Scene1.]
_Enter the dumb shew of the marriage, Lentulus, Tully, and the rest.
Enter Hostis in Getticaes apparel, Getic. in hers, & Mistris Dama_.
Hostis. Come, Gossip, by my troth, I cannot keepe my hood in frame.
Cittie wife. Let me helpe ye, woman.
Get. Sir, we shall be troublesome to ye.
Gra. Oh urge not that I pray ye.
Get. I pray ye what shewe will be heere to night? I have seen theBabonesalready, theCittie of new Ninivie[320] andJulius Caesar, acted by the Mammets.
Grac. Oh, gentlewoman, those are showes for those places they are used in; marry, heere you must expect some rare device, asDianabathing herself, being discovered or occulated byActeon, he was tranfigured to a hart, & werried to death with his own dogs.
Cit. W. Thats prettie in good truth; & mustDiana, be naked?
Gra. Oh of necessitie, if it be that show.
Hostis. AndActeon, too? that's prettie ifaith.
Enter Caesar, Lent: Tully, Teren: Flavia.
Caes. Now, gallant Bridegroomes, and your lovely Brides,That have ingeminate in endlesse leagueYour troth-plight hearts, in your nuptial vowesTyed true love knots that nothing can disolveTill death, that meager pursevant ofJoveThat Cancels all bonds: we are to [sic] clowdie,My spirit a typtoe, nothing I could chid so muchAs winged time, that gins to free a passageTo his current glasse and crops our day-light,That mistie night will summon us to rest,Before we feele the burthen of our eylids.The time is tedious, wants varietie;But that I may shew what delightful rapturesCombats my soule to see this union,And with what boundles joy I doe imbrace it,We heere commaund all prison gates flye ope,Freeing all prisoners (traitors all except,)That poore mens prayers may increase our daies,And writers circle ye with wreathes of bayes.
Grac. S'foot,Accutus, lets lay hold of this to free our captive.
Acu. Content; ile prosecute it.
Tul. Dread soveraigne, heaven witnesse with meWith what bended spirit I have attaindeThis height of happinesse; and how unwillingly,Till heavens decree,Terentiaslove, and yourFaire consents did meet in one to makeMe Lord thereof: nor shall it add one scrupleOf high thought to my lowly minde.TullyisTully, parentage poore, the bestAn Orator, but equall with the least.
Lent. Oh no doubt,Accutus, be the attemptMy perill, his royall promise is pastIn that behalfe. My soveraigne, this GentlemansRequest takes hold upon your gratious promiseFor the releasement of a prisoner.
Cos. My promise is irrevocable, take it; But what is hee and the qualitie of his fault?
Acut. A gentleman, may it please your grace; his fault Suspition, and most likly innocent.
Caes. He hath freedome, and I prethee let him be brought hither.
[Exit[321] Acut.
Perhaps in his presence we shall win some smiles,For I have noted oft in a simple braine,(Only striving to excell it self)Hath corrupted language, that hath turndTo pleasant laughter in juditious eares;Such may this proove, for now me thinkesEach minute, wanting sport, doth seeme as longAnd teadious, as a feaver: but who doth knoweThe true condition of thisAccutus?
Tully. My Leige, of him something my knowledgeCan discover; his spirit is free as aire,His temper temperate, if ought's uneevenHis spleene waies downe [towards] lenitie: but howStird by reproofe? ah,[322] then hee's bitter and likeHis nameAcute, vice to him is a foule eye-soreAnd could he stifle it in bitterest words he would,And who so offends to him is paralell;He will as soon reproove the Caedar stateAs the lowe shrub.
Enter Acut. and Philaut.
Phy. Nay, goodAccutus, let me not enter the presence.
Accut. Oh sir, I assure you your presence will be most acceptable in the presence at this time then a farre ritcher present. May it please your majestie, this is the man.
Caes. Let him stand forward.
Cit. W. Alas, we shal see nothing; would I were neere; now hee stands forwards.
Caes.[323] What qualities hath he,Accutus?
Accut. A few good ones (may it please you); he handles a comb wel, a brush better, and will drink downe aDutchman, & has good skill in pricksong.
Hostis. I, ile be sworne he had, when he was my Guest.
Acut. Please it your Maiestie to commaund him?
Caes. Oh, we can no otherwise, so well be pleased.
Phy. I beseech your Maiestie, I cannot sing.
Tul. Nay, your denyall will breed but greater expectation.
Acut. I, I, please it your grace to heare? now he begins.
Phy.My love can sing no other song, but still complaines I did her, &c. I beseech your Maiestie to let me goe.
Caes. With all our heart;Acutus, give him libertie.
Accut. Goe and for voice sake yee shall sing Ballads in the suburbes, and if ever heereafter ye chance to purchase a suite, by what your friends shal leave ye, or the credit of your friend, be not drunk again, & give him hard words for his labour. [Exit.
Caes. What, ist effected,Graccus?
Gra. I have wrought the foole;Scilicetcomes alone, & his Lady keepes the women company.
Accu. Tush, weele have a room scantly furnisht with lights that shall further it.
Caes. What sound is that?
Acut. I, would ye so fain enter? ile further it: please it your Maiestie to accept what is not worth acceptance? heere are a company to Gratulate these nuptials, have prepard a show—I feare not worth the sight—if you shall deeme to give them the beholding of it.
Caes. Else should we wrong their kindnes much.Accutus, be it your care to give them kindest welcome; we cannot recompence their loves without much beholdings.
Acut. Now for the cunning vizarding of them & tis done.
Hostis. Now we shall beholde the showes.
Get.Acteonand his Dogs, I pray Jupiter.
Enter the maske and the Song.
Chaunt birds in everie bush,The blackbird and the Thrush,The chirping Nightingale,The Mavis and Wagtaile,The Linnet and the Larke,Oh how they begin, harke, harke.
Scil. S'lid, there's one bird, I doe not like her voice.
Sing againe & Exeunt.
Hostis. By my troth, me thought one should be my husband, I could even discerne his voice through the vizard.
Cittie wife. And truely by his head one should be mine.
Get. And surely by his eares one should be my sweet heart.
Caes.Accutus,[324] you have deserved much of our love, but might we not breake the law of sport so farre as to know to whome our thankes is due, by seeing them unmaskt and the reason of their habits?
Acut. Most willingly, my Soveraigne, ile cause their returne.
Hostis. Oh excellent! now we shal see them unmaskt. [Exit.
Get. In troth, I had good hope the formost had beneActeon, when I saw his hornes.
