849Swain-wit   [To CIT-WIT]   Come, sir, must I take you in hand again?

850Cit-witMy Lady will conveyn9074 her madman to Sir Andrew Mendicant’s, it seems.

851Swain-witTell me that I know not, and answer my questions.

852Cit-witShe and the doctor, and the tothergg1195 doctor’s gone with him too.

853Swain-witLeave you by flim-flams,gg5848 and speak to the purpose.

854Cit-witYou know I ha’ sworn.gg1956 Do you not know I ha’ sworn?

855Swain-witTo live and die a beaten ass, a coward, hast thou not?

856Court-witPrithee forbeargs1593 him. He’s not worth thy anger.

857Swain-witAnger! Is every schoolmaster angry that gives disciplinegg5868 with correction?gg5867

858Cit-wit   [Aside]   Would he were at Penzance again!

859Swain-witDidst not thou tell my Lady that I was a coward in my own country, and kicked out of Cornwall?

860Cit-witComparativelygg6047 I think I did in respect of Corineus, that wrestled and threw giant after giant over the cliffs into the sea.n9090

861Swain-witPox o’ your comparative lies! And didst not thou say that he here   [indicating COURT-WIT]   was peppered so full o’ the whatshacallums,gg5851 that his spittle would poison a dog or a rat?n9091

862Cit-witThat was comparatively too, in respect of a pure virgin, a chrisom-childgg5852 or so.

863Court-witHe never shall move me: I forgive him.

864Cit-witMerely comparatively I speak it.

865Swain-witForgi’ me for swearing: I’ll make thee speak positively, or beat thee superlativelyn9097 before I ha’ done with thee.
Enter BOY.

866BoyGentlemen, my Lady—

867Swain-witHold a little. Didst thou not say this child here was a pickpocket? and that he picked thine of thy money, and thy watch, when he was singing between thy legs todayn9240?

868BoyWho, I, a pickpocket?   [BOY] flies at [CIT-WIT.]   

869Cit-witForbear, good [laddy]:n9099 it was comparatively.

870Boy   [Pummeling CIT-WIT]   A pickpocket?

871Court-witForbear and hear him, Herculesn9810.

872BoyLend me a sword! I’ll kill him and hear him afterwards.

873Court-wit   [Restraining BOY]   Nay, I must hold you then.   [To CIT-WIT]   How was he comparatively your pick-pocket?

874Cit-witThat is, as much as any man I know. That is, I accuse nobody. That is, all are as innocent as the child, and he as the innocent unborn.   [To BOY]   And let that satisfy you.

875BoyLive. I am satisfied. Now, gentlemen, my Lady prays you to follow her to Sir Andrew Mendicant’s.

876Court-witI know the business. ’Tis about our revels.gg1349[Exit BOY.]n9448

877Swain-wit   [To CIT-WIT]   Suffer a child to beat thee!

878Court-witHis cause was bad, you know.

879Swain-wit   [To CIT-WIT]   Incorrigible coward! Say now: art not thou thyself a pickpocket, and a cutpurse? Say.

880Cit-witComparativelygg6047 it may be said I am to a churchwarden,gg4384 a collector for the poor or such.

881Swain-witThe conclusion is, that if ever I hear thou mentionst my name again in any sense whatsoever, I’ll beat thee out of reason.

882Cit-witIn my good wishes, and prayers I may. Heaven forbid else.

883Swain-witNot in your prayers, sir, shall you mention me: you were better never pray.

884Cit-witHeaven forbid I should, then!

885Swain-witAnd make thine oath good on that sly fellow that has ta’en away thy wench, or—

886Cit-witHe has not ta’en her yet.

887Court-witYou ha’ not seen her or him these two hours. Has not my Lady called too, and she not to be found?

888Cit-witTrue, true, and if I be not revenged —

889Swain-witDo’t then, now, while thou art hot.

She comes: here take and keep her while thou art hot and hast her.

890Philomel   [To SWAIN-WIT]   Is she at your dispose,gs1594 sir?
COURT[-WIT] talks aside with DAINTY.n9447

891Cit-witYour Lady gave you me.

892PhilomelOr am in her gift?

893Cit-witYou are in my possession,   [Aside]   nor shall Lucifergg6056 dispossess me of her.

894PhilomelSo valiant on a sudden!

895Cit-witHave I not cause?

896PhilomelYou’ll have me with all faults?

897Cit-witYes, and a match forever.   [CIT-WIT and PHILOMEL] kiss.   

898Swain-witHow means she ‘by all faults’?

899Cit-wit   [Interrupting the kiss]   A word she always uses in waggery.gs1595

900Court-wit   [To DAINTY]   By all means take her from him.   [DAINTY demurs.]   What! Afraid of a coward?

901Swain-wit   [To DAINTY]   You must do’t or take the share. He should ha’ had a downright beating.    [To COURT-WIT]   Forgi’ me for swearing:    [indicating DAINTY]   he’s a veriergg5288 coward than tother.gg1195

902Court-witHe will serve the better to fleshgg5853 him. And do but note his tyrannical rage that is the vanquisher.

903Swain-wit   [To DAINTY, who is dithering]   You will on.

904Dainty   [To CIT-WIT, who is still entwined with PHILOMEL]   Sir, she is mine by promise.

905Cit-witShe’s mine by act and deed, sir, according to the flesh. Let her deny’t andgg857 she can.

906Dainty   [Crossing to CIT-WIT and prising PHILOMEL from him]   That shall be tried by law.

907Cit-witBy law of arms and hands it shall!   [Striking DAINTY]   Take that, and let her go.

908Dainty   [To COURT-WIT and SWAIN-WIT]   Bear witness, gentlemen: he struck me.

909PhilomelO pitiful picture-drawer!

910Cit-wit   [To DAINTY]   Will you not draw? I will then.
[CIT-WIT] draw[s his sword].

911Dainty   [Retreating]   What would you have, sir? If she be yours, take her.

912Cit-witThat’s not enough. I will make thee fight. What blindness have I lived in! I would not but be valiant to be Cæsar.

913Court-witO brave Cit! O brave Cit!

914Swain-wit   [To DAINTY]   Why dost not draw, thou fellow, thou?

915DaintyShe’s his, he says; and she denies it not. Shall I fight against him for his own?

916Cit-wit   [To DAINTY]   I’ll make thee fight, or cut thee into pieces.

917Court-wit   [To SWAIN-WIT]   He turns your words over to him.

918Cit-wit   [To DAINTY]   Why dost thou wear a sword? Only to hurt men’s feet that kick thee?
[CIT-WIT] kick[s DAINTY].

919Court-wit   [To SWAIN-WIT]   Do you observe?   [To CIT-WIT]   Nay, thou art too severe.

920Cit-witPray hold your peace. I’ll jowlgg5740 your heads together and so beat tonegg6046n9811 with tothergs240 else.

921Swain-wit   [To COURT-WIT]   Forgi’ me for swearing. He’ll beat’s all anon.

922Cit-wit   [To DAINTY]   Why dost thou wear a sword, I say!

923DaintySome other time, sir, and in fitter place.

924Cit-witSirrah, you lie! Strike me for that, or I will beat thee abominably.gg5854

925Dainty   [To COURT-WIT and SWAIN-WIT]   You see this, gentlemen.

926PhilomelAnd I see’t too. Was ever poor wench so cozenedgg1611 in a man?

927Cit-wit   [To DAINTY]   The wench thou lov’st and doat’st on is a whore.

928PhilomelHow’s that?

929Cit-wit   [Aside]   No, no, that was not right.   [To DAINTY]   Your father was a cuckold, tho’, and you the son of a whore.

930Swain-witGood, I shall love this fellow.

931DaintyI can take all this upon account.

932Cit-witYou count all this is true, then. Incorrigible coward!   [To SWAIN-WIT]   What was the last vile name you called me, Mr. Swain-wit? Oh, I remember!   [Turning back to DAINTY]   ‘Sirrah, thou art a pickpocket and a cutpurse!’ And gi’ me my money again, and   [Indicating SWAIN-WIT]   him his, or I will cut thy throat!

933Dainty   [Aside]   I am discovered.

934Cit-witDo you answer nothing? Do you demurgs1596 upon’t?

935DaintyHold, sir, I pray. Gentlemen, sogs1676 you will grant me pardon and forbear the law, I’ll answer you.

937DaintyIt is confessed: I am a cutpurse.gg5858

938Cit-witComparatively or positively do you speak? Speak positively or I will beat thee superlatively.

939Swain-witForgi’ me for swearing: a brave boy.

940Dainty   [To SWAIN-WIT]   Here is your watch and money   [producing and returning goods],   and   [To CIT-WIT]   here is yours   [returning more goods].   Now, as you are gentlemen, use no extremity.gs1597

941Court-wit   [Aside]   Beyond all expectation!

942Swain-wit   [Aside]   All thought!

943Cit-wit   [Aside]   Miraculous! Oh, the effects of valour!

944Philomel   [Aside]   Was ever woman so mistaken o’ both sides?

945Swain-wit   [To CIT-WIT]   But dost thou think thou art valiant for all this, though?

946Cit-witYou were best try,   [To COURT-WIT]   or you, or both, or come all three.

947Swain-wit   [To CIT-WIT]   I swear thou shalt have it to keep up while thou art up.n9576

948Cit-wit   [To DAINTY]   Is this your picture-drawing? Are you the king’s picture-drawer? A neat denominationgg5855 for a cutpursegg5858 that draws the king’s pictures out of men’s pockets!n9104

949Court-wit   [Shielding DAINTY from CIT-WIT]   Come, sir, come in with us.

950DaintyPray use me kindly,gg5859 gentlemen.

951Cit-witYes, we will use you in your kind,n9105 sir.
[CIT-WIT] takes PHIL[OMEL] by the hand. [CIT-WIT, PHILOMEL, COURT-WIT, SWAIN-WIT and DAINTY all exit.]n9449
Enter MENDICANT, [holding] a letter in his hand.

952MendicantThis is the day of my felicity,gg1892
        And is the same with that the poet singsn9106
        Is better than an age.n9106 Come forth, Charissa.

        Now you appear my comfort; and I can
        No less than thank thy sweet obedience
        That hast complied with my directions,
        Bride-like and glorious to meet a fortune
        So great as shall beget the present envy
        Of all the virgin ladies of the court,
        And a posterity that through all ages
        Shall praise and magnifygg6057 thy act.

953CharissaYour acceptationgg5058 of my duty, sir,
        Is all that I can glory in.

954MendicantHow are we bound unto this noble lady
        That sent us our instructions!

955CharissaSure I am. If this be a truegg5860 copy.

956MendicantLet music in her soft but sweetest notes
        Usher their welcome, whilst unto my thoughts   Music.   
        The loudest harmony resoundsgg6059 my triumph.
Enter DOCTOR, and FRED[ERICK] in Doctor's habit, STRANGE[LOVE], PRIEST, FERD[INAND] in the chair as before borne by SERVANTS, [GABRIEL]n9451 as one of the servants.

        Madam, most welcome.

957StrangeloveIn fewest and the softest words, Sir Andrew:
        He sleeps,n9452 and let him gently be conveyed
        Only with those about him to his chamber.

