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ACT FOURn2602
4.1
Enter Lord LOVELY, CROSTILL, [and] BELLAMY.

672Lovely   [Indicating BELLAMY]   Lady, ’tis true he is a bashfulgg1889 lover,
        Unskilled to court a widow, has not yet
        The act methodicaln2092 to swear he loves you,
        Must and will have you, nor the movinggg1890 boldness
        To stir your blood by putting of you to’tn2093,
        Or showing you how ’tis, before the priest
        Declares it lawfuln2094. But he has love and sweetness,
        Which you will find with full and rich content.
        And look, look here, what a long middle finger he has,
        Which with thin jaws and Roman nose
        Are never-failing signs of widows’ joysn2095.

673CrostillYour lordship is disposed to mirth.

674LovelyIt is
        My caregg1891 to put you in a course of mirthgg1893,
        Nay, of felicitygg1892.

675CrostillIn marrying of that striplinggg1894!

676LovelyDo not think slightly of him, though he appears
        Modest and bashfully; if I have any judgement,
        He’s a fit match for you. His outward fortune
        For his estate I will make good to him,
        And for his inward virtue, never doubt
        He’ll make that good to you, however still
        He holds his much commended modesty.

677CrostillMy lord, you much commend his modesty
        And bashfulness, urging your confidence
        Of his strange inward-hid abilities.
        I hope your lordship’s pardon: can you tell
        If he has with that bashful modesty
        Got any of his mother’s maids with childn2096?
        Or of his father’s tenants’ wives or daughters?
        I would have some assurance.

678LovelyThen I’ll tell you.
           [Aside]   These widows love to hear of manly acts,
        And choose their husbands by their backsn2097 and faces.

679CrostillMy lord, you said you’d tell me.

680LovelyYes, but I would not have you cunningly
        To siftgg1895 discoveries from me to his wrong.

681CrostillI am loth to speak so plainly to you, my lord,
        But by the worst that you can speak of him
        I may the better like him.

682Lovely   [Aside]   That’s her humour.
           [Aloud]   Then hark you, widow, to avoid his blushes,
        Suppose I tell he has got a bastard.

683CrostillYou may as well suppose I’ll say ’twas well.

684LovelyWhat say you to two or three?

685CrostillThe more the merrier.

686LovelyHe has no less than five old gentlemen’s
        Young wives with child this moongg574, but gotgg1531 all in
        One week.

687CrostillIndeed!

688LovelyYes, in good deedgg1896, and lusty.

689CrostillGood deed call you it to get other men’s
        Children?

690LovelySuppose they have the husbands’ consents?

691CrostillI suppose they are wittolsgg1897 then.

692LovelyNo, they are wiseallsn2098, and ’tis a thing
        In much request among landedgg1898 men, when old
        And wantinggg1899 issue of their own, to keep
        Out riotous kindred from inheritance,
        Who else would turn the land out of the namen2099.

693CrostillAn excellent policy!

694LovelyYou know the Lady Thrivewell?

695CrostillAnd her old husband, and his riotous kinsmann2100 too.

696LovelyYou will hear more hereafter. But now to him again for whom I am spokesman.

697CrostillIn a strange way, methinks.

698LovelyHe is sent for far and near on those occasions, he is of so sweet a composure and such sure-taking mettlegs243 that he employs my care to have him well bestowed before he begins to waste.

699CrostillIs’t possible he has done so much and says so little?

700LovelyThe deepest waters are most silent.
        But he can speak, and well too. Bellamy.

701BellamyMy lord?

702LovelyI have made your love known to this lady.

703BellamyMy love, my lord?

704LovelyAnd have begun your suit; follow’t yourself.

705BellamyMy suit, my lord, to her? I never movedgs244 your lordship to’t, though I presume she may be a happy fortune to one of my condition, a poor and younger brother, only made rich and happy in your lordship’s service and overflowing favours.

706LovelyWhich I’ll take off o’ you if you slightgg1900 my care in seeking your preferment to this lady, of beauty equal with her fair estate, in both which she is great, and her achievementn2101 will be the crown and the continuance of all my favours to you. You are lost if you pursue it not. I wouldgs241 thy old uncle Bellamy saw thy bashfulness.

707CrostillYour lordship seems now to woo for me, not him. However I am bound in thanks to your nobleness, in your fair proportion; I hope I shall not be so poor to require an advocate when I shall yield to have a husband. But your mirth becomes your honour, and the young gentleman’s reservedness him. Ha, ha, ha!

708LovelyHow mean you, Mistress Crostill?

709CrostillI do commend your mirth, my lord, for the lusty strain you spoke him in, that he had yet five children in one week, wherein I may presume you thought you had moved to my liking. Ha, ha, ha!

710LovelyI am glad I have made you merry, but you will wish, if you reject him —

711CrostillIf I reject one that tendersgg1901 not himself! Yet I commend his caution.

712LovelyAs how, I pray?

713CrostillAs thinking I am one of your cast piecesn2102 —
        Knowing how well your lordship loves the gamegs245gg1902 —
        And now would put me on him.
           [To Bellamy]   But you misprizegg1903 me sinfully, sweet youth,
        In such a thought. Howe’er, you should not scorn
        To ride in your lord’s castgg447 bootsn2103, though you be
        Gentleman of’s house.

714LovelyCome now, he shall have none of you.

715CrostillI’ll hear him say he will not first, by your lordship’s leavegg1479.

716LovelySpirit of contradiction!

717Crostill   [To BELLAMY]   Stay, sir, would you be content to have me?

718BellamyYou heard my lord say I should not.

719CrostillBut say he say again you shall? Speak, will you have me?

720Lovely   [Aside to BELLAMY]   Say no —   [Aside]   I find her now —   [Aside to Bellamy]   that is the way to win her.

721CrostillWithout instructions, good my lord.

722BellamyLady, I find so much your scorn already,
        That to be wedded to’t, I should despair
        (My much unworthiness considered) to convert it
        Ever to love; and ’tis your love, before
        Your person or estategs246, that my affection
        Ought to direct me to.
        In answer, therefore, to your “will you have me”,
        I must say no, till I perceive some sign
        Of love in you towards me.

723Crostill   [Aside]   Ay, now he speaks!
           [Aloud]   Some signs of love in me? How would you have it?
        Must I declare it to you before you seek it?

724Bellamy   [Aside to CROSTILL]n2167   No; I would seek it zealouslygg1904, but my lord
        Is off on’t now, and I may lose his favour.

725CrostillIs your love limited by his favour then?

726BellamyNot limited, but, as it is as yet
        But in its infancy, a little checkedgg1905,
        Though it still grows and may extend beyond
        All limitation to so fair an object
        As is yourself. But still my own demeritgg1906
        Curbs my ambition more than love emboldens.

727Crostill   [Aside]   He speaks within me now.n2168
Enter SAVEALL [and] CARELESS.

728Saveall   [Aside to CARELESS]   Staygs238, let us retire: here is the Lord Lovely.

729Careless   [Aside to SAVEALL]   Be he a lord of lords, I’ll not retire a foot.

730LovelyWhat servants, Mistress Crostill, do you keep
        To let intruders in? Oh, Master Saveall!
CARELESS salutesn2105 CROSTILL and puts bygg1907 BELLAMYn2104.

