Edited by Anthony Parr
INTRODUCTION
Long regarded as a harbinger of Jonson’s ‘dotages’ (if not actually one of them), The Devil Is an Ass has enjoyed a remarkable revival of interest in the past two decades, to the point where it is acknowledged as one of the most intriguing and ambitious of the plays. According to the title-page of the first printed edition (F2), it was first staged by the King’s Men at Blackfriars in 1616, a claim supported by a number of internal references (see 1.1.81 and 1.6.31); and other details more specifically suggest a premiere in early autumn (3.6.4 and 5.5.50–1 and notes; see Kittredge, 1911, 204–6). Nothing else is known about this first production, and there is no record of a performance at court, though it may have been at one such that the play gave offence through its satire of a prominent investor in fen drainage projects. William Drummond reported Jonson’s recollection that in a ‘play of his upon which he was accused, The Devil Is an Ass’, something ‘is discoursed of the Duke of Drownland. The King desired him to conceal it’ (Informations, 319–23). What we have, then, may be a slightly expurgated text, though if Jonson made the requested cuts for any subsequent performance, he could have restored them when he prepared the play for publication, since it was not printed until 1631, six years after James I’s death. (On the play’s complicated early publishing history, see the Textual Essay, Electronic Edition.) The Devil Is an Ass was sufficiently well regarded in subsequent decades to be alluded to and imitated in part on several occasions, but we know of no revival of the play until the 1970s, since when it has been produced on several occasions.
The Devil Is an Ass forms a natural climax to the sequence of Jonson’s Jacobean comedies, and the satire on greed, corruption, and folly is as lively and sharp as in the earlier plays; but it also ventures in (for Jonson) new directions, dealing seriously with romantic love and questions of honour, and anticipating some of the methods of his Caroline plays and, beyond them, of Restoration comedy. Jonson wrote The Devil Is an Ass while editing his earlier plays for inclusion in the first volume of his Works, which appeared in November 1616, and this may be why the new play is not only full of echoes but also signals a shift in his dramatic procedure. The genre of city comedy that Jonson had done so much to establish had reached a point (he might have felt) where it could develop no further. Jonson also had fresh concerns to accommodate, for in this play he engages extensively with the fraught condition of England during a year of crisis and uncertainty; and this required an adjustment of his dramatic focus and method.
In the Epistle to Volpone, Jonson had dismissed ‘fools and devils’ on the stage as ‘ridiculous and exploded follies’ (78), and the audience at his new play would have been alert to his parodic intent in recalling the cast of an exhausted morality drama to begin the action. Old Iniquity the Vice reproduces his stale patter from the Tudor interludes, and Pug, the junior devil who wants to visit earth, is not only incapable of spreading evil when he gets there but also fails miserably in his Plautine role of the wily servant, being gulled and outwitted at the very moments when he should demonstrate a canny ability to survive. Yet Jonson’s polemical urge in Volpone to dismiss the old drama in favour of his modern creation gives way here to a more complicated design, for it is Satan himself, a relic of the biblical mystery plays, who is most scornful about the proposal to visit London and points out that, when it comes to breeding vices, its inhabitants are thought to ‘have a stud o’their own / Will put down ours’ (1.1.108–9). Satan’s ironic perspective on hell’s shortcomings curiously renews his theatrical credibility, for his cynical humour and frustration are those of many a disillusioned commentator in Jacobean city comedy on the spectacle of urban folly and vice. When he accedes to Pug’s request, it is clearly without much hope that the mission will achieve anything, but his pessimism prepares the audience not so much for devil-tricks and mischief (along the lines of Marlowe’s Doctor Faustus) as for an inverted pilgrim’s progress, wherein Pug’s failure becomes an index of a whole society’s trivializing of evil and abandonment of moral and theological standards. One of Pug’s greatest humiliations in the play is the refusal of all the characters, many of whom are ready to believe in witches and conjurers, to take him seriously as a devil.
In writing a modern devil-play, Jonson is not simply wrestling with the ghosts of the past. Although the old allegorical figures of morality drama had been thoroughly subsumed within the stock characters of contemporary satire, the latter’s audiences retained an appetite for devils and other features of the supernatural (see Staple, 1 Int. 30–40), and Jonson is constantly aware of the theatrical competition and the cultural claims it is making. The devil-play is in fact something of a minor subgenre on the early seventeenth-century stage, and the pervasive popular lore of imps and country sprites like Robin Goodfellow meant that it was usually a vehicle for rural farce and exploring the relationship between country values and those of the court or city. The Prologue to The Devil Is an Ass is genially satirical about the ever-popular Merry Devil of Edmonton (anonymous; printed in 1608 and 1612), a play in which fun-loving devils are conjured up to prevent a mercenary authority-figure from undermining traditional festivity and a romantic happy ending; and it is more slyly dismissive of Thomas Dekker’s If This Be Not a Good Play, the Devil Is in It (printed in 1612), which also allies hell with festive pastimes but does so in order to condemn a corrupt and pleasure-seeking court. Jonson vigorously opposed the socio-political agenda of Dekker’s play, which is a thinly veiled attack on James I’s government (see Marcus, 1986, 95–8); but he also saw that Merry Devil, which had been recently acted at court by the King’s Men, offered a sentimental image of Merry England that barely acknowledged the problems faced by the realm. The text of Jonson’s play also betrays its author’s awareness of Marlowe and Shakespeare: Pug’s anticipations both of erotic bliss and midnight’s approach (2.2.21–2 and 5.6.10–11) are a ludicrous parody of Doctor Faustus, reprinted in 1616 and a play that still held the stage; and echoes of The Tempest in the closing stages are perhaps Jonson’s way of asserting the superiority of his dramatic craft both to that of his rivals and to the cheap diversions of contemporary fraudsters (see Epilogue, 1–3; and Watson, 1987, 206–7). He turns to the devil-play in 1616 in order to answer his professional rivals and to speak to contemporary issues that they have neglected or misrepresented.
The Devil Is an Ass is an intensely topical play, as Marcus (1986) and R. Evans (1994) in particular have shown. It is also one written in many respects from within the system: in 1616 Jonson was at the peak of his fame, enjoying royal patronage, including two masque commissions for the winter season at court, and the support of influential figures in government and high society. He was thus well placed to observe the political labyrinth of ‘an especially momentous year in Jacobean history’ (R. Evans, 1994, 63). The sensational recent fall of James I’s favourite the Earl of Somerset, convicted of the murder of Sir Thomas Overbury, had created a fluid political situation at court, and as well as intensifying faction had also highlighted the questionable ethics and policies that characterized public life. By 1616 there was widespread disquiet about the monopolies and patents whereby leading courtiers were able to enrich themselves, and about the risky, often bizarre entrepreneurship that had become a notorious feature of Jacobean economic life. Lucrative monopolies on various imported goods and established industries like coal mining and steel, or manufactures like starch or soap, had been enjoyed by courtiers since Elizabeth’s reign; but with economic development in the seventeenth century came an enthusiasm for inventions and the development of new industrial techniques. Landowners became involved in projects such as wetland drainage and glass manufacture, and exploited their estates through improved methods in mining and metallurgy. Many of these initiatives were useful and contributed to economic growth; yet the ‘projector’ and his schemes quickly became synonymous with frivolous experiment and financial chicanery. For every gentleman or financier with a serious interest in industrial research and development, there were several who were concerned only to corner the market in some process or product and make a quick profit; and the system of patents and monopolies that theoretically regulated economic activity was widely abused (Stone, 1965, 432–8). The granting of patents became an important source of revenue for the Crown, and the occasion for massive bribery of court officials by applicants seeking access to powerful patrons (Marcus, 1986, 100–1). These vexed practices are all visible in the tangled web of Jonson’s play.
Foreign policy was also a contentious arena in Jacobean England: the proposed marriage of Prince Charles to the Spanish Infanta was a deeply divisive issue both at court and in the country at large; and here too political and diplomatic concerns were contaminated by financial interests, since Spain had a good many English courtiers on its payroll, and James I’s dilatory handling of negotiations was probably influenced by Francis Bacon’s advice that national anxiety over the match ‘would make a future parliament more pliable and more forthcoming with financial support’ (R. Evans, 1994, 78). Jonson possessed an intimate understanding of the tentacles of influence and obligation in public life, not least because he was himself embroiled in many of the controversies that preoccupied the urban elites. He had recently composed verses for an entertainment put on by Sir William Cockayne, the prominent merchant and financier whose disastrous attempts to reshape England’s cloth industry were collapsing as the play was being written and performed; he had composed a masque for the marriage of Frances Howard, indicted with Somerset for the murder of Overbury, and had been a friend of the latter; and he had a history of conflict with at least one of the former players in fen drainage projects, Chief Justice Popham (Sanders, 1998a, 113–14). Moreover, Jonson does not avoid a partisan stance (sometimes in line with that of his major backers at court) when he sees an opportunity to reflect upon or influence royal policy. An obvious example is the Spanish match, towards which Jonson seems to have shared the hostility of his chief patron the Earl of Pembroke, and to have driven home the point with his sustained satire of things Spanish in Act 4. The prolonged uncertainty in 1615–16 over the proposed marriage was deepened by the King’s inconsistent behaviour, apparently favouring each faction in turn; and we might see Jonson’s satire as another example of what Marcus describes as his rhetorical strategy in the play, whereby abuses and problems are treated so that ‘royal power is felt through its absence, through the play’s vivid portrayal of the diseased condition of England without it’ (Marcus, 1986, 99–100).
Where James was giving clear directives to the nation, the play appears to be organized to support them. The King’s proclamation of 1615, ratified in his speech to Star Chamber in June of the following year, commanding the gentry to return to their country estates, is being ignored by Fitzdottrel, the Norfolk squire who has dragged his wife to London and is prey to cheats and opportunists on all sides. He is foolishly obsessed with seeking wealth through the devices of alchemists and conjurers, on whom James had similarly pronounced in 1615 (see 1.7.14–17), and displays a childish desire to see the devil despite the weighty published admonitions of the King in his Demonology against meddling in the supernatural. Above all, the final scene of the play acknowledges James’s strikingly successful exposure of a case of fake possession during his 1616 summer progress, which saved the lives of six women awaiting execution (Kittredge, 1911; Marcus, 1986, 91). Jonson may indeed have believed that by endorsing royal actions of this kind he could exert influence in more intractable areas of government policy, and this might explain some of his blunter interventions – such as the press correction he made at 2.1.46 (see Collation) to sharpen an allusion to the Crown’s involvement in dubious monopolies. But such references also show Jonson’s understanding of how complex the links between court and city had become, so that behind the apparently straightforward royal measures to regulate London’s growth and control its economic activity, there lurked a tangle of interests and alliances that would always frustrate such an endeavour.
Jonson’s city comedies had persistently exposed the adaptable and exploitative character of urban enterprise, and in The Devil Is an Ass he recalls many of the situations and devices, and sometimes their characteristic imagery, that described the urban landscape in earlier plays. The projector Merecraft announces himself at the start of Act 2 with quick-talking display, assuring Fitzdottrel of his knack for making money:
(2.1.7–10)Coin her out of cobwebs,
Dust, but I’ll have her! Raise wool upon eggshells,
Sir, and make grass grow out o’ marrow-bones
To make her come.
In the alliterative relish of that first image Merecraft is recognizably a cousin of the swindlers Face and Subtle (compare The Alchemist, 1.1.64–7), and Fitzdottrel, undiscerning student of the playbooks that he is, is immediately dazzled by this new Jonsonian fraudster. His fruitless tour of the conjurers (1.2.20–5) is over, especially as Merecraft offers a more promising route to wealth than the search for buried treasure. The projector stirs the imagination of his intended dupe with vaguely Mandevillian fantasies (‘wool upon eggshells’) before drawing him into the world of plausible projects:
(2.1.45–9)The thing is for recovery of drowned land,
Whereof the Crown’s to have his moiety
If it be owner; else, the Crown and owners
To share that moiety, and the recoverers
T’enjoy the tother moiety for their charge.
In the space of fifty lines Jonson has sketched a network of connections between the fashionable charlatans who trade in people’s credulous dreams, London’s petty conmen and shady entrepreneurs, the proto-capitalist adventurers of the day, and the apparatus of State investment in their projects. Jonson had satirized some of these linkages before, as in the ridiculous schemes of Sir Politic Would-Be (Volpone, 4.1) and Mammon’s dealings with Face and Subtle in The Alchemist. But his range of reference is far greater in this play, and seems to be an attempt, of a kind he was to renew in The Staple of News, to write a play about the condition of contemporary England, and in particular to diagnose a political and economic culture in rapid flux.
