Chapter 20

(b) see Petticoat.

Haviour, "a man of yourhaviour" (N85,b), conduct, manners, demeanour, as in Shakespearean usage. But possibly it may, and probably does, stand here for the Anglo-Normanhavoir= wealth, property. The context would seem to indicate this, "Into ahaviourof less fear."—Shakespeare,Cymbeline(1605), iii. 4.Hawt, see Haut.Headibus, "your headibus" (M18,c), heads.Heal(passim), health.Hedge, "over thehedgeere ye come at the stile" (R192,a), proverbial: in Heywood (Works, E.E.D.S., II. 97,dand 443,c).Heels, see Lead.Helpen, "he can behelpenthereof" (N122,a), helped; alsoholpen. Still in use.Hend, "to me fullhend" (M11,c), courteous, civil, polite. "So loveth she thishendyNicholas."—Chaucer,Cant. Tales(1383), 3386.Hey, "Hey nonny nonny, ho for money" (R222,d), if not a popular song, a popular refrain. The words occur in many old writers, not infrequently with an obscene meaning or reference: seeSlang and itsAnalogues, s.v.Nonny.Hie, "Hieyou forth lively" (M17,d), probably a snatch of some old song, which, however, I have been unable to trace. A somewhat similar reference occurs inMisognus(Anon. Plays, 2 Ser., E.E.D.S., 185,d) during a dancing scene: "O lively with high, child, and turn thee; ah, this is good sport!" Although this does not settle the source of the saying, yet it adds force to Mankind's words.High, "onhigh, onhigh" (JE357,c), a duplication necessitated by the rhyme—Eli, Eli, but all the same a very striking one.Hight, "Health Ihight" (WH277,a), am called, have for a name: the only passive verb in English: see other volumes of this series.Hip, "have you on thehip" (R215,c), to have or get an advantage: seeSlang and its Analogues,s.v.Hip.Hite, "when man is a littlehiteand wealthy" (WH279,c) = idle: in originalhit. I take the word to be akin to the northernhite, to run up and down idly (Halliwell). Still, this may be wrong, and the now obsolete sense ofhit= to be fortunate or successful may be meant.Ho(passim) is used in varying senses in all old writers. ThusHo!= a command to stop, cease, or refrain from the continuance of any action. Hence, asverb = to cry out, shout, etc. Whence many colloquialisms.To be ho(JE367,a) = to be restrained, stopped, delayed;out of all ho= out of all bounds or restraint;no ho with= restive of control, out of hand;let us ho= let us stop; and so forth.Ho,ho, ho!occurs in many old plays, being given to the devil or vice when making an entry.Holpen, "if it beholpen" (N54,b), helped: see Helpen.Holyke(M16,c). From the nature of the song itself it must be inferred that a triple pun was intended,Holy(sacred refrain)—wholly(holelyche = wholly)—Hole-lick(osculare fundamentum): probably the "roof" was intended to be "raised" by the medley of interpretations thus offered, the business of each of the chorus being different.Holy nation(JE357,b),i.e.the Saints and redeemed. The reference to love and virginity is apparently founded on a passage in Revelations, attributed by many to St. John the Evangelist: seeRev.xi. 4, and John Evangelist, p. 416ante.Hood, "his hair groweth through hishood" (IP340,c; also R229,d),i.e.comes to poverty.Hook, "byhookor by crook" (R187,b), by some means or other, by fair means or foul, at all hazards, probably of forestal origin. "Their work was byhook or crook... to bring all under the emperor's power."—Thomas the Rymer,On Parliaments(d.1298).Horse, (a) "horsewith four ears" (JE364,a), apparently a reference to some form (or rather means) of punishment—the gallows (or mare with three legs), the pillory, or the timber-mare (or horse) for flogging purposes. Probably the latter, as its construction would justify the "four ears" of the text.

Hawt, see Haut.

Headibus, "your headibus" (M18,c), heads.

Heal(passim), health.Hedge, "over thehedgeere ye come at the stile" (R192,a), proverbial: in Heywood (Works, E.E.D.S., II. 97,dand 443,c).

Heels, see Lead.

Helpen, "he can behelpenthereof" (N122,a), helped; alsoholpen. Still in use.

Hend, "to me fullhend" (M11,c), courteous, civil, polite. "So loveth she thishendyNicholas."—Chaucer,Cant. Tales(1383), 3386.

Hey, "Hey nonny nonny, ho for money" (R222,d), if not a popular song, a popular refrain. The words occur in many old writers, not infrequently with an obscene meaning or reference: seeSlang and itsAnalogues, s.v.Nonny.

Hie, "Hieyou forth lively" (M17,d), probably a snatch of some old song, which, however, I have been unable to trace. A somewhat similar reference occurs inMisognus(Anon. Plays, 2 Ser., E.E.D.S., 185,d) during a dancing scene: "O lively with high, child, and turn thee; ah, this is good sport!" Although this does not settle the source of the saying, yet it adds force to Mankind's words.

High, "onhigh, onhigh" (JE357,c), a duplication necessitated by the rhyme—Eli, Eli, but all the same a very striking one.

Hight, "Health Ihight" (WH277,a), am called, have for a name: the only passive verb in English: see other volumes of this series.