958MendicantCharissa, go! Be you his conduct.gg5861 Softly, softly! [CHARISSA, DOCTOR, FREDERICK, PRIEST, FERDINAND,
        I see you’ve brought a priest, Madam.

959StrangeloveBy all best reason,
        For when we found he used Charissa’s name,
        When he was calm and gentle, calling still
        ‘Charissa! Where’s Charissa?’ a good space
        Before he slept, and being then demanded
        What would he with Charissa, he most readily
        Replied, ‘Fetch me Charissa and a priest.’
        The doctors in their judgements (unto which
        My full opinion assented) might
        Foresee that, in removing him where she
        Might be his immediate object when he wakes,
        That fresher flames to instant marriage
        Would then arise.

960MendicantIncomparably judicious, Madam.

961StrangeloveYet not without your leave would I attempt it;
        Without your leave, knowing your watchful care
        Over your daughter.

962MendicantAnd that care of mine
        Was, Madam, by your favour
        Principal motive to this great effect.

963StrangeloveTake all unto yourself; I am content.

964MendicantI’d fain steal in and watch th’ eventgg5946 of things.

965StrangeloveBut have you heard, Sir Andrew, the mischance
        Of the unfortunate lover, distracted Frederick?

966MendicantHow! what of him?

967StrangeloveHe’s made himself away.

968MendicantIs’t possible?

969Strangelove   [Aside]   He has by this time, or the priest is tongue-tied.n9453

970MendicantHe has left no estate worth begging, that’s the worst of’t.
        My joys come flowing onn9264 me — yet I would see.

971StrangeloveAnd hear me, good Sir Andrew, for the love
        I bring to add unto your joys: for I,
        Foreseeing the event of this night’s happiness,
        Have warnedgg5947 some friends to follow me with revelsgs1655
        To celebrate the marriage of your fortunes.
        See, they are come: pray entertain ’em, sir.

972MendicantThe gallantsgs1656 that were today so merry with me!

973StrangeloveThe same: but very harmless.

974Cit-wit   [To MENDICANT]   All but one, sir. Did you not lose your purse today?

975StrangeloveWhat’s the meaning?

976Court-wit [and] Swain-witWe’ll tell you, Madam.

977MendicantMy purse? I missed it at my Lady Strangelove’s.n9454

978Cit-witThis picture-drawer drew it, and has drawn more of the King’s picturesn9265 than all the limnersgg5166 in the town.   [To DAINTY]   Restore it, sirrah.

979MendicantI will not take it: ’twas my neglect that lost it, not he that stole it.    [Aside]   This is my day of fortune. It comes home to me, more than I dare receive. O my joys, let me be able to contain you!

980Cit-witHa’ you another purse to lose?

981MendicantI have a purse, which if I lose, I’ll blame myself, none else.

982Cit-witLet him but come so near you as to ask forgiveness for the last, and if he do not take the next, though it be six fathomgg4269 deep i’ your pocket, I’ll hang for him when his time comes.

983MendicantI’ll watch his fingers for that.
[MENDICANT] sit[s as DAINTY approaches].

984Court-wit   [To STRANGELOVE]   Observe, good Madam.

985Dainty   [Kneeling before MENDICANT]   Sir, at your feet I beg your pardon.

986MendicantIt needs not. Prithee rise.

987DaintyNever, till you pronounce that happy word
        ‘I pardon thee!’ or let me have some token
        Of sweet assurance that I am forgiven,
        Which I beseech you —   [grovelling]   I beseech you grant.

988Mendicant   [Embracing DAINTY, who cuts his purse]   In sooth, thou hast it. Heaven pardon thee as I do.

989DaintyI have it, sir, indeed, and as your gift I’ll keep it, promising before all these witnesses, I’ll never venturegs1600 for another.n9268
[Rising to his feet, DAINTY holds up the purse which he has just stolen from MENDICANT.]

990Mendicant’Fore me, an expertgg5864 fellow! Pity he should be hanged before we have more of his breed.

991Cit-witDid not I tell you, sir? And these are but his short arms. I’ll undertake, when he makes a long arm, he shall take a purse twelve score off.

992MendicantI do not like thieves’ handsel,gg5865 though. This may presagegs1603 some greater loss at hand.n9107

993Swain-witNow, gentlemen, you know your task: be expeditiousgg5878 in’t.

994Court-witI have castgg5863 the designgg5862 for’t already, Madam. My inventions are all flame and spirit.n9126 But you can expect no great matter to be done extemporegs1598 or in six minutes.n9122

995Swain-witWhat matter is’t sogg1766 we skipgg5869 up and down? our friend Jack Dainty here, Mr. Cutpurse, dances daintilygg5877 tho’.

996StrangeloveAnd Mr. Cit-wit, you have worthily won my woman, sir.

997Cit-witI have her, Madam. She is mine.

998StrangeloveI’ll make her worth a thousand pound to you, besides all she has of her own.

999Cit-witHer faults and all, Madam: we are agreed o’ that.

1000PhilomelSuppose this boy be mine.

1001Cit-witI would he were else,gs1599 that I might have him under lawful correction,gg5867 and the causegs1605 o’ my side, for he beat me not long since.

1002BoyAndgg857 you be my father, and do not make much of me and give me fine things, I’ll beat you again, so I will, and my mother shall help me.

1003Cit-witAgreed, Billy! Agreed, Philly! Never was man so suddenly so rich. Nay, never! Look, gentlemen: she is mine, and he’s mine own. I am sure I ha’ gotgs1262 him now, and all faults are salved.gg5866

1004Swain-witHer word in waggerygs1595 is made good in earnest now tho’.

1005StrangeloveTo your business, gentlemen.    [They consult.]n9475    If you have a short speech or two, the boy’s a prettygg229 actor; and his mother can play her part. Women-actors now grow in request.n9108
[COURT-WIT produces writing equipment and moves upstage, or to the side, with PHILOMEL and BOY. COURT-WIT proceeds to scribble in his notebook, now and then showing PHILOMEL what he has written.]n9476

Sir Andrew! Melancholy?

1006MendicantI was thinking on the omengg6060 of my purse.

1007StrangeloveFear no further mishap, sir. ’Tis ominousgs1601to fear.

1008MendicantPray let’s go in and see how things proceed.

1009StrangelovePray give me leave to make the first discovery.gs1657 Walk down into the garden. I’ll come to you.
[As STRANGELOVE and MENDICANT start to depart through different stage doors, PROJECTOR 1 and PROJECTOR 2 enter through the door to which she is moving.]n9474

And here are some would speak with you.[MENDICANT exits through one stage door,
STRANGELOVE exits through the other stage door.]

1010Projector 1Into the garden! Good: let’s follow him.

1011Projector 2’Tis not the repulse he gave us in the morning shall quitgs1606 him of us.

1012Projector 1No, now his superintendent’s turned away, we’ll once more fill his head with millions.[PROJECTORS] exit [in pursuit of MENDICANT].

1013DaintyI’ll make the dance and give you all the footing.gs1602
[He begins to devise dance steps and demonstrate them to CIT-WIT and SWAIN-WIT.]n9478

1014Swain-witStand further off o’ my pocket tho’.

1015Cit-witNo matter. If we lose anything and he within ten miles of us, I’ll make him answer’t.

1016DaintyI wantgg491 a fifth man. I would have an odd.

1017DoctorThe marriage is performed. The priest has done his office —

1018Swain-witDoctor, can you dance?

1019DoctorAnd sing too: I ha’ forgot much else.

1020PhilomelI’ll speak the speech. Ha’ not I forgot my actor’s tone, trow?gs104 I shall remember’t. I could have acted ’em all o’er.

1021BoyI can speak a speech too, mother. Must I call you ‘mother’ now?

1022PhilomelAy, my boy, now I dare avouchn9115 thee.

1023Doctor   [To DAINTY]   What think you of this tune, sir, for your dance?
[DOCTOR begins to hum a tune or to sing wordlessly, and goes on vocalising as long as he remains onstage in this scene]

Tay dee, dee.....n9479

1024DaintyI’ll borrow a violgg913 and takegs1608 it of you instantly.Ex[it DAINTY].
Enter RAPHAELn9500.

1025[Raphael]n9114   (To COURT-W[IT])n9499   Pray sir, is Sir Andrew Mendicant i’the house?

(He writes in his tables,gg6061 sometimes scratching his head, as [if] pumping his Muse.n9813)

1027[Raphael]n9114   [Still to COURT-WIT, who remains preoccupied by poetic creation]    Is he within, sir, can you tell?    [Aside]   He’s too busy it seems.    (To CIT-WIT, who as [RAPHAEL] move[s] toward him, [takes no notice and] dances, looking on his [own] feet)    Can you tell me, sir, I pray, if Sir Andrew be within?    [Aside]   Very strange! Among what nation am I arrived?    [Noticing DOCTOR]   Here’s one in civilgg5872 habit sure will answer me.    [To DOCTOR]   Sir, may I be informed by you? Saw you Sir Andrew?     (DOCTOR stretches his throat in the tune.)    Te precor, domine Doctor.n9109    [Aside]   They are no Christians sure.    ([DOCTOR]sings on.)       (To SWAIN-WIT, who whistles and dances `Sellinger's Round' or the liken9513)   Sir, may I be informed by you?    [Aside]   Bless me! The people are bewitched.    Enter Dainty [with the viol which he has just fetched].       (TO DAINTY[, who] fiddles to him)    Do you belong to the house, sir?    (The four [DAINTY, CIT-WIT, SWAIN-WIT and DOCTOR], dancing and singing, practise about him.)   I hope for courtesy here.     To PHIL[OMEL]   Lady, will you be pleased —

1028Philomel   Speak[ing] in a vile tone like a player   Oh, by no means! we must speak Charonn9146 fair,
        Or he’ll not waft us o’er the Stygian flood.n9148
        Then must we have a sop for Cerberusn9150
        To stop his yawninggg6062 chaps.gg6063n9882 Let me alone
        To be your convoy to Elysium.n9151

1029Raphael   [Aside]   This is most heathenishgg5886 of all.
(DAINTY plays softly and DOCTOR [hums or sings] with him aside)n9520

1030PhilomelI’ll pass that snarling triple-headed cur,n9814
        Which keeps the palace gate of Pluto’sn9152 court,
        And guide you safe through pitchygg5887 Acheron.n9153

1031Raphael   [Aside]   What woman monster’s this?n9521    [To BOY]   Sweet young gentleman, let me ask you a question.

1032BoyGrim Death, why rather didst thou not approach
        My younger days, before I knew thy fears?
        Thy pains are multiplied by our years.

1033RaphaelAll lunatic? or gentlemen, do you
        Wantgg491 leisure or civility to answer me?

1034Cit-witHa’ you done the speeches, Mr. Court-wit?

1035Court-witI have already from the forkèd topn9815
        Of high Parnassusn11551 fetched ’em.

1036Cit-witAnd shall my wife and Billy boy speak ’em?

1037Court-witAs I’ll instruct you.

1038Cit-witYou write admirably, I confess; but you have an ill tone to instruct in. I’ll read to ’em myself. You give your words no grace.