731SaveallThe humblest of your lordship’s servantsn2107.

732Lovely   [Conversing aside with SAVEALL]   What gentlemann2106 is that you bring with you?

733SaveallIt is the nephew of the good knight Sir Oliver Thrivewell, of which Sir Oliver I have procured unto your lordship the sum which you desired by your servant, Master Bellamy.

734LovelyFor that I thank him and you, but I could wish you had not brought that nephew hithergg1268 now.

735SaveallCertesgg1038, my lord, I am sorry.

736LovelyMy reason is I have enteredgg1909 Bellamy agg1908 suitor to the widow.

737SaveallHe also comes a suitor.

738LovelyAnd is in deep discourse with her already. I’ll see fair play.

739CarelessBut you shall hear me, widow, and that to the point and purpose.

740LovelyLady, at my request, do this gentleman — who made the first approach — the favour to be heard and answered first.

741CarelessAs his approach was first, my lord, she has heard him first already, and my request is to be heard now, and then let her answer both him, or me, or neither — what care I?

742LovelyYour name is Carelessn2108, I take it?

743CarelessI came to talk with this gentlewoman.

744Crostill   [To LOVELY]   Pray, my lord, forbear him and let him speak.   [To CARELESS]   What do you say, sir?

745CarelessI say I love you, do resolve to marry you, and then to usegs154 you as I listgg1119.

746Crostill   To BELLAMYn2109   I say I love you, do resolve to marry you, and then to use you as I list.

747BellamyThis to me, lady? I’ll take you at your word.

748CrostillStaygs238, I do but tell you what he says.

749CarelessTake her at her word again, sir, and I shall take you by the lugsgg1813.   [To CROSTILL]   I say again, you shall have none but me.

750Crostill   To BELLAMY   I say again, you shall have none but me.

751CarelessWhat, do you fool me, or him, yourself, or all?

752Crostill   [To BELLAMY]   Pray, sir, how old are you?

753CarelessAre you good at that?   To BELLAMY   Pray, sir, how old are you?

754LovelyYou pressgg1910 beyond your privilege, which is only to speak to the gentlewoman.

755CarelessMy lord, I am a gentleman.

756LovelyYou may tell her so.

757SaveallLet men2110 beseech your lordship.
[SAVEALL] take[s] him [LOVELY] aside.

758Careless   [To CROSTILL]   How can you use a gentleman that loves you
        Dearer than life, and only bendsgg1911 his studygg589
        By all means to deserve you, one that cannotn2114,
        Will not, while there are ways to die, live out of
        Your favour, with so much despitefulgg1912 scorn,
        That when he speaks his soul to you through his lips,
        You make his language yoursn2112, and give’tn2113 a boy?

759CrostillWhat gentleman’s that you speak of?

760CarelessThe man that speaks it: I am he.

761Crostill   [To BELLAMY]n2115   All this, sir, in effect, and more of my affection, can I speak to you.

762CarelessOonsgg1913, but you shall not; you mistake the person to whom you are or ought to direct your affection; you mistake strangely.

763CrostillNo more than once a lover, or at least
        A bold pretender, having in civil language
        Expressed in writing his affection
        To a chaste mistress, sealed and directed it
        To a lewd strumpetn2117, and on the contrary
        Courted his virtuous friend in brothel language.
        Have I hitgg1914 you, sir?

764CarelessWhat can I say now? ’Slifegg1915, if that anger you after the error found and confessed, I’ll write worse to you, and in earnest.

765CrostillMaster Bellamy, some other time I shall be glad to see you.

766Careless   [Aside]   She means that to me now, but I’ll take no notice.   [Aloud]   I’ll find as good a widow in a tavern chimneyn2118.   [Aside]   Oh, she’s a daintygg355 widow!

767Crostill   [Aside]   He looks with scorn at me. I must not lose him, yet dare not stay for fear I tell him so.
           [Aloud to LOVELY]   I humbly crave your pardon, good my lord,
        For my ill manners and abrupt departure.
        The cause is urgent and, I beseech your mercy,
        Question it not.

768LovelyLet your will guide you.

769CrostillMaster Saveall, I thank you for my suitor.

770CarelessNay, but lady —n2254

771CrostillYes, you shall control me in my own housen2119.Exit.

772CarelessYes, yes, I mean so too, but you shall woo me hard first.

773Lovely’Tis a mad widow. Which of these two now think you has the better on’tgg776?

774SaveallI think he shall in the end have the best, my lord, that can slightgg1900 her most.

775Lovely’Tis my opinion too, and hear me.   [LOVELY and SAVEALL talk] aside.   

776CarelessSir, I have seen you butgs29 twice, and it has been at places where I cannot allow of your resortsgg1916: first at my aunt’s, and now here at my widow’s.

777BellamyYour widow, sir! I thought she had been the widow of one deceased.

778CarelessThou art a witty, pretty child. But dogs247 you here use your wit out of the smell-reach of your lord’s perfumed glovesn2120, and I shall take you by the nose.

779BellamyForbear, sir, I have a handkerchiefn2121.

780CarelessAnd let me find you there no more nor heren2122, I charge you.

781BellamyI hear your charge, sir, but you must leave it to my discretion to obey it or not.

782CarelessTrust to your discretion!

783Lovely   [Aloud]   And so commend me to my Lady Thrivewell. Come, Bellamy, away. What’s your discourse?

784BellamyAll fair and friendly, my lord.

785CarelessVery good.

786LovelySo should it be with rivals. Fare you well, Master Careless.[LOVELY and BELLAMY exit.]

787CarelessYour lordship’s — with a whewn2123.

788SaveallWill you walk homewards?

789CarelessExcuse me, sir, I pray.

790SaveallIt will not be convenient to return this day unto the widown2124.

791CarelessFear it not, sir; I like her not so well now.

792SaveallDo your pleasure.Exit.

793CarelessHa’ you cross tricksn2126, Mistress Crostill? Well, I will go drink your crotchetsgg1917 out of my pategg904, then home, and do that which mine aunt and I must only know. This is her night of gracegs248, if she keep touchgg1918 with me. Exit.n2125
4.2
Enter LADY [Thrivewell], PHOEBE, [and] CLOSET.

794LadyIn truth your story is pitiful, but your own folly has brought your scourgegg1919 upon you.

795Phoebe’Twas through the blindness of my love and my credulity, madam, wrought by his strong temptations.

796LadyWell, for this once I’ll strain a point of honour for you, chiefly indeed in answer of his rude unnaturaln2128 presumption in attempting men2127. That a villain can still be so barbarously lustfull! If in this way I fitgg1616 him not, and cause him to desist his beastly purpose, I will discovergg1416 all to his undoing. Closet, you know my mind and full directions for the conveyance of our design.

797ClosetYes, madam, doubt not. Though I have but a naughty headn2130 at most other matters, I daren2129 trust it for a sure one at such conveyances.

798LadyI presume, to further the matter, he’ll come home drunk, by his not coming to supper.

799ClosetThen he may forget what he so much expected, or sleep away his expectation.

800PhoebeNo, he will then be the more vehement till his desire be over.

801LadyYou know his humour best it seems. Away, away, my husband comes.CLOSET [and] PHOEBE exit.n2131
Enter THRIVEWELL and WAT.

