We ſtreight S^r, haue recourſe to the ſpring-head; - Viſit the ground; and, ſo diſcloſe the nature: 125 - If it will carry, or no. If wee doe finde, - By our proportions it is like to proue - A ſullen, and blacke _Bus’neſſe_ That it be - Incorrigible; and out of, treaty; then. - We file it, a _Dependance_! - - FIT. So ’tis fil’d. 130 - What followes? I doe loue the order of theſe things. - - EVE. We then aduiſe the party, if he be - A man of meanes, and hauings, that forth-with, - He ſettle his eſtate: if not, at leaſt - That he pretend it. For, by that, the world 135 - Takes notice, that it now is a _Dependance_. - And this we call, Sir, _Publication_. - - FIT. Very ſufficient! After _Publication_, now? - - EVE. Then we grant out our _Proceſſe_, which is diuers; - Eyther by _Chartell_, Sir, or _ore-tenus_, 140 - Wherein the Challenger, and Challengee - Or (with your _Spaniard_) your _Prouocador_, - And _Prouocado_, haue their ſeuerall courſes-- - - FIT. I haue enough on’t! for an hundred pieces? - Yes, for two hundred, vnder-write me, doe. 145 - Your man will take my bond? - - MER. That he will, ſure. - But, theſe ſame Citizens, they are ſuch ſharks! - There’s an old debt of forty, I ga’ my word - For one is runne away, to the _Bermudas_, - And he will hooke in that, or he wi’ not doe. 150 - - _He whiſpers_ Fitz-dottrell _aſide_. - - FIT. Why, let him. That and the ring, and a hundred pieces, - Will all but make two hundred? - - MER. No, no more, Sir. - What ready _Arithmetique_ you haue? doe you heare? - _And then_ Guilt-head. - A pretty mornings worke for you, this? Do it, - You ſhall ha’ twenty pound on’t. - - GVI. Twenty pieces? [135] 155 - - (PLV. Good Father, do’t) - - MER. You will hooke ſtill? well, - Shew vs your ring. You could not ha’ done this, now - With gentleneſſe, at firſt, wee might ha’ thank’d you? - But groane, and ha’ your courteſies come from you - Like a hard ſtoole, and ſtinke? A man may draw 160 - Your teeth out eaſier, then your money? Come, - Were little _Guilt-head_ heere, no better a nature, - I ſhould ne’r loue him, that could pull his lips off, now! - _He pulls_ Plutarchus _by the lips_. - Was not thy mother a Gentlewoman? - - PLV. Yes, Sir. - - MER. And went to the Court at _Chriſtmas_, - and S^t. _Georges-tide_? 165 - And lent the Lords-men, chaines? - - PLV. Of gold, and pearle, S^r. - - MER. I knew, thou muſt take, after ſome body! - Thou could’ſt not be elſe. This was no ſhop-looke! - I’ll ha’ thee Captaine _Guilt-head_, and march vp, - And take in _Pimlico_, and kill the buſh, 170 - At euery tauerne! Thou shalt haue a wife, - If ſmocks will mount, boy. How now? you ha’ there now - Some _Briſto-ſtone_, or _Corniſh_ counterfeit - You’ld put vpon vs. - _He turns to old_ Guilt-head. - - GVI. No, Sir I aſſure you: - Looke on his luſter! hee will ſpeake himſelfe! 175 - I’le gi’ you leaue to put him i’ the Mill, - H’is no great, large ſtone, but a true _Paragon_, - H’has all his corners, view him well. - - MER. H’is yellow. - - GVI. Vpo’ my faith, S^r, o’ the right black-water, - And very deepe! H’is ſet without a foyle, too. 180 - Here’s one o’ the yellow-water, I’ll ſell cheape. - - MER. And what do you valew this, at? thirty pound? - - GVI. No, Sir, he cost me forty, ere he was ſet. - - MER. Turnings, you meane? I know your _Equinocks_: - You’are growne the better Fathers of ’hem o’ late. 185 - Well, where’t muſt goe, ’twill be iudg’d, and, therefore, - Looke you’t be right. You ſhall haue fifty pound for’t. - _Now to_ Fitz-dottrel. - Not a deneer more! And, becauſe you would - Haue things diſpatch’d, Sir, I’ll goe preſently, - Inquire out this _Lady_. If you thinke good, Sir. 190 - Hauing an hundred pieces ready, you may - Part with thoſe, now, to ſerue my kinſmans turnes, - That he may wait vpon you, anon, the freer; - And take ’hem when you ha’ ſeal’d, a game, of _Guilt-head_. - - FIT. I care not if I do! - - MER. And diſpatch all, 195 - Together. - - FIT. There, th’are iuſt: a hundred pieces! - I’ ha’ told ’hem ouer, twice a day, theſe two moneths. - - _Hee turnes ’hem out together. - And_ Euerill _and hee fall to ſhare_. - - MER. Well, go, and ſeale, then, S^r, make your returne - As ſpeedy as you can. - - EVE. Come gi’ mee. - - MER. Soft, Sir. - - EVE. Mary, and faire too, then. I’ll no delaying, Sir. 200 - - MER. But, you will heare? - - EVE. Yes, when I haue my diuident. - - MER. Theres forty pieces for you. - - EVE. What is this for? [136] - - MER. Your halfe. You know, that _Guilt-head_ muſt ha’ twenty. - - EVE. And what’s your ring there? ſhall I ha’ none o’ that? - - MER. O, thats to be giuen to a _Lady_! 205 - - EVE. Is’t ſo? - - MER. By that good light, it is. - - EV. Come, gi’ me - Ten pieces more, then. - - MER. Why? - - EV. For _Guilt-head_? Sir, - Do’you thinke, I’ll ’low him any ſuch ſhare: - - MER. You muſt. - - EVE. Muſt I? Doe you your muſts, Sir, I’ll doe mine, - You wi’ not part with the whole, Sir? Will you? Goe too. 210 - Gi’ me ten pieces! - - MER. By what law, doe you this? - - EVE. E’n Lyon-law, Sir, I muſt roare elſe. - - MER. Good! - - EVE. Yo’ haue heard, how th’ _Aſſe_ made his diuiſions, wiſely? - - MER. And, I am he: I thanke you. - - EV. Much good do you, S^r. - - MER. I ſhall be rid o’ this tyranny, one day? - - EVE. Not, - While you doe eate; and lie, about the towne, here; 216 - And coozen i’ your bullions; and I ſtand - Your name of credit, and compound your buſineſſe; - Adiourne your beatings euery terme; and make - New parties for your proiects. I haue, now, 220 - A pretty taſque, of it, to hold you in - Wi’ your_ Lady Tayle-buſh_: but the toy will be, - How we ſhall both come off? - - MER. Leaue you your doubting. - And doe your portion, what’s aſſign’d you: I - Neuer fail’d yet. - - EVE. With reference to your aydes? 225 - You’ll ſtill be vnthankfull. Where ſhall I meete you, anon? - You ha’ ſome feate to doe alone, now, I ſee; - You wiſh me gone, well, I will finde you out, - And bring you after to the audit. - - MER. S’light! - There’s _Ingines_ ſhare too, I had forgot! This raigne 230 - Is too-too-vnſuportable! I muſt - Quit my ſelfe of this vaſſalage! _Ingine!_ welcome. - -[457] SD. om. G - -[458] 1 [_takes Meer. aside._ G - -[459] 7 I’m 1716, W I am G - -[460] 16 think. [_They walk aside._ G - -[461] 17 I’m 1716 I am W - -[462] 21 SN. om. G - -[463] 23 gartering W, G - -[464] 32 Storer 1716 storer W, G - -[465] 33 Sulters 1641 - -[466] 38 Bayliffs 1716 bailiffs W, G - -[467] 39,43 SN. om. G - -[468] 44 you’re 1716, W - -[469] 52 _Enter_ FITZDOTTREL. || SN. om. G - -[470] 53 part. [_They go up to Fitz._] G - -[471] 57, 61 SN. om. G - -[472] 68 since 1641, f. - -[473] 90 I had G - -[474] 97 SN. _Hee_ om. G - -[475] 103 () ret. G - -[476] 104 _Ever._ [_Aside to Meer._] - -[477] 106 ’d] would G - -[478] 114 the W - -[479] 123 ’s] is G - -[480] 127 our] your 1641 - -[481] 148 gave G - -[482] 149 to] into 1641 - -[483] 150 SN.] [_Aside to Fitz._ G he wi’] he’ll G - -[484] 153 SN.] [_Aside to Gilthead._ G - -[485] 159 you] your 1641, f. - -[486] 163 SN.] [_Pulls him by the lips._ G - -[487] 165 George-G - -[488] 166 Lords-] lords W lords’ G - -[489] 173 Bristol stone W, G - -[490] 174 SN. _He_, _old_ om. G - -[491] 177 He is W, G - -[492] 178 He has W, G - -[493] 178, 180 He’s W, G - -[494] 184 equivokes W, G - -[495] 185 You’re 1716, W You are G || ’hem] ’em G || o’ ret. G - -[496] 186 where it G - -[497] 187 SN.] [_To Fitz._] G - -[498] 188 dencer 1641 Denier 1716 denier W, G - -[499] 196 they’re just a 1716, W they are just a G - -[500] 197 SN.] [_Turns them out on table._ G - -[501] 199 can. [_Exeunt Fitzdottrel, Gilthead, and Plutarchus._] me. - [_They fall to sharing_. G - -[502] 201 Dividend 1716 dividend W, G - -[503] 204 o’ ret. G - -[504] 205 that is G - -[505] 206 Is it W, G - -[506] 208 allow 1692, f. - -[507] 209 you om. 1692, 1716, W - -[508] 212 E’n] Even G - -[509] 213 You’ve 1716, W - -[510] 218 your om. 1641 - -[511] 223 you om. 1641 - -[512] 227 to doe] to be done 1641 - -[513] 229 audit. [_Exit._ G - -[514] 232 vassalage!--_Enter_ ENGINE, _followed by_ WITTIPOLL. G - - -ACT. IIJ. SCENE. IV. - -MERE-CRAFT. INGINE. VVITTIPOL. - - How goes the cry? - - ING. Excellent well! - - MER. Wil’t do? - VVhere’s _Robinſon_? - - ING. Here is the Gentleman, Sir. - VVill vndertake t’himſelfe. I haue acquainted him. - - MER. VVhy did you ſo? - - ING. VVhy, _Robinſon_ would ha’ told him, - You know. And hee’s a pleaſant wit! will hurt 5 - Nothing you purpoſe. Then, he’is of opinion, - That _Robinſon_ might want audacity, [129] - She being ſuch a gallant. Now, hee has beene, - In _Spaine_, and knowes the faſhions there; and can - Diſcourſe; and being but mirth (hee ſaies) leaue much, 10 - To his care: - - MER. But he is too tall! - - _He excepts at his ſtature._ - - ING. For that, - He has the braueſt deuice! (you’ll loue him for’t) - To ſay, he weares _Cioppinos_: and they doe ſo - In _Spaine_. And _Robinſon’s_ as tall, as hee. - - MER. Is he ſo? - - ING. Euery iot. - - MER. Nay, I had rather 15 - To truſt a Gentleman with it, o’ the two. - - ING. Pray you goe to him, then, Sir, and ſalute him. - - MER. Sir, my friend _Ingine_ has acquainted you - With a ſtrange _buſineſſe_, here. - - WIT. A merry one, Sir. - The _Duke_ of _Drown’d-land_, and his _Dutcheſſe_? - - MER. Yes, Sir. 20 - Now, that the _Coniurers_ ha’ laid him by, - I ha’ made bold, to borrow him a while; - - WIT. With purpoſe, yet, to put him out I hope - To his beſt vſe? - - MER. Yes, Sir. - - WIT. For that ſmall part, - That I am truſted with, put off your care: 25 - I would not loſe to doe it, for the mirth, - Will follow of it; and well, I haue a fancy. - - MER. Sir, that will make it well. - - WIT. You will report it ſo. - Where muſt I haue my dreſſing? - - ING. At my houſe, Sir. - - MER. You ſhall haue caution, Sir, for what he yeelds, 30 - To ſix pence. - - WIT. You ſhall pardon me. I will ſhare, Sir, - I’ your ſports, onely: nothing i’ your purchaſe. - But you muſt furniſh mee with complements, - To th’ manner of _Spaine_; my coach, my _guarda duenn’as_; - - MER. _Ingine’s_ your _Pro’uedor_. But, Sir, I muſt 35 - (Now I’haue entred truſt wi’ you, thus farre) - Secure ſtill i’ your quality, acquaint you - With ſomewhat, beyond this. The place, deſign’d - To be the _Scene_, for this our mery matter, - Becauſe it muſt haue countenance of women, 40 - To draw diſcourse, and offer it, is here by, - At the _Lady Taile-buſhes_. - - WIT. I know her, Sir. - And her Gentleman _huiſher_. - - MER. M^r _Ambler_? - - WIT. Yes, Sir. - - MER. Sir, It ſhall be no ſhame to mee, to confeſſe - To you, that wee poore Gentlemen, that want acres, 45 - Muſt for our needs, turne fooles vp, and plough _Ladies_ - Sometimes, to try what glebe they are: and this - Is no vnfruitefull piece. She, and I now, - Are on a proiect, for the fact, and venting - Of a new kinde of _fucus_ (paint, for _Ladies_) 50 - To ſerue the kingdome: wherein ſhee her ſelfe - Hath trauell’d, ſpecially, by way of ſeruice - Vnto her ſexe, and hopes to get the _Monopoly_, - As the reward of her inuention. [138] - - WIT. What is her end, in this? - - EV. Merely ambition, 55 - Sir, to grow great, and court it with the ſecret: - Though ſhee pretend ſome other. For, ſhe’s dealing, - Already, vpon caution for the ſhares, - And M^r. _Ambler_, is hee nam’d _Examiner_ - For the ingredients; and the _Register_ 60 - Of what is vented; and ſhall keepe the _Office_. - Now, if ſhee breake with you, of this (as I - Muſt make the leading thred to your acquaintance, - That, how experience gotten i’ your being - Abroad, will helpe our buſinesse) thinke of ſome 65 - Pretty additions, but to keep her floting: - It may be, ſhee will offer you a part, - Any ſtrange names of-- - - WIT. S^r, I haue my inſtructions. - Is it not high time to be making ready? - - MER. Yes, Sir. - - ING. The foole’s in ſight, _Dottrel_. - - MER. Away, then. 70 - -[515] SD. om. G - -[516] 1 ’t] it G - -[517] 3 t’] ’t 1716, W it G - -[518] 6 he’s 1692, f. - -[519] 7 want] have 1641 - -[520] 11 SN. om. G - -[521] 12 () ret. G - -[522] 17 you to go 1716, W - -[523] 35 _Provedore_ 1716 provedore W provedoré G - -[524] 43 Usher 1716 usher W, G - -[525] 47 Sometime 1692, 1716, W - -[526] 55 EV.] _Meer._ 1716, f. - -[527] 59 is hee] he is W, G - -[528] 62, 65 () ret. G - -[529] 70 [_Exeunt Engine and Wittipol._ G - - -ACT. IIJ. SCENE. V. - -MERE-CRAFT. FITZ-DOTTREL. PVG. - - Return’d ſo ſoone? - - FIT. Yes, here’s the ring: I ha’ ſeal’d. - But there’s not ſo much gold in all the row, he ſaies-- - Till’t come fro’ the Mint. ’Tis tane vp for the gameſters. - - MER. There’s a ſhop-ſhift! plague on ’hem. - - FIT. He do’s ſweare it. - - MER. He’ll ſweare, and forſweare too, it is his trade, 5 - You ſhould not haue left him. - - FIT. S’lid, I can goe backe, - And beat him, yet. - - MER. No, now let him alone. - - FIT. I was ſo earneſt, after the maine _Buſineſſe_, - To haue this ring, gone. - - MER. True, and ’tis time. - I’haue learned, Sir, ſin’ you went, her _Ladi-ſhip_ eats 10 - With the _Lady Tail-buſh_, here, hard by. - - FIT. I’ the lane here? - - MER. Yes, if you’had a ſeruant, now of prefence, - Well cloth’d, and of an aëry voluble tongue, - Neither too bigge, or little for his mouth, - That could deliuer your wiues complement; 15 - To ſend along withall. - - FIT. I haue one Sir, - A very handſome, gentleman-like-fellow, - That I doe meane to make my _Dutcheſſe Vſher_-- - I entertain’d him, but this morning, too: - I’ll call him to you. The worſt of him, is his name! 20 - - MER. She’ll take no note of that, but of his meſſage. [139] - - _Hee ſhewes him his_ Pug. - - FIT. _Diuell!_ How like you him, Sir. Pace, go a little. - Let’s ſee you moue. - - MER. He’ll ſerue, S^r, giue it him: - And let him goe along with mee, I’ll helpe - To preſent him, and it. - - FIT. Looke, you doe ſirah, 25 - Diſcharge this well, as you expect your place. - Do’you heare, goe on, come off with all your honours. - _Giues him inſtructions._ - I would faine ſee him, do it. - - MER. Truſt him, with it; - - FIT. Remember kiſſing of your hand, and anſwering - With the _French_-time, in flexure of your body. 30 - I could now ſo inſtruct him--and for his words-- - - MER. I’ll put them in his mouth. - - FIT. O, but I haue ’hem - O’ the very _Academies_. - - MER. Sir, you’ll haue vſe for ’hem, - Anon, your ſelfe, I warrant you: after dinner, - When you are call’d. - - FIT. S’light, that’ll be iuſt _play_-time. 35 - _He longs to ſee the_ play. - It cannot be, I muſt not loſe the _play_! - - MER. Sir, but you muſt, if ſhe appoint to ſit. - And, ſhee’s preſident. - - FIT. S’lid, it is the _Diuell_. - - _Becauſe it is the_ Diuell. - - MER. And, ’twere his Damme too, you muſt now apply - Your ſelfe, Sir, to this, wholly; or loſe all. 40 - - FIT. If I could but ſee a piece-- - - MER. S^r. Neuer think on’t. - - FIT. Come but to one act, and I did not care-- - But to be ſeene to riſe, and goe away, - To vex the Players, and to puniſh their _Poet_-- - Keepe him in awe! - - MER. But ſay, that he be one, 45 - Wi’ not be aw’d! but laugh at you. How then? - - FIT. Then he ſhall pay for his’dinner himſelfe. - - MER. Perhaps, - He would doe that twice, rather then thanke you. - Come, get the _Diuell_ out of your head, my _Lord_, - (I’ll call you ſo in priuate ſtill) and take 50 - Your _Lord-ſhip_ i’ your minde. You were, ſweete _Lord_, - _He puts him in mind of his quarrell._ - In talke to bring a _Buſineſſe_ to the _Office_. - - FIT. Yes. - - MER. Why ſhould not you, S^r, carry it o’ your ſelfe, - Before the _Office_ be vp? and ſhew the world, - You had no need of any mans direction; 55 - In point, Sir, of ſufficiency. I ſpeake - Againſt a kinſman, but as one that tenders - Your graces good. - - FIT. I thanke you; to proceed-- - - MER. To _Publications_: ha’ your _Deed_ drawne preſently. - And leaue a blancke to put in your _Feoffees_ 60 - One, two, or more, as you ſee cauſe-- - - FIT. I thank you - Heartily, I doe thanke you. Not a word more, - I pray you, as you loue mee. Let mee alone. - That I could not thinke o’ this, as well, as hee? - O, I could beat my infinite blocke-head--! 65 - - _He is angry with himſelfe._ - - MER. Come, we muſt this way. - - PVG. How far is’t. - - MER. Hard by here - Ouer the way. Now, to atchieue this ring, - From this ſame fellow, that is to aſſure it; [140] - _He thinkes how to coozen the bearer, of the ring._ - Before hee giue it. Though my _Spaniſh Lady_, - Be a young Gentleman of meanes, and ſcorne 70 - To ſhare, as hee doth ſay, I doe not know - How ſuch a toy may tempt his _Lady-ſhip_: - And therefore, I thinke beſt, it be aſſur’d. - - PVG. Sir, be the _Ladies_ braue, wee goe vnto? - - MER. O, yes. - - PVG. And ſhall I ſee ’hem, and ſpeake to ’hem? 75 - - MER. What elſe? ha’ you your falſe-beard about you? _Traines._ - - _Questions his man._ - - TRA. Yes. - - MER. And is this one of your double Cloakes? - - TRA. The beſt of ’hem. - - MER. Be ready then. Sweet _Pitfall_! - -[530] SD. ACT. ...] _Re-enter_ FITZDOTTREL. G - -[531] 3 Till it G || from G§ - -[532] 8 comma after ‘earnest’ om. 1716, f. - -[533] 9 it is W, G - -[534] 10 since G - -[535] 14 or] nor W, G - -[536] 21, 27, 35 SN. om. G - -[537] 22 Devil!--_Enter_ PUG. G - -[538] 27 Do’you] D’you 1692, 1716, W - -[539] 30 in] and W, G - -[540] 31 now] not 1641 - -[541] 38 she is W, G - -[542] 39 And,] An G - -[543] 38, 51 SN. om. G - -[544] 47 Then] That 1692, 1716 || for’s 1692, f. - -[545] 50 () ret. G - -[546] 53 o’] on G - -[547] 59 publication G - -[548] 60 leave me a 1692, 1716, W - -[549] 65 SN.] [_Exeunt._ SCENE II. _The Lane near the Lady_ - Tailbush’s _House. Enter_ MEERCRAFT _followed by_ PUG. G - -[550] 67 way. [_They cross over._] G - -[551] 68 SN. om. G || is] is, W, G - -[552] 73 [_Aside._ G - -[553] 76 else? _Enter_ TRAINS. || SN. om. G - -[554] 78 then. [_Exeunt._ SCENE III. _A Hall in Lady_ Tailbush’s - _House_. _Enter_ MEERCRAFT _and_ PUG, _met by_ PITFALL. G - - -ACT. IIJ. SCENE. VI. - -MERE-CRAFT. PITFALL. PVG. - TRAINES. - - Come, I muſt buſſe-- - - _Offers to kiſſe._ - - PIT. Away. MER. I’ll ſet thee vp again. - Neuer feare that: canſt thou get ne’r a bird? - No _Thruſhes_ hungry? Stay, till cold weather come, - I’ll help thee to an _Ouſell_, or, a _Field-fare_. - Who’s within, with Madame? - - PIT. I’ll tell you straight. 5 - - _She runs in, in haſte: he followes._ - - MER. Pleaſe you ſtay here, a while Sir, I’le goe in. - - PVG. I doe ſo long to haue a little venery, - While I am in this body! I would taſt - Of euery ſinne, a little, if it might be - After the māner of man! _Sweet-heart!_ - - PIT. What would you, S^r? 10 - - Pug _leaps at_ Pitfall’s _comming in_. - - PVG. Nothing but fall in, to you, be your Black-bird, - My pretty pit (as the Gentleman ſaid) your _Throſtle_: - Lye tame, and taken with you; here’is gold! - To buy you ſo much new ſtuffes, from the ſhop, - As I may take the old vp-- - - TRA. You muſt send, Sir. 15 - The Gentleman the ring. - - Traine’s _in his falſe cloak, brings a falſe - meſſage, and gets the ring_. - - PVG. There ’tis. Nay looke, - Will you be fooliſh, _Pit_. - - PIT. This is ſtrange rudeneſſe. - - PVG. Deare _Pit_. - - PIT. I’ll call, I ſweare. - - Mere-craft _followes preſently, and askes for it_. - - MER. Where are you, S^r? - Is your ring ready? Goe with me. - - PVG. I ſent it you. - - MER. Me? When? by whom? - - PVG. A fellow here, e’en now, 20 - Came for it i’ your name. - - MER. I ſent none, ſure. - My meaning euer was, you ſhould deliuer it, - Your ſelfe: So was your Maſters charge, you know. - _Ent._ Train’s _as himſelfe againe_. - What fellow was it, doe you know him? - - PVG. Here, - But now, he had it. - - MER. Saw you any? _Traines_? 25 - - TRA. Not I. - - PVG. The Gentleman ſaw him. - - MER. Enquire. - - PVG. I was ſo earneſt vpon her, I mark’d not! - _The_ Diuell _confeſſeth himſelfe coozen’d_. - My diuelliſh _Chiefe_ has put mee here in flesh, [141] - To ſhame mee! This dull body I am in, - I perceiue nothing with! I offer at nothing, 30 - That will ſucceed! - - TRA. Sir, ſhe ſaw none, ſhe ſaies. - - PVG. _Satan_ himſelfe, has tane a ſhape t’abuſe me. - It could not be elſe. - - MER. This is aboue ſtrange! - Mere-craft _accuſeth him of negligence_. - That you ſhould be ſo retchleſſe. What’ll you do, Sir? - How will you anſwer this, when you are queſtion’d? 35 - - PVG. Run from my fleſh, if I could: put off mankind! - This’s ſuch a ſcorne! and will be a new exerciſe, - For my _Arch-Duke_! Woe to the ſeuerall cudgells, - Muſt suffer, on this backe! Can you no ſuccours? Sir? 39 - - _He asketh ayde._ - - MER. Alas! the vſe of it is ſo preſent. - - PVG. I aske, - Sir, credit for another, but till to morrow? - - MER. There is not ſo much time, Sir. But how euer, - The lady is a noble Lady, and will - (To ſaue a Gentleman from check) be intreated - Mere-craft _promiſeth faintly, yet comforts him_. - To ſay, ſhe ha’s receiu’d it. - - PVG. Do you thinke ſo? 45 - Will ſhee be won? - - MER. No doubt, to ſuch an office, - It will be a Lady’s brauery, and her pride. - - PVG. And not be knowne on’t after, vnto him? - - MER. That were a treachery! Vpon my word, - Be confident. Returne vnto your maſter, 50 - My _Lady Preſident_ ſits this after-noone, - Ha’s tane the ring, commends her ſeruices - Vnto your _Lady-Dutcheſſe_. You may ſay - She’s a ciuill _Lady_, and do’s giue her - All her reſpects, already: Bad you, tell her 55 - She liues, but to receiue her wiſh’d commandements, - And haue the honor here to kiſſe her hands: - For which ſhee’ll ſtay this houre yet. Haſten you - Your _Prince_, away. - - PVG. And Sir, you will take care - Th’ excuſe be perfect? - - MER. You confeſſe your feares. 60 - _The_ Diuel _is doubtfull_. - Too much. - - PVG. The ſhame is more, I’ll quit you of either. - -[555] SD. om. - -[556] 1 SN.] [_Offers to kiss her._ G - -[557] 5 SN. [_Exit hastily._ (after 5) [_Exit._ (after 6) G - -[558] 10 SN.] Sweetheart! _Re-enter_ PITFALL. || sir? - [_Pug runs to her._ G - -[559] 16 SN.] _Enter_ TRAINS _in his false beard and cloke_. - (after ’vp--’15) [_Exit Trains._] (after ‘tis’ 16) G - -[560] 18 SN. _Enter_ MEERCRAFT. G - -[561] 21 for’t W - -[562] 23 SN.] _Re-enter_ TRAINS _dressed as at first_. G - -[563] 26 Gentlewoman 1716 gentlewoman W, G - -[564] 27, 33, 39 SN. om. G - -[565] 31 succeed! [_Aside._ G - -[566] 33 else! [_Aside._ G - -[567] 34 ’ll] will G - -[568] 37 ’s] is G - -[569] 39 back! [_Aside._] G - -[570] 44 entreated W, G - -[571] 45 has 1692, f. passim - -[572] 44, 60 SN. om. G - -[573] 60 period om. 1716, f. - -[574] 61 I’ll ...] _Meer._ I’ll ... W, G - -[575] 61 [_Exeunt_ G - - - - -ACT. IIIJ. SCENE. I. [142] - - -TAILE-BVSH. MERE-CRAFT. MANLY. - - A Pox vpo’ referring to _Commiſsioners_, - I’had rather heare that it were paſt the ſeales: - Your _Courtiers_ moue ſo Snaile-like i’ your _Buſineſſe_. - Wuld I had begun wi’ you. - - MER. We muſt moue, - _Madame_, in order, by degrees: not iump. 5 - - TAY. Why, there was S^r. _Iohn Monie-man_ could iump - A _Buſineſſe_ quickely. - - MER. True, hee had great friends, - But, becauſe ſome, ſweete _Madame_, can leape ditches, - Wee muſt not all ſhunne to goe ouer bridges. - The harder parts, I make account are done: 10 - _He flatters her._ - Now, ’tis referr’d. You are infinitly bound - Vnto’the _Ladies_, they ha’ so cri’d it vp! - - TAY. Doe they like it then? - - MER. They ha’ ſent the _Spaniſh-Lady_, - To gratulate with you-- - - TAY. I must ſend ’hem thankes - And ſome remembrances. - - MER. That you muſt, and viſit ’hem. 15 - Where’s _Ambler_? - - TAY. Loſt, to day, we cannot heare of him. - - MER. Not _Madam_? - - TAY. No in good faith. They ſay he lay not - At home, to night. And here has fall’n a _Buſineſſe_ - Betweene your Couſin, and Maſter _Manly_, has - Vnquieted vs all. - - MER. So I heare, _Madame_. 20 - Pray you how was it? - - TAY. Troth, it but appeares - Ill o’ your Kinſmans part. You may haue heard, - That _Manly_ is a ſutor to me, I doubt not: - - MER. I gueſs’d it, _Madame_. - - TAY. And it ſeemes, he truſted - Your Couſin to let fall some faire reports 25 - Of him vnto mee. - - MER. Which he did! - - TAY. So farre - From it, as hee came in, and tooke him rayling - Againſt him. - - MER. How! And what said _Manly_ to him? - - TAY. Inough, I doe aſſure you: and with that ſcorne - Of him, and the iniury, as I doe wonder 30 - How _Euerill_ bore it! But that guilt vndoe’s - Many mens valors. - - MER. Here comes _Manly_. - - MAN. _Madame_, [143] - I’ll take my leaue-- - - Manly _offers to be gone_. - - TAY. You ſha’ not goe, i’ faith. - I’ll ha’ you ſtay, and ſee this _Spaniſh_ miracle, - Of our _Engliſh Ladie_. - - MAN. Let me pray your _Ladiſhip_, 35 - Lay your commands on me, some other time. - - TAY. Now, I proteſt: and I will haue all piec’d, - And friends againe. - - MAN. It will be but ill ſolder’d! - - TAY. You are too much affected with it. - - MAN. I cannot - _Madame_, but thinke on’t for th’ iniuſtice. - - TAY. Sir, 40 - His kinſman here is ſorry. - - MER. Not I, _Madam_, - I am no kin to him, wee but call Couſins, - Mere-craft _denies him_. - And if wee were, Sir, I haue no relation - Vnto his crimes. - - MAN. You are not vrged with ’hem. - I can accuſe, Sir, none but mine owne iudgement, 45 - For though it were his crime, ſo to betray mee: - I am ſure, ’twas more mine owne, at all to truſt him. - But he, therein, did vſe but his old manners, - And fauour ſtrongly what hee was before. - - TAY. Come, he will change! - - MAN. Faith, I muſt neuer think it. 50 - Nor were it reaſon in mee to expect - That for my ſake, hee ſhould put off a nature - Hee ſuck’d in with his milke. It may be _Madam_, - Deceiuing truſt, is all he has to truſt to: - If ſo, I ſhall be loath, that any hope 55 - Of mine, ſhould bate him of his meanes. - - TAY. Yo’ are ſharp, Sir. - This act may make him honeſt! - - MAN. If he were - To be made honeſt, by an act of _Parliament_, - I ſhould not alter, i’ my faith of him. - - TAY. _Eyther-ſide!_ - Welcome, deare _Either-ſide_! how haſt thou done, good wench? - _She spies the_ Lady Eyther-ſide. - Thou haſt beene a ſtranger! I ha’ not ſeene thee, this weeke. 61 - -[576] SD. IIIJ] VI. 1641 TAILE. ...] _A room in Lady_ TAILBUSH’S - _House. Enter Lady_ TAILBUSH _and_ MEERCRAFT. G - -[577] 10 SN. om. G - -[578] 32 valours. _Enter_ MANLY. G - -[579] 33 SN. om. G - -[580] 42 SN. om. G - -[581] 43 wee] he G - -[582] 47 I’m 1716, W - -[583] 56 Y’are 1716, W - -[584] 59 him. _Enter Lady_ EITHERSIDE. - -[585] 60 SN. om. G - - -ACT. IIIJ. SCENE. II. - -EITHERSIDE. {_To them_ - - Ever your ſeruant, _Madame_. - - TAY. Where hast ’hou beene? [144] - I did ſo long to ſee thee. - - EIT. Viſiting, and ſo tyr’d! - I proteſt, _Madame_, ’tis a monſtrous trouble! - - TAY. And ſo it is. I ſweare I muſt to morrow, - Beginne my viſits (would they were ouer) at _Court_. 5 - It tortures me, to thinke on ’hem. - - EIT. I doe heare - You ha’ cauſe, Madam, your ſute goes on. - - TAY. Who told thee? - - EYT. One, that can tell: M^r. _Eyther-ſide_. - - TAY. O, thy huſband! - Yes, faith, there’s life in’t, now: It is referr’d. - If wee once ſee it vnder the ſeales, wench, then, 10 - Haue with ’hem for the great _Carroch_, ſixe horſes, - And the two _Coach-men_, with my _Ambler_, bare, - And my three women: wee will liue, i’ faith, - The examples o’ the towne, and gouerne it. - I’le lead the faſhion ſtill. - - EIT. You doe that, now, 15 - Sweet _Madame_. - - TAY. O, but then, I’ll euery day - Bring vp ſome new deuice. Thou and I, _Either-ſide_, - Will firſt be in it. I will giue it thee; - And they ſhall follow vs. Thou ſhalt, I ſweare, - Weare euery moneth a new gowne, out of it. 20 - - EITH. Thanke you good _Madame_. - - TAY. Pray thee call mee _Taile-buſh_ - As I thee, _Either-ſide_: I not loue this, _Madame_. - - ETY. Then I proteſt to you, _Taile-buſh_, I am glad - Your _Buſineſſe_ ſo ſucceeds. - - TAY. Thanke thee, good _Eyther-ſide_. - - ETY. But Maſter _Either-ſide_ tells me, that he likes 25 - Your other _Buſineſſe_ better. - - TAY. Which? - - EIT. O’ the Tooth-picks. - - TAY. I neuer heard on’t. - - EIT. Aske M^r. _Mere-craft_. - - MER. _Madame?_ H’is one, in a word, I’ll truſt his malice, - With any mans credit, I would haue abus’d! - - Mere-craft _hath whiſper’d with the while_. - - MAN. Sir, if you thinke you doe pleaſe mee, in this, 30 - You are deceiu’d! - - MER. No, but becauſe my _Lady_, - Nam’d him my kinſman; I would ſatisfie you, - What I thinke of him: and pray you, vpon it - To iudge mee! - - MAN. So I doe: that ill mens friendſhip, - Is as vnfaithfull, as themſelues. - - TAY. Doe you heare? 35 - Ha’ you a _Buſineſſe_ about Tooth-picks? - - MER. Yes, _Madame_. - Did I ne’r tell’t you? I meant to haue offer’d it - Your _Lady-ſhip_, on the perfecting the pattent. [145] - - TAY. How is’t! - - MER. For ſeruing the whole ſtate with Tooth-picks; - _The_ Proiect _for_ Tooth-picks. - (Somewhat an intricate _Buſineſſe_ to diſcourſe) but-- 40 - I ſhew, how much the Subiect is abus’d, - Firſt, in that one commodity? then what diſeaſes, - And putrefactions in the gummes are bred, - By thoſe are made of adultrate, and falſe wood? - My plot, for reformation of theſe, followes. 45 - To haue all Tooth-picks, brought vnto an _office_, - There ſeal’d; and ſuch as counterfait ’hem, mulcted. - And laſt, for venting ’hem to haue a booke - Printed, to teach their vſe, which euery childe - Shall haue throughout the kingdome, that can read, 50 - And learne to picke his teeth by. Which beginning - Earely to practice, with ſome other rules, - Of neuer ſleeping with the mouth open, chawing - Some graines of _maſticke_, will preſerue the breath - Pure, and ſo free from taynt--ha’ what is’t? ſaiſt thou? - - Traines _his man whiſpers him_. - - TAY. Good faith, it ſounds a very pretty _Bus’neſſe_! 56 - - EIT. So M^r. _Either-ſide_ ſaies, _Madame_. - - MER. The _Lady_ is come. - - TAY. Is ſhe? Good, waite vpon her in. My _Ambler_ - Was neuer ſo ill abſent. _Either-ſide_, - How doe I looke to day? Am I not dreſt, 60 - Spruntly? - - _She lookes in her glaſſe._ - - EIT. Yes, verily, _Madame_. - - TAY. Pox o’ _Madame_, Will you not leaue that? - - EIT. Yes, good _Taile-buſh_. - - TAY. So? - Sounds not that better? What vile _Fucus_ is this, - Thou haſt got on? - - EIT. ’Tis _Pearle_. - - TAY. _Pearle?_ _Oyſter-ſhells_: - As I breath, _Either-side_, I know’t. Here comes 65 - (They say) a wonder, ſirrah, has beene in _Spaine_! - Will teach vs all; ſhee’s ſent to mee, from _Court_. - To gratulate with mee! Pr’y thee, let’s obſerue her, - What faults ſhe has, that wee may laugh at ’hem, - When ſhe is gone. - - EIT. That we will heartily, _Tail-buſh_. 70 - - Wittipol _enters_. - - TAY. O, mee! the very _Infanta_ of the _Giants_! - -[586] SD. om. G - -[587] 1 thou 1692, f. - -[588] 22 not loue] love not 1716, f. - -[589] 26 O’] O, 1641 - -[590] 27 on’t] of it G - -[591] 28 Madam! [_Aside to Manly._] G || He is G - -[592] 29 SN. _with him the_ 1692, 1716, W SN. om. G - -[593] 37 tell it G - -[594] 39 is it G || SN. om. G - -[595] 40 an] in 1641 - -[596] 42 disease W - -[597] 44 adulterate G - -[598] 53 chewing 1716, f. - -[599] 55 SN.] taint--_Enter_ TRAINS, _and whispers him_. G - -[600] 58 in. [_Exit Meercraft._] G - -[601] 61 SN.] _She_ om. G || o’ ret. G - -[602] 68 Prythee 1692 Prithee 1716 prithee W, G - -[603] 70 SN.] _Re-enter_ MEERCRAFT, _introducing_ WITTIPOL _dressed - as a Spanish Lady_. G - - -ACT. IIIJ. SCENE. IJI. - -MERE-CRAFT. WITTIPOL. } to them. - - Wittipol _is dreſt like a_ Spaniſh Lady. - MER. Here is a noble _Lady_, _Madame_, come, [146] - From your great friends, at _Court_, to ſee your _Ladi-ſhip_: - And haue the honour of your acquaintance. - - TAY. Sir. - She do’s vs honour. - - WIT. Pray you, ſay to her _Ladiſhip_, - It is the manner of _Spaine_, to imbrace onely, 5 - Neuer to kiſſe. She will excuſe the cuſtome! - - _Excuſes him ſelfe for not kiſſing._ - - TAY. Your vſe of it is law. Pleaſe you, ſweete, _Madame_, - To take a ſeate. - - WIT. Yes, _Madame_. I’haue had - The fauour, through a world of faire report - To know your vertues, _Madame_; and in that 10 - Name, haue deſir’d the happineſſe of preſenting - My ſeruice to your _Ladiſhip_! - - TAY. Your loue, _Madame_, - I muſt not owne it elſe. - - WIT. Both are due, _Madame_, - To your great vndertakings. - - TAY. Great? In troth, _Madame_, - They are my friends, that thinke ’hem any thing: 15 - If I can doe my ſexe (by ’hem) any ſeruice, - I’haue my ends, _Madame_. - - WIT. And they are noble ones, - That make a multitude beholden, _Madame_: - The common-wealth of _Ladies_, muſt acknowledge from you. - - EIT. Except ſome enuious, _Madame_. - - WIT. Yo’ are right in that, _Madame_, 20 - Of which race, I encountred ſome but lately. - Who (’t ſeemes) haue ſtudyed reaſons to diſcredit - Your _buſineſſe_. - - TAY. How, ſweet _Madame_. - - WIT. Nay, the parties - Wi’ not be worth your pauſe--Moſt ruinous things, _Madame_, - That haue put off all hope of being recouer’d 25 - To a degree of handſomeneſſe. - - TAY. But their reaſons, _Madame_? - I would faine heare. - - WIT. Some _Madame_, I remember. - They ſay, that painting quite deſtroyes the face-- - - EIT. O, that’s an old one, _Madame_. - - WIT. There are new ones, too. - Corrupts the breath; hath left ſo little ſweetneſſe 30 - In kiſſing, as ’tis now vſ’d, but for faſhion: - And ſhortly will be taken for a puniſhment. - Decayes the fore-teeth, that ſhould guard the tongue; - And ſuffers that runne riot euer-laſting! - And (which is worſe) ſome _Ladies_ when they meete 35 - Cannot be merry, and laugh, but they doe ſpit - In one anothers faces! - - MAN. I ſhould know - This voyce, and face too: - - Manly _begins to know him_. - - VVIT. Then they ſay, ’tis dangerous [147] - To all the falne, yet well diſpos’d _Mad-dames_, - That are induſtrious, and deſire to earne 40 - Their liuing with their ſweate! For any diſtemper - Of heat, and motion, may diſplace the colours; - And if the paint once runne about their faces, - Twenty to one, they will appeare ſo ill-fauour’d, - Their ſeruants run away, too, and leaue the pleaſure 45 - Imperfect, and the reckoning all vnpay’d. - - EIT. Pox, theſe are _Poets_ reaſons. - - TAY. Some old _Lady_ - That keepes a _Poet_, has deuis’d theſe ſcandales. - - EIT. Faith we muſt haue the _Poets_ baniſh’d, _Madame_, - As Maſter _Either-ſide_ ſaies. - - MER. Maſter _Fitz-dottrel_? 50 - And his wife: where? _Madame_, the _Duke_ of _Drown’d-land_, - That will be ſhortly. - - VVIT. Is this my _Lord_? - - MER. The ſame. - -[604] SD. om. G - -[605] 1 SN. is om. 1692, 1716, W || For G see 70 above. - -[606] 5 embrace 1716, f. - -[607] 6 SN. om. G - -[608] 16 ’em G - -[609] 20 Yo’] Y’ 1716, W - -[610] 22 ’t] it G - -[611] 38 SN.] [_Aside._ G - -[612] 39 _Mad-dams_ 1692, 1716 mad-dams W mad-ams G - -[613] 46 also G - -[614] 51 wife! _Wit._ Where? _Enter Mr. and Mrs._ FITZDOTTREL, - _followed by_ PUG. _Meer._ [_To Wit._] Madam, G - - -ACT. IIIJ. SCENE. IV. - -FITZ-DOTTREL. Miſtreſſe FITZ-DOTTRELL. - PVG. } _to them._ - - Your ſeruant, _Madame_! - - VVIT. How now? Friend? offended, - That I haue found your haunt here? - - Wittipol _whiſpers with_ Manly. - - MAN. No, but wondring - At your ſtrange faſhion’d venture, hither. - - VVIT. It is - To ſhew you what they are, you ſo purſue. - - MAN. I thinke ’twill proue a med’cine againſt marriage; - To know their manners. - - VVIT. Stay, and profit then. 6 - - MER. The _Lady_, _Madame_, whose _Prince_ has brought her, here, - To be inſtructed. - - _Hee preſents Miſtreſſe_ Fitz-dottrel. - - VVIT. Pleaſe you ſit with vs, _Lady_. - - MER. That’s _Lady-Preſident_. - - FIT. A goodly woman! - I cannot ſee the ring, though. - - MER. Sir, ſhe has it. 10 - - TAY. But, _Madame_, theſe are very feeble reaſons! - - WIT. So I vrg’d _Madame_, that the new complexion, - Now to come forth, in name o’ your _Ladiſhip’s fucus_, - Had no _ingredient_-- - - TAY. But I durſt eate, I aſſure you. - - WIT. So do they, in _Spaine_. - - TAY. Sweet _Madam_ be ſo liberall, 15 - To giue vs ſome o’ your _Spaniſh Fucuſes_! - - VVIT. They are infinit, _Madame_. - - TAY. So I heare, they haue - VVater of _Gourdes_, of _Radiſh_, the white _Beanes_, - Flowers of _Glaſſe_, of _Thiſtles_, _Roſe-marine_. - Raw _Honey_, _Muſtard-ſeed_, and Bread dough-bak’d, 20 - The crums o’ bread, _Goats-milke_, and whites of _Egges_, - _Campheere_, and _Lilly-roots_, the fat of _Swannes_, - Marrow of _Veale_, white _Pidgeons_, and pine-_kernells_, [148] - The ſeedes of _Nettles_, _perse’line_, and _hares gall_. - _Limons_, thin-skind-- - - EIT. How, her _Ladiſhip_ has ſtudied 25 - Al excellent things! - - VVIT. But ordinary, _Madame_. - No, the true rarities, are th’ _Aluagada_, - And _Argentata_ of Queene _Isabella_! - - TAY. I, what are their _ingredients_, gentle _Madame_? - - WIT. Your _Allum Scagliola_, or _Pol-dipedra_; 30 - And _Zuccarino_; _Turpentine_ of _Abezzo_, - Wash’d in nine waters: _Soda di leuante_, - Or your _Ferne_ aſhes; _Beniamin di gotta_; - _Graſſo di ſerpe_; _Porcelletto marino_; - Oyles of _Lentiſco_; _Zucche Mugia_; make 35 - The admirable _Verniſh_ for the face, - Giues the right luſter; but two drops rub’d on - VVith a piece of ſcarlet, makes a _Lady_ of ſixty - Looke at ſixteen. But, aboue all, the water - Of the white _Hen_, of the _Lady Eſtifanias_! 40 - - TAY. O, I, that ſame, good _Madame_, I haue heard of: - How is it done? - - VVIT. _Madame_, you take your _Hen_, - Plume it, and skin it, cleanſe it o’ the inwards: - Then chop it, bones and all: adde to foure ounces - Of _Carrauicins_, _Pipitas_, _Sope_ of _Cyprus_, 45 - Make the decoction, ſtreine it. Then diſtill it, - And keep it in your galley-pot well glidder’d: - Three drops preſerues from wrinkles, warts, ſpots, moles, - Blemiſh, or Sun-burnings, and keepes the skin - _In decimo ſexto_, euer bright, and ſmooth, 50 - As any looking-glaſſe; and indeed, is call’d - The Virgins milke for the face, _Oglio reale_; - A Ceruſe, neyther cold or heat, will hurt; - And mixt with oyle of _myrrhe_, and the red _Gilli-flower_ - Call’d _Cataputia_; and flowers of _Rouiſtico_; 55 - Makes the beſt _muta_, or dye of the whole world. - - TAY. Deare _Madame_, will you let vs be familiar? - - WIT. Your _Ladiſhips_ ſeruant. - - MER. How do you like her. - - FIT. Admirable! - But, yet, I cannot ſee the ring. - - _Hee is iealous about his_ ring, _and_ Mere-craft _deliuers it._ - - PVG. Sir. - - MER. I muſt - Deliuer it, or marre all. This foole’s ſo iealous. 60 - _Madame_--Sir, weare this ring, and pray you take knowledge, - ’Twas ſent you by his wife. And giue her thanks, - Doe not you dwindle, Sir, beare vp. - - PVG. I thanke you, Sir. - - TAY. But for the manner of _Spaine_! Sweet, _Madame_, let vs - Be bold, now we are in: Are all the _Ladies_, 65 - There, i’ the faſhion? - - VVIT. None but _Grandee’s_, _Madame_, - O’ the claſp’d traine, which may be worne at length, too, - Or thus, vpon my arme. - - TAY. And doe they weare - _Cioppino’s_ all? - - VVIT. If they be dreſt in _punto_, _Madame_. - - EIT. Guilt as thoſe are? _madame?_ - - WIT. Of Goldſmiths work, _madame_; [149] 70 - And ſet with diamants: and their _Spaniſh_ pumps - Of perfum’d leather. - - TAI. I ſhould thinke it hard - To go in ’hem, _madame_. - - WIT. At the firſt, it is, _madame_. - - TAI. Do you neuer fall in ’hem? - - WIT. Neuer. - - EI. I ſweare, I ſhould - Six times an houre. - - WIT. But you haue men at hand, ſstill, - To helpe you, if you fall? - - EIT. Onely one, madame, 76 - The _Guardo-duennas_, ſuch a little old man, - As this. - - EIT. Alas! hee can doe nothing! this! - - WIT. I’ll tell you, madame, - I ſaw i’ the _Court_ of _Spaine_ once, - A _Lady_ fall i’ the Kings ſight, along, 80 - And there ſhee lay, flat ſpred, as an _Vmbrella_, - Her hoope here crack’d; no man durſt reach a hand - To helpe her, till the _Guarda-duenn’as_ came, - VVho is the perſon onel’ allow’d to touch - A _Lady_ there: and he but by this finger. 85 - - EIT. Ha’ they no ſeruants, _madame_, there? nor friends? - - WIT. An _Eſcudero_, or ſo _madame_, that wayts - Vpon ’hem in another Coach, at diſtance, - And when they walke, or daunce, holds by a hand-kercher, - Neuer preſumes to touch ’hem. - - EIT. This’s ſciruy! 90 - And a forc’d grauity! I doe not like it. - I like our owne much better. - - TAY. ’Tis more _French_, - And _Courtly_ ours. - - EIT. And taſts more liberty. - VVe may haue our doozen of viſiters, at once, - Make loue t’vs. - - TAY. And before our husbands? - - EIT. Huſband? 95 - As I am honeſt, _Tayle-buſh_ I doe thinke - If no body ſhould loue mee, but my poore husband, - I ſhould e’n hang my ſelfe. - - TAY. Fortune forbid, wench: - So faire a necke ſhould haue ſo foule a neck-lace. - - EIT. ’Tis true, as I am handſome! - - WIT. I receiu’d, _Lady_, 100 - A token from you, which I would not bee - Rude to refuſe, being your firſt remembrance. - - (FIT. O, I am ſatisfied now! - MER. Do you ſee it, Sir.) - - WIT. But ſince you come, to know me, neerer, _Lady_, - I’ll begge the honour, you will weare for mee, 105 - It muſt be ſo. - - Wittipol _giues it Miſtreſſe_ Fitz-dottrel. - - M^rs. FIT. Sure I haue heard this tongue. - - MER. What do you meane, S^r? - - Mere-craft _murmures,_ - - WIT. Would you ha’ me mercenary? - We’ll recompence it anon, in ſomewhat elſe. - - _He is ſatisfied, now he ſees it._ - - FIT. I doe not loue to be gull’d, though in a toy. - VVife, doe you heare? yo’ are come into the Schole, wife, - VVhere you may learne, I doe perceiue it, any thing! 111 - How to be fine, or faire, or great, or proud, - Or what you will, indeed, wife; heere ’tis taught. - And I am glad on’t, that you may not ſay, - Another day, when honours come vpon you, 115 - You wanted meanes. I ha’ done my parts: beene, - Today at fifty pound charge, firſt, for a ring, [150] - _He vpbraids her, with his Bill of coſts._ - To get you entred. Then left my new _Play_, - To wait vpon you, here, to ſee’t confirm’d. - That I may ſay, both to mine owne eyes, and eares, 120 - Senſes, you are my witneſſe, ſha’ hath inioy’d - All helps that could be had, for loue, or money-- - - M^rs. FIT. To make a foole of her. - - FIT. Wife, that’s your malice, - The wickedneſſe o’ you nature to interpret - Your husbands kindeſſe thus. But I’ll not leaue; 125 - Still to doe good, for your deprau’d affections: - Intend it. Bend this ſtubborne will; be great. - - TAY. Good _Madame_, whom do they vſe in meſſages? - - WIT. They comonly vſe their ſlaues, _Madame_. - - TAI. And do’s your _Ladiſhip_. - Thinke that ſo good, _Madame_? - - WIT. no, indeed, _Madame_; I, 130 - Therein preferre the faſhion of _England_ farre, - Of your young delicate Page, or diſcreet Vſher. - - FIT. And I goe with your _Ladiſhip_, in opinion, - Directly for your Gentleman-vſher. - There’s not a finer _Officer_ goes on ground. 135 - - WIT. If hee be made and broken to his place, once. - - FIT. Nay, ſo I preſuppoſe him. - - WIT. And they are fitter - Managers too, Sir, but I would haue ’hem call’d - Our _Eſcudero’s_. - - FIT. Good. - - WIT. Say, I ſhould ſend - To your _Ladiſhip_, who (I preſume) has gather’d 140 - All the deare ſecrets, to know how to make - _Paſtillos_ of the _Dutcheſſe_ of _Braganza_, - _Coquettas_, _Almoiauana’s_, _Mantecada’s_, - _Alcoreas_, _Muſtaccioli_; or ſay it were - The _Peladore_ of _Isabella_, or _balls_ 145 - Againſt the itch, or _aqua nanfa_, or _oyle_ - Of _Ieſſamine_ for gloues, of the _Marqueſſe Muja_: - Or for the head, and hayre: why, theſe are _offices_. - - FIT. Fit for a gentleman, not a ſlaue. They onely - Might aske for your _pineti_, _Spaniſh_-cole, 150 - To burne, and ſweeten a roome; but the _Arcana_ - Of _Ladies_ Cabinets-- - - FIT. Should be elſe-where truſted. - Yo’ are much about the truth. Sweet honoured _Ladies_, - _He enters himſelfe with the_ Ladies. - Let mee fall in wi’ you. I’ha’ my female wit, - As well as my male. And I doe know what ſutes 155 - A _Lady_ of ſpirit, or a woman of faſhion! - - WIT. And you would haue your wife ſuch. - - FIT. Yes, _Madame_, aërie, - Light; not to plaine diſhoneſty, I meane: - But, ſomewhat o’ this ſide. - - WIT. I take you, Sir. - H’has reaſon _Ladies_. I’ll not giue this ruſh 160 - For any _Lady_, that cannot be honeſt - Within a thred. - - TAY. Yes, _Madame_, and yet venter - As far for th’other, in her Fame-- - - WIT. As can be; - Coach it to _Pimlico_; daunce the _Saraband_; [151] - Heare, and talke bawdy; laugh as loud, as a larum; 165 - Squeake, ſpring, do any thing. - - EIT. In young company, _Madame_. - - TAY. Or afore gallants. If they be braue, or _Lords_, - A woman is ingag’d. - - FIT. I ſay ſo, _Ladies_, - It is ciuility to deny vs nothing. - - PVG. You talke of a _Vniuerſity_! why, _Hell_ is 170 - A Grammar-ſchoole to this! - - _The_ Diuell _admires him_. - - EIT. But then, - Shee muſt not loſe a looke on ſtuffes, or cloth, _Madame_. - - TAY. Nor no courſe fellow. - - WIT. She muſt be guided, _Madame_ - By the clothes he weares, and company he is in; - Whom to ſalute, how farre-- - - FIT. I ha’ told her this. 175 - And how that bawdry too, vpo’ the point, - Is (in it ſelfe) as ciuill a diſcourſe-- - - WIT. As any other affayre of fleſh, what euer. - - FIT. But ſhee will ne’r be capable, ſhee is not - So much as comming, _Madame_; I know not how 180 - She loſes all her opportunities - With hoping to be forc’d. I’haue entertain’d - _He ſhews his_ Pug. - A gentleman, a younger brother, here, - Whom I would faine breed vp, her _Eſcudero_, - Againſt ſome expectation’s that I haue, 185 - And ſhe’ll not countenance him. - - WIT. What’s his name? - - FIT. _Diuel_, o’ _Darbi-ſhire_. - - EIT. Bleſſe us from him! - - TAY. _Diuell?_ - Call him _De-uile_, ſweet _Madame_. - - M^rs. FI. What you pleaſe, _Ladies_. - - TAY. _De-uile’s_ a prettier name! - - EIT. And ſounds, me thinks, - As it came in with the _Conquerour_-- - - MAN. Ouer ſmocks! 190 - What things they are? That nature ſhould be at leaſure - Euer to make ’hem! my woing is at an end. - - Manly _goes out with indignation_. - - WIT. What can he do? - - EIT. Let’s heare him. - - TAY. Can he manage? - - FIT. Pleaſe you to try him, _Ladies_. Stand forth, _Diuell_. - - PVG. Was all this but the preface to my torment? 195 - - FIT. Come, let their _Ladiſhips_ ſee your honours. - - EIT. O, - Hee makes a wicked leg. - - TAY. As euer I ſaw! - - WIT. Fit for a _Diuell_. - - TAY. Good _Madame_, call him _De-uile_. - - WIT. _De-uile_, what property is there moſt required - I’ your conceit, now, in the _Eſcudero_? 200 - - _They begin their_ Catechiſme. - - FIT. Why doe you not speake? - - PVG. A ſetled diſcreet paſe, _Madame_. - - WIT. I thinke, a barren head, Sir, Mountaine-like, - To be expos’d to the cruelty of weathers-- - - FIT. I, for his Valley is beneath the waſte, _Madame_, - And to be fruitfull there, it is ſufficient. 205 - Dulneſſe vpon you! Could not you hit this? - - PVG. Good Sir-- - - _He ſtrikes him._ - - WIT. He then had had no barren head. - You daw him too much, in troth, Sir. - - FIT. I muſt walke - With the _French_ ſticke, like an old vierger for you. - - PVG. O, _Chiefe_, call mee to _Hell_ againe, and free mee. 210 - - _The_ Diuell _prayes_. - - FIT. Do you murmur now? - - PVG. Not I, S^r. - - WIT. What do you take [152] - M^r. _Deuile_, the height of your employment, - In the true perfect _Eſcudero_? - - FIT. When? - What doe you anſwer? - - PVG. To be able, _Madame_, - Firſt to enquire, then report the working, 215 - Of any _Ladies_ phyſicke, in ſweete phraſe. - - WIT. Yes, that’s an act of elegance, and importance. - But what aboue? - - FIT. O, that I had a goad for him. - - PVG. To find out a good _Corne-cutter_. - - TAY. Out on him! - - EIT. Moſt barbarous! - - FIT. Why did you doe this, now? 220 - Of purpoſe to diſcredit me? you damn’d _Diuell_. - - PVG. Sure, if I be not yet, I ſhall be. All - My daies in _Hell_, were holy-daies to this! - - TAY. ’Tis labour loſt, _Madame_? - - EIT. H’is a dull fellow - Of no capacity! - - TAI. Of no diſcourſe! 225 - O, if my _Ambler_ had beene here! - - EIT. I, _Madame_; - You talke of a man, where is there ſuch another? - - WIT. M^r. _Deuile_, put caſe, one of my _Ladies_, heere, - Had a fine brach: and would imploy you forth - To treate ’bout a conuenient match for her. 230 - What would you obſerue? - - PVG. The color, and the ſize, _Madame_. - - WIT. And nothing elſe? - - FIT. The Moon, you calfe, the Moone! - - WIT. I, and the Signe. - - TAI. Yes, and receits for proneneſſe. - - WIT. Then when the _Puppies_ came, what would you doe? - - PVG. Get their natiuities caſt! - - WIT. This’s wel. What more? 235 - - PVG. Conſult the _Almanack-man_ which would be leaſt? - Which cleanelieſt? - - WIT. And which ſilenteſt? This’s wel, _madame_! - - WIT. And while ſhe were with puppy? - - PVG. Walke her out, - And ayre her euery morning! - - WIT. Very good! - And be induſtrious to kill her fleas? 240 - - PVG. Yes! - - WIT. He will make a pretty proficient. - - PVG. Who, - Comming from _Hell_, could looke for ſuch Catechiſing? - The _Diuell_ is an _Aſſe_. I doe acknowledge it. - - FIT. The top of woman! All her ſexe in abſtract! - Fitz-dottrel _admires_ Wittipol. - I loue her, to each ſyllable, falls from her. 245 - - TAI. Good _madame_ giue me leaue to goe aſide with him! - And try him a little! - - WIT. Do, and I’ll with-draw, _Madame_, - VVith this faire _Lady_: read to her, the while. - - TAI. Come, S^r. - - PVG. Deare _Chiefe_, relieue me, or I periſh. - - _The_ Diuel _praies again_. - - WIT. _Lady_, we’ll follow. You are not iealous Sir? 250 - - FIT. O, _madame_! you ſhall ſee. Stay wife, behold, - I giue her vp heere, abſolutely, to you, - She is your owne. Do with her what you will! - _He giues his wife to him, taking him to be a_ Lady. - Melt, caſt, and forme her as you ſhall thinke good! - Set any ſtamp on! I’ll receiue her from you 255 - As a new thing, by your owne ſtandard! - - VVIT. Well, Sir! - -[615] SD. om. G - -[616] 1 _Wit._ [_Takes Manly aside._] - -[617] 2 SN. om. G wondering G - -[618] 8 SN. _Hee_ om. G - -[619] 13 o’] of W - -[620] 14 had] has W, G - -[621] 17 hear. _Wit._ They G - -[622] 22 Camphire 1716, f. - -[623] 32, 3 _leuante ... di_ om. 1641 - -[624] 34 _Grosia_ 1641 - -[625] 35 _Zucchi_ 1641 - -[626] 36 varnish G - -[627] 39 at] as 1716, f. - -[628] 43 o’ ret. G - -[629] 53 or] nor W, G - -[630] 59 SN. om. G - -[631] 60 [_Aside._ G - -[632] 61 Madam--[_whispers Wit._] G - -[633] 63 up. [_Aside to Pug._ G - -[634] 70 EIT.] _Lady T._ G - -[635] 71 Diamonds 1692, 1716 diamonds W, G - -[636] 75 WIT. ...] speech given to TAI. 1716, f. - -[637] 76 EIT. ...] speech given to WIT. 1716, f. - -[638] 77 guarda W, G - -[639] 78 this. [_Points to Trains._ G - -[640] 79 in the 1716, f. - -[641] 84 onl’ 1692, 1716 only W, G - -[642] 89 dance 1692, f. || Handkerchief 1716 handkerchief W, G - -[643] 90 This is W, G - -[644] 94 dozen 1692, f. - -[645] 103 now! [_Aside to Meer._ G - -[646] 106 SN.] [_Gives the ring to Mrs. Fitzdottrel._ G Surely 1641 - tongue. [_Aside._ G - -[647] 107 SN.] [_Aside to Wit._ G - -[648] 108 SN. om. [_Exeunt Meer, and Trains_ G - -[649] 110 heare? [_Takes Mrs. Fitz. aside._] G You’re 1716, W into] - in 1641 schoole 1641 School 1692, 1716 school W, G - -[650] 117 SN. om. G - -[651] 118 left] let 1641 entered W enter’d G - -[652] 120 owne om. G - -[653] 121 sha’] she’ 1692 she 1716, f. enjoy’d 1692, f. - -[654] 124 your 1641, f. - -[655] 125 kindnesse 1641 Kindness 1692, 1716 kindness W, G - -[656] 147 Marquess 1692, 1716 marquess W - -[657] 149 FIT.] _Eith._ 1716, W _Wit._ They G - -[658] 153 SN. om. G || You’re 1716, W - -[659] 160 He ’as 1716, W - -[660] 162 venture 1692, f. - -[661] 164 dance 1641, f. - -[662] 168 engag’d W engaged G - -[663] 171 SN.] [_Aside._ G - -[664] 176 baudery 1641 - -[665] 182 SN. om. G - -[666] 192 SN.] [_Aside, and exit with indignation._ G || Wooing 1692, - 1716 wooing W, G - -[667] 195 [_Aside._ G - -[668] 196 Ladiship 1641 - -[669] 200, 210 SN. om. G - -[670] 201 pase] pause 1641 - -[671] 207 SN.] [_Fit strikes Pug._ W || _He_ om. G - -[672] 208 draw 1716 - -[673] 209 Virger W verger G - -[674] 210 [_Aside._ G - -[675] 212 Divele 1641 - -[676] 223 [_Aside._ G - -[677] 224 He’s 1716, W He is G - -[678] 229 employ 1692, f. - -[679] 235, 237 This’s] This is 1716, f. - -[680] 237 cleanliest 1692, f. silent’st 1692. f. - -[681] 238 WIT. om. 1692, f. - -[682] 242 such] such a W, G - -[683] 243 [_Aside._ G - -[684] 244 SN.] [_Aside, and looking at Wittipol._ G - -[685] 249 SN.] [_Aside._ G - -[686] 253 SN. om. G - -[687] 256 [_Exit Wit._ Well, sir! [_Exeunt Wittipol with Mrs. Fitz. - and Tailbush and Eitherside with Pug._ G - - -ACT. IIIJ. SCENE. V. - -MERE-CRAFT. FITZ-DOTTREL. PIT-FAL. - EVER-ILL. PLVTARCHUS. - - But what ha’ you done i’ your _Dependance_, ſince? [153] - - FIT. O, it goes on, I met your Couſin, the _Maſter_-- - - MER. You did not acquaint him, S^r? - - FIT. Faith, but I did, S^r. - And vpon better thought, not without reaſon! - He being chiefe _Officer_, might ha’ tane it ill, elſe, 5 - As a _Contempt_ againſt his Place, and that - In time Sir, ha’ drawne on another _Dependance_. - No, I did finde him in good termes, and ready - To doe me any ſeruice. - - MER. So he said, to you? - But S^r, you do not know him. - - FIT. VVhy, I presum’d 10 - Becauſe this _bus’neſſe_ of my wiues, requir’d mee, - I could not ha’ done better: And hee told - Me, that he would goe preſently to your _Councell_, - A Knight, here, i’ the Lane-- - - MER. Yes, _Iuſtice Either-ſide_. - - FIT. And get the _Feoffment_ drawne, - with a letter of _Atturney_, 15 - For _liuerie_ and _ſeiſen_! - - MER. That I knowe’s the courſe. - But Sir, you meane not to make him _Feoffee_? - - FIT. Nay, that I’ll pauſe on! - - MER. How now little _Pit-fall_. - - PIT. Your Couſin Maſter _Euer-ill_, would come in-- - But he would know if Maſter _Manly_ were heere. 20 - - MER. No, tell him, if he were, I ha’ made his peace! - Mere-craft _whiſpers againſt him_. - Hee’s one, Sir, has no State, and a man knowes not, - How such a trust may tempt him. - - FIT. I conceiue you. - - EVE. S^r. this ſame deed is done here. - - MER. Pretty _Plutarchus_? - Art thou come with it? and has Sir _Paul_ view’d it? 25 - - PLV. His hand is to the draught. - - MER. VVill you step in, S^r. - And read it? - - FIT. Yes. - - EVE. I pray you a word wi’ you. - Eueril _whiſpers against_ Mere-craft. - Sir _Paul Eitherside_ will’d mee gi’ you caution, - Whom you did make _Feoffee_: for ’tis the truſt - O’ your whole State: and though my Cousin heere 30 - Be a worthy Gentleman, yet his valour has - At the tall board bin queſtion’d: and we hold - Any man ſo impeach’d, of doubtfull honesty! - I will not iuſtiſie this; but giue it you - To make your profit of it: if you vtter it, 35 - I can forſweare it! - - FIT. I beleeue you, and thanke you, Sir. - -[688] SD. V] III. 1641 ACT. ...] SCENE II. _Another Room in the same. - Enter_ MEERCRAFT _and_ FITZDOTTREL. G - -[689] 5 taken G - -[690] 9 service 1641, W, G Service 1692, 1716 - -[691] 18 on. _Enter_ PITFALL. G - -[692] 20 Mr. 1692, 1716 mr. W - -[693] 21 [_Exit Pitfall._ SN. om. G - -[694] 23 _Enter_ EVERILL _and_ PLUTARCHUS. G - -[695] 25 _Poul_ 1692, 1716 Poul W - -[696] 27 SN.] [_Aside to Fitz._ G - -[697] 28 give 1641, G _Paul_] as in 4.5.25 - -[698] 36 [_Exeunt._ G - - -ACT. IIIJ. SCENE. VI. - -VVITTIPOL. Mistresse FITZ-DOTTREL. - MANLY. MERE-CRAFT. - - Be not afraid, ſweet _Lady_: yo’ are truſted [154] - To loue, not violence here; I am no rauiſher, - But one, whom you, by your faire truſt againe, - May of a ſeruant make a moſt true friend. - - M^rs. FI. And ſuch a one I need, but not this way: 5 - Sir, I confeſſe me to you, the meere manner - Of your attempting mee, this morning tooke mee, - And I did hold m’inuention, and my manners, - Were both engag’d, to giue it a requitall; - But not vnto your ends: my hope was then, 10 - (Though interrupted, ere it could be vtter’d) - That whom I found the Maſter of ſuch language, - That braine and ſpirit, for ſuch an enterpriſe, - Could not, but if thoſe ſuccours were demanded - To a right vſe, employ them vertuouſly! 15 - And make that profit of his noble parts, - Which they would yeeld. S^r, you haue now the ground, - To exerciſe them in: I am a woman: - That cannot ſpeake more wretchedneſſe of my ſelfe, - Then you can read; match’d to a maſſe of folly; 20 - That euery day makes haſte to his owne ruine; - The wealthy portion, that I brought him, ſpent; - And (through my friends neglect) no ioynture made me. - My fortunes ſtanding in this precipice, - ’Tis _Counſell_ that I want, and honeſt aides: 25 - And in this name, I need you, for a friend! - Neuer in any other; for his ill, - Muſt not make me, S^r, worſe. - - Manly, _conceal’d this while, ſhews himſelf_. - - MAN. O friend! forſake not - The braue occaſion, vertue offers you, - To keepe you innocent: I haue fear’d for both; 30 - And watch’d you, to preuent the ill I fear’d. - But, ſince the weaker ſide hath ſo aſſur’d mee, - Let not the ſtronger fall by his owne vice, - Or be the leſſe a friend, cauſe vertue needs him. - - WIT. Vertue ſhall neuer aske my ſuccours twice; 35 - Moſt friend, moſt man: your _Counſells_ are commands: - Lady, I can loue _goodnes_ in you, more [155] - Then I did _Beauty_; and doe here intitle - Your vertue, to the power, vpon a life - You ſhall engage in any fruitfull ſeruice, 40 - Euen to forfeit. - - MER. _Madame_: Do you heare, Sir, - Mere-craft _takes_ Wittipol _aſide,_ - & _moues a proiect for himſelfe_. - We haue another leg-ſtrain’d, for this _Dottrel_. - He’ha’s a quarrell to carry, and ha’s cauſ’d - A deed of _Feoffment_, of his whole eſtate - To be drawne yonder; h’ha’ſt within: And you, 45 - Onely, he meanes to make _Feoffee_. H’is falne - So deſperatly enamour’d on you, and talkes - Moſt like a mad-man: you did neuer heare - A _Phrentick_, ſo in loue with his owne fauour! - Now, you doe know, ’tis of no validity 50 - In your name, as you ſtand; Therefore aduiſe him - To put in me. (h’is come here:) You ſhall ſhare Sir. - -[699] SD. SCENE III _Another Room in the same. Enter_ WITTIPOL, - _and Mrs._ FITZDOTTREL. G - -[700] 1 Yo’] you W - -[701] 4 MANLY _enters behind_. G - -[702] 8 m’] W, G - -[703] 28 SN.] [_comes forward._] G - -[704] 40 faithfull 1641 - -[705] 41 SN.] _Enter_ MEERCRAFT. (after ‘forfeit.’) - _Aside to Wittipol._ (after ‘Sir,’) G - -[706] 42 leg-strain’d] hyphen om. 1692, f. - -[707] 43 He’] H’ 1692, 1716 - -[708] 45 h’ om. 1641 he W, G - -[709] 46 H’is] He’s 1716, W He is G - -[710] 49 phrenetic G - -[711] 52 me!--_Enter_ FITZDOTTREL, EVERILL, _and_ PLUTARCHUS. G || h’is - He’s 1716, f. - - -ACT. IV. SCENE. VIJ. - - WITTIPOL. Miſtreſſe FITZ-DOTTREL. - MANLY. MERE-CRAFT. -FITZ-DOTTRELL. EVERILL. - PLVTARCHVS. - - FIT. _Madame_, I haue a ſuit to you; and afore-hand, - I doe beſpeake you; you muſt not deny me, - I will be graunted. - - WIT. Sir, I muſt know it, though. - - FIT. No _Lady_; you muſt not know it: yet, you muſt too. - For the truſt of it, and the fame indeed, 5 - Which elſe were loſt me. I would vfe your name, - But in a _Feoffment_: make my whole eſtate - Ouer vnto you: a trifle, a thing of nothing, - Some eighteene hundred. - - WIT. Alas! I vnderſtand not - Thoſe things Sir. I am a woman, and moſt loath, 10 - To embarque my ſelfe-- - - FIT. You will not ſlight me, _Madame_? - - WIT. Nor you’ll not quarrell me? - - FIT. No, ſweet _Madame_, I haue - Already a _dependance_; for which cauſe - I doe this: let me put you in, deare _Madame_, - I may be fairely kill’d. - - WIT. You haue your friends, Sir, 15 - About you here, for choice. - - EVE. She tells you right, Sir. - - _Hee hopes to be the man._ - - FIT. Death, if ſhe doe, what do I care for that? - Say, I would haue her tell me wrong. - - WIT. Why, Sir, [156] - If for the truſt, you’ll let me haue the honor - To name you one. - - FIT. Nay, you do me the honor, _Madame_: 20 - Who is’t? - - WIT. This Gentleman: - - _Shee deſignes_ Manly. - - FIT. O, no, sweet _Madame_, - H’is friend to him, with whom I ha’ the _dependance_. - - WIT. Who might he bee? - - FIT. One _Wittipol_: do you know him? - - WIT. Alas Sir, he, a toy: This Gentleman - A friend to him? no more then I am Sir! 25 - - FIT. But will your _Ladyſhip_ vndertake that, _Madame_? - - WIT. Yes, and what elſe, for him, you will engage me. - - FIT. What is his name? - - VVIT. His name is _Euſtace Manly_. - - FIT. VVhence do’s he write himſelfe? - - VVIT. of _Middle-ſex_, _Eſquire_. - - FIT. Say nothing, _Madame_. _Clerke_, come hether 30 - VVrite _Euſtace Manly_, Squire o’ _Middle-ſex_. - - MER. What ha’ you done, Sir? - - VVIT. Nam’d a gentleman, - That I’ll be anſwerable for, to you, Sir. - Had I nam’d you, it might ha’ beene ſuſpected: - This way, ’tis ſafe. - - FIT. Come Gentlemen, your hands, 35 - For witnes. - - MAN. VVhat is this? - - EVE. You ha’ made _Election_ - Eueril _applaudes it_. - Of a moſt worthy _Gentleman_! - - MAN. VVould one of worth - Had ſpoke it: whence it comes, it is - Rather a ſhame to me, then a praiſe. - - EVE. Sir, I will giue you any Satisfaction. 40 - - MAN. Be ſilent then: “falſhood commends not truth”. - - PLV. You do deliuer this, Sir, as your deed. - To th’ vſe of M^r. _Manly_? - - FIT. Yes: and Sir-- - VVhen did you ſee yong _Wittipol_? I am ready, - For proceſſe now; Sir, this is _Publication_. 45 - He ſhall heare from me, he would needes be courting - My wife, Sir. - - MAN. Yes: So witneſſeth his Cloake there. - - FIT. Nay good Sir,--_Madame_, you did vndertake-- - - Fitz-dottrel _is ſuſpicious of_ Manly _ſtill_. - - VVIT. VVhat? - - FIT. That he was not _Wittipols_ friend. - - VVIT. I heare S^r. no confeſſion of it. - - FIT. O ſhe know’s not; 50 - Now I remember, _Madame_! This young _Wittipol_, - VVould ha’ debauch’d my wife, and made me _Cuckold_, - Through a caſement; he did fly her home - To mine owne window: but I think I ſou’t him, - And rauifh’d her away, out of his pownces. 55 - I ha’ ſworne to ha’ him by the eares: I feare - The toy, wi’ not do me right. - - VVIT. No? that were pitty! - VVhat right doe you aske, Sir? Here he is will do’t you? - - Wittipol _diſcouers himſelfe_. - - FIT. Ha? _Wittipol_? - - VVIT. I Sir, no more _Lady_ now, - Nor _Spaniard_! - - MAN. No indeed, ’tis _Wittipol_. 60 - - FIT. Am I the thing I fear’d? - - VVIT. A _Cuckold_? No Sir, - But you were late in poſſibility, - I’ll tell you ſo much. - - MAN. But your wife’s too vertuous! - - VVIT. VVee’ll ſee her Sir, at home, and leaue you here, - To be made _Duke o’ Shore-ditch_ with a proiect. [157] 65 - - FIT. Theeues, rauiſhers. - - VVIT. Crie but another note, Sir, - I’ll marre the tune, o’ your pipe! - - FIT. Gi’ me my deed, then. - - _He would haue his_ deed _again_. - - VVIT. Neither: that ſhall be kept for your wiues good, - VVho will know, better how to vſe it. - - FIT. Ha’ - To feaſt you with my land? - - VVIT. Sir, be you quiet, 70 - Or I ſhall gag you, ere I goe, conſult - Your Maſter of dependances; how to make this - A ſecond buſineſſe, you haue time Sir. - - VVitipol _bafflees him, and goes out_. - - FIT. Oh! - VVhat will the ghoſt of my wiſe Grandfather, - My learned _Father_, with my worſhipfull _Mother_, 75 - Thinke of me now, that left me in this world - In ſtate to be their _Heire_? that am become - A _Cuckold_, and an _Aſſe_, and my wiues Ward; - Likely to looſe my land; ha’ my throat cut: - All, by her practice! - - MER. Sir, we are all abus’d! 80 - - FIT. And be ſo ſtill! VVho hinders you, I pray you, - Let me alone, I would enioy my ſelfe, - And be the _Duke o’ Drown’d-Land_, you ha’ made me. - - MER. Sir, we muſt play an _after-game_ o’ this. - - FIT. But I am not in caſe to be a _Gam-ſter_: 85 - I tell you once againe-- - - MER. You muſt be rul’d - And take some counſell. - - FIT. Sir, I do hate counſell, - As I do hate my wife, my wicked wife! - - MER. But we may thinke how to recouer all: - If you will act. - - FIT. I will not think; nor act; 90 - Nor yet recouer; do not talke to me? - I’ll runne out o’ my witts, rather then heare; - I will be what I am, _Fabian Fitz-Dottrel_, - Though all the world ſay nay to’t. - - MER. Let’s follow him. - -[712] SD. om. G - -[713] 3 granted 1692, f. - -[714] 16 SN. om. G - -[715] 21 SN. _She_ om. W _She_ ...] [_Pointing to Manly._ G - -[716] 22 He’s 1716, f. - -[717] 30 [_To Plutarchus._ G || hither 1692, f. - -[718] 32 sir? [_Aside to Wit._ G - -[719] 36 SN. om. G - -[720] 38 it! but now whence W, G - -[721] 39 to] unto W, G - -[722] 43 [_To Manly._ G - -[723] 48 SN. om. G - -[724] 49 VVIT. _What._ 1641 - -[725] 53 Thorow 1692 Thorough 1716, f. - -[726] 54 sou’t] fou’t 1692 fought 1716, W sous’d G - -[727] 58 SN. Wittipol om. G - -[728] 67 SN. om. G - -[729] 69 Ha! 1692, f. - -[730] 73 SN.] [_Baffles him, and exit with Manly._ G - -[731] 82 injoy 1641 - -[732] 94 to’t. [_Exit._ G || Let’s Let us W, G || him. [_Exeunt._ G - - - - -ACT. V. SCENE. I. [158] - - -AMBLER. PITFALL. MERE-CRAFT. - - Bvt ha’s my Lady miſt me? - - PIT. Beyond telling! - Here ha’s been that infinity of ſtrangers! - And then ſhe would ha’ had you, to ha’ ſampled you - VVith one within, that they are now a teaching; - And do’s pretend to your ranck. - - AMB. Good fellow _Pit-fall_, 5 - Tel M^r. _Mere-craft_, I intreat a word with him. - Pitfall _goes out_. - This most vnlucky accident will goe neare - To be the loſſe o’ my place; I am in doubt! - - MER. VVith me? what ſay you M^r _Ambler_? - - AMB. Sir, - I would beſeech your worſhip ſtand betweene 10 - Me, and my _Ladies_ diſpleaſure, for my abſence. - - MER. O, is that all? I warrant you. - - AMB. I would tell you Sir - But how it happened. - - MER. Brief, good Maſter _Ambler_, - Put your selfe to your rack: for I haue taſque - Of more importance. - Mere-craft _ſeemes full of buſineſſe_. - - AMB. Sir you’ll laugh at me? 15 - But (ſo is _Truth_) a very friend of mine, - Finding by conference with me, that I liu’d - Too chaſt for my complexion (and indeed - Too honeſt for my place, Sir) did aduiſe me - If I did loue my ſelfe (as that I do, 20 - I muſt confeſſe) - - MER. Spare your _Parentheſis_. - - AMB. To gi’ my body a little euacuation-- - - MER. Well, and you went to a whore? - - AMB. No, S^r. I durſt not - (For feare it might arriue at ſome body’s eare, - It ſhould not) truſt my ſelfe to a common houſe; 25 - Ambler _tels this with extraordinary ſpeed_. - But got the Gentlewoman to goe with me, - And carry her bedding to a _Conduit-head_, - Hard by the place toward _Tyborne_, which they call - My L. Majors _Banqueting-houſe_. Now Sir, This morning - Was _Execution_; and I ner’e dream’t on’t 30 - Till I heard the noiſe o’ the people, and the horſes; - And neither I, nor the poore Gentlewoman [159] - Durſt ſtirre, till all was done and paſt: ſo that - I’ the _Interim_, we fell a ſleepe againe. - - _He flags_. - - MER. Nay, if you fall, from your gallop, I am gone S^r. 35 - - AMB. But, when I wak’d, to put on my cloathes, a ſute, - I made new for the action, it was gone, - And all my money, with my purſe, my ſeales, - My hard-wax, and my table-bookes, my ſtudies, - And a fine new deuiſe, I had to carry 40 - My pen, and inke, my ciuet, and my tooth-picks, - All vnder one. But, that which greiu’d me, was - The Gentlewoman’s ſhoes (with a paire of roſes, - And garters, I had giuen her for the buſineſſe) - So as that made vs ſtay, till it was darke. 45 - For I was faine to lend her mine, and walke - In a rug, by her, barefoote, to Saint _Giles’es_. - - MER. A kind of Iriſh penance! Is this all, Sir? - - AMB. To ſatisfie my _Lady_. - - MER. I will promiſe you, S^r. - - AMB. I ha’ told the true _Diſaſter_. - - MER. I cannot ſtay wi’ you 50 - Sir, to condole; but gratulate your returne. - - AMB. An honeſt gentleman, but he’s neuer at leiſure - To be himſelfe: He ha’s ſuch tides of buſineſſe. - -[733] SD. AMBLER ...] _A Room in_ Tailbush’s _House. - Enter_ AMBLER _and_ PITFALL. G - -[734] 6 entreat W, G || SN.] [_Exit Pitfall._ G - -[735] 8 _Enter_ MEERCRAFT. G - -[736] 12 that] this 1641 - -[737] 14 a tasque 1641 - -[738] 15 SN. om. G - -[739] 16 () ret. G. - -[740] 25 SN. Ambler om. G - -[741] 29 Mayor’s 1716, f. - -[742] 30 never W, G - -[743] 34 SN. _slags_ 1641 - -[744] 43, 4 (with ... garters,) W || () ret. G - -[745] 51, 3 [_Exit._ G - - -ACT. V. SCENE. II. - -PVG. AMBLER. - - O, Call me home againe, deare _Chiefe_, and put me - To yoaking foxes, milking of Hee-goates, - Pounding of water in a morter, lauing - The ſea dry with a nut-ſhell, gathering all - The leaues are falne this _Autumne_, drawing farts 5 - Out of dead bodies, making ropes of ſand, - Catching the windes together in a net, - Muſtring of ants, and numbring atomes; all - That hell, and you thought exquiſite torments, rather - Then ſtay me here, a thought more: I would ſooner 10 - Keepe fleas within a circle, and be accomptant - A thouſand yeere, which of ’hem and how far - Out leap’d the other, then endure a minute - Such as I haue within. There is no hell - To a _Lady_ of faſhion. All your torture there 15 - Are paſtimes to it. ’T would be a refreſhing [160] - For me, to be i’ the fire againe, from hence. - - Ambler _comes in, & ſuruayes him_. - - AMB. This is my ſuite, and thoſe the ſhoes and roſes! - - PVG. Th’ haue such impertinent vexations, - A generall Councell o’ _diuels_ could not hit-- 20 - Pug _perceiues it, and ſtarts_. - Ha! This is hee, I tooke a ſleepe with his _Wench_, - And borrow’d his cloathes. What might I doe to balke him? - - AMB. Do you heare, S^r? - - PVG. Answ. him but not to th’purpoſe - - AMB. What is your name, I pray you Sir. - - PVG. Is’t ſo late Sir? - - _He anſwers quite from the purpoſe._ - - AMB. I aske not o’ the time, but of your name, Sir. 25 - - PVG. I thanke you, Sir. Yes it dos hold Sir, certaine. - - AMB. Hold, Sir? what holds? I muſt both hold, and talke to you - About theſe clothes. - - PVG. A very pretty lace! - But the _Taylor_ coſſend me. - - AMB. No, I am coſſend - By you! robb’d. - - PVG. Why, when you pleaſe Sir, I am 30 - For three peny _Gleeke_, your man. - - AMB. Pox o’ your _gleeke_, - And three pence. Giue me an anſwere. - - PVG. Sir, - My maſter is the beſt at it. - - AMB. Your maſter! - Who is your Maſter. - - PVG. Let it be friday night. - - AMB. What ſhould be then? - - PVG. Your beſt ſongs _Thom. o’ Bet’lem_ 35 - - AMB. I thinke, you are he. Do’s he mocke me trow, from purpoſe? - Or do not I ſpeake to him, what I meane? - Good Sir your name. - - PVG. Only a couple a’ _Cocks_ Sir, - If we can get a _Widgin_, ’tis in ſeaſon. - - AMB. He hopes to make on o’ theſe _Scipticks_ o’ me 40 - _For_ Scepticks. - (I thinke I name ’hem right) and do’s not fly me. - I wonder at that! ’tis a ſtrange confidence! - I’ll prooue another way, to draw his anſwer. - -[746] SD.] SCENE II. _Another Room in the Same. Enter_ PUG. G - -[747] 8 mustering G numbering G - -[748] 17 SN.] _Enter_ AMBLER, _and surveys him_. G - -[749] 18 [_Aside._ G - -[750] 19 They’ve W They have G - -[751] 20 SN. om. 1641 [_sees Ambler._] G - -[752] 22,3 [_Aside._ G - -[753] 23 him om. 1641 - -[754] 24, 40 SN. om. G - -[755] 31 o’ ret. G - -[756] 35 _Tom_ 1641, G || o’ ret. G || _Bethlem_ 1716, G Bethlem W - -[757] 38 a’] o’ 1692, 1716, W of G - -[758] 40 on] one 1641, f. - -[759] 41 () ret. G - -[760] 43 [_Exeunt severally._ G - - -ACT. V. SCENE. IIJ. - -MERE-CRAFT. FITZ-DOTTREL. - EVERILL. PVG. - - It is the eaſieſt thing Sir, to be done. - As plaine, as fizzling: roule but wi’ your eyes, - And foame at th’ mouth. A little caſtle-ſoape - Will do’t, to rub your lips: And then a nutſhell, - With toe, and touch-wood in it to ſpit fire, 5 - Did you ner’e read, Sir, little _Darrels_ tricks, - With the boy o’ _Burton_, and the 7. in _Lancaſhire, - Sommers_ at _Nottingham_? All theſe do teach it. - And wee’ll giue out, Sir, that your wife ha’s bewitch’d you: [161] - - _They repaire their old plot_. - - EVE. And practiſed with thoſe two, as _Sorcerers_. 10 - - MER. And ga’ you potions, by which meanes you were - Not _Compos mentis_, when you made your _feoffment_. - There’s no recouery o’ your ſtate, but this: - This, Sir, will ſting. - - EVE. And moue in a Court of equity. - - MER. For, it is more then manifeſt, that this was 15 - A plot o’ your wiues, to get your land. - - FIT. I thinke it. - - EVE. Sir it appeares. - - MER. Nay, and my coſſen has knowne - Theſe gallants in theſe ſhapes. - - EVE. T’haue don ſtrange things, Sir. - One as the _Lady_, the other as the _Squire_. - - MER. How, a mans honeſty may be fool’d! I thought him 20 - A very _Lady_. - - FIT. So did I: renounce me elſe. - - MER. But this way, Sir, you’ll be reueng’d at height. - - EVE. Vpon ’hem all. - - MER. Yes faith, and ſince your Wife - Has runne the way of woman thus, e’en giue her-- - - FIT. Loſt by this hand, to me, dead to all ioyes 25 - Of her deare _Dottrell_, I ſhall neuer pitty her: - That could, pitty her ſelfe. - - MER. Princely reſolu’d Sir, - And like your ſelfe ſtill, in _Potentiâ_. - -[761] SD.] SCENE III. _A Room in_ Fitzdottrel’s _House. - Enter_ MEERCRAFT, FITZDOTTREL, _and_ EVERILL. G - -[762] 2 Roll 1692, 1716 roll W, G - -[763] 9 SN. om. G - -[764] 11 gave G - -[765] 13 estate 1641 - -[766] 18 shapes--G - -[767] 27 could not pity W could [not] pity G - - -ACT. V. SCENE. IV. - -MERE-CRAFT, &c. _to them_. GVILT-HEAD. - SLEDGE. PLVTARCHVS. SERIEANTS. - - _Gvilt-head_ What newes? - - FIT. O Sir, my hundred peices: - Let me ha’ them yet. - - Fitz-dottrel _aſkes for his money_. - - GVI. Yes Sir, officers - Arreſt him. - - FIT. Me? - - SER. I arreſt you. - - SLE. Keepe the peace, - I charge you gentlemen. - - FIT. Arreſt me? Why? - - GVI. For better ſecurity, Sir. My ſonne _Plutarchus_ 5 - Aſſures me, y’are not worth a groat. - - PLV. Pardon me, _Father_, - I said his worſhip had no foote of Land left: - And that I’ll iuſtifie, for I writ the deed. - - FIT. Ha’ you theſe tricks i’ the citty? - - GVI. Yes, and more. - Arreſt this gallant too, here, at my ſuite. 10 - - _Meaning_ Mere-craft. - - SLE. I, and at mine. He owes me for his lodging - Two yeere and a quarter. - - MER. Why M. _Guilt-head_, Land-Lord, - Thou art not mad, though th’art _Constable_ - Puft vp with th’ pride of the place? Do you heare, Sirs. - Haue I deſeru’d this from you two? for all 15 - My paines at _Court_, to get you each a patent. - - GVI. For what? - - MER. Vpo’ my proiect o’ the _forkes_, - - SLE. _Forkes?_ what be they? [162] - - _The_ Project _of forks_. - - MER. The laudable vſe of forkes, - Brought into cuſtome here, as they are in _Italy_, - To th’ ſparing o’ _Napkins_. That, that ſhould haue made 20 - Your bellowes goe at the forge, as his at the fornace. - I ha’ procur’d it, ha’ the Signet for it, - Dealt with the _Linnen-drapers_, on my priuate, - By cause, I fear’d, they were the likelyeſt euer - To ſtirre againſt, to croſſe it; for ’twill be 25 - A mighty ſauer of _Linnen_ through the kingdome - (As that is one o’ my grounds, and to ſpare waſhing) - Now, on you two, had I layd all the profits. - _Guilt-head_ to haue the making of all thoſe - Of gold and ſiluer, for the better perſonages; 30 - And you, of thoſe of _Steele_ for the common ſort. - And both by _Pattent_, I had brought you your ſeales in. - But now you haue preuented me, and I thanke you. - - Sledge _is brought about_. - - SLE. Sir, I will bayle you, at mine owne ap-perill. - - MER. Nay chooſe. - - PLV. Do you ſo too, good Father. 35 - - _And_ Guilt-head _comes_. - - GVI. I like the faſhion o’ the proiect, well, - The forkes! It may be a lucky one! and is not - Intricate, as one would ſay, but fit for - Plaine heads, as ours, to deale in. Do you heare - _Officers_, we diſcharge you. - - MER. Why this ſhewes 40 - A little good nature in you, I confeſſe, - But do not tempt your friends thus. Little _Guilt-head_, - Aduiſe your ſire, great _Guilt-head_ from theſe courſes: - And, here, to trouble a great man in reuerſion, - For a matter o’ fifty on a falſe _Alarme_, 45 - Away, it ſhewes not well. Let him get the pieces - And bring ’hem. Yo’ll heare more elſe. - - PLV. _Father._ - -[768] SD. MERE. ... _them_] _To them._ Mere-craft &c. 1692 - MERE-CRAFT, &c. om. 1716. W - -[769] ACT. ...] _Enter_ GILTHEAD, PLUTARCHUS, SLEDGE, _and_ Serjeants. G - -[770] 2 SN. om. G - -[771] 3 SER.] I _Serj._ G - -[772] 6 y’] you W, G - -[773] 10 SN.] [_Points to Meercraft._ G - -[774] 13 th’] thou W, G - -[775] 18 SN. om. G - -[776] 23, 4 private Bie, ’cause 1692, 1716 private, Because W, G - -[777] 27 to] so 1641 - -[778] 33, 5 SN. om. G - -[779] 37, 8 Not intricate (l. 38) G - -[780] 40 you. [_Exeunt Serjeants._ G - -[781] 45 on] in W, G - -[782] 47 You’ll 1692, 1716 You’ll W || _Exeunt Gilt. and Plut. - Enter_ AMBLER, _dragging in_ PUG. G - - -ACT. V. SCENE. V. - -AMBLER. {_To them._ - - O Maſter _Sledge_, are you here? I ha’ been to ſeeke you. - You are the _Conſtable_, they ſay. Here’s one - That I do charge with _Felony_, for the ſuite - He weares, Sir. - - MER. Who? M. _Fitz-Dottrels_ man? - Ware what you do, M. _Ambler_. - - AMB. Sir, theſe clothes 5 - I’ll ſweare, are mine: and the ſhooes the gentlewomans - I told you of: and ha’ him afore a _Iuſtice_, [163] - I will. - - PVG. My maſter, Sir, will paſſe his word for me. - - AMB. O, can you ſpeake to purpoſe now? - - FIT. Not I, - If you be ſuch a one Sir, I will leaue you 10 - To your _God fathers_ in Law. Let twelue men worke. - - Fitz-dottrel _diſclaimes him_. - - PVG. Do you heare Sir, pray, in priuate. - - FIT. well, what ſay you? - Briefe, for I haue no time to looſe. - - PVG. Truth is, Sir, - I am the very _Diuell_, and had leaue - To take this body, I am in, to ſerue you; 15 - Which was a _Cutpurſes_, and hang’d this Morning. - And it is likewiſe true, I ſtole this ſuite - To cloth me with. But Sir let me not goe - To priſon for it. I haue hitherto - Loſt time, done nothing; ſhowne, indeed, no part 20 - O’ my _Diuels_ nature. Now, I will ſo helpe - Your malice, ’gainst theſe parties; ſo aduance - The buſineſſe, that you haue in hand of _witchcraft_, - And your _poſſeſſion_, as my ſelfe were in you. - Teach you ſuch tricks, to make your belly ſwell, 25 - And your eyes turne, to foame, to ſtare, to gnaſh - Your teeth together, and to beate your ſelfe, - Laugh loud, and faine ſix voices-- - - FIT. Out you Rogue! - You moſt infernall counterfeit wretch! Auant! - Do you thinke to gull me with your _Æſops Fables_? 30 - Here take him to you, I ha’ no part in him. - - PVG. Sir. - - FIT. Away, I do diſclaime, I will not heare you. - - _And ſends him away._ - - MER. What ſaid he to you, Sir? - - FIT. Like a lying raskall - Told me he was the _Diuel_. - - MER. How! a good ieſt! - - FIT. And that he would teach me, ſuch fine _diuels_ tricks 35 - For our new reſolution. - - EVE. O’ pox on him, - ’Twas excellent wiſely done, Sir, not to truſt him. - - Mere-craft _giues the instructions to him and the reſt_. - - MER. Why, if he were the Diuel, we ſha’ not need him, - If you’ll be rul’d. Goe throw your ſelfe on a bed, Sir, - And faine you ill. Wee’ll not be ſeene wi’ you, 40 - Till after, that you haue a fit: and all - Confirm’d within. Keepe you with the two _Ladies_ - And perſwade them. I’ll to _Iuſtice Either-ſide_, - And poſſeſſe him with all. _Traines_ ſhall ſeeke out _Ingine_, - And they two fill the towne with’t, euery cable 45 - Is to be veer’d. We muſt employ out all - Our _emiſſaries_ now; Sir, I will ſend you - _Bladders_ and _Bellowes_. Sir, be confident, - ’Tis no hard thing t’out doe the _Deuill_ in: - A Boy o’ thirteene yeere old made him an _Aſſe_ 50 - But t’toher day. - - FIT. Well, I’ll beginne to practice; - And ſcape the imputation of being _Cuckold_, - By mine owne act. - - MER. yo’ are right. - - EVE. Come, you ha’ put - Your ſelfe to a ſimple coyle here, and your freinds, [164] - By dealing with new _Agents_, in new plots. 55 - - MER. No more o’ that, ſweet couſin. - - EVE. What had you - To doe with this ſame _Wittipol_, for a _Lady_? - - MER. Queſtion not that: ’tis done. - - EVE. You had ſome ſtraine - ’Boue E-_la_? - - MER. I had indeed. - - EVE. And, now, you crack for’t. - - MER. Do not vpbraid me. - - EVE. Come, you muſt be told on’t; 60 - You are ſo couetous, ſtill, to embrace - More then you can, that you looſe all. - - MER. ’Tis right. - What would you more, then Guilty? Now, your ſuccours. - -[783] SD. om. G - -[784] 5 _Ambler. Enter_ FITZDOTTREL. G - -[785] 11 SN. om. G - -[786] 12 private. [_Takes him aside._ G - -[787] 28 loud] round 1716 - -[788] 32 SN.] [_Exit Sledge with Pug._ G - -[789] 36 O’] O W O, G - -[790] 37 SN. om. G - -[791] 42 [_to Everill._ G - -[792] 43 I will G - -[793] 45 two] to 1641 - -[794] 46 imploy 1641 - -[795] 49 t’ ret. G - -[796] 51 t’tother 1692 t’other 1716. f. - -[797] 53 You’re 1716, W right. || [_Exit Fitz._ G - -[798] 61 imbrace 1641 - -[799] 63 [_Exeunt._ G - - -ACT. V. SCENE. VJ. - -SHAKLES. PVG. INIQUITY. DIVEL. - - Pug _is brought to_ New-gate. - - Here you are lodg’d, Sir, you muſt ſend your garniſh, - If you’ll be priuat. - - PVG. There it is, Sir, leaue me. - To _New-gate_, brought? How is the name of _Deuill_ - Diſcredited in me! What a loſt fiend - Shall I be, on returne? My _Cheife_ will roare 5 - In triumph, now, that I haue beene on earth, - A day, and done no noted thing, but brought - That body back here, was hang’d out this morning. - Well! would it once were midnight, that I knew - My vtmoſt. I thinke Time be drunke, and ſleepes; 10 - He is ſo ſtill, and moues not! I doe glory - Now i’ my torment. Neither can I expect it, - I haue it with my fact. - - _Enter_ Iniquity _the_ Vice. - - INI. _Child_ of hell, be thou merry: - Put a looke on, as round, boy, and red as a cherry. - Caſt care at thy poſternes; and firke i’ thy fetters, 15 - They are ornaments, _Baby_, haue graced thy betters: - Looke vpon me, and hearken. Our _Cheife_ doth ſalute thee, - And leaſt the coldyron ſhould chance to confute thee, - H’hath ſent thee, _grant-paroll_ by me to ſtay longer - A moneth here on earth, againſt cold _Child_, or honger. 20 - - PVG. How? longer here a moneth? - - ING. Yes, boy, till the _Seſſion_, - That ſo thou mayeſt haue a triumphall egreſſion. - - PVG. In a cart, to be hang’d. - - ING. No, _Child_, in a Carre, - The charriot of Triumph, which moſt of them are. - And in the meane time, to be greazy, and bouzy, 25 - And naſty, and filthy, and ragged and louzy, - With dam’n me, renounce me, and all the fine phraſes; - That bring, vnto _Tiborne_, the plentifull gazes. - - PVG. He is a _Diuell_! and may be our _Cheife_! [165] - The great Superiour _Diuell_! for his malice: 30 - _Arch-diuel_! I acknowledge him. He knew - What I would ſuffer, when he tie’d me vp thus - In a rogues body: and he has (I thanke him) - His tyrannous pleaſure on me, to confine me - To the vnlucky carkaſſe of a _Cutpurſe_, 35 - wherein I could do nothing. - - _The great_ Deuill _enters, and vpbraids - him with all his dayes worke_. - - DIV. Impudent fiend, - Stop thy lewd mouth. Doeſt thou not ſhame and tremble - To lay thine owne dull damn’d defects vpon - An innocent caſe, there? Why thou heauy ſlaue! - The ſpirit, that did poſſeſſe that fleſh before 40 - Put more true life, in a finger, and a thumbe, - Then thou in the whole Maſſe. Yet thou rebell’ſt - And murmur’ſt? What one profer haſt thou made, - Wicked inough, this day, that might be call’d - Worthy thine owne, much leſſe the name that ſent thee? 45 - Firſt, thou did’ſt helpe thy ſelfe into a beating - Promptly, and with’t endangered’ſt too thy tongue: - A _Diuell_, and could not keepe a body intire - One day! That, for our credit. And to vindicate it, - Hinderd’ſt (for ought thou know’ſt) a deed of darkneſſe: 50 - Which was an act of that egregious folly, - As no one, to’ard the _Diuel_, could ha’ thought on. - This for your acting! but for suffering! why - Thou haſt beene cheated on, with a falſe beard, - And a turn’d cloake. Faith, would your predeceſſour 55 - The _Cutpurſe_, thinke you, ha’ been ſo? Out vpon thee, - The hurt th’ haſt don, to let men know their ſtrength, - And that the’are able to out-doe a _diuel_ - Put in a body, will for euer be - A ſcarre vpon our Name! whom haſt thou dealt with, 60 - Woman or man, this day, but haue out-gone thee - Some way, and moſt haue prou’d the better fiendes? - Yet, you would be imploy’d? Yes, hell ſhall make you - _Prouinciall_ o’ the _Cheaters_! or _Bawd-ledger_, - For this ſide o’ the towne! No doubt you’ll render 65 - A rare accompt of things. Bane o’ your itch, - And ſcratching for imployment. I’ll ha’ brimſtone - To allay it ſure, and fire to ſindge your nayles off, - But, that I would not ſuch a damn’d diſhonor - Sticke on our ſtate, as that the _diuell_ were hang’d; 70 - And could not ſaue a body, that he tooke - From _Tyborne_, but it muſt come thither againe: - You ſhould e’en ride. But, vp away with him-- - - Iniquity _takes him on his back_. - - INI. Mount, dearling of darkneſſe, my ſhoulders are broad: - He that caries the fiend, is ſure of his loade. 75 - The _Diuell_ was wont to carry away the euill; [166] - But, now, the Euill out-carries the _Diuell_. - -[800] SD. VJJ VII. W ACT. ...] SCENE IV. _A Cell in Newgate. - Enter_ SHAKLES, _with_ PVG _in chains_. G - -[801] 2 [_Exit Shackles._ - -[802] SN. (after ‘fact.’ 13) _the_ Vice om. G - -[803] 12 i’] in W - -[804] 18 the] our 1692, 1716 - -[805] 19 parole G - -[806] 22 maist 1692 may’st 1716 mayst W, G - -[807] 36 SN.] _Enter_ SATAN. G DIV.] _Sat._ G - -[808] 37 Dost 1692, 1716 - -[809] 44 enough 1692, f. - -[810] 48 entire W, G - -[811] 57 th’] thou G - -[812] 58 the’are] they are 1641, G the’are are 1692 they’re 1716, W - -[813] 63 employ’d W, G - -[814] 67 employment W, G - -[815] 64 Cheaters] _heaters_ 1641 - -[816] 77 [_Exeunt._ [_A loud explosion, smoke, &c._ G - - -ACT. V. SCENE. VIJ. - -SHAKLES. KEEPERS. - - _A great noise is heard in_ New-gate, - _and the Keepers come out affrighted_. - O mee! - - KEE. 1. What’s this? - - 2. A piece of Iustice Hall - Is broken downe. - - 3. Fough! what a ſteeme of brimſtone - Is here? - - 4. The priſoner’s dead, came in but now! - - SHA. Ha? where? - - 4. Look here. - - KEE. S’lid, I ſhuld know his countenance! - It is _Gill-Cut-purſe_, was hang’d out, this morning! 5 - - SHA. ’Tis he! - - 2. The _Diuell_, ſure, has a hand in this! - - 3. What ſhall wee doe? - - SHA. Carry the newes of it - Vnto the _Sherifes_. - - 1. And to the _Iuſtices_. - - 4. This ſtrange! - - 3. And ſauours of the _Diuell_, ſtrongly! - - 2. I’ ha’ the _ſulphure_ of _Hell-coale_ i’ my noſe. 10 - - 1. Fough. - - SHA. Carry him in. - - 1. Away. - - 2. How ranke it is! - -[817] SD.] _Enter_ SHAKLES, _and the_ Under-keepers, _affrighted_. G - -[818] 3 Is here?] part of line 2 W - -[819] 9 This is 1716, f. - -[820] 11 [_Exeunt with the body._ G - - -ACT. V. SCENE. VIII. - -Sir POVLE. MERE-CRAFT. EVER-ILL. - TRAINES. PITFALL. FITZ-DOTTREL. - - {_To them_} - -VVITTIPOL. MANLY. Miſtreſſe FITZ-DOTTREL. - - INGINE. _To them_} GVILT-HEAD. - SLEDGE. _to them_} SHACKLES. - - _The Iuſtice comes out wondring, and the reſt informing him._ - - This was the notableſt Conſpiracy, - That ere I heard of. - - MER. Sir, They had giu’n him potions, - That did enamour him on the counterfeit _Lady_-- - - EVE. Iuſt to the time o’ deliuery o’ the deed-- - - MER. And then the witchcraft ’gan’t’ appeare, for ſtreight 5 - He fell into his fit. - - EVE. Of rage at firſt, Sir, - Which ſince, has ſo increaſed. - - TAY. Good S^r. _Poule_, ſee him, - And puniſh the impoſtors. - - POV. Therefore I come, _Madame_. - - EIT. Let M^r. _Etherſide_ alone, _Madame_. - - POV. Do you heare? - Call in the Conſtable, I will haue him by: 10 - H’is the Kings _Officer_! and ſome Cittizens, [167] - Of credit! I’ll diſcharge my conſcience clearly. - - MER. Yes, Sir, and ſend for his wife. - - EVE. And the two _Sorcerers_, - By any meanes! - - TAY. I thought one a true _Lady_, - I ſhould be ſworne. So did you, _Eyther-ſide_? 15 - - EIT. Yes, by that light, would I might ne’r ſtir elſe, _Tailbuſh_. - - TAY. And the other a ciuill Gentleman. - - EVE. But, _Madame_, - You know what I told your _Ladyſhip_. - - TAY. I now ſee it: - I was prouiding of a banquet for ’hem. - After I had done inſtructing o’ the fellow 20 - _De-uile_, the Gentlemans man. - - MER. Who’s found a thiefe, _Madam_. - And to haue rob’d your Vsher, Maſter _Ambler_, - This morning. - - TAY. How? - - MER. I’ll tell you more, anon. - - FIT. Gi me ſome _garlicke, garlicke, garlicke, garlicke_. - - _He beginnes his fit._ - - MER. Harke the poore Gentleman, how he is tormented! 25 - - FIT. _My wife is a whore, I’ll kiſſe her no more: and why? - Ma’ſt not thou be a Cuckold, as well as I? - Ha, ha, ha, ha, ha, ha, ha, ha, &c._ - - POV. That is the _Diuell_ ſpeakes, and laughes in him. - - _The Iuſtice interpret all:_ - - MER. Do you thinke ſo, S^r. - - POV. I diſcharge my conſcience. 30 - - FIT. _And is not the Diuell good company? Yes, wis._ - - EVE. How he changes, Sir, his voyce! - - FIT. _And a Cuckold is - Where ere hee put his head, with a_ a _Wanion, - If his hornes be forth, the Diuells companion! - Looke, looke, looke, elſe._ - - MER. How he foames! - - EVE. And ſwells! 35 - - TAY. O, me! what’s that there, riſes in his belly! - - EIT. A ſtrange thing! hold it downe: - - TRA. PIT. We cannot, _Madam_. - - POV. ’Tis too apparent this! - - FIT. _Wittipol, Wittipol._ - - Wittipol, _and_ Manly _and_ Mistr. Fitz-dottrel _enter_. - - WIT. How now, what play ha’ we here. - - MAN. What fine, new matters? - - WIT. The _Cockſcomb_, and the _Couerlet_. - - MER. O ſtrang impudēce! 40 - That theſe ſhould come to face their ſinne! - - EVE. And out-face - _Iuſtice_, they are the parties, Sir. - - POV. Say nothing. - - MER. Did you marke, Sir, vpon their comming in, - How he call’d _Wittipol_. - - EVE. And neuer ſaw ’hem. - - POV. I warrant you did I, let ’hem play a while. 45 - - FIT. _Buz, buz, buz, buz._ - - TAY. Laſſe poore Gentleman! - How he is tortur’d! - - M^rs. FI. Fie, Maſter _Fitz-dottrel_! - What doe you meane to counterfait thus? - - FIT. _O, ô,_ - _His wife goes to him._ - _Shee comes with a needle, and thruſts it in,_ - _Shee pulls out that, and ſhee puts in a pinne,_ 50 - _And now, and now, I doe not know how, nor where,_ - _But ſhee pricks mee heere, and ſhee pricks me there: ôh, ôh:_ - - POV. Woman forbeare. - - WIT. What, S^r? - - POV. A practice foule - For one ſo faire: - - WIT. Hath this, then, credit with you? - - MAN. Do you beleeue in’t? - - POV. Gentlemen, I’ll diſcharge - My conſcience. ’Tis a cleare conſpiracy! 56 - A darke, and diuelliſh practice! I deteſt it! - - WIT. The _Iuſtice_ ſure will proue the merrier man! [168] - - MAN. This is moſt ſtrange, Sir! - - POV. Come not to confront - Authority with impudence: I tell you, - I doe deteſt it. Here comes the Kings _Conſtable_, - And with him a right worſhipfull _Commoner_; - My good friend, Maſter _Guilt-head_! I am glad - I can before ſuch witneſſes, profeſſe - My conſcience, and my deteſtation of it. 65 - Horible! moſt vnaturall! Abominable! - - EVE. You doe not tumble enough. - - MER. Wallow, gnaſh: - - _They whiſper him._ - - TAY. O, how he is vexed! - - POV. ’Tis too manifeſt. - - EVE. Giue him more ſoap to foame with, now lie ſtill. - - _and giue him ſoape to act with._ - - MER. And act a little. - - TAY. What do’s he now, S^r. - - POV. Shew - The taking of _Tabacco_, with which the _Diuell_ - Is ſo delighted. - - FIT. _Hum!_ - - POV. And calls for _Hum_. - You takers of ſtrong _Waters_, and _Tabacco_, - Marke this. - - FIT. _Yellow, yellow, yellow, yellow_, &c. - - POV. That’s _Starch_! the _Diuells_ Idoll of that colour. 75 - He ratifies it, with clapping of his hands. - The proofes are pregnant. - - GVI. How the _Diuel_ can act! - - POV. He is the Maſter of _Players_! Master _Guilt-head_, - And _Poets_, too! you heard him talke in rime! - I had forgot to obſerue it to you, ere while! 80 - - TAY. See, he ſpits fire. - - POV. O no, he plaies at _Figgum_, - The _Diuell_ is the Author of wicked _Figgum_-- - - _Sir_ Poule _interprets_ Figgum _to be a Iuglers game_. - - MAN. Why ſpeake you not vnto him? - - WIT. If I had - All innocence of man to be indanger’d, - And he could ſaue, or ruine it: I’ld not breath 85 - A ſyllable in requeſt, to ſuch a foole, - He makes himſelfe. - - FIT. _O they whiſper, whiſper, whiſper. - Wee ſhall haue more, of Diuells a ſcore, - To come to dinner, in mee the ſinner._ - - EYT. Alas, poore Gentleman! - - POV. Put ’hem aſunder. 90 - Keepe ’hem one from the other. - - MAN. Are you phrenticke, Sir, - Or what graue dotage moues you, to take part - VVith so much villany? wee are not afraid - Either of law, or triall; let vs be - Examin’d what our ends were, what the meanes? 95 - To worke by, and poſſibility of thoſe meanes. - Doe not conclude againſt vs, ere you heare vs. - - POV. I will not heare you, yet I will conclude - Out of the circumſtances. - - MAN. VVill you ſo, Sir? - - POV. Yes, they are palpable: - - MAN. Not as your folly: 100 - - POV. I will diſcharge my conſcience, and doe all - To the _Meridian_ of Iuſtice: - - GVI. You doe well, Sir. - - FIT. _Prouide mee to eat, three or foure diſhes o’ good meat, - I’ll feaſt them, and their traines, a Iuſtice head and braines - Shall be the firſt._ - - POV. The _Diuell_ loues not Iuſtice, [169] - There you may ſee. - - FIT. _A ſpare-rib O’ my wife, 106 - And a whores purt’nance! a_ Guilt-head _whole_. - - POV. Be not you troubled, Sir, the _Diuell_ ſpeakes it. - - FIT. _Yes, wis, Knight, ſhite, Poule, Ioule, owle, foule, - troule, boule._ - - POV. _Crambe_, another of the _Diuell’s_ games! 110 - - MER. Speake. Sir, ſome _Greeke_, if you can. Is not the _Iuſtice_ - A ſolemne gameſter? - - EVE. Peace. - - FIT. Οὶ μοὶ, κακοδαιμων, - Καὶ τρισκακοδαίμων, καὶ τετράκις, καὶ πεντάκις, - Καὶ δοδεκάκις, καὶ μυριάκις. - - POV. Hee curſes. - In _Greeke_, I thinke. - - EVE. Your _Spaniſh_, that I taught you. 115 - - FIT. _Quebrémos el ojo de burlas_, - - EVE. How? your reſt-- - Let’s breake his necke in ieſt, the _Diuell_ ſaies. - - FIT. _Di grátia, Signòr mio ſe haúete denári fataméne parte._ - - MER. What, would the _Diuell_ borrow money? - - FIT. _Ouy, - Ouy Monſieur, ùn pàuure Diable! Diablet in!_ 120 - - POV. It is the _diuell_, by his ſeuerall langauges. - - _Enter the_ Keeper _of_ New-gate. - - SHA. Where’s S^r. _Poule Ether-ſide_? - - POV. Here, what’s the matter? - - SHA. O! ſuch an accident falne out at _Newgate_, Sir: - A great piece of the priſon is rent downe! - The _Diuell_ has beene there, Sir, in the body-- 125 - Of the young _Cut-Purſe_, was hang’d out this morning, - But, in new clothes, Sir, euery one of vs know him. - Theſe things were found in his pocket. - - AMB. Thoſe are mine, S^r. - - SHA. I thinke he was commited on your charge, Sir. - For a new felony. - - AMB. Yes. - - SHA. Hee’s gone, Sir, now, 130 - And left vs the dead body. But withall, Sir, - Such an infernall ſtincke, and ſteame behinde, - You cannot ſee S^t. _Pulchars Steeple_, yet. - They ſmell’t as farre as _Ware_, as the wind lies, 134 - By this time, ſure. - - FIT. Is this vpon your credit, friend? - - Fitz-dottrel _leaues counterfaiting_. - - SHA. Sir, you may ſee, and ſatisfie your ſelfe. - - FIT. Nay, then, ’tis time to leaue off counterfeiting. - Sir I am not bewitch’d, nor haue a _Diuell_: - No more then you. I doe defie him, I, - And did abuſe you. Theſe two Gentlemen 140 - Put me vpon it. (I haue faith againſt him) - They taught me all my tricks. I will tell truth, - And ſhame the _Feind_. See, here, Sir, are my bellowes, - And my falſe belly, and my _Mouſe_, and all - That ſhould ha’ come forth? - - MAN. Sir, are not you aſham’d - Now of your ſolemne, ſerious vanity? 146 - - POV. I will make honorable amends to truth. - - FIT. And ſo will I. But theſe are _Coozeners_, ſtill; - And ha’ my land, as plotters, with my wife: - Who, though ſhe be not a witch, is worſe, a whore. 150 - - MAN. Sir, you belie her. She is chaſte, and vertuous, - And we are honeſt. I doe know no glory [170] - A man ſhould hope, by venting his owne follyes, - But you’ll ſtill be an _Aſſe_, in ſpight of prouidence. - Pleaſe you goe in, Sir, and heare truths, then iudge ’hem: - And make amends for your late raſhneſſe; when, 156 - You ſhall but heare the paines and care was taken, - To ſaue this foole from ruine (his _Grace_ of _Drown’d-land_) - - FIT. My land is drown’d indeed-- - - POV. Peace. - - MAN. And how much - His modeſt, and too worthy wife hath ſuffer’d 160 - By miſ-conſtruction, from him, you will bluſh, - Firſt, for your owne beliefe, more for his actions! - His land is his: and neuer, by my friend, - Or by my ſelfe, meant to another vſe, - But for her ſuccours, who hath equall right. 165 - If any other had worſe counſells in’t, - (I know I ſpeake to thoſe can apprehend mee) - Let ’hem repent ’hem, and be not detected. - It is not manly to take ioy, or pride - In humane errours. (wee doe all ill things, 170 - They doe ’hem worſt that loue ’hem, and dwell there, - Till the plague comes) The few that haue the ſeeds - Of goodneſſe left, will ſooner make their way - To a true life, by ſhame, then puniſhment. - - _THE END_. - -[821] SD. Sir] To them.] Sir 1692 _to them_ om. 1692, 1716, W -ACT. . . .] SCENE V. _A Room in_ Fitzdottrel’s _House_. FITZDOTTREL -_discovered in bed; Lady_ EITHERSIDE, TAILBUSH, AMBLER, TRAINS, _and_ -PITFALL, _standing by him. Enter Sir_ PAUL EITHERSIDE, MEERCRAFT, -_and_ EVERILL. G - -[822] 1 SN. _and_] _at_ 1692, 1716, W The ...] om. G - -[823] 4 time o’ ret. G - -[824] 11 H’is] He’s 1716, f. - -[825] 14 means. [_Exit Ambler._ G - -[826] 20 o’] of W - -[827] 21 Who is G - -[828] 28 _ha_, om. W _ha, &c._ om. G - -[829] 29 SN. _interprets_ 1692, 1716, W _The_ ...] om. G - -[830] 33 a om. 1641, f. - -[831] 38 SN. Wittipol, _and ... enter_] _Enter_ WITTIPOL, ... G - -[832] 40 strange 1641, f. - -[833] 43 their] our W - -[834] 48 SN. _His wife_ om. G - -[835] 58 prove to be the merrier? 1641 - -[836] 60 impudence] insolence 1641 - -[837] 61 it.--_Re-enter_ AMBLER, _with_ SLEDGE _and_ GUILTHEAD. G - -[838] 69 with [_To Meer._] G - -[839] SN. _him_ om. 1641 - -[840] SN. om. G - -[841] 73 strong om. 1641 - -[842] 74 &c. om. G - -[843] 82 SN. _to be_ om. 1641 - -[844] SN. om. G - -[845] 84 endanger’d W, G - -[846] 86 foole] fellow 1641 - -[847] 87 He makes himselfe] I’d rather fall 1641 O they whisper, - they whisper, whisper, &c. 1641 - -[848] 91 phrenetic G - -[849] 108 you om. W - -[850] 110 _Crambe_] Crambo W. G - -[851] 111 can. [_Aside to Fitz._] G - -[852] 112 =κακοδάμων= 1692, 1716 - -[853] 113 =τισ= 1692, 1716 - -[854] 114 =δωδεκάκις= W, G - -[855] 115 _Aside to Fitz._ G - -[856] 119 FIT. _Ouy_,] in line 120, 1692, f. - -[857] 121 SN.] _Enter_ SHACKLES, _with the things found on the body - of the Cut-purse_. G - -[858] 128 Those] These W - -[859] 135 SN.] _Fitz._ [_starts up_.] G - -[860] 141 () ret. G - -[861] 145 not you] you not W, G - -[862] 148 Coozners 1641 _Cozeners_ 1692, 1716 cozeners W, G - -[863] 166 in it G - -[864] 167 () ret. G - -[865] 170 human 1692, f. - -[866] 174 [_He comes forward for the Epilogue._ G - -[867] 175 ‘The End.’ after line 6 1692 om. 1716 W, G - - - - -The Epilogue. - - - _Thus, the_ Proiecter, _here, is ouer-throwne. - But I have now a_ Proiect _of mine owne, - If it may paſſe: that no man would inuite - The_ Poet _from vs, to ſup forth to night, 5 - If the_ play _pleaſe. If it diſpleaſant be, - We doe preſume, that no man will: nor wee._ - -[868] 1 ‘The Epilogue.’ om. G - -[869] 7 [_Exeunt._ G - - - - -NOTES - - -The present edition includes whatever has been considered of value -in the notes of preceding editions. It has been the intention in -all cases to acknowledge facts and suggestions borrowed from such -sources, whether quoted verbatim, abridged, or developed. Notes -signed W. are from Whalley, G. from Gifford, C. from Cunningham. -For other abbreviations the Bibliography should be consulted. -Explanations of words and phrases are usually found only in the -Glossary. References to this play are by act, scene, and line of the -Text; other plays of Jonson are cited from the Gifford-Cunningham -edition of 1875. The references are to play, volume and page. - - -TITLE-PAGE. - -=THE DIUELL IS AN ASSE.= ‘Schlegel, seizing with great felicity upon -an untranslateable German idiom, called the play _Der dumme Teufel_ -[Schlegel’s _Werke_, ed. Böcking, 6. 340]--a title which must be -allowed to be twice as good as that of the English original. The -phrase ‘the Devil is an ass’ appears to have been proverbial. -See Fletcher’s _The Chances_, Act 5. Sc. 2: - - Dost thou think - The devil such an ass as people make him?’ - --Ward, _Eng. Drama_ 2. 372. - -A still more important passage occurs in Dekker’s _If this be not a -good Play_, a partial source of Jonson’s drama: - - _Scu._ Sweete-breads I hold my life, that diuels an asse. - --Dekker, _Wks._ 3. 328. - -Jonson uses it again in _The Staple of News_, _Wks._ 5. 188: - - The conjurer cozened him with a candle’s end; he was an ass. - -Dekker (_Non-dram. Wks._ 2. 275) tells us the jest of a citizen -who was told that the ‘Lawyers get the Diuell and all: What an -Asse, replied the Citizen is the diuell? If I were as he I would -get some of them.’ - -=HIS MAIESTIES SERVANTS.= Otherwise known as the -_King’s Company_, and popularly spoken of as the _King’s Men_. For -an account of this company see Winter, ed. _Staple of News_, p. 121; -and Fleay, _Biog. Chron._ 1. 356-7; 2. 403-4. - -=Ficta voluptatis=, etc. The quotation is from Horace, -_De Art. Poet._, line 338. Jonson’s translation is: - - Let what thou feign’st for pleasure’s sake, be near - The truth. - -Jonson makes use of this quotation again in his note ‘To the -Reader’ prefixed to Act 3 of _The Staple of News_. - -=I. B.= Fleay speaks of this printer as J. Benson (_Biog. Chron_. 1. -354). Benson did not ‘take up freedom’ until June 30, 1631 (_Sta. -Reg._ 3. 686). Later he became a publisher (1635-40; _Sta. Reg._ 5. -lxxxiv). I. B. was also the printer of _Bartholomew Fair_ and _Staple -of News_. J. Benson published a volume of Jonson’s, containing -_The Masque of the Gypsies_ and other poems, in 1640 (_Brit. Museum -Cat._ and Yale Library). In the same year he printed the _Art of -Poetry_, 12mo, and the _Execration against Vulcan_, 4to (cf. _Pub. of -Grolier Club_, N. Y. 1893, pp. 130, 132). The evidence that I. B. was -Benson is strong, but not absolutely conclusive. - -=ROBERT ALLOT.= We find by Arber’s reprint of the -_Stationer’s Register_ that Robert Allot ‘took up freedom’ Nov. 7, -1625. He must have begun publishing shortly after, for under the -date of Jan. 25, 1625-6 we find that Mistris Hodgettes ‘assigned -over unto him all her estate,’ consisting of the copies of certain -books, for the ‘some of forty-five pounds.’ The first entry of a -book to Allot is made May 7, 1626. In 1630 Master Blount ‘assigned -over unto him all his estate and right in the copies’ of sixteen of -Shakespeare’s plays. In 1632 Allot brought out the Second Folio -of Shakespeare’s works. On Sept. 7, 1631 _The Staple of News_ was -assigned to him. The last entry of a book in his name is on Sept. -12, 1635. The first mention of ‘Mistris Allott’ is under the date of -Dec. 30, 1635. Under date of July 1, 1637 is the record of the -assignment by Mistris Allott of certain books, formerly the estate -of ‘Master Roberte Allotts deceased.’ Among these books are ‘37. -_Shakespeares Workes_ their part. 39. _Staple of Newes_ a Play. -40. _Bartholomew fayre_ a Play.’ I have been able to find no record -of _The Devil is an Ass_ in the _Stationer’s Register_. - -=the Beare.= In the Shakespeare folio of 1632 Allot’s sign reads -‘the Black Beare.’ The first mention of the shop in the _London -Street Directory_ is in 1575, among the ‘Houses round the Churchyard.’ - -=Pauls Church-yard.= ‘Before the Fire, which destroyed the old -Cathedral, St. Paul’s Churchyard was chiefly inhabited by stationers, -whose shops were then, and until the year 1760, distinguished by -signs.’--Wh-C. - - -THE PERSONS OF THE PLAY. - -=GVILT-HEAD, A Gold-smith.= The goldsmiths seem to have -been a prosperous guild. (See Stow, _Survey_, ed. Thoms, p. 114.) -At this time they performed the office of banking, constituting the -intermediate stage between the usurer and the modern banker. ‘The -goldsmiths began to borrow at interest in order to lend out to -traders at a higher rate. In other words they became the connecting -link between those who had money to lend and those who wished -to borrow for trading purposes, or it might be to improve their -estates. No doubt at first the goldsmiths merely acted as guardians -of their clients’ hoards, but they soon began to utilize those hoards -much as bankers now make use of the money deposited with -them.’--_Social England_ 3. 544. - -=AMBLER.= Jonson uses this name again in _Neptune’s Triumph_, -_Wks._ 8. 32: - - Grave master Ambler, news-master o’ Paul’s, - Supplies your capon. - -It reappears in _The Staple of News_. - -=Her Gentlemanvsher.= For an exposition of the character and -duties of the gentleman-usher see the notes to 4. 4. 134. 201, 215. - -=Newgate.= ‘This gate hath of long time been a gaol, or prison -for felons and trespassers, as appeareth by records in the reign of -King John, and of other kings.’--Stow, _Survey_, ed. Thoms, p. 14. - - -THE PROLOGUE. - -=1 The DIVELL is an Asse.= ‘This is said by the prologue pointing -to the _title_ of the play, which as was then the custom, was -painted in large letters and placed in some conspicuous part of the -stage.’--G. - -Cf. _Poetaster_, _After the second sounding_: ‘What’s here? THE -ARRAIGNMENT!’ Also _Wily Beguiled_: _Prol._ How now, my -honest rogue? What play shall we have here to-night? - - _Player._ Sir, you may look upon the title. - _Prol._ What, _Spectrum_ once again?’ - -Jonson often, but not invariably, announces the title of -the play in the prologue or induction. Cf. _Every Man out_, -_Cynthia’s Revels_, _Poetaster_, and all plays subsequent -to _Bart. Fair_ except _Sad Shep_. - -=3 Grandee’s.= Jonson uses this affected form of address -again in _Timber_, ed. Schelling. 22. 27 - -=4 allowing vs no place.= As Gifford points out, the prologue is a -protest against the habit prevalent at the time of crowding the stage -with stools for the accommodation of the spectators. - -Dekker in Chapter 6 of _The Guls Horne-booke_ gives the gallant full -instructions as to the behavior proper to the play-house. The youth -is advised to wait until ‘the quaking prologue hath (by rubbing) got -culor into his cheekes’, and then ‘to creepe from behind the Arras,’ -and plant himself ‘on the very Rushes where the Commedy is to daunce, -yea, and vnder the state of Cambises himselfe.’ Sir John Davies makes -a similar allusion _(Epigrams_, ed. Grosart, 2. 10). Jonson makes -frequent reference to the subject. Cf. _Induction_ to _The Staple -of News_, _Every Man out_, _Wks._ 2. 31; _Prologue_ to _Cynthia’s -Revels_, _Wks._ 2. 210, etc. - -=5 a subtill thing.= I. e., thin, airy, spiritual, and so not -occupying space. - -=6 worne in a thumbe-ring.= ‘Nothing was more common, as we learn -from Lilly, than to carry about familiar spirits, shut up in rings, -watches, sword-hilts, and other articles of dress.’--G. - -I have been unable to verify Gifford’s statement from Lilly, -but the following passage from Harsnet’s _Declaration_ (p. 13) -confirms it: ‘For compassing of this treasure, there was a -consociation betweene 3 or 4 priests, _deuill-coniurers_, and -4 _discouerers_, or _seers_, reputed to carry about with them, -their familiars in rings, and glasses, by whose suggestion they -came to notice of those golden hoards.’ - -Gifford says that thumb-rings of Jonson’s day were set with jewels -of an extraordinary size, and that they appear to have been ‘more -affected by magistrates and grave citizens than necromancers.’ Cf. -_I Henry IV_ 2. 4: ‘I could have crept into any alderman’s thumb-ring.’ -Also _Witts Recreat._, _Epig._ 623: - - He wears a hoop-ring on his thumb; he has - Of gravidad a dose, full in the face. - -Glapthorne, _Wit in a Constable_, 1639, 4. 1: ‘An alderman--I may -say to you, he has no more wit than the rest of the bench, and that -lies in his thumb-ring.’ - -=8 In compasse of a cheese-trencher.= The figure seems forced -to us, but it should be remembered that trenchers were a very -important article of table equipment in Jonson’s day. They were -often embellished with ‘posies,’ and it is possible that Jonson was -thinking of the brevity of such inscriptions. Cf. Dekker, _North-Ward -Hoe_ 3. 1 (_Wks._ 3. 38): ‘Ile have you make 12. poesies for a dozen -of cheese trenchers.’ Also _Honest Whore_, Part I, Sc. 13; and -Middleton, _Old Law_ 2. 1 (_Wks._ 2. 149); _No Wit, no Help like a -Woman’s_ 2. 1 (_Wks._ 4. 322). - -=15 Like the young adders.= It is said that young adders, when -frightened, run into their mother’s mouth for protection. - -=16 Would wee could stand due North.= I. e., be as infallible as -the compass. - -=17 Muscouy glasse.= Cf. Marston, _Malcontent_, _Wks_. 1. 234: ‘She -were an excellent lady, but that her face peeleth like Muscovy -glass.’ Reed (_Old Plays_ 4. 38) quotes from Giles Fletcher‘s _Russe -Commonwealth_, 1591, p. 10: ‘In the province of Corelia, and about -the river Duyna towards the North-sea, there groweth a soft rock -which they call Slude. This they cut into pieces, and so tear it -into thin _flakes, which naturally it is apt for_, and so use it for -glasse lanthorns and such like. It giveth both inwards and outwards -a clearer light then glasse, and for this respect is better than -either glasse or horne; for that it neither breaketh like glasse, nor -yet will burne like the lanthorne.’ Dekker _(Non-dram. Wks._ 2. 135) -speaks of a ‘Muscouie Lanthorne.’ See Gloss. - -=22 the Diuell of Edmunton.= _The Merry Devil of Edmunton_ was -acted by the King’s Men at the Globe before Oct. 22, 1607. It has -been conjecturally assigned to Shakespeare and to Drayton. Hazlitt -describes it as ‘perhaps the first example of sentimental comedy -we have’ (see _O. Pl._, 4th ed., 10. 203 f.). Fleay, who believes -Drayton to be the author, thinks that the ‘Merry devil’ of _The -Merchant of Venice_ 2. 3, alludes to this play (_Biog. Chron._ 1. -151 and 2. 213). There were six editions in the 17th century, all in -quarto--1608, 1612, 1617, 1626, 1631, 1655. Middleton, _The Black -Book_, _Wks._ 8. 36, alludes to it pleasantly in connection with -_A Woman kill’d with Kindness_. Genest mentions it as being revived -in 1682. Cf. also _Staple of News_, 1st Int. - -=26 If this Play doe not like=, etc. Jonson refers to Dekker’s play -of 1612 (see Introduction, p. xxix). On the title-page of this play -we find _If it be not good, The Diuel is in it_. At the head of Act. -1, however, the title reads _If this be not a good play_, etc. - - -ACT I. - -=1. 1. 1 Hoh, hoh=, etc. ‘Whalley is right in saying that this is -the conventional way for the devil to make his appearance in the old -morality-plays. Gifford objects on the ground that ‘it is not the roar -of terror; but the boisterous expression of sarcastic merriment at the -absurd petition of Pug;’ an objection, the truth of which does not -necessarily invalidate Whalley’s statement. Jonson of course adapts the -old conventions to his own ends. See Introduction, p. xxiii. - -=1. 1. 9 Entring a Sow, to make her cast her farrow?= Cf. Dekker, -etc., _Witch of Edmonton_ (_Wks._ 4. 423): ‘_Countr._ I’ll be sworn, -_Mr. Carter_, she bewitched Gammer _Washbowls_ sow, to cast her Pigs -a day before she would have farried.’ - -=1. 1. 11 Totnam.= ‘The first notice of Tottenham Court, as a place -of public entertainment, contained in the books of the parish of St. -Gile’s-in-the-Fields, occurs under the year 1645 (Wh-C.). Jonson, -however, as early as 1614 speaks of ‘courting it to Totnam to eat -cream’ (_Bart. Fair_, Act 1. Sc. 1, _Wks._ 4. 362). George Wither, -in the _Britain’s Remembrancer_, 1628, refers to the same thing: - - And Hogsdone, Islington, and Tothnam-court, - For cakes and cream had then no small resort. - -Tottenham Fields were until a comparatively recent date a favorite -place of entertainment. - -=1. 1. 13 a tonning of Ale=, etc. Cf. _Sad Shep._, _Wks._ 6. 276: - - The house wives tun not work, nor the milk churn. - -=1. 1. 15 Spight o’ the housewiues cord, or her hot spit.= -‘There be twentie severall waies to make your butter come, which -for brevitie I omit; as to bind your cherne with a rope, to -thrust thereinto a red hot spit, &c.’--Scot, _Discovery_, p. 229. - -=1. 1. 16, 17 Or some good Ribibe ... witch.= This seems -to be an allusion, as Fleay suggests, to Heywood’s _Wise-Woman -of Hogsdon_. The witch of that play declares her dwelling to -be in ‘Kentstreet’ (Heywood’s _Wks._ 5. 294). A ribibe meant -originally a musical instrument, and was synonymous with rebec. -By analogy, perhaps, it was applied to a shrill-voiced old -woman. This is Gifford’s explanation. The word occurs again -in Skelton’s _Elynour Rummyng_, l. 492, and in Chaucer, _The -Freres Tale_, l. 1377: ‘a widwe, an old ribybe.’ Skeat offers -the following explanation: ‘I suspect that this old joke, for -such it clearly is, arose in a very different way [from that -suggested by Gifford], viz. from a pun upon _rebekke_, a fiddle, -and _Rebekke_, a married woman, from the mention of Rebecca in -the marriage-service. Chaucer himself notices the latter in E. 1704.’ - -=1. 1. 16 Kentish Towne.= Kentish Town, Cantelows, or Cantelupe -town is the most ancient district in the parish of Pancras. It was -originally a small village, and as late as the eighteenth century a -lonely and somewhat dangerous spot. In later years it became noted -for its Assembly Rooms. In 1809 Hughson (_London_ 6. 369) called it -‘the most romantic hamlet in the parish of Pancras.’ It is now a part -of the metropolis. See Samuel Palmer’s _St. Pancras_, London, 1870. - -=1. 1. 17 Hogsden.= Stow (_Survey_, ed. Thoms, p. 158) describes -Hogsden as a ‘large street with houses on both sides.’ It was a -prebend belonging to St. Paul’s. In Hogsden fields Jonson killed -Gabriel Spenser in a duel in 1598. These fields were a great -resort for the citizens on a holiday. The eating of cream there is -frequently mentioned. See the quotation from Wither under note 1. 1. -11, and _Alchemist_, _Wks._ 4. 155 and 175: - - ----Ay, he would have built - The city new; and made a ditch about it - Of silver, should have run with cream from Hogsden. - -Stephen in _Every Man in_ dwelt here, and so was forced to associate -with ‘the archers of Finsbury, or the citizens that come a-ducking -to Islington ponds.’ Hogsden or Hoxton, as it is now called, is -to-day a populous district of the metropolis. - -=1. 1. 18 shee will not let you play round Robbin.= The expression -is obscure, and the dictionaries afford little help. Round-robin -is a common enough phrase, but none of the meanings recorded is -applicable in this connection. Some child’s game, played in a circle, -seems to be referred to, or the expression may be a cant term for -‘play the deuce.’ Robin is a name of many associations, and its -connection with Robin Hood, Robin Goodfellow, and ‘Robert’s Men’ -(‘The third old rank of the Canting crew.’--Grose.) makes such an -interpretation more or less probable. - -M. N. G. in _N. & Q._ 9th Ser. 10. 394 says that ‘when a man does -a thing in a circuitous, involved manner he is sometimes said “to -go all round Robin Hood’s barn to do it.”’ ‘Round Robin Hood’s -barn’ may possibly have been the name of a game which has been -shortened to ‘round Robin.’ - -=1. 1. 21 By a Middlesex Iury.= ‘A reproof no less severe than -merited. It appears from the records of those times, that many -unfortunate creatures were condemned and executed on charges of the -rediculous nature here enumerated. In many instances, the judge was -well convinced of the innocence of the accused, and laboured to -save them; but such were the gross and barbarous prejudices of the -juries, that they would seldom listen to his recommendations; and -he was deterred from shewing mercy, in the last place by the brutal -ferociousness of the people, _whose teeth were set on edge with’t_, -and who clamoured tumultuously for the murder of the accused.’--G. - -=1. 1. 32 Lancashire.= This, as Gifford says, ‘was the very hot-bed -of witches.’ Fifteen were brought to trial on Aug. 19, 1612, twelve -of whom were convicted and burnt on the day after their trial ‘at the -common place of execution near to Lancaster.’ The term ‘Lancashire -Witches’ is now applied to the beautiful women for which the country -is famed. The details of the Lancaster trial are contained in Potts’ -_Discoverie_ (Lond. 1613), and a satisfactory account is given by -Wright in his _Sorcery and Magic_. - -=1. 1. 33 or some parts of Northumberland.= The first witch-trial -in Northumberland, so far as I have been able to ascertain, -occurred in 1628. This was the trial of the Witch of Leeplish. - -=1. 1. 37 a Vice.= See Introduction, pp. xxxiv f. - -=1. 1. 38 To practice there-with any play-fellow.= See variants. -The editors by dropping the hyphen have completely changed the -sense of the passage. Pug wants a vice in order that he may corrupt -his play-fellows _there-with_. - - =1. 1. 41 ff. Why, any Fraud;= - =Or Couetousnesse; or Lady Vanity;= - =Or old Iniquity.= - -Fraud is a character in Robert Wilson’s _The Three Ladies of London_, -printed 1584, and _The Three Lords and Three Ladies of London_, c -1588, printed 1590. Covetousness appears in _Robin Conscience_, c -1530, and is applied to one of the characters in _The Staple of -News_, _Wks._ 5. 216. Vanity is one of the characters in _Lusty -Juventus_ (see note 1. 1. 50) and in _Contention between Liberality -and Prodigality_, printed 1602 (_O. Pl._ 4th ed., 8. 328). She seems -to have been a favorite with the later dramatists, and is frequently -mentioned (_I Henry IV._ 2. 4; _Lear_ 2. 2; _Jew of Malta_ 2. 3, -Marlowe’s _Wks._ 2. 45). Jonson speaks of her again in _The Fox_, -_Wks._ 3. 218. For Iniquity see Introduction, p. xxxviii. - -The change in punctuation (see variants), as well as that two lines -below, was first suggested by Upton in a note appended to his -_Critical Observations on Shakespeare_. Whalley silently adopted -the reading in both cases. - -=1. 1. 43 I’ll call him hither.= See variants. Coleridge, _Notes_, p. -280, says: ‘That is, against all probability, and with a (for Jonson) -impossible violation of character. The words plainly belong to Pug, -and mark at once his simpleness and his impatience.’ Cunningham says -that he arrived independently at the same conclusion, and points out -that it is plain from Iniquity’s opening speech that _he_ understood -the words to be Pug’s. - -=1. 1. 49 thy dagger.= See note 1. 1. 85. - -=1. 1. 50 lusty Iuuentus.= The morality-play of _Lusty Juventus_ -was written by R. Wever about 1550. It ‘breathes the spirit of the -dogmatic reformation of the Protector Somerset,’ but ‘in spite of its -abundant theology it is neither ill written, nor ill constructed’ -(Ward, _Eng. Drama_ 1. 125). It seems to have been very popular, -and the expression ‘a lusty Juventus’ became proverbial. It is used -as early as 1582 by Stanyhurst, _Aeneis_ 2 (Arber). 64 and as late -as Heywood’s _Wise Woman of Hogsdon_ (c 1638), where a gallant is -apostrophised as Lusty Juventus (Act 4). (See Nares and _NED_.) -Portions of the play had been revived not many years before this -within the tragedy of _Thomas More_ (1590, acc. to Fleay 1596) under -the title of _The Mariage of Witt and Wisedome_. ‘By dogs precyous -woundes’ is one of the oaths used by Lusty Juventus in the old play, -and may be the ‘Gogs-nownes’ referred to here (_O. Pl._, 4th ed., -2. 84). ‘Gogs nowns’ is used several times in _Like will to Like_ -(_O. Pl._, 4th ed., 3. 327, 331, etc.). - -=1. 1. 51 In a cloake to thy heele.= See note 1. 1. 85. - -=1. 1. 51 a hat like a pent-house.= ‘When they haue walkt thorow the -streetes, weare their hats ore their eye-browes, like pollitick -penthouses, which commonly make the shop of a Mercer, or a Linnen -Draper, as dark as a roome in Bedlam.’ Dekker, _West-ward Hoe_, -_Wks._ 2. 286. - - With your hat penthouse-like o’er the slope of your eyes. - --_Love’s Labour’s Lost_ 3. 1. 17. - -Halliwell says (_L. L. L._, ed. Furness, p. 85): ‘An open shed -or shop, forming a protection against the weather. The house -in which Shakespeare was born had a penthouse along a portion -of it.’ In Hollyband’s _Dictionarie_, 1593, it is spelled -‘pentice,’ which shows that the rime to ‘Juventus’ is probably -not a distorted one. - -=1. 1. 52 thy doublet all belly.= ‘Certaine I am there was neuer any -kinde of apparell euer inuented that could more disproportion the -body of man then these Dublets with great bellies, ... stuffed with -foure, fiue or six pound of Bombast at the least.’--Stubbes, _Anat._, -Part 1, p. 55. - -=1. 1. 54 how nimble he is!= ‘A perfect idea of his activity may be -formed from the incessant skipping of the modern Harlequin.’--G. - -=1. 1. 56 the top of Pauls-steeple.= As Gifford points out, Iniquity -is boasting of an impossible feat. St. Paul’s steeple had been -destroyed by fire in 1561, and was not yet restored. Several attempts -were made and money collected. ‘James I. countenanced a sermon at -_Paul’s Cross_ in favor of so pious an undertaking, but nothing was -done till 1633 when reparations commenced with some activity, and -Inigo Jones designed, at the expense of Charles I., a classic portico -to a Gothic church.’--Wh-C. - -Lupton, _London Carbonadoed_, 1632, writes: ‘The head of St. Paul’s -hath twice been troubled with a burning fever, and so the city, to -keep it from a third danger, lets it stand without a head.’ Gifford -says that ‘the Puritans took a malignant pleasure in this mutilated -state of the cathedral.’ Jonson refers to the disaster in his -_Execration upon Vulcan_, _U. 61_, _Wks._ 8. 408. See also Dekker, -_Paules Steeples complaint_, _Non-dram. Wks._ 4. 2. - -=1. 1. 56 Standard in Cheepe.= This was a water-stand or conduit -in the midst of the street of West Cheaping, where executions were -formerly held. It was in a ruinous condition in 1442, when it was -repaired by a patent from Henry VI. Stow (_Survey_, ed. Thoms, p. -100) gives a list of famous executions at this place, and says that -‘in the year 1399, Henry IV. caused the blanch charters made by -Richard II. to be burnt there.’ - -=1. 1. 58 a needle of Spaine.= Gifford, referring to Randolph’s -_Amyntos_ and Ford’s _Sun’s Darling_, points out that ‘the best -needles, as well as other sharp instruments, were, in that age, and -indeed long before and after it, imported from Spain.’ The tailor’s -needle was in cant language commonly termed a _Spanish pike_. - -References to the Spanish needle are frequent. It is mentioned by -Jonson in _Chloridia_, _Wks._ 8. 99; by Dekker, _Wks._ 4. 308; and by -Greene, _Wks._ 11. 241. Howes (p. 1038) says: ‘The making of Spanish -Needles, was first taught in England by Elias Crowse, a Germane, -about the eight yeare of Queene Elizabeth, and in Queen Maries time, -there was a Negro made fine Spanish Needles in Cheape-side, but would -neuer teach his Art to any.’ - -=1. 1. 59 the Suburbs.= The suburbs were the outlying districts -without the walls of the city. Cf. Stow, _Survey_, ed. Thoms, p. 156 -f. They were for the most part the resort of disorderly persons. Cf. -B. & Fl., _Humorous Lieut._ 1. 1.; Massinger, _Emperor of the East_ -1. 2.; Shak., _Jul. Caes._ 2. 1; and Nares, _Gloss_. Wheatley (ed. -_Ev. Man in_, p. 1) quotes Chettle’s _Kind Harts Dreame_, 1592: ‘The -suburbs of the citie are in many places no other but dark dennes for -adulterers, thieves, murderers, and every mischief worker; daily -experience before the magistrates confirms this for truth.’ Cf. also -Glapthorne, _Wit in a Constable_, _Wks._, ed. 1874, 1. 219: - - ----make safe retreat - Into the Suburbs, there you may finde cast wenches. - -In _Every Man in_, _Wks._ 1. 25, a ‘suburb humour’ is spoken of. - -=1. 1. 60 Petticoate-lane.= This is the present Middlesex -Street, Whitechapel. It was formerly called Hog Lane and was -beautified with ‘fair hedge-rows,’ but by Stow’s time it had -been made ‘a continual building throughout of garden houses and -small cottages‘ (_Survey_, ed. 1633, p. 120 b). Strype tells us -that the house of the Spanish Ambassador, supposedly the famous -Gondomar, was situated there (_Survey_ 2. 28). In his day the -inhabitants were French Protestant weavers, and later Jews of a -disreputable sort. That its reputation was somewhat unsavory as -early as Nash’s time we learn from his _Prognostication_ -(_Wks._ 2. 149): - -‘If the Beadelles of Bridewell be carefull this Summer, it may -be hoped that Peticote lane may be lesse pestered with ill aires -than it was woont: and the houses there so cleere clensed, that -honest women may dwell there without any dread of the whip and -the carte.’ Cf. also _Penniless Parliament, Old Book Collector’s -Misc._ 2. 16: ‘Many men shall be so venturously given, as they -shall go into Petticoat Lane, and yet come out again as honestly -as they went first in.’ - -=1. 1. 60 the Smock-allies.= Petticoat Lane led from the -high street, Whitechapel, to _Smock Alley_ or Gravel Lane. -See Hughson 2. 387. - -=1. 1. 61 Shoreditch.= Shoreditch was formerly notorious for the -disreputable character of its women. ‘To die in Shoreditch’ seems -to have been a proverbial phrase, and is so used by Dryden in _The -Kind Keeper_, 4to, 1680. Cf. Nash, _Pierce Pennilesse_, _Wks._ 2. 94: -‘Call a Leete at _Byshopsgate_, & examine how euery second house in -_Shorditch_ is mayntayned; make a priuie search in _Southwarke_, and -tell mee how many Shee-Inmates you fin de: nay, goe where you will in -the Suburbes, and bring me two Virgins that haue vowd Chastity and -Ile builde a Nunnery.’ Also _ibid._, p. 95; Gabriel Harvey, _Prose -Wks._, ed. Grosart. 2. 169; and Dekker, _Wks._ 3. 352. - -=1. 1. 61 Whitechappell.= ‘Till within memory the district north -of the High Street was one of the very worst localities in London; -a region of narrow and filthy streets, yards and alleys, many of -them wholly occupied by thieves’ dens, the receptacles of stolen -property, gin-spinning dog-holes, low brothels, and putrescent -lodging-houses,--a district unwholesome to approach and unsafe for -a decent person to traverse even in the day-time.’--Wh-C. - -=1. 1. 61, 2 and so to Saint Kathernes.= -=To drinke with the Dutch there, and take forth their patternes.= -Saint Kathernes was the name of a hospital and precinct without -London. The hospital was said to have been founded by Queen -Matilda, wife of King Stephen. In _The Alchemist_ (_Wks._ 4. -161), Jonson speaks of its having been used ‘to keep the better -sort of mad-folks.’ It was also employed as a reformatory for -fallen women, and it is here that Winifred in _Eastward Ho_ (ed. -Schelling, p. 84) finds an appropriate landing-place. - -From this hospital there was ‘a continual street, or filthy -strait passage, with alleys of small tenements, or cottages, -built, inhabited by sailors’ victuallers, along by the river of -Thames, almost to Radcliff, a good mile from the Tower.’--Stow, -ed. Thoms, p. 157. - -The precinct was noted for its brew-houses and low drinking -places. In _The Staple of News_ Jonson speaks of ‘an ale-wife in -Saint Katherine’s, At the Sign of the Dancing Bears’ (_Wks._ 5. -226). The same tavern is referred to in the _Masque of Augurs_ -as well as ‘the brew-houses in St. Katherine’s.’ The sights of -the place are enumerated in the same masque. - -The present passage seems to indicate that the precinct was largely -inhabited by Dutch. In the _Masque of Augurs_ Vangoose speaks a sort -of Dutch jargon, and we know that a Flemish cemetery was located here -(see Wh-C). Cf. also Sir Thomas Overbury’s _Character of A drunken -Dutchman resident in England_, ed. Morley, p. 72: ‘Let him come over -never so lean, and plant him but one month near the brew-houses of -St. Catherine’s and he will be puffed up to your hand like a bloat -herring.’ Dutch weavers had been imported into England as early as -the reign of Edward III. (see Howes, p. 870 a), and in the year 1563 -great numbers of Netherlanders with their wives and children fled -into England owing to the civil dissension in Flanders (Howes, p. -868 a). They bore a reputation for hard drinking (cf. _Like will to -Like_, _O. Pl._ 3. 325; Dekker, _Non-dram. Wks._ 3. 12; Nash, -_Wks._ 2. 81, etc.). - -The phrase ‘to take forth their patternes’ is somewhat obscure, and -seems to have been forced by the necessity for a rhyme. Halliwell -says that ‘take forth’ is equivalent to ‘learn,’ and the phrase seems -therefore to mean ‘take their measure,’ ‘size them up,’ with a view -to following their example. It is possible, of course, that actual -patterns of the Dutch weavers or tailors are referred to. - -=1. 1. 63 Custome-house key.= This was in Tower Street -on the Thames side. Stow (ed. Thoms, pp. 51. 2) says that the -custom-house was built in the sixth year of Richard II. Jonson -mentions the place again in _Every Man in_, _Wks._ 1. 69. - -=1. 1. 66 the Dagger, and the Wool-sacke.= These were two -ordinaries or public houses of low repute, especially famous -for their pies. There were two taverns called the ‘Dagger,’ one -in Holborn and one in Cheapside. It is probably to the former -of these that Jonson refers. It is mentioned again in the -_Alchemist_ (_Wks._ 4. 24 and 165) and in Dekker’s _Satiromastix_ -(_Wks._ 1. 200). Hotten says that the sign of a dagger was -common, and arose from its being a charge in the city arms. - -The Woolsack was without Aldgate. It was originally a -wool-maker’s sign. Machyn mentions the tavern in 1555; and it is -alluded to in Dekker, _Shoemaker’s Holiday_, _Wks._ 1. 61. See -Wh-C. and Hotten’s _History of Signboards_, pp. 325 and 362. - -=1. 1. 69 Belins-gate.= Stow (ed. Thoms, p. 78) describes -Belins-gate as ‘a large water-gate, port or harborough.’ He -mentions the tradition that the name was derived from that of -Belin, King of the Britons, but discredits it. Billingsgate is -on the Thames, a little below London Bridge, and is still the -great fish-market of London. - -=1. 1. 70 shoot the Bridge.= The waterway under the old -London Bridge was obstructed by the narrowness of the arches, -by cornmills built in some of the openings, and by the great -waterworks at its southern end. ‘Of the arches left open some -were too narrow for the passage of boats of any kind. The widest -was only 36 feet, and the resistance caused to so large a body -of water on the rise and fall of the tide by this contraction of -its channel produced a fall or rapid under the bridge, so that -it was necessary to “ship oars” to _shoot the bridge_, as it was -called,--an undertaking, to amateur watermen especially, not -unattended with danger. “With the flood-tide it was impossible, -and with the ebb-tide dangerous to pass through or _shoot_ the -arches of the bridge.” In the latter case prudent passengers -landed above the bridge, generally at the _Old Swan Stairs_, and -walked to some wharf, generally _Billingsgate_, below it.’--Wh-C. - -=1. 1. 70 the Cranes i’ the Vintry.= These were ‘three strong cranes of -timber placed on the Vintry wharf by the Thames to crane up wine there -(Stow, ed. Thoms, p. 00). They were situated in Three Cranes’ lane, and -near by was the famous tavern mentioned as one of the author’s favorite -resorts (_Bart. Fair_ 1. 1, _Wks._ 4. 356). Jonson speaks of it again -in _The Silent Woman_, _Wks._ 3. 376, and in the _Masque of Augurs_. -Pepys visited the place on January 23, 1662, and describes the best -room as ‘a narrow dogg-hole’ in which he and his friends were crammed -so close ‘that it made me loath my company and victuals, and a sorry -dinner it was too.’ Cf. also Dekker, (_Non-dram. Wks._ 8. 77). - -=1. 1. 72 the Strand.= This famous street was formerly the road between -the cities of Westminster and London. That many lawyers lived in this -vicinity we learn from Middleton (_Father Hubburd’s Tales_, _Wks._ 8. -77). - -=1. 1. 73 Westminster-hall.= It was once the hall of the -King’s palace at Westminster, originally built by William Rufus. -The present hall was formed 1397-99. Here the early parliaments -were held. ‘This great hall hath been the usual place of -pleadings, and ministration of justice.’--Stow, ed. Thoms, -p. 174. - -=1. 1. 75 so Veluet to Leather.= Velvet seems to have -been much worn by lawyers. Cf. Overbury, _Characters_, p. 72: -‘He loves his friend as a counsellor at law loves the velvet -breeches he was first made barrister in.’ - -=1. 1. 85 In his long coat, shaking his wooden dagger.= -See Introduction, pp. xxxviii f. - -=1. 1. 93 Cokeley.= Whalley says that he was the master of -a puppet show, and this has been accepted by all authorities -(Gifford, ed.; Nares, _Gloss_.; Alden, ed. of _Bart. Fair_). -He seems, however, to have been rather an improviser like -Vennor, or a mountebank with a gift of riming. He is mentioned -several times by Jonson: _Bart. Fair_, _Wks._ 4. 422, 3: ‘He has -not been sent for, and sought out for nothing, at your great -city-suppers, to put down Coriat and Cokely.’ _Epigr._129; _To -Mime_, _Wks._ 8. 229: - - Or, mounted on a stool, thy face doth hit - On some new gesture, that’s imputed wit? - --Thou dost out-zany Cokely, Pod; nay Gue: - And thine own Coryat too. - -=1. 1. 94 Vennor.= Gifford first took Vennor to be a juggler, but -corrected his statement in the _Masque of Augurs_, _Wks._ 7. 414. -He says: ‘Fenner, whom I supposed to be a juggler, was a rude kind -of _improvisatore_. He was altogether ignorant; but possessed a -wonderful facility in pouring out doggrel verse. He says of himself, - - Yet, without boasting, let me boldly say - I’ll rhyme with any man that breathes this day - Upon a subject, in _extempore_, etc. - -He seems to have made a wretched livelihood by frequenting city -feasts, &c., where, at the end of the entertainment, he was called in -to mount a stool and amuse the company by stringing together a -number of vile rhymes upon any given subject. To this the quotation -alludes. Fenner is noticed by the duchess of Newcastle: “For -the numbers every schoolboy can make them on his fingers, and for -the _rime_, Fenner would put down Ben Jonson, and yet neither boy -nor Fenner so good poets.” This, too, is the person meant in the -Cambridge answer to Corbet’s satire: - - A ballad late was made, - But God knows who the penner; - Some say the rhyming sculler, - And others say ’twas Fenner. p. 24. - -Fenner was so famed for his faculty of rhyming, that James, who, -like Bartholomew Cokes, would willingly let no raree-show escape -him, sent for him to court. Upon which Fenner added to his other -titles that of his “Majesty’s Riming Poet.” This gave offense to -Taylor, the Water poet, and helped to produce that miserable -squabble printed among his works, and from which I have principally -derived the substance of this note.’--G. - -‘In Richard Brome’s _Covent Garden Weeded_ (circ. 1638), we -have: “Sure ’tis Fenner or his ghost. He was a riming souldier.” -(p. 42.)’--C. - -The controversy referred to may be found in the Spenser Society’s -reprint of the 1630 folio of Taylor’s _Works_, 1869, pp. 304-325. -Here may be gathered a few more facts regarding the life of -Fenner (or Fennor as it should be spelled), among them that he -was apprenticed when a boy to a blind harper. In the quarrel, it -must be confessed, Fennor does not appear markedly inferior to his -derider either in powers of versification or in common decency. The -quarrel between the poets took place in October, 1614, and Fennor’s -admittance to court seems to be referred to in the present passage. - -=1. 1. 95 a Sheriffes dinner.= This was an occasion of considerable -extravagance. Entick (_Survey_ 1. 499) tells us that in 1543 a -sumptuary law was passed ‘to prevent luxurious eating or feasting -in a time of scarcity; whereby it was ordained, that the lord-mayor -should not have more than seven dishes at dinner or supper,’ and ‘an -alderman and sheriff no more than six.’ - -=1. 1. 96 Skip with a rime o’ the Table, from New-nothing.= What is -meant by _New-nothing_ I do not know. From the construction it would -seem to indicate the place from which the fool was accustomed to take -his leap, but it is possible that the word should be connected with -_rime_, and may perhaps be the translation of a Greek or Latin title -for some book of _facetiae_ published about this time. Such wits as -Fennor and Taylor doubtless produced many pamphlets, the titles of -which have not been recorded. In 1622 Taylor brought out a collection -of verse called ‘Sir Gregory Non-sense His Newes from no place,’ and -it may have been this very book in manuscript that suggested Jonson’s -title. In the play of _King Darius_, 1106, one of the actors says: -‘I had rather then my new nothing, I were gon.’ - -=1. 1. 97 his Almaine-leape into a custard.= ‘In the earlier days, -when the city kept a fool it was customary for him at public -entertainments, to leap into a large bowl of custard set on -purpose.’--W. Whalley refers also to _All’s well that Ends Well_ -2. 5: ‘You have made a shift to run into it, boots and all, like -him that leapt into the custard.’ - -Gifford quotes Glapthorne, _Wit in a Const._: - - The custard, with the four and twenty nooks - At my lord Mayor’s feast. - -He continues: ‘Indeed, no common supply was required; for, besides -what the Corporation (great devourers of custard) consumed on the -spot, it appears that it was thought no breach of city manners to -send, or take some of it home with them for the use of their ladies.’ -In the excellent old play quoted above, Clara twits her uncle with -this practise: - - Now shall you, sir, as ’tis a frequent custom, - ‘Cause you’re a worthy alderman of a ward, - Feed me with custard, and perpetual white broth - Sent from the lord Mayor’s feast.’ - -Cunningham says: ‘Poets of a comparatively recent date continue to -associate mayors and custards.’ He Quotes Prior _(Alma_, Cant. 1) and -a letter from Bishop Warburton to Hurd (Apr. 1766): ‘I told him (the -Lord Mayor) in what I thought he was defective--that I was greatly -disappointed to see no custard at table. He said that they had been -so ridiculed for their custard that none had ventured to make its -appearance for some years.’ Jonson mentions the ‘quaking custards’ -again in _The Fox_, _Wks._ 3. 164., and in _The Staple of News_, -_Wks._ 5. 196, 7. - -An Almain-leap was a dancing leap. ‘Allemands were danced here a few -years back’ (Nares). Cunningham quotes from Dyce: ‘Rabelais tells us -that Gargantua “wrestled, ran, jumped, not at three steps and a leap, -... nor yet at the Almane’s, for, said Gymnast, these jumps are for the -wars altogether unprofitable and of no use.” _Rabelais_, Book 1, C. 23.’ - -Bishop Barlow, _Answer to a Catholike Englishman_, p. 231, Lond. -1607, says: ‘Now heere the Censurer makes an Almaine leape, skipping -3 whole pages together’ (quoted in _N. & Q._ 1st Ser. 10. 157). - - -=1. 1. 97 their hoods.= The French hood was still worn by -citizens’ wives. Thus in the _London Prodigal_, ed. 1709: - - No _Frank_, I’ll have thee go like a _Citizen_ - In a Garded Gown, and a _French_ Hood. - -When Simon Eyre is appointed sheriff, his wife immediately inquires -for a ‘Fardingale-maker’ and a ‘French-hood maker’ (Dekker, _Wks._ -1. 39). Strutt says that French hoods were out of fashion by the middle -of the 17th century (_Antiq._ 3. 93). See the frequent references to -this article of apparel in _Bart. Fair_. It is interesting to notice -that the hoods are worn at dinner. - -=1. 1. 106, 7.= The readings of ‘Whalley and Gifford are distinctly -inferior to the original. - -=1. 1. 112, 3 Car-men Are got into the yellow starch.= Starch was -introduced in the age of Elizabeth to meet the needs of the huge -Spanish ruff which had come into favor some years before (see -_Soc. Eng._, p. 386). It was frequently colored. In Middleton and -Rowley’s _World Tossed at Tennis_ five different colored starches are -personified. Stubbes says that it was ‘of all collours and hues.’ -Yellow starch must have come into fashion not long before this play -was acted, for in the _Owle’s Allmanacke_, published in 1618, it is -said: ‘Since yellow bandes and saffroned chaperoones came vp, is not -above two yeeres past.’ This, however, is not to be taken literally, -for the execution of Mrs. Turner took place Nov. 14, 1615. Of her -we read in Howell’s Letters 1. 2: ‘Mistress _Turner_, the first -inventress of _yellow Starch_, was executed in a Cobweb Lawn Ruff -of that colour at _Tyburn_; and with her I believe that _yellow -Starch_, which so much disfigured our Nation, and rendered them so -ridiculous and fantastic, will receive its Funeral.’ Sir S. D’Ewes -_(Autobiog._ 1. 69) says that from that day it did, indeed, grow -‘generally to be detested and disused.’ _The Vision of Sir Thomas -Overbury_, 1616 (quoted in Amos, _Great Oyer_, p. 50) speaks of - - ----that fantastic, ugly fall and ruff - Daub’d o’er with that base starch of yellow stuff - -as already out of fashion. Its popularity must have returned, -however, since Barnaby Riche in the _Irish Hubbub_,1622, p. -40, laments that ‘yellow starcht bands’ were more popular than -ever, and he prophesies that the fashion ‘shortly will be as -conversant amongst taylors, tapsters, and tinkers, as now they -have brought tobacco.’ - -D’Ewes also in describing the procession of King James from Whitehall -to Westminster, Jan. 30, 1620, says that the king saw one window -‘full of gentlewomen or ladies, all in yellow bandes,’ whereupon he -called out ‘A pox take yee,’ and they all withdrew in shame. In _The -Parson’s Wedding_, printed 1664, _O. Pl._ 11. 498, it is spoken of as -out of fashion. Yellow starch is mentioned again in 5. 8. 74. 5, and -a ballad of ‘goose-green starch and the devil’ is mentioned in _Bart. -Fair_, _Wks._ 4. 393. Similarly, Nash speaks in _Pierce Pennilesse_, -_Wks._ 2. 44. of a ‘Ballet of Blue starch and poaking stick.’ -See also Dodsley’s note on _Albumazar_, _O. Pl._ 7. 132. - -=1. 1. 113, 4 Chimney-sweepers To their tabacco.= See the quotation -from Riche in the last note and note 5. 8. 71. - -=1. 1. 114, 5 Hum, Meath, and Obarni.= Hum is defined B. E. _Dict. -Cant. Crew, Hum_ or _Humming Liquor_, Double Ale, Stout, Pharoah. -It is mentioned in Fletcher’s _Wild Goose Chase_ 2. 3 and Heywood’s -_Drunkard_. p. 48. Meath or mead is still made in England. It was -a favorite drink in the Middle Ages, and consisted of a mixture -of honey and water with the addition of a ferment. Harrison, -_Description of England_, ed. Furnivall, 1. 161, thus describes it: -‘There is a kind of swish swash made also in Essex, and diuerse other -places, with honicombs and water, which the [homelie] countrie wiues, -putting some pepper and a little other spice among, call mead, verie -good in mine opinion for such as loue to be loose bodied [at large, -or a little eased of the cough,] otherwise it differeth so much from -the true metheglin, as chalke from cheese.’ - -Obarni was long a crux for the editors and dictionaries. Gifford -(_Wks._ 7. 226) supplied a part of the quotation from _Pimlyco or -Runne Red-Cap_, 1609, completed by James Platt, Jun. (_N. & Q._ -9th Ser. 3. 306). in which ‘Mead Obarne and Mead Cherunk’ are -mentioned as drinks - - ----that whet the spites - Of Russes and cold Muscovites. - -Mr. Platt first instanced the existing Russian word _obarni_ or -_obvarnyi_ (see Gloss.), meaning ‘boiling, scalding,’ and C. C. B. -(_N. & Q._ 9. 3. 413) supplied a quotation from the account of the -voyage of Sir Jerome Bowes in 1583 (Harris’s _Travels_ 1. 535), in -which ‘Sodden Mead’ appears among the items of diet supplied by the -Emperor to the English Ambassador. The identification was completed -with a quotation given by the _Stanford Dict._: ‘1598 Hakluyt _Voy._ -1. 461 One veather of sodden mead called _Obarni_.’ - -=1. 1. 119 your rope of sand.= This occupation is mentioned -again in 5. 2. 6. - -=1. 1. 126 Tissue gownes.= Howes, p. 869. tells us that John Tuce, -‘dweling neere Shorditch Church’, first attained perfection in the -manufacture of cloth of tissue. - -=1. 1. 127 Garters and roses.= Howes, p. 1039, says that ‘at this -day (1631) men of meane rancke weare Garters, and shooe Roses, of -more than fiue pound price.’ Massinger, in the _City Madam_, _Wks._, -p. 334, speaks of ‘roses worth a family.’ Cf. also John Taylor’s -_Works_, 1630 (quoted in _Hist. Brit. Cost_.): - - Weare a farm in shoe-strings edged with gold - And spangled garters worth a copyhold. - -=1. 1. 128 Embroydred stockings.= ‘Then haue they nether-stocks to -these gay hosen, not of cloth (though neuer so fine) for that is -thought to base, but of _Iarnsey_ worsted, silk, thred, and such -like, or els at the least of the finest yarn _that_ can be, and so -curiouslye knit with open seam down the leg, with quirks and clocks -about the ancles, and sometime (haply) interlaced with gold or siluer -threds, as is wonderful to behold.’--Stubbes, _Anat._, Part 1, p. 57. -The selling of stockings was a separate trade at this time, and great -attention was paid to this article of clothing. Silk stockings are -frequently mentioned by the dramatists. Cf. Stephen Gosson, _Pleasant -Quippes_: - - These worsted stockes of bravest die, and silken garters - fring’d with gold; - These corked shooes to beare them hie makes them to trip - it on the molde; - They mince it with a pace so strange, - Like untam’d heifers when they range. - -=1. 1. 128 cut-worke smocks, and shirts.= Cf. B. & Fl., -_Four Plays in One_: - - ----She show’d me gownes, head tires, - Embroider’d waistcoats, smocks seamed with cutworks. - -=1. 1. 135 But you must take a body ready made.= King James in his -_Dæmonologie_ (_Wks._, ed. 1616, p. 120) explains that the devil, -though but of air, can ‘make himself palpable, either by assuming any -dead bodie, and vsing the ministerie thereof, or else by deluding as -well their sence of feeling as seeing.’ - -=1. 1. 143 our tribe of Brokers.= Cf. _Ev. Man in_, _Wks._ 1. 82: - - ‘_Wel._ Where got’st thou this coat, I marle? - _Brai._ Of a Hounsditch man, sir, one of the devil’s - near kinsmen, a broker.’ - -The pawnbrokers were cordially hated in Jonson’s time. Their -quarter was Houndsditch. Stow says: ‘there are crept in among -them [the inhabitants of Houndsditch] a base kinde of vermine, -wel-deserving to bee ranked and numbred with them, whom our old -Prophet and Countryman, _Gyldas_, called _Ætatis atramentum_, -the black discredit of the Age, and of place where they are suffered -to live.... These men, or rather monsters in the shape of men, -professe to live by lending, and yet will lend nothing but upon -pawnes;’ etc. - -Nash speaks of them in a similar strain: ‘Fruits shall be greatly eaten -with Catterpillers; as Brokers, Farmers and Flatterers, which feeding -on the sweate of other mens browes, shall greatlye hinder the beautye -of the spring.’--_Prognostication_, _Wks._2. 145. ‘They shall crie out -against brokers, as Jeremy did against false prophets.’ _Ibid._ 2. 162. - -=1. 1. 148 as you make your soone at nights relation.= Cf. -Dekker, _Satiromastix_, _Wks._ 1. 187: ‘Shee’l be a late -sturrer soone at night sir,’ and _ibid._ 223: - - By this faire Bride remember soone at night. - -=1. 2. 1 ff. I, they doe, now=, etc. ‘Compare this -exquisite piece of sense, satire, and sound philosophy in 1616 -with Sir M. Hale’s speech from the bench in a trial of a witch -many years afterwards.’--Coleridge, _Notes_, p. 280. - -=1. 2. 1 Bretnor.= An almanac maker (fl. 1607-1618). A list -of his works, compiled from the catalogue of the British Museum, -is given in the _DNB_. He is mentioned twice by Middleton: - - This farmer will not cast his seed i’ the ground - Before he look in Bretnor. - --_Inner-Temple Masque_, _Wks._ 7. 211. - -‘_Chough._ I’ll not be married to-day, Trimtram: hast e’er an almanac -about thee? this is the nineteenth of August, look what day of the -month ’tis. - - _Trim._ ’Tis tenty-nine indeed, sir. [_Looks in almanac._ - _Chough._ What’s the word? What says Bretnor? - _Trim._ The word is, sir, _There’s a hole in her coat_.’ - --Middleton, _A Fair Quarrel_, _Wks._ 4. 263. - -Fleay identifies him with Norbret, one of the astrologers in -Beaumont and Fletcher’s _Rollo, Duke of Normandy_. - -=1. 2. 2 Gresham.= A pretended astrologer, contemporary with Forman, -and said to be one of the associates of the infamous Countess of -Essex and Mrs. Turner in the murder of Sir Thomas Overbury. Arthur -Wilson mentions him in _The Life of James I._, p. 70: - -‘Mrs. _Turner_, the Mistris of the _Work_, had lost both her -supporters. _Forman_, her first prop, drop’t away suddenly by death; -and _Gresham_ another rotten _Engin_ (that succeded him) did not hold -long: She must now bear up all her self.’ - -He is mentioned twice in Spark’s _Narrative History of King James_, -Somer’s _Tracts_ 2. 275: ‘Dr. Forman being dead, Mrs. Turner wanted -one to assist her; whereupon, at the countesses coming to London, one -Gresham was nominated to be entertained in this businesse, and, in -processe of time, was wholly interested in it; this man was had in -suspition to have had a hand in the Gunpowder plot, he wrote so near -it in his almanack; but, without all question, he was a very skilful -man in the mathematicks, and, in his latter time, in witchcraft, as -was suspected, and therefore the fitter to bee imployed in those -practises, which, as they were devilish, so the devil had a hand -in them.’ - -_Ibid._ 287: ‘Now Gresham growing into years, having spent much time -in many foule practises to accomplish those things at this time, -gathers all his babies together, _viz._ pictures in lead, in wax, in -plates of gold, of naked men and women with crosses, crucifixes, and -other implements, wrapping them all up together in a scarfe, crossed -every letter in the sacred word Trinity, crossed these things very -holily delivered into the hands of one Weston to bee hid in the earth -that no man might find them, and so in Thames-street having finished -his evill times he died, leaving behind him a man and a maid, one -hanged for a witch, and the other for a thief very shortly after.’ - -In the ‘Heads of Charges against Robert, Earl of Somerset’, -drawn up by Lord Bacon, we read: ‘That the countess laboured -Forman and Gresham to inforce the Queen by witchcraft to favour -the countess’ (Howell’s _State Trials_ 2. 966). To this King -James replied in an ‘Apostyle,’ _Nothing to Somerset_. This -exhausts the references to Gresham that I have been able to -find. See note on Savory, 1. 2. 3. - -=1. 2. 2. Fore-man.= Simon Foreman, or Forman (1552-1611) -was the most famous of the group of quacks here mentioned. He -studied at Oxford, 1573-1578, and in 1579 began his career as -a necromancer. He claimed the power to discover lost treasure, -and was especially successful in his dealings with women. A -detailed account of his life is given in the _DNB_. and a short -but interesting sketch in _Social England_ 4. 87. The chief -sources are Wm. Lilly’s _History_ and a diary from 1564 to 1602, -with an account of Forman’s early life, published by Mr. J. O. -Halliwell-Phillipps for the Camden Soc., 1843. - -He is mentioned again by Jonson in _Silent Woman_, _Wks._ 3. -413: ‘_Daup._ I would say, thou hadst the best philtre in the -world, and couldst do more than Madam Medea, or Doctor Foreman.’ -In _Sir Thomas Overbury’s Vision_ (Harl. Ms., vol. 7, quoted in -D’Ewes’ _Autobiog._, p. 89) he is spoken of as ‘that fiend in -human shape.’ - -=1. 2. 3 Francklin.= Francklin was an apothecary, and -procured the poison for Mrs. Turner (see Amos, _Great Oyer_. p. -97). He was one of the three persons executed with Mrs. Turner. -Arthur Wilson, in his _Life of James I._ (p. 70), describes him -as ‘a swarthy, sallow, crooked-backt fellow, who was to be the -_Fountain_ whence these bitter waters came.’ See also Somer’s -_Tracts_ 2. 287. The poem already quoted furnishes a description -of Francklin: - - A man he was of stature meanly tall. - His body’s lineaments were shaped, and all - His limbs compacted well, and strongly knit. - Nature’s kind hand no error made in it. - His beard was ruddy hue, and from his head - A wanton lock itself did down dispread - Upon his back; to which while he did live - Th’ ambiguous name of _Elf-lock_ he did give. - --Quoted in Amos. p. 50. - -=1. 2. 3 Fiske.= ‘In this year 1633, I became acquainted with -Nicholas Fiske, licentiate in physick, who was borne in Suffolk, near -Framingham [Framlingham] Castle, of very good parentage.... He was a -person very studious, laborious, and of good apprehension.... He was -exquisitely skilful in the art of directions upon nativities, and had -a good genius in performing judgment thereupon.... He died about the -seventy-eighth year of his age, poor.’--Lilly, _Hist._, p. 42 f. - -Fiske appears as La Fiske in _Rollo, Duke of Normandy_, and is also -mentioned by Butler, _Hudibr_., Part 2, Cant. 3. 403: - - And nigh an ancient obelisk - Was rais’d by him, found out by _Fisk_. - -=1. 2. 3 Sauory.= ‘And therefore, she fearing that her -lord would seek some public or private revenge against her, by -the advice of the before-mentioned Mrs. Turner, consulted and -practised with Doctor Forman and Doctor Savory, two conjurers, -about the poisoning of him.’--D’Ewes, _Autobiog._ 1. 88. 9. - -He was employed after the sudden death of Dr. Forman. Wright -(_Sorcery and Magic_, p. 228) says that the name is written -Lavoire in some manuscripts. ‘Mrs. Turner also confessed, that -Dr. Savories was used in succession, after Forman, and practised -many sorceries upon the Earle of Essex his person.’--Spark, -_Narrative History_, Somer’s _Tracts_ 2. 333. - -In the _Calendar of State Papers_ the name of ‘Savery’ appears -four times. Under date of Oct. 16, 1615, we find Dr. Savery -examined on a charge of ‘spreading Popish Books.’ ‘Savery -pretends to be a doctor, but is probably a conjurer.’ And again -under the same date he is interrogated as to his relations with -Mrs. Turner and Forman. Under Oct. 24 he replies to Coke. ‘Oct. -?’ we find Dr. Savery questioned as to his ‘predictions of -troubles and alterations in Court.’ This is the last mention -of him. - -Just what connection Gresham and Savory had with the Overbury -plot is a difficult matter to determine. Both are spoken of as -following Forman immediately, and of neither is any successor -mentioned except the actual poisoner, Franklin. It seems -probable that Gresham was the first to be employed after Forman, -and that his own speedy death led to the selection of Savory. -How the latter managed to escape a more serious implication in -the trial it is difficult to conceive. - -=1. 2. 6-9 christalls, ... characters.= As in other fields, -Jonson is well versed in magic lore. Lumps of crystal were one -of the regular means of raising a demon. Bk. 15, Ch. 16 of -Scot’s _Discovery of Witchcraft_, 1584, is entitled: ‘To make a -spirit appear in a christall’, and Ch. 12 shows ‘How to enclose -a spirit in a christall stone.’ - -Lilly (_History_, p. 78) speaks of the efficacy of ‘a -constellated ring’ in sickness, and they were doubtless -considered effective in more sinister dealings. Jonson has -already spoken of the devil being carried in a thumb-ring -(see note P. 6). - -Charms were usually written on parchment. In Barrett’s _Magus_, -Bk. 2, Pt. 3. 109, we read that the pentacle should be drawn -‘upon parchment made of a kid-skin, or virgin, or pure clean -white paper.’ - -That parts of the human body belonged to the sorcerer’s -paraphernalia is shown by the Statute 1 Jac. I. c. xii, which -contains a clause forbidding conjurors to ‘take up any dead -man woman or child out of his her or their grave ... or the -skin bone or any other parte of any dead person, to be imployed -or used in any manner of Witchcrafte Sorcerie Charme or -Inchantment.’ - -The wing of the raven, as a bird of ill omen, may be an -invention of Jonson’s own. The lighting of candles within the -magic circle is mentioned below (note 1. 2. 26). - -Most powerful of all was the pentacle, of which Scot’s -_Discovery_ (Ap. II, p. 533, 4) furnishes an elaborate -description. This figure was used by the Pythagorean school as -their seal, and is equivalent to the pentagram or five-pointed -star (see _CD._). - -Dekker (_Wks._ 2. 200) connects it with the Periapt as a ‘potent -charm,’ and Marlowe speaks of it in _Hero and Leander_, -_Wks._ 3. 45: - - A rich disparent pentacle she wears, - Drawn full of circles and strange characters. - -It will be remembered that the inscription of a pentagram on the -threshold prevents the escape of Mephistopheles in Goethe’s _Faust_. -The editors explain its potency as due to the fact that it is -resolvable into three triangles, and is thus a triple sign of the -Trinity. - -Cunningham says that the pentacle ‘when delineated upon the body of a -man was supposed to point out the five wounds of the Saviour.’ W. J. -Thoms (_Anecdotes_, Camden Soc., 1839, p. 97) speaks of its presence -in the western window of the southern aisle of Westminster Abbey, an -indication that the monks were versed in occult science. - -=1. 2. 21 If they be not.= Gifford refers to Chrysippus, _De -Divinatione,_ Lib. 1. § 71: ‘This is the very syllogism by which that -acute philosopher triumphantly proved the reality of augury.’ - -=1. 2. 22 Why, are there lawes against ’hem?= It was -found necessary in 1541 to pass an act (33 Hen. VIII. c. 8) by -which--‘it shall be felony to practise, or cause to be practised -conjuration, witchcrafte, enchantment, or sorcery, to get -money: or to consume any person in his body, members or goods; -or to provoke any person to unlawful love; or for the despight -of Christ, or lucre of money, to pull down any cross; or to -declare where goods stolen be.’ Another law was passed 1 Edward -VI. c. 12 (1547). 5 Elizabeth. c. 16 (1562) gives the ‘several -penalties of conjuration, or invocation of wicked spirits, and -witchcraft, enchantment, charm or sorcery.’ Under Jas. I, anno -secundo (vulgo primo), c. 12, still another law was passed, -whereby the second offense was declared a felony. The former act -of Elizabeth was repealed. This act of James was not repealed -until 9 George II. c. 5. - -_Social England_, p. 270, quotes from Ms. Lansdowne, 2. Art. -26, a deposition from William Wicherley, conjurer, in which he -places the number of conjurers in England in 1549 above five -hundred. A good idea of the character of the more disreputable -type of conjurer can be got from Beaumont and Fletcher’s -_Fair Maid of the Inn_. See especially Act 5, Sc. 2. - -=1. 2. 26 circles.= The magic circle is one of the things -most frequently mentioned among the arts of the conjurer. Scot -(_Discovery_, p. 476) has a long satirical passage on the -subject, in which he enjoins the conjurer to draw a double -circle with his own blood, to divide the circle into seven -parts and to set at each division a ‘candle lighted in a -brazen candlestick.’ - -=1. 2. 27 his hard names.= A long list of the ‘diverse -names of the divell’ is given in _The Discovery_, p. 436, -and another in the Second Appendix, p. 522. - -=1. 2. 31, 2 I long for thee. An’ I were with child by him, ... -I could not more.= The expression is common enough. Cf. -_Eastward Hoe_: ‘Ger. As I am a lady, I think I am with child -already, I long for a coach so.’ Dekker, _Shomakers Holiday_, -_Wks._ 1. 17: ‘I am with child till I behold this huffecap.’ The -humors of the longing wife are a constant subject of ridicule. -See _Bart. Fair_, Act 1, and Butler’s _Hudibras_, ed. 1819, -3. 78 and note. - -=1. 2. 39 A thousand miles.= ‘Neither are they so much -limited as Tradition would have them; for they are not at all -shut up in any separated place: but can remove millions of miles -in the twinkling of an eye.’--Scot, _Discovery_, Ap. II, p. 493. - -=1. 2. 43 The burn’t child dreads the fire.= Jonson is fond of -proverbial expressions. Cf. 1. 6. 125; 1. 6. 145; 5. 8. 142, 3, etc. - -=1. 3. 5 while things be reconcil’d.= In Elizabethan -English both _while_ and _whiles_ often meant ‘up to the time -when’, as well as ‘during the time when’ (d. a similar use of -‘dum’ in Latin and of ἕ ος in Greek).--Abbot, §137. - -For its frequent use in this sense in Shakespeare see Schmidt -and note on _Macbeth_ 3. 1. 51, Furness’s edition. Cf. also -Nash, _Prognostication_, _Wks._ 2. 150: ‘They shall ly in their -beds while noon.’ - -=1. 3. 8, 9 those roses Were bigge inough to hide a clouen -foote.= Dyce (_Remarks_, p. 289) quotes Webster, _White -Devil_, 1612: - - --why, ’tis the devil; - I know him by a great rose he wears on’s shoe, - To hide his cloven foot. - -Cunningham adds a passage from Chapman, _Wks._ 3. 145: - - _Fro._ Yet you cannot change the old fashion (they say) - And hide your cloven feet. - _Oph._ No! I can wear roses that shall spread quite - Over them. - -Gifford quotes Nash, _Unfortunate Traveller_, _Wks._ 5. 146: ‘Hee -hath in eyther shoo as much taffaty for his tyings, as would serue -for an ancient.’ Cf. also Dekker, _Roaring Girle_, _Wks._ 3. 200: -‘Haue not many handsome legges in silke stockins villanous splay feet -for all their great roses?’ - -=1. 3. 13 My Cater.= Whalley changes to ‘m’acter’ on the authority -of the _Sad Shep._ (vol. 4. 236): - - --Go bear ’em in to Much - Th’ acater. - -The form ‘cater’, however, is common enough. Indeed, if we are -to judge from the examples in Nares and _NED._, it is much the -more frequent, although the present passage is cited in both -authorities under the longer form. - -=1. 3. 21 I’le hearken.= W. and G. change to ‘I’d.’ The -change is unnecessary if we consider the conditional clause -as an after-thought on the part of Fitzdottrel. For a similar -construction see 3. 6. 34-6. - -=1. 3. 27 Vnder your fauour, friend, for, I’ll not -quarrell.= ‘This was one of the qualifying expressions, by -which, “according to the laws of the duello”, the lie might be -given, without subjecting the speaker to the absolute necessity -of receiving a challenge.’--G. - -Leigh uses a similar expression. Cf. note 2. 1. 144. It occurs -several times in _Ev. Man in_: - - ‘_Step._ Yet, by his leave, he is a rascal, under his favour, - do you see. - _E. Know._ Ay, by his leave, he is, and under favour: - a pretty piece of civility!’ - --_Wks._ 1. 68. - - ‘_Down._ ’Sdeath! you will not draw then? - _Bob._ Hold, hold! under thy favour forbear!’ - --_Wks._ 1. 117. - - ‘_Clem._ Now, sir, what have you to say to me? - _Bob._ By your worship’s favour----.’ - --_Wks._ 1. 140. - -I have not been able to confirm Gifford’s assertion. - -=1. 3. 30 that’s a popular error.= Gifford refers to _Othello_ -5. 2. 286: - - _Oth._ I look down towards his feet,--but that’s a fable.-- - If that thou be’st a devil, I cannot kill thee. - -Cf. also _The Virgin Martyr_, Dekker’s _Wks._ 4. 57: - - --Ile tell you what now of the Divel; - He’s no such horrid creature, cloven footed, - Black, saucer-ey’d, his nostrils breathing fire, - As these lying Christians make him. - -=1. 3. 34 Of Derby-shire, S^r. about the Peake.= Jonson seems to have -been well acquainted with the wonders of the Peak of Derbyshire. Two of -his masques, _The Gipsies Metamorphosed_, acted first at Burleigh on -the Hill, and later at Belvoir, Nottinghamshire, and _Love’s Welcome -at Welbeck_, acted in 1633 at Welbeck, Nottinghamshire, the seat of -William Cavendish, Earl of Newcastle, are full of allusions to them. -The Devil’s Arse seems to be the cavern now known to travellers as the -_Peak_ or _Devil’s Cavern_. It is described by Baedeker as upwards of -2,000 feet in extent. One of its features is a subterranean river known -as the Styx. The origin of the cavern’s name is given in a coarse song -in the _Gypsies Met._ (_Wks._ 7. 357), beginning: - - Cocklorrel would needs have the Devil his guest, - And bade him into the Peak to dinner. - -In _Love’s Welcome_ Jonson speaks again of ‘Satan’s sumptuous Arse’, -_Wks._ 8. 122. - -=1. 3. 34, 5. That Hole. - Belonged to your Ancestors?= Jonson frequently omits the relative -pronoun. Cf. 1. 5. 21; 1. 6. 86, 87; 3. 3. 149; 5. 8. 86, 87. - -=1. 3. 38 Foure pound a yeere.= ‘This we may suppose to have -been the customary wages of a domestic servant.’--C. Cunningham -cites also the passage in the _Alchemist_, _Wks._ 4. 12; -‘You were once ... the good, Honest, plain, livery-three-pound-thrum, -that kept Your master’s worship’s house,’ in which he takes the -expression ‘three-pound’ to be the equivalent of ‘badly-paid’. - -=1. 4. 1 I’ll goe lift him.= Jonson is never tired of punning on -the names of his characters. - -=1. 4. 5 halfe a piece.= ‘It may be necessary to observe, -once for all, that the _piece_ (the double sovereign) went for -two and twenty shillings.’--G. Compare 3. 3. 83, where a -hundred pieces is evidently somewhat above a hundred pounds. -By a proclamation, Nov. 23, 1611, the piece of gold called the -Unitie, formerly current at twenty shillings was raised to the -value of twenty two shillings (S. M. Leake, _Eng. Money_ 2. -276). Taylor, the water-poet, tells us that Jonson gave him ‘a -piece of gold of two and twenty shillings to drink his health -in England’ (_Conversations_, quoted in Schelling’s _Timber_, -p. 105). In the _Busie Body_ Mrs. Centlivre uses _piece_ as -synonymous with _guinea_ (2d ed., pp. 7 and 14). - -=1. 4. 31 Iust what it list.= Jonson makes frequent use of the -subjunctive. Cf. 1. 3. 9; 1. 6. 6; 5. 6. 10; etc. - -=1. 4. 43 Ô here’s the bill, S^r.= Collier says that the -use of play-bills was common prior to the year 1563 (Strype, -_Life of Grindall,_ ed. 1821, p. 122). They are mentioned in -_Histriomastix_, 1610; _A Warning for Fair Women_, 1599, etc. -See Collier, _Annals_ 3. 382 f. - -=1. 4. 50 a rotten Crane.= Whalley restores the right -reading, correctly explained as a pun on Ingine’s name. - -=1. 4. 60 Good time!= Apparently a translation of the Fr. -_A la bonne heure_, ‘very good’, ‘well done!’ etc. - -=1. 4. 65 The good mans gravity.= Cf. Homer, _Il._, Γ 105: - - ἄξετε δὲ Πριάμοιο Βίην. - -Shak., _Tempest_ 5. 1: ‘First, noble friend, let me embrace -thine age.’ _Catiline_ 3. 2.: ‘Trouble this good shame (good and -modest lady) no farther.’ - -=1. 4. 70 into the shirt.= Cf. Dekker, _Non-dram. Wks._ 2. -244: ‘Dice your selfe into your shirt.’ - -=1. 4. 71 Keepe warme your wisdome?= Cf. _Cyn. Rev._, -_Wks._ 2. 241: ‘_Madam, your whole self cannot but be perfectly -wise; for your hands have wit enough to keep themselves warm._’ -Gifford’s note on this passage is: ‘This proverbial phrase is -found in most (sic) of our ancient dramas. Thus in _The Wise -Woman of Hogsden_: “You are the wise woman, are you? You _have -wit to keep yourself warm enough_, I warrant you”’. Cf. also -_Lusty Juventus_, p. 74: ‘Cover your head; For indeed you have -need to keep in your wit.’ - -=1. 4. 72 You lade me.= ‘This is equivalent to the modern -phrase, you do not spare me. You lay what imputations you please -upon me.’--G. - -The phrase occurs again in 1. 6. 161, where Wittipol calls -Fitzdottrel an ass, and says that he cannot ‘scape his lading’. -‘You lade me’, then, seems to mean ‘You make an ass of me’. -The same use of the word occurs in Dekker, _Olde Fortunatus_, -_Wks._ 1. 125: ‘I should serue this bearing asse rarely now, if -I should load him’. And again in the works of Taylor, the Water Poet, -p. 311: ‘My Lines shall load an Asse, or whippe an Ape.’ Cf. -also _Bart. Fair_, _Wks._ 4. 421: ‘Yes, faith, I have my -lading, you see, or shall have anon; you may know whose beast I am -by my burden.’ - -=1. 4. 83, 4 But, not beyond=, -=A minute, or a second, looke for=. The omission of the comma after -_beyond_ by all the later editors destroys the sense. Fitzdottrel -does not mean that Wittipol cannot have ‘beyond a minute’, but that -he cannot have a minute beyond the quarter of an hour allowed him. - -=1. 4. 96 Migniard.= ‘Cotgrave has in his dictionary, -“_Mignard_--migniard, prettie, quaint, neat, feat, wanton, dainty, -delicate.” In the _Staple of News_ [_Wks._ 5. 221] Jonson tries -to introduce the substantive _migniardise_, but happily without -success.’--G. - -=1. 4. 101 Prince Quintilian.= The reputation of this famous -rhetorician (c 35-c 97 A. D.) is based on his great work entitled -_De Instiutione Oratoria Libri_ XII. The first English edition seems -to have been made in 1641, but many Continental editions had preceded -it. The title Prince seems to be gratuitous on Jonson’s part. He is -mentioned again in _Timber_ (ed. Schelling, 57. 29 and 81. 4). - -=1. 5. 2= Cf. _New Inn_, _Wks._ 5. 323: - ‘_Host._ What say you, sir? where are you, are you within? - (_Strikes_ LOVEL _on the breast_.)’ - -=1. 5. 8, 9. Old Africk, and the new America, - With all their fruite of Monsters.= Cf. Donne, -_Sat._, _Wks._ 2. 190 (ed. 1896): - - Stranger ... - Than Afric’s monsters, Guiana’s rarities. - -Brome, _Queen’s Exchange_, _Wks._ 3. 483: ‘What monsters are bred -in _Affrica_?’ Glapthorne, _Hollander_, _Wks._, 1874, 1. 81: ‘If -_Africke_ did produce no other monsters,’ etc. The people of London -at this time had a great thirst for monsters. See Alden, _Bart. -Fair_, p. 185, and Morley, _Memoirs of Bartholomew Fair_. - -=1. 5. 17 for hidden treasure.= ‘And when he is appeared, bind him -with the bond of the dead above written: then saie as followeth. -I charge thee N. by the father, to shew me true visions in this -christall stone, if there be anie treasure hidden in such a place N. -& wherein it now lieth, and how manie foot from this peece of earth, -east, west, north, or south.’--Scot, _Discovery_, p. 355. - -Most of the conjurers pretended to be able to recover stolen -treasure. The laws against conjurers (see note 1. 2. 6) contained -clauses forbidding the practice. - -=1. 5. 21 his men of Art.= A euphemism for conjurer. -Cf. B. & Fl., _Fair Maid of the Inn_ 2. 2: - -‘_Host._ Thy master, that lodges here in my Osteria, -is a rare man of art; they say he’s a witch. - -_Clown._ A witch? Nay, he’s one step of the ladder to -preferment higher; he’s a conjurer.’ - -=1. 6. 10 wedlocke.= Wife; a common latinism of the period. - -=1. 6. 14 it not concernes thee?= A not infrequent word-order in -Jonson. Cf. 4. 2. 22. - -=1. 6. 18 a Niaise.= Gifford says that the side note ‘could scarcely -come from Jonson; for it explains nothing. A niaise (or rather -an _eyas_, of which it is a corruption) is unquestionably a young hawk, -but the niaise of the poet is the French term for, “a simple, witless, -inexperienced gull”, &c. The word is very common in our old -writers.’ - -The last statement is characteristic of Gifford. It would have been -well in this case if he had given some proof of his assertion. The -derivation _an eyas_ › _a nyas_ is probably incorrect. The _Centary -Dictionary_ gives ‘_Niaise_, _nyas_ (and corruptly _eyas_, by -misdivision of _a nias_).’ The best explanation I can give of the side -note is this. The glossator takes the meaning ‘simpleton’ for granted. -But Fitzdottrel has just said ‘Laught at, sweet bird?’ In explanation -the side note is added. This, perhaps, does not help matters much and, -indeed, I am inclined to believe with Gifford that the side notes are -by another hand than Jonson’s. See Introduction, pp. xiii, xvii. - -=1. 6. 29, 30. When I ha’ seene - All London in’t, and London has seene mee.= -Gifford compares Pope: - - Europe he saw, and Europe saw him too. - -=1. 6. 31 Black-fryers Play-house.= This famous theatre was founded -by James Burbage in 1596-7. The Burbages leased it to Henry Evans -for the performances of the Children of the Chapel, and the King’s -Servants acted there after the departure of the children. In 1619 -the Lord Mayor and the Council of London ordered its discontinuance, -but the players were able to keep it open on the plea that it was a -private house. In 1642 ‘public stage plays’ were suppressed, and on -Aug. 5, 1655, Blackfriars Theatre was pulled down and tenements were -built in its place. See Wh-C. - -Nares, referring to Shirley’s _Six New Playes_, 1653, says that -‘the Theatre of Black-Friars was, in Charles I.’s time at least -considered, as being of a higher order and more respectability -than any of those on the Bank-side.’ - -=1. 6. 33 Rise vp between the Acts.= See note 3. 5. 43. - -=1. 6. 33, 4 let fall my cloake, -Publish a handsome man, and a rich suite.= The gallants of this -age were inordinately fond of displaying their dress, or ‘publishing -their suits.’ The play-house and ‘Paul’s Walk,’ the nave of St. -Paul’s Cathedral, were favorite places for accomplishing this. The -fourth chapter of Dekker’s _Guls Horne-booke_ is entitled ‘How a -Gallant should behaue himselfe in Powles walkes.’ He bids the gallant -make his way directly into the middle aisle, ‘where, in view of all, -you may publish your suit in what manner you affect most, either with -the slide of your cloake from the one shoulder, and then you must -(as twere in anger) suddenly snatch at the middle of the inside (if -it be taffata at the least) and so by that meanes your costly lining -is betrayd,’ etc. A little later on (_Non-dram. Wks._ 2. 238) Dekker -speaks of ‘Powles, a Tennis-court, or a Playhouse’ as a suitable -place to ‘publish your clothes.’ Cf. also _Non-dram. Wks._ 4. 51. - -Sir Thomas Overbury gives the following description of ‘a -Phantastique:’ ‘He withers his clothes on a stage as a salesman is -forced to do his suits in Birchin Lane; and when the play is done, if -you mark his rising, ’tis with a kind of walking epilogue between the -two candles, to know if his suit may pass for current.’ Morley, p. 73. - -Stephen Gosson (_School of Abuse_, p. 29) says that ‘overlashing -in apparel is so common a fault, that the verye hyerlings of -some of our plaiers, which stand at reversion of vi^s by -the weeke, jet under gentlemens noses in sutes of silke.’ - -=1. 6. 37, 8 For, they doe come -To see vs, Loue, as wee doe to see them.= Cf. _Induction_ to _The -Staple of News_, _Wks._ 5. 151: ‘Yes, on the stage; we are persons -of quality, I assure you, and women of fashion, and come to see -and to be seen.’ _Silent Woman_, _Wks._ 3. 409: ‘and come abroad -where the matter is frequent, to court, ... to plays, ... -thither they come to shew their new tires too, to see, and to -be seen.’ Massinger, _City Madam_, _Wks._, p. 323: - - _Sir. Maur._ Is there aught else - To be demanded? - _Anne._ ... a fresh habit, - Of a fashion never seen before, to draw, - The gallants’ eyes, that sit upon the stage, upon me. - -Gosson has much to say on the subject of women frequenting the -theatre. There, he says (p. 25). ‘everye man and his queane are first -acquainted;’ and he earnestly recommends all women to stay away from -these ‘places of suspition’ (pp. 48 f.). - -=1. 6. 40 Yes, wusse.= _Wusse_ is a corruption of _wis_, OE. _gewis_, -certainly. Jonson uses the forms _I wuss_ (_Wks._ 1. 102), _I wusse_ -(_Wks._ 6. 146), and _Iwisse_ (_Wks._ 2. 379. the fol. reading; -Gifford changing to _I wiss_), in addition to the present form. In -some cases the word is evidently looked upon as a verb. - -=1. 6. 58 sweet Pinnace.= Cf. 2. 2. 111 f. A woman is often compared -to a ship. Nares cites B. & Fl., _Woman’s Pr._ 2. 6: - - This pinck, this painted foist, this cockle-boat. - -Cf. also _Stap. of News_, _Wks._ 5. 210: - - She is not rigg’d, sir; setting forth some lady - Will cost as much as furnishing a fleet.-- - Here she is come at last, and like a galley - Gilt in the prow. - -Jonson plays on the names of Pinnacia in the _New Inn_, _Wks._ 5. 384: - - ‘_Host._ Pillage the Pinnace.... - _Lord B._ Blow off her upper deck. - _Lord L._ Tear all her tackle.’ - -Pinnace, when thus applied to a woman, was almost always used with a -conscious retention of the metaphor. Dekker is especially fond of the -word. _Match me in London_, _Wks._ 4. 172: - - --There’s a Pinnace - (Was mann’d out first by th’ City), is come to th’ Court, - New rigg’d. - -Also Dekker, _Wks._ 4. 162; 3. 67, 77, 78. - -When the word became stereotyped into an equivalent for procuress or -prostitute, the metaphor was often dropped. Thus in _Bart. Fair_, -_Wks._ 4. 386: ‘She hath been before me, punk, pinnace and bawd, -any time these two and twenty years.’ Gifford says on this passage: -‘The usual gradation in infamy. A _pinnace_ was a light vessel built -for speed, generally employed as a tender. Hence our old dramatists -constantly used the word for a person employed in love messages, a -go-between in the worst sense, and only differing from a bawd in not -being stationary.’ A glance at the examples given above will show, -however, that the term was much more elastic than this explanation -would indicate. - -The dictionaries give no suggestion of the origin of the metaphor. -I suspect that it may be merely a borrowing from classical usage. -Cf. _Menaechmi_ 2. 3. 442: - - Ducit lembum dierectum nauis praedatoria. - -In _Miles Gloriosus_ 4. 1. 986, we have precisely the same -application as in the English dramatists: ‘Haec celox (a swift -sailing vessel) illiust, quae hinc agreditur, internuntia.’ - -=1. 6. 62 th’ are right.= Whalley’s interpretation is, of -course, correct. See variants. - -=1. 6. 73 Not beyond that rush.= Rushes took the place of -carpets in the days of Elizabeth. Shakespeare makes frequent -reference to the custom (see Schmidt). The following passage from -Dr. Bulleyne has often been quoted: ‘Rushes that grow upon dry -groundes be good to strew in halles, chambers and galleries, to -walk upon, defending apparel, as traynes of gownes and kertles -from dust.’ Cf. also _Cyn. Rev._ 2. 5; _Every Man out_ 3. 3. - -=1. 6. 83 As wise as a Court Parliament.= Jonson refers -here, I suppose, to the famous Courts or Parliaments of Love, -which were supposed to have existed during the Middle Ages (cf. -Skeat, _Chaucer’s Works_ 7. lxxx). - -Cunningham calls attention to the fact that Massinger’s -_Parliament of Love_ was not produced until 1624. Jonson depicts -a sort of mock Parliament of Love in the _New Inn_, Act 4. - -=1. 6. 88 And at all caracts.= ‘I. e., to the nicest point, -to the minutest circumstance.’--G. See Gloss. and cf. _Every Man -in_, _Wks._ 1. 70. - -=1. 6. 89, 90 as scarce hath soule, In stead of salt.= Whalley -refers to _Bart. Fair_, _Wks._ 4. 446, 7: ‘Talk of him to have a -soul! ’heart, if he have any more than a thing given him instead of -salt, only to keep him from stinking. I’ll be hang’d afore my time.’ -Gifford quotes the passage from B. & Fl., _Spanish Curate_: - - --this soul I speake of, - Or rather salt, to keep this heap of flesh - From being a walking stench. - -W. furnishes a Latin parallel: ‘Sus vero quid habet praeter escam? -cui quidem, ne putresceret, animam ipsam pro sale datam dicit esse -Chrysippus.’--Cic. _De Natura Deor_, lib. 2. - -It is to these passages that Carlyle refers in his _Past and -Present_: ‘A certain degree of soul, as Ben Jonson reminds us, -is indispensable to keep the very body from destruction of the -frightfulest sort; to ‘save us,’ says he, ’the expense of salt.’ -Bk. 2, Ch. 2. - -‘In our and old Jonson’s dialect, man has lost the _soul_ out of -him; and now, after the due period,--begins to find the want of -it.... Man has lost his soul, and vainly seeks antiseptic salt.’ -(Simpson in _N. & Q._, 9th Ser. 4. 347, 423.) - -To the same Latin source Professor Cook (_Mod. Lang. Notes_, -Feb., 1905) attributes the passage in _Rabbi Ben Ezra_ 43-45: - - What is he but a brute - Whose flesh has soul to suit, - Whose spirit works lest arms and legs want play? - -and Samuel Johnson’s ‘famous sentence recorded by Boswell under June -19, 1784: “Talking of the comedy of _The Rehearsal_, he said: ‘It has -not wit enough to keep it sweet.’”’ - -=1. 6. 97 the walks of Lincolnes Inne.= One of the famous Inns -of Court (note 3.1.8). It formerly pertained to the Bishops of -Chichester (Stow, _Survey_, ed. 1633, p. 488a). The gardens ‘were -famous until the erection of the hall, by which they were curtailed -and seriously injured’ (Wh-C.). The Tatler (May 10, 1709, no. 13) -speaks of Lincoln’s Inn Walks. - -=1. 6. 99 I did looke for this geere.= See variants. Cunningham says: -‘In the original it is _geere_, and so it ought still to stand. Gear -was a word with a most extended signification. Nares defines it, -“matter, subject, or business in general!” When Jonson uses the word -_jeer_ he spells it quite differently. The _Staple of News_ was first -printed at the same time as the present play, and in the beginning of -Act IV. Sc. 1, I find: “_Fit._ Let’s _ieere_ a little. _Pen._ Ieere? -what’s that?”’ - -It is so spelt regularly throughout _The Staple of News_, but in -_Ev. Man in_ 1. 2 (fol. 1616), we find: ‘Such petulant, geering -gamsters that can spare No ... subject from their jest.’ The -fact is that both words were sometimes spelt _geere_, as well -as in a variety of other ways. The uniform spelling in _The -Staple of News_, however, seems to indicate that this is the -word _gear_, which fits the context, fully as well as, perhaps -better than Gifford’s interpretation. A common meaning is ‘talk, -discourse’, often in a depreciatory sense. See Gloss. - -=1. 6. 125 Things, that are like, are soone familiar.= -‘Like will to like’ is a familiar proverb. - -=1. 6. 127 the signe o’ the husband.= An allusion to the -signs of the zodiac, some of which were supposed to have a -malign and others a beneficent influence. - -=1. 6. 131 You grow old, while I tell you this.= - Hor. [_Carm._ I. II. 8 f.]: - - Dum loquimur, fugerit invida - Aetas, carpe diem.--G. - -Whalley suggested: - - Fugit Hora: hoc quod loquor, inde est. - --Pers. _Sat._ 5. - -=1. 6. 131, 2 And such - As cannot vse the present, are not wise.= -Cf. _Underwoods_ 36. 21: - - To use the present, then, is not abuse. - -=1. 6. 138 Nay, then, I taste a tricke in’t.= Cf. ‘I do -taste this as a trick put on me.’ _Ev. Man in_, _Wks._ 1. 133. -See Introduction, p. xlvii. - -=1. 6. 142 cautelous.= For similar uses of the word cf. -Massinger, _City Madam_, _Wks._, p. 321, and B. & Fl., _Elder -Brother_, _Wks._ 10. 275. Gifford gives an example from Knolles, -_Hist. of the Turks,_ p. 904. - -=1. 6. 149 MAN. Sir, what doe you meane? - - 153 MAN. You must play faire, S^r.= ‘I am not certain about - the latter of these two speeches, but it is perfectly unquestionable - that the former _must_ have been spoken by the husband - Fitzdottrel.’--C. - -Cunningham may be right, but the change is unnecessary if -we consider Manly’s reproof as occasioned by Fitzdottrel’s -interruption. - -=1. 6. 158, 9 No wit of man= - -=Or roses can redeeme from being an Asse.= ‘Here is an allusion to -the metamorphosis of Lucian into an _ass_; who being brought into -the theatre to shew tricks, recovered his human shape by eating some -_roses_ which he found there. See the conclusion of the treatise, -_Lucius, sive Asinus_.’--W. - -See Lehman’s edition, Leipzig, 1826, 6. 215. As Gifford says, -the allusion was doubtless more familiar in Jonson’s day than -in our own. The story is retold in Harsnet’s _Declaration_ -(p. 102), and Lucian’s work seems to have played a rather important -part in the discussion of witchcraft. - -=1. 6. 161 To scape his lading.= Cf. note 1. 4. 72. - -=1. 6. 180 To other ensignes.= ‘I. e., to horns, the -Insignia of a cuckold.’--G. - -=1. 6. 187 For the meere names sake.= ‘I. e. the name of -the play.’--W. - -=1. 6. 195 the sad contract.= See variants. W. and G. are -doubtless correct. - -=1. 6. 214 a guilt caroch.= ‘There was some distinction -apparently between _caroch_ and _coach_. I find in -Lord Bacon’s will, in which he disposed of so much imaginary -wealth, the following bequest: “I give also to my wife my four -coach geldings, and my best caroache, and her own coach mares and -caroache.”’--C. - -Minsheu says that a carroch is a great coach. Cf. also Taylor’s -_Wks._, 1630: - - No coaches, or carroaches she doth crave. - -_Rom Alley_, _O. Pl._, 2d ed., 5. 475: - - No, nor your jumblings, - In horslitters, in coaches or caroches. - -_Greene’s Tu Quoque_, _O. Pl._, 2d ed., 7. 28: - - May’st draw him to the keeping of a coach - For country, and carroch for London. - -Cf. also Dekker, _Non-dram. Wks._ 1. 111. Finally the matter is -settled by Howes (p. 867), who gives the date of the introduction -of coaches as 1564, and adds: ‘Lastly, euen at this time, 1605, -began the ordinary use of Caroaches.’ In _Cyn. Rev._, _Wks._ 2. 281, -Gifford changes _carroch_ to _coach_. - -=1. 6. 216 Hide-parke.= Jonson speaks of coaching in Hyde Park in the -_Prologue to the Staple of News_, _Wks._ 5. 157, and in _The World -in the Moon_, _Wks._ 7. 343. Pepys has many references to it in his -_Diary_. ‘May 7, 1662. And so, after the play was done, she and The -Turner and Mrs. Lucin and I to the Parke; and there found them out, -and spoke to them; and observed many fine ladies, and staid till all -were gone almost.’ - -‘April 22, 1664. In their coach to Hide Parke, where great plenty of -gallants, and pleasant it was, only for the dust.’ - -Ashton in his _Hyde Park_ (p. 59) quotes from a ballad in the British -Museum (c 1670-5) entitled, _News from Hide Park_, In which the -following lines occur: - - Of all parts of _England_, Hide-park hath the name, - For Coaches and Horses, and Persons of fame. - -=1. 6. 216, 7 Black-Fryers, Visit the Painters.= A church, -precinct, and sanctuary with four gates, lying between Ludgate -Hill and the Thames and extending westward from Castle Baynard -(St. Andrew’s Hill) to the Fleet river. It was so called from -the settlement there of the Black or Dominican Friars in 1276. -Sir A. Vandyck lived here 1632-1641. ‘Before Vandyck, however, -Blackfriars was the recognized abode of painters. Cornelius -Jansen (d. 1665) lived in the Blackfriars for several years. -Isaac Oliver, the miniature painter, was a still earlier -resident.’ Painters on glass, or glass stainers, and collectors -were also settled here.--Wh-C. - -=1. 6. 219 a middling Gossip.= ‘A go-between, an -_internuntia_, as the Latin writers would have called her.’--W. - -=1. 6. 224 the cloake is mine.= The reading in the folio -belonging to Dr. J. M. Berdan of Yale is: ‘the cloake is mine -owne.’ This accounts for the variant readings. - -=1. 6. 230 motion.= Spoken derogatively, a ‘performance.’ -Lit., a puppet-show. The motion was a descendent of the -morality, and exceedingly popular in England at this time. -See Dr. Winter, _Staple of News_, p. 161; Strutt, _Sports and -Pastimes_, p. 166 f.; Knight, _London_ 1. 42. Jonson makes -frequent mention of the motion. _Bartholomew Fair_ 5. 5 is -largely devoted to the description of one, and _Tale Tub_ 5. 5 -presents a series of them. - -=1. 7. 4 more cheats?= See note on _Cheaters_, 5. 6. 64, -and Gloss. - -=1. 7. 16 The state hath tane such note of ’hem.= -See note 1. 2. 22. - -=1. 7. 25 Your Almanack-Men.= An excellent account of the -Almanac-makers of the 17th century is given by H. R. Plomer in -_N. & Q._,6th Ser. 12. 243, from which the following is abridged: - -‘Almanac-making had become an extensive and profitable trade -in this country at the beginning of the 17th century, and with -the exception of some fifteen or twenty years at the time of -the Rebellion continued to flourish until its close. There -were three distinct classes of almanacs published during the -seventeenth century--the common almanacs, which preceded and -followed the period of the Rebellion, and the political and -satirical almanacs that were the direct outcome of that event. - -‘The common almanacs came out year after year in unbroken -uniformity. They were generally of octavo size and consisted -of two parts, an almanac and a prognostication. Good and evil -days were recorded, and they contained rules as to bathing, -purging, etc., descriptions of the four seasons and rules to -know the weather, and during the latter half of the century an -astrological prediction and “scheme” of the ensuing year. - -‘In the preceding century the makers of almanacs were “Physitians and -Preests”, but they now adopted many other titles, such as “Student in -Astrology”, “Philomath”, “Well Willer to the Mathematics.” The majority -of them were doubtless astrologers, but not a few were quack doctors, -who only published their almanacs as advertisements.’ (Almanac, a -character in _The Staple of News_, is described as a ‘doctor in -physic.’) - -Among the more famous almanac-makers the names of William Lilly, John -Partridge and Bretnor may be mentioned. For the last see note 2. 1. -1, and B. & Fl., _Rollo, Duke of Normandy_, where Fiske and Bretnor -appear again. Cf. also _Alchemist_, _Wks._ 4. 41; _Every Man out_, -_Wks._ 2. 39-40; _Mag. La._, _Wks._ 6. 74, 5. In Sir Thomas Overbury’s -_Character_ of _The Almanac-Maker_ (Morley, p. 56) we read: ‘The verses -of his book have a worse pace than ever had Rochester hackney; for his -prose, ’tis dappled with ink-horn terms, and may serve for an almanac; -but for his judging at the uncertainty of weather, any old shepherd -shall make a dunce of him.’ - - -ACT II. - -=2. 1. 1 Sir, money’s a whore=, etc. Coleridge, _Notes_, -p. 280. emends: ‘Money, sir, money’s a’, &c. Cunningham, on the -other hand, thinks that ‘the 9-syllable arrangement is quite in -Jonson’s manner, and that it forces an emphasis upon every word -especially effective at the beginning of an act.’ See variants. - -Money is again designated as a whore in the _Staple of News_ -4. 1: ‘Saucy Jack, away: Pecunia is a whore.’ In the same -play Pennyboy, the usurer, is called a ‘money-bawd.’ Dekker -(_Non-dram. Wks._ 2. 137) speaks of keeping a bawdy-house for -Lady Pecunia. The figure is a common one. - -=2. 1 .3 Via.= This exclamation is quite common among the dramatists -and is explained by Nares as derived from the Italian exclamation -_via!_ ‘away, on!’ with a quibble on the literal of L. _via_, a way. -The _Century Dictionary_ agrees substantially with this derivation. -Abundant examples of its use are given by the authorities quoted, to -which may be added _Merry Devil of Edmonton_ 1. 2. 5, and Marston, -_Dutch Courtezan_, _Wks._ 2. 20: - - O, yes, come, _via_!--away, boy--on! - -=2. 1. 5 With Aqua-vitae.= Perhaps used with especial reference to -line 1, where he has just called money a bawd Compare: - - O, ay, as a bawd with aqua-vitae. - --Marston, _The Malcontent_, _Wks_. 1. 294. - -‘Her face is full of those red pimples with drinking Aquauite, -the common drinke of all bawdes.’--Dekker, _Whore of Babylon_, -_Wks._ 2. 246. - -=2. 1. 17. See variants.= Line 15 shows that the original -reading is correct. - -=2. 1. 19 it shall be good in law.= See note 1. 2. 22. - -=2. 1. 20 Wood-cock.= A cant term for a simpleton or dupe. - -=2. 1. 21 th’ Exchange.= This was the first Royal Exchange, -founded by Sir Thomas Gresham in 1566, opened by Queen Elizabeth -in 1570-1, and destroyed in the great fire of 1666 (Wh-C.). -Howes (1631) says that it was ‘plenteously stored with all kinds -of rich wares and fine commodities,’ and Paul Hentzner (p. 40) -speaks of it with enthusiasm. - -It was a favorite lounging-place, especially in the evening. -Wheatley quotes Hayman, _Quodlibet_, 1628, p. 6: - - Though little coin thy purseless pockets line, - Yet with great company thou’rt taken up; - For often with Duke Humfray thou dost dine, - And often with Sir Thomas Gresham sup. - -‘We are told in _London_ and _Country Carbonadoed_, 1632, that at the -exchange there were usually more coaches attendant than at church -doors.’ Cf. also _Bart. Fair_, _Wks._ 4. 357: ‘I challenge all -Cheapside to shew such another: Moor-fields, Pimlico-path, Or the -Exchange, in a summer evening.’ Also _Ev. Man in_, _Wks._ 1. 39. - -=2. 1. 30 do you doubt his eares?= Ingine’s speech is capable of a -double interpretation. Pug has already spoken of the ‘liberal ears’ of -his asinine master. - -=2. 1. 41 a string of’s purse.= Purses, of course, used to -be hung at the girdle. A thief was called a cut-purse. See the -amusing scene in _Bart. Fair_, _Wks._ 5. 406. - -=2. 1. 53, 4 at the Pan, Not, at the skirts.= ‘_Pan_ is not -easily distinguished from _skirt_. Both words seem to refer to -the outer parts, or extremities. Possibly Meercraft means--on -a broader scale, on a more extended front.’--G. - -‘The pan is evidently the deepest part of the swamp, which -continues to hold water when the _skirts_ dry up, like the hole -in the middle of the tray under a joint when roasting, which -collects all the dripping. Meercraft proposed to grapple with -the main difficulty at once.’--C. - -I had already arrived at the same conclusion before reading -Cunningham’s note. The _NED._ gives: ‘Pan. A hollow or depression in -the ground, esp. one in which water stands. - -1594 Plat, _Jewell-ho_ 1. 32 Of all Channels, Pondes, Pooles, -Riuers, and Ditches, and of all other pannes and bottomes -whatsoeuer.’ - -_Pan_, however, is also an obsolete form of _pane_, a cloth -or skirt. The use is evidently a quibble. The word _pan_ suggested -to Jonson the word _skirt_, which he accordingly employed not -unaptly. - -=2. 1. 63 his black bag of papers, there, in Buckram.= The -buckram bag was the usual sign of the pettifogger. Cf. Marston, -_Malcontent_, _Wks._ 1. 235: - - _Pass._ Ay, as a pettifogger by his buckram bag. - -Dekker, _If this be not a good Play_, _Wks._ 3. 274: ‘We must all -turn pettifoggers and in stead of gilt rapiers, hang buckram bags at -our girdles.’ Nash refers to the same thing in _Pierce Pennilesse_, -_Wks._ 2. 17. - -=2. 1. 64 th’ Earledome of Pancridge.= Pancridge is a corruption -of Pancras. The Earl of Pancridge was ‘one of the “Worthies” who -annually rode to Mile End, or the Artillery Ground, in the ridiculous -procession called _Arthurs Shew_’ (G.). Cf. _To Inigo Marquis -Would-be_, _Wks._ 8. 115: - - Content thee to be Pancridge earl the while. - -_Tale Tub_, _Wks._ 6. 175: - - --next our St. George, - Who rescued the king’s daughter, I will ride; - Above Prince Arthur. - _Clench._ Or our own Shoreditch duke. - _Med._. Or Pancridge earl. - _Pan._ Or Bevis or Sir Guy. - -For _Arthur’s Show_ see Entick’s _Survey_ 1. 497; Wh-C. 1. 65; -and Nares 1. 36. Cf. note 4. 7. 65· - -=2. 1. 71, 2 Your Borachio Of Spaine.= ‘“_Borachio_ (says -Min-shieu) is a bottle commonly of a pigges skin, with the hair -inward, dressed inwardly with rozen, to keep wine or liquor -sweet:”--Wines preserved in these bottles contract a peculiar -flavour, and are then said _to taste of the borachio_.’--G. - -Florio says: ‘a boracho, or a bottle made of a goates skin such -as they vse in Spaine.’ The word occurs somewhat frequently -(see _NED._) and apparently always with this meaning, or in the -figurative sense of ‘drunkard’. It is evident, however, from -Engine’s question, ‘Of the King’s glouer?’ either that it is -used here in a slightly different sense, or more probably that -Merecraft is relying on Fitzdottrel’s ignorance of the subject. -Spanish leather for wearing apparel was at this time held in -high esteem. See note 4. 4. 71, 2. - -=2. 1. 83 a Harrington.= ‘In 1613, a patent was granted to John -Stanhope, lord Harrington, Treasurer of the Chambers, for the -coinage of royal farthing tokens, of which he seems to have availed -himself with sufficient liberality. Some clamour was excited on the -occasion: but it speedily subsided; for the Star Chamber kept a -watchful eye on the first symptoms of discontent at these pernicious -indulgences. From this nobleman they took the name of Harrington -in common conversation.’--G. - -‘Now (1613) my lord Harrington obtained a patent from the -King for the making of Brasse Farthings, a thing that brought with -it some contempt through lawfull.’--Sparke, _Hist. Narration_, -Somer’s _Tracts_ 2. 294. - -A reference to this coin is made in _Drunken Barnaby’s Journal_ -in the _Oxoniana_ (quoted by Gifford) and in Sir Henry Wotton’s -Letters (p. 558, quoted by Whalley). Cf. also _Mag. La._, _Wks._ -6. 89: ‘I will note bate you a single Harrington,’ and _ibid._, -_Wks._ 6. 43. - -=2. 1. 102 muscatell.= The grape was usually called -_muscat_. So in Pepys’ _Diary_, 1662: ‘He hath also sent each of -us some anchovies, olives and muscatt.’ The wine was variously -written _muscatel_, _muscadel_, and _muscadine_. Muscadine and -eggs are often mentioned together (cf. Text, 2. 2. 95-96; _New -Inn_ 3. 1; Middleton, _Wks._ 2. 290; 3. 94; and 8. 36), and were -used as an aphrodisiac (Bullen). Nares quotes Minsheu: ‘Vinum -muscatum, quod moschi odorem referat; for the sweetnesse and -smell it resembles muske.’ - -=2. 1. 116, 7 the receiu’d heresie, That England beares no Dukes.= -‘I know not when this _heresy_ crept in. There was apparently some -unwillingness to create dukes, as a title of honour, in the Norman -race; probably because the Conqueror and his immediate successors were -dukes of Normandy, and did not choose that a subject should enjoy -similar dignities with themselves. The first of the English who bore -the title was Edward the black prince, (son of Edward III.) who was -created duke of Cornwall, by charter, as Collins says, in 1337. The -dignity being subsequently conferred on several of the blood-royal, -and of the nobility, who came to untimely ends, an idea seems to have -been entertained by the vulgar, that the title itself was ominous. At -the accession of James I. to the crown of this country, there was, I -believe, no English peer of ducal dignity.’--G. - -The last duke had been created in the reign of Henry VIII., who made -his illegitimate son the Duke of Richmond, and Charles Brandon, who -married his sister Mary, Duke of Suffolk. After the attainder and -execution of Thomas Howard, Duke of Norfolk, in 1572, there was no duke -in England except the king’s sons, until the creation of the Duke of -Richmond in 1623. (See _New Int. Cyc._ 6. 349.) - -=2. 1. 144 Bermudas.= ‘This was a cant term for some places in -the town with the same kind of privilege as the mint of old, or the -purlieus of the Fleet.’--W. - -‘These _streights_ consisted of a nest of obscure courts, -alleys, and avenues, running between the bottom of St. Martin’s -Lane, Half-moon, and Chandos-street. In Justice Overdo’s time, -they were the receptacles of fraudulent debtors, thieves and -prostitutes.’--G. (Note on _Bart. Fair_, _Wks._ 4. 407.) - -‘On Wednesday at the Bermudas Court, Sir Edwin Sandys fell foul -of the Earl of Warwick. The Lord Cavendish seconded Sandys and -the Earl told the Lord, “By his favour he believed he lied.” -Hereupon, it is said, they rode out yesterday, and, as it is -thought, gone beyond sea to fight.--_Leigh to Rev. Joseph Mede_, -July 18, 1623.’ (Quoted Wh-C. 1. 169.) So in _Underwoods_, -_Wks._ 8. 348: - - turn pirates here at land, - Have their Bermudas and their Streights i’ the Strand. - -_Bart. Fair_, _Wks._ 4. 407: “The Streights, or the Bermudas, -where the quarrelling lesson is read.” - -It is evident from the present passage and the above quotations that -ruffians like Everill kept regular quarters in the ‘Bermudas’, where -they might be consulted with reference to the settlement of affairs -of honor. - -=2. 1. 151 puts off man, and kinde.= ‘I. e., human nature.’--G. Cf. -_Catiline_, _Wks._ 4. 212: - - --so much, that kind - May seek itself there, and not find. - -=2. 1. 162 French-masques.= ‘Masks do not appear as ordinary -articles of female costume in England previous to the reign of -Queen Elizabeth.... French masks are alluded to by Ben Jonson -in _The Devil is an Ass_. They were probably the half masks -called in France ‘loups,’ whence the English term ‘loo masks.’ - - Loo masks and whole as wind do blow, - And Miss abroad’s disposed to go. - _Mundus Muliebris_, 1690. - --Planché _Cycl. of Costume_ 1. 365. - -‘Black masks were frequently worn by ladies in public in the -time of Shakespeare, particularly, and perhaps universally at -the theatres.’--Nares. - -=2. 1. 163 Cut-works.= A very early sort of lace deriving -its name from the mode of its manufacture, the fine cloth on -which the pattern was worked being cut away, leaving the design -perfect. It is supposed to have been identical with what was -known as Greek work, and made by the nuns of Italy in the -twelfth century. It was introduced into England during the -reign of Queen Elizabeth, and continued in fashion during those -of James I. and Charles I. Later it fell under the ban of the -Puritans, and after that period is rarely heard of. (Abridged -from Planché, _Cycl._) - -=2. 1. 168 ff. nor turne the key=, etc. Gifford points out that the -source of this passage is Plautus, _Aulularia_ [ll. 90-100]: - - Caue quemquam alienum in aedis intromiseris. - Quod quispiam ignem quaerat, extingui uolo, - Ne causae quid sit quod te quispiam quaeritet. - Nam si ignis uiuet, tu extinguere extempulo, - Tum aquam aufugisse dicito, si quis petet. - Cultrum, securim, pistillum, mortarium, - Quae utenda uasa semper uicini rogant, - Fures uenisse atque abstulisse dicito. - Profecto in aedis meas me absente neminem - Volo intromitti, atque etiam hoc praedico tibi, - Si Bona Fortuna ueniat, ne intromiseris. - -Jonson had already made use of a part of this passage: - - Put out the fire, kill the chimney’s heart, - That it may breathe no more than a dead man. - _Case is Altered_ 2. 1, _Wks._ 6. 328. - -Wilson imitated the same passage in his _Projectors_, Act 2, Sc. -1: ‘Shut the door after me, bolt it and bar it, and see you let -no one in in my absence. Put out the fire, if there be any, for -fear somebody, seeing the smoke, may come to borrow some! If -any one come for water, say the pipe’s cut off; or to borrow a -pot, knife, pestle and mortar, or the like, say they were stole -last night! But harke ye! I charge ye not to open the door to -give them an answer, but whisper’t through the keyhole! For, I -tell you again, I wilt have nobody come into my house while I’m -abroad! No; no living soul! Nay, though Good Fortune herself -knock at a door, don’t let her in!’ - -=2. 2. 1 I haue no singular seruice=, etc. I. e., This is -the sort of thing I must become accustomed to, if I am to -remain on earth. - -=2. 2. 49, 50 Though they take Master Fitz-dottrell, I am no -such foule.= Gifford points out that the punning allusion of -_foul_ to _fowl_ is a play upon the word dottrel. ‘The dotterel -(Fuller tells us) is avis γελοτοποιος a mirth-making bird, -so ridiculously mimical, that he is easily caught, or rather -catcheth himself by his over-active imitation. As the fowler -stretcheth forth his arms and legs, stalking towards the bird, -so the bird extendeth his legs and wings, approaching the fowler -till he is surprised in the net.’--G. - -This is what is alluded to in 4. 6. 42. The use of the metaphor is -common. Gifford quotes Beaumont & Fletcher. _Bonduca_ and _Sea Voyage_. -Many examples are given in Nares and the _NED._, to which may be added -_Damon and Pithias_, _O. Pl._ 4. 68; Nash, _Wks._ 3. 171; and Butler’s -_Character of a Fantastic_ (ed. Morley, p. 401): ‘He alters his gait -with the times, and has not a motion of his body that (like a dottrel) -he does not borrow from somebody else.’ Nares quotes _Old Couple_ (_O. -Pl._, 4th ed., 12. 41): - - _E._ Our Dotterel then is caught? - _B._ He is and just - As Dotterels use to be: the lady first - Advanc’d toward him, stretch’d forth her wing, and he - Met her with all expressions. - -It is uncertain whether the sense of ‘bird’ or ‘simpleton’ is -the original. _Dottrel_ seems to be connected with _dote_ and -_dotard_. The bird is a species of plover, and Cunningham says -that ‘Selby ridicules the notion of its being more stupid than -other birds.’ In _Bart. Fair_ (_Wks._ 4. 445) we hear of the -‘sport call’d Dorring the Dotterel.’ - -=2. 2. 51 Nor faire one.= The dramatists were fond of -punning on _foul_ and _fair_. Cf. _Bart. Fair_ passim. - -=2. 2. 77 a Nupson.= Jonson uses the word again in _Every -Man in_, _Wks._ 1. 111: ‘O that I were so happy as to light on -a nupson now.’ In _Lingua_, 1607, (_O. Pl._, 4th ed., 9. 367, -458) both the forms _nup_ and _nupson_ are used. The etymology -is uncertain. The _Century Dictionary_ thinks _nup_ may be a -variety of _nope_. Gifford thinks it may be a corruption of -Greek νηπ. - -=2. 2. 78 with my Master’s peace.= ‘I. e. respectfully, -reverently: a bad translation of _cum pace domini_.’--G. - -=2. 2. 81 a spic’d conscience.= Used again in _Sejanus_, -_Wks._ 3. 120, and _New Inn_, _Wks._ 5. 337. - -=2. 2. 90 The very forked top too.= Another reference to the -horned head of the cuckold. Cf. 1. 6. 179, 80. - -=2. 2. 93 engendering by the eyes.= Cf. Song in _Merch. of V._ -3. 2. 67: ‘It is engender’d in the eyes.’ - -=2. 2. 98 make benefit.= Cf. _Every Man in_, _Wks._ 1. 127. - -=2. 2. 104 a Cokes.= Cf. Ford, _Lover’s Melancholy_, _Wks._ -2. 80: ‘A kind of cokes, which is, as the learned term [it], an -ass, a puppy, a widgeon, a dolt, a noddy, a----.’ Cokes is the -name of a foolish coxcomb in _Bart. Fair_. - -=2. 2. 112 you neat handsome vessells.= Cf. note 1. 6. 57. - -=2. 2. 116 your squires of honour.= This seems to be -equivalent to the similar expression ‘squire of dames.’ - -=2. 2. 119-125 For the variety at my times, ... I know, to -do my turnes, sweet Mistresse.= I. e., when for variety you turn -to me, I will be able to serve your needs. Pug, of course, from the -delicate nature of the subject, chooses to make use of somewhat -ambiguous phrases. - -=2. 2. 121.= Thos. Keightley, _N. & Q._ 4. 2. 603, -proposes to read: - - Of that proportion, or in the rule. - -=2. 2. 123 Picardill.= Cotgrave gives: ‘Piccadilles: Piccadilles; -the severall divisions or peeces fastened together about the brimme -of the collar of a doublet, &c.’ Gifford says: ‘With respect to the -_Piccadil_, or, as Jonson writes it, Picardil, (as if he supposed the -fashion of wearing it be derived from Picardy,) the term is simply a -diminutive of picca (Span. and Ital.) a spear-head, and was given to -this article of foppery, from a fancied resemblance of its stiffened -plaits to the bristled points of those weapons. Blount thinks, and -apparently with justice, that Piccadilly took its name from the sale -of the “small stiff collars, so called”, which was first set on foot -in a house near the western extremity of the present street, by one -Higgins, a tailor.’ - -As Gifford points out, ‘Pug is affecting modesty, since he had -not only assumed a handsome body, but a fashionable dress, “made -new” for a particular occasion.’ See 5. 1. 35, 36. - -Jonson mentions the _Picardill_ again in the _Challenge at -Tilt_, _Wks._ 7. 217, and in the _Epistle to a Friend_, -_Wks._ 8. 356. For other examples see Nares, _Gloss_. - -=2. 2. 127 f. your fine Monkey=; etc. These are all common -terms of endearment. The monkey is frequently mentioned as a -lady’s pet by the dramatists. See _Cynthia’s Revels_, passim, and -Mrs. Centlivre’s _Busie Body_. - -=2. 3. 36, 7 and your coach-man bald! Because he shall be bare.= -See note to 4. 4. 202. - -=2. 3. 45 This man defies the Diuell.= See 2. 1. 18. - -=2. 3. 46 He dos’t by Ingine.= I. e., wit, ingenuity, with a -possible reference to the name of Merecraft’s agent. - -=2. 3. 49 Crowland.= Crowland, or Croyland is an ancient town -and parish of Lincolnshire, situated in a low flat district, about -eight miles north-east from Peterborough. The origin of Crowland was -in a hermitage founded in the 7th century by St. Guthlac. An abbey -was founded in 714 by King Ethelbald, which was twice burnt and -restored. - -=2. 4. 6 Spenser, I thinke, the younger.= Thomas (1373-1400) -was the only member of the Despenser family who was an Earl of -Gloucester. The person referred to here, however, is Hugh le -Despenser, the younger baron, son of Hugh le Despenser, the elder. -He married Eleanor, daughter of Gilbert of Clare, Earl of Gloucester, -and sister and coheiress of the next Earl Gilbert. After the -death of the latter, the inheritance was divided between the husbands -of his three sisters, and Despenser was accordingly sometimes called -Earl of Gloucester. - -Despenser was at first on the side of the barons, but later joined -the King’s party. In 1321 a league was formed against him, and he -was banished, but was recalled in the following year. In the -Barons’ rising of 1326 he was taken prisoner, brought to Hereford, -tried and put to death. - -=2. 4. 8 Thomas of Woodstocke.= Thomas of Woodstock, Earl -of Buckingham (1355-97), the youngest son of Edward III., was -made Duke of Gloucester by his nephew, Richard II., in 1385, and -later acquired an extraordinary influence, dominating the affairs of -England for several years. By his high-handed actions he incurred -Richard’s enmity. He was arrested July 10, 1397, and conveyed to -Calais, where he was murdered in the following September by the -king’s order. - -=2. 4. 10 Duke Humphrey.= Humphrey, called the Good Duke -Humphrey (1391-1447), youngest son of Henry IV., was created -Duke of Gloucester and Earl of Pembroke in 1414. During the -minority of Henry VI. he acted as Protector of the kingdom. His -career was similar to that of Thomas of Woodstock. In 1447 he -was arrested at Bury by order of Henry VI., who had become king -in 1429. Here he died in February, probably by a natural death, -although there were suspicions of foul play. - -=2. 4. 11 Richard the Third.= Richard III. (1452-1485), Duke of -Gloucester and King of England, was defeated and slain in the battle -of Bosworth Field, 1485. - -=2. 4. 12-4 MER. By ... authentique.= This passage has been -the occasion of considerable discussion. The subject was first -approached by Malone. In a note to an essay on _The Order of -Shakespeare’s Plays_ in his edition of Shakespeare’s works (ed. -1790, 3. 322) he says: ‘In _The Devil’s an Ass_, acted in 1616, -all his historical plays are obliquely censured.’ - -Again in a dissertation on _Henry VI._: ‘The malignant Ben, does -indeed, in his _Devil’s an Ass_, 1616, sneer at our author’s -historical pieces, which for twenty years preceding had been in high -reputation, and probably were _then_ the only historical dramas that -had possession of the theatre; but from the list above given, it is -clear that Shakespeare was not the _first_ who dramatized our old -chronicles; and that the principal events of English History were -familiar to the ears of his audience, before he commenced a writer -for the stage.’ Malone here refers to quotations taken from Gosson -and Lodge. Both these essays were reprinted in Steevens’ edition, and -Malone’s statements were repeated in the edition by Dr. Chalmers. - -In 1808 appeared Gilchrist’s essay, _An Examination of the -Charges ... of Ben Jonson’s enmity,_ etc. _towards Shakespeare_. -This refutation, strengthened by Gifford’s _Proofs of Ben -Jonson’s Malignity_, has generally been deemed conclusive. -Gifford’s note on the present passage is written with much -asperity. He was not content, however, with an accurate -restatement of Malone’s arguments. He changes the italics in -order to produce an erroneous impression, printing thus: ‘which -were probably then the _only historical dramas on the stage_: -He adds: ‘And this is advanced in the very face of his own -arguments, to prove that there were scores, perhaps hundreds, of -others on it at the time.’ This is direct falsification. There -is no contradiction in Malone’s arguments. What he attempted -to prove was that Shakespeare had had predecessors in this -field, but that in 1616 his plays held undisputed possession -of the stage. Gifford adds a passage from Heywood’s _Apology -for Actors_, 1612, which is more to the point: ‘Plays have -taught the unlearned the knowledge of many famous _histories_, -instructed such as cannot read in the discovery of our _English -Chronicles_: and what man have you now of that weake capacity -that being possest of their true use, cannot discourse of any -notable thing recorded even from _William the Conqueror_, until -this day?’ - -This passage seems to point to the existence of other historical plays -_contemporary_ with those of Shakespeare. Besides, Jonson’s words -seem sufficiently harmless. Nevertheless, although I am not inclined -to accept Malone’s charge of ‘malignity’, I cannot agree with Gifford -that the reference is merely a general one. I have no doubt that the -‘Chronicle,’ of which Merecraft speaks, is Hall’s, and the passage -the following: ‘It semeth to many men, that the name and title of -Gloucester, hath been vnfortunate and vnluckie to diuerse, whiche -for their honor, haue been erected by creacion of princes, to that -stile and dignitie, as Hugh Spencer, Thomas of Woodstocke, sonne to -kyng Edward the third, and this duke Humfrey, which thre persones, -by miserable death finished their daies, and after them kyng Richard -the iii. also, duke of Gloucester, in ciuill warre was slaine and -confounded: so y^t this name of Gloucester, is take for an vnhappie -and vnfortunate stile, as the prouerbe speaketh of Seianes horse, -whose rider was euer unhorsed, and whose possessor was euer brought to -miserie.’ Hall’s _Chronicle_, ed. 1809, pp. 209-10. The passage in ‘the -Play-bookes’ which Jonson satirizes is at the close of _3 Henry VI._ 2. -6: - - _Edw._ Richard, I will create thee Duke of Gloucester, - And George, of Clarence: Warwick, as ourself, - Shall do and undo as him pleaseth best. - _Rich._ Let me be Duke of Clarence, George of Gloucester; - For Gloucester’s dukedom is too ominous. - -The last line, of course, corresponds to the _’Tis fatal_ of -Fitzdottrel. Furthermore it may be observed that Thomas of -Woodstock’s death at Calais is referred to in Shakespeare’s _K. -Rich. II._; Duke Humphrey appears in _2 Henry IV._; _Henry V._; -and _1_ and _2 Henry VI._; and Richard III. in _2_ and _3 Henry -VI._ and _K. Rich. III._ _3 Henry VI._ is probably, however, not -of Shakespearean authorship. - -=2. 4. 15 a noble house.= See Introduction, p. lxxiv. - -=2. 4. 23 Groen-land.= The interest in Greenland must have been -at its height in 1616. Between 1576 and 1622 English explorers -discovered various portions of its coast; the voyages of Frobisher, -Davis, Hudson and Baffin all taking place during that period. -Hakluyt’s _Principall Navigations_ appeared in 1589, Davis’s _Worldes -Hydrographical Description_ in 1594, and descriptions of Hudson’s -voyages in 1612-3. The usual spelling of the name seems to have -been _Groenland_, as here. I find the word spelled also _Groineland_, -_Groenlandia_, _Gronland_, and _Greneland_ (see Publications of the -Hakluyt Society). Jonson’s reference has in it a touch of sarcasm. - -=2. 4. 27 f. Yes, when you=, etc. The source of this passage is -Hor., _Sat._ 2. 2. 129 f.: - - Nam propriae telluris erum natura neque illum - Nec me nec quemquam statuit; nos expulit ille, - Ilium aut nequities, aut vafri inscitia juris - Postremo expellet certe vivacior haeres. - Nunc ager Umbreni sub nomine, nuper Ofelli - Dictus, erit nulli proprius, sed cadet in usum - Nunc mihi, nunc alii. - -Gifford quotes a part of the passage and adds: ‘What follows is -admirably turned by Pope: - - Shades that to Bacon might retreat afford, - Become the portion of a booby lord; - And Helmsley, once proud Buckingham’s delight, - Slides to a scrivener, or city knight.’ - -A much closer imitation is found in Webster, _Devil’s Law Case_, -_Wks._ 2. 37: - - Those lands that were the clients art now become - The lawyer’s: and those tenements that were - The country gentleman’s, are now grown - To be his tailor’s. - -=2. 4. 32 not do’it first.= Cf. 1. 6. 14 and note. - -=2. 5. 10 And garters which are lost, if shee can shew ’hem.= -Gifford thinks the line should read: ‘can not shew’. Cunningham gives -a satisfactory explanation: ‘As I understand this it means that if a -gallant once saw the garters he would never rest until he obtained -possession of them, and they would thus be _lost_ to the family. -Garters thus begged from the ladies were used by the gallants as -_hangers_ for their swords and poniards. See _Every Man out of his -Humour_, _Wks._ 2. 81: “O, I have been graced by them beyond all aim -of affection: this is her garter my dagger hangs in;” and again p. -194. We read also in _Cynthia’s Revels_, _Wks._ 2. 266, of a gallant -whose devotion to a lady in such that he - - Salutes her pumps, - Adores her hems, her skirts, her knots, her curls, - _Will spend his patrimony for a garter_, - Or the least feather in her bounteous fan.’ - -Gifford’s theory that ladies had some mode of displaying their -garters is contradicted by the following: - - _Mary._ These roses will shew rare: would ’twere in fashion - That the garters might be seen too! - --Massinger, _City Madam_, _Wks._, p. 317. - -Cf. also _Cynthia’s Revels_, _Wks._ 2. 296. - -=2. 5. 14 her owne deare reflection, in her glasse.= ‘They must haue -their looking glasses caryed with them wheresoeuer they go, ... no -doubt they are the deuils spectacles to allure vs to pride, and -consequently to distruction for euer.’--Stubbes, _Anat._, Part 1, P. 79. - -=2. 6. 21 and done the worst defeate vpon my selfe.= _Defeat_ is often -used by Shakespeare in this sense. See Schmidt, and compare _Hamlet_ 2. -2. 598: - - --A king - Upon whose property and most dear life - A damn’d defeat was made. - -=2. 6. 32 a body intire.= Cf. 5. 6. 48. - -=2. 6. 35 You make me paint.= Gifford quotes from the _Two Noble -Kinsmen_: - - How modestly she blows and paints the sun - With her chaste blushes. - -=2. 6. 37 SN.= ‘Whoever has noticed the narrow streets or -rather lanes of our ancestors, and observed how story projected -beyond story, till the windows of the upper rooms almost touched -on different sides, will easily conceive the feasibility of -everything which takes place between Wittipol and his mistress, -though they make their appearance in different houses.’--G. - -I cannot believe that Jonson wished to represent the two houses -as on opposite sides of the street. He speaks of them as -‘contiguous’, which would naturally mean side by side. Further -than this, one can hardly imagine even in the ‘narrow lanes of -our ancestors’ so close a meeting that the liberties mentioned -in 2. 6. 76 SN. could be taken. - -=2. 6. 53 A strange woman.= In _Bart. Fair_, _Wks._ 4. 395, -Justice Overdo says: ‘Rescue this youth here out of the hands -of the lewd man and _the strange woman_.’ Gifford explains in a -note: ‘The scripture phrase for an immodest woman, a prostitute. -Indeed this acceptation of the word is familiar to many -languages. It is found in the Greek; and we have in Terence--pro -_uxore habere hanc_ peregrinam: upon which Donatus remarks, _hoc -nomine etiam_ meretrices _nominabantur_.’ - -=2. 6. 57-113 WIT. No, my tune-full Mistresse?= etc. -This very important passage is the basis of Fleay’s theory of -identification discussed in section D. IV. of the Introduction. -The chief passages necessary for comparison are quoted below. - - - A CELEBRATION OF CHARIS: - - In Ten Lyric Pieces. - - V. - - His Discourse with Cupid. - - Noblest Charis, you that are - Both my fortune and my star, - And do govern more my blood, - Than the various moon the flood, - Hear, what late discourse of you, 5 - Love and I have had; and true. - ’Mongst my Muses finding me, - Where he chanced your name to see - Set, and to this softer strain; - Sure, said he, if I have brain, 10 - This, here sung, can be no other, - By description, but my Mother! - So hath Homer praised her hair; - So Anacreon drawn the air - Of her face, and made to rise 15 - Just about her sparkling eyes, - Both her brows bent like my bow. - By her looks I do her know, - Which you call my shafts. And see! - Such my Mother’s blushes be, 20 - As the bath your verse discloses - In her cheeks, of milk and roses; - Such as oft I wanton in: - And, above her even chin, - Have you placed the bank of kisses, 25 - Where, you say, men gather blisses, - Ripen’d with a breath more sweet, - Than when flowers and west-winds meet. - Nay, her white and polish’d neck, - With the lace that doth it deck, 30 - Is my mother’s: hearts of slain - Lovers, made into a chain! - And between each rising breast, - Lies the valley call’d my nest, - Where I sit and proyne my wings 35 - After flight; and put new stings - To my shafts: her very name - With my mother’s is the same. - I confess all, I replied, - And the glass hangs by her side, 40 - And the girdle ’bout her waist, - All is Venus, save unchaste. - But alas, thou seest the least - Of her good, who is the best - Of her sex: but couldst thou, Love, 45 - Call to mind the forms that strove - For the apple, and those three - Make in one, the same were she. - For this beauty yet doth hide - Something more than thou hast spied. 50 - Outward grace weak love beguiles: - She is Venus when she smiles: - But she’s Juno when she walks, - And Minerva when she talks. - - - UNDERWOODS XXXVI. - - _AN ELEGY_. - - By those bright eyes, at whose immortal fires - Love lights his torches to inflame desires; - By that fair stand, your forehead, whence he bends - His double bow, and round his arrows sends; - By that tan grove, your hair, whose globy rings 5 - He flying curls, and crispeth with his wings; - By those pure baths your either cheek discloses, - Where he doth steep himself in milk and roses; - And lastly, by your lips, the bank of kisses, - Where men at once may plant and gather blisses: 10 - Ten me, my lov’d friend, do you love or no? - So well as I may tell in verse, ’tis so? - You blush, but do not:--friends are either none, - Though they may number bodies, or but one. - I’ll therefore ask no more, but bid you love, 15 - And so that either may example prove - Unto the other; and live patterns, how - Others, in time, may love as we do now. - Slip no occasion; as time stands not still, - I know no beauty, nor no youth that will. 20 - To use the present, then, is not abuse, - You have a husband is the just excuse - Of all that can be done him; such a one - As would make shift to make himself alone - That which we can; who both in you, his wife, 25 - His issue, and all circumstance of life, - As in his place, because he would not vary, - Is constant to be extraordinary. - - - THE GIPSIES METAMORPHOSED - - _The Lady Purbeck’s Fortune, by the_ - - _Gip._ Help me, wonder, here’s a book, 2 - Where I would for ever look: - Never yet did gipsy trace - Smoother lines in hands or face: - Venus here doth Saturn move 5 - That you should be Queen of Love; - And the other stars consent; - Only Cupid’s not content; - For though you the theft disguise, - You have robb’d him of his eyes. 10 - And to shew his envy further: - Here he chargeth you with murther: - Says, although that at your sight, - He must all his torches light; - Though your either cheek discloses 15 - Mingled baths of milk and roses; - Though your lips be banks of blisses, - Where he plants, and gathers kisses; - And yourself the reason why, - Wisest men for love may die; 20 - You will turn all hearts to tinder, - And shall make the world one cinder. - - - _From_ - - A CHALLENGE AT TILT, - - AT A MARRIAGE. - - _2 Cup._ What can I turn other than a Fury itself to see thy -impudence? If I be a shadow, what is substance? was it not I that -yesternight waited on the bride into the nuptial chamber, and, -against the bridegroom came, made her the throne of love? had I -not lighted my torches in her eyes, planted my mother’s roses in 5 -her cheeks; were not her eye-brows bent to the fashion of my bow, -and her looks ready to be loosed thence, like my shafts? had I not -ripened kisses on her lips, fit for a Mercury to gather, and made -her language sweeter than his upon her tongue? was not the girdle -about her, he was to untie, my mother’s, wherein all the joys and 10 -delights of love were woven? - - _1 Cup._ And did not I bring on the blushing bridegroom to taste -those joys? and made him think all stay a torment? did I not -shoot myself into him like a flame, and made his desires and his -graces equal? were not his looks of power to have kept the night 15 -alive in contention with day, and made the morning never wished -for? Was there a curl in his hair, that I did not sport in, or a -ring of it crisped, that might not have become Juno’s fingers? his -very undressing, was it not Love’s arming? did not all his kisses -charge? and every touch attempt? but his words, were they not 20 -feathered from my wings, and flew in singing at her ears, like -arrows tipt with gold? - -In the above passages the chief correspondences to be noted are -as follows: - -1. _Ch._ 5. 17; _U._ 36. 3-4; _Challenge_ 6. Cf. -also _Ch._ 9. 17: - - Eyebrows bent, like Cupid’s bow. - -2. _Ch._ 5. 25-6; _U._ 36. 9-10; _DA._ 2. 6. 86-7; -_Gipsies_ 17-8; _Challenge_ 8. - -3. _Ch._ 5. 21-2; _U._ 36. 7-8; _DA._ 2. 6. 82-3; -_Gipsies_ 15-6; _Challenge_ 5-6. - -4. _Ch._ 5. 41; _Challenge_ 9-10. - -5. _U._ 36. 5-6; _DA._ 2. 6. 77-82; _Challenge_ 17-8. Cf. -also _Ch._ 9. 9-12: - - Young I’d have him too, and fair, - Yet a man; with crisped hair, - Cast in thousand snares and rings, - For love’s fingers, and his wings. - -6. _U._ 36. 21; _DA._ 1. 6. 132. - -7· _U._ 36. 1-2; _Gipsies_ 13-4; _Challenge_ 5. - -8. _U._ 36. 22-3; _DA._ 2. 6. 64-5 - -9. _DA._ 2. 6. 84-5; _Ch._ 9. 19-20: - - Even nose, and cheek withal, - Smooth as is the billiard-ball. - -10. _Gipsies_ 19-20; _Ch._ 1. 23-4: - - Till she be the reason, why, - All the world for love may die. - -=2. 6. 72 These sister-swelling brests.= ‘This is an -elegant and poetical rendering of the _sororiantes mammae_ of -the Latins, which Festus thus explains: _Sororiare puellarum -mammae dicuntur, cum primum tumescunt_.’--G. - -=2. 6. 76 SN.= ‘Liberties very similar to these were, in the poet’s -time, permitted by ladies, who would have started at being told that -they had foregone all pretensions to delicacy.’--G. - -The same sort of familiarity is hinted at in Stubbes, _Anatomy -of Abuses_ (Part 1, p. 78). Furnivall quotes _Histriomastix_ -(Simpson’s _School of Shak._ 2. 50) and _Vindication of Top -Knots_, Bagford Collection, 1. 124, in illustration of the -subject. Gosson’s _Pleasant Quippes_ (1595) speaks of ‘these -naked paps, the Devils ginnes.’ Cf. also _Cyn. Rev._, _Wks._ -2. 266, and _Case is A._, _Wks._ 6. 330. It seems to have been -a favorite subject of attack at the hands of both Puritans and -dramatists. - -=2. 6. 76 Downe to this valley.= Jonson uses a similar -figure in _Cyn. Rev._, _Wks._ 2. 240 and in _Charis_ -(see note 2. 6. 57). - -=2. 6. 78 these crisped groues.= So Milton, _Comus_, 984: -‘Along the crisped shades and bowers.’ Herrick, _Hesper., Cerem. -Candlemas-Eve_: ‘The crisped yew.’ - -=2. 6. 85 well torn’d.= Jonson’s usual spelling. See -_Timber_, ed. Schelling, 64. 33; 76. 22. etc. - -=2. 6. 85 Billyard ball.= Billiards appears to have been an -out-of-door game until the sixteenth century. It was probably -introduced into England from France. See J. A. Picton, _N. & -Q._. 5. 5. 283. Jonson uses this figure again in _Celeb. Charis_ -9. 19-20. - -=2. 6. 92 when I said, a glasse could speake=, etc. Cf. -1. 6. 80 f. - -=2. 6. 100 And from her arched browes=, etc. Swinburne -says of this line: ‘The wheeziest of barrel-organs, the most -broken-winded of bagpipes, grinds or snorts out sweeter music -than that.’--_Study of Ben Jonson_, p. 104. - -=2. 6. 104 Have you seene.= Sir John Suckling (ed. 1874, p. -79) imitates this stanza: - - Hast thou seen the down in the air - When wanton blasts have tossed it? - Or the ship on the sea, - When ruder winds have crossed it? - Hast thou marked the crocodile’s weeping, - Or the fox’s sleeping? - Or hast viewed the peacock in his pride, - Or the dove by his bride - When he courts for his lechery? - O, so fickle, O, so vain, O, so false, so false is she! - -=2. 6. 104 a bright Lilly grow.= The figures of the lily, the snow, -and the swan’s down have already been used in _The Fox_, _Wks._ 3. -195. The source of that passage is evidently Martial, _Epig._ 1. 115: - - Loto candidior puella cygno, - Argento, nive, lilio, ligustro. - -In this place Jonson seems to have more particularly in mind _Epig._ -5. 37: - - Puella senibus dulcior mibi cygnis ... - Cui nec lapillos praeferas Erythraeos, ... - Nivesque primas liliumque non tactum. - -=2. 7. 2, 3 that Wit of man will doe’t.= There is evidently -an ellipsis of some sort before _that_ (cf. Abbott, §284). -Perhaps ‘provided’ is to be understood. - -=2. 7. 4 She shall no more be buz’d at.= The metaphor is -carried out in the words that follow, _sweet meates_ 5, _hum_ -6, _flye-blowne_ 7. ‘Fly-blown’ was a rather common term of -opprobrium. Cf. Dekker, _Satiromastix_, _Wks._ 1. 195: ‘Shal -distaste euery vnsalted line, in their fly-blowne Comedies.’ -Jonson is very fond of this metaphor, and presses it beyond all -endurance in _New Inn_, Act 2. Sc. 2, _Wks._ 5. 344, 5, etc. - -=2. 7. 13 I am resolu’d on’t, Sir.= See variants. Gifford -points out the quibble on the word _resolved_. See Gloss. - -=2. 7. 17 O! I could shoote mine eyes at him.= Cf. _Fox_, -_Wks._ 3. 305: ‘That I could shoot mine eyes at him, like -gun-stones!’ - -=2. 7. 22.= See variants. The _the_ is probably absorbed by -the preceding dental. Cf. 5. 7. 9. - -=2. 7. 33 fine pac’d huishers.= See note 4. 4. 201. - -=2. 7. 38 turn’d my good affection.= ‘Not diverted or -changed its course; but, as appears from what follows, soured -it. The word is used in a similar sense by Shakespeare: - - Has friendship such a faint and _milky_ heart, - It turns in less than two nights! - _Timon_, 3. 2.’--G. - -=2. 8. 9, 10 That was your bed-fellow.= Ingine, perhaps in -anticipation of Fitzdottrel’s advancement, employs a term usually -applied to the nobility. Cf. _K. Henry V._ 2. 2. 8: - - Nay, but the man that was his bedfellow, - Whom he had cloy’d and grac’d with princely favors. - -Steevens in a note on the passage points out that the familiar -appellation of _bedfellow_, which appears strange to us, was -common among the ancient nobility.’ He quotes from _A Knack -to know a Knave_, 1594; _Look about you_, 1600; _Cynthia’s -Revenge_, 1613; etc., where the expression is used in the sense -of ‘intimate companion’ and applied to nobles. Jonson uses the -term _chamberfellow_ in _Underwoods_, _Wks._ 8. 353. - -=2. 8. 20 An Academy.= With this passage compare _U._ 62, -_Wks._ 8. 412: - - --There is up of late - The Academy, where the gallants meet-- - What! to make legs? yes, and to smell most sweet: - All that they do at plays. O but first here - They learn and study; and then practice there. - -Jonson again refers to ‘the Academies’ (apparently schools of -deportment or dancing schools) in 3. 5. 33. - -=2. 8. 33 Oracle-Foreman.= See note 1. 2. 2. - -=2. 8. 59 any thing takes this dottrel.= See note 2. 2. 49-50. - -=2. 8. 64 Dicke Robinson.= Collier says: ‘This player may have -been an original actor in some of Shakespeare’s later dramas, and -he just outlived the complete and final suppression of the stage.’ -His death and the date at which it occurred have been matters of -dispute. - -His earliest appearance in any list of actors is at the end of -Jonson’s _Catiline_, 1611, with the King’s Majesty’s Servants. -He was probably the youngest member of the company, and -doubtless sustained a female part. Gifford believes that he took -the part of Wittipol in the present play, though this is merely -a conjecture. ‘The only female character he is known to have -filled is the lady of Giovanus in _The Second Maiden’s Tragedy_, -but at what date is uncertain; neither do we know at what period -he began to represent male characters.’ Of the plays in which -he acted, Collier mentions Beaumont and Fletcher’s _Bonduca_, -_Double Marriage_, _Wife for a Month_, and _Wild Goose Chase_ -(1621); and Webster’s _Duchess of Malfi_, 1622. - -His name is found in the patent granted by James I. in 1619 and -in that granted by Charles I. in 1625. Between 1629 and 1647 no -notice of him occurs, and this is the last date at which we hear of -him. ‘His name follows that of Lowin in the dedication to the folio -of Beaumont and Fletcher’s works, published at that time.’--Collier, -_Memoirs_, p. 268. - -Jonson not infrequently refers to contemporary actors. Compare -the _Epitaph on Salathiel Pavy_, _Ep._ 120; the speech of Venus -in _The Masque of Christmas_, _Wks._ 7. 263; and the reference -to Field and Burbage in _Bart. Fair_ 5. 3. - -=2. 8. 73 send frolicks!= ‘_Frolics_ are couplets, -commonly of an amatory or satirical nature, written on small -slips of paper, and wrapt round a sweetmeat. A dish of them is -usually placed on the table after supper, and the guests amuse -themselves with sending them to one another, as circumstances -seem to render them appropriate: this is occasionally productive -of much mirth. I do not believe that the game is to be found in -England; though the drawing on Twelfth Night may be thought to -bear some kind of coarse resemblance to it. On the continent I -have frequently been present at it.’--G. - -The _NED._ gives only one more example, from R. H. _Arraignm._ -_Whole Creature XIV._ § 2. 244 (1631) ‘Moveable as Shittlecockes -... or as Frolicks at Feasts, sent from man to man, returning -againe at last, to the first man.’ - -=2. 8. 74, 5 burst your buttons, or not left you seame.= -Cf. _Bart. Fair_, _Wks._ 4. 359: ‘he breaks his buttons, -and cracks seams at every saying he sobs out.’ - -=2. 8. 95, 103.= See variants. - -=2. 8. 100 A Forrest moues not.= ‘I suppose Trains means, -“It is in vain to tell him of venison and pheasant, the right -to the bucks in a whole forest will not move him.”’--C. - -=2. 8. 100 that forty pound.= See 3. 3. 148. - -=2. 8. 102 your bond Of Sixe; and Statute of eight -hundred!= I. e., of six, and eight hundred pounds. ‘Statutes -merchant, statutes staple, and recognizances in the nature of -a statute staple were acknowledgements of debt made in writing -before officers appointed for that purpose, and enrolled of -record. They bound the lands of the debtor; and execution -was awarded upon them upon default in payment without the -ordinary process of an action. These securities were originally -introduced for the encouragement of trade, by providing a sure -and speedy remedy for the recovery of debts between merchants, -and afterwards became common assurances, but have now become -obsolete.’--S. M. Leake, _Law of Contracts_, p. 95. - -Two of Pecunia’s attendants in _The Staple of News_ are -_Statute_ and _Band_ (i. e. Bond, see _U._ 34). -The two words are often mentioned together. In Dekker’s -_Bankrouts Banquet_ (_Non-dram. Wks._ 3. 371) -statutes are served up to the bankrupts. - -Trains is evidently trying to impress Fitzdottrel with the -importance of Merecraft’s transactions. - - -ACT III. - -=3. 1. 8 Innes of Court.= ‘The four Inns of Court, Gray’s -Inn, Lincoln’s Inn, the Inner, and the Middle Temple, have alone -the right of admitting persons to practise as barristers, and -that rank can only be attained by keeping the requisite number -of terms as a student at one of those Inns.’--Wh-C. - -Jonson dedicates _Every Man out of his Humor_ ‘To the Noblest -Nurseries of Humanity and Liberty in the Kingdom, the Inns of Court.’ - -=3. 1. 10 a good man.= Gifford quotes _Merch. of Ven._ -1. 3. 15: ‘My meaning in saying he is a good man, is, to have -you understand me, that he is sufficient.’ Marston, _Dutch -Courtesan_, _Wks._ 2. 57. uses the word in the same sense. - -=3. 1. 20 our two Pounds, the Compters.= The London -Compters or Counters were two sheriff’s prisons for debtors, -etc., mentioned as early as the 15th century. In Jonson’s day -they were the Poultry Counter and the Wood Street Counter. They -were long a standing joke with the dramatists, who seem to -speak from a personal acquaintance with them. Dekker (_Roaring -Girle_, _Wks._ 3. 189) speaks of ‘Wood Street College,’ and -Middleton (_Phoenix_, _Wks._ 1. 192) calls them ‘two most famous -universities’ and in another place ‘the two city hazards, -Poultry and Wood Street.’ Jonson in _Every Man in_ (_Wks._ 1. -42) speaks of them again as ‘your city pounds, the counters’, -and in _Every man out_ refers to the ‘Master’s side’ (_Wks_. 2. -181) and the ‘two-penny ward,’ the designations for the cheaper -quarters of the prison. - -=3. 1. 35 out of rerum natura.= _In rerum natura_ is a -phrase used by Lucretius 1. 25. It means, according to the -_Stanford Dictionary_, ‘in the nature of things, in the physical -universe.’ In some cases it is practically equivalent to ‘in -existence.’ Cf. _Sil. Wom._, _Wks._ 3. 382: ‘Is the bull, bear, -and horse, in _rerum natura_ still?’ - -=3. 2. 12 a long vacation.= The long vacation in the Inns -of Court, which Jonson had in mind, lasts from Aug. 13 to Oct. -23. In _Staple of News_, _Wks._ 5. 170, he makes a similar -thrust at the shop-keepers: - - Alas I they have had a pitiful hard time on’t, - A long vacation from their cozening. - -=3. 2. 22 I bought Plutarch’s liues.= T. North’s famous -translation first appeared in 1579. New editions followed in -1595, 1603, 1610-12, and 1631. - -=3. 2. 33 Buy him a Captaines place.= The City Train Bands -were a constant subject of ridicule for the dramatists. They are -especially well caricatured by Fletcher in _The Knight of the -Burning Pestle_, Act 5. In addition to the City Train Bands, -the Fraternity of Artillery, now called The Honorable Artillery -Company, formed a separate organization. The place of practice -was the Artillery Garden in Bunhill Fields (see note 3. 2. 41). -In spite of ridicule the Train Bands proved a source of strength -during the Civil War (see Clarendon, _Hist. of the Rebellion_, -ed. 1826, 4. 236 and Wh-C., _Artillery Ground_). - -Jonson was fond of poking fun at the Train Bands. Cf. _U._ 62, -_Wks._ 8. 409; _Ev. Man in_, _Wks._ 1. 88; and _Alchemist_, -_Wks._ 4. 13. Face, it will be remembered, had been ‘translated -suburb-captain’ through Subtle’s influence. - -The immediate occasion of Jonson’s satire was doubtless the -revival of military enthusiasm in 1614, of which Entick -(_Survey_ 2. 115) gives the following account: - -‘The military genius of the _Londoners_ met with an opportunity, -about this time, to convince the world that they still retained the -spirit of their forefathers, should they be called out in the cause -of their king and country. His majesty having commanded a general -muster of the militia throughout the kingdom, the city of _London_ -not only mustered 6000 citizens completely armed, who performed their -several evolutions with surprizing dexterity; but a martial spirit -appeared amongst the rising generation. The children endeavoured -to imitate their parents; chose officers, formed themselves into -companies, marched often into the fields with colours flying and beat -of drums, and there, by frequent practice, grew up expert in the -military exercises.’ - -=3. 2. 35 Cheapside.= Originally Cheap, or West Cheap, a street -between the Poultry and St. Paul’s, a portion of the line from -Charing Cross to the Royal Exchange, and from Holborn to the -Bank of England. - -‘At the west end of this Poultrie and also of Buckles bury, beginneth -the large street of West Cheaping, a market-place so called, which -street stretcheth west till ye come to the little conduit by Paule’s -Gate.’--Stow, ed. Thoms, p. 99. - -The glory of Cheapside was Goldsmith’s Row (see note 3. 5. 2). -It was also famous in early times for its ‘Ridings,’ and during -Jonson’s period for its ‘Cross,’ its ‘Conduit,’ and its ‘Standard’ -(see note 1. 1. 56 and Wh--C.). - -=3. 2. 35 Scarfes.= ‘Much worn by knights and military -officers in the sixteenth and seventeenth centuries.’--Planché. - -=3. 2. 35 Cornehill.= Cornhill, between the Poultry and Leadenhall -Street, an important portion of the greatest thoroughfare in the -world, was, says Stow, ‘so called of a corn market time out of mind -there holden.’ In later years it was provided with a pillory and -stocks, a prison, called the Tun, for street offenders, a conduit of -‘sweet water’, and a standard. See Wh-C. - -=3. 2. 38 the posture booke.= A book descriptive of military -evolutions, etc. H. Peacham’s _Compleat Gentleman_, 1627 (p. 300, -quoted by Wheatley, _Ev. Mall in_), gives a long list of ‘Postures of -the Musquet’ and G. Markham’s _Souldier’s Accidence_ gives another. -Cf. _Tale Tub_, _Wks._ 6. 218: - - --All the postures - Of the train’d bands of the country. - -=3. 2. 41 Finsbury.= In 1498, ‘certain grounds, consisting of -gardens, orchards, &c. on the north side of _Chiswell-street_, and -called _Bunhill_ or _Bunhill-fields_, within the manor of _Finsbury_, -were by the mayor and commonalty of _London_, converted into a large -field, containing 11 acres, and 11 perches, now known by the name -of the _Artillery-ground_, for their train-bands, archers, and other -military citizens, to exercise in.’--Entick, _Survey_ 1. 441. - -In 1610 the place had become neglected, whereupon commissioners were -appointed to reduce it ‘into such order and state for the archers as -they were in the beginning of the reign of King Henry VIII.’ (_Ibid._ -2. 109). See also Stow, _Survey_, ed. Thoms, p. 159. - -Dekker (_Shomaker’s Holiday_, _Wks._ 1. 29) speaks of being -‘turnd to a Turk, and set in Finsburie for boyes to shoot at’, -and Nash (_Pierce Pennilesse_, _Wks._ 2. 128) and Jonson (_Bart. -Fair_, _Wks._ 4. 507) make precisely similar references. Master -Stephen in _Every Man in_ (_Wks._ 1. 10) objects to keeping -company with the ‘archers of Finsbury.’ Cf. also the elaborate -satire in _U._ 62, (_Wks._ 8. 409). - -=3. 2. 45 to traine the youth= - =Of London, in the military truth.= Cf. _Underwoods_ 62: - - Thou seed-plot of the war! that hast not spar’d - Powder or paper to bring up the youth - Of London, in the military truth. - -Gifford believes these lines to be taken from a contemporary -posture-book, but there is no evidence of quotation in the case -of _Underwoods_. - -=3. 3. 22, 3 This comes of wearing= -=Scarlet, gold lace, and cut-works!= etc. Webster has a passage very -similar to this in the _Devil’s Law Case_, _Wks._ 2. 37 f.: - - ‘_Ari._ This comes of your numerous wardrobe. - _Rom._ Ay, and wearing cut-work, a pound a purl. - _Ari._ Your dainty embroidered stockings, with overblown roses, - to hide your gouty ankles. - _Rom._ And wearing more taffata for a garter, than would serve - the galley dung-boat for streamers.... - _Rom._ And resorting to your whore in hired velvet with a - spangled copper fringe at her netherlands. - _Ari._ Whereas if you had stayed at Padua, and fed upon cow-trotters, - and fresh beef to supper.’ etc., etc. - -For ‘cut-works’ see note 1. 1. 128. - -=3. 3. 24 With your blowne roses.= Compare 1. 1. 127, -and B. & Fl., _Cupid’s Revenge_: - - No man to warm your shirt, and blow your roses. - -and Jonson, _Ep._ 97, _Wks._ 8. 201: - - His rosy ties and garters so o’erblown. - -=3. 3. 25 Godwit.= The godwit was formerly in great repute as a table -delicacy. Thomas Muffett in _Health’s Improvement_, p. 99, says: -‘A fat godwit is so fine and light meat, that noblemen (yea, and -merchants too, by your leave) stick not to buy them at four nobles a -dozen.’ - -Cf. also Sir T. Browne, _Norf. Birds_, _Wks._, 1835, 4. 319: God-wyts -... accounted the daintiest dish in England; and, I think, for the -bigness of the biggest price.’ Jonson mentions the godwit in this -connection twice in the _Sil. Wom._ (_Wks._ 3. 350 and 388), and -in Horace, _Praises of a Country Life_ (_Wks._ 9. 121) translates -‘attagen Ionicus’ by ‘Ionian godwit.’ - -=3. 3. 26 The Globes, and Mermaides!= Theatres and taverns. Mr. -Halliwell-Phillipps has proved that the Globe Theatre on the -Bankside, Southwark, the summer theatre of Shakespeare and his -fellows, was built in 1599. It was erected from materials brought -by Richard Burbage and Peter Street from the theatre in Shoreditch. -On June 29, 1613, it was destroyed by fire, but was rebuilt without -delay in a superior style, and this time with a roof of tile, King -James contributing to the cost. Chamberlaine, writing to Alice -Carleton (June 30, 1614), calls the Globe Playhouse ‘the fairest in -England.’ It was pulled down Apr. 15, 1644. - -Only the Lord Chamberlain’s Company (the King’s Men) seems to -have acted here. It was the scene of several of Shakespeare’s -plays and two of Jonson’s, _Every Man out_ and _Every Man in_ -(Halliwell-Phillips, _Illustrations_, p. 43). The term ‘summer -theatre’ is applicable only to the rebuilt theatre (_ibid._, p. -44). In _Ev. Man out_ (quarto, _Wks._ 2. 196) Johnson refers to -‘this fair-fitted _Globe_’, and in the _Execration upon Vulcan_ -(_Wks._ 8. 404) to the burning of the ‘Globe, the glory of the -Bank.’ In _Poetaster_ (_Wks._ 2. 430) he uses the word again -as a generic term: ‘your Globes, and your Triumphs.’ - -There seem to have been two Mermaid Taverns, one of which stood -in Bread Street with passage entrances from Cheapside and Friday -Street, and the other in Cornhill. They are often referred to -by the dramatists. Cf. the famous lines written by _Francis -Beaumont to Ben Jonson_, B. & Fl., _Wks._, ed. 1883, 2. 708; -_City Match_, _O. Pl._ 9. 334, etc. Jonson often mentions -the Mermaid. Cf. _Inviting a Friend_, _Wks._ 8. 205: - - Is a pure cup of rich Canary Wine, - Which is the Mermaid’s now, but shall be mine. - -_On the famous Voyage_, _Wks._ 8. 234: - - At Bread-Street’s Mermaid having dined, and merry, - Proposed to go to Holborn in a wherry. - -_Bart. Fair_, _Wks._ 4. 356-7: ‘your Three Cranes, Mitre, - and Mermaid-men!’ - -=3. 3. 28 In veluet!= Velvet was introduced into England in the -fifteenth century, and soon became popular as an article of luxury -(see Hill’s _Hist. of Eng. Dress_ 1. 145 f.). - -=3. 3. 30 I’ the Low-countries.= ‘Then went he to the Low Countries; -but returning soone he betook himself to his wonted studies. In his -service in the Low Countries, he had, in the face of both the campes, -killed ane enemie and taken _opima spolia_ from him.’--_Conversations -with William Drummond_, _Wks._ 9. 388. - -In the Epigram _To True Soldiers_ Jonson says: - - --I love - Your great profession, which I once did prove. - _Wks._ 8. 211. - -=3. 3. 32 a wench of a stoter!= See variants. The word is -not perfectly legible in the folios, which I have consulted, but -is undoubtedly as printed. Cunningham believes ‘stoter’ to be a -cheap coin current in the camps. This supplies a satisfactory -sense, corresponding to the ‘_Sutlers_ wife, ... of two blanks’ -in the following line. - -=3. 3. 33 of two blanks!= ‘Jonson had Horace in his -thoughts, and has, not without some ingenuity, parodied several -loose passages of one of his satires.’--G. Gifford is apparently -referring to the close of Bk. 2. Sat. 3. - -=3. 3. 51 vn-to-be-melted.= Cf. _Every Man in_, _Wks._ 1. -36: ‘and in un-in-one-breath-utterable skill, sir.’ _New Inn_, -_Wks._ 5. 404: you shewed a neglect Un-to-be-pardon’d.’ - -=3. 3. 62 Master of the Dependances!= See Introduction. -pp. lvi, lvii. - -=3. 3. 69 the roaring manner.= Gifford defines it as the ‘language -of bullies affecting a quarrel’ (_Wks._ 4. 483). The ‘Roaring Boy’ -continued under various designations to infest the streets of London -from the reign of Elizabeth until the beginning of the eighteenth -century. Spark (Somer’s _Tracts_ 2. 266) says that they were persons -prodigall and of great expence, who having runne themselves -into debt, were constrained to run into factions to defend themselves -from danger of the law.’ He adds that divers of the nobility -afforded them maintenance, in return for which ‘they entered into -many desperate enterprises.’ - -Arthur Wilson (_Life of King James I._, p. 28), writing of the -disorderly state of the city in 1604, says: ‘Divers _Sects_ of -_vitious Persons_ going under the Title of _Roaring Boyes_, -_Bravadoes_, _Roysters_, &c. commit many insolences; the Streets -swarm night and day with bloody quarrels, private _Duels_ -fomented,’ etc. - -Kastril, the ‘angry boy’ in the _Alchemist_, and Val Cutting and -Knockem in _Bartholomew Fair_ are roarers, and we hear of them -under the title of ‘terrible boys’ in the _Silent Woman_ -(_Wks._ 3. 349). Cf. also Sir Thomas Overbury’s _Character of a -Roaring Boy_ (ed. Morley, p. 72): ‘He sleeps with a tobacco-pipe -in his mouth; and his first prayer in the morning is he may -remember whom he fell out with over night.’ - -=3. 3. 71 the vapours.= This ridiculous practise is -satirized in _Bart. Fair_, _Wks._ 4. 3 (see also stage -directions). - -=3. 3. 77 a distast.= The quarrel with Wittipol. - -=3. 3. 79 the hand-gout.= Jonson explains the expression in -_Magnetic Lady_, _Wks._ 6. 61. - - You cannot but with trouble put your hand - Into your pocket to discharge a reckoning, - And this we sons of physic do call _chiragra_, - A kind of cramp, or hand-gout. - -Cf. also Overbury’s _Characters_, ed. Morley, p. 63: ‘his liberality -can never be said to be gouty-handed.’ - -=3. 3. 81 Mint.= Until its removal to the Royal Mint on Tower -Hill in 1810, the work of coinage was carried on in the Tower of -London. Up to 1640, when banking arose, merchants were in the habit -of depositing their bullion and cash in the Tower Mint, under -guardianship of the Crown (see Wh-C. under _Royal Mint_, and _History -of Banking in all the Leading Nations_, London, 1896, 2. 1). - -=3. 3. 86-8 let ... hazard.= Merecraft seems to mean: ‘You are in no -hurry. Pray therefore allow me to defer your business until I have -brought opportune aid to this gentleman’s distresses at a time when -his fortunes are in a hazardous condition.’ The pregnant use of the -verb _timing_ and the unusual use of the word _terms_ for a period of -time render the meaning peculiarly difficult. - -=3. 3. 106 a Businesse.= This was recognized as the technical -expression. Sir Thomas Overbury ridicules it in his _Characters_, -ed. Morley, p. 72: ‘If any private quarrel happen among our great -courtiers, he (the Roaring Boy) proclaims the business--that’s the -word, the business--as if the united force of the Roman Catholics -were making up for Germany.’ Jonson ridicules the use of the -word in similar fashion in the Masque of _Mercury Vindicated from -the Alchemists_. - -=3. 3. 133 hauings.= Jonson uses the expression again in _Ev. Man -in_, _Wks._ 1. 29, and _Gipsies Met._, _Wks._ 7. 364. It -is also used in _Muse’s Looking Glasse_, _O. Pl._ 9. 175. - -=3. 3. 147 such sharks!= Shift in _Ev. Man in_ is described as a -‘threadbare shark.’ Cf. also Earle, _Microcosmography_, ed. Morley, -p. 173. - -=3. 3. 148 an old debt of forty.= See 2. 8. 100. - -=3. 3. 149 the Bermudas.= See note 2. 1. 144. Nares thinks that -the real Bermudas are referred to here. - -=3. 3. 155 You shall ha’ twenty pound on’t.= As Commission on -the two hundred. ‘Ten in the hundred’ was the customary rate at -this period (see _Staple of News_, _Wks._ 5. 189). - -=3. 3. 165 St. Georges-tide?= From a very early period the 23d of -April was dedicated to St. George. From the time of Henry V. The -festival had been observed with great splendor at Windsor and other -towns, and bonfires were built (see Shak, _1 Henry VI._ 1. 1). The -festival continued to be celebrated until 1567, when Elizabeth -ordered its discontinuance. James I., however, kept the 23d of April -to some extent, and the revival of the feast in all its glories was -only prevented by the Civil War. So late as 1614 it was the custom -for fashionable gentlemen to wear blue coats on St. George’s Day, -probably in imitation of the blue mantle worn by the Knights of the -Garter, an order created at the feast of St. George in 1344 (see -Chambers’ _Book of Days_ 1. 540). - -The passages relating to this custom are _Ram Alley_, _O. Pl._, 2d -ed., 5. 486: - - By Dis, I will be knight, - Wear a blue coat on great St. George’s day, - And with my fellows drive you all from Paul’s - For this attempt. - -_Runne and a great Cast_, _Epigr._ 33: - - With’s coram nomine keeping greater sway - Than a court blew-coat on St. George’s day. - -From these passages Nares concludes ‘that some festive ceremony was -carried on at St. Paul’s on St. George’s day annually; that the court -attended; that the _blue-coats_, or attendants, of the courtiers, -were employed and authorised to keep order, and drive out refractory -persons; and that on this occasion it was proper for a knight to -officiate as _blue coat_ to some personage of higher rank’. - -In the _Conversations with Drummond_, Jonson’s _Wks._ 9. 393, we -read: ‘Northampton was his mortal enimie for beating, on a St. -George’s day, one of his attenders.’ Pepys speaks of there being -bonfires in honor of St. George’s Day as late as Apr. 23, 1666. - -=3. 3. 166 chaines? PLV. Of gold, and pearle.= The gold chain was -formerly a mark of rank and dignity, and a century before this it -had been forbidden for any one under the degree of a gentleman of two -hundred marks a year to wear one (_Statutes of the Realm_, 7 Henry -VIII. c. 6). They were worn by the Lord Mayors (Dekker, _Shomaker’s -Holiday_, _Wks._ 1. 42), rich merchants and aldermen (Glapthorne, -_Wit for a Constable_, _Wks._, ed. 1874, 1. 201-3), and later -became the distinctive mark of the upper servant in a great family, -especially the steward (see Nares and _Ev. Man out_, _Wks._ 2. 31). -Massinger (_City Madam_, _Wks._, p. 334) speaks of wearing a chain -of gold ‘on solemn days.’ With the present passage cf. _Underwoods_ -62, _Wks._ 8. 410: - - If they stay here but till St. George’s day. - All ensigns of a war are not yet dead, - Nor marks of wealth so from a nation fled, - But they may see gold chains and pearl worn then, - Lent by the London dames to the Lords’ men. - -=3. 3. 170 take in Pimlico.= ‘Near Hoxton, a great summer resort in -the early part of the 17th century and famed for its cakes, custards, -and Derby ale. The references to the Hoxton Pimlico are numerous -in our old dramatists.’--Wh--C. It is mentioned among other places -in _Greene’s Tu Quoque, The City Match_, fol. 1639, _News from -Hogsdon_, 1598, and Dekker, _Roaring Girle_, _Wks._ 3. 219, where it -is spoken of as ‘that nappy land of spice-cakes.’ In 1609 a tract -was published, called _Pimlyco or Runne Red-Cap, ’tis a Mad World at -Hogsdon_. - -Jonson refers to it repeatedly. Cf. _Alch._, _Wks._ 4. 155: - - --Gallants, men and women. - And of all sorts, tag-rag, been seen to flock here, - In threaves, these ten weeks, as to a second Hogsden, - In days of Pimlico and Eye-bright. - -Cf. also _Alch._, _Wks._ 4. 151; _Bart. Fair_, _Wks._ 4. 357; and -this play 4. 4. 164. In _Underwoods_ 62 the same expression is used -as in this passage: - - What a strong fort old Pimlico had been! - How it held out! how, last, ’twas taken in!-- - -_Take in_ in the sense of ‘capture’ is used again in _Every Man -in_, _Wks._ 1. 64, and frequently in Shakespeare (see Schmidt). -The reference here, as Cunningham suggests, is to the Finsbury -sham fights. Hogsden was in the neighborhood of Finsbury, and -the battles were doubtless carried into its territory. - -=3. 3. 173 Some Bristo-stone or Cornish counterfeit.= Cf. -Heywood, _Wks._ 5. 317: ‘This jewell, a plaine _Bristowe_ stone, -a counterfeit.’ See Gloss. - -=3. 3. 184, 5 I know your Equiuocks:= -=You’are growne the better Fathers of ’hem o’ late.= ‘Satirically -reflecting on the Jesuits, the great patrons of _equivocation_.’--W. - -‘Or rather on the Puritans, I think; who were sufficiently obnoxious -to this charge. The Jesuits would be out of place here.’--G. - -Why the Puritans are any more appropriate Gifford does not vouchsafe -to tell us. So far as I have been able to discover the Puritans -were never called ‘Fathers,’ their regular appellation being ‘the -brethren’ (cf. _Alch._ and _Bart. Fair_). The Puritans were accused -of a distortion of Scriptural texts to suit their own purposes, -instances of which occur in the dramas mentioned above. On the whole, -however, equivocation is more characteristic of the Jesuits. They -were completely out of favor at this time. Under the generalship -of Claudio Acquaviva, 1581-1615, they first began to have a -preponderatingly evil reputation. In 1581 they were banished from -England, and in 1601 the decree of banishment was repeated, this time -for their suspected share in the Gunpowder Plot. - -=3. 3. 206, 7 Come, gi’ me Ten pieces more.= The transaction with -Guilthead is perhaps somewhat confusing. Fitzdottrel has offered to -give his bond for two hundred pieces, if necessary. Merecraft’s ‘old -debt of forty’ (3. 3. 149), the fifty pieces for the ring, and the -hundred for Everill’s new office (3. 3. 60 and 83) ‘all but make two -hundred.’ Fitzdottrel furnishes a hundred of this in cash, with the -understanding that he receive it again of the gold-smith when he -signs the bond (3. 3. 194). He returns, however, without the gold, -though he seals the bond (3. 5. 1-3). Of the hundred pieces received -in cash, twenty go to Guilthead as commission (3. 3. 155). -This leaves forty each for Merecraft and Everill. - -=3. 3. 213 how th’ Asse made his diuisions.= See _Fab._ cix, -_Fabulae Aesopicae_, Leipzig, 1810, _Leo, Asinus et Vulpes_. Harsnet -(_Declaration_, p. 110) refers to this fable, and Dekker made a -similar application in _Match me in London_, 1631, _Wks._ 4. 145: - - _King._ Father Ile tell you a Tale, vpon a time - The Lyon Foxe and silly Asse did jarre. - Grew friends and what they got, agreed to share: - A prey was tane, the bold Asse did diuide it - Into three equall parts, the Lyon spy’d it. - And scorning two such sharers, moody grew, - And pawing the Asse, shooke him as I shake you ... - And in rage tore him peece meale, the Asse thus dead, - The prey was by the Foxe distributed - Into three parts agen; of which the Lyon - Had two for his share, and the Foxe but one: - The Lyon (smiling) of the Foxe would know - Where he had this wit, he the dead Asse did show. - _Valasc._ An excellent Tale. - _King._ Thou art that Asse. - -=3. 3. 214 Much good do you.= So in _Sil. Wom._, _Wks._ 3. -398: ‘Much good do him.’ - -=3. 3. 217 And coozen i’ your bullions.= Massinger’s _Fatal -Dowry_, _Wks._, p. 272, contains the following passage: -‘The other is his dressing-block, upon whom my lord lays all his -clothes and fashions ere he vouchsafes them his own person: -you shall see him ... at noon in the Bullion,’ etc. In a note -on this passage (_Wks._ 3. 390, ed. 1813) Gifford advanced the -theory that the _bullion_ was ‘a piece of finery, which derived -its denomination from the large globular gilt buttons, still in -use on the continent.’ In his note on the present passage, he -adds that it was probably ‘adopted by gamblers and others, as a -mark of wealth, to entrap the unwary.’ - -Nares was the next man to take up the word. He connected it with -‘_bullion_; Copper-plates set on the Breast-leathers and Bridles -of Horses for ornament’ (Phillips 1706). ‘I suspect that it also -meant, in colloquial use, copper lace, tassels, and ornaments in -imitation of gold. Hence contemptuously attributed to those who -affected a finery above their station.’ - -Dyce (B. & Fl., _Wks._ 7. 291) was the first to disconnect the -word from _bullion_ meaning uncoined gold or silver. He says: -‘_Bullions_, I apprehend, mean some sort of hose or breeches, -which were _bolled_ or _bulled_, i. e. swelled, puffed out -(cf. _Sad. Shep._, Act 1. Sc. 2, _bulled_ nosegays’).’ - -The _NED._ gives ‘prob. a. F. _bouillon_ in senses derived from -that of “bubble.”’ - -Besides the passages already given, the word occurs in B. & Fl., -_The Chances_, _Wks._ 7. 291: - - Why should not bilbo raise him, or a pair of bullions? - -_Beggar’s Bush_, _Wks._ 9. 81: - - In his French doublet, with his blister’d - (1st fol. _baster’d_) bullions. - -Brome, _Sparagus Garden_, _Wks._ 3. 152: - - --shaking your - Old Bullion Tronkes over my Trucklebed. - -_Gesta Gray_ in Nichols’ _Prog. Q. Eliz._ 3. 341 A, 1594: -‘A bullion-hose is best to go a woeing in; for tis full of -promising promontories.’ - -=3. 3. 231 too-too-vnsupportable!= This reduplicated -form is common in Shakespeare. See _Merch. of Ven._ 2. 6. -42; _Hamlet_ 1. 2. 129; and Schmidt, _Dict._ Jonson uses it -in _Sejanus_, _Wks._ 3. 54, and elsewhere. It is merely a -strengthened form of _too_. (See Halliwell in _Sh. Soc. Papers_, -1884, 1. 39, and _Hamlet_, ed. Furness, 11th ed., 1. 41.) Jonson -regularly uses the hyphen. - -=3. 4. 13 Cioppinos.= Jonson spells the word as if it were -Italian, though he says in the same sentence that the custom of -wearing chopines is Spanish. The _NED._, referring to Skeat, -_Trans. Phil. Soc._, 1885-7, p. 79, derives it from Sp. _chapa_, -a plate of metal, etc. ‘The Eng. writers c 1600 persistently -treated the word as Italian, even spelling it _cioppino_, pl. -_cioppini_, and expressly associated it with Venice, so that, -although not recorded in Italian Dicts. it was app. temporarily -fashionable there.’ The statement of the _NED._ that ‘there is -little or no evidence of their use in England (except on the -stage)’ seems to be contradicted by the quotation from Stephen -Gosson’s _Pleasant Quippes_ (note 1. 1. 128). References to the -chopine are common in the literature of the period (see Nares -and _NED._). I have found no instances of the Italianated form -earlier than Jonson, and it may be original with him. He uses -the plural _cioppini_ in _Cynthia’s Revels_, _Wks._ 2. 241. -See note 4. 4. 69. - -=3. 4. 32 your purchase.= Cf. _Alch._, _Wks._ 4. 150, and -_Fox_, _Wks._ 3. 168: ‘the cunning purchase of my wealth.’ -Cunningham (_Wks._ 3. 498) says: ‘Purchase, as readers of -Shakespeare know, was a cant term among thieves for the plunder -they acquired, also the act of acquiring it. It is frequently -used by Jonson.’ - -=3. 4. 35 Pro’uedor.= Gifford’s change to provedoré -is without authority. The word is _provedor_, Port., or -_proveedor_, Sp., and is found in Hakluyt, _Voyages_, 3. 701; -G. Sandys, _Trav._, p. 6 (1632); and elsewhere, with various -orthography, but apparently never with the accent. - -=3. 4. 43 Gentleman huisher.= For the gentleman-usher see -note 4. 4. 134. The forms _usher_ and _huisher_ seem to be used -without distinction. The editors’ treatment of the form is -inconsistent. See variants, and compare 2. 7. 33. - -=3. 4. 45-8 wee poore Gentlemen ... piece.= Cf. Webster, -_Devil’s Law Case_, _Wks._ 2. 38: ‘You have certain rich city -chuffs, that when they have no acres of their own, they will go -and plough up fools, and turn them into excellent meadow.’ Also -_The Fox_ 2. 1: - - --if Italy - Have any glebe more fruitful than these fellows, - I am deceived. - -As source of the latter Dr. L. H. Holt (_Mod. Lang. Notes_, -June, 1905) gives Plautus, _Epidicus_ 2. 3. 306-7: - - nullum esse opinor ego agrum in agro Attico - aeque feracem quam hic est noster Periphanes. - -=3. 5. 2 the row.= Stow (_Survey_, ed. 1633, p. 391) says that -Goldsmith’s Row, ‘betwixt _Breadstreete_ end and the Crosse in -_Cheap_,’ is ‘the most beautifull Frame of faire houses and shops, -that be within the Wals of _London_, or elsewhere in England.’ It -contained ‘ten faire dwelling houses, and fourteene shops’ beautified -with elaborate ornamentation. Howes (ed. 1631, p. 1045) says that -at his time (1630) Goldsmith’s Row ‘was much abated of her wonted -store of Goldsmiths, which was the beauty of that famous streete.’ -A similar complaint is made in the _Calendar of State Papers_, -1619-23, p. 457, where Goldsmith’s Row is characterized as the ‘glory -and beauty of Cheapside.’ Paul Hentzner (p. 45) speaks of it as -surpassing all the other London streets. He mentions the presence -there of a ‘gilt tower, with a fountain that plays.’ - -=3. 5. 29, 30 answering= - =With the French-time, in flexure of your body.= This may mean -bowing in the deliberate and measured fashion of the French, or -perhaps it refers to French musical measure. See Gloss. - -=3. 5. 33 the very Academies.= See note 2. 8. 20. - -=3. 5. 35 play-time.= Collier says that the usual hour of dining in -the city was twelve o’clock, though the passage in _Case is Altered_, -_Wks._ 6. 331, seems to indicate an earlier hour: - - Eat when your stomach serves, saith the physician, - Not at eleven and six. - -The performance of plays began at three o’clock. -Cf. _Histriomastix_, 1610: - - Come to the Town-house, and see a play: - At three a’clock it shall begin. - -See Collier, _Annals_ 3. 377. Sir Humphrey Mildmay, in his Ms. -Diary (quoted _Annals_ 2. 70), speaks several times of going to -the play-house after dinner. - -=3. 5. 39 his Damme.= _NED._ gives a use of the phrase ‘the -devil and his dam’ as early as Piers Plowman, 1393. The ‘devil’s -dam’ was later applied opprobriously to a woman. It is used thus -in Shakespeare, _Com. Err._ 4. 3. 51. The expression is common -throughout the literature of the period. - -=3. 5. 43 But to be seene to rise, and goe away.= Cf. -Dekker, _Guls Horne-booke_, _Non-dram. Wks._ 2. 253: ‘Now sir, -if the writer be a fellow that hath either epigrammd you, or -hath had a flirt at your mistris, ... you shall disgrace him -worse then by tossing him in a blancket ... if, in the middle of -his play, ... you rise with a screwd and discontented face from -your stoole to be gone: no matter whether the Scenes be good or -no; the better they are the worse do you distast them.’ - -=3. 5. 45, 6 But say, that he be one=, - Wi’ not be aw’d! but laugh at you=. In the Prologue to Massinger’s -_Guardian_ we find: - - --nor dares he profess that when - The critics laugh, he’ll laugh at them agen. - (Strange self-love in a writer!) - -Gifford says of this passage: ‘This Prologue contains many sarcastick -allusions to Old Ben, who produced, about this time, his _Tale of a -Tub_, and his _Magnetic Lady_, pieces which failed of success, and -which, with his usual arrogance, (_strange self-love in a writer!_) -he attributed to a want of taste in the audience.’--Massinger’s -(_Wks._, ed. 1805, 4. 121.) - -The _Guardian_ appeared in 1633, two years after the printing of -_The Devil is an Ass_. It seems certain that the reference is to the -present passage. - -=3. 5. 47 pay for his dinner himselfe.= The custom of inviting the -poet to dinner or supper seems to have been a common one. Dekker -refers to it in the _Guls Horne-booke_, _Non-dram. Wks._ 2. 249. Cf. -also the Epilogue to the present play. - -=3. 5. 47 Perhaps, He would doe that twice, rather then thanke you.= -‘This ill-timed compliment to himself, Jonson might have spared, with -some advantage to his judgment, at least, if not his modesty.’--G. - -=3. 5. 53.= See variants. Gifford’s change destroys the -meaning and is palpably ridiculous. - -=3. 5. 77 your double cloakes.= ‘I. e., a cloake adapted -for disguises, which might be worn on either side. It was of -different colours, and fashions. This turned cloke with a false -beard (of which the cut and colour varied) and a black or yellow -peruke, furnished a ready and effectual mode of concealment, -which is now lost to the stage. ’--G. - -=3. 6. 2 canst thou get ne’r a bird?= Throughout this page -Merecraft and Pug ring the changes on Pitfall’s name. - -=3. 6. 15, 16 TRA. You must send, Sir.= - =The Gentleman the ring.= Traines, of course, -is merely carrying out Merecraft’s plot to ‘achieve the ring’ (3. 5. -67). Later (4. 4. 60) Merecraft is obliged to give it up to Wittipol. - -=3. 6. 34-6 What’ll you do, Sir?= ... - =Run from my flesh, if I could.= For a similar construction -cf. 1. 3. 21 and note. - -=3. 6. 38, 9 Woe to the seuerall cudgells,= - =Must suffer on this backe!= Adapted from Plautus, -_Captivi_ 3. 4. 650: - - Vae illis uirgis miseris, quae hodie in tergo morientur meo. - -(Gifford mentions the fact that this is adapted from the classics. I -am indebted for the precise reference to Dr. Lucius H. Holt.) - -=3. 6. 40 the vse of it is so present.= For other Latinisms cf. -_resume_, 1. 6. 149; _salts_, 2. 6. 75; _confute_, 5. 6. 18, etc. - -=3. 6. 61 I’ll= ... See variants. The original reading is undoubtedly -wrong. - - -ACT IV - -=4. 1. 1 referring to Commissioners.= In the lists of -patents we frequently read of commissions specially appointed -for examination of the patent under consideration. The King’s -seal was of course necessary to render the grant valid. - -=4. 1. 5 S^r. Iohn Monie-man.= See Introduction, p. lxxiii. - -=4. 1. 37 I will haue all piec’d.= Cf. _Mag. La._, -_Wks._ 6. 50: - - _Item._ I heard they were out. - _Nee._ But they are pieced, and put together again. - -=4. 1. 38 ill solder’d!= Cf. _The Forest_, 12, -_Epistle to Elizabeth_, etc.; ‘Solders cracked friendship.’ - -=4. 2. 11 Haue with ’hem.= ‘An idea borrowed from the gaming -table, being the opposite of “have at them.”’--C. - -=4. 2. 11 the great Carroch.= See note 1. 6. 214. - -=4. 2. 12 with my Ambler, bare.= See note 4. 4. 202. - -=4. 2. 22 I not loue this.= See note 1. 6. 14. - -=4. 2. 26 Tooth-picks.= This was an object of satire to the -dramatists of the period. Nares says that they ‘appear to have been -first brought into use in Italy; whence the travellers who had -visited that country, particularly wished to exhibit that symbol -of gentility.’ It is referred to as the mark of a traveller by -Shakespeare, _King John_, 1. 1 (cited by Gifford): - - --Now your traveller, - He, and his tooth-pick, at my worship’s mess. - -Overbury (_Character_ of _An Affected Traveller_, ed. Morley, p. 35) -speaks of the _pick-tooth_ as ‘a main part of his behavior.’ - -It was also a sign of foppery. Overbury (p. 31) describes the -courtier as wearing ‘a pick-tooth in his hat,’ and Massinger, _Grand -Duke of Florence_, Act 3 (quoted by Nares), mentions ‘my case of -tooth-picks, and my silver fork’ among the articles ‘requisite to the -making up of a signior.’ John Earle makes a similar reference in his -_Character_ of _An Idle Gallant_ (ed. Morley, p. 179), and Furnivall -(Stubbes’ _Anatomy_, p. 77) quotes from _Laugh and lie downe_: or -_The worldes Folly_, London, 1605, 4to: ‘The next was a nimble-witted -and glib-tongu’d fellow, who, having in his youth spent his wits in -the Arte of love, was now become the jest of wit.... The picktooth in -the mouth, the flower in the eare, the brush upon the beard; ... and -what not that was unneedefull,’ etc. - -It is a frequent subject of satire in Jonson. Cf. _Ev. Man out_, _Wks._ -2. 124; _Cyn. Rev._, _Wks._ 2. 218, 248; _Fox_, _Wks._ 3. 266. See also -Dekker, _Wks._ 3. 280. - -=4. 2. 63 What vile Fucus is this.= The abuse of face-painting is -a favorite subject of satire with the moralists and dramatists of -the period. Stubbes (_Anatomy of Abuses_, Part 1, pp. 64-8) devotes -a long section to the subject. Dr. Furnivall in the notes to this -passage, pp. 271-3, should also be consulted. Brome satirizes it in -the _City Wit_, _Wks._ 2. 300. Lady Politick Would-be in the _Fox_ -is of course addicted to the habit, and a good deal is said on the -subject in _Epicoene_. Dekker (_West-ward Hoe_, _Wks._ 2. 285) has -a passage quite similar in spirit to Jonson’s satire. - -=4. 2. 71 the very Infanta of the Giants!= Cf. Massinger and Field, -_Fatal Dowry_ 4. 1: ‘O that I were the infanta queen of Europe!’ -Pecunia in the _Staple of News_ is called the ‘Infanta of the -mines.’ Spanish terms were fashionable at this time. Cf. the use of -_Grandees_, 1. 3. It is possible that the reference here is to the -Infanta Maria. See Introduction, p. xviii. - -=4. 3. 5, 6 It is the manner of Spaine, to imbrace onely, Neuer to -kisse.= Cf. Minsheu’s _Pleasant and Delightfull Dialogues,_ pp. 51-2: -‘_W._ I hold that the greatest cause of dissolutenesse in some women -in England is this custome of kissing publikely.... _G._ In Spaine -doe not men vse to kisse women? _I._ Yes the husbands kisse their -wiues, but as if it were behinde seuen walls, where the very light -cannot see them.’ - -=4. 3. 33 f. Decayes the fore-teeth, that should guard the tongue;= -etc. Cf. _Timber_, ed. Schelling, 13. 24: ‘It was excellently said of -that philosopher, that there was a wall or parapet of teeth set in -our mouth, to restrain the petulancy of our words; that the rashness -of talking should not only be retarded by the guard and watch of our -heart, but be fenced in and defended by certain strengths placed in -the mouth itself, and within the lips.’ - -Professor Schelling quotes Plutarch, _Moralia, de Garrulitate_ 3, -translated by Goodwin: ‘And yet there is no member of human bodies -that nature has so strongly enclosed within a double fortification -as the tongue, entrenched within a barricade of sharp teeth, to the -end that, if it refuses to obey and keep silent when reason “presses -the glittering reins” within, we should fix our teeth in it till the -blood comes rather than suffer inordinate and unseasonable din’ (4. -223). - -=4. 3. 39 Mad-dames.= See variants. The editors have taken out of -the jest whatever salt it possessed, and have supplied meaningless -substitutes. Gifford followed the same course in his edition of Ford -(see Ford’s _Wks._ 2. 81), where, however, he changes to Mad-dam. -Such gratuitous corruptions are inexplicable. Cf. _Tale Tub_, _Wks._ -6. 172: - - Here is a strange thing call’d a lady, a mad-dame. - -=4. 3. 45 Their seruants.= A common term for a lover. -Cf. _Sil. Wom._, _Wks._ 3. 364. - -=4. 3. 51.= See variants. There are several mistakes in the -assignment of speeches throughout this act. Not all of Gifford’s -changes, however, are to be accepted without question. Evidently, -if the question _where?_ is to be assigned to Wittipol, the first -speech must be an aside, as it is inconceivable that Merecraft should -introduce Fitzdottrel first under his own name, and then as the -‘Duke of Drown’d-land.’ - -My conception of the situation is this: Pug is playing the part -of gentleman usher. He enters and announces to Merecraft that -Fitzdottrel and his wife are coming. Merecraft whispers: ‘Master -Fitzdottrel and his wife! where?’ and then, as they enter, turns to -Wittipol and introduces them; ‘Madame,’ etc. - -=4. 4. 30 Your Allum Scagliola=, etc. Many of the words in this -paragraph are obscure, and a few seem irrecoverable. Doubtless Jonson -picked them up from various medical treatises and advertisements -of his day. I find no trace of _Abezzo_, which may of course be a -misprint for Arezzo. The meanings assigned to _Pol-dipedra_ and -_Porcelletto Merino_ are unsatisfactory. Florio gives ‘_Zucca_: -a gourd; a casting bottle,’ but I have been unable to discover -_Mugia_. The loss of these words is, to be sure, of no moment. Two -things illustrative of Jonson’s method are sufficiently clear. -(1) The articles mentioned are not, as they seem at first, merely -names coined for the occasion. (2) They are a polyglot jumble, -intended to make proficiency in the science of cosmetics as -ridiculous as possible. It is worth while to notice, however, that -this list of drugs is carefully differentiated from the list at -4. 4. 142 f., which contains the names of sweetmeats and perfumes. - -=4. 4. 32, 3 Soda di leuante, Or your Ferne ashes.= Soda-ash is still -the common trade name of sodium carbonate. In former times soda was -chiefly obtained from natural deposits and from the incineration -of various plants growing by the sea-shore. These sources have -become of little importance since the invention of artificial soda -by Leblanc toward the end of the eighteenth century (see _Soda_ -in _CD._). Florio’s definition of soda is: ‘a kind of Ferne-ashes -whereof they make glasses.’ Cf. also W. Warde, Tr. _Alessio’s Secr._, -Pt. 1 fol. 78^{m} 1º: ‘Take an vnce of Soda (which is asshes made -of grasse, whereof glassemakers do vse to make their Cristall).’ -In Chaucer’s _Squire’s Tale_ (11. 254 f.) the manufacture of glass -out of ‘fern-asshen’ is mentioned as a wonder comparable to that of -Canacee’s ring. - -=4. 4. 33 Beniamin di gotta.= The _Dict. d’Histoire Naturelle_, -Paris, 1843, 2. 509, gives: ‘Benjoin. Sa teinture, étendue d’eau, -sert à la toilette sous le nom de _Lait virginal_.’ See 4. 4. 52. - -=4. 4. 38 With a piece of scarlet.= Lady Politick Would-be’s remedies -in the _Fox_ are to be ‘applied with a right scarlet cloth.’ Scarlet -was supposed to be of great efficacy in disease. See Whalley’s note -on the _Fox_, _Wks._ 3. 234. - -=4. 4. 38, 9 makes a Lady of sixty Looke at sixteen.= Cunningham -thinks this is a reference to the _In decimo sexto_ of line 50. - -=4. 4. 39, 40 the water Of the white Hen, of the Lady Estifanias!= The -Lady Estifania seems to have been a dealer in perfumes and cosmetics. -In _Staple of News_, _Wks._ 5. 166, we read: ‘Right Spanish perfume, -the lady Estifania’s.’ Estefania is the name of a Spanish lady in B. & -Fl.’s _Rule a Wife_. - -=4. 4. 47 galley-pot.= Mistresse Gallipot is the name of a -tobacconist in Dekker’s and Middleton’s _Roaring Girle_. - -=4. 4. 50 In decimo sexto.= This is a bookbinder’s or printer’s -term, ‘applied to books, etc., a leaf of which is one-sixteenth of -a full sheet or signature.’ It is equivalent to ‘16mo.’ and hence -metaphorically used to indicate ‘a small compass, miniature’ (see -_Stanford_, p. 312). In _Cyn. Rev._, _Wks._ 2. 218, Jonson says: -‘my braggart in decimo sexto!’ Its use is well exemplified in John -Taylor’s _Works_, sig. L_1 v^{0/1}: ‘when a mans stomache is in Folio, -and knows not where to haue a dinner in Decimo sexto.’ The phrase -is fairly common in the dramatic literature. See Massinger, _Unnat. -Combat_ 3. 2; Middleton, _Father Hubburd’s Tales_, _Wks._ 8 64, etc. -In the present passage, however, the meaning evidently required -is ‘perfect: ’spotless,’ and no doubt refers to the comparative -perfection of a sexto decimo, or perhaps to the perfection naturally -to be expected of any work in miniature. - -=4. 4. 52 Virgins milke for the face.= Cf. John French, _Art -Distill._. Bk. 5. p. 135 (1651): ‘This salt being set in a cold -cellar on a marble stone, and dissolved into an oil, is as good as -any _Lac virginis_ to clear, and smooth the face.’ _Lac Virginis_ is -spoken of twice in the _Alchemist_, Act 2, but probably in neither -case is the cosmetic referred to. See Hathaway’s edition, p. 293. -Nash speaks of the cosmetic in _Pierce Pennilesse_, _Wks._ 2. 44: -‘She should haue noynted your face ouer night with _Lac virginis_.’ - -=4. 4. 55 Cataputia.= Catapuce is one of the laxatives that Dame -Pertelote recommended to Chauntecleer in Chaucer’s _Nonne Preestes -Tale_, l. 145. - -=4. 4. 63 Doe not you dwindle.= The use of _dwindle_ in this sense -is very rare. _NED._ thinks it is ‘probably a misuse owing to two -senses of _shrink_.’ It gives only a single example, _Alch._, _Wks._ -4. 163: ‘Did you not hear the coil about the door? _Sub._ Yes, and I -dwindled with it.’ Besides the two instances in Jonson I have noticed -only one other, in Ford, _Fancies chaste and noble_, _Wks._ 2. 291: -‘_Spa._ Hum, how’s that? is he there, with a wanion! then do I begin -to dwindle.’ - -=4. 4. 69 Cioppino’s.= The source of this passage, with the anecdote -which follows, seems to be taken from Coryat’s _Crudities_ (ed. -1776, 2. 36, 7): ‘There is one thing vsed of the Venetian women, and -some others dwelling in the cities and towns subject to the Signiory -of Venice, that is not to be obserued (I thinke) amongst any other -women in Christendome: which is so common in Venice, that no woman -whatsoeuer goeth without it, either in her house or abroad; a thing -made of wood, and couered with leather of sundry colors, some with -white, some redde, some yellow. It is called a Chapiney, which they -weare vnder their shoes. Many of them are curiously painted; some -also I haue seene fairely gilt: so vncomely a thing (in my opinion) -that it is pitty this foolish custom is not cleane banished and -exterminated out of the citie. There are many of these Chapineys of a -great heigth, euen half a yard high, which maketh many of their women -that are very short, seeme much taller then the tallest women we haue -in England. Also I haue heard that this is obserued amongst them, -that by how much the nobler a woman is, by so much the higher are her -Chapineys. All their Gentlewomen, and most of their wiues and widowes -that are of any wealth, are assisted and supported eyther by men or -women when they walke abroad, to the end they may not fall. They -are borne vp most commonly by the left arme, otherwise they might -quickly take a fall. For I saw a woman fall a very dangerous fall as -she was going down the staires of one of the little stony bridges -with her high Chapineys alone by her selfe: but I did nothing pitty -her, because shee wore such friuolous and (as I may truely term them) -ridiculous instruments, which were the occasion of her fall. For both -I myselfe, and many other strangers (as I haue obserued in Venice) -haue often laughed at them for their vaine Chapineys.’ - -=4. 4. 71, 2 Spanish pumps Of perfum’d leather.= Pumps are -first mentioned in the sixteenth century (Planché). A reference -to them occurs in _Midsummer Night’s Dream_, 1593-4, 4. 2. They -were worn especially by footmen. - -Spanish leather was highly esteemed at this time. Stubbes (_Anat. of -Abuses_, Part 1, p. 77) says: ‘They haue korked shooes, pinsnets, -pantoffles, and slippers, ... some of spanish leather, and some of -English lether.’ Marston (_Dutch Courtezan_, _Wks._ 2. 7) speaks of -a ‘Spanish leather jerkin,’ and Middleton (_Father Hubburd’s Tales_, -_Wks._ 8. 70) of ‘a curious pair of boots of King Philip’s leather,’ -and a little farther on (_Wks._ 8. 108) of Spanish leather shoes. -Fastidious Brisk’s boots are made of the same material (_Ev. Man -out_, _Wks._ 2. 147). Cf. also Dekker, _Wks._ 2. 305. - -Perfumes were much in fashion, and Stubbes’ _Anatomy_ has a great -deal to say on the subject. We hear of perfumed jerkins in Marston’s -_Malcontent_ (_Wks._ 1. 314) and in _Cynthia’s Revels_ (_Wks._ 2. -325). Spanish perfume for gloves is spoken of in the latter play -(p. 328) and in the _Alchemist_ (_Wks._ 4. 131) ‘your Spanish -titillation in a glove’ is declared to be the best perfume. - -=4. 4. 77, 8 The Guardo-duennas, such a little old man,= -=As this.= Minsheu gives the definition: ‘Escudero, m. An -Esquire, a Seruingman that waits on a Ladie or Gentlewoman, -in Spaine neuer but old men and gray beards.’ - -=4. 4. 81 flat spred, as an Vmbrella.= The umbrella of the -seventeenth century seems to have been used exclusively to protect -the face from the sun. Blount, _Glossographia_, 1670, gives: -‘_Umbrello_ (Ital. Ombrella), a fashion of round and broad Fans, -wherewith the Indians (and from them our great ones) preserve -themselves from the heat of the sun or fire; and hence any little -shadow, Fan, or other thing wherewith women guard their faces from -the sun.’ - -It was apparently not in use in England when Coryat published his -_Crudities_, which contains the following description (1. 135): ‘Also -many of them doe carry other fine things of a far greater price, that -will cost at the least a duckat, which they commonly call in the -Italian tongue _vmbrellaes_, that is, things that minister shadow -unto them for shelter against the scorching heate of the sunne. These -are made of leather something answerable to the forme of a little -cannopy, & hooped in the inside with diuers little wooden hoopes that -extend the _vmbrella_ in a pretty large compasse.’ - -‘As a defense from rain or snow it was not used in western -Europe till early in the eighteenth century.’--_CD._ - -=4. 4. 82 Her hoope.= A form of the farthingale (fr. -Sp. _Verdugal_) was worn in France, Spain, and Italy, and -in England as early as 1545. It gradually increased in size, -and Elizabeth’s farthingale was enormous. The aptness of the -comparison can be appreciated by reading Coryat’s description of -the umbrella above. - -=4. 4. 87 An Escudero.= See note 4. 4. 77, 8. - -=4. 4. 97 If no body should loue mee, but my poore -husband.= Cf. _Poetaster_, _Wks._ 2. 444: ‘Methinks a -body’s husband does not so well at court; a body’s friend, -or so--but, husband! ’tis like your clog to your marmoset,’ etc. - -=4. 4. 134 your Gentleman-vsher.= ‘Gentleman-Usher. -Originally a state-officer, attendant upon queens, and -other persons of high rank, as, in Henry VIII, Griffith is -gentleman-usher to Queen Catherine; afterwards a private -affectation of state, assumed by persons of distinction, or -those who pretended to be so, and particularly ladies. He -was then only a sort of upper servant, out of livery, whose -office was to hand his lady to her coach, and to walk before -her bare-headed, though in later times she leaned upon his -arm.’--Nares. - -Cf. Dekker, _West-ward Hoe_, _Wks._ 2. 324: ‘Weare furnisht for -attendants as Ladies are, We have our fooles, and our Vshers.’ - -The sources for a study of the gentleman-usher are the present play, -_The Tale of a Tub_, and Chapman’s _Gentleman Usher_. In the _Staple -of News_ the Lady Pecunia is provided with a gentleman-usher. The -principal duties of this office seem to have consisted in being -sent on errands, handing the lady to her coach, and preceding her -on any occasion where ceremony was demanded. In Chapman’s play -Lasso says that the disposition of his house for the reception of -guests was placed in the hands of this servant (cf. Chapman, _Wks._ -1. 263 f.). Innumerable allusions occur in which the requirement -of going bare-headed is mentioned (see note on 4. 4. 202). Another -necessary quality was a fine pace, which is alluded to in the present -character’s name (see also note 4. 4. 201). An excellent description -of the gentleman-usher will be found in Nares’ _Glossary,_ quoting -from Lenton’s _Leasures_, a book published in 1631, and now very rare. - -=4. 4. 142 the Dutchesse of Braganza.= Braganza is the -ruling house of Portugal. Dom John, Duke of Braganza, became -king of Portugal in 1640. - -=4. 4. 143 Almoiauna.= The _Stanford Dictionary_ gives: -‘Almojabana, Sp. fr. Arab. _Al-mojabbana_: cheese-and-flour cake. -Xeres was famed for this dainty, which is named from Arabic -_jobn_ = “cheese.”’ - -=4. 4. 147 Marquesse Muja.= Apparently a Spanish marquise, -occupying a position in society similar to that of Madame -Récamier. - -=4. 4. 156 A Lady of spirit.= With this line and lines 165 -f. cf. _U._ 32, _Wks._ 8. 356: - - To be abroad chanting some bawdy song, - And laugh, and measure thighs, then squeak, spring, itch, - Do all the tricks of a salt lady bitch! - --For these with her young company she’ll enter, - Where Pitts, or Wright, or Modet would not venture; - (Fol. reads ‘venter’) - And come by these degrees the style t’inherit - Of woman of fashion, and a lady of spirit. - -=4. 4. 164 Pimlico.= See note 3. 3. 170. - -=4. 4. 164 daunce the Saraband.= The origin of the saraband is in -doubt, being variously attributed to Spain and to the Moors. It -is found in Europe at the beginning of the sixteenth century, and -its immoral character is constantly referred to. Grove (_Dict. of -Music_ 3. 226) quotes from chapter 12, ‘Del baile y cantar llamado -Zarabanda,’ of the _Tratado contra los Juegos Publicos_ (‘Treatise -against Public Amusements’) of Mariana (1536-1623): ‘Entre las otras -invenciones ha salido estos años un baile y cantar tan lacivo en las -palabras, tan feo en las meneos, que basta para pegar fuego aun á las -personas muy honestas’ (‘amongst other inventions there has appeared -during late years a dance and song, so lascivious in its words, so -ugly in its movements, that it is enough to inflame even very modest -people’). ‘This reputation was not confined to Spain, for Marini in -his poem “L’Adone” (1623) says: - - Chiama questo suo gioco empio e profano - Saravanda, e Ciaccona, il nuova Ispano. - -Padre Mariana, who believed in its Spanish origin, says that its -invention was one of the disgraces of the nation, and other authors -attribute its invention directly to the devil. The dance was attacked -by Cervantes and Guevara, and defended by Lope de Vega, but it seems -to have been so bad that at the end of the reign of Philip II. it was -for a time suppressed. It was soon, however, revived in a purer form -and was introduced at the French court in 1588’ (Grove 3. 226-7). - -In England the saraband was soon transformed into an ordinary -country-dance. Two examples are to be found in the first edition of -Playford’s _Dancing Master_, and Sir John Hawkins (_Hist. of the -Science and Practice of Music_, 1776) speaks of it several times. -‘Within the memory of persons now living,’ he says, a Saraband -danced by a Moor was constantly a part of the entertainment at a -puppet-show’ (4. 388). In another place (2. 135), in speaking of the -use of castanets at a puppet-show, he says: ‘That particular dance -called the Saraband is supposed to require as a thing of necessity, -the music, if it may be called so, of this artless instrument.’ - -In the _Staple of News_, _Wks._ 5. 256, Jonson speaks of ‘a light -air! the bawdy Saraband!’ - -=4. 4. 165 Heare, and talke bawdy; laugh as loud, as a larum.= Jonson -satirizes these vices again in _U. 67_ (see note 4. 4. 156) and -_Epigrams_ 48 and _115_. Dekker (_Guls Horne-booke_, _Non-dram. Wks._ -2. 238) advises the young gallant to ‘discourse as lowd as you can, -no matter to what purpose, ... and laugh in fashion, ... you shall be -much obserued.’ - -=4. 4. 172 Shee must not lose a looke on stuffes, or cloth.= It being -the fashion to ‘swim in choice of silks and tissues,’ plain woolen -cloth was despised. =4. 4. 187 Blesse vs from him!= Preserve us. A -precaution against any evil that might result from pronouncing the -devil’s name. Cf. _Knight of the Burning Pestle_ 2. 1: Sure the devil -(God bless us!) is in this springald!’ and Wilson, _The Cheats_, -Prologue: - - No little pug nor devil,--bless us all! - -=4. 4. 191, 2 What things they are? That nature should be at leasure= -=Euer to make ’hem!= Cf. _Ev. Man in_, _Wks._ 1. 119: ‘O manners that -this age should bring forth such creatures! that nature should be at -leisure to make them!’ - -=4. 4. 197 Hee makes a wicked leg.= Gifford thinks that _wicked_ here -means ‘awkward or clownish.’ It seems rather to mean ‘roguish,’ a -common colloquial use. - -=4. 4. 201 A setled discreet pase.= Cf. 3. 5. 22; 2. 7. 33; and -Dekker, _Guls Horne-booke_, _Non-dram. Wks._ 2. 238: ‘Walke -vp and downe by the rest as scornfully and as carelesly as a -Gentleman-Usher.’ - -=4. 4. 202 a barren head, Sir.= Cf. 2. 3. 36, 7 and 4. 2. 12. -Here again we have a punning allusion to the uncovered head of -the gentleman-usher. ‘It was a piece of state, that the servants -of the nobility, particularly the gentleman-usher, should attend -bare-headed.’ Nares, _Gloss._ For numerous passages illustrating the -practice both in regard to the gentleman-usher and to the coachman, -see the quotations in Nares, and Ford, _Lover’s Melancholy_, _Wks._ -1. 19; Chapman, _Gentleman-Usher_, _Wks._ 1. 263; and the following -passage, _ibid._ 1. 273: - - _Vin._ I thanke you sir. - Nay pray be couerd; O I crie you mercie, - You must be bare. - _Bas._ Euer to you my Lord. - _Vin._ Nay, not to me sir, - But to the faire right of your worshipfull place. - -A passage from Lenton (see note 4. 4. 134) may also be quoted: ‘He is -forced to stand bare, which would urge him to impatience, but for the -hope of being covered, or rather the delight hee takes in shewing his -new-crisp’t hayre, which his barber hath caused to stand like a print -hedge, in equal proportion.’ - -The dramatists ridiculed it by insisting that the coachman should be -not only bare-headed, but bald. Cf. 2. 3. 36 and Massinger, _City -Madam_, _Wks._ p. 331: ‘Thou shalt have thy proper and bald-headed -coachman.’ Jonson often refers to this custom. Cf. _Staple of News_, -_Wks._ 5. 232: - - Such as are bald and barren beyond hope, - Are to be separated and set by - For ushers to old countesses: and coachmen - To mount their boxes reverently, etc. - -_New Inn_, _Wks._ 5. 374: - - _Jor._ Where’s thy hat?... - _Bar._ The wind blew’t off at Highgate, and my lady - Would not endure me light to take it up; - But made me drive bareheaded in the rain. - _Jor._ That she might be mistaken for a countess? - -Cf. also _Mag. La._, _Wks._ 6. 36, and _Tale Tub_, -_Wks._ 6. 217 and 222. - -=4. 4. 204 his Valley is beneath the waste.= ‘Waist’ and ‘waste’ were -both spelled _waste_ or _wast_. Here, of course, is a pun on the two -meanings. - -=4. 4. 206 Dulnesse vpon you! Could not you hit this?= Cf. _Bart. -Fair_, _Wks._ 4. 358: ‘Now dullness upon me, that I had not that -before him.’ - -=4. 4. 209 the French sticke.= Walking-sticks of various sorts are -mentioned during the sixteenth and seventeenth centuries. ‘In Chas. -II.’s time the French walking-stick, with a ribbon and tassels to -hold it when passed over the wrist, was fashionable, and continued -so to the reign of George II.’ (Planché). - -=4. 4. 215, 6 report the working, Of any Ladies physicke.= In -Lenton’s _Leasures_ (see note 4.4.134) we find: ‘His greatest -vexation is going upon sleevelesse arrands, to know whether some lady -slept well last night, or how her physick work’d i’ th’ morning, -things that savour not well with him; the reason that ofttimes he -goes but to the next taverne, and then very discreetly brings her -home a tale of a tubbe.’ - -Cf. also B. & Fl., _Fair Maid of the Inn_ 2. 2: ‘_Host._ And have -you been in England?... But they say ladies there take physic for -fashion.’ - -Dekker, _Guls Horne-booke_, _Non-dram. Wks._ 2. 255, speaks of ‘a -country gentleman that brings his wife vp to learne the fashion, -see the Tombs at Westminster, the Lyons in the Tower, or to take -physicke.’ In the 1812 reprint the editor observes that in Jonson’s -time ‘fanciful or artful wives would often persuade their husbands -to take them up to town for the advantage of _physick_, when the -principal object was dissipation.’ - -=4. 4. 219 Corne-cutter.= This vulgar suggestion renders hopeless -Pug’s pretensions to gentility. Corncutters carried on a regular -trade (see _Bart. Fair_ 2. 1.), and were held in the greatest -contempt, as we learn from Nash (_Four Letters Confuted_, _Wks._ 2. -211). - -=4. 4. 232 The Moone.= I. e., see that the moon and zodiacal sign are -propitious. - -=4. 4. 235 Get their natiuities cast!= Astrology was a favorite -subject of satire. Cf. Massinger, _City Madam_ 2. 2; B. & Fl., _Rollo -Duke of Normandy_ 4. 2, etc. - -=4. 5. 31, 2 his valour has At the tall board bin question’d.= _Tall -board_ is, I think, the same as _table-board_, a gaming-table. In -Dyce’s edition of Webster’s _Devil’s Law Case_ (_Wks._ 2. 38) we -read: ‘shaking your elbow at the table-board.’ Dyce says in a note -that the old folio reads _Taule-board_. _Tables_ is derived from Lat. -_Tabularum lusus_ › Fr. _Tables_. The derivation, _table_ › _tavl_ › -_taul_ › _tall_, presents no etymological difficulties. A note from -Professor Joseph Wright of Oxford confirms me in my theory. - -The passage seems to mean that Merecraft was accused of cheating, -and, his valor not rising to the occasion, his reputation for honesty -was left somewhat in doubt. - -=4. 6. 38-41 intitle Your vertue, to the power, vpon a life ... Euen -to forfeit.= Wittipol is ‘wooing in language of the pleas and bench.’ -Cf. 4. 7. 62. - -=4. 6. 42 We haue another leg-strain’d, for this Dottrel.= See -variants, and note 2. 2. 49, 50. - -=4. 6. 49 A Phrentick.= See note 5. 8. 91-2. - -=4. 7. 37-40.= See variants. Gifford silently follows Whalley’s -changes, which are utterly unwarrantable. Cunningham points out the -wrong division in 37, 8. The scansion is thus indicated by Wilke -(_Metrische Untersuchungen_, p. 3): - - Of a/ most wor/thy gen/tleman./ Would one - Of worth/ had spoke/ it: whence/ it comes,/ it is - Rather/ a shame/ to me,/ ͝ then/ a praise. - -The missing syllable in the third verse is compensated for by the -pause after the comma. This is quite in accordance with Jonson’s -custom (see Wilke, p. 1 f.). - -=4. 7. 45 Publication.= See 3. 3. 137. - -=4. 7. 54 I sou’t him.= See variants. Gifford says that he can make -nothing of _sou’t_ but _sought_ and _sous’d_, and that he prefers the -latter. Dyce (_Remarks_) confidently asserts that the word is the -same as _shue_, ‘to frighten away poultry,’ and Cunningham accepts -this without question. There seems, however, to be no confirmation -for the theory that the preterit was ever spelt _sou’t_. Wright’s -_Dialect Dictionary_ gives: ‘_Sough._ 19. to strike; to beat -severely,’ but the pronunciation here seems usually to be _souff_. -Professor Wright assures me that _sous’d_ is the correct reading, -and that the others are ‘mere stupid guesses.’ - -=4. 7. 62 in possibility.= A legal phrase used of contingent -interests. See note 4. 6. 38, 9. - -=4. 7. 65 Duke O’ Shore-ditch.= ‘A mock title of honour, conferred on -the most successful of the London archers, of which this account is -given: - -When Henry VIII became king, he gave a prize at Windsor to those -who should excel at this exercise, (archery) when Barlo, one of -his guards, an inhabitant of Shoreditch, acquired such honor as an -archer, that the king created him _duke of Shoreditch_, on the spot. -This title, together with that of marquis of Islington, earl of -Pancridge, etc., was taken from these villages, in the neighborhood -of Finsbury fields, and continued so late as 1683. Ellis’s _History -of Shoreditch_, p. 170. - -The latest account is this: In 1682 there was a most magnificent -entertainment given by the Finsbury archers, when they bestowed the -title of _duke of Shoreditch_, etc., upon the most deserving. The -king was present. _Ibid._ 173.’--Nares, _Gloss_. - -Entick (_Survey_ 2. 65) gives an interesting account of a match which -took place in 1583. The Duke of Shoreditch was accompanied on this -occasion by the ‘marquises of _Barlow_, _Clerkenwell_, _Islington_, -_Hoxton_, and _Shaklewell_, the earl of _Pancras_, etc. These, to -the number of 3000, assembled at the place appointed, sumptuously -apparelled, and 942 of them had gold chains about their necks. -They marched from merchant-taylors-hall, preceded by whifflers and -bellmen, that made up the number 4000, besides pages and footmen; -performing several exercises and evolutions in _Moorfields_, and at -last shot at the target for glory in _Smithfield_.’ - -=4. 7. 69 Ha’.= See variants. The original seems to me the more -characteristic reading. - -=4. 7. 84 after-game.= Jonson uses the expression again in the -_New Inn, Wks._ 5. 402: - - And play no after-games of love hereafter. - - -ACT V. - -=5. 1. 28 Tyborne.= This celebrated gallows stood, it is believed, on -the site of Connaught Place. It derived the name from a brook in the -neighborhood (see Minsheu, Stow, etc.). - -=5. 1. 29 My L. Majors Banqueting-house.= This was in Stratford -Place, Oxford Street. It was ‘erected for the Mayor and Corporation -to dine in after their periodical visits to the Bayswater and -Paddington Conduits, and the Conduit-head adjacent to the -Banqueting-House, which supplied the city with water. It was taken -down in 1737, and the cisterns arched over at the same time.’--Wh-C. - -Stow (ed. 1633, pp. 475-6) speaks of ‘many faire Summer houses’ in -the London suburbs, built ‘not so much for use and profit, as for -shew and pleasure.’ - -The spelling _Major_ seems to be a Latin form. Mr. Charles Jackson -(_N. & Q._ 4. 7. 176) mentions it as frequently used by the mayors -of Doncaster in former days. Cf. also Glapthorne (_Wks._ 1. 231) and -_Ev. Man in_ (Folio 1616, 5. 5. 41). - -=5. 1. 41 my tooth-picks.= See note 4. 2. 26. - -=5. 1. 47 Saint Giles’es.= ‘Now, without the postern of Cripplesgate, -first is the parish church of Saint Giles, a very fair and large -church, lately repaired, after that the same was burnt in the year -1545.’--Stow, _Survey_, ed. Thoms, p. 112. - -=5. 1. 48 A kind of Irish penance!= ‘There is the same allusion to -the _rug gowns_ of the wild Irish, in the _Night Walker_ of Fletcher: - - We have divided the sexton’s household stuff - Among us; one has the _rug_, and he’s turn’d _Irish_.’--G. - -Cf. also Holinshed, _Chron._ (quoted _CD._):‘As they distill the best -aqua-vitæ, so they spin the choicest _rug_ in Ireland.’ Fynes Moryson -(_Itinerary_, fol. 1617, p. 160) says that the Irish merchants were -forbidden to export their wool, in order that the peasants might -‘be nourished by working it into cloth, namely, Rugs ... & mantles -generally worn by men and women, and exported in great quantity.’ - -Jonson mentions rug as an article of apparel several times. In -_Alch._, _Wks._ 4. 14, it is spoken of as the dress of a poor man -and _ibid._ 4. 83 as that of an astrologer. In _Ev. Man out_ (_Wks._ -2. 110) a similar reference is made, and here Gifford explains that -rug was ‘the usual dress of mathematicians, astrologers, &c., when -engaged in their sublime speculations.’ Marston also speaks of rug -gowns as the symbol of a strict life (_What You Will_, _Wks._ 2. 395): - - Lamp-oil, watch-candles, rug-gowns, and small juice, - Thin commons, four o’clock rising,--I renounce you all. - -=5. 2. 1 ff. put me To yoaking foxes,= etc. Several at least of -the following employments are derived from proverbial expressions -familiar at the time. Jonson speaks of ‘milking he-goats’ in -_Timber,_ ed. Schelling, p. 34, which the editor explains as ‘a -proverbial expression for a fruitless task.’ The occupation of lines -5-6 is adapted from a popular proverb given by Cotgrave: ‘J’aymeroy -autant tirer vn pet d’un Asne mort, que. I would as soone vndertake -to get a fart of a dead man, as &c.’ Under _Asne_ he explains the -same proverb as meaning ‘to worke impossibilities.’ This explains -the passage in _Staple of News_ 3. 1., _Wks._ 5. 226. The proverb -is quoted again in _Eastward Ho_, Marston, _Wks._ 3. 90, and in -Wm. Lilly’s Observations,’ _Hist._, pp. 269-70. ‘Making ropes of -sand’ was Iniquity’s occupation in 1. 1. 119. This familiar proverb -first appears in Aristides 2. 309: ἑκ ψάμμου σχοινίον πλέκειν. In -the _New Inn_, _Wks._ 5. 394, Lovel says: ‘I will go catch the wind -first in a sieve.’ Whalley says that the occupation of ‘keeping -fleas within a circle’ is taken from Socrates’ employment in the -_Clouds_ of Aristophanes (ll. 144-5). Gifford, however, ridicules -the notion. Jonson refers to the passage in the _Clouds_ in _Timber_ -(ed. Schelling, 82. 33), where he thinks it would have made the -Greeks merry to see Socrates ‘measure how many foot a flea could -skip geometrically.’ But here again we seem to have a proverbial -expression. It occurs in the morality-play of _Nature_, 642. II -(quoted by Cushman, p. 116): - - I had leiver keep as many flese, - Or wyld hares in an opyn lese, - As undertake that. - -=5. 2. 32.= Scan: - - And three/ pence. ͝/ Give me/ an an/swer. Sir. - -Thos. Keightley, _N. & Q._ 4. 2. 603, suggests: - - And your threepence, etc. - -=5. 2. 35 Your best songs Thom. O’ Bet’lem.= ‘A song entitled “Mad -Tom” is to be found in Percy’s _Reliques_; Ballad Soc. Roxb. Ball., -2. p. 259; and Chappell’s _Old Pop. Mus._ The exact date of the poem -is not known.’--H. R. D. Anders, _Shakespeare’s Books_, p. 24-5. - -Bethlehem Royal Hospital was originally founded ‘to have been a -priory of canons,’ but was converted to a hospital for lunatics in -1547. In Jonson’s time it was one of the regular sights of London, -and is so referred to in Dekker’s _Northward Hoe_, _Wks._ 3. 56 f.; -_Sil. Wom._, _Wks._ 3. 421; _Alch._, _Wks._ 4. 132. - -=5. 3. 6 little Darrels tricks.= John Darrel (fl. 1562-1602) was -born, it is believed, at Mansfield, Nottinghamshire, about 1562. -He graduated at Cambridge, studied law, and then became a preacher -at Mansfield. He began to figure as an exorcist in 1586, when he -pretended to cast out an evil spirit from Catherine Wright of Ridgway -Lane, Derbyshire. In 1596 he exorcised Thomas Darling, a boy of -fourteen, of Burton-on-Trent, for bewitching whom Alice Goodrich was -tried and convicted at Derby. A history of the case was written by -Jesse Bee of Burton (Harsnet, _Discovery_, p. 2). The boy Darling -went to Merton College, and in 1603 was sentenced by the Star-chamber -to be whipped, and to lose his ears for libelling the vice-chancellor -of Oxford. In March, 1596-7, Darrel was sent for to Clayworth Hall, -Shakerly, in Leigh parish, Lancashire, where he exorcised seven -persons of the household of Mr. Nicholas Starkie, who accused one -Edmund Hartley of bewitching them, and succeeded in getting the -latter condemned and executed in 1597. In November, 1597, Darrel was -invited to Nottingham to dispossess William Somers, an apprentice, -and shortly after his arrival was appointed preacher of St. Mary’s -in that town, and his fame drew crowded congregations to listen -to his tales of devils and possession. Darrel’s operations having -been reported to the Archbishop of York, a commission of inquiry -was issued (March 1597-8), and he was prohibited from preaching. -Subsequently the case was investigated by Bancroft, bishop of London, -and S. Harsnet, his chaplain, when Somers, Catherine Wright, and Mary -Cooper confessed that they had been instructed in their simulations -by Darrel. He was brought before the commissioners and examined at -Lambeth on 26 May 1599, was pronounced an impostor, degraded from the -ministry and committed to the Gatehouse. He remained in prison for -at least a year, but it is not known what became of him. -(Abridged from _DNB._) - -Jonson refers to Darrel again in _U._ 67, _Wks._ 8. 422: - - This age will lend no faith to Darrel’s deed. - -=5. 3. 27 That could, pitty her selfe.= See variants. - -=5. 3. 28 in Potentiâ.= Jonson uses the phrase again in the -_Alchemist_, _Wks._ 4. 64: ‘The egg’s ... a chicken _in potentia_.’ -It is a late Latin phrase. See Gloss. - -=5. 4. 17 my proiect o’ the forkes.= Forks were just being introduced -into England at this time, and were a common subject of satire. The -first mention of a fork recorded in the _NED._ is: ‘1463 _Bury Wills_ -(Camden) 40, I beqwethe to Davn John Kertelynge my silvir forke for -grene gyngour.’ - -Cf. Dekker, _Guls Horne-booke_, _Non-dram. Wks._ 2. 211: ‘Oh golden -world, the suspicious Venecian carued not his meate with a siluer -pitch-forke.’ B. & Fl., _Queen of Corinth_ 4. 1 (quoted by Gifford): - - It doth express th’ enamoured courtier, - As full as your fork-carving traveler. - -_Fox_, _Wks._ 3. 261: - - --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;) - -Coryat has much to say on the subject (_Crudities_ 1. 106): ‘I -obserued a custome in all those Italian Cities and Townes through -the which I passed, that is not vsed in any other country that I -saw in my trauels, neither doe I thinke that any other nation of -Christendome doth vse it, but only Italy. The Italian and also most -strangers that are commorant in Italy, doe alwaies in their meales -vse a little forke when they cut their meate. For while with their -knife which they hold in one hand they cut the meate out of the -dish, they fasten their forke which they hold in their other hand -vpon the same dish, so that whatsoeuer he be that sitting in the -company of any others at meale, should vnadvisedly touch the dish of -meate with his fingers from which all at the table doe cut, he will -giue occasion of offence vnto the company, as hauing transgressed -the lawes of good manners.... This forme of feeding I vnderstand is -generally vsed in all places of Italy, their forkes being for the -most part made of yron or steele, and some of siluer, but those are -vsed only by Gentlemen.’ Coryat carried this custom home with him to -England, for which a friend dubbed him _furcifer_. This passage is -doubtless the source of Jonson’s lines. Compare the last sentence of -the quotation with lines 30, 31 of this scene. - -=5. 4. 23, 4 on my priuate, By cause.= See variants. There is no -necessity for change. Cf. 1616 Sir R. Dudley in _Fortesc. Papers_ 17: -‘Nor am I so vaine ... bycause I am not worth so much.’ The same form -occurs in _Sad Shepherd_ (Fol. 1631-40, p. 143): - - But, beare yee Douce, bycause, yee may meet mee. - -Gabriel Harvey uses both the forms _by cause_ and _bycause_. -_Prose Wks_. 1. 101; 102; et frequenter. - -=5. 4. 34 at mine owne ap-perill.= The word is of rare occurrence. -Gifford quotes _Timon of Athens_ 1. 2: ‘Let me stay at thine -apperil, Timon;’ and refers to _Mag. La._, _Wks._ 6. 109: ‘Faith, I -will bail him at mine own apperil.’ It occurs again in _Tale Tub_, -_Wks._ 6. 148: ‘As you will answer it at your apperil.’ - -=5. 5. 10, 11 I will leaue you To your God fathers in Law.= ‘This -seems to have been a standing joke for a jury. It is used by -Shakespeare and by writers prior to him. Thus Bulleyn, speaking of -a knavish ostler, says, “I did see him ones aske blessyng to xii -godfathers at ones.” _Dialogue_, 1564.’--G. - -The passage from Shakespeare is _Merch. of Ven._ 4. 1. 398: - - In christening, shalt thou have two godfathers: - Had I been judge, thou should’st have had ten more, - To bring thee to the gallows, not the font. - -Cf. also _Muse’s Looking Glass_, _O. Pl._ 9. 214: ‘Boets! -I had rather zee him remitted to the jail, and have his twelve -godvathers, good men and true contemn him to the gallows.’ - -=5. 5. 50, 51 A Boy O’ thirteene yeere old made him an Asse= -=But t’toher day.= Whalley believed this to be an allusion to the -‘boy of Bilson,’ but, as Gifford points out, this case did not occur -until 1620, four years after the production of the present play. -Gifford believes Thomas Harrison, the ‘boy of Norwich,’ to be alluded -to. A short account of his case is given in Hutchinson’s _Impostures -Detected_, pp. 262 f. The affair took place in 1603 or 1604, and it -was thought necessary to ‘require the Parents of the said Child, that -they suffer not any to repair to their House to visit him, save such -as are in Authority and other Persons of special Regard, and known -Discretion.’ Hutchinson says that Harrison was twelve years old. It -is quite possible, though not probable, that Jonson is referring -again to the Boy of Burton, who was only two years older. -See note 5. 3. 6. - -=5. 5. 58, 59 You had some straine ‘Boue E-la?= Cf. 1593 Nash, -_Christ’s Tears_, _Wks._ 4. 188: ‘You must straine your wits an Ela -aboue theyrs.’ Cf. also Nash, _Wks._ 5. 98 and 253; Lyly, _Euphues_, -Aij; and Gloss. - -=5. 6. 1 your garnish.= ‘This word _garnish_ has been made familiar -to all time by the writings of John Howard. “A cruel custom,” says -he, “obtains in most of our gaols, which is that of the prisoners -demanding of a newcomer _garnish_, footing, or (as it is called in -some London gaols) chummage. _Pay_ or _strip_ are the fatal words. I -say fatal, for they are so to some, who, having no money, are obliged -to give up part of their scanty apparel; and if they have no bedding -or straw to sleep on, contract diseases which I have known to prove -mortal.”’--C. - -Cf. Dekker, _If this be not a good Play_, _Wks._ 3. 324: - - Tis a strong charme gainst all the noisome smels - Of Counters, Iaylors, garnishes, and such hels. - -and Greene, _Upstart Courtier_, Dija: ‘Let a poore man be arrested -... he shal be almost at an angels charge, what with garnish, -crossing and wiping out of the book ... extortions ... not allowed by -any statute.’ - -The money here seems to have been intended for the jailer, rather -than for Pug’s fellow-prisoners. The custom was abolished by 4 George -IV. c. 43, § 12. - -=5. 6. 10 I thinke Time be drunke, and sleepes.= Cf. 1. 4. 31. For -the metaphor cf. _New Inn_, _Wks._ 5. 393: - - If I but knew what drink the time now loved. - -and _Staple of News_, _Wks._ 5. 162: - - --Now sleep, and rest; - Would thou couldst make the time to do so too. - -=5. 6. 18 confute.= ‘A pure Latinism. _Confutare_ is properly to -pour cold water in a pot, to prevent it from boiling over; and hence -metaphorically, the signification of _confuting_, reproving, or -controuling.’--W. - -For the present use cf. T. Adams in Spurgeon, _Treas. Dav._, 1614, -Ps. lxxx. 20: ‘Goliath ... shall be confuted with a pebble.’ R. Coke, -_Justice Vind._ (1660) 15: ‘to be confuted with clubs and hissing.’ - -=5. 6. 21 the Session.= The general or quarter sessions were held -regularly four times a year on certain days prescribed by the -statutes. The length of time for holding the sessions was fixed at -three days, if necessity required it, but the rule was not strictly -adhered to. See Beard, _The Office of the Justice of the Peace in -England_, pp. 158 f. - -=5. 6. 23 In a cart, to be hang’d.= ‘Theft and robbery in their -coarsest form were for many centuries capital crimes.... The -question when theft was first made a capital crime is obscure, -but it is certain that at every period some thefts were punished -with death, and that by Edward I.’s time, at least, the distinction -between grand and petty larceny, which lasted till 1827, was fully -established.’--Stephen, _Hist. Crim. Law_ 3. 128 f. - -=5. 6. 24 The charriot of Triumph, which most of them are.= The -procession from Newgate by Holbom and Tyburn road was in truth -often a ‘triumphall egression,’ and a popular criminal like Jack -Sheppard or Jonathan Wild frequently had a large attendance. Cf. -Shirley, _Wedding_ 4. 3, _Wks._, ed. Gifford, 1. 425: ‘Now I’m in the -cart, riding up Holborn in a two-wheeled chariot, with a guard of -Halberdiers. _There goes a proper fellow_, says one; good people pray -for me: now I am at the three wooden stilts,’ etc. - -=5. 6. 48 a body intire.= Jonson uses the word in its strict -etymological sense. - -=5. 6. 54 cheated on.= Dyce (_Remarks_) points out that this phrase -is used in Mrs. Centlivre’s _Wonder_, Act 2. Sc. 1. Jonson uses it -again in _Mercury vindicated_: ‘and cheat upon your under-officers;’ -and Marston in _What You Will_, _Wks._ 2. 387. - -=5. 6. 64 Prouinciall o’ the Cheaters!= _Provincial_ is a term -borrowed from the church. See Gloss. Of the _cheaters_ Dekker gives -an interesting account in the _Bel-man of London_, _Non-dram. Wks._ -3. 116 f.: ‘Of all which _Lawes_, the _Highest_ in place, and the -_Highest_ in perdition is the _Cheating_ Law or the Art of winning -money by false dyce: Those that practise this studie call themselues -_Cheators_, / the dyce _Cheaters_, and the money which they purchase -[see note 3.4.31, 2.] _Cheates_ [see 1.7.4 and Gloss.]: borrowing the -tearme from our common Lawyers, with whome all such casuals as fall -to the Lord at the holding of his _Leetes_, as _Waifes_, _Strayes_, & -such like, are sayd to be _Escheated to the Lords vse_ and are called -_Cheates_.’ - -=5. 6. 64 Bawd-ledger.= Jonson speaks of a similar official in _Every -Man out_, _Wks._ 2. 132: ‘He’s a leiger at Horn’s ordinary (cant name -for a bawdy-house) yonder.’ See Gloss. - -=5. 6. 68 to sindge your nayles off.= In the fool’s song in _Twelfth -Night_ we have the exclamation to the devil: ‘paire thy nayles dad’ -(Furness’s ed., p. 273). The editor quotes Malone: ‘The Devil was -supposed from choice to keep his nails unpared, and therefore to pare -them was an affront. So, in Camden’s _Remaines_, 1615: “I will follow -mine owne minde, and mine old trade; who shall let me? the divel’s -nailes are unparde.”’ - -Compare also _Henry V._ 4. 4. 76: ‘Bardolph and Nym had ten times -more valor than this roaring devil i’ the old play, that every one -may pare his nails with a wooden dagger.’ - -=5. 6. 76 The Diuell was wont to carry away the euill.= Eckhardt, p. -100, points out that Jonson’s etymology of the word _Vice_, which -has been a matter of dispute, was the generally accepted one, that -is, from _vice_ = evil. - -=5. 7. 1 Iustice Hall.= ‘The name of the Sessions-house in the Old -Bailey.’--G. Strype, B. 3. p. 281 says that it was ‘a fair and -stately building, very commodious for that affair.’ ‘It standeth -backwards, so that it hath no front towards the street, only the -gateway leading into the yard before the House, which is spacious. -It cost above £6000 the building. And in this place the Lord Mayor, -Recorder, the Aldermen and Justices of the Peace for the County -of Middlesex do sit, and keep his Majesty’s Sessions of Oyer and -Terminer.’ It was destroyed in the Gordon Riots of 1780.--Wh-C. - -=5. 7. 9 This strange!= See variants. The change seriously injures the -metre, and the original reading should be preserved. Such absorptions -(_this_ for _this is_ or _this’s_) are not uncommon. Cf. _Macbeth_ 3. -4. 17, ed. Furness, p. 165: ‘yet he’s good’ for ‘yet he is as good.’ - -=5. 8. 2 They had giu’n him potions.= Jonson perhaps had -in mind the trial of Anne Turner and her accomplices in the -Overbury Case of the previous year. See Introduction, p. lxxii. -For a discussion of love-philtres see Burton, _Anat. of Mel._ -(ed. Bullen), 3. 145 f. - -=5. 8. 33 with a Wanion.= This word is found only in the -phrases ‘with a wanion,’ ‘in a wanion,’ and ‘wanions on you.’ It -is a kind of petty imprecation, and occurs rather frequently in -the dramatists, but its precise signification and etymology are -still in doubt. Boswell, _Malone_, 21. 61, proposed a derivation -from _winnowing_,‘a beating;’ Nares from _wanung_, Saxon, -‘detriment;’ Dyce (Ford’s _Wks._ 2. 291) from wan (vaande, -Dutch, ‘a rod or wand’), ‘of which _wannie_ and _wannion_ are -familiar diminutives.’ The _CD._ makes it a later form of ME. -_waniand_, ‘a waning,’ spec. of the moon, regarded as implying -ill luck. - -=5. 8. 34 If his hornes be forth, the Diuells companion!= -The jest is too obvious not to be a common one. Thus in -_Eastward Ho_ Slitgut, who is impersonating the cuckold at -Horn-fair, says: ‘Slight! I think the devil be abroad. in -likeness of a storm, to rob me of my horns!’,--Marston’s _Wks._ -3. 72. Cf. also _Staple of News_, _Wks._ 5. 186: ‘And why -would you so fain see the devil? would I say. Because he has horns, -wife, and may be a cuckold as well as a devil.’ - -=5. 8. 35 How he foames!= For the stock indications of -witchcraft see Introduction, p. xlix. - -=5. 8. 40 The Cockscomb, and the Couerlet.= Wittipol is -evidently selecting an appropriate name for Fitzdottrel’s -buffoonery after the manner of the puppet-shows. It is quite -possible that some actual _motion_ of the day was styled -‘the Coxcomb and the Coverlet.’ - -=5. 8. 50 shee puts in a pinne.= Pricking with pins and needles was -one of the devil’s regular ways of tormenting bewitched persons. They -were often supposed to vomit these articles. So when Voltore feigns -possession, Volpone cries out: ‘See! He vomits crooked pins’ (_The -Fox_, _Wks._ 3. 312). - -=5. 8. 61 the Kings Constable.= ‘From the earliest times to our -own days, there were two bodies of police in England, namely, the -parish and high constables, and the watchmen in cities and boroughs. -Nothing could exceed their inefficiency in the 17th century. Of the -constables, Dalton (in the reign of James I.) observes that they “are -often absent from their houses, being for the most part husbandmen.” -The charge of Dogberry shows probably with no great caricature -what sort of watchmen Shakespeare was familiar with. As late as -1796, Colquhoun observes that the watchmen “were aged and often -superannuated men.” ’--Sir J. Stephen, _Hist. Crim. Law_ 1. 194 f. - -=5. 8. 71 The taking of Tabacco, with which the Diuell= - -=Is so delighted.= This was an old joke of the time. In Middleton’s -_Black Book_, _Wks._ 8. 42 f. the devil makes his will, a part of -which reads as follows: ‘But turning my legacy to you-ward, Barnaby -Burning-glass, arch-tobacco-taker of England, in ordinaries, upon -stages both common and private, and lastly, in the lodging of your -drab and mistress; I am not a little proud, I can tell you, Barnaby, -that you dance after my pipe so long, and for all counter-blasts and -tobacco-Nashes (which some call railers), you are not blown away, -nor your fiery thirst quenched with the small penny-ale of their -contradictions, but still suck that dug of damnation with a long -nipple, still burning that rare Phoenix of Phlegethon, tobacco, that -from her ashes, burned and knocked out, may arise another pipeful.’ - -Middleton here refers to Nash’s _Pierce Pennilesse_ and King James -I.’s _Counterblast to Tobacco_. The former in his supplication to the -devil says: ‘It is suspected you have been a great _tobacco_-taker -in your youth.’ King James describes it as ‘a custom loathsome to -the eye, hateful to the nose, harmful to the brain, dangerous to the -lungs, and in the black stinking fume thereof, nearest resembling the -horrid stygian smoke of the pit that is bottomless.’ - -The dramatists seem never to grow tired of this joking allusion to -the devil and his pipe of tobacco. Cf. Dekker, _If this be not a good -Play_, _Wks._ 3. 293: ‘I think the Diuell is sucking Tabaccho, heeres -such a Mist.’ _Ibid._ 327: ‘Are there gentleman diuels too? this -is one of those, who studies the black Art, thats to say, drinkes -Tobacco.’ Massinger, _Guardian_, _Wks._, p. 344: - - --You shall fry first - For a rotten piece of touchwood, and give fire - To the great fiend’s nostrils, when he smokes tobacco! - -Dekker (_Non-dram. Wks._ 2. 89) speaks of ‘that great _Tobacconist_ -the Prince of Smoake & darknes, _Don Pluto_.’ - -The art of _taking_ or _drinking_ tobacco was much cultivated -and had its regular professors. The _whiff_, the _ring_, etc., -are often spoken of. For the general subject see Dekker, _Guls -Horne-booke_; Barnaby Riche, _Honestie of this Age_, 1613; Harrison, -_Chronology_, 1573; _Every Man in_, etc. An excellent description of -a tobacconist’s shop is given in _Alchemist_, _Wks._ 4. 37. For a -historical account of its introduction see Wheatley. _Ev. Man in_, -p. xlvii. - -Jonson’s form _tabacco_ is the same as the Italian and Portuguese. -See Alden, _Bart. Fair_, p. 169. - -=5. 8. 74, 5 yellow=, etc. -=That’s Starch! the Diuell’s Idoll of that colour.= For the -general subject of yellow starch see note 1. 1. 112, 3. Compare -also Stubbes, _Anat. of Abuses_, p. 52: ‘The deuil, as he in -the fulness of his malice, first inuented these great ruffes, -so hath hee now found out also two great stayes to beare vp and -maintaine this his kingdome of great ruffes.... The one arch or -piller whereby his kingdome of great ruffes is vnderpropped, is -a certaine kinde of liquide matter which they call _starch_, -wherein the devil hath willed them to wash and diue his ruffes -wel.’ - -‘Starch hound’ and ‘Tobacco spawling (spitting)’ are the names -of two devils in Dekker’s _If this be not a good Play_, -_Wks._ 3. 270. Jonson speaks of ‘that idol starch’ again -in the _Alchemist_, _Wks._ 4. 92. - -=5. 8. 78 He is the Master of Players.= An evident allusion -to the Puritan attacks on the stage. This was the period of the -renewed literary contest. George Wither had lately published -his _Abuses stript and whipt_, 1613. For the whole subject see -Thompson, E. N. S., _The Controversy between the Puritans and -the Stage_, New York, 1903. - -=5. 8. 81 Figgum.= ‘In some of our old dictionaries, -_fid_ is explained to caulk with oakum: figgum, or fig’em, may -therefore be a vulgar derivative from this term, and signify the -lighted flax or tow with which jugglers stuff their mouths when -they prepare to amuse the rustics by breathing out smoke and -flames: - - --a nut-shell - With tow, and touch-wood in it, to spite fire (5. 3. 4. 5).’ - --G. - -=5. 8. 86, 7 to such a foole, He makes himselfe.= For the omission of -the relative adverb cf. 1. 3. 34, 35. - -=5. 8. 89 To come to dinner, in mee the sinner.= The conception of -this couplet and the lines which Fitzdottrel speaks below was later -elaborated in Cocklorrel’s song in the _Gipsies Metamorphosed_. Pluto -in Dekker’s _If this be not a good Play_, _Wks._ 3. 268, says that -every devil should have ‘a brace of whores to his breakfast.’ Such -ideas seem to be descended from the mediæval allegories of men like -Raoul de Houdanc, Ruteboeuf, etc. - -=5. 8. 91, 2 Are you phrenticke, Sir, Or what graue dotage moues -you.= ‘Dotage, fatuity, or folly, is a common name to all the -following species, as some will have it.... _Phrenitis_, which the -Greeks derive from the word φρήν, is a disease of the mind, with a -continual madness or dotage, which hath an acute fever annexed, or -else an inflammation of the brain, or the membranes or kells of it, -with an acute fever, which causeth madness and dotage.’--Burton, -_Anat. of Mel._, ed. Shilleto, 1. 159-60. - -=5. 8. 112 f. Οὶ μοὶ κακοδαίμων=, etc. See variants. ‘This -Greek is from the Plutus of Aristophanes, Act 4, Sc. 3.’--W. - -Accordingly to Blaydes’s edition, 1886, 11. 850-2. He reads -Οἴμοι κακοδαίμων, etc. (Ah! me miserable, and thrice miserable, -and four times, and five times, and twelve times, and ten -thousand times.) - -=5. 8. 116 Quebrémos=, etc. Let’s break his eye in jest. - -=5. 8. 118 Di grátia=, etc. If you please, sir, if you have -money, give me some of it. - -=5. 8. 119 f. Ouy, Ouy Monsieur=, etc. Yes, yes, sir, a -poor devil! a poor little devil! - -=5. 8. 121 by his seuerall languages.= Cf. Marston, _Malcontent_, -_Wks._ 1. 212: ‘_Mal._ Phew! the devil: let him possess thee; he’ll -teach thee to speak all languages most readily and strangely.’ - -=5. 8. 132 Such an infernall stincke=, etc. Dr. Henry More says that -the devil’s ‘leaving an ill smell behind him seems to imply the -reality of the business’, and that it is due to ‘those adscititious -particles he held together in his visible vehicle being loosened at -his vanishing’ (see Lowell, _Lit. Essays_ 2. 347). - -=5. 8. 133 St. Pulchars Steeple.= St. Sepulchre in the Bailey -(occasionally written St. ’Pulcher’s) is a church at the western end -of Newgate Street and in the ward of Farringdon Without. A church -existed here in the twelfth century. The church which Jonson knew was -built in the middle of the fifteenth century. The body of the church -was destroyed in the Great Fire of 1666. - -It was the custom formerly for the clerk or bellman of St. -Sepulchre’s to go under Newgate on the night preceding the execution -of a criminal, and, ringing his bell, to repeat certain verses, -calling the prisoner to repentance. Another curious custom observed -at this church was that of presenting a nosegay to every criminal on -his way to Tyburn (see Wh-C.). The executed criminals were buried in -the churchyard (d. Middleton, _Black Book_, _Wks._ 8. 25). - -Cunningham says that ‘the word _steeple_ was not used in the -restricted sense to which we now confine it. The _tower_ of St. -Sepulchre’s in Jonson’s time, must have been very much like what -we now see it as most carefully and tastefully restored.’ - -=5. 8. 134 as farre as Ware.= This is a distance of about 22 miles. -Ware is an ancient market-town of Herts, situated in a valley on the -north side of the river Lea. The ‘great bed of Ware’ is mentioned in -_Twelfth Night_ 3. 2. 51, and the town is characterized as ‘durty -Ware’ in Dekker’s _North-ward Hoe_, _Wks._ 3. 53. - -=5. 8. 142, 3 I will tell truth=, etc. Jonson uses this proverb again -in _Tale Tub_, _Wks._ 6. 150: ‘tell troth and shame the devil.’ - - - - -GLOSSARY - - -This glossary is designed to include obsolete, archaic, dialectal, -and rare words; current words used in obsolete, archaic, or -exceptional senses; and, so far as practicable, obsolete and archaic -phrases. Current words in current uses have occasionally been -included to avoid confusion, as well as technical words unfamiliar to -the ordinary reader. Favorite words have been treated, for the sake -of illustration, with especial fullness. - -For most words treated in its volumes published up to March, 1905, -Murray’s _New English Dictionary_ is the chief authority. For -words not reached by that work the _Century Dictionary_ has been -preferred. The _Stanford Dictionary_ has been found especially -useful for anglicized words. It has often been necessary to resort -to contemporary foreign dictionaries in the case of words of Romance -origin. - -It has been thought best to refer to all or nearly all important -passages. Etymologies are given only in cases of especial interest. - -A dagger [ † ] before a word or definition indicates that the word -or the particular meaning is obsolete; parallel lines [ || ] before -a word, that it has never become naturalized in English; an -interrogation point [ ? ], that the case is doubtful. - -=A=, _prep._ [Worn down from OE. preposition _an_, _on_.] -With _be_: engaged in. _Arch._ or _dial._ 5. 1. 4. - -†=A’=, _prep._ Worn down from _of_. 5. 2. 38. - -=Aboue=, _adv._ Surpassing in degree; exceedingly. 3. 6. 33. - -=Abuse=, _v._ †To impose upon, deceive. 5. 8. 140; -4. 2. 41; 4. 7. 80. - -=Academy=, _n._? A school of deportment. 2. 8. 20; 3. 5. 33. - -=Access=, _n._ †Approach; advance. 2. 6. 68. - -=Accompt=, _n._ [Form of _account_.] A report. 2. 7. 28. - -=Accomptant=, †_a._ [Form of _accountant_.] -Liable to give an account; accountable. 5. 2. 11. - -=Account=, _n._ †Reckoning, consideration. Phr. _make -account_: To reckon, consider. 4. 1. 10. - -=Acknowledge=, _v._ To recognize a service as (from a person). -4. 3. 19. - -=Admire=, _v. †intr._ To feel or express surprise; to wonder. -1. 1. 77. - -=Aduise=, _v._ To warn, dissuade †(from a course). 5. 4. 43. - -=Aërie=, _a._ [Form of _airy_.] Lively, vivacious. -4. 4. 157. aëry. 3. 5. 13. - -=Affection=, _n._ †Mental tendency; disposition. 4. 4. 126. - -=Afore=, _prep._ In the presence of. _Arch._ or _dial._ -4. 4. 167; 5. 5. 7. - -=Aforehand=, _adv._ _Arch._ In advance. 1. 3. 41. - -=After-game=, _n._ ‘_Prop._, a second game played in order to reverse -or improve the issues of the first; hence, “The scheme which may -be laid or the expedients which are practised after the original -game has miscarried; methods taken after the first turn of affairs” -(Johnson).’ _NED._ 4. 7. 84. - -|| =Alcorça=, _n._ Sp. ‘A conserue.’ Minsheu. - -=Alcorea=, _n._ pr. for _Alcorça_, _q. v._ 4. 4. 144. - -||=Allum Scagliola=, _n._ It.? Rock alum. 4. 4. 30. - -†=Almaine-leape=, _n._ A dancing-leap. 1. 1. 97. - -=Almanack-Man=, _n._ †A fortune-teller, foreteller. 1. 7. 25. - -||=Almoiauana=, _n._ Sp. ‘A kinde of cheese-cake.’ Minsheu. -4. 4. 143. - -=Almond milke=, _n._ ‘CHAMBERS _Cycl. Supp._, -_Almond-milk_ is a preparation made of sweet blanched almonds -and water, of some use in medicine, as an emollient.’ _NED._ -1. 6. 222. - -||=Aluagada=, _n. pr._ same as _Alvayálde_, _q. v._ 4. 4. 27. - -||=Aluayalde= or =Albayalde=, _n._ Sp. ‘A white colour to paint -womens faces called ceruse.’ Minsheu. - -=Ancient=, _a._? Belonging to an old family. 1. 2. 17. - -=And=, _conj._ †If. 3. 5. 39. and’. 1. 3. 23. an’. 1. 2. 31. - -=Angel=, _n._ ‘An old English gold coin, called more fully at first -the ANGEL-NOBLE, being originally a new issue of the Noble, having -as its device the archangel Michael standing upon, and piercing the -dragon.’ _NED._ Pr. about 10 s. 2. 1. 138. - -=Anone=, _adv._ Now again. P. 10. - -†=Ap-perill=, _n._ Risk. 5. 4. 34. - -||=Aqua nanfa=, _n._ Sp. [Corruption of _acqua nanfa_.] -‘Sweet water smelling of muske and Orenge-leaves.’ Florio. 4. 4. 146. - -||=Aqua-vitæ=, _n._ Any form of ardent spirits. 2. 1. 5. - -=Arbitrary=, _a._ _Law._ Discretionary; not fixed. 3. 3. 75. - -||=Arcana=, _n._ [_Pl._ of L. _a. arcanum_, -used _subst._] Secrets, mysteries. 4. 4. 151. - -||=Argentata=, _n._ It. ‘A painting for women’s faces.’ -Florio. 4. 4. 28. - -=Argument=, _n._ Subject-matter of discussion or discourse; -theme, subject. _Obs._ or _arch._ 1. 6. 10. - -=Arras=, _n._ [Arras, name of a town in Artois, famed for -its manufacture of the fabric.] A hanging screen of a rich -tapestry fabric formerly placed around the walls of household -apartments. 1. 2. 46. - -=Art=, _n._ 1. A contrivance. 1. 7. 24. †2. Magic art. -1. 5. 21. - -=Artist=, _n._ †A professor of magic arts; an astrologer. -1. 2. 22. - -=As=, _conj._ †With finite verb: That. 1. 4. 30; 1. 6. 61; -3. 2. 23. - -=As=, _adv._ Phr. _as that_: Even as (in parallel clause, -introducing a known circumstance with which a hypothesis is -contrasted). 5. 1. 20. - -=Assure=, _v._ †To secure. 3. 5. 68. - -=At=, _prep._ Upon. 1. 6. 114. - -=Atchieue=, _v._ [Form of _achieve_.] †To gain, win -(a material acquisition). 3. 5. 67. - -=Attemp=, _n._ [Form of _attempt_.] -Endeavor to win over. 2. 2. 30. - -=Attempt=, _v._ To try to win over, or seduce. -_Arch._ 4. 5. 7. - -=Audit=, _n._ A statement of account. _Fig._, _arch._ 3. 3. 229. - -=Aye=, _adv._ At all times, on all occasions. -(Now only _Sc._ and north _dial._) 1. 6. 220. - -=Ayre=, _n._ [Form of _air_.] Manner; sort. 2. 7. 21. - - -=Baffle=, _v._ †To treat with contempt. 4. 7. 73 SN. - -=Bag=, _n._ The sac (of the bee) containing honey. 2. 6. 112. - -=Bailie=, _n._ [Form of _bailiff_.] An officer of justice -under a sheriff; a warrant officer. 3. 3. 38. - -=Bane=, _n._ 1. Poison. 2. 7. 18. - †2. As _exclam._ ‘Plague.’ 5. 6. 66. - -=Banke=, _n._ †An artificial earthwork, an embankment. 2. 1. 56. - -=Bare=, _a._ Bare-headed. _Arch._ 2. 3. 37. - -=Bate=, _v._ †1. To deprive (_of_). 4. 1. 56. - †2. To make a reduction (_of_); to deduct. 2. 1. 83; 2. 1. 104. - -=Baudy=, 2. 8. 73. See _Bawdy_. - -=Bawd-ledger=, _n._ Resident minister to the bawds (a mock -title coined by Jonson). 5. 6. 64. - -=Bawdry=, _n._ _Arch._ Lewd talk; obscenity. 4. 1. 176. - -=Bawdy=, _a._ 1. Lewd. 2. 1. 167. 2. _absol. quasi-sb._ -Lewd language, obscenity. 4. 4. 165. baudy. 2. 8. 73. - -=Be=, _v. pl._ Are. _Obs._ or _dial._ 2. 8. 63. - -=Bed-fellow=, _n._ †Intimate companion. 2. 8. 9. - -=Behaue=, _v. †trans._ To manage. 2. 8. 71. - -=Benefit=, _n._ Advantage. †Phr. _make benefit of_: -To take advantage of. ?_Obs._ 2. 2. 98. - -=Beniamin=, _n._ Gum benzoin, an aromatic resin obtained -from the _Styrax benzoin_, a tree of Sumatra, Java, and the -neighboring islands, used in medicine, perfumery, and chemistry. - -||=Beniamin di gotta=, _n._ ?Gum benzoin in drops. -See _Beniamin_. 4. 4. 33. - -=Bespeake=, _v. trans._ w. _refl._ To engage. 1. 6. 214. - -=Bestow=, _v._ To deposit. _Arch._ 3. 2. 9. - -=Black-water=, _n._ 3. 3. 179. See_-water_. - -=Blanck manger=, _n._ [Form of _blancmange_.] †‘A dish composed -usually of fowl, but also of other meat, minced with cream, rice, -almonds, sugar, eggs, etc.’ _NED._ 1. 6. 240. - -=Blank=, _n._ ‘A small French coin, originally of silver, but -afterwards of copper; also a silver coin of Henry V. current in the -parts of France then held by the English. According to Littré, the -French _blanc_ was worth 5 deniers. The application of the name in -the 17th Cen. is uncertain.’ _NED._ 3. 3. 33. - -=Blesse=, _v._ †To protect, save (from). 4. 4. 187. - -=Blocke=, _n._ A mould. _Spec._ _Brokers blocke_: -A mould for clothes in a pawnbroker’s shop. 2. 7. 15. - -=Blocke-head=, _n._ †A wooden block for hats or wigs; -hence, a blockish or stupid head. 3. 5. 65. - -=Board=, _n._ Phr. _tall board_: ?A gaming table. 4. 5. 32. -See note. - -=Booke=, _n._ †A charter or deed; a written grant of -privileges. 3. 3. 67; 3. 3. 79. - -||=Borachio=, _n._ _Obs._ ‘A large leather bottle or bag -used in Spain for wine or other liquors.’ _NED._ 2. 1. 71. - -=Bound=, _ppl. a._ Under obligations of gratitude. 4. 1. 11. - -=Bouzy=, _a._ [Form of _bousy_.] Sotted. 5. 6. 25. - -=Brach=, _n._ _Arch._ A bitch-hound. 4. 4. 229. - -=Braue=, _a._ 1. Finely-dressed. _Arch._ 1. 4. 16; 2. 5. 11. - 2. A general epithet of admiration or praise. _Arch._ 1. 2. 52; - 2. 6. 75; 3. 4. 12; 4. 6. 29. - -†_interj._ 3. Capital! 1. 1. 67. - -=Brauery=, _n._ †A fine thing; a matter to boast or be -proud of. 3. 6. 47. - -=Breake=, _v._ †To speak confidentially (_with_ a person -_of_ a thing). 3. 4. 62. - -=Bring=, _v._ Phr. _bring up_: ?Augment, increase. 1. 4. 96. - -=Bristo-stone=, _n._ ‘A kind of transparent rock-crystal -found in the Clifton limestone near Bristol, resembling the -diamond in brilliancy.’ _NED._ 3. 3. 173. - -=Broker=, _n._ 1. A pawnbroker. 1. 1. 143; 1. 4. 19. - 2. With added function of agent or intermediary. 1. 4. 4. - -=Brooke=, _v._ †To endure; not to discredit; to be -sufficiently appropriate for. 2. 8. 63. - -=Buckram=, _a._ A kind of coarse -linen or cloth stiffened with gum or paste. 2. 1. 63. - -=Bullion=, _n._ †More fully, _bullion-hose_: -Trunk-hose, puffed out at the upper part, in several folds. 3. 3. 217. - -=Bush=, _n._ A branch of ivy used as vintner’s sign; hence, -the sign-board of a tavern. 3. 3. 170. - -=Businesse=, _n._ †1. Affectedly used for an ‘affair of - honor,’ a duel. 3. 3. 106. - †2. A misunderstanding, quarrel. 4. 1. 18. - -=Busse=, _v._ _Arch._ and _dial._ To kiss. 3. 6. 1. - -=Buzz=, _v._ Phr. _buzz at_: 1. To hum about, as an insect. - †2. To whisper to; incite by suggestions. Used quibblingly in - both senses. 2. 7. 4. - -†=By cause=, phr. used as _conj._ Because. 5. 4. 24. - - -=Cabbin=, _n._ †A small room, a boudoir. 1. 6. 238. - -=Cabinet=, _n._ A small chamber or room; a boudoir. -_Arch._ or _obs._ 4. 4. 152. - -=Campheere=, _n._ [Form of _camphor_.] 4. 4. 22. - -=Can=, _v. †tr._ To have at one’s command; to be able to -supply, devise or suggest (a pregnant use). 3. 6. 39. - -=Caract=, _n._ [Form of _carat_. Confused with _caract_ = Character.] -†Value, estimate. Phr. _at all caracts_: ‘To the minutest -circumstance.’ Gifford. 1. 6. 88. - -†=Caravance=, _n._ ‘Name of sundry kinds of peas and small -beans.’ _Stanford_. - -†=Carrauicins=, _n._ perh.=_caravance_, _q. v._ 4. 4. 45. - -=Care=, _v._ To take care. Now only _dial_. 1. 1. 29. - -=Carefull=, _a._ Anxious, solicitous. _Arch._ 1. 6. 10. - -†=Caroch=, _n._ A coach or chariot of a stately or -luxurious kind. 1. 6. 214. Carroch. 4. 2. 11. - -=Carry=, _v._ 1. _tr._ To conduct, manage. -_Arch._ 3. 5. 53. - -?†2. _intr._ To be arranged. 3. 3. 126. - -=Case=, _n._ 1. The body (as enclosing the soul, etc.). -5. 6. 39. - -2. Condition, supposition. Phr. _in case to_: In a condition -or position to; prepared, ready. _Arch._ 4. 7. 85. _Put case_: -Suppose. ?_Arch._ 4. 4. 228. - -=Cast=, _v._ †1. To estimate. 2. 1. 81. †2. To devise. 2. 8. 42. - -=Castle-soape=, _n._ _Obs._ form of _Castile soap_. 5. 3. 3. - -||=Cataputia=, _n._ [In Med. L. and It.] -‘The hearbe spurge.’ Florio. 4. 4. 55. - -†=Cater=, _n._ ‘A buyer of provisions or “cates”; in large -households the officer who made the necessary purchases of -provisions.’ _NED._ 1. 3. 13. - -=Catholike=, _a._ †Universally efficient. 1. 4. 35. - -†=Cause=, _conj._ _Obs._ exc. _dial._ -[An elliptic use of the noun for _because_.] Because. 2. 8. 28; -4. 6. 34. Phr. _by cause_. See _By cause_. - -†=Cautelous=, _a._ Crafty. 1. 6. 142. - -=Caution=, _n._ 1. Security; guarantee. 3. 4. 30; 58. - 2. A word of warning. 4. 5. 28. - -=Ceruse=, _n._ [White lead.] A paint or cosmetic for the -skin; used vaguely. 4. 4. 53. - -=Challengee=, _n._ _Rare_ (perh. coined by Jonson). -One who is challenged. 3. 3. 141. - -=Character=, _n._ A cabalistic or magical sign. 1. 2. 9. - -=Charge=, _n._ Expenses; outlay. _Arch._ 2. 1. 49; 1. 6. 172. - -=Chartell=, _n._ [Form of _cartel_.] A written challenge. 3. 3. 140. - -=Chaw=, _v._ A common by-form of _chew_ in the 16-17th c. 4. 2. 53. - -=Cheat=, _n._ †Any product of conquest or robbery; booty, -spoil. 1. 7. 4. - -=Cheat=, _v._ Phr. _cheat on_: To cheat. 5. 6. 54. - -=Cheater=, _n._ †A dishonest gamester; a sharper. 5. 6. 64. - -=Check=, _n._ †Reproof, censure. 3. 6. 44. - -=Cheese-trencher=, _n._ A wooden plate for holding or -cutting cheese. P. 8. - -=Christall=, _n._ [Form of _crystal_.] A piece of -rock-crystal or similar mineral used in magic art. 1. 2. 6. - -†=Cioppino=, _n._ [Italianated form of _chopine_.] A kind -of shoe raised above the ground by means of a cork sole or the -like; worn about 1600 in Spain and Italy, esp. at Venice, where -they were monstrously exaggerated. 3. 4. 13 (see note); 4. 4. 69. - -=Cipher=, _n._ A means of conveying secret intelligence: -used vaguely. 2. 1. 167· - -=Circle=, _n._ 1. An embrace. 1. 4. 94. - 2. Sphere (of influence, etc.). 1. 6. 96. - 3. A circular figure (of magic). 1. 2. 26. - -=Cloake-charge=, _n._ The expense of a cloak -(coined by Jonson). 2. 2. 42. - -=Cockscomb=, _n._ †A simpleton. 5. 8. 40. - -=Cock-stone=, _n._ †A name of the kidney-bean. 1. 1. 53. - -=Cog=, _v._ To cheat, esp. at dice or cards. 1. 1. 48. - -†=Cokes=, _n._ A simpleton, one easily ‘taken in.’ 2. 2. 104. - -=Collect=, _v._ To infer, deduce. _Rare_. 1. 6. 234. - -=Come=, _v._ Phr. _come off_: (in imperative as a call of -encouragement to action) Come! come along! 3. 5. 27. - -=Comming=, _ppl._ _a._ Inclined to make or meet advances. 4. 4. 180. - -=Commoner=, _n._ †A member of the general body of a town-council. -2. 1. 42. - -=Complement=, _n._ †1. Anything which goes to make up or fully equip. - 3. 4. 33. - †2. Polite or ceremonious greetings. 3. 5. 15. - -=Complexion=, _n._ †1. The combination of the four ‘humors’ - of the body in a certain proportion; ‘temperament.’ 2. 2. 122. - †2. Bodily habit or constitution. 5. 1. 18. - ?3. Appearance of the skin. 1. 4. 63 (or perh. as 2). - †4. A coloring preparation, cosmetic. 4. 4. 12. - 5. Appearance, aspect (_fig._). 2. 6. 50. - -=Comport=, _v._ Phr. _comport with_: †To act in accordance with. -2. 8. 17. - -||=Compos mentis=, _a. phr._ [L. f. _com-potis_.] Of sound mind. -5. 3. 12. - -=Compter=, _n._ Old spelling of _Counter_. The name of -certain city prisons for debtors; esp. the two London Compters. -3. 1. 20 (see note). - -=Conceit=, _n._ †1. Idea, device. 2. 8. 23. conceipt. - †2. Personal opinion. 4. 4. 200. - 3. Phr. _Out of conceipt_: Out of patience, dissatisfied. - 2. 8. 18. - -Concerne, _v. †intr._ To be of importance. 3. 3. 113. - -Concurrence, _n._ A juncture: a condition: used vaguely. 2. 6. 54. - -Conduit-head, _n._ †A structure from which water is distributed -or made to issue: a reservoir. 5. 1. 27. - -Confine, _v._ Imprison. Const. †_to_. 5. 6. 34. - -=Confute=, _v._ To put to silence (by physical means). -5. 6. 18. - -=Content=, _a._ †Willing. 1. 1. 133. - -=Conuenient=, _a._ †1. Due, proper. 1. 4. 79. - †2. Suitable. 4. 4. 230. - -=Conuey=, _v._ To carry from one place to another (†used of -small objects and with connotation of secrecy). 2. 1. 164. - -=Coozen=, _v._ [Form of _cozen_.] To cheat. 3. 1. 22. -cossen. 5. 2. 29. - -=Coozener=, _n._ [Form of _cozener_.] Impostor. 5. 8. 148. - -||=Coquetta=, _n._ Sp. A small loaf. 4. 4. 143. - -=Corn-ground=, _n._ _Arch._ A piece of land used for -growing corn; corn-land. 3. 1. 17. - -=Cornish=, _a._ Phr. _C. counterfeit_: referring to the ‘Cornish -stone’ or ‘diamond.’ a variety of quartz found in Cornwall. 3. 3. 173. - -=Cossen=, _v._ 5. 2. 29. See _Coozen_. - -=Councell=, _n._ _Obs._ form of _council_. -3. 1. 34; 5. 2. 20. - -=Court=, _v._ Phr. _court it_: To play or act the courtier. 3. 4. 56. - -=Court-ship=, _n._ †An act of courtesy (used in _pl._) 1. 6. 201. - -=Coyle=, _n._ [Form of _coil_.] ?An embarrassing situation; -a ‘mess.’ 5. 5. 54. - -=Crack=, _v. intr._ To break the musical quality of the -voice (used _fig._) 5. 5. 59. - -=Cracke=, _n._ †A lively lad; a ‘rogue’ (playfully), a wag. 2. 8. 58. - -†=Crambe=, _n._ [Form of _crambo_.] ‘A game in which one player gives -a word or line of verse to which each of the others has to find a -rime.’ _NED._ 5. 8. 110. - -=Creak=, _v._ To exhibit the characteristics of; to betray -(a _fig._ use of the _lit._ meaning). 2. 2. 87. - -=Credit=, _n._ †1. Authority. 1. 4. 29. †2. Repute. 5. 6. 49. - -=Crisped=, _ppl. a._ Closely curled; as applied to trees of -uncertain significance. 2. 6. 78 (see note). - -=Cunning=, _a._ †Learned; versed in. 2. 4. 12. - -=Custard=, _n._ †‘Formerly, a kind of open pie containing pieces of -meat or fruit covered with a preparation of broth or milk, thickened -with eggs, sweetened, and seasoned with spices, etc.’ _NED._ 1. 1. 97. - -=Cutpurse=, _n._ One who steals by cutting purses; hence, a thief. -1. 1. 140. - -=Cut-work=, _n._ †1. ‘A kind of openwork embroidery or lace - worn in the latter part of the 16th and in the 17th c.’ _NED._ - 2. 1. 163; 3. 3. 23. - †2. _attrib._ 1. 1. 128. cut-worke. - -=Danger=, _n._ †Mischief, harm. 2. 6. 30. - -†=Daw=, _v._ _Rare._ To frighten, torment. 4. 4. 208. - -=Dearling=, _n._ _Obs._ form of _darling_. 5. 6. 74. - -=Decimo sexto.= ?_Obs._ ‘A term denoting the size of a book, or of -the page of a book, in which each leaf is one-sixteenth of a full -sheet; properly SEXTO-DECIMO (usually abbreviated 16mo.).’ _NED._ -Also applied _fig._ to a diminutive person or thing: hence, -?An exquisite or perfect condition. 4. 4. 50. - -=Deed of Feoffment=, _phr._ 4. 6. 44. See _Feoffment_. - -=Defeate=, _n._ †Undoing, ruin. Phr. _do defeate upon_: -To do injury to; to bring about the ruin of. 2. 6. 21. - -=Defend=, _v._ †To prohibit, forbid. _Obs._ exc. _dial._ -1. 4. 97. - -=Degree=, _n._ 1. A high degree or quality. 2. 1. 89. - 2. Any degree. 4. 3. 26. - -=Delicate=, _a._ †1. Charming †2. Voluptuous. 2. 2. 103; - 2. 2. 126. Both meanings seem to be present. - -=Delude=, _v._ †To frustrate the aim or purpose of. 1. 6. 54. - -†=Deneer=, _n._ [Form of _Denier_, _obs._ or _arch._] A French coin, -the twelfth of a sou; originally of silver, but from the 16th c. of -copper. Hence (esp. in negative phrases) used as the type of a very -small sum. 3. 3. 188. - -=Deny=, _v._ ?Prove false to. 1. 4. 91. - -=Depart=, _v._ †Phr. _depart with_: To part with; give up. -1. 4. 58; 1. 4. 83. - -=Dependance=, _n._ †A quarrel or affair ‘depending,’ or -awaiting settlement. 3. 3. 130. - -=Devil=, _n._ Jonson uses the following forms: Deuill. -5. 5. 49, etc.; Diuel. 5. 5. 20; Diuell. Titlepage, etc. - -=Diligence=, _n. †pl._ Labors, exertions. 2. 2. 106. - -=Discourse=, _n._ †Conversational power. 4. 4. 225. - -=Discourse=, _v._ To discuss. _Arch._ 4. 2. 40. - -=Dishonesty=, _n._ †Unchastity. 4. 4. 158. - -†=Displeasant=, _a._ Displeasing; disagreeable. Epilogue 6. - -=Distast=, _n._ †Quarrel. 3. 3. 77. - -=Diuident=, _n._ [Erron. spelling of _dividend_.] †The share -(of anything divided among a number of persons) that falls to -each to receive. 2. 1. 123; 3. 3. 201. - -=Dotage=, _n._ Infatuation. 5. 8. 92 (see note). - -=Dottrel=, _n._ 1. A species of plover (Eudromias morinellus). - 2. A silly person; one easily ‘taken in.’ 2. 8. 59. - See note 2. 2. 49-50. - -=Doublet=, _n._ A close-fitting body-garment, with or without -sleeves, worn by men from the 14th to the 18th centuries. _Obs._ -exc. _Hist._ 1. 1. 52. Phr. _hose and doublet_: as the typical -male attire. 1. 6. 151. - -=Doubt=, _n._ †Apprehension; fear. 5. 1. 8. - -=Doubt=, _v._ †To suspect; have suspicions about. 2. 6. 47. - -=Dough-bak’d=, _ppl. a._ Now _dial._ Imperfectly baked, so as to -remain doughy. 4. 4. 20. - -=Doxey=, _n._ ‘Originally the term in Vagabonds’ Cant for the -unmarried mistress of a beggar or rogue: hence. _slang_, a mistress, -prostitute.’ _NED._ 2. 8. 38. - -=Draw=, _v._ †1. To pass through a strainer; - to bring to proper consistence. 1. 6. 222. - 2. To frame, draw up (a document). 3. 3. 67. - †3. _intr._ To withdraw. 2. 1. 127. - 4. Phr. _draw to_: To come upon; - to catch up with. 2. 6. 24. - -=Dwindle=, _v._ †‘To shrink (with fear.) _Obs._, _rare_. -(Prob. a misuse owing to two senses of shrink.)’ _NED._ 4. 4. 63. - - -=Effectuall=, _a._ ?Earnest. 2. 2. 107. - -†=E-la=, _n._ _Mus._ _Obs._ exc. _Hist._ [f. E+La; denoting the -particular note E which occurred only in the seventh Hexachord, in -which it was sung to the syllable _la_.] ‘The highest note in the -Gamut, or the highest note of the 7th Hexachord of Guido, answering -to the upper E in the treble.’ _NED._ _Fig._ of something very -ambitious. 5. 5. 59. - -=Employ=, _v._ †Phr. _employ out_: To send out (a person) -with a commission. 5. 5. 46. - -=Engag’d=, _ppl. a._ 1. Morally bound. 4. 6. 9. - †2. Involved, hampered. 1. 2. 41. - †3. Made security for a payment; - rendered liable for a debt. 3. 3. 90. - -=Enlarge=, _v._ †Phr. _enlarge upon_, _refl. absol._: -To expand (oneself) in words, give free vent to one’s thoughts. -2. 1. 128. - -=Ensigne=, _n._ †Token; signal displayed. -?_Obs._ 1. 6. 210. - -=Enter=, _v._ Phrases. †1. _Enter a bond_: - To enter into a bond; to sign a bond. 1. 7. 17. - †2. _Enter trust with_: To repose confidence in. 3. 4. 36. - -=Entertaine=, _v._ †1. To give reception to; receive - (a person). 1. 2. 44. - †2. To take into one’s service; hire. 3. 5. 19. - -=Enter-view=, _n._ _Obs._ form of _interview_. 2. 6. 23. - -=Enuious=, _a._ †Hateful. 1. 6. 196. - -=Enuy=, _n._ †Ill-will, enmity. 2. 6. 20. - -=Enuy=, _v. trans._ †To begrudge (a thing). 1. 6. 13. - -=Equiuock=, _n._ [_Obs._ form (or misspelling) of _equivoke_.] The use -of words in a double meaning with intent to deceive:=Equivocation. -_Rare._ 3. 3. 184. - -=Erect=, _v._ †To set up, establish, found (an office). -_Obs._ or _arch._ exc. in _Law_. 3. 3. 67. - -||=Escudero=, _n._ Sp. An attendant; a lady’s page. -4. 4. 87. - -=Euill=, _n._ The Vice, _q. v._ 5. 6. 76. - -=Exchequer=, _n._ The office of the Exchequer; -used hyperbol. for the source of wealth. 3. 3. 81. - -=Extraordinary=, †_adv._ Extraordinarily. 1. 1. 116. - -=Extreme=, †_adv._ Extremely. 1. 7. 27. - -=Extremity=, _n._ ?An extreme instance. 1. 5. 15. - - -=Face=, _n._ Attitude (towards); reception (of). P. 21. - -=Fact=, _n._ †1. The making, manufacture. 3. 4. 49. - 2. Phr. _with one’s fact_: as an actual experience. - 5. 6. 13. - -=Faine=, _v._ _Obs._ form of _feign_. 5. 5. 28. - -=Fauour=, _n._ †1. Leave, permission. Phr. _under_ (your) _fauour_: -with all submission, subject to correction. _Obs._ or _arch._ -1. 3. 27. 2. ?Comeliness; ?face. 4. 6. 49. - -=Feate=, _n._ A business transaction. 3. 3. 227. - -=Fellow=, _n._ Phr. _good fellow_: Of a woman. A term of familiar -address. 5. 1. 5. - -=Feoffee=, _n._ The person to whom a freehold estate in land is -conveyed by a feoffment. 3. 5. 60. - -=Feoffment=, _n._ ‘The action of investing a person with a fief or fee. -In technical language applied esp. to the particular mode of conveyance -(originally the only one used, but now almost obsolete) in which a -person is invested in a freehold estate in lands by livery of seisin -(at common law generally, but not necessarily, evidenced by a deed, -which, however, is not required by statute).’ _NED._ 4. 5. 15; 4. 7. 7. - -Phr. _Deed of Feoffment_: ‘The instrument or deed by which corporeal -hereditaments are conveyed.’ _NED._ 4. 6. 44. - -=Fetch=, _v._ 1. To earn; get (money). 2. 1. 72. - - †2. To perform, take (a leap). 1. 1. 55. - †3. Phr. _Fetch again_: To revive, restore to consciousness. - 2. 1. 4. - -†=Figgum=, _n._ ?Juggler’s tricks (not found elsewhere). 5. 8. 82. - -=Finenesse=, _n._ †‘Overstrained and factitious scrupulousness.’ -Gifford. 3. 3. 104. - -=Firke=, _v._ †To frisk about; ?to hitch oneself (Cunningham). 5. 6. 15. - -=Fixed=, _ppl. a._ Made rigid or immobile (by emotion). 1. 5. 2. - -=Fizzling=, _vbl. sb._ †Breaking wind without noise. 5. 3. 2. - -=Flower=, _n._ †_Anc._ _Chem._ (_pl._): ‘The pulverulent form of any -substance, esp. as the result of condensation after sublimation.’ -_NED._ 4. 4. 19. - -=Fly=, _v._ Of a hawk: To pursue by flying: used _fig._ 4. 7. 53. - -=Flye-blowne=, _a._ Tainted. With a quibble on the literal meaning. -2. 7. 7. - -=Fool=, _v._ Phr. _fool off_: To delude, baffle. 2. 6. 25. - -=Forbeare=, _v. trans._ †To keep away from or from interfering with; -to leave alone. 1. 3. 22. - -=Forked=, _a._ ‘Horned,’ cuckolded. 2. 2. 90. - -=Foyle=, _n._ [Form of _foil_.] A thin leaf of some metal placed -under a precious stone to increase its brilliancy. 3. 3. 180. - -=French-masque=, _n._ pr. the ‘Loo,’ or ‘Loup,’ a half-mask of -velvet, worn by females to protect the complexion. 2. 1. 162. - -=French-time=, _n._ ?Formal and rhythmic measure (as characteristic -of the French, in contrast to Italian, music). 3. 5. 30. - -=Frolick=, _n._ †?Humorous verses circulated at a feast. 2. 8. 73. - -||=Fucus=, _n._ †Paint or cosmetic for beautifying the -skin; a wash or coloring for the face. 3. 4. 50; 4. 2. 63. - -=Fustian=, _n._ †A kind of coarse cloth made of cotton and flax. -3. 3. 30. - - -=’Gainst=, _prep._ [Form of _against_.] In anticipation of. -_Arch._ 1. 1. 19. - -=’Gainst=, _conj._ In anticipation that; in case that. -_Arch._ or _dial._ 1. 1. 73; 3. 2. 39. - -=Gallant=, _n._ 1. A man of fashion and pleasure; a fine gentleman. -_Arch._ 1. 7. 27; 4. 4. 167. †2. Of a woman: A fashionably attired -beauty. 3. 4. 8. - -=Gallant=, _a._ Loosely, as a general epithet of admiration or -praise: Splendid. Cf. _Brave_. Now _rare_. 2. 1. 58. - -=Gallery=, _n._ 1. A long narrow platform or balcony on the outside -of a building. 2. 2. 54. 2. A room for pictures. 2. 5. 13. - -=Galley-pot=, _n._ [Form of _gallipot_.] ‘A small earthen glazed pot, -esp. one used by apothecaries for ointments and medicines.’ -_NED._ 4. 4. 47. - -=Garnish=, _n._ _slang_. ‘Money extorted from a new prisoner, either -as drink money for the other prisoners, or as a jailer’s fee. -_Obs._ exc. _Hist._’ _NED._ 5. 6. 1 (see note). - -=Geere=, _n._ [Form of _gear_.] ?Discourse, talk; esp. in -depreciatory sense, ‘stuff.’ Or possibly _obs._ form of _jeer_. -1. 6. 99 (see note). - -=Gentleman=, _n._ ‘A man of gentle birth, or having the same heraldic -status as those of gentle birth; properly, one who is entitled -to bear arms, though not ranking among the nobility. Now chiefly -_Hist._’ _NED._ 3. 1. 1. - -=Gentleman huisher=, _n._ 3. 4. 43. Same as _Gentleman-vsher_, _q. v._ - -=Gentleman-vsher=, _n._ A gentleman acting as usher to a person of -superior rank. 4. 4. 134. Gentleman huisher. 3. 4. 43. See note 4. 4. -134. - -=Gentlewoman=, _n._ 1. A woman of gentle birth. 3. 3. 164. - 2. A female attendant upon a lady of rank. Now chiefly - _Hist._ 5. 1. 26. - -=Gleeke=, _n._ ‘A game at cards, played by three persons: forty-four -cards were used, twelve being dealt to each player, while the remaining -eight formed a common “stock.”’ _NED._ Phr. _three peny Gleeke_. 5. 2. -31. - -=Glidder=, _v._ _Obs._ exc. _dial._ To glaze over. 4. 4. 47. - -=Globe=, _n._ The name of a play-house; hence, used as a -generic term for a play-house. 3. 3. 26. - -=Go=, _v._ Phrases. 1. _Goe on_: as an expression of -encouragement, Come along! advance! 3. 5. 27. - 2. _Goe with_: Agree with. 4. 4. 133. - -=God b’w’you= [God be with you], _Phr._ Good-bye. 1. 6. 223. - -=Godwit=, _n._ A marsh-bird of the genus Limosa. Formerly -in great repute, when fattened, for the table. 3. 3. 25. - -†=Gogs-nownes=, _n._ A corrupt form of ‘God’s wounds’ -employed in oaths. 1. 1. 50. - -=Gold-smith=, _n._ A worker in gold, who (down to the 18th c.) -acted as banker. 2. 8. 84. - -=Googe=, _v._ [Form of _gouge_.] To cut out. 2. 1. 94. - -=Gossip=, _n._ A familiar acquaintance, chum (applied to women). -Somewhat _arch._ 1. 6. 219; 2. 8. 69. - -=Grandee=, _n._ A Spanish or Portuguese nobleman of the highest rank; -hence, †A term of polite address. P. 3. - -†=Grant-paroll= [Fr. _grande parole_], _n._ Full permission -(?not found elsewhere). 5. 6. 19. - -||=Grasso di serpe=, _n._ It. ?‘Snake’s †fat.’ _Stanford._ 4. 4. 34. - -=Gratulate=, _v._ Now _arch._ and _poet._ †1. To rejoice. - Phr. _gratulate with_: rejoice with, felicitate. 4. 1. 14. - 2. _tr._ To rejoice at. 5. 1. 51. - -=Groat=, _n._ A denomination of coin which was recognized -from the 13th c. in various countries of Europe. The English -groat was coined 1351(2)-1662, and was originally equal to four -pence. †The type of a very small sum (cf. _Deneer_). 5. 4. 6. - -=Groome=, _n._ 1. A serving man. - _Obs._ or _arch._ 2. 2. 65. - †2. With added connotation of contempt. 2. 2. 87. - -||=Guarda-duenna=, _n._ Sp. A lady’s attendant. 4. 4. 83. - -||=Guardo-duenna=, _n._ 4. 4. 77. See _Guarda-duenna_. - -=Gueld=, _v._ [Form of _Geld_.] †_transf._ and _fig._ -To mutilate: impair. 1. 1. 65. - -=Guilt=, _ppl. a._ [Form of _gilt_.] Gilded. 1. 6. 214. - - -=Hand-gout=, _n._ Gout in the hand; used _fig._ of an unwillingness -to grant favors without a recompense; hard-fistedness. 3. 3. 79. - -=Hand-kercher=, _n._ Form of _handkerchief_. _Obs._ exc. _dial._ -and vulgar. Common in literary use in 16-17th c. 4. 4. 89. - -=Handsomenesse=, _n._ †Decency. 4. 3. 26. - -=Hang=, _v._ Phr. _hang out_: †To put to death by hanging. 5. 6. 8. - -=Hap’=, _v._ Shortened form of _happen_. Phr. _may hap’ see_: May -chance to see (in process of transition to an adverb). 3. 2. 8. - -†=Hard-wax=, _n._ ?Sealing-wax. 5. 1. 39. - -=Harness=, _v._ †To dress, apparel. 2. 5. 6. - -†=Harrington=, _n._ _Obs._ exc. _Hist._ ‘A brass farthing token, -coined by John, Lord Harrington, under a patent granted him by -James I. in 1613.’ _NED._ 2. 1. 83. - -=Ha’s=, _v._ Has. (Prob. a recollection of earlier forms, _hafs_, -_haves_. Mallory.) 5. 3. 9; 4. 6. 43. - -=Heare=, _v._ Phr. _heare ill of_ (it): To be censured for. -?_Obs._ or ?_colloq._ 2. 7. 28. - -=Heauy=, _a._ †Dull, stupid. 5. 6. 39. - -=Hedge=, _v._ †Phr. _hedge in_: To secure (a debt) by including it -in a larger one for which better security is obtained; to include a -smaller debt in a larger. 2. 8. 104; 3. 2. 6. - -=Height=, _n._ 1. A superior quality; a high degree. 2. 1. 70. - 2. The highest point; the most important particular. 4. 4. 212. - 3. Excellence; perfection of accomplishment. 2. 8. 59. - 4. Phr. _at height_: In the highest degree; to one’s utmost - satisfaction. 5. 3. 22. - -=Here by=, _adv._ †Close by; in this neighborhood. 3. 4. 41. - -=His=, _poss. pron. 3d sing. †neut._ Its. 2. 1. 103. - -=Hold=, _v._ Phr. _hold in with_: To keep (one) on good terms with. -?_Obs._ 3. 3. 221. - -=Honest=, _a._ Chaste, virtuous. _Arch._ 4. 4. 161. - -=Honour=, _n._ †An obeisance; a bow or curtsy. 3. 5. 27. - -=Hood=, _n._ ‘French hood, a form of hood worn by women in the -16th and 17th centuries, having the front band depressed over the -forehead, and raised in folds or loops over the temples.’ -_NED._ 1. 1. 99. - -=Hooke=, _v._ - 1. _intr._ To get all one can; to display a grasping nature. - 3. 3. 156. - 2. Phr. _hooke in_: To secure by hook or by crook. 3. 3. 150. - -=Hope=, _v._ Phr. _hope †o’_: To have hope of; hope for. 1. 5. 1. - -=Horne=, _n._ In _pl._, the supposed insignia of a cuckold. 5. 8. 34. - -=Hose=, _n._ †Breeches. Phr. _hose and doublet_. 1. 6. 151. - -†=Huisher=, _n._ _Obs._ form of _usher_. 2. 7. 33. -See _Gentleman-vsher_. - -=Hum=, _n._ †A kind of liquor; strong or double ale. 1. 1. 114; -5. 8. 72. - -=Humour=, _v._ To take a fancy to. ?_Obs._ 1. 7. 13. - - -=I=, _Obs._ form of _ay_. 