Hip, "have you on thehip" (R215,c), to have or get an advantage: seeSlang and its Analogues,s.v.Hip.

Hite, "when man is a littlehiteand wealthy" (WH279,c) = idle: in originalhit. I take the word to be akin to the northernhite, to run up and down idly (Halliwell). Still, this may be wrong, and the now obsolete sense ofhit= to be fortunate or successful may be meant.

Ho(passim) is used in varying senses in all old writers. ThusHo!= a command to stop, cease, or refrain from the continuance of any action. Hence, asverb = to cry out, shout, etc. Whence many colloquialisms.To be ho(JE367,a) = to be restrained, stopped, delayed;out of all ho= out of all bounds or restraint;no ho with= restive of control, out of hand;let us ho= let us stop; and so forth.Ho,ho, ho!occurs in many old plays, being given to the devil or vice when making an entry.

Holpen, "if it beholpen" (N54,b), helped: see Helpen.

Holyke(M16,c). From the nature of the song itself it must be inferred that a triple pun was intended,Holy(sacred refrain)—wholly(holelyche = wholly)—Hole-lick(osculare fundamentum): probably the "roof" was intended to be "raised" by the medley of interpretations thus offered, the business of each of the chorus being different.

Holy nation(JE357,b),i.e.the Saints and redeemed. The reference to love and virginity is apparently founded on a passage in Revelations, attributed by many to St. John the Evangelist: seeRev.xi. 4, and John Evangelist, p. 416ante.

Hood, "his hair groweth through hishood" (IP340,c; also R229,d),i.e.comes to poverty.

Hook, "byhookor by crook" (R187,b), by some means or other, by fair means or foul, at all hazards, probably of forestal origin. "Their work was byhook or crook... to bring all under the emperor's power."—Thomas the Rymer,On Parliaments(d.1298).

Horse, (a) "horsewith four ears" (JE364,a), apparently a reference to some form (or rather means) of punishment—the gallows (or mare with three legs), the pillory, or the timber-mare (or horse) for flogging purposes. Probably the latter, as its construction would justify the "four ears" of the text.

(b) see Grass.

Horsibus, see Breadibus.Hours, see Prime.Huffa Gallant, see Rutter.Hyngham, see Macro Plays.I(passim) occurs in several connections now archaic. (a) It is frequently repeated in conversation for the sake of emphasis, "I am hight Mercy,I."

Horsibus, see Breadibus.

Hours, see Prime.

Huffa Gallant, see Rutter.

Hyngham, see Macro Plays.

I(passim) occurs in several connections now archaic. (a) It is frequently repeated in conversation for the sake of emphasis, "I am hight Mercy,I."

(b) = Ay.(c) = An augment or prefix to represent the A.S.ge, the most frequent example beingi-wis=gewiss: seei-fashion(JE365b) = fashioned.

(b) = Ay.

(c) = An augment or prefix to represent the A.S.ge, the most frequent example beingi-wis=gewiss: seei-fashion(JE365b) = fashioned.

Ich(passim), I: see other volumes of this series.Ignorum, "weignorumpeople" (R211,a)—"weignoramsall would fain," etc. (R227,c), (adj.andsubs.: ignorant, ignoram[use]s.)Impatient Poverty. The text will be found on pages 311-348. Hitherto little indeed seems to have been known concerning this interlude. As far as I can learn no copy has been traceable, at all events in modern days, until "the Irish find" was put up at Sotheby's in July 1906. Part of this "recovery" (see Preface) was a copy ofImpatient Poverty, which is now national property in the custody of the trustees of the British Museum, the price paid for the item being no less than £150. It is true that the title, together with one or two details of the baldest description, occur in most catalogues of early English plays, from that of Rogers and Ley in 1656 down to Mr. W. W. Greg's "hand-list" prepared for, and issued by, the Bibliographical Society in 1900. It is, however, an obvious fact that in each case all the authorities appear to quote from mention only. Further, though "known" to a similar extent to latter-day critics—to Collier, Halliwell, Hazlitt, Fleay, Ward, Gayley, Brandl, Greg, and Pollard—all these, likewise, quote either from an early mention, or from one another; none seem to have seen a copy of the play. Dyce alone was explicit. In a note toSir Thomas More(Shakes. Soc., p. 55) he recordsImpatient Povertyas "non-extant." After an interval of more than sixty years since Dyce wrote, and 350 years or more after publication, the "lost" play has been recovered; and it is now my good fortune to make it generally accessible to scholars. The British Museum Catalogue entry is as follows:

Ich(passim), I: see other volumes of this series.

Ignorum, "weignorumpeople" (R211,a)—"weignoramsall would fain," etc. (R227,c), (adj.andsubs.: ignorant, ignoram[use]s.)

