405PhilomelThese are the lodgingsgg4782 that my Lady appointed
        For your distractedgg2573 patient.

406MendicantLike you ’em, Doctor?

407DoctorExceeding well. Excuse me, Gentlewoman,
        That now intreat your absence.

        I am not taken with the sight you bring:
        For I see mad-folks enough every day.Exit [PHILOMEL].

409DoctorHere set him down. Unbind him, and unblind him.
[Enter SERVANTS carrying on FERDINAND, who has been bound and hooded, in a chair. Having set down the chair, loosened the prisoner's bonds and removed his hood, the SERVANTS exit.]n7125

410FerdinandAm I then taken prisoner in the North?n8804
        Wounded, disarmed and bound? I shall be ransomed.
        To which of your rebelliously usurped
        Castles ha’ you brought me?n8803   [To DOCTOR]   You, sir Presbyter,gg5746
        That better can pugnare than orare,n7124
        And so abjuregg6040 all duty and allegiance —

411MendicantHe takes you for a Northern Pastor,gg5747 Mr. Doctor.n8802

412DoctorNo matter what, let him run outgg5748 his fancy.gg5742

413FerdinandYou were best to use me well, and like a soldier.
        Ordergg5743 will else be ta’en -- though you know none.n9627

414DoctorYou shall have all best usage, sir.

415FerdinandAnd use my horse well, too, and let my horse and armour
        Be decently preservedn8805 and seen forthcoming
        At my redemption.gg194

416DoctorWith all best care, sir.

417FerdinandFor I shall soon be sent for, or fetched offgg6050
        With ruin of your country ’bout your ears.

418DoctorYou shall have all content the country yields,n9322 sir.

419FerdinandI shall have oatbread,gg5745 ale, and bagpipes, shall I?

420DoctorIf you’ll be merry, sir.

421FerdinandMerry! why not?
        Come, let’s ha’ cards, and you and I to cribbagegg4740n8800
        For an odd hundred pound: I mean not Scotch,
        But sterling English pieces!gg2873 Where’s your money?
        All gone in ammunition, and charge military.

422DoctorI’ll find you money enough.

423FerdinandOh, here’s a third man! Let’s then to gleek.gg3407

424MendicantCrowngg2902 gleek, sir, if you please.

425FerdinandCrown gleek! no more?
        You seem to be a thrifty Covenantergg5744
        To play but at crown gleek: whole piecegg2873 gleek or nothing!

426MendicantHigh as you please, sir, we’ll find money enough,
        And pay us but our buyings.gg5120

427FerdinandSir, you must bate me aces.n7787 You will play Tib and Tom.gg5117

428DoctorAll i’ the cards, sir.

429FerdinandAway with cards. Bring dice, set all at hazard,gg4742
        And though I lose all, I have yet a project
        That at the end o’ th’ war, and the great sittingn8801
        Shall fetch all ings1190 again. But oh, my Muse!
        How dare I so neglect thy inspirations?
        Give me pen, ink and paper.

430DoctorAll’s ready.

431FerdinandNow will I write, nor will I emulate
        Ovid’sn9780 smooth vein, or Petrarch’sn9782 buskingg5121 style.
        Nor Laura,gg5749 nor Corinna,gg5702 did deserve
        To have their prayers written in such verse
        As I’ll bestow on her that I adore.
        Listen to me, you blest Intelligencesgg5122 – – –
        And, Phoebus, stay thy course to hear me sing
        Her praises,n8806 for whose love th’enamoured gods
        Would leave their proper seats, and in stolen shapes,
        Converse with mortalsn9783 – – – You soul-ravishing spheres,n8808
        Send forth your sweetest harmony whilst I sing – – –
        But, oh, she is disdainful, and her scorn
        Hath blotted all the glory of her praise.
        Away, away with all!

432DoctorNow, sir, do you observe the root of his disease?

433MendicantI guess at it: know you the remedy?

434FerdinandDisease! What’s that? who is diseased? Who wants
        A remedy? Are you, sir, a physician?

435MendicantThis gentleman is, and brings you remedy,
        Be you patient.

436DoctorOh, you will movegs1662 him.

437FerdinandYou are a bracegg1269 of quacks,
        That tie your knowledge unto days and hours
        Marked out for good or ill i’ th’ almanac.gg1376
        Your best receiptsgg5123 are candygg5948 for a cold,
        And Carduus Benedictusn7833 for an ague.gg3796
        Could you give life as Æsculapiusn7797
        Did to unjustly slain Hippolytus,n7799
        You could prescribe no remedy for me.
        Go study Galenn11549 and Hippocrates,n7801
        And when your raregg5782 simplicitiesgg5949 have found
        Simplesgg2177 to cure the lunacy of love,
        Compose a potion and administer’t
        Unto the Family at Amsterdam.gg5124

438DoctorI’ll physicgg5125 you tomorrow and allay
        The heat of this strong fit or leechgg5126 it out.
Enter RAPHAEL.n9871

439Raphael   [Aside]   I have ventured to this house again, assured
        That now the humorousgg150 lady is from home,
        Forgetting not her love-trick put upon me
        Which she already boasts to my disgrace
        For which I may requite her Ladyship,
           [To MENDICANT]   How does your patient? Asleep! That’s well.

440MendicantNo, he’s but silent, sir, and it is well
        That he is so, so long.

441RaphaelThe Lords in honourable regardgs1723 unto
        His health directed me to visit him.

442FerdinandWho’s that?

443RaphaelDo you not know me, sir?

444Fre.You are, I tak’t, the ghost of Dionysus,n7805
        The great tyrannical court schoolmaster.

445RaphaelYour friends at court commend them to you, sir.

446FerdinandWhat,n9786 hither? Unto hell? Extend their loves
        So far, to find me out? Pray let ’em know
        That here’s a troubled world in wantgs991 of statesmen.
        But tell the youths and beauties there, they never
        Shall find a happier opportunity
        To raise a new plantation.gg3161 They’ll drive all
        Before ’emn9787 here. For pride is at a stand;gs1664
        Fashions are all worn out; and no inventiongs1663
        For new here to be found. All beauty’s lost;
        Nor have the greatest ladies here the artn7806
        To make so much as their poor chambermaids.
        Let ’em come down,n10193 as many of the gallants
        As are made weary of their wives or mistresses;
        And, of those wives and mistresses, as many
        As can their husbands or their servants spare:
        And what a year of holidays,n9729 a jubileegg6041
        Shall we have in hell then? Hah!n10175 Old Lad!n1082

447RaphaelWhat a wild fancy’s this!

448DoctorCross it not, good sir.

449RaphaelPray give me leave to touch it though, a little.

450FerdinandBut above all, find out the Lady Strangelove
        That humorousgg150 Madam, and tell her from me,
        The many lovers she has sent before her
        Into these shades (where we can find no torments
        Like those that she inflicted) have prevailed
        With the great queen, Proserpina,n7808 that she
        Shall be in place next to her royal person.

451RaphaelThe Lady Strangelove! You are in her house, sir.
        Where do you think you are? or who you are?
        Pray call yourself to mind, sir. Are not you
        The noble cavaliergg3829 and hopefulgs1660 courtier
        The most accomplished knight, Sir Ferdinando?

452DoctorForbear, sir, you will movegs1662 him strongly else.

453RaphaelI have authority for what I do, sir.
        Can you forget yourself, sir, or neglect
        The bounteous fortunes that the court and kingdom
        Have in store for you, both for past achievements,
        And for the large endowmentsgg3789 of court virtue
        Are found still growing in you, studied and practised
        So to the life, as if you were built up
        Virtue’s own mansion,gg2569 on her four firm pillars?—

454Mendicant   [Aside]   I hope he cannot flatter him into’s wits
        When ’tis the way to fool men out of ’em.

455Raphael—The wisdom, justice, magnanimity,
        And temperancen8071 of Court you are exactly
        Framed and composed of, and induedgg2078 with all
        The excellencies that may adorn a man
        By nature, fortune, art and industry!
        And all this glorious light to be eclipsed
        And such divine perfections seem to sleep?

456FerdinandPray sir, your ear.

457RaphaelSir, most attentively.

458FerdinandWhat do you think of Salisbury steeple,n7814 sir,
        For a fit hunting spear t’incounter with
        The Whore of Babylon?n7811 Might I not firkgs1197 her, think you?

459MendicantYour doctrine does not edify,gs1724 Sir Raphael.

460FerdinandIs orator Demosthenesn9793 grown dumb
        O’th’ sudden? What! No answer? give me a knife:
        He is but tongue-tied. n8773

461RaphaelGuard me, Divinity.

462Doctor   [To RAPHAEL]   I told you what you would do.

463Mendicant   [To FERDINAND]   Patience, good sir.

464FerdinandPatience in tortures?

465DoctorHelp here suddenly!gg4781

466FerdinandDo you sally forth in troops? Have I no troop?
        Give me my horse and arms, and come a hundred.
[SERVANTS subdue FERDINAND and strap him back onto his chair.]

467DoctorWe’ll arm and horse you, since you're so unruly.
        Away with him into his bedchamber.
[SERVANTS lift FERDINAND in his chair and move towards a stage door.]

468FerdinandOh, do you make me then your Knight o’ th’ Shire?n9325
        A tungg6042 o’ wine for that. Shoulder your Knight,
        Advance your Knight, bear him out!

469AllAgg5721 Ferdinand, a Ferdinand!n9323[Exit DOCTOR and SERVANTS, carrying FERDINAND in his chair.]n9324

470Mendicant   [Aside]   This now to me is music, golden-chimes
        That rings all in with an assured advantage.
           [To RAPHAEL]   How now, Sir Raphael! Frighted?

471RaphaelIn all my disputations,gg6043 all my travels,n7815
        And all conspiracies that have been had
        Against me, never met I an encounter
        By man or spirit that I feared so much.
        Yet here’s another fury.

472Strangelove   [To MENDICANT]   By what oppression or tyranny (for law,
        I’m sure, could never do’t) is my house here
        Confiscatedgg6044 or usurped, and I become your slave?

473MendicantHow, Madam?

474StrangeloveYour slave: lay your commands on me.
        What drudgery do you appoint me to?

475RaphaelShe’s mad too.

476MendicantDid not your Ladyship give way?

