Enter TRYMAN, [brought on in a bed]n7335 attended by ISABEL, JOAN,
CRASY [as Doctor Pulse-Feel], with an urinal.gg4877

280IsabelLookn9728 up, mistress.

281JoanTake a good heart, the worst is past, fear not.

282TrymanAh, ah, ah!

283IsabelReach the bottle again of Doctor Stephen’s water.

284CrasyNo, no, apply more warm clothes to her stomach. There the matter lies which sends this distemperaturegg4878 into her brain. Be of good cheer, gentlewoman.

285TrymanIs Master Wolsey there?

286IsabelNothing but Master Wolsey ever in her mouth.n7336

287JoanPray, sir, how do you likegg4879 her? I am much afraid ofgg4880 her.

288CrasyLet me see. Tonight it will be full moon. Andgg857 she ’scapegg2214 the turning of the next tide, I will give her a gentle vomitn7338 in the morning that shall ease her stomach of this confluxgg4881 of venomous humoursgg4883 and make her able to sit a hunting nagn7341 within this sennight.gg132

289JoanA rare man sure. And, I warrant,gg859 well seen in a woman.n9851

290TrymanUh, uh, uh, uh!   [TRYMAN] cough[s] and spit[s].   

291CrasyWell said! Spit out gently, strain not yourself too hard.

292TrymanAgh ...fagh!

293Crasy’Tis very well done. La’ you.gg4419 Her colour begins to come. I’ll laygg4885 all my skill to a messgg4884 of Tewksbury mustardn7344 she sneezes thricegg1873 within these three hours ...

294Linsy-WolseyGood sir, wantgg491 nothing that your skill shall approvegg4886 necessary in this time of need. Good wives and kind neighbours, I thank you for your cares.

295TrymanIs Master Wolsey there?

296IsabelShe does nothing but call for you, sir. Pray speak to her.

297TrymanWhere’s Master Wolsey?

298Linsy-WolseyHere, lady. How do you?

299TrymanThen I am even well methinks ...agh ... agh!

300Linsy-WolseyShe’s very far gone, I fear. How do you findn7364 her disease, sir?

301CrasyDangerous enough, sir. For she is sicker in mind than in body. For I find most plainly the effects of a deep melancholy,gg583 fallen through her distemperaturegg4878 of passiongg2535 upon her liver,n7365 much disordering, and withalgg4786 wasting the vitals,gg4887 leaving scarce mattern7366 for physicgg3779 to work on. So that her mind, receiving the first hurt, must receive the first cure.

302TrymanAgh, agh, ah ... pagh fagh........!
[TRYMAN] cough[s] up in a basin.n7367

303CrasySo, so. Strain not yourself too hard. No hurt, so, so. Here’sn7368 melancholy and cholergg4888 both in plenty.

304JoanHe speaks with great reason, methinks, and to the purpose.   [Aside]   I would I understood him.n9684

305CrasyDo you not know, sir, any that has offended her by opengg4889 injury or unkindness?

306Linsy-WolseyAlas, sir, no such thing could happen since her coming hither.

307CrasyThen, on my life, ’tis love that afflicts her.

308TrymanOh, oh, uh, oh ...!

309CrasyI have touched her to the quick.gg4890 I have found her disease, and that you may prove the abler doctor in this extremity.gg4891

310Linsy-WolseyWho I? Alas I believe no such matter.

311TrymanMaster Wolsey, Master Wolsey!

312CrasyHere he is, lady. Pray speak your mind to him.    [to LINSY-WOLSEY]   Must I pull you to her?    [to TRYMAN]    Here he is. What do you say to him? Pray speak.

313TrymanO no, no, no, no...

314Crasy    [to LINSY-WOLSEY]   She hath something troubles her that concerns only you. Pray take her by the hand. Do as I intreat you.    [to TRYMAN]    Lady, we will go and leave you in private awhile, if you please.

315TrymanPray do. O but do not, pray do not.

316Crasy    [to LINSY-WOLSEY]   Do you perceive nothing in this passion of hers? How does she feel your hand?

317Linsy-WolseyO she doesn7369 so quiddlegg4892 it, shake it, and gripegg3219 it!

318CrasyYou are then the man, sir, the happy man. For she shall recover suddenly.n9620

319Linsy-WolseyWho I? Alack a day.n9863

320TrymanWhat, will you have me die intestate? Is not my will made, as I directed?

321JoanWhere are you, Master Sarpego, with the will?

322SarpegoAd manum.n7370 Sweet budsgg4893 of generosity, forbear:gg5547 you may admiraren7371 at the abundance here specified, but not find a legacy bequeathed among you.   [SARPEGO produces] a will   

323TicketWe expect nothing.

324RufflitI only wish your health, lady, and that it may, or might have been, my happiness to sue to you for love as I do now to the highest power for life.n7372

325TobyWould I were marriedn7373 to her, as she is and ’twere but for an hour, I cared not. Had my mother been but acquainted with her before she fell sick, heren7374 had been a match!

326SarpegoO dii immortales!n7375 A rich widow shall have suitors on her deathbed.

327Tryman   To Ruff[lit]   Good sir, it is too late to speak of these things. I only crave and wish your prayers in your absence. This place can yield no pleasure to you I know. Master Wolsey, pray your hand again. I could be even content to live methinks, if I had but such a man as you to my huh,n7376 uh, uh, uh ...   She coughs.   

328CrasyBy your leave, pray by your leave. Help, women. Bear up her body a little. Bow it forwards.n9685 So, speak to her, sir.n9621 Good lady, drink of this cordial.gg4894
[TRYMAN] drinks.

329Linsy-WolseyHow do you now, forsooth?

330CrasyWhat, now she is drinking?n9686 [TRYMAN drinks again]    [to LINSY-WOLSEY]   Now speak, sir, you or no mann7377 must do her good.

331Linsy-WolseyHow do you, forsooth?

332CrasyWell said, sir, speak cheerfully to her.

333Linsy-WolseyHow deegg4895 do? How dee do, Mistress Tryman? How ist now, ha?

334Ticket    [To Rufflit]   Very comfortably spoken!n9687

335Rufflit    [To Ticket]   Aye,n8192 was it not?

336Linsy-WolseyAlas she cannot speak. I’ll call my neighbour Mistress Sneakup. If any body can make her speak, ’tis she.

337TobyI’ll call my mother for you. She will make her speak, if she have but a word left in her belly ...n9852 Mass,gg4896 here she comes.

338PyannetHow comes it Master Wolsey, that you have a gentlewoman sick in your house and not send for me? Let me feel her hand. Alas, she is shrewdlygg4897 distempered. When had she a stool,n7379 sir? Prithee, daughter, step home to my closet,gg4898 and bring the vial of ......... my own water,n7380 which stands next to my blue velvet cabinet.gg4899

339Josina   [Aside]   That’s my doctor was with me today.Exit JOSINA.

340PyannetShe’s a young gentlewoman, may have many children yet. Let me note her eyes:n9688 I find nothing there. When did you see her water,gg4900 Master Doctor?

341Crasy   [Aside]n7381   What Devil sent this fury among us?

342PyannetIn troth I beshrewgg4901 you, Master Wolsey, you sent not for me, but I hope I come not too late.   [To TRYMAN].   Pluck up a woman’s heart,n7382 you shall find a good neighbour of me.

343TrymanI will thank you in my will. I shall not live to thank you otherwise.

344PyannetAlas, talk not of your will. You shall have time enough to think of that many years hence.

345CrasyI tell her so, lady, yet she calls for it still.

346TrymanPray let me see it, that I may sign it. Uh, uh ...

347PyannetLord how my daughter stays.gg4902 Good Sir Andrew Ticket! worthy Master Rufflit! My son Tobias is highly honoured in your noble acquaintance and courtly conversation.

348TicketWe rather hold ourselves dignified in being his endeared companions.

349TobyI assure you, mother, we are the threen7383 of the Court.

350PyannetI most entirely thank you for him. And I do beseech you make yourselves no strangers to my poor house. We are alone,gg4904 can give but light entertainment, my daughter and I, since my son Crasy’s misfortune droven7384 him from us ...
Enter JOSINA with a vial.n7385

O welcome, daughtern7386 ...    [To TICKET and RUFFLIT]   I beseech you, noble sirs, estrange not yourselves to us, your servants.

351Crasy   [Aside]   Pox o’your compliment.n9826

352PyannetGive me the vial, daughter. Take up the lady.n9689   [To TRYMAN].   Taste of this. It is a composition of mine own distilling.
TRYMAN drinks.

353TrymanUh, uh, uh, umh ...

354PyannetWell done. Nay it will make you break wind,n7387 I tell you.

355Ticket    [To JOSINA].   By the service I owe you, sweet mistress, ’tis unfeigned. My wife desires to see you.

356Rufflit    [To JOSINA].   As I can best witness; and fearsn7388 you enjoy not the liberty of a woman since your husband’s departure. Your brother having promised too to conduct you to court.

357Toby    [To JOSINA].   It is confessed and I will do it.

358Ticket    [To JOSINA].   Where the best entertainment a poor lady’s chamber can afford shall expectgg4903 you.

359JosinaI shall embrace it.

360Crasy   [Aside]   ’Sfoot,gg578 ’tis time to part you ...    [To JOSINA].   Mistress, I beseech your help joined with your virtuous mother’s.
[CRASY] pulls [JOSINA] aside.

361Josina   [Aside to CRASY as PULSE-FEEL]   You forget the young man that can dance, write, and keep counsel.

362Crasy   [Aside to JOSINA]   I forget you not, lady. But I wish you to beware of these courtiers till I tell you what they are.

363RufflitI’ll be hanged if this doctor be not of her smock council.gg4905

364PyannetHow is it now, good heart?

365TrymanMuch enlightenedn9732,gs1604 I thank Heaven and you. Now, pray, read, sir, my will.

366SarpegoIn Dei nomine.n7389 Amen.

367TicketO let us hear the will.

368SarpegoI, Jane Tryman of Knockers Hole,n7390 in the county of Cornwall, widow, sick in body, but whole in mind, and of perfect memory, do make my last will and testament, in manner and form following.

369CrasyAs for the manner and form ’tis no matter. To the legacies briefly.n9690

370SarpegoHum, hum. Imprimis,n7391 a dolegg4907 of bread to be given to the poor of this parish ... five pound.n7392

371TrymanStay. This I entreat of you, Master Wolsey, that, whether I live or die, this dole may be given tomorrow. It was the chargegg1561 of my mother to see it done, saying it was better to take the prayers of the poor with me than leave them to be sent after.n7393

372Linsy-WolseyIt shall be done, and you, I hope, shall see it.

373SarpegoTo Master Sarpego, the writer hereof, a mourning gown and forty poundn9124 to preach at the funeral.

374Linsy-WolseyHow! forty pound?n7394

375SarpegoDi boni!n7395 No. ’Tis forty shillings.n7396 Item,gg4908 to my nephew, Sir Marmaduke Trevaughann7398 of St. Miniver,n7397 one thousand pound in gold.n7399 Item, to my nephew Master Francis Trepton,n7405 one thousand pound in gold.n7399 Item, to my kinsman, Sir Stephen Leggleden, I do forgive two thousand poundn7400 for which his lands are mortgaged to me. Item, to his daughter, my God-daughter Jane Leggleden, five hundred poundn7401 in money, my best basin and ewer;gg4909 two silver flagongg4910 pots, and three silver and gilt standing cups.n7402 Item, to the poor of the parish of Knockers Hole, ten pound,n7403 and forty poundn9124 towards the reparationgg4911 of their church. Item, to Master Linsey-Wolsey the ring which was my wedding ring, and fifty other rings, with several stones in my trunk in his house, valued at two hundred and fifty pounds.n7404 Item, to all his servants, and to the women that attended me in my sickness, five poundn7392 a piece.

376JoanNow the Lord receive her to his mercy.

377IsabelMy legacy will save her life for never anybody died yet that bequeathed me anything.

378SarpegoItem, to my page, Jeffrey Crack, forty pound.n9124 And all my other servants ten poundn7403 a piece. Item, to my niece, Barbara Tredrite,n7406 five hundred pound; my second basin and ewer;gg4909 a dozen of silver dishes; and four dozen of silver spoons. Lastly, all the rest of my lands, jewels, plate, money, debts, moveables and unmoveables, to my dear and loving brother, Sir Gregory Flamsted, whom I make my full executor. In cuius rei testimonium,n7407 and et cetera. This is the brief of it.

379Tryman’Tis well. Only add to ...uh ... a gold chain also in my trunk to this virtuous gentlewoman. And another chain, that is there of pearl, to her daughter. To this learned doctor twenty pound.n7408 And to the gentlemen which have visited me, for them and their friends an hundred poundn7409 to be spent in a banquet.

380SarpegoHoc nihil refert.n7411 I must write all over again then.

381TrymanDo so then. And make your fortyn7396 shillings five pound.n7392

382SarpegoGratias vel ingentes ago.n7412 It shall be done ...Exit [SARPEGO].

383TrymanNow Master Wolsey, and your virtuous neighbourn7413 here, I entreat that when I have signed this will that you keep it till my brother comes to town. This doctor shall direct you in all. And that he may be the better able so to do, I desire you all that I may a while be private with him.