1. 2. 1: _passim_. - -=I=, _prep._ In. 2. 4. 41. - -||=Incubus=, _n._ ‘A feigned evil spirit or demon (originating -in personified representations of the nightmare) supposed to -descend upon persons in their sleep, and especially to seek carnal -intercourse with women. In the middle ages, their existence was -recognized by the ecclesiasical and civil law.’ _NED._ 2. 3. 26. - -||=In decimo sexto=, _phr._ 4. 4. 50. See _Decimo sexto_. - -||=Infanta=, _n._ 1. A daughter of the King and queen of -Spain or Portugal; _spec._ the eldest daughter who is not heir -to the throne. - -2. †_transf._ Applied analogously or fancifully to other young -ladies. 4. 2. 71. - -=Ingag’d=, _ppl. a._ _Obs._ form of Engag’d. 4. 4. 168. -See _Engag’d_ 1. - -=Ingenious=, _a._ †Able; talented; clever. 2. 8. 75. - -=Ingine=, _n._ †1. Skill in contriving, ingenuity. 2. 3. 46. - †2. Plot; snare, wile. 2. 2. 87. With play on 3. - 3. Mechanical contrivance, machine; †trap. - -=Ingrate=, _a._ Ungrateful. _Arch._ 1. 6. 174. - -=Iniquity=, _n._ The name of a comic character or buffoon -in the old moralities; a name of the Vice, _q. v._ 1. 1. 43; -1. 1. 118. - -=Inquire=, _v._ †To seek information concerning, investigate. 3. 1. 11. - -=Innes of Court=, _sb. phr._ The four sets of buildings belonging to -the four legal societies which have the exclusive right of admitting -persons to practise at the bar, and hold a course of instruction and -examination for that purpose. 3. 1. 8. (see note). - -=Intend=, _v._ †To pay heed to; apprehend. 4. 4. 127. - -=Intire=, _a._ _Obs._ form of _entire_. [Fr. _entier_ ‹ L. _integer_, -untouched.] Untouched, uninjured. 2. 6. 32; 5. 6. 48. - -=Intitle=, _v._ [Form of _entitle_.] To give (a person) -a rightful claim (to a thing). 4. 6. 38. - -=Intreat=, _v._ [Form of _entreat_.] †To prevail on by supplication; -to persuade. 3. 6. 44. - -=Iacke=, _n._ 1. The name of various mechanical - contrivances. 1. 4. 50. - †2. A term of familiarity; pet. 2. 2. 128. - -=Iewes-trumpe=, _n._ Now _rare_. Jews’ harp (an earlier name, and -formerly equally common in England). 1. 1. 92. - -=Joynt-stoole=, _v._ A stool made of parts joined or fitted together; -a stool made by a joiner as distinguished from one of more clumsy -workmanship. _Obs._ exc. _Hist._ 1. 1. 92. - -=Iump=, _v._ †1. _intr._ Act hurriedly or rashly. 4. 1. 5. - †2. _trans._ To effect or do as with a jump; to dispatch. 4. 1. 6. - -=Iust=, _a._ †1. Complete in character. 1. 5. 10. - 2. Proper, correct. 2. 2. 122. - -=Iuuentus=, _n._ 1. 1. 50. See _Lusty_. - - -†=Kell=, _n._ The web or cocoon of a spinning caterpillar. -_Obs._ exc. _dial._ 2. 6. 79. - -=Kinde=, _n._ (One’s) nature. Now _rare_. Phr. -_man and kinde_: ?Human nature. 2. 1. 151. - -=Know=, _v._ 1. To know how. ?_Obs._ 1. 2. 44. - ?2. _pass. be known_: Disclose. 2. 1. 145. - -=Knowledge=, _n._ †1. Cognizance, notice. Phr. _Take -knowledge_ (with clause): To become aware. 4. 4. 61. - 2. A matter of knowledge; a known fact (a licentious use). - 1. 6. 82. - - -=Lade=, _v._ To load with obloquy or ridicule (as an ass with a -burden; the consciousness of the metaphor being always present in the -mind of the speaker). 1. 4. 72. - -=Lading=, _vbl. sb._ A burden of obloquy or ridicule. 1. 6. 161. -See _Lade_. - -=Lady-President=, _n._ 4. 4. 9. See _President_. - -=Larum=, _n._ †An apparatus attached to a clock or watch, -to produce a ringing sound at any fixed hour. 4. 4. 165. - -=Lasse=, _int._ Aphetic form of _Alas_. 5. 8. 46. - -=Lay=, _v._ †To expound, set forth. 2. 8. 72. - -=Leaguer=, _n._ A military camp. 3. 3. 33. - -=Leaue=, _v._ To cease. Now only _arch._ 2. 2. 79; 4. 4. 125. - -=Leg=, _n._ An obeisance made by drawing back one leg and bending the -other; a bow, scrape. Esp. in phr. _to make a leg_. Now _arch._ or -jocular. 4. 4. 97. legge. 2. 8. 22. - -||=Lentisco=, _n._ Sp. and It. Prick-wood or Foule-rice, some call it -Lentiske or Mastike-tree.’ Florio. (Pistacia lentiscus.) 4. 4. 35. - -=Letter of Atturney=, _sb. phr._ A formal document empowering another -person to perform certain acts on one’s behalf (now more usually -‘power of attorney’). 4. 5. 15. - -=Lewd=, _a._ †Ignorant (implying a reproach). 5. 6. 37. - -=Liberall=, _a._ Ample, large. Somewhat _rare_. 1. 6. 179. - -=Lift=, _v._ To raise (as by a crane). Used _fig._ -(a metaphor borrowed from Ingine’s name). 1. 4. 1. - -=Like=, _v._ †To be pleasing, be liked or approved. P. 26. - -=Limb=, _n._ 1. A leg (a part of the body). - ?2. A leg (curtsy. See _Leg_). A quibble on the two - meanings. 1. 6. 218. - -=Limon=, _n._ _Obs._ form of _lemon_. 4. 4. 25. - -=Liuery and seisen=, _sb. phr._ erron. for _Livery of seisin_ -(AF. _livery de seisin_): ‘The delivery of property into the corporal -possession of a person; in the case of a house, by giving him the -ring, latch or key of the door; in case of land, by delivering him a -twig, a piece of turf, or the like.’ _NED._ 4. 5. 16. - -=Loose=, _v._ _Obs._ form of _lose_. 4. 7. 79. - -=Lords-man=, _n._ A lord’s man; an attendant on a lord. -?_Obs._ 3. 3. 166. - -=Lose=, _v._ †To be deprived of the opportunity (to do something). -3. 4. 26. - -=Lusty=, _a._ Merry; healthy, vigorous. Phr. _lusty Iuuentus_: the -title of a morality play produced c 1550; often used allusively in -the 16-17th c. 1. 1. 50. - -=Light=, _int._ A shortened form of the asseveration _by this light_, -or _by God’s light_. 2. 6. 15. - - -=Mad-dame=, _n._ A whimsical spelling of _Madame_. -†A courtesan, prostitute. 4. 3. 39. - -=Make=, _v._ Phr. _make away_: To make away with; to kill. 2. 4. 9. - -=Manage=, _v. intr._ ?To administer the affairs of a -household. 4. 4. 193. - -=Manager=, _n._ ?One capable of administering the affairs -of a household. 4. 4. 138. - -||=Mantecada= (for _Mantecado_), _n._ Sp. ‘A cake made -of honey, meal, and oil; a wafer.’ Pineda, 1740. 4. 4. 143. - -=Mary=, _int._ [‹ME. _Mary_, the name of the Virgin, -invoked in oaths.] Form of _Marry_. Indeed! 1. 4. 28. - -=Masque=, _n._ A masquerade. 2. 2. 110. - -=Masticke=, _n._ ‘A resinous substance obtained from the common -mastic-tree, _Pistacia Lentiseus_, a small tree about twelve feet -high, native in the countries about the Mediterranean. In the East -mastic is chewed by the women.’ _CD._ 4. 2. 54. - -=Match=, _n._ †An agreement; a bargain. 1. 4. 67. - -=Mathematicall=, _a._ ?Mathematically accurate; skillful to -the point of precision. 1. 4. 4. - -=Meath=, _n._ [Form of _Mead_.] A strong liquor. 1. 1. 115 (see note). - -=Med’cine=, _v._ To treat or affect by a chemical process. 2. 1. 70. - -=Mercat=, _n._ [Form of _market_.] 1. 1. 10. - -=Mere=, _a._ †Absolute, unqualified. 2. 3. 12. meere. 1. 4. 54. - -=Mermaide=, _n._ The name of a tavern; hence, used as a -generic term for a tavern. 3. 3. 26. - -=Mettall=, _n._ 1. Metal. - 2. Mettle. A quibble on the two meanings. 2. 8. 105. - -=Middling=, _a._ †One performing the function of a go-between. -Phr. _middling Gossip_: A go-between. 1. 6. 219. - -=Mill=, _n._ A lapidary wheel. 3. 3. 176. - -†=Migniard=, _a._ Delicate, dainty, pretty. 1. 4. 96. - -=Missiue=, _a._ Sent or proceeding, as from some authoritative or -official source. 3. 3. 35. - -=Moiety=, _n._ A half share. 2. 1. 46. moyety. 2. 1. 48. - -=Monkey=, _n._ A term of endearment; pet. ?_Obs._ 2. 2. 127. - -†=Moon-ling=, _n._ A simpleton, fool. 1. 6. 158. - -=Motion=, _n._ †A puppet-show. 1. 6. 230. - -=Much about=, _prep. phr._ Not far from; very near. ?_Obs._ 4. 4. 153. - -=Mungril=, _a._ _Obs._ form of _mongrel_. 3. 1. 39. - -=Mure=, _v._ Phr. _mure up_: To inclose in walls; immure. 2. 2. 91. - -=Muscatell=, _a._ [Form of _muscadel_.] Of the muscadel rape. 2. 1. 102. - -=Muscatell=, _n._ A sweet wine. 2. 1. 102; 2. 2. 95. See above. - -=Muscouy glasse=, _n._ Muscovite; common or potash mica; -the light colored mica of granite and similar rocks. P. 17. - -||=Mustaccioli=, _n._ It. [For _Mostaciuolli_.] -‘A kind of sugar or ginger bread.’ Florio. 4. 4. 144. - -=Muta=, _n._ [?L. _mutare_, to change.] ?A dye -(?coined by Jonson). 4. 4. 56. - -†=Neale=, _n._ To temper by heat; anneal. 2. 1. 88. - -=Neare=, _adv._ In _fig._ sense, Nigh. Phr. _go neare_ (to). 5. 1. 7. - -=Need=, _v. intr._ Be necessary. ?_Arch._ 2. 8. 106. - -=Neither=, _adv._ Also not; no again. ?_Obs._ 4. 7. 68. - -†=Niaise=, _n._ 1. A young hawk; an eyas. - 2. A simpleton. pr. with quibble. 1. 6. 18. - -=Note=, _n._ Mark, token, sign. ?_Arch._ 3. 3. 101. - -=Noted=, _a._ Notable; worthy of attention. ?_Obs._ 5. 6. 7. - -†=Nupson=, _n._ A fool; a simpleton. 2. 2. 77. - - -=O’=, _prep._ Shortened form of _of_. - 1. Of. 1. 1. 108. etc. Phr. _hope o’_ 1. 5. 1. See _Hope_. - †2. With. 1. 3. 21. - -=O’=, _prep._ Shortened form of _on_. - 1. On; upon. 4. 2. 61. - †2. Into. 1. 4. 88. - -||=Obarni=, _n._ _Obs._ [Russ. _obvarnyi_, scalded, prepared by -scalding.] ‘In full, _mead obarni_, i. e. “scalded mead,” a drink -used in Russia, and known in England c 1600.’ _NED._ 1. 1. 115. - -=Obserue=, _v._ †To be attentive to; look out for. 1. 2. 45. - -=Obtaine=, _v._ To obtain a request; with obj. cl. expressing what is -granted. Now _rare_ or _obs._ 3. 3. 86. - -=Occasion=, _n._ †A particular, esp. a personal need, want or -requirement. Chiefly in _pl._=needs, requirements. 3. 3. 57; 3. 3. 85. - -=Of=, _prep._ †From (after the _vb._ _Fetch_). 2. 1. 73. =Off=, -_adv._ [Used with ellipsis of _go_, etc., so as itself to function as -a verb.] Phr. _to off on_ (one’s bargain): To depart from the terms -of; to break. 1. 5. 25. - -=Offer=, _v._ †1. To make the proposal; suggest. 2. 8. 46. - †2. _intr._ Phr. _offer at_: To make an attempt at; - to attempt. 3. 6. 30. - -||=Oglio reale=, _n._ It. ?Royal oil. 4. 4. 52. - -=On=, _prep._ In senses now expressed by _of_. ‘In _on’t_ and the -like, common in literary use to c 1750; now _dial._ or vulgar.’ -_NED._ 2. 8. 55; 2. 8. 61; 3. 3. 7; 3. 3. 144. etc. - -=On=, _pron._ _Obs._ form of _One_. 5. 2. 40. - -=Order=, _n._ Disposition of measures for the accomplishment of a -purpose. Phr. _take order_: To take measures, make arrangements. -_Obs._ or _arch._ 1. 6. 209. - -||=Ore-tenus=, _adv._ [Med. L.] _Law._ By word of mouth. 3. 3. 140. - - -=Paint=, _v. intr._ †To change color; to blush. 2. 6. 35. - -=Pan=, _n._ 1. [Form of _pane_.] †A cloth; a skirt. - 2. A hollow, or depression in the ground, esp. one in which - water stands. With quibble on 1. 2. 1. 53. - -=Paragon=, _n._ A perfect diamond; now applied to those weighing more -than a hundred carats. (‘In quot. 1616 _fig._ of a person.’ _NED._ -This statement is entirely incorrect.) 3. 3. 177. - -=Parcel-=, _qualifying sb._ Partially, in part. _Obs._ since 17th c. -until revived by Scott. 2. 3. 15. - -=Part=, _n._ Share of action; allotted duty. In _pl._ ?_Obs._ 4. 4. 116. - -||=Pastillo=, _n._ It. ‘Little pasties, chewets.’ Florio. 4. 4. 142. - -=Pattent=, _n._ Letters patent; an open letter under the seal of the -state or nation, granting some right or privilege; spec. such letters -granting the exclusive right to use an invention. 2. 1. 41; 4. 2. 38. - -=Peace=, _n._ Leave; permission. Phr. _with his peace_: With his good -leave; respectfully. (A translation of L. _cum eius pace_ or _eius -pace_; ?not found elsewhere.) 2. 2. 78. - -||=Pecunia=, _n._ L. Money. 2. 1. 3. - -||=Peladore=, _n._ Sp. A depilatory; preparation to remove hair. -4. 4. 145. - -=Pentacle=, _n._ A mathematical figure used in magical ceremonies, -and considered a defense against demons. 1. 2. 8 (see note). - -†=Perse’line=, _n._ _Obs._ form of ?_parsley_, or of ?_purslane_. -4. 4. 24. - -=Perspectiue=, _n._ †A reflecting glass or combination of glasses -producing some kind of optical delusion when viewed in one way, but -presenting objects in their true forms when viewed in another; -used _fig._ 2. 6. 63. - -=Phantasy=, _n._ Whimsical or deluded notion. ?_Obs._ 2. 3. 60. - -=Phantsie=, _n._ [Form of _fancy_.] Imagination. 1. 4. 88. - -†=Phrentick=, _n._ A frantic or frenzied person; -one whose mind is disordered. 4. 6. 49. - -=Phrenticke=, _a._ [Form of _frantic_.] Insane. Now rare. 5. 8. 91. - -=Physicke=, _n._ †Natural philosophy; physics. 2. 2. 122. - -†=Picardill=, _n._ [Form of _Piccadill_.] A large stiff collar in -fashion about the beginning of the reign of James I. 2. 2. 123 -(see note). - -=Piece=, _n._ †1. A gold piece, pr. 22 shillings (Gifford). 1. 4. 5; -3. 3. 83. - -2. Phr. _at all pieces_: At all points; in perfect form. 2. 7. 37. - -=Piece=, _v._ To reunite, to rejoin (a broken friendship). -?_Arch._ 4. 1. 37. - -=Pinnace=, _n._ 1. A small sailing vessel. - †2. Applied _fig._ to a woman, usually to a prostitute - (sometimes, but not often, with complete loss of the metaphor). - 1. 6. 58. - -||=Pipita= [?For _pepita_], _n._ Sp. or It. ‘A seed of a fruit, -a pip, a kernel.’ _Stanford._ 4. 4. 45. - -||=Piueti=, _n._ Sp. ‘A kinde of perfume.’ Minsheu. 4. 4. 150. - -=Plaine=, _a._ Unqualified, downright. ?_Arch._ 4. 4. 158. - -=Plume=, _v._ To strip off the plumage of; to pluck. ?_Arch._ 4. 4. 43. - -||=Pol-dipedra= [?_Polvo di pietra_], n. It. ?Rock-alum. 4. 4. 30. - -=Politique=, _a._ [Form of _politic_.] Crafty, artful. 2. 2. 76. - -||=Porcelletto marino=, _n._ It.?‘The fine Cockle or Muscle shels -which painters put their colours in.’ Florio. 4. 4. 34. - -=Possesse=, _v._ †To acquaint. Phr. _possesse with_: -To inform of. 5. 5. 44. - -=Posterne=, _n._ ?A back door or gate. Phr. _at one’s posternes_: -Behind one. 5. 6. 15. - -†=Posture booke=, _n._ ?A book treating of military tactics, -describing the ‘postures’ of the musket, etc. 3. 2. 38 (see note). - -||=Potentia=, _n._ L. ‘Power;’ potentiality. 5. 3. 28. - -=Power=, _n._ _Law._ Legal authority conferred. 4. 6. 39. - -=Pownce.= [Form of _pounce_.] A claw or talon of a bird of prey. -4. 7. 55. - -=Pox=, _n._ Irreg. spelling of _pocks_, _pl._ of _pock_. -†Phr. _pox vpon_: A mild imprecation. 3. 3. 38. _pox o’._ -4. 2. 61. - -=Practice=, _n._ 1. A plot. ?_Arch._ 5. 8. 57. - 2. Treachery. ?_Arch._ 4. 7. 80. - -=Practice=, _v._ †1. To tamper with; corrupt. 1. 1. 38. - 2. _intr._ To plot; conspire. 5. 3. 10; 5. 51. - -=Pragmaticke=, _a._ Pragmatical. 1. 6. 56. - -=Pregnant=, _a._ †Convincing; clear. 5. 8. 77. - -=Present=, _a._ Immediate (fr. L. _praesens_). 3. 6. 40. - -=Present=, _n._ †1. The money or other property one has on hand. - 1. 5. 20. - 2. The existing emergency; the temporary condition. 2. 6. 70. - -=President=, _n._ †A ruling spirit. 3. 5. 38. - -=Presume=, _v._ To rely (upon). 2. 2. 30. - -=Pretend=, _v._ 1. To lay claim (to). 2. 4. 16; 3. 3. 102. - †2. To aspire to. 1. 6. 36. - -=Price=, _n._ Estimated or reputed worth; valuation. 2. 8. 105. - -=Priuate=, _n._ †Priuate account. 5. 4. 23. - -=Processe=, _n._ _Law._ Summons; mandate. 3. 3. 72; 3. 3. 139. - -=Prodigious=, _a._ †Portentous; disastrous. 2. 7. 19. - -=Profer=, _n._ †An essay, attempt. 5. 6. 43. - -=Proiect=, _v._ 1. _tr._ To devise. 1. 8. 10. - †2. _intr._ To form projects or schemes. 3. 3. 42. - -=Proiector=, _n._ One who forms schemes or projects for enriching men. -1. 7. 9. See the passage. - -=Pronenesse=, _n._ Inclination, _spec._ to sexual intercourse. -4. 4. 233. - -=Proper=, _a._ Well-formed. Now only prov. Eng. 1. 6. 218. - -=Proportion=, _n._ 1. Allotment; share. 2. 3. 36. - 2. Calculation; estimate. 2. 1. 90; 3. 3. 127. - -=Prostitute=, _a._ Debased; worthless. 3. 2. 19. - -||=Pro’uedor=, _n._ [Sp. _proveedor_=Pg. _provedor_.] A purveyor. -3. 4. 35. - -=Prouinciall=, _n._ “In some religious orders, a monastic -superior who has the general superintendence of his fraternity -in a given district called a province.” _CD._ 5. 6. 64. - -||=Prouocado=, _n._ [‹Sp. _provocar_, to challenge.] -Challengee; one challenged. 3. 3. 143. - -||=Prouocador=, _n._ [‹Sp. _provocador_, _provoker_.] -Challenger. 3. 3. 142. - -=Pr’y thee=. [A weakened form of _I pray thee_.] Jonson -uses the following forms: Pray thee. 1. 2. 30. Pr’y thee. -2. 1. 78. ’Pr’y the. 1. 3. 22. - -=Publication=, _n._ Notification; announcement: _spec._ -the notification of a ‘depending’ quarrel by a preliminary -settlement of one’s estate. 3. 3. 137. - -=Pug=, _n._ †1. An elf; a spirit; a harmless devil. - The Persons of the Play. - 2. A term of familiarity or endearment. ?_Obs._ 2. 2. 128. - -=Pui’nee=, _a._ [For _puisne_, _arch._ form of _puny_, retained - in legal use.] - 1. _Law._ Inferior in rank. - 2. Small and weak; insignificant; pr. with a quibble on 1. - 1. 1. 5. - -†=Punto=, _n._ ?_Obs._ Eng. fr. Sp. or It. _punto_. A delicate point -of form, ceremony, or etiquette; the ‘pink’ of style. 4. 4. 69. - -=Purchase=, _n._ †Plunder; ill-gotten gain. 3. 4. 32. - -=Purt’nance=, _n._ The inwards or intestines. ?_Arch._ 5. 8. 107. - -=Put=, _v._ 1. _intr._ To move; to venture. 1. 1. 24. - -Phrases. 1. _Put downe_: To put to rout, vanquish - (in a contest). 1. 1. 93. - 2. _Put off_: To dismiss (care, hope, etc.). 2. 2. 48; - 3. 4. 25. To turn aside, turn back; divert (one from a - course of action). 1. 4. 68. - 3. _Put out_: To invest; place at interest. 3. 4. 23. - 4. _Put vpon_: To instigate; incite. 5. 8. 141. - To foist upon; palm off on. 3. 3. 174. - - -=Quality=, _n_. 1. Character, nature. Now _rare_. 3. 4. 37. - 2. High birth or rank. Now _arch._ 1. 1. 111. - -=Quarrell=, _v._ To find fault with (a person); to reprove angrily. -_Obs._ exc. Sc. (Freq. in 17th c.). 4. 7. 12. - -=Quit=, _v._ †To free, rid (of). 3. 6. 61. - - -=Read=, _v._ †To discourse. 4. 4. 248. - -=Repaire=, _v._ To right; to win reparation or amends for (a person). -?_Obs._ 2. 2. 59. - -||=Rerum natura=, _phr._ L. The nature of things; the physical -universe. 3. 1. 35. - -=Resolu’d=, _ppl. a._ 1. Determined. 2. 7. 13. - With quibble on 2. - 2. Convinced. - -=Retchlesse=, _a._ [Form of _reckless_.] †Careless; negligent. -3. 6. 34. - -=Reuersion=, _n._ A right or hope of future possession or enjoyment; -hence, phr. in _reuersion_: In prospect; in expectation. 5. 4. 44. - -=Rhetorique=, _n._ Rhetorician. ?_Obs._ 1. 4. 102. - -†=Ribibe=, _n._ A shrill-voiced old woman. 1. 1. 16. - -=Right=, _a._ True; real; genuine. _Obs._ or _arch._ 2. 2. 103. - -=Roaring=, _a._ †Roistering, quarreling. Phr. _roaring manner_: -The fashion of picking a quarrel in a boisterous, disorderly manner. -3. 3. 69. - -=Rose=, _n._ A knot of ribbon in the form of a rose used as -ornamental tie of a shoe. 1. 3. 8. - -†=Rose-marine=, _n._ [The older and more correct form of _rosemary_ -‹OF. _rosmarin_ L. _rosmarinus_, lit. ‘sea-dew.’] Rosemary. 4. 4. 19. - -||=Rouistico= [Same as _ligustro_], _n._ It. ‘Priuet or -prime-print ... also a kind of white flower.’ Florio. -‘Pianta salvatico.’ Bassano. 4. 4. 55. - -=Royster=, _n._ A rioter; a ‘roaring boy’. _Obs._ or _arch._ 1. 1. 68. - -=Rug=, _n._ †A kind of coarse, nappy frieze, used especially for -the garments of the poorer classes; a blanket or garment of this -material. 5. 1. 47. - - -†=Salt=, _n._ [L. _Saltus_.] A leap. 2. 6. 75. - -=Sample=, _v._ †To place side by side for comparison; compare. 5. 1. 3. - -=Saraband=, _n._ A slow and stately dance of Spanish or oriental -origin, primarily for a single dancer, but later used as a -contra-dance. It was originally accompanied by singing and at one -time severely censured for its immoral character 4. 4. 164 (see note). - -=Sauour=, _v. tr._ To exhibit the characteristics of. -?_Arch._ 4. 1. 49. - -†=’Say=, _v._ [By apheresis from _essay_.] Phr. _’say on_: -To try on. 1. 4. 37 SN. - -†=Scape=, _v._ [Aphetic form of escape, common in England - from 13-17th c.] - 1. To escape. 1. 6. 161. - 2. To miss. ?_Obs._ 1. 4. 33. - 3. To avoid. 5. 5. 52. - -=Sciptick=, _n._ [A humorous misspelling of _sceptic_.] ?One who -doubts as to the truth of reality; applied humorously to one made -doubtful of the reality of his own perceptions. 5. 2. 40. - -=Scratching=, _vbl. sb._ Eager striving; used contemptuously. -?_Colloq._ 5. 6. 67. - -=’Sdeath=, _int._ [An abbr. of _God’s death_.] An exclamation, -generally of impatience. 1. 2. 25. - -=Seaming=, _a._ _Phr._ _seaming lace_: ‘A narrow openwork braiding, -gimp, or insertion, with parallel sides, used for uniting two -breadths of linen, instead of sewing them directly the one to the -other; used for garments in the 17th c.’ _CD._ 2. 5. 9. - -=Seisen=, 4. 5. 16. See _Liuerie and seisen_. - -†=Sent=, _v._ An old, and historically more correct, spelling -of _scent_. 2. 6. 26. - -=Seruant=, _n._ †A professed lover. 4. 3. 45. - -=Session=, _n._ _Law._ A sitting of justices in court. 5. 6. 21. - -=Shame=, _v._ To feel ashamed. ?_Obs._ or _arch._ 5. 6. 37. - -=Shape=, _n._ Guise; dress; disguise. _?Arch._ 5. 3. 18. - -†=Shop-shift=, _n._ A shift or trick of a shop-keeper. 3. 5. 4. - -=Shrug=, _v. refl._ Phr. _shrug up_: To hitch (oneself) up -(into one’s clothes). 1. 4. 80 SN. - -=Signe=, _n._ One of the twelve divisions of the zodiac. 4. 4. 233. -Used _fig._ 1. 6. 127. - -=Signet=, _n._ A seal. Formerly one of the seals for the -authentication of royal grants in England, and affixed to documents -before passing the privy seal. 5. 4. 22. - -=Sirah=, _n._ A word of address, generally equivalent to ‘fellow’ or -‘sir.’ _Obs._ or _arch._ 1. 4. 45; 3. 5. 25. sirrah (addressed to a -woman). 4. 2. 66. - -†=’Slid=, _int._ An exclamation, app. an abbreviation of _God’s lid_. -1. 3. 33. - -†=’Slight=, _int._ A contraction of _by this light_ or _God’s light_. -1. 2. 15. S’light. 2. 7. 16; 2. 8. 81. - -=Smock=, _n._ 1. A woman’s shirt. 1. 1. 128. ?2. A woman. 4. 4. 190. - -||=Soda di leuante=, _n._ It. ?Soda from the East. 4. 4. 32 -(see note). - -=Soone=, _a._ Early. Phr. _soone at night_: Early in the evening. -1. 1. 148. - -†=Sope of Cyprus=, _n._ ?Soap made from the ‘cyprus’ or hennashrub. -4. 4. 45. - -=Sou’t=, _v. pret._ Pr. for _sous’d_, pret. of _souse_, to swoop upon -(like a hawk). 4. 7. 54 (see note). - -†=Spanish-cole=, _n._ A perfume; fumigator. 4. 4. 150. - -=Spic’d=, _ppl. a._ †Scrupulous; squeamish. 2. 2. 81. - -=Spring-head=, _n._ A fountain head; a source. 3. 3. 124. - -†=Spruntly=, _adv._ Neatly; gaily; finely. 4. 2. 61. - -=Spurne=, _v._ To jostle, thrust. P. 11. - -=Squire=, _n._ 1. A servant. 2. 2. 131. - 2. A gallant; a beau. 2. 2. 116. - 3. A gentleman who attends upon a lady; an escort. - ?_Arch._ 5. 3. 19. - -=Stalking=, _n._ In _sporting_, the method of approaching game -stealthily or under cover. 2. 2. 51. - -=Stand=, _v._ Phrases. 1. _Stand for’t_: To enter -into competition; to make a claim for recognition. 1. 6. 36. - 2. _Stand on_: To insist upon. 3. 3. 83. - 3. _Stand vpon_: To concern; to be a question of. - 3. 3. 60. - -=Standard=, _n._ †A water-standard or conduit; _spec._ -the Standard in Cheap. 1. 1. 56. - -=State=, _n._ †Estate. 4. 5. 30; 5. 3. 13. - -=Stay=, _v. tr._ 1. To delay; detain. 2. 2. 20. - 2. To maintain. ?_Arch._ 3. 1. 7. - 3. To retain. ?_Arch._ 2. 4. 26. - -=Still=, _adv._ 1. Ever; habitually. 1. 5. 23. - 2. Continually. 3. 3. 27. - -=Stoter=, _n._ ?A small coin. Cunningham. (Considered by W. and G. -a misprint for _Storer_.) 3. 3. 32. - -=Straine=, _n._ A musical note. Used _fig._ 5. 5. 58. - -=Strange=, _a._ Immodest; unchaste. 2. 6. 53 (see note). - -=Strength=, _n._ In _pl._: abilities; resources. 1. 1. 24; 1. 4. 35. - -=Strong-water=, _n._ 1. 1. 114. See _Water_. - -=Subtill=, _a._ 1. Tenuous; dainty; airy. P. 5. - 2. Cunningly devised; ingenious. 1. 1. 116. - -=Subtilty=, _n._ 1. Fineness; fine quality; delicacy. 2. 1. 86. - 2. An artifice; a stratagem. 2. 2. 4. - 3. Cunning; craftiness. 1. 1. 144; 2. 2. 12. - -=Subtle=, _a._ Intricate. 2. 1. 114; 2. 2. 12. - -=Sufficiency=, _n._ Efficiency. ?_Arch._ 3. 5. 56. - - -=Tabacco=, _n._ _Obs._ form of _tobacco_. (Cf. Sp. _Tabaco_; -Port. and It. _Tabacco_). 1. 1. 114; 5. 8. 73. - -=Table-booke=, _n._ †A memorandum-book. 5. 1. 39. - -=Taile=, _n._ Phr. _in taile of_: At the conclusion of. 1. 1. 95. - -=Take=, _v._ 1. To catch (in a trap). - 2. To captivate. With quibble on 1. 3. 6. 13. - 3. To catch; surprise. 2. 1. 147; 4. 1. 27. - 4. To take effect. 1. 4. 36. Phrases. - 5. _take forth_: ?To learn. _Dial._ 1. 1. 62. - †6. _take in_: To capture. 3. 3. 170. - 7. _take vp_: To borrow. 3. 6. 15. - -=Taking=, _n._ †Consumption; smoking (the regular phrase). 5. 8. 71. - -=Talke=, _n._ Phr. _be in talke_: To be discussing or proposing. -3. 5. 52. - -=Tall=, _a._ 4. 5. 32. See _Board_, and note. - -=Tasque= [‹OF. _tasque_], _n._ _Obs._ form of _task_. Business. -5. 1. 14. - -=Taste=, _v._ 1. To perceive; recognize. 1. 6. 138. - 2. To partake of; enjoy (tast). 4. 4. 93. - -†=Tentiginous=, _a._ Excited to lust. 2. 3. 25. - -=Terme=, _n._ 1. A period of time; time. 3. 3. 88. - 2. An appointed or set time. _Obs._ in general sense. - 1. 1. 6. - -=Then=, _conj._ _Obs._ form of than. P. 10; etc. - -=Thorow=, _prep._ _Obs._ form of _through_. 1. 1. 145. - -=Thorowout=, _prep._ _Obs._ form of _throughout_. 2. 1. 50. - -=Thought=, _n._ ?Device. 2. 2. 30. - -=Thumbe-ring=, _n._ A ring designed to be worn upon the thumb; -often a seal-ring. P. 6. - -=Ticket=, _n._ †A card; a brief note. 2. 8. 90. - -=Time=, _n._ Phr. _good time!_: Very good; very well. 1. 4. 60. - -=Time=, _v._ ?To regulate at the proper time; to bring timely aid to. -3. 3. 97. - -=Tissue=, _n._ ‘A woven or textile fabric; specifically, in former -times, a fine stuff, richly colored or ornamented, and often shot -with gold or silver threads, a variety of cloth of gold.’ _CD._ -Used _attrib._ 1. 1. 126. - -=To night=, _adv._ †During the preceding night; last night. 4. 1. 18. - -†=Too-too-=, _adv._ Quite too; altogether too: noting great excess -or intensity, and formerly so much affected as to be regarded as one -word, and so often written with a hyphen. 3. 3. 231. - -=Top=, _n._ 1. Summit; used _fig._ 2. 2. 89. - 2. The highest example or type. _ ?Arch._ or _obs._ 4. 4. 244. - -=Torn’d=, _ppl. a._ Fashioned, shaped (by the wheel, etc.). -_Transf._ and _fig._ 2. 6. 85. - -=Tother=, _indef. pron._ [A form arising from a misdivision of _that -other_, ME. also _thet other_, as _the tother_.] Other; usually -preceded by _the_. 1. 3. 37. - -=Toy=, _n._ 1. A trifle. 2. 8. 2; 2. 8. 50. - 2. A trifling fellow. 4. 7. 24; 4. 7. 57. - ?3. Thing; trouble; used vaguely. 3. 3. 222. - -=Tract=, _n._ 1. A level space; _spec._ of the stage. - P. 8. - †2. Attractive influence, attraction. 2. 2. 10. - -=Trauell=, _v._ To labor; toil. 3. 4. 52. - -=Trauell=, _n._ †Toil; anxious striving. 1. 6. 119. - -=Treachery=, _n._ An act of treachery. ?_Obs._ 3. 6. 49. - -=Troth=, _int._ In troth; in truth. 4. 1. 21. - -=Trow=, _v._ To think, suppose. As a phrase added to questions, and -expressions of indignant or contemptuous surprise; nearly equivalent -to ‘I wonder.’ 5. 2. 36. - -=Turn=, _v._ To sour; _fig._ to estrange. 2. 7. 38. - -=Turne=, _n._ 1. Humor; mood; whim. 2. 2. 37. - 2. Act of service. 2. 2. 125. - 3. Present need; requirement. 3. 3. 192. - - -=Vmbrella=, _n._ †A portable shade, probably a sort of fan, -used to protect the face from the sun. 4. 4. 81. - -=Vndertaker=, _n._ One who engages in any project or business. -?_Arch._ 2. 1. 36. - -=Vnder-write=, _v._ To subscribe; to put (one) down -(for a subscription). 3. 3. 145. - -†=Vnquiet=, _v._ To disquiet. 4. 1. 20. - -=Vntoward=, _a._ Perverse, refractory. ?_Arch._ 2. 8. 16. - -=Vp=, _adv._ Set up: established. 3. 5. 54. - -=Vpon=, _prep._ 1. Directed towards or against; with - reference to. 1. 1. 13; 1. 6. 112. - 2. Immediately after. 3. 3. 123. - 3. After and in consequence of. 1. 1. 39. - -=Vrge=, _v._ To charge. Phr. _vrge with_: To charge with; accuse of. -?_Arch._ 4. 1. 44. - -=Vse=, _v._ To practise habitually. 1. 3. 42. - -=Vtmost=, _n._ The extreme limit (of one’s fate or disaster). -5. 6. 10. - - -=Valor=, _n._ Courage; used in _pl._ 4. 1. 32. - -=Vapours=, _n. pl._ †A hectoring or bullying style of language or -conduct, adopted by ranters and swaggerers with the purpose of -bringing about a real or mock quarrel. 3. 3. 71 (see note). - -=Veer=, _v._ _Naut._ To let out; pay out; let run. 5. 5. 46. - -=Venery=, _n._ Gratification of the sexual desire. 3. 6. 7. - -†=Vent=, _v._ To sell. 3. 4. 61. - -=Vent=, _v._ 1. To publish; promulgate. 2. 3. 24. - 2. To give expression to. 2. 3. 5; 2. 1. 166; 5. 8. 153. - -=Venter=, _n._ _Obs._ form of _venture_. 1. 6. 175. - -†=Venting=, _vbl. sb._ Selling; sale. 3. 4. 49. - -=Vernish=, _n._ Older and _obs._ form of _varnish_. ?A wash to add -freshness and lustre to the face; a cosmetic. 4. 4. 36. - -||=Vetus Iniquitas=, _n._ L. ‘Old Iniquity,’ a name of the ‘Vice’ in -the morality plays. 1. 1. 47. - -||=Via=, _int._ It. Away! off! 2. 1. 3 (see note). - -=Vice=, _n._ 1. Fault. - †2. The favorite character in the English morality-plays, in the - earlier period representing the principle of evil, but later - degenerating into a mere buffoon. 1. 1. 44; 1. 1. 84; etc. - With quibble on 1. P. 9. See also Introduction. - -=Vierger=, _n._ _Obs._ form of _verger_. 4. 4. 209. - -=Vindicate=, _v._ †To avenge; retaliate for. 5. 6. 49. - -=Virgins milke=, _n._ A wash for the face; a cosmetic. 4. 4. 52. - - -†=Wanion=, _n._ ‘A plague;’ ‘a vengeance.’ Phr. _with a wanion_: -A plague on him; bad luck on him. 5. 8. 33. - -=Wanton=, _a._ Playful; sportive. 2. 6. 75. - -=Ward-robe man=, _n._ A valet. 1. 3. 13. - -=Ware=, _v._ Beware of; take heed to. _Arch._ 5. 5. 5. - -=Wast=, _n._ _Obs._ form of _waist_. 1. 4. 95. -waste (with quibble on _waste_, a barren place). 4. 4. 204. - -=Water=, _n._ 1. Essence; extract. 4. 4. 39. - 2. _-water_: The property of a precious stone in which its - beauty chiefly consists, involving its transparency, refracting - power and color. 3. 3. 179: 181. - 3. _strong-water_: A distilled liquor. 1. 1. 14. - -=Wedlocke=, _n._ †A wife. 1. 6. 10; 2. 3. 18. - -=Well-caparison’d=, _ppl. a._ Well furnished with trappings; -also _fig._, well decked out. Involving a quibble. 2. 5. 7. - -=Wench=, _n._ - 1. A mistress; strumpet. _Obsolescent._ 5. 2. 21. - †2. A term of familiar address; friend. 4. 1. 60. - -=While=, _conj._ Till; until. Now prov. Eng. and U. S. 1. 3. 5. - -=Wicked=, _a._ ?Roguish. 4. 4. 197. - -=Widgin=, _n._ [Form of _widgeon_.] A variety of wild duck. 5. 2. 39. - -=Wis=, _adv._ [‹ME. wis.] 5. 8. 31. See _Wusse_. - -=Wish=, _v._ To desire (one to do something); to pray, request. -?_Arch._ 2. 2. 52. - -=Wit=, _n._ 1. Intellect. 1. 4. 29; 1. 4. 64. - 2. Intelligence. 3. 2. 13. - 3. Ingenuity; ingenious device. 2. 2. 86. - -=Withall=, _adv._ Besides; in addition; at the same time. -2. 2. 27; 3. 5. 16. with-all. 2. 2. 73. - -=Wiue-hood=, _n._ _Obs._ form of _wifehood_. 1. 6. 50. - -=Worshipfull=, _a._ Worthy of honor or respect. 4. 7. 75. -Used in sarcasm. 2. 2. 89; 3. 3. 8. - -=Wrought=, _ppl. a._ Embroidered. ?_Arch._ 1. 2. 47. - -†=Wusse=, _adv._ [Corruption of _wis_ ‹ME. _wis_, by -apheresis from _iwis_; sure, certain.] Certainly; truly; -indeed. 1. 6. 40. - - -=Yellow-water=, _n._ 3. 3. 181. See_-water_. - - -||=Zuccarina=, _n._ It. ‘A kind of bright Roche-allum.’ Florio. - -||=Zuccarino=, _n._ 4. 4. 31. ?For _Zuccarina_, _q. v._ - -||=Zucche Mugia=, _n._ It. ?A perfume. 4. 4. 35. - - - - -BIBLIOGRAPHY - - -ABBOTT, E. A. A Shakespearian Grammar. Lond. 1891. - -ALDEN, CARROLL STORRS. Edition of Bartholomew Fair. N. Y. 1904. - -AMOS, ANDREW. The Great Oyer of Poisoning. The Trial of the Earl -of Somerset for the Poisoning of Sir Thomas Overbury. Lond. 1846. - -ARBER, EDWARD (ed.). A Transcript of the Registers of the -Company of Stationers of London; 1554-1640. 5 vols. Birmingham, 1894. - -BATES, KATHERINE LEE, and GODFREY, LYDIA BOKER. -English Drama. A Working Basis. Wellesley College, 1896. - -BAUDISSIN, WOLF (GRAF VON). Ben Jonson und seine Schule. -Leipzig, 1836. - -BEAUMONT and FLETCHER. Dramatic Works. -Ed. A. Dyce. 11 vols. Lond. 1843. - -BOCCACCIO, GIOVANNI. Opere volgari. 17 vols. Firenze, 1827-34. - -BRANDL, ALOIS. Quellen des weltlichen Dramas in England -vor Shakespeare. Quellen u. Forschungen 80. Strassburg, 1889. -[Contains thirteen plays, among which are Heywood’s _Love_ and -_The Weather_, _Respublica_, _King Darius_, and _Horestes_.] - -BROME, RICHARD. Dramatic Works. 3 vols. Lond. 1873. - -BURTON, ROBERT. The Anatomy of Melancholy. -Ed. A. R. Shilleto. Lond. and N. Y. 1893. - -BUTLER, SAMUEL. Hudibras, with Dr. Grey’s Annotations. Lond. 1819. - --------- Characters. See MORLEY. - -CARPENTER, FREDERIC IVES. Metaphor and Simile in the Minor -Elizabethan Drama. Chicago, 1895. Jonson, pp. 125-156. - -_CD._ Century Dictionary. - -CHAMBERS, E. K. The Mediæval Stage. 2 vols. Oxford, 1903. - -CHAMBERS, R. (ed.). Book of Days: A Miscellany of Popular -Antiquities. 2 vols. Edinburgh, 1864. - -COLERIDGE, SAMUEL TAYLOR. Shakespeare, Ben Jonson, Beaumont -and Fletcher. Notes and Lectures. Liverpool, 1874. - -COLLIER, JOHN PAYNE. Memoirs of the Principal Actors in -the Plays of Shakespeare. Lond. 1846. - --------- The History of English Dramatic Poetry to the Time -of Shakespeare; and Annals of the Stage to the Restoration. -3 vols. Lond. 1831. - -CORYAT, THOMAS. Crudities; repr. from the ed. of 1611. -2 vols. Lond. 1776. - -COTGRAVE, RANDLE. A Dictionarie of the French and English Tongues. -Lond. 1632. - -CRAIK, GEORGE LILLIE. The History of British Commerce. -3 vols. Lond. 1844. - -CUNNINGHAM, W. The Growth of English Industry and Commerce in Modern -Times. Part I. The Mercantile System. 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A Select Collection of Old Plays. With Notes. -Ed. T. Coxeter. Lond. 1744. - --------- Same. 2d ed. Ed. J. Reed. Lond. 1780. - --------- Same. 4th ed. Ed. W. Carew Hazlitt. Lond. 1874. - -DORAN, JOHN. History of Court Fools. Lond. 1858. - -DOUCE, FRANCIS. Illustrations of Shakespeare and of Ancient Manners. -2 vols. Lond. 1807. - -DOWNES, JOHN. Roscius Anglicanus, or an Historical Review -of the Stage from 1660 to 1706. Repr. by Joseph Knight. Lond. 1886. - -DYCE, ALEXANDER. Remarks on Collier’s and Knight’s Editions -of Shakespeare. Lond. 1844. - -ECKHARDT, EDUARD. Die Lustige Person im älteren englischen -Drama (bis 1642). Palaestra 17. Berlin, 1902. - -ENTICK, JOHN. A New and Accurate History and Survey of London, -Westminster, Southwark, and Places adjacent. 4 vols. Lond. 1766. - -FLEAY, FREDERIC GARD. Biographical Chronicle of the English -Drama 1559-1642. 2 vols. Lond. 1891. - --------- A Chronicle History of the London Stage, 1559-1642. Lond. 1890. - -FLORIO, JOHN. 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Y. 1852. - - - - -INDEX - - -Absorption of a syllable, 174, 208. - -Academy, 174-5, 188. - -Actors, Jonson’s allusions to, 175. - -Adders, 126. - -Aesop, _Fables_ of, 185. - -Africa, 149. - -After-game, 201. - -Agrippa, Cornelius, lxiv. - -Allegorical treatment of drama, xx f. - -Allot, Robert, 124. - -Allum Scagliola, 192. - -Almaine-leap, 137. - -Almanac-men, 156-7. - -Almoiavana, 196. - -America, 149. - -Apperil, 205. - -Aqua-vitæ, 158. - -Aristophanes, xli, lxvi, lxxvi, lxxix; - _Clouds_, 202; _Plutus_, 211. - -Art, man of, 149. - -Arthur’s show, 159. - -Artillery-ground, 177. - -Astrology, 199. - - -Bacon, lxiii. - -Ballad literature, xxvii. - -Banqueting-house, Lord Mayor’s, 201. - -Bare head of usher and coachman, 164, 196, 198. - -Baudissin, Count von, _Ben Jonson und seine Schule_, xxii. - -Bawdy, talk, 197. - -Beare, the, 124. - -Beaumont and Fletcher, - _Elder Brother_, lvi; - _King and No King_, lvii. - -Bedfellow, 174. - -_Belfagor_, Novella of, xxx ff. - -Belphegor, xxxii. - -Benefit, make, 163. - -Benjamin, 192. - -Benson, John, 124. - -Bermudas, 161, 182. - -Bethlehem Royal Hospital, 203. - -Billiard ball, 173. - -Billingsgate, 134. - -Bilson, boy of, 205. - -Blackfriars, painters at, 156; theatre, xvii, 150. - -Blank, 181. - -Bless us! 197. - -Blown roses, 179. - -Blue coats, 183. - -Boccaccio, _Decameron_, xlv ff., lxxv. - -Bodin, lxiv. - -Borachio, 159. - -Braganza, 196. - -Breasts exposed, 173. - -Bretnor, 141. - -Bristo-stone, 184. - -Brokers, 140. - -Brome, - _Antipodes_, lxii; - _Court Beggar_, lxi, lxxv. - -Browne, Sir Thomas, lxiii. - -Buckingham. See Villiers. - -Buckram bag, 159. - -Bullions, 185-6. - -Burton, boy of, 203, 205. - -Business (quarrel), 182. - -Butler, Samuel, _Characters_, lxii. - -By cause, 205. - - -Caract, 153. - -Caroch, carroch, 155, 190. - -Carranza, Jerome, _Filosofia de las Armas_, lv. - -Cataputia, 193. - -Cater, 146. - -Cautelous, 154. - -Centlivre, Mrs., _Busie Body_, lxxv. - -Chains, gold, 183. - -Chamberfellow, 174. - -Character-drama, xliv. - -Cheapside, 178; Standard in, 131. - -Cheaters, 207. - -Cheat on, 207. - -Cheats, 156. - -Cheese-trenchers, 126. - -Chopines, see Cioppinos. - -Chrysippus, _de Divinitione_, 145. - -Cioppinos, liii, 186-7, 194. - -Circles, magic, 145. - -Cloak, long, of fool, xxxix. - -Cloven foot, 146-7. - -Clown, xxiii, xxv f. - -Coaches, 156. - -Coachman, 190, 198. - -Coke, Sir Edward, xviii, lxvi ff., lxx ff. - -Cokeley, 135. - -Cokes, 164. - -Commissioners, 190. - -Compounds, Jonson’s use of, 181. - -Compters, 177. - -Conduits, 201. - -Confute, 206. - -Conjurers, 145. - -Constable, 209. - -Contrasted characters, xliv. - -Cord as charm, 128. - -Corncutter, 199. - -Cornhill, 178. - -Cornish counterfeit, 184. - -Coryat, _Crudities_, liii, 194, 204. - -Cosmetics, 192. - -Courts of Love, 153. - -Covetuousness (in morality plays), 130. - -Coxcomb and Coverlet, 209. - -Cranes, Three, 135. - -Crisped groves, 173. - -Crowland, 164; monastery at, lx. - -Crystals, 144. - -Cuckold and devil, joke on, 208. - -Cushman, Dr. L. W., xxii, xxxiv, et passim. - -Custard, 137. - -Custom-house key, 134. - -Cut-work, 140, 162. - - -Dagger, wooden, xxxix; ordinary, 134. - -Darling, Thomas, 203. - -Darrel, John, xxxii, xlix ff., 203. - -Date of play, xvii. - -Decimo sexto, 193. - -Defeat, do, 168. - -Dekker, _If this be not a good Play_, xxix ff., xxxi. - -Demoniacal possession, xlix. - -Dependencies, see Master of Dependencies. - -Derbyshire Peak, 147. - -Despenser, Hugh le, 165. - -Devil, in pre-Shakespearian drama, xxii f.; - Jonson’s treatment of, xxiii f.; - costume of, xxiv; - stupid, xxvii; - carried in a ring, 126; - leaves an evil odor, 211; - divers names of, 145; - ill omen to pronounce the name of, 197; - dines on sinners, 211; - speaks languages, 211; - takes tobacco, 209; - travels swiftly, 145. - -Devil-plot, xx ff. - -Devil’s Cavern in Derbyshire, 147. - -Devil’s dam, 188. - -Digby miracle-plays, xxiii. - -Dining, hour of, 188. - -Dinner, inviting poet to, 189. - -Dotage, 211. - -Dottrel, 163, 175, 200. - -Double cloak, 189. - -Doublet bombasted, 131. - -Dueling, liv ff. - -Dukes in England, 160. - -Dutch in England, 133. - -Dwindle, 193. - - -Eckhardt, Dr. E., xxii, xxxiv, et passim. - -Edition of 1631, xi ff.; - 1641, xiv; - 1692, xiv; - 1716, xv; - 1729, xi; - 1756, xv; - 1811, xi; - 1816, xvi f.; - 1838, xi; - 1871, xi; - 1875, xvii. - -Eitherside identified as Coke, lxxi f. - -E-la, 205. - -Ellipsis before _that_, 174. - -Engendering by the eyes, 163. - -Equivokes, 184. - -Escudero, 195. - -Estifania, Lady, 193. - -Ethical treatment of drama, xliv. - -Exchange, Royal, 158. - - -Face-painting, 190-1. - -Fair and foul, 163. - -Favor, under, 146. - -Fencing-schools, lv. - -Fens of Lincolnshire, lix ff. - -Fern ashes, 192. - -Figgum, 210. - -Finsbury, 178. - -Fitzdottrel, xlii; identified as Coke, lxx f.; - Mrs., identified as Lady Hatton, lxvi ff. - -Fleas, keep, within a circle, 202. - -Fly-blown, 174. - -Fool, union with Vice, xxxv, xxxviii; - domestic, xxxix; - tavern, xl; - city, xl; - in Jonson’s other works, xl. - -Ford, _Fancies Chaste and Noble_, lvi. - -Forked top, 163. - -Forks, liii, 204. - -Forman, Simon, 141-3, 175. - -Foul and fowl, 163. - -Francklin, xviii, 142-3. - -Fraud (character in morality-play), 130. - -French hood, 138; - masks, 161; - time, 188; - walking-stick, 199. - -Friar Bacon, xxvii. - -Friar Rush, xxvii ff., xxxiv, xlix. - -Frolics, 175. - -Fucus, 190. - - -Galley-pot, 193. - -Garnish, 206. - -Garters, 139-40, 168. - -Geere, 154. - -Gentleman usher, 125, 187, 195-6, 198. - -Gentlemen of the Sword, lvii. - -Gifford, his opinion of the 1631 Folio, xiii; - criticism of _Devil is an Ass_, lxxvi; - _Ben Jonson’s Malignity_, 166. - -Gilchrist, O., _Examination ... of Ben Jonson’s Enmity_, etc., 166. - -Globe theatre, 180. - -Gloucester, 165-7. - -Godfathers in law, 205. - -Godwit, 179. - -Gogs-nownes, 130. - -Goldsmiths, 124-5. - -Goldsmith’s Row, 187. - -Good (sufficient), 176. - -Good time! 148. - -Grandees, 125. - -Greek, devil talks in, li. - -Greenland, 167. - -Gresham, astrologer, 141; Sir Thomas, 158. - -_Grim, Collier of Croydon_, xxvi, xxxii f. - -Groen-land, see Greenland. - -Guarda-duenna, 195. - - -Hall’s _Chronicle_, 166. - -Hand-gout, 182. - -Hanging for theft, 206-7. - -Harlequin, 131. - -Harrington, 160. - -Harrison, Thomas, 205. - -_Harrowing of Hell_, xxiii. - -Harsnet, Samuel, xlix ff. - -Hatton, Lady Elizabeth, lxvi ff., lxx f. - -Have with ’em, 190. - -Havings, 182. - -Henry, Prince, lxiv. - -Herford, _Studies_, xx, et passim; - criticism of _Devil is an Ass_, lxxvi. - -Heywood, John, farces of, xxxvi f. - -Ho! Ho! xxiii, 127. - -Hogsdon, 128. - -_Holland’s Leaguer_, lxi. - -Hoop, 195. - -Horace, liii; - _Carmina_, 154; - _de Art. Poet._, 124; - _Sat._, 167. - -_Horestes_, xxxvi. - -Horns, 208. - -Howard. Lady Frances, lxx. - -Howes, Edmund, lxxiii. - -Hum, 139. - -Humor-comedy, xix, xliv. - -Humphrey, Duke, 165. - -Hutchinson, Francis, _Historical Essay_, l. - -Hyde Park, 156. - - -I. B., see Benson. - -Infanta, 191. - -Iniquity, xxxvii ff., 130. - -Inns of Court, 176. - -Interludes, Vice in, xxxv. - -Intire, 168, 207. - -Italian sources, xlviii. - - -_Jack Juggler_, xxxvii. - -James I., _Demonology_, lxiii. - -Jesuits, 184-5. - -Jonson, identified with Wittipol, lxvi, lxxi; - duel with Gabriel Spenser, 128; - and Shakespeare, 165; - as a soldier, 181; - _Alchemist_, xix, lvii, lxxv; - _Case is Altered_, xlix, lxv, lxxv, 162; - _Celebration of Charis_, lxvi ff., 169; - _Challenge at Tilt_, lxvi ff., lxxi, 171; - _Christmas, his Masque_, xviii; - _Cynthia’s Revels_, xix, xx, lxxviii; - _Devil is an Ass_, its presentation, xvii f.; - sources, xli, xlv ff.; - minor sources, liii; - construction, xlii, xlv; - diction, xliv f.; - as historical document, xliv; - influence, lxxiv ff.; - _Every Man in_, lvii, lxv; - _Every Man out_, xix, xx, lvii; - _Expostulation with Inigo Jones_, xxxix; - _Fox_, xx, xlix, lxv; - _Gipsies Metamorphosed_, lxvii ff., 171; - _Golden Age Restored_, xvii; - _Love Restored_, xxvi; - _Magnetic Lady_, xxi, lv, lxxvii; - _Masque of Beauty_, lxvii; - _Masque of Queens_, lxiv f.; - _New Inn_, xxi; - _On the Town’s Honest Man_, xl; - _Poetaster_, xix, xx, lxv f., lxxvii; - _Sad Shepherd_, xxvi, lxiv f.; - _Satyr_, xxvi; - _Sejanus_, xix; - _Silent Woman_, xlix, lxxvii; - _Staple of News_, xxi, xl, lxv; - _Underwoods 32_, 196; - _Underwoods 36_, lxvi ff., 170; - _Underwoods 62_, liii, 184; - _Underwoods 64_, lxx. - -Justice Hall, 208. - - -Kentish Town, 128. - -Kind, 161. - -King’s Men, 123. - -Kissing, 191. - - -Lac Virginis, 193. - -Lade, 148. - -Lading, 148, 155. - -Lancashire, witches, lxiii, 129; the seven of, 203. - -Languages, possessed person speaks, li, 211. - -Latinisms, 189. - -Law terms, 200. - -Ledger, 207. - -Lincoln, Earl of, lx. - -Lincolnshire, draining fens of, lix ff., lxxiii. - -Lincoln’s Inn, walks of, 153. - -London Bridge, 134. - -Longing wife, 145. - -Looking glasses, 168. - -Loo masks, 161-2. - -Love philtres, 208. - -Low Countries, 181. - -Lucian, _Lucius, sive Asinus_, 155. - -Lupton, Donald, _London and the Countrey Carbonadoed_, lv. - -_Lusty Juventus_, 130. - - -Machiavelli, _Belfagor_, xxix, xxxiv, xlix, lxxiv. - -Mad-dame, 191. - -Major (mayor), 201. - -Malone, 165. - -Man and kind (human nature), 161. - -Maria, Infanta of Spain, xviii, 191. - -Marquesse Muja, 196. - -Marston, _Dutch Courtezan_, lxix. - -Martial, _Epigrams_, liii, 173. - -Masks, 161. - -Massinger, criticism of Jonson, 188-9; - _Guardian_, lvi; - _Maid of Honor_, lvi. - -Master of Dependencies, xliii, lvi, 181. - -Meath, 139. - -Merecraft, identified as Mompesson, lxxii. - -Mermaid tavern, 180. - -_Merry Devil of Edmonton_, xxvii, 127. - -Middlesex jury, 129. - -Middleton, and witchcraft, lxiv. - -Middling gossip, 156. - -Migniard, 149. - -Military enthusiasm in 1614, 177-8. - -Milking he-goats, 202. - -Mint, 182. - -Mompesson, Sir Giles, lxxii f. - -Monieman identified with Popham, lxxiii. - -Monkey as pet, 164. - -Monopolies, lviii ff. - -Monsters, 149. - -Moon, 199. - -Morality-plays, xxii, xxxiv, etc. - -Motion (puppet-show), 156. - -Mouse in witchcraft, li. - -Much good do you, 185. - -Muscatell, 160. - -Muscovy glass, 126. - -Mystery-plays, xxii, xxxiv. - - -Nails of devil unpared, 207. - -_Nature_, play of, xxii. - -Newcastle, Earl of, xiii, 147. - -Newgate, 125, 207. - -New-nothing, 136-7. - -Niaise, 150. - -Noble House, lxxiv. - -Norfolk, Coke a squire of, lxx. - -Northumberland, witches in, 129. - -Norwich, boy of, 205. - -Nupson, 163. - - -Obarni, 139. - -Order of words with negative, 150. - -Overbury Case, xviii, lxx ff., 141-3, 208. - -Overdo, Adam, liii. - - -Pace of gentleman usher, 198. - -Paint (blush), 168. - -Painters, see Blackfriars. - -Pallafreno, xlvii. - -Pan, 159. - -Pancridge, Earl of, 159. - -Paracelsus, lxiv. - -Parchment, 144. - -Parliament makes remonstrance, lix. - -Patentee, lx. - -Patterns, 134. - -Peace, with my master’s, 163. - -Pentacle, 144. - -Penthouse, 130. - -Perfumes, 194-5. - -Periapt, 144. - -Persius, _Sat._, 154. - -Petticoat Lane, 132. - -Phrenitis, 211. - -Physic, ladies taking, 199. - -Picardill, 164. - -Piece, 147. - -Pieced, 190. - -Pimlico, 184, 196. - -Pinnace, 152. - -Pins, pricking with, li, 208. - -Plautus, xlii, liii; - _Aulularia_, xlviii, lxxv, 162; - _Captivi_, 189; - _Casina_, xlix; - _Epidicus_, 187; - _Miles Gloriosus_, xlviii. - -Playbill, 148. - -Play-time, 188. - -Plutarch, _Lives_, 177; - _Moralia_, 191. - -Plutarchus, xliv; identified as Howes, lxxiii. - -Pope, 150, 167. - -Popham, Sir John, lx, lxxiii. - -Popular legend, xxvi. - -Posies on trenchers, 126. - -Possibility, in, 200. - -Posture book, 178. - -Potentia, in, 204. - -Poultry, see Compters. - -Pounds, see Compters. - -Projector, lii, lx, lxxii. - -Provedor, 187. - -Proverbs, 145, 202, 212. - -Proverb title, 123. - -Provincial, 207. - -Publish suit, 150. - -Pug, xxvi, etc. - -Pumps, 194. - -Punch and Judy, xxv. - -Punning, 147. - -Purbeck, Lady, lxvii, lxx. - -Purchase, 187. - -Puritans, 184-5, 210. - -Purse, 158. - - -Quintilian, 149. - - -Raleigh, Sir Walter, lxiii; son of, lxxi. - -Ramsey, monastery at, lx. - -Randolph, _Muse’s Looking Glass_, lxi. - -Rapier, lv. - -Raven’s wings, 144. - -Relative omitted, 147, 210. - -Remigius, lxiv. - -Rerum natura, 177. - -Resolved, 174. - -_Respublica_, xxxvi. - -Ribibe, 128. - -Richard III., 165. - -Riche, Barnaby, _Riche his Farewell to Militarie Profession_, xxxi. - -Richmond, Lodowick, Earl of, lxxiv. - -Rings, spirits in, 126; as charms, 144. - -Roaring Boys, lvi, 181. - -Roaring manner, 181. - -Robin Goodfellow, xxvi ff., xxxiii. - -Robinson, Richard, 175. - -Roses, ass eats, 155. - -Roses in shoes, 146, 179. - -Round Robbin, 129. - -Rug, 201-2. - -Rushes, 152. - - -St. George’s tide, 183. - -St. Giles, Cripplesgate, 201. - -St. Katherine’s, 133. - -St. Paul’s Churchyard, 124; - steeple, 131; - walk, 150. - -St. Pulchar’s, 211. - -Saints’ legends, xxvii. - -Salt, soul instead of, 153. - -Sand, ropes of, 139, 202. - -Saraband, 196-7. - -Satire, specific objects of, liv; personal, lxv. - -Satirical plot, xli f. - -Saviolo, lv. - -Savory, 143. - -Scarfe, 178. - -Scarlet, 192. - -Schlegel, 123. - -Scot, Reginald, _Discovery_, xxviii, lxiii. - -Servant, 191. - -Servant’s wages, 147. - -Sessions, quarter, 206. - -Shakespeare and Jonson, 165; - and witchcraft, lxiv; - historical plays, 165 ff.; - _Midsummer Night’s Dream_, xxvi. - -Sharks, 182. - -Sheriff’s dinner, 136. - -Ship, woman compared to a, 152, 164. - -Shirt, into the, 148. - -Shoot, the bridge, 134; eyes, 174. - -Shoreditch, 132; Duke of, 200. - -Sign of the zodiac, 154. - -Sister-swelling breasts, 172. - -Smock allies, 132. - -Soda, 192. - -Soldered friendship, 190. - -Somers, William, l f.; 203. - -Somerset, Earl of, lxx. - -Soon at night, 141. - -Souse, 200. - -Sou’t, 200. - -Sow bewitched, 127. - -Spanish fashions, xviii; - leather, 194; - needle, 131; - terms, 191. - -Spenser, see Despenser. - -Spiced conscience, 163. - -Spit, hot, as charm, 128. - -Stage, displaying clothes on, 151; stools on, 125. - -Standard in Cheap, 131. - -Starch, yellow, 138; and the devil, 210. - -State abuses, xliv. - -Statutes merchant and staple, 176. - -Steeple, 212. - -Stockings, 140. - -Stoter (?storer), 181. - -Strand, 135. - -Strange woman, 169. - -Streets, narrow, 169. - -Subjunctive, 148. - -Subtill, 126. - -Suburbs, 132. - -Suckling, Sir John, lxxvi, 173. - -Swinburne, criticism of _Devil is an Ass_, lxxviii. - - -Take forth, 134. - -Take in, 184. - -Tall (table) board, 199. - -Taylor, John, lxii. - -Teeth guard the tongue, 191. - -Ten in the hundred, 183. - -Theatre, leaving, 188; women frequent, 151. - -Thorn, O’ Bet’lem, 203. - -Thumb-ring, 126. - -Time drunk and sleeping, 206. - -Tissue, 139. - -Title of play displayed, 125. - -Tobacco, 139, 210; - devil takes, 209; - spelling of, 210. - -Tooth-picks, 190, 201. - -Too-too, 186. - -Torned, 173. - -Totnam, 127. - -Train bands, 177. - -Treasure, hidden, 149. - -Turn (sour), 174. - -Turner, Mrs. Anne, lxiii, 141. - -Tyburn, 201; procession to, 207. - - -Umbrella, 195. - -Unities, xlii f. - -Upton, Rev. John, _Critical Observations_, xxi. - - -Vacation, long, 177. - -Vanity (in morality-plays), 130. - -Vapors, 182. - -Velvet, 135, 181. - -Venice, 194. - -Vennor, 135. - -Via, 158. - -Vice, origin of, xxxiv; - rides the devil, xxiv, 207; - history of, xxxiv f.; - degeneration, xxxv; - chief rôles, xxxv; - in interludes, xxxv; - term applied to evil character, xxxvi; - Jonson’s use of, xxxvii ff.; - costume, xxxviii; - identical with fool, xxxv, xxxvi, xxxix f.; - etymology of the word, 207. - -Villiers, George, Duke of Buckingham, lxxii, lxxiv. - -Vintry, 135. - -Virgilius legend, xxvii. - -Virgin’s milk, 193. - - -Waist and waste, 199. - -Wanion, 208. - -Wapull, _The Tide tarrieth for No Man_, xxxvi. - -Ward, A. W., criticism of _Devil is an Ass_, lxxviii. - -Ware, 212. - -Webster, _Devil’s Law Case_, 167, 179, 187. - -Wedlock, 150. - -Westminster Hall, 135. - -Whalley, xv. - -Wharton, Marquis of, translation of Novella of _Belfagor_, xxxi. - -While (until), 146. - -Whitechapel, 133. - -Whore, money a, 157. - -Wicked, 198. - -Wilson, John, _Belphegor_, lxxiv; - _Cheats_, lxxiv; - _Projectors_, lxii, lxxv, 162. - -_Wily Beguiled_, xxvi. - -Wisdom, keep warm your, 148. - -Witchcraft, lxii f.; - symptoms of, xlix; - Acts against, lxiii, 145; - Jonson’s attitude towards, lxiii; - treatment in other plays, lxiv f. - -Wittipol, xlii; identified as Jonson, lxxi. - -Woodcock, 158. - -Woodstock, Thomas of, 165. - -Wood Street, see Compters. - -Woolsack, 134. - -Wusse, 151. - - -Yellow starch, see Starch. - -Yoking foxes, 202. - - - - -YALE STUDIES IN ENGLISH. - -ALBERT S. COOK, EDITOR. - - - I. The Foreign Sources of Modern English Versification. - CHARLTON M. LEWIS, Ph.D. $0.50. - - II. 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- color: black; - font-size:smaller; - padding:0.5em; - margin-bottom:5em; - font-family:sans-serif, serif; } - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of The Devil is an Ass, by Ben Jonson - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Devil is an Ass - -Author: Ben Jonson - -Editor: William Savage Johnson - Albert S. Cook - -Release Date: October 7, 2015 [EBook #50150] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE DEVIL IS AN ASS *** - - - - -Produced by Charlene Taylor, Paul Marshall and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/Canadian Libraries) - - - - - - -</pre> - - -<p class="f90">YALE STUDIES IN ENGLISH<br />ALBERT S. COOK, <span class="smcap">Editor</span></p> -<p class="center space-above2 space-below2">XXIX</p> - -<h1>THE DEVIL IS AN ASS</h1> - -<p class="center space-below3"><small>BY</small><br />BEN JONSON</p> - -<p class="f90 space-below1">Edited with Introduction, Notes, and Glossary</p> - -<p class="center space-below2"><small>BY</small><br />WILLIAM SAVAGE JOHNSON, -<span class="smcap">Ph.D.</span><br /> <i>Instructor in English in Yale University</i></p> - -<p class="f110">A Thesis presented to<br /> -the Faculty of the Graduate School of Yale University<br /> -in Candidacy for the Degree of<br />Doctor of Philosophy</p> - -<div class="figcenter"><br /> -<img src="images/owl_logo.jpg" alt="_" width="69" height="143" /> -</div> - -<p class="f110 space-below2">NEW YORK<br />HENRY HOLT AND COMPANY<br />1905</p> - -<p class="center">Copyright by William Savage Johnson, 1905<br /> -PRESS OF THE TUTTLE, MOREHOUSE & TAYLOR COMPANY</p> - -<p class="center space-above2">TO MY MOTHER</p> - -<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[vii]</a></span></p> - -<hr class="chap" /> - -<h2>PREFACE</h2> - -<p>In <i>The Devil is an Ass</i> Jonson may be studied, first, as a -student; secondly, as an observer. Separated by only two years -from the preceding play, <i>Bartholomew Fair</i>, and by nine from the -following, <i>The Staple of News</i>, the present play marks the close -of an epoch in the poet’s life, the period of his vigorous maturity. -Its relations with the plays of his earlier periods are therefore of -especial interest.</p> - -<p>The results of the present editor’s study of these and other -literary connections are presented, partly in the Notes, and partly -in the Introduction to this book. After the discussion of the -purely technical problems in Sections A and B, the larger features -are taken up in Section C, I and II. These involve a study of the -author’s indebtedness to English, Italian, and classical sources, and -especially to the early English drama; as well as of his own dramatic -methods in previous plays. The more minute relations to contemporary -dramatists and to his own former work, especially in regard to -current words and phrases, are dealt with in the Notes.</p> - -<p>As an observer, Jonson appears as a student of London, and a -satirist of its manners and vices; and, in a broader way, as a critic -of contemporary England. The life and aspect of London are treated, -for the most part, in the Notes; the issues of state involved in -Jonson’s satire are presented in historical discussions in Section C, -III. Personal satire is treated in the division following.</p> - -<p>I desire to express my sincere thanks to Professor Albert S. Cook -for advice in matters of form and for inspiration in the work; to -Professor Henry A. Beers for painstaking discussion of difficult -questions; to Dr. De Winter for help and criticism; to Dr. John M. -Berdan for the privilege of consulting his copy of the Folio; to -<span class="pagenum"><a name="Page_viii" id="Page_viii">[viii]</a></span> -Mr. Andrew Keogh and to Mr. Henry A. Gruener, for aid in -bibliographical matters; and to Professor George L. Burr for the loan -of books from the Cornell Library.</p> - -<p>A portion of the expense of printing this book has been borne by -the Modern Language Club of Yale University from funds placed at its -disposal by the generosity of Mr. George E. Dimock of Elizabeth, New -Jersey, a graduate of Yale in the Class of 1874.</p> - -<p class="author">W. S. J.</p> - -<p> -<span class="smcap">Yale University,</span><br /> -  August 30, 1905.</p> - -<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span></p> - -<hr class="chap" /> -<table border="0" cellspacing="2" summary="Table of Contents." cellpadding="0"> - <caption><big><b>CONTENTS</b></big></caption> - <tbody><tr> - <td class="tdl"><br /><span class="smcap">Introduction</span></td> - <td class="tdr"><br /></td> - </tr><tr> - <td class="tdl"> </td> - <td class="tdr"><small>PAGE</small></td> - </tr><tr> - <td class="tdl"> A. <span class="smcap">Editions of the Text</span></td> - <td class="tdr"><a href="#Page_xi">xi</a></td> - </tr><tr> - <td class="tdl"><br /> B. <span class="smcap">Date and Presentation</span></td> - <td class="tdr"><br /><a href="#Sect_B">xvii</a></td> - </tr><tr> - <td class="tdl"><br /> C. <span class="smcap">The Devil is an Ass</span></td> - <td class="tdr"><br /><a href="#Page_xix">xix</a></td> - </tr><tr> - <td class="tdl"><br />  I. <span class="smcap">The Devil Plot</span></td> - <td class="tdr"><br /><a href="#Sect_C_I">xx</a></td> - </tr><tr> - <td class="tdl">   1. The Devil in the pre-Shakespearian Drama</td> - <td class="tdr"><a href="#Sect_C_I_1">xxii</a></td> - </tr><tr> - <td class="tdl">   2. Jonson’s Treatment of the Devil</td> - <td class="tdr"><a href="#Sect_C_I_2">xxiii</a></td> - </tr><tr> - <td class="tdl">   3. The Influence of Robin Goodfellow and of Popular Legend</td> - <td class="tdr"><a href="#Sect_C_I_3">xxvi</a></td> - </tr><tr> - <td class="tdl">   4. Friar Rush and Dekker</td> - <td class="tdr"><a href="#Sect_C_I_4">xxvii</a></td> - </tr><tr> - <td class="tdl">   5. The Novella of <i>Belfagor</i> and the Comedy of <i>Grim</i></td> - <td class="tdr"><a href="#Sect_C_I_5">xxx</a></td> - </tr><tr> - <td class="tdl">   6. Summary</td> - <td class="tdr"><a href="#Sect_C_I_6">xxxiv</a></td> - </tr><tr> - <td class="tdl">   7. The Figure of the Vice</td> - <td class="tdr"><a href="#Sect_C_I_7">xxxiv</a></td> - </tr><tr> - <td class="tdl">   8. Jonson’s Use of the Vice</td> - <td class="tdr"> <a href="#Sect_C_I_8">xxxvii</a></td> - </tr><tr> - <td class="tdl"><br />  II. <span class="smcap">The Satirical Drama</span></td> - <td class="tdr"><br /><a href="#Sect_C_II">xli</a></td> - </tr><tr> - <td class="tdl">   1. General Treatment of the Plot</td> - <td class="tdr"><a href="#Sect_C_II_1">xli</a></td> - </tr><tr> - <td class="tdl">   2. Chief Sources of the Plot</td> - <td class="tdr"><a href="#Sect_C_II_2">xlv</a></td> - </tr><tr> - <td class="tdl">   3. Prototypes of the leading Characters</td> - <td class="tdr"><a href="#Sect_C_II_3">lii</a> - <span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span></td> - </tr><tr> - <td class="tdl">   4. Minor Sources</td> - <td class="tdr"><a href="#Sect_C_II_4">liii</a></td> - </tr><tr> - <td class="tdl"><br />  III. <span class="smcap">Specific Objects of Satire</span></td> - <td class="tdr"><br /><a href="#Sect_C_III">liv</a></td> - </tr><tr> - <td class="tdl">   1. The Duello</td> - <td class="tdr"><a href="#Sect_C_III_1">liv</a></td> - </tr><tr> - <td class="tdl">   2. The Monopoly System</td> - <td class="tdr"><a href="#Sect_C_III_2">lviii</a></td> - </tr><tr> - <td class="tdl">   3. Witchcraft</td> - <td class="tdr"><a href="#Sect_C_III_3">lxii</a></td> - </tr><tr> - <td class="tdl"><br />  IV. <span class="smcap">Personal Satire</span></td> - <td class="tdr"><br /><a href="#Sect_C_IV">lxv</a></td> - </tr><tr> - <td class="tdl">    Mrs. Fitzdottrel</td> - <td class="tdr"><a href="#Sect_C_IV_1">lxvi</a></td> - </tr><tr> - <td class="tdl">    Fitzdottrel</td> - <td class="tdr"><a href="#Sect_C_IV_2">lxx</a></td> - </tr><tr> - <td class="tdl">    Wittipol</td> - <td class="tdr"><a href="#Sect_C_IV_3">lxxi</a></td> - </tr><tr> - <td class="tdl">    Justice Eitherside</td> - <td class="tdr"><a href="#Sect_C_IV_4">lxxi</a></td> - </tr><tr> - <td class="tdl">    Merecraft</td> - <td class="tdr"><a href="#Sect_C_IV_5">lxxii</a></td> - </tr><tr> - <td class="tdl">    Plutarchus Guilthead</td> - <td class="tdr"><a href="#Sect_C_IV_6">lxxiii</a></td> - </tr><tr> - <td class="tdl">    The Noble House</td> - <td class="tdr"><a href="#Sect_C_IV_7">lxxiv</a></td> - </tr><tr> - <td class="tdl"><br /> D. <span class="smcap">After-Influence of the Devil is an Ass</span></td> - <td class="tdr"><br /><a href="#Sect_D">lxxiv</a></td> - </tr><tr> - <td class="tdl"><br />   <span class="smcap">Appendix—Extracts from the Critics</span></td> - <td class="tdr"><br /><a href="#Sect_D_1">lxxvi</a></td> - </tr><tr> - <td class="tdl"><br /><span class="smcap">Text</span></td> - <td class="tdr"><br /><a href="#Page_1"> 1</a></td> - </tr><tr> - <td class="tdl"><br /><span class="smcap">Notes</span></td> - <td class="tdr"><br /><a href="#Page_123">123</a></td> - </tr><tr> - <td class="tdl"><br /><span class="smcap">Glossary</span></td> - <td class="tdr"><br /><a href="#Page_213">213</a></td> - </tr><tr> - <td class="tdl"><br /><span class="smcap">Bibiliography</span></td> - <td class="tdr"><br /><a href="#Page_237">237</a></td> - </tr><tr> - <td class="tdl"><br /><span class="smcap">Index</span></td> - <td class="tdr"><br /><a href="#Page_243">243</a></td> - </tr> - </tbody> -</table> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span></p> - -<h2>INTRODUCTION</h2> - -<h3>A. EDITIONS OF THE TEXT</h3> - -<p><i>The Devil is an Ass</i> was first printed in 1631, and was probably -put into circulation at that time, either as a separate pamphlet or bound -with <i>Bartholomew Fair</i> and <i>The Staple of News</i>. Copies of this -original edition were, in 1640-1, bound into the second volume of the -First Folio of Jonson’s collected works.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> -In 1641 a variant reprint edition of <i>The Devil is an Ass</i>, -apparently small, was issued in pamphlet form. The play reappears in -all subsequent collected editions. These are: (1) the ‘Third Folio’, -1692; (2) a bookseller’s edition, 1716 [1717]; (3) Whalley’s edition, -1756; (4) John Stockdale’s reprint of Whalley’s edition (together -with the works of Beaumont and Fletcher), 1811; (5) Gifford’s -edition, 1816; (6) Barry Cornwall’s one-volume edition, 1838; (7) -Lieut. Col. Francis Cunningham’s three-volume reissue (with some -minor variations) of Gifford’s edition, 1871; (8) another reissue -by Cunningham, in nine volumes (with additional notes), 1875. The -<i>Catalogue</i> of the British Museum shows that Jonson’s works were -printed in two volumes at Dublin in 1729. Of these editions only the -first two call for detailed description, and of the others only the -first, second, third, fifth, and eighth will be discussed.</p> - -<p><b>1631.</b> Owing to irregularity in contents and arrangement in -different copies, the second volume of the First Folio has been -much discussed. Gifford speaks of it as the edition of 1631-41.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> -Miss Bates, copying from Lowndes, gives it as belonging to 1631, -<span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span> -reprinted in 1640 and in 1641.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> -Ward says substantially the same thing.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> -In 1870, however, Brinsley Nicholson, by a careful collation,<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> -arrived at the following results. (1) The so-called editions of the -second volume assigned to 1631, 1640, and 1641 form only a single -edition. (2) The belief in the existence of ‘the so-called first -edition of the second volume in 1631’ is due to the dates prefixed -to the opening plays. (3) The belief in the existence of the volume -of 1641 arose from the dates of <i>Mortimer</i> and the <i>Discoveries</i>, -‘all the copies of which are dated 1641’, and of the variant edition -of <i>The Devil is an Ass</i>, which will next be described. (4) The 1640 -edition supplies for some copies a general title-page, ‘R. Meighen, -1640’, but the plays printed in 1631 are reprinted from the same -forms. Hazlitt arrives at practically the same conclusions.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p> - -<p>The volume is a folio by measurement, but the signatures -are in fours.</p> - -<p>Collation: Five leaves, the second with the signature A_3 B-M in -fours. Aa-Bb; Cc-Cc_2 (two leaves); C_3 (one leaf); one leaf; D-I in -fours; two leaves. [N]-Y in fours; B-Q in fours; R (two leaves); S-X -in fours; Y (two leaves); Z-Oo in fours. Pp (two leaves). Qq; A-K in -fours. L (two leaves). [M]-R in fours. A-P in fours. Q (two leaves). -[R]-V in fours.</p> - -<p>The volume opens with <i>Bartholomew Fayre</i>, which occupies pages -[1-10], 1-88 (pages 12, 13, and 31 misnumbered), or the first group -of signatures given above.</p> - -<p>2. <i>The Staple of Newes</i>, paged independently, [1]-[76] -(pages 19, 22, and 63 misnumbered), and signatured independently -as in the second group above.</p> - -<p>3. <i>The Diuell is an Asse</i>, [N]-Y, paged [91]-170 (pages 99, 132, -and 137 misnumbered). [N] recto contains the title page (verso blank). -N_2 contains a vignette and the persons of the play on the recto, a -<span class="pagenum"><a name="Page_xiii" id="Page_xiii">[xiii]</a></span> -vignette and the prologue on the verso. N_3 to the end contains the -play proper; the epilogue being on the last leaf verso.</p> - -<p>One leaf (pages 89-90) is thus unaccounted for; but it is evident -from the signatures and pagination that <i>The Diuell is an Asse</i> was -printed with a view to having it follow <i>Bartholomew Fayre</i>. These -three plays were all printed by I. B. for Robert Allot in 1631. -Hazlitt says that they are often found together in a separate volume, -and that they were probably intended by Jonson to supplement the -folio of 1616.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p> - -<p>Collation made from copy in the library of Yale University at -New Haven.</p> - -<p>It was the opinion of both Whalley and Gifford that the publication -of <i>The Devil is an Ass</i> in 1631 was made without the personal -supervision of the author. Gifford did not believe that Jonson -‘concerned himself with the revision of the folio, ... or, indeed, -ever saw it’. The letter to the Earl of Newcastle (<i>Harl. MS.</i> 4955), -quoted in Gifford’s memoir, sufficiently disproves this supposition, -at least so far as <i>Bartholomew Fair</i> and <i>The Devil is an Ass</i> -are concerned. In this letter, written according to Gifford about 1632, -Jonson says: ‘It is the lewd printer’s fault that I can send your -lordship no more of my book. I sent you one piece before, The Fair, -... and now I send you this other morsel, The fine gentleman that -walks the town, The Fiend; but before he will perfect the rest I fear -he will come himself to be a part under the title of The Absolute -Knave, which he hath played with me’. In 1870 Brinsley Nicholson -quoted this letter in <i>Notes and Queries</i> (4th S. 5. 574), and -pointed out that the jocular allusions are evidently to <i>Bartholomew -Fair</i> and <i>The Devil is an Ass</i>.</p> - -<p>Although Gifford is to some extent justified in his contempt for the -edition, it is on the whole fairly correct.</p> - -<p>The misprints are not numerous. The play is overpunctuated. -Thus the words ‘now’ and ‘again’ are usually marked off by -commas. Occasionally the punctuation is misleading. The mark of -<span class="pagenum"><a name="Page_xiv" id="Page_xiv">[xiv]</a></span> -interrogation is generally, but not invariably, used for that of -exclamation. The apostrophe is often a metrical device, and indicates -the blending of two words without actual elision of either. The most -serious defect is perhaps the wrong assignment of speeches, though -later emendations are to be accepted only with caution. The present -text aims to be an exact reproduction of that of the 1631 edition.</p> - -<p>1641. The pamphlet quarto of 1641 is merely a poor reprint of the -1631 edition. It abounds in printer’s errors. Few if any intentional -changes, even of spelling and punctuation, are introduced. Little -intelligence is shown by the printer, as in the change 5. I. 34 SN. -(references are to act, scene, and line) He flags] He stags. It is -however of some slight importance, inasmuch as it seems to have been -followed in some instances by succeeding editions (cf. the omission -of the side notes 2. I. 20, 22, 33, followed by 1692, 1716, and W; -also 2. I. 46 his] a 1641, f.).</p> - -<p>The title-page of this edition is copied, as far as the quotation -from Horace, from the title-page of the 1631 edition. For the -wood-cut of that edition, however, is substituted the device of a -swan, with the legend ‘God is my helper’. Then follow the words: -‘Imprinted at London, 1641.’</p> - -<p>Folio by measurement; signatures in fours.</p> - -<p>Collation: one leaf, containing the title-page on the recto, verso -blank; second leaf with signature A_2 (?), containing a device -(St. Francis preaching to the birds [?]), and the persons of the play on -the recto, and a device (a saint pointing to heaven and hell) and the -prologue on the verso. Then the play proper; B-I in fours; K -(one leaf). The first two leaves are unnumbered; then 1-66 -(35 wrongly numbered 39).</p> - -<p>1692. The edition of 1692<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> -is a reprint of 1631, but furnishes evidence of some editing. Most of -the nouns are capitalized, and a change of speaker is indicated by -breaking the lines; obvious misprints are corrected: e. g., 1. 1. 98, 101; -<span class="pagenum"><a name="Page_xv" id="Page_xv">[xv]</a></span> -the spelling is modernized: e. g., 1. 1. 140 Tiborne] Tyburn; and the -punctuation is improved. Sometimes a word undergoes a considerable -morphological change: e. g., 1. 1. 67 Belins-gate] Billings-gate; -1. 6. 172, 175 venter] venture. Etymology is sometimes indicated by -an apostrophe, not always correctly: e. g., 2. 6. 75 salts] ’salts. -Several changes are uniform throughout the edition, and have been -followed by all later editors. The chief of these are: inough] -enough; tother] t’other; coozen] cozen; ha’s] has; then] than; ’hem] -’em (except G sometimes); injoy] enjoy. Several changes of wording -occur: e.g., 2. 1. 53 an] my; etc.</p> - -<p>1716. The edition of 1716 is a bookseller’s reprint of 1692. It -follows that edition in the capitalization of nouns, the breaking up -of the lines, and usually in the punctuation. In 2. 1. 78-80 over two -lines are omitted by both editions. Independent editing, however, is -not altogether lacking. We find occasional new elisions: e. g., 1. -6. 121 I’have] I’ve; at least one change of wording: 2. 3. 25 where] -were; and one in the order of words: 4. 2. 22 not love] love not. In -4. 4. 75-76 and 76-78 it corrects two wrong assignments of speeches. -A regular change followed by all editors is wiues] wife’s.</p> - -<p>1756. The edition of Peter Whalley, 1756, purports to be ‘collated -with all the former editions, and corrected’, but according to -modern standards it cannot be called a critical text. Not only -does it follow 1716 in modernization of spelling; alteration of -contractions: e. g., 2. 8. 69 To’a] T’a; 3. 1. 20 In t’one] Int’ one; -and changes in wording: e. g., 1. 1. 24 strengths] strength: 3. 6. -26 Gentleman] Gentlewoman; but it is evident that Whalley considered -the 1716 edition as the correct standard for a critical text, and -made his correction by a process of occasional restoration of the -original reading. Thus in restoring ‘Crane’, 1. 4. 50, he uses the -expression,—‘which is authorized by the folio of 1640.’ Again in 2. -1. 124 he retains ‘petty’ from 1716, although he says: ‘The edit. -of 1640, as I think more justly,—<i>Some</i> pretty <i>principality</i>.’ -This reverence for the 1716 text is inexplicable. In the matter of -<span class="pagenum"><a name="Page_xvi" id="Page_xvi">[xvi]</a></span> -capitalization Whalley forsakes his model, and he makes emendations -of his own with considerable freedom. He still further modernizes the -spelling; he spells out elided words: e. g., 1. 3. 15 H’ has] he has; -makes new elisions: e. g., 1. 6. 143 Yo’ are] You’re; 1. 6. 211 I am] -I’m; grammatical changes, sometimes of doubtful correctness: e. g., -1. 3. 21 I’le] I’d; morphological changes: e. g., 1. 6. 121 To scape] -T’escape; metrical changes by insertions: e. g., 1. 1. 48 ‘to’; 4. 7. -38 ‘but now’; changes of wording: e. g., 1. 6. 195 sad] said; in the -order of words: e. g., 3. 4. 59 is hee] he is; and in the assignment -of speeches: e. g., 3. 6. 61. Several printer’s errors occur: -e. g., 2. 6. 21 and 24.</p> - -<p>1816. William Gifford’s edition is more carefully printed than -that of Whalley, whom he criticizes freely. In many indefensible -changes, however, he follows his predecessor, even to the insertion -of words in 1. 1. 48 and 4. 7. 38, 39 (see above). He makes further -morphological changes, even when involving a change of metre: e.g., -1. 1. 11 Totnam] Tottenham; 1. 4. 88 phantsie] phantasie; makes new -elisions: e. g., 1. 6. 226 I ha’] I’ve; changes in wording: e. g., -2. 1. 97 O’] O!; and in assignment of speeches: e. g., 4. 4. 17. He -usually omits parentheses, and the following changes in contracted -words occur, only exceptions being noted in the variants: fro’] -from; gi’] give; h’] he; ha’] have; ’hem] them (but often ’em); i’] -in; o’] on, of; t’] to; th’] the; upo’] upon; wi’] with, will; yo’] -you. Gifford’s greatest changes are in the stage directions and -side notes of the 1631 edition. The latter he considered as of ‘the -most trite and trifling nature’, and ‘a worthless incumbrance’. He -accordingly cut or omitted with the utmost freedom, introducing new -and elaborate stage directions of his own. He reduced the number of -scenes from thirty-six to seventeen. In this, as Hathaway points out, -he followed the regular English usage, dividing the scenes according -to actual changes of place. Jonson adhered to classical tradition, -and looked upon a scene as a situation. Gifford made his alterations -by combining whole scenes, except in the case of Act 2. 3, which -<span class="pagenum"><a name="Page_xvii" id="Page_xvii">[xvii]</a></span> -begins at Folio Act 2. 7. 23 (middle of line); of Act 3. 2, which -begins at Folio Act 3. 5. 65 and of Act 3. 3, which begins at Folio -Act 3. 5. 78 (middle of line). He considered himself justified in -his mutilation of the side notes on the ground that they were not -from the hand of Jonson. Evidence has already been adduced to show -that they were at any rate printed with his sanction. I am, however, -inclined to believe with Gifford that they were written by another -hand. Gifford’s criticism of them is to a large extent just. The note -on ‘<i>Niaise</i>’, 1. 6. 18, is of especially doubtful value -(<a href="#Note_1_6_18">see note</a>).</p> - -<p>1875. ‘Cunningham’s reissue, 1875, reprints Gifford’s text without -change. Cunningham, however, frequently expresses his disapproval of -Gifford’s licence in changing the text’ (Winter).</p> - -<h3><a name="Sect_B"></a>B. DATE AND PRESENTATION</h3> - -<p>We learn from the title-page that this comedy was acted -in 1616 by the King’s Majesty’s Servants. This is further -confirmed by a passage in 1. 1. 80-81:</p> - -<div class="poem"><div class="stanza"> -<span class="i1">Now? As Vice stands this present yeere? Remember,</span> -<span class="i1">What number it is. <i>Six hundred</i> and <i>sixteene</i>.</span> -</div></div> - -<p>Another passage (1. 6. 31) tells us that the performance -took place in the Blackfriars Theatre:</p> - -<p>  Today, I goe to the <i>Black-fryers Play-house</i>.</p> - -<p>That Fitzdottrel is to see <i>The Devil is an Ass</i> we learn later -(3. 5. 38). The performance was to take place after dinner (3. 5. 34).</p> - -<p>At this time the King’s Men were in possession of two theatres, -the Globe and the Blackfriars. The former was used in the summer, -so that <i>The Devil is an Ass</i> was evidently not performed during -that season.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> -These are all the facts that we can determine with certainty.</p> - -<p>Jonson’s masque, <i>The Golden Age Restored</i>, was presented, according -to Fleay, on January 1 and 6. His next masque was <i>Christmas, his Masque</i>, -<span class="pagenum"><a name="Page_xviii" id="Page_xviii">[xviii]</a></span> -December 25, 1616. Between these dates he must have been -busy on <i>The Devil is an Ass</i>. Fleay, who identifies Fitzdottrel -with Coke, conjectures that the date of the play is probably late in -1616, after Coke’s discharge in November. If Coke is satirized either -in the person of Fitzdottrel or in that of Justice Eitherside (see -Introduction, pp. lxx, lxxii), the conjecture may be allowed to have -some weight.</p> - -<p>In 1. 2. 1 Fitzdottrel speaks of Bretnor as occupying the position -once held by the conspirators in the Overbury case. Franklin, who -is mentioned, was not brought to trial until November 18, 1615. -Jonson does not speak of the trial as of a contemporary or nearly -contemporary event.</p> - -<p>Act 4 is largely devoted to a satire of Spanish fashions. In 4. 2. 71 -there is a possible allusion to the Infanta Maria, for whose marriage -with Prince Charles secret negotiations were being carried on at this -time. We learn that Commissioners were sent to Spain on November -9 (<i>Cal. State Papers, Dom. Ser.</i>), and from a letter of January -1, 1617, that ‘the Spanish tongue, dress, etc. are all in fashion’ -(<i>ibid.</i>).</p> - -<p>These indications are all of slight importance, but from their united -evidence we may feel reasonably secure in assigning the date of -presentation to late November or early December, 1616.</p> - -<p>The play was not printed until 1631. It seems never to have been -popular, but was revived after the Restoration, and is given by -Downes<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> -in the list of old plays acted in the New Theatre in Drury -Lane after April 8, 1663. He continues: ‘These being Old Plays, -were Acted but now and then; yet being well Perform’d were very -Satisfactory to the Town’. The other plays of Jonson revived by this -company were <i>The Fox</i>, <i>The Alchemist</i>, <i>Epicoene</i>, <i>Catiline</i>, -<i>Every Man out of his Humor</i>, <i>Every Man in his Humor</i>, and -<i>Sejanus</i>. Genest gives us no information of any later revival. -<span class="pagenum"><a name="Page_xix" id="Page_xix">[xix]</a></span></p> - -<h3><a name="Sect_C"></a>C. THE DEVIL IS AN ASS</h3> - -<p>Jonson’s characteristic conception of comedy as a vehicle for the -study of ‘humors’ passed in <i>Every Man out of his Humor</i> into -caricature, and in <i>Cynthia’s Revels</i> and <i>Poetaster</i> into allegory. -The process was perfectly natural. In the humor study each character -is represented as absorbed by a single vice or folly. In the -allegorical treatment the abstraction is the starting-point, and the -human element the means of interpretation. Either type of drama, by -a shifting of emphasis, may readily pass over into the other. The -failure of <i>Cynthia’s Revels</i>, in spite of the poet’s arrogant boast -at its close, had an important effect upon his development, and the -plays of Jonson’s middle period, from <i>Sejanus</i> to <i>The Devil is an -Ass</i>, show more restraint in the handling of character, as well as -far greater care in construction. The figures are typical rather than -allegorical, and the plot in general centres about certain definite -objects of satire. Both plot and characterization are more closely unified.</p> - -<p><i>The Devil is an Ass</i> marks a return to the supernatural and -allegorical. The main action, however, belongs strictly to the type -of the later drama, especially as exemplified by <i>The Alchemist</i>. -The fanciful motive of the infernal visitant to earth was found to -be of too slight texture for Jonson’s sternly moral and satirical -purpose. In the development of the drama it breaks down completely, -and is crowded out by the realistic plot. Thus what promised at first -to be the chief, and remains in some respects the happiest, motive -of the play comes in the final execution to be little better than -an inartistic and inharmonious excrescence. Yet Jonson’s words to -Drummond seem to indicate that he still looked upon it as the real -kernel of the play.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> -<span class="pagenum"><a name="Page_xx" id="Page_xx">[xx]</a></span></p> - -<p>The action is thus easily divisible into two main lines; the -devil-plot, involving the fortunes of Satan, Pug and Iniquity, and -the satirical or main plot. This division is the more satisfactory, -since Satan and Iniquity are not once brought into contact with the -chief actors, while Pug’s connection with them is wholly external, -and affects only his own fortunes. He is, as Herford has already -pointed out, merely ‘the fly upon the engine-wheel, fortunate to -escape with a bruising’ (<i>Studies</i>, p. 320). He forms, however, the -connecting link between the two plots, and his function in the drama -must be regarded from two different points of view, according as it -shares in the realistic or the supernatural element.</p> - -<h4><a name="Sect_C_I"></a>I. <span class="smcap">The Devil-Plot</span></h4> - -<p>Jonson’s title, <i>The Devil is an Ass</i>, expresses with perfect -adequacy the familiarity and contempt with which this once -terrible personage had come to be regarded in the later -Elizabethan period. The poet, of course, is deliberately -archaizing, and the figures of devil and Vice are made -largely conformable to the purposes of satire. Several -years before, in the Dedication to <i>The Fox</i>,<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> -Jonson had expressed his contempt for the introduction of ‘fools and -devils and those antique relics of barbarism’, characterizing -them as ‘ridiculous and exploded follies’. He treats the -same subject with biting satire in <i>The Staple of News</i>.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> -Yet with all his devotion to realism in matters of petty -detail, of local color, and of contemporary allusion, he was, -as we have seen, not without an inclination toward allegory. -Thus in <i>Every Man out of his Humor</i> the figure of Macilente -is very close to a purely allegorical expression of envy. -In <i>Cynthia’s Revels</i> the process was perfectly conscious, for -in the Induction to that play the characters are spoken of -as Virtues and Vices. In <i>Poetaster</i> again we have the -purging of Demetrius and Crispinus. Jonson’s return to -<span class="pagenum"><a name="Page_xxi" id="Page_xxi">[xxi]</a></span> -this field in <i>The Devil is an Ass</i> is largely prophetic of -the future course of his drama. The allegory of <i>The Staple -of News</i> is more closely woven into the texture of the play -than is that of <i>The Devil is an Ass</i>; and the conception -of Pecunia and her retinue is worked out with much elaboration. -In the Second Intermean the purpose of this play -is explained as a refinement of method in the use of allegory. -For the old Vice with his wooden dagger to snap -at everybody he met, or Iniquity, appareled ‘like Hokos -Pokos, in a juggler’s jerkin’, he substitutes ‘vices male -and female’, ‘attired like men and women of the time’. -This of course is only a more philosophical and abstract -statement of the idea which he expresses in <i>The Devil is an -Ass</i> (1. 1. 120 f.) of a world where the vices are not distinguishable -by any outward sign from the virtues:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">They weare the same clothes, eate the same meate,</span> -<span class="i0">Sleep i’ the self-same beds, ride i’ those coaches.</span> -<span class="i0">Or very like, foure horses in a coach,</span> -<span class="i0">As the best men and women.</span> -</div></div> - -<p><i>The New Inn</i> and <i>The Magnetic Lady</i> are also penetrated -with allegory of a sporadic and trivial nature. Jonson’s use of devil -and Vice in the present play is threefold. It is in part earnestly -allegorical, especially in Satan’s long speech in the first scene; -it is in part a satire upon the employment of what he regarded as -barbarous devices; and it is, to no small extent, itself a resort for -the sake of comic effect to the very devices which he ridiculed.</p> - -<p>Jonson’s conception of the devil was naturally very far from -mediæval, and he relied for the effectiveness of his portrait upon -current disbelief in this conception. Yet mediævalism had not wholly -died out, and remnants of the morality-play are to be found in many -plays of the Elizabethan and Jacobean drama. Rev. John Upton, in his -<i>Critical Observations on Shakespeare</i>, 1746, was the first to point -out the historical connection between Jonson’s Vice and devils and -those of the pre-Shakespearian drama. In modern times the history -of the devil and the Vice as dramatic figures has been thoroughly -<span class="pagenum"><a name="Page_xxii" id="Page_xxii">[xxii]</a></span> -investigated, the latest works being those of Dr. L.W. Cushman and -Dr. E. Eckhardt, at whose hands the subject has received exhaustive -treatment. The connection with Machiavelli’s novella -of <i>Belfagor</i> was pointed out by Count Baudissin,<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> -<i>Ben Jonson und seine Schule</i>, Leipzig 1836, and has been worked -out exhaustively by Dr. E. Hollstein in a Halle dissertation, -1901. Dr. C.H. Herford, however, had already suggested -that the chief source of the devil-plot was to be found in -the legend of Friar Rush.</p> - -<h5><a name="Sect_C_I_1"></a>1. <i>The Devil in the pre-Shakespearian Drama</i></h5> - -<p>The sources for the conception of the devil in the mediæval drama -are to be sought in a large body of non-dramatic literature. In this -literature the devil was conceived of as a fallen angel, the enemy of -God and his hierarchy, and the champion of evil. As such he makes his -appearance in the mystery-plays. The mysteries derived their subjects -from Bible history, showed comparatively little pliancy, and dealt -always with serious themes. In them the devil is with few exceptions -a serious figure. Occasionally, however, even at this early date, -comedy and satire find place. The most prominent example is the -figure of Titivillus in the Towneley cycle.</p> - -<p>In the early moralities the devil is still of primary importance, -and is always serious. But as the Vice became a more and more -prominent figure, the devil became less and less so, and in the later -drama his part is always subordinate. The play of <i>Nature</i> (c. 1500) -is the first morality without a devil. Out of fifteen moralities of -later date tabulated by Cushman, only four are provided with this character.</p> - -<p>The degeneration of the devil as a dramatic figure was inevitable. -His grotesque appearance, at first calculated to inspire terror, by -its very exaggeration produced, when once familiar, a wholly comic -effect. When the active comic parts were assumed by the Vice, he -became a mere butt, and finally disappears. -<span class="pagenum"><a name="Page_xxiii" id="Page_xxiii">[xxiii]</a></span></p> - -<p>One of the earliest comic figures in the religious drama -is that of the clumsy or uncouth servant.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> -Closely allied to him is the under-devil, who appears as early as -<i>The Harrowing of Hell</i>, and this figure is constantly employed -as a comic personage in the later drama.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> -The figure of the servant later developed into that of the clown, -and in this type the character of the devil finally merged.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></p> - -<h5><a name="Sect_C_I_2"></a>2. <i>Jonson’s Treatment of the Devil</i></h5> - -<p>In the present play the devil-type is represented by the -arch-fiend Satan and his stupid subordinate, Pug. Of these two Satan -received more of the formal conventional elements of the older -drama, while Pug for the most part represents the later or clownish -figure. As in the morality-play Satan’s chief function is the -instruction of his emissary of evil. In no scene does he come into -contact with human beings, and he is always jealously careful for the -best interests of his state. In addition Jonson employs one purely -conventional attribute belonging to the tradition of the church- and -morality-plays. This is the cry of ‘Ho, ho!’, with which Satan makes -his entrance upon the stage in the first scene.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> -Other expressions of emotion were also used, but ‘Ho, ho!’ came in -later days to be recognized as the conventional cry of the fiend -upon making his entrance.<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> -<span class="pagenum"><a name="Page_xxiv" id="Page_xxiv">[xxiv]</a></span></p> - -<p>How the character of Satan was to be represented is of course -impossible to determine. The devil in the pre-Shakespearian drama was -always a grotesque figure, often provided with the head of a beast and -a cow’s tail.<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> -In the presentation of Jonson’s play the ancient tradition was -probably followed. Satan’s speeches, however, are not undignified, -and too great grotesqueness of costume must have resulted in -considerable incongruity.</p> - -<p>In the figure of Pug few of the formal elements of the -pre-Shakespearian devil are exhibited. He remains, of course, the -ostensible champion of evil, but is far surpassed by his earthly -associates, both in malice and in intellect. In personal appearance -he is brought by the assumption of the body and dress of a human -being into harmony with his environment. A single conventional -episode, with a reversal of the customary proceeding, is retained -from the morality-play. While Pug is languishing in prison, Iniquity -appears, Pug mounts upon his back, and is carried off to hell. -Iniquity comments upon it:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">The Diuell was wont to carry away the euill;</span> -<span class="i0">But, now, the Euill out-carries the Diuell.</span> -</div></div> - -<p>That the practice above referred to was a regular or even a -frequent feature of the morality-play has been disputed, but the -evidence seems fairly conclusive that it was common in the later and -more degenerate moralities. At any rate, like the cry of ‘Ho, ho!’ it -had come to be looked upon as part of the regular stock in trade, and -this was enough for Jonson’s purpose.<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> -This motive of the Vice riding the devil had changed from a passive -to an active comic part. Instead of the devil’s prey he had become -in the eyes of the spectators the devil’s tormentor. Jonson may be -looked upon as reverting, perhaps unconsciously, to the original and truer conception. -<span class="pagenum"><a name="Page_xxv" id="Page_xxv">[xxv]</a></span></p> - -<p>In other respects Pug exhibits only the characteristics of the -inheritor of the devil’s comedy part, the butt or clown. As we have -seen, one of the chief sources, as well as one of the constant modes -of manifestation, of this figure was the servant or man of low social -rank. Pug, too, on coming to earth immediately attaches himself to -Fitzdottrel as a servant, and throughout his brief sojourn on earth -he continues to exhibit the wonted stupidity and clumsy uncouthness -of the clown. He appears, to be sure, in a fine suit of clothes, but -he soon shows himself unfit for the position of gentleman-usher, -and his stupidity appears at every turn. The important element -in the clown’s comedy part, of a contrast between intention and -accomplishment, is of course exactly the sort of fun inspired by -<span class="pagenum"><a name="Page_xxvi" id="Page_xxvi">[xxvi]</a></span> -Pug’s repeated discomfiture. With the clown it often takes the -form of blunders in speech, and his desire to appear fine and say -the correct thing frequently leads him into gross absurdities. -This is brought out with broad humor in 4. 4. 219, where Pug, on -being catechized as to what he should consider ‘the height of his -employment’, stumbles upon the unfortunate suggestion: ‘To find -out a good <i>Corne-cutter</i>’. His receiving blows at the hand of his -master further distinguishes him as a clown. The investing of Pug -with such attributes was, as we have seen, no startling innovation on -Jonson’s part. Moreover, it fell into line with his purpose in this -play, and was the more acceptable since it allowed him to make use -of the methods of realism instead of forcing him to draw a purely -conventional figure. Pug, of course, even in his character of clown, -is not the unrelated stock-figure, introduced merely for the sake -of inconsequent comic dialogue and rough horse-play. His part is -important and definite, though not sufficiently developed.</p> - -<h5><a name="Sect_C_I_3"></a>3. <i>The Influence of Robin -Goodfellow and of Popular Legend</i></h5> - -<p>A constant element of the popular demonology was the belief in -the kobold or elfish sprite. This figure appears in the mysteries -in the shape of Titivillus, but is not found in the moralities. -Robin Goodfellow, however, makes his appearance in at least three -comedies, <i>Midsummer Night’s Dream</i>, 1593-4, <i>Grim, the Collier -of Croyden</i>, c 1600, and <i>Wily Beguiled</i>, 1606. The last of these -especially approaches Jonson’s conception. Here Robin Goodfellow is -a malicious intriguer, whose nature, whether human or diabolical, is -left somewhat in doubt. His plans are completely frustrated, he is -treated with contempt, and is beaten by Fortunatus. The character was -a favorite with Jonson. In the masque of <i>The Satyr</i>, 1603,<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> -that character is addressed as Pug, which here seems evidently equivalent to -<span class="pagenum"><a name="Page_xxvii" id="Page_xxvii">[xxvii]</a></span> -Puck or Robin Goodfellow. Similarly Thomas Heywood makes Kobald, Hobgoblin, -Robin Goodfellow, and Pug practically identical.<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> Butler, in the <i>Hudibras</i>,<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> -gives him the combination-title of good ‘Pug-Robin’. Jonson’s character -of Pug was certainly influenced in some degree both by -the popular and the literary conception of this ‘lubber fiend’.</p> - -<p>The theme of a stupid or outwitted devil occurred also -both in ballad literature<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> and in popular legend. Roskoff<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> -places the change in attitude toward the devil from a feeling of fear -to one of superiority at about the end of the eleventh century. The -idea of a baffled devil may have been partially due to the legends -of the saints, where the devil is constantly defeated, though he is -seldom made to appear stupid or ridiculous. The notion of a ‘stupid -devil’ is not very common in English, but occasionally appears. In -the Virgilius legend the fiend is cheated of his reward by stupidly -putting himself into the physical power of the wizard. In the Friar -Bacon legend the necromancer delivers an Oxford gentleman by a trick -of sophistry.<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> -In the story upon which the drama of <i>The Merry Devil of Edmonton</i> -was founded, the devil is not only cleverly outwitted, but appears -weak and docile in his indulgence of the wizard’s plea for a -temporary respite. It may be said in passing, in spite of Herford’s -assertion to the contrary, that the supernatural machinery in this -play has considerably less connection with the plot than in <i>The -Devil is an Ass</i>. Both show a survival of a past interest, of which -the dramatist himself realizes the obsolete character.</p> - -<h5><a name="Sect_C_I_4"></a>4. <i>Friar Rush and Dekker</i></h5> - -<p>It was the familiar legend of Friar Rush which furnished -the groundwork of Jonson’s play. The story seems to be -<span class="pagenum"><a name="Page_xxviii" id="Page_xxviii">[xxviii]</a></span> -of Danish origin, and first makes its appearance in England -in the form of a prose history during the latter half of -the sixteenth century. It is entered in the <i>Stationer’s Register</i> -1567-8, and mentioned by Reginald Scot in 1584.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> -As early as 1566, however, the figure of Friar Rush on a -‘painted cloth’ was a familiar one, and is so mentioned in -<i>Gammer Gurton’s Needle</i>.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> -The first extant edition dates from 1620, and has been reprinted -by W. J. Thoms.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> -The character had already become partially identified with that -of Robin Goodfellow,<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> -and this identification, as we have seen, Jonson was inclined to accept.</p> - -<p>In spite of many variations of detail the kernel of the Rush -story is precisely that of Jonson’s play, the visit of a devil to -earth with the purpose of corrupting men. Both Rush and Pug assume -human bodies, the former being ‘put in rayment like an earthly -creature’, while the latter is made subject ‘to all impressions of -the flesh’.</p> - -<p>Rush, unlike his counterpart, is not otherwise bound to definite -conditions, but he too becomes a servant. The adventure is not of his -own seeking; he is chosen by agreement of the council, and no mention -is made of the emissary’s willingness or unwillingness to perform -his part. Later, however, we read that he stood at the gate of the -religious house ‘all alone and with a heavie countenance’. In the -beginning, therefore, he has little of Pug’s thirst for adventure, -but his object is at bottom the same, ‘to goe and dwell among these -<span class="pagenum"><a name="Page_xxix" id="Page_xxix">[xxix]</a></span> -religious men for to maintaine them the longer in their ungracious -living’. Like Pug, whose request for a Vice is denied him, he goes -unaccompanied, and presents himself at the priory in the guise of a -young man seeking service: ‘Sir, I am a poore young man, and am out -of service, and faine would have a maister’.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a></p> - -<p>Most of the remaining incidents of the Rush story could not -be used in Jonson’s play. Two incidents may be mentioned. Rush -furthers the amours of his master, as Pug attempts to do those -of his mistress. In the later history of Rush the motive of -demoniacal possession is worked into the plot. In a very important -respect, however, the legend differs from the play. Up to the time -of discovery Rush is popular and successful. He is nowhere made -ridiculous, and his mission of corruption is in large measure -fulfilled. The two stories come together in their conclusion. The -discovery that a real devil has been among them is the means of the -friars’ conversion and future right living. A precisely similar -effect takes place in the case of Fitzdottrel.</p> - -<p>The legend of Friar Rush had already twice been used in the drama -before it was adopted by Jonson. The play by Day and Haughton to which -Henslowe refers<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> -is not extant; Dekker’s drama, <i>If this be not a good Play, the -Diuell is in it</i>, appeared in 1612. Jonson in roundabout -fashion acknowledged his indebtedness to this play by the -closing line of his prologue.</p> - -<p>  If this Play doe not like, the Diuell is in’t.</p> - -<p>Dekker’s play adds few new elements to the story. The -first scene is in the infernal regions; not, however, the -Christian hell, as in the prose history, but the classical Hades. -This change seems to have been adopted from Machiavelli. -Three devils are sent to earth with the object of corrupting -men and replenishing hell. They return, on the whole, successful, -though the corrupted king of Naples is finally redeemed. -<span class="pagenum"><a name="Page_xxx" id="Page_xxx">[xxx]</a></span></p> - -<p>In certain respects, however, the play stands closer to Jonson’s -drama than the history. In the first place, the doctrine that hell’s -vices are both old-fashioned and outdone by men, upon which Satan -lays so much stress in his instructions to Pug in the first scene, -receives a like emphasis in Dekker:</p> - -<div class="poem"><div class="stanza"> -<span class="i19">... ’tis thought</span> -<span class="i0">That men to find hell, now, new waies have sought,</span> -<span class="i0">As Spaniards did to the Indies.</span> -</div></div> - -<p class="no-indent">and again:</p> - -<div class="poem"><div class="stanza"> -<span class="i21">... aboue vs dwell,</span> -<span class="i0">Diuells brauer, and more subtill then in Hell.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a></span> -</div></div> - -<p class="no-indent">and finally:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">They scorne thy hell, hauing better of their owne.</span> -</div></div> - -<p>In the second place Lurchall, unlike Rush, but in the same -way as Pug, finds himself inferior to his earthly associates. -He acknowledges himself overreached by Bartervile, and confesses:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">I came to teach, but now (me thinkes) must learne.</span> -</div></div> - -<p>A single correspondence of lesser importance may be added. -Both devils, when asked whence they come, obscurely intimate -their hellish origin. Pug says that he comes from the -Devil’s Cavern in Derbyshire. Rufman asserts that his -home is Helvetia.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a></p> - -<h5><a name="Sect_C_I_5"></a>5. <i>The Novella of Belfagor and the Comedy of Grim</i></h5> - -<p>The relation between Jonson’s play and the novella attributed -to Niccolò Machiavelli (1469-1522) has been treated -in much detail by Dr. Ernst Hollstein. Dr. Hollstein -<span class="pagenum"><a name="Page_xxxi" id="Page_xxxi">[xxxi]</a></span> -compares the play with the first known English translation, -that by the Marquis of Wharton in 1674.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> -It is probable, however, that Jonson knew the novella in its Italian shape, -if he knew it at all.<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> -The Italian text has therefore been taken as the basis of the present -discussion, while Dr. Hollstein’s results, so far as they have -appeared adequate or important, have been freely used.</p> - -<p>Both novella and play depart from the same idea, the visit of a -devil to earth to lead a human life. Both devils are bound by certain -definite conditions. Belfagor must choose a wife, and live with her -ten years; Pug must return at midnight. Belfagor, like Pug, must be -subject to ‘ogni infortunio nel quale gli uomini scorrono’.</p> - -<p>In certain important respects Machiavelli’s story differs -essentially from Jonson’s. Both Dekker and Machiavelli place the -opening scene in the classical Hades instead of in the Christian -hell. But Dekker’s treatment of the situation is far more like -Jonson’s than is the novella’s. Herford makes the distinction -clear: ‘Macchiavelli’s Hades is the council-chamber of an Italian -Senate, Dekker’s might pass for some tavern haunt of Thames -watermen. Dekker’s fiends are the drudges of Pluto, abused for -their indolence, flogged at will, and peremptorily sent where he -chooses. Machiavelli’s are fiends whose advice he requests with the -gravest courtesy and deference, and who give it with dignity and -independence’. Further, the whole object of the visit, instead of -being the corruption of men, is a mere sociological investigation. -Pug is eager to undertake his mission; Belfagor is chosen by lot, and -very loath to go. Pug becomes a servant, Belfagor a nobleman.</p> - -<p>But in one very important matter the stories coincide, -that of the general character and fate of the two devils. -<span class="pagenum"><a name="Page_xxxii" id="Page_xxxii">[xxxii]</a></span> -As Hollstein points out, each comes with a firm resolve -to do his best, each finds at once that his opponents are -too strong for him, each through his own docility and -stupidity meets repulse after repulse, ending in ruin, and -each is glad to return to hell. This, of course, involves -the very essence of Jonson’s drama, and on its resemblance -to the novella must be based any theory that Jonson was -familiar with the latter.</p> - -<p>Of resemblance of specific details not much can be made. -The two stories have in common the feature of demoniacal -possession, but this, as we have seen, occurs also in the -Rush legend. The fact that the princess speaks Latin, -while Fitzdottrel surprises his auditors by his ‘several languages’, -is of no more significance. This is one of the -stock indications of witchcraft. It is mentioned by Darrel, -and Jonson could not have overlooked a device so obvious. -Certain other resemblances pointed out by Dr. Hollstein are -of only the most superficial nature. On the whole we are -not warranted in concluding with any certainty that Jonson -knew the novella at all.</p> - -<p>On the other hand, he must have been acquainted with -the comedy of <i>Grim, the Collier of Croydon</i> (c 1600). -Herford makes no allusion to this play, and, though it was -mentioned as a possible source by A. W. Ward,<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> -the subject has never been investigated. The author of <i>Grim</i> -uses the Belfagor legend for the groundwork of his plot, but handles -his material freely. In many respects the play is a close -parallel to <i>The Devil is an Ass</i>. The same respect for the -vices of earth is felt as in Dekker’s and Jonson’s plays. -Belphegor sets out to</p> - -<div class="poem"><div class="stanza"> -<span class="i17">... make experiment</span> -<span class="i0">If hell be not on earth as well as here.</span> -</div></div> - -<p>The circumstances of the sending bear a strong resemblance to the instructions given to Pug: -<span class="pagenum"><a name="Page_xxxiii" id="Page_xxxiii">[xxxiii]</a></span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Thou shalt be subject unto human chance,</span> -<span class="i0">So far as common wit cannot relieve thee.</span> -<span class="i0">But whatsover happens in that time,</span> -<span class="i0">Look not from us for succour or relief.</span> -<span class="i0">This shalt thou do, and when the time’s expired,</span> -<span class="i0">Bring word to us what thou hast seen and done.</span> -</div></div> - -<p>So in Jonson:</p> - -<div class="poem"><div class="stanza"> -<span class="i16">... but become subject</span> -<span class="i0">To all impression of the flesh, you take,</span> -<span class="i0">So farre as humane frailty: ...</span> -<span class="i0">But as you make your soone at nights relation,</span> -<span class="i0">And we shall find, it merits from the State,</span> -<span class="i0">You shall haue both trust from vs, and imployment.</span> -</div></div> - -<p>Belphegor is described as ‘patient, mild, and pitiful’; and during -his sojourn on earth he shows little aptitude for mischief, but -becomes merely a butt and object of abuse. Belphegor’s request for -a companion, unlike that of Pug, is granted. He chooses his servant -Akercock, who takes the form of Robin Goodfellow. Robin expresses -many of the sentiments to be found in the mouth of Pug. With the -latter’s monologue (Text, 5. 2) compare Robin’s exclamation:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Zounds, I had rather be in hell than here.</span> -</div></div> - -<p>Neither Pug (Text, 2. 5. 3-4) nor Robin dares to return without authority:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">What shall I do? to hell I dare not go,</span> -<span class="i0">Until my master’s twelve months be expir’d.</span> -</div></div> - -<p>Like Pug (Text, 5. 6. 3-10) Belphegor worries over his reception in hell:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">How shall I give my verdict up to Pluto</span> -<span class="i0">Of all these accidents?</span> -</div></div> - -<p>Finally Belphegor’s sensational disappearance through the yawning -earth comes somewhat nearer to Jonson than does the Italian original. -The English comedy seems, indeed, to account adequately for all -traces of the Belfagor story to be found in Jonson’s play. -<span class="pagenum"><a name="Page_xxxiv" id="Page_xxxiv">[xxxiv]</a></span></p> - -<h5><a name="Sect_C_I_6"></a>6. <i>Summary</i></h5> - -<p>It is certain that of the two leading ideas of Jonson’s comedy, -the sending of a devil to earth with the object of corrupting men -is derived from the Rush legend. It is probable that the no less -important motive of a baffled devil, happy to make his return -to hell, is due either directly or indirectly to Machiavelli’s -influence. This motive, as we have seen, was strengthened by a body -of legend and by the treatment of the devil in the morality play.</p> - -<h5><a name="Sect_C_I_7"></a>7. <i>The Figure of the Vice</i></h5> - -<p>It is the figure of the Vice which makes Jonson’s satire on the -out-of-date moralities most unmistakable. This character has been -the subject of much study and discussion, and there is to-day no -universally accepted theory as to his origin and development. In the -literature of Jonson’s day the term Vice is almost equivalent to -harlequin. But whether this element of buffoonery is the fundamental -trait of the character, and that of intrigue is due to a confusion -in the meaning of the word, or whether the element of intrigue is -original, and that of buffoonery has taken its place by a process of -degeneration in the Vice himself, is still a disputed question.</p> - -<p>The theory of Cushman and of Eckhardt is substantially the same, -and may be stated as follows. Whether or not the Vice be a direct -descendant of the devil, it is certain that he falls heir to his -predecessor’s position in the drama, and that his development is -strongly influenced by that character. Originally, like the devil, -he represents the principle of evil and may be regarded as the -summation of the seven deadly sins. From the beginning, however, -he possessed more comic elements, much being ready made for him -through the partial degeneration of the devil, while the material of -the moralities was by no means so limited in scope as that of the -mysteries. This comic element, comparatively slight at first, soon -<span class="pagenum"><a name="Page_xxxv" id="Page_xxxv">[xxxv]</a></span> -began to be cultivated intentionally, and gradually assumed the chief -function, while the allegorical element was largely displaced. In -course of time the transformation from the intriguer to the buffoon -became complete.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> -Moreover, the rapidity of the transformation was hastened by the -influence of the fool, a new dramatic figure of independent origin, -but the partial successor upon the stage of the Vice’s comedy part. -As early as 1570 the union of fool and Vice is plainly -visible.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> -In 1576 we find express stage directions given for the Vice to -fill in the pauses with improvised jests.<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> -Two years later a Vice plays the leading rôle for the last time.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> -By 1584 the Vice has completely lost his character of intriguer<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a>, -and in the later drama he appears only as an antiquated figure, -where he is usually considered as identical with the fool -or jester.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> -Cushman enumerates the three chief rôles of the Vice as the opponent -of the Good; the corrupter of man; and the buffoon.</p> - -<p>The Vice, however, is not confined to the moralities, but -appears frequently in the comic interludes. According to -the theory of Cushman, the name Vice stands in the beginning -for a moral and abstract idea, that of the principle -of evil in the world, and must have originated in the -moralities; and since it is applied to a comic personage in -the interludes, this borrowing must have taken place after -the period of degeneration had already begun. To this -theory Chambers<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> -offers certain important objections. He points out that, although -‘vices in the ordinary sense of the word are of course familiar -personages in the morals’, the term Vice is not applied specifically -<span class="pagenum"><a name="Page_xxxvi" id="Page_xxxvi">[xxxvi]</a></span> -to a character in ‘any pre-Elizabethan moral interlude except the -Marian <i>Respublica</i>’, 1553. Furthermore, ‘as a matter of fact, he -comes into the interlude through the avenue of the farce’. The term -is first applied to the leading comic characters in the farces of -John Heywood, <i>Love</i> and <i>The Weather</i>, 1520-30. These characters -have traits more nearly resembling those of the fool and clown -than those of the intriguer of the moralities. Chambers concludes -therefore that ‘the character of the vice is derived from that of -the domestic fool or jester’, and that the term was borrowed by the -authors of the moralities from the comic interludes.</p> - -<p>These two views are widely divergent, and seem at first -wholly irreconcilable. The facts of the case, however, are, -I believe, sufficiently clear to warrant the following conclusions: -(1) The early moralities possessed many allegorical -characters representing vices in the ordinary sense -of the word. (2) From among these vices we may distinguish -in nearly every play a single character as in a -preëminent degree the embodiment of evil. (3) To this -chief character the name of Vice was applied about 1553, -and with increasing frequency after that date. (4) Whatever -may have been the original meaning of the word, it -must have been generally understood in the moralities in -the sense now usually attributed to it; for (5) The term -was applied in the moralities only to a character in some -degree evil. Chambers instances <i>The Tide tarrieth for No -Man</i> and the tragedy of <i>Horestes</i>, where the Vice bears -the name of Courage, as exceptions. The cases, however, -are misleading. In the former, Courage is equivalent to -‘Purpose’, ‘Desire’, and is a distinctly evil character.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> -In the latter he reveals himself in the second half of the play -as Revenge, and although he incites Horestes to an act of -justice, he is plainly opposed to ‘Amyte’, and he is finally -rejected and discountenanced. Moreover he is here a serious -figure, and only occasionally exhibits comic traits. He -cannot therefore be considered as supporting the theory -<span class="pagenum"><a name="Page_xxxvii" id="Page_xxxvii">[xxxvii]</a></span> -of the original identity of the fool and the Vice. (6) The -Vice of the comic interludes and the leading character of -the moralities are distinct figures. The former was from -the beginning a comic figure or buffoon;<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> -the latter was in the beginning serious, and continued to the end to -preserve serious traits. With which of these two figures the term -Vice originated, and by which it was borrowed from the other, is -a matter of uncertainty and is of minor consequence. These facts, -however, seem certain, and for the present discussion sufficient: -that the vices of the earlier and of the later moralities represent -the same stock figure; that this figure stood originally for the -principle of evil, and only in later days became confused with -the domestic fool or jester; that the process of degeneration was -continuous and gradual, and took place substantially in the manner -outlined by Cushman and Eckhardt; and that, while to the playwright -of Jonson’s day the term was suggestive primarily of the buffoon, -it meant also an evil personage, who continued to preserve certain -lingering traits from the character of intriguer in the earlier moralities.</p> - -<h5><a name="Sect_C_I_8"></a>8. <i>Jonson’s Use of the Vice</i></h5> - -<p>The position of the Vice has been discussed at some length because -of its very important bearing on Jonson’s comedy. It is evident, -even upon a cursory reading, that Jonson has not confined himself to -the conception of the Vice obtainable from a familiarity with the -interludes alone, as shown in Heywood’s farces or the comedy of <i>Jack -Juggler</i>. The character of Iniquity, though fully identified with the -buffoon of the later plays, is nevertheless closely connected in the -author’s mind with the intriguer of the old moralities. This is clear -above all from the use of the name Iniquity, from his association -<span class="pagenum"><a name="Page_xxxviii" id="Page_xxxviii">[xxxviii]</a></span> -with the devil, and from Pug’s desire to use him as a means of -corrupting his playfellows. Thus, consciously or unconsciously on -Jonson’s part, Iniquity presents in epitome the history of the Vice.</p> - -<p>His very name, as we have said, links him with the morality-play. -In fact, all the Vices suggested, Iniquity, Fraud, Covetousness, and -Lady Vanity, are taken from the moralities. The choice of Iniquity -was not without meaning, and was doubtless due to its more general -and inclusive significance. In Shakespeare’s time Vice and Iniquity -seem to have been synonymous terms (see Schmidt), from which it has -been inferred that Iniquity was the Vice in many lost moralities.<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a></p> - -<p>Of the original Vice-traits Iniquity lays vigorous claim to that -of the corrupter of man. Pug desires a Vice that he may ‘practice -there-with any play-fellow’, and Iniquity comes upon the stage with -voluble promises to teach his pupil to ‘cheat, lie, cog and swagger’. -He offers also to lead him into all the disreputable precincts of -the city. Iniquity appears in only two scenes, Act 1. Sc. 1 and Act -5. Sc. 6. In the latter he reverses the usual process and carries -away the devil to hell. This point has already been discussed (p. xxiv).</p> - -<p>Aside from these two particulars, Iniquity is far nearer to the -fool than to the original Vice. As he comes skipping upon the stage -in the first scene, reciting his galloping doggerel couplets, we see -plainly that the element of buffoonery is uppermost in Jonson’s mind. -Further evidence may be derived from the particularity with which -Iniquity describes the costume which he promises to Pug, and which -we are doubtless to understand as descriptive of his own. Attention -should be directed especially to the wooden dagger, the long cloak, -and the slouch hat. Cushman says (p. 125): ‘The vice enjoys the -<span class="pagenum"><a name="Page_xxxix" id="Page_xxxix">[xxxix]</a></span> -greatest freedom in the matter of dress; he is not confined to any -stereotyped costume;  ... the opinion that he is always or -usually dressed in a fool’s costume has absolutely no justification’. -The wooden dagger, a relic of the Roman stage,<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> -is the most frequently mentioned article of equipment. It is first -found (1553-8) as part of the apparel of Jack Juggler in a print -illustrating that play, reproduced by Dodsley. It is also mentioned -in <i>Like Will to Like</i>, <i>Hickescorner</i>, <i>King Darius</i>, etc. -The wooden dagger was borrowed, however, from the fool’s costume, and -is an indication of the growing identification of the Vice with the -house-fool. That Jonson recognized it as such is evident from his -<i>Expostulation with Inigo Jones</i>:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">No velvet suit you wear will alter kind;</span> -<span class="i0">A wooden dagger is a dagger of wood.</span> -</div></div> - -<p>The long cloak, twice mentioned (1. 1. 51 and 85), is -another property borrowed from the fool. The natural fool -usually wore a long gown-like dress,<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> -and this was later adopted as a dress for the artificial fool. Muckle -John, the court fool of Charles I., was provided with ‘a long coat -and suit of scarlet-colour serge’.<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a></p> - -<p>Satan’s reply to Pug’s request for a Vice is, however, the most -important passage on this subject. He begins by saying that the Vice, -whom he identifies with the house fool, is fifty years out of date. -Only trivial and absurd parts are left for Iniquity to play, the -mountebank tricks of the city and the tavern fools. Douce (pp. 499 f.) -mentions nine kinds of fools, among which the following appear: -1. The general domestic fool. 4. The city or corporation fool. 5. -Tavern fools. Satan compares Iniquity with each of these in turn. -The day has gone by, he says:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">When euery great man had his <i>Vice</i> stand by him,</span> -<span class="i0">In his long coat, shaking his wooden dagger.</span> -<span class="pagenum"><a name="Page_xl" id="Page_xl">[xl]</a></span> -</div></div> - -<p class="no-indent">Then he intimates that Iniquity may be able to play the tavern fool:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Where canst thou carry him? except to Tauernes?</span> -<span class="i0">To mount vp ona joynt-stoole, with a <i>Iewes</i>-trumpe,</span> -<span class="i0">To put downe <i>Cokeley</i>, and that must be to Citizens?</span> -</div></div> - -<p class="no-indent">And finally he compares him with the city fool:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Hee may perchance, in taile of a Sheriffes dinner,</span> -<span class="i0">Skip with a rime o’ the table, from <i>New-nothing</i>,</span> -<span class="i0">And take his <i>Almaine</i>-leape into a custard.</span> -</div></div> - -<p>Thus not only does Jonson identify the Vice with the fool, but -with the fool in his senility. The characteristic functions of -the jester in the Shakespearian drama, with his abundant store of -improvised jests, witty retorts, and irresistible impudence, have no -part in this character. He is merely the mountebank who climbs upon -a tavern stool, skips over the table, and leaps into corporation custards.</p> - -<p>Iniquity, then, plays no real part in the drama. His introduction -is merely for the purpose of satire. In <i>The Staple of News</i> the -subject is renewed, and treated with greater directness:</p> - -<p>‘<i>Tat.</i> I would fain see the fool, gossip; the fool is the finest -man in the company, they say, and has all the wit: he is the very -justice o’ peace o’ the play, and can commit whom he will and what he -will, error, absurdity, as the toy takes him, and no man say black is -his eye, but laugh at him’.</p> - -<p>In <i>Epigram 115, On the Town’s Honest Man</i>, Jonson again -identifies the Vice with the mountebank, almost in the same way as he -does in <i>The Devil is an Ass</i>:</p> - -<div class="poem"><div class="stanza"> -<span class="i17">... this is one</span> -<span class="i0">Suffers no name but a description</span> -<span class="i0">Being no vicious person but the Vice</span> -<span class="i0">About the town; ...</span> -<span class="i0">At every meal, where it doth dine or sup,</span> -<span class="i0">The cloth’s no sooner gone, but it gets up,</span> -<span class="i0">And shifting of its faces, doth play more</span> -<span class="i0">Parts than the Italian could do with his door.</span> -<span class="i0">Acts old Iniquity and in the fit</span> -<span class="i0">Of miming gets the opinion of a wit.</span> -<span class="pagenum"><a name="Page_xli" id="Page_xli">[xli]</a></span> -</div></div> - -<h4><a name="Sect_C_II"></a>II. THE SATIRICAL DRAMA</h4> - -<p>It was from Aristophanes<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> -that Jonson learned to combine with such boldness the palpable with -the visionary, the material with the abstract. He surpassed even his -master in the power of rendering the combination a convincing one, -and his method was always the same. Fond as he was of occasional -flights of fancy, his mind was fundamentally satirical, so that the -process of welding the apparently discordant elements was always -one of rationalizing the fanciful rather than of investing the -actual with a far-away and poetic atmosphere. Thus even his purely -supernatural scenes present little incongruity. Satan and Iniquity -discuss strong waters and tobacco, Whitechapel and Billingsgate, -with the utmost familiarity; even hell’s ‘most exquisite tortures’ -are adapted in part from the homely proverbs of the people. In the -use of his sources three tendencies are especially noticeable: the -motivation of borrowed incidents; the adjusting of action on a moral -basis: the reworking of his own favorite themes and incidents.</p> - -<h5><a name="Sect_C_II_1"></a>1. <i>General Treatment of the Plot</i></h5> - -<p>For the main plot we have no direct source. It represents, -however, Jonson’s typical method. It has been pointed out<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> -that the characteristic Jonsonian comedy always consists of two -groups, the intriguers and the victims. In <i>The Devil is an Ass</i> -the most purely comic motive of the play is furnished by a reversal -of the usual relation subsisting between these two groups. Here -the devil, who was wont to be looked upon as arch-intriguer, is -constantly ‘fooled off and beaten’, and thus takes his position -as the comic butt. Pug, in a sense, represents a satirical trend. -Through him Jonson satirizes the outgrown supernaturalism which -still clung to the skirts <span class="pagenum"><a name="Page_xlii" -id="Page_xlii">[xlii]</a></span> of Jacobean realism, and at the -same time paints in lively colors the vice of a society against -which hell itself is powerless to contend. It is only, however, in -a general way, where the devil stands for a principle, that Pug may -be considered as in any degree satirical. In the particular incident -he is always a purely comic figure, and furnishes the mirth which -results from a sense of the incongruity between anticipation and accomplishment.</p> - -<p>Fitzdottrel, on the other hand, is mainly satirical. -Through him Jonson passes censure upon the city gallant, -the attendant at the theatre, the victim of the prevalent -superstitions, and even the pretended demoniac. His -dupery, as in the case of his bargain with Wittipol, excites -indignation rather than mirth, and his final discomfiture -affords us almost a sense of poetic justice. This character -stands in the position of chief victim.</p> - -<p>In an intermediate position are Merecraft and Everill. -They succeed in swindling Fitzdottrel and Lady Tailbush, -but are in turn played upon by the chief intriguer, Wittipol, -with his friend Manly. Jonson’s moral purpose is here -plainly visible, especially in contrast to Plautus, with whom -the youthful intriguer is also the stock figure. The motive -of the young man’s trickery in the Latin comedy is usually -unworthy and selfish. That of Wittipol, on the other hand, -is wholly disinterested, since he is represented as having -already philosophically accepted the rejection of his -advances at the hands of Mrs. Fitzdottrel.</p> - -<p>In construction the play suffers from overabundance of -material. Instead of a single main line of action, which -is given clear precedence, there is rather a succession of -elaborated episodes, carefully connected and motivated, but -not properly subordinated. The plot is coherent and intricate -rather than unified. This is further aggravated by -the fact that the chief objects of satire are imperfectly -understood by readers of the present day.</p> - -<p>Jonson observes unity of time, Pug coming to earth in -the morning and returning at midnight. With the exception -<span class="pagenum"><a name="Page_xliii" id="Page_xliii">[xliii]</a></span> -of the first scene, which is indeterminate, and seems at -one moment to be hell, and the next London, the action is -confined to the City, but hovers between Lincoln’s Inn, -Newgate, and the house of Lady Tailbush. Unity of action -is of course broken by the interference of the devil-plot and -the episodic nature of the satirical plot. The main lines -of action may be discussed separately.</p> - -<p>In the first act chief prominence is given to the intrigue between -Wittipol and Mrs. Fitzdottrel. This interest is continued through the -second act, but practically dropped after this point. In Act 4 we -find that both lovers have recovered from their infatuation, and the -intrigue ends by mutual consent.</p> - -<p>The second act opens with the episode of Merecraft’s plot to -gull Fitzdottrel. The project of the dukedom of Drownedland is -given chief place, and attention is centred upon it both here and -in the following scenes. Little use, however, is made of it in the -motivation of action. This is left for another project, the office of -the Master of Dependencies (quarrels) in the next act. This device -is introduced in an incidental way, and we are not prepared for -the important place which it takes in the development of the plot. -Merecraft, goaded by Everill, hits upon it merely as a temporary -makeshift to extort money from Fitzdottrel. The latter determines -to make use of the office in prosecuting his quarrel with Wittipol. -In preparation for the duel, and in accordance with the course of -procedure laid down by Everill, he resolves to settle his estate. -Merecraft and Everill endeavor to have the deed drawn in their own -favor, but through the interference of Wittipol the whole estate is -made over to Manly, who restores it to Mrs. Fitzdottrel. This project -becomes then the real turning-point of the play.</p> - -<p>The episode of Guilthead and Plutarchus in Act 3 is only slightly -connected with the main plot. That of Wittipol’s disguise as a -Spanish lady, touched upon in the first two acts, becomes the chief -<span class="pagenum"><a name="Page_xliv" id="Page_xliv">[xliv]</a></span> -interest of the fourth. It furnishes much comic material, and the -characters of Lady Tailbush and Lady Eitherside offer the poet the -opportunity for some of his cleverest touches in characterization and -contrast.<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> -The scene, however, is introduced for incidental purposes, the -satirization of foreign fashions and the follies of London society, -and is overelaborated. The catalogue of cosmetics is an instance of -Jonson’s intimate acquaintance with recondite knowledge standing in -the way of his art.</p> - -<p>Merecraft’s ‘after game’ in the fifth act is of the nature of an -appendix. The play might well have ended with the frustration of his -plan to get possession of the estate. This act is introduced chiefly -for the sake of a satire upon pretended demoniacs and witch-finders. -It also contains the conclusion of the devil-plot.</p> - -<p><i>The Devil is an Ass</i> will always remain valuable as a historical -document, and as a record of Jonson’s own attitude towards the abuses -of his times. In the treatment of Fitzdottrel and Merecraft among the -chief persons, and of Plutarchus Guilthead among the lesser, this -play belongs to Jonson’s character-drama.<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> -It does not, however, belong to the pure humor-comedy. Like <i>The -Alchemist</i>, and in marked contrast to <i>Every Man out of his Humor</i>, -interest is sought in plot development. In the scene between Lady -Tailbush and Lady Eitherside, the play becomes a comedy of manners, -and in its attack upon state abuses it is semi-political in nature. -Both Gifford and Swinburne have observed the ethical treatment of the -main motives.</p> - -<p>With the exception of Prologue and Epilogue, the doggerel couplets -spoken by Iniquity, Wittipol’s song (2. 6. 94), and some of the lines -quoted by Fitzdottrel in the last scene, the play is written in blank -verse throughout. Occasional lines of eight (2. 2. 122), nine (2. 1. 1), -<span class="pagenum"><a name="Page_xlv" id="Page_xlv">[xlv]</a></span> -twelve (1. 1. 33) or thirteen (1. 1. 113) syllables are introduced. -Most of these could easily be normalized by a slight emendation or -the slurring of a syllable in pronunciation. Many of the lines, -however, are rough and difficult of scansion. Most of the dialogue -is vigorous, though Wittipol’s language is sometimes affected and -unnatural (cf. Act 1. Sc. 1). His speech, 1. 6. 111-148, is classical -in tone, but fragmentary and not perfectly assimilated. The song -already referred to possesses delicacy and some beauty of imagery, -but lacks Jonson’s customary polish and smoothness.</p> - -<p>As a work of art the play must rely chiefly upon the vigor of its -satiric dialogue and the cleverness of its character sketches. It -lacks the chief excellences of construction—unity of interest, -subordination of detail, steady and uninterrupted development, and -prompt conclusion.</p> - -<h5><a name="Sect_C_II_2"></a>2. <i>Chief Sources of the Plot</i></h5> - -<p>The first source to be pointed out was that of Act 1. -Sc. 4-6.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> -This was again noticed by Koeppel, who mentions one of the -word-for-word borrowings, and points out the moralistic tendency in -Jonson’s treatment of the husband, and his rejection of the Italian -story’s licentious conclusion.<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a> -The original is from Boccaccio’s <i>Decameron</i>, the fifth novella -of the third day. Boccaccio’s title is as follows: ‘Il Zima dona -a messer Francesco Vergellesi un suo pallafreno, e per quello con -licenzia di lui parla alla sua donna, ed ella tacendo, egli in -persona di lei si risponde, e secondo la sua risposta poi l’effetto -segue’. The substance of the story is this. Il Zima, with the bribe -of a palfrey, makes a bargain with Francesco. For the gift he is -granted an interview with the wife of Francesco and in the latter’s -presence. This interview, however, unlike that in <i>The Devil is an -Ass</i>, is not in the husband’s hearing. To guard against any mishap, -<span class="pagenum"><a name="Page_xlvi" id="Page_xlvi">[xlvi]</a></span> -Francesco secretly commands his wife to make no answer to the lover, -warning her that he will be on the lookout for any communication on -her part. The wife, like Mrs. Fitzdottrel, upbraids her husband, -but is obliged to submit. Il Zima begins his courtship, but, though -apparently deeply affected, she makes no answer. The young man then -suspects the husband’s trick (e poscia s’incominciò ad accorgere -dell’ arte usata dal cavaliere). He accordingly hits upon the device -of supposing himself in her place and makes an answer for her, -granting an assignation. As a signal he suggests the hanging out of -the window of two handkerchiefs. He then answers again in his own -person. Upon the husband’s rejoining them he pretends to be deeply -chagrined, complains that he has met a statue of marble (una statua -di marmo) and adds: ‘Voi avete comperato il pallafreno, e io non l’ho -venduto’. Il Zima is successful in his ruse, and Francesco’s wife -yields completely to his seduction.</p> - -<p>A close comparison of this important source is highly instructive. -Verbal borrowings show either that Jonson had the book before him, or -that he remembered many of the passages literally. Thus Boccaccio’s -‘una statua di marmo’ finds its counterpart in a later -scene<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> -where Mrs. Fitzdottrel says: ‘I would not haue him thinke hee met a -statue’. Fitzdottrel’s satisfaction at the result of the bargain is -like that of Francesco: ‘I ha’ kept the contract, and the cloake is -mine’ (omai è ben mio il pallafreno, che fu tuo). Again Wittipol’s -parting words resemble Il Zima’s: ‘It may fall out, that you ha’ -bought it deare, though I ha’ not sold it’.<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> -In the mouths of the two heroes, however, these words mean exactly -opposite things. With Il Zima it is a complaint, and means: ‘You have -won the cloak, but I have got nothing in return’. With Wittipol, -on the other hand, it is an open sneer, and hints at further -developments. The display of handkerchiefs at the window is -another borrowing. Fitzdottrel says sarcastically: -<span class="pagenum"><a name="Page_xlvii" id="Page_xlvii">[xlvii]</a></span></p> - -<div class="poem"><div class="stanza"> -<span class="i15">... I’ll take carefull order,</span> -<span class="i0">That shee shall hang forth ensignes at the window.</span> -</div></div> - -<p class="no-indent">Finally Wittipol, like Il Zima, suspects a trick when -Mrs. Fitzdottrel refuses to answer:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">How! not any word? Nay, then, I taste a tricke in’t.</span> -</div></div> - -<p>But precisely here Jonson blunders badly. In Boccaccio’s story -the trick was a genuine one. Il Zima stands waiting for an answer. -When no response is made he begins to suspect the husband’s secret -admonition, and to thwart it hits upon the device of answering -himself. But in Jonson there is no trick at all. Fitzdottrel -does indeed require his wife to remain silent, but by no means -secretly. His command is placed in the midst of a rambling discourse -addressed alternately to his wife and to the young men. There is -not the slightest hint that any part of this speech is whispered in -his wife’s ear, and Wittipol enters upon his courtship with full -knowledge of the situation. This fact deprives Wittipol’s speech in -the person of Mrs. Fitzdottrel of its character as a clever device, -so that the whole point of Boccaccio’s story is weakened, if not -destroyed. I cannot refrain in conclusion from making a somewhat -doubtful conjecture. It is noticeable that while Jonson follows so -many of the details of this story with the greatest fidelity he -substitutes the gift of a cloak for that of the original ‘pallafreno’ -(palfrey).<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a> -The word is usually written ‘palafreno’ and so occurs in Florio. Is -it possible that Jonson was unfamiliar with the word, and, not being -able to find it in a dictionary, conjectured that it was identical -with ‘palla’, a cloak?</p> - -<p>In other respects Jonson’s handling of the story displays -his characteristic methods. Boccaccio spends very few words in -description of either husband or suitor. Jonson, however, is careful -to make plain the despicable character of Fitzdottrel, while -Wittipol is represented as an attractive and high-minded young man. -Further than this, both Mrs. Fitzdottrel and Wittipol soon recover -completely from their infatuation. -<span class="pagenum"><a name="Page_xlviii" id="Page_xlviii">[xlviii]</a></span></p> - -<p>Koeppel has suggested a second source from the <i>Decameron</i>, -Day 3, Novella 3. The title is: ‘Sotto spezie di confessione e di -purissima coscienza una donna, innamorata d’un giovane, induce un -solenne frate, senza avvedersene egli, a dar modo che’l piacer di lei -avessi intero effetto’. The story is briefly this. A lady makes her -confessor the means of establishing an acquaintance with a young man -with whom she has fallen in love. Her directions are conveyed to him -under the guise of indignant prohibitions. By a series of messages -of similar character she finally succeeds in informing him of the -absence of her husband and the possibility of gaining admittance to -her chamber by climbing a tree in the garden. Thus the friar becomes -the unwitting instrument of the very thing which he is trying to -prevent. So in Act 2. Sc. 2 and 6, Mrs. Fitzdottrel suspects Pug of -being her husband’s spy. She dares not therefore send Wittipol a -direct message, but requests him to cease his attentions to her</p> - -<div class="poem"><div class="stanza"> -<span class="i0">At the Gentlemans chamber-window in <i>Lincolnes-Inne</i> there,</span> -<span class="i0">That opens to my gallery.</span> -</div></div> - -<p>Wittipol takes the hint, and promptly appears at the place indicated.</p> - -<p>Von Rapp<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> -has mentioned certain other scenes as probably of Italian origin, -but, as he advances no proofs, his suggestions may be neglected. It -seems to me possible that in the scene above referred to, where the -lover occupies a house adjoining that of his mistress, and their -secret amour is discovered by her servant and reported to his master, -Jonson had in mind the same incident in Plautus’ <i>Miles Gloriosus</i>, -Act. 2. Sc. 1 f.</p> - -<p>The trait of jealousy which distinguishes Fitzdottrel was -suggested to some extent by the character of Euclio in the -<i>Aulularia</i>, and a passage of considerable length<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> is freely -<span class="pagenum"><a name="Page_xlix" id="Page_xlix">[xlix]</a></span> -paraphrased from that play. The play and the passage -had already been used in <i>The Case is Altered</i>.</p> - -<p>Miss Woodbridge has noticed that the scene in which Lady Tailbush -and her friends entertain Wittipol disguised as a Spanish lady is -similar to Act 3. Sc. 2 of <i>The Silent Woman</i>, where the collegiate -ladies call upon Epicoene. The trick of disguising a servant as a -woman occurs in Plautus’ <i>Casina</i>, Acts 4 and 5.</p> - -<p>For the final scene, where Fitzdottrel plays the part of a -bewitched person, Jonson made free use of contemporary books and -tracts. The motive of pretended possession had already appeared in -<i>The Fox</i> (<i>Wks.</i> 3. 312), where symptoms identical with or -similar to those in the present passage are mentioned—swelling -of the belly, vomiting crooked pins, staring of the eyes, and foaming -at the mouth. The immediate suggestion in this place may have come -either through the Rush story or through Machiavelli’s novella. -That Jonson’s materials can be traced exclusively to any one source -is hardly to be expected. Not only were trials for witchcraft -numerous, but they must have formed a common subject of speculation -and discussion. The ordinary evidences of possession were doubtless -familiar to the well-informed man without the need of reference to -particular records. And it is of the ordinary evidences that the -poet chiefly makes use. Nearly all these are found repeatedly in the -literature of the period.</p> - -<p>We know, on the other hand, that Jonson often preferred to get -his information through the medium of books. It is not surprising, -therefore, that Merecraft proposes to imitate ‘little Darrel’s -tricks’, and to find that the dramatist has resorted in large measure -to this particular source.<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a></p> - -<p>The Darrel controversy was carried on through a number -of years between John Darrel, a clergyman (see note -<a href="#Note_5_3_6">5. 3. 6</a>), on the one hand, and Bishop Samuel Harsnet, -John Deacon and John Walker, on the other. Of the tracts produced -<span class="pagenum"><a name="Page_l" id="Page_l">[l]</a></span> -in this controversy the two most important are -Harsnet’s <i>Discovery of the Fraudulent Practises of John -Darrel</i>,<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> -1599, and Darrel’s <i>True Narration of the Strange and Grevous -Vexation by the Devil of 7 Persons in Lancashire and William Somers -of Nottingham</i>, ... 1600. The story is retold in Francis Hutchinson’s -<i>Historical Essay concerning Witchcraft</i>, London, 1720.</p> - -<p>Jonson follows the story as told in these two books with -considerable fidelity. The accompaniments of demonic -possession which Fitzdottrel exhibits in the last scene are -enumerated in two previous speeches. Practically all of -these are to be found in Darrel’s account:</p> - -<div class="poem"><div class="stanza"> -<span class="i11">... roule but wi’ your eyes,</span> -<span class="i0">And foam at th’ mouth. (Text, 5. 3. 2-3)</span> -<span class="i11">... to make your belly swell,</span> -<span class="i0">And your eyes turne, to foame, to stare, to gnash</span> -<span class="i0">Your teeth together, and to beate your selfe,</span> -<span class="i0">Laugh loud, and faine six voices. (5. 5. 25 f.)</span> -</div></div> - -<p>They may be compared with the description given by Darrel: ‘He was -often seene ... to beate his head and other parts of his body against -the ground and bedstead. In most of his fitts, he did swell in his -body; ... if he were standing when the fit came he wold be cast -headlong upon the ground, or fall doune, drawing then his lips awry, -gnashing with his teeth, wallowing and foaming.... Presently after he -would laughe loud and shrill, his mouth being shut close’. (Darrel, -p. 181.) ‘He was also continually torne in very fearfull manner, and -disfigured in his face ... now he gnashed with his teeth; -<span class="pagenum"><a name="Page_li" id="Page_li">[li]</a></span> -now he fomed like to the horse or boare, ... not to say anything of -his fearfull staring with his eyes, and incredible gaping’. (Darrel, -p. 183.) The swelling, foaming, gnashing, staring, etc., are also -mentioned by Harsnet (pp. 147-8), as well as the jargon of languages -(p. 165).</p> - -<p>The scene is prepared before Merecraft’s appearance (Text, 5. 5. 40. -Cf. <i>Detection</i>, p. 92), and Fitzdottrel is discovered lying -in bed (Text, 5. 5. 39; 5. 8. 40). Similarly, Somers performed -many of his tricks ‘under a coverlet’ (<i>Detection</i>, p. 104). Sir -Paul Eitherside then enters and ‘interprets all’. This is imitated -directly from Harsnet, where we read: ‘So. [Somers] acting those -gestures M. Dar. did expound them very learnedlye, to signify this or -that sinne that raigned in Nott. [Nottingham].’ Paul’s first words -are: ‘This is the <i>Diuell</i> speakes and laughes in him’. So Harsnet -tells us that ‘M. Dar. vpon his first comming vnto Som. affirmed that -it was not So. that spake in his fitts, but the diuell by him’. Both -Fitzdottrel (Text, 5. 8. 115) and Somers (<i>Narration</i>, p. 182) talk -in Greek. The devil in Fitzdottrel proposes to ‘break his necke in -jest’ (Text, 5. 8. 117), and a little later to borrow money (5. 8. -119). The same threat is twice made in the <i>True Narration</i> -(pp. 178 and 180). In the second of these passages Somers is met by an -old woman, who tries to frighten him into giving her money. Otherwise, -she declares, ‘I will throwe thee into this pit, and breake thy -neck’. The mouse ‘that should ha’ come forth’ (Text, 5. 8. 144) is -mentioned by both narrators (<i>Detection</i>, p. 140; <i>Narration</i>, -p. 184), and the pricking of the body with pins and needles (Text, -5. 8. 49) is found in slightly altered form (<i>Detection</i>, p. 135; -<i>Narration</i>, p. 174). Finally the clapping of the hands (Text. -5. 8. 76) is a common feature (<i>Narration</i>, p. 182). The last -mentioned passage finds a still closer parallel in a couplet from -the contemporary ballad, which Gifford quotes from Hutchinson (p. 249):</p> - -<div class="poem"><div class="stanza"> -<span class="i0">And by the clapping of his Hands</span> -<span class="i0">He shew’d the starching of our Bands.</span> -<span class="pagenum"><a name="Page_lii" id="Page_lii">[lii]</a></span> -</div></div> - -<p>Of the apparatus supplied by Merecraft for the imposture, the -soap, nutshell, tow, and touchwood (Text, 5. 3. 3-5), the bladders -and bellows (Text, 5. 5. 48), some are doubtless taken from Harsnet’s -<i>Discovery</i>, though Darrel does not quote these passages in the -<i>Detection</i>. We find, however, that Darrel was accused of supplying -Somers with black lead to foam with (<i>Detection</i>, p. 160), and -Gifford says that the <i>soap</i> and <i>bellows</i> are also mentioned in the -‘Bishop’s book’.</p> - -<p>Though Jonson drew so largely upon this source, many details are -supplied by his own imagination. Ridiculous as much of it may seem to -the modern reader, it is by no means overdrawn. In fact it may safely -be affirmed that no such realistic depiction of witchcraft exists -elsewhere in the whole range of dramatic literature.</p> - -<h5><a name="Sect_C_II_3"></a>3. <i>Prototypes of the leading Characters</i></h5> - -<p>The position of the leading characters has already been indicated. -Pug, as the comic butt and innocent gull, is allied to Master Stephen -and Master Matthew of <i>Every Man in his Humor</i>, Dapper of <i>The -Alchemist</i>, and Cokes of <i>Bartholomew Fair</i>. Fitzdottrel, another -type of the gull, is more closely related to <i>Tribulation Wholesome</i> -in <i>The Alchemist</i>, and even in some respects to Corvino and Voltore -in <i>The Fox</i>. Wittipol and Manly, the chief intriguers, hold -approximately the same position as Wellbred and Knowell in <i>Every -Man in his Humor</i>, Winwife and Quarlous in <i>Bartholomew Fair</i>, and -Dauphine, Clerimont, and Truewit in <i>The Silent Woman</i>. Merecraft is -related in his character of swindler to Subtle in <i>The Alchemist</i>, -and in his character of projector to Sir Politick Wouldbe in <i>The -Fox</i>.</p> - -<p>The contemptible ‘lady of spirit and woman of fashion’ is one of -Jonson’s favorite types. She first appears in the persons of Fallace -and Saviolina in <i>Every Man out of his Humor</i>; then in <i>Cynthia’s -Revels</i>, where Moria and her friends play the part; then as Cytheris -<span class="pagenum"><a name="Page_liii" id="Page_liii">[liii]</a></span> -in <i>Poetaster</i>, Lady Politick in <i>The Alchemist</i>, the collegiate -ladies in <i>The Silent Woman</i>, and Fulvia and Sempronia in <i>Catiline</i>. -The same affectations and vices are satirized repeatedly. An evident -prototype of Justice Eitherside is found in the person of Adam -Overdo in <i>Bartholomew Fair</i>. Both are justices of the peace, both -are officious, puritanical, and obstinate. Justice Eitherside’s -denunciation of the devotees of tobacco finds its counterpart in -a speech in <i>Bartholomew Fair</i>, and his repeated ‘I do detest it’ -reminds one of Overdo’s frequent expressions of horror at the -enormities which he constantly discovers.</p> - -<h5><a name="Sect_C_II_4"></a>4. <i>Minor Sources</i></h5> - -<p><i>The Devil is an Ass</i> is not deeply indebted to the classics. -Jonson borrows twice from Horace, 1. 6. 131, and 2. 4. 27 f. The -half dozen lines in which the former passage occurs (1. 6. 126-132) -are written in evident imitation of the Horatian style. Two passages -are also borrowed from Plautus, 2. 1. 168 f., already mentioned, and -3. 6. 38-9. A single passage (2. 6. 104 f.) shows the influence of -Martial. These passages are all quoted in the notes.</p> - -<p>The source of Wittipol’s description of the ‘Cioppino’, and the -mishap attendant upon its use, was probably taken from a contemporary -book of travels. A passage in Coryat’s <i>Crudities</i> furnishes the -necessary information and a similar anecdote, and was doubtless used -by Jonson (see note <a href="#Note_4_4_69">4. 4. 69</a>). Coryat was patronized by the poet. -Similarly, another passage in the <i>Crudities</i> seems to have suggested -the project of the forks (see note <a href="#Note_5_4_17">5. 4. 17</a>).</p> - -<p>A curious resemblance is further to be noted between several -passages in <i>The Devil is an Ass</i> and <i>Underwoods 62</i>. The first -draft of this poem may have been written not long before the present -play (see Fleay, <i>Chron.</i> 1. 329-30) and so have been still fresh in -the poet’s mind. The passage <i>DA.</i> 3. 2. 44-6 shows unmistakably that -the play was the borrower, and not the poem. Gifford suggests that -<span class="pagenum"><a name="Page_liv" id="Page_liv">[liv]</a></span> -both passages were quoted from a contemporary posture-book, but the -passage in the epigram gives no indication of being a quotation.</p> - -<p>The chief parallels are as follows: <i>U. 62.</i> 10-14 and <i>DA.</i> 3. -3. 165-6; <i>U. 62.</i> 21-2 and <i>DA.</i> 3. 3. 169-72; <i>U. 62.</i> 25-6 and -<i>DA.</i> 3. 2. 44-6; <i>U. 62.</i> 45-8 and <i>DA.</i> 2. 8. 19-22. These passages -are all quoted in the notes. In addition, there are a few striking -words and phrases that occur in both productions, but the important -likenesses are all noted above. In no other poem except <i>Charis</i>, -<i>The Gipsies</i>, and <i>Underwoods 36</i>,<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> -where the borrowings are unmistakably intentional, is there any thing -like the same reworking of material as in this instance.</p> - -<h4><a name="Sect_C_III"></a>III. <span class="smcap">Specific Objects of Satire</span></h4> - -<p><i>The Devil is an Ass</i> has been called of all Jonson’s plays -since <i>Cynthia’s Revels</i> the most obsolete in the subjects of -its satire.<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> -The criticism is true, and it is only with some knowledge of the -abuses which Jonson assails that we can appreciate the keenness and -precision of his thrusts. The play is a colossal exposé of social -abuses. It attacks the aping of foreign fashions, the vices of -society, and above all the cheats and impositions of the unscrupulous -swindler. But we miss its point if we fail to see that Jonson’s -arraignment of the society which permitted itself to be gulled is -no less severe than that of the swindler who practised upon its -credulity. Three institutions especially demand an explanation both -for their own sake and for their bearing upon the plot. These are the -duello, the monopoly, and the pretended demoniacal possession.</p> - -<h5><a name="Sect_C_III_1"></a>1. <i>The Duello</i></h5> - -<p>The origin of private dueling is a matter of some obscurity. It -was formerly supposed to be merely a development of the judicial duel -<span class="pagenum"><a name="Page_lv" id="Page_lv">[lv]</a></span> -or combat, but this is uncertain. Dueling flourished on the -Continent, and was especially prevalent in France during the reign of -Henry III. Jonson speaks of the frequency of the practice in France -in <i>The Magnetic Lady</i>.</p> - -<p>No private duel seems to have occurred in England before the -sixteenth century, and the custom was comparatively rare until -the reign of James I. Its introduction was largely due to the -substitution of the rapier for the broadsword. Not long after -this change in weapons fencing-schools began to be established -and were soon very popular. Donald Lupton, in his <i>London and the -Countrey carbonadoed</i>, 1632, says they were usually set up by -‘some low-country soldier, who to keep himself honest from further -inconveniences, as also to maintain himself, thought upon this course -and practises it’.<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a></p> - -<p>The etiquette of the duel was a matter of especial concern. The -two chief authorities seem to have been Jerome Carranza, the author -of a book entitled <i>Filosofia de las Armas</i>,<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a> -and Vincentio Saviolo, whose <i>Practise</i> was translated into English -in 1595. It contained two parts, the first ‘intreating of the vse of -the rapier and dagger’, the second ‘of honor and honorable quarrels’. -The rules laid down in these books were mercilessly ridiculed by the -dramatists; and the duello was a frequent subject of satire.<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a></p> - -<p>By 1616 dueling must have become very common. Frequent -references to the subject are found about this time in -the <i>Calendar of State Papers</i>. Under date of December -9, 1613, we read that all persons who go abroad to fight -<span class="pagenum"><a name="Page_lvi" id="Page_lvi">[lvi]</a></span> -duels are to be censured in the Star Chamber. On February 17, 1614, -‘a proclamation, with a book annexed’, was issued against duels, and -on February 13, 1617, the King made a Star Chamber speech against -dueling, ‘on which he before published a sharp edict’.</p> - -<p>The passion for dueling was turned to advantage by a set of -improvident bravos, who styled themselves ‘sword-men’ or ‘masters -of dependencies,’ a <i>dependence</i> being the accepted name for an -impending quarrel. These men undertook to examine into the causes of -a duel, and to settle or ‘take it up’ according to the rules laid -down by the authorities on this subject. Their prey were the young -men of fashion in the city, and especially ‘country gulls’, who were -newly come to town and were anxious to become sophisticated. The -profession must have been profitable, for we hear of their methods -being employed by the ‘roaring boys’<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a> -and the masters of the fencing schools.<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a> -Fletcher in <i>The Elder Brother</i>, <i>Wks.</i> 10. 283, speaks of</p> - -<div class="poem"><div class="stanza"> -<span class="i7">... the masters of dependencies</span> -<span class="i0">That by compounding differences ’tween others</span> -<span class="i0">Supply their own necessities,</span> -</div></div> - -<p class="no-indent">and Massinger makes similar comment in <i>The Guardian</i>, <i>Wks.</i>, p. 343:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">When two heirs quarrel,</span> -<span class="i0">The swordsmen of the city shortly after</span> -<span class="i0">Appear in plush, for their grave consultations</span> -<span class="i0">In taking up the difference; some, I know,</span> -<span class="i0">Make a set living on’t.</span> -</div></div> - -<p>Another function of the office is mentioned by Ford in -<i>Fancies Chaste and Noble</i>, <i>Wks.</i> 2. 241. The master -would upon occasion ‘brave’ a quarrel with the novice for -the sake of ‘gilding his reputation’, and Massinger in <i>The -Maid of Honor</i>, <i>Wks.</i>, p. 190, asserts that he would even -<span class="pagenum"><a name="Page_lvii" id="Page_lvii">[lvii]</a></span> -consent ‘for a cloak with thrice-died velvet, and a cast suit’ to -be ‘kick’d down the stairs’. In <i>A King and No King</i>, B. & Fl., -<i>Wks.</i> 2. 310 f., Bessus consults with two of these ‘Gentlemen of -the Sword’ in a ridiculous scene, in which the sword-men profess the -greatest scrupulousness in examining every word and phrase, affirming -that they cannot be ‘too subtle in this business’.</p> - -<p>Jonson never loses an opportunity of satirizing these despicable -bullies, who were not only ridiculous in their affectations, but who -proved by their ‘fomenting bloody quarrels’ to be no small danger -to the state. Bobadill, who is described as a Paul’s Man, was in -addition a pretender to this craft. Matthew complains that Downright -has threatened him with the bastinado, whereupon Bobadill cries out -immediately that it is ‘a most proper and sufficient dependence’ and -adds: ‘Come hither, you shall chartel him; I’ll shew you a trick or -two, you shall kill him with at pleasure’.<a name="FNanchor_72_72" -id="FNanchor_72_72"></a><a href="#Footnote_72_72" -class="fnanchor">[72]</a> Cavalier Shift, in <i>Every Man out of his -Humor</i>, among various other occupations has the reputation of being -able to ‘manage a quarrel the best that ever you saw, for terms -and circumstances’. We have an excellent picture of the ambitious -novice in the person of Kastrill in <i>The Alchemist</i>. Kastrill, who -is described as an ‘angry boy’, comes to consult Subtle as to how to -‘carry a business, manage a quarrel fairly’. Face assures him that -Dr. Subtle is able to ‘take the height’ of any quarrel whatsoever, -to tell ‘in what degree of safety it lies’, ‘how it may be borne’, etc.</p> - -<p>From this description of the ‘master of dependencies’ -the exquisite humor of the passage in <i>The Devil is an Ass</i> -(3. 3. 60 f.) can be appreciated. Merecraft assures Fitzdottrel -that this occupation, in reality the refuge only of -the Shifts and Bobadills of the city, is a new and important -office about to be formally established by the state. In -spite of all their speaking against dueling, he says, they -have come to see the evident necessity of a public tribunal -<span class="pagenum"><a name="Page_lviii" id="Page_lviii">[lviii]</a></span> -to which all quarrels may be referred. It is by means of -this pretended office that Merecraft attempts to swindle -Fitzdottrel out of his entire estate, from which disaster he -is saved only by the clever interposition of Wittipol.</p> - -<h5><a name="Sect_C_III_2"></a>2. <i>The Monopoly System</i></h5> - -<p>Jonson’s severest satire in <i>The Devil is an Ass</i> is directed -against the projector. Through him the whole system of Monopolies is -indirectly criticised. To understand the importance and timeliness of -this attack, as well as the poet’s own attitude on the subject, it is -necessary to give a brief historical discussion of the system as it -had developed and then existed.</p> - -<p>Royal grants with the avowed intention of instructing the English -in a new industry had been made as early as the fourteenth -century,<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a> -and the system had become gradually modified during the Tudor -dynasty. In the sixteenth century a capitalist middle class rose to -wealth and political influence. During the reign of Elizabeth a large -part of Cecil’s energies was directed toward the economic development -of the country. This was most effectually accomplished by granting -patents to men who had enterprise enough to introduce a new art or -manufacture, whether an importation from a foreign country or their -own invention. The capitalist was encouraged to make this attempt by -the grant of special privileges of manufacture for a limited -period.<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a> -The condition of monopoly did not belong to the -mediaeval system, but was first introduced under Elizabeth. -So far the system had its economic justification, but -unfortunately it did not stop here. Abuses began to creep -in. Not only the manufacture, but the exclusive trade in -certain articles, was given over to grantees, and commodities -of the most common utility were ‘ingrossed into the hands -<span class="pagenum"><a name="Page_lix" id="Page_lix">[lix]</a></span> -of these blood-suckers of the commonwealth.<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a> -A remonstrance of Parliament was made to Elizabeth in 1597, and again -in 1601, and in consequence the Queen thought best to promise the -annulling of all monopolies then existing, a promise which she in -large measure fulfilled. But the immense growth of commerce under -Elizabeth made it necessary for her successor, James I., to establish -a system of delegation, and he accordingly adapted the system of -granting patents to the existing needs.<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a> -Many new monopolies were granted during the early years of his reign, -but in 1607 Parliament again protested, and he followed Elizabeth’s -example by revoking them all. After the suspension of Parliamentary -government in 1614 the system grew up again, and the old abuses -became more obnoxious than ever. In 1621 Parliament addressed a -second remonstrance to James. The king professed ignorance, but -promised redress, and in 1624 all the existing monopolies were -abolished by the Statute 21 James I. c. 3. In Parliament’s address to -James ‘the tender point of prerogative’ was not disturbed, and it was -contrived that all the blame and punishment should fall on the -patentees.<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a></p> - -<p>Of all the patents granted during this time, that which seems -to have most attracted the attention of the dramatists was one for -draining the Fens of Lincolnshire. Similar projects had frequently -been attempted during the sixteenth century. In the list of patents -before 1597, catalogued by Hulme, seven deal with water drainage in -some form or other. The low lands on the east coast of England are -exposed to inundation.<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a> -During the Roman occupation large embankments had been built, and -during the Middle Ages these had been kept up partly through a -commission appointed by the Crown, and partly through the efforts of -<span class="pagenum"><a name="Page_lx" id="Page_lx">[lx]</a></span> -the monasteries at Ramsey and Crowland. After the dissolution of -these monasteries it became necessary to take up anew the work of -reclaiming the fen-land. An abortive attempt by the Earl of Lincoln -had already been made when the Statute 43 Eliz. c. 10. 11. was passed -in the year 1601. This made legal the action of projectors in the -recovery of marsh land. Many difficulties, however, such as lack of -funds and opposition on the part of the inhabitants and neighbors of -the fens, still stood in their way. In 1605 Sir John Popham and Sir -Thomas Fleming headed a company which undertook to drain the Great -Level of the Cambridgeshire fens, consisting of more than 300,000 -acres, at their own cost, on the understanding that 130,000 acres -of the reclaimed land should fall to their share. The project was a -complete failure. Another statute granting a patent for draining the -fens is found in the seventh year of Jac. I. c. 20, and the attempt -was renewed from time to time throughout the reigns of James and -Charles I. It was not, however, until the Restoration that these -efforts were finally crowned with success.</p> - -<p>When the remonstrance was made to James in 1621, the object of the -petitioners was gained, as we have seen, by throwing all the blame -upon the patentees and projectors. Similarly, the dramatists often -prefer to make their attack, not by assailing the institution of -monopolies, but by ridicule of the offending subjects.<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a> -Two agents are regularly distinguished. There is the patentee, -sometimes also called the projector, whose part it is to supply the -funds for the establishment of the monopoly, and, if possible, the -necessary influence at Court; and the actual projector or inventor, -who undertakes to furnish his patron with various projects of his own device.</p> - -<p>Jonson’s is probably the earliest dramatic representation of the -projector. Merecraft is a swindler, pure and simple, whose schemes -are directed not so much against the people whom he aims to plunder -<span class="pagenum"><a name="Page_lxi" id="Page_lxi">[lxi]</a></span> -by the establishment of a monopoly as against the adventurer who -furnishes the funds for putting the project into operation:</p> - -<div class="poem"><div class="stanza"> -<span class="i11">... Wee poore Gentlemen, that want acres,</span> -<span class="i0">Must for our needs, turne fooles vp and plough <i>Ladies</i>.</span> -</div></div> - -<p>Both Fitzdottrel and Lady Tailbush are drawn into these schemes -so far as to part with their money. Merecraft himself pretends that -he possesses sufficient influence at Court. He flatters Fitzdottrel, -who is persuaded by the mere display of projects in a buckram bag, by -demanding of him ‘his count’nance, t’appeare in’t to great men’ (2. -1. 39). Lady Tailbush is not so easily fooled, and Merecraft has some -difficulty in persuading her of the power of his friends at Court -(Act 4. Sc. 1).</p> - -<p>Merecraft’s chief project, the recovery of the drowned lands, is -also satirized by Randolph:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">I have a rare device to set Dutch windmills</span> -<span class="i0">Upon Newmarket Heath, and Salisbury Plain,</span> -<span class="i0">To drain the fens.<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a></span> -</div></div> - -<p class="no-indent">and in <i>Holland’s Leaguer</i>, Act 1. Sc. 5 (cited by Gifford):</p> - -<div class="poem"><div class="stanza"> -<span class="i24">Our projector</span> -<span class="i0">Will undertake the making of bay salt,</span> -<span class="i0">For a penny a bushel, to serve all the state;</span> -<span class="i0">Another dreams of building waterworkes,</span> -<span class="i0">Drying of fenns and marshes, like the Dutchmen.</span> -</div></div> - -<p>In the later drama the figure of the projector appears several -times, but it lacks the timeliness of Jonson’s satire, and the -conception must have been largely derived from literary sources. -Jonson’s influence is often apparent. In Brome’s <i>Court Beggar</i> -the patentee is Mendicant, a country gentleman who has left his -rustic life and sold his property, in order to raise his state -by court-suits. The projects which he presents at court are the -invention of three projectors. Like Merecraft, they promise to make -Mendicant a lord, and succeed only in reducing him to poverty. The -character of the Court Beggar is given in these words: ‘He is -<span class="pagenum"><a name="Page_lxii" id="Page_lxii">[lxii]</a></span> -a Knight that hanckers about the court ambitious to make himselfe a -Lord by begging. His braine is all Projects, and his soule nothing -but Court-suits. He has begun more Knavish suits at Court, then ever -the Kings Taylor honestly finish’d, but never thriv’d by any: so that -now hee’s almost fallen from a Palace Begger to a Spittle one’.</p> - -<p>In the <i>Antipodes</i> Brome introduces ‘a States-man studious -for the Commonwealth, solicited by Projectors of the Country’. -Brome’s list of projects (quoted in Gifford’s edition) is a broad -caricature. Wilson, in the Restoration drama, produced a play called -<i>The Projectors</i>, in which Jonson’s influence is apparent -(see Introduction, <a href="#Page_lxxv">p. lxxv</a>).</p> - -<p>Among the <i>characters</i>, of which the seventeenth century writers -were so fond, the projector is a favorite figure. John Taylor,<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a> -the water-poet, furnishes us with a cartoon entitled ‘The complaint -of M. Tenterhooke the <i>Projector</i> and Sir <i>T</i>homas Dodger the -Patentee’. In the rimes beneath the picture the distinction between -the projector, who ‘had the Art to cheat the Common-weale’, and -the patentee, who was possessed of ‘tricks and slights to pass the -seale’, is brought out with especial distinctness. Samuel Butler’s -character<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a> -of the projector is of less importance, since it was not published -until 1759. The real importance of Jonson’s satire lies in the fact -that it appeared in the midst of the most active discussion on the -subject of monopolies. Drummond says that he was ‘accused upon’ the -play, and that the King ‘desired him to conceal it’.<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a> -Whether the subject which gave offense was the one which we have been -considering or that of witchcraft, it is, however, impossible to determine.</p> - -<h5><a name="Sect_C_III_3"></a>3. <i>Witchcraft</i></h5> - -<p>Witchcraft in Jonson’s time was not an outworn belief, but a -living issue. It is remarkable that the persecutions which followed -<span class="pagenum"><a name="Page_lxiii" id="Page_lxiii">[lxiii]</a></span> -upon this terrible delusion were comparatively infrequent during the -Middle Ages, and reached their maximum only in the seventeenth century.</p> - -<p>The first English Act against witchcraft after the Norman Conquest -was passed in 1541 (33 Hen. VIII. c. 8). This Act, which was of a -general nature, and directed against various kinds of sorceries, was -followed by another in 1562 (5 Eliz. c. 16). At the accession of -James I. in 1603 was passed 1 Jac. I. c. 12, which continued law for -more than a century.</p> - -<p>During this entire period charges of witchcraft were frequent. -In Scotland they were especially numerous, upwards of fifty being -recorded during the years 1596-7.<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a> -The trial of Anne Turner in 1615, in which charges of witchcraft were -joined with those of poisoning, especially attracted the attention of -Jonson. In 1593 occurred the trial of the ‘three Witches of Warboys’, -in 1606 that of Mary Smith, in 1612 that of the earlier Lancashire -Witches, and of the later in 1633. These are only a few of the -more famous cases. Of no less importance in this connection is the -attitude of the King himself. In the famous <i>Demonology</i><a -name="FNanchor_85_85" id="FNanchor_85_85"></a><a -href="#Footnote_85_85" class="fnanchor">[85]</a> he allied himself -unhesitatingly with the cause of superstition. Witchcraft was of -course not without its opponents, but these were for the most part -obscure men and of little personal influence. While Bacon and Raleigh -were inclining to a belief in witchcraft, and Sir Thomas Browne -was offering his support to persecution, the cause of reason was -intrusted to such champions as Reginald Scot, the author of the -famous <i>Discovery of Witchcraft</i>, 1584, a work which fearlessly -exposes the prevailing follies and crimes. It is on this side that -Jonson places himself. That he should make a categorical statement as -to his belief or disbelief in witchcraft is not to be expected. It is -enough that he presents a picture of the pretended demoniac, that he -<span class="pagenum"><a name="Page_lxiv" id="Page_lxiv">[lxiv]</a></span> -makes it as sordid and hateful as possible, that he draws for us -in the person of Justice Eitherside the portrait of the bigoted, -unreasonable, and unjust judge, and that he openly ridicules the -series of cases which he used as the source of his witch scenes -(cf. Act. 5. Sc. 3).</p> - -<p>To form an adequate conception of the poet’s satirical purpose in -this play one should compare the methods used here with the treatment -followed in Jonson’s other dramas where the witch motive occurs. -In <i>The Masque of Queens</i>, 1609, and in <i>The Sad Shepherd</i>, Jonson -employed the lore of witchcraft more freely, but in a quite different -way. Here, instead of hard realism with all its hideous details, -the more picturesque beliefs and traditions are used for purely -imaginative and poetical purposes.</p> - -<p><i>The Masque of Queens</i> was presented at Whitehall, and dedicated -to Prince Henry. Naturally Jonson’s attitude toward witchcraft -would here be respectful. It is to be observed, however, that in -the copious notes which are appended to the masque no contemporary -trials are referred to. The poet relies upon the learned compilations -of Bodin, Remigius, Cornelius Agrippa, and Paracelsus, together -with many of the classical authors. He is clearly dealing with the -mythology of witchcraft. Nightshade and henbane, sulphur, vapors, the -eggshell boat, and the cobweb sail are the properties which he uses -in this poetic drama. The treatment does not differ essentially from -that of Middleton and Shakespeare.</p> - -<p>In <i>The Sad Shepherd</i> the purpose is still different. We have -none of the wild unearthliness of the masque. Maudlin is a witch of -a decidedly vulgar type, but there is no satirical intent. Jonson, -for the purpose of his play, accepts for the moment the prevailing -attitude toward witchcraft, and the satisfaction in Maudlin’s -discomfiture doubtless assumed an acquiescence in the popular belief. -At the same time the poetical aspect is not wholly forgotten, and -appears with especial prominence in the beautiful passage which -describes the witch’s forest haunt, beginning: ‘Within a gloomy -<span class="pagenum"><a name="Page_lxv" id="Page_lxv">[lxv]</a></span> -dimble she doth dwell’. <i>The Sad Shepherd</i> and the masque are far -more akin to each other in their treatment of witchcraft than is -either to <i>The Devil is an Ass</i>.</p> - -<h4><a name="Sect_C_IV"></a>IV. <span class="smcap">Personal Satire</span></h4> - -<p>The detection of personal satire in Jonson’s drama is difficult, -and at best unsatisfactory. Jonson himself always resented it as an -impertinence.<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a> -In the present case Fleay suggests that the motto, <i>Ficta, voluptatis -causa, sint proxima veris</i>, is an indication that we are to look upon -the characters as real persons. But Jonson twice took the pains to -explain that this is precisely the opposite of his own interpretation -of Horace’s meaning.<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> -The subject of personal satire was a favorite one with him, and in -<i>The Magnetic Lady</i> he makes the sufficiently explicit statement: ‘A -play, though it apparel and present vices in general, flies from all -particularities in persons’.</p> - -<p>On the other hand we know that Jonson did occasionally indulge in -personal satire. Carlo Buffone,<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> -Antonio Balladino,<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a> and the clerk Nathaniel<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a> -are instances sufficiently authenticated. Of these Jonson advances a -plea of justification: ‘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?’<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a></p> - -<p>In only one play do we know that the principal characters -represent real people. But between <i>Poetaster</i> and <i>The Devil is an Ass</i> -<span class="pagenum"><a name="Page_lxvi" id="Page_lxvi">[lxvi]</a></span> -there is a vast difference of treatment. In <i>Poetaster</i> (1) the -attitude is undisguisedly satirical. The allusions in the prologues -and notices to the reader are direct and unmistakable. (2) The -character-drawing is partly caricature, partly allegorical. This -method is easily distinguishable from the typical, which aims to -satirize a class. (3) Jonson does not draw upon historical events, -but personal idiosyncrasies. (4) The chief motive is in the spirit -of Aristophanes, the great master of personal satire. These methods -are what we should naturally expect in a composition of this sort. Of -such internal evidence we find little or nothing in <i>The Devil is an -Ass</i>. Several plausible identifications, however, have been proposed, -and these we must consider separately.</p> - -<p>The chief characters are identified by Fleay as follows: Wittipol -is Jonson. He has returned from travel, and had seen Mrs. Fitzdottrel -before he went. Mrs. Fitzdottrel is the Lady Elizabeth Hatton. -Fitzdottrel is her husband, Sir Edward Coke.</p> - -<p><a name="Sect_C_IV_1"></a><b>Mrs. Fitzdottrel</b>. The identification is -based upon a series of correspondences between a passage in <i>The Devil is an -Ass</i> (2. 6. 57-113) and a number of passages scattered through -Jonson’s works. The most important of these are quoted in the note -to the above passage. To them has been added an important passage -from <i>A Challenge at Tilt</i>, 1613. Fleay’s deductions are these: (1) -<i>Underwoods 36</i> and <i>Charis</i> must be addressed to the same lady -(cf. especially <i>Ch.</i>, part 5). (2) Charis and Mrs. Fitzdottrel -are identical. The song (2. 6. 