1039Doctor   [To DAINTY]   You have the tune right. Will you instruct the music men?

1040DaintyAnd you all in the dance immediately.

1041Swain-witBut shall we have no silken things, no whim-whamsgg5888
        To dance in tho’?

1042Cit-witPerhaps the bride can furnish us.

1043Swain-witWith some of her old petticoats, can she?

1044PhilomelNo, no: my Lady has ta’en care for all.

1045DaintyCome, come away to practise, and be ready.Exit [BOY, CIT-WIT, COURT-WIT, DAINTY, DOCTOR, PHILOMEL,
SWAIN-WIT,] fiddling, [danc]ing, singing, acting, and [so forth].

1046RaphaelNever was I in such a wilderness.gg5889
        But my revenge upon Sir Mendicant
        Shall answer all my patience, in the jeergs1734
        I mean to put upon him.
        I will possess him with a brain-trickgg5890 now,
        A meregg1562 inventiongg5891 of mine own (wherein
        Heaven pardon me for lying) shall so nettlegg5892 him.

1047MendicantGo back and be not seen till I come to you. Ex[it] PRO[JECTOR 1 and PROJECTOR 2].

1048Raphael   [Aside]   He’s come.   [To MENDICANT]   Ha’ you heard the news, Sir Andrew?

1049MendicantWhat, Sir Raphael?

1050RaphaelThat Ferdinand’s restored to’s wits.

1051MendicantI am glad on’t.

1052RaphaelDo you take the loss of his estate so mildly
        Which might ha’ been your own?

1053MendicantI hope you think me a Christian, sir.   [Aside]   But how should he arrive at such a sudden knowledge of it, if it be so? I will pretend ‘tisn9154 true.   [To RAPHAEL]   Yes, sir: he is in’s wits.

1054Raphael   [Aside]   I thought I had lied when I did prophesy.
           [To MENDICANT]   But, sir, my nephew Fredrick —

1055Mendicant   [Interrupting]   Has made himself away: I heard o’ that too.

1056Raphael   (Aside)   I hope not so.n9527   [To MENDICANT]   Yet there’s another accident,
        Of which you have not heard, may touchgs1613 you nearer,
        And that indeed’s my business. You, sir, furiously
        Wounded your man today.

1057MendicantNot dangerously, I hope.

1058RaphaelFlatter not so yourself: he’s on the point of

1060RaphaelNor be too much dejected.
        His life you may get off for, as ’twas done
        In heat of blood. Marry, sir, your estate
        (You’ll pardon me) is begged.n9144 Myself has done’t,
        And therein, begged the beggar.

1062RaphaelTake not too deep a sense of it. For if you’ll yieldgg5881
        That Frederick yet shall have it with your daughter,
        I will remitgs1129 the estate.

1063MendicantOh, is it so?
        Do you movegs1614 this for a dead man?

1064RaphaelNo, he lives.

1065MendicantDo you practise on me? Madam, where are you?n9534
Enter STRANGELOVE, FERDINAND, FREDERICK, CHARISSA, [with] GABRIEL [unnoticed] behind [them].

1066StrangeloveHere, sir, and am become your usher to such guests
        As you must bid most welcome.
MENDICANT stands amazed.n9533

1067Raphael   [Aside]   She here! I’m then again confounded.

1068StrangeloveNay, Sir Raphael, I protest we will be friends, notwithstanding I have outstrippedgs1607 you in your plot of matching your nephew Frederick here to his love Charissa.

1069RaphaelBut is it so? —

1070FrederickIt is -- in which I hope, sir, you are not offended,
        Who gave me leave by any opportunity
        To take her. I broke no locks nor walls for her.

1071CharissaI beg your pardon, and your blessing, sir.

1072RaphaelAnd is it so with you, Sir Ferdinand?

1073FerdinandIt is, and, sir, in testimony of my recovery, I make demand of my estate, of which you thought yourself possessed.

1074MendicantWhat hopes am I fallen from, and what misery fallen into, when the little I have is begged for manslaughter!

1075Gabriel   [Stepping forward to reveal himself]   I quit you of that, sir.

1076MendicantHow couldst thou deal so with me?

1077GabrielTo show my gratitude.
        You overpaid me for all my former services,
        For which I justly thought I oughtgg1756 you this.

1078FerdinandNor think your daughter undervalued, sir:
        Three thousand pound I give him to augment
        Her fortune in him.

1079MendicantDreams, dreams! All these are waking dreams.[Moving to exit]

1080FerdinandAll real truth, sir. Whither flygg147 you from us?

1081MendicantAm I of all defeated, and by all
        Abused and mocked? More room there: let me go.

1082FerdinandYou mistake strangely.   Flourish.   

1083StrangeloveHark! the revellers.

1084FerdinandThat come to celebrate your joys, which wilfullygg6064
        You will not apprehend.gs1735

1085Mendicant’Tis all but show. Let go, and I will do
        Something shall add to your delight immediately.Exit [MENDICANT].

1086StrangeloveLet him go and wear outgg6065 his fitgs1736 by himself.   Flourish.   
Enter BOY and PHILOMEL, [costumed] as Cupid and Venus.

1087BoyVenusn11552 and Cupid,n11553 my Mother and I —
        Help me — I have it now.
        Venus and Cupid, my Mother and I—
        Help me again. No, no, no.
        Venus and Cupid, my Mother and I—
        Let me alone.
        Venus and Cupid, my Mother and I—

1088FerdinandThere’s an actor now!

1089FrederickHow doubtful of himself; and yet how perfect
        he was!

1090RaphaelA self-mistrust is a sure step to knowledge.

1091StrangeloveSententious Sir Raphael!n9159

1092RaphaelQuarrels are ended, Madam.

1093FerdinandCome hither, Cupid.

1094PhilomelFrom my Italian mount n9578I did espy
        (For what is hidden from a deity?)
        How faintlygg5894 Hymenn11555 did his office here
        Joining two lovers with the hand of fear,
        Putting his torch out for obscuritygs1737,
        And made the chamber (which belongs to me)
        His temple. But from hence let fear remove.gs1237
        See here, the championsgg1436 for the Queen of Love:n9842
        COURAGE, sent from Marsn9819   [Presenting SWAIN-WIT];   the MUSES’ SKILL,n9844
        From wise Apollon9820   [Presenting COURT-WIT];   and the god which still
        Inspires with subtlety, sly Mercury,n9821
        Sends this his AGENT   [Presenting DAINTY].   Here’s ACTIVITY
        From Jupitern9822 himself   [Presenting CIT-WIT].   And from her store
        Of spies, the Moonn9843 sends THIS to keep the door   [Presenting DOCTOR].   
        With art of action,gg4750 now, make good the place,
        In riten9160 of love to give the nuptialsgg6066 grace.gs1738
After they have danced a while, enter PROJECTOR 1,n9162 [who] breaks ’em off.

1095Projector 1Lay by your jollity, forbeargs712 your sport,
        And hear a story shall enforcegs1615 your pity.

1096FerdinandWhat blackgs1739 tragedian’sgg6067 this?

1097RaphaelSome nuntiusn9161sent from hell.

1098GabrielOne of my master’s minions,gs1616 a projector.

1099Projector 1   [To GABRIEL]   You had a master, but to all I speak.
        Your practices have sunk him from the comforts
        Of all his hopes in fortune, to the gulf
        Of deep despair, from whence he rose inflamed
        With wild distraction and fantasticgs1675 fury.

1100FerdinandHe’s mad, is he?

1101Projector 1Mad, and has hanged himself–

1102CharissaAlas, my father!

1103[Strangelove]n9113How! hanged himself?

1104Projector 1All over, sir, with drafts of projects,gs707suits,gs1617
        Petitions, grants, and patents,gg5896 such as were
        The studies and the labours of his life;
        And so attired he thinks himself well armed
        T’encounter all your scorns.
Enter MENDICANT attired all in patents, a windmill on his head,n9575 and PROJECTOR [2].n9535

1105MendicantRoom here! A hallgg5899 for a monopolist!gg5897
        You commonwealth’s informers, lead me on.
        Bring me before the great assembly. See,
        Fathers Conscript, I present all I have
        For you to cancel.gg5898n9579

1106Swain-witHere’s a brave show, and outshines our device.n9166

1107MendicantThis is a patent for the taking of poor John and barrel-cod alive, and so to preserve ’em in salt water for the benefit of the fishmongers.n9164

1108Court-witThere’s salt in this.

1109Swain-witAy, this has some savour in’t.

1110MendicantThis is a fresh one, sir, for the catching, preservation, and transportation of butterflies, whereby they may become a native commodity.

1111Court-witThat’s a subtle one.

1112MendicantThis is for profits out of all the common cries i’ th’ City,gg3452 as of — ‘Oysters!’ — ‘Codlings!’ — ‘Wood to cleave!gg5900’ — ‘Kitchen stuff!’ — and the thousand more, even to the matchesgg6068 for your tinder-box.gg6069 And all foreigners to pay double. And a fee out of the link-boys’n9165 profits. But no cries to escape: ’Tis for a peace.n10142

1113DaintyWhat if some should cry ‘Murder, murder!’?

1114Cit-witOr ‘Thieves, thieves!’?

1115Court-witOr ‘Fire, fire!’?

1116Swain-witOr women cry out, ‘Five loaves a penny’?

1117MendicantAll, all should pay. But I submit
        Myself to your most honourable censures.gs1628

1118Cit-witWhat does he take us for?

1119Swain-witPowers,gg5901 powers: a lower housen9845 at least.

1120MendicantAnd all my patents to be concealed.

1121Swain-witOur projects would not take with you: we’ll take yours tho’.

1122DaintyHe shall dance out of ’em. Music! Play out
        Our dance! We will disrobe you presently.gg103

1123Cit-witYes, and dismantlegg5902 his projectors too.
They all dance. In the dance they pull [the patents from MENDICANT and the cloaks from PROJECTOR 1 and PROJECTOR 2,] who appear all ragged. At the end of the dance [PROJECTOR 1 and PROJECTOR 2 are shoved through the stage doors].n9536

1124FerdinandAn excellent moral! The projects are all cancelled, and the projectors turned out o’ doors.

1125MendicantTrue, gallants, and now I am myself again,
        I saw th’eventgg5946 of all with good esteem.gs1619
        And would as well as you a madman seem.
        And now my blessings on your son and daughter.

1126Swain-wit   [Indicating PHILOMEL]   This bride, Dame Venus here, cools all this while tho’.

1127DaintyBy Mr. Bridegroom’s leave,gg885 I’ll stir her blood a little for the good meaning she had towards me.

1128Cit-witYou may do so. He dares not pick her pocket, and for her maidenhead I dare trust him, tho’ he should dance quite out of sight with her.
[PHILOMEL and DAINTY, CHARISSA and FREDERICK] dance. While they dance, the rest confer.n9537

1129Raphael’Tis well, and all are friends.

1130Ferdinand   [To STRANGELOVE]   You have my protestation,n9167 and in that,
        Madam, my faith before these noble friends.

1131StrangeloveUpon those honourable terms, Sir Ferdinando,
        I will be yours.

