francis beaumont, the knight oft he burning pestle€¦ · edmund spenser (i552- the faerie queene...

Francis Beaumont, The Knight of the Burning PestleF ir s t p e r fo rm e d i6 0 7 - 8

F ir s t p u b lish e d i6 i3

The K night o f the B urning Pestle w a s w r it te n fo r th e

p r iv a te B la c k fr ia r s T h e a t r e , b u ilt b y R ic h a rd B u rb a g e in i5 9 6 , an d w a s p e r fo rm e d b y a c o m p a n y o f b o y acto rs .

T h e p la y is s ig n ific a n t fo r th e in fo rm a t io n it o ffe rs in

th e In d u c tio n an d e lse w h e re a b o u t c o n te m p o ra ry a c t in g c o m p a n ie s an d th e p u b lic ta ste in th e a tre , as w e l l as o th e r p o p u la r c u ltu ra l fo rm s , su ch as th e c h iv a lr ic ro m a n c e . T h is , to g e th e r w it h its r e p re se n ta tio n o f so c ia l

c la ss , a n d its v e ry sp e c ific sen se o f th e g e o g ra p h y o f L o n d o n an d its e n v iro n s , g iv e s The K night o f the Burning Pestle a p a r t ic u la r a u th o r ity fo r s tu d e n ts o f ea rly s e v e n te e n th -c e n tu ry th e a tre . B e a u m o n t ’ s p la y is a

n e tw o r k o f o v e r la p p in g d ra m a tic n a rra tiv e s . T h e In d u c tio n an d th e In te r lu d e s s u p p ly a c o m m e n ta ry on (an d in te rv e n e in ) th e tw o ‘in n e r ’ n a rra tiv e s , th a t o f

V e n tu re w e ll an d h is fa m ily (th e s to ry o f ‘T h e L o n d o n M e r c h a n t ’) an d th e e n a c tm e n t o f ‘T h e K n ig h t o f th e

B u r n in g P e s t le ’ itse lf. T h a t th e o n e s to ry p a ro d ie s

L o n d o n ’s a s p ir in g m e rc h a n t c la ss , an d th e o th e r sa tir ises th a t c la ss ’s ta ste fo r c h iv a lr ic ro m a n c e , g iv e s th e p la y a sp e c ia l sen se o f to p ic a lity . T h e C it iz e n ’s ‘D o w n

w it h y o u r t it le , b o y , d o w n w ith y o u r t it le ! ’ ( In d u c tio n , 29 ), in re sp o n se to w h a t h e p re d ic ts w i l l b e y e t a n o th e r B la c k fr ia r s p la y p o k in g fu n at h is c la ss, is h u m o ro u s b u t a lso e m p h a tic ; it is a c ry fro m th e h e a rt o f a c lass th a t w a s se n sit ive a b o u t its o w n e m e rg in g , b u t as y e t i ll-

d e fin e d , p o s it io n at th e c e n tre o f L o n d o n ’s e c o n o m ic an d so c ia l t ra n s fo rm a tio n .

T h e s e n s it iv ity to so c ia l r a n k a n d id e n tity is

c o n firm e d as it is e x p o se d in V e n tu re w e ll ’ s a tte m p ts at

m a n ip u la t io n in th e b u s in e ss o f h is d a u g h te r L u c e ’s m a rr ia g e : h e is e n t ire ly w i l l in g to e n h a n c e h is so c ia l p o s it io n at th e e x p e n se o f h is d a u g h te r ’ s g e n u in e d esire fo r th e ‘u n su ita b le ’ Ja s p e r . In tu rn , Ja s p e r , s im ila r ly d ism iss e d b y h is o w n m o th e r , can re ly o n n e ith e r

p ro fe s s io n a l b o n d s (h is in d e n tu re s as an ap p re n tice ) o r fa m ily lo y a lty . A s fo r h is lo v e fo r L u c e , an d h e r lo v e fo r h im , th e se b e c o m e te l lin g ly c o n fu s e d b y th e p la y ’s c o n t in u a l re c o u rse to th e e n a c tm e n t o f c h iv a lr ic c o d e s , su ch as in th e scen e in W a lt h a m F o r e s t in A c t I I I

w h e re J a s p e r ‘te s ts ’ L u c e . H u m o ro u s a n d b iz a rre as th e y are , su ch e p iso d e s s u g g e st th a t in th is d ra m a tic w o r ld , as m u c h as in a n y tra g e d y , th e ‘e x p e r ie n c e ’ o f th e so c ia l

is d ic ta te d b y ‘c o d e s ’ o f r e p re se n ta tio n th a t are sh a p e d b y v a lu e ju d g e m e n ts w h ic h c o n fin e ra th e r th a n lib e ra te .

T h e e n actm en t o f ‘T h e K n ig h t o f th e B u rn in g P e stle ’

su perfic ia lly su ggests an in n o ce n t p reo ccu p atio n b y th e c itizen s w ith th e o ld stories o f ch iva lr ic ad ven tu re and

n o b ility . T h e y ce leb rate , an d B e a u m o n t p aro d ies , th e tales

o f G u y o f W a r w ic k an d B e v is o f H a m p to n , m e sh in g th ese w ith n arratives d erived fro m p o p u la r S p a n ish prose ro m an ces. H o w e v e r , su ch evo ca tio n s o f th e p ast also h ad

a c lear p lace in th e o ffic ia l an d s e m i-o ffic ia l d iscou rse o f th e T u d o r an d ea rly S tu a rt state. E d m u n d S p e n se r (i5 52 - 99) h a d w ritte n h is ch iva lric ro m an ce , The Faerie Queene ( i5 9 0 -6 ) , w ith a seriousn ess th a t b o rd e rs o n the m ela n ch o lic , fra m in g a m y th o lo g ise d n atio n a l h isto ry th a t

u n d e rp in n e d E liz a b e th a n P ro te sta n t id en tity . The Faerie Queene is re fe rred to in The Knight o f the Burning Pestle ( I I . i8 0 ) , b u t th e co n trast b e tw een S p en ser ’s stately ep ic an d B e a u m o n t ’s p aro d y is c o m p lete , u n d e rm in in g a

p ro je ct th a t, in m o re w id e ly accessib le fo rm s th an Sp en ser ’s, w a s rep resen ted in b a llad s, p agea n ts an d o th er

p o p u la r fo rm s o f en terta in m en ts.S o m e o f th e se e n te r ta in m e n ts w e re p re se n te d at M i le

E n d an d it is n o t s u rp r is in g th a t , to w a rd s th e e n d o f

The Knight o f the Burning Pestle, th e a c tio n sh ifts to th is lo c a t io n . H e r e , b e y o n d th e c ity w a lls o f L o n d o n , w a s w h e re th e serio u s b u s in e ss o f t ra in in g so ld ie rs h a d t ra d it io n a lly ta k e n p la c e , an a c t iv ity th a t th e p la y p a ro d ie s in a su b v e rs iv e w a y . Y e t it w a s a lso th e scen e

o f th e k in d o f ‘m is ru le ’ an d c a rn iv a l e sp o u se d b y R a fe an d M e r r y th o u g h t , b u t se v e re ly c o n d e m n e d b y th e P u rita n s w h o w e re e m e r g in g as th e m o re p o w e r fu l an d p o lit ic a lly m o tiv a te d re p re se n ta tiv e s o f th e so c ia l c lass

fro m w h ic h B e a u m o n t d r e w h is ch a ra c te rs .The Knight o f the Burning Pestle is a c o m p e llin g an d

o fte n h ila rio u s acco u n t o f th e w o rk in g s o f early se v e n te e n th -c e n tu ry th e atre , a p a ro d y o f co n te m p o ra ry co n cern s o v e r an e v o lv in g system o f so c ia l c lass, an d a

cr itiq u e o f an ea rlie r g e n re o f p la ys th a t ce leb ra ted an id ea l o f ‘M e r r y E n g la n d ’, su ch as T h o m a s D e k k e r ’s The Shoemakers Holiday (i59 9 ). Y e t m a n y critics agree th a t th e fra m in g d ev ice o f th e In d u c tio n an d In terlu d es tem p ts us to sh are th e c o n sid era b le an d , fin a lly ,

u n attractive , p re ju d ices o f th e C it iz e n an d h is W ife . In d e e d , th e p la y m a y p u t us in th e p o sitio n o f e n d o rs in g e a sy so lu tio n s to th e p ro b le m a tic so c ia l d istin c tio n s th a t

sh ap e th e w o r ld o f th e p la y , fa v o u r in g a sen se o f o rd er

ab o ve th e ch a o s th a t is ach ieved th ro u g h th e in te rsectio n

The Routledge Anthology of Renaissance Drama, edited by Simon Barker, and Hilary Hinds, Routledge, 2002. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/villanova-ebooks/detail.action?docID=180234.Created from villanova-ebooks on 2020-03-17 13:42:37.

F R A N C IS B EA U M O N T

o f so c ia l c lass w ith ch iv a lr ic ro m a n c e an d fe stive release.

M e rry th o u g h t , w ith h is co n sta n t reco u rse to so n g in th e face o f ad vers ity , m ak es us la u g h u n til, p erh a p s , w e co n s id e r th e te rm s, an d p rice , o f h is g o o d h u m o u r. A s

A r th u r K in n e y h as re m a rk e d , ‘M e rry th o u g h t , a fter all, is

fo re ve r g e n ia l, y e t th a t v e ry g e n ia lity d e p e n d s o n the w illin g n e ss o f o th ers to su p p o rt h im - h e su rvives o n the

le g a c y o f o th ers . H e can also carry h is o n e -d im e n s io n a l p h ilo so p h y to an excess w e w o u ld co n s id e r in h u m a n : “ I f b o th m y son s w e re o n th e g a llo w s, I w o u ld s in g ” ’

(K in n e y 19 9 9 : 389). A s w ith m u c h o f th e c o m e d y o f th e p e r io d , The Knight o f the Burning Pestle su g g ests th at, b e y o n d th e la u g h te r , th e re w a s a v e ry real u n ce rta in ty in th e s h ift fro m a la te -m e d ie v a l w o r ld in to a re co g n isa b ly

m o d e rn on e.

Textual noteThe Knight o f the B urning Pestle w a s o n ce th o u g h t to h a ve b e e n w r it te n jo in t ly b y F ra n c is B e a u m o n t an d h is

lo n g - te r m c o lla b o ra to r , J o h n F le tc h e r ( 15 7 9 - 16 2 5 ) , b u t w e fo llo w re c e n t e d ito rs , a n d th e e v id e n c e o f c a re fu l an a ly sis o f th e p la y ’s s ty lis t ic c o h e s io n , in a ttr ib u t in g it to B e a u m o n t a lo n e . T h is e d it io n is b a se d o n th e q u a rto o f 16 13 (re fe rre d to in th e fo o tn o te s as Q i) an d th e tw o

fu r th e r q u a rto s d a te d 1635 (Q 2 an d Q 3). T h e p la y w a s re p r in te d fro m Q 3 (w h ic h m a y , in fa c t , h a v e b e e n la te r th a n i635) fo r th e se c o n d B e a u m o n t an d F le tc h e r fo lio o f 16 7 9 . C o p ie s o f th e se e a rly e d it io n s are h e ld in th e

B r it is h L ib r a r y in L o n d o n . T h is e d it io n re p ro d u c e s th e s e v e n te e n th -c e n tu ry d iv is io n o f th e p la y in to A c t s an d

In te r lu d e s ; fu r th e r su b d iv is io n ( in to sce n e s) , a lth o u g h fa v o u re d b y so m e m o d e rn e d ito rs , su g g e sts an u n d e rm in in g o f th e u n u su a l sen se o f p a ce an d c o h e s io n

a c h ie v e d b y th e c o n t in u e d p re se n c e o n th e s tag e o f th e C it iz e n an d th e C it iz e n ’ s W if e .

Further reading

EditionsD yce, A lexand er (ed.) (1843-6) The Works of Beaumont and

Fletcher, London : Ed w ard M oxo n.H attaw ay, M ich ae l (ed.) (1970) The Knight o f the Burning

Pestle, T h e N e w M erm aids, Lond on : A . & C . B lack. K inney, A rth u r F . (ed.) (1999) Renaissance Drama: An

Anthology of Plays and Entertainments, O xford: Blackw ell. M u rch , H . S. (1908) The Knight o f the Burning Pestle, Yale

Studies in English, X X X I I I , N ew Y o rk , N Y .W in e, M . L . (ed.) (1969) Drama of the English Renaissance,

M od ern L ib rary C ollege E d ition s, N ew Y o rk , N Y : Random H ouse.

Critical and contextual commentariesA spin all, D . (i997) ‘T h e R o le o f F o lk H u m o r in i7th-century

Receptions o f B eaum ont’s The Knight of the Burning Pestle, Philological Quarterley, 76, 2: 16 9 -9 1.

B liss, L e e (1987) ‘“D o n Q uixote in E n g lan d ” : T h e C ase for The Knight o f the Burning Pestle, Viator: Medieval and Renaissance Studies, i8: 36 i-80 .

B liss, L e e (i987) Francis Beaumont, B oston , M A : T w ayn e Publishers.

B risto l, M ich ae l D . (i985) Carnival and Theater, London : M ethuen.

C o o k , A n n J . (1981) The Privileged Playgoers of Shakespeare's London 15/6-1642, Princeton, N J: Princeton U niversity Press.

Finkelpearl, P hilip J. (i990) Court and Country Politics in the Plays of Beaumont and Fletcher, Princeton, N J: Princeton U niversity Press.

H attaw ay, M ich ae l (1982) Elizabethan Popular Theatre, Lo n don : Routledge and Kegan Paul.

Iselin , P ierre (ed.) (1996) Francis Beaumont and John Fletcher: The Knight o f the Burning Pestle, Paris, France: D id ier Erudition .

K irsch, A rth u r C . (i972) Jacobean Dramatic Perspectives, C harlottesville , V A : U niversity o f V irgin ia Press.

Leech , C liffo rd (i962) The John Fletcher Plays, London:C h atto & W indus.

Lesser, Z . (1999) ‘W alter B urre’s The Knight o f the Burning Pestle, English Literary Renaissance, 29, i: 22-43.

L in dsay , E . S. (i924) ‘T h e M u sic o f the Songs in F letcher’s P lays,’ Studies in Philology, X X I .

M iller, R on ald F . (i978) ‘D ram atic Form and D ram atic Im agination in B eaum on t’s The Knight o f the Burning Pestle, English Literary Renaissance, 8, i: 67-84.

O sbourne, Lau rie E . (i99i) ‘Fem ale A udiences and Fem ale A u th ority in The Knight o f the Burning Pestle, Exemplaria,3 , 2 : 4 9 i - 5i7 .

Sam uelson, D avid A . (i979) ‘T h e O rder in B eaum ont’s Knight of the Burning Pestle, English Literary Renaissance, 9, 2: 302-18 .

Steinberg, G len n A . (1991) ‘“Y o u K no w the P lot/W e B oth A greed On#” : P lot, Self-consciousness, and The London Merchant in B eaum on t’s The Knight o f the Burning Pestle, Medieval and Renaissance Drama in England, 5: 2 ii-24 .

W eim an n , R ob ert (i978) Shakespeare and the Popular Tradition in the Theatre, Lo n don , Baltim ore, M D : Johns H opkins U niversity Press.

W orks o f related interestT h om as K yd, The Spanish Tragedy (i585)A n o n ., Mucedorus (i588)G eo rge Peele, The Old Wives’ Tale (1591)G eo rge Peele, Edward I (i59i)T h om as H eyw ood , The Four Prentices o f London (1594)T h om as D ekker, The Shoemaker’s Holiday (i599)T h om as D ekker, Old Fortunatus (i599)G eo rge C hapm an , B en Jonson and John M arsto n , Eastward

Ho! (1605)T h om as H eyw ood , I f You Know Not Me You Know Nobody

(i605)John D ay, W illiam R ow ley and G eo rge W ilk in s, The Travels

of the Three English Brothers (1607)

The Knight of the Burning Pestle (1607)

To His Many Ways Endeared Friend Master Robert KeysarS ir , th is u n fo rtu n a te c h ild w h o in e ig h t d ay s (as la te ly I h a v e le a rn e d ) w a s b e g o t a n d b o rn , so o n a fte r w a s b y h is

p a re n ts (p e rh a p s b e ca u se h e w a s so u n lik e h is b re th re n ) e x p o se d to th e w id e w o r ld , w h o fo r w a n t o f ju d g e m e n t , o r n o t u n d e rs ta n d in g th e p r iv y m a r k o f iro n y a b o u t it (w h ic h sh o w e d it w a s n o o f fs p r in g o f a n y v u lg a r b ra in )

u tte r ly re je c te d it ; so th a t fo r w a n t o f ac c e p ta n c e it w a s

even re a d y to g iv e u p th e g h o s t , an d w a s in d a n g e r to h a v e b e e n sm o th e re d in p e rp e tu a l o b liv io n , i f y o u (o u t o f y o u r d ire c t a n t ip a th y to in g ra titu d e ) h a d n o t b e en m o v e d b o th to re lie ve a n d c h e ris h it. W h e r e in I m u st

n eed s c o m m e n d b o th y o u r ju d g e m e n t , u n d e rs ta n d in g ,

an d s in g u la r lo v e to g o o d w its . Y o u a fte rw a rd s sen t it to m e , y e t b e in g an in fa n t a n d s o m e w h a t ra g g e d ; I h a ve fo s te re d it p r iv a te ly in m y b o so m th e se tw o y e a rs , an d n o w to s h o w m y lo v e re tu rn it to y o u , c la d in g o o d

la s t in g c lo th e s , w h ic h scarce m e m o ry w il l w e a r o u t, an d ab le to s p e a k fo r it se lf ; a n d , w ith a l, as it te lle th m e , d e s iro u s to try h is fo rtu n e in th e w o r ld , w h e re i f y e t it b e w e lc o m e , fa th e r , fo s te r - fa th e r , n u rse , an d c h ild , all

h a v e th e ir d e s ire d e n d . I f it b e s lig h te d o r tra d u c e d , it

h o p e s h is fa th e r w i l l b e g e t h im a y o u n g e r b ro th e r w h o sh a ll re v e n g e h is q u a rre l, a n d c h a lle n g e th e w o r ld e ith e r

o f fo n d an d m e re ly lite ra l in te rp re ta t io n , o r illite ra te m is p r is io n . P e rh a p s it w i l l b e th o u g h t to b e o f th e race

R obert Keysar: L o n d on goldsm ith w ho, from about i606, had financed T h e C hildren o f the Revels at the B lackfriars Theatre

i eight days: the period o f com position (taken literally by m any scholars)

2-3 his parents: one piece o f evidence for the idea o f jo in t authorship, i.e. w ith Jo h n Fletcher

3 brethren: other plays6 no offspring . . . vulgar brain: not an ordinary citizen

com edy7 utterly rejected: either it was not perform ed or it was not

appreciatedi4 ragged: the author’s foul papers (m anuscript)20 father, foster-father, nurse, and child: i.e. author,

dedicatee, publisher, and play

o f Don Quixote: w e b o th m a y c o n fid e n t ly sw e a r it is h is e ld e r ab o ve a y e a r ; a n d th e re fo re m a y (b y v irtu e o f h is b ir th r ig h t) c h a lle n g e th e w a ll o f h im . I d o u b t n o t b u t

th e y w il l m e e t in th e ir a d v e n tu re s , an d I h o p e th e b re a k in g o f o n e s t a f f w i l l m a k e th e m fr ie n d s ; an d p e rh a p s th e y w i l l c o m b in e th e m s e lv e s , an d trav e l th ro u g h th e w o r ld to se e k th e ir a d v e n tu re s. S o I c o m m it h im to h is g o o d fo rtu n e , an d m y s e l f to y o u r

lo v e . 3 4Y o u r assu re d fr ie n d

W .B .