384Linsy-Wolsey, Ticket, Rufflit, Pyannet, Josina, Toby, Isabel, Joan, Crasy.With all our hearts.Exitn7414 [LINSY-WOLSEY, TICKET, RUFFLIT, PYANNET, JOSINA, TOBY, JOAN, ISABEL leaving] CRASY, TRYMAN

385TrymanAre they all gone?n10109 Now Master Doctor, what think you of the sick widow? Has she done her partn7415 hitherto?

386CrasyBeyond my expectation! Better than I for a doctor.

387TrymanYou are right. And I am even the samen7416 for a widow as you for a doctor. Do not I know you? Yes, good Master Crasy. I dare trust you because you must trust me. Therefore know, that I, the rich widow, am no better than a lady that must live by what I bear about me.n9699 The vulgar translationn7417 you know, but let them speak their pleasure; I have no lands and, since I am born, must be kept.n7418 I may make the best of my own,n7419 and if one membergg4912 maintain the whole body, what’s that to anyone?

388CrasyI collected as much by your young whiskingg430 that brought me hither.

389TrymanIt was by my direction that he did so. And, by my instructions, he has had an eye upon you in all your disguises ever since your pretended journey out of town. Nay, startle not, nor muse at my acquaintance with you. I have had you in my purlieusn7421 before you were a freemangg4913 and will hereafter give you certain tokensn7422 of it. In the mean time, if you comply with me you can be no loser by it. I am grown weary of my old coursen7423 and would fain, by wiser,n7424 do myself good before age or diseasesn7425 make it too late.

390CrasyI will work close and friendly with thee. Therefore say this rich coxcombn7427 is thine own. O here comes your pigwidgeon.gg4914n9855
[Enter CRACK].n9855

391TrymanHe is of counseln7429 and one of us. He is indeed my brother and has been one of the true blue boys of the hospital,n7430 one of the sweet singers to the city funeralsn10106 with a two pennyn7431 loaf under his arm.

392CrackWell he never sung to the wheeln7434 in Saint Bride’s nunneryn7433 yonder.

393TrymanNay, Jeff, be not angry. Thou hast sung to the organsn9853 I know, till, fearing their downfall, thou betookst thy self into my more certainn7435 service. All friends, good Jeff.

394CrasyYes, yes, we must all agree and be linked in covenant together.

395CrackBy indenturegg4917 tripartiten7437 and’t please you, like Subtle, Doll, and Face.n7436

396CrasyWitty Jeff. I cannot see which can be spared from the rest, lest the whole tradegg4918 break.
CRACK sings.n9700

Then let us be friends and most friendly agree.
        The pimp and the punkgg438 and the doctor are three,
        That cannot but thrive when united they be.
        The pimp brings in custom, the punk she gets
        Of which the physician is sure of his measure,
        For work that she makes him in sale of her pleasure.
        For which, when she fails by diseases or pain,
        The doctor new vampsgg4919 and upsetsgg4920 her again.

398CrasyThou art a brave lad and in the high wayn9119 of preferment.

399CrackNot the high Holbornn7440 way I hope, sir.

400CrasyAnd for you, damsel, as I said before, say to yourself, the matchn7441 is yours.

401TrymanI mean to say and know it shortly. Some three days hencen9701 all may be completed. Now draw the curtainsn7316 and follow your affairs, while I put on my sick face again. Uh, uh, uh.
They put in the bedn7442 and withdraw all.

Ex[it TRYMAN, CRASY and CRACK].n9120

402SarpegoNown9730 could I accost that Catilinariann7443 traitor that defeatedgg4921 me of my ten pound,n7403 I have a precogitatedgg5876 oration should make him suspendgg4922 himself. But abiit, evasit, erupit.n7444 Or if the rich widow would have died there had been a supply.n7445 But she is nearer a nuptial than a funeral and hopeless Sarpego, that should wed, has notn9702 to furnishgg3992 him to his intent, Væ mihi misero nec aurum, nec argent ... tum!n7446 Here comes my beatitude.n7447

403BridgetO are you here, sir? I was to seek you. My old mistressn7448 would speak with you instantly.

404SarpegoMy legitimate spouse, when is our day of conjunction?gg4923

405BridgetOur day of conjunction? Marry, faugh,gg4924 Goodmangg858 Fist.gg4925 Our day of conjunction?

406SarpegoDid you not once vow you did love me?

407BridgetDid not you once swear you had money?

408Sarpego Hic iacet,n7449 I am now but a dead man.
a court-messengern7464

409PyannetO where’s Master Sarpego? Fortunate Master Sarpego! Venerable Master Sarpego! O sir, you are made. Never think under right worshipful.n7450 Imagine nothing beneathn7451 damaskgg4927 gowns, velvet jackets, satin sleeves, silk nightcaps, two pages and a footcloth.gg4926

410SarpegoThe son of Phoebusn7452 rectify your brainpan.gg4928

411SneakupIndeed, and’t shall please your worship, it is ...

412PyannetIt is! What is it? You will be speaking, will you? And your wife in presence, will you? You show your bringing up. Master Sarpego, bless the time that ever you knew the progenyn9827 of the Sneakups: my worshipful son and heir apparent hath preferredgg4619 you to be the young Prince his tutor.n7453 Here’s Master Holywater, a gentleman of place,n7454 a courtier of office,n7455 is sent for you.

413CrasyRight fortunately-learned sir. So passionately doth his Gracen7456 approve the language, literature, and ’haviourgg4929 of your sometimes pupil,n7457 Master Tobias Sneakup...

415CrasyThat I was, with all expedition, commanded to entreat your instant attendance.

416SarpegoUmh, umh ...

417Crasy’Tis even so, sir; you are like to possess a prince’s ear.n7458 You may be in place n7459 where you may scorn your foes, countenancegg3430 your friends, cherish virtue, control vice, and despise fortune. Yes, sure shall you, sir. And (which I had almost forgot) your old pupiln7460 entreats you to send him by me the ten poundn7403 he lent you: an oddn7461 ten pound, that he may be furnishedgg4931 with the more seemly complementsgg4016 to conduct you to his Grace.

418SarpegoQuid nunc?n7463

419Pyannet   [Aside to SARPEGO].   Whistn7465 Master Sarpego. Let not your poverty be read in your face. Here’s ten pieces.n7466 Bear it asn7467 your own payment.   [Addressing CRASY].   You talk of ten pound for my son, sir?

420SarpegoO an odd driblet.gg4932 Here, friend, I usen7468 not to carry silver: convey it in gold.

421BridgetI hope, dear love, you will not forget your affection to me now.

422SarpegoPoor maid, I will prefergg1920 thee to scratch my head, make my bed, wash my shirt, pick my toes, and evacuategg4933 my chamberpot. I will instantly procuregg4934 me attire fitting my fortune and attend the Grace of Court...Exit [SARPEGO].

423BridgetNow am I but a dead woman.[Exit BRIDGET].n9828

424Crasy    [to PYANNET]    I am much grieved for’t.n7469 It was your son’s much labouring that Master Crasy was sent for, to sell his Grace some jewels. But since his fortunes are so sunk that he hides his head, I can but lament his loss.n7470

425PyannetShall I tell you, sir?   [To SNEAKUP].   Pray you, husband, stand aside.    [To CRASY].    My son-in-law Crasy is not now worth ....n9854 his verygg4935 wife. We hoped he would have proved a craftyn7471 merchant, and he proved an honest man, a beggar (if I chance to speak above your capacity,n7472 I pray tell me of it). And, as I said, when I perceived he began to meltgg4938 and that every stranger abused him, I, having some wit, fell too, and most cozened him myself. I lookedn7473 for my daughter’s good and so, betwixt us, found the trick to get or steal from him two jewels of good deep value, being indeed the maingg4939 of his rest of fortune. Now, sir, I come to you.

426CrasyAye,n8192 now you come to the point.

427PyannetRight, sir, for there is no woman, though she use never so many bywords,gg4940 but yet in the end she will come to the point. Now, sir, I, having these jewels, will send them by my husband. A poor, easy,gg4229 weak man, as you see, but very obedient in truth ...

428CrasyBy your husband?n9703

429PyannetYes, do you mark? By my husband. But now note my wit: his Grace knows not Crasy. My husband, habited like a citizen, shall take the name of Crasy upon him, offer his jewels to the Prince. You shall present them, praise them and raisen7475 them. His Grace pays; my husband returns; and we will share. Do you approve?

430CrasyNay, admire.n7476

431PyannetAway then! No compliment among good wits,n7479 but away!   Exit CRAS[Y].   Come our ways hither, good man. Put off your hat, make a leg,n7477 look simply.gg4941 Why so! Pish,gg3269 ne’ern7478 tell me: he will make a rare citizen.n7480 I have jewels for you to carry to the Prince.

432SneakupYes, forsooth, I’ll carry them.

433PyannetLa!gg4314 you are so quick! I have charged you not to shoot your boltn7481 before you understand your mark.gg4942 And you shall carry themn7482 like a citizen, call yourself Crasy, sell them at my price and now castgg4943 no further. You see the limits of your understanding. Now, sir, how will you bear yourself to his Grace? How behave yourself at court?

434SneakupI hope I am not too wise to learn.

435PyannetWhy, that was well spoken. Modest mistrustgg4352 is the first step to knowledge. Remember that sentence.n7617 Now mark. I will instruct you: when you come at the Court Gate,n7483 you may neither knock nor piss. Do you mark? You go through the Hall covered;gg4944 through the Great Chamber covered; through the Presencen7486 bare;gg154 through the Lobby covered; through the Privy Chambern7484 bare; through the Privy Lobbyn7487 covered; to the Prince bare.

436SneakupI’ll do’t, I warrant you. Let me see. At the Court gate neither knock nor make water. May not a man break wind?

437PyannetUmh. Yes, but (like the Exchequer payment)n7485 somewhat abated.

438SneakupThrough the Great Chamber bare.n7488


440SneakupCovered? Well. Through the Presence covered.

442Sneakup.Bare? I will put all down in my tablebook,gg4945 and congg4946 it by the way.

443PyannetWell thought on. Something he has in him like my husband!n7494 But now you come before the brow of royalty. Now for your carriagegg4953 there, sir. Suppose me the Prince.n7495 Come in, and present.gg4954 Here sits the Prince. There enters the jeweller. Make your honours.gg4955 Let me see you do it handsomely.

444SneakupYes, now I come in, make my three legsn7496 ... and then ...


446SneakupYes, and say ...

448SneakupNay, that I know not.

449Pyannet   [As CRASY].   An’t please your Grace, I have certain jewels to present to your liking.

450Sneakup   [As CRASY].   An’t please your Grace, I have certain jewels to present to your liking.

451Pyannet   [As the Prince].   Is this Crasy, that had wontgg4980 to serve me with jewels?    [As Holywater].   It is that honest man, so please your Highness.   [As PYANNET]   (That’s for Master Holywater, the by-flatterer, to speak.)   [As the Prince].   You are a cuckoldly knave, sirrah, and have often abused me with false and deceitful stones.

452Sneakup   [As CRASY].   My stonesgg4970 are right,n7514 so please your Excellence.

453PyannetWhy that was well, very well. I perceive there is a certain infectionn7519 taken with lying with a woman that hath a good wit. I find it byn7520 my husband. Come, I’ll disguise you, and away to court instantly.

454SneakupTruly, wife, I fear I shall be discovered among the gallants presently.gg103

455PyannetNo, no, a fool is never discovered among madmen.Ex[it PYANNET and SNEAKUP].n9121
Enter TRYMAN, CRASY.n10110
CRASY in his court habit.n7522

456CrasyWelln9731 Doll,n7545 (that thou sayst is thy name) though I had forgotten thee, I protest. About London Walln7527 was it, saist thou?n7528 Well, I cannot but highly commend thy wisdom in this, that so well hast mended thy electiongg828 from being a fountain of aches, bald brows and broad plasters,n7529 thus to remember thy creation.n7533

457TrymanI did consider, and I think rightly, what I was; and that men that loved my use,n7537 loved it but to loathe me:n7538 therefore I changed myself into this shape of a demure, innocent, country widow that had scarce beauty enough to be tempted,n7539 but not wit enough to be naught;n9856 and quite forsook the path I trod in, and betook me to this private course of cozenage.gg3005

458CrasyBut all my wonder is at the means: how thou got’st into this house and reputation. And to be held a woman of such an estate.

459TrymanThat shall be made plain to you hereafter.
Enter CRACK.

Now brother Jeffrey,n7542 where left you Master Wolsey?

460CrackAmong the mercers,gg5033 so troubled as if all the satin in Cheapsiden7547 were not enough to make you a wedding gown. He is overjoyedn9705 that his happy day is at hand and I overheard him invite one special friend to his nuptials. He cannot contain himself. On a sudden he fell a singing, O she’s a dainty widow.n9704 O are you come, sir, in your new shape? Does not that beardn7549 fit you handsomely? Thank my acquaintance with the players.

461CrasyI think thou art acquainted any way to set outgg4984 knavery.

462CrackIf you can perform your part as well, ’tis well. Hark! I hear him coming.

