The Devil Is an Ass (1616)

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:

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.

(2.1.7–10)

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:

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.

(2.1.45–9)

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):

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.

(4.4.79–85)

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:

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.

(1.6.157–8, 179–82)

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:

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.

(2.2.24–7)

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 –

Have you seen but a bright lily grow,

Before rude hands have touched it?

(2.6.104–5)

– 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

 SATAN

the great devil

PUG

the less devil

INIQUITY

the Vice

[FABIAN]  FITZDOTTREL

a squire of Norfolk

MISTRESS FRANCES

his wife 5

MERECRAFT

 the projector

EVERILL

his  champion

 WITTIPOL

a young gallant

[EUSTACE]  MANLY

his friend

 ENGINE

a  broker 10

TRAINS

the projector’s man 

 GILTHEAD

a goldsmith

 PLUTARCHUS

his son

SIR  PAUL  EITHERSIDE

a lawyer and justice

LADY EITHERSIDE

his wife 15

LADY  TAILBUSH

the lady projectress

 PITFALL

her woman

AMBLER

her  gentleman usher

SLEDGE

a smith, the constable

SHACKLES

keeper of  Newgate 20

SERGEANTS
[Four KEEPERS]
[Three WAITERS]

The Scene, London

The Prologue

  The Devil Is an Ass. That is today

The name of what you are met for, a new play.

Yet,  grandees, would you were not come to grace

Our matter with allowing us no  place.

Though you presume Satan a  subtle thing, 5

And may have heard he’s  worn in a thumb-ring,

Do not on these presumptions force us act

In  compass of a  cheese-trencher. This  tract

Will ne’er admit our  vice because of yours –

 Anon, who, worse than you, the fault endures 10

That yourselves make, when you will thrust and  spurn,

And knock us o’the elbows, and  bid, turn;

As if, when we had spoke, we must be gone,

Or, till we speak,  must all run in to one,

Like the young adders at the old one’s mouth? 15

 Would we could stand due north; or had no south,

If that offend; or were  Muscovy glass,

That you might look our scenes through as they pass.

We know not how to  affect you. If you’ll come

To see new plays, pray you afford us room, 20

And show this but the same face you have done

Your dear delight,  The Devil of Edmonton.

Or if, for want of room, it must miscarry,

’Twill be but justice that  your censure tarry

Till you  give some. And when six times you ha’ seen’t, 25

If this play do not  like,  the devil is in’t.

1.1  [Enter SATAN and] PUG [in hell].

SATAN

 Ho, ho, ho, ho, ho, ho, ho, ho, etc.

To earth? And why to earth, thou foolish spirit?

What wouldst thou do on earth?

PUG

For that, great chief,

As time shall work. I do but ask  my month,

Which every petty   puny devil has; 5

Within that term, the Court of Hell will hear

Something may gain a longer grant, perhaps.

SATAN

For what? The laming a poor cow or two?

Entering a sow to make her  cast her farrow?

Or  crossing of a  market-woman’s mare 10

 ’Twixt this and Tottenham? These were wont to be

Your main achievements, Pug. You have  some plot now

Upon a tunning of ale, to stale the yeast,

Or   keep the churn so that the butter come not,

Spite o’the housewife’s cord, or her hot spit? 15

Or some good  ribibe about  Kentish Town,

Or  Hoxton, you would hang now for a witch,

Because she will not let you play  round Robin?

And you’ll go sour the citizens’ cream  ’gainst Sunday,

That she may be accused for’t, and condemned 20

By a  Middlesex jury, to the satisfaction

Of their offended friends, the Londoners’ wives,

Whose teeth were set on edge with it? Foolish fiend,

Stay i’your place, know your own  strengths, and put not

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,

An agent to be sent for  Lancashire

Proper enough; or some parts of Northumberland,

 So  you’d good instructions, Pug.

PUG

O chief!

You do not know, dear chief, what there is in me. 35

 Prove me but for a fortnight, for a week,

And lend me but a  Vice to carry with me,

To practise there with any playfellow,

And you will see, there will come more upon’t

Than you’ll imagine, precious chief.

SATAN

What Vice? 40

What kind wouldst th’have it of ?

PUG

Why,  any –  Fraud,

Or Covetousness, or Lady Vanity;

Or old Iniquity: I’ll call him hither. [He calls.]

 [Enter] INIQUITY.

INIQUITY

What is he calls upon me, and would seem to lack a Vice?

Ere his words be half spoken, I am with him  in a trice; 45

Here, there, and everywhere, as the cat is with the mice:

True  vetus Iniquitas. Lack’st thou  cards, friend, or dice?

I will teach thee  cheat, child, to  cog, lie, and swagger,

And ever and anon, to be drawing forth thy dagger;

To swear by  Gog’s nowns, like a  Lusty Juventus, 50

In a cloak to thy heel, and a hat like a  penthouse,

Thy breeches  of three fingers, and thy doublet all belly,

With a wench that shall feed thee with  cock-stones and  jelly.

PUG

[To Satan] Is it not excellent, chief? How nimble he is!

INIQUITY

Child of hell, this is nothing! I will  fetch thee a leap 55

From the top of  Paul’s steeple to the  Standard in  Cheap,

And lead thee a dance through the streets without fail,

Like  a needle of Spain,  with a thread at my tail.

We will survey the  suburbs, and make forth our sallies

Down  Petticoat Lane, and up the  Smock Alleys, 60

To  Shoreditch, Whitechapel, and so to  St Kather’ne’s,

To drink with the Dutch there, and  take forth their  patterns.

From thence we will put in at  Custom House  Quay there,

And see how the  factors and prentices play there

False with their masters; and  geld many a full  pack, 65

To spend it in pies at the  Dagger and the Woolsack.

PUG

Brave, brave Iniquity! – Will not this do, chief?

INIQUITY

Nay, boy, I will bring thee to the bawds and the  roisters

At   Billingsgate, feasting with claret wine and oysters,

From thence  shoot the bridge, child, to the  Cranes i’the Vintry, 70

And see there the  gimlets, how they make their entry!

Or if thou hadst rather to the Strand down to fall,

 ’Gainst the lawyers  come dabbled from  Westminster Hall,

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!

SATAN

[To Iniquity] Peace,  dotard.

[To Pug] And thou more ignorant thing, that  so admir’st,

Art thou the spirit thou seem’st? So  poor? To choose

This for a Vice t’advance the cause of hell

Now, as vice stands this present year? Remember 80

 What number it is: six hundred and sixteen.

 Had it but been five hundred, though some sixty

Above – that’s fifty years agone, and six,

When every great man had his Vice stand by him,

In his  long coat, shaking his  wooden dagger – 85

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?

To mount upon a joint-stool with a  Jew’s trump,

To put down  Cokeley, and that must be to citizens?

He ne’er will be admitted there where   Fennor comes.

He may perchance,  in tail of a sheriff’s dinner, 95

Skip with  a rhyme o’the table from new nothing,

And take his  almain leap into a custard,

Shall make my  Lady Mayoress and her sisters

Laugh all their  hoods over their shoulders. But

This is not  that will do; they are other things 100

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

And rear ’em up new ones, but they do not  stand

When they come there: they  turn ’em on our hands,

And it is feared  they have a stud o’their own

Will put down ours. Both our breed and trade

Will suddenly decay if we prevent not. 110

Unless it be a Vice of quality

Or fashion now, they take none from us.  Car-men

Are got into the  yellow starch, and chimney-sweepers

To their tobacco and strong waters,  hum,

 Mead, and  obarni. We must therefore aim 115

At extraordinary subtle ones now,

When we do  send, to keep us up in credit.

Not old iniquities! [To Iniquity] Get you e’en back, sir,

To  making of your rope of sand again.

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,

Or, very  like, four horses in a coach, 125

As the best men and women.  Tissue gowns,

Garters and  roses, fourscore pound a pair,

Embroidered stockings,  cut-work smocks, and shirts,

 More certain marks of lechery now, and pride,

Than e’er they were of true nobility! 130 [Exit Iniquity.]

But Pug, since you do burn with such desire

To do the commonwealth of hell some service,

I am content, assuming of a body,

You go to earth and visit men  a day.

But you must take a body ready-made, Pug; 135

 I can create you none. Nor shall you form

Yourself an  airy one, but become subject

To all impression of the flesh you take

So far as  human frailty. So this morning

 There is a handsome cutpurse hanged at Tyburn, 140

Whose spirit departed, you may enter his body.

 For clothes, employ your credit with the hangman,

Or let our tribe of  brokers furnish you.

And look how far your subtlety can work

 Thorough those organs; with that body, spy 145

Amongst mankind – you cannot there  want vices,

And therefore the less need to carry ’em wi’ you.

But as you make your  soon-at-night’s relation,

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

 I’ll show you now.

 He shows Fitzdottrel to him, coming forth.

Observe him.  Yon is he

You shall see first, after your clothing. Follow him;

But once  engaged, there you must stay and fix, 155

Not shift until the  midnight’s cock do crow.

PUG

Any conditions to be gone!

SATAN

Away, then.  [Exeunt Satan and Pug.]

1.2 FITZDOTTREL  [comes forward].

FITZDOTTREL

Ay, they do now name  Bretnor, as before

They talked of  Gresham, and of Doctor Forman,

Franklin, and  Fiske, and  Savory – he was in too –

But there’s not one of these that ever could

Yet show a man the devil in true sort. 5

They have their  crystals, I do know, and  rings,

And  virgin parchment, and their dead men’s skulls,

Their ravens’ wings, their  lights, and  pentacles

With  characters; I ha’ seen all these. But –

Would I might see the devil! I would give 10

A hundred o’ these pictures to see him

Once  out of picture. May I prove a cuckold –

And that’s the one main mortal thing I fear –

If I begin not now to think the painters

Have  only made him.  ’Slight, he would be seen 15

One time or other else.  He would not let

An ancient gentleman of   as good house

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

At all, why are there  conjurers? If they be not,

Why are there  laws against ’em? The best  artists

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

I shall suspect  they can make circles only

Shortly, and know but his hard names. They do say

 He’ll meet a man  of himself that has a mind to him.

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.

  He expresses a longing to see the devil.

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 –

Not  as the conjurers do when they ha’ raised him,

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

 They are wrong all. The burnt child dreads the fire.

They do not know  to entertain the devil.

I would so welcome him,  observe his diet, 45

Get him his chamber hung with  arras – two of ’em –

I’ my own house; lend him my wife’s  wrought pillows;

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 should come to me in a  brave young shape,

And take me at my word!

 [Enter] PUG [dressed in fine clothes].

Ha! Who is this?

 1.3

PUG

Sir, your good pardon that I thus presume

Upon your privacy. I am born a gentleman,

A  younger brother, but in some disgrace

Now with my  friends, and want some little means

To keep me upright, while things be reconciled. 5

Please you to let my service be of use to you, sir.

FITZDOTTREL

Service? ’Fore hell, my heart was at my mouth

Till I had viewed his shoes well, for  those roses

Were big enough to hide a cloven foot.

 He looks and surveys his feet over and over.

No, friend, my number’s full. I have one servant, 10

Who is my all, indeed; and from the  broom

Unto the brush, for just so far I trust him.

He is my wardrobe man, my  cater, cook,

Butler, and steward; looks unto my horse,

And helps to watch my wife. H’has all the  places 15

That I can think on,  from the garret downward

E’en to the manger and the  curry-comb.

PUG

 Sir, I shall put Your Worship to no charge

More than my meat, and that but very little;

I’ll serve you  for your love.

FITZDOTTREL

Ha? Without wages? 20

 I’d hearken  o’that ear, were I at leisure.

But now I’m busy.  Prithee, friend, forbear me;

  An thou hadst been a devil, I should say

Somewhat more to thee. Thou dost hinder now

My meditations.

PUG

Sir, I am a devil. 25

FITZDOTTREL

How!

PUG

A true devil, sir.

FITZDOTTREL

Nay, now you lie –

 Under your favour, friend, for I’ll not quarrel.

I looked o’your feet afore; you cannot cozen me,

 Your shoe’s not cloven, sir, you are whole hoofed.

 He views his feet again.

PUG

Sir, that’s a popular error deceives many; 30

But I am  that I tell you.

FITZDOTTREL

What’s your name?

PUG

My name is Devil, sir.

FITZDOTTREL

Say’st thou true?

PUG

Indeed, sir.

FITZDOTTREL

 ’Slid! There’s some omen i’this! What countryman?

PUG

Of Derbyshire, sir, about the  Peak.

FITZDOTTREL

That hole

Belonged to your ancestors?

PUG

Yes, Devil’s Arse, sir. 35

FITZDOTTREL

[To himself] I’ll  entertain him for the name sake. Ha,

And turn away my tother man, and  save

Four pound a year by that! There’s luck, and thrift too!

 The very devil may come hereafter as well. –

Friend, I receive you. But withal I acquaint you 40

Aforehand, if  you offend me, I must beat you.

It is a kind of exercise I use,

And cannot be without.

PUG

Yes, if I do  not

Offend, you can, sure.

FITZDOTTREL

Faith, Devil,  very hardly!

I’ll call you by your surname, ’cause I love it. 45

1.4  [Enter] ENGINE [carrying a cloak], WITTIPOL, [and] MANLY.

ENGINE

Yonder he walks, sir. I’ll go  lift him for you.

WITTIPOL

To him, good Engine, raise him up by degrees,

Gently, and hold him there too; you can do it.

Show yourself now a  mathematical broker.

ENGINE

I’ll warrant you for half a piece.

WITTIPOL

’Tis done,  sir. 5

[Engine takes Fitzdottrel aside.]

MANLY

 Is’t possible there should be such a man?

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

’Tis a fair guest, friend, beauty; and once lodged

Deep in the eyes, she  hardly leaves the inn. 15

How does he   keep her?

WITTIPOL

Very brave. However

Himself be  sordid, he is  sensual that way.

In every dressing he does study her.

MANLY

And furnish forth himself so from the brokers?

WITTIPOL

Yes, that’s a hired suit he now has  on, 20

To see  The Devil Is an Ass today in.

This Engine gets three or four pound a week by him:

He dares not miss a new play or a feast,

What rate soever clothes be at, and thinks

Himself still new in other men’s old.

MANLY

But stay, 25

Does he love  meat so?

WITTIPOL

Faith, he does not hate it.

But that’s not it.  His belly and his palate

Would be compounded with for reason. Marry,

 A wit he has of that strange credit with him

’Gainst all mankind, as it doth make him do 30

Just what it  list. It ravishes him forth

Whither it please, to any  assembly or place,

And  would conclude him ruined should he  scape

One public meeting, out of the belief

He has of his own great and  catholic strengths 35

In arguing and discourse.

    (Engine hath won Fitzdottrel to ’say on the cloak.)

It takes, I see:

 He’s got the cloak upon him.

FITZDOTTREL

[To Engine] A fair garment,

By my faith, Engine!

ENGINE

It was never made, sir,

 For threescore pound, I assure you;  ’twill yield thirty.

The  plush, sir, cost three pound ten shillings a yard! 40

And then the lace and velvet.

FITZDOTTREL

I shall, Engine,

Be looked at prettily in it! Art thou sure

The play is played today?

ENGINE

  (He gives him the playbill) Oh, here’s the bill, sir.

 I’d forgot to gi’ it you.

FITZDOTTREL

Ha? The Devil!

I will not lose you, sirrah! But, Engine, think you 45

 The gallant is so furious in his folly?

So mad upon the matter that he’ll part

With’s cloak upo’ these terms?

ENGINE

Trust not your Engine,

Break me to pieces else, as you would do

A rotten crane, or an old rusty  jack 50

That has not one true wheel in him. Do but talk with him.

FITZDOTTREL

I shall do that to satisfy you, Engine,

And myself too.  (He turns to Wittipol.) With your leave, gentlemen,

Which of you is it, is  so mere idolater

To my wife’s beauty, and so very  prodigal 55

Unto my patience, that  for the short parley

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.

FITZDOTTREL

 Good time! Your name 60

Is Wittipol?

WITTIPOL

The same, sir.

FITZDOTTREL

And ’tis told me

 You’ve travelled lately?

WITTIPOL

That I have, sir.

FITZDOTTREL

Truly,

 Your travels may have altered your  complexion;

But sure, your wit stood still.

WITTIPOL

It may well be, sir.

All heads ha’ not  like growth.

FITZDOTTREL

The good man’s gravity 65

That left you land, your father, never taught you

These pleasant  matches?

WITTIPOL

No, nor can  his mirth –

With whom I make ’em – put me off.

FITZDOTTREL

You are

Resolved then?

WITTIPOL

Yes, sir.

FITZDOTTREL

Beauty is the saint

 You’ll sacrifice yourself into the shirt  to? 70

WITTIPOL

 So I may still clothe, and keep warm your wisdom!

FITZDOTTREL

You  lade me, 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.

FITZDOTTREL

For the short space

You do demand, the fourth part of an hour,

I think I shall, with some convenient study,

And  this good help to boot, bring myself to’t. 80

 He shrugs himself up in the cloak.

WITTIPOL

I ask no more.

FITZDOTTREL

Please you, walk to’ard my house.

Speak what you  list; that time is yours. My right

I have  departed with. But not beyond

A minute, or a second, look for. Length,

And drawing out,  may advance much to these matches. 85

And I except all kissing. Kisses are

Silent petitions still with willing lovers.

WITTIPOL

Lovers? How falls that o’your  fant’sy?

FITZDOTTREL

Sir,

I do know somewhat; I forbid all lip-work.

WITTIPOL

I am not eager at forbidden dainties. 90

 Who covets unfit things denies himself.

FITZDOTTREL

You say well, sir; ’twas prettily said, that same.

He does indeed. I’ll have no touches, therefore,

Nor takings by the arms, nor tender  circles

Cast ’bout the waist, but all be done at distance. 95

Love is brought up with those soft  migniard handlings;

His pulse lies in his  palm; and I defend

All melting joints and fingers – that’s my bargain –

I do  defend ’em, anything like  action.

But talk, sir, what you will. Use all the  tropes 100

And schemes that  Prince Quintilian can afford you,

And much good do your rhetoric’s heart. You are welcome, sir. –

Engine, God  b’wi’you.

WITTIPOL

Sir,  I must condition

To have this gentleman by, a witness.

FITZDOTTREL

Well,

I am content, so he be silent.

MANLY

Yes, sir. 105

 [Exeunt Wittipol, Manly, and Engine.]

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.

PUG

I shall do’t, sir.  [Exeunt.]

1.5   [Enter] WITTIPOL, MANLY, [and ENGINE].

WITTIPOL

Engine, you hope o’your  half piece? ’Tis there, sir.

[Gives him money.] Begone.  [Exit Engine.]

Wittipol knocks his friend o’the breast.

Friend Manly, who’s within here?  Fixed?

MANLY

I am directly in a fit of wonder

What’ll be the  issue of this conference!

WITTIPOL

 For that, ne’er vex yourself till the event. 5

 How like  you him?

MANLY

I would  fain see more of him.

WITTIPOL

What think you of this?

MANLY

I am past  degrees of thinking.

 Old Afric and the new America

With all their fruit of monsters cannot show

 So just a prodigy!

WITTIPOL

Could you have believed, 10

Without your sight, a mind so  sordid inward

Should  be so specious and  laid forth abroad

To all the show that ever shop or ware was?

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?

WITTIPOL

Oh, sir! For hidden treasure

He hopes to find, and has proposed himself

So infinite a mass as to recover

He cares not what he parts with of the present 20

 To his men of art, who are the race may coin him.

Promise gold-mountains, and the covetous

Are still most  prodigal.

MANLY

But ha’ you faith

That he will hold his bargain?

WITTIPOL

Oh, dear sir!

He will not  off on’t. Fear him not. I know him. 25

One baseness  still accompanies another.

 [Enter] FITZDOTTREL [and] MRS FITZDOTTREL.

See! He is here already, and his wife too.

MANLY

A wondrous handsome creature, as I live!

 1.6

FITZDOTTREL

Come, wife, this is the gentleman. Nay, blush not.

MRS FITZDOTTREL

Why, what do you mean, sir? Ha’ you your reason?

FITZDOTTREL

Wife,

I do not know that I have lent it forth

To anyone; at least, without a pawn, wife,

Or that I’ve eat or drunk the thing of late 5

That should corrupt it. Wherefore, gentle wife,

Obey. It is thy virtue.  Hold no acts

Of disputation.

MRS FITZDOTTREL

Are you not enough

The  talk of feasts and meetings, but you’ll still

Make argument for fresh?

FITZDOTTREL

Why,  careful wedlock, 10

If  I have a longing to have one tale more

 Go of me, what is that to thee, dear heart?

Why shouldst thou  envy my delight, or cross it,

By being  solicitous when it not concerns thee?

MRS FITZDOTTREL

Yes, I have share in this. The scorn will fall 15

As bitterly on me, where both are laughed at.

FITZDOTTREL

Laughed at, sweet  bird? Is that the scruple? Come, come,

 Thou art a   nyas. Which of  your great houses –

I will not mean at home, here, but abroad –

Your families in France, wife,  send not forth 20

Something within  the seven year may be laughed at?

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,

I think they may do something may be laughed  at, 25

In France –  I keep me there, still. Wherefore, wife,

Let them that list laugh still rather than weep

 For me. Here is a cloak cost fifty pound, wife,

Which I can sell for thirty, when I ha’ seen

All London in’t, and London has seen me. 30

Today, I go to the  Blackfriars playhouse,

 Sit i’the view, salute all my acquaintance,

Rise up between the acts, let fall my cloak,

 Publish a handsome man, and a rich suit –

As that’s a special  end why we go thither, 35

All that  pretend to stand for’t o’the stage.

The ladies ask, who’s that?  For they do come

To see us, love, as we do to see them.

Now I shall lose all this for the false fear

Of being laughed at? Yes,  wusse! Let ’em laugh, wife, 40

Let me have such another cloak tomorrow.

And let ’em laugh again, wife, and again,

And then  grow fat with laughing, and then fatter,

All my young gallants, let ’em bring their friends too.

Shall I forbid ’em? No, let heaven forbid ’em; 45

Or wit, if’t have any  charge on ’em. [Takes her aside.] Come, thy ear, wife,

Is all I’ll borrow of thee. – Set your watch, sir. –

Thou only art to hear, not speak a word, dove,

To aught he says. That I do gi’ you  in precept,

No less than counsel, on your wifehood, wife, 50

Not though he flatter you, or make court, or love,

As you must  look for these; or say, he  rail –

Whate’er his arts be, wife, I will have thee

Delude ’em with a trick, thy obstinate silence.

I know advantages, and I love to  hit 55

These  pragmatic young men at their own weapons.

 He disposes his wife to her place, and sets his watch.

[To Wittipol] Is your watch ready? Here  my sail bears, for you.

[To his wife] Tack toward him, sweet  pinnace. [To him] Where’s your

watch?

WITTIPOL

I’ll  set it, sir, with yours.

MRS FITZDOTTREL [To herself]

I must obey.

MANLY

[Aside] Her modesty seems to suffer with her beauty, 60

And so,  as if his folly were away,

 It were worth pity.

FITZDOTTREL

[To Wittipol] Now,  th’art right, begin, sir.

But first, let me repeat the contract briefly.

 He repeats his contract again.

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

 The measured distance of your yard, or more,

From my said spouse; and in my sight and hearing.

This is your covenant?

WITTIPOL

Yes, but you’ll allow 70

For  this time spent now?

FITZDOTTREL

Set ’em so much back.

WITTIPOL

I think I shall not need it.

FITZDOTTREL

Well, begin, sir,

There is your bound, sir. Not beyond that  rush.

WITTIPOL

If you interrupt me, sir, I shall discloak you.

 Wittipol begins.

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;

 I’ll save myself that eloquence of your glass, 80

Which can speak these things better to you than I.

And ’tis a knowledge wherein fools may be

As wise as a  court parliament. Nor come I

With any  prejudice or doubt that you

Should, to the  notice of your own worth, need 85

Least revelation.  She’s a simple woman

Knows not her good – whoever knows her ill –

And  at all caracts. That you are the wife

To so much  blasted flesh as scarce hath  soul,

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

That  sees how, dull to any thaw of beauty,

 Pieces, and quarters, half, and whole nights, sometimes,

The devil-given  elfin squire your husband 95

Doth leave you, quitting here his  proper circle

For a much worse i’the walks of  Lincoln’s Inn,

Under the elms, t’ expect the fiend in vain there,

 Will confess for you.

FITZDOTTREL

 I did look for this gear.

WITTIPOL

And what a daughter of darkness he does make you, 100

Locked up from all society or  object;

 Your eye not let to look upon a face

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

Of spells or spirits, may  assure you, lady.

For my part, I protest ’gainst all such practice.

I work by no false arts, medicines, or charms

To be said forward and  backward.

FITZDOTTREL

No, I except – 110

WITTIPOL

Sir, I shall  ease you.

 He offers to discloak him.

FITZDOTTREL

 Mum.

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

Which never fair one was so  fond to lose

Who could but reach a hand  forth to her freedom.

On the first sight I loved you; since which time,

Though I have travelled, I have been  in travail

More for this  second blessing of your eyes 120

Which now  I’ve purchased than for all aims else.

Think of it, lady. Be your mind as active

As is your beauty; view your object well.

Examine both my fashion and my years.

Things that are  like are soon familiar; 125

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

 You grow old while I tell you this. And such

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?

She stands mute.

FITZDOTTREL

[Aside]  Now the sport comes. 135

Let him still wait, wait, wait, while the watch goes,

And the time runs.  Wife!

WITTIPOL

How! Not any word?

Nay, then I  taste a trick in’t. Worthy lady,

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.

Yet since your  cautelous gaoler here stands by you,

And  you’re denied the liberty o’the house,

Let me take warrant, lady, from your silence –

Which  ever is interpreted consent – 145

To make your answer for you, which shall be

To as good purpose as I can imagine,

And what I think you’d speak.

  He sets Master Manly, his friend, in her place.

FITZDOTTREL

No, no, no, no!

WITTIPOL

I shall resume, sir.

MANLY

Sir, what do you mean?

WITTIPOL

 [To Fitzdottrel] One interruption more, sir, and you go 150

Into your hose and doublet, nothing saves you.

And therefore hearken.  This is for your wife.

MANLY

[To Fitzdottrel] You must  play fair, sir.

WITTIPOL

[To Manly] Stand for me, good friend.

And [Wittipol] speaks for her.

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.

I have a  husband, and a two-legged one,

But such a  moonling  as no wit of man

Or roses can redeem from being an ass.

 He’s grown too much the story of men’s mouths 160

To scape his  lading; should I make’t my study,

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

So loud as I am weary of my  title to him.

But sir, you seem a gentleman of virtue

No less than  blood, and one that every way

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,

And made such  venture on your wit and  charge

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

 You’ll ever husband both against this husband –

Who, if we chance to change his  liberal ears

To other  ensigns, and with labour make 180

A new beast of him, as he shall deserve,

Cannot complain he is  unkindly  dealt with.

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

Now you have fitted him with  a stage-garment,

 For the mere name’s sake, were there  nothing else.

And many more such journeys he will make,

Which, if  they now or any time hereafter

Offer us opportunity, you hear, sir, 190

 Who’ll be as glad and  forward to embrace,

Meet, and enjoy it cheerfully as you.

 He shifts to his own place again.

I humbly thank you, lady.

FITZDOTTREL

Keep your ground, sir.

WITTIPOL

Will you be  lightened?

FITZDOTTREL

Mum.

WITTIPOL

[To Mrs Fitzdottrel] And  but I am,

By the  sad contract, thus to take my leave of you 195

At this so  envious distance, I had taught

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

T’ importune more, or urge a noble nature

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

That she shall hang forth  ensigns at the window 210

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.

I’ll go  bespeak me straight a gilt caroche

For her and you to take the air in – yes, 215

Into  Hyde Park and thence into Blackfriars,

Visit the  painters, where you may see pictures,

And note the  properest limbs, and how to  make ’em.

Or what do you say unto a  middling gossip,

To bring you aye together at her lodging 220

Under pretext of teaching o’my wife

Some rare  receipt of drawing almond milk? Ha?

It shall be a part of my care. Good sir, God  b’wi’you.

I ha’ kept the contract, and the cloak is  mine.

WITTIPOL

Why, much good do’t you, sir. It may  fall out 225

That you ha’ bought it dear, though I ha’ not sold it.

FITZDOTTREL

A pretty riddle! Fare you well, good sir.

    He turns his wife about.

Wife, your face this way, look on me; and think

You’ve had a wicked dream, wife, and forget it.

MANLY

This is the strangest  motion I e’er saw. 230[Exit with Wittipol.]

FITZDOTTREL

Now, wife, sits this fair cloak the worse upon me

For my great sufferings, or your little patience? Ha?

 They laugh, you think?

MRS FITZDOTTREL

Why, sir, and you might see’t;

What thought they have of you may be soon  collected

By the young gentleman’s speech.

FITZDOTTREL

Young gentleman? 235

 Death! You are in love with him, are you? Could he not

Be named the gentleman, without the ‘young’?

Up to your  cabin again.

MRS FITZDOTTREL

My cage, yo’were best

To call it!

FITZDOTTREL

Yes, sing there. You’d fain be making

 Blanc-manger with him at your mother’s! I know you. 240

Go get you up. [Exit Mrs Fitzdottrel.]

[Enter PUG.]

How now! What say you, Devil?

 1.7

PUG

Here is one Engine, sir, desires to speak with you.

FITZDOTTREL

I thought he brought some news of a broker! Well,

Let him come in, good Devil; fetch him else.  [Exit Pug.]

[Enter] ENGINE.

Oh, my fine Engine! What’s th’affair? More cheats?

ENGINE

No sir, the wit, the brain, the great  projector 5

I told you of, is newly come to town.

FITZDOTTREL

Where, Engine?

ENGINE

I ha’ brought him –  he’s  without –

Ere he pulled off his boots, sir, but so  followed

For businesses.

FITZDOTTREL

But what is a projector?

I would  conceive.

ENGINE

Why, one, sir, that projects 10

Ways to enrich men, or to make ’em great,

By  suits, by marriages, by undertakings,

 According as he sees they humour it.

FITZDOTTREL

Can he not conjure at all?

ENGINE

I think he can, sir –

To tell you true – but, you do know,  of late 15

The state hath ta’en such note of ’em, and compelled ’em

To enter such great bonds, they dare not practise.

FITZDOTTREL

’Tis true, and I lie fallow for’t the while!

ENGINE

Oh, sir! You’ll grow the richer for the rest.

FITZDOTTREL

I hope I shall. But Engine, you do talk 20

Somewhat too much o’my  courses. My cloak-customer

 Could tell me strange particulars.

ENGINE

By my means?

FITZDOTTREL

How should he have ’em else?

ENGINE

You do not know, sir,

What he has, and by what arts. A moneyed man, sir,

And is as  great with your  almanac-men as you are! 25

FITZDOTTREL

That gallant?

ENGINE

You make  the other wait too long here;

And he is extreme punctual.

FITZDOTTREL

Is he a gallant?

ENGINE

Sir, you shall see: he’s in his riding suit,

As he comes now from Court. But hear him speak;

Minister matter to him, and then tell me. 30 [Exeunt.]

2.1  [Enter] MERECRAFT, FITZDOTTREL, ENGINE, TRAINS, [and three  WAITERS].

MERECRAFT

[To Fitzdottrel] Sir,   money’s a whore, a bawd, a drudge,

Fit to run out on errands; let her go.

 Via pecunia! When she’s run and gone,

And fled and dead, then will I fetch her again

With  aqua-vitae out of an old hogshead. 5

While there are lees of wine, or dregs of beer,

I’ll never  want her. 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.  (To a waiter) Commend me to your mistress; 10

Say, let the thousand pound but be had ready,

And it is done.  [Exit First Waiter.]

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

MERECRAFT

 (To another [waiter]) I’ll give you an account of this tomorrow.

 [Exit Second Waiter.]

Yes, I will talk no less, and do it too,

If they were myriads – and  without the devil,

By direct means; it shall be good in law.

ENGINE

Sir.

MERECRAFT

 (To a third [waiter]) Tell  Master  Woodcock I’ll not fail to meet him 20

Upon th’ Exchange at night. Pray him to have

The writings there, and we’ll dispatch it.  [Exit Third Waiter.]

 (He turns to Fitzdottrel.) Sir,

You are a gentleman of a good presence,

A  handsome man. I have considered you

As a fit stock to graft honours upon. 25

I have a project to make you a duke now.

 That you must be one, within so many months

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.

FITZDOTTREL

He does not know me indeed. I thank you, Engine,

For  rectifying him.

MERECRAFT

Good!  (He turns to Engine.) Why, Engine, then

I’ll tell it you – I see you ha’ credit here,

And, that you can keep counsel, I’ll not question. 35

He shall but be an  undertaker with me

In a most feasible business. It shall cost him

Nothing.

ENGINE

Good, sir.

MERECRAFT

 Except he please, but’s count’nance –

That I will have – t’appear in’t to great men,

For which I’ll make him one. He  shall not draw 40

A string of’s purse. I’ll drive his  patent for him.

We’ll  take in citizens, commoners, and aldermen

To bear the charge, and blow ’em off again

Like so many dead flies when ’tis carried.

The thing is for  recovery of drowned land, 45

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.

ENGINE

 Throughout England?

MERECRAFT

Yes, which will arise 50

To eighteen millions, seven the first year.

I have computed all, and made my survey

 Unto an acre. I’ll begin at the  pan,

Not at the  skirts – as some ha’ done, and lost

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

 The way; I’ll have it all.

ENGINE

A gallant tract

Of land it is!

MERECRAFT

’Twill yield a pound an acre.

We must  let cheap, ever, at first. But sir, 60

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,

Has his black bag of papers there, in  buckram,

Wi’ not be sold for th’ earldom of Pancridge. Draw,

Gi’ me out one,  by chance.

[Trains gives him a paper out of the bag.]

 Project four. Dog skins?65

Twelve thousand pound! The  very worst, at first.

FITZDOTTREL

Pray you, let’s see’t, sir.

MERECRAFT

’Tis a toy, a trifle!

FITZDOTTREL

Trifle!  Twelve thousand pound for dogs’ skins?

MERECRAFT

Yes,

But by my way of  dressing, you must know, sir,

And  med’cining the leather to a height 70

Of  improved ware, like your  borachio

Of Spain, sir, I can fetch nine thousand for’t –

ENGINE

Of the King’s glover?

MERECRAFT

Yes, how heard you that?

ENGINE

Sir, I do know you can.

MERECRAFT

Within this hour ,

And reserve half my secret. Pluck another; 75

See if thou hast a  happier hand.

 He plucks out the second: ‘Bottle-ale’.

I thought so.

The very next worse to it! Bottle-ale.

Yet, this is two-and-twenty thousand!  Prithee

Pull out another two or three.

FITZDOTTREL

Good. Stay, friend,

By bottle-ale, two-and-twenty thousand pound? 80

MERECRAFT

Yes, sir, it’s  cast to penny- halfpenny-farthing.

O’the backside, there you may see it, read;

I will not  bate a  harrington o’the sum.

I’ll win it  i’my water, and my malt,

My furnaces, and hanging o’my  coppers, 85

The  tunning, and the subtlety o’my yeast;

And then the  earth of my bottles, which I dig,

Turn up, and  steep, and work, and  neal myself

To  a degree of porcelain. You will wonder

At my  proportions, what I will put up 90

In seven years! For so long time I ask

For my invention. I will save in cork,

 In my mere stoppling, ’bove three thousand pound

Within that  term, by gouging of  ’em out

Just to the size of my bottles, and not slicing. 95

There’s infinite loss i’ that.

 He draws out another: ‘Raisins’.

What hast thou there?

 Oh, making wine of raisins; this is in hand, now.

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;

Of the  canary, his; the claret, his;

So of all kinds; and  bate you of the prices

Of wine throughout the kingdom,  half in half. 105

ENGINE

But how, sir, if you   raze the other commodity,

Raisins?

MERECRAFT

Why, then I’ll make it out of blackberries;

And it shall do the same. ’Tis  but more art,

And the  charge less. Take out another.

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

 Such a necessity in’t as you must be 115

But what you please, against the  received heresy

That England  bears no dukes. Keep you the land, sir;

 The greatness of th’estate shall throw’t upon you.

If you like better  turning it to money,

What may not you, sir, purchase with that wealth? 120

Say you should part with two o’your millions,

To be the thing  you would, who would not do’t?

As I protest I will, out of my dividend,

 Lay for some pretty principality

In Italy, from the church. Now you, perhaps, 125

Fancy the  smoke of England rather? But –

Ha’ you no private room, sir, to  draw to,

 T’enlarge ourselves more upon?

FITZDOTTREL

Oh, yes. [He calls] Devil!

MERECRAFT

These, sir, are bus’nesses ask to be  carried

With caution, and  in cloud.

FITZDOTTREL

I apprehend 130

They do so, sir.

  [Enter PUG.]

Devil, which way is your mistress?