In the opening scene of The Devil Is an Ass, Satan has warned Pug that only hell’s best agents could take on the challenge of London, and that he would be better advised to accept a provincial mission. As the play advances it becomes clear that London, the predatory space of Jonson’s earlier comedies, is well on the way to becoming the ‘town’ of Caroline and Restoration England, as the fashionable classes progressively colonized the Strand and then the area west of Charing Cross (see Emrys Jones, 1982), closing the gap between the old city and the court at Westminster – a metropolitan space which for Jonson’s purposes comprehends far more than the tradesmen, predators, and gulls of typical city comedy. Jonson had always been more alert than some of his contemporaries to fashionable initatives in urban culture (the ladies collegiate in Epicene, for instance), but in The Devil Is an Ass the city is explicitly part of a larger set of developments. Merecraft and Lady Tailbush are in league with government officials whom they bribe to advance their interests, and the Eithersides (as their name implies) are equally at home in the venal atmosphere of the court and the mercenary operations of city life. More significantly, metropolitan schemes are seen to impinge on the rest of the country: Satan’s advice to Pug that he can safely handle rural villainy is belied by the evidence of what chicanery and exploitation mean for the provinces, here embodied in the project to make Fitzdottrel Duke of Drowned Lands. Fitzdottrel is not just a gullible country squire who forgets his rural obligations: he has his eye on turning an entire region, ‘from us in Norfolk / To the utmost bound of Lincolnshire!’ (2.3.50–1) to his financial advantage. The proposals for fen drainage were as controversial in their own way as the Cockayne project, for they had yielded little success by 1616, and some observers recognized the damage they could cause to the economies of small towns and rural areas. Merecraft’s project is of course an illusion – a scam to part Fitzdottrel from his money – but Jonson’s focus is not just on city swindles but also on the wider developments that give Merecraft ideas for fresh cheats. As mentioned earlier, James I made Jonson tone down his satire on those who were making fortunes out of fen drainage, perhaps because the play made it too clear that this was a project where a monopoly had been granted by the King to a particular court favourite (see Marcus, 1986, 100, and R. Evans, 1994, 72–7). But this intervention and censorship itself prompts the thought, as David Riggs puts it, that ‘Merecraft’s confidence game’ was the sort of transaction regarded at court as a ‘legitimate business venture’ (Riggs, 1989, 244).
In a similar way, the conceit of urban ‘academies’ for both men and women shows Jonson raising the stakes in his delineation of sophisticated city life. Fitzdottrel exhibits the foolish narcissism of Dekker’s typical gallant at the playhouse (see note to 1.6.32–4), but he also has more tortuous ambitions, born of belief in ‘his own great and catholic strengths / In arguing and discourse’ (1.4.35–6), and his determination to turn his wife into a player in high society. Jonson digs a little deeper than he had previously into the pathology of the improvident and self-regarding gallant, producing in Fitzdottrel a character who is full of sudden impulses and poorly formulated notions of self-advancement. The more urbane characters are also apt to be casualties of their own worldliness: Wittipol is compromised (and his life threatened) by the association he forms with Merecraft, and even Manly, the play’s earnest spokesman for right values, is a suitor to Lady Tailbush. Pug starts to appreciate the quagmire he has landed in not by observing Merecraft and Everill, or even the cynical Gilthead, but as a result of witnessing Wittipol’s bargain with Fitzdottrel over the cloak (1.4.54–80), and later Frances’s sartorial response to Wittipol’s attentions (‘Hell! Why is she so brave?’ – 2.5.11). This is partly Pug’s naivety, of course: like Iniquity the vice in the opening scene, he is ‘not for the manners, nor the times’ (1.1.120) since he is incapable of distinguishing contemporary vice from virtue. But Jonson, having given us masterly portraits of the amoral city in earlier plays, is now responding to modernity in a different way, addressing ethical perplexities with something more than the apparatus of morality drama or the ironic relativism of his great city comedies.
The shift in Jonson’s approach is bound up with, and can be conveniently traced through, his changing modes of characterization, in particular the more sympathetic portrayal of women in the later plays. In Act 4, amid the grotesque comedy of Wittipol’s impersonation of the Spanish lady, the disguised gallant paints a revealing vignette that we are free to read as an experience from Wittipol’s own travels (see 1.4.61–2):
(4.4.79–85)I saw i’the court of Spain once
A lady fall i’the King’s sight, along.
And there she lay, flat spread as an umbrella,
Her hoop here cracked. No man durst reach a hand
To help her, till the guarda-duennas came,
Who is the person onl’ allowed to touch
A lady there; and he but by this finger.
Wittipol’s audience is disgusted: ‘a forced gravity’, insists Lady Eitherside, ‘I like our own much better’ (91–2). Jonson’s Blackfriars audience would be unlikely to disagree, and despite Lady Eitherside’s candid admission that English liberties are for her simply opportunities for transgression, the cultural comparison that is set up by Wittipol’s anecdote invites us to ponder what those freedoms really mean. Lady Eitherside protests that ‘If nobody should love me but my poor husband / I should e’en hang myself’ (4.4.97–8); but her fashionable decadence does not undo our recollection of a similar sentiment that was put into the mouth of Frances Fitzdottrel by her ventriloquizing suitor:
(1.6.157–8, 179–82)I have a husband, and a two-legged one,
But such a moonling . . .
Who, if we chance to change his liberal ears
To other ensigns. . . as he shall deserve,
Cannot complain he is unkindly dealt with.
They are not her own words, but she is greatly taken by them, and reflects upon Wittipol’s advances with a delicacy that echoes his own:
(2.2.24–7)I cannot get this venture of the cloak
Out of my fancy, nor the gentleman’s way
He took, which, though ’twere strange, yet ’twas handsome,
And had a grace withal beyond the newness.
The fine sensibility revealed here is all the more admirable for not being channelled into stoic victimhood or prim denial. Frances is tempted to seek her freedom, or an emotional experience that her husband cannot give her, and Jonson dramatizes the situation in a way that ensures our full understanding of her predicament. Despite the obviously strong case for cuckolding Fitzdottrel, the audience is not simply manoeuvred into partisan support of forbidden love; for, as Helen Ostovich argues in a penetrating essay, Frances is a victim of ‘contradictory binary reasoning. If she wants legitimacy in love, she has to accept Fitzdottrel, not Wittipol; if she wants to commit adultery, she has to identify with Ladies Tailbush and Eitherside, not her own finer feelings’ (Ostovich, 1998, 171). There is no clear positive choice to be made, and yet the treacherous world in which Frances is moving requires that meaningful ethical positions be found, so that goodness and finer feeling are not simply neutralized by being forced into passive endurance.
Jonson is writing a new kind of comedy here, one that grants his female characters a sense of agency and permits moral ambiguity to arise not so much from the triumph of his villains as from the ways in which people seek valid experience and try to resolve emotional dilemmas. This ambiguity can be theatrically very challenging. It has been suggested (Zitner, 1974, 129–30) that the scene in which Frances and Wittipol meet at adjacent windows (2.6) is constructed in a way that deflates its romantic appeal, both in the conventional artifice of Wittpol’s wooing and the use of incongruous metaphors (84–5), and in the apparent vulgarity of the stage-direction (Jonson’s marginal note) ‘He grows more familiar in his courtship, plays with her paps . . . etc.’ (70 SD). The exact tone and register of this moment on Jonson’s stage are impossible to determine, though presumably, then as now, different options were available to producers of the scene, ranging from parodic exploitation of the boy actor with false breasts to the highly sensual effects achieved in a recent production (see Stage History, Electronic Edition). But it is difficult to see what satire at this point would achieve in the play’s larger scheme. Even if Frances’s attire is intended to look risqué, perhaps following the fashion of Jacobean gentlewomen for partially or fully exposed breasts, and even recalling the images of Frances Howard that were published following her disgrace (D. Lindley, 1993), Jonson would not have contrived this dramatic moment to indulge puritan objections to immoral dress codes, and thereby short-circuit the real questions that the scene poses. In the same way, Wittipol’s use of an exquisite song to assist his wooing –
(2.6.104–5)Have you seen but a bright lily grow,
Before rude hands have touched it?
– arouses too powerful a response in us to allow much space for the ironic reflection that touching and sullying are what Wittipol has in mind. Rather, this song about the beauty of virginal states is inflected by its context so as to focus our attention on what the ‘smutching’ of innocence really means. Wittipol expresses an intense appreciation of qualities in Frances that are wasted on her husband and in danger of being irredeemably soiled by her marriage to him (a point confirmed by the beating she suffers only a few lines later); and when this climactic moment is interrupted, as a result of Pug’s tip-off to Fitzdottrel, our uncertainty as to whether she would have capitulated coexists with confident expectation that the human bond forged by the scene is the play’s best hope of comic renewal.
In the event, Frances appeals to Wittipol’s friendship and assistance in gaining a measure of control over her own property, echoing the struggles of several prominent women in Jacobean society whom Jonson knew and admired (Ostovich, 1998, 158–60), and Manly rather sanctimoniously applauds the reinvention of their relationship (‘forsake not / The brave occasion virtue offers you / To keep you innocent’, 4.6.28–30). Manly’s furtive policing of the lovers at the start of this scene is hardly more welcome than Fitzdottrel’s snooping, and its redundancy may be Jonson’s way of emphasizing that their voluntary pact is what matters. The limited financial security that Frances gains by this means, and the dignity she is able to recover as a result, are the only tangible resolution the play offers of her marital impasse, and indeed may be the one positive outcome of the entire action, which otherwise sees Merecraft and Everill only temporarily checked (not really overthrown, as the Epilogue claims), and the society ladies utterly unreformed. Sir Paul Eitherside’s promise that he will ‘make honourable amends to truth’ (5.8.147) after his poor judgement has been exposed must be weighed against his suspect involvement in the promotion and vetting of projects (4.2.7–26); and Fitzdottrel’s terse agreement to follow suit is not accompanied by any words that suggest a new awareness – he continues to bemoan his poor fortune and betrayal and has to be silenced.
In some respects Jonson has fashioned an ending for his play more potentially deflating than that of any of his earlier Jacobean comedies. This may seem odd, since in those plays he created a densely ironic picture of urban vice and chicanery, and refused to balance it with the kind of positive agency he grants to Frances Fitzdottrel. But in The Devil Is an Ass, Jonson will not invest his villains with the charisma possessed by Volpone or the charlatans in Alchemist. Anne Barton, in her fine essay on the play, has suggested that it could easily be called ‘the further adventures of Face and Subtle’ (Barton, 1984, 220), but this is misleading, for Jonson is not simply recapitulating in a weaker vein but deliberately creating a different kind of dramatic mix. Merecraft and Everill are a thoroughly unpleasant brace of villains, a fact emphasized not only by their fractious relationship but also by the way they are remorselessly depicted as small-time crooks, with very little of the dangerous allure of Jonson’s earlier dream-merchants. There is no alchemy that will transfigure or enlarge such characters, even for a brief theatrical moment. Jonson’s interests have shifted: instead of the concentrated microcosm of Volpone’s chamber or Lovewit’s house or Bartholomew Fair, he creates a scenario that encompasses an entire metropolitan space and beyond, in order to explore the tentacles of corruption that extend through that world and bind its different parts into unholy alliances. And if this scenario is, as some critics suggest, like a huge antimasque requiring the intervention of the King to banish its ills (Marcus, 1986, 102), it is also clear that Jonson expects no such deliverance. Royal policy and proclamations are mentioned and endorsed in the play, but insofar as The Devil Is an Ass envisages the possibility of reform, it locates it not in royal fiat but in the newly found capacity of some of his characters to change and grow.
The Persons of the Play
- PUG
-
the less devil
- INIQUITY
-
the Vice
- MISTRESS FRANCES
-
his wife 5
- LADY EITHERSIDE
-
his wife 15
- SLEDGE
-
a smith, the constable
- SERGEANTS
- [Four KEEPERS]
- [Three WAITERS]
The Scene, London
The Prologue
The name of what you are met for, a new play.
Do not on these presumptions force us act
As if, when we had spoke, we must be gone,
Like the young adders at the old one’s mouth? 15
That you might look our scenes through as they pass.