463Linsy-WolseyWhere are you, sweet widow? Look you, look you: how do you like these patterns?gg4986n7551

464TrymanSir, here’s a gentleman has a lettern7552 to you. He tells me it imports the making or the undoing of his dearest friend.

465Linsy-WolseyFrom whom I pray you?   LINSY-WOLSEY reads [the letter]   

466Crasyn7571Your sometimes neighbour, sir, Master Crasy.

467Tryman   [Aside to CRASY]   It shall take effect, doubt not.

468Crasy   [Aside to TRYMAN]   He scratchesn7553 his head, though.

469Tryman   [Aside to CRASY]   He had as liefgg4989 part with his blood as his money.

470Linsy-WolseyMaster Crasy writes to me for thirty pound,n7957 the value of a ring I had of him. I grant I am to pay threescoren7560 at my day of marriage, but we are all mortal and who knows whether I shall live till tomorrow.

471CrasyIf not, sir, your bond is due tonight: for it is equally payable at your hour of death.

472Linsy-WolseyO but such payments never trouble a man. What the eye sees not...n7561

473TrymanAre you in bonds,n7562 Master Wolsey, for your day of marriage?

474Linsy-WolseyOnly for this sixty pound.n7563 ’Tis for that ring you wear and I gave you upon our contract.n7564 ’Tis worth thirty poundn7957 ready money.

475TrymanThen, when you are married, you may say you paid the rest for your wife. Pray sir, make even such reckoningsgg2898 before you wed. It will show nobly in you towards your poor creditor and be a special argument of your love to me, your wife. Pray discharge it. I shall not think you love me else.

476Linsy-Wolseyn7566   Aside [to CRASY]   Hark you, sir, if you will take thirty pound in full payment and give me in my bond, here is your money. ’Tis your best course.    [Aside]    Alas, I am an unlikely fellow for wedlock. What woman, think you, would bestow her self upon me, a stale bachelor, unhandsome and poor ... not worth above six or seven thousand pound?n7567    [To CRASY]    Do. Take thirty pound.

477CrasyIf you please to befriend Master Crasy but with thirty pound, I’ll set it receivedn7568 upon the bond. Here it is and he shall demand no more till it be due.

478TrymanPray, sir, pay it all, and take in your bond. You shall be married within these two days; tomorrow, if you please. What usegg4991 will your money yield you for a night? Pray pay it. In truth I’ll pay it else. ’Tis but threescore pound.

479Linsy-WolseySayst thou so, sweetheart? Come, sir, come in and tellgg1675 your money ...Exit [LINSY-WOLSEY, TRYMAN and CRACK].n7570

480CrasyAnd thank you too, good Master Linsy-Wolsey, that knew so well a bargain was a bargain, and would not part with your money to be laughed at among your neighbours.n9706 I would heartily now, if I could intendgg4992 it. But I must purse your money and then about my court affairs. This wench I am infinitely beholden to. She remembers some old courtesygg1821 that I have forgotten. Perhaps I piddled withgg4993 her when I was ’prentice.gg4994 Exit [CRASY].
Enter SARPEGO in gorgeousgg5001 apparel.

481SarpegoThis is the Presence.n7574 I am much amazed, or stupefied, that Master Tobias Sneakup, my quondamn7575 pupil, attends not my conduct!n7576 Ha! So instantgg5002 was his Grace, his importunity to enjoy me, that although I purchased the loan of clothes, yet I had not vacation,n7577 nor indeed variety,n7578 to shiftgg654 my shirt.gg5003 And now I come to Court, I feel certain little cattle of infamous generation about me, that do most inseparably haunt me.n7579 Now if, when the Prince surveys me, any of themn7580 being strangers here, should peep to behold strange sights, and his Grace perceive them,n7581 what should I answer? ...
CRASY at the hangings.n7582

482Crasy   [Aside]   O my glorified pedantgg1529 in his most natural strut!n7583

483SarpegoI will say it was by influence of the heavens, or, to appear the more perfect courtier at the first dash,gg5004 I will say that though my outsiden7584 were glorious, yet of purpose I left my inside lousy.n7585
Enter SNEAKUP like a citizen.n7586

Sed, O dii! Quem video? nonnen7587 Master Sneakup?

484Crasy   [Aside]   See my worshipful father-in-law! Now the woodcocksgg5005 shoot into the glade.n7588

485SneakupPray ye peace, you must not know me.

486SarpegoO monstrum horrendum!n7589 May not you and I know one another?

487SneakupPray go home and ask my wife.n7590
Entern8056 CRASY in haste.

488CrasyMaster Crasy. Is not one Master Crasy here?

489Sneakup.Yes, sir. Here is Master Crasy for a need, sir.n7591

490CrasyWell done. Be bold, sir. Let not your dissimulation be read in your eyes.n7592 You know me; give me the jewels.

491SneakupYes, sir.

492CrasyLet me alonegg3670 to present them to his Grace and praise them before you are called.

493SneakupWill you do so, sir?

494CrasyYes. For you know I must not seem to endeargg5006 them before your face, for that would smell rank of correspondency.gg5007

495SneakupYou say right, sir.

496CrasyBut betwixt us both we’ll make a shiftgg3164 to cheat him. Stay you here. I will return instantly. O Master Sarpego! Your pupil will come and conduct you presently.
           [Aside]   Thus sometimes, by deceit, deceit is known:
        ’Tis honest craft, by wit, to get one’s own. ...n7593Exit [CRASY].

497TobyMy quondamn7594pedagogue!gg2733

498SarpegoMy nuper alumnus!n7595 Come, present me to the Grace of Greatness. I am ready. Behold I am approached,n7597 according to thy entreats,gg2273 to approvegg4886 thy praise and mine own perfection. Set on:gg157 his Grace shall see that we can speak true Latin, and construegg5008 Ludovicus Vives.n7596 Go, set on.

499TobyI cry you mercy, sir. Upon my troth, I took you for Master Sarpego, my learned tutor. He is very like him, is he not, gentlemen? But now I come to myself again, I remember this was never his walk,n7598 nor these his clothes.

500SarpegoSent you not a nuntius,n7599 or a messenger for me, intimating that it was his Grace his instant desire,n7601 to entertaingg5009 me as his instructor?

501TicketAlas, he has over-studied himself! You were best let bloodgg5010 in time, sir.

502SarpegoSent I not you, by the same messenger, your ten pound?n7403

503TobyMy ten pound? Ha, ha, ha! I would laugh i’faith,gg5011 if you could bobgg5012 me off with such payment.

504RufflitSure, sir, you use some dormitaries.gg5013 Best shave your head and ’nointgg5014 it with oil of roses.

505TobyFather! Father!

506SneakupPray peace, son. The plot will be discovered else.

507TobyThe plot? What plot?

508SneakupThe jewels are sent in. What, I am Master Crasy now, you know. I shall be sent for in to his Grace instantly.

509TobyMidsummer moon!n7602 Midsummer moon!

510SneakupIn very truth, son, hit as ’twill,gg5015n7603 I say we are beholding to Master Holywater.

511TobyHeaven not bless me if I understand not the baboon’s mumpingsgg5016 better than your speech. You are more dark than Delphos.n7604 What Holywater?

512SneakupWhy the gentleman, you know, you sent to bring Master Crasy to serve his Grace with jewels.

513TobyFather, heaven pardon me, for sure I have a great desire to call you coxcomb.gg3016 I sent no man, nor is there any so styledgg287 as Holywater about the Court.

514TicketDo you not wantgg491 sleep, sir?

515RufflitOr have you not seen a spirit,n9707 sir?

516TicketOr have you not over-mused or over-thought yourself, as we doubt Master Sarpego here, has done?

517TobyOr has not my mother over-beaten you, father? You may tell me.

518SneakupSon, I am not so very a fool, but I perceive I am made a stark ass. O son, thy father is cozened,gg1611 and thy mother will beat me indeed unless your charity conceal me in the Court here, till her fury be over.

519TicketHe shall stay at my wife’s chamber.

520RufflitAnd there instruct us in the passages of this cozenage.gg3005

521TobyDo not weep, father. My Lady Ticket will appeasen9123 all.

522RufflitAdieu Master Sarpego. Lure your brains back again.Exit [RUFFLIT, TICKET, TOBY, SNEAKUP].

523SarpegoSic transit gloria mundi.n7605 The learned is cony-caughtgg5017 and the lover of Heliconn5932 is laughed at. The last sixpencen7606 of my fortune is spent and I will go cry in private.Exit [SARPEGO].

Edited by Elizabeth Schafer

n9755   ACT THREE Act 3 opens by introducing the already much discussed widow Tryman. She appears ill, almost dying, in bed and attended by two women, Isabel and Joan, with Doctor Pulse-Feel (Crasy in disguise) also present. Tryman keeps calling out for Linsy-Wolsey and her reactions when he arrives confirm the idea that she is in love with him. Because Tryman is in bed, and because much comedy in 3.1. revolves around her illness (the administering of disgusting medicines, her coughing and spluttering etc.), there is a major staging challenge once the group of visitors (in the first instance Linsy-Wolsey, Ticket, Rufflit, and Toby) arrive; that challenge is to keep what is becoming a crowded stage from blocking Tryman from the audience’s view. Tryman has asked Sarpego to write out her will and, after Pyannet and Josina have also joined the crowd of sickbed visitors, Tryman’s will is read out for her to confirm it. Although she has supposedly only just arrived in London, from Cornwall, her will includes several legacies for those present, characters whom she has only just met. Tryman’s will, however, also includes bequests to a host of very Cornish sounding relations and the reading of her will helps to impress the listening visitors with the ‘fact’ that Tryman has a great deal of wealth to bequeath. The audience, who know Tryman is a prostitute masquerading as a rich widow, are in a position of superior knowledge here. Tryman then requests a private interview with Doctor Pulse-Feel and all her visitors depart, leaving Tryman and Crasy-as-Pulse-Feel alone. Tryman immediately ‘revives’ as her performance of illness was entirely faked. She reminds Crasy that she is attempting to secure a rich and foolish husband so she can retire from prostitution. Tryman also informs Crasy that she knows he is not Doctor Pulse-Feel but Crasy in disguise and she also knows exactly what he has been doing since he left his home. Crack joins Tryman and Crasy and, although he needles Crasy slightly, the three agree to model themselves on Face, Subtle and Doll Common in Ben Jonson’s The Alchemist, the three rogues who scheme together to relieve fools of their money.
3.2. opens with Sarpego still smarting from being robbed of his money; he then has an argument with his supposed fiancée, Bridget, over his lack of wealth. Sarpego’s fortunes suddenly appear to take a turn for the better, however, when Pyannet and Sneakup arrive accompanied by Crasy in a new disguise; Crasy is now dressed as a court messenger, Master Holywater, who brings news that Toby Sneakup’s learning is so admired at court that ‘His Grace’, an unidentified dignitary, wishes to appoint Sarpego as tutor to ‘the young Prince’. As Sarpego contemplates the riches and status that would go with such an appointment, he turns his back on Bridget, although he does tell her that he might consider employing her as a menial servant. Sarpego leaves in order to dress up in more impressive clothes for his imminent departure for court. Meanwhile Master Holywater (Crasy) reports that ‘his Grace’ was also hoping to purchase some jewels from Crasy and that a great opportunity to make money is here going to waste because Crasy has left town. Pyannet reveals she has some jewels to sell as she made sure that Josina began to steal jewels from Crasy once it was clear that his fortunes were in decline. Pyannet proposes that her husband, Sneakup, should disguise himself as Crasy and go to the court to sell these jewels at an inflated price. As ‘his Grace’ has never met Crasy, Pyannet is confident that Sneakup will get away with impersonating Crasy even though, in Pyannet’s view, Sneakup will face a challenge in pretending to be merely citizen in status. Crasy-as-Holywater applauds the plot and departs; his part in the planned action is to help out at court, talk up the price of the jewels, and to take a share of the profits. Pyannet then instructs Sneakup how to behave at court focussing on which rooms at the palace he can wear his hat in and which rooms he cannot; how many times he should bow etc.. Sneakup proves completely inept at learning the protocols even though Pyannet role plays for him, pretending to be ‘the Prince’.
3.3. Tryman reveals more about why she wants to stop working as a prostitute: she became tired of men using her and at the same time despising and loathing her. It also transpires that at some time in the past (although he has forgotten the details) Crasy paid Tryman for sex somewhere near London Wall. Crack arrives and reports that Linsy-Wolsey is now excitedly planning his wedding to Tryman and behaving very out of character: he is singing and going shopping, that is, he is spending money without being forced to. Linsy-Wolsey then arrives and Crasy and Tryman work together to con him out of some money: Linsy-Wolsey has an obligation to pay Crasy £60 if Linsy-Wolsey ever marries and Crasy has supposedly written to Linsy-Wolsey asking for half that amount of money. Linsy-Wolsey is not keen on paying up, but his bride-to-be, Tryman, persuades him to do so. The money is paid directly to Crasy although he is still in disguise as Master Holywater, the court messenger, and so Linsy-Wolsey does not recognise him. Linsy-Wolsey and his fiancée, Tryman, depart and, when he is left alone onstage, Crasy muses on how much he is already in debt to Tryman for her help; he then sets off for the court and the next sequence of his plotting.
3.4. This scene is set in the Presence Chamber at Whitehall, even though the characters assembled there could never in reality have obtained such easy access to such a privileged location. Sarpego arrives dressed in very fine clothes although he explains to the audience that he has not had time to change his underclothes. A lurking Crasy-as-Holywater observes Sarpego strutting around in his pride. Sneakup then arrives disguised as Crasy, with jewels to sell to ‘his Grace’, and is completely nonplussed when Sarpego immediately recognises him as Sneakup. However Crasy, in his persona of Holywater, bursts in and takes the jewels from Sneakup, promising to take the jewels to ‘his Grace’ and to try to talk up their price. Once he has left with the jewels, Ticket, Rufflit and Toby arrive. They are stunned at Sarpego’s appearance and bewildered when Sarpego expects Toby to present him to ‘his Grace’. Toby also immediately recognises his father in his disguise as Crasy. Gradually Sneakup and Sarpego realise that they have been deceived and that Holywater is a con man. Sneakup is terrified as to how Pyannet will react when she hears about this, but he is encouraged to take refuge with Lady Ticket, who, everyone is sure, will smooth things over with her friend Pyannet.
The main dramaturgical challenges in this act are: managing the crowds in 3.1. and not losing the potential comedy of the scene in the melee; pacing the next three scenes so that the audience can keep up with the very fast paced plotting and counterplotting; achieving an appropriate balance in the delivery of the comic set piece of Pyannet’s instructions to Sneakup on how to behave in the various rooms at court. Clearly, in the original performances, this set piece would be very funny in a way that it cannot be now, because a modern audience would not have knowledge of how the court at Whitehall functioned, and the elaborate nature of court protocols under Charles I. While it might be tempting to attempt to generate laughs with, for example, comic, gauche bowing business from Sneakup, it is worth remembering that the scene was written with great attention to verbal humour as well. Making sense of ‘The Presence’ for a modern audience, and attempting to evoke the sense of it as an important place, where only the privileged could gain access, is perhaps one of the biggest challenges in staging The City Wit today.
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n7335   TRYMAN, [brought on in a bed] The octavo has 'enter in the Tryman' which suggests Tryman's touchstone aspect; she is the character who tries or tests men, and women, and who outwits everyone except for her accomplice Crack. There is no indication in the octavo stage direction that Tryman is in a bed but in the final stage direction of the scene Crasy, Tryman and Crack 'put in the bed'. Dessen and Thomson indicate there are roughly 150 examples of beds appearing in stage directions in plays of the period.
The scene is very reminiscent of much comic byplay in Volpone, both because of the central character's faked illness and the scenario of the attendant will-chasers expressing concern whilst really hoping the sickly character will expire as soon as possible.
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gg4877   urinal. a glass vessel or phial employed to receive urine for medical examination or inspection (OED n. 1) [go to text]