PUG

Above, sir, in her chamber.

FITZDOTTREL

Oh, that’s well. –

Then this way, good sir.

MERECRAFT

I shall follow you. – Trains,

Gi’ me the bag, and go you  presently

Commend my service to my Lady Tailbush. 135

Tell her I am come from court this morning; say,

 I’ve got our bus’ness moved, and well; entreat her

That she give you the fourscore  angels, and see ’em

Disposed of to my  counsel, Sir Paul Eitherside.

Sometime today I’ll wait upon Her Ladyship 140

With the  relation.  [Exit Trains quickly.]

ENGINE

Sir, of what dispatch

He is! Do you mark?

MERECRAFT

Engine, when did you see

My  cousin Everill? Keeps he still your  quarter

I’the  Bermudas?

ENGINE

Yes, sir, he was writing

This morning very hard.

MERECRAFT

 Be not you known to him 145

That I am come to town; I have effected

A business for him, but  I would have it take him

Before he thinks for’t.

ENGINE

Is it  past?

MERECRAFT

Not yet.

’Tis well o’the way.

ENGINE

Oh, sir! Your Worship takes

Infinite pains.

MERECRAFT

I love friends to be active; 150

A sluggish nature puts off man and  kind.

ENGINE

And such a blessing follows it.

MERECRAFT

I thank

My fate. Pray you, let’s be private, sir?

FITZDOTTREL

In here.

MERECRAFT

Where none may interrupt us.  [Exit with Engine.]

FITZDOTTREL

You hear, Devil,

Lock the street doors fast, and let no one in, 155

Except they be this gentleman’s followers,

To trouble me. Do you mark?  You’ve heard and seen

Something today; and by it you may gather

 Your mistress is a fruit that’s worth the stealing,

 And therefore worth the watching. Be you sure, now, 160

 You’ve all your eyes about you; and let in

No lace-woman, nor bawd that brings  French  masks

And  cut-works. See you? Nor old  crones with wafers

To convey letters. Nor no youths disguised

Like country wives, with cream and  marrow-puddings. 165

Much knavery may be  vented in a pudding,

Much bawdy intelligence;  they’re  shrewd ciphers.

 Nor turn the key to any neighbour’s need,

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;

 Knock o’the empty tubs, that by the sound

They may be forbid entry. Say we are robbed

If any come to borrow a spoon, or so.

I wi’ not have  ‘good fortune’ or ‘God’s blessing’ 175

Let in while I am busy.

PUG

I’ll take care, sir;

They sha’ not trouble you,  if they would.

FITZDOTTREL

Well, do so.  [Exit.]

 2.2

PUG

 I have no singular service of this now,

Nor no superlative master! I shall wish

To be in hell again, at leisure! Bring

A Vice from thence? That had been such a  subtlety

As  to bring  broad-cloths hither, or transport 5

Fresh oranges into Spain. I find it now;

 My chief was i’the right. Can any fiend

Boast of a better Vice than here by nature

And art they’re owners of? Hell  ne’er own me

But I am  taken! The fine  tract of it 10

Pulls me along! To hear men such  professors

Grown in our subtlest sciences! My first act now

Shall be to make this master of mine cuckold;

The  primitive work of darkness I will practise!

I will deserve so well of my fair mistress, 15

By my  discoveries first, my  counsels after,

And keeping  counsel after that,  as who

So ever is one, I’ll be another; sure,

I’ll ha’ my share. Most delicate damned flesh

She will be! Oh, that I could  stay time now! 20

Midnight will come too fast upon me, I fear,

To cut my pleasure –

  [Enter] MRS FITZDOTTREL.

MRS FITZDOTTREL

Look at the back door;

One knocks, see who it is.  (She sends [Pug] out.)

PUG

[Aside, as he leaves] Dainty she-devil!  [Exit.]

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,

And had a grace withal beyond the  newness.

Sure he will think me that dull stupid creature

He said, and may conclude it, if I  find not

Some thought to thank th’ attempt. He did  presume, 30

 By all the carriage of it on my brain,

For answer; and will swear ’tis very barren

If it can yield him no return.

[PUG]   returns.

Who is it?

PUG

Mistress, it is – but first, let me assure

The  excellence of mistresses, I am, 35

Although my master’s  man, my mistress’ slave,

The servant of her secrets and sweet turns,

And know what  fitly will conduce to either.

MRS FITZDOTTREL

What’s this? I pray you, come to yourself and think

What your  part is: to make an answer. Tell, 40

Who is it at the door?

PUG

The gentleman,  mistress,

Who  was at the cloak-charge to speak with you

This morning, who expects only to take

Some small commandments from you, what you please,

Worthy your  form, he says, and gentlest manners. 45

MRS FITZDOTTREL

Oh! You’ll anon prove his  hired man, I fear.

What has he given you for this message? Sir,

Bid him put off his  hopes of straw and  leave

To spread his nets in view, thus.  Though they take

Master Fitzdottrel, I am no such   fowl – 50

Nor fair one, tell him, will be had with stalking.

And wish him to  forbear his acting to me

 At the gentleman’s chamber-window in Lincoln’s Inn there,

That opens to my  gallery; else, I swear

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

That will  repair me. Say I will be  quiet

In mine own house! Pray you, in those words give it him. 60

PUG

[Aside] This is some fool  turned!  He goes out.

MRS FITZDOTTREL

If  he be the master

Now of that state and wit which I  allow him,

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

This in my words,  he cannot but conceive

Himself both  apprehended and requited.

I would not have him think he met a statue,

Or spoke to one not there, though I  were silent. 70

 [Enter PUG.]

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

 A little ignorant to entertain

The good that’s proffered;  and, by your beauty’s leave, 75

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

And makes it  his whole study how to compass

Only a title. Could but he write cuckold,

 He had his ends. For, look you –

MRS FITZDOTTREL

[Aside] This can be 85

None but my husband’s wit.

PUG

My precious  mistress –

MRS FITZDOTTREL

[Aside]  It creaks his engine. The  groom never durst

Be else so saucy.

PUG

If it were not clearly

His worshipful ambition, and the top of it,

The very  forked top too, why should he 90

Keep you thus  mured up in a back room, mistress,

Allow you ne’er a  casement to the street,

 Fear of engendering by the eyes with gallants,

Forbid you paper, pen, and ink,  like ratsbane,

Search your half pint of muscatel lest a letter 95

Be sunk i’the pot, and hold your new-laid egg

Against the fire, lest any  charm be writ there?

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,

Why, we will make a  cokes of this wise master –

We will, my mistress, an absolute fine cokes – 105

And mock  to air all the deep diligences

Of such a solemn and  effectual ass,

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

  For why is all this rigging and fine tackle, mistress,

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,

Fetch answers, do you all the  offices

That can belong to your blood and beauty. And

For the variety,  at my times, although

I am not in due symmetry the man 120

 Of that proportion, or  in rule

Of physic of the  just complexion,

Or of  that truth of picardill in clothes

To boast a sovereignty o’er ladies, yet

I know to  do my turns, sweet mistress. Come, kiss – 125

MRS FITZDOTTREL

How now!

PUG

Dear delicate mistress, I am your slave,

Your little worm that loves you,  your fine monkey,

Your dog, your  jack, your  pug, that longs to be

 Styled o’your pleasures!

She thinks her husband watches.

MRS FITZDOTTREL

  [Loudly] Hear you all this? Sir, pray you,

Come from your  standing, do! A little spare 130

Yourself, sir, from your watch, t’applaud your squire

That so well follows your instructions!

2.3 [Enter] FITZDOTTREL.

FITZDOTTREL

How  now, sweetheart? What’s the matter?

MRS FITZDOTTREL

Good!

You are a stranger to the plot! You set not

Your saucy Devil here to tempt your wife

With all the insolent uncivil language

Or action he could  vent?

FITZDOTTREL

[To Pug] Did you so, Devil? 5

MRS FITZDOTTREL

Not you? You were not planted i’your hole to hear him

Upo’ the stairs? Or here, behind the  hangings?

 I do not know your qualities? He durst do it,

And you not give directions?

FITZDOTTREL

You shall see, wife,

Whether he durst, or no, and what it was 10

I did direct.

  Her husband goes out, and enters presently with a cudgel upon him.

PUG

Sweet mistress, are you mad?

FITZDOTTREL

You most  mere rogue! You open manifest villain!

You fiend apparent, you! You declared hell-hound! [Beats Pug.]

PUG

Good sir!

FITZDOTTREL

Good knave, good rascal, and good traitor!

Now I do find you  parcel-devil indeed. 15

Upo’  the point of trust? I’your first charge?

The very day o’your probation?

To tempt your mistress? – You do see, good  wedlock,

How I directed him.

MRS FITZDOTTREL

Why, where, sir, were you?

 After a pause, he strikes him again.

FITZDOTTREL

Nay, there is one blow more, for exercise; 20

I told you I should do it.

PUG

 Would you had done, sir!

FITZDOTTREL

Oh wife,  the rarest man! –

 (And [he strikes Pug] again.) Yet there’s another

To put you in mind o’the last. – Such a  brave man, wife,

Within! He has his projects, and  does  vent ’em,

The gallantest! [To Pug]  Were you  tentiginous? Ha? 25

Would you be acting of the  incubus?

Did her silks’ rustling  move you?

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?

I’ll help your  lisping.  [Pug] goes out.

Wife, such a man, wife!

He has such  plots! He will make me a duke!

No less, by heaven. Six mares to your coach, wife! 35

That’s your  proportion. And your coachman  bald!

Because he shall be bare enough. Do not you laugh.

We are looking for a place and all i’the map

What to  be of. Have faith,  be not an infidel.

You know I am not easy to be gulled. 40

I swear, when I have my millions,  else, I’ll make

 Another duchess, if you ha’ not faith.

MRS FITZDOTTREL

You’ll ha’ too much, I fear, in these false spirits.

FITZDOTTREL

Spirits? Oh, no such thing, wife! Wit,  mere wit!

This man defies the devil and all his works! 45

He does’t by  engine and devices, he!

He has his  wingèd ploughs that go with sails

Will plough you forty acres at once! And  mills

Will spout you water, ten miles off! All  Crowland

Is ours, wife; and the fens, from us in Norfolk 50

To the utmost bound of Lincolnshire! We have viewed it,

And measured it within all,  by the scale!

The richest tract of land, love, i’the kingdom!

There will be made seventeen or eighteen millions,

Or more,  as’t may be handled! Wherefore think, 55

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,

Or’n France,  or Italy.

MRS FITZDOTTREL

You ha’ strange fantasies! 60

2.4 [Enter] MERECRAFT [and] ENGINE.

MERECRAFT

Where  are you, sir?

FITZDOTTREL

 [To his wife] I see thou hast no talent

This way, wife. Up to thy  gallery; do,  chuck,

Leave us to talk of it who understand it. [Exit Mrs Fitzdottrel.]

MERECRAFT

I think we ha’ found a place to fit you now, sir:

Gloucester.

FITZDOTTREL

Oh no, I’ll none!

MERECRAFT

Why, sir?

FITZDOTTREL

’Tis  fatal. 5

MERECRAFT

 That you say right in.  Spenser, I think, the younger,

Had his last honour thence. But he was but earl.

FITZDOTTREL

I know not that, sir. But Thomas of  Woodstock,

I’m sure, was duke, and he was made away

At Calais, as  Duke Humphrey was at  Bury; 10

 And Richard the third, you know what end he came to.

MERECRAFT

By m’faith, you are  cunning i’the chronicle, sir.

FITZDOTTREL

No, I confess I ha’t from the playbooks,

And  think  they’re more authentic.

ENGINE

That’s sure, sir.

MERECRAFT

What say you to this, then?

  He whispers him of a place.

FITZDOTTREL

No, a noble house 15

 Pretends to that. I will do no man wrong.

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?

ENGINE

Yes;

It goes like   Greenland, sir, if you mark it.

MERECRAFT

Ay,

And  drawing thus your honour from the work,

You make the reputation of that greater, 25

And  stay’t the longer i’your name.

FITZDOTTREL

’Tis true.

Drowned-lands will live in Drowned-land!

MERECRAFT

 Yes, when you

Ha’  no foot left; as that must be, sir, one day.

And, though it tarry in your heirs some forty,

Fifty descents, the  longer liver at last, yet, 30

Must thrust ’em out on’t, if no  quirk in law

Or odd vice o’their own not  do it first.

We see those changes daily: the fair lands

That were the client’s are the lawyer’s now;

 And those rich manors there of   goodman tailor’s 35

Had once more wood upon ’em than the  yard

By which th’were measured out for the last purchase.

Nature hath these vicissitudes. She makes

No man a state of perpetuity, sir.

FITZDOTTREL

 You’re i’the right. Let’s in, then, and conclude. 40

  [Enter] PUG.

 (He spies [Pug]) I’my sight again? I’ll talk with you anon.

 [Exeunt Fitzdottrel, Merecraft, and Engine.]

 2.5

PUG

Sure he will  geld me if I stay. Or worse,

Pluck out my tongue, one o’the two. This fool,

There is no trusting of him; and to  quit him

 Were a contempt against my chief past pardon.

It was a  shrewd disheart’ning this, at first! 5

Who would ha’ thought a woman so well  harnessed,

Or rather well-caparisoned, indeed,

That wears such petticoats and lace to her smocks,

Broad  seaming laces (as I see ’em hang there),

 And garters which are  lost, if she can show ’em, 10

Could ha’ done this? Hell! Why is she so  brave?

It cannot be to please Duke Dottrel, sure,

 Nor the dull pictures in her gallery,

Nor her own dear reflection in her  glass.

Yet that may be:  I have known many of ’em 15

Begin their pleasure, but none end it, there –

That I consider,  as I go along with it.

They may, for want of better company,

 Or that they think the better, spend an hour,

Two, three, or four, discoursing with their  shadow; 20

But sure they have a farther  speculation.

No woman dressed with so much care and study

Doth dress herself in vain. I’ll vex this problem

A little more before I leave it, sure.  [Exit.]

2.6  [Enter] WITTIPOL [and] MANLY [at the window of Manly’s chamber opposite Fitzdottrel’s house].

WITTIPOL

This was a  fortune happy above thought,

That this should prove thy chamber,  which I feared

Would be my greatest trouble! This must be

The  very window, and that the room.

MANLY

It is.

I now remember, I have often seen  there 5

A woman, but I never marked her much.

WITTIPOL

 Where was your soul, friend?

MANLY

Faith, but now and then

Awake unto those objects.

WITTIPOL

You pretend so.

Let me not live if I am not in love

More with her wit for this  direction now 10

Than with her form, though I ha’ praised that prettily

Since I saw her and you today. Read those.

 He gives him a paper, wherein is the copy of a song.

 They’ll go unto the air you love so well.

Try ’em unto the note; maybe the music

Will call her sooner.

  [Enter] MRS FITZDOTTREL [at the window opposite].

 ’Slight, she’s here! Sing quickly. 15

MRS FITZDOTTREL

[To herself] Either  he understood him not, or else

The fellow was not faithful in delivery

Of what I bade. And I am justly paid,

That might have made my profit of  his service,

But by mistaking have  drawn on his envy 20

And done the worse  defeat upon myself.

  Manly sings. PUG enters [and] perceives it.

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

Nay, made an instrument, and could not  scent it!

Well, since  you’ve shown the malice of a woman

No less than her true wit and learning, mistress,

I’ll try if little Pug have the malignity

To  recompense it, and so  save his danger. 30

’Tis not the  pain, but the discredit of it,

 The devil should not keep a body entire!  [Exit.]

WITTIPOL

Away, fall back.  She comes.

MANLY

I’ll leave you, sir,

The master of my chamber. I have business.  [Exit.]

WITTIPOL

 Mistress!

MRS FITZDOTTREL

You make me  paint, sir.

WITTIPOL

 They’re fair colours, 35

Lady, and natural.

 This scene is acted at two windows as out of two contiguous buildings.

I did receive

Some commands from you lately, gentle lady,

But so  perplexed and wrapped in the delivery

As I may fear t’have misinterpreted,

But must make suit still to be near your grace. 40

MRS FITZDOTTREL

Who is there with you, sir?

WITTIPOL

None but myself.

It  falls out, lady, to be a dear friend’s lodging,

 Wherein there’s some conspiracy of fortune

With your poor servant’s bless’d affections.

MRS FITZDOTTREL

Who was it sung?

WITTIPOL

He, lady, but he’s gone 45

 Upon my entreaty of him, seeing you

Approach the window. Neither need you  doubt him

If he were here. He is too much a gentleman.

MRS FITZDOTTREL

Sir, if you judge me by this  simple action,

And by  the outward habit, and  complexion 50

Of easiness it hath to your design,

You may with justice say I am a woman,

And a  strange woman. But when you shall please

To bring but  that concurrence of my fortune

To memory,  which today yourself did urge, 55

It may  beget some favour like excuse,

 Though none like reason.

WITTIPOL

No, my  tuneful mistress?

Then surely Love hath none, nor Beauty any,

Nor Nature  violencèd in both these,

With all whose gentle tongues you speak at once. 60

I thought I had enough removed already

That scruple from your breast, and left  you all reason,

When, through my morning’s  perspective, I showed you

A man so  above excuse as he is the cause

Why anything is to be done upon him, 65

And nothing called an injury misplaced.

 I rather now had hope to show you how Love

 By his accesses grows more natural;

And what was done this morning with such force

Was but devised to serve the present, then, 70

  He grows more familiar in his courtship, plays with her paps,

kisseth her hands, etc.

That since Love hath the honour to approach

These  sister-swelling breasts, and touch this soft

And rosy hand, he hath the skill to draw

Their nectar forth with kissing, and could make

More wanton   saults from this brave promontory 75

Down to this  valley than the nimble roe

Could play the hopping sparrow ’bout these nets,

And sporting squirrel in these  crispèd groves;

Bury himself in every silkworm’s  kell

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

All sense to  wonder, and all faith to  sign

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?

   [He sings.] Do but look on her eyes! They do light –

All that Love’s world compriseth! 95

Do but look on her hair! It is bright

As  Love’s star when it riseth!

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,

All the gain, all the good, of the  elements’ strife!

 Have you seen but a bright lily grow

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 the  nard i’the fire?

Or have tasted the bag o’the bee?

Oh, so white! Oh, so soft! Oh, so sweet is she!

2.7  Her husband appears at her back.

 [Enter] PUG [below].

FITZDOTTREL

Is she so, sir? And I will keep her so,

If I know how, or can;   that wit of man

Will do’t, I’ll go no farther. At this window

She shall no more be buzzed at. Take your leave on’t.

[To her] If you be sweetmeats, wedlock, or  sweet flesh, 5

All’s one: I do not love this  hum about you.

A fly-blown wife is not so proper. In!

 He speaks out of his wife’s window.

For you, sir,  look to hear from me.

WITTIPOL

 So I do, sir.

FITZDOTTREL

No, but in other terms. There’s no man offers

This to my wife but  pays for’t.

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 –

WITTIPOL

 I think you are!

FITZDOTTREL

To call you to a reckoning.

WITTIPOL

Away, you  broker’s block, you  property! [Strikes him.] 15

FITZDOTTREL

’Slight, if you strike me, I’ll strike your mistress.

 He strikes his wife.  [Exit Mrs Fitzdottrel, followed by Fitzdottrel.]

WITTIPOL

Oh! I could  shoot mine eyes at him for that, now,

Or leave my teeth  in him, were they  cuckold’s bane

Enough to kill him! What prodigious,

Blind, and most wicked change of fortune’s this? 20

I ha’ no  air of patience: all my veins

Swell, and my sinews  start at iniquity of it.

I shall break, break!  [Exit.]

PUG

 [Below]  This for the malice of it,

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,

I shall hear ill of in my  account.

  FITZDOTTREL enters with his wife   as come down.

FITZDOTTREL

Oh,  bird!

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

 I’ve hope to win – to make you  peerless?  Studying

For footmen for you,  fine-paced  ushers, pages

To serve you  o’the knee; with what knight’s wife

To bear your train, and sit with your four women 35

In council, and receive  intelligences

From foreign parts; to dress you  at all pieces!

 You’ve almost  turned my good affection to you,

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.

Well, go your ways in.  [Exit Mrs Fitzdottrel.]

Devil,  you have redeemed all.

I do forgive you. And I’ll do you good.  [Exit Pug.]

2.8 [Enter] MERECRAFT [and] ENGINE.

MERECRAFT

Why  ha’ you these  excursions? Where ha’ you been, sir?

FITZDOTTREL

Where I ha’ been vexed a little, with a  toy!

MERECRAFT

Oh, sir! No toys must trouble your grave head,

Now it is growing to be  great. You must

Be above all those things.

FITZDOTTREL

Nay, nay, so I will. 5

MERECRAFT

Now you are  to’ard the lord, you must  put off

The man, sir.

ENGINE

He says true.

MERECRAFT

You must do nothing

As you ha’ done it heretofore; not know

Or salute any man –

ENGINE

That was your  bedfellow

The other month.

MERECRAFT

The other month? The week. 10

Thou dost not know the privileges, Engine,

Follow that title, nor how swift. Today,

When he has put on his  lord’s face once, then –

FITZDOTTREL

Sir, for these things I shall do well enough,

 There is no fear of me. But then, my wife is 15

Such an  untoward thing! She’ll never learn

How to  comport with it!  I am out of all

Conceit on her behalf.

MERECRAFT

Best have her taught, sir.

FITZDOTTREL

Where? Are there any schools for ladies? Is there

An academy for women? I do know 20

 For men there was; I learned in it myself

To  make my legs, and do  my postures.

ENGINE

 (Whispers [to] Merecraft) Sir,

Do you remember the  conceit you had –

O’the Spanish gown, at home?

MERECRAFT

Ha! I do thank thee

With all my heart, dear Engine.

 Merecraft turns to Fitzdottrel.

Sir, there is 25

A certain lady here about the town,

An English widow, who hath lately travelled,

But she’s called  the Spaniard, ’cause she came

 Latest from thence, and keeps the Spanish  habit.

Such a rare woman! All our women here 30

That are of spirit and fashion flock unto her,

As to their  president, their law, their canon,

More than they ever did to  oracle Forman.

Such rare  receipts she has, sir, for the face,

Such oils, such tinctures, such  pomatums, 35

Such perfumes, med’cines,  quintessences, etc.

And such a mistress of  behaviour!

She knows, from the duke’s daughter to the  doxy,

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.

MERECRAFT

By your patience,

We must use means;  cast how to be acquainted –

FITZDOTTREL

Good sir, about it.

MERECRAFT

We must think how first.

FITZDOTTREL

Oh,

I do not love to tarry for a thing,

When I have a mind to’t. You do not know me 45

If you do  offer it.

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?

MERECRAFT

Some little  toy. 50

I would not have it any great matter, sir –

A diamond ring of forty or fifty pound

Would do it handsomely; and be a gift

Fit for your wife to send, and her to take.

FITZDOTTREL

I’ll go and tell my wife on’t straight.  [He] goes out.

MERECRAFT

Why, this 55

Is well! The clothes  we’ve now, but where’s this lady?

If we could get a witty boy now, Engine,

That were an excellent  crack. I could instruct him

To the true height. For anything  takes this dottrel.

ENGINE

Why, sir, your best will be one o’the players. 60

MERECRAFT

No, there’s no trusting them. They’ll talk on’t,

And tell their  poets.

ENGINE

What if they do? The jest

Will  brook the stage. But there be some of ’em

Are very honest lads. There’s  Dick Robinson,

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,

And  lay the law, and  carve, and drink unto ’em,

And then talk bawdy, and send  frolics! Oh,

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?

MERECRAFT

No, I do seldom see those  toys. But think you

That we may have him?

ENGINE

Sir, the young gentleman

I tell you of can  command him. Shall I attempt it? 80

MERECRAFT

Yes, do it.  [Exit Engine.]

  [FITZDOTTREL] enters again.

FITZDOTTREL

’Slight, I cannot get my wife

To part with a  ring on any terms, and yet

The sullen monkey has two.

MERECRAFT

It were ’gainst reason

That you should urge it, sir. Send to a goldsmith;

 Let not her lose by’t.

FITZDOTTREL

How does she lose by’t? 85

Is’t not for her?

MERECRAFT

Make it your own  bounty;

It will ha’ the better success. What is a matter

Of fifty pound to you, sir?

FITZDOTTREL

 I’ve but a hundred

Pieces to show here; that I would not break –

MERECRAFT

You shall ha’ credit, sir. I’ll send a  ticket 90

Unto my goldsmith.

 TRAINS enters.

Here my man comes too,

To carry it fitly. – How now, Trains?  What birds?

TRAINS

Your cousin Everill met me, and has beat me

Because I would not tell him where you were.

 I think he has dogged me to the house too.

MERECRAFT

Well, 95

You shall go out at the back door, then, Trains.

You must get Gilthead hither by some means.

TRAINS

’Tis impossible!

FITZDOTTREL

Tell him we have venison.

I’ll  gi’ him a piece, and send his wife a pheasant.  [Exit.]

TRAINS

 A forest moves not till that forty pound 100

 You’d of him last be paid. He keeps more stir

For that same petty sum than for your bond

 Of six and  statute of eight hundred.

MERECRAFT

Tell him

We’ll  hedge in that.  Cry up Fitzdottrel to him,

Double his price; make him a man  of  metal. 105

TRAINS

 That will not need. His bond is current enough.  [Exeunt.]

3.1   [Enter] GILTHEAD [and] PLUTARCHUS.

GILTHEAD

All this is to make you a gentleman;

I’ll have you learn, son. Wherefore have I placed you

With Sir Paul Eitherside, but to  have so much law

To keep your own? Besides, he is a justice

Here i’the town; and dwelling, son, with him 5

You shall learn  that in a year shall be worth twenty

Of having  stayed you at Oxford or at Cambridge,

Or sending you to the  Inns of Court or France.

I am called for now in haste by Master Merecraft

To  trust Master Fitzdottrel, a  good man – 10

 I’ve inquired him, eighteen hundred a year,

His name is  current – for a  diamond ring

 Of forty, shall not be worth thirty; that’s gained.

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.

Our  shop-books are our pastures, our corn-grounds;

We lay ’em open for them to come into,

And when we have ’em there we drive ’em up

In t’one of our two  pounds, the  Counters, straight; 20

And this is to make you a gentleman!

We citizens  never trust but we do cozen;

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.

In a  descent or two we come to be

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,

And  matching in our own  tribes, as they say,

Have got  an Act of Common Council for it,

That we might cozen them out of  rerum natura. 35

GILTHEAD

Ay, if we had an Act first to forbid

The marrying of our wealthy heirs unto ’em;

And daughters with such lavish  portions.

That  confounds all.

PLUTARCHUS

And makes a mongrel breed, father.

And when they have your money, then they laugh at you, 40

Or kick you down the stairs. I cannot abide ’em.

I would  fain have ’em cozened, but not trusted.

3.2  [Enter] MERECRAFT [and] FITZDOTTREL.

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

And  hedge in the last forty that I owe you,

And your own price for the ring. He’s a  good man, sir,

And you may  hap’ see him a great one. He

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?

GILTHEAD

In truth, sir,

I cannot. ’T has been a  long vacation with us –

FITZDOTTREL

 Of what, I  pray thee? Of wit? Or honesty?

Those are your citizens’ long vacations.

PLUTARCHUS

[Aside] Good father, do not trust ’em.

MERECRAFT

Nay, Tom Gilthead, 15

He will not buy a courtesy and beg it;

He’ll rather pay than pray. If you do for him,

You must do cheerfully. His credit, sir,

Is not yet  prostitute. Who’s this? Thy son?

A pretty youth. What’s his name?

PLUTARCHUS

Plutarchus, sir. 20

MERECRAFT

Plutarchus! How came that about?

GILTHEAD

That year, sir,

That I begot him, I bought  Plutarch’s Lives,

And fell s’ in love with the book as I called my son

 By his name, in hope he should be like him

And write the lives of our great men.

MERECRAFT

 I’the city? 25

And you do  breed him there?

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?

Buy him  a captain’s place, for shame; and let him

Into the world early, and with his  plume

And  scarfs march through  Cheapside, or along Cornhill,35

And by the  virtue of those draw down a wife

There from a window worth ten thousand pound!

Get him the  posture book, and’s  leaden men

To set upon a table,  ’gainst his mistress

Chance to come by, that he may draw her in 40

And show her  Finsbury battles.

GILTHEAD

I have placed him

With Justice Eitherside, to get so much law –

MERECRAFT

As thou hast conscience. Come, come, thou dost wrong

 Pretty Plutarchus, who had not his name

For nothing, but was born to train the youth 45

Of London in the  military  truth.

That way his genius lies.

 [Enter] EVERILL.

My cousin Everill!

 3.3

EVERILL

Oh, are you here, sir? Pray you, let us whisper.

[He takes Merecraft aside.]

PLUTARCHUS

Father, dear father,  trust him, if you love me.

GILTHEAD

Why, I do  mean it, boy; but what I do

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,

Why, I must  wait,  I’m sure on’t, son; and  though

My lord dispatch me, yet his worshipful   man

Will  keep me for his sport a month or two,

To  show me with my fellow citizens. 10

I must make his  train long and full,  one quarter,

And help the spectacle of his greatness. There

Nothing is done at once but injuries, boy –

And they come headlong! All  their good turns move not,

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

Has sent for me to dinner, and  my clothes

Are all at pawn. I had sent out this morning,

Before I heard you were come to town, some twenty 20

Of my  epistles, and no one return –

MERECRAFT  tells him of his faults.

MERECRAFT

Why, I ha’ told you o’this. This comes of wearing

Scarlet, gold lace, and  cut-works. Your fine gartering!

With your blown roses, cousin! And your eating

Pheasant and  godwit here in London, haunting 25

The  Globes and Mermaids, wedging in with lords

Still at the table! And  affecting lechery

In velvet! Where could you ha’ contented yourself

With cheese,  salt-butter, and a pickled herring

 I’the Low Countries – there worn cloth and  fustian! 30

Been satisfied with a  leap o’your host’s daughter

In garrison, a wench  of a stoter!  Or

Your sutler’s wife, i’the leaguer, of two blanks!

 You never then had run upon this flat

To  write your letters missive and send out 35

Your privy seals, that thus have frighted off

All your acquaintance, that they shun you at distance,

Worse than you do the  bailies!

EVERILL

 (He repines) Pox upon you!

I come not to you for counsel. I lack money.

MERECRAFT

You do not think what you owe me already?

EVERILL

I? 40

They owe you that mean to pay you. I’ll be sworn

I never meant it. Come, you  will project;

I shall undo your practice for this month else.

 (And threatens him.) You know me.

MERECRAFT

Ay,  you’re a right sweet nature!

EVERILL

Well,  that’s all one.

MERECRAFT

You’ll  leave this empire one day. 45

 You will not ever have this tribute paid,

Your sceptre o’the sword!

EVERILL

Tie up your wit,

Do, and  provoke me not –

MERECRAFT

Will you, sir, help

To what I shall provoke another for you?

EVERILL

I cannot tell; try me. I think I am not 50

So utterly of an ore  un-to-be-melted

But I can do myself good on occasions.

MERECRAFT

 Strike in then, for your part.

 They join [Fitzdottrel].

Master Fitzdottrel,

If I transgress in point of manners,  afford me

Your best construction; I must beg my freedom 55

From your affairs this day.

 Merecraft  pretends business.

FITZDOTTREL

How, sir?

MERECRAFT

It is

In succour of this gentleman’s  occasions,

My kinsman –

FITZDOTTREL

You’ll not do me that affront, sir.

MERECRAFT

I am sorry you should so interpret it.

But, sir, it  stands upon his being invested 60

In a new  office he has stood for, long:

Master of the  Dependences!

MERECRAFT  describes the Office of Dependency.

A place

Of  my projection too, sir, and hath met

Much opposition; but the state, now, sees

That great necessity of it, as after all 65

 Their writing and their speaking against duels,

They have erected it.  His book is drawn –

For since there will be differences daily

’Twixt gentlemen, and that the  roaring manner

Is grown offensive, that those few we call 70

The civil men o’the sword abhor the  vapours,

They shall refer now  hither for their process;

And such as trespass ’gainst the rule of court

Are to be fined –

FITZDOTTREL

In troth, a pretty place!

MERECRAFT

A kind of  arbitrary court ’twill be, sir. 75

FITZDOTTREL

I shall have matter for it, I believe,

Ere it be long: I had a  distaste.

MERECRAFT

But now, sir,

My learned counsel, they must have a  feeling;

They’ll part, sir, with no books without the  hand-gout

Be oiled, and I must  furnish. If ’t be money, 80

To me straight: I am mine, mint, and exchequer,

To supply all. [To Everill] What is’t? A hundred pound?

EVERILL

No, th’ harpy now  stands on a hundred  pieces.

MERECRAFT

Why, he must have ’em, if he will. – Tomorrow, sir,

Will equally serve your occasions; 85

And therefore let me  obtain that you will yield

To timing a poor gentleman’s distresses,

In terms of hazard –

FITZDOTTREL

By no means!

MERECRAFT

I must

Get him this money, and will –

FITZDOTTREL

Sir, I protest,

I’d rather stand  engaged for it myself 90

Than you should leave me.

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.

 (He offers to be gone.)

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

Sir, I honour you. 100

And with just reason, for these noble  notes

Of the nobility you  pretend to. But sir,

I would know why. A motive – he a stranger –

You should do this?

EVERILL

  [Aside] You’ll mar all with your  fineness.

FITZDOTTREL

 Why, that’s all one, if ’twere, sir, but my fancy. 105

But I have a  business that perhaps I’d have

Brought to his office.

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

EVERILL

 So you do mean to make’t a perfect business.

FITZDOTTREL

Nay, I’ll do that, assure you; show me  once.

MERECRAFT

Sir,  it concerns the first be a perfect business,

For his own honour.

EVERILL

Ay, and th’reputation

Too of my  place.

FITZDOTTREL

Why, why do I take this course else? 115

I am not altogether an ass, good gentlemen.

Wherefore should I consult you?  Do you think

To make a song on’t?  How’s your manner? Tell us.

MERECRAFT

[To Everill] Do, satisfy him: give him the whole course.

EVERILL

First, by request, or otherwise, you offer 120

Your business to  the court; wherein you crave

The judgement of the Master and the Assistants.

FITZDOTTREL

Well, that’s done. Now what do you upon it?

EVERILL

 We straight, sir, have recourse to the spring-head,

 Visit the ground, and so disclose the nature 125

If it  will carry or no. If we do find

By our  proportions it is like to prove

A sullen and black business, that it be

Incorrigible and  out of treaty, then

We file it a  dependence.

FITZDOTTREL

So, ’tis filed. 130

What follows? I do love the order of these things.

EVERILL

We then advise the party, if he be

A man of means and  havings, that forthwith

He  settle his estate; if not, at least

That he  pretend it. For by that the world 135

Takes notice that it now is a dependence.

And this we call, sir,  publication.

FITZDOTTREL

Very sufficient! After publication, now?

EVERILL

Then we grant out our process, which is divers:

 Either by chartel, sir, or ore-tenus, 140

Wherein the challenger and challengee,

Or –  with your Spaniard – your provocador

And provocado, have their  several courses –

FITZDOTTREL

 I have enough on’t. For an hundred pieces?

Yes, for two hundred underwrite me, do. 145

Your man will take my bond?

MERECRAFT

That he will, sure;

 (He whispers [to] Fitzdottrel aside) But these same citizens, they are such

sharks!

There’s an old debt of forty; I ga’ my word

For  one is run away to the Bermudas,

And he will hook in that or he wi’ not do. 150

FITZDOTTREL

 [Aside to Merecraft] Why, let him. That and the ring, and a

hundred pieces,

Will all but make two hundred?

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.

GILTHEAD

Twenty  pieces? 155

PLUTARCHUS

Good father,  do’t.

MERECRAFT

You will  hook still? Well,

Show us your ring. You could not ha’ done this now

With gentleness at first, we might ha’ thanked you?

But groan, and ha’  your  courtesies come from 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,

 (He pulls Plutarchus by the lips.)

I should ne’er love him, that could  pull his lips off, now.

Was not thy mother a gentlewoman?

PLUTARCHUS

Yes, sir.

MERECRAFT

And went to the court at Christmas and  St George’s tide? 165

And  lent the lords’ men chains?

PLUTARCHUS

Of gold, and pearl, sir.

MERECRAFT

I knew thou must take after somebody.

Thou couldst not be else.  This was no shop-look.

I’ll ha’ thee Captain Gilthead, and march up,

And  take in Pimlico, and  kill the bush 170

At every tavern. Thou shalt have a wife

 If smocks will mount, boy.

 He turns to old Gilthead.

How now? You ha’ there now

 Some  Bristol-stone or Cornish counterfeit

You’d put upon us?

GILTHEAD

[Shows him a jewel] No, sir, I assure you;

Look on  his lustre! He will speak himself. 175

I’ll gi’ you leave to  put him i’the mill.