Cit. wif. Sure the middlemost was my husband, see if he have not a wen in his forehead.
Enter Maskers.
Host. God blesse thee, nobleCaesar, & all these brave bridegroomes, with their fine little dydoppers, that looke before they sleep to throw away their maiden heads: I am host of the Hobbie,Cornut. is my neighbour, but wele pull of his bopeeper; thou't know me by my nose, I am a mad merie grig, come to make thy grace laugh; sirScillicetmy guest; all true canaries, that love juce of grapes, god blesse thy Maiestie.
Acut. How now, mine Host?
Host. Ha, ha, I spie a jest. Ha, ha,Cornutus, Cornutus.
Acut. Nay, mine host, heeres a moate in your eye to [sic].
Scil. S'lid, I hope they have not serv'd me so; by the torrid y'are an asse, a flat Asse, but the best is I know who did it; twas either you or some body else; by gad, I remember it as wel as if it were done now.
Host. T[h]ou shalt answer it to my leige, ile not be so misused, ye have a wrong element, theres fire in my face, weele mount and ascend. I'me misused, the mad comrades have plaide the knaves. Justice, my braveCaesar.
Accut. Ile answer it, mine Host. Pardon, greateCaesar:The intent was merriment, the reason this:A true brow bends to see good things a misse,Men turned to beasts, and such are you mine Host;Ile show you else, you are a Goate, look here!Now come you, this is your's, you know it, doe you not?How old are you? are you not a Goate now?Shall I teach you how to use a wife and keepe herIn the rank of goodnes? linke her to thy soule,Devide notindividium, be her and she thee,Keepe her from the Serpent, let her not GadTo everie Gossips congregation;For there is blushing modestie laide outAnd a free rayne to sensual turpitudeGiven out at length and lybidinous acts,Free chat, each giving counsell and sensureCapream maritum facere, such art thou Goate.Be not so secure. And you, my grandCornutus,Thou Ram, thou seest thy shame, a pent-houseTo thy eye-browes, doost not glorie in it, doost?Thou'lt lye in a Trucklebed, at thy wives bed feete,And let her goe a Gossiping while thou sweepest the kitchin.Look, she shall witnesse[325] against thee.
Corn. My wife there? I must be gone then.
Acut. Oh fye, betray not thy self so grossely.
Cor. I pray ye pardon me.
Accut. I dare not.
Cor. I sir, but afterward may come after claps. I know the world well enough.
Accut. Mischiefe of the Devill, be man, not all beast, do not lye,——both sheetes doe not.
Cit. w. I warrant this fellow has as many eies as a Lamprey, hee could never see so farre into the world else.
Accu. And thou pure asse, meere asse, thy eares become thee well, yfaith.
Scil. I think you merit to make a Musition of me, you furnish me with a good eare.
Accut. Thou deservdst it, thou't make thy self a Cucckold, be it but for company sake; thou hast long eares, and thinkest them hornes, thy onceites cuckolds thee, thou art jealious if thou seest thy wives —— with another mans palme. And foole, thy state in that sense is the best; thou art claspt with simplicitie, (a great badge of honestie,) for the poore foole has pawnd her cloathes to redeeme thy unthriftines; be jealious no more unlesse thou weare thine eares still, for all shall be well, and you shall have your puppie againe.
Get. Shall I? by my troth, I shall be beholding to you then.
Acu. Now to ye all, be firmaments to stars,Be stars to Firmaments, and, as you areSplendent, so be fixed, not wandering, norIrregular, both keeping course together.Shine not in pride and gorgeous attire,When clouds doe faile the pole where thou art fixt.Obey, cherish, honor, be kinde enough,But let them weare no changeable stuffe;Keepe them, as shall become your state,Comely, and to creepe ere they goe.Let them partake your joyes and weep with you,Curle not the snarles that dwell upon these browes.In all things be you kinde: of all enough,But let them weare no changeable stuffe.
Host. Fore God a mad spirit.
Hostis. Will ye beeleeve what such a bisket brain'd fellow as this saies? he has a mouth like a double cannon, the report will be heard all ore the towne.
Cittie wife. I warrant he ranne mad for love, because no good face could indure the sight of him, and ever since he railes against women like a whot-shot.
Len. Nay, nay, we must have all friendes,Jarring discords are no marriage musick;Throw not Hymen in a cuckstoole; dimpleYour furrowed browes; since all but mirth was ment,Let us not then conclude in discontent,Say, shall we allIn friendly straine measure our paces to bed-ward?
Tul. WillTerentiafollow?
Teren. IfTullybe her Leader.
Host. Good bloods, good spirits, let me answer for all, none speake but mine Host; hee has his pols, and his aedypols, his times and his tricks, his quirkes, and his quilits, and his demise and dementions. God blesse thee, nobleCaesar, and all these brave spirits! I am Host of the Hobby,Cornutusis my neighbour,Graccus, a mad spirit,Accutusis my friend, SirScillicetis my guest; al mad comrades of the true seede ofTroy, that love juce of Grapes; we are all true friends, merrie harts live long, let Pipers strike up, ile daunce my cinquepace, cut aloft my brave capers, whirle about my toe, doe my tricks above ground, ile kisse my sweet hostesse, make a curtesie to thy grace; God blesse thy Maiestie and the Mouse shall be dun.
Cor. Come wife, will you dance?
Wife. Ile not daunce, I, must you come to Court to have hornes set on your head? I could have done that at home.
Host. I, I, be rulde at this time; what? for one merrie day wele find a whole moone at midsommer.
Daunce.
Caes. Gentles, wee thanke yee all, the night hath spentHis youth, and drowsieMorpheusbids us battell.We will defie him still, weele keep him outWhile we have power to doe it. SoundYour loudest noise: set forward to our chamber.
Gra. Advance your light.
Caes. Good rest to all.
Omn. God give your grace God-night.
[Exeunt.