94 f.) is found complete in the -<i>Celebration of Charis</i>. In Wittipol’s preceding speech we find -the phrases ‘milk and roses’ and ‘bank of kisses’, which occur in -<i>Charis</i> and in <i>U. 36</i>, and a reference to the husband who is the -‘just excuse’ for the wife’s infidelity, which occurs in <i>U. 36</i>. (3) -Charis is Lady Hatton. Fleay believes that <i>Charis</i>, part 1, in which -the poet speaks of himself as writing ‘fifty years’, was written c -1622-3; but that parts 2-10 were written c 1608. In reference to -these parts he says: ‘Written in reference to a mask in which -<span class="pagenum"><a name="Page_lxvii" id="Page_lxvii">[lxvii]</a></span> -Charis represented Venus riding in a chariot drawn by swans and -doves (<i>Charis</i>, part 4), at a marriage, and leading the Graces in a -dance at Whitehall, worthy to be envied of the Queen (6), in which -Cupid had a part (2, 3, 5), at which Charis kissed him (6, 7), and -afterwards kept up a close intimacy with him (8, 9, 10). The mask -of 1608, Feb. 9, exactly fulfils these conditions, and the Venus of -that mask was probably L. Elizabeth Hatton, the most beautiful of -the then court ladies. She had appeared in the mask of Beauty, 1608, -Jan. 10, but in no other year traceable by me. From the Elegy, G. 36, -manifestly written to the same lady (compare it with the lines in -5 as to “the bank of kisses” and “the bath of milk and roses”), we -learn that Charis had “a husband that is the just excuse of all that -can be done him”. This was her second husband, Sir Edward Coke, to -whom she was married in 1593’.</p> - -<p>Fleay’s theory rests chiefly upon (1) his interpretation of -<i>The Celebration of Claris</i>; (2) the identity of Charis and Mrs. -Fitzdottrel. A study of the poem has led me to conclusions of a -very different nature from those of Fleay. They may be stated as follows:</p> - -<p><i>Charis</i> 1. This was evidently written in 1622-3. Jonson plainly -says: ‘Though I now write fifty years’. Charis is here seemingly -identified with Lady Purbeck, daughter of Lady Hatton. Compare the -last two lines with the passage from <i>The Gipsies</i>. Fleay believes -the compliments were transferred in the masque at Lady Hatton’s -request.</p> - -<p><i>Charis</i> 4 and 7 have every mark of being insertions. (1) They -are in different metres from each other and from the other sections, -which in this respect are uniform. (2) They are not in harmony with -the rest of the poem. They entirely lack the easy, familiar, half -jocular style which characterizes the eight other parts. (3) Each -is a somewhat ambitious effort, complete in itself, and distinctly -lyrical. (4) In neither is there any mention of or reference to -Charis. (5) It is evident, therefore, that they were not written for -<span class="pagenum"><a name="Page_lxviii" id="Page_lxviii">[lxviii]</a></span> -the <i>Charis</i> poem, but merely interpolated. They are, then, of all -the parts the least valuable for the purpose of identification, -nor are we justified in looking upon them as continuing a definite -narrative with the rest of the poem. (6) The evident reason for -introducing them is their own intrinsic lyrical merit.</p> - -<p><i>Charis</i> 4 was apparently written in praise of some pageant, -probably a court masque. The representation of Venus drawn in a -chariot by swans and doves, the birds sacred to her, may have been -common enough. That this is an accurate description of the masque of -February 9, 1608 is, however, a striking fact, and it is possible -that the lady referred to is the same who represented Venus in that -masque. But (1) we do not even know that Jonson refers to a masque of -his own, or a masque at all. (2) We have no trustworthy evidence that -Lady Hatton was the Venus of that masque. Fleay’s identification is -little better than a guess. (3) Evidence is derived from the first -stanza alone. This does not appear in <i>The Devil is an Ass</i>, and -probably was not written at the time. Otherwise there is no reason -for its omission in that place. It seems to have been added for the -purpose of connecting the lyric interpolation with the rest of the poem.</p> - -<p><i>Charis</i> 5 seems to be a late production. (1) Jonson combines -in this single section a large number of figures used in other -places. (2) That it was not the origin of these figures seems to be -intimated by the words of the poem. Cupid is talking. He had lately -found Jonson describing his lady, and Jonson’s words, he says, are -descriptive of Cupid’s own mother, Venus. So Homer had spoken of her -hair, so Anacreon of her face. He continues:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">By her looks I do her know</span> -<span class="i0"><i>Which you call</i> my shafts.</span> -</div></div> - -<p>The italicized words may refer to <i>U. 36.</i> 3-4. They correspond, -however, much more closely to <i>Challenge</i>, <i>2 Cup.</i> The ‘bath your -verse discloses’ (l. 21) may refer to <i>DA.</i> 2. 6. 82-3. -<i>U. 36.</i> 7-8 or <i>Gipsies</i> 15-6. -<span class="pagenum"><a name="Page_lxix" id="Page_lxix">[lxix]</a></span></p> - -<div class="poem"><div class="stanza"> -<span class="i11">... the bank of kisses,</span> -<span class="i0">Where <i>you say</i> men gather blisses</span> -</div></div> - -<p>is mentioned in <i>U. 36.</i> 9-10. ‘The passages in <i>DA.</i> and -<i>Gipsies</i><a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a> -are less close. The ‘valley <i>called</i> my nest’ may be a reference to -<i>DA.</i> 2. 6. 74 f. Jonson had already spoken of the ‘girdle ’bout her -waist’ in <i>Challenge</i>, <i>2 Cup.</i> <i>Charis</i> 5 seems then to have been -written later than <i>U. 36</i>, <i>Challenge</i>, 1613, and probably <i>Devil is -an Ass</i>, 1616. The evidence is strong, though not conclusive.</p> - -<p><i>Charis</i> 6 evidently refers to a marriage at Whitehall. That -Cupid, who is referred to in 2, 3, 5, had any part in the marriage of -<i>Charis</i> 6 is nowhere even intimated. That Charis led the Graces in a -dance is a conjecture equally unfounded. Jonson of course takes the -obvious opportunity (ll. 20, 26) of playing on the name Charis. That -this occasion was the same as that celebrated in 4 we have no reason -to believe. It applies equally well, for instance, to <i>A Challenge -at Tilt</i>, but we are by no means justified in so limiting it. It may -have been imaginary.</p> - -<p><i>Charis</i> 7 was written before 1618, since Jonson quoted a part -of it to Drummond during his visit in Scotland (cf. <i>Conversations</i> -5). It was a favorite of the poet’s and this furnishes sufficient -reason for its insertion here. It is worthy of note that the two -sections of <i>Charis</i>, which we know by external proof to have been -in existence before 1623, are those which give internal evidence of -being interpolations.</p> - -<p><i>Summary.</i> The poem was probably a late production and of -composite nature. There is no reason for supposing that the greater -<span class="pagenum"><a name="Page_lxx" id="Page_lxx">[lxx]</a></span> -part was not written in 1622-3. The fourth and seventh parts are -interpolations. The first stanza of the fourth part, upon which the -identification largely rests, seems not to have been written until -the poem was put together in 1622-3. If it was written at the same -time as the other two stanzas, we cannot expect to find it forming -part of a connected narrative. The events described in the fourth and -sixth parts are not necessarily the same. There is practically no -evidence that Lady Hatton was the Venus of 1608, or that <i>Charis</i> -is addressed to any particular lady.</p> - -<p>The other link in Fleay’s chain of evidence is of still weaker -substance. The mere repetition of compliments does not necessarily -prove the recipient to be the same person. In fact we find in these -very pieces the same phrases applied indiscriminately to Lady -Purbeck, Lady Frances Howard, Mrs. Fitzdottrel, perhaps to Lady -Hatton, and even to the Earl of Somerset. Of what value, then, can -such evidence be?</p> - -<p>Fleay’s whole theory rests on this poem, and biographical evidence -is unnecessary. It is sufficient to notice that Lady Hatton was -a proud woman, that marriage with so eminent a man as Sir Edward -Coke was considered a great condescension (<i>Chamberlain’s Letters</i>, -Camden Soc., p. 29), and that an amour with Jonson is extremely -improbable.</p> - -<p><a name="Sect_C_IV_2"></a><b>Fitzdottrel.</b> Fleay’s identification of -Fitzdottrel with Coke rests chiefly on the fact that Coke was Lady Hatton’s -husband. The following considerations are added. Fitzdottrel is a ‘squire of -Norfolk’. Sir E. Coke was a native of Norfolk, and had held office -in Norwich. Fitzdottrel’s rôle as sham demoniac is a covert allusion -to Coke’s adoption of the popular witch doctrines in the Overbury -trial. His jealousy of his wife was shown in the same trial, where -he refused to read the document of ‘what ladies loved what lords’, -because, as was popularly supposed, his own wife’s name headed the -list. Jonson is taking advantage of Coke’s disgrace in -November, 1616. He had flattered him in 1613 (<i>U. 64</i>). -<span class="pagenum"><a name="Page_lxxi" id="Page_lxxi">[lxxi]</a></span></p> - -<p>Our reasons for rejecting this theory are as follows: (1) The -natural inference is that Jonson would not deliberately attack -the man whom he had highly praised three years before. I do not -understand Fleay’s assertion that Jonson was always ready to attack -the fallen. (2) The compliment paid to Coke in 1613 (<i>U. 64</i>) -was not the flattery of an hour of triumph. The appointment to the -king’s bench was displeasing to Coke, and made at the suggestion -of Bacon with the object of removing him to a place where he would -come less often into contact with the king. (3) Fitzdottrel is a -light-headed man of fashion, who spends his time in frequenting -theatres and public places, and in conjuring evil spirits. Coke was -sixty-four years old, the greatest lawyer of his time, and a man of -the highest gifts and attainments. (4) The attempted parallel between -Fitzdottrel, the pretended demoniac, and Coke, as judge in the -Overbury trial, is patently absurd. (5) If Lady Hatton had not been -selected for identification with Mrs. Fitzdottrel, Coke would never -have been dreamed of as a possible Fitzdottrel.</p> - -<p><a name="Sect_C_IV_3"></a><b>Wittipol.</b> He is a young man just returned -from travel, which apparently has been of considerable duration. He saw Mrs. -Fitzdottrel once before he went, and upon returning immediately seeks -her out. How does this correspond to Jonson’s life? <i>The Hue and Cry</i> -was played February 9, 1608. According to Fleay’s interpretation, -this was followed by an intimacy with Lady Hatton. Five years later, -in 1613, Drummond tells us that Jonson went to France with the son -of Sir Walter Raleigh. He returned the same year in time to compose -<i>A Challenge at Tilt</i>, December 27. Three years later he wrote <i>The -Devil is an Ass</i> at the age of forty-three.</p> - -<p>Wittipol intimates that he is Mrs. Fitzdottrel’s equal in years, -in fashion (1. 6. 124-5), and in blood (1. 6. 168). For Jonson to say -this to Lady Hatton would have been preposterous.</p> - -<p><a name="Sect_C_IV_4"></a><b>Justice Eitherside.</b> Only the desire to -prove a theory at all costs could have prevented Fleay from seeing that -<span class="pagenum"><a name="Page_lxxii" id="Page_lxxii">[Pg -lxxii]</a></span> Coke’s counterpart is not Fitzdottrel, but Justice -Eitherside. In obstinacy, bigotry, and vanity this character -represents the class of judges with which Coke identified himself -in the Overbury trial. Nor are these merely class-traits. They -are distinctly the faults which marred Coke’s career from the -beginning. It is certain that Coke is partially responsible for this -portraiture. Overbury was a personal friend of the poet, and the -trial, begun in the previous year, had extended into 1616. Jonson -must have followed it eagerly. On the other hand, it is improbable -that the picture was aimed exclusively at Coke. He merely furnished -traits for a typical and not uncommon character. As we have seen, it -is in line with Jonson’s usual practise to confine personal satire to -the lesser characters.</p> - -<p><a name="Sect_C_IV_5"></a><b>Merecraft.</b> Fleay’s identification with -Sir Giles Mompesson has very little to commend it. Mompesson was connected by -marriage with James I.’s powerful favorite, George Villiers, later -Duke of Buckingham. In 1616 he suggested to Villiers the creation of -a special commission for the purpose of granting licenses to keepers -of inns and ale-houses. The suggestion was adopted by Villiers; -Mompesson was appointed to the Commission in October, 1616, and -knighted on November 18 of that year. The patent was not sealed until -March, 1617. His high-handed conduct soon became unpopular, but he -continued in favor with Villiers and James, and his disgrace did not -come until 1621.</p> - -<p>It will readily be seen that Mompesson’s position and career -conform in no particular to those of Merecraft in the present play. -Mompesson was a knight, a friend of the king’s favorite, and in favor -with the king. Merecraft is a mere needy adventurer without influence -at court, and the associate of ruffians, who frequent the ‘Straits’ -and the ‘Bermudas’. Mompesson was himself the recipient of a patent -(see section III. 2). Merecraft is merely the projector who devises -clever projects for more powerful patrons. Mompesson’s project bears -<span class="pagenum"><a name="Page_lxxiii" id="Page_lxxiii">[lxxiii]</a></span> -no resemblance to those suggested by Merecraft, and he could hardly -have attracted any popular dislike at the time when <i>The Devil is -an Ass</i> was presented, since, as we have seen, his patent was not -even sealed until the following year. Finally, Jonson would hardly -have attacked a man who stood so high at court as did Mompesson in 1616.</p> - -<p>It is evident that Jonson had particularly in mind those -projectors whose object it was to drain the fens of Lincolnshire. The -attempts, as we have seen, were numerous, and it is highly improbable -that Jonson wished to satirize any one of them more severely than -another. In a single passage, however, it seems possible that Sir -John Popham (see page lx) is referred to. In Act 4. Sc. 1 Merecraft -speaks of a Sir John Monie-man as a projector who was able to ‘jump -a business quickly’ because ‘he had great friends’. That Popham is -referred to seems not unlikely from the fact that he was the most -important personage who had embarked upon an enterprise of this sort, -that his scheme was one of the earliest, that he was not a strict -contemporary (d. 1607), and that his scheme had been very unpopular. -This is proved by an anonymous letter to the king, in which complaint -is made that ‘the “covetous bloody Popham” will ruin many poor men -by his offer to drain the fens’ (<i>Cal. State Papers</i>, Mar. 14?, 1606).</p> - -<p><a name="Sect_C_IV_6"></a><b>Plutarchus Guilthead.</b> Fleay’s identification -with Edmund Howes I am prepared to accept, although biographical data are -very meagre. Fleay says: ‘Plutarchus Gilthead, who is writing the -lives of the great men in the city; the captain who writes of the -Artillery Garden “to train the youth”, etc. [3. 2. 45], is, I think, -Edmond Howes, whose continuation of Stow’s Chronicle was published in 1615.’</p> - -<p>Howes’ undertaking was a matter of considerable ridicule to his -acquaintances. In his 1631 edition he speaks of the heavy blows and -great discouragements he received from his friends. He was in the -habit of signing himself ‘Gentleman’ and this seems to be satirized -in 3. 1, where Guilthead says repeatedly: ‘This is to make you a -Gentleman’ (see <i>N. & Q.</i> 1st Ser. 6. 199.). -<span class="pagenum"><a name="Page_lxxiv" id="Page_lxxiv">[lxxiv]</a></span></p> - -<p><a name="Sect_C_IV_7"></a><b>The Noble House.</b> Two proposed identifications -of the ‘noble house’, which pretends to a duke’s title, mentioned at 2. 4. 15-6. -have been made. The expenditure of much energy in the attempt to -fix so veiled an allusion is hardly worth while. Jonson of course -depended upon contemporary rumor, for which we have no data.</p> - -<p>Cunningham’s suggestion that Buckingham is referred to is not -convincing. Buckingham’s father was Sir George Villiers of Brooksby -in Leicestershire. He was not himself raised to the nobility until -August 27, 1616, when he was created Viscount Villiers and Baron -Waddon. It was not until January 5, 1617 (not 1616, as Cunningham -says), that he became Earl of Buckingham, and it is unlikely that -before this time any allusion to Villiers’ aspiration to a dukedom -would have been intelligible to Jonson’s audience.</p> - -<p>Fleay’s theory that the ‘noble house’ was that of Stuart may be -accepted provisionally. Lodowick was made Earl of Richmond in 1613, -and Duke in 1623. He was acceptable to king and people, and in this -very year was made steward of the household.</p> - -<h3><a name="Sect_D"></a>D. AFTER-INFLUENCE OF THE DEVIL IS AN ASS</h3> - -<p>A few instances of the subsequent rehandling of certain motives -in this play are too striking to be completely overlooked. John -Wilson, 1627-c 1696, a faithful student and close imitator of Jonson, -produced in 1690 a drama called <i>Belphegor</i>, or <i>The Marriage of -the Devil, a Tragi-comedy</i>. While it is founded on the English -translation of Machiavelli’s novella, which appeared in 1674, and -closely adheres to the lines of the original, it shows clear evidence -of Jonson’s influence. The subject has been fully investigated by -Hollstein (cf. <i>Verhältnis</i>, pp. 22-24, 28-30, 35, 43, 50).</p> - -<p><i>The Cheats</i>, 1662, apparently refers to <i>The Devil is an Ass</i> in -the <i>Prologue</i>. The characters of Bilboe and Titere Tu belong to the -<span class="pagenum"><a name="Page_lxxv" id="Page_lxxv">[lxxv]</a></span> -same class of low bullies as Merecraft and Everill, but the -evident prototypes of these characters are Subtle and Face in -<i>The Alchemist</i>.</p> - -<p>A third play of Wilson’s, <i>The Projectors</i>, 1664, shows -unmistakable influence of <i>The Devil is an Ass</i>. The chief object -of satire is of course the same, and the character of Sir Gudgeon -Credulous is modeled after that of Fitzdottrel. The scenes in which -the projects are explained, 2. 1 and 3. 1, are similar to the -corresponding passages in Jonson. The <i>Aulularia</i> of Plautus is a -partial source, so that the play in some features resembles <i>The Case -is Altered</i>. In 2. 1 Wilson imitates the passage in the <i>Aulularia</i>, -which closes Act 2. Sc. 1 of <i>The Devil is an Ass</i> (see note <a href="#Note_2_1_168">2. 1. 168</a>).</p> - -<p>Brome, Jonson’s old servant and friend, also handled the subject -of monopolies (<a href="#Page_lxi">see page lxi</a>). Jonson’s influence is especially -marked in <i>The Court Beggar</i>. The project of perukes (<i>Wks.</i> 1. 192) -should be compared with Merecraft’s project of toothpicks.</p> - -<p>Mrs. Susanna Centlivre’s <i>Busie Body</i> uses the motives borrowed -from Boccaccio (see pp. <a href="#Page_xlv">xlv ff</a>.). The scenes in which -these appear must have been suggested by Jonson’s play (Genest 2. 419), though -the author seems to have been acquainted with the <i>Decameron</i> also. -In Act. 1. Sc. 1 Sir George Airy makes a bargain with Sir Francis -Gripe similar to Wittipol’s bargain with Fitzdottrel. In exchange for -the sum of a hundred guineas he is admitted into the house for the -purpose of moving his suit to Miranda. ‘for the space of ten minutes, -without lett or molestation’, provided Sir Francis remain in the same -room, though out of ear shot (2d ed., p. 8). In Act 2. Sc. 1 the -bargain is carried out in much the same way as in Boccaccio and in -Jonson. Miranda remaining dumb and Sir George answering for her.</p> - -<p>In Act 3. Sc. 4 (2d ed., p. 38) Miranda in the presence of her -guardian sends a message by Marplot not to saunter at the garden gate -about eight o’clock as he has been accustomed to do, thus making an -assignation with him (compare <i>DA.</i> 2. 2. 52). -<span class="pagenum"><a name="Page_lxxvi" id="Page_lxxvi">[lxxvi]</a></span></p> - -<p>Other motives which seem to show some influence of <i>The Devil is -an Ass</i> are Miranda’s trick to have the estate settled upon her, -Charles’ disguise as a Spaniard, and Traffick’s jealous care of -Isabinda. The character of Marplot as comic butt resembles that of Pug.</p> - -<p>The song in <i>The Devil is an Ass</i> 2. 6. 94 (<a href="#Line_2_6_94">see note</a>) -was imitated by Sir John Suckling.</p> - -<h4><a name="Sect_D_1"></a>APPENDIX <span class="smcap">Extracts from the Critics</span></h4> - -<p><span class="smcap">Gifford</span>: There is much good writing -in this comedy. All the speeches of Satan are replete with the most -biting satire, delivered with an appropriate degree of spirit. -Fitzdottrel is one of those characters which Jonson delighted -to draw, and in which he stood unrivalled, a <i>gull</i>, i. e., a -confident coxcomb, selfish, cunning, and conceited. Mrs. Fitzdottrel -possesses somewhat more interest than the generality of our author’s -females, and is indeed a well sustained character. In action the -principal amusement of the scene (exclusive of the admirable -burlesque of witchery in the conclusion) was probably derived from -the mortification of poor Pug, whose stupid stare of amazement at -finding himself made an <i>ass</i> of on every possible occasion must, -if portrayed as some then on the stage were well able to portray it, -have been exquisitely comic.</p> - -<p>This play is strictly moral in its conception and conduct. Knavery -and folly are shamed and corrected, virtue is strengthened and -rewarded, and the ends of dramatic justice are sufficiently answered -by the simple exposure of those whose errors are merely subservient -to the minor interests of the piece.</p> - -<p><span class="smcap">Herford</span> (<i>Studies in the Literary -Relations of England and Germany</i>, pp. 318-20): Jonson had in fact -so far the Aristophanic quality of genius, that he was at once a most -elaborate and minute student of the actual world, and a poet -<span class="pagenum"><a name="Page_lxxvii" id="Page_lxxvii">[lxxvii]</a></span> -of the airiest and boldest fancy, and that he loved to bring the two -rôles into the closest possible combination. No one so capable of -holding up the mirror to contemporary society without distorting the -slenderest thread of its complex tissue of usages; no one, on the -other hand, who so keenly delighted in startling away the illusion or -carefully undermining it by some palpably fantastic invention. His -most elaborate reproductions of the everyday world are hardly ever -without an infusion of equally elaborate caprice,—a leaven of -recondite and fantastic legend and grotesque myth, redolent of old -libraries and antique scholarship, furtively planted, as it were, -in the heart of that everyday world of London life, and so subtly -blending with it that the whole motley throng of merchants and -apprentices, gulls and gallants, discover nothing unusual in it, and -engage with the most perfectly matter of fact air in the business -of working it out. The purging of Crispinus in the <i>Poetaster</i>, -the Aristophanic motive of the <i>Magnetic Lady</i>, even the farcical -horror of noise which is the mainspring of the <i>Epicœne</i>, are only -less elaborate and sustained examples of this fantastic realism than -the adventure of a Stupid Devil in the play before us. Nothing more -anomalous in the London of Jonson’s day could be conceived; yet -it is so managed that it loses all its strangeness. So perfectly -is the supernatural element welded with the human, that it almost -ceases to appear supernatural. Pug, the hero of the adventure, is a -pretty, petulant boy, more human by many degrees than the half fairy -Puck of Shakespeare, which doubtless helped to suggest him, and the -arch-fiend Satan is a bluff old politician, anxious to ward off the -perils of London from his young simpleton of a son, who is equally -eager to plunge into them. The old savage horror fades away before -Jonson’s humanising touch, the infernal world loses all its privilege -of peculiar terror and strength, and sinks to the footing of a mere -rival state, whose merchandise can be kept out of the market and its -citizens put in the Counter or carted to Tyburn. -<span class="pagenum"><a name="Page_lxxviii" id="Page_lxxviii">[lxxviii]</a></span></p> - -<p><span class="smcap">A. W. Ward</span> (<i>Eng. Dram. Lit.</i>, pp. -372-3): The oddly-named comedy of <i>The Devil is an Ass</i>, acted in -1616, seems already to exhibit a certain degree of decay in the -dramatic powers which had so signally called forth its predecessor. -Yet this comedy possesses a considerable literary interest, as -adapting both to Jonson’s dramatic method, and to the general moral -atmosphere of his age, a theme connecting itself with some of the -most notable creations of the earlier Elizabethan drama.... The idea -of the play is as healthy as its plot is ingenious; but apart from -the circumstance that the latter is rather slow in preparation, and -by no means, I think, gains in perspicuousness as it proceeds, the -design itself suffers from one radical mistake. Pug’s intelligence -is so much below par that he suffers as largely on account of -his clumsiness as on account of his viciousness, while remaining -absolutely without influence upon the course of the action. The -comedy is at the same time full of humor, particularly in the entire -character of Fitzdottrel.</p> - -<p><span class="smcap">Swinburne</span> (<i>Study of Ben Jonson</i>, pp. -65-7): If <i>The Devil is an Ass</i> cannot be ranked among the crowning -masterpieces of its author, it is not because the play shows any sign -of decadence in literary power or in humorous invention. The writing -is admirable, the wealth of comic matter is only too copious, the -characters are as firm in outline or as rich in color as any but the -most triumphant examples of his satirical or sympathetic skill in -finished delineation and demarcation of humors. On the other hand, it -is of all Ben Jonson’s comedies since the date of <i>Cynthia’s Revels</i> -the most obsolete in subject of satire, the most temporary in its -allusions and applications: the want of fusion or even connection -(except of the most mechanical or casual kind) between the various -parts of its structure and the alternate topics of its ridicule -makes the action more difficult to follow than that of many more -complicated plots: and, finally, the admixture of serious sentiment -and noble emotion is not so skilfully managed as to evade the -imputation of incongruity. [The dialogue between Lady Tailbush -<span class="pagenum"><a name="Page_lxxix" id="Page_lxxix">[lxxix]</a></span> -and Lady Eitherside in Act 4. Sc. 1 has some touches ‘worthy -of Molière himself.’ In Act 4. Sc. 3 Mrs. Fitzdottrel’s speech -possesses a ‘a noble and natural eloquence,’ but the character of -her husband is ‘almost too loathsome to be ridiculous,’ and unfit -‘for the leading part in a comedy of ethics as well as of morals.’] -The prodigality of elaboration lavished on such a multitude of -subordinate characters, at the expense of all continuous interest and -to the sacrifice of all dramatic harmony, may tempt the reader to -apostrophize the poet in his own words:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">You are so covetous still to embrace</span> -<span class="i0">More than you can, that you lose all.</span> -</div></div> - -<p>Yet a word of parting praise must be given to Satan: a small -part as far as extent goes, but a splendid example of high comic -imagination after the order of Aristophanes, admirably relieved by -the low comedy of the asinine Pug and the voluble doggrel by the -antiquated Vice.</p> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> - -<h2>TEXT</h2> - -<p class="f120">EDITOR’S NOTE</p> - -<p>The text here adopted is that of the original edition of 1631. No -changes of reading have been made; spelling, punctuation, capitalization, -and italics are reproduced. The original pagination is inserted -in brackets; the book-holder’s marginal notes are inserted where -1716 and Whalley placed them. In a few instances modern type has -been substituted for archaic characters. The spacing of the contracted -words has been normalized.</p> - -<table border="0" cellspacing="2" summary="Editor's Note." cellpadding="0"> - <tbody><tr> - <td class="tdr">1641 = </td> - <td class="tdl">Pamphlet folio of 1641.</td> - </tr><tr> - <td class="tdr">1692 = </td> - <td class="tdl">The Third Folio, 1692.</td> - </tr><tr> - <td class="tdr">1716 = </td> - <td class="tdl">Edition of 1716 (17).</td> - </tr><tr> - <td class="tdr">W = </td> - <td class="tdl">Whalley’s edition, 1756.</td> - </tr><tr> - <td class="tdr">G = </td> - <td class="tdl">Gifford’s edition, 1816.</td> - </tr><tr> - <td class="tdr">SD. = </td> - <td class="tdl">Stage directions at the beginning of a scene.</td> - </tr><tr> - <td class="tdr">SN. = </td> - <td class="tdl">Side note, or book-holder’s note.</td> - </tr><tr> - <td class="tdr">om. = </td> - <td class="tdl">omitted.</td> - </tr><tr> - <td class="tdr">ret. = </td> - <td class="tdl">retained.</td> - </tr><tr> - <td class="tdr">f. = </td> - <td class="tdl">and all later editions.</td> - </tr><tr> - <td class="tdr_top">G§ = </td> - <td class="tdl">a regular change. After a single citation only<br /> - exceptions are noted. See Introduction, <a href="#Page_xvi">page xvi</a>.</td> - </tr> - </tbody> -</table> - -<p class="space-below3">Mere changes of spelling have not been noted in the variants. All -changes of form and all suggestive changes of punctuation have been recorded.</p> - -<div class="bbox"> -<p class="f200"><b>THE DIUELL</b></p> -<p class="f150"><small>IS</small><br />AN ASSE:</p> -<hr class="chap" /> -<p class="f200"><b>A COMEDIE</b></p> -<p class="f150">ACTED IN THE<br /><small>YEARE, 1616</small>.</p> - -<p class="f120 space-above2"><i>BY HIS MAIESTIES</i><br /><small><span class="smcap">Servants</span></small>.</p> -<hr class="chap" /> -<p class="center">The Author <span class="smcap">BEN: IONSON</span>.</p> -<hr class="chap" /> -<p class="center">HOR. <i>de</i> ART. POET.<br /> -<i>Ficta voluptatis Cauſâ, ſint proxima veris.</i></p> - -<p class="center space-above2 space-below2">[DEVICE OF A GRIFFIN’S HEAD ERASED]</p> -<hr class="chap" /> -<p class="f110"><i>LONDON</i>.</p> -<p class="center">Printed by <i>I. B.</i> for <span class="smcap">Robert Allot</span>, and are<br /> -to be ſold at the ſigne of the <i>Beare</i>, in<br /> -<i>Pauls</i> Church-yard.<br />1631.</p> -</div> -<p class="space-above3"><span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span></p> - -<p class="f150"><b>THE PERSONS</b><br /><small>OF THE PLAY</small>.</p> - -<table border="0" cellspacing="2" summary="Persons of the Play." cellpadding="0"> - <tbody><tr> - <td class="tdl"><span class="smcap">Satan.</span></td> - <td class="tdl"><i>The great diuell.</i><span class="linenum">[93]</span></td> - </tr><tr> - <td class="tdl"><span class="smcap">Pvg.</span></td> - <td class="tdl"><i>The leſſe diuell.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Iniqvity.</span></td> - <td class="tdl"><i>The Vice.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Fitz-dottrell.</span></td> - <td class="tdl"><i>A Squire of</i> Norfolk.</td> - </tr><tr> - <td class="tdl">Miſtreſſe <span class="smcap">Frances</span>.</td> - <td class="tdl"><i>His wife.</i> <span class="linenum">5</span></td> - </tr><tr> - <td class="tdl"><span class="smcap">Meere-craft.</span></td> - <td class="tdl"><i>The Proiector.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Everill.</span></td> - <td class="tdl"><i>His champion.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Wittipol.</span></td> - <td class="tdl"><i>A young Gallant.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Manly.</span></td> - <td class="tdl"><i>His friend.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Ingine.</span></td> - <td class="tdl"><i>A Broaker.</i> <span class="linenum">10</span></td> - </tr><tr> - <td class="tdl"><span class="smcap">Traines.</span></td> - <td class="tdl"><i>The Proiectors man.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Gvilt-head.</span></td> - <td class="tdl"><i>A Gold-ſmith.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Plvtarchvs.</span></td> - <td class="tdl"><i>His ſonne.</i></td> - </tr><tr> - <td class="tdl">Sir <span class="smcap">Povle Either-side</span>.  </td> - <td class="tdl"><i>A Lawyer, and Iuſtice.</i></td> - </tr><tr> - <td class="tdl">Lady <span class="smcap">Either-side</span>.</td> - <td class="tdl"><i>His wife.</i> <span class="linenum">15</span></td> - </tr><tr> - <td class="tdl">Lady <span class="smcap">Taile-bvsh</span>.</td> - <td class="tdl"><i>The Lady Proiectreſſe.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Pit-fall.</span></td> - <td class="tdl"><i>Her woman.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Ambler.</span></td> - <td class="tdl"><i>Her Gentlemanvſher.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Sledge.</span></td> - <td class="tdl"><i>A Smith, the conſtable.</i></td> - </tr><tr> - <td class="tdl"><span class="smcap">Shackles.</span></td> - <td class="tdl"><i>Keeper of Newgate.</i> <span class="linenum">20</span></td> - </tr> - </tbody> -</table> -<p class="center">SERIEANTS.</p> -<p class="center space-below2 space-above2"><i>The Scene</i>, <span class="smcap">London.</span></p> - - -<p><a name="Footnote_93_93" id="Footnote_93_93"></a><span class="label"> [93]</span> -Dramatis Personæ 1716, f. G places the women’s names after those of the men.</p> - -<p><a name="Footnote_94_94" id="Footnote_94_94"></a><span class="label"> [94]</span> -1, 2 Devil 1692, f.</p> - -<p><a name="Footnote_95_95" id="Footnote_95_95"></a><span class="label"> [95]</span> -4 Fabian Fitzdottrel G</p> - -<p><a name="Footnote_96_96" id="Footnote_96_96"></a><span class="label"> [96]</span> -5 Mrs. Frances Fitzdottrel G || His wife] om. G</p> - -<p><a name="Footnote_97_97" id="Footnote_97_97"></a><span class="label"> [97]</span> -9 Eustace Manly G</p> - -<p><a name="Footnote_98_98" id="Footnote_98_98"></a><span class="label"> [98]</span> -10 Engine 1716, f.</p> - -<p><a name="Footnote_99_99" id="Footnote_99_99"></a><span class="label"> [99]</span> -12 Thomas Gilthead G</p> - -<p><a name="Footnote_100_100" id="Footnote_100_100"></a><span class="label">[100]</span> -15 His wife] om. G</p> - -<p><a name="Footnote_101_101" id="Footnote_101_101"></a><span class="label">[101]</span> -18 Gentleman-usher to lady Tailbush G</p> - -<p><a name="Footnote_102_102" id="Footnote_102_102"></a><span class="label">[102]</span> -21 Serjeants, officers, servants, underkeepers, &c. G</p> - -<p><a name="Footnote_103_103" id="Footnote_103_103"></a><span class="label">[103]</span> -22 The] om. 1716, W -<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></p> - -<hr class="chap" /> -<p class="author">[94]</p> -<p class="f200"><b>The Prologue.</b></p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>The</i> <span class="smcap">Divell</span> <i>is an</i> Aſſe. <i>That is, to day</i>,</span> -<span class="i0"><i>The name of what you are met for, a new Play</i>.</span> -<span class="i0"><i>Yet, Grandee’s, would you were not come to grace</i></span> -<span class="i0"><i>Our matter, with allowing vs no place</i>.</span> -<span class="i0"><i>Though you preſume</i> <span class="smcap">Satan</span> <i>a ſubtill thing</i>, <span class="linenum">5</span></span> -<span class="i0"><i>And may haue heard hee’s worne in a thumbe-ring;</i></span> -<span class="i0"><i>Doe not on theſe preſumptions, force vs act,</i></span> -<span class="i0"><i>In compaſſe of a cheeſe-trencher. This tract</i></span> -<span class="i0"><i>Will ne’er admit our</i> vice, <i>becauſe of yours.</i></span> -<span class="i0"><i>Anone, who, worſe then you, the fault endures</i> <span class="linenum">10</span></span> -<span class="i0"><i>That your ſelues make? when you will thruſt and ſpurne,</i></span> -<span class="i0"><i>And knocke vs o’ the elbowes, and bid, turne;</i></span> -<span class="i0"><i>As if, when wee had ſpoke, wee muſt be gone,</i></span> -<span class="i0"><i>Or, till wee ſpeake, muſt all runne in, to one,</i></span> -<span class="i0"><i>Like the young adders, at the old ones mouth?</i> <span class="linenum">15</span></span> -<span class="i0"><i>Would wee could ſtand due</i> North; <i>or had no</i> South,</span> -<span class="i0"><i>If that offend: or were</i> Muſcouy <i>glaſſe</i>,</span> -<span class="i0"><i>That you might looke our</i> Scenes <i>through as they paſſe.</i></span> -<span class="i0"><i>We know not how to affect you. If you’ll come</i></span> -<span class="i0"><i>To ſee new Playes, pray you affoord vs roome</i>, <span class="linenum">20</span></span> -<span class="i0"><i>And ſhew this, but the ſame face you haue done</i></span> -<span class="i0"><i>Your deare delight, the</i> Diuell <i>of</i> Edmunton.</span> -<span class="i0"><i>Or, if, for want of roome it muſt miſ-carry</i>,</span> -<span class="i0"><i>’Twill be but Iuſtice, that your cenſure tarry</i>,</span> -<span class="i0"><i>Till you giue ſome. And when ſixe times you ha’ ſeen’t</i>, <span class="linenum">25</span></span> -<span class="i0"><i>If this</i> Play <i>doe not like, the Diuell is in’t.</i></span> -</div></div> - -<p><a name="Footnote_104_104" id="Footnote_104_104"></a><span class="label">[104]</span> -The Prologue.] follows the title-page 1716, W</p> - -<p><a name="Footnote_105_105" id="Footnote_105_105"></a><span class="label">[105]</span> -5 <i>subtle</i> 1692 f.</p> - -<p><a name="Footnote_106_106" id="Footnote_106_106"></a><span class="label">[106]</span> -10 than 1692, f. passim in this sense. Anon 1692, f.</p> - -<p><a name="Footnote_107_107" id="Footnote_107_107"></a><span class="label">[107]</span> -12 o’] on G§</p> - -<p><a name="Footnote_108_108" id="Footnote_108_108"></a><span class="label">[108]</span> -14 till] ’till 1716</p> - -<p><a name="Footnote_109_109" id="Footnote_109_109"></a><span class="label">[109]</span> -25 ha’] have G§ <span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span></p> - -<hr class="chap" /> -<p><span class="linenum">[95]</span></p> -<p class="f200"><b>THE DIVELL</b></p> -<p class="center">IS</p> -<p class="f150"><b>AN ASSE.</b></p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>I</b>. Scene. <b>I</b>.</span></p> -<p class="center"><span class="smcap">Divell.</span> <span class="smcap">Pvg.</span> <span class="smcap">Iniqvity.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Hoh, hoh, hoh, hoh, hoh, hoh, hoh, hoh, &c.</span> -<span class="i0">To earth? and, why to earth, thou foooliſh Spirit?</span> -<span class="i0">What wold’ſt thou do on earth?</span> -</div><div class="stanza"> -<span class="i32"><span class="smcap">Pvg.</span> For that, great Chiefe!</span> -<span class="i0">As time ſhal work. I do but ask my mon’th.</span> -<span class="i0">Which euery petty <i>pui’nee Diuell</i> has; <span class="linenum">5</span></span> -<span class="i0">Within that terme, the Court of <i>Hell</i> will heare</span> -<span class="i0">Some thing, may gaine a longer grant, perhaps.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sat.</span> For what? the laming a poore Cow, or two?</span> -<span class="i0">Entring a Sow, to make her caſt her farrow?</span> -<span class="i0">Or croſſing of a Mercat-womans Mare, <span class="linenum">10</span></span> -<span class="i0">Twixt this, and <i>Totnam</i>? theſe were wont to be</span> -<span class="i0">Your maine atchieuements, <i>Pug</i>, You haue ſome plot, now,</span> -<span class="i0">Vpon a tonning of Ale, to ſtale the yeſt,</span> -<span class="i0">Or keepe the churne ſo, that the buttter come not;</span> -<span class="i0">Spight o’ the houſewiues cord, or her hot ſpit? <span class="linenum">15</span></span> -<span class="i0">Or ſome good Ribibe, about <i>Kentiſh</i> Towne,</span> -<span class="i0">Or <i>Hogſden</i>, you would hang now, for a witch, -</span><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> -<span class="i0">Becauſe ſhee will not let you play round <i>Robbin</i>:</span> -<span class="i0">And you’ll goe ſowre the Citizens Creame ’gainſt Sunday?</span> -<span class="i0">That ſhe may be accus’d for’t, and condemn’d, <span class="linenum">20</span></span> -<span class="i0">By a <i>Middleſex</i> Iury, to the ſatisfaction</span> -<span class="i0">Of their offended friends, the <i>Londiners</i> wiues</span> -<span class="i0">Whoſe teeth were ſet on edge with it? Fooliſh feind,</span> -<span class="i0">Stay i’ your place, know your owne ſtrengths, and put not</span> -<span class="i0">Beyond the ſpheare of your actiuity. <span class="linenum">25</span></span> -<span class="i0">You are too dull a Diuell to be truſted</span> <span class="linenum">[96] </span> -<span class="i0">Forth in thoſe parts, <i>Pug</i>, vpon any affayre</span> -<span class="i0">That may concerne our name, on earth. It is not</span> -<span class="i0">Euery ones worke. The ſtate of <i>Hell</i> muſt care</span> -<span class="i0">Whom it imployes, in point of reputation, <span class="linenum">30</span></span> -<span class="i0">Heere about <i>London</i>. You would make, I thinke</span> -<span class="i0">An Agent, to be ſent, for <i>Lancaſhire</i>,</span> -<span class="i0">Proper inough; or ſome parts of <i>Northumberland</i>,</span> -<span class="i0">So yo’ had good inſtructions, <i>Pug</i>.</span> -<span class="i41"><span class="smcap">Pvg.</span> <i>O Chiefe!</i></span> -<span class="i0">You doe not know, deare <i>Chiefe</i>, what there is in mee. <span class="linenum">35</span></span> -<span class="i0">Proue me but for a fortnight, for a weeke,</span> -<span class="i0">And lend mee but a <i>Vice</i>, to carry with mee,</span> -<span class="i0">To practice there-with any play-fellow,</span> -<span class="i0">And, you will ſee, there will come more vpon’t,</span> -<span class="i0">Then you’ll imagine, pretious <i>Chiefe</i>.</span> -</div><div class="stanza"> -<span class="i33"><span class="smcap">Sat.</span> What <i>Vice</i>? <span class="linenum">40</span></span> -<span class="i0">What kind wouldſt th’ haue it of?</span> -</div><div class="stanza"> -<span class="i34"><span class="smcap">Pvg.</span> Why, any <i>Fraud</i>;</span> -<span class="i0">Or <i>Couetouſneſſe</i>; or Lady <i>Vanity</i>;</span> -<span class="i0">Or old <i>Iniquity</i>: I’ll call him hither.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ini.</span> What is he, calls vpon me, and would ſeeme to lack a <i>Vice</i>?</span> -<span class="i0">Ere his words be halfe ſpoken, I am with him in a trice; <span class="linenum">45</span></span> -<span class="i0">Here, there, and euery where, as the Cat is with the mice:</span> -<span class="i0">True <i>vetus Iniquitas</i>. Lack’ſt thou Cards, friend, or Dice?</span> -<span class="i0">I will teach thee cheate, Child, to cog, lye, and ſwagger,</span> -<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> -<span class="i0">And euer and anon, to be drawing forth thy dagger:</span> -<span class="i0">To ſweare by Gogs-nownes, like a lusty <i>Iuuentus</i>, <span class="linenum">50</span></span> -<span class="i0">In a cloake to thy heele, and a hat like a pent-houſe.</span> -<span class="i0">Thy breeches of three fingers, and thy doublet all belly,</span> -<span class="i0">With a Wench that shall feede thee, with cock-ſtones and gelly.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Is it not excellent, <i>Chiefe</i>? how nimble he is!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ini.</span> Child of hell, this is nothing! I will fetch thee a leape <span class="linenum">55</span></span> -<span class="i0">From the top of <i>Pauls</i>-ſteeple, to the Standard in <i>Cheepe</i>:</span> -<span class="i0">And lead thee a daunce, through the ſtreets without faile,</span> -<span class="i0">Like a needle of <i>Spaine</i>, with a thred at my tayle.</span> -<span class="i0">We will ſuruay the <i>Suburbs</i>, and make forth our ſallyes,</span> -<span class="i0">Downe <i>Petticoate-lane</i>, and vp the <i>Smock-allies</i>, <span class="linenum">60</span></span> -<span class="i0">To <i>Shoreditch</i>, <i>Whitechappell</i>, and so to Saint <i>Kathernes</i>.</span> -<span class="i0">To drinke with the <i>Dutch</i> there, and take forth their patternes:</span> -<span class="i0">From thence, wee will put in at <i>Cuſtome-houſe</i> key there,</span> -<span class="i0">And ſee, how the Factors, and Prentizes play there,</span> -<span class="i0">Falſe with their Maſters; and gueld many a full packe, <span class="linenum">65</span></span> -<span class="i0">To ſpend it in pies, at the <i>Dagger</i>, and the <i>Wool-ſacke</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Braue, braue, <i>Iniquity</i>! will not this doe, <i>Chiefe</i>?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ini.</span> Nay, boy, I wil bring thee to the Bawds, and the Royſters,</span> -<span class="i0">At <i>Belins-gate</i>, feaſting with claret-wine, and oyſters,</span> -<span class="i0">From thence ſhoot the <i>Bridge</i>, childe, to the Cranes i’ the <i>Vintry</i>, <span class="linenum">70</span></span> -<span class="i0">And ſee, there the gimblets, how they make their entry!</span> -<span class="i0">Or, if thou hadſt rather, to the <i>Strand</i> downe to fall,</span> -<span class="i0">’Gainſt the Lawyers come dabled from <i>Weſtminſter-hall</i></span> <span class="linenum">[97] </span> -<span class="i0">And marke how they cling, with their clyents together,</span> -<span class="i0">Like Iuie to Oake; so Veluet to Leather: <span class="linenum">75</span></span> -<span class="i0">Ha, boy, I would ſhew thee.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Pvg.</span> Rare, rare!</span> -<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Div.</span> Peace, dotard,</span> -<span class="i0">And thou more ignorant thing, that ſo admir’ſt.</span> -<span class="i0">Art thou the ſpirit thou ſeem’ſt? ſo poore? to chooſe</span> -<span class="i0">This, for a <i>Vice</i>, t’aduance the cauſe of <i>Hell</i>,</span> -<span class="i0">Now? as Vice ſtands this preſent yeere? Remember, <span class="linenum">80</span></span> -<span class="i0">What number it is. <i>Six hundred</i> and <i>ſixteene</i>.</span> -<span class="i0">Had it but beene <i>fiue hundred</i>, though ſome <i>ſixty</i></span> -<span class="i0">Aboue; that’s <i>fifty</i> yeeres agone, and <i>ſix</i>,</span> -<span class="i0">(When euery great man had his <i>Vice</i> ſtand by him,</span> -<span class="i0">In his long coat, ſhaking his wooden dagger) <span class="linenum">85</span></span> -<span class="i0">I could conſent, that, then this your graue choice</span> -<span class="i0">Might haue done that with his Lord <i>Chiefe</i>, the which</span> -<span class="i0">Moſt of his chamber can doe now. But <i>Pug</i>,</span> -<span class="i0">As the times are, who is it, will receiue you?</span> -<span class="i0">What company will you goe to? or whom mix with? <span class="linenum">90</span></span> -<span class="i0">Where canſt thou carry him? except to Tauernes?</span> -<span class="i0">To mount vp ona joynt-ſtoole, with a <i>Iewes</i>-trumpe,</span> -<span class="i0">To put downe <i>Cokeley</i>, and that muſt be to Citizens?</span> -<span class="i0">He ne’re will be admitted, there, where <i>Vennor</i> comes.</span> -<span class="i0">Hee may perchance, in taile of a Sheriffes dinner, <span class="linenum">95</span></span> -<span class="i0">Skip with a rime o’ the Table, from <i>New-nothing</i>,</span> -<span class="i0">And take his <i>Almaine</i>-leape into a cuſtard,</span> -<span class="i0">Shall make my Lad <i>Maioreſſe</i>, and her ſiſters,</span> -<span class="i0">Laugh all their hoods ouer their shoulders. But,</span> -<span class="i0">This is not that will doe, they are other things <span class="linenum">100</span></span> -<span class="i0">That are receiu’d now vpon earth, for Vices;</span> -<span class="i0">Stranger, and newer: and chang’d euery houre.</span> -<span class="i0">They ride ’hem like their horſes off their legges,</span> -<span class="i0">And here they come to <i>Hell</i>, whole legions of ’hem,</span> -<span class="i0">Euery weeke tyr’d. Wee, ſtill ſtriue to breed, <span class="linenum">105</span></span> -<span class="i0">And reare ’hem vp new ones; but they doe not ſtand,</span> -<span class="i0">When they come there: they turne ’hem on our hands.</span> -<span class="i0">And it is fear’d they haue a ſtud o’ their owne</span> -<span class="i0">Will put downe ours. Both our breed, and trade</span> -<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> -<span class="i0">VVill ſuddenly decay, if we preuent not. <span class="linenum">110</span></span> -<span class="i0">Vnleſſe it be a <i>Vice</i> of quality,</span> -<span class="i0">Or faſhion, now, they take none from vs. Car-men</span> -<span class="i0">Are got into the yellow ſtarch, and Chimney-ſweepers</span> -<span class="i0">To their tabacco, and ſtrong-waters, <i>Hum</i>,</span> -<span class="i0"><i>Meath</i>, and <i>Obarni</i>. VVe muſt therefore ayme <span class="linenum">115</span></span> -<span class="i0">At extraordinary ſubtill ones, now,</span> -<span class="i0">When we doe ſend to keepe vs vp in credit.</span> -<span class="i0">Not old <i>Iniquities</i>. Get you e’ne backe, Sir,</span> -<span class="i0">To making of your rope of ſand againe.</span> -<span class="i0">You are not for the manners, nor the times: <span class="linenum">[98] 120</span></span> -<span class="i0">They haue their <i>Vices</i>, there, moſt like to <i>Vertues</i>;</span> -<span class="i0">You cannnot know ’hem, apart, by any difference:</span> -<span class="i0">They weare the ſame clothes, eate the ſame meate,</span> -<span class="i0">Sleepe i’ the ſelfe-ſame beds, rid i’ thoſe coaches.</span> -<span class="i0">Or very like, foure horſes in a coach, <span class="linenum">125</span></span> -<span class="i0">As the beſt men and women. Tiſſue gownes,</span> -<span class="i0">Garters and roſes, foureſcore pound a paire,</span> -<span class="i0">Embroydred ſtockings, cut-worke ſmocks, and ſhirts,</span> -<span class="i0">More certaine marks of lechery, now, and pride,</span> -<span class="i0">Then ere they were of true nobility! <span class="linenum">130</span></span> -<span class="i0">But <i>Pug</i>, ſince you doe burne with ſuch deſire</span> -<span class="i0">To doe the Common-wealth of Hell ſome ſeruice;</span> -<span class="i0">I am content, aſſuming of a body,</span> -<span class="i0">You goe to earth, and viſit men, a day.</span> -<span class="i0">But you muſt take a body ready made, <i>Pug</i>, <span class="linenum">135</span></span> -<span class="i0">I can create you none: nor ſhall you forme</span> -<span class="i0">Your ſelfe an aery one, but become ſubiect</span> -<span class="i0">To all impreſſion of the fleſh, you take,</span> -<span class="i0">So farre as humane frailty. So, this morning,</span> -<span class="i0">There is a handſome Cutpurſe hang’d at <i>Tiborne</i>, <span class="linenum">140</span></span> -<span class="i0">Whoſe ſpirit departed, you may enter his body:</span> -<span class="i0">For clothes imploy your credit, with the Hangman,</span> -<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span> -<span class="i0">Or let our tribe of Brokers furniſh you.</span> -<span class="i0">And, looke, how farre your ſubtilty can worke</span> -<span class="i0">Thorow thoſe organs, with that body, ſpye <span class="linenum">145</span></span> -<span class="i0">Amongſt mankind, (you cannot there want vices,</span> -<span class="i0">And therefore the leſſe need to carry ’hem wi’ you)</span> -<span class="i0">But as you make your ſoone at nights relation,</span> -<span class="i0">And we ſhall find, it merits from the State,</span> -<span class="i0">Your ſhall haue both truſt from vs, and imployment. <span class="linenum">150</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Most gracious <i>Chiefe</i>!</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Div.</span> Onely, thus more I bind you,</span> -<span class="i0">To ſerue the firſt man that you meete; and him</span> -<span class="i0">I’le ſhew you, now: Obserue him. Yon’ is hee,</span> -<span class="i12"><i>He ſhewes</i> Fitz-dottrel <i>to him, comming forth</i>.</span> -<span class="i0">You ſhall ſee, firſt, after your clothing. Follow him:</span> -<span class="i0">But once engag’d, there you muſt ſtay and fixe;</span> -<span class="i0">Not ſhift, vntill the midnights cocke doe crow.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Any conditions to be gone.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Div.</span> Away, then. <span class="linenum">157</span></span> -</div></div> - -<p><a name="Footnote_110_110" id="Footnote_110_110"></a><span class="label">[110]</span> -SD. <span class="smcap">Divell</span>] <i>Devil</i>, 1692 || <i>Satan</i> -1716, W || <span class="smcap">Divell</span> ...] <i>Enter</i> <span -class="smcap">Satan</span> <i>and</i> <span class="smcap">Pug.</span> G</p> - -<p><a name="Footnote_111_111" id="Footnote_111_111"></a> -<span class="label">[111]</span> 1 &c. om. G</p> - -<p><a name="Footnote_112_112" id="Footnote_112_112"></a><span class="label">[112]</span> -9 entering G</p> - -<p><a name="Footnote_113_113" id="Footnote_113_113"></a><span class="label">[113]</span> -10 Market 1641, 1692, 1716 || market W, G</p> - -<p><a name="Footnote_114_114" id="Footnote_114_114"></a><span class="label">[114]</span> -11 Tottenham G</p> - -<p><a name="Footnote_115_115" id="Footnote_115_115"></a><span class="label">[115]</span> -15 Housewive’s 1716 || housewife’s W, f.</p> - -<p><a name="Footnote_116_116" id="Footnote_116_116"></a><span class="label">[116]</span> -23 with’t W, G</p> - -<p><a name="Footnote_117_117" id="Footnote_117_117"></a><span class="label">[117]</span> -24 i’] in G§ || strength 1692, f.</p> - -<p><a name="Footnote_118_118" id="Footnote_118_118"></a><span class="label">[118]</span> -30 employs W, G</p> - -<p><a name="Footnote_119_119" id="Footnote_119_119"></a><span class="label">[119]</span> -33 enough 1692, f.</p> - -<p><a name="Footnote_120_120" id="Footnote_120_120"></a><span class="label">[120]</span> -34 you ’ad 1716 you had W, G</p> - -<p><a name="Footnote_121_121" id="Footnote_121_121"></a><span class="label">[121]</span> -38 there with 1692, f.</p> - -<p><a name="Footnote_122_122" id="Footnote_122_122"></a><span class="label">[122]</span> -41 th’] thou G Why any, Fraud, 1716 Why any: Fraud, W, G</p> - -<p><a name="Footnote_123_123" id="Footnote_123_123"></a><span class="label">[123]</span> -43 I’ll ...] <i>Sat.</i> I’ll ... W, G] <i>Enter</i> -<span class="smcap">Iniquity</span>. G</p> - -<p><a name="Footnote_124_124" id="Footnote_124_124"></a><span class="label">[124]</span> -48 cheate] to cheat W [to] cheat G</p> - -<p><a name="Footnote_125_125" id="Footnote_125_125"></a><span class="label">[125]</span> -57 Dance 1716 || dance 1641. W, G</p> - -<p><a name="Footnote_126_126" id="Footnote_126_126"></a><span class="label">[126]</span> -69 <i>Billings-gate</i> 1692 <i>Billingsgate</i> 1716 Billingsgate W Billinsgate G</p> - -<p><a name="Footnote_127_127" id="Footnote_127_127"></a><span class="label">[127]</span> -76 thee.] thee—G || <span class="smcap">Div.</span>] Dev. 1692 || <i>Sat.</i> 1716, f.</p> - -<p><a name="Footnote_128_128" id="Footnote_128_128"></a><span class="label">[128]</span> -79 t’] to G</p> - -<p><a name="Footnote_129_129" id="Footnote_129_129"></a><span class="label">[129]</span> -84 5 () om. G§</p> - -<p><a name="Footnote_130_130" id="Footnote_130_130"></a><span class="label">[130]</span> -98 Lady 1692, 1716 lady W, G</p> - -<p><a name="Footnote_131_131" id="Footnote_131_131"></a><span class="label">[131]</span> -101 Vices 1641, 1692, 1716, G vices W</p> - -<p><a name="Footnote_132_132" id="Footnote_132_132"></a><span class="label">[132]</span> -103 ’hem] ’em 1692, 1716, W passim them G§</p> - -<p><a name="Footnote_133_133" id="Footnote_133_133"></a><span class="label">[133]</span> -106 ’hem om. G stand,] stand; G</p> - -<p><a name="Footnote_134_134" id="Footnote_134_134"></a><span class="label">[134]</span> -107 there:] there W there, G</p> - -<p><a name="Footnote_135_135" id="Footnote_135_135"></a><span class="label">[135]</span> -116 subtle 1692, f.</p> - -<p><a name="Footnote_136_136" id="Footnote_136_136"></a><span class="label">[136]</span> -120 manner G</p> - -<p><a name="Footnote_137_137" id="Footnote_137_137"></a><span class="label">[137]</span> -128 Embrothered 1641 Embroider’d 1716, f. stockins 1641</p> - -<p><a name="Footnote_138_138" id="Footnote_138_138"></a><span class="label">[138]</span> -130 [<i>Exit Iniq.</i> G</p> - -<p><a name="Footnote_139_139" id="Footnote_139_139"></a><span class="label">[139]</span> -137 airy 1692, f. passim</p> - -<p><a name="Footnote_140_140" id="Footnote_140_140"></a><span class="label">[140]</span> -139 human W, G</p> - -<p><a name="Footnote_141_141" id="Footnote_141_141"></a><span class="label">[141]</span> -140 <i>Tyburn</i> 1692, f. passim</p> - -<p><a name="Footnote_142_142" id="Footnote_142_142"></a><span class="label">[142]</span> -142 employ W, G</p> - -<p><a name="Footnote_143_143" id="Footnote_143_143"></a><span class="label">[143]</span> -146, 7 () ret. G</p> - -<p><a name="Footnote_144_144" id="Footnote_144_144"></a><span class="label">[144]</span> -147 wi’] with G§</p> - -<p><a name="Footnote_145_145" id="Footnote_145_145"></a><span class="label">[145]</span> -150 employment W, G</p> - -<p><a name="Footnote_146_146" id="Footnote_146_146"></a><span class="label">[146]</span> -151, 157 <span class="smcap">Div.</span>] <i>Dev.</i> 1692 <i>Sat.</i> 1716, f.</p> - -<p><a name="Footnote_147_147" id="Footnote_147_147"></a><span class="label">[147]</span> -153 now] new 1716</p> - -<p><a name="Footnote_148_148" id="Footnote_148_148"></a><span class="label">[148]</span> -153 SN.] <i>Shews him Fitzdottrel coming out of his house at a distance.</i> G</p> - -<p><a name="Footnote_149_149" id="Footnote_149_149"></a><span class="label">[149]</span> -157 <i>Exeunt severally.</i> G</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>I</b>. Scene. <b>II</b>.</span></p> -<p class="center"><span class="smcap">Fitz-Dottrell.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">I, they doe, now, name <i>Bretnor</i>, as before,</span> <span class="linenum">[97]  </span> -<span class="i0">They talk’d of <i>Greſham</i>, and of Doctor <i>Fore-man</i>,</span> -<span class="i0"><i>Francklin</i>, and <i>Fiske</i>, and <i>Sauory</i> (he was in too)</span> -<span class="i0">But there’s not one of theſe, that euer could</span> -<span class="i0">Yet ſhew a man the <i>Diuell</i>, in true ſort. <span class="linenum">5</span></span> -<span class="i0">They haue their chriſtalls, I doe know, and rings,</span> -<span class="i0">And virgin parchment, and their dead-mens ſculls</span> -<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span> -<span class="i0">Their rauens wings, their lights, and <i>pentacles</i>,</span> -<span class="i0">With <i>characters</i>; I ha’ ſeene all theſe. But—</span> -<span class="i0">Would I might ſee the <i>Diuell</i>. I would giue <span class="linenum">10</span></span> -<span class="i0">A hundred o’ theſe pictures, to ſee him</span> -<span class="i0">Once out of picture. May I proue a cuckold,</span> -<span class="i0">(And that’s the one maine mortall thing I feare)</span> -<span class="i0">If I beginne not, now, to thinke, the Painters</span> -<span class="i0">Haue onely made him. ’Slight, he would be ſeene, <span class="linenum">15</span></span> -<span class="i0">One time or other elſe. He would not let</span> -<span class="i0">An ancient gentleman, of a good houſe,</span> -<span class="i0">As moſt are now in <i>England</i>, the <i>Fitz-Dottrel’s</i></span> -<span class="i0">Runne wilde, and call vpon him thus in vaine,</span> -<span class="i0">As I ha’ done this twelue mone’th. If he be not, <span class="linenum">20</span></span> -<span class="i0">At all, why, are there Coniurers? If they be not,</span> -<span class="i0">Why, are there lawes againſt ’hem? The beſt artiſts</span> -<span class="i0">Of <i>Cambridge</i>, <i>Oxford</i>, <i>Middlesex</i>, and <i>London</i>,</span> -<span class="i0"><i>Essex</i>, and <i>Kent</i>, I haue had in pay to raiſe him,</span> -<span class="i0">Theſe fifty weekes, and yet h’appeares not. ’Sdeath, <span class="linenum">25</span></span> -<span class="i0">I ſhall ſuſpect, they, can make circles onely</span> -<span class="i0">Shortly, and know but his hard names. They doe ſay,</span> -<span class="i0">H’will meet a man (of himſelfe) that has a mind to him.</span> -<span class="i0">If hee would ſo, I haue a minde and a halfe for him:</span> -<span class="i0">He ſhould not be long abſent. Pray thee, come <span class="linenum">30</span></span> -<span class="i0">I long for thee. An’ I were with child by him,</span> -<span class="i0">And my wife too; I could not more. Come, yet,</span> -<span class="i20"><i>He expreſſes a longing to ſee the Diuell</i></span> -<span class="i0">Good <i>Beelezebub</i>. Were hee a kinde diuell,</span> -<span class="i0">And had humanity in him, hee would come, but</span> -<span class="i0">To ſaue ones longing. I ſhould vſe him well, <span class="linenum">35</span></span> -<span class="i0">I ſweare, and with reſpect (would he would try mee)</span> -<span class="i0">Not, as the Conjurers doe, when they ha’ rais’d him.</span> -<span class="i0">Get him in bonds, and ſend him poſt, on errands.</span> -<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> -<span class="i0">A thouſand miles, it is prepoſterous, that;</span> -<span class="i0">And I beleeue, is the true cauſe he comes not. <span class="linenum">[100]  40</span></span> -<span class="i0">And hee has reaſon. Who would be engag’d,</span> -<span class="i0">That might liue freely, as he may doe? I ſweare,</span> -<span class="i0">They are wrong all. The burn’t child dreads the fire.</span> -<span class="i0">They doe not know to entertaine the <i>Diuell</i>.</span> -<span class="i0">I would ſo welcome him, obſerue his diet, <span class="linenum">45</span></span> -<span class="i0">Get him his chamber hung with <i>arras</i>, two of ’hem,</span> -<span class="i0">I’ my own houſe; lend him my wiues wrought pillowes:</span> -<span class="i0">And as I am an honeſt man, I thinke,</span> -<span class="i0">If he had a minde to her, too; I should grant him,</span> -<span class="i0">To make our friend-ſhip perfect. So I would not <span class="linenum">50</span></span> -<span class="i0">To euery man. If hee but heare me, now?</span> -<span class="i0">And ſhould come to mee in a braue young ſhape,</span> -<span class="i0">And take me at my word? ha! Who is this?</span> -</div></div> - -<p><a name="Footnote_150_150" id="Footnote_150_150"></a><span class="label">[150]</span> -SD. <span class="smcap">Act. I.</span> om. 1716, f. (as regularly, after -<span class="smcap">Sc. I.</span> of each act.) <span class="smcap">Act</span> ...] -<span class="smcap">Scene II.</span> <i>The street before Fitzdottrel’s House. Enter</i> -<span class="smcap">Fitzdottrel</span>. G</p> - -<p><a name="Footnote_151_151" id="Footnote_151_151"></a><span class="label">[151]</span> -12 picture, 1641</p> - -<p><a name="Footnote_152_152" id="Footnote_152_152"></a><span class="label">[152]</span> -17 a] as W [as] G || good] good a G</p> - -<p><a name="Footnote_153_153" id="Footnote_153_153"></a><span class="label">[153]</span> -21, 22 comma om. after ‘why’ and ‘Why’ 1692 f.</p> - -<p><a name="Footnote_154_154" id="Footnote_154_154"></a><span class="label">[154]</span> -25 h’] he G</p> - -<p><a name="Footnote_155_155" id="Footnote_155_155"></a><span class="label">[155]</span> -26 circle 1641</p> - -<p><a name="Footnote_156_156" id="Footnote_156_156"></a><span class="label">[156]</span> -30 Prithee G</p> - -<p><a name="Footnote_157_157" id="Footnote_157_157"></a><span class="label">[157]</span> -31 An’] an G</p> - -<p><a name="Footnote_158_158" id="Footnote_158_158"></a><span class="label">[158]</span> -32 SN. <i>expresseth</i> 1692, 1716, W || SN. om. G</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>I</b>. Scene. <b>IIJ</b>.</span></p> -<p class="center"><span class="smcap">Pvg.</span> <span class="smcap">Fitz-dottrell.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Sir, your good pardon, that I thus preſume</span> -<span class="i0">Vpon your priuacy. I am borne a Gentleman,</span> -<span class="i0">A younger brother; but, in ſome diſgrace,</span> -<span class="i0">Now, with my friends: and want ſome little meanes,</span> -<span class="i0">To keepe me vpright, while things be reconcil’d. <span class="linenum">5</span></span> -<span class="i0">Pleaſe you, to let my ſeruice be of vſe to you, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Seruice? ’fore hell, my heart was at my mouth,</span> -<span class="i0">Till I had view’d his ſhooes well: for, thoſe roſes</span> -<span class="i0">Were bigge inough to hide a clouen foote.</span> -<span class="i12"><i>Hee lookes and ſuruay’s his feet: ouer and ouer.</i></span> -<span class="i0">No, friend, my number’s full. I haue one ſeruant, <span class="linenum">10</span></span> -<span class="i0">Who is my all, indeed; and, from the broome</span> -<span class="i0">Vnto the bruſh: for, iuſt so farre, I truſt him.</span> -<span class="i0">He is my Ward-robe man, my Cater, Cooke,</span> -<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> -<span class="i0">Butler, and Steward; lookes vnto my horſe:</span> -<span class="i0">And helpes to watch my wife. H’has all the places, <span class="linenum">15</span></span> -<span class="i0">That I can thinke on, from the garret downward,</span> -<span class="i0">E’en to the manger, and the curry-combe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Sir, I ſhall put your worſhip to no charge,</span> -<span class="i0">More then my meate, and that but very little,</span> -<span class="i0">I’le ſerue you for your loue.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Fit.</span> Ha? without wages? <span class="linenum">20</span></span> -<span class="i0">I’le harken o’ that eare, were I at leaſure.</span> -<span class="i0">But now, I’m buſie. ’Pr’y the, friend forbeare mee,</span> -<span class="i0">And’ thou hadſt beene a <i>Diuell</i>, I ſhould ſay <span class="linenum">[101]  </span></span> -<span class="i0">Somewhat more to thee. Thou doſt hinder, now,</span> -<span class="i0">My meditations.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Pvg.</span> Sir, I am a <i>Diuell</i>. <span class="linenum">25</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> How!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pvg.</span> A true <i>Diuell</i>, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> Nay, now, you ly:</span> -<span class="i0">Vnder your fauour, friend, for, I’ll not quarrell.</span> -<span class="i0">I look’d o’ your feet, afore, you cannot coozen mee,</span> -<span class="i0">Your ſhoo’s not clouen, Sir, you are whole hoof’d.</span> -<span class="i34"><i>He viewes his feete againe.</i></span> -<span class="i0"><span class="smcap">Pvg.</span> Sir, that’s a popular error, deceiues many: <span class="linenum">30</span></span> -<span class="i0">But I am that, I tell you.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> What’s your name?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> My name is <i>Diuell</i>, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> Sai’ſt thou true.</span> -</div><div class="stanza"> -<span class="i30"><span class="smcap">Pvg.</span> in-deed, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> ’Slid! there’s ſome <i>omen</i> i’ this! what countryman?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Of <i>Derby-ſhire</i>, S<sup>r</sup>. about the <i>Peake</i>.</span> -</div><div class="stanza"> -<span class="i30"><span class="smcap">Fit.</span> That Hole</span> -<span class="i0">Belong’d to your Anceſtors?</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Pvg.</span> Yes, <i>Diuells</i> arſe, S<sup>r</sup>. <span class="linenum">35</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I’ll entertaine him for the name ſake. Ha?</span> -<span class="i0">And turne away my tother man? and ſaue</span> -<span class="i0">Foure pound a yeere by that? there’s lucke, and thrift too!</span> -<span class="i0">The very <i>Diuell</i> may come, heereafter, as well.</span> -<span class="i0">Friend, I receiue you: but (withall) I acquaint you, <span class="linenum">40</span></span> -<span class="i0">Aforehand, if yo’ offend mee, I muſt beat you.</span> -<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> -<span class="i0">It is a kinde of exerciſe, I vſe.</span> -<span class="i0">And cannot be without.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Yes, if I doe not</span> -<span class="i0">Offend, you can, ſure.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Fit.</span> Faith, <i>Diuell</i>, very hardly:</span> -<span class="i0">I’ll call you by your ſurname, ’cauſe I loue it. <span class="linenum">45</span></span> -</div></div> - -<p><a name="Footnote_159_159" id="Footnote_159_159"></a><span class="label">[159]</span> -46 ’hem] ’em G</p> - -<p><a name="Footnote_160_160" id="Footnote_160_160"></a><span class="label">[160]</span> -47 Wife’s 1716 wife’s W, G passim</p> - -<p><a name="Footnote_161_161" id="Footnote_161_161"></a><span class="label">[161]</span> -53 word?—<i>Enter</i> <span class="smcap">Pug</span> <i>handsomely shaped and apparelled</i>. G</p> - -<p><a name="Footnote_162_162" id="Footnote_162_162"></a><span class="label">[162]</span> -SD. on. G</p> - -<p><a name="Footnote_163_163" id="Footnote_163_163"></a><span class="label">[163]</span> -9 SN. on. G || <i>Aside.</i> G</p> - -<p><a name="Footnote_164_164" id="Footnote_164_164"></a><span class="label">[164]</span> -13 m’acater W</p> - -<p><a name="Footnote_165_165" id="Footnote_165_165"></a><span class="label">[165]</span> -15 He has W, G</p> - -<p><a name="Footnote_166_166" id="Footnote_166_166"></a><span class="label">[166]</span> -17 Even G</p> - -<p><a name="Footnote_167_167" id="Footnote_167_167"></a><span class="label">[167]</span> -21 I’d W, G</p> - -<p><a name="Footnote_168_168" id="Footnote_168_168"></a><span class="label">[168]</span> -22 I am G ’Prythe 1692 ’Prithee 1716, W Prithee G</p> - -<p><a name="Footnote_169_169" id="Footnote_169_169"></a><span class="label">[169]</span> -23 An’ 1716, W An G || hadſt] hast 1692, 1716</p> - -<p><a name="Footnote_170_170" id="Footnote_170_170"></a><span class="label">[170]</span> -26 Sir 1641. f. passim</p> - -<p><a name="Footnote_171_171" id="Footnote_171_171"></a><span class="label">[171]</span> -28 cozen 1692, f. passim</p> - -<p><a name="Footnote_172_172" id="Footnote_172_172"></a><span class="label">[172]</span> -29 SN. om. G</p> - -<p><a name="Footnote_173_173" id="Footnote_173_173"></a><span class="label">[173]</span> -31 that, I] that I 1692, f.</p> - -<p><a name="Footnote_174_174" id="Footnote_174_174"></a><span class="label">[174]</span> -37 t’other 1692, f.</p> - -<p><a name="Footnote_175_175" id="Footnote_175_175"></a><span class="label">[175]</span> -39 [<i>Aside.</i> G</p> - -<p><a name="Footnote_176_176" id="Footnote_176_176"></a><span class="label">[176]</span> -41 you W, G</p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>I</b>. Scene. <b>IIII</b>.</span></p> -<p class="center"><span class="smcap">Ingine.</span> <span class="smcap">Wittipol.</span> <span class="smcap">Manly.</span><br /> -<span class="smcap">Fitzdottrell.</span> <span class="smcap">Pvg.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Yonder hee walkes, Sir, I’ll goe lift him for you.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> To him, good <i>Ingine</i>, raiſe him vp by degrees,</span> -<span class="i0">Gently, and hold him there too, you can doe it.</span> -<span class="i0">Shew your ſelfe now, a <i>Mathematicall</i> broker.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> I’ll warrant you for halfe a piece.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Wit.</span> ’Tis done, S<sup>r</sup>. <span class="linenum">5</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> Is’t poſſible there ſhould be ſuch a man?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> You ſhall be your owne witneſſe, I’ll not labour</span> -<span class="i0">To tempt you paſt your faith.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Man.</span> And is his wife</span> -<span class="i0">So very handſome, ſay you?</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Wit.</span> I ha’ not ſeene her,</span> -<span class="i0">Since I came home from trauell: and they ſay, <span class="linenum">10</span></span> -<span class="i0">Shee is not alter’d. Then, before I went,</span> -<span class="i0">I ſaw her once; but ſo, as ſhee hath ſtuck</span> -<span class="i0">Still i’ my view, no obiect hath remou’d her.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> ’Tis a faire gueſt, Friend, beauty: and once lodg’d <span class="linenum">[102]  </span></span> -<span class="i0">Deepe in the eyes, ſhee hardly leaues the Inne. <span class="linenum">15</span></span> -<span class="i0">How do’s he keepe her?</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Wit.</span> Very braue. Howeuer,</span> -<span class="i0">Himselfe be fordide, hee is ſenſuall that way.</span> -<span class="i0">In euery dreſſing, hee do’s ſtudy her.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> And furniſh forth himselfe ſo from the <i>Brokers</i>?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Yes, that’s a hyr’d ſuite, hee now has one, <span class="linenum">20</span></span> -<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> -<span class="i0">To ſee the <i>Diuell</i> is an <i>Aſſe</i>, to day, in:</span> -<span class="i0">(This <i>Ingine</i> gets three or foure pound a weeke by him)</span> -<span class="i0">He dares not miſſe a new <i>Play</i>, or a <i>Feaſt</i>,</span> -<span class="i0">What rate ſoeuer clothes be at; and thinkes</span> -<span class="i0">Himſelfe ſtill new, in other mens old.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Man.</span> But ſtay, <span class="linenum">25</span></span> -<span class="i0">Do’s he loue meat ſo?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> Faith he do’s not hate it.</span> -<span class="i0">But that’s not it. His belly and his palate</span> -<span class="i0">Would be compounded with for reaſon. Mary,</span> -<span class="i0">A wit he has, of that ſtrange credit with him,</span> -<span class="i0">’Gainſt all mankinde; as it doth make him doe <span class="linenum">30</span></span> -<span class="i0">Iuſt what it liſt: it rauiſhes him forth,</span> -<span class="i0">Whither it pleaſe, to any aſſembly’or place,</span> -<span class="i0">And would conclude him ruin’d, ſhould hee ſcape</span> -<span class="i0">One publike meeting, out of the beliefe</span> -<span class="i0">He has of his owne great, and Catholike ſtrengths, <span class="linenum">35</span></span> -<span class="i0">In arguing, and diſcourſe. It takes, I ſee:</span> -<span class="i0">H’has got the cloak vpon him.</span> -</div><div class="stanza"> -<span class="i5">Ingine <i>hath won</i> Fitzdottrel, <i>to ’ſay on the cloake</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> A faire garment,</span> -<span class="i0">By my faith, <i>Ingine</i>!</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Ing.</span> It was neuer made, Sir,</span> -<span class="i0">For three ſcore pound, I aſſure you: ’Twill yeeld thirty.</span> -<span class="i0">The pluſh, Sir, coſt three pound, ten ſhillings a yard! <span class="linenum">40</span></span> -<span class="i0">And then the lace, and veluet.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> I ſhall, <i>Ingine</i>,</span> -<span class="i0">Be look’d at, pretitly, in it! Art thou ſure</span> -<span class="i0">The <i>Play</i> is play’d to day?</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Ing.</span> O here’s the bill, S<sup>r</sup>.</span> -<span class="i30"><i>Hee giues him the</i> Play-<i>bill</i>.</span> -<span class="i0">I’, had forgot to gi’t you.</span> -</div><div class="stanza"> -<span class="i24"><span class="smcap">Fit.</span> Ha? the <i>Diuell</i>!</span> -<span class="i0">I will not loſe you, Sirah! But, <i>Ingine</i>, thinke you, <span class="linenum">45</span></span> -<span class="i0">The Gallant is ſo furious in his folly?</span> -<span class="i0">So mad vpon the matter, that hee’ll part</span> -<span class="i0">With’s cloake vpo’ theſe termes?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Ing.</span> Truſt not your <i>Ingine</i>,</span> -<span class="i0">Breake me to pieces elſe, as you would doe</span> -<span class="i0">A rotten <i>Crane</i>, or an old ruſty <i>Iacke</i>, <span class="linenum">50</span></span> -<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> -<span class="i0">That has not one true wheele in him. Doe but talke with him.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I ſhall doe that, to ſatisfie you, <i>Ingine</i>,</span> -<span class="i0">And my ſelfe too. With your leaue, Gentlemen.</span> -<span class="i28"><i>Hee turnes to</i> Wittipol.</span> -<span class="i0">Which of you is it, is ſo meere Idolater</span> -<span class="i0">To my wiues beauty, and ſo very prodigall <span class="linenum">55</span></span> -<span class="i0">Vnto my patience, that, for the ſhort parlee?</span> -<span class="i0">Of one ſwift houres quarter, with my wife,</span> -<span class="i0">He will depart with (let mee ſee) this cloake here</span> -<span class="i0">The price of folly? Sir, are you the man?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> I am that vent’rer, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Good time! your name <span class="linenum">60</span></span> -<span class="i0">Is <i>Witty-pol</i>?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> The ſame, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> And ’tis told me, <span class="linenum">[103]  </span></span> -<span class="i0">Yo’ haue trauell’d lately?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> That I haue, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i27"><span class="smcap">Fit.</span> Truly,</span> -<span class="i0">Your trauells may haue alter’d your complexion;</span> -<span class="i0">But ſure, your wit ſtood ſtill.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> It may well be, Sir.</span> -<span class="i0">All heads ha’ not like growth.</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Fit.</span> The good mans grauity, <span class="linenum">65</span></span> -<span class="i0">That left you land, your father, neuer taught you</span> -<span class="i0">Theſe pleaſant matches?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> No, nor can his mirth,</span> -<span class="i0">With whom I make ’hem, put me off.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> You are</span> -<span class="i0">Reſolu’d then?</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Wit.</span> Yes, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Fit.</span> Beauty is the <i>Saint</i>,</span> -<span class="i0">You’ll ſacrifice your ſelfe, into the ſhirt too? <span class="linenum">70</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> So I may ſtill cloth, and keepe warme your wiſdome?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> You lade me S<sup>r</sup>!</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Wit.</span> I know what you wil beare, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Well, to the point. ’Tis only, Sir, you ſay,</span> -<span class="i0">To ſpeake vnto my wife?</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Wit.</span> Only, to ſpeake to her.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> And in my preſence?</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Wit.</span> In your very preſence. <span class="linenum">75</span></span> -<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> And in my hearing?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> In your hearing: ſo,</span> -<span class="i0">You interrupt vs not.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Fit.</span> For the ſhort ſpace</span> -<span class="i0">You doe demand, the fourth part of an houre,</span> -<span class="i0">I thinke I ſhall, with ſome conuenient ſtudy,</span> -<span class="i0">And this good helpe to boot, bring my ſelfe to’t. <span class="linenum">80</span></span> -<span class="i23"><i>Hee ſhrugs himſelfe vp in the cloake.</i></span> -<span class="i0"><span class="smcap">Wit.</span> I aske no more.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Fit.</span> Pleaſe you, walk to’ard my houſe,</span> -<span class="i0">Speake what you liſt; that time is yours: My right</span> -<span class="i0">I haue departed with. But, not beyond,</span> -<span class="i0">A minute, or a ſecond, looke for. Length,</span> -<span class="i0">And drawing out, ma’aduance much, to theſe matches. <span class="linenum">85</span></span> -<span class="i0">And I except all kiſſing. Kiſſes are</span> -<span class="i0">Silent petitions ſtill with willing <i>Louers</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> <i>Louers?</i> How falls that o’ your phantſie?</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Fit.</span> Sir.</span> -<span class="i0">I doe know ſomewhat. I forbid all lip-worke.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> I am not eager at forbidden dainties. <span class="linenum">90</span></span> -<span class="i0">Who couets vnfit things, denies him ſelfe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> You ſay well, Sir, ’Twas prettily ſaid, that ſame,</span> -<span class="i0">He do’s, indeed. I’ll haue no touches, therefore,</span> -<span class="i0">Nor takings by the armes, nor tender circles</span> -<span class="i0">Caſt ’bout the waſt, but all be done at diſtance. <span class="linenum">95</span></span> -<span class="i0">Loue is brought vp with thoſe ſoft <i>migniard</i> handlings;</span> -<span class="i0">His pulſe lies in his palme: and I defend</span> -<span class="i0">All melting ioynts, and fingers, (that’s my bargaine)</span> -<span class="i0">I doe defend ’hem, any thing like action.</span> -<span class="i0">But talke, Sir, what you will. Vſe all the <i>Tropes</i> <span class="linenum">100</span></span> -<span class="i0">And <i>Schemes</i>, that Prince <i>Quintilian</i> can afford you:</span> -<span class="i0">And much good do your <i>Rhetoriques</i> heart. You are welcome, Sir.</span> -<span class="i0"><i>Ingine</i>, God b’w’you.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> Sir, I muſt condition</span> -<span class="i0">To haue this Gentleman by, a witneſſe.</span> -</div><div class="stanza"> -<span class="i11"><span class="smcap">Fit.</span> Well,</span> -<span class="i0">I am content, ſo he be ſilent.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Man.</span> Yes, S r. <span class="linenum">105</span></span> -<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Come <i>Diuell</i>, I’ll make you roome, ſtreight. But I’ll ſhew you</span> -<span class="i0">Firſt, to your Miſtreſſe, who’s no common one,</span> -<span class="i0">You muſt conceiue, that brings this game to ſee her. <span class="linenum">[104]  </span></span> -<span class="i0">I hope thou’ſt brought me good lucke.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Pvg.</span> I ſhall do’t. Sir.</span> -</div></div> - -<p><a name="Footnote_177_177" id="Footnote_177_177"></a><span class="label">[177]</span> -SD. <span class="smcap">Act.</span> ...] <i>Enter, behind</i>, <span class="smcap">Engine</span>, -<i>with a cloke on his arm</i>, <span class="smcap">Wittipol</span>, <i>and</i> -<span class="smcap">Manly</span>. G</p> - -<p><a name="Footnote_178_178" id="Footnote_178_178"></a><span class="label">[178]</span> -5 [<i>Engine goes to Fitzdottrel and takes him aside.</i> G</p> - -<p><a name="Footnote_179_179" id="Footnote_179_179"></a><span class="label">[179]</span> -19 <i>Broker</i> 1692, 1716 broker W</p> - -<p><a name="Footnote_180_180" id="Footnote_180_180"></a><span class="label">[180]</span> -20 on 1641, f.</p> - -<p><a name="Footnote_181_181" id="Footnote_181_181"></a><span class="label">[181]</span> -28 Marry 1692, f.</p> - -<p><a name="Footnote_182_182" id="Footnote_182_182"></a><span class="label">[182]</span> -32 whether 1716</p> - -<p><a name="Footnote_183_183" id="Footnote_183_183"></a><span class="label">[183]</span> -36 SN. ’say] say 1641, f. SN. om. G</p> - -<p><a name="Footnote_184_184" id="Footnote_184_184"></a><span class="label">[184]</span> -37 <i>Fitz.</i> [<i>after saying on the cloke.</i>] G</p> - -<p><a name="Footnote_185_185" id="Footnote_185_185"></a><span class="label">[185]</span> -42 prettily 1641. f.</p> - -<p><a name="Footnote_186_186" id="Footnote_186_186"></a><span class="label">[186]</span> -44 I’, had] I’d 1716 I had W, G gi’t] give it G</p> - -<p><a name="Footnote_187_187" id="Footnote_187_187"></a><span class="label">[187]</span> -48 upon 1716, f.</p> - -<p><a name="Footnote_188_188" id="Footnote_188_188"></a><span class="label">[188]</span> -50 <i>Cain</i> 1692 <i>Cane</i> 1716</p> - -<p><a name="Footnote_189_189" id="Footnote_189_189"></a><span class="label">[189]</span> -51 with him] with W</p> - -<p><a name="Footnote_190_190" id="Footnote_190_190"></a><span class="label">[190]</span> -53 too. [<i>comes forward.</i>] G SN. om. G</p> - -<p><a name="Footnote_191_191" id="Footnote_191_191"></a><span class="label">[191]</span> -60 venturer G</p> - -<p><a name="Footnote_192_192" id="Footnote_192_192"></a><span class="label">[192]</span> -62 You G§</p> - -<p><a name="Footnote_193_193" id="Footnote_193_193"></a><span class="label">[193]</span> -70 comma om. after ‘selfe’ 1692, f. to W, G</p> - -<p><a name="Footnote_194_194" id="Footnote_194_194"></a><span class="label">[194]</span> -80 SN. <i>Hee</i> om. G</p> - -<p><a name="Footnote_195_195" id="Footnote_195_195"></a><span class="label">[195]</span> -82 is om. 1641</p> - -<p><a name="Footnote_196_196" id="Footnote_196_196"></a><span class="label">[196]</span> -85 may W, G</p> - -<p><a name="Footnote_197_197" id="Footnote_197_197"></a><span class="label">[197]</span> -88 phant’sie W phantasy G o’ret. G</p> - -<p><a name="Footnote_198_198" id="Footnote_198_198"></a><span class="label">[198]</span> -99 comma om. W, G</p> - -<p><a name="Footnote_199_199" id="Footnote_199_199"></a><span class="label">[199]</span> -102 [<i>Opens the door of his house.</i> G</p> - -<p><a name="Footnote_200_200" id="Footnote_200_200"></a><span class="label">[200]</span> -103 b’w’] be wi’ G</p> - -<p><a name="Footnote_201_201" id="Footnote_201_201"></a><span class="label">[201]</span> -108 this om. 1641</p> - -<p><a name="Footnote_202_202" id="Footnote_202_202"></a><span class="label">[202]</span> -109 [<i>They all enter the house.</i> G</p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>I</b>. Scene. <b>V</b>.</span></p> -<p class="center"><span class="smcap">VVittipol.</span> <span class="smcap">Manly.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Ingine</i>, you hope o’ your halfe piece? ’Tis there, Sir.</span> -<span class="i0">Be gone. Friend <i>Manly</i>, who’s within here? fixed?</span> -<span class="i18">Wittipol <i>knocks his friend o’ the breſt</i>.</span> -<span class="i0"><span class="smcap">Man.</span> I am directly in a fit of wonder</span> -<span class="i0">What’ll be the iſſue of this conference!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> For that, ne’r vex your ſelfe, till the euent. <span class="linenum">5</span></span> -<span class="i0">How like yo’ him?</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Man.</span> I would faine ſee more of him.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> What thinke you of this?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> I am paſt degrees of thinking.</span> -<span class="i0">Old <i>Africk</i>, and the new <i>America</i>,</span> -<span class="i0">With all their fruite of Monſters cannot ſhew</span> -<span class="i0">So iuſt a prodigie.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Wit.</span> Could you haue beleeu’d, <span class="linenum">10</span></span> -<span class="i0">Without your ſight, a minde ſo ſordide inward,</span> -<span class="i0">Should be ſo ſpecious, and layd forth abroad,</span> -<span class="i0">To all the ſhew, that euer ſhop, or ware was?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> I beleeue any thing now, though I confeſſe</span> -<span class="i0">His <i>Vices</i> are the moſt extremities <span class="linenum">15</span></span> -<span class="i0">I euer knew in nature. But, why loues hee</span> -<span class="i0">The <i>Diuell</i> ſo?</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Wit.</span> O S<sup>r</sup>! for hidden treaſure,</span> -<span class="i0">Hee hopes to finde: and has propos’d himſelfe</span> -<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> -<span class="i0">So infinite a Maſſe, as to recouer,</span> -<span class="i0">He cares not what he parts with, of the preſent, <span class="linenum">20</span></span> -<span class="i0">To his men of Art, who are the race, may coyne him.</span> -<span class="i0">Promiſe gold-mountaines, and the couetous</span> -<span class="i0">Are ſtill moſt prodigall.</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Man.</span> But ha’ you faith,</span> -<span class="i0">That he will hold his bargaine?</span> -</div><div class="stanza"> -<span class="i23"><span class="smcap">Wit.</span> O deare, Sir!</span> -<span class="i0">He will not off on’t. Feare him not. I know him. <span class="linenum">25</span></span> -<span class="i0">One baſeneſſe ſtill accompanies another.</span> -<span class="i0">See! he is heere already, and his wife too.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> A wondrous handſome creature, as I liue!</span> -</div></div> - -<p><a name="Footnote_203_203" id="Footnote_203_203"></a><span class="label">[203]</span> -SD. <span class="smcap">Act.</span> ...] om. <span class="smcap">Scene III.</span> -<i>A Room in</i> <span class="smcap">Fitzdottrel’s</span> <i>House</i>. -<i>Enter</i> <span class="smcap">Wittipol</span>, <span class="smcap">Manly</span>, -<i>and</i> <span class="smcap">Engine</span>. G</p> - -<p><a name="Footnote_204_204" id="Footnote_204_204"></a><span class="label">[204]</span> -2 SN.] gone. [<i>Exit Engine.</i>] || fixed! [<i>knocks him on the breast.</i> G</p> - -<p><a name="Footnote_205_205" id="Footnote_205_205"></a><span class="label">[205]</span> -4 ’ll] will G</p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>I</b>. Scene. <b>VI</b>.</span> [105]</p> -<p class="center"><span class="smcap">Fitz-dottrell.</span> Miſtreſſe <span class="smcap">Fitz-dottrell</span>.<br /> -<span class="smcap">Wittipol.</span> <span class="smcap">Manly.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Come wife, this is the Gentleman. Nay, bluſh not.</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> Why, what do you meane Sir? ha’ you your reaſon?</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Fit.</span> Wife,</span> -<span class="i0">I do not know, that I haue lent it forth</span> -<span class="i0">To any one; at leaſt, without a pawne, wife:</span> -<span class="i0">Or that I’haue eat or drunke the thing, of late, <span class="linenum">5</span></span> -<span class="i0">That ſhould corrupt it. Wherefore gentle wife,</span> -<span class="i0">Obey, it is thy vertue: hold no acts</span> -<span class="i0">Of diſputation.</span> -</div><div class="stanza"> -<span class="i13">M<sup>rs</sup>. <span class="smcap">Fi.</span> Are you not enough</span> -<span class="i0">The talke, of feaſts, and meetingy, but you’ll ſtill</span> -<span class="i0">Make argument for freſh?</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Fit.</span> Why, carefull wedlocke, <span class="linenum">10</span></span> -<span class="i0">If I haue haue a longing to haue one tale more</span> -<span class="i0">Goe of mee, what is that to thee, deare heart?</span> -<span class="i0">Why ſhouldſt thou enuy my delight? or croſſe it?</span> -<span class="i0">By being ſolicitous, when it not concernes thee?</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> Yes, I haue ſhare in this. The ſcorne will fall <span class="linenum">15</span></span> -<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> -<span class="i0">As bittterly on me, where both are laught at.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Laught at, ſweet bird? is that the ſcruple? Come, come,</span> -<span class="i0">Thou art a <i>Niaiſe</i>.</span> -<span class="i6"><i>A</i> Niaiſe <i>is a young Hawke, tane crying out of the neſt.</i></span> -<span class="i16">Which of your great houſes,</span> -<span class="i0">(I will not meane at home, here, but abroad)</span> -<span class="i0">Your families in <i>France</i>, wife, ſend not forth <span class="linenum">20</span></span> -<span class="i0">Something, within the ſeuen yeere, may be laught at?</span> -<span class="i0">I doe not ſay ſeuen moneths, nor ſeuen weekes,</span> -<span class="i0">Nor ſeuen daies, nor houres: but ſeuen yeere wife.</span> -<span class="i0">I giue ’hem time. Once, within ſeuen yeere,</span> -<span class="i0">I thinke they may doe ſomething may be laught at. <span class="linenum">25</span></span> -<span class="i0">In <i>France</i>, I keepe me there, ſtill. Wherefore, wife,</span> -<span class="i0">Let them that liſt, laugh ſtill, rather then weepe</span> -<span class="i0">For me; Heere is a cloake coſt fifty pound, wife,</span> -<span class="i0">Which I can ſell for thirty, when I ha’ ſeene</span> -<span class="i0">All <i>London</i> in’t, and <i>London</i> has ſeene mee. <span class="linenum">30</span></span> -<span class="i0">To day, I goe to the <i>Black-fryers Play-houſe</i>,</span> -<span class="i0">Sit ithe view, ſalute all my acquaintance,</span> -<span class="i0">Riſe vp betweene the <i>Acts</i>, let fall my cloake,</span> -<span class="i0">Publiſh a handſome man, and a rich ſuite</span> -<span class="i0">(As that’s a ſpeciall end, why we goe thither, <span class="linenum">35</span></span> -<span class="i0">All that pretend, to ſtand for’t o’ the <i>Stage</i>)</span> -<span class="i0">The Ladies aske who’s that? (For, they doe come <span class="linenum">[106]  </span></span> -<span class="i0">To ſee vs, <i>Loue</i>, as wee doe to ſee them)</span> -<span class="i0">Now, I ſhall loſe all this, for the falſe feare</span> -<span class="i0">Of being laught at? Yes, wuſſe. Let ’hem laugh, wife, <span class="linenum">40</span></span> -<span class="i0">Let me haue ſuch another cloake to morrow.</span> -<span class="i0">And let ’hem laugh againe, wife, and againe,</span> -<span class="i0">And then grow fat with laughing, and then fatter,</span> -<span class="i0">All my young Gallants, let ’hem bring their friends too:</span> -<span class="i0">Shall I forbid ’hem? No, let heauen forbid ’hem: <span class="linenum">45</span></span> -<span class="i0">Or wit, if’t haue any charge on ’hem. Come, thy eare, wife,</span> -<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> -<span class="i0">Is all, I’ll borrow of thee. Set your watch, Sir,</span> -<span class="i0">Thou, onely art to heare, not ſpeake a word, <i>Doue</i>,</span> -<span class="i0">To ought he ſayes. That I doe gi’ you in precept,</span> -<span class="i0">No leſſe then councell, on your wiue-hood, wife, <span class="linenum">50</span></span> -<span class="i0">Not though he flatter you, or make court, or <i>Loue</i></span> -<span class="i0">(As you muſt looke for theſe) or ſay, he raile;</span> -<span class="i0">What ere his arts be, wife, I will haue thee</span> -<span class="i0">Delude ’hem with a trick, thy obſtinate ſilence;</span> -<span class="i0">I know aduantages; and I loue to hit <span class="linenum">55</span></span> -<span class="i0">Theſe pragmaticke young men, at their owne weapons.</span> -<span class="i0">Is your watch ready? Here my ſaile beares, for you:</span> -<span class="i0">Tack toward him, ſweet <i>Pinnace</i>, where’s your watch?</span> -</div><div class="stanza"> -<span class="i8"><i>He diſpoſes his wife to his place, and ſets his watch.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> I’le ſet it. Sir, with yours.</span> -</div><div class="stanza"> -<span class="i19">M<sup>rs</sup>. <span class="smcap">Fi.</span> I muſt obey.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> Her modeſty ſeemes to ſuffer with her beauty, <span class="linenum">60</span></span> -<span class="i0">And ſo, as if his folly were away,</span> -<span class="i0">It were worth pitty.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> Now, th’are right, beginne, Sir.</span> -<span class="i0">But firſt, let me repeat the contract, briefely.</span> -<span class="i27"><i>Hee repeats his contract againe.</i></span> -<span class="i0">I am, Sir, to inioy this cloake, I ſtand in,</span> -<span class="i0">Freely, and as your gift; vpon condition <span class="linenum">65</span></span> -<span class="i0">You may as freely, ſpeake here to my ſpouſe,</span> -<span class="i0">Your quarter of an houre alwaies keeping</span> -<span class="i0">The meaſur’d diſtance of your yard, or more,</span> -<span class="i0">From my ſaid Spouſe: and in my ſight and hearing.</span> -<span class="i0">This is your couenant?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Yes, but you’ll allow <span class="linenum">70</span></span> -<span class="i0">For this time ſpent, now?</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Fit.</span> Set ’hem ſo much backe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> I thinke, I ſhall not need it.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Fit.</span> Well, begin, Sir,</span> -<span class="i0">There is your bound, Sir. Not beyond that ruſh.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> If you interrupt me, Sir, I ſhall diſcloake you.</span> -<span class="i34">Wittipol <i>beginnes</i>.</span> -<span class="i0">The time I haue purchaſt, Lady, is but ſhort; <span class="linenum">75</span></span> -<span class="i0">And, therefore, if I imploy it thriftily,</span> -<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span> -<span class="i0">I hope I ſtand the neerer to my pardon.</span> -<span class="i0">I am not here, to tell you, you are faire,</span> -<span class="i0">Or louely, or how well you dreſſe you, Lady,</span> -<span class="i0">I’ll ſaue my ſelfe that eloquence of your glaſſe, <span class="linenum">80</span></span> -<span class="i0">Which can ſpeake these things better to you then I.</span> -<span class="i0">And ’tis a knowledge, wherein fooles may be</span> -<span class="i0">As wiſe as a <i>Count Parliament</i>. Nor come I,</span> -<span class="i0">With any preiudice, or doubt, that you <span class="linenum">[107]  </span></span> -<span class="i0">Should, to the notice of your owne worth, neede <span class="linenum">85</span></span> -<span class="i0">Leaſt reuelation. Shee’s a ſimple woman,</span> -<span class="i0">Know’s not her good: (who euer knowes her ill)</span> -<span class="i0">And at all caracts. That you are the wife,</span> -<span class="i0">To ſo much blaſted fleſh, as ſcarce hath ſoule,</span> -<span class="i0">In ſtead of ſalt, to keepe it ſweete; I thinke, <span class="linenum">90</span></span> -<span class="i0">Will aske no witneſſes, to proue. The cold</span> -<span class="i0">Sheetes that you lie in, with the watching candle,</span> -<span class="i0">That ſees, how dull to any thaw of beauty,</span> -<span class="i0">Pieces, and quarters, halfe, and whole nights, ſometimes,</span> -<span class="i0">The Diuell-giuen <i>Elfine</i> Squire, your husband, <span class="linenum">95</span></span> -<span class="i0">Doth leaue you, quitting heere his proper circle,</span> -<span class="i0">For a much-worſe i’ the walks of <i>Lincolnes Inne</i>,</span> -<span class="i0">Vnder the Elmes, t’expect the feind in vaine, there</span> -<span class="i0">Will confeſſe for you.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Fit.</span> I did looke for this geere.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> And what a daughter of darkneſſe, he do’s make you, <span class="linenum">100</span></span> -<span class="i0">Lock’d vp from all ſociety, or object;</span> -<span class="i0">Your eye not let to looke vpon a face,</span> -<span class="i0">Vnder a Conjurers (or ſome mould for one,</span> -<span class="i0">Hollow, and leane like his) but, by great meanes,</span> -<span class="i0">As I now make; your owne too ſenſible ſufferings, <span class="linenum">105</span></span> -<span class="i0">Without the extraordinary aydes,</span> -<span class="i0">Of ſpells, or ſpirits, may aſſure you, Lady.</span> -<span class="i0">For my part, I proteſt ’gainſt all ſuch practice,</span> -<span class="i0">I worke by no falſe arts, medicines, or charmes</span> -<span class="i0">To be said forward and backward.</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Fit.</span> No, I except: <span class="linenum">110</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Sir I ſhall ease you.</span> -<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> -</div><div class="stanza"> -<span class="i21"><i>He offers to diſcloake him.</i></span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Fit.</span> Mum.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Wit.</span> Nor haue I ends, Lady,</span> -<span class="i0">Vpon you, more then this: to tell you how <i>Loue</i></span> -<span class="i0">Beauties good Angell, he that waits vpon her</span> -<span class="i0">At all occaſions, and no leſſe then <i>Fortune</i>,</span> -<span class="i0">Helps th’ aduenturous, in mee makes that proffer, <span class="linenum">115</span></span> -<span class="i0">Which neuer faire one was ſo fond, to loſe;</span> -<span class="i0">Who could but reach a hand forth to her freedome:</span> -<span class="i0">On the firſt ſight, I lou’d you: ſince which time,</span> -<span class="i0">Though I haue trauell’d, I haue beene in trauell</span> -<span class="i0">More for this second blessing of your eyes <span class="linenum">120</span></span> -<span class="i0">Which now I’haue purchas’d, then for all aymes elſe.</span> -<span class="i0">Thinke of it, Lady, be your minde as actiue,</span> -<span class="i0">As is your beauty: view your object well.</span> -<span class="i0">Examine both my faſhion, and my yeeres;</span> -<span class="i0">Things, that are like, are ſoone familiar: <span class="linenum">125</span></span> -<span class="i0">And Nature ioyes, ſtill in equality.</span> -<span class="i0">Let not the ſigne o’ the husband fright you, Lady.</span> -<span class="i0">But ere your ſpring be gone, inioy it. Flowers,</span> -<span class="i0">Though faire, are oft but of one morning. Thinke,</span> -<span class="i0">All beauty doth not laſt vntill the <i>autumne</i>. <span class="linenum">130</span></span> -<span class="i0">You grow old, while I tell you this. And ſuch, <span class="linenum">[108]  </span></span> -<span class="i0">As cannot vſe the preſent, are not wiſe.</span> -<span class="i0">If Loue and Fortune will take care of vs,</span> -<span class="i0">Why ſhould our will be wanting? This is all.</span> -<span class="i0">What doe you anſwer, Lady?</span> -</div><div class="stanza"> -<span class="i30"><i>Shee stands mute.</i></span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Fit.</span> Now, the sport comes. <span class="linenum">135</span></span> -<span class="i0">Let him ſtill waite, waite, waite: while the watch goes,</span> -<span class="i0">And the time runs. Wife!</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Wit.</span> How! not any word?</span> -<span class="i0">Nay, then, I taſte a tricke in’t. Worthy Lady,</span> -<span class="i0">I cannot be ſo falſe to mine owne thoughts</span> -<span class="i0">Of your preſumed goodneſſe, to conceiue <span class="linenum">140</span></span> -<span class="i0">This, as your rudeneſſe, which I ſee’s impos’d.</span> -<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> -<span class="i0">Yet, ſince your cautelous <i>Iaylor</i>, here ſtands by you,</span> -<span class="i0">And yo’ are deni’d the liberty o’ the houſe,</span> -<span class="i0">Let me take warrant, Lady, from your ſilence,</span> -<span class="i0">(Which euer is interpreted conſent) <span class="linenum">145</span></span> -<span class="i0">To make your anſwer for you: which ſhall be</span> -<span class="i0">To as good purpoſe, as I can imagine,</span> -<span class="i0">And what I thinke you’ld ſpeake.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Fit.</span> No, no, no, no.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> I ſhall reſume, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Man.</span> Sir, what doe you meane?</span> -</div><div class="stanza"> -<span class="i14"><i>He ſets</i> M<sup>r</sup>. Manly, <i>his friend, in her place</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> One interruption more, Sir, and you goe <span class="linenum">150</span></span> -<span class="i0">Into your hoſe and doublet, nothing ſaues you.</span> -<span class="i0">And therefore harken. This is for your wife.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> You muſt play faire, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Wit.</span> Stand for mee, good friend.</span> -<span class="i35"><i>And ſpeaks for her.</i></span> -<span class="i0">Troth, Sir, tis more then true, that you haue vttred</span> -<span class="i0">Of my vnequall, and ſo ſordide match heere, <span class="linenum">155</span></span> -<span class="i0">With all the circumſtances of my bondage.</span> -<span class="i0">I haue a husband, and a two-legg’d one,</span> -<span class="i0">But ſuch a moon-ling, as no wit of man</span> -<span class="i0">Or roſes can redeeme from being an Aſſe.</span> -<span class="i0">H’is growne too much, the ſtory of mens mouthes, <span class="linenum">160</span></span> -<span class="i0">To ſcape his lading: ſhould I make’t my ſtudy,</span> -<span class="i0">And lay all wayes, yea, call mankind to helpe,</span> -<span class="i0">To take his burden off, why, this one act</span> -<span class="i0">Of his, to let his wife out to be courted,</span> -<span class="i0">And, at a price, proclaimes his aſinine nature <span class="linenum">165</span></span> -<span class="i0">So lowd, as I am weary of my title to him.</span> -<span class="i0">But Sir, you ſeeme a Gentleman of vertue,</span> -<span class="i0">No leſſe then blood; and one that euery way</span> -<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -<span class="i0">Lookes as he were of too good quality,</span> -<span class="i0">To intrap a credulous woman, or betray her: <span class="linenum">170</span></span> -<span class="i0">Since you haue payd thus deare, Sir, for a viſit,</span> -<span class="i0">And made ſuch venter, on your wit, and charge</span> -<span class="i0">Meerely to ſee mee, or at moſt to ſpeake to mee,</span> -<span class="i0">I were too ſtupid; or (what’s worſe) ingrate</span> -<span class="i0">Not to returne your venter. Thinke, but how, <span class="linenum">175</span></span> -<span class="i0">I may with ſafety doe it; I ſhall truſt</span> -<span class="i0">My loue and honour to you, and preſume;</span> -<span class="i0">You’ll euer huſband both, againſt this huſband; <span class="linenum">[109]  </span></span> -<span class="i0">Who, if we chance to change his liberall eares,</span> -<span class="i0">To other enſignes, and with labour make <span class="linenum">180</span></span> -<span class="i0">A new beaſt of him, as hee ſhall deſerue,</span> -<span class="i0">Cannot complaine, hee is vnkindly dealth with.</span> -<span class="i0">This day hee is to goe to a new play, Sir.</span> -<span class="i0">From whence no feare, no, nor authority,</span> -<span class="i0">Scarcely the <i>Kings</i> command, Sir, will reſtraine him, <span class="linenum">185</span></span> -<span class="i0">Now you haue fitted him with a <i>Stage</i>-garment,</span> -<span class="i0">For the meere names ſake, were there nothing elſe:</span> -<span class="i0">And many more ſuch iourneyes, hee will make.</span> -<span class="i0">Which, if they now, or, any time heereafter,</span> -<span class="i0">Offer vs opportunity, you heare, Sir, <span class="linenum">190</span></span> -<span class="i0">Who’ll be as glad, and forward to imbrace,</span> -<span class="i0">Meete, and enioy it chearefully as you.</span> -<span class="i0">I humbly thanke you, Lady.</span> -</div><div class="stanza"> -<span class="i19"><i>Hee ſhifts to his owne place againe</i></span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Fit.</span> Keepe your ground Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Will you be lightned?</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Fit.</span> Mum.</span> -</div><div class="stanza"> -<span class="i24"><span class="smcap">Wit.</span> And but I am,</span> -<span class="i0">By the ſad contract, thus to take my leaue of you <span class="linenum">195</span></span> -<span class="i0">At this ſo enuious distance, I had taught</span> -<span class="i0">Our lips ere this, to ſeale the happy mixture</span> -<span class="i0">Made of our ſoules. But we muſt both, now, yeeld</span> -<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> -<span class="i0">To the neceſſity. Doe not thinke yet, Lady,</span> -<span class="i0">But I can kiſſe, and touch, and laugh, and whiſper, <span class="linenum">200</span></span> -<span class="i0">And doe those crowning court-ſhips too, for which,</span> -<span class="i0">Day, and the publike haue allow’d no name</span> -<span class="i0">But, now, my bargaine binds me. ’Twere rude iniury,</span> -<span class="i0">T’importune more, or vrge a noble nature,</span> -<span class="i0">To what of it’s owne bounty it is prone to: <span class="linenum">205</span></span> -<span class="i0">Elſe, I ſhould ſpeake—But, Lady, I loue ſo well,</span> -<span class="i0">As I will hope, you’ll doe ſo to. I haue done, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Well, then, I ha’ won?</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Wit.</span> Sir, And I may win, too.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> O yes! no doubt on’t. I’ll take carefull order,</span> -<span class="i0">That ſhee ſhall hang forth enſignes at the window, <span class="linenum">210</span></span> -<span class="i0">To tell you when I am abſent. Or I’ll keepe</span> -<span class="i0">Three or foure foote-men, ready ſtill of purpoſe,</span> -<span class="i0">To runne and fetch you, at her longings, Sir.</span> -<span class="i0">I’ll goe beſpeake me ſtraight a guilt caroch,</span> -<span class="i0">For her and you to take the ayre in. Yes, <span class="linenum">215</span></span> -<span class="i0">Into <i>Hide-parke</i>, and thence into <i>Black-Fryers</i>,</span> -<span class="i0">Viſit the painters, where you may ſee pictures,</span> -<span class="i0">And note the propereſt limbs, and how to make ’hem.</span> -<span class="i0">Or what doe you ſay vnto a middling Goſſip</span> -<span class="i0">To bring you aye together, at her lodging? <span class="linenum">220</span></span> -<span class="i0">Vnder pretext of teaching o’ my wife</span> -<span class="i0">Some rare receit of drawing <i>almond</i> milke? ha?</span> -<span class="i0">It shall be a part of my care. Good Sir, God b’w’you.</span> -<span class="i0">I ha’ kept the contract, and the cloake is mine.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Why, much good do’t you S<sup>r</sup>; it may fall out, <span class="linenum">[110] 225</span></span> -<span class="i0">That you ha’ bought it deare, though I ha’ not ſold it.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> A pretty riddle! Fare you well, good Sir.</span> -<span class="i0">Wife, your face this way, looke on me: and thinke</span> -<span class="i0">Yo’ haue had a wicked dreame, wife, and forget it.</span> -</div><div class="stanza"> -<span class="i28"><i>Hee turnes his wife about.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> This is the ſtrangeſt motion I ere ſaw. <span class="linenum">230</span></span> -<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Now, wife, ſits this faire cloake the worſe vpon me,</span> -<span class="i0">For my great ſufferings, or your little patience? ha?</span> -<span class="i0">They laugh, you thinke?</span> -</div><div class="stanza"> -<span class="i13">M<sup>rs</sup>. <span class="smcap">Fi.</span> Why S<sup>r</sup>. and you might ſee’t.</span> -<span class="i0">What thought, they haue of you, may be ſoone collected</span> -<span class="i0">By the young Genlemans ſpeache.</span> -</div><div class="stanza"> -<span class="i27"><span class="smcap">Fit.</span> Youug Gentleman? <span class="linenum">235</span></span> -<span class="i0">Death! you are in loue with him, are you? could he not</span> -<span class="i0">Be nam’d the Gentleman, without the young?</span> -<span class="i0">Vp to your Cabbin againe.</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> My cage, yo’ were beſt</span> -<span class="i0">To call it?</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Fit.</span> Yes, ſing there. You’ld faine be making</span> -<span class="i0"><i>Blanck Manger</i> with him at your mothers! I know you. <span class="linenum">240</span></span> -<span class="i0">Goe get you vp. How now! what ſay you, <i>Diuell</i>?</span> -</div></div> - -<p><a name="Footnote_206_206" id="Footnote_206_206"></a><span class="label">[206]</span> -SD. om. <i>Enter</i> <span class="smcap">Fitzdottrell</span>, -<i>with Mrs.</i> <span class="smcap">Frances</span> <i>his wife</i>. G</p> - -<p><a name="Footnote_207_207" id="Footnote_207_207"></a><span class="label">[207]</span> -9 Meetings 1692, 1716 meetings 1641, W, G</p> - -<p><a name="Footnote_208_208" id="Footnote_208_208"></a><span class="label">[208]</span> -11 I haue] I’ve W haue a] a 1641. f.</p> - -<p><a name="Footnote_209_209" id="Footnote_209_209"></a><span class="label">[209]</span> -18 SN. om. G</p> - -<p><a name="Footnote_210_210" id="Footnote_210_210"></a><span class="label">[210]</span> -19 () ret. G</p> - -<p><a name="Footnote_211_211" id="Footnote_211_211"></a><span class="label">[211]</span> -32 i’ the 1641, 1692, 1716, W in the G</p> - -<p><a name="Footnote_212_212" id="Footnote_212_212"></a><span class="label">[212]</span> -44 ’hem] ’em G</p> - -<p><a name="Footnote_213_213" id="Footnote_213_213"></a><span class="label">[213]</span> -46 ’t] it G || ’hem] ’em G</p> - -<p><a name="Footnote_214_214" id="Footnote_214_214"></a><span class="label">[214]</span> -49 gi’] give G</p> - -<p><a name="Footnote_215_215" id="Footnote_215_215"></a><span class="label">[215]</span> -51 though 1641, f.</p> - -<p><a name="Footnote_216_216" id="Footnote_216_216"></a><span class="label">[216]</span> -52 () om. G</p> - -<p><a name="Footnote_217_217" id="Footnote_217_217"></a><span class="label">[217]</span> -58 SN.] <i>He disposes his wife to her place.</i> G</p> - -<p><a name="Footnote_218_218" id="Footnote_218_218"></a><span class="label">[218]</span> -59 [<i>Aside.</i> G</p> - -<p><a name="Footnote_219_219" id="Footnote_219_219"></a><span class="label">[219]</span> -63 th’art 1641, 1692, 1716 they are W, G SN. om. G</p> - -<p><a name="Footnote_220_220" id="Footnote_220_220"></a><span class="label">[220]</span> -64 enjoy 1692, f.</p> - -<p><a name="Footnote_221_221" id="Footnote_221_221"></a><span class="label">[221]</span> -74 SN. om. G</p> - -<p><a name="Footnote_222_222" id="Footnote_222_222"></a><span class="label">[222]</span> -76 employ W, G</p> - -<p><a name="Footnote_223_223" id="Footnote_223_223"></a><span class="label">[223]</span> -83 came W</p> - -<p><a name="Footnote_224_224" id="Footnote_224_224"></a><span class="label">[224]</span> -88 characts 1692 Characts 1716</p> - -<p><a name="Footnote_225_225" id="Footnote_225_225"></a><span class="label">[225]</span> -99 jeer W, G</p> - -<p><a name="Footnote_226_226" id="Footnote_226_226"></a><span class="label">[226]</span> -115 adventrous 1692, 1716 advent’rous W || th’] the G</p> - -<p><a name="Footnote_227_227" id="Footnote_227_227"></a><span class="label">[227]</span> -117 forth] out 1641</p> - -<p><a name="Footnote_228_228" id="Footnote_228_228"></a><span class="label">[228]</span> -121 I’ haue] I have 1692 I’ve 1716, f.</p> - -<p><a name="Footnote_229_229" id="Footnote_229_229"></a><span class="label">[229]</span> -127 o’] of G</p> - -<p><a name="Footnote_230_230" id="Footnote_230_230"></a><span class="label">[230]</span> -134, 5 misplaced t adjusted 1692. f.</p> - -<p><a name="Footnote_231_231" id="Footnote_231_231"></a><span class="label">[231]</span> -135 SN. om. G</p> - -<p><a name="Footnote_232_232" id="Footnote_232_232"></a><span class="label">[232]</span> -139 my G</p> - -<p><a name="Footnote_233_233" id="Footnote_233_233"></a><span class="label">[233]</span> -143 you’re 1716, W you are G</p> - -<p><a name="Footnote_234_234" id="Footnote_234_234"></a><span class="label">[234]</span> -149, 153 SN. [<i>Sets Manly in his place, and speaks for the lady.</i> (after ‘friend.’ 153) G</p> - -<p><a name="Footnote_235_235" id="Footnote_235_235"></a><span class="label">[235]</span> -154 utt’red 1692 utter’d 1716, f.</p> - -<p><a name="Footnote_236_236" id="Footnote_236_236"></a><span class="label">[236]</span> -160 He’s 1716, f.</p> - -<p><a name="Footnote_237_237" id="Footnote_237_237"></a><span class="label">[237]</span> -161 T’ escape W To ’scape 1716</p> - -<p><a name="Footnote_238_238" id="Footnote_238_238"></a><span class="label">[238]</span> -172, 5 venture 1692, f.</p> - -<p><a name="Footnote_239_239" id="Footnote_239_239"></a><span class="label">[239]</span> -182 dealt 1692, f.</p> - -<p><a name="Footnote_240_240" id="Footnote_240_240"></a><span class="label">[240]</span> -187 nothing] no things 1692, 1716</p> - -<p><a name="Footnote_241_241" id="Footnote_241_241"></a><span class="label">[241]</span> -191 embrace 1692, f.</p> - -<p><a name="Footnote_242_242" id="Footnote_242_242"></a><span class="label">[242]</span> -193 SN. om. 1641, 1692, 1716 || <i>Hee</i> om. G</p> - -<p><a name="Footnote_243_243" id="Footnote_243_243"></a><span class="label">[243]</span> -194 lighten’d 1716, f.</p> - -<p><a name="Footnote_244_244" id="Footnote_244_244"></a><span class="label">[244]</span> -195 sad] said W, G</p> - -<p><a name="Footnote_245_245" id="Footnote_245_245"></a><span class="label">[245]</span> -211 I am] I’m W</p> - -<p><a name="Footnote_246_246" id="Footnote_246_246"></a><span class="label">[246]</span> -223 be wi’ G</p> - -<p><a name="Footnote_247_247" id="Footnote_247_247"></a><span class="label">[247]</span> -224 is mine] is mine owne 1641 is mine own 1692 ’s mine own 1716, W, G</p> - -<p><a name="Footnote_248_248" id="Footnote_248_248"></a><span class="label">[248]</span> -226 I ha’] I’ve G [<i>Exit.</i> G</p> - -<p><a name="Footnote_249_249" id="Footnote_249_249"></a><span class="label">[249]</span> -229 Ya’ have 1692 You’ve 1716 You W, G SN. om. G</p> - -<p><a name="Footnote_250_250" id="Footnote_250_250"></a><span class="label">[250]</span> -230 [<i>Exit.</i> G</p> - -<p><a name="Footnote_251_251" id="Footnote_251_251"></a><span class="label">[251]</span> -235 Youug] Young 1641, f. || Gentlmans 1641 -Gentleman’s 1692, 1716 gentleman’s W, G</p> - -<p><a name="Footnote_252_252" id="Footnote_252_252"></a><span class="label">[252]</span> -240 him] it 1641</p> - -<p><a name="Footnote_253_253" id="Footnote_253_253"></a><span class="label">[253]</span> -241 up.—[<i>Exit Mrs. Fitz. Enter</i> <span class="smcap">Pug</span>. G</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>I</b>. Scene. <b>VII</b>.</span></p> -<p class="center"><span class="smcap">Pvg.</span> <span class="smcap">Fitzdottrel.</span>  -<span class="smcap">Ingine.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Heere is one <i>Ingine</i>, Sir, deſires to ſpeake with you.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I thought he brought ſome newes, of a broker! Well,</span> -<span class="i0">Let him come in, good <i>Diuell</i>: fetch him elſe.</span> -<span class="i0">O, my fine <i>Ingine</i>! what’s th’affaire? more cheats?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> No Sir, the Wit, the Braine, the great <i>Proiector</i>, <span class="linenum">5</span></span> -<span class="i0">I told you of, is newly come to towne.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Where, <i>Ingine</i>?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Ing.</span> I ha’ brought him (H’is without)</span> -<span class="i0">Ere hee pull’d off his boots, Sir, but ſo follow’d,</span> -<span class="i0">For buſineſſes:</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> But what is a <i>Proiector</i>?</span> -<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> -<span class="i0">I would conceiue.</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Ing.</span> Why, one Sir, that proiects <span class="linenum">10</span></span> -<span class="i0">Wayes to enrich men, or to make ’hem great,</span> -<span class="i0">By ſuites, by marriages, by vndertakings:</span> -<span class="i0">According as he ſees they humour it.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Can hee not coniure at all?</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Ing.</span> I thinke he can, Sir.</span> -<span class="i0">(To tell you true) but, you doe know, of late, <span class="linenum">15</span></span> -<span class="i0">The State hath tane ſuch note of ’hem, and compell’d ’hem,</span> -<span class="i0">To enter ſuch great bonds, they dare not practice.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> ’Tis true, and I lie fallow for’t, the while!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> O, Sir! you’ll grow the richer for the reſt.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I hope I ſhall: but <i>Ingine</i>, you doe talke <span class="linenum">20</span></span> -<span class="i0">Somewhat too much, o’ my courſes. My Cloake-cuſtomer</span> -<span class="i0">Could tell mee ſtrange particulars.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Ing.</span> By my meanes? <span class="linenum">[111]</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> How ſhould he haue ’hem elſe?</span> -</div><div class="stanza"> -<span class="i21"><span class="smcap">Ing.</span> You do not know, S<sup>r</sup>,</span> -<span class="i0">What he has: and by what arts! A monei’d man, Sir,</span> -<span class="i0">And is as great with your <i>Almanack-Men</i>, as you are! <span class="linenum">25</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> That Gallant?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> You make the other wait too long, here:</span> -<span class="i0">And hee is extreme punctuall.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Fit.</span> Is he a gallant?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> Sir, you ſhall ſee: He’is in his riding ſuit,</span> -<span class="i0">As hee comes now from Court. But heere him ſpeake:</span> -<span class="i0">Miniſter matter to him, and then tell mee. <span class="linenum">30</span></span> -</div></div> - -<p><a name="Footnote_254_254" id="Footnote_254_254"></a><span class="label">[254]</span> -SD. om. G</p> - -<p><a name="Footnote_255_255" id="Footnote_255_255"></a><span class="label">[255]</span> -3 <i>Exit Pug. Re-enter</i> <span class="smcap">Engine</span>. G</p> - -<p><a name="Footnote_256_256" id="Footnote_256_256"></a><span class="label">[256]</span> -4 th’] the G§</p> - -<p><a name="Footnote_257_257" id="Footnote_257_257"></a><span class="label">[257]</span> -7 H’is] he’s 1716, f. () ret. G</p> - -<p><a name="Footnote_258_258" id="Footnote_258_258"></a><span class="label">[258]</span> -9 businesse 1641</p> - -<p><a name="Footnote_259_259" id="Footnote_259_259"></a><span class="label">[259]</span> -12 undertaking 1641</p> - -<p><a name="Footnote_260_260" id="Footnote_260_260"></a><span class="label">[260]</span> -16 ’hem] ’em G</p> - -<p><a name="Footnote_261_261" id="Footnote_261_261"></a><span class="label">[261]</span> -21 o’ ret. G</p> - -<p><a name="Footnote_262_262" id="Footnote_262_262"></a><span class="label">[262]</span> -27 a om. 1692, 1716, W</p> - -<p><a name="Footnote_263_263" id="Footnote_263_263"></a><span class="label">[263]</span> -28 He’is] He’s 1716 he’s W, G</p> - -<p><a name="Footnote_264_264" id="Footnote_264_264"></a><span class="label">[264]</span> -30 [<i>Exeunt.</i> G</p> - -<p><span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p> -<hr class="chap" /> - -<p class="f120 space-above1"><span class="smcap">Act. <b>IJ</b>. Scene. <b>I</b>.</span></p> -<p class="center"><span class="smcap">Meer-craft.</span> <span class="smcap">Fitz-dottrel.</span> <span class="smcap">Ingine.</span><br /> -<span class="smcap">Traines.</span> <span class="smcap">Pvg.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Sir, money’s a whore, a bawd, a drudge;</span> -<span class="i0">Fit to runne out on errands: Let her goe.</span> -<span class="i0"><i>Via pecunia!</i> when ſhe’s runne and gone,</span> -<span class="i0">And fled and dead; then will I fetch her, againe,</span> -<span class="i0">With <i>Aqua-vitæ</i>, out of an old Hogs-head! <span class="linenum">5</span></span> -<span class="i0">While there are lees of wine, or dregs of beere,</span> -<span class="i0">I’le neuer want her! Coyne her out of cobwebs,</span> -<span class="i0">Duſt, but I’ll haue her! Raiſe wooll vpon egge-ſhells,</span> -<span class="i0">Sir, and make graſe grow out o’ marro-bones.</span> -<span class="i0">To make her come. (Commend mee to your Miſtreſſe, <span class="linenum">10</span></span> -<span class="i39"><i>To a waiter.</i></span> -<span class="i0">Say, let the thouſand pound but be had ready,</span> -<span class="i0">And it is done) I would but ſee the creature</span> -<span class="i0">(Of fleſh, and blood) the man, the <i>prince</i>, indeed,</span> -<span class="i0">That could imploy ſo many millions</span> -<span class="i0">As I would help him to.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> How, talks he? millions? <span class="linenum">15</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> (I’ll giue you an account of this to morrow.)</span> -<span class="i0">Yes, I will talke no leſſe, and doe it too;</span> -<span class="i33"><i>To another.</i></span> -<span class="i0">If they were <i>Myriades</i>: and without the <i>Diuell</i>,</span> -<span class="i0">By direct meanes, it ſhall be good in law.</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Ing.</span> Sir. <span class="linenum">[112]  </span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Tell M<sup>r</sup>. <i>Wood-cock</i>, I’ll not faile to meet him <span class="linenum">20</span></span> -<span class="i33"><i>To a third.</i></span> -<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> -<span class="i0">Vpon th’ <i>Exchange</i> at night. Pray him to haue</span> -<span class="i0">The writings there, and wee’ll diſpatch it. Sir,</span> -<span class="i28"><i>He turnes to</i> Fitz-dottrel.</span> -<span class="i0">You are a Gentleman of a good preſence,</span> -<span class="i0">A handſome man (I haue conſidered you)</span> -<span class="i0">As a fit ſtocke to graft honours vpon: <span class="linenum">25</span></span> -<span class="i0">I haue a proiect to make you a <i>Duke</i>, now.</span> -<span class="i0">That you muſt be one, within ſo many moneths,</span> -<span class="i0">As I ſet downe, out of true reaſon of ſtate,</span> -<span class="i0">You ſha’ not auoyd it. But you muſt harken, then.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> Harken? why S<sup>r</sup>, do you doubt his eares? Alas! <span class="linenum">30</span></span> -<span class="i0">You doe not know Maſter <i>Fitz-dottrel</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> He do’s not know me indeed. I thank you, <i>Ingine</i>,</span> -<span class="i0">For rectifying him.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> Good! Why, <i>Ingine</i>, then</span> -<span class="i30"><i>He turnes to</i> Ingine.</span> -<span class="i0">I’le tell it you. (I see you ha’ credit, here,</span> -<span class="i0">And, that you can keepe counſell, I’ll not queſtion.) <span class="linenum">35</span></span> -<span class="i0">Hee ſhall but be an vndertaker with mee,</span> -<span class="i0">In a moſt feaſible bus’neſſe. It shall cost him</span> -<span class="i0">Nothing.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Ing.</span> Good, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i11"><span class="smcap">Mer.</span> Except he pleaſe, but’s count’nance;</span> -<span class="i0">(That I will haue) t’appeare in’t, to great men,</span> -<span class="i0">For which I’ll make him one. Hee ſhall not draw <span class="linenum">40</span></span> -<span class="i0">A ſtring of’s purſe. I’ll driue his pattent for him.</span> -<span class="i0">We’ll take in Cittizens, <i>Commoners</i>, and <i>Aldermen</i>,</span> -<span class="i0">To beare the charge, and blow ’hem off againe,</span> -<span class="i0">Like ſo many dead flyes, when ’tis carryed.</span> -<span class="i0">The thing is for recouery of drown’d land, <span class="linenum">45</span></span> -<span class="i0">Whereof the <i>Crowne’s</i> to haue his moiety,</span> -<span class="i0">If it be owner; Elſe, the <i>Crowne</i> and Owners</span> -<span class="i0">To ſhare that moyety: and the recouerers</span> -<span class="i0">T’enioy the tother moyety, for their charge.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> Thorowout <i>England</i>?</span> -<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Mer.</span> Yes, which will ariſe <span class="linenum">50</span></span> -<span class="i0">To eyghteene <i>millions</i>, ſeuen the firſt yeere:</span> -<span class="i0">I haue computed all, and made my ſuruay</span> -<span class="i0">Vnto an acre. I’ll beginne at the Pan,</span> -<span class="i0">Not, at the skirts: as ſome ha’ done, and loſt,</span> -<span class="i0">All that they wrought, their timber-worke, their trench, <span class="linenum">55</span></span> -<span class="i0">Their bankes all borne away, or elſe fill’d vp</span> -<span class="i0">By the next winter. Tut, they neuer went</span> -<span class="i0">The way: I’ll haue it all.</span> -</div><div class="stanza"> -<span class="i3"><span class="smcap">Ing.</span> A gallant tract</span> -<span class="i0">Of land it is!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> ’Twill yeeld a pound an acre.</span> -<span class="i0">Wee muſt let cheape, euer, at firſt. But Sir, <span class="linenum">60</span></span> -<span class="i0">This lookes too large for you, I ſee. Come hither,</span> -<span class="i0">We’ll haue a leſſe. Here’s a plain fellow, you ſee him,</span> -<span class="i0">Has his black bag of papers, there, in Buckram,</span> -<span class="i0">Wi’ not be ſold for th’Earledome of <i>Pancridge</i>: Draw,</span> -<span class="i0">Gi’ me out one, by chance. Proiect. 4. <i>Dog-skinnes?</i> <span class="linenum">65</span></span> -<span class="i0">Twelue thouſand pound! the very worſt, at firſt. <span class="linenum">[113]  </span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Pray, you let’s ſee’t Sir.</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Mer.</span> ’Tis a toy, a trifle!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Trifle! 12. thouſand pound for dogs-skins?</span> -</div><div class="stanza"> -<span class="i28"><span class="smcap">Mer.</span> Yes,</span> -<span class="i0">But, by my way of dreſſing, you muſt know, Sir,</span> -<span class="i0">And med’cining the leather, to a height <span class="linenum">70</span></span> -<span class="i0">Of improu’d ware, like your <i>Borachio</i></span> -<span class="i0">Of <i>Spaine</i>, Sir. I can fetch nine thouſand for’t—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> Of the Kings glouer?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> Yes, how heard you that?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing</span>. Sir, I doe know you can.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> Within this houre:</span> -<span class="i0">And reſerue halfe my ſecret. Pluck another; <span class="linenum">75</span></span> -<span class="i0">See if thou haſt a happier hand: I thought ſo.</span> -<span class="i26"><i>Hee pluckes out the 2. Bottle-ale.</i></span> -<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span> -<span class="i0">The very next worſe to it! Bottle-ale.</span> -<span class="i0">Yet, this is two and twenty thouſand! Pr’y thee</span> -<span class="i0">Pull out another, two or three.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> Good, ſtay, friend,</span> -<span class="i0">By bottle-ale, two and twenty thouſand pound? <span class="linenum">80</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Yes, Sir, it’s caſt to penny-hal’penny-farthing,</span> -<span class="i0">O’ the back-ſide, there you may ſee it, read,</span> -<span class="i0">I will not bate a <i>Harrington</i> o’ the ſumme.</span> -<span class="i0">I’ll winne it i’ my water, and my malt,</span> -<span class="i0">My furnaces, and hanging o’ my coppers, <span class="linenum">85</span></span> -<span class="i0">The tonning, and the ſubtilty o’ my yeſt;</span> -<span class="i0">And, then the earth of my bottles, which I dig,</span> -<span class="i0">Turne vp, and ſteepe, and worke, and neale, my ſelfe,</span> -<span class="i0">To a degree of <i>Porc’lane</i>. You will wonder,</span> -<span class="i0">At my proportions, what I will put vp <span class="linenum">90</span></span> -<span class="i0">In ſeuen yeeres! for ſo long time, I aske</span> -<span class="i0">For my inuention. I will ſaue in cork,</span> -<span class="i0">In my mere ſtop’ling, ’boue three thouſand pound,</span> -<span class="i0">Within that terme: by googing of ’hem out</span> -<span class="i0">Iuſt to the ſize of my bottles, and not ſlicing, <span class="linenum">95</span></span> -<span class="i0">There’s infinite loſſe i’ that. What haſt thou there?</span> -<span class="i0">O’ making wine of raiſins: this is in hand, now,</span> -<span class="i24"><i>Hee drawes out another</i>. Raiſines.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> Is not that ſtrange, S<sup>r</sup>, to make wine of raiſins?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Yes, and as true a wine, as the wines of <i>France</i>,</span> -<span class="i0">Or <i>Spaine</i>, or <i>Italy</i>, Looke of what grape <span class="linenum">100</span></span> -<span class="i0">My raiſin is, that wine I’ll render perfect,</span> -<span class="i0">As of the <i>muſcatell</i> grape, I’ll render <i>muſcatell</i>;</span> -<span class="i0">Of the <i>Canary</i>, his; the <i>Claret</i>, his;</span> -<span class="i0">So of all kinds: and bate you of the prices,</span> -<span class="i0">Of wine, throughout the kingdome, halfe in halfe. <span class="linenum">105</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> But, how, S<sup>r</sup>, if you raiſe the other commodity, Rayſins?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Why, then I’ll make it out of blackberries:</span> -<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> -<span class="i0">And it ſhall doe the ſame. ’Tis but more art,</span> -<span class="i0">And the charge leſſe. Take out another.</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Fit.</span> No, good Sir.</span> -<span class="i0">Saue you the trouble, I’le not looke, nor heare <span class="linenum">110</span></span> -<span class="i0">Of any, but your firſt, there; the <i>Drown’d-land</i>:</span> -<span class="i0">If’t will doe, as you ſay.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Mer.</span> Sir, there’s not place,</span> -<span class="i0">To gi’ you demonſtration of theſe things. <span class="linenum">[114]  </span></span> -<span class="i0">They are a little to ſubtle. But, I could ſhew you</span> -<span class="i0">Such a neceſſity in’t, as you muſt be <span class="linenum">115</span></span> -<span class="i0">But what you pleaſe: againſt the receiu’d hereſie,</span> -<span class="i0">That <i>England</i> beares no Dukes. Keepe you the land, S<sup>r</sup>,</span> -<span class="i0">The greatneſſe of th’ eſtate ſhall throw’t vpon you.</span> -<span class="i0">If you like better turning it to money,</span> -<span class="i0">What may not you, S<sup>r</sup>, purchaſe with that wealth? <span class="linenum">120</span></span> -<span class="i0">Say, you ſhould part with two o’ your millions,</span> -<span class="i0">To be the thing you would, who would not do’t?</span> -<span class="i0">As I proteſt, I will, out of my diuident,</span> -<span class="i0">Lay, for ſome pretty principality,</span> -<span class="i0">In <i>Italy</i>, from the Church: Now, you perhaps, <span class="linenum">125</span></span> -<span class="i0">Fancy the ſmoake of <i>England</i>, rather? But—</span> -<span class="i0">Ha’ you no priuate roome, Sir, to draw to,</span> -<span class="i0">T’enlarge our ſelues more vpon.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Fit.</span> O yes, <i>Diuell</i>!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Theſe, Sir, are bus’neſſes, aske to be carryed</span> -<span class="i0">With caution, and in cloud.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I apprehend, <span class="linenum">130</span></span> -<span class="i0">They doe ſo, S<sup>r</sup>. <i>Diuell</i>, which way is your Miſtreſſe?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Aboue, S<sup>r</sup>. in her chamber.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> O that’s well.</span> -<span class="i0">Then, this way, good, Sir.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> I ſhall follow you; <i>Traines</i>,</span> -<span class="i0">Gi’ mee the bag, and goe you preſently,</span> -<span class="i0">Commend my ſeruice to my Lady <i>Tail-buſh</i>. <span class="linenum">135</span></span> -<span class="i0">Tell her I am come from Court this morning; ſay,</span> -<span class="i0">I’haue got our bus’neſſe mou’d, and well: Intreat her,</span> -<span class="i0">That ſhee giue you the four-ſcore Angels, and ſee ’hem</span> -<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> -<span class="i0">Diſpos’d of to my Councel, Sir <i>Poul Eytherſide</i>.</span> -<span class="i0">Sometime, to day, I’ll waite vpon her Ladiſhip, <span class="linenum">140</span></span> -<span class="i0">With the relation.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> Sir, of what diſpatch,</span> -<span class="i0">He is! Do you marke?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> <i>Ingine</i>, when did you ſee</span> -<span class="i0">My couſin <i>Euer-ill</i>? keepes he ſtill your quarter?</span> -<span class="i0">I’ the <i>Bermudas</i>?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> Yes, Sir, he was writing</span> -<span class="i0">This morning, very hard.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Be not you knowne to him,</span> -<span class="i0">That I am come to Towne: I haue effected <span class="linenum">146</span></span> -<span class="i0">A buſineſſe for him, but I would haue it take him,</span> -<span class="i0">Before he thinks for’t.</span> -</div><div class="stanza"> -<span class="i3"><span class="smcap">Ing.</span> Is it paſt?</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Mer.</span> Not yet.</span> -<span class="i0">’Tis well o’ the way.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> O Sir! your worſhip takes</span> -<span class="i0">Infinit paines.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> I loue Friends, to be actiue: <span class="linenum">150</span></span> -<span class="i0">A ſluggish nature puts off man, and kinde.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> And ſuch a bleſſing followes it.</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Mer.</span> I thanke</span> -<span class="i0">My fate. Pray you let’s be priuate, Sir?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> In, here.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Where none may interrupt vs.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> You heare, <i>Diuel</i>,</span> -<span class="i0">Lock the ſtreete-doores faſt, and let no one in <span class="linenum">155</span></span> -<span class="i0">(Except they be this Gentlemans followers)</span> -<span class="i0">To trouble mee. Doe you marke? Yo’ haue heard and ſeene</span> -<span class="i0">Something, to day; and, by it, you may gather</span> -<span class="i0">Your Miſtreſſe is a fruite, that’s worth the ſtealing</span> -<span class="i0">And therefore worth the watching. Be you ſure, now <span class="linenum">[115]  </span></span> -<span class="i0">Yo’ haue all your eyes about you; and let in <span class="linenum">161</span></span> -<span class="i0">No lace-woman; nor bawd, that brings French-maſques,</span> -<span class="i0">And cut-works. See you? Nor old croanes, with wafers,</span> -<span class="i0">To conuey letters. Nor no youths, diſguis’d</span> -<span class="i0">Like country-wiues, with creame, and marrow-puddings. <span class="linenum">165</span></span> -<span class="i0">Much knauery may be vented in a pudding,</span> -<span class="i0">Much bawdy intelligence: They’are ſhrewd ciphers.</span> -<span class="i0">Nor turne the key to any neyghbours neede;</span> -<span class="i0">Be’t but to kindle fire, or begg a little,</span> -<span class="i0">Put it out, rather: all out, to an aſhe, <span class="linenum">170</span></span> -<span class="i0">That they may ſee no ſmoake. Or water, ſpill it:</span> -<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> -<span class="i0">Knock o’ the empty tubs, that by the ſound,</span> -<span class="i0">They may be forbid entry. Say, wee are robb’d,</span> -<span class="i0">If any come to borrow a ſpoone, or ſo.</span> -<span class="i0">I wi’ not haue good fortune, or gods bleſſing <span class="linenum">175</span></span> -<span class="i0">Let in, while I am buſie.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pvg.</span> I’le take care, Sir:</span> -<span class="i0">They ſha’ not trouble you, if they would.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Fit.</span> Well, doe ſo.</span> -</div></div> - -<p><a name="Footnote_265_265" id="Footnote_265_265"></a><span class="label">[265]</span> -SD. <span class="smcap">Meer.</span> ...] <i>A Room in</i> Fitzdottrel’s <i>House. -Enter</i> <span class="smcap">Fitzdottrel</span>, <span class="smcap">Engine</span>, <i>and</i> -<span class="smcap">Meercraft</span>, <i>followed by</i> <span class="smcap">Trains</span> -<i>with a bag, and three or four Attendants</i>. G</p> - -<p><a name="Footnote_266_266" id="Footnote_266_266"></a><span class="label">[266]</span> -1 ’s] is G</p> - -<p><a name="Footnote_267_267" id="Footnote_267_267"></a><span class="label">[267]</span> -10 SN. <i>To</i> ...] [<i>To 1 Attendant.</i>] G</p> - -<p><a name="Footnote_268_268" id="Footnote_268_268"></a><span class="label">[268]</span> -12 done. [<i>Exit 1 Attend.</i>] G</p> - -<p><a name="Footnote_269_269" id="Footnote_269_269"></a><span class="label">[269]</span> -14 employ W, G</p> - -<p><a name="Footnote_270_270" id="Footnote_270_270"></a><span class="label">[270]</span> -15 How, talks] How talks 1716, f.</p> - -<p><a name="Footnote_271_271" id="Footnote_271_271"></a><span class="label">[271]</span> -17 SN.] [<i>To 2 Attendant.</i>] [<i>Exit 2 Atten.</i> G || talke] take 1641, 1716, f.</p> - -<p><a name="Footnote_272_272" id="Footnote_272_272"></a><span class="label">[272]</span> -18 <i>Myriads</i> 1716 Myriads W myriads G</p> - -<p><a name="Footnote_273_273" id="Footnote_273_273"></a><span class="label">[273]</span> -20 SN. om. 1641, 1692. 1716, W [<i>to 3 Atten.</i>] G || M<sup>r</sup>.] master G passim</p> - -<p><a name="Footnote_274_274" id="Footnote_274_274"></a><span class="label">[274]</span> -22 it. [<i>Exit 3 Atten.</i>] G || SN. om. 1641, f.</p> - -<p><a name="Footnote_275_275" id="Footnote_275_275"></a><span class="label">[275]</span> -24 () om. W</p> - -<p><a name="Footnote_276_276" id="Footnote_276_276"></a><span class="label">[276]</span> -28 reasons G</p> - -<p><a name="Footnote_277_277" id="Footnote_277_277"></a><span class="label">[277]</span> -29 sha’] shall G</p> - -<p><a name="Footnote_278_278" id="Footnote_278_278"></a><span class="label">[278]</span> -33 SN. om. 1641. f.</p> - -<p><a name="Footnote_279_279" id="Footnote_279_279"></a><span class="label">[279]</span> -34 it om. 1641</p> - -<p><a name="Footnote_280_280" id="Footnote_280_280"></a><span class="label">[280]</span> -34, 35, 39 () ret. G</p> - -<p><a name="Footnote_281_281" id="Footnote_281_281"></a><span class="label">[281]</span> -44 ’tis] it is G</p> - -<p><a name="Footnote_282_282" id="Footnote_282_282"></a><span class="label">[282]</span> -46 his] a 1641, f.</p> - -<p><a name="Footnote_283_283" id="Footnote_283_283"></a><span class="label">[283]</span> -50 Throughout 1641, 1692, 1716, W Thoroughout G</p> - -<p><a name="Footnote_284_284" id="Footnote_284_284"></a><span class="label">[284]</span> -53 an] my 1692, f.</p> - -<p><a name="Footnote_285_285" id="Footnote_285_285"></a><span class="label">[285]</span> -62 fellow, [<i>points to Trains</i>] G</p> - -<p><a name="Footnote_286_286" id="Footnote_286_286"></a><span class="label">[286]</span> -64 Wi’] Will W, G</p> - -<p><a name="Footnote_287_287" id="Footnote_287_287"></a><span class="label">[287]</span> -65 chance. [<i>Trains gives him a paper out of the bag.</i>] G || Project; -foure 1641 Project: four 1692, 1716 Project four; W Project four: G || Dog-skinnes] -dogs-skins 1641 Dogs Skins 1692, 1716 dogs skins W Dogs’ skins G</p> - -<p><a name="Footnote_288_288" id="Footnote_288_288"></a><span class="label">[288]</span> -67 see’t] see it G</p> - -<p><a name="Footnote_289_289" id="Footnote_289_289"></a><span class="label">[289]</span> -68 <span class="smcap">Mer.</span> Yes,] included in line 69 1692, 1716, W</p> - -<p><a name="Footnote_290_290" id="Footnote_290_290"></a><span class="label">[290]</span> -69 my om. 1641</p> - -<p><a name="Footnote_291_291" id="Footnote_291_291"></a><span class="label">[291]</span> -76 SN. <i>Hee</i> ...] [<i>Trains draws out another.</i>] (after ‘hand:’ 76) G</p> - -<p><a name="Footnote_292_292" id="Footnote_292_292"></a><span class="label">[292]</span> -78 Pr’y thee] Pry’thee W Prithee G</p> - -<p><a name="Footnote_293_293" id="Footnote_293_293"></a><span class="label">[293]</span> -78-80 Pr’y thee—pound? om. 1692, 1716</p> - -<p><a name="Footnote_294_294" id="Footnote_294_294"></a><span class="label">[294]</span> -81 hal’] half G</p> - -<p><a name="Footnote_295_295" id="Footnote_295_295"></a><span class="label">[295]</span> -89 Proc’lane 1641 porcelane G</p> - -<p><a name="Footnote_296_296" id="Footnote_296_296"></a><span class="label">[296]</span> -93 above G</p> - -<p><a name="Footnote_297_297" id="Footnote_297_297"></a><span class="label">[297]</span> -97 O’] O! G || SN.] [<i>Trains draws out another.</i>] G</p> - -<p><a name="Footnote_298_298" id="Footnote_298_298"></a><span class="label">[298]</span> -99 a om. 1641</p> - -<p><a name="Footnote_299_299" id="Footnote_299_299"></a><span class="label">[299]</span> -103 Of the] Of 1641</p> - -<p><a name="Footnote_300_300" id="Footnote_300_300"></a><span class="label">[300]</span> -114 subtile 1692, 1716, W</p> - -<p><a name="Footnote_301_301" id="Footnote_301_301"></a><span class="label">[301]</span> -115 in’t] in it G</p> - -<p><a name="Footnote_302_302" id="Footnote_302_302"></a><span class="label">[302]</span> -123 Dividend 1716 dividend W, G</p> - -<p><a name="Footnote_303_303" id="Footnote_303_303"></a><span class="label">[303]</span> -124 petty 1692, 1716, W</p> - -<p><a name="Footnote_304_304" id="Footnote_304_304"></a><span class="label">[304]</span> -131 so om. G sir.—<i>Enter</i> <span class="smcap">Pug.</span> G</p> - -<p><a name="Footnote_305_305" id="Footnote_305_305"></a><span class="label">[305]</span> -137 entreat W, G</p> - -<p><a name="Footnote_306_306" id="Footnote_306_306"></a><span class="label">[306]</span> -141 relation. [<i>Exit Trains.</i> G</p> - -<p><a name="Footnote_307_307" id="Footnote_307_307"></a><span class="label">[307]</span> -142 mark? [<i>Aside to Fitz.</i> G</p> - -<p><a name="Footnote_308_308" id="Footnote_308_308"></a><span class="label">[308]</span> -150 love] love, 1716, W</p> - -<p><a name="Footnote_309_309" id="Footnote_309_309"></a><span class="label">[309]</span> -154 us. [<i>Exeunt Meer. and Engine.</i> G</p> - -<p><a name="Footnote_310_310" id="Footnote_310_310"></a><span class="label">[310]</span> -157, 161 Yo’haue] You’ve 1716, W</p> - -<p><a name="Footnote_311_311" id="Footnote_311_311"></a><span class="label">[311]</span> -169 ’t] it G</p> - -<p><a name="Footnote_312_312" id="Footnote_312_312"></a><span class="label">[312]</span> -175 will G§ good fortune, gods blessing] -G capitalizes throughout.</p> - -<p><a name="Footnote_313_313" id="Footnote_313_313"></a><span class="label">[313]</span> -177 <i>Exit.</i> G SD. om. G</p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>II</b>. Scene. <b>II</b>.</span></p> -<p class="center"><span class="smcap">Pvg.</span> Miſtreſſe <span class="smcap">Fitzdottrell</span>.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">I haue no ſingular ſeruice of this, now?</span> -<span class="i0">Nor no ſuperlatiue Maſter? I ſhall wiſh</span> -<span class="i0">To be in hell againe, at leaſure? Bring,</span> -<span class="i0">A <i>Vice</i> from thence? That had bin ſuch a ſubtilty,</span> -<span class="i0">As to bring broad-clothes hither: or tranſport <span class="linenum">5</span></span> -<span class="i0">Freſh oranges into <i>Spaine</i>. I finde it, now:</span> -<span class="i0">My <i>Chiefe</i> was i’ the right. Can any feind</span> -<span class="i0">Boaſt of a better <i>Vice</i>, then heere by nature,</span> -<span class="i0">And art, th’are owners of? Hell ne’r owne mee,</span> -<span class="i0">But I am taken! the fine tract of it <span class="linenum">10</span></span> -<span class="i0">Pulls mee along! To heare men ſuch profeſſors</span> -<span class="i0">Growne in our ſubtleſt <i>Sciences</i>! My firſt <i>Act</i>, now,</span> -<span class="i0">Shall be, to make this Maſter of mine cuckold:</span> -<span class="i0">The primitiue worke of darkneſſe, I will practiſe!</span> -<span class="i0">I will deſerue ſo well of my faire Miſtreſſe, <span class="linenum">15</span></span> -<span class="i0">By my diſcoueries, firſt; my counſells after;</span> -<span class="i0">And keeping counſell, after that: as who,</span> -<span class="i0">So euer, is one, I’le be another, ſure,</span> -<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span> -<span class="i0">I’ll ha’ my ſhare. Most delicate damn’d fleſh!</span> -<span class="i0">Shee will be! O! that I could ſtay time, now, <span class="linenum">[116] 20</span></span> -<span class="i0">Midnight will come too faſt vpon mee, I feare,</span> -<span class="i0">To cut my pleaſure—</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> Looke at the back-doore,</span> -<span class="i15"><i>Shee ſends</i> Diuell <i>out</i>.</span> -<span class="i0">One knocks, ſee who it is.</span> -</div><div class="stanza"> -<span class="i11"><span class="smcap">Pvg.</span> Dainty <i>ſhe-Diuell</i>!</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> I cannot get this venter of the cloake,</span> -<span class="i0">Out of my fancie; nor the Gentlemans way, <span class="linenum">25</span></span> -<span class="i0">He tooke, which though ’twere ſtrange, yet ’twas handſome,</span> -<span class="i0">And had a grace withall, beyond the newneſſe.</span> -<span class="i0">Sure he will thinke mee that dull ſtupid creature,</span> -<span class="i0">Hee ſaid, and may conclude it; if I finde not</span> -<span class="i0">Some thought to thanke th’ attemp. He did preſume, <span class="linenum">30</span></span> -<span class="i0">By all the carriage of it, on my braine,</span> -<span class="i0">For anſwer; and will ſweare ’tis very barren,</span> -<span class="i0">If it can yeeld him no returne. Who is it?</span> -</div><div class="stanza"> -<span class="i27">Diuell <i>returnes</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Miſtreſſe, it is, but firſt, let me aſſure</span> -<span class="i0">The excellence, of Miſtreſſes, I am, <span class="linenum">35</span></span> -<span class="i0">Although my Maſters man, my Miſstreſſe ſlaue,</span> -<span class="i0">The ſeruant of her ſecrets, and ſweete turnes,</span> -<span class="i0">And know, what fitly will conduce to either.</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> What’s this? I pray you come to your ſelfe and thinke</span> -<span class="i0">What your part is: to make an anſwer. Tell, <span class="linenum">40</span></span> -<span class="i0">Who is it at the doore?</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Pvg.</span> The Gentleman, M<sup>rs</sup>,</span> -<span class="i0">Who was at the cloake-charge to ſpeake with you,</span> -<span class="i0">This morning, who expects onely to take</span> -<span class="i0">Some ſmall command’ments from you, what you pleaſe,</span> -<span class="i0">Worthy your forme, hee ſaies, and gentleſt manners. <span class="linenum">45</span></span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> O! you’ll anon proue his hyr’d man, I feare,</span> -<span class="i0">What has he giu’n you, for this meſſage? Sir,</span> -<span class="i0">Bid him put off his hopes of ſtraw, and leaue</span> -<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -<span class="i0">To ſpread his nets, in view, thus. Though they take</span> -<span class="i0">Maſter <i>Fitz-dottrell</i>, I am no ſuch foule, <span class="linenum">50</span></span> -<span class="i0">Nor faire one, tell him, will be had with ſtalking.</span> -<span class="i0">And wiſh him to for-beare his acting to mee,</span> -<span class="i0">At the Gentlemans chamber-window in <i>Lincolnes-Inne</i> there,</span> -<span class="i0">That opens to my gallery: elſe, I ſweare</span> -<span class="i0">T’acquaint my huſband with his folly, and leaue him <span class="linenum">55</span></span> -<span class="i0">To the iuſt rage of his offended iealouſie.</span> -<span class="i0">Or if your Maſters ſenſe be not ſo quicke</span> -<span class="i0">To right mee, tell him, I ſhall finde a friend</span> -<span class="i0">That will repaire mee. Say, I will be quiet.</span> -<span class="i0">In mine owne houſe? Pray you, in thoſe words giue it him. <span class="linenum">60</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> This is ſome foole turn’d!</span> -</div><div class="stanza"> -<span class="i28"><i>He goes out.</i></span> -</div><div class="stanza"> -<span class="i14">M<sup>rs</sup>. <span class="smcap">Fi.</span> If he be the Maſter,</span> -<span class="i0">Now, of that ſtate and wit, which I allow him;</span> -<span class="i0">Sure, hee will vnderſtand mee: I durſt not</span> -<span class="i0">Be more direct. For this officious fellow,</span> -<span class="i0">My husbands new groome, is a ſpie vpon me, <span class="linenum">65</span></span> -<span class="i0">I finde already. Yet, if he but tell him</span> -<span class="i0">This in my words, hee cannot but conceiue <span class="linenum">[117]  </span></span> -<span class="i0">Himſelfe both apprehended, and requited.</span> -<span class="i0">I would not haue him thinke hee met a <i>ſtatue</i>:</span> -<span class="i0">Or ſpoke to one, not there, though I were ſilent. <span class="linenum">70</span></span> -<span class="i0">How now? ha’ you told him?</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Pvg.</span> Yes.</span> -</div><div class="stanza"> -<span class="i22">M<sup>rs</sup>. <span class="smcap">Fi.</span> And what ſaies he?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Sayes he? That which my ſelf would ſay to you, if I durſt.</span> -<span class="i0">That you are proude, ſweet Miſtreſſe? and with-all,</span> -<span class="i0">A little ignorant, to entertaine</span> -<span class="i0">The good that’s proffer’d; and (by your beauties leaue) <span class="linenum">75</span></span> -<span class="i0">Not all ſo wiſe, as ſome true politique wife</span> -<span class="i0">Would be: who hauing match’d with ſuch a <i>Nupſon</i></span> -<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> -<span class="i0">(I ſpeake it with my Maſters peace) whoſe face</span> -<span class="i0">Hath left t’accuſe him, now, for’t doth confeſſe him,</span> -<span class="i0">What you can make him; will yet (out of ſcruple, <span class="linenum">80</span></span> -<span class="i0">And a ſpic’d conſcience) defraud the poore Gentleman,</span> -<span class="i0">At leaſt delay him in the thing he longs for,</span> -<span class="i0">And makes it hs whole ſtudy, how to compaſſe,</span> -<span class="i0">Onely a title. Could but he write <i>Cuckold</i>,</span> -<span class="i0">He had his ends. For, looke you—</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> This can be <span class="linenum">85</span></span> -<span class="i0">None but my husbands wit.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Pvg.</span> My pretious M<sup>rs</sup>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">M. Fi.</span> It creaks his <i>Ingine</i>: The groome neuer durſt</span> -<span class="i0">Be, elſe, so ſaucy—</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Pvg.</span> If it were not clearely,</span> -<span class="i0">His worſhipfull ambition; and the top of it;</span> -<span class="i0">The very forked top too: why ſhould hee <span class="linenum">90</span></span> -<span class="i0">Keepe you, thus mur’d vp in a back-roome, Miſtreſſe,</span> -<span class="i0">Allow you ne’r a caſement to the ſtreete,</span> -<span class="i0">Feare of engendering by the eyes, with gallants,</span> -<span class="i0">Forbid you paper, pen and inke, like Rats-bane.</span> -<span class="i0">Search your halfe pint of <i>muſcatell</i>, leſt a letter <span class="linenum">95</span></span> -<span class="i0">Be ſuncke i’ the pot: and hold your new-laid egge</span> -<span class="i0">Againſt the fire, leſt any charme be writ there?</span> -<span class="i0">Will you make benefit of truth, deare Miſtreſſe,</span> -<span class="i0">If I doe tell it you: I do’t not often?</span> -<span class="i0">I am ſet ouer you, imploy’d, indeed, <span class="linenum">100</span></span> -<span class="i0">To watch your ſteps, your lookes, your very breathings,</span> -<span class="i0">And to report them to him. Now, if you</span> -<span class="i0">Will be a true, right, delicate ſweete Miſtreſſe,</span> -<span class="i0">Why, wee will make a <i>Cokes</i> of this <i>Wiſe Maſter</i>,</span> -<span class="i0">We will, my Miſtreſſe, an abſolute fine <i>Cokes</i>, <span class="linenum">105</span></span> -<span class="i0">And mock, to ayre, all the deepe diligences</span> -<span class="i0">Of ſuch a ſolemne, and effectuall Aſſe,</span> -<span class="i0">An Aſſe to ſo good purpoſe, as wee’ll vſe him.</span> -<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> -<span class="i0">I will contriue it ſo, that you ſhall goe</span> -<span class="i0">To <i>Playes</i>, to <i>Maſques</i>, to <i>Meetings</i>, and to <i>Feaſts</i>. <span class="linenum">110</span></span> -<span class="i0">For, why is all this Rigging, and fine Tackle, Miſtris,</span> -<span class="i0">If you neat handſome veſſells, of good ſayle,</span> -<span class="i0">Put not forth euer, and anon, with your nets</span> -<span class="i0">Abroad into the world. It is your fiſhing. <span class="linenum">[118]  </span></span> -<span class="i0">There, you ſhal chooſe your friends, your ſeruants, Lady,</span> -<span class="i0">Your ſquires of honour; I’le conuey your letters, <span class="linenum">116</span></span> -<span class="i0">Fetch anſwers, doe you all the offices,</span> -<span class="i0">That can belong to your bloud, and beauty. And,</span> -<span class="i0">For the variety, at my times, although</span> -<span class="i0">I am not in due <i>ſymmetrie</i>, the man <span class="linenum">120</span></span> -<span class="i0">Of that proportion; or in rule</span> -<span class="i0">Of <i>phyſicke</i>, of the iuſt complexion:</span> -<span class="i0">Or of that truth of <i>Picardill</i>, in clothes,</span> -<span class="i0">To boaſt a ſoueraignty o’re Ladies: yet</span> -<span class="i0">I know, to do my turnes, ſweet Miſtreſſe. Come, kiſſe—</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> How now!</span> -</div><div class="stanza"> -<span class="i11"><span class="smcap">Pvg.</span> Deare delicate Miſt. I am your ſlaue, <span class="linenum">126</span></span> -<span class="i0">Your little <i>worme</i>, that loues you: your fine <i>Monkey</i>;</span> -<span class="i0">Your <i>Dogge</i>, your <i>Iacke</i>, your <i>Pug</i>, that longs to be</span> -<span class="i0">Stil’d, o’ your pleaſures.</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fit.</span> Heare you all this? Sir, Pray you,</span> -<span class="i0">Come from your ſtanding, doe, a little, ſpare <span class="linenum">130</span></span> -<span class="i20"><i>Shee thinkes her huſband watches.</i></span> -<span class="i0">Your ſelfe, Sir, from your watch, t’applaud your <i>Squire</i>,</span> -<span class="i0">That ſo well followes your inſtructions!</span> -</div></div> - -<p><a name="Footnote_314_314" id="Footnote_314_314"></a><span class="label">[314]</span> -5 cloths G</p> - -<p><a name="Footnote_315_315" id="Footnote_315_315"></a><span class="label">[315]</span> -9 they’re 1716, f. || never G</p> - -<p><a name="Footnote_316_316" id="Footnote_316_316"></a><span class="label">[316]</span> -18 I will G</p> - -<p><a name="Footnote_317_317" id="Footnote_317_317"></a><span class="label">[317]</span> -22 pleasure—<i>Enter Mrs.</i> <span class="smcap">Fitzdottrel</span>. SN. om. G</p> - -<p><a name="Footnote_318_318" id="Footnote_318_318"></a><span class="label">[318]</span> -23 [<i>Aside and exit.</i> G</p> - -<p><a name="Footnote_319_319" id="Footnote_319_319"></a><span class="label">[319]</span> -24 venture 1692, f.</p> - -<p><a name="Footnote_320_320" id="Footnote_320_320"></a><span class="label">[320]</span> -26 it was G</p> - -<p><a name="Footnote_321_321" id="Footnote_321_321"></a><span class="label">[321]</span> -30 attempt 1641, f.</p> - -<p><a name="Footnote_322_322" id="Footnote_322_322"></a><span class="label">[322]</span> -33 SN.] <i>Re-enter</i> <span class="smcap">Pug.</span> G</p> - -<p><a name="Footnote_323_323" id="Footnote_323_323"></a><span class="label">[323]</span> -34 it is,] it is—W</p> - -<p><a name="Footnote_324_324" id="Footnote_324_324"></a><span class="label">[324]</span> -41 it om. 1692, f. || M<sup>rs</sup>] Mistresse 1641 Mistris 1692 Mistress 1716 mistress W, G</p> - -<p><a name="Footnote_325_325" id="Footnote_325_325"></a><span class="label">[325]</span> -48 put 1641, f.</p> - -<p><a name="Footnote_326_326" id="Footnote_326_326"></a><span class="label">[326]</span> -59 Period om. after ‘quiet’ 1716, f.</p> - -<p><a name="Footnote_327_327" id="Footnote_327_327"></a><span class="label">[327]</span> -61 SN.] [<i>Exit.</i> G</p> - -<p><a name="Footnote_328_328" id="Footnote_328_328"></a><span class="label">[328]</span> -70 <i>Re-enter</i> <span class="smcap">Pug.</span> G</p> - -<p><a name="Footnote_329_329" id="Footnote_329_329"></a><span class="label">[329]</span> -78, 80, 81 () ret. G</p> - -<p><a name="Footnote_330_330" id="Footnote_330_330"></a><span class="label">[330]</span> -79 ’t] it G</p> - -<p><a name="Footnote_331_331" id="Footnote_331_331"></a><span class="label">[331]</span> -84 hs] his 1641, f.</p> - -<p><a name="Footnote_332_332" id="Footnote_332_332"></a><span class="label">[332]</span> -86 M<sup>rs</sup>. as in 2. 2. 41 || wit. [<i>Aside.</i> G</p> - -<p><a name="Footnote_333_333" id="Footnote_333_333"></a><span class="label">[333]</span> -88 saucy. [<i>Aside</i>. G</p> - -<p><a name="Footnote_334_334" id="Footnote_334_334"></a><span class="label">[334]</span> -91 black Room 1716</p> - -<p><a name="Footnote_335_335" id="Footnote_335_335"></a><span class="label">[335]</span> -93 engendring 1641</p> - -<p><a name="Footnote_336_336" id="Footnote_336_336"></a><span class="label">[336]</span> -100 employ’d 1716, f.</p> - -<p><a name="Footnote_337_337" id="Footnote_337_337"></a><span class="label">[337]</span> -112 your G</p> - -<p><a name="Footnote_338_338" id="Footnote_338_338"></a><span class="label">[338]</span> -123 <i>Piccardell</i> 1641</p> - -<p><a name="Footnote_339_339" id="Footnote_339_339"></a><span class="label">[339]</span> -126 Mist.] as in 2. 2. 41</p> - -<p><a name="Footnote_340_340" id="Footnote_340_340"></a><span class="label">[340]</span> -130 <i>Mrs. Fitz.</i> [<i>aloud</i>]</p> - -<p><a name="Footnote_341_341" id="Footnote_341_341"></a><span class="label">[341]</span> -131 SN. om. G <span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span></p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>II</b>. Scene. <b>III</b>.</span></p> -<p class="center"><span class="smcap">Fitz-dottrell</span>. Miſtreſſe <span class="smcap">Fitz-dottrel</span>. - <span class="smcap">Pvg.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">How now, ſweet heart? what’s the matter?</span> -</div><div class="stanza"> -<span class="i20">M<sup>rs</sup>. <span class="smcap">Fi.</span> Good!</span> -<span class="i0">You are a ſtranger to the plot! you ſet not</span> -<span class="i0">Your fancy <i>Diuell</i>, here, to tempt your wife,</span> -<span class="i0">With all the inſolent vnciuill language,</span> -<span class="i0">Or action, he could vent?</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Fit.</span> Did you so, <i>Diuell</i>? <span class="linenum">5</span></span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fit.</span> Not you? you were not planted i’ your hole to heare him,</span> -<span class="i0">Vpo’ the ſtayres? or here, behinde the hangings?</span> -<span class="i0">I doe not know your qualities? he durſt doe it,</span> -<span class="i0">And you not giue directions?</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Fit.</span> You shall ſee, wife,</span> -<span class="i0">Whether he durſt, or no: and what it was, <span class="linenum">10</span></span> -<span class="i0">I did direct.</span> -</div><div class="stanza"> -<span class="i4"><i>Her huſband goes out, and enters presently with a cudgell vpon him.</i></span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Pvg.</span> Sweet Miſtreſſe, are you mad?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> You moſt mere Rogue! you open manifeſt Villaine!</span> -<span class="i0">You Feind apparant you! you declar’d Hel-hound!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Good S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Good Knaue, good Raſcal, and good Traitor.</span> -<span class="i0">Now, I doe finde you parcel-<i>Diuell</i>, indeed. <span class="linenum">15</span></span> -<span class="i0">Vpo’ the point of truſt? I’ your firſt charge?</span> -<span class="i0">The very day o’ your probation?</span> -<span class="i0">To tempt your Miſtreſſe? You doe ſee, good wedlocke,</span> -<span class="i0">How I directed him.</span> -</div><div class="stanza"> -<span class="i10">M<sup>rs</sup>. <span class="smcap">Fit.</span> Why, where S<sup>r</sup>? were you? <span class="linenum">[119]</span></span> -<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Nay, there is one blow more, for exerciſe: <span class="linenum">20</span></span> -<span class="i18"><i>After a pause. He ſtrikes him againe</i></span> -<span class="i0">I told you, I ſhould doe it.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pvg.</span> Would you had done, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> O wife, the rareſt man! yet there’s another</span> -<span class="i0">To put you in mind o’ the laſt, ſuch a braue man, wife!</span> -<span class="i0">Within, he has his proiects, and do’s vent ’hem,</span> -<span class="i28"><i>and againe.</i></span> -<span class="i0">The gallanteſt! where you <i>tentiginous</i>? ha? <span class="linenum">25</span></span> -<span class="i0">Would you be acting of the <i>Incubus</i>?</span> -<span class="i0">Did her ſilks ruſtling moue you?</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Pvg.</span> Gentle Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Out of my ſight. If thy name were not <i>Diuell</i>,</span> -<span class="i0">Thou ſhouldſt not ſtay a minute with me. In,</span> -<span class="i0">Goe, yet ſtay: yet goe too. I am reſolu’d. <span class="linenum">30</span></span> -<span class="i0">What I will doe: and you ſhall know’t afore-hand.</span> -<span class="i0">Soone as the Gentleman is gone, doe you heare?</span> -<span class="i0">I’ll helpe your liſping. Wife, ſuch a man, wife!</span> -<span class="i30">Diuell <i>goes out</i>.</span> -<span class="i0">He has ſuch plots! He will make mee a <i>Duke</i>!</span> -<span class="i0">No leſſe, by heauen! ſix Mares, to your coach, wife! <span class="linenum">35</span></span> -<span class="i0">That’s your proportion! And your coach-man bald!</span> -<span class="i0">Becauſe he ſhall be bare, inough. Doe not you laugh,</span> -<span class="i0">We are looking for a place, and all, i’ the map</span> -<span class="i0">What to be of. Haue faith, be not an Infidell.</span> -<span class="i0">You know, I am not eaſie to be gull’d. <span class="linenum">40</span></span> -<span class="i0">I ſweare, when I haue my <i>millions</i>, elſe. I’ll make</span> -<span class="i0">Another <i>Dutcheſſe</i>: if you ha’ not faith.</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> You’ll ha’ too much, I feare, in theſe falſe ſpirits.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Spirits? O, no such thing! wife! wit, mere wit!</span> -<span class="i0">This man defies the <i>Diuell</i>, and all his works! <span class="linenum">45</span></span> -<span class="i0">He dos’t by <i>Ingine</i>, and deuiſes, hee!</span> -<span class="i0">He has his winged ploughes, that goe with ſailes,</span> -<span class="i0">Will plough you forty acres, at once! and mills.</span> -<span class="i0">Will ſpout you water, ten miles off! All <i>Crowland</i></span> -<span class="i0">Is ours, wife; and the fens, from vs, in <i>Norfolke</i>, <span class="linenum">50</span></span> -<span class="i0">To the vtmoſt bound of <i>Lincoln-ſhire</i>! we haue view’d it,</span> -<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> -<span class="i0">And meaſur’d it within all; by the ſcale!</span> -<span class="i0">The richeſt tract of land, Loue, i’ the kingdome!</span> -<span class="i0">There will be made ſeuenteene, or eighteene <i>millions</i>;</span> -<span class="i0">Or more, as’t may be handled! wherefore, thinke, <span class="linenum">55</span></span> -<span class="i0">Sweet heart, if th’ haſt a fancy to one place,</span> -<span class="i0">More then another, to be <i>Dutcheſſe</i> of;</span> -<span class="i0">Now, name it: I will ha’t what ere it coſt,</span> -<span class="i0">(If’t will be had for money) either here, <span class="linenum">59</span></span> -<span class="i0">Or’n <i>France</i>, or <i>Italy</i>.</span> -</div><div class="stanza"> -<span class="i14">M<sup>rs</sup>. <span class="smcap">Fi.</span> You ha’ ſtrange phantaſies!</span> -</div></div> - -<p><a name="Footnote_342_342" id="Footnote_342_342"></a><span class="label">[342]</span> -SD. om. <i>Enter</i> <span class="smcap">Fitzdottrel</span>. G</p> - -<p><a name="Footnote_343_343" id="Footnote_343_343"></a><span class="label">[343]</span> -1 ’s] is G</p> - -<p><a name="Footnote_344_344" id="Footnote_344_344"></a><span class="label">[344]</span> -2 set] see W</p> - -<p><a name="Footnote_345_345" id="Footnote_345_345"></a><span class="label">[345]</span> -7 upon G§</p> - -<p><a name="Footnote_346_346" id="Footnote_346_346"></a><span class="label">[346]</span> -10, 11 Whether ... direct.] All in line 10. 1692, 1716</p> - -<p><a name="Footnote_347_347" id="Footnote_347_347"></a><span class="label">[347]</span> -11 SN.] [<i>Exit. Re-enter</i> <span class="smcap">Fitzdottrel</span> <i>with a cudgel</i>. G</p> - -<p><a name="Footnote_348_348" id="Footnote_348_348"></a><span class="label">[348]</span> -18 mistress! [<i>Beats Pug.</i> G</p> - -<p><a name="Footnote_349_349" id="Footnote_349_349"></a><span class="label">[349]</span> -20 SN.] [<i>Strikes him again.</i> G</p> - -<p><a name="Footnote_350_350" id="Footnote_350_350"></a><span class="label">[350]</span> -22, 23 yet ... last] euclosed by () W, G</p> - -<p><a name="Footnote_351_351" id="Footnote_351_351"></a><span class="label">[351]</span> -23 o’ ret. G</p> - -<p><a name="Footnote_352_352" id="Footnote_352_352"></a><span class="label">[352]</span> -25 where] were 1716, W Were G</p> - -<p><a name="Footnote_353_353" id="Footnote_353_353"></a><span class="label">[353]</span> -24 SN.] [<i>Beats him again.</i>] G</p> - -<p><a name="Footnote_354_354" id="Footnote_354_354"></a><span class="label">[354]</span> -33 SN.] [<i>Exit Pug.</i>] G</p> - -<p><a name="Footnote_355_355" id="Footnote_355_355"></a><span class="label">[355]</span> -46 <i>Engine</i> 1716 Engine W engine G</p> - -<p><a name="Footnote_356_356" id="Footnote_356_356"></a><span class="label">[356]</span> -51 bounds 1692, f. || of] in G</p> - -<p><a name="Footnote_357_357" id="Footnote_357_357"></a><span class="label">[357]</span> -56 th’] thou G</p> - -<p><a name="Footnote_358_358" id="Footnote_358_358"></a><span class="label">[358]</span> -58 have ’t G</p> - -<p><a name="Footnote_359_359" id="Footnote_359_359"></a><span class="label">[359]</span> -60 Or’n] Or’in 1692 Or in 1716, f.</p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>II</b>. Scene. <b>IV</b>.</span></p> -<p class="center"><span class="smcap">Mere-craft.</span> <span class="smcap">Fitz-dottrell.</span><br /> -<span class="smcap">Ingine.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Where are you, Sir?</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Fit.</span> I ſee thou haſt no <i>talent</i> <span class="linenum">[120]  </span></span> -<span class="i0">This way, wife. Vp to thy gallery; doe, <i>Chuck</i>,</span> -<span class="i0">Leaue vs to talke of it, who vnderſtand it.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> I thinke we ha’ found a place to fit you, now, Sir.</span> -<span class="i0"><i>Gloc’ſter</i>.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Fit.</span> O, no, I’ll none!</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Mer.</span> Why, S<sup>r</sup>?</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> Tis fatall. <span class="linenum">5</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> That you ſay right in. <i>Spenſer</i>, I thinke, the younger,</span> -<span class="i0">Had his laſt honour thence. But, he was but <i>Earle</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I know not that, Sir. But <i>Thomas</i> of <i>Woodſtocke</i>,</span> -<span class="i0">I’m ſure, was <i>Duke</i>, and he was made away,</span> -<span class="i0">At <i>Calice</i>; as <i>Duke Humphrey</i> was at <i>Bury</i>: <span class="linenum">10</span></span> -<span class="i0">And <i>Richard</i> the third, you know what end he came too.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> By m’faith you are cunning i’ the <i>Chronicle</i>, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> No, I confeſſe I ha’t from the <i>Play-bookes</i>,</span> -<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span> -<span class="i0">And thinke they’are more <i>authentique</i>.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Ing.</span> That’s ſure, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> What ſay you (to this then)</span> -</div><div class="stanza"> -<span class="i25"><i>He whiſpers him of a place.</i></span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Fit.</span> No, a noble houſe. <span class="linenum">15</span></span> -<span class="i0">Pretends to that. I will doe no man wrong.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Then take one propoſition more, and heare it</span> -<span class="i0">As paſt exception.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Fit.</span> What’s that?</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Mer.</span> To be</span> -<span class="i0"><i>Duke</i> of thoſe lands, you ſhall recouer; take</span> -<span class="i0">Your title, thence, Sir, <i>Duke</i> of the <i>Drown’d lands</i>, <span class="linenum">20</span></span> -<span class="i0">Or <i>Drown’d-land</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Ha? that laſt has a good ſound!</span> -<span class="i0">I like it well. The <i>Duke</i> of <i>Drown’d-land</i>?</span> -</div><div class="stanza"> -<span class="i28"><span class="smcap">Ing.</span> Yes;</span> -<span class="i0">It goes like <i>Groen-land</i>, Sir, if you marke it.</span> -</div><div class="stanza"> -<span class="i28"><span class="smcap">Mer.</span> I,</span> -<span class="i0">And drawing thus your honour from the worke,</span> -<span class="i0">You make the reputation of that, greater; <span class="linenum">25</span></span> -<span class="i0">And ſtay’t the longer i’ your name.</span> -</div><div class="stanza"> -<span class="i24"><span class="smcap">Fit.</span> ’Tis true.</span> -<span class="i0"><i>Drown’d-lands</i> will liue in <i>Drown’d-land</i>!</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Mer.</span> Yes, when you</span> -<span class="i0">Ha’ no foote left; as that muſt be, Sir, one day.</span> -<span class="i0">And, though it tarry in your heyres, some <i>forty</i>,</span> -<span class="i0"><i>Fifty</i> deſcents, the longer liuer, at laſt, yet, <span class="linenum">30</span></span> -<span class="i0">Muſt thruſt ’hem out on’t: if no quirk in law,</span> -<span class="i0">Or odde <i>Vice</i> o’ their owne not do’it firſt.</span> -<span class="i0">Wee ſee thoſe changes, daily: the faire lands,</span> -<span class="i0">That were the <i>Clyents</i>, are the <i>Lawyers</i>, now:</span> -<span class="i0">And thoſe rich Mannors, there, of good man <i>Taylors</i>, <span class="linenum">35</span></span> -<span class="i0">Had once more wood vpon ’hem, then the yard,</span> -<span class="i0">By which th’ were meaſur’d out for the laſt purchaſe. <span class="linenum">[121]  </span></span> -<span class="i0">Nature hath theſe viciſſitudes. Shee makes</span> -<span class="i0">No man a ſtate of perpetuety, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Yo’ are i’ the right. Let’s in then, and conclude. <span class="linenum">40</span></span> -<span class="i28"><i>Hee ſpies</i> Diuell.</span> -<span class="i0">I my ſight, againe? I’ll talke with you, anon.