 He’s no great, large stone, but a true  paragon.

 He’s all his  corners; view him well.

MERECRAFT

 He’s  yellow.

GILTHEAD

Upo’ my faith, sir, o’the right black  water,

And very deep.   He’s set without a foil, too. 180

Here’s one o’the yellow water I’ll sell cheap.

MERECRAFT

And what do you value this at? Thirty pound?

GILTHEAD

No, sir. He cost me forty ere he was set.

MERECRAFT

 Turnings, you mean? I know your  equivoques;

 You’re grown the  better fathers of ’em o’late. 185

Well, where’t must go, ’twill be judged, and therefore

Look you’t be right. You shall have fifty pound for’t.

Not a  denier more!  (Now to Fitzdottrel) And because you would

Have things dispatched, sir, I’ll go presently

Inquire out  this lady. If you think good, sir, 190

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;

And take ’em when you ha’  sealed again of Gilthead.

FITZDOTTREL

 I care not if I do.

MERECRAFT

And dispatch all 195

Together.

FITZDOTTREL

[Gives money] There,  they’re just: a hundred pieces!

I ha’  told ’em over, twice a day, these two months.

MERECRAFT

Well, go and seal then, sir, make your return

As speedy as you can.  (He turns ’em out together.)

 [Exeunt Fitzdottrel, Gilthead, and Plutarchus.]

 And Everill and he [Merecraft]  fall to share.

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?

EVERILL

For Gilthead? Sir,

 Do you think I’ll ’low him any such share?

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?

EVERILL

E’en  lion-law, sir; I must roar else.

MERECRAFT

Good!

EVERILL

 You’ve heard  how th’ ass made his divisions wisely?

MERECRAFT

And I am he, I thank you.

EVERILL

Much good  do you, sir.

MERECRAFT

I shall be rid o’this tyranny one day!

EVERILL

Not 215

While you do eat and lie about the town here,

And cozen i’your  bullions, and I stand

Your name of credit, and  compound your business,

 Adjourn your beatings every term, and make

New parties for your projects. I have now 220

A pretty task of it, to hold you in

Wi’ your Lady Tailbush. But the  toy will be

How we shall both come off?

MERECRAFT

Leave you your doubting.

And do your portion, what’s assigned you: I

Never failed yet.

EVERILL

 With reference to your aids? 225

You’ll still be unthankful. Where shall I meet you, anon?

You ha’ some feat to do alone now, I see;

You wish me gone. Well, I will find you out,

And bring you after to the  audit.  [Exit.]

MERECRAFT

’Slight!

There’s Engine’s share too, I had forgot! This reign 230

Is too-too-unsupportable! I must

Quit myself of this  vassalage!

 [Enter] ENGINE [and] WITTIPOL. [Merecraft takes Engine aside.]

Engine! Welcome.

 3.4

MERECRAFT

How goes the  cry?

ENGINE

Excellent well!

MERECRAFT

 Will’t do?

Where’s Robinson?

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,

You know. And  he’s a pleasant wit, will hurt 5

Nothing you purpose. Then, he’s of opinion

That Robinson might   want audacity,

She being such a  gallant. Now he has been

In Spain, and knows the fashions there, and can

Discourse; and being but mirth, he says,   leave much 10

To his care –

MERECRAFT

But he is too tall!

  He excepts at his stature.

ENGINE

For that

He has the  bravest device! – you’ll love him for’t –

To say he wears  cioppinos, and they do so

In Spain. And Robinson’s as tall as  he.

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. 20

Now that the conjurers ha’  laid him by,

I ha’ made bold to borrow him a while –

WITTIPOL

With purpose yet to  put him out, I hope,

 To his best use?

MERECRAFT

Yes, sir.

WITTIPOL

For that small part

That I am trusted with,  put off your care. 25

I would not  lose to do it for the mirth

Will follow of it; and well, I have a fancy.

MERECRAFT

Sir, that will make it well.

WITTIPOL

You will report it so.

Where must I  have my dressing?

ENGINE

At my house, sir.

MERECRAFT

You shall have  caution, sir, for what  he yields 30

 To sixpence.

WITTIPOL

You shall pardon me. I will share, sir,

I’your sports only, nothing i’your  purchase.

But you must furnish me with  complements,

To th’manner of Spain; my coach, my  guarda-duennas

MERECRAFT

Engine’s your  provedor. But sir, I must – 35

Now  I’ve entered trust wi’ you thus far –

 Secure still i’your quality, acquaint you

With somewhat beyond this. The place designed

To be the scene for this our merry matter,

Because it must have  countenance of women 40

To  draw discourse, and offer it, is here by,

At the Lady Tailbush’s.

WITTIPOL

I know her, sir,

And her gentleman  usher.

MERECRAFT

Master Ambler?

WITTIPOL

Yes, sir.

MERECRAFT

Sir, it shall be no shame to me to confess

To you that we poor gentlemen that  want acres 45

Must for our needs turn fools up and plough ladies

Sometimes to try what  glebe they are; and this

 Is no unfruitful piece. She and I now

Are on a project for the  fact and venting

Of a new kind of  fucus – paint, for ladies – 50

 To serve the kingdom, wherein she herself

Hath   travailed specially, by way of service

Unto her sex, and hopes to get the monopoly

As the reward of her invention.

WITTIPOL

What is her end in this?

MERECRAFT

Merely  ambition, 55

Sir, to grow great, and  court it with the secret,

Though she pretend  some other. For she’s dealing

Already  upon caution for the shares,

And Master Ambler,  he is named examiner

For the ingredients, and the  register 60

Of what is  vented, and shall keep the office.

Now, if she  break with you of this – as I

Must  make the leading thread to your acquaintance

That how experience gotten i’your being

Abroad will help our business – think of some 65

Pretty additions  but to keep her floating;

It may be she will offer you a part.

Any strange names of –

WITTIPOL

Sir, I have  my instructions.

Is it not high time to be making ready?

MERECRAFT

Yes, sir.

ENGINE

The fool’s in sight, Dottrel.

MERECRAFT

Away, then. 70

 [Exeunt Wittipol and Engine.]

3.5  [Enter] FITZDOTTREL.

MERECRAFT

Returned so soon?

FITZDOTTREL

Yes, here’s the ring. I ha’  sealed.

But there’s not so much gold in all the  row, he says,

Till’t come fro’ the Mint. ’Tis ta’en up for the  gamesters.

MERECRAFT

 There’s a shop-shift! Plague on ’em.

FITZDOTTREL

He does swear it.

MERECRAFT

He’ll swear, and  forswear too; it is his trade. 5

You should not have left him.

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.

MERECRAFT

True, and ’tis time.

 I’ve learned, sir, sin’ you went,  Her Ladyship eats 10

With the Lady Tailbush here, hard by.

FITZDOTTREL

I’the lane here?

MERECRAFT

Yes. If  you’d a servant now of presence,

Well clothed, and of an   airy voluble tongue,

Neither too big or little for his mouth,

That could deliver your wife’s compliment, 15

To send along withal –

FITZDOTTREL

I have one, sir,

A very handsome, gentleman-like fellow,

That I do mean to make my duchess’ usher –

I  entertained him but this morning too;

I’ll call him to you. The worst of him is his name. 20

MERECRAFT

She’ll take no note of that, but of his message.

FITZDOTTREL

[Calls] Devil!

 [Enter] PUG.

 (He shows him his Pug.) How like you him, sir? – Pace; go a little.

Let’s see you move.

MERECRAFT

He’ll serve, sir. Give it him,

And let him go along with me; I’ll help

To present him, and  it.

FITZDOTTREL

[Gives Pug the ring.] Look you do, sirrah, 25

Discharge this well,  as you expect your place.

 D’you hear, go on,  come off with all your honours.

[To Merecraft] I would fain see him do it.

MERECRAFT

Trust him with it.

FITZDOTTREL

 (Gives him instructions.) Remember kissing of your hand, and

answering

 With the French-time, in flexure of your body. 30

I could now so instruct him! And for his words –

MERECRAFT

I’ll put them in his mouth.

FITZDOTTREL

Oh, but I have ’em

 O’the very academies.

MERECRAFT

Sir, you’ll have use for ’em

Anon yourself, I warrant you, after  dinner,

When you are called.

FITZDOTTREL

’Slight, that’ll be just play-time. 35

It cannot be, I must not  lose the play!

 He longs to see the play, because it is ‘The Devil’.

MERECRAFT

Sir, but you must, if she appoint to sit.

And she’s president.

FITZDOTTREL

’Slid, it is The Devil!

MERECRAFT

 An ’twere his dam too, you must now apply

Yourself, sir, to  this wholly, or lose all. 40

FITZDOTTREL

If I could but see a piece –

MERECRAFT

Sir, never think on’t.

FITZDOTTREL

Come but to one act, and I did not care –

 But to be seen to rise, and go away,

To vex the players, and to punish their poet –

Keep him in awe!

MERECRAFT

But say that he be one 45

Wi’ not be awed, but laugh at you. How then?

FITZDOTTREL

Then he shall  pay  for his dinner himself.

MERECRAFT

Perhaps

He would do that twice rather than thank you.

Come, get The Devil out of your head, my lord –

I’ll call you so in private still – and take 50

Your Lordship i’your mind.

 He puts him in mind of his quarrel.

You were, sweet lord,

In talk to bring a business to  the office.

FITZDOTTREL

Yes.

MERECRAFT

Why should not you, sir, carry it o’yourself,

Before the office be  up? And show the world

You had no need of any man’s direction, 55

In point, sir, of sufficiency? I speak

Against a  kinsman, but as one that  tenders

Your Grace’s good.

FITZDOTTREL

I thank you. To proceed –

MERECRAFT

To publications: ha’ your  deed drawn presently,

And leave a blank to put in your  feoffees, 60

One, two, or more, as you see cause –

FITZDOTTREL

I thank you

Heartily, I do thank you. Not a word more,

I pray you, as you love me. Let me alone.

He is angry with himself.

That I could not think o’this as well as he!

Oh, I could beat my infinite  blockhead! 65 [Exit.]

MERECRAFT

 Come, we must this way.

PUG

How far is’t?

MERECRAFT

Hard by here

Over the way. [Aside] Now, to achieve this ring

From  this same fellow, that is to  assure it

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

To  share, as he doth say, I do not know

How such a toy may tempt His Ladyship;

And therefore, I think best it be assured.

PUG

Sir, be the ladies  brave we go unto?

MERECRAFT

Oh, yes.

PUG

And shall I see ’em, and speak to ’em? 75

MERECRAFT

What else?

 [Enter TRAINS carrying cloak and bag.]

 (Questions his man.) Ha’ you your false beard about you, Trains?

TRAINS

Yes.

MERECRAFT

And is this one of your  double cloaks?

TRAINS

The best of ’em.

MERECRAFT

Be ready then.  [Exit Trains.]

 [Enter] PITFALL.

Sweet Pitfall!

 3.6

MERECRAFT

Come, I must  buss –  (Offers to kiss.)

PITFALL

Away!

MERECRAFT

I’ll set thee up again.

Never fear that;  canst thou get ne’er a bird?

No thrushes hungry? Stay till cold weather come,

I’ll help thee to an  ouzel or a  fieldfare.

Who’s within, with madam?

PITFALL

I’ll tell you straight.  (She runs in, in haste.) 5

MERECRAFT

Please you stay here a while sir, I’ll go in. (He follows.)

PUG

I do so long to have a little  venery,

While I am in this body! I  would taste

Of every sin a little, if it might be

After the manner of man!

 Pug leaps at PITFALL’s coming in.

Sweetheart!

PITFALL

What would you, sir? 10

PUG

Nothing but fall in to you, be your blackbird,

My pretty pit; as the gentleman said, your  throstle;

Lie tame, and taken with you.  Here is gold!

To buy you so much new  stuffs from the shop

 As I may take the old up –

 TRAINS in his false cloak brings a false message, and gets the ring.

TRAINS

You must send, sir, 15

The gentleman the ring.

PUG

[Hands over the ring] There ’tis.  [Exit Trains with the ring.]

Nay, look,

 Will you be foolish, Pit?

PITFALL

This is strange rudeness.

PUG

Dear Pit.

PITFALL

I’ll call, I swear!  [Exit.]

 [Enter] MERECRAFT and asks for [the ring].

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

I sent none, sure.

My meaning ever was you should deliver it

Yourself; so was your master’s  charge, you know.

What fellow was it? Do you know him?

PUG

Here,

 But now, he had it!

 Enter TRAINS as himself again.

MERECRAFT

Saw you any, Trains? 25

TRAINS

Not I.

PUG

The  gentlewoman saw him.

MERECRAFT

[To Trains] Inquire.  [Exit Trains.]

[PUG]  confesseth himself cozened.

PUG

[Aside] I was so  earnest upon her, I marked not!

My devilish chief has put me here in flesh

To shame me! This dull body I am in

I perceive nothing with! I  offer at nothing 30

That will succeed!

 [Enter TRAINS.]

TRAINS

Sir, she saw none, she says.

PUG

Satan himself has ta’en a shape t’abuse me.

It could not be else!

MERECRAFT

 (Accuseth him of negligence.) This is above strange,

That you should be so   reckless! What’ll you do, sir?

How will you answer this when you are questioned? 35

PUG

[Aside] Run from my flesh if I could; put off mankind.

This’s such a scorn! And will be a new  exercise

For  my archduke!  Woe to the several cudgels

Must suffer on this back!  (He asketh aid.)  Can you no succours, sir?

MERECRAFT

Alas!  The use of it is so present.

PUG

I ask, 40

Sir, credit for another, but till tomorrow!

MERECRAFT

There is not so much time, sir. But, however,

The lady is a noble lady, and will,

To save a gentleman from  check, be entreated

To say she has received it.

PUG

Do you think so? 45

Will she be won?

  Merecraft promiseth faintly, yet comforts him.

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

Unto  your lady duchess. You may say

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;

For which she’ll stay this hour yet.  Hasten you

Your prince. Away!

PUG

 (Doubtful) And, sir, you will take care

Th’excuse be perfect?

MERECRAFT

You confess your fears 60

Too much.

PUG

The shame is more.

MERECRAFT

I’ll   quit you of either.  [Exeunt.]

4.1   [Enter LADY] TAILBUSH [and] MERECRAFT.

LADY TAILBUSH

A pox upo’ referring to commissioners!

 I’d rather hear that  it were  past the seals;

 Your courtiers move so snail-like i’your business.

Would I had not begun wi’ you.

MERECRAFT

We must move,

Madam, in order, by degrees; not jump. 5

LADY TAILBUSH

Why, there was  Sir John Moneyman could  jump

A business quickly.

MERECRAFT

True, he had great friends;

But because some, sweet madam, can leap ditches,

We must not all shun to go over bridges.

The harder parts, I make account, are done; 10

Now ’tis referred.  (He flatters her.) You are infinitely bound

Unto the ladies, they ha’ so  cried it up.

LADY TAILBUSH

Do they like it, then?

MERECRAFT

They ha’ sent the Spanish lady

To  gratulate with you –

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?

LADY TAILBUSH

No, in good faith. They say he  lay not

At home  tonight. And here has fall’n a business

Between your  cousin and Master Manly has

Unquieted us all.

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.

LADY TAILBUSH

So far

From it, as  he came in and took him railing

Against him.

MERECRAFT

How! And what said Manly to him?

LADY TAILBUSH

Enough, I do assure you; and with that scorn

Of him and the  injury as I do wonder 30

How Everill bore it. But  that guilt undoes

Many men’s valours.

 [Enter] MANLY.

MERECRAFT

Here comes Manly.

MANLY

  (Offers to be gone) Madam,

I’ll take my leave –

LADY TAILBUSH

You sha’ not go, i’faith.

I’ll ha’ you stay and see  this Spanish miracle

Of our English lady.

MANLY

Let me pray Your Ladyship, 35

Lay your commands on me some other time.

LADY TAILBUSH

Now, I protest; and I will have all  pieced,

And friends again.

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.

MERECRAFT

  (Denies him.) Not I, madam,

I am no kin to him, we  but call cousins;

And  if we were, sir, I have no relation

Unto his crimes.

MANLY

You are not  urged with ’em.

I can accuse, sir, none but mine own judgement, 45

For though it were his crime so to betray me,

 I’m sure ’twas more mine own at all to trust him.

But he therein did use but his old manners,

And  savour strongly what he was before.

LADY TAILBUSH

Come, he will change!

MANLY

Faith, I must never think it. 50

Nor were it reason in me to expect

That for my sake he should put off a nature

He sucked in with his milk. It may be, madam,

 Deceiving trust is all he has to trust to.

If so, I shall be loath that any hope 55

Of mine should  bate him of his means.

LADY TAILBUSH

 You’re  sharp, sir.

This act may make him honest.

MANLY

If he were

To be  made honest by an act of parliament,

I should not alter i’my  faith of him.

 [Enter LADY] EITHERSIDE to them.

LADY TAILBUSH

 (She spies the Lady Eitherside)  Eitherside! 60

Welcome, dear Eitherside!  How hast thou done, good wench?

Thou hast been a stranger! I ha’ not seen thee this week.

 4.2

LADY EITHERSIDE

Ever your servant, madam.

LADY TAILBUSH

Where  hast thou been?

I did so long to see thee.

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!

Yes, faith, there’s life in’t now; it is  referred.

If we once see it under the seals, wench, then 10

 Have with ’em for the great  caroche, six horses,

And the two coachmen, with my Ambler  bare,

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 TAILBUSH

Oh, but then I’ll every day

Bring up some new  device. Thou and I, Eitherside,

Will first be in it; I will  give it thee,

And they shall follow us. Thou shalt, I swear,

Wear every month a new gown out of it. 20

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.

 Merecraft hath whispered with [Manly] the while.

MERECRAFT

Madam?  He’s one – in a word, I’ll trust his malice

 With any man’s credit I would have abused.

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!

MANLY

So I do: that  ill men’s friendship

Is as unfaithful as themselves.

LADY TAILBUSH

 Do you hear? 35

Ha’ you a business about toothpicks?

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.

Somewhat an intricate business to discourse,  but 40

I show  how much the subject is abused,

First, in that one commodity. Then what diseases

And putrefactions in the gums are bred

By those are  made of adult’rate and false wood!

My plot for reformation of these follows: 45

To have all toothpicks brought unto an office,

There sealed, and  such as counterfeit ’em, mulcted.

And last, for  venting ’em, to have a book

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,

Of never sleeping with the mouth open,  chawing

Some grains of  mastic, will preserve the breath

Pure, and so free from taint –

 [Enter TRAINS.]

Ha? What is’t, say’st thou? 55

 Trains his man whispers him.

LADY TAILBUSH

Good faith, it sounds a very pretty business!

LADY EITHERSIDE

So Master Eitherside says, madam.

MERECRAFT

The lady is come.

LADY TAILBUSH

Is she? Good,  wait upon her in.  [Exit Merecraft.]

My Ambler

Was never so  ill absent. Eitherside,

How do I look today? Am I not dressed 60

 Spruntly?  (She looks in her glass.)

LADY EITHERSIDE

Yes, verily, madam.

LADY TAILBUSH

Pox o’ ‘madam’!

Will you not leave that?

LADY EITHERSIDE

Yes, good Tailbush.

LADY TAILBUSH

So?

Sounds not that better? What vile  fucus is this

Thou hast got on?

LADY EITHERSIDE

’Tis pearl.

LADY TAILBUSH

 Pearl? Oyster shells;

As I breathe, Eitherside, I know’t. Here comes 65

(They say) a wonder,  sirrah, has been in Spain,

Will teach us all. She’s sent to me from court

To gratulate with me. Prithee, let’s observe her,

What faults she has, that we may laugh at ’em

When she is gone.

LADY EITHERSIDE

That we will heartily, Tailbush. 70

MERECRAFT  [enters with] WITTIPOL to them.

 Wittipol is dressed like a Spanish lady.

LADY TAILBUSH

Oh, me! The very  infanta of the giants!

 4.3

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.

WITTIPOL

 (Excuses himself for not kissing) Pray you, say to Her Ladyship

It is the manner of Spain to embrace only, 5

 Never to kiss. She will excuse the custom!

LADY TAILBUSH

Your use of it is law. Please you, sweet madam,

To take a seat.

WITTIPOL

Yes, madam.  I have had

The favour, through a world of fair report,

To know your virtues, madam; and in that 10

Name have desired the happiness of presenting

My service to Your Ladyship.

LADY TAILBUSH

Your love, madam!

 I must not own it else.

WITTIPOL

Both are due, madam,

To your great undertakings.

LADY TAILBUSH

Great? In troth, madam,

They are my friends that think ’em anything. 15

If I can do my sex by ’em any service,

 I’ve  my ends, madam.

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.

WITTIPOL

 You’re right in that, madam, 20

Of which race I encountered some but lately,

Who,’t seems, have studied reasons to discredit

Your business.

LADY TAILBUSH

How, sweet madam?

WITTIPOL

Nay, the parties

Wi’ not be worth your pause – most  ruinous things, madam,

That have put off all hope of being recovered 25

To a degree of  handsomeness.

LADY TAILBUSH

But their reasons, madam?

I would fain hear.

WITTIPOL

Some, madam, I remember.

They say that painting quite destroys the face –

LADY EITHERSIDE

Oh, that’s an  old one, madam.

WITTIPOL

There are  new ones, too:

Corrupts the breath, hath left so little sweetness 30

In kissing, as ’tis now  used but for fashion,

And shortly will be taken for a punishment;

 Decays the fore-teeth that should guard the tongue,

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 begins to know him.

MANLY

[Aside] I should know

This voice, and face too.

WITTIPOL

Then they say ’tis dangerous

To all the   fall’n yet well disposed  mad-dames

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

Their  servants run away too and leave the pleasure 45

Imperfect, and the  reckoning  als’ unpaid.

LADY EITHERSIDE

Pox, these are poets’ reasons!

LADY TAILBUSH

Some old lady

That keeps a poet has devised these scandals.

LADY EITHERSIDE

Faith,  we must have the poets banished, madam,

As Master Eitherside says.

 [Enter] FITZDOTTREL, MRS FITZDOTTREL, [and] PUG to them.

MERECRAFT

Master Fitzdottrel! 50

And  his wife; where? Madam, the Duke of Drowned-land,

That will be shortly.

WITTIPOL

Is this my lord?

MERECRAFT

The same.

 4.4

 

FITZDOTTREL

Your servant, madam.

WITTIPOL

 (Whispers with Manly) How now, friend? Offended

That I have found your haunt here?

MANLY

[Aside to Wittipol] No, but wondering

At your  strange-fashioned venture hither.

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.

 He presents Mrs Fitzdottrel.

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 –

LADY TAILBUSH

 But I durst eat, I assure you.

WITTIPOL

So do they in Spain.

LADY TAILBUSH

Sweet madam, be so liberal 15

To give us some o’your Spanish fucuses.

WITTIPOL

They are  infinite, madam.

LADY TAILBUSH

So I hear.

WITTIPOL

They have

 Water of gourds, of radish, the white beans,

 Flowers of glass, of thistles,  rosmarine,

Raw honey, mustard-seed, and bread  dough-baked, 20

The  crumbs o’bread, goat’s milk, and whites of eggs,

Camphor, and lily roots, the fat of swans,

Marrow of veal,  white pigeons, and pine-kernels,

The seeds of nettles,  purslane, and  hare’s gall,

Lemons, thin-skinned –

LADY EITHERSIDE

How Her Ladyship has studied 25

All excellent things!

WITTIPOL

But ordinary, madam.

No, the true rarities are th’ alvagada,

And  argentata of Queen Isabella!

LADY TAILBUSH

Ay, what are their ingredients, gentle madam?

WITTIPOL

Your  allum scagliola, or Pol di pedra, 30

And  zuccarino;  turpentine of Abezzo,

Washed in nine waters;  soda di levante,

Or your fern ashes;  benjamin di gotta,

 Grasso di serpe, porcelletto marino;

Oils of  lentisco,   zucche,  mugia, make 35

The admirable varnish for the face,

Gives the right lustre; but two drops rubbed on

With a  piece of scarlet makes a lady of sixty

Look at  sixteen. But, above all, the  water

Of the white hen, of the  Lady Estifania’s! 40

LADY TAILBUSH

Oh, ay, that same, good madam, I have heard of.

How is it done?

WITTIPOL

Madam, you take your hen,

Plume it, and skin it, cleanse it o’the  innards;

Then chop it, bones and all; add to four ounces

Of   carravicins,  pipitas,  soap of Cyprus, 45

Make the decoction, strain it. Then distil it,

And keep it in your  galley-pot well  gliddered.

Three drops preserves from wrinkles, warts, spots, moles,

Blemish, or sun-burnings, and keeps the skin

 In decimo sexto, ever bright and smooth 50

As any looking-glass; and indeed, is called

The  virgin’s milk for the face,  oglio reale.

A ceruse neither cold or heat will hurt;

And mixed with oil of myrrh, and the red gillyflower

Called  cataputia, and flowers of rovistico, 55

Makes the best  muta, or dye, of the whole world.

LADY TAILBUSH

Dear madam, will you let us be familiar?

WITTIPOL

Your Ladyship’s servant.

MERECRAFT

[To Fitzdottrel] How do you like her?

FITZDOTTREL

Admirable!

But yet I cannot see the ring.

 He is jealous about his ring.

PUG

Sir!

MERECRAFT

[Aside] I must

Deliver it, or mar all. This fool’s so  jealous. 60

Madam –  [Whispers to Wittipol as he gives him the ring]

Sir, wear this ring, and pray you take knowledge

’Twas sent you by his wife. And give her thanks.

[Aside to Pug] Do not you  dwindle, sir. Bear up.

PUG

I thank you, sir.

LADY TAILBUSH

But for the manner of Spain! Sweet madam, let us

Be bold, now we  are in. Are all the ladies 65

There i’the fashion?

WITTIPOL

None but  grandees, madam,

O’the  clasped train, which may be worn at length too,

Or thus, upon my arm.

LADY TAILBUSH

And do they wear

 Cioppinos all?

WITTIPOL

If they be dressed  in punto, madam.

LADY EITHERSIDE

 Gilt as those are, madam?

WITTIPOL

Of goldsmith’s work, madam, 70

And set with diamonds; and their Spanish  pumps

Of perfumed leather.

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 TAILBUSH

But   you have men at hand  still 75

To help you if you fall?

WITTIPOL

Only one, madam,

The  guarda-duennas, such a little old man

As this.

[He points to Trains.]

LADY EITHERSIDE

Alas! He can do nothing! This!

WITTIPOL

I’ll tell you, madam, I saw i’the court of Spain once

A lady fall i’the King’s sight,  along. 80

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. 85

LADY EITHERSIDE

Ha’ they no  servants, madam, there? Nor friends?

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 EITHERSIDE

This’s scurvy! 90

And a  forced gravity! I do not like it.

I like our own much better.

LADY TAILBUSH

’Tis more French

And courtly, ours.

LADY EITHERSIDE

And  tastes more liberty.

We may have our dozen of visitors at once

Make love t’us.

LADY TAILBUSH

And  before our husbands!

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.

FITZDOTTREL

[Aside to Merecraft] Oh,  I am satisfied now!

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.

 Wittipol gives it [the ring to] Mrs Fitzdottrel.

MRS FITZDOTTREL

Sure I have heard this tongue.

MERECRAFT

  (Murmurs) What do you mean, sir?

WITTIPOL

Would you ha’ me mercenary?

We’ll recompense it anon, in somewhat else.

 He is satisfied, now he sees it.

 [Exeunt Merecraft and Trains.]

FITZDOTTREL

I do not love to be gulled, though in a  toy.

Wife, do you hear?  You’re come into the school, wife, 110

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

You  wanted means.

 He upbraids her with his bill of costs.

I ha’ done my parts; been

Today at fifty pound charge, first, for a ring

To get you  entered. Then left my new play

To wait upon you here, to see’t confirmed,

That I may say, both to mine own eyes and ears – 120

Senses, you are my witness –  sh’ hath enjoyed

All helps that could be had, for love, or money –

MRS FITZDOTTREL

To make a fool of her.

FITZDOTTREL

Wife, that’s your malice,

The wickedness  o’your nature to interpret

Your husband’s kindness thus. But I’ll not  leave 125

Still to do good  for your depraved affections;

 Intend it. Bend this stubborn will; be great.

LADY TAILBUSH

[To Wittipol] Good madam, whom do  they use in messages?

WITTIPOL

They commonly use their slaves, madam.

LADY TAILBUSH

And does Your Ladyship

Think that so good, madam?

WITTIPOL

No indeed, madam; I 130

Therein prefer the fashion of England far,

Of  your young delicate page, or discreet usher.

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.

WITTIPOL

And they are fitter

Managers too, sir, but I would have ’em called

Our  escuderos.

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

 Pastillos of the Duchess of Braganza,

 Coquettas,  almojavanas,  mantecadas,

  Alcorças,  mustaccioli; or say it were

The  peladore of Isabella, or  balls 145

Against the itch, or  aqua nanfa, or oil

Of  jessamine for gloves of the Marquess Muja;

Or for the head, and hair; why, these are offices –

FITZDOTTREL

Fit for a gentleman, not a slave.

WITTIPOL

They only

Might ask for your   piveti, Spanish coal, 150

To burn, and sweeten a room; but the  arcana

Of ladies’  cabinets –

FITZDOTTREL

Should be  elsewhere trusted.

 You’re  much about the truth. Sweet honoured ladies,

Let me fall in wi’ you.

  He enters himself with the ladies.

  I ha’ my female wit,

As well as my male. And  I do know what suits 155

A lady of spirit, or a woman of fashion!

WITTIPOL

And you would have your wife such.

FITZDOTTREL

Yes, madam, airy,

Light; not to plain dishonesty, I mean,

But somewhat o’this side.

WITTIPOL

I  take you, sir. –

H’has reason, ladies. I’ll  not give this rush 160

For any lady that cannot be honest

 Within a thread.

LADY TAILBUSH

Yes, madam, and yet  venture

As far for th’other, in her fame –

WITTIPOL

As can be;

 Coach it to Pimlico; dance the  saraband;

Hear and talk bawdy; laugh as loud as a  larum; 165

 Squeak, spring, do anything.

LADY EITHERSIDE

In young company, madam.

LADY TAILBUSH

Or  afore gallants. If they be  brave, or lords,

A woman is  engaged.

FITZDOTTREL

I say so, ladies;

It is civility to deny us nothing.

 [PUG] admires him.

PUG

[Aside] You talk of a university! Why, hell is 170

A  grammar school to this!

LADY EITHERSIDE

But then

She must not  lose a look on stuffs, or cloth, madam.

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

 So much as coming, madam; I know not how 180

She loses all her opportunities

With  hoping to be forced.  I’ve  entertained

A gentleman, a younger brother, here,

  He shows his Pug.

Whom I would fain breed up her escudero,

 Against some expectations that I have, 185

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.

MRS FITZDOTTREL

 What you please, ladies.

LADY TAILBUSH

De-vile’s a prettier name!

LADY EITHERSIDE

And sounds, methinks,

 As it came in with the Conqueror.

MANLY

[Aside]  Over smocks! 190

 What things they are! That nature should be at leisure

Ever to make ’em! My wooing is at an end.

 Manly goes out with indignation.

WITTIPOL

What can he do?

LADY EITHERSIDE

Let’s hear him.

LADY TAILBUSH

Can he  manage?

FITZDOTTREL

Please you to try him, ladies. Stand forth, Devil.

PUG

[Aside] Was all this but the preface to my torment? 195

FITZDOTTREL

Come, let Their Ladyships see  your honours.

[Pug bows.]

LADY EITHERSIDE

Oh,

He makes a wicked  leg.

LADY TAILBUSH

As ever I saw!

WITTIPOL

Fit for a Devil.

LADY TAILBUSH

Good madam, call him De-vile.

 They begin their catechism.

WITTIPOL

De-vile, what  property is there most required

I’your  conceit, now, in the escudero? 200

[Pug hesitates.]

FITZDOTTREL

Why do you not speak?

PUG

A  settled discreet pace, madam.

WITTIPOL

I think a  barren head, sir, mountain-like,

To be exposed to the cruelty of weathers –

FITZDOTTREL

Ay, for his valley is beneath the  waste, madam,

And to be fruitful there, it is sufficient. 205

Dullness upon you! Could not you  hit this?

 He strikes him.

PUG

Good sir –

WITTIPOL

He then had had  no barren head!

You  daw him too much, in troth, sir.

FITZDOTTREL

I must  walk

With the French stick, like an old verger, for you.

PUG

(Prays) O chief, call me to hell again,  and free me! 210

FITZDOTTREL

Do you  murmur now?

PUG

Not I, sir.

WITTIPOL

What do you take,

Master De-vile, the  height of your employment

In the true perfect escudero?

[Pug hesitates.]

FITZDOTTREL

 When?

What do you answer?

PUG

To be able, madam,

First to inquire, then  report the working 215

Of any lady’s physic, in sweet phrase.

WITTIPOL

Yes, that’s an act of elegance and importance.

But what above?

FITZDOTTREL

Oh, that I had a goad for him!

PUG

To  find out a good corn-cutter.

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!

PUG

[Aside] Sure, if I be not yet, I shall be. All

My days in hell were  holy-days to this!

LADY TAILBUSH

’Tis labour lost, madam.

LADY EITHERSIDE

 He’s a dull fellow

Of no capacity.

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?

WITTIPOL

Master De-vile,  put case one of my ladies here

Had a fine  brach, and would employ you forth

To  treat ’bout a convenient match for her. 230

What would you observe?

PUG

The colour, and the size, madam.

WITTIPOL

And nothing else?

FITZDOTTREL

The  moon, you calf, the moon!

WITTIPOL

Ay, and the  sign.

LADY TAILBUSH

Yes, and  receipts for proneness.

WITTIPOL

Then when the puppies came, what would you do?

PUG

Get their  nativities cast.

WITTIPOL

This’s well. What more? 235

PUG

Consult the almanac-man which would be  least?

Which cleanliest?

WITTIPOL

And which silentest? This’s well, madam!

WITTIPOL

And while she were  with puppy?

PUG

Walk her out,

And air her every morning.

WITTIPOL

Very good!

And be industrious to kill her fleas? 240

PUG

Yes.

WITTIPOL

He will make a pretty  proficient.

PUG

[Aside] Who,

Coming from hell, could  look for such catechizing?

The Devil is an Ass. I do acknowledge it.

 Fitzdottrel admires Wittipol.

FITZDOTTREL

[Aside] The top of woman! All her sex in abstract!

I love her to each syllable falls from her. 245

LADY TAILBUSH

Good madam, give me leave to go aside with  him

And  try him a little.

WITTIPOL

Do, and I’ll withdraw, madam,

With this fair lady –  read to her the while.

LADY TAILBUSH

[To Pug] Come, sir.

PUG

 (Prays again) Dear chief, relieve me, or I perish!

WITTIPOL

Lady, we’ll follow.

 [Exeunt Tailbush and Eitherside with Pug.]

You are not  jealous, sir? 250

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.

  He gives his wife to him, taking him to be a lady.

 Melt, cast, and form her as you shall think good.

Set any stamp on. I’ll receive her from you 255

As a new thing, by your own standard!  [Exit.]

WITTIPOL

Well, sir!

 [Exit Wittipol with Mrs Fitzdottrel.]

4.5  [Enter] MERECRAFT [and] FITZDOTTREL.

MERECRAFT

But what ha’ you done i’your dependence, since?

FITZDOTTREL

Oh, it goes on; I met  your cousin, the Master –

MERECRAFT

You did not  acquaint him, sir?

FITZDOTTREL

Faith, but I did, sir.

And upon better thought, not without reason!

He being chief officer might ha’ ta’en it ill, else, 5

As a  contempt against his place, and that

In time, sir, ha’ drawn on another  dependence.

No, I did find him in good terms, and ready

To do me any service.

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.

FITZDOTTREL

And get the  feoffment drawn, with a letter of attorney 15

For  livery and seisin.

MERECRAFT

That I know’s the course.

But sir, you mean not to make him feoffee?

FITZDOTTREL

Nay, that I’ll pause on.

 [Enter] PITFALL.

MERECRAFT

How now, little Pitfall!

PITFALL

Your cousin Master Everill would come in –

But he  would know if Master Manly were here. 20

MERECRAFT

No. Tell him, if he were, I ha’ made his peace.

 [Exit Pitfall.]

  Merecraft whispers against him.

He’s one, sir, has no  state, and a man knows not

How such a trust may tempt him.

FITZDOTTREL

I conceive you.

 [Enter] EVERILL [and] PLUTARCHUS.

EVERILL

Sir, this same deed is  done here.

MERECRAFT

Pretty Plutarchus!

Art thou come with it? And has  Sir Paul viewed it? 25

PLUTARCHUS

His  hand is to the draft.

MERECRAFT

 [To Fitzdottrel] Will you step in, sir,

And read it?

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

O’your whole  state; and though my cousin here 30

Be a worthy gentleman, yet his  valour has

At the  tall board been questioned; and we hold

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

I can  forswear it.