VOL. II.Tragedy of Sir John Van Olden Barnavelt. InThe Athenaeumof January 19, 1884, my friend, Mr. S.L. Lee, pointed out that the first performance of this remarkable play took place in August, 1619. I had thrown out the suggestion that the play was produced at Michaelmas, 1619. "I have been fortunate enough," says Mr. Lee, "to meet with passages in the State Papers that give us positive information on this point. In two letters from Thomas Locke to Carleton, the English ambassador at the Hague, I have found accounts of the circumstances under which the tragedy was first performed in London. The earlier passage runs as follows:—'The Players heere', writes Locke in London on August 14th, 1619, 'were bringing of Barnevelt vpon the stage, and had bestowed a great deale of mony to prepare all things for the purpose, but at th'instant were prohibited by my Lo: of London' (Domestic State Papers, James I., vol. cx. No. 18). The play was thus ready on August 14th, 1619, and its performance was hindered by John King, Bishop of London. The excitement that the Arminian controversy had excited in England would sufficiently account for the prohibition. But the bishop did not persist in his obstruction. On August 27th following Locke tells a different story. His words are: 'Our players haue fownd the meanes to goe through with the play of Barnevelt, and it hath had many spectators and receaued applause: yet some say that (according to the proverbe) the diuill is not so bad as he is painted, and that Barnavelt should perswade Ledenberg to make away himself (when he came to see him after he was prisoner) to prevent the discovrie of the plott, and to tell him that when they were both dead (as though he meant to do the like) they might sift it out of their ashes, was thought to be a point strayned. When Barnevelt vnderstood of Ledenberg's death he comforted himself, which before he refused to do, but when he perceaueth himself to be arested, then he hath no remedie, but with all speede biddeth his wife send to the Fr: Ambr: which she did and he spake for him, &c.' (Domestic State Papers, James I., vol. cx. No. 37). Locke is here refering to episodes occurring in the play from the third act onwards. In Act III. sc. iv. Leidenberch is visited in prison by Barnavelt, who bids him 'dye willingly, dye sodainely and bravely,' and adds, 'So will I: then let 'em sift our Actions from our ashes,'—words that Locke roughly quotes (see p. 262 of Mr. Bullen's 'Old Plays,' vol. ii.). The first performance of the tragedy we may thus assign to a day immediately preceding the 27th of August, 1619. When we remember that Barnavelt was executed on May 13th of the same year, we have in this play another striking instance of the literal interpretation given by dramatists of the day to Hamlet's definition of the purpose of playing."
I have tried hard to decipher the passages that are scored through (probably by the censor's pen) in the MS., but hitherto I have not had much success.
Vol. III.—The Wisdome of Doctor Dodypoll.
The stealing of an enchanter's cup at a fairy feast by a peasant is a favourite subject of fairy mythology. See Ritson'sFairy Tales.
The Distracted Emperor.
William Tyndale in hisPractyse of Prelates, 1530, relates the wild legend of Charlemagne's dotage:—"And beyond all that, the saying is that in his old age a whore had so bewitched him with a ring and a pearl in it and I wot not what imagery graven therein, that he went a salt after her as a dog after a bitch and the dotehead was beside himself and whole out of his mind: insomuch that when the whore was dead he could not depart from the dead corpse but caused it to be embalmed and to be carried with him whithersoever he went, so that all the world wondered at him; till at the last his lords accombered with carrying her from place to place and ashamed that so old a man, so great an emperor, and such a most Christian king, on whom and on whose deeds every man's eyes were set, should dote on a dead whore, took counsel what should be the cause: and it was concluded that it must needs be by enchantment. Then they went unto the coffin, and opened it, and sought and found this ring on her finger; which one of the lords took off, and put it on his own finger. When the ring was off, he commanded to bury her, regarding her no longer. Nevertheless he cast a fantasy unto this lord, and began to dote as fast on him, so that he might never be out of sight; but where our Charles was, there must that lord also be; and what Charles did, that must he be privy unto: until that this lord, perceiving that it came because of this enchanted ring, for very pain and tediousness took and cast it into a well at Acon [Aix la Chapelle], in Dutchland. And after that the ring was in the well, the emperor could never depart from the town; but in the said place where the ring was cast, though it were a foul morass, yet he built a goodly monastery in the worship of our lady, and thither brought relics from whence he could get them, and pardons to sanctify the place, and to make it more haunted. And there he lieth, and is a saint, as right is: for he did for Christ's Vicar as much as the great Turk for Mahomet; but to save his holiness, that he might be canonised for a saint, they feign that his abiding there so continually was for the hot-baths' sake which be there." (Works, ed. Parker Society, ii. 265.)
Burton in theAnatomy of Melancholy, Part iii., Sect. 2, Memb. 3,Subs. 5, briefly narrates the story.
In the first scene of theDistracted Emperor, l. 17, for the reading of the MS. "Can propp thy mynde, fortune's shame upon thee!" we should undoubtedly substitute "Can propp thy ruynde fortunes? shame upon thee!"
Dr. Reinhold Köhler of Weimar explains once for all the enigmatical letters at the end of the play:—"The line denotes:
Nella fidelta finirola vita.
For as the letters [Greeek: ph d ph n r] must be read by their Greek names, so must also the B—better written [Greek: B]—be read by its Greek name [Greek: Baeta], or by Neo-Greek pronunciationvita. With this meaning the line is given in the work of Etienne Tabourot 'Les Bizarrures du Seigneur des Accords,' which is said to have appeared first in 1572 or 1582, in Chap. ii. on 'rébus par lettres.' I only know the passage by a quotation in an interesting work by Johannes Ochmann 'Zur Kentniss der Rebus,' Oppeln, 1861, p. 18. I have also found our rebus in a German novel entitled 'The Wonderful Life of the Merry Hazard,' Cosmopoli, 1706. In this book, p. 282, it is related that a priest wrote as a souvenir in Hazard's album:—
'Nella [Greek: phd]. [Greek: phnr] la [Greek: B].As an assurance of his heartThat knows no jokingIt said' … …
And further (p. 283):—'Hazard knew not what to make of these mere Greek letters and spent several days in fruitless thoughts, until the priest let him understand that he was only to pronounce them, then he would hear from the sounds that it was Italian and meant: Nella fideltá finiró la vita.' This is the solution of the various hypotheses that have been set up about the meaning of 'la B.'"
Vol. IV.—Everie Woman in her Humor.
P. 312 "Phy. Boy!—Sleepe wayward thoughts." The words "sleepe wayward thoughts" are from a song in Dowland'sFirst Book of Songs or Airs of four parts, 1597. In Oliphant'sMusa Madrigalescathe song is given thus:—
"Sleep, wayward thoughts, and rest you with my love;Let not my love be with my love displeased;Touch not, proud hands, lest you her anger move,But pine you with my longings long diseased.Thus, while she sleeps, I sorrow for her sake;So sleeps my love—and yet my love doth wake.
But, oh! the fury of my restless fear,The hidden anguish of my chaste desires;The glories and the beauties that appearBetween her brows, near Cupid's closed fires!Sleep, dainty love, while I sigh for thy sake;So sleeps my love,—and yet my love doth wake."