</span> -</div></div> - -<p><a name="Footnote_360_360" id="Footnote_360_360"></a><span class="label">[360]</span> -SD. <span class="smcap">Act.</span> ...] om. -<i>Enter</i> <span class="smcap">Meercraft</span> <i>and</i> <span class="smcap">Engine</span>. G</p> - -<p><a name="Footnote_361_361" id="Footnote_361_361"></a><span class="label">[361]</span> -3 [<i>Exit Mrs. Fitz.</i> G</p> - -<p><a name="Footnote_362_362" id="Footnote_362_362"></a><span class="label">[362]</span> -6 comma after ‘thinke’ om. 1692, f.</p> - -<p><a name="Footnote_363_363" id="Footnote_363_363"></a><span class="label">[363]</span> -12 m’] my W, G</p> - -<p><a name="Footnote_364_364" id="Footnote_364_364"></a><span class="label">[364]</span> -13 have it G</p> - -<p><a name="Footnote_365_365" id="Footnote_365_365"></a><span class="label">[365]</span> -14,18 ’s] is W, G</p> - -<p><a name="Footnote_366_366" id="Footnote_366_366"></a><span class="label">[366]</span> -15 SN.] [<i>whispers him.</i>] G</p> - -<p><a name="Footnote_367_367" id="Footnote_367_367"></a><span class="label">[367]</span> -15 period after ‘house’ om. 1716, f.</p> - -<p><a name="Footnote_368_368" id="Footnote_368_368"></a><span class="label">[368]</span> -26 ’t] it G</p> - -<p><a name="Footnote_369_369" id="Footnote_369_369"></a><span class="label">[369]</span> -32 do’t 1641</p> - -<p><a name="Footnote_370_370" id="Footnote_370_370"></a><span class="label">[370]</span> -37 th’] they G</p> - -<p><a name="Footnote_371_371" id="Footnote_371_371"></a><span class="label">[371]</span> -40 You’re 1716, W || SN.] <i>Re-enter</i> <span class="smcap">Pug</span>. G</p> - -<p><a name="Footnote_372_372" id="Footnote_372_372"></a><span class="label">[372]</span> -41 [<i>Exeunt Fitz. Meer. and Engine.</i> G || I] I’ 1716, W In G -<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>II</b>. Scene. <b>V</b>.</span></p> -<p class="center"><span class="smcap">Pvg.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Svre hee will geld mee, if I stay: or worſe,</span> -<span class="i0">Pluck out my tongue, one o’ the two. This Foole,</span> -<span class="i0">There is no truſting of him: and to quit him,</span> -<span class="i0">Were a contempt againſt my <i>Chiefe</i>, paſt pardon.</span> -<span class="i0">It was a ſhrewd diſheartning this, at firſt! <span class="linenum">5</span></span> -<span class="i0">Who would ha’ thought a woman ſo well harneſs’d,</span> -<span class="i0">Or rather well-capariſon’d, indeed,</span> -<span class="i0">That weares ſuch petticoates, and lace to her ſmocks,</span> -<span class="i0">Broad ſeaming laces (as I ſee ’hem hang there)</span> -<span class="i0">And garters which are loſt, if ſhee can ſhew ’hem, <span class="linenum">10</span></span> -<span class="i0">Could ha’ done this? <i>Hell!</i> why is ſhee ſo braue?</span> -<span class="i0">It cannot be to pleaſe <i>Duke Dottrel</i>, ſure,</span> -<span class="i0">Nor the dull pictures, in her gallery,</span> -<span class="i0">Nor her owne deare reflection, in her glaſſe;</span> -<span class="i0">Yet that may be: I haue knowne many of ’hem, <span class="linenum">15</span></span> -<span class="i0">Beginne their pleaſure, but none end it, there:</span> -<span class="i0">(That I conſider, as I goe a long with it)</span> -<span class="i0">They may, for want of better company,</span> -<span class="i0">Or that they thinke the better, ſpend an houre;</span> -<span class="i0">Two, three, or foure, diſcourſing with their ſhaddow: <span class="linenum">20</span></span> -<span class="i0">But ſure they haue a farther ſpeculation.</span> -<span class="i0">No woman dreſt with ſo much care, and ſtudy,</span> -<span class="i0">Doth dreſſe her ſelfe in vaine. I’ll vexe this <i>probleme</i>,</span> -<span class="i0">A little more, before I leaue it, ſure.</span> -</div></div> - -<p><a name="Footnote_373_373" id="Footnote_373_373"></a><span class="label">[373]</span> -SD. om. G</p> - -<p><a name="Footnote_374_374" id="Footnote_374_374"></a><span class="label">[374]</span> -5 disheartening G</p> - -<p><a name="Footnote_375_375" id="Footnote_375_375"></a><span class="label">[375]</span> -9 () ret. G</p> - -<p><a name="Footnote_376_376" id="Footnote_376_376"></a><span class="label">[376]</span> -17 () ret. G</p> - -<p><a name="Footnote_377_377" id="Footnote_377_377"></a><span class="label">[377]</span> -24 [<i>Exit.</i> G <span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span></p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>IJ</b>. Scene. <b>VI</b>.</span></p> -<p class="center"><span class="smcap">Wittipol.</span> <span class="smcap">Manly.</span>  -Miſtreſſe <span class="smcap">Fitz-dottrel</span>.<br /><span class="smcap">Pvg.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">This was a fortune, happy aboue thought, <span class="linenum">[122]  </span></span> -<span class="i0">That this ſhould proue thy chamber: which I fear’d</span> -<span class="i0">Would be my greateſt trouble! this muſt be</span> -<span class="i0">The very window, and that the roome.</span> -</div><div class="stanza"> -<span class="i24"><span class="smcap">Man.</span> It is.</span> -<span class="i0">I now remember, I haue often ſeene there <span class="linenum">5</span></span> -<span class="i0">A woman, but I neuer mark’d her much.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Where was your ſoule, friend?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> Faith, but now, and then,</span> -<span class="i0">Awake vnto thoſe obiects.</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Wit.</span> You pretend ſo.</span> -<span class="i0">Let mee not liue, if I am not in loue</span> -<span class="i0">More with her wit, for this direction, now, <span class="linenum">10</span></span> -<span class="i0">Then with her forme, though I ha’ prais’d that prettily,</span> -<span class="i0">Since I ſaw her, and you, to day. Read thoſe.</span> -<span class="i11"><i>Hee giues him a paper, wherein is the copy of a Song.</i></span> -<span class="i0">They’ll goe vnto the ayre you loue ſo well.</span> -<span class="i0">Try ’hem vnto the note, may be the muſique</span> -<span class="i0">Will call her ſooner; light, ſhee’s here. Sing quickly. <span class="linenum">15</span></span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fit.</span> Either he vnderſtood him not: or elſe,</span> -<span class="i0">The fellow was not faithfull in deliuery,</span> -<span class="i0">Of what I bad. And, I am iuſtly pay’d,</span> -<span class="i0">That might haue made my profit of his ſeruice,</span> -<span class="i0">But, by miſ-taking, haue drawne on his enuy, <span class="linenum">20</span></span> -<span class="i0">And done the worſe defeate vpon my ſelfe.</span> -<span class="i26">Manly <i>ſings</i>, Pug <i>enters perceiues it</i>.</span> -<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span> -<span class="i0">How! Muſique? then he may be there: and is sure.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> O! Is it ſo? Is there the enter-view?</span> -<span class="i0">Haue I drawne to you, at laſt, my cunning <i>Lady</i>?</span> -<span class="i0">The <i>Diuell</i> is an <i>Aſſe</i>! fool’d off! and beaten! <span class="linenum">25</span></span> -<span class="i0">Nay, made an inſtrument! and could not ſent it!</span> -<span class="i0">Well, ſince yo’ haue ſhowne the malice of a woman,</span> -<span class="i0">No leſſe then her true wit, and learning, Miſtreſſe,</span> -<span class="i0">I’ll try, if little <i>Pug</i> haue the malignity</span> -<span class="i0">To recompence it, and ſo ſaue his danger. <span class="linenum">30</span></span> -<span class="i0">’Tis not the paine, but the diſcredite of it,</span> -<span class="i0">The <i>Diuell</i> ſhould not keepe a body intire.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Away, fall backe, ſhe comes.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> I’ll leaue you, Sir,</span> -<span class="i0">The Maſter of my chamber. I haue buſineſſe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> M<sup>rs</sup>!</span> -</div><div class="stanza"> -<span class="i10">M<sup>rs</sup>. <span class="smcap">Fi.</span> You make me paint, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> The’are faire colours, <span class="linenum">35</span></span> -<span class="i0"><i>Lady</i>, and naturall! I did receiue</span> -<span class="i0">Some commands from you, lately, gentle <i>Lady</i>, <span class="linenum">[123]  </span></span> -<span class="i3"><i>This Scene is acted at two windo’s as out of</i></span> -<span class="i10"><i>two contiguous buildings.</i></span> -<span class="i0">But ſo perplex’d, and wrap’d in the deliuery,</span> -<span class="i0">As I may feare t’haue miſ-interpreted:</span> -<span class="i0">But muſt make ſuit ſtill, to be neere your grace. <span class="linenum">40</span></span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> Who is there with you, S<sup>r</sup>?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Wit.</span> None, but my ſelfe.</span> -<span class="i0">It falls out. <i>Lady</i>, to be a deare friends lodging.</span> -<span class="i0">Wherein there’s ſome conſpiracy of fortune</span> -<span class="i0">With your poore ſeruants bleſ affections.</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> Who was it ſung?</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Wit.</span> He, <i>Lady</i>, but hee’s gone, <span class="linenum">45</span></span> -<span class="i0">Vpon my entreaty of him, ſeeing you</span> -<span class="i0">Approach the window. Neither need you doubt him,</span> -<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> -<span class="i0">If he were here. He is too much a gentleman.</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> Sir, if you iudge me by this ſimple action,</span> -<span class="i0">And by the outward habite, and complexion <span class="linenum">50</span></span> -<span class="i0">Of eaſineſſe, it hath, to your deſigne;</span> -<span class="i0">You may with Iuſtice, ſay, I am a woman:</span> -<span class="i0">And a ſtrange woman. But when you ſhall pleaſe,</span> -<span class="i0">To bring but that concurrence of my fortune,</span> -<span class="i0">To memory, which to day your ſelfe did vrge: <span class="linenum">55</span></span> -<span class="i0">It may beget ſome fauour like excuſe,</span> -<span class="i0">Though none like reaſon.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> No, my tune-full Miſtreſſe?</span> -<span class="i0">Then, ſurely, <i>Loue</i> hath none: nor <i>Beauty</i> any;</span> -<span class="i0">Nor <i>Nature</i> violenced, in both theſe:</span> -<span class="i0">With all whoſe gentle tongues you ſpeake, at once. <span class="linenum">60</span></span> -<span class="i0">I thought I had inough remou’d, already,</span> -<span class="i0">That ſcruple from your breſt, and left yo’ all reaſon;</span> -<span class="i0">When, through my mornings perſpectiue I ſhewd you</span> -<span class="i0">A man ſo aboue excuſe, as he is the cauſe,</span> -<span class="i0">Why any thing is to be done vpon him: <span class="linenum">65</span></span> -<span class="i0">And nothing call’d an iniury, miſ-plac’d.</span> -<span class="i0">I’rather, now had hope, to ſhew you how <i>Loue</i></span> -<span class="i0">By his acceſſes, growes more naturall:</span> -<span class="i0">And, what was done, this morning, with ſuch force</span> -<span class="i0">Was but deuis’d to ſerue the preſent, then. <span class="linenum">70</span></span> -<span class="i0">That ſince <i>Loue</i> hath the honour to approach</span> -<span class="i14"><i>He grows more familiar in his Court-ſhip.</i></span> -<span class="i0">Theſe ſiſter-ſwelling breſts; and touch this ſoft,</span> -<span class="i0">And roſie hand; hee hath the skill to draw</span> -<span class="i0">Their <i>Nectar</i> forth, with kiſſing; and could make</span> -<span class="i0">More wanton ſalts, from this braue promontory, <span class="linenum">75</span></span> -<span class="i0">Downe to this valley, then the nimble <i>Roe</i>;</span> -<span class="i14"><i>playes with her paps, kiſſeth her hands, &c.</i></span> -<span class="i0">Could play the hopping <i>Sparrow</i>, ’bout theſe nets;</span> -<span class="i0">And ſporting <i>Squirell</i> in theſe criſped groues;</span> -<span class="i0">Bury himſelfe in euery <i>Silke-wormes</i> kell,</span> -<span class="i0">Is here vnrauell’d; runne into the ſnare, <span class="linenum">80</span></span> -<span class="i0">Which euery hayre is, caſt into a curle,</span> -<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span> -<span class="i0">To catch a <i>Cupid</i> flying: Bath himselfe</span> -<span class="i0">In milke, and roſes, here, and dry him, there;</span> -<span class="i0">Warme his cold hands, to play with this ſmooth, round, <span class="linenum">[124]  </span></span> -<span class="i0">And well torn’d chin, as with the <i>Billyard</i> ball; <span class="linenum">85</span></span> -<span class="i0">Rowle on theſe lips, the banks of loue, and there</span> -<span class="i0">At once both plant, and gather kiſſes. <i>Lady</i>,</span> -<span class="i0">Shall I, with what I haue made to day here, call</span> -<span class="i0">All ſenſe to wonder, and all faith to ſigne</span> -<span class="i0">The myſteries reuealed in your forme? <span class="linenum">90</span></span> -<span class="i0">And will <i>Loue</i> pardon mee the blasphemy</span> -<span class="i0">I vtter’d, when I ſaid, a glaſſe could ſpeake</span> -<span class="i0">This beauty, or that fooles had power to iudge it?</span> -<a name="Line_2_6_94"></a> -</div></div> - -<div class="poem"><div class="stanza"> -<span class="i2"><i>Doe but looke, on her eyes! They doe light</i>—</span> -<span class="i4"><i>All that</i> Loue’s <i>world comprizeth!</i> <span class="linenum">95</span></span> -<span class="i2"><i>Doe but looke on her hayre! it is bright,</i></span> -<span class="i4"><i>As</i> Loue’s <i>ſtarre, when it riſeth!</i></span> -<span class="i2"><i>Doe but marke, her fore-head’s ſmoother,</i></span> -<span class="i4"><i>Then words that ſooth her!</i></span> -<span class="i2"><i>And from her arched browes, ſuch a grace</i> <span class="linenum">100</span></span> -<span class="i4"><i>Sheds it ſelfe through the face;</i></span> -<span class="i2"><i>As alone, there triumphs to the life,</i></span> -<span class="i4"><i>All the gaine, all the good, of the elements ſtrife!</i></span> -</div><div class="stanza"> -<span class="i2"><i>Haue you ſeene but a bright Lilly grow</i>,</span> -<span class="i4"><i>Before rude hands haue touch’d it?</i> <span class="linenum">105</span></span> -<span class="i2"><i>Haue you mark’d but the fall of the Snow</i>,</span> -<span class="i4"><i>Before the ſoyle hath ſmuch’d it?</i></span> -<span class="i2"><i>Haue you felt the wooll o’ the Beuer?</i></span> -<span class="i4"><i>Or Swans downe, euer?</i></span> -<span class="i2"><i>Or, haue ſmelt o’ the bud o’ the Bryer?</i> <span class="linenum">110</span></span> -<span class="i4"><i>Or the Nard i’ the fire?</i></span> -<span class="i2"><i>Or, haue taſted the bag o’ the Bee?</i></span> -<span class="i4"><i>O, ſo white! O, ſo ſoft! O, ſo ſweet is ſhee!</i></span> -</div></div> - -<p><a name="Footnote_378_378" id="Footnote_378_378"></a><span class="label">[378]</span> -SD. <span class="smcap">Act.</span> ...] om. <span class="smcap">Scene II.</span> -Manly’s <i>Chambers in Lincoln’s Inn, opposite</i> Fitzdottrel’s <i>House. -Enter</i> <span class="smcap">Wittipol</span> <i>and</i> <span class="smcap">Manly</span>. G</p> - -<p><a name="Footnote_379_379" id="Footnote_379_379"></a><span class="label">[379]</span> -12 SN.] [<i>Gives him the copy of a song.</i> G</p> - -<p><a name="Footnote_380_380" id="Footnote_380_380"></a><span class="label">[380]</span> -15 <i>Mrs.</i> <span class="smcap">Fitzdottrel</span> <i>appears at a window of her house -fronting that of Manly’s Chambers</i>. G</p> - -<p><a name="Footnote_381_381" id="Footnote_381_381"></a><span class="label">[381]</span> -21 worst W || SN. <i>enters</i>] <i>enters and</i> 1716, W || Manly ...] -<i>Manly sings. Enter</i> <span class="smcap">Pug</span> <i>behind</i>. G</p> - -<p><a name="Footnote_382_382" id="Footnote_382_382"></a><span class="label">[382]</span> -23 interview W, G</p> - -<p><a name="Footnote_383_383" id="Footnote_383_383"></a><span class="label">[383]</span> -24 least W</p> - -<p><a name="Footnote_384_384" id="Footnote_384_384"></a><span class="label">[384]</span> -27 you’ve 1716, W</p> - -<p><a name="Footnote_385_385" id="Footnote_385_385"></a><span class="label">[385]</span> -32 entire W, G || [<i>Aside and exit.</i> G</p> - -<p><a name="Footnote_386_386" id="Footnote_386_386"></a><span class="label">[386]</span> -33 I’ll] I W, G</p> - -<p><a name="Footnote_387_387" id="Footnote_387_387"></a><span class="label">[387]</span> -34 [<i>Exit</i>. G</p> - -<p><a name="Footnote_388_388" id="Footnote_388_388"></a><span class="label">[388]</span> -35 M<sup>rs</sup>!] Mis! 1641 the rest as in 2. 2. 41 || They’re 1716, W they -are G || <i>Mrs. Fitz.</i> [<i>advances to the window.</i>] G</p> - -<p><a name="Footnote_389_389" id="Footnote_389_389"></a><span class="label">[389]</span> -35, 36 The’are ... receiue] one line 1692, 1716, W</p> - -<p><a name="Footnote_390_390" id="Footnote_390_390"></a><span class="label">[390]</span> -37 SN. om. G</p> - -<p><a name="Footnote_391_391" id="Footnote_391_391"></a><span class="label">[391]</span> -39 t’] to 1692, f.</p> - -<p><a name="Footnote_392_392" id="Footnote_392_392"></a><span class="label">[392]</span> -62 y’all 1716, W</p> - -<p><a name="Footnote_393_393" id="Footnote_393_393"></a><span class="label">[393]</span> -64 he’s W, G</p> - -<p><a name="Footnote_394_394" id="Footnote_394_394"></a><span class="label">[394]</span> -71, 76 SN. om. G</p> - -<p><a name="Footnote_395_395" id="Footnote_395_395"></a><span class="label">[395]</span> -75 ’salts 1692 ’saults 1716</p> - -<p><a name="Footnote_396_396" id="Footnote_396_396"></a><span class="label">[396]</span> -81 is, cast] is cast 1716, W</p> - -<p><a name="Footnote_397_397" id="Footnote_397_397"></a><span class="label">[397]</span> -88 I’ve W</p> - -<p><a name="Footnote_398_398" id="Footnote_398_398"></a><span class="label">[398]</span> -98 head’s] head 1641</p> - -<p><a name="Footnote_399_399" id="Footnote_399_399"></a><span class="label">[399]</span> -100 a om. 1641</p> - -<p><a name="Footnote_400_400" id="Footnote_400_400"></a><span class="label">[400]</span> -106 of the] the 1641</p> - -<p><a name="Footnote_401_401" id="Footnote_401_401"></a><span class="label">[401]</span> -108, 112 o’] of W</p> - -<p><a name="Footnote_402_402" id="Footnote_402_402"></a><span class="label">[402]</span> -108 Beuer] beaver W, G</p> - -<p><a name="Footnote_403_403" id="Footnote_403_403"></a><span class="label">[403]</span>110 smelt o’ret. G -<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span></p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>II</b>. Scene. <b>VII</b>.</span></p> -<p class="center"><span class="smcap">Fitz-dottrell.</span> <span class="smcap">Wittipol.</span> <span class="smcap">Pvg.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i20"><i>Her huſband appeares at her back.</i></span> -<span class="i0">Is shee ſo, Sir? and, I will keepe her ſo.</span> -<span class="i0">If I know how, or can: that wit of man</span> -<span class="i0">Will doe’t, I’ll goe no farther. At this windo’</span> -<span class="i0">She ſhall no more be <i>buz’d</i> at. Take your leaue on’t.</span> -<span class="i0">If you be ſweet meates, wedlock, or ſweet fleſh, <span class="linenum">5</span></span> -<span class="i0">All’s one: I doe not loue this <i>hum</i> about you.</span> -<span class="i0">A flye-blowne wife is not ſo proper, In: <span class="linenum">[125]  </span></span> -<span class="i0">For you, S<sup>r</sup>, looke to heare from mee.</span> -</div><div class="stanza"> -<span class="i16"><i>Hee ſpeakes out of his wiues window.</i></span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Wit.</span> So, I doe, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> No, but in other termes. There’s no man offers</span> -<span class="i0">This to my wife, but paies for’t.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Wit.</span> That haue I, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Nay, then, I tell you, you are.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Wit.</span> What am I, Sir? <span class="linenum">11</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Why, that I’ll thinke on, when I ha’ cut your throat.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Goe, you are an <i>Aſſe</i>.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Fit.</span> I am reſolu’d on’t, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> I thinke you are.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Fit.</span> To call you to a reckoning.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Away, you brokers blocke, you property. <span class="linenum">15</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> S’light, if you ſtrike me, I’ll ſtrike your Miſtreſſe.</span> -</div><div class="stanza"> -<span class="i28"><i>Hee ſtrikes his wife.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> O! I could ſhoote mine eyes at him, for that, now;</span> -<span class="i0">Or leaue my teeth in’him, were they cuckolds bane,</span> -<span class="i0">Inough to kill him. What prodigious,</span> -<span class="i0">Blinde, and moſt wicked change of fortune’s this? <span class="linenum">20</span></span> -<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> -<span class="i0">I ha’ no ayre of patience: an my vaines</span> -<span class="i0">Swell, and my ſinewes ſtart at iniquity of it.</span> -<span class="i0">I ſhall breake, breake.</span> -</div><div class="stanza"> -<span class="i24"><i>The</i> Diuell <i>ſpeakes below</i>.</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Pvg.</span> This for the malice of it,</span> -<span class="i0">And my reuenge may paſſe! But, now, my conſcience</span> -<span class="i0">Tells mee, I haue profited the cauſe of Hell <span class="linenum">25</span></span> -<span class="i0">But little, in the breaking-off their loues.</span> -<span class="i0">Which, if some other act of mine repaire not,</span> -<span class="i0">I ſhall heare ill of in my accompt.</span> -</div><div class="stanza"> -<span class="i14">Fitz-dottrel <i>enters with his wife as come downe</i>.</span> -</div><div class="stanza"> -<span class="i28"><span class="smcap">Fit.</span> O, Bird!</span> -<span class="i0">Could you do this? ’gainſt me? and at this time, now?</span> -<span class="i0">When I was ſo imploy’d, wholly for you, <span class="linenum">30</span></span> -<span class="i0">Drown’d i’ my care (more, then the land, I ſweare,</span> -<span class="i0">I’haue hope to win) to make you peere-leſſe? ſtudying,</span> -<span class="i0">For footemen for you, fine pac’d huiſhers, pages,</span> -<span class="i0">To ſerue you o’ the knee; with what Knights wife,</span> -<span class="i0">To beare your traine, and ſit with your foure women <span class="linenum">35</span></span> -<span class="i0">In councell, and receiue intelligences,</span> -<span class="i0">From forraigne parts, to dreſſe you at all pieces!</span> -<span class="i0">Y’haue (a’moſt) turn’d my good affection, to you;</span> -<span class="i0">Sowr’d my ſweet thoughts; all my pure purpoſes:</span> -<span class="i0">I could now finde (i’ my very heart) to make <span class="linenum">40</span></span> -<span class="i0">Another, <i>Lady Dutcheſſe</i>; and depoſe you.</span> -<span class="i0">Well, goe your waies in. <i>Diuell</i>, you haue redeem’d all.</span> -<span class="i0">I doe forgiue you. And I’ll doe you good.</span> -</div></div> - -<p><a name="Footnote_404_404" id="Footnote_404_404"></a><span class="label">[404]</span> -SD. om. SN.] <span class="smcap">Fitz-dottrell</span> <i>appears at his Wife’s back</i>. G</p> - -<p><a name="Footnote_405_405" id="Footnote_405_405"></a><span class="label">[405]</span> -8 SN. om. G || you,] you, you, W, G</p> - -<p><a name="Footnote_406_406" id="Footnote_406_406"></a><span class="label">[406]</span> -11 are.] are—W, G</p> - -<p><a name="Footnote_407_407" id="Footnote_407_407"></a><span class="label">[407]</span> -13 Sir.] Sir—Ed.</p> - -<p><a name="Footnote_408_408" id="Footnote_408_408"></a><span class="label">[408]</span> -16 I will W, G</p> - -<p><a name="Footnote_409_409" id="Footnote_409_409"></a><span class="label">[409]</span> -16 SN.] [<i>Strikes Mrs. Fitz. and leads her out.</i> G</p> - -<p><a name="Footnote_410_410" id="Footnote_410_410"></a><span class="label">[410]</span> -17 my 1641</p> - -<p><a name="Footnote_411_411" id="Footnote_411_411"></a><span class="label">[411]</span> -22 th’iniquity G</p> - -<p><a name="Footnote_412_412" id="Footnote_412_412"></a><span class="label">[412]</span> -23 SN. om [<i>Exit.</i> <span class="smcap">Scene III.</span> <i>Another Room -in</i> Fitzdottrel’s <i>House. Enter</i> <span class="smcap">Pug</span>. G</p> - -<p><a name="Footnote_413_413" id="Footnote_413_413"></a><span class="label">[413]</span> -28 in om. 1641 || SN.] <i>Enter</i> <span class="smcap">Fitzdottrel</span> <i>and his wife</i>. G</p> - -<p><a name="Footnote_414_414" id="Footnote_414_414"></a><span class="label">[414]</span> -30 employ’d 1716, f.</p> - -<p><a name="Footnote_415_415" id="Footnote_415_415"></a><span class="label">[415]</span> -31, 32 () ret. G</p> - -<p><a name="Footnote_416_416" id="Footnote_416_416"></a><span class="label">[416]</span> -38 You’ve 1716, f. || almost W, G</p> - -<p><a name="Footnote_417_417" id="Footnote_417_417"></a><span class="label">[417]</span> -42 [<i>Exit Mrs. Fitz.</i>] G</p> - -<p><a name="Footnote_418_418" id="Footnote_418_418"></a><span class="label">[418]</span> -43 [<i>Exit Pug.</i> G <span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span></p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>II</b>. Scene. <b>VIIJ</b>.</span></p> -<p class="center"><span class="smcap">Mere-craft.</span> <span class="smcap">Fitz-dottrel.</span> <span class="smcap">Ingine.</span><br /> -<span class="smcap">Traines.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Why ha you theſe excurſions? where ha’ you beene, Sir? <span class="linenum">[126]  </span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Where I ha’ beene vex’d a little, with a toy!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> O Sir! no toyes muſt trouble your graue head,</span> -<span class="i0">Now it is growing to be great. You muſt</span> -<span class="i0">Be aboue all thoſe things.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Fit.</span> Nay, nay, ſo I will. <span class="linenum">5</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Now you are to’ard the Lord, you muſt put off</span> -<span class="i0">The man, Sir.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Ing.</span> He ſaies true.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> You muſt do nothing</span> -<span class="i0">As you ha’ done it heretofore; not know,</span> -<span class="i0">Or ſalute any man.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> That was your bed-fellow,</span> -<span class="i0">The other moneth.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> The other moneth? the weeke. <span class="linenum">10</span></span> -<span class="i0">Thou doſt not know the priueledges, <i>Ingine</i>,</span> -<span class="i0">Follow that Title; nor how ſwift: To day,</span> -<span class="i0">When he has put on his Lords face once, then—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Sir, for theſe things I ſhall doe well enough,</span> -<span class="i0">There is no feare of me. But then, my wife is <span class="linenum">15</span></span> -<span class="i0">Such an vntoward thing! ſhee’ll neuer learne</span> -<span class="i0">How to comport with it. I am out of all</span> -<span class="i0">Conceipt, on her behalfe.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> Beſt haue her taught, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Where? Are there any Schooles for <i>Ladies</i>? Is there</span> -<span class="i0">An <i>Academy</i> for women? I doe know, <span class="linenum">20</span></span> -<span class="i0">For men, there was: I learn’d in it, my ſelfe,</span> -<span class="i0">To make my legges, and doe my poſtures.</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Ing.</span> Sir.</span> -<span class="i0">Doe you remember the conceipt you had—</span> -<span class="i0">O’ the Spaniſh gowne, at home?</span> -</div><div class="stanza"> -<span class="i8">Ingine <i>whiſpers</i> Merecraft, Merecraft <i>turnes to</i> Fitz-dottrel.</span> -<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> Ha! I doe thanke thee,</span> -<span class="i0">With all my heart, deare <i>Ingine</i>. Sir, there is <span class="linenum">25</span></span> -<span class="i0">A certaine <i>Lady</i>, here about the Towne,</span> -<span class="i0">An <i>Engliſh</i> widdow, who hath lately trauell’d,</span> -<span class="i0">But ſhee’s call’d the <i>Spaniard</i>; cauſe ſhe came</span> -<span class="i0">Lateſt from thence: and keepes the <i>Spaniſh</i> habit.</span> -<span class="i0">Such a rare woman! all our women heere, <span class="linenum">30</span></span> -<span class="i0">That are of ſpirit, and faſhion flocke, vnto her,</span> -<span class="i0">As to their Preſident; their <i>Law</i>; their <i>Canon</i>;</span> -<span class="i0">More then they euer did, to <i>Oracle-Foreman</i>.</span> -<span class="i0">Such rare receipts ſhee has, Sir, for the face;</span> -<span class="i0">Such <i>oyles</i>; such <i>tinctures</i>; such <i>pomatumn’s</i>; <span class="linenum">35</span></span> -<span class="i0">Such <i>perfumes</i>; <i>med’cines</i>; <i>quinteſſences</i>, <i>&c.</i></span> -<span class="i0">And ſuch a Miſtreſſe of behauiour; [127]</span> -<span class="i0">She knowes, from the <i>Dukes</i> daughter, to the Doxey,</span> -<span class="i0">What is their due iuſt: and no more!</span> -</div><div class="stanza"> -<span class="i31"><span class="smcap">Fit.</span> O Sir!</span> -<span class="i0">You pleaſe me i’ this, more then mine owne greatneſſe, <span class="linenum">40</span></span> -<span class="i0">Where is ſhee? Let vs haue her.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Mer.</span> By your patience,</span> -<span class="i0">We muſt vſe meanes; caſt how to be acquainted—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Good, S<sup>r</sup>, about it.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Mer.</span> We muſt think how, firſt.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> O!</span> -<span class="i0">I doe not loue to tarry for a thing,</span> -<span class="i0">When I haue a mind to’t. You doe not know me. <span class="linenum">45</span></span> -<span class="i0">If you doe offer it.</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Mer.</span> Your wife muſt ſend</span> -<span class="i0">Some pretty token to her, with a complement,</span> -<span class="i0">And pray to be receiu’d in her good graces,</span> -<span class="i0">All the great <i>Ladies</i> do’t.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> She ſhall, ſhe ſhall,</span> -<span class="i0">What were it beſt to be?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> Some little toy, <span class="linenum">50</span></span> -<span class="i0">I would not haue it any great matter, Sir:</span> -<span class="i0">A <i>Diamant</i> ring, of <i>forty</i> or <i>fifty</i> pound,</span> -<span class="i0">Would doe it handſomely: and be a gift</span> -<span class="i0">Fit for your wife to ſend, and her to take.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I’ll goe, and tell my wife on’t, ſtreight. <span class="linenum">55</span></span> -</div><div class="stanza"> -<span class="i29">Fitz-dottrel <i>goes out</i>.</span> -<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span> -</div><div class="stanza"> -<span class="i35"><span class="smcap">Mer.</span> Why this</span> -<span class="i0">Is well! The clothes we’haue now: But, where’s this <i>Lady</i>?</span> -<span class="i0">If we could get a witty boy, now, <i>Ingine</i>;</span> -<span class="i0">That were an excellent cracke: I could inſtruct him,</span> -<span class="i0">To the true height. For any thing takes this <i>dottrel</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> Why, Sir your beſt will be one o’ the players! <span class="linenum">60</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> No, there’s no truſting them. They’ll talke on’t,</span> -<span class="i0">And tell their <i>Poets</i>.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Ing.</span> What if they doe? The ieſt</span> -<span class="i0">will brooke the Stage. But, there be ſome of ’hem</span> -<span class="i0">Are very honeſt Lads. There’s <i>Dicke Robinſon</i></span> -<span class="i0">A very pretty fellow, and comes often <span class="linenum">65</span></span> -<span class="i0">To a Gentlemans chamber, a friends of mine. We had</span> -<span class="i0">The merrieſt ſupper of it there, one night,</span> -<span class="i0">The Gentlemans Land-lady invited him</span> -<span class="i0">To’a Goſſips feaſt. Now, he Sir brought <i>Dick Robinſon</i>,</span> -<span class="i0">Dreſt like a Lawyers wife, amongſt ’hem all; <span class="linenum">70</span></span> -<span class="i0">(I lent him cloathes) but, to ſee him behaue it;</span> -<span class="i0">And lay the law; and carue; and drinke vnto ’hem;</span> -<span class="i0">And then talke baudy: and ſend frolicks! o!</span> -<span class="i0">It would haue burſt your buttons, or not left you</span> -<span class="i0">A ſeame.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Mer.</span> They ſay hee’s an ingenious youth! <span class="linenum">75</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> O Sir! and dreſſes himſelfe, the beſt! beyond</span> -<span class="i0">Forty o’ your very <i>Ladies</i>! did you ne’r ſee him?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> No, I do ſeldome ſee thoſe toyes. But thinke you,</span> -<span class="i0">That we may haue him?</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Ing.</span> Sir, the young Gentleman</span> -<span class="i0">I tell you of, can command him. Shall I attempt it? <span class="linenum">80</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Yes, doe it.</span> -</div><div class="stanza"> -<span class="i30"><i>Enters againe.</i></span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Fit.</span> S’light, I cannot get my wife</span> -<span class="i0">To part with a ring, on any termes: and yet,</span> -<span class="i0">The ſollen <i>Monkey</i> has two.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Mer.</span> It were ’gainst reaſon</span> -<span class="i0">That you ſhould vrge it; Sir, ſend to a Gold-ſmith, <span class="linenum">[128]  </span></span> -<span class="i0">Let not her loſe by’t.</span> -<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> How do’s ſhe loſe by’t? <span class="linenum">85</span></span> -<span class="i0">Is’t not for her?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> Make it your owne bounty,</span> -<span class="i0">It will ha’ the better ſucceſſe; what is a matter</span> -<span class="i0">Of <i>fifty</i> pound to you, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> I’haue but a hundred</span> -<span class="i0"><i>Pieces</i>, to ſhew here; that I would not breake—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> You ſhall ha’ credit, Sir. I’ll ſend a ticket <span class="linenum">90</span></span> -<span class="i0">Vnto my Gold-ſmith. Heer, my man comes too,</span> -<span class="i0">To carry it fitly. How now, <i>Traines</i>? What birds?</span> -</div><div class="stanza"> -<span class="i30">Traines <i>enters</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tra.</span> Your Couſin <i>Euer-ill</i> met me, and has beat mee,</span> -<span class="i0">Becauſe I would not tell him where you were:</span> -<span class="i0">I thinke he has dogd me to the houſe too.</span> -</div><div class="stanza"> -<span class="i30"><span class="smcap">Fit.</span> Well— <span class="linenum">95</span></span> -<span class="i0">You ſhall goe out at the back-doore, then, <i>Traines</i>.</span> -<span class="i0">You muſt get <i>Guilt-head</i> hither, by ſome meanes:</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tra.</span> ’Tis impoſſible!</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Fit.</span> Tell him, we haue <i>veniſon</i>,</span> -<span class="i0">I’ll g’ him a piece, and ſend his wife a <i>Pheſant</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tra.</span> A Forreſt moues not, till that <i>forty</i> pound, <span class="linenum">100</span></span> -<span class="i0">Yo’ had of him, laſt, be pai’d. He keepes more ſtirre,</span> -<span class="i0">For that ſame petty ſumme, then for your bond</span> -<span class="i0">Of <i>ſixe</i>; and <i>Statute</i> of <i>eight</i> hundred!</span> -</div><div class="stanza"> -<span class="i28"><span class="smcap">Fit.</span> Tell him</span> -<span class="i0">Wee’ll hedge in that. Cry vp <i>Fitz-dottrell</i> to him,</span> -<span class="i0">Double his price: Make him a man of mettall. <span class="linenum">105</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tra.</span> That will not need, his bond is current inough.</span> -</div></div> - -<p><a name="Footnote_419_419" id="Footnote_419_419"></a><span class="label">[419]</span> -SD. <span class="smcap">Act.</span> ...] om. <i>Enter</i> <span class="smcap">Meercraft</span> -<i>and</i> <span class="smcap">Engine</span>. G || II] III 1641</p> - -<p><a name="Footnote_420_420" id="Footnote_420_420"></a><span class="label">[420]</span> -6,7 Now ... Sir.] “Now ... sir.” W</p> - -<p><a name="Footnote_421_421" id="Footnote_421_421"></a><span class="label">[421]</span> -24 SN.] [<i>whispers Meercraft.</i>] G</p> - -<p><a name="Footnote_422_422" id="Footnote_422_422"></a><span class="label">[422]</span> -28 she is W, G</p> - -<p><a name="Footnote_423_423" id="Footnote_423_423"></a><span class="label">[423]</span> -29 and om. 1641</p> - -<p><a name="Footnote_424_424" id="Footnote_424_424"></a><span class="label">[424]</span> -31 fashion flocke,] fashion, flock 1692, f.</p> - -<p><a name="Footnote_425_425" id="Footnote_425_425"></a><span class="label">[425]</span> -36 &c.] <i>et caetera</i>; G</p> - -<p><a name="Footnote_426_426" id="Footnote_426_426"></a><span class="label">[426]</span> -45 to it G</p> - -<p><a name="Footnote_427_427" id="Footnote_427_427"></a><span class="label">[427]</span> -49 do it G</p> - -<p><a name="Footnote_428_428" id="Footnote_428_428"></a><span class="label">[428]</span> -52 <i>Diamond</i> 1692, 1716 diamond W, G passim</p> - -<p><a name="Footnote_429_429" id="Footnote_429_429"></a><span class="label">[429]</span> -55 SN.] [<i>Exit.</i> G</p> - -<p><a name="Footnote_430_430" id="Footnote_430_430"></a><span class="label">[430]</span> -61 of it G</p> - -<p><a name="Footnote_431_431" id="Footnote_431_431"></a><span class="label">[431]</span> -64 <i>Dick</i> 1692, 1716 Dick W Dickey G</p> - -<p><a name="Footnote_432_432" id="Footnote_432_432"></a><span class="label">[432]</span> -66 friend W, G</p> - -<p><a name="Footnote_433_433" id="Footnote_433_433"></a><span class="label">[433]</span> -69 T’a 1716, W</p> - -<p><a name="Footnote_434_434" id="Footnote_434_434"></a><span class="label">[434]</span> -81 SN....] Fit.... 1716 Fitz-dottrel ... W <i>Re-enter</i> <span class="smcap">Fitzdottrel</span>. G</p> - -<p><a name="Footnote_435_435" id="Footnote_435_435"></a><span class="label">[435]</span> -83 sullen 1692, f.</p> - -<p><a name="Footnote_436_436" id="Footnote_436_436"></a><span class="label">[436]</span> -85, 6 ’t] it G</p> - -<p><a name="Footnote_437_437" id="Footnote_437_437"></a><span class="label">[437]</span> -92 SN.] <i>Enter</i> <span class="smcap">Trains</span>. G</p> - -<p><a name="Footnote_438_438" id="Footnote_438_438"></a><span class="label">[438]</span> -95, 103 <span class="smcap">Fit.</span>] <i>Meer.</i> W, G</p> - -<p><a name="Footnote_439_439" id="Footnote_439_439"></a><span class="label">[439]</span> -98 ’T] It G</p> - -<p><a name="Footnote_440_440" id="Footnote_440_440"></a><span class="label">[440]</span> -99 gi’ 1716, W give G [<i>Exit.</i> G</p> - -<p><a name="Footnote_441_441" id="Footnote_441_441"></a><span class="label">[441]</span> 106 [<i>Exeunt.</i> G</p> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span><br /> -<span class="linenum">[129]  </span></p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>III</b>. Scene. <b>I</b>.</span></p> -<p class="center"><span class="smcap">Gvilt-head.</span> <span class="smcap">Plvtarchvs.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">All this is to make you a Gentleman:</span> -<span class="i0">I’ll haue you learne, Sonne. Wherefore haue I plac’d you</span> -<span class="i0">With S<sup>r</sup>. <i>Poul Either-ſide</i>, but to haue ſo much Law</span> -<span class="i0">To keepe your owne? Beſides, he is a <i>Iuſtice</i>,</span> -<span class="i0">Here i’ the Towne; and dwelling, Sonne, with him, <span class="linenum">5</span></span> -<span class="i0">You ſhal learne that in a yeere, ſhall be worth twenty</span> -<span class="i0">Of hauing ſtay’d you at <i>Oxford</i>, or at <i>Cambridge</i>,</span> -<span class="i0">Or ſending you to the <i>Innes</i> of <i>Court</i>, or <i>France</i>.</span> -<span class="i0">I am call’d for now in haſte, by Maſter <i>Meere-craft</i></span> -<span class="i0">To truſt Maſter <i>Fitz-dottrel</i>, a good man: <span class="linenum">10</span></span> -<span class="i0">I’haue inquir’d him, eighteene hundred a yeere,</span> -<span class="i0">(His name is currant) for a diamant ring</span> -<span class="i0">Of forty, ſhall not be worth thirty (thats gain’d)</span> -<span class="i0">And this is to make you a Gentleman!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Plv.</span> O, but good father, you truſt too much!</span> -</div><div class="stanza"> -<span class="i23"><span class="smcap">Gvi.</span> Boy, boy, <span class="linenum">15</span></span> -<span class="i0">We liue, by finding fooles out, to be truſted.</span> -<span class="i0">Our ſhop-bookes are our paſtures, our corn-grounds,</span> -<span class="i0">We lay ’hem op’n for them to come into:</span> -<span class="i0">And when wee haue ’hem there, wee driue ’hem vp</span> -<span class="i0">In t’one of our two Pounds, the <i>Compters</i>, ſtreight, <span class="linenum">20</span></span> -<span class="i0">And this is to make you a Gentleman!</span> -<span class="i0">Wee Citizens neuer truſt, but wee doe coozen:</span> -<span class="i0">For, if our debtors pay, wee coozen them;</span> -<span class="i0">And if they doe not, then we coozen our ſelues.</span> -<span class="i0">But that’s a hazard euery one muſt runne, <span class="linenum">25</span></span> -<span class="i0">That hopes to make his Sonne a Gentleman!</span> -<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Plv.</span> I doe not wiſh to be one, truely, Father.</span> -<span class="i0">In a deſcent, or two, wee come to be</span> -<span class="i0">Iuſt ’itheir ſtate, fit to be coozend, like ’hem.</span> -<span class="i0">And I had rather ha’ tarryed i’ your trade: <span class="linenum">30</span></span> -<span class="i0">For, ſince the <i>Gentry</i> ſcorne the Citty ſo much, <span class="linenum">[130]  </span></span> -<span class="i0">Me thinkes we ſhould in time, holding together,</span> -<span class="i0">And matching in our owne tribes, as they ſay,</span> -<span class="i0">Haue got an <i>Act</i> of <i>Common Councell</i>, for it,</span> -<span class="i0">That we might coozen them out of <i>rerum natura</i>. <span class="linenum">35</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Gvi.</span> I, if we had an <i>Act</i> firſt to forbid</span> -<span class="i0">The marrying of our wealthy heyres vnto ’hem:</span> -<span class="i0">And daughters, with ſuch lauiſh portions.</span> -<span class="i0">That confounds all.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Plv.</span> And makes a <i>Mungril</i> breed, Father.</span> -<span class="i0">And when they haue your money, then they laugh at you: <span class="linenum">40</span></span> -<span class="i0">Or kick you downe the ſtayres. I cannot abide ’hem.</span> -<span class="i0">I would faine haue ’hem coozen’d, but not truſted.</span> -</div></div> - -<p><a name="Footnote_442_442" id="Footnote_442_442"></a><span class="label">[442]</span> -SD. <span class="smcap">Act.</span> ... <span class="smcap">I.</span> ...] -<span class="smcap">Act.</span> ... <span class="smcap">I.</span> <i>A Room in</i> Fitzdottrel’s <i>House. -Enter</i> <span class="smcap">Thomas Gilthead</span> <i>and</i> <span class="smcap">Plutarchus</span>. G</p> - -<p><a name="Footnote_443_443" id="Footnote_443_443"></a><span class="label">[443]</span> -3 to om. 1692 t’ 1716 || <i>Poul</i>] <i>Pould</i> 1641</p> - -<p><a name="Footnote_444_444" id="Footnote_444_444"></a><span class="label">[444]</span> -9 I’m W, G</p> - -<p><a name="Footnote_445_445" id="Footnote_445_445"></a><span class="label">[445]</span> -12 () ret. G</p> - -<p><a name="Footnote_446_446" id="Footnote_446_446"></a><span class="label">[446]</span> -15 Boy, boy] Boy, by 1692</p> - -<p><a name="Footnote_447_447" id="Footnote_447_447"></a><span class="label">[447]</span> -20 two om. 1692, 1716 || Int’one 1716, W into one G</p> - -<p><a name="Footnote_448_448" id="Footnote_448_448"></a><span class="label">[448]</span> -29 i’ their 1716, W in their G</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>III</b>. Scene. <b>II</b>.</span></p> -<p class="center"><span class="smcap">Mere-craft.</span> <span class="smcap">Gvilt-head.</span><br /> -<span class="smcap">Fitz-dottrell.</span> <span class="smcap">Plvtarchvs.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">O, is he come! I knew he would not faile me.</span> -<span class="i0">Welcome, good <i>Guilt-head</i>, I muſt ha’ you doe</span> -<span class="i0">A noble Gentleman, a courteſie, here:</span> -<span class="i0">In a mere toy (ſome pretty Ring, or Iewell)</span> -<span class="i0">Of fifty, or threeſcore pound (Make it a hundred, <span class="linenum">5</span></span> -<span class="i0">And hedge in the laſt forty, that I owe you,</span> -<span class="i0">And your owne price for the Ring) He’s a good man, S<sup>r</sup>,</span> -<span class="i0">And you may hap’ ſee him a great one! Hee,</span> -<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> -<span class="i0">Is likely to beſtow hundreds, and thouſands,</span> -<span class="i0">Wi’ you; if you can humour him. A great prince <span class="linenum">10</span></span> -<span class="i0">He will be ſhortly. What doe you ſay?</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Gvi.</span> In truth, Sir</span> -<span class="i0">I cannot. ’T has beene a long vacation with vs?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Of what, I pray thee? of wit? or honesty?</span> -<span class="i0">Thoſe are your Citizens long vacations.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Plv.</span> Good Father do not truſt ’hem.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> Nay, <i>Thom. Guilt-head</i>. <span class="linenum">15</span></span> -<span class="i0">Hee will not buy a courteſie and begge it:</span> -<span class="i0">Hee’ll rather pay, then pray. If you doe for him,</span> -<span class="i0">You muſt doe cheerefully. His credit, Sir,</span> -<span class="i0">Is not yet proſtitute! Who’s this? thy ſonne?</span> -<span class="i0">A pretty youth, what’s his name?</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Plv.</span> <i>Plutarchus</i>, Sir, <span class="linenum">20</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> <i>Plutarchus!</i> How came that about?</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Gvi.</span> That yeere S<sup>r</sup>,</span> -<span class="i0">That I begot him, I bought <i>Plutarch’s</i> liues,</span> -<span class="i0">And fell ſ’ in loue with the booke, as I call’d my ſonne</span> -<span class="i0">By’his name; In hope he ſhould be like him:</span> -<span class="i0">And write the liues of our great men!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> I’ the City? <span class="linenum">[131]  25</span></span> -<span class="i0">And you do breed him, there?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Gvi.</span> His minde, Sir, lies</span> -<span class="i0">Much to that way.</span> -</div><div class="stanza"> -<span class="i7"><span class="smcap">Mer.</span> Why, then, he is i’ the right way.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Gvi.</span> But, now, I had rather get him a good wife,</span> -<span class="i0">And plant him i’ the countrey; there to vſe</span> -<span class="i0">The bleſſing I ſhall leaue him:</span> -</div><div class="stanza"> -<span class="i27"><span class="smcap">Mer.</span> Out vpon’t! <span class="linenum">30</span></span> -<span class="i0">And loſe the laudable meanes, thou haſt at home, heere,</span> -<span class="i0">T’aduance, and make him a young <i>Alderman</i>?</span> -<span class="i0">Buy him a Captaines place, for ſhame; and let him</span> -<span class="i0">Into the world, early, and with his plume,</span> -<span class="i0">And Scarfes, march through <i>Cheapſide</i>, or along <i>Cornehill</i>,</span> -<span class="i0">And by the vertue’of thoſe, draw downe a wife <span class="linenum">36</span></span> -<span class="i0">There from a windo’, worth ten thouſand pound!</span> -<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span> -<span class="i0">Get him the poſture booke, and’s leaden men,</span> -<span class="i0">To ſet vpon a table, ’gainst his Miſtreſſe</span> -<span class="i0">Chance to come by, that hee may draw her in, <span class="linenum">40</span></span> -<span class="i0">And ſhew her <i>Finsbury</i> battells.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Gvi.</span> I haue plac’d him</span> -<span class="i0">With Iustice <i>Eytherſide</i>, to get so much law—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> As thou haſt conſcience. Come, come, thou doſt wrong</span> -<span class="i0">Pretty <i>Plutarchus</i>, who had not his name,</span> -<span class="i0">For nothing: but was borne to traine the youth <span class="linenum">45</span></span> -<span class="i0">Of <i>London</i>, in the military truth—</span> -<span class="i0">That way his <i>Genius</i> lies. My Couſin <i>Euerill</i>!</span> -</div></div> - -<p><a name="Footnote_449_449" id="Footnote_449_449"></a><span class="label">[449]</span> -SD. <span class="smcap">Act.</span> ...] <i>Enter</i> <span class="smcap">Meercraft</span>. G</p> - -<p><a name="Footnote_450_450" id="Footnote_450_450"></a><span class="label">[450]</span> -7 ring. [<i>Aside to Gilthead.</i></p> - -<p><a name="Footnote_451_451" id="Footnote_451_451"></a><span class="label">[451]</span> -15 Tom G</p> - -<p><a name="Footnote_452_452" id="Footnote_452_452"></a><span class="label">[452]</span> -20 ’s] is G</p> - -<p><a name="Footnote_453_453" id="Footnote_453_453"></a><span class="label">[453]</span> -23 so in W, G</p> - -<p><a name="Footnote_454_454" id="Footnote_454_454"></a><span class="label">[454]</span> -27 he’s W, G</p> - -<p><a name="Footnote_455_455" id="Footnote_455_455"></a><span class="label">[455]</span> -45,6 to ... truth] in italics G</p> - -<p><a name="Footnote_456_456" id="Footnote_456_456"></a><span class="label">[456]</span> -47 lies.—<i>Enter</i> <span class="smcap">Everill</span>.</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>III</b>. Scene. <b>IIJ</b>.</span></p> -<p class="center"><span class="smcap">Ever-ill.</span> <span class="smcap">Plvtarchvs.</span> <span class="smcap">Gvilt-head.</span><br /> -<span class="smcap">Mere-craft.</span> <span class="smcap">Fitzdottrell.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">O, are you heere, Sir? ’pray you let vs whiſper.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Plv.</span> Father, deare Father, truſt him if you loue mee.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Gvi.</span> Why, I doe meane it, boy; but, what I doe,</span> -<span class="i0">Muſt not come eaſily from mee: Wee muſt deale</span> -<span class="i0">With <i>Courtiers</i>, boy, as <i>Courtiers</i> deale with vs. <span class="linenum">5</span></span> -<span class="i0">If I haue a <i>Buſineſſe</i> there, with any of them,</span> -<span class="i0">Why, I muſt wait, I’am ſure on’t, Son: and though</span> -<span class="i0">My <i>Lord</i> diſpatch me, yet his worſhipfull man—</span> -<span class="i0">Will keepe me for his ſport, a moneth, or two,</span> -<span class="i0">To ſhew mee with my fellow Cittizens. <span class="linenum">10</span></span> -<span class="i0">I muſt make his traine long, and full, one quarter;</span> -<span class="i0">And helpe the ſpectacle of his greatneſſe. There,</span> -<span class="i0">Nothing is done at once, but iniuries, boy:</span> -<span class="i0">And they come head-long! an their good turnes moue not, <span class="linenum">[124]  </span></span> -<span class="i0">Or very ſlowly.</span> -<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Plv.</span> Yet ſweet father, truſt him. <span class="linenum">15</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Gvi.</span> VVell, I will thinke.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Ev.</span> Come, you muſt do’t, Sir.</span> -<span class="i0">I am vndone elſe, and your <i>Lady Tayle-buſh</i></span> -<span class="i0">Has ſent for mee to dinner, and my cloaths</span> -<span class="i0">Are all at pawne. I had ſent out this morning,</span> -<span class="i0">Before I heard you were come to towne, ſome twenty <span class="linenum">20</span></span> -<span class="i0">Of my epiſtles, and no one returne—</span> -</div><div class="stanza"> -<span class="i21">Mere-craft <i>tells him of his faults</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> VVhy, I ha’ told you o’ this. This comes of wearing</span> -<span class="i0">Scarlet, gold lace, and cut-works! your fine gartring!</span> -<span class="i0">VVith your blowne roſes, Couſin! and your eating</span> -<span class="i0"><i>Pheſant</i>, and <i>Godwit</i>, here in <i>London</i>! haunting <span class="linenum">25</span></span> -<span class="i0">The <i>Globes</i>, and <i>Mermaides</i>! wedging in with <i>Lords</i>,</span> -<span class="i0">Still at the table! and affecting lechery,</span> -<span class="i0">In veluet! where could you ha’ contented your ſelfe</span> -<span class="i0">With cheeſe, ſalt-butter, and a pickled hering,</span> -<span class="i0">I’ the Low-countries; there worne cloth, and fuſtian! <span class="linenum">30</span></span> -<span class="i0">Beene ſatisfied with a leape o’ your Hoſt’s daughter,</span> -<span class="i0">In garriſon, a wench of a ſtoter! or,</span> -<span class="i0">Your <i>Sutlers</i> wife, i’ the leaguer, of two blanks!</span> -<span class="i0">You neuer, then, had runne vpon this flat,</span> -<span class="i0">To write your letters miſſiue, and ſend out <span class="linenum">35</span></span> -<span class="i0">Your priuy ſeales, that thus haue frighted off</span> -<span class="i0">All your acquaintance; that they ſhun you at diſtance,</span> -<span class="i0">VVorse, then you do the Bailies!</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Ev.</span> Pox vpon you.</span> -<span class="i0">I come not to you for counſell, I lacke money.</span> -</div><div class="stanza"> -<span class="i33"><i>Hee repines.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> You doe not thinke, what you owe me already?</span> -</div><div class="stanza"> -<span class="i35"><span class="smcap">Ev.</span> I? <span class="linenum">40</span></span> -<span class="i0">They owe you, that meane to pay you. I’ll beſworne,</span> -<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> -<span class="i0">I neuer meant it. Come, you will proiect,</span> -<span class="i0">I ſhall vndoe your practice, for this moneth elſe:</span> -<span class="i0">You know mee.</span> -<span class="i27"><i>and threatens him.</i></span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Mer.</span> I, yo’ are a right ſweet nature!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ev.</span> Well, that’s all one!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> You’ll leaue this Empire, one day? <span class="linenum">45</span></span> -<span class="i0">You will not euer haue this tribute payd,</span> -<span class="i0">Your ſcepter o’ the ſword?</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Ev.</span> Tye vp your wit,</span> -<span class="i0">Doe, and prouoke me not—</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Mer.</span> Will you, Sir, helpe,</span> -<span class="i0">To what I ſhall prouoke another for you?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ev.</span> I cannot tell; try me: I thinke I am not <span class="linenum">50</span></span> -<span class="i0">So vtterly, of an ore vn-to-be-melted,</span> -<span class="i0">But I can doe my ſelfe good, on occaſions.</span> -</div><div class="stanza"> -<span class="i33"><i>They ioyne.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Strike in then, for your part. M<sup>r</sup>. <i>Fitz-dottrel</i></span> -<span class="i0">If I tranſgreſſe in point of manners, afford mee</span> -<span class="i0">Your beſt conſtruction; I muſt beg my freedome <span class="linenum">55</span></span> -<span class="i0">From your affayres, this day.</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Fit.</span> How, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i23"><span class="smcap">Mer.</span> It is</span> -<span class="i0">In ſuccour of this Gentlemans occaſions,</span> -<span class="i0">My kinſ-man—</span> -<span class="i25">Mere-craft <i>pretends</i> buſineſſe.</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Fit.</span> You’ll not do me that affront, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> I am ſory you ſhould ſo interpret it,</span> -<span class="i0">But, Sir, it ſtands vpon his being inueſted <span class="linenum">60</span></span> -<span class="i0">In a new <i>office</i>, hee has ſtood for, long: <span class="linenum">[133]  </span></span> -</div><div class="stanza"> -<span class="i12">Mere-craft <i>describes the</i> office <i>of</i> Dependancy.</span> -</div><div class="stanza"> -<span class="i0"><i>Maſter</i> of the <i>Dependances</i>! A place</span> -<span class="i0">Of my proiection too, Sir, and hath met</span> -<span class="i0">Much oppoſition; but the State, now, ſee’s</span> -<span class="i0">That great neceſſity of it, as after all <span class="linenum">65</span></span> -<span class="i0">Their writing, and their ſpeaking, againſt <i>Duells</i>,</span> -<span class="i0">They haue erected it. His booke is drawne—</span> -<span class="i0">For, ſince, there will be differences, daily,</span> -<span class="i0">’Twixt Gentlemen; and that the roaring manner</span> -<span class="i0">Is growne offenſiue; that thoſe few, we call <span class="linenum">70</span></span> -<span class="i0">The ciuill men o’ the ſword, abhorre the vapours;</span> -<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span> -<span class="i0">They ſhall refer now, hither, for their <i>proceſſe</i>;</span> -<span class="i0">And ſuch as treſſpaſe ’gainſt the rule of <i>Court</i>,</span> -<span class="i0">Are to be fin’d—</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Fit.</span> In troth, a pretty place!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> A kinde of arbitrary <i>Court</i> ’twill be, Sir. <span class="linenum">75</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I ſhall haue matter for it, I beleeue,</span> -<span class="i0">Ere it be long: I had a diſtaſt.</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Mer.</span> But now, Sir,</span> -<span class="i0">My learned councell, they muſt haue a feeling,</span> -<span class="i0">They’ll part, Sir, with no bookes, without the hand-gout</span> -<span class="i0">Be oyld, and I muſt furniſh. If’t be money, <span class="linenum">80</span></span> -<span class="i0">To me ſtreight. I am Mine, <i>Mint</i> and <i>Exchequer</i>.</span> -<span class="i0">To ſupply all. What is’t? a hundred pound?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> No, th’ <i>Harpey</i>, now, ſtands on a hundred pieces.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Why, he muſt haue ’hem, if he will. To morrow, Sir,</span> -<span class="i0">Will equally ſerue your occaſion’s,—— <span class="linenum">85</span></span> -<span class="i0">And therefore, let me obtaine, that you will yeeld</span> -<span class="i0">To timing a poore Gentlemans diſtreſſes,</span> -<span class="i0">In termes of hazard.—</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Fit.</span> By no meanes!</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Mer.</span> I muſt</span> -<span class="i0">Get him this money, and will.—</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Fit.</span> Sir, I proteſt,</span> -<span class="i0">I’d rather ſtand engag’d for it my ſelfe: <span class="linenum">90</span></span> -<span class="i0">Then you ſhould leaue mee.</span> -</div><div class="stanza"> -<span class="i11"><span class="smcap">Mer.</span> O good S<sup>r</sup>. do you thinke</span> -<span class="i0">So courſely of our manners, that we would,</span> -<span class="i0">For any need of ours, be preſt to take it:</span> -<span class="i0">Though you be pleas’d to offer it.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Why, by heauen,</span> -<span class="i0">I meane it!</span> -</div><div class="stanza"> -<span class="i7"><span class="smcap">Mer.</span> I can neuer beleeue leſſe. <span class="linenum">95</span></span> -<span class="i0">But wee, Sir, muſt preſerue our dignity,</span> -<span class="i0">As you doe publiſh yours. By your faire leaue, Sir.</span> -</div><div class="stanza"> -<span class="i23"><i>Hee offers to be gone.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> As I am a Gentleman, if you doe offer</span> -<span class="i0">To leaue mee now, or if you doe refuſe mee, <span class="linenum">99</span></span> -<span class="i0">I will not thinke you loue mee.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Mer.</span> Sir, I honour you.</span> -<span class="i0">And with iuſt reaſon, for theſe noble notes,</span> -<span class="i0">Of the nobility, you pretend too! But, Sir—</span> -<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span> -<span class="i0">I would know, why? a motiue (he a ſtranger)</span> -<span class="i0">You ſhould doe this?</span> -</div><div class="stanza"> -<span class="i12">(<span class="smcap">Eve.</span> You’ll mar all with your fineneſſe)</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Why, that’s all one, if ’twere, Sir, but my fancy. <span class="linenum">105</span></span> -<span class="i0">But I haue a <i>Buſineſſe</i>, that perhaps I’d haue</span> -<span class="i0">Brought to his <i>office</i>.</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Mer.</span> O, Sir! I haue done, then;</span> -<span class="i0">If hee can be made profitable, to you. <span class="linenum">[134]  </span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Yes, and it ſhall be one of my ambitions</span> -<span class="i0">To haue it the firſt <i>Buſineſſe</i>? May I not? <span class="linenum">110</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> So you doe meane to make’t, a perfect <i>Buſineſſe</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Nay, I’ll doe that, aſſure you: ſhew me once.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> S<sup>r</sup>, it concernes, the firſt be a perfect <i>Buſineſſe</i>,</span> -<span class="i0">For his owne honour!</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Eve.</span> I, and th’ reputation</span> -<span class="i0">Too, of my place.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Fit.</span> Why, why doe I take this courſe, elſe? <span class="linenum">115</span></span> -<span class="i0">I am not altogether, an <i>Aſſe</i>, good Gentlemen,</span> -<span class="i0">Wherefore ſhould I conſult you? doe you thinke?</span> -<span class="i0">To make a ſong on’t? How’s your manner? tell vs.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Doe, ſatisfie him: giue him the whole courſe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Firſt, by requeſt, or otherwiſe, you offer <span class="linenum">120</span></span> -<span class="i0">Your <i>Buſineſſe</i> to the <i>Court</i>: wherein you craue:</span> -<span class="i0">The iudgement of the <i>Maſter</i> and the <i>Aſsiſtants</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Well, that’s done, now, what doe you vpon it?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> We ſtreight S<sup>r</sup>, haue recourſe to the ſpring-head;</span> -<span class="i0">Viſit the ground; and, ſo diſcloſe the nature: <span class="linenum">125</span></span> -<span class="i0">If it will carry, or no. If wee doe finde,</span> -<span class="i0">By our proportions it is like to proue</span> -<span class="i0">A ſullen, and blacke <i>Bus’neſſe</i> That it be</span> -<span class="i0">Incorrigible; and out of, treaty; then.</span> -<span class="i0">We file it, a <i>Dependance</i>!</span> -</div><div class="stanza"> -<span class="i28"><span class="smcap">Fit.</span> So ’tis fil’d. <span class="linenum">130</span></span> -<span class="i0">What followes? I doe loue the order of theſe things.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> We then aduiſe the party, if he be</span> -<span class="i0">A man of meanes, and hauings, that forth-with,</span> -<span class="i0">He ſettle his eſtate: if not, at leaſt</span> -<span class="i0">That he pretend it. For, by that, the world <span class="linenum">135</span></span> -<span class="i0">Takes notice, that it now is a <i>Dependance</i>.</span> -<span class="i0">And this we call, Sir, <i>Publication</i>.</span> -<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Very ſufficient! After <i>Publication</i>, now?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Then we grant out our <i>Proceſſe</i>, which is diuers;</span> -<span class="i0">Eyther by <i>Chartell</i>, Sir, or <i>ore-tenus</i>, <span class="linenum">140</span></span> -<span class="i0">Wherein the Challenger, and Challengee</span> -<span class="i0">Or (with your <i>Spaniard</i>) your <i>Prouocador</i>,</span> -<span class="i0">And <i>Prouocado</i>, haue their ſeuerall courſes—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I haue enough on’t! for an hundred pieces?</span> -<span class="i0">Yes, for two hundred, vnder-write me, doe. <span class="linenum">145</span></span> -<span class="i0">Your man will take my bond?</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Mer.</span> That he will, ſure.</span> -<span class="i0">But, theſe ſame Citizens, they are ſuch ſharks!</span> -<span class="i0">There’s an old debt of forty, I ga’ my word</span> -<span class="i0">For one is runne away, to the <i>Bermudas</i>,</span> -<span class="i0">And he will hooke in that, or he wi’ not doe. <span class="linenum">150</span></span> -</div><div class="stanza"> -<span class="i18"><i>He whiſpers</i> Fitz-dottrell <i>aſide</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Why, let him. That and the ring, and a hundred pieces,</span> -<span class="i0">Will all but make two hundred?</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Mer.</span> No, no more, Sir.</span> -<span class="i0">What ready <i>Arithmetique</i> you haue? doe you heare?</span> -<span class="i30"><i>And then</i> Guilt-head.</span> -<span class="i0">A pretty mornings worke for you, this? Do it,</span> -<span class="i0">You ſhall ha’ twenty pound on’t.</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Gvi.</span> Twenty pieces? <span class="linenum">[135]  155</span></span> -</div><div class="stanza"> -<span class="i0">(<span class="smcap">Plv.</span> Good Father, do’t)</span> -</div><div class="stanza"> -<span class="i21"><span class="smcap">Mer.</span> You will hooke ſtill? well,</span> -<span class="i0">Shew vs your ring. You could not ha’ done this, now</span> -<span class="i0">With gentleneſſe, at firſt, wee might ha’ thank’d you?</span> -<span class="i0">But groane, and ha’ your courteſies come from you</span> -<span class="i0">Like a hard ſtoole, and ſtinke? A man may draw <span class="linenum">160</span></span> -<span class="i0">Your teeth out eaſier, then your money? Come,</span> -<span class="i0">Were little <i>Guilt-head</i> heere, no better a nature,</span> -<span class="i0">I ſhould ne’r loue him, that could pull his lips off, now!</span> -<span class="i25"><i>He pulls</i> Plutarchus <i>by the lips</i>.</span> -<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span> -<span class="i0">Was not thy mother a Gentlewoman?</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Plv.</span> Yes, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> And went to the Court at <i>Chriſtmas</i>, -and S<sup>t</sup>. <i>Georges-tide</i>? <span class="linenum">165</span></span> -<span class="i0">And lent the Lords-men, chaines?</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Plv.</span> Of gold, and pearle, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> I knew, thou muſt take, after ſome body!</span> -<span class="i0">Thou could’ſt not be elſe. This was no ſhop-looke!</span> -<span class="i0">I’ll ha’ thee Captaine <i>Guilt-head</i>, and march vp,</span> -<span class="i0">And take in <i>Pimlico</i>, and kill the buſh, <span class="linenum">170</span></span> -<span class="i0">At euery tauerne! Thou shalt haue a wife,</span> -<span class="i0">If ſmocks will mount, boy. How now? you ha’ there now</span> -<span class="i0">Some <i>Briſto-ſtone</i>, or <i>Corniſh</i> counterfeit</span> -<span class="i0">You’ld put vpon vs.</span> -<span class="i26"><i>He turns to old</i> Guilt-head.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Gvi.</span> No, Sir I aſſure you:</span> -<span class="i0">Looke on his luſter! hee will ſpeake himſelfe! <span class="linenum">175</span></span> -<span class="i0">I’le gi’ you leaue to put him i’ the Mill,</span> -<span class="i0">H’is no great, large ſtone, but a true <i>Paragon</i>,</span> -<span class="i0">H’has all his corners, view him well.</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Mer.</span> H’is yellow.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Gvi.</span> Vpo’ my faith, S<sup>r</sup>, o’ the right black-water,</span> -<span class="i0">And very deepe! H’is ſet without a foyle, too. <span class="linenum">180</span></span> -<span class="i0">Here’s one o’ the yellow-water, I’ll ſell cheape.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> And what do you valew this, at? thirty pound?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Gvi.</span> No, Sir, he cost me forty, ere he was ſet.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Turnings, you meane? I know your <i>Equinocks</i>:</span> -<span class="i0">You’are growne the better Fathers of ’hem o’ late. <span class="linenum">185</span></span> -<span class="i0">Well, where’t muſt goe, ’twill be iudg’d, and, therefore,</span> -<span class="i0">Looke you’t be right. You ſhall haue fifty pound for’t.</span> -<span class="i32"><i>Now to</i> Fitz-dottrel.</span> -<span class="i0">Not a deneer more! And, becauſe you would</span> -<span class="i0">Haue things diſpatch’d, Sir, I’ll goe preſently,</span> -<span class="i0">Inquire out this <i>Lady</i>. If you thinke good, Sir. <span class="linenum">190</span></span> -<span class="i0">Hauing an hundred pieces ready, you may</span> -<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> -<span class="i0">Part with thoſe, now, to ſerue my kinſmans turnes,</span> -<span class="i0">That he may wait vpon you, anon, the freer;</span> -<span class="i0">And take ’hem when you ha’ ſeal’d, a game, of <i>Guilt-head</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I care not if I do!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> And diſpatch all, <span class="linenum">195</span></span> -<span class="i0">Together.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> There, th’are iuſt: a hundred pieces!</span> -<span class="i0">I’ ha’ told ’hem ouer, twice a day, theſe two moneths.</span> -</div><div class="stanza"> -<span class="i8"><i>Hee turnes ’hem out together. And</i> Euerill <i>and hee fall to ſhare</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Well, go, and ſeale, then, S<sup>r</sup>, make your returne</span> -<span class="i0">As ſpeedy as you can.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Eve.</span> Come gi’ mee.</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Mer.</span> Soft, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Mary, and faire too, then. I’ll no delaying, Sir. <span class="linenum">200</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> But, you will heare?</span> -</div><div class="stanza"> -<span class="i11"><span class="smcap">Eve.</span> Yes, when I haue my diuident.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Theres forty pieces for you.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Eve.</span> What is this for? <span class="linenum">[136]  </span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Your halfe. You know, that <i>Guilt-head</i> muſt ha’ twenty.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> And what’s your ring there? ſhall I ha’ none o’ that?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> O, thats to be giuen to a <i>Lady</i>! <span class="linenum">205</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Is’t ſo?</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Mer.</span> By that good light, it is.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ev.</span> Come, gi’ me</span> -<span class="i0">Ten pieces more, then.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> Why?</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Ev.</span> For <i>Guilt-head</i>? Sir,</span> -<span class="i0">Do’you thinke, I’ll ’low him any ſuch ſhare:</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Mer.</span> You muſt.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Muſt I? Doe you your muſts, Sir, I’ll doe mine,</span> -<span class="i0">You wi’ not part with the whole, Sir? Will you? Goe too. <span class="linenum">210</span></span> -<span class="i0">Gi’ me ten pieces!</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Mer.</span> By what law, doe you this?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> E’n Lyon-law, Sir, I muſt roare elſe.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Mer.</span> Good!</span> -<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Yo’ haue heard, how th’ <i>Aſſe</i> made his diuiſions, wiſely?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> And, I am he: I thanke you.</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Ev.</span> Much good do you, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> I ſhall be rid o’ this tyranny, one day?</span> -</div><div class="stanza"> -<span class="i33"><span class="smcap">Eve.</span> Not,</span> -<span class="i0">While you doe eate; and lie, about the towne, here; <span class="linenum">216</span></span> -<span class="i0">And coozen i’ your bullions; and I ſtand</span> -<span class="i0">Your name of credit, and compound your buſineſſe;</span> -<span class="i0">Adiourne your beatings euery terme; and make</span> -<span class="i0">New parties for your proiects. I haue, now, <span class="linenum">220</span></span> -<span class="i0">A pretty taſque, of it, to hold you in</span> -<span class="i0">Wi’ your <i>Lady Tayle-buſh</i>: but the toy will be,</span> -<span class="i0">How we ſhall both come off?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> Leaue you your doubting.</span> -<span class="i0">And doe your portion, what’s aſſign’d you: I</span> -<span class="i0">Neuer fail’d yet.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Eve.</span> With reference to your aydes? <span class="linenum">225</span></span> -<span class="i0">You’ll ſtill be vnthankfull. Where ſhall I meete you, anon?</span> -<span class="i0">You ha’ ſome feate to doe alone, now, I ſee;</span> -<span class="i0">You wiſh me gone, well, I will finde you out,</span> -<span class="i0">And bring you after to the audit.</span> -</div><div class="stanza"> -<span class="i31"><span class="smcap">Mer.</span> S’light!</span> -<span class="i0">There’s <i>Ingines</i> ſhare too, I had forgot! This raigne <span class="linenum">230</span></span> -<span class="i0">Is too-too-vnſuportable! I muſt</span> -<span class="i0">Quit my ſelfe of this vaſſalage! <i>Ingine!</i> welcome.</span> -</div></div> - -<p><a name="Footnote_457_457" id="Footnote_457_457"></a><span class="label">[457]</span> -SD. om. G</p> - -<p><a name="Footnote_458_458" id="Footnote_458_458"></a><span class="label">[458]</span> -1 [<i>takes Meer. aside.</i> G</p> - -<p><a name="Footnote_459_459" id="Footnote_459_459"></a><span class="label">[459]</span> -7 I’m 1716, W I am G</p> - -<p><a name="Footnote_460_460" id="Footnote_460_460"></a><span class="label">[460]</span> -16 think. [<i>They walk aside.</i> G</p> - -<p><a name="Footnote_461_461" id="Footnote_461_461"></a><span class="label">[461]</span> -17 I’m 1716 I am W</p> - -<p><a name="Footnote_462_462" id="Footnote_462_462"></a><span class="label">[462]</span> -21 SN. om. G</p> - -<p><a name="Footnote_463_463" id="Footnote_463_463"></a><span class="label">[463]</span> -23 gartering W, G</p> - -<p><a name="Footnote_464_464" id="Footnote_464_464"></a><span class="label">[464]</span> -32 Storer 1716 storer W, G</p> - -<p><a name="Footnote_465_465" id="Footnote_465_465"></a><span class="label">[465]</span> -33 Sulters 1641</p> - -<p><a name="Footnote_466_466" id="Footnote_466_466"></a><span class="label">[466]</span> -38 Bayliffs 1716 bailiffs W, G</p> - -<p><a name="Footnote_467_467" id="Footnote_467_467"></a><span class="label">[467]</span> -39,43 SN. om. G</p> - -<p><a name="Footnote_468_468" id="Footnote_468_468"></a><span class="label">[468]</span> -44 you’re 1716, W</p> - -<p><a name="Footnote_469_469" id="Footnote_469_469"></a><span class="label">[469]</span> -52 <i>Enter</i> <span class="smcap">Fitzdottrel</span>. || SN. om. G</p> - -<p><a name="Footnote_470_470" id="Footnote_470_470"></a><span class="label">[470]</span> -53 part. [<i>They go up to Fitz.</i>] G</p> - -<p><a name="Footnote_471_471" id="Footnote_471_471"></a><span class="label">[471]</span> -57, 61 SN. om. G</p> - -<p><a name="Footnote_472_472" id="Footnote_472_472"></a><span class="label">[472]</span> -68 since 1641, f.</p> - -<p><a name="Footnote_473_473" id="Footnote_473_473"></a><span class="label">[473]</span> -90 I had G</p> - -<p><a name="Footnote_474_474" id="Footnote_474_474"></a><span class="label">[474]</span> -97 SN. <i>Hee</i> om. G</p> - -<p><a name="Footnote_475_475" id="Footnote_475_475"></a><span class="label">[475]</span> -103 () ret. G</p> - -<p><a name="Footnote_476_476" id="Footnote_476_476"></a><span class="label">[476]</span> -104 <i>Ever.</i> [<i>Aside to Meer.</i>]</p> - -<p><a name="Footnote_477_477" id="Footnote_477_477"></a><span class="label">[477]</span> -106 ’d] would G</p> - -<p><a name="Footnote_478_478" id="Footnote_478_478"></a><span class="label">[478]</span> -114 the W</p> - -<p><a name="Footnote_479_479" id="Footnote_479_479"></a><span class="label">[479]</span> -123 ’s] is G</p> - -<p><a name="Footnote_480_480" id="Footnote_480_480"></a><span class="label">[480]</span> -127 our] your 1641</p> - -<p><a name="Footnote_481_481" id="Footnote_481_481"></a><span class="label">[481]</span> -148 gave G</p> - -<p><a name="Footnote_482_482" id="Footnote_482_482"></a><span class="label">[482]</span> -149 to] into 1641</p> - -<p><a name="Footnote_483_483" id="Footnote_483_483"></a><span class="label">[483]</span> -150 SN.] [<i>Aside to Fitz.</i> G he wi’] he’ll G</p> - -<p><a name="Footnote_484_484" id="Footnote_484_484"></a><span class="label">[484]</span> -153 SN.] [<i>Aside to Gilthead.</i> G</p> - -<p><a name="Footnote_485_485" id="Footnote_485_485"></a><span class="label">[485]</span> -159 you] your 1641, f.</p> - -<p><a name="Footnote_486_486" id="Footnote_486_486"></a><span class="label">[486]</span> -163 SN.] [<i>Pulls him by the lips.</i> G</p> - -<p><a name="Footnote_487_487" id="Footnote_487_487"></a><span class="label">[487]</span> -165 George-G</p> - -<p><a name="Footnote_488_488" id="Footnote_488_488"></a><span class="label">[488]</span> -166 Lords-] lords W lords’ G</p> - -<p><a name="Footnote_489_489" id="Footnote_489_489"></a><span class="label">[489]</span> -173 Bristol stone W, G</p> - -<p><a name="Footnote_490_490" id="Footnote_490_490"></a><span class="label">[490]</span> -174 SN. <i>He</i>, <i>old</i> om. G</p> - -<p><a name="Footnote_491_491" id="Footnote_491_491"></a><span class="label">[491]</span> -177 He is W, G</p> - -<p><a name="Footnote_492_492" id="Footnote_492_492"></a><span class="label">[492]</span> -178 He has W, G</p> - -<p><a name="Footnote_493_493" id="Footnote_493_493"></a><span class="label">[493]</span> -178, 180 He’s W, G</p> - -<p><a name="Footnote_494_494" id="Footnote_494_494"></a><span class="label">[494]</span> -184 equivokes W, G</p> - -<p><a name="Footnote_495_495" id="Footnote_495_495"></a><span class="label">[495]</span> -185 You’re 1716, W You are G || ’hem] ’em G || o’ ret. G</p> - -<p><a name="Footnote_496_496" id="Footnote_496_496"></a><span class="label">[496]</span> -186 where it G</p> - -<p><a name="Footnote_497_497" id="Footnote_497_497"></a><span class="label">[497]</span> -187 SN.] [<i>To Fitz.</i>] G</p> - -<p><a name="Footnote_498_498" id="Footnote_498_498"></a><span class="label">[498]</span> -188 dencer 1641 Denier 1716 denier W, G</p> - -<p><a name="Footnote_499_499" id="Footnote_499_499"></a><span class="label">[499]</span> -196 they’re just a 1716, W they are just a G</p> - -<p><a name="Footnote_500_500" id="Footnote_500_500"></a><span class="label">[500]</span> -197 SN.] [<i>Turns them out on table.</i> G</p> - -<p><a name="Footnote_501_501" id="Footnote_501_501"></a><span class="label">[501]</span> -199 can. [<i>Exeunt Fitzdottrel, Gilthead, and Plutarchus.</i>] me. [<i>They fall to sharing</i>. G</p> - -<p><a name="Footnote_502_502" id="Footnote_502_502"></a><span class="label">[502]</span> -201 Dividend 1716 dividend W, G</p> - -<p><a name="Footnote_503_503" id="Footnote_503_503"></a><span class="label">[503]</span> -204 o’ ret. G</p> - -<p><a name="Footnote_504_504" id="Footnote_504_504"></a><span class="label">[504]</span> -205 that is G</p> - -<p><a name="Footnote_505_505" id="Footnote_505_505"></a><span class="label">[505]</span> -206 Is it W, G</p> - -<p><a name="Footnote_506_506" id="Footnote_506_506"></a><span class="label">[506]</span> -208 allow 1692, f.</p> - -<p><a name="Footnote_507_507" id="Footnote_507_507"></a><span class="label">[507]</span> -209 you om. 1692, 1716, W</p> - -<p><a name="Footnote_508_508" id="Footnote_508_508"></a><span class="label">[508]</span> -212 E’n] Even G</p> - -<p><a name="Footnote_509_509" id="Footnote_509_509"></a><span class="label">[509]</span> -213 You’ve 1716, W</p> - -<p><a name="Footnote_510_510" id="Footnote_510_510"></a><span class="label">[510]</span> -218 your om. 1641</p> - -<p><a name="Footnote_511_511" id="Footnote_511_511"></a><span class="label">[511]</span> -223 you om. 1641</p> - -<p><a name="Footnote_512_512" id="Footnote_512_512"></a><span class="label">[512]</span> -227 to doe] to be done 1641</p> - -<p><a name="Footnote_513_513" id="Footnote_513_513"></a><span class="label">[513]</span> -229 audit. [<i>Exit.</i> G</p> - -<p><a name="Footnote_514_514" id="Footnote_514_514"></a><span class="label">[514]</span> -232 vassalage!—<i>Enter</i> <span class="smcap">Engine</span>, <i>followed by</i> -<span class="smcap">Wittipoll</span>. G <span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>IIJ</b>. Scene. <b>IV</b>.</span></p> -<p class="center"><span class="smcap">Mere-craft.</span> <span class="smcap">Ingine.</span> <span class="smcap">VVittipol.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">How goes the cry?</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Ing.</span> Excellent well!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Wil’t do?</span> -<span class="i0">VVhere’s <i>Robinſon</i>?</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Ing.</span> Here is the Gentleman, Sir.</span> -<span class="i0">VVill vndertake t’himſelfe. I haue acquainted him.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> VVhy did you ſo?</span> -</div><div class="stanza"> -<span class="i4"><span class="smcap">Ing.</span> VVhy, <i>Robinſon</i> would ha’ told him,</span> -<span class="i0">You know. And hee’s a pleaſant wit! will hurt <span class="linenum">5</span></span> -<span class="i0">Nothing you purpoſe. Then, he’is of opinion,</span> -<span class="i0">That <i>Robinſon</i> might want audacity, <span class="linenum">[129]  </span></span> -<span class="i0">She being ſuch a gallant. Now, hee has beene,</span> -<span class="i0">In <i>Spaine</i>, and knowes the faſhions there; and can</span> -<span class="i0">Diſcourſe; and being but mirth (hee ſaies) leaue much, <span class="linenum">10</span></span> -<span class="i0">To his care:</span> -</div><div class="stanza"> -<span class="i11"><span class="smcap">Mer.</span> But he is too tall!</span> -</div><div class="stanza"> -<span class="i25"><i>He excepts at his ſtature.</i></span> -</div><div class="stanza"> -<span class="i26"><span class="smcap">Ing.</span> For that,</span> -<span class="i0">He has the braueſt deuice! (you’ll loue him for’t)</span> -<span class="i0">To ſay, he weares <i>Cioppinos</i>: and they doe ſo</span> -<span class="i0">In <i>Spaine</i>. And <i>Robinſon’s</i> as tall, as hee.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Is he ſo?</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Ing.</span> Euery iot.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Mer.</span> Nay, I had rather <span class="linenum">15</span></span> -<span class="i0">To truſt a Gentleman with it, o’ the two.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ing.</span> Pray you goe to him, then, Sir, and ſalute him.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Sir, my friend <i>Ingine</i> has acquainted you</span> -<span class="i0">With a ſtrange <i>buſineſſe</i>, here.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Wit.</span> A merry one, Sir.</span> -<span class="i0">The <i>Duke</i> of <i>Drown’d-land</i>, and his <i>Dutcheſſe</i>?</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Mer.</span> Yes, Sir. <span class="linenum">20</span></span> -<span class="i0">Now, that the <i>Coniurers</i> ha’ laid him by,</span> -<span class="i0">I ha’ made bold, to borrow him a while;</span> -<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> With purpoſe, yet, to put him out I hope</span> -<span class="i0">To his beſt vſe?</span> -</div><div class="stanza"> -<span class="i7"><span class="smcap">Mer.</span> Yes, Sir.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Wit.</span> For that ſmall part,</span> -<span class="i0">That I am truſted with, put off your care: <span class="linenum">25</span></span> -<span class="i0">I would not loſe to doe it, for the mirth,</span> -<span class="i0">Will follow of it; and well, I haue a fancy.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Sir, that will make it well.</span> -</div><div class="stanza"> -<span class="i4"><span class="smcap">Wit.</span> You will report it ſo.</span> -<span class="i0">Where muſt I haue my dreſſing?</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Ing.</span> At my houſe, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> You ſhall haue caution, Sir, for what he yeelds, <span class="linenum">30</span></span> -<span class="i0">To ſix pence.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> You ſhall pardon me. I will ſhare, Sir,</span> -<span class="i0">I’ your ſports, onely: nothing i’ your purchaſe.</span> -<span class="i0">But you muſt furniſh mee with complements,</span> -<span class="i0">To th’ manner of <i>Spaine</i>; my coach, my <i>guarda duenn’as</i>;</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> <i>Ingine’s</i> your <i>Pro’uedor</i>. But, Sir, I muſt <span class="linenum">35</span></span> -<span class="i0">(Now I’haue entred truſt wi’ you, thus farre)</span> -<span class="i0">Secure ſtill i’ your quality, acquaint you</span> -<span class="i0">With ſomewhat, beyond this. The place, deſign’d</span> -<span class="i0">To be the <i>Scene</i>, for this our mery matter,</span> -<span class="i0">Becauſe it muſt haue countenance of women, <span class="linenum">40</span></span> -<span class="i0">To draw diſcourse, and offer it, is here by,</span> -<span class="i0">At the <i>Lady Taile-buſhes</i>.</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Wit.</span> I know her, Sir.</span> -<span class="i0">And her Gentleman <i>huiſher</i>.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Mer.</span> M<sup>r</sup> <i>Ambler</i>?</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Wit.</span> Yes, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Sir, It ſhall be no ſhame to mee, to confeſſe</span> -<span class="i0">To you, that wee poore Gentlemen, that want acres, <span class="linenum">45</span></span> -<span class="i0">Muſt for our needs, turne fooles vp, and plough <i>Ladies</i></span> -<span class="i0">Sometimes, to try what glebe they are: and this</span> -<span class="i0">Is no vnfruitefull piece. She, and I now,</span> -<span class="i0">Are on a proiect, for the fact, and venting</span> -<span class="i0">Of a new kinde of <i>fucus</i> (paint, for <i>Ladies</i>) <span class="linenum">50</span></span> -<span class="i0">To ſerue the kingdome: wherein ſhee her ſelfe</span> -<span class="i0">Hath trauell’d, ſpecially, by way of ſeruice</span> -<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span> -<span class="i0">Vnto her ſexe, and hopes to get the <i>Monopoly</i>,</span> -<span class="i0">As the reward of her inuention. <span class="linenum">[138]  </span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> What is her end, in this?</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Ev.</span> Merely ambition, <span class="linenum">55</span></span> -<span class="i0">Sir, to grow great, and court it with the ſecret:</span> -<span class="i0">Though ſhee pretend ſome other. For, ſhe’s dealing,</span> -<span class="i0">Already, vpon caution for the ſhares,</span> -<span class="i0">And M<sup>r</sup>. <i>Ambler</i>, is hee nam’d <i>Examiner</i></span> -<span class="i0">For the ingredients; and the <i>Register</i> <span class="linenum">60</span></span> -<span class="i0">Of what is vented; and ſhall keepe the <i>Office</i>.</span> -<span class="i0">Now, if ſhee breake with you, of this (as I</span> -<span class="i0">Muſt make the leading thred to your acquaintance,</span> -<span class="i0">That, how experience gotten i’ your being</span> -<span class="i0">Abroad, will helpe our buſinesse) thinke of ſome <span class="linenum">65</span></span> -<span class="i0">Pretty additions, but to keep her floting:</span> -<span class="i0">It may be, ſhee will offer you a part,</span> -<span class="i0">Any ſtrange names of—</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Wit.</span> S<sup>r</sup>, I haue my inſtructions.</span> -<span class="i0">Is it not high time to be making ready?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Yes, Sir.</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Ing.</span> The foole’s in ſight, <i>Dottrel</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Away, then. <span class="linenum">70</span></span> -</div></div> - -<p><a name="Footnote_515_515" id="Footnote_515_515"></a><span class="label">[515]</span> -SD. om. G</p> - -<p><a name="Footnote_516_516" id="Footnote_516_516"></a><span class="label">[516]</span> -1 ’t] it G</p> - -<p><a name="Footnote_517_517" id="Footnote_517_517"></a><span class="label">[517]</span> -3 t’] ’t 1716, W it G</p> - -<p><a name="Footnote_518_518" id="Footnote_518_518"></a><span class="label">[518]</span> -6 he’s 1692, f.</p> - -<p><a name="Footnote_519_519" id="Footnote_519_519"></a><span class="label">[519]</span> -7 want] have 1641</p> - -<p><a name="Footnote_520_520" id="Footnote_520_520"></a><span class="label">[520]</span> -11 SN. om. G</p> - -<p><a name="Footnote_521_521" id="Footnote_521_521"></a><span class="label">[521]</span> -12 () ret. G</p> - -<p><a name="Footnote_522_522" id="Footnote_522_522"></a><span class="label">[522]</span> -17 you to go 1716, W</p> - -<p><a name="Footnote_523_523" id="Footnote_523_523"></a><span class="label">[523]</span> -35 <i>Provedore</i> 1716 provedore W provedoré G</p> - -<p><a name="Footnote_524_524" id="Footnote_524_524"></a><span class="label">[524]</span> -43 Usher 1716 usher W, G</p> - -<p><a name="Footnote_525_525" id="Footnote_525_525"></a><span class="label">[525]</span> -47 Sometime 1692, 1716, W</p> - -<p><a name="Footnote_526_526" id="Footnote_526_526"></a><span class="label">[526]</span> -55 <span class="smcap">Ev.</span>] <i>Meer.</i> 1716, f.</p> - -<p><a name="Footnote_527_527" id="Footnote_527_527"></a><span class="label">[527]</span> -59 is hee] he is W, G</p> - -<p><a name="Footnote_528_528" id="Footnote_528_528"></a><span class="label">[528]</span> -62, 65 () ret. G</p> - -<p><a name="Footnote_529_529" id="Footnote_529_529"></a><span class="label">[529]</span> -70 [<i>Exeunt Engine and Wittipol.</i> G</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>IIJ</b>. Scene. <b>V</b>.</span></p> -<p class="center"><span class="smcap">Mere-craft.</span> <span class="smcap">Fitz-dottrel.</span> <span class="smcap">Pvg.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Return’d ſo ſoone?</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Fit.</span> Yes, here’s the ring: I ha’ ſeal’d.</span> -<span class="i0">But there’s not ſo much gold in all the row, he ſaies—</span> -<span class="i0">Till’t come fro’ the Mint. ’Tis tane vp for the gameſters.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> There’s a ſhop-ſhift! plague on ’hem.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Fit.</span> He do’s ſweare it.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> He’ll ſweare, and forſweare too, it is his trade, <span class="linenum">5</span></span> -<span class="i0">You ſhould not haue left him.</span> -<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> S’lid, I can goe backe,</span> -<span class="i0">And beat him, yet.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> No, now let him alone.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I was ſo earneſt, after the maine <i>Buſineſſe</i>,</span> -<span class="i0">To haue this ring, gone.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> True, and ’tis time.</span> -<span class="i0">I’haue learned, Sir, ſin’ you went, her <i>Ladi-ſhip</i> eats <span class="linenum">10</span></span> -<span class="i0">With the <i>Lady Tail-buſh</i>, here, hard by.</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Fit.</span> I’ the lane here?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Yes, if you’had a ſeruant, now of prefence,</span> -<span class="i0">Well cloth’d, and of an aëry voluble tongue,</span> -<span class="i0">Neither too bigge, or little for his mouth,</span> -<span class="i0">That could deliuer your wiues complement; <span class="linenum">15</span></span> -<span class="i0">To ſend along withall.</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Fit.</span> I haue one Sir,</span> -<span class="i0">A very handſome, gentleman-like-fellow,</span> -<span class="i0">That I doe meane to make my <i>Dutcheſſe Vſher</i>—</span> -<span class="i0">I entertain’d him, but this morning, too:</span> -<span class="i0">I’ll call him to you. The worſt of him, is his name! <span class="linenum">20</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> She’ll take no note of that, but of his meſſage. <span class="linenum">[139]  </span></span> -</div><div class="stanza"> -<span class="i25"><i>Hee ſhewes him his</i> Pug.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> <i>Diuell!</i> How like you him, Sir. Pace, go a little.</span> -<span class="i0">Let’s ſee you moue.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> He’ll ſerue, S<sup>r</sup>, giue it him:</span> -<span class="i0">And let him goe along with mee, I’ll helpe</span> -<span class="i0">To preſent him, and it.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Fit.</span> Looke, you doe ſirah, <span class="linenum">25</span></span> -<span class="i0">Diſcharge this well, as you expect your place.</span> -<span class="i0">Do’you heare, goe on, come off with all your honours.</span> -<span class="i34"><i>Giues him inſtructions.</i></span> -<span class="i0">I would faine ſee him, do it.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> Truſt him, with it;</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Remember kiſſing of your hand, and anſwering</span> -<span class="i0">With the <i>French</i>-time, in flexure of your body. <span class="linenum">30</span></span> -<span class="i0">I could now ſo inſtruct him—and for his words—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> I’ll put them in his mouth.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> O, but I haue ’hem</span> -<span class="i0">O’ the very <i>Academies</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> Sir, you’ll haue vſe for ’hem,</span> -<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> -<span class="i0">Anon, your ſelfe, I warrant you: after dinner,</span> -<span class="i0">When you are call’d.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Fit.</span> S’light, that’ll be iuſt <i>play</i>-time. <span class="linenum">35</span></span> -<span class="i30"><i>He longs to ſee the</i> play.</span> -<span class="i0">It cannot be, I muſt not loſe the <i>play</i>!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Sir, but you muſt, if ſhe appoint to ſit.</span> -<span class="i0">And, ſhee’s preſident.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Fit.</span> S’lid, it is the <i>Diuell</i>.</span> -</div><div class="stanza"> -<span class="i30"><i>Becauſe it is the</i> Diuell.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> And, ’twere his Damme too, you muſt now apply</span> -<span class="i0">Your ſelfe, Sir, to this, wholly; or loſe all. <span class="linenum">40</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> If I could but ſee a piece—</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Mer.</span> S<sup>r</sup>. Neuer think on’t.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Come but to one act, and I did not care—</span> -<span class="i0">But to be ſeene to riſe, and goe away,</span> -<span class="i0">To vex the Players, and to puniſh their <i>Poet</i>—</span> -<span class="i0">Keepe him in awe!</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Mer.</span> But ſay, that he be one, <span class="linenum">45</span></span> -<span class="i0">Wi’ not be aw’d! but laugh at you. How then?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Then he ſhall pay for his’dinner himſelfe.</span> -</div><div class="stanza"> -<span class="i26"><span class="smcap">Mer.</span> Perhaps,</span> -<span class="i0">He would doe that twice, rather then thanke you.</span> -<span class="i0">Come, get the <i>Diuell</i> out of your head, my <i>Lord</i>,</span> -<span class="i0">(I’ll call you ſo in priuate ſtill) and take <span class="linenum">50</span></span> -<span class="i0">Your <i>Lord-ſhip</i> i’ your minde. You were, ſweete <i>Lord</i>,</span> -<span class="i25"><i>He puts him in mind of his quarrell.</i></span> -<span class="i0">In talke to bring a <i>Buſineſſe</i> to the <i>Office</i>.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> Yes.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Why ſhould not you, S<sup>r</sup>, carry it o’ your ſelfe,</span> -<span class="i0">Before the <i>Office</i> be vp? and ſhew the world,</span> -<span class="i0">You had no need of any mans direction; <span class="linenum">55</span></span> -<span class="i0">In point, Sir, of ſufficiency. I ſpeake</span> -<span class="i0">Againſt a kinſman, but as one that tenders</span> -<span class="i0">Your graces good.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> I thanke you; to proceed—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> To <i>Publications</i>: ha’ your <i>Deed</i> drawne preſently.</span> -<span class="i0">And leaue a blancke to put in your <i>Feoffees</i> <span class="linenum">60</span></span> -<span class="i0">One, two, or more, as you ſee cauſe—</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Fit.</span> I thank you</span> -<span class="i0">Heartily, I doe thanke you. Not a word more,</span> -<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span> -<span class="i0">I pray you, as you loue mee. Let mee alone.</span> -<span class="i0">That I could not thinke o’ this, as well, as hee?</span> -<span class="i0">O, I could beat my infinite blocke-head—! <span class="linenum">65</span></span> -</div><div class="stanza"> -<span class="i25"><i>He is angry with himſelfe.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Come, we muſt this way.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Pvg.</span> How far is’t.</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Mer.</span> Hard by here</span> -<span class="i0">Ouer the way. Now, to atchieue this ring,</span> -<span class="i0">From this ſame fellow, that is to aſſure it; <span class="linenum">[140]  </span></span> -<span class="i14"><i>He thinkes how to coozen the bearer, of the ring.</i></span> -<span class="i0">Before hee giue it. Though my <i>Spaniſh Lady</i>,</span> -<span class="i0">Be a young Gentleman of meanes, and ſcorne <span class="linenum">70</span></span> -<span class="i0">To ſhare, as hee doth ſay, I doe not know</span> -<span class="i0">How ſuch a toy may tempt his <i>Lady-ſhip</i>:</span> -<span class="i0">And therefore, I thinke beſt, it be aſſur’d.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Sir, be the <i>Ladies</i> braue, wee goe vnto?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> O, yes.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pvg.</span> And ſhall I ſee ’hem, and ſpeake to ’hem? <span class="linenum">75</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> What elſe? ha’ you your falſe-beard about you? <i>Traines.</i></span> -</div><div class="stanza"> -<span class="i35"><i>Questions his man.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tra.</span> Yes.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> And is this one of your double Cloakes?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tra.</span> The beſt of ’hem.</span> -</div><div class="stanza"> -<span class="i21"><span class="smcap">Mer.</span> Be ready then. Sweet <i>Pitfall</i>!</span> -</div></div> - -<p><a name="Footnote_530_530" id="Footnote_530_530"></a><span class="label">[530]</span> SD. <span class="smcap">Act.</span> ...] -<i>Re-enter</i> <span class="smcap">Fitzdottrel</span>. G</p> - -<p><a name="Footnote_531_531" id="Footnote_531_531"></a><span class="label">[531]</span> -3 Till it G || from G§</p> - -<p><a name="Footnote_532_532" id="Footnote_532_532"></a><span class="label">[532]</span> -8 comma after ‘earnest’ om. 1716, f.</p> - -<p><a name="Footnote_533_533" id="Footnote_533_533"></a><span class="label">[533]</span> -9 it is W, G</p> - -<p><a name="Footnote_534_534" id="Footnote_534_534"></a><span class="label">[534]</span> -10 since G</p> - -<p><a name="Footnote_535_535" id="Footnote_535_535"></a><span class="label">[535]</span> -14 or] nor W, G</p> - -<p><a name="Footnote_536_536" id="Footnote_536_536"></a><span class="label">[536]</span> -21, 27, 35 SN. om. G</p> - -<p><a name="Footnote_537_537" id="Footnote_537_537"></a><span class="label">[537]</span> -22 Devil!—<i>Enter</i> <span class="smcap">Pug</span>. G</p> - -<p><a name="Footnote_538_538" id="Footnote_538_538"></a><span class="label">[538]</span> -27 Do’you] D’you 1692, 1716, W</p> - -<p><a name="Footnote_539_539" id="Footnote_539_539"></a><span class="label">[539]</span> -30 in] and W, G</p> - -<p><a name="Footnote_540_540" id="Footnote_540_540"></a><span class="label">[540]</span> -31 now] not 1641</p> - -<p><a name="Footnote_541_541" id="Footnote_541_541"></a><span class="label">[541]</span> -38 she is W, G</p> - -<p><a name="Footnote_542_542" id="Footnote_542_542"></a><span class="label">[542]</span> -39 And,] An G</p> - -<p><a name="Footnote_543_543" id="Footnote_543_543"></a><span class="label">[543]</span> -38, 51 SN. om. G</p> - -<p><a name="Footnote_544_544" id="Footnote_544_544"></a><span class="label">[544]</span> -47 Then] That 1692, 1716 || for’s 1692, f.</p> - -<p><a name="Footnote_545_545" id="Footnote_545_545"></a><span class="label">[545]</span> -50 () ret. G</p> - -<p><a name="Footnote_546_546" id="Footnote_546_546"></a><span class="label">[546]</span> -53 o’] on G</p> - -<p><a name="Footnote_547_547" id="Footnote_547_547"></a><span class="label">[547]</span> -59 publication G</p> - -<p><a name="Footnote_548_548" id="Footnote_548_548"></a><span class="label">[548]</span> -60 leave me a 1692, 1716, W</p> - -<p><a name="Footnote_549_549" id="Footnote_549_549"></a><span class="label">[549]</span> -65 SN.] [<i>Exeunt.</i> <span class="smcap">Scene II.</span> <i>The Lane near the Lady</i> -Tailbush’s <i>House. Enter</i> <span class="smcap">Meercraft</span> <i>followed by</i> -<span class="smcap">Pug</span>. G</p> - -<p><a name="Footnote_550_550" id="Footnote_550_550"></a><span class="label">[550]</span> -67 way. [<i>They cross over.</i>] G</p> - -<p><a name="Footnote_551_551" id="Footnote_551_551"></a><span class="label">[551]</span> -68 SN. om. G || is] is, W, G</p> - -<p><a name="Footnote_552_552" id="Footnote_552_552"></a><span class="label">[552]</span> -73 [<i>Aside.</i> G</p> - -<p><a name="Footnote_553_553" id="Footnote_553_553"></a><span class="label">[553]</span> -76 else? <i>Enter</i> <span class="smcap">Trains</span>. || SN. om. G</p> - -<p><a name="Footnote_554_554" id="Footnote_554_554"></a><span class="label">[554]</span> -78 then. [<i>Exeunt.</i> <span class="smcap">Scene III.</span> <i>A Hall in Lady</i> Tailbush’s <i>House</i>. -<i>Enter</i> <span class="smcap">Meercraft</span> <i>and</i> <span class="smcap">Pug</span>, <i>met by</i> -<span class="smcap">Pitfall</span>. G -<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>IIJ</b>. Scene. <b>VI</b>.</span></p> -<p class="center"><span class="smcap">Mere-craft.</span> <span class="smcap">Pitfall.</span> <span class="smcap">Pvg.</span><br /> -<span class="smcap">Traines.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Come, I muſt buſſe—</span> -</div><div class="stanza"> -<span class="i24"><i>Offers to kiſſe.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pit.</span> Away. <span class="smcap">Mer.</span> I’ll ſet thee vp again.</span> -<span class="i0">Neuer feare that: canſt thou get ne’r a bird?</span> -<span class="i0">No <i>Thruſhes</i> hungry? Stay, till cold weather come,</span> -<span class="i0">I’ll help thee to an <i>Ouſell</i>, or, a <i>Field-fare</i>.</span> -<span class="i0">Who’s within, with Madame?</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Pit.</span> I’ll tell you straight. <span class="linenum">5</span></span> -</div><div class="stanza"> -<span class="i14"><i>She runs in, in haſte: he followes.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Pleaſe you ſtay here, a while Sir, I’le goe in.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg</span>. I doe ſo long to haue a little venery,</span> -<span class="i0">While I am in this body! I would taſt</span> -<span class="i0">Of euery ſinne, a little, if it might be</span> -<span class="i0">After the māner of man! <i>Sweet-heart!</i></span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Pit.</span> What would you, S<sup>r</sup>? <span class="linenum">10</span></span> -</div><div class="stanza"> -<span class="i18">Pug <i>leaps at</i> Pitfall’s <i>comming in</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Nothing but fall in, to you, be your Black-bird,</span> -<span class="i0">My pretty pit (as the Gentleman ſaid) your <i>Throſtle</i>:</span> -<span class="i0">Lye tame, and taken with you; here’is gold!</span> -<span class="i0">To buy you ſo much new ſtuffes, from the ſhop,</span> -<span class="i0">As I may take the old vp—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tra.</span> You muſt send, Sir. <span class="linenum">15</span></span> -<span class="i0">The Gentleman the ring.</span> -</div><div class="stanza"> -<span class="i10">Traine’s <i>in his falſe cloak, brings a falſe meſſage, and gets the ring</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> There ’tis. Nay looke,</span> -<span class="i0">Will you be fooliſh, <i>Pit</i>.</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Pit.</span> This is ſtrange rudeneſſe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Deare <i>Pit</i>.</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Pit.</span> I’ll call, I ſweare.</span> -</div><div class="stanza"> -<span class="i15">Mere-craft <i>followes preſently, and askes for it</i>.</span> -<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Mer.</span> Where are you, S<sup>r</sup>?</span> -<span class="i0">Is your ring ready? Goe with me.</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Pvg.</span> I ſent it you.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Me? When? by whom?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> A fellow here, e’en now, <span class="linenum">20</span></span> -<span class="i0">Came for it i’ your name.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Mer.</span> I ſent none, ſure.</span> -<span class="i0">My meaning euer was, you ſhould deliuer it,</span> -<span class="i0">Your ſelfe: So was your Maſters charge, you know.</span> -<span class="i26"><i>Ent.</i> Train’s <i>as himſelfe againe</i>.</span> -<span class="i0">What fellow was it, doe you know him?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Here,</span> -<span class="i0">But now, he had it.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Mer.</span> Saw you any? <i>Traines</i>? <span class="linenum">25</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tra.</span> Not I.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Pvg.</span> The Gentleman ſaw him.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Mer.</span> Enquire.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> I was ſo earneſt vpon her, I mark’d not!</span> -<span class="i18"><i>The</i> Diuell <i>confeſſeth himſelfe coozen’d</i>.</span> -<span class="i0">My diuelliſh <i>Chiefe</i> has put mee here in flesh, <span class="linenum">[141]  </span></span> -<span class="i0">To ſhame mee! This dull body I am in,</span> -<span class="i0">I perceiue nothing with! I offer at nothing, <span class="linenum">30</span></span> -<span class="i0">That will ſucceed!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Tra.</span> Sir, ſhe ſaw none, ſhe ſaies.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> <i>Satan</i> himſelfe, has tane a ſhape t’abuſe me.</span> -<span class="i0">It could not be elſe.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> This is aboue ſtrange!</span> -<span class="i20">Mere-craft <i>accuſeth him of negligence</i>.</span> -<span class="i0">That you ſhould be ſo retchleſſe. What’ll you do, Sir?</span> -<span class="i0">How will you anſwer this, when you are queſtion’d? <span class="linenum">35</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Run from my fleſh, if I could: put off mankind!</span> -<span class="i0">This’s ſuch a ſcorne! and will be a new exerciſe,</span> -<span class="i0">For my <i>Arch-Duke</i>! Woe to the ſeuerall cudgells,</span> -<span class="i0">Muſt suffer, on this backe! Can you no ſuccours? Sir? <span class="linenum">39</span></span> -</div><div class="stanza"> -<span class="i30"><i>He asketh ayde.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Alas! the vſe of it is ſo preſent.</span> -</div><div class="stanza"> -<span class="i23"><span class="smcap">Pvg.</span> I aske,</span> -<span class="i0">Sir, credit for another, but till to morrow?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> There is not ſo much time, Sir. But how euer,</span> -<span class="i0">The lady is a noble Lady, and will</span> -<span class="i0">(To ſaue a Gentleman from check) be intreated</span> -<span class="i18">Mere-craft <i>promiſeth faintly, yet comforts him</i>.</span> -<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span> -<span class="i0">To ſay, ſhe ha’s receiu’d it.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Do you thinke ſo? <span class="linenum">45</span></span> -<span class="i0">Will ſhee be won?</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Mer.</span> No doubt, to ſuch an office,</span> -<span class="i0">It will be a Lady’s brauery, and her pride.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> And not be knowne on’t after, vnto him?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> That were a treachery! Vpon my word,</span> -<span class="i0">Be confident. Returne vnto your maſter, <span class="linenum">50</span></span> -<span class="i0">My <i>Lady Preſident</i> ſits this after-noone,</span> -<span class="i0">Ha’s tane the ring, commends her ſeruices</span> -<span class="i0">Vnto your <i>Lady-Dutcheſſe</i>. You may ſay</span> -<span class="i0">She’s a ciuill <i>Lady</i>, and do’s giue her</span> -<span class="i0">All her reſpects, already: Bad you, tell her <span class="linenum">55</span></span> -<span class="i0">She liues, but to receiue her wiſh’d commandements,</span> -<span class="i0">And haue the honor here to kiſſe her hands:</span> -<span class="i0">For which ſhee’ll ſtay this houre yet. Haſten you</span> -<span class="i0">Your <i>Prince</i>, away.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> And Sir, you will take care</span> -<span class="i0">Th’ excuſe be perfect?</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Mer.</span> You confeſſe your feares. <span class="linenum">60</span></span> -<span class="i25"><i>The</i> Diuel <i>is doubtfull</i>.</span> -<span class="i0">Too much.</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Pvg.</span> The ſhame is more, I’ll quit you of either.</span> -</div></div> - -<p><a name="Footnote_555_555" id="Footnote_555_555"></a><span class="label">[555]</span> -SD. om.</p> - -<p><a name="Footnote_556_556" id="Footnote_556_556"></a><span class="label">[556]</span> -1 SN.] [<i>Offers to kiss her.</i> G</p> - -<p><a name="Footnote_557_557" id="Footnote_557_557"></a><span class="label">[557]</span> -5 SN. [<i>Exit hastily.</i> (after 5) [<i>Exit.</i> (after 6) G</p> - -<p><a name="Footnote_558_558" id="Footnote_558_558"></a><span class="label">[558]</span> -10 SN.] Sweetheart! <i>Re-enter</i> <span class="smcap">Pitfall</span>. || sir? [<i>Pug runs to her.</i> G</p> - -<p><a name="Footnote_559_559" id="Footnote_559_559"></a><span class="label">[559]</span> -16 SN.] <i>Enter</i> <span class="smcap">Trains</span> <i>in his false beard and cloke</i>. -(after ’vp—’15) [<i>Exit Trains.</i>] (after ‘tis’ 16) G</p> - -<p><a name="Footnote_560_560" id="Footnote_560_560"></a><span class="label">[560]</span> -18 SN. <i>Enter</i> <span class="smcap">Meercraft</span>. G</p> - -<p><a name="Footnote_561_561" id="Footnote_561_561"></a><span class="label">[561]</span> -21 for’t W</p> - -<p><a name="Footnote_562_562" id="Footnote_562_562"></a><span class="label">[562]</span> -23 SN.] <i>Re-enter</i> <span class="smcap">Trains</span> <i>dressed as at first</i>. G</p> - -<p><a name="Footnote_563_563" id="Footnote_563_563"></a><span class="label">[563]</span> -26 Gentlewoman 1716 gentlewoman W, G</p> - -<p><a name="Footnote_564_564" id="Footnote_564_564"></a><span class="label">[564]</span> -27, 33, 39 SN. om. G</p> - -<p><a name="Footnote_565_565" id="Footnote_565_565"></a><span class="label">[565]</span> -31 succeed! [<i>Aside.</i> G</p> - -<p><a name="Footnote_566_566" id="Footnote_566_566"></a><span class="label">[566]</span> -33 else! [<i>Aside.</i> G</p> - -<p><a name="Footnote_567_567" id="Footnote_567_567"></a><span class="label">[567]</span> -34 ’ll] will G</p> - -<p><a name="Footnote_568_568" id="Footnote_568_568"></a><span class="label">[568]</span> -37 ’s] is G</p> - -<p><a name="Footnote_569_569" id="Footnote_569_569"></a><span class="label">[569]</span> -39 back! [<i>Aside.</i>] G</p> - -<p><a name="Footnote_570_570" id="Footnote_570_570"></a><span class="label">[570]</span> -44 entreated W, G</p> - -<p><a name="Footnote_571_571" id="Footnote_571_571"></a><span class="label">[571]</span> -45 has 1692, f. passim</p> - -<p><a name="Footnote_572_572" id="Footnote_572_572"></a><span class="label">[572]</span> -44, 60 SN. om. G</p> - -<p><a name="Footnote_573_573" id="Footnote_573_573"></a><span class="label">[573]</span> -60 period om. 1716, f.</p> - -<p><a name="Footnote_574_574" id="Footnote_574_574"></a><span class="label">[574]</span> -61 I’ll ...] <i>Meer.</i> I’ll ... W, G</p> - -<p><a name="Footnote_575_575" id="Footnote_575_575"></a><span class="label">[575]</span> -61 [<i>Exeunt</i> G</p> - - -<hr class="chap" /> -<p><span class="linenum">[142]  </span></p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>IIIJ</b>. Scene. <b>I</b>.</span></p> -<p class="center"><span class="smcap">Taile-bvsh.</span> <span class="smcap">Mere-craft.</span> <span class="smcap">Manly.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">A Pox vpo’ referring to <i>Commiſsioners</i>,</span> -<span class="i0">I’had rather heare that it were paſt the ſeales:</span> -<span class="i0">Your <i>Courtiers</i> moue ſo Snaile-like i’ your <i>Buſineſſe</i>.</span> -<span class="i0">Wuld I had begun wi’ you.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> We muſt moue,</span> -<span class="i0"><i>Madame</i>, in order, by degrees: not iump. <span class="linenum">5</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Why, there was S<sup>r</sup>. <i>Iohn Monie-man</i> could iump</span> -<span class="i0">A <i>Buſineſſe</i> quickely.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Mer.</span> True, hee had great friends,</span> -<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span> -<span class="i0">But, becauſe ſome, ſweete <i>Madame</i>, can leape ditches,</span> -<span class="i0">Wee muſt not all ſhunne to goe ouer bridges.</span> -<span class="i0">The harder parts, I make account are done: <span class="linenum">10</span></span> -<span class="i25"><i>He flatters her.</i></span> -<span class="i0">Now, ’tis referr’d. You are infinitly bound</span> -<span class="i0">Vnto’the <i>Ladies</i>, they ha’ so cri’d it vp!</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Tay.</span> Doe they like it then?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> They ha’ ſent the <i>Spaniſh-Lady</i>,</span> -<span class="i0">To gratulate with you—</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Tay.</span> I must ſend ’hem thankes</span> -<span class="i0">And ſome remembrances.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> That you muſt, and viſit ’hem. <span class="linenum">15</span></span> -<span class="i0">Where’s <i>Ambler</i>?</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Tay.</span> Loſt, to day, we cannot heare of him.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Not <i>Madam</i>?</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Tay.</span> No in good faith. They ſay he lay not</span> -<span class="i0">At home, to night. And here has fall’n a <i>Buſineſſe</i></span> -<span class="i0">Betweene your Couſin, and Maſter <i>Manly</i>, has</span> -<span class="i0">Vnquieted vs all.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Mer.</span> So I heare, <i>Madame</i>. <span class="linenum">20</span></span> -<span class="i0">Pray you how was it?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Tay.</span> Troth, it but appeares</span> -<span class="i0">Ill o’ your Kinſmans part. You may haue heard,</span> -<span class="i0">That <i>Manly</i> is a ſutor to me, I doubt not:</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> I gueſs’d it, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Tay.</span> And it ſeemes, he truſted</span> -<span class="i0">Your Couſin to let fall some faire reports <span class="linenum">25</span></span> -<span class="i0">Of him vnto mee.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> Which he did!</span> -</div><div class="stanza"> -<span class="i27"><span class="smcap">Tay.</span> So farre</span> -<span class="i0">From it, as hee came in, and tooke him rayling</span> -<span class="i0">Againſt him.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> How! And what said <i>Manly</i> to him?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Inough, I doe aſſure you: and with that ſcorne</span> -<span class="i0">Of him, and the iniury, as I doe wonder <span class="linenum">30</span></span> -<span class="i0">How <i>Euerill</i> bore it! But that guilt vndoe’s</span> -<span class="i0">Many mens valors.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> Here comes <i>Manly</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> <i>Madame</i>, <span class="linenum">[143]  </span></span> -<span class="i0">I’ll take my leaue—</span> -</div><div class="stanza"> -<span class="i21">Manly <i>offers to be gone</i>.</span> -</div><div class="stanza"> -<span class="i7"><span class="smcap">Tay.</span> You ſha’ not goe, i’ faith.</span> -<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span> -<span class="i0">I’ll ha’ you ſtay, and ſee this <i>Spaniſh</i> miracle,</span> -<span class="i0">Of our <i>Engliſh Ladie</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Man.</span> Let me pray your <i>Ladiſhip</i>, <span class="linenum">35</span></span> -<span class="i0">Lay your commands on me, some other time.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Now, I proteſt: and I will haue all piec’d,</span> -<span class="i0">And friends againe.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Man.</span> It will be but ill ſolder’d!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> You are too much affected with it.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Man.</span> I cannot</span> -<span class="i0"><i>Madame</i>, but thinke on’t for th’ iniuſtice.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Tay.</span> Sir, <span class="linenum">40</span></span> -<span class="i0">His kinſman here is ſorry.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Mer.</span> Not I, <i>Madam</i>,</span> -<span class="i0">I am no kin to him, wee but call Couſins,</span> -<span class="i30">Mere-craft <i>denies him</i>.</span> -<span class="i0">And if wee were, Sir, I haue no relation</span> -<span class="i0">Vnto his crimes.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Man.</span> You are not vrged with ’hem.</span> -<span class="i0">I can accuſe, Sir, none but mine owne iudgement, <span class="linenum">45</span></span> -<span class="i0">For though it were his crime, ſo to betray mee:</span> -<span class="i0">I am ſure, ’twas more mine owne, at all to truſt him.</span> -<span class="i0">But he, therein, did vſe but his old manners,</span> -<span class="i0">And fauour ſtrongly what hee was before.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Come, he will change!</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Man.</span> Faith, I muſt neuer think it. <span class="linenum">50</span></span> -<span class="i0">Nor were it reaſon in mee to expect</span> -<span class="i0">That for my ſake, hee ſhould put off a nature</span> -<span class="i0">Hee ſuck’d in with his milke. It may be <i>Madam</i>,</span> -<span class="i0">Deceiuing truſt, is all he has to truſt to:</span> -<span class="i0">If ſo, I ſhall be loath, that any hope <span class="linenum">55</span></span> -<span class="i0">Of mine, ſhould bate him of his meanes.</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Tay.</span> Yo’ are ſharp, Sir.</span> -<span class="i0">This act may make him honeſt!</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Man.</span> If he were</span> -<span class="i0">To be made honeſt, by an act of <i>Parliament</i>,</span> -<span class="i0">I ſhould not alter, i’ my faith of him.</span> -</div><div class="stanza"> -<span class="i33"><span class="smcap">Tay.</span> <i>Eyther-ſide!</i></span> -<span class="i0">Welcome, deare <i>Either-ſide</i>! how haſt thou done, good wench?</span> -<span class="i36"><i>She spies the</i> Lady Eyther-ſide.</span> -<span class="i0">Thou haſt beene a ſtranger! I ha’ not ſeene thee, this weeke. <span class="linenum">61</span></span> -</div></div> - -<p><a name="Footnote_576_576" id="Footnote_576_576"></a><span class="label">[576]</span> -SD. IIIJ] VI. 1641 <span class="smcap">Taile.</span> ...] <i>A room in Lady</i> -<span class="smcap">Tailbush’s</span> <i>House. Enter Lady</i> <span class="smcap">Tailbush</span> -<i>and</i> <span class="smcap">Meercraft</span>. G</p> - -<p><a name="Footnote_577_577" id="Footnote_577_577"></a><span class="label">[577]</span> -10 SN. om. G</p> - -<p><a name="Footnote_578_578" id="Footnote_578_578"></a><span class="label">[578]</span> -32 valours. <i>Enter</i> <span class="smcap">Manly</span>. G</p> - -<p><a name="Footnote_579_579" id="Footnote_579_579"></a><span class="label">[579]</span> -33 SN. om. G</p> - -<p><a name="Footnote_580_580" id="Footnote_580_580"></a><span class="label">[580]</span> -42 SN. om. G</p> - -<p><a name="Footnote_581_581" id="Footnote_581_581"></a><span class="label">[581]</span> -43 wee] he G</p> - -<p><a name="Footnote_582_582" id="Footnote_582_582"></a><span class="label">[582]</span> -47 I’m 1716, W</p> - -<p><a name="Footnote_583_583" id="Footnote_583_583"></a><span class="label">[583]</span> -56 Y’are 1716, W</p> - -<p><a name="Footnote_584_584" id="Footnote_584_584"></a><span class="label">[584]</span> -59 him. <i>Enter Lady</i> <span class="smcap">Eitherside</span>.</p> - -<p><a name="Footnote_585_585" id="Footnote_585_585"></a><span class="label">[585]</span> 60 SN. om. G -<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span></p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>IIIJ</b>. Scene. <b>II</b>.</span></p> -<p class="center"><span class="smcap">Eitherside.</span> {<i>To them</i></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Ever your ſeruant, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Where hast ’hou beene? <span class="linenum">[144]  </span></span> -<span class="i0">I did ſo long to ſee thee.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Eit.</span> Viſiting, and ſo tyr’d!</span> -<span class="i0">I proteſt, <i>Madame</i>, ’tis a monſtrous trouble!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> And ſo it is. I ſweare I muſt to morrow,</span> -<span class="i0">Beginne my viſits (would they were ouer) at <i>Court</i>. <span class="linenum">5</span></span> -<span class="i0">It tortures me, to thinke on ’hem.</span> -</div><div class="stanza"> -<span class="i21"><span class="smcap">Eit.</span> I doe heare</span> -<span class="i0">You ha’ cauſe, Madam, your ſute goes on.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Tay.</span> Who told thee?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eyt.</span> One, that can tell: M<sup>r</sup>. <i>Eyther-ſide</i>.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Tay.</span> O, thy huſband!</span> -<span class="i0">Yes, faith, there’s life in’t, now: It is referr’d.</span> -<span class="i0">If wee once ſee it vnder the ſeales, wench, then, <span class="linenum">10</span></span> -<span class="i0">Haue with ’hem for the great <i>Carroch</i>, ſixe horſes,</span> -<span class="i0">And the two <i>Coach-men</i>, with my <i>Ambler</i>, bare,</span> -<span class="i0">And my three women: wee will liue, i’ faith,</span> -<span class="i0">The examples o’ the towne, and gouerne it.</span> -<span class="i0">I’le lead the faſhion ſtill.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> You doe that, now, <span class="linenum">15</span></span> -<span class="i0">Sweet <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Tay.</span> O, but then, I’ll euery day</span> -<span class="i0">Bring vp ſome new deuice. Thou and I, <i>Either-ſide</i>,</span> -<span class="i0">Will firſt be in it. I will giue it thee;</span> -<span class="i0">And they ſhall follow vs. Thou ſhalt, I ſweare,</span> -<span class="i0">Weare euery moneth a new gowne, out of it. <span class="linenum">20</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eith.</span> Thanke you good <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Tay.</span> Pray thee call mee <i>Taile-buſh</i></span> -<span class="i0">As I thee, <i>Either-ſide</i>: I not loue this, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ety.</span> Then I proteſt to you, <i>Taile-buſh</i>, I am glad</span> -<span class="i0">Your <i>Buſineſſe</i> ſo ſucceeds.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Tay.</span> Thanke thee, good <i>Eyther-ſide</i>.</span> -<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ety.</span> But Maſter <i>Either-ſide</i> tells me, that he likes <span class="linenum">25</span></span> -<span class="i0">Your other <i>Buſineſſe</i> better.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Tay.</span> Which?</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Eit.</span> O’ the Tooth-picks.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> I neuer heard on’t.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Eit.</span> Aske M<sup>r</sup>. <i>Mere-craft</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> <i>Madame?</i> H’is one, in a word, I’ll truſt his malice,</span> -<span class="i0">With any mans credit, I would haue abus’d!</span> -</div><div class="stanza"> -<span class="i21">Mere-craft <i>hath whiſper’d with the while</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> Sir, if you thinke you doe pleaſe mee, in this, <span class="linenum">30</span></span> -<span class="i0">You are deceiu’d!</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Mer.</span> No, but becauſe my <i>Lady</i>,</span> -<span class="i0">Nam’d him my kinſman; I would ſatisfie you,</span> -<span class="i0">What I thinke of him: and pray you, vpon it</span> -<span class="i0">To iudge mee!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> So I doe: that ill mens friendſhip,</span> -<span class="i0">Is as vnfaithfull, as themſelues.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Doe you heare? <span class="linenum">35</span></span> -<span class="i0">Ha’ you a <i>Buſineſſe</i> about Tooth-picks?</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Mer.</span> Yes, <i>Madame</i>.</span> -<span class="i0">Did I ne’r tell’t you? I meant to haue offer’d it</span> -<span class="i0">Your <i>Lady-ſhip</i>, on the perfecting the pattent. <span class="linenum">[145]  </span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> How is’t!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> For ſeruing the whole ſtate with Tooth-picks;</span> -<span class="i25"><i>The</i> Proiect <i>for</i> Tooth-picks.</span> -<span class="i0">(Somewhat an intricate <i>Buſineſſe</i> to diſcourſe) but—<span class="linenum">40</span></span> -<span class="i0">I ſhew, how much the Subiect is abus’d,</span> -<span class="i0">Firſt, in that one commodity? then what diſeaſes,</span> -<span class="i0">And putrefactions in the gummes are bred,</span> -<span class="i0">By thoſe are made of adultrate, and falſe wood?</span> -<span class="i0">My plot, for reformation of theſe, followes. <span class="linenum">45</span></span> -<span class="i0">To haue all Tooth-picks, brought vnto an <i>office</i>,</span> -<span class="i0">There ſeal’d; and ſuch as counterfait ’hem, mulcted.</span> -<span class="i0">And laſt, for venting ’hem to haue a booke</span> -<span class="i0">Printed, to teach their vſe, which euery childe</span> -<span class="i0">Shall haue throughout the kingdome, that can read, <span class="linenum">50</span></span> -<span class="i0">And learne to picke his teeth by. Which beginning</span> -<span class="i0">Earely to practice, with ſome other rules,</span> -<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span> -<span class="i0">Of neuer ſleeping with the mouth open, chawing</span> -<span class="i0">Some graines of <i>maſticke</i>, will preſerue the breath</span> -<span class="i0">Pure, and ſo free from taynt—ha’ what is’t? ſaiſt thou?</span> -</div><div class="stanza"> -<span class="i25">Traines <i>his man whiſpers him</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Good faith, it ſounds a very pretty <i>Bus’neſſe</i>! <span class="linenum">56</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> So M<sup>r</sup>. <i>Either-ſide</i> ſaies, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> The <i>Lady</i> is come.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Is ſhe? Good, waite vpon her in. My <i>Ambler</i></span> -<span class="i0">Was neuer ſo ill abſent. <i>Either-ſide</i>,</span> -<span class="i0">How doe I looke to day? Am I not dreſt, <span class="linenum">60</span></span> -<span class="i0">Spruntly?</span> -</div><div class="stanza"> -<span class="i20"><i>She lookes in her glaſſe.</i></span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Eit.</span> Yes, verily, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Tay.</span> Pox o’ <i>Madame</i>, Will you not leaue that?</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Eit.</span> Yes, good <i>Taile-buſh</i>.</span> -</div><div class="stanza"> -<span class="i30"><span class="smcap">Tay.</span> So?</span> -<span class="i0">Sounds not that better? What vile <i>Fucus</i> is this,</span> -<span class="i0">Thou haſt got on?</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Eit.</span> ’Tis <i>Pearle</i>.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Tay.</span> <i>Pearle?</i> <i>Oyſter-ſhells</i>:</span> -<span class="i0">As I breath, <i>Either-side</i>, I know’t. Here comes <span class="linenum">65</span></span> -<span class="i0">(They say) a wonder, ſirrah, has beene in <i>Spaine</i>!</span> -<span class="i0">Will teach vs all; ſhee’s ſent to mee, from <i>Court</i>.</span> -<span class="i0">To gratulate with mee! Pr’y thee, let’s obſerue her,</span> -<span class="i0">What faults ſhe has, that wee may laugh at ’hem,</span> -<span class="i0">When ſhe is gone.</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Eit.</span> That we will heartily, <i>Tail-buſh</i>. <span class="linenum">70</span></span> -</div><div class="stanza"> -<span class="i30">Wittipol <i>enters</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> O, mee! the very <i>Infanta</i> of the <i>Giants</i>!</span> -</div></div> - -<p><a name="Footnote_586_586" id="Footnote_586_586"></a><span class="label">[586]</span> -SD. om. G</p> - -<p><a name="Footnote_587_587" id="Footnote_587_587"></a><span class="label">[587]</span> -1 thou 1692, f.</p> - -<p><a name="Footnote_588_588" id="Footnote_588_588"></a><span class="label">[588]</span> -22 not loue] love not 1716, f.</p> - -<p><a name="Footnote_589_589" id="Footnote_589_589"></a><span class="label">[589]</span> -26 O’] O, 1641</p> - -<p><a name="Footnote_590_590" id="Footnote_590_590"></a><span class="label">[590]</span> -27 on’t] of it G</p> - -<p><a name="Footnote_591_591" id="Footnote_591_591"></a><span class="label">[591]</span> -28 Madam! [<i>Aside to Manly.</i>] G || He is G</p> - -<p><a name="Footnote_592_592" id="Footnote_592_592"></a><span class="label">[592]</span> -29 SN. <i>with him the</i> 1692, 1716, W SN. om. G</p> - -<p><a name="Footnote_593_593" id="Footnote_593_593"></a><span class="label">[593]</span> -37 tell it G</p> - -<p><a name="Footnote_594_594" id="Footnote_594_594"></a><span class="label">[594]</span> -39 is it G || SN. om. G</p> - -<p><a name="Footnote_595_595" id="Footnote_595_595"></a><span class="label">[595]</span> -40 an] in 1641</p> - -<p><a name="Footnote_596_596" id="Footnote_596_596"></a><span class="label">[596]</span> -42 disease W</p> - -<p><a name="Footnote_597_597" id="Footnote_597_597"></a><span class="label">[597]</span> -44 adulterate G</p> - -<p><a name="Footnote_598_598" id="Footnote_598_598"></a><span class="label">[598]</span> -53 chewing 1716, f.</p> - -<p><a name="Footnote_599_599" id="Footnote_599_599"></a><span class="label">[599]</span> -55 SN.] taint—<i>Enter</i> <span class="smcap">Trains</span>, <i>and whispers him</i>. G</p> - -<p><a name="Footnote_600_600" id="Footnote_600_600"></a><span class="label">[600]</span> -58 in. [<i>Exit Meercraft.</i>] G</p> - -<p><a name="Footnote_601_601" id="Footnote_601_601"></a><span class="label">[601]</span> -61 SN.] <i>She</i> om. G || o’ ret. G</p> - -<p><a name="Footnote_602_602" id="Footnote_602_602"></a><span class="label">[602]</span> -68 Prythee 1692 Prithee 1716 prithee W, G</p> - -<p><a name="Footnote_603_603" id="Footnote_603_603"></a><span class="label">[603]</span> -70 SN.] <i>Re-enter</i> <span class="smcap">Meercraft</span>, <i>introducing</i> -<span class="smcap">Wittipol</span> <i>dressed as a Spanish Lady</i>. G -<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span></p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>IIIJ</b>. Scene. <b>IJI</b>.</span></p> -<p class="center"><span class="smcap">Mere-craft.</span>   -<span class="smcap">Wittipol.</span> } to them.</p> - -<div class="poem"><div class="stanza"> -<span class="i15">Wittipol <i>is dreſt like a</i> Spaniſh Lady.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Here is a noble <i>Lady</i>, <i>Madame</i>, come, <span class="linenum">[146]  </span></span> -<span class="i0">From your great friends, at <i>Court</i>, to ſee your <i>Ladi-ſhip</i>:</span> -<span class="i0">And haue the honour of your acquaintance.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Sir.</span> -<span class="i0">She do’s vs honour.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Wit.</span> Pray you, ſay to her <i>Ladiſhip</i>,</span> -<span class="i0">It is the manner of <i>Spaine</i>, to imbrace onely, <span class="linenum">5</span></span> -<span class="i0">Neuer to kiſſe. She will excuſe the cuſtome!</span> -</div><div class="stanza"> -<span class="i20"><i>Excuſes him ſelfe for not kiſſing.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Your vſe of it is law. Pleaſe you, ſweete, <i>Madame</i>,</span> -<span class="i0">To take a ſeate.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit</span>. Yes, <i>Madame</i>. I’haue had</span> -<span class="i0">The fauour, through a world of faire report</span> -<span class="i0">To know your vertues, <i>Madame</i>; and in that <span class="linenum">10</span></span> -<span class="i0">Name, haue deſir’d the happineſſe of preſenting</span> -<span class="i0">My ſeruice to your <i>Ladiſhip</i>!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Your loue, <i>Madame</i>,</span> -<span class="i0">I muſt not owne it elſe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Both are due, <i>Madame</i>,</span> -<span class="i0">To your great vndertakings.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Tay.</span> Great? In troth, <i>Madame</i>,</span> -<span class="i0">They are my friends, that thinke ’hem any thing: <span class="linenum">15</span></span> -<span class="i0">If I can doe my ſexe (by ’hem) any ſeruice,</span> -<span class="i0">I’haue my ends, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Wit.</span> And they are noble ones,</span> -<span class="i0">That make a multitude beholden, <i>Madame</i>:</span> -<span class="i0">The common-wealth of <i>Ladies</i>, muſt acknowledge from you.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> Except ſome enuious, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Wit.</span> Yo’ are right in that, <i>Madame</i>, <span class="linenum">20</span></span> -<span class="i0">Of which race, I encountred ſome but lately.</span> -<span class="i0">Who (’t ſeemes) haue ſtudyed reaſons to diſcredit</span> -<span class="i0">Your <i>buſineſſe</i>.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Tay.</span> How, ſweet <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Wit.</span> Nay, the parties</span> -<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span> -<span class="i0">Wi’ not be worth your pauſe—Moſt ruinous things, <i>Madame</i>,</span> -<span class="i0">That haue put off all hope of being recouer’d <span class="linenum">25</span></span> -<span class="i0">To a degree of handſomeneſſe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> But their reaſons, <i>Madame</i>?</span> -<span class="i0">I would faine heare.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> Some <i>Madame</i>, I remember.</span> -<span class="i0">They ſay, that painting quite deſtroyes the face—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> O, that’s an old one, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Wit.</span> There are new ones, too.</span> -<span class="i0">Corrupts the breath; hath left ſo little ſweetneſſe <span class="linenum">30</span></span> -<span class="i0">In kiſſing, as ’tis now vſ’d, but for faſhion:</span> -<span class="i0">And ſhortly will be taken for a puniſhment.</span> -<span class="i0">Decayes the fore-teeth, that ſhould guard the tongue;</span> -<span class="i0">And ſuffers that runne riot euer-laſting!</span> -<span class="i0">And (which is worſe) ſome <i>Ladies</i> when they meete <span class="linenum">35</span></span> -<span class="i0">Cannot be merry, and laugh, but they doe ſpit</span> -<span class="i0">In one anothers faces!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> I ſhould know</span> -<span class="i0">This voyce, and face too:</span> -<span class="i20">Manly <i>begins to know him</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">VVit.</span> Then they ſay, ’tis dangerous <span class="linenum">[147]  </span></span> -<span class="i0">To all the falne, yet well diſpos’d <i>Mad-dames</i>,</span> -<span class="i0">That are induſtrious, and deſire to earne <span class="linenum">40</span></span> -<span class="i0">Their liuing with their ſweate! For any diſtemper</span> -<span class="i0">Of heat, and motion, may diſplace the colours;</span> -<span class="i0">And if the paint once runne about their faces,</span> -<span class="i0">Twenty to one, they will appeare ſo ill-fauour’d,</span> -<span class="i0">Their ſeruants run away, too, and leaue the pleaſure <span class="linenum">45</span></span> -<span class="i0">Imperfect, and the reckoning all vnpay’d.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> Pox, theſe are <i>Poets</i> reaſons.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Tay.</span> Some old <i>Lady</i></span> -<span class="i0">That keepes a <i>Poet</i>, has deuis’d theſe ſcandales.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> Faith we muſt haue the <i>Poets</i> baniſh’d, <i>Madame</i>,</span> -<span class="i0">As Maſter <i>Either-ſide</i> ſaies.</span> -</div><div class="stanza"> -<span class="i27"><span class="smcap">Mer.</span> Maſter <i>Fitz-dottrel</i>? <span class="linenum">50</span></span> -<span class="i0">And his wife: where? <i>Madame</i>, the <i>Duke</i> of <i>Drown’d-land</i>,</span> -<span class="i0">That will be ſhortly.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">VVit.</span> Is this my <i>Lord</i>?</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Mer.</span> The ſame.</span> -</div></div> - -<p><a name="Footnote_604_604" id="Footnote_604_604"></a><span class="label">[604]</span> -SD. om. G</p> - -<p><a name="Footnote_605_605" id="Footnote_605_605"></a><span class="label">[605]</span> -1 SN. is om. 1692, 1716, W || For G see 70 above.</p> - -<p><a name="Footnote_606_606" id="Footnote_606_606"></a><span class="label">[606]</span> -5 embrace 1716, f.</p> - -<p><a name="Footnote_607_607" id="Footnote_607_607"></a><span class="label">[607]</span> -6 SN. om. G</p> - -<p><a name="Footnote_608_608" id="Footnote_608_608"></a><span class="label">[608]</span> -16 ’em G</p> - -<p><a name="Footnote_609_609" id="Footnote_609_609"></a><span class="label">[609]</span> -20 Yo’] Y’ 1716, W</p> - -<p><a name="Footnote_610_610" id="Footnote_610_610"></a><span class="label">[610]</span> -22 ’t] it G</p> - -<p><a name="Footnote_611_611" id="Footnote_611_611"></a><span class="label">[611]</span> -38 SN.] [<i>Aside.</i> G</p> - -<p><a name="Footnote_612_612" id="Footnote_612_612"></a><span class="label">[612]</span> -39 <i>Mad-dams</i> 1692, 1716 mad-dams W mad-ams G</p> - -<p><a name="Footnote_613_613" id="Footnote_613_613"></a><span class="label">[613]</span> -46 also G</p> - -<p><a name="Footnote_614_614" id="Footnote_614_614"></a><span class="label">[614]</span> -51 wife! <i>Wit.</i> Where? <i>Enter Mr. and Mrs.</i>Fitzdottrel, <i>followed by</i> -Pug. <i>Meer.</i> [<i>To Wit.</i>] Madam, G -<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span></p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>IIIJ</b>. Scene. <b>IV</b>.</span></p> -<p class="center"><span class="smcap">Fitz-dottrel.</span> Miſtreſſe <span class="smcap">Fitz-dottrell.</span> - <span class="smcap">Pvg.</span> } <i>to them.</i></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Your ſeruant, <i>Madame</i>!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">VVit.</span> How now? Friend? offended,</span> -<span class="i0">That I haue found your haunt here?</span> -</div><div class="stanza"> -<span class="i23">Wittipol <i>whiſpers with</i> Manly.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Man.</span> No, but wondring</span> -<span class="i0">At your ſtrange faſhion’d venture, hither.</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">VVit.</span> It is</span> -<span class="i0">To ſhew you what they are, you ſo purſue.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> I thinke ’twill proue a med’cine againſt marriage;</span> -<span class="i0">To know their manners.</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">VVit.</span> Stay, and profit then. <span class="linenum">6</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> The <i>Lady</i>, <i>Madame</i>, whose <i>Prince</i> has brought her, here,</span> -<span class="i0">To be inſtructed.</span> -</div><div class="stanza"> -<span class="i24"><i>Hee preſents Miſtreſſe</i> Fitz-dottrel.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">VVit.</span> Pleaſe you ſit with vs, <i>Lady</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> That’s <i>Lady-Preſident</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> A goodly woman!</span> -<span class="i0">I cannot ſee the ring, though.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Mer.</span> Sir, ſhe has it. <span class="linenum">10</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> But, <i>Madame</i>, theſe are very feeble reaſons!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> So I vrg’d <i>Madame</i>, that the new complexion,</span> -<span class="i0">Now to come forth, in name o’ your <i>Ladiſhip’s fucus</i>,</span> -<span class="i0">Had no <i>ingredient</i>—</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Tay.</span> But I durſt eate, I aſſure you.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> So do they, in <i>Spaine</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Sweet <i>Madam</i> be ſo liberall, <span class="linenum">15</span></span> -<span class="i0">To giue vs ſome o’ your <i>Spaniſh Fucuſes</i>!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">VVit.</span> They are infinit, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Tay.</span> So I heare, they haue</span> -<span class="i0">VVater of <i>Gourdes</i>, of <i>Radiſh</i>, the white <i>Beanes</i>,</span> -<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span> -<span class="i0">Flowers of <i>Glaſſe</i>, of <i>Thiſtles</i>, <i>Roſe-marine</i>.</span> -<span class="i0">Raw <i>Honey</i>, <i>Muſtard-ſeed</i>, and Bread dough-bak’d, <span class="linenum">20</span></span> -<span class="i0">The crums o’ bread, <i>Goats-milke</i>, and whites of <i>Egges</i>,</span> -<span class="i0"><i>Campheere</i>, and <i>Lilly-roots</i>, the fat of <i>Swannes</i>,</span> -<span class="i0">Marrow of <i>Veale</i>, white <i>Pidgeons</i>, and pine-<i>kernells</i>, <span class="linenum">[148]  </span></span> -<span class="i0">The ſeedes of <i>Nettles</i>, <i>perse’line</i>, and <i>hares gall</i>.</span> -<span class="i0"><i>Limons</i>, thin-skind—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> How, her <i>Ladiſhip</i> has ſtudied <span class="linenum">25</span></span> -<span class="i0">Al excellent things!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">VVit.</span> But ordinary, <i>Madame</i>.</span> -<span class="i0">No, the true rarities, are th’ <i>Aluagada</i>,</span> -<span class="i0">And <i>Argentata</i> of Queene <i>Isabella</i>!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> I, what are their <i>ingredients</i>, gentle <i>Madame</i>?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Your <i>Allum Scagliola</i>, or <i>Pol-dipedra</i>; <span class="linenum">30</span></span> -<span class="i0">And <i>Zuccarino</i>; <i>Turpentine</i> of <i>Abezzo</i>,</span> -<span class="i0">Wash’d in nine waters: <i>Soda di leuante</i>,</span> -<span class="i0">Or your <i>Ferne</i> aſhes; <i>Beniamin di gotta</i>;</span> -<span class="i0"><i>Graſſo di ſerpe</i>; <i>Porcelletto marino</i>;</span> -<span class="i0">Oyles of <i>Lentiſco</i>; <i>Zucche Mugia</i>; make <span class="linenum">35</span></span> -<span class="i0">The admirable <i>Verniſh</i> for the face,</span> -<span class="i0">Giues the right luſter; but two drops rub’d on</span> -<span class="i0">VVith a piece of ſcarlet, makes a <i>Lady</i> of ſixty</span> -<span class="i0">Looke at ſixteen. But, aboue all, the water</span> -<span class="i0">Of the white <i>Hen</i>, of the <i>Lady Eſtifanias</i>! <span class="linenum">40</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> O, I, that ſame, good <i>Madame</i>, I haue heard of:</span> -<span class="i0">How is it done?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">VVit.</span> <i>Madame</i>, you take your <i>Hen</i>,</span> -<span class="i0">Plume it, and skin it, cleanſe it o’ the inwards:</span> -<span class="i0">Then chop it, bones and all: adde to foure ounces</span> -<span class="i0">Of <i>Carrauicins</i>, <i>Pipitas</i>, <i>Sope</i> of <i>Cyprus</i>, <span class="linenum">45</span></span> -<span class="i0">Make the decoction, ſtreine it. Then diſtill it,</span> -<span class="i0">And keep it in your galley-pot well glidder’d:</span> -<span class="i0">Three drops preſerues from wrinkles, warts, ſpots, moles,</span> -<span class="i0">Blemiſh, or Sun-burnings, and keepes the skin</span> -<span class="i0"><i>In decimo ſexto</i>, euer bright, and ſmooth, <span class="linenum">50</span></span> -<span class="i0">As any looking-glaſſe; and indeed, is call’d</span> -<span class="i0">The Virgins milke for the face, <i>Oglio reale</i>;</span> -<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span> -<span class="i0">A Ceruſe, neyther cold or heat, will hurt;</span> -<span class="i0">And mixt with oyle of <i>myrrhe</i>, and the red <i>Gilli-flower</i></span> -<span class="i0">Call’d <i>Cataputia</i>; and flowers of <i>Rouiſtico</i>; <span class="linenum">55</span></span> -<span class="i0">Makes the beſt <i>muta</i>, or dye of the whole world.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Deare <i>Madame</i>, will you let vs be familiar?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Your <i>Ladiſhips</i> ſeruant.</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Mer.</span> How do you like her.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Admirable!</span> -<span class="i0">But, yet, I cannot ſee the ring.</span> -</div><div class="stanza"> -<span class="i10"><i>Hee is iealous about his</i> ring, <i>and</i> Mere-craft <i>deliuers it.</i></span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Pvg.</span> Sir.</span> -</div><div class="stanza"> -<span class="i26"><span class="smcap">Mer.</span> I muſt</span> -<span class="i0">Deliuer it, or marre all. This foole’s ſo iealous. <span class="linenum">60</span></span> -<span class="i0"><i>Madame</i>—Sir, weare this ring, and pray you take knowledge,</span> -<span class="i0">’Twas ſent you by his wife. And giue her thanks,</span> -<span class="i0">Doe not you dwindle, Sir, beare vp.</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Pvg.</span> I thanke you, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> But for the manner of <i>Spaine</i>! Sweet, <i>Madame</i>, let vs</span> -<span class="i0">Be bold, now we are in: Are all the <i>Ladies</i>, <span class="linenum">65</span></span> -<span class="i0">There, i’ the faſhion?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">VVit.</span> None but <i>Grandee’s</i>, <i>Madame</i>,</span> -<span class="i0">O’ the claſp’d traine, which may be worne at length, too,</span> -<span class="i0">Or thus, vpon my arme.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> And doe they weare</span> -<span class="i0"><i>Cioppino’s</i> all?</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">VVit.</span> If they be dreſt in <i>punto</i>, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> Guilt as thoſe are? <i>madame?</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Of Goldſmiths work, <i>madame</i>; <span class="linenum">[149] 70</span></span> -<span class="i0">And ſet with diamants: and their <i>Spaniſh</i> pumps</span> -<span class="i0">Of perfum’d leather.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tai.</span> I ſhould thinke it hard</span> -<span class="i0">To go in ’hem, <i>madame</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> At the firſt, it is, <i>madame</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tai.</span> Do you neuer fall in ’hem?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> Neuer.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ei.</span> I ſweare, I ſhould</span> -<span class="i0">Six times an houre.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Wit.</span> But you haue men at hand, ſstill,</span> -<span class="i0">To helpe you, if you fall?</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Eit.</span> Onely one, madame, <span class="linenum">76</span></span> -<span class="i0">The <i>Guardo-duennas</i>, ſuch a little old man,</span> -<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span> -<span class="i0">As this.</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Eit.</span> Alas! hee can doe nothing! this!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> I’ll tell you, madame, I ſaw i’ the <i>Court</i> of <i>Spaine</i> once,</span> -<span class="i0">A <i>Lady</i> fall i’ the Kings ſight, along, <span class="linenum">80</span></span> -<span class="i0">And there ſhee lay, flat ſpred, as an <i>Vmbrella</i>,</span> -<span class="i0">Her hoope here crack’d; no man durſt reach a hand</span> -<span class="i0">To helpe her, till the <i>Guarda-duenn’as</i> came,</span> -<span class="i0">VVho is the perſon onel’ allow’d to touch</span> -<span class="i0">A <i>Lady</i> there: and he but by this finger. <span class="linenum">85</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> Ha’ they no ſeruants, <i>madame</i>, there? nor friends?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> An <i>Eſcudero</i>, or ſo <i>madame</i>, that wayts</span> -<span class="i0">Vpon ’hem in another Coach, at diſtance,</span> -<span class="i0">And when they walke, or daunce, holds by a hand-kercher,</span> -<span class="i0">Neuer preſumes to touch ’hem.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Eit.</span> This’s ſciruy! <span class="linenum">90</span></span> -<span class="i0">And a forc’d grauity! I doe not like it.</span> -<span class="i0">I like our owne much better.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> ’Tis more <i>French</i>,</span> -<span class="i0">And <i>Courtly</i> ours.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Eit.</span> And taſts more liberty.</span> -<span class="i0">VVe may haue our doozen of viſiters, at once,</span> -<span class="i0">Make loue t’vs.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Tay.</span> And before our husbands?</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Eit.</span> Huſband? <span class="linenum">95</span></span> -<span class="i0">As I am honeſt, <i>Tayle-buſh</i> I doe thinke</span> -<span class="i0">If no body ſhould loue mee, but my poore husband,</span> -<span class="i0">I ſhould e’n hang my ſelfe.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Tay.</span> Fortune forbid, wench:</span> -<span class="i0">So faire a necke ſhould haue ſo foule a neck-lace.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> ’Tis true, as I am handſome!</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Wit.</span> I receiu’d, <i>Lady</i>, <span class="linenum">100</span></span> -<span class="i0">A token from you, which I would not bee</span> -<span class="i0">Rude to refuſe, being your firſt remembrance.</span> -</div><div class="stanza"> -<span class="i5">(<span class="smcap">Fit.</span> O, I am ſatisfied now! <span class="smcap">Mer.</span> Do you ſee it, Sir.)</span> -</div><div class="stanza"> -<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span> -<span class="i0"><span class="smcap">Wit.</span> But ſince you come, to know me, neerer, <i>Lady</i>,</span> -<span class="i0">I’ll begge the honour, you will weare for mee, <span class="linenum">105</span></span> -<span class="i0">It muſt be ſo.</span> -</div><div class="stanza"> -<span class="i20">Wittipol <i>giues it Miſtreſſe</i> Fitz-dottrel.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">M<sup>rs</sup>. Fit.</span> Sure I haue heard this tongue.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> What do you meane, S<sup>r</sup>?</span> -</div><div class="stanza"> -<span class="i20">Mere-craft <i>murmures,</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Would you ha’ me mercenary?</span> -<span class="i0">We’ll recompence it anon, in ſomewhat elſe.</span> -</div><div class="stanza"> -<span class="i20"><i>He is ſatisfied, now he ſees it.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I doe not loue to be gull’d, though in a toy.</span> -<span class="i0">VVife, doe you heare? yo’ are come into the Schole, wife,</span> -<span class="i0">VVhere you may learne, I doe perceiue it, any thing! <span class="linenum">111</span></span> -<span class="i0">How to be fine, or faire, or great, or proud,</span> -<span class="i0">Or what you will, indeed, wife; heere ’tis taught.</span> -<span class="i0">And I am glad on’t, that you may not ſay,</span> -<span class="i0">Another day, when honours come vpon you, <span class="linenum">115</span></span> -<span class="i0">You wanted meanes. I ha’ done my parts: beene,</span> -<span class="i0">Today at fifty pound charge, firſt, for a ring, <span class="linenum">[150]  </span></span> -<span class="i20"><i>He vpbraids her, with his Bill of coſts.</i></span> -<span class="i0">To get you entred. Then left my new <i>Play</i>,</span> -<span class="i0">To wait vpon you, here, to ſee’t confirm’d.</span> -<span class="i0">That I may ſay, both to mine owne eyes, and eares, <span class="linenum">120</span></span> -<span class="i0">Senſes, you are my witneſſe, ſha’ hath inioy’d</span> -<span class="i0">All helps that could be had, for loue, or money—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">M<sup>rs</sup>. Fit.</span> To make a foole of her.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Wife, that’s your malice,</span> -<span class="i0">The wickedneſſe o’ you nature to interpret</span> -<span class="i0">Your husbands kindeſſe thus. But I’ll not leaue; <span class="linenum">125</span></span> -<span class="i0">Still to doe good, for your deprau’d affections:</span> -<span class="i0">Intend it. Bend this ſtubborne will; be great.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Good <i>Madame</i>, whom do they vſe in meſſages?</span> -<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> They comonly vſe their ſlaues, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tai.</span> And do’s your <i>Ladiſhip</i>.</span> -<span class="i0">Thinke that ſo good, <i>Madame</i>?</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Wit.</span> no, indeed, <i>Madame</i>; I, <span class="linenum">130</span></span> -<span class="i0">Therein preferre the faſhion of <i>England</i> farre,</span> -<span class="i0">Of your young delicate Page, or diſcreet Vſher.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> And I goe with your <i>Ladiſhip</i>, in opinion,</span> -<span class="i0">Directly for your Gentleman-vſher.</span> -<span class="i0">There’s not a finer <i>Officer</i> goes on ground. <span class="linenum">135</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> If hee be made and broken to his place, once.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Nay, ſo I preſuppoſe him.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Wit.</span> And they are fitter</span> -<span class="i0">Managers too, Sir, but I would haue ’hem call’d</span> -<span class="i0">Our <i>Eſcudero’s</i>.</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Fit.</span> Good.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Wit.</span> Say, I ſhould ſend</span> -<span class="i0">To your <i>Ladiſhip</i>, who (I preſume) has gather’d <span class="linenum">140</span></span> -<span class="i0">All the deare ſecrets, to know how to make</span> -<span class="i0"><i>Paſtillos</i> of the <i>Dutcheſſe</i> of <i>Braganza</i>,</span> -<span class="i0"><i>Coquettas</i>, <i>Almoiauana’s</i>, <i>Mantecada’s</i>,</span> -<span class="i0"><i>Alcoreas</i>, <i>Muſtaccioli</i>; or ſay it were</span> -<span class="i0">The <i>Peladore</i> of <i>Isabella</i>, or <i>balls</i> <span class="linenum">145</span></span> -<span class="i0">Againſt the itch, or <i>aqua nanfa</i>, or <i>oyle</i></span> -<span class="i0">Of <i>Ieſſamine</i> for gloues, of the <i>Marqueſſe Muja</i>:</span> -<span class="i0">Or for the head, and hayre: why, theſe are <i>offices</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Fit for a gentleman, not a ſlaue. They onely</span> -<span class="i0">Might aske for your <i>pineti</i>, <i>Spaniſh</i>-cole, <span class="linenum">150</span></span> -<span class="i0">To burne, and ſweeten a roome; but the <i>Arcana</i></span> -<span class="i0">Of <i>Ladies</i> Cabinets—</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Fit.</span> Should be elſe-where truſted.</span> -<span class="i0">Yo’ are much about the truth. Sweet honoured <i>Ladies</i>,</span> -<span class="i26"><i>He enters himſelfe with the</i> Ladies.</span> -<span class="i0">Let mee fall in wi’ you. I’ha’ my female wit,</span> -<span class="i0">As well as my male. And I doe know what ſutes <span class="linenum">155</span></span> -<span class="i0">A <i>Lady</i> of ſpirit, or a woman of faſhion!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> And you would haue your wife ſuch.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> Yes, <i>Madame</i>, aërie,</span> -<span class="i0">Light; not to plaine diſhoneſty, I meane:</span> -<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span> -<span class="i0">But, ſomewhat o’ this ſide.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Wit.</span> I take you, Sir.</span> -<span class="i0">H’has reaſon <i>Ladies</i>. I’ll not giue this ruſh <span class="linenum">160</span></span> -<span class="i0">For any <i>Lady</i>, that cannot be honeſt</span> -<span class="i0">Within a thred.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Yes, <i>Madame</i>, and yet venter</span> -<span class="i0">As far for th’other, in her Fame—</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Wit.</span> As can be;</span> -<span class="i0">Coach it to <i>Pimlico</i>; daunce the <i>Saraband</i>; <span class="linenum">[151]  </span></span> -<span class="i0">Heare, and talke bawdy; laugh as loud, as a larum; <span class="linenum">165</span></span> -<span class="i0">Squeake, ſpring, do any thing.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Eit.</span> In young company, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Or afore gallants. If they be braue, or <i>Lords</i>,</span> -<span class="i0">A woman is ingag’d.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Fit.</span> I ſay ſo, <i>Ladies</i>,</span> -<span class="i0">It is ciuility to deny vs nothing.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> You talke of a <i>Vniuerſity</i>! why, <i>Hell</i> is <span class="linenum">170</span></span> -<span class="i0">A Grammar-ſchoole to this!</span> -</div><div class="stanza"> -<span class="i24"><i>The</i> Diuell <i>admires him</i>.</span> -</div><div class="stanza"> -<span class="i32"><span class="smcap">Eit.</span> But then,</span> -<span class="i0">Shee muſt not loſe a looke on ſtuffes, or cloth, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Nor no courſe fellow.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> She muſt be guided, <i>Madame</i></span> -<span class="i0">By the clothes he weares, and company he is in;</span> -<span class="i0">Whom to ſalute, how farre—</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Fit.</span> I ha’ told her this. <span class="linenum">175</span></span> -<span class="i0">And how that bawdry too, vpo’ the point,</span> -<span class="i0">Is (in it ſelfe) as ciuill a diſcourſe—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> As any other affayre of fleſh, what euer.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> But ſhee will ne’r be capable, ſhee is not</span> -<span class="i0">So much as comming, <i>Madame</i>; I know not how <span class="linenum">180</span></span> -<span class="i0">She loſes all her opportunities</span> -<span class="i0">With hoping to be forc’d. I’haue entertain’d</span> -<span class="i25"><i>He ſhews his</i> Pug.</span> -<span class="i0">A gentleman, a younger brother, here,</span> -<span class="i0">Whom I would faine breed vp, her <i>Eſcudero</i>,</span> -<span class="i0">Againſt ſome expectation’s that I haue, <span class="linenum">185</span></span> -<span class="i0">And ſhe’ll not countenance him.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> What’s his name?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> <i>Diuel</i>, o’ <i>Darbi-ſhire</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Eit.</span> Bleſſe us from him!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> <i>Diuell?</i></span> -<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span> -<span class="i0">Call him <i>De-uile</i>, ſweet <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">M<sup>rs</sup>. Fi.</span> What you pleaſe, <i>Ladies</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> <i>De-uile’s</i> a prettier name!</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Eit.</span> And ſounds, me thinks,</span> -<span class="i0">As it came in with the <i>Conquerour</i>—</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Man.</span> Ouer ſmocks! <span class="linenum">190</span></span> -<span class="i0">What things they are? That nature ſhould be at leaſure</span> -<span class="i0">Euer to make ’hem! my woing is at an end.</span> -</div><div class="stanza"> -<span class="i20">Manly <i>goes out with indignation</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> What can he do?</span> -</div><div class="stanza"> -<span class="i11"><span class="smcap">Eit.</span> Let’s heare him.</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Tay.</span> Can he manage?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Pleaſe you to try him, <i>Ladies</i>. Stand forth, <i>Diuell</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Was all this but the preface to my torment? <span class="linenum">195</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Come, let their <i>Ladiſhips</i> ſee your honours.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Eit.</span> O,</span> -<span class="i0">Hee makes a wicked leg.</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Tay.</span> As euer I ſaw!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Fit for a <i>Diuell</i>.</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Tay.</span> Good <i>Madame</i>, call him <i>De-uile</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> <i>De-uile</i>, what property is there moſt required</span> -<span class="i0">I’ your conceit, now, in the <i>Eſcudero</i>? <span class="linenum">200</span></span> -</div><div class="stanza"> -<span class="i20"><i>They begin their</i> Catechiſme.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Why doe you not speake?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pvg.</span> A ſetled diſcreet paſe, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> I thinke, a barren head, Sir, Mountaine-like,</span> -<span class="i0">To be expos’d to the cruelty of weathers—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> I, for his Valley is beneath the waſte, <i>Madame</i>,</span> -<span class="i0">And to be fruitfull there, it is ſufficient. <span class="linenum">205</span></span> -<span class="i0">Dulneſſe vpon you! Could not you hit this?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Good Sir—</span> -</div><div class="stanza"> -<span class="i20"><i>He ſtrikes him.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> He then had had no barren head.</span> -<span class="i0">You daw him too much, in troth, Sir.</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Fit.</span> I muſt walke</span> -<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> -<span class="i0">With the <i>French</i> ſticke, like an old vierger for you.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> O, <i>Chiefe</i>, call mee to <i>Hell</i> againe, -and free mee. <span class="linenum">210</span></span> -</div><div class="stanza"> -<span class="i30"><i>The</i> Diuell <i>prayes</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Do you murmur now?</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Pvg.</span> Not I, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Wit.</span> What do you take <span class="linenum">[152]  </span></span> -<span class="i0">M<sup>r</sup>. <i>Deuile</i>, the height of your employment,</span> -<span class="i0">In the true perfect <i>Eſcudero</i>?</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Fit.</span> When?</span> -<span class="i0">What doe you anſwer?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pvg.</span> To be able, <i>Madame</i>,</span> -<span class="i0">Firſt to enquire, then report the working, <span class="linenum">215</span></span> -<span class="i0">Of any <i>Ladies</i> phyſicke, in ſweete phraſe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Yes, that’s an act of elegance, and importance.</span> -<span class="i0">But what aboue?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> O, that I had a goad for him.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> To find out a good <i>Corne-cutter</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Tay.</span> Out on him!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> Moſt barbarous!</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Fit.</span> Why did you doe this, now? <span class="linenum">220</span></span> -<span class="i0">Of purpoſe to diſcredit me? you damn’d <i>Diuell</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Sure, if I be not yet, I ſhall be. All</span> -<span class="i0">My daies in <i>Hell</i>, were holy-daies to this!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> ’Tis labour loſt, <i>Madame</i>?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> H’is a dull fellow</span> -<span class="i0">Of no capacity!</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Tai.</span> Of no diſcourſe! <span class="linenum">225</span></span> -<span class="i0">O, if my <i>Ambler</i> had beene here!</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Eit.</span> I, <i>Madame</i>;</span> -<span class="i0">You talke of a man, where is there ſuch another?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> M<sup>r</sup>. <i>Deuile</i>, put caſe, one of my <i>Ladies</i>, heere,</span> -<span class="i0">Had a fine brach: and would imploy you forth</span> -<span class="i0">To treate ’bout a conuenient match for her. <span class="linenum">230</span></span> -<span class="i0">What would you obſerue?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pvg.</span> The color, and the ſize, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> And nothing elſe?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> The Moon, you calfe, the Moone!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> I, and the Signe.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Tai.</span> Yes, and receits for proneneſſe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Then when the <i>Puppies</i> came, what would you doe?</span> -<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Get their natiuities caſt!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> This’s wel. What more? <span class="linenum">235</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Conſult the <i>Almanack-man</i> which would be leaſt?</span> -<span class="i0">Which cleanelieſt?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> And which ſilenteſt? This’s wel, <i>madame</i>!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> And while ſhe were with puppy?</span> -</div><div class="stanza"> -<span class="i7"><span class="smcap">Pvg.</span> Walke her out,</span> -<span class="i0">And ayre her euery morning!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> Very good!</span> -<span class="i0">And be induſtrious to kill her fleas? <span class="linenum">240</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Yes!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Wit.</span> He will make a pretty proficient.</span> -</div><div class="stanza"> -<span class="i35"><span class="smcap">Pvg.</span> Who,</span> -<span class="i0">Comming from <i>Hell</i>, could looke for ſuch Catechiſing?</span> -<span class="i0">The <i>Diuell</i> is an <i>Aſſe</i>. I doe acknowledge it.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> The top of woman! All her ſexe in abſtract!</span> -<span class="i30">Fitz-dottrel <i>admires</i> Wittipol.</span> -<span class="i0">I loue her, to each ſyllable, falls from her. <span class="linenum">245</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tai.</span> Good <i>madame</i> giue me leaue to goe aſide with him!</span> -<span class="i0">And try him a little!</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Wit.</span> Do, and I’ll with-draw, <i>Madame</i>,</span> -<span class="i0">VVith this faire <i>Lady</i>: read to her, the while.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tai.</span> Come, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Pvg.</span> Deare <i>Chiefe</i>, relieue me, or I periſh.</span> -</div><div class="stanza"> -<span class="i25"><i>The</i> Diuel <i>praies again</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> <i>Lady</i>, we’ll follow. You are not iealous Sir? <span class="linenum">250</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> O, <i>madame</i>! you ſhall ſee. Stay wife, behold,</span> -<span class="i0">I giue her vp heere, abſolutely, to you,</span> -<span class="i0">She is your owne. Do with her what you will!</span> -<span class="i15"><i>He giues his wife to him, taking him to be a</i> Lady.</span> -<span class="i0">Melt, caſt, and forme her as you ſhall thinke good!</span> -<span class="i0">Set any ſtamp on! I’ll receiue her from you <span class="linenum">255</span></span> -<span class="i0">As a new thing, by your owne ſtandard!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">VVit.</span> Well, Sir!</span> -</div></div> - -<p><a name="Footnote_615_615" id="Footnote_615_615"></a><span class="label">[615]</span> -SD. om. G</p> - -<p><a name="Footnote_616_616" id="Footnote_616_616"></a><span class="label">[616]</span> -1 <i>Wit.</i> [<i>Takes Manly aside.</i>]</p> - -<p><a name="Footnote_617_617" id="Footnote_617_617"></a><span class="label">[617]</span> -2 SN. om. G wondering G</p> - -<p><a name="Footnote_618_618" id="Footnote_618_618"></a><span class="label">[618]</span> -8 SN. <i>Hee</i> om. G</p> - -<p><a name="Footnote_619_619" id="Footnote_619_619"></a><span class="label">[619]</span> -13 o’] of W</p> - -<p><a name="Footnote_620_620" id="Footnote_620_620"></a><span class="label">[620]</span> -14 had] has W, G</p> - -<p><a name="Footnote_621_621" id="Footnote_621_621"></a><span class="label">[621]</span> -17 hear. <i>Wit.</i> They G</p> - -<p><a name="Footnote_622_622" id="Footnote_622_622"></a><span class="label">[622]</span> -22 Camphire 1716, f.</p> - -<p><a name="Footnote_623_623" id="Footnote_623_623"></a><span class="label">[623]</span> -32, 3 <i>leuante ... di</i> om. 1641</p> - -<p><a name="Footnote_624_624" id="Footnote_624_624"></a><span class="label">[624]</span> -34 <i>Grosia</i> 1641</p> - -<p><a name="Footnote_625_625" id="Footnote_625_625"></a><span class="label">[625]</span> -35 <i>Zucchi</i> 1641</p> - -<p><a name="Footnote_626_626" id="Footnote_626_626"></a><span class="label">[626]</span> -36 varnish G</p> - -<p><a name="Footnote_627_627" id="Footnote_627_627"></a><span class="label">[627]</span> -39 at] as 1716, f.</p> - -<p><a name="Footnote_628_628" id="Footnote_628_628"></a><span class="label">[628]</span> -43 o’ ret. G</p> - -<p><a name="Footnote_629_629" id="Footnote_629_629"></a><span class="label">[629]</span> -53 or] nor W, G</p> - -<p><a name="Footnote_630_630" id="Footnote_630_630"></a><span class="label">[630]</span> -59 SN. om. G</p> - -<p><a name="Footnote_631_631" id="Footnote_631_631"></a><span class="label">[631]</span> -60 [<i>Aside.</i> G</p> - -<p><a name="Footnote_632_632" id="Footnote_632_632"></a><span class="label">[632]</span> -61 Madam—[<i>whispers Wit.</i>] G</p> - -<p><a name="Footnote_633_633" id="Footnote_633_633"></a><span class="label">[633]</span> -63 up. [<i>Aside to Pug.</i> G</p> - -<p><a name="Footnote_634_634" id="Footnote_634_634"></a><span class="label">[634]</span> -70 <span class="smcap">Eit.</span>] <i>Lady T.</i> G</p> - -<p><a name="Footnote_635_635" id="Footnote_635_635"></a><span class="label">[635]</span> -71 Diamonds 1692, 1716 diamonds W, G</p> - -<p><a name="Footnote_636_636" id="Footnote_636_636"></a><span class="label">[636]</span> -75 <span class="smcap">Wit.