FITZDOTTREL

I believe you, and thank you, sir.  [Exeunt.]

4.6  [Enter] WITTIPOL [and] MRS FITZDOTTREL.

WITTIPOL

Be not afraid, sweet lady. You’re trusted

To love, not violence here; I am no ravisher,

But one whom you, by your fair trust again,

May of a  servant make a most true friend.

MRS FITZDOTTREL

And such a one I need, but not this way. 5

 [Enter] MANLY [unnoticed.]

Sir, I confess me to you, the mere manner

Of your attempting me this morning  took me,

And I  did hold m’invention and my manners

Were both engaged to give it a  requital;

But not unto your ends. My hope was then – 10

Though interrupted, ere it could be uttered –

That  whom I found the master of such language,

That brain and spirit for such an enterprise,

Could not but, if those  succours were demanded

To a right use, employ them virtuously, 15

And make that profit of his noble  parts

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;

The wealthy  portion that I brought him, spent;

And, through my  friends’ neglect, no  jointure made me.

My fortunes standing in this precipice,

’Tis counsel that I want, and honest aids; 25

And  in this name, I need you for a friend,

Never in any other; for his  ill

Must not make me, sir, worse.

 Manly, concealed this while, shows himself.

MANLY

O friend, forsake not

The brave occasion virtue offers you

To keep you innocent! I have feared for both, 30

And watched you to prevent the ill I feared.

But since the  weaker side hath so assured me,

Let not the stronger fall by his own vice,

Or be the less a friend ’cause virtue needs him.

WITTIPOL

Virtue shall never ask my succours twice. 35

Most friend, most man, your counsels are commands. –

Lady, I can love goodness in you more

Than I did beauty, and do here  entitle

Your virtue to the power upon a life

You shall engage in any fruitful service, 40

Even to  forfeit.

 [Enter] MERECRAFT.

MERECRAFT

Madam.  [Exit Mrs Fitzdottrel.]

 Merecraft takes Wittipol aside, and moves a project for himself.

Do you hear, sir,

 We have another leg strained for this Dottrel.

 He has a quarrel to carry, and  has caused

A deed of feoffment of his whole estate

To be drawn yonder.  He has’t within; and you 45

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

A  frantic so in love with  his own favour!

Now you do know,  ’tis of no validity 50

In your name, as you stand; therefore advise him

To put in me – he’s come here – you shall  share, sir.

4.7   [Enter] FITZDOTTREL, EVERILL, [and] PLUTARCHUS.

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?

FITZDOTTREL

No, sweet madam, I have

Already a dependence, for which cause

I do this: let me put you in, dear madam;

I may be  fairly killed.

WITTIPOL

You have your friends, sir, 15

About you here for choice.

EVERILL

 (He hopes to be the man) She tells you right, sir.

FITZDOTTREL

Death, if she do, what do I care for that?

Say I would have her tell me wrong.

WITTIPOL

Why, sir,

If for the trust, you’ll let me have the honour

To  name you one.

FITZDOTTREL

Nay, you do me the honour, madam. 20

Who is’t?

WITTIPOL

This gentleman.   (She designs Manly.)

FITZDOTTREL

Oh, no, sweet madam,

 He’s friend to him with whom I ha’ the dependence.

WITTIPOL

Who might he be?

FITZDOTTREL

One Wittipol; do you know him?

WITTIPOL

Alas, sir, he, a  toy – this gentleman

A friend to him? No more than I am, sir! 25

FITZDOTTREL

But will Your Ladyship  undertake that, madam?

WITTIPOL

Yes, and  what else for him you will engage me.

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.

FITZDOTTREL

[To all] Come gentlemen, your  hands 35

For witness.

MANLY

What is this?

EVERILL

 (Applauds it) You ha’ made election

Of a most worthy gentleman.

MANLY

 Would one

Of worth had spoke it! Whence it comes, it is

Rather a shame to me than a praise.

EVERILL

Sir, I will give you any satisfaction. 40

MANLY

Be silent then:  falsehood commends not truth.

PLUTARCHUS

[To Fitzdottrel] You do  deliver this, sir, as your deed

To th’use of Master Manly?

FITZDOTTREL

Yes. [To Manly] And sir,

When did you see young Wittipol? I am ready

For process now; sir, this is  publication. 45

He shall hear from me; he would needs be courting

My wife, sir.

MANLY

Yes, so witnesseth his cloak there.

 Fitzdottrel is suspicious of  Manly still.

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

Through a casement; he did  fly her home

To mine own window; but I think I   soused him,

And ravished her away out of his  pounces. 55

I ha’ sworn to ha’ him by the ears; I fear

The  toy wi’ not do me right.

WITTIPOL

No? That were pity!

What right do you ask, sir? Here he is will do’t you.

 Wittipol discovers himself.

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?

WITTIPOL

A cuckold? No sir,

But you were  late in possibility,

I’ll tell you so much.

MANLY

But your wife’s too virtuous.

WITTIPOL

We’ll see her, sir, at home, and leave you here

To be made  Duke o’Shoreditch with a project. 65

FITZDOTTREL

Thieves, ravishers!

WITTIPOL

Cry but another note, sir,

I’ll mar the tune o’your pipe.

FITZDOTTREL

 (He would have his deed again) Gi’ me my deed, then.

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?

WITTIPOL

Sir, be you quiet, 70

Or I shall gag you ere I go. Consult

Your Master of Dependences how to make this

A second  business. You have time, sir.

 Wittipol  baffles him, and goes out.

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,

Likely to  lose my land, ha’ my throat cut,

All by her  practice!

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

Sir, we must play an  after-game o’this.

FITZDOTTREL

But I am not  in case to be a gamester; 85

I tell you once again –

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.

FITZDOTTREL

I will not think, nor act, 90

Nor yet recover. Do not talk to me!

I’ll run out o’my wits rather than hear;

I will be what I am, Fabian Fitzdottrel,

Though all the world say nay to’t.  [Exit.]

MERECRAFT

Let’s follow him. [Exeunt.]

5.1   [Enter] AMBLER [and] PITFALL.

AMBLER

But has my lady missed me?

PITFALL

Beyond telling!

Here has been that infinity of strangers!

And then she would ha’ had you to ha’  sampled you

With one within that they are now a-teaching,

And does  pretend to your rank.

AMBLER

Good  fellow Pitfall, 5

Tell Master Merecraft I entreat a word with him.  Pitfall goes out.

This most unlucky accident will go near

To be the loss o’my  place, I  am in doubt!

 [Enter] MERECRAFT.

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

Brief, good Master Ambler,

 Put yourself to your rack, for I have task

Of more importance.

(Merecraft seems full of business.)

AMBLER

 Sir, you’ll laugh at me. 15

But – so is truth – a very friend of mine,

Finding by conference with me that I lived

Too chaste for my  complexion, and indeed

Too honest for my place, sir, did advise me

If I did love myself – as that I do, 20

I must confess –

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

It should not, trust myself to a  common house, 25

  (Ambler tells this with extraordinary speed.)

But got the gentlewoman to go with me

And carry her bedding to a  conduit-head

Hard by the place toward Tyburn which they call

 My Lord Mayor’s Banqueting House. Now, sir, this morning

Was  execution; and I ne’er  dreamt on’t 30

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

I’the interim we fell  asleep again.

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

 I made new for the action – it was gone,

And all my money, with my purse, my seals,

My  hard-wax, and my table-books, my studies,

And a fine new device I had to carry 40

My pen and ink, my  civet, and my toothpicks,

All  under one. But that which grieved me was

The gentlewoman’s shoes, with a pair of  roses

And garters I had given her for the business.

 So as that made us stay till it was dark; 45

For I was  fain to lend her mine, and walk

In a  rug by her, barefoot to  Saint Giles’s.

MERECRAFT

A kind of  Irish penance! Is this all, sir?

AMBLER

To satisfy My Lady.

MERECRAFT

I will  promise you, sir.

AMBLER

I ha’ told the true disaster.

MERECRAFT

I cannot stay wi’ you, 50

Sir, to condole, but  gratulate your return.  [Exit.]

AMBLER

An honest gentleman! But he’s never at leisure

To  be himself, he has such tides of business.  [Exit.]

5.2  [Enter] PUG.

PUG

Oh, call me home again, dear chief, and put me

To  yoking foxes, milking of he-goats,

Pounding of water in a mortar,  laving

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,

 Catching the winds together in a net,

 Must’ring of ants, and numbering atoms – all

That hell and you thought  exquisite torments, rather

Than  stay me here a thought more! I would sooner 10

 Keep fleas within a circle, and be accountant

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

 To a lady of fashion! All your tortures  there 15

Are pastimes to it. ’Twould be a refreshing

For me to be i’the fire again, from hence!

AMBLER   comes in and surveys him.

AMBLER

This is my suit, and those the shoes and roses!

PUG

 They’ve such  impertinent vexations,

A  general council o’devils could not hit – 20

Pug perceives it, and starts.

Ha! This is he I took asleep with his wench,

And borrowed his clothes. What might I do to  balk him?

AMBLER

Do you hear, sir?

PUG

[Aside] Answer him, but not to th’purpose.

AMBLER

What is your name, I pray you, sir?

PUG

 (He answers quite from the purpose.) Is’t so late, 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.

PUG

A very pretty lace!

But the tailor  cozened me.

AMBLER

No, I am cozened

By you! Robbed!

PUG

Why, when you please, sir, I am 30

For  threepenny gleek, your man.

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?

PUG

Your best song’s ‘ Tom o’ Bedlam’. 35

AMBLER

I think you are he. – Does he mock me,  trow, from purpose?

Or do not I speak to him what I mean? –

Good sir, your name.

PUG

Only a couple o’cocks, sir;

If we can get a  widgeon, ’tis in season.

AMBLER

 [Aside] He hopes to make one o’these  Sciptics o’me – 40

I think I name ’em right – and does not  fly me.

I wonder at that! ’Tis a strange confidence!

I’ll  prove another way to draw his answer.  [Exeunt.]

5.3   [Enter] MERECRAFT, FITZDOTTREL, [and] EVERILL.

MERECRAFT

It is the easiest thing, sir, to be done.

As plain as  fizzling; roll but wi’ your eyes,

And foam at th’mouth. A little  castle-soap

Will do’t, to rub your lips; and then a  nutshell,

With  tow and touchwood in it to spit fire. 5

Did you ne’er read, sir, little  Darrel’s tricks,

With the  boy o’Burton, and the  seven in Lancashire,

Sommers at Nottingham? All these do teach it.

And we’ll give out, sir, that your wife has bewitched you –

EVERILL

And  practised with  those two, as sorcerers. 10

  They repair their old plot.

MERECRAFT

And ga’ you potions, by which means you were

Not  compos mentis when you made your feoffment.

There’s no recovery o’your  state but this;

This, sir, will  sting.

EVERILL

And move in a  court of equity.

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 –

EVERILL

T’have done strange things, sir.

One as  the lady, the other as the squire.

MERECRAFT

How a man’s honesty may be fooled! I thought him 20

A very lady.

FITZDOTTREL

So did I –  renounce me else.

MERECRAFT

But this way, sir, you’ll be revenged  at height.

EVERILL

Upon ’em all.

MERECRAFT

Yes, faith, and since your wife

Has run the way of woman thus, e’en give her –

FITZDOTTREL

Lost, by this hand, to me; dead to all joys 25

Of her dear Dottrel! I shall never pity her

That  could  pity herself.

MERECRAFT

Princely resolved, sir,

And  like yourself still, in potentia.

5.4  [Enter] to them GILTHEAD, PLUTARCHUS, SLEDGE, [and] SERGEANTS.

MERECRAFT

Gilthead, what news?

FITZDOTTREL

 (Asks for his money) Oh, sir, my hundred pieces;

Let me ha’ them yet.

GILTHEAD

Yes, sir. – Officers,

Arrest him.

FITZDOTTREL

Me?

SERGEANT

I arrest you.

SLEDGE

Keep the peace,

I charge you, gentlemen.

FITZDOTTREL

Arrest me? Why?

GILTHEAD

For better security, sir. My son Plutarchus 5

Assures me  you’re not worth a  groat.

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?

GILTHEAD

Yes, and more. –

Arrest this gallant too, here, at  my suit. 10

Meaning Merecraft.

SLEDGE

Ay, and at mine. He owes me for his lodging

Two year and a quarter.

MERECRAFT

Why, Master Gilthead, landlord,

Thou art not mad,  though th’art constable,

Puffed up with th’pride of the  place? Do you hear, sirs?

Have I deserved this from you two? For all 15

My pains at court to get you each a patent –

GILTHEAD

 For what?

MERECRAFT

Upo’ my project o’the forks.

SLEDGE

Forks? What be they?

MERECRAFT

The laudable use of forks,

 Brought into custom here, as they are in Italy,

To th’sparing o’napkins. That, that should have made 20

Your bellows go at the  forge, as  his at the furnace.

I ha’ procured it, ha’ the  signet for it,

Dealt with the linen-drapers on my  private,

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 –

As that is one o’my  grounds, and to spare washing –

Now, on you two had I laid all the profits:

Gilthead to have the making of all those

Of  gold and silver for the better personages, 30

And you of those of steel for the common sort.

And both by patent. I  had brought you your seals in.

But now you have prevented me, and I thank you.

 Sledge is  brought about.

SLEDGE

Sir, I will bail you at mine own  apperil.

MERECRAFT

[To Gilthead] Nay, choose.

PLUTARCHUS

Do you so too, good father. 35

 And Gilthead  comes.

GILTHEAD

I like the fashion o’the project well;

The forks! It may be a lucky one! And is not

 Intricate, as one would say, but fit for

Plain heads as ours to deal in. – Do you hear,

Officers, we discharge you.  [Exeunt Sergeants.]

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;

And here to trouble a great man  in reversion,

For a matter o’ fifty on a false alarm, 45

Away! It shows not well. Let him get the pieces

And bring ’em. You’ll hear more else.

PLUTARCHUS

Father!

 [Exeunt Gilthead and Plutarchus.]

5.5  [Enter] AMBLER to them [dragging in PUG].

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?

FITZDOTTREL

 (Disclaims him) Not I.

If you be such a one, sir, I will leave you 10

To your  godfathers in law. Let twelve men work.

PUG

Do you hear, sir; pray, in private.

 [They talk aside.]

FITZDOTTREL

Well, what say you?

Brief, for I have no time to lose.

PUG

Truth is, sir,

I am the very devil, and had  leave

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 –

FITZDOTTREL

Out, you rogue!

You most infernal counterfeit wretch! Avaunt!

Do you think to gull me with your  Aesop’s fables? 30

[To Sledge] Here, take him to you; I ha’ no part in him.

PUG

Sir –

FITZDOTTREL

Away! I do  disclaim. I will not hear you.

 And sends him away.  [Exit Sledge with Pug, followed by Ambler.]

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,

If you’ll  be ruled.

 Merecraft gives the instructions to him and the rest.

Go throw yourself on a bed, sir,

And  feign you ill. We’ll not be seen wi’ you 40

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

And  possess him with all. Trains shall seek out Engine,

And they two  fill the town with’t; every cable 45

Is to be  veered. We must employ out all

Our  emissaries now. Sir, I will send you

 Bladders and bellows. Sir, be confident,

’Tis no hard thing t’outdo the devil in;

 A boy o’thirteen year old made him an ass50

But t’other day.

FITZDOTTREL

Well, I’ll begin to practise,

And scape the imputation of being cuckold

By mine own act.

MERECRAFT

You’re right.  [Exit Fitzdottrel.]

EVERILL

Come, you ha’ put

Yourself to a  simple coil here, and your friends,

By dealing with new agents in new plots. 55

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.

EVERILL

You  had some strain

’Bove E-la?

MERECRAFT

I had indeed.

EVERILL

And now  you crack for’t.

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.

MERECRAFT

’Tis right.

 What would you more than guilty? Now, your succours.  [Exeunt.]

5.6  [Enter]  SHACKLES [and] PUG.

 Pug is brought to Newgate.

SHACKLES

Here  you are lodged, sir; you must send your garnish,

If you’ll be private.

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

That body back here was  hanged out this morning.

Well! Would it once were midnight, that I knew

My  utmost.  I think Time be drunk, and sleeps; 10

 He is so still, and moves not! I do glory

Now i’my torment. Neither can I  expect it;

 I have it with my fact.

 Enter INIQUITY the Vice.

INIQUITY

Child of hell, be thou merry!

Put a look on as round, boy, and red as a cherry.

Cast care  at thy posterns and  firk i’thy fetters; 15

They are ornaments,  baby, have gracèd thy betters.

Look upon me, and hearken. Our chief doth salute thee,

And,  lest the cold iron should chance to  confute thee,

H’hath sent thee  grant-parole by me to stay longer

A month here on earth,  against cold, child, or hunger – 20

PUG

How? Longer here a month?

INIQUITY

Yes, boy, till the  Session,

That so thou mayest have a triumphal  egression.

PUG

In a  cart, to be hanged!

INIQUITY

No, child, in a car,

The  chariot of triumph, which most of them are;

And in the meantime, to be greasy and  boozy, 25

And nasty and filthy, and ragged and lousy,

With ‘damn me’, ‘renounce me’, and all the fine phrases

That bring unto Tyburn the plentiful gazes.

PUG

He is a devil! And  may be our chief!

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.

 [SATAN] enters, and upbraids him with all his day’s work.

SATAN

Impudent  fiend,

Stop thy lewd mouth. Dost thou not shame and tremble

To lay thine own dull damned defects upon

An innocent  case there? Why, thou  heavy slave!

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

And  murmur’st? What one  proffer hast thou made

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

Promptly, and with’t  endangered’st too thy tongue.

A devil, and could not keep a body  entire

One day!  That, for our credit. And to vindicate it,

Hindered’st, for aught thou know’st, a deed of darkness, 50

Which was an act of that egregious folly

As no one  to’ard the devil could ha’ thought on.

 This for your acting! But for suffering! Why,

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,

And that  they’re able to out-do a devil

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

 Provincial o’the  cheaters! Or  bawd-ledger

For this side o’the town! No doubt you’ll render 65

A rare account of things. Bane o’your itch,

And scratching for employment! I’ll ha’  brimstone

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

 From Tyburn, but it must come thither again,

You should e’en ride. But up, away with him –

  Iniquity takes him on his back.

INIQUITY

Mount, darling of darkness. My shoulders are broad;

He that carries the fiend is sure of his load. 75

The devil was wont to carry away the evil;

But now the evil out-carries the devil.  [Exeunt.]

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?

SECOND KEEPER

 A piece of  Justice Hall

Is broken down.

THIRD KEEPER

Fough!  What a steam of  brimstone

Is here!

FOURTH KEEPER

The prisoner’s dead, came in  but now!

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.

FOURTH KEEPER

 This’s strange!

THIRD KEEPER

And savours of the devil strongly!

SECOND KEEPER

 I ha’ the sulphur of  hell-coal i’my nose. 10

FIRST KEEPER

Fough!

SHACKLES

Carry him in.

FIRST KEEPER

Away.

SECOND KEEPER

How rank it is!

 [Exeunt, carrying the body.]

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 –

EVERILL

 Just to the time o’delivery o’the deed –

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.

EITHERSIDE

Therefore  I come, madam.

LADY EITHERSIDE

 Let Master Eitherside alone, madam.

EITHERSIDE

Do you hear?

Call in the constable; I will have him by: 10

 He’s the King’s officer! And some citizens

Of credit! I’ll discharge my conscience clearly.  [Exit Attendant.]

MERECRAFT

Yes, sir, and send for his wife.

EVERILL

And the two sorcerers,

By any means!  [Exit another Attendant.]

LADY TAILBUSH

I thought one a true lady,

I should be sworn. [To Lady Eitherside] So did you, Eitherside! 15

LADY EITHERSIDE

Yes, by that light,  would I might ne’er stir else,

Tailbush.

LADY TAILBUSH

And the other a civil gentleman.

EVERILL

But madam,

 You know what I told Your Ladyship.

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.

MERECRAFT

Who’s  found a thief, madam,

And to have robbed your usher Master Ambler

This morning.

LADY TAILBUSH

How?

MERECRAFT

I’ll tell you more anon.

 [Fitzdottrel] begins his fit.

FITZDOTTREL

Gi’me some  garlic, garlic, garlic, garlic!

MERECRAFT

Hark the poor gentleman, how he is tormented! 25

FITZDOTTREL

My wife is a whore, I’ll kiss her no more; and why?

 Mayst not thou be a cuckold, as well as I?

Ha, ha, ha, ha, ha, ha, ha, ha, etc.

 The Justice   interprets all.

EITHERSIDE

That is the devil speaks and laughs in him.

MERECRAFT

Do you think so, sir?

EITHERSIDE

I discharge my conscience. 30

FITZDOTTREL

And is not the devil good company? Yes,  wis.

EVERILL

How he changes, sir, his voice!

FITZDOTTREL

And  a cuckold is

Where’er he put his head with a  wanion

If his horns be forth, the devil’s companion!

Look, look, look, else.

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!

 WITTIPOL and MANLY and MRS FITZDOTTREL enter.

FITZDOTTREL

Wittipol, Wittipol!

WITTIPOL

How now, what  play ha’ we here?

MANLY

What fine new matters?

WITTIPOL

The coxcomb and the coverlet.

MERECRAFT

Oh, strange impudence! 40

That these should come to face their sin!

EVERILL

And  outface

Justice. They are the parties, sir.

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!

MRS FITZDOTTREL

Fie, Master Fitzdottrel!  (Goes to him.)

What do you mean to counterfeit thus?

FITZDOTTREL

Oh, oh,

 She comes with a needle, and thrusts it in,

She pulls out that, and she puts in a pin, 50

And now, and now! I do not know how nor where,

But she pricks me here, and she pricks me there. Oh, oh –

EITHERSIDE

[To Mrs Fitzdottrel] Woman, forbear!

WITTIPOL

What, sir?

EITHERSIDE

A practice foul

For one so  fair.

WITTIPOL

 Hath this then credit with you?

MANLY

Do you believe in’t?

EITHERSIDE

Gentlemen, I’ll discharge 55

My conscience. ’Tis a clear conspiracy!

A dark and devilish  practice! I detest it!

WITTIPOL

The justice sure will  prove  the merrier man!

MANLY

This is most strange, sir.

EITHERSIDE

Come not to confront

Authority with  impudence; I tell you, 60

I do detest it.

 [Enter] GILTHEAD [and] SLEDGE to them.

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!

EVERILL

 [Whispers to Fitzdottrel] You do not  tumble enough.

MERECRAFT

 [To Fitzdottrel] Wallow, gnash!

LADY TAILBUSH

Oh, how he is vexed!

EITHERSIDE

’Tis too manifest.

EVERILL

[Aside to Merecraft] Give him more soap to foam with. –

Now lie still.  (And [they] give him soap to act with.)

MERECRAFT

[Whispers] And act a little.

LADY TAILBUSH

[To Eitherside] What does he now, sir?

EITHERSIDE

 Show 70

The taking of tobacco,  with which the devil

Is so delighted.

FITZDOTTREL

Hum!

EITHERSIDE

And calls for  hum.

You takers of strong waters and tobacco,

Mark this.

FITZDOTTREL

Yellow, yellow, yellow, yellow, etc.

EITHERSIDE

That’s  starch! The devil’s idol of that colour. 75

He ratifies it  with clapping of his hands.

The proofs are  pregnant.

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.

EITHERSIDE

Oh, no, he plays at  figgum.

The devil is the author of wicked figgum –

Sir Paul interprets ‘figgum’ to be a juggler’s game.

MANLY

Why speak you not unto him?

WITTIPOL

 If I had

All innocence of man to be endangered,

And he could save, or ruin it, I’d not breathe 85

A syllable in request to such a  fool

  He makes himself.

FITZDOTTREL

 Oh, they whisper, whisper, whisper.

 We shall have more, of devils a score,

To come to dinner, in me the sinner.

LADY EITHERSIDE

Alas, poor gentleman!

EITHERSIDE

 Put ’em asunder. 90

Keep ’em one from the other.

MANLY

Are you  frantic, sir,

Or what grave  dotage moves you to take part

With so much villainy? We are not afraid

Either of law or trial; let us be

Examined what our  ends were, what the means 95

To work by, and  possibility of those means.

Do not conclude against us ere you hear us.

EITHERSIDE

I will not hear you, yet I will conclude

 Out of the circumstances.

MANLY

Will you so, sir?

EITHERSIDE

Yes, they are  palpable.

MANLY

Not  as your folly! 100

EITHERSIDE

I will discharge my conscience, and do all

To the  meridian of justice.

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.

FITZDOTTREL

A spare-rib o’my wife,

And a whore’s  purt’nance! A Gilthead whole.

EITHERSIDE

[To Gilthead] Be not you troubled, sir; the devil speaks it.

FITZDOTTREL

Yes, wis, knight, shite,  Paul, jowl, owl, foul, troll, bowl.

EITHERSIDE

 Crambe, another of the devil’s games! 110

MERECRAFT

[Whispers] Speak, sir, some Greek, if you can. [Aside to Everill] Is not

the justice

A solemn  gamester?

EVERILL

Peace!

FITZDOTTREL

 Οίμοι κακοδαίμων,

Και τρισκακοδαίμωυ, και τετράκις, και πεντά κίς,

και δωδεκαικις, και μυριακις.

EITHERSIDE

He curses

In Greek, I think.

EVERILL

[Whispers] Your Spanish that I taught you. 115

FITZDOTTREL

 Quebrémos el ojo de burlas.

EVERILL

How? Your rest –

Let’s break his neck in jest, the devil says.

FITZDOTTREL

 Di grátia, Signòr mio, se havete denári fataméne parte.

MERECRAFT

What, would the devil borrow money?

FITZDOTTREL

 Oui,

Oui, monsieur, un pauvre diable! Diabletin! 120

PAUL

It is the devil, by his  several languages.

 Enter to them SHACKLES the Keeper of  Newgate

[carrying Ambler’s possessions].

SHACKLES

Where’s Sir Paul Eitherside?

EITHERSIDE

Here. What’s the matter?

SHACKLES

Oh! Such an accident  fall’n out at Newgate, sir:

A great piece of the prison is rent down!

The devil has been there, sir, in the  body 125

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

He’s gone, sir, now, 130

And left us the dead body. But withal, sir,

Such an infernal stink and steam behind

You cannot see  St Pulchre’s steeple yet.

They smell’t as far as  Ware, as the wind lies

By this time, sure.

FITZDOTTREL

Is this upon your  credit, friend? 135

SHACKLES

Sir, you may see, and satisfy yourself.

 Fitzdottrel  leaves counterfeiting.

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

Put me upon it. I have faith against  him.

They taught me all my tricks. I will tell truth

And shame the fiend. See here, sir, are my bellows,

And my false belly, and  my mouse, and all

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

A man should hope by  venting his own follies,

But you’ll still be an ass, in spite of  providence.

[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

By  misconstruction from him, you will blush,

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

But  for her succours, who hath equal right. 165

If any other had worse  counsels in’t –

I know I speak to those can  apprehend me –

Let ’em repent ’em, and be not detected.

It is not manly to take joy or pride

In human errors; we  do all ill things; 170

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

To a true life by shame, than punishment.  [Exeunt.]

THE END

The Epilogue

   Thus the projector here is overthrown.

But I have now a  project of mine own,

If it may  pass: that  no man would invite

The poet from us to sup forth tonight,

If the play please. If it displeasant be, 5

We do presume that no man will;  nor we.