477StrangeloveTo make my house a hell?
        The noise of Bedlamgs891 is soft music to’t.
        Could your Projectorshipn10156 find no house else
        To make a madman madder in but mine,
        And me as mad as he too with the trouble?

478MendicantI was no principal in’t, good Madam.Exit [MENDICANT].

479StrangeloveWas it your plot then, Sir Philosophaster,gg5140
        That so you might, under pretext of reading
        Philosophy to him to cure his madness,
        Make your address to me to prosecutegg2642
        Your love-suit when I thought I had answered you?
        But if you must proceed, o’ercome me if you can:
        Yet let me warn you to take heed withal
        You pull not a disease unto you, that may
        By your ungoverned haste postgg258 into
        Your grave, for I shall prove a torment to you.
        Though you’ll take no denial, take yet a warning.

480RaphaelI take it to forsake your house and never
        More to resortgg6045 where madness reigns. Did I
        Make love to you?

481StrangelovePardon me, virtuous sir:
        It is my love to you that tortures me
        Into this wild distraction.gg5247 Oh, Sir Raphael!

482Raphael   [Aside]   Now virtue guide me! I will shun this place
        More than I would the Spanish Inquisition.n10144[Exit RAPHAEL.]

483StrangeloveI shall in time be rid of all such guests,
        And have the libertygg5720 of mine own house
        With mine own company, and to mine own ends.
        Where are you, Phil? I were but dead if I
        Had not this wench to foolgg5974 withalgs363 sometimes.n9789

485StrangeloveI must be a little serious with you: shut the door.

486Philomel   [Aside]   Now am I called into correction.gs1725
        When she is vexed and wants the company
        She likes, then come I into question.
        ’Tis common among ladies with their women.

487StrangeloveWhy that down look, as if you meant to fetch
        An answer or excuse out of your apron-strings
        Before you are charged or questioned? What new fault
        Has passed of late?

488PhilomelDo you read any, Madam,
        Upon my face or looks? I never was in love
        Much with my face, nor ever hated it. But if I thought
        It had upon’t, or in it, any trespass
        Against your Ladyship (my heart being clear)
        These nails should claw it out.
[PHILOMEL scratches at her own face.]n9326

489StrangeloveNay, be not passionate,gg5141 Phil. I know you cannot
        Forget the care I have had of you, nor should you
        Distrust me in the promises I have made you,
        Bearing yourself according to your covenant,gs1025 Phil,
        Of which one articlegg6013 is to laugh with me.

490PhilomelGo, you are such a Lady! Ha, ha, ha!

491StrangeloveNow thou com’st to me, wench! Hadst forgot?

492PhilomelYou said you would be serious.

493StrangeloveDost not thou know my seriousness is to laugh in private,
        And that thou art bound to stir that humourgg222 in me?
        There’s but two things more conditionedgg4599 in thy service:
        To do what I bid thee, and tell me the truth
        In all things that I ask thee.

494PhilomelAye Madam, you had never known that same else.

495StrangeloveOf the clapgg5142 thou hadst i’the country eregg1781n7962 I took thee?
        But hast thou faithfully kept thine own e’ergg5238n7963 since?

496PhilomelYes, most severely, Madam, on your promise —

497StrangeloveWell, we will have a husband, then, to soldergg4257 up the old crack.gg5168n7836
        I have already made my choice for you:
        Your sweetheart Cit-wit makes most suit to you,
        And has a good estate, and wit enough,
        Too, for a husband, and a handsome person.

498PhilomelI find no fault in all that. But he is
        So base a coward that he may be soon
        Beaten out of his wit and money.

499StrangeloveBut if he should prove valiant?

500PhilomelIf he were valiant now, I could say something,
        But to wait for growing to’t were such a loss of time.

501StrangeloveWhat say to Swain-wit?

502PhilomelHe’s the other's extreme.
        I might fear him but never love him.

503StrangeloveWhat think you of my special favourite, Mr. Court-wit?

504PhilomelAs of a courtier, Madam, that has tasted
        So much of all waters, that when he has
        A fountain of his own, he’ll be too jealousgg5137 of it
        And fearn7835 that every man will drink of’s cup
        When perhaps none dares touch it, were I it.n10145

505StrangeloveWhat say to Dainty, then, the curiousgg2874 limner?gg5166

506PhilomelI am bound from lying. Madam, he’s the man.

507StrangeloveWell, I’ll take thy cause in hand, wench. But yet we are not merry. I am inclined most jovially to mirth, me thinks. Pray Jovegg5731 some good be towards.gg1499 Laugh, or I’ll pinch you till you do!

508PhilomelHa, ha, ha, ha, Madam, ha, ha, ha! Oh, the picture-drawer! Ha, ha, ha!

509StrangeloveAye, come,gs1573 the picture-drawer!

510PhilomelOh, I love drawing and painting, as no lady better, who for the most part are of their occupation that profess it.n8785 And shall I tell all, Madam?

511StrangeloveBy all means, Phil.   [Aside]   Now she’s entered.gg5167

512PhilomelI hope I am handsome enough, too. For I have heard that limners or picture-drawers do covetgs1726 to have the fairest and best-featured wives (or if not wives, Mistresses) that they can possibly purchase, to draw naked pictures by, as of Diana,n9794 Venus,n9795 Andromeda,n9796 Leda,n9797n8786 or the like, either virtuous or lascivious, whom they make to sit or stand naked in all the severalgg798 postures, and to lie as many ways to help their art in drawing. Who knows how I may set his fancy a-work? And with modesty enough: we were all naked once, and must be so again. I could sit for the naked shepherdess, with one leg over the tothergs240 knee, picking the thorn out of her foot most neatly, to make the satyr peep under.

513StrangeloveWell, thou shalt have him.

514Boy   Within.   Mistress Philomel.

515StrangeloveLet in the boy.
[PHILOMEL goes to the stage door through which BOY has spoken]
[Enter BOY.]

Now, sir, your news?

516BoyThe mad knight's doctor, Madam, entreats to speak with you.

517StrangeloveNow seeks he my assistance in his cure.

518BoyAnd Mr. Court-wit and the other gentlemen are below.

519Strangelove   [To PHILOMEL]   Go you and entertain the gentlemen, while I consult with the doctor.   [To BOY]   Let him enter.[Exit BOY via stage door through which he entered
and PHILOMEL via the other.]

Now, Mr. Doctor! You come to ask my counsel, I know, for your impatient patient. But let me tell you first, the most learned authors that I can turn over,n7966 as Dioscorides,n7964 Avicenna,n7965 Galen,n11549 and Hippocrates,n7801 are much discrepant in their opinions concerning the remedies for his disease.


521StrangeloveTherefore I trust you’ll pardon my weakness, if my opinion jumps not altogether withgs1904 your judgement.

522DoctorMadam, my purpose was not——

523StrangeloveMy purpose is to advise you, though, that, if his frenzy proceed from love as you conjecture, that you administer of the roots of hellebore,n7831 distilled together with saltpetren8790 and the flowers of blindnettles.n7968 I’ll give you the proportions, and the quantity is to take.n7967

524DoctorMistake not me, good Madam——

525StrangeloveBut if his malady grow out of ambition and his overweening hopes of greatness (as I conjecture), then he may take a top of cedar,n10146 or an oak-applen10148 is very sovereigngg5738 with the spirit of hempseed.n10147

526DoctorMadam, I seek no counsel in this case: my cunningn8788 is——

527StrangeloveTo let me know, that that part of my house which I allow you is too little for you.

528Doctor   [Aside]   She’s surely mad.

529StrangeloveBut you must claim possession of the rest.
        You are come to warn me out ongg776’t, are you not?

530DoctorMistake not so, good Madam.

531StrangeloveOr do you callgs1665 my attendance on his person, by way of a nursekeeper?gg5736 I can do little service.

532DoctorFor my part, Madam, I am sorry we are made the trouble of your house, and rather wish me out on’t gg776than your favour. But if your Ladyship will be pleased to entertain with patience the little I have to say——

533StrangeloveCome to it quickly then.

534DoctorFirst, let me tell you, Madam, as ’tis manifestgg329
        You were the cause of his distraction,gg5247
        You're bound in charity to yield such means
        (With safety of your honour and estate)
        As you may render for his restoration
        Which of all the earthly means depends on you
        If I know anything in my profession.

535StrangeloveCome to the point: you'd have me visit him.

536DoctorTrue, Madam, for a sight of you shall more
        Alluregg5737 his reason to him, than all medicine
        Can be prescribed.

537StrangeloveBy your favour, sir, you say
        (Saving my honour and estate) I am bound;
        But may I with the safety of my life,
        And limbs, and a whole skin dare venture?

538DoctorMy life o’ that.

539StrangeloveYou might more safely lay
        Lives of a hundred patients.

540DoctorNow he’s calm,
        Now shall he see you, but at most secure
        And modest distance.

541StrangeloveCome, for once I’ll trust you.[DOCTOR and STRANGELOVE] exit.
Enter SWAIN-WIT and CIT-WIT.n10235

542Swain-wit   [Calling to COURT-WIT, who is still offstage]   Come out into the garden here and let them talk within. I say he shall talk with her, and his bellyful, and dogg4811 with her too, her bellyful, for allgg5739 thou, an honest discreetgg2336 gentleman,    [turning to CIT-WIT]   and thou, a coward and a coxcomb.gg3016 Besides he has an art and qualitygs1574 to live upon, and maintain her lady-like, when all thy money may be gone. And yet thou prat’st o’ thy two thousand pound at use,n10236 when thou and thy money too are but an ass and’s load tho’.

543Cit-witWell, you may speak your pleasure. This is no cause to fight for.

544Swain-witI’ll make thee fight, or promise to fight with me, or somebody else, before we part, or cut thee into pieces.

545Court-wit   [To CIT-WIT]   But tell me seriously, dost thou love my Lady’s woman so well as to marry her, and suffer the picture-drawer now to court her privately, and perhaps to drawgg3085 and carry her from thee?

546Cit-witWhy, he here will have it so, you see, and pulled me out.

547Swain-witIt is to do a cure upon thee, coward.

548Cit-witCoward! Pish!gg3269 A common name to men in buffgg2891 and feather.n8789 I scorn to answer to’t.

549Swain-witWhy dost thou wear a sword? Only to hurt men’s feet that kick thee?