n9728   Look In the octavo the opening of scene is marked by large capital L, two lines high. [go to text]

gg4878   distemperature disorder, ailment of the body (OED 2) [go to text]

n7336   in her mouth. That is, she keeps calling out his name. [go to text]

gg4879   like verb - in the interrogative, used with how, 'like' can mean ‘How well or how ill do you like....?’ (OED v1. 6f); here this means something close to 'How do you like the look of her from the medical point of view?'; that is, 'Is she likely to survive?' [go to text]

gg4880   of for [go to text]

gg857   And if [go to text]

gg2214   ’scape escape [go to text]

n7338   vomit That is, a purging medicine that will make her vomit. [go to text]

gg4881   conflux flowing together [go to text]

gg4883   humours in ancient and mediæval physiology humours were the four chief fluids of the body (blood, phlegm, choler, and melancholy or black choler) and the balance of these humours determined a person's physical and mental health (OED n. 2b) [go to text]

n7341   sit a hunting nag Ride a horse used for hunting, and therefore one that jumps fences and hedges, a horse that is not going to provide a sedate ride. [go to text]

gg132   sennight. week (archaic); abbreviation of 'seven nights' [go to text]

gg859   warrant, assure, promise [go to text]

n9851   well seen in a woman. Joan seems to be eyeing up Crasy-as-Pulsefeel and liking the look of him. [go to text]

gg4419   La’ you. an exclamation formerly used to introduce or accompany a conventional phrase or an address, or to call attention to an emphatic statement (in recent use, a mere expression of surprise, but generally considered vulgar) [go to text]

gg4885   lay wager (OED v1. 12a) [go to text]

gg4884   mess a portion or serving of liquid or pulpy food (OED n1. I 2a) [go to text]

n7344   Tewksbury mustard A blend of mustard and grated horseradish root. [go to text]

gg1873   thrice three times (in succession) [go to text]

gg491   want lack [go to text]

gg4886   approve prove, demonstrate (OED v1. I 1a) [go to text]

n7364   How do you find What do you think of...? [go to text]

gg583   melancholy, a depressive illness, which in the seventeenth century was thought to be caused by an excess of ‘black bile’, one of the four humours controlling the well-being of the body and the mind [go to text]

gg4878   distemperature disorder, ailment of the body (OED 2) [go to text]

gg2535   passion suffering, affliction, disorder; overpowering emotion; fit of madness or anger [go to text]

n7365   liver, The liver was the bodily organ regarded as the seat of love as well as other passionate emotions such as anger or bitterness (OED n1, II 4a). [go to text]

gg4786   withal what is more [go to text]

gg4887   vitals, those parts or organs of the body essential to life, or upon which life depends; the vital parts (OED n(pl), 1) [go to text]

n7366   scarce matter Hardly anything in the body. [go to text]

gg3779   physic medical science (OED n. 4) [go to text]

n7367   basin. The opening stage direction only indicated that a 'urinal' was needed for this scene. It is possible that an 'urinal' could be a basin but, given all the talk of urine in this scene, it seems likely that this basin is a different stage property. [go to text]

n7368   Here’s As this scene is full of jokes about medical practice and bodily functions it seems likely that Dr Pulse-Feel now examines the revolting contents of the basin. [go to text]

gg4888   choler bile, one of the four humours of Renaissance physiology, supposed to cause irascibility of temper (OED n1. 1) [go to text]

n9684   He speaks with great reason, methinks, and to the purpose.[Aside]I would I understood him. Joan might be talking to Isabel or she might be addressing the audience. This edition assumes that her first sentence is for everyone to hear but that her confession that she has no idea what he is talking about is only meant to be heard by the audience. [go to text]

gg4889   open patent, evident (OED adj. II 24) [go to text]

gg4890   quick. any part of a wound or the body that is sensitive or painful (OED n1. 3a) [go to text]

gg4891   extremity. extreme situation in relation to health, risk of death [go to text]

n7369   does There is a clearly implied stage direction for the performer playing Tryman here. [go to text]

gg4892   quiddle to fiddle or play about with (OED v. 2, citing The City Wit as first recorded usage) [go to text]

gg3219   gripe grasp [go to text]

n9620   suddenly. Crasy is stating that Tryman will recover forthwith, or promptly, or soon, but he is not necessarily saying she will recover in a sudden manner. [go to text]

n9863   Alack a day. Woe, or shame to the day (OED) but the phrase could also, in later usage, express surprise. Here Linsy-Wolsey seems to be saying 'If she is in love with me then she has odd taste'. Linsy-Wolsey seems convinced that no woman would ever want to marry him. [go to text]

n7370   Ad manum. 'at hand' [go to text]

gg4893   buds children or young persons, or as a term of endearment (OED n1. 3b) [go to text]

gg5547   forbear: refrain from enforcing, pressing, or demanding (OED v. 9) [go to text]

n7371   admirare An affected, Latinate formation (admiror) for 'admire'. [go to text]

n7372   to sue to you for love as I do now to the highest power for life. To make an entreaty for your love/ hand in marriage as I now actually make an entreaty to the highest power, that is, God, that he will spare your life and restore you to health. [go to text]

n7373   married The reason for Toby's wish is that if he had been Tryman's husband, even for only an hour, he would have taken possession of all her wealth at her death. [go to text]

n7374   here That is, Pyannet would have contrived a marriage between Toby and Tryman. [go to text]

n7375   O dii immortales! 'O immortal gods!' [go to text]

n7376   huh, Presumably Tryman is about to say 'husband' when she starts coughing. [go to text]

n9685   Bear up her body a little. Bow it forwards. Stage directions for business are implicit in Crasy's speech here. [go to text]

n9621   sir. ] Sr. (O) [go to text]

gg4894   cordial. a medicine, food, or beverage which invigorates the heart and stimulates the circulation (OED n. 1) [go to text]

n9686   What, now she is drinking? The octavo has no question mark which suggests that this sentence could mean 'What (Look! or Good!) now she is drinking'. However, this edition takes this sentence as a response to Linsy-Wolsey's crassness in speaking to Tryman when she has her mouth full of medicine. The octavo's long dash after this sentence suggests the marking of stage time whilst Tryman drinks; after this Crasy indicates to Linsy-Wolsey that it is an appropriate moment to speak. [go to text]

n7377   you or no man Crasy is saying that Linsy-Wolsey is absolutely the only man in the world who can help Tryman, thus building up the sense that Tryman has conceived a grand passion for Linsy-Wolsey. [go to text]

gg4895   dee do ye [go to text]

n9687   Very comfortably spoken! This edition takes Ticket and Rufflit's exchange as asides, mocking Linsy-Wolsey's gauche bedside manner. [go to text]

n8192   Aye, ] I (O) [go to text]

n9852   if she have but a word left in her belly ... Words are not usually thought of as coming out of a person's belly but Toby's comment may be a response to a spectacular bout of vomiting, or belly emptying, by Tryman. [go to text]

gg4896   Mass, by the mass (eucharist), that is, an oath (OED n1. 4a) [go to text]

gg4897   shrewdly severely (OED adv. 2) [go to text]

n7379   When had she a stool, When did she last open her bowels. [go to text]

gg4898   closet, a small side-room or recess for storing utensils, provisions, medicines (OED n. 3b) [go to text]

n7380   my own water, The long dashes which precede this phrase suggest that it should be given plenty of emphasis, giving full weight to the joke that Pyannet's 'water' may be her urine rather than a medicinal drink that she has mixed. [go to text]

gg4899   cabinet. a case for the safe custody of jewels, or other valuables (OED n. 5) [go to text]

n9688   Let me note her eyes: Stage business is implied here. [go to text]

gg4900   water, urine [go to text]

n7381   [Aside] While the octavo does occasionally mark asides it does not do so here; however, this is not a remark that could be addressed to the assembled company and Pyannet certainly would not continue speaking politely to Pulse-Feel if she heard this comment. [go to text]

gg4901   beshrew this can be an imprecatory expression meaning 'plague on ...', and can be humorous or playful (OED v. 3b); here it is a reprimand and 'I beshrew you' means 'devil take you' or 'plague on you' [go to text]

n7382   Pluck up a woman’s heart, This has to be addressed to Tryman as she is the only woman who needs to pluck up (her heart/ spirits etc.). [go to text]

gg4902   stays. (v) delays [go to text]

n7383   the three That is, three stars or luminaries although the phrase is dangerously close to 'We three' which was a tavern sign of two fools with the spectator making the third (see Twelfth Night 2.3.15-16). [go to text]

gg4904   alone, without other companions (OED adj. I 7), not doing much entertaining or socialising [go to text]

n7384   drove ] drave (O) [go to text]

n7385   vial. The colour of the liquid in the small vessel or glass bottle that Josina is carrying can emphasise the joke of Pyannet's line 'It is a composition of mine own distilling', that is, it may be her urine and not just a medicinal drink she has mixed. [go to text]

n7386   O welcome, daughter Having professed concern over how long Josina is taking, Pyannet now hardly notices Josina's arrival so busy is she sucking up to Ticket and Rufflit. [go to text]

n9826   Pox o’your compliment. That is: a plague on you for paying compliments. [go to text]

n9689   Take up the lady. Pyannet is probably instructing Isabel and Joan to lift Tryman up so she can drink her medicine. The stage is by now quite crowded and Tryman could easily be obscured if she is lying down on a bed, whereas is she is sitting up the audience are more likely to be able to see her facial reactions to the taste of Pyannet's 'water'. [go to text]

n7387   break wind, This may be a cue for business by Tryman. [go to text]

n7388   fears Rufflit first confirms that Lady Ticket desires to see Josina; he then indicates that Lady Ticket fears that Josina is not making the most of her liberty. [go to text]

gg4903   expect be in store for (OED v. 2c) [go to text]

gg578   ’Sfoot, an oath, short for ‘God’s foot’ [go to text]

gg4905   smock council. in allusive terms, 'smock' can be suggestive of loose conduct or immorality in, or in relation to, women, (OED n. 3b); so Josina's smock council is made up of the people she consults in order to advance her adultery [go to text]

gs1604   enlightened, OED does not list any definitions of 'enlightened' which would work here; however 'to enlighten' (OED v. 6) is listed as meaning contextually 'to revive, exhilarate' (citing Milton 1667 as the first usage), which is the meaning that makes most sense here (Tryman means she is revived enough to listen to her will being read) [go to text]

n9732   enlightened ] enlightned (o). [go to text]