P.335. "For I did but kisse her."—Mr. Ebsworth kindly informs me that these words are from a song (No. 19) inThe First Booke of Songs and Ayres(1601?) composed by Robert Jones. The song runs:—
"My Mistris sings no other songBut stil complains I did her wrong.Beleeue her not, it was not so,I did but kiss her and let her go.
And now she sweares I did, but what,Nay, nay, I must not tell you that:And yet I will, it is so sweete,As teehee tahha when louers meet.
But womens words they are heedlesse,To tell you more it is needlesse:I ranne and caught her by the armeAnd then I kist her, this was no harme.
But she alas is angrie still,Which sheweth but a womans will:She bites the lippe and cries fie, fie,And kissing sweetly away she doth flie.
Yet sure her lookes bewraies contentAnd cunningly her bra[w]les are meant:As louers use to play and sport,When time and leisure is too short."
On p. 373 Philautus gives another quotation from the same song.
P. 340. "The fryer was in the—." Mr. Ebsworth writes:—"This song is extant among the Pepysian Ballads (the missing word is equivalent to 'Jakes'): original of 'The Friar in the Well.'"
Academic playwrightsAccomodateAdditionAdorningAdson's new ayresAgamemnon in the playAgrippinaAlablaster ( = alabaster)Alchemist, allusion to the play of theA life ( = as my life)Almarado (?)AmbergreeceAndirons ("The andirons were the ornamental irons on each side of thehearth in old houses, which were accompanied with small rests forthe ends of the logs."—Halliwell.)Anotomye (For the spelling compare Dekker's Satiromastix—"becauseMine enemies with sharpe and searching eyesLooke through and through me, carving my poore laboursLike anAnatomy."—Dramatic Works, ed. Pearson, i. 197.)Anything for a quiett lyfeAphorismeApornApple-squierArch-pillersArgentum potabileArtillery GardenArtireAscapartAssoyle
BablesBabyesBack sideBacon, RogerBaffeld ( = treated ignominiously)Bainardes CastleBale of diceBandogsBanks' horseBantamBarleybreakBasolas manosBassesBastardBavynBaytingBeare a braineBeetleBermudasBerwick, pacification ofBesognioBest hand, buy at theBezoarBilbo mettleBiron, Maréchal deBisselingBlacke and bleweBlacke gardBlack JacksBob'dBombardsBonos nocthusBooke ("Williams craves his booke")BorachosBossedBottom,Brass, coinage ofBrauleBraunchedBravesBreeBroad cloth, exportation ofBrondBrowne, Sir Thomas, quotedBrowne-bastardBuild a sconce.—See SconceBull (the executioner)Bullets wrapt in fireBullyesBumbarrelsBu'oyBurntBuskesBusse, the (Hertogenbosch taken in 1629, after a memorable siege, byFrederick Henry, Prince of Orange)
Cage (prison)CalesCalisto, MS. play composed of scenes from Heywood'sGolden Age andSilver AgeCanariesCap-caseCarackCarbonadoCardeqCardicueCaroachCarrackesCarry coalsCaseCast-of MerlinsCastrellCatamountaineCater-treyCaullCautelousCensureChampionChapman, GeorgeChoake-peareChrisomeCinque paceCitie of new NinivieClapdishClosse contryvancesCoateCockerellCollComparisons are odorousConsortConvertiteCooling cardeCorantaCornutusCoventCrak'tCraseCricketCupboard of plate ( = movable side-board)Cut-beaten-sattyn (Cf. Marlowe'sFaustus—"beatensilk.")Cutt-boy
Daborne, RobertDametasDay, JohnDead paiesDebosht ( = debauched)DeneereDepartDetestDevideDewse aceDiamonds softened by goat's bloodDickerDiet-breadDiety (For the spelling cf. Rowley'sAll's Lost by Lust, 1633,sig. C. 4:"Can lust be cal'd love? then let man seeke hell,For there that fierydietydoth dwell."Again in the same play, sig. D. 2, we have—"Descend thy spheare, thou burningDiety."John Stephens in hisCharacter of a Page[Essayes and Characters,1615] speaks of "Cupid'sdiety.")Dion Cassius, quotedDiophoratickDisgestionDisguestDivisionDoggsheadDoor ("Keep the door" = act as a pander)DoorkeeperDorsersDowland, JohnDraw drie footeDuckeDuns the mouseDydoppers (dabchicks)
Eare picker ( = barber)Edmond Ironside, MS. chronicle-playEmpresasEringoesEstridgeExclaimes
Family of LoveFangFatal Maryage, MS. playFather-in-lawFeare no coloursFeeresFelt locksFeltham'sResolvesFend ( = make shift with)Fins (a very doubtful correction forsins)FisguiggeFlat capFlea ( = flay)Fletcher, John, MS. copy of hisElder Brother; his share in theauthorship ofSir John Van Olden BarnaveltFlewdFly boat (seeAddendato vol. i.)Fool (play on the wordsfoolandfowl)Fooles paradysseFor I did but kisse her(SeeAppendix)Fortune my foeFoxFoxdFreeFry(?)Futra
GalleyfoistGerman fencerGetesGhosts cryingVindictaGibb ("A male-cat, now generally applied to one that has beencastrated."—Halliwell.)GiglotGingesGlapthorne, quoted; the play ofThe Lady Motheridentical withGlapthorne'sNoble TrialGlass, patent for makingGleekeGods dynesGollGondarinoGossipsGrandoesGroaning cakeGuarded ( = trimmed)Gumd taffety that will not fret (See Nares'Glossary, s.,gumm'd velvet.)GundeletGyges
HaberdineHadiwistHanging TuneHatto, BishopHead ("how fell ye out all a head?")HellHell, another couple inHemmingHesperides ( = the garden of the Hesperides)Heywood, Thomas, his play ofThe Captives; lines at the end of hisRoyal King and Loyal Subjectidentical with the AddressTo theReaderat the end of H. Shirley'sMartyd Souldier; the play ofDick of Devonshiretentatively assigned to him; the MS. playCalistocomposed of scenes from hisGolden Age and Silver AgeHocas pocasHolland's LeaguerHorace, quoted (In the lines"Now die your pleasures, and the dayes you prayYour rimes and loves and jests will take away"are imitated from Horace'sArs Poetica, ll. 55-6,—"Singula de nobis anni praedantur euntes;Eripuere jocos, Venerem, convivia, ludum.")Hott shottsHounslow Heath, Sword-blade manufactory atHuckle boneHuffingHunts upHypostacies