802ThrivewellWell, Wat, for this discovery I’ll make thy reward worth ten such masters’ services.[WAT exits.]

   [To LADY Thrivewell]   Sweetheart, I have a suit to you — But first, what woman’s that with Nurse?

803LadyA kinswoman of hers whom she would prefergg1920 to me, but I have answered her I will not charge your purse with more attendants, only I have given her leave to entertain and lodge her this night.

804ThrivewellThat’s my good girl.

805LadyNow what’s your suit, sir — as you are pleased to call it — which I would have to be your free command?

806Thrivewell’Tis for my absence from thee to accompany Master Saveall to bringgg1921 a dear friend on his way to Gravesend tonight, who is suddenly to depart the land.

807LadyThese sudden departures of friends out of the land are so frequent; and that I may believe you intend really, and no feigned excuse; norn2132 will I think, as long as you have good and substantial made-workgg1923 at home, that you will seek abroad for any more slight sale-waregg1922 .

808ThrivewellNo more o’ that, sweetheart. Farewell. Expect me early in the morning.Exit.

809LadyI am glad of his absence tonight, lest there should happen some combustiongg1924 in the house by his unruly nephew, in case hen2133 should discover my deceit in beguilinggg1925 him with his own wench instead of me. I do evengg1926 tremble to think upon the unnatural villain that would offer so to wrong his uncle. I thought I had schooled him sufficiently and beaten him off at his first attempt, and he to assail me again with more forcible temptations urging me to a promise.
Enter CLOSET.

810ClosetThe young gentleman is come in, madam, and, as you foresaw, very high-flowngg1927, but not so drunk as to forget your promise! He’s going to bed in expectation of your approach.

811LadyAnd have you put his damseln2134 into her night-attire?

812ClosetMost lady-like, I assure you, madam.

813LadyAnd let her be sure to steal fromgg1928 him before day.

814ClosetYes, with all silence, madam, she has promised.Exit.

815LadyMay ladies that shall hear this story told,
        Judge mildly of my act since he’s so bold.[Exit.]
4.3
[Enter] SALEWARE [and] BELLAMY.

816SalewareNay, but look you, Master Bellamy, it is not I protest that I am jealous. I make this inquiry for my wife. I, jealous? I an asinegogg388 then! I am as confident of my wife as that she is in this house, howe’er you deny her to me.

817BellamyByr’ladyn2135gg138, you are not jealous now? If you were not, you would believe me she is not here.

818SalewareWithout equivocation, Master Bellamy, she is not here, indeed, under your foot, but she’s here in the house, and under somebody for aughtgg1226 anybody knows but myself that do confide in her, as I say and will know no such matter. And so my lord’s will be donen2136 with her, I hope I shall see her well tomorrow and at her own house.

819BellamyCan such language proceed out of any but a jealous mouth?

820SalewareWhat an asinego’s this! I say again, I do confide in her, nor will I be dashed or bashed at what any man says of or against her. And therefore methinks ’tis very strange that you should deny her to me, that comes not to molest her.

821BellamyThere you are again. But since no denial will serve your turn, indeed she is here in this house, and in bed by this time.

822SalewareAway, away, you mock, i’faith, you are a waggg1300. She’s no more here than I am. If she were here, can I think you would tell?

823BellamyHow came you to think or dream she was in this house at all?

824SalewareI neither thought it or dreamt it, I. Butn2137 sir, a waterman brought me a letter in haste from one Master Anonymous, intimating that my Allyn2251 was with a private friend at this house, and to lie here all night — a very likely matter! What private friend has she but my lord, and that in a right honourable way? I confide in ’em both for that. But at this house is such a thing — my lord having diversgg406 lodgings and she a house of her own at his dispose and command — that is such a thing to be thought or dreamt on!n2281

825BellamyWhy came you to enquire then of such a thing?

826SalewareWhy sir, this ‘Anonymous’ writ that I should come hastily hithergg1268 and ask to speak with you, Master Bellamy, ann2252gg1312 I should know further. Hither I came, here I find you, you deny she is here, and what do I enquire any further?

827BellamyYou hear me say again she is here.

828SalewareGo, you are a wag again! She here? Is my lord here? Or any private friend? Alas, alas, you are too young Master Bellamy, and may as well persuade me I am jealous.

829BellamyWell, sir, to put you out of all jealousy and doubt (if you be in any), I was the Anonymous that sent you the letter to draw you hither and declare myself your friend, which shall instantly be manifest to you if now you have a mind to lie with your own wife before any other man.

830SalewareThen she is here indeed, belikegg1929?

831BellamyPray, come with me into the next chamber.

832SalewareThis is some waggerygg1930 plotted by my wife; I smell it.[BELLAMY and SALEWARE] exit.
The bed put forth, ALICIA in itn2138. Enter BELLAMY [and] SALEWARE with lightn2139.

833BellamyBut you must be sure to say, when she discovers you, that you came of your own accord, unsent for, as inspired or possessed by some dream or vision, to find her here.

834SalewareWell, if this be not my wife’s waggery in a main proof of her chastity, I am not here. I will do so, sir.

835BellamySo then, obscure yourself a while, while I approach her.

836AliciaWho’s there?

837Bellamy’Tis I, your servant, lady.

838AliciaSweet Bellamy, why come you not to bed?

839Saleware   [Aside]   Good.

840AliciaDoes the love that was so hot and the desire that was so fervent begin to cool in you?

841Saleware   [Aside]   Good again. As if he, an asinego, had ever made love to her fine waggery!

842AliciaHas my mere consent to satisfy you cloyedgg1931 you?

843Saleware   [Aside]   Consent to my lord’s man? A likely matter!

844AliciaOr did you court me to a promise only to trygg1932 my fidelity to your lord, and then betray me?

845BellamyDear lady, think not so, but that I am struck into stone with wonder and amazement at the most unexpected accident that ever crossed a lover.

846Saleware   [Aside]   Daintygg646 waggery, this! What little mad rogues are these to plot this to make me jealous!

847AliciaPray, are you serious? What is the accident?

848BellamyI will not be so crossed, but kill him rather. To enjoy such a mistress, who would not kill a horned beastn2140? Yet blood is such a horror —

849Saleware   [Aside]   Very pretty!

850AliciaWill you not tell me?

851BellamySpeak lower, gentle lady.

852AliciaWhy, prithee? Who can hear us?

853BellamyI know not by what magic your jealous husband has made discovery of our being here; he wroughtgs249, sure, with the devil!

854AliciaI am undone then. He will tell my lord.

855SalewareI shall undo myself then, friend. No, Sapientia mea mihi. Be not dashed nor ’bashed for that, good friend, if there were any such matter. But this is waggery, fine waggery, plotted betwixt you to tempt my jealousy. But never the sooner for a hasty word, I warrant you. Master Bellamy, that my wife is here, I thank you. But how I came to know it you shall never know from me. You sent not for me; I am sure you were not the Anonymous. Indeed, it should have been Anominan2141, friend-wife, for it was thy act, I dare swear. However, you do not hear me say I was sent or writ for at all, more than by a dream or vision. But here I am, and mean to remain tonight. I hope the house can affordgg939 you another bed in’t, Master Bellamy, and you to leave me to my own friend-wife.   [To ALICIA]   I like the lodging most curiouslygg1933, sweet friend, and, I prithee, let’s try heartily what luckn2142 we may have in a strange place. I would so faingg715 have a little one like thee.