</span> ...] speech given to <span class="smcap">Tai.</span> 1716, f.</p> - -<p><a name="Footnote_637_637" id="Footnote_637_637"></a><span class="label">[637]</span> -76 <span class="smcap">Eit.</span> ...] speech given to <span class="smcap">Wit.</span> 1716, f.</p> - -<p><a name="Footnote_638_638" id="Footnote_638_638"></a><span class="label">[638]</span> -77 guarda W, G</p> - -<p><a name="Footnote_639_639" id="Footnote_639_639"></a><span class="label">[639]</span> -78 this. [<i>Points to Trains.</i> G</p> - -<p><a name="Footnote_640_640" id="Footnote_640_640"></a><span class="label">[640]</span> -79 in the 1716, f.</p> - -<p><a name="Footnote_641_641" id="Footnote_641_641"></a><span class="label">[641]</span> -84 onl’ 1692, 1716 only W, G</p> - -<p><a name="Footnote_642_642" id="Footnote_642_642"></a><span class="label">[642]</span> -89 dance 1692, f. || Handkerchief 1716 handkerchief W, G</p> - -<p><a name="Footnote_643_643" id="Footnote_643_643"></a><span class="label">[643]</span> -90 This is W, G</p> - -<p><a name="Footnote_644_644" id="Footnote_644_644"></a><span class="label">[644]</span> -94 dozen 1692, f.</p> - -<p><a name="Footnote_645_645" id="Footnote_645_645"></a><span class="label">[645]</span> -103 now! [<i>Aside to Meer.</i> G</p> - -<p><a name="Footnote_646_646" id="Footnote_646_646"></a><span class="label">[646]</span> -106 SN.] [<i>Gives the ring to Mrs. Fitzdottrel.</i> G -Surely 1641 tongue. [<i>Aside.</i> G</p> - -<p><a name="Footnote_647_647" id="Footnote_647_647"></a><span class="label">[647]</span> -107 SN.] [<i>Aside to Wit.</i> G</p> - -<p><a name="Footnote_648_648" id="Footnote_648_648"></a><span class="label">[648]</span> -108 SN. om. [<i>Exeunt Meer, and Trains</i> G</p> - -<p><a name="Footnote_649_649" id="Footnote_649_649"></a><span class="label">[649]</span> -110 heare? [<i>Takes Mrs. Fitz. aside.</i>] G You’re 1716, W into] in 1641 schoole 1641 School 1692, -1716 school W, G</p> - -<p><a name="Footnote_650_650" id="Footnote_650_650"></a><span class="label">[650]</span> -117 SN. om. G</p> - -<p><a name="Footnote_651_651" id="Footnote_651_651"></a><span class="label">[651]</span> -118 left] let 1641 entered W enter’d G</p> - -<p><a name="Footnote_652_652" id="Footnote_652_652"></a><span class="label">[652]</span> -120 owne om. G</p> - -<p><a name="Footnote_653_653" id="Footnote_653_653"></a><span class="label">[653]</span> -121 sha’] she’ 1692 she 1716, f. enjoy’d 1692, f.</p> - -<p><a name="Footnote_654_654" id="Footnote_654_654"></a><span class="label">[654]</span> -124 your 1641, f.</p> - -<p><a name="Footnote_655_655" id="Footnote_655_655"></a><span class="label">[655]</span> -125 kindnesse 1641 Kindness 1692, 1716 kindness W, G</p> - -<p><a name="Footnote_656_656" id="Footnote_656_656"></a><span class="label">[656]</span> -147 Marquess 1692, 1716 marquess W</p> - -<p><a name="Footnote_657_657" id="Footnote_657_657"></a><span class="label">[657]</span> -149 <span class="smcap">Fit.</span>] <i>Eith.</i> 1716, W <i>Wit.</i> They G</p> - -<p><a name="Footnote_658_658" id="Footnote_658_658"></a><span class="label">[658]</span> -153 SN. om. G || You’re 1716, W</p> - -<p><a name="Footnote_659_659" id="Footnote_659_659"></a><span class="label">[659]</span> -160 He ’as 1716, W</p> - -<p><a name="Footnote_660_660" id="Footnote_660_660"></a><span class="label">[660]</span> -162 venture 1692, f.</p> - -<p><a name="Footnote_661_661" id="Footnote_661_661"></a><span class="label">[661]</span> -164 dance 1641, f.</p> - -<p><a name="Footnote_662_662" id="Footnote_662_662"></a><span class="label">[662]</span> -168 engag’d W engaged G</p> - -<p><a name="Footnote_663_663" id="Footnote_663_663"></a><span class="label">[663]</span> -171 SN.] [<i>Aside.</i> G</p> - -<p><a name="Footnote_664_664" id="Footnote_664_664"></a><span class="label">[664]</span> -176 baudery 1641</p> - -<p><a name="Footnote_665_665" id="Footnote_665_665"></a><span class="label">[665]</span> -182 SN. om. G</p> - -<p><a name="Footnote_666_666" id="Footnote_666_666"></a><span class="label">[666]</span> -192 SN.] [<i>Aside, and exit with indignation.</i> G || Wooing 1692, 1716 wooing W, G</p> - -<p><a name="Footnote_667_667" id="Footnote_667_667"></a><span class="label">[667]</span> -195 [<i>Aside.</i> G</p> - -<p><a name="Footnote_668_668" id="Footnote_668_668"></a><span class="label">[668]</span> -196 Ladiship 1641</p> - -<p><a name="Footnote_669_669" id="Footnote_669_669"></a><span class="label">[669]</span> -200, 210 SN. om. G</p> - -<p><a name="Footnote_670_670" id="Footnote_670_670"></a><span class="label">[670]</span> -201 pase] pause 1641</p> - -<p><a name="Footnote_671_671" id="Footnote_671_671"></a><span class="label">[671]</span> -207 SN.] [<i>Fit strikes Pug.</i> W || <i>He</i> om. G</p> - -<p><a name="Footnote_672_672" id="Footnote_672_672"></a><span class="label">[672]</span> -208 draw 1716</p> - -<p><a name="Footnote_673_673" id="Footnote_673_673"></a><span class="label">[673]</span> -209 Virger W verger G</p> - -<p><a name="Footnote_674_674" id="Footnote_674_674"></a><span class="label">[674]</span> -210 [<i>Aside.</i> G</p> - -<p><a name="Footnote_675_675" id="Footnote_675_675"></a><span class="label">[675]</span> -212 Divele 1641</p> - -<p><a name="Footnote_676_676" id="Footnote_676_676"></a><span class="label">[676]</span> -223 [<i>Aside.</i> G</p> - -<p><a name="Footnote_677_677" id="Footnote_677_677"></a><span class="label">[677]</span> -224 He’s 1716, W He is G</p> - -<p><a name="Footnote_678_678" id="Footnote_678_678"></a><span class="label">[678]</span> -229 employ 1692, f.</p> - -<p><a name="Footnote_679_679" id="Footnote_679_679"></a><span class="label">[679]</span> -235, 237 This’s] This is 1716, f.</p> - -<p><a name="Footnote_680_680" id="Footnote_680_680"></a><span class="label">[680]</span> -237 cleanliest 1692, f. silent’st 1692. f.</p> - -<p><a name="Footnote_681_681" id="Footnote_681_681"></a><span class="label">[681]</span> -238 <span class="smcap">Wit.</span> om. 1692, f.</p> - -<p><a name="Footnote_682_682" id="Footnote_682_682"></a><span class="label">[682]</span> -242 such] such a W, G</p> - -<p><a name="Footnote_683_683" id="Footnote_683_683"></a><span class="label">[683]</span> -243 [<i>Aside.</i> G</p> - -<p><a name="Footnote_684_684" id="Footnote_684_684"></a><span class="label">[684]</span> -244 SN.] [<i>Aside, and looking at Wittipol.</i> G</p> - -<p><a name="Footnote_685_685" id="Footnote_685_685"></a><span class="label">[685]</span> -249 SN.] [<i>Aside.</i> G</p> - -<p><a name="Footnote_686_686" id="Footnote_686_686"></a><span class="label">[686]</span> -253 SN. om. G</p> - -<p><a name="Footnote_687_687" id="Footnote_687_687"></a><span class="label">[687]</span> -256 [<i>Exit Wit.</i> Well, sir! [<i>Exeunt Wittipol with Mrs. Fitz. and Tailbush and Eitherside with Pug.</i> G -<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span></p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>IIIJ</b>. Scene. <b>V</b>.</span></p> -<p class="center"><span class="smcap">Mere-craft.</span> <span class="smcap">Fitz-dottrel.</span> <span class="smcap">Pit-Fal.</span><br /> -<span class="smcap">Ever-ill.</span> <span class="smcap">Plvtarchus.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">But what ha’ you done i’ your <i>Dependance</i>, ſince? <span class="linenum">[153]  </span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> O, it goes on, I met your Couſin, the <i>Maſter</i>—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> You did not acquaint him, S<sup>r</sup>?</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Fit.</span> Faith, but I did, S<sup>r</sup>.</span> -<span class="i0">And vpon better thought, not without reaſon!</span> -<span class="i0">He being chiefe <i>Officer</i>, might ha’ tane it ill, elſe, <span class="linenum">5</span></span> -<span class="i0">As a <i>Contempt</i> againſt his Place, and that</span> -<span class="i0">In time Sir, ha’ drawne on another <i>Dependance</i>.</span> -<span class="i0">No, I did finde him in good termes, and ready</span> -<span class="i0">To doe me any ſeruice.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> So he said, to you?</span> -<span class="i0">But S<sup>r</sup>, you do not know him.</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Fit.</span> VVhy, I presum’d <span class="linenum">10</span></span> -<span class="i0">Becauſe this <i>bus’neſſe</i> of my wiues, requir’d mee,</span> -<span class="i0">I could not ha’ done better: And hee told</span> -<span class="i0">Me, that he would goe preſently to your <i>Councell</i>,</span> -<span class="i0">A Knight, here, i’ the Lane—</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Mer.</span> Yes, <i>Iuſtice Either-ſide</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> And get the <i>Feoffment</i> drawne, - with a letter of <i>Atturney</i>, <span class="linenum">15</span></span> -<span class="i0">For <i>liuerie</i> and <i>ſeiſen</i>!</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Mer.</span> That I knowe’s the courſe.</span> -<span class="i0">But Sir, you meane not to make him <i>Feoffee</i>?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Nay, that I’ll pauſe on!</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Mer.</span> How now little <i>Pit-fall</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pit.</span> Your Couſin Maſter <i>Euer-ill</i>, would come in—</span> -<span class="i0">But he would know if Maſter <i>Manly</i> were heere. <span class="linenum">20</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> No, tell him, if he were, I ha’ made his peace!</span> -<span class="i28">Mere-craft <i>whiſpers againſt him</i>.</span> -<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span> -<span class="i0">Hee’s one, Sir, has no State, and a man knowes not,</span> -<span class="i0">How such a trust may tempt him.</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Fit.</span> I conceiue you.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> S<sup>r</sup>. this ſame deed is done here.</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Mer.</span> Pretty <i>Plutarchus</i>?</span> -<span class="i0">Art thou come with it? and has Sir <i>Paul</i> view’d it? <span class="linenum">25</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Plv.</span> His hand is to the draught.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> VVill you step in, S<sup>r</sup>.</span> -<span class="i0">And read it?</span> -</div><div class="stanza"> -<span class="i7"><span class="smcap">Fit.</span> Yes.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> I pray you a word wi’ you.</span> -<span class="i20">Eueril <i>whiſpers against</i> Mere-craft.</span> -<span class="i0">Sir <i>Paul Eitherside</i> will’d mee gi’ you caution,</span> -<span class="i0">Whom you did make <i>Feoffee</i>: for ’tis the truſt</span> -<span class="i0">O’ your whole State: and though my Cousin heere <span class="linenum">30</span></span> -<span class="i0">Be a worthy Gentleman, yet his valour has</span> -<span class="i0">At the tall board bin queſtion’d: and we hold</span> -<span class="i0">Any man ſo impeach’d, of doubtfull honesty!</span> -<span class="i0">I will not iuſtiſie this; but giue it you</span> -<span class="i0">To make your profit of it: if you vtter it, <span class="linenum">35</span></span> -<span class="i0">I can forſweare it!</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Fit.</span> I beleeue you, and thanke you, Sir.</span> -</div></div> - -<p><a name="Footnote_688_688" id="Footnote_688_688"></a><span class="label">[688]</span> -SD. V] III. 1641 <span class="smcap">Act.</span> ...] <span class="smcap">Scene II.</span> -<i>Another Room in the same. Enter</i> <span class="smcap">Meercraft</span> -<i>and</i> <span class="smcap">Fitzdottrel</span>. G</p> - -<p><a name="Footnote_689_689" id="Footnote_689_689"></a><span class="label">[689]</span> -5 taken G</p> - -<p><a name="Footnote_690_690" id="Footnote_690_690"></a><span class="label">[690]</span> -9 service 1641, W, G Service 1692, 1716</p> - -<p><a name="Footnote_691_691" id="Footnote_691_691"></a><span class="label">[691]</span> -18 on. <i>Enter</i> <span class="smcap">Pitfall</span>. G</p> - -<p><a name="Footnote_692_692" id="Footnote_692_692"></a><span class="label">[692]</span> -20 Mr. 1692, 1716 mr. W</p> - -<p><a name="Footnote_693_693" id="Footnote_693_693"></a><span class="label">[693]</span> -21 [<i>Exit Pitfall.</i> SN. om. G</p> - -<p><a name="Footnote_694_694" id="Footnote_694_694"></a><span class="label">[694]</span> -23 <i>Enter</i> <span class="smcap">Everill</span> <i>and</i> -<span class="smcap">Plutarchus</span>. G</p> - -<p><a name="Footnote_695_695" id="Footnote_695_695"></a><span class="label">[695]</span> -25 <i>Poul</i> 1692, 1716 Poul W</p> - -<p><a name="Footnote_696_696" id="Footnote_696_696"></a><span class="label">[696]</span> -27 SN.] [<i>Aside to Fitz.</i> G</p> - -<p><a name="Footnote_697_697" id="Footnote_697_697"></a><span class="label">[697]</span> -28 give 1641, G <i>Paul</i>] as in 4.5.25</p> - -<p><a name="Footnote_698_698" id="Footnote_698_698"></a><span class="label">[698]</span> -36 [<i>Exeunt.</i> G</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>IIIJ</b>. Scene. <b>VI</b>.</span></p> -<p class="center"><span class="smcap">VVittipol.</span> Mistresse <span class="smcap">Fitz-dottrel</span>.<br /> -<span class="smcap">Manly.</span> <span class="smcap">Mere-craft.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Be not afraid, ſweet <i>Lady</i>: yo’ are truſted <span class="linenum">[154]  </span></span> -<span class="i0">To loue, not violence here; I am no rauiſher,</span> -<span class="i0">But one, whom you, by your faire truſt againe,</span> -<span class="i0">May of a ſeruant make a moſt true friend.</span> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> And ſuch a one I need, but not this way: <span class="linenum">5</span></span> -<span class="i0">Sir, I confeſſe me to you, the meere manner</span> -<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span> -<span class="i0">Of your attempting mee, this morning tooke mee,</span> -<span class="i0">And I did hold m’inuention, and my manners,</span> -<span class="i0">Were both engag’d, to giue it a requitall;</span> -<span class="i0">But not vnto your ends: my hope was then, <span class="linenum">10</span></span> -<span class="i0">(Though interrupted, ere it could be vtter’d)</span> -<span class="i0">That whom I found the Maſter of ſuch language,</span> -<span class="i0">That braine and ſpirit, for ſuch an enterpriſe,</span> -<span class="i0">Could not, but if thoſe ſuccours were demanded</span> -<span class="i0">To a right vſe, employ them vertuouſly! <span class="linenum">15</span></span> -<span class="i0">And make that profit of his noble parts,</span> -<span class="i0">Which they would yeeld. S<sup>r</sup>, you haue now the ground,</span> -<span class="i0">To exerciſe them in: I am a woman:</span> -<span class="i0">That cannot ſpeake more wretchedneſſe of my ſelfe,</span> -<span class="i0">Then you can read; match’d to a maſſe of folly; <span class="linenum">20</span></span> -<span class="i0">That euery day makes haſte to his owne ruine;</span> -<span class="i0">The wealthy portion, that I brought him, ſpent;</span> -<span class="i0">And (through my friends neglect) no ioynture made me.</span> -<span class="i0">My fortunes ſtanding in this precipice,</span> -<span class="i0">’Tis <i>Counſell</i> that I want, and honeſt aides: <span class="linenum">25</span></span> -<span class="i0">And in this name, I need you, for a friend!</span> -<span class="i0">Neuer in any other; for his ill,</span> -<span class="i0">Muſt not make me, S<sup>r</sup>, worſe.</span> -</div><div class="stanza"> -<span class="i12">Manly, <i>conceal’d this while, ſhews himſelf</i>.</span> -</div><div class="stanza"> -<span class="i7"><span class="smcap">Man.</span> O friend! forſake not</span> -<span class="i0">The braue occaſion, vertue offers you,</span> -<span class="i0">To keepe you innocent: I haue fear’d for both; <span class="linenum">30</span></span> -<span class="i0">And watch’d you, to preuent the ill I fear’d.</span> -<span class="i0">But, ſince the weaker ſide hath ſo aſſur’d mee,</span> -<span class="i0">Let not the ſtronger fall by his owne vice,</span> -<span class="i0">Or be the leſſe a friend, cauſe vertue needs him.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Vertue ſhall neuer aske my ſuccours twice; <span class="linenum">35</span></span> -<span class="i0">Moſt friend, moſt man: your <i>Counſells</i> are commands:</span> -<span class="i0">Lady, I can loue <i>goodnes</i> in you, more <span class="linenum">[155]  </span></span> -<span class="i0">Then I did <i>Beauty</i>; and doe here intitle</span> -<span class="i0">Your vertue, to the power, vpon a life</span> -<span class="i0">You ſhall engage in any fruitfull ſeruice, <span class="linenum">40</span></span> -<span class="i0">Euen to forfeit.</span> -</div><div class="stanza"> -<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span> -<span class="i0"><span class="smcap">Mer.</span> <i>Madame</i>: Do you heare, Sir,</span> -<span class="i6">Mere-craft <i>takes</i> Wittipol <i>aſide,</i> & <i>moues a proiect for himſelfe</i>.</span> -<span class="i0">We haue another leg-ſtrain’d, for this <i>Dottrel</i>.</span> -<span class="i0">He’ha’s a quarrell to carry, and ha’s cauſ’d</span> -<span class="i0">A deed of <i>Feoffment</i>, of his whole eſtate</span> -<span class="i0">To be drawne yonder; h’ha’ſt within: And you, <span class="linenum">45</span></span> -<span class="i0">Onely, he meanes to make <i>Feoffee</i>. H’is falne</span> -<span class="i0">So deſperatly enamour’d on you, and talkes</span> -<span class="i0">Moſt like a mad-man: you did neuer heare</span> -<span class="i0">A <i>Phrentick</i>, ſo in loue with his owne fauour!</span> -<span class="i0">Now, you doe know, ’tis of no validity <span class="linenum">50</span></span> -<span class="i0">In your name, as you ſtand; Therefore aduiſe him</span> -<span class="i0">To put in me. (h’is come here:) You ſhall ſhare Sir.</span> -</div></div> - -<p><a name="Footnote_699_699" id="Footnote_699_699"></a><span class="label">[699]</span> -SD. <span class="smcap">Scene III</span> <i>Another Room in the same. Enter</i> -<span class="smcap">Wittipol</span>, <i>and Mrs.</i> <span class="smcap">Fitzdottrel</span>. G</p> - -<p><a name="Footnote_700_700" id="Footnote_700_700"></a><span class="label">[700]</span> -1 Yo’] you W</p> - -<p><a name="Footnote_701_701" id="Footnote_701_701"></a><span class="label">[701]</span> -4 <span class="smcap">Manly</span> <i>enters behind</i>. G</p> - -<p><a name="Footnote_702_702" id="Footnote_702_702"></a><span class="label">[702]</span> -8 m’] W, G</p> - -<p><a name="Footnote_703_703" id="Footnote_703_703"></a><span class="label">[703]</span> -28 SN.] [<i>comes forward.</i>] G</p> - -<p><a name="Footnote_704_704" id="Footnote_704_704"></a><span class="label">[704]</span> -40 faithfull 1641</p> - -<p><a name="Footnote_705_705" id="Footnote_705_705"></a><span class="label">[705]</span> -41 SN.] <i>Enter</i> <span class="smcap">Meercraft</span>. (after ‘forfeit.’) <i>Aside to Wittipol.</i> -(after ‘Sir,’) G</p> - -<p><a name="Footnote_706_706" id="Footnote_706_706"></a><span class="label">[706]</span> -42 leg-strain’d] hyphen om. 1692, f.</p> - -<p><a name="Footnote_707_707" id="Footnote_707_707"></a><span class="label">[707]</span> -43 He’] H’ 1692, 1716</p> - -<p><a name="Footnote_708_708" id="Footnote_708_708"></a><span class="label">[708]</span> -45 h’ om. 1641 he W, G</p> - -<p><a name="Footnote_709_709" id="Footnote_709_709"></a><span class="label">[709]</span> -46 H’is He’s 1716, W He is G</p> - -<p><a name="Footnote_710_710" id="Footnote_710_710"></a><span class="label">[710]</span> -49 phrenetic G</p> - -<p><a name="Footnote_711_711" id="Footnote_711_711"></a><span class="label">[711]</span> -52 me!—<i>Enter</i> <span class="smcap">Fitzdottrel</span>, <span class="smcap">Everill</span>, -<i>and</i> <span class="smcap">Plutarchus</span>. G || h’is] He’s 1716, f.</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>IV</b>. Scene. <b>VIJ</b>.</span></p> -<p class="center"> - -<span class="smcap">Wittipol.</span> Miſtreſſe <span class="smcap">Fitz-dottrel</span>. <span class="smcap">Manly.</span><br /> -<span class="smcap">Mere-craft.</span> <span class="smcap">Fitz-dottrell.</span> <span class="smcap">Everill.</span><br /> -<span class="smcap">Plvtarchvs.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> <i>Madame</i>, I haue a ſuit to you; and afore-hand,</span> -<span class="i0">I doe beſpeake you; you muſt not deny me,</span> -<span class="i0">I will be graunted.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Wit.</span> Sir, I muſt know it, though.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> No <i>Lady</i>; you muſt not know it: yet, you muſt too.</span> -<span class="i0">For the truſt of it, and the fame indeed, <span class="linenum">5</span></span> -<span class="i0">Which elſe were loſt me. I would vfe your name,</span> -<span class="i0">But in a <i>Feoffment</i>: make my whole eſtate</span> -<span class="i0">Ouer vnto you: a trifle, a thing of nothing,</span> -<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span> -<span class="i0">Some eighteene hundred.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Wit.</span> Alas! I vnderſtand not</span> -<span class="i0">Thoſe things Sir. I am a woman, and moſt loath, <span class="linenum">10</span></span> -<span class="i0">To embarque my ſelfe—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> You will not ſlight me, <i>Madame</i>?</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Wit.</span> Nor you’ll not quarrell me?</span> -</div><div class="stanza"> -<span class="i7"><span class="smcap">Fit.</span> No, ſweet <i>Madame</i>, I haue</span> -<span class="i0">Already a <i>dependance</i>; for which cauſe</span> -<span class="i0">I doe this: let me put you in, deare <i>Madame</i>,</span> -<span class="i0">I may be fairely kill’d.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> You haue your friends, Sir, <span class="linenum">15</span></span> -<span class="i0">About you here, for choice.</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Eve.</span> She tells you right, Sir.</span> -</div><div class="stanza"> -<span class="i23"><i>Hee hopes to be the man.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Death, if ſhe doe, what do I care for that?</span> -<span class="i0">Say, I would haue her tell me wrong.</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Wit.</span> Why, Sir, <span class="linenum">[156]  </span></span> -<span class="i0">If for the truſt, you’ll let me haue the honor</span> -<span class="i0">To name you one.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Nay, you do me the honor, <i>Madame</i>: <span class="linenum">20</span></span> -<span class="i0">Who is’t?</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Wit.</span> This Gentleman:</span> -</div><div class="stanza"> -<span class="i24"><i>Shee deſignes</i> Manly.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> O, no, sweet <i>Madame</i>,</span> -<span class="i0">H’is friend to him, with whom I ha’ the <i>dependance</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Who might he bee?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> One <i>Wittipol</i>: do you know him?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Alas Sir, he, a toy: This Gentleman</span> -<span class="i0">A friend to him? no more then I am Sir! <span class="linenum">25</span></span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> But will your <i>Ladyſhip</i> vndertake that, <i>Madame</i>?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> Yes, and what elſe, for him, you will engage me.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> What is his name?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">VVit.</span> His name is <i>Euſtace Manly</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> VVhence do’s he write himſelfe?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">VVit.</span> of <i>Middle-ſex</i>, <i>Eſquire</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Say nothing, <i>Madame</i>. <i>Clerke</i>, come hether <span class="linenum">30</span></span> -<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span> -<span class="i0">VVrite <i>Euſtace Manly</i>, Squire o’ <i>Middle-ſex</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> What ha’ you done, Sir?</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">VVit.</span> Nam’d a gentleman,</span> -<span class="i0">That I’ll be anſwerable for, to you, Sir.</span> -<span class="i0">Had I nam’d you, it might ha’ beene ſuſpected:</span> -<span class="i0">This way, ’tis ſafe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Come Gentlemen, your hands, <span class="linenum">35</span></span> -<span class="i0">For witnes.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Man.</span> VVhat is this?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> You ha’ made <i>Election</i></span> -<span class="i20">Eueril <i>applaudes it</i>.</span> -<span class="i0">Of a moſt worthy <i>Gentleman</i>!</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Man.</span> VVould one of worth</span> -<span class="i0">Had ſpoke it: whence it comes, it is</span> -<span class="i0">Rather a ſhame to me, then a praiſe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Sir, I will giue you any Satisfaction. <span class="linenum">40</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> Be ſilent then: “falſhood commends not truth”.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Plv.</span> You do deliuer this, Sir, as your deed.</span> -<span class="i0">To th’ vſe of M<sup>r</sup>. <i>Manly</i>?</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Fit.</span> Yes: and Sir—</span> -<span class="i0">VVhen did you ſee yong <i>Wittipol</i>? I am ready,</span> -<span class="i0">For proceſſe now; Sir, this is <i>Publication</i>. <span class="linenum">45</span></span> -<span class="i0">He ſhall heare from me, he would needes be courting</span> -<span class="i0">My wife, Sir.</span> -</div><div class="stanza"> -<span class="i11"><span class="smcap">Man.</span> Yes: So witneſſeth his Cloake there.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Nay good Sir,—<i>Madame</i>, you did vndertake—</span> -</div><div class="stanza"> -<span class="i21">Fitz-dottrel <i>is ſuſpicious of</i> Manly <i>ſtill</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">VVit.</span> VVhat?</span> -</div><div class="stanza"> -<span class="i4"><span class="smcap">Fit.</span> That he was not <i>Wittipols</i> friend.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">VVit.</span> I heare S<sup>r</sup>. no confeſſion of it.</span> -</div><div class="stanza"> -<span class="i20"><span class="smcap">Fit.</span> O ſhe know’s not; <span class="linenum">50</span></span> -<span class="i0">Now I remember, <i>Madame</i>! This young <i>Wittipol</i>,</span> -<span class="i0">VVould ha’ debauch’d my wife, and made me <i>Cuckold</i>,</span> -<span class="i0">Through a caſement; he did fly her home</span> -<span class="i0">To mine owne window: but I think I ſou’t him,</span> -<span class="i0">And rauifh’d her away, out of his pownces. <span class="linenum">55</span></span> -<span class="i0">I ha’ ſworne to ha’ him by the eares: I feare</span> -<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span> -<span class="i0">The toy, wi’ not do me right.</span> -</div><div class="stanza"> -<span class="i21"><span class="smcap">VVit.</span> No? that were pitty!</span> -<span class="i0">VVhat right doe you aske, Sir? Here he is will do’t you?</span> -</div><div class="stanza"> -<span class="i25">Wittipol <i>diſcouers himſelfe</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Ha? <i>Wittipol</i>?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">VVit.</span> I Sir, no more <i>Lady</i> now,</span> -<span class="i0">Nor <i>Spaniard</i>!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Man.</span> No indeed, ’tis <i>Wittipol</i>. <span class="linenum">60</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Am I the thing I fear’d?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">VVit.</span> A <i>Cuckold</i>? No Sir,</span> -<span class="i0">But you were late in poſſibility,</span> -<span class="i0">I’ll tell you ſo much.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Man.</span> But your wife’s too vertuous!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">VVit.</span> VVee’ll ſee her Sir, at home, and leaue you here,</span> -<span class="i0">To be made <i>Duke o’ Shore-ditch</i> with a proiect. <span class="linenum">[157]  65</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Theeues, rauiſhers.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">VVit.</span> Crie but another note, Sir,</span> -<span class="i0">I’ll marre the tune, o’ your pipe!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> Gi’ me my deed, then.</span> -</div><div class="stanza"> -<span class="i26"><i>He would haue his</i> deed <i>again</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">VVit.</span> Neither: that ſhall be kept for your wiues good,</span> -<span class="i0">VVho will know, better how to vſe it.</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Fit.</span> Ha’</span> -<span class="i0">To feaſt you with my land?</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">VVit.</span> Sir, be you quiet, <span class="linenum">70</span></span> -<span class="i0">Or I ſhall gag you, ere I goe, conſult</span> -<span class="i0">Your Maſter of dependances; how to make this</span> -<span class="i0">A ſecond buſineſſe, you haue time Sir.</span> -</div><div class="stanza"> -<span class="i21">VVitipol <i>bafflees him, and goes out</i>.</span> -</div><div class="stanza"> -<span class="i29"><span class="smcap">Fit.</span> Oh!</span> -<span class="i0">VVhat will the ghoſt of my wiſe Grandfather,</span> -<span class="i0">My learned <i>Father</i>, with my worſhipfull <i>Mother</i>, <span class="linenum">75</span></span> -<span class="i0">Thinke of me now, that left me in this world</span> -<span class="i0">In ſtate to be their <i>Heire</i>? that am become</span> -<span class="i0">A <i>Cuckold</i>, and an <i>Aſſe</i>, and my wiues Ward;</span> -<span class="i0">Likely to looſe my land; ha’ my throat cut:</span> -<span class="i0">All, by her practice!</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Mer.</span> Sir, we are all abus’d! <span class="linenum">80</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> And be ſo ſtill! VVho hinders you, I pray you,</span> -<span class="i0">Let me alone, I would enioy my ſelfe,</span> -<span class="i0">And be the <i>Duke o’ Drown’d-Land</i>, you ha’ made me.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Sir, we muſt play an <i>after-game</i> o’ this.</span> -<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> But I am not in caſe to be a <i>Gam-ſter</i>: <span class="linenum">85</span></span> -<span class="i0">I tell you once againe—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> You muſt be rul’d</span> -<span class="i0">And take some counſell.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> Sir, I do hate counſell,</span> -<span class="i0">As I do hate my wife, my wicked wife!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> But we may thinke how to recouer all:</span> -<span class="i0">If you will act.</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Fit.</span> I will not think; nor act; <span class="linenum">90</span></span> -<span class="i0">Nor yet recouer; do not talke to me?</span> -<span class="i0">I’ll runne out o’ my witts, rather then heare;</span> -<span class="i0">I will be what I am, <i>Fabian Fitz-Dottrel</i>,</span> -<span class="i0">Though all the world ſay nay to’t.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> Let’s follow him.</span> -</div></div> - -<p><a name="Footnote_712_712" id="Footnote_712_712"></a><span class="label">[712]</span> -SD. om. G</p> - -<p><a name="Footnote_713_713" id="Footnote_713_713"></a><span class="label">[713]</span> -3 granted 1692, f.</p> - -<p><a name="Footnote_714_714" id="Footnote_714_714"></a><span class="label">[714]</span> -16 SN. om. G</p> - -<p><a name="Footnote_715_715" id="Footnote_715_715"></a><span class="label">[715]</span> -21 SN. <i>She</i> om. W <i>She</i> ...] [<i>Pointing to Manly.</i> G</p> - -<p><a name="Footnote_716_716" id="Footnote_716_716"></a><span class="label">[716]</span> -22 He’s 1716, f.</p> - -<p><a name="Footnote_717_717" id="Footnote_717_717"></a><span class="label">[717]</span> -30 [<i>To Plutarchus.</i> G || hither 1692, f.</p> - -<p><a name="Footnote_718_718" id="Footnote_718_718"></a><span class="label">[718]</span> -32 sir? [<i>Aside to Wit.</i> G</p> - -<p><a name="Footnote_719_719" id="Footnote_719_719"></a><span class="label">[719]</span> -36 SN. om. G</p> - -<p><a name="Footnote_720_720" id="Footnote_720_720"></a><span class="label">[720]</span> -38 it! but now whence W, G</p> - -<p><a name="Footnote_721_721" id="Footnote_721_721"></a><span class="label">[721]</span> -39 to] unto W, G</p> - -<p><a name="Footnote_722_722" id="Footnote_722_722"></a><span class="label">[722]</span> -43 [<i>To Manly.</i> G</p> - -<p><a name="Footnote_723_723" id="Footnote_723_723"></a><span class="label">[723]</span> -48 SN. om. G</p> - -<p><a name="Footnote_724_724" id="Footnote_724_724"></a><span class="label">[724]</span> -49 <span class="smcap">VVit.</span> <i>What.</i> 1641</p> - -<p><a name="Footnote_725_725" id="Footnote_725_725"></a><span class="label">[725]</span> -53 Thorow 1692 Thorough 1716, f.</p> - -<p><a name="Footnote_726_726" id="Footnote_726_726"></a><span class="label">[726]</span> -54 sou’t] fou’t 1692 fought 1716, W sous’d G</p> - -<p><a name="Footnote_727_727" id="Footnote_727_727"></a><span class="label">[727]</span> -58 SN. Wittipol om. G</p> - -<p><a name="Footnote_728_728" id="Footnote_728_728"></a><span class="label">[728]</span> -67 SN. om. G</p> - -<p><a name="Footnote_729_729" id="Footnote_729_729"></a><span class="label">[729]</span> -69 Ha! 1692, f.</p> - -<p><a name="Footnote_730_730" id="Footnote_730_730"></a><span class="label">[730]</span> -73 SN.] [<i>Baffles him, and exit with Manly.</i> G</p> - -<p><a name="Footnote_731_731" id="Footnote_731_731"></a><span class="label">[731]</span> -82 injoy 1641</p> - -<p><a name="Footnote_732_732" id="Footnote_732_732"></a><span class="label">[732]</span> -94 to’t. [<i>Exit.</i> G || Let’s Let us W, G || him. [<i>Exeunt.</i> G</p> - - -<hr class="chap" /> -<p><span class="linenum">[158]  </span></p> - -<p class="f120 space-above1"><span class="smcap">Act. <b>V</b>. Scene. <b>I</b>.</span></p> -<p class="center"><span class="smcap">Ambler.</span> <span class="smcap">Pitfall.</span> <span class="smcap">Mere-craft.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Bvt ha’s my Lady miſt me?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Pit.</span> Beyond telling!</span> -<span class="i0">Here ha’s been that infinity of ſtrangers!</span> -<span class="i0">And then ſhe would ha’ had you, to ha’ ſampled you</span> -<span class="i0">VVith one within, that they are now a teaching;</span> -<span class="i0">And do’s pretend to your ranck.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Amb.</span> Good fellow <i>Pit-fall</i>, <span class="linenum">5</span></span> -<span class="i0">Tel M<sup>r</sup>. <i>Mere-craft</i>, I intreat a word with him.</span> -<span class="i25">Pitfall <i>goes out</i>.</span> -<span class="i0">This most vnlucky accident will goe neare</span> -<span class="i0">To be the loſſe o’ my place; I am in doubt!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> VVith me? what ſay you M<sup>r</sup> <i>Ambler</i>?</span> -</div><div class="stanza"> -<span class="i29"><span class="smcap">Amb.</span> Sir,</span> -<span class="i0">I would beſeech your worſhip ſtand betweene <span class="linenum">10</span></span> -<span class="i0">Me, and my <i>Ladies</i> diſpleaſure, for my abſence.</span> -<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> O, is that all? I warrant you.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> I would tell you Sir</span> -<span class="i0">But how it happened.</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Mer.</span> Brief, good Maſter <i>Ambler</i>,</span> -<span class="i0">Put your selfe to your rack: for I haue taſque</span> -<span class="i0">Of more importance.</span> -<span class="i20">Mere-craft <i>ſeemes full of buſineſſe</i>.</span> -</div><div class="stanza"> -<span class="i7"><span class="smcap">Amb.</span> Sir you’ll laugh at me? <span class="linenum">15</span></span> -<span class="i0">But (ſo is <i>Truth</i>) a very friend of mine,</span> -<span class="i0">Finding by conference with me, that I liu’d</span> -<span class="i0">Too chaſt for my complexion (and indeed</span> -<span class="i0">Too honeſt for my place, Sir) did aduiſe me</span> -<span class="i0">If I did loue my ſelfe (as that I do, <span class="linenum">20</span></span> -<span class="i0">I muſt confeſſe)</span> -</div><div class="stanza"> -<span class="i11"><span class="smcap">Mer.</span> Spare your <i>Parentheſis</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> To gi’ my body a little euacuation—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Well, and you went to a whore?</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Amb.</span> No, S<sup>r</sup>. I durſt not</span> -<span class="i0">(For feare it might arriue at ſome body’s eare,</span> -<span class="i0">It ſhould not) truſt my ſelfe to a common houſe; <span class="linenum">25</span></span> -<span class="i15">Ambler <i>tels this with extraordinary ſpeed</i>.</span> -<span class="i0">But got the Gentlewoman to goe with me,</span> -<span class="i0">And carry her bedding to a <i>Conduit-head</i>,</span> -<span class="i0">Hard by the place toward <i>Tyborne</i>, which they call</span> -<span class="i0">My L. Majors <i>Banqueting-houſe</i>. Now Sir, This morning</span> -<span class="i0">Was <i>Execution</i>; and I ner’e dream’t on’t <span class="linenum">30</span></span> -<span class="i0">Till I heard the noiſe o’ the people, and the horſes;</span> -<span class="i0">And neither I, nor the poore Gentlewoman <span class="linenum">[159]  </span></span> -<span class="i0">Durſt ſtirre, till all was done and paſt: ſo that</span> -<span class="i0">I’ the <i>Interim</i>, we fell a ſleepe againe.</span> -</div><div class="stanza"> -<span class="i30"><i>He flags</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Nay, if you fall, from your gallop, I am gone S<sup>r</sup>. <span class="linenum">35</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> But, when I wak’d, to put on my cloathes, a ſute,</span> -<span class="i0">I made new for the action, it was gone,</span> -<span class="i0">And all my money, with my purſe, my ſeales,</span> -<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span> -<span class="i0">My hard-wax, and my table-bookes, my ſtudies,</span> -<span class="i0">And a fine new deuiſe, I had to carry <span class="linenum">40</span></span> -<span class="i0">My pen, and inke, my ciuet, and my tooth-picks,</span> -<span class="i0">All vnder one. But, that which greiu’d me, was</span> -<span class="i0">The Gentlewoman’s ſhoes (with a paire of roſes,</span> -<span class="i0">And garters, I had giuen her for the buſineſſe)</span> -<span class="i0">So as that made vs ſtay, till it was darke. <span class="linenum">45</span></span> -<span class="i0">For I was faine to lend her mine, and walke</span> -<span class="i0">In a rug, by her, barefoote, to Saint <i>Giles’es</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> A kind of Iriſh penance! Is this all, Sir?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> To ſatisfie my <i>Lady</i>.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Mer.</span> I will promiſe you, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> I ha’ told the true <i>Diſaſter</i>.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Mer.</span> I cannot ſtay wi’ you <span class="linenum">50</span></span> -<span class="i0">Sir, to condole; but gratulate your returne.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> An honeſt gentleman, but he’s neuer at leiſure</span> -<span class="i0">To be himſelfe: He ha’s ſuch tides of buſineſſe.</span> -</div></div> - -<p><a name="Footnote_733_733" id="Footnote_733_733"></a><span class="label">[733]</span> -SD. <span class="smcap">Ambler</span> ...] <i>A Room in</i> Tailbush’s <i>House. -Enter</i> <span class="smcap">Ambler</span> <i>and</i> <span class="smcap">Pitfall</span>. G</p> - -<p><a name="Footnote_734_734" id="Footnote_734_734"></a><span class="label">[734]</span> -6 entreat W, G || SN.] [<i>Exit Pitfall.</i> G</p> - -<p><a name="Footnote_735_735" id="Footnote_735_735"></a><span class="label">[735]</span> -8 <i>Enter</i> <span class="smcap">Meercraft</span>. G</p> - -<p><a name="Footnote_736_736" id="Footnote_736_736"></a><span class="label">[736]</span> -12 that] this 1641</p> - -<p><a name="Footnote_737_737" id="Footnote_737_737"></a><span class="label">[737]</span> -14 a tasque 1641</p> - -<p><a name="Footnote_738_738" id="Footnote_738_738"></a><span class="label">[738]</span> -15 SN. om. G</p> - -<p><a name="Footnote_739_739" id="Footnote_739_739"></a><span class="label">[739]</span> -16 () ret. G.</p> - -<p><a name="Footnote_740_740" id="Footnote_740_740"></a><span class="label">[740]</span> -25 SN. Ambler om. G</p> - -<p><a name="Footnote_741_741" id="Footnote_741_741"></a><span class="label">[741]</span> -29 Mayor’s 1716, f.</p> - -<p><a name="Footnote_742_742" id="Footnote_742_742"></a><span class="label">[742]</span> -30 never W, G</p> - -<p><a name="Footnote_743_743" id="Footnote_743_743"></a><span class="label">[743]</span> -34 SN. <i>slags</i> 1641</p> - -<p><a name="Footnote_744_744" id="Footnote_744_744"></a><span class="label">[744]</span> -43, 4 (with ... garters,) W || () ret. G</p> - -<p><a name="Footnote_745_745" id="Footnote_745_745"></a><span class="label">[745]</span> -51, 3 [<i>Exit.</i> G</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>V</b>. Scene. <b>II</b>.</span></p> -<p class="center"><span class="smcap">Pvg.</span> <span class="smcap">Ambler.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">O, Call me home againe, deare <i>Chiefe</i>, and put me</span> -<span class="i0">To yoaking foxes, milking of Hee-goates,</span> -<span class="i0">Pounding of water in a morter, lauing</span> -<span class="i0">The ſea dry with a nut-ſhell, gathering all</span> -<span class="i0">The leaues are falne this <i>Autumne</i>, drawing farts <span class="linenum">5</span></span> -<span class="i0">Out of dead bodies, making ropes of ſand,</span> -<span class="i0">Catching the windes together in a net,</span> -<span class="i0">Muſtring of ants, and numbring atomes; all</span> -<span class="i0">That hell, and you thought exquiſite torments, rather</span> -<span class="i0">Then ſtay me here, a thought more: I would ſooner <span class="linenum">10</span></span> -<span class="i0">Keepe fleas within a circle, and be accomptant</span> -<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span> -<span class="i0">A thouſand yeere, which of ’hem and how far</span> -<span class="i0">Out leap’d the other, then endure a minute</span> -<span class="i0">Such as I haue within. There is no hell</span> -<span class="i0">To a <i>Lady</i> of faſhion. All your torture there <span class="linenum">15</span></span> -<span class="i0">Are paſtimes to it. ’T would be a refreſhing <span class="linenum">[160]  </span></span> -<span class="i0">For me, to be i’ the fire againe, from hence.</span> -</div><div class="stanza"> -<span class="i21">Ambler <i>comes in, & ſuruayes him</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> This is my ſuite, and thoſe the ſhoes and roſes!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Th’ haue such impertinent vexations,</span> -<span class="i0">A generall Councell o’ <i>diuels</i> could not hit— <span class="linenum">20</span></span> -<span class="i25">Pug <i>perceiues it, and ſtarts</i>.</span> -<span class="i0">Ha! This is hee, I tooke a ſleepe with his <i>Wench</i>,</span> -<span class="i0">And borrow’d his cloathes. What might I doe to balke him?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> Do you heare, S<sup>r</sup>?</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Pvg.</span> Answ. him but not to th’purpoſe</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> What is your name, I pray you Sir.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Pvg.</span> Is’t ſo late Sir?</span> -</div><div class="stanza"> -<span class="i20"><i>He anſwers quite from the purpoſe.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> I aske not o’ the time, but of your name, Sir. <span class="linenum">25</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> I thanke you, Sir. Yes it dos hold Sir, certaine.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> Hold, Sir? what holds? I muſt both hold, and talke to you</span> -<span class="i0">About theſe clothes.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> A very pretty lace!</span> -<span class="i0">But the <i>Taylor</i> coſſend me.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> No, I am coſſend</span> -<span class="i0">By you! robb’d.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> Why, when you pleaſe Sir, I am <span class="linenum">30</span></span> -<span class="i0">For three peny <i>Gleeke</i>, your man.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Amb.</span> Pox o’ your <i>gleeke</i>,</span> -<span class="i0">And three pence. Giue me an anſwere.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pvg.</span> Sir,</span> -<span class="i0">My maſter is the beſt at it.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> Your maſter!</span> -<span class="i0">Who is your Maſter.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pvg.</span> Let it be friday night.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> What ſhould be then?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pvg.</span> Your beſt ſongs <i>Thom. o’ Bet’lem</i> <span class="linenum">35</span></span> -<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> I thinke, you are he. Do’s he mocke me trow, from purpoſe?</span> -<span class="i0">Or do not I ſpeake to him, what I meane?</span> -<span class="i0">Good Sir your name.</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Pvg.</span> Only a couple a’ <i>Cocks</i> Sir,</span> -<span class="i0">If we can get a <i>Widgin</i>, ’tis in ſeaſon.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> He hopes to make on o’ theſe <i>Scipticks</i> o’ me <span class="linenum">40</span></span> -<span class="i30"><i>For</i> Scepticks.</span> -<span class="i0">(I thinke I name ’hem right) and do’s not fly me.</span> -<span class="i0">I wonder at that! ’tis a ſtrange confidence!</span> -<span class="i0">I’ll prooue another way, to draw his anſwer.</span> -</div></div> - -<p><a name="Footnote_746_746" id="Footnote_746_746"></a><span class="label">[746]</span> -SD.] <span class="smcap">Scene II.</span> <i>Another Room in the Same. -Enter</i> <span class="smcap">Pug</span>. G</p> - -<p><a name="Footnote_747_747" id="Footnote_747_747"></a><span class="label">[747]</span> -8 mustering G numbering G</p> - -<p><a name="Footnote_748_748" id="Footnote_748_748"></a><span class="label">[748]</span> -17 SN.] <i>Enter</i> <span class="smcap">Ambler</span>, <i>and surveys him</i>. G</p> - -<p><a name="Footnote_749_749" id="Footnote_749_749"></a><span class="label">[749]</span> -18 [<i>Aside.</i> G</p> - -<p><a name="Footnote_750_750" id="Footnote_750_750"></a><span class="label">[750]</span> -19 They’ve W They have G</p> - -<p><a name="Footnote_751_751" id="Footnote_751_751"></a><span class="label">[751]</span> -20 SN. om. 1641 [<i>sees Ambler.</i>] G</p> - -<p><a name="Footnote_752_752" id="Footnote_752_752"></a><span class="label">[752]</span> -22,3 [<i>Aside.</i> G</p> - -<p><a name="Footnote_753_753" id="Footnote_753_753"></a><span class="label">[753]</span> -23 him om. 1641</p> - -<p><a name="Footnote_754_754" id="Footnote_754_754"></a><span class="label">[754]</span> -24, 40 SN. om. G</p> - -<p><a name="Footnote_755_755" id="Footnote_755_755"></a><span class="label">[755]</span> -31 o’ ret. G</p> - -<p><a name="Footnote_756_756" id="Footnote_756_756"></a><span class="label">[756]</span> -35 <i>Tom</i> 1641, G || o’ ret. G || <i>Bethlem</i> 1716, G Bethlem W</p> - -<p><a name="Footnote_757_757" id="Footnote_757_757"></a><span class="label">[757]</span> -38 a’] o’ 1692, 1716, W of G</p> - -<p><a name="Footnote_758_758" id="Footnote_758_758"></a><span class="label">[758]</span> -40 on] one 1641, f.</p> - -<p><a name="Footnote_759_759" id="Footnote_759_759"></a><span class="label">[759]</span> -41 () ret. G</p> - -<p><a name="Footnote_760_760" id="Footnote_760_760"></a><span class="label">[760]</span> -43 [<i>Exeunt severally.</i> G</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>V</b>. Scene. <b>IIJ</b>.</span></p> -<p class="center"><span class="smcap">Mere-craft.</span> <span class="smcap">Fitz-dottrel.</span><br /> -<span class="smcap">Everill.</span> <span class="smcap">Pvg.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">It is the eaſieſt thing Sir, to be done.</span> -<span class="i0">As plaine, as fizzling: roule but wi’ your eyes,</span> -<span class="i0">And foame at th’ mouth. A little caſtle-ſoape</span> -<span class="i0">Will do’t, to rub your lips: And then a nutſhell,</span> -<span class="i0">With toe, and touch-wood in it to ſpit fire, <span class="linenum">5</span></span> -<span class="i0">Did you ner’e read, Sir, little <i>Darrels</i> tricks,</span> -<span class="i0">With the boy o’ <i>Burton</i>, and the 7. in <i>Lancaſhire,</i></span> -<span class="i0"><i>Sommers</i> at <i>Nottingham</i>? All theſe do teach it.</span> -<span class="i0">And wee’ll giue out, Sir, that your wife ha’s bewitch’d you: <span class="linenum">[161]  </span></span> -</div><div class="stanza"> -<span class="i25"><i>They repaire their old plot</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> And practiſed with thoſe two, as <i>Sorcerers</i>. <span class="linenum">10</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> And ga’ you potions, by which meanes you were</span> -<span class="i0">Not <i>Compos mentis</i>, when you made your <i>feoffment</i>.</span> -<span class="i0">There’s no recouery o’ your ſtate, but this:</span> -<span class="i0">This, Sir, will ſting.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Eve.</span> And moue in a Court of equity.</span> -<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> For, it is more then manifeſt, that this was <span class="linenum">15</span></span> -<span class="i0">A plot o’ your wiues, to get your land.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> I thinke it.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Sir it appeares.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Nay, and my coſſen has knowne</span> -<span class="i0">Theſe gallants in theſe ſhapes.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> T’haue don ſtrange things, Sir.</span> -<span class="i0">One as the <i>Lady</i>, the other as the <i>Squire</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> How, a mans honeſty may be fool’d! I thought him <span class="linenum">20</span></span> -<span class="i0">A very <i>Lady</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> So did I: renounce me elſe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> But this way, Sir, you’ll be reueng’d at height.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Vpon ’hem all.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> Yes faith, and ſince your Wife</span> -<span class="i0">Has runne the way of woman thus, e’en giue her—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Loſt by this hand, to me, dead to all ioyes <span class="linenum">25</span></span> -<span class="i0">Of her deare <i>Dottrell</i>, I ſhall neuer pitty her:</span> -<span class="i0">That could, pitty her ſelfe.</span> -</div><div class="stanza"> -<span class="i6"><span class="smcap">Mer.</span> Princely reſolu’d Sir,</span> -<span class="i0">And like your ſelfe ſtill, in <i>Potentiâ</i>.</span> -</div></div> - -<p><a name="Footnote_761_761" id="Footnote_761_761"></a><span class="label">[761]</span> -SD.] <span class="smcap">Scene III.</span> <i>A Room in</i> Fitzdottrel’s <i>House. -Enter</i> <span class="smcap">Meercraft</span>, <span class="smcap">Fitzdottrel</span>, -<i>and</i> <span class="smcap">Everill</span>. G</p> - -<p><a name="Footnote_762_762" id="Footnote_762_762"></a><span class="label">[762]</span> -2 Roll 1692, 1716 roll W, G</p> - -<p><a name="Footnote_763_763" id="Footnote_763_763"></a><span class="label">[763]</span> -9 SN. om. G</p> - -<p><a name="Footnote_764_764" id="Footnote_764_764"></a><span class="label">[764]</span> -11 gave G</p> - -<p><a name="Footnote_765_765" id="Footnote_765_765"></a><span class="label">[765]</span> -13 estate 1641</p> - -<p><a name="Footnote_766_766" id="Footnote_766_766"></a><span class="label">[766]</span> -18 shapes—G</p> - -<p><a name="Footnote_767_767" id="Footnote_767_767"></a><span class="label">[767]</span> -27 could not pity W could [not] pity G</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>V</b>. Scene. <b>IV</b>.</span></p> -<p class="center"><span class="smcap">Mere-craft</span>, &c. <i>to them</i>. <span class="smcap">Gvilt-head.</span><br /> -<span class="smcap">Sledge.</span> <span class="smcap">Plvtarchvs.</span> <span class="smcap">Serieants.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Gvilt-head</i> What newes?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> O Sir, my hundred peices:</span> -<span class="i0">Let me ha’ them yet.</span> -</div><div class="stanza"> -<span class="i20">Fitz-dottrel <i>aſkes for his money</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Gvi.</span> Yes Sir, officers</span> -<span class="i0">Arreſt him.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Fit.</span> Me?</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Ser.</span> I arreſt you.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sle.</span> Keepe the peace,</span> -<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span> -<span class="i0">I charge you gentlemen.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Fit.</span> Arreſt me? Why?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Gvi.</span> For better ſecurity, Sir. My ſonne <i>Plutarchus</i> <span class="linenum">5</span></span> -<span class="i0">Aſſures me, y’are not worth a groat.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Plv.</span> Pardon me, <i>Father</i>,</span> -<span class="i0">I said his worſhip had no foote of Land left:</span> -<span class="i0">And that I’ll iuſtifie, for I writ the deed.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Ha’ you theſe tricks i’ the citty?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Gvi.</span> Yes, and more.</span> -<span class="i0">Arreſt this gallant too, here, at my ſuite. <span class="linenum">10</span></span> -</div><div class="stanza"> -<span class="i23"><i>Meaning</i> Mere-craft.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sle.</span> I, and at mine. He owes me for his lodging</span> -<span class="i0">Two yeere and a quarter.</span> -</div><div class="stanza"> -<span class="i4"><span class="smcap">Mer.</span> Why M. <i>Guilt-head</i>, Land-Lord,</span> -<span class="i0">Thou art not mad, though th’art <i>Constable</i></span> -<span class="i0">Puft vp with th’ pride of the place? Do you heare, Sirs.</span> -<span class="i0">Haue I deſeru’d this from you two? for all <span class="linenum">15</span></span> -<span class="i0">My paines at <i>Court</i>, to get you each a patent.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Gvi.</span> For what?</span> -</div><div class="stanza"> -<span class="i4"><span class="smcap">Mer.</span> Vpo’ my proiect o’ the <i>forkes</i>,</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sle.</span> <i>Forkes?</i> what be they? <span class="linenum">[162]  </span></span> -</div><div class="stanza"> -<span class="i20"><i>The</i> Project <i>of forks</i>.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> The laudable vſe of forkes,</span> -<span class="i0">Brought into cuſtome here, as they are in <i>Italy</i>,</span> -<span class="i0">To th’ ſparing o’ <i>Napkins</i>. That, that ſhould haue made <span class="linenum">20</span></span> -<span class="i0">Your bellowes goe at the forge, as his at the fornace.</span> -<span class="i0">I ha’ procur’d it, ha’ the Signet for it,</span> -<span class="i0">Dealt with the <i>Linnen-drapers</i>, on my priuate,</span> -<span class="i0">By cause, I fear’d, they were the likelyeſt euer</span> -<span class="i0">To ſtirre againſt, to croſſe it; for ’twill be <span class="linenum">25</span></span> -<span class="i0">A mighty ſauer of <i>Linnen</i> through the kingdome</span> -<span class="i0">(As that is one o’ my grounds, and to ſpare waſhing)</span> -<span class="i0">Now, on you two, had I layd all the profits.</span> -<span class="i0"><i>Guilt-head</i> to haue the making of all thoſe</span> -<span class="i0">Of gold and ſiluer, for the better perſonages; <span class="linenum">30</span></span> -<span class="i0">And you, of thoſe of <i>Steele</i> for the common ſort.</span> -<span class="i0">And both by <i>Pattent</i>, I had brought you your ſeales in.</span> -<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span> -<span class="i0">But now you haue preuented me, and I thanke you.</span> -</div><div class="stanza"> -<span class="i24">Sledge <i>is brought about</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sle.</span> Sir, I will bayle you, at mine owne ap-perill.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Nay chooſe.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Plv.</span> Do you ſo too, good Father. <span class="linenum">35</span></span> -</div><div class="stanza"> -<span class="i24"><i>And</i> Guilt-head <i>comes</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Gvi.</span> I like the faſhion o’ the proiect, well,</span> -<span class="i0">The forkes! It may be a lucky one! and is not</span> -<span class="i0">Intricate, as one would ſay, but fit for</span> -<span class="i0">Plaine heads, as ours, to deale in. Do you heare</span> -<span class="i0"><i>Officers</i>, we diſcharge you.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Mer.</span> Why this ſhewes <span class="linenum">40</span></span> -<span class="i0">A little good nature in you, I confeſſe,</span> -<span class="i0">But do not tempt your friends thus. Little <i>Guilt-head</i>,</span> -<span class="i0">Aduiſe your ſire, great <i>Guilt-head</i> from theſe courſes:</span> -<span class="i0">And, here, to trouble a great man in reuerſion,</span> -<span class="i0">For a matter o’ fifty on a falſe <i>Alarme</i>, <span class="linenum">45</span></span> -<span class="i0">Away, it ſhewes not well. Let him get the pieces</span> -<span class="i0">And bring ’hem. Yo’ll heare more elſe.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Plv.</span> <i>Father.</i></span> -</div></div> - -<p><a name="Footnote_768_768" id="Footnote_768_768"></a><span class="label">[768]</span> -SD. <span class="smcap">Mere.</span> ... <i>them</i>] <i>To them.</i> Mere-craft &c. 1692 -<span class="smcap">Mere-craft</span>, &c. om. 1716. W</p> - -<p><a name="Footnote_769_769" id="Footnote_769_769"></a><span class="label">[769]</span> -<span class="smcap">Act.</span> ...] <i>Enter</i> <span class="smcap">Gilthead</span>, -<span class="smcap">Plutarchus</span>, <span class="smcap">Sledge</span>, <i>and</i> Serjeants. G</p> - -<p><a name="Footnote_770_770" id="Footnote_770_770"></a><span class="label">[770]</span> -2 SN. om. G</p> - -<p><a name="Footnote_771_771" id="Footnote_771_771"></a><span class="label">[771]</span> -3 <span class="smcap">Ser.</span>] I <i>Serj.</i> G</p> - -<p><a name="Footnote_772_772" id="Footnote_772_772"></a><span class="label">[772]</span> -6 y’] you W, G</p> - -<p><a name="Footnote_773_773" id="Footnote_773_773"></a><span class="label">[773]</span> -10 SN.] [<i>Points to Meercraft.</i> G</p> - -<p><a name="Footnote_774_774" id="Footnote_774_774"></a><span class="label">[774]</span> -13 th’] thou W, G</p> - -<p><a name="Footnote_775_775" id="Footnote_775_775"></a><span class="label">[775]</span> -18 SN. om. G</p> - -<p><a name="Footnote_776_776" id="Footnote_776_776"></a><span class="label">[776]</span> -23, 4 private Bie, ’cause 1692, 1716 private, Because W, G</p> - -<p><a name="Footnote_777_777" id="Footnote_777_777"></a><span class="label">[777]</span> -27 to] so 1641</p> - -<p><a name="Footnote_778_778" id="Footnote_778_778"></a><span class="label">[778]</span> -33, 5 SN. om. G</p> - -<p><a name="Footnote_779_779" id="Footnote_779_779"></a><span class="label">[779]</span> -37, 8 Not intricate (l. 38) G</p> - -<p><a name="Footnote_780_780" id="Footnote_780_780"></a><span class="label">[780]</span> -40 you. [<i>Exeunt Serjeants.</i> G</p> - -<p><a name="Footnote_781_781" id="Footnote_781_781"></a><span class="label">[781]</span> -45 on] in W, G</p> - -<p><a name="Footnote_782_782" id="Footnote_782_782"></a><span class="label">[782]</span> -47 You’ll 1692, 1716 You’ll W || <i>Exeunt Gilt. and Plut. Enter</i> <span class="smcap">Ambler</span>, -<i>dragging in</i> <span class="smcap">Pug</span>. G</p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>V</b>. Scene. <b>V</b>.</span></p> -<p class="center"><span class="smcap">Ambler.</span> { <i>To them.</i></p> - -<div class="poem"><div class="stanza"> -<span class="i0">O Maſter <i>Sledge</i>, are you here? I ha’ been to ſeeke you.</span> -<span class="i0">You are the <i>Conſtable</i>, they ſay. Here’s one</span> -<span class="i0">That I do charge with <i>Felony</i>, for the ſuite</span> -<span class="i0">He weares, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Who? M. <i>Fitz-Dottrels</i> man?</span> -<span class="i0">Ware what you do, M. <i>Ambler</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> Sir, theſe clothes <span class="linenum">5</span></span> -<span class="i0">I’ll ſweare, are mine: and the ſhooes the gentlewomans</span> -<span class="i0">I told you of: and ha’ him afore a <i>Iuſtice</i>, <span class="linenum">[163]  </span></span> -<span class="i0">I will.</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Pvg.</span> My maſter, Sir, will paſſe his word for me.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Amb.</span> O, can you ſpeake to purpoſe now?</span> -</div><div class="stanza"> -<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span> -<span class="i25"><span class="smcap">Fit.</span> Not I,</span> -<span class="i0">If you be ſuch a one Sir, I will leaue you <span class="linenum">10</span></span> -<span class="i0">To your <i>God fathers</i> in Law. Let twelue men worke.</span> -</div><div class="stanza"> -<span class="i25">Fitz-dottrel <i>diſclaimes him</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Png.</span> Do you heare Sir, pray, in priuate.</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Fit.</span> well, what ſay you?</span> -<span class="i0">Briefe, for I haue no time to looſe.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Pvg.</span> Truth is, Sir,</span> -<span class="i0">I am the very <i>Diuell</i>, and had leaue</span> -<span class="i0">To take this body, I am in, to ſerue you; <span class="linenum">15</span></span> -<span class="i0">Which was a <i>Cutpurſes</i>, and hang’d this Morning.</span> -<span class="i0">And it is likewiſe true, I ſtole this ſuite</span> -<span class="i0">To cloth me with. But Sir let me not goe</span> -<span class="i0">To priſon for it. I haue hitherto</span> -<span class="i0">Loſt time, done nothing; ſhowne, indeed, no part <span class="linenum">20</span></span> -<span class="i0">O’ my <i>Diuels</i> nature. Now, I will ſo helpe</span> -<span class="i0">Your malice, ’gainst theſe parties; ſo aduance</span> -<span class="i0">The buſineſſe, that you haue in hand of <i>witchcraft</i>,</span> -<span class="i0">And your <i>poſſeſſion</i>, as my ſelfe were in you.</span> -<span class="i0">Teach you ſuch tricks, to make your belly ſwell, <span class="linenum">25</span></span> -<span class="i0">And your eyes turne, to foame, to ſtare, to gnaſh</span> -<span class="i0">Your teeth together, and to beate your ſelfe,</span> -<span class="i0">Laugh loud, and faine ſix voices—</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Fit.</span> Out you Rogue!</span> -<span class="i0">You moſt infernall counterfeit wretch! Auant!</span> -<span class="i0">Do you thinke to gull me with your <i>Æſops Fables</i>? <span class="linenum">30</span></span> -<span class="i0">Here take him to you, I ha’ no part in him.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pvg.</span> Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Away, I do diſclaime, I will not heare you.</span> -</div><div class="stanza"> -<span class="i20"><i>And ſends him away.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> What ſaid he to you, Sir?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Like a lying raskall</span> -<span class="i0">Told me he was the <i>Diuel</i>.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Mer.</span> How! a good ieſt!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> And that he would teach me, ſuch fine <i>diuels</i> tricks <span class="linenum">35</span></span> -<span class="i0">For our new reſolution.</span> -</div><div class="stanza"> -<span class="i22"><span class="smcap">Eve.</span> O’ pox on him,</span> -<span class="i0">’Twas excellent wiſely done, Sir, not to truſt him.</span> -</div><div class="stanza"> -<span class="i13">Mere-craft <i>giues the instructions to him and the reſt</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Why, if he were the Diuel, we ſha’ not need him,</span> -<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span> -<span class="i0">If you’ll be rul’d. Goe throw your ſelfe on a bed, Sir,</span> -<span class="i0">And faine you ill. Wee’ll not be ſeene wi’ you, <span class="linenum">40</span></span> -<span class="i0">Till after, that you haue a fit: and all</span> -<span class="i0">Confirm’d within. Keepe you with the two <i>Ladies</i></span> -<span class="i0">And perſwade them. I’ll to <i>Iuſtice Either-ſide</i>,</span> -<span class="i0">And poſſeſſe him with all. <i>Traines</i> ſhall ſeeke out <i>Ingine</i>,</span> -<span class="i0">And they two fill the towne with’t, euery cable <span class="linenum">45</span></span> -<span class="i0">Is to be veer’d. We muſt employ out all</span> -<span class="i0">Our <i>emiſſaries</i> now; Sir, I will ſend you</span> -<span class="i0"><i>Bladders</i> and <i>Bellowes</i>. Sir, be confident,</span> -<span class="i0">’Tis no hard thing t’out doe the <i>Deuill</i> in:</span> -<span class="i0">A Boy o’ thirteene yeere old made him an <i>Aſſe</i> <span class="linenum">50</span></span> -<span class="i0">But t’toher day.</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Fit.</span> Well, I’ll beginne to practice;</span> -<span class="i0">And ſcape the imputation of being <i>Cuckold</i>,</span> -<span class="i0">By mine owne act.</span> -</div><div class="stanza"> -<span class="i11"><span class="smcap">Mer.</span> yo’ are right.</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Eve.</span> Come, you ha’ put</span> -<span class="i0">Your ſelfe to a ſimple coyle here, and your freinds, <span class="linenum">[164]  </span></span> -<span class="i0">By dealing with new <i>Agents</i>, in new plots. <span class="linenum">55</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> No more o’ that, ſweet couſin.</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Eve.</span> What had you</span> -<span class="i0">To doe with this ſame <i>Wittipol</i>, for a <i>Lady</i>?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Queſtion not that: ’tis done.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> You had ſome ſtraine</span> -<span class="i0">’Boue E-<i>la</i>?</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Mer.</span> I had indeed.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Eve.</span> And, now, you crack for’t.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Do not vpbraid me.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Come, you muſt be told on’t; <span class="linenum">60</span></span> -<span class="i0">You are ſo couetous, ſtill, to embrace</span> -<span class="i0">More then you can, that you looſe all.</span> -</div><div class="stanza"> -<span class="i30"><span class="smcap">Mer.</span> ’Tis right.</span> -<span class="i0">What would you more, then Guilty? Now, your ſuccours.</span> -</div></div> - -<p><a name="Footnote_783_783" id="Footnote_783_783"></a><span class="label">[783]</span> -SD. om. G</p> - -<p><a name="Footnote_784_784" id="Footnote_784_784"></a><span class="label">[784]</span> -5 <i>Ambler. Enter</i> <span class="smcap">Fitzdottrel</span>. G</p> - -<p><a name="Footnote_785_785" id="Footnote_785_785"></a><span class="label">[785]</span> -11 SN. om. G</p> - -<p><a name="Footnote_786_786" id="Footnote_786_786"></a><span class="label">[786]</span> -12 private. [<i>Takes him aside.</i> G</p> - -<p><a name="Footnote_787_787" id="Footnote_787_787"></a><span class="label">[787]</span> -28 loud] round 1716</p> - -<p><a name="Footnote_788_788" id="Footnote_788_788"></a><span class="label">[788]</span> -32 SN.] [<i>Exit Sledge with Pug.</i> G</p> - -<p><a name="Footnote_789_789" id="Footnote_789_789"></a><span class="label">[789]</span> -36 O’] O W O, G</p> - -<p><a name="Footnote_790_790" id="Footnote_790_790"></a><span class="label">[790]</span> -37 SN. om. G</p> - -<p><a name="Footnote_791_791" id="Footnote_791_791"></a><span class="label">[791]</span> -42 [<i>to Everill.</i> G</p> - -<p><a name="Footnote_792_792" id="Footnote_792_792"></a><span class="label">[792]</span> -43 I will G</p> - -<p><a name="Footnote_793_793" id="Footnote_793_793"></a><span class="label">[793]</span> -45 two] to 1641</p> - -<p><a name="Footnote_794_794" id="Footnote_794_794"></a><span class="label">[794]</span> -46 imploy 1641</p> - -<p><a name="Footnote_795_795" id="Footnote_795_795"></a><span class="label">[795]</span> -49 t’ ret. G</p> - -<p><a name="Footnote_796_796" id="Footnote_796_796"></a><span class="label">[796]</span> -51 t’tother 1692 t’other 1716. f.</p> - -<p><a name="Footnote_797_797" id="Footnote_797_797"></a><span class="label">[797]</span> -53 You’re 1716, W right. || [<i>Exit Fitz.</i> G</p> - -<p><a name="Footnote_798_798" id="Footnote_798_798"></a><span class="label">[798]</span> -61 imbrace 1641</p> - -<p><a name="Footnote_799_799" id="Footnote_799_799"></a><span class="label">[799]</span> -63 [<i>Exeunt.</i> G <span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span></p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>V</b>. Scene. <b>VJ</b>.</span></p> -<p class="center"><span class="smcap">Shakles.</span> <span class="smcap">Pvg.</span> <span class="smcap">Iniquity.</span> <span class="smcap">Divel.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i25">Pug <i>is brought to</i> New-gate.</span> -</div><div class="stanza"> -<span class="i0">Here you are lodg’d, Sir, you muſt ſend your garniſh,</span> -<span class="i0">If you’ll be priuat.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Pvg.</span> There it is, Sir, leaue me.</span> -<span class="i0">To <i>New-gate</i>, brought? How is the name of <i>Deuill</i></span> -<span class="i0">Diſcredited in me! What a loſt fiend</span> -<span class="i0">Shall I be, on returne? My <i>Cheife</i> will roare <span class="linenum">5</span></span> -<span class="i0">In triumph, now, that I haue beene on earth,</span> -<span class="i0">A day, and done no noted thing, but brought</span> -<span class="i0">That body back here, was hang’d out this morning.</span> -<span class="i0">Well! would it once were midnight, that I knew</span> -<span class="i0">My vtmoſt. I thinke Time be drunke, and ſleepes; <span class="linenum">10</span></span> -<span class="i0">He is ſo ſtill, and moues not! I doe glory</span> -<span class="i0">Now i’ my torment. Neither can I expect it,</span> -<span class="i0">I haue it with my fact.</span> -</div><div class="stanza"> -<span class="i25"><i>Enter</i> Iniquity <i>the</i> Vice.</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Ini.</span> <i>Child</i> of hell, be thou merry:</span> -<span class="i0">Put a looke on, as round, boy, and red as a cherry.</span> -<span class="i0">Caſt care at thy poſternes; and firke i’ thy fetters, <span class="linenum">15</span></span> -<span class="i0">They are ornaments, <i>Baby</i>, haue graced thy betters:</span> -<span class="i0">Looke vpon me, and hearken. Our <i>Cheife</i> doth ſalute thee,</span> -<span class="i0">And leaſt the coldyron ſhould chance to confute thee,</span> -<span class="i0">H’hath ſent thee, <i>grant-paroll</i> by me to ſtay longer</span> -<span class="i0">A moneth here on earth, againſt cold <i>Child</i>, or honger. <span class="linenum">20</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> How? longer here a moneth?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Ing.</span> Yes, boy, till the <i>Seſſion</i>,</span> -<span class="i0">That ſo thou mayeſt haue a triumphall egreſſion.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> In a cart, to be hang’d.</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Ing.</span> No, <i>Child</i>, in a Carre,</span> -<span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span> -<span class="i0">The charriot of Triumph, which moſt of them are.</span> -<span class="i0">And in the meane time, to be greazy, and bouzy, <span class="linenum">25</span></span> -<span class="i0">And naſty, and filthy, and ragged and louzy,</span> -<span class="i0">With dam’n me, renounce me, and all the fine phraſes;</span> -<span class="i0">That bring, vnto <i>Tiborne</i>, the plentifull gazes.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pvg.</span> He is a <i>Diuell</i>! and may be our <i>Cheife</i>! <span class="linenum">[165]  </span></span> -<span class="i0">The great Superiour <i>Diuell</i>! for his malice: <span class="linenum">30</span></span> -<span class="i0"><i>Arch-diuel</i>! I acknowledge him. He knew</span> -<span class="i0">What I would ſuffer, when he tie’d me vp thus</span> -<span class="i0">In a rogues body: and he has (I thanke him)</span> -<span class="i0">His tyrannous pleaſure on me, to confine me</span> -<span class="i0">To the vnlucky carkaſſe of a <i>Cutpurſe</i>, <span class="linenum">35</span></span> -<span class="i0">wherein I could do nothing.</span> -</div><div class="stanza"> -<span class="i5"><i>The great</i> Deuill <i>enters, and vpbraids him with all his dayes worke</i>.</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Div.</span> Impudent fiend,</span> -<span class="i0">Stop thy lewd mouth. Doeſt thou not ſhame and tremble</span> -<span class="i0">To lay thine owne dull damn’d defects vpon</span> -<span class="i0">An innocent caſe, there? Why thou heauy ſlaue!</span> -<span class="i0">The ſpirit, that did poſſeſſe that fleſh before <span class="linenum">40</span></span> -<span class="i0">Put more true life, in a finger, and a thumbe,</span> -<span class="i0">Then thou in the whole Maſſe. Yet thou rebell’ſt</span> -<span class="i0">And murmur’ſt? What one profer haſt thou made,</span> -<span class="i0">Wicked inough, this day, that might be call’d</span> -<span class="i0">Worthy thine owne, much leſſe the name that ſent thee? <span class="linenum">45</span></span> -<span class="i0">Firſt, thou did’ſt helpe thy ſelfe into a beating</span> -<span class="i0">Promptly, and with’t endangered’ſt too thy tongue:</span> -<span class="i0">A <i>Diuell</i>, and could not keepe a body intire</span> -<span class="i0">One day! That, for our credit. And to vindicate it,</span> -<span class="i0">Hinderd’ſt (for ought thou know’ſt) a deed of darkneſſe: <span class="linenum">50</span></span> -<span class="i0">Which was an act of that egregious folly,</span> -<span class="i0">As no one, to’ard the <i>Diuel</i>, could ha’ thought on.</span> -<span class="i0">This for your acting! but for suffering! why</span> -<span class="i0">Thou haſt beene cheated on, with a falſe beard,</span> -<span class="i0">And a turn’d cloake. Faith, would your predeceſſour <span class="linenum">55</span></span> -<span class="i0">The <i>Cutpurſe</i>, thinke you, ha’ been ſo? Out vpon thee,</span> -<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span> -<span class="i0">The hurt th’ haſt don, to let men know their ſtrength,</span> -<span class="i0">And that the’are able to out-doe a <i>diuel</i></span> -<span class="i0">Put in a body, will for euer be</span> -<span class="i0">A ſcarre vpon our Name! whom haſt thou dealt with, <span class="linenum">60</span></span> -<span class="i0">Woman or man, this day, but haue out-gone thee</span> -<span class="i0">Some way, and moſt haue prou’d the better fiendes?</span> -<span class="i0">Yet, you would be imploy’d? Yes, hell ſhall make you</span> -<span class="i0"><i>Prouinciall</i> o’ the <i>Cheaters</i>! or <i>Bawd-ledger</i>,</span> -<span class="i0">For this ſide o’ the towne! No doubt you’ll render <span class="linenum">65</span></span> -<span class="i0">A rare accompt of things. Bane o’ your itch,</span> -<span class="i0">And ſcratching for imployment. I’ll ha’ brimſtone</span> -<span class="i0">To allay it ſure, and fire to ſindge your nayles off,</span> -<span class="i0">But, that I would not ſuch a damn’d diſhonor</span> -<span class="i0">Sticke on our ſtate, as that the <i>diuell</i> were hang’d; <span class="linenum">70</span></span> -<span class="i0">And could not ſaue a body, that he tooke</span> -<span class="i0">From <i>Tyborne</i>, but it muſt come thither againe:</span> -<span class="i0">You ſhould e’en ride. But, vp away with him—</span> -</div><div class="stanza"> -<span class="i25">Iniquity <i>takes him on his back</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Ini.</span> Mount, dearling of darkneſſe, my ſhoulders are broad:</span> -<span class="i0">He that caries the fiend, is ſure of his loade. <span class="linenum">75</span></span> -<span class="i0">The <i>Diuell</i> was wont to carry away the euill; <span class="linenum">[166]  </span></span> -<span class="i0">But, now, the Euill out-carries the <i>Diuell</i>.</span> -</div></div> - -<p><a name="Footnote_800_800" id="Footnote_800_800"></a><span class="label">[800]</span> -SD. VJJ VII. W <span class="smcap">Act.</span> ...] <span class="smcap">Scene IV.</span> <i>A Cell in Newgate. -Enter</i> <span class="smcap">Shakles</span>, <i>with</i> <span class="smcap">Pvg</span> <i>in chains</i>. G</p> - -<p><a name="Footnote_801_801" id="Footnote_801_801"></a><span class="label">[801]</span> -2 [<i>Exit Shackles.</i></p> - -<p><a name="Footnote_802_802" id="Footnote_802_802"></a><span class="label">[802]</span> -SN. (after ‘fact.’ 13) <i>the</i> Vice om. G</p> - -<p><a name="Footnote_803_803" id="Footnote_803_803"></a><span class="label">[803]</span> -12 i’] in W</p> - -<p><a name="Footnote_804_804" id="Footnote_804_804"></a><span class="label">[804]</span> -18 the] our 1692, 1716</p> - -<p><a name="Footnote_805_805" id="Footnote_805_805"></a><span class="label">[805]</span> -19 parole G</p> - -<p><a name="Footnote_806_806" id="Footnote_806_806"></a><span class="label">[806]</span> -22 maist 1692 may’st 1716 mayst W, G</p> - -<p><a name="Footnote_807_807" id="Footnote_807_807"></a><span class="label">[807]</span> -36 SN.] <i>Enter</i> <span class="smcap">Satan</span>. G <span class="smcap">Div.</span>] <i>Sat.</i> G</p> - -<p><a name="Footnote_808_808" id="Footnote_808_808"></a><span class="label">[808]</span> -37 Dost 1692, 1716</p> - -<p><a name="Footnote_809_809" id="Footnote_809_809"></a><span class="label">[809]</span> -44 enough 1692, f.</p> - -<p><a name="Footnote_810_810" id="Footnote_810_810"></a><span class="label">[810]</span> -48 entire W, G</p> - -<p><a name="Footnote_811_811" id="Footnote_811_811"></a><span class="label">[811]</span> -57 th’] thou G</p> - -<p><a name="Footnote_812_812" id="Footnote_812_812"></a><span class="label">[812]</span> -58 the’are] they are 1641, G the’are are 1692 they’re 1716, W</p> - -<p><a name="Footnote_813_813" id="Footnote_813_813"></a><span class="label">[813]</span> -63 employ’d W, G</p> - -<p><a name="Footnote_814_814" id="Footnote_814_814"></a><span class="label">[814]</span> -67 employment W, G</p> - -<p><a name="Footnote_815_815" id="Footnote_815_815"></a><span class="label">[815]</span> -64 Cheaters] <i>heaters</i> 1641</p> - -<p><a name="Footnote_816_816" id="Footnote_816_816"></a><span class="label">[816]</span> -77 [<i>Exeunt.</i> [<i>A loud explosion, smoke, &c.</i> G -<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>V</b>. Scene. <b>VIJ</b>.</span></p> -<p class="center"><span class="smcap">Shakles.</span> <span class="smcap">Keepers.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i10"><i>A great noise is heard in</i> New-gate, <i>and the Keepers come out affrighted</i>.</span> -</div><div class="stanza"> -<span class="i0">O mee!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Kee.</span> 1. What’s this?</span> -</div><div class="stanza"> -<span class="i4">2. A piece of Iustice Hall</span> -<span class="i6">Is broken downe.</span> -</div><div class="stanza"> -<span class="i4">3. Fough! what a ſteeme of brimſtone</span> -<span class="i6">Is here?</span> -</div><div class="stanza"> -<span class="i4">4. The priſoner’s dead, came in but now!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sha.</span> Ha? where?</span> -</div><div class="stanza"> -<span class="i4">4. Look here.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Kee.</span> S’lid, I ſhuld know his countenance!</span> -<span class="i0">It is <i>Gill-Cut-purſe</i>, was hang’d out, this morning! <span class="linenum">5</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sha.</span> ’Tis he!</span> -</div><div class="stanza"> -<span class="i4">2. The <i>Diuell</i>, ſure, has a hand in this!</span> -</div><div class="stanza"> -<span class="i4">3. What ſhall wee doe?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sha.</span> Carry the newes of it</span> -<span class="i0">Vnto the <i>Sherifes</i>.</span> -</div><div class="stanza"> -<span class="i4">1. And to the <i>Iuſtices</i>.</span> -</div><div class="stanza"> -<span class="i4">4. This ſtrange!</span> -</div><div class="stanza"> -<span class="i4">3. And ſauours of the <i>Diuell</i>, ſtrongly!</span> -</div><div class="stanza"> -<span class="i4">2. I’ ha’ the <i>ſulphure</i> of <i>Hell-coale</i> i’ my noſe. <span class="linenum">10</span></span> -</div><div class="stanza"> -<span class="i4">1. Fough.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sha.</span> Carry him in.</span> -</div><div class="stanza"> -<span class="i4">1. Away.</span> -</div><div class="stanza"> -<span class="i4">2. How ranke it is!</span> -</div></div> - -<p><a name="Footnote_817_817" id="Footnote_817_817"></a><span class="label">[817]</span> -SD.] <i>Enter</i> <span class="smcap">Shakles</span>, <i>and the</i> Under-keepers, <i>affrighted</i>. G</p> - -<p><a name="Footnote_818_818" id="Footnote_818_818"></a><span class="label">[818]</span> -3 Is here?] part of line 2 W</p> - -<p><a name="Footnote_819_819" id="Footnote_819_819"></a><span class="label">[819]</span> -9 This is 1716, f.</p> - -<p><a name="Footnote_820_820" id="Footnote_820_820"></a><span class="label">[820]</span> -11 [<i>Exeunt with the body.</i> G -<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span></p> - - -<p class="f120 space-above1"><span class="smcap">Act. <b>V</b>. Scene. <b>VIII</b>.</span></p> -<p class="center">Sir <span class="smcap">Povle</span>. <span class="smcap">Mere-craft.</span> <span class="smcap">Ever-ill.</span><br /> -<span class="smcap">Traines.</span> <span class="smcap">Pitfall.</span> <span class="smcap">Fitz-dottrel.</span></p> - -<p class="center">{<i>To them</i>}</p> - -<p class="center"><span class="smcap">VVittipol.</span> <span class="smcap">Manly.</span> Miſtreſſe <span class="smcap">Fitz-dottrel</span>.</p> - -<p class="center"><span class="smcap">Ingine.</span>   <i>To them</i> } <span class="smcap">Gvilt-head.</span><br /> -<span class="smcap">Sledge.</span> <i>to them</i> } <span class="smcap">Shackles.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i8"><i>The Iuſtice comes out wondring, and the reſt informing him.</i></span> -</div><div class="stanza"> -<span class="i0">This was the notableſt Conſpiracy,</span> -<span class="i0">That ere I heard of.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Sir, They had giu’n him potions,</span> -<span class="i0">That did enamour him on the counterfeit <i>Lady</i>—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Iuſt to the time o’ deliuery o’ the deed—</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> And then the witchcraft ’gan’t’ appeare, for ſtreight <span class="linenum">5</span></span> -<span class="i0">He fell into his fit.</span> -</div><div class="stanza"> -<span class="i3"><span class="smcap">Eve.</span> Of rage at firſt, Sir,</span> -<span class="i0">Which ſince, has ſo increaſed.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Good S<sup>r</sup>. <i>Poule</i>, ſee him,</span> -<span class="i0">And puniſh the impoſtors.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Pov.</span> Therefore I come, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> Let M<sup>r</sup>. <i>Etherſide</i> alone, <i>Madame</i>.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Pov.</span> Do you heare?</span> -<span class="i0">Call in the Conſtable, I will haue him by: <span class="linenum">10</span></span> -<span class="i0">H’is the Kings <i>Officer</i>! and ſome Cittizens, <span class="linenum">[167]  </span></span> -<span class="i0">Of credit! I’ll diſcharge my conſcience clearly.</span> -<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Yes, Sir, and ſend for his wife.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> And the two <i>Sorcerers</i>,</span> -<span class="i0">By any meanes!</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Tay.</span> I thought one a true <i>Lady</i>,</span> -<span class="i0">I ſhould be ſworne. So did you, <i>Eyther-ſide</i>? <span class="linenum">15</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> Yes, by that light, would I might ne’r ſtir elſe, <i>Tailbuſh</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> And the other a ciuill Gentleman.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Eve.</span> But, <i>Madame</i>,</span> -<span class="i0">You know what I told your <i>Ladyſhip</i>.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Tay.</span> I now ſee it:</span> -<span class="i0">I was prouiding of a banquet for ’hem.</span> -<span class="i0">After I had done inſtructing o’ the fellow <span class="linenum">20</span></span> -<span class="i0"><i>De-uile</i>, the Gentlemans man.</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Mer.</span> Who’s found a thiefe, <i>Madam</i>.</span> -<span class="i0">And to haue rob’d your Vsher, Maſter <i>Ambler</i>,</span> -<span class="i0">This morning.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Tay.</span> How?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> I’ll tell you more, anon.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Gi me ſome <i>garlicke, garlicke, garlicke, garlicke</i>.</span> -</div><div class="stanza"> -<span class="i30"><i>He beginnes his fit.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Harke the poore Gentleman, how he is tormented! <span class="linenum">25</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> <i>My wife is a whore, I’ll kiſſe her no more: and why?</i></span> -<span class="i0"><i>Ma’ſt not thou be a Cuckold, as well as I?</i></span> -<span class="i0"><i>Ha, ha, ha, ha, ha, ha, ha, ha, &c.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> That is the <i>Diuell</i> ſpeakes, and laughes in him.</span> -</div><div class="stanza"> -<span class="i30"><i>The Iuſtice interpret all:</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Do you thinke ſo, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i16"><span class="smcap">Pov.</span> I diſcharge my conſcience. <span class="linenum">30</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> <i>And is not the Diuell good company? Yes, wis.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> How he changes, Sir, his voyce!</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Fit.</span> <i>And a Cuckold is</i></span> -<span class="i0"><i>Where ere hee put his head, with a</i> a <i>Wanion,</i></span> -<span class="i0"><i>If his hornes be forth, the Diuells companion!</i></span> -<span class="i0"><i>Looke, looke, looke, elſe.</i></span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Mer.</span> How he foames!</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Eve.</span> And ſwells! <span class="linenum">35</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> O, me! what’s that there, riſes in his belly!</span> -<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eit.</span> A ſtrange thing! hold it downe:</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Tra.</span> <span class="smcap">Pit.</span> We cannot, <i>Madam</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> ’Tis too apparent this!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Fit.</span> <i>Wittipol, Wittipol.</i></span> -</div><div class="stanza"> -<span class="i15">Wittipol, <i>and</i> Manly <i>and</i> Mistr. Fitz-dottrel <i>enter</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> How now, what play ha’ we here.</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Man.</span> What fine, new matters?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> The <i>Cockſcomb</i>, and the <i>Couerlet</i>.</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Mer.</span> O ſtrang impudēce! <span class="linenum">40</span></span> -<span class="i0">That theſe ſhould come to face their ſinne!</span> -</div><div class="stanza"> -<span class="i9"><span class="smcap">Eve</span>. And out-face</span> -<span class="i0"><i>Iuſtice</i>, they are the parties, Sir.</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Pov.</span> Say nothing.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Did you marke, Sir, vpon their comming in,</span> -<span class="i0">How he call’d <i>Wittipol</i>.</span> -</div><div class="stanza"> -<span class="i17"><span class="smcap">Eve.</span> And neuer ſaw ’hem.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> I warrant you did I, let ’hem play a while. <span class="linenum">45</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> <i>Buz, buz, buz, buz.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> Laſſe poore Gentleman!</span> -<span class="i0">How he is tortur’d!</span> -</div><div class="stanza"> -<span class="i0">M<sup>rs</sup>. <span class="smcap">Fi.</span> Fie, Maſter <i>Fitz-dottrel</i>!</span> -<span class="i0">What doe you meane to counterfait thus?</span> -</div><div class="stanza"> -<span class="i25"><span class="smcap">Fit</span>. <i>O, ô,</i></span> -<span class="i30"><i>His wife goes to him.</i></span> -<span class="i0"><i>Shee comes with a needle, and thruſts it in,</i></span> -<span class="i0"><i>Shee pulls out that, and ſhee puts in a pinne,</i> <span class="linenum">50</span></span> -<span class="i0"><i>And now, and now, I doe not know how, nor where,</i></span> -<span class="i0"><i>But ſhee pricks mee heere, and ſhee pricks me there: ôh, ôh:</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> Woman forbeare.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Wit.</span> What, S<sup>r</sup>?</span> -</div><div class="stanza"> -<span class="i2"><span class="smcap">Pov.</span> A practice foule</span> -<span class="i0">For one ſo faire:</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Wit.</span> Hath this, then, credit with you?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> Do you beleeue in’t?</span> -</div><div class="stanza"> -<span class="i8"><span class="smcap">Pov.</span> Gentlemen, I’ll diſcharge</span> -<span class="i0">My conſcience. ’Tis a cleare conſpiracy! <span class="linenum">56</span></span> -<span class="i0">A darke, and diuelliſh practice! I deteſt it!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Wit.</span> The <i>Iuſtice</i> ſure will proue the merrier man! <span class="linenum">[168]  </span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> This is moſt ſtrange, Sir!</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pov.</span> Come not to confront</span> -<span class="i0">Authority with impudence: I tell you,</span> -<span class="i0">I doe deteſt it. Here comes the Kings <i>Conſtable</i>,</span> -<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span> -<span class="i0">And with him a right worſhipfull <i>Commoner</i>;</span> -<span class="i0">My good friend, Maſter <i>Guilt-head</i>! I am glad</span> -<span class="i0">I can before ſuch witneſſes, profeſſe</span> -<span class="i0">My conſcience, and my deteſtation of it. <span class="linenum">65</span></span> -<span class="i0">Horible! moſt vnaturall! Abominable!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> You doe not tumble enough.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Mer.</span> Wallow, gnaſh:</span> -</div><div class="stanza"> -<span class="i24"><i>They whiſper him.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> O, how he is vexed!</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Pov.</span> ’Tis too manifeſt.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eve.</span> Giue him more ſoap to foame with, now lie ſtill.</span> -</div><div class="stanza"> -<span class="i24"><i>and giue him ſoape to act with.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> And act a little.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Tay.</span> What do’s he now, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i39"><span class="smcap">Pov.</span> Shew</span> -<span class="i0">The taking of <i>Tabacco</i>, with which the <i>Diuell</i></span> -<span class="i0">Is ſo delighted.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Fit.</span> <i>Hum!</i></span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Pov.</span> And calls for <i>Hum</i>.</span> -<span class="i0">You takers of ſtrong <i>Waters</i>, and <i>Tabacco</i>,</span> -<span class="i0">Marke this.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Fit.</span> <i>Yellow, yellow, yellow, yellow</i>, &c.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> That’s <i>Starch</i>! the <i>Diuells</i> Idoll of that colour. <span class="linenum">75</span></span> -<span class="i0">He ratifies it, with clapping of his hands.</span> -<span class="i0">The proofes are pregnant.</span> -</div><div class="stanza"> -<span class="i14"><span class="smcap">Gvi.</span> How the <i>Diuel</i> can act!</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> He is the Maſter of <i>Players</i>! Master <i>Guilt-head</i>,</span> -<span class="i0">And <i>Poets</i>, too! you heard him talke in rime!</span> -<span class="i0">I had forgot to obſerue it to you, ere while! <span class="linenum">80</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Tay.</span> See, he ſpits fire.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pov.</span> O no, he plaies at <i>Figgum</i>,</span> -<span class="i0">The <i>Diuell</i> is the Author of wicked <i>Figgum</i>—</span> -</div><div class="stanza"> -<span class="i11"><i>Sir</i> Poule <i>interprets</i> Figgum <i>to be a Iuglers game</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> Why ſpeake you not vnto him?</span> -</div><div class="stanza"> -<span class="i18"><span class="smcap">Wit.</span> If I had</span> -<span class="i0">All innocence of man to be indanger’d,</span> -<span class="i0">And he could ſaue, or ruine it: I’ld not breath <span class="linenum">85</span></span> -<span class="i0">A ſyllable in requeſt, to ſuch a foole,</span> -<span class="i0">He makes himſelfe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> <i>O they whiſper, whiſper, whiſper.</i></span> -<span class="i0"><i>Wee ſhall haue more, of Diuells a ſcore,</i></span> -<span class="i0"><i>To come to dinner, in mee the ſinner.</i></span> -<span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Eyt.</span> Alas, poore Gentleman!</span> -</div><div class="stanza"> -<span class="i7"><span class="smcap">Pov.</span> Put ’hem aſunder. <span class="linenum">90</span></span> -<span class="i0">Keepe ’hem one from the other.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Man.</span> Are you phrenticke, Sir,</span> -<span class="i0">Or what graue dotage moues you, to take part</span> -<span class="i0">VVith so much villany? wee are not afraid</span> -<span class="i0">Either of law, or triall; let vs be</span> -<span class="i0">Examin’d what our ends were, what the meanes? <span class="linenum">95</span></span> -<span class="i0">To worke by, and poſſibility of thoſe meanes.</span> -<span class="i0">Doe not conclude againſt vs, ere you heare vs.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> I will not heare you, yet I will conclude</span> -<span class="i0">Out of the circumſtances.</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Man.</span> VVill you ſo, Sir?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> Yes, they are palpable:</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Man.</span> Not as your folly: <span class="linenum">100</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> I will diſcharge my conſcience, and doe all</span> -<span class="i0">To the <i>Meridian</i> of Iuſtice:</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Gvi.</span> You doe well, Sir.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> <i>Prouide mee to eat, three or foure diſhes o’ good meat,</i></span> -<span class="i0"><i>I’ll feaſt them, and their traines, a Iuſtice head and braines</i></span> -<span class="i0"><i>Shall be the firſt.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> The <i>Diuell</i> loues not Iuſtice, <span class="linenum">[169]  </span></span> -<span class="i0">There you may ſee.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Fit.</span> <i>A ſpare-rib O’ my wife</i>, <span class="linenum">106</span></span> -<span class="i0"><i>And a whores purt’nance! a</i> Guilt-head <i>whole</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> Be not you troubled, Sir, the <i>Diuell</i> ſpeakes it.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> <i>Yes, wis, Knight, ſhite, Poule, Ioule, owle, foule, troule, boule.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> <i>Crambe</i>, another of the <i>Diuell’s</i> games! <span class="linenum">110</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> Speake. Sir, ſome <i>Greeke</i>, if you can. Is not the <i>Iuſtice</i></span> -<span class="i0">A ſolemne gameſter?</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Eve.</span> Peace.</span> -</div><div class="stanza"> -<span class="i21"><span class="smcap">Fit.</span> <b>Οὶ μοὶ, κακοδαιμων,</b></span> -<span class="i0"><b>Καὶ τρισκακοδαίμων, καὶ τετράκις, καὶ πεντάκις,</b></span> -<span class="i0"><b>Καὶ δοδεκάκις, καὶ μυριάκις.</b></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> Hee curſes.</span> -<span class="i0">In <i>Greeke</i>, I thinke.</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Eve.</span> Your <i>Spaniſh</i>, that I taught you. <span class="linenum">115</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> <i>Quebrémos el ojo de burlas</i>,</span> -</div><div class="stanza"> -<span class="i13"><span class="smcap">Eve.</span> How? your reſt—</span> -<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span> -<span class="i0">Let’s breake his necke in ieſt, the <i>Diuell</i> ſaies.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> <i>Di grátia, Signòr mio ſe haúete denári fataméne parte.</i></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Mer.</span> What, would the <i>Diuell</i> borrow money?</span> -</div><div class="stanza"> -<span class="i28"><span class="smcap">Fit.</span> <i>Ouy,</i></span> -<span class="i0"><i>Ouy Monſieur, ùn pàuure Diable! Diablet in!</i> <span class="linenum">120</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> It is the <i>diuell</i>, by his ſeuerall langauges.</span> -</div><div class="stanza"> -<span class="i28"><i>Enter the</i> Keeper <i>of</i> New-gate.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sha.</span> Where’s S<sup>r</sup>. <i>Poule Ether-ſide</i>?</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Pov.</span> Here, what’s the matter?</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sha.</span> O! ſuch an accident falne out at <i>Newgate</i>, Sir:</span> -<span class="i0">A great piece of the priſon is rent downe!</span> -<span class="i0">The <i>Diuell</i> has beene there, Sir, in the body— <span class="linenum">125</span></span> -<span class="i0">Of the young <i>Cut-Purſe</i>, was hang’d out this morning,</span> -<span class="i0">But, in new clothes, Sir, euery one of vs know him.</span> -<span class="i0">Theſe things were found in his pocket.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Amb.</span> Thoſe are mine, S<sup>r</sup>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sha.</span> I thinke he was commited on your charge, Sir.</span> -<span class="i0">For a new felony.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Amb.</span> Yes.</span> -</div><div class="stanza"> -<span class="i12"><span class="smcap">Sha.</span> Hee’s gone, Sir, now, <span class="linenum">130</span></span> -<span class="i0">And left vs the dead body. But withall, Sir,</span> -<span class="i0">Such an infernall ſtincke, and ſteame behinde,</span> -<span class="i0">You cannot ſee S<sup>t</sup>. <i>Pulchars Steeple</i>, yet.</span> -<span class="i0">They ſmell’t as farre as <i>Ware</i>, as the wind lies, <span class="linenum">134</span></span> -<span class="i0">By this time, ſure.</span> -</div><div class="stanza"> -<span class="i15"><span class="smcap">Fit.</span> Is this vpon your credit, friend?</span> -</div><div class="stanza"> -<span class="i24">Fitz-dottrel <i>leaues counterfaiting</i>.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Sha.</span> Sir, you may ſee, and ſatisfie your ſelfe.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> Nay, then, ’tis time to leaue off counterfeiting.</span> -<span class="i0">Sir I am not bewitch’d, nor haue a <i>Diuell</i>:</span> -<span class="i0">No more then you. I doe defie him, I,</span> -<span class="i0">And did abuſe you. Theſe two Gentlemen <span class="linenum">140</span></span> -<span class="i0">Put me vpon it. (I haue faith againſt him)</span> -<span class="i0">They taught me all my tricks. I will tell truth,</span> -<span class="i0">And ſhame the <i>Feind</i>. See, here, Sir, are my bellowes,</span> -<span class="i0">And my falſe belly, and my <i>Mouſe</i>, and all</span> -<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span> -<span class="i0">That ſhould ha’ come forth?</span> -</div><div class="stanza"> -<span class="i5"><span class="smcap">Man.</span> Sir, are not you aſham’d</span> -<span class="i0">Now of your ſolemne, ſerious vanity? <span class="linenum">146</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Pov.</span> I will make honorable amends to truth.</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> And ſo will I. But theſe are <i>Coozeners</i>, ſtill;</span> -<span class="i0">And ha’ my land, as plotters, with my wife:</span> -<span class="i0">Who, though ſhe be not a witch, is worſe, a whore. <span class="linenum">150</span></span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Man.</span> Sir, you belie her. She is chaſte, and vertuous,</span> -<span class="i0">And we are honeſt. I doe know no glory <span class="linenum">[170]  </span></span> -<span class="i0">A man ſhould hope, by venting his owne follyes,</span> -<span class="i0">But you’ll ſtill be an <i>Aſſe</i>, in ſpight of prouidence.</span> -<span class="i0">Pleaſe you goe in, Sir, and heare truths, then iudge ’hem:</span> -<span class="i0">And make amends for your late raſhneſſe; when, <span class="linenum">156</span></span> -<span class="i0">You ſhall but heare the paines and care was taken,</span> -<span class="i0">To ſaue this foole from ruine (his <i>Grace</i> of <i>Drown’d-land</i>)</span> -</div><div class="stanza"> -<span class="i0"><span class="smcap">Fit.</span> My land is drown’d indeed—</span> -</div><div class="stanza"> -<span class="i10"><span class="smcap">Pov.</span> Peace.</span> -</div><div class="stanza"> -<span class="i19"><span class="smcap">Man.</span> And how much</span> -<span class="i0">His modeſt, and too worthy wife hath ſuffer’d <span class="linenum">160</span></span> -<span class="i0">By miſ-conſtruction, from him, you will bluſh,</span> -<span class="i0">Firſt, for your owne beliefe, more for his actions!</span> -<span class="i0">His land is his: and neuer, by my friend,</span> -<span class="i0">Or by my ſelfe, meant to another vſe,</span> -<span class="i0">But for her ſuccours, who hath equall right. <span class="linenum">165</span></span> -<span class="i0">If any other had worſe counſells in’t,</span> -<span class="i0">(I know I ſpeake to thoſe can apprehend mee)</span> -<span class="i0">Let ’hem repent ’hem, and be not detected.</span> -<span class="i0">It is not manly to take ioy, or pride</span> -<span class="i0">In humane errours. (wee doe all ill things, <span class="linenum">170</span></span> -<span class="i0">They doe ’hem worſt that loue ’hem, and dwell there,</span> -<span class="i0">Till the plague comes) The few that haue the ſeeds</span> -<span class="i0">Of goodneſſe left, will ſooner make their way</span> -<span class="i0">To a true life, by ſhame, then puniſhment.</span> -</div></div> - -<p class="f120"><i><b>THE END</b></i>.</p> - -<p><a name="Footnote_821_821" id="Footnote_821_821"></a><span class="label">[821]</span> SD. Sir] To them.] -Sir 1692 <i>to them</i> om. 1692, 1716, W <span class="smcap">Act.</span> ...] <span class="smcap">Scene V.</span> -<i>A Room in</i> Fitzdottrel’s <i>House</i>. <span class="smcap">Fitzdottrel</span> <i>discovered in bed; -Lady</i> <span class="smcap">Eitherside</span>, <span class="smcap">Tailbush</span>, <span class="smcap">Ambler</span>, -<span class="smcap">Trains</span>, <i>and</i> <span class="smcap">Pitfall</span>, <i>standing by him. -Enter Sir</i> <span class="smcap">Paul Eitherside</span>, <span class="smcap">Meercraft</span>, -<i>and</i> <span class="smcap">Everill.</span> G</p> - -<p><a name="Footnote_822_822" id="Footnote_822_822"></a><span class="label">[822]</span> -1 SN. <i>and</i>] <i>at</i> 1692, 1716, W The ...] om. G</p> - -<p><a name="Footnote_823_823" id="Footnote_823_823"></a><span class="label">[823]</span> -4 time o’ ret. G</p> - -<p><a name="Footnote_824_824" id="Footnote_824_824"></a><span class="label">[824]</span> -11 H’is] He’s 1716, f.</p> - -<p><a name="Footnote_825_825" id="Footnote_825_825"></a><span class="label">[825]</span> -14 means. [<i>Exit Ambler.</i> G</p> - -<p><a name="Footnote_826_826" id="Footnote_826_826"></a><span class="label">[826]</span> -20 o’] of W</p> - -<p><a name="Footnote_827_827" id="Footnote_827_827"></a><span class="label">[827]</span> -21 Who is G</p> - -<p><a name="Footnote_828_828" id="Footnote_828_828"></a><span class="label">[828]</span> -28 <i>ha</i>, om. W <i>ha, &c.</i> om. G</p> - -<p><a name="Footnote_829_829" id="Footnote_829_829"></a><span class="label">[829]</span> -29 SN. <i>interprets</i> 1692, 1716, W <i>The</i> ...] om. G</p> - -<p><a name="Footnote_830_830" id="Footnote_830_830"></a><span class="label">[830]</span> -33 a om. 1641, f.</p> - -<p><a name="Footnote_831_831" id="Footnote_831_831"></a><span class="label">[831]</span> -38 SN. Wittipol, <i>and ... enter</i>] <i>Enter</i> <span class="smcap">Wittipol</span>, ... G</p> - -<p><a name="Footnote_832_832" id="Footnote_832_832"></a><span class="label">[832]</span> -40 strange 1641, f.</p> - -<p><a name="Footnote_833_833" id="Footnote_833_833"></a><span class="label">[833]</span> -43 their] our W</p> - -<p><a name="Footnote_834_834" id="Footnote_834_834"></a><span class="label">[834]</span> -48 SN. <i>His wife</i> om. G</p> - -<p><a name="Footnote_835_835" id="Footnote_835_835"></a><span class="label">[835]</span> -58 prove to be the merrier? 1641</p> - -<p><a name="Footnote_836_836" id="Footnote_836_836"></a><span class="label">[836]</span> -60 impudence] insolence 1641</p> - -<p><a name="Footnote_837_837" id="Footnote_837_837"></a><span class="label">[837]</span> -61 it.—<i>Re-enter</i> <span class="smcap">Ambler</span>, -<i>with</i> <span class="smcap">Sledge</span> <i>and</i> <span class="smcap">Guilthead</span>. G</p> - -<p><a name="Footnote_838_838" id="Footnote_838_838"></a><span class="label">[838]</span> -69 with [<i>To Meer.</i>] G</p> - -<p><a name="Footnote_839_839" id="Footnote_839_839"></a><span class="label">[839]</span> -SN. <i>him</i> om. 1641</p> - -<p><a name="Footnote_840_840" id="Footnote_840_840"></a><span class="label">[840]</span> -SN. om. G</p> - -<p><a name="Footnote_841_841" id="Footnote_841_841"></a><span class="label">[841]</span> -73 strong om. 1641</p> - -<p><a name="Footnote_842_842" id="Footnote_842_842"></a><span class="label">[842]</span> -74 &c. om. G</p> - -<p><a name="Footnote_843_843" id="Footnote_843_843"></a><span class="label">[843]</span> -82 SN. <i>to be</i> om. 1641</p> - -<p><a name="Footnote_844_844" id="Footnote_844_844"></a><span class="label">[844]</span> -SN. om. G</p> - -<p><a name="Footnote_845_845" id="Footnote_845_845"></a><span class="label">[845]</span> -84 endanger’d W, G</p> - -<p><a name="Footnote_846_846" id="Footnote_846_846"></a><span class="label">[846]</span> -86 foole] fellow 1641</p> - -<p><a name="Footnote_847_847" id="Footnote_847_847"></a><span class="label">[847]</span> -87 He makes himselfe] I’d rather fall 1641 O they whisper, they whisper, whisper, &c. 1641</p> - -<p><a name="Footnote_848_848" id="Footnote_848_848"></a><span class="label">[848]</span> -91 phrenetic G</p> - -<p><a name="Footnote_849_849" id="Footnote_849_849"></a><span class="label">[849]</span> -108 you om. W</p> - -<p><a name="Footnote_850_850" id="Footnote_850_850"></a><span class="label">[850]</span> -110 <i>Crambe</i>] Crambo W. G</p> - -<p><a name="Footnote_851_851" id="Footnote_851_851"></a><span class="label">[851]</span> -111 can. [<i>Aside to Fitz.</i>] G</p> - -<p><a name="Footnote_852_852" id="Footnote_852_852"></a><span class="label">[852]</span> -112 <b>κακοδάμων</b> 1692, 1716</p> - -<p><a name="Footnote_853_853" id="Footnote_853_853"></a><span class="label">[853]</span> -113 <b>τισ</b> 1692, 1716</p> - -<p><a name="Footnote_854_854" id="Footnote_854_854"></a><span class="label">[854]</span> -114 <b>δωδεκάκις</b> W, G</p> - -<p><a name="Footnote_855_855" id="Footnote_855_855"></a><span class="label">[855]</span> -115 <i>Aside to Fitz.</i> G</p> - -<p><a name="Footnote_856_856" id="Footnote_856_856"></a><span class="label">[856]</span> -119 <span class="smcap">Fit.</span> <i>Ouy</i>,] in line 120, 1692, f.</p> - -<p><a name="Footnote_857_857" id="Footnote_857_857"></a><span class="label">[857]</span> -121 SN.] <i>Enter</i> <span class="smcap">Shackles</span>, -<i>with the things found on the body of the Cut-purse</i>. G</p> - -<p><a name="Footnote_858_858" id="Footnote_858_858"></a><span class="label">[858]</span> -128 Those] These W</p> - -<p><a name="Footnote_859_859" id="Footnote_859_859"></a><span class="label">[859]</span> -135 SN.] <i>Fitz.</i> [<i>starts up</i>.] G</p> - -<p><a name="Footnote_860_860" id="Footnote_860_860"></a><span class="label">[860]</span> -141 () ret. G</p> - -<p><a name="Footnote_861_861" id="Footnote_861_861"></a><span class="label">[861]</span> -145 not you] you not W, G</p> - -<p><a name="Footnote_862_862" id="Footnote_862_862"></a><span class="label">[862]</span> -148 Coozners 1641 <i>Cozeners</i> 1692, 1716 cozeners W, G</p> - -<p><a name="Footnote_863_863" id="Footnote_863_863"></a><span class="label">[863]</span> -166 in it G</p> - -<p><a name="Footnote_864_864" id="Footnote_864_864"></a><span class="label">[864]</span> -167 () ret. G</p> - -<p><a name="Footnote_865_865" id="Footnote_865_865"></a><span class="label">[865]</span> -170 human 1692, f.</p> - -<p><a name="Footnote_866_866" id="Footnote_866_866"></a><span class="label">[866]</span> -174 [<i>He comes forward for the Epilogue.</i> G</p> - -<p><a name="Footnote_867_867" id="Footnote_867_867"></a><span class="label">[867]</span> -175 ‘The End.’ after line 6 1692 om. 1716 W, G -<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span></p> - -<hr class="chap" /> -<p class="f150 space-above1 space-below1"><b>The Epilogue</b>.</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Thus, the</i> Proiecter, <i>here, is ouer-throwne</i>.</span> -<span class="i0"><i>But I have now a</i> Proiect <i>of mine owne,</i></span> -<span class="i0"><i>If it may paſſe: that no man would inuite</i></span> -<span class="i0"><i>The</i> Poet <i>from vs, to ſup forth to night</i>, <span class="linenum">5</span></span> -<span class="i0"><i>If the</i> play <i>pleaſe. If it diſpleaſant be,</i></span> -<span class="i0"><i>We doe preſume, that no man will: nor wee.</i></span> -</div></div> - -<p><a name="Footnote_868_868" id="Footnote_868_868"></a><span class="label">[868]</span> 1 ‘The Epilogue.’ om. G</p> - -<p><a name="Footnote_869_869" id="Footnote_869_869"></a><span class="label">[869]</span> 7 [<i>Exeunt.</i> G -<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></p> - -<hr class="full" /> - -<h2>NOTES</h2> - -<p>The present edition includes whatever has been considered of value -in the notes of preceding editions. It has been the intention in -all cases to acknowledge facts and suggestions borrowed from such -sources, whether quoted verbatim, abridged, or developed. Notes -signed W. are from Whalley, G. from Gifford, C. from Cunningham. -For other abbreviations the Bibliography should be consulted. -Explanations of words and phrases are usually found only in the -Glossary. References to this play are by act, scene, and line of the -Text; other plays of Jonson are cited from the Gifford-Cunningham -edition of 1875. The references are to play, volume and page.</p> - -<h3>TITLE-PAGE.</h3> - -<p><b>THE DIUELL IS AN ASSE.</b> ‘Schlegel, seizing with great -felicity upon an untranslateable German idiom, called the play <i>Der -dumme Teufel</i> [Schlegel’s <i>Werke</i>, ed. Böcking, 6. 340]—a -title which must be allowed to be twice as good as that of the English -original. The phrase ‘the Devil is an ass’ appears to have been -proverbial. See Fletcher’s <i>The Chances</i>, Act 5. Sc. 2:</p> - -<div class="poem"><div class="stanza"> -<span class="i22">Dost thou think</span> -<span class="i0">The devil such an ass as people make him?’</span> -<span class="i27">—Ward, <i>Eng. Drama</i> 2. 372.</span> -</div></div> - -<p>A still more important passage occurs in Dekker’s <i>If this be not a -good Play</i>, a partial source of Jonson’s drama:</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Scu.</i> Sweete-breads I hold my life, that diuels an asse.</span> -<span class="i32">—Dekker, <i>Wks.</i> 3. 328.</span> -</div></div> - -<p>Jonson uses it again in <i>The Staple of News</i>, <i>Wks.</i> 5. 188:</p> - -<p>  The conjurer cozened him with a candle’s end; he was an ass.</p> - -<p>Dekker (<i>Non-dram. Wks.</i> 2. 275) tells us the jest of a citizen -who was told that the ‘Lawyers get the Diuell and all: What an -Asse, replied the Citizen is the diuell? If I were as he I would -get some of them.’</p> - -<p><b>HIS MAIESTIES SERVANTS.</b> Otherwise known as the -<i>King’s Company</i>, and popularly spoken of as the <i>King’s Men</i>. For -an account of this company see Winter, ed. <i>Staple of News</i>, p. 121; -and Fleay, <i>Biog. Chron.</i> 1. 356-7; 2. 403-4. -<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span></p> - -<p><b>Ficta voluptatis</b>, etc. The quotation is from Horace, -<i>De Art. Poet.</i>, line 338. Jonson’s translation is:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Let what thou feign’st for pleasure’s sake, be near</span> -<span class="i0">The truth.</span> -</div></div> - -<p>Jonson makes use of this quotation again in his note ‘To the -Reader’ prefixed to Act 3 of <i>The Staple of News</i>.</p> - -<p>I. B. Fleay speaks of this printer as J. Benson (<i>Biog. Chron</i>. -1. 354). Benson did not ‘take up freedom’ until June 30, 1631 (<i>Sta. -Reg.</i> 3. 686). Later he became a publisher (1635-40; <i>Sta. Reg.</i> -5. lxxxiv). I. B. was also the printer of <i>Bartholomew Fair</i> and <i>Staple -of News</i>. J. Benson published a volume of Jonson’s, containing <i>The -Masque of the Gypsies</i> and other poems, in 1640 (<i>Brit. Museum Cat.</i> -and Yale Library). In the same year he printed the <i>Art of Poetry</i>, -12mo, and the <i>Execration against Vulcan</i>, 4to (cf. <i>Pub. of Grolier -Club</i>, N. Y. 1893, pp. 130, 132). The evidence that I. B. was Benson -is strong, but not absolutely conclusive.</p> - -<p><b>ROBERT ALLOT.</b> We find by Arber’s reprint of the -<i>Stationer’s Register</i> that Robert Allot ‘took up freedom’ Nov. 7, -1625. He must have begun publishing shortly after, for under the date -of Jan. 25, 1625-6 we find that Mistris Hodgettes ‘assigned over unto -him all her estate,’ consisting of the copies of certain books, for -the ‘some of forty-five pounds.’ The first entry of a book to Allot -is made May 7, 1626. In 1630 Master Blount ‘assigned over unto him -all his estate and right in the copies’ of sixteen of Shakespeare’s -plays. In 1632 Allot brought out the Second Folio of Shakespeare’s -works. On Sept. 7, 1631 <i>The Staple of News</i> was assigned to him. -The last entry of a book in his name is on Sept. 12, 1635. The first -mention of ‘Mistris Allott’ is under the date of Dec. 30, 1635. Under -date of July 1, 1637 is the record of the assignment by Mistris -Allott of certain books, formerly the estate of ‘Master Roberte -Allotts deceased.’ Among these books are ‘37. <i>Shakespeares Workes</i> -their part. 39. <i>Staple of Newes</i> a Play. 40. <i>Bartholomew fayre</i> -a Play.’ I have been able to find no record of <i>The Devil is an Ass</i> -in the <i>Stationer’s Register</i>.</p> - -<p><b>the Beare.</b> In the Shakespeare folio of 1632 Allot’s sign reads -‘the Black Beare.’ The first mention of the shop in the <i>London -Street Directory</i> is in 1575, among the ‘Houses round the Churchyard.’</p> - -<p><b>Pauls Church-yard.</b> ‘Before the Fire, which destroyed the old -Cathedral, St. Paul’s Churchyard was chiefly inhabited by stationers, -whose shops were then, and until the year 1760, distinguished by -signs.’—Wh-C.</p> - -<h3>THE PERSONS OF THE PLAY.</h3> - -<p><b>GVILT-HEAD, A Gold-smith.</b> The goldsmiths seem to have been -a prosperous guild. (See Stow, <i>Survey</i>, ed. Thoms, p. 114.) -<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span> -At this time they performed the office of banking, constituting -the intermediate stage between the usurer and the modern banker. -‘The goldsmiths began to borrow at interest in order to lend out to -traders at a higher rate. In other words they became the connecting -link between those who had money to lend and those who wished to -borrow for trading purposes, or it might be to improve their estates. -No doubt at first the goldsmiths merely acted as guardians of their -clients’ hoards, but they soon began to utilize those hoards much as -bankers now make use of the money deposited with them.’—<i>Social England</i> 3. 544.</p> - -<p><b>AMBLER.</b> Jonson uses this name again in <i>Neptune’s Triumph</i>, <i>Wks.</i> 8. 32:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Grave master Ambler, news-master o’ Paul’s,</span> -<span class="i0">Supplies your capon.</span> -</div></div> - -<p>It reappears in <i>The Staple of News</i>.</p> - -<p><b>Her Gentlemanvsher.</b> For an exposition of the character and -duties of the gentleman-usher see the notes to 4. 4. 134. 201, 215.</p> - -<p><b>Newgate.</b> ‘This gate hath of long time been a gaol, or prison -for felons and trespassers, as appeareth by records in the reign of -King John, and of other kings.’—Stow, <i>Survey</i>, ed. Thoms, p. 14.</p> - -<h3>THE PROLOGUE.</h3> - -<p><b>1 The DIVELL is an Asse.</b> ‘This is said by the prologue -pointing to the <i>title</i> of the play, which as was then the custom, -was painted in large letters and placed in some conspicuous part of -the stage.’—G.</p> - -<p>Cf. <i>Poetaster</i>, <i>After the second sounding</i>: ‘What’s here? THE -ARRAIGNMENT!’ Also <i>Wily Beguiled</i>: <i>Prol.</i> How now, my honest rogue? -What play shall we have here to-night?</p> - -<div class="poem"><div class="stanza"> -<span class="i5"><i>Player.</i> Sir, you may look upon the title.</span> -<span class="i5"><i>Prol.</i> What, <i>Spectrum</i> once again?’</span> -</div></div> - -<p>Jonson often, but not invariably, announces the title of the -play in the prologue or induction. Cf. <i>Every Man out</i>, <i>Cynthia’s -Revels</i>, <i>Poetaster</i>, and all plays subsequent to <i>Bart. Fair</i> -except <i>Sad Shep</i>.</p> - -<p><b>3 Grandee’s.</b> Jonson uses this affected form of address -again in <i>Timber</i>, ed. Schelling. 22. 27</p> - -<p><b>4 allowing vs no place.</b> As Gifford points out, the prologue -is a protest against the habit prevalent at the time of crowding the -stage with stools for the accommodation of the spectators.</p> - -<p>Dekker in Chapter 6 of <i>The Guls Horne-booke</i> gives the gallant -full instructions as to the behavior proper to the play-house. -The youth is advised to wait until ‘the quaking prologue hath (by -rubbing) got culor into his cheekes’, and then ‘to creepe from behind -<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span> -the Arras,’ and plant himself ‘on the very Rushes where the Commedy -is to daunce, yea, and vnder the state of Cambises himselfe.’ Sir -John Davies makes a similar allusion <i>(Epigrams</i>, ed. Grosart, 2. -10). Jonson makes frequent reference to the subject. Cf. <i>Induction</i> -to <i>The Staple of News</i>, <i>Every Man out</i>, <i>Wks.</i> 2. 31; -<i>Prologue</i> to <i>Cynthia’s Revels</i>, <i>Wks.</i> 2. 210, etc.</p> - -<p><b>5 a subtill thing.</b> I. e., thin, airy, spiritual, and so not -occupying space.</p> - -<p><b>6 worne in a thumbe-ring.</b> ‘Nothing was more common, -as we learn from Lilly, than to carry about familiar spirits, -shut up in rings, watches, sword-hilts, and other articles of -dress.’—G.</p> - -<p>I have been unable to verify Gifford’s statement from Lilly, but -the following passage from Harsnet’s <i>Declaration</i> (p. 13) confirms -it: ‘For compassing of this treasure, there was a consociation -betweene 3 or 4 priests, <i>deuill-coniurers</i>, and 4 <i>discouerers</i>, -or <i>seers</i>, reputed to carry about with them, their familiars in rings, -and glasses, by whose suggestion they came to notice of those golden hoards.’</p> - -<p>Gifford says that thumb-rings of Jonson’s day were set with jewels -of an extraordinary size, and that they appear to have been ‘more -affected by magistrates and grave citizens than necromancers.’ -Cf. <i>I Henry IV</i> 2. 4: ‘I could have crept into any alderman’s -thumb-ring.’ Also <i>Witts Recreat.</i>, <i>Epig.</i> 623:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">He wears a hoop-ring on his thumb; he has</span> -<span class="i5">Of gravidad a dose, full in the face.</span> -</div></div> - -<p>Glapthorne, <i>Wit in a Constable</i>, 1639, 4. 1: ‘An alderman—I -may say to you, he has no more wit than the rest of the bench, and -that lies in his thumb-ring.’</p> - -<p><b>8 In compasse of a cheese-trencher.</b> The figure seems -forced to us, but it should be remembered that trenchers were a very -important article of table equipment in Jonson’s day. They were -often embellished with ‘posies,’ and it is possible that Jonson was -thinking of the brevity of such inscriptions. Cf. Dekker, <i>North-Ward -Hoe</i> 3. 1 (<i>Wks.</i> 3. 38): ‘Ile have you make 12. poesies for a -dozen of cheese trenchers.’ Also <i>Honest Whore</i>, Part I, Sc. 13; and -Middleton, <i>Old Law</i> 2. 1 (<i>Wks.</i> 2. 149); <i>No Wit, no Help -like a Woman’s</i> 2. 1 (<i>Wks.</i> 4. 322).</p> - -<p><b>15 Like the young adders.</b> It is said that young adders, -when frightened, run into their mother’s mouth for protection.</p> - -<p><b>16 Would wee could stand due North.</b> I. e., be as infallible -as the compass.</p> - -<p><b>17 Muscouy glasse.</b> Cf. Marston, <i>Malcontent</i>, <i>Wks</i>. 1. -234: ‘She were an excellent lady, but that her face peeleth like -Muscovy glass.’ Reed (<i>Old Plays</i> 4. 38) quotes from Giles -<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span> -Fletcher’s <i>Russe Commonwealth</i>, 1591, p. 10: ‘In the province of -Corelia, and about the river Duyna towards the North-sea, there -groweth a soft rock which they call Slude. This they cut into pieces, -and so tear it into thin <i>flakes, which naturally it is apt for</i>, and -so use it for glasse lanthorns and such like. It giveth both inwards -and outwards a clearer light then glasse, and for this respect is -better than either glasse or horne; for that it neither breaketh like -glasse, nor yet will burne like the lanthorne.’ Dekker <i>(Non-dram. -Wks.</i> 2. 135) speaks of a ‘Muscouie Lanthorne.’ See Gloss.</p> - -<p><b>22 the Diuell of Edmunton.</b> <i>The Merry Devil of Edmunton</i> -was acted by the King’s Men at the Globe before Oct. 22, 1607. It has -been conjecturally assigned to Shakespeare and to Drayton. Hazlitt -describes it as ‘perhaps the first example of sentimental comedy -we have’ (see <i>O. Pl.</i>, 4th ed., 10. 203 f.). Fleay, who believes -Drayton to be the author, thinks that the ‘Merry devil’ of <i>The -Merchant of Venice</i> 2. 3, alludes to this play (<i>Biog. Chron.</i> -1. 151 and 2. 213). There were six editions in the 17th century, all -in quarto—1608, 1612, 1617, 1626, 1631, 1655. Middleton, <i>The -Black Book</i>, <i>Wks.</i> 8. 36, alludes to it pleasantly in connection -with <i>A Woman kill’d with Kindness</i>. Genest mentions it as being -revived in 1682. Cf. also <i>Staple of News</i>, 1st Int.</p> - -<p><b>26 If this Play doe not like</b>, etc. Jonson refers to -Dekker’s play of 1612 (see Introduction, <a href="#Page_xxix">p. xxix</a>). On the title-page -of this play we find <i>If it be not good, The Diuel is in it</i>. At -the head of Act. 1, however, the title reads <i>If this be not a good -play</i>, etc.</p> - -<h3>ACT I.</h3> - -<p><b>1. 1. 1 Hoh, hoh</b>, etc. ‘Whalley is right in saying that -this is the conventional way for the devil to make his appearance in -the old morality-plays. Gifford objects on the ground that ‘it is -not the roar of terror; but the boisterous expression of sarcastic -merriment at the absurd petition of Pug;’ an objection, the truth of -which does not necessarily invalidate Whalley’s statement. Jonson of -course adapts the old conventions to his own ends. See Introduction, <a href="#Page_xxiii">p. xxiii</a>.</p> - -<p><b>1. 1. 9 Entring a Sow, to make her cast her farrow?</b> Cf. Dekker, -etc., <i>Witch of Edmonton</i> (<i>Wks.</i> 4. 423): ‘<i>Countr.</i> I’ll be -sworn, <i>Mr. Carter</i>, she bewitched Gammer <i>Washbowls</i> sow, to cast -her Pigs a day before she would have farried.’</p> - -<p><b>1. 1. 11 Totnam.</b> ‘The first notice of Tottenham Court, as a -place of public entertainment, contained in the books of the parish -of St. Gile’s-in-the-Fields, occurs under the year 1645 (Wh-C.). -Jonson, however, as early as 1614 speaks of ‘courting it to Totnam -to eat cream’ (<i>Bart. Fair</i>, Act 1. Sc. 1, <i>Wks.</i> 4. 362). -<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span> -George Wither, in the <i>Britain’s Remembrancer</i>, 1628, -refers to the same thing:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">And Hogsdone, Islington, and Tothnam-court,</span> -<span class="i5">For cakes and cream had then no small resort.</span> -</div></div> - -<p>Tottenham Fields were until a comparatively recent date a favorite -place of entertainment.</p> - -<p><b>1. 1. 13 a tonning of Ale</b>, etc. Cf. <i>Sad Shep.</i>, <i>Wks.</i> 6. 276:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">The house wives tun not work, nor the milk churn.</span> -</div></div> - -<p><b>1. 1. 15 Spight o’ the housewiues cord, or her hot spit.</b> -‘There be twentie severall waies to make your butter come, which -for brevitie I omit; as to bind your cherne with a rope, to -thrust thereinto a red hot spit, &c.’—Scot, <i>Discovery</i>, p. 229.</p> - -<p><b>1. 1. 16, 17 Or some good Ribibe ... witch.</b> This seems -to be an allusion, as Fleay suggests, to Heywood’s <i>Wise-Woman of -Hogsdon</i>. The witch of that play declares her dwelling to be in -‘Kentstreet’ (Heywood’s <i>Wks.</i> 5. 294). A ribibe meant originally -a musical instrument, and was synonymous with rebec. By analogy, -perhaps, it was applied to a shrill-voiced old woman. This is -Gifford’s explanation. The word occurs again in Skelton’s <i>Elynour -Rummyng</i>, l. 492, and in Chaucer, <i>The Freres Tale</i>, l. 1377: -‘a widwe, an old ribybe.’ Skeat offers the following explanation: -‘I suspect that this old joke, for such it clearly is, arose in a very -different way [from that suggested by Gifford], viz. from a pun upon -<i>rebekke</i>, a fiddle, and <i>Rebekke</i>, a married woman, from the -mention of Rebecca in the marriage-service. Chaucer himself notices the -latter in E. 1704.’</p> - -<p><b>1. 1. 16 Kentish Towne.</b> Kentish Town, Cantelows, or -Cantelupe town is the most ancient district in the parish of Pancras. -It was originally a small village, and as late as the eighteenth -century a lonely and somewhat dangerous spot. In later years it -became noted for its Assembly Rooms. In 1809 Hughson (<i>London</i> -6. 369) called it ‘the most romantic hamlet in the parish of Pancras.’ -It is now a part of the metropolis. See Samuel Palmer’s -<i>St. Pancras</i>, London, 1870.</p> - -<p><b>1. 1. 17 Hogsden.</b> Stow (<i>Survey</i>, ed. Thoms, p. 158) -describes Hogsden as a ‘large street with houses on both sides.’ It -was a prebend belonging to St. Paul’s. In Hogsden fields Jonson killed -Gabriel Spenser in a duel in 1598. These fields were a great resort -for the citizens on a holiday. The eating of cream there is frequently -mentioned. See the quotation from Wither under note 1. 1. 11, and -<i>Alchemist</i>, <i>Wks.</i> 4. 155 and 175:</p> - -<div class="poem"><div class="stanza"> -<span class="i13">——Ay, he would have built</span> -<span class="i5">The city new; and made a ditch about it</span> -<span class="i5">Of silver, should have run with cream from Hogsden.</span> -<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span> -</div></div> - -<p>Stephen in <i>Every Man in</i> dwelt here, and so was forced to -associate with ‘the archers of Finsbury, or the citizens that come -a-ducking to Islington ponds.’ Hogsden or Hoxton, as it is now -called, is to-day a populous district of the metropolis.</p> - -<p><b>1. 1. 18 shee will not let you play round Robbin.</b> The -expression is obscure, and the dictionaries afford little help. -Round-robin is a common enough phrase, but none of the meanings -recorded is applicable in this connection. Some child’s game, played -in a circle, seems to be referred to, or the expression may be a cant -term for ‘play the deuce.’ Robin is a name of many associations, and -its connection with Robin Hood, Robin Goodfellow, and ‘Robert’s Men’ -(‘The third old rank of the Canting crew.’—Grose.) makes such -an interpretation more or less probable.</p> - -<p>M. N. G. in <i>N. & Q.</i> 9th Ser. 10. 394 says that ‘when a -man does a thing in a circuitous, involved manner he is sometimes said -“to go all round Robin Hood’s barn to do it.”’ ‘Round Robin Hood’s -barn’ may possibly have been the name of a game which has been -shortened to ‘round Robin.’</p> - -<p><b>1. 1. 21 By a Middlesex Iury.</b> ‘A reproof no less severe -than merited. It appears from the records of those times, that many -unfortunate creatures were condemned and executed on charges of the -rediculous nature here enumerated. In many instances, the judge -was well convinced of the innocence of the accused, and laboured -to save them; but such were the gross and barbarous prejudices of -the juries, that they would seldom listen to his recommendations; -and he was deterred from shewing mercy, in the last place by the -brutal ferociousness of the people, <i>whose teeth were set on edge -with’t</i>, and who clamoured tumultuously for the murder of the -accused.’—G.</p> - -<p><b>1. 1. 32 Lancashire.</b> This, as Gifford says, ‘was the very -hot-bed of witches.’ Fifteen were brought to trial on Aug. 19, 1612, -twelve of whom were convicted and burnt on the day after their -trial ‘at the common place of execution near to Lancaster.’ The -term ‘Lancashire Witches’ is now applied to the beautiful women for -which the country is famed. The details of the Lancaster trial are -contained in Potts’ <i>Discoverie</i> (Lond. 1613), and a satisfactory -account is given by Wright in his <i>Sorcery and Magic</i>.</p> - -<p><b>1. 1. 33 or some parts of Northumberland.</b> The first -witch-trial in Northumberland, so far as I have been able to -ascertain, occurred in 1628. This was the trial of the Witch of -Leeplish.</p> - -<p><b>1. 1. 37 a Vice.</b> See Introduction, <a href="#Page_xxxiv">pp. xxxiv f</a>.</p> - -<p><b>1. 1. 38 To practice there-with any play-fellow.</b> See -variants. The editors by dropping the hyphen have completely changed -the sense of the passage. Pug wants a vice in order that he may -corrupt his play-fellows <i>there-with</i>. -<span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p> - - -<p class="no-indent"><b>1. 1. 41 ff.       Why, any Fraud;</b><br /> -    <b>Or Couetousnesse; or Lady Vanity;</b><br /> -    <b>Or old Iniquity</b>. Fraud is a character in Robert Wilson’s -<i>The Three Ladies of London</i>, printed 1584, and <i>The Three Lords -and Three Ladies of London</i>, c 1588, printed 1590. Covetousness -appears in <i>Robin Conscience</i>, c 1530, and is applied to one of the -characters in <i>The Staple of News</i>, <i>Wks.</i> 5. 216. Vanity is one -of the characters in <i>Lusty Juventus</i> (see note <a href="#Note_1_1_50">1. 1. 50</a>) -and in <i>Contention between Liberality and Prodigality</i>, printed 1602 -(<i>O. Pl.</i> 4th ed., 8. 328). She seems to have been a favorite with the -later dramatists, and is frequently mentioned (<i>I Henry IV.</i> 2. 4; -<i>Lear</i> 2. 2; <i>Jew of Malta</i> 2. 3, Marlowe’s <i>Wks.</i> 2. 45). Jonson -speaks of her again in <i>The Fox</i>, <i>Wks.</i> 3. 218. For Iniquity see -Introduction, p. xxxviii.</p> - -<p>The change in punctuation (see variants), as well as that two -lines below, was first suggested by Upton in a note appended to his -<i>Critical Observations on Shakespeare</i>. Whalley silently adopted the -reading in both cases.</p> - -<p><b>1. 1. 43 I’ll call him hither.</b> See variants. Coleridge, -<i>Notes</i>, p. 280, says: ‘That is, against all probability, and with -a (for Jonson) impossible violation of character. The words plainly -belong to Pug, and mark at once his simpleness and his impatience.’ -Cunningham says that he arrived independently at the same conclusion, -and points out that it is plain from Iniquity’s opening speech that -<i>he</i> understood the words to be Pug’s.</p> - -<p><b>1. 1. 49 thy dagger.</b> See note <a href="#Note_1_1_85">1. 1. 85</a>.</p> - -<p><b><a name="Note_1_1_50"></a>1. 1. 50 lusty Iuuentus.</b> The morality-play -of <i>Lusty Juventus</i> was written by R. Wever about 1550. It ‘breathes the -spirit of the dogmatic reformation of the Protector Somerset,’ but ‘in -spite of its abundant theology it is neither ill written, nor ill -constructed’ (Ward, <i>Eng. Drama</i> 1. 125). It seems to have been very -popular, and the expression ‘a lusty Juventus’ became proverbial. It -is used as early as 1582 by Stanyhurst, <i>Aeneis</i> 2 (Arber). 64 and as -late as Heywood’s <i>Wise Woman of Hogsdon</i> (c 1638), where a gallant -is apostrophised as Lusty Juventus (Act 4). (See Nares and <i>NED</i>.) -Portions of the play had been revived not many years before this -within the tragedy of <i>Thomas More</i> (1590, acc. to Fleay 1596) under -the title of <i>The Mariage of Witt and Wisedome</i>. ‘By dogs precyous -woundes’ is one of the oaths used by Lusty Juventus in the old play, -and may be the ‘Gogs-nownes’ referred to here (<i>O. Pl.</i>, 4th ed., 2. -84). ‘Gogs nowns’ is used several times in <i>Like will to Like</i> (<i>O. -Pl.</i>, 4th ed., 3. 327, 331, etc.).</p> - -<p><b>1. 1. 51 In a cloake to thy heele.</b> See note <a href="#Note_1_1_85">1. 1. 85</a>.</p> - -<p><b>1. 1. 51 a hat like a pent-house.</b> ‘When they haue walkt -thorow the streetes, weare their hats ore their eye-browes, like pollitick -<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span> -penthouses, which commonly make the shop of a Mercer, or a Linnen Draper, -as dark as a roome in Bedlam.’ Dekker, <i>West-ward Hoe</i>, <i>Wks.</i> 2. 286.</p> - -<div class="poem"><div class="stanza"> -<span class="i5">With your hat penthouse-like o’er the slope of your eyes.</span> -<span class="i30">—<i>Love’s Labour’s Lost</i> 3. 1. 17.</span> -</div></div> - -<p>Halliwell says (<i>L. L. L.</i>, ed. Furness, p. 85): ‘An open shed or -shop, forming a protection against the weather. The house in which -Shakespeare was born had a penthouse along a portion of it.’ In -Hollyband’s <i>Dictionarie</i>, 1593, it is spelled ‘pentice,’ which shows -that the rime to ‘Juventus’ is probably not a distorted one.</p> - -<p><b>1. 1. 52 thy doublet all belly.</b> ‘Certaine I am there -was neuer any kinde of apparell euer inuented that could more -disproportion the body of man then these Dublets with great bellies, -... stuffed with foure, fiue or six pound of Bombast at the -least.’—Stubbes, <i>Anat.</i>, Part 1, p. 55.</p> - -<p><b>1. 1. 54 how nimble he is!</b> ‘A perfect idea of his -activity may be formed from the incessant skipping of the modern -Harlequin.’—G.</p> - -<p><b><a name="Note_1_1_56"></a>1. 1. 56 the top of Pauls-steeple.</b> As Gifford -points out, Iniquity is boasting of an impossible feat. St. Paul’s steeple had -been destroyed by fire in 1561, and was not yet restored. Several -attempts were made and money collected. ‘James I. countenanced a -sermon at <i>Paul’s Cross</i> in favor of so pious an undertaking, but -nothing was done till 1633 when reparations commenced with some -activity, and Inigo Jones designed, at the expense of Charles I., -a classic portico to a Gothic church.’—Wh-C.</p> - -<p>Lupton, <i>London Carbonadoed</i>, 1632, writes: ‘The head of St. -Paul’s hath twice been troubled with a burning fever, and so the -city, to keep it from a third danger, lets it stand without a head.’ -Gifford says that ‘the Puritans took a malignant pleasure in this -mutilated state of the cathedral.’ Jonson refers to the disaster -in his <i>Execration upon Vulcan</i>, <i>U. 61</i>, <i>Wks.</i> 8. 408. -See also Dekker, <i>Paules Steeples complaint</i>, <i>Non-dram. Wks.</i> 4. 2.</p> - -<p><b>1. 1. 56 Standard in Cheepe.</b> This was a water-stand or -conduit in the midst of the street of West Cheaping, where executions -were formerly held. It was in a ruinous condition in 1442, when it -was repaired by a patent from Henry VI. Stow (<i>Survey</i>, ed. Thoms, -p. 100) gives a list of famous executions at this place, and says -that ‘in the year 1399, Henry IV. caused the blanch charters made by -Richard II. to be burnt there.’</p> - -<p><b>1. 1. 58 a needle of Spaine.</b> Gifford, referring to -Randolph’s <i>Amyntos</i> and Ford’s <i>Sun’s Darling</i>, points out that -‘the best needles, as well as other sharp instruments, were, in that -age, and indeed long before and after it, imported from Spain.’ The -tailor’s needle was in cant language commonly termed a <i>Spanish pike</i>. -<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span></p> - -<p>References to the Spanish needle are frequent. It is mentioned by -Jonson in <i>Chloridia</i>, <i>Wks.</i> 8. 99; by Dekker, <i>Wks.</i> 4. 308; -and by Greene, <i>Wks.</i> 11. 241. Howes (p. 1038) says: ‘The making of Spanish -Needles, was first taught in England by Elias Crowse, a Germane, -about the eight yeare of Queene Elizabeth, and in Queen Maries time, -there was a Negro made fine Spanish Needles in Cheape-side, but would -neuer teach his Art to any.’</p> - -<p><b>1. 1. 59 the Suburbs.</b> The suburbs were the outlying -districts without the walls of the city. Cf. Stow, <i>Survey</i>, ed. -Thoms, p. 156 f. They were for the most part the resort of disorderly -persons. Cf. B. & Fl., <i>Humorous Lieut.</i> 1. 1.; Massinger, -<i>Emperor of the East</i> 1. 2.; Shak., <i>Jul. Caes.</i> 2. 1; and Nares, -<i>Gloss</i>. Wheatley (ed. <i>Ev. Man in</i>, p. 1) quotes Chettle’s <i>Kind -Harts Dreame</i>, 1592: ‘The suburbs of the citie are in many places no -other but dark dennes for adulterers, thieves, murderers, and every -mischief worker; daily experience before the magistrates confirms -this for truth.’ Cf. also Glapthorne, <i>Wit in a Constable</i>, -<i>Wks.</i>, ed. 1874, 1. 219:</p> - -<div class="poem"><div class="stanza"> -<span class="i29">——make safe retreat</span> -<span class="i5">Into the Suburbs, there you may finde cast wenches.</span> -</div></div> - -<p>In <i>Every Man in</i>, <i>Wks.</i> 1. 25, a ‘suburb humour’ is spoken of.</p> - -<p><b>1. 1. 60 Petticoate-lane.</b> This is the present Middlesex -Street, Whitechapel. It was formerly called Hog Lane and was -beautified with ‘fair hedge-rows,’ but by Stow’s time it had been -made ‘a continual building throughout of garden houses and small -cottages’ (<i>Survey</i>, ed. 1633, p. 120 b). Strype tells us that the -house of the Spanish Ambassador, supposedly the famous Gondomar, was -situated there (<i>Survey</i> 2. 28). In his day the inhabitants were -French Protestant weavers, and later Jews of a disreputable sort. -That its reputation was somewhat unsavory as early as Nash’s time we -learn from his <i>Prognostication</i> (<i>Wks.</i> 2. 149):</p> - -<p>‘If the Beadelles of Bridewell be carefull this Summer, it may be -hoped that Peticote lane may be lesse pestered with ill aires than it -was woont: and the houses there so cleere clensed, that honest women -may dwell there without any dread of the whip and the carte.’ Cf. -also <i>Penniless Parliament, Old Book Collector’s Misc.</i> 2. 16: ‘Many -men shall be so venturously given, as they shall go into Petticoat -Lane, and yet come out again as honestly as they went first in.’</p> - -<p><b>1. 1. 60 the Smock-allies.</b> Petticoat Lane led from the high -street, Whitechapel, to <i>Smock Alley</i> or Gravel Lane. See Hughson 2. 387.</p> - -<p><b>1. 1. 61 Shoreditch.</b> Shoreditch was formerly notorious -for the disreputable character of its women. ‘To die in -<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span> -Shoreditch’ seems to have been a proverbial phrase, and is so -used by Dryden in <i>The Kind Keeper</i>, 4to, 1680. Cf. Nash, <i>Pierce -Pennilesse</i>, <i>Wks.</i> 2. 94: ‘Call a Leete at <i>Byshopsgate</i>, & -examine how euery second house in <i>Shorditch</i> is mayntayned; make a -priuie search in <i>Southwarke</i>, and tell mee how many Shee-Inmates -you fin de: nay, goe where you will in the Suburbes, and bring me -two Virgins that haue vowd Chastity and Ile builde a Nunnery.’ Also -<i>ibid.</i>, p. 95; Gabriel Harvey, <i>Prose Wks.</i>, ed. Grosart. 2. 169; -and Dekker, <i>Wks.</i> 3. 352.</p> - -<p><b>1. 1. 61 Whitechappell.</b> ‘Till within memory the district -north of the High Street was one of the very worst localities in -London; a region of narrow and filthy streets, yards and alleys, -many of them wholly occupied by thieves’ dens, the receptacles of -stolen property, gin-spinning dog-holes, low brothels, and putrescent -lodging-houses,—a district unwholesome to approach and unsafe -for a decent person to traverse even in the day-time.’—Wh-C.</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><b>1. 1. 61, 2            and so to Saint Kathernes.</b></span> -<span class="i0"><b>To drinke with the Dutch there, and take forth their patternes.</b></span> -</div></div> - -<p>Saint Kathernes was the name of a hospital and precinct without -London. The hospital was said to have been founded by Queen -Matilda, wife of King Stephen. In <i>The Alchemist</i> (<i>Wks.</i> 4. 161), -Jonson speaks of its having been used ‘to keep the better sort of -mad-folks.’ It was also employed as a reformatory for fallen women, -and it is here that Winifred in <i>Eastward Ho</i> (ed. Schelling, p. 84) -finds an appropriate landing-place.</p> - -<p>From this hospital there was ‘a continual street, or filthy -strait passage, with alleys of small tenements, or cottages, built, -inhabited by sailors’ victuallers, along by the river of Thames, -almost to Radcliff, a good mile from the Tower.’—Stow, ed. -Thoms, p. 157.</p> - -<p>The precinct was noted for its brew-houses and low drinking -places. In <i>The Staple of News</i> Jonson speaks of ‘an ale-wife in -Saint Katherine’s, At the Sign of the Dancing Bears’ (<i>Wks.</i> 5. 226). -The same tavern is referred to in the <i>Masque of Augurs</i> as well as -‘the brew-houses in St. Katherine’s.’ The sights of the place are -enumerated in the same masque.</p> - -<p>The present passage seems to indicate that the precinct was -largely inhabited by Dutch. In the <i>Masque of Augurs</i> Vangoose speaks -a sort of Dutch jargon, and we know that a Flemish cemetery was -located here (see Wh-C). Cf. also Sir Thomas Overbury’s <i>Character -of A drunken Dutchman resident in England</i>, ed. Morley, p. 72: ‘Let -him come over never so lean, and plant him but one month near the -brew-houses of St. Catherine’s and he will be puffed up to your hand -like a bloat herring.’ Dutch weavers had been imported into England -as early as the reign of Edward III. (see Howes, p. 870 a), and in -the year 1563 great numbers of Netherlanders with their wives and -<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span> -children fled into England owing to the civil dissension in Flanders -(Howes, p. 868 a). They bore a reputation for hard drinking (cf. -<i>Like will to Like</i>, <i>O. Pl.</i> 3. 325; Dekker, -<i>Non-dram. Wks.</i> 3. 12; Nash, <i>Wks.</i> 2. 81, etc.).</p> - -<p>The phrase ‘to take forth their patternes’ is somewhat obscure, -and seems to have been forced by the necessity for a rhyme. Halliwell -says that ‘take forth’ is equivalent to ‘learn,’ and the phrase seems -therefore to mean ‘take their measure,’ ‘size them up,’ with a view -to following their example. It is possible, of course, that actual -patterns of the Dutch weavers or tailors are referred to.</p> - -<p><b>1. 1. 63 Custome-house key.</b> This was in Tower Street on the -Thames side. Stow (ed. Thoms, pp. 51. 2) says that the custom-house -was built in the sixth year of Richard II. Jonson mentions the place -again in <i>Every Man in</i>, <i>Wks.</i> 1. 69.</p> - -<p><b>1. 1. 66 the Dagger, and the Wool-sacke.</b> These were two -ordinaries or public houses of low repute, especially famous for -their pies. There were two taverns called the ‘Dagger,’ one in -Holborn and one in Cheapside. It is probably to the former of these -that Jonson refers. It is mentioned again in the <i>Alchemist</i> -(<i>Wks.</i> 4. 24 and 165) and in Dekker’s <i>Satiromastix</i> -(<i>Wks.</i> 1. 200). Hotten says that the sign of a dagger was -common, and arose from its being a charge in the city arms.</p> - -<p>The Woolsack was without Aldgate. It was originally a -wool-maker’s sign. Machyn mentions the tavern in 1555; and it is -alluded to in Dekker, <i>Shoemaker’s Holiday</i>, <i>Wks.</i> 1. 61. -See Wh-C. and Hotten’s <i>History of Signboards</i>, pp. 325 and 362.</p> - -<p><b>1. 1. 69 Belins-gate.</b> Stow (ed. Thoms, p. 78) describes -Belins-gate as ‘a large water-gate, port or harborough.’ He mentions -the tradition that the name was derived from that of Belin, King of -the Britons, but discredits it. Billingsgate is on the Thames, a -little below London Bridge, and is still the great fish-market of -London.</p> - -<p><b>1. 1. 70 shoot the Bridge.</b> The waterway under the old -London Bridge was obstructed by the narrowness of the arches, by -cornmills built in some of the openings, and by the great waterworks -at its southern end. ‘Of the arches left open some were too narrow -for the passage of boats of any kind. The widest was only 36 feet, -and the resistance caused to so large a body of water on the rise -and fall of the tide by this contraction of its channel produced a -fall or rapid under the bridge, so that it was necessary to “ship -oars” to <i>shoot the bridge</i>, as it was called,—an undertaking, -to amateur watermen especially, not unattended with danger. “With -the flood-tide it was impossible, and with the ebb-tide dangerous to -pass through or <i>shoot</i> the arches of the bridge.” In the latter case -prudent passengers landed above the bridge, generally at the <i>Old -Swan Stairs</i>, and walked to some wharf, generally <i>Billingsgate</i>, below it.’—Wh-C. -<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span></p> - -<p><b>1. 1. 70 the Cranes i’ the Vintry.</b> These were ‘three strong -cranes of timber placed on the Vintry wharf by the Thames to crane -up wine there (Stow, ed. Thoms, p. 00). They were situated in Three -Cranes’ lane, and near by was the famous tavern mentioned as one of -the author’s favorite resorts (<i>Bart. Fair</i> 1. 1, <i>Wks.</i> 4. 356). -Jonson speaks of it again in <i>The Silent Woman</i>, <i>Wks.</i> 3. 376, -and in the <i>Masque of Augurs</i>. Pepys visited the place on January 23, -1662, and describes the best room as ‘a narrow dogg-hole’ in which -he and his friends were crammed so close ‘that it made me loath -my company and victuals, and a sorry dinner it was too.’ -Cf. also Dekker, (<i>Non-dram. Wks.</i> 8. 77).</p> - -<p><b>1. 1. 72 the Strand.</b> This famous street was formerly the -road between the cities of Westminster and London. That many lawyers -lived in this vicinity we learn from Middleton (<i>Father Hubburd’s -Tales</i>, <i>Wks.</i> 8. 77).</p> - -<p><b>1. 1. 73 Westminster-hall.</b> It was once the hall of the -King’s palace at Westminster, originally built by William Rufus. The -present hall was formed 1397-99. Here the early parliaments were -held. ‘This great hall hath been the usual place of pleadings, and -ministration of justice.’—Stow, ed. Thoms, p. 174.</p> - -<p><b>1. 1. 75 so Veluet to Leather.</b> Velvet seems to have been -much worn by lawyers. Cf. Overbury, <i>Characters</i>, p. 72: ‘He loves -his friend as a counsellor at law loves the velvet breeches he was -first made barrister in.’</p> - -<p><b><a name="Note_1_1_85"></a>1. 1. 85 In his long coat, shaking his -wooden dagger.</b> See Introduction, <a href="#Page_xxxviii">pp. xxxviii f</a>.</p> - -<p><b>1. 1. 93 Cokeley.</b> Whalley says that he was the master of a -puppet show, and this has been accepted by all authorities (Gifford, -ed.; Nares, <i>Gloss</i>.; Alden, ed. of <i>Bart. Fair</i>). He seems, however, -to have been rather an improviser like Vennor, or a mountebank with -a gift of riming. He is mentioned several times by Jonson: <i>Bart. -Fair</i>, <i>Wks.</i> 4. 422, 3: ‘He has not been sent for, and sought out -for nothing, at your great city-suppers, to put down Coriat and -Cokely.’ <i>Epigr.</i>129; <i>To Mime</i>, <i>Wks.</i> 8. 229:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Or, mounted on a stool, thy face doth hit</span> -<span class="i5">On some new gesture, that’s imputed wit?</span> -<span class="i5">—Thou dost out-zany Cokely, Pod; nay Gue:</span> -<span class="i5">And thine own Coryat too.</span> -</div></div> - -<p><b>1. 1. 94 Vennor.</b> Gifford first took Vennor to be a -juggler, but corrected his statement in the <i>Masque of Augurs</i>, -<i>Wks.</i> 7. 414. He says: ‘Fenner, whom I supposed to be a -juggler, was a rude kind of <i>improvisatore</i>. He was altogether -ignorant; but possessed a wonderful facility in pouring out -doggrel verse. He says of himself,</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Yet, without boasting, let me boldly say</span> -<span class="i5">I’ll rhyme with any man that breathes this day</span> -<span class="i5">Upon a subject, in <i>extempore</i>, etc.</span> -<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span> -</div></div> - -<p>He seems to have made a wretched livelihood by frequenting -city feasts, &c., where, at the end of the entertainment, he -was called in to mount a stool and amuse the company by stringing -together a number of vile rhymes upon any given subject. To this the -quotation alludes. Fenner is noticed by the duchess of Newcastle: -“For the numbers every schoolboy can make them on his fingers, and -for the <i>rime</i>, Fenner would put down Ben Jonson, and yet neither -boy nor Fenner so good poets.” This, too, is the person meant in the -Cambridge answer to Corbet’s satire:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">A ballad late was made,</span> -<span class="i5">But God knows who the penner;</span> -<span class="i5">Some say the rhyming sculler,</span> -<span class="i5">And others say ’twas Fenner. p. 24.</span> -</div></div> - -<p>Fenner was so famed for his faculty of rhyming, that James, who, -like Bartholomew Cokes, would willingly let no raree-show escape -him, sent for him to court. Upon which Fenner added to his other -titles that of his “Majesty’s Riming Poet.” This gave offense to -Taylor, the Water poet, and helped to produce that miserable -squabble printed among his works, and from which I have principally -derived the substance of this note.’—G.</p> - -<p>‘In Richard Brome’s <i>Covent Garden Weeded</i> (circ. 1638), -we have: “Sure ’tis Fenner or his ghost. He was a riming souldier.” -(p. 42.)’—C.</p> - -<p>The controversy referred to may be found in the Spenser Society’s -reprint of the 1630 folio of Taylor’s <i>Works</i>, 1869, pp. 304-325. -Here may be gathered a few more facts regarding the life of Fenner -(or Fennor as it should be spelled), among them that he was apprenticed -when a boy to a blind harper. In the quarrel, it must be confessed, -Fennor does not appear markedly inferior to his derider either in -powers of versification or in common decency. The quarrel between -the poets took place in October, 1614, and Fennor’s admittance to -court seems to be referred to in the present passage.</p> - -<p><b>1. 1. 95 a Sheriffes dinner.</b> This was an occasion of -considerable extravagance. Entick (<i>Survey</i> 1. 499) tells us -that in 1543 a sumptuary law was passed ‘to prevent luxurious -eating or feasting in a time of scarcity; whereby it was -ordained, that the lord-mayor should not have more than seven -dishes at dinner or supper,’ and ‘an alderman and sheriff no -more than six.’</p> - -<p><b>1. 1. 96 Skip with a rime o’ the Table, from New-nothing.</b> -What is meant by <i>New-nothing</i> I do not know. From the -construction it would seem to indicate the place from which -the fool was accustomed to take his leap, but it is possible -that the word should be connected with <i>rime</i>, and may perhaps -be the translation of a Greek or Latin title for some book of -<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span> -<i>facetiae</i> published about this time. Such wits as Fennor and -Taylor doubtless produced many pamphlets, the titles of which -have not been recorded. In 1622 Taylor brought out a collection -of verse called ‘Sir Gregory Non-sense His Newes from no place,’ -and it may have been this very book in manuscript that suggested -Jonson’s title. In the play of <i>King Darius</i>, 1106, one of the -actors says: ‘I had rather then my new nothing, I were gon.’</p> - -<p><b>1. 1. 97 his Almaine-leape into a custard.</b> ‘In the -earlier days, when the city kept a fool it was customary for him -at public entertainments, to leap into a large bowl of custard -set on purpose.’—W. Whalley refers also to <i>All’s well that -Ends Well</i> 2. 5: ‘You have made a shift to run into it, boots -and all, like him that leapt into the custard.’</p> - -<p>Gifford quotes Glapthorne, <i>Wit in a Const.</i>:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">The custard, with the four and twenty nooks</span> -<span class="i5">At my lord Mayor’s feast.</span> -</div></div> - -<p>He continues: ‘Indeed, no common supply was required; for, -besides what the Corporation (great devourers of custard) -consumed on the spot, it appears that it was thought no breach -of city manners to send, or take some of it home with them for -the use of their ladies.’ In the excellent old play quoted -above, Clara twits her uncle with this practise:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Now shall you, sir, as ’tis a frequent custom,</span> -<span class="i5">‘Cause you’re a worthy alderman of a ward,</span> -<span class="i5">Feed me with custard, and perpetual white broth</span> -<span class="i5">Sent from the lord Mayor’s feast.’</span> -</div></div> - -<p>Cunningham says: ‘Poets of a comparatively recent date continue -to associate mayors and custards.’ He Quotes Prior <i>(Alma</i>, -Cant. 1) and a letter from Bishop Warburton to Hurd (Apr. -1766): ‘I told him (the Lord Mayor) in what I thought he was -defective—that I was greatly disappointed to see no custard at -table. He said that they had been so ridiculed for their custard -that none had ventured to make its appearance for some years.’ -Jonson mentions the ‘quaking custards’ again in <i>The Fox</i>, -<i>Wks.</i> 3. 164., and in <i>The Staple of News</i>, <i>Wks.</i> 5. 196, 7.</p> - -<p>An Almain-leap was a dancing leap. ‘Allemands were danced -here a few years back’ (Nares). Cunningham quotes from Dyce: -‘Rabelais tells us that Gargantua “wrestled, ran, jumped, not at -three steps and a leap, ... nor yet at the Almane’s, for, said -Gymnast, these jumps are for the wars altogether unprofitable -and of no use.” <i>Rabelais</i>, Book 1, C. 23.’</p> - -<p>Bishop Barlow, <i>Answer to a Catholike Englishman</i>, p. 231, Lond. -1607, says: ‘Now heere the Censurer makes an Almaine leape, -skipping 3 whole pages together’ (quoted in <i>N. & Q.</i> 1st Ser. 10. 157). -<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span></p> - -<p><b>1. 1. 97 their hoods.</b> The French hood was still worn by -citizens’ wives. Thus in the <i>London Prodigal</i>, ed. 1709:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">No <i>Frank</i>, I’ll have thee go like a <i>Citizen</i></span> -<span class="i5">In a Garded Gown, and a <i>French</i> Hood.</span> -</div></div> - -<p>When Simon Eyre is appointed sheriff, his wife immediately -inquires for a ‘Fardingale-maker’ and a ‘French-hood maker’ -(Dekker, <i>Wks.</i> 1. 39). Strutt says that French hoods were out -of fashion by the middle of the 17th century (<i>Antiq.</i> 3. 93). -See the frequent references to this article of apparel in <i>Bart. -Fair</i>. It is interesting to notice that the hoods are worn at dinner.</p> - -<p><b>1. 1. 106, 7.</b> The readings of ‘Whalley and Gifford are -distinctly inferior to the original.</p> - -<p><b><a name="Note_1_1_112"></a>1. 1. 112, 3 Car-men Are got into the -yellow starch.</b> Starch was introduced in the age of Elizabeth to meet -the needs of the huge Spanish ruff which had come into favor some -years before (see <i>Soc. Eng.</i>, p. 386). It was frequently -colored. In Middleton and Rowley’s <i>World Tossed at Tennis</i> -five different colored starches are personified. Stubbes says -that it was ‘of all collours and hues.’ Yellow starch must have -come into fashion not long before this play was acted, for in -the <i>Owle’s Allmanacke</i>, published in 1618, it is said: ‘Since -yellow bandes and saffroned chaperoones came vp, is not above -two yeeres past.’ This, however, is not to be taken literally, -for the execution of Mrs. Turner took place Nov. 14, 1615. Of -her we read in Howell’s Letters 1. 2: ‘Mistress <i>Turner</i>, the -first inventress of <i>yellow Starch</i>, was executed in a Cobweb -Lawn Ruff of that colour at <i>Tyburn</i>; and with her I believe -that <i>yellow Starch</i>, which so much disfigured our Nation, and -rendered them so ridiculous and fantastic, will receive its -Funeral.’ Sir S. D’Ewes <i>(Autobiog.</i> 1. 69) says that from that -day it did, indeed, grow ‘generally to be detested and disused.’ -<i>The Vision of Sir Thomas Overbury</i>, 1616 (quoted in Amos, -<i>Great Oyer</i>, p. 50) speaks of</p> - -<div class="poem"><div class="stanza"> -<span class="i15">——that fantastic, ugly fall and ruff</span> -<span class="i5">Daub’d o’er with that base starch of yellow stuff</span> -</div></div> - -<p class="no-indent">as already out of fashion. Its popularity must have -returned, however, since Barnaby Riche in the <i>Irish Hubbub</i>,1622, -p. 40, laments that ‘yellow starcht bands’ were more popular than -ever, and he prophesies that the fashion ‘shortly will be as -conversant amongst taylors, tapsters, and tinkers, as now they -have brought tobacco.’</p> - -<p>D’Ewes also in describing the procession of King James from -Whitehall to Westminster, Jan. 30, 1620, says that the king -saw one window ‘full of gentlewomen or ladies, all in yellow -bandes,’ whereupon he called out ‘A pox take yee,’ and they all -<span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span> -withdrew in shame. In <i>The Parson’s Wedding</i>, printed 1664, <i>O. -Pl.</i> 11. 498, it is spoken of as out of fashion. Yellow starch -is mentioned again in 5. 8. 74. 5, and a ballad of ‘goose-green -starch and the devil’ is mentioned in <i>Bart. Fair</i>, <i>Wks.</i> 4. -393. Similarly, Nash speaks in <i>Pierce Pennilesse</i>, <i>Wks.</i> 2. -44. of a ‘Ballet of Blue starch and poaking stick.’ See also -Dodsley’s note on <i>Albumazar</i>, <i>O. Pl.</i> 7. 132.</p> - -<p><b>1. 1. 113, 4 Chimney-sweepers To their tabacco.</b> See the -quotation from Riche in the last note and note 5. 8. 71.</p> - -<p><b><a name="Note_1_1_114"></a>1. 1. 114, 5 Hum, Meath, and Obarni.</b> Hum is -defined B. E. <i>Dict. Cant. Crew, Hum</i> or <i>Humming Liquor</i>, Double Ale, -Stout, Pharoah. It is mentioned in Fletcher’s <i>Wild Goose Chase</i> 2. 3 -and Heywood’s <i>Drunkard</i>. p. 48. Meath or mead is still made -in England. It was a favorite drink in the Middle Ages, and -consisted of a mixture of honey and water with the addition of -a ferment. Harrison, <i>Description of England</i>, ed. Furnivall, -1. 161, thus describes it: ‘There is a kind of swish swash made -also in Essex, and diuerse other places, with honicombs and -water, which the [homelie] countrie wiues, putting some pepper -and a little other spice among, call mead, verie good in mine -opinion for such as loue to be loose bodied [at large, or a -little eased of the cough,] otherwise it differeth so much from -the true metheglin, as chalke from cheese.’</p> - -<p>Obarni was long a crux for the editors and dictionaries. Gifford -(<i>Wks.</i> 7. 226) supplied a part of the quotation from <i>Pimlyco or -Runne Red-Cap</i>, 1609, completed by James Platt, Jun. (<i>N. & Q.</i> -9th Ser. 3. 306). in which ‘Mead Obarne and Mead Cherunk’ are -mentioned as drinks</p> - -<div class="poem"><div class="stanza"> -<span class="i11">——that whet the spites</span> -<span class="i5">Of Russes and cold Muscovites.</span> -</div></div> - -<p>Mr. Platt first instanced the existing Russian word <i>obarni</i> -or <i>obvarnyi</i> (see Gloss.), meaning ‘boiling, scalding,’ and -C. C. B. (<i>N. & Q.</i> 9. 3. 413) supplied a quotation from the -account of the voyage of Sir Jerome Bowes in 1583 (Harris’s -<i>Travels</i> 1. 535), in which ‘Sodden Mead’ appears among the -items of diet supplied by the Emperor to the English Ambassador. -The identification was completed with a quotation given by the -<i>Stanford Dict.</i>: ‘1598 Hakluyt <i>Voy.</i> 1. 461 One veather -of sodden mead called <i>Obarni</i>.’</p> - -<p><b>1. 1. 119 your rope of sand.</b> This occupation is mentioned -again in 5. 2. 6.</p> - -<p><b>1. 1. 126 Tissue gownes.</b> Howes, p. 869. tells us that -John Tuce, ‘dweling neere Shorditch Church’, first attained -perfection in the manufacture of cloth of tissue.</p> - -<p><b>1. 1. 127 Garters and roses.</b> Howes, p. 1039, says that -‘at this day (1631) men of meane rancke weare Garters, and shooe -Roses, of more than fiue pound price.’ Massinger, in the -<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span> -<i>City Madam</i>, <i>Wks.</i>, p. 334, speaks of ‘roses worth a -family.’ Cf. also John Taylor’s <i>Works</i>, 1630 -(quoted in <i>Hist. Brit. Cost</i>.):</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Weare a farm in shoe-strings edged with gold</span> -<span class="i5">And spangled garters worth a copyhold.</span> -</div></div> - -<p><b><a name="Note_1_1_128"></a>1. 1. 128 Embroydred stockings.</b> ‘Then -haue they nether-stocks to these gay hosen, not of cloth (though neuer so -fine) for that is thought to base, but of <i>Iarnsey</i> worsted, -silk, thred, and such like, or els at the least of the finest -yarn <i>that</i> can be, and so curiouslye knit with open seam down -the leg, with quirks and clocks about the ancles, and sometime -(haply) interlaced with gold or siluer threds, as is wonderful -to behold.’—Stubbes, <i>Anat.</i>, Part 1, p. 57. The selling -of stockings was a separate trade at this time, and great -attention was paid to this article of clothing. Silk stockings -are frequently mentioned by the dramatists. Cf. Stephen Gosson, -<i>Pleasant Quippes</i>:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">These worsted stockes of bravest die, and silken garters fring’d with gold;</span> -<span class="i0">These corked shooes to beare them hie makes them to trip it on the molde;</span> -<span class="i0">They mince it with a pace so strange,</span> -<span class="i0">Like untam’d heifers when they range.</span> -</div></div> - -<p><b>1. 1. 128 cut-worke smocks, and shirts.</b> Cf. B. & Fl., -<i>Four Plays in One</i>:</p> - -<div class="poem"><div class="stanza"> -<span class="i17">——She show’d me gownes, head tires,</span> -<span class="i5">Embroider’d waistcoats, smocks seamed with cutworks.</span> -</div></div> - -<p><b>1. 1. 135 But you must take a body ready made.</b> King James -in his <i>Dæmonologie</i> (<i>Wks.</i>, ed. 1616, p. 120) explains that -the devil, though but of air, can ‘make himself palpable, either -by assuming any dead bodie, and vsing the ministerie thereof, or -else by deluding as well their sence of feeling as seeing.’</p> - -<p><b>1. 1. 143 our tribe of Brokers.</b> Cf. <i>Ev. Man in</i>, -<i>Wks.</i> 1. 82:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">‘<i>Wel.</i> Where got’st thou this coat, I marle?</span> -<span class="i5"><i>Brai.</i> Of a Hounsditch man, sir, one of the devil’s near kinsmen, a broker.’</span> -</div></div> - -<p>The pawnbrokers were cordially hated in Jonson’s time. Their -quarter was Houndsditch. Stow says: ‘there are crept in among -them [the inhabitants of Houndsditch] a base kinde of vermine, -wel-deserving to bee ranked and numbred with them, whom our old -Prophet and Countryman, <i>Gyldas</i>, called <i>Ætatis atramentum</i>, -the black discredit of the Age, and of place where they are suffered -to live.... These men, or rather monsters in the shape of men, -professe to live by lending, and yet will lend nothing but upon pawnes;’ etc. -<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span></p> - -<p>Nash speaks of them in a similar strain: ‘Fruits shall be greatly -eaten with Catterpillers; as Brokers, Farmers and Flatterers, which -feeding on the sweate of other mens browes, shall greatlye hinder -the beautye of the spring.’—<i>Prognostication</i>, <i>Wks.</i>2. 145. -‘They shall crie out against brokers, as Jeremy did against false -prophets.’ <i>Ibid.</i> 2. 162.</p> - -<p><b>1. 1. 148 as you make your soone at nights relation.</b> Cf. -Dekker, <i>Satiromastix</i>, <i>Wks.</i> 1. 187: ‘Shee’l be a late -sturrer soone at night sir,’ and <i>ibid.</i> 223:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">By this faire Bride remember soone at night.</span> -</div></div> - -<p><b>1. 2. 1 ff. I, they doe, now</b>, etc. ‘Compare this -exquisite piece of sense, satire, and sound philosophy in 1616 -with Sir M. Hale’s speech from the bench in a trial of a witch -many years afterwards.’—Coleridge, <i>Notes</i>, p. 280.</p> - -<p><b>1. 2. 1 Bretnor.</b> An almanac maker (fl. 1607-1618). A list -of his works, compiled from the catalogue of the British Museum, -is given in the <i>DNB</i>. He is mentioned twice by Middleton:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">This farmer will not cast his seed i’ the ground</span> -<span class="i5">Before he look in Bretnor.</span> -<span class="i25">—<i>Inner-Temple Masque</i>, <i>Wks.</i> 7. 211.</span> -</div></div> - -<p>‘<i>Chough.</i> I’ll not be married to-day, Trimtram: hast e’er an -almanac about thee? this is the nineteenth of August, look what -day of the month ’tis.</p> - -<div class="poem"><div class="stanza"> -<span class="i5"><i>Trim.</i> ’Tis tenty-nine indeed, sir. [<i>Looks in almanac.</i></span> -<span class="i5"><i>Chough.</i> What’s the word? What says Bretnor?</span> -<span class="i5"><i>Trim.</i> The word is, sir, <i>There’s a hole in her coat</i>.’</span> -<span class="i19">—Middleton, <i>A Fair Quarrel</i>, <i>Wks.</i> 4. 263.</span> -</div></div> - -<p>Fleay identifies him with Norbret, one of the astrologers in -Beaumont and Fletcher’s <i>Rollo, Duke of Normandy</i>.</p> - -<p><b><a name="Note_1_2_2"></a>1. 2. 2 Gresham.</b> A pretended astrologer, -contemporary with Forman, and said to be one of the associates of the infamous -Countess of Essex and Mrs. Turner in the murder of Sir Thomas -Overbury. Arthur Wilson mentions him in <i>The Life of James I.</i>, p. 70:</p> - -<p>‘Mrs. <i>Turner</i>, the Mistris of the <i>Work</i>, had lost both her -supporters. <i>Forman</i>, her first prop, drop’t away suddenly by -death; and <i>Gresham</i> another rotten <i>Engin</i> (that succeded him) -did not hold long: She must now bear up all her self.’</p> - -<p>He is mentioned twice in Spark’s <i>Narrative History of King -James</i>, Somer’s <i>Tracts</i> 2. 275: ‘Dr. Forman being dead, Mrs. -Turner wanted one to assist her; whereupon, at the countesses -coming to London, one Gresham was nominated to be entertained in -this businesse, and, in processe of time, was wholly interested -<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span> -in it; this man was had in suspition to have had a hand in the -Gunpowder plot, he wrote so near it in his almanack; but, without all -question, he was a very skilful man in the mathematicks, and, in -his latter time, in witchcraft, as was suspected, and therefore the -fitter to bee imployed in those practises, which, as they were devilish, -so the devil had a hand in them.’</p> - -<p><i>Ibid.</i> 287: ‘Now Gresham growing into years, having spent much -time in many foule practises to accomplish those things at this -time, gathers all his babies together, <i>viz.</i> pictures in lead, -in wax, in plates of gold, of naked men and women with crosses, -crucifixes, and other implements, wrapping them all up together -in a scarfe, crossed every letter in the sacred word Trinity, -crossed these things very holily delivered into the hands of one -Weston to bee hid in the earth that no man might find them, and -so in Thames-street having finished his evill times he died, -leaving behind him a man and a maid, one hanged for a witch, and -the other for a thief very shortly after.’</p> - -<p>In the ‘Heads of Charges against Robert, Earl of Somerset’, -drawn up by Lord Bacon, we read: ‘That the countess laboured -Forman and Gresham to inforce the Queen by witchcraft to favour -the countess’ (Howell’s <i>State Trials</i> 2. 966). To this King -James replied in an ‘Apostyle,’ <i>Nothing to Somerset</i>. This -exhausts the references to Gresham that I have been able to -find. See note on Savory, <a href="#Note_1_2_3">1. 2. 3.</a></p> - -<p><b>1. 2. 2. Fore-man.</b> Simon Foreman, or Forman (1552-1611) -was the most famous of the group of quacks here mentioned. He -studied at Oxford, 1573-1578, and in 1579 began his career as -a necromancer. He claimed the power to discover lost treasure, -and was especially successful in his dealings with women. A -detailed account of his life is given in the <i>DNB</i>. and a short -but interesting sketch in <i>Social England</i> 4. 87. The chief -sources are Wm. Lilly’s <i>History</i> and a diary from 1564 to 1602, -with an account of Forman’s early life, published by Mr. J. O. -Halliwell-Phillipps for the Camden Soc., 1843.</p> - -<p>He is mentioned again by Jonson in <i>Silent Woman</i>, <i>Wks.</i> -3. 413: ‘<i>Daup.</i> I would say, thou hadst the best philtre in the -world, and couldst do more than Madam Medea, or Doctor Foreman.’ -In <i>Sir Thomas Overbury’s Vision</i> (Harl. Ms., vol. 7, quoted in -D’Ewes’ <i>Autobiog.</i>, p. 89) he is spoken of as ‘that fiend in human shape.’</p> - -<p><b><a name="Note_1_2_3"></a>1. 2. 3 Francklin.</b> Francklin was an apothecary, -and procured the poison for Mrs. Turner (see Amos, <i>Great Oyer</i>. p. 97). -He was one of the three persons executed with Mrs. Turner. -Arthur Wilson, in his <i>Life of James I.</i> (p. 70), describes him -as ‘a swarthy, sallow, crooked-backt fellow, who was to be the -<i>Fountain</i> whence these bitter waters came.’ See also Somer’s -<i>Tracts</i> 2. 287. The poem already quoted furnishes a description of Francklin: -<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span></p> - -<div class="poem"><div class="stanza"> -<span class="i5">A man he was of stature meanly tall.</span> -<span class="i5">His body’s lineaments were shaped, and all</span> -<span class="i5">His limbs compacted well, and strongly knit.</span> -<span class="i5">Nature’s kind hand no error made in it.</span> -<span class="i5">His beard was ruddy hue, and from his head</span> -<span class="i5">A wanton lock itself did down dispread</span> -<span class="i5">Upon his back; to which while he did live</span> -<span class="i5">Th’ ambiguous name of <i>Elf-lock</i> he did give.</span> -<span class="i30">—Quoted in Amos. p. 50.</span> -</div></div> - -<p><b>1. 2. 3 Fiske.</b> ‘In this year 1633, I became acquainted -with Nicholas Fiske, licentiate in physick, who was borne in -Suffolk, near Framingham [Framlingham] Castle, of very good -parentage.... He was a person very studious, laborious, and of -good apprehension.... He was exquisitely skilful in the art of -directions upon nativities, and had a good genius in performing -judgment thereupon.... He died about the seventy-eighth year of -his age, poor.’—Lilly, <i>Hist.</i>, p. 42 f.</p> - -<p>Fiske appears as La Fiske in <i>Rollo, Duke of Normandy</i>, and is -also mentioned by Butler, <i>Hudibr</i>., Part 2, Cant. 3. 403:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">And nigh an ancient obelisk</span> -<span class="i5">Was rais’d by him, found out by <i>Fisk</i>.</span> -</div></div> - -<p><b>1. 2. 3 Sauory.</b> ‘And therefore, she fearing that her -lord would seek some public or private revenge against her, by -the advice of the before-mentioned Mrs. Turner, consulted and -practised with Doctor Forman and Doctor Savory, two conjurers, -about the poisoning of him.’—D’Ewes, <i>Autobiog.</i> 1. 88. 9.</p> - -<p>He was employed after the sudden death of Dr. Forman. Wright -(<i>Sorcery and Magic</i>, p. 228) says that the name is written -Lavoire in some manuscripts. ‘Mrs. Turner also confessed, that -Dr. Savories was used in succession, after Forman, and practised -many sorceries upon the Earle of Essex his person.’—Spark, -<i>Narrative History</i>, Somer’s <i>Tracts</i> 2. 333.</p> - -<p>In the <i>Calendar of State Papers</i> the name of ‘Savery’ -appears four times. Under date of Oct. 16, 1615, we find Dr. Savery -examined on a charge of ‘spreading Popish Books.’ ‘Savery -pretends to be a doctor, but is probably a conjurer.’ And again -under the same date he is interrogated as to his relations with -Mrs. Turner and Forman. Under Oct. 24 he replies to Coke. ‘Oct. -?’ we find Dr. Savery questioned as to his ‘predictions of -troubles and alterations in Court.’ This is the last mention of him.</p> - -<p>Just what connection Gresham and Savory had with the Overbury -plot is a difficult matter to determine. Both are spoken of as -following Forman immediately, and of neither is any successor -mentioned except the actual poisoner, Franklin. It seems -probable that Gresham was the first to be employed after Forman, -<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span> -and that his own speedy death led to the selection of Savory. -How the latter managed to escape a more serious implication in -the trial it is difficult to conceive.</p> - -<p><b><a name="Note_1_2_6"></a>1. 2. 6-9 christalls, ... characters.</b> -As in other fields, Jonson is well versed in magic lore. Lumps of crystal -were one of the regular means of raising a demon. Bk. 15, Ch. 16 of -Scot’s <i>Discovery of Witchcraft</i>, 1584, is entitled: ‘To make a -spirit appear in a christall’, and Ch. 12 shows ‘How to enclose -a spirit in a christall stone.’</p> - -<p>Lilly (<i>History</i>, p. 78) speaks of the efficacy of ‘a -constellated ring’ in sickness, and they were doubtless -considered effective in more sinister dealings. Jonson has -already spoken of the devil being carried in a thumb-ring -(<a href="#Page_6">see note P. 6</a>).</p> - -<p>Charms were usually written on parchment. In Barrett’s <i>Magus</i>, -Bk. 2, Pt. 3. 109, we read that the pentacle should be drawn -‘upon parchment made of a kid-skin, or virgin, or pure clean white paper.’</p> - -<p>That parts of the human body belonged to the sorcerer’s -paraphernalia is shown by the Statute 1 Jac. I. c. xii, which -contains a clause forbidding conjurors to ‘take up any dead -man woman or child out of his her or their grave ... or the -skin bone or any other parte of any dead person, to be imployed -or used in any manner of Witchcrafte Sorcerie Charme or Inchantment.’