"I command your Bookeeper to present mee with a faire Copy hereaft[er] and to leave out all oathes, prophaness & publick Ribaldry as he will answer it at his perill. H. HERBERT."
It is plain therefore that the piece was intended for presentation on the stage; but it must have been a strange audience that could have listened to it. Dramatic interest there is none whatever. The piece is nothing more, than a laudation of the East India Company. In tables of statistics we have set before us the amount of merchandise brought from the East; and the writer dwells with enthusiasm on the liberality of the Company, and shows how new channels have been opened for industry. One extract will be enough:—
Nor doe our marchants tradinge into Spayne,TheStreights, toVenice,Lisbonor the like,Give entertaynment unto novicesWhich have not some experience of the sea.But when all doors of Charitie are shuttTheEast Indiagates stand open, open wide,To entertayne the needie & the pooreWith good accomodation. Two monthes payeThey have before hand for to make provision,Needfull provision for so longe a voyage,And two monthes paye theyr wives are yearely paydThe better to mayntayne theyr poore estateDuringe the discontinuance of theyr husbands.Yf in the voyage he doe chance to [MS. doe] dyeThe widowe doth receave whatere's found due,Yf not by will disposed otherwise;Which often happeneth to be such a sumeAs they togeather never sawe the like.And when did any of these widowes beggeFor mayntenaunce in Churches as some doe?Blackwallproclaymes theyr bountie;Lymehousespeakes(Yf not ingrate) their liberalitie;Ratcliffecannot complayne norWappingweepe,NorShadwellcrye agaynst theyr niggardnes.No, they doe rather speake the contraryWith acclamations to the highest heavens.
The following note is by Mr. Robert Boyle, of St. Petersburg, a Shakespearian scholar, whose name is well known to readers of theAngliaand theNew Shakspere Society's Transactions. Mr. Boyle, who has a close acquaintance with Massinger, on seeing the proof-sheets ofSir John Van Olden Barnavelt, pointed out several repetitions of expressions used in other plays of Massinger. It will be understood that I do not adopt Mr. Boyle's conclusions unreservedly. Possibly in an Appendix to Vol. IV. I may return to a consideration ofBarnavelt, but the present volume has already swollen beyond its limits.
Sir John Van Olden Barnavelt.
This play, the most valuable Christmas present English scholars have for half a century received, appears indubitably to belong to the Massinger and Fletcher series. Even a cursory glance will convince the reader that it is one of the greatest treasures of our dramatic literature. That such a gem should lie in manuscript for over 200 years, should be catalogued in our first library, should be accessible to the eye of the prying scholar, and yet never even be noticed till now, affords a disagreeable but convincing proof of the want of interest in our early literature displayed even by those whose studies in this field would seem to point them out for the work of rescuing these literary treasures from a fate as bad as that which befell those plays which perished at the hands of Warburton's "accursed menial." The present play has some remarkable features in it. It is taken from contemporary history (the only one as far as we know of that class in which Massinger was engaged). It was written almost immediately after the events it describes. These events took place in the country in which Englishmen then took more interest than in any other country in Europe. There is a tone of political passion in the play which, particularly in one place, breaks out in an expression which the hearers must have applied to their own country. There is no doubt that the audience wandered away in their thoughts from Sir John Van Olden Barnavelt, the saviour of his country from the Spanish yoke, as he professed himself in his defence on his trial, and Spain's determined enemy, to Sir Walter Raleigh, whose head had just fallen on the block, the victim of a perfidious foe and of a mean, shuffling king. The following is the passage:—
Octavius, when he did affect the Empire,And strove to tread upon the neck of RomeAnd all her ancient freedoms, took that courseThat now is practised on you; for the Catos,And all free spirits slain or else proscribed,That durst have stirred against him, he then seizedThe Absolute rule of all.You can apply this. p. 292.
In a note Mr. Bullen informs us, that "You can apply this" is crossed through. He does not state whether there is anything to show that this was done by Sir George Buck, Master of the Revels, and consequently Censor for the Stage. But this would appear to be the case, the more so as the present play seems to have raised scruples in many places in the mind of the dramatic Cerberus. It is hardly possible to imagine that the spectators did not apply the "free spirits" to Raleigh, and the "Catos" to those members who were shortly after to be imprisoned on account of a memorable protest entered in the journals of the House, which Octavius, who was trying to seize the absolute rule of all, tore out with his own royal hands. There is a peculiar fitness in this hit at James as Octavius which probably did not escape the audience. There is another passage, on p. 253, which, singular to say, seems to have escaped the notice of the Censor:—
Such mild proceedings in a GovernmentNew settled, whose main power had its dependenceUpon the power of some particular men,Might be given way to, but in ours it wereUnsafe and scandalous.
Vandort, the speaker here, is opposing the idea of mercy to Barnavelt. The language is very mild, but receives a peculiar shade of meaning when read in connexion with the following passage by Massinger from theVirgin Martyr, I. 1, 236:—
In all growing empiresEven cruelty is useful; some must sufferAnd be set up examples to strike terrorIn others, though far off: but when a stateIs raised to her perfection, and her basesToo firm to shrink, or yield, we may use mercyAnd do't with safety.
TheVirgin Martyris noticed October 6th, 1620, as newly reformed. It was probably written not long before. The two passages above mentioned would seem to bring the two plays into connexion. But, it may be asked, what proof have we that it was a production of Massinger and Fletcher? As for the latter, there can be no doubt. His double endings are sufficient proof. As for the Massinger part, there is first the probability of his being Fletcher's partner, as the play belongs to a period when we know they were working together; secondly, the metrical style could belong to nobody else; thirdly, according to his well-known manner, he has allusions to and repetitions of expressions in his other plays. As I have gone through Massinger with a view to these repetitions, I propose to notice those that occur in the present play. When I allude to a play going under the name of Beaumont and Fletcher as partly Massinger's, I am supported either by Mr. Fleay's tables, published in theTransactions of the New Shakspere Society, or to my own extension of these tables published in theEng. Studien, a German periodical for English literature and philology.
When I should pass with glory to my rest.
CompareVirgin Martyr, V. 2. 319.
When thou shouldst pass with honour to thy rest.
On page 211,
And end that raceYou have so long run strongly, like a child,
is a repetition of the idea inVirgin Martyr. On page 212 "Grave Maurice"; here "Grave" is Count Maurice, who is also so called inLove's Cure, I. 2. Bobadilla's speech. (Love's Cureis by Massinger and another author, not Fletcher.)
