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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 - In the text of the actual play, lowercase “s” has been replaced by - the “long s”, “ſ”.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. 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Dramatic Works. Lond. 1874. - -WINTER, DE. Edition of The Staple of News. N. Y. 1905. - -WOODBRIDGE, ELISABETH. Studies in Jonson’s Comedy. Boston -and N. Y. 1898. - -WRIGHT, THOMAS. Dictionary of Obsolete and Provincial English. -Lond. 1857. - --------- History of Caricature and Grotesque in Literature and Art. -Lond. 1864. - --------- Narrations of Sorcery and Magic. N. 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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