</p> - -<p>The wing of the raven, as a bird of ill omen, may be an -invention of Jonson’s own. The lighting of candles within the -magic circle is mentioned below (note 1. 2. 26).</p> - -<p>Most powerful of all was the pentacle, of which Scot’s -<i>Discovery</i> (Ap. II, p. 533, 4) furnishes an elaborate -description. This figure was used by the Pythagorean school as -their seal, and is equivalent to the pentagram or five-pointed -star (see <i>CD.</i>).</p> - -<p>Dekker (<i>Wks.</i> 2. 200) connects it with the Periapt as a ‘potent -charm,’ and Marlowe speaks of it in <i>Hero and Leander</i>, -<i>Wks.</i> 3. 45:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">A rich disparent pentacle she wears,</span> -<span class="i5">Drawn full of circles and strange characters.</span> -</div></div> - -<p>It will be remembered that the inscription of a pentagram on -the threshold prevents the escape of Mephistopheles in Goethe’s -<i>Faust</i>. The editors explain its potency as due to the fact that -it is resolvable into three triangles, and is thus a triple sign -of the Trinity.</p> - -<p>Cunningham says that the pentacle ‘when delineated upon the -body of a man was supposed to point out the five wounds of the -Saviour.’ W. J. Thoms (<i>Anecdotes</i>, Camden Soc., 1839, p. 97) -speaks of its presence in the western window of the southern -aisle of Westminster Abbey, an indication that the monks were versed in occult science. -<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span></p> - -<p><b>1. 2. 21 If they be not.</b> Gifford refers to Chrysippus, -<i>De Divinatione,</i> Lib. 1. § 71: ‘This is the very syllogism by -which that acute philosopher triumphantly proved the reality of -augury.’</p> - -<p><b><a name="Note_1_2_22"></a>1. 2. 22 Why, are there lawes against ’hem?</b> -It was found necessary in 1541 to pass an act (33 Hen. VIII. c. 8) by -which—‘it shall be felony to practise, or cause to be practised -conjuration, witchcrafte, enchantment, or sorcery, to get -money: or to consume any person in his body, members or goods; -or to provoke any person to unlawful love; or for the despight -of Christ, or lucre of money, to pull down any cross; or to -declare where goods stolen be.’ Another law was passed 1 Edward -VI. c. 12 (1547). 5 Elizabeth. c. 16 (1562) gives the ‘several -penalties of conjuration, or invocation of wicked spirits, and -witchcraft, enchantment, charm or sorcery.’ Under Jas. I, anno -secundo (vulgo primo), c. 12, still another law was passed, -whereby the second offense was declared a felony. The former act -of Elizabeth was repealed. This act of James was not repealed -until 9 George II. c. 5.</p> - -<p><i>Social England</i>, p. 270, quotes from Ms. Lansdowne, -2. Art. 26, a deposition from William Wicherley, conjurer, in which -he places the number of conjurers in England in 1549 above five -hundred. A good idea of the character of the more disreputable -type of conjurer can be got from Beaumont and Fletcher’s -<i>Fair Maid of the Inn</i>. See especially Act 5, Sc. 2.</p> - -<p><b>1. 2. 26 circles.</b> The magic circle is one of the things -most frequently mentioned among the arts of the conjurer. Scot -(<i>Discovery</i>, p. 476) has a long satirical passage on the -subject, in which he enjoins the conjurer to draw a double -circle with his own blood, to divide the circle into seven -parts and to set at each division a ‘candle lighted in a brazen candlestick.’</p> - -<p><b>1. 2. 27 his hard names.</b> A long list of the ‘diverse -names of the divell’ is given in <i>The Discovery</i>, p. 436, and -another in the Second Appendix, p. 522.</p> - -<p><b>1. 2. 31, 2 I long for thee. An’ I were with child by him, ... -I could not more.</b> The expression is common enough. Cf. -<i>Eastward Hoe</i>: ‘Ger. As I am a lady, I think I am with child -already, I long for a coach so.’ Dekker, <i>Shomakers Holiday</i>, -<i>Wks.</i> 1. 17: ‘I am with child till I behold this huffecap.’ The -humors of the longing wife are a constant subject of ridicule. -See <i>Bart. Fair</i>, Act 1, and Butler’s <i>Hudibras</i>, ed. 1819, -3. 78 and note.</p> - -<p><b>1. 2. 39 A thousand miles.</b> ‘Neither are they so much -limited as Tradition would have them; for they are not at all -shut up in any separated place: but can remove millions of miles -in the twinkling of an eye.’—Scot, <i>Discovery</i>, Ap. II, p. 493.</p> - -<p><b>1. 2. 43 The burn’t child dreads the fire.</b> Jonson is fond of -proverbial expressions. Cf. 1. 6. 125; 1. 6. 145; 5. 8. 142, 3, etc. -<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span></p> - -<p><b>1. 3. 5 while things be reconcil’d.</b> In Elizabethan -English both <i>while</i> and <i>whiles</i> often meant ‘up to the time -when’, as well as ‘during the time when’ (d. a similar use of -‘dum’ in Latin and of ἕ ος in Greek).—Abbot, §137.</p> - -<p>For its frequent use in this sense in Shakespeare see Schmidt -and note on <i>Macbeth</i> 3. 1. 51, Furness’s edition. Cf. also -Nash, <i>Prognostication</i>, <i>Wks.</i> 2. 150: ‘They shall ly in their -beds while noon.’</p> - -<p><b>1. 3. 8, 9 those roses Were bigge inough to hide a clouen -foote.</b> Dyce (<i>Remarks</i>, p. 289) quotes Webster, -<i>White Devil</i>, 1612:</p> - -<div class="poem"><div class="stanza"> -<span class="i25">—why, ’tis the devil;</span> -<span class="i5">I know him by a great rose he wears on’s shoe,</span> -<span class="i5">To hide his cloven foot.</span> -</div></div> - -<p class="no-indent">Cunningham adds a passage from Chapman, <i>Wks.</i> 3. 145:</p> - -<div class="poem"><div class="stanza"> -<span class="i7"><i>Fro.</i> Yet you cannot change the old fashion (they say)</span> -<span class="i5">And hide your cloven feet.</span> -<span class="i7"><i>Oph.</i> No! I can wear roses that shall spread quite</span> -<span class="i5">Over them.</span> -</div></div> - -<p>Gifford quotes Nash, <i>Unfortunate Traveller</i>, <i>Wks.</i> 5. 146: -‘Hee hath in eyther shoo as much taffaty for his tyings, as -would serue for an ancient.’ Cf. also Dekker, <i>Roaring Girle</i>, -<i>Wks.</i> 3. 200: ‘Haue not many handsome legges in silke stockins -villanous splay feet for all their great roses?’</p> - -<p><b>1. 3. 13 My Cater.</b> Whalley changes to ‘m’acter’ on the -authority of the <i>Sad Shep.</i> (vol. 4. 236):</p> - -<div class="poem"><div class="stanza"> -<span class="i10">—Go bear ’em in to Much</span> -<span class="i5">Th’ acater.</span> -</div></div> - -<p>The form ‘cater’, however, is common enough. Indeed, if we are -to judge from the examples in Nares and <i>NED.</i>, it is much the -more frequent, although the present passage is cited in both -authorities under the longer form.</p> - -<p><b>1. 3. 21 I’le hearken.</b> W. and G. change to ‘I’d.’ The -change is unnecessary if we consider the conditional clause -as an after-thought on the part of Fitzdottrel. For a similar -construction see 3. 6. 34-6.</p> - -<p><b>1. 3. 27 Vnder your fauour, friend, for, I’ll not -quarrell.</b> ‘This was one of the qualifying expressions, by -which, “according to the laws of the duello”, the lie might be -given, without subjecting the speaker to the absolute necessity -of receiving a challenge.’—G.</p> - -<p>Leigh uses a similar expression. Cf. note 2. 1. 144. It occurs -several times in <i>Ev. Man in</i>:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">‘<i>Step.</i> Yet, by his leave, he is a rascal, under his favour, do you see.</span> -<span class="i5"><i>E. Know.</i> Ay, by his leave, he is, and under favour: a pretty piece of civility!’</span> -<span class="i40">—<i>Wks.</i> 1. 68.</span> -<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span> -</div><div class="stanza"> -<span class="i5">‘<i>Down.</i> ’Sdeath! you will not draw then?</span> -<span class="i5"><i>Bob.</i> Hold, hold! under thy favour forbear!’</span> -<span class="i40">—<i>Wks.</i> 1. 117.</span> -</div><div class="stanza"> -<span class="i5">‘<i>Clem.</i> Now, sir, what have you to say to me?</span> -<span class="i5"><i>Bob.</i> By your worship’s favour——.’</span> -<span class="i40">—<i>Wks.</i> 1. 140.</span> -</div></div> - -<p class="no-indent">I have not been able to confirm Gifford’s assertion.</p> - -<p><b>1. 3. 30 that’s a popular error.</b> Gifford refers to <i>Othello</i> 5. 2. 286:</p> - -<div class="poem"><div class="stanza"> -<span class="i5"><i>Oth.</i> I look down towards his feet,—but that’s a fable.—</span> -<span class="i9">If that thou be’st a devil, I cannot kill thee.</span> -</div></div> - -<p class="no-indent">Cf. also <i>The Virgin Martyr</i>, Dekker’s <i>Wks.</i> 4. 57:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">—Ile tell you what now of the Divel;</span> -<span class="i5">He’s no such horrid creature, cloven footed,</span> -<span class="i5">Black, saucer-ey’d, his nostrils breathing fire,</span> -<span class="i5">As these lying Christians make him.</span> -</div></div> - -<p><b>1. 3. 34 Of Derby-shire, S<sup>r</sup>. about the Peake.</b> Jonson -seems to have been well acquainted with the wonders of the Peak -of Derbyshire. Two of his masques, <i>The Gipsies Metamorphosed</i>, -acted first at Burleigh on the Hill, and later at Belvoir, -Nottinghamshire, and <i>Love’s Welcome at Welbeck</i>, acted in 1633 -at Welbeck, Nottinghamshire, the seat of William Cavendish, Earl -of Newcastle, are full of allusions to them. The Devil’s Arse -seems to be the cavern now known to travellers as the <i>Peak</i> -or <i>Devil’s Cavern</i>. It is described by Baedeker as upwards of -2,000 feet in extent. One of its features is a subterranean -river known as the Styx. The origin of the cavern’s name is -given in a coarse song in the <i>Gypsies Met.</i> -(<i>Wks.</i> 7. 357), beginning:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Cocklorrel would needs have the Devil his guest,</span> -<span class="i5">And bade him into the Peak to dinner.</span> -</div></div> - -<p>In <i>Love’s Welcome</i> Jonson speaks again of ‘Satan’s sumptuous -Arse’, <i>Wks.</i> 8. 122.</p> - -<p><b>1. 3. 34, 5.   That Hole.<br /> - Belonged to your Ancestors?</b>Jonson frequently omits the relative -pronoun. Cf. 1. 5. 21; 1. 6. 86, 87; 3. 3. 149; 5. 8. 86, 87.</p> - -<p><b>1. 3. 38 Foure pound a yeere.</b> ‘This we may suppose to have -been the customary wages of a domestic servant.’—C. Cunningham -cites also the passage in the <i>Alchemist</i>, <i>Wks.</i> 4. 12; -‘You were once ... the good, Honest, plain, livery-three-pound-thrum, -that kept Your master’s worship’s house,’ in which he takes the -expression ‘three-pound’ to be the equivalent of ‘badly-paid’.</p> - -<p><b>1. 4. 1 I’ll goe lift him.</b> Jonson is never tired of punning -on the names of his characters.</p> - -<p><b>1. 4. 5 halfe a piece.</b> ‘It may be necessary to observe, -once for all, that the <i>piece</i> (the double sovereign) went for -<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span> -two and twenty shillings.’—G. Compare 3. 3. 83, where a -hundred pieces is evidently somewhat above a hundred pounds. -By a proclamation, Nov. 23, 1611, the piece of gold called the -Unitie, formerly current at twenty shillings was raised to the -value of twenty two shillings (S. M. Leake, <i>Eng. Money</i> 2. -276). Taylor, the water-poet, tells us that Jonson gave him ‘a -piece of gold of two and twenty shillings to drink his health -in England’ (<i>Conversations</i>, quoted in Schelling’s <i>Timber</i>, -p. 105). In the <i>Busie Body</i> Mrs. Centlivre uses <i>piece</i> as -synonymous with <i>guinea</i> (2d ed., pp. 7 and 14).</p> - -<p><b>1. 4. 31 Iust what it list.</b> Jonson makes frequent use of the -subjunctive. Cf. 1. 3. 9; 1. 6. 6; 5. 6. 10; etc.</p> - -<p><b>1. 4. 43 Ô here’s the bill, S<sup>r</sup>.</b> Collier says that the -use of play-bills was common prior to the year 1563 (Strype, -<i>Life of Grindall,</i> ed. 1821, p. 122). They are mentioned in -<i>Histriomastix</i>, 1610; <i>A Warning for Fair Women</i>, 1599, etc. -See Collier, <i>Annals</i> 3. 382 f.</p> - -<p><b>1. 4. 50 a rotten Crane.</b> Whalley restores the right -reading, correctly explained as a pun on Ingine’s name.</p> - -<p><b>1. 4. 60 Good time!</b> Apparently a translation of the Fr. -<i>A la bonne heure</i>, ‘very good’, ‘well done!’ etc.</p> - -<p><b>1. 4. 65 The good mans gravity.</b> Cf. Homer, <i>Il.</i>, Γ 105:</p> - -<p class="center">ἄξετε δὲ Πριάμοιο Βίην.</p> - -<p>Shak., <i>Tempest</i> 5. 1: ‘First, noble friend, let me embrace -thine age.’ <i>Catiline</i> 3. 2.: ‘Trouble this good shame (good and -modest lady) no farther.’</p> - -<p><b>1. 4. 70 into the shirt.</b> Cf. Dekker, <i>Non-dram. Wks.</i> 2. -244: ‘Dice your selfe into your shirt.’</p> - -<p><b>1. 4. 71 Keepe warme your wisdome?</b> Cf. <i>Cyn. Rev.</i>, -<i>Wks.</i> 2. 241: ‘<i>Madam, your whole self cannot but be perfectly -wise; for your hands have wit enough to keep themselves warm.</i>’ -Gifford’s note on this passage is: ‘This proverbial phrase is -found in most (sic) of our ancient dramas. Thus in <i>The Wise -Woman of Hogsden</i>: “You are the wise woman, are you? You <i>have -wit to keep yourself warm enough</i>, I warrant you”’. Cf. also -<i>Lusty Juventus</i>, p. 74: ‘Cover your head; For indeed you have -need to keep in your wit.’</p> - -<p><b>1. 4. 72 You lade me.</b> ‘This is equivalent to the modern -phrase, you do not spare me. You lay what imputations you please -upon me.’—G.</p> - -<p>The phrase occurs again in 1. 6. 161, where Wittipol calls -Fitzdottrel an ass, and says that he cannot ‘scape his lading’. -‘You lade me’, then, seems to mean ‘You make an ass of me’. -The same use of the word occurs in Dekker, <i>Olde Fortunatus</i>, -<i>Wks.</i> 1. 125: ‘I should serue this bearing asse rarely now, if -I should load him’. And again in the works of Taylor, the Water Poet, -<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span> -p. 311: ‘My Lines shall load an Asse, or whippe an Ape.’ Cf. -also <i>Bart. Fair</i>, <i>Wks.</i> 4. 421: ‘Yes, faith, I have my -lading, you see, or shall have anon; you may know whose beast I am -by my burden.’</p> - -<p><b>1. 4. 83, 4   But, not beyond</b>,<br /> - <b>A minute, or a second, looke for.</b> The omission of the -comma after <i>beyond</i> by all the later editors destroys the -sense. Fitzdottrel does not mean that Wittipol cannot have -‘beyond a minute’, but that he cannot have a minute beyond the -quarter of an hour allowed him.</p> - -<p><b>1. 4. 96 Migniard.</b> ‘Cotgrave has in his dictionary, -“<i>Mignard</i>—migniard, prettie, quaint, neat, feat, wanton, -dainty, delicate.” In the <i>Staple of News</i> [<i>Wks.</i> 5. 221] -Jonson tries to introduce the substantive <i>migniardise</i>, but -happily without success.’—G.</p> - -<p><b>1. 4. 101 Prince Quintilian.</b> The reputation of this -famous rhetorician (c 35-c 97 A. D.) is based on his great -work entitled <i>De Instiutione Oratoria Libri</i> XII. The first -English edition seems to have been made in 1641, but many -Continental editions had preceded it. The title Prince seems -to be gratuitous on Jonson’s part. He is mentioned again in -<i>Timber</i> (ed. Schelling, 57. 29 and 81. 4).</p> - -<p><b>1. 5. 2</b> Cf. <i>New Inn</i>, <i>Wks.</i> 5. 323:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">‘<i>Host.</i> What say you, sir? where are you, are you within?</span> -<span class="i25">(<i>Strikes</i> <span class="smcap">Lovel</span> <i>on the breast</i>.)’</span> -</div></div> - -<p><b>1. 5. 8, 9. Old Africk, and the new America,<br /> -      With all their fruite of Monsters.</b> -Cf. Donne, <i>Sat.</i>, <i>Wks.</i> 2. 190 (ed. 1896):</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Stranger ...</span> -<span class="i5">Than Afric’s monsters, Guiana’s rarities.</span> -</div></div> - -<p>Brome, <i>Queen’s Exchange</i>, <i>Wks.</i> 3. 483: ‘What monsters are -bred in <i>Affrica</i>?’ Glapthorne, <i>Hollander</i>, <i>Wks.</i>, 1874, -1. 81: ‘If <i>Africke</i> did produce no other monsters,’ etc. The -people of London at this time had a great thirst for monsters. -See Alden, <i>Bart. Fair</i>, p. 185, and Morley, <i>Memoirs of -Bartholomew Fair</i>.</p> - -<p><b>1. 5. 17 for hidden treasure.</b> ‘And when he is appeared, -bind him with the bond of the dead above written: then saie -as followeth. I charge thee N. by the father, to shew me true -visions in this christall stone, if there be anie treasure -hidden in such a place N. & wherein it now lieth, and how -manie foot from this peece of earth, east, west, north, or -south.’—Scot, <i>Discovery</i>, p. 355.</p> - -<p>Most of the conjurers pretended to be able to recover stolen -treasure. The laws against conjurers (see note <a href="#Note_1_2_6">1. 2. 6</a>) -contained clauses forbidding the practice.</p> - -<p><b>1. 5. 21 his men of Art.</b> A euphemism for conjurer. -Cf. B. & Fl., <i>Fair Maid of the Inn</i> 2. 2:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">‘<i>Host.</i> Thy master, that lodges here in my Osteria, is a rare man of art; they say he’s a witch.</span> -<span class="i5"><i>Clown.</i> A witch? Nay, he’s one step of the ladder to preferment higher; he’s a conjurer.’</span> -<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span> -</div></div> - -<p><b>1. 6. 10 wedlocke.</b> Wife; a common latinism of the period.</p> - -<p><b><a name="Note_1_6_14"></a>1. 6. 14 it not concernes thee?</b> A not -infrequent word-order in Jonson. Cf. 4. 2. 22.</p> - -<p><b><a name="Note_1_6_18"></a>1. 6. 18 a Niaise.</b> Gifford says that the side -note ‘could scarcely come from Jonson; for it explains nothing. A niaise (or rather -an <i>eyas</i>, of which it is a corruption) is unquestionably a young hawk, -but the niaise of the poet is the French term for, “a simple, witless, -inexperienced gull”, &c. The word is very common in our old writers.’</p> - -<p>The last statement is characteristic of Gifford. It would have -been well in this case if he had given some proof of his assertion. -The derivation <i>an eyas</i> > <i>a nyas</i> is probably incorrect. The -<i>Centary Dictionary</i> gives ‘<i>Niaise</i>, <i>nyas</i> (and corruptly <i>eyas</i>, -by misdivision of <i>a nias</i>).’ The best explanation I can give of -the side note is this. The glossator takes the meaning ‘simpleton’ -for granted. But Fitzdottrel has just said ‘Laught at, sweet bird?’ -In explanation the side note is added. This, perhaps, does not help -matters much and, indeed, I am inclined to believe with Gifford that -the side notes are by another hand than Jonson’s. -See Introduction, pp. <a href="#Page_xiii">xiii</a>, <a href="#Page_xvii">xvii</a>.</p> - -<p><b>1. 6. 29, 30.        When I ha’ seene<br /> -    All London in’t, and London has seene mee.</b>Gifford compares Pope:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Europe he saw, and Europe saw him too.</span> -</div></div> - -<p><b>1. 6. 31 Black-fryers Play-house.</b> This famous theatre was -founded by James Burbage in 1596-7. The Burbages leased it to -Henry Evans for the performances of the Children of the Chapel, -and the King’s Servants acted there after the departure of the -children. In 1619 the Lord Mayor and the Council of London -ordered its discontinuance, but the players were able to keep it -open on the plea that it was a private house. In 1642 ‘public -stage plays’ were suppressed, and on Aug. 5, 1655, Blackfriars -Theatre was pulled down and tenements were built in its place. See Wh-C.</p> - -<p>Nares, referring to Shirley’s <i>Six New Playes</i>, 1653, says that -‘the Theatre of Black-Friars was, in Charles I.’s time at least -considered, as being of a higher order and more respectability -than any of those on the Bank-side.’</p> - -<p><b>1. 6. 33 Rise vp between the Acts.</b> See note <a href="#Note_3_5_43">3. 5. 43</a>.</p> - -<p><b>1. 6. 33, 4           let fall my cloake,<br /> -    Publish a handsome man, and a rich suite.</b> -The gallants of this age were inordinately fond of displaying -their dress, or ‘publishing their suits.’ The play-house and -<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span> -‘Paul’s Walk,’ the nave of St. Paul’s Cathedral, were favorite -places for accomplishing this. The fourth chapter of Dekker’s -<i>Guls Horne-booke</i> is entitled ‘How a Gallant should behaue -himselfe in Powles walkes.’ He bids the gallant make his way -directly into the middle aisle, ‘where, in view of all, you -may publish your suit in what manner you affect most, either -with the slide of your cloake from the one shoulder, and then -you must (as twere in anger) suddenly snatch at the middle -of the inside (if it be taffata at the least) and so by that -meanes your costly lining is betrayd,’ etc. A little later -on (<i>Non-dram. Wks.</i> 2. 238) Dekker speaks of ‘Powles, a -Tennis-court, or a Playhouse’ as a suitable place to ‘publish -your clothes.’ Cf. also <i>Non-dram. Wks.</i> 4. 51.</p> - -<p>Sir Thomas Overbury gives the following description of ‘a -Phantastique:’ ‘He withers his clothes on a stage as a salesman -is forced to do his suits in Birchin Lane; and when the play -is done, if you mark his rising, ’tis with a kind of walking -epilogue between the two candles, to know if his suit may pass -for current.’ Morley, p. 73.</p> - -<p>Stephen Gosson (<i>School of Abuse</i>, p. 29) says that ‘overlashing -in apparel is so common a fault, that the verye hyerlings of -some of our plaiers, which stand at reversion of vi<sup>s</sup> by -the weeke, jet under gentlemens noses in sutes of silke.’</p> - - -<p><b>1. 6. 37, 8       For, they doe come<br /> -    To see vs, Loue, as wee doe to see them.</b> Cf. <i>Induction</i> to <i>The -Staple of News</i>, <i>Wks.</i> 5. 151: ‘Yes, on the stage; we are persons -of quality, I assure you, and women of fashion, and come to see -and to be seen.’ <i>Silent Woman</i>, <i>Wks.</i> 3. 409: ‘and come abroad -where the matter is frequent, to court, ... to plays, ... -thither they come to shew their new tires too, to see, and to be seen.’ -Massinger, <i>City Madam</i>, <i>Wks.</i>, p. 323:</p> - -<div class="poem"><div class="stanza"> -<span class="i7"><i>Sir. Maur.</i> Is there aught else</span> -<span class="i5">To be demanded?</span> -<span class="i7"><i>Anne.</i> ... a fresh habit,</span> -<span class="i5">Of a fashion never seen before, to draw,</span> -<span class="i5">The gallants’ eyes, that sit upon the stage, upon me.</span> -</div></div> - -<p>Gosson has much to say on the subject of women frequenting the -theatre. There, he says (p. 25). ‘everye man and his queane are -first acquainted;’ and he earnestly recommends all women to stay -away from these ‘places of suspition’ (pp. 48 f.).</p> - -<p><b>1. 6. 40 Yes, wusse.</b> <i>Wusse</i> is a corruption of <i>wis</i>, -OE. <i>gewis</i>, certainly. Jonson uses the forms <i>I wuss</i> -(<i>Wks.</i> 1. 102), <i>I wusse</i> (<i>Wks.</i> 6. 146), and -<i>Iwisse</i> (<i>Wks.</i> 2. 379. the fol. reading; Gifford changing -to <i>I wiss</i>), in addition to the present form. In some cases the -word is evidently looked upon as a verb. -<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span></p> - -<p><b>1. 6. 58 sweet Pinnace.</b> Cf. 2. 2. 111 f. A woman is often -compared to a ship. Nares cites B. & Fl., <i>Woman’s Pr.</i> 2. 6:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">This pinck, this painted foist, this cockle-boat.</span> -</div></div> - -<p class="no-indent">Cf. also <i>Stap. of News</i>, <i>Wks.</i> 5. 210:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">She is not rigg’d, sir; setting forth some lady</span> -<span class="i5">Will cost as much as furnishing a fleet.—</span> -<span class="i5">Here she is come at last, and like a galley</span> -<span class="i5">Gilt in the prow.</span> -</div></div> - -<p class="no-indent">Jonson plays on the names of Pinnacia in the <i>New Inn</i>, -<i>Wks.</i> 5. 384:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">‘<i>Host.</i> Pillage the Pinnace....</span> -<span class="i5"><i>Lord B.</i> Blow off her upper deck.</span> -<span class="i5"><i>Lord L.</i> Tear all her tackle.’</span> -</div></div> - -<p>Pinnace, when thus applied to a woman, was almost always used -with a conscious retention of the metaphor. Dekker is especially -fond of the word. <i>Match me in London</i>, <i>Wks.</i> 4. 172:</p> - -<div class="poem"><div class="stanza"> -<span class="i28">—There’s a Pinnace</span> -<span class="i5">(Was mann’d out first by th’ City), is come to th’ Court,</span> -<span class="i5">New rigg’d.</span> -</div></div> - -<p>Also Dekker, <i>Wks.</i> 4. 162; 3. 67, 77, 78.</p> - -<p>When the word became stereotyped into an equivalent for -procuress or prostitute, the metaphor was often dropped. Thus -in <i>Bart. Fair</i>, <i>Wks.</i> 4. 386: ‘She hath been before me, -punk, pinnace and bawd, any time these two and twenty years.’ -Gifford says on this passage: ‘The usual gradation in infamy. -A <i>pinnace</i> was a light vessel built for speed, generally -employed as a tender. Hence our old dramatists constantly used -the word for a person employed in love messages, a go-between -in the worst sense, and only differing from a bawd in not -being stationary.’ A glance at the examples given above will -show, however, that the term was much more elastic than this -explanation would indicate.</p> - -<p>The dictionaries give no suggestion of the origin of the metaphor. -I suspect that it may be merely a borrowing from classical usage. -Cf. <i>Menaechmi</i> 2. 3. 442:</p> - -<p class="center">Ducit lembum dierectum nauis praedatoria.</p> - -<p>In <i>Miles Gloriosus</i> 4. 1. 986, we have precisely the same -application as in the English dramatists: ‘Haec celox (a swift -sailing vessel) illiust, quae hinc agreditur, internuntia.’</p> - -<p><b>1. 6. 62 th’ are right.</b> Whalley’s interpretation is, of -course, correct. See variants.</p> - -<p><b>1. 6. 73 Not beyond that rush.</b> Rushes took the place of -carpets in the days of Elizabeth. Shakespeare makes frequent -reference to the custom (see Schmidt). The following passage from -<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span> -Dr. Bulleyne has often been quoted: ‘Rushes that grow upon dry -groundes be good to strew in halles, chambers and galleries, to -walk upon, defending apparel, as traynes of gownes and kertles -from dust.’ Cf. also <i>Cyn. Rev.</i> 2. 5; <i>Every Man out</i> 3. 3.</p> - -<p><b>1. 6. 83 As wise as a Court Parliament.</b> Jonson refers -here, I suppose, to the famous Courts or Parliaments of Love, -which were supposed to have existed during the Middle Ages (cf. -Skeat, <i>Chaucer’s Works</i> 7. lxxx).</p> - -<p>Cunningham calls attention to the fact that Massinger’s -<i>Parliament of Love</i> was not produced until 1624. Jonson depicts -a sort of mock Parliament of Love in the <i>New Inn</i>, Act 4.</p> - -<p><b>1. 6. 88 And at all caracts.</b> ‘I. e., to the nicest point, -to the minutest circumstance.’—G. See Gloss. and cf. <i>Every Man -in</i>, <i>Wks.</i> 1. 70.</p> - -<p><b>1. 6. 89, 90 as scarce hath soule, In stead of salt.</b> -Whalley refers to <i>Bart. Fair</i>, <i>Wks.</i> 4. 446, 7: ‘Talk of him -to have a soul! ’heart, if he have any more than a thing given -him instead of salt, only to keep him from stinking. I’ll be -hang’d afore my time.’ Gifford quotes the passage from B. & Fl., -<i>Spanish Curate</i>:</p> - -<div class="poem"><div class="stanza"> -<span class="i18">—this soul I speake of,</span> -<span class="i5">Or rather salt, to keep this heap of flesh</span> -<span class="i5">From being a walking stench.</span> -</div></div> - -<p>W. furnishes a Latin parallel: ‘Sus vero quid habet praeter escam? -cui quidem, ne putresceret, animam ipsam pro sale datam dicit esse -Chrysippus.’—Cic. <i>De Natura Deor</i>, lib. 2.</p> - -<p>It is to these passages that Carlyle refers in his <i>Past and -Present</i>: ‘A certain degree of soul, as Ben Jonson reminds us, -is indispensable to keep the very body from destruction of the -frightfulest sort; to ‘save us,’ says he, ’the expense of salt.’ -Bk. 2, Ch. 2.</p> - -<p>‘In our and old Jonson’s dialect, man has lost the <i>soul</i> out of -him; and now, after the due period,—begins to find the want of -it.... Man has lost his soul, and vainly seeks antiseptic salt.’ -(Simpson in <i>N. & Q.</i>, 9th Ser. 4. 347, 423.)</p> - -<p>To the same Latin source Professor Cook (<i>Mod. Lang. Notes</i>, -Feb., 1905) attributes the passage in <i>Rabbi Ben Ezra</i> 43-45:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">What is he but a brute</span> -<span class="i5">Whose flesh has soul to suit,</span> -<span class="i5">Whose spirit works lest arms and legs want play?</span> -</div></div> - -<p>and Samuel Johnson’s ‘famous sentence recorded by Boswell under -June 19, 1784: “Talking of the comedy of <i>The Rehearsal</i>, he -said: ‘It has not wit enough to keep it sweet.’”’</p> - -<p><b>1. 6. 97 the walks of Lincolnes Inne.</b> One of the famous -Inns of Court (note 3.1.8). It formerly pertained to the Bishops -of Chichester (Stow, <i>Survey</i>, ed. 1633, p. 488a). The gardens -<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span> -‘were famous until the erection of the hall, by which they were -curtailed and seriously injured’ (Wh-C.). The Tatler -(May 10, 1709, no. 13) speaks of Lincoln’s Inn Walks.</p> - -<p><b><a name="Note_1_6_99"></a>1. 6. 99 I did looke for this geere.</b> -See variants. Cunningham says: ‘In the original it is <i>geere</i>, and -so it ought still to stand. Gear was a word with a most extended -signification. Nares defines it, “matter, subject, or business -in general!” When Jonson uses the word <i>jeer</i> he spells it quite -differently. The <i>Staple of News</i> was first printed at the same -time as the present play, and in the beginning of Act IV. Sc. -<span class="smcap">1</span>, I find: “<i>Fit.</i> Let’s <i>ieere</i> a little. -<i>Pen.</i> Ieere? what’s that?”’</p> - -<p>It is so spelt regularly throughout <i>The Staple of News</i>, but in -<i>Ev. Man in</i> 1. 2 (fol. 1616), we find: ‘Such petulant, geering -gamsters that can spare No ... subject from their jest.’ The -fact is that both words were sometimes spelt <i>geere</i>, as well -as in a variety of other ways. The uniform spelling in <i>The -Staple of News</i>, however, seems to indicate that this is the -word <i>gear</i>, which fits the context, fully as well as, perhaps -better than Gifford’s interpretation. A common meaning is ‘talk, -discourse’, often in a depreciatory sense. See Gloss.</p> - -<p><b>1. 6. 125 Things, that are like, are soone familiar.</b> -‘Like will to like’ is a familiar proverb.</p> - -<p><b>1. 6. 127 the signe o’ the husband.</b> An allusion to the -signs of the zodiac, some of which were supposed to have a -malign and others a beneficent influence.</p> - -<p><b>1. 6. 131 You grow old, while I tell you this.</b></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Hor. [<i>Carm.</i> I. <span class="smcap">II.</span> 8 f.]:</span> -<span class="i20">Dum loquimur, fugerit invida</span> -<span class="i20">Aetas, carpe diem.—G.</span> -</div></div> - -<p class="no-indent">Whalley suggested:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Fugit Hora: hoc quod loquor, inde est.</span> -<span class="i28">—Pers. <i>Sat.</i> 5.</span> -</div></div> - - -<p><b>1. 6. 131, 2         And such<br /> -  As cannot vse the present, are not wise.</b>Cf. <i>Underwoods</i> 36. 21:</p> - -<div class="poem"><div class="stanza"> -<span class="i10">To use the present, then, is not abuse.</span> -</div></div> - -<p><b>1. 6. 138 Nay, then, I taste a tricke in’t.</b> Cf. ‘I do -taste this as a trick put on me.’ <i>Ev. Man in</i>, <i>Wks.</i> 1. 133. -See Introduction, <a href="#Page_xlvii">p. xlvii</a>.</p> - -<p><b>1. 6. 142 cautelous.</b> For similar uses of the word cf. -Massinger, <i>City Madam</i>, <i>Wks.</i>, p. 321, and B. & Fl., <i>Elder -Brother</i>, <i>Wks.</i> 10. 275. Gifford gives an example from Knolles, -<i>Hist. of the Turks,</i> p. 904. -<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span></p> - -<p><b>1. 6. 149 MAN. Sir, what doe you meane?<br /> -    153 MAN. You must play faire, S<sup>r</sup>.</b> -‘I am not certain about the latter of these two speeches, but -it is perfectly unquestionable that the former <i>must</i> have been -spoken by the husband Fitzdottrel.’—C.</p> - -<p>Cunningham may be right, but the change is unnecessary if -we consider Manly’s reproof as occasioned by Fitzdottrel’s interruption.</p> - -<p><b>1. 6. 158, 9         No wit of man</b><br /> -  <b>Or roses can redeeme from being an Asse.</b> ‘Here is an -allusion to the metamorphosis of Lucian into an <i>ass</i>; who being -brought into the theatre to shew tricks, recovered his human -shape by eating some <i>roses</i> which he found there. See the -conclusion of the treatise, <i>Lucius, sive Asinus</i>.’—W.</p> - -<p>See Lehman’s edition, Leipzig, 1826, 6. 215. As Gifford says, -the allusion was doubtless more familiar in Jonson’s day than -in our own. The story is retold in Harsnet’s <i>Declaration</i> -(p. 102), and Lucian’s work seems to have played a rather important -part in the discussion of witchcraft.</p> - -<p><b>1. 6. 161 To scape his lading.</b> Cf. note 1. 4. 72.</p> - -<p><b>1. 6. 180 To other ensignes.</b> ‘I. e., to horns, the -Insignia of a cuckold.’—G.</p> - -<p><b>1. 6. 187 For the meere names sake.</b> ‘I. e. the name of -the play.’—W.</p> - -<p><b>1. 6. 195 the sad contract.</b> See variants. W. and G. are -doubtless correct.</p> - -<p><b><a name="Note_1_6_214"></a>1. 6. 214 a guilt caroch.</b> ‘There was some -distinction apparently between <i>caroch</i> and <i>coach</i>. I find in -Lord Bacon’s will, in which he disposed of so much imaginary -wealth, the following bequest: “I give also to my wife my four -coach geldings, and my best caroache, and her own coach mares and -caroache.”’—C.</p> - -<p>Minsheu says that a carroch is a great coach. Cf. also Taylor’s -<i>Wks.</i>, 1630:</p> - -<p class="center">No coaches, or carroaches she doth crave.</p> - -<p class="no-indent"><i>Rom Alley</i>, <i>O. Pl.</i>, 2d ed., 5. 475:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">No, nor your jumblings,</span> -<span class="i5">In horslitters, in coaches or caroches.</span> -</div></div> - -<p class="no-indent"><i>Greene’s Tu Quoque</i>, <i>O. Pl.</i>, 2d ed., 7. 28:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">May’st draw him to the keeping of a coach</span> -<span class="i5">For country, and carroch for London.</span> -</div></div> - -<p>Cf. also Dekker, <i>Non-dram. Wks.</i> 1. 111. Finally the matter -is settled by Howes (p. 867), who gives the date of the -introduction of coaches as 1564, and adds: ‘Lastly, euen at this -<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span> -time, 1605, began the ordinary use of Caroaches.’ In <i>Cyn. -Rev.</i>, <i>Wks.</i> 2. 281, Gifford changes <i>carroch</i> to <i>coach</i>.</p> - -<p><b>1. 6. 216 Hide-parke.</b> Jonson speaks of coaching in Hyde -Park in the <i>Prologue to the Staple of News</i>, <i>Wks.</i> 5. 157, -and in <i>The World in the Moon</i>, <i>Wks.</i> 7. 343. Pepys has many -references to it in his <i>Diary</i>. ‘May 7, 1662. And so, after the -play was done, she and The Turner and Mrs. Lucin and I to the -Parke; and there found them out, and spoke to them; and observed -many fine ladies, and staid till all were gone almost.’</p> - -<p>‘April 22, 1664. In their coach to Hide Parke, where great -plenty of gallants, and pleasant it was, only for the dust.’</p> - -<p>Ashton in his <i>Hyde Park</i> (p. 59) quotes from a ballad in the -British Museum (c 1670-5) entitled, <i>News from Hide Park</i>, In -which the following lines occur:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Of all parts of <i>England</i>, Hide-park hath the name,</span> -<span class="i5">For Coaches and Horses, and Persons of fame.</span> -</div></div> - -<p><b>1. 6. 216, 7 Black-Fryers, Visit the Painters.</b> A church, -precinct, and sanctuary with four gates, lying between Ludgate -Hill and the Thames and extending westward from Castle Baynard -(St. Andrew’s Hill) to the Fleet river. It was so called from -the settlement there of the Black or Dominican Friars in 1276. -Sir A. Vandyck lived here 1632-1641. ‘Before Vandyck, however, -Blackfriars was the recognized abode of painters. Cornelius -Jansen (d. 1665) lived in the Blackfriars for several years. -Isaac Oliver, the miniature painter, was a still earlier -resident.’ Painters on glass, or glass stainers, and collectors -were also settled here.—Wh-C.</p> - -<p><b>1. 6. 219 a middling Gossip.</b> ‘A go-between, an -<i>internuntia</i>, as the Latin writers would have called her.’—W.</p> - -<p><b>1. 6. 224 the cloake is mine.</b> The reading in the folio -belonging to Dr. J. M. Berdan of Yale is: ‘the cloake is mine -owne.’ This accounts for the variant readings.</p> - -<p><b>1. 6. 230 motion.</b> Spoken derogatively, a ‘performance.’ -Lit., a puppet-show. The motion was a descendent of the -morality, and exceedingly popular in England at this time. -See Dr. Winter, <i>Staple of News</i>, p. 161; Strutt, <i>Sports and -Pastimes</i>, p. 166 f.; Knight, <i>London</i> 1. 42. Jonson makes -frequent mention of the motion. <i>Bartholomew Fair</i> 5. 5 is -largely devoted to the description of one, and <i>Tale Tub</i> 5. 5 -presents a series of them.</p> - -<p><b><a name="Note_1_7_4"></a>1. 7. 4 more cheats?</b> See note on <i>Cheaters</i>, <a href="#Note_5_6_64">5. 6. 64</a>, -and Gloss.</p> - -<p><b>1. 7. 16 The state hath tane such note of ’hem.</b> See note -<a href="#Note_1_2_22">1. 2. 22</a>.</p> - -<p><b>1. 7. 25 Your Almanack-Men.</b> An excellent account of the -Almanac-makers of the 17th century is given by H. R. Plomer in -<i>N. & Q.</i>,6th Ser. 12. 243, from which the following is abridged:</p> - -<p><span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span></p> - -<p>‘Almanac-making had become an extensive and profitable trade -in this country at the beginning of the 17th century, and with -the exception of some fifteen or twenty years at the time of -the Rebellion continued to flourish until its close. There -were three distinct classes of almanacs published during the -seventeenth century—the common almanacs, which preceded and -followed the period of the Rebellion, and the political and -satirical almanacs that were the direct outcome of that event.</p> - -<p>‘The common almanacs came out year after year in unbroken -uniformity. They were generally of octavo size and consisted -of two parts, an almanac and a prognostication. Good and evil -days were recorded, and they contained rules as to bathing, -purging, etc., descriptions of the four seasons and rules to -know the weather, and during the latter half of the century an -astrological prediction and “scheme” of the ensuing year.</p> - -<p>‘In the preceding century the makers of almanacs were -“Physitians and Preests”, but they now adopted many other -titles, such as “Student in Astrology”, “Philomath”, “Well -Willer to the Mathematics.” The majority of them were doubtless -astrologers, but not a few were quack doctors, who only -published their almanacs as advertisements.’ (Almanac, a -character in <i>The Staple of News</i>, is described as a -‘doctor in physic.’)</p> - -<p>Among the more famous almanac-makers the names of William Lilly, -John Partridge and Bretnor may be mentioned. For the last see -note 2. 1. 1, and B. & Fl., <i>Rollo, Duke of Normandy</i>, where -Fiske and Bretnor appear again. Cf. also <i>Alchemist</i>, <i>Wks.</i> -4. 41; <i>Every Man out</i>, <i>Wks.</i> 2. 39-40; <i>Mag. La.</i>, -<i>Wks.</i> 6. 74, 5. In Sir Thomas Overbury’s <i>Character</i> of -<i>The Almanac-Maker</i> (Morley, p. 56) we read: ‘The verses of his -book have a worse pace than ever had Rochester hackney; for his prose, -’tis dappled with ink-horn terms, and may serve for an almanac; but -for his judging at the uncertainty of weather, any old shepherd -shall make a dunce of him.’</p> - -<h3>ACT II.</h3> - -<p><b>2. 1. 1 Sir, money’s a whore</b>, etc. Coleridge, <i>Notes</i>, -p. 280. emends: ‘Money, sir, money’s a’, &c. Cunningham, on the -other hand, thinks that ‘the 9-syllable arrangement is quite in -Jonson’s manner, and that it forces an emphasis upon every word -especially effective at the beginning of an act.’ See variants.</p> - -<p>Money is again designated as a whore in the <i>Staple of News</i> -4. 1: ‘Saucy Jack, away: Pecunia is a whore.’ In the same -play Pennyboy, the usurer, is called a ‘money-bawd.’ Dekker -(<i>Non-dram. Wks.</i> 2. 137) speaks of keeping a bawdy-house for -Lady Pecunia. The figure is a common one. -<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span></p> - -<p><b><a name="Note_2_1_3"></a>2. 1. 3 Via.</b> This exclamation is quite common -among the dramatists and is explained by Nares as derived from the Italian -exclamation <i>via!</i> ‘away, on!’ with a quibble on the literal of -L. <i>via</i>, a way. The <i>Century Dictionary</i> agrees substantially -with this derivation. Abundant examples of its use are given by -the authorities quoted, to which may be added <i>Merry Devil of -Edmonton</i> 1. 2. 5, and Marston, <i>Dutch Courtezan</i>, <i>Wks.</i> 2. 20:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">O, yes, come, <i>via</i>!—away, boy—on!</span> -</div></div> - -<p><b>2. 1. 5 With Aqua-vitae.</b> Perhaps used with especial reference -to line 1, where he has just called money a bawd Compare:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">O, ay, as a bawd with aqua-vitae.</span> -<span class="i19">—Marston, <i>The Malcontent</i>, <i>Wks</i>. 1. 294.</span> -</div></div> - -<p>‘Her face is full of those red pimples with drinking Aquauite, -the common drinke of all bawdes.’—Dekker, <i>Whore of Babylon</i>, -<i>Wks.</i> 2. 246.</p> - -<p><b>2. 1. 17. See variants.</b> Line 15 shows that the original -reading is correct.</p> - -<p><b>2. 1. 19 it shall be good in law.</b> See note <a href="#Note_1_2_22">1. 2. 22</a>.</p> - -<p><b>2. 1. 20 Wood-cock.</b> A cant term for a simpleton or dupe.</p> - -<p><b>2. 1. 21 th’ Exchange.</b> This was the first Royal Exchange, -founded by Sir Thomas Gresham in 1566, opened by Queen Elizabeth -in 1570-1, and destroyed in the great fire of 1666 (Wh-C.). -Howes (1631) says that it was ‘plenteously stored with all kinds -of rich wares and fine commodities,’ and Paul Hentzner (p. 40) -speaks of it with enthusiasm.</p> - -<p>It was a favorite lounging-place, especially in the evening. -Wheatley quotes Hayman, <i>Quodlibet</i>, 1628, p. 6:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Though little coin thy purseless pockets line,</span> -<span class="i5">Yet with great company thou’rt taken up;</span> -<span class="i5">For often with Duke Humfray thou dost dine,</span> -<span class="i5">And often with Sir Thomas Gresham sup.</span> -</div></div> - -<p>‘We are told in <i>London</i> and <i>Country Carbonadoed</i>, 1632, -that at the exchange there were usually more coaches attendant -than at church doors.’ Cf. also <i>Bart. Fair</i>, <i>Wks.</i> 4. 357: -‘I challenge all Cheapside to shew such another: Moor-fields, -Pimlico-path, Or the Exchange, in a summer evening.’ Also <i>Ev. -Man in</i>, <i>Wks.</i> 1. 39.</p> - -<p><b>2. 1. 30 do you doubt his eares?</b> Ingine’s -speech is capable of a double interpretation. Pug has already spoken of -the ‘liberal ears’ of his asinine master.</p> - -<p><b>2. 1. 41 a string of’s purse.</b> Purses, of course, used to -be hung at the girdle. A thief was called a cut-purse. See the -amusing scene in <i>Bart. Fair</i>, <i>Wks.</i> 5. 406. -<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span></p> - -<p><b>2. 1. 53, 4 at the Pan, Not, at the skirts.</b> ‘<i>Pan</i> is not -easily distinguished from <i>skirt</i>. Both words seem to refer to -the outer parts, or extremities. Possibly Meercraft means—on a -broader scale, on a more extended front.’—G.</p> - -<p>‘The pan is evidently the deepest part of the swamp, which -continues to hold water when the <i>skirts</i> dry up, like the hole -in the middle of the tray under a joint when roasting, which -collects all the dripping. Meercraft proposed to grapple with -the main difficulty at once.’—C.</p> - -<p>I had already arrived at the same conclusion before reading -Cunningham’s note. The <i>NED.</i> gives: ‘Pan. A hollow or -depression in the ground, esp. one in which water stands.</p> - -<p>1594 Plat, <i>Jewell-ho</i> 1. 32 Of all Channels, Pondes, Pooles, -Riuers, and Ditches, and of all other pannes and bottomes -whatsoeuer.’</p> - -<p><i>Pan</i>, however, is also an obsolete form of <i>pane</i>, a cloth -or skirt. The use is evidently a quibble. The word <i>pan</i> suggested -to Jonson the word <i>skirt</i>, which he accordingly employed not -unaptly.</p> - -<p><b>2. 1. 63 his black bag of papers, there, in Buckram.</b> The -buckram bag was the usual sign of the pettifogger. Cf. Marston, -<i>Malcontent</i>, <i>Wks.</i> 1. 235:</p> - -<div class="poem"><div class="stanza"> -<span class="i5"><i>Pass.</i> Ay, as a pettifogger by his buckram bag.</span> -</div></div> - -<p>Dekker, <i>If this be not a good Play</i>, <i>Wks.</i> 3. 274: ‘We must -all turn pettifoggers and in stead of gilt rapiers, hang buckram -bags at our girdles.’ Nash refers to the same thing in <i>Pierce -Pennilesse</i>, <i>Wks.</i> 2. 17.</p> - -<p><b>2. 1. 64 th’ Earledome of Pancridge.</b> Pancridge is a -corruption of Pancras. The Earl of Pancridge was ‘one of the -“Worthies” who annually rode to Mile End, or the Artillery -Ground, in the ridiculous procession called <i>Arthurs Shew</i>’ -(G.). Cf. <i>To Inigo Marquis Would-be</i>, <i>Wks.</i> 8. 115:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Content thee to be Pancridge earl the while.</span> -</div></div> - -<p class="no-indent"><i>Tale Tub</i>, <i>Wks.</i> 6. 175:</p> - -<div class="poem"><div class="stanza"> -<span class="i22">—next our St. George,</span> -<span class="i5">Who rescued the king’s daughter, I will ride;</span> -<span class="i5">Above Prince Arthur.</span> -<span class="i7"><i>Clench.</i> Or our own Shoreditch duke.</span> -<span class="i7"><i>Med.</i>. Or Pancridge earl.</span> -<span class="i7"><i>Pan.</i> Or Bevis or Sir Guy.</span> -</div></div> - -<p>For <i>Arthur’s Show</i> see Entick’s <i>Survey</i> 1. 497; Wh-C. 1. 65; -and Nares 1. 36. Cf. note 4. 7. 65·</p> - -<p><b>2. 1. 71, 2 Your Borachio Of Spaine.</b> ‘“<i>Borachio</i> (says -Min-shieu) is a bottle commonly of a pigges skin, with the hair -<span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span> -inward, dressed inwardly with rozen, to keep wine or liquor -sweet:”—Wines preserved in these bottles contract a peculiar -flavour, and are then said <i>to taste of the borachio</i>.’—G.</p> - -<p>Florio says: ‘a boracho, or a bottle made of a goates skin such -as they vse in Spaine.’ The word occurs somewhat frequently -(see <i>NED.</i>) and apparently always with this meaning, or in the -figurative sense of ‘drunkard’. It is evident, however, from -Engine’s question, ‘Of the King’s glouer?’ either that it is -used here in a slightly different sense, or more probably that -Merecraft is relying on Fitzdottrel’s ignorance of the subject. -Spanish leather for wearing apparel was at this time held in -high esteem. See note <a href="#Note_4_4_71">4. 4. 71, 2</a>.</p> - -<p><b>2. 1. 83 a Harrington.</b> ‘In 1613, a patent was granted to John -Stanhope, lord Harrington, Treasurer of the Chambers, for the -coinage of royal farthing tokens, of which he seems to have availed -himself with sufficient liberality. Some clamour was excited on the -occasion: but it speedily subsided; for the Star Chamber kept a -watchful eye on the first symptoms of discontent at these pernicious -indulgences. From this nobleman they took the name of Harrington -in common conversation.’—G.</p> - -<p>‘Now (1613) my lord Harrington obtained a patent from the -King for the making of Brasse Farthings, a thing that brought with -it some contempt through lawfull.’—Sparke, <i>Hist. Narration</i>, -Somer’s <i>Tracts</i> 2. 294.</p> - -<p>A reference to this coin is made in <i>Drunken Barnaby’s Journal</i> -in the <i>Oxoniana</i> (quoted by Gifford) and in Sir Henry Wotton’s -Letters (p. 558, quoted by Whalley). Cf. also <i>Mag. La.</i>, <i>Wks.</i> -6. 89: ‘I will note bate you a single Harrington,’ and <i>ibid.</i>, -<i>Wks.</i> 6. 43.</p> - -<p><b>2. 1. 102 muscatell.</b> The grape was usually called -<i>muscat</i>. So in Pepys’ <i>Diary</i>, 1662: ‘He hath also sent each of -us some anchovies, olives and muscatt.’ The wine was variously -written <i>muscatel</i>, <i>muscadel</i>, and <i>muscadine</i>. Muscadine and -eggs are often mentioned together (cf. Text, 2. 2. 95-96; <i>New -Inn</i> 3. 1; Middleton, <i>Wks.</i> 2. 290; 3. 94; and 8. 36), and were -used as an aphrodisiac (Bullen). Nares quotes Minsheu: ‘Vinum -muscatum, quod moschi odorem referat; for the sweetnesse and -smell it resembles muske.’</p> - -<p><b>2. 1. 116, 7 the receiu’d heresie, That England beares no -Dukes.</b> ‘I know not when this <i>heresy</i> crept in. There was -apparently some unwillingness to create dukes, as a title of -honour, in the Norman race; probably because the Conqueror -and his immediate successors were dukes of Normandy, and did -not choose that a subject should enjoy similar dignities with -themselves. The first of the English who bore the title was -Edward the black prince, (son of Edward III.) who was created -duke of Cornwall, by charter, as Collins says, in 1337. The -<span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span> -dignity being subsequently conferred on several of the -blood-royal, and of the nobility, who came to untimely ends, -an idea seems to have been entertained by the vulgar, that the -title itself was ominous. At the accession of James I. to the -crown of this country, there was, I believe, no English peer of -ducal dignity.’—G.</p> - -<p>The last duke had been created in the reign of Henry VIII., who -made his illegitimate son the Duke of Richmond, and Charles -Brandon, who married his sister Mary, Duke of Suffolk. After the -attainder and execution of Thomas Howard, Duke of Norfolk, in -1572, there was no duke in England except the king’s sons, until the -creation of the Duke of Richmond in 1623. -(See <i>New Int. Cyc.</i> 6. 349.)</p> - -<p><b><a name="Note_2_1_144"></a>2. 1. 144 Bermudas.</b> ‘This was a cant -term for some places in the town with the same kind of privilege as the mint -of old, or the purlieus of the Fleet.’—W.</p> - -<p>‘These <i>streights</i> consisted of a nest of obscure courts, -alleys, and avenues, running between the bottom of St. Martin’s -Lane, Half-moon, and Chandos-street. In Justice Overdo’s time, -they were the receptacles of fraudulent debtors, thieves and -prostitutes.’—G. (Note on <i>Bart. Fair</i>, <i>Wks.</i> 4. 407.)</p> - -<p>‘On Wednesday at the Bermudas Court, Sir Edwin Sandys fell foul -of the Earl of Warwick. The Lord Cavendish seconded Sandys and -the Earl told the Lord, “By his favour he believed he lied.” -Hereupon, it is said, they rode out yesterday, and, as it is -thought, gone beyond sea to fight.—<i>Leigh to Rev. Joseph Mede</i>, -July 18, 1623.’ (Quoted Wh-C. 1. 169.) So in <i>Underwoods</i>, -<i>Wks.</i> 8. 348:</p> - -<div class="poem"><div class="stanza"> -<span class="i28">turn pirates here at land,</span> -<span class="i5">Have their Bermudas and their Streights i’ the Strand.</span> -</div></div> - -<p><i>Bart. Fair</i>, <i>Wks.</i> 4. 407: “The Streights, or the Bermudas, -where the quarrelling lesson is read.”</p> - -<p>It is evident from the present passage and the above quotations -that ruffians like Everill kept regular quarters in the -‘Bermudas’, where they might be consulted with reference to the -settlement of affairs of honor.</p> - -<p><b>2. 1. 151 puts off man, and kinde.</b> ‘I. e., human -nature.’—G. Cf. <i>Catiline</i>, <i>Wks.</i> 4. 212:</p> - -<div class="poem"><div class="stanza"> -<span class="i16">—so much, that kind</span> -<span class="i5">May seek itself there, and not find.</span> -</div></div> - -<p><b>2. 1. 162 French-masques.</b> ‘Masks do not appear as ordinary -articles of female costume in England previous to the reign of -Queen Elizabeth.... French masks are alluded to by Ben Jonson -in <i>The Devil is an Ass</i>. They were probably the half masks -called in France ‘loups,’ whence the English term ‘loo masks.’ -<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span></p> - -<div class="poem"><div class="stanza"> -<span class="i5">Loo masks and whole as wind do blow,</span> -<span class="i5">And Miss abroad’s disposed to go.</span> -<span class="i25"><i>Mundus Muliebris</i>, 1690.</span> -<span class="i25">—Planché <i>Cycl. of Costume</i> 1. 365.</span> -</div></div> - -<p>‘Black masks were frequently worn by ladies in public in the -time of Shakespeare, particularly, and perhaps universally at -the theatres.’—Nares.</p> - -<p><b>2. 1. 163 Cut-works.</b> A very early sort of lace deriving -its name from the mode of its manufacture, the fine cloth on -which the pattern was worked being cut away, leaving the design -perfect. It is supposed to have been identical with what was -known as Greek work, and made by the nuns of Italy in the -twelfth century. It was introduced into England during the -reign of Queen Elizabeth, and continued in fashion during those -of James I. and Charles I. Later it fell under the ban of the -Puritans, and after that period is rarely heard of. (Abridged -from Planché, <i>Cycl.</i>)</p> - -<p><b><a name="Note_2_1_168"></a>2. 1. 168 ff. nor turne the key</b>, etc. -Gifford points out that the source of this passage is Plautus, -<i>Aulularia</i> [ll. 90-100]:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Caue quemquam alienum in aedis intromiseris.</span> -<span class="i5">Quod quispiam ignem quaerat, extingui uolo,</span> -<span class="i5">Ne causae quid sit quod te quispiam quaeritet.</span> -<span class="i5">Nam si ignis uiuet, tu extinguere extempulo,</span> -<span class="i5">Tum aquam aufugisse dicito, si quis petet.</span> -<span class="i5">Cultrum, securim, pistillum, mortarium,</span> -<span class="i5">Quae utenda uasa semper uicini rogant,</span> -<span class="i5">Fures uenisse atque abstulisse dicito.</span> -<span class="i5">Profecto in aedis meas me absente neminem</span> -<span class="i5">Volo intromitti, atque etiam hoc praedico tibi,</span> -<span class="i5">Si Bona Fortuna ueniat, ne intromiseris.</span> -</div></div> - -<p class="no-indent">Jonson had already made use of a part of this passage:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Put out the fire, kill the chimney’s heart,</span> -<span class="i5">That it may breathe no more than a dead man.</span> -<span class="i19"><i>Case is Altered</i> 2. 1, <i>Wks.</i> 6. 328.</span> -</div></div> - -<p>Wilson imitated the same passage in his <i>Projectors</i>, Act 2, Sc. -1: ‘Shut the door after me, bolt it and bar it, and see you let -no one in in my absence. Put out the fire, if there be any, for -fear somebody, seeing the smoke, may come to borrow some! If -any one come for water, say the pipe’s cut off; or to borrow a -pot, knife, pestle and mortar, or the like, say they were stole -last night! But harke ye! I charge ye not to open the door to -give them an answer, but whisper’t through the keyhole! For, I -tell you again, I wilt have nobody come into my house while I’m -abroad! No; no living soul! Nay, though Good Fortune herself -knock at a door, don’t let her in!’</p> - -<p><b>2. 2. 1 I haue no singular seruice</b>, etc. I. e., This is -the sort of thing I must become accustomed to, if I am to remain on earth. -<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span></p> - -<p><b><a name="Note_2_2_49"></a>2. 2. 49, 50 Though they take Master Fitz-dottrell, -I am no such foule.</b> Gifford points out that the punning allusion of -<i>foul</i> to <i>fowl</i> is a play upon the word dottrel. ‘The dotterel -(Fuller tells us) is avis γελοτοποιος a mirth-making bird, -so ridiculously mimical, that he is easily caught, or rather -catcheth himself by his over-active imitation. As the fowler -stretcheth forth his arms and legs, stalking towards the bird, -so the bird extendeth his legs and wings, approaching the fowler -till he is surprised in the net.’—G.</p> - -<p>This is what is alluded to in 4. 6. 42. The use of the metaphor -is common. Gifford quotes Beaumont & Fletcher. <i>Bonduca</i> and -<i>Sea Voyage</i>. Many examples are given in Nares and the <i>NED.</i>, -to which may be added <i>Damon and Pithias</i>, <i>O. Pl.</i> 4. 68; Nash, -<i>Wks.</i> 3. 171; and Butler’s <i>Character of a Fantastic</i> (ed. -Morley, p. 401): ‘He alters his gait with the times, and has not -a motion of his body that (like a dottrel) he does not borrow -from somebody else.’ Nares quotes <i>Old Couple</i> -(<i>O. Pl.</i>, 4th ed., 12. 41):</p> - -<div class="poem"><div class="stanza"> -<span class="i5"><i>E.</i> Our Dotterel then is caught?</span> -<span class="i21"><i>B.</i> He is and just</span> -<span class="i5">As Dotterels use to be: the lady first</span> -<span class="i5">Advanc’d toward him, stretch’d forth her wing, and he</span> -<span class="i5">Met her with all expressions.</span> -</div></div> - -<p>It is uncertain whether the sense of ‘bird’ or ‘simpleton’ is -the original. <i>Dottrel</i> seems to be connected with <i>dote</i> and -<i>dotard</i>. The bird is a species of plover, and Cunningham says -that ‘Selby ridicules the notion of its being more stupid than -other birds.’ In <i>Bart. Fair</i> (<i>Wks.</i> 4. 445) we hear of the -‘sport call’d Dorring the Dotterel.’</p> - -<p><b>2. 2. 51 Nor faire one.</b> The dramatists were fond of -punning on <i>foul</i> and <i>fair</i>. Cf. <i>Bart. Fair</i> passim.</p> - -<p><b>2. 2. 77 a Nupson.</b> Jonson uses the word again in <i>Every -Man in</i>, <i>Wks.</i> 1. 111: ‘O that I were so happy as to light on -a nupson now.’ In <i>Lingua</i>, 1607, (<i>O. Pl.</i>, 4th ed., 9. 367, -458) both the forms <i>nup</i> and <i>nupson</i> are used. The etymology -is uncertain. The <i>Century Dictionary</i> thinks <i>nup</i> may be a -variety of <i>nope</i>. Gifford thinks it may be a corruption of Greek νηπ.</p> - -<p><b>2. 2. 78 with my Master’s peace.</b> ‘I. e. respectfully, -reverently: a bad translation of <i>cum pace domini</i>.’—G.</p> - -<p><b>2. 2. 81 a spic’d conscience.</b> Used again in <i>Sejanus</i>, -<i>Wks.</i> 3. 120, and <i>New Inn</i>, <i>Wks.</i> 5. 337.</p> - -<p><b>2. 2. 90 The very forked top too.</b> Another reference to the -horned head of the cuckold. Cf. 1. 6. 179, 80.</p> - -<p><b>2. 2. 93 engendering by the eyes.</b> Cf. Song in <i>Merch. of V.</i> -3. 2. 67: ‘It is engender’d in the eyes.’</p> - -<p><b>2. 2. 98 make benefit.</b> Cf. <i>Every Man in</i>, <i>Wks.</i> 1. 127. -<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span></p> - -<p><b>2. 2. 104 a Cokes.</b> Cf. Ford, <i>Lover’s Melancholy</i>, <i>Wks.</i> -2. 80: ‘A kind of cokes, which is, as the learned term [it], an -ass, a puppy, a widgeon, a dolt, a noddy, a——.’ Cokes is the -name of a foolish coxcomb in <i>Bart. Fair</i>.</p> - -<p><b>2. 2. 112 you neat handsome vessells.</b> Cf. note 1. 6. 57.</p> - -<p><b>2. 2. 116 your squires of honour.</b> This seems to be -equivalent to the similar expression ‘squire of dames.’</p> - -<p><b>2. 2. 119-125 For the variety at my times, ... I know, to -do my turnes, sweet Mistresse.</b> I. e., when for variety you turn -to me, I will be able to serve your needs. Pug, of course, from the -delicate nature of the subject, chooses to make use of somewhat -ambiguous phrases.</p> - -<p><b>2. 2. 121.</b> Thos. Keightley, <i>N. & Q.</i> 4. 2. 603, proposes to read:</p> - -<div class="poem"><div class="stanza"> -<span class="i10">Of that proportion, or in the rule.</span> -</div></div> - -<p><b><a name="Note_2_2_123"></a>2. 2. 123 Picardill.</b> Cotgrave gives: -‘Piccadilles: Piccadilles; the severall divisions or peeces fastened together -about the brimme of the collar of a doublet, &c.’ Gifford -says: ‘With respect to the <i>Piccadil</i>, or, as Jonson writes -it, Picardil, (as if he supposed the fashion of wearing it be -derived from Picardy,) the term is simply a diminutive of picca -(Span. and Ital.) a spear-head, and was given to this article -of foppery, from a fancied resemblance of its stiffened plaits -to the bristled points of those weapons. Blount thinks, and -apparently with justice, that Piccadilly took its name from the -sale of the “small stiff collars, so called”, which was first -set on foot in a house near the western extremity of the present -street, by one Higgins, a tailor.’</p> - -<p>As Gifford points out, ‘Pug is affecting modesty, since he had -not only assumed a handsome body, but a fashionable dress, “made -new” for a particular occasion.’ See 5. 1. 35, 36.</p> - -<p>Jonson mentions the <i>Picardill</i> again in the <i>Challenge at -Tilt</i>, <i>Wks.</i> 7. 217, and in the <i>Epistle to a Friend</i>, -<i>Wks.</i> 8. 356. For other examples see Nares, <i>Gloss</i>.</p> - -<p><b>2. 2. 127 f. your fine Monkey</b>; etc. These are all common -terms of endearment. The monkey is frequently mentioned as a -lady’s pet by the dramatists. See <i>Cynthia’s Revels</i>, passim, -and Mrs. Centlivre’s <i>Busie Body</i>.</p> - -<p><b>2. 3. 36, 7 and your coach-man bald! Because he shall be bare.</b> -See note to <a href="#Note_4_4_202">4. 4. 202</a>.</p> - -<p><b>2. 3. 45 This man defies the Diuell.</b> See 2. 1. 18.</p> - -<p><b>2. 3. 46 He dos’t by Ingine.</b> I. e., wit, ingenuity, with a -possible reference to the name of Merecraft’s agent.</p> - -<p><b>2. 3. 49 Crowland.</b> Crowland, or Croyland is an ancient town -and parish of Lincolnshire, situated in a low flat district, about eight -miles north-east from Peterborough. The origin of Crowland was -<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span> -in a hermitage founded in the 7th century by St. Guthlac. An abbey -was founded in 714 by King Ethelbald, which was twice burnt and -restored.</p> - -<p><b>2. 4. 6 Spenser, I thinke, the younger.</b> Thomas (1373-1400) -was the only member of the Despenser family who was an Earl of -Gloucester. The person referred to here, however, is Hugh le -Despenser, the younger baron, son of Hugh le Despenser, the elder. -He married Eleanor, daughter of Gilbert of Clare, Earl of Gloucester, -and sister and coheiress of the next Earl Gilbert. After the -death of the latter, the inheritance was divided between the husbands -of his three sisters, and Despenser was accordingly sometimes called -Earl of Gloucester.</p> - -<p>Despenser was at first on the side of the barons, but later joined -the King’s party. In 1321 a league was formed against him, and he -was banished, but was recalled in the following year. In the -Barons’ rising of 1326 he was taken prisoner, brought to Hereford, -tried and put to death.</p> - -<p><b>2. 4. 8 Thomas of Woodstocke.</b> Thomas of Woodstock, Earl -of Buckingham (1355-97), the youngest son of Edward III., was -made Duke of Gloucester by his nephew, Richard II., in 1385, and -later acquired an extraordinary influence, dominating the affairs of -England for several years. By his high-handed actions he incurred -Richard’s enmity. He was arrested July 10, 1397, and conveyed to -Calais, where he was murdered in the following September by the -king’s order.</p> - -<p><b>2. 4. 10 Duke Humphrey.</b> Humphrey, called the Good Duke -Humphrey (1391-1447), youngest son of Henry IV., was created -Duke of Gloucester and Earl of Pembroke in 1414. During the -minority of Henry VI. he acted as Protector of the kingdom. His -career was similar to that of Thomas of Woodstock. In 1447 he -was arrested at Bury by order of Henry VI., who had become king -in 1429. Here he died in February, probably by a natural death, -although there were suspicions of foul play.</p> - -<p><b>2. 4. 11 Richard the Third.</b> Richard III. (1452-1485), Duke of -Gloucester and King of England, was defeated and slain in the battle -of Bosworth Field, 1485.</p> - -<p><b>2. 4. 12-4 MER. By ... authentique.</b> This passage has been -the occasion of considerable discussion. The subject was first -approached by Malone. In a note to an essay on <i>The Order of -Shakespeare’s Plays</i> in his edition of Shakespeare’s works (ed. -1790, 3. 322) he says: ‘In <i>The Devil’s an Ass</i>, acted in 1616, -all his historical plays are obliquely censured.’</p> - -<p>Again in a dissertation on <i>Henry VI.</i>: ‘The malignant Ben, does -indeed, in his <i>Devil’s an Ass</i>, 1616, sneer at our author’s -<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span> -historical pieces, which for twenty years preceding had been in high reputation, -and probably were <i>then</i> the only historical dramas that had possession -of the theatre; but from the list above given, it is clear that -Shakespeare was not the <i>first</i> who dramatized our old chronicles; -and that the principal events of English History were familiar to -the ears of his audience, before he commenced a writer for the -stage.’ Malone here refers to quotations taken from Gosson and -Lodge. Both these essays were reprinted in Steevens’ edition, and -Malone’s statements were repeated in the edition by Dr. Chalmers.</p> - -<p>In 1808 appeared Gilchrist’s essay, <i>An Examination of the -Charges ... of Ben Jonson’s enmity,</i> etc. <i>towards Shakespeare</i>. -This refutation, strengthened by Gifford’s <i>Proofs of Ben -Jonson’s Malignity</i>, has generally been deemed conclusive. -Gifford’s note on the present passage is written with much -asperity. He was not content, however, with an accurate -restatement of Malone’s arguments. He changes the italics in -order to produce an erroneous impression, printing thus: ‘which -were probably then the <i>only historical dramas on the stage</i>: -He adds: ‘And this is advanced in the very face of his own -arguments, to prove that there were scores, perhaps hundreds, of -others on it at the time.’ This is direct falsification. There -is no contradiction in Malone’s arguments. What he attempted -to prove was that Shakespeare had had predecessors in this -field, but that in 1616 his plays held undisputed possession -of the stage. Gifford adds a passage from Heywood’s <i>Apology -for Actors</i>, 1612, which is more to the point: ‘Plays have -taught the unlearned the knowledge of many famous <i>histories</i>, -instructed such as cannot read in the discovery of our <i>English -Chronicles</i>: and what man have you now of that weake capacity -that being possest of their true use, cannot discourse of any -notable thing recorded even from <i>William the Conqueror</i>, until -this day?’</p> - -<p>This passage seems to point to the existence of other historical -plays <i>contemporary</i> with those of Shakespeare. Besides, Jonson’s -words seem sufficiently harmless. Nevertheless, although I am not -inclined to accept Malone’s charge of ‘malignity’, I cannot agree -with Gifford that the reference is merely a general one. I have no -doubt that the ‘Chronicle,’ of which Merecraft speaks, is Hall’s, -and the passage the following: ‘It semeth to many men, that the -name and title of Gloucester, hath been vnfortunate and vnluckie -to diuerse, whiche for their honor, haue been erected by creacion of -princes, to that stile and dignitie, as Hugh Spencer, Thomas of -Woodstocke, sonne to kyng Edward the third, and this duke Humfrey, -which thre persones, by miserable death finished their daies, -and after them kyng Richard the iii. also, duke of Gloucester, in -<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span> -ciuill warre was slaine and confounded: so y<sup>t</sup> this name of -Gloucester, is take for an vnhappie and vnfortunate stile, as -the prouerbe speaketh of Seianes horse, whose rider was euer -unhorsed, and whose possessor was euer brought to miserie.’ -Hall’s <i>Chronicle</i>, ed. 1809, pp. 209-10. The passage in ‘the -Play-bookes’ which Jonson satirizes is at the close of -<i>3 Henry VI.</i> 2. 6:</p> - -<div class="poem"><div class="stanza"> -<span class="i7"><i>Edw.</i> Richard, I will create thee Duke of Gloucester,</span> -<span class="i5">And George, of Clarence: Warwick, as ourself,</span> -<span class="i5">Shall do and undo as him pleaseth best.</span> -<span class="i7"><i>Rich.</i> Let me be Duke of Clarence, George of Gloucester;</span> -<span class="i5">For Gloucester’s dukedom is too ominous.</span> -</div></div> - -<p>The last line, of course, corresponds to the <i>’Tis fatal</i> of -Fitzdottrel. Furthermore it may be observed that Thomas of -Woodstock’s death at Calais is referred to in Shakespeare’s <i>K. -Rich. II.</i>; Duke Humphrey appears in <i>2 Henry IV.</i>; <i>Henry V.</i>; -and <i>1</i> and <i>2 Henry VI.</i>; and Richard III. in <i>2</i> and <i>3 Henry -VI.</i> and <i>K. Rich. III.</i> <i>3 Henry VI.</i> is probably, however, not -of Shakespearean authorship.</p> - -<p><b>2. 4. 15 a noble house.</b> See Introduction, <a href="#Page_lxxiv">p. lxxiv</a>.</p> - -<p><b>2. 4. 23 Groen-land.</b> The interest in Greenland must have been -at its height in 1616. Between 1576 and 1622 English explorers -discovered various portions of its coast; the voyages of Frobisher, -Davis, Hudson and Baffin all taking place during that period. -Hakluyt’s <i>Principall Navigations</i> appeared in 1589, Davis’s <i>Worldes -Hydrographical Description</i> in 1594, and descriptions of Hudson’s -voyages in 1612-3. The usual spelling of the name seems to have -been <i>Groenland</i>, as here. I find the word spelled also <i>Groineland</i>, -<i>Groenlandia</i>, <i>Gronland</i>, and <i>Greneland</i> (see Publications of the -Hakluyt Society). Jonson’s reference has in it a touch of sarcasm.</p> - -<p><b>2. 4. 27 f. Yes, when you</b>, etc. The source of this passage is -Hor., <i>Sat.</i> 2. 2. 129 f.:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Nam propriae telluris erum natura neque illum</span> -<span class="i5">Nec me nec quemquam statuit; nos expulit ille,</span> -<span class="i5">Ilium aut nequities, aut vafri inscitia juris</span> -<span class="i5">Postremo expellet certe vivacior haeres.</span> -<span class="i5">Nunc ager Umbreni sub nomine, nuper Ofelli</span> -<span class="i5">Dictus, erit nulli proprius, sed cadet in usum</span> -<span class="i5">Nunc mihi, nunc alii.</span> -</div></div> - -<p>Gifford quotes a part of the passage and adds: ‘What follows is -admirably turned by Pope:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Shades that to Bacon might retreat afford,</span> -<span class="i5">Become the portion of a booby lord;</span> -<span class="i5">And Helmsley, once proud Buckingham’s delight,</span> -<span class="i5">Slides to a scrivener, or city knight.’</span> -</div></div> - -<p>A much closer imitation is found in Webster, <i>Devil’s Law Case</i>, <i>Wks.</i> 2. 37: -<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span></p> - -<div class="poem"><div class="stanza"> -<span class="i5">Those lands that were the clients art now become</span> -<span class="i5">The lawyer’s: and those tenements that were</span> -<span class="i5">The country gentleman’s, are now grown</span> -<span class="i5">To be his tailor’s.</span> -</div></div> - -<p><b>2. 4. 32 not do’it first.</b> Cf. 1. 6. 14 and note.</p> - -<p><b>2. 5. 10 And garters which are lost, if shee can shew -’hem.</b> Gifford thinks the line should read: ‘can not shew’. -Cunningham gives a satisfactory explanation: ‘As I understand -this it means that if a gallant once saw the garters he would -never rest until he obtained possession of them, and they would -thus be <i>lost</i> to the family. Garters thus begged from the -ladies were used by the gallants as <i>hangers</i> for their swords -and poniards. See <i>Every Man out of his Humour</i>, <i>Wks.</i> 2. 81: -“O, I have been graced by them beyond all aim of affection: this -is her garter my dagger hangs in;” and again p. 194. We read -also in <i>Cynthia’s Revels</i>, <i>Wks.</i> 2. 266, of a gallant whose -devotion to a lady in such that he</p> - -<div class="poem"><div class="stanza"> -<span class="i26">Salutes her pumps,</span> -<span class="i5">Adores her hems, her skirts, her knots, her curls,</span> -<span class="i5"><i>Will spend his patrimony for a garter</i>,</span> -<span class="i5">Or the least feather in her bounteous fan.’</span> -</div></div> - -<p>Gifford’s theory that ladies had some mode of displaying their -garters is contradicted by the following:</p> - -<div class="poem"><div class="stanza"> -<span class="i5"><i>Mary.</i> These roses will shew rare: would ’twere in fashion</span> -<span class="i5">That the garters might be seen too!</span> -<span class="i23">—Massinger, <i>City Madam</i>, <i>Wks.</i>, p. 317.</span> -</div></div> - -<p>Cf. also <i>Cynthia’s Revels</i>, <i>Wks.</i> 2. 296.</p> - -<p><b>2. 5. 14 her owne deare reflection, in her glasse.</b> ‘They must -haue their looking glasses caryed with them wheresoeuer they go, -... no doubt they are the deuils spectacles to allure vs to pride, -and consequently to distruction for euer.’—Stubbes, -<i>Anat.</i>, Part 1, P. 79.</p> - -<p><b>2. 6. 21 and done the worst defeate vpon my selfe.</b> -<i>Defeat</i> is often used by Shakespeare in this sense. See -Schmidt, and compare <i>Hamlet</i> 2. 2. 598:</p> - -<div class="poem"><div class="stanza"> -<span class="i30">—A king</span> -<span class="i5">Upon whose property and most dear life</span> -<span class="i5">A damn’d defeat was made.</span> -</div></div> - -<p><b>2. 6. 32 a body intire.</b> Cf. 5. 6. 48.</p> - -<p><b>2. 6. 35 You make me paint.</b> Gifford quotes from the -<i>Two Noble Kinsmen</i>:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">How modestly she blows and paints the sun</span> -<span class="i5">With her chaste blushes.</span> -</div></div> -<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p> - -<p><b>2. 6. 37 SN.</b> ‘Whoever has noticed the narrow streets or -rather lanes of our ancestors, and observed how story projected -beyond story, till the windows of the upper rooms almost touched -on different sides, will easily conceive the feasibility of -everything which takes place between Wittipol and his mistress, -though they make their appearance in different houses.’—G.</p> - -<p>I cannot believe that Jonson wished to represent the two houses -as on opposite sides of the street. He speaks of them as -‘contiguous’, which would naturally mean side by side. Further -than this, one can hardly imagine even in the ‘narrow lanes of -our ancestors’ so close a meeting that the liberties mentioned -in 2. 6. 76 SN. could be taken.</p> - -<p><b><a name="Note_2_6_53"></a>2. 6. 53 A strange woman.</b> In <i>Bart. Fair</i>, -<i>Wks.</i> 4. 395, Justice Overdo says: ‘Rescue this youth here out of the hands -of the lewd man and <i>the strange woman</i>.’ Gifford explains in a -note: ‘The scripture phrase for an immodest woman, a prostitute. -Indeed this acceptation of the word is familiar to many -languages. It is found in the Greek; and we have in Terence—pro -<i>uxore habere hanc</i> peregrinam: upon which Donatus remarks, <i>hoc -nomine etiam</i> meretrices <i>nominabantur</i>.’</p> - -<p><b><a name="Note_2_6_57"></a>2. 6. 57-113 WIT. No, my tune-full Mistresse?</b> -etc. This very important passage is the basis of Fleay’s theory of -identification discussed in section D. IV. of the Introduction. -The chief passages necessary for comparison are quoted below.</p> - -<p class="f120">A CELEBRATION OF CHARIS:<br /> -<small>In Ten Lyric Pieces</small>.</p> - -<p class="center">V.<br />His Discourse with Cupid.</p> - -<div class="poem"><div class="stanza"> -<span class="i2">Noblest Charis, you that are</span> -<span class="i0">Both my fortune and my star,</span> -<span class="i0">And do govern more my blood,</span> -<span class="i0">Than the various moon the flood,</span> -<span class="i0">Hear, what late discourse of you, <span class="linenum">5</span></span> -<span class="i0">Love and I have had; and true.</span> -<span class="i0">’Mongst my Muses finding me,</span> -<span class="i0">Where he chanced your name to see</span> -<span class="i0">Set, and to this softer strain;</span> -<span class="i0">Sure, said he, if I have brain, <span class="linenum">10</span></span> -<span class="i0">This, here sung, can be no other,</span> -<span class="i0">By description, but my Mother!</span> -<span class="i0">So hath Homer praised her hair;</span> -<span class="i0">So Anacreon drawn the air</span> -<span class="i0">Of her face, and made to rise <span class="linenum">15</span></span> -<span class="i0">Just about her sparkling eyes,</span> -<span class="i0">Both her brows bent like my bow.</span> -<span class="i0">By her looks I do her know,</span> -<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span> -<span class="i0">Which you call my shafts. And see!</span> -<span class="i0">Such my Mother’s blushes be, <span class="linenum">20</span></span> -<span class="i0">As the bath your verse discloses</span> -<span class="i0">In her cheeks, of milk and roses;</span> -<span class="i0">Such as oft I wanton in:</span> -<span class="i0">And, above her even chin,</span> -<span class="i0">Have you placed the bank of kisses, <span class="linenum">25</span></span> -<span class="i0">Where, you say, men gather blisses,</span> -<span class="i0">Ripen’d with a breath more sweet,</span> -<span class="i0">Than when flowers and west-winds meet.</span> -<span class="i0">Nay, her white and polish’d neck,</span> -<span class="i0">With the lace that doth it deck, <span class="linenum">30</span></span> -<span class="i0">Is my mother’s: hearts of slain</span> -<span class="i0">Lovers, made into a chain!</span> -<span class="i0">And between each rising breast,</span> -<span class="i0">Lies the valley call’d my nest,</span> -<span class="i0">Where I sit and proyne my wings <span class="linenum">35</span></span> -<span class="i0">After flight; and put new stings</span> -<span class="i0">To my shafts: her very name</span> -<span class="i0">With my mother’s is the same.</span> -<span class="i0">I confess all, I replied,</span> -<span class="i0">And the glass hangs by her side, <span class="linenum">40</span></span> -<span class="i0">And the girdle ’bout her waist,</span> -<span class="i0">All is Venus, save unchaste.</span> -<span class="i0">But alas, thou seest the least</span> -<span class="i0">Of her good, who is the best</span> -<span class="i0">Of her sex: but couldst thou, Love, <span class="linenum">45</span></span> -<span class="i0">Call to mind the forms that strove</span> -<span class="i0">For the apple, and those three</span> -<span class="i0">Make in one, the same were she.</span> -<span class="i0">For this beauty yet doth hide</span> -<span class="i0">Something more than thou hast spied. <span class="linenum">50</span></span> -<span class="i0">Outward grace weak love beguiles:</span> -<span class="i0">She is Venus when she smiles:</span> -<span class="i0">But she’s Juno when she walks,</span> -<span class="i0">And Minerva when she talks.</span> -</div></div> - -<p class="f120">UNDERWOODS XXXVI.<br /> -<small><i>AN ELEGY</i></small>.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">By those bright eyes, at whose immortal fires</span> -<span class="i0">Love lights his torches to inflame desires;</span> -<span class="i0">By that fair stand, your forehead, whence he bends</span> -<span class="i0">His double bow, and round his arrows sends;</span> -<span class="i0">By that tan grove, your hair, whose globy rings <span class="linenum">5</span></span> -<span class="i0">He flying curls, and crispeth with his wings;</span> -<span class="i0">By those pure baths your either cheek discloses,</span> -<span class="i0">Where he doth steep himself in milk and roses;</span> -<span class="i0">And lastly, by your lips, the bank of kisses,</span> -<span class="i0">Where men at once may plant and gather blisses: <span class="linenum">10</span></span> -<span class="i0">Ten me, my lov’d friend, do you love or no?</span> -<span class="i0">So well as I may tell in verse, ’tis so?</span> -<span class="i0">You blush, but do not:—friends are either none,</span> -<span class="i0">Though they may number bodies, or but one.</span> -<span class="i0">I’ll therefore ask no more, but bid you love, <span class="linenum">15</span></span> -<span class="i0">And so that either may example prove</span> -<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span> -<span class="i0">Unto the other; and live patterns, how</span> -<span class="i0">Others, in time, may love as we do now.</span> -<span class="i0">Slip no occasion; as time stands not still,</span> -<span class="i0">I know no beauty, nor no youth that will. <span class="linenum">20</span></span> -<span class="i0">To use the present, then, is not abuse,</span> -<span class="i0">You have a husband is the just excuse</span> -<span class="i0">Of all that can be done him; such a one</span> -<span class="i0">As would make shift to make himself alone</span> -<span class="i0">That which we can; who both in you, his wife, <span class="linenum">25</span></span> -<span class="i0">His issue, and all circumstance of life,</span> -<span class="i0">As in his place, because he would not vary,</span> -<span class="i0">Is constant to be extraordinary.</span> -</div></div> - -<p class="f120">THE GIPSIES METAMORPHOSED<br /> -<small><i>The Lady Purbeck’s Fortune, by the</i></small></p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>Gip.</i> Help me, wonder, here’s a book, <span class="linenum">2</span></span> -<span class="i0">Where I would for ever look:</span> -<span class="i0">Never yet did gipsy trace</span> -<span class="i0">Smoother lines in hands or face:</span> -<span class="i0">Venus here doth Saturn move <span class="linenum">5</span></span> -<span class="i0">That you should be Queen of Love;</span> -<span class="i0">And the other stars consent;</span> -<span class="i0">Only Cupid’s not content;</span> -<span class="i0">For though you the theft disguise,</span> -<span class="i0">You have robb’d him of his eyes. <span class="linenum">10</span></span> -<span class="i0">And to shew his envy further:</span> -<span class="i0">Here he chargeth you with murther:</span> -<span class="i0">Says, although that at your sight,</span> -<span class="i0">He must all his torches light;</span> -<span class="i0">Though your either cheek discloses <span class="linenum">15</span></span> -<span class="i0">Mingled baths of milk and roses;</span> -<span class="i0">Though your lips be banks of blisses,</span> -<span class="i0">Where he plants, and gathers kisses;</span> -<span class="i0">And yourself the reason why,</span> -<span class="i0">Wisest men for love may die; <span class="linenum">20</span></span> -<span class="i0">You will turn all hearts to tinder,</span> -<span class="i0">And shall make the world one cinder.</span> -</div></div> - -<p class="center"><i>From</i></p> -<p class="f120">A CHALLENGE AT TILT,<br /> -<small><span class="smcap">At a Marriage</span></small>.</p> - -<div class="poem"><div class="stanza"> -<span class="i0"> <i>Cup.</i> What can I turn other than a Fury itself to see thy <span class="linenum">2</span></span> -<span class="i0">impudence? If I be a shadow, what is substance? was it not I</span> -<span class="i0">that yesternight waited on the bride into the nuptial chamber, and,</span> -<span class="i0">against the bridegroom came, made her the throne of love? had I</span> -<span class="i0">not lighted my torches in her eyes, planted my mother’s roses in <span class="linenum">5</span></span> -<span class="i0">her cheeks; were not her eye-brows bent to the fashion of my bow,</span> -<span class="i0">and her looks ready to be loosed thence, like my shafts? had I not</span> -<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span> -<span class="i0">ripened kisses on her lips, fit for a Mercury to gather, and made</span> -<span class="i0">her language sweeter than his upon her tongue? was not the girdle</span> -<span class="i0">about her, he was to untie, my mother’s, wherein all the joys and <span class="linenum">10</span></span> -<span class="i0">delights of love were woven?</span> -</div><div class="stanza"> -<span class="i0"> <i>1 Cup.</i> And did not I bring on the blushing bridegroom to taste</span> -<span class="i0">those joys? and made him think all stay a torment? did I not</span> -<span class="i0">shoot myself into him like a flame, and made his desires and his</span> -<span class="i0">graces equal? were not his looks of power to have kept the night <span class="linenum">15</span></span> -<span class="i0">alive in contention with day, and made the morning never wished</span> -<span class="i0">for? Was there a curl in his hair, that I did not sport in, or a</span> -<span class="i0">ring of it crisped, that might not have become Juno’s fingers? his</span> -<span class="i0">very undressing, was it not Love’s arming? did not all his kisses</span> -<span class="i0">charge? and every touch attempt? but his words, were they not <span class="linenum">20</span></span> -<span class="i0">feathered from my wings, and flew in singing at her ears, like</span> -<span class="i0">arrows tipt with gold?</span> -</div></div> - -<p>In the above passages the chief correspondences to be noted are as follows:</p> - -<p>1. <i>Ch.</i> 5. 17; <i>U.</i> 36. 3-4; <i>Challenge</i> 6. Cf. -also <i>Ch.</i> 9. 17:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Eyebrows bent, like Cupid’s bow.</span> -</div></div> - -<p>2. <i>Ch.</i> 5. 25-6; <i>U.</i> 36. 9-10; <i>DA.</i> 2. 6. 86-7; -<i>Gipsies</i> 17-8; <i>Challenge</i> 8.</p> - -<p>3. <i>Ch.</i> 5. 21-2; <i>U.</i> 36. 7-8; <i>DA.</i> 2. 6. 82-3; -<i>Gipsies</i> 15-6; <i>Challenge</i> 5-6.</p> - -<p>4. <i>Ch.</i> 5. 41; <i>Challenge</i> 9-10.</p> - -<p>5. <i>U.</i> 36. 5-6; <i>DA.</i> 2. 6. 77-82; <i>Challenge</i> 17-8. Cf. -also <i>Ch.</i> 9. 9-12:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Young I’d have him too, and fair,</span> -<span class="i5">Yet a man; with crisped hair,</span> -<span class="i5">Cast in thousand snares and rings,</span> -<span class="i5">For love’s fingers, and his wings.</span> -</div></div> - -<p>6. <i>U.</i> 36. 21; <i>DA.</i> 1. 6. 132.</p> - -<p>7· <i>U.</i> 36. 1-2; <i>Gipsies</i> 13-4; <i>Challenge</i> 5.</p> - -<p>8. <i>U.</i> 36. 22-3; <i>DA.</i> 2. 6. 64-5</p> - -<p>9. <i>DA.</i> 2. 6. 84-5; <i>Ch.</i> 9. 19-20:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Even nose, and cheek withal,</span> -<span class="i5">Smooth as is the billiard-ball.</span> -</div></div> - -<p>10. <i>Gipsies</i> 19-20; <i>Ch.</i> 1. 23-4:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Till she be the reason, why,</span> -<span class="i5">All the world for love may die.</span> -</div></div> - -<p><b>2. 6. 72 These sister-swelling brests.</b> ‘This is an -elegant and poetical rendering of the <i>sororiantes mammae</i> of -the Latins, which Festus thus explains: <i>Sororiare puellarum -mammae dicuntur, cum primum tumescunt</i>.’—G. -<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span></p> - -<p><b>2. 6. 76 SN.</b> ‘Liberties very similar to these were, in the poet’s -time, permitted by ladies, who would have started at being told that -they had foregone all pretensions to delicacy.’—G.</p> - -<p>The same sort of familiarity is hinted at in Stubbes, <i>Anatomy -of Abuses</i> (Part 1, p. 78). Furnivall quotes <i>Histriomastix</i> -(Simpson’s <i>School of Shak.</i> 2. 50) and <i>Vindication of Top -Knots</i>, Bagford Collection, 1. 124, in illustration of the -subject. Gosson’s <i>Pleasant Quippes</i> (1595) speaks of ‘these -naked paps, the Devils ginnes.’ Cf. also <i>Cyn. Rev.</i>, <i>Wks.</i> -2. 266, and <i>Case is A.</i>, <i>Wks.</i> 6. 330. It seems to have been -a favorite subject of attack at the hands of both Puritans and dramatists.</p> - -<p><b>2. 6. 76 Downe to this valley.</b> Jonson uses a similar -figure in <i>Cyn. Rev.</i>, <i>Wks.</i> 2. 240 and in <i>Charis</i> -(see note <a href="#Note_2_6_57">2. 6. 57</a>).</p> - -<p><b><a name="Note_2_6_78"></a>2. 6. 78 these crisped groues.</b> So Milton, -<i>Comus</i>, 984: ‘Along the crisped shades and bowers.’ Herrick, <i>Hesper., -Cerem. Candlemas-Eve</i>: ‘The crisped yew.’</p> - -<p><b>2. 6. 85 well torn’d.</b> Jonson’s usual spelling. See -<i>Timber</i>, ed. Schelling, 64. 33; 76. 22. etc.</p> - -<p><b>2. 6. 85 Billyard ball.</b> Billiards appears to have been an -out-of-door game until the sixteenth century. It was probably -introduced into England from France. See J. A. Picton, <i>N. & -Q.</i>. 5. 5. 283. Jonson uses this figure again in <i>Celeb. Charis</i> -9. 19-20.</p> - -<p><b>2. 6. 92 when I said, a glasse could speake</b>, etc. -Cf. 1. 6. 80 f.</p> - -<p><b>2. 6. 100 And from her arched browes</b>, etc. Swinburne -says of this line: ‘The wheeziest of barrel-organs, the most -broken-winded of bagpipes, grinds or snorts out sweeter music -than that.’—<i>Study of Ben Jonson</i>, p. 104.</p> - -<p><b>2. 6. 104 Have you seene.</b> Sir John Suckling -(ed. 1874, p. 79) imitates this stanza:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Hast thou seen the down in the air</span> -<span class="i9">When wanton blasts have tossed it?</span> -<span class="i5">Or the ship on the sea,</span> -<span class="i9">When ruder winds have crossed it?</span> -<span class="i5">Hast thou marked the crocodile’s weeping,</span> -<span class="i9">Or the fox’s sleeping?</span> -<span class="i5">Or hast viewed the peacock in his pride,</span> -<span class="i9">Or the dove by his bride</span> -<span class="i9">When he courts for his lechery?</span> -<span class="i5">O, so fickle, O, so vain, O, so false, so false is she!</span> -</div></div> - -<p><b>2. 6. 104 a bright Lilly grow.</b> The figures of the lily, -the snow, and the swan’s down have already been used in <i>The -Fox</i>, <i>Wks.</i> 3. 195. The source of that passage is evidently -Martial, <i>Epig.</i> 1. 115:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Loto candidior puella cygno,</span> -<span class="i5">Argento, nive, lilio, ligustro.</span> -</div></div> -<p><span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span></p> - -<p>In this place Jonson seems to have more particularly in mind <i>Epig.</i> 5. 37:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Puella senibus dulcior mibi cygnis ...</span> -<span class="i5">Cui nec lapillos praeferas Erythraeos, ...</span> -<span class="i5">Nivesque primas liliumque non tactum.</span> -</div></div> - -<p><b>2. 7. 2, 3 that Wit of man will doe’t.</b> There is evidently -an ellipsis of some sort before <i>that</i> (cf. Abbott, §284). -Perhaps ‘provided’ is to be understood.</p> - -<p><b>2. 7. 4 She shall no more be buz’d at.</b> The metaphor is -carried out in the words that follow, <i>sweet meates</i> 5, <i>hum</i> -6, <i>flye-blowne</i> 7. ‘Fly-blown’ was a rather common term of -opprobrium. Cf. Dekker, <i>Satiromastix</i>, <i>Wks.</i> 1. 195: ‘Shal -distaste euery vnsalted line, in their fly-blowne Comedies.’ -Jonson is very fond of this metaphor, and presses it beyond all -endurance in <i>New Inn</i>, Act 2. Sc. 2, <i>Wks.</i> 5. 344, 5, etc.</p> - -<p><b>2. 7. 13 I am resolu’d on’t, Sir.</b> See variants. Gifford -points out the quibble on the word <i>resolved</i>. See Gloss.</p> - -<p><b>2. 7. 17 O! I could shoote mine eyes at him.</b> Cf. <i>Fox</i>, -<i>Wks.</i> 3. 305: ‘That I could shoot mine eyes at him, like -gun-stones!’</p> - -<p><b>2. 7. 22.</b> See variants. The <i>the</i> is probably absorbed by -the preceding dental. Cf. 5. 7. 9.</p> - -<p><b>2. 7. 33 fine pac’d huishers.</b> See note <a href="#Note_4_4_201">4. 4. 201</a>.</p> - -<p><b>2. 7. 38 turn’d my good affection.</b> ‘Not diverted or -changed its course; but, as appears from what follows, soured -it. The word is used in a similar sense by Shakespeare:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Has friendship such a faint and <i>milky</i> heart,</span> -<span class="i5">It turns in less than two nights!</span> -<span class="i30"><i>Timon</i>, 3. 2.’—G.</span> -</div></div> - -<p><b>2. 8. 9, 10 That was your bed-fellow.</b> Ingine, perhaps -in anticipation of Fitzdottrel’s advancement, employs a term -usually applied to the nobility. Cf. <i>K. Henry V.</i> 2. 2. 8:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Nay, but the man that was his bedfellow,</span> -<span class="i5">Whom he had cloy’d and grac’d with princely favors.</span> -</div></div> - -<p>Steevens in a note on the passage points out that the familiar -appellation of <i>bedfellow</i>, which appears strange to us, was -common among the ancient nobility.’ He quotes from <i>A Knack -to know a Knave</i>, 1594; <i>Look about you</i>, 1600; <i>Cynthia’s -Revenge</i>, 1613; etc., where the expression is used in the sense -of ‘intimate companion’ and applied to nobles. Jonson uses the -term <i>chamberfellow</i> in <i>Underwoods</i>, <i>Wks.</i> 8. 353.</p> - -<p><b><a name="Note_2_8_20"></a>2. 8. 20 An Academy.</b> With this passage compare <i>U.</i> 62, <i>Wks.</i> 8. 412: -<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span></p> - -<div class="poem"><div class="stanza"> -<span class="i20">—There is up of late</span> -<span class="i5">The Academy, where the gallants meet—</span> -<span class="i5">What! to make legs? yes, and to smell most sweet:</span> -<span class="i5">All that they do at plays. O but first here</span> -<span class="i5">They learn and study; and then practice there.</span> -</div></div> - -<p>Jonson again refers to ‘the Academies’ (apparently schools of -deportment or dancing schools) in 3. 5. 33.</p> - -<p><b>2. 8. 33 Oracle-Foreman.</b> See note <a href="#Note_1_2_2">1. 2. 2</a>.</p> - -<p><b>2. 8. 59 any thing takes this dottrel.</b> See note <a href="#Note_2_2_49">2. 2. 49-50</a>.</p> - -<p><b>2. 8. 64 Dicke Robinson.</b> Collier says: ‘This player may have -been an original actor in some of Shakespeare’s later dramas, and -he just outlived the complete and final suppression of the stage.’ -His death and the date at which it occurred have been matters of dispute.</p> - -<p>His earliest appearance in any list of actors is at the end of -Jonson’s <i>Catiline</i>, 1611, with the King’s Majesty’s Servants. -He was probably the youngest member of the company, and -doubtless sustained a female part. Gifford believes that he took -the part of Wittipol in the present play, though this is merely -a conjecture. ‘The only female character he is known to have -filled is the lady of Giovanus in <i>The Second Maiden’s Tragedy</i>, -but at what date is uncertain; neither do we know at what period -he began to represent male characters.’ Of the plays in which -he acted, Collier mentions Beaumont and Fletcher’s <i>Bonduca</i>, -<i>Double Marriage</i>, <i>Wife for a Month</i>, and <i>Wild Goose Chase</i> -(1621); and Webster’s <i>Duchess of Malfi</i>, 1622.</p> - -<p>His name is found in the patent granted by James I. in 1619 and -in that granted by Charles I. in 1625. Between 1629 and 1647 no -notice of him occurs, and this is the last date at which we hear of -him. ‘His name follows that of Lowin in the dedication to the folio -of Beaumont and Fletcher’s works, published at that time.’—Collier, -<i>Memoirs</i>, p. 268.</p> - -<p>Jonson not infrequently refers to contemporary actors. Compare -the <i>Epitaph on Salathiel Pavy</i>, <i>Ep.</i> 120; the speech of Venus -in <i>The Masque of Christmas</i>, <i>Wks.</i> 7. 263; and the reference -to Field and Burbage in <i>Bart. Fair</i> 5. 3.</p> - -<p><b>2. 8. 73 send frolicks!</b> ‘<i>Frolics</i> are couplets, commonly -of an amatory or satirical nature, written on small slips of paper, -and wrapt round a sweetmeat. A dish of them is usually placed on the -table after supper, and the guests amuse themselves with sending them -to one another, as circumstances seem to render them appropriate: -this is occasionally productive of much mirth. I do not believe that -the game is to be found in England; though the drawing on Twelfth -Night may be thought to bear some kind of coarse resemblance to it. -On the continent I have frequently been present at it.’—G. -<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span></p> - -<p>The <i>NED.</i> gives only one more example, from R. H. <i>Arraignm.</i> -<i>Whole Creature XIV.</i> § 2. 244 (1631) ‘Moveable as Shittlecockes -... or as Frolicks at Feasts, sent from man to man, returning -againe at last, to the first man.’</p> - -<p><b>2. 8. 74, 5 burst your buttons, or not left you seame.</b> -Cf. <i>Bart. Fair</i>, <i>Wks.</i> 4. 359: ‘he breaks his buttons, -and cracks seams at every saying he sobs out.’</p> - -<p><b>2. 8. 95, 103.</b> See variants.</p> - -<p><b>2. 8. 100 A Forrest moues not.</b> ‘I suppose Trains means, -“It is in vain to tell him of venison and pheasant, the right -to the bucks in a whole forest will not move him.”’—C.</p> - -<p><b>2. 8. 100 that forty pound.</b> See 3. 3. 148.</p> - -<p><b>2. 8. 102 your bond Of Sixe; and Statute of eight -hundred!</b> I. e., of six, and eight hundred pounds. ‘Statutes -merchant, statutes staple, and recognizances in the nature of -a statute staple were acknowledgements of debt made in writing -before officers appointed for that purpose, and enrolled of -record. They bound the lands of the debtor; and execution -was awarded upon them upon default in payment without the -ordinary process of an action. These securities were originally -introduced for the encouragement of trade, by providing a sure -and speedy remedy for the recovery of debts between merchants, -and afterwards became common assurances, but have now become -obsolete.’—S. M. Leake, <i>Law of Contracts</i>, p. 95.</p> - -<p>Two of Pecunia’s attendants in <i>The Staple of News</i> are -<i>Statute</i> and <i>Band</i> (i. e. Bond, see <i>U.</i> 34). -The two words are often mentioned together. In Dekker’s -<i>Bankrouts Banquet</i> (<i>Non-dram. Wks.</i> 3. 371) -statutes are served up to the bankrupts.</p> - -<p>Trains is evidently trying to impress Fitzdottrel with the -importance of Merecraft’s transactions.</p> - - -<h3>ACT III.</h3> - -<p><b><a name="Note_3_1_8"></a>3. 1. 8 Innes of Court.</b> ‘The four Inns -of Court, Gray’s Inn, Lincoln’s Inn, the Inner, and the Middle Temple, have -alone the right of admitting persons to practise as barristers, and -that rank can only be attained by keeping the requisite number -of terms as a student at one of those Inns.’—Wh-C.</p> - -<p>Jonson dedicates <i>Every Man out of his Humor</i> ‘To the Noblest -Nurseries of Humanity and Liberty in the Kingdom, the Inns of Court.’</p> - -<p><b>3. 1. 10 a good man.</b> Gifford quotes <i>Merch. of Ven.</i> -1. 3. 15: ‘My meaning in saying he is a good man, is, to have -you understand me, that he is sufficient.’ Marston, <i>Dutch -Courtesan</i>, <i>Wks.</i> 2. 57. uses the word in the same sense. -<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span></p> - -<p><b><a name="Note_3_1_20"></a>3. 1. 20 our two Pounds, the Compters.</b> -The London Compters or Counters were two sheriff’s prisons for debtors, -etc., mentioned as early as the 15th century. In Jonson’s day -they were the Poultry Counter and the Wood Street Counter. They -were long a standing joke with the dramatists, who seem to -speak from a personal acquaintance with them. Dekker (<i>Roaring -Girle</i>, <i>Wks.</i> 3. 189) speaks of ‘Wood Street College,’ and -Middleton (<i>Phoenix</i>, <i>Wks.</i> 1. 192) calls them ‘two most famous -universities’ and in another place ‘the two city hazards, -Poultry and Wood Street.’ Jonson in <i>Every Man in</i> (<i>Wks.</i> 1. -42) speaks of them again as ‘your city pounds, the counters’, -and in <i>Every man out</i> refers to the ‘Master’s side’ (<i>Wks</i>. 2. -181) and the ‘two-penny ward,’ the designations for the cheaper -quarters of the prison.</p> - -<p><b>3. 1. 35 out of rerum natura.</b> <i>In rerum natura</i> is a -phrase used by Lucretius 1. 25. It means, according to the -<i>Stanford Dictionary</i>, ‘in the nature of things, in the physical -universe.’ In some cases it is practically equivalent to ‘in -existence.’ Cf. <i>Sil. Wom.</i>, <i>Wks.</i> 3. 382: ‘Is the bull, bear, -and horse, in <i>rerum natura</i> still?’</p> - -<p><b>3. 2. 12 a long vacation.</b> The long vacation in the Inns -of Court, which Jonson had in mind, lasts from Aug. 13 to Oct. -23. In <i>Staple of News</i>, <i>Wks.</i> 5. 170, he makes a similar -thrust at the shop-keepers:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Alas I they have had a pitiful hard time on’t,</span> -<span class="i5">A long vacation from their cozening.</span> -</div></div> - -<p><b>3. 2. 22 I bought Plutarch’s liues.</b> T. North’s famous -translation first appeared in 1579. New editions followed in -1595, 1603, 1610-12, and 1631.</p> - -<p><b>3. 2. 33 Buy him a Captaines place.</b> The City Train Bands -were a constant subject of ridicule for the dramatists. They are -especially well caricatured by Fletcher in <i>The Knight of the -Burning Pestle</i>, Act 5. In addition to the City Train Bands, -the Fraternity of Artillery, now called The Honorable Artillery -Company, formed a separate organization. The place of practice -was the Artillery Garden in Bunhill Fields (see note <a href="#Note_3_2_41">3. 2. 41</a>). -In spite of ridicule the Train Bands proved a source of strength -during the Civil War (see Clarendon, <i>Hist. of the Rebellion</i>, -ed. 1826, 4. 236 and Wh-C., <i>Artillery Ground</i>).</p> - -<p>Jonson was fond of poking fun at the Train Bands. Cf. <i>U.</i> 62, -<i>Wks.</i> 8. 409; <i>Ev. Man in</i>, <i>Wks.</i> 1. 88; and <i>Alchemist</i>, -<i>Wks.</i> 4. 13. Face, it will be remembered, had been ‘translated -suburb-captain’ through Subtle’s influence.</p> - -<p>The immediate occasion of Jonson’s satire was doubtless the -revival of military enthusiasm in 1614, of which Entick -(<i>Survey</i> 2. 115) gives the following account: -<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span></p> - -<p>‘The military genius of the <i>Londoners</i> met with an opportunity, -about this time, to convince the world that they still retained the -spirit of their forefathers, should they be called out in the cause of -their king and country. His majesty having commanded a general -muster of the militia throughout the kingdom, the city of <i>London</i> -not only mustered 6000 citizens completely armed, who performed -their several evolutions with surprizing dexterity; but a martial -spirit appeared amongst the rising generation. The children endeavoured -to imitate their parents; chose officers, formed themselves -into companies, marched often into the fields with colours flying and -beat of drums, and there, by frequent practice, grew up expert in -the military exercises.’</p> - -<p><b>3. 2. 35 Cheapside.</b> Originally Cheap, or West Cheap, a street -between the Poultry and St. Paul’s, a portion of the line from -Charing Cross to the Royal Exchange, and from Holborn to the -Bank of England.</p> - -<p>‘At the west end of this Poultrie and also of Buckles bury, beginneth -the large street of West Cheaping, a market-place so called, -which street stretcheth west till ye come to the little conduit by -Paule’s Gate.’—Stow, ed. Thoms, p. 99.</p> - -<p>The glory of Cheapside was Goldsmith’s Row (see note <a href="#Note_3_5_2">3. 5. 2</a>). -It was also famous in early times for its ‘Ridings,’ and during -Jonson’s period for its ‘Cross,’ its ‘Conduit,’ and its ‘Standard’ -(see note <a href="#Note_1_1_56">1. 1. 56</a> and Wh—C.).</p> - -<p><b>3. 2. 35 Scarfes.</b> ‘Much worn by knights and military -officers in the sixteenth and seventeenth centuries.’—Planché.</p> - -<p><b>3. 2. 35 Cornehill.</b> Cornhill, between the Poultry -and Leadenhall Street, an important portion of the greatest -thoroughfare in the world, was, says Stow, ‘so called of a -corn market time out of mind there holden.’ In later years it -was provided with a pillory and stocks, a prison, called the -Tun, for street offenders, a conduit of ‘sweet water’, and a -standard. See Wh-C.</p> - -<p><b><a name="Note_3_2_38"></a>3. 2. 38 the posture booke.</b> A book -descriptive of military evolutions, etc. H. Peacham’s <i>Compleat Gentleman</i>, -1627 (p. 300, quoted by Wheatley, <i>Ev. Mall in</i>), gives a long -list of ‘Postures of the Musquet’ and G. Markham’s <i>Souldier’s -Accidence</i> gives another. Cf. <i>Tale Tub</i>, <i>Wks.</i> 6. 218:</p> - -<div class="poem"><div class="stanza"> -<span class="i15">—All the postures</span> -<span class="i5">Of the train’d bands of the country.</span> -</div></div> - -<p><b><a name="Note_3_2_41"></a>3. 2. 41 Finsbury.</b> In 1498, ‘certain -grounds, consisting of gardens, orchards, &c. on the north side of -<i>Chiswell-street</i>, and called <i>Bunhill</i> or <i>Bunhill-fields</i>, -within the manor of <i>Finsbury</i>, were by the mayor and commonalty -of <i>London</i>, converted into a large field, containing 11 acres, -<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span> -and 11 perches, now known by the name of the <i>Artillery-ground</i>, -for their train-bands, archers, and other military citizens, to -exercise in.’—Entick, <i>Survey</i> 1. 441.</p> - -<p>In 1610 the place had become neglected, whereupon commissioners -were appointed to reduce it ‘into such order and state for the -archers as they were in the beginning of the reign of King Henry -VIII.’ (<i>Ibid.</i> 2. 109). See also Stow, <i>Survey</i>, ed. Thoms, p. 159.</p> - -<p>Dekker (<i>Shomaker’s Holiday</i>, <i>Wks.</i> 1. 29) speaks of being -‘turnd to a Turk, and set in Finsburie for boyes to shoot at’, -and Nash (<i>Pierce Pennilesse</i>, <i>Wks.</i> 2. 128) and Jonson (<i>Bart. -Fair</i>, <i>Wks.</i> 4. 507) make precisely similar references. Master -Stephen in <i>Every Man in</i> (<i>Wks.</i> 1. 10) objects to keeping -company with the ‘archers of Finsbury.’ Cf. also the elaborate -satire in <i>U.</i> 62, (<i>Wks.</i> 8. 409).</p> - -<p><b>3. 2. 45    to traine the youth<br /> -  Of London, in the military truth.</b> Cf. <i>Underwoods</i> 62:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Thou seed-plot of the war! that hast not spar’d</span> -<span class="i5">Powder or paper to bring up the youth</span> -<span class="i5">Of London, in the military truth.</span> -</div></div> - -<p>Gifford believes these lines to be taken from a contemporary -posture-book, but there is no evidence of quotation in the case -of <i>Underwoods</i>.</p> - -<p><b>3. 3. 22, 3  This comes of wearing<br /> -  Scarlet, gold lace, and cut-works!</b> etc. -Webster has a passage very similar to this in the -<i>Devil’s Law Case</i>, <i>Wks.</i> 2. 37 f.:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">‘<i>Ari.</i> This comes of your numerous wardrobe.</span> -<span class="i5"><i>Rom.</i> Ay, and wearing cut-work, a pound a purl.</span> -<span class="i5"><i>Ari.</i> Your dainty embroidered stockings, with overblown roses, - to hide your gouty ankles.</span> -<span class="i5"><i>Rom.</i> And wearing more taffata for a garter, than would serve - the galley dung-boat for streamers....</span> -<span class="i5"><i>Rom.</i> And resorting to your whore in hired velvet with a - spangled copper fringe at her netherlands.</span> -<span class="i5"><i>Ari.</i> Whereas if you had stayed at Padua, and fed upon cow-trotters, - and fresh beef to supper.’ etc., etc.</span> -</div></div> - -<p>For ‘cut-works’ see note <a href="#Note_1_1_128">1. 1. 128</a>.</p> - -<p><b>3. 3. 24 With your blowne roses.</b> Compare 1. 1. 127, -and B. & Fl., <i>Cupid’s Revenge</i>:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">No man to warm your shirt, and blow your roses.</span> -</div></div> - -<p class="no-indent">and Jonson, <i>Ep.</i> 97, <i>Wks.</i> 8. 201:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">His rosy ties and garters so o’erblown.</span> -</div></div> - -<p><b>3. 3. 25 Godwit.</b> The godwit was formerly in great repute -as a table delicacy. Thomas Muffett in <i>Health’s Improvement</i>, -p. 99, says: ‘A fat godwit is so fine and light meat, that -<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span> -noblemen (yea, and merchants too, by your leave) stick not to -buy them at four nobles a dozen.’</p> - -<p>Cf. also Sir T. Browne, <i>Norf. Birds</i>, <i>Wks.</i>, 1835, 4. 319: -God-wyts ... accounted the daintiest dish in England; and, I -think, for the bigness of the biggest price.’ Jonson mentions -the godwit in this connection twice in the <i>Sil. Wom.</i> (<i>Wks.</i> -3. 350 and 388), and in Horace, <i>Praises of a Country Life</i> -(<i>Wks.</i> 9. 121) translates ‘attagen Ionicus’ by ‘Ionian godwit.’</p> - -<p><b>3. 3. 26 The Globes, and Mermaides!</b> Theatres and taverns. -Mr. Halliwell-Phillipps has proved that the Globe Theatre on the -Bankside, Southwark, the summer theatre of Shakespeare and his -fellows, was built in 1599. It was erected from materials brought -by Richard Burbage and Peter Street from the theatre in Shoreditch. -On June 29, 1613, it was destroyed by fire, but was rebuilt without -delay in a superior style, and this time with a roof of tile, King -James contributing to the cost. Chamberlaine, writing to Alice -Carleton (June 30, 1614), calls the Globe Playhouse ‘the fairest in -England.’ It was pulled down Apr. 15, 1644.</p> - -<p>Only the Lord Chamberlain’s Company (the King’s Men) seems to -have acted here. It was the scene of several of Shakespeare’s -plays and two of Jonson’s, <i>Every Man out</i> and <i>Every Man in</i> -(Halliwell-Phillips, <i>Illustrations</i>, p. 43). The term ‘summer -theatre’ is applicable only to the rebuilt theatre (<i>ibid.</i>, p. -44). In <i>Ev. Man out</i> (quarto, <i>Wks.</i> 2. 196) Johnson refers to -‘this fair-fitted <i>Globe</i>’, and in the <i>Execration upon Vulcan</i> -(<i>Wks.</i> 8. 404) to the burning of the ‘Globe, the glory of the -Bank.’ In <i>Poetaster</i> (<i>Wks.</i> 2. 430) he uses the word again -as a generic term: ‘your Globes, and your Triumphs.’</p> - -<p>There seem to have been two Mermaid Taverns, one of which stood -in Bread Street with passage entrances from Cheapside and Friday -Street, and the other in Cornhill. They are often referred to -by the dramatists. Cf. the famous lines written by <i>Francis -Beaumont to Ben Jonson</i>, B. & Fl., <i>Wks.</i>, ed. 1883, 2. 708; -<i>City Match</i>, <i>O. Pl.</i> 9. 334, etc. Jonson often mentions -the Mermaid. Cf. <i>Inviting a Friend</i>, <i>Wks.</i> 8. 205:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Is a pure cup of rich Canary Wine,</span> -<span class="i5">Which is the Mermaid’s now, but shall be mine.</span> -</div></div> - -<p><i>On the famous Voyage</i>, <i>Wks.</i> 8. 234:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">At Bread-Street’s Mermaid having dined, and merry,</span> -<span class="i5">Proposed to go to Holborn in a wherry.</span> -<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span> -</div></div> - -<p><i>Bart. Fair</i>, <i>Wks.</i> 4. 356-7: ‘your Three Cranes, Mitre, -and Mermaid-men!’</p> - -<p><b>3. 3. 28 In veluet!</b> Velvet was introduced into England in the -fifteenth century, and soon became popular as an article of luxury -(see Hill’s <i>Hist. of Eng. Dress</i> 1. 145 f.).</p> - -<p><b>3. 3. 30 I’ the Low-countries.</b> ‘Then went he to the Low -Countries; but returning soone he betook himself to his wonted -studies. In his service in the Low Countries, he had, in the -face of both the campes, killed ane enemie and taken <i>opima -spolia</i> from him.’—<i>Conversations with William Drummond</i>, -<i>Wks.</i> 9. 388.</p> - -<p>In the Epigram <i>To True Soldiers</i> Jonson says:</p> - -<div class="poem"><div class="stanza"> -<span class="i30">—I love</span> -<span class="i0">Your great profession, which I once did prove.</span> -<span class="i35"><i>Wks.</i> 8. 211.</span> -</div></div> - -<p><b>3. 3. 32 a wench of a stoter!</b> See variants. The word is -not perfectly legible in the folios, which I have consulted, but -is undoubtedly as printed. Cunningham believes ‘stoter’ to be a -cheap coin current in the camps. This supplies a satisfactory -sense, corresponding to the ‘<i>Sutlers</i> wife, ... of two blanks’ -in the following line.</p> - -<p><b>3. 3. 33 of two blanks!</b> ‘Jonson had Horace in his -thoughts, and has, not without some ingenuity, parodied several -loose passages of one of his satires.’—G. Gifford is apparently -referring to the close of Bk. 2. Sat. 3.</p> - -<p><b>3. 3. 51 vn-to-be-melted.</b> Cf. <i>Every Man in</i>, <i>Wks.</i> 1. -36: ‘and in un-in-one-breath-utterable skill, sir.’ <i>New Inn</i>, -<i>Wks.</i> 5. 404: you shewed a neglect Un-to-be-pardon’d.’</p> - -<p><b>3. 3. 62 Master of the Dependances!</b> -See Introduction. pp. <a href="#Page_lvi">lvi</a>, <a href="#Page_lvii">lvii</a>.</p> - -<p><b>3. 3. 69 the roaring manner.</b> Gifford defines it as the ‘language -of bullies affecting a quarrel’ (<i>Wks.</i> 4. 483). The ‘Roaring Boy’ -continued under various designations to infest the streets of London -from the reign of Elizabeth until the beginning of the eighteenth -century. Spark (Somer’s <i>Tracts</i> 2. 266) says that they were persons -prodigall and of great expence, who having runne themselves -into debt, were constrained to run into factions to defend themselves -from danger of the law.’ He adds that divers of the nobility -afforded them maintenance, in return for which ‘they entered into -many desperate enterprises.’</p> - -<p>Arthur Wilson (<i>Life of King James I.</i>, p. 28), writing of the -disorderly state of the city in 1604, says: ‘Divers <i>Sects</i> of -<i>vitious Persons</i> going under the Title of <i>Roaring Boyes</i>, -<i>Bravadoes</i>, <i>Roysters</i>, &c. commit many insolences; the Streets -swarm night and day with bloody quarrels, private <i>Duels</i> -fomented,’ etc.</p> - -<p>Kastril, the ‘angry boy’ in the <i>Alchemist</i>, and Val Cutting and -Knockem in <i>Bartholomew Fair</i> are roarers, and we hear of them -under the title of ‘terrible boys’ in the <i>Silent Woman</i> -<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span> -(<i>Wks.</i> 3. 349). Cf. also Sir Thomas Overbury’s <i>Character of a -Roaring Boy</i> (ed. Morley, p. 72): ‘He sleeps with a tobacco-pipe -in his mouth; and his first prayer in the morning is he may -remember whom he fell out with over night.’</p> - -<p><b><a name="Note_3_3_71"></a>3. 3. 71 the vapours.</b> This ridiculous practise -is satirized in <i>Bart. Fair</i>, <i>Wks.</i> 4. 3 (see also stage directions).</p> - -<p><b>3. 3. 77 a distast.</b> The quarrel with Wittipol.</p> - -<p><b>3. 3. 79 the hand-gout.</b> Jonson explains the expression in -<i>Magnetic Lady</i>, <i>Wks.</i> 6. 61.</p> - -<div class="poem"><div class="stanza"> -<span class="i5">You cannot but with trouble put your hand</span> -<span class="i5">Into your pocket to discharge a reckoning,</span> -<span class="i5">And this we sons of physic do call <i>chiragra</i>,</span> -<span class="i5">A kind of cramp, or hand-gout.</span> -</div></div> - -<p>Cf. also Overbury’s <i>Characters</i>, ed. Morley, p. 63: -‘his liberality can never be said to be gouty-handed.’</p> - -<p><b>3. 3. 81 Mint.</b> Until its removal to the Royal Mint on Tower -Hill in 1810, the work of coinage was carried on in the Tower of -London. Up to 1640, when banking arose, merchants were in the -habit of depositing their bullion and cash in the Tower Mint, under -guardianship of the Crown (see Wh-C. under <i>Royal Mint</i>, and -<i>History of Banking in all the Leading Nations</i>, London, 1896, 2. 1).</p> - -<p><b>3. 3. 86-8 let ... hazard.</b> Merecraft seems to mean: ‘You -are in no hurry. Pray therefore allow me to defer your business -until I have brought opportune aid to this gentleman’s distresses at -a time when his fortunes are in a hazardous condition.’ The pregnant -use of the verb <i>timing</i> and the unusual use of the word <i>terms</i> -for a period of time render the meaning peculiarly difficult.</p> - -<p><b>3. 3. 106 a Businesse.</b> This was recognized as the technical -expression. Sir Thomas Overbury ridicules it in his <i>Characters</i>, -ed. Morley, p. 72: ‘If any private quarrel happen among our great -courtiers, he (the Roaring Boy) proclaims the business—that’s the -word, the business—as if the united force of the Roman Catholics -were making up for Germany.’ Jonson ridicules the use of the -word in similar fashion in the Masque of <i>Mercury Vindicated from -the Alchemists</i>.</p> - -<p><b>3. 3. 133 hauings.</b> Jonson uses the expression again in <i>Ev. Man -in</i>, <i>Wks.</i> 1. 29, and <i>Gipsies Met.</i>, <i>Wks.</i> 7. 364. It -is also used in <i>Muse’s Looking Glasse</i>, <i>O. Pl.</i> 9. 175.</p> - -<p><b>3. 3. 147 such sharks!</b> Shift in <i>Ev. Man in</i> is described as a -‘threadbare shark.’ Cf. also Earle, <i>Microcosmography</i>, ed. Morley, p. 173.</p> - -<p><b>3. 3. 148 an old debt of forty.</b> See 2. 8. 100.</p> - -<p><b>3. 3. 149 the Bermudas.</b> See note <a href="#Note_2_1_144">2. 1. 144</a>. -Nares thinks that the real Bermudas are referred to here. -<span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span></p> - -<p><b>3. 3. 155 You shall ha’ twenty pound on’t.</b> As Commission on -the two hundred. ‘Ten in the hundred’ was the customary rate at -this period (see <i>Staple of News</i>, <i>Wks.</i> 5. 189).</p> - -<p><b>3. 3. 165 St. Georges-tide?</b> From a very early period the 23d -of April was dedicated to St. George. From the time of Henry V. -The festival had been observed with great splendor at Windsor and -other towns, and bonfires were built (see Shak, <i>1 Henry VI.</i> 1. 1). -The festival continued to be celebrated until 1567, when Elizabeth -ordered its discontinuance. James I., however, kept the 23d of April -to some extent, and the revival of the feast in all its glories was -only prevented by the Civil War. So late as 1614 it was the custom -for fashionable gentlemen to wear blue coats on St. George’s Day, -probably in imitation of the blue mantle worn by the Knights of -the Garter, an order created at the feast of St. George in 1344 -(see Chambers’ <i>Book of Days</i> 1. 540).</p> - -<p>The passages relating to this custom are <i>Ram Alley</i>, -<i>O. Pl.</i>, 2d ed., 5. 486:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">By Dis, I will be knight,</span> -<span class="i5">Wear a blue coat on great St. George’s day,</span> -<span class="i5">And with my fellows drive you all from Paul’s</span> -<span class="i5">For this attempt.</span> -</div></div> - -<p><i>Runne and a great Cast</i>, <i>Epigr.</i> 33:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">With’s coram nomine keeping greater sway</span> -<span class="i5">Than a court blew-coat on St. George’s day.</span> -</div></div> - -<p>From these passages Nares concludes ‘that some festive ceremony -was carried on at St. Paul’s on St. George’s day annually; that -the court attended; that the <i>blue-coats</i>, or attendants, of the -courtiers, were employed and authorised to keep order, and drive -out refractory persons; and that on this occasion it was proper -for a knight to officiate as <i>blue coat</i> to some personage of -higher rank’.</p> - -<p>In the <i>Conversations with Drummond</i>, Jonson’s <i>Wks.</i> 9. 393, -we read: ‘Northampton was his mortal enimie for beating, on a St. -George’s day, one of his attenders.’ Pepys speaks of there being -bonfires in honor of St. George’s Day as late as Apr. 23, 1666.</p> - -<p><b>3. 3. 166 chaines? PLV. Of gold, and pearle.</b> The gold -chain was formerly a mark of rank and dignity, and a century -before this it had been forbidden for any one under the degree of -a gentleman of two hundred marks a year to wear one (<i>Statutes -of the Realm</i>, 7 Henry VIII. c. 6). They were worn by the Lord -Mayors (Dekker, <i>Shomaker’s Holiday</i>, <i>Wks.</i> 1. 42), rich -merchants and aldermen (Glapthorne, <i>Wit for a Constable</i>, -<i>Wks.</i>, ed. 1874, 1. 201-3), and later became the distinctive -mark of the upper servant in a great family, especially the -steward (see Nares and <i>Ev. Man out</i>, <i>Wks.</i> 2. 31). -Massinger (<i>City Madam</i>, <i>Wks.</i>, p. 334) speaks -<span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span> -of wearing a chain of gold ‘on solemn days.’ With the present -passage cf. <i>Underwoods</i> 62, <i>Wks.</i> 8. 410:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">If they stay here but till St. George’s day.</span> -<span class="i5">All ensigns of a war are not yet dead,</span> -<span class="i5">Nor marks of wealth so from a nation fled,</span> -<span class="i5">But they may see gold chains and pearl worn then,</span> -<span class="i5">Lent by the London dames to the Lords’ men.</span> -</div></div> - -<p><b><a name="Note_3_3_170"></a>3. 3. 170 take in Pimlico.</b> ‘Near Hoxton, -a great summer resort in the early part of the 17th century and famed for its -cakes, custards, and Derby ale. The references to the Hoxton -Pimlico are numerous in our old dramatists.’—Wh—C. It is -mentioned among other places in <i>Greene’s Tu Quoque, The City -Match</i>, fol. 1639, <i>News from Hogsdon</i>, 1598, and Dekker, -<i>Roaring Girle</i>, <i>Wks.</i> 3. 219, where it is spoken of as -‘that nappy land of spice-cakes.’ In 1609 a tract was published, -called <i>Pimlyco or Runne Red-Cap, ’tis a Mad World at Hogsdon</i>.</p> - -<p>Jonson refers to it repeatedly. Cf. <i>Alch.</i>, <i>Wks.</i> 4. 155:</p> - -<div class="poem"><div class="stanza"> -<span class="i25">—Gallants, men and women.</span> -<span class="i5">And of all sorts, tag-rag, been seen to flock here,</span> -<span class="i5">In threaves, these ten weeks, as to a second Hogsden,</span> -<span class="i5">In days of Pimlico and Eye-bright.</span> -</div></div> - -<p>Cf. also <i>Alch.</i>, <i>Wks.</i> 4. 151; <i>Bart. Fair</i>, -<i>Wks.</i> 4. 357; and this play 4. 4. 164. In <i>Underwoods</i> 62 -the same expression is used as in this passage:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">What a strong fort old Pimlico had been!</span> -<span class="i5">How it held out! how, last, ’twas taken in!—</span> -</div></div> - -<p><i>Take in</i> in the sense of ‘capture’ is used again in <i>Every Man -in</i>, <i>Wks.</i> 1. 64, and frequently in Shakespeare (see Schmidt). -The reference here, as Cunningham suggests, is to the Finsbury -sham fights. Hogsden was in the neighborhood of Finsbury, and -the battles were doubtless carried into its territory.</p> - -<p><b>3. 3. 173 Some Bristo-stone or Cornish counterfeit.</b> Cf. -Heywood, <i>Wks.</i> 5. 317: ‘This jewell, a plaine <i>Bristowe</i> stone, -a counterfeit.’ See Gloss.</p> - -<p><b>3. 3. 184, 5       I know your Equiuocks:<br /> -  You’are growne the better Fathers of ’hem o’ late.</b></p> - -<p>‘Satirically reflecting on the Jesuits, the great patrons of -<i>equivocation</i>.’—W.</p> - -<p>‘Or rather on the Puritans, I think; who were sufficiently -obnoxious to this charge. The Jesuits would be out of place -here.’—G.</p> - -<p>Why the Puritans are any more appropriate Gifford does not -vouchsafe to tell us. So far as I have been able to discover the -<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span> -Puritans were never called ‘Fathers,’ their regular appellation -being ‘the brethren’ (cf. <i>Alch.</i> and <i>Bart. Fair</i>). The -Puritans were accused of a distortion of Scriptural texts to -suit their own purposes, instances of which occur in the dramas -mentioned above. On the whole, however, equivocation is more -characteristic of the Jesuits. They were completely out of -favor at this time. Under the generalship of Claudio Acquaviva, -1581-1615, they first began to have a preponderatingly evil -reputation. In 1581 they were banished from England, and in -1601 the decree of banishment was repeated, this time for their -suspected share in the Gunpowder Plot.</p> - -<p><b>3. 3. 206, 7 Come, gi’ me Ten pieces more.</b> The -transaction with Guilthead is perhaps somewhat confusing. -Fitzdottrel has offered to give his bond for two hundred pieces, -if necessary. Merecraft’s ‘old debt of forty’ (3. 3. 149), the -fifty pieces for the ring, and the hundred for Everill’s new -office (3. 3. 60 and 83) ‘all but make two hundred.’ Fitzdottrel -furnishes a hundred of this in cash, with the understanding that -he receive it again of the gold-smith when he signs the bond (3. -3. 194). He returns, however, without the gold, though he seals -the bond (3. 5. 1-3). Of the hundred pieces received in cash, -twenty go to Guilthead as commission (3. 3. 155). This leaves -forty each for Merecraft and Everill.</p> - -<p><b>3. 3. 213 how th’ Asse made his diuisions.</b> See <i>Fab.</i> -cix, <i>Fabulae Aesopicae</i>, Leipzig, 1810, <i>Leo, Asinus et -Vulpes</i>. Harsnet (<i>Declaration</i>, p. 110) refers to this fable, -and Dekker made a similar application in <i>Match me in London</i>, -1631, <i>Wks.</i> 4. 145:</p> - -<div class="poem"><div class="stanza"> -<span class="i7"><i>King.</i> Father Ile tell you a Tale, vpon a time</span> -<span class="i5">The Lyon Foxe and silly Asse did jarre.</span> -<span class="i5">Grew friends and what they got, agreed to share:</span> -<span class="i5">A prey was tane, the bold Asse did diuide it</span> -<span class="i5">Into three equall parts, the Lyon spy’d it.</span> -<span class="i5">And scorning two such sharers, moody grew,</span> -<span class="i5">And pawing the Asse, shooke him as I shake you ...</span> -<span class="i5">And in rage tore him peece meale, the Asse thus dead,</span> -<span class="i5">The prey was by the Foxe distributed</span> -<span class="i5">Into three parts agen; of which the Lyon</span> -<span class="i5">Had two for his share, and the Foxe but one:</span> -<span class="i5">The Lyon (smiling) of the Foxe would know</span> -<span class="i5">Where he had this wit, he the dead Asse did show.</span> -<span class="i7"><i>Valasc.</i> An excellent Tale.</span> -<span class="i7"><i>King.</i> Thou art that Asse.</span> -</div></div> - -<p><b>3. 3. 214 Much good do you.</b> So in <i>Sil. Wom.</i>, <i>Wks.</i> 3. -398: ‘Much good do him.’</p> - -<p><b>3. 3. 217 And coozen i’ your bullions.</b> Massinger’s <i>Fatal -Dowry</i>, <i>Wks.</i>, p. 272, contains the following passage: -‘The other is his dressing-block, upon whom my lord lays all his -<span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span> -clothes and fashions ere he vouchsafes them his own person: -you shall see him ... at noon in the Bullion,’ etc. In a note -on this passage (<i>Wks.</i> 3. 390, ed. 1813) Gifford advanced the -theory that the <i>bullion</i> was ‘a piece of finery, which derived -its denomination from the large globular gilt buttons, still in -use on the continent.’ In his note on the present passage, he -adds that it was probably ‘adopted by gamblers and others, as a -mark of wealth, to entrap the unwary.’</p> - -<p>Nares was the next man to take up the word. He connected it with -‘<i>bullion</i>; Copper-plates set on the Breast-leathers and Bridles -of Horses for ornament’ (Phillips 1706). ‘I suspect that it also -meant, in colloquial use, copper lace, tassels, and ornaments in -imitation of gold. Hence contemptuously attributed to those who -affected a finery above their station.’</p> - -<p>Dyce (B. & Fl., <i>Wks.</i> 7. 291) was the first to disconnect the -word from <i>bullion</i> meaning uncoined gold or silver. He says: -‘<i>Bullions</i>, I apprehend, mean some sort of hose or breeches, -which were <i>bolled</i> or <i>bulled</i>, i. e. swelled, puffed out -(cf. <i>Sad. Shep.</i>, Act 1. Sc. 2, <i>bulled</i> nosegays’).’</p> - -<p>The <i>NED.</i> gives ‘prob. a. F. <i>bouillon</i> in senses derived from -that of “bubble.”’</p> - -<p>Besides the passages already given, the word occurs in B. & Fl., -<i>The Chances</i>, <i>Wks.</i> 7. 291:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Why should not bilbo raise him, or a pair of bullions?</span> -</div></div> - -<p><i>Beggar’s Bush</i>, <i>Wks.</i> 9. 81:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">In his French doublet, with his blister’d</span> -<span class="i5">(1st fol. <i>baster’d</i>) bullions.</span> -</div></div> - -<p>Brome, <i>Sparagus Garden</i>, <i>Wks.</i> 3. 152:</p> - -<div class="poem"><div class="stanza"> -<span class="i25">—shaking your</span> -<span class="i5">Old Bullion Tronkes over my Trucklebed.</span> -</div></div> - -<p><i>Gesta Gray</i> in Nichols’ <i>Prog. Q. Eliz.</i> 3. 341 A, 1594: -‘A bullion-hose is best to go a woeing in; for tis full of -promising promontories.’</p> - -<p><b>3. 3. 231 too-too-vnsupportable!</b> This reduplicated -form is common in Shakespeare. See <i>Merch. of Ven.</i> 2. 6. -42; <i>Hamlet</i> 1. 2. 129; and Schmidt, <i>Dict.</i> Jonson uses it -in <i>Sejanus</i>, <i>Wks.</i> 3. 54, and elsewhere. It is merely a -strengthened form of <i>too</i>. (See Halliwell in <i>Sh. Soc. Papers</i>, -1884, 1. 39, and <i>Hamlet</i>, ed. Furness, 11th ed., 1. 41.) Jonson -regularly uses the hyphen.</p> - -<p><b><a name="Note_3_4_13"></a>3. 4. 13 Cioppinos.</b> Jonson spells the -word as if it were Italian, though he says in the same sentence that the -custom of wearing chopines is Spanish. The <i>NED.</i>, referring to Skeat, -<i>Trans. Phil. Soc.</i>, 1885-7, p. 79, derives it from Sp. <i>chapa</i>, -<span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span> -a plate of metal, etc. ‘The Eng. writers c 1600 persistently -treated the word as Italian, even spelling it <i>cioppino</i>, pl. -<i>cioppini</i>, and expressly associated it with Venice, so that, -although not recorded in Italian Dicts. it was app. temporarily -fashionable there.’ The statement of the <i>NED.</i> that ‘there is -little or no evidence of their use in England (except on the -stage)’ seems to be contradicted by the quotation from Stephen -Gosson’s <i>Pleasant Quippes</i> (note 1. 1. 128). References to the -chopine are common in the literature of the period (see Nares -and <i>NED.</i>). I have found no instances of the Italianated form -earlier than Jonson, and it may be original with him. He uses -the plural <i>cioppini</i> in <i>Cynthia’s Revels</i>, <i>Wks.</i> 2. 241. -See note <a href="#Note_4_4_69">4. 4. 69</a>.</p> - -<p><b><a name="Note_3_4_32"></a>3. 4. 32 your purchase.</b> Cf. <i>Alch.</i>, -<i>Wks.</i> 4. 150, and <i>Fox</i>, <i>Wks.</i> 3. 168: ‘the cunning purchase -of my wealth.’ Cunningham (<i>Wks.</i> 3. 498) says: ‘Purchase, as readers of -Shakespeare know, was a cant term among thieves for the plunder they acquired, -also the act of acquiring it. It is frequently used by Jonson.’</p> - -<p><b>3. 4. 35 Pro’uedor.</b> Gifford’s change to provedoré -is without authority. The word is <i>provedor</i>, Port., or -<i>proveedor</i>, Sp., and is found in Hakluyt, <i>Voyages</i>, 3. 701; -G. Sandys, <i>Trav.</i>, p. 6 (1632); and elsewhere, with various -orthography, but apparently never with the accent.</p> - -<p><b><a name="Note_3_4_43"></a>3. 4. 43 Gentleman huisher.</b> For the gentleman-usher -see note <a href="#Note_4_4_134">4. 4. 134</a>. The forms <i>usher</i> and <i>huisher</i> -seem to be used without distinction. The editors’ treatment of the form is -inconsistent. See variants, and compare 2. 7. 33.</p> - -<p><b>3. 4. 45-8 wee poore Gentlemen ... piece.</b> Cf. Webster, -<i>Devil’s Law Case</i>, <i>Wks.</i> 2. 38: ‘You have certain rich city -chuffs, that when they have no acres of their own, they will go -and plough up fools, and turn them into excellent meadow.’ Also -<i>The Fox</i> 2. 1:</p> - -<div class="poem"><div class="stanza"> -<span class="i25">—if Italy</span> -<span class="i5">Have any glebe more fruitful than these fellows,</span> -<span class="i5">I am deceived.</span> -</div></div> - -<p>As source of the latter Dr. L. H. Holt (<i>Mod. Lang. Notes</i>, June, -1905) gives Plautus, <i>Epidicus</i> 2. 3. 306-7:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">nullum esse opinor ego agrum in agro Attico</span> -<span class="i5">aeque feracem quam hic est noster Periphanes.</span> -</div></div> - -<p><b><a name="Note_3_5_2"></a>3. 5. 2 the row.</b> Stow (<i>Survey</i>, -ed. 1633, p. 391) says that Goldsmith’s Row, ‘betwixt <i>Breadstreete</i> end -and the Crosse in <i>Cheap</i>,’ is ‘the most beautifull Frame of faire houses -and shops, that be within the Wals of <i>London</i>, or elsewhere in -England.’ It contained ‘ten faire dwelling houses, and fourteene -shops’ beautified with elaborate ornamentation. Howes (ed. 1631, -p. 1045) says that at his time (1630) Goldsmith’s Row ‘was much -<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span> -abated of her wonted store of Goldsmiths, which was the beauty -of that famous streete.’ A similar complaint is made in the -<i>Calendar of State Papers</i>, 1619-23, p. 457, where Goldsmith’s -Row is characterized as the ‘glory and beauty of Cheapside.’ -Paul Hentzner (p. 45) speaks of it as surpassing all the other -London streets. He mentions the presence there of a ‘gilt tower, -with a fountain that plays.’</p> - - -<p><b>3. 5. 29, 30           answering<br /> -  With the French-time, in flexure of your body.</b></p> - -<p>This may -mean bowing in the deliberate and measured fashion of the French, -or perhaps it refers to French musical measure. See Gloss.</p> - -<p><b>3. 5. 33 the very Academies.</b> See note <a href="#Note_2_8_20">2. 8. 20</a>.</p> - -<p><b>3. 5. 35 play-time.</b> Collier says that the usual hour of dining in -the city was twelve o’clock, though the passage in <i>Case is Altered</i>, -<i>Wks.</i> 6. 331, seems to indicate an earlier hour:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Eat when your stomach serves, saith the physician,</span> -<span class="i5">Not at eleven and six.</span> -</div></div> - -<p>The performance of plays began at three o’clock. Cf. <i>Histriomastix</i>, 1610:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Come to the Town-house, and see a play:</span> -<span class="i5">At three a’clock it shall begin.</span> -</div></div> - -<p>See Collier, <i>Annals</i> 3. 377. Sir Humphrey Mildmay, in his Ms. -Diary (quoted <i>Annals</i> 2. 70), speaks several times of going to -the play-house after dinner.</p> - -<p><b>3. 5. 39 his Damme.</b> <i>NED.</i> gives a use of the phrase ‘the -devil and his dam’ as early as Piers Plowman, 1393. The ‘devil’s -dam’ was later applied opprobriously to a woman. It is used thus -in Shakespeare, <i>Com. Err.</i> 4. 3. 51. The expression is common -throughout the literature of the period.</p> - -<p><b><a name="Note_3_5_43"></a>3. 5. 43 But to be seene to rise, and goe away.</b> -Cf. Dekker, <i>Guls Horne-booke</i>, <i>Non-dram. Wks.</i> 2. 253: ‘Now sir, -if the writer be a fellow that hath either epigrammd you, or -hath had a flirt at your mistris, ... you shall disgrace him -worse then by tossing him in a blancket ... if, in the middle of -his play, ... you rise with a screwd and discontented face from -your stoole to be gone: no matter whether the Scenes be good or -no; the better they are the worse do you distast them.’</p> - - -<p><b>3. 5. 45, 6  But say, that he be one,<br /> -  Wi’ not be aw’d! but laugh at you.</b> -In the Prologue to Massinger’s <i>Guardian</i> we find:</p> - -<div class="poem"><div class="stanza"> -<span class="i21">—nor dares he profess that when</span> -<span class="i5">The critics laugh, he’ll laugh at them agen.</span> -<span class="i5">(Strange self-love in a writer!)</span> -<span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span> -</div></div> - -<p>Gifford says of this passage: ‘This Prologue contains many -sarcastick allusions to Old Ben, who produced, about this -time, his <i>Tale of a Tub</i>, and his <i>Magnetic Lady</i>, pieces -which failed of success, and which, with his usual arrogance, -(<i>strange self-love in a writer!</i>) he attributed to a want of -taste in the audience.’—Massinger’s (<i>Wks.</i>, ed. 1805, 4. 121.)</p> - -<p>The <i>Guardian</i> appeared in 1633, two years after the printing of -<i>The Devil is an Ass</i>. It seems certain that the reference is to -the present passage.</p> - -<p><b>3. 5. 47 pay for his dinner himselfe.</b> The custom of -inviting the poet to dinner or supper seems to have been a -common one. Dekker refers to it in the <i>Guls Horne-booke</i>, -<i>Non-dram. Wks.</i> 2. 249. Cf. also the Epilogue to the present play.</p> - -<p><b>3. 5. 47 Perhaps, He would doe that twice, rather then thanke -you.</b> ‘This ill-timed compliment to himself, Jonson might -have spared, with some advantage to his judgment, at least, if -not his modesty.’—G.</p> - -<p><b>3. 5. 53.</b> See variants. Gifford’s change destroys the -meaning and is palpably ridiculous.</p> - -<p><b>3. 5. 77 your double cloakes.</b> ‘I. e., a cloake adapted -for disguises, which might be worn on either side. It was of -different colours, and fashions. This turned cloke with a false -beard (of which the cut and colour varied) and a black or yellow -peruke, furnished a ready and effectual mode of concealment, -which is now lost to the stage. ’—G.</p> - -<p><b>3. 6. 2 canst thou get ne’r a bird?</b> Throughout this page -Merecraft and Pug ring the changes on Pitfall’s name.</p> - -<p><b>3. 6. 15, 16 TRA. You must send, Sir.<br /> -  The Gentleman the ring.</b> Traines, of course, is merely -carrying out Merecraft’s plot to ‘achieve the ring’ (3. 5. 67). -Later (4. 4. 60) Merecraft is obliged to give it up to Wittipol.</p> - -<p><b>3. 6. 34-6 What’ll you do, Sir? ...<br /> -  Run from my flesh, if I could.</b> For a similar construction -cf. 1. 3. 21 and note.</p> - -<p><b>3. 6. 38, 9 Woe to the seuerall cudgells,<br /> -  Must suffer on this backe!</b> Adapted from Plautus, <i>Captivi</i> 3. 4. 650:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Vae illis uirgis miseris, quae hodie in tergo morientur meo.</span> -</div></div> - -<p>(Gifford mentions the fact that this is adapted from the -classics. I am indebted for the precise reference to -Dr. Lucius H. Holt.)</p> - -<p><b>3. 6. 40 the vse of it is so present.</b> For other Latinisms -cf. <i>resume</i>, 1. 6. 149; <i>salts</i>, 2. 6. 75; -<i>confute</i>, 5. 6. 18, etc.</p> - -<p><b>3. 6. 61 I’ll ...</b> See variants. The original reading is undoubtedly wrong. -<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span></p> - -<h3>ACT IV</h3> - -<p><b>4. 1. 1 referring to Commissioners.</b> In the lists of -patents we frequently read of commissions specially appointed -for examination of the patent under consideration. The King’s -seal was of course necessary to render the grant valid.</p> - -<p><b>4. 1. 5 S<sup>r</sup>. Iohn Monie-man.</b> See Introduction, <a href="#Page_lxxiii">p. lxxiii</a>.</p> - -<p><b>4. 1. 37 I will haue all piec’d.</b> Cf. <i>Mag. La.</i>, <i>Wks.</i> 6. 50:</p> - -<div class="poem"><div class="stanza"> -<span class="i5"><i>Item.</i> I heard they were out.</span> -<span class="i5"><i>Nee.</i> But they are pieced, and put together again.</span> -</div></div> - -<p><b>4. 1. 38 ill solder’d!</b> Cf. <i>The Forest</i>, 12, -<i>Epistle to Elizabeth</i>, etc.; ‘Solders cracked friendship.’</p> - -<p><b>4. 2. 11 Haue with ’hem.</b> ‘An idea borrowed from the gaming -table, being the opposite of “have at them.”’—C.</p> - -<p><b>4. 2. 11 the great Carroch.</b> See note <a href="#Note_1_6_214">1. 6. 214</a>.</p> - -<p><b>4. 2. 12 with my Ambler, bare.</b> See note <a href="#Note_4_4_202">4. 4. 202</a>.</p> - -<p><b>4. 2. 22 I not loue this.</b> See note <a href="#Note_1_6_14">1. 6. 14</a>.</p> - -<p><b><a name="Note_4_2_26"></a>4. 2. 26 Tooth-picks.</b> This was an object -of satire to the dramatists of the period. Nares says that they ‘appear to have -been first brought into use in Italy; whence the travellers who had -visited that country, particularly wished to exhibit that symbol -of gentility.’ It is referred to as the mark of a traveller by -Shakespeare, <i>King John</i>, 1. 1 (cited by Gifford):</p> - -<div class="poem"><div class="stanza"> -<span class="i20">—Now your traveller,</span> -<span class="i5">He, and his tooth-pick, at my worship’s mess.</span> -</div></div> - -<p>Overbury (<i>Character</i> of <i>An Affected Traveller</i>, ed. Morley, -p. 35) speaks of the <i>pick-tooth</i> as ‘a main part of his behavior.’</p> - -<p>It was also a sign of foppery. Overbury (p. 31) describes the -courtier as wearing ‘a pick-tooth in his hat,’ and Massinger, -<i>Grand Duke of Florence</i>, Act 3 (quoted by Nares), mentions ‘my -case of tooth-picks, and my silver fork’ among the articles -‘requisite to the making up of a signior.’ John Earle makes -a similar reference in his <i>Character</i> of <i>An Idle Gallant</i> -(ed. Morley, p. 179), and Furnivall (Stubbes’ <i>Anatomy</i>, -p. 77) quotes from <i>Laugh and lie downe</i>: or <i>The worldes -Folly</i>, London, 1605, 4to: ‘The next was a nimble-witted and -glib-tongu’d fellow, who, having in his youth spent his wits -in the Arte of love, was now become the jest of wit.... The -picktooth in the mouth, the flower in the eare, the brush upon -the beard; ... and what not that was unneedefull,’ etc.</p> - -<p>It is a frequent subject of satire in Jonson. Cf. <i>Ev. Man out</i>, -<i>Wks.</i> 2. 124; <i>Cyn. Rev.</i>, <i>Wks.</i> 2. 218, 248; <i>Fox</i>, -<i>Wks.</i> 3. 266. See also Dekker, <i>Wks.</i> 3. 280.</p> - -<p><b>4. 2. 63 What vile Fucus is this.</b> The abuse of face-painting is -a favorite subject of satire with the moralists and dramatists of the -<span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span> -period. Stubbes (<i>Anatomy of Abuses</i>, Part 1, pp. 64-8) devotes -a long section to the subject. Dr. Furnivall in the notes -to this passage, pp. 271-3, should also be consulted. Brome -satirizes it in the <i>City Wit</i>, <i>Wks.</i> 2. 300. Lady Politick -Would-be in the <i>Fox</i> is of course addicted to the habit, -and a good deal is said on the subject in <i>Epicoene</i>. Dekker -(<i>West-ward Hoe</i>, <i>Wks.</i> 2. 285) has a passage quite similar in -spirit to Jonson’s satire.</p> - -<p><b>4. 2. 71 the very Infanta of the Giants!</b> Cf. Massinger -and Field, <i>Fatal Dowry</i> 4. 1: ‘O that I were the infanta queen -of Europe!’ Pecunia in the <i>Staple of News</i> is called the -‘Infanta of the mines.’ Spanish terms were fashionable at this -time. Cf. the use of <i>Grandees</i>, 1. 3. It is possible that the -reference here is to the Infanta Maria. See Introduction, <a href="#Page_xviii">p. xviii</a>.</p> - -<p><b>4. 3. 5, 6 It is the manner of Spaine, to imbrace onely, -Neuer to kisse.</b> Cf. Minsheu’s <i>Pleasant and Delightfull -Dialogues,</i> pp. 51-2: ‘<i>W.</i> I hold that the greatest cause of -dissolutenesse in some women in England is this custome of -kissing publikely.... <i>G.</i> In Spaine doe not men vse to kisse -women? <i>I.</i> Yes the husbands kisse their wiues, but as if it -were behinde seuen walls, where the very light cannot see them.’</p> - -<p><b>4. 3. 33 f. Decayes the fore-teeth, that should guard the -tongue;</b> etc. Cf. <i>Timber</i>, ed. Schelling, 13. 24: ‘It was -excellently said of that philosopher, that there was a wall or -parapet of teeth set in our mouth, to restrain the petulancy -of our words; that the rashness of talking should not only be -retarded by the guard and watch of our heart, but be fenced in -and defended by certain strengths placed in the mouth itself, -and within the lips.’</p> - -<p>Professor Schelling quotes Plutarch, <i>Moralia, de Garrulitate</i> -3, translated by Goodwin: ‘And yet there is no member of human -bodies that nature has so strongly enclosed within a double -fortification as the tongue, entrenched within a barricade of -sharp teeth, to the end that, if it refuses to obey and keep -silent when reason “presses the glittering reins” within, we -should fix our teeth in it till the blood comes rather than -suffer inordinate and unseasonable din’ (4. 223).</p> - -<p><b>4. 3. 39 Mad-dames.</b> See variants. The editors have -taken out of the jest whatever salt it possessed, and have -supplied meaningless substitutes. Gifford followed the same -course in his edition of Ford (see Ford’s <i>Wks.</i> 2. 81), where, -however, he changes to Mad-dam. Such gratuitous corruptions are -inexplicable. Cf. <i>Tale Tub</i>, <i>Wks.</i> 6. 172:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Here is a strange thing call’d a lady, a mad-dame.</span> -</div></div> - -<p><b>4. 3. 45 Their seruants.</b> -A common term for a lover. Cf. <i>Sil. Wom.</i>, <i>Wks.</i> 3. 364. -<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span></p> - -<p><b>4. 3. 51.</b> See variants. There are several mistakes -in the assignment of speeches throughout this act. Not all -of Gifford’s changes, however, are to be accepted without -question. Evidently, if the question <i>where?</i> is to be assigned -to Wittipol, the first speech must be an aside, as it is -inconceivable that Merecraft should introduce Fitzdottrel first -under his own name, and then as the ‘Duke of Drown’d-land.’</p> - -<p>My conception of the situation is this: Pug is playing the part -of gentleman usher. He enters and announces to Merecraft that -Fitzdottrel and his wife are coming. Merecraft whispers: ‘Master -Fitzdottrel and his wife! where?’ and then, as they enter, turns -to Wittipol and introduces them; ‘Madame,’ etc.</p> - -<p><b>4. 4. 30 Your Allum Scagliola</b>, etc. Many of the words -in this paragraph are obscure, and a few seem irrecoverable. -Doubtless Jonson picked them up from various medical treatises -and advertisements of his day. I find no trace of <i>Abezzo</i>, -which may of course be a misprint for Arezzo. The meanings -assigned to <i>Pol-dipedra</i> and <i>Porcelletto Merino</i> are -unsatisfactory. Florio gives ‘<i>Zucca</i>: a gourd; a casting -bottle,’ but I have been unable to discover <i>Mugia</i>. The -loss of these words is, to be sure, of no moment. Two things -illustrative of Jonson’s method are sufficiently clear. (1) -The articles mentioned are not, as they seem at first, merely -names coined for the occasion. (2) They are a polyglot jumble, -intended to make proficiency in the science of cosmetics as -ridiculous as possible. It is worth while to notice, however, -that this list of drugs is carefully differentiated from the -list at 4. 4. 142 f., which contains the names of sweetmeats -and perfumes.</p> - -<p><b><a name="Note_4_4_32"></a>4. 4. 32, 3 Soda di leuante, Or your Ferne -ashes.</b> Soda-ash is still the common trade name of sodium carbonate. In -former times soda was chiefly obtained from natural deposits -and from the incineration of various plants growing by the -sea-shore. These sources have become of little importance -since the invention of artificial soda by Leblanc toward the -end of the eighteenth century (see <i>Soda</i> in <i>CD.</i>). Florio’s -definition of soda is: ‘a kind of Ferne-ashes whereof they make -glasses.’ Cf. also W. Warde, Tr. <i>Alessio’s Secr.</i>, Pt. 1 fol. -78[<sup>m</sup>] 1º: ‘Take an vnce of Soda (which is asshes made of -grasse, whereof glassemakers do vse to make their Cristall).’ In -Chaucer’s <i>Squire’s Tale</i> (11. 254 f.) the manufacture of glass -out of ‘fern-asshen’ is mentioned as a wonder comparable to that -of Canacee’s ring.</p> - -<p><b>4. 4. 33 Beniamin di gotta.</b> The <i>Dict. d’Histoire -Naturelle</i>, Paris, 1843, 2. 509, gives: ‘Benjoin. Sa -teinture, étendue d’eau, sert à la toilette sous le nom de -<i>Lait virginal</i>.’ See 4. 4. 52.</p> - -<p><b>4. 4. 38 With a piece of scarlet.</b> -Lady Politick Would-be’s remedies in the <i>Fox</i> are -<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span> -to be ‘applied with a right scarlet cloth.’ Scarlet was supposed -to be of great efficacy in disease. See Whalley’s note on the -<i>Fox</i>, <i>Wks.</i> 3. 234.</p> - -<p><b>4. 4. 38, 9 makes a Lady of sixty Looke at sixteen.</b> -Cunningham thinks this is a reference to the <i>In decimo sexto</i> -of line 50.</p> - -<p><b>4. 4. 39, 40 the water Of the white Hen, of the Lady -Estifanias!</b> The Lady Estifania seems to have been a dealer -in perfumes and cosmetics. In <i>Staple of News</i>, <i>Wks.</i> 5. -166, we read: ‘Right Spanish perfume, the lady Estifania’s.’ -Estefania is the name of a Spanish lady in B. & Fl.’s -<i>Rule a Wife</i>.</p> - -<p><b>4. 4. 47 galley-pot.</b> Mistresse Gallipot is the name of a -tobacconist in Dekker’s and Middleton’s <i>Roaring Girle</i>.</p> - -<p><b>4. 4. 50 In decimo sexto.</b> This is a bookbinder’s or -printer’s term, ‘applied to books, etc., a leaf of which is -one-sixteenth of a full sheet or signature.’ It is equivalent -to ‘16mo.’ and hence metaphorically used to indicate ‘a small -compass, miniature’ (see <i>Stanford</i>, p. 312). In <i>Cyn. Rev.</i>, -<i>Wks.</i> 2. 218, Jonson says: ‘my braggart in decimo sexto!’ -Its use is well exemplified in John Taylor’s <i>Works</i>, sig. L<sub>1</sub> -v<sup>0/1</sup>: ‘when a mans stomache is in Folio, and knows -not where to haue a dinner in Decimo sexto.’ The phrase is -fairly common in the dramatic literature. See Massinger, <i>Unnat. -Combat</i> 3. 2; Middleton, <i>Father Hubburd’s Tales</i>, -<i>Wks.</i> 8 64, etc. In the present passage, however, the meaning -evidently required is ‘perfect: ’spotless,’ and no doubt refers to -the comparative perfection of a sexto decimo, or perhaps to the -perfection naturally to be expected of any work in miniature.</p> - -<p><b>4. 4. 52 Virgins milke for the face.</b> Cf. John French, -<i>Art Distill.</i>. Bk. 5. p. 135 (1651): ‘This salt being set in -a cold cellar on a marble stone, and dissolved into an oil, is -as good as any <i>Lac virginis</i> to clear, and smooth the face.’ -<i>Lac Virginis</i> is spoken of twice in the <i>Alchemist</i>, Act 2, -but probably in neither case is the cosmetic referred to. See -Hathaway’s edition, p. 293. Nash speaks of the cosmetic in -<i>Pierce Pennilesse</i>, <i>Wks.</i> 2. 44: ‘She should haue noynted -your face ouer night with <i>Lac virginis</i>.’</p> - -<p><b>4. 4. 55 Cataputia.</b> Catapuce is one of the laxatives that -Dame Pertelote recommended to Chauntecleer in Chaucer’s <i>Nonne -Preestes Tale</i>, l. 145.</p> - -<p><b>4. 4. 63 Doe not you dwindle.</b> The use of <i>dwindle</i> -in this sense is very rare. <i>NED.</i> thinks it is ‘probably a -misuse owing to two senses of <i>shrink</i>.’ It gives only a single -example, <i>Alch.</i>, <i>Wks.</i> 4. 163: ‘Did you not hear the coil -about the door? <i>Sub.</i> Yes, and I dwindled with it.’ Besides the -two instances in Jonson I have noticed only one other, in Ford, -<i>Fancies chaste and noble</i>, <i>Wks.</i> 2. 291: ‘<i>Spa.</i> Hum, -how’s that? is he there, with a wanion! then do I begin to dwindle.’ -<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span></p> - -<p><b><a name="Note_4_4_69"></a>4. 4. 69 Cioppino’s.</b> The source of -this passage, with the anecdote which follows, seems to be taken from Coryat’s -<i>Crudities</i> (ed. 1776, 2. 36, 7): ‘There is one thing vsed of -the Venetian women, and some others dwelling in the cities and -towns subject to the Signiory of Venice, that is not to be -obserued (I thinke) amongst any other women in Christendome: -which is so common in Venice, that no woman whatsoeuer goeth -without it, either in her house or abroad; a thing made of wood, -and couered with leather of sundry colors, some with white, some -redde, some yellow. It is called a Chapiney, which they weare -vnder their shoes. Many of them are curiously painted; some also -I haue seene fairely gilt: so vncomely a thing (in my opinion) -that it is pitty this foolish custom is not cleane banished and -exterminated out of the citie. There are many of these Chapineys -of a great heigth, euen half a yard high, which maketh many of -their women that are very short, seeme much taller then the -tallest women we haue in England. Also I haue heard that this is -obserued amongst them, that by how much the nobler a woman is, -by so much the higher are her Chapineys. All their Gentlewomen, -and most of their wiues and widowes that are of any wealth, are -assisted and supported eyther by men or women when they walke -abroad, to the end they may not fall. They are borne vp most -commonly by the left arme, otherwise they might quickly take a -fall. For I saw a woman fall a very dangerous fall as she was -going down the staires of one of the little stony bridges with -her high Chapineys alone by her selfe: but I did nothing pitty -her, because shee wore such friuolous and (as I may truely term -them) ridiculous instruments, which were the occasion of her -fall. For both I myselfe, and many other strangers (as I haue -obserued in Venice) haue often laughed at them for their vaine Chapineys.’</p> - -<p><b><a name="Note_4_4_71"></a>4. 4. 71, 2 Spanish pumps Of perfum’d leather.</b> -Pumps are first mentioned in the sixteenth century (Planché). A reference -to them occurs in <i>Midsummer Night’s Dream</i>, 1593-4, 4. 2. They -were worn especially by footmen.</p> - -<p>Spanish leather was highly esteemed at this time. Stubbes -(<i>Anat. of Abuses</i>, Part 1, p. 77) says: ‘They haue korked -shooes, pinsnets, pantoffles, and slippers, ... some of -spanish leather, and some of English lether.’ Marston (<i>Dutch -Courtezan</i>, <i>Wks.</i> 2. 7) speaks of a ‘Spanish leather jerkin,’ -and Middleton (<i>Father Hubburd’s Tales</i>, <i>Wks.</i> 8. 70) of ‘a -curious pair of boots of King Philip’s leather,’ and a little -farther on (<i>Wks.</i> 8. 108) of Spanish leather shoes. Fastidious -Brisk’s boots are made of the same material (<i>Ev. Man out</i>, -<i>Wks.</i> 2. 147). Cf. also Dekker, <i>Wks.</i> 2. 305.</p> - -<p>Perfumes were much in fashion, and Stubbes’ <i>Anatomy</i> has a -great deal to say on the subject. We hear of perfumed jerkins in -Marston’s <i>Malcontent</i> (<i>Wks.</i> 1. 314) and in <i>Cynthia’s Revels</i> -<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span> -(<i>Wks.</i> 2. 325). Spanish perfume for gloves is spoken of in the -latter play (p. 328) and in the <i>Alchemist</i> (<i>Wks.</i> 4. 131) -‘your Spanish titillation in a glove’ is declared to be the best -perfume.</p> - -<p><b><a name="Note_4_4_77"></a>4. 4. 77, 8 The Guardo-duennas, such a little old man,<br /> -  As this.</b> Minsheu gives the definition: ‘Escudero, m. -An Esquire, a Seruingman that waits on a Ladie or Gentlewoman, in -Spaine neuer but old men and gray beards.’</p> - -<p><b>4. 4. 81 flat spred, as an Vmbrella.</b> The umbrella of -the seventeenth century seems to have been used exclusively to -protect the face from the sun. Blount, <i>Glossographia</i>, 1670, -gives: ‘<i>Umbrello</i> (Ital. Ombrella), a fashion of round and -broad Fans, wherewith the Indians (and from them our great ones) -preserve themselves from the heat of the sun or fire; and hence -any little shadow, Fan, or other thing wherewith women guard -their faces from the sun.’</p> - -<p>It was apparently not in use in England when Coryat published -his <i>Crudities</i>, which contains the following description (1. -135): ‘Also many of them doe carry other fine things of a far -greater price, that will cost at the least a duckat, which -they commonly call in the Italian tongue <i>vmbrellaes</i>, that -is, things that minister shadow unto them for shelter against -the scorching heate of the sunne. These are made of leather -something answerable to the forme of a little cannopy, & hooped -in the inside with diuers little wooden hoopes that extend the -<i>vmbrella</i> in a pretty large compasse.’</p> - -<p>‘As a defense from rain or snow it was not used in western -Europe till early in the eighteenth century.’—<i>CD.</i></p> - -<p><b>4. 4. 82 Her hoope.</b> A form of the farthingale (fr. -Sp. <i>Verdugal</i>) was worn in France, Spain, and Italy, and -in England as early as 1545. It gradually increased in size, -and Elizabeth’s farthingale was enormous. The aptness of the -comparison can be appreciated by reading Coryat’s description of -the umbrella above.</p> - -<p><b>4. 4. 87 An Escudero.</b> See note <a href="#Note_4_4_77">4. 4. 77, 8</a>.</p> - -<p><b>4. 4. 97 If no body should loue mee, but my poore -husband.</b> Cf. <i>Poetaster</i>, <i>Wks.</i> 2. 444: ‘Methinks a -body’s husband does not so well at court; a body’s friend, -or so—but, husband! ’tis like your clog to your marmoset,’ etc.</p> - -<p><b><a name="Note_4_4_134"></a>4. 4. 134 your Gentleman-vsher.</b> -‘Gentleman-Usher. Originally a state-officer, attendant upon queens, and -other persons of high rank, as, in Henry VIII, Griffith is -gentleman-usher to Queen Catherine; afterwards a private -affectation of state, assumed by persons of distinction, or -those who pretended to be so, and particularly ladies. He -was then only a sort of upper servant, out of livery, whose -office was to hand his lady to her coach, and to walk before -her bare-headed, though in later times she leaned upon his arm.’—Nares. -<span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span></p> - -<p>Cf. Dekker, <i>West-ward Hoe</i>, <i>Wks.</i> 2. 324: ‘Weare furnisht for -attendants as Ladies are, We have our fooles, and our Vshers.’</p> - -<p>The sources for a study of the gentleman-usher are the present -play, <i>The Tale of a Tub</i>, and Chapman’s <i>Gentleman Usher</i>. -In the <i>Staple of News</i> the Lady Pecunia is provided with a -gentleman-usher. The principal duties of this office seem to -have consisted in being sent on errands, handing the lady to -her coach, and preceding her on any occasion where ceremony was -demanded. In Chapman’s play Lasso says that the disposition of -his house for the reception of guests was placed in the hands -of this servant (cf. Chapman, <i>Wks.</i> 1. 263 f.). Innumerable -allusions occur in which the requirement of going bare-headed -is mentioned (see note on <a href="#Note_4_4_202">4. 4. 202</a>). Another necessary -quality was a fine pace, which is alluded to in the present character’s -name (see also note <a href="#Note_4_4_201">4. 4. 201</a>). An excellent description -of the gentleman-usher will be found in Nares’ <i>Glossary,</i> quoting from -Lenton’s <i>Leasures</i>, a book published in 1631, and now very rare.</p> - -<p><b>4. 4. 142 the Dutchesse of Braganza.</b> Braganza is the -ruling house of Portugal. Dom John, Duke of Braganza, became -king of Portugal in 1640.</p> - -<p><b>4. 4. 143 Almoiauna.</b> The <i>Stanford Dictionary</i> gives: -‘Almojabana, Sp. fr. Arab. <i>Al-mojabbana</i>: cheese-and-flour cake. -Xeres was famed for this dainty, which is named from Arabic -<i>jobn</i> = “cheese.”’</p> - -<p><b>4. 4. 147 Marquesse Muja.</b> Apparently a Spanish marquise, -occupying a position in society similar to that of Madame -Récamier.</p> - -<p><b><a name="Note_4_4_156"></a>4. 4. 156 A Lady of spirit.</b> With this -line and lines 165 f. cf. <i>U.</i> 32, <i>Wks.</i> 8. 356:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">To be abroad chanting some bawdy song,</span> -<span class="i5">And laugh, and measure thighs, then squeak, spring, itch,</span> -<span class="i5">Do all the tricks of a salt lady bitch!</span> -<span class="i5">—For these with her young company she’ll enter,</span> -<span class="i5">Where Pitts, or Wright, or Modet would not venture;</span> -<span class="i34">(Fol. reads ‘venter’)</span> -<span class="i5">And come by these degrees the style t’inherit</span> -<span class="i5">Of woman of fashion, and a lady of spirit.</span> -</div></div> - -<p><b>4. 4. 164 Pimlico.</b> See note <a href="#Note_3_3_170"></a>3. 3. 170.</p> - -<p><b><a name="Note_4_4_164"></a>4. 4. 164 daunce the Saraband.</b> The origin -of the saraband is in doubt, being variously attributed to Spain and to the -Moors. It is found in Europe at the beginning of the sixteenth -century, and its immoral character is constantly referred to. -Grove (<i>Dict. of Music</i> 3. 226) quotes from chapter 12, ‘Del -baile y cantar llamado Zarabanda,’ of the <i>Tratado contra los -Juegos Publicos</i> (‘Treatise against Public Amusements’) of -<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span> -Mariana (1536-1623): ‘Entre las otras invenciones ha salido -estos años un baile y cantar tan lacivo en las palabras, tan feo -en las meneos, que basta para pegar fuego aun á las personas muy -honestas’ (‘amongst other inventions there has appeared during -late years a dance and song, so lascivious in its words, so ugly -in its movements, that it is enough to inflame even very modest -people’). ‘This reputation was not confined to Spain, for Marini -in his poem “L’Adone” (1623) says:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Chiama questo suo gioco empio e profano</span> -<span class="i5">Saravanda, e Ciaccona, il nuova Ispano.</span> -</div></div> - -<p>Padre Mariana, who believed in its Spanish origin, says that -its invention was one of the disgraces of the nation, and other -authors attribute its invention directly to the devil. The dance -was attacked by Cervantes and Guevara, and defended by Lope de -Vega, but it seems to have been so bad that at the end of the -reign of Philip II. it was for a time suppressed. It was soon, -however, revived in a purer form and was introduced at the -French court in 1588’ (Grove 3. 226-7).</p> - -<p>In England the saraband was soon transformed into an ordinary -country-dance. Two examples are to be found in the first edition -of Playford’s <i>Dancing Master</i>, and Sir John Hawkins (<i>Hist. -of the Science and Practice of Music</i>, 1776) speaks of it -several times. ‘Within the memory of persons now living,’ he -says, a Saraband danced by a Moor was constantly a part of the -entertainment at a puppet-show’ (4. 388). In another place -(2. 135), in speaking of the use of castanets at a puppet-show, he -says: ‘That particular dance called the Saraband is supposed to -require as a thing of necessity, the music, if it may be called -so, of this artless instrument.’</p> - -<p>In the <i>Staple of News</i>, <i>Wks.</i> 5. 256, Jonson speaks of -‘a light air! the bawdy Saraband!’</p> - -<p><b>4. 4. 165 Heare, and talke bawdy; laugh as loud, as a -larum.</b> Jonson satirizes these vices again in <i>U. 67</i> -(see note <a href="#Note_4_4_156">4. 4. 156</a>) and <i>Epigrams</i> 48 and <i>115</i>. -Dekker (<i>Guls Horne-booke</i>, <i>Non-dram. Wks.</i> 2. 238) advises the -young gallant to ‘discourse as lowd as you can, no matter to what -purpose, ... and laugh in fashion, ... you shall be much obserued.’</p> - -<p><b>4. 4. 172 Shee must not lose a looke on stuffes, or -cloth.</b> It being the fashion to ‘swim in choice of silks and -tissues,’ plain woolen cloth was despised.</p> - -<p><b>4. 4. 187 Blesse vs from him!</b> Preserve us. A precaution against -any evil that might result from pronouncing the devil’s name. -Cf. <i>Knight of the Burning Pestle</i> 2. 1: Sure the devil (God bless us!) -is in this springald!’ and Wilson, <i>The Cheats</i>, Prologue:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">No little pug nor devil,—bless us all!</span> -<span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span> -</div></div> - -<p><b>4. 4. 191, 2 What things they are? That nature should be at leasure<br /> -  Euer to make ’hem!</b> Cf. <i>Ev. Man in</i>, <i>Wks.</i> 1. 119: -‘O manners that this age should bring forth such creatures! that -nature should be at leisure to make them!’</p> - -<p><b>4. 4. 197 Hee makes a wicked leg.</b> Gifford thinks that -<i>wicked</i> here means ‘awkward or clownish.’ It seems rather to -mean ‘roguish,’ a common colloquial use.</p> - -<p><b><a name="Note_4_4_201"></a>4. 4. 201 A setled discreet pase.</b> -Cf. 3. 5. 22; 2. 7. 33; and Dekker, <i>Guls Horne-booke</i>, -<i>Non-dram. Wks.</i> 2. 238: ‘Walke vp and downe by the rest -as scornfully and as carelesly as a Gentleman-Usher.’</p> - -<p><b><a name="Note_4_4_202"></a>4. 4. 202 a barren head, Sir.</b> Cf. 2. 3. 36, -7 and 4. 2. 12. Here again we have a punning allusion to the uncovered -head of the gentleman-usher. ‘It was a piece of state, that the -servants of the nobility, particularly the gentleman-usher, -should attend bare-headed.’ Nares, <i>Gloss.</i> For numerous -passages illustrating the practice both in regard to the -gentleman-usher and to the coachman, see the quotations in -Nares, and Ford, <i>Lover’s Melancholy</i>, <i>Wks.</i> 1. 19; Chapman, -<i>Gentleman-Usher</i>, <i>Wks.</i> 1. 263; and the following passage, -<i>ibid.</i> 1. 273:</p> - -<div class="poem"><div class="stanza"> -<span class="i7"><i>Vin.</i> I thanke you sir.</span> -<span class="i5">Nay pray be couerd; O I crie you mercie,</span> -<span class="i5">You must be bare.</span> -<span class="i7"><i>Bas.</i> Euer to you my Lord.</span> -<span class="i7"><i>Vin.</i> Nay, not to me sir,</span> -<span class="i5">But to the faire right of your worshipfull place.</span> -</div></div> - -<p>A passage from Lenton (see note <a href="#Note_4_4_134">4. 4. 134</a>) may -also be quoted: ‘He is forced to stand bare, which would urge him to impatience, -but for the hope of being covered, or rather the delight hee -takes in shewing his new-crisp’t hayre, which his barber hath -caused to stand like a print hedge, in equal proportion.’</p> - -<p>The dramatists ridiculed it by insisting that the coachman -should be not only bare-headed, but bald. Cf. 2. 3. 36 and -Massinger, <i>City Madam</i>, <i>Wks.</i> p. 331: ‘Thou shalt have thy -proper and bald-headed coachman.’ Jonson often refers to this -custom. Cf. <i>Staple of News</i>, <i>Wks.</i> 5. 232:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Such as are bald and barren beyond hope,</span> -<span class="i5">Are to be separated and set by</span> -<span class="i5">For ushers to old countesses: and coachmen</span> -<span class="i5">To mount their boxes reverently, etc.</span> -</div></div> - -<p class="no-indent"><i>New Inn</i>, <i>Wks.</i> 5. 374:</p> - -<div class="poem"><div class="stanza"> -<span class="i7"><i>Jor.</i> Where’s thy hat?...</span> -<span class="i7"><i>Bar.</i> The wind blew’t off at Highgate, and my lady</span> -<span class="i5">Would not endure me light to take it up;</span> -<span class="i5">But made me drive bareheaded in the rain.</span> -<span class="i7"><i>Jor.</i> That she might be mistaken for a countess?</span> -<span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span> -</div></div> - -<p>Cf. also <i>Mag. La.</i>, <i>Wks.</i> 6. 36, and <i>Tale Tub</i>, -<i>Wks.</i> 6. 217 and 222.</p> - -<p><b>4. 4. 204 his Valley is beneath the waste.</b> ‘Waist’ and -‘waste’ were both spelled <i>waste</i> or <i>wast</i>. Here, of -course, is a pun on the two meanings.</p> - -<p><b>4. 4. 206 Dulnesse vpon you! Could not you hit this?</b> Cf. -<i>Bart. Fair</i>, <i>Wks.</i> 4. 358: ‘Now dullness upon me, -that I had not that before him.’</p> - -<p><b>4. 4. 209 the French sticke.</b> Walking-sticks of various -sorts are mentioned during the sixteenth and seventeenth -centuries. ‘In Chas. II.’s time the French walking-stick, with -a ribbon and tassels to hold it when passed over the wrist, -was fashionable, and continued so to the reign of George II.’ (Planché).</p> - -<p><b>4. 4. 215, 6 report the working, Of any Ladies physicke.</b> -In Lenton’s <i>Leasures</i> (see note <a href="#Note_4_4_134">4.4.134</a>) we find: -‘His greatest vexation is going upon sleevelesse arrands, to know whether -some lady slept well last night, or how her physick work’d i’ -th’ morning, things that savour not well with him; the reason -that ofttimes he goes but to the next taverne, and then very -discreetly brings her home a tale of a tubbe.’</p> - -<p>Cf. also B. & Fl., <i>Fair Maid of the Inn</i> 2. 2: -‘<i>Host.</i> And have you been in England?... But they say -ladies there take physic for fashion.’</p> - -<p>Dekker, <i>Guls Horne-booke</i>, <i>Non-dram. Wks.</i> 2. 255, -speaks of ‘a country gentleman that brings his wife vp to learne -the fashion, see the Tombs at Westminster, the Lyons in the -Tower, or to take physicke.’ In the 1812 reprint the editor -observes that in Jonson’s time ‘fanciful or artful wives -would often persuade their husbands to take them up to town -for the advantage of <i>physick</i>, when the principal object -was dissipation.’</p> - -<p><b>4. 4. 219 Corne-cutter.</b> This vulgar suggestion renders -hopeless Pug’s pretensions to gentility. Corncutters carried -on a regular trade (see <i>Bart. Fair</i> 2. 1.), and were held in -the greatest contempt, as we learn from Nash (<i>Four Letters -Confuted</i>, <i>Wks.</i> 2. 211).</p> - -<p><b>4. 4. 232 The Moone.</b> I. e., see that the moon and -zodiacal sign are propitious.</p> - -<p><b>4. 4. 235 Get their natiuities cast!</b> Astrology was a -favorite subject of satire. Cf. Massinger, <i>City Madam</i> 2. 2; B. -& Fl., <i>Rollo Duke of Normandy</i> 4. 2, etc.</p> - -<p><b><a name="Note_4_5_31"></a>4. 5. 31, 2 his valour has At the tall -board bin question’d.</b> <i>Tall board</i> is, I think, the same as -<i>table-board</i>, a gaming-table. In Dyce’s edition of Webster’s -<i>Devil’s Law Case</i> (<i>Wks.</i> 2. 38) we read: ‘shaking your elbow -at the table-board.’ Dyce says in a note that the old folio -reads <i>Taule-board</i>. <i>Tables</i> is derived from Lat. <i>Tabularum -lusus</i> › Fr. <i>Tables</i>. The derivation, <i>table</i> › <i>tavl</i> › -<i>taul</i> › <i>tall</i>, presents no etymological difficulties. A note -from Professor Joseph Wright of Oxford confirms me in my theory. -<span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span></p> - -<p>The passage seems to mean that Merecraft was accused of cheating, -and, his valor not rising to the occasion, his reputation for -honesty was left somewhat in doubt.</p> - -<p><b><a name="Note_4_6_38"></a>4. 6. 38-41 intitle Your vertue, to the power, vpon -a life<br />   ... Euen to forfeit.</b> Wittipol is ‘wooing in language of -the pleas and bench.’ Cf. 4. 7. 62.</p> - -<p><b>4. 6. 42 We haue another leg-strain’d, for this Dottrel.</b> -See variants, and note 2. 2. 49, 50.</p> - -<p><b>4. 6. 49 A Phrentick.</b> See note <a href="#Note_5_8_91">5. 8. 91-2</a>.</p> - -<p><b>4. 7. 37-40.</b> See variants. Gifford silently follows Whalley’s -changes, which are utterly unwarrantable. Cunningham points out -the wrong division in 37, 8. The scansion is thus indicated by -Wilke (<i>Metrische Untersuchungen</i>, p. 3):</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Of a/ most wor/thy gen/tleman./ Would one</span> -<span class="i5">Of worth/ had spoke/ it: whence/ it comes,/ it is</span> -<span class="i5">Rather/ a shame/ to me,/ ͝ then/ a praise.</span> -</div></div> - -<p>The missing syllable in the third verse is compensated for by the -pause after the comma. This is quite in accordance with Jonson’s -custom (see Wilke, p. 1 f.).</p> - -<p><b>4. 7. 45 Publication.</b> See 3. 3. 137.</p> - -<p><b><a name="Note_4_7_54"></a>4. 7. 54 I sou’t him.</b> See variants. Gifford says -that he can make nothing of <i>sou’t</i> but <i>sought</i> and <i>sous’d</i>, -and that he prefers the latter. Dyce (<i>Remarks</i>) confidently asserts -that the word is the same as <i>shue</i>, ‘to frighten away poultry,’ -and Cunningham accepts this without question. There seems, however, -to be no confirmation for the theory that the preterit was ever -spelt <i>sou’t</i>. Wright’s <i>Dialect Dictionary</i> gives: ‘<i>Sough.</i> -19. to strike; to beat severely,’ but the pronunciation here -seems usually to be <i>souff</i>. Professor Wright assures me that -<i>sous’d</i> is the correct reading, and that the others are ‘mere -stupid guesses.’</p> - -<p><b>4. 7. 62 in possibility.</b> A legal phrase used of -contingent interests. See note <a href="#Note_4_6_38">4. 6. 38, 9</a>.</p> - -<p><b>4. 7. 65 Duke O’ Shore-ditch.</b> ‘A mock title of honour, -conferred on the most successful of the London archers, of which -this account is given:</p> - -<p>When Henry VIII became king, he gave a prize at Windsor to those -who should excel at this exercise, (archery) when Barlo, one of -his guards, an inhabitant of Shoreditch, acquired such honor -as an archer, that the king created him <i>duke of Shoreditch</i>, -on the spot. This title, together with that of marquis of -Islington, earl of Pancridge, etc., was taken from these -villages, in the neighborhood of Finsbury fields, and continued -so late as 1683. Ellis’s <i>History of Shoreditch</i>, p. 170. -<span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span></p> - -<p>The latest account is this: In 1682 there was a most magnificent -entertainment given by the Finsbury archers, when they bestowed -the title of <i>duke of Shoreditch</i>, etc., upon the most -deserving. The king was present. <i>Ibid.</i> 173.’—Nares, <i>Gloss</i>.</p> - -<p>Entick (<i>Survey</i> 2. 65) gives an interesting account of a -match which took place in 1583. The Duke of Shoreditch was -accompanied on this occasion by the ‘marquises of <i>Barlow</i>, -<i>Clerkenwell</i>, <i>Islington</i>, <i>Hoxton</i>, and <i>Shaklewell</i>, -the earl of <i>Pancras</i>, etc. These, to the number of 3000, assembled -at the place appointed, sumptuously apparelled, and 942 of -them had gold chains about their necks. They marched from -merchant-taylors-hall, preceded by whifflers and bellmen, that -made up the number 4000, besides pages and footmen; performing -several exercises and evolutions in <i>Moorfields</i>, and at last -shot at the target for glory in <i>Smithfield</i>.’</p> - -<p><b>4. 7. 69 Ha’.</b> See variants. The original seems to me the more -characteristic reading.</p> - -<p><b>4. 7. 84 after-game.</b> Jonson uses the expression again in the -<i>New Inn, Wks.</i> 5. 402:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">And play no after-games of love hereafter.</span> -</div></div> - -<h3>ACT V.</h3> - -<p><b>5. 1. 28 Tyborne.</b> This celebrated gallows stood, it is -believed, on the site of Connaught Place. It derived the name -from a brook in the neighborhood (see Minsheu, Stow, etc.).</p> - -<p><b>5. 1. 29 My L. Majors Banqueting-house.</b> This was in -Stratford Place, Oxford Street. It was ‘erected for the Mayor -and Corporation to dine in after their periodical visits to the -Bayswater and Paddington Conduits, and the Conduit-head adjacent -to the Banqueting-House, which supplied the city with water. It -was taken down in 1737, and the cisterns arched over at the same -time.’—Wh-C.</p> - -<p>Stow (ed. 1633, pp. 475-6) speaks of ‘many faire Summer houses’ -in the London suburbs, built ‘not so much for use and profit, as -for shew and pleasure.’</p> - -<p>The spelling <i>Major</i> seems to be a Latin form. Mr. Charles -Jackson (<i>N. & Q.</i> 4. 7. 176) mentions it as frequently used -by the mayors of Doncaster in former days. Cf. also Glapthorne -(<i>Wks.</i> 1. 231) and <i>Ev. Man in</i> (Folio 1616, 5. 5. 41).</p> - -<p><b>5. 1. 41 my tooth-picks.</b> See note <a href="#Note_4_2_26">4. 2. 26</a>.</p> - -<p><b>5. 1. 47 Saint Giles’es.</b> ‘Now, without the postern of -Cripplesgate, first is the parish church of Saint Giles, a very -fair and large church, lately repaired, after that the same was -burnt in the year 1545.’—Stow, <i>Survey</i>, ed. Thoms, p. 112.</p> - -<p><b>5. 1. 48 A kind of Irish penance!</b> ‘There is the same allusion -to the <i>rug gowns</i> of the wild Irish, in the -<i>Night Walker</i> of Fletcher:</p> - -<div class="poem"><div class="stanza"> -<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span> -<span class="i5">We have divided the sexton’s household stuff</span> -<span class="i5">Among us; one has the <i>rug</i>, and he’s turn’d <i>Irish</i>.’—G.</span> -</div></div> - -<p>Cf. also Holinshed, <i>Chron.</i> (quoted <i>CD.</i>):‘As they distill -the best aqua-vitæ, so they spin the choicest <i>rug</i> in Ireland.’ -Fynes Moryson (<i>Itinerary</i>, fol. 1617, p. 160) says that the -Irish merchants were forbidden to export their wool, in order -that the peasants might ‘be nourished by working it into cloth, -namely, Rugs ... & mantles generally worn by men and women, and -exported in great quantity.’</p> - -<p>Jonson mentions rug as an article of apparel several times. In -<i>Alch.</i>, <i>Wks.</i> 4. 14, it is spoken of as the dress of a poor -man and <i>ibid.</i> 4. 83 as that of an astrologer. In <i>Ev. Man out</i> -(<i>Wks.</i> 2. 110) a similar reference is made, and here Gifford -explains that rug was ‘the usual dress of mathematicians, -astrologers, &c., when engaged in their sublime speculations.’ -Marston also speaks of rug gowns as the symbol of a strict life -(<i>What You Will</i>, <i>Wks.</i> 2. 395):</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Lamp-oil, watch-candles, rug-gowns, and small juice,</span> -<span class="i5">Thin commons, four o’clock rising,—I renounce you all.</span> -</div></div> - -<p><b>5. 2. 1 ff. put me To yoaking foxes,</b> etc. Several at -least of the following employments are derived from proverbial -expressions familiar at the time. Jonson speaks of ‘milking -he-goats’ in <i>Timber,</i> ed. Schelling, p. 34, which the editor -explains as ‘a proverbial expression for a fruitless task.’ The -occupation of lines 5-6 is adapted from a popular proverb given -by Cotgrave: ‘J’aymeroy autant tirer vn pet d’un Asne mort, -que. I would as soone vndertake to get a fart of a dead man, as -&c.’ Under <i>Asne</i> he explains the same proverb as meaning ‘to -worke impossibilities.’ This explains the passage in <i>Staple -of News</i> 3. 1., <i>Wks.</i> 5. 226. The proverb is quoted again -in <i>Eastward Ho</i>, Marston, <i>Wks.</i> 3. 90, and in Wm. Lilly’s -Observations,’ <i>Hist.</i>, pp. 269-70. ‘Making ropes of sand’ was -Iniquity’s occupation in 1. 1. 119. This familiar proverb first -appears in Aristides 2. 309: ἑκ ψάμμου σχοινίον πλέκειν. In the -<i>New Inn</i>, <i>Wks.</i> 5. 394, Lovel says: ‘I will go catch the -wind first in a sieve.’ Whalley says that the occupation of ‘keeping -fleas within a circle’ is taken from Socrates’ employment in -the <i>Clouds</i> of Aristophanes (ll. 144-5). Gifford, however, -ridicules the notion. Jonson refers to the passage in the -<i>Clouds</i> in <i>Timber</i> (ed. Schelling, 82. 33), where he thinks -it would have made the Greeks merry to see Socrates ‘measure -how many foot a flea could skip geometrically.’ But here again -we seem to have a proverbial expression. It occurs in the -morality-play of <i>Nature</i>, 642. II (quoted by Cushman, p. 116):</p> - -<div class="poem"><div class="stanza"> -<span class="i5">I had leiver keep as many flese,</span> -<span class="i5">Or wyld hares in an opyn lese,</span> -<span class="i5">As undertake that.</span> -<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span> -</div></div> - -<p><b>5. 2. 32.</b> Scan:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">And three/ pence. ͝/ Give me/ an an/swer. Sir.</span> -</div></div> - -<p class="no-indent">Thos. Keightley, <i>N. & Q.</i> 4. 2. 603, suggests:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">And your threepence, etc.</span> -</div></div> - -<p><b>5. 2. 35 Your best songs Thom. O’ Bet’lem.</b> ‘A song -entitled “Mad Tom” is to be found in Percy’s <i>Reliques</i>; Ballad -Soc. Roxb. Ball., 2. p. 259; and Chappell’s <i>Old Pop. Mus.