Page 213.
The desire of gloryWas the last frailty wise men ere put off.
This occurs again inA Very Woman, V. 4, line 10,—
Though the desire of fame be the last weaknessWise men put off.
Though the thought occurs in Tacitus and Simplicius, Milton seems to have adopted it, as he has done many other of his most striking passages from Massinger. It occurs also in at least one other play of Massinger's, but the passage has escaped me for the moment.
Same page:—
'Tis like yourself,Like Barnavelt, and in that all is spoken.
An expression which, with a slight change from "spoken" to "comprehended," occurs in almost every one of Massinger's plays.
We need not add this wind by our observanceTo sails too full already.
This reminds us of the common Massinger simile,—
Too large a sail for your small bark.
AndVirg. Mar., I. 1. 85,—
You pour oilOn fire that burns already at the height.
Both similes occur in almost all Massinger's plays.
The situation on page 219 has a striking resemblance to a similar scene with Cranmer inHenry VIII. Both Maurice and Cranmer are to be disgraced by being kept waiting outside while their enemies were at Council. I cannot help here repeating what I have expressed before, thatHenry VIII. as we have it is not the work of Shakespeare and Fletcher, but of Massinger and Fletcher, with only fragments of the Shakespeare play.
On page 231 we have,—
When the hot lyon's breathBurns up the fields.
CompareParliament of Love, I. 5., Montrose,—
When the hot lion's breath singeth the fields.
A little lower down, "At all parts" occurs in almost every play ofMassinger.
On page 232, "This I foresaw," is also very common in similar situations. Among numerous cases I refer to theUnnatural Combat, Act III., about the end, andMaid of Honour, II. iii., where exactly the same words are used.
Page 233, "Be ne'er remembered," occurs in almost all Massinger's plays.It is the most frequent of his many repetitions.
A little lower down. "And something there I'll do," is a well-knownMassingerism, occurring everywhere in his plays.
II. 2, is by Fletcher; 3, and 4, 5, 6, 7 are also probably his.
III. 1, is Fletcher's. On page 250 Barnavelt's hope that the soldiers will regret him because he fed and nursed them, stands in flagrant opposition to what Massinger says of Barnavelt's cashiering the Captain, on page 215.
III. 2, is by Massinger.
Page 252, "But that is not the hazard that I would shun," is one of the commonest Massingerisms. The passage on page 253 has been mentioned already. Massinger is almost the only later dramatist who has a large number of dissyllable "tions." We have here (253),—
Of what condi_ti-on_ soever, wePalliate seditions.
His share of the present play presents many such cases.
III. 3, seems also by Massinger.
III. 4, is by Fletcher. On page 263 there is an unmistakable reminiscence ofHenry VIII., Wolsey's "Farewell."
III. 5 (also marked 4), is by Massinger. On page 264 occurs, "At no part," one of the commonest Massingerisms; and a little lower down,—
Ever maintainedThe freedom I was born to.
CompareGreat Duke of Florence, I. 1-4,—
For I must use the freedom I was born with.
It also occurs in other Massinger plays.
III. 6, is by Fletcher.
IV. 1, is by Fletcher.
IV. 2, is by Fletcher.
IV. 3, is by Fletcher. Here occurs another allusion toHenry VIII.,—
And glide awayLike a spent exhalation.
CompareHenry VIII., III. 2, 226:—
shall fallLike a bright exhalation in the evening.
Fletcher does not repeat himself often, and these two exceptions are important.
IV. 4, is apparently by Massinger, but contains no repetitions.
IV. 5, is by Massinger. There are no clear Massingerisms, but the metrical style, and the allusion to Raleigh already mentioned, make it plain that the Scene is his.
V. 1, is also Massinger's. The end of this Scene I have not seen, as pages 296-305 were missing in the proof-sheets I examined. Nearly all Scene 2 is also missing. It and the rest of the play seem to be Fletcher's, who, as usual, spoiled Massinger's fine conception of Barnavelt, and makes him whine like Buckingham inHenry VIII. This moral collapse of all energy in the face of death in the two characters is significant. Massinger would have carried out the scene in quite another tone. Some of the Fletcher scenes in this play, in which he has an unusually large share, are surprisingly good, and remind us of Fletcher at his best, inPhilasterand the earlier plays. He fails here, as he always does, in the delineation of character. Nowhere is this break-down more characteristic than in Buckingham and Barnavelt. It gives the end of our play quite a wrench, and deprives Barnavelt of the sympathies which we had been forced to turn on him through his intrepid behaviour in the great trial scene. We had almost gained the conviction that his aims were really pure, and here we are called on to witness his utter collapse, in which he almost whines for pardon for his sins, and, like all worthless fellows without character seems actually to soften in gratitude to the man who sent him to his death.
This conclusion, I say, weakens the dramatic power of the close, but it does not prevent Sir John Barnavelt from occupying a high place among our dramatic treasures. R. BOYLE.
ST. PETERSBURG,New Year's Eve, 1882.
[1] Vid. Appendix.
[2] Reprinted in Mrs. Bray'sTamar and the Tavy.
[3] Printed inThe Court and Times uf Charles the First, &c. Edited, with an introduction and notes, by the author ofMemoirs of Sophia Dorothea, Consort of George I., &c. (Vol. i. p. 104. London, 1848.) 8vo.
[4] Mr. Fleay thinks thatDick of Devonshirewas written by R. Davenport. "The conduct of the plot," he observes, "the characterisation, the metre, the language are very like theCity Nightcap." The reader must judge between us. I find it difficult to believe that Davenport could have preserved throughout five acts such clear directness of style.
[5] The old form of "pop-gun."
[6] Xeres.
[7] Cadiz.
[8] Span. picaro, a rogue or thief. Nares quotes several instances of "picaro" and "picaroon" from our early writers.
[9] It would be an improvement to read "enkindled," or "kindled at the first."
[10] Cf. Heywood'sFaire Maid of the West: part one (Works, II. 306), "And joyne with you a ginge of lusty ladds." The meaning is "band, company." The word is not uncommon among Elizabethan writers, and is also found much earlier.
[11] Span. caraca, a ship of large size. Nares quotes from Beaumont and Fletcher.