n7389   In Dei nomine. 'In the name of God' [go to text]

n7390   Knockers Hole, Knockers Hole is at St Germans, near Plymouth, but just across the border into Cornwall. The name also, of course, provides a joke: OED cites two roughly dramatic contemporary usages of 'knocker' (A Woman is a Weathercock and A Chaste Maid in Cheapside), where it features as slang for a person of ‘striking’ appearance, or who moves others to admiration (OED 1c). The combination of the genitive form of knocker, 'knocker's' and 'hole' (OED n, 8 defines this as meaning the orifice of any organ or part of the body, especially in slang the mouth, the anus, or the female external genital organs) makes the joke clear: Tryman comes from a place that has a name meaning 'the orifice of an attractive person'. Later in the play the precise number of orifices 'Tryman' possesses becomes a moot point. Knockers Hole was the site of military skirmishes on 6th October in 1643 which might possibly have given the name added loading for the readership of the octavo text. [go to text]

n9690   As for the manner and form ’tis no matter. To the legacies briefly. This speech seems an odd one for Crasy to make. Apart from asides, most of his speeches in this scene have been concerned with medical matters. However, Crasy does want the other characters to show themselves up by their bad behaviour and he may be stirring them up to do more of this. [go to text]

n7391   Imprimis, 'First of all'. The formulation of the will is standard: see E.A.J.Honigmann and Susan Brock, Playhouse Wills. [go to text]

gg4907   dole a portion to be dealt out or distributed as a gifts, especially of food or money given in charity (OED n1. 5a) [go to text]

n7392   five pound. Worth £446 in 2009 (National Archives currency converter). [go to text]

gg1561   charge (n) task, duty, commission (OED n. 12) [go to text]

n7393   after. That is, it is better to take grateful prayers with you in life rather than have them sent after you when you are dead. [go to text]

n9124   forty pound Worth £3,566 in 2009 (National Archives currency converter). [go to text]

n7394   forty pound? Linsy-Wolsey's reaction seems appropriate, given that the 2009 equivalent is £3,566. [go to text]

n7395   Di boni! 'Good God' [go to text]

n7396   forty shillings. Worth £178 in 2009 (National Archives currency converter). [go to text]

gg4908   Item, used to introduce each new article or particular in an enumeration, especially in a formal list or document, as an inventory, household-book, will, etc. (OED adv) [go to text]

n7398   Trevaughan The 'Tre' marks this name as Cornish as indicated by the proverbial couplet 'By Tre, Pol and Pen you shall know the Cornish men' (Tilley T479). [go to text]

n7397   St. Miniver, A coastal town in north Cornwall. [go to text]

n7399   one thousand pound in gold. Worth £89,160 in 2009 (National Archives currency converter). [go to text]

n7405   Trepton, 'Tre-' looks as if it is in line with classic Cornish surnames ('By Tre, Pol and Pen you shall know the Cornish men' Tilley T479), but the emphasis ('Trep' instead of 'Tree') is not archetypally Cornish. [go to text]

n7399   one thousand pound in gold. Worth £89,160 in 2009 (National Archives currency converter). [go to text]

n7400   two thousand pound Worth £178,320 in 2009 (National Archives currency converter). [go to text]

n7401   five hundred pound Worth £44,580 in 2009 (National Archives currency converter). [go to text]

gg4909   ewer; a pitcher with a wide spout (OED n2. 1) [go to text]

gg4910   flagon a large bottle [go to text]

n7402   standing cups. That is, cups with a base or a stem and a base to stand on. [go to text]

n7403   ten pound, Worth £892 in 2009 (National Archives currency converter). [go to text]

n9124   forty pound Worth £3,566 in 2009 (National Archives currency converter). [go to text]

gg4911   reparation repair [go to text]

n7404   two hundred and fifty pounds. Worth £22,290 in 2009 (National Archives currency converter). [go to text]

n7392   five pound Worth £446 in 2009 (National Archives currency converter). [go to text]

n9124   forty pound. Worth £3,566 in 2009 (National Archives currency converter). [go to text]

n7403   ten pound Worth £892 in 2009 (National Archives currency converter). [go to text]

n7406   Tredrite, Although 'Tre-' could read as a classic Cornish surname ('By Tre, Pol and Pen you shall know the Cornish men', Tilley T479), to tread right would suggest a joke: 'tread' was used of the copulation of birds (OED v, 8a, b) so 'Tredrite' suggests to copulate with, in the correct or appropriate manner. [go to text]

gg4909   ewer; a pitcher with a wide spout (OED n2. 1) [go to text]

n7407   In cuius rei testimonium, 'In witness of this matter...' or 'In testimony of this matter...' a legal Latin phrase used for confirming a will; the 'et cetera' which follows signals the formulaic nature of the phrasing. [go to text]

n7408   twenty pound. Worth £1800 in 2009 (National Archives currency converter). [go to text]

n7409   an hundred pound Worth £8,900 in 2009 (National Archives currency converter). [go to text]

n7411   Hoc nihil refert. 'This pays nothing'; Sarpego's complaint at the extra work for no extra reward gets an immediate response from Tryman who increases his pay packet. [go to text]

n7396   forty Worth £178 in 2009 (National Archives currency converter). [go to text]

n7392   five pound. Worth £446 in 2009 (National Archives currency converter). [go to text]

n7412   Gratias vel ingentes ago. 'I give very great thanks' [go to text]

n7413   neighbour That is, Pyannet. [go to text]

n7414   Exit The octavo has 'Exeunt omnes praeter Crasy, Tryman' that is, exit all except for Crasy, Tryman. [go to text]

n10109   Are they all gone? Video The reason for looking at this section in a workshop was to investigate further the relationship between Crasy and Tryman, which is actually the relationship between Crasy and Jeremy-as-Tryman. This is the central relationship of the play although the audience do not realise this until the closing minutes of 5.1.. Although modern character psychology would not have obtained in the original performances, modern actors approaching the roles cannot ditch their training which is often grounded in post-Stanislavskian approaches to character building in performance; the questions raised by the actors in relation to this section were what has happened previously? Where are the characters? And most of all why are they doing what they are doing? Dwelling on such questions may be anachronistic but they raise a range of issues about the relation between Crasy and Jeremy which render the play more interesting to a modern audience. From a position of hindsight, knowing the ending of the play, a modern audience might see the relationship between Crasy and Jeremy as actually being the most emotionally stable relationship in the play; certainly Crasy and Jeremy are more committed to each other’s welfare than the various married couples are: Crasy and Josina; Sneakup and Pyannet; the Tickets. And while the knowledge that Tryman is Jeremy should not be played here, when thinking about this scene with the knowledge that Tryman is Jeremy, a structural balance can be discerned: Josina makes advances to Jeremy at the end of 1.2.; here Jeremy as Tryman seems, just briefly, to make advances to Crasy.
On one level this scene exhibits the interplay between a jewel merchant disguised as a doctor and a London prostitute disguised as a Cornish widow. Given this level of meaning an obvious question to ask is ‘Is there any sexual tension here?’ If there is then the final revelation that Tryman is actually Jeremy in disguise may gain a new frisson. While the audience may not have 3.1. clearly in their minds by the end of the play, 5.1. does include a whole raft of precise references back to earlier moments in the play all of which work on the lines of ‘You didn’t recognise me at the time and don’t you feel foolish now? The one failure to recognise a character in disguise that is not subjected to this mocking, triumphalist treatment is Crasy’s failure to recognise Jeremy, perhaps because revisiting this might raise questions about motivation that are too complex for the final moments of a farcical comedy.
This sequence is also the first time that Tryman performs her identity as a prostitute. Later on, in the Lady Luxury play performed in 5.1., she performs the character of a courtesan as an outrageously loud, shrewish and foul-mouthed trollop. That is clearly not how she performs here but the question has to be asked as to how sexually forthcoming or indeed threatening she might be. This dynamic was explored firstly by an actress, Olivia Darnley, playing Tryman followed by an actor, Alan Morrissey playing the same role. When Tryman was played by a male actor there was no attempt to evoke original practices or putative performances by boy players; the intention was simply to explore the scene and what the actors might find there.
The most critical issue initially was to do with the levels of knowledge in the scene, and, perhaps more importantly, what knowledge can actually be played. Because the actors were 'parachuting in' to the scene, it was difficult for them to establish who knew what, and why they were doing what they were doing etc., simply because the plot is so extremely complex by this stage in the play. The biggest problem was establishing exactly what Crasy knows. He has been told by Crack at the end of 2.2. that Crack’s mistress wants to see him and that this mistress is pretending to be a Cornish widow, although she has never been ‘half a day’s journey from Bridewell in her life’. Although the use of ‘Bridewell’ is suggestive, Crack does not actually say that Tryman is, as she reveals here, a prostitute. Crack’s songs in 2.2. suggest that sex might be in the offing and he approaches Crasy initially by saying that Crack could ‘conduct you to a more lovely creature that her you last courted’ [CW 2.2.speech205]; Crasy interprets this as meaning Crack is a pimp. Crack has also told Crasy that Tryman is ‘free from any disease, but the counterfeits’ but the emphasis is on the fact that Tryman’s counterfeiting is targetted at securing rich husband and ‘She wants a wise man’s counsel to assist her in getting a husband’. While a first-time audience probably would not worry about the details here, they have just travelled through a long scene, 3.1., with Tryman appearing be on her deathbed, with lots of physical comedy related to her illness and no indications whatsoever that this illness might be signalled as fake; the pay off if Tryman is played as ‘really’ ill is that the moment here, when she suddenly gets up, can achieve great comic surprise value. However, the real surprise for everyone in this section – for Crasy and for the audience – is that Tryman reveals here that she knows a lot more than anyone else: she knows Doctor Pulse-Feel is really Crasy; she knows Crasy only pretended to leave London; she has been watching his movements, directing Crack to bring her to him, and Tryman’s comment ‘startle not’ [CW 3.1.speeches388-389] indicates Crasy is startled at her revelation of this knowledge.
1. In the first run through Tryman stayed on the bed, which did not make it clear enough that she was not really ill, and she did not push her identity as a prostitute. The play with Cornish and Clerkenwell accents gave some indication of what a virtuoso player Jeremy/ Tryman needs to be and what fun could be had with rapid changes from one accent and persona to another. Audience feedback to this run through suggested that Tryman does need to get off the bed and move around; Richard Cave suggested it would be useful to think of Volpone’s lighting moves from (apparent) deathbed to robust good health. This run through helped focus on the importance of ‘good Master Crasy’ as being a shock to Crasy who did not realise anyone could see through his disguise.
2. The second run through brought about discussion of what might be at stake for the characters. Crasy thinks he is increasing his knowledge significantly in this scene and gaining a position of knowledge over all the other characters; however, he is only gaining access to partial knowledge and running the risk of feeling overly secure, even smug, because he thinks he knows more than most do. Sam Alexander, playing Crasy, asked what does he want in this scene? This question highlighted that, in fact, Crasy is reactive in this scene; he does not ‘want’ anything. He thinks he is learning Tryman’s secrets but she is driving the scene. This discussion also brought out the fact that much of this play consists of virtuoso performances – one character performing to another and deceiving them – and what is critical here is that Tryman has seen through Crasy’s performance but he never sees through hers. There was speculation that Crasy’s ‘Better than I for a doctor’ [CW 3.1.speech386] should be played almost as an aside to the audience. This had merit, but Tryman’s next speech ‘You are right’ picks up on ‘Better than I for a doctor’ so the implication would then be that Crasy attempts an aside but Tryman is still one step ahead of him and manages to hear what he is saying.
3. The third version of the scene made much more of the fact that this section could be sexually embarrassing/ threatening for Crasy (or he might even be sexually responsive?). It also finished with an emblematic moment where Crasy and Tryman both sat down on the bed at the end clearly as colleagues, two people who were committed to working together. It was a comfortable image and only those who knew the ending would see the different layers of knowledge operating between the two characters. The discussion of this version brought out the fact that the widow is not deemed beautiful (see Toby’s comments in [CW 2.3.speecheds257-261]; Tryman is ‘So so’ and it’s her money that makes her attractive) and so she does not have to be played as conventionally sexually alluring. Lucy Munro also commented that in the original performance, if the audience recognised that the same player who played Jeremy was playing Tryman, then they would just assume that the player was doubling the roles, something which was accepted as a convention, and that he had moved from the small role of Jeremy on to the more substantial and demanding role of Tryman.
4. The first run through with Alan Morrissey had a somewhat manly Tryman, something epitomised in the entertaining but rather blokish handshake between Crasy and Tryman. Sam Alexander commented in retrospect that in this run through he felt he had played Crasy knowing that Tryman was not a woman. Alan Morrissey posed the question as to why is Jeremy doing all this? The play never fully answers this question and a modern psychologically driven reading might suggest that Jeremy goes to suggestively excessive lengths to achieve comic revenge on behalf of his master. On one level, however, the theatrical answer might be that Jeremy is one contender for the title of ‘city wit’ (although the audience does not know this at the time) and his performance of Tryman is the demonstration of his wittiness in the sense of cleverness.
5. In the final run through Alan Morrissey as Tryman was playing the role thinking of the performance of Tryman partly in terms of it being a clearly defined exercise in acting, or an acting challenge. Making the performance of Tryman more overtly actorly, but doing this in a subtle way, rendered the performance enjoyable to watch but slightly unsettling to those alert to the risk of trusting any character’s public performances in this play. Consideration of acting as a subject becomes most formalised with the performance of the Lady Luxury play in 5.1.; however throughout The City Wit skilful acting is always allied to the ability to con, scam and deceive.
[go to text]