To the Readers of this ComedyG e n t le m e n , th e w o r ld is so n ic e in th e se o u r t im e s , th a t fo r a p p a re l, th e re is n o fa s h io n ; fo r m u s ic , w h ic h

is a ra re a rt ( th o u g h n o w s lig h te d ) , n o in s tru m e n t ; fo r d ie t , n o n e b u t th e F r e n c h k ic k s h a w s th a t are d e lic a te ; a n d fo r p la y s , n o in v e n t io n b u t th a t w h ic h n o w ru n n e th an in v e c t iv e w a y , to u c h in g so m e p a r t ic u la r p e r so n , o r e lse it is c o n te m n e d b e fo r e it is t h r o u g h ly

u n d e rs to o d . T h i s is a ll th a t I h a v e to sa y , th a t th e a u th o r h a d n o in te n t to w r o n g a n y o n e in th is c o m e d y , b u t as a m e r r y p a s sa g e , h e re a n d th e re in te r la c e d it

w it h d e l ig h t , w h ic h h e h o p e s w i l l p le a se a ll, a n d b e

h u r t fu l to n o n e . 12

26 Don Quixote: the first part o f C ervantes’ novel wasprinted in Spain in i 605 and an E n glish translation (by Shelton) appeared in i6 i2 , but both the original and the translation are know n to have circulated in som e form before this

28 challenge the wall: claim the safer part o f a footpath (close to the wall) and thus take precedence

30 breaking o f one staff: an incident from Cervantes36 W .B .: W alter B urre, the publisher

i nice: fastidious4 kickshaws: from quelque chose (French), dainties7 throughly: thoroughly

The PrologueW h e r e th e b e e can su c k n o h o n e y , sh e le aves h e r s t in g b e h in d ; an d w h e re th e b e a r c a n n o t fin d o r ig a n u m to

h e a l h is g r ie f , h e b la s te th a ll o th e r le a v e s w ith h is

b re a th . W e fe a r it is lik e to fa re so w it h u s , th a t s e e in g y o u c a n n o t d ra w fro m o u r la b o u rs sw e e t c o n te n t , y o u le a v e b e h in d y o u a so u r m is lik e a n d w it h o p e n re p ro a c h b la m e o u r g o o d m e a n in g b e c a u se y o u c a n n o t reap th e

w o n te d m ir th . O u r in te n t w a s at th is t im e to m o v e

in w a rd d e lig h t , n o t o u tw a rd lig h tn e ss ; an d to b re e d ( i f it m ig h t b e) s o ft sm ilin g , n o t lo u d la u g h in g , k n o w in g it to th e w is e to b e as g re a t p le a su re to h e a r c o u n se l m ix e d w ith w it , as to th e fo o lis h to h a v e sp o rt m in g le d w ith

ru d e n e ss . T h e y w e re b a n is h e d th e th e a tre o f A th e n s , an d fro m R o m e h is se d , th a t b ro u g h t p a ra s ite s o n th e stag e w it h a p ish a c tio n s , o r fo o ls w ith u n c iv il h a b its , o r c o u rte z a n s w it h im m o d e s t w o rd s . W e h a ve e n d e a v o u re d to b e as fa r fro m u n se e m ly sp e ech e s to

m a k e y o u r ea rs g lo w , as w e h o p e y o u w il l b e fre e fro m u n k in d re p o rts , o r , m is ta k in g th e a u th o r ’s in te n tio n

(w h o n e v e r a im e d at an y o n e p a rt ic u la r in th is p la y ) , to m a k e o u r c h e e k s b lu sh . A n d th u s I le a v e it a n d th e e to th in e o w n c e n su re , to lik e , o r d is lik e . Vale. 22

The Speakers’ NamesTH E PROLOGUE

Then a c i t i z e n , g e o r g e

The c i t i z e n ’s w i f e , n e l l , and

r a f e , her man, sitting below amidst the spectators

v e n t u r e w e l l , a rich m e r c h a n t

j a s p e r , his apprentice

m a s t e r HUM PHREY, a fr ie n d to the merchant

l u c e , the merchants daughter

m i s t r e s s m e r r y t h o u g h t , Jaspers mother

M ICHAEL, a second son o f Mistress Merrythought

OLD M ASTER M ERRYTHO UGHT

TIM , a SQUIRE If Apprentices

GEORGE, a DWARF J 1 1

A T APSTER

T h e Prologue: from Q 2, reprinted Sapho and Phao (1584) by Jo h n L y ly (c. 1554-1606)

2 origanum : a herb o f the m arjoram fam ilyi4 parasites: low -born (som etim es grotesque) attendants

upon the rich 22 Vale\ farewell

T h e Speakers’ N am es: from Q 2

A b o y that danceth and singeth

AN HOST

A BARBER

Three k n i g h t s supposed captives

A w o m a n , supposed captive

A SERGEANT

SOLDIERS

w i l l i a m h a m e r t o n , a pewterer

g e o r g e g r e e n g o o s e , a poulterer

p o m p io n a , a daughter to the K in g o f M oldavia

Boys, Gentlemen, Attendants, Servants

Inductiong e n t l e m e n seated upon the stage. The c i t i z e n , his w i f e , and r a f e below among the audience

E n ter p r o l o g u e

p r o l o g u e F r o m all th a t ’ s n e a r th e c o u rt , fro m all th a t ’s g re a t

W it h in th e c o m p a ss o f th e c ity -w a lls ,W e n o w h a v e b ro u g h t o u r sce n e —

E n ter c i t i z e n on to the stage from the audience below

c i t i z e n H o ld y o u r p e a c e , g o o d m a n b o y .

p r o l o g u e W h a t d o y o u m e a n , sir? c i t i z e n T h a t y o u h a ve n o g o o d m e a n in g . T h is seven

y e a rs th e re h a th b e e n p la y s at th is h o u se , I h a v e

o b se rv e d it , y o u h a v e still g ird s at c it iz e n s ; an d n o w y o u ca ll y o u r p la y The London Merchant. D o w n w ith

y o u r t it le , b o y , d o w n w it h y o u r tit le ! 10

p r o l o g u e A r e y o u a m e m b e r o f th e n o b le c ity ? c i t i z e n I am .

Three k n ig h t s : eds (T w o k n ig h t s Q2)sd g e n t l e m e n : tobacco-sm oking gallants w ho paid for

seats on the stage1 court: at W estm inster2 city-w alls: the walls that enclosed Lo nd on north o f the

Tham es4 H o ld your peace, goodm an boy: parody o f jo h n D ay ’s Isle

of Gulls (1606) in w hich the Prologue is interrupted byplaygoers telling him w hat they w ant to see

6 -7 T h is seven . . . this house: T h e C hildren o f the Revelsplayed at B lackfriars from 1600 to 1608

8 still: always girds: sneers

9 The London Merchant, probably the p lay about Venturew ell and his fam ily

10 title: a placard bearing the title o f the play11 m em ber: citizen

T H E K N IG H T OF T H E B U R N IN G P E S T L E

p r o l o g u e A n d a fre e m a n ?

c i t i z e n Y e a , an d a g ro c e r .p r o l o g u e S o , g ro c e r , th e n b y y o u r sw e e t fa v o u r , w e

in te n d n o ab u se to th e c ity .

c i t i z e n N o , sir? Y e s , sir! I f y o u w e re n o t re so lv e d to

p la y th e ja c k s , w h a t n e e d y o u s tu d y fo r n e w su b jec ts , p u rp o se ly to ab u se y o u r b e tte rs? W h y co u ld n o t y o u

b e c o n te n te d , as w e l l as o th e rs , w it h The Legend o f Whittington, o r The L ife and Death o f S ir Thomas Gresham, with the B uild ing o f the R oyal Exchange, o r

The Story o f Queen Elenor, w ith the Rearing o f London Bridge upon Woolsacks'? 24

p r o l o g u e Y o u seem to b e an u n d e rs ta n d in g m a n .W h a t w o u ld y o u h a ve us d o , sir?

c i t i z e n W h y , p re se n t s o m e th in g n o ta b ly in h o n o u r o f th e c o m m o n s o f th e c ity .

p r o l o g u e W h y , w h a t d o y o u say to The L ife and Death o f F a t Drake, or The Repairing o f Fleet-prizies? 3 0

c i t i z e n I d o n o t lik e th a t ; b u t I w i l l h a v e a c it iz e n , an d

h e sh a ll b e o f m y o w n trad e . p r o l o g u e O h , y o u sh o u ld h a v e to ld us y o u r m in d a

m o n th s in ce . O u r p la y is re a d y to b e g in n o w . c i t i z e n ’T i s a ll o n e fo r th a t ; I w i l l h a v e a g ro c e r , an d

h e sh a ll d o a d m ira b le th in g s .

p r o l o g u e W h a t w i l l y o u h a v e h im do? c i t i z e n M a r r y , I w i l l h a v e h im —

w i f e below

w i f e H u s b a n d , h u sb a n d .

RAFE below

13 freem an: one enjoying the privileges o f the C ity fo llow ing a successful apprenticeship

14 grocer: one o f L o n d o n ’s twelve great livery com panies (which also included the M ercers, D rapers, F ishm ongers, G oldsm iths, Skinners, M erch an t T aylors, H aberdashers, Salters, Ironm ongers, V intners and Clothw orkers)

15 favour: p lay on ‘face’18 p lay the jacks: p lay tricks (i.e. ‘p lay the knave’)19 betters: adult com panies

2 0 -4 all plays that glorified London . D ick W h ittin gton was the legendary L o rd M ay o r w ho rose to his position from low estate; a p lay about him was entered in the Stationers’ Register in i605. T h om as G resham appears in I f You Know Not Me, You Know Nobody, (i605) by T h om as H eyw ood ; he built the R oyal Exchange, a place o f resort opened by E lizabeth I. Q ueen E leano r appears in Edward I (i59i) b y G eo rge Peele; ‘T h e B u ild in g o f Lo n d on B rid ge upon W oolsacks’ was a contem porary dance inspired by the raising o f taxes on w ool to finance the bridge

25 understanding: a jo k e referring to the fact that the spectators w ere below the stage

28 com m ons: the body o f freemen 29-30 The Life . . . Fleet-prizies: probably an invention (Fleet

D itch was used as a sewer)36 adm irable: w onderful

r a f e P e a c e , m is tre ss . 4 0

w i f e H o ld th y p e a c e , R a fe ; I k n o w w h a t I d o , I w a rra n t ’e e .— H u s b a n d , h u sb a n d .

c i t i z e n W h a t sa y ’st th o u , co n y ?

w i f e L e t h im k il l a l io n w it h a p e stle , h u s b a n d ; le t h im

k ill a l io n w ith a p estle . c i t i z e n S o h e sh a ll.— I ’l l h a v e h im k ill a l io n w ith a

p estle .w i f e H u s b a n d , sh a ll I c o m e u p , h u sb a n d ? c i t i z e n A y , c o n y .— R a fe , h e lp y o u r m is tre ss th is

w a y .— P ra y , g e n t le m e n , m a k e h e r a litt le ro o m .— I p ra y y o u , s ir , le n d m e y o u r h a n d to h e lp u p m y w ife ;I th a n k y o u , s ir .— S o . 52

w i f e comes up on to the stage

w i f e B y y o u r le a v e , g e n t le m e n a ll, I ’m so m e th in g tro u b le s o m e ; I ’m a s tra n g e r h e re ; I w a s n e ’er at o n e o f th e se p la y s , as th e y say , b e fo re ; b u t I s h o u ld h a v e seen

Ja n e Shore o n c e , an d m y h u s b a n d h a th p ro m is e d m e

a n y t im e th is tw e lv e m o n th to c a rry m e to The Bold Beauchamps; b u t in tru th h e d id n o t. I p ra y y o u b e a r

w ith m e.c i t i z e n B o y , le t m y w ife an d I h a v e a c o u p le o f s to o ls ,

an d th e n b e g in , an d le t th e g ro c e r d o rare th in g s . 6 1

p r o l o g u e B u t s ir , w e h a v e n e v e r a b o y to p la y h im ;e v e ry o n e h a th a p a rt a lread y .

w i f e H u s b a n d , h u s b a n d , fo r G o d ’ s sak e le t R a fe p la y h im ; b e sh re w m e i f I d o n o t th in k h e w il l g o b e y o n d

th e m all.c i t i z e n W e l l re m e m b e re d , w i fe .— C o m e u p , R a f e .—

I ’l l te ll y o u , g e n t le m e n , le t th e m b u t le n d h im a su it o f re p a re l an d n e c e ssa r ie s , a n d , b y g a d , i f a n y o f th e m

all b lo w w in d in th e ta il o n h im , I ’l l b e h a n g e d . 7 0

r a f e comes up on to the stage

w i f e I p ra y y o u , y o u th , le t h im h a v e a su it o fre p a re l.— I ’l l b e sw o rn , g e n t le m e n , m y h u s b a n d tells

y o u tru e : h e w il l act y o u so m e tim e s at o u r h o u se , th a t

all th e n e ig h b o u rs c ry o u t o n h im . H e w i l l fe tc h y o u up a c o u ra g in g p a rt so in th e g a rre t , th a t w e are a ll as fe a re d , I w a rra n t y o u , th a t w e q u a k e a g a in . W e ’ll fe a r

43 cony: rabbit (and term o f endearm ent)44 kill a . . . a pestle: the kind o f rom ance satirised in The

Knight o f the Burning Pestle often included battles w ith w ild anim als. A n apprentice in T h om as H eyw ood ’s The Four Prentices o f London (c. i594) claims he killed a lion

48 shall I com e up?: w om en rarely sat on the stage 65 Jane Shore: m istress o f Edw ard I V w ho appears in

H eyw ood ’s Edward IV (i599)57-8 The Bold Beauchamps: a lost p lay attributed to H eyw ood

65 beshrew me: ‘the devil take m e’69 reparel: apparel (archaic)70 blow w ind in the tail: com e near (from horse-racing)74 cry out: com plain o f75 couraging: spirited

o u r c h ild re n w it h h im : i f th e y b e n e v e r so u n ru ly , d o

b u t c ry , ‘R a fe c o m e s , R a fe c o m e s ’, to th e m , an d th e y ’ll b e as q u ie t as la m b s .— H o ld u p th y h e a d , R a fe ; sh o w th e g e n t le m e n w h a t th o u c a n s t d o ; sp e a k a

h u f f in g p a rt ; I w a rra n t y o u th e g e n t le m e n w il l a cce p t

o f it. 82c i t i z e n D o , R a fe , d o .

r a f e B y h e a v e n , m e th in k s it w e re an ea sy le a p T o p lu c k b r ig h t h o n o u r fro m th e p a le - fa c e d m o o n ,O r d iv e in to th e b o tto m o f th e sea

W h e r e n e v e r fa th o m -lin e to u c h e d a n y g ro u n d A n d p lu c k u p d ro w n e d h o n o u r fro m th e la k e o f h e ll.

c i t i z e n H o w sa y y o u , g e n t le m e n , is it n o t as I to ld y o u ? 9 0

w i f e N a y , g e n t le m e n , h e h a th p la y e d b e fo re , m y h u s b a n d say s, M u c e d o r u s b e fo re th e w a rd e n s o f o u r co m p a n y .

c i t i z e n A y , a n d h e sh o u ld h a v e p la y e d J e r o n im o w ith

a s h o e m a k e r fo r a w a g e r .

p r o l o g u e H e sh all h ave a su it o f ap p are l i f h e w ill g o in . c i t i z e n In , R a fe ; in , R a fe ; an d set o u t th e g ro c e ry in

th e ir k in d , i f th o u lo v ’ st m e . E x it r a f ew i f e I w a rra n t o u r R a fe w il l lo o k fin e ly w h e n h e ’ s

d re sse d . 10 0

p r o l o g u e B u t w h a t w i l l y o u h a v e it ca lle d ? c i t i z e n The Grocers’ Honour.p r o l o g u e M e t h in k s The Knight o f the Burning Pestle

w e re b e tte r .

w i f e I ’l l b e s w o rn , h u s b a n d , th a t ’ s as g o o d a n a m e as can b e .

c i t i z e n L e t it b e so . B e g in , b e g in ; m y w ife a n d I w i l l s it d o w n .

p r o l o g u e I p ra y y o u , d o .

c i t i z e n W h a t s ta te ly m u sic h a v e y o u ? Y o u h a ves h a w m s? i n

81 huffing: bom bastic84-8 B y heaven . . . o f hell: a version o f H otspur’s speech in