[12] Halliwell quotes Minsheu: "The Spanishborachoe, or bottle commonly of a pigges skinne, with the haire inward, dressed inwardly with rozen and pitch to keepe wine or liquor sweet." Hence the word came to be applied to a drunkard.
[13] A stately Spanish dance. Nares' article sub. 'Pavan' is full and interesting.
[14] The repetition of the words "such a" is probably a clerical error: the Alexandrine is clumsy.
[15] Skirmishers or sharpshooters.
[16] Nares quotes from Taylor'sWorkes, 1630:—"So horseman-ship hath the trot, the amble, theracke, the pace, the false and wild gallop, or the full speed," &c.
[17] Street bullies, such as are introduced in Nabbes'Bride, Middleton and W. Rowley'sFair Quarrel, &c. The exploits of a "Roaring Girl" are admirably set forth by Dekker and Middleton.
[18] The full form "God refuse me" occurs in Webster'sWhite Devil(ed. 1871, p. 7), where Dyce quotes from Taylor, the water poet: "Would so many else in their desperate madnes desire God to Damne them, to Renounce them, to Forsake them, to Confound them, to Sinke them, toRefusethem?" "Against Cursing and Swearing,"Works, 1630.
[19] "The Saturday Night, some sixteen sail of the Hollanders, and about ten White Hall Men (who in England are called Colliers) were commanded to fight against the Castle of Punthal, standing three miles from Cadiz: who did so accordingly; and discharged in that service, at the least, 1,600 shot."Three to One, &c. (Arber'sEnglish Garner, I. 626).
[20] Sc. companions:Mids. Night's Dream, III., i.; Shirley'sWedding, k. v., &c.
[21] Middleton says somewhere (in A Fair Quarrel, I think):—
"The Infinity of LoveHolds no proportion with Arithmetick."
[22] To "look babies in the eyes" was a common expression for peering amorously into the eyes.
[23] Sc. fagot.
[24] "Barleybreake" (the innocent sport so gracefully described in the first book of theArcadia) is often used in a wanton sense.
[25] A common form of expression. Everybody remembers Puck's—
"I'll put a girdle round about the earthIn forty minutes."
Cf. Chapman'sBussy D'Ambois, I. 1.—
"In tall ships, richly built and ribd with brasse,To put a Girdle round about the world."
[26] Furnished with "bosses," which seem to have been the name for some tinkling metal ornaments. Nares quotes from Sp.Moth. Hub. I. 582:—
"The mule all deck'd in goodly rich array,With bells and bosses that full loudly rung."
[27] Cf.Spanish Tragedy, sc. vi.:—
"A man hanging andtotteringandtottering,As you know the wind will wave a man."
(Quoted by Mr. Fleay in illustration of the "tottering colours" inKingJohn, v. 5, 7.)
[28] One is reminded of Shakespeare's—
"Had Ias many sons as I have hairs,I would not wish them to a fairer death."—Macbeth, v. 8.
[29] "That e'er o'erclouded," I should prefer.
[30] MS.Exit.
[31] Eringoes are often mentioned as a provocative by early writers:Merry Wives, v. 5, &c.
[32] Sc. mallet.
[33] Sc. I lying in mytrundle-bed.
[34] To "make ready" is to dress; so to "make unready" is to undress. The expression was very common.
[35] A large salt-cellar was placed in the middle of the table: guests of importance sat "above the salt," inferior guests below. Abundant illustrations are given in Nares' Glossary.
[36] In Brand'sPopular Antiquities(Bohn'sAntiq. Libr., II. 70-77) there is an interesting article on "Groaning Cake and Cheese."
[37] A large coach: the derivation of the word is uncertain.
[38] The next word is illegible in the MS. We should have expected "Exeunt Fer., Man., & attendants."
[39] Vid. vol. i. 307.
[40] The schoolmen's term for the confines of hell.
[41] I have followed the punctuation of the MS., though I am tempted to read, "What to doe? pray with me?"
[42] A stage-direction for the next scene.
[43] Sc. bravadoes.
[44] The biting of the thumb is here a mark of vexation: to bite one's thumbata person was considered an insult (Rom. and Jul., i. 1).
[45] A diminutive of "cock" (Tempest, ii. 1, &c.).
[46] The conceit is very common. Compare (one of many instances) Dekker'sMatch me in London, iv. 1—
"You oft call Parliaments, and there enactLawes good and wholesome, such as who so breakeAre hung by the purse or necke, but as the weakeAnd smaller flyes i'th Spiders web are taneWhen great ones teare the web, and free remain."
[47] The reading of the MS. is "snapsance," which is clearly wrong. "Snaphance was the name for the spring-lock of a musket, and then for the musket itself. It is said that the term was derived from the Dutchsnap-haans(poultry stealers), a set of marauders who made use of it" (Lilly's Dramatic Works, ed. Fairholt, II., 272). "Tarrier" must mean "a person that causes delay": cf. a passage from Sir Thomas Overbury's character of "a meene Petty fogger":—"He cannot erre before judgment, and then you see it, onlywrits of errorare thetariersthat keepe his client undoing somewhat the longer" (quoted in Todd'sJohnson, subtarrier).
[48] "One being condemned to be shot to death for a rape: the maid [sic] in favour of his life was content to beg him for her husband. Which being condiscended unto by the Judge,according to the lawe of Spaine in that behalfe: in steps me the hangman all in a chafe and said unto the Judge. Howe (I pray you, sir) can that be, seeing the stake is already in the ground, the rope, the arrowes, the Archers all in a readines, and heere I am come for him." (Anthony Copley'sWits, Fits, and Fancies, 1614, p. 120.) Here is another merry tale, with rather more point in it, from the same collection:—"A fellow being to suffer, a maide came to the gallowes to beg him for her husband, according as the custome ofSpainedispenceth in that case. The people seeing this said unto the fellow: Now praise God that he hath thus mercifullie preserv'd thee, and see thou ever make much of this kinde woman that so friendly saves thy life. With that the Fellow viewing her and seeing a great skarre in her face, which did greatlie disfigure her, a long nose, thin lips and of a sowre complexion, hee said unto the Hangman: On (my good friend) doe thy duty: Ile none of her." (p. 160.)
[49] Cf.Rom. and Jul., I., iii., 76, "Why, he's a man of wax," where Dr. Ingleby (who has no doubt learnt better by this time) once took the meaning to be, "a man of puberty, a proper man." Steevens happily compared Horace's "cereaTelephi brachia."