550Court-wit   [To SWAIN-WIT]   Nay, you are too severe.

551Swain-wit   [To COURT-WIT]   Pray hold your peace. I’ll jowlgg5740 your heads together, and so beat tonegg6046 with tothergg1195 else.    [To CIT-WIT]   Why dost thou wear a sword, I say?

552Cit-witTo fight when I see cause.

553Court-witNow he says something, yet, and may be curable.

554Swain-witWhat is a cause to fight for?

555Cit-witI am not to tell you that, sir. It must be found out and given me before I ought to take notice.

556Court-witYou may safely say for Religion, King or Country.

557Swain-witDarest thou fight for Religion? Say!

558Cit-witWho that has any Religion will fight, I say.

559Swain-witI say thou hast none. Speak, hast thou any?

560Cit-witTruly, in this waveringgg2369 world I know not how to answer.

561Swain-witLagg4314 you! He’ll say he has no King neither, rather than fight.

562Court-witWhy, if he will not fight for him, he is no Subject; and no Subject, no King.

563Cit-witI thank you, sir: I would ha’ said so.

564Swain-witOh, thou wouldst make a specialgs1575 soldier now!

565Cit-witWell, sir, all are not choice dogs that run: some are taken in to make up the cry.gg5741

566Swain-witAnd for thy Country, I dare swear thou wouldst rather run it than fight for’t.

567Cit-witRun my Country I cannot, for I was born i’ the City.gg3452 I am no clowngs2504 to run my Country.n9800

568Swain-witDarest thou tell me of clowns,gs1322 thou cockneyn9799 chicken-hearted whelp,gs1727 thou?

569Cit-witforbear,gs1728 good sir! There are country gentlemen as well as clowns, and for the rank I honour you.

570Swain-witSirrah, you lie! Strike me for that, now, or I will beat thee abominably.

571Court-wit   [To CIT-WIT]   Up to him, man! Wilt thou suffer all?

572Cit-witI would — but —

573Swain-witYou lie, I say again.

574Cit-witI think I do, I think I do, and why should I maintaings1729 an evil cause?

575Swain-witThe wench thou lov’st and doatest ongg6048 is a whore.

576Cit-witSir, if she be ’tis not my fault, nor hers: somebody else made her so then, I warrant you. But should another man tell me so!

577Swain-witWhat then?

578Cit-witI would say as much to him as to you. Nor indeed is any man’s report of that a sufficient cause to provoke me unless she herself confessed it, and then it were no cause at all.

579Swain-witHere’s a true Citygg3452 wit now.

580Cit-witI should have wit, sir, and am accounted a witn8791 within the walls.n8792 I am sure my father was master of his company,gg5719 and of the wisest company, too, i’the City.gg3452

581Court-witWhat company’s that?

582Cit-witThe Salters,n8793 sir. For sal sapit omnian8783you know.

583Swain-witYour father was a cuckoldgg1331 tho’, and you the son of a whore.

584Court-witFight now or you’ll die infamous! Was your mother a whore?

585Swain-witDeny’t andgg857 darst! say, was she not?

586Cit-witComparatively she might be in respect of some holy woman, the Lady Ramsey,n8795 Mistress Katherine Stubbesn8794 and such, ha, ha! Is that a cause?

587Court-witWhat, not? to say your mother was a whore?

588Cit-witHe may say his pleasure. It hurts her not: she is dead and gone. Besides, at the best she was but a woman, and at the worst she might have her frailties like other women. And is that a cause for me to fight for the dead, when we are forbidden to pray for ’em?n8796

589Court-witBut were your mother living now, what would you say or do?

590Cit-witWhy, I would civilly ask her if she were a whore. If she confessed it, then he were in the right, and I ought not to fight against him, for my cause were naught. If she denied it, then he were in an error, and his cause were naught, and I would not fight: ’twere better he should live to repent his error.

591Swain-witNay, now if I do not kill thee, let me be hanged for idleness.
[SWAIN-WIT] draw[s his sword from the scabbard at his side].n10237

592Cit-witHold, I am unprepared!

593Swain-witI care not! Unless thou swear presently, and without all equivocation,gg6049 upon this sword —

594Cit-witScabbardgg4963 and all, I pray, sir. The cover of the book is allowed in courts to swear upon.

595Swain-witWell, sir, now you shall swear to challenge the next that wrongs you.
[SWAIN-WIT] sheathes it [back in its scabbard].

596Cit-witYes, if the wrong give me sufficient cause.

597Court-witCause again! suppose that fellow within should take your wench from you? which very likely he has done already, for I left ’em close on a couch together kissing and —

598Cit-wit Gi’ me the book!n10238 I’ll have her from him, or him from her if he be without her belly, or kill him if he be within her.

599Swain-wit’Tis well a cause may be found at last tho’.

600Court-witI like a man, whom neither lie, kick, baton,n8797 scandal, friends, or parents, the wrongs of Country, King or Religion, can move, that will, yet, fight for his wench. Thou wilt be one of the stiff bladesn8799 o’ the time, I see.

601Swain-witA wench is a moving causen8798

602Strangelove   [Screaming,] unseen, above.n9328   Help, help! Here help! Aaaaah!!!n9733

603Swain-wit   [To CIT-WIT]   Why dost not draw and run in upon ’em?

604Cit-witAfter you I will, sir.

605Swain-witA pox upon thee! Art thou down again?

606Cit-wit   [Drawing his sword]    No, sir, I am drawn, you see.

607Strangelove   [Still unseen above]   Help, help, a rape, a rape, murder, help!
[COURT-WIT and SWAIN-WIT draw their swords.]n9330

608Swain-wit Court-wit’Tis time to fly, then.
Enter DAINTY (his sword drawn) and PHILOMEL.

609Cit-witI come, my Philomel!

610Court-witWhat’s the matter, Phil?

611DaintyWhat cry was that?

612Swain-witWas it not you that caused it, sir?

613PhilomelWas it not here?

614Cit-witWas it not you that cried?

615Strangelove   Above.n9331   Is there help? Help, help!!!

616PhilomelOh, ’tis my Lady in the madman’s chamber. Is her mirth come to this?

617Swain-witWhere, which way?

618PhilomelHere, here!   [Trying a stage door]   The door’s made fast.

619Swain-wit   [Doing as he says]   I’ll break it open!
[COURT-WIT, SWAIN-WIT, PHILOMEL and DAINTY exit. CIT-WIT, his sword still drawn, remains onstage.]n9335

620Doctor   Look[ing] out [from stage window] aboven9339   Help here! Help the Lady! Help the Lady!!

621Cit-witWe are a-coming, you shall have help enough, I warrant!gg589 What’s the matter? You shall not lack for help —
[CIT-WIT] flourish[es] his sword.

622Ferdinand   Above unseenn9341   Away, Medusa!n9798 Hence, thou hast transformed me! Stone, stone, I am all stone!n8758 Bring mortar and make a bulwarkgg3144 of me.

623Cit-witOh, that’s the madman! How madly he talks!

624FerdinandHold me not down.

625Cit-witStonesn8760 to make a bulwark, quotha!gg43 If he had but to make a brace of demi-culverinn8761 bullets, they were thumpers,gg5709 I think.

626FerdinandHold me not down, but rear me up, and make me my own statue!

627StrangeloveWas ever such a practice?gg5711

628Court-witA mere accidentgg5713 of madness.

629StrangeloveI say it was a practicegg5711 in the Doctor.

630DaintyYet he called out for help.

631StrangeloveYou had broke up the door first. That was but to colourgg5714 his treachery.

632Swain-witA new way, and a very learned one, I promise you, to cure madness with a plastergg5715 of warm lady-guts.

633Cit-witHe would ha’had a mad bout with my Lady, it seems. He would ha’ ventedgg5716 his madness into her. And she could ha’ drawn better than the leeches.n8769

634Court-witIf you believe this, Madam, tho’ Sir Ferdinand be by his madness excusable in the attempt, you ought to be revenged upon the doctor.

635Swain-witLet’s cut him into pieces, Madam.

636StrangeloveI’ll think upon some way to make him a dreadful example to all the Pandareann8772 doctors i’the town. Come in, gentlemen, and help me with your advices.
[All start to exit, DAINTY taking PHILOMEL by the arm as they move off.]

637Cit-witYou shall wantgg491 no advice, Madam, no strength. Let’s go, sir.
[CIT-WIT detaches PHILOMEL from DAINTY.]n9345

638PhilomelWhat mean you, Mr. Cit-wit?

639Cit-witI have sworngg1956. Therefore I say no more, but I have sworn.[All exit.]n9343

Edited by Marion O'Connor

n9626   3.1 Act 3 completes introductions of the dramatis personae and complicates the plot situation. Having closed the previous act by arranging for the Doctor and his patient Ferdinand to stay in Lady Strangelove’s house, Mendicant (with the assistance of Philomel) opens this act by escorting them onstage. Ferdinand plays mad riffs in various roles – soldier, gamester, and poet. Raphael returns with get-well messages from Court to Lady Strangelove’s houseguest, but Ferdinand responds by threatening the messenger with physical violence and is therefore carried off again. Lady Strangelove enters and, in her turn, behaves alarmingly enough to scare away Mendicant and then Raphael. Left alone with Philomel, Strangelove questions her about her preference among suitors: the mistress recommends Cit-Wit, but the maid fancies Dainty. Their conversation also establishes the maid’s previous sexual experience, Philomel having been suffering from gonorrhea when Strangelove brought her out of the country and into her service. A member of the household who has not been seen before (the Boy) enters to announce both the Doctor’s approach in hopes of speaking to Strangelove and the proximity of Cit-wit, Court-wit and Swain-wit. The Boy and Philomel exit separately. The Doctor enters and, after some advice on psychiatric care from Strangelove, persuades her to visit her lunatic houseguest. Having personally guaranteed Strangelove’s safety, the Doctor leads her off. Their exit clears the stage and therefore breaks the scene, but time is uninterrupted, and place remains within Lady Strangelove’s house. Swain-wit and Cit-wit enter, soon followed by Court-wit, and Swain-wit again attempts to pick a fight with Cit-wit. The bullying and the banter are interrupted by cries for help from Strangelove offstage. Philomel and Dainty hurry onstage together, and all save Cit-wit rush off to assist the lady. From offstage Ferdinand exclaims, insanely, over the failure of his attempt to rape his hostess. With her other guests and Philomel, Strangelove comes back onstage just long enough to confirm that that was what Ferdinand was trying (but failing) to do and to resolve to get even with the treacherous Doctor. All exit to devise his punishment. [go to text]

