FOOTNOTES:[1]Mr. E.K. Chambers's translation.[2]Mr. E.K. Chambers's translation.[3]go.[4]being.[5]destroy.[6]pleasure.[7]might.[8]power.[9]wrought.[10]one.[11]realms.[12]more worthy.[13]injure.[14]how.[15]offended.[16]those.[17]their.[18]sorrow.[19]See the stage-direction at the end of 'The Trial of Christ', 'Here enteryth Satan into the place in the most orryble wyse, and qwyl (while) that he pleyth, thei xal don on Jhesus clothis'.[20]lowly.[21]obedient.[22]counsel.[23]young.[24]courtly.[25]counsel.[26]each one.[27]crippled.[28]overtaxed.[29]overreached.[30]rob.[31]curse.[32]done.[33]star.[34]Translation by W.C. Robinson, Ph.D. (Bohn's Standard Library).[35]aright.[36]world's.[37]company.[38]wealth.[39]know.[40]know not.[41]solace.[42]stealing.[43]lying.[44]fright.[45]glad.[46]alehouse sign.[47]The reader is warned against chronological confusion. In order to follow out the various dramatic contributions of the Interludes one must sometimes pass over plays at one point to return to them at another. Care has been taken to place approximate dates against the plays, and these should be duly regarded. The treatment of so early an Interlude writer as Heywood (his three best known productions may be dated between 1520 and 1540) thus late is justified by the fact that he is in some ways 'before his time', notably in his rejection of the Morality abstractions.[48]sweet.[49]boasting.[50]I am.[51]counsel.[52]Oedipus Tyrannus(Lewis Campbell's translation).[53]InDamon and Pythias, see p. 117 above.[54]ready.[55]resent.[56]See Flora's second speech, Act 1, Sc. 1.[57]James the Fourth.[58]enjoy.[59]dwells.[60]is called.[61]bugbears.[62]Jehovah's.[63]fetched.[64]History of English Poetry, ii. p. 424.[65]whipstock.[66]rule.[67]English Dramatic Literature, i, p. 188.[68]before.
[1]Mr. E.K. Chambers's translation.
[1]Mr. E.K. Chambers's translation.
[2]Mr. E.K. Chambers's translation.
[2]Mr. E.K. Chambers's translation.
[3]go.
[3]go.
[4]being.
[4]being.
[5]destroy.
[5]destroy.
[6]pleasure.
[6]pleasure.
[7]might.
[7]might.
[8]power.
[8]power.
[9]wrought.
[9]wrought.
[10]one.
[10]one.
[11]realms.
[11]realms.
[12]more worthy.
[12]more worthy.
[13]injure.
[13]injure.
[14]how.
[14]how.
[15]offended.
[15]offended.
[16]those.
[16]those.
[17]their.
[17]their.
[18]sorrow.
[18]sorrow.
[19]See the stage-direction at the end of 'The Trial of Christ', 'Here enteryth Satan into the place in the most orryble wyse, and qwyl (while) that he pleyth, thei xal don on Jhesus clothis'.
[19]See the stage-direction at the end of 'The Trial of Christ', 'Here enteryth Satan into the place in the most orryble wyse, and qwyl (while) that he pleyth, thei xal don on Jhesus clothis'.
[20]lowly.
[20]lowly.
[21]obedient.
[21]obedient.
[22]counsel.
[22]counsel.
[23]young.
[23]young.
[24]courtly.
[24]courtly.
[25]counsel.
[25]counsel.
[26]each one.
[26]each one.
[27]crippled.
[27]crippled.
[28]overtaxed.
[28]overtaxed.
[29]overreached.
[29]overreached.
[30]rob.
[30]rob.
[31]curse.
[31]curse.
[32]done.
[32]done.
[33]star.
[33]star.
[34]Translation by W.C. Robinson, Ph.D. (Bohn's Standard Library).
[34]Translation by W.C. Robinson, Ph.D. (Bohn's Standard Library).
[35]aright.
[35]aright.
[36]world's.
[36]world's.
[37]company.
[37]company.
[38]wealth.
[38]wealth.
[39]know.
[39]know.
[40]know not.
[40]know not.
[41]solace.
[41]solace.
[42]stealing.
[42]stealing.
[43]lying.
[43]lying.
[44]fright.
[44]fright.
[45]glad.
[45]glad.
[46]alehouse sign.
[46]alehouse sign.
[47]The reader is warned against chronological confusion. In order to follow out the various dramatic contributions of the Interludes one must sometimes pass over plays at one point to return to them at another. Care has been taken to place approximate dates against the plays, and these should be duly regarded. The treatment of so early an Interlude writer as Heywood (his three best known productions may be dated between 1520 and 1540) thus late is justified by the fact that he is in some ways 'before his time', notably in his rejection of the Morality abstractions.
[47]The reader is warned against chronological confusion. In order to follow out the various dramatic contributions of the Interludes one must sometimes pass over plays at one point to return to them at another. Care has been taken to place approximate dates against the plays, and these should be duly regarded. The treatment of so early an Interlude writer as Heywood (his three best known productions may be dated between 1520 and 1540) thus late is justified by the fact that he is in some ways 'before his time', notably in his rejection of the Morality abstractions.
[48]sweet.
[48]sweet.
[49]boasting.
[49]boasting.
[50]I am.
[50]I am.
[51]counsel.
[51]counsel.
[52]Oedipus Tyrannus(Lewis Campbell's translation).
[52]Oedipus Tyrannus(Lewis Campbell's translation).
[53]InDamon and Pythias, see p. 117 above.
[53]InDamon and Pythias, see p. 117 above.
[54]ready.
[54]ready.
[55]resent.
[55]resent.
[56]See Flora's second speech, Act 1, Sc. 1.
[56]See Flora's second speech, Act 1, Sc. 1.
[57]James the Fourth.
[57]James the Fourth.
[58]enjoy.
[58]enjoy.
[59]dwells.
[59]dwells.
[60]is called.
[60]is called.
[61]bugbears.
[61]bugbears.
[62]Jehovah's.
[62]Jehovah's.
[63]fetched.
[63]fetched.
[64]History of English Poetry, ii. p. 424.
[64]History of English Poetry, ii. p. 424.
[65]whipstock.
[65]whipstock.
[66]rule.
[66]rule.
[67]English Dramatic Literature, i, p. 188.
[67]English Dramatic Literature, i, p. 188.
[68]before.
[68]before.