[50] The old spelling for "bawbles."
[51] "Slug. A ship which sails badly." Halliwell. I cannot recall another instance of the use of the word in this sense.
[52] The "trundle-bed" (or "truckle-bed") was a low bed moving on castors. In the day-time it was placed under the principal or "high" bed: at night it was drawn out to the foot of the larger bed. Vid. Nares, sub "truckle bed" and "trundle bed."
[53] The reading of the MS. is unintelligible. ForAll. I would readAlq., and for "Law you?"—by a very slight change—"Love you?" (the question being addressed to Henrico). Then what follows is intelligible.
[54] "Flay" is usually, if not always, written "flea" in old authors.
[55] MS. "For 3 hellish sins:" the word "For" is no doubt repeated fromFer.
[56] The passage might be tortured into verse, somewhat as follows:—
"Nay butShall I not be acquainted with your designe?When we must marry,Faith, to save charges of two wedding dinners,Lets cast so that one day may yield us bridegroome,—I to the daughter, thou to the mother."
[57] We ought, no doubt, to read "professed,"—a trisyllable.
[58] An allusion is intended to the tailor's "hell,"—the hole under the counter.
[59]Videnote on Vol. I., p. 175.
[60] MS. tracning.
[61] In the MS. the stage direction has been altered to "Enter Sir Gefferie & Bunche." The whole of the colloquy between Sucket and Crackby is marked as if to be omitted. Doubtless this was one of the "reformacons" made at the instance of the Master of the Revels.
[62] Such would seem to be the reading of the MS., but it is not quite plain. I suspect that the true reading is "tripe-wives" (cf. oysterwives, &c.).
[63] I.e., Besár las manos (hand-kissing).
[64] MS. "will."
[65] Perhaps we should rather read:—
"Fie, Sister;'Tis a pretty gent[leman], I know you love him."
[66] The words "I faith" have been crossed out in the MS.—as being irreverent.
[67] MS. "whom."
[68] Cf.The Ladies Privilege, i. 1. (Glapthorne's Works, ii. 99)—
"For my servicesPay me with pricelesse treasure of a kisse,While from the balmy fountaynes of thy lipsDistils a moisture precious as the DewThe amorous bounty of the morneCasts on the Roses cheeke."
[69] In the MS. the word "witnes" has been crossed out and "vouchers" substituted.
[70] The introductory part of this scene, up to the entrance of the steward, had been omitted by the copyist and is added on the last leaf of the play.
[71] In the margin we find the words "Well said, Mr. Steward: a good observation."
[72] "Pride" has been crossed out in the MS.
[73] "What? does he plucke it out of his Codpeece? Yes, here lyes all his affeccon."—Marginal note in MS.
[74] "A verrie politique drunkard"—"I think the barrell of Hedlebergs in his bellye."—Marginal notes in MS.
[75] "Tis well his friends here to reconcile … … for assault and battery elce."—the other words in the marginal note are illegible.
[76] "It were but cast away on such a beast as thou art." Marginal note.
[77] To "take in" is a common phrase for "to take by storm."
[78] Pappenheim fell at the battle ofLützen, November 16, 1632; but there had been fighting atMaestrichtin the earlier part of the year.
[79] MS. pdue.
[80] The first reading was—"Hold, hold, good Captaine, tis our most temperate Steward."
[81] 'Heere, here' is a correction (in the MS.) for 'what then?'
[82] MS. Trime.
[83] These words are crossed out in the MS.
[84] Therefore this play would seem to have been acted at the Whitefriars, i.e. at the Salisbury Court theatre. (F.G. Fleay.)
[85] The "jig" seems to have been a comic after-piece consisting of music and dancing. In Mr. Collier'sHist. of Dram. Lit., iii. 180-85 (new ed.), the reader will find much curious information on the point. The following passage from Shirley'sLove in a Maze(1632) is not noticed by Mr. Collier:—
"Many gentlemenAre not, as in the days of understanding,Now satisfied without a jig, which sinceThey cannot, with their honour, call for afterThe Play, they look to be serv'd up in the middle:Your dance is the best language of some comediesAnd footing runs away with all; a sceneExpress'd with life of art and squared to natureIs dull and phlegmatic poetry."
—Works (ed. Gifford and Dyce), ii. 339.
[86] MS. him.
[87] The name of the musician, I suppose; but the reading of the MS. is somewhat illegible.
[88] The passage at first ran as follows: "Umh, how long have I slept, or am I buried and walke in Elizium as the poets faine? Goe to, where are they? in the ayre? I can percieve nothing nor remember anything has been don or said!"
[89] 'Grimes. Soe, now retire a little. Ile play him one fitt of mirthe on my trebble to rouse him.Ext.' These words occur in the left-hand margin. Probably they should stand here in the text 'Ext.' may mean either 'exeunt' (musicians) or 'exit' (Grimesto disguise himself).
[90] 'Who are these! ha! the towne waits? why, how now, my masters, whats the matter, ha?'—Passage cancelled in MS.
[91] 'Bakside' is a correction (in the MS.) for 'buttock.'
[92] "Here Gent[lemen], share this amongst yee and pray for Grimes." These words (addressed to the musicians) follow in the MS. but have been scored through.
[93] The MS. gives "aurescion."
[94] The reading of the MS. seems to be "inuolute." Mr. Fleay suggests "invocate."
[95] The repetition of 'loath' in the next line is suspicious.
[96] The arrangement of the verse is not easy: perhaps we should read—
'Wishes for husband.A proper Gent[leman]; Ime happyShe has made so iuditious an election.'
Our author usually makes a trisyllable of "gentleman"; here it counts only as a monosyllable.
[97] Between this word and the next there is a mark of omission in the MS., and the words "t'were Sir" have been written above.
[98] What follows, to the entrance ofThurston, is marked to be omitted. I have thought fit to restore it to the text. "Here's Mr.Thurston,"concludes Clariana's speech.
[99] Cf. a similar passage in Glapthorne'sWit in a Constable(Works, I. 182):—
"a limber fellow,Fit onely for deareNan, his schoole-fellow,A Grocer's daughter borne inBread-street, withWhom he has used to goe toPimblicoAnd spend ten groats in cakes and Christian ale."