Title-page 11 Ficta . . . veris From Horace, De Arte Poetica, 355, which Jonson rendered as ‘Let what thou feign’st for pleasure’s sake be near the truth’ in Horace his Art of Poetry, 507–8. He used the Latin tag again in ‘To the Readers’ preceding Act 3 of Staple, and offered a looser but more polemical English version in the second prologue to Epicene, 9–10: ‘Poet never credit gained / By writing truths, but things like truths well feigned’ – which also well expresses his tricky negotiation of topical issues in Devil.
The Persons of the Play 1–2 SATAN . . . less devil Devils were a familiar part of an older stage tradition in England, and still appeared in plays on the Jacobean stage, probably dressed in traditional costumes of horns, mask, and tail. But Satan himself is rarely seen in the later drama, and offers himself here as an old-fashioned presence. Pug is an imp or demon with clear affiliations to the familiar figure of Puck or Robin Goodfellow (see 1.1.1n.) and to the ancient theatrical type of the wily, put-upon slave or servant. The satyr pinched by the fairies in Althorp is also called Pug (46).
4 FITZDOTTREL . . . Norfolk The name and domicile suggest a gullible country gentleman. The dotterel is a species of plover, which was easily caught (see 2.2.49–51n.) and so became synonymous with a dupe or simpleton.
6 Happé compares Discoveries, 64: ‘Wisdom without honesty is mere craft and cozenage’. For the play’s own definition of ‘projector’, see 1.7.10–13; the word became current through the growth of speculative ventures in early modern England, but Jonson may be the first to give it a pejorative cast.
7 champion promoter, agent.
8 WITTIPOL A name that keeps the audience guessing, since it implies a character of wit and ingenuity, and skill in impersonation (Pol = parrot, as in Volp.), but not necessarily one with integrity. ‘Poll’ was also a common term for ‘head’.
9 MANLY One of Jonson’s favourite words of commendation: see Epigr. 65.14, 76.13, Und. 14.56, 46.13; and a familiar character name in later drama. R. Evans (1994), 89, suggests that Jonson was translating ‘Manlius’, a character in George Ruggle’s Latin comedy Ignoramus (1615), and had this play in mind while writing Devil.
10 engine] F2 (INGINE)
10 broker A dealer in second-hand goods, especially clothes. See 1.1.143n. Engine suggests a schemer or crafty trickster, one who is ‘ingenious’; Jonson’s use of it picks up the sense of ‘snare’ or ‘wile’ (OED, 3); and cf. his pejorative use of ‘engineer’ to describe Inigo Jones in Epigr. 115.31.
11 TRAINS A lure or bait (OED, Train 7).
12 GILTHEAD Spelled ‘Gvilthead’ in F2; but the pun on ‘guilt’ is less significant than the belittling use of a word that means a fish with golden stripes or spots to name the avaricious goldsmith.
13 PLUTARCHUS See 3.2.20–5, and 3.2.22n.
14 Paul] F2 (POVLE)
14 EITHERSIDE The name suggests the opportunism and lack of principle often associated with lawyers (see Marcus, 1986, 92, and R. Evans, 1994, 82–6), and for Lady Eitherside anticipates her casual promiscuity.
16 TAILBUSH A suggestive name, from the sexual connotations of ‘tail’ (pudendum).
17 PITFALL Trap (pit covered over with branches to snare animals or men), but also a colloquial term for female genitalia: see Und. 15.66–7, and see 3.6.2n.
18 gentleman usher See 2.7.33n.
20 Newgate Newgate Prison in Faringdon.
The Prologue 1 The . . . Ass] F2 (THe DIVELL is an Asse)
The Prologue 1 The . . . Ass Proverbial (Dent, D242); but also a theatrical challenge, recalling Dekker’s If This Be Not a Good Play, the Devil Is in It (printed 1612), 4.4.109, and offering in Jonson’s ‘new play’ to treat this theme more trenchantly.
3 grandees Your Eminences; ironic deference to the gallants in the audience, especially those occupying stools on the stage, a fashionable practice at the private theatres that Jonson regularly deplored (cf. Bart. Fair, 5.3.50, and Staple, Ind., 5–7). The term originally described a high-ranking Spanish or Portuguese nobleman (see 4.4.66).
4 place room onstage (with a pun on ‘place’ at table, initiating a dining metaphor that extends to 8).
5 subtle slender; and alluding to Satan’s tempting wiles.
6 worn . . . thumb-ring The Prologue exploits learned scepticism about this popular belief: ‘that the devils are kept by some bound and enclosed in rings, boxes or viols, it is a common error and deceit . . . for they are where, and in what place, and when they list themselves . . . those which holding them for familiars, and thinking surely that they carry them always present with them . . . are greatly abused and deceived’ (A. de Torquemeda, The Spanish Mandeville of Miracles, 1600, fol. 76v). Cf. Samuel Harsnet, A Declaration of Egregious Popish Impostures (1603), 13, on ‘devil-conjurers and . . . discoverers or seers reputed to carry about with them their familiars in rings’.
8 compass the confines. The Blackfriars stage was small (66 by 46 feet) by comparison with the playing area in the public theatres, and nearly half of its width was taken up with boxes on either side. Audience members on stools on the stage itself would have added to the feeling of a cramped space (Gurr, 1992, 157).
8 cheese-trencher wooden platter used to serve cheese.
8 tract space.
9 vice Satanic theme, with allusion to the stage Vice (see 1.1.37n.), and then to the audience’s bad habit of crowding the actors.
10–11 Anon . . . make Who (i.e. the stage Vice) will shortly suffer more from this habit than you who are responsible for it.
11 spurn kick; also suggests contempt for the play and its actors.
12 bid, turn turn round when someone calls to you (and ignore the play).
14–15 must . . . mouth H&S quote W. Harrison, Description of England, 3.6, on the ‘young adders of twelve or thirteen inches’ that ‘ran . . . into the mouth of their dam, whom I killed, and then found each of them shrouded in a distinct cell or panicle in her belly’; also an allusion to the ‘hell mouth in the old plays painted with great gang teeth, staring eyes, and a foul bottle nose’ (Harsnet, Declaration, 71).
16 Would that we were able to stand at the back of the stage and didn’t have to occupy three dimensions.
17 Muscovy glass mica, sliced thinly to make lanterns.
19 affect make an impression on.
22 The Devil of Edmonton The Merry Devil of Edmonton, a very popular anonymous play first performed at the turn of the seventeenth century; it became part of the repertory of the King’s Men, and had been reprinted in 1612. Jonson slyly suggests (25) that his audience has seen it six times.
24 your censure tarry you delay judgement on it.
25 give some allow us sufficient room to play.
26 like please.
26 the devil is in’t Like the opening phrase of the Prologue, a proverbial saying (Dent, D250.11). The whole line similarly alludes to Dekker’s play (see 1n.).
1.1 0 SD] G, subst; ACT. Ⅰ. SCENE. Ⅰ. / DIVELL. PVG. INIQVITY. F2
1.1 1 Ho, ho . . . etc. The Devil’s traditional roar on entry in old morality plays and interludes (see Happé, 1989, 42–55). As a sardonic introit to the discovery of worldly vice and folly, it also recalls the hobgoblin Robin Goodfellow who, in Warner’s Albion’s England, 367–8, pays a visit to England and ‘laughed, like the braying of an ass . . . Ho ho ho ho, needs must I laugh such fooleries to name.’ Cf. MND, 2.1.39 and 3.2.421.
4 my month The guaranteed working sabbatical for devils is probably Jonson’s invention.
5 puny] F2 (pui ’nee)
5 puny minor, novice (F2 ‘pui’nee’ or ‘puisne’, a spelling now used only in legal terminology for a junior judge).
9 cast abort.
10 crossing diverting, forcing to stray.
10 market-woman’s] 1641; Mercat-womans F2
11 ’Twixt . . . Tottenham Between here and Tottenham High Cross (in a village six miles north of London). This opening scene is set in hell, but it also shares with the Prologue a strong sense of location on the stage at Blackfriars.
12–13 some . . . yeast i.e. to make newly barrelled ale go flat, probably by overfilling; ‘you shall observe not to tun your vessels too full for fear thereby it purge too much of the barm [yeast] away’ (G. Markham, Country Contentments, 1615, 122).
14 keep retard.
15 See Reginald Scot, The Discovery of Witchcraft (1584), 281, to elucidate these methods: ‘to bind your churn with a rope, to thrust thereinto a red hot spit’; they are probably meant to sound old-fashioned in 1616.
16 ribibe old hag.
16–17 Kentish . . . Hoxton At this date, villages in the northern outskirts of London.
17 Hoxton] F2 (Hogsden)
18 round Robin OED does not support at this date the modern sense of a game or tournament, but some connection with dancing or a fairy ring (cf. OED, Roundelay 3) seems likely. (OED, Round Robin 1 offers no clear definition of the term but gives quotations obscurely suggestive of sacrilege.) There may be a link with ‘Robin-round-cap’, a sprite ‘who assists servant-maids by doing their work’ (Wright, 1970, 5.136). This is also one of the roles of Puck/Robin Goodfellow (MND, 2.1.41), whose family resemblance to Pug is evident in the pranks just described.
19 ’gainst Sunday i.e. prepared for a Sunday meal.
21 Middlesex jury One such hanged three witches in 1615 (Kittredge, 1911, 195).
24 strengths] F2; strength 1641
32–3 Lancashire . . . Northumberland The former was the scene of a major witch trial in 1612 (see Potts, Wonderful Discovery, 1613), while the latter was apparently free of witchcraft at this date. The point is that both are provincial settings that Satan thinks Pug could cope with.
34 So you’d Provided you had.
34 you’d] F2 (yo’had)
36 Prove Test.
37 Vice Generic embodiment of evil in earlier moralities and interludes, going under various names (like those in 40–3), and always a versatile author of mischief. As Jonson put it in referring to Devil in Informations, ‘According to Comedia Vetus [old comedy] in England, the Devil was brought in either with one Vice or other; the play done, the Devil carried away the Vice’ (350–2).
41 any – Fraud] this edn; any Fraud F2
41–3 Fraud . . . Iniquity All names for the Vice in Tudor drama. The Gossips recall ‘old Covetousness’ in Staple, 2 Int., 7.
43 SD.2 [Enter] INIQUITY] G; not in F2, but see massed entry at 1.1.0 SD
45 in a trice Proverbial (Dent, T517); Happé compares TN TN, 4.2.123: ‘In a trice, like to the old Vice.’ Iniquity’s lines are in the loose four-beat tumbling rhythm that was a staple of English verse drama before iambic pentameter became the norm.
47 vetus Iniquitas old Iniquity (Lat.). In Staple, 2. Int., 14–16, Mirth recalls Iniquity’s appearance in the old interludes. Iniquity is the Vice in Tudor plays like King Darius (1565) and Nice Wanton (1560), and is referred to by Shakespeare in 1H4, 2.4.448, and R3, 3.1.82 (Happé).
47 cards . . . dice The Vice’s typical temptations: cf. Newfangle with his knave of clubs in Fulwell’s Like Will to Like, and Iniquity casting dice in Nice Wanton (H&S). The question is presumably directed at someone in the audience.
48 cheat] F2; to cheat Wh
48 cog cheat.
50 Gog’s nowns God’s wounds. (A common mild oath; Cf. 1.3.33.)
50 Lusty Juventus Proverbial embodiment of prodigal youth (Dent, L589.12), and protagonist of Wever’s play Lusty Juventus.
51 penthouse sloping roof (i.e. a slouch hat).
52 of . . . belly i.e. well-padded. The breadth of a finger was a common unit of measurement; Philip Stubbes, in Anatomy of Abuses, bitterly attacked the fashion for ‘doublets with great bellies . . . stuffed with four, five or six pound of bombast’ (E2v), but these were out of fashion after 1610 (Linthicum, 199).
53 cock-stones Perhaps kidney beans, regarded as an aphrodisiac (though OED does not support this usage before 1756).
53 jelly Probably animal skin and bones boiled down to make gelatin.
55 fetch thee perform.
56 Paul’s steeple Destroyed by lightning in 1561.
56 Standard Ornamental pillar containing conduits, built in 1430.
56 Cheap Cheapside, London’s main commercial street. The proposed leap is about a quarter of a mile (Chalfant, 1978, 19).
58 a needle of Spain a red-hot lover. The reputation of Spanish needles for good quality enhances a common innuendo.
58 with . . . tail with my devil’s tail dangling like a thread behind me.
59 suburbs Areas lying outside the city walls, and generally disreputable.
60 Petticoat Lane A street in Whitechapel known for its prostitutes.
60 Smock Alleys Off Petticoat Lane; the name declares their business.
61 Shoreditch, Whitechapel Districts of London regarded as seedy and rundown.
61 St Kather’ne’s St Katherine’s was a district running east from the Tower of London, with many Flemish weavers among its immigrant population. They were often conflated with Dutch people, who had a reputation as drunkards; the area was also known for its brew-houses. Cf. Augurs, 52–3, 87, 134ff.
62 take forth take out, copy.
62 patterns Presumably the weavers’ patterns (see 61n.).
63 Custom House Quay Riverside area serving the Custom House in Lower Thames St (Chalfant, 1978, 63).
63 Quay] F2 (key)
64 factors commercial agents.
65 geld weaken, deprive.
65 pack wad, purse.
66 Dagger . . . Woolsack Inns in Holborn and Farringdon.
68 roisters drunken louts.
69 Billingsgate] F2 (Belins-gate)
69 Billingsgate Commercial dock near London Bridge.
70 shoot the bridge pass through the narrow arches of London Bridge, where the flow was rapid and required a rower to ship oars; Iniquity proposes to do this going upstream, which would be difficult even with the advantage of the incoming tide.
70 Cranes i’the Vintry A tavern, the Three Cranes, named after the wooden cranes on the Vintry wharf used to land shipments of wine. Upriver from London Bridge, it was located in Upper Thames St, just below the present Southwark Bridge (Chalfant, 1978).
71 gimlets boring-tools for opening barrels.
73 ’Gainst In time to meet.
73 come dabbled who come spattered (with mud from the ride) (Happé).
73 Westminster Hall Home of the law courts.
76 dotard old fool.
77 so admir’st are so impressed.
78 poor misguided.
81 What year this is: 1616. Satan’s numbering reflects the fact that ‘he was not loosed out of hell until the year 1000’ (Happé).
82–3 Had it been 1560, some 56 years ago.
85 long coat The Vice was probably so attired by association with the court card of the Knave of Clubs in his ‘false skirts’ (see Staple, 2, Int, 16).
85 wooden dagger The Vice’s traditional stage property; cf. Staple, 2, Int, 10–13.
92 Jew’s trump Old name for Jew’s harp.
93 Cokeley A well-known entertainer; Jonson refers to him in Bart. Fair as worthy of emulation at ‘great city-suppers’ (3.4.99–100), but Satan indicates that Iniquity can hope to do the same only in very modest venues.
94 Fennor] F2 (Vennor)
94 Fennor (F2 Vennor). Probably William Fennor, who in 1616 published a collection of verse speeches which he claimed to have delivered at court (Fennor’s Descriptions). In another pamphlet he calls himself ‘so gracious in the court’ (The Compters Commonwealth, 3), but was ridiculed by John Taylor for his claim that ‘thou hadst thy title from the king / Of rhyming poet’ (A Cast over the Water, B8). Jonson presumably regarded Fennor as he did Taylor, as an opportunistic hack. Other editors have assumed a reference here to Richard Vennar, who perpetrated the famous hoax of England’s Joy in 1602, but Jonson’s reference to gatecrashing in high society applies less obviously to him.
95 in tail of at the end of.
96 a rhyme . . . nothing a worthless piece of new verse.
97 almain leap dance with three steps and a jump, of German origin (allemande). The jester at the Lord Mayor’s banquet customarily leapt into a giant bowl of custard. Cf. Staple, 2.3.61.
98 Lady] F2 (Lad)
99 hoods French hoods, worn by citizens’ wives over the back of the head, and ‘easily disarranged’ (Linthicum, 233).
100 that will do what’s now in fashion.
106 stand manage, succeed.
107 turn . . . hands send them back to us.
108–9 they . . . ours Cf. Dekker, If This Be Not a Good Play, 1.1.75–6: ‘above us dwell / Devils braver and more subtle than in hell’ (Happé).
112 Car-men Carters.
113 yellow starch Condemnation of the fashionable use of yellow starch for ruffs and collars reached a climax in 1615, when the poisoner Mrs Turner was ordered to wear it at her execution. It remained popular, however, so Satan’s satire is current.
114 hum strong ale.
115 Mead] F2 (Meath)
115 obarni scalded mead.
117 send i.e. send devils to do mischief on earth.
119 making . . . sand Proverbial for futility (Dent, R174), and readily associated with the endless labours of the damned in hell.
125 like likely.
126 Tissue Made from twisted threads of precious metal, usually mixed with silk.
127 roses rosettes attached to shoe ties. The prices given are exaggerated (garters cost from a pound upward – Linthicum, 263), but the point is echoed in 1616 by Dekker, attacking gentry who ‘spent in garters more / And shoe-ties, than kept families before’ (Artillery Garden, B2).
128 cut-work ‘made by cutting away the material in squares, and filling the spaces with geometric designs of needlework’ (Linthicum, 139); by Jacobean times regularly associated with prostitutes and licentious living. Cf. Bart. Fair, 4.2.68, 4.6.15–16.
129–30 Lamenting the extravagance of Jacobean fashion, which threatened the stable distinctions established by sumptuary legislation in the previous century. Significantly, James I issued no proclamations regarding dress codes.
130 SD] G; not in F2
134 a day for a day. See 156n.
136 I . . . none Orthodox theology: ‘devils cannot create any nature or substance, but in juggling show or seeming only’ (Cotta, Trial of Witchcraft, 1616, 35). Satan rules out the use of a ‘show’ (a merely phantom illusion) in his next injunction to Pug.
137 airy one Cf. Johphiel the ‘airy jocular spirit’ of Fort. Isles, 51.
139 human] F2 (humane)
140–1 James I, asking ‘will God . . . permit these wicked spirits to trouble the rest of a dead body’, concluded that ‘I think it should be of the reprobate only’ (Demonology, Book 3, in Works, 1616, 124).
142 The clothes of executed felons were the hangman’s perquisite.
143 brokers See Persons of the Play, 10n. Of ordinary possessions, clothes were the most commonly pawned. Cf. Dekker, Lantern and Candlelight, where a visiting devil is advised that ‘he must put himself in good clothes, such as were suitable to the fashion of the time, for that here men were looked upon only for their outsides’ (ed. Grosart, 3.218).
145 Thorough] F2 (Thorow)
146 want lack.
148 soon-at-night’s relation report tonight. H&S cite Jonson’s marginal note 18 to Queens, on diabolical debriefing sessions.
153 I’ll . . . forth Satan’s words cue Fitzdottrel’s entry through one of the doors in the tiring house, which we understand to be the front door to his home. The next three scenes take place in the street outside or a public space nearby.
153 SD] in margin in F2
153 Yon] F2 (Yon’)
155 engaged employed.
156 midnight’s cock Traditionally the first cock crowed at midnight; this sound will mark the end of Pug’s ‘day’ (134) on earth. Jonson underlines his conformity to the unity of time.
157 SD] G; not in F2
1.2 0 SD] this edn; ACT. Ⅰ. SCENE. Ⅱ. / FITZ-DOTTRELL. F2
1.2 1 Bretnor Thomas Bretnor (1570/1–1618), astrologer who published annual almanacs between 1607 and 1620. Middleton also refers to his clients in The Inner-Temple Masque, B4, and he is caricatured as the astrologer Norbret in Fletcher’s The Bloody Brother (1637).
2–3 Gresham . . . Franklin Edward Gresham (1565–1613), another almanac-maker, was implicated in the Overbury murder. See Introduction, 5–6. Simon Forman (1552–1611), astrologer and controversial doctor, was consulted as an expert in erotic matters by Frances Howard in her pursuit of Robert Carr, and this led to accusations of his involvement in Overbury’s murder even though Forman died two years earlier. James Franklin was the apothecary who supplied the poison that killed Overbury. In Sir Thomas Overbury’s Vision, a verse pamphlet (1616), Franklin’s ghost, along with those of other executed conspirators, makes an eloquent confession.
3 Fiske Unlike the others named here, the doctor and astrologer Nicholas Fiske (1579–1659) was in no way implicated in sorcery.
3 Savory . . . too Abraham Savory, actor, accused during the Overbury affair of practising ‘sorceries upon the Earl of Essex his person’ (Sparke, Truth Brought to Light, 138, cited by H&S), but not convicted.
6 crystals Lumps of crystal were used to raise demons. See Scot, Discovery of Witchcraft, on how ‘To make a spirit to appear in a crystal’ (422).
6 rings See Prologue, 6n. Harsnet says that conjurers ‘came to notice of . . . golden hoards’ with the aid of their familiar spirits (Declaration, 13).
7 virgin parchment ‘Some in their sorcerous acts or conjurations use parchment made of the skin of infants, or children born before their time’ (Cotta, Trial of Witchcraft, 91). More usually, conventional parchment of virgin purity was specified for effective spell-making.
8 lights candles.
8 pentacles Figures of three intersecting triangles making up five lines; when marked on the body, they acted as a charm against evil spirits (H&S).
9 characters magical signs.
11 these pictures Fitzdottrel may be carrying a picture of the devil, since he speaks of the ‘painters’ (14), or he may refer to coins carrying the image of the king.
12 out of picture in reality.
15 only made him made him up.
15 ’Slight God’s light.
16–19 He . . . vain Fitzdottrel’s belief that the devil might serve his purposes makes him one of the ‘simple ignorants’ that James I saw as victims of a satanic strategy to make them ‘account of God’s enemy as of their particular friend’ (Demonology, Book 3, in Works, 127). ‘These are the times, wherein we are sick and mad of Robin Goodfellow and the devil to walk again amongst us’ (Harsnet, Declaration, 166).
17 as] this edn (conj. Happé); a F2
17 as good house as good a family.
21 conjurers magicians who call up spirits.
22 laws A 1604 statute against conjuring was reinforced in 1615 in the wake of the Overbury case. It was a common opinion that ‘in the shape, and under the pretence of astrology, some men have hidden sorcerous practice’ (Cotta, Trial of Witchcraft, 56).
22 artists conjurers. Cf. ‘men of art’ at 1.5.21.
26–7 they . . . names The rituals of drawing a circle and arcane invocation are shown with unforgettable intensity in Marlowe, Doctor Faustus (A-text), 1.3.5–23. A new edition of this very popular play appeared in 1616. For the ‘hard names’, see Scot, Discovery, 520, and S. Michaelis, A Discourse of Spirits (1613), Gg4.
28 He’ll] F2 (H’will)
28 of himself in person.
32 SD] in margin in F2
32 SD Marginal note in F2, suggesting a small tableau of gesture and expression – one perhaps directed at a picture of the devil (see 11n.).
37–9 as . . . miles Broadly, the situation of Mephistopheles in Doctor Faustus (1.3.37–40, 106–16).
43 They The conjurers (37).
44 to entertain how to keep in service.
45 observe his diet feed him well.
46 arras painted wall hangings.
47 wrought embroidered.
52 brave handsome.
53 SD] G, subst.; not in F2, but see 1.3.0
1.3 0 ] ACT. Ⅰ. SCENE. ⅡJ. / PVG. FITZ-DOTTRELL. F2
1.3 3 younger brother And so without much prospect of inheriting anything.
4 friends relatives.
8–9 those . . . foot Cf. similar references in Webster, White Devil, 5.3.102–4, and Chapman, Caesar and Pompey, 2.1.165–8; the familiar devil-joke is related to a broader one about excessive fashions, as in The Roaring Girl, 4.2.7–9: ‘have not many handsome legs in silk stockings villainous splay feet for all their great roses?’
9 SD] in margin in F2
11–12 broom . . . brush Virtual synonyms; the phrase suggests a range of household duties (Happé).
13 cater buyer of provisions.
15 places servant-functions.
16–17 from . . . curry-comb over the entire household. A garret is an attic or upper-floor room.
17 The ‘curry-comb’ is for grooming horses.
18–19 H&S note that in the morality play Mundus et Infans, 636–8, the vice-figure Folly offers his services to Manhood without asking for wages. A more apposite parallel is with Mephistopheles’s service in Doctor Faustus, 2.1.46–7.
20 for your love for love of you.
21 I’d] Wh; I’le F2
21 o’that ear Proverbial (Dent, E11), for the pretence not to have heard (or believed) something just said.
22 Prithee] F2 (’Pr’y the)
23 An thou] F2 (And’thou)
23 An If.
27 Under your favour Cf. the modern pacifier, ‘With respect’.
29–30 Cf. T. Adams, England’s Sickness (1615), on how it was ‘once foolishly fabled among the vulgar that his [the devil’s] cloven foot could not be changed’ (16).
29 SD] in margin in F2
31 that what.
33 ’Slid By God’s eyelid. (Another mild oath.)
34–5 Peak . . . Arse The story of how the Peak Cavern near Castleton acquired its nickname of Devil’s Arse is told in Gypsies (Burley), 695–758. Happé points out the potential pun on the play’s title.
36 entertain employ.
37–8 save . . . year With this very modest annual wage, cf. what Fitzdottrel is prepared to spend on his clothes (1.4.20–40).
39 The very devil i.e. Satan himself. Fitzdottrel realizes he has found only a junior devil.
41 you offend] F2 (yo’offend)
43 not Pug slips in a negative to remind himself of his duty to cause mischief, but Fitzdottrel doesn’t notice.
44 very hardly You bet! or Don’t doubt it!
1.4 0 SD] G, subst; ACT. Ⅰ. SCENE. ⅢⅠ. / INGINE. WITTIPOL. MANLY. / FITZDOTTRELL. PVG. F2
1.4 1 lift persuade (with a play on Engine’s name and function, taken up in Wittipol’s speech following). The sense of ‘steal’ is also probably present.
4 mathematical calculating.
5 half a piece A piece was a gold coin worth 22 shillings in 1616.
6 Manly is resuming a conversation about Fitzdottrel.
15 hardly . . . inn is not easily dislodged from one’s memory.
16 keep her maintain her (in clothes and other ornaments).
16 brave well dressed.
17 sordid undiscriminating, ignoble.
17 sensual sensitive (to fashion).
20 on] 1641; one F2
21 The . . . Ass] F2 (the Diuell is an Asse)
26 meat so food as much.
27–8 His . . . reason He’ll sacrifice his appetites to other priorities.
29 He’s possessed by an odd conviction.
31 list wants, is driven to.
32 assembly or] F2 (assembly’or)
33 would . . . ruined his obsession would make him see himself as ruined.
33 scape miss.
35 catholic comprehensive.
36 SD] in margin in F2
36 SD ’say try.
37 He’s] F2 (H’has)
39 For For under.
39 ’twill yield you can sell it for (i.e. once you’ve finished wearing it).
40 plush Costly silk fabric, often used to make linings. Engine is exaggerating the price, however (see Linthicum, 121); cf. John Davies, Scourge of Folly (1611), on the fleecing broker who ‘lends on naught but clothes, / Whereon he feeds: So, brokers are like moths. / For, to supply the wants of men that lack, / They often eat their garments off their back’ (113–14).
43 SD] in margin in F2
43 SD playbill Handbills were circulated to advertise playhouse performances.
44 I’d] F2 (I’,had)
46 The gallant Wittipol.
50 jack A winding or winching machine.
53 SD] in margin in F2
54 so mere such an utter.
55–6 prodigal Unto eager to reward.
56–8 for . . . here Derived from Boccaccio, Decameron, 3.5, the tale of how ‘Ricciardo, surnamed the Magnifico, gave a horse to Signior Francesco Vergellisi, upon condition that . . . he might speak to his wife’ (f. 91). Jonson’s adaptation is one of his rare uses of a direct source for plot action. (The complete Decameron appeared in English only in 1620.)
60 Good time Anglicizing of À la bonne heure (Fr.): ‘Happily, luckily, fortunately’ (Cotgrave, Dictionary).
62 You’ve] F2 (Yo’haue)
63–4 Your . . . still A quasi-proverbial response at this date to the pretensions of travellers.
63 complexion physical condition.
65 like the same rate of.
67 matches love-games, deals.
67 his mirth that person’s trivial humour. Wittipol counterpoises Fitzdottrel’s frivolity to his father’s ‘gravity’ (65).
70 You’ll reduce yourself to your bare shirt in order to worship.
70 to] F2 (too)
71 Adroit dig at Fitzdottrel’s priorities, through allusion to the proverb: ‘He is wise enough that can keep himself warm’ (Dent, K10).
72 lade load (with insults).
80 this . . . boot this cloak as an incentive, in addition.
80 SD] in margin in F2
82 list wish.
83 departed with forfeited.
85 may advance] G; ma’aduance F2
88 fant’sy] F2 (phantsie); fancy Happé
91 Who Anyone who.
94 circles embraces.
96 migniard delicate (Fr.). Jonson probably found the word in Cotgrave’s Dictionary.
97 palm An index of passionate feeling; cf. Oth., 3.4.38–40.
97, 99 defend forbid.
99 action i.e. putting his words into action; physical contact.
100–1 tropes And schemes literary and rhetorical devices.
101 Prince Quintilian Greek rhetorician (ad c. 35–97) venerated by humanist scholars and teachers, and not least by Jonson, who owned a copy of his De Institutione Oratoria. See Informations, 8–9. The gratuitous title of ‘Prince’ is Fitzdottrel’s vulgar nod to learning, but it also conveys Jonson’s informed esteem.
103 b’wi’you] F2 (b’w’you)
103–4 I . . . witness Manly’s stipulated presence modifies the situation Jonson found in Boccaccio’s story, where Ricciardo requires of Francesco that he ‘in your presence speak a few words to your virtuous lady, and so far off in distance from you, as I may not be heard by any, but only herself’ (f. 91v). Its theatrical advantage is reaped at 1.6.148ff.
105 SD] this edn; not in F2
109 SD] this edn; not in F2
1.5 0 SD] G; ACT. Ⅰ. SCENE. Ⅴ. / WITTIPOL. MANLY. F2
1.5 0 SD Wittipol, Manly, and Engine leave the stage at 1.4.105 by way of signalling that they are entering the house, and then come back onstage four lines later when the stage represents the interior of Fitzdottrel’s house.
1 half piece see 1.4.5n.
2 SD] in margin in F2
2 Fixed Are you paralysed? Turned to stone? Happé compares Informations, 439, and cf. New Inn, 1.6.80. The action and jocular enquiry seems to have been a favourite of Jonson’s.
4 issue outcome.
5 For As for.
6 How . . . you him What do you think of Fitzdottrel?
6 you him] F2 (yo’him)
6 fain very much like to.
7 degrees of logical.
8–9 Old . . . monsters Much of Africa’s proverbial store of marvels and prodigies (Dent, A56) was exported to the Americas in sixteenth-century travellers’ tales and encyclopaedias.
10 So . . . prodigy Such a freak!
11 sordid ignoble.
12 be so specious belong to someone so outwardly presentable.
12–13 laid . . . was i.e. like an advertisement for all the latest fashions.
21 To the conjurers, who can make a fortune out of him. Cotta notes ‘the uncontrolled liberty & license of open & ordinary resort in all places unto wise-men, & wise-women, so vulgarly termed for their reputed knowledge’ (Trial of Witchcraft, 60).
23 prodigal extravagant (in employing the conjurers).
25 off on’t back out of it.
26 still invariably.
1.6 ] ACT. Ⅰ. SCENE. Ⅵ. / FITZ-DOTTRELL. Mistresse FITZ-DOT-/TREL. WITTIPOL. MANLY. F2
26 SD] G, subst. (after 28); not in F2, but see massed entry at 1.6.0
1.6 7–8 Hold . . . disputation Don’t argue.
9 talk of subject of gossip at.
10 careful wedlock fussing wife. Jonson uses the word ‘wedlock’ thus in Poet., 4.3.23 and East. Ho!, 3.1.16 (H&S, Happé) (not in OED in this sense).
11 I have] 1641; I haue haue F2
12 Go of Be circulated about.
13 envy resent.
14 solicitous anxious.
17 bird A then-common word for a girl or maiden (revived in modern slang).
18 nyas] F2 (Niaise)
18–21 ] note in F2 in margin: A Niaise / is a young / Hawke,tane / crying out / of the nest.
18 nyas young hawk. H&S dismiss a marginal note in F2 on this word (see collation) as ‘pointless’, and most editors concur. Marcus (1986) suggests that Jonson ‘included the gloss to emphasize the play’s theme of a gentry out of place . . . Mrs Fitzdottrel . . . has been snatched from the protection of her country nest and exposed to modern London’ (86). H&S point out that the note explicates the reference to the ‘ayrie of children, little eyases, that cry out on top of the question’ in Ham., 2.2.315–16. (A nyas/An eyas were interchangeable forms.)
18 your great houses i.e. the great houses of the rich.
20 send not forth i.e. doesn’t get noticed for.
21 the seven year A reasonable span of time. Fitzdottrel proceeds to work this proverbial idiom (Dent, Y25) to death, in a sort of verbal tic that recurs in 40–3.
25 at,] Happé; at. F2
26 I . . . still I hold still to this opinion.
28–9 Here . . . thirty Cf. 1.4.39.
31 Blackfriars playhouse Home of the King’s Men, who gave winter performances there from 1608, and where Fitzdottrel intends to see The Devil Is an Ass (1.4.21).
32–4 Fashionable behaviour that is memorably lampooned by Dekker in The Gull’s Hornbook, where a strategic early exit is recommended: ‘being on your feet, sneak not away like a coward, but salute all your general acquaintance . . . and draw what troop you can from the stage after you’ (ed. Grosart, 2.253). See also Prologue, 3–12, and Prologue, 3n.
34 Publish Demonstrate myself to be.
35 end purpose.
36 pretend aspire.
37–8 For . . . them A familiar idea in Jonson, derived from Ovid, Ars Amatoria, 1.99, which he translates as ‘come to see and to be seen’ in Staple (Ind., 8); cf. Epicene, 4.1.44–5, and New Inn, Ded., 6.
40 wusse sure (sarcastic).
43 grow . . . laughing Proverbial (Dent, L91): Laugh and be fat. See 21n.
46 charge influence.
49 in precept as a direct order.
52 look for these expect all these things from him.
52 rail criticize. Fitzdottrel anticipates being slandered by Wittipol.
55–6 hit . . . weapons i.e. neutralize eloquence by responding with silence.
56 pragmatic meddlesome.
56 SD her] G; his F2 (in margin)
57 my . . . you i.e. my wife is ready to encounter you.
58 pinnace small ship. The punning trope of ‘lady-ship’ is common in the period, and often implies criticism of ostentatious dress (cf. Staple, 2.5.42–3: ‘Setting forth some lady / Will cost as much as furnishing a fleet’). ‘Pinnace’ could also be a synonym for ‘whore’ (cf. Bart. Fair, 2.2.60: ‘punk, pinnace, and bawd’). Here the satiric focus is on Fitzdottrel’s self-conscious ownership of a well-dressed wife, and his indifference to the fact that he is prostituting her.
59 set synchronize. Men’s watches were elaborate pendant timepieces, and sometimes had striking mechanisms – a facility Jonson might have exploited in this scene.
61 as . . . away if it weren’t for his folly (which deserves punishing).
62 It . . . pity i.e. Her predicament is one we shouldn’t perpetuate.
62 th’art] 1641; th’are F2
63 SD] in margin in F2, against 66–7
68 The . . . yard The phrase invites a Jacobean audience to detect a pun on ‘penis’, and to see Fitzdottrel as inept for not doing so.
71 this . . . now i.e. the time you’ve been talking since we set our watches.
73 rush Rushes were used as floor coverings.
74 SD] in margin in F2
80 I’ll let your mirror tell you that.
83 court parliament Alluding to the medieval courtly assemblies that debated questions of love and etiquette and resolved disputes (Hattaway, New Inn, 30). See New Inn, 3.2.
84 prejudice prior assumption.
85 notice realization.
86–7 She’s . . . good Proverbial: any woman is simple-minded who fails to know what’s best for her (Dent, G321).
88 at all caracts in every respect. Modernization to ‘carat’ (= worth, value) would perpetuate the confusion pointed out by OED (Carat 4).
89 blasted blighted, withered.
89–90 soul . . . sweet The traditional idea of the soul as the salt of the body; cf. Bart. Fair, 4.2.46: ‘a thing given him . . . only to keep him from stinking’; and Beaumont and Fletcher, The Spanish Curate, 5.1.47–9: ‘This soul . . . / Or rather salt to keep this heap of flesh / From being a walking stench’ (Johnson).
93 sees how,] this edn; sees, how F2
94 Pieces Short periods of time.
95 elfin shrunken, deformed. OED gives no support for such figurative use at this date, but Jonson clearly aims at the negative import of the elf’s small size and capacity for petty spite.
96 proper circle own space: playing on circle = (1) vagina; (2) magic circle (extending the ‘elfin’ idea: see 1.2.26–7). For the sexual reference, cf. Epicene, 4.2.44. The ‘much worse’ circle (97) is necromantic.
97 Lincoln’s Inn One of the Inns of Court (see 3.1.8n). It emerges later that Fitzdottrel’s lodgings are next door.
98 expect . . . there Fitzdottrel presumably thinks this is a promising venue, given the low popular opinion of lawyers, but Wittipol sees the idea only as a sign of his credulity.
99 Will . . . you Will be sufficient testimony (referring back to ‘Sheets’ in 92).
99 I . . . gear I expected this sort of stuff.
101 object anything you might want to see.
102–5 Your . . . make Your eye is not permitted to see any face but a conjurer’s, or some face equally hollow and lean (such as your husband’s), other than by the considerable effort I’m now making to give you a chance to behold someone else.
107 assure confirm for.
110 backward Magic invocation often involved such reversal. But what may provoke Fitzdottrel’s interruption is the innuendo that he works ‘backward’ by demanding anal sex with his wife, like another jealous husband in Volp., 2.5.58–61.
111 ease you relieve you (of the cloak).
111 SD] in margin in F2
111 Mum i.e. All right, I won’t say another word.
116 fond foolish.
117 forth] F2; out 1641
119 in travail full of longing. The familiar pun is underlined by F2’s spelling ‘trauell’d . . . trauell’.
120 second blessing See 1.4.12–13.
121 I’ve] F2 (I’ haue)
125 like alike, similar.
131 You . . . this H&S compare Horace, Odes, 1.11.7–8: Dum loquimur, fugerit invida aetas (‘Even while we speak, envious time has sped’) (Loeb). But a whole literature lies behind the carpe diem sentiments of 128–32.