Impatient Poverty. The text will be found on pages 311-348. Hitherto little indeed seems to have been known concerning this interlude. As far as I can learn no copy has been traceable, at all events in modern days, until "the Irish find" was put up at Sotheby's in July 1906. Part of this "recovery" (see Preface) was a copy ofImpatient Poverty, which is now national property in the custody of the trustees of the British Museum, the price paid for the item being no less than £150. It is true that the title, together with one or two details of the baldest description, occur in most catalogues of early English plays, from that of Rogers and Ley in 1656 down to Mr. W. W. Greg's "hand-list" prepared for, and issued by, the Bibliographical Society in 1900. It is, however, an obvious fact that in each case all the authorities appear to quote from mention only. Further, though "known" to a similar extent to latter-day critics—to Collier, Halliwell, Hazlitt, Fleay, Ward, Gayley, Brandl, Greg, and Pollard—all these, likewise, quote either from an early mention, or from one another; none seem to have seen a copy of the play. Dyce alone was explicit. In a note toSir Thomas More(Shakes. Soc., p. 55) he recordsImpatient Povertyas "non-extant." After an interval of more than sixty years since Dyce wrote, and 350 years or more after publication, the "lost" play has been recovered; and it is now my good fortune to make it generally accessible to scholars. The British Museum Catalogue entry is as follows:

Poverty. A new Interlude of Impacyente Poverte, newlye Impreynted, M.V.L.X., B.L. John Kynge, London [1560], 4o.—c. 34. i. 26. The title-page is enclosed in a woodcut border bearing the initials T. R.

in which the Museum catalogue has made a slight blunder in copying from the title-page, which may be consulted on page 311.Impatient Poverty, as already stated, is mentioned in the old play ofSirThomas More, itself only extant in a somewhat mutilated manuscript. The passage is as follows:Moore.I prethee, tell me, what playes have ye?Player.Diuers, my lord;The Cradle of Securitie,Hit Nayle o' th' Head,Impacient Povertie,ThePlay of Foure Pees,Diues and Lazarus,LustieJuuentus, andThe Mariage of Witt and Wisedome.—Shakes. Soc. ed., 55-56.

Moore.I prethee, tell me, what playes have ye?Player.Diuers, my lord;The Cradle of Securitie,Hit Nayle o' th' Head,Impacient Povertie,ThePlay of Foure Pees,Diues and Lazarus,LustieJuuentus, andThe Mariage of Witt and Wisedome.—Shakes. Soc. ed., 55-56.

Moore.I prethee, tell me, what playes have ye?

Player.Diuers, my lord;The Cradle of Securitie,Hit Nayle o' th' Head,Impacient Povertie,ThePlay of Foure Pees,Diues and Lazarus,LustieJuuentus, andThe Mariage of Witt and Wisedome.—Shakes. Soc. ed., 55-56.