To see new plays, pray you afford us room, 20
And show this but the same face you have done
Or if, for want of room, it must miscarry,
SATAN
For what? The laming a poor cow or two?
Upon a tunning of ale, to stale the yeast,
Spite o’the housewife’s cord, or her hot spit? 15
That she may be accused for’t, and condemned 20
Of their offended friends, the Londoners’ wives,
Whose teeth were set on edge with it? Foolish fiend,
Beyond the sphere of your activity. 25
You are too dull a devil to be trusted
Forth in those parts, Pug, upon any affair
That may concern our name on earth. It is not
Everyone’s work. The state of hell must care
Whom it employs in point of reputation, 30
Here about London. You would make, I think,
Proper enough; or some parts of Northumberland,
SATAN
What Vice? 40
What kind wouldst th’have it of ?
INIQUITY
What is he calls upon me, and would seem to lack a Vice?
Here, there, and everywhere, as the cat is with the mice:
And ever and anon, to be drawing forth thy dagger;
PUG
[To Satan] Is it not excellent, chief? How nimble he is!
And lead thee a dance through the streets without fail,
PUG
Brave, brave Iniquity! – Will not this do, chief?
Or if thou hadst rather to the Strand down to fall,
And mark how they cling with their clients together,
Like ivy to oak, so velvet to leather – 75
Ha, boy, I would show thee!
PUG
Rare, rare!
This for a Vice t’advance the cause of hell
Now, as vice stands this present year? Remember 80
Above – that’s fifty years agone, and six,
When every great man had his Vice stand by him,
I could consent that then this your grave choice
Might have done that, with his lord chief, the which
Most of his chamber can do now. But Pug,
As the times are, who is it will receive you?
What company will you go to, or whom mix with? 90
Where canst thou carry him, except to taverns?
That are received now upon earth for Vices;
Stranger, and newer – and changed every hour.
They ride ’em like their horses off their legs,
And here they come to hell, whole legions of ’em,
Every week, tired. We still strive to breed 105
Will put down ours. Both our breed and trade
Will suddenly decay if we prevent not. 110
Unless it be a Vice of quality
At extraordinary subtle ones now,
Not old iniquities! [To Iniquity] Get you e’en back, sir,
You are not for the manners, nor the times. 120
They have their vices there most like to virtues;
You cannot know ’em apart by any difference.
They wear the same clothes, eat the same meat,
Sleep i’the self-same beds, ride i’those coaches,
But Pug, since you do burn with such desire
To do the commonwealth of hell some service,
I am content, assuming of a body,
But you must take a body ready-made, Pug; 135
To all impression of the flesh you take
Whose spirit departed, you may enter his body.
And look how far your subtlety can work
And therefore the less need to carry ’em wi’ you.
And we shall find it merits from the state,
You shall have both trust from us and employment. 150
PUG
Most gracious chief!
SATAN
Only thus more I bind you
To serve the first man that you meet; and him
You shall see first, after your clothing. Follow him;
PUG
Any conditions to be gone!
But there’s not one of these that ever could
Yet show a man the devil in true sort. 5
Would I might see the devil! I would give 10
And that’s the one main mortal thing I fear –
If I begin not now to think the painters
As most are now in England, the Fitzdottrels,
Run wild and call upon him thus in vain,
As I ha’ done this twelvemonth. If he be not 20
Of Cambridge, Oxford, Middlesex, and London,
Essex, and Kent, I have had in pay to raise him
These fifty weeks, and yet h’appears not. ’Sdeath, 25
Shortly, and know but his hard names. They do say
If he would so, I have a mind and a half for him:
He should not be long absent. — Pray thee, come, 30
I long for thee! An I were with child by him,
And my wife, too, I could not more.
Come, yet,
Good Beelzebub! – Were he a kind devil,
And had humanity in him, he would come but
To save one’s longing. I should use him well, 35
I swear, and with respect, would he would try me –
Get him in bonds, and send him post on errands
A thousand miles. It is preposterous, that;
And, I believe, is the true cause he comes not. 40
And he has reason. Who would be engaged,
That might live freely, as he may do? I swear
And as I am an honest man, I think,
If he had a mind to her too, I should grant him,
To make our friendship perfect. So I would not 50
To every man. If he but hear me now,
And take me at my word!
Ha! Who is this?
FITZDOTTREL
Service? ’Fore hell, my heart was at my mouth
Were big enough to hide a cloven foot.
No, friend, my number’s full. I have one servant, 10
Unto the brush, for just so far I trust him.
Butler, and steward; looks unto my horse,
PUG
Sir, I am a devil. 25
FITZDOTTREL
How!
PUG
A true devil, sir.
FITZDOTTREL
What’s your name?
PUG
My name is Devil, sir.
FITZDOTTREL
Say’st thou true?
PUG
Indeed, sir.
FITZDOTTREL
That hole
Belonged to your ancestors?
PUG
Yes, Devil’s Arse, sir. 35
Four pound a year by that! There’s luck, and thrift too!
Friend, I receive you. But withal I acquaint you 40
It is a kind of exercise I use,
And cannot be without.
ENGINE
I’ll warrant you for half a piece.
WITTIPOL
You shall be your own witness; I’ll not labour
To tempt you past your faith.
MANLY
And is his wife
So very handsome, say you?
WITTIPOL
I ha’ not seen her
Since I came home from travel, and they say 10
She is not altered. Then, before I went,
I saw her once; but so, as she hath stuck
Still i’ my view, no object hath removed her.
MANLY
And furnish forth himself so from the brokers?
WITTIPOL
Faith, he does not hate it.
Would be compounded with for reason. Marry,
’Gainst all mankind, as it doth make him do 30
One public meeting, out of the belief
In arguing and discourse.
It takes, I see:
FITZDOTTREL
[To Engine] A fair garment,
By my faith, Engine!
FITZDOTTREL
I shall, Engine,
Be looked at prettily in it! Art thou sure
The play is played today?
FITZDOTTREL
I shall do that to satisfy you, Engine,
Of one swift hour’s quarter with my wife
He will depart with – let me see – this cloak here,
The price of folly? – Sir, are you the man?
WITTIPOL
I am that vent’rer, sir.
WITTIPOL
The same, sir.
WITTIPOL
That I have, sir.
FITZDOTTREL
You are
Resolved then?
WITTIPOL
Yes, sir.
WITTIPOL
I know what you will bear, sir.
FITZDOTTREL
Well, to the point. ’Tis only, sir, you say,
To speak unto my wife?
WITTIPOL
Only to speak to her.
FITZDOTTREL
And in my presence?
WITTIPOL
In your very presence. 75
FITZDOTTREL
And in my hearing?
WITTIPOL
In your hearing – so
You interrupt us not.
WITTIPOL
I ask no more.
FITZDOTTREL
Please you, walk to’ard my house.
A minute, or a second, look for. Length,
And I except all kissing. Kisses are
Silent petitions still with willing lovers.
FITZDOTTREL
Sir,
I do know somewhat; I forbid all lip-work.
FITZDOTTREL
You say well, sir; ’twas prettily said, that same.
He does indeed. I’ll have no touches, therefore,
Cast ’bout the waist, but all be done at distance. 95
All melting joints and fingers – that’s my bargain –
And much good do your rhetoric’s heart. You are welcome, sir. –
FITZDOTTREL
Well,
I am content, so he be silent.
FITZDOTTREL
Come Devil, I’ll make you room straight. But I’ll show you
First to your mistress, who’s no common one,
You must conceive, that brings this gain to see her.
I hope thou’st brought me good luck.
WITTIPOL
What think you of this?
MANLY
I believe anything now, though I confess
His vices are the most extremities 15
I ever knew in nature. But why loves he
The devil so?
MANLY
But ha’ you faith
That he will hold his bargain?
WITTIPOL
Oh, dear sir!
See! He is here already, and his wife too.
MANLY
A wondrous handsome creature, as I live!
FITZDOTTREL
Come, wife, this is the gentleman. Nay, blush not.
MRS FITZDOTTREL
Why, what do you mean, sir? Ha’ you your reason?
MRS FITZDOTTREL
Yes, I have share in this. The scorn will fall 15
As bitterly on me, where both are laughed at.
I will not mean at home, here, but abroad –
I do not say seven months, nor seven weeks,
Nor seven days, nor hours; but seven year, wife.
I give ’em time. Once, within seven year,
Let them that list laugh still rather than weep
Which I can sell for thirty, when I ha’ seen
All London in’t, and London has seen me. 30
Rise up between the acts, let fall my cloak,
To see us, love, as we do to see them.
Now I shall lose all this for the false fear
Let me have such another cloak tomorrow.
And let ’em laugh again, wife, and again,
All my young gallants, let ’em bring their friends too.
Shall I forbid ’em? No, let heaven forbid ’em; 45
Is all I’ll borrow of thee. – Set your watch, sir. –
Thou only art to hear, not speak a word, dove,
No less than counsel, on your wifehood, wife, 50
Not though he flatter you, or make court, or love,
Whate’er his arts be, wife, I will have thee
Delude ’em with a trick, thy obstinate silence.
watch?
MRS FITZDOTTREL [To herself]
I must obey.
But first, let me repeat the contract briefly.
I am, sir, to enjoy this cloak I stand in
Freely, and as your gift, upon condition 65
You may as freely speak here to my spouse
Your quarter of an hour, always keeping
From my said spouse; and in my sight and hearing.
This is your covenant?
FITZDOTTREL
Set ’em so much back.
WITTIPOL
I think I shall not need it.
WITTIPOL
If you interrupt me, sir, I shall discloak you.
The time I have purchased, lady, is but short; 75
And therefore, if I employ it thriftily,
I hope I stand the nearer to my pardon.
I am not here to tell you you are fair,
Or lovely, or how well you dress you, lady;
Which can speak these things better to you than I.
And ’tis a knowledge wherein fools may be
Knows not her good – whoever knows her ill –
Instead of salt, to keep it sweet, I think 90
Will ask no witnesses to prove. The cold
Sheets that you lie in, with the watching candle
WITTIPOL
And what a daughter of darkness he does make you, 100
Under a conjurer’s – or some mould for one,
Hollow and lean like his – but by great means
As I now make, your own too sensible sufferings, 105
Without the extraordinary aids
For my part, I protest ’gainst all such practice.
I work by no false arts, medicines, or charms
FITZDOTTREL
No, I except – 110
WITTIPOL
Nor have I ends, lady,
Upon you more than this: to tell you how Love,
Beauty’s good angel, he that waits upon her
At all occasions, and no less than Fortune
Helps th’adventurous, in me makes that proffer 115
On the first sight I loved you; since which time,
Think of it, lady. Be your mind as active
As is your beauty; view your object well.
Examine both my fashion and my years.
And Nature joys still in equality.
Let not the sign o’the husband fright you, lady,
But ere your spring be gone, enjoy it. Flowers,
Though fair, are oft but of one morning. Think,
All beauty doth not last until the autumn. 130
As cannot use the present are not wise.
If Love and Fortune will take care of us,
Why should our will be wanting? This is all.
What do you answer, lady?
WITTIPOL
How! Not any word?
I cannot be so false to mine own thoughts
Of your presumèd goodness to conceive 140
This as your rudeness, which I see’s imposed.
Let me take warrant, lady, from your silence –
To make your answer for you, which shall be
To as good purpose as I can imagine,
And what I think you’d speak.
FITZDOTTREL
No, no, no, no!
WITTIPOL
I shall resume, sir.
MANLY
Sir, what do you mean?
WITTIPOL
[To Manly] Stand for me, good friend.
Troth, sir, ’tis more than true that you have uttered
Of my unequal and so sordid match here, 155
With all the circumstances of my bondage.
Or roses can redeem from being an ass.
And lay all ways, yea, call mankind to help
To take his burden off – why, this one act
Of his, to let his wife out to be courted,
And at a price, proclaims his asinine nature 165
But sir, you seem a gentleman of virtue
Looks as he were of too good quality
To entrap a credulous woman, or betray her. 170
Since you have paid thus dear, sir, for a visit,
Merely to see me, or at most to speak to me,
I were too stupid, or – what’s worse – ingrate
Not to return your venture. Think but how 175
I may with safety do it; I shall trust
My love and honour to you, and presume
A new beast of him, as he shall deserve,
This day he is to go to a new play, sir,
From whence no fear, no, nor authority,
Scarcely the King’s command, sir, will restrain him, 185
And many more such journeys he will make,
Offer us opportunity, you hear, sir, 190
Meet, and enjoy it cheerfully as you.