gg4782   lodgings rooms for temporary occupancy; guestsuite [go to text]

gg2573   distracted maddened, deranged [go to text]

n7125   [Enter SERVANTS carrying on FERDINAND, who has been bound and hooded, in a chair. Having set down the chair, loosened the prisoner's bonds and removed his hood, the SERVANTS exit.] Octavo of 1653 reads: `Ferdinand brought in a chaire bound and hooded, &c.' The stage direction is printed in the margin alongside the Doctor's command and Ferdinand's first two lines: the command thus cues the entry which it anticipates. The entry could, however, begin a line earlier, with Ferdinand being carried on through one stage door as Philomel makes her exit through the other: the command would then react to the entry rather than control it. Either way, the command is addressed to at least two servants, the minimum necessary to carry on an adult in a chair. Octavo of 1653 does not assign the servants an exit at any point before it gives another entrance for servants, summoned by the Doctor in Speech No. 465. It seems reasonable to assume that the servants who there respond to the Doctor's cry for help are the same as those who have earlier acted as medical orderlies. The intervening dialogue implies no cue for the servants' departure, but neither does it give them anything to do once they have deposited Ferdinand and obeyed the Doctor's command to release his bonds and restore his vision. This edition clears them away sooner rather than later: directorial decision, however, might determine their movements otherwise. [go to text]

n8804   Am I then taken prisoner in the North? Sir Ferdinand's first outburst of insanity jeers at Sir John Suckling's conduct in the military stand-off between the Crown and the Scottish Presbyterians. The struggle being partly a matter of resistance to ecclesiastical governance on the English model (control by bishops who answered to archbishop), it is sometimes designated `the Bishops' Wars'. As the plural suggests, it had two phases: one escalating through 1638 and ending, without battle, in June of 1639; and the other seeing a defeat of royalist forces in August of 1640. Suckling was widely ridiculed for his behaviour in both phases. [go to text]

n8803   To which of your rebelliously usurped Castles ha’ you brought me? The escalation of hostilities between the Covenanters and the Crown during the first half of 1639 included the Scots' seizure of royal castles in Scotland. By an agreement reached (without battle) on 18 June 1639, these were restored to the king, and armies on both sides were disbanded. [go to text]

gg5746   Presbyter, An Elder or office-holder (whether cleric or layperson) in Presbyterianism, a mode of Protestantism in which churches are governed locally and without bishops [go to text]

n7124   pugnare than orare, These Latin infinitive verbs mean `to fight' and `to pray'. Medieval political theory, as articulated by Geraldus Cambrensis in the eleventh century, had identified the former as the responsibility of kings and the latter as the responsibility of bishops. [go to text]

gg6040   abjure renounce, repudiate (OED v. 2) [go to text]

n8802   He takes you for a Northern Pastor, Mr. Doctor. A speech in the previous act [CB 1.1.speech40] describes the doctor as a `trim, effeminate gentleman' whose fashion sense runs to `gay clothes and Flanders laces'. His costume will exaggerate the absurdity of Sir Ferdinand addressing the doctor as a Christian cleric of any sort, let alone an elder of the Scottsh Presbyterian church. [go to text]

gg5747   Pastor, minister in charge of a Christian church or congregation (OED n. 1a) [go to text]

gg5748   run out exhaust, get through (OED v. 77 Ja and Jb) [go to text]

gg5742   fancy. fantasy, hallucination (OED n and a, 3) [go to text]

gg5743   Order action(s) to a particular end; measures or steps for the accomplishment of a purpose (OED n. 18) [go to text]

n9627   though you know none. Octavo of 1653 presents this phrase in parentheses. [go to text]

n8805   use my horse well, too, and let my horse and armour Be decently preserved In the military skirmish near Newcastle that concluded the Second Bishops' War, Sir John Suckling was reported to have conducted himself with ludicrous cowardice. The least humiliating reports were that some of his horses had been seized by the Scottish forces and the best steed given to their general, or that his coach had been taken, along with both clothing and cash. (See The Works of Sir John Suckling, ed. Thomas Clayton, [Oxford: Clarendon, 1971], I, l-liii, and references there cited.) If these lines by Brome refer to those reports from the front -- and it is difficult to construe them otherwise -- then they are evidence for dating The Court Beggar somewhat later in 1640 than has been previously thought: see Introduction. [go to text]

gg194   redemption. ransom [go to text]

gg6050   fetched off rescued (OED, fetch v, 16) [go to text]

n9322   all content the country yields, `Content' is here used in the now-obsolete sense as not the state, but rather the source or material condition, of satisfaction. The entry for this sense in the OED (content n2, 3) goes on to gloss the plural form as `pleasures, delights', which also seem appropriate for this instance of the singular. For an urban English audience, the joke is of course that oatcakes, ale and bagpipes constitute the sum of comforts available in the North country or Scotland. [go to text]

gg5745   oatbread, bread made of oatflour, characteristic of Scottish diet [go to text]

n8800   let’s ha’ cards, and you and I to cribbage Sir John Suckling, whose cardgamesmanship was well known. Near the beginning of the brief biography which he wrote of Suckling in 1680, John Aubrey recorded: `He was the greatest gallant of his time, and the greatest that no Shopkeeper would trust him for 6d, as today, for instance, he might, by winning, be worth 200 pounds, and the next day might not be worth half so much, or perhaps sometimes be minus nihilo.....He played at Cards rarely well, and did use to practise by himselfe a-bed, and there studyed how the best way of managing the cards could be.' In a separate manuscript note, Aubrey amplified this account: `Sir John Suckling -- from Mr. William Beeston -- invented the game of cribbidge. He sent his Cards to all Gameing places in the countrey, which were marked with private markes of his; he gott twenty thousand pounds by this way.' (Brief Lives, chiefly of Contemporaries, set down by John Aubrey, between the Years 1669 and 1696', edited from the author's MSS by Andrew Clark (Oxford: Clarendon, 1898) II, 240-1, 245. The longer quotation comes from Bodleian MS Aubrey 6, fol. 110, and the shorter from Bodleian MS Aubrey 8, fol 10v.) [go to text]

gg4740   cribbage card game involving 2 to 4 persons and full pack of 52 cards (OED), said by Aubrey to have been invented by Sir John Suckling [go to text]

gg2873   pieces! coin, usually gold, and at this date the equal of twenty-two shillings (the spending worth in today's currency would be £94.38p.) [go to text]

gg3407   gleek. a card game involving 3 players and 44 cards [go to text]

gg2902   Crown a coin (once gold, subsequently silver) to the value of five shillings (its spending power in terms of the currency of 2009 would be £21.45p) [go to text]

gg5744   Covenanter subscriber or adherent of the Scottish Presbyterians' national covenant, signed 28 February 1638, for the defense of reformed religion and resistance to episcopacy [go to text]

gg2873   piece coin, usually gold, and at this date the equal of twenty-two shillings (the spending worth in today's currency would be £94.38p.) [go to text]

gg5120   buyings. stakes, shares [go to text]

n7787   bate me aces. The phrase `to bate an ace' means `to lose or abate a jot or tittle, to make the slightest abatement' (OED ace n, 3b). The addition of the first-person pronoun as an indirect object turns the phrase -- apt in conversation about cardgames -- into an expression of incredulity. [go to text]

gg5117   Tib and Tom. the ace and the knave of trumps in the game of gleek (OED Tib n, 2; Tom n1, 2) [go to text]

gg4742   hazard, game at dice in which chances are complicated by arbitrary rules (OED 1) [go to text]

n8801   the great sitting After fully a decade of personal rule, late in 1639 Charles I summoned a Parliament, the fourth of his reign. It sat for only three weeks -- from April 13th to May 5th. Sir John Suckling's personal sitting was even shorter than most MPs': defeated in his first bid for a seat, on April 30th he won another (Bramber, Sussex), but parliament was dissolved within a week. If the phrase refers to this Parliament, then it must be ironic. It may, however, refer to the Parliament which opened on 3 November 1640 and was not dissolved until 16 March 1660, eight years after Brome's death. Although the eventual duration of this later Parliament of course could not have been anticipated by the playwright, its importance was obvious from the start (because the commons had the upper hand over the king), and its early business was dominated by monopolies. If the reference is to this later Parliament, however, then The Court Beggar must have been written -- or at least revised -- later than has previously been suggested. See Introduction. [go to text]

gs1190   fetch all in recoup everything (OED v. II 12a) [go to text]

n9780   Ovid’s Publius Ovidius Naso (43BC-18AD) was a Latin poet, active in the early years of the Roman Empire. Among Ovid's extant works, the one most influential for Medieval and Early Modern literature was his Metamorphoses, a collection of myths about the gods. He is also, however, celebrated for his love poetry. Ovid wrote in elegaic distichs (that is, pairs of lines in which a hexameter line is followed by a pentameter one), and his verse is indeed distinguished by smoothness. [go to text]

n9782   Petrarch’s Francesco Petrarca (1304-1374) was an Italian poet, best known (and most influential) for his celebrations -- across three hundred sonnets -- of idealised and unrequited love. [go to text]

gg5121   buskin tragic -- `buskin' being a kind of boot and a high, thick-soled boot (`cothurnus') being a characteristic of the Athenian tragic actor (OED 1 and 2b) [go to text]

gg5749   Laura, The name of the lady who is the spiritual centre of Petrarch's love lyrics, collectively titled in brief as Canzoniere (Book of Songs) and in full as Rime in Vita e Morte di Madonna Laura (Poems on the Life and Death of Milady Laura) [go to text]

gg5702   Corinna, The object of Ovid's amorous attentions in Elegies VIII, XIII and XVII of his love poetry, known as the Amores [go to text]

gg5122   Intelligences Spirits (OED n. 4a) [go to text]

n8806   Phoebus, stay thy course to hear me sing Her praises, In addition to his responsibilities for poetry, music and prophecy, Phoebus (Apollo) was Greek classical mythology's god of the sun, figured as a chariot which he drove across the sky every day. Sir Ferdinando is thus asking that the god bring time to a standstill while pausing to listen to the praises of Lady Strangelove. Note that what Sir Ferdinando proceeds to celebrate is the reaction of other (male) gods and that he is advertising his own supposed skill. In other words, and as is usually the case in English Petrarchan poetry, the lady disappears. [go to text]