1 Henry IV, I .iii.19 9 -3 ; Shakespeare’s fourth line reads: ‘A n d pluck up drowned honour b y the locks’ (Rafe substitutes a contem porary com m onplace)

92 M ucedorus: reference to a popular anonym ous p lay o f the late sixteenth century that m ixed high rom ance w ith buffoonerybefore the wardens: livery com panies played at the G uild h all and at court; the com panies w ere directed by wardens

94 Jeron im o: i.e. H ieron im o, the protagonist o f The Spanish Tragedy

96 go in: to the tiring-house (behind the stage) where costumes were kept

97-8 in their kind: each com pany had its d istinctive livery 103 The Knight o f the Burning Pestle: a pestle w ould be used

by grocers as a tool in the preparation o f their w ares, but it also had a phallic connotation. ‘B u rn in g ’ m eans ‘gilded ’ but also refers to the effects o f syphilis

i i i shawm s: early oboes

p r o l o g u e S h a w m s? N o .

c i t i z e n N o ? I ’m a t h ie f i f m y m in d d id n o t g iv e m e so. R a fe p la y s a s ta te ly p a rt , an d h e m u st n e e d s h a ve s h a w m s ; I ’l l b e at th e c h a rg e o f th e m m y s e lf , ra th e r

th a n w e ’ll b e w ith o u t th e m .

p r o l o g u e S o y o u are lik e to b e . c i t i z e n W h y , an d so I w i l l b e . T h e r e ’s tw o sh illin g s ;

le t ’ s h a ve th e w a its o f S o u th w a rk . T h e y are as rare fe llo w s as an y are in E n g la n d ; an d th a t w il l fe tc h th e m all o ’e r th e w a te r w it h a v e n g e a n c e , as i f th e y

w e re m a d . 12 2p r o l o g u e Y o u sh all h a ve th e m . W il l y o u s it d o w n th en ? c i t i z e n A y . C o m e , w ife .w i f e S it y o u m e rry a ll, g e n t le m e n . I ’m b o ld to sit

a m o n g s t y o u fo r m y ease . p r o l o g u e F r o m all th a t ’ s n e a r th e c o u rt , fro m all th a t ’s

g re a tW it h in th e c o m p a ss o f th e c ity -w a lls ,W e n o w h a v e b ro u g h t o u r scen e . F l y fa r fro m h e n ce

A l l p r iv a te ta x e s , im m o d e s t p h ra se s , i 3 0W h a t e ’e r m a y b u t sh o w lik e v ic io u s :

F o r w ic k e d m ir th n e v e r tru e p le a su re b r in g s ,B u t h o n e st m in d s are p le a se d w ith h o n e st th in g s . — T h u s m u c h fo r th a t w e d o ; b u t fo r R a f e ’s p a rt y o u

m u st a n sw e r fo r y o u rse lf . E x itc i t i z e n T a k e y o u n o ca re fo r R a fe ; h e ’ll d isc h a rg e

h im s e lf , I w a rra n t y o u . w i f e I ’ fa ith , g e n t le m e n , I ’l l g iv e m y w o r d fo r R a fe .

Act IE n ter m e r c h a n t v e n t u r e w e l l and j a s p e r , his prentice

m e r c h a n t S ir ra h , I ’l l m a k e y o u k n o w y o u are m y p re n tic e ,

A n d w h o m m y c h a r ita b le lo v e re d e e m e d

E v e n fro m th e fa ll o f fo rtu n e ; g a v e th e e h e a t A n d g r o w th to b e w h a t n o w th o u art, n e w c a s t th e e ; A d d in g th e tru st o f a ll I h a v e at h o m e ,

In fo re ig n sta p le s , o r u p o n th e sea,T o th y d ire c t io n ; t ie d th e g o o d o p in io n s B o t h o f m y s e l f an d fr ie n d s to th y e n d e a v o u rs :S o fa ir w e re th y b e g in n in g s . B u t w it h th e se ,

ii9 waits: m usicians em ployed b y the C ity121 o ’er the water: over the T ham es (from Southwark)i30 private taxes: attacks on individuals

im m odest phrases: obscenities136 discharge: a) acquit; b) ejaculate

i Sirrah: com m on form o f address (to an inferior)3 fall o f fortune: poverty

3 -4 heat/A nd grow th: room and board4 new cast: reform ed5 trust: use6 staples: a) storehouses; b) centres o f trade9 fair: prom ising

A s I r e m e m b e r , y o u h a d n e v e r c h a rg e 10

T o lo v e y o u r m a s te r ’s d a u g h te r , an d e v e n th e n W h e n I h a d fo u n d a w e a lth y h u sb a n d fo r h er.I ta k e it, s ir , y o u h a d n o t ; b u t , h o w e v e r ,I ’l l b re a k th e n e c k o f th a t c o m m is s io n

A n d m a k e y o u k n o w y o u are b u t a m e rc h a n t ’s fa c to r . j a s p e r S ir , I d o lib e ra lly c o n fe ss I am y o u rs ,

B o u n d b o th b y lo v e an d d u ty to y o u r serv ice ,In w h ic h m y la b o u r h a th b e e n a ll m y p ro fit .I h a v e n o t lo s t in b a rg a in , n o r d e lig h te d

T o w e a r y o u r h o n e st g a in s u p o n m y b a c k , 2 0N o r h a v e I g iv e n a p e n sio n to m y b lo o d ,O r la v is h ly in p la y c o n su m e d y o u r sto ck .T h e s e , an d th e m ise r ie s th a t d o a tte n d th e m ,

I d a re w it h in n o c e n c e p ro c la im are s tra n g e rs T o a ll m y te m p e ra te a c tio n s . F o r y o u r d a u g h te r ,I f th e re b e an y lo v e to m y d e se rv in g s B o r n e b y h e r v irtu o u s se lf , I c a n n o t s to p it;N o r am I ab le to re fra in h e r w ish e s .

S h e ’ s p r iv a te to h e r s e l f an d b e s t o f k n o w le d g e W h o m sh e ’ll m a k e so h a p p y as to s ig h fo r . 3 0

B e s id e s , I c a n n o t th in k y o u m e a n to m a tc h h e r U n to a fe l lo w o f so la m e a p re se n ce ,O n e th a t h a th lit t le le ft o f n a tu re in h im .

m e r c h a n t ’T i s v e ry w e l l , sir. I can te ll y o u r w is d o m H o w all th is sh a ll b e cu red .

j a s p e r Y o u r care b e c o m e s y o u .m e r c h a n t A n d th u s it m u st b e , sir: I h e re d isch arg e y o u

M y h o u se a n d serv ice . T a k e y o u r lib e rty ,A n d w h e n I w a n t a so n I ’l l se n d fo r y o u . E x it

j a s p e r T h e s e b e th e fa ir re w a rd s o f th e m th a t lo v e .O h y o u th a t liv e in fre e d o m , n e v e r p ro v e 4 0

T h e tra v a il o f a m in d le d b y d es ire !

En ter l u c e

l u c e W h y , h o w n o w , fr ie n d ? S t r u c k w it h m y fa th e r ’ s th u n d e r?

j a s p e r S tru c k , an d stru c k d e a d , u n less th e re m e d y

B e fu ll o f sp e ed a n d v irtu e . I am n o w

13 you had not: i.e. given up your love for som eone superior (in social rank)however: notw ithstanding

14 com m ission: a) act o f courtship; b) professional rem it15 factor: agent, deputy16 liberally: w illingly21 pension: m arket value22 play: gam bling28 refrain: curb29 private to . . . o f know ledge: free to decide and knows

best o f all32 presence: personality33 little le ft o f nature: ‘little life-force ’38 son: i.e. son -in -law40 prove: experience44 speed and virtue: determ ination and goodness

W h a t I e x p e c te d lo n g , n o m o re y o u r fa th e r ’ s.

l u c e B u t m in e .j a s p e r B u t y o u rs , an d o n ly y o u rs , I am ;

T h a t ’ s all I h a ve to k eep m e fro m th e statu te .

Y o u d are b e c o n s ta n t still?

l u c e O h , fe a r m e n ot.In th is I d are b e b e tte r th a n a w o m a n :N o r sh a ll h is a n g e r n o r h is o ffe rs m o v e m e , 50

W e r e th e y b o th e q u a l to a p r in c e ’s p o w e r . j a s p e r Y o u k n o w m y riva l?

l u c e Y e s , an d lo v e h im d e a r ly ,E v e n as I lo v e an a g u e o r fo u l w e a th e r ;I p r ith e e , Ja s p e r , fe a r h im n o t.

j a s p e r O h , n o ,

I d o n o t m e a n to d o h im so m u c h k in d n e ss .B u t to o u r o w n d e s ire s : y o u k n o w th e p lo t W e b o th a g re e d o n ?

l u c e Y e s , an d w il l p e r fo rm

M y p a rt e x a c tly .

j a s p e r I d e s ire n o m o re .F a r e w e ll , an d k eep m y h e a rt ; ’tis y o u rs .

l u c e I tak e it ; 59H e m u st d o m ira c le s m a k e s m e fo rs a k e it. Exeunt

c i t i z e n F ie u p o n ’e m , lit t le in fid e ls : w h a t a m a tte r ’ s

h e re n o w ! W e l l , I ’l l b e h a n g e d fo r a h a lfp e n n y , i f th e re b e n o t so m e a b o m in a tio n k n a v e ry in th is p la y . W e ll , le t ’em lo o k to ’t. R a fe m u st c o m e , a n d i f th e re b e a n y tr ic k s a - b re w in g —

w i f e L e t ’e m b r e w an d b a k e to o , h u sb a n d , a G o d ’s n a m e . R a fe w i l l fin d a ll o u t, I w a rra n t y o u , a n d th e y w e re o ld e r th a n th e y are .—

En ter b o y

I p ra y , m y p re tty y o u th , is R a fe read y ? b o y H e w i l l b e p re se n tly . 7 0

w i f e N o w , I p ra y y o u , m a k e m y c o m m e n d a tio n s u n to h im , an d w ith a l c a rry h im th is s t ic k o f liq u o ric e . T e l l

h im h is m is tre ss sen t it h im , an d b id h im b ite a p ie c e ;

’tw ill o p e n h is p ip e s th e b e tte r , say. E x it b o y

En ter m e r c h a n t and m a s t e r h u m p h r e y

47 the statute: a) that against rogues, vagabonds and m asterless m en; b) that o f i562 w hich m eant that apprentices could not leave their m asters’ parishes. B oth statutes w ere enforced b y provision for im prisonm ent

49 better than a w om an: w om en w ere thought to be irredeem ably ‘inconstant’

53 ague: fever (often the result o f dam p weather)54 I prithee: ‘I pray you’6i infidels: ‘G eo rge ’s natural and class loyalty is to the

m erchant’ (Kinney)67 and: i f69 pretty: clever

72-4 stick o f . . . better, say: liquorice was used to loosen phlegm and clear the throat; the W ife has a supply o f such rem edies w hich are m ocked throughout the play

m e r c h a n t C o m e , s ir, sh e ’s y o u rs ; u p o n m y fa ith , sh e ’ s

y o u rs;Y o u h a v e m y h a n d . F o r o th e r id le le ts B e tw e e n y o u r h o p e s a n d h e r, th u s w it h a w in d

T h e y are scattered an d n o m o re . M y w a n to n p ren tice ,

T h a t lik e a b la d d e r b le w h im s e lf w it h lo v e ,I h a v e le t o u t, a n d sen t h im to d isc o v e r 80N e w m a ste rs y e t u n k n o w n .

h u m p h r e y I th a n k y o u , sir,In d e e d , I th a n k y o u , s ir ; a n d ere I s tir

I t sh a ll b e k n o w n , h o w e v e r y o u d o d e e m ,I am o f g e n t le b lo o d a n d g e n t le seem .

m e r c h a n t O h , s ir , I k n o w it ce rta in . h u m p h r e y S ir , m y fr ie n d ,

A lt h o u g h , as w r ite rs say , all th in g s h a ve e n d ,A n d th a t w e c a ll a p u d d in g h a th h is tw o ,O h , le t it n o t se e m s tra n g e , I p ra y , to y o u ,I f in th is b lo o d y s im ile I p u t

M y lo v e , m o re e n d le ss th a n fra il th in g s o r g u t. 9 0

w i f e H u s b a n d , I p r ith e e , sw e e t la m b , te ll m e o n e th in g , b u t te ll m e tru ly :— S ta y y o u th s , I b e se e c h y o u , t ill I q u e s t io n m y h u sb a n d .

c i t i z e n W h a t is it , m o u se ?w i f e S ir ra h , d id s t th o u e v e r see a p re tt ie r c h ild ? H o w

it b e h a v e s itse lf , I w a rra n t y e , an d sp e a k s , an d lo o k s , an d p erts u p th e h e a d ?— I p ra y y o u , b ro th e r , w ith y o u r fa v o u r , w e re y o u n e v e r n o n e o f M a s t e r M o n k e s t e r ’s sc h o la rs? 99

c i t i z e n C h ic k e n , I p r ith e e h e a rt ily , c o n ta in th y se lf ; th e c h ild e r are p re tty c h ild e r ; b u t w h e n R a fe c o m e s , la m b —

w i f e A y , w h e n R a fe c o m e s , c o n y .— W e ll , m y y o u th ,

y o u m a y p ro c e e d .

m e r c h a n t W e ll , s ir , y o u k n o w m y lo v e , an d rest, I h o p e ,

A s s u r e d o f m y c o n se n t. G e t b u t m y d a u g h te r ’s,A n d w e d h e r w h e n y o u p le a se . Y o u m u st b e b o ld ,

A n d c la p in c lo se u n to h e r. C o m e , I k n o w

Y o u h a v e la n g u a g e g o o d e n o u g h to w in a w e n c h .

76 lets: obstacles7879

w anton: prom iscuous,bladder: inflatable anim al’s bladder (with obscene connotation)

84 gentle blood: som e status87 pudding: blood sausage92 youths: the boy actors94 mouse: term o f endearm ent (as is ‘chicken’ and others)95 prettier: m ore clever 97 perts: perks

98-9 M aster M onkester: R ichard M ulcaster was M aster o f S t P au l’s School from 1596 to 1608 and its boys’ troupe played at the W h itefriar’s T heatre

io i childer: children (dialect)108 clap in close unto her: em brace109 wench: a) young girl; b) prostitute

w i f e A w h o re so n ty ra n t! H ’as b e e n an o ld s tr in g e r in ’ s

d a y s , I w a rra n t h im . i i ih u m p h r e y I ta k e y o u r g e n t le o f fe r , an d w ith a l

Y ie ld lo v e a g a in fo r lo v e re c ip ro c a l.

m e r c h a n t W h a t , L u c e ! W it h in th ere !

E n ter l u c e

l u c e C a l le d y o u , sir?M ERCH AN T I d id .

G iv e e n te r ta in m e n t to th is g e n t le m a n

A n d see y o u b e n o t fro w a rd .— T o h e r, sir ;M y p re se n ce w i l l b u t b e an e y e -so re to y o u . E x it

h u m p h r e y F a ir M is t r e s s L u c e , h o w d o y o u d o ? A r e y o u w e ll?

G iv e m e y o u r h a n d , an d th e n I p ra y y o u te llH o w d o th y o u r litt le s is te r a n d y o u r b ro th e r , i 2 0A n d w h e th e r y o u lo v e m e o r an y o th e r .

L u c E S ir , th e se are q u ic k ly an sw e re d . h u m p h r e y S o th e y are,

W h e r e w o m e n are n o t c ru e l. B u t h o w fa r I s it n o w d ista n t fro m th is p la ce w e are in ,

U n t o th a t b le sse d p la c e , y o u r fa th e r ’ s w a rre n ? l u c e W h a t m a k e s y o u th in k o f th a t, sir? h u m p h r e y E v e n th a t fa c e ;

F o r , s te a lin g ra b b its w h ilo m in th a t p la ce ,G o d C u p id , o r th e k e e p e r , I k n o w n o t w h e th e r ,U n t o m y co st a n d c h a rg e s b ro u g h t y o u th ith e r,A n d th e re b e g a n —

L u c E Y o u r g a m e , sir.h u m p h r e y L e t n o g a m e 13 0

O r an y th in g th a t te n d e th to th e sam e,B e e v e rm o re re m e m b e re d , th o u fa ir k ille r ,F o r w h o m I sat m e d o w n a n d b ra k e m y tille r .

w i f e T h e r e ’s a k in d g e n t le m a n , I w a rra n t y o u . W h e n w i l l y o u d o as m u c h fo r m e , G e o rg e ?

L u c E B e s h r e w m e , s ir, I am so rry fo r y o u r lo sse s ;B u t as th e p ro v e rb say s, I c a n n o t cry.

I w o u ld y o u h a d n o t seen m e.

H UM PH REY S o w o u ld I ,U n le s s y o u h a d m o re m a w to d o m e g o o d .

L u c E W h y , c a n n o t th is s tra n g e p a s s io n b e w ith s to o d ?S e n d fo r a co n sta b le an d ra ise th e to w n . 1 4 1

h u m p h r e y O h n o , m y v a lia n t lo v e w i l l b a tte r d o w n M il l io n s o f c o n sta b le s , an d p u t to f l ig h t

ii0 stringer: fornicatorii2 w ithal: also, as wellii6 frow ard: perversei25 w arren: land preserved fo r the breeding o f rabbits127 w hilom : w hile (archaic)128 whether: w hich133 tiller: a) beam o f a crossbow; b) sexual quibblei37 proverb: ‘I am sorry fo r you but I cannot cry’i39 m aw: craving

E v e n th a t g re a t w a tc h o f M id s u m m e r d a y at n ig h t.

l u c e B e s h r e w m e , s ir , ’tw e re g o o d I y ie ld e d th e n ; W e a k w o m e n c a n n o t h o p e , w h e re v a lia n t m en H a v e n o re s ista n ce .

h u m p h r e y Y ie ld th e n , I am fu ll

O f p ity , th o u g h I sa y it , an d can p u ll O u t o f m y p o c k e t , th u s , a p a ir o f g lo v e s .