1132Cit-witShe’ll have him, it seems, at last.

1133Swain-witShe’s a wise widow by’t: for sure enough, she saw something in his mad naked fit, when he put her to’t, to choose a husband by, won’t out of her thought yet.n9846
           [To STRANGELOVE]   What is there more to say now, Madam?

1134StrangeloveYou question well.

1135Swain-witBut to supper and to bed?

1136StrangeloveYou consider well.

1137Swain-witWe have had other pastime enough.

1138StrangeloveYou reason well. Would all were pleased as well.
        T’absolve that doubt,   [Indicating the audience]   to those we must appeal.

F I N I S.


1139StrangeloveLadies, your suffragesgs1678 I chiefly crave
        For th’humble poet. ’Tis in you to save
        Him from the rigorous censure of the rest.
        May you give grace as you’re with beauty blest.
        True: he’s no dandlinggg5968 on a courtly lap,
        Yet may obtain a smile, if not a clap.n9559

1140FerdinandI’m atgg5967 the Cavaliers. Heroic spirits,
        That know both to reward, and achieve merits,
        Do, like the sunbeams, virtuously dispense
        Upon the lowest growths their influence,
        As well as on the lofty: our poet so
        By your Phoebeann9558favours hopes to grow.

1141Cit-witAnd now you generous spirits of the City
        That are no less in money than brain witty,
        Myself, my bride, and pretty bride-boy too,
        Our poet for a boon prefers to you.

1142PhilomelAnd though you taste of no such bridegg6071-ale cup,
        He hopes y’allow the match to be clapped up.gg6070

1143BoyAnd, if this play be naught (yes, so he said)
        That I should gi’ ye my mother for a maid.

1144Swain-witAnd why you now? or you? or you? I’ll speak enough for you all.    [To DAINTY]   You now would tell the audience they should not fear to throng hither the next day, for you will secure their purses cut-free and their pockets pick-free. ’Tis much for you to do tho’.    [To MENDICANT]   And you would say that all your projects are put down, and you’ll take up no new but what shall be spectatorsn10141 to please you.    [To COURT-WIT]   And yourn10139poetic part induces you, t’apologise now for the poet, too, as they ha’ done already,    [To STRANGELOVE]   you to the ladies,    [To FERDINAND]   you to the cavaliers and gentry,    [To CIT-WIT]   you to the City friend, and all for the poet, poet, poet, when all’s but begging tho’. I’ll speak to ’em all, and to my country folks too if here be any o’em, and yet not beg for the Poet tho’. Why should we? Has not he money for his doings, and the best price too? Because we would ha’ the best! And if it be not, why so!n9554 The poet has showed his wit and we our manners. But to stand beg, beg for reputation for one that has no countenancegs1677 to carrygs1740 it, and must ha’ money, is such a pastime!— If it were for one of the great and curiousgg2874 poets that give these plays as the Prologue said, and money too, to have ’em acted n9553— for them, indeed, we are bound to ply for an applause, because they look for nothing else, and scorn to beg for themselves. But then you’ll say those plays are not given to you: you pay as much for your seats at them as at these, though you sit ne’er the merrier, nor rise the wiser, they are so above common understanding; and tho’ you see for your love, you will judge for your money. Why so for that too, you may. But take heed you displease not the ladies tho’ who are their partial judges, being bribed by flattering verses to commend their plays, for whose fair cause, and by their powerful voices to be cried up wits o’ court, the right worshipful poets boast to have made those interludes,gg5963 when for aughtn9555 you know they bought ’em of University scholars tho’,n9580 and only show their own wits in owninggg5966 other men’s, and that butgg5728 asgs746 they are like neither.n9556 As thus, ‘Do you like that song?’ ‘Yes.’ ‘I made it.’ ‘Is that scene or that jest good?’ ‘Yes.’ ‘’Twas mine.’ And then if all be good, ‘’Twas all mine.’ There’s wit in that now. But this small poetn9557 ventsgg5964 none but his own, and his by whose care and directions this stage is governed, who has for many years both in his father’s days, and since,n9581 directed poets to write and players to speak till he trained up these youths here to what they are now — ay, some of ’em from before they were able to say a gracegg414 of two lines long to have more parts in their patesgs1741 than would fill so many dryfats.gg5965 And to be serious with you, if after all this, by the venemous practice of some who study nothing more than his destruction, he should fail us, both poets and players would be at loss in reputation. But this is from our poet again, who tells you plainly all the helps he has or desires. And let me tell you he has made pretty merry jigsgs1680 that ha’ pleased a many. As (le’me see) Th’Antipodes, and — oh, I shall never forget! —Tom Hoyden o’ Tanton Deane.n9560 He’ll bring him hither very shortly in a new motion,gs1679 and in a new pair o’ slopsgg1431 and new netherstocksgg5969 as brisk as a body-louse in a new pasture.
        Meanwhile, if you like this, or not, why so?
        You may be pleased to clap at parting tho’.

Edited by Marion O'Connor

n10136   5.1 The first scene of Act 5 begins by reinforcing the characterisation of CIT-WIT as an imperturbable coward. Trying to start a fight, SWAIN-WIT bombards him with accusations of calumny; but Cit-wit claims to have spoken relative truths and COURT-WIT offers forgiveness for a slanderous statement about himself. The BOY, who enters with a message from Lady Strangelove, proves less tolerant: told that Cit-wit has accused him of theft, he throws himself upon his accuser and then, having been pulled off Cit-wit, the Boy performs his errand, which is to summon the Wits to Sir Andrew Mendicant’s house (and the next scene). Before that move is made, however, Cit-wit is transfixed and then transformed by the entrance in tandem of PHILOMEL and DAINTY, who have not been seen for two hours. A brief display of machismo by Cit-wit brings Philomel into his arms at last; and when Dainty does not respond in aggressive kind, Cit-wit treats Dainty – and the audience – to a replay of the insults which Swain-wit has been bouncing at him. One of these, delivered on the rebound from the Boy, is of being a pickpocket and cutpurse. Dainty, thinking himself to have been discovered, concedes the charges and returns the property which he has previously stolen from Swain-wit and from Cit-wit. All set off to Mendicant’s house and the next scene. This second scene opens with MENDICANT holding a letter and gloating over CHARISSA: her marriage is imminent. Lady STRANGELOVE, source of the instructions about wedding arrangements which have made Mendicant so happy, enters. With her come a PRIEST, FERDINAND (apparently asleep in his sedan-chair), and Ferdinand’s medical team, now varied by the addition of a second doctor (FREDERICK in disguise) and the substitution of a servant (GABRIEL, also in disguise): escorted by Charissa at her father’s command, these are all sent off to Ferdinand’s chamber. Mendicant remains with Strangelove, who reports that Frederick has `made himself away’ and drops hints to the audience about the meaning of her phrase. Strangelove also advises Mendicant of the approach of friends who bring revels by way of wedding celebrations. Thus anticipated, COURT-WIT, SWAIN-WIT, CIT-WIT, DAINTY, PHILOMEL and the BOY enter. Dainty’s pickpocketing is revealed to Mendicant -- and then practised upon him again, a trick which the victim interprets as an omen of further trouble. When he seeks to check on proceedings in Ferdinand’s chamber, Strangelove diverts him to the garden, whither he is pursued by PROJECTOR 1 and PROJECTOR 2, newly arrived. The Doctor returns: having reported the completion of the wedding ceremony, he is recruited by the revellers, who now begin to rehearse. Sir RAPHAEL Winterplum enters in search of Mendicant; and, in one of the funniest sequences in the play, he fails to get a straight answer from any of the amateur performers now that they are in their respective roles. The revellers exit to rehearse. Mendicant returns with the two Projectors but immediately sends them off again. He is now told by Raphael that Gabriel is about to die of the wound inflicted by Mendicant and that Raphael himself has begged the estate which Mendicant is about to forfeit as a felon. Mendicant may keep his estate provided that makes it the marriage portion of Charissa and Frederick, who now enter with Strangelove, Ferdinand and Gabriel. Mendicant flees as the revellers, now in costume, return to present a wedding masque. Their dancing is interrupted by the first Projector, who reports Mendicant to have gone mad. Accompanied by the other Projector, Mendicant returns: he wears a windmill on his head, and he is pinned all over with project patents, but he speaks as if he were addressing Parliament. The revellers lead off a dance in which the patents are pulled from Mendicant, while the Projectors are stripped of their cloaks and, thus shamed, are shoved offstage. With the young lovers united, the old fools chastened, and the trouble-makers expelled, all that remains to be tied up is the relationship between Strangelove and Ferdinand. [go to text]

n9074   convey Octavo of 1653 reads `convery'. [go to text]

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

gg5848   flim-flams, idle talk; humbug (OED n. 1 & 2) [go to text]

gg1956   sworn. promised by oath [go to text]

gs1593   forbear leave (him) alone [go to text]

gg5868   discipline instruction (OED n. 1a and 3a) [go to text]

gg5867   correction? corporal punishment (OED 4) [go to text]

gg6047   Comparatively by way of comparison; somewhat, rather (OED) [go to text]

n9090   Corineus, that wrestled and threw giant after giant over the cliffs into the sea. In Geoffrey of Monmouth's mythical British history, Corineus was a descendant of Trojan War veterans and in his own right an unbeatable wrestler. He accompanied Brutus into Albion, then inhabited only by giants. When the invaders divided the island among themselves, Corineus chose, and gave his name to, Cornwall. The indigenous population of giants was denser there than elsewhere, and Corineus entertained himself by fighting with them -- notably, Gogmagog, whom Corineus hurled over the cliff at Plymouth Hoe. Geoffrey of Monmouth's Latin narrative was mined by Michael Drayton for his Polyolbion (1622), a mythical chorography of Britain. Drayton's version of the story of `great Corineus...the strong'st of mortal men', his victory over `great Gogmagog, an oak that by the roots could tear', and his reward in being given Cornwall, is told in Song I, likely source of Brome's reference. [go to text]

n9091   peppered so full o’ the whatshacallums, that his spittle would poison a dog or a rat? Another reference, through the figure of Court-wit, to the syphilitic condition of Sir William Davenant. [go to text]

gg5851   whatshacallums, plural contraction of `what-dye-call-um', defined by the OED as an `appellation for a thing or person whose name the speaker forgets, does not know or wish to mention, or thinks not worth mentioning' [go to text]

gg5852   chrisom-child newly baptised (and thus both innocent and very young) baby: from `chrisom', a white garment or piece of cloth which is used in the Christian ritual of baptism [go to text]

n9097   I’ll make thee speak positively, or beat thee superlatively Cit-wit's escape hatch has been a plea of moral relativism -- `comparatively speaking'. Picking up Cit-wit's phrase, Swain-wit responds to its linguistic sense as the degree of an adjective or adverb -- positive (e.g., cool), comparative (cooler), superlative (coolest). [go to text]

n9240   he was singing between thy legs today Presumably this was offstage during Act 2, when the trio of Wits are reported (and heard) to be singing catches while waiting for Raphael Winterplum to go away. See [CB 3.1.speech303]. [go to text]