856BellamyI’ll leave you to your wishes. A good night to you.

857AliciaPray, sir, a word first. Husband, be farther.

858SalewareFaces aboutgg1934, Tom Saleware, and march forwards.

859AliciaYou told me, sir, of a hundred pound that your sweet Lady Thrivewell sent me.

860Bellamy’Tis true, I have it for you.

861AliciaBut she has since countermanded you to keep it, has she, and to mock my expectation of that and you? Why have you fooled me thus?

862BellamyI rather should suspect your craft in this preventionn2144. But love forbids me, and I must conclude ’tis witchcraft in your husband.

863AliciaCome, let’s kiss friendsn2143, and, sweet, tomorrow night I will prevent his witchcraft in the full enjoyment of our free pleasures. Be you truegg787 to me.

864BellamyMay all that’s man in me forsake me else.

865AliciaAnother kiss and then good night.   [They kiss.]   

866SalewareAre you still whispering? No matter, let ’em whispern2145.

867BellamyGood night.Exit.

868AliciaNow may the spirits of all injured women be added to mine own for my revenge, which I this night will dream of, slighted and mocked, he and his like shall know,
        That when a yielding woman is so crossedgg613,
        All thoughts but of revenge with her are lost.

869SalewareOh, he’s gone. Ally, friend, I would say, and now I prithee tell me how or why thou cam’st hither.

870AliciaWill you pardon me?

871SalewareYes, faith, I were no friend else.

872Alicia’Twas but to try if I could make thee jealous.

873SalewareIn waggery! Did not I say so? When do my prophecies fail?

874AliciaBut what brought you hither, think you?

875SalewareA letter from one Anonymous, but I’ll eat spiders and breakn2146 if you sent it not.

876AliciaGive me the letter.

877SalewareWhere is it? Fegsgg1935, I ha’ lost it!

878Alicia’Twas I indeed that sent it.

879SalewareDid not I say so too? And that it should ha’ been Anoniman2149? Sapientia mea mihi, when do my prophecies fail? I’ll to bed instantly while the prophetic spiritn2148 is in me, and getgg726 a small prophet or a soothsayern2147.

880AliciaNo, I’ll have no bed-fellowgg1937 tonight.

881SalewareNe’er the less for a hasty word, I hope, friend.

882AliciaI am at a wordgg1936 for that.

883SalewareI’ll lie upon thy feet then.

884AliciaWell, you may draw the curtains and sleep by me.

885SalewareSapientia mea mihi, stultitia tua tibi.   Putsn2150 in the bed.   [SALEWARE and ALICIA] exit.
4.4
PHOEBE passes over the stagen2151 in night attiren2153; CARELESS follows her as in the darkn2152.

886CarelessMadam, madam, sweet madam, ’twill not be day these three hours. Stay but three minutes longer, but a touchgs250 more — She’s whipped into her chamber.    [Searching for the door]   Could I but find the door — I know my uncle’s fromgs237 home. Oh, she returns with light: that’s well.
Enter LADY [with] a light.

887LadyWhat ail you? Are you mad?

888CarelessWould not any man be mad for losing such a bed-fellow? Sweet madam, let us retire without any noise.

889LadyWhat an insatiate beast are you? Would you undo forever both me and yourself?

890CarelessNot with one dogs251 more, I warrant you. Come away, madam. [Knock] Madam, somebody knocks mainly at the gate, and I believe it is my master returned before his time!
Enter CLOSET.

891LadyI cannot think ’tis he.

892Careless’Tis the rogue my man, I warrant, drunk, and has forgot I turned him away. But he shall spoil no sportgs252. Come away, madam.

893LadyCloset, go your ways down, and hark before you—n2154   [Whispers to CLOSET]   

894ClosetI will, madam.Exit.

895CarelessSo now come, madam, I commend you in the charge you have given your watch-woman.

896LadyWhat charge do you guess?

897CarelessWhy, to tell my uncle (if he be come) that he must not come near you, that you have had no rest tonight till just now you are fallen asleep, and so forth.

898LadyGo, you are a wicked fellow. I am sorry for any the least favour I have done thee. And do thou dare to attempt me once more, I’ll ha’ thee turned headlong out of my doors.

899Careless   [Aside]   I have got her with child tonight with a spark of mine own spirit, and longsn2155 already to do me mischief. The boy will be like me, therefore ’tis pity to knock’t o’the head.   [Aloud]   But come, madam, tothergg1195 crashgg1938 and good night. Must I drag you to’t?

900LadyTouch me but with a finger and I’ll raisegg1939 the house.

901CarelessYou dare not, sure, and now take heed you vex me not. Have you not been my whore?

902LadyYou dare not say so, forgs253 spoiling your fortune.

903CarelessFaith, but I dare, and if you will not obey me in a course of further pleasure tonight, fetch me a hundred pieces to take a course abroadn2156 withal. Do ye look? I’ll make you fetch me hundred after hundred, huswifegg1940, when I want it or shall be pleased to call for’t. All comes out else: the gates of your fame flies open, lady. I will proclaim our actgg1941.

904LadyDare you forfeit your own reputation so?

905CarelessI shall gain reputation by’t in the company I keep abroad, and if the cuckold, my uncle, come to the knowledge of it at home, I shall possessgg1942 him that you lustfully tempted me to it.

906LadyCanst thou be so villainously impudent to destroy thine own fortunen2157 to ruin me?

907CarelessYou may conceal all then, and so will I, and mend my fortune by yours. I will live bravelygg141 upon your fortune, and the heir which I have gotgg1531 tonight shall inherit it, my uncle’s estate. And therefore, indeed, I would have all concealed for my child’s good, or rather for mine own. For it shall go hardgg1943 if I put him not into a course in his minority to consumegg1944 the estate upon me before he come to agegs254.
Enter THRIVEWELL [and] SAVEALL.n2158

908LadyI am undonegg1946.

909CarelessAnd oh, that ever I didgg1945 it!

910LadyThou, villain, hast undone me.

911CarelessCome I’ll dogs21 you again, and then all’s wholen2159 again.

912Thrivewelln2160You’re both undone. Oh you prodigious monsters
        That have betwixt you made me monstern2161 too!
        What’s to be done, but that I kill you both,
        Then fall upon my sword.

913SaveallSir, you resumegg1947 the tempergg1948 of humanity
        And let the law distinguish you from them.
        You neither are to be their executioner,
        Nor to fall with them.

914ThrivewellLife to me is torment!

915CarelessOh, the devil, what a case am I in now!n2277

916LadyPray, hear me, sir?

917ThrivewellCan more be said to aggravate thy shame
        Or my affliction than I have heard already?

918SaveallLet me entreat you hear her.

919LadyWhat shame did you, or what affliction I
        Suffer, when you discovered unto me
        Your bargain of a hundred pound in saleware?
        You understand me. How was life a torment
        To me then, think you?

920ThrivewellDid you not vow forgivementsn2162 then? And thus
        You freely would forgive my act? And thus
        Now to revenge it on me to my ruin
        And your own endless infamy? Oh, ’tis horrid!