L o o k , L u c y , lo o k : th e d o g ’s to o th n o r th e d o v e ’ s 15 0 A r e n o t so w h ite as th e se , an d sw e e t th e y b e ,A n d w h ip p e d a b o u t w ith s ilk , as y o u m a y see.

I f y o u d e s ire th e p r ic e , sh o o t fro m y o u r eye A b e a m to th is p la c e , an d y o u sh a ll e sp y F . S . , w h ic h is to say , m y s w e e te s t h o n e y ,T h e y c o s t m e th re e a n d tw o p e n c e , o r n o m o n e y .

l u c e W e l l , s ir, I tak e th e m k in d ly , a n d I th a n k y o u .W h a t w o u ld y o u m o re ?

H UM PH REY N o th in g .l u c e W h y th e n , fa re w e ll.

h u m p h r e y N o r so , n o r so ; fo r , la d y , I m u st te ll,

B e fo r e w e p a rt , fo r w h a t w e m e t to g e th e r ; 16 0G o d g r a n t m e t im e , an d p a t ie n c e , an d fa ir w e a th e r .

l u c e S p e a k , a n d d e c la re y o u r m in d in te rm s so b r ie f . h u m p h r e y I sh a ll. T h e n , fir s t a n d fo re m o s t , fo r r e l ie f

I c a ll to y o u , i f th a t y o u can a f fo rd it;

I ca re n o t at w h a t p r ic e fo r , o n m y w o r d , it S h a ll b e re p a id a g a in , a lth o u g h it co s t m e M o r e th a n I ’l l sp e a k o f n o w . F o r lo v e h a th to sse d m e In fu r io u s b la n k e t lik e a te n n is -b a ll,

A n d n o w I rise a lo ft , a n d n o w I fa ll. l u c e A la s , g o o d g e n t le m a n , a las th e d ay . 17 0h u m p h r e y I th a n k y o u h e a rtily , a n d , as I say ,

T h u s d o I s till c o n t in u e w ith o u t rest,

I ’th ’ m o r n in g lik e a m a n , at n ig h t a b e a st ,

R o a r in g an d b e llo w in g m in e o w n d isq u ie t ,T h a t m u c h I fe a r , fo rs a k in g o f m y d ie t

W il l b r in g m e p re se n t ly to th a t q u a n d a ry ,I sh a ll b id a ll ad ieu .

l u c e N o w , b y S a in t M a r y ,

T h a t w e re g re a t p ity . h u m p h r e y S o it w e r e , b e s h re w m e.

i44 that great watch: the annual pageant (held on 24 June) at w hich the C ity and livery com panies m ustered the m ilitia and constabulary to serve for the fo llow ing year

i49 a pair o f gloves: gloves w ere traditional love-tokens given at betrothals and w eddings

i52 whipped: em broideredi53-4 shoot from . . . this place: it was thought that a beam o f

ligh t ‘shot’ from the eye returned w ith the im age o f w hat it struck

155 F .S .: a) H um ph rey bought them for som eone else; b) a m erchant’s m ark; c) they w ere inherited

156 three and two pence: the gloves w ere expensive i67-8 F o r love . . . furious blanket: D o n Q uixote was

hum iliated in this w ayi75 diet: a com m on treatm ent for venereal disease

T h e n ea se m e , lu s ty L u c e , an d p ity s h o w m e.

l u c e W h y , s ir, y o u k n o w m y w i l l is n o th in g w o r th 18 0 W it h o u t m y fa th e r ’s g ra n t ; g e t h is c o n se n t,A n d th e n y o u m a y w it h assu ra n ce try m e .

h u m p h r e y T h e w o r s h ip fu l y o u r sire w i l l n o t d e n y m e ;

F o r I h a v e a sk e d h im , a n d h e h a th re p lie d ,‘ S w e e t M a s t e r H u m p h re y , L u c e sh a ll b e th y b r id e ’ .

l u c e S w e e t M a s t e r H u m p h re y , th e n I am c o n te n t. h u m p h r e y A n d so am I , in tru th . l u c e Y e t tak e m e w it h y o u ;

T h e r e is a n o th e r c la u se m u st b e a n n e x e d ,A n d th is it is : I sw o re an d w il l p e r fo rm it,N o m a n sh a ll e v e r jo y m e as h is w i fe 19 0B u t h e th a t s to le m e h e n c e . I f y o u d a re v e n tu re ,

I am y o u rs— y o u n e e d n o t fe a r , m y fa th e r lo v e s y o u — I f n o t , fa re w e ll fo r ever.

h u m p h r e y S ta y , n y m p h , stay ;I h a v e a d o u b le g e ld in g , c o lo u re d b a y ,

S p ru n g b y h is fa th e r fro m B a rb a r ia n k in d ;

A n o th e r fo r m y s e lf , th o u g h s o m e w h a t b lin d ,Y e t tru e as tru sty tree.

l u c e I am s a tis fie d ;A n d so I g iv e m y h a n d . O u r c o u rse m u st lie T h r o u g h W a lth a m F o r e s t , w h e re I h a v e a fr ie n d

W il l e n te rta in u s. S o , fa re w e ll, S ir H u m p h re y , 2 0 0 A n d th in k u p o n y o u r b u s in e ss . E x it l u c e

h u m p h r e y T h o u g h I d ie ,I am re so lv e d to v e n tu re li fe an d lim b

F o r o n e so y o u n g , so fa ir , so k in d , so tr im .E x it HUM PHREY

w i f e B y m y fa ith an d tro th , G e o r g e , a n d , as I am v irtu o u s , it is e ’en th e k in d e s t y o u n g m a n th a t ever

tro d o n sh o e le a th e r . W e l l , g o th y w a y s ; i f th o u h a st

h e r n o t, ’tis n o t th y fa u lt. c i t i z e n I p r ith e e , m o u s e , b e p a tie n t; ’ a sh a ll h a v e h e r,

o r I ’l l m a k e so m e o f ’e m sm o k e fo r ’t. 2 0 9w i f e T h a t ’s m y g o o d la m b , G e o r g e . F ie , th is s t in k in g

to b a c c o k ills m e , w o u ld th e re w e re n o n e in

E n g la n d .— N o w I p ra y , g e n t le m e n , w h a t g o o d d o es th is s t in k in g to b a c c o d o y o u ? N o t h in g , I w a rra n t y o u ; m a k e c h im n e y s o ’y o u r fa c e s .— O h , h u s b a n d , h u s b a n d , n o w , n o w , th e re ’s R a fe , th e re ’s R a fe .

i79 lusty: intended as ‘pretty’i87 take m e w ith you: let this be clear

i 90 j ° y : enj ° y194 double gelding: horse for two riders195 Barbarian: Barbary, a fam ous breed o f horses from the

Saracen area o f A fricai99 W alth am Forest: north o f L ondon in H ertfordshire 204 troth: truth208 ’a: he209 sm oke: suffer2 ii tobacco: sm oking was identified w ith ‘gallants’ and

condem ned in m any circles. K in g Jam es discussed the habit in A Counterblast to Tobacco (i604)

E n ter r a f e like a grocer in ’s shop, with two prentices TIM

and g e o r g e reading Palmerin o f England

c i t i z e n P e a c e , fo o l, le t R a fe a lo n e . H a r k y o u R a fe ; d o

n o t stra in y o u r s e lf to o m u c h at th e fir s t .— P e a c e !— B e g in , R a fe . 2 18

r a f e (reads) ‘T h e n P a lm e r in an d T r in e u s , sn a tc h in g th e ir la n c e s fro m th e ir d w a r fs , a n d c la s p in g th e ir

h e lm e ts , g a llo p e d a m a in a fte r th e g ia n t ; an d

P a lm e r in , h a v in g g o tte n a s ig h t o f h im , c a m e p o s t in g a m a in , sa y in g : “ S ta y , t ra ito ro u s th ie f , fo r th o u m a y st n o t so c a rry a w a y h e r th a t is w o r th th e g re a te s t lo rd in th e w o r ld ” , an d w ith th e se w o rd s g a v e h im a b lo w

on th e s h o u ld e r , th a t h e s tru c k h im b e sid e s h is e le p h a n t ; a n d T r in e u s , c o m in g to th e k n ig h t th a t h a d A g r ic o la b e h in d h im , set h im so o n b e s id e s h is h o rse , w ith h is n e c k b ro k e n in th e fa ll , so th a t th e p r in c e ss ,

g e t t in g o u t o f th e th ro n g , b e tw e e n jo y an d g r i e f said : “A l l h a p p y k n ig h t , th e m ir ro r o f a ll su ch as fo llo w a rm s, n o w m a y I b e w e ll a ssu re d o f th e lo v e th o u

b e a re s t m e ” .’ I w o n d e r w h y th e k in g s d o n o t ra ise an a rm y o f fo u rte e n o r fifte e n h u n d re d th o u sa n d m e n , as

b ig as th e a rm y th a t th e P r in c e o f P o r t ig o b ro u g h t

a g a in st R o s ic le e r , a n d d e s tro y th e se g ia n ts ; th e y d o m u c h h u rt to w a n d e r in g d a m se ls th a t g o in q u e st o f th e ir k n ig h ts . 238

w i f e F a it h , h u s b a n d , a n d R a fe says tru e ; fo r th e y say th e K in g o f P o r tu g a l c a n n o t s it at h is m e a t , b u t th e g ia n ts an d th e e tt in s w il l c o m e a n d sn a tc h it fro m h im . 24 2

c i t i z e n H o ld th y to n g u e .— O n , R a fe .

r a f e A n d c e r ta in ly th o se k n ig h ts are m u c h to b e c o m m e n d e d , w h o n e g le c t in g th e ir p o sse ss io n s , w a n d e r w it h a sq u ire an d a d w a r f th ro u g h th e d eserts

to re lie ve p o o r la d ie s .

w i f e A y , b y m y fa ith , are th e y , R a fe ; le t ’em say w h a t th e y w il l , th e y are in d e e d . O u r k n ig h ts n e g le c t th e ir

sd like a grocer in’s shop: R afe wears the blue livery o f an apprenticePalmerin of England: R afe actually reads from Palmerin d’Olivia translated from the Spanish by A n th o n y M und ay. Palmerin o f England was the sequel

227 elephant: ‘horse’ in the original but the effect is to parody the book

228 A grico la: the princess ‘A g rio la ’ in the Spanish text and M u n d ay ’s translationset him . . . his horse: unhorsed him

231 m irror: m odel, paragon235 Portigo: Portugal236 Rosicleer: hero o f O rtunez de C alahorra’s Espejo de

Principes y Caualleros, one o f the rom ances owned by D o n Q uixote (translated into E n g lish as The Mirror of Knighthood by M argaret T y le r (1578-1601))

237-8 w andering dam sels . . . their knights: a reversal o f rom antic convention

24i ettins: giants (from G erm an)

p o sse ss io n s w e ll e n o u g h , b u t th e y d o n o t th e rest. 250

r a f e T h e r e are n o su ch c o u rte o u s an d fa ir w e ll- s p o k e n k n ig h ts in th is ag e : th e y w i l l c a ll o n e ‘th e son o f a w h o r e ’ , th a t P a lm e r in o f E n g la n d w o u ld h a v e c a lle d

‘fa ir s ir ’ , a n d o n e th a t R o s ic le e r w o u ld h a v e ca lle d

‘r ig h t b e a u te o u s d a m se l’ , th e y w il l c a ll ‘d a m n e d b itc h ’ . 256

w i f e I ’l l b e sw o rn w i l l th e y , R a fe ; th e y h a v e c a lle d m e so an h u n d re d t im e s a b o u t a sc u rv y p ip e o f to b a c c o .

r a f e B u t w h a t b ra v e sp ir it c o u ld b e c o n te n t to s it in

h is sh o p w it h a f la p p e t o f w o o d a n d a b lu e ap ro n b e fo re h im , s e ll in g m ith r id a tu m an d d ra g o n ’ s w a te r to v is ite d h o u se s , th a t m ig h t p u rsu e fe a ts o f a rm s, an d th ro u g h h is n o b le a c h ie v e m e n ts p ro c u re su ch a

fa m o u s h is to ry to b e w r it te n o f h is h e ro ic p ro w e ss? c i t i z e n W e ll sa id , R a fe , so m e m o re o f th o se w o rd s ,

R a fe .w i f e T h e y g o fin e ly , b y m y tro th . 2 6 7

r a f e W h y sh o u ld n o t I th e n p u rsu e th is c o u rse , b o th

fo r th e c re d it o f m y s e l f a n d o u r c o m p a n y ? F o r a m o n g s t a ll th e w o r th y b o o k s o f a c h ie v e m e n ts I d o

n o t c a ll to m in d th a t I y e t read o f a g ro c e r e rra n t. I w i l l b e th e sa id k n ig h t . H a v e y o u h e a rd o f a n y th a t h a th w a n d e re d u n fu rn ish e d o f h is sq u ire an d d w a rf?

M y e ld e r p re n tic e T im sh a ll b e m y tru sty sq u ire , an d l it t le G e o r g e m y d w a r f. H e n c e m y b lu e ap ro n ! Y e t in re m e m b ra n c e o f m y fo rm e r tra d e , u p o n m y sh ie ld sh a ll b e p o rtra y e d a b u r n in g p e s tle , an d I w i l l b e

c a lle d th e K n ig h t o ’th ’ B u r n in g P e stle . w i f e N a y , I d are sw e a r th o u w i lt n o t fo rg e t th y o ld

tra d e ; th o u w e r t e v e r m e e k . 2 8 0r a f e T im .

t i m A n o n .

r a f e M y b e lo v e d sq u ire , a n d G e o r g e m y d w a r f , I c h a rg e y o u th a t fro m h e n c e fo r th y o u n e v e r ca ll m e b y

a n y o th e r n a m e b u t th e ‘R ig h t C o u r te o u s an d V a lia n t K n ig h t o f th e B u r n in g P e s t le ’ , a n d th a t y o u n e v e r ca ll

a n y fe m a le b y th e n a m e o f a w o m a n o r w e n c h , b u t

‘F a ir L a d y ’, i f sh e h a v e h e r d e s ire s , i f n o t , ‘D is t re s se d D a m s e l ’ ; th a t y o u c a ll all fo re sts a n d h e a th s ‘d e se r ts ’ , an d a ll h o rse s ‘p a lfre y s ’ . 2 9 0

w i f e T h is is v e ry fin e , fa ith . D o th e g e n t le m e n lik e

249-50 O ur knights . . . the rest: possib ly a reference to the sale o f knighthoods b y K in g Jam es

251-6 T h ere are . . . ‘dam ned bitch’ : a parody o f G ertrude’s speech in Eastward Ho! (1605) b y G eo rge C hapm an, B en Jon son and Jo h n M arston

260 flappet: shop’s counter261 m ithridatum and dragon’s water: a herbal m edicine

(nam ed after K in g M ith ridates and used against poisons) and another, stronger, preparation believed to cure fever. visited: i.e. b y the plague

27i grocer errant: K inn ey notes that there was, in fact, aprecedent in the figure o f Eustace in T h om as H eyw ood ’s Four Prentices o f London

R a fe , th in k y o u , h u sb a n d ?

c i t i z e n A y , I w a rra n t th e e , th e p la y e rs w o u ld g iv e all th e sh o e s in th e ir sh o p fo r h im .

r a f e M y b e lo v e d sq u ire T im , s ta n d o u t. A d m it th is

w e re a d e se rt , a n d o v e r it a k n ig h t e rra n t p r ic k in g ,

an d I sh o u ld b id y o u in q u ire o f h is in te n ts , w h a t w o u ld y o u say?

t i m S ir , m y m a s te r se n t m e to k n o w w h ith e r y o u are r id in g ? 3 0 0

r a f e N o , th u s : ‘F a i r s ir , th e R ig h t C o u r te o u s an d

V a lia n t K n ig h t o f th e B u r n in g P e s t le c o m m a n d e d m e to in q u ire u p o n w h a t a d v e n tu re y o u are b o u n d , w h e th e r to re lie ve so m e d istre sse d d a m se ls , o r o th e rw ise ’ .

c i t i z e n W h o r e s o n b lo c k h e a d c a n n o t re m e m b e r! w i f e I ’fa ith , an d R a fe to ld h im o n ’t b e fo re — all th e

g e n t le m e n h e a rd h im .— D id h e n o t , g e n t le m e n ? D id n o t R a fe te ll h im o n ’t? 3 0 9

g e o r g e R ig h t C o u r te o u s an d V a lia n t K n ig h t o f th e

B u r n in g P e st le h e re is a d istre sse d d a m se l, to h a v e a h a lfp e n n y - w o rth o f p e p p e r .

w i f e T h a t ’s a g o o d b o y . S e e , th e litt le b o y can h it it;b y m y tro th , it ’s a fin e c h ild .

r a f e R e lie v e h e r w ith a ll co u rte o u s la n g u a g e . N o w

sh u t u p sh o p ; n o m o re m y p re n tic e , b u t m y tru sty sq u ire an d d w a r f. I m u st b e sp e a k m y sh ie ld an d a rm in g p e stle . Exeunt t i m and g e o r g e

c i t i z e n G o th y w a y s , R a fe . A s I ’m a tru e m a n , th o u

art th e b e st o n ’em all. 3 2 0w i f e R a fe , R a fe . r a f e W h a t say y o u , m istre ss? w i f e I p r ith e e c o m e a g a in q u ic k ly , sw e e t R a fe .

r a f e B y an d b y . E x it r a f e

Enter j a s p e r and his mother, m i s t r e s s m e r r y t h o u g h t

m i s t r e s s m e r r y t h o u g h t G iv e th e e m y b le s s in g ? N o , I ’l l n e ’er g iv e th e e m y b le s s in g , I ’l l see th e e h a n g e d

firs t; it sh a ll n e ’e r b e sa id I g a v e th e e m y b le ss in g .