I humbly thank you, lady.
FITZDOTTREL
Keep your ground, sir.
FITZDOTTREL
Mum.
Our lips ere this to seal the happy mixture
Made of our souls. But we must both now yield
To the necessity. Do not think yet, lady,
But I can kiss, and touch, and laugh, and whisper, 200
And do those crowning courtships too, for which
Day and the public have allowed no name;
But now my bargain binds me. ’Twere rude injury
To what of its own bounty it is prone to, 205
Else I should speak. But, lady, I love so well
As I will hope you’ll do so too. – I have done, sir.
FITZDOTTREL
Well then, I ha’ won?
WITTIPOL
Sir, and I may win, too.
FITZDOTTREL
Oh, yes! No doubt on’t. I’ll take careful order
To tell you when I am absent. Or I’ll keep
Three or four footmen ready still of purpose
To run and fetch you at her longings, sir.
For her and you to take the air in – yes, 215
To bring you aye together at her lodging 220
Under pretext of teaching o’my wife
MRS FITZDOTTREL
My cage, yo’were best
To call it!
[Enter PUG.]
How now! What say you, Devil?
PUG
Here is one Engine, sir, desires to speak with you.
FITZDOTTREL
Where, Engine?
FITZDOTTREL
Can he not conjure at all?
FITZDOTTREL
’Tis true, and I lie fallow for’t the while!
ENGINE
Oh, sir! You’ll grow the richer for the rest.
ENGINE
By my means?
FITZDOTTREL
How should he have ’em else?
FITZDOTTREL
That gallant?
FITZDOTTREL
Is he a gallant?
Fit to run out on errands; let her go.
And fled and dead, then will I fetch her again
While there are lees of wine, or dregs of beer,
Sir, and make grass grow out o’ marrow-bones
Say, let the thousand pound but be had ready,
I would but see the creature
Of flesh and blood, the man, the prince, indeed,
That could employ so many millions
As I would help him to.
FITZDOTTREL
[To Engine] How talks he! Millions? 15
ENGINE
Sir.
You are a gentleman of a good presence,
As a fit stock to graft honours upon. 25
I have a project to make you a duke now.
As I set down out of true reason of state,
You sha’ not avoid it. But you must hearken, then.
ENGINE
Hearken? Why sir, do you doubt his ears? Alas! 30
You do not know Master Fitzdottrel.
ENGINE
Good, sir.
That I will have – t’appear in’t to great men,
To bear the charge, and blow ’em off again
Like so many dead flies when ’tis carried.
MERECRAFT
Yes, which will arise 50
To eighteen millions, seven the first year.
I have computed all, and made my survey
All that they wrought, their timber-work, their trench, 55
Their banks all borne away, or else filled up
By the next winter. Tut, they never went
ENGINE
A gallant tract
Of land it is!
MERECRAFT
’Twill yield a pound an acre.
This looks too large for you, I see. Come hither,
We’ll have a less. [Indicates Trains.] Here’s a plain fellow, you see him,
[Trains gives him a paper out of the bag.]
FITZDOTTREL
Pray you, let’s see’t, sir.
MERECRAFT
’Tis a toy, a trifle!
ENGINE
Of the King’s glover?
MERECRAFT
Yes, how heard you that?
ENGINE
Sir, I do know you can.
FITZDOTTREL
Good. Stay, friend,
By bottle-ale, two-and-twenty thousand pound? 80
O’the backside, there you may see it, read;
In seven years! For so long time I ask
For my invention. I will save in cork,
Just to the size of my bottles, and not slicing. 95
There’s infinite loss i’ that.
What hast thou there?
ENGINE
Is not that strange, sir, to make wine of raisins?
MERECRAFT
Yes, and as true a wine as th’wines of France,
Or Spain, or Italy. Look of what grape 100
My raisin is, that wine I’ll render perfect,
As of the muscatel grape I’ll render muscatel;
FITZDOTTREL
No, good sir.
Save you the trouble. I’ll not look nor hear 110
Of any but your first, there: the drowned land,
If’t will do as you say.
MERECRAFT
Sir, there’s not place
To gi’ you demonstration of these things.
They are a little too subtle. But I could show you
What may not you, sir, purchase with that wealth? 120
Say you should part with two o’your millions,
As I protest I will, out of my dividend,
In Italy, from the church. Now you, perhaps, 125
FITZDOTTREL
Oh, yes. [He calls] Devil!
PUG
Above, sir, in her chamber.
FITZDOTTREL
Oh, that’s well. –
Then this way, good sir.
MERECRAFT
I shall follow you. – Trains,
Commend my service to my Lady Tailbush. 135
Tell her I am come from court this morning; say,
Sometime today I’ll wait upon Her Ladyship 140
ENGINE
Sir, of what dispatch
He is! Do you mark?
ENGINE
Yes, sir, he was writing
This morning very hard.
MERECRAFT
Not yet.
’Tis well o’the way.
ENGINE
Oh, sir! Your Worship takes
Infinite pains.
ENGINE
And such a blessing follows it.
MERECRAFT
I thank
My fate. Pray you, let’s be private, sir?
FITZDOTTREL
In here.
FITZDOTTREL
You hear, Devil,
Lock the street doors fast, and let no one in, 155
Except they be this gentleman’s followers,
Something today; and by it you may gather
To convey letters. Nor no youths disguised
Be’t but to kindle fire, or beg a little –
Put it out, rather; all out, to an ash, 170
That they may see no smoke. Or water, spill it;
They may be forbid entry. Say we are robbed
If any come to borrow a spoon, or so.
Let in while I am busy.
Nor no superlative master! I shall wish
To be in hell again, at leisure! Bring
Fresh oranges into Spain. I find it now;
Boast of a better Vice than here by nature
Grown in our subtlest sciences! My first act now
Shall be to make this master of mine cuckold;
I will deserve so well of my fair mistress, 15
So ever is one, I’ll be another; sure,
I’ll ha’ my share. Most delicate damned flesh
Midnight will come too fast upon me, I fear,
To cut my pleasure –
MRS FITZDOTTREL
I cannot get this venture of the cloak
Out of my fancy, nor the gentleman’s way 25
He took, which, though ’twere strange, yet ’twas handsome,
Sure he will think me that dull stupid creature
For answer; and will swear ’tis very barren
If it can yield him no return.
Who is it?
What has he given you for this message? Sir,
Nor fair one, tell him, will be had with stalking.
T’acquaint my husband with his folly and leave him 55
To the just rage of his offended jealousy.
Or if your master’s sense be not so quick
To right me, tell him I shall find a friend
In mine own house! Pray you, in those words give it him. 60
Sure he will understand me. I durst not
Be more direct. For this officious fellow,
My husband’s new groom, is a spy upon me, 65
I find already. Yet, if he but tell him
I would not have him think he met a statue,
How now? Ha’ you told him?
PUG
Yes.
MRS FITZDOTTREL
And what says he?
PUG
Says he? That which myself would say to you, if I durst:
That you are proud, sweet mistress, and withal
Not all so wise as some true politic wife
Would be, who, having matched with such a nupson –
I speak it with my master’s peace – whose face
Hath left t’accuse him now, for’t doth confess him
What you can make him, will yet, out of scruple 80
And a spiced conscience, defraud the poor gentleman,
At least delay him in the thing he longs for
Only a title. Could but he write cuckold,
MRS FITZDOTTREL
[Aside] This can be 85
None but my husband’s wit.
PUG
If it were not clearly
His worshipful ambition, and the top of it,
Search your half pint of muscatel lest a letter 95
Be sunk i’the pot, and hold your new-laid egg
Will you make benefit of truth, dear mistress,
If I do tell it you? I do’t not often!
I am set over you, employed, indeed, 100
To watch your steps, your looks, your very breathings,
And to report them to him. Now, if you
Will be a true, right, delicate sweet mistress,
We will, my mistress, an absolute fine cokes – 105
An ass to so good purpose as we’ll use him.
I will contrive it so that you shall go
To plays, to masques, to meetings, and to feasts. 110
If you neat handsome vessels of good sail
Put not forth ever and anon with your nets
Abroad into the world? It is your fishing.
There you shall choose your friends, your servants, lady, 115
Your squires of honour; I’ll convey your letters,
That can belong to your blood and beauty. And
I am not in due symmetry the man 120
To boast a sovereignty o’er ladies, yet
MRS FITZDOTTREL
How now!
PUG
Dear delicate mistress, I am your slave,
She thinks her husband watches.
2.3 [Enter] FITZDOTTREL.
FITZDOTTREL
[To Pug] Did you so, Devil? 5
FITZDOTTREL
You shall see, wife,
Whether he durst, or no, and what it was 10
I did direct.
PUG
Sweet mistress, are you mad?
PUG
Good sir!
FITZDOTTREL
Nay, there is one blow more, for exercise; 20
I told you I should do it.
PUG
Gentle sir!
FITZDOTTREL
Out of my sight! If thy name were not Devil,
Thou shouldst not stay a minute with me. In,
Go! Yet stay. Yet go too. I am resolved 30
What I will do; and you shall know’t aforehand –
Soon as the gentleman is gone, do you hear?
Wife, such a man, wife!
No less, by heaven. Six mares to your coach, wife! 35
Because he shall be bare enough. Do not you laugh.
We are looking for a place and all i’the map
You know I am not easy to be gulled. 40
MRS FITZDOTTREL
You’ll ha’ too much, I fear, in these false spirits.
This man defies the devil and all his works! 45
Is ours, wife; and the fens, from us in Norfolk 50
To the utmost bound of Lincolnshire! We have viewed it,
The richest tract of land, love, i’the kingdom!
There will be made seventeen or eighteen millions,
Sweetheart, if th’hast a fancy to one place
More than another, to be duchess of,
Now name it; I will ha’t, whate’er it cost,
If ’twill be had for money, either here,
MRS FITZDOTTREL
You ha’ strange fantasies! 60
2.4 [Enter] MERECRAFT [and] ENGINE.
MERECRAFT
I think we ha’ found a place to fit you now, sir:
Gloucester.
FITZDOTTREL
Oh no, I’ll none!
MERECRAFT
Why, sir?
ENGINE
That’s sure, sir.
MERECRAFT
Then take one proposition more, and hear it
As past exception.
FITZDOTTREL
What’s that?
MERECRAFT
To be
Duke of those lands you shall recover. Take
Your title thence, sir: Duke of the Drowned-lands, 20
Or Drowned-land.
FITZDOTTREL
Ha! That last has a good sound!
I like it well. The Duke of Drowned-land?
FITZDOTTREL
’Tis true.
Drowned-lands will live in Drowned-land!
And, though it tarry in your heirs some forty,
We see those changes daily: the fair lands
That were the client’s are the lawyer’s now;
By which th’were measured out for the last purchase.
Nature hath these vicissitudes. She makes
No man a state of perpetuity, sir.
Pluck out my tongue, one o’the two. This fool,
Or rather well-caparisoned, indeed,
That wears such petticoats and lace to her smocks,
It cannot be to please Duke Dottrel, sure,
Begin their pleasure, but none end it, there –
They may, for want of better company,
No woman dressed with so much care and study
Doth dress herself in vain. I’ll vex this problem
MANLY
Faith, but now and then
Awake unto those objects.
WITTIPOL
You pretend so.
Let me not live if I am not in love
Than with her form, though I ha’ praised that prettily
Since I saw her and you today. Read those.
Try ’em unto the note; maybe the music
Will call her sooner.
The fellow was not faithful in delivery
Of what I bade. And I am justly paid,
How! Music? Then he may be there – and is, sure.
PUG
[Aside] Oh, is it so? Is there the interview?
Have I drawn to you at last, my cunning lady?
The devil is an ass! Fooled off, and beaten! 25
No less than her true wit and learning, mistress,
I’ll try if little Pug have the malignity
MRS FITZDOTTREL
Who is there with you, sir?
MRS FITZDOTTREL
Who was it sung?
Of easiness it hath to your design,
You may with justice say I am a woman,
Then surely Love hath none, nor Beauty any,
With all whose gentle tongues you speak at once. 60
I thought I had enough removed already
Why anything is to be done upon him, 65
And nothing called an injury misplaced.