n9783   th’enamoured gods Would leave their proper seats, and in stolen shapes, Converse with mortals Ferdinand imagines the gods as a group being so smitten with his beloved as to abandon their respective territories and to adopt disguises which would give them access to human beings. [go to text]

n8808   – – – You soul-ravishing spheres, Octavo of 1653 reads: `, your soule-ravishing spheres'. The emendation and repunctuation turn Ferdinand's invocation of Phoebus Apollo into a self-interruption. What it interrupts is his address to the spirits which control the cosmos, construed as a graduated series of rotating spheres, nested like a Russian doll. The turning of these spheres produced harmonious vibrations: the music of the spheres. [go to text]

gs1662   move excite, disquiet (OED v. 25a); anger, provoke (OED v. 25d) [go to text]

gg1269   brace pair, two [go to text]

gg1376   almanac. book of tables, containing a calendar of months and days, with astronomical data and calculations, ecclesiastical and other anniversaries, besides other useful information, including astrological forecasts of good days for special occasions like weddings [go to text]

gg5123   receipts recipes (whether culinary or, as here, medical), prescriptions [go to text]

gg5948   candy crystallised sugar, made by boiling and evaporating a sirup of it [go to text]

n7833   Carduus Benedictus Carduus benedictus is a southern European species of thistle (also known as Cnicus benedictus) used for medicinal purposes. In the Jacobean Pharmacopoeia Londinensis (1618), both the leaves and the seeds of Carduus benedictus are listed among apothecaries’ store cupboard of ingredients, and it appears as the basis of various medicines, including infusions and conserves. Its ordinariness is indicated by a passage in William Harrison's Description of Britain (2nd edition 1586) which opposes the reputation of exotic medicinal herbs like tobacco to the reality of domestic ones such as `our common germander or thistle benet [which are] found and knowne to bee so wholesome and of so great power in medicine as any other hearbe'. [go to text]

gg3796   ague. acute fever [go to text]

n7797   Æsculapius In Greek and Roman mythology Æsculapius was the legendary physician and god of medicine. The son of Apollo and a Thessalian maiden named Coronis, he had the skill and the benevolence towards humankind to restore Hippolitus to life. For this violation of divine prerogative, Æsculapius incurred the mortal wrath of Zeus, who killed him with his thunderbolt. In his last utterance as recorded by Plato, Socrates (another violator of established orders) left a memorable trace of the cult of Æsculapius. [go to text]

n7799   Hippolytus, Son of the Greek mythological hero Theseus and an Amazon (variously named Hippolyta and Antiope), Hippolytus grew up to be the object of his stepmother's sexual obsession. When Hippolytus rejected her advances, she killed herself and blamed him for her suicide. The unjust accusation prompted Theseus to send his son into exile with his curses, which in turn caused the death of Hippolytus. A sea-monster appeared and so spooked his horses that he lost control, crashed his chariot and died of his injuries. [go to text]

n11549   Galen A Greek physician (c.129-c.216) whose patients included several Roman Emperors. Galen was also an anatomist and prolific writer of medical treatises whose influence was still very strong in the Renaissance. [go to text]

n7801   Hippocrates, Greek physician (c. 460-370 BC) whose writings survived to earn him recognition as the father of medicine [go to text]

gg5782   rare exceptional [go to text]

gg5949   simplicities ignorances (OED simplicity 2a); stupidities [go to text]

gg2177   Simples plants or herbs employed for medical purposes; remedies (OED simple n, 6) [go to text]

gg5124   Family at Amsterdam. Netherlandish religious sect, in England popularly known as the `Family of Love' and mocked for wife-swapping [go to text]

gg5125   physic (v) treat with medicine, especially a purgative [go to text]

gg5126   leech (v) draw blood by application of blood-sucking leeches to the skin [go to text]

n9871   Enter RAPHAEL. ] Enter sir Raphael. [go to text]

gg150   humorous moody, whimsical [go to text]

gs1723   regard consideration (for) (OED n. 14b) [go to text]

n7805   Dionysus, Born ca. 430 BC, Dionysus the Elder ruled Sicily from 406 BC until his death in 367 BC. Best remembered for his cruelty, he was also a patron of the arts, a playwright, and a player of horribly instructive pranks: the most famous was his dangling, by a thread, of a sword over the head of Damocles in order to teach that courtier the perils of high office. [go to text]

n9786   What, Ferdinand asks that his well-wishers at Court be alerted to the need for their kind in hell, where he imagines himself to be. He proceeds to elaborate the attractions of hell as a site for colonisation by young men and women (hell being old-fashioned), by great ladies (hell being ugly), by men who are tired of their wives and mistresses, and by women who can manage without their husbands and servants. [go to text]

gs991   want lack [go to text]

gg3161   plantation. a settlement, a colony, often in an overseas territory [go to text]

n9787   drive all Before ’em conquer all; overcome and expel everyone (from OED, drive v, 1a). [go to text]

gs1664   stand; state of arrested movement; standstill (OED stand n1, 5a [go to text]

gs1663   invention the action of contriving or devising OED invention 2) [go to text]

n7806   art art] act [go to text]

n10193   Let ’em come down, Ferdinand invites men who have wearied of their female partners, and women who can get along without their male partners, to descend into hell for holiday activities which will include sexual reshuffles. The terms of his invitation imply a common assumption that female sexual appetite is inexhaustible: whether through boredom or exhaustion, men tire of their women, while women merely tolerate the absence of their men. [go to text]

n9729   holidays, ]holy-days. The original spelling retains the sense (OED, holiday n, 1) of a religious festival, a consecrated day. This sense is sustained through the line-ending word `jubilee', which has religious significances (OED 1a, 2) in both Judaism and Roman Catholicism. [go to text]

gg6041   jubilee season of celebration (OED n. 4), extended period of holidays [go to text]

n10175   Hah! Octavo of 1653 reads `Ha' old Lad!' The first word might just as sensibly be emended to `Hey'; but elsewhere in Ferdinand's rant, Octavo of 1653 presents that syllable as `haigh': see [CB 4.2.speech713] and [NOTE n8894]. [go to text]

n1082   Old Lad! [go to text]

gg150   humorous moody, whimsical [go to text]

n7808   Proserpina, In classical Roman mythology, goddess of the underworld and consort of Pluto [go to text]

gg3829   cavalier gentlemen trained to arms, gallants [go to text]

gs1660   hopeful full of hope, expectant of something desired (OED adj. 1) [go to text]

gs1662   move excite, disquiet (OED v. 25a); anger, provoke (OED v. 25d) [go to text]

gg3789   endowments ‘gift’, power, capacity, or other advantage with which a person is endowed by nature or fortune (OED 4) [go to text]

gg2569   mansion, dwelling-place, home [go to text]

n8071   wisdom, justice, magnanimity, temperance Sir Raphael is paraphrasing Cicero's On Duties (De Officiis) I.v, where this quartet of virtues is said to comprise all human moral goodness ('omne quod est honestum'). Written in 44BC, the treatise is addressed to Cicero's son, then a student in Athens, so Sir Raphael could be construed as positioning himself as Ferdinand's father figure. He is certainly uttering platitudes: the Latin treatise was reprinted many times over in the 16th and 17th centuries. Moreover, the verse paragraph in which he pronounces them is an imitation of Cicero's oratorical style. Note the extension of a single sentence across 14 lines of verse, punctuated at midpoint by Sir Andrew's aside, which interrupts an apposition after `pillars' and thereby draws attention to the list of virtues. [go to text]

gg2078   indued archaic form of 'endowed' [go to text]

n7814   Salisbury steeple, The steeple of Salisbury's 13th-century cathedral rises to over 400 feet, and the effect of its height is exaggerated by the geographical situation of the city. In his Britannnia (1586, English translation by Philemon Holland published 1610), William Camden commented on the visual impact of the building, `Which (with its high steeple and double cross-isles,) by a venerable kind of grandeur strikes the spectators with a sacred joy and admiration.' [go to text]

n7811   Whore of Babylon? In Chapter 7 of Revelations, the visionary last book of the Christian New Testament, a gaudily and richly dressed woman, who is labelled (in the King James translation) `MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH' across her forehead and is inebriated with the blood of the saints and martyrs, is seen riding across a desert on a seven-headed beast. When the book was written, she and her steed constituted a figure of Roman Imperial persecution of the first Christians. In the 16th and 17th centuries, however, Protestant apologists construed the pair as Roman Catholicism and its persecution of the Reformed Church. [go to text]

gs1197   firk beat, lash, trounce (OED firk v, 4), but with an audible innuendo on `fuck' [go to text]

gs1724   edify, benefit spiritually (OED, edify v, 3a) [go to text]

n9793   Demosthenes Athenian statesman and orator (385?-322 BC) whose denunciations of Philip of Macedon are remembered in the word `Philippic' (OED n, 1), meaning `invective' or `scathing attack' [go to text]

n8773   give me a knife: He is but tongue-tied. Literally to be tongue-tied is to have movement of one's tongue restricted by shortness of the ligament at its base and to be rendered dumb by this impediment. The condition can be cured by loosening the ligament surgically. Ferdinand's verbal threat to attempt such a procedure on Raphael would occasion some physical business --enough to prompt Raphael's call for divine protection in Speech No. 461. [go to text]

gg4781   suddenly! forthwith, promptly (OED adv. 2) [go to text]

n9325   Oh, do you make me then your Knight o’ th’ Shire? Ferdinand now imagines himself as having just been elected to parliament: see `Knight of the Shire' in the OED (knight n 4c). He addresses the Servants as his constituents, who are now carrying him in victory on their shoulders and will soon be celebrating his victory with wine provided by him. Beyond its generally comic misreading of the situation in the dramatic fiction, the speech particularly ridicules Sir John Suckling's defeat when he stood for election to a seat in the Parliament of April 1639: see [NOTE n8801]. [go to text]

gg6042   tun large cask or barrel, usually for liquids, especially wine, ale, or beer (OED n. 1) [go to text]