n9099   [laddy]: Octavo of 1653 reads `Lady', which makes no sense in context: Cit-wit is speaking to the Boy, and Lady Strangelove is not onstage to be addressed. The Boy has mentioned her, by title, in the last speech but three, and it seems likely that that occurrence occasioned a slip by scribe or typesetter here. [go to text]

n9810   Hercules In classical mythology, Hercules was the greatest of the Greek heroes and the strongest of all mortals. Hercules successfully completed twelve tasks, most of which demanded great strength and endurance in the face of apparently impossible opposition. In addressing the Boy as Hercules, Court-wit mocks his assault on Cit-wit (who may be a coward but as an adult has the advantage of size). At the same time, moreover, Court-wit also makes a metatheatrical allusion to Shakespeare's Love's Labour's Lost, in which the pageboy Moth presents the figure of Hercules in the Act 5 masque. [go to text]

gg1349   revels. entertainments in royal or aristocratic households (as these were most often performed by professional acting troupes, the word was often added to the name of a company, such as the Children of the King's Revels) [go to text]

n9448   [Exit BOY.] Octavo of 1653 does not provide an exit for the Boy once he has accomplished his errand. There is nothing in the dialogue to hold him onstage for the rest of the scene; and it makes dramatic sense for the Boy not to be around for the romantic reconciliation of Philomel and Cit-wit. If he is to exit, then it seems best for him to go as soon as the lines alllow, his departure marking a break before Swain-wit has another go at Cit-wit. [go to text]

gg6047   Comparatively by way of comparison; somewhat, rather (OED) [go to text]

gg4384   churchwarden, a lay honorary officer of a parish or district church, elected to assist the incumbent in the discharge of his administrative duties, to manage such various parochial offices as by custom or legislation devolve upon him, and generally to act as the lay representative of the parish in matters of church-organization (OED) [go to text]

gs1594   dispose, control, disposal (OED n. 3, where it is noted that the phrase `at one's dispose' is very common 1600-1730) [go to text]

n9447   COURT[-WIT] talks aside with DAINTY. In Octavo of 1653, this stage direction reads `Court takes aside with Dainty’ and is placed, parenthetically and to the right, across three lines (beginning with [CB5.1.line2320] and corresponding to [CB5.1.speech890] through [CB5.1.speech892]). The emendation here corrects an obvious error -- the omission of `Swain-wit' from the stage direction. [go to text]

gg6056   Lucifer Satan, the Devil (OED 2) [go to text]

gs1595   waggery. both: jest, jocularity (OED 1); and (an innuendo suggested by the onstage situation) sexual play [go to text]

gg5288   verier truer [go to text]

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

gg5853   flesh initiate in bloodshed (OED v. 2a) [go to text]

gg857   and if [go to text]

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

n9811   tone ] ton [go to text]

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

gs240   tother the other [go to text]

gg5854   abominably. greatly, terribly (OED adv. 2) [go to text]

gg1611   cozened beguiled, deceived [go to text]

gs1596   demur delay, stall for time [go to text]

gs1676   so provided that [go to text]

gg5858   cutpurse. one` who steals by the method of cutting purses, a common practice when men wore their purses at their girdles'; hence, a pickpocket, thief, robber (OED) [go to text]

gs1597   extremity. extreme severity or rigour (OED 6) [go to text]

n9576   thou shalt have it to keep up while thou art up. Swain-wit's promise might make more sense in performance than it does on the page. If the pronoun `it' here refers to stolen goods which Dainty has just returned, then Swain-wit is offering his restored property for Cit-wit to look after (and/or drawing attention to the property which has been restored to Cit-wit) as long as the fierce fit holds. [go to text]

gg5855   denomination title (OED 2) [go to text]

gg5858   cutpurse one` who steals by the method of cutting purses, a common practice when men wore their purses at their girdles'; hence, a pickpocket, thief, robber (OED) [go to text]

n9104   that draws the king’s pictures out of men’s pockets! Dainty steals coins, on which the King's portrait is stamped, from his victims' pockets. The joke plays with the double senses of `draw' (as `delineate' and as `withdraw, remove') and of `pictures' (as `image painted or drawn on a flat surface' and as `three-dimensional image'). Having seen the joke, Cit-wit will repeat it in the next scene: see [CB 5.2.speech948] and [NOTE n9265]. Dainty used a similar equivocation (playing with `draw' and `pieces') back in Act 2: see [CB 2.1.speech331] and [NOTE n8371]. [go to text]

gg5859   kindly, with sympathy, benevolence, good nature (OED adv. 2) [go to text]

n9105   in your kind, That is: as suits your sort. Dainty has asked to be treated kindly (in the sense of `humanely'), and Cit-wit responds by threatening to treat him as befits the thieving subspecies of humankind. Cit-wit, suddenly valorous, proposes that Dainty should be punished for his crimes. [go to text]

n9449   [CIT-WIT] takes PHIL[OMEL] by the hand. [CIT-WIT, PHILOMEL, COURT-WIT, SWAIN-WIT and DAINTY all exit.] Octavo of 1653 reads: `Takes Phil by the hand. Exeunt Omnes.' [go to text]

gg1892   felicity, happiness [go to text]

n9106   that the poet sings That is: matches that day which the Psalmist deems to be better than an age. The allusion is to the Judaeo-Christian Old Testament (Psalm 84:10, King James translation): 'For a day in thy courts is better than a thousand.' [go to text]

n9106   Is better than an age. That is: matches that day which the Psalmist deems to be better than an age. The allusion is to the Judaeo-Christian Old Testament (Psalm 84:10, King James translation): 'For a day in thy courts is better than a thousand.' [go to text]

gg6057   magnify glorify, extol (OED 1) [go to text]

gg5058   acceptation acceptance [go to text]

gg5860   true accurate (OED adj. 4a); genuine, not counterfeit (OED adj. 5a) [go to text]

gg6059   resounds celebrates (OED v1, 4) [go to text]

n9451   [GABRIEL] Octavo of 1653 reads `Fab.' -- a simple typographical error. It is probable that Gabriel replaces the Servant who has appeared as the Sow-gelder in the preceding scene and whose actor will return in the next scene to double Projector 2. [go to text]

n9452   He sleeps, Octavo of 1653 reads (He sleeps) but context makes quite clear that the parentheses function simply as commas here, as they do elsewhere in the text. [go to text]

gg5861   conduct. guide (OED n1. 3) [go to text]

n9450   [CHARISSA, DOCTOR, FREDERICK, PRIEST, FERDINAND,SERVANT and GABRIEL exit.] In Octavo of 1653 the corresponding stage direction is printed to the right, across two lines, the last of Speech No. 955 and the first of speech No. 956. It reads: `Ext.Om.Pret.Mend.& Strang.' -- that is, with abbreviations expanded, `Exeunt Omnes Præter Mendicant et Strangelove' [Let all exit except Mendicant and Strangelove]. [go to text]

gg5946   event outcome (OED n. 3a) [go to text]

n9453   He has by this time, or the priest is tongue-tied. In Octavo of 1653, this line is set in parentheses -- evidently to signal that (as is also clear from context) it is an aside. [go to text]

n9264   on Octavo of 1653 reads `no'. [go to text]

gg5947   warned summoned (OED v1. 7a) [go to text]

gs1655   revels dancing, acting, masquing [go to text]

gs1656   gallants fine fellows (ironic: see OED n. 2a) [go to text]

n9454   I missed it at my Lady Strangelove’s. In Octavo of 1653, this line is set in parentheses -- apparently to signal that it is an aside. It makes better sense, however, for the line to be part of Mendicant's reply to Cit-wit: the purse was stolen onstage in the final business of Act 2, so any audience will know what has happened to it; and he is not going to keep its theft a secret from the others onstage in this scene. [go to text]

n9265   drawn more of the King’s pictures Dainty has often stolen coins, on which the King's portrait is stamped, from his victims' pockets and purses. The joke plays with the double senses of `draw' (as `delineate' and as `withdraw, remove') and of `pictures' (as `image painted or drawn on a flat surface' and as `three-dimensional image'). Cit-wit has registered the joke in the scene immediately preceding this one: [CB 5.1.speech948] and [NOTE n9104]. Here, as is characteristic of his speech, he reiterates it. A similar quibble (involving `draw' and `pieces' was introduced by Dainty in Act 2: see [CB 2.1.speech331] and [NOTE n8371]. [go to text]

gg5166   limners painters, especially of portraits [go to text]

gg4269   fathom literally, a measurement that is the equivalent of the distance between the fingertips of each hand when the arms are outstretched to the full (roughly six-foot); figuratively, a great distance [go to text]

n9268   I have it, sir, indeed, and as your gift I’ll keep it, promising before all these witnesses, I’ll never venture for another. The joke pivots on ambiguity of pronominal reference: where Mendicant has used the word `it' to mean the pardon which he is extending to Dainty, Dainty uses that pronoun to mean the purse which he has just stolen from Mendicant during their reconciliatory embrace. Dainty then extends the joke with a second ambiguous pronoun, `another'. [go to text]

gs1600   venture risk oneself [go to text]

gg5864   expert trained by experience, skilful (OED a1, 2) [go to text]

n9107   thieves’ handsel, though. This may presage some greater loss at hand. Having just been robbed for the first time, Sir Andrew Mendicant interprets the experience as a sign that he may be about to take another, and bigger, financial hit. [go to text]

gg5865   handsel, first experience, taken as auspicious of what is to follow (OED n. 4) [go to text]

gs1603   presage portend (OED 1a) [go to text]

gg5878   expeditious speedy (OED adj. 3) [go to text]

gg5863   cast contrived, devised (OED v. 43b) [go to text]

gg5862   design plan, scheme (OED n. 1a) [go to text]

n9126   My inventions are all flame and spirit. The sense of `inventions' is ambiguous. Court-wit could be speaking of his own inventive ability (OED 4), or his inventive activity (OED 3b), or that which he has invented (OED 6). His use of the plural, however, suggests that the last of these three senses is the dominant one. He is in any case boasting: according to medieval cosmology, the great distinction of fire relative to the other three elements (earth, air and water) which constituted the universe was that only fire leapt upwards. [go to text]

n9122   extempore or in six minutes. If Court-wit stresses and aspirates the first syllable of the first word, it will be heard as `HEX', which means `six' in Greek. [go to text]

gs1598   extempore without preparation (OED adv. 1a) [go to text]

gg1766   so so (that), so long as (OED adv. and conj. 26a) [go to text]

gg5869   skip leap, spring (OED v1. 2a) [go to text]

gg5877   daintily excellent, finely, handsomely (OED adv. 1; now obsolete) [go to text]

gs1599   else, already (OED adv. 3c) [go to text]

gg5867   correction, corporal punishment (OED 4) [go to text]

gs1605   cause good, proper or adequate ground for action (OED 3a) [go to text]

gg857   And if [go to text]

gs1262   got begot, fathered [go to text]

gg5866   salved. explained away, cleared up (OED v2. 2) [go to text]

gs1595   waggery both: jest, jocularity (OED 1); and (an innuendo suggested by the onstage situation) sexual play [go to text]