n7415   done her part When Tryman asks for a critical appraisal of whether or not she has 'done', or played, her part, well so far, this begins a whole thematic sequence of ideas about play acting in relation to Tryman which will last throughout the rest of the play. See Steggle (2004 p.36) for comments on Tryman, acting, masquerading and 'the performative nature of gender'. [go to text]

n7416   the same That is, a fake. [go to text]

n9699   what I bear about me. Tryman means she has to sell her body, or 'what I bear about me', for sex. [go to text]

n7417   vulgar translation The 'vulgar translation' or common slang would be 'a whore'. [go to text]

n7418   be kept. That is, I need to earn a living, I need food and drink etc. [go to text]

n7419   make the best of my own, Tryman is euphemistically saying she sells her body for sex. [go to text]

gg4912   member OED (n, 1a) indicates that although 'member' in relation to the body most usually refers to the penis, it can also, as in The City Wit 3.1. refer to the vagina, the vulva, the female genitals [go to text]

gg430   whiskin (1) northern dialect term in Caroline period for a shallow kind of drinking vessel; (2) slang term for a pander (OED's first recorded usage in this sense) [go to text]

n7421   purlieus These are places where a person has the right to come and go freely, or has control (OED 3), which could mean that Tryman has been keeping Crasy under observation. However the expression 'to hunt in purlieu' (OED 2b) meant to have an illicit relationship, especially with a prostitute, and that seems to be Tryman's main meaning here. Certainly 3.3. opens with Crasy and Tryman discussing an incident when they supposedly had sex. [go to text]

gg4913   freeman a person who possesses the freedom of a city, borough, company, guild, etc. (OED n. 2) [go to text]

n7422   certain tokens Incontrovertible evidence. [go to text]

n7423   old course Prostitution. [go to text]

n7424   wiser, That is, wiser courses. [go to text]

n7425   diseases Especially venereal disease. [go to text]

n7427   this rich coxcomb The rich fool Tryman is referring to is Linsy-Wolsey. [go to text]

n9855   O here comes your pigwidgeon. The octavo has no entry but Crasy's 'O here comes your pigwidgeon' indicates Crack's entry at this point. [go to text]

gg4914   pigwidgeon. derogatory term for a small or insignificant person (OED 2) [go to text]

n9855   [Enter CRACK]. The octavo has no entry but Crasy's 'O here comes your pigwidgeon' indicates Crack's entry at this point. [go to text]

n7429   of counsel That is, of my counsel. [go to text]

n7430   blue boys of the hospital, Blue was the distinctive colour for the clothes of servants, tradesmen and charity cases. It was especially the colour of the uniform of boys attending charity schools. Tryman is saying that Crack has been at a Blue-coat school and the mention of a hospital here makes it possible she is referring to Christ's Hospital School at Newgate, which began educating boys and girls in 1552. Charterhouse, the hospital and almshouse where Brome ended his days, also had a school which educated 44 poor boys. [go to text]

n10106   sweet singers to the city funerals Harding (p.236) indicates that in Pre-Reformation London it was common for citizens to ask for children to form part of their funeral procession 'often as torchbearers, sometimes perhaps as choir' and were mostly 'left small sums for their attendance' although an allowance of bread was also popular (Harding p.243). Children mostly attended 'as inmates of the city orphanages' (Harding p.239). Although post-Reformation England saw major changes in funeral customs, and those that were associated with Catholicism were mostly abandoned, important civic funerals still included large numbers of the poor. [go to text]

n7431   two penny Worth 74 pence in 2009 (National Archives currency converter). [go to text]

n7434   wheel The treadwheel or treadmill at Bridewell. Bridewell housed a treadmill from circa 1570. [go to text]

n7433   Saint Bride’s nunnery Bride is a form of Bridget, and Saint Bride or Bridget was associated with the well near Bridewell place; the 'nunnery' Crack is talking about is Bridewell prison, which at this time functioned as a house of correction for women involved in crimes, especially prostitution. Crack is saying he hasn't been in prison for prostitution as his 'sister' has. [go to text]

n9853   sung to the organs After the Reformation the use of choirs and organs in English churches became associated, for some, with Roman Catholicism. While organ music had seen something of a revival under the reign of James I, many puritans opposed the use of organs in church and later, during the Commonwealth period, many church organs were taken out. However, 'organ' could also include sexual innuendo as is clear from the ribald remarks about the organ in Thomas Middleton's A Mad World My Masters. [go to text]

n7435   more certain That is, more dependable employment. [go to text]

gg4917   indenture a deed between two or more parties with mutual covenants, executed in two or more copies, all having their tops or edges correspondingly indented or serrated for identification and security; hence, a deed or sealed agreement or contract between two or more parties, without special reference to its form (OED n. 2) [go to text]

n7437   tripartite In The Alchemist 1.1.135 (ed. Mares), Doll Common proposes the three tricksters, Doll, Face and Subtle, see themselves as a 'venture tripartite' with 'all things in common' (l.135) and 'equality' (l.134). Crack, who goes on to state he is good friends with the players and so, presumably, used to seeing plays, is evoking a phrase from a popular play. The phrase 'indentures tripartite', however, also appears in 1 Henry 4 3.1.77 in the rebels' discussion of how to divide up the kingdom. [go to text]

n7436   Subtle, Doll, and Face. The names of the tricksters in Ben Jonson's The Alchemist. Face, whose first name is Jeremy, is the one who outwits everyone, including his accomplices at the end of the play, something which is also relevant in this play where Jeremy the apprentice proves wittier than, or able to outwit, all the other characters. Doll in The Alchemist is a prostitute and so offers a comparison with Tryman here. [go to text]

gg4918   trade course of action (OED n. I 3a) [go to text]

n9700   CRACK sings. As usual, when Crack bursts into song, the performers of the other characters onstage are faced with the dilemma of how they are supposed to react. [go to text]

gg438   punk prostitute [go to text]

gg4919   vamps to mend, repair or restore (OED v1. I 1) [go to text]

gg4920   upsets to restore to good or usual condition (OED I 2b, citing The City Wit 3.1.); to set up [go to text]

n9119   in the high way well on the way to [go to text]

n7440   high Holborn Crack puns on 'high way', which Crasy uses as meaning progressing well along the route (to preferment); Crack refers to the high road that is Holborn Hill, which was on the route used for taking prisoners, usually by cart, from Newgate prison to execution at Tyburn tree. Tilley confirms the proverbial assocation between Holborn and the journey to Tyburn in H507 'To go up Holborn backwards'. [go to text]

n7441   match That is, the marriage to Linsy-Wolsey. [go to text]

n9701   three days hence The precise passage of time in this play is often unclear but much of the time the pacing is very fast (see, for example, the speed with which Toby and Tryman are married) and 'three days' seems a very leisurely timescale for the rest of the play's action. [go to text]

n7316   curtains The curtains of a four poster bed. [go to text]

n7442   bed This is the octavo's first mention of the fact that a bed is onstage although it must be brought on at the beginning of the scene. [go to text]

n9120   Ex[it TRYMAN, CRASY and CRACK]. The octavo has Exeunt [go to text]

n9730   Now In the octavo the opening of scene is marked by large capital N, two lines high. [go to text]

n7443   Catilinarian An adjective meaning 'like Catiline', the first century B.C. Roman politician who conspired against the republic and was denounced by the orator Cicero. Catiline would be readily associated with treachery and conspiracy. Brome's mentor, Ben Jonson, wrote a tragedy about Catiline. The octavo has 'Catlinarian'. [go to text]

gg4921   defeated to deprive of (something one already possesses); to dispossess (OED v. 7b) [go to text]

n7403   ten pound, Worth £892 in 2009 (National Archives currency converter). [go to text]

gg5876   precogitated thought over beforehand, premeditated (OED) [go to text]

gg4922   suspend hang or execute (OED II 8a) [go to text]

n7444   abiit, evasit, erupit. 'he has gone, he has escaped, he has broken free'. The phrase is close to a well-known expression from Cicero's In Catilinam 2 paragraph 1 'Abiit, excessit, evasit, erupit'. [go to text]

n7445   supply. The fee of forty shillings that would be forthcoming when Sarpego preached at Tryman's funeral [CW 3.1.speech375]. [go to text]

n9702   not Nothing or not enough money; 'nought' might work better here. [go to text]

gg3992   furnish supply what is necessary (OED v. 5a) [go to text]

n7446   Væ mihi misero nec aurum, nec argent ... tum! 'Alas I have misery but not gold, not silver'. The ... between the two parts of the word 'argentum', silver, may suggest some business such as a sigh. [go to text]

n7447   beatitude. That is, supreme blessedness or happiness (OED 1a), an extravagant compliment to Bridget. [go to text]

n7448   old mistress That is, Pyannet. [go to text]

gg4923   conjunction? joining, as in marriage [go to text]

gg4924   faugh, an exclamation of disgust [go to text]

gg858   Goodman a man of substance, a leader (often with the implication of a moral leader) [go to text]

gg4925   Fist. a foul smell, stink (OED n2. 1) [go to text]

n7449   Hic iacet, 'Here lies', suggesting the opening words of an inscription on a gravestone. [go to text]

n7464   court-messenger Crasy might be dressed in some kind of uniform, possibly a rather showy one, to indicate his status as court messenger, someone who runs messages for the high ranking 'his Grace'. However, Crasy has only exited less than a page (in the octavo text) previously, dressed as Doctor Pulse-Feel. While a ridiculously under disguised Crasy can create comedy (using the gag that it is ludicrous that the characters don't recognise him), if any attempt is made at a convincing quick change here it has to be using items of clothing that can be got on and off very fast, and in period costume that would mean hats and capes. However, in [CW 3.3.speech460] Crack also indicates that Crasy-as-Holywater is wearing a false beard that Crack obtained from his friends at the playhouse. [go to text]

n7450   under right worshipful. Pyannet's obsession with titles continues: what she is saying is that Sarpego should be expecting at the very least to obtain the right to be addressed as 'right worshipful Master Sarpego'. [go to text]

n7451   beneath Pyannet lists clothes and symbols of status and wealth that will be commonplace for Sarpego in his newly elevated position. [go to text]

gg4927   damask rich silk fabric woven with elaborate designs and figures, often of a variety of colours (OED II 3), the wearing of which indicates wealth [go to text]

gg4926   footcloth. a large richly-ornamented cloth laid over the back of a horse and hanging down to the ground on each side; it was considered as a mark of dignity and state (OED 1) [go to text]

n7452   Phoebus Phoebus was the sun god and his son, Phaethon, nearly destroyed the world as well as himself when he attempted to drive his father's chariot, that is, the sun, across the sky. Phaethon is thus an image for someone who aspires beyond his capability and Sarpego is saying Pyannet is talking of status symbols he, Sarpego, will never achieve. [go to text]

gg4928   brainpan. that which contains the brain; the skull [go to text]

n9827   progeny Pyannet's use of the term 'progeny' to describe her offspring, Toby, is pretentious and so complements her other pretentious terms for him 'my worshipful son' and 'heir apparent'. [go to text]

gg4619   preferred recommended [go to text]

n7453   the young Prince his tutor. That is, to be the tutor of the young Prince. The only historical young prince who might eventually be in need of Sarpego's services would be the future Charles II who was born on 29 May 1630 (The City Wit is usually dated 1629-32). Keeping the identity of 'the Prince', like that of 'his Grace', vague, would protect Brome from accusations of attacking Charles I's court; however there is no doubt that Charles's court is the object of his satire. [go to text]

n7454   place, That is, high place, high social standing, a place of influence at the court. [go to text]

n7455   office, That is, high office. [go to text]

n7456   his Grace This title would be used for a duke or an archbishop although it had earlier also been a form of address for the reigning monarch. [go to text]

gg4929   ’haviour behaviour [go to text]

n7457   sometimes pupil, That is, one time pupil. [go to text]

n7458   possess a prince’s ear. Crasy as Court Messenger is tempting Sarpego with the prospect of years and years of influence at court; if Sarpego gains the ear of the Prince, and is listened to by him as a boy, then when the Prince grows up and has power, Sarpego could be a major power behind the throne. [go to text]

n7459   in place That is, in a position to. [go to text]

gg3430   countenance give sanction or credit to [go to text]

n7460   old pupil That is, Toby. [go to text]

n7403   ten pound Worth £892 in 2009 (National Archives currency converter). [go to text]

n7461   odd The octavo has 'od'. The suggestion is that the ten pound is 'odd' money, that is, almost loose change compared with what the future could bring to Sarpego. [go to text]

gg4931   furnished supplied with [go to text]

gg4016   complements qualities or amounts that complete (OED n. 4a); complementing accessories (OED n. 6) [go to text]

n7463   Quid nunc? 'What then?' [go to text]