135 SD] in margin in F2
137 Wife Perhaps a warning prompted by her agitation. In Boccaccio’s tale, ‘although (to keep her promise made to her husband) she spake not a word: yet her heart heaving, her soul throbbing, sighs intermixing, and complexion altering, could not hide her intended answer to the magnifico, if promise had been no hindrance to her will’ (f. 92).
138 taste a trick Cf. ‘he could not choose but wonder thereat, yet at length perceived that it was thus cunningly contrived by her husband’ (Boccaccio, f. 92). Wittipol intuits what Fitzdottrel told his wife privately at 53–4.
142 cautelous crafty.
143 you’re] F2 (yo’are)
145 ever traditionally. The sentiment is proverbial (Dent, S446).
148 SD] in margin in F2
148 SD Wittipol places Manly as an imaginary interlocutor; strictly speaking, he puts Manly in his own ‘place’ since he then addresses him as if Frances were replying to his suit. Emendation to ‘his place’ (as Happé conjectures) would mean that Manly is put where Wittipol was standing, but at 73 Fitzdottrel has set a ‘bound’ beyond which Wittipol may not step, so he cannot swap position with Frances. The SD merely indicates a change of interlocutor without specifying stage placements.
153 SD] in margin in F2
152 This . . . wife Jonson uses Manly’s presence to enrich the drama of role reversal, which in Boccaccio is a simple act of ventriloquism: ‘he would needs answer himself on her behalf, and as if she had uttered the words, he spake in this manner’ (f. 92v).
153 play fair abide by the rules.
157 husband i.e. male creature, breeding animal (OED, 2b).
158 moonling idiot. As in the word ‘lunacy’, the moon was associated with madness and half-witted folly.
158–9 as . . . ass In Lucian’s Lucius, sive Asinus, the protagonist is changed into an ass but recovers his human shape by eating roses (Whalley).
160 He’s] F2 (H’is)
161 lading burden (as an ass).
166 title legal tie.
168 blood in breeding.
172, 175 venture] F2 (venter)
172 charge finances (the cloak).
178 You’ll always cherish the love and honour I give you, unlike my wretched husband.
179 liberal (1) large; (2) impressionable.
180 ensigns i.e. the cuckold’s horns.
182 unkindly (1) inappropriately; (2) ungently.
182 dealt] F2 (dealth)
186 a stage-garment i.e. a cloak in which to sit on the stage (see 31–5).
187 For . . . sake The play’s title has a natural appeal to her ‘asinine’ (165) husband.
187 nothing] F2 state 2; nothings F2 state 1
189 they i.e. his outings, absences from home.
191 Who’ll i.e. I’ll.
191 forward eager.
192 SD] in margin in F2 state2; not in state 1
194 lightened relieved (of the cloak). See 111 and notes.
194 but if it weren’t that.
195 sad solemn.
196 envious frustrating.
204 importune demand.
210 ensigns banners. Jonson neatly adapts a hint in Boccaccio: ‘The lady now remained in liberty at home, considering on the magnifico’s words . . . Oftentimes she saw him pass and fro before her window, still looking when the flag of defiance should be hanged forth, that he might fight valiantly under her colours’ (f. 93).
214 bespeak . . . caroche and immediately order a luxurious coach.
216 Hyde Park Originally a royal hunting-ground, and just starting to be a fashionable resort by 1616.
217 painters Blackfriars ‘became a painters’ quarter because it lay outside the jurisdiction of the guilds in the city’ (H&S).
218 properest handsomest.
218 make ’em i.e. show off your own.
219 middling gossip go-between.
222 receipt of drawing recipe for making.
223 b’wi’you] F2 (b’w’you)
224 mine] F2 state 2; mine owne F2 state 1
225 fall turn.
227 SD] in margin in F2
229 You’ve] F (Yo’haue)
230 motion performance. Jonson frequently uses the word, which means ‘puppet-show’, to disparage mindless activity.
233 They laugh See 1.6.15–43.
234–5 collected By gathered from.
236 Death Abbreviation of common oath ‘by God’s death’.
238 cabin bedroom, boudoir.
240 Blanc-manger At this date, a dish made of white meats mixed with rice, sugar, and dairy products, making it a natural vehicle for sexual innuendo, given the ubiquitous use of ‘fowl’ = whore in popular discourse. Cf. the ‘delicate plump birds’ and ‘fine laced mutton’ that go into the olla podrida in Neptune, 168, 195–6.
1.7 ] ACT. Ⅰ. SCENE. Ⅶ. / PVG. FITZDOTTREL. INGINE. F2
3 SDs] G, subst.; not in F2, but see massed entry at 1.7.0
1.7 5 projector Merecraft.
7 he’s] F2 (H’is)
7 without outside.
8–9 followed For businesses pestered by potential clients.
10 conceive like to know.
12 suits lawsuits.
13 In accordance with their whims.
15–17 of late . . . practise See 1.2.2n., and Marcus (1986), 90.
21 courses schemes. Engine’s indiscretion gave Wittipol the information he repeated to Manly at 1.5.17–23; and Fitzdottrel realized at 1.6.102–10 what had been disclosed.
22 Could Was able to.
25 great involved. Engine offers a misleading portrait of Wittipol to distract Fitzdottrel from his suspicions; in the next line he abruptly changes the subject.
25 almanac-men See 1.2.1–2.
26 the other Merecraft.
30 SD] G; not in F2
2.1 0.1 Enter . . . engine F2 does not clear the stage at the end of 1.7, but at Blackfriars there would have been a short interval (Gurr 1992, 177–8), thus requiring the exit and re-entry of Engine and Fitzdottrel, the latter absorbed in conversation with Merecraft.
0 .2 waiters attendants — here, the servants of Merecraft’s clients.
2.1 0 SD] this edn; ACT.ⅠJ. SCENE.Ⅰ. / MEER-CRAFT. FITZ-DOTTREL. INGINE. / TRAINES. PVG. F2
1 money’s . . . drudge The sentiment is a commonplace, but usually stresses the abuse of money by others. A principal theme in Staple, Jonson’s next play, where the miser is Pecunia’s drudge (2.1.14) and a ‘money-bawd’ (2. Int., 7), and condemns Pecunia as a ‘whore’ when she rejects him (4.3.82).
3 Via pecunia Money, away! (Lat.). Personified as Lady or Queen Pecunia since classical times (e.g. Horace, Epistles, 1.6.36–7).
5 aqua-vitae Alcohol concentrated by distillation. There was a flourishing trade in producing it from the dregs of wine barrels (‘hogsheads’) and stale beer. Merecraft is one of the ‘delinquents’ identified by the Company of Distillers in their attempt to reform the ‘preposterous ways of working, and frequent use of base and unsound materials’ that had brought the industry into disrepute (The Distiller of London, 6–7). Dekker calls aqua-vitae ‘the common drink of all bawds’ (Whore of Babylon, 4.1.73).
7 want be without.
8–10 Raise . . . come Jonson had already satirized projectors and their improbable money-making ventures in Volp., 4.1.46–125; and he was to link such schemes with the emerging efforts of experimental science in New Inn, 1.1.24–40. See Introduction.
10 SD] in margin in F2
12 SD] G, subst.; not in F2
16 SD.1 To another] in margin in F2
16 SD.2] G, subst.; not in F2
18–19 without . . . means Merecraft confirms what Engine told Fitzdottrel at 1.7.16–17.
20 SD] in margin in F2 state 2; not in F2 state 1
20 Master] F2 (Mr.)
20 Woodcock For Jonson’s audience a suggestive name, since the word was common slang for a gullible fool (Dent, W746).
21 Exchange Probably the Royal Exchange in Cornhill, prime place of commerce, and also where ‘knaves do daily meet’ (S. Rowlands, The Knave of Harts, 1612, A3v); but possibly the fashionable New Exchange in the Strand, opened in 1609.
22 SD.1] G, subst.; not in F2
22 SD.2] in margin in F2 state 2; not in F2 state 1
24 handsome well set up, suitable (with a hint of being a handy victim).
27–9 That . . . it Probably glancing at royal prodigality in the creation of titles. James I had greatly increased the number of knights at the start of his reign and created 120 a year in 1615–19. The new title of baronet was created in 1611, and peerages grew by a third in the first decade of Jacobean rule.
33 rectifying correcting.
33 SD] in margin in F2 state 2; not in F2 state 1
36 undertaker business partner.
38–40 Except . . . one Unless he wishes otherwise, only his formal support (will be needed); I will have that to impress great men, and in return will make him one (Happé).
40–1 shall . . . purse won’t have to open his purse.
41 patent royal licence.
42 take in include. OED does not support a pun on ‘deceive’ in 1616, but later audiences (and perhaps Jonson’s) would inevitably hear one.
45 recovery . . . land The draining of the East Anglian Fens; see Introduction, 8. Merecraft can rely on Fitzdottrel, as a Norfolk man, to take an interest in the scheme.
46 his] F2 state 2; a F2 state 1
46 his moiety its half share.
47 owners landowners.
48 recoverers i.e. those carrying out the drainage scheme.
49 the tother that other. Cf. Epicene, 2.2.87: ‘Jonson with the tother youth.’
49 for their charge as a return on their investment.
50 Throughout] F2 state 1; Thorowout F2 state 2
53 Unto an acre Down to the last acre.
53 pan Central part of the fen, where the water is deepest.
54 skirts edges.
58 The way The best way.
60 let rent.
63 buckram Coarse linen cloth stiffened with paste (OED). Buckram bags were associated with small-time lawyers known as pettifoggers, a term that became synonymous with legal chicanery. Merecraft cloaks his enterprise in dubious legal process.
64 earldom of Pancridge Festive title for a leading character in the procession of the Finsbury archers to Mile End. See 3.2.41n. and 4.7.65n., and Tub, 3.6.6.
65 by chance choosing one at random.
65 Project . . . skins] F2 state 2; Proiect; foure dogs skins F2 state 1
66 very worst i.e. least lucrative.
68 Twelve] F2 (I2)
69 dressing preparing.
70 med’cining treating.
71 improved ware better quality goods.
71 borachio Leather wine bag or bottle (from Sp. borracha). Spanish leather was noted for its quality.
73–4 Smooth collusion between the two to create the impression of having secured a lucrative contract at court.
76 happier luckier. Merecraft might invite Fitzdottrel to draw next.
76 SD] in margin in F2
78 Prithee] G; Pr’y F2
81 cast calculated.
81 halfpenny] G; hal’penny F2
83 bate reduce.
83 harrington farthing. Popularly named for Lord Harrington, who was granted a patent in 1613 to coin brass farthings, and allowed a profit of £25,000, with the surplus going to the Crown. General discontent at this abuse of monopoly privilege made the term proverbial for worthlessness (Dent, H178).
84 i’my water in the quality of the water I use for brewing.
85 coppers Copper vessels used in brewing. OED’s first citation is from 1667, and describes a ‘new invention’ for hanging (i.e. suspending) coppers, perhaps to regulate the cooling process.
86 tunning barrelling.
87 earth clay.
88 steep soak.
88 neal fire (in a kiln).
89 a degree of (1) a quality similar to; (2) a steady high temperature needed to produce.
90 proportions calculations.
93 In . . . stoppling Simply by the way I stopper the bottles (Happé).
94 term period.
96 SD] in margin in F2
97 Oh,] this edn; O’ F2
103 canary A sweet wine.
104 bate you of reduce.
105 half in half by fifty percent.
106 raze] F2 (raise)
106 raze wipe out, use up. The weak pun on ‘raise’ in ‘raisins’ is Engine’s idea of a joke. (F2 reads ‘raise’.)
108 but more art just more difficult.
109 charge outlay.
115 Such . . . in’t How it (the drowned land scheme) is so much needed.
116–17 received heresy . . . no dukes A popular misconception. At the accession of James I in 1603 there were no English dukes. The royal princes were given the titles of Duke of Cornwall (Henry) and Duke of York (Charles), and the King’s cousin Ludowick Stuart, who was already Duke of Lennox in Scotland, became Duke of Richmond in 1613.
117 bears has; possibly with a pun on ‘bear’ = endure or tolerate: it was a matter of record that nearly half of all England’s dukes had died violent deaths (H&S). The idea that under Elizabeth I the government had refused to tolerate the inflation of honours may also be present.
118 The size and importance of your land holdings will bring you a dukedom.
119 turning . . . money selling it for cash.
122 you would you want to be.
124 Lay for Go for, try to get.
126 smoke mists.
127 draw withdraw.
128 T’enlarge . . . upon Where we can talk more about this.
129 carried transacted.
130 in cloud in secrecy.
131 SD] G; not in F2
134 presently at once.
137 I’ve] F2 (I’haue)
138 angels Gold coins worth ten shillings.
139 counsel lawyer.
141 relation report.
141 SD] G; not in F2
143 cousin Generally referred to a kinsman, or more loosely an ‘associate’, which is how Merecraft uses it of Everill.
143 quarter part of town.
144 Bermudas A rough area of the city at the southern end of St Martin’s Lane, described in Bart. Fair as ‘where the quarrelling lesson is read’ (2.6.60–1). It was cleared in 1829 to create Trafalgar Square (Chalfant, 1978, 38).
145 Be . . . known Don’t make it known.
147–8 I . . . for’t I want to spring it on him before he has time to think about it (Happé).
148 past approved (as in ‘past the seals’ at 4.1.2).
151 kind fellow feeling.
154 SD] Wh, subst.; not in F2
157 You’ve] F2 (Yo’haue)
159 Your mistress Mrs Fitzdottrel.
160–7 Be . . . ciphers Paraphrased by Webster in Devil’s Law-Case, 1.2.160–74.
161 You’ve] F2 (Yo’haue)
162 French masks] F2 (French-masques)
162 masks Fashionable accessories since the mid-sixteenth century; see Linthicum, 271–2.
163 cut-works See 1.1.128n.
163 crones with wafers wafer-women, itinerant sellers of thin crisp cakes and other sweet foods, who had a reputation for acting as romantic go-betweens. Cf. Fletcher, Maid in the Mill, 1.3.10–12: ‘to deliver / A letter handsomely! Is that such a hard thing? / Why, every wafer-woman will undertake it’ (H&S).
165 marrow-puddings Puddings made with the marrow from beef bones (OED, 5a).
166 vented expressed, conveyed.
167 they’re] F2 (They’are)
167 shrewd ciphers crafty codes.
168–76 A close reworking of Plautus, Aulularia, 1.2.90–100: ‘And in case anyone should be looking for a light, see you put the fire out so that no-one shall have any reason to come to you for it . . . And then water – if anyone asks for water, tell him it’s all run out. As for a knife, or an axe, or a pestle, or a mortar . . . tell ’em burglars got in and stole the whole lot . . . If Dame Fortune herself comes along, don’t you let her in’ (Loeb).
172 Knock . . . tubs i.e. Show we’ve nothing to give them.
175 ‘good . . . blessing’ Pious greetings from people coming to beg.
177 if they would even if they wanted to.
177 SD] G; not in F2
2.2 ] ACT. Ⅱ. SCENE. Ⅱ. / PVG. Mistresse FITZDOTTRELL. F2
2.2 1–3 I have . . . leisure i.e. And to imagine that I wouldn’t find anything special to do here, with such a remarkable master! To suppose I might soon wish myself back in hell instead! (ironically)
4 subtlety perverse notion.
5–6 to bring . . . Spain i.e. bringing coals to Newcastle.
5 broad-cloths Rolls of plain woollen cloth, two yards wide, England’s chief export until late Elizabethan times.
7 My chief Satan.
9 ne’er own disown.
10 taken delighted.
10 tract appeal.
11 professors experts.
14 primitive original.
16 discoveries useful information.
16 counsels advice.
17 counsel secrets.
17–18 as . . . another I will certainly match anyone else (Happé).
20 stay slow down. Pug’s erotic anticipation is part of a running parody of Doctor Faustus, which extends to 5.6.9–11; and here recalls with deliberate bathos the bitterly ironic invocation of Ovid as Marlowe’s hero faces his end: ‘O lente, lente, currite noctis equi’ (13.68; see Amores, 1.13.40).
22 SD] G; not in F2, but see massed entry at 2.2.0
23 SD.1 (She . . . out.)] this edn; Shee sends / Diuell out. F2 (in margin)
23 SD.3] G; not in F2
27 newness (1) inventiveness; (2) novelty.
29–30 find . . . thought don’t think of a way.
30 attempt] 1641; attemp F2
30 presume wait expectantly.
31 When he saw how it weighed on my mind.
33 SD] F2, subst. (Diuell re-/turnes.) (in margin)
35 excellence very best.
36 man servant.
38 fitly will conduce will be appropriate.
40 part proper role.
41 mistress] F2 (Mrs)
42 was . . . cloak-charge paid with his cloak.
45 form i.e. beauty.
46 hired man (1) servant; (2) pimp.
48 hopes of straw vain hopes.
48 leave stop, leave off.
49–51 Though . . . stalking On the easy trapping of the dotterel, see Fuller, Worthies (1642): ‘As the fowler stretcheth forth his arms and legs, going towards the bird, so the bird extendeth his legs and wings approaching the fowler, till surprised in the net’ (2.149).
50 fowl] F2 (foule)
50–1 fowl . . . fair one A very common play on words, perhaps provoked here by Frances’s memory of Wittipol’s use of carpe diem argument to stress the transience of beauty (1.6.128–9). Cf. Bart. Fair, 1.6.56–8, 3.6.69–70, 5.1.2.
52 forbear refrain from.
53–4 At . . . gallery A prohibition that is really a careful hint to Wittipol.
54 gallery See 2.4.2n and 2.6.4n.
59 repair me restore my reputation.
59 quiet left in peace. But also perhaps a coded way of telling Wittipol that she is accessible at home while Fitzdottrel is otherwise engaged.
61 turned out of her mind. Pug is oblivious to her strategy.
61 SD] in margin in F2
61 he Wittipol.
62 allow him credit him with.
67 he Wittipol.
68 apprehended understood.
70 were was.
70 SD] G; not in F2
74 Rather naive not to take advantage of.
75–84 and . . . title and, begging pardon for saying this to one so beautiful, you aren’t as wise as a shrewd wife ought to be: you who, having married such a simpleton (no offence to my master) – one whose face doesn’t just prompt suspicion but actually proclaims him to be what you can make him, a cuckold – will nonetheless, out of scruple and tender conscience, cheat your husband by hindering him in his singleminded pursuit of the title he craves. Pug neatly implies that Fitzdottrel’s foolish obsession with a dukedom ought to bring him another title – that of cuckold.
83 his] 1641; hs F2(3)
85 had his ends would get what he wants.
86 mistress] F2 (Mrs)
87 It . . . engine It sounds like his creaky logic.
87 groom i.e. a mere servant.
90 forked top i.e. cuckold’s horns.
91 mured up confined.
92 casement window.
93 Fearful that you will get pregnant just by being looked at by gallants. ‘Engender’ has also the more restricted sense of ‘copulate’, but Pug’s overstatement is certainly warranted by 2.1.155–76.
94 like ratsbane as if they were as dangerous as rat poison.
97 charm enticing verse (written in invisible ink).
104 cokes Generic term for a fool, and unforgettably epitomized as Bartholomew Cokes in Bart. Fair.
106 to air openly.
107 effectual confirmed.
111 For] F2 (For,)
111–14 See 1.6.58n. Pug develops the usual metaphor in a way that picks up Mrs Fitzdottrel’s refusal of the role of dupe and sexual victim (48–51) and attributes to her the power of entrapment.
117 offices functions, services.
119 at my times when I’m in form.
121 Of that proportion With the kind of shape.
121–2 in . . . physic medically speaking.
122 just complexion right temperament.
123 that . . . picardill i.e. the last word in fashion. A picardill was a fashionable stiff collar, ironically endorsed by Barnabe Rich: ‘he that can . . . wear a picadilly is a complete man fit for the time’ (My Lady’s Looking Glass, 1616, C4v).
125 do my turns play my part.
127–8 your fine . . . dog Alluding to the pets kept by fashionable ladies; cf. the monkey in East. Ho!, 1.2, and in Cynthia (F), 4.2.29–30.
128 jack servant.
128 pug Common term of endearment, akin to ‘little ape’ or ‘playmate’, sometimes with sexual overtones. Pug is playing on his name rather than identifying himself.
129 Styled . . . pleasures Given whatever name you wish.
129 SD.1] in margin in F2
129 SD.2] this edn; not in F2
130 standing hiding place.
2.3 0 SD] G; ACT. Ⅱ. SCENE. Ⅲ. / FITZ-DOTTRELL. Mistresse FITZ-DOT-/TREL. PVG. F2
2.3 5 vent unload.
7 hangings arras, painted wall hangings (cf. 1.2.46).
8 I . . . qualities As if I didn’t know what you are like.
11 SD] in margin in F2
11 SD presently immediately.
12 mere absolute.
15 parcel-devil part-devil. But the construction always has a contemptuous force in Jonson (cf. ‘parcel-poet’ in Poet., 3.4.131); and Fitzdottrel probably means something like ‘you apology for a devil’. (What he thought he was getting was a fiend entirely dedicated to his own interests and needs.)
16 the . . . trust the very thing I entrusted you with (my wife’s honour).
18 wedlock wife.
19 SD] in margin in F2
21 Would . . . done If only you’d finish.
22 the rarest man i.e. Merecraft.
22 SD] and againe F2 (in margin against 25)
23 brave impressive.
24 does] F2 (do’s)
24 vent (1) publish, advertise; (2) sell.
25 Were] H&S; where F2
25 tentiginous lustful (from Lat., tentigo). A Jonsonian coinage.
26 incubus demon who has sex with women.
27 move excite, provoke.
33 lisping stuttering. Presumably Pug is trying to stammer a reply, and Fitzdottrel drives him out with another threatened blow.
33 SD] F2, subst. (Diuell goes / out.) (in margin)
34 plots ingenious plans.
36 proportion share. Jonson frequently alludes to six horses as a notable status symbol: cf. 4.2.11, Alch., 4.4.46, Mag. Lady, 2.3.29.
36–7 bald . . . enough ‘It was a piece of state, that the servants of the nobility . . . should attend bare-headed’ (Nares, Glossary, 1.55). The custom was extensively ridiculed by dramatists, who often turned it into a requirement to be bald (cf. Staple, 3.2.193–7).
39 be of be duke of.
39 be not an infidel don’t betray me.
41 else otherwise.
42 Another Someone else.
44 mere wit pure skill.
46 engine ingenuity. With a pun on the name of Merecraft’s broker.
47–9 wingèd ploughs . . . water A licence was granted on 16 July 1618 to John Gilbert to make ‘an engine called a water-plough’ (CSPD, 1611–18, 555) (H&S) – presumably a windmill of some kind used to drain marshy ground. Jonson targets such newfangled devices for satire, but his critique of Fitzdottrel goes further in showing his gullible acceptance of the fantastic contraption of a wind-driven land plough.
48–9 mills . . . water Probably windmills.
49 Crowland A village in Lincolnshire on the edge of the fen country.
52 by the scale using the scale by which the map is drawn (to work out how much land is involved).
55 as’t . . . handled if it’s well managed.
60 or Italy Fitzdottrel has swallowed Merecraft’s bait offered at 2.1.123–5.
2.4 0 SD] G; ACT. Ⅱ. SCENE. Ⅳ. / MERE-CRAFT. FITZ-DOTTRELL. / INGINE. F2
3 SD] G; not in F2
2.4 2 gallery A long upstairs reception room in larger houses. Fitzdottrel’s order prepares us for Frances’s next appearance, when the theatre ‘gallery’ (the area in the tiring house over the discovery space) will have an important function.
2 chuck Widely used term of endearment. Cf. Mac., 3.2.45.
5 fatal ‘It seemeth to many men that the name and title of Gloucester hath been unfortunate and unlucky to diverse, which for their honour, have been erected by creation of princes, to that style and dignity’ (Hall, Union of . . . Lancaster and York, 209). This is probably the ‘chronicle’ referred to by Merecraft at 12 (W. S. Johnson, ed., 1905; hereafter ‘Johnson’).
6 That . . . in You’re right about that.
6 Spenser Hugh le Despenser, son-in-law of Gilbert, Earl of Gloucester; when the latter was killed at Bannockburn, Hugh was incorrectly credited with the title. His links with Edward Ⅱ led to his execution in 1326, dramatized (as Fitzdottrel would know) in Marlowe’s Edward Ⅱ, which was reprinted in 1612 and probably revived at about the same time (Bentley, JCS, 1.174).
8 Woodstock Duke of Gloucester, uncle of Richard Ⅱ, and murdered at Calais in 1397.
10 Duke Humphrey Another Duke of Gloucester, youngest son of Henry IV, and protector during the minority of Henry Ⅵ; died in suspicious circumstances in 1447.
10 Bury Bury St Edmunds in Suffolk.
11 Shakespeare has the future Richard Ⅲ resist the title of Duke of Gloucester as ‘too ominous’ (3H6, 2.6.107).
12 cunning well-informed.
14 think . . . authentic Jonson was sceptical about the accuracy of Shakespeare’s hugely popular history plays (EMI (F), Prologue, 9–12). Gifford cites Heywood’s Apology for Actors: ‘plays have . . . taught the unlearned the knowledge of many famous histories, instructed such as cannot read in the discovery of all our English chronicles’ (sig. F3).
14 they’re] F2 (they’are)
15 SD] in margin in F2
15 SD a place i.e. another exalted title and estate that is currently vacant.
16 Pretends to Claims.
23 Greenland] F2 (Groen-land)
23 Greenland In the autumn of 1614 a whaling fleet equipped by the Muscovy Company returned from Greenland, which was claimed for the British crown (Stow, Chronicles of England, 941). Engine finds it easy to persuade the impressionable Fitzdottrel that the topical name of a potential colony resembles and lends credibility to the ‘good sound’ (21) of ‘Drowned-land’. F2’s spelling ‘Groen-land’ may suggest a half-rhyming pronunciation.
24–6 drawing . . . name by improving your position through involvement in drainage projects like this, you will also lend your personal authority to them and ensure that what the work has achieved will be commemorated more effectively in your name.
26 stay’t keep it.
27–32 Yes . . . first Based on Horace, Satires, 2.2.129–32: ‘Nature in truth makes neither him, nor me, nor anyone else lord of the soil as his own. He drove us out, and he will be driven out by villainy, or by ignorance of the quirks of the law, or in the last resort by an heir of longer life’ (Loeb)/(H&S).
28 no foot not a single foot of land.
30 longer liver Jonson is following Horace (see 27–32n.), but the phrase remains vague. Merecraft probably means that eventually a family heir will be outlived by one of his creditors to whom the land will be forfeit.
31 quirk quibble.
32 do it] F2 (do’it)
35–7 The landowner’s last order from the tailor created an unpaid bill so enormous that it could be settled only by selling his lands. Jonson launches the hyperbole with a suggestion (35) that the tailor himself has become a landed gentleman.
35 goodman] F2 (good man)
35 goodman Title given to men of yeoman rank.
36 yard tailor’s yard or measuring stick.
40 You’re] F2 (Yo’are)
40 SD] this edn; not in F2, but see massed entry at 2.5.0
41 SD.1] F2, subst. (Hee spies / Diuell.) (in margin)
41 SD.2] G; not in F2
2.5 ] ACT. Ⅱ. SCENE. Ⅴ. / PVG. F2
2.5 1 geld castrate.
3 quit requite.
4 Would be an unforgiveable breach of my obligation to Satan (see 1.1.151–2).
5 shrewd bitter.
6–7 harnessed . . . well-caparisoned saddled and well-decked out. Originally used of horses dressed for battle or jousting.
9 seaming laces Laces used to cover and ornament seams.
10 Women’s garters were worn just below the knee; Pug means that hers would be particularly desired as trophies by her suitors if she were to show her legs.
10 lost hidden from view.
11 brave dressed up.
13 Pug imagines the ‘Duke’ and his wife in a manor house with its long gallery decorated with portraits of historical worthies.
14 glass mirror.
15–16 I . . . there I’ve known many women to take pleasure in their reflection in the mirror, which begins but does not end the folly arising out of such vanity.
17 as . . . it as I dwell on the subject.
19 Or . . . better Or because they prefer their own company.
20 shadow reflection.
21 speculation purpose; and playing on the idea of a speculum or mirror.
24 SD] G; not in F2
2.6 0 SD] G, subst.; ACT. ⅠJ. SCENE. Ⅵ. / WITTIPOL. MANLY. Mistresse FITZ-/DOTTREL. PVG. F2
2.6 1 fortune lucky chance.
2–3 which . . . trouble i.e. which solves the major problem I anticipated in trying to speak privately to her.
4 very window This is the window mentioned by Frances at 2.2.53–4, which she describes as one that ‘opens to’ (i.e. looks on to) her gallery. This suggests that on the Blackfriars stage the two windows on either side of the tiring house represent Manly’s and Fitzdottrel’s houses respectively, and the gallery in between represents an extension of the latter, where Frances is accustomed to walking.
5 there at the window opposite.
7 Where . . . soul i.e. How could you have been so indifferent to her beauty?
10 direction instructive hint (at 2.2.52).
12 SD] in margin in F2
13 They’ll . . . air The words will fit the tune.
15 SD] Wilkes, subst.; not in F2, but see massed entry at 2.6.0
15 ’Slight] H&S; light F2
16 he . . . him Wittipol . . . Pug.
19 his Wittipol’s.
20 drawn . . . envy provoked Wittipol’s ill-will.
21 defeat injury.
21 SD] in margin in F2
21 SD Manly sings The song is not specified, but might well be the first stanza of ‘Her Triumph’ from ‘A Celebration of Charis’, Und. 2.4, since at 94–113 Wittipol sings the remaining two stanzas of the lyric.
26 scent] F2 (sent)
27 you’ve] F2 (yo’ haue)
30 recompense it pay you back in kind.
30 save his danger i.e. avoid the humiliation I’ll suffer in hell for letting myself be outwitted.
31 pain i.e. of the beating.
32 That a devil can’t occupy a body and keep it from being abused. Satan accuses Pug in the same terms at 5.6.48. Pug presumably goes off here to inform Fitzdottrel about his wife being courted.
32 SD] G; not in F2
33 She comes Frances is already at the window, listening to Manly’s song and watching Wittipol (see 22), but despite the prescription in the (marginal) stage-direction at 36, at some point she needs to enter the gallery in order to get nearer to Manly’s window, and probably does so here. (See 4n.)
34 SD] G; not in F2
35 Mistress] F2 (Mrs)
35 paint blush.
35 They’re] F2 (The’are)
36 SD] in margin in F2 (next to 37–41)
38 perplexed coded, enigmatic.
42 falls out happens, turns out.
43–4 Where fortune has conspired with my happy desires to bless me with seeing you.
46 Upon . . . him At my request.
47 doubt be apprehensive about.
49 simple mere, basic.
50 the outward habit the way it looks.
50–1 complexion . . . design how it seems to fall in with your plans.
53 strange immodest.
54 that . . . fortune that my unfortunate situation.
55 which . . . urge i.e. when Wittipol spoke for her at 1.6.154–75. By accepting his analysis she is able to present her response in the terms in which he couched it.
56 beget . . . excuse make you inclined to excuse me.
57 Though . . . reason Even if it seems unreasonable.
58 tuneful melodious, sweet-voiced.
59 violencèd violated.
62 you all] F2 (yo’ all)
63 perspective viewing glass; figurative reference to a device in actual use on the Jacobean stage (e.g. Mac., 4.1.119). The word is accented on the first syllable.
64 above beyond. Cf. Und. 19.22–3: ‘You have a husband is the just excuse / Of all that can be done him.’
67 I rather] F2 (I’rather)
68 By his accesses In becoming intimate.
70 SD] in margin in F2
70 SD Wittipol’s wooing has drawn Frances to the end of the gallery nearest the window he occupies, thus enabling him to touch her breasts and whatever ‘etc.’ implies.
72 sister-swelling breasts Jonson’s limpid rendering of Plautus, Frivolaria, 8: Tunc papillae primulum soriariabant (‘Then her breasts swelled as sisters’).
75 saults] F2 (salts)
75 saults leaps (F2’s spelling ‘salts’ underlines the pun on ‘salt’ meaning ‘lustful’). Cf. Vision, 179–80: ‘frisking lambs / Make wanton saults about their dry-sucked dams.’
76–87 valley . . . kisses The sexual topography here echoes many details in A Celebration of Charis (Und. 2), especially 2.5.24–6 and 33–4, 2.9.10–12 and 19–20.
78 crispèd tightly curled. Cf. Challenge, where a Cupid boasts: ‘Was there a curl in his hair that I did not sport in, or a ring of it crisped that might not have become Juno’s fingers?’ (49–50); and Und. 2.9.10–12 (H&S).
79 kell cocoon (that).
89 wonder marvel at.
89 sign consecrate.
94 SD] Happé, subst.
94–113 ] italic in F2
94–113 Printed as two of the three ten-line stanzas (lines 11–30) that comprise Und. 2.4, and see 21n. above. (It is unclear whether Jonson borrowed the lyric from an already completed Und. 2, or wrote it for the play and then inserted it into the sequence of poems.) The F2 italics suggest that these lines are meant to be sung, and a contemporary setting exists, attributed to Richard Johnson. For a full account of Johnson’s setting, see the Music Edition, Electronic Edition. The lines were imitated and parodied, sometimes savagely, by contemporary writers. On Jonson’s own deflation of romance here, see Introduction. (For a more comprehensive collation of the song, see Und. 2.4.)
97 Love’s star Venus.
103 elements’ strife Conflict of the elements underlies all life in Pythagorean teaching.
104–7 Jonson’s poetic elaboration of Martial, 5.37.6: nivesque primas liliumque non tactum (‘and snows untrodden, and the unfingered lily’).
111 nard aromatic ointment.
2.7 0 SD.1] in margin in F2 (next to 2–4); ACT. Ⅱ. SCENE. Ⅶ. / FITZ-DOTTRELL. WITTIPOL. PVG. F2
0 SD.2] this edn; not in F2, but see massed entry at 2.7.0 SD above
2 that] F2; than conj. H&S
2.7 2–3 that . . . farther Obscure, and possibly corrupt (see collation). Fitzdottrel seems to be saying that he won’t do more than follow the usual measures for keeping a wife.
5 sweet flesh i.e. decaying food. Fitzdottrel’s way of visualizing his wife’s attractions only draws attention to his own nauseating qualities.
6 hum i.e. buzzing sound – sustaining the image begun in 3–4 and extended in 7 with ‘fly-blown’.
7 SD] in margin in F2
8 look . . . me The traditional challenge to a duel, but lacking in conviction (Happé).
8 So I do Wittipol perhaps responds light-heartedly, pretending to misunderstand Fitzdottrel’s warning as a friendly farewell.
10 pays for’t must suffer the consequences. But Wittipol deliberately misinterprets his meaning (‘I’ve already paid – I gave you the cloak’).
14 I . . . are i.e. You are indeed a confirmed ass.
15 broker’s block Probably the model or mannequin on which clothes for hire are displayed. Strictly speaking the block is a tailor’s mould on which garments were assembled.
15 property dummy.
16 SD He strikes his wife] in margin in F2
16 SD Exit . . . by Fitzdottrel] G; not in F2
17 shoot . . . him Jonson used a more emphatic version of this image in Volp., 5.8.2.
18 in him] F2 (in’him)
18 cuckold’s bane Apparently Jonson’s coinage, by analogy with poisonous plants or materials like ‘henbane’ and ‘wolf’s bane’. It graphically conveys Wittipol’s venomous dislike. Cf. the similar invention ‘title-bane’ (lawyer’s poison) in Merc. Vind., 124.
21 air breath.
22 start stand out.
23 SD.1] G; not in F2
23 SD.2] F2, subst. (The Diuell / speakes be-/low.) (in margin)
23–4 This . . . pass i.e. This act of pure malice makes for a very satisfying revenge.
28 account] F2 (accompt)
28 SD] in margin in F2
28 SD as come down i.e. downstairs, entering the main stage through the door representing their ‘house’.
28 bird A common endearment.
32 I’ve] F2 (I’haue)
32 peerless beyond compare, superior to all. As a duchess (see 2.1.116n.) she will have no peers outside the royal family.
32 Studying Making plans.
33 fine-paced ushers Gentleman ushers were personal servants to ladies of standing, and attention was clearly given to their deportment. (See 4.4.194–201.) With his theatrical interests, Fitzdottrel would have in mind one of their duties as defined by Richard Brathwaite: ‘to be versed in the perusal of play-bills, which he presents to his lady with great devotion, and recommends some especial one to her view’ (A Boulster Lecture, 163).
33 ushers] F2 (huishers)
34 o’the knee kneeling out of respect.
36 intelligences news. Private newsgathering by individual and group interests was important before the advent of a formal news trade; Jonson also satirizes its role as a sort of fashion accessory in some circles.
37 at all pieces perfectly in every detail (Happé).
38 You’ve almost] F2 (Y’haue (a’most))
38 turned . . . you tainted the good affection I have for you.
42 SD] G; not in F2
42 you . . . all Pug’s tip-off to Fitzdottrel (see 2.6.32) has won his approval, but ‘redeemed’ points the irony of a devil doing anything so constructive.
43 SD] G; not in F2
2.8 0 SD] G; ACT. Ⅱ. SCENE. ⅦJ. / MERE-CRAFT. FITZ-DOTTREL. INGINE. / TRAINES. F2
2.8 1 excursions strayings.
2 toy trivial matter.
4 great important, of high status. But satire lurks in Merecraft’s sardonic voice; see Draxe, Treasury: ‘Great head little wit’ (84). As a potential cuckold, Fitzdottrel’s head is also in danger of growing horns. See also 40.
6 to’ard on the way to becoming.
6–7 put . . . man put aside ordinary customs of behaviour.
9 bedfellow intimate companion.
13 lord’s face Cf. the satire on ‘your face of faces, or courtier’s face’ in Cynthia (Q), 2.3.28ff.; cf. Epigr. 11.4.
15 There . . . me Don’t worry about me.
16 untoward uncooperative.
17 comport with it conduct herself in that exalted station.
17–18 I . . . behalf I haven’t a clue where she’s concerned.
21 For . . . was Referred to in Und. 44. 88–90. Little evidence has survived of actual academies, though Sir George Buc in his addendum to Stow, Survey (1615 ed.), 986, names contemporary teachers of dance and gymnastics. By 1636, in The Constitutions of the Musaeum Minervae, Francis Kynaston was urging that the teaching of the ‘most useful accomplishments of a gentleman do require a peculiar place and institution for them’, but acknowledged that ‘many of them are taught in London, in dispersed places’ (¶v–¶¶2).
22 make my legs curtsy.
22 postures The moves used in weapons drill.
22 SD] in margin in F2
23 conceit clever idea.
25 SD] in margin in F2
28 the Spaniard A similar reference in Bart. Fair, 1.1.18–19 to ‘the Spanish lady’ and ‘her fine high shoes’ suggests topical allusion to a recognizable London figure.
29 Latest Most recently.
29 habit style of dress.
32 president So spelled in F2 (President), which could also mean ‘precedent’, perhaps the dominant sense here.