From Shirley we learn that the apprentices took their pleasure in the mild form of treating their sweethearts to cream and prunes:—
"You have some festivals, I confess, but whenThey happen, you run wild to the next village,Conspire a knot and club your groats apieceFor cream and prunes, not daring to be drunk."(Honoria and Mammon, v. i.).
Pimlico seems to have been a place near Hoxton famous for its ales and custards; cf. Mayne'sCity Match, II. 6.—
"Nay, captain, we have brought youA gentleman of valour, who has beenIn Moorfields often: marry it has beenTo squire his sisters and demolish custardsAt Pimlico."
There is an unique tract entitled "Pimlyco or Runne Red cap, 'tis a mad world at Hoggesden," 1609.
[100] I cannot find that "bob" is used as a technical term in falconry. Mr. Fleay suggests that a "bob'd hawke" merely means a "hawk cheated of her prey." I rather think the meaning is a "hawk beaten or repulsed by her prey."
[101] From "A Kalendar of the English Church," p. 45 (Rivingtons: n.d., but 1865), one learns that "Marriage is restrained by Law at the following times unless with a License or Dispensation from the Bishop of the Diocese, his Chancellor, or Commissary, viz., from Advent Sunday until eight days after the Epiphany; from Septuagesima until eight days after Easter; and from the Monday in Rogation week until Trinity Sunday."
[102] I venture to insert the word "poet": both sense and metre are defective without it.
[103] In the MS. "thee" is corrected into "you."
[104] Some words have been cut away.
[105] MS. throng.
[106] "Thu. And here she comes, I feare me"—crossed out in the MS.
[107] Here a line follows in the MS:—
"And verely she is much to blame in it."
It is crossed through, and rightly.
[108] "Puny" is not uncommonly spelt "puisne" (Fr. puisné) in old authors.
[109] The metre requires "unman[ner]ly."
[110] MS. have.
[111] MS. puisants.
[112] The "Artillery Garden" was situated in Finsbury Fields, where also was the place of exercise for the City Trained Bands. In the "Antiquarian Repertory" (ed. 1807), i. 251-270, the reader will find an interesting account of the Trained Bands and the Artillery Company. Old writers are fond of sneering at the City warriors. The following passage is from Shirley's "Witty Fair One," v. 1:—"There's a spruce captain newly crept out of a gentleman-usher and shuffled into a buff jerkin with gold lace, that never saw service beyond Finsbury or the Artillery-Garden, marches wearing a desperate feather in his lady's beaver, while a poor soldier, bred up in the school of war all his life, yet never commenced any degree of commander, wants a piece of brass to discharge a wheaten bullet to his belly."
[113]"Vinum muscatum quod moschi odorem referat, propter dulcedinem, for the sweetnesse and smell it resembles muske," &c_. Minsheu'sGuide into Tongues(apud Dyce'sGlossary).
[114] "Mooncalf" (originally the name for an imperfectly formed foetus) was used as a term of reproach, like dodypol, nincompoop, ninny, dunderhead, &c.
[115]Sc. trifling fellow, noodle.
[116] The blades from Bilboa in Spain were esteem'd as highly as those of Toledo manufacture.
[117] MS. two.
[118] "Striker" is a cant term for a losel, a wencher.
[119] "Mew" is a falconer's term for the place where a hawk is confined.
[120] This passage is repeated inThe Ladies Privilege, at the end of Act I.
[121] "Curst" is an epithet applied to shrewish women and vicious beasts.
[122] This is the prettiest passage, I think, to be found in Glapthorne.
[123] MS. me.
[124] "Oh me" is crossed out, and "once" written above.
[125] The passage is bracketed in the MS., and was probably meant to be omitted.
[126] MS. Its.
[127] Throughout the scene "judge" is substituted in the MS. for "recorder."
[128] MS. know.
[129] This passage is bracketed in the MS. It could hardly have been expected to escape official censure.
[130] MS. led.
[131] Bracketed in MS.
[132] Early Greek writers held up the Scythians as models of justice and simplicity (Iliad, xiii. 6, &c.). Clearchus (apud Athen., xii. 27) accuses them of cruelty, voluptuous living, and viciousness of every kind; but, in justice to the Scythians, it should be added that in his "animadversiones" to the "Deipnosophists" (when will somebody complete and print Dyce's translation?) the learned Schweighaeuser in no measured language accuses Clearchus of wanton recklessness and gross inaccuracy.
[133] "What is the matter there? looke to the prisoners," was the first reading.
[134] The passage is bracketed in the MS.
[135] Erased in MS.
[136] Before correction the passage stood "And now, madam, being your servant andTimothyI bring you newes!" The words "Stay, stay Mr. Justice," &c., were inserted afterwards.
[137] Bracketed in MS.
[138] The reading of the MS. appears to be "a lonly."
[139] Bracketed in MS.
[140] The MS. is a folio of thirty-one leaves, written in a small clear hand: it was purchased for the National Library in 1851 from the Earl of Denbigh.
[141] In May, 1622, "by reason of sickness and indisposition of body wherewith it had pleased God to visit him, he had become incapable of fulfilling the duties and was compelled to resign."—Vid. Collier's "Hist. Eng. Dram. Lit." I. 402 (new ed.).
[142] Mr. Warner, of the Manuscript Department of the British Museum, to whom we owe the excellent Catalogue of the Dulwich Collection, kindly drew my attention to the autograph letter.
[143] In the right-hand margin we find "Jo: R: migh."—the names of the actors who took the Captains' parts. Further on the name "Jo: Rice" occurs in full. John Rice stands last on the list of Chief Actors in the first fol. Shakespeare. The reader will find an account of him in Collier's "Hist. of Eng. Dram. Lit.," iii. 486-88. It is curious that he should have taken so unimportant a part; but perhaps he sustained one of the chief characters besides.—"Migh" = Michael.
[144] It seems to have been no uncommon thing for officers to keep the names of soldiers on the list after their death and pocket their pay: cf. Webster's "Appius and Virginia," v. i., &c.
[145] The reply of 1Cap., extending to thirteen lines, has been scored through in the MS., at the instance, I suppose, of the censorious Master of the Revels; it is, unfortunately, quite illegible.
[146] The MS. reads "Enter Barnavelt, Modes-bargen, Leidenberck, Vandermetten,Grotius, Taurinus, Utenbogart,Hogebeets." Names not in italics are scored through.