n7465   [Aside to SARPEGO].Whist That is, hush, be quiet. This speech has to be mostly an aside to Sarpego as neither Pyannet nor Sarpego want the impressive court messenger (Crasy-as-Holywater) to realise how hard up Sarpego is. [go to text]

n7466   pieces. As pieces were gold coins usually worth 22 shillings, this is an improvement on ten pounds because a pound was only twenty shillings. [go to text]

n7467   Bear it as That is, act as if it is, pretend that it is. [go to text]

gg4932   driblet. a small sum of money (OED n. 1a) [go to text]

n7468   I use I am not in the habit of. [go to text]

gg1920   prefer advance, promote, favour [go to text]

gg4933   evacuate to empty out [go to text]

gg4934   procure obtain [go to text]

n9828   [Exit BRIDGET]. The octavo provides no exit for Bridget but she has nothing else to do in the scene so this edition locates her exit here. [go to text]

n7469   [to PYANNET] I am much grieved for’t. Crasy-as-Holywater seems to have been conversing with Pyannet during the Sarpego/ Bridget interchange. [go to text]

n7470   loss. The lost opportunity to sell jewels at court. [go to text]

n9854   worth .... Pyannet seems about to say something else, probably more vulgar; the '....' in the octavo certainly suggests a change of direction. Pyannet may tone down her comment as she does not want to be thought common by Master Holywater, the Court Messenger. [go to text]

gg4935   very of a friend, servant, or wife: true, faithful (OED adj. I 6); very own [go to text]

n7471   crafty There are two meanings here. On one level Pyannet hoped Crasy would prove wily, good at cheating customers and in so doing making a fortune; on another level she hoped he would be good at his craft as a jeweller. [go to text]

n7472   capacity, That is, your capacity to follow what I am saying. [go to text]

gg4938   melt (slang) to spend or squander (money) (OED v1. 7a) [go to text]

n7473   looked That is, looked out for, taking care of. [go to text]

gg4939   main the most important part of something (OED adj. II 3a) [go to text]

n8192   Aye, ] I (O) [go to text]

gg4940   bywords, words beside the matter in hand (OED 4, citing CW 3.2) [go to text]

gg4229   easy, compliant, credulous (OED 12a) [go to text]

n9703   By your husband? No question mark in the octavo. [go to text]

n7475   raise That is, raise the price of the jewels by praising them and making them sound like a good buy. The rhymes of 'praise them and raise them' give the phrase added emphasis. [go to text]

n7476   Nay, admire. Crasy as court messenger is playing to Pyannet's vanity about her wittiness and is saying he does far more than approve her plan, he admires it as well. [go to text]

n7479   No compliment among good wits, That is, let's not waste time complimenting each other on our wit but let's get on with our plot. [go to text]

n7477   make a leg, Make a fine bow. Dessen and Thomson (p.138) clarify that this is 'to show respect by a bending of the knee and extending backward of the leg'. [go to text]

gg4941   simply. humbly [go to text]

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

n7478   ne’er ] ne're (o). [go to text]

n7480   he will make a rare citizen. The joke is that Sneakup is not that far socially from a citizen anyway, but when Pyannet is saying that he will be able to impersonate a citizen, she is implying that this is a great achievement because, as far as she is concerned, Sneakup is so far above that rank; 'rare' here has the sense of 'fine', that is, giving a fine or good performance as a citizen. [go to text]

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

n7481   shoot your bolt Pyannet here means 'speak', but shooting your bolt can be proverbial for any action (Tilley B512), usually suggesting precipitate action and possibly, in the context of a discussion between this dominant wife and submissive husband, hinting at the husband's tendency towards premature ejaculation. [go to text]

gg4942   mark. a target for shooting at (OED n1. VI 23a) [go to text]

n7482   them That is, the jewels. [go to text]

gg4943   cast (v) cast (a thought) [go to text]

gg4352   mistrust suspicion, distrust, doubt [go to text]

n7617   Remember that sentence. Although that sentence - 'Modest mistrust is the first step to knowledge' - sounds proverbial it is not in Tilley. [go to text]

n7483   Court Gate, This whole sequence exploits two joke lines: firstly, there are jokes at the expense of Charles I and his love of rigid codes of etiquette and precise, formal modes of behaviour, something which led to the introduction of a range of rules about how to behave at court; secondly, as Astington puts it, 'That such as booby as Sneakup would be allowed to proceed unchallenge through such a restricted area [of the palace] is part of Brome's joke' (Astington p.39). Astington is particularly useful in demonstrating how accurate Pyannet's geography of the court is: the arrangement of rooms at Whitehall 'progressed from larger, more public space to smaller, private, and increasingly secure and inaccessible chambers' a scheme that was 'defensive in origin' (p.38). The 'first and largest room in the series was known as either the guard chamber or the great chamber' and from there 'if allowed to do so' visitors passed to the next chamber which 'was occupied partly by members of the royal guard, armed, and dressed in a fashion similar to their modern descendants, the Yeoman of the Guard', these guards marking 'the boundary of a restricted and privileged area' and functioning as a 'an entirely practical measure of security' (p.38). The 'Presence' or presence chamber was beyond this and 'When the monarch was in residence, this room was set up with a throne and state -the dais, canopy, and heraldic backcloth- where the kind or queen would give a hearing to petitions and communications of one kind or another' (p.39). Beyond this lay 'the privy chamber and the bedchamber, sometimes with supplementary lobbies and smaller rooms connecting them, and forming a suite into which the monarch could retreat from official business and public view'. Astington sees Pyannet's instructions as offering a 'rather fantasticated version of a visit to Whitehall' (p.39) but the joke here is layered: it is funny that Pyannet thinks Sneakup will be able to gain entry to the Presence (but later he does actually manage to do this); it is funny that Charles I has such a complicated living arrangement at Whitehall; and it is funny, and quite edgy, that Pyannet, a woman, is standing for Charles I. For more comentary on this sequence see Steggle 2004 p.29-30.
In performance this sequence also invites comic enactment of the various actions under discussion.
Clarence Edward Andrews, Richard Brome, p.88 compares Pyannet's instructions on behviour to Ben Jonson's Every Man out of his Humour 5.1., and Cynthia’s Revels 3.3.
[go to text]

gg4944   covered; wearing a hat [go to text]

n7486   Presence This is an important location for the play's action and 3.4. is actually set in 'The Presence'. However, it is very hard to evoke the ramifications of this location in modern performances and readings. The Presence Chamber was a room in which the monarch would receive privileged, and invited guests. [go to text]

gg154   bare; bare-headed [go to text]

n7484   Privy Chamber Like the Privy Lobby, this was part of the royal private apartments and not at all accessible to characters of lowly social standing like Sneakup. [go to text]

n7487   Privy Lobby A private passage or corridor connected with one or more apartments in the royal palace used as a waiting-place or ante-room for those with business at court. [go to text]

n7485   (like the Exchequer payment) That is, if Sneakup has to break wind he should not do so with gusto, but, like payments from the Exchequer, giving out as little as possible. Steggle (2004 p.29) describes Pyannet's comment here as 'a sly remark about Charles's budgetary difficulties in the Exchequer in the years after 1628'. [go to text]

n7488   bare. Sneakup's complete inability to memorise the instruction Pyannet is giving him on how to 'perform' the role of Crasy at court, compares with Brome's use of the joke of incompetent performers elsewhere; for example, Sir Salomon Nonsense in The Northern Lass; or see Jovial Crew 3.1. where Vincent is incompetent at following Springlove's instructions on how to beg and just keeps repeating 'Duly and truly pray for you'. [go to text]

gg4945   tablebook, a book of writing tablets, a notebook (OED 1) [go to text]

gg4946   con study, learn (OED v1. II 3) [go to text]

n7494   Something he has in him like my husband! That is, there is at least something in him which makes him an appropriate husband for me; he is not completely witless. [go to text]

gg4953   carriage bearing [go to text]

n7495   Suppose me the Prince. This moment was potentially quite subversive in the original performances: for a 'woman', let alone a 'woman' as chattering, class-obsessed, and social climbing as Pyannet, to enact the role of the Prince, which inevitably reflects on the reigning monarch Charles I, is far more subversive than, for example, Falstaff's impersonation of the historical Henry IV in 1 Henry IV. Steggle (2004 p.30) comments that here The City Wit 'gets as close as any play of the era to putting the reigning monarch on stage'. This speech, and the next few speeches, contain several implicit instructions to actors about comic stage business, ungainly bowing etc. [go to text]

gg4954   present. v. present yourself [go to text]

gg4955   honours. bows, obeisances (OED n. 5b) [go to text]

n7496   make my three legs Make three bows. Steggle (2004 p.30)comments on the use of 'triple bowing' in Charles I's court. The octavo's '...' presumably indicates the bowing taking place. [go to text]

gg4980   wont accustomed [go to text]

n7514   My stones are right, There are two meanings here: 'the jewels that I am selling are good ones'; 'my testicles are functioning, I am able to father children'. [go to text]

gg4970   stones testicles (OED n. 11a) [go to text]

n7519   infection Pyannet means that the witless Sneakup has caught some wit from lying with, or sleeping with, her, as if wit is something infectious. [go to text]

n7520   by By the example of. [go to text]

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

n9121   Ex[it PYANNET and SNEAKUP]. The octavo has Exeunt. [go to text]

n10110   Enter TRYMAN, CRASY. Video This section was explored in a workshop where the objective was to carry on investigating the relationship between Crasy and Jeremy-as-Tryman (see [NOTE n10109]). In this brief section Crasy concedes that he must have had sex with the prostitute Tryman but he admits that he has completely forgotten about it, which suggests that Crasy’s sexual history involves enough sexual partners for him to be hazy about the details. The fact that the audience later find out that Tryman is actually Jeremy in disguise makes this moment funnier in retrospect.
1. The first run through with Olivia Darnley as Tryman indicated the potential for developing comedy of accents here: Tryman’s accent moved from Clerkenwell to Cornwall and back again and although Olivia didn’t feel entirely happy with what she achieved accent wise, she did demonstrate how much fun could be had with accent shifts.
2. When Alan Morrissey played Tryman he seemed far less forgiving of Crasy at the moment when Crasy looked Tryman in the eye and more or less said ‘I have completely forgotten ever having sex with you’; this seemed to be taken as the kind of insult a busy working prostitute would be accustomed to but still annoyed by.
3. In the final run through Alan Morrissey adopted a more overtly funny accent.
What was most striking about the work on the Crasy/ Tryman relationship here was that the actors did not develop any sexual charge here even though on one level this scene shows a male and a female character discussing the fact they have had sex. It may be that the agreement at the very end of 3.1. to work together and to create a ‘venture tripartite’ (like the one in Jonson’s The Alchemist) had settled the Crasy Tryman relationship into a business agreement that was free from sexual tension.
The repetition, in the workshop, of Tryman’s promise that she will explain to Crasy how she managed to convince everyone that she was wealthy served to underline that bluff, and acting ability were her prime resources. The audience only get a detailed discussion of this when Crack claims to reveal all to Linsy-Wolsey in 4.4.
[go to text]

n7522   court habit. Crasy is still disguised as the Court messenger, Master Holywater; however, Linsy-Wolsey does not seem surprised that his bankrupt neighbour, Crasy, appears to have a court messenger running errands for him. [go to text]

n9731   Well In the octavo the opening of the scene is marked by a large capital W, two lines high. [go to text]

n7545   Doll, A diminutive of Dorothy, and a very common name for women. The prostitute in Ben Jonson's The Alchemist, with whom Tryman is identified, is named Doll Common. [go to text]

n7527   London Wall The wall originally built around the Roman city of Londinium in the second century. It was only in the mid sixteenth century that the city began to spread beyond these walls. Some of the walls can still be seen today. Weinreb and Hibbert (1995 p.494) state that the ditch by London Wall was used as 'a dump for rubbish and dead dogs'. Crasy's false memory that he had sex with Tryman 'about London Wall' suggests that he was, at least at some stage, in the habit of having sex with prostitutes in this location. [go to text]

n7528   saist thou? The octavo puts this in brackets, which could suggest Crasy is racking his brains trying to recall the incident. [go to text]

gg828   election choice, preference [go to text]

n7529   fountain of aches, bald brows and broad plasters, All these are indicative of venereal disease, something easily caught from a 'fountain', or source, such as a prostitute with many customers. [go to text]

n7533   remember thy creation. Remember how you were created by God; presumably that is to be a child of God and a fine upstanding woman, rather than a prostitute. For anyone who has worked out Tryman's real identity there is considerable irony here. [go to text]

n7537   use, That is, to use sexually. [go to text]

n7538   loved it but to loathe me: Loved having sex with me but actually loathed me as a person. [go to text]

n7539   scarce beauty enough to be tempted, Not enough beauty to be always surrounded by men trying to tempt her into having sex. [go to text]

n9856   not wit enough to be naught; Tryman is building up a picture here of her appearance and behaviour when in character as the Cornish widow (as opposed to the London whore version of Tryman). She looks and behaves as a not terribly attractive rustic woman, and as someone who is not street wise. When she says she has 'not wit enough to be naught' this suggests she appears not to have the wit or the cleverness to be be 'naught' in a moral sense, that is to be immoral, naughty, and to have lots of lovers, which is something the London whore version of Tryman could manage very easily. [go to text]