</i> -The exact date of the poem is not known.’—H. R. D. Anders, -<i>Shakespeare’s Books</i>, p. 24-5.</p> - -<p>Bethlehem Royal Hospital was originally founded ‘to have been a -priory of canons,’ but was converted to a hospital for lunatics -in 1547. In Jonson’s time it was one of the regular sights of -London, and is so referred to in Dekker’s <i>Northward Hoe</i>, -<i>Wks.</i> 3. 56 f.; <i>Sil. Wom.</i>, <i>Wks.</i> 3. 421; -<i>Alch.</i>, <i>Wks.</i> 4. 132.</p> - -<p><a name="Note_5_3_6"></a><b>5. 3. 6 little Darrels tricks.</b> -John Darrel (fl. 1562-1602) was born, it is believed, at Mansfield, -Nottinghamshire, about 1562. He graduated at Cambridge, studied -law, and then became a preacher at Mansfield. He began to -figure as an exorcist in 1586, when he pretended to cast out an -evil spirit from Catherine Wright of Ridgway Lane, Derbyshire. -In 1596 he exorcised Thomas Darling, a boy of fourteen, of -Burton-on-Trent, for bewitching whom Alice Goodrich was tried -and convicted at Derby. A history of the case was written by -Jesse Bee of Burton (Harsnet, <i>Discovery</i>, p. 2). The boy -Darling went to Merton College, and in 1603 was sentenced by the -Star-chamber to be whipped, and to lose his ears for libelling -the vice-chancellor of Oxford. In March, 1596-7, Darrel -was sent for to Clayworth Hall, Shakerly, in Leigh parish, -Lancashire, where he exorcised seven persons of the household -of Mr. Nicholas Starkie, who accused one Edmund Hartley of -bewitching them, and succeeded in getting the latter condemned -and executed in 1597. In November, 1597, Darrel was invited to -Nottingham to dispossess William Somers, an apprentice, and -shortly after his arrival was appointed preacher of St. Mary’s -in that town, and his fame drew crowded congregations to listen -to his tales of devils and possession. Darrel’s operations -having been reported to the Archbishop of York, a commission of -inquiry was issued (March 1597-8), and he was prohibited from -preaching. Subsequently the case was investigated by Bancroft, -bishop of London, and S. Harsnet, his chaplain, when Somers, -Catherine Wright, and Mary Cooper confessed that they had been -instructed in their simulations by Darrel. He was brought before -the commissioners and examined at Lambeth on 26 May 1599, was -pronounced an impostor, degraded from the ministry and committed -<span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span> -to the Gatehouse. He remained in prison for at least a year, but -it is not known what became of him. (Abridged from <i>DNB.</i>)</p> - -<p>Jonson refers to Darrel again in <i>U.</i> 67, <i>Wks.</i> 8. 422:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">This age will lend no faith to Darrel’s deed.</span> -</div></div> - -<p><b>5. 3. 27 That could, pitty her selfe.</b> See variants.</p> - -<p><b>5. 3. 28 in Potentiâ.</b> Jonson uses the phrase again in -the <i>Alchemist</i>, <i>Wks.</i> 4. 64: ‘The egg’s ... a chicken -<i>in potentia</i>.’ It is a late Latin phrase. See Gloss.</p> - -<p><b><a name="Note_5_4_17"></a>5. 4. 17 my proiect o’ the forkes.</b> Forks -were just being introduced into England at this time, and were a common subject -of satire. The first mention of a fork recorded in the <i>NED.</i> -is: ‘1463 <i>Bury Wills</i> (Camden) 40, I beqwethe to Davn John -Kertelynge my silvir forke for grene gyngour.’</p> - -<p>Cf. Dekker, <i>Guls Horne-booke</i>, <i>Non-dram. Wks.</i> 2. 211: -‘Oh golden world, the suspicious Venecian carued not his meate with -a siluer pitch-forke.’ B. & Fl., <i>Queen of Corinth</i> 4. 1 -(quoted by Gifford):</p> - -<div class="poem"><div class="stanza"> -<span class="i5">It doth express th’ enamoured courtier,</span> -<span class="i5">As full as your fork-carving traveler.</span> -</div></div> - -<p class="no-indent"><i>Fox</i>, <i>Wks.</i> 3. 261:</p> - -<div class="poem"><div class="stanza"> -<span class="i14">—Then must you learn the use</span> -<span class="i5">And handling of your silver fork at meals,</span> -<span class="i5">The metal of your glass; (these are main matters</span> -<span class="i5">With your Italian;)</span> -</div></div> - -<p>Coryat has much to say on the subject (<i>Crudities</i> 1. 106): -‘I obserued a custome in all those Italian Cities and Townes -through the which I passed, that is not vsed in any other -country that I saw in my trauels, neither doe I thinke that any -other nation of Christendome doth vse it, but only Italy. The -Italian and also most strangers that are commorant in Italy, -doe alwaies in their meales vse a little forke when they cut -their meate. For while with their knife which they hold in one -hand they cut the meate out of the dish, they fasten their -forke which they hold in their other hand vpon the same dish, -so that whatsoeuer he be that sitting in the company of any -others at meale, should vnadvisedly touch the dish of meate with -his fingers from which all at the table doe cut, he will giue -occasion of offence vnto the company, as hauing transgressed the -lawes of good manners.... This forme of feeding I vnderstand -is generally vsed in all places of Italy, their forkes being -for the most part made of yron or steele, and some of siluer, -but those are vsed only by Gentlemen.’ Coryat carried this -custom home with him to England, for which a friend dubbed him -<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span> -<i>furcifer</i>. This passage is doubtless the source of Jonson’s -lines. Compare the last sentence of the quotation with lines 30, -31 of this scene.</p> - -<p><b>5. 4. 23, 4 on my priuate, By cause.</b> See variants. There -is no necessity for change. Cf. 1616 Sir R. Dudley in <i>Fortesc. -Papers</i> 17: ‘Nor am I so vaine ... bycause I am not worth so -much.’ The same form occurs in <i>Sad Shepherd</i> (Fol. 1631-40, p. 143):</p> - -<div class="poem"><div class="stanza"> -<span class="i5">But, beare yee Douce, bycause, yee may meet mee.</span> -</div></div> - -<p>Gabriel Harvey uses both the forms <i>by cause</i> and <i>bycause</i>. -<i>Prose Wks</i>. 1. 101; 102; et frequenter.</p> - -<p><b>5. 4. 34 at mine owne ap-perill.</b> The word is of rare -occurrence. Gifford quotes <i>Timon of Athens</i> 1. 2: ‘Let me stay -at thine apperil, Timon;’ and refers to <i>Mag. La.</i>, <i>Wks.</i> 6. -109: ‘Faith, I will bail him at mine own apperil.’ It occurs -again in <i>Tale Tub</i>, <i>Wks.</i> 6. 148: ‘As you will answer it at -your apperil.’</p> - -<p><b>5. 5. 10, 11 I will leaue you To your God fathers in Law.</b> -‘This seems to have been a standing joke for a jury. It is -used by Shakespeare and by writers prior to him. Thus Bulleyn, -speaking of a knavish ostler, says, “I did see him ones aske -blessyng to xii godfathers at ones.” <i>Dialogue</i>, 1564.’—G.</p> - -<p>The passage from Shakespeare is <i>Merch. of Ven.</i> 4. 1. 398:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">In christening, shalt thou have two godfathers:</span> -<span class="i5">Had I been judge, thou should’st have had ten more,</span> -<span class="i5">To bring thee to the gallows, not the font.</span> -</div></div> - -<p>Cf. also <i>Muse’s Looking Glass</i>, <i>O. Pl.</i> 9. 214: ‘Boets! -I had rather zee him remitted to the jail, and have his twelve -godvathers, good men and true contemn him to the gallows.’</p> - -<p><b>5. 5. 50, 51 A Boy O’ thirteene yeere old made him an Asse<br /> -  But t’toher day.</b> Whalley believed this to be an allusion -to the ‘boy of Bilson,’ but, as Gifford points out, this case -did not occur until 1620, four years after the production of -the present play. Gifford believes Thomas Harrison, the ‘boy -of Norwich,’ to be alluded to. A short account of his case is -given in Hutchinson’s <i>Impostures Detected</i>, pp. 262 f. The -affair took place in 1603 or 1604, and it was thought necessary -to ‘require the Parents of the said Child, that they suffer not -any to repair to their House to visit him, save such as are -in Authority and other Persons of special Regard, and known -Discretion.’ Hutchinson says that Harrison was twelve years -old. It is quite possible, though not probable, that Jonson is -referring again to the Boy of Burton, who was only two years -older. See note <a href="#Note_5_3_6">5. 3. 6</a>.</p> - -<p><b>5. 5. 58, 59 You had some straine ‘Boue E-la?</b> Cf. 1593 -Nash, <i>Christ’s Tears</i>, <i>Wks.</i> 4. 188: ‘You must straine your -wits an Ela aboue theyrs.’ Cf. also Nash, <i>Wks.</i> 5. 98 and 253; -<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span> -Lyly, <i>Euphues</i>, Aij; and Gloss.</p> - -<p><b><a name="Note_5_6_1"></a>5. 6. 1 your garnish.</b> ‘This word <i>garnish</i> -has been made familiar to all time by the writings of John Howard. “A cruel -custom,” says he, “obtains in most of our gaols, which is that -of the prisoners demanding of a newcomer <i>garnish</i>, footing, -or (as it is called in some London gaols) chummage. <i>Pay</i> or -<i>strip</i> are the fatal words. I say fatal, for they are so to -some, who, having no money, are obliged to give up part of their -scanty apparel; and if they have no bedding or straw to sleep -on, contract diseases which I have known to prove mortal.”’—C.</p> - -<p>Cf. Dekker, <i>If this be not a good Play</i>, <i>Wks.</i> 3. 324:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">Tis a strong charme gainst all the noisome smels</span> -<span class="i5">Of Counters, Iaylors, garnishes, and such hels.</span> -</div></div> - -<p class="no-indent">and Greene, <i>Upstart Courtier</i>, Dija: ‘Let a poore man be -arrested ... he shal be almost at an angels charge, what with -garnish, crossing and wiping out of the book ... extortions ... -not allowed by any statute.’</p> - -<p>The money here seems to have been intended for the jailer, -rather than for Pug’s fellow-prisoners. The custom was abolished -by 4 George IV. c. 43, § 12.</p> - -<p><b>5. 6. 10 I thinke Time be drunke, and sleepes.</b> -Cf. 1. 4. 31. For the metaphor cf. <i>New Inn</i>, <i>Wks.</i> 5. 393:</p> - -<div class="poem"><div class="stanza"> -<span class="i5">If I but knew what drink the time now loved.</span> -</div></div> - -<p>and <i>Staple of News</i>, <i>Wks.</i> 5. 162:</p> - -<div class="poem"><div class="stanza"> -<span class="i24">—Now sleep, and rest;</span> -<span class="i5">Would thou couldst make the time to do so too.</span> -</div></div> - -<p><b>5. 6. 18 confute.</b> ‘A pure Latinism. <i>Confutare</i> is -properly to pour cold water in a pot, to prevent it from -boiling over; and hence metaphorically, the signification of -<i>confuting</i>, reproving, or controuling.’—W.</p> - -<p>For the present use cf. T. Adams in Spurgeon, <i>Treas. Dav.</i>, -1614, Ps. lxxx. 20: ‘Goliath ... shall be confuted with a -pebble.’ R. Coke, <i>Justice Vind.</i> (1660) 15: ‘to be confuted -with clubs and hissing.’</p> - -<p><b>5. 6. 21 the Session.</b> The general or quarter sessions -were held regularly four times a year on certain days prescribed -by the statutes. The length of time for holding the sessions was -fixed at three days, if necessity required it, but the rule was -not strictly adhered to. See Beard, <i>The Office of the Justice -of the Peace in England</i>, pp. 158 f.</p> - -<p><b>5. 6. 23 In a cart, to be hang’d.</b> ‘Theft and robbery in -their coarsest form were for many centuries capital crimes.... -The question when theft was first made a capital crime is -<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span> -obscure, but it is certain that at every period some thefts were -punished with death, and that by Edward I.’s time, at least, the -distinction between grand and petty larceny, which lasted till -1827, was fully established.’—Stephen, <i>Hist. Crim. Law</i> -3. 128 f.</p> - -<p><b>5. 6. 24 The charriot of Triumph, which most of them are.</b> -The procession from Newgate by Holbom and Tyburn road was in -truth often a ‘triumphall egression,’ and a popular criminal -like Jack Sheppard or Jonathan Wild frequently had a large -attendance. Cf. Shirley, <i>Wedding</i> 4. 3, <i>Wks.</i>, -ed. Gifford, 1. 425: ‘Now I’m in the cart, riding up Holborn in -a two-wheeled chariot, with a guard of Halberdiers. <i>There goes -a proper fellow</i>, says one; good people pray for me: now I am at -the three wooden stilts,’ etc.</p> - -<p><b>5. 6. 48 a body intire.</b> Jonson uses the word in its -strict etymological sense.</p> - -<p><b>5. 6. 54 cheated on.</b> Dyce (<i>Remarks</i>) points out that -this phrase is used in Mrs. Centlivre’s <i>Wonder</i>, Act 2. Sc. 1. -Jonson uses it again in <i>Mercury vindicated</i>: ‘and cheat upon -your under-officers;’ and Marston in <i>What You Will</i>, -<i>Wks.</i> 2. 387.</p> - -<p><b><a name="Note_5_6_64"></a>5. 6. 64 Prouinciall o’ the Cheaters!</b> -<i>Provincial</i> is a term borrowed from the church. See Gloss. Of the -<i>cheaters</i> Dekker gives an interesting account in the <i>Bel-man of -London</i>, <i>Non-dram. Wks.</i> 3. 116 f.: ‘Of all which <i>Lawes</i>, -the <i>Highest</i> in place, and the <i>Highest</i> in perdition is the -<i>Cheating</i> Law or the Art of winning money by false dyce: Those -that practise this studie call themselues <i>Cheators</i>, / the dyce -<i>Cheaters</i>, and the money which they purchase [see note <a href="#Note_3_4_32">3. 4. 31, 2</a>.] -<i>Cheates</i> [see <a href="#Note_1_7_4">1.7.4</a> and Gloss.]: borrowing the tearme from -our common Lawyers, with whome all such casuals as fall to the -Lord at the holding of his <i>Leetes</i>, as <i>Waifes</i>, -<i>Strayes</i>, & such like, are sayd to be <i>Escheated to the Lords -vse</i> and are called <i>Cheates</i>.’</p> - -<p><b>5. 6. 64 Bawd-ledger.</b> Jonson speaks of a similar official -in <i>Every Man out</i>, <i>Wks.</i> 2. 132: ‘He’s a leiger at Horn’s -ordinary (cant name for a bawdy-house) yonder.’ See Gloss.</p> - -<p><b>5. 6. 68 to sindge your nayles off.</b> In the fool’s song in -<i>Twelfth Night</i> we have the exclamation to the devil: ‘paire thy -nayles dad’ (Furness’s ed., p. 273). The editor quotes Malone: -‘The Devil was supposed from choice to keep his nails unpared, -and therefore to pare them was an affront. So, in Camden’s -<i>Remaines</i>, 1615: “I will follow mine owne minde, and mine old -trade; who shall let me? the divel’s nailes are unparde.”’</p> - -<p>Compare also <i>Henry V.</i> 4. 4. 76: ‘Bardolph and Nym had ten -times more valor than this roaring devil i’ the old play, that -every one may pare his nails with a wooden dagger.’</p> - -<p><b>5. 6. 76 The Diuell was wont to carry away the euill.</b> -Eckhardt, p. 100, points out that Jonson’s etymology of the word -<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span> -<i>Vice</i>, which has been a matter of dispute, was the generally -accepted one, that is, from <i>vice</i> = evil.</p> - -<p><b>5. 7. 1 Iustice Hall.</b> ‘The name of the Sessions-house in -the Old Bailey.’—G. Strype, B. 3. p. 281 says that it was ‘a -fair and stately building, very commodious for that affair.’ -‘It standeth backwards, so that it hath no front towards the -street, only the gateway leading into the yard before the House, -which is spacious. It cost above £6000 the building. And in this -place the Lord Mayor, Recorder, the Aldermen and Justices of the -Peace for the County of Middlesex do sit, and keep his Majesty’s -Sessions of Oyer and Terminer.’ It was destroyed in the Gordon -Riots of 1780.—Wh-C.</p> - -<p><b>5. 7. 9 This strange!</b> See variants. The change seriously -injures the metre, and the original reading should be preserved. -Such absorptions (<i>this</i> for <i>this is</i> or <i>this’s</i>) -are not uncommon. Cf. <i>Macbeth</i> 3. 4. 17, ed. Furness, p. 165: -‘yet he’s good’ for ‘yet he is as good.’</p> - -<p><b>5. 8. 2 They had giu’n him potions.</b> Jonson perhaps had -in mind the trial of Anne Turner and her accomplices in the -Overbury Case of the previous year. See Introduction, <a href="#Page_lxxii">p. lxxii</a>. -For a discussion of love-philtres see Burton, <i>Anat. of Mel.</i> -(ed. Bullen), 3. 145 f.</p> - -<p><b>5. 8. 33 with a Wanion.</b> This word is found only in the -phrases ‘with a wanion,’ ‘in a wanion,’ and ‘wanions on you.’ It -is a kind of petty imprecation, and occurs rather frequently in -the dramatists, but its precise signification and etymology are -still in doubt. Boswell, <i>Malone</i>, 21. 61, proposed a derivation -from <i>winnowing</i>,‘a beating;’ Nares from <i>wanung</i>, Saxon, -‘detriment;’ Dyce (Ford’s <i>Wks.</i> 2. 291) from wan (vaande, -Dutch, ‘a rod or wand’), ‘of which <i>wannie</i> and <i>wannion</i> are -familiar diminutives.’ The <i>CD.</i> makes it a later form of ME. -<i>waniand</i>, ‘a waning,’ spec. of the moon, regarded as implying -ill luck.</p> - -<p><b>5. 8. 34 If his hornes be forth, the Diuells companion!</b> -The jest is too obvious not to be a common one. Thus in -<i>Eastward Ho</i> Slitgut, who is impersonating the cuckold at -Horn-fair, says: ‘Slight! I think the devil be abroad. in -likeness of a storm, to rob me of my horns!’,—Marston’s <i>Wks.</i> -3. 72. Cf. also <i>Staple of News</i>, <i>Wks.</i> 5. 186: ‘And why -would you so fain see the devil? would I say. Because he has horns, -wife, and may be a cuckold as well as a devil.’</p> - -<p><b>5. 8. 35 How he foames!</b> For the stock indications of -witchcraft see Introduction, <a href="#Page_xlix">p. xlix</a>.</p> - -<p><b>5. 8. 40 The Cockscomb, and the Couerlet.</b> Wittipol is -evidently selecting an appropriate name for Fitzdottrel’s buffoonery -after the manner of the puppet-shows. It is quite possible that -some actual <i>motion</i> of the day was styled ‘the Coxcomb and the Coverlet.’ -<span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span></p> - -<p><b>5. 8. 50 shee puts in a pinne.</b> Pricking with pins and -needles was one of the devil’s regular ways of tormenting -bewitched persons. They were often supposed to vomit these -articles. So when Voltore feigns possession, Volpone cries out: -‘See! He vomits crooked pins’ (<i>The Fox</i>, <i>Wks.</i> 3. 312).</p> - -<p><b>5. 8. 61 the Kings Constable.</b> ‘From the earliest times -to our own days, there were two bodies of police in England, -namely, the parish and high constables, and the watchmen in -cities and boroughs. Nothing could exceed their inefficiency -in the 17th century. Of the constables, Dalton (in the reign -of James I.) observes that they “are often absent from their -houses, being for the most part husbandmen.” The charge of -Dogberry shows probably with no great caricature what sort -of watchmen Shakespeare was familiar with. As late as 1796, -Colquhoun observes that the watchmen “were aged and often -superannuated men.” ’—Sir J. Stephen, -<i>Hist. Crim. Law</i> 1. 194 f.</p> - -<p><b>5. 8. 71 The taking of Tabacco, with which the Diuell<br /> -  Is so delighted.</b> This was an old joke of the time. In -Middleton’s <i>Black Book</i>, <i>Wks.</i> 8. 42 f. the devil makes -his will, a part of which reads as follows: ‘But turning my legacy -to you-ward, Barnaby Burning-glass, arch-tobacco-taker of -England, in ordinaries, upon stages both common and private, -and lastly, in the lodging of your drab and mistress; I am not -a little proud, I can tell you, Barnaby, that you dance after -my pipe so long, and for all counter-blasts and tobacco-Nashes -(which some call railers), you are not blown away, nor your -fiery thirst quenched with the small penny-ale of their -contradictions, but still suck that dug of damnation with a long -nipple, still burning that rare Phoenix of Phlegethon, tobacco, -that from her ashes, burned and knocked out, may arise another pipeful.’</p> - -<p>Middleton here refers to Nash’s <i>Pierce Pennilesse</i> and King -James I.’s <i>Counterblast to Tobacco</i>. The former in his -supplication to the devil says: ‘It is suspected you have been -a great <i>tobacco</i>-taker in your youth.’ King James describes it -as ‘a custom loathsome to the eye, hateful to the nose, harmful -to the brain, dangerous to the lungs, and in the black stinking -fume thereof, nearest resembling the horrid stygian smoke of the -pit that is bottomless.’</p> - -<p>The dramatists seem never to grow tired of this joking allusion -to the devil and his pipe of tobacco. Cf. Dekker, <i>If this be -not a good Play</i>, <i>Wks.</i> 3. 293: ‘I think the Diuell is -sucking Tabaccho, heeres such a Mist.’ <i>Ibid.</i> 327: ‘Are there -gentleman diuels too? this is one of those, who studies the black Art, -thats to say, drinkes Tobacco.’ Massinger, <i>Guardian</i>, <i>Wks.</i>, p. 344: -<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span></p> - -<div class="poem"><div class="stanza"> -<span class="i25">—You shall fry first</span> -<span class="i5">For a rotten piece of touchwood, and give fire</span> -<span class="i5">To the great fiend’s nostrils, when he smokes tobacco!</span> -</div></div> - -<p>Dekker (<i>Non-dram. Wks.</i> 2. 89) speaks of ‘that great -<i>Tobacconist</i> the Prince of Smoake & darknes, <i>Don Pluto</i>.’</p> - -<p>The art of <i>taking</i> or <i>drinking</i> tobacco was much cultivated -and had its regular professors. The <i>whiff</i>, the <i>ring</i>, etc., -are often spoken of. For the general subject see Dekker, <i>Guls -Horne-booke</i>; Barnaby Riche, <i>Honestie of this Age</i>, 1613; -Harrison, <i>Chronology</i>, 1573; <i>Every Man in</i>, etc. An excellent -description of a tobacconist’s shop is given in <i>Alchemist</i>, -<i>Wks.</i> 4. 37. For a historical account of its introduction see -Wheatley. <i>Ev. Man in</i>, p. xlvii.</p> - -<p>Jonson’s form <i>tabacco</i> is the same as the Italian and -Portuguese. See Alden, <i>Bart. Fair</i>, p. 169.</p> - -<p><b>5. 8. 74, 5 yellow, etc.<br /> -  That’s Starch! the Diuell’s Idoll of that colour.</b> For the -general subject of yellow starch see note <a href="#Note_1_1_112">1. 1. 112, 3</a>. -Compare also Stubbes, <i>Anat. of Abuses</i>, p. 52: ‘The deuil, as he in -the fulness of his malice, first inuented these great ruffes, -so hath hee now found out also two great stayes to beare vp and -maintaine this his kingdome of great ruffes.... The one arch or -piller whereby his kingdome of great ruffes is vnderpropped, is -a certaine kinde of liquide matter which they call <i>starch</i>, -wherein the devil hath willed them to wash and diue his ruffes wel.’</p> - -<p>‘Starch hound’ and ‘Tobacco spawling (spitting)’ are the names -of two devils in Dekker’s <i>If this be not a good Play</i>, -<i>Wks.</i> 3. 270. Jonson speaks of ‘that idol starch’ again -in the <i>Alchemist</i>, <i>Wks.</i> 4. 92.</p> - -<p><b>5. 8. 78 He is the Master of Players.</b> An evident allusion -to the Puritan attacks on the stage. This was the period of the -renewed literary contest. George Wither had lately published -his <i>Abuses stript and whipt</i>, 1613. For the whole subject see -Thompson, E. N. S., <i>The Controversy between the Puritans and -the Stage</i>, New York, 1903.</p> - -<p><b>5. 8. 81 Figgum.</b> ‘In some of our old dictionaries, -<i>fid</i> is explained to caulk with oakum: figgum, or fig’em, may -therefore be a vulgar derivative from this term, and signify the -lighted flax or tow with which jugglers stuff their mouths when -they prepare to amuse the rustics by breathing out smoke and flames:</p> - -<div class="poem"><div class="stanza"> -<span class="i30">—a nut-shell</span> -<span class="i5">With tow, and touch-wood in it, to spite fire (5. 3. 4. 5).’ —G.</span> -</div></div> - -<p><b>5. 8. 86, 7 to such a foole, He makes himselfe.</b> -For the omission of the relative adverb cf. 1. 3. 34, 35. -<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span></p> - -<p><b>5. 8. 89 To come to dinner, in mee the sinner.</b> The -conception of this couplet and the lines which Fitzdottrel -speaks below was later elaborated in Cocklorrel’s song in the -<i>Gipsies Metamorphosed</i>. Pluto in Dekker’s <i>If this be not a -good Play</i>, <i>Wks.</i> 3. 268, says that every devil should have -‘a brace of whores to his breakfast.’ Such ideas seem to be -descended from the mediæval allegories of men like Raoul de -Houdanc, Ruteboeuf, etc.</p> - -<p><b><a name="Note_5_8_91"></a>5. 8. 91, 2 Are you phrenticke, Sir, Or what -graue dotage moues you.</b> ‘Dotage, fatuity, or folly, is a common name to -all the following species, as some will have it.... <i>Phrenitis</i>, -which the Greeks derive from the word φρήν, is a disease of the -mind, with a continual madness or dotage, which hath an acute -fever annexed, or else an inflammation of the brain, or the -membranes or kells of it, with an acute fever, which causeth -madness and dotage.’—Burton, <i>Anat. of Mel.</i>, ed. Shilleto, 1. 159-60.</p> - -<p><b>5. 8. 112 f. Οὶ μοὶ κακοδαίμων</b>, etc. See variants. ‘This -Greek is from the Plutus of Aristophanes, Act 4, Sc. 3.’—W.</p> - -<p>Accordingly to Blaydes’s edition, 1886, 11. 850-2. He reads -Οἴμοι κακοδαίμων, etc. (Ah! me miserable, and thrice miserable, -and four times, and five times, and twelve times, and ten -thousand times.)</p> - -<p><b>5. 8. 116 Quebrémos</b>, etc. Let’s break his eye in jest.</p> - -<p><b>5. 8. 118 Di grátia</b>, etc. If you please, sir, if you have -money, give me some of it.</p> - -<p><b>5. 8. 119 f. Ouy, Ouy Monsieur</b>, etc. Yes, yes, sir, a -poor devil! a poor little devil!</p> - -<p><b>5. 8. 121 by his seuerall languages.</b> Cf. Marston, -<i>Malcontent</i>, <i>Wks.</i> 1. 212: ‘<i>Mal.</i> Phew! the devil: -let him possess thee; he’ll teach thee to speak all languages most -readily and strangely.’</p> - -<p><b>5. 8. 132 Such an infernall stincke</b>, etc. Dr. Henry More -says that the devil’s ‘leaving an ill smell behind him seems to -imply the reality of the business’, and that it is due to ‘those -adscititious particles he held together in his visible vehicle -being loosened at his vanishing’ -(see Lowell, <i>Lit. Essays</i> 2. 347).</p> - -<p><b>5. 8. 133 St. Pulchars Steeple.</b> St. Sepulchre in the -Bailey (occasionally written St. ’Pulcher’s) is a church at the -western end of Newgate Street and in the ward of Farringdon -Without. A church existed here in the twelfth century. The -church which Jonson knew was built in the middle of the -fifteenth century. The body of the church was destroyed in the -Great Fire of 1666.</p> - -<p>It was the custom formerly for the clerk or bellman of St. -Sepulchre’s to go under Newgate on the night preceding the -execution of a criminal, and, ringing his bell, to repeat -certain verses, calling the prisoner to repentance. Another -curious custom observed at this church was that of presenting a -<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span> -nosegay to every criminal on his way to Tyburn (see Wh-C.). The -executed criminals were buried in the churchyard (d. Middleton, -<i>Black Book</i>, <i>Wks.</i> 8. 25).</p> - -<p>Cunningham says that ‘the word <i>steeple</i> was not used in the -restricted sense to which we now confine it. The <i>tower</i> of -St. Sepulchre’s in Jonson’s time, must have been very much like -what we now see it as most carefully and tastefully restored.’</p> - -<p><b>5. 8. 134 as farre as Ware.</b> This is a distance of about -22 miles. Ware is an ancient market-town of Herts, situated in -a valley on the north side of the river Lea. The ‘great bed of -Ware’ is mentioned in <i>Twelfth Night</i> 3. 2. 51, and the town -is characterized as ‘durty Ware’ in Dekker’s <i>North-ward Hoe</i>, -<i>Wks.</i> 3. 53.</p> - -<p><b>5. 8. 142, 3 I will tell truth</b>, etc. Jonson uses this proverb again -in <i>Tale Tub</i>, <i>Wks.</i> 6. 150: ‘tell troth and shame the devil.’ -<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span></p> - -<hr class="full" /> -<h2>GLOSSARY</h2> - -<p>This glossary is designed to include obsolete, archaic, -dialectal, and rare words; current words used in obsolete, archaic, -or exceptional senses; and, so far as practicable, obsolete and -archaic phrases. Current words in current uses have occasionally been -included to avoid confusion, as well as technical words unfamiliar to -the ordinary reader. Favorite words have been treated, for the sake -of illustration, with especial fullness.</p> - -<p>For most words treated in its volumes published up to March, -1905, Murray’s <i>New English Dictionary</i> is the chief authority. -For words not reached by that work the <i>Century Dictionary</i> -has been preferred. The <i>Stanford Dictionary</i> has been found -especially useful for anglicized words. It has often been -necessary to resort to contemporary foreign dictionaries in the -case of words of Romance origin.</p> - -<p>It has been thought best to refer to all or nearly all important -passages. Etymologies are given only in cases of especial interest.</p> - -<p>A dagger [†] before a word or definition indicates that the word -or the particular meaning is obsolete; parallel lines [||] before -a word, that it has never become naturalized in English; an -interrogation point [?], that the case is doubtful.</p> - -<p class="no-indent"> -<b>A</b>, <i>prep.</i> [Worn down from OE. preposition <i>an</i>, <i>on</i>.] -With <i>be</i>: engaged in. <i>Arch.</i> or <i>dial.</i> 5. 1. 4.<br /> -†<b>A’</b>, <i>prep.</i> Worn down from <i>of</i>. 5. 2. 38.<br /> -<b>Aboue</b>, <i>adv.</i> Surpassing in degree; exceedingly. 3. 6. 33.<br /> - -<b>Abuse</b>, <i>v.</i> †To impose upon, deceive. 5. 8. 140; -4. 2. 41; 4. 7. 80.<br /> - -<b>Academy</b>, <i>n.</i>? A school of deportment. 2. 8. 20; 3. 5. 33.<br /> - -<b>Access</b>, <i>n.</i> †Approach; advance. 2. 6. 68.<br /> - -<b>Accompt</b>, <i>n.</i> [Form of <i>account</i>.] A report. 2. 7. 28.<br /> - -<b>Accomptant</b>, †<i>a.</i> [Form of <i>accountant</i>.] -Liable to give an account; accountable. 5. 2. 11.<br /> - -<b>Account</b>, <i>n.</i> †Reckoning, consideration. Phr. <i>make -account</i>: To reckon, consider. 4. 1. 10.<br /> - -<b>Acknowledge</b>, <i>v.</i> To recognize a service as (from a person). 4. 3. 19.<br /> - -<b>Admire</b>, <i>v. †intr.</i> To feel or express surprise; to wonder. 1. 1. 77.<br /> - -<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span> - -<b>Aduise</b>, <i>v.</i> To warn, dissuade †(from a course). 5. 4. 43.<br /> - -<b>Aërie</b>, <i>a.</i> [Form of <i>airy</i>.] Lively, vivacious. 4. 4. 157. aëry. 3. 5. 13.<br /> - -<b>Affection</b>, <i>n.</i> †Mental tendency; disposition. 4. 4. 126.<br /> - -<b>Afore</b>, <i>prep.</i> In the presence of. <i>Arch.</i> or <i>dial.</i> 4. -4. 167; 5. 5. 7.<br /> - -<b>Afor</b>ehand, <i>adv.</i> <i>Arch.</i> In advance. 1. 3. 41.<br /> - -<b>After-game</b>, <i>n.</i> ‘<i>Prop.</i>, a second game played in -order to reverse or improve the issues of the first; hence, “The -scheme which may be laid or the expedients which are practised -after the original game has miscarried; methods taken after the -first turn of affairs” (Johnson).’ <i>NED.</i> 4. 7. 84.<br /> - -||<b>Alcorça</b>, <i>n.</i> Sp. ‘A conserue.’ Minsheu.<br /> - -<b>Alcorea</b>, <i>n.</i> pr. for <i>Alcorça</i>, <i>q. v.</i> 4. 4. 144.<br /> - -||<b>Allum Scagliola</b>, <i>n.</i> It.? Rock alum. 4. 4. 30.<br /> - -†<b>Almaine-leape</b>, <i>n.</i> A dancing-leap. 1. 1. 97.<br /> - -<b>Almanack-Man</b>, <i>n.</i> †A fortune-teller, foreteller. 1. 7. 25.<br /> - -||<b>Almoiauana</b>, <i>n.</i> Sp. ‘A kinde of cheese-cake.’ Minsheu. 4. 4. 143.<br /> - -<b>Almond milke</b>, <i>n.</i> ‘<span class="smcap">Chambers</span> <i>Cycl. Supp.</i>, -<i>Almond-milk</i> is a preparation made of sweet blanched almonds -and water, of some use in medicine, as an emollient.’ <i>NED.</i> 1. 6. 222.<br /> - -||<b>Aluagada</b>, <i>n. pr.</i> same as <i>Alvayálde</i>, -<i>q. v.</i> 4. 4. 27.<br /> - -||<b>Aluayalde</b> or <b>Albayalde</b>, <i>n.</i> Sp. ‘A white -colour to paint womens faces called ceruse.’ Minsheu.<br /> - -<b>Ancient</b>, <i>a.</i>? Belonging to an old family. 1. 2. 17.<br /> - -<b>And</b>, <i>conj.</i> †If. 3. 5. 39. and’. 1. 3. 23. an’. 1. 2. 31.<br /> - -<b>Angel</b>, <i>n.</i> ‘An old English gold coin, called more fully -at first the <span class="smcap">Angel-noble</span>, being originally a new -issue of the Noble, having as its device the archangel Michael -standing upon, and piercing the dragon.’ -<i>NED.</i> Pr. about 10 s. 2. 1. 138.<br /> - -<b>Anone</b>, <i>adv.</i> Now again. P. 10.<br /> - -†<b>Ap-perill</b>, <i>n.</i> Risk. 5. 4. 34.<br /> - -||<b>Aqua nanfa</b>, <i>n.</i> Sp. [Corruption of <i>acqua nanfa</i>.] -‘Sweet water smelling of muske and Orenge-leaves.’ Florio. 4. 4. 146.<br /> - -||<b>Aqua-vitæ</b>, <i>n.</i> Any form of ardent spirits. 2. 1. 5.<br /> - -<b>Arbitrary</b>, <i>a.</i> <i>Law.</i> Discretionary; not fixed. 3. 3. 75.<br /> - -||<b>Arcana</b>, <i>n.</i> [<i>Pl.</i> of L. <i>a. arcanum</i>, -used <i>subst.</i>] Secrets, mysteries. 4. 4. 151.<br /> - -||<b>Argentata</b>, <i>n.</i> It. ‘A painting for women’s faces.’ -Florio. 4. 4. 28.<br /> - -<b>Argument</b>, <i>n.</i> Subject-matter of discussion or discourse; -theme, subject. <i>Obs.</i> or <i>arch.</i> 1. 6. 10.<br /> - -<b>Arras</b>, <i>n.</i> [Arras, name of a town in Artois, famed for -its manufacture of the fabric.] A hanging screen of a rich -tapestry fabric formerly placed around the walls of household -apartments. 1. 2. 46.<br /> - -<b>Art</b>, <i>n.</i> 1. A contrivance. 1. 7. 24. †2. Magic art. 1. 5. 21.<br /> - -<b>Artist</b>, <i>n.</i> †A professor of magic arts; an astrologer. 1. 2. 22.<br /> - -<b>As</b>, <i>conj.</i> †With finite verb: That. 1. 4. 30; 1. 6. 61; -3. 2. 23.<br /> - -<b>As</b>, <i>adv.</i> Phr. <i>as that</i>: Even as (in parallel clause, -introducing a known circumstance with which a hypothesis is contrasted). 5. 1. 20.<br /> - -<b>Assure</b>, <i>v.</i> †To secure. 3. 5. 68.<br /> -<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span> - -<b>At</b>, <i>prep.</i> Upon. 1. 6. 114.<br /> - -<b>Atchieue</b>, <i>v.</i> [Form of <i>achieve</i>.] †To gain, win -(a material acquisition). 3. 5. 67.<br /> - -<b>Attemp</b>, <i>n.</i> [Form of <i>attempt</i>.] Endeavor to win over. 2. 2. 30.<br /> - -<b>Attempt</b>, <i>v.</i> To try to win over, or seduce. <i>Arch.</i> 4. 5. 7.<br /> - -<b>Audit</b>, <i>n.</i> A statement of account. <i>Fig.</i>, <i>arch.</i> 3. 3. 229.<br /> - -<b>Aye</b>, <i>adv.</i> At all times, on all occasions. -(Now only <i>Sc.</i> and north <i>dial.</i>) 1. 6. 220.<br /> - -<b>Ayre</b>, <i>n.</i> [Form of <i>air</i>.] Manner; sort. 2. 7. 21.</p> - -<p class="no-indent"> -<b>Baffle</b>, <i>v.</i> †To treat with contempt. 4. 7. 73 SN.<br /> -<b>Bag</b>, <i>n.</i> The sac (of the bee) containing honey. 2. 6. 112.<br /> -<b>Bailie</b>, <i>n.</i> [Form of <i>bailiff</i>.] An officer of justice -under a sheriff; a warrant officer. 3. 3. 38.<br /> -<b>Bane</b>, <i>n.</i> 1. Poison. 2. 7. 18.<br /> -  †2. As <i>exclam.</i> ‘Plague.’ 5. 6. 66.<br /> -<b>Banke</b>, <i>n.</i> †An artificial earthwork, an embankment. 2. 1. 56.<br /> -<b>Bare</b>, <i>a.</i> Bare-headed. <i>Arch.</i> 2. 3. 37.<br /> -<b>Bate</b>, <i>v.</i> †1. To deprive (<i>of</i>). 4. 1. 56.<br /> -  †2. To make a reduction (<i>of</i>); to deduct. 2. 1. 83; 2. 1. 104.<br /> -<b>Baudy</b>, 2. 8. 73. See <i>Bawdy</i>.<br /> -<b>Bawd-ledger</b>, <i>n.</i> Resident minister to the bawds (a mock -title coined by Jonson). 5. 6. 64.<br /> -<b>Bawdry</b>, <i>n.</i> <i>Arch.</i> Lewd talk; obscenity. 4. 1. 176.<br /> -<b>Bawdy</b>, <i>a.</i> 1. Lewd. 2. 1. 167. 2. <i>absol. quasi-sb.</i> -Lewd language, obscenity. 4. 4. 165. baudy. 2. 8. 73.<br /> -<b>Be</b>, <i>v. pl.</i> Are. <i>Obs.</i> or <i>dial.</i> 2. 8. 63.<br /> -<b>Bed-fellow</b>, <i>n.</i> †Intimate companion. 2. 8. 9.<br /> -<b>Behaue</b>, <i>v. †trans.</i> To manage. 2. 8. 71.<br /> -<b>Benefit</b>, <i>n.</i> Advantage. †Phr. <i>make benefit of</i>: -To take advantage of. ?<i>Obs.</i> 2. 2. 98.<br /> -<b>Beniamin</b>, <i>n.</i> Gum benzoin, an aromatic resin obtained -from the <i>Styrax benzoin</i>, a tree of Sumatra, Java, and the -neighboring islands, used in medicine, perfumery, and chemistry.<br /> -||<b>Beniamin di gotta</b>, <i>n.</i> ?Gum benzoin in drops. -See <i>Beniamin</i>. 4. 4. 33.<br /> -<b>Bespeake</b>, <i>v. trans.</i> w. <i>refl.</i> To engage. 1. 6. 214.<br /> -<b>Bestow</b>, <i>v.</i> To deposit. <i>Arch.</i> 3. 2. 9.<br /> -<b>Black-water</b>, <i>n.</i> 3. 3. 179. See<i>-water</i>.<br /> -<b>Blanck manger</b>, <i>n.</i> [Form of <i>blancmange</i>.] †‘A dish -composed usually of fowl, but also of other meat, minced with -cream, rice, almonds, sugar, eggs, etc.’ <i>NED.</i> 1. 6. 240.<br /> -<b>Blank</b>, <i>n.</i> ‘A small French coin, originally of silver, -but afterwards of copper; also a silver coin of Henry V. current -in the parts of France then held by the English. According to -Littré, the French <i>blanc</i> was worth 5 deniers. The application -of the name in the 17th Cen. is uncertain.’ <i>NED.</i> 3. 3. 33.<br /> -<b>Blesse</b>, <i>v.</i> †To protect, save (from). 4. 4. 187.<br /> -<b>Blocke</b>, <i>n.</i> A mould. <i>Spec.</i> <i>Brokers blocke</i>: -A mould for clothes in a pawnbroker’s shop. 2. 7. 15.<br /> -<b>Blocke-head</b>, <i>n.</i> †A wooden block for hats or wigs; -hence, a blockish or stupid head. 3. 5. 65.<br /> -<span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span> -<b>Board</b>, <i>n.</i> Phr. <i>tall board</i>: ?A gaming table. <a href="#Note_4_5_31">4. 5. 32</a>. -See note.<br /> -<b>Booke</b>, <i>n.</i> †A charter or deed; a written grant of -privileges. 3. 3. 67; 3. 3. 79.<br /> -||<b>Borachio</b>, <i>n.</i> <i>Obs.</i> ‘A large leather bottle or bag -used in Spain for wine or other liquors.’ <i>NED.</i> 2. 1. 71.<br /> -<b>Bound</b>, <i>ppl. a.</i> Under obligations of gratitude. 4. 1. 11.<br /> -<b>Bouzy</b>, <i>a.</i> [Form of <i>bousy</i>.] Sotted. 5. 6. 25.<br /> -<b>Brach</b>, <i>n.</i> <i>Arch.</i> A bitch-hound. 4. 4. 229.<br /> -<b>Braue</b>, <i>a.</i> 1. Finely-dressed. <i>Arch.</i> 1. 4. 16; 2. 5. 11.<br /> -  2. A general epithet of admiration or praise. <i>Arch.</i> 1. 2. 52; -2. 6. 75; 3. 4. 12; 4. 6. 29.<br /> -  †<i>interj.</i> 3. Capital! 1. 1. 67.<br /> -<b>Brauery</b>, <i>n.</i> †A fine thing; a matter to boast or be proud of. 3. 6. 47.<br /> -<b>Breake</b>, <i>v.</i> †To speak confidentially (<i>with</i> a person -<i>of</i> a thing). 3. 4. 62.<br /> -<b>Bring</b>, <i>v.</i> Phr. <i>bring up</i>: ?Augment, increase. 1. 4. 96.<br /> -<b>Bristo-stone</b>, <i>n.</i> ‘A kind of transparent rock-crystal -found in the Clifton limestone near Bristol, resembling the -diamond in brilliancy.’ <i>NED.</i> 3. 3. 173.<br /> -<b>Broker</b>, <i>n.</i> 1. A pawnbroker. 1. 1. 143; 1. 4. 19.<br /> -  2. With added function of agent or intermediary. 1. 4. 4.<br /> -<b>Brooke</b>, <i>v.</i> †To endure; not to discredit; to be -sufficiently appropriate for. 2. 8. 63.<br /> -<b>Buckram</b>, <i>a.</i> A kind of coarse -linen or cloth stiffened with gum or paste. 2. 1. 63.<br /> -<b>Bullion</b>, <i>n.</i> †More fully, <i>bullion-hose</i>: -Trunk-hose, puffed out at the upper part, in several folds. 3. 3. 217.<br /> -<b>Bush</b>, <i>n.</i> A branch of ivy used as vintner’s sign; hence, -the sign-board of a tavern. 3. 3. 170.<br /> -<b>Businesse</b>, <i>n.</i> †1. Affectedly used for an ‘affair of -honor,’ a duel. 3. 3. 106.<br /> -  †2. A misunderstanding, quarrel. 4. 1. 18.<br /> -<b>Busse</b>, <i>v.</i> <i>Arch.</i> and <i>dial.</i> To kiss. 3. 6. 1.<br /> -<b>Buzz</b>, <i>v.</i> Phr. <i>buzz at</i>: 1. To hum about, as an insect.<br /> -  †2. To whisper to; incite by suggestions. Used quibblingly in -both senses. 2. 7. 4.<br /> -†<b>By cause</b>, phr. used as <i>conj.</i> Because. 5. 4. 24.</p> - -<p class="no-indent"> -<b>Cabbin</b>, <i>n.</i> †A small room, a boudoir. 1. 6. 238.<br /> -<b>Cabinet</b>, <i>n.</i> A small chamber or room; a boudoir. -<i>Arch.</i> or <i>obs.</i> 4. 4. 152.<br /> -<b>Campheere</b>, <i>n.</i> [Form of <i>camphor</i>.] 4. 4. 22.<br /> -<b>Can</b>, <i>v. †tr.</i> To have at one’s command; to be able to -supply, devise or suggest (a pregnant use). 3. 6. 39.<br /> -<b>Caract</b>, <i>n.</i> [Form of <i>carat</i>. Confused with -<i>caract</i>=Character.] †Value, estimate. Phr. <i>at all caracts</i>: -‘To the minutest circumstance.’ Gifford. 1. 6. 88.<br /> -†<b>Caravance</b>, <i>n.</i> ‘Name of sundry kinds of peas and small beans.’ <i>Stanford</i>.<br /> -†<b>Carrauicins</b>, <i>n.</i> perh.=<i>caravance</i>, <i>q. v.</i> 4. 4. 45.<br /> -<span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span> -<b>Care</b>, <i>v.</i> To take care. Now only <i>dial</i>. 1. 1. 29.<br /> -<b>Carefull</b>, <i>a.</i> Anxious, solicitous. <i>Arch.</i> 1. 6. 10.<br /> -†<b>Caroch</b>, <i>n.</i> A coach or chariot of a stately or -luxurious kind. 1. 6. 214. Carroch. 4. 2. 11.<br /> -<b>Carry</b>, <i>v.</i> 1. <i>tr.</i> To conduct, manage. <i>Arch.</i> 3. 5. 53.<br /> -  ?†2. <i>intr.</i> To be arranged. 3. 3. 126.<br /> -<b>Case</b>, <i>n.</i> 1. The body (as enclosing the soul, etc.). 5. 6. 39.<br /> -  2. Condition, supposition. Phr. <i>in case to</i>: In a condition -or position to; prepared, ready. <i>Arch.</i> 4. 7. 85. <i>Put case</i>: Suppose. ?<i>Arch.</i> 4. 4. 228.<br /> -<b>Cast</b>, <i>v.</i> †1. To estimate. 2. 1. 81.<br /> -  †2. To devise. 2. 8. 42.<br /> -<b>Castle-soape</b>, <i>n.</i> <i>Obs.</i> form of <i>Castile soap</i>. 5. 3. 3.<br /> -||<b>Cataputia</b>, <i>n.</i> [In Med. L. and It.] ‘The hearbe spurge.’ Florio. 4. 4. 55.<br /> -†<b>Cater</b>, <i>n.</i> ‘A buyer of provisions or “cates”; in large -households the officer who made the necessary purchases of -provisions.’ <i>NED.</i> 1. 3. 13.<br /> -<b>Catholike</b>, <i>a.</i> †Universally efficient. 1. 4. 35.<br /> -†<b>Cause</b>, <i>conj.</i> <i>Obs.</i> exc. <i>dial.</i> -[An elliptic use of the noun for <i>because</i>.] Because. 2. 8. 28; -4. 6. 34. Phr. <i>by cause</i>. See <i>By cause</i>.<br /> -†<b>Cautelous</b>, <i>a.</i> Crafty. 1. 6. 142.<br /> -<b>Caution</b>, <i>n.</i> 1. Security; guarantee. 3. 4. 30; 58.<br /> -  2. A word of warning. 4. 5. 28.<br /> -<b>Ceruse</b>, <i>n.</i> [White lead.] A paint or cosmetic for the -skin; used vaguely. 4. 4. 53.<br /> -<b>Challengee</b>, <i>n.</i> <i>Rare</i> (perh. coined by Jonson). -One who is challenged. 3. 3. 141.<br /> -<b>Character</b>, <i>n.</i> A cabalistic or magical sign. 1. 2. 9.<br /> -<b>Charge</b>, <i>n.</i> Expenses; outlay. <i>Arch.</i> 2. 1. 49; 1. 6. 172.<br /> -<b>Chartell</b>, <i>n.</i> [Form of <i>cartel</i>.] A written challenge. 3. 3. 140.<br /> -<b>Chaw</b>, <i>v.</i> A common by-form of <i>chew</i> in the 16-17th c. 4. 2. 53.<br /> -<b>Cheat</b>, <i>n.</i> †Any product of conquest or robbery; booty, spoil. 1. 7. 4.<br /> -<b>Cheat</b>, <i>v.</i> Phr. <i>cheat on</i>: To cheat. 5. 6. 54.<br /> -<b>Cheater</b>, <i>n.</i> †A dishonest gamester; a sharper. 5. 6. 64.<br /> -<b>Check</b>, <i>n.</i> †Reproof, censure. 3. 6. 44.<br /> -<b>Cheese-trencher</b>, <i>n.</i> A wooden plate for holding or cutting cheese. P. 8.<br /> -<b>Christall</b>, <i>n.</i> [Form of <i>crystal</i>.] A piece of -rock-crystal or similar mineral used in magic art. 1. 2. 6.<br /> -†<b>Cioppino</b>, <i>n.</i> [Italianated form of <i>chopine</i>.] A kind -of shoe raised above the ground by means of a cork sole or the -like; worn about 1600 in Spain and Italy, esp. at Venice, where -they were monstrously exaggerated. <a href="#Note_3_4_13">3. 4. 13</a> (see note); 4. 4. 69.<br /> -<b>Cipher</b>, <i>n.</i> A means of conveying secret intelligence: used vaguely. 2. 1. 167·<br /> -<b>Circle</b>, <i>n.</i> 1. An embrace. 1. 4. 94.<br /> -  2. Sphere (of influence, etc.). 1. 6. 96.<br /> -  3. A circular figure (of magic). 1. 2. 26.<br /> -<b>Cloake-charge</b>, <i>n.</i> The expense of a cloak (coined by Jonson). 2. 2. 42.<br /> -<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span> -<b>Cockscomb</b>, <i>n.</i> †A simpleton. 5. 8. 40.<br /> -<b>Cock-stone</b>, <i>n.</i> †A name of the kidney-bean. 1. 1. 53.<br /> -<b>Cog</b>, <i>v.</i> To cheat, esp. at dice or cards. 1. 1. 48.<br /> -†<b>Cokes</b>, <i>n.</i> A simpleton, one easily ‘taken in.’ 2. 2. 104.<br /> -<b>Collect</b>, <i>v.</i> To infer, deduce. <i>Rare</i>. 1. 6. 234.<br /> -<b>Come</b>, <i>v.</i> Phr. <i>come off</i>: (in imperative as a call of -encouragement to action) Come! come along! 3. 5. 27.<br /> -<b>Comming</b>, <i>ppl.</i> <i>a.</i> Inclined to make or meet advances. 4. 4. 180.<br /> -<b>Commoner</b>, <i>n.</i> †A member of the general body of a town-council. 2. 1. 42.<br /> -<b>Complement</b>, <i>n.</i> †1. Anything which goes to make up or fully equip. 3. 4. 33.<br /> -  †2. Polite or ceremonious greetings. 3. 5. 15.<br /> -<b>Complexion</b>, <i>n.</i> †1. The combination of the four ‘humors’ -of the body in a certain proportion; ‘temperament.’ 2. 2. 122.<br /> -  †2. Bodily habit or constitution. 5. 1. 18.<br /> -  ?3. Appearance of the skin. 1. 4. 63 (or perh. as 2).<br /> -  †4. A coloring preparation, cosmetic. 4. 4. 12.<br /> -  5. Appearance, aspect (<i>fig.</i>). 2. 6. 50.<br /> -<b>Comport</b>, <i>v.</i> Phr. <i>comport with</i>: †To act in accordance with. 2. 8. 17.<br /> -||<b>Compos mentis</b>, <i>a. phr.</i> [L. f. <i>com-potis</i>.] Of sound mind. 5. 3. 12.<br /> -<b>Compter</b>, <i>n.</i> Old spelling of <i>Counter</i>. The name of -certain city prisons for debtors; esp. the two London Compters. <a href="#Note_3_1_20">3. 1. 20</a> (see note).<br /> -<b>Conceit</b>, <i>n.</i> †1. Idea, device. 2. 8. 23. conceipt.<br /> -  †2. Personal opinion. 4. 4. 200.<br /> -  3. Phr. <i>Out of conceipt</i>: Out of patience, dissatisfied. 2. 8. 18.<br /> -<b>Concerne</b>, <i>v. †intr.</i> To be of importance. 3. 3. 113.<br /> -<b>Concurrence</b>, <i>n.</i> A juncture: a condition: used vaguely. 2. 6. 54.<br /> -<b>Conduit-head</b>, <i>n.</i> †A structure from which water is distributed -or made to issue: a reservoir. 5. 1. 27.<br /> -<b>Confine</b>, <i>v.</i> Imprison. Const. †<i>to</i>. 5. 6. 34.<br /> -<b>Confute</b>, <i>v.</i> To put to silence (by physical means). 5. 6. 18.<br /> -<b>Content</b>, <i>a.</i> †Willing. 1. 1. 133.<br /> -<b>Conuenient</b>, <i>a.</i> †1. Due, proper. 1. 4. 79. -  †2. Suitable. 4. 4. 230.<br /> -<b>Conuey</b>, <i>v.</i> To carry from one place to another (†used of -small objects and with connotation of secrecy). 2. 1. 164.<br /> -<b>Coozen</b>, <i>v.</i> [Form of <i>cozen</i>.] To cheat. 3. 1. 22. cossen. 5. 2. 29.<br /> -<b>Coozener</b>, <i>n.</i> [Form of <i>cozener</i>.] Impostor. 5. 8. 148.<br /> -||<b>Coquetta</b>, <i>n.</i> Sp. A small loaf. 4. 4. 143.<br /> -<b>Corn-ground</b>, <i>n.</i> <i>Arch.</i> A piece of land used for -growing corn; corn-land. 3. 1. 17.<br /> -<b>Cornish</b>, <i>a.</i> Phr. <i>C. counterfeit</i>: referring to the -‘Cornish stone’ or ‘diamond.’ a variety of quartz found in Cornwall. 3. 3. 173.<br /> -<b>Cossen</b>, <i>v.</i> 5. 2. 29. See <i>Coozen</i>.<br /> -<b>Councell</b>, <i>n.</i> <i>Obs.</i> form of <i>council</i>. 3. 1. 34; 5. 2. 20.<br /> -<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span> -<b>Court</b>, <i>v.</i> Phr. <i>court it</i>: To play or act the courtier. 3. 4. 56.<br /> -<b>Court-ship</b>, <i>n.</i> †An act of courtesy (used in <i>pl.</i>) 1. 6. 201.<br /> -<b>Coyle</b>, <i>n.</i> [Form of <i>coil</i>.] ?An embarrassing situation; -a ‘mess.’ 5. 5. 54.<br /> -<b>Crack</b>, <i>v. intr.</i> To break the musical quality of the -voice (used <i>fig.</i>) 5. 5. 59.<br /> -<b>Cracke</b>, <i>n.</i> †A lively lad; a ‘rogue’ (playfully), a wag. 2. 8. 58.<br /> -†<b>Crambe</b>, <i>n.</i> [Form of <i>crambo</i>.] ‘A game in which one -player gives a word or line of verse to which each of the others -has to find a rime.’ <i>NED.</i> 5. 8. 110.<br /> -<b>Creak</b>, <i>v.</i> To exhibit the characteristics of; to betray -(a <i>fig.</i> use of the <i>lit.</i> meaning). 2. 2. 87.<br /> -<b>Credit</b>, <i>n.</i> †1. Authority. 1. 4. 29.<br /> -  †2. Repute. 5. 6. 49.<br /> -<b>Crisped</b>, <i>ppl. a.</i> Closely curled; as applied to trees of -uncertain significance. <a href="#Note_2_6_78">2. 6. 78</a> (see note).<br /> -<b>Cunning</b>, <i>a.</i> †Learned; versed in. 2. 4. 12.<br /> -<b>Custard</b>, <i>n.</i> †‘Formerly, a kind of open pie containing -pieces of meat or fruit covered with a preparation of broth or -milk, thickened with eggs, sweetened, and seasoned with spices, -etc.’ <i>NED.</i> 1. 1. 97.<br /> -<b>Cutpurse</b>, <i>n.</i> One who steals by cutting purses; hence, a thief. 1. 1. 140.<br /> -<b>Cut-work</b>, <i>n.</i> †1. ‘A kind of openwork embroidery or lace -worn in the latter part of the 16th and in the 17th c.’ <i>NED.</i> 2. 1. 163; 3. 3. 23.<br /> -  †2. <i>attrib.</i> 1. 1. 128. cut-worke.</p> - -<p class="no-indent"> -<b>Danger</b>, <i>n.</i> †Mischief, harm. 2. 6. 30.<br /> -†<b>Daw</b>, <i>v.</i> <i>Rare.</i> To frighten, torment. 4. 4. 208.<br /> -<b>Dearling</b>, <i>n.</i> <i>Obs.</i> form of <i>darling</i>. 5. 6. 74.<br /> -<b>Decimo sexto.</b> ?<i>Obs.</i> ‘A term denoting the size of -a book, or of the page of a book, in which each leaf is -one-sixteenth of a full sheet; properly <span class="smcap">Sexto-decimo</span> -(usually abbreviated 16mo.).’ <i>NED.</i> Also applied <i>fig.</i> to -a diminutive person or thing: hence, ?An exquisite or perfect condition. 4. 4. 50.<br /> -<b>Deed of Feoffment</b>, <i>phr.</i> 4. 6. 44. See <i>Feoffment</i>.<br /> -<b>Defeate</b>, <i>n.</i> †Undoing, ruin. Phr. <i>do defeate upon</i>: -To do injury to; to bring about the ruin of. 2. 6. 21.<br /> -<b>Defend</b>, <i>v.</i> †To prohibit, forbid. <i>Obs.</i> exc. <i>dial.</i> 1. 4. 97.<br /> -<b>Degree</b>, <i>n.</i> 1. A high degree or quality. 2. 1. 89. -  2. Any degree. 4. 3. 26.<br /> - -<b>Delicate</b>, <i>a.</i> †1. Charming<br /> -  †2. Voluptuous. 2. 2. 103; 2. 2. 126.<br /> -Both meanings seem to be present.<br /> -<b>Delude</b>, <i>v.</i> †To frustrate the aim or purpose of. 1. 6. 54.<br /> -†<b>Deneer</b>, <i>n.</i> [Form of <i>Denier</i>, <i>obs.</i> or <i>arch.</i>] -A French coin, the twelfth of a sou; originally of silver, but -from the 16th c. of copper. Hence (esp. in negative phrases) -used as the type of a very small sum. 3. 3. 188.<br /> -<b>Deny</b>, <i>v.</i> ?Prove false to. 1. 4. 91.<br /> -<b>Depart</b>, <i>v.</i> †Phr. <i>depart with</i>: To part with; give up. 1. 4. 58; 1. 4. 83.<br /> -<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span> -<b>Dependance</b>, <i>n.</i> †A quarrel or affair ‘depending,’ or -awaiting settlement. 3. 3. 130.<br /> -<b>Devil</b>, <i>n.</i> Jonson uses the following forms: Deuill. -5. 5. 49, etc.; Diuel. 5. 5. 20; Diuell. Titlepage, etc.<br /> -<b>Diligence</b>, <i>n. †pl.</i> Labors, exertions. 2. 2. 106.<br /> -<b>Discourse</b>, <i>n.</i> †Conversational power. 4. 4. 225.<br /> -<b>Discourse</b>, <i>v.</i> To discuss. <i>Arch.</i> 4. 2. 40.<br /> -<b>Dishonesty</b>, <i>n.</i> †Unchastity. 4. 4. 158.<br /> -†<b>Displeasant</b>, <i>a.</i> Displeasing; disagreeable. Epilogue 6.<br /> -<b>Distast</b>, <i>n.</i> †Quarrel. 3. 3. 77.<br /> -<b>Diuident</b>, <i>n.</i> [Erron. spelling of <i>dividend</i>.] -†The share (of anything divided among a number of persons) -that falls to each to receive. 2. 1. 123; 3. 3. 201.<br /> -<b>Dotage</b>, <i>n.</i> Infatuation. <a href="#Note_5_8_91">5. 8. 92</a> (see note).<br /> -<b>Dottrel</b>, <i>n.</i> 1. A species of plover (Eudromias morinellus).<br /> -  2. A silly person; one easily ‘taken in.’ 2. 8. 59. See note <a href="#Note_2_2_49">2. 2. 49-50</a>.<br /> -<b>Doublet</b>, <i>n.</i> A close-fitting body-garment, with -or without sleeves, worn by men from the 14th to the 18th -centuries. <i>Obs.</i> exc. <i>Hist.</i> 1. 1. 52. Phr. -<i>hose and doublet</i>: as the typical male attire. 1. 6. 151.<br /> -<b>Doubt</b>, <i>n.</i> †Apprehension; fear. 5. 1. 8.<br /> -<b>Doubt</b>, <i>v.</i> †To suspect; have suspicions about. 2. 6. 47.<br /> -<b>Dough-bak’d</b>, <i>ppl. a.</i> Now <i>dial.</i> Imperfectly baked, -so as to remain doughy. 4. 4. 20.<br /> -<b>Doxey</b>, <i>n.</i> ‘Originally the term in Vagabonds’ Cant for -the unmarried mistress of a beggar or rogue: hence. <i>slang</i>, -a mistress, prostitute.’ <i>NED.</i> 2. 8. 38.<br /> -<b>Draw</b>, <i>v.</i> †1. To pass through a strainer; -to bring to proper consistence. 1. 6. 222.<br /> -  2. To frame, draw up (a document). 3. 3. 67.<br /> -  †3. <i>intr.</i> To withdraw. 2. 1. 127.<br /> -  4. Phr. <i>draw to</i>: To come upon; to catch up with. 2. 6. 24.<br /> -<b>Dwindle</b>, <i>v.</i> †‘To shrink (with fear.) <i>Obs.</i>, <i>rare</i>. -(Prob. a misuse owing to two senses of shrink.)’ <i>NED.</i> 4. 4. 63.</p> - -<p class="no-indent"> -<b>Effectuall</b>, <i>a.</i> ?Earnest. 2. 2. 107.<br /> -†<b>E-la</b>, <i>n.</i> <i>Mus.</i> <i>Obs.</i> exc. <i>Hist.</i> -[f. E+La; denoting the particular note E which occurred only -in the seventh Hexachord, in which it was sung to the syllable -<i>la</i>.] ‘The highest note in the Gamut, or the highest note of -the 7th Hexachord of Guido, answering to the upper E in the -treble.’ <i>NED.</i> <i>Fig.</i> of something very ambitious. 5. 5. 59.<br /> -<b>Employ</b>, <i>v.</i> †Phr. <i>employ out</i>: To send out (a person) -with a commission. 5. 5. 46.<br /> -<b>Engag’d</b>, <i>ppl. a.</i> 1. Morally bound. 4. 6. 9.<br /> -  †2. Involved, hampered. 1. 2. 41.<br /> -  †3. Made security for a payment; rendered liable for a debt. 3. 3. 90.<br /> -<b>Enlarge</b>, <i>v.</i> †Phr. <i>enlarge upon</i>, <i>refl. absol.</i>: -To expand (oneself) in words, give free vent to one’s thoughts. 2. 1. 128.<br /> -<b>Ensigne</b>, <i>n.</i> †Token; signal displayed. ?<i>Obs.</i> 1. 6. 210.<br /> -<b>Enter</b>, <i>v.</i> Phrases. †1. <i>Enter a bond</i>: -<span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span> -To enter into a bond; to sign a bond. 1. 7. 17.<br /> -  †2. <i>Enter trust with</i>: To repose confidence in. 3. 4. 36.<br /> -<b>Entertaine</b>, <i>v.</i> †1. To give reception to; receive (a person). 1. 2. 44.<br /> -  †2. To take into one’s service; hire. 3. 5. 19.<br /> -<b>Enter-view</b>, <i>n.</i> <i>Obs.</i> form of <i>interview</i>. 2. 6. 23.<br /> -<b>Enuious</b>, <i>a.</i> †Hateful. 1. 6. 196.<br /> -<b>Enuy</b>, <i>n.</i> †Ill-will, enmity. 2. 6. 20.<br /> -<b>Enuy</b>, <i>v. trans.</i> †To begrudge (a thing). 1. 6. 13.<br /> -<b>Equiuock</b>, <i>n.</i> [<i>Obs.</i> form (or misspelling) of -<i>equivoke</i>.] The use of words in a double meaning with intent -to deceive:=Equivocation. <i>Rare.</i> 3. 3. 184.<br /> -<b>Erect</b>, <i>v.</i> †To set up, establish, found (an office). -<i>Obs.</i> or <i>arch.</i> exc. in <i>Law</i>. 3. 3. 67.<br /> -||<b>Escudero</b>, <i>n.</i> Sp. An attendant; a lady’s page. 4. 4. 87.<br /> -<b>Euill</b>, <i>n.</i> The Vice, <i>q. v.</i> 5. 6. 76.<br /> -<b>Exchequer</b>, <i>n.</i> The office of the Exchequer; -used hyperbol. for the source of wealth. 3. 3. 81.<br /> -<b>Extraordinary</b>, †<i>adv.</i> Extraordinarily. 1. 1. 116.<br /> -<b>Extreme</b>, †<i>adv.</i> Extremely. 1. 7. 27.<br /> -<b>Extremity</b>, <i>n.</i> ?An extreme instance. 1. 5. 15.</p> - - -<p class="no-indent"> -<b>Face</b>, <i>n.</i> Attitude (towards); reception (of). P. 21.<br /> -<b>Fact</b>, <i>n.</i> †1. The making, manufacture. 3. 4. 49.<br /> -  2. Phr. <i>with one’s fact</i>: as an actual experience. 5. 6. 13.<br /> -<b>Faine</b>, <i>v.</i> <i>Obs.</i> form of <i>feign</i>. 5. 5. 28.<br /> -<b>Fauour</b>, <i>n.</i> †1. Leave, permission. Phr. <i>under</i> -(your) <i>fauour</i>: with all submission, subject to correction. -<i>Obs.</i> or <i>arch.</i> 1. 3. 27.<br /> -  2. ?Comeliness; ?face. 4. 6. 49.<br /> -<b>Feate</b>, <i>n.</i> A business transaction. 3. 3. 227.<br /> -<b>Fellow</b>, <i>n.</i> Phr. <i>good fellow</i>: Of a woman. -A term of familiar address. 5. 1. 5.<br /> -<b>Feoffee</b>, <i>n.</i> The person to whom a freehold estate in -land is conveyed by a feoffment. 3. 5. 60.<br /> -<b>Feoffment</b>, <i>n.</i> ‘The action of investing a person with -a fief or fee. In technical language applied esp. to the -particular mode of conveyance (originally the only one used, but -now almost obsolete) in which a person is invested in a freehold -estate in lands by livery of seisin (at common law generally, -but not necessarily, evidenced by a deed, which, however, is not -required by statute).’ <i>NED.</i> 4. 5. 15; 4. 7. 7.<br /> -  Phr. <i>Deed of Feoffment</i>: ‘The instrument or deed by which -corporeal hereditaments are conveyed.’ <i>NED.</i> 4. 6. 44.<br /> -<b>Fetch</b>, <i>v.</i> 1. To earn; get (money). 2. 1. 72.<br /> -  †2. To perform, take (a leap). 1. 1. 55.<br /> -  †3. Phr. <i>Fetch again</i>: To revive, restore to consciousness. 2. 1. 4.<br /> -†<b>Figgum</b>, <i>n.</i> ?Juggler’s tricks (not found elsewhere). 5. 8. 82.<br /> -<b>Finenesse</b>, <i>n.</i> †‘Overstrained and factitious scrupulousness.’ Gifford. 3. 3. 104.<br /> -<b>Firke</b>, <i>v.</i> †To frisk about; ?to hitch oneself (Cunningham). 5. 6. 15.<br /> -<b>Fixed</b>, <i>ppl. a.</i> Made rigid or immobile (by emotion). 1. 5. 2.<br /> -<b>Fizzling</b>, <i>vbl. sb.</i> †Breaking wind without noise. 5. 3. 2.<br /> -<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span> -<b>Flower</b>, <i>n.</i> †<i>Anc.</i> <i>Chem.</i> (<i>pl.</i>): -‘The pulverulent form of any substance, esp. as the result of -condensation after sublimation.’ <i>NED.</i> 4. 4. 19.<br /> -<b>Fly</b>, <i>v.</i> Of a hawk: To pursue by flying: used <i>fig.</i> 4. 7. 53.<br /> -<b>Flye-blowne</b>, <i>a.</i> Tainted. With a quibble on the literal meaning. 2. 7. 7.<br /> -<b>Fool</b>, <i>v.</i> Phr. <i>fool off</i>: To delude, baffle. 2. 6. 25.<br /> -<b>Forbeare</b>, <i>v. trans.</i> †To keep away from or from -interfering with; to leave alone. 1. 3. 22.<br /> -<b>Forked</b>, <i>a.</i> ‘Horned,’ cuckolded. 2. 2. 90.<br /> -<b>Foyle</b>, <i>n.</i> [Form of <i>foil</i>.] A thin leaf of some metal -placed under a precious stone to increase its brilliancy. 3. 3. 180.<br /> -<b>French-masque</b>, <i>n.</i> pr. the ‘Loo,’ or ‘Loup,’ a half-mask -of velvet, worn by females to protect the complexion. 2. 1. 162.<br /> -<b>French-time</b>, <i>n.</i> ?Formal and rhythmic measure -(as characteristic of the French, in contrast to Italian, music). 3. 5. 30.<br /> -<b>Frolick</b>, <i>n.</i> †?Humorous verses circulated at a feast. 2. 8. 73.<br /> -||<b>Fucus</b>, <i>n.</i> †Paint or cosmetic for beautifying the -skin; a wash or coloring for the face. 3. 4. 50; 4. 2. 63.<br /> -<b>Fustian</b>, <i>n.</i> †A kind of coarse cloth made of cotton and flax. 3. 3. 30.</p> - -<p class="no-indent"> -<b>’Gainst</b>, <i>prep.</i> [Form of <i>against</i>.] -In anticipation of. <i>Arch.</i> 1. 1. 19.<br /> -<b>’Gainst</b>, <i>conj.</i> In anticipation that; in case that. -<i>Arch.</i> or <i>dial.</i> 1. 1. 73; 3. 2. 39.<br /> -<b>Gallant</b>, <i>n.</i> 1. A man of fashion and pleasure; a fine gentleman. <i>Arch.</i> 1. 7. 27; 4. 4. 167.<br /> -  †2. Of a woman: A fashionably attired beauty. 3. 4. 8.<br /> -<b>Gallant</b>, <i>a.</i> Loosely, as a general epithet of admiration -or praise: Splendid. Cf. <i>Brave</i>. Now <i>rare</i>. 2. 1. 58.<br /> -<b>Gallery</b>, <i>n.</i> 1. A long narrow platform or balcony on the outside of a building. 2. 2. 54.<br /> -  2. A room for pictures. 2. 5. 13.<br /> -<b>Galley-pot</b>, <i>n.</i> [Form of <i>gallipot</i>.] ‘A small earthen glazed pot, -esp. one used by apothecaries for ointments and medicines.’ <i>NED.</i> 4. 4. 47.<br /> -<b>Garnish</b>, <i>n.</i> <i>slang</i>. ‘Money extorted from a new -prisoner, either as drink money for the other prisoners, or as a -jailer’s fee. <i>Obs.</i> exc. <i>Hist.</i>’ <i>NED.</i> <a href="#Note_5_6_1">5. 6. 1</a> (see note).<br /> -<b>Geere</b>, <i>n.</i> [Form of <i>gear</i>.] ?Discourse, talk; esp. in -depreciatory sense, ‘stuff.’ Or possibly <i>obs.</i> form of <i>jeer</i>. <a href="#Note_1_6_99">1. 6. 99</a> (see note).<br /> -<b>Gentleman</b>, <i>n.</i> ‘A man of gentle birth, or having the -same heraldic status as those of gentle birth; properly, one who -is entitled to bear arms, though not ranking among the nobility. -Now chiefly <i>Hist.</i>’ <i>NED.</i> 3. 1. 1.<br /> -<b>Gentleman huisher</b>, <i>n.</i> 3. 4. 43. Same as <i>Gentleman-vsher</i>, <i>q. v.</i><br /> -<b>Gentleman-vsher</b>, <i>n.</i> A gentleman acting as usher to a -person of superior rank. 4. 4. 134. Gentleman huisher. 3. 4. 43. See note <a href="#Note_4_4_134">4. 4. 134</a>.<br /> -<span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span> -<b>Gentlewoman</b>, <i>n.</i> 1. A woman of gentle birth. 3. 3. 164. - 2. A female attendant upon a lady of rank. Now chiefly <i>Hist.</i> 5. 1. 26.<br /> -<b>Gleeke</b>, <i>n.</i> ‘A game at cards, played by three persons: -forty-four cards were used, twelve being dealt to each player, -while the remaining eight formed a common “stock.”’ <i>NED.</i> Phr. -<i>three peny Gleeke</i>. 5. 2. 31.<br /> -<b>Glidder</b>, <i>v.</i> <i>Obs.</i> exc. <i>dial.</i> To glaze over. 4. 4. 47.<br /> -<b>Globe</b>, <i>n.</i> The name of a play-house; hence, used as a -generic term for a play-house. 3. 3. 26.<br /> -<b>Go</b>, <i>v.</i> Phrases. 1. <i>Goe on</i>: as an expression of encouragement, Come along! advance! 3. 5. 27.<br /> -  2. <i>Goe with</i>: Agree with. 4. 4. 133.<br /> -<b>God b’w’you</b> [God be with you], <i>Phr.</i> Good-bye. 1. 6. 223.<br /> -<b>Godwit</b>, <i>n.</i> A marsh-bird of the genus Limosa. Formerly -in great repute, when fattened, for the table. 3. 3. 25.<br /> -†<b>Gogs-nownes</b>, <i>n.</i> A corrupt form of ‘God’s wounds’ -employed in oaths. 1. 1. 50.<br /> -<b>Gold-smith</b>, <i>n.</i> A worker in gold, who (down to the 18th c.) acted as banker. 2. 8. 84.<br /> -<b>Googe</b>, <i>v.</i> [Form of <i>gouge</i>.] To cut out. 2. 1. 94.<br /> -<b>Gossip</b>, <i>n.</i> A familiar acquaintance, chum (applied to -women). Somewhat <i>arch.</i> 1. 6. 219; 2. 8. 69.<br /> -<b>Grandee</b>, <i>n.</i> A Spanish or Portuguese nobleman of the -highest rank; hence, †A term of polite address. P. 3.<br /> -†<b>Grant-paroll</b> [Fr. <i>grande parole</i>], <i>n.</i> Full permission -(?not found elsewhere). 5. 6. 19.<br /> -||<b>Grasso di serpe</b>, <i>n.</i> It. ?‘Snake’s †fat.’ <i>Stanford.</i> 4. 4. 34.<br /> -<b>Gratulate</b>, <i>v.</i> Now <i>arch.</i> and <i>poet.</i> †1. To rejoice. -Phr. <i>gratulate with</i>: rejoice with, felicitate. 4. 1. 14.<br /> -  2. <i>tr.</i> To rejoice at. 5. 1. 51.<br /> -<b>Groat</b>, <i>n.</i> A denomination of coin which was recognized -from the 13th c. in various countries of Europe. The English -groat was coined 1351(2)-1662, and was originally equal to four -pence. †The type of a very small sum (cf. <i>Deneer</i>). 5. 4. 6.<br /> -<b>Groome</b>, <i>n.</i> 1. A serving man. <i>Obs.</i> or <i>arch.</i> 2. 2. 65.<br /> -  †2. With added connotation of contempt. 2. 2. 87.<br /> -||<b>Guarda-duenna</b>, <i>n.</i> Sp. A lady’s attendant. 4. 4. 83.<br /> -||<b>Guardo-duenna</b>, <i>n.</i> 4. 4. 77. See <i>Guarda-duenna</i>.<br /> -<b>Gueld</b>, <i>v.</i> [Form of <i>Geld</i>.] †<i>transf.</i> -and <i>fig.</i> To mutilate: impair. 1. 1. 65.<br /> -<b>Guilt</b>, <i>ppl. a.</i> [Form of <i>gilt</i>.] Gilded. 1. 6. 214.</p> - -<p class="no-indent"> -<b>Hand-gout</b>, <i>n.</i> Gout in the hand; used <i>fig.</i> of -an unwillingness to grant favors without a recompense; hard-fistedness. 3. 3. 79.<br /> -<b>Hand-kercher</b>, <i>n.</i> Form of <i>handkerchief</i>. <i>Obs.</i> exc. -<i>dial.</i> and vulgar. Common in literary use in 16-17th c. 4. 4. 89.<br /> -<b>Handsomenesse</b>, <i>n.</i> †Decency. 4. 3. 26.<br /> -<b>Hang</b>, <i>v.</i> Phr. <i>hang out</i>: †To put to death by hanging. 5. 6. 8.<br /> -<b>Hap’</b>, <i>v.</i> Shortened form of <i>happen</i>. Phr. <i>may hap’ -see</i>: May chance to see (in process of transition to an adverb). 3. 2. 8.<br /> -<span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span> -†<b>Hard-wax</b>, <i>n.</i> ?Sealing-wax. 5. 1. 39.<br /> -<b>Harness</b>, <i>v.</i> †To dress, apparel. 2. 5. 6.<br /> -†<b>Harrington</b>, <i>n.</i> <i>Obs.</i> exc. <i>Hist.</i> ‘A brass -farthing token, coined by John, Lord Harrington, under a patent -granted him by James I. in 1613.’ <i>NED.</i> 2. 1. 83.<br /> -<b>Ha’s</b>, <i>v.</i> Has. (Prob. a recollection of earlier forms, -<i>hafs</i>, <i>haves</i>. Mallory.) 5. 3. 9; 4. 6. 43.<br /> -<b>Heare</b>, <i>v.</i> Phr. <i>heare ill of</i> (it): To be censured for. -?<i>Obs.</i> or ?<i>colloq.</i> 2. 7. 28.<br /> -<b>Heauy</b>, <i>a.</i> †Dull, stupid. 5. 6. 39.<br /> -<b>Hedge</b>, <i>v.</i> †Phr. <i>hedge in</i>: To secure (a debt) by -including it in a larger one for which better security is -obtained; to include a smaller debt in a larger. 2. 8. 104; 3. 2. 6.<br /> -<b>Height</b>, <i>n.</i> 1. A superior quality; a high degree. 2. 1. 70.<br /> -  2. The highest point; the most important particular. 4. 4. 212.<br /> -  3. Excellence; perfection of accomplishment. 2. 8. 59.<br /> -  4. Phr. <i>at height</i>: In the highest degree; to one’s utmost satisfaction. 5. 3. 22.<br /> -<b>Here by</b>, <i>adv.</i> †Close by; in this neighborhood. 3. 4. 41.<br /> -<b>His</b>, <i>poss. pron. 3d sing. †neut.</i> Its. 2. 1. 103.<br /> -<b>Hold</b>, <i>v.</i> Phr. <i>hold in with</i>: -To keep (one) on good terms with. ?<i>Obs.</i> 3. 3. 221.<br /> -<b>Honest</b>, <i>a.</i> Chaste, virtuous. <i>Arch.</i> 4. 4. 161.<br /> -<b>Honour</b>, <i>n.</i> †An obeisance; a bow or curtsy. 3. 5. 27.<br /> -<b>Hood</b>, <i>n.</i> ‘French hood, a form of hood worn by women -in the 16th and 17th centuries, having the front band depressed -over the forehead, and raised in folds or loops over the temples.’ <i>NED.</i> 1. 1. 99.<br /> -<b>Hooke</b>, <i>v.</i> 1. <i>intr.</i> To get all one can; to display a grasping nature. 3. 3. 156.<br /> -  2. Phr. <i>hooke in</i>: To secure by hook or by crook. 3. 3. 150.<br /> -<b>Hope</b>, <i>v.</i> Phr. <i>hope †o’</i>: To have hope of; hope for. 1. 5. 1.<br /> -<b>Horne</b>, <i>n.</i> In <i>pl.</i>, the supposed insignia of a cuckold. 5. 8. 34.<br /> -<b>Hose</b>, <i>n.</i> †Breeches. Phr. <i>hose and doublet</i>. 1. 6. 151.<br /> -†<b>Huisher</b>, <i>n.</i> <i>Obs.</i> form of <i>usher</i>. 2. 7. 33. See <i>Gentleman-vsher</i>.<br /> -<b>Hum</b>, <i>n.</i> †A kind of liquor; strong or double ale. 1. 1. 114; 5. 8. 72.<br /> -<b>Humour</b>, <i>v.</i> To take a fancy to. ?<i>Obs.</i> 1. 7. 13.</p> - -<p class="no-indent"> -<b>I</b>, <i>Obs.</i> form of <i>ay</i>. 1. 2. 1: <i>passim</i>.<br /> -<b>I</b>, <i>prep.</i> In. 2. 4. 41.<br /> -||<b>Incubus</b>, <i>n.</i> ‘A feigned evil spirit or demon -(originating in personified representations of the nightmare) -supposed to descend upon persons in their sleep, and especially -to seek carnal intercourse with women. In the middle ages, their -existence was recognized by the ecclesiasical and civil law.’ <i>NED.</i> 2. 3. 26.<br /> -||<b>In decimo sexto</b>, <i>phr.</i> 4. 4. 50. See <i>Decimo sexto</i>.<br /> -||<b>Infanta</b>, <i>n.</i> 1. A daughter of the King and queen of -Spain or Portugal; <i>spec.</i> the eldest daughter who is not heir to the throne.<br /> -  2. †<i>transf.</i> Applied analogously or fancifully to other young ladies. 4. 2. 71.<br /> -<span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span> -<b>Ingag’d</b>, <i>ppl. a.</i> <i>Obs.</i> form of Engag’d. 4. 4. 168. See <i>Engag’d</i> 1.<br /> -<b>Ingenious</b>, <i>a.</i> †Able; talented; clever. 2. 8. 75.<br /> -<b>Ingine</b>, <i>n.</i> †1. Skill in contriving, ingenuity. 2. 3. 46.<br /> -  †2. Plot; snare, wile. 2. 2. 87. With play on 3.<br /> -  3. Mechanical contrivance, machine; †trap.<br /> -<b>Ingrate</b>, <i>a.</i> Ungrateful. <i>Arch.</i> 1. 6. 174.<br /> -<b>Iniquity</b>, <i>n.</i> The name of a comic character or buffoon -in the old moralities; a name of the Vice, <i>q. v.</i> 1. 1. 43; 1. 1. 118.<br /> -<b>Inquire</b>, <i>v.</i> †To seek information concerning, investigate. 3. 1. 11.<br /> -<b>Innes of Court</b>, <i>sb. phr.</i> The four sets of buildings -belonging to the four legal societies which have the exclusive -right of admitting persons to practise at the bar, and hold a -course of instruction and examination for that purpose. <a href="#Note_3_1_8">3. 1. 8</a>. (see note).<br /> -<b>Intend</b>, <i>v.</i> †To pay heed to; apprehend. 4. 4. 127.<br /> -<b>Intire</b>, <i>a.</i> <i>Obs.</i> form of <i>entire</i>. -[Fr. <i>entier</i> ‹ L. <i>integer</i>, untouched.] Untouched, uninjured. 2. 6. 32; 5. 6. 48.<br /> -<b>Intitle</b>, <i>v.</i> [Form of <i>entitle</i>.] To give (a person) -a rightful claim (to a thing). 4. 6. 38.<br /> -<b>Intreat</b>, <i>v.</i> [Form of <i>entreat</i>.] †To prevail on by -supplication; to persuade. 3. 6. 44.<br /> -<b>Iacke</b>, <i>n.</i> 1. The name of various mechanical contrivances. 1. 4. 50.<br /> -  †2. A term of familiarity; pet. 2. 2. 128.<br /> -<b>Iewes-trumpe</b>, <i>n.</i> Now <i>rare</i>. Jews’ harp -(an earlier name, and formerly equally common in England). 1. 1. 92.<br /> -<b>Joynt-stoole</b>, <i>v.</i> A stool made of parts joined or fitted -together; a stool made by a joiner as distinguished from one of -more clumsy workmanship. <i>Obs.</i> exc. <i>Hist.</i> 1. 1. 92.<br /> -<b>Iump</b>, <i>v.</i> †1. <i>intr.</i> Act hurriedly or rashly. 4. 1. 5.<br /> -  †2. <i>trans.</i> To effect or do as with a jump; to dispatch. 4. 1. 6.<br /> -<b>Iust</b>, <i>a.</i> †1. Complete in character. 1. 5. 10.<br /> -  2. Proper, correct. 2. 2. 122.<br /> -<b>Iuuentus</b>, <i>n.</i> 1. 1. 50. See <i>Lusty</i>.</p> - -<p class="no-indent"> -†<b>Kell</b>, <i>n.</i> The web or cocoon of a spinning caterpillar. <i>Obs.</i> exc. <i>dial.</i> 2. 6. 79.<br /> -<b>Kinde</b>, <i>n.</i> (One’s) nature. Now <i>rare</i>. Phr. <i>man and kinde</i>: ?Human nature. 2. 1. 151.<br /> -<b>Know</b>, <i>v.</i> 1. To know how. ?<i>Obs.</i> 1. 2. 44.<br /> -  ?2. <i>pass. be known</i>: Disclose. 2. 1. 145.<br /> -<b>Knowledge</b>, <i>n.</i> †1. Cognizance, notice. Phr. <i>Take knowledge</i> (with clause): To become aware. 4. 4. 61.<br /> -  2. A matter of knowledge; a known fact (a licentious use). 1. 6. 82.</p> - -<p class="no-indent"> -<b>Lade</b>, <i>v.</i> To load with obloquy or ridicule (as an ass with a burden; -the consciousness of the metaphor being always present in the mind of the speaker). 1. 4. 72.<br /> -<b>Lading</b>, <i>vbl. sb.</i> A burden of obloquy or ridicule. 1. 6. 161. See <i>Lade</i>.<br /> -<b>Lady-President</b>, <i>n.</i> 4. 4. 9. See <i>President</i>.<br /> -<span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span> -<b>Larum</b>, <i>n.</i> †An apparatus attached to a clock or watch, -to produce a ringing sound at any fixed hour. 4. 4. 165.<br /> -<b>Lasse</b>, <i>int.</i> Aphetic form of <i>Alas</i>. 5. 8. 46.<br /> -<b>Lay</b>, <i>v.</i> †To expound, set forth. 2. 8. 72.<br /> -<b>Leaguer</b>, <i>n.</i> A military camp. 3. 3. 33.<br /> -<b>Leaue</b>, <i>v.</i> To cease. Now only <i>arch.</i> 2. 2. 79; 4. 4. 125.<br /> -<b>Leg</b>, <i>n.</i> An obeisance made by drawing back one leg and -bending the other; a bow, scrape. Esp. in phr. <i>to make a leg</i>. -Now <i>arch.</i> or jocular. 4. 4. 97. legge. 2. 8. 22.<br /> -||<b>Lentisco</b>, <i>n.</i> Sp. and It. Prick-wood or Foule-rice, -some call it Lentiske or Mastike-tree.’ Florio. (Pistacia lentiscus.) 4. 4. 35.<br /> -<b>Letter of Atturney</b>, <i>sb. phr.</i> A formal document -empowering another person to perform certain acts on one’s -behalf (now more usually ‘power of attorney’). 4. 5. 15.<br /> -<b>Lewd</b>, <i>a.</i> †Ignorant (implying a reproach). 5. 6. 37.<br /> -<b>Liberall</b>, <i>a.</i> Ample, large. Somewhat <i>rare</i>. 1. 6. 179.<br /> -<b>Lift</b>, <i>v.</i> To raise (as by a crane). Used <i>fig.</i> -(a metaphor borrowed from Ingine’s name). 1. 4. 1.<br /> -<b>Like</b>, <i>v.</i> †To be pleasing, be liked or approved. P. 26.<br /> -<b>Limb</b>, <i>n.</i> 1. A leg (a part of the body).<br /> -  ?2. A leg (curtsy. See <i>Leg</i>). A quibble on the two >meanings. 1. 6. 218.<br /> -<b>Limon</b>, <i>n.</i> <i>Obs.</i> form of <i>lemon</i>. 4. 4. 25.<br /> -<b>Liuery and seisen</b>, <i>sb. phr.</i> erron. for <i>Livery of -seisin</i> (AF. <i>livery de seisin</i>): ‘The delivery of property into -the corporal possession of a person; in the case of a house, by -giving him the ring, latch or key of the door; in case of land, -by delivering him a twig, a piece of turf, or the like.’ <i>NED.</i> 4. 5. 16.<br /> -<b>Loose</b>, <i>v.</i> <i>Obs.</i> form of <i>lose</i>. 4. 7. 79.<br /> -<b>Lords-man</b>, <i>n.</i> A lord’s man; an attendant on a lord. ?<i>Obs.</i> 3. 3. 166.<br /> -<b>Lose</b>, <i>v.</i> †To be deprived of the opportunity (to do something). 3. 4. 26.<br /> -<b>Lusty</b>, <i>a.</i> Merry; healthy, vigorous. Phr. <i>lusty -Iuuentus</i>: the title of a morality play produced c 1550; often -used allusively in the 16-17th c. 1. 1. 50.<br /> -<b>Light</b>, <i>int.</i> A shortened form of the asseveration <i>by -this light</i>, or <i>by God’s light</i>. 2. 6. 15.</p> - -<p class="no-indent"> -<b>Mad-dame</b>, <i>n.</i> A whimsical spelling of <i>Madame</i>. †A courtesan, prostitute. 4. 3. 39.<br /> -<b>Make</b>, <i>v.</i> Phr. <i>make away</i>: To make away with; to kill. 2. 4. 9.<br /> -<b>Manage</b>, <i>v. intr.</i> ?To administer the affairs of a household. 4. 4. 193.<br /> -<b>Manager</b>, <i>n.</i> ?One capable of administering the affairs of a household. 4. 4. 138.<br /> -||<b>Mantecada</b> (for <i>Mantecado</i>), <i>n.</i> Sp. ‘A cake made -of honey, meal, and oil; a wafer.’ Pineda, 1740. 4. 4. 143.<br /> -<b>Mary</b>, <i>int.</i> [ < ME. <i>Mary</i>, the name of the Virgin, -invoked in oaths.] Form of <i>Marry</i>. Indeed! 1. 4. 28.<br /> -<b>Masque</b>, <i>n.</i> A masquerade. 2. 2. 110.<br /> -<span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span> -<b>Masticke</b>, <i>n.</i> ‘A resinous substance obtained from -the common mastic-tree, <i>Pistacia Lentiseus</i>, a small tree -about twelve feet high, native in the countries about the -Mediterranean. In the East mastic is chewed by the women.’ <i>CD.</i> 4. 2. 54.<br /> -<b>Match</b>, <i>n.</i> †An agreement; a bargain. 1. 4. 67.<br /> -<b>Mathematicall</b>, <i>a.</i> ?Mathematically accurate; skillful to -the point of precision. 1. 4. 4.<br /> -<b>Meath</b>, <i>n.</i> [Form of <i>Mead</i>.] A strong liquor. <a href="#Note_1_1_114">1. 1. 115</a> (see note).<br /> -<b>Med’cine</b>, <i>v.</i> To treat or affect by a chemical process. 2. 1. 70.<br /> -<b>Mercat</b>, <i>n.</i> [Form of <i>market</i>.] 1. 1. 10.<br /> -<b>Mere</b>, <i>a.</i> †Absolute, unqualified. 2. 3. 12. meere. 1. 4. 54.<br /> -<b>Mermaide</b>, <i>n.</i> The name of a tavern; hence, used as a -generic term for a tavern. 3. 3. 26.<br /> -<b>Mettall</b>, <i>n.</i> 1. Metal.<br /> -  2. Mettle. A quibble on the two meanings. 2. 8. 105.<br /> -<b>Middling</b>, <i>a.</i> †One performing the function of a -go-between. Phr. <i>middling Gossip</i>: A go-between. 1. 6. 219.<br /> -<b>Mill</b>, <i>n.</i> A lapidary wheel. 3. 3. 176.<br /> -†<b>Migniard</b>, <i>a.</i> Delicate, dainty, pretty. 1. 4. 96.<br /> -<b>Missiue</b>, <i>a.</i> Sent or proceeding, as from some -authoritative or official source. 3. 3. 35.<br /> -<b>Moiety</b>, <i>n.</i> A half share. 2. 1. 46. moyety. 2. 1. 48.<br /> -<b>Monkey</b>, <i>n.</i> A term of endearment; pet. ?<i>Obs.</i> 2. 2. 127.<br /> -†<b>Moon-ling</b>, <i>n.</i> A simpleton, fool. 1. 6. 158.<br /> -<b>Motion</b>, <i>n.</i> †A puppet-show. 1. 6. 230.<br /> -<b>Much about</b>, <i>prep. phr.</i> Not far from; very near. ?<i>Obs.</i> 4. 4. 153.<br /> -<b>Mungril</b>, <i>a.</i> <i>Obs.</i> form of <i>mongrel</i>. 3. 1. 39.<br /> -<b>Mure</b>, <i>v.</i> Phr. <i>mure up</i>: To inclose in walls; immure. 2. 2. 91.<br /> -<b>Muscatell</b>, <i>a.</i> [Form of <i>muscadel</i>.] Of the muscadel rape. 2. 1. 102.<br /> -<b>Muscatell</b>, <i>n.</i> A sweet wine. 2. 1. 102; 2. 2. 95. See above.<br /> -<b>Muscouy glasse</b>, <i>n.</i> Muscovite; common or potash mica; -the light colored mica of granite and similar rocks. P. 17.<br /> -||<b>Mustaccioli</b>, <i>n.</i> It. [For <i>Mostaciuolli</i>.] -‘A kind of sugar or ginger bread.’ Florio. 4. 4. 144.<br /> -<b>Muta</b>, <i>n.</i> [?L. <i>mutare</i>, to change.] ?A dye (?coined by Jonson). 4. 4. 56.</p> - - -<p class="no-indent"> -†<b>Neale</b>, <i>n.</i> To temper by heat; anneal. 2. 1. 88.<br /> -<b>Neare</b>, <i>adv.</i> In <i>fig.</i> sense, Nigh. Phr. <i>go neare</i> (to). 5. 1. 7.<br /> -<b>Need</b>, <i>v. intr.</i> Be necessary. ?<i>Arch.</i> 2. 8. 106.<br /> -<b>Neither</b>, <i>adv.</i> Also not; no again. ?<i>Obs.</i> 4. 7. 68.<br /> -†<b>Niaise</b>, <i>n.</i> 1. A young hawk; an eyas.<br /> -  2. A simpleton. pr. with quibble. 1. 6. 18.<br /> -<b>Note</b>, <i>n.</i> Mark, token, sign. ?<i>Arch.</i> 3. 3. 101.<br /> -<b>Noted</b>, <i>a.</i> Notable; worthy of attention. ?<i>Obs.</i> 5. 6. 7.<br /> -†<b>Nupson</b>, <i>n.</i> A fool; a simpleton. 2. 2. 77.</p> - -<p class="no-indent"><span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span> -<b>O’</b>, <i>prep.</i> Shortened form of <i>of</i>. 1. Of. 1. 1. 108. etc. Phr. <i>hope o’</i> 1. 5. 1. See <i>Hope</i>.<br /> -  †2. With. 1. 3. 21.<br /> - -<b>O’</b>, <i>prep.</i> Shortened form of <i>on</i>. 1. On; upon. 4. 2. 61.<br /> -  †2. Into. 1. 4. 88.<br /> -||<b>Obarni</b>, <i>n.</i> <i>Obs.</i> [Russ. <i>obvarnyi</i>, scalded, -prepared by scalding.] ‘In full, <i>mead obarni</i>, i. e. “scalded -mead,” a drink used in Russia, and known in England c 1600.’ <i>NED.</i> 1. 1. 115.<br /> -<b>Obserue</b>, <i>v.</i> †To be attentive to; look out for. 1. 2. 45.<br /> -<b>Obtaine</b>, <i>v.</i> To obtain a request; with obj. cl. -expressing what is granted. Now <i>rare</i> or <i>obs.</i> 3. 3. 86.<br /> -<b>Occasion</b>, <i>n.</i> †A particular, esp. a personal need, want -or requirement. Chiefly in <i>pl.</i>=needs, requirements. 3. 3. 57; 3. 3. 85.<br /> -<b>Of</b>, <i>prep.</i> †From (after the <i>vb.</i> <i>Fetch</i>). 2. 1. 73. -<b>Off</b>, <i>adv.</i> [Used with ellipsis of <i>go</i>, etc., so as -itself to function as a verb.] Phr. <i>to off on</i> (one’s bargain): -To depart from the terms of; to break. 1. 5. 25.<br /> -<b>Offer</b>, <i>v.</i> †1. To make the proposal; suggest. 2. 8. 46.<br /> -  †2. <i>intr.</i> Phr. <i>offer at</i>: To make an attempt at; to attempt. 3. 6. 30.<br /> -||<b>Oglio reale</b>, <i>n.</i> It. ?Royal oil. 4. 4. 52.<br /> -<b>On</b>, <i>prep.</i> In senses now expressed by <i>of</i>. -‘In <i>on’t</i> and the like, common in literary use to c 1750; -now <i>dial.</i> or vulgar.’ <i>NED.</i> 2. 8. 55; 2. 8. 61; 3. 3. 7; 3. 3. 144. etc.<br /> -<b>On</b>, <i>pron.</i> <i>Obs.</i> form of <i>One</i>. 5. 2. 40.<br /> -<b>Order</b>, <i>n.</i> Disposition of measures for the -accomplishment of a purpose. Phr. <i>take order</i>: To take -measures, make arrangements. <i>Obs.</i> or <i>arch.</i> 1. 6. 209.<br /> -||<b>Ore-tenus</b>, <i>adv.</i> [Med. L.] <i>Law.</i> By word of mouth. 3. 3. 140.</p> - -<p class="no-indent"> -<b>Paint</b>, <i>v. intr.</i> †To change color; to blush. 2. 6. 35.<br /> -<b>Pan</b>, <i>n.</i> 1. [Form of <i>pane</i>.] †A cloth; a skirt.<br /> -  2. A hollow, or depression in the ground, esp. one in which water stands. With quibble on 1. 2. 1. 53.<br /> -<b>Paragon</b>, <i>n.</i> A perfect diamond; now applied to those -weighing more than a hundred carats. (‘In quot. 1616 <i>fig.</i> of a -person.’ <i>NED.</i> This statement is entirely incorrect.) 3. 3. 177.<br /> -<b>Parcel-</b>, <i>qualifying sb.</i> Partially, in part. <i>Obs.</i> -since 17th c. until revived by Scott. 2. 3. 15.<br /> -<b>Part</b>, <i>n.</i> Share of action; allotted duty. In <i>pl.</i> ?<i>Obs.</i> 4. 4. 116.<br /> -||<b>Pastillo</b>, <i>n.</i> It. ‘Little pasties, chewets.’ Florio. 4. 4. 142.<br /> -<b>Pattent</b>, <i>n.</i> Letters patent; an open letter under the -seal of the state or nation, granting some right or privilege; -spec. such letters granting the exclusive right to use an invention. 2. 1. 41; 4. 2. 38.<br /> -<b>Peace</b>, <i>n.</i> Leave; permission. Phr. <i>with his peace</i>: -With his good leave; respectfully. (A translation of L. <i>cum -eius pace</i> or <i>eius pace</i>; ?not found elsewhere.) 2. 2. 78.<br /> -||<b>Pecunia</b>, <i>n.</i> L. Money. 2. 1. 3.<br /> -||<b>Peladore</b>, <i>n.</i> Sp. A depilatory; preparation to remove hair. 4. 4. 145.<br /> -<b>Pentacle</b>, <i>n.</i> A mathematical figure used in magical -ceremonies, and considered a defense against demons. <a href="#Note_1_2_6">1. 2. 8</a> (see note).<br /> -†<b>Perse’line</b>, <i>n.</i> <i>Obs.</i> form of ?<i>parsley</i>, -or of ?<i>purslane</i>. 4. 4. 24.<br /> -<span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span> -<b>Perspectiue</b>, <i>n.</i> †A reflecting glass or combination of -glasses producing some kind of optical delusion when viewed in -one way, but presenting objects in their true forms when viewed -in another; used <i>fig.</i> 2. 6. 63.<br /> -<b>Phantasy</b>, <i>n.</i> Whimsical or deluded notion. ?<i>Obs.</i> 2. 3. 60.<br /> -<b>Phantsie</b>, <i>n.</i> [Form of <i>fancy</i>.] Imagination. 1. 4. 88.<br /> -†<b>Phrentick</b>, <i>n.</i> A frantic or frenzied person; one whose mind is disordered. 4. 6. 49.<br /> -<b>Phrenticke</b>, <i>a.</i> [Form of <i>frantic</i>.] Insane. Now rare. 5. 8. 91.<br /> -<b>Physicke</b>, <i>n.</i> †Natural philosophy; physics. 2. 2. 122.<br /> -†<b>Picardill</b>, <i>n.</i> [Form of <i>Piccadill</i>.] A large stiff -collar in fashion about the beginning of the reign of James I. <a href="#Note_2_2_123">2. 2. 123</a> (see note).<br /> -<b>Piece</b>, <i>n.</i> †1. A gold piece, pr. 22 shillings (Gifford). 1. 4. 5; 3. 3. 83.<br /> -  2. Phr. <i>at all pieces</i>: At all points; in perfect form. 2. 7. 37.<br /> -<b>Piece</b>, <i>v.</i> To reunite, to rejoin (a broken friendship). ?<i>Arch.</i> 4. 1. 37.<br /> -<b>Pinnace</b>, <i>n.</i> 1. A small sailing vessel.<br /> -  †2. Applied <i>fig.</i> to a woman, usually to a prostitute -(sometimes, but not often, with complete loss of the metaphor). 1. 6. 58.<br /> -||<b>Pipita</b> [?For <i>pepita</i>], <i>n.</i> Sp. or It. ‘A seed -of a fruit, a pip, a kernel.’ <i>Stanford.</i> 4. 4. 45.<br /> -||<b>Piueti</b>, <i>n.</i> Sp. ‘A kinde of perfume.’ Minsheu. 4. 4. 150.<br /> -<b>Plaine</b>, <i>a.</i> Unqualified, downright. ?<i>Arch.</i> 4. 4. 158.<br /> -<b>Plume</b>, <i>v.</i> To strip off the plumage of; to pluck. ?<i>Arch.</i> 4. 4. 43.<br /> -||<b>Pol-dipedra</b> [?<i>Polvo di pietra</i>], n. It. ?Rock-alum. 4. 4. 30.<br /> -<b>Politique</b>, <i>a.</i> [Form of <i>politic</i>.] Crafty, artful. 2. 2. 76.<br /> -||<b>Porcelletto marino</b>, <i>n.</i> It.?‘The fine Cockle or -Muscle shels which painters put their colours in.’ Florio. 4. 4. 34.<br /> -<b>Possesse</b>, <i>v.</i> †To acquaint. Phr. <i>possesse with</i>: -To inform of. 5. 5. 44.<br /> -<b>Posterne</b>, <i>n.</i> ?A back door or gate. Phr. <i>at one’s -posternes</i>: Behind one. 5. 6. 15.<br /> -†<b>Posture booke</b>, <i>n.</i> ?A book treating of military -tactics, describing the ‘postures’ of the musket, etc. <a href="#Note_3_2_38">3. 2. 38</a> (see note).<br /> -||<b>Potentia</b>, <i>n.</i> L. ‘Power;’ potentiality. 5. 3. 28.<br /> -<b>Power</b>, <i>n.</i> <i>Law.</i> Legal authority conferred. 4. 6. 39.<br /> -<b>Pownce.</b> [Form of <i>pounce</i>.] A claw or talon of a bird of prey. 4. 7. 55.<br /> -<b>Pox</b>, <i>n.</i> Irreg. spelling of <i>pocks</i>, <i>pl.</i> of <i>pock</i>. -†Phr. <i>pox vpon</i>: A mild imprecation. 3. 3. 38. <i>pox o’.</i> 4. 2. 61.<br /> -<b>Practice</b>, <i>n.</i> 1. A plot. ?<i>Arch.</i> 5. 8. 57.<br /> -  2. Treachery. ?<i>Arch.</i> 4. 7. 80.<br /> -<b>Practice</b>, <i>v.</i> †1. To tamper with; corrupt. 1. 1. 38.<br /> -  2. <i>intr.</i> To plot; conspire. 5. 3. 10; 5. 51.<br /> -<b>Pragmaticke</b>, <i>a.</i> Pragmatical. 1. 6. 56.<br /> -<b>Pregnant</b>, <i>a.</i> †Convincing; clear. 5. 8. 77.<br /> -<b>Present</b>, <i>a.</i> Immediate (fr. L. <i>praesens</i>). 3. 6. 40.<br /> -<b>Present</b>, <i>n.</i> †1. The money or other property one has on hand. 1. 5. 20.<br /> -<span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span> -  2. The existing emergency; the temporary condition. 2. 6. 70.<br /> -<b>President</b>, <i>n.</i> †A ruling spirit. 3. 5. 38.<br /> -<b>Presume</b>, <i>v.</i> To rely (upon). 2. 2. 30.<br /> -<b>Pretend</b>, <i>v.</i> 1. To lay claim (to). 2. 4. 16; 3. 3. 102.<br /> -  †2. To aspire to. 1. 6. 36.<br /> -<b>Price</b>, <i>n.</i> Estimated or reputed worth; valuation. 2. 8. 105.<br /> -<b>Priuate</b>, <i>n.</i> †Priuate account. 5. 4. 23.<br /> -<b>Processe</b>, <i>n.</i> <i>Law.</i> Summons; mandate. 3. 3. 72; 3. 3. 139.<br /> -<b>Prodigious</b>, <i>a.</i> †Portentous; disastrous. 2. 7. 19.<br /> -<b>Profer</b>, <i>n.</i> †An essay, attempt. 5. 6. 43.<br /> -<b>Proiect</b>, <i>v.</i> 1. <i>tr.</i> To devise. 1. 8. 10.<br /> -  †2. <i>intr.</i> To form projects or schemes. 3. 3. 42.<br /> -<b>Proiector</b>, <i>n.</i> One who forms schemes or projects for -enriching men. 1. 7. 9. See the passage.<br /> -<b>Pronenesse</b>, <i>n.</i> Inclination, <i>spec.</i> to sexual intercourse. 4. 4. 233.<br /> -<b>Proper</b>, <i>a.</i> Well-formed. Now only prov. Eng. 1. 6. 218.<br /> -<b>Proportion</b>, <i>n.</i> 1. Allotment; share. 2. 3. 36.<br /> -  2. Calculation; estimate. 2. 1. 90; 3. 3. 127.<br /> -<b>Prostitute</b>, <i>a.</i> Debased; worthless. 3. 2. 19.<br /> -||<b>Pro’uedor</b>, <i>n.</i> [Sp. <i>proveedor</i>=Pg. <i>provedor</i>.] -A purveyor. 3. 4. 35.<br /> -<b>Prouinciall</b>, <i>n.</i> “In some religious orders, a monastic -superior who has the general superintendence of his fraternity -in a given district called a province.” <i>CD.</i> 5. 6. 64.<br /> -||<b>Prouocado</b>, <i>n.</i> [ < Sp. <i>provocar</i>, to challenge.] -Challengee; one challenged. 3. 3. 143.<br /> -||<b>Prouocador</b>, <i>n.</i> [ < Sp. <i>provocador</i>, <i>provoker</i>.] -Challenger. 3. 3. 142.<br /> -<b>Pr’y thee</b>. [A weakened form of <i>I pray thee</i>.] Jonson -uses the following forms: Pray thee. 1. 2. 30. Pr’y thee. 2. 1. 78. ’Pr’y the. 1. 3. 22.<br /> -<b>Publication</b>, <i>n.</i> Notification; announcement: <i>spec.</i> the notification -of a ‘depending’ quarrel by a preliminary settlement of one’s estate. 3. 3. 137.<br /> -<b>Pug</b>, <i>n.</i> †1. An elf; a spirit; a harmless devil. The Persons of the Play.<br /> -  2. A term of familiarity or endearment. ?<i>Obs.</i> 2. 2. 128.<br /> -<b>Pui’nee</b>, <i>a.</i> [For <i>puisne</i>, <i>arch.</i> form of <i>puny</i>, retained in legal use.]<br /> -  1. <i>Law.</i> Inferior in rank.<br /> -  2. Small and weak; insignificant; pr. with a quibble on 1. 1. 1. 5.<br /> -†<b>Punto</b>, <i>n.</i> ?<i>Obs.</i> Eng. fr. Sp. or It. <i>punto</i>. -A delicate point of form, ceremony, or etiquette; the ‘pink’ of style. 4. 4. 69.<br /> -<b>Purchase</b>, <i>n.</i> †Plunder; ill-gotten gain. 3. 4. 32.<br /> -<b>Purt’nance</b>, <i>n.</i> The inwards or intestines. ?<i>Arch.</i> 5. 8. 107.<br /> -<b>Put</b>, <i>v.</i> 1. <i>intr.</i> To move; to venture. 1. 1. 24.<br /> -Phrases. 1. <i>Put downe</i>: To put to rout, vanquish (in a contest). 1. 1. 93.<br /> -  2. <i>Put off</i>: To dismiss (care, hope, etc.). 2. 2. 48; 3. 4. 25. To turn aside, -turn back; divert (one from a course of action). 1. 4. 68.<br /> -  3. <i>Put out</i>: To invest; place at interest. 3. 4. 23.<br /> -  4. <i>Put vpon</i>: To instigate; incite. 5. 8. 141.To foist upon; palm off on. 3. 3. 174. -<span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span></p> - -<p class="no-indent"> -<b>Quality</b>, <i>n</i>. 1. Character, nature. Now <i>rare</i>. 3. 4. 37.<br /> -  2. High birth or rank. Now <i>arch.</i> 1. 1. 111.<br /> -<b>Quarrell</b>, <i>v.</i> To find fault with (a person); -to reprove angrily. <i>Obs.</i> exc. Sc. (Freq. in 17th c.). 4. 7. 12.<br /> -<b>Quit</b>, <i>v.</i> †To free, rid (of). 3. 6. 61.</p> - -<p class="no-indent"> -<b>Read</b>, <i>v.</i> †To discourse. 4. 4. 248.<br /> -<b>Repaire</b>, <i>v.</i> To right; to win reparation or amends -for (a person). ?<i>Obs.</i> 2. 2. 59.<br /> -||<b>Rerum natura</b>, <i>phr.</i> L. The nature of things; -the physical universe. 3. 1. 35.<br /> -<b>Resolu’d</b>, <i>ppl. a.</i> 1. Determined. 2. 7. 13. With quibble on 2.<br /> -  2. Convinced.<br /> -<b>Retchlesse</b>, <i>a.</i> [Form of <i>reckless</i>.] †Careless; negligent. 3. 6. 34.<br /> -<b>Reuersion</b>, <i>n.</i> A right or hope of future possession -or enjoyment; hence, phr. in <i>reuersion</i>: In prospect; in expectation. 5. 4. 44.<br /> -<b>Rhetorique</b>, <i>n.</i> Rhetorician. ?<i>Obs.</i> 1. 4. 102.<br /> -†<b>Ribibe</b>, <i>n.</i> A shrill-voiced old woman. 1. 1. 16.<br /> -<b>Right</b>, <i>a.</i> True; real; genuine. <i>Obs.</i> or <i>arch.</i> 2. 2. 103.<br /> -<b>Roaring</b>, <i>a.</i> †Roistering, quarreling. Phr. <i>roaring -manner</i>: The fashion of picking a quarrel in a boisterous, disorderly manner. 3. 3. 69.<br /> -<b>Rose</b>, <i>n.</i> A knot of ribbon in the form of a rose used -as ornamental tie of a shoe. 1. 3. 8.<br /> -†<b>Rose-marine</b>, <i>n.</i> [The older and more correct form of -<i>rosemary</i> < OF. <i>rosmarin</i> L. <i>rosmarinus</i>, lit. ‘sea-dew.’] Rosemary. 4. 4. 19.<br /> -||<b>Rouistico</b> [Same as <i>ligustro</i>], <i>n.</i> It. ‘Priuet -or prime-print ... also a kind of white flower.’ Florio. ‘Pianta salvatico.’ Bassano. 4. 4. 55.<br /> -<b>Royster</b>, <i>n.</i> A rioter; a ‘roaring boy’. <i>Obs.</i> or <i>arch.</i> 1. 1. 68.<br /> -<b>Rug</b>, <i>n.</i> †A kind of coarse, nappy frieze, used especially for the -garments of the poorer classes; a blanket or garment of this material. 5. 1. 47.</p> - -<p class="no-indent"> -†<b>Salt</b>, <i>n.</i> [L. <i>Saltus</i>.] A leap. 2. 6. 75.<br /> -<b>Sample</b>, <i>v.</i> †To place side by side for comparison; compare. 5. 1. 3.<br /> -<b>Saraband</b>, <i>n.</i> A slow and stately dance of Spanish or -oriental origin, primarily for a single dancer, but later used -as a contra-dance. It was originally accompanied by singing and -at one time severely censured for its immoral character <a href="#Note_4_4_164">4. 4. 164</a> (see note).<br /> -<b>Sauour</b>, <i>v. tr.</i> To exhibit the characteristics of. ?<i>Arch.</i> 4. 1. 49.<br /> -†<b>’Say</b>, <i>v.</i> [By apheresis from <i>essay</i>.] -Phr. <i>’say on</i>: To try on. 1. 4. 37 SN.<br /> -†<b>Scape</b>, <i>v.</i> [Aphetic form of escape, common in England from 13-17th c.]<br /> -  1. To escape. 1. 6. 161.<br /> -  2. To miss. ?<i>Obs.</i> 1. 4. 33.<br /> -  3. To avoid. 5. 5. 52. -<span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span><br /> -<b>Sciptick</b>, <i>n.</i> [A humorous misspelling of <i>sceptic</i>.] -?One who doubts as to the truth of reality; applied humorously -to one made doubtful of the reality of his own perceptions. 5. 2. 40.<br /> -<b>Scratching</b>, <i>vbl. sb.</i> Eager striving; used -contemptuously. ?<i>Colloq.</i> 5. 6. 67.<br /> -<b>’Sdeath</b>, <i>int.</i> [An abbr. of <i>God’s death</i>.] -An exclamation, generally of impatience. 1. 2. 25.<br /> -<b>Seaming</b>, <i>a.</i> <i>Phr.</i> <i>seaming lace</i>: -‘A narrow openwork braiding, gimp, or insertion, with parallel -sides, used for uniting two breadths of linen, instead of sewing -them directly the one to the other; used for garments in the -17th c.’ <i>CD.</i> 2. 5. 9.<br /> -<b>Seisen</b>, 4. 5. 16. See <i>Liuerie and seisen</i>.<br /> -†<b>Sent</b>, <i>v.</i> An old, and historically more correct, -spelling of <i>scent</i>. 2. 6. 26.<br /> -<b>Seruant</b>, <i>n.</i> †A professed lover. 4. 3. 45.<br /> -<b>Session</b>, <i>n.</i> <i>Law.</i> A sitting of justices in court. 5. 6. 21.<br /> -<b>Shame</b>, <i>v.</i> To feel ashamed. ?<i>Obs.</i> or <i>arch.</i> 5. 6. 37.<br /> -<b>Shape</b>, <i>n.</i> Guise; dress; disguise. <i>?Arch.</i> 5. 3. 18.<br /> -†<b>Shop-shift</b>, <i>n.</i> A shift or trick of a shop-keeper. 3. 5. 4.<br /> -<b>Shrug</b>, <i>v. refl.</i> Phr. <i>shrug up</i>: To hitch (oneself) up (into one’s clothes). 1. 4. 80 SN.<br /> -<b>Signe</b>, <i>n.</i> One of the twelve divisions of the zodiac. -4. 4. 233. Used <i>fig.</i> 1. 6. 127.<br /> -<b>Signet</b>, <i>n.</i> A seal. Formerly one of the seals for -the authentication of royal grants in England, and affixed to -documents before passing the privy seal. 5. 4. 22.<br /> -<b>Sirah</b>, <i>n.</i> A word of address, generally equivalent to -‘fellow’ or ‘sir.’ <i>Obs.</i> or <i>arch.</i> 1. 4. 45; 3. 5. 25. -sirrah (addressed to a woman). 4. 2. 66.<br /> -†<b>’Slid</b>, <i>int.</i> An exclamation, app. an abbreviation -of <i>God’s lid</i>. 1. 3. 33.<br /> -†<b>’Slight</b>, <i>int.</i> A contraction of <i>by this light</i> -or <i>God’s light</i>. 1. 2. 15. S’light. 2. 7. 16; 2. 8. 81.<br /> -<b>Smock</b>, <i>n.</i> 1. A woman’s shirt. 1. 1. 128.<br /> -  ?2. A woman. 4. 4. 190.<br /> -||<b>Soda di leuante</b>, <i>n.</i> It. ?Soda from the East. <a href="#Note_4_4_32">4. 4. 32</a> (see note).<br /> -<b>Soone</b>, <i>a.</i> Early. Phr. <i>soone at night</i>: Early in the evening. 1. 1. 148.<br /> -†<b>Sope of Cyprus</b>, <i>n.</i> ?Soap made from the ‘cyprus’ or hennashrub. 4. 4. 45.<br /> -<b>Sou’t</b>, <i>v. pret.</i> Pr. for <i>sous’d</i>, pret. of <i>souse</i>, to -swoop upon (like a hawk). <a href="#Note_4_7_54">4. 7. 54</a> (see note).<br /> -†<b>Spanish-cole</b>, <i>n.</i> A perfume; fumigator. 4. 4. 150.<br /> -<b>Spic’d</b>, <i>ppl. a.</i> †Scrupulous; squeamish. 2. 2. 81.<br /> -<b>Spring-head</b>, <i>n.</i> A fountain head; a source. 3. 3. 124.<br /> -†<b>Spruntly</b>, <i>adv.</i> Neatly; gaily; finely. 4. 2. 61.<br /> -<b>Spurne</b>, <i>v.</i> To jostle, thrust. P. 11.<br /> -<b>Squire</b>, <i>n.</i> 1. A servant. 2. 2. 131.<br /> -  2. A gallant; a beau. 2. 2. 116.<br /> -  3. A gentleman who attends upon a lady; an escort. ?<i>Arch.</i> 5. 3. 19. -<span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span><br /> -<b>Stalking</b>, <i>n.</i> In <i>sporting</i>, the method of -approaching game stealthily or under cover. 2. 2. 51.<br /> -<b>Stand</b>, <i>v.</i> Phrases. 1. <i>Stand for’t</i>: To enter -into competition; to make a claim for recognition. 1. 6. 36.<br /> -  2. <i>Stand on</i>: To insist upon. 3. 3. 83.<br /> -  3. <i>Stand vpon</i>: To concern; to be a question of. 3. 3. 60.<br /> -<b>Standard</b>, <i>n.</i> †A water-standard or conduit; <i>spec.</i> -the Standard in Cheap. 1. 1. 56.<br /> -<b>State</b>, <i>n.</i> †Estate. 4. 5. 30; 5. 3. 13.<br /> -<b>Stay</b>, <i>v. tr.</i> 1. To delay; detain. 2. 2. 20.<br /> -  2. To maintain. ?<i>Arch.</i> 3. 1. 7.<br /> -  3. To retain. ?<i>Arch.</i> 2. 4. 26.<br /> -<b>Still</b>, <i>adv.</i> 1. Ever; habitually. 1. 5. 23. -  2. Continually. 3. 3. 27.<br /> -<b>Stoter</b>, <i>n.</i> ?A small coin. Cunningham. (Considered by -W. and G. a misprint for <i>Storer</i>.) 3. 3. 32.<br /> -<b>Straine</b>, <i>n.</i> A musical note. Used <i>fig.</i> 5. 5. 58.<br /> -<b>Strange</b>, <i>a.</i> Immodest; unchaste. <a href="#Note_2_6_53">2. 6. 53</a> (see note).<br /> -<b>Strength</b>, <i>n.</i> In <i>pl.</i>: abilities; resources. 1. 1. 24; 1. 4. 35.<br /> -<b>Strong-water</b>, <i>n.</i> 1. 1. 114. See <i>Water</i>.<br /> -<b>Subtill</b>, <i>a.</i> 1. Tenuous; dainty; airy. P. 5.<br /> -  2. Cunningly devised; ingenious. 1. 1. 116.<br /> -<b>Subtilty</b>, <i>n.</i> 1. Fineness; fine quality; delicacy. 2. 1. 86.<br /> -  2. An artifice; a stratagem. 2. 2. 4.<br /> -  3. Cunning; craftiness. 1. 1. 144; 2. 2. 12.<br /> -<b>Subtle</b>, <i>a.</i> Intricate. 2. 1. 114; 2. 2. 12.<br /> -<b>Sufficiency</b>, <i>n.</i> Efficiency. ?<i>Arch.</i> 3. 5. 56.</p> - -<p class="no-indent"> -<b>Tabacco</b>, <i>n.</i> <i>Obs.</i> form of <i>tobacco</i>. -(Cf. Sp. <i>Tabaco</i>; Port. and It. <i>Tabacco</i>). 1. 1. 114; 5. 8. 73.<br /> -<b>Table-booke</b>, <i>n.</i> †A memorandum-book. 5. 1. 39.<br /> -<b>Taile</b>, <i>n.</i> Phr. <i>in taile of</i>: At the conclusion of. 1. 1. 95.<br /> -<b>Take</b>, <i>v.</i> 1. To catch (in a trap).<br /> -  2. To captivate. With quibble on 1. 3. 6. 13.<br /> -  3. To catch; surprise. 2. 1. 147; 4. 1. 27.<br /> -  4. To take effect. 1. 4. 36. Phrases.<br /> -  5. <i>take forth</i>: ?To learn. <i>Dial.</i> 1. 1. 62.<br /> -  †6. <i>take in</i>: To capture. 3. 3. 170.<br /> -  7. <i>take vp</i>: To borrow. 3. 6. 15.<br /> -<b>Taking</b>, <i>n.</i> †Consumption; smoking (the regular phrase). 5. 8. 71.<br /> -<b>Talke</b>, <i>n.</i> Phr. <i>be in talke</i>: To be discussing or proposing. 3. 5. 52.<br /> -<b>Tall</b>, <i>a.</i> 4. 5. 32. See <i>Board</i>, and note.<br /> -<b>Tasque</b> [ < OF. <i>tasque</i>], <i>n.</i> <i>Obs.</i> form of <i>task</i>. -Business. 5. 1. 14.<br /> -<b>Taste</b>, <i>v.</i> 1. To perceive; recognize. 1. 6. 138.<br /> -  2. To partake of; enjoy (tast). 4. 4. 93.<br /> -†<b>Tentiginous</b>, <i>a.</i> Excited to lust. 2. 3. 25.<br /> -<b>Terme</b>, <i>n.</i> 1. A period of time; time. 3. 3. 88.<br /> -  2. An appointed or set time. <i>Obs.</i> in general sense. 1. 1. 6.<br /> -<b>Then</b>, <i>conj.</i> <i>Obs.</i> form of than. P. 10; etc.<br /> -<b>Thorow</b>, <i>prep.</i> <i>Obs.</i> form of <i>through</i>. 1. 1. 145.<br /> -<b>Thorowout</b>, <i>prep.</i> <i>Obs.</i> form of <i>throughout</i>. 2. 1. 50.<br /> -<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span> -<b>Thought</b>, <i>n.</i> ?Device. 2. 2. 30.<br /> -<b>Thumbe-ring</b>, <i>n.</i> A ring designed to be worn upon the thumb; often a seal-ring. P. 6.<br /> -<b>Ticket</b>, <i>n.</i> †A card; a brief note. 2. 8. 90.<br /> -<b>Time</b>, <i>n.</i> Phr. <i>good time!</i>: Very good; very well. 1. 4. 60.<br /> -<b>Time</b>, <i>v.</i> ?To regulate at the proper time; to bring -timely aid to. 3. 3. 97.<br /> -<b>Tissue</b>, <i>n.</i> ‘A woven or textile fabric; specifically, -in former times, a fine stuff, richly colored or ornamented, and -often shot with gold or silver threads, a variety of cloth of gold.’ -<i>CD.</i> Used <i>attrib.</i> 1. 1. 126.<br /> -<b>To night</b>, <i>adv.</i> †During the preceding night; last night. 4. 1. 18.<br /> -†<b>Too-too-</b>, <i>adv.</i> Quite too; altogether too: noting -great excess or intensity, and formerly so much affected as to be -regarded as one word, and so often written with a hyphen. 3. 3. 231.<br /> -<b>Top</b>, <i>n.</i> 1. Summit; used <i>fig.</i> 2. 2. 89.<br /> -  2. The highest example or type. <i> ?Arch.</i> or <i>obs.</i> 4. 4. 244.<br /> -<b>Torn’d</b>, <i>ppl. a.</i> Fashioned, shaped (by the wheel, etc.). -<i>Transf.</i> and <i>fig.</i> 2. 6. 85.<br /> -<b>Tother</b>, <i>indef. pron.</i> [A form arising from a misdivision -of <i>that other</i>, ME. also <i>thet other</i>, as <i>the tother</i>.] -Other; usually preceded by <i>the</i>. 1. 3. 37.<br /> -<b>Toy</b>, <i>n.</i> 1. A trifle. 2. 8. 2; 2. 8. 50.<br /> -  2. A trifling fellow. 4. 7. 24; 4. 7. 57.<br /> -  ?3. Thing; trouble; used vaguely. 3. 3. 222.<br /> -<b>Tract</b>, <i>n.</i> 1. A level space; <i>spec.</i> of the stage. P. 8.<br /> -  †2. Attractive influence, attraction. 2. 2. 10.<br /> -<b>Trauell</b>, <i>v.</i> To labor; toil. 3. 4. 52.<br /> -<b>Trauell</b>, <i>n.</i> †Toil; anxious striving. 1. 6. 119.<br /> -<b>Treachery</b>, <i>n.</i> An act of treachery. ?<i>Obs.</i> 3. 6. 49.<br /> -<b>Troth</b>, <i>int.</i> In troth; in truth. 4. 1. 21.<br /> -<b>Trow</b>, <i>v.</i> To think, suppose. As a phrase added -to questions, and expressions of indignant or contemptuous -surprise; nearly equivalent to ‘I wonder.’ 5. 2. 36.<br /> -<b>Turn</b>, <i>v.</i> To sour; <i>fig.</i> to estrange. 2. 7. 38.<br /> -<b>Turne</b>, <i>n.</i> 1. Humor; mood; whim. 2. 2. 37.<br /> -  2. Act of service. 2. 2. 125.<br /> -  3. Present need; requirement. 3. 3. 192.</p> - -<p class="no-indent"> -<b>Vmbrella</b>, <i>n.</i> †A portable shade, probably a sort of fan, -used to protect the face from the sun. 4. 4. 81.<br /> -<b>Vndertaker</b>, <i>n.</i> One who engages in any project or business. ?<i>Arch.</i> 2. 1. 36.<br /> -<b>Vnder-write</b>, <i>v.</i> To subscribe; to put (one) down (for a subscription). 3. 3. 145.<br /> -†<b>Vnquiet</b>, <i>v.</i> To disquiet. 4. 1. 20.<br /> -<b>Vntoward</b>, <i>a.</i> Perverse, refractory. ?<i>Arch.</i> 2. 8. 16.<br /> -<b>Vp</b>, <i>adv.</i> Set up: established. 3. 5. 54.<br /> -<b>Vpon</b>, <i>prep.</i> 1. Directed towards or against; with reference to. 1. 1. 13; 1. 6. 112.<br /> -  2. Immediately after. 3. 3. 123.<br /> -  3. After and in consequence of. 1. 1. 39.<br /> -<span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span> -<b>Vrge</b>, <i>v.</i> To charge. Phr. <i>vrge with</i>: To charge with; accuse of. ?<i>Arch.</i> 4. 1. 44.<br /> -<b>Vse</b>, <i>v.</i> To practise habitually. 1. 3. 42.<br /> -<b>Vtmost</b>, <i>n.</i> The extreme limit (of one’s fate or disaster). 5. 6. 10.</p> - -<p class="no-indent"> -<b>Valor</b>, <i>n.</i> Courage; used in <i>pl.</i> 4. 1. 32.<br /> -<b>Vapours</b>, <i>n. pl.</i> †A hectoring or bullying style of -language or conduct, adopted by ranters and swaggerers with the -purpose of bringing about a real or mock quarrel. <a href="#Note_3_3_71">3. 3. 71</a> (see note).<br /> -<b>Veer</b>, <i>v.</i> <i>Naut.</i> To let out; pay out; let run. 5. 5. 46.<br /> -<b>Venery</b>, <i>n.</i> Gratification of the sexual desire. 3. 6. 7.<br /> -†<b>Vent</b>, <i>v.</i> To sell. 3. 4. 61.<br /> -<b>Vent</b>, <i>v.</i> 1. To publish; promulgate. 2. 3. 24.<br /> -  2. To give expression to. 2. 3. 5; 2. 1. 166; 5. 8. 153.<br /> -<b>Venter</b>, <i>n.</i> <i>Obs.</i> form of <i>venture</i>. 1. 6. 175.<br /> -†<b>Venting</b>, <i>vbl. sb.</i> Selling; sale. 3. 4. 49.<br /> -<b>Vernish</b>, <i>n.</i> Older and <i>obs.</i> form of <i>varnish</i>. -?A wash to add freshness and lustre to the face; a cosmetic. 4. 4. 36.<br /> -||<b>Vetus Iniquitas</b>, <i>n.</i> L. ‘Old Iniquity,’ a name of -the ‘Vice’ in the morality plays. 1. 1. 47.<br /> -||<b>Via</b>, <i>int.</i> It. Away! off! <a href="#Note_2_1_3">2. 1. 3</a> (see note).<br /> -<b>Vice</b>, <i>n.</i> 1. Fault.<br /> -  †2. The favorite character in the English morality-plays, in the -earlier period representing the principle of evil, but later -degenerating into a mere buffoon. 1. 1. 44; 1. 1. 84; etc. -With quibble on 1. P. 9. See also Introduction.<br /> -<b>Vierger</b>, <i>n.</i> <i>Obs.</i> form of <i>verger</i>. 4. 4. 209.<br /> -<b>Vindicate</b>, <i>v.</i> †To avenge; retaliate for. 5. 6. 49.<br /> -<b>Virgins milke</b>, <i>n.</i> A wash for the face; a cosmetic. 4. 4. 52.</p> - -<p class="no-indent"> -†<b>Wanion</b>, <i>n.</i> ‘A plague;’ ‘a vengeance.’ Phr. <i>with -a wanion</i>: A plague on him; bad luck on him. 5. 8. 33.<br /> -<b>Wanton</b>, <i>a.</i> Playful; sportive. 2. 6. 75.<br /> -<b>Ward-robe man</b>, <i>n.</i> A valet. 1. 3. 13.<br /> -<b>Ware</b>, <i>v.</i> Beware of; take heed to. <i>Arch.</i> 5. 5. 5.<br /> -<b>Wast</b>, <i>n.</i> <i>Obs.</i> form of <i>waist</i>. 1. 4. 95. -waste (with quibble on <i>waste</i>, a barren place). 4. 4. 204.<br /> -<b>Water</b>, <i>n.</i> 1. Essence; extract. 4. 4. 39.<br /> -  2. <i>-water</i>: The property of a precious stone in which its -beauty chiefly consists, involving its transparency, refracting -power and color. 3. 3. 179: 181.<br /> -  3. <i>strong-water</i>: A distilled liquor. 1. 1. 14.<br /> -<b>Wedlocke</b>, <i>n.</i> †A wife. 1. 6. 10; 2. 3. 18.<br /> -<b>Well-caparison’d</b>, <i>ppl. a.</i> Well furnished with -trappings; also <i>fig.</i>, well decked out. Involving a quibble. 2. 5. 7.<br /> -<b>Wench</b>, <i>n.</i><br /> -  1. A mistress; strumpet. <i>Obsolescent.</i> 5. 2. 21.<br /> -  †2. A term of familiar address; friend. 4. 1. 60.<br /> -<b>While</b>, <i>conj.</i> Till; until. Now prov. Eng. and U. S. 1. 3. 5. -<span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span><br /> -<b>Wicked</b>, <i>a.</i> ?Roguish. 4. 4. 197.<br /> -<b>Widgin</b>, <i>n.</i> [Form of <i>widgeon</i>.] A variety of wild duck. 5. 2. 39.<br /> -<b>Wis</b>, <i>adv.</i> [ < ME. wis.] 5. 8. 31. See <i>Wusse</i>.<br /> -<b>Wish</b>, <i>v.</i> To desire (one to do something); to pray, request. ?<i>Arch.</i> 2. 2. 52.<br /> -<b>Wit</b>, <i>n.</i> 1. Intellect. 1. 4. 29; 1. 4. 64.<br /> -  2. Intelligence. 3. 2. 13.<br /> -  3. Ingenuity; ingenious device. 2. 2. 86.<br /> -<b>Withall</b>, <i>adv.</i> Besides; in addition; at the same time. 2. 2. 27; 3. 5. 16. with-all. 2. 2. 73.<br /> -<b>Wiue-hood</b>, <i>n.</i> <i>Obs.</i> form of <i>wifehood</i>. 1. 6. 50.<br /> -<b>Worshipfull</b>, <i>a.</i> Worthy of honor or respect. 4. 7. 75. -Used in sarcasm. 2. 2. 89; 3. 3. 8.<br /> -<b>Wrought</b>, <i>ppl. a.</i> Embroidered. ?<i>Arch.</i> 1. 2. 47.<br /> -†<b>Wusse</b>, <i>adv.</i> [Corruption of <i>wis</i> < ME. <i>wis</i>, by -apheresis from <i>iwis</i>; sure, certain.] Certainly; truly; indeed. 1. 6. 40.</p> - -<p class="no-indent"> -<b>Yellow-water</b>, <i>n.</i> 3. 3. 181. See<i>-water</i>.</p> - -<p class="no-indent"> -||<b>Zuccarina</b>, <i>n.</i> It. ‘A kind of bright Roche-allum.’ Florio.<br /> -||<b>Zuccarino</b>, <i>n.</i> 4. 4. 31. ?For <i>Zuccarina</i>, <i>q. v.</i><br /> -||<b>Zucche Mugia</b>, <i>n.</i> It. ?A perfume. 4. 4. 35. -<span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span></p> - -<hr class="full" /> -<h2>BIBLIOGRAPHY</h2> - -<p class="biblio"><span class="smcap">Abbott, E. A.</span> A Shakespearian Grammar. Lond. 1891.</p> - -<p class="biblio"><span class="smcap">Alden, Carroll Storrs.</span> Edition of Bartholomew Fair. N. Y. 1904.</p> - -<p class="biblio"><span class="smcap">Amos, Andrew.</span> The Great Oyer of Poisoning. The Trial of the Earl -of Somerset for the Poisoning of Sir Thomas Overbury. Lond. 1846.</p> - -<p class="biblio"><span class="smcap">Arber, Edward</span> (ed.). A Transcript of the Registers of the -Company of Stationers of London; 1554-1640. 5 vols. Birmingham, 1894.</p> - -<p class="biblio"><span class="smcap">Bates, Katherine Lee</span>, and <span class="smcap">Godfrey, Lydia Boker.</span> -English Drama. A Working Basis. Wellesley College, 1896.</p> - -<p class="biblio"><span class="smcap">Baudissin, Wolf (Graf Von).</span> Ben Jonson und seine Schule. -Leipzig, 1836.</p> - -<p class="biblio"><span class="smcap">Beaumont</span> and <span class="smcap">Fletcher</span>. Dramatic Works. -Ed. A. Dyce. 11 vols. Lond. 1843.</p> - -<p class="biblio"><span class="smcap">Boccaccio, Giovanni.</span> Opere volgari. 17 vols. Firenze, 1827-34.</p> - -<p class="biblio"><span class="smcap">Brandl, Alois.</span> Quellen des weltlichen Dramas in England -vor Shakespeare. Quellen u. Forschungen 80. Strassburg, 1889. -[Contains thirteen plays, among which are Heywood’s <i>Love</i> and -<i>The Weather</i>, <i>Respublica</i>, <i>King Darius</i>, and <i>Horestes</i>.]</p> - -<p class="biblio"><span class="smcap">Brome, Richard.</span> Dramatic Works. 3 vols. Lond. 1873.</p> - -<p class="biblio"><span class="smcap">Burton, Robert.</span> The Anatomy of Melancholy. -Ed. A. R. Shilleto. Lond. and N. Y. 1893.</p> - -<p class="biblio"><span class="smcap">Butler, Samuel.</span> Hudibras, with Dr. Grey’s Annotations. Lond. 1819.</p> - -<p class="biblio">———— Characters. See <span class="smcap">Morley</span>.</p> - -<p class="biblio"><span class="smcap">Carpenter, Frederic Ives.</span> Metaphor and Simile in the Minor -Elizabethan Drama. Chicago, 1895. Jonson, pp. 125-156.</p> - -<p class="biblio"><i>CD.</i> Century Dictionary.</p> - -<p class="biblio"><span class="smcap">Chambers, E. K.</span> The Mediæval Stage. 2 vols. Oxford, 1903.</p> - -<p class="biblio"><span class="smcap">Chambers, R.</span> (ed.). Book of Days: A Miscellany of Popular -Antiquities. 2 vols. Edinburgh, 1864.</p> - -<p class="biblio"><span class="smcap">Coleridge, Samuel Taylor.</span> Shakespeare, Ben Jonson, Beaumont -and Fletcher. Notes and Lectures. Liverpool, 1874.</p> - -<p class="biblio"><span class="smcap">Collier, John Payne.</span> Memoirs of the Principal Actors in -the Plays of Shakespeare. Lond. 1846.</p> - -<p class="biblio">———— The History of English Dramatic Poetry to the Time of -Shakespeare; and Annals of the Stage to the Restoration. 3 vols. -Lond. 1831.</p> - -<p class="biblio"><span class="smcap">Coryat, Thomas.</span> Crudities; repr. from the ed. of 1611. -2 vols. Lond. 1776.</p> - -<p class="biblio"><span class="smcap">Cotgrave, Randle.</span> A Dictionarie of the French and English Tongues. -Lond. 1632. -<span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span></p> - -<p class="biblio"><span class="smcap">Craik, George Lillie.</span> The History of British Commerce. -3 vols. Lond. 1844.</p> - -<p class="biblio"><span class="smcap">Cunningham, W.</span> The Growth of English Industry and -Commerce in Modern Times. Part I. The Mercantile System. -Cambridge Univ. Press, 1903.</p> - -<p class="biblio"><span class="smcap">Cushman, Lysander William.</span> The Devil and the Vice in -the English Dramatic Literature before Shakespeare. Studien zur -Englischen Philologie. Halle, 1900.</p> - -<p class="biblio"><i>DA.</i> The Devil is an Ass.</p> - -<p class="biblio"><span class="smcap">Darrel, John</span>. A Detection of that sinnful, shamful, -lying and ridiculous Discours, of Samuel Harshnet, entituled: -A Discoverie of the frauudulent Practises of Iohn Darrell. -Imprinted 1600.</p> - -<p class="biblio">———— A true Narration of that strange and grevous Vexation -by the Devil of seven Persons in Lancashire and William Somers -of Nottingham. —— 1600. In Somer’s Tracts, vol. 3. Lond. 1810.</p> - -<p class="biblio"><span class="smcap">Dekker, Thomas.</span> Dramatic Works. 4 vols. Lond. 1873.</p> - -<p class="biblio">———— Non-dramatic Works. 5 vols. Ed. A. B. Grosart. Lond. 1885.</p> - -<p class="biblio"><span class="smcap">D’Ewes, Sir Simonds.</span> A compleat Journal ... both -of the House of Lords and House of Commons. Lond. 1693.</p> - -<p class="biblio">———— The Autobiography and Correspondence. -Ed. J. O. Halliwell. Lond. 1845.</p> - -<p class="biblio"><i>DNB.</i> Dictionary of National Biography.</p> - -<p class="biblio"><span class="smcap">Dodsley, Robert.</span> A Select Collection of Old Plays. -With Notes. Ed. T. Coxeter. Lond. 1744.</p> - -<p class="biblio">———— Same. 2d ed. Ed. J. Reed. Lond. 1780.</p> - -<p class="biblio">———— Same. 4th ed. Ed. W. Carew Hazlitt. Lond. 1874.</p> - -<p class="biblio"><span class="smcap">Doran, John.</span> History of Court Fools. Lond. 1858.</p> - -<p class="biblio"><span class="smcap">Douce, Francis.</span> Illustrations of Shakespeare and of -Ancient Manners. 2 vols. Lond. 1807.</p> - -<p class="biblio"><span class="smcap">Downes, John.</span> Roscius Anglicanus, or an Historical Review -of the Stage from 1660 to 1706. Repr. by Joseph Knight. Lond. 1886.</p> - -<p class="biblio"><span class="smcap">Dyce, Alexander.</span> Remarks on Collier’s and Knight’s Editions -of Shakespeare. Lond. 1844.</p> - -<p class="biblio"><span class="smcap">Eckhardt, Eduard.</span> Die Lustige Person im älteren englischen -Drama (bis 1642). Palaestra 17. Berlin, 1902.</p> - -<p class="biblio"><span class="smcap">Entick, John.</span> A New and Accurate History and Survey of London, -Westminster, Southwark, and Places adjacent. 4 vols. Lond. 1766.</p> - -<p class="biblio"><span class="smcap">Fleay, Frederic Gard.</span> Biographical Chronicle of the English -Drama 1559-1642. 2 vols. Lond. 1891.</p> - -<p class="biblio">———— A Chronicle History of the London Stage, 1559-1642. -Lond. 1890. <span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span></p> - -<p class="biblio"><span class="smcap">Florio, John.</span> Queen Anna’s new World of Words, or Dictionarie -of the Italian and English Tongues. Lond. 1611.</p> - -<p class="biblio"><span class="smcap">Ford, John.</span> Works. Ed. A. Dyce. 3 vols. 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Y. 1852. -<span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span></p> - -<hr class="full" /> -<h2>INDEX</h2> - -<p class="no-indent"> -Absorption of a syllable, <a href="#Page_174">174</a>, <a href="#Page_208">208</a>.<br /> -Academy, <a href="#Page_174">174-5</a>, <a href="#Page_188">188</a>.<br /> -Actors, Jonson’s allusions to, <a href="#Page_175">175</a>.<br /> -Adders, <a href="#Page_126">126</a>.<br /> -Aesop, <i>Fables</i> of, <a href="#Page_185">185</a>.<br /> -Africa, <a href="#Page_149">149</a>.<br /> -After-game, <a href="#Page_201">201</a>.<br /> -Agrippa, Cornelius, <a href="#Page_lxiv">lxiv</a>.<br /> -Allegorical treatment of drama, <a href="#Page_xx">xx f</a>.<br /> -Allot, Robert, <a href="#Page_124">124</a>.<br /> -Allum Scagliola, <a href="#Page_192">192</a>.<br /> -Almaine-leap, <a href="#Page_137">137</a>.<br /> -Almanac-men, <a href="#Page_156">156-7</a>.<br /> -Almoiavana, <a href="#Page_196">196</a>.<br /> -America, <a href="#Page_149">149</a>.<br /> -Apperil, <a href="#Page_205">205</a>.<br /> -Aqua-vitæ, <a href="#Page_158">158</a>.<br /> -Aristophanes, <a href="#Page_xli">xli</a>, <a href="#Page_lxvi">lxvi</a>, - <a href="#Page_lxxvi">lxxvi</a>, <a href="#Page_lxxix">lxxix</a>;<br /> - <i>Clouds</i>, <a href="#Page_202">202</a>; <i>Plutus</i>, <a href="#Page_211">211</a>.<br /> -Art, man of, <a href="#Page_149">149</a>.<br /> -Arthur’s show, <a href="#Page_159">159</a>.<br /> -Artillery-ground, <a href="#Page_177">177</a>.<br /> -Astrology, <a href="#Page_199">199</a>.</p> - -<p class="no-indent"> -Bacon, <a href="#Page_lxiii">lxiii</a>.<br /> -Ballad literature, <a href="#Page_xxvii">xxvii</a>.<br /> -Banqueting-house, Lord Mayor’s, <a href="#Page_201">201</a>.<br /> -Bare head of usher and coachman, <a href="#Page_164">164</a>, - <a href="#Page_196">196</a>, <a href="#Page_198">198</a>.<br /> -Baudissin, Count von, <i>Ben Jonson und seine Schule</i>, <a href="#Page_xxii">xxii</a>.<br /> -Bawdy, talk, <a href="#Page_197">197</a>.<br /> -Beare, the, <a href="#Page_124">124</a>.<br /> -Beaumont and Fletcher, <i>Elder Brother</i>, <a href="#Page_lvi">lvi</a>; -  <i>King and No King</i>, <a href="#Page_lvii">lvii</a>.<br /> -Bedfellow, <a href="#Page_174">174</a>.<br /> -<i>Belfagor</i>, Novella of, <a href="#Page_xxx">xxx ff</a>.<br /> -Belphegor, <a href="#Page_xxxii">xxxii</a>.<br /> -Benefit, make, <a href="#Page_163">163</a>.<br /> -Benjamin, <a href="#Page_192">192</a>.<br /> -Benson, John, <a href="#Page_124">124</a>.<br /> -Bermudas, <a href="#Page_161">161</a>, <a href="#Page_182">182</a>.<br /> -Bethlehem Royal Hospital, <a href="#Page_203">203</a>.<br /> -Billiard ball, <a href="#Page_173">173</a>.<br /> -Billingsgate, <a href="#Page_134">134</a>.<br /> -Bilson, boy of, <a href="#Page_205">205</a>.<br /> -Blackfriars, painters at, <a href="#Page_156">156</a>; -  theatre, <a href="#Page_xvii">xvii</a>, <a href="#Page_150">150</a>.<br /> -Blank, <a href="#Page_181">181</a>.<br /> -Bless us! <a href="#Page_197">197</a>.<br /> -Blown roses, <a href="#Page_179">179</a>.<br /> -Blue coats, <a href="#Page_183">183</a>.<br /> -Boccaccio, <i>Decameron</i>, <a href="#Page_xlv">xlv ff</a>., <a href="#Page_lxxv">lxxv</a>.<br /> -Bodin, <a href="#Page_lxiv">lxiv</a>.<br /> -Borachio, <a href="#Page_159">159</a>.<br /> -Braganza, <a href="#Page_196">196</a>.<br /> -Breasts exposed, <a href="#Page_173">173</a>.<br /> -Bretnor, <a href="#Page_141">141</a>.<br /> -Bristo-stone, <a href="#Page_184">184</a>.<br /> -Brokers, <a href="#Page_140">140</a>.<br /> -Brome, <i>Antipodes</i>, <a href="#Page_lxii">lxii</a>; -  <i>Court Beggar</i>, <a href="#Page_lxi">lxi</a>, <a href="#Page_lxxv">lxxv</a>.<br /> -Browne, Sir Thomas, <a href="#Page_lxiii">lxiii</a>.<br /> -Buckingham. See Villiers.<br /> -Buckram bag, <a href="#Page_159">159</a>.<br /> -Bullions, <a href="#Page_185">185-6</a>.<br /> -Burton, boy of, <a href="#Page_203">203</a>, <a href="#Page_205">205</a>.<br /> -Business (quarrel), <a href="#Page_182">182</a>.<br /> -Butler, Samuel, <i>Characters</i>, <a href="#Page_lxii">lxii</a>.<br /> -By cause, <a href="#Page_205">205</a>.</p> - -<p class="no-indent"> -Caract, <a href="#Page_153">153</a>.<br /> -Caroch, carroch, <a href="#Page_155">155</a>, <a href="#Page_190">190</a>. -<span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span><br /> -Carranza, Jerome, <i>Filosofia de las Armas</i>, <a href="#Page_lv">lv</a>.<br /> -Cataputia, <a href="#Page_193">193</a>.<br /> -Cater, <a href="#Page_146">146</a>.<br /> -Cautelous, <a href="#Page_154">154</a>.<br /> -Centlivre, Mrs., <i>Busie Body</i>, <a href="#Page_lxxv">lxxv</a>.<br /> -Chains, gold, <a href="#Page_183">183</a>.<br /> -Chamberfellow, <a href="#Page_174">174</a>.<br /> -Character-drama, <a href="#Page_xliv">xliv</a>.<br /> -Cheapside, <a href="#Page_178">178</a>; Standard in, <a href="#Page_131">131</a>.<br /> -Cheaters, <a href="#Page_207">207</a>.<br /> -Cheat on, <a href="#Page_207">207</a>.<br /> -Cheats, <a href="#Page_156">156</a>.<br /> -Cheese-trenchers, <a href="#Page_126">126</a>.<br /> -Chopines, see Cioppinos.<br /> -Chrysippus, <i>de Divinitione</i>, <a href="#Page_145">145</a>.<br /> -Cioppinos, <a href="#Page_liii">liii</a>, <a href="#Page_186">186-7</a>, - <a href="#Page_194">194</a>.<br /> -Circles, magic, <a href="#Page_145">145</a>.<br /> -Cloak, long, of fool, <a href="#Page_xxxix">xxxix</a>.<br /> -Cloven foot, <a href="#Page_146">146-7</a>.<br /> -Clown, <a href="#Page_xxiii">xxiii</a>, <a href="#Page_xxv">xxv f</a>.<br /> -Coaches, <a href="#Page_156">156</a>.<br /> -Coachman, <a href="#Page_190">190</a>, <a href="#Page_198">198</a>.<br /> -Coke, Sir Edward, <a href="#Page_xviii">xviii</a>, <a href="#Page_lxvi">lxvi ff</a>., - <a href="#Page_lxx">lxx ff</a>.<br /> -Cokeley, <a href="#Page_135">135</a>.<br /> -Cokes, <a href="#Page_164">164</a>.<br /> -Commissioners, <a href="#Page_190">190</a>.<br /> -Compounds, Jonson’s use of, <a href="#Page_181">181</a>.<br /> -Compters, <a href="#Page_177">177</a>.<br /> -Conduits, <a href="#Page_201">201</a>.<br /> -Confute, <a href="#Page_206">206</a>.<br /> -Conjurers, <a href="#Page_145">145</a>.<br /> -Constable, <a href="#Page_209">209</a>.<br /> -Contrasted characters, <a href="#Page_xliv">xliv</a>.<br /> -Cord as charm, <a href="#Page_128">128</a>.<br /> -Corncutter, <a href="#Page_199">199</a>.<br /> -Cornhill, <a href="#Page_178">178</a>.<br /> -Cornish counterfeit, <a href="#Page_184">184</a>.<br /> -Coryat, <i>Crudities</i>, <a href="#Page_liii">liii</a>, <a href="#Page_194">194</a>, - <a href="#Page_204">204</a>.<br /> -Cosmetics, <a href="#Page_192">192</a>.<br /> -Courts of Love, <a href="#Page_153">153</a>.<br /> -Covetuousness (in morality plays), <a href="#Page_130">130</a>.<br /> -Coxcomb and Coverlet, <a href="#Page_209">209</a>.<br /> -Cranes, Three, <a href="#Page_135">135</a>.<br /> -Crisped groves, <a href="#Page_173">173</a>.<br /> -Crowland, 164; monastery at, <a href="#Page_lx">lx</a>.<br /> -Crystals, <a href="#Page_144">144</a>.<br /> -Cuckold and devil, joke on, <a href="#Page_208">208</a>.<br /> -Cushman, Dr. L. W., <a href="#Page_xxii">xxii</a>, <a href="#Page_xxxiv">xxxiv, et passim</a>.<br /> -Custard, <a href="#Page_137">137</a>.<br /> -Custom-house key, <a href="#Page_134">134</a>.<br /> -Cut-work, <a href="#Page_140">140</a>, <a href="#Page_162">162</a>.</p> - -<p class="no-indent"> -Dagger, wooden, <a href="#Page_xxxix">xxxix</a>; ordinary, <a href="#Page_134">134</a>.<br /> -Darling, Thomas, <a href="#Page_203">203</a>.<br /> -Darrel, John, <a href="#Page_xxxii">xxxii</a>, <a href="#Page_xlix">xlix ff.</a>, - <a href="#Page_203">203</a>.<br /> -Date of play, <a href="#Page_xvii">xvii</a>.<br /> -Decimo sexto, <a href="#Page_193">193</a>.<br /> -Defeat, do, <a href="#Page_168">168</a>.<br /> -Dekker, <i>If this be not a good Play</i>, <a href="#Page_xxix">xxix ff.</a>, - <a href="#Page_xxxi">xxxi</a>.<br /> -Demoniacal possession, <a href="#Page_xlix">xlix</a>.<br /> -Dependencies, see Master of Dependencies.<br /> -Derbyshire Peak, <a href="#Page_147">147</a>.<br /> -Despenser, Hugh le, <a href="#Page_165">165</a>.<br /> -Devil, in pre-Shakespearian drama, <a href="#Page_xxii">xxii f.</a>;<br /> - Jonson’s treatment of, <a href="#Page_xxiii">xxiii f.</a>;<br /> - costume of, <a href="#Page_xxiv">xxiv</a>;<br /> - stupid, <a href="#Page_xxvii">xxvii</a>;<br /> - carried in a ring, <a href="#Page_126">126</a>;<br /> - leaves an evil odor, <a href="#Page_211">211</a>;<br /> - divers names of, <a href="#Page_145">145</a>;<br /> - ill omen to pronounce the name of, <a href="#Page_197">197</a>;<br /> - dines on sinners, <a href="#Page_211">211</a>;<br /> - speaks languages, <a href="#Page_211">211</a>;<br /> - takes tobacco, <a href="#Page_209">209</a>;<br /> - travels swiftly, <a href="#Page_145">145</a>.<br /> -Devil-plot, <a href="#Page_xx">xx ff</a>.<br /> -Devil’s Cavern in Derbyshire, <a href="#Page_147">147</a>.<br /> -Devil’s dam, <a href="#Page_188">188</a>.<br /> -Digby miracle-plays, <a href="#Page_xxiii">xxiii</a>.<br /> -Dining, hour of, <a href="#Page_188">188</a>.<br /> -Dinner, inviting poet to, <a href="#Page_189">189</a>.<br /> -Dotage, <a href="#Page_211">211</a>.<br /> -Dottrel, <a href="#Page_163">163</a>, <a href="#Page_175">175</a>, - <a href="#Page_200">200</a>.<br /> -Double cloak, <a href="#Page_189">189</a>.<br /> -Doublet bombasted, <a href="#Page_131">131</a>.<br /> -Dueling, <a href="#Page_liv">liv ff</a>. -Dukes in England, <a href="#Page_160">160</a>.<br /> -Dutch in England, <a href="#Page_133">133</a>.<br /> -Dwindle, <a href="#Page_193">193</a>. -<span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span><br /></p> - -<p class="no-indent"> -Eckhardt, Dr. E., <a href="#Page_xxii">xxii</a>, <a href="#Page_xxxiv">xxxiv, et passim</a>.<br /> -Edition of 1631, <a href="#Page_xi">xi ff</a>.;<br /> - 1641, <a href="#Page_xiv">xiv</a>;<br /> - 1692, <a href="#Page_xiv">xiv</a>;<br /> - 1716, <a href="#Page_xv">xv</a>;<br /> - 1729, <a href="#Page_xi">xi</a>;<br /> - 1756, <a href="#Page_xv">xv</a>;<br /> - 1811, <a href="#Page_xi">xi</a>;<br /> - 1816, <a href="#Page_xvi">xvi f</a>.;<br /> - 1838, <a href="#Page_xi">xi</a>;<br /> - 1871, <a href="#Page_xi">xi</a>;<br /> - 1875, <a href="#Page_xvii">xvii</a>.<br /> -Eitherside identified as Coke, <a href="#Page_lxxi">lxxi f</a>.<br /> -E-la, <a href="#Page_205">205</a>.<br /> -Ellipsis before <i>that</i>, <a href="#Page_174">174</a>.<br /> -Engendering by the eyes, <a href="#Page_163">163</a>.<br /> -Equivokes, <a href="#Page_184">184</a>.<br /> -Escudero, <a href="#Page_195">195</a>.<br /> -Estifania, Lady, <a href="#Page_193">193</a>.<br /> -Ethical treatment of drama, <a href="#Page_xliv">xliv</a>.<br /> -Exchange, Royal, <a href="#Page_158">158</a>.</p> - -<p class="no-indent"> -Face-painting, <a href="#Page_190">190-1</a>.<br /> -Fair and foul, <a href="#Page_163">163</a>.<br /> -Favor, under, <a href="#Page_146">146</a>.<br /> -Fencing-schools, <a href="#Page_lv">lv</a>.<br /> -Fens of Lincolnshire, <a href="#Page_lix">lix ff</a>.<br /> -Fern ashes, <a href="#Page_192">192</a>.<br /> -Figgum, <a href="#Page_210">210</a>.<br /> -Finsbury, <a href="#Page_178">178</a>.<br /> -Fitzdottrel, <a href="#Page_xlii">xlii</a>; identified as Coke, <a href="#Page_lxx">lxx f</a>.;<br /> - Mrs., identified as Lady Hatton, <a href="#Page_lxvi">lxvi ff</a>.<br /> -Fleas, keep, within a circle, <a href="#Page_202">202</a>.<br /> -Fly-blown, <a href="#Page_174">174</a>.<br /> -Fool, union with Vice, <a href="#Page_xxxv">xxxv</a>, <a href="#Page_xxxviii">xxxviii</a>;<br /> - domestic, <a href="#Page_xxxix">xxxix</a>;<br /> - tavern, <a href="#Page_xl">xl</a>;<br /> - city, <a href="#Page_xl">xl</a>;<br /> - in Jonson’s other works, <a href="#Page_xl">xl</a>.<br /> -Ford, <i>Fancies Chaste and Noble</i>, <a href="#Page_lvi">lvi</a>.<br /> -Forked top, <a href="#Page_163">163</a>.<br /> -Forks, liii, <a href="#Page_204">204</a>.<br /> -Forman, Simon, <a href="#Page_141">141-3</a>, <a href="#Page_175">175</a>.<br /> -Foul and fowl, <a href="#Page_163">163</a>.<br /> -Francklin, xviii, <a href="#Page_142">142-3</a>.<br /> -Fraud (character in morality-play), <a href="#Page_130">130</a>.<br /> -French hood, <a href="#Page_138">138</a>;<br /> - masks, <a href="#Page_161">161</a>;<br /> - time, <a href="#Page_188">188</a>;<br /> - walking-stick, <a href="#Page_199">199</a>.<br /> -Friar Bacon, <a href="#Page_xxvii">xxvii</a>.<br /> -Friar Rush, <a href="#Page_xxvii">xxvii ff</a>., <a href="#Page_xxxiv">xxxiv</a>, - <a href="#Page_xlix">xlix</a>.<br /> -Frolics, <a href="#Page_175">175</a>.<br /> -Fucus, <a href="#Page_190">190</a>.</p> - -<p class="no-indent"> -Galley-pot, <a href="#Page_193">193</a>.<br /> -Garnish, <a href="#Page_206">206</a>.<br /> -Garters, <a href="#Page_139">139-40</a>, <a href="#Page_168">168</a>.<br /> -Geere, <a href="#Page_154">154</a>.<br /> -Gentleman usher, <a href="#Page_125">125</a>, <a href="#Page_187">187</a>, - <a href="#Page_195">195-6</a>, <a href="#Page_198">198</a>.<br /> -Gentlemen of the Sword, <a href="#Page_lvii">lvii</a>.<br /> -Gifford, his opinion of the 1631 Folio, <a href="#Page_xiii">xiii</a>;<br /> - criticism of <i>Devil is an Ass</i>, <a href="#Page_lxxvi">lxxvi</a>;<br /> - <i>Ben Jonson’s Malignity</i>, <a href="#Page_166">166</a>.<br /> -Gilchrist, O., <i>Examination ... of Ben Jonson’s Enmity</i>, etc., <a href="#Page_166">166</a>.<br /> -Globe theatre, <a href="#Page_180">180</a>.<br /> -Gloucester, <a href="#Page_165">165-7</a>.<br /> -Godfathers in law, <a href="#Page_205">205</a>.<br /> -Godwit, <a href="#Page_179">179</a>.<br /> -Gogs-nownes, <a href="#Page_130">130</a>.<br /> -Goldsmiths, <a href="#Page_124">124-5</a>.<br /> -Goldsmith’s Row, <a href="#Page_187">187</a>.<br /> -Good (sufficient), <a href="#Page_176">176</a>.<br /> -Good time! <a href="#Page_148">148</a>.<br /> -Grandees, <a href="#Page_125">125</a>.<br /> -Greek, devil talks in, <a href="#Page_li">li</a>.<br /> -Greenland, <a href="#Page_167">167</a>.<br /> -Gresham, astrologer, <a href="#Page_141">141</a>; Sir Thomas, <a href="#Page_158">158</a>.<br /> -<i>Grim, Collier of Croydon</i>, <a href="#Page_xxvi">xxvi</a>, <a href="#Page_xxxii">xxxii f</a>.<br /> -Groen-land, see Greenland.<br /> -Guarda-duenna, <a href="#Page_195">195</a>.</p> - -<p class="no-indent"> -Hall’s <i>Chronicle</i>, <a href="#Page_166">166</a>.<br /> -Hand-gout, <a href="#Page_182">182</a>.<br /> -Hanging for theft, <a href="#Page_206">206-7</a>.<br /> -Harlequin, <a href="#Page_131">131</a>. -<span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span><br /> -Harrington, <a href="#Page_160">160</a>.<br /> -Harrison, Thomas, <a href="#Page_205">205</a>.<br /> -<i>Harrowing of Hell</i>, <a href="#Page_xxiii">xxiii</a>.<br /> -Harsnet, Samuel, <a href="#Page_xlix">xlix ff</a>.<br /> -Hatton, Lady Elizabeth, <a href="#Page_lxvi">lxvi ff</a>., <a href="#Page_lxx">lxx f</a>.<br /> -Have with ’em, <a href="#Page_190">190</a>.<br /> -Havings, <a href="#Page_182">182</a>.<br /> -Henry, Prince, <a href="#Page_lxiv">lxiv</a>.<br /> -Herford, <i>Studies</i>, <a href="#Page_xx">xx, et passim</a>; -  criticism of <i>Devil is an Ass</i>, <a href="#Page_lxxvi">lxxvi</a>.<br /> -Heywood, John, farces of, <a href="#Page_xxxvi">xxxvi f</a>.<br /> -Ho! Ho! <a href="#Page_xxiii">xxiii</a>, <a href="#Page_127">127</a>.<br /> -Hogsdon, <a href="#Page_128">128</a>.<br /> -<i>Holland’s Leaguer</i>, <a href="#Page_lxi">lxi</a>.<br /> -Hoop, <a href="#Page_195">195</a>.<br /> -Horace, <a href="#Page_liii">liii</a>;<br /> - <i>Carmina</i>, <a href="#Page_154">154</a>;<br /> - <i>de Art. Poet.</i>, <a href="#Page_124">124</a>;<br /> - <i>Sat.</i>, <a href="#Page_167">167</a>.<br /> -<i>Horestes</i>, <a href="#Page_xxxvi">xxxvi</a>.<br /> -Horns, <a href="#Page_208">208</a>.<br /> -Howard. Lady Frances, <a href="#Page_lxx">lxx</a>.<br /> -Howes, Edmund, <a href="#Page_lxxiii">lxxiii</a>.<br /> -Hum, <a href="#Page_139">139</a>.<br /> -Humor-comedy, <a href="#Page_xix">xix</a>, <a href="#Page_xliv">xliv</a>.<br /> -Humphrey, Duke, <a href="#Page_165">165</a>.<br /> -Hutchinson, Francis, <i>Historical Essay</i>, <a href="#Page_l">l</a>.<br /> -Hyde Park, <a href="#Page_156">156</a>.</p> - -<p class="no-indent"> -I. B., see Benson.<br /> -Infanta, <a href="#Page_191">191</a>.<br /> -Iniquity, <a href="#Page_xxxvii">xxxvii ff</a>., <a href="#Page_130">130</a>.<br /> -Inns of Court, <a href="#Page_176">176</a>.<br /> -Interludes, Vice in, <a href="#Page_xxxv">xxxv</a>.<br /> -Intire, <a href="#Page_168">168</a>, <a href="#Page_207">207</a>.<br /> -Italian sources, <a href="#Page_xlviii">xlviii</a>.</p> - -<p class="no-indent"> -<i>Jack Juggler</i>, <a href="#Page_xxxvii">xxxvii</a>.<br /> -James I., <i>Demonology</i>, <a href="#Page_lxiii">lxiii</a>.<br /> -Jesuits, <a href="#Page_184">184-5</a>.<br /> -Jonson, identified with Wittipol, <a href="#Page_lxvi">lxvi</a>, <a href="#Page_lxxi">lxxi</a>;<br /> - duel with Gabriel Spenser, <a href="#Page_128">128</a>;<br /> - and Shakespeare, <a href="#Page_165">165</a>;<br /> - as a soldier, <a href="#Page_181">181</a>;<br /> - <i>Alchemist</i>, <a href="#Page_xix">xix</a>, <a href="#Page_lvii">lvii</a>, - <a href="#Page_lxxv">lxxv</a>;<br /> - <i>Case is Altered</i>, <a href="#Page_xlix">xlix</a>, <a href="#Page_lxv">lxv</a>, - <a href="#Page_lxxv">lxxv</a>, <a href="#Page_162">162</a>;<br /> - <i>Celebration of Charis</i>, <a href="#Page_lxvi">lxvi ff</a>., <a href="#Page_169">169</a>;<br /> - <i>Challenge at Tilt</i>, <a href="#Page_lxvi">lxvi ff</a>., <a href="#Page_lxxi">lxxi</a>, - <a href="#Page_171">171</a>;<br /> - <i>Christmas, his Masque</i>, <a href="#Page_xviii">xviii</a>;<br /> - <i>Cynthia’s Revels</i>, <a href="#Page_xix">xix</a>, <a href="#Page_xx">xx</a>, - <a href="#Page_lxxviii">lxxviii</a>;<br /> - <i>Devil is an Ass</i>, its presentation, <a href="#Page_xvii">xvii f</a>.;<br /> - sources, <a href="#Page_xli">xli</a>, <a href="#Page_xlv">xlv ff</a>.;<br /> - minor sources, <a href="#Page_liii">liii</a>;<br /> - construction, <a href="#Page_xlii">xlii</a>, <a href="#Page_xlv">xlv</a>;<br /> - diction, <a href="#Page_xliv">xliv f</a>.;<br /> - as historical document, <a href="#Page_xliv">xliv</a>;<br /> - influence, <a href="#Page_lxxiv">lxxiv ff</a>.;<br /> - <i>Every Man in</i>, <a href="#Page_lvii">lvii</a>, <a href="#Page_lxv">lxv</a>;<br /> - <i>Every Man out</i>, <a href="#Page_xix">xix</a>, <a href="#Page_xx">xx</a>, - <a href="#Page_lvii">lvii</a>;<br /> - <i>Expostulation with Inigo Jones</i>, <a href="#Page_xxxix">xxxix</a>;<br /> - <i>Fox</i>, <a href="#Page_xx">xx</a>, <a href="#Page_xlix">xlix</a>, - <a href="#Page_lxv">lxv</a>;<br /> - <i>Gipsies Metamorphosed</i>, <a href="#Page_lxvii">lxvii ff</a>., <a href="#Page_171">171</a>;<br /> - <i>Golden Age Restored</i>, <a href="#Page_xvii">xvii</a>;<br /> - <i>Love Restored</i>, <a href="#Page_xxvi">xxvi</a>;<br /> - <i>Magnetic Lady</i>, <a href="#Page_xxi">xxi</a>, <a href="#Page_lv">lv</a>, - <a href="#Page_lxxvii">lxxvii</a>;<br /> - <i>Masque of Beauty</i>, <a href="#Page_lxvii">lxvii</a>;<br /> - <i>Masque of Queens</i>, <a href="#Page_lxiv">lxiv f</a>.;<br /> - <i>New Inn</i>, <a href="#Page_xxi">xxi</a>;<br /> - <i>On the Town’s Honest Man</i>, <a href="#Page_xl">xl</a>;<br /> - <i>Poetaster</i>, <a href="#Page_xix">xix</a>, <a href="#Page_xx">xx</a>, - <a href="#Page_lxv">lxv f</a>., <a href="#Page_lxxvii">lxxvii</a>;<br /> - <i>Sad Shepherd</i>, <a href="#Page_xxvi">xxvi</a>, <a href="#Page_lxiv">lxiv f</a>.;<br /> - <i>Satyr</i>, <a href="#Page_xxvi">xxvi</a>;<br /> - <i>Sejanus</i>, <a href="#Page_xix">xix</a>;<br /> - <i>Silent Woman</i>, <a href="#Page_xlix">xlix</a>, <a href="#Page_lxxvii">lxxvii</a>;<br /> - <i>Staple of News</i>, <a href="#Page_xxi">xxi</a>, <a href="#Page_xl">xl</a>, - <a href="#Page_lxv">lxv</a>;<br /> - <i>Underwoods 32</i>, <a href="#Page_196">196</a>;<br /> - <i>Underwoods 36</i>, <a href="#Page_lxvi">lxvi ff</a>., <a href="#Page_170">170</a>;<br /> - <i>Underwoods 62</i>, <a href="#Page_liii">liii</a>, <a href="#Page_184">184</a>;<br /> - <i>Underwoods 64</i>, <a href="#Page_lxx">lxx</a>.<br /> -Justice Hall, <a href="#Page_208">208</a>.</p> - -<p class="no-indent"> -Kentish Town, <a href="#Page_128">128</a>.<br /> -Kind, <a href="#Page_161">161</a>.<br /> -King’s Men, <a href="#Page_123">123</a>.<br /> -Kissing, <a href="#Page_191">191</a>.</p> - -<p class="no-indent"> -Lac Virginis, <a href="#Page_193">193</a>.<br /> -Lade, <a href="#Page_148">148</a>.<br /> -Lading, <a href="#Page_148">148</a>, <a href="#Page_155">155</a>.<br /> -Lancashire, witches, <a href="#Page_lxiii">lxiii</a>, <a href="#Page_129">129</a>; -  the seven of, <a href="#Page_203">203</a>.<br /> -Languages, possessed person speaks, <a href="#Page_li">li</a>, <a href="#Page_211">211</a>. -<span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span><br /> -Latinisms, <a href="#Page_189">189</a>.<br /> -Law terms, <a href="#Page_200">200</a>.<br /> -Ledger, <a href="#Page_207">207</a>.<br /> -Lincoln, Earl of, <a href="#Page_lx">lx</a>.<br /> -Lincolnshire, draining fens of, <a href="#Page_lix">lix ff</a>., <a href="#Page_lxxiii">lxxiii</a>.<br /> -Lincoln’s Inn, walks of, <a href="#Page_153">153</a>.<br /> -London Bridge, <a href="#Page_134">134</a>.<br /> -Longing wife, <a href="#Page_145">145</a>.<br /> -Looking glasses, <a href="#Page_168">168</a>.<br /> -Loo masks, <a href="#Page_161">161-2</a>.<br /> -Love philtres, <a href="#Page_208">208</a>.<br /> -Low Countries, <a href="#Page_181">181</a>.<br /> -Lucian, <i>Lucius, sive Asinus</i>, <a href="#Page_155">155</a>.<br /> -Lupton, Donald, <i>London and the Countrey Carbonadoed</i>, <a href="#Page_lv">lv</a>.<br /> -<i>Lusty Juventus</i>, <a href="#Page_130">130</a>.</p> - -<p class="no-indent"> -Machiavelli, <i>Belfagor</i>, <a href="#Page_xxix">xxix</a>, <a href="#Page_xxxiv">xxxiv</a>, - <a href="#Page_xlix">xlix</a>, <a href="#Page_lxxiv">lxxiv</a>.<br /> -Mad-dame, <a href="#Page_191">191</a>.<br /> -Major (mayor), <a href="#Page_201">201</a>.<br /> -Malone, <a href="#Page_165">165</a>.<br /> -Man and kind (human nature), <a href="#Page_161">161</a>.<br /> -Maria, Infanta of Spain, <a href="#Page_xviii">xviii</a>, <a href="#Page_191">191</a>.<br /> -Marquesse Muja, <a href="#Page_196">196</a>.<br /> -Marston, <i>Dutch Courtezan</i>, <a href="#Page_lxix">lxix</a>.<br /> -Martial, <i>Epigrams</i>, <a href="#Page_liii">liii</a>, <a href="#Page_173">173</a>.<br /> -Masks, <a href="#Page_161">161</a>.<br /> -Massinger, criticism of Jonson, <a href="#Page_188">188-9</a>;<br /> - <i>Guardian</i>, <a href="#Page_lvi">lvi</a>;<br /> - <i>Maid of Honor</i>, <a href="#Page_lvi">lvi</a>.<br /> -Master of Dependencies, <a href="#Page_xliii">xliii</a>, <a href="#Page_lvi">lvi</a>, - <a href="#Page_181">181</a>.<br /> -Meath, <a href="#Page_139">139</a>.<br /> -Merecraft, identified as Mompesson, <a href="#Page_lxxii">lxxii</a>.<br /> -Mermaid tavern, <a href="#Page_180">180</a>.<br /> -<i>Merry Devil of Edmonton</i>, <a href="#Page_xxvii">xxvii</a>, <a href="#Page_127">127</a>.<br /> -Middlesex jury, <a href="#Page_129">129</a>.<br /> -Middleton, and witchcraft, <a href="#Page_lxiv">lxiv</a>.<br /> -Middling gossip, <a href="#Page_156">156</a>.<br /> -Migniard, <a href="#Page_149">149</a>.<br /> -Military enthusiasm in 1614, <a href="#Page_177">177-8</a>.<br /> -Milking he-goats, <a href="#Page_202">202</a>.<br /> -Mint, <a href="#Page_182">182</a>.<br /> -Mompesson, Sir Giles, <a href="#Page_lxxii">lxxii f</a>.<br /> -Monieman identified with Popham, <a href="#Page_lxxiii">lxxiii</a>.<br /> -Monkey as pet, <a href="#Page_164">164</a>.<br /> -Monopolies, <a href="#Page_lviii">lviii ff</a>.<br /> -Monsters, <a href="#Page_149">149</a>.<br /> -Moon, <a href="#Page_199">199</a>.<br /> -Morality-plays, <a href="#Page_xxii">xxii</a>, <a href="#Page_xxxiv">xxxiv</a>, etc.<br /> -Motion (puppet-show), <a href="#Page_156">156</a>.<br /> -Mouse in witchcraft, <a href="#Page_li">li</a>.<br /> -Much good do you, <a href="#Page_185">185</a>.<br /> -Muscatell, <a href="#Page_160">160</a>.<br /> -Muscovy glass, <a href="#Page_126">126</a>.<br /> -Mystery-plays, <a href="#Page_xxii">xxii</a>, <a href="#Page_xxxiv">xxxiv</a>.</p> - -<p class="no-indent"> -Nails of devil unpared, <a href="#Page_207">207</a>.<br /> -<i>Nature</i>, play of, <a href="#Page_xxii">xxii</a>.<br /> -Newcastle, Earl of, <a href="#Page_xiii">xiii</a>, <a href="#Page_147">147</a>.<br /> -Newgate, <a href="#Page_125">125</a>, <a href="#Page_207">207</a>.<br /> -New-nothing, <a href="#Page_136">136-7</a>.<br /> -Niaise, <a href="#Page_150">150</a>.<br /> -Noble House, <a href="#Page_lxxiv">lxxiv</a>.<br /> -Norfolk, Coke a squire of, <a href="#Page_lxx">lxx</a>.<br /> -Northumberland, witches in, <a href="#Page_129">129</a>.<br /> -Norwich, boy of, <a href="#Page_205">205</a>.<br /> -Nupson, <a href="#Page_163">163</a>.</p> - -<p class="no-indent"> -Obarni, <a href="#Page_139">139</a>.<br /> -Order of words with negative, <a href="#Page_150">150</a>.<br /> -Overbury Case, <a href="#Page_xviii">xviii</a>, <a href="#Page_lxx">lxx ff</a>., - <a href="#Page_141">141-3</a>, <a href="#Page_208">208</a>.<br /> -Overdo, Adam, <a href="#Page_liii">liii</a>.</p> - -<p class="no-indent"> -Pace of gentleman usher, <a href="#Page_198">198</a>.<br /> -Paint (blush), <a href="#Page_168">168</a>.<br /> -Painters, see Blackfriars.<br /> -Pallafreno, <a href="#Page_xlvii">xlvii</a>.<br /> -Pan, <a href="#Page_159">159</a>.<br /> -Pancridge, Earl of, <a href="#Page_159">159</a>.<br /> -Paracelsus, <a href="#Page_lxiv">lxiv</a>.<br /> -Parchment, <a href="#Page_144">144</a>.<br /> -Parliament makes remonstrance, <a href="#Page_lix">lix</a>. -<span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span><br /> -Patentee, <a href="#Page_lx">lx</a>.<br /> -Patterns, <a href="#Page_134">134</a>.<br /> -Peace, with my master’s, <a href="#Page_163">163</a>.<br /> -Pentacle, <a href="#Page_144">144</a>.<br /> -Penthouse, <a href="#Page_130">130</a>.<br /> -Perfumes, <a href="#Page_194">194-5</a>.<br /> -Periapt, <a href="#Page_144">144</a>.<br /> -Persius, <i>Sat.</i>, <a href="#Page_154">154</a>.<br /> -Petticoat Lane, <a href="#Page_132">132</a>.<br /> -Phrenitis, <a href="#Page_211">211</a>.<br /> -Physic, ladies taking, <a href="#Page_199">199</a>.<br /> -Picardill, <a href="#Page_164">164</a>.<br /> -Piece, <a href="#Page_147">147</a>.<br /> -Pieced, <a href="#Page_190">190</a>.<br /> -Pimlico, <a href="#Page_184">184</a>, <a href="#Page_196">196</a>.<br /> -Pinnace, <a href="#Page_152">152</a>.<br /> -Pins, pricking with, <a href="#Page_li">li</a>, <a href="#Page_208">208</a>.<br /> -Plautus, <a href="#Page_xlii">xlii</a>, <a href="#Page_liii">liii</a>;<br /> - <i>Aulularia</i>, <a href="#Page_xlviii">xlviii</a>, <a href="#Page_lxxv">lxxv</a>, - <a href="#Page_162">162</a>;<br /> - <i>Captivi</i>, <a href="#Page_189">189</a>;<br /> - <i>Casina</i>, <a href="#Page_xlix">xlix</a>;<br /> - <i>Epidicus</i>, <a href="#Page_187">187</a>;<br /> - <i>Miles Gloriosus</i>, <a href="#Page_xlviii">xlviii</a>.<br /> -Playbill, <a href="#Page_148">148</a>.<br /> -Play-time, <a href="#Page_188">188</a>.<br /> -Plutarch, <i>Lives</i>, <a href="#Page_177">177</a>;<br /> - <i>Moralia</i>, <a href="#Page_191">191</a>.<br /> -Plutarchus, <a href="#Page_xliv">xliv</a>; identified as Howes, <a href="#Page_lxxiii">lxxiii</a>.<br /> -Pope, <a href="#Page_150">150</a>, <a href="#Page_167">167</a>.<br /> -Popham, Sir John, <a href="#Page_lx">lx</a>, <a href="#Page_lxxiii">lxxiii</a>.<br /> -Popular legend, <a href="#Page_xxvi">xxvi</a>.<br /> -Posies on trenchers, <a href="#Page_126">126</a>.<br /> -Possibility, in, <a href="#Page_200">200</a>.<br /> -Posture book, <a href="#Page_178">178</a>.<br /> -Potentia, in, <a href="#Page_204">204</a>.<br /> -Poultry, see Compters.<br /> -Pounds, see Compters.<br /> -Projector, <a href="#Page_lii">lii</a>, <a href="#Page_lx">lx</a>, - <a href="#Page_lxxii">lxxii</a>.<br /> -Provedor, <a href="#Page_187">187</a>.<br /> -Proverbs, <a href="#Page_145">145</a>, <a href="#Page_202">202</a>, - <a href="#Page_212">212</a>.<br /> -Proverb title, <a href="#Page_123">123</a>.<br /> -Provincial, <a href="#Page_207">207</a>.<br /> -Publish suit, <a href="#Page_150">150</a>.<br /> -Pug, <a href="#Page_xxvi">xxvi</a>, etc.<br /> -Pumps, <a href="#Page_194">194</a>.<br /> -Punch and Judy, <a href="#Page_xxv">xxv</a>.<br /> -Punning, <a href="#Page_147">147</a>.<br /> -Purbeck, Lady, <a href="#Page_lxvii">lxvii</a>, <a href="#Page_lxx">lxx</a>.<br /> -Purchase, <a href="#Page_187">187</a>.<br /> -Puritans, <a href="#Page_184">184-5</a>, <a href="#Page_210">210</a>.<br /> -Purse, <a href="#Page_158">158</a>.</p> - -<p class="no-indent">Quintilian, <a href="#Page_149">149</a>.</p> - -<p class="no-indent"> -Raleigh, Sir Walter, <a href="#Page_lxiii">lxiii</a>; son of, <a href="#Page_lxxi">lxxi</a>.<br /> -Ramsey, monastery at, <a href="#Page_lx">lx</a>.<br /> -Randolph, <i>Muse’s Looking Glass</i>, <a href="#Page_lxi">lxi</a>.<br /> -Rapier, <a href="#Page_lv">lv</a>.<br /> -Raven’s wings, <a href="#Page_144">144</a>.<br /> -Relative omitted, <a href="#Page_147">147</a>, <a href="#Page_210">210</a>.<br /> -Remigius, <a href="#Page_lxiv">lxiv</a>.<br /> -Rerum natura, <a href="#Page_177">177</a>.<br /> -Resolved, <a href="#Page_174">174</a>.<br /> -<i>Respublica</i>, <a href="#Page_xxxvi">xxxvi</a>.<br /> -Ribibe, <a href="#Page_128">128</a>.<br /> -Richard III., <a href="#Page_165">165</a>.<br /> -Riche, Barnaby, <i>Riche his Farewell to Militarie Profession</i>, <a href="#Page_xxxi">xxxi</a>.<br /> -Richmond, Lodowick, Earl of, <a href="#Page_lxxiv">lxxiv</a>.<br /> -Rings, spirits in, <a href="#Page_126">126</a>; as charms, <a href="#Page_144">144</a>.<br /> -Roaring Boys, <a href="#Page_lvi">lvi</a>, <a href="#Page_181">181</a>.<br /> -Roaring manner, <a href="#Page_181">181</a>.<br /> -Robin Goodfellow, <a href="#Page_xxvi">xxvi ff</a>., <a href="#Page_xxxiii">xxxiii</a>.<br /> -Robinson, Richard, <a href="#Page_175">175</a>.<br /> -Roses, ass eats, <a href="#Page_155">155</a>.<br /> -Roses in shoes, <a href="#Page_146">146</a>, <a href="#Page_179">179</a>.<br /> -Round Robbin, <a href="#Page_129">129</a>.<br /> -Rug, <a href="#Page_201">201-2</a>.<br /> -Rushes, <a href="#Page_152">152</a>.</p> - -<p class="no-indent"> -St. George’s tide, <a href="#Page_183">183</a>.<br /> -St. Giles, Cripplesgate, <a href="#Page_201">201</a>.<br /> -St. Katherine’s, <a href="#Page_133">133</a>.<br /> -St. Paul’s Churchyard, <a href="#Page_124">124</a>;<br /> - steeple, <a href="#Page_131">131</a>;<br /> - walk, <a href="#Page_150">150</a>.<br /> -St. Pulchar’s, <a href="#Page_211">211</a>.<br /> -Saints’ legends, <a href="#Page_xxvii">xxvii</a>. -<span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span><br /> -Salt, soul instead of, <a href="#Page_153">153</a>.<br /> -Sand, ropes of, <a href="#Page_139">139</a>, <a href="#Page_202">202</a>.<br /> -Saraband, <a href="#Page_196">196-7</a>.<br /> -Satire, specific objects of, <a href="#Page_liv">liv</a>;<br /> - personal, <a href="#Page_lxv">lxv</a>.<br /> -Satirical plot, <a href="#Page_xli">xli f</a>.<br /> -Saviolo, <a href="#Page_lv">lv</a>.<br /> -Savory, <a href="#Page_143">143</a>.<br /> -Scarfe, <a href="#Page_178">178</a>.<br /> -Scarlet, <a href="#Page_192">192</a>.<br /> -Schlegel, <a href="#Page_123">123</a>.<br /> -Scot, Reginald, <i>Discovery</i>, <a href="#Page_xxviii">xxviii</a>, <a href="#Page_lxiii">lxiii</a>.<br /> -Servant, <a href="#Page_191">191</a>.<br /> -Servant’s wages, <a href="#Page_147">147</a>.<br /> -Sessions, quarter, <a href="#Page_206">206</a>.<br /> -Shakespeare and Jonson, <a href="#Page_165">165</a>;<br /> - and witchcraft, <a href="#Page_lxiv">lxiv</a>;<br /> - historical plays, <a href="#Page_165">165 ff</a>.;<br /> - <i>Midsummer Night’s Dream</i>, <a href="#Page_xxvi">xxvi</a>.<br /> -Sharks, <a href="#Page_182">182</a>.<br /> -Sheriff’s dinner, <a href="#Page_136">136</a>.<br /> -Ship, woman compared to a, <a href="#Page_152">152</a>, <a href="#Page_164">164</a>.<br /> -Shirt, into the, <a href="#Page_148">148</a>.<br /> -Shoot, the bridge, <a href="#Page_134">134</a>; eyes, <a href="#Page_174">174</a>.<br /> -Shoreditch, <a href="#Page_132">132</a>; Duke of, <a href="#Page_200">200</a>.<br /> -Sign of the zodiac, <a href="#Page_154">154</a>.<br /> -Sister-swelling breasts, <a href="#Page_172">172</a>.<br /> -Smock allies, <a href="#Page_132">132</a>.<br /> -Soda, <a href="#Page_192">192</a>.<br /> -Soldered friendship, <a href="#Page_190">190</a>.<br /> -Somers, William, <a href="#Page_l">l f</a>.; <a href="#Page_203">203</a>.<br /> -Somerset, Earl of, <a href="#Page_lxx">lxx</a>.<br /> -Soon at night, <a href="#Page_141">141</a>.<br /> -Souse, <a href="#Page_200">200</a>.<br /> -Sou’t, <a href="#Page_200">200</a>.<br /> -Sow bewitched, <a href="#Page_127">127</a>.<br /> -Spanish fashions, <a href="#Page_xviii">xviii</a>;<br /> - leather, <a href="#Page_194">194</a>;<br /> - needle, <a href="#Page_131">131</a>;<br /> - terms, <a href="#Page_191">191</a>.<br /> -Spenser, see Despenser.<br /> -Spiced conscience, <a href="#Page_163">163</a>.<br /> -Spit, hot, as charm, <a href="#Page_128">128</a>.<br /> -Stage, displaying clothes on, <a href="#Page_151">151</a>; stools on, <a href="#Page_125">125</a>.<br /> -Standard in Cheap, <a href="#Page_131">131</a>.<br /> -Starch, yellow, <a href="#Page_138">138</a>; and the devil, <a href="#Page_210">210</a>.<br /> -State abuses, <a href="#Page_xliv">xliv</a>.<br /> -Statutes merchant and staple, <a href="#Page_176">176</a>.<br /> -Steeple, <a href="#Page_212">212</a>.<br /> -Stockings, <a href="#Page_140">140</a>.<br /> -Stoter (?storer), <a href="#Page_181">181</a>.<br /> -Strand, <a href="#Page_135">135</a>.<br /> -Strange woman, <a href="#Page_169">169</a>.<br /> -Streets, narrow, <a href="#Page_169">169</a>.<br /> -Subjunctive, <a href="#Page_148">148</a>.<br /> -Subtill, <a href="#Page_126">126</a>.<br /> -Suburbs, <a href="#Page_132">132</a>.<br /> -Suckling, Sir John, <a href="#Page_lxxvi">lxxvi</a>, <a href="#Page_173">173</a>.<br /> -Swinburne, criticism of <i>Devil is an Ass</i>, <a href="#Page_lxxviii">lxxviii</a>.</p> - -<p class="no-indent"> -Take forth, <a href="#Page_134">134</a>.<br /> -Take in, <a href="#Page_184">184</a>.<br /> -Tall (table) board, <a href="#Page_199">199</a>.<br /> -Taylor, John, <a href="#Page_lxii">lxii</a>.<br /> -Teeth guard the tongue, <a href="#Page_191">191</a>.<br /> -Ten in the hundred, <a href="#Page_183">183</a>.<br /> -Theatre, leaving, <a href="#Page_188">188</a>; women frequent, <a href="#Page_151">151</a>.<br /> -Thorn, O’ Bet’lem, <a href="#Page_203">203</a>.<br /> -Thumb-ring, <a href="#Page_126">126</a>.<br /> -Time drunk and sleeping, <a href="#Page_206">206</a>.<br /> -Tissue, <a href="#Page_139">139</a>.<br /> -Title of play displayed, <a href="#Page_125">125</a>.<br /> -Tobacco, <a href="#Page_139">139</a>, <a href="#Page_210">210</a>;<br /> - devil takes, <a href="#Page_209">209</a>;<br /> - spelling of, <a href="#Page_210">210</a>.<br /> -Tooth-picks, <a href="#Page_190">190</a>, <a href="#Page_201">201</a>.<br /> -Too-too, <a href="#Page_186">186</a>.<br /> -Torned, <a href="#Page_173">173</a>.<br /> -Totnam, <a href="#Page_127">127</a>.<br /> -Train bands, <a href="#Page_177">177</a>.<br /> -Treasure, hidden, <a href="#Page_149">149</a>.<br /> -Turn (sour), <a href="#Page_174">174</a>.<br /> -Turner, Mrs. Anne, <a href="#Page_lxiii">lxiii</a>, <a href="#Page_141">141</a>.<br /> -Tyburn, <a href="#Page_201">201</a>; procession to, <a href="#Page_207">207</a>. -<span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span></p> - -<p class="no-indent"> -Umbrella, <a href="#Page_195">195</a>.<br /> -Unities, <a href="#Page_xlii">xlii f</a>.<br /> -Upton, Rev. John, <i>Critical Observations</i>, <a href="#Page_xxi">xxi</a>.</p> - -<p class="no-indent"> -Vacation, long, <a href="#Page_177">177</a>.<br /> -Vanity (in morality-plays), <a href="#Page_130">130</a>.<br /> -Vapors, <a href="#Page_182">182</a>.<br /> -Velvet, <a href="#Page_135">135</a>, <a href="#Page_181">181</a>.<br /> -Venice, <a href="#Page_194">194</a>.<br /> -Vennor, <a href="#Page_135">135</a>.<br /> -Via, <a href="#Page_158">158</a>.<br /> -Vice, origin of, <a href="#Page_xxxiv">xxxiv</a>;<br /> - rides the devil, <a href="#Page_xxiv">xxiv</a>, <a href="#Page_207">207</a>;<br /> - history of, <a href="#Page_xxxiv">xxxiv f</a>.;<br /> - degeneration, <a href="#Page_xxxv">xxxv</a>;<br /> - chief rôles, <a href="#Page_xxxv">xxxv</a>;<br /> - in interludes, <a href="#Page_xxxv">xxxv</a>;<br /> - term applied to evil character, <a href="#Page_xxxvi">xxxvi</a>;<br /> - Jonson’s use of, <a href="#Page_xxxvii">xxxvii ff</a>.;<br /> - costume, <a href="#Page_xxxviii">xxxviii</a>;<br /> - identical with fool, <a href="#Page_xxxv">xxxv</a>, <a href="#Page_xxxvi">xxxvi</a>, - <a href="#Page_xxxix">xxxix f</a>.;<br /> - etymology of the word, <a href="#Page_207">207</a>.<br /> -Villiers, George, Duke of Buckingham, <a href="#Page_lxxii">lxxii</a>, <a href="#Page_lxxiv">lxxiv</a>.<br /> -Vintry, <a href="#Page_135">135</a>.<br /> -Virgilius legend, <a href="#Page_xxvii">xxvii</a>.<br /> -Virgin’s milk, <a href="#Page_193">193</a>.</p> - -<p class="no-indent"> -Waist and waste, <a href="#Page_199">199</a>.<br /> -Wanion, <a href="#Page_208">208</a>.<br /> -Wapull, <i>The Tide tarrieth for No Man</i>, <a href="#Page_xxxvi">xxxvi</a>.<br /> -Ward, A. W., criticism of <i>Devil is an Ass</i>, <a href="#Page_lxxviii">lxxviii</a>.<br /> -Ware, <a href="#Page_212">212</a>.<br /> -Webster, <i>Devil’s Law Case</i>, <a href="#Page_167">167</a>, <a href="#Page_179">179</a>, - <a href="#Page_187">187</a>.<br /> -Wedlock, <a href="#Page_150">150</a>.<br /> -Westminster Hall, <a href="#Page_135">135</a>.<br /> -Whalley, <a href="#Page_xv">xv</a>.<br /> -Wharton, Marquis of, translation of Novella of <i>Belfagor</i>, <a href="#Page_xxxi">xxxi</a>.<br /> -While (until), <a href="#Page_146">146</a>.<br /> -Whitechapel, <a href="#Page_133">133</a>.<br /> -Whore, money a, <a href="#Page_157">157</a>.<br /> -Wicked, <a href="#Page_198">198</a>.<br /> -Wilson, John, <i>Belphegor</i>, <a href="#Page_lxxiv">lxxiv</a>;<br /> - <i>Cheats</i>, <a href="#Page_lxxiv">lxxiv</a>;<br /> - <i>Projectors</i>, <a href="#Page_lxii">lxii</a>, <a href="#Page_lxxv">lxxv</a>, - <a href="#Page_162">162</a>.<br /> -<i>Wily Beguiled</i>, <a href="#Page_xxvi">xxvi</a>.<br /> -Wisdom, keep warm your, <a href="#Page_148">148</a>.<br /> -Witchcraft, <a href="#Page_lxii">lxii f</a>.;<br /> - symptoms of, <a href="#Page_xlix">xlix</a>;<br /> - Acts against, <a href="#Page_lxiii">lxiii</a>, <a href="#Page_145">145</a>;<br /> - Jonson’s attitude towards, <a href="#Page_lxiii">lxiii</a>;<br /> - treatment in other plays, <a href="#Page_lxiv">lxiv f</a>.<br /> -Wittipol, xlii; identified as Jonson, <a href="#Page_lxxi">lxxi</a>.<br /> -Woodcock, <a href="#Page_158">158</a>.<br /> -Woodstock, Thomas of, <a href="#Page_165">165</a>.<br /> -Wood Street, see Compters.<br /> -Woolsack, <a href="#Page_134">134</a>.<br /> -Wusse, <a href="#Page_151">151</a>.</p> - -<p class="no-indent"> -Yellow starch, see Starch.<br /> -Yoking foxes, <a href="#Page_202">202</a>. -<span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span></p> - -<hr class="full" /> -<p class="f150"><b>YALE STUDIES IN ENGLISH.</b></p> -<p class="center"><span class="smcap">Albert S. Cook, Editor.</span></p> - -<table border="0" cellspacing="2" summary="_" cellpadding="0"> - <tbody><tr> - <td class="tdr_top">I.</td> - <td class="tdl"> The Foreign Sources of Modern English Versification.<br /> -  <span class="smcap">Charlton M. Lewis</span>, Ph.D.</td> - <td class="tdr_bott">$0.50.</td> - </tr><tr> - <td class="tdr_top">II.</td> - <td class="tdl"> Ælfric: A New Study of his Life and Writings.<br /> -  <span class="smcap">Caroline Louisa White</span>, Ph.D.</td> - <td class="tdr_bott">$1.50.</td> - </tr><tr> - <td class="tdr_top">III.</td> - <td class="tdl"> The Life of St. Cecilia, from MS. Ashmole 43 and MS. - Cotton Tiberius E. VII,<br /> with Introduction, Variants, and Glossary.<br /> -  <span class="smcap">Bertha Ellen Lovewell</span>, Ph.D.</td> - <td class="tdr_bott">$1.00.</td> - </tr><tr> - <td class="tdr_top">IV.</td> - <td class="tdl"> Dryden’s Dramatic Theory and Practice.<br /> -  <span class="smcap">Margaret Sherwood</span>, Ph.D.</td> - <td class="tdr_bott">$0.50.</td> - </tr><tr> - <td class="tdr_top">V.</td> - <td class="tdl"> Studies in Jonson’s Comedy.<br /> -  <span class="smcap">Elisabeth Woodbridge</span>, Ph.D.</td> - <td class="tdr_bott">$0.50.</td> - </tr><tr> - <td class="tdr_top">VI.</td> - <td class="tdl"> A Glossary of the West Saxon Gospels, Latin-West Saxon and West Saxon-Latin.<br /> -  <span class="smcap">Mattie Anstice Harris</span>, Ph.D.</td> - <td class="tdr_bott">$1.50.</td> - </tr><tr> - <td class="tdr_top">VII.</td> - <td class="tdl"> Andreas: The Legend of St. Andrew, translated from the Old English,<br /> - with an Introduction.<br /> -  <span class="smcap">Robert Kilburn Root</span>.</td> - <td class="tdr_bott">$0.50.</td> - </tr><tr> - <td class="tdr_top">VIII.</td> - <td class="tdl"> The Classical Mythology of Milton’s English Poems.<br /> -  <span class="smcap">Charles Grosvenor Osgood</span>, Ph.D.</td> - <td class="tdr_bott">$1.00.</td> - </tr><tr> - <td class="tdr_top">IX.</td> - <td class="tdl"> A Guide to the Middle English Metrical Romances dealing with English<br /> - and Germanic Legends, and with the Cycles of Charlemagne and of Arthur.<br /> -  <span class="smcap">Anna Hunt Billings</span>, Ph.D.</td> - <td class="tdr_bott">$1.50.</td> - </tr><tr> - <td class="tdr_top">X.</td> - <td class="tdl"> The Earliest Lives of Dante, translated from the Italian of Giovanni Boccaccio<br /> - and Lionardo Bruni Aretino.<br /> -  <span class="smcap">James Robinson Smith.</span></td> - <td class="tdr_bott">$0.75.</td> - </tr><tr> - <td class="tdr_top">XI.</td> - <td class="tdl"> A Study in Epic Development.<br /> -  <span class="smcap">Irene T. 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Mallory</span>, Ph.D.</td> - <td class="tdr_bott">$2.00.<br />Cloth, $2.50.</td> - </tr><tr> - <td class="tdr_top">XXVIII.</td> - <td class="tdl"> The Staple of News, by Ben Jonson, edited with Introduction, Notes, and Glossary.<br /> -  <span class="smcap">De Winter</span>, Ph.D.</td> - <td class="tdr_bott">$2.00.<br />Cloth, $2.50.</td> - </tr><tr> - <td class="tdr_top">XXIX.</td> - <td class="tdl"> The Devil is an Ass, by Ben Jonson, edited with Introduction, Notes, and Glossary.<br /> -  <span class="smcap">William Savage Johnson</span>, Ph.D.</td> - <td class="tdr_bott">$2.00.<br />Cloth, $2.50.</td> - </tr> - </tbody> -</table> - -<hr class="r5" /> -<div class="footnotes"> -<p class="f150 u">Footnotes</p> - -<div class="footnote"><p> -<a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"> -<span class="label">[1]</span></a> -The first volume of this folio appeared in 1616. A reprint of this -volume in 1640 is sometimes called the Second Folio. It should not be -confused with the 1631-41 Edition of the second volume.</p></div> - -<div class="footnote"><p> -<a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"> -<span class="label">[2]</span></a>Note prefixed to <i>Bartholomew Fair</i>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"> -<span class="label">[3]</span></a> <i>Eng. Drama</i>, p. 78.</p></div> - -<div class="footnote"><p> -<a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"> -<span class="label">[4]</span></a> <i>Eng. Drama</i> 2. 296.</p></div> - -<div class="footnote"><p> -<a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"> -<span class="label">[5]</span></a> <i>N. & Q.</i> 4th Ser. 5. 573.</p></div> - -<div class="footnote"><p> -<a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"> -<span class="label">[6]</span></a> <i>Bibliog. Col.</i>, 2d Ser. p. 320.</p></div> - -<div class="footnote"><p> -<a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"> -<span class="label">[7]</span></a> -<i>Bibliog. Col.</i>, p. 320. For a more detailed description -of this volume see Winter, pp. xii-xiii.</p></div> - -<div class="footnote"><p> -<a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"> -<span class="label">[8]</span></a> -For a collation of this edition, see Mallory, pp. xv-xvii.</p></div> - -<div class="footnote"><p> -<a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"> -<span class="label">[9]</span></a> -Collier, <i>Annals</i> 3. 275, 302; Fleay, <i>Hist.</i> 190.</p></div> - -<div class="footnote"><p> -<a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"> -<span class="label">[10]</span></a> <i>Roscius Anglicanus</i>, p. 8.</p> -</div> - -<div class="footnote"><p> -<a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"> -<span class="label">[11]</span></a> -‘A play of his, upon which he was accused, The Divell is ane Ass; -according to <i>Comedia Vetus</i>, in England the Divell was brought in -either with one Vice or other: the play done the Divel caried away -the Vice, he brings in the Divel so overcome with the wickedness of -this age that thought himself ane Ass. Παρεργους [incidentally] is -discoursed of the Duke of Drounland: the King desired him to conceal -it.’—<i>Conversations with William Drummond</i>, -Jonson’s <i>Wks.</i> 9. 400-1.</p></div> - -<div class="footnote"><p> -<a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"> -<span class="label">[12]</span></a> <i>Wks.</i> 3. 158.</p></div> - -<div class="footnote"><p> -<a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"> -<span class="label">[13]</span></a> -<i>Wks.</i> 5. 105 f. Cf. also Shirley, Prologue to <i>The Doubtful Heir</i>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"> -<span class="label">[14]</span></a> -Count Baudissin translated two of Jonson’s comedies into German, <i>The -Alchemist</i> and <i>The Devil is an Ass</i> (<i>Der Dumme Teufel</i>).</p></div> - -<div class="footnote"><p> -<a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"> -<span class="label">[15]</span></a> Eckhardt, p. 42 f.</p></div> - -<div class="footnote"><p> -<a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"> -<span class="label">[16]</span></a> <i>Ibid.</i>, p. 67 f.</p></div> - -<div class="footnote"><p> -<a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"> -<span class="label">[17]</span></a> -In general the devil is more closely related to the clown, and -the Vice to the fool. In some cases, however, the devil is to be -identified with the fool, and the Vice with the clown.</p></div> - -<div class="footnote"><p> -<a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"> -<span class="label">[18]</span></a> -In the Digby group of miracle-plays roaring by the devil is -a prominent feature. Stage directions in <i>Paul</i> provide for -‘cryeing and rorying’ and Belial enters with the cry, ‘Ho, ho, -behold me.’ Among the moralities <i>The Disobedient Child</i> may be -mentioned.</p></div> - -<div class="footnote"><p> -<a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"> -<span class="label">[19]</span></a> -So in <i>Gammer Gurton’s Needle</i>, c 1562, we read: ‘But Diccon, -Diccon, did not the devil cry ho, ho, ho?’ Cf. also the translation -of Goulart’s Histories, 1607 (quoted by Sharp, p. 59): ‘The -fellow—coming to the stove—sawe the Diuills in horrible -formes, some sitting, some standing, others walking, some ramping -against the walles, but al of them, assoone as they beheld him, -crying Hoh, hoh, what makest thou here?’</p></div> - -<div class="footnote"><p> -<a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"> -<span class="label">[20]</span></a> -Cf. the words of Robin Goodfellow in <i>Wily Beguiled</i> (<i>O. Pl.</i>, 4th -ed., 9. 268): ‘I’ll put me on my great carnation-nose, and wrap me in -a rowsing calf-skin suit and come like some hobgoblin, or some devil -ascended from the grisly pit of hell.’</p></div> - -<div class="footnote"><p> -<a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"> -<span class="label">[21]</span></a> -Cushman points out that it occurs in only one drama, that of <i>Like -will to Like</i>. He attributes the currency of the notion that this -mode of exit was the regular one to the famous passage in Harsnet’s -<i>Declaration of Popish Impostures</i> (p. 114, 1603): ‘It was a pretty -part in the old church-playes, when the nimble Vice would skip -up nimbly like a jackanapes into the devil’s necke, and ride the -devil a course, and belabour him with his wooden dagger, till he -made him roare, whereat the people would laugh to see the devil so -vice-haunted.’ The moralities and tragedies give no indication of -hostility between Vice and devil. Cushman believes therefore that -Harsnet refers either to some lost morality or to ‘Punch and Judy.’ -It is significant, however, that in ‘Punch and Judy,’ which gives -indications of being a debased descendant of the morality, the -devil enters with the evident intention of carrying the hero off to -hell. The joke consists as in the present play in a reversal of the -usual proceeding. Eckhardt (p. 85 n.) points out that the Vice’s -cudgeling of the devil was probably a mere mirth-provoking device, -and indicated no enmity between the two. Moreover the motive of the -devil as an animal for riding is not infrequent. In the <i>Castle -of Perseverance</i> the devil carries away the hero, Humanum Genus. -The motive appears also in Greene’s <i>Friar Bacon and Friar Bungay</i> -and Lodge and Greene’s <i>Looking Glass for London and England</i>, -and especially in <i>Histriomastix</i>, where the Vice rides a roaring -devil (Eckhardt, pp. 86 f.). We have also another bit of evidence -from Jonson himself. In <i>The Staple of News</i> Mirth relates her -reminiscences of the old comedy. In speaking of the devil she says: -‘He would carry away the Vice on his back quick to hell in every play.’</p></div> - -<div class="footnote"><p> -<a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"> -<span class="label">[22]</span></a> -Cf. also <i>Love Restored</i>, 1610-11, and the character of Puck Hairy in -<i>The Sad Shepherd</i>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"> -<span class="label">[23]</span></a> -<i>Hierarchie of the Blessed Angels</i> 9. 574.</p></div> - -<div class="footnote"><p> -<a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"> -<span class="label">[24]</span></a> Part 3. Cant. 1, l. 1415.</p></div> - -<div class="footnote"><p> -<a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"> -<span class="label">[25]</span></a> Cf. <i>Devil in Britain and America</i>, ch. 2.</p></div> - -<div class="footnote"><p> -<a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"> -<span class="label">[26]</span></a> <i>Geschichte des Teufels</i> 1. 316, 395.</p></div> - -<div class="footnote"><p> -<a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"> -<span class="label">[27]</span></a> Hazlitt, <i>Tales</i>, pp. 39, 83.</p></div> - -<div class="footnote"><p> -<a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"> -<span class="label">[28]</span></a> <i>Discovery</i>, p. 522.</p></div> - -<div class="footnote"><p> -<a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"> -<span class="label">[29]</span></a> <i>O. Pl.</i>, 4th ed., 3. 213.</p></div> - -<div class="footnote"><p> -<a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"> -<span class="label">[30]</span></a> <i>Early Eng. Prose Romances</i>, London 1858.</p></div> - -<div class="footnote"><p> -<a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"> -<span class="label">[31]</span></a> -See Herford’s discussion, <i>Studies</i>, p. 305; also <i>Quarterly Rev.</i> -22. 358. The frequently quoted passage from Harsnet’s <i>Declaration</i> -(ch. 20, p. 134), is as follows: ‘And if that the bowle of curds -and cream were not duly set out for Robin Goodfellow, the Friar, -and Sisse the dairy-maide, why then either the pottage was burnt -the next day, or the cheese would not curdle,’ etc. Cf. also Scot, -<i>Discovery</i>, p. 67: ‘Robin could both eate and drinke, as being a -cousening idle frier, or some such roge, that wanted nothing either -belonging to lecherie or knaverie, &c.’</p></div> - -<div class="footnote"><p> -<a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"> -<span class="label">[32]</span></a> Cf. Pug’s words, 1. 3. 1 f.</p></div> - -<div class="footnote"><p> -<a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"> -<span class="label">[33]</span></a> See Herford, p. 308.</p></div> - -<div class="footnote"><p> -<a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"> -<span class="label">[34]</span></a> -A similar passage is found in Dekker, <i>Whore of -Babylon</i>, <i>Wks.</i> 2. 355. The sentiment is not original -with Dekker. Cf. Middleton, <i>Black Book</i>, 1604:</p> - -<div class="poem"><div class="stanza"> -<span class="i12">... And were it number’d well,</span> -<span class="i0">There are more devils on earth than are in hell.</span> -</div></div></div> - -<div class="footnote"><p> -<a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"> -<span class="label">[35]</span></a> -Dekker makes a similar pun on Helicon in <i>News from Hell</i>, -<i>Non-dram Wks.</i> 2. 95.</p></div> - -<div class="footnote"><p> -<a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"> -<span class="label">[36]</span></a> -A paraphrase of <i>Belfagor</i> occurs in the Conclusion of Barnaby -Riche’s <i>Riche his Farewell to Militarie Profession</i>, 1581, published -for the Shakespeare Society by J. P. Collier, 1846. The name is -changed to Balthasar, but the main incidents are the same.</p></div> - -<div class="footnote"><p> -<a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"> -<span class="label">[37]</span></a> -Jonson refers to Machiavelli’s political writings in -<i>Timber</i> (ed. Schelling, p. 38).</p></div> - -<div class="footnote"><p> -<a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"> -<span class="label">[38]</span></a> <i>Eng. Dram. Lit.</i> 2. 606.</p></div> - -<div class="footnote"><p> -<a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"> -<span class="label">[39]</span></a> Eckhardt, p. 195.</p></div> - -<div class="footnote"><p> -<a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"> -<span class="label">[40]</span></a> -In W. Wager’s <i>The longer thou livest, the more fool thou art</i>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"> -<span class="label">[41]</span></a> -In Wapull’s <i>The Tide tarrieth for No Man</i>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"> -<span class="label">[42]</span></a> -Subtle Shift in <i>The History of Sir Clyomon and Sir Clamydes</i>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"> -<span class="label">[43]</span></a> -In Wilson’s <i>The Three Ladies of London</i>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"> -<span class="label">[44]</span></a> -He is so identified in Chapman’s <i>Alphonsus, Emperor of Germany</i> c -1590 (<i>Wks.</i>, ed. 1873, 3. 216), and in Stubbes’ <i>Anat.</i>, 1583. Nash -speaks of the Vice as an antiquated figure as early as 1592 -(<i>Wks.</i> 2. 203).</p></div> - -<div class="footnote"><p> -<a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"> -<span class="label">[45]</span></a> <i>Med. Stage</i>, pp. 203-5.</p></div> - -<div class="footnote"><p> -<a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"> -<span class="label">[46]</span></a> Eckhardt, p. 145.</p></div> - -<div class="footnote"><p> -<a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"> -<span class="label">[47]</span></a> -Sometimes he is even a virtuous character. See Eckhardt’s remarks -on <i>Archipropheta</i>, p. 170. Merry Report in Heywood’s <i>Weather</i> -constantly moralizes, and speaks of himself as the servant of God in -contrast with the devil.</p></div> - -<div class="footnote"><p> -<a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"> -<span class="label">[48]</span></a> -This designation for the Vice first appears in <i>Nice Wanton</i>, -1547-53, then in <i>King Darius</i>, 1565, and <i>Histriomastix</i>, 1599 -(printed 1610).</p></div> - -<div class="footnote"><p> -<a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"> -<span class="label">[49]</span></a>Wright, <i>Hist. of Caricature</i>, p. 106.</p></div> - -<div class="footnote"><p> -<a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"> -<span class="label">[50]</span></a> Doran, p. 182.</p></div> - -<div class="footnote"><p> -<a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"> -<span class="label">[51]</span></a> <i>Ibid.</i>, p. 210.</p></div> - -<div class="footnote"><p> -<a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"> -<span class="label">[52]</span></a> See Herford, p. 318.</p></div> - -<div class="footnote"><p> -<a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"> -<span class="label">[53]</span></a> Woodbridge, <i>Studies</i>, p. 33.</p></div> - -<div class="footnote"><p> -<a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"> -<span class="label">[54]</span></a> -Contrasted companion-characters are a favorite device with Jonson. -Compare Corvino, Corbaccio, and Voltore in <i>The Fox</i>, Ananias -and Tribulation Wholesome in <i>The Alchemist</i>, etc.</p></div> - -<div class="footnote"><p> -<a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"> -<span class="label">[55]</span></a> -It should be noticed that in the case of Merecraft the method -employed is the caricature of a profession, as well as the exposition -of personality.</p></div> - -<div class="footnote"><p> -<a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"> -<span class="label">[56]</span></a> -Langbaine, <i>Eng. Dram. Poets</i>, p. 289.</p></div> - -<div class="footnote"><p> -<a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"> -<span class="label">[57]</span></a> <i>Quellen Studien</i>, p. 15.</p></div> - -<div class="footnote"><p> -<a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"> -<span class="label">[58]</span></a> 2. 2. 69.</p></div> - -<div class="footnote"><p> -<a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"> -<span class="label">[59]</span></a> Mentioned by Koeppel, p. 15.</p></div> - -<div class="footnote"><p> -<a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"> -<span class="label">[60]</span></a> -So spelled in 1573 ed. In earlier editions ‘palafreno.’</p></div> - -<div class="footnote"><p> -<a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"> -<span class="label">[61]</span></a> <i>Studien</i>, p. 232.</p></div> - -<div class="footnote"><p> -<a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"> -<span class="label">[62]</span></a> See note <a href="#Note_2_1_168">2. 1. 168 f</a>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"> -<span class="label">[63]</span></a> -Gifford points out the general resemblance. He uses Hutchinson’s book -for comparison.</p></div> - -<div class="footnote"><p> -<a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"> -<span class="label">[64]</span></a> -This book, so far as I know, is not to be found in any American -library. My knowledge of its contents is derived wholly from -Darrel’s answer, <i>A Detection of that sinnful, shamful, lying and -ridiculous Discours, of Samuel Harshnet, entituled: A Discoverie, -etc.... Imprinted 1600</i>, which apparently cites all of Harsnet’s more -important points for refutation. It has been lent me through the -kindness of Professor George L. Burr from the Cornell Library. The -quotations from Harsnet in the following pages are accordingly taken -from the excerpts in the <i>Detection</i>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"> -<span class="label">[65]</span></a> See Introduction, <a href="#Page_xxvii">Section C. IV</a>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"> -<span class="label">[66]</span></a> Swinburne, p. 65.</p></div> - -<div class="footnote"><p> -<a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"> -<span class="label">[67]</span></a> -Cf. also Gosson, <i>School of Abuse</i>, 1579; Dekker, <i>A Knight’s -Conjuring</i>, 1607; Overbury, <i>Characters</i>, ed. Morley, p. 66.</p></div> - -<div class="footnote"><p> -<a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"> -<span class="label">[68]</span></a> -See <i>New Inn</i> 2. 2; <i>Every Man in</i> 1. 5; B. & Fl., -<i>Love’s Pilgrimage</i>, <i>Wks.</i> 11. 317, 320.</p></div> - -<div class="footnote"><p> -<a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"> -<span class="label">[69]</span></a> -Cf. <i>Albumazar</i>, <i>O. Pl.</i> 7. 185-6; <i>Rom. and Jul.</i> 2. 4. 26; -<i>Twelfth Night</i> 3. 4. 335; <i>L. L. L.</i> 1. 2. 183; Massinger, -<i>Guardian</i>, <i>Wks.</i>, p. 346. Mercutio evidently refers to Saviolo’s -book and the use of the rapier in <i>Rom. and Jul.</i> 3. 1. 93. Here the -expression, ‘fight by the book’, first occurs, used again by B. & -Fl., <i>Elder Brother</i>, <i>Wks.</i> 10. 284; Dekker, <i>Guls Horne-booke</i>, ch. -4; <i>As You Like it</i> 5. 4. Dekker speaks of Saviolo, <i>Non-dram. Wks.</i> 1. 120.</p></div> - -<div class="footnote"><p> -<a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"> -<span class="label">[70]</span></a> Overbury, ed. Morley, p. 72.</p></div> - -<div class="footnote"><p> -<a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"> -<span class="label">[71]</span></a> <i>Ibid.</i>, p. 66.</p></div> - -<div class="footnote"><p> -<a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"> -<span class="label">[72]</span></a> <i>Every Man in</i>, <i>Wks.</i> 1. 35.</p></div> - -<div class="footnote"><p> -<a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"> -<span class="label">[73]</span></a> -Letters to John Kempe, 1331, Rymer’s <i>Foedera</i>; -Hulme, <i>Law Quarterly Rev.</i>, vol. 12.</p></div> - -<div class="footnote"><p> -<a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"> -<span class="label">[74]</span></a> Cunningham, <i>Eng. Industry</i>, Part I, p. 75.</p></div> - -<div class="footnote"><p> -<a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"> -<span class="label">[75]</span></a> D’Ewes, <i>Complete Journal of the Houses of Lords -and Commons</i>, p. 646.</p></div> - -<div class="footnote"><p> -<a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"> -<span class="label">[76]</span></a> Cunningham, p. 21.</p></div> - -<div class="footnote"><p> -<a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"> -<span class="label">[77]</span></a> Craik 2. 24. Rushworth, <i>Collection</i> 1. 24.</p></div> - -<div class="footnote"><p> -<a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"> -<span class="label">[78]</span></a> -For a more detailed account of the drainage of -the Lincolnshire fens see Cunningham, pp. 112-119.</p></div> - -<div class="footnote"><p> -<a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"> -<span class="label">[79]</span></a> Cf. Dekker, <i>Non-dram. Wks.</i> 3. 367.</p></div> - -<div class="footnote"><p> -<a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"> -<span class="label">[80]</span></a> <i>Muse’s Looking Glass</i>, -<i>O. Pl.</i> 9. 180 (cited by Gifford).</p></div> - -<div class="footnote"><p> -<a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"> -<span class="label">[81]</span></a> <i>Works</i>, 1641, reprinted by the Spenser Society.</p></div> - -<div class="footnote"><p> -<a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"> -<span class="label">[82]</span></a> <i>Character Writings</i>, ed. Morley, p. 350.</p></div> - -<div class="footnote"><p> -<a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"> -<span class="label">[83]</span></a> <a href="#Page_xix">See p. xix</a>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"> -<span class="label">[84]</span></a> See <i>Trials for Witchcraft 1596-7</i>, vol. 1, -<i>Miscellany of the Spalding Club</i>, Aberdeen, 1841.</p></div> - -<div class="footnote"><p> -<a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"> -<span class="label">[85]</span></a> First appeared in 1597. <i>Workes</i>, fol. ed., -appeared 1616, the year of this play.</p></div> - -<div class="footnote"><p> -<a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"> -<span class="label">[86]</span></a> -See Dedication to <i>The Fox</i>, Second Prologue to <i>The Silent Woman</i>, -Induction to <i>Bartholomew Fair</i>, <i>Staple of News</i> (Second Intermean), -<i>Magnetic Lady</i> (Second Intermean).</p></div> - -<div class="footnote"><p> -<a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"> -<span class="label">[87]</span></a> See the note prefixed to <i>Staple of News</i>, -Act 3, and the second Prologue for <i>The Silent Woman</i>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"> -<span class="label">[88]</span></a> <i>Ev. Man in.</i></p></div> - -<div class="footnote"><p> -<a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"> -<span class="label">[89]</span></a> <i>Case is Altered.</i></p></div> - -<div class="footnote"><p> -<a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"> -<span class="label">[90]</span></a> <i>Staple of News.</i></p></div> - -<div class="footnote"><p> -<a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"> -<span class="label">[91]</span></a> Dedication to <i>The Fox</i>.</p></div> - -<div class="footnote"><p> -<a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"> -<span class="label">[92]</span></a> -The passage from the <i>Gipsies</i> especially finds a -close parallel in the fragment of a song in Marston’s <i>Dutch -Courtezan</i>, 1605, <i>Wks.</i> 2. 46:</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Purest lips, soft banks of blisses,</span> -<span class="i0">Self alone deserving kisses.</span> -</div></div> - -<p>Are not these lines from Jonson’s hand? This was the year of his -collaboration with Marston in <i>Eastward Ho</i>.</p></div> -</div> - -<hr class="r5" /> -<div class="transnote bbox"> -<p class="f120 space-above1">Transcriber Notes:</p> -<hr class="r5" /> -<p class="indent">In the text of the actual play, lowercase “s” -has been replaced by the “long s”, “f”. The capital letter “W” is -often replaced with “VV”, the letter “v” and the letter “u” are -used interchangeably, and the letters "i" and "j" are also used interchangeably.</p> - -<p class="indent">Many of the characters names in the play have various spellings,<br /> -e.g., MERE-CRAFT and MERECRAFT, EVER-ILL and EVERILL, FITZ-DOTTEREL and FITZDOTTEREL, -PIT_FAL and PITFALL, DIVEL and DIVELL.</p> - -<p class="indent">The footnotes in the actual play were added by the -author as part of his thesis. The references for these footnotes are -the line numbers. Since each scene begins the line numbers over at -1, these footnotes have been collected at the end of each scene, and -refer to the appropriate line in the preceding scene.</p> - -<p class="indent">Antiquated spellings and ancient words in the text -of the play were preserved.</p> -</div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Devil is an Ass, by Ben Jonson - -*** END OF THIS PROJECT GUTENBERG EBOOK THE DEVIL IS AN ASS *** - -***** This file should be named 50150-h.htm or 50150-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/1/5/50150/ - -Produced by Charlene Taylor, Paul Marshall and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/Canadian Libraries) - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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. 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