T h ’art th y fa th e r ’ s o w n so n , o f th e r ig h t b lo o d o f th e M e r r y th o u g h ts . I m a y cu rse th e t im e th a t e ’e r I k n e w th y fa th e r ; h e h a th sp e n t a ll h is o w n , an d m in e to o , an d w h e n I te ll h im o f it , h e la u g h s an d d a n c e s , an d

s in g s , an d c r ie s , ‘A m e rry h e a rt liv e s lo n g - a ’ . A n d th o u art a w a s te th r ift , a n d art ru n a w a y fro m th y

294 shoes in their shop: boys’ costumes w ere elaborate and costly

296 pricking: spurring on his horse 308 gentlem en: the other playgoers on the stage3i8 arm ing: arm orial 328 right: legitim ate332 ‘A m erry heart lives lo n g-a ’: adapted from the song sung

b y A utolycus in Shakespeare’s The Winter’s Tale (i609), IV .ii i .i i i3 - i6 ; a sim ilar line is sung by Silence in his2 Henry IV (i597), V .iii.47

333 w astethrift: spendthrift

m a s te r th a t lo v e d th e e w e ll, a n d art c o m e to m e ; an d

I h a v e la id u p a lit t le fo r m y y o u n g e r son M ic h a e l, an d th o u th in k ’ st to b e z z le th a t , b u t th o u s h a lt n e v e r b e ab le to d o it.

En ter m i c h a e l

— C o m e h ith e r M ic h a e l , c o m e , M ic h a e l, d o w n on

th y k n e e s ; th o u sh a lt h a v e m y b le s s in g . 3 3 9m i c h a e l I p ra y y o u , m o th e r , p ra y to G o d to b le ss m e. m i s t r e s s m e r r y t h o u g h t G o d b less th e e ; b u t Ja s p e r

sh a ll n e v e r h a v e m y b le s s in g . H e sh a ll b e h a n g e d firs t, sh a ll h e n o t , M ic h a e l? H o w say ’ st th o u ?

m i c h a e l Y e s , fo rs o o th , m o th e r , an d g ra c e o f G o d . m i s t r e s s m e r r y t h o u g h t T h a t ’s a g o o d b o y .

w i f e I ’fa ith , it ’ s a f in e sp o k e n c h ild . j a s p e r M o t h e r , th o u g h y o u fo rg e t a p a re n t ’ s lo v e ,

I m u st p re se rve th e d u ty o f a c h ild .I ran n o t fro m m y m a s te r , n o r re tu rn

T o h a v e y o u r s to c k m a in ta in m y id le n e ss . 35 0

w i f e U n g ra c io u s c h ild , I w a rra n t h im ; h a rk h o w h e ch o p s lo g ic w it h h is m o th e r !— T h o u h a d st b e s t te ll h e r sh e lie s ; d o , te ll h e r sh e lie s.

c i t i z e n I f h e w e re m y so n , I w o u ld h a n g h im up b y th e h e e ls , an d f la y h im , an d sa lt h im , w h o re so n

h a lte r -s a c k ! j a s p e r M y c o m in g o n ly is to b e g y o u r lo v e ,

W h ic h I m u st e v e r , th o u g h I n e v e r g a in it.A n d h o w so e v e r y o u e s te e m o f m e

T h e r e is n o d ro p o f b lo o d h id in th e se v e in s 3 6 0 B u t I re m e m b e r w e l l b e lo n g s to y o u T h a t b r o u g h t m e fo r th , a n d w o u ld b e g la d fo r y o u T o r ip th e m all a g a in , an d le t it ou t.

m i s t r e s s m e r r y t h o u g h t I ’ fa ith , I h a d so rro w

e n o u g h fo r th e e , G o d k n o w s ; b u t I ’l l h a m p e r th e e w e ll e n o u g h . G e t th e e in , th o u v a g a b o n d , g e t th e e in ,

an d le a rn o f th y b ro th e r M ic h a e l.Exeun t j a s p e r and m i c h a e l

OLD M ERRYTHO UGHT (within)(Sings) Nose, nose, jo lly red nose,

A n d who gaze thee this jo lly red nose# 3 6 9 m i s t r e s s m e r r y t h o u g h t H a r k , m y h u sb a n d ; h e ’ s

s in g in g an d h o it in g , a n d I ’m fa in to c a r k an d care ,

336 bezzle: squander (from embezzle)344 forsooth: truly350 stock: a) provisions; b) m oney352 chops logic: form ulates specious but cleverly conceived

argum ents 356 halter-sack: gallow s bird 364-5 sorrow enough: in childbirth365 ham per: a) basket for infants: b) prison fetters (as Jasper

is a ‘m asterless m an’)368-9 Nose, nose . . . red nose#: refrain from Deuteromelia

(i609) by T h om as Ravenscroft37i hoiting: revelling, roistering

cark: carp, fret

an d all l it t le e n o u g h .— H u s b a n d , C h a r le s , C h a r le s

M e r r y th o u g h t .

E n ter o l d m e r r y t h o u g h t

OLD M ERRYTHOUGHT

(Sings) Nutmegs and ginger, cinnamon and clozes, A n d they gaze me this jo lly red nose.

m i s t r e s s m e r r y t h o u g h t I f y o u w o u ld c o n s id e r y o u r sta te , y o u w o u ld h a v e litt le lis t to s in g , iw is .

o l d m e r r y t h o u g h t I t s h o u ld n e v e r b e c o n s id e re d

w h ile it w e re an e s ta te , i f I th o u g h t it w o u ld sp o il m y

s in g in g . 3 8 0M ISTRESS M ERRYTHO UGHT B u t h o w w i lt th o u d o ,

C h a r le s ? T h o u art an o ld m a n , a n d th o u c a n st n o t

w o r k , an d th o u h a st n o t fo r ty s h illin g s le ft , an d th o u e a te st g o o d m e a t, an d d r in k e st g o o d d r in k , an d la u g h e st?

OLD M ERRYTHO UGHT A n d w il l d o . m i s t r e s s m e r r y t h o u g h t B u t h o w w i lt th o u c o m e b y

it , C h a r le s ? 38 8o l d m e r r y t h o u g h t H o w ? W h y , h o w h a v e I d o n e

h ith e rto th is fo r ty y e a rs? I n e v e r c a m e in to m y d in in g r o o m , b u t at e le v e n a n d six o ’c lo c k I fo u n d e x c e lle n t m e a t an d d r in k o ’th ’ta b le ; m y c lo th e s w e re n e v e r

w o rn o u t, b u t n e x t m o r n in g a ta ilo r b ro u g h t m e a n e w su it; an d w ith o u t q u e stio n it w i l l b e so ever. U s e m a k e s p e r fe c tn e ss . I f a ll s h o u ld fa il , it is b u t a litt le s t ra in in g m y s e l f e x tra o rd in a ry , a n d la u g h m y s e l f to

d eath .w i f e I t ’ s a fo o lis h o ld m a n th is : is n o t h e , G e o rg e ? c i t i z e n Y e s , co n y . 39 9w i f e G iv e m e a p e n n y i ’th ’p u rse w h ile I l iv e , G e o rg e .

c i t i z e n A y , b y la d y , c o n y , h o ld th e e th e re .

m i s t r e s s m e r r y t h o u g h t W e l l , C h a r le s , y o u p ro m is e d to p ro v id e fo r Ja s p e r , an d I h a v e la id u p fo r

M ic h a e l. I p ra y y o u , p a y J a s p e r h is p o r t io n ; h e ’ s c o m e h o m e , a n d h e sh a ll n o t c o n s u m e M ic h a e l ’s s to ck . H e

says h is m a s te r tu rn e d h im a w a y , b u t I p ro m is e y o u

tru ly , I th in k h e ran aw ay . w i f e N o in d e e d , M is t r e s s M e r r y th o u g h t , th o u g h h e b e

a n o ta b le g a llo w s , y e t I ’l l a ssu re y o u h is m a s te r d id tu rn h im a w a y , even in th is p la c e ; ’tw a s , i ’fa ith ,

w ith in th is h a l f h o u r , a b o u t h is d a u g h te r ; m y h u sb a n d w a s b y . 4 12

c i t i z e n H a n g h im , ro g u e . H e served h im w e ll

e n o u g h : lo v e h is m a s te r ’s d a u g h te r ! B y m y tro th , c o n y , i f th e re w e re a th o u sa n d b o y s , th o u w o u ld st s p o il th e m all w it h ta k in g th e ir p arts. L e t h is m o th e r a lo n e w it h h im .

w i f e A y , G e o r g e , b u t y e t t ru th is tru th . o l d m e r r y t h o u g h t W h e r e is J a s p e r? H e ’ s w e lc o m e

h o w ever. C a l l h im in ; h e sh a ll h a v e h is p o rt io n . Is h e m e rry ? 4 2 1

m i s t r e s s m e r r y t h o u g h t A y , fo u l c h iv e h im , h e is

to o m e rry .— Ja s p e r ! M ic h a e l!

E n ter j a s p e r and m i c h a e l

o l d m e r r y t h o u g h t W e lc o m e , Ja s p e r , th o u g h th o u

ru n ’ st a w a y , w e lc o m e ; G o d b le ss th e e . ’T i s th y m o th e r ’s m in d th o u s h o u ld st re ce iv e th y p o rtio n . T h o u h a st b e e n a b ro a d , a n d I h o p e h a st le a rn e d e x p e r ie n c e e n o u g h to g o v e rn it ; th o u art o f s u ffic ie n t

y e a rs . H o ld th y h a n d : o n e , tw o , th re e , fo u r, fiv e , s ix ,

sev en , e ig h t , n in e , th e re ’ s ten sh illin g s fo r th e e .T h r u s t t h y s e lf in to th e w o r ld w ith th a t , a n d tak e

s o m e se ttle d co u rse . I f fo rtu n e cro ss th e e , th o u h a st a r e t ir in g p la c e ; c o m e h o m e to m e ; I h a v e tw e n ty s h ill in g s le ft . B e a g o o d h u s b a n d , th a t is , w e a r

o rd in a ry c lo th e s , e a t th e b e st m e a t, a n d d r in k th e b e st d r in k ; b e m e rry , an d g iv e to th e p o o r , a n d b e lie v e m e , th o u h a st n o e n d o f th y g o o d s .

j a s p e r L o n g m a y y o u liv e fre e fro m a ll th o u g h t o f ill,

A n d lo n g h a ve cau se to b e th u s m e rry still.B u t , fa th e r— 4 4 0

o l d m e r r y t h o u g h t N o m o re w o r d s , Ja s p e r , g e t th e e g o n e ; th o u h a st m y b le s s in g ; th y fa th e r ’ s sp ir it u p o n

th e e . F a r e w e ll , J a s p e r .

(Sings) B u t yet, or ere you part, oh cruel,Kiss me, kiss me, sweeting, mine own dear

jew el.S o , n o w b e g o n e ; n o w o rd s . E x it j a s p e r

m i s t r e s s m e r r y t h o u g h t S o , M ic h a e l , n o w g e t th e e

g o n e to o .m i c h a e l Y e s fo rs o o th , m o th e r ; b u t I ’l l h a v e m y

fa th e r ’s b le s s in g firs t. 4 5 0m i s t r e s s m e r r y t h o u g h t N o , M ic h a e l, ’ tis n o m a tte r

fo r h is b le s s in g ; th o u h a st m y b le s s in g ; b e g o n e . I ’ll fe tc h m y m o n e y a n d je w e ls an d fo llo w th e e ; I ’l l s tay

377 state: estate, d ignity list: desire iwis: for certain

39i eleven and six o’clock: the hours o f the day’s m ain meals394-5 U se m akes perfectness: ‘practice m akes perfect’

(proverbial)400 G ive m e . . . I live: i.e. never leave m e destitute401 hold thee there: stick to that404 portion: inheritance405 stock: inheritance409 notable gallow s: deserving o f hanging

4i6 taking their parts: a) supporting them ; b) pun on sexual organs

420 h ow ever: in any case422 foul chive: ill betide427-37 T h o u has . . . thy goods: parody o f OldFortunatus

(i599) b y T h om as D ekker432 cross: oppose434 B e a good husband: prudent (as in ‘husbanding’ his

goods)444-5 But yet . . . dear jewel: from So ng X V in First Book of

Songs or Airs (i597) b y Jo h n D ow land

n o lo n g e r w it h h im , I w a rra n t th e e . (E x it m i c h a e l )

T r u ly , C h a r le s , I ’l l b e g o n e to o . o l d m e r r y t h o u g h t W h a t ! Y o u w i l l n o t? m i s t r e s s m e r r y t h o u g h t Y e s , in d e e d w il l I .OLD M ERRYTHOUGHT

(Sings) Hey-ho, farew ell, Nan,I ’l l never trust wench more again, i f I can. 459

m i s t r e s s m e r r y t h o u g h t Y o u sh a ll n o t th in k , w h e n a ll y o u r o w n is g o n e , to sp e n d th a t I h a v e b e en s c ra p in g u p fo r M ic h a e l.

o l d m e r r y t h o u g h t F a r e w e ll , g o o d w ife , I e x p e c t it n o t ; all I h a ve to d o in th is w o r ld is to b e m e rry , w h ic h I sh a ll, i f th e g ro u n d b e n o t ta k e n fro m m e ; an d i f it b e ,

(Sings) When earth and seas from me are reft,The skies aloft fo r me are left.

ExeuntFIN IS ACTUS PRIM I

Interlude Ib o y danceth. Music

w i f e I ’ll b e sw o rn h e ’s a m e rry o ld g e n tle m a n fo r all th at. H a r k , h a rk , h u sb a n d , h ark ! F id d le s , fid d les! N o w su re ly th e y g o fin e ly . T h e y say ’tis p rese n t d eath fo r

th ese fid d lers to tu n e th e ir reb eck s b e fo re th e g re a t T u r k ’s g ra c e , is ’t n o t, G e o rg e ? B u t lo o k , lo o k , h e re ’s a y o u th d a n ce s .— N o w , g o o d y o u th , d o a tu rn o ’th ’ to e .— S w e e th e a rt , i ’fa ith , I ’ll h a v e R a fe c o m e an d d o so m e o f h is g a m b o ls .— H e ’ll r id e th e w ild m are ,

g e n tle m e n , ’tw o u ld d o y o u r h earts g o o d to see h im .—I th a n k y o u , k in d y o u th ; p ra y , b id R a fe co m e. i0

c i t i z e n P e a c e , c o n y .— S ir ra h , y o u sc u rv y b o y , b id th e

p la y e rs sen d R a fe , o r b y G o d ’ s [. . .] an d th e y d o n o t, I ’l l te a r so m e o f th e ir p e r iw ig s b e s id e th e ir h e a d s : th is

is a ll r i f f - r a f f .

E x it BOY

460 think: i.e. stop to think, but 467 reft: taken aw ay

3 present: instant4 rebecks: early fiddles5 T u rk ’s grace: som e seventeenth-century travellers

reported that Sultans w ere feared fo r their im patience8 gam bols: leaping

8-9 w ild mare: she m eans see-saw (proverbial for sexual intercourse)

12 G o d ’s [. . .]: the om itted w ord is probably ‘body’ (C h rist’s body on the cross). Som e eds note the A c t to Restrain the A buses o f the Players (1606) as an explanation for this om ission; com pare A c t I I , l. 245

13 periw igs: w igs were frequently worn by actors in perform ance

Act IIEn ter m e r c h a n t and h u m p h r e y

m e r c h a n t A n d h o w , fa ith , h o w g o e s it n o w , son H u m p h re y ?

h u m p h r e y R ig h t w o r s h ip fu l , an d m y b e lo v e d fr ie n d A n d fa th e r d e a r , th is m a tte r ’s a t an en d .

m e r c h a n t ’T i s w e l l— it s h o u ld b e so , I ’m g la d th e g ir l

Is fo u n d so trac tab le . h u m p h r e y N a y , sh e m u st w h ir l

F r o m h e n c e (a n d y o u m u st w in k ; fo r so , I say ,T h e s to ry te lls) to m o rro w b e fo re d ay .

w i f e G e o r g e , d o s t th o u th in k in th y c o n s c ie n c e n o w ’tw ill b e a m a tc h ? T e l l m e b u t w h a t th o u th in k ’ st, sw e e t ro g u e . T h o u seest th e p o o r g e n t le m a n , d e a r h e a rt , h o w it la b o u rs an d th ro b s , I w a rra n t y o u , to b e

at rest. I ’l l g o m o v e th e fa th e r fo r ’t. 12c i t i z e n N o , n o , I p r ith e e s it s till, h o n e y s u c k le ; th o u ’lt

sp o il a ll. I f h e d e n y h im , I ’l l b r in g h a l f a d o z e n g o o d

fe llo w s m y s e lf , an d in th e s h u tt in g o f an e v e n in g k n o c k ’t u p , an d th e re ’ s an en d .

w i f e I ’l l b u ss th e e fo r th a t , i ’fa ith , b o y . W e ll , G e o r g e ,

w e ll, y o u h a v e b e e n a w a g in y o u r d a y s , I w a rra n t y o u ; b u t G o d fo rg iv e y o u , a n d I d o w it h a ll m y h e a rt.

m e r c h a n t H o w w a s it , so n ? Y o u to ld m e th a t

to m o rro w 2 0B e fo r e d a y b re a k y o u m u st c o n v e y h e r h e n ce ?

h u m p h r e y I m u st, I m u st, a n d th u s it is a g re ed :Y o u r d a u g h te r r id e s u p o n a b ro w n -b a y steed ,I o n a so rre l, w h ic h I b o u g h t o f B r ia n ,

T h e h o n e st h o st o f th e R e d R o a r in g L io n ,In W a lt h a m situ a te . T h e n , i f y o u m a y ,C o n s e n t in s e e m ly so rt, le st b y d e la y

T h e fa ta l sisters c o m e an d d o th e o ffic e ,

A n d th e n y o u ’ll s in g a n o th e r so n g .M ERCH AN T A la s ,

W h y sh o u ld y o u b e th u s fu ll o f g r i e f to m e , 3 0T h a t d o w i l l in g as y o u r s e lf agre e T o a n y th in g , so it b e g o o d a n d fa ir?