Imbrocados (thrusts over the arm in fencing)IncontinentIron millsIt ( = its)
JackeJiggsJulius Caesar (puppet-show of)Juvenal quoted
KeepeKnight a the postKnowes me no more then the begger knowes his dish know him as well asthe begger, &c.Kramis time
Lacrymae Ladies DownfallLady Mother, comedy by Glapthorne (identical withThe Noble Trial, entered in Stationers' Registers in 1660) Lanch (unnecessarily altered tolancein the text)Lancheinge of the May, MS. play by W.M. Gent. Lapwing Larroones Lather ( = ladder) (InWomen beware WomenMiddleton plays on the word:— "Fab. When she was invited to an early wedding, She'd dress her head o'ernight, sponge up herself, And give her neck threelathers.Gaar. Ne'er a halter.") Laugh and lye downe Launcepresado Law, the spider's cobweb Legerity Letters of mart Leveret Limbo Line of life Linstock Long haire, treatise against (An allusion to William Prynne's tractThe Unlovelinesse of Love-Lockes.)Loves Changelings Changed, MS. play founded on Sidney's Arcadia Low Country Leaguer Lustique
MachlaeanMacriosMagical weedMakarellMake readyMarch beereMarlinsMarlowe'sHero and LeanderquotedMarriage, restrained by law at certain seasonsMartial quotedMary muffeMasque (MS.) containing a long passage that is found in Chapman'sByron's TragedieMassinger, his share in the authorship ofSir John Van Olden BarnaveltMawmets ( = puppets)Mawmett ( = Mahomet)Meath (A curious corruption ofMentz. Old printers distorted foreignnames in an extraordinary manner.)MechallMention ( = dimension)MewMiddleton, quotation from hisFamily of LoveMinikin ( = fiddle)MistrisMoeMonthes mindMooncalfMore hayre than witMorglayMoschMotherMotion ( = suggestion, proposal)MouseMuch (ironical)MumchanceMuscadineMuschatoes ( = moustaches)Mushrumps ( = mushrooms)Music played between the actsMuskadine with an eggMy Love can sing no other song(SeeAppendix)Mynsatives
NephewesNero, his poemsNewmarketNifleNight railNinivie, motion ofNoddy
OldOrphantOutcryesOutface with a card of tenOverseeneOwe
Pantables ( = slippers)Paris Garden ditchPavinePedlars' FrenchPeele'sHunting of CupidPeetermanPersius quotedPharo, by the life of (This oath occurs infirstedition, 1601, ofEvery Man in his Humour: in the revised edition it was altered to"by thefootof Pharaoh.")PicardoPick-hatchPilchersPimblicoPinksPionerPlancherPlanet ("Some Planet striketh him")PlashdPlatformPlautus'Rudens, plot of Heywood's playThe Captivesdrawn from:quotations fromPomanderPoore JhonPoore Man's Comfort(play by Robert Daborne), MS. copy ofPortage (Undoubtedly we should readpartage.)Pot-gunPricke-songPrick and prayse ( = praise of excellence)PrinckockeProclamation that the gentry should reside at their mansions in thecountryProculusPrologue spoken by a womanProtest, affected use of the word (See Dyce'sShakespeare Glossary.)PuckfistPuerelisPuisnePuisnes of the InnePumpionPun[to] reversos ( = back-handed strokes in fencing)PushPutt a girdle round about the worldPuttock
Quale
Rabbit-suckersRabby Roses (The reference is, probably, to the Arabian physicianRhazes.)RackeRape, punishment forRascalRats rhymed to deathRefuse meRegaliasRest ("our rest we set")Rest for every slave to pull atReverent ( = reverend)Richard II., MS. playRide the wild mare (a rustic sport)Rincht ( = rinsed)RoadRoaring boys ( = roisterers)RochetRope-ripesRosemaryRotten haresRudelesse vaileRusseting
Sackerson (In the footnote read H_u_nkes for H_a_nkes.)Salt, sit beneath theSarreverenceScandalum magnatumSconce, build a (I supposed that the expression meant "fix a candle in acandlestick," but I am indebted to Mr. George L. Apperson for the trueexplanation. He writes:—"In Dyche'sDictionary(I quote from ed.1748) is the verbsconce, one of the definitions being—'a cant termfor running up a score at an alehouse or tavern'—with which cf.Goldsmith's Essays (1765), viii, 'He ran into debt with everybody thatwould trust him, and none couldbuild a sconcebetter than he.' Thisexplanation seems to me to make Thomas's remark a very characteristicone." See Grose'sClassical Dictionary of the vulgar tongue.)Scottish witchScythiansSentronell ( = centinel)Seven deadly sinnes, pageant ofShakespeare imitated; his use of the word road ("This Doll Tearsheetshould be some road") illustrated; mentioned inCaptain UnderwitSharpe, play at. (Cf.Swetnam the Woman Hater, 1620, sig. G. 3:—"But cunning Cupid forecast me to recoile:For when heplaid at sharpeI had the foyle.")ShellainSherryesShip, the greatShipwreck by landShirley, James, author ofCaptain Underwit; quotedShoulder pack'tShrovetide, hens thrashed atShrove Tuesday, riotous conduct of apprentices onSibSigneor NoSister awake! close not your eyes!Sister's threadSleep, wayward thoughts(SeeAppendix)SlugSmell-feastSnaphanceSowseSpanish figSparabilesSpendSpenser, imitatedSpurne-pointStafford's laweStand on poyntsStandageStavesucre ( = staves-acre)Steccadoes ( = stoccadoes, thrusts in fencing)Stewd prunesStigmatickeStoopeStrikerStrive curtesies ( = stand upon ceremony)Suds, in theSuetonius, quotedSureSurreverence
Tacitus, quotedTake me with youTake inTarletonTarriersTell Tale, the, (MS. play)TentTermagantThe Fryer was in the—(SeeAppendix)Three CranesThumb, to bite theTicktacksTickle minikin ( = play on the fiddle)Timeless ( = untimely)Tobacco (price of)TootTotterTotter'dTraind bandTransportation of ordnanceTrevants. (Trevantis a corruption ofGerm. Traban= guard.)Trewe ( = honest)TripenniesTrondlingTrousesTrue manTrundle bedTrunk-hoseTub-hunter ( = parasite)TurnopsTwo Noble Ladyes. (The plot is partly founded on Calderon'sMagico Prodigioso.)