And what was done this morning with such force
Was but devised to serve the present, then, 70
That since Love hath the honour to approach
And rosy hand, he hath the skill to draw
Their nectar forth with kissing, and could make
Could play the hopping sparrow ’bout these nets,
Is here unravelled; run into the snare 80
Which every hair is, cast into a curl
To catch a Cupid flying; bathe himself
In milk and roses here, and dry him there;
Warm his cold hands to play with this smooth, round,
And well-turned chin, as with the billiard ball; 85
Roll on these lips, the banks of love, and there
At once both plant and gather kisses. Lady,
Shall I, with what I have made today here, call
The mysteries revealèd in your form? 90
And will Love pardon me the blasphemy
I uttered, when I said a glass could speak
This beauty, or that fools had power to judge it?
All that Love’s world compriseth! 95
Do but look on her hair! It is bright
Do but mark, her forehead’s smoother
Than words that soothe her!
And from her arched brows, such a grace 100
Sheds itself through the face,
As alone, there triumphs to the life,
Before rude hands have touched it? 105
Have you marked but the fall of the snow
Before the soil hath smutched it?
Have you felt the wool o’the beaver?
Or swan’s down, ever?
Or have smelt o’the bud o’the briar? 110
Or have tasted the bag o’the bee?
Oh, so white! Oh, so soft! Oh, so sweet is she!
FITZDOTTREL
Is she so, sir? And I will keep her so,
Will do’t, I’ll go no farther. At this window
She shall no more be buzzed at. Take your leave on’t.
A fly-blown wife is not so proper. In!
WITTIPOL
That have I, sir. 10
FITZDOTTREL
Nay, then, I tell you, you are –
WITTIPOL
What am I, sir?
FITZDOTTREL
Why, that I’ll think on, when I ha’ cut your throat!
WITTIPOL
Go, you are an ass.
FITZDOTTREL
I am resolved on’t, sir –
FITZDOTTREL
To call you to a reckoning.
FITZDOTTREL
’Slight, if you strike me, I’ll strike your mistress.
Enough to kill him! What prodigious,
Blind, and most wicked change of fortune’s this? 20
And my revenge may pass! But now my conscience
Tells me I have profited the cause of hell 25
But little in the breaking-off their loves.
Which, if some other act of mine repair not,
Could you do this? ’Gainst me? And at this time, now?
When I was so employed, wholly for you, 30
Drowned i’my care – more than the land I swear
To bear your train, and sit with your four women 35
Soured my sweet thoughts, all my pure purposes.
I could now find i’my very heart to make 40
Another lady duchess and depose you.
2.8 [Enter] MERECRAFT [and] ENGINE.
FITZDOTTREL
Nay, nay, so I will. 5
ENGINE
He says true.
MERECRAFT
You must do nothing
As you ha’ done it heretofore; not know
Or salute any man –
MERECRAFT
Best have her taught, sir.
MERECRAFT
Ha! I do thank thee
With all my heart, dear Engine.
Sir, there is 25
A certain lady here about the town,
An English widow, who hath lately travelled,
Such a rare woman! All our women here 30
That are of spirit and fashion flock unto her,
What is their due just, and no more.
FITZDOTTREL
Oh, sir!
You please me i’this more than mine own greatness. 40
Where is she? Let us have her.
FITZDOTTREL
Good sir, about it.
MERECRAFT
We must think how first.
MERECRAFT
Your wife must send
Some pretty token to her, with a compliment,
And pray to be received in her good graces;
All the great ladies do’t –
FITZDOTTREL
She shall, she shall!
What were it best to be?
ENGINE
Why, sir, your best will be one o’the players. 60
ENGINE
What if they do? The jest
A very pretty fellow, and comes often 65
To a gentleman’s chamber, a friend’s of mine. We had
The merriest supper of it there, one night!
The gentleman’s landlady invited him
To a gossip’s feast. Now he, sir, brought Dick Robinson,
Dressed like a lawyer’s wife, amongst ’em all – 70
I lent him clothes – but to see him behave it,
It would have burst your buttons, or not left you
A seam.
MERECRAFT
They say he’s an ingenious youth. 75
ENGINE
Oh, sir! And dresses himself the best! Beyond
Forty o’your very ladies! Did you ne’er see him?
FITZDOTTREL
How does she lose by’t? 85
Is’t not for her?
MERECRAFT
Well, 95
You shall go out at the back door, then, Trains.
You must get Gilthead hither by some means.
TRAINS
’Tis impossible!
GILTHEAD
All this is to make you a gentleman;
I’ll have you learn, son. Wherefore have I placed you
To keep your own? Besides, he is a justice
Here i’the town; and dwelling, son, with him 5
I am called for now in haste by Master Merecraft
And this is to make you a gentleman!
PLUTARCHUS
Oh, but good father, you trust too much!
GILTHEAD
Boy, boy, 15
We live by finding fools out to be trusted.
We lay ’em open for them to come into,
And when we have ’em there we drive ’em up
And this is to make you a gentleman!
For if our debtors pay, we cozen them,
And if they do not, then we cozen ourselves.
But that’s a hazard everyone must run 25
That hopes to make his son a gentleman.
PLUTARCHUS
I do not wish to be one, truly, father.
Just i’their state, fit to be cozened like ’em.
And I had rather ha’ tarried i’your trade; 30
For since the gentry scorn the city so much,
Methinks we should in time, holding together,
MERECRAFT
Oh, is he come? I knew he would not fail me. –
Welcome, good Gilthead. I must ha’ you do
A noble gentleman a courtesy here,
In a mere toy, some pretty ring or jewel,
Of fifty or threescore pound – make it a hundred, 5
Is likely to bestow hundreds and thousands
Wi’ you, if you can humour him. A great prince 10
He will be shortly. What do you say?
PLUTARCHUS
[Aside] Good father, do not trust ’em.
PLUTARCHUS
Plutarchus, sir. 20
MERECRAFT
Plutarchus! How came that about?
GILTHEAD
His mind, sir, lies
Much to that way.
MERECRAFT
Why then, he is i’the right way.
GILTHEAD
But now I had rather get him a good wife,
And plant him i’the country, there to use
The blessing I shall leave him.
MERECRAFT
Out upon’t! 30
And lose the laudable means thou hast at home, here,
T’advance and make him a young alderman?
There from a window worth ten thousand pound!
Chance to come by, that he may draw her in 40
GILTHEAD
I have placed him
With Justice Eitherside, to get so much law –
EVERILL
Oh, are you here, sir? Pray you, let us whisper.
[He takes Merecraft aside.]
Must not come easily from me. We must deal
With courtiers, boy, as courtiers deal with us. 5
If I have a business there with any of them,
And help the spectacle of his greatness. There
Nothing is done at once but injuries, boy –
Or very slowly.
PLUTARCHUS
Yet, sweet father, trust him. 15
GILTHEAD
Well, I will think.
[Gilthead and Plutarchus walk aside.]
EVERILL
[To Merecraft] Come, you must do’t, sir.
I’m undone else, and your Lady Tailbush
Are all at pawn. I had sent out this morning,
Before I heard you were come to town, some twenty 20
MERECRAFT
Why, I ha’ told you o’this. This comes of wearing
With your blown roses, cousin! And your eating
In velvet! Where could you ha’ contented yourself
Your sutler’s wife, i’the leaguer, of two blanks!
Your privy seals, that thus have frighted off
All your acquaintance, that they shun you at distance,
MERECRAFT
You do not think what you owe me already?
MERECRAFT
Will you, sir, help
To what I shall provoke another for you?
Master Fitzdottrel,
Your best construction; I must beg my freedom 55
From your affairs this day.
FITZDOTTREL
How, sir?
FITZDOTTREL
You’ll not do me that affront, sir.
MERECRAFT
I am sorry you should so interpret it.
A place
Much opposition; but the state, now, sees
That great necessity of it, as after all 65
For since there will be differences daily
Is grown offensive, that those few we call 70
And such as trespass ’gainst the rule of court
Are to be fined –
FITZDOTTREL
In troth, a pretty place!
FITZDOTTREL
By no means!
MERECRAFT
I must
Get him this money, and will –
MERECRAFT
Oh, good sir, do you think
So coarsely of our manners that we would,
For any need of ours, be pressed to take it,
Though you be pleased to offer it?
FITZDOTTREL
Why, by heaven,
I mean it!
MERECRAFT
I can never believe less. 95
But we, sir, must preserve our dignity,
As you do publish yours. By your fair leave, sir.
FITZDOTTREL
As I am a gentleman, if you do offer
To leave me now, or if you do refuse me,
I will not think you love me.
MERECRAFT
Oh, sir! I have done, then,
If he can be made profitable to you.
FITZDOTTREL
Yes, and it shall be one of my ambitions
To have it the first business. May I not? 110
MERECRAFT
[To Everill] Do, satisfy him: give him the whole course.
FITZDOTTREL
Well, that’s done. Now what do you upon it?
FITZDOTTREL
So, ’tis filed. 130
What follows? I do love the order of these things.
FITZDOTTREL
Very sufficient! After publication, now?
MERECRAFT
[Aside to Fitzdottrel] No, no more, sir.
What ready arithmetic you have!
(And then [whispers to] Gilthead) Do you hear?
A pretty morning’s work for you, this! Do it.
You shall ha’ twenty pound on’t.
Show us your ring. You could not ha’ done this now
With gentleness at first, we might ha’ thanked you?
Like a hard stool, and stink? A man may draw 160
Your teeth out easier than your money. Come,
Were little Gilthead here no better a nature,
PLUTARCHUS
Yes, sir.
PLUTARCHUS
Of gold, and pearl, sir.
MERECRAFT
I knew thou must take after somebody.
I’ll ha’ thee Captain Gilthead, and march up,
At every tavern. Thou shalt have a wife
MERECRAFT
And what do you value this at? Thirty pound?
GILTHEAD
No, sir. He cost me forty ere he was set.
Well, where’t must go, ’twill be judged, and therefore
Look you’t be right. You shall have fifty pound for’t.
Have things dispatched, sir, I’ll go presently
Having an hundred pieces ready, you may
Part with those now, to serve my kinsman’s turns,
That he may wait upon you anon the freer;
MERECRAFT
And dispatch all 195
Together.
MERECRAFT
Well, go and seal then, sir, make your return
EVERILL
Come, gi’ me.
MERECRAFT
Soft, sir –
EVERILL
Marry, and fair too, then! I’ll no delaying, sir. 200
MERECRAFT
But you will hear?
EVERILL
Yes, when I have my dividend.
MERECRAFT
There’s forty pieces for you.
EVERILL
What is this for?
MERECRAFT
Your half. You know that Gilthead must ha’ twenty.
EVERILL
And what’s your ring there? Shall I ha’ none o’that?
MERECRAFT
Oh, that’s to be given to a lady. 205
EVERILL
Is’t so?
MERECRAFT
By that good light, it is.
EVERILL
Come, gi’ me
Ten pieces more, then.
MERECRAFT
Why?
MERECRAFT
You must.
EVERILL
Must I? Do you your musts, sir, I’ll do mine.
You wi’ not part with the whole, sir? Will you? Go to. 210
Gi’ me ten pieces!
MERECRAFT
By what law do you this?
MERECRAFT
Good!
MERECRAFT
And I am he, I thank you.
MERECRAFT
I shall be rid o’this tyranny one day!
EVERILL
Not 215
While you do eat and lie about the town here,
New parties for your projects. I have now 220
A pretty task of it, to hold you in
How we shall both come off?
MERECRAFT
Leave you your doubting.
And do your portion, what’s assigned you: I
Never failed yet.
Engine! Welcome.
ENGINE
Excellent well!
ENGINE
Here is the gentleman, sir,
Will undertake’t himself. I have acquainted him.
MERECRAFT
Why did you so?
ENGINE
Why, Robinson would ha’ told him,
Nothing you purpose. Then, he’s of opinion
In Spain, and knows the fashions there, and can
To his care –
MERECRAFT
Is he so?
ENGINE
Every jot.
MERECRAFT
Nay, I had rather 15
To trust a gentleman with it, o’the two.
ENGINE
Pray you go to him then, sir, and salute him.
MERECRAFT
[To Wittipol] Sir, my friend Engine has acquainted you
With a strange business here.
WITTIPOL
A merry one, sir.
The Duke of Drowned-land and his Duchess?
MERECRAFT
Yes, sir.