921Lady’Tis no revenge at all, only a show
        To startle you, or try your manly temper,
And so near to be even with ye as to let you know what some wife might perhaps ha’ done, being so moved. It was my plot indeed to straings255 you hither to this false-firegg1949 discovery, for which I’ll give you reasons.

922ThrivewellOh gross dissimulationgg1950!

923LadyMaster Saveall, you have done many fair offices for his nephew. Do this for me: entreat himn2163 to a conference a few minutes in my chamber. If I clear not myself in his and your opinion, and that by witnesses, let me be found the shame of all my sex.

924Saveall   [To THRIVEWELL]    Sir, my counsels have been prevalent with your judgement, let me persuade you.

925ThrivewellBut I will have that friend thrust out of door first.

926LadyI would not that you should, nor give a look or word to him till you have heard me; then exercise your justicegg1951.

927Saveall   [To THRIVEWELL]   Sir, be inducedgg1953 to it.

928ThrivewellYou have prevailed.

929LadyGo to your bed again, George, and sleep. Be not afraid of bugbearsgg1952.[LADY, THRIVEWELL and SAVEALL] exit.

930CarelessHow’s this? She’s come aboutgs256 again and has patchedn2166 all up already. I hope she’ll work mine uncle to reward me for my night work, and bring him in time to hold my stirrupn2164 while his George mounts her. She’s a delicate well-going beast! I know but one to match her in a course, just the same pace and speed as if I had only had the breaking and managing of her myself. But the mark goes out of Phoebe’s mouthn2165 now, and I’ll play my aunt against all the town. But how she thought to fright me with “villain” and “impudent”.
        And now go to bed, George — ha, ha, ha! I find her driftgg1954.
        No wit like women’sn2253 at a sudden shift.[Exit.]

Edited by Eleanor Lowe


n2602   ACT FOUR The octavo divides the act into four separate scenes, the first of which begins with the wooing of Crostill by Lovely (on behalf of an unknowing Bellamy). It is highly choreographed in terms of speech and movement: discrete groups of characters form and disband making use of asides to each other, so that Bellamy woos Crostill, Careless and Saveall comment on Bellamy’s presence, Lord Lovely and Saveall discuss progress, and Careless woos the widow himself. Crostill's strange thrill at being slighted is fully explored in this scene, and Bellamy's uneasiness as suitor matches the atmosphere of general discomfort. Careless is so troubled by it that he leaves to drink Crostill's oddness out of his system before (as he supposes) sleeping with his aunt.
The second scene demonstrates the care with which Brome (through Lady Thrivewell) has engineered the plot against Careless. Phoebe is made ready, Lord Thrivewell excuses himself from the house that evening, and Careless arrives on cue, drunk and amorous.
The scene exposes the lack of private space afforded to the women: public space tends to be dominated by the male characters, apart from the scenes set in the silk shop; here, Alicia dominates, but engages in aggressive male behaviour when confronted by Lady Thrivewell. The women are overheard by an apprentice, a servant, and visiting male customers, and it requires ingenuity in manipulation for a truly private conversation to occur.
The nocturnal activities continue in scene three: Saleware has been summoned by an anonymous letter to an unknown dwelling, at which he finds his wife and Bellamy. Alicia's infidelity is overlooked by Saleware's conviction that his wife is simply trying to make him jealous. While Alicia is promising to spend the next night with Bellamy, Saleware dreams of conceiving a child with his wife, thus continuing the theme of anxiety over procreation and heredity established by the Thrivewells.
In Scene Four, the night setting is reinforced with mention of Phoebe's appearance in her 'night attire'. The lateness of the hour has been implied in the previous scene with the thrusting forth of the bed and use of a 'light' by Bellamy and Saleware. For Lady Thrivewell's trick to work, it is imperative that Careless does not see Phoebe, assuming instead that it is Lady Thrivewell in his bed. She emerges with a candle once Phoebe has safely exited. There is no mention of the two women both wearing the same night attire but this is a possibility; if it is distinctive they could swap it backstage. Here, Careless's demands for sex also involve the suggestion of domestic violence, since he is tempted to harm Lady Thrivewell in order to get his own way, but refrains because he believes he has conceived his child with her that night. The sudden appearance of Lord Thrivewell prevents this threat, but introduces the new charge of marital infidelity as an act of revenge for his liaison with Alicia. When Lady Thrivewell persuades her husband to hear her side of the story the situation is calmed, but Careless believes Lady Thrivewell is unpredictable (as Crostill is), hoping to calm her husband while being keen for more sex later on. This expectation marks Careless as the perfect match for Crostill: he is badly behaved, which she likes, and readily accepting of a contrary temperament. [go to text]

gg1889   bashful shy, modest [go to text]

n2092   act methodical practised method of wooing and declaring love [go to text]

gg1890   moving persuasive, convincing [go to text]

n2093   putting of you to’t 'it' suggests love but it is more likely 'sex' is meant [go to text]

n2094   Declares it lawful i.e. marries them so that the sexual act can be lawful and within marriage [go to text]

n2095   never-failing signs of widows’ joys i.e. the finger, jaws and long nose, which are suggested as indicators of non-coital sexual pleasure. The dimensions of the nose are also thought to indicate penis size (see Williams). [go to text]

gg1891   care charge, design [go to text]

gg1893   mirth delight, joy, happiness [go to text]

gg1892   felicity happiness [go to text]

gg1894   stripling youth, young man [go to text]

n2096   Got any of his mother’s maids with child It is highly possible that this line is very funny to the audience, who must have worked out by now that Bellamy is in fact a female in disguise as a male. [go to text]

n2097   backs According to Williams, backs are closely allied to sexual potency, and suggestive of strength for sustained play. [go to text]

gg1895   sift examine closely (to discover secrets) [go to text]

gg574   moon month (since the new moon) [go to text]

gg1531   got begotten, conceived [go to text]

gg1896   deed the sexual act [go to text]

gg1897   wittols men aware of their wives' infidelity [go to text]

n2098   wisealls aural and etymological pun on 'wit' in 'wittol' as 'wit-all', meaning 'knowledge' or 'wisdom', whilst also differentiating between the two [go to text]

gg1898   landed possessing land [go to text]

gg1899   wanting lacking, needing [go to text]

n2099   turn the land out of the name Presumably because these irresponsible inheritors would drink and gamble the estate away, so that it would have to be passed on to new owners. [go to text]

n2100   riotous kinsman Crostill wittily repeats Lovely's use of 'riotous kindred' from above, so that the parallel between Lovely's description and Lord Thrivewell is clear. [go to text]

gs243   mettle sexual vigour; semen [go to text]

gs244   moved asked, provoked [go to text]

gg1900   slight (v) disregard, treat with disrespect [go to text]

n2101   her achievement i.e. your achievement of her (as your wife) [go to text]

gs241   would wish [go to text]

gg1901   tenders offers (for acceptance) [go to text]

n2102   cast pieces Crostill plays on more than one sense of game: dice or money thrown when gambling (which are therefore cast) and 'pieces' as female sexual objects, with the added implication that they are 'discarded'. Crostill suggests that Lord Lovely would place her (as one of his gambling pieces) like a bet on Bellamy, wooing her for him. The secondary, sexual meaning seems to follow Lord Lovely's extremely bawdy comments in the first few lines of this scene. [go to text]