UncouthUnicorn's hornUnreadieUpper stageUre
VarletVaunt-curryingVenetianVerjuice made by stamping crab-applesVieVildVirgil, quotedVirginalVirginall Jacks
Warning-peeceWax, limbes mad[e] out ofWebster'sWhite Devil, allusion toWelshmen proud of their gentilityWet fingerWhat make you here?What thing is Love?WhifflersWhishtWhite sonneWhytinge moppWidgeingWildfowl ("Cut up wildfowl"—a slang expression)WildingWindmills at Finsbury (See Stow'sSurvey, b. iii, p. 70, ed. 1720.)Wit without moneyWoad, patents for planting of ("Woadis an herbe brought from theparts of Tolouse in France, and from Spaine, much used and verynecessary in the dying of wollen cloath."—Cowell'sInterpreter.)Woman Hater, theWonningWoodcock ( = simpleton)
Zygne ("Untill the zygne be gone below the hart")
[1] "The tragedy of Sir John Van Olden Barnavelt. Herdrukt naar de Vitgrave van A.H. Bullen, met een Inleidung van R. Fruin. 'sGravenhage, Martinus Nijhoff, 1884," 8vo., pp. xxxiii. 95.
[2] I fondly hoped that vol. iii. was immaculate; but on p. 21, last line, I find thatspringhas been misprintedsoring. On p. 290, l. 3,seweis a misprint forserve.
[3] It is curious that the next entry refers to a piece by Chettle called "The Orphanes Tragedy," a title which at once reminds us of the second plot of Yarington's play.
[4] The actor who took the part ofTruthis to be in readiness to enter: he comes forward presently. In plays printed from play-house copies, stage-directions are frequently given in advance.
[5]Timelessin the sense ofuntimelyoccurs in Marlowe, &c.
[6] Old ed. "attended."
[7] The old form ofguests.
[8] The wordfairing(i.e. a present brought home from a fair) is explained by the fact that Beech was murdered on Bartholomew eve ("Tis Friday night besides and Bartholomew eve"). Bartholomew Fair was held the next day.
[9] A famous tavern in Thames Street.
[10] Proposal.
[11] Nares supposed that the expressionfear no colourswas "probably at first a military expression, to fear no enemy. So Shakespeare derives it [Twelfth Night, i. 5], and, though the passage is comic, it is likely to be right."
[12] "Here on" = hear one.
[13] i.e. what are you doing here so late?
[14] Old ed. "gentleman."
[15] Old ed. "ends."
[16] Mr. Rendle in his interesting account of theBankside and the Globe Playhouse(appended to Pt. II. of Mr. Furnivall's edition of Harrison'sEngland) says:—"As to the features of the locality we may note that it was intersected in all directions with streams, not shown in the map of the manor, exceptUtburne, theOutbournepossibly; and that bridges abounded."
[17] Use.
[18] The music between the acts.
[19] Pert youth.
[20] i.e. thread of life. (An expression borrowed from palmistry:line of lifewas the name for one of the lines in the hand.)
[21] Rashers.
[22] See note [105] in Vol. III.
[23] Old ed. "safely."
[24] Bushes. In IHenry IV., 5, i., we have the adjectivebusky. Spenser uses the subst.busket(Fr.bosquet).
[25] I can make nothing of this word, and suspect we should read "cry."
[26] Quy. flewed (i.e. with large chaps)? Perhaps (as Mr. Fleay suggests) flocked = flecked.
[27] Old ed. "fathers."
[28] i.e. had I known. "A common exclamation of those who repented of anything unadvisedly undertaken."—Nares.
[29] 4to. "tell."
[30] Equivalent to a dissyllable (unless we read "damnèd").
[31] Baynard's Castle, below St. Paul's, was built by a certain Baynard who came in the train of William the Conqueror. It was rebuilt by Humphrey, Duke of Gloucester, and was finally consumed in the Great Fire of London.
[32] Perhaps this speech should be printed as verse.
[33] Own.
[34] 4to. "this."
[35] 4to. "This."
[36] 4to. "misguiseth."
[37]Whitewas a term of endearment,—as in the common expressionwhite boy.
[38] 4to. "ease-dropping."
[39] Dwell.
[40] Deformed, ugly (lit. branded with an iron).
[41] Cf. Middleton'sTrick to Catch the Old One, V. 2:—
"And ne'er startTo be let bloodthough sign be at heart;"
on which passage Dyce remarks that "according to the directions for bleeding in old almanacs blood was to be taken from particular parts under particular planets."
[42] Is admitted to "benefit of clergy." Harrison, in hisDescription of England, tells us that those who "are saved by their bookes and cleargie, are burned in the left hand, vpon the brawne of the thombe with an hot iron, so that if they be apprehended againe, that marke bewraieth them to have beene arraigned of fellonie before, whereby they are sure at that time to have no mercie. I doo not read that this custome of saving by the booke is vsed anie where else then in England; neither doo I find (after much diligent inquirie) what Saxon prince ordeined that lawe" (Book II. cap. xi.). See the articleClergiein Cowell'sInterpreter(1637).
[43] Brand.
[44] Therefore acted by the Queen of Bohemia's Company who at that time occupied the Cockpit.—F.G. Fleay.
[45] Some seven or eight years ago I pointed out inNotes and Queriesthat the idea of this droll incident was taken from a passage of Timaeus of Tauromenium (see Athenaeus,Deipnosoph., ii. 5); but others—as I afterwards learned—had anticipated my discovery.
[46] This and the following speech are marked for omission in the MS.
[47] The words "Not so, frend," are scored through.
[48] The words "Frenshemonster" are scored through.
[49] "Makarel" = maquerelle (a bawd).
[50] This passage illustrates 2Henry IV., iv. 2:—"This Doll Tearsheet should be someroad." See my note on Middleton'sYour Five Gallants(Works, vol. iii. p. 220).
[51] Small boats with narrow sterns (Fr. pinque). Cf. Heywood'sI Edward IV.:—"Commend me to blackeLuce, bouncingBess, and lustyKate, and the other pretty morsels of man's flesh. Farewell,pinkand pinnace, flibote and carvel,TurnbullandSpittal" (Works, i. 38).
[52] Fast-sailing vessels (Span, filibote).
[53] The words "that … husband" are scored through in the MS.
[54] This and the two following lines are marked for omission.
[55] The next word is illegible.
[56] A long barge with oars.
[57] "Misreated" = misrated? But the reading of the MS. is not plain.
[58] "Do intend" is a correction in the MS. for "have bespoeke."
[59] Old spelling ofconvent.
[60] Cautious.
[61] This speech is scored through.