[147] MS. Tau.Hog.
[148] All the characters remain on the stage in spite of this direction.
[149] At first the line ran, "Of this proudPrince of Orange, at the worst."
[150] MS.Enter Pr. of Orange, Gr: Henrie, Gra: William, Collonells & Captaines. Gr: HenrieandCollonellsare scored through. In the right-hand margin is written the name of an actor,Mr. Rob:
[151] The words "I feele too" probably belong to another speaker.
[152] Fletcher is fond of using "ye" for "you."
[153] In the MS. there is a marginal note:—"I like not this: neither do I think that the pr. was thus disgracefully used, besides he is to much presented. G.B." The initials are those of Sir George Buc, Master of the Revels.
[154] "Shellain" is a corrupted form of Dutchschelm—a rogue, villain.
[155] The stage direction in the MS. runs thus:—"Enter 1 Burger, Vandermitten, Grotius." Vandermittenfinally takes the place of 1BurgerandGrotius.
[156] Beneath, in the MS., is written the name of the actor who took the part, "Mr. Gough."
[157] In the right-hand margin are written the initials "R.T." It is unknown what actor was the owner of them.
[158] "Jo: Ri:" is written above, and "migh" in the right-hand margin.
[159] "Mr. Rob." took the Captain's part.
[160] This Captain is identical with the one in the previous scene: "Jo: Rice:" took the part.
[161] In the MS.Vandermittenis scored through, andGrotiuswritten above; but the alteration is not followed afterwards.
[162] "R.T." was responsible for the part.
[163] In the right-hand margin are the initials "T.P.," i.e. Thomas Pollard.
[164] In the right hand margin is a stage-direction, scored through,— "Droms—Enter ye Arminians: pass over."
[165] MS.Enter Bredero, Vandortand 2 Lords. The words in Roman letters are scored through in the MS.
[166] The brackets are mine: whoever excluded the 2Lordsleft these words standing by an oversight.
[167] These weak endings without a pause are characteristic of Massinger.
[168] Massinger is fond of the use of parentheses.
[169] In the MS.Leidenhas been corrected intoRoterdam.
[170] The officer was personated by "R.T."
[171] In the right-hand margin we find "Mr. Rice."
[172] The Captains' parts were taken by "Mr. Rob." and "Mighel."
[173] The Dutch wordknolsignifies both a turnip and a blockhead.
[174] i.e. explain to me. (A very common expression.)
[175] "Fry" has here the unusual sense of "buzz, hiss."
[176] In the right-hand margin we find "Cap. Jo: R."
[177] Underneath is written Migh. who took the part of 1Huntsman.
[178] "And bycause some Hares by haunting the lowe watrie places do become foule and mesled, such Hares doe never follow the hard ways nor make such pathes to their formes, but use all their subtleties and pollecies by the sides of the Ryvers, brookes and other waters." Turberville'sBooke of Hunting(1575), p. 160.
[179] "R.T." took the part.
[180] MS. they.
[181] "Tho: Po:" (i.e. Thomas Pollard) is written in the right-hand margin.
[182] MS. Potents.
[183] The part was taken by "G. Lowen."
[184] The Wife's part was taken by "Nich", who may possibly be (as Mr. Fleay suggests) Nicholas Tooley; but I suspect that a younger actor than Tooley would have been chosen for the part.
[185] "Jo: Rice" took the part.
[186] A corruption of Dutchkermis(the annual fair).
[187] An ironical expression (very common) of denial or astonishment.
[188]Sc. merrily (Dutchlustig), "Lustick, as the Dutchman says." —All's Well, II. 3.
[189] A corruption of Dutchbrui. The meaning is "A plague on his Excellencie!"
[190] In the MS. follow two and a half lines, spoken byVandort, and a speech ofBarnavelt's, twenty-four lines long. These were cancelled on revision. I have succeeded in reading some of the lines; and perhaps after a keener scrutiny the whole passage might become legible. But I have no doubt that the lines were cancelled by the author himself (Massinger?) in order to shorten the scene.
[191] Nearly forty lines of dialogue that follow are cancelled in the MS., in order to shorten the scene.
[192] Not marked in MS.
[193] This passage is marked in pencil, as for omission, in the MS.
[194] The words "Upon my soule" are crossed through in the MS.
[195] This line and the eleven lines following are marked for omission in the MS.
[196] The words "tooke that course That now is practisd on you" are crossed through in the MS., and "cutt of his opposites" substituted in the right-hand margin.
[197] In the MS. the words "you can apply this" are crossed through.
[198] The words "to a Monarchie" are corrected in the MS. "to another forme."
[199] Not marked in MS.
[200] Not marked in MS.
[201] T[homas] Holc[ombe] took the part.
[202] "Mr. Rob." took the part.
[203] In the right-hand margin we find the actor's name, "Mr. Bir.," i.e. Bir[ch].
[204] "The quantity of ten of any commodity; as adickerof hides was ten hides, adickerof iron ten bars. See 'Fragment. Antiq.,' p. 192. Probably fromdecas, Lat."—Nares.
[205] Sc. pumpkin (Fr.).
[206] "Dewse-ace.Deux et az." Cotgrave. (Cf.Love's Labour's Lost, I. 2.) The lowest cast of the dice, two aces, was called "ames ace."
[207] Among the Romans the highest cast was calledVenusand the lowestcanis. (Cf. a well-known couplet of Propertius, lib. iv. el. viii. l. 45—
"Me quoque per talos Venerem quaerente secundosSemper damnosi subsiluere canes.")
[208] Sc. quatre et trois.
[209] Embroidered, figured.
[210] The actors' names, "Mr. Rob." and "Mr. Rice," are written in the right-hand margin.
[211] A term of contempt, like "poor John."
[212] To set up one's rest, meant, as has been abundantly shown by Shakespearean commentators, to stand upon one's cards atprimero; but the word "pull" in this connexion is not at all easy to explain. The general sense of the present passage is plain: "Is my life held in such paltry esteem that slaves are allowed to gamble for it as for a stake at cards?" We have nowhere a plain account ofprimero. When the "Compleat Gamester" was published (in 1674) the game had been discontinued. The variety of quotations given by Nares, underPrimeroandRest, is simply distracting. There are two passages (apud Nares) of Fletcher's bearing on the present difficulty:—
"Myrest is up, wench, and Ipullfor thatWill make me ever famous."Woman's Prize, I. 2.