n9323   A Ferdinand, a Ferdinand! In Octavo of 1653 the speech heading for this line is `Al.' (All), which this edition takes to mean both the servants, who are carrying Ferdinand, and also the doctor, who has been playing along with his patient's various whims throughout the scene. The Octavo prints the line itself as: `A Ferdinand, a Ferdinand, &c.': that final et cetera [`and other things'] is an invitation to directorial imaginations of rowdiness. [go to text]

gg5721   A prefix which turns a proper name into a battlecry (OED int., 2) [go to text]

n9324   [Exit DOCTOR and SERVANTS, carrying FERDINAND in his chair.] Octavo of 1653 does not supply an exit for Ferdinand and his medical team. It specifies instead that Mendicant and Raphael should remain onstage: `Manent Men. sir Rap'. This stage direction is placed, parenthetically, to the right, across two lines -- the last in Ferdinand's speech (no. 466) and then the cheers which the others exclaim for him. [go to text]

gg6043   disputations, controversies [go to text]

n7815   travels, ] travailes. The sense could be either `exertions' (OED travail n1, I 1) or `journeys' (OED travail n1, II 7. Either sense would fit. Modern usage spells the word in the latter sense `travels' and stresses its first syllable: this is metrically smoother within the line, and the relative regularity of his verse is one of Sir Raphael's few distinctions as an orator. [go to text]

gg6044   Confiscated forfeited to the sovereign by way of penalty (OED, confiscate v, 1) [go to text]

gs891   Bedlam an early mental asylum, the Hospital of St. Mary of Bethlehem, situated next to Bishopsgate, on the edge of the City of London (see Sugden, Topographical Dictionary, 53-4, s.v. Bedlam) [go to text]

n10156   your Projectorship In the immediately preceding speech, Mendicant has addressed Strangelove as `your Ladyship'. She now bounces back this formal title, appropriately adjusted. [go to text]

gg5140   Philosophaster, Pseudo-philosopher, whose phoniness is a matter of shallowness and/or pretentiousness. [go to text]

gg2642   prosecute pursue, continue with (OED v. 1a) [go to text]

gg258   post (as a verb) hasten, hurry [go to text]

gg6045   resort frequent (OED v1. 9) [go to text]

gg5247   distraction. disorder or confusion, caused by internal conflict or dissension; disturbance of mind or feelings [go to text]

n10144   Spanish Inquisition. Initially pursuing Jewish and Moorish converts who were suspected of having secretly relapsed, the Spanish Inquisition was instituted in 1478 by Ferdinand and Isabella of Castile. It sought further targets but remained under royal control, and its notoreity, particularly in Protestant countries, fuelled antipathy to Spain and Roman Catholicism. [go to text]

gg5720   liberty unrestricted use (OED n1. 4b) [go to text]

n9789   Where are you, Phil? I were but dead if I Had not this wench to fool withal sometimes. Octavo of 1653 sets these last two sentences of Strangelove's speech as prose, but they are as regular iambic pentameter as Brome writes. [go to text]

gg5974   fool play the fool with; tease [go to text]

gs363   withal substituted for ‘with’ (OED prep.) [go to text]

gs1725   correction. rebuke, reprehension for faults of character or conduct (OED, 3) [go to text]

n9326   [PHILOMEL scratches at her own face.] Octavo of 1653 the corresponding stage direction, placed to the right of the last line in Philomel's speech ([CB 3.1.speech 488]), reads 'Teare.': see [CB 3.1.line1395]. That she gestures at clawing rather than crying is clear from the dialogue. [go to text]

gg5141   passionate, sorrowful (OED adj and n, 5b) [go to text]

gs1025   covenant, a mutual agreement between two or more persons, a contract, a legal undertaking, pledge [go to text]

gg6013   article item in the contract, stipulation [go to text]

gg222   humour mood, temper, attitude, frame of mind [go to text]

gg4599   conditioned settled on conditions; stipulated; bargained (for); according to the agreed terms (OED cites only The Novella as an instance of this sense [adj, 4] but it also occurs in The Court Beggar) [go to text]

gg5142   clap gonorrhea (OED n. 2) [go to text]

n7962   ere ] e're [go to text]

gg1781   ere before [go to text]

n7963   e’er ] e're [go to text]

gg5238   e’er contraction of 'ever' (Onions) [go to text]

n7836   a husband, then, to solder up the old crack. The ambiguous innuendo appears in the opening dialogue (another woman-to-woman exchange) of Thomas Middleton's A Chaste Maid in Cheapside (1613): `But ’tis a husband solders up all cracks'. [go to text]

gg4257   solder unite, fasten, mend [go to text]

gg5168   crack. [i]vulvae, cunt; [ii] rupture of chastity (Partridge,Shakespeare's Bawdy) [go to text]

gg5137   jealous apprehensive of losing some desired benefit through the rivalry of another; zealous, vigilant, watchful of one's interests (OED adj. 4b and 3) [go to text]

n7835   fear ] feard [go to text]

n10145   When perhaps none dares touch it, were I it. Philomel's metaphorical suggestion that men might fear being her sexual partner is ambiguous: the reason could be her own gonorrhea (as has been mentioned by Lady Strangelove in [CB 3.1.speech495] or Court-wit's syphilis (as will be implied by Swain-wit in [CB 4.2.speech767]). [go to text]

gg2874   curious skilful, clever, inventive (OED curious a, 4) [go to text]

gg5166   limner? painters, especially of portraits [go to text]

gg5731   Jove poetical form of `Jupiter', the name of the highest and most powerful of the Roman gods [go to text]

gg1499   towards. on the way [go to text]

gs1573   come, come (as an imperative of conversational encouragement): proceed, out with it, keep talking [go to text]

n8785   I love drawing and painting, as no lady better, who for the most part are of their occupation that profess it. The syntax is strained but the sense is clear, and it is a joke on female use of cosmetics. Philomel is saying that she herself is just as fond of drawing and painting as all ladies -- who for the most part, and like professional limners, practise painting. [go to text]

gg5167   entered. begin, start (OED v. 6) [go to text]

gs1726   covet desire, wish for (OED v. 1) [go to text]

n8786   to draw naked pictures by, as of Diana, Venus, Andromeda, Leda, In Greek classical mythology Diana and Venus were deities, while Andromeda and Leda were humans. What they have in common was that all four are most often depicted naked, the objects of male gazes within their respective stories as well as in the paintings which represent those stories: Diana bathing and attracting the attention of the hunter Actaeon, whom she transforms into a stag for staring at her; Venus and two other goddesses displaying themselves in a divine beauty contest judged by Paris, Prince of Troy ; Andromeda, wearing nothing but some jewelry, chained to a rock overflown by Perseus; and Leda being raped by Jupiter in swan's disguise. [go to text]

n9794   Diana, in classical Roman mythology, the goddess of the moon, patroness of virginity and of hunting [go to text]

n9795   Venus, in classical Roman mythology, the goddess of beauty and of love [go to text]

n9796   Andromeda, Ethiopian princess who (in punishment of her mother for boasting of their beauty) was chained to a rock as food for a sea-monster but was rescued and eventually married by the hero Perseus [go to text]

n9797   Leda, in classical Greek mythology, the wife of King Tyndareus of Sparta and the mother of Helen of Troy [go to text]

gg798   several various [go to text]

gs240   tother the other [go to text]

n7966   the most learned authors that I can turn over, Purporting to offer a diagnosis to the doctor, Lady Strangelove begins by gesturing at a conflation of opinions to be found in the writings of ancient medical authorities. [go to text]

n7964   Dioscorides, Greek physician of the first century A.D., known for influential treatise on substances used in medicine [go to text]

n7965   Avicenna, Anglicised form of the name Ibn Sina (980-1037 A.D.), Persian philosopher and physician whose writings (translated from Arabic) on medicine and science were authoritative in medieval Europe [go to text]

n11549   Galen, A Greek physician (c.129-c.216) whose patients included several Roman Emperors. Galen was also an anatomist and prolific writer of medical treatises whose influence was still very strong in the Renaissance. [go to text]

n7801   Hippocrates, Greek physician (c. 460-370 BC) whose writings survived to earn him recognition as the father of medicine [go to text]

gs1904   jumps not altogether with to jump with: to coincide, to agree completely (OED jump v, 5a) [go to text]

n7831   hellebore, Shade-loving and winter-flowering, Hellebore (Veratra nigra) has a tangle of black roots. These are conspicuous in John Payne's image of this plant in the second (1636) edition of Gerard's Herball, Book II, Chapter 377. The list of apothecaries' ingredients in Pharmacopoeia Londiniensis (1618) includes root of both black and white hellebores. According to Gerard, `A purgation of Hellebor is good for mad and furious men, for melancholy, dull and heavie persons...and briefly for all those that are troubled with blacke choler, and molested with melancholy' (p.977, sig.Nnnn1). [go to text]

n8790   saltpetre Potassium nitrate, also known as 'saltpetre' and `nitre', was used both medicinally and, as the basis of gunpowder, militarily. [go to text]

n7968   blindnettles. One of many English names for a plant (Lamium) which resembles stinging nettle save that it does not sting. According to Geoffrey Grigson in The Englishman's Flora, it is so called in Somerset and Devon. Other names include `deaf nettles', `dead nettles' and `archangel'. Its medicinal uses have been for gynaecological and prostate problems. [go to text]

n7967   I’ll give you the proportions, and the quantity is to take. Even as she teases the young physician, Lady Strangelove shows herself to be up-to-date in matters medical. The time-honoured method of comparing and contrasting the opinions of ancient authorities has, she says, revealed discrepancies in their respective opinions. She proposes instead to adopt the clinical approach of Theodore Turquet de Mayerne (1573-1655), celebrated physician to both the French and the English courts. Mayerne's voluminous casebooks are models of diagnostic care; and he was a prime mover in the regularisation of apothecaries, their guild being chartered in 1617, and in the standardisation of pharmaceuticals, the first Pharmacopoeia Londinensis being published in 1618. This volume closes with a list of apothecaries' basic ingredients, including everything needed for the potion which Lady Strangelove is poised to prescribe. [go to text]

n10146   if his malady grow out of ambition and his overweening hopes of greatness (as I conjecture), then he may take a top of cedar, Strangelove's taunt is at first iconographical rather than pharmaceutical. The cedar (cedrus) was known for its height: in An English Expositor (1616) John Bullokar defined it as `a tall great tree, which groweth in Africa, and Syria, straight vpright like the Firre tree'. [go to text]