T h e n s tea l h e r w h e n y o u w il l , i f su ch a p le asu re C o n te n t y o u b o th ; I ’l l s leep an d n e v e r see it,T o m a k e y o u r jo y s m o re fu ll. B u t te ll m e w h y Y o u m a y n o t h e re p e r fo rm y o u r m a rr ia g e ?

w i f e G o d ’s b le s s in g o ’th y so u l, o ld m a n ! I ’fa ith , th o u

6 w ink: turn a blind eye15 shutting o f an evening: dusk16 knock’t up: put an end to this17 buss: kiss18 wag: m ischievous youth24 sorrel: chestnut-coloured horse25 host: publican26 situate: located28 fatal sisters: the T h ree Furies w ho control a m an’s life30 full o f g r ie f to me: ‘com plain about m e’

art lo a th to p a r t tru e h e a rts , I see .— ’A h as h e r,

G e o r g e , an d I ’m as g la d o n ’t .— W e ll , g o th y w a y s , H u m p h re y , fo r a fa ir - s p o k e n m a n ; I b e lie v e th o u h a st n o t th y fe llo w w ith in th e w a lls o f L o n d o n ; an d I

s h o u ld say th e su b u rb s to o I sh o u ld n o t l ie .— W h y

d o st n o t re jo ic e w it h m e , G e o rg e ? 4 3c i t i z e n I f I c o u ld b u t see R a fe a g a in , I w e re as m e rry

as m in e h o st , i ’fa ith . h u m p h r e y T h e ca u se y o u seem to ask , I th u s d ec lare

(H e lp m e , o h M u s e s n in e ): y o u r d a u g h te r sw are

A fo o lis h o a th , th e m o re it w a s th e p ity ;Y e t n o n e b u t m y s e l f w ith in th is c ityS h a ll d are to say so , b u t a b o ld d e fia n c e 50S h a ll m e e t h im , w e re h e o f th e n o b le sc ie n ce .

A n d y e t sh e sw a re , an d y e t w h y d id sh e sw ear?T r u ly , I c a n n o t te ll, u n less it w e reF o r h e r o w n ea se , fo r su re so m e tim e s an o a th ,B e in g s w o rn , th e re a fte r is lik e c o rd ia l b ro th .

A n d th is it w a s sh e sw o re : n e v e r to m a rry

B u t su ch a o n e w h o se m ig h ty arm co u ld c a rry ( A s m e a n in g m e , fo r I am su ch a o n e)

H e r b o d ily a w a y th ro u g h s t ic k an d s to n e ,T i l l b o th o f us a rr iv e , at h e r re q u e st , 60S o m e ten m ile s o f f , in th e w ild W a lth a m F o re s t .

m e r c h a n t I f th is b e a ll, y o u sh a ll n o t n e e d to fe a r A n y d e n ia l in y o u r lo v e . P ro c e e d ;I ’l l n e ith e r fo l lo w n o r re p e n t th e d e e d .

h u m p h r e y G o o d n ig h t , tw e n ty g o o d n ig h ts , an d

tw e n ty m o re .A n d tw e n ty m o re g o o d n ig h ts — th a t m a k e s

th re e sc o re . Exeunt

E n ter m i s t r e s s m e r r y t h o u g h t with je w e l casket and purse o f money, and her son m i c h a e l

m i s t r e s s m e r r y t h o u g h t C o m e M ic h a e l, art th o u

n o t w e a ry , b o y ? m i c h a e l N o , fo rs o o th , m o th e r , n o t I .

m i s t r e s s m e r r y t h o u g h t W h e r e b e w e n o w , c h ild ? 7 0

m i c h a e l In d e e d , fo rs o o th , m o th e r , I c a n n o t te ll, u n less w e b e at M i le E n d . Is n o t a ll th e w o r ld M i le E n d , m o th e r?

m i s t r e s s m e r r y t h o u g h t N o , M ic h a e l, n o t a ll th e

w o r ld , b o y ; b u t I can assu re th e e , M ic h a e l, M i le E n d

42 suburbs: ironic, since these were the unsavoury areas beyond the jurisdiction o f the city authorities

47 M uses nine: ironic, since the M uses inspire anything but pledges

5i noble science: fencing or boxing55 cordial: restorative

65-6 G o o d n ight . . . m akes threescore: a parody o f m any speeches from plays, including the balcony scene from Shakespeare’s Romeo and Juliet (c. ^95)

72 M ile E n d : a ham let one m ile beyond the old walls o f the city (on the road beyond A ld gate) used as a training ground fo r the m ilitia o f citizen soldiers

is a g o o d ly m a tte r ; th e re h as b e e n a p itc h - f ie ld , m y

c h ild , b e tw e e n th e n a u g h ty S p a n ie ls an d th e E n g l is h m e n ; a n d th e S p a n ie ls ran a w a y , M ic h a e l, an d th e E n g l is h m e n fo llo w e d . M y n e ig h b o u r C o x s to n e w a s

th e re , b o y , an d k ille d th e m all w it h a b ir d in g p iece .

m i c h a e l M o t h e r , fo rs o o th — 8 1m i s t r e s s m e r r y t h o u g h t W h a t says m y w h ite b o y ?

m i c h a e l S h a ll n o t m y fa th e r g o w it h us to o ? m i s t r e s s m e r r y t h o u g h t N o , M ic h a e l, le t th y fa th e r

g o s n ic k u p ; h e sh a ll n e v e r c o m e b e tw e e n a p a ir o f

sh ee ts w it h m e a g a in w h ile h e liv e s . L e t h im stay at h o m e an d s in g fo r h is su p p e r , b o y . C o m e , c h ild , s it d o w n , an d I ’l l s h o w m y b o y fin e k n a c k s in d e e d . L o o k h e re , M ic h a e l, h e re ’s a r in g , an d h e re ’s a b ro o c h , an d

h e re ’s a b ra c e le t , a n d h e re ’s tw o r in g s m o re , an d h e re ’s m o n e y an d g o ld b y th ’ey e , m y b o y . 9 1

m i c h a e l S h a ll I h a v e a ll th is , m o th e r? m i s t r e s s m e r r y t h o u g h t A y , M ic h a e l, th o u sh alt

h a v e all, M ic h a e l.

c i t i z e n H o w lik ’ st th o u th is , w e n c h ? w i f e I c a n n o t te ll; I w o u ld h a v e R a fe , G e o r g e ; I ’l l see

n o m o re e lse , in d e e d la , a n d I p ra y y o u le t th e y o u th s u n d e rsta n d so m u c h b y w o rd o f m o u th ; fo r I te ll y o u tru ly , I ’m a fra id o ’ m y b o y . C o m e , c o m e , G e o r g e ,

le t ’ s b e m e rry an d w is e . T h e c h ild ’ s a fa th e r le ss c h ild ; an d sa y th e y sh o u ld p u t h im in to a s tra it p a ir o f g a s k in s , ’ tw e re w o rs e th a n k n o t-g ra s s : h e w o u ld n e v e r g r o w a fte r it. 10 3

E n ter r a f e , t i m as s q u i r e , and g e o r g e as d w a r f

c i t i z e n H e r e ’s R a fe , h e re ’s R a fe . w i f e H o w d o y o u , R a fe ? Y o u are w e lc o m e R a fe , as I

m a y say ; it ’s a g o o d b o y , h o ld u p th y h e a d , a n d b e n o t

a fra id ; w e are th y fr ie n d s , R a fe ; th e g e n t le m e n w ill p ra ise th e e , R a fe , i f th o u p la y ’st th y p a r t w ith

au d a c ity . B e g in , R a fe , o ’G o d ’s n a m e . 10 9r a f e M y tru sty sq u ire , u n la ce m y h e lm ; g iv e m e m y

h a t. W h e r e are w e , o r w h a t d e se rt m a y th is be?

76 pitch-field : m ock battle, one o f the m any kinds o f entertainm ent staged at M ile E n d in addition to the m usters o f the m ilitia w hich were them selves often seen as a source o f entertainm ent

77 naughty: wicked78 Spaniels: Spanish80 bird ing piece: am ateurish gun82 w hite: darling (white boy could m ean favourite son)85 snick up: hang h im se lf88 knacks: trinkets (as in ‘knick-knacks’)9i b y th ’eye: unlim ited in quantity97 youths: boy actors

10 1 strait: tight102 gaskins: breeches

knot-grass: a w eed supposed to stunt grow th (and hinder sexuality); see Lysan der’s com m ent in Shakespeare’s A Midsummer Night’s Dream (c. i595), I I I .i i.329 -3!

g e o r g e M ir r o r o f k n ig h th o o d , th is is , as I ta k e it , th e

p e r ilo u s W a lth a m D o w n , in w h o se b o tto m stan d s th e e n c h a n te d va lle y .

m i s t r e s s m e r r y t h o u g h t O h M ic h a e l , w e are

b e tra y e d , w e are b e tra y e d ! H e r e b e g ia n ts ! F ly , b o y ;

f ly , b o y ; fly !Exeunt m o t h e r and M ICH AEL dropping purse and casket

r a f e L a c e o n m y h e lm a g a in . W h a t n o ise is th is?A g e n t le la d y f ly in g th e e m b ra c eO f s o m e u n c o u rte o u s k n ig h t? I w i l l re lie ve h e r. 12 0

G o , sq u ire , a n d say , th e k n ig h t th a t w e a rs th is p estleIn h o n o u r o f all la d ie s , sw e a rs re v e n g eU p o n th a t re c re a n t c o w a rd th a t p u rsu e s h er.G o c o m fo r t h e r, an d th a t sam e g e n tle sq u ire

T h a t b e ars h e r co m p a n y . t i m I g o b ra ve k n ig h t . E x itr a f e M y tru sty d w a r f an d fr ie n d , re a c h m e m y sh ie ld ,

A n d h o ld it w h ile I sw e a r . F ir s t b y m y k n ig h th o o d ; T h e n b y th e so u l o f A m a d is d e G a u l,

M y fa m o u s a n ce sto r ; th e n b y m y sw o rd T h e b e a u tio u s B r io n e l la g ir t a b o u t m e ; 1 3 0

B y th is b r ig h t b u rn in g p e s tle , o f m in e h o n o u r T h e l iv in g tro p h y ; an d b y a ll re sp e c t D u e to d istre sse d d a m se ls : h e re I v o w

N e v e r to e n d th e q u e s t o f th is fa ir la d y A n d th a t fo rsa k e n sq u ire , t ill b y m y v a lo u r I g a in th e ir lib e rty .

g e o r g e H e a v e n b le ss th e k n ig h t 13 6

T h a t th u s re lie ve s p o o r e rra n t g e n t le w o m e n . Exeunt w i f e A y , m a rry , R a fe , th is h a s so m e sa v o u r in ’t .—

I w o u ld see th e p ro u d e s t o f th e m a ll o f fe r to c a rry h is b o o k s a fte r h im . B u t , G e o r g e , I w i l l n o t h a v e h im g o

a w a y so so o n — I sh a ll b e s ic k i f h e g o a w a y , th a t I

sh a ll. C a l l R a fe a g a in , G e o r g e , c a ll R a fe a g a in ; I p r ith e e , sw e e th e a rt , le t h im c o m e f ig h t b e fo re m e ,

an d le t ’s h a ’ so m e d ru m s an d so m e tru m p e ts , an d le t h im k il l all th a t c o m e s n e a r h im , an d th o u lo v ’st m e ,

G e o r g e . 14 6

c i t i z e n P e a c e a lit t le , b ird ; h e sh a ll k il l th e m a ll, an d th e y w e re tw e n ty m o re o n ’e m th a n th e re are.

E n ter j a s p e r

j a s p e r N o w , F o r tu n e , i f th o u b e ’ st n o t o n ly ill,

112 g e o r g e : from this point Q i substitutes the speech prefix DWARFE for GEORGE

i23 recreant: a) dishonourable; b) traitorous128 A m adis de G au l: a Spanish knight, hero o f a rom ance

nam ed after h im (translated b y A n th o n y M u n d ay in parts from i590 to i6i8)

130 Brionella: mistress o f Palm erin ’s friend, Ptolom e girt: fastened

i39 -4 0 carry his books: ‘fo llow like a low ly pedant’ (Hattaway) 149-52 Fortune, i f . . . A n d stand: Jasper wants the w heel o f

Fortune (governing his fate) to raise rather than low er him (thus show ing its happier face)

S h o w m e th y b e tte r fa c e , an d b r in g a b o u t 15 0

T h y d e sp e ra te w h e e l, th a t I m a y c lim b at le n g th A n d stan d . T h is is o u r p la ce o f m e e t in g I f lo v e h a v e a n y c o n sta n c y . O h age ,

W h e r e o n ly w e a lth y m e n are c o u n te d h a p p y !

H o w sh a ll I p le a se th e e , h o w d e se rv e th y sm ile s , W h e n I am o n ly r ic h in m ise ry ?

M y fa th e r ’ s b le s s in g , an d th is l it t le co inIs m y in h e r ita n c e , a s tro n g rev en u eF r o m e a rth th o u art, a n d to e a rth I g iv e th e e .

Casts the money away T h e r e g r o w a n d m u lt ip ly , w h ils t fr e s h e r a ir 16 0B re e d s m e a fre s h e r fo r tu n e .— H o w , illu s io n ?

Spies the casket W h a t , h a th th e d e v il c o in e d h im s e lf b e fo re m e?’T i s m e ta l g o o d , it r in g s w e l l ; I am w a lk in g ,A n d ta k in g to o , I h o p e . N o w G o d ’ s d e a r b le s s in g U p o n h is h e a rt th a t le ft it h e re . ’T i s m in e ;T h e s e p e a r ls , I ta k e it , w e re n o t le ft fo r sw in e . E x it

w i f e I d o n o t lik e th a t th is u n th r ifty y o u th sh o u ld e m b e z z le a w a y th e m o n e y ; th e p o o r g e n t le w o m a n h is m o th e r w i l l h a v e a h e a v y h e a rt fo r it , G o d k n o w s.

c i t i z e n A n d re a so n g o o d , sw e e th e a rt . 17 0w i f e B u t le t h im g o . I ’l l te ll R a fe a ta le in ’s ea r sh a ll

fe tc h h im a g a in w it h a w a n io n , I w a rra n t h im , i f h e b e ab o v e g ro u n d ; an d b e s id e s , G e o r g e , h e re are a n u m b e r o f s u ffic ie n t g e n t le m e n can w itn e s s , an d m y s e lf, an d y o u rse lf , an d th e m u sic ia n s , i f w e b e

ca lle d in q u e s t io n . B u t h e re c o m e s R a fe , G e o r g e ; th o u sh a lt h e a r h im s p e a k , an h e w e re an e m p e ra l.

En ter r a f e and g e o r g e as d w a r f

r a f e C o m e s n o t S ir S q u ire a g a in ?

g e o r g e R ig h t c o u rte o u s k n ig h t ,Y o u r sq u ire d o th c o m e an d w it h h im c o m e s th e la d y ,

En ter m i s t r e s s m e r r y t h o u g h t and m i c h a e l and t im

as SQUIRE

F o r an d th e S q u ire o f D a m s e ls , as I ta k e it. 18 0

159 From earth . . . give thee: i.e. from dust to dust (in the sense o f the cycle o f Fortune)

160 grow and m ultiply: parody o f C h rist’s parable o f the talents (M atthew 25.14-30)

i62 coined: form edi66 T h ese pearls . . . for swine: see M atth ew 7.6i68 em bezzle: squanderi72 w anion: vengeance174 sufficient: ablei77 an: as i f

em peral: em perori80 F o r and: as well as

the Squire o f D am sels: ‘In Spenser’s The Faerie Queene [1590-6], III .v ii.5 1ff, appears the Squire o f D am es w hose task it is to find three hundred ladies w ho w ould “abide for ever chaste and sound” . W h en Satyrane meets him he has found three’ (H attaway)

r a f e M a d a m , i f a n y se rv ice o r d e v o ir

O f a p o o r e rra n t k n ig h t m a y r ig h t y o u r w ro n g s , C o m m a n d it ; I am p re st to g iv e y o u su cco u r,F o r to th e h o ly e n d I b e a r m y a rm o u r.

m i s t r e s s m e r r y t h o u g h t A la s s ir, I am a p o o r

g e n t le w o m a n , an d I h a ve lo s t m y m o n e y in th is fo re st .

r a f e D e s e r t , y o u w o u ld say , la d y , an d n o t lo s t W h ils t I h a v e s w o rd an d la n c e . D r y u p y o u r tears W h ic h ill b e fit th e b e a u ty o f th a t fa c e , 19 0

A n d te ll th e sto ry , i f I m a y re q u e st it,O f y o u r d isa stro u s fo rtu n e .

m i s t r e s s m e r r y t h o u g h t O u t , a las! I le f t a th o u sa n d p o u n d , a th o u sa n d p o u n d , e ’en a ll th e m o n e y I h a d

la id u p fo r th is y o u th , u p o n th e s ig h t o f y o u r m a s te rsh ip ; y o u lo o k e d so g r im , an d , as I m a y sa y it, s a v in g y o u r p re se n c e , m o re lik e a g ia n t th a n a m o rta l m a n .

r a f e I am as y o u are , la d y ; so are th e y

A l l m o rta l. B u t w h y w e e p s th is g e n t le sq u ire? 2 0 0 m i s t r e s s m e r r y t h o u g h t H a s h e n o t ca u se to w e e p ,

d o y o u th in k , w h e n h e h a th lo s t h is in h e r ita n c e ? r a f e Y o u n g h o p e o f v a lo u r , w e e p n o t ; I am h e re

T h a t w i l l c o n fo u n d th y fo e a n d p a y it d e a r

U p o n h is c o w a rd h e a d , th a t d ares d e n y D is t re s s e d sq u ires a n d la d ie s eq u ity .I h a v e b u t o n e h o rs e , o n w h ic h sh a ll r id e T h is la d y fa ir b e h in d m e , a n d b e fo re

T h is c o u rte o u s sq u ire ; fo rtu n e w il l g iv e us m o re U p o n o u r n e x t ad v e n tu re . F a ir ly sp e ed 2 10B e s id e u s, sq u ire a n d d w a r f , to d o us n e e d . Exeunt

c i t i z e n D id n o t I te ll y o u , N e ll , w h a t y o u r m a n w o u ld

d o ? B y th e fa ith o f m y b o d y , w e n c h , fo r c le a n a c tio n

an d g o o d d e liv e ry th e y m a y a ll c a s t th e ir cap s at h im . w i f e A n d so th e y m a y , i ’ fa ith , fo r I d are sp e a k it

b o ld ly , th e tw e lv e c o m p a n ie s o f L o n d o n c a n n o t m a tc h h im , t im b e r fo r t im b e r . W e ll , G e o r g e , an d h e

b e n o t in v e ig le d b y so m e o f th e se p a ltry p la y e rs , I h a ’

m u c h m a rv e l; b u t , G e o r g e , w e h a ’ d o n e o u r p a rts i f th e b o y h a v e a n y g ra c e to b e th a n k fu l. 2 2 0

c i t i z e n Y e s , I w a rra n t th e e , d u c k lin g .