The copy now happily recovered shows the play to have been "newly" printed in 1560 by John King, who was in business at the Sign of the Swan in St. Paul's Churchyard from 1555 to 1561. There is no entry in the Stationers' Register for the year 1560 or earlier. The British Museum copy is a tolerably well-printed black-letter quarto of its kind; it is also in excellent preservation. A reduced facsimile of the title-page is given on page 311, but unfortunately the paper used in these volumes is not altogether suitable for illustrative work. The old copy is, however, announced amongThe Tudor DramaFacsimile Texts, and will shortly be available in collotype. The collation is A to Eii in 4s (18 leaves). The first sheet (A) has no signature, but the others are regular in notation.Impatient(= intolerable, unendurable)Povertyis by an unknown author, but a very shrewd attribution might even now be made were not the time, as yet, hardly ripe for scientific deductions. The materials are not at hand for anything like a systematic study of pre-Shakespearean dramatic effort and achievement; and the study of isolated plays can, at best, lead to imperfect and perhaps erroneous conclusions. Unquestionably, however, the Tudor drama deserves to be studied, as Shakespeare is now-a-days studied: as a whole, and not piecemeal. But—alack and alack!—where is the accessible material for such an inquiry? Still, if at present we do not know the author's name, wecan nevertheless learn something of him from his play. He was evidently a sedate man, serious to a degree, with apparently deep-seated religious principles: note the long-sustained exhortations and the general tone of the play. It is also noteworthy that, for the period, the bawdry is "cut" to the lowest limit. There are no women's parts, and the Vice is a watered-down specimen of his class. There is little internal evidence to enable one to form an idea of the date of composition, though this may, I think, be fixed as probably not earlier than 1545, but before 1552. The allusions to usury seem to point to a period anterior to the repeal by EdwardVI.in 1552 of the Usury Act of 37 HenryVIII., which was re-enacted by Elizabeth in 1570. Yet the reference to "the Queen" (347,d), unless a later interpolation, is obviously to Queen Elizabeth, and not to Queen Mary. The play is too distinctly and settled Protestant—indeed, the tone is even that of "the new learning" victorious—to admit of a Marian chronology. In this latter case the downward limit would be extended at least to 1558. Other allusions are likewise scanty or unilluminating—"Joy and solace be in this hall" (321,a), seems suggestive of a College or Inns of Court audience, as distinguished from a purely Court performance; the joining of simony with covetise (325,c) recalls the EdwardVI.Act against simony (1552); "Conscience, the high judge of the law" (328,b), is reminiscent ofRespublica: cf. 227,d; other references are to Newgate, Tyburn, the Fleur de Lys, etc., but they do not appear to have any special meaning. The present text is transcribed direct from a rotary-bromide copy of the original, and having been twice collated, once with the photo-text, and again finally with the original, it will, I hope, be found as accurate as human care can make it.Variations and Corrigendaare as follows: The colophon (312,d) is in original given on Eii. v. at the end of the play—The text begins at the top of Aiirwithout title—The stage directions in brackets do not appear in the original—The names of the speakers are in the present text systematised a little, and are consequently, in some cases, slightly different to the original—"What peopleare tho[se]" (314,a), in originaltho(A.S. = those)—"for shame thoushouldstbear" (315,a), in originalshuls—"that withhumility" (316,b), in originalhumyly—"Thy very duty" (317,a), in originalThey—"thiswellI knaw" (317,a), in originalwyll—"Let it betrydby manhood, andtheretoI give thee my glove" (317,c), in originaltryetandthertho—"I prayyousir" (317,d), in originalyour—"I hold itpunishment" (318,a), in originalpunisshment—"Nay byGod! thereho!" (318,d), in originalgood ... hoo—"I break yourhead" (319,a), in originalheed—"Pater dimitte illis" (319,b), in original misprinteddimitie—"beatipauperes spiritu" (319,b), in originalbeaty pauperesspiritu—"As itdothoften" (320,c), in originaldoeth—"Exeunt ambo" (320,d), in originalExiuntambo—[EnterAbundance] (321,a), throughout this isHaboundaunce—"thoughhe would" (321,d), in originalthought—"beopenly known" (321,d), in originalhe—"Singularcommodum" (321,d), so in original—"tothemthat are needy" (322,a), in originaltheym—"BecauseI may forbear" (322,b), in originalBycause—"Cons. Evensinevery shame" (322,b), in original,Evensynne—"Cons.To make restitution" (324,a), in originalDoo—"Makeamends" (324,c), in originalMke—"youcannot come in" (324,d), should bethou, as in original—"Now infaith" (326,b), in originalfayte—"He goeth in acloak" (327,b), in originalclocke—"thetemporalty" (327,c), in originalthemporaltye—"pride,sloth, and lechery" (327,c), in originalslewth—"Set covetire in yourroom" (328,b), in originalrowm—"[Envy] Y-wys, cousin" (328,d), not in original, but the speech is clearly toEnvy—"byCockspassion" (330,a), in originalcoxs; so also at 330,c—"I have of gold threehundredpound" (331,a), in originalhundreth—"I am yourkinsman" (331,b), in originalKyngman—"Ye must havemoreservants" (331,c), in originalmoo—"mostexpedient" (331,c), originalexpedyende—"Becausehe can so well sing" (332,b), in originalBycause—"Tush! take nothought" (332,d), in originalthough—"at a pinch ... broad as an inch" (333,d), the punctuation may not rightly interpret the exact sense here, but it seems ellipticaland to requireIfbeforeher heel:i.e.how little light-heeled she were she would still serve to inflame Prosperity; the whole speech in original is without a single punctuation mark—"Becausehe is old" (333,d), in originalBycause—The signature (335,d) given asB1,rshould of course have beenD1,r—"That so can read hisdestiny" (336,a), in originaldestanye—"tell me atoneword" (337,a), in originalour—"obscuredwith clouds" (337,d), originalobscrued—Colhazard(passim), this in original is variously spelt; Colhasard, Collhasard, Colehazard, Collhassard, etc.—"Sober your mood" (340,a), in originalsobre you mode—"wonall my good" (340,c), originalwome—"Cannot chance amaingroat" (341,c), originalman—"for Iobtainall thing" (343,a), in originaloptayne—"upon you a greatslande[r]" (343,c), in originalsclaunde—"and live in greatadvoutry" (343,d), original misprintsaduantrye—"what will yethensay" (344,a), originalthed—"Andthensayeth theSumner" (344,b), originalthem ... somuer—"beuntoGod" (344,c), originalinto—"brought me tothisdistress" (345,a), originalhis—"leeful for acallet" (345,b), originalcalled—"and greatusurers" (345,c), in originalusures—"Bawds, advouterers" (345,c), in originalBandes—"fornicators, and escheaters" (345,c), in originalecheters—"made his purgation" (345,d), originalis—"as Thou artomnipotent" (347,d), in originalonypotent.

In, (a)in manus tuas(M23,b), from Psalm xxx. 6:in manus tuas commendo spiritum meum= into Thy hands I commit my spirit. Thequeckin text should not have been in italics.

(b) "i[n] forma juris d'hazard" (M29,c), restored by Prof. Brandl: in original, "do yt forma jurysdasard."