"Faith, sir, myrest is up,And what I nowpullshall no more afflict meThan if I play'd at span-counter."Monsieur Thomas, IV. 9.
Dyce accepts Nares' suggestion thatpullmeans todraw a card; but if a player is standing on his cards, why should he want to draw a card? There is an old expression, to "pull down a side," i.e. to ruin one's partner (by bad play); and I am inclined to think that to "pull at a rest" inprimeromeant to try to pull down (beat, go beyond) the player who was standing on his cards. The first player might say, "My rest is up"; the other players might either discard or say, "See it"; then the first player would either "revie" it (cover with a larger sum) or throw up his cards. At length—for some limitation would have been agreed upon—the challenger would play his cards, and the opponents would "pull at his rest"—try to break down his hand. I am not at all sure that this is the proper explanation; butpullin the text cannot possibly meandraw a card.
[213] The body of Leydenberg was not exposed until two days after Barneveld's execution.
[214] Charles I. was particularly anxious that these trained bands should be made as efficient as possible, In the "Analytical Index to the Series of Records known as the Remembrancia" (printed for the Corporation of the City of London, 1878) there are several letters from the Lords of the Council to the Lord Mayor on this subject (pp. 533-9). The Directions sent round to the Lord Lieutenants (An. 1638) concerning the Trained Bands of the several counties are given in Rushworth'sHistorical Collections, Part 2, vol. i. p. 790.
[215] An allusion, of course, to Bardolph's famous definition of "accommodated" (2Henry IV., iii. 2).
[216]Foxwas a cant term for a sword of English make. At Hounslow Heath there was a sword-blade manufactory:—"Nov 30 (1639). Benjamin Stone, blade maker, Hounslow Heath, to the Officers of the Ordnance. Will always be ready to deliver 1,000 swords of all fashions every month throughout the year, and will put in such security as the office shall desire. Has now ready at the Tower and in his own house 2,000 swords to deliver when the officers shall please."—Calendar of State Papers, Domestic Series, 1639-40, p. 134.
[217]Ticktackswas a game somewhat similar to backgammon. It is described in theCompleat Gamester, 1674.
[218] The Pacification of Berwick took place in June, 1639.
[219] Tobacco-pipefuls; but no doubt a pun was intended. ForBermudastobacco Nares quotes fromClitus's Whimz., p. 135, "Where being furnished with tinder, match, and a portion of decayedBermoodusthey smoke it most terribly."
[220] Our forefathers esteemed the March brewing; we the October.
[221] To "build a sconce" means, I suppose, to fix a candle in a candle-stick.
[222] This speech of Sir Richard's is very much in Shirley's style: cf.Lady of Pleasure(I. 1).
[223] Galley-foist was the name given to long many-oared barges, particularly the Lord Mayor's barge of state. Foist is also a term for a sharper; and gallifoist was intended to be pronounced here gullifoist.
[224] An account of the way to playGleekis given in theCompleat Gamester, 1674.
[225] Ambergrease was not uncommonly used for culinary purposes.
[226] Father-in-law is often used by old writers for step-father. Perhaps "by a" is a correction for "to a."
[227] Title, mark of distinction (Hamlet, I. 4, &c.).
[228] A head-covering worn by women. "A night-rail (for a woman) pignon, pinon," Sherwood's Engl.-French Dict. 1650.
[229] To be "in the suds" was an expression for to be "in the dumps."
[230] Vid. Notes of the Commentators onHenry V., iii. 7 ("strait trossers").
[231] Regals were a kind of small portable organ: vide Nares.
[232] Cf. a passage in Shirley'sWitty Fair One(IV. 2): "What makes so many scholars then come from Oxford or Cambridge like market-women with dorsers full of lamentable tragedies and ridiculous comedies which they might here vent to the players, but they will take no money for them?"
[233] The Theorbo was a kind of lute.
[234] On June 20, 1632, a royal proclamation was made "commanding the Gentry to keep their Residence in at their Mansions in the Country, and forbidding them to make their habitations in London and places adjoining." The text of the proclamation is in Rushworth's Historical Collections (1680), Pt. II. vol. i. p. 144. In a very interesting little volume of unpublished poems, temp. Charles I. (MS. 15,228, British Museum), there is an "Oade by occasion of his Maiesties Proclamatyon for Gentlemen to goe into the Country." It is too long to quote here in full, but I will give a few stanzas:—
Nor lett the Gentry grudge to goeInto the places where they grew,Butt thinke them blest they may doe so:Who would pursue
The smoaky gloryes of the Towne,That might goe till his Native EarthAnd by the shineing fyre sitt downeOf his own hearth;
Free from the gripeing Scriv'ners bandsAnd the more biteing Mercers bookes,Free from the bayte of oyled handsAnd painted lookes?
The Country, too, eene chops for rayne:You that exhale it by your pow'r,Let the fatt drops fall downe againIn a full show'r.
And you, bright beautyes of the time,That spend your selves here in a blaze,Fixe to your Orbe and proper ClimeYour wandring Rayes.
Lett no dark corner of the LandBee unimbellisht with one Gemme,And those which here too thick doe standSprinkle on them.
And, trust mee, Ladyes, you will findIn that sweet life more sollid joyes,More true contentment to the minde,Then all Towne-Toyes.
Nor Cupid there less blood doth spill,Butt heads his shafts with chaster love,Not feath'red with a Sparrow's quillButt of a Dove.
There may you heare the Nightingale,The harmeless Syren of the wood,How prettily shee tells a taleOf rape and blood.
Plant trees you may and see them shootUp with your Children, to bee serv'dTo your cleane Board, and the fayr'st fruiteTo bee preserved;
And learne to use their sev'rall gumms.Tis innocente in the sweet bloodOf Cherrys, Apricocks and PlummsTo bee imbru'd.
[235] The Galliard, a lively French dance described in Sir John Davies'Orchestra(st. 67).
[236] Sc. good-bye. Cf. Shirley'sConstant Maid, i. 1, "Buoy,Close, buoy, honestClose: we are blanks, blanks."
[237] Can the reference be toTroilus and Cressida?
[238] Ben Jonson'sAlchemist.
[239] Puisne (i.e. puny) was the term applied to students at the Inns of Court; also to Freshmen at Oxford.