n9475   [They consult.] In Octavo of 1653, this stage direction is placed, parenthetically and to the right, across the first three of the four prose lines in Strangelove's speech ([CB 5.2.speech1005]). [go to text]

gg229   pretty pleasing; good, excellent [go to text]

n9108   Women-actors now grow in request. The novelty here is that the request was beginning to be met, albeit by players from the Continent, in the London commercial theatre. Early in November 1629 a French company played at the Blackfriars: according to the Master of the Revels, in a record of which the original is now lost, what they staged there was a `farce'. More remarkable than the genre is the gender composition of the French company: as William Prynne recorded in his Histrio-Mastix, published four years after the French company's performance at Blackfriars: `They have now their female players in Italy and other foreign parts...[And] in imitation of these, some French women, or monsters rather, on Michaelmas term 1629 attempted to act a French play at the playhouse in Blackfriars -- an impudent, shameful, unwomanish, graceless, if not more than whorish attempt.' Five and a half years later, London again gave place to women performers on the commercial stage, this time the Phoenix in Drury Lane. Owned by Christopher Beeston and later known as the Cockpit, the Phoenix in 1635 was the home of Queen Henrietta Maria's men. In a document of which the original is no longer extant, the Master of the Revels recorded the French company's week-long residency there: his account suggests that their visit had involved a high level of intervention by King Charles on behalf of his Queen. See Bentley, Jacobean and Caroline Stage, VI (Oxford University Press, 1968), 23, 225-7; and Wickham et al., eds., English Professional Theatre 1580-1660 (Cambridge University Press, 2000), 526-7, 584, 632. [go to text]

n9476   [COURT-WIT produces writing equipment and moves upstage, or to the side, with PHILOMEL and BOY. COURT-WIT proceeds to scribble in his notebook, now and then showing PHILOMEL what he has written.] In Octavo of 1653 the corresponding stage direction is placed, parenthetically and to the right, across the five prose lines of the exchange between Mendicant and Strangelove at [CB 5.2.speech1006] through [CB 5.2.1008]. It reads: `Court draws his Tables and retires to Phil, writes & sometimes shewes her.' There is no direction for the movement of the Boy, but the dialogue suggests that he stays near Philomel. [go to text]

gg6060   omen event or phenomenon regarded as a portent of good or evil (OED n. 1) [go to text]

gs1601   ominous ruinous, disastrous (OED 1c) [go to text]

gs1657   discovery. reconnaissance; viewing (OED 3b and 3c) [go to text]

n9474   [As STRANGELOVE and MENDICANT start to depart through different stage doors, PROJECTOR 1 and PROJECTOR 2 enter through the door to which she is moving.] In Octavo of 1653 the Projectors' entrance is placed between [CB 5.2.speech1009] and [CB 5.2.speech1010] -- thus, after the exit direction for Strangelove and Mendicant at the end of [CB 5.2.speech1009]. (See [CB 5.2.line2555].) The reason for moving the Projectors' entrance up to the middle of Strangelove's speech [CB 5.2.speech1009] is that the dialogue requires at least one of them to hear the second line of her speech, and it also requires her to see them. Traffic control is obviously tricky here: it would be even trickier if the full trio of Projectors were required to enter. However, the 1653 stage direction reads: `Enter two Projectors.' [CB 5.2.line2555] The actor of Projector 3 is preoccupied by another role -- probably that of the Doctor. [go to text]

n9477   [MENDICANT exits through one stage door,STRANGELOVE exits through the other stage door.] In Octavo of 1653, the corresponding stage direction is placed to the right of the last line in Speech No. 1006. It reads: `Ex. severally' -- that is, separately. [go to text]

gs1606   quit release, rescue, redeem (OED v. 6a) [go to text]

gs1602   footing. choreography, dance steps [go to text]

n9478   [He begins to devise dance steps and demonstrate them to CIT-WIT and SWAIN-WIT.] Video In Octavo of 1653 the corresponding stage direction is placed, parenthetically and to the right, across the two prose lines of Dainty's speech ([CB 5.2.speech1013]). It reads: `Practise footing.' (See [CB 5.2.line2560].) Video material from the 13 December 2008 workshop on this rehearsal-within-a-play gives an idea (perhaps exaggerated) of the visual comedy that this stage direction would set in motion: see clip . [go to text]

gg491   want lack [go to text]

gs104   trow? do you suppose? [go to text]

n9115   avouch Octavo of 1653 reads `vouch', but the OED does not give a transitive sense for this verb. For `avouch', however, it gives a sense (4) which exactly fits this context: `to acknowledge (or claim) solemnly as one's own'. The difference between the verbs being but a single letter, easily dropped in typesetting, the emendation seems justifiable as well as semantically preferable. [go to text]

n9479   Tay dee, dee..... Video Octavo of 1653 reads `Tay dee. dee, &c.' (See [CB 5.2.line2576].) Expanded to `et cetera', the abbreviation `&c.' means `and other things': it here indicates that the Doctor hums, or wordlessly sings, more than just `Tay dee, dee'. Subsequent stage directions in the 1653 octavo make clear that the Doctor carries on with this business up to and including his exit with the other performers after [CB 5.2.speech1045]. (See [CB 5.2.line2626].) Doubtless his volume would vary in performance: as General Editor Richard Cave has pointed out to the editor of The Court Beggar, this stage direction is a good example of Brome encouraging improvisation. Workshop session on 13 December 2008 demonstrated what such encouragement might foster: see clip . [go to text]

gg913   viol early forms of stringed instruments played with a bow that came in different pitches akin to the modern violin, viola or cello [go to text]

gs1608   take learn (OED v. 30) [go to text]

n9500   RAPHAEL Video In Octavo of 1653, the corresponding stage direction reads: `Enter sir Raphael.' With or without his title, Raphael is crucial to the rehearsal sequence. As actor Philip Cumbus pointed out in the workshop session on 13 December 2008, Raphael is `the microphone': he guides audience attention to one ridiculous performance after another; he is physically and verbally incongruous with each of the figures to whom he turns; and his baffled responses compound the comedy. See clip . [go to text]

n9114   [Raphael] Octavo of 1653 neglects to give a heading for this speech, but the question is obviously being asked by Sir Raphael on his entrance. [go to text]

n9499   (To COURT-W[IT]) In Octavo of 1653, the corresponding stage direction, distinguished by an open-parenthesis sign, is placed at the end of the line which it governs ([CB 5.2.speech1025]). [go to text]

gg6061   tables, notebook [go to text]

n9813   pumping his Muse. that is: seeking help from his own personal poetic source. Court-wit here presents a comic figure of dramatic inspiration hard at work. [go to text]

n9114   [Raphael] Octavo of 1653 neglects to give a heading for this speech, but the question is obviously being asked by Sir Raphael on his entrance. [go to text]

gg5872   civil of apparel: sober, decent, grave (OED adj. 10) [go to text]

n9109   Te precor, domine Doctor. `I beseech you, master doctor' is a formula for a pupil's address to a teacher. [go to text]

n9513   `Sellinger's Round' or the like `Sellinger's Round' is a country dance tune: its popularity (which has continued for centuries) is suggested here by the alternative selection. [go to text]

n9146   Charon In classical Greek mythology, Charon was the old miser whose job was to ferry newly arrived spirits of the dead across the river which surrounded the Underworld. For this service he demanded prepayment, in cash: hence the ancient Greek burial practice of putting an obol, a small silver coin, on the tongue of the deceased. Philomel's stage persona evidently expects to try paying in charm instead of cash. [go to text]

n9148   Stygian flood. This is a fancy phrase for `River Styx' in classical Greek mythology. Largest of the six rivers of the Underworld, the Styx had to be crossed by the spirits of the newly dead on arrival there. [go to text]

n9150   a sop for Cerberus In Greek classical mythology, Cerberus was a multi-headed dog who guarded the gate of the kingdom of Hades in the Underworld. His job was to keep ghosts in and intruders out, but he could be diverted by various means. In Virgil's Æneid, the Sibyl, a prophetess who advises the hero Æneas, knocks out the canine monster with a drugged lump of flour and honey (Book VI, lines 418-22). This `sop for Cerberus' became a phrase denoting a relatively worthless bribe. [go to text]

n9882   To stop his yawning chaps. Beyond its dramatic function in Philomel's impersonation of the Cumaean Sibyl here, the phrase may be a quotation from John Marston's The Scourge of Villanie (1598). In Book 3, the speaker referring to Bishop Joseph Hall, asks: `What Accademick starued Satyrist / Would gnaw rez'd Bacon, or with inke black fist / would tosse each muck-heap for som outcast scraps / Of halfe-dung bones to stop his iawning chaps?' (lines 111-114) [go to text]

gg6062   yawning gaping (OED yawn v, 1) [go to text]

gg6063   chaps. jaws (OED chap n2, 2) [go to text]

n9151   Elysium. `The supposed state or abode of the blessed after death in Greek mythology' (OED 1). In his English Expositor (1616), a dictionary of difficult words, the Jacobean lexicographer John Bullokar defined it as `A supposed place of pleasure below; where Poets imagined the soules of good men did rest.' [go to text]

gg5886   heathenish pagan [go to text]

n9520   (DAINTY plays softly and DOCTOR [hums or sings] with him aside) In Octavo of 1653 this stage direction is placed, parenthetically and to the right, across four lines ([CB 5.2.line2599] through [CB 5.2.line2602]. Dainty is learning the tune which the Doctor has invented. The effect of their business would be to provide background music for Philomel's second over-the-top histrionic speech ([CB5.2.speech1030]). [go to text]

n9814   snarling triple-headed cur, that is: Cerberus [go to text]

n9152   Pluto’s In classical Roman mythology, Pluto was the ruler of the Underworld (corresponding to Hades in Greek mythology). [go to text]

gg5887   pitchy pitch-black, intensely dark (OED adj, 2a) [go to text]

n9153   Acheron. In classical Greek mythology, Acheron was one of the six rivers of the Underworld. [go to text]

n9521   What woman monster’s this? Sir Raphael's question suggests that he has only just noticed that a female character is spouting pseudo-Senecan tragic verse. Beyond the absurdity of Sir Raphael's obtuseness, there is a metatheatrical joke. In theatrical fact, Philomel is played by a boy; but in the dramatic fiction Philomel is a female character. And at this point, speaking as she does in the character of the Cumaean Sibyl, who in Book 6 of Vergil's Æneid escorts the hero AEneas to the underworld, Philomel is performing as an actress -- deemed a monstrosity by William Prynne. In Histrio-Mastix (1633), he notoriously condemned `some French women, or monsters rather, [who] on Michaelmas term 1629 attempted to act a French play at the playhouse in Blackfriars -- an impudent, shameful, unwomanish, graceless, if not more than whorish attempt'. (See Bentley, J&CS, 6, 227; and Wickham et al. 412) [go to text]

gg491   Want lack [go to text]

n9815   forkèd top The top of Mount Parnassus is forked only in literary tradition, but Court-wit here utters an error which recurs there. Misconstruing Greek references to cliffs on the mountainside above Delphi, Roman writers gave Parnassus two peaks. (In Ovid's Metamorphoses [Book I, line 316], the pair are said to pierce the sky.) Later writers interpreted them as prophecy and poetry. See H.F.Tozer, A History of Ancient Geography, 2nd ed. M.Cary (Cambridge University Press, 1935), 324-5. [go to text]