E n ter H UM PH REY and l u c e

i8i devoir: duty (in chivalric terms) i83 prest: prepared, from pret (French) i85—7 I am . . . this forest: see Palmerin d’Olizia: ‘Palm erin

and Ptolem e m et w ith a D am sel, w ho m ade great m oan for a casket w hich two knights had forcib ly taken from her’ (I.2i)

200 A ll: w holly206 equity: justice213 clean: adroit214 cast their caps at: give up trying to im itate216 twelve com panies: see Induction, l. i4n217 tim ber for tim ber: like for like218 inveigled: boys were som etim e kidnapped as possible actors

h u m p h r e y G o o d M is t r e s s L u c e , h o w e v e r I in fa u lt am

F o r y o u r la m e h o rse , y o u ’re w e lc o m e u n to W a lth a m . B u t w h ic h w a y n o w to g o o r w h a t to say I k n o w n o t tru ly t ill it b e b ro a d d ay .

l u c e O h fe a r n o t , M a s t e r H u m p h re y , I am g u id e

F o r th is p la c e g o o d e n o u g h . h u m p h r e y T h e n u p an d rid e ,

O r , i f it p le ase y o u , w a lk fo r y o u r re p o se ,O r s it , o r i f y o u w il l , g o p lu c k a ro se ;E it h e r o f w h ic h sh a ll b e in d iffe re n t 2 3 0

T o y o u r g o o d fr ie n d an d H u m p h re y , w h o se c o n se n t I s so e n ta n g le d e v e r to y o u r w il l ,A s th e p o o r h a rm le ss h o rse is to th e m ill.

l u c e F a it h , a n d y o u say th e w o r d , w e ’ll e ’en s it d o w n

A n d ta k e a n ap . h u m p h r e y ’T i s b e tte r in th e to w n ,

W h e r e w e m a y n a p to g e th e r ; fo r , b e lie v e m e ,T o sleep w ith o u t a sn a tc h w o u ld m ic k le g r ie v e m e .

l u c e Y o u ’re m e rry , M a s t e r H u m p h re y .

h u m p h r e y S o I am ,A n d h a v e b e e n e v e r m e rry fro m m y d am .

l u c e Y o u r n u rse h a d th e le ss la b o u r. h u m p h r e y F a it h , it m a y b e ,

U n le s s it w e re b y ch a n c e I d id b e ra y m e . 2 4 1

E n ter j a s p e r

j a s p e r L u c e , d e a r fr ie n d L u c e !l u c e H e r e , Ja s p e r .

j a s p e r Y o u are m in e .h u m p h r e y I f it b e so , m y fr ie n d , y o u u se m e fin e ;

W h a t d o y o u th in k I am ? j a s p e r A n arra n t n o d d y .

h u m p h r e y A w o rd o f o b lo q u y ! N o w , b y G o d ’ s b o d y ,

I ’l l te ll th y m a ste r , fo r I k n o w th e e w e ll. j a s p e r N a y , an d y o u b e so fo rw a rd fo r to te ll,

T a k e th a t , an d th a t , a n d te ll h im , s ir , I g a v e it,Beats him

A n d say I p a id y o u w e ll.

h u m p h r e y O h , s ir , I h a v e it,A n d d o c o n fe ss th e p a y m e n t . P r a y b e q u ie t . 250

j a s p e r G o , g e t to y o u r n ig h t-c a p a n d th e d ie t

229 pluck a rose: a) urinate (m ost eds); b) euphem ism for defecate (W ine)

235 nap: a) sleep; b) drink 237 snatch: snack

m ickle: m uch (northern E n g lish and still used in Scotland)

239 dam : m other24i beray: befoul m yself244 arrant noddy: itinerant fool (or sim pleton)245 G o d ’s body: see Interlude I, l. i2n250 confess: acknowledge

quiet: at peace251 n ight-cap: n ightcaps were especially worn during ill

health

T o cu re y o u r b e a te n b o n e s .

L u c E A la s , p o o r H u m p h re y ,G e t th e e so m e w h o le so m e b ro th w it h sage an d

c o m fre y ;

A litt le o il o f ro se s an d a fe a th e r

T o ’n o in t th y b a c k w ith a l. h u m p h r e y W h e n I c a m e h ith e r ,

W o u ld I h a d g o n e to P a r is w ith J o h n D o r y .L u c E F a r e w e ll , m y p re tty N u m p ; I am v e ry so rry

I c a n n o t b e a r th e e c o m p a n y .

h u m p h r e y F a r e w e ll ;T h e d e v il ’s d a m w a s n e ’er so b a n g e d in h e ll. 259

E xeun t l u c e and j a s p e r . M anet h u m p h r e y w i f e T h is y o u n g J a s p e r w il l p ro v e m e a n o th e r th in g ,

o ’m y c o n s c ie n c e , a n d h e m a y b e s u ffe re d . G e o rg e , d o s t n o t see, G e o r g e , h o w ’ a s w a g g e rs , a n d flie s at th e v e ry h e a d s o ’fo lk s as h e w e re a d ra g o n ? W e ll , i f I d o n o t d o h is le sso n fo r w r o n g in g th e p o o r g e n t le m a n , I

am n o tru e w o m a n . H is fr ie n d s th a t b r o u g h t h im up

m ig h t h a v e b e e n b e tte r o c c u p ie d , iw is , th a n h a ’ ta u g h t h im th e se fe g a r ie s ; h e ’ s e ’en in th e h ig h w a y to th e g a llo w s , G o d b le ss h im .

c i t i z e n Y o u ’re to o b it te r , c o n y ; th e y o u n g m a n m a y d o w e ll e n o u g h fo r all th is . 270

w i f e C o m e h ith e r , M a s te r H u m p h re y ; h as h e h u rt yo u ? N o w b e sh re w h is fin g ers fo r ’t. H e r e , sw eeth eart, h e re ’s so m e g re e n g in g e r fo r th ee . N o w b e sh re w m y h eart, b u t ’a h as p e p p e rn e l in ’s h e ad as b ig as a p u lle t ’s egg .

A la s , sw eet la m b , h o w th y tem p les b eat! T a k e th e p eace o n h im , sw eeth eart, tak e th e p eace o n h im .

E n ter a b o y

c i t i z e n N o , n o , y o u ta lk lik e a fo o lis h w o m a n . I ’l l h a ’

R a fe f ig h t w ith h im , a n d s w in g e h im up w e l l- fa v o u re d ly . S ir ra h b o y , c o m e h ith e r ; le t R a fe c o m e in

an d f ig h t w ith Ja s p e r . 28 0w i f e A y , an d b e a t h im w e ll; h e ’s an u n h a p p y b o y .

b o y S ir , y o u m u st p a rd o n u s ; th e p lo t o f o u r p la y lie s

253 com frey: m edicinal p lant (symphytum officinale) w ith p ink-purple or cream flowers found near ditches and stream s; com m on in the south o f Englan d

256 Jo h n D ory: hero o f a song (m usic b y T hom as Ravenscroft, 1609) w ho is captured b y highw aym en on his w ay to visit the K in g o f France

257 N um p: a) a fool; b) nicknam e fo r H um ph rey259 T h e devil’s . . . in hell: reference to M o rality plays in

w hich the devil and his kin w ere belaboured by vices267 fegaries: vagaries, pranks273 green ginger: m edicine to relieve aches and pains274 peppernel: lum p, sw elling275-6 T ak e the peace on him : obtain sureties for his good

conduct278 w ith: for, on his beh alf

swinge: thrash278-9 w ell-favouredly: thoroughly281 unhappy: goo d-fo r-n oth in g

c o n tra ry , an d ’tw ill h a z a rd th e s p o il in g o f o u r p la y .

c i t i z e n P lo t m e n o p lo ts . I ’l l h a ’ R a fe c o m e o u t; I ’ll m a k e y o u r h o u se to o h o t fo r y o u e lse .

b o y W h y , s ir , h e s h a ll; b u t i f a n y th in g fa ll o u t o f o rd e r ,

th e g e n t le m e n m u st p a rd o n us.

c i t i z e n G o y o u r w a y s , g o o d m a n b o y . (E x it b o y ) — I ’ll h o ld h im a p e n n y h e sh a ll h a v e h is b e lly fu l o f f ig h t in g n o w . H o , h e re c o m e s R a fe ; n o m o re . 2 9 0

En ter r a f e , m i s t r e s s m e r r y t h o u g h t , m i c h a e l , t im as s q u i r e , and g e o r g e as d w a r f

r a f e W h a t k n ig h t is th a t , sq u ire? A s k h im i f h e k eep T h e p a s sa g e , b o u n d b y lo v e o f la d y fa ir ,O r e lse b u t p r ic k a n t.

h u m p h r e y S ir , I am n o k n ig h t ,B u t a p o o r g e n t le m a n , th a t th is sa m e n ig h t H a d sto le n fro m m e o n y o n d e r g re e n M y lo v e ly w i fe , an d su ffe re d (to b e seen

Y e t e x ta n t o n m y sh o u ld e rs) su ch a g re e t in g

T h a t w h ils t I l iv e I sh a ll th in k o f th a t m e e tin g . w i f e A y , R a fe , h e b e a t h im u n m e rc ifu lly , R a fe ; an d

th o u sp a r ’ st h im , R a fe , I w o u ld th o u w e r t h a n g e d . 3 0 0 c i t i z e n N o m o re , w ife , n o m o re . r a f e W h e r e is th e c a i t i f f w re tc h h a th d o n e th is d eed ?

L a d y , y o u r p a rd o n , th a t I m a y p ro c e e d U p o n th e q u e st o f th is in ju r io u s k n ig h t .A n d th o u , fa ir sq u ire , re p u te m e n o t th e w o rs e ,In le a v in g th e g re a t v e n tu re o f th e p u rse

A n d th e r ic h c a sk e t t ill so m e b e tte r le isu re .

En ter j a s p e r and l u c e

H e r e c o m e s th e b ro k e r h a th p u r lo in e d m y treasu re .

r a f e G o , sq u ire , an d te ll h im I am h e re ,

A n e rra n t k n ig h t at a rm s, to c rav e d e liv e ry 3 1 0O f th a t fa ir la d y to h e r o w n k n ig h t ’s a rm s.

I f h e d e n y , b id h im ta k e c h o ic e o f g ro u n d ,A n d so d e fy h im .

t i m F r o m th e k n ig h t th a t b e ars

T h e g o ld e n p e stle , I d e fy th e e , k n ig h t ,U n le s s th o u m a k e fa ir re s t itu tio n O f th a t b r ig h t la d y .

j a s p e r T e l l th e k n ig h t th a t se n t th e e

H e is an ass , an d I w i l l k e e p th e w e n c h A n d k n o c k h is h e a d -p ie c e .

r a f e K n ig h t , th o u art b u t d e a d ,

283 spoiling: ‘G eo rge and N e ll have attem pted to redo the play by adding R afe: now they attem pt to rewrite it; eventually they w ill w ant to displace it’ (Kinney)

289 hold: bet29 1-2 keep/T he passage: guard the entrance to the castle 293 prickant: rid ing fast (but w ith sexual connotation)296 w ife: i.e. betrothed 302 caitiff: w icked 304 injurious: m alicious308 broker: pim p

I f th o u re c a ll n o t th y u n c o u rte o u s te rm s.

w i f e B r e a k ’s p a te , R a fe ; b re a k ’ s p a te , R a fe , so u n d ly . 3 2 0 j a s p e r C o m e , k n ig h t , I am re a d y fo r y o u . N o w y o u r

p e stle Snatches aw ay his pestleS h a ll try w h a t te m p e r , s ir , y o u r m o r ta r ’ s o f.

(Recites) “W it h th a t h e s to o d u p r ig h t in h is s t irru p s, an d g a v e th e K n ig h t o f th e C a l f - s k in su ch a k n o c k (Knocks r a f e down) th a t h e fo rs o o k h is h o rse an d d o w n h e fe ll ; a n d th e n h e le a p e d u p o n h im , an d p lu c k in g o f f h is h e lm e t— ’

h u m p h r e y N a y , an d m y n o b le k n ig h t b e d o w n so so o n ,

T h o u g h I can sc a rc e ly g o , I n eed s m u st ru n .Exeunt h u m p h r e y and r a f e

w i f e R u n , R a fe ; ru n , R a fe ; ru n fo r th y li fe , b o y ; Ja s p e r c o m e s , J a s p e r c o m e s . 3 3 1

j a s p e r C o m e , L u c e , w e m u st h a v e o th e r a rm s fo r y o u ;H u m p h re y an d G o ld e n P e s t le , b o th ad ieu . Exeunt

w i f e S u re th e d e v il, G o d b le ss u s , is in th is sp r in g a ld .

W h y , G e o r g e , d id s t e v e r see su ch a fir e -d ra k e ? I am a fra id m y b o y ’s m isc a rr ie d ; i f h e b e , th o u g h h e w e re

M a s t e r M e r r y th o u g h t ’ s so n a th o u sa n d t im e s , i f th e re b e a n y la w in E n g la n d , I ’l l m a k e so m e o f th e m sm a rt fo r ’t. 339

c i t i z e n N o , n o , I h a ve fo u n d o u t th e m atter,sw eeth eart: Ja s p e r is e n ch a n te d ; as sure as w e are h ere , h e is en ch a n ted . H e co u ld n o m o re h ave sto o d in R a fe ’s h a n d s th a n I can stan d in m y L o r d M a y o r ’s. I ’ll

h ave a r in g to d isco v e r all en c h a n tm e n ts, an d R a fe sh all b e a t h im yet. B e n o m o re v ex ed , fo r it sh all b e so.

E n ter r a f e , t i m as s q u i r e , g e o r g e as d w a r f ,M ISTRESS M ERRYTHO UGHT and M ICHAEL

w i f e O h , h u sb a n d , h e re ’s R a fe a g a in .— S ta y , R a fe , le t m e sp e ak w ith th e e . H o w d o st th o u , R a fe ? A r t th o u n o t sh ro a d ly h u rt? T h e fo u l g re a t lu n g ie s la id u n m e rc ifu lly o n th e e ; th e re ’s so m e su g a r-c a n d y fo r

th ee . P ro c e e d , th o u sh alt h ave an o th e r b o u t w ith h im .

c i t i z e n I f R a fe h a d h im at th e fe n c in g -s c h o o l, i f h e d id n o t m ak e a p u p p y o f h im , an d d rive h im u p an d d o w n th e sch o o l, h e sh o u ld n e ’er c o m e in m y sh o p m o re .

m i s t r e s s m e r r y t h o u g h t T r u ly , M a s t e r K n ig h t o f

th e B u r n in g P e s t le , I am w e a ry . 355

320 pate: head324 C alf-sk in : refers to the calf-sk in vellum on w hich old

rom ances w ere written329 go: w alk334 springald: stripling

335 fire-drake: dragon336 m iscarried: com e to harm342 have stood in: w ithstood348 shroadly: severely (archaic form o f ‘shrew dly’)

lungies: louts (from L ongin us, the soldier w ho thrust aspear into the body o f Christ)

352 puppy: coward

m i c h a e l In d e e d la , m o th e r , an d I am v e ry h u n g ry .

r a f e T a k e c o m fo r t , g e n t le d a m e , a n d y o u , fa ir sq u ire , F o r in th is d e se rt th e re m u st n e e d s b e p la c e d M a n y s tro n g castle s h e ld b y c o u rte o u s k n ig h ts ;A n d t ill I b r in g y o u sa fe to o n e o f th o se , 3 6 0

I sw e a r b y th is m y o rd e r n e ’e r to le a v e y o u . w i f e W e ll sa id , R a f e .— G e o r g e , R a fe w a s ever

c o m fo r ta b le , w a s h e n o t? c i t i z e n Y e s , d u ck .w i f e I sh a ll n e ’er fo rg e t h im , w h e n w e h a d lo s t o u r

c h ild (y o u k n o w it w a s s tra ye d a lm o st , a lo n e , to P u d d le W h a r f , a n d th e c rie rs w e re a b ro a d fo r it , an d th e re it h a d d ro w n e d i t s e l f b u t fo r a scu lle r) , R a f e w a s th e m o st c o m fo rta b le s t to m e : ‘P e a c e , m is tre s s ’ , says

h e , ‘le t it g o ; I ’l l g e t y o u a n o th e r as g o o d ’ . D id h e n o t, G e o r g e , d id h e n o t say so? 3 7 1

c i t i z e n Y e s in d e e d d id h e , m o u se . g e o r g e I w o u ld w e h a d a m ess o f p o tta g e an d a p o t o f

d r in k , sq u ire , a n d w e re g o in g to b e d .

t i m W h y , w e are at W a lth a m to w n ’ s e n d , a n d th a t ’s th e B e l l In n .

g e o r g e T a k e c o u ra g e , v a lia n t k n ig h t , d a m se l, an d sq u ire ;

I h a ve d isc o v e re d , n o t a s to n e ’s c a s t o f f ,

A n a n c ie n t c astle h e ld b y th e o ld k n ig h tO f th e m o st h o ly o rd e r o f th e B e l l , 3 8 0W h o g iv e s to a ll k n ig h ts e r ra n t en te rta in .T h e r e p le n ty is o f fo o d , an d a ll p re p a re d

B y th e w h ite h a n d s o f h is o w n la d y d ear.H e h a th th re e sq u ires th a t w e lc o m e a ll h is g u e sts :T h e fir s t h ig h t C h a m b e r lin o , w h o w il l see O u r b e d s p re p a re d , a n d b r in g us s n o w y sh ee ts ,

W h e r e n e v e r fo o tm a n stre tch e d h is b u tte re d h a m s ;

T h e se c o n d h ig h t T a p s te ro , w h o w il l see O u r p o ts fu ll fi l le d an d n o fro th th e re in ;

T h e th ird , a g e n t le sq u ire , O st le ro h ig h t 3 9 0W h o w il l o u r p a lfre y s s lic k w it h w is p s o f stra w ,

A n d in th e m a n g e r p u t th e m o ats e n o u g h ,

36 i m y order: i.e. o f knighthood363 com fortable: helpful367 Puddle W h arf: T h am es landing place at the foot o f

St A nd rew ’s H ill (now Puddle D ock, near B lackfriars B ridge)criers w ere abroad for it: one responsibility o f town criers was to help find lost children

368 sculler: either an oarsm an or a ligh t river boat370 get: p lay on ‘beget’373 m ess o f pottage: stew o f boiled vegetables (and

som etim es meat)378 I have discovered: the episode that begins here, w here an

inn is m istaken for a castle, is taken from B o o k I o f Don Quixote

385 hight: called (archaic)387 W here never . . . buttered hams: footmen ran w ith their

masters’ carriages and greased their calves to prevent cramp 39i slick: m ake sleek

A n d n e v e r g re a se th e ir te e th w it h c a n d le -s n u ff .

w i f e T h a t sam e d w a r f ’s a p re tty b o y , b u t th e sq u ire ’s a g ro u tn o ll.

r a f e K n o c k at th e g a te s , m y sq u ire , w it h sta te ly la n ce .