Incroke, "He took of her anincroke" (IP326,c),?—As a verb, Murray hasincrookandinkroke= to bend or bow down;e.g.in Rom. xi. 10, the phrase "andbow downtheir back alway" is given by Wyclif as "in kroke" their back.Ingham, see Macro Plays.Inquest, "to do at yourinquest" (R234,b), request: in original,enquest.Institute, "He hathinstituteyou above all His works" (M11,d), appointed, set, invested. "Cousin of York, weinstituteyour Grace to be our Regent in these parts of France."—Shakespeare,1 Hen. VI.(1596), iv. 1, 162.Institution, "a beast doth after his naturalinstitution" (M9,b), nature, established order.Interlection, "Let us have aninterlection" (M20,c), talk, consultation, conference: not inO.E.D.Though regularly formed, probably a nonce word.Intermise, "intermiseyourself not in their company" (M14,b), mix, interfere, interpose, concern, or occupy oneself with: not inO.E.D., but sufficiently indicated (s.v.Inter-, p. 381, 1. 1bandIntermise, subs.).Inventus, "non est inventus" (M34,d),i.e.he is not to be found.I-pilate, "he was i-pounst andi-pilate" (R211,b), pilated = brought before Pilate, "beaked": see I.I-polld, "were ne'er soi-polld" (R211,a), fleeced, robbed, cheated. Mr. Magnus, however, glosses it as "pulled about." "And have wynked at thepollyngand extorcion of hys unmeasurable officiers."—Hall,Union(1548).I-pounst, "he wasi-pounstand i-pilate" (R211,b), ? beaten, scourged; an eastern counties word.Irisdision, see Trentham.Irk, "unlusty andirk" (M24,c)—"I am nearirkof both" (M26,b), tired, bored, disgusted.Is(R.passim), I; oftentimes the sibilant is carried to the next word.I-strike, "sixpence in each shilling wasi-strikequite away" (R232,a), struck: see Respublica.I-torment, "zoi-torment" (R211,a), tormented.I-trounst, "soi-trounst" (R211,b). Prof. Brandl refers to M.E.trunsiounand O.F.tronchon.Jack-a-napes(R264,b), here = a tame ape or monkey. The origin of the term in this and its more usualsense (= an ape-like, pert, or ridiculous person) is obscure. Dr. Murray says that so far as yet found the word appears first as an opprobrious nickname of William de la Pole, the Duke of Suffolk who was murdered in 1450, whose badge was a clog and chain such as was attached to a tame ape. Thus in contemporary poems (e.g.,Pol. Poems,c.1499 [Rolls],II.222) several noblemen are designated by their badges, Suffolk being named the "ape-clogge." We findJack-napesgeneric for an ape in Skelton (1522), and shortly afterwards the term was current in the present and more common sense. But the connection betweenJack Napesand anape(again to quote Dr. Murray) "is uncertain."Jack Noble, "Hence Forty Pence ...Jack Nobleis a-bed" (N98,a), a pun on the value of the coins (forty pence being half a noble) and the lady's preference. WhatK. q. titlemeans I cannot divine. Prof. Brandl suggestsKing—Queen, but confesses it obscure;a bryappears to signify a breeze, awkward affair or predicament.Jake, "a goodjakeof fence" (M32,a), coat of defence; a sleeveless tunic or jacket formerly worn by foot-soldiers and others, usually of quilted leather. Sometimes = a coat of mail.Javels, "javelsas shall wrong them" (R192,b), a generic reproach—rascal, good-for-nothing. "How much more abhominable is that pieuish pride in a lewde vnthriftye,iavell."—More,Treat. Pass.(1534), Introd. Wks., 1272.Je,Je nescey(N97,b),i.e.Je ne sais [pas].Jet(passim), formerly as hard a worked word as "commodity" or "cast"; it signified any device, contrivance, art, fashion, style, mode, manner, or custom. Asverb= to strut, walk with consequence, and so forth.Jewels(M18,a), privities: see privity (19,d): New Guise's and Mankind's "business" seems to have been not over fastidious.Jis(passim), Jesus: cf. Gis.Joan(passim), a generic name for an alewife, strumpet, and the like: seeDoctour Double Aleand next entry.John, "Come kiss me, John" (N93,c). Chappell says that nothing remains of the words except "Jon come kisse me now, Jon come kisse me now; Jon come kisse me by and by, and make no more adow." The music is given inCitharen Lessons, 1609;Airs and Sonnets,MS.,T.C. Dublin, etc. It is also mentioned inJacob and Esau, in Heywood'sA Woman Kill'd with Kindness(1600); in'Tismerry when Gossips meet(1609); in a song inWestminsterDrollery(1671 and 1674); in Burton'sAnatomy of Melancholy(1611);The Scourge ofFolly(N.D.); Brathwayte'sShepherd's Tales(1623); in Hy. Bold'sSongs and Poems(1685); and in Sir W. Davenant'sLove and Honour.William Byrd.

Ingham, see Macro Plays.

Inquest, "to do at yourinquest" (R234,b), request: in original,enquest.

Institute, "He hathinstituteyou above all His works" (M11,d), appointed, set, invested. "Cousin of York, weinstituteyour Grace to be our Regent in these parts of France."—Shakespeare,1 Hen. VI.(1596), iv. 1, 162.

Institution, "a beast doth after his naturalinstitution" (M9,b), nature, established order.

Interlection, "Let us have aninterlection" (M20,c), talk, consultation, conference: not inO.E.D.Though regularly formed, probably a nonce word.

Intermise, "intermiseyourself not in their company" (M14,b), mix, interfere, interpose, concern, or occupy oneself with: not inO.E.D., but sufficiently indicated (s.v.Inter-, p. 381, 1. 1bandIntermise, subs.).

Inventus, "non est inventus" (M34,d),i.e.he is not to be found.

I-pilate, "he was i-pounst andi-pilate" (R211,b), pilated = brought before Pilate, "beaked": see I.