[62] The reading of the MS. is not clear.
[63] Again I am doubtful about the reading of the MS.
[64] "A shewer" = ashore.
[65] Some letters are cut away in the MS. Perhaps Mildew was represented withJudas-coloured(i.e. red) hair; but Raphael presently describes him as "graye and hoary," and afterwards we are told that he was bald.
[66] Search, probe.
[67] The stage-direction is not marked in the MS.
[68] Track by the scent.
[69] There is no stage-direction in the old copy.
[70] This and the next three lines are marked for omission.
[71] In this soliloquy Heywood closely follows Plautus: seeRudens, i. 3, "Hanccine ego partem capio ob pietatem praecipuam," &c.
[72] Three cancelled lines follow in the MS.:—
"So if you … any mercy for him,Oh if there be left any mercy for himNowe in these bryny waves made cleane for heaven."
[73] This and the eight following lines appear to be marked for omission in the MS.
[74] This line is scored through in the MS.
[75] This line is scored through in the MS.
[76] The words "Some faggotts … cloathes" are scored through in the MS.
[77] "Monthes mind" = strong desire.
[78] So the MS. But I am tempted to read, at Mr. Fleay's suggestion, "steeples."
[79] Cf.Rudens, ii. 1:—
"Cibum captamus e mari: sin eventus non venit,Neque quidquam captum est piscium, salsi lautique pure,Domum redimus clanculum, dormimus incoenati."
[80] The words "hence we may … wretched lyfe" are scored through in the MS.
[81] In the MS. the words "whither his frend travelled" are scored through.
[82] In the MS. follow some words that have been cancelled:—"Only, for ought I can perceive all to no purpose, but understand of no such people. But what are these things that have slipt us? No countrie shall slippe me."
[83] "Salvete, fures maritimi."Rudens, ii. 2.
[84] Honest.
[85] "Trach. EcquemRecalvum ac silonem senem, statutum, ventriosum,Tortis superciliis, contracta fronte, fraudulentum,Deorum odium atque hominum, malum, mali vitii probrique plenum,Qui duceret mulierculas duas secum, satis venustas?
Pisc. Cum istiusmodi virtutibus operisque natus qui sit, Eum quidem ad carnificem est aequius quam ad Venerem commeare."—Rudens, ii. 2.
[86] See the Introduction.
[87] In the MS. follow some cancelled words:—"Il fyrst in and see her bycause I will bee suer tis shee. Oh,Mercury, that I had thy winges tyde to my heeles."
[88] "Who ever lov'd," &c.—A well-known line from Marlowe'sHero and Leander.
[89] There is no stage-direction in the MS.
[90] Adulterous.—So Heywood inThe English Traveller, iii. 1,— "Pollute the Nuptiall bed withMichall[i.e. mechal] sinne." Again in Heywood'sRape of Lucreece, "Men call in witness of yourmechallsin."
[91] This speech is scored through in the MS.
[92] "Whytinge mopp" = young whiting. The term was often applied to a girl. See Nares'Glossary.
[93] In the MS. follow two lines that have been scored through:—
"And not deteine, for feare t'bee to my cost,Though both my kisse and all my paynes be lost."
[94]Widgeon(likewoodcock) is a term for a simpleton.
[95] In the MS. follow two lines which have been so effectually scored through that I can only read an occasional word.
[96] In the MS. follows a cancelled passage:—
"MildHad not thy greater fraught bin shipt with myne We had never been oversett.
Sarl. I rather think Had … when fyrst the shippe began to dance … thrown all the curst Lading over-board Wee had still light and tight."
[97] The wordburnis frequently used in an indelicate sense.
[98] Keys of the virginal (a musical instrument resembling a spinnet).
[99] This speech is scored through in the MS.
[100] The words "Heeres sweet stuffe!" are scored through.
[101] This line is scored through.
[102] Kill.
[103] In the left-hand margin of the MS. is a stage-direction in advance:—"Fellowes ready. Palestra, Scribonia, with Godfrey, Mildew, Sarly."
[104] Not marked in the MS.
[105] MS. "when."
[106] In the left-hand margin of the MS. is a note:—"Gib: Stage Taylor."
[107] "Too arch-pillers" = two desperate ruffians. "Pill" = ravage, plunder.
[108] "Il a esté au festin de Martin baston, he hath had a triall inStafford Court, or hath received Jacke Drums intertainment." —Colgrave.
[109] From this point to the entrance of Raphael the dialogue is scored through in the MS.
[110] The reading of the MS. is doubtful.
[111] "Guarded" = trimmed, ornamented.
[112] This speech is scored through in the MS.
[113] Not marked in the MS.
[114] Not marked in the MS.
[115] "Anythinge for a quiett lyfe"—a proverbial expression: the title of one of Middleton's plays.
[116] So I read at a venture. The MS. appears to give "Inseinge."
[117] Not marked in the MS. In the right-hand margin is written "clere," i.e., clear the stage for the next act.
[118] Afisgigwas a sort of harpoon.
[119] "Poore Jhon" = inferior hake.
[120] This and the two following speeches are marked for omission in the MS.
[121] A nickname (from the apostle Peter) for a fisherman.
[122] A small box or portmanteau.
[123] Owns.
[124] This speech and the next are marked for omission.
[125] Fish-baskets.
[126] The rest of the speech is marked for omission.
[127] Bawd.
[128] i.e.,Exeunt Palestra, Scribonia, and Godfrey: manet Ashburne.
[129] In the MS. follows some conversation which has been scored through:—
"Fisher. Yes, syrrahe, and thy mayster.
Clown. Then I have nothing at this tyme to do with thee.
Fisher. Marry, a good motion: farewell and bee hangde.
Clown. Wee are not so easly parted.—Is this your man?"
[130] The following passage has been scored through in the MS.:
"[Ashb.] Say, whats the stryfe?
Clown. Marry, who fyrst shall speake.
Fisher. Thats I.
Clown. I appeale then to the curtesy due to a stranger.
Fisher. And I to the right belonging to a … what ere he says."
[131] The MS. is broken away.
[132] Penny.
[133] The date has been scored through in the MS.: the number after "6" has been turned into "3," but seems to have been originally "0." In the margin "1530" is given as a correction.
[134] Not marked in the MS.
[135] This dialogue between Ashburne and the Clown is closely imitated fromRudens, iv. 6.
[136] The words "Nowe … scurvy tune" are scored through.
[137] Old form ofdigest.
[138] The words "will for mee" are a correction in the MS. for "at this tyme."