gg3005   cozenage. fraud, duplicity [go to text]

n7542   Jeffrey, The octavo sometimes uses 'Jeffrey' and sometimes, as here 'Geffrey'. This edition uses 'Jeffrey' throughout. [go to text]

gg5033   mercers, merchants who deal in textiles, especially silks and velvets [go to text]

n7547   Cheapside A major marketplace with mercer's stalls at the east end. [go to text]

n9705   He is overjoyed The possibility that Linsy-Wolsey's emotional investment in this marriage might be real and that, after years of never daring to dream of marriage, he has finally found a wife would make sense of the apparent bitterness of his last lines in the play [CW 5.1.speech976] when he declares 'I will have nothing to say to man, woman, or child, while I live again'. This reaction seems extreme in context, as Linsy-Wolsey has not been humiliated as much as Crasy's other victims, but the speech makes more sense if Linsy-Wolsey is seen as investing a great deal emotionally in Tryman. [go to text]

n9704   O she’s a dainty widow. The instruction 'Sings. O she's a dainty Widow.' appears in Aphra Behn's 1677 play The Debauchee or The Credulous Cuckold 4.1., play very closely based on Brome's A Mad Couple Well Matched. Behn's stage direction suggests that the song is well known. [go to text]

n7549   that beard Crasy's disguise as a court messenger includes a false beard. [go to text]

gg4984   set out v. to advance, to forward [go to text]

n7551   these patterns? This indicates that Linsy-Wolsey enters carrying samples of material to show Tryman. [go to text]

gg4986   patterns? samples (OED n. 5b) [go to text]

n7552   a letter This suggests that Crasy enters with the letter ready prepared. [go to text]

n7571   Crasy The octavo has the ambiguous speech heading 'Cra.' for speeches 465 and 467 (lines 1489 and 1491 in O), which could indicate 'Crack' as well as 'Crasy'. Earlier in the scene the speech headings have been more carefully differentiated as 'Crack' and 'Cras'; however, both speeches seem slightly more in keeping with Crasy. [go to text]

n7553   scratches An implied stage direction for the performer playing Linsy-Wolsey. [go to text]

gg4989   as lief rather, as willingly [go to text]

n7957   thirty pound, Worth £2,675, in 2009 (National Archives currency converter). [go to text]

n7560   threescore Threescore, that is sixty, pounds. Worth £5,350 in 2009 (National Archives currency converter). [go to text]

n7561   What the eye sees not... The proverb is 'That the eye sees not, the heart rues not' (Tilley E247). [go to text]

n7562   bonds, Two senses of 'bonds' can operate here: he is legally engaged by an agreement with Crasy; he is restricted, bound, restrained by his bond. [go to text]

n7563   sixty pound. Worth £5,350 in 2009 (National Archive currency converter). [go to text]

n7564   our contract. Our engagement to get married. [go to text]

n7957   thirty pound Worth £2,675, in 2009 (National Archives currency converter). [go to text]

gg2898   reckonings account, computed sum owing or due to someone; used especially of a bill at a tavern, but here implying a paying-back or settling of differences between parties (OED vbl. n, 3a and 5) [go to text]

n7566   Linsy-Wolsey This speech is not attributed to Linsy-Wolsey in the octavo and reads as an extension of Tryman's speech (and so does not make sense). It is also followed by the marginal stage direction 'aside'. It is not clear when the aside starts: Wilkinson locates it as beginning after ‘’Tis your best course’ a decision which is followed here. [go to text]

n7567   six or seven thousand pound? Worth £534,960 or £624,120 respectively in 2009 (National Archives currency converter). [go to text]

n7568   set it received That is, put down in writing (OED v1, 21a) that (a sum owing) is paid. [go to text]

gg4991   use interest, usury (OED v. 5b) [go to text]

gg1675   tell count [go to text]

n7570   [LINSY-WOLSEY, TRYMAN and CRACK]. The octavo has simply 'Exit'. While the octavo often uses 'exeunt' elsewhere for the exit of a group of people, Tryman does have to exit here as well as Linsy-Wolsey, as she cannot overhear Crasy's next speech. Crack has been quiet for quite a while but he presumably also exits here, attending on his mistress. [go to text]

n9706   to be laughed at among your neighbours. Crasy is referring back to Linsy-Wolsey's comments at [CW 1.2.speech 123]. [go to text]

gg4992   intend to fix the mind on (OED v. 12) [go to text]

gg1821   courtesy favour, good deed [go to text]

gg4993   piddled with messed about or around with (OED v. 1a) [go to text]

gg4994   ’prentice. apprentice [go to text]

gg5001   gorgeous in referring to dress: adorned with rich or brilliant colours; sumptuously gay or splendid; showy, magnificent (OED adj. 1) [go to text]

n7574   This is the Presence. The setting for this scene is the Presence Chamber, at Whitehall, a room at court where the monarch would receive important guests (see Astington). The joke is that someone like Sarpego would not be able to wander into this room even if showily and expensively dressed in 'gorgeous apparel', as he would need to get past the royal guards and he would need more than an improbable story of being hired as a royal tutor to manage that. Steggle (2004 p.29) discusses Brome's use of the Presence and comments (p.30) that The City Wit 'goes further than any other London-set citizen comedy of which I am aware, in setting scenes inside the king's palace'.
In the octavo the opening of the scene is marked by large capital T, two lines high.
[go to text]

n7575   quondam Latinate way of saying 'former', or 'one time'. [go to text]

n7576   attends not my conduct! That is, is not here to attend on me and admire me as I am conducted to 'his Grace'. [go to text]

gg5002   instant of persons: pressing, urgent, importunate (OED adj. I 1) [go to text]

n7577   vacation, A Latinate way of saying 'leisure' or, here, 'opportunity'. [go to text]

n7578   variety, That is, he did not have more than one shirt. [go to text]

gg654   shift change [go to text]

gg5003   shirt. an undergarment (common to both sexes) for the upper part of the body, made of linen, calico, flannel, silk, or other washable material, which was originally always worn next to the skin (OED 1a) [go to text]

n7579   little cattle of infamous generation about me, that do most inseparably haunt me. Sarpego is saying, in as roundabout a way as possible, that although he is wearing fine clothes he did not have the time, or the resources to change his underclothes, that is his shirt, and so he can still feel the lice or fleas that normally live in his underclothes moving around and biting. [go to text]

n7580   them That is, the fleas or lice. [go to text]

n7581   his Grace perceive them, Sarpego is concerned that 'his Grace' will see Sarpego's lice or fleas - this may be a cue for Sarpego to do some scratching etc. [go to text]

n7582   at the hangings. Dessen and Thomson (p.110) comment that 'hangings' is 'an infrequently used alternative for the curtain or arras that hung just in front of the tiring house wall'. The force of 'at' suggests Crasy is lurking upstage; the hangings could be used for concealment, but Sarpego is so self absorbed Crasy has no need to hide. [go to text]

gg1529   pedant teacher, tutor [go to text]

n7583   his most natural strut! the prologue commented on how difficult it is (at least according to the prologue player) to impersonate a pedant, so the naturalness of Sarpego's absurd strutting suggests his innate absurdity [go to text]

gg5004   at the first dash, straight away, at the first stroke (OED dash n1, 2) [go to text]

n7584   outside His outer garments. [go to text]

n7585   of purpose I left my inside lousy. Sarpego's idea is similar to a penitential hair shirt: the inside mortifies the flesh even though the outside appearance might be rich and extravagant. [go to text]

n7586   like a citizen. This indicates that Sneakup's clothing earlier was very clearly, at least for the original audience, marking him out as above citizen class. [go to text]

n7587   Sed, O dii! Quem video? nonne 'But O ye gods! Whom do I see? Surely not....' [go to text]

gg5005   woodcocks proverbially foolish birds, probably as they were relatively easy to catch (See Tilley W746, W748) [go to text]

n7588   shoot into the glade. That is, [the fools] are rushing into the glade (the Presence); a woodcock behaves foolishly in rushing into a glade as it would there be more visible and more easily caught than if it lay quietly concealed among the bushes and undergrowth. [go to text]

n7589   O monstrum horrendum! 'O dreadful monster!': 'monstrum horrendum' is the phrase use to describe the Cyclops, Polyphemus, in Aeneid III.658, and 'Fama', infamy in Books IV and VI. The phrase also appears in Thomas Middleton's A Trick to Catch the Old One, (4.5.145) a play that has considerable common ground with The City Wit in the use of an intelligent prostitute figure setting out to gull the rich and foolish. [go to text]

n7590   Pray go home and ask my wife. Sneakup is already out of his depth in performing the role of Crasy without having Pyannet to refer to. [go to text]

n8056   Enter Strictly speaking, Crasy only comes forward from the hangings rather than making an entrance. [go to text]

n7591   for a need, sir. OED (n1, 13c) lists 'for a need' as meaning 'at a pinch; in an extreme circumstance'; here, however, the sense is more, 'if it is of any help'. [go to text]

n7592   be read in your eyes. This suggests Sneakup's eyes are giving the game away, perhaps by a look of terror. [go to text]

gg3670   Let me alone Let me deal with this by myself. [go to text]

gg5006   endear to render costly or more costly; to enhance the price of (OED v. 1) [go to text]

gg5007   correspondency. agreement (prearranged) [go to text]

gg3164   shift an expedient, an ingenious device for effecting some purpose (OED n. III 3a) [go to text]

n7593   own. ... The octavo has a full stop followed by dashes; these are hard to interpet. They could indicate Crasy interacting with, or mugging at the audience here; or he might bow to them as he, as it were, signs off with one of his trite rhyming couplets. [go to text]

n7594   quondam 'one time' [go to text]

gg2733   pedagogue! teacher, schoolmaster [go to text]

n7595   nuper alumnus! 'pupil of not long ago' [go to text]

n7597   am approached, That is, have approached, am here and am ready to approach [his Grace]. [go to text]

gg2273   entreats, entreaties, pleas [go to text]

gg4886   approve prove, demonstrate (OED v1. I 1a) [go to text]

gg157   Set on: advance, go forward (OED set v1, 148g) [go to text]

gg5008   construe a grammatical term meaning to analyse or trace the grammatical construction of a sentence, especially in the study of a classical language, adding a word for word translation (OED v. 3) [go to text]

n7596   Ludovicus Vives. Juan Ludovicus Vives, a sixteenth century Spanish philosopher and writer on education, who was tutor to the future Mary I. Among his writings was Exercitatio Linguae Latinae a text book for the study of Latin. [go to text]

n7598   walk, Sarpego seems still to be walking 'in his most natural strut' as Crasy described it in [CW 3.4.speech482]. [go to text]

n7599   nuntius, As Sarpego says, a nuntius is 'a messenger'. [go to text]

n7601   his Grace his instant desire, That is, his Grace's urgent desire: Sarpego is using an elaborate reflexive form for the possessive. [go to text]

gg5009   entertain to take a person into one's service, to hire a servant (OED v. 5b) [go to text]

gg5010   let blood to make an incision in a vein to allow blood to flow; this was thought to be helpful in a wide variety of medical situations, including a build up of humours which could produce aberrant behaviour [go to text]

n7403   ten pound? Worth £892 in 2009 (National Archives currency converter). [go to text]

gg5011   i’faith, in faith [go to text]

gg5012   bob to make a fool of, deceive, cheat (OED v1. 1) [go to text]

gg5013   dormitaries. a sleep-producing medicine, a narcotic (OED n. citing The City Wit 3.4) [go to text]

gg5014   ’noint anoint [go to text]

n7602   Midsummer moon! That is, madness (see Tilley M1117). [go to text]

n7603   hit as ’twill, Never mind the outcome. [go to text]

gg5015   ’twill, it will [go to text]

gg5016   mumpings grimacing, grumbling [go to text]

n7604   more dark than Delphos. As obscure as the (usually cryptic) Delphic oracle; however Delphos, for whom the city of Delphi was named, was reputed to be dark skinned and certainly his mother's name - Melaina or Melantho - suggests (in Greek) blackness. [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]

gg287   styled (v) call, term [go to text]

gg491   want lack [go to text]

n9707   seen a spirit, Rufflit is suggesting that Sneakup has been scared out of his wits by seeing a ghost. [go to text]

gg1611   cozened, beguiled, deceived [go to text]

gg3005   cozenage. fraud, duplicity [go to text]

n9123   appease This can not only mean to bring to a peace, to pacify but also to soothe or relieve, with sexual connotations. Pyannet will construe Lady Ticket's actions as sexualised and certainly the image Pyannet is confronted with in [CW 4.2.speech662] (see stage direction) of her husband's head in Lady Ticket's lap invites such a reading. [go to text]

n7605   Sic transit gloria mundi. 'Thus passes the glory of the world' [go to text]

gg5017   cony-caught literally caught like a rabbit, but cony-catching generally meant conning, defrauding [go to text]

n5932   Helicon This Greek Mountain was sacred to the Muses. Poetic inspiration was supposed to be derived from its streams. [go to text]

n7606   sixpence Sarpego is broke. Sixpence would only be worth £2.23 in 2009 (National Archives currency converter). [go to text]