E n ter t a p s t e r

t a p s t e r W h o ’s th e re ?— Y o u ’re w e lc o m e , g e n t le m e n ;

w il l y o u see a ro o m ? g e o r g e R ig h t co u rte o u s a n d v a lia n t K n ig h t o f th e

B u r n in g P e st le , th is is th e S q u ire T a p s te ro . 4 0 0

r a f e F a i r S q u ire T a p s te ro , I , a w a n d e r in g k n ig h t H ig h t o f th e B u r n in g P e s t le , in th e q u e st O f th is fa ir la d y ’s c a sk e t a n d w r o u g h t p u rse L o s in g m y s e l f in th is v a s t w ild e rn e ss ,

A m to th is c astle w e l l b y fo rtu n e b ro u g h t ;W h e r e , h e a r in g o f th e g o o d ly e n te rta in Y o u r k n ig h t o f h o ly o rd e r o f th e B e l l G iv e s to all d a m se ls a n d a ll e r ra n t k n ig h ts ,

I th o u g h t to k n o c k , a n d n o w am b o ld to en te r . 4 0 9

t a p s t e r A n ’t p le a se y o u see a c h a m b e r , y o u are v e ry w e lc o m e . Exeunt

w i f e G e o r g e , I w o u ld h a v e s o m e th in g d o n e , an d I c a n n o t te ll w h a t it is.

c i t i z e n W h a t is it , N e ll?

w i f e W h y , G e o r g e , sh a ll R a fe b e a t n o b o d y a g a in ?P r ith e e , sw e e th e a rt , le t h im .

c i t i z e n S o h e sh a ll, N e ll ; an d i f I jo in w it h h im , w e ’ll k n o c k th e m all.

E n ter h u m p h r e y and m e r c h a n t

w i f e O h , G e o r g e , h e re ’s M a s t e r H u m p h re y ag a in n o w , th a t lo s t M is t r e s s L u c e , an d M is t r e s s L u c e ’s fa th e r . M a s t e r H u m p h re y w i l l d o s o m e b o d y ’s e rra n d ,

I w a rra n t h im . 4 2 2h u m p h r e y F a th e r , it ’s tru e in a rm s I n e ’e r sh a ll c lasp

h e r,F o r sh e is s to l’n a w a y b y y o u r m a n Ja s p e r .

w i f e I th o u g h t h e w o u ld te ll h im .

m e r c h a n t U n h a p p y th a t I am to lo se m y ch ild !N o w I b e g in to th in k o n J a s p e r ’ s w o rd s ,W h o o f t h a th u rg e d to m e th y fo o lis h n e ss .W h y d id s t th o u le t h e r g o ? T h o u lo v ’ st h e r n o t,

T h a t w o u ld s t b r in g h o m e th y li fe , an d n o t b r in g h er. h u m p h r e y F a th e r , fo rg iv e m e . S h a ll I te ll y o u tru e? 4 3 1

L o o k o n m y sh o u ld e rs , th e y are b la c k an d b lu e . W h ils t to an d fro fa ir L u c e an d I w e re w in d in g ,

H e c a m e an d b a ste d m e w it h a h e d g e -b in d in g .

393 grease their . . . w ith candle-snuff: a com m on trick w hich prevented horses from eating

395 groutnoll: blockhead 403 w rought: em broidered42i errand: w orthy deed (errant Q i)434 basted: beat

m e r c h a n t G e t m e n an d h o rse s s tra ig h t; w e w il l be

th e reW it h in th is h o u r. Y o u k n o w th e p la ce a g a in ?

h u m p h r e y I k n o w th e p la ce w h e re h e m y lo in s d id

sw a d d le .

I ’l l g e t s ix h o rse s , an d to e a ch a sad d le . m e r c h a n t M e a n t im e I ’l l g o ta lk w it h J a s p e r ’ s fa th e r .

Exeuntw i f e G e o r g e , w h a t w ilt th o u la y w it h m e n o w , th a t

M a s t e r H u m p h re y h as n o t M is t r e s s L u c e y e t? S p e a k ,

G e o r g e , w h a t w i lt th o u la y w ith m e ? 4 4 2c i t i z e n N o ; N e ll , I w a rra n t th e e J a s p e r is at

P u c k e r id g e w it h h e r b y th is . w i f e N a y , G e o r g e , y o u m u st c o n s id e r M is t r e s s L u c e ’s

fe e t are te n d e r , a n d , b e s id e s , ’tis d a rk ; a n d I p ro m ise y o u tru ly , I d o n o t see h o w h e sh o u ld g e t o u t o f W a lth a m F o r e s t w it h h e r y et.

c i t i z e n N a y , c o n y , w h a t w i lt th o u la y w it h m e th a t

R a fe h a s h e r n o t y e t? 4 5 0

w i f e I w i l l n o t la y a g a in st R a fe , h o n e y , b e c a u se I h a ve n o t sp o k e n w ith h im . B u t lo o k , G e o r g e , p e a c e ; h e re co m e s th e m e rry o ld g e n t le m a n a g a in .

OLD M ERRYTHOUGHT(Sings) When it was grown to dark midnight,

A n d a ll were fa s t asleep,In came M argaret’s grim ly ghost,A n d stood at W illiam’s feet. 457

I h a ve m o n e y an d m e a t an d d r in k b e fo re h a n d till to m o rro w at n o o n ; w h y sh o u ld I b e sad? M e th in k s I h a ve h a l f a d o ze n jo v ia l sp ir its w ith in m e (sings) I am three merry men, and three merry men. T o w h a t en d

sh o u ld an y m a n b e sad in th is w o r ld ? G iv e m e a m an th a t w h e n h e g o e s to h a n g in g cries (sings) Troll the black bow l to me! an d a w o m a n th a t w ill s in g a c a tc h in h e r trava il. I h a ve seen a m a n co m e b y m y d o o r w ith a

435 straight: at once437 swaddle: beat soundly (from ‘swathe’)440 lay: w ager (with sexual connotation)444 Puckeridge: a H ertfordshire village tw enty-three miles

north o f L ondon (and sixteen m iles beyond W alth am Forest)

454-7 When it . . . William’s feet: a version o f a verse from ‘F air M argaret and Sw eet W illia m ’ (traditional)

456 grimly: grim -lookin g4 6 0 -1 I am . . . merry men: from a song that appears in Old

Wives’ Tale (1591) b y G eo rge Peele463-4 Troll the . . . to me: from a song that appears in Summer’s

Last Will and Testament (1592) by T hom as N ashe (15671601); see also ‘T h e Second T h ree-M an ’s Song’ from Thom as D ekker’s The Shoemakers Holiday (1599)

463 Troll: pass464 black bowl: drinking vessel

catch: short, often baw dy song465 travail: labour

serio u s fa ce , in a b la c k c lo a k , w ith o u t a h a t-b a n d ,

c a rry in g h is h e a d as i f h e lo o k e d fo r p in s in th e street;I h a ve lo o k e d o u t o f m y w in d o w h a l f a y e a r a fte r , an d h a ve sp ied th a t m a n ’s h e a d u p o n L o n d o n B r id g e . ’T is

v ile . N e v e r tru st a ta ilo r th a t d o es n o t s in g at h is w o rk :

h is m in d is o f n o th in g b u t filc h in g . 4 7 1w i f e M a r k th is , G e o r g e , ’tis w o r th n o t in g ; G o d fr e y

m y ta ilo r , y o u k n o w , n e v e r s in g s , an d h e h a d fo u rte e n y a rd s to m a k e th is g o w n ; an d I ’l l b e sw o rn M is tr e s s P e n n is to n e th e d ra p e r ’s w i fe h a d o n e m a d e w ith

tw e lv e .OLD M ERRYTHOUGHT

(Sings) ’Tis mirth that fills the zeins with blood, M ore than wine, or sleep, or food;L et each man keep his heart at ease,N o man dies o f that disease. 4 8 0H e that would his body keep From diseases, must not weep;B u t whoezer laughs and sings,N ezer he his body brings Into fezers, gouts or rheums,Or lingeringly his lungs consumes,Or meets with aches in the bone,Or catarrhs, or griping stone,B u t contented lizes fo r aye;The more he laughs, the more he may. 4 9 0

w i f e L o o k , G e o r g e , h o w sa y ’st th o u b y th is , G e o rg e ? I s ’t n o t a fin e o ld m a n ?— N o w G o d ’s b le s s in g o ’th y

sw e e t l ip s .— W h e n w i lt th o u b e so m e rry , G e o g e ? F a it h , th o u art th e fr o w n in g ’st l it t le th in g , w h e n th o u art a n g ry , in a co u n try .

E n ter m e r c h a n t

c i t i z e n P e a c e , c o n y , th o u sh a lt see h im ta k e n d o w n to o , I w a rra n t th e e . H e r e ’ s L u c e ’s fa th e r c o m e n o w .

OLD M ERRYTHOUGHT(Sings) A s you came from Walsingham

From that holy land,There met you not w ith my true loze 5 0 0 B y the way as you came#

m e r c h a n t O h , M a s t e r M e r r y th o u g h t , m y d a u g h te r ’ s g o n e !

T h is m ir th b e c o m e s y o u n o t , m y d a u g h te r ’s g o n e .

OLD M ERRYTHO UGHT(Sings) Why, an i f she be, what care I#

Or let her come, or go, or tarry. m e r c h a n t M o c k n o t m y m is e ry ; it is y o u r son

W h o m I h a v e m a d e m y o w n , w h e n all fo rs o o k h im ,H as s to l’n m y o n ly jo y , m y c h ild , aw ay .

OLD M ERRYTHO UGHT(Sings) H e set her on a m ilk-white steed,

A n d him self upon a grey, 5 10

H e nezer turned his face again,B u t he bore her quite away.

m e r c h a n t U n w o r th y o f th e k in d n e ss I h a v e sh o w n T o th e e an d th in e ! T o o la te I w e l l p e rce iv e

T h o u art c o n s e n t in g to m y d a u g h te r ’ s lo ss . o l d m e r r y t h o u g h t Y o u r d a u g h te r ! W h a t a s tir ’ s

h e re w i ’ y e r d a u g h te r? L e t h e r g o , th in k n o m o re on h e r, b u t s in g lo u d . I f b o th m y so n s w e re o n th e

g a llo w s , I w o u ld s in g ,

(Sings) D own, down, down they fa ll, 5 2 0D own, and arise they nezer shall.

m e r c h a n t O h , m ig h t I b e h o ld h e r o n c e a g a in ,A n d sh e o n ce m o re e m b ra c e h e r a g e d sire .

o l d m e r r y t h o u g h t F ie , h o w sc u rv ily th is g o e s . ‘A n d

sh e o n ce m o re e m b ra c e h e r a g e d s ire ’ ? Y o u ’ll m a k e a d o g o n h e r w i l l y e ? S h e cares m u c h fo r h e r ag e d s ire ,I w a rra n t y o u .(Sings) She cares not fo r her daddy, nor

She cares not fo r her mammy;F o r she is, she is, she is, she is 5 30M y L ord o f L ow gaze’s lassy.

m e r c h a n t F o r th is th y sc o rn , I w i l l p u rsu e th a t son

O f th in e to d e a th .

o l d m e r r y t h o u g h t D o , an d w h e n y o u h a ’ k ille d h im ,

(Sings) G ize him flow ers enow, palmer, g ize him flow ers enow,

G ize him red, and white, and blue, green, and yellow.

m e r c h a n t I ’l l fe tc h m y d a u g h te r . o l d m e r r y t h o u g h t I ’l l h e a r n o m o re o ’ y o u r

d a u g h te r ; it sp o ils m y m ir th . 54 0

m e r c h a n t I say , I ’l l fe tc h m y d a u g h te r .

4 6 6 -7 w ithout a hat-band: sign o f a Puritan469-70 head upon L o nd on Bridge: after execution the heads

o f traitors w ere displayed on Lo n d on B rid ge as a w arning to others; see EdwardII, I.i.ii8

47i filching: stealing473 m y tailor: tailors were believed to be dishonest

fourteen yards: see The Roaring Girl, II.ii.90n487 aches: pronounced ‘aitches’488 catarrhs: inflam m ation o f the nose and throat

griping stone: pain fu l gallstone498-50i As you . . . you came#: a popular ballad about a village

in N o rfo lk that w as, until i538, a m ajor R om an C atholic shrine to the V irgin M ary

504-5 Why, an . . . or tarry: from ‘Farew ell, D ear L o ve ’, apopular song that appears in Shakespeare’s Twelfth Night (i6 0 i-2 ) , II.iii.9 i

5 0 9 - K He set . . . milk-white steed: corresponds to a verse in ‘T h e B allad o f the K n igh t and the Shepherd ’s D aughter’

5 2 0 - i Down, down . . . nezer shall: from ‘Sorrow ’s Story ’ in Jo h n D ow lan d ’s Second Book of Songs and Airs (i600)

525-6 m ake a dog on her: V enturew ell has called h im self L u ce ’s ‘sire’

536 enow: enough palmer: p ilgrim

OLD M ERRYTHOUGHT

(Sings) Was never man fo r lady’s sake,D ow n, down,Tormented as I, poor S ir Guy,D e derry down,F o r Lucy’s sake, that lady bright,D ow n, down,A s ever men beheld with eye,D e derry down.

m e r c h a n t I ’l l b e re v e n g e d , b y h e a v e n . 550

ExeuntFIN IS ACTUS SECUNDI

Interlude IIMusic

w i f e H o w d o s t th o u lik e th is , G e o rg e ? c i t i z e n W h y , th is is w e ll, c o n y ; b u t i f R a fe w e re h o t

o n c e , th o u sh o u ld st see m o re .

w i f e T h e fid d le rs g o a g a in , h u sb a n d . c i t i z e n A y , N e ll , b u t th is is scu rv y m u sic . I g a v e th e

w h o re so n g a llo w s m o n e y , an d I th in k h e h as n o t g o t

m e th e w a its o f S o u th w a rk . I f I h e a r ’em n o t an o n ,I ’l l tw in g e h im b y th e e a rs .— Y o u m u sic ia n s , p la y ‘B a lo o ’ .

w i f e N o , g o o d G e o r g e , le ts h a ’ ‘L a c h r im a e ’ . 10c i t i z e n W h y , th is is it, co n y . w i f e I t ’ s all th e b e tte r , G e o rg e . N o w , sw e e t la m b ,

w h a t s to ry is th a t p a in te d u p o n th e c lo th ? T h e C o n fu ta t io n o f S a in t P a u l?

c i t i z e n N o , la m b , th a t ’s R a fe an d L u c re c e . w i f e R a fe an d L u c re c e ? W h ic h R a fe ? O u r R a fe ? c i t i z e n N o , m o u se , th a t w a s a T a r ta r ia n .

w i f e A T a r ta r ia n ! W e ll , I w o u ld th e fid d le rs h a d d o n e , th a t w e m ig h t see o u r R a fe a g a in .

542-9 Was never . . . derry down: from the m edieval legend o f G u y o f W arw ick, a popular hero o f rom ance and ballads

2 hot: aroused8 twinge: tweak9 ‘B aloo ’: a com m on w ord in the refrains o f lullabies;

possib ly referring here to ‘L a d y B oth w ell’s Lam entation ’io ‘Lachrim ae’ : a set o f pavans (courtly dances) b y Jo h n

D ow lan d (i605)13 story is . . . the cloth?: a painted cloth (arras) or tapestry

hung behind the stage13 - 14 T h e C onfutation o f Saint Paul?: a baw dy m alapropism

for ‘T h e C onversion o f Sain t P au l’15 R afe and Lucrece: baw dy pun on The Rape of Lucrece, a

poem b y Shakespeare (1594) and a p lay b y T hom as H eyw ood (i608)

17 T artarian : a) another m ispronunciation, o f (Sextus) Tarquinius w ho raped Lucrece: b) cant term fo r thief; c) reference to the proverbial cruelty toward w om en o f the inhabitants o f T artary , north o f the H im alayas

Act IIIEn ter j a s p e r and l u c e

j a s p e r C o m e , m y d ear d eer, th o u g h w e have lo st ou r w a y , W e h a v e n o t lo s t o u rse lve s . A r e y o u n o t w e a ry W it h th is n ig h t ’s w a n d e r in g , b ro k e n fro m y o u r rest,

A n d fr ig h te d w it h th e te rro r th a t a tten d s

T h e d a rk n e ss o f th is w ild u n p e o p le d p la ce?

L u c E N o , m y b e st fr ie n d , I c a n n o t e ith e r fe a r O r e n te rta in a w e a ry th o u g h t , w h ils t y o u ( T h e e n d o f a ll m y fu ll