[139] The MS. has:—
"Hee's now where hee's in Comons, wee … …Heare on this seate (nay hold your head up,Jhon,Lyke a goodd boy), freely discharged our selfes."
In the first line "Hee's now where hee's" has been altered to "Hee's where hee is," and the two next lines have been cancelled.
[140] The reader will remember a somewhat similar incident in theJew of Malta, iv. 3, and in a well-known tale of theArabian Nights.
[141] In the left-hand margin of the MS. is written "Fry: Jo: nod."—i.e., Friar John totters from the blow. Beneath "nod" is the word "arras," which has been scored through.
[142] i.e., I have't.
[143] The exclamation of old Hieronimo's ghost in Kyd'sSpanish Tragedy. Cf. Induction toWarning for Fair Women:—
"Then, too, a filthy whining ghostLapt in some foul sheet, or a leather pilch,Comes screaming like a pig half stick'd,And cries,Vindicta!—Revenge, Revenge!"
[144] "Bases, s.pl.—A kind of embroidered mantle which hung down from the middle to about the knees, or lower, worn by knights on horseback."—Nares.
[145] In the right-hand margin is written "Fact: Gibson"—Gibson being the name of the actor who took the Factor's part.
[146] Not marked in the MS.
[147]Quart d'écu—a fourth part of a crown.
[148] A quibble on theaurum potabileof the old pharmacists. —F.G. Fleay.
[149] In the MS. is a marginal note, "Stagekeepers as a guard."
[150] Sarleboyes' speeches are scored through in the MS.
[151] This speech is scored through.
[152] Mopper of a vessel.
[153] A not uncommon corruption ofMahomet.
[154] "Sowse" = (1) halfpenny (Fr. sou), (2) blow. In the second sense the word is not uncommonly found; in the first sense it occurs in the ballad ofThe Red Squair—
"It greivit him sair that day I trowWith Sir John Hinrome of Schipsydehouse,For cause we were not men enowHe counted us not worth asouse."
We have this word again on p. 208, "Not asowseless then a full thousand crownes."
[155] Prison.
[156] A quibble. "Points" were the tags which held up the breeches.
[157] This line is scored through.
[158] Old form ofconvert.
[159]Analytical Index to the Series of Records known as the Remembrancia(printed for the Corporation of London in 1878), pp. 215-16.
[160] SeeCalendar of State Papers, Domestic, 1611-18, p. 207.
[161] See Gilford's note onThe Devil is an Ass, ii. 1;Remembrancia, p. 43;Cal. of State Papers, Domestic, 1611-18.
[162] Quy. "true"?
[163] Esteem, weigh.
[164] The old ed. gives: "Ile trie your courage—draw." The last word was undoubtedly intended for a stage-direction.
[165] Equivalent, as frequently, to a dissyllable.
[166] Exclamations.
[167] Vile.
[168] Not marked in the old ed.
[169] Old ed. "fate."
[170] Old ed. "brought."
[171] Old ed. "wood."—"Anno 35 Reginae (Eliz.)… A License toWilliam Aber, To SowSix HundredAcres of Ground withOade… A Patent toValentise Harris, To SowSix HundredAcres of Ground withWoade."—Townshend'sHistorical Collections, 1680, p. 245.
[172] See my remarks in the Introduction.
[173] So the old ed. The metrical harshness may be avoided by reading "And by this sword and crownet have resign'd" (or "And by this coronet and sword resign").
[174] Owns.
[175] Old ed. "Gorges."—I suppose there is an allusion, which must not be taken too literally, to the story of Candaules and Gyges (see Herodotus, lib. i. 8).
[176] This is the unintelligible reading of the old ed.—"This action,sure, breeds" &c., would be hardly satisfactory.
[177] Lucian tells a story of a youth who fell in love with Praxiteles' statue of Aphrodite: seeImagines, § 4. He tells the story more elaborately in hisAmores.
[178] Concert.
[179] Old ed. "denie."
[180] Before this line the old ed. gives the prefix "Val." Perhaps a speech of Montano has dropped out.
[181] Old ed. "although no a kin."
[182] Old ed. "lightfall soft." Probably the poet originally wrote "light," and afterwards wrote "fall" above as a correction (or "light" may have been caught by the printer's eye from the next line).
[183]Doorkeeperwas a common term for a pander.
[184] Skin.
[185] Old ed. "crowne."—My correction restores the sense and gives a tolerable rhyme to "heare." Cf. p. 262.
"And in this Chaire, prepared for a Duke,Sit, my bright Dutchesse."
[186] Old ed. "Exit."
[187] Old ed. "have her honour."
[188] In the Parliament of 1601 Sir Walter Raleigh and others vigorously denounced the exportation of ordnance. See Townshend'sHistorical Collections, 1680, pp. 291-5.
[189] "Letters of Mart" = letters of marque.
[190] Old ed. "now."
[191] Old ed. "when." ("Then" = than.)
[192] Old ed. "good."
[193] Old ed. "this dissemblance."
[194] See note [50].
[195] Old ed. "esteem'd."
[196] "Open … palpable … grosse … mountaine." The writer had surely in his mind Prince Hal's words to Falstaff:—"These lies are like their father that begets them:grossas amountain, open, palpable."
[197] Old ed. "Of Lenos mathrens." I have no doubt that my correction restores the true reading. Cf. above "PandersandParasitessit in the places," &c.
[198] Quy. "On, friends, to warre"? Perhaps something has dropped out—"Urge allour friends to warre."
[199] Old ed. "dishonour'd."
[200] Not marked in old ed.
[201] This speech is not very intelligible, but I can only mend it by violent changes.
[202] Old ed. "payes all."
[203] Old ed. "of this spatious play."
[204] Crack.
[205] Old ed. "sould."
[206] Old ed. "are."
[207] Old ed. "warre."
[208] Old ed. "free."
[209] Old ed. "And."
[210] Old ed. "Then."
[211] See remarks in the Introduction.
[212] Old ed. "a jemme."
[213] Quy. "creep" (for the sake of the rhyme)?
[214] Gondola.
[215] Old ed. "recover'd."
[216] "Timelesselives taken away" = lives cut short by anuntimelystroke.
[217] Old ed. "prisoned."
[218] Old ed. "playes."
[219] InAs You Like It, Rosalind, speaking the Epilogue, justifies the novelty of the proceeding:—"It is not the fashion to see the lady the epilogue; but it is no more unhandsome than to see the lord the prologue."—Flavia is the earliest example, so far as I know, of a lady-prologue.