[240] Cf. Shirley'sHonoria and Mammon, i. 2:
"Go to your LindabridesI'the new brothel; she's a handsomeleveret."
[241] The first edition of this well-known book was published in 1628.Parsons Resolutionsis a fictitious book.
[242] The "lamentable ballad of the Lady's Fall" has been reprinted by Ritson and Percy.
[243] In the MS. follows a line, scored through:—
"And while my footman plaies sigh out my part."
[244] Shirley delights in ridiculing the affectation in which the gallants of his time indulged. Cf. a very similar passage inThe Lady of Pleasure, v. 1.
[245] The cant language of thieves. In Harman'sCaveat for Cursitors, or some of Dekker's tracts, "Pedlars' French" may be found in abundance.
[246] I print this passage exactly as I find it in the MS. With a little trouble it might be turned into good law.
[247]Aut Shirley aut Diabolus. Cf.Duke's Mistress, iv. 1:
"You shall lead destiny in cords of silk,And it shall follow tame and to your pleasure."
[248] Sc. swaggering.
[249] A Chrisome child was one that died within a month after birth, at the time of wearing the Chrisome cloth (i.e. the cloth formerly wrapt round a child after baptism). Device implies that his rival is perfectly helpless among ladies, a mere child.
[250] "In the City of London," says Nares, "young freemen who march at the head of their proper companies on the lord mayor's day, sometimes with flags, were calledwhifflersorbachelor whifflers, not because they cleared the way but because they went first as whifflers did.—'I look'd the next Lord Mayor's day to see you o' the livery, or one of thebachelorwhifflers.City Match.'"
[251] These words are scored through in the MS.
[252] To "bear a brain" means to have understanding. The expression is very common.
[253] Not marked in the MS.
[254] The earliest reference I have yet found to the "Cup atNewmarket" is in Shirley'sHyde Park, v. 1.
[255] The exact date of his death is unknown; he was dead before the performance of Ben Jonson'sBartholomew Fair(1614).
[256] "Merlin. Thefalco aesalonof Linnaeus, a small species of hawk; sometimes corrupted into murleon. It was chiefly used to fly at small birds, and Latham says it was particularly appropriated to the service of ladies."—Nares.
[257] Thomas Heywood gives an account of the "great ship" in his "True description of his Majesties Royall Ship built this yeare 1637 at Wool-witch in Kent," &c. 1637. 4to.
[258] "Back side" = back yard.
[259] A wild cat.
[260] This scene was added, as an afterthought, at the end of the MS. In the body of the MS. we find only "A song ith taverne. Enter Thomas."
[261] The stage direction is my own.
[262] All that I know at present of Mr. Adson is that he published in 1621 a collection of "Courtly Masquing Ayres."
[263] A corruption of "save-reverence": we usually find the form "sir-reverence."
[264] i.e. drunk.
[265] An allusion to Webster's "Vittoria Coromborea, or the White Devil."
[266] Not marked in MS. We have, instead, a note:—
"And then begin as was intended."
[267] Old authors constantly allude to the riotous conduct of the 'prentices on Shrove Tuesday.
[268] This is a correction (in the MS.) for "to a Beggars tune."
[269] So in Dekker & Middleton'sFirst Part of the Honest Whore(IV. 3):—
"A sister's threadi' faith had been enough."
Dyce was no doubt right in thinking that the expression is a corruption ofsewster'sthread. In Ford'sLady's Trial, Gifford altered "sister's thread" to "silverthread." Shirley has "sister's thread" inHyde Park(V. 1).
[270] With this abuse cf. a very similar passage in Shirley'sDuke's Mistress(IV. 1).
[271] TheWoman Haterin Beaumont and Fletcher's play.
[272] "Canaries" was the name of a quick, lively dance. Cf. Middlemen'sSpanish Gipsy(IV. 2): "Fortune's a scurvy whore if she makes not my head sound like a rattle and my heels dance the canaries."
[273] Cf. a similar passage in Shirley'sBrothers(iii. 1).
[274] In Sidney'sArcadia.
[275] Cf. Jonson'sEvery Man out of his Humour, II. 1: "They say there's a new motion of the city ofNinivehwithJonasand the whale to be seen atFleet bridge." (Amotion, of course, is a puppet-show.)
[276] This line occurs, word for word, in Shirley'sBird in a Cage(IV. 1):—
… "A bird to be made much on. She and the horseThat snorts at Spain by an instinct of natureShould have shown tricks together."
[277] An allusion to the game of "barley-break."
[278] In the MS. the speaker's name is omitted. I have chosenCourtwellat a venture.
[279]Holland's Leaguerwas the name of a notorious brothel in Southwark.
[280]The Tell-Tale. Through the courtesy of the Master, Dr. Carver, I have had an opportunity of examining this play. It is of no particular interest. The comic part is very poor, suggesting William Rowley at his worst. Here are some fair lines, the best I can find:—
Fide[lio]. How? dead in prison?
Duke. Dead,Fidelio:Things of theire nature, like [a] vipers brood,Kill their owne parents. But having sett the CourtIn some good order, my next businesYs thus disguis'd to overlooke the Camp;For a rude army, like a plott of groundLeft to yt selfe, growes to a wildernesPeopled with wolves & tigers, should not the princeLike to a carefull gardner see yt fenct,Waterd & weeded with industrious care,That hee ithe time of pruning nether spareWeeds for faire looks and painted bravery, norCut downe good hearbs and serviceable forTheire humble growth: the violet that is borneUnder a hedg outsmells the blossomd thorneThat dwells fare higher.
Fide. Yare full of goodnes & have layd out muchIn provision for the whole state.
Duke. My place: I am overseerAnd bound to seet provided for by pattent.For as the sunn, when lesser plannets sleep,Holds his continued progresse on and keepesA watchful eye over the world, so kings(When meaner subjects have their revillingsAnd sports about them) move in a restless herde;The publique safty is theyr privat care.But now farewell; the army once surveighdExpect mee here.
Fid. Your pleasure bee obaid.
[281] A few years ago I suggested in "Notes and Queries" that this unknown author was Cyril Tourneur. Afterwards I discovered that I had been anticipated by Thomas Lovell Beddoes. Curiously enough Mr. Fleay had independently arrived at the same conclusion. Mr. Swinburne (Essay on Chapman) is inclined to attribute theSecond Maiden's Tragedyto Middleton.