MERECRAFT
Sir, that will make it well.
ENGINE
At my house, sir.
With somewhat beyond this. The place designed
To be the scene for this our merry matter,
At the Lady Tailbush’s.
MERECRAFT
Master Ambler?
WITTIPOL
Yes, sir.
MERECRAFT
Sir, it shall be no shame to me to confess
Must for our needs turn fools up and plough ladies
Unto her sex, and hopes to get the monopoly
As the reward of her invention.
WITTIPOL
What is her end in this?
That how experience gotten i’your being
Abroad will help our business – think of some 65
It may be she will offer you a part.
Any strange names of –
MERECRAFT
Yes, sir.
ENGINE
The fool’s in sight, Dottrel.
MERECRAFT
Away, then. 70
MERECRAFT
Returned so soon?
FITZDOTTREL
He does swear it.
FITZDOTTREL
’Slid, I can go back
And beat him, yet.
MERECRAFT
No, now let him alone.
FITZDOTTREL
I was so earnest after the main business
To have this ring gone.
FITZDOTTREL
I’the lane here?
MERECRAFT
She’ll take no note of that, but of his message.
FITZDOTTREL
[Calls] Devil!
MERECRAFT
Trust him with it.
MERECRAFT
I’ll put them in his mouth.
MERECRAFT
Sir, but you must, if she appoint to sit.
And she’s president.
FITZDOTTREL
’Slid, it is The Devil!
FITZDOTTREL
If I could but see a piece –
MERECRAFT
Sir, never think on’t.
MERECRAFT
But say that he be one 45
Wi’ not be awed, but laugh at you. How then?
FITZDOTTREL
Yes.
FITZDOTTREL
I thank you. To proceed –
PUG
How far is’t?
MERECRAFT
Hard by here
Over the way. [Aside] Now, to achieve this ring
Before he give it.
He thinks how to cozen the bearer of the ring.
Though my Spanish lady
Be a young gentleman of means, and scorn 70
How such a toy may tempt His Ladyship;
And therefore, I think best it be assured.
MERECRAFT
Oh, yes.
PUG
And shall I see ’em, and speak to ’em? 75
MERECRAFT
What else?
TRAINS
Yes.
TRAINS
The best of ’em.
PITFALL
Away!
MERECRAFT
Please you stay here a while sir, I’ll go in. (He follows.)
Of every sin a little, if it might be
After the manner of man!
Sweetheart!
PITFALL
What would you, sir? 10
PUG
Nothing but fall in to you, be your blackbird,
TRAINS
You must send, sir, 15
The gentleman the ring.
PITFALL
This is strange rudeness.
PUG
Dear Pit.
MERECRAFT
Where are you, sir?
Is your ring ready? Go with me.
PUG
I sent it you.
MERECRAFT
Me? When? By whom?
PUG
A fellow here, e’en now, 20
Came for it i’your name.
MERECRAFT
Saw you any, Trains? 25
TRAINS
Not I.
TRAINS
Sir, she saw none, she says.
PUG
Satan himself has ta’en a shape t’abuse me.
It could not be else!
PUG
I ask, 40
Sir, credit for another, but till tomorrow!
PUG
Do you think so? 45
Will she be won?
MERECRAFT
No doubt, to such an office,
It will be a lady’s bravery and her pride.
PUG
And not be known on’t after unto him?
MERECRAFT
That were a treachery! Upon my word,
Be confident. Return unto your master, 50
My lady president sits this afternoon,
Has ta’en the ring, commends her services
She’s a civil lady, and does give her
All her respects already; bade you tell her 55
She lives but to receive her wished commandments
And have the honour here to kiss her hands;
Your prince. Away!
MERECRAFT
You confess your fears 60
Too much.
PUG
The shame is more.
MERECRAFT
We must move,
Madam, in order, by degrees; not jump. 5
LADY TAILBUSH
Do they like it, then?
LADY TAILBUSH
I must send ’em thanks,
And some remembrances.
MERECRAFT
That you must, and visit ’em. 15
Where’s Ambler?
LADY TAILBUSH
Lost. Today we cannot hear of him.
MERECRAFT
Not, madam?
MERECRAFT
So I hear, madam. 20
Pray you, how was it?
LADY TAILBUSH
Troth, it but appears
Ill o’your kinsman’s part. You may have heard
That Manly is a suitor to me, I doubt not –
MERECRAFT
I guessed it, madam.
LADY TAILBUSH
And it seems he trusted
Your cousin to let fall some fair reports 25
Of him unto me.
MERECRAFT
Which he did.
MERECRAFT
How! And what said Manly to him?
MERECRAFT
Here comes Manly.
MANLY
Let me pray Your Ladyship, 35
Lay your commands on me some other time.
MANLY
It will be but ill soldered.
LADY TAILBUSH
You are too much affected with it.
MANLY
I cannot,
Madam, but think on’t for th’injustice.
LADY TAILBUSH
Sir, 40
His kinsman here is sorry.
LADY TAILBUSH
Come, he will change!
LADY EITHERSIDE
Ever your servant, madam.
LADY EITHERSIDE
Visiting, and so tired!
I protest, madam, ’tis a monstrous trouble.
LADY TAILBUSH
And so it is. I swear I must tomorrow
Begin my visits – would they were over – at court. 5
It tortures me to think on ’em.
LADY EITHERSIDE
I do hear
You ha’ cause, madam; your suit goes on.
LADY TAILBUSH
Who told thee?
LADY EITHERSIDE
One that can tell: Master Eitherside.
LADY TAILBUSH
Oh, thy husband!
If we once see it under the seals, wench, then 10
And my three women; we will live, i’faith,
The examples o’the town, and govern it.
I’ll lead the fashion still.
LADY EITHERSIDE
You do that now, 15
Sweet madam.
LADY EITHERSIDE
Thank you, good madam.
LADY TAILBUSH
Pray thee call me Tailbush,
As I thee Eitherside; I not love this ‘madam’.
LADY EITHERSIDE
Then I protest to you, Tailbush, I am glad
Your business so succeeds.
LADY TAILBUSH
Thank thee, good Eitherside.
LADY EITHERSIDE
But Master Eitherside tells me that he likes 25
Your other business better.
LADY TAILBUSH
Which?
LADY EITHERSIDE
O’the toothpicks.
LADY TAILBUSH
I never heard on’t.
LADY EITHERSIDE
Ask Master Merecraft.
MANLY
Sir, if you think you do please me in this, 30
You are deceived.
MERECRAFT
No, but because my lady
Named him my kinsman, I would satisfy you
What I think of him; and pray you, upon it
To judge me!
MERECRAFT
Yes, madam.
Did I ne’er tell’t you? I meant to have offered it
Your Ladyship on the perfecting the patent.
LADY TAILBUSH
How is’t?
MERECRAFT
For serving the whole state with toothpicks.
First, in that one commodity. Then what diseases
And putrefactions in the gums are bred
My plot for reformation of these follows: 45
To have all toothpicks brought unto an office,
Printed to teach their use, which every child
Shall have throughout the kingdom that can read 50
And learn to pick his teeth by. Which beginning
Early to practise, with some other rules,
Pure, and so free from taint –
LADY TAILBUSH
Good faith, it sounds a very pretty business!
LADY EITHERSIDE
So Master Eitherside says, madam.
MERECRAFT
The lady is come.
LADY EITHERSIDE
Yes, verily, madam.
LADY TAILBUSH
Pox o’ ‘madam’!
Will you not leave that?
LADY EITHERSIDE
Yes, good Tailbush.
LADY EITHERSIDE
’Tis pearl.
LADY EITHERSIDE
That we will heartily, Tailbush. 70
MERECRAFT
Here is a noble lady, madam, come
From your great friends at court to see Your Ladyship,
And have the honour of your acquaintance.
LADY TAILBUSH
Sir,
She does us honour.
LADY TAILBUSH
Your use of it is law. Please you, sweet madam,
To take a seat.
WITTIPOL
Both are due, madam,
To your great undertakings.
WITTIPOL
And they are noble ones,
That make a multitude beholden, madam.
The commonwealth of ladies must acknowledge from you.
LADY EITHERSIDE
Except some envious, madam.
LADY TAILBUSH
How, sweet madam?
LADY TAILBUSH
But their reasons, madam?
I would fain hear.
WITTIPOL
Some, madam, I remember.
They say that painting quite destroys the face –
Corrupts the breath, hath left so little sweetness 30
And shortly will be taken for a punishment;
And suffers that run riot everlasting.
And – which is worse – some ladies when they meet 35
Cannot be merry and laugh but they do spit
In one another’s faces!
MANLY
[Aside] I should know
This voice, and face too.
WITTIPOL
Then they say ’tis dangerous
That are industrious, and desire to earn 40
Their living with their sweat. For any distemper
Of heat and motion may displace the colours,
And if the paint once run about their faces,
Twenty to one, they will appear so ill-favoured
LADY EITHERSIDE
Pox, these are poets’ reasons!
LADY TAILBUSH
Some old lady
That keeps a poet has devised these scandals.
FITZDOTTREL
Your servant, madam.
WITTIPOL
[Aside to Manly] It is
To show you what they are you so pursue.
MANLY
[Aside to Wittipol] I think ’twill prove a med’cine against marriage 5
To know their manners.
WITTIPOL
[Aside to Manly] Stay and profit, then.
MERECRAFT
The lady, madam, whose prince has brought her here
To be instructed.
WITTIPOL
Please you sit with us, lady.
MERECRAFT
That’s lady-president.
FITZDOTTREL
A goodly woman!
I cannot see the ring, though.
MERECRAFT
Sir, she has it. 10
LADY TAILBUSH
But, madam, these are very feeble reasons.
WITTIPOL
So I urged, madam, that the new complexion
Now to come forth in name o’Your Ladyship’s fucus
Had no ingredient –
WITTIPOL
So do they in Spain.
LADY TAILBUSH
Sweet madam, be so liberal 15
To give us some o’your Spanish fucuses.
LADY TAILBUSH
So I hear.
WITTIPOL
They have
Camphor, and lily roots, the fat of swans,
Lemons, thin-skinned –
LADY EITHERSIDE
How Her Ladyship has studied 25
All excellent things!
LADY TAILBUSH
Ay, what are their ingredients, gentle madam?
The admirable varnish for the face,
Gives the right lustre; but two drops rubbed on
LADY TAILBUSH
Oh, ay, that same, good madam, I have heard of.
How is it done?
WITTIPOL
Madam, you take your hen,
Then chop it, bones and all; add to four ounces
Make the decoction, strain it. Then distil it,
Three drops preserves from wrinkles, warts, spots, moles,
Blemish, or sun-burnings, and keeps the skin
As any looking-glass; and indeed, is called
A ceruse neither cold or heat will hurt;
And mixed with oil of myrrh, and the red gillyflower
LADY TAILBUSH
Dear madam, will you let us be familiar?
WITTIPOL
Your Ladyship’s servant.
MERECRAFT
[To Fitzdottrel] How do you like her?
PUG
Sir!
PUG
I thank you, sir.
LADY TAILBUSH
I should think it hard
To go in ’em, madam.
WITTIPOL
At the first it is, madam.
LADY TAILBUSH
Do you never fall in ’em?
WITTIPOL
Never.
LADY EITHERSIDE
I swear, I should
Six times an hour!
LADY EITHERSIDE
Alas! He can do nothing! This!
WITTIPOL
I’ll tell you, madam, I saw i’the court of Spain once
To help her, till the guarda-duennas came,
Who is the person onl’ allowed to touch
A lady there; and he but by this finger. 85
WITTIPOL
An escudero or so, madam, that waits
Upon ’em in another coach, at distance,
And when they walk, or dance, holds by a handkercher,
Never presumes to touch ’em.
LADY TAILBUSH
’Tis more French
And courtly, ours.
LADY EITHERSIDE
Husband? 95
As I am honest, Tailbush, I do think
If nobody should love me but my poor husband,
I should e’en hang myself.
LADY TAILBUSH
Fortune forbid, wench,
So fair a neck should have so foul a necklace!
LADY EITHERSIDE
’Tis true, as I am handsome!
WITTIPOL
[To Mrs Fitzdottrel] I received, lady, 100
A token from you, which I would not be
Rude to refuse, being your first remembrance.
MERECRAFT
[Aside to Fitzdottrel] Do you see it, sir?
WITTIPOL
But since you come to know me nearer, lady,
I’ll beg the honour you will wear it for me. 105
It must be so.