33 oracle Forman See 1.2.2–3n. Forman had a considerable following, especially among women.
34 receipts recipes, preparations.
35 pomatums pomades, scented ointments made originally from apples.
36 quintessences essential oils.
37 behaviour etiquette.
38 doxy common slut.
42 cast consider, work out.
46 offer suggest.
50 toy trifle.
55 SD] F2, subst. (Fitz-dot-/trel goes / out.) (in margin)
56 we’ve] F2 (we’haue)
58 crack deception – with a pun on the meaning of a lively lad.
59 takes catches, takes in.
62 poets playwrights.
63 brook suit.
64 Dick Robinson Performed as boy actor in Cat. in 1611, and probably played Wittipol in the first production of Devil.
72 lay expound.
72 carve (1) act refined; (2) carve the meat.
73 frolics Erotic or satiric couplets wrapped around sweets and circulated at table after a meal. Nashe identifies this as a drinking game: ‘with healths . . . frolics, and a thousand such domineering inventions’ (Pierce Penilesse, 1.205).
78 toys trifles, i.e. stage plays.
80 command persuade.
81 SD.1] this edn; not in F2
81 SD.2] F2, subst. (Enters a- / gaine.) (in margin)
82 ring The ‘pretty token’ (47) to be given to the Spanish lady.
85 Let . . . by’t i.e. Buy another rather than make her give up one of hers.
86 bounty generous gesture.
88 I’ve] F2 (I’haue)
90 ticket authorizing note.
91 SD] in margin in F2
92 What birds What’s up? (Slang presumably deriving from game hunting.)
95 SH] Wh; FIT. F2
99 gi’ him] Wh; g’ him F2
99 SD] G; not in F2
100 A forest moves not i.e. All the game in a royal hunting ground won’t tempt him.
101 You’d] F2 (Yo’had)
103 SH] Wh; FIT. F2
103 statute Debt for which the debtor’s land was bound as security.
104 hedge in that include it in a larger debt with better security (OED).
104 Cry up Sell, talk up.
105 of metal of substance. F2’s ‘mettall’ puns on money and the modern sense of ‘mettle’.
105 metal] F2 (mettall)
106 A sardonic comment on how much Fitzdottrel owes?
106 SD] G; not in F2
3.1 0 SD The location of the scene is Merecraft’s house or business premises.
3.1 0 SD] G, subst.; ACT. Ⅲ. SCENE. Ⅰ. / GVILT-HEAD. PLVTARCHVS. F2
3–4 have . . . own acquire enough knowledge of law to be able to protect your interests.
6 that as much that which.
7 stayed you supported you in your studies.
8 Inns of Court London’s four Inns (Gray’s, Lincoln’s, Inner and Middle Temple) trained lawyers, and were the heart of what Sir George Buc called ‘The Third University of England’ (addendum to 1615 ed. of Stow, Survey, 986). See A. Bryson (1998), 148.
10 trust extend credit to.
10 good creditworthy. Cf. MV, 1.3.11–14: ‘Antonio is a good man . . . he is sufficient.’
11 I’ve] F2 (I’haue)
12 current valued.
12 diamond] F2 (diamant)
13 Of forty i.e. That I’ll sell for forty. Inflating the ring’s value also means that Gilthead can earn more interest on the loan.
17 shop-books account books.
20 pounds . . . Counters Punning on ‘pound’ meaning a cattle enclosure; debtors’ prisons in Cheapside and the Poultry.
20 Counters] F2 (Compters)
22 never . . . cozen never extend credit without cheating someone.
28 descent generation.
33 matching marrying.
33 tribes communities, groups.
34 an Act . . . Council A law passed by the city government – perhaps to change the legislation on usury which restricted the level of interest that could lawfully be charged.
35 rerum natura everything (all the material things of this world) (Lat.).
38 portions dowries.
39 confounds ruins. The Giltheads take a jaundiced view of one of the major forms of social mobility in the period, whereby impoverished gentry repaired their fortunes by marrying wealthy citizens, who thus gained in rank and status.
42 fain dearly like to.
3.2 0 SD] Wilkes, Works; ACT. Ⅲ. SCENE. Ⅱ. / MERE-CRAFT. GVILT-HEAD. FITZ- / DOTTRELL. PLVTARCHVS. F2
3.2 6 hedge in include. Having said he would provide Fitzdottrel with the ring at 2.8.90, Merecraft now wants to extend his own credit with Gilthead (see 2.8.100–1) in order to cover the cost.
7 good See 3.1.10n.
8 hap’ possibly.
12 long vacation The common complaint about slack trading during the long summer vacation in the Inns of Court; cf. Staple, 1.3.46–7, where the shopkeepers are said to ‘have had a pitiful hard time on’t, / A long vacation from their cozening’.
13–14 Fitzdottrel attempts a laboured pun on ‘vacation’ to mean absence or deficiency. Presumably he then detaches himself disdainfully from the group and stands apart until he is addressed directly at 3.3.53.
17 pray i.e. get what he wants by ingratiating himself.
19 prostitute cheapened, suspect.
22 Plutarch’s Lives This would be the edition of North’s translation of Plutarch (as The Lives of the Noble Grecians and Romans) published in 1595. Given the mercenary context, the name also suggests a pun on ploutos (Greek for ‘rich’). In Love Rest., Plutus the god of Money is exposed as a miserly and philistine bourgeois, opposed to masques and festivity.
24 By his] F2 (By’his)
25 I’the city The ironic query accords with Jonson’s own scepticism about civic pretensions. North’s preface warns against ‘any that unworthily take upon them the name of historiographers’ and are unable to ‘set aside all affection, be void of envy, hatred, and flattery’ (Plutarch, Lives, ‘To the Reader’, A6). But cf. Jonson’s own ambition to write about the worthies of his country (Informations, 1–2).
26 breed him bring him up.
33 a captain’s place a place in the Artillery Company, a citizen militia refounded in 1610. Martial enthusiasm among Londoners meant that training was not confined to adults: Dekker gives an approving account of a muster in which a ‘band of brave boys . . . stand, move, charge, discharge, and fight pel-mell, / No pigmy-battle ever showed so well’ (The Artillery Garden, 1616, C2). These exercises were widely ridiculed, however – most memorably in Beaumont’s The Knight of the Burning Pestle (1608). Cf. Und. 44.
34 plume scarlet ostrich-feather worn by the Artillery Company.
35 scarfs Worn by men diagonally across the chest and knotted at the waist.
35 Cheapside . . . Cornhill Streets in the heart of the old city, the first running between the Poultry and St Paul’s, the second between the Poultry and Leadenhall Street.
36 virtue of] F2 (vertue’of )
38 posture book Military drill manual, of which the standard contemporary example is E. Davies, Military Directions (1618). Jonson was probably thinking of the recently published The Tactics of Aelian (1616), which he cited when he returned to the subject in Und. 44.23–35. The postures or manoeuvres are described by Dekker, Artillery Garden, C3.
38 leaden men toy soldiers. There was a large collection of military miniatures in the armoury of St James’s Palace, originally acquired for the instruction of Henry Prince of Wales in the arts of war (Beard, 1928, 213). Examples of lead soldiers survive from medieval times.
39 ’gainst in case.
41 Finsbury battles London citizens assembled for military training at the Artillery Ground in Bunhill Fields, Finsbury; for an account of a particularly chaotic muster in 1616, see Niccols, London’s Artillery, 99. The upsurge in bourgeois militarism after 1610 is analysed by W. Hunt, 1990, 206–17. See 33n.
44–6 Plutarch’s Lives discusses many of the decisive military moments that shaped the ancient world.
46 military truth Jonson’s sardonic comment on inflated assessments of the Artillery Company such as Dekker’s ‘English Academe of Arms’, where ‘The gun’s report’ is prized above ‘learning’s excellence’ (Artillery Garden, C4, D2). Cf. Und. 44.25–6.
46 truth.] F2 (truth—)
47 SD] G; not in F2, but see massed entry at 3.3.0
3.3 0 ] ACT. Ⅲ. SCENE. ⅡJ. / EVER-ILL. PLVTARCHVS. GVILT-HEAD. / MERE-CRAFT. FITZDOTTRELL. F2
3.3 2 trust him give him credit. Merecraft has shrewdly judged how to win over the boy.
3 mean intend.
7 wait take my time; but the sense of ‘be in attendance’ prompts Gilthead’s next line.
7 I’m] F2 (I’am)
7–8 though . . . me even if the lord I’m dealing with sees me quickly.
8 man] F2 (man—)
8 man assistant.
9 keep me make me wait.
10 show me (1) show me up; (2) make me part of his retinue.
11 train queue of clients.
11 one quarter for three months.
14 their i.e. great men’s.
18–19 my . . . pawn On the frequent pawning of clothes and their use as currency, see Jones and Stallybrass, 2000, 17–33.
21 epistles begging letters (Happé).
21 SD] in margin in F2
23–4 cut-works . . . roses See 1.1.128n. and 1.1.127n.
25 godwit marsh-bird, considered a delicacy. Cf. Epigr. 101.19.
26 Globes and Mermaids theatres and taverns.
27–8 affecting . . . velvet using expensive whores. Cf. Bart. Fair, 4.5.59–60, where Alice on behalf of the ‘poor common whores’ complains that ‘your caps and hoods of velvet call away our customers’.
29 salt-butter cheap, inferior butter.
30 I’the Low Countries i.e. as a soldier. Jonson had been part of a contingent of English troops sent to defend the Dutch against Spanish invasion (Informations, 183ff.).
30 fustian cloth made from flax and cotton. Although originally a fashionable substitute for silk, it had become a poor-quality product and was used for cheap clothing.
31 leap sexual conquest.
32 of a stoter available for a Dutch coin of low value.
32–3 Or . . . blanks Or a provisioner’s wife, in the siege camp, for two ‘blancs’ (French silver coins of little value). (OED, Blank 1).
34 You wouldn’t then have got enmired like this (‘flat’ means ‘bog’).
35–6 write . . . seals A probable allusion to royal fund-raising efforts: in 1611 the ‘government had sent out a number of letters under the Privy Seal “requesting” loans in specific amounts from prominent individuals across the country’ (Marcus, 1986, 30).
38 bailies debt collectors.
38 SD] in margin in F2
42 will project must set up a project.
44 SD] in margin in F2
44 you’re] F2 (yo’are)
45 that’s all one never mind that.
45 leave . . . day eventually have to stop being so domineering.
46–7 You . . . sword i.e. You won’t get me to comply by force. Merecraft refers to the ‘tribute’ a subject might pay to a king, whose symbol of authority is his sceptre.
49 provoke bring off. Merecraft smoothly diverts Everill’s aggression by playing on the word.
51 un-to-be-melted Jonson was fond of this quirky idiom: cf. EMI (F), 1.5.98: ‘un-in-one-breath-utterable skill’.
53 Strike in It’s a deal. The marginal ‘They ioyne’ in F2 may prompt the two characters to shake hands, but this is perhaps too convivial a resolution to their stand-off. Here interpreted as a stage-direction to bring Fitzdottrel back into play.
53 SD] F2, subst. (They ioyne.) (in margin)
54–5 afford . . . construction be charitable in judging me.
56 SD] in margin in F2
56 SD pretends (1) pleads; (2) feigns.
57 occasions circumstances.
60 stands upon is to do with.
61 office . . . for job he’s been after.
62 Dependences Quarrels waiting to be settled. The technical legal meaning was a pending case or decision, but in slang usage it referred to disputes that were resolved by variously unpleasant forms of persuasion. (Cf. Staple, 2.5.9–12 for a semi-legal variety.) Everill has been bidding for the office of chief hired thug, and Merecraft’s scheme will give him official status.
62 SD] in margin in F2 next to lines 61–5
63 my projection my own designing.
66 A royal edict against duels was issued in February 1614, and a proclamation against the carrying of duelling weapons followed in March 1616.
67 His . . . drawn Its charter has been drawn up.
69 roaring manner Self-styled ‘roaring boys’ were a persistent presence in Jacobean London, but by 1614 (see 66n.) resistance to their noisy and disruptive behaviour was hardening. In his Character of ‘A Roaring Boy’, Sir Thomas Overbury finds him among improvident gallants who ‘hath run through divers parcels of land, and great houses’, as well as in the streetwise city type who ‘cheats young gulls’ and is ‘a supervisor to brothels’ (Characters, I7v).
71 vapours foolish bragging (Happé). Cf. Bart. Fair, 4.4.
72 hither . . . process go to the new office to get legal redress.
75 arbitrary court arbitration hearing.
77 distaste quarrel (with Wittipol).
78 feeling bribe.
79 hand-gout Malady of tight-fistedness that Jonson further defines in Mag. Lady as ‘a kind of cramp’ (3.4.41). Gout was traditionally associated with usurers, as in Epigr. 31.
80 furnish provide.
83 harpy predatory creature – alluding to the rapacious half-woman, half-bird of Greek mythology.
83 stands insists.
83 pieces See 1.4.5n.
86–8 obtain . . . hazard i.e. ask that you defer to the more urgent needs of a poor gentleman.
90 engaged guarantor.
97 SD] in margin in F2
101 notes indications.
102 pretend to aspire to. Merecraft ostensibly means the proposed dukedom, and manners to match; but also insinuates that Fitzdottrel’s claim to act like a gentleman is potentially bogus.
104 ] in round brackets in F2
104 SD] Wilkes; not in F2
104 fineness elaborate game.
105 It wouldn’t matter if it were just a whim of mine.
106 business Cant term for a private quarrel; cf. Mercury Vind., 114–15, Alch., 3.4.18, and Overbury, Characters, I7: ‘If any private quarrel happen . . . he proclaims the business, that’s the word, the business.’ In F2 Jonson points the jargon usage by italicizing the word here and a further five times (110–128).
111 So Provided that.
112 once immediately.
113–14 it . . . honour Everill’s honour depends on the first ‘business’ being a perfect quarrel.
115 place position (as Master).
117–18 Do . . . on’t i.e. Why make such an issue of it?
118 How’s your manner What’s the procedure?
121–2 the court . . . Assistants Mimicking the command structure of the guilds and other city organizations.
124 We immediately get down to basics.
125 Visit the ground Examine the root causes (of the quarrel).
126 will carry is likely to come to anything.
127 proportions estimate.
129 out of treaty no longer negotiable.
130 dependence dispute.
133 havings possessions.
134 settle his estate put his affairs in order.
135 pretend it announce his intention to do so.
137 publication public notification. The word is italicized in F2, and may carry a hint of its technical sense of ‘confiscation’ (cf. Cat., 1.1.457), ironically underlining the projector’s designs on his new victim.
140 Either by written challenge or word of mouth.
142 with your Spaniard as the Spanish say.
143 several courses various options.
144 I . . . on’t I’m satisfied.
147 SD] in margin in F2 (next to 148–50)
149 one . . . Bermudas Possibly an escape into London’s underworld (cf. 2.1.144 and note), but more likely referring to the new colony of Bermuda, where the first settlers, including many escaping from creditors, landed in 1612 (Nares, 1905, 74).
153 SD] in margin in F2
155 twenty pound i.e. 10% interest on the £200, or the allowed maximum rate of usury. Gilthead tries to push him above the legal limit.
156 PLUTARCHUS . . . do’t] in round brackets in F2
156 hook act in a grasping manner.
159 your] 1641; you F2
159–60 courtesies . . . stink Cf. ‘Gifts stink from some, / They are so long a-coming’ (Und. 13.22–3). Jonson derived the general sentiment from Seneca, On Benefits, 2.1 (Loeb).
162 SD] in margin in F2
163 pull . . . off i.e. get really fond of him.
165 St George’s tide 23 April, dedicated to St George from medieval times, and also devoted to the Garter feasts, celebrated with public processions. See Strong (1962).
166 lent . . . chains Cf. Und. 44, where on St George’s Day ‘they may see gold chains and pearl worn then, / Lent by the London dames to the Lords’ men’ (13–14).
168 This . . . shop-look You don’t look like a shopkeeper.
170 take in Pimlico capture Pimlico – not the modern district–a village resort north of London near Hoxton (see 1.1.17), with a famous tavern, close to several theatres.
170 kill the bush ? drink ’em dry. A bush was a tavern sign (originally a bunch of ivy hung up to indicate drinking premises).
172 If . . . mount If women are willing (a proverbial certainty).
172 SD] in margin in F2 (next to 173–5)
173 Two kinds of rock crystal used as diamond substitutes. Jonson probably took this information from Camden’s Britannia (1610), 186 and 239 (H&S).
173 Bristol-stone] Wh; Bristo-stone F2
175 his . . . He  its . . . It.
176 put . . . mill i.e. test it by grinding it under a millstone.
177 He’s] F2 (H’is)
177 paragon perfect diamond.
178 He’s all] F2 (H’has all)
178 corners i.e. angles of a perfectly cut stone.
178 He’s yellow] F2 (H’is yellow)
178 yellow discoloured.
179 water lustre; implies that transparency is the test of a quality stone, so that black, like white, means the absence of any discolouring flaw.
180 He’s] F2 (H’is)
180 He’s . . . foil i.e. Its quality is apparent even without a foil (which is used to enhance the lustre of a diamond).
184 Turnings i.e. You’ve trimmed off the bad bits (OED, 2.a).
184 equivoques tricks, evasions.
185 You’re] F2 (You’are)
185 better fathers i.e. the puritans have surpassed the Jesuits in verbal equivocation (H&S).
188 denier French coin of negligible value.
188 SD] in margin in F2
190 this lady the Spanish lady, to be impersonated by Dick Robinson (see 2.8.26 and 56).
194 sealed again of signed the agreement with.
195 I . . . do I’m willing to do that.
196 they’re] F2 (th’are)
197 told counted.
199 SD.1] in margin in F2
199 SD.2] G; not in F2
199 SD.3] in margin in F2
199 SD.3 fall begin.
208 Do you] F2 (Do’you)
212 lion-law i.e. the law of the jungle.
213 You’ve] F2 (Yo’haue)
213 how . . . wisely Aesop’s fable of the Lion, the Ass, and the Fox, in which the Ass divides a captured prey into three equal parts. The Lion then kills the Ass, whereupon the Fox prudently divides the prey again into three parts, leaving two parts for the Lion.
214 do may it do.
217 bullions bullion-hose; padded breeches also known as paned-hose, made of strips that revealed a rich inner lining, and were embroidered with goldwork.
218 compound settle, conduct.
219 Adjourn . . . term Postpone your day in court (to face creditors) from one term to the next.
222 toy trick.
225 With . . . aids i.e. Not without my support (see OED, Aid 2.a or b).
229 audit reckoning.
229 SD] G; not in F2
232 vassalage servitude.
232 SD] not in F2, but see massed entry at 3.4.0
3.4 ] ACT. ⅡJ. SCENE Ⅳ. / MERE-CRAFT. INGINE. WITTIPOL. F2
3.4 1 cry hunt (for Dick Robinson).
4 A theatrical in-joke, based on Robinson being the first Wittipol (see 2.8.64n. and 3.3.190n.). But Everill sustains the dramatic fiction that Wittipol will replace Robinson as impersonator, and unlike the first audience, Merecraft sees only Wittipol the character, not the actor playing him.
6 he’s] F2 (he’is)
7 want] F2; have 1641
7 want lack.
8 gallant fashionable lady.
10–11 leave . . . care let him handle it.
11 SD excepts at Objects to.
11 SD] in margin in F2
12 bravest device cleverest idea.
13 cioppinos From Italian cioppini: shoes with high cork soles, usually known as chopines or chapineys, popular in Spain and parts of Italy. Moralists saw them as a grotesque foreign import. See 4.4.69n.
14 he Wittipol.
21 laid him by relinquished their hold over him (see 1.2.22–5).
23 put him out exploit him.
24 To . . . use i.e. For all he’s worth.
25 put . . . care rest assured.
26 lose to do miss out on doing.
29 have my dressing get my costume on.
30 caution security; a guaranteed share.
30 he Fitzdottrel.
31 To Down to the last.
32 purchase profit.
33 complements trappings, accessories.
34 guarda-duennas See 4.4.77n.
35 provedor purveyor (Sp.).
36 I’ve] F2 (I’haue)
37 Secure . . . quality Confident of your reliability.
40 countenance support.
41 draw . . . offer it i.e. get the occasion going (with the right kind of talk).
43 usher] F2 (huisher)
45 want acres own no land. Imitated in Webster, Devil’s Law-Case, 2.1.180–2, on ‘rich city chuffs, that when they have no acres of their own, they will go and plough up fools, and turn them into excellent meadow’ (Johnson). But Webster avoids the sexual pun on ‘plough’ (and thus the predatory attitude to women) that Jonson highlights.
47 glebe quality of soil.
48 Is . . . piece Is a very promising prospect.
49 fact and venting manufacture and sale.
50 fucus cosmetic paint.
51 To . . . kingdom To be of benefit to all.
52 travailed] F2 (trauell’d)
52 travailed laboured. F2’s ‘trauell’d’ is the usual spelling, but here it could also suggest that the Spanish lady is an itinerant saleswoman.
55 SH MERECRAFT] Wh; EV. F2
56 court it play the courtier.
57 some other to have more altruistic motives. On Jonson’s satire of monopolies, see Introduction.
58 upon caution for in getting pledges to buy.
59 he is] Wh; is hee F2
60 register registrar, clerk.
61 vented sold.
62 break . . . this confide any of this to you.
63 make . . . to offer as inducement to make.
66 but . . . floating just to keep her interested.
68 my instructions] F2 (my’instructions)
70 SD] G; not in F2
3.5 0 SD] G, subst.; ACT.ⅡJ. SCENE. Ⅴ. / MERE-CRAFT. FITZ-DOTTREL. PVG. F2
3.5 1 sealed signed the agreement.
2 row Goldsmith’s Row in Cheapside, ‘betwixt Breadstreet end and the cross in Cheap’ is ‘the most beautiful frame of fair houses and shops that be within the walls of London’ (Stow, Survey of London, quoted by Johnson).
3 gamesters gamblers.
4 There’s a shop-shift That’s a typical trader’s dodge.
5 forswear renounce his oath.
10 I’ve] F2 (I’haue)
10 Her Ladyship The supposed Spanish lady.
12 you’d] F2 (you’had)
13 airy] F2 (aëry)
13 airy lively.
19 entertained him took him on.
22 SD.2] this edn; not in F2, but see massed entry at 3.5.0
22 SD.3] in margin in F2
25 it The ring.
26 as . . . place if you want to keep your job.
27 D’you] F2 (Do’you)
27 come off acquit yourself.
29 SD] in margin in F2
30 With the French-time Unclear – perhaps referring to the elaborate choreography of the French congé or low bow.
33 O’the very academies See 2.8.21n.
34–5 dinner . . . play-time A meal at midday, followed by a play beginning at 3p.m., was apparently a well-established ritual for many Londoners. This ‘dinner’ is different from the one referred to line 47, which was often called ‘supper’ (cf. Epilogue, 4–5).
36 lose miss.
36 SD] in margin in F2 (next to 35–9)
39 An . . . too ‘The Devil and his dam’ was a proverbial coupling (Dent, D225).
40 this The audience with the Spanish lady.
43–5 But . . . awe Johnson compares Dekker, Gull’s Hornbook: ‘if the writer be a fellow that hath . . . epigrammed you . . . , you shall disgrace him worse than by tossing him in a blanket . . . if, in the middle of his play . . . you rise with a screwed and discontented face to be gone’ (ed. Grosart, 2.253).
47 pay . . . himself i.e. rather than be entertained by satisfied members of the audience, as was apparently customary. But see Dekker, Gull’s Hornbook, on what the gallant can expect of the poet before paying for his meal: ‘some Poet shall not dare to present his Muse rudely upon your eyes, without having first unmasked her, rifled her, and discovered all her bare and most mystical parts before you at a tavern, when you most knightly shall, for his pains, pay for both their suppers’ (ed. Grosart, 2.249).
47 for his] F2 (for’his)
51 SD] in margin in F2
52 the office of dependences (see 3.3.61ff.).
54 up established.
57 kinsman i.e. Everill, who wouldn’t get the business.
57 tenders has a tender regard for.
59 deed i.e. to settle his estate (see 3.3.134).
60 feoffees beneficiaries.
65 blockhead!] F2 (blocke-head—!)
65 SD] Happé; not in F2
66–7 Come . . . way An example of Jonson’s fluid staging. Merecraft moves across to one of the doors in the tiring house, which will become the entrance to Lady Tailbush’s house (see 11) when Pitfall enters at 78.
68 this same fellow Pug.
68 assure secure.
71 share i.e. in the profits (3.4.32).
74 brave good-looking.
76 SD.1 Enter trains] G, subst.; not in F2
76 SD.2] in margin in F2
77 double reversible. Cloaks that were of a different colour and style on either side were reckoned to be one of the swindler’s props.
78 SD.1] Wilkes; not in F2, but see massed entry at 3.6.0
78 SD.2] Wilkes; not in F2, but see massed entry at 3.6.0
3.6 ] ACT. ⅡJ. SCENE. Ⅵ. / MERE-CRAFT. PITFALL. PVG. / TRAINES. F2
3.6 1 buss kiss you.
1 SD] in margin in F2
2 canst . . . bird ‘Pitfall’ could mean an animal trap of any kind, but in England most often described a device to catch birds. OED’s 1604 quotation (‘Now pitfalls are so made that small birds cannot know them’) suggests that their design was becoming more sophisticated.
4 ouzel Probably the ring-ouzel, an autumn migrant in southern England.
4 fieldfare Species of thrush, autumn visitor to England. Kittredge (1911), 10–11, uses these references to postulate a first performance of Devil in October 1616.
5 SD–6 SD] single entry in F2 (in margin)
7 venery sex.
8 would want to.
10 SD] in margin in F2
12 throstle song thrush.
13 Here is] F2 (here’is)
14 stuffs dress material.
15 As . . . up Standard bawdy implication; cf. East. Ho!, 4.1.47–8, and Shrew, 4.3.158.
15 SD] in margin in F2
16 SD.2] G, subst.; not in F2
17 Will . . . foolish i.e. Let’s fool around, have sex.
18 SD.1] G; not in F2
18 SD.2] this edn; Mere-craft/followes pre-/sently, and / askes for it. F2 (in margin)
23 charge command.
25 But now Just now.
25 SD] in margin in F2
26 gentlewoman] 1716; Gentleman F2
26 SD.1] Wilkes; not in F2
26 SD.2] F2, subst. (The Diuell / confesseth / himselfe coo-/zened.) (in margin next to 27–30)
27 earnest upon obsessed with.
30 offer at attempt.
31 SD] Wilkes; not in F2
33 SD] F2, subst. (Mere-craft / accuseth / him of negli-/gence.) (in margin)
34 reckless] F2 (retchlesse)
34 reckless careless.
37 exercise i.e. excuse for physical exertion.
38 my archduke Satan.
38–9 Woe . . . back Quoted, as Johnson notes, from Plautus, Captivi, 3.4.650: vae illis virgis miseris quae hodie in tergo morientur meo (‘Alas for those poor whips that are doomed this day to die upon my back!’ (Loeb translation)).
39 SD] in margin in F2
39 Can Know.
40 The . . . present We need it right now.
44 check rebuke.
46 SD] in margin in F2
46 SD Merecraft’s manipulative finesse, as at 3.3.100–4, reinforces his hold over the victim of his deceptions.
53 your lady Duchess Mrs Fitzdottrel.
58–9 Hasten . . . Away Off to your master!
59 SD] F2, subst. (The Diuel / is doubtfull.) (in margin)
61 SH MERECRAFT] Wh; omitted in F2 (given to Pug)
61 quit acquit.
61 SD] G; not in F2
4.1 0 SD] G; ACT. ⅢJ. SCENE. Ⅰ. / TAILE-BVSH. MERE-CRAFT. MANLY F2
4.1 0 SD The scene moves to the interior of Lady Tailbush’s house. The action could continue without a pause (keeping Merecraft on stage and having Lady Tailbush enter to him), but the new scene appears to break into an ongoing conversation. At Blackfriars there would have been an interval at this point, and in the modern theatre the shift of location and implied lapse of time make this an appropriate moment for the intermission.
2 I’d] F2 (I’had)
2 it i.e. the application for a patent described at 3.4.48–54.
2 past the seals granted the Privy Seal. In the fluid environment of Jacobean court patronage, patents and grants were sought through petitions to a variety of royal officials. Applications were then vetted by a special committee, but final approval by privy councillors was often withheld, especially as efforts to curb court expenditure intensified under administrators such as Salisbury and Northampton. See Peck (1990), 40–3, 138.
3 Your courtiers Perhaps impersonal (Happé), but individual entrepreneurs had their particular supporters at court, and Tailbush specifically laments the slowness of Merecraft’s operation.
6 Sir John Moneyman Probably alluding to Sir John Popham, Lord Chief Justice, who was a leading member of a syndicate set up in 1605, against considerable local opposition, to drain fenland in Somerset and Cambridgeshire in return for a sizeable portion of the land reclaimed. The project failed, but not before it had aroused great resistance; to one writer he was ‘covetous bloody Popham’ (CSPD, 1603–10, 300), and according to ODNB he died very wealthy. See Sanders (1998a), 113–14.
6 jump expedite.
11 SD] in margin in F2
12 cried it up sung its praises.
14 gratulate with greet, congratulate.
17 lay slept.
18 tonight last night.
19 cousin Everill (2.1.143n).
27–8 he . . . him Manly came in and caught Everill badmouthing him.
30 injury insult.
31–2 that . . . valours i.e. slanderers usually prove to be cowards.
32 SD.1] G; not in F2, but see massed entry at 4.1.0
32 SD.2] F2, subst. (Manly of-/fers to be / gone.) (in margin)
32 SD Offers . . . gone Starts to leave.
34–5 this . . . lady See 2.8.27–9.
37 pieced mended, reconciled.
41 SD] F2, subst. (Mere-craft / denies him.) (in margin)
41 SD him Everill.
42 but call merely address each other as (OED, 17b).
43 if even if.
44 urged being charged.
47 I’m] F2 (I’am)
49 savour smell.
54 Cheating those who trust him is all he can be trusted to do.
56 bate . . . means deprive him of his way of life (Happé).
56 You’re] F2 (Yo’are)
56 sharp witty, cutting. Tailbush rebukes Manly’s mordant wit in the act of acknowledging it.
58 made . . . parliament Dent cites this as proverbial (P229), but both his examples are from Jonson (here and Staple, 4.3.27) who also uses it in 'Expostulation' (6.375–80), line 103.
59 faith of conviction about.
59 SD.1] G, subst.; not in F2, but see massed entry at 4.2.0
60 SD.2] in margin in F2
60 Eitherside On the masculine mannerism of a court lady addressing another by her last name, see 4.2.21–2, and Epicene, 4.3.10–12, 21.
61 How . . . done How have you been.
4.2 ] ACT ⅢJ. SCEN.E Ⅱ. / EITHERSIDE. {To them F2
1 hast thou] F3; hast’hou F2, 1641; hast’thou Happé
4.2 9 referred submitted, applied for (see 4.1.1–2).
11 Have with ’em i.e. We’ll be part of the rich set. In 1609 Barnabe Rich objected that ‘as this thrusting and striving for places is a common sickness amongst men, so the infection is far more violent amongst women, and hath prevailed so far as I think it be past cure, for not one amongst them, being willing to give place, but every one endeavouring and striving to take place, they are ready to scratch for it’ (Room for a Gentleman, 3).
11 caroche See 1.6.214n.
12 bare bareheaded. Cf. 2.3.36–7 and note.
17 device scheme, project.
18 give it thee give you an equal share in the scheme.
27 SD] in margin in F2 (next to 30–2)
28 He’s one –] F2 (H’is one,)
29 With . . . credit To undermine the reputation of anyone.
34 ill evil.
39–42 ] note in F2 in margin: The Pro-/iect for / Tooth-/picks.
40 but] F2 (but—)
41 how . . . abused The fashion for toothpicks attracted a great deal of satire, such as Jonson’s own in Volp., 4.1.139–41, and EMO, 4.1.39–41: ‘what a neat case of picktooths he carries about him still! O sweet Fastidious! O fine courtier!’ But Jonson’s target here is the lucrative monopolies that courtiers were able to gain over the production of such items; an abuse that Merecraft neatly compounds with his avowed plan to root out bad business practices in the industry.
44 made of adult’rate] F2 (made’ of’ adultrate)
47 such . . . mulcted impose fines on those who use inferior materials to make them.
48 venting selling.
53 chawing chewing without swallowing.
54 mastic Fragrant gum derived from trees.
55 SD.1] G; not in F2
55 SD.2] in margin in F2
58 wait upon show. Merecraft obeys this summons by acting as usher himself.
58 SD] G; not in F2
59 ill unfortunately.
61 Spruntly Smartly.
61 SD] in margin in F2
63 fucus face-paint. Puritan moralists regarded all cosmetics as vile: ‘The ceruse or white lead wherewith women use to paint themselves was, without doubt, brought in use by the devil, the capital enemy of nature, therewith to transform human creatures of fair, making them ugly, enormous and abominable’ (Tuke, Discourse against Painting, B3).
64 Pearl ? Oyster shells Cf. the recipe in W. Warde, The Secrets of . . . Alexis of Piedmont (1615), for counterfeit pearls which involves pounding mussel and snail shells, and firing them until they are ‘powder white as snow’ (f. 252v-3r). Presumably the powder was used for cosmetics as well.
66 sirrah This common form of addressing social inferiors could also be used familiarly between equals of both sexes.
70 SD.1] F2 (at start of 4.3); note in F2 in margin (next to 70–1): Wittipol / enters.
70 SD.2] in F2 in margin (next to 4.3.1–4)
71 infanta The title of a daughter of the Spanish royal family, but often used satirically of female pomp and display. Beyond its immediate relevance to Wittipol’s impersonation, it glances at the tortuous negotiations in 1616 for marriage between Prince Charles and the Spanish Infanta; and the satire on Spanish fashions that follows may suggest something of Jonson’s position in the controversy. See R. Evans (1994), 77–9.
4.3 ] ACT. ⅢJ. SCENE. ⅠJⅠ. / MERE-CRAFT. WITTIPOL. {to them F2
4 SD] in margin in F2
4.3 6 Never to kiss Wittipol avails himself of a perceived distinction between the English ‘custom of kissing publicly’ and the Spanish aversion to doing so: ‘the husbands kiss their wives, but as if it were behind seven walls, where the very light cannot see them’ (Minsheu, Pleasant and Delightful Dialogues, 51–2) (Johnson).
8 I have] F2 (I’haue)
13 I must . . . else Otherwise I cannot accept it.
17 I’ve] F2 (I’haue)
17 I’ve my ends I’ve achieved my aims.
20 You’re] F2 (Yo’are)
24 ruinous pernicious.
26 handsomeness decency.
29 old one As old as Galen, according to Tuke’s Treatise against Painting, repeating a story about Athenian women at a feast being compelled to wash their faces, which ‘appeared foully deformed and stained over’ (B4).
29 new ones Such warnings may have been new to England, but Tuke gives sources for them that date from the mid-sixteenth century, on the effects of using mercury-based cosmetics: ‘a stinking breath [and] the blackness & corruption of the teeth’ (Treatise against Painting, B4v).
31 used but merely done.
33 Cf. Discoveries, 237–8: ‘it was excellently said . . . that there was a wall or parapet of teeth set in our mouth to restrain the petulancy of our words’. Jonson may be paraphrasing Plutarch, Moralia, de Garrulitate, 3 (H&S), but the sentiment was proverbial (Dent, T424).
37 SD] in margin in F2
39 fall’n] F2 (falne)
39 fall’n i.e. fallen on hard times. This presumably refers to the wives of gentry whose improvidence made them vulnerable to the predations of an upwardly mobile citizen class. Their implied self-prostitution here obliquely comments on, but is questioned by, Wittipol’s unsuccessful pursuit of Mistress Fitzdottrel earlier.
39 mad-dames F2’s spelling points up Jonson’s use of ‘madam’ in the sense of ‘affected fine lady’ (OED, 3c (a)).
45 servants male adorers.
46 reckoning bill.
46 als’ also.
49 we . . . banished As recommended by Plato in The Republic: ‘we must compel our poets, on pain of expulsion, to make their poetry the express image of noble character’ (3.400; see also 10.607 (Cornford)). This was echoed by puritan critics of the Jacobean stage, of whom Eitherside’s husband is clearly one.
50 SD] F2 (at start of 4.4)
51 his wife; where Presumably Frances is hanging back, reluctant to face the occasion, and has to be urged onstage by Pug.
4.3 ] ACT. ⅢJ. SCENE. ⅠJⅠ. / MERE-CRAFT. WITTIPOL. {to them F2
4.4 ] ACT.ⅢJ. SCENE. Ⅳ. / FITZ-DOTTREL. Mistresse FITZ-DOT- / TRELL. PVG. {to them. F2
1 SD] F2, subst. (Wittipol / whispers / with / Manly.) (in margin)
4.4 3 strange-fashioned oddly dressed.
8 SD] in margin in F2
14 But . . . eat That I wouldn’t be prepared to eat.
17 infinite i.e. the last word in such cosmetics.
18 Water of gourds A facial treatment prepared by boiling a sliced gourd with alum, myrrh, turpentine, eggs, lemons, snails, and white wine (Alexis, f. 67).
19 Flowers of glass Powdered glass.
19 rosmarine rosemary; possibly also referring to the ‘wholesome dew, called rosmarine’ or sea-mist that is invoked in Blackness, 297, as a cosmetic benefit.
20 dough-baked H&S cite Juvenal, Satires, 6.472–3: coctaeque siliginis offas / accipit et madidae (‘and had those lumps of moist dough applied to [her face]’) (Loeb), to indicate the antiquity of this facial treatment.
21 crumbs . . . milk Cf. Sempronia’s use of ‘crumbs of bread and milk’ in Cat., 2.1.65. Most of the ingredients mentioned by Wittipol (18–25) occur in Alexis and the other standard English recipes for skincare.
23 white . . . pine-kernels H&S cite a recipe for ‘a water that will make a white and pale person well-coloured’: ‘Take white pigeons, and fat them with pineapple kernels . . . then kill them . . . and . . . distil them in a limbeck’ with gold and silver foil and other ingredients (Alexis, f. 64v).
24 purslane A cooking herb recommended by Alexis (f. 288v) and other authorities as a cure for warts.
24 hare’s gall Vital ingredient for another face-wash: ‘Take the gall of an hare . . . and of eels, temper them with honey’ (Alexis, f. 70).
27 alvagada Lead-based cosmetic: ‘Alvayalde or Albayalde, a white colour to paint women’s faces called ceruse’ (Minsheu, Dictionary, 21).
28 argentata white lead. Alexis has a recipe for ‘Aqua argentata or silvered water, which maketh a white ruddy and glistering face . . . that the dames of Italy for the most part do use . . . an excellent thing, and it were to give to a queen’ (f. 68–68v). But Jonson takes his ingredients (30–40) mostly from Cortese, I Secreti della Signora Isabella Cortese (Venice, 1595).
30 allum . . . pedra flaked gypsum . . . rock alum (see cure for pimples in Alexis, f. 69v).
31 zuccarino sugar paste.
31–2 turpentine . . . watersTerebintina d’abezzo [pitch-pine resin] lavata a nove acque’ (Cortese, 152): Happé points out that the recipe for ‘Argentata perfettissima’ Jonson is quoting here contains several of the ingredients on Wittipol’s list.