I-polld, "were ne'er soi-polld" (R211,a), fleeced, robbed, cheated. Mr. Magnus, however, glosses it as "pulled about." "And have wynked at thepollyngand extorcion of hys unmeasurable officiers."—Hall,Union(1548).

I-pounst, "he wasi-pounstand i-pilate" (R211,b), ? beaten, scourged; an eastern counties word.

Irisdision, see Trentham.

Irk, "unlusty andirk" (M24,c)—"I am nearirkof both" (M26,b), tired, bored, disgusted.

Is(R.passim), I; oftentimes the sibilant is carried to the next word.

I-strike, "sixpence in each shilling wasi-strikequite away" (R232,a), struck: see Respublica.

I-torment, "zoi-torment" (R211,a), tormented.

I-trounst, "soi-trounst" (R211,b). Prof. Brandl refers to M.E.trunsiounand O.F.tronchon.

Jack-a-napes(R264,b), here = a tame ape or monkey. The origin of the term in this and its more usualsense (= an ape-like, pert, or ridiculous person) is obscure. Dr. Murray says that so far as yet found the word appears first as an opprobrious nickname of William de la Pole, the Duke of Suffolk who was murdered in 1450, whose badge was a clog and chain such as was attached to a tame ape. Thus in contemporary poems (e.g.,Pol. Poems,c.1499 [Rolls],II.222) several noblemen are designated by their badges, Suffolk being named the "ape-clogge." We findJack-napesgeneric for an ape in Skelton (1522), and shortly afterwards the term was current in the present and more common sense. But the connection betweenJack Napesand anape(again to quote Dr. Murray) "is uncertain."

Jack Noble, "Hence Forty Pence ...Jack Nobleis a-bed" (N98,a), a pun on the value of the coins (forty pence being half a noble) and the lady's preference. WhatK. q. titlemeans I cannot divine. Prof. Brandl suggestsKing—Queen, but confesses it obscure;a bryappears to signify a breeze, awkward affair or predicament.

Jake, "a goodjakeof fence" (M32,a), coat of defence; a sleeveless tunic or jacket formerly worn by foot-soldiers and others, usually of quilted leather. Sometimes = a coat of mail.

Javels, "javelsas shall wrong them" (R192,b), a generic reproach—rascal, good-for-nothing. "How much more abhominable is that pieuish pride in a lewde vnthriftye,iavell."—More,Treat. Pass.(1534), Introd. Wks., 1272.

Je,Je nescey(N97,b),i.e.Je ne sais [pas].

Jet(passim), formerly as hard a worked word as "commodity" or "cast"; it signified any device, contrivance, art, fashion, style, mode, manner, or custom. Asverb= to strut, walk with consequence, and so forth.

Jewels(M18,a), privities: see privity (19,d): New Guise's and Mankind's "business" seems to have been not over fastidious.

Jis(passim), Jesus: cf. Gis.

Joan(passim), a generic name for an alewife, strumpet, and the like: seeDoctour Double Aleand next entry.

John, "Come kiss me, John" (N93,c). Chappell says that nothing remains of the words except "Jon come kisse me now, Jon come kisse me now; Jon come kisse me by and by, and make no more adow." The music is given inCitharen Lessons, 1609;Airs and Sonnets,MS.,T.C. Dublin, etc. It is also mentioned inJacob and Esau, in Heywood'sA Woman Kill'd with Kindness(1600); in'Tismerry when Gossips meet(1609); in a song inWestminsterDrollery(1671 and 1674); in Burton'sAnatomy of Melancholy(1611);The Scourge ofFolly(N.D.); Brathwayte'sShepherd's Tales(1623); in Hy. Bold'sSongs and Poems(1685); and in Sir W. Davenant'sLove and Honour.

William Byrd.

John-Hold-my-Staff(R188,a), a parasite, lickspittle. "And here it is the fortune of a man to be married to a woman of so peevish and domineering a temper that she will wear the breeches and the cap too: so that the poor fop at home is likeJohn-Hold-my-Staff; she must rule, govern, insult, brawl," etc.—FifteenComforts of Matrimony.John Irische(WH304,d), the allusion is lost.John Shole(WH304,d), see previous entry.John the Evangelist.The text of this play is given on pages 349-368, together with a reduced facsimile of the title-page. Until recentlyJohn theEvangelistwas looked upon as one of the innumerable "lost" plays of the Tudor period. It has now been recovered under the notable circumstances narrated in the preface to this volume. Curiously enough,John the Evangelistwas at first, in the sale catalogue, confused with Bishop Bale'sJohnBaptist's Preaching in the Wilderness, no copy of which also is now traceable, being known only through the reprint in theHarleian Miscellanies. However, there is no doubt that if a choice of "finds" had to be made the lot would fall to the present play, which has been untraceable in any form, save that of mere mention, for hundreds of years. The British Museum Catalogue entry is:John Saint and Apostle.Here begynneth the interlude of Johan the Evangelist [with a woodcut]. B.L. John Waley, London [1560?]. 4o. [c. 34. i. 20.]

John Irische(WH304,d), the allusion is lost.

John Shole(WH304,d), see previous entry.