gg1902   game dice game; gambling [go to text]

gs245   game woman as quarry; sexual act [go to text]

gg1903   misprize mistake, misunderstand (OED v1. 1) [go to text]

n2103   your lord’s cast boots A further pun on 'cast', this time to suggest discarded riding boots, but furthermore implying a past sexual relationship between Crostill and Lovely which also solidifies the suggestion of Crostill as one of Lovely's 'cast pieces', i.e. discarded women. [go to text]

gg447   cast (usually of garments) thrown aside, cast-off, rejected (OED 5) [go to text]

gg1479   leave permission [go to text]

gs246   estate fortune [go to text]

n2167   [Aside to CROSTILL] Video The scene is set up so that Bellamy is directed to woo Crostill without much warning by Lord Lovely. Crostill comments that Bellamy is not particularly good at wooing, seeming a little too shy. Bellamy's response suggests that, with his lord looking on, it is rather difficult to divulge his true feelings to Crostill. During the workshopped sequence, the actors discovered that an intimacy between the characters of Crostill and Bellamy helped to explain the meaning behind this line . [go to text]

gg1904   zealously passionately [go to text]

gg1905   checked restrained, controlled [go to text]

gg1906   demerit ill-desert [go to text]

n2168   He speaks within me now. Video This line prompted much discussion as to its meaning during workshop sessions. Spove changes 'with' to 'within', however it is possible to make the octavo reading work. Suggested meanings include: Crostill sympathising with Bellamy's enforced situation but not being moved by his entreaty, so that she finds need for his apology; Crostill responding sarcastically to his wooing; Crostill simply marking the change in Bellamy's delivery, a reading which only works if Bellamy delivers his wooing lines to Crostill but whilst looking at Lord Lovely with longing. This latter explanation has Crostill detecting passion in Bellamy's speech but still not being interested in what he says . Positioned at a distance onstage, Lovely interprets Bellamy's looks as demands for encouragement, and urges him on with encouraging gestures. [go to text]

gs238   Stay wait [go to text]

n2104   CARELESS salutes CROSTILL and puts by BELLAMY Video This stage direction occurs alongside dialogue in the octavo, and since there could be room for it to appear on its own line, marginal presentation is suggested to denote action ongoing during the lines alongside. Therefore, the layout of text can be read as follows: Lovely complains about the intruders, then realises he recognises one of them (hence this exclamation being separate from the rest), at which point Careless salutes. While Saveall responds, Careless 'puts by' or thrusts aside Bellamy, causing Lovely to enquire after his identity. (A similar 'rolling' stage direction is used in Act 3: during Saleware's speech, the shop is 'discovered'.) The action of this stage direction was fully explored in a workshop, and several suggested performances of this can be viewed: Careless pushes Bellamy away and nods to Crostill ; Careless bows to Crostill, pushing Bellamy aside simultaneously, rather than sequentially ; Careless sweeps Crostill off her feet with a kiss, manipulating her away from Bellamy . A presentation of this small section of text including the 'salute' can be seen at this point: . [go to text]

n2105   salutes Video This could have a variety of interpretations: it might mean the making of courtesy, i.e. a bow of some kind, or it could signify a kiss on the lips in greeting. The OED records the first instance of ‘salute’ as noun in 1590 (n1. 2), but the first verbal entry is dated as late as 1716 (v. 2e). A modern interpretation might include Careless sweeping Crostill off her feet or kissing up her arm . [go to text]

gg1907   puts by thrusts aside [go to text]

n2107   The humblest of your lordship’s servants presumably accompanied with a bow [go to text]

n2106   gentleman ] Gentlemen [go to text]

gg1268   hither here (to this place) [go to text]

gg1038   Certes certainly [go to text]

gg1909   entered introduced [go to text]

gg1908   a as a [go to text]

n2108   Your name is Careless Lovely drily puns on Careless's use of 'care' in the previous line. [go to text]

gs154   use treat, deal with [go to text]

gg1119   list wish, please [go to text]

n2109   To BELLAMY The octavo prints this direction at the end of the line, but it has been moved to the beginning in accordance with modern editorial practice. [go to text]

gs238   Stay wait [go to text]

gg1813   lugs ears (OED n2. 2a) [go to text]

gg1910   press push insistently, advance with eagerness, intrude [go to text]

n2110   me ] we [go to text]

gg1911   bends directs [go to text]

gg589   study employment, interest [go to text]

n2114   cannot The round brackets and question mark appear in the British Library individual edition and the 1654 Five New Playes edition, but not the 1653 edition. There is the possibility that a previous reader might have erased the punctuation marks since they are replaced with a comma in brown ink. [go to text]

gg1912   despiteful cruel, fierce [go to text]

n2112   You make his language yours i.e. by repeating what Careless has said [go to text]

n2113   give’t i.e. give the language (and Careless's very soul!) to [go to text]

n2115   [To BELLAMY] Given Careless's response to these lines of Crostill, it seems most likely that she addresses them to Bellamy, since Careless criticises her choice of addressee. [go to text]

gg1913   Oons exclamation or oath, derived from 'zounds' (OED) [go to text]

n2117   To a lewd strumpet The positioning of these words does not appear to make sense in the octavo. This edition follows Parra and Spove in moving them up two lines. [go to text]

gg1914   hit (v) hit the mark, guessed correctly [go to text]

gg1915   ’Slife abbreviation for 'God's life' used as an oath or exclamation [go to text]

n2118   tavern chimney i.e. implying that he could find as good a person to marry sitting in an inglenook of the fireplace in the local pub. Is Careless trying to imply that Crostill is a) unattractive and b) an alcoholic? Williams notes the 'chimney-corner' as being 'a place for the idle as well as the infirm; hence making the conventional link between lust and idleness'. [go to text]

gg355   dainty valuable, excellent; rare [go to text]

n2254   Nay, but lady — During the workshop of this scene it transpired that Crostill's line to Saveall was a farewell as she prepared to leave. Therefore, Careless's line is an interruption designed to prevent her exit (verbally or physically), hence Crostill's comment that Careless attempts to dictate her movements within her own house. [go to text]

n2119   Yes, you shall control me in my own house Video Among the options for staging Crostill's exit there are two contrasting readings: one leaves the exit direction in place, so that Careless delivers his line to Crostill's retreating back or to the audience ; the other moves the exit one line down, so that Crostill and Careless exchange their lines eye to eye . The former reading demands Crostill to deliver her line sarcastically, while the latter option makes for a more sexually charged exit, also demonstrating Crostill's perverse desire to be treated badly by her male partners. [go to text]

gg776   on’t of it [go to text]

gg1900   slight (v) disregard, treat with disrespect [go to text]

gs29   but only [go to text]

gg1916   resorts visits [go to text]

gs247   do if [go to text]

n2120   the smell-reach of your lord’s perfumed gloves Leather gloves could be perfumed sweetly with expensive ingredients (often with the scent of civet). Careless threatens that while Bellamy is far enough away from Lord Lovely (so as not to be able to smell the perfumed gloves, and therefore not under his protection) he could be vulnerable to Careless's physical persuasions. [go to text]