Where you may learn, I do perceive it, anything!
How to be fine, or fair, or great, or proud,
Or what you will, indeed, wife; here ’tis taught.
And I am glad on’t, that you may not say,
Another day, when honours come upon you, 115
I ha’ done my parts; been
Today at fifty pound charge, first, for a ring
To wait upon you here, to see’t confirmed,
That I may say, both to mine own eyes and ears – 120
All helps that could be had, for love, or money –
MRS FITZDOTTREL
To make a fool of her.
WITTIPOL
They commonly use their slaves, madam.
LADY TAILBUSH
And does Your Ladyship
Think that so good, madam?
FITZDOTTREL
And I go with Your Ladyship in opinion
Directly for your gentleman-usher;
There’s not a finer officer goes on ground. 135
WITTIPOL
If he be made and broken to his place, once.
FITZDOTTREL
Nay, so I presuppose him.
FITZDOTTREL
Good.
WITTIPOL
Say I should send
To Your Ladyship who, I presume, has gathered 140
All the dear secrets to know how to make
Or for the head, and hair; why, these are offices –
FITZDOTTREL
Fit for a gentleman, not a slave.
WITTIPOL
And you would have your wife such.
FITZDOTTREL
Yes, madam, airy,
Light; not to plain dishonesty, I mean,
But somewhat o’this side.
LADY EITHERSIDE
In young company, madam.
FITZDOTTREL
I say so, ladies;
It is civility to deny us nothing.
LADY TAILBUSH
Nor no coarse fellow.
WITTIPOL
She must be guided, madam,
By the clothes he wears, and company he is in;
Whom to salute, how far –
FITZDOTTREL
I ha’ told her this. 175
And how that bawdry too, upo’ the point,
Is in itself as civil a discourse –
WITTIPOL
As any other affair of flesh, whatever.
FITZDOTTREL
But she will ne’er be capable, she is not
She loses all her opportunities
A gentleman, a younger brother, here,
Whom I would fain breed up her escudero,
And she’ll not countenance him.
WITTIPOL
What’s his name?
FITZDOTTREL
Devil, o’ Derbyshire.
LADY EITHERSIDE
Bless us from him!
LADY TAILBUSH
Devil?
Call him De-vile, sweet madam.
LADY TAILBUSH
De-vile’s a prettier name!
[Pug bows.]
FITZDOTTREL
Why do you not speak?
PUG
Good sir –
PUG
Not I, sir.
WITTIPOL
Yes, that’s an act of elegance and importance.
But what above?
FITZDOTTREL
Oh, that I had a goad for him!
LADY TAILBUSH
Out on him!
LADY EITHERSIDE
Most barbarous!
FITZDOTTREL
Why did you do this, now? 220
Of purpose to discredit me? You damned Devil!
LADY TAILBUSH
’Tis labour lost, madam.
LADY TAILBUSH
Of no discourse. 225
Oh, if my Ambler had been here!
LADY EITHERSIDE
Ay, madam.
You talk of a man. Where is there such another?
PUG
The colour, and the size, madam.
WITTIPOL
And nothing else?
WITTIPOL
Then when the puppies came, what would you do?
WITTIPOL
This’s well. What more? 235
WITTIPOL
And which silentest? This’s well, madam!
PUG
Walk her out,
And air her every morning.
WITTIPOL
Very good!
And be industrious to kill her fleas? 240
PUG
Yes.
FITZDOTTREL
[Aside] The top of woman! All her sex in abstract!
I love her to each syllable falls from her. 245
LADY TAILBUSH
[To Pug] Come, sir.
WITTIPOL
Lady, we’ll follow.
FITZDOTTREL
Oh, madam! You shall see. – Stay, wife. – Behold,
I give her up here absolutely to you.
She is your own. Do with her what you will.
Set any stamp on. I’ll receive her from you 255
WITTIPOL
Well, sir!
MERECRAFT
But what ha’ you done i’your dependence, since?
MERECRAFT
So he said, to you!
But sir, you do not know him.
FITZDOTTREL
Why, I presumed 10
Because this business of my wife’s required me,
I could not ha’ done better; and he told
Me that he would go presently to your counsel,
A knight, here, i’the lane –
MERECRAFT
Yes, Justice Eitherside.
MERECRAFT
That I know’s the course.
But sir, you mean not to make him feoffee?
FITZDOTTREL
Nay, that I’ll pause on.
MERECRAFT
How now, little Pitfall!
MERECRAFT
No. Tell him, if he were, I ha’ made his peace.
FITZDOTTREL
I conceive you.
FITZDOTTREL
Yes.
EVERILL
I pray you, a word wi’ you.
Everill whispers against Merecraft.
Sir Paul Eitherside willed me gi’ you caution
Whom you did make feoffee, for ’tis the trust
Any man so impeached of doubtful honesty.
I will not justify this, but give it you
To make your profit of it. If you utter it, 35
MRS FITZDOTTREL
And such a one I need, but not this way. 5
Sir, I confess me to you, the mere manner
But not unto your ends. My hope was then – 10
Though interrupted, ere it could be uttered –
That brain and spirit for such an enterprise,
To a right use, employ them virtuously, 15
Which they would yield. Sir, you have now the ground
To exercise them in. I am a woman
That cannot speak more wretchedness of myself
Than you can read: matched to a mass of folly 20
That every day makes haste to his own ruin;
My fortunes standing in this precipice,
’Tis counsel that I want, and honest aids; 25
Must not make me, sir, worse.
Do you hear, sir,
A deed of feoffment of his whole estate
Only he means to make feoffee. He’s fall’n
So desperately enamoured on you, and talks
Most like a madman; you did never hear
In your name, as you stand; therefore advise him
FITZDOTTREL
[To Wittipol] Madam, I have a suit to you, and aforehand
I do bespeak you. You must not deny me;
I will be granted.
WITTIPOL
Sir, I must know it, though.
FITZDOTTREL
No, lady, you must not know it; yet you must too,
For the trust of it, and the fame indeed, 5
Which else were lost me. I would use your name
But in a feoffment – make my whole estate
Over unto you; a trifle, a thing of nothing,
Some eighteen hundred.
WITTIPOL
Alas! I understand not
Those things, sir. I am a woman, and most loath 10
To embark myself –
FITZDOTTREL
You will not slight me, madam?
WITTIPOL
Nor you’ll not quarrel me?
WITTIPOL
You have your friends, sir, 15
About you here for choice.
FITZDOTTREL
Death, if she do, what do I care for that?
Say I would have her tell me wrong.
FITZDOTTREL
Nay, you do me the honour, madam. 20
Who is’t?
WITTIPOL
Who might he be?
FITZDOTTREL
One Wittipol; do you know him?
FITZDOTTREL
What is his name?
WITTIPOL
His name is Eustace Manly.
FITZDOTTREL
Whence does he write himself?
WITTIPOL
Of Middlesex,
Esquire.
FITZDOTTREL
Say nothing, madam. – Clerk, come hither; 30
Write ‘Eustace Manly, squire o’ Middlesex’.
[Plutarchus opens the deed and writes.]
MERECRAFT
[Aside to Wittipol] What ha’ you done, sir?
WITTIPOL
[Aside to Merecraft] Named a gentleman
That I’ll be answerable for to you, sir.
Had I named you, it might ha’ been suspected;
This way, ’tis safe.
MANLY
What is this?
EVERILL
Sir, I will give you any satisfaction. 40
MANLY
Yes, so witnesseth his cloak there.
FITZDOTTREL
Nay, good sir. – Madam, you did undertake –
WITTIPOL
What?
FITZDOTTREL
That he was not Wittipol’s friend.
WITTIPOL
I hear,
Sir, no confession of it.
FITZDOTTREL
Oh, she knows not – 50
Now I remember, madam! This young Wittipol
Would ha’ debauched my wife and made me cuckold
I ha’ sworn to ha’ him by the ears; I fear
WITTIPOL
No? That were pity!
What right do you ask, sir? Here he is will do’t you.
FITZDOTTREL
Ha? Wittipol?
WITTIPOL
Ay, sir, no more lady now,
Nor Spaniard.
MANLY
No indeed, ’tis Wittipol. 60
FITZDOTTREL
Am I the thing I feared?
MANLY
But your wife’s too virtuous.
FITZDOTTREL
Thieves, ravishers!
WITTIPOL
Cry but another note, sir,
I’ll mar the tune o’your pipe.
WITTIPOL
Neither; that shall be kept for your wife’s good,
Who will know better how to use it.
FITZDOTTREL
Ha!
To feast you with my land?
FITZDOTTREL
Oh!
What will the ghost of my wise grandfather,
My learned father, with my worshipful mother 75
Think of me now, that left me in this world
In state to be their heir? That am become
A cuckold, and an ass, and my wife’s ward,
MERECRAFT
Sir, we are all abused. 80
FITZDOTTREL
And be so still! Who hinders you? I pray you,
Let me alone. I would enjoy myself,
And be the Duke o’ Drowned-land you ha’ made me.
MERECRAFT
You must be ruled
And take some counsel.
FITZDOTTREL
Sir, I do hate counsel,
As I do hate my wife, my wicked wife!
MERECRAFT
But we may think how to recover all,
If you will act.
MERECRAFT
Let’s follow him. [Exeunt.]
AMBLER
But has my lady missed me?
MERECRAFT
With me? What say you, Master Ambler?
AMBLER
Sir,
I would beseech Your Worship stand between 10
Me and My Lady’s displeasure for my absence.
MERECRAFT
Oh, is that all? I warrant you.
AMBLER
I would tell you, sir,
But how it happened.
MERECRAFT
Spare your parenthesis.
AMBLER
To gi’ my body a little evacuation –
MERECRAFT
Well, and you went to a whore?
AMBLER
No, sir. I durst not,
For fear it might arrive at somebody’s ear
But got the gentlewoman to go with me
Hard by the place toward Tyburn which they call
Till I heard the noise o’the people and the horses;
And neither I nor the poor gentlewoman
Durst stir till all was done and past; so that
He flags.
MERECRAFT
Nay, if you fall from your gallop, I am gone, sir. 35
AMBLER
But when I waked to put on my clothes – a suit
And all my money, with my purse, my seals,
And a fine new device I had to carry 40
And garters I had given her for the business.
AMBLER
To satisfy My Lady.
AMBLER
I ha’ told the true disaster.
PUG
Oh, call me home again, dear chief, and put me
The sea dry with a nutshell, gathering all
The leaves are fall’n this autumn, drawing farts 5
Out of dead bodies, making ropes of sand,
A thousand year which of ’em and how far
Out-leaped the other, than endure a minute
Such as I have within. There is no hell
Are pastimes to it. ’Twould be a refreshing
For me to be i’the fire again, from hence!
AMBLER
This is my suit, and those the shoes and roses!
AMBLER
Do you hear, sir?
PUG
[Aside] Answer him, but not to th’purpose.
AMBLER
What is your name, I pray you, sir?
AMBLER
I ask not o’the time, but of your name, sir. 25
PUG
I thank you, sir. Yes, it does hold, sir, certain.
AMBLER
Hold, sir? What holds? I must both hold and talk to you
About these clothes.
AMBLER
No, I am cozened
By you! Robbed!
AMBLER
Pox o’your gleek
And threepence! Give me an answer.
PUG
Sir,
My master is the best at it.
AMBLER
Your master!
Who is your master?
PUG
Let it be Friday night.
AMBLER
What should be then?
MERECRAFT
It is the easiest thing, sir, to be done.
Sommers at Nottingham? All these do teach it.
And we’ll give out, sir, that your wife has bewitched you –
MERECRAFT
For it is more than manifest that this was 15
A plot o’your wife’s to get your land.
FITZDOTTREL
I think it.
EVERILL
Sir, it appears.
MERECRAFT
Nay, and my cousin has known
These gallants in these shapes –
MERECRAFT
How a man’s honesty may be fooled! I thought him 20
A very lady.
EVERILL
Upon ’em all.
MERECRAFT
Yes, faith, and since your wife
Has run the way of woman thus, e’en give her –
MERECRAFT
Gilthead, what news?
GILTHEAD
Yes, sir. – Officers,
Arrest him.
FITZDOTTREL
Me?
SERGEANT
I arrest you.
SLEDGE
Keep the peace,
I charge you, gentlemen.
FITZDOTTREL
Arrest me? Why?