n10148   oak-apple An oak-apple is a gall which an insect forms around itself on an oak leaf. The joke may lie in the contrast between it and cedar-tops. [go to text]

gg5738   sovereign efficacious or potent to a supreme degree (OED adj. 3) [go to text]

n10147   hempseed. The seed of hemp (cannabis) is among the pharmaceutical simples listed in the Pharmacopoeia Londinensis (1618). Gerard reports various medicinal uses for hempseed in his Herball (second edition 1636): `it consumeth winde'; it clears obstructions in the ear canal; it cures yellow jaundice; and it improves egg production in hens. That none of these appears at all appropriate for Ferdinand's condition may be the point: Lady Strangelove is starting to torment the Doctor with silliness rather than (as before) knowledge. [go to text]

n8788   cunning Octavo of 1653 reads `cunning', which suggests that the Doctor is poised to insist upon his own knowledge in general and medical expertise in particular (OED `cunning' n 1 & 3). Lady Strangelove, however, responds to the word as if she had heard it as `coming' (OED vbl n sup 1 1) and anticipates an explanation of his motive in speaking to her. [go to text]

gg776   on of it [go to text]

gs1665   call call for, demand (OED call v, 4f) [go to text]

gg5736   nursekeeper? a nurse who tends the sick (OED) [go to text]

gg776   on’t of it [go to text]

gg329   manifest obvious, clear [go to text]

gg5247   distraction, disorder or confusion, caused by internal conflict or dissension; disturbance of mind or feelings [go to text]

gg5737   Allure draw forth, attract (OED v. 4) [go to text]

n10234   3.2 No scene division is indicated in Octavo of 1653. The reason for introducing one in this edition is merely that when the Doctor and Lady Strangelove exit together, their departure clears the stage. Dramatic time, however, is not broken; and if any change of place is imagined, the move is merely from somewhere in Lady Strangelove’s household to somewhere else in Lady Strangelove’s household. The act has begun with Philomel's statement of place: `These are the lodgings that my Lady appointed/ For your distracted patient' [CB 3.1.speech 405]. The demonstrative adjective suggests that she, the Doctor and Mendicant are conversing in or adjacent to the suite of rooms which Lady Strangelove has assigned to Ferdinand; but it is subsequently [CB 3.1.speech467] made clear that they are not in Ferdinand's own bedchamber within the suite. Immediately after the exit of Lady Strangelove and the Doctor, Swain-wit's speech of entry `into this garden here' [CB 3.2.speech542] establishes place for the rest of the act. A modern producer might decide to change stage sets at this point and thereby separate the fictional place where the act begins from that where it ends, but this would not be necessary nor even appropriate. Under early Stuart staging conventions, continuity of playing from one scene to another means that distinctions of place have to be indicated verbally. When, as in this act, they are not thus made, it can be assumed (until proven contrary) that they do not matter. What does matter in this act is an imaginary place offstage: Ferdinand’s bed-chamber. [go to text]

n10235   Enter SWAIN-WIT and CIT-WIT. Video The 14 December 2008 workshop session on this scene started with lengthy consideration of whether or not the initial entrance of Swain-wit and Court-wit should be amplified by Court-wit, to whom Octavo of 1653 assigns a separate entrance three speeches further on: see [CB 3.2.line 1543]. Director Brian Woolland thought this change necessary to make sense of some parts of Swain-wit’s first speech [CB 3.2.speech 542] ; but neither the editor of the play, nor the actor who played Court-wit, was persuaded of his opinion. The strongest of the textual arguments against moving Court-wit's entrance from its position in the original text to the beginning of the scene are: (1) Cit-wit soon says [CB 3.2.speech546] that Swain-wit had `pulled me out', and his first-person singular pronoun does not suggest that a third person had been present; and (2) Court-wit somewhat later [CB 3.2.speech597] tells the other two Wits that he himself had left Philomel and Dainty `close on a couch together kissing', and his use of a singular first-person pronoun implies that he had remained offstage to observe the couple's amorous activity rather longer than the other two Wits had done. Moreover, nowhere else in Octavo of 1653 is an entrance misplaced by more than a line or two, nor does anything about the placement of either of these entrances on the page suggest that something has gone awry in printing. This edition has therefore retained the entrances from Octavo of 1653, but it has amplified Swain-wit’s first speech with directions distinguishing those parts of it which are to be addressed to Court-wit, still offstage. In workshop, it was General Editor Richard Cave who pointed out the possibility of such directional additions, and I am grateful to him for the suggestion. Their effect can be observed in the second of the three different walk-throughs which, along with some of the discussion of how to arrange the entrances, are recorded in the following video clip: . [go to text]

gg4811   do have sex with (OED doing vbl n, 1b: euphemism for copulation) [go to text]

gg5739   for all notwithstanding (OED all a, 9c); despite [go to text]

gg2336   discreet judicious [go to text]

gg3016   coxcomb. conceited ass (the term is derived from the cap worn by professional fools, which was shaped like a cock's crest or comb, which came to be the natural substitute for the word "fool", the emblem representing the man) [go to text]

gs1574   quality profession, occupation, business, especially that of an actor (OED n. 6a [a]) [go to text]

n10236   two thousand pound at use, Cit-wit's income is not mentioned elsewhere: that it is ten times Swain-wit's own [CB 2.1.speech309] may help to explain the Cornishman's antipathy. [go to text]

gg3085   draw attract, entice, lure [go to text]

gg3269   Pish! an interjection 'expressing contempt, impatience, or disgust' (OED) [go to text]

n8789   buff and feather. military uniform, with a implicit sneer at Sir John Suckling's extravagant outfitting of his troop of solders `in white doubtletts and scarlett breeches, and scarlet coates, hatts, and...feathers' (`Brief Lives,' chiefly of Contemporaries, set down by John Aubrey, between the Years 1669 and 1696, ed. Andrew Clark (Oxford: Clarendon Press, 1898), II, 242 [go to text]

gg2891   buff a leather (made generally in England out of ox-hide, treated with oil till it developed a fuzzy, dull yellow finish) from which at this date soldiers’ clothing was fashioned [go to text]

gg5740   jowl knock, bump, bang (OED v1. 2) [go to text]

gg6046   tone the one (of two) [go to text]

gg1195   tother other (of two) [go to text]

gg2369   wavering inconstant, fickle [go to text]

gg4314   La an exclamation used ‘to call attention to an emphatic statement’ (OED int.) [go to text]

gs1575   special notable, important, distinguished (The OED examples of this now-obsolete sense [a, 1d] are all dated between 1576 and 1631.) [go to text]

gg5741   cry. pack of hounds (OED n. 13a) [go to text]

gg3452   City. The City of London, the ancient capital and commercial area with its own system of power and government; often contrasted with the Royal Court, based a few miles down the Thames at Westminster and Whitehall, a rival base of power, authority, and culture [go to text]

n9800   I am no clown to run my Country. Swain-wit has just used `Country' to mean `native land' (OED 4), the sense in which Court-wit deployed the word in [CB 3.1.speech556]. Cit-wit, however, uses the word to mean `rural districts' (OED 5a) and then `clown' to mean both `rustic bumpkin' and `ill-bred boor'. [go to text]

gs2504   clown [go to text]

gs1322   clowns, man without refinement or culture; an ignorant, rude, uncouth, ill-bred man (OED clown n, 2), opposed to `courtier' [go to text]

n9799   cockney A cockney is someone who was born in the city of London -- more precisely, within the sound of the bells of St. Mary-le-Bow in Cheapside. Swain-wit is here using the word to counter the insult implicit in `clown'. As the OED entry for this sense explains, the word is `always more or less contemptuous or bantering, and particularly used to connote the characteristics in which the born Londoner is supposed to be inferior to other Englishmen.' John Minsheu's multi-lingual dictionary Ductor in Linguas (1617) gives an etymological anecdote which insults citizens' sons like Cit-wit: the `tearme came first out of this tale: That a Cittizens sonne riding with his father out of London into the Country, and being a nouice and meerely ignorant how corne or cattell increased, asked, when he heard a hourse neigh, what the horse did, his father answered, the horse doth neigh, riding farther he heard a cocke crowe, and said doth the cocke neigh too? [go to text]

gs1727   whelp, low fellow; impertinent youngster (OED n1. 3b) [go to text]

gs1728   forbear, be patient (OED 8c) [go to text]

gs1729   maintain support, uphold, defend [go to text]

gg6048   doatest on art infatuated with [go to text]

gg3452   City The City of London, the ancient capital and commercial area with its own system of power and government; often contrasted with the Royal Court, based a few miles down the Thames at Westminster and Whitehall, a rival base of power, authority, and culture [go to text]

n8791   have wit, sir, and am accounted a wit Have discretion or prudence (OED n, 6a)...considered to be a person of lively fancy, who has the faculty of saying smart or brilliant things (OED n, 10). [go to text]

n8792   within the walls. within the City of London: see [NOTE n1571] re `City Walls' [go to text]

gg5719   company, City of London trade guild (OED n. 6a) which both regulated the practices of its members and also was part of the political organisation of the City [go to text]

gg3452   City. The City of London, the ancient capital and commercial area with its own system of power and government; often contrasted with the Royal Court, based a few miles down the Thames at Westminster and Whitehall, a rival base of power, authority, and culture [go to text]

n8793   Salters, Incorporated in 1558, the Salters were a London livery company, one of the twelve great companies from whose ranks the aldermen (and eventually mayor) of the City of London were chosen. [go to text]

n8783   sal sapit omnia The Latin phrase sal sapit omnia, which is indeed the motto of the Salters' Company, means `salt seasons everything' or `salt gives savour to all things'. In citing this phrase to prove that the Salters are the wisest of the City companies, however, Cit-wit is perpetrating a pun which turns on the double sense of the Latin 2nd-conjugation verb `sapere': as it can mean `to know' or `to be wise', the motto could be translated as `salt knows all'. [go to text]

gg1331   cuckold man with an unfaithful wife, traditionally thought of as having horns on his head [go to text]

gg857   and if [go to text]