32 soda di levante sodium carbonate.
33 benjamin di gotta gum benzoin, a tree resin valued for its perfume.
34 Snake fat; sturgeon.
35 lentisco mastic gum.
35 zucche, mugia] Happé; Zucche Mugia F2
35 zucche ‘Zucca, any kind of Gourd or Pumpion’ (Florio).
35 mugia Perhaps the mullet or sea-barbel that Florio translates as ‘Muggia’.
38 piece of scarlet i.e. cloth dipped in ‘a red colour made with the grain wherewith scarlet is dyed’ (Alexis f. 69; recipe at f. 77). Both Cortese Cortese (197) and Alexis (f. 65v) aver that this will make the mature user look like a girl of fifteen.
39 sixteen Jonson’s tactical alteration (see 38n.) to prepare for 50.
39–40 water . . . hen Adapted from Cortese’s recipe ‘Acqua d’una gallina bianca’ (154). Alexis recommends anointing facial spots ‘with the warm blood of a black hen’ (f. 283).
40 Lady Estifania’s Also mentioned as a cosmetics dealer in Staple, 1.2.99.
43 innards] F2 (inwards)
45 carravicins] F2 state 2; Carrnuacins F2 state 1
45 carravicins So corrected in F2 (see collation), but obscure. Perhaps caraway seeds, from caravea (Sp.) (Minsheu, Dictionary).
45 pipitas The tender top of any herb or bough (Florio).
45 soap of Cyprus A cosmetic preparation using the root of Cyperus longus (sweet cypress, or galingale).
47 galley-pot apothecary’s jar.
47 gliddered sealed.
50 In decimo sexto Perfect, pristine – like a child’s skin. The term denoted a miniature book (made by folding a sheet of paper into sixteen), but was often used of a small object or person, as in Cynthia (Q), 1.1.37, where Cupid (played by a boy actor) is called ‘my dancing braggart in decimo-sexto’ (H&S).
52 virgin’s milk Lac virginis, a cosmetic made from gold, vinegar, and salt, which Nashe calls ‘A medicine to make the devil fair’ (Pierce Penilesse, 1.181). Cf. Alch., 2.3.62.
52 oglio reale See Cortese (188) for the recipe for ‘Olio reale perfettissimo’ (It.), royal or true oil.
55 cataputia . . . rovistico lesser spurge . . . privet.
56 muta Transformative: ‘a shift, a turn, a course or change of any thing’ (Florio, 1611).
59 SD.1] F2, subst. (Hee is iea-/lous about / his ring, / and Mere-/craft deli- / vers it.) (in margin next to 59–63)
60 jealous mistrustful.
61 SD] F2, subst., at 59
63 dwindle Merecraft, forced by Fitzdottrel’s inquiry to hand over the ring, tries to calm Pug’s panicky reaction (59). Less important than his promise to Pug (3.6.45–61) is the need to stop him drawing attention to their machinations.
65 are in are started on this subject.
66 grandees Spanish nobility; but Jonson used the word ironically of the gallants in his audience: see Prologue, 3 and note.
67 clasped train i.e. gown folded back and secured to reveal the lining, or held in the hand.
69 Cioppinos See 3.4.13n. Jonson bases the discussion on a passage in Coryate, Crudities, 1.400, describing ‘a Chapiney, which they wear under their shoes. Many of them are curiously painted; some also I have seen fairly gilt . . . There are many of these Chapineys of a great height, even half a yard high.’ Those who wear them ‘are assisted and supported . . . when they walk abroad, to the end they may not fall’.
69 in punto smartly, in their best.
70 Gilt] F2 (Guilt)
71 pumps light shoes, worn with cioppinos (see 69n).
75 SH LADY TAILBUSH] 1716; WIT. F2
76 SH WITTIPOL] 1716; EIT. F2
75 still constantly.
77 guarda-duennas Another term for escudero (87), ‘a servingman that waits on a lady or gentlewoman, in Spain never but old men and gray beards’ (Minsheu, Dictionary, 118).
80 along stretched out on the ground.
81 umbrella Recently reported from Italy as ‘things that minister shadow unto them for shelter against the scorching heat of the sun. These are made of leather something answerable to the form of a little canopy’ (Coryate, Crudities, 1.257). The Spanish version would be a parasol, a word that existed in English at this date (OED, 2), but early imports of the umbrella appear to have been from Italy.
82 hoop farthingale.
86 servants . . . friends Eitherside means amorous attendants of various kinds.
91 forced gravity unnatural formality.
93 tastes smacks of.
95 before in front of.
103 ] in round brackets in F2
106 SD] G; Wittipol / giues it Mi-/stresse Fitz-/dottrel. F2 (in margin)
107 SD] F2, subst. (Mere-craft / murmures) (in margin)
107 SD Protests.
108 SD.1] in margin in F2
108 SD.2] G; not in F2
109 toy trifling matter.
110 You’re] F2 (Yo’are)
116 wanted were without.
116 SD] in margin in F2 (next to 117–19)
118 entered i.e. entered into the ‘school’ (110) of fine manners.
121 sh’ hath] F2 (sha’hath)
124 o’your] 1641; o’you F2
125–6 leave Still stop trying constantly.
126 for despite.
127 Intend it Take note.
128 they Spanish grandees.
132 your i.e. our kind of.
139 escuderos See 77n.
142 Pastillos ‘Pastilli, little pasties, pastelets, chewets’ (Florio) (It.).
143 Coquettas Spanish rolls or buns (H&S).
143 almojavanas ‘a kind of cheese-cake’ (Minsheu) (Sp.).
143 mantecadas sweets made of lard (Sp.).
144 Alcorças] this edn (conj. H&S); Alcoreas F2
144 Alcorças Conserve of the rinds of lemons (Minsheu) (Sp.).
144 mustaccioli marzipan (It.).
145 peladore depilatory (Sp.).
145 balls pills.
146 aqua nanfa orange water (It.).
147 jessamine jasmine.
149 SH WITTIPOL] G; omitted in F2
150 piveti, Spanish coal An aromatic compound, also called ‘pebétes . . . a kind of small perfume, it is long like a clove’ (Minsheu) (Sp.). The English name derives from its being burned for its scent.
151 arcana secrets.
152 cabinets chambers.
152 elsewhere trusted otherwise respected.
153 You’re] F2 (Yo’are)
153 much . . . truth absolutely right.
154 SD] in margin in F2
154 SD enters . . . with makes himself familiar with.
154–5 I . . . male Making him the ‘Womanish-Man’ so despised by contemporary satirists: in Haec-Vir (1620), an anonymous contribution to a fierce pamphlet war about gender roles, the protagonist’s counterpart Hic-Mulier accuses the foppish gallant of stealing not only feminine fashions but also ‘our speech, our actions, sports and recreations . . . how pulingly you languish in this weak entertained sin of womanish softness’ (Cv–C2).
154 I ha’] F2 (I’ha’)
155–6 I . . . fashion Cf. Und. 15.81–2, on the immoral conduct necessary for ‘the style t’inherit / Of woman of fashion, and a lady of spirit’.
159 take understand.
160 not . . . rush Proverbial expression (Dent, S917), but also a possible direction for Wittipol to kick at the floor coverings.
162 Within a thread i.e. And know where to draw the line (OED, Thread 10).
162 venture] F2 (venter)
164 Pimlico See 3.3.170n. Pimlico is presented as a lubberland where ‘the Shes had th’upper hand’ in a 1609 pamphlet Pimlico, or Run Red-cap (Bv).
164 saraband A dance in triple time, of Spanish origin, and regarded as licentious; ‘the bawdy saraband’ in Staple, 4.2.137.
165 larum warning bell; alarm on a clock or watch. This was standard satirical advice to male gallants: Johnson compares Dekker, Gull’s Hornbook: ‘discourse as loud as you can, no matter to what purpose if you but make a noise, and laugh in fashion’ (Grosart, 2.238). But women were emulating male freedoms to an unprecedented extent by 1616, and another writer complained how ‘they / Do in the suburbs domineer and roar; / Each being a swaggering swearer, and a whore’ (Parrot, Gossips Greeting, C4).
166 Squeak, spring Dance and sing (?).
167 afore in front of.
167 brave well-dressed.
168 engaged obliged (to play her role).
169 SD] F2, subst. (The Diuell / admires him.) (in margin)
171 grammar school secondary school, high school.
172 lose waste. This is fashionable contempt for traditional English fabrics, in favour of the ‘stuffs of new invention’, often imported from the Continent (Linthicum, 64).
180 So . . . coming Even starting to come round.
182 hoping . . . forced waiting passively to be seduced.
182 I’ve] F2 (I’haue)
182 entertained employed.
183 SD] in margin in F2
185 Against In anticipation of.
188 What . . . ladies Frances breaks her silence with a telling comment on their frivolity.
190 As . . . Conqueror As if it dates from the Norman Conquest.
190 Over smocks i.e. Worse than common whores. (Cf. 1.1.59–60 and notes.)
191–2 What . . . ’em One of Jonson’s refrains, very similarly phrased in EMI (F), 4.7.116–17.
192 SD] in margin in F2
193 manage perform.
196 your honours you pay your respects.
197 leg courtly bow.
198 SD] in margin in F2
199 property attribute.
200 conceit opinion.
201 settled discreet pace Referring to the practice of gentlemen ushers walking ahead of their ladies.
202 barren bare (cf. 2.3.36–7 and note). Fitzdottrel takes it to mean ‘dim’.
204 waste Punning on ‘waist’, as in Shakespeare, Sonn. 129. A sexual pun on ‘valley’ is also apparent, though unusual in English or applied to a man; more common are references to a woman’s ‘vale of Paradise’ (as in Brathwaite, Strappado, 166). Fitzdottrel expects banter and innuendo from the women.
206 hit this see the point, manage this.
206 SD] in margin in F2
207 no barren head no lack of intelligence.
208 daw subdue, frighten.
208–9 walk . . . you i.e. police your every move. A verger was a public officer who carried a rod symbolizing his authority.
210 SD] F2, subst. (The Diuell / prayes.) (in margin)
211 murmur protest.
212 height real test.
213 When Come on!
215–16 report . . . physic Johnson cites a description of the gentleman usher quoted by Nares (1905): ‘His greatest vexation is going upon sleeveless errands, to know whether some lady slept well last night, or how her physic worked in the morning’ (356).
219 find . . . corn-cutter Pug continues to be gauche, but the women’s outrage may also derive from a perceived innuendo, accusing them of cuckolding their husbands; cf. Shirley, Love Tricks, ‘if she do not cuckold him, and make him cry corns on his toes ere he die’ (D).
223 holy-days to like religious festivals compared to.
224 He’s] F2 (H’is)
228 put case suppose.
229 brach bitch.
230 treat negotiate.
232 moon i.e. astrology. Dogs should be mated only after consulting an astrological almanac to ensure a propitious occasion. Fitzdottrel plays feebly on ‘mooncalf’= idiot.
233 sign zodiacal sign.
233 receipts for proneness recipes for sexual potency.
235 nativities horoscopes.
236 least smallest.
238 with puppy pregnant.
241 proficient student.
242 look for expect.
243 SD] in margin in F2
246 him Pug.
247 try test.
248 read to teach.
249 SD.2] F2, subst. (The Diuell / praies again.) (in margin)
250 SD] G; not in F2
250 jealous still suspicious (see 60).
253 SD] in margin in F2 (next to 251–5)
254–6 The metaphor is from metalworking, especially of gold. Fitzdottrel’s words reveal the full extent of his mercenary impulses, but also unconsciously point to the revelation that Wittipol’s charade is seeking. Cf. 3–4.
256 SD.1 Fitzdottrel’s departure on this line technically avoids the error of having him exit at the end of a scene and immediately re-enter; but it remains a potentially awkward transition, unless we assume an interval at the end of this scene, rather than at the end of the act. He cannot be left on stage since he is in mid-conversation with Merecraft at the start of 4.5, and must enter with him.
256 SD.2] G; not in F2
4.5 0 SD] G; ACT. ⅢJ. SCENE. Ⅴ. / MERE-CRAFT. FITZ-DOTTREL. PIT-FAL. / EVER-ILL. PLVTARCHVS. F2
4.5 2 your cousin Everill.
3 acquaint him Fitzdottrel has not heeded Merecraft’s advice at 3.5.53–8.
6 contempt . . . place lack of respect for his position.
7 dependence dispute.
15 feoffment deed of freehold.
16 livery and seisin Legal term for delivering property to its owner.
18 SD] G; not in F2, but see massed entry at 4.5.0
20 would wants to.
21 SD.1] G; not in F2
21 SD.2] in margin in F2
21 SD.2 whispers against him criticizes Everill.
22 state worldly standing.
23 SD] G; not in F2, but see massed entry at 4.5.0
24 done drawn up, ready.
25 Sir Paul Justice Eitherside (14).
26 hand signature.
27 SD] in margin in F2
30 state estate.
31 valour value, monetary standing.
32 tall board gaming table.
36 forswear it deny I said it.
36 SD] G; not in F2
4.6 0 SD] G; ACT. ⅢJ. SCENE. Ⅵ. / WITTIPOL. Mistresse FITZ-DOTTREL. / MANLY. MERE-CRAFT. F2
4.6 4 servant admirer.
5 SD] this edn; not in F2, but see massed entry at 4.6.0
7 took intrigued.
8 did . . . invention felt that my natural responses.
9 requital fitting answer.
12 whom he whom.
14 succours attentions.
16 parts qualities.
22 portion dowry.
23 friends’ relatives’ (who negotiated the marriage contract).
23 jointure joint ownership (of her husband’s estate).
26–7 in this . . . other Carefully discriminating the different senses of ‘friend’, which in addition to confidante (4) and kinsman (23) could also mean a secret or illicit lover. The word is reiterated (see 28, 34, 36) to underline the constructive turn in the action.
27 ill evil, depravity. A strong noun at this date.
28 SD] in margin in F2
32 weaker side woman.
38 entitle entrust.
41 forfeit loss (of life). Wittipol is using the ‘language of the pleas and bench’ (Johnson).
41 SD.1] G; not in F2, but see massed entry at 4.6.0 above
41 SD.2] Wilkes; not in F2
41 SD.3] in margin in F2
42 See 2.2.49–51n.
43 He has] F2 (He’ha’s)
43 has caused] F2 (ha’s caused)
45 He has’t] F2 (h’ha’st)
49 frantic lunatic.
49 his own favour the object of his affection.
50–1 ’tis . . . stand i.e. as the Spanish lady you can’t be his beneficiary since this is merely your disguise.
52 share split the proceeds with me.
4.7 0 SD F2 erroneously lists Mrs Fitzdottrel in the mass entry for this scene.
4.7 0 SD] G; ACT. Ⅳ. SCENE. ⅥJ. / WITTIPOL. Mistresse FITZ-DOTTREL. / MANLY. MERE-CRAFT. FITZ-DOT- / TRELL. EVERILL. PLVTARCHVS. F2
15 fairly actually.
16 SD] in margin in F2 (‘the’ omitted in some copies)
20 name you one choose one of your friends.
21 SD] in margin in F2
21 SD designs indicates, designates.
22 He’s] F2 (H’is)
24 toy fool, trifler.
26 undertake confirm.
27 what whatever.
35 hands signatures.
36 SD] F2, subst. (Eueril ap-/plaudes it.) (in margin)
37–8 Would one / Of worth had] H&S; Would . . . worth / Had F2
41 falsehood . . . truth] marked as a sententia (with opening quotation marks) F2
42 deliver formally hand over (effecting a legal transfer of the deed).
45 publication See 3.3.137 and note.
47 SD] in margin in F2
53 fly pursue (like a hawk).
54 soused] G; sou’t F2
54 soused swooped on.
55 pounces claws – continuing the hawking metaphor.
57 toy . . . right fool will not play fair with me.
58 SD] in margin in F2
62 late recently.
65 Duke o’Shoreditch An honorific deriving from the popular tale about Henry VIII holding an archery contest at Windsor, at which a member of the King’s Guard ‘drew his bow, and shooting won the best. Whereat the King . . . commending him for his good archery; and for that this Barlow did dwell in Shoreditch, the King named him Duke of Shoreditch’ (W. Wood, Bow-Man’s Glory, 1682, 41). Similar mock-titles were subsequently used to dignify the leaders of citizen militias that assembled for archery practice in the Finsbury area. Cf. 2.1.64n. and 3.2.41n., and Tub, 3.6.5.
67 SD] in margin in F2
73 business quarrel. Cf. 3.3.106n.
73 SD] in margin in F2
73 SD baffles humiliates. The word suggests a formal act of disgracing, perhaps a physical blow or gesture of some kind. In its original chivalric context, it involved the making of a cartoon that depicted a disgraced knight upside down (see OED’s examples).
79 lose] F2 (loose)
80 practice scheming.
84 after-game Game played to reverse the outcome of one preceding it. (OED’s first example is from 1631, but Jonson had already used it in Bart. Fair, 2.3.31.) The playwright is using Merecraft to set up the catastrophe or resolution, following the catastasis or plot crisis of Wittipol’s unmasking. Jonson often brings the action to a head in Act 4, in an apparent unravelling of intrigue, only to ‘spring some fresh cheat to entertain the spectators . . . till some unexpected and new encounter break out to rectify all’ (Mag. Lady, chorus following Act 4). Jonson, not Merecraft, will be responsible for the play’s true resolution.
85 case a position.
94 SD.2] G; not in F2
5.1 0 SD] G; ACT. Ⅴ. SCENE. Ⅰ. / AMBLER. PITFALL. MERE-CRAFT. F2
5.1 0 SD The scene takes place in the street outside Lady’s Tailbush’s house. The two doors in the tiring house perhaps represent the entrances respectively of her dwelling and Merecraft’s premises, which earlier were established to be close to one other.
3 sampled you used you as a model.
5 pretend aspire.
5 fellow fellow-servant.
6 SD] in margin in F2
8 place job.
8 am in doubt fear.
8 SD] G; not in F2, but see massed entry at 5.1.0
14 Put . . . rack i.e. Exert yourself (OED, n. 3 1d).
15 SD] in margin in F2
18 complexion physical attributes.
25 common house brothel.
25 SD] in margin in F2
27 conduit-head reservoir.
29 My . . . House A large house north of Oxford Street in what is now Stratford Place, where the city fathers dined once a year after visiting the conduit-heads nearby (demolished in 1737).
30 execution Public executions took place on the gallows at Tyburn, roughly at the site of Marble Arch.
30 dreamt on’t realized it.
34 SD] in margin in F2
37 I . . . action I’d had made specially for the occasion.
39 hard-wax . . . table-books sealing wax . . . notebooks.
41 civet perfume.
42 under one i.e. together, in one case or container.
43 roses rosettes. Cf. 1.127n.
45 So as So that.
46 fain obliged.
47 rug rough woollen cloak or wrap.
47 Saint Giles’s St Giles in the Fields, a church on the way back to the city from Tyburn (Chalfant, 1978, 51).
48 Irish penance A staple Irish industry was the weaving of rug cloth, which was also known as the poor man’s dress.
49 promise See 10–11.
51 gratulate I rejoice in.
51 SD] G; not in F2
53 be himself relax.
53 SD] G; not in F2
5.2 0 SD] G; ACT. Ⅴ. SCENE. Ⅱ. / PVG. AMBLER. F2
5.2 2–11 yoking . . . circle Most of Pug’s examples are listed by Dent as English proverbs, but the principal source is Rabelais, Pantagruel, 5.22, which in turn draws, as Jonson would have known, on Virgil, Eclogues, 3.90–1: atque idem iungat vulpes et mulgeat hircos (‘and let him also yoke foxes and milk he-goats’).
3 laving washing.
7 ‘Others pitched nets to catch the wind, and took cock-lobsters in them’ (Rabelais, 5.22).
8 Must’ring . . . atoms Not in Rabelais or proverb books, but consonant with the traditional torments of hell. Jonson satirized the atomic theories of Democritus and Nicholas Hill in describing the ‘Stygian pool’ of Epigr. 133.121–9.
9 exquisite elaborate, agonizing.
10 stay . . . more keep me here for another instant.
11 Keep . . . circle ‘Others in a large grass-plat, exactly measur’d how far the fleas could go at a hop, a step, and jump’ (Rabelais, 5.22).
15 To Compared to.
15 there i.e. in hell.
17 SD] in margin in F2
17 SD surveys looks at.
19 SD They’ve] F2 (Th’haue)
19 impertinent absurd.
20 general council Cf. Dekker, Lantern and Candlelight (Grosart 3.206).
22 balk forestall.
24 SD] in margin in F2
29 cozened cheated.
31 threepenny gleek A card game.
35 Tom o’Bedlam Popular song of which several versions and settings survive. Bedlam, or Bethlehem Hospital, was a lunatic asylum: hence Ambler’s sardonic response. Cf. Lear, 1.2.136.
35 Bedlam] F2 (Bet’lem)
36 trow do you reckon? (Presumably an aside to the audience.)
39 widgeon . . . season Another indication of the play’s first performance in the autumn of 1616: see 3.6.4n. A widgeon is a wild duck.
40 ] note in margin in F2: For Scep- / ticks.
40 Sciptics Affecting sceptical attitudes was fashionable in Jacobean times. F2’s spelling (together with the marginal correction – see Collation) seems to indicate Ambler’s hazy understanding of topical interest in the Greek Sceptics, who held that objective knowledge is an impossibility.
41 fly me do a runner.
43 prove try. No exit is marked for either character, and some editors bring only Ambler off. But Pug’s presence in the following two scenes would serve no dramatic purpose, and it is likely that he leaves with Ambler (who is surprised that Pug hasn’t run away from him) and the two continue their odd skirmish offstage.
43 SD] G, subst.; Exit. Wilkes, Happé; not in F2
5.3 0 SD The scene shifts to Fitzdottrel’s house.
5.3 0 SD] G; ACT. Ⅴ. SCENE. ⅡJ. / MERE-CRAFT. FITZ-DOTTREL. / EVERILL. PVG. F2
2 fizzling silent farting.
3 castle-soap Castile soap, a fine hard soap made with olive oil and soda (OED). ‘For foaming, he . . . said that I might soon learn to do it better by rolling a stone in my mouth, but especially if I could get a little soap to use at such times’ (Samuel Harsnet, A Discovery of the Fraudulent Practises of J. Darrel, 1599, 81).
4–5 nutshell . . . fire Not in Darrel’s repertory (see 6n.), and more redolent of fairground juggling – probably Jonson’s sardonic comment on the triviality of fake possession.
5 tow and touchwood hemp or flax fibres and tinder.
6 Darrel’s tricks John Darrel, puritan preacher and exorcist, involved in several high-profile cases of alleged witchcraft and possession between 1586 and 1599, when he was exposed as an imposter following the enquiry into his fraudulent exorcism of William Sommers at Nottingham in 1597. This case was extensively chronicled in Harsnet’s Discovery, which echoed the argument of his Declaration of Egregious Popish Impostures, that ‘These are the times, wherein we are sick, and mad of Robin Goodfellow and the devil to walk again amongst us’ (166). H&S lists twelve publications on Darrel between 1598 and 1602. Cf. Und. 49.42.
7 boy o’Burton Thomas Darling accused an old woman of bewitching him and was exorcised by Darrel. Harsnet described how ‘he began to heave and lift vehemently at his stomach, and getting up some phlegm and choler, said (pointing with his finger and following with his eyes), look, look, see you not the mouse that is gone out of my mouth?’ (Discovery, 53) (Happé).
7 seven in Lancashire Seven children said to have been possessed by the devil at the instigation of Edmund Hartley, ‘who breathed wicked spirits into them . . . by kissing them’ (Harsnet, Discovery, 37); Darrel was instrumental in procuring Hartley’s execution.
10 practised conspired.
10 those two Wittipol and Manly.
10 SD repair revive – i.e. Merecraft and Everill patch up their differences.
10 SD] in margin in F2
12 compos mentis of sound mind (Lat.).
13 state estate.
14 sting be fatal, finish your enemies off. Witchcraft was a capital crime.
14 court of equity A tribunal whose decisions ‘in equity’ follow natural justice, and may overrule common and statute law (OED).
19 the other . . . squire i.e. Manly as suitor to Tailbush.
21 renounce disown.
22 at height in full, to the hilt.
27 could] F2; could not Wh, H&S
27 pity herself put her own interests first.
28 like . . . potentia consistently in keeping with the position (of duke) you are about to attain. Cf. Alch., 2.3.133–4: ‘the egg . . . is a chicken in potentia’ (H&S).
5.4 0 SD] G, subst.; ACT. V. SCENE. Ⅳ. / MERE-CRAFT, &c. to them. GVILT-HEAD. / SLEDGE. PLVTARCHVS. SERIEANTS. F2
1 SD] F2, subst. (Fitz-dot- / trel askes for / his money.) (in margin)
6 you’re] F2 (y’are)
5.4 6 groat cent. (Originally fourpence; later signifying a trifling amount.)
10 SD] in margin in F2
13 though . . . constable Glancing at constables’ reputation for dimwittedness.
14 place office.
17 ] note in margin in F2: The Pro-/ject of forks.
19 Brought into custom Just coming into fashion. Jonson had noted this innovation in Volp., 4.1.28; but once again he seems to be responding to Coryate, who thought that forks were uniquely Italian: ‘neither do I think that any other nation of Christendom doth use it, but only Italy’ (Crudities, 1.236).
21 forge i.e. the smith’s forge.
21 his Gilthead’s (in metal-working).
22 signet official seal of approval.
23 private own initiative.
27 grounds arguments in favour.
30–1 gold . . . sort Cf. Coryate: ‘This form of feeding I understand is generally used in all places of Italy, their forks being for the most part made of iron or steel, and some of silver, but those are used only by Gentlemen’ (Crudities, 1.236). Merecraft’s proposal of gold forks is designed as a special enticement to the avaricious Gilthead.
32 had brought was going to bring.
33 SD] in margin in F2
33 SD brought about brought round.
34 apperil risk.
35 SD.2] in margin in F2
35 SD.2 comes i.e. also comes round.
38 Intricate Over-complicated.
40 SD] G; not in F2
44 in reversion as regards the return of his estate.
45 fifty fifty pounds (see 3.2.2–5, 3.3.187).
47 SD] G, subst.; not in F2
5.5 0 SD] G subst.; ACT. Ⅴ. SCENE. Ⅴ. / AMBLER. {To them F2
9 SD] F2, subst. (Fitz-dot-/trel dis-/claimes / him.) (in margin)
5.5 11 godfathers in law jury. Cf. MV, 4.1.398.
13 lose] F2 (loose)
14 leave permission.
30 Aesop’s fables i.e. childish tales. Aesop was an important school text, used to teach grammar and the principles of narrative; but Fitzdottrel is typically blind to the adult uses of the tales. See 3.3.213 and note.
32 disclaim dismiss, renounce.
32 SD And . . . away] in margin in F2
32 SD Exit . . . Ambler] this edn; not in F2
39 be ruled be guided by us.
39 SD] in margin in F2
40 feign] F2 (faine)
44 possess . . . all tell him everything.
45 fill . . . with’t spread the story all over town.
46 veered paid out, let run.
47 emissaries agents. Jonson apparently coined the English word (deriving it from the Latin of Plautus, Aulularia, 41); he invariably uses it to suggest odious or underhand activity (OED): cf. Staple, 1.2.47–9; Und. 2.8.17.
48 Bladders and bellows See 5.8.143–4.
50–1 A boy . . . day Almost certainly alluding to John Smith of a well-placed Leicestershire family, whose claim to have been bewitched led to the execution of nine women in July 1616. The following month James I visited Leicester and exposed the boy as an imposter (Kittredge, 1911, 3–7).
53 SD] G; not in F2
54 simple coil absolute muddle.
58–9 had . . . E-la got a bit above yourself. ‘E-la’ is the top note of the musical scale used in early modern Europe. Cf. Nashe, Christ’s Tears over Jerusalem: ‘you must strain your wits an E-la above theirs’ (Complete Works, ed. McKerrow, 2.124). Straining an instrument involved tightening its strings to raise the pitch.
59 you crack you’re hoarse (extending the musical metaphor; OED, 18). There is probably also scatological play on strain and crack (= fart, as in Staple, 1.6.73).
63 I’ve admitted I was at fault: what more do you want? Now just help me.
63 SD] G; not in F2
5.6 0 SD.1] G, subst.; ACT. Ⅴ. SCENE. ⅤJ. / SHAKLES. PVG / INIQVITY. DIVEL. F2
0 SD.2] in margin in F2
2 SD.2] G; not in F2
5.6 1–2 you must . . . private In The Compters Commonwealth (1617), William Fennor describes how a ‘garnish’ of a shilling gets him access to the better cells, and payment of a further two shillings provides him with a bed and allows him to keep his cloak (5–6, 61–2).
8 hanged out i.e. taken out and hanged.
10 utmost destined fate.
10 I . . . sleeps H&S compare Plautus, Amphitryon, 282: credo edepol equidem dormire Solem, atque adpotum probe (‘I certainly do believe old Sol’s asleep, asleep and dead drunk’) (Loeb), and New Inn, 4.4.233.
11 He . . . not See 2.2.20n.
12 expect it think of it as something still to come.
13 I . . . fact i.e. I’m tortured by the knowledge of how I ended up here (‘fact’ = crime). Cf Pan’s Ann., 194–5: ‘They have their punishment with their fact.’ H&S find the origin of this sentiment in Seneca, De Ira, 3.26.2: ‘no man is more heavily punished than he who is consigned to the torture of remorse’ (Loeb); but Pug’s remorse is all about being caught for such a trivial offence, one hardly worthy of a devil.
13 SD] in margin in F2
15 at thy posterns behind you. A ‘postern’ was a back door.
15 firk jump, dance.
16 baby foolish child.
18 lest] F2 (least)
18 confute disable. In linking the word with ‘cold’, Jonson plays with the strict meaning of Lat. confutare, to pour cold water into a boiling pot (Whalley).
19 grant-parole leave.
20 against in the face of.
21 Session Court sessions, held quarterly.
22 egression exit.
23 car Used in poetic contexts to suggest a stately vehicle.
24 chariot of triumph Execution carts made their way from Newgate via Holborn to the gallows at Tyburn, frequently followed by celebrating crowds.
25 boozy drunken.
29 may be well may he be.
36 SD] F2, subst. (The great / Deuill en-/ters . . . work) (in margin)
36 SH] G; DⅣ. F2
39 case carcass.
39 heavy slave miserable wretch.
43 murmur’st grumble.
43 proffer positive effort.
47 endangered’st . . . tongue Recalling Pug’s fears at 2.5.2.
48 entire in one piece. Cf. 2.6.32 and note.
49 That So much for.
52 to’ard sympathetic to.
53 This . . . suffering Pug is beaten both for his attempted actions and for being the victim of others’ tricks and initiatives.
58 they’re] F2 (the’are); they are 1641
64 Provincial In Roman Catholic usage, chief of religious order in a district or province.
64 cheaters] F2 state 2; heaters F2 state 1
64 bawd-ledger A resident agent, working as a pimp.
67 brimstone sulphur, traditionally associated with hell: ‘those forcible violent savours and stinking odours are the very delicacies for devils, and allectives to their noses’ (Harsnet, Declaration, 45). Burning brimstone under the nose of a victim of devil possession was standard practice in exorcisms.
73 SD Climbing on the back of a devil provided a final exit for the wastrel in miracle plays and several morality dramas; see the endings of Fulwell’s Like Will to Like and Greene’s Friar Bacon and Friar Bungay. It is the ultimate humiliation for Pug since he is himself a minor devil. See 1.1.37n.
73 SD] in margin in F2
77 SD] G; not in F2
5.7 0.1–2 SD] in margin in F2 (next to 1–7); ACT. Ⅴ. SCENE. ⅥJ. / SHACKLES. KEEPERS. F2
5.7 1–2 A piece . . . brimstone Cf. Harsnet, Discovery, 52: when ‘spirits are . . . vomited out, the devils leaving behind him a great stench: And lastly, Magni tumultus, & cum tumultibus damna, great noise, and therewith danger: as when the devil going out, carrieth a piece of the house with him.’
1 Justice Hall The Sessions House in the Old Bailey (H&S).
2 What a steam Popular imagery regularly associated Newgate prison with hell: in Luke Hutton’s Black Dog of Newgate, it is ‘black Pluto’s cell’ and ‘A Stigion lake, the dungeon of deep hell’ (E2).
3 but now a short while ago.
9 This’s] Wh; This F2
10 I ha’] F2 (I’ ha’)
11 SD] G; not in F2
5.8 0 SD] G, subst; ACT. Ⅴ. SCENE. Ⅷ. / Sir POVLE. MERE-CRAFT. EVER-ILL. / TRAINES. PITFALL. FITZ-DOTTREL. / {To them}/ WITTIPOL. MANLY. Mistresse FITZ-DOT-/TREL. INGINE. To them} GVILT-HEAD. / SLEDGE. to them} SHACKLES. F2
0.4 SD] in margin in F2
5.8 4 Just . . . time Right up to the moment of.
8–159 SH EITHERSIDE] G; POV. F2
9 Let . . . alone Let Master Eitherside handle it.
11 He’s] F2 (H’is)
12 SD] this edn; not in F2
14 SD] this edn; Exit Ambler G; not in F2
16 would . . . stir Proverbial (Dent, S861).
18 You . . . Ladyship Everill spots an opportunity to bolster his credibility: see 4.1.25–8.
21 found found to be.
23 SD] F2, subst. (He beginnes / his fit.) (in margin)
24 garlic Traditionally regarded as effective in warding off demons and evil spirits, presumably by extension from its use against infection and as a general curative.
27 Mayst] F2 (Ma’st)
28 SD] in margin in F2 (next to 30–1)
28 SD interprets expounds, elucidates; or perhaps, makes out the meaning of, explains to himself (OED, 1b). Both senses are relevant, since Eitherside’s mistaken interpretation leads him into pompous pronouncement.
28 SD interprets] interpret F2
31 wis iwis: certainly.
32 a cuckold is Cf. Staple, 1. Int., 28–30. Jonson’s audience (see Prologue, 22 and note) might know the story of how devils got their horns from another very popular play Grim the Collier of Croydon.
33 wanion vengeance.
38 SD] in margin in F2
39–40 play . . . coverlet Jonson adopts Harsnet’s insistent theatrical metaphor as well as his specific description of how ‘the said Somers devised new tricks under a coverlet . . . M. Darrell gave it out that it was the devil that made the motion under the coverlet, which was such an instruction to Somers, as he ceased not to feed that error’ (Discovery, 134–5).
41 outface defy.
47 SD] F2, subst. (His wife goes / to him.) (in margin)
49–52 The devil’s common method of tormenting the bewitched.
54 fair beautiful.
54 Hath . . . you You’re not taken in by this?
57 practice plot.
58 the merrier man] F2 state 2; to be the merrier F2, state 1
58 the merrier man more laughable (than Fitzdottrel).
60 impudence] F2 state 2; insolence F2 state 1
61 SD] Happé, subst.; not in F2, but see massed entry at 5.8.0
67 SD.1] this edn; They whis-/per him. F2 (in margin)
67 tumble roll around, toss.
69 SD.2] in margin in F2
69 SD.2 him] F2 state 2; not in F2 state 1
70 Show Is miming. Darrel claims that Somers ‘acted many sins by signs & gestures, most lively representing & shadowing them out unto us . . . At the end of sundry of these, he laughed exceedingly, diverse times clapping his hands’ (Discovery, 118–19).
71–2 with . . . delighted According to James I, the ‘black stinking fume’ of tobacco was like ‘the horrible stygian smoke of the pit that is bottomless’ (Works, 222), and writers were quick to paint Satan as a smoker, as in Nashe, Pierce Penilesse: ‘It is suspected you have been a great tobacco-taker in your youth’ (Complete Works, ed. McKerrow, 1.181).
72 hum strong ale. Eitherside misinterprets Fitzdottrel’s vocalizings.
75 starch See 1.1.113n. Stubbes asserts that ruffs, ‘lest they should fall down, they are smeared and starched in the Devil’s liquor, I mean starch’ (Anatomy of Abuses, 42).
76 with] F2 state 2; not in state 1
77 pregnant convincing.
81 figgum Not found elsewhere, but the SD at 82 supports Gifford’s conjecture: ‘jugglers’ trick of breathing flames by means of lighted tow (flax)’.
83–7 If . . . himself If the very innocence of the human race were at stake in Fitzdottrel’s madness and subject to Eitherside’s decision as justice, I wouldn’t utter a word to such a fool as Eitherside makes of himself.
86 fool] F2 state 2; fellow F2 state 1
87 He makes himself] F2 state 2; I’d rather fall F2 state 1
87 Oh . . . whisper] F2 state 2; ô they whisper, they whisper, whisper, &c. F2 state 1
87 Oh . . . whisper The ‘&c.’ at the end of this line in state 1 (see collation) suggests that the actor is called upon to improvise at this point.
88–9 Elliptically phrased; the theme of having the devil to dinner is more extensively treated in Gypsies (Burley), 695–798, and (Windsor), 742–817, and News NW, 42.
90 Put ’em asunder Separate them (Manly, Wittipol, and Mrs Fitzdottrel).
91 frantic insane.
92 dotage folly.
95 ends objectives.
96 possibility feasibility.
99 Out of On the basis of.
100 palpable obvious.
100 as as much as.
102 meridian highest standards.
107 purt’nance guts.
109 Paul, jowl Rhyme-words at this date (Cercignani, 1981, 216). Note F2’s spelling ‘Poule’.
110 Crambe Crambo, a rhyming game.
112 gamester clown.
112–14 Οίμοᾐ . . . μυρᾐακᾐς The lament of the Informer who has lost his wealth in Aristophanes’ Ploutos: ‘I’m done, I’m finished, ruined, / Three, four, twelve, a thousand times’ (852–3).
116 Quebrémos . . . burlas Let’s break his eye for a joke (Sp.). Clearly garbled, but Everill restores some apparent sense in 117 by mistranslating ojo as neck.
118 Di . . . parte For kindness’ sake, sir, if you have money, give me some (Sp.).
119–20 Oui . . . Diabletin Yes, yes, sir, a poor devil, a poor little devil (Fr.).
121 several various, many. Johnson compares Marston, Malcontent, 1.3.29–31: ‘the devil: let him possess thee, he’ll teach thee to speak all languages most readily and strangely . . . he’s travelled greatly i’the world’.
121 SD] F2, subst. (Enter the / Keeper of / Newgate) (in margin); to them} SHACKLES F2 (at 5.8.0)
123 fall’n] F2 (falne)
125 body] F2 (body—)
133 St Pulchre’s The church of St Sepulchre, close to Newgate prison.
134 Ware Market town twenty-two miles north of London.
135 credit word.
136 SD] in margin in F2
136 SD leaves leaves off, ceases.
139, 141 him i.e. the devil.
144 my mouse In Darrel’s sham exorcism of the boy of Burton (see 5.3.6–7 and note), the latter is reported as declaring ‘look, look, see you not the mouse that is gone out of my mouth?’ (Harsnet, Discovery, 53).
153 venting proclaiming.
154 providence God’s grace and good fortune.
161 misconstruction from being misinterpreted by.
165 for her succours to help her.
166 counsels motives.
167 apprehend understand.
170 do all ill all do wicked.
174 SD] this edn; not in F2
Epilogue 1–6 ] in italic in F2 ( projector, project, poet, play in roman)
Epilogue Since Manly delivered the final speech, the Epilogue might appropriately be spoken by Wittipol, playing yet another role, and offering a final project to join his earlier efforts at constructive play.
1–2 The couplet recalls the language and cadence of the corresponding moment in Shakespeare’s Temp.: ‘Now my charms are all o’erthrown, / And what strength I have’s mine own’ (Epil., 1–2).
2 project proposal.
3 pass be acceptable.
3–5 no . . . please See 3.5.47n. Jonson introduces the idea of supping at the end of earlier comedies (EMI (Q), Bart. Fair), and associates the theatrical experience with a feast in the epilogue to Alch. and the first prologue to Epicene.
6 nor we i.e. and we (the actors) won’t either. Like Prospero, Jonson throws himself entirely (if ironically) on the mercy of his audience.
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