PLUTARCHUS
Pardon me, father,
I said His Worship had no foot of land left;
And that I’ll justify, for I writ the deed.
FITZDOTTREL
Ha’ you these tricks i’the city?
SLEDGE
Ay, and at mine. He owes me for his lodging
Two year and a quarter.
MERECRAFT
Upo’ my project o’the forks.
SLEDGE
Forks? What be they?
MERECRAFT
The laudable use of forks,
To th’sparing o’napkins. That, that should have made 20
By cause I feared they were the likeliest ever
To stir against, to cross it, for ’twill be 25
A mighty saver of linen through the kingdom –
Now, on you two had I laid all the profits:
Gilthead to have the making of all those
And you of those of steel for the common sort.
But now you have prevented me, and I thank you.
MERECRAFT
Why, this shows 40
A little good nature in you, I confess,
But do not tempt your friends thus. [To Plutarchus] Little Gilthead,
Advise your sire, great Gilthead, from these courses;
Away! It shows not well. Let him get the pieces
And bring ’em. You’ll hear more else.
PLUTARCHUS
Father!
AMBLER
Oh, Master Sledge, are you here? I ha’ been to seek you.
You are the constable, they say. Here’s one
That I do charge with felony, for the suit
He wears, sir.
MERECRAFT
Who? Master Fitzdottrel’s man?
’Ware what you do, Master Ambler.
AMBLER
Sir, these clothes, 5
I’ll swear, are mine; and the shoes the gentlewoman’s
I told you of; and ha’ him afore a justice
I will.
PUG
My master, sir, will pass his word for me.
AMBLER
Oh, can you speak to purpose now?
PUG
Do you hear, sir; pray, in private.
FITZDOTTREL
Well, what say you?
Brief, for I have no time to lose.
PUG
Truth is, sir,
To take this body I am in to serve you, 15
Which was a cutpurse’s, and hanged this morning.
And it is likewise true I stole this suit
To clothe me with. But, sir, let me not go
To prison for it. I have hitherto
Lost time, done nothing; shown, indeed, no part 20
O’my devil’s nature. Now I will so help
Your malice ’gainst these parties; so advance
The business that you have in hand of witchcraft
And your possession, as myself were in you;
Teach you such tricks, to make your belly swell 25
And your eyes turn, to foam, to stare, to gnash
Your teeth together, and to beat yourself,
Laugh loud, and feign six voices –
PUG
Sir –
MERECRAFT
What said he to you, sir?
FITZDOTTREL
Like a lying rascal
Told me he was the devil.
MERECRAFT
How! A good jest!
FITZDOTTREL
And that he would teach me such fine devil’s tricks 35
For our new resolution.
EVERILL
Oh, pox on him!
’Twas excellent wisely done, sir, not to trust him.
MERECRAFT
Why, if he were the devil, we sha’ not need him,
Go throw yourself on a bed, sir,
Till after that you have a fit, and all
Confirmed within. [To Everill] Keep you with the two ladies
And persuade them. I’ll to Justice Eitherside
’Tis no hard thing t’outdo the devil in;
But t’other day.
FITZDOTTREL
Well, I’ll begin to practise,
And scape the imputation of being cuckold
By mine own act.
MERECRAFT
No more o’that, sweet cousin.
EVERILL
What had you
To do with this same Wittipol, for a lady?
MERECRAFT
Question not that. ’Tis done.
MERECRAFT
I had indeed.
MERECRAFT
Do not upbraid me.
EVERILL
Come, you must be told on’t; 60
You are so covetous still to embrace
More than you can, that you lose all.
PUG
[Gives him money] There it is, sir. Leave me.
[Exit Shackles.]
To Newgate brought? How is the name of Devil
Discredited in me! What a lost fiend
Shall I be on return! My chief will roar 5
In triumph, now that I have been on earth
A day, and done no noted thing but brought
Well! Would it once were midnight, that I knew
INIQUITY
Child of hell, be thou merry!
Put a look on as round, boy, and red as a cherry.
Look upon me, and hearken. Our chief doth salute thee,
PUG
How? Longer here a month?
The great superior devil! For his malice, 30
Arch-devil! I acknowledge him. He knew
What I would suffer when he tied me up thus
In a rogue’s body; and he has – I thank him –
His tyrannous pleasure on me, to confine me
To the unlucky carcass of a cutpurse, 35
Wherein I could do nothing.
Stop thy lewd mouth. Dost thou not shame and tremble
To lay thine own dull damned defects upon
The spirit that did possess that flesh before 40
Put more true life in a finger and a thumb
Than thou in the whole mass. Yet thou rebell’st
Wicked enough, this day, that might be called
Worthy thine own, much less the name that sent thee? 45
First, thou didst help thyself into a beating
Hindered’st, for aught thou know’st, a deed of darkness, 50
Which was an act of that egregious folly
Thou hast been cheated on with a false beard
And a turned cloak. Faith, would your predecessor 55
The cutpurse, think you, ha’ been so? Out upon thee!
The hurt th’hast done, to let men know their strength,
Put in a body, will forever be
A scar upon our name! Whom hast thou dealt with, 60
Woman or man, this day, but have outgone thee
Some way, and most have proved the better fiends?
Yet you would be employed? Yes, hell shall make you
For this side o’the town! No doubt you’ll render 65
A rare account of things. Bane o’your itch,
To allay it sure, and fire to singe your nails off.
But that I would not such a damned dishonour
Stick on our state, as that the devil were hanged 70
And could not save a body that he took
You should e’en ride. But up, away with him –
5.7 A great noise is heard in Newgate, and [SHACKLES and] the KEEPERS come out affrighted. [PUG enters and lies down, becoming the corpse of the cutpurse.]
SHACKLES
Oh me!
FIRST KEEPER
What’s this?
SHACKLES
Ha? Where?
FOURTH KEEPER
Look here.
FIRST KEEPER
’Slid, I should know his countenance!
It is Gill Cutpurse, was hanged out this morning! 5
SHACKLES
’Tis he!
SECOND KEEPER
The devil, sure, has a hand in this!
THIRD KEEPER
What shall we do?
SHACKLES
Carry the news of it
Unto the sheriffs.
FIRST KEEPER
And to the Justices.
THIRD KEEPER
And savours of the devil strongly!
FIRST KEEPER
Fough!
SHACKLES
Carry him in.
FIRST KEEPER
Away.
SECOND KEEPER
How rank it is!
5.8 [Enter] SIR PAUL [EITHERSIDE],
MERECRAFT, EVERILL, TRAINS, FITZDOTTREL, [LADY EITHERSIDE, LADY TAILBUSH], PITFALL, [AMBLER, and ATTENDANTS].
The Justice [EITHERSIDE] comes out wondering,
and the rest informing him.
EITHERSIDE
This was the notablest conspiracy
That e’er I heard of.
MERECRAFT
Sir, they had giv’n him potions
That did enamour him on the counterfeit lady –
MERECRAFT
And then the witchcraft ’gan t’appear, for straight 5
He fell into his fit.
EVERILL
Of rage at first, sir,
Which since has so increased.
LADY TAILBUSH
Good Sir Paul, see him,
And punish the impostors.
MERECRAFT
Yes, sir, and send for his wife.
LADY TAILBUSH
I thought one a true lady,
I should be sworn. [To Lady Eitherside] So did you, Eitherside! 15
LADY TAILBUSH
And the other a civil gentleman.
LADY TAILBUSH
I now see it:
I was providing of a banquet for ’em,
After I had done instructing o’the fellow 20
De-vile, the gentleman’s man.
LADY TAILBUSH
How?
MERECRAFT
I’ll tell you more anon.
EITHERSIDE
That is the devil speaks and laughs in him.
MERECRAFT
Do you think so, sir?
EITHERSIDE
I discharge my conscience. 30
EVERILL
How he changes, sir, his voice!
MERECRAFT
How he foams!
EVERILL
And swells! 35
LADY TAILBUSH
Oh, me! What’s that there, rises in his belly?
LADY EITHERSIDE
A strange thing! Hold it down.
TRAINS, PITFALL
We cannot, madam.
EITHERSIDE
’Tis too apparent, this!
FITZDOTTREL
Wittipol, Wittipol!
MANLY
What fine new matters?
WITTIPOL
The coxcomb and the coverlet.
MERECRAFT
Oh, strange impudence! 40
That these should come to face their sin!
EITHERSIDE
Say nothing.
MERECRAFT
Did you mark, sir, upon their coming in,
How he called Wittipol?
EVERILL
And never saw ’em.
EITHERSIDE
I warrant you, did I; let ’em play a while. 45
FITZDOTTREL
Buzz, buzz, buzz, buzz.
LADY TAILBUSH
’Las, poor gentleman!
How he is tortured!
EITHERSIDE
[To Mrs Fitzdottrel] Woman, forbear!
WITTIPOL
What, sir?
MANLY
Do you believe in’t?
MANLY
This is most strange, sir.
Here comes the King’s constable,
And with him a right worshipful commoner,
My good friend, Master Gilthead. I am glad
I can before such witnesses profess
My conscience and my detestation of it. 65
Horrible! Most unnatural! Abominable!
LADY TAILBUSH
Oh, how he is vexed!
EITHERSIDE
’Tis too manifest.
MERECRAFT
[Whispers] And act a little.
LADY TAILBUSH
[To Eitherside] What does he now, sir?
FITZDOTTREL
Hum!
FITZDOTTREL
Yellow, yellow, yellow, yellow, etc.
GILTHEAD
How the devil can act!
EITHERSIDE
He is the master of players, Master Gilthead,
And poets, too! You heard him talk in rhyme!
I had forgot to observe it to you, erewhile. 80
LADY TAILBUSH
See, he spits fire.
MANLY
Why speak you not unto him?
LADY EITHERSIDE
Alas, poor gentleman!
MANLY
Will you so, sir?
GILTHEAD
You do well, sir.
FITZDOTTREL
Provide me to eat three or four dishes o’ good meat,
I’ll feast them and their trains; a justice head and brains
Shall be the first.
EITHERSIDE
The devil loves not justice, 105
There you may see.
EITHERSIDE
[To Gilthead] Be not you troubled, sir; the devil speaks it.
EVERILL
Peace!
EITHERSIDE
He curses
In Greek, I think.
EVERILL
[Whispers] Your Spanish that I taught you. 115
EVERILL
How? Your rest –
Let’s break his neck in jest, the devil says.
MERECRAFT
What, would the devil borrow money?
[carrying Ambler’s possessions].
SHACKLES
Where’s Sir Paul Eitherside?
EITHERSIDE
Here. What’s the matter?
A great piece of the prison is rent down!
Of the young cutpurse was hanged out this morning,
But in new clothes, sir; every one of us know him.
These things were found in his pocket.
[He hands them over.]
AMBLER
Those are mine, sir.
SHACKLES
I think he was committed on your charge, sir,
For a new felony.
AMBLER
Yes.
SHACKLES
Sir, you may see, and satisfy yourself.
FITZDOTTREL
Nay, then, ’tis time to leave off counterfeiting.
[To Eitherside] Sir, I am not bewitched, nor have a devil;
No more than you. I do defy him, I,
And did abuse you. These two gentlemen 140
They taught me all my tricks. I will tell truth
And shame the fiend. See here, sir, are my bellows,
That should ha’ come forth!
MANLY
[To Eitherside] Sir, are not you ashamed 145
Now of your solemn, serious vanity?
EITHERSIDE
I will make honourable amends to truth.
FITZDOTTREL
And so will I. But these are cozeners still,
And ha’ my land, as plotters, with my wife,
Who, though she be not a witch, is worse – a whore! 150
MANLY
Sir, you belie her. She is chaste and virtuous,
And we are honest. I do know no glory
[To Eitherside] Please you go in, sir, and hear truths, then judge ’em; 155
And make amends for your late rashness, when
You shall but hear the pains and care was taken
To save this fool from ruin: His Grace of Drowned-land!
FITZDOTTREL
My land is drowned indeed –
EITHERSIDE
Peace!
MANLY
And how much
His modest and too worthy wife hath suffered 160
First for your own belief, more for his actions.
His land is his, and never, by my friend
Or by myself, meant to another use
Let ’em repent ’em, and be not detected.
It is not manly to take joy or pride
They do ’em worst that love ’em, and dwell there
Till the plague comes. The few that have the seeds
Of goodness left will sooner make their way
THE END