John the Evangelist.The text of this play is given on pages 349-368, together with a reduced facsimile of the title-page. Until recentlyJohn theEvangelistwas looked upon as one of the innumerable "lost" plays of the Tudor period. It has now been recovered under the notable circumstances narrated in the preface to this volume. Curiously enough,John the Evangelistwas at first, in the sale catalogue, confused with Bishop Bale'sJohnBaptist's Preaching in the Wilderness, no copy of which also is now traceable, being known only through the reprint in theHarleian Miscellanies. However, there is no doubt that if a choice of "finds" had to be made the lot would fall to the present play, which has been untraceable in any form, save that of mere mention, for hundreds of years. The British Museum Catalogue entry is:

John Saint and Apostle.Here begynneth the interlude of Johan the Evangelist [with a woodcut]. B.L. John Waley, London [1560?]. 4o. [c. 34. i. 20.]

Greg, in his "notes" toEarly Play Lists(App.II.lxxix), says: "Neither Langbaine nor any of his followers had seen the piece. TheBiographicaDramaticagives the date 1566, which, however, appears to be an invention of Chetwood's." The colophon indicates that it was printed by John Waley (or Walley), who was in business in Foster Lane from 1546 to 1586. This, of course, decides nothing as to the date of the play. Moreover, there is, as far as I am at present aware, only one allusion in the play itself that serves the purpose; even allowing more weight to such evidence than I am inclined to consider safe in the circumstances—Eugenio appoints Actio (359,a) "hangman of Calais." It is hardly likely such an allusion to what was at the time regarded as a national "disaster" would have been made after the loss of Calais in 1558. On the other hand, the absence of the concluding prayer for the sovereign—its presence being a pretty certain indication of an Elizabethan play—seems to confirm the downwardlimit of date. One other allusion may be pertinent—"the sweetest life, Sovereign ... is to have meditation of our Lord Jesus." A Marian date is, from the tone of the play, unlikely; to suppose the reference is to HenryVIII.is equally incongruous. Both considerations are, moreover, emphasised by the fact that had the "Sovereign" been a queen, regnant or dowager, some qualification indicative of sex would in such courtly times most assuredly have been given. We are thus reduced, by the process of exhaustion, to the days of EdwardVI.:i.e.between 1547 and 1553. Beyond that point I do not think we can safely go at present. The play, as now bound by the British Museum authorities, shows no signs of mutilation, and the numbering of the sheets is consecutive. The type is, for the most part, clear and good; nothing obliterated, very little blurred, and only occasionally is there exhibited a wrong letter (e.g."laue" for "lane"); but as a whole very correct. The construction of the play is of the slightest, turning at its most serious point on the incident of "The Pharisee and the Publican going up to the Temple to pray." Indeed, the whole piece seems curiously incomplete and disconnected. Yet there are no signs whatever, in the original, of mutilation or of lines omitted. The text goes straight on, though the relation of one part to another is by no means obvious. Is it possible that the play as it has reached us is only a draft, or an imperfect, or a "pirated" copy? I am inclined on first glance to think this interlude one of the same class as those that Bishop Bale speaks of as being played at market crosses on Sunday afternoons by way of religious instruction—"thin," slight moral plays. Indications are not wanting which point to this conclusion. Such a fact, if established, would account for the transparent looseness of construction, the deep religious feeling, the reticence and restraint, the apparent confusion of one of the players at once with the apostle, the parish priest, and the actor—and much else. The original is almost devoid of punctuation; the modernised text conforms in that respect to present-day standards. The names of the speakers are likewise not always consistently given in the old copy; they are nowstandardised.Latin Quotations and Origins: It is thought convenient, in respect to this play, to group these as follows:—"Domine, ante ... absconditus" (351,b), "Lord, all my desire is before thee, and my groaning is not hid from thee" (Psalm xxviii. 9): in originala teis omitted afterEtin second line—Beati.. . Domine!" (352,a), "Blessed, O Lord, are they that dwell in Thy house" (Psalm lxxxiv. 4)—"Quicum Deo Patri" (352,a), "Who with God the Father," the beginning of an ascription or gloria—"Apœna et culpa" (352,b), from penalty and fault: part of the Latin absolution—"Nec te collaudas.. . ipse" (352,c), the sense is, "You will not be blamed so long as you don't extol yourself"—"Quise collaudit" (352,c), "Who praises himself"; probably from same source as preceding—"Responde,tunc. .. clericorum" (352,d), "Answer then, master, doctor of the clergy"—"Sursumcorda" (353,a), "Lift up your hearts"; from the office of the mass—"Via recta" (354,a), "the right way"—"Spes mea. .. via recta" (354,a), "My hope stood in the right way" (or way of righteousness): several passages like this in sense appear in the Psalms, but none exactly parallel—"gratiaelecti" (354,b), "chosen by grace"—"via obliquia.. . circularis" (354,c), "the crooked way and circular way": no doubt scriptural—"omnes iniquoin circuitu impii ambulantes" (354,c),iniquoin original readsiniqui, which I take to be a misprint: it now reads, "all the ungodly walking in the ungodly path" (or path of ungodliness): probably from the Psalms—"Ab aquilone. .. omne malum" (355,a), "from the north is spread every evil": a parallel passage is found in Jeremiah iv. 6, "I will bring evil from the north," etc.