n11551   Parnassus This Greek mountain was sacred to Apollo; it was also home of the Muses and so associated with poetic inspiration. [go to text]

gg5888   whim-whams trinkets, trifling ornaments of dress (OED 2) [go to text]

n9528   Exit [BOY, CIT-WIT, COURT-WIT, DAINTY, DOCTOR, PHILOMEL,SWAIN-WIT,] fiddling, [danc]ing, singing, acting, and [so forth]. Video In Octavo of 1653, the corresponding stage direction is placed, for the most part parenthetically, to the right of five lines ([CB 5.2.line2626] through [CB 5.2.line2630]), which constitute [CB 5.2.speech1045] and the first four lines of [CB 5.2.speech1046]. It reads: `Exe. Om. Fidling, Footing, Singing, Acting &c.' -- that is, with abbreviations expanded: `Exeunt Omnes Fidling, Footing, Singing, Acting et cetera.'. As Brian Woolland remarked at the workshop session on 13 December 2008, the rehearsal sequence, `much better structured than it appears on the page,' has built up to complete chaos. (The amateur status of the majority of the performers in that workshop may have compounded the effect.) When chaos clears, the solo figure of Sir Raphael provides a contrast which is not just comical but also structural: he will move the scene on to business which will resolve the romantic stalemate in the romantic plot. Both the fun and the function of the role were noticeable in the workshop performance of it by actor Robert Lister: see clip . [go to text]

gg5889   wilderness. place of confusion and/or exclusion [go to text]

gs1734   jeer mockery (OED jeer n2, 2b) [go to text]

gg5890   brain-trick cunning device (OED) [go to text]

gg1562   mere veritable (intensifier) (OED adj. 4) [go to text]

gg5891   invention contrivance (OED 3) [go to text]

gg5892   nettle vex, provoke, annoy (OED v. 2a) [go to text]

n9154   ‘tis Octavo of 1653 reads 'tis' (without an apostrophe) [go to text]

n9527   (Aside)I hope not so. In Octavo of 1653 this line is surrounded by parentheses which signal its status as an aside. [go to text]

gs1613   touch affect (OED v. 21) [go to text]

n9144   begged. asked for: the estate of a convicted felon would be forfeited to the crown [go to text]

gg5881   yield consent (OED v. 17a) [go to text]

gs1129   remit resign, surrender [go to text]

gs1614   move propose, suggest (OED v. 30a) [go to text]

n9534   you? In Octavo of 1653, this word (with the punctuation mark) has wandered down to a line of its own, between the two first and last lines of Strangelove's speech [CB 5.2.speech1066] immediately upon her entry. The word `you' is the second word in the latter line; and the compositor's mind may have been on the stage directions around this speech. See [CB 5.2.line 2670]. [go to text]

n9533   MENDICANT stands amazed. In Octavo of 1653, this stage direction is placed, parenthetically and to the right, across three lines ([CB 5.2.line2671] through [CB 5.2.line1673]). [go to text]

gs1607   outstripped overtaken, surpassed [go to text]

gg1756   ought owed [go to text]

gg147   fly (v) run away from [go to text]

gg6064   wilfully perversely, obstinately (OED adv. 5) [go to text]

gs1735   apprehend. recognise, see (OED v. 8a) [go to text]

gg6065   wear out forget (OED wear v1, 11c, where the earliest example given for this sense dates from 1676) [go to text]

gs1736   fit sudden and transitory state of feeling (OED fit n2, 4a); paroxysm of lunacy (OED fit n2, 3a) [go to text]

n11552   Venus Venus was the Roman goddess of love, sex, lust and desire. [go to text]

n11553   Cupid, The Roman god of love was usually figured as a youth or a small winged boy with a bow and arrow. [go to text]

n9159   Sententious Sir Raphael! The adjective is ambiguous: it can mean either `full of wisdom and intelligence' (OED a, 1) or `addicted to pompous moralizing' (OED a, 4). The latter is more appropriate as a comment on Sir Raphael's immediately previous line, but he -- ever susceptible to flattery -- responds as to the former sense. [go to text]

n9578   my Italian mount Eryx or Erycus (now San Giuliano), a high mountain in northwestern Sicily. The identically named town nearby gave place to a temple of Venus, and her son (by a human, albeit a hero) Eryx was its legendary prince. The goddess had numerous other sites of veneration: the reference to this one may mock the dramatic context. Philomel-as-Venus is accompanied by her illegitimate son, Boy-as-Cupid. [go to text]

gg5894   faintly timidly (OED adv. 2) [go to text]

n11555   Hymen In classical mythology and lore, Hymen was the god of marriage, usually represented as a young man carrying a torch and veil. [go to text]

gs1737   obscurity darkness, indistinctness -- hence, concealment [go to text]

gs1237   remove. depart, withdraw, quit (this place) [go to text]

n9842   See here, the champions for the Queen of Love: In Octavo of 1653, the assignment of roles in the masque is indicated by numbers which are placed above or alongside the italicised name of each champion and are keyed to the characters' names, also italicised, in the right margin. (See [CB 5.2.line2733] through [CB 5.2.line2738].) Thus: `Courage, sent from Mars' = 1 = `Swain[-wit]'; `The Muses [s]kill from wise Apollo' = 2 = `Court[-wit]; `Mercury...his Agent' = 3 = `Dainty'; `Activity from Jupiter' = 4 = `Cit-Wit'. The assignment of the fifth role to the Doctor seems to have confused the compositor: the numeral for it is misplaced (above `Jupiter' rather than `This'), and the Moon's name is not italicised as it should be. To clarify matters for the reader, this edition has both capitalised and italicised the names of roles in the masque. [go to text]

gg1436   champions defenders; those who fight on behalf of another [go to text]

n9819   Mars In classical mythology, Mars was the god of war. His representative at the masque is Courage, presented by Swain-wit. [go to text]

n9844   MUSES’ SKILL, ] The Muses kill. Octavo of 1653 is obviously in error here. What is less certain is whether the emendation should be to a singular or a plural possessive form. The Muses were Apollo's associates, with individual names and specialisms, several of which could be argued to suit Court-wit. However, as a group their collective responsibility was for poetry and music, and it seems appropriate that Court-wit should impersonate a general skill in both. [go to text]

n9820   Apollo In classical mythology, Apollo was the god of (among many other things) arts, poetry and music -- in which he was assisted by the Muses. Apollo's representative at the masque is `the Muses' skill', presented by Court-Wit. [go to text]

n9821   Mercury, In classical mythology, Mercury (= Hermes in Greek) has a long list of responsibilities, including travel, trade, gambling and profit, both licit and illicit. The agent that Mercury sends to the masque is, appropriately, presented by Dainty. [go to text]

n9822   Jupiter In classical mythology, Jupiter (Zeus)was the chief god, who ruled the cosmos from on high but descended to take the maidenheads of numerous nymphs and young women. The representative that Jupiter sends to the masque is Activity, presented by Cit-wit. When `Activity' is construed in its sense (OED 3, now obsolete) as `physical exercise', the connection between role and character becomes obvious: Cit-wit has just been provoked into an exceptional exhibition of physical prowess and courage. Making that figure an emissary of Jupiter may be on account of Cit-wit's association with London, the pre-eminent place, and/or it may be on account of Cit-wit's recent success with Philomel. [go to text]

n9843   Moon In classical mythology, the Moon (Luna to the Romans, Selene to the Greeks) is a goddess, and she is also gendered female here. (English dramatic and literary tradition, however, sometimes personified the moon as male, the Man in the Moon, who in Shakespeare's A Midsummer Night's Dream appears in the play-within-a-play marking the marriage of Theseus and Hippolyta.) Her representative at the masque is one of her spies, appropriately presented by the devious Doctor. [go to text]

gg4750   action, histrionic personation; acting of plays, performance, a play (OED 12) [go to text]

n9160   rite Octavo of 1653 reads `right', which is possible: the sense would be that Philomel (as Venus) is asserting love's jurisdiction over the proceedings. However, since the speech as a whole presents the masque as a completion of a necessarily clandestine marriage ceremony, the emendation seems preferable. [go to text]

gg6066   nuptials wedding, marriage (OED nuptial n, 1a) [go to text]

gs1738   grace. charm or attractiveness belonging to ease and refinement of movement, action or expression (OED n. 1) [go to text]

n9162   enter PROJECTOR 1, Octavo of 1653 reads `Enter Projectors', but the stage direction there continues with a verb form which is singular: `breakes'. (See [CB 5.2.line2740] and [CB 5.2.line2741].) The initial responses of Ferdinand in [CB 5.2.speech 1096] (`What black tragedian's this?'), Raphael in [CB 5.2.speech 1097] (`Some nuntius sent from hell'), and Gabriel in [CB 5.2.speech1098] (`One of my master's minions, a projector') all make clear that only one Projector has entered. Another Projector will enter later in the scene. It is probable that the actor of the third is already onstage, doubling the role of the Boy. [go to text]

gs712   forbear cease, refrain (from) [go to text]

gs1615   enforce extort, compel, demand (something from someone) [go to text]

gs1739   black dismal (OED adj. 10a, where the earliest example given for this sense is from 1659). The adjective may perhaps also be taken literally, as an indication of costume. [go to text]

gg6067   tragedian’s stage-player who performs in tragedy (OED 2) [go to text]

n9161   nuntius The Latin word means `messenger'. In this context it designates the otherwise anonymous figure in both classical Greek and Roman tragedy whose function is to report, usually at great length and in heightened language, offstage deaths and other horrors. [go to text]

gs1616   minions, dependents, hangers-on (OED nI, 1a) [go to text]

gs1675   fantastic full of fantasy, mad [go to text]

n9113   [Strangelove] Octavo of 1653 assigns this speech to `La.', a heading which can designate only Lady Strangelove. [go to text]

gs707   projects, planned or proposed undertaking; a scheme, a proposal [go to text]

gs1617   suits, petition, supplication, entreaty, especially one made to a prince or other high personage (OED n. 11a) [go to text]

gg5896   patents, licences conferring the sole right to manufacture, sell, or deal in a product or commodity (OED nIII, 3), so called after the documents conferring such rights -- `letters patent', meaning `letters [which could be] shown' [go to text]

n9575   a windmill on his head, Mendicant's headgear probably derives from James Shirley's The Triumph of Peace, a masque staged at Whitehall in February 1634. (See Introduction.) Both the text of the masque and the description printed with it suggest the source of the windmill in Miguel de Cervantes' Don Quixote. (Neither, however, reports properties and costumes for it in such delicious detail as distinguishes their accounts of the various Projectors who appear earlier in the antimasque. See [NOTE n10121].) The description reports: `a Windmill, against which a phantasticke Knight with his Lance, and his Squire arm'd seem'd to make their attempts...moving forward in ridiculous shew and postures' (The Triumph of Peace... third impression, [London: John Norton for William Cook, 1663[4], sig. A2). The masque text gives a massed entrance for `A Windmill. A phantastique Knight. and His Squire arm'd' and then a stage direction: `The phantastique Adventurer, with his Lance makes many attempts upon the Windmill, which his Squire imitates: these hauing exprest their folly, and gone off...' (sig. C2). [go to text]