n2121   I have a handkerchief Careless has threatened to pinch Bellamy's nose in order to intimidate him into giving up his suit to Crostill; however Bellamy cleverly rejects this intimidation, suggesting that Careless was offering to wipe Bellamy's nose, and explaining that he already has the means to do this for himself. [go to text]

n2122   there no more nor here i.e. at either Careless's aunt's house, or the widow's [go to text]

n2123   with a whew Video Several staging options have presented themselves during workshops and readings of this scene. These include performing the 'whew' as a) a discourteous sound, such as blowing a raspberry; b) in relief or exhaustion after Lovely's departure ; c) with suggestion that Bellamy is Lovely's gay companion (for which the dash needs removing) ; d) with a contemptuous gesture to Lovely's retreating back . Parra presents 'With a whew' as a stage direction, describing a 'whew' as a disgusted whistle. [go to text]

n2124   It will not be convenient to return this day unto the widow This line could also be delivered as a question, i.e. 'It will not be convenient to return this day unto the widow?' [go to text]

n2126   cross tricks 'Cross' can mean 'contrary' or 'perverse' and it is this sense which Careless uses here, rather than 'irritable'. 'Trick' can refer to a person's characteristic way of acting (OED n. 7), a skillful prank, and a sexual act (OED n. a). Careless is therefore referring to Crostill's peculiar temperament and love of witty banter, as well as her unusual enjoyment of being treated badly. [go to text]

gg1917   crotchets perverse fancies or peculiar notions (usually held in opposition to common opinion (OED n1. 9a) [go to text]

gg904   pate head [go to text]

gs248   grace sexual favour [go to text]

gg1918   keep touch keep an appointment, with sexual purpose [go to text]

n2125   Exit. ] Exeunt Omnes. Careless is the only character left onstage, so there is no need for the plural form. [go to text]

gg1919   scourge whip; divine judgement [go to text]

n2128   unnatural i.e. against nature (because she is his aunt); coupled with barbarous lust and Careless's 'beastly purpose' we are informed of Lady Thrivewell's true feelings regarding this proposition. [go to text]

n2127   attempting me i.e. proposing to have sex with me [go to text]

gg1616   fit (v) punish accordingly (OED v1. 12) [go to text]

gg1416   discover reveal the truth about, report or give evidence against [go to text]

n2130   naughty head i.e. bad memory, 'naughty' meaning 'worthless' or 'poor' (OED a. 4a) [go to text]

n2129   dare ] dare not (octavo). The octavo's inclusion of 'not' makes little sense in Closet's assertion that she will remember the message. Spove explains that Walley and Wilson unsatisfactorily suggest Closet has written down the instructions (which is a possibility in performance despite there being no textual evidence), and therefore retains 'not'. This edition follows Parra in deleting it as a printer's error. [go to text]

n2131   CLOSET [and] PHOEBE exit. The women should make a fairly slow exit, since Lord Thrivewell sees them and asks about the woman with Closet. [go to text]

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

gg1921   bring accompany, conduct [go to text]

n2132   nor ] now [go to text]

gg1923   made-work i.e. home-made, therefore, good quality [go to text]

gg1922   sale-ware inferior quality goods that are ready-made rather than home-made (OED sale n2. 4a) [go to text]

gg1924   combustion disorder, commotion (OED 5b) [go to text]

n2133   he i.e. Careless [go to text]

gg1925   beguiling cheating, deceiving [go to text]

gg1926   even (adv) even now (OED 6a), just now [go to text]

gg1927   high-flown intoxicated (with alcohol) [go to text]

n2134   damsel i.e. Phoebe [go to text]

gg1928   steal from depart from secretly or quietly (OED, steal, v1. 8) [go to text]

gg388   asinego little ass; fool [go to text]

gg138   Byr’lady contraction of 'by our Lady'; an oath or expletive (OED) [go to text]

n2135   Byr’lady ] Why Lady (emended following Parra and Spove, which seems a more sensible reading) [go to text]

gg1226   aught anything whatever [go to text]

n2136   my lord’s will be done This line echoes part of the Lord's prayer: 'thy will be done'. [go to text]

gg1300   wag mischievous boy; fellow; joker [go to text]

n2137   it, I. But Video ] it. I but
This interpretation of the octavo reading uses the 'I' as an emphatic end to Saleware's first line . Saleware uses a similar speech pattern in his next speech: 'speak with you, Master Bellamy...'. Several options for modernising this line were suggested when workshopping the scene, but the current decision results from unanimous agreement amongst actors and editors (though this is not to say that other possibilities are not dramatically functional). Another option (as chosen by Parra) retains placement of the octavo's punctuation, but alters the spelling and meaning of 'I': 'I neither thought it or dreamt it. Ay, but, sir...' [go to text]

n2251   Ally An affectionate name for Alicia. [go to text]

gg406   divers several (OED 3) [go to text]

n2281   that is such a thing to be thought or dreamt on! Video The repetitious quality of Saleware's speech patterns are clear here. The necessary emphasis on 'that' refers back to 'this house' as Saleware expresses surprise at his wife's need to meet Lovely away from either of their residences. The repetition of 'such a thing' in Saleware's own speech is noted by Bellamy and used in his response. Saleware also repeats variations of Bellamy's 'think or dream' in the first and last lines of his speech. The above points are exemplified in the following video clip . [go to text]

gg1268   hither here (to this place) [go to text]

gg1312   an if [go to text]

n2252   an ] and [go to text]

gg1929   belike perhaps [go to text]

gg1930   waggery plot, practical joke [go to text]

n2138   The bed put forth, ALICIA in it i.e. thrust onto the stage probably from the wide central opening often referred to as the 'discovery space'. Dessen and Thomson list several characters who enter whilst already in bed. Beds could also be revealed in the discovery space. [go to text]

n2139   light e.g. candles. Martin White describes the use of candles, lamps and chandeliers to light indoor theatre spaces, suggesting that the light levels could be increased before a night scene to make it appear darker (pp. 148-49). This darkness would also help to conceal Saleware while Bellamy speaks to Alicia, so that perhaps Bellamy takes the candle with him, leaving Saleware in relative darkness. [go to text]

gg1931   cloyed satisfied, satiated (OED v1. 8a) [go to text]

gg1932   try test [go to text]

gg646   Dainty fine, handsome; excellent; pleasant, delightful (OED adj. 1); having a palate for fine food (OED adj. 3) [go to text]

n2140   horned beast wild animal; but also a reference to Saleware as the horned cuckold [go to text]

gs249   wrought worked; created (magic or means) [go to text]

n2141   Anomina i.e. the female version of 'Anonymous' [go to text]

gg939   afford supply or furnish from its own resources; give what is asked for [go to text]

gg1933   curiously excellently [go to text]

n2142   luck i.e. luck in conceiving a child [go to text]

gg715   fain gladly, willingly, eagerly [go to text]

gg1934   Faces about turn around, face in the opposite direction [go to text]

n2144   suspect your craft in this prevention i.e. Bellamy could easily suspect that Alicia has something to do with her husband's sudden arrival and disruption of their illicit plans. [go to text]

n2143   kiss friends kiss as friends, make up [go to text]

gg787   true loyal, faithful [go to text]