n8795   Lady Ramsey, Mary Dale Avery Ramsey (d. 1601) was the second wife of Sir Thomas Ramsey (1510/1-1590), a freeman of the Grocers Company who held high office in the City of London. The couple were noted for their charitable giving, which she maintained as a widow. A particular beneficiary of their philanthropy was Christ's Hospital, where her portrait survives. They both figure in Thomas Heywood's If You Know Not Me You Know Nobody (1606), where she is represented `as the model of virtuous civic womanhood' (Ian W. Archer, ODNB entry). [go to text]

n8794   Mistress Katherine Stubbes Katherine Emmes Stubbes (1570/1-1590) was the wife of the Protestant pampleteer Philip Stubbes (c.1555-1610), best known for his Anatomie of Abuses (1583). She died, aged 19 or 20, weeks after giving birth to their son. Her widower promptly memorialised her in a pamphlet entitled A Christal Glasse for Christian Women: Wherein they may see most wonderfull and rare examples of a right vertuous Life and Christian death. First published in 1591, it went through multiple editions. As Alex Walsham notes in her ODNB entry on the couple, `It is difficult to disentangle the historical person Katherine Stubbes from the paragon she became in a text heavily conditioned by generic convention.' According to her widower, the paragon's virtues included avoidance of entertainments in his absence: `When her husband was abroad...there was not the dearest friend she had in the world that could get her abroad to dinner or supper, or to plaies or enterludes, nor to any other pastimes, or disports whatsoever' (sig A3). [go to text]

n8796   we are forbidden to pray for ’em? Praying for the souls of the Christian faithful departed was a charitable devotion which, being dependent upon the doctrine of Purgatory and associated with the practice of indulgences, went out with the Reformation. In England, prayers for the dead disappear from the Prayerbook as of its second Edwardian version (1552). See Eamon Duffy, The Stripping of the Altars (1992), passim, but especially 338-376, 485. [go to text]

n10237   [SWAIN-WIT] draw[s his sword from the scabbard at his side]. Video Both the position of the stage direction in the middle of the line in Octavo of 1653 after the end of Swain-wit's speech and the content of the dialogue make clear that it is he who draws a sword here [CB 3.1.speech591] and then sheathes the sword in its scabbard four lines later [CB 3.1.speech595]. In workshop session on 14 December 2008 actors Joseph Thompson as Swain-wit and Alan Morrissey as Cit-wit invented appropriately comic business around Swain-wit's sword . [go to text]

gg6049   equivocation, intentional ambiguity in speech [go to text]

gg4963   Scabbard sheath or covering for a sword [go to text]

n10238   Gi’ me the book! Video The line requires Cit-wit to try to seize a sword. His use of the definite article `the', coming so soon after the verbal play on sword as book and scabbard as its cover, suggests that it is Swain-wit's sword for which he reaches. As was noted in workshop session, that possibility would be extremely clumsy. Nevertheless, Cit-wit will very soon [CB 3.2.speech603] be reproached for not having drawn the sword of his own which the dialogue has already indicated [CB 3.2.speech549] he is wearing. Perhaps at this point, then, Cit-wit simply grabs at Swain-wit's sword but does not actually grasp it. Brome may have anticipated some improvisation around the swordplay here. As the workshop session indicated, Cit-wit's combination of showy swordsmanship and craven cowardice is a gift to an actor with an eye for a comic riff . [go to text]

n8797   baton, ] Octavo of 1653 reads `Battoune': according to the OED entry, the usual spelling in the 17th and 18th centuries was `battoon'. The sense is double: one sense, which continues the physical violence of the previous word (`kick') in the series, is `club, cudgel, truncheon'(OE n, 1a); and the other sense, which anticipates the shame of the next word (`scandall'), is `the baton sinister, the badge of bastardy' in English heraldry (OED n, 3). [go to text]

n8799   stiff blades Stalwart gallants, stout roysterers (OED stiff, a, 13a; OED, blade, n, 11a) with a sexual innuendo, which the double entendre of Swain-wit's reply will continue, on both words. The stage picture makes the verbal joke unmissable: with Cit-wit lifting up Swain-wit's scabbarded sword in order to swear upon it, Swain-wit will present the image of a man with an enormous erection. [go to text]

n8798   moving cause quibble on (a)incitement to an action, and (b)excitement to an erection [go to text]

n9328   [Screaming,] unseen, above. Octavo of 1653 places this stage direction to the right and across two lines, the second of which is the cry for help which it governs. [go to text]

n9733   Aaaaah!!! ]---ha--- [go to text]

n9330   [COURT-WIT and SWAIN-WIT draw their swords.] Octavo of 1653 reads: `Draw all'. This stage direction is placed to the right of the single line ([CB 3.2.line 1659]) which is Strangelove's second cry for help ([CB 3.2.speech607]). [go to text]

n9331   Above. Octavo of 1653 places this stage direction to the right the cry for help (Speech No. 613) which it governs. [go to text]

n9335   [COURT-WIT, SWAIN-WIT, PHILOMEL and DAINTY exit. CIT-WIT, his sword still drawn, remains onstage.] Video In Octavo of 1653 the corresponding stage direction is placed, parenthetically, to the right of the two-line exchange between Swain-wit and Philomel about the door [CB 3.1.lines1671-1672]. It reads: `Exe. omnes Pret. Cit. his sword drawn.' That is, with abbreviations expanded: `Exeunt omnes Praeter Cit-wit his sword drawn', which translates `Let all go off except Cit-wit whose sword is drawn.' Having been quickly filled up with ineffectual activity, the stage now almost empties again, and even more quickly than it had filled up. Workshop session on 14 December 2008 demonstrated Brome's skill in thus orchestrating comic confusion: see clip . [go to text]

n9339   Look[ing] out [from stage window] above In Octavo of 1653 the corresponding stage direction is placed, parenthetically, to the right of three lines, starting at [CB 3.2.line1673] with the speech from the Doctor ([CB 3.2.speech 620])which it governs. It there reads: `Doctor looks out above.' There is no direction for the Doctor to stop looking out. However, his disappearance from the stage window will be cued by, and will probably occur during, Ferdinand's detumescent rant at [CB 3.2.speech622]. [go to text]

gg589   warrant! employment, interest [go to text]

n9341   Above unseen Octavo of 1653 places this stage direction to the right of the last line ([CB 3.2.line1680]) of the speech ([CB 3.2.speech622]) that it governs. [go to text]

n9798   Medusa! In classical Greek mythology, the ugliest of the three gorgons, Libyan monsters who had serpents instead of hair on their heads. Medusa was so hideous that the sight of her face turned the beholder to stone. [go to text]

n8758   thou hast transformed me! Stone, stone, I am all stone! Video Complaining of impotence, and consequent inability to rape his hostess, Sir Ferdinando overstates his figurative transformation. Where the sight of Medusa turned her victims wholly to stone, the petrification of Sir Ferdinando has been limited to his genitals. Note that the actor of Ferdinand is invisible: the nakedness of the character and the flaccidness of his penis are left to audience imagination. What is visible is the actor of Cit-wit, left alone onstage. In the workshop on 14 December 2008, Alan Morrissey devised some showy swordplay which responded to Ferdinand's cries: see clip . [go to text]

gg3144   bulwark a fortification [go to text]

n8760   Stones Picking up Ferdinando's metaphor for impotence as petrification and his mad call for mortar to make himself into a bulwark, Cit-wit exploits the familiar slang sense of `stones' as 'testicles': Ferdinando's cannot be big enough to be incorporated in military fortifications. For them to serve merely as ammunition for a demiculverin, they would have to be very large indeed: that kind of cannon had a four-and-half-inch bore. [go to text]

gg43   quotha! 'said he', i.e. indeed! (OED); sarcastic exclamation [go to text]

n8761   demi-culverin Octavo of 1653 reads `demy-culvering'. [go to text]

gg5709   thumpers, anything ‘thumping’ or strikingly big of its kind (OED 3, where the earliest example given for usage in this colloquial sense dates from 1660) [go to text]

n12043   Enter STRANGELOVE, SWAIN-WIT, COURT-WIT, DAINTY [and] PHIL[OMEL]. [go to text]

gg5711   practice? stratagem, trick, treachery (OED n. 5a and 5b) [go to text]

gg5713   accident symptom (OED n. 3) [go to text]

gg5711   practice stratagem, trick, treachery (OED n. 5a and 5b) [go to text]

gg5714   colour disguise (OED v. 3) [go to text]

gg5715   plaster a solid medicinal or emollient substance applied to the skin (OED n. 1) [go to text]

gg5716   vented discharged, evacuated (OED v2. 2b) [go to text]

n8769   she could ha’ drawn better than the leeches. Cit-wit likens sexual ejaculation into a woman's vagina to medical blood-letting by means of leeches. Behind the analogy lies the venerable notion of human health as a balance among four fluids or `humours': phlegm, blood, choler (or bile), black choler (or black bile). [go to text]

n8772   Pandarean That is: pimp-like, from Pandarus, who procures Cressida for Troilus in medieval legends of Troy. (In the classical Greek narratives, Pandarus is no pimp but a skilled archer who fights on the Trojan side.) This adjectival form does not appear at all in the OED, which gives an example (from Thomas Dekker's Wonderfull Year) of the participal adjective for early as 1603. An emendation of the 1653 Octavo reading `Pandarean' to `pandering' is thus a possibility here. [go to text]

gg491   want lack [go to text]

n9345   [CIT-WIT detaches PHILOMEL from DAINTY.] Video In Octavo of 1653 the stage direction corresponding both to this and to part of the one which this edition has added to the preceding speech (No. 636) reads: `He snatcheth Phil. from Dainty, who took her by the arm.' This is printed, parenthetically, to the right across two lines -- Cit-wit's exhortation at [CB 3.2.speech637] and Philomel's question at [CB 3.2.speech638]. (See [CB 3.2.line1709] and CB 3.2.line1710].) Neither the original stage direction nor the dialogue makes clear to whom Cit-wit speaks his stage-clearing exhortation: it could be addressed threateningly to Dainty, possessively to Philomel, and/or triumphantly to Swain-wit andCourt-wit. In workshop on 14 December 2008, Alan Morrissey as Cit-wit centred its delivery first on Philomel and then on Dainty before striding off: see clip [go to text]

gg1956   sworn promised by oath [go to text]

n9343   [All exit.] Octavo of 1653 reads: `Exeunt omnes.' [go to text]