n9535   PROJECTOR [2]. Octavo of 1653 reads `the other Projector'. [go to text]

gg5899   A hall Make room! Clear the way! (OED n1. 12) [go to text]

gg5897   monopolist! person who holds, or seeks to acquire, exclusive rights over the manufacture or sale of something [go to text]

n9579   You commonwealth’s informers, lead me on. Bring me before the great assembly. See, Fathers Conscript, I present all I have For you to cancel. Mendicant asks to be brought before `a great assembly' and immediately makes clear that he intends an assembly of lawmakers: `Fathers conscript' is the title by which the Roman Senate was addressed. The lawmakers in question are English parliamentarians. Monopolies were at the top of the list of grievances which were perforce left unresolved by the Parliament which opened on 14 April 1640 and but was dissolved three weeks later. The Parliament which opened on 3 November 1640 quickly moved against monopolists, including a number of Members of Parliament. See Introduction [go to text]

gg5898   cancel. annul (a legal document), render void or invalid, by drawing cross-hatched lines across it (OED v. 1a) [go to text]

n9166   device. Octavo of 1653 reads `devise', then a possible spelling for the noun in the sense here as `contrivance'(OED n, 6). [go to text]

n9164   the taking of poor John and barrel-cod alive, and so to preserve ’em in salt water for the benefit of the fishmongers. Poor John is smoked fish (usually hake, according to the OED), and barrel-cod is pickled fish. A project for catching these preserved foods alive would approximate one for growing spaghetti. [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]

gg5900   cleave! split, hew (OED v1. 1) [go to text]

gg6068   matches pieces of cord, cloth, paper, wood, etc., dipped in melted sulphur so as to be readily ignited with a flint, and used to light a candle or lamp, or to light fuel (OED match n2, 2a) [go to text]

gg6069   tinder-box. box in which materials for making fire were kept [go to text]

n9165   link-boys’ Octavo of 1653 reads `link-boyes'. Rendering this as a possessive plural (rather than singular) seems preferable in context, close to clearly plural `Forrainers'. A link-boy was a torch-bearer, hired to illuminate the way along the streets of London. [go to text]

n10142   But no cries to escape: ’Tis for a peace. A levy on all London streetcries (with some criers taxed more heavily than others, but none to escape taxation altogether) may be expected to reduce noise levels in the City. [go to text]

gs1628   censures. formal judgements or opinions of an expert, referee, etc. (OED 2) [go to text]

gg5901   Powers, influential people, rulers (OED n1. 8a) [go to text]

n9845   lower house that is, the inferior branch of a legislature consisting of two houses (OED). Since re-entering the scene at Speech No. 1101, Mendicant has continued to speak as if he were addressing Parliament, of which the lower (and elected) house is the Commons. [go to text]

gg103   presently. immediately (OED adv. 3); without delay [go to text]

gg5902   dismantle uncloak (OED v. 1) [go to text]

n9536   In the dance they pull [the patents from MENDICANT and the cloaks from PROJECTOR 1 and PROJECTOR 2,] who appear all ragged. At the end of the dance [PROJECTOR 1 and PROJECTOR 2 are shoved through the stage doors]. In Octavo of 1653, these sentences read: `In the Dance they pull off his Patents; And the Projectors Clokes, who appeare all ragged. At the end of the Dance the Projectors thrust forth.' [go to text]

gg5946   event outcome (OED n. 3a) [go to text]

gs1619   esteem. (n) estimation, judgment (OED n. 2) [go to text]

gg885   leave, permission [go to text]

n9537   While they dance, the rest confer. In Octavo of 1653 this stage direction is printed to the right, across two lines ending on [CB 5.2.line 2809]. Just who may be the `they' who dance is not completely clear: the dialogue requires that Dainty and Philomel dance (for old times' sake, and by permission of Cit-Wit!); and comic convention requires that Charissa and Frederick join the dance as young lovers, with Mendicant and Gabriel coming in as reconciled father and trusty servant. Raphael, Ferdinand, Strangelove, Cit-wit and Swain-wit are required to confer rather than dance. The Doctor and Dainty are probably making music together again, as they were through an earlier part of the scene. It is not clear what either the Boy or Court-Wit may be doing at this point, but both are required for the Epilogue, in which the Boy speaks and Court-Wit is addressed by Swain-wit. [go to text]

n9167   protestation, Octavo of 1653 reads 'potestation', which makes minimal sense as 'authorisation'. The context, however, is better suited by 'protestation' in the sense defined by John Bullokar in his English Expositor (1616), a Jacobean dictionary of difficult words: 'A declaration of one's mind' . [go to text]

n9846   She’s a wise widow by’t: for sure enough, she saw something in his mad naked fit, when he put her to’t, to choose a husband by, won’t out of her thought yet. Recollecting that Strangelove is a widow and therefore sexually experienced, Swain-wit surmises that she must have found Ferdinand attractive when he attempted to rape her. [go to text]

n10140   EPILOGUE Conventions of printing here somewhat obscure the fact that once Strangelove has spoken the last lines of dialogue ([CB 5.2.speech1138]), she moves directly into the Epilogue ([CB5.2.speech1139]), which is addressed to the audience. The Epilogue is remarkable in several respects. It is distributed among fully six speakers (Strangelove, Ferdinand, Cit-wit, Philomel, Boy, and Swain-wit): the first three address their counterparts among the audience, and all of them remain in dramatic character from the play. Swain-wit, boorish and bullying as ever, contrives to have the last word and the longest speech: he seizes the floor, summarises what others would have said (had he let them), and turns the Epilogue into a lengthy vindication of both Brome as playwright and William Beeston as entrepreneur. [go to text]

gs1678   suffrages expression or token of approval (OED 5b) [go to text]

gg5968   dandling pet, fondling (OED n) [go to text]

n9559   clap. The joke of these alternatives depends upon the quibble on the word `clap' meaning both `applause' and `gonorrhea'. [go to text]

gg5967   at appealing to, soliciting (OED pre, 3c) [go to text]

n9558   Phoebean Octavo of 1653 reads `Phebean'. The primary sense here is `related to (Phoebus) Apollo as god of the sun and of poetry' (OED). Both of these fields of Apollonian activity are in play here: in the appeal on behalf of `our poet' and in the casting of that appeal as a metaphor of plants responding to sunlight. [go to text]

gg6071   bride wedding feast (OED 1) [go to text]

gg6070   clapped up. hastily settled (OED clap v1, 13b); applauded [go to text]

n10141   spectators Octavo of 1653 reads `(spectators)'. The parentheses here may indicate tone or manner of utterance drawing attention to the word. The OED cites usage from 1586; but thirty years later John Bullokar included it in his dictionary of difficult words, many of which were relatively new to the language (An English Expositor [London: John Legatt, 1616]). His definition of `spectator' is `beholder'. [go to text]

n10139   your Octavo of 1653 reads `you'. [go to text]

n9554   why so! This is an expression of content or acquiescence (OED `why' IV, 7d). Octavo of 1653 punctuates this phrase with a question mark (and without an intermediate comma), but it is no more interrogative than its modern idiomatic equivalents, `so what' or `what then'. [go to text]

gs1677   countenance position, standing, dignity (OED n. 10) [go to text]

gs1740   carry manage (OED v. 22a); do [go to text]

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

n9553   poets that give these plays as the Prologue said, and money too, to have ’em acted The particular target here is once again Sir John Suckling and his subsidy, in 1638, of the production of his first finished play, Aglaura. In violation of economic practice in the professional theatre of the time, instead of the playing company paying him a flat fee for his playtext, Suckling paid them to stage it: the fact that payment had been in theatrical kind -- new costumes -- reduced neither the offence to Brome nor the expense to Suckling. See: the Introduction to this edition; and John Freehafer, `Brome, Suckling, and Davenant's Theater Project of 1639', Texas Studies in Literature and Language, X (1968). [go to text]

gg5963   interludes, stage plays (OED n. 1) [go to text]

n9555   aught Octavo of 1653 reads `ought', which is the archaic form of this pronoun meaning `anything whatever' (OED `aught' n2, A). Modern usage here would be `for all you know'. [go to text]

n9580   they bought ’em of University scholars tho’, This suggestion is yet another jibe at Sir John Suckling's playwriting, particularly of Aglaura: see Introduction. [go to text]

gg5966   owning laying claim to (OED v. 3b) [go to text]

gg5728   but only [go to text]

gs746   as because [go to text]

n9556   neither. The negation and connection of this adverbial conjunction both work backwards (see OED `neither' adv & conj, 2a). The phrase 'show their wits in owning other men's, and that but as they are like neither' could be paraphrased 'show their intelligence in claiming other men's and make such claims only because they are stupid'. [go to text]

n9557   this small poet That is, Richard Brome. In explaining -- at some length -- why he will not beg for the author of The Court Beggar, Swain-wit is doing just that. Despite the informal style of his speech, Swain-wit's ploy, for which the technical term is 'asservatio' ['swearing off'], has an impeccable pedigree in classical rhetoric. Perhaps best known among English dramatic examples, however, is Antony's speech over Caesar's corpse in Act 3 scene 2 of Shakespeare's Julius Caesar: `I come to bury Caesar, not to praise him.....' [go to text]

gg5964   vents vends or sells (something) (OED notes that this form was very common c. 1600 to c. 1670) [go to text]

n9581   his by whose care and directions this stage is governed, who has for many years both in his father’s days, and since, The reference is to William Beeston [aka Hutchinson] (1610/11?-1682) and his father Christopher (1579/80-1638), actors and theatrical impresarios whose careers included the management of the Cockpit (or Phoenix) in Drury Lane and the company of boy players which bears the better known of their surnames. See introduction. [go to text]

gg414   grace (n) 'a short prayer either asking a blessing before, or rendering thanks after, a meal' (OED n. 20) [go to text]

gs1741   pates brains (OED pate n1, 2) [go to text]

gg5965   dryfats. large vessels (casks, barrels, tubs, cases, boxes) used to hold dry things (as opposed to liquids) (OED) [go to text]

gs1680   jigs light performances or entertainment of a lively or comical character; dramatic farces. [go to text]

n9560   Tom Hoyden o’ Tanton Deane. This is the alternative title of Richard Brome's Sparagus Garden. [go to text]

gs1679   motion, show, entertainment (OED n. 8a) [go to text]

gg1431   slops baggy breeches or hose, often called Dutch slops (OED n1. 4a) (the title page of Middleton and Dekker's The Roaring Girl has an illustration of Mary Frith dressed in slops (available on EEBO); the portrait of Sir Martin Frobisher (painted by Cornelius Ketel, 1577, owned by the Bodleian, and available online) illustrates the slops often worn by sailors: see [go to text]

gg5969   netherstocks stockings: `nether' meaning `lower', `netherstock[ing]s' were hose which covered the lower part of the leg [go to text]