n2145   whisper ] whiswer [go to text]

gg613   crossed frustrated, jinxed; (literally) run across (one's path) [go to text]

n2146   eat spiders and break The OED records that 'to swallow a spider' is to go bankrupt (n. 1d) but this seems more the equivalent of 'I'll eat my hat'. [go to text]

gg1935   Fegs exclamation of astonishment [go to text]

n2149   Anonima Presumably Saleware is both ignorant and knowledgeable of words and language, recognising the female form of a word, but not realising the irony of its meaning, 'unknown or no name'. [go to text]

n2148   prophetic spirit Saleware puns on his (apparent) ability of predicting what will happen by making a reference to his generative semen, and his desire for them to make a child together. [go to text]

gg726   get beget; gain [go to text]

n2147   soothsayer ] South-sayer [go to text]

gg1937   bed-fellow one who shares a bed with another [go to text]

gg1936   at a word at once (OED, word, n. 13a) [go to text]

n2150   Puts i.e. pushes the bed offstage, perhaps through the discovery space (either done by Saleware or stage hands). [go to text]

n2151   passes over the stage i.e. enters through one door and exits through another, crossing the stage in full view of the audience. It is suggested that this action occurs during Careless's first two lines, so that Phoebe has disappeared offstage by the time that he states she has gone into her bedroom. [go to text]

n2153   night attire i.e. some sort of long linen night dress perhaps with a warm gown over the top. The key is that its appearance appropriately suggests the figure of Lady Thrivewell, hence Careless's identification of the mystery woman as his aunt rather than Phoebe. Dessen and Thomson identify that key items of clothing, such as a night gown, will indicate to an audience that the setting is night (p. 150, in addition to the possibilities presented by performing in the controlled environment of an indoor theatre). [go to text]

n2152   as in the dark This suggests that the actor playing Careless must mime walking in the dark, perhaps with arms out in front of him to feel the way. He could be carrying a candle, but since the next stage direction specifies that the Lady has a 'light', perhaps it is not Brome's intention for Careless especially as he must mistake Phoebe for Lady Thrivewell. Performance in an indoor theatre space also offers the option of lowering the light levels by reducing the number of candles lit between scenes, or by raising the chandeliers of candles (as experimented with by Martin White, pp. 148-151). [go to text]

gs250   touch little bit, with pun on the physical sense [go to text]

gs237   from away from [go to text]

gs251   do the sexual act [go to text]

gs252   sport fun, i.e. sex [go to text]

n2154   hark before you— This edition follows Parra in inserting a stage direction for whispering, so that the long dashes in the octavo are interpreted as signifying secret conversation between Lady Thrivewell and the nurse. [go to text]

n2155   longs i.e. the supposed child longs. Parra inserts 'he' before longs, but the sense of the line is clear enough without this emendation. [go to text]

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

gg1938   crash colliding of bodies, i.e. sexual act [go to text]

gg1939   raise wake up, cause to get out of bed (OED v1. 4a) [go to text]

gs253   for for fear of [go to text]

n2156   take a course abroad i.e. find and buy sex outside the house (out and about). [go to text]

gg1940   huswife a pejorative term for a hussy or worthless woman (OED housewife n. 2) [go to text]

gg1941   act sexual act [go to text]

gg1942   possess provide with knowledge, inform (OED v. 11) [go to text]

n2157   fortune ] forrune [go to text]

gg141   bravely worthily; fearlessly; splendidly, handsomely (OED) [go to text]

gg1531   got begotten, conceived [go to text]

gg1943   go hard (with a person) be to their disadvantage (OED, hard, adv. 2c) [go to text]

gg1944   consume use up, spend, waste [go to text]

gs254   age maturity [go to text]

n2158   Enter THRIVEWELL [and] SAVEALL. Video This entrance direction has been moved from its original position [MC 4.4.line2641] [MC 4.4.speech912] since it makes more sense for Thrivewell and Saveall to enter, have time to observe Careless with Lady Thrivewell (and overhear their lines), before Thrivewell's speech (newly allocated to him in contrast with the octavo). It is even possible for Thrivewell to enter during Careless's long speech so that his wife spots him and 'performs' the rest of her lines for him. An alternative would be for Thrivewell to enter immediately before his lines, so that he catches Careless in some kind of suggestive embrace with Lady Thrivewell. Workshop sessions on this scene experimented with Lady Thrivewell and Careless's awareness of Thrivewell's entrance and observation of them together, so that Lady might see her husband whilst exclaiming 'I am undone', either to implicate Careless, or to hurt her husband to the same extent as his infidelity has harmed her. However, the most successful scenario had Careless and Lady completely oblivious to Thrivewell's presence and explored Careless's ability to menace his aunt . [go to text]

gg1946   undone ruined, destroyed [go to text]

gg1945   did had sex with [go to text]

gs21   do have sex (or sexual activity) with [go to text]

n2159   whole i.e. in good condition, mended, but with another sexual pun on 'hole' [go to text]

n2160   Thrivewell This edition follows Parra and Spove in distributing these lines to Thrivewell. [go to text]

n2161   monster i.e. cuckold [go to text]

gg1947   resume (must) take to yourself again (something momentarily discarded; OED v. 1) [go to text]

gg1948   temper (n) mental balance, constitution [go to text]

n2277   Oh, the devil, what a case am I in now! This line could be delivered as an aside. [go to text]

n2162   forgivements ] forgements (emendation follows ink emendation in British Library copy); although not listed in the OED, 'forgive-' is present. Parra and Spove both retain the octavo reading, despite no such word being recorded in the OED. Parra also suggests it could be an error for 'forgetments'. [go to text]

gs255   strain force [go to text]

gg1949   false-fire deceptive (as night signal) [go to text]

gg1950   dissimulation hypocrisy [go to text]

n2163   him i.e. Thrivewell, who seems to be ignoring his wife [go to text]

gg1951   justice judgement, moral ruling [go to text]

gg1953   induced persuaded [go to text]

gg1952   bugbears imaginary terrors [go to text]

gs256   come about come round, changed tack [go to text]

n2166   patched i.e. settled or repaired, but also with a bawdy pun on 'patch', suggesting that Lady Thrivewell might use sexual favours to persuade her husband (ironically, in order to repair the damage of her supposed infidelity). [go to text]

n2164   hold my stirrup i.e. facilitate Careless's sexual encounters with Thrivewell's wife. From this point on, Careless likens women to horses; the mounting and riding of them refers to the sexual act, as does the 'course'. [go to text]

n2165   the mark goes out of Phoebe’s mouth Williams explains that the 'mark of mouth' is a sign of vitality found in a horse's mouth before the incisor tooth has been ground down, but used in literature to refer to a person's sexual prime. So Careless is saying he will reject Phoebe in favour of his aunt. [go to text]

gg1954   drift purpose, meaning [go to text]

n2253   No wit like women’s One of Middleton's plays is titled No Wit, No Help Like a Woman's (c.1611-12). In the Oxford Collected Works, John Jowett annotates the title as follows: "The main title has a proverbial flavour (compare 'A woman's wit helps at a pinch'). Wit is 'intelligence', 'craftiness', and may have a sexual pun: 'genitals'" (vol 1, p.783). Both definitions fit Careless's context. [go to text]

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