—"Fumustormentorum. .. secula seculorum" (355,d), in originalfumusreadsfinit, most likely a misprint: the passage as it now stands is intelligible, "The smoke of their torment ascendeth for ever and ever; a quotation from Revelation xiv. 11—"Septum.. . mors" (355,d),Septumconveys the idea of a surrounding fence or hedge (cf. 355,aandb), "the enclosing (or surrounding) master of sin is death; but?—"administrate. .. comfortate nos" (356,c), dog-Latin: "administers, restores, comforts"—"Intentiojudicat quenquam" (357,a), "The intention decides everything"; no doubt proverbial—"In principio" (364,d), "in the beginning": the first two words of the Latin version of St. John's Gospel—"Confiteor". ..Deo gratias.. . Deo gratias ago tibi" (366,b), "I confess ... thanks be to God ... God I thank thee": see Luke xviii. 11—"Tu testimonium. .. est verum" (367,a), "Thou bearest testimony of thyself; and thy testimony is not true"; an adaptation of John viii. 13—"Qui vivit. .. seculorum secula" (368,a), "Who lives through the infinite ages of age."Amended Readings, Corrigenda, Suggestions, &c.The collation is A to Civ in 4s, with A1,vblank.—Names of Players are not in the original.—The colophon is transferred from Civ,v—Stage directions and words in brackets do not appear in the original: this is not further mentioned in these notes—"Eta tegemitus" (351,b),a tenot in original—"As itravisheththe soul" (351,c), originalrauysshet—"such a pulpit man tolose" (352,b), originallese—"Reponde, tunc,domine" (352,d), originaltunice—"that same deaththou shaltdie" (353,a), erroneously given in my text: the original hasshaltthou—["The continuation seems imperfect"], there may be several causes for this. Certainly here, as in other places, there are no signs whatever in original of mutilation or of lines omitted. The text goes straight on, though the relation of one part to another is by no means obvious. The whole play seems curiously incomplete and scrappy, even for early dramatic effort, oftentimes of the "thinnest" and crudest. True, the action may be modelled somewhat on the lines of Heywood'sPardoner and the Friar, in which the "interruptions" of one speaker with another lead to "business." Or the play may be a mere fragment of the "book," as it left the author's hands—surreptitious, unauthorised, or unrevised. In the former case, especially assuming that it was intended as a kind of a "dramatic sermon," the action shows order of a kind: commencing with what is obviously intended as the commencement of an exhortation and omitting the "comic" and "lighter" parts, the sermon would, in a measure, be naturally complete by"following on" the speeches as follows:St. Johnthe Evan.351,bto 352,a;Irisdision, 353,c(with asides, incentives, or interruptions) to 356,a;St. John theEvan.357,bto 358,a; then comes an "interval," and the discourse is resumed at (JE365,cto end) winding up with the "application" which was soon to form such an important feature in Puritan worship. So for the point directly at issue; but another puzzle confronts the student and one concerning which at this early stage I do not pretend to offer a solution. Personally, I should have preferred to have deferred publishing the text, in order to have had an opportunity of careful and exact comparative study of the piece in its relation to the Tudor drama as awholeas well as "play"-meal. On the other hand, I felt that the generous support we have met with at the hands of the Society's subscribers would be best repaid by speedy publication—"In the city of Jerusalem ... walled" (353,c), if the play has come to us intact, and the lack of continuity is intentional, the punctuation of this passage must be altered: delete the full point aftercalledand regard the next line as a parenthesis, and substitute a semicolon for the period afterwalled—"in thelane of business" (354,a), in originallaueofbesynesse—"Yes, on the left side" (354,c),Iesin original—"full ofslouthybushes" (355,b), this may beflouthy—"Fumustormentorum" (355,d), in originalFinit: Latin quotations,supra(418,d)—"[Iris]. It is time for to be walking, &c." (356,a), these two lines are not in original given to Irisdision, but form part of Eugenios' speech, which proceeds without a break to "Sir William of Trentram" (357,a). They seem to me, however, to be rightly restored as now given—"by booksAmromes" (356,b), so in original:? a misprint foramorous, which would at least restore the sense. There is, moreover, nothing in original to suggest a break—"St. John the Evangelist" (357,a), preceded by ✠ instead of the usual "leaf"—"plaininformation" (357,b) in originalinfymacyon—"I amthatJohn that" (357,b), in original "I am John that": a blunder I carelessly passed—"sawLungis" (357,c), originalLonges: see (424,d)—"almost changed my mood" (359,c), originalmode—"havebeenso witty" (359,c), in originalbrn—"Yes, yes daily" (362,b), in originalIes—"some pleasure then thereappears" (363,d), in originalareres—"between your ears" (363,d), in originalbytwene—"make thee tofly" (365,b), a mistake: the original isstye(= ascend, A.S.)—"Deogratias ago tibi" (366,b), substitute a full point for the comma—"Inthathe thanked God" (366,b), in originalthan—"By raveners ... men can rehearse" (366,c). I do not feel sure that the present punctuation gives the best rendering of the original, which is entirely unstopped—"In that cayme" (366,c), seesupra, s.v.Cayme:? Cain—"AgainstGod" (366,d), in originalAgayne—"Who doth hie him shall beho" (367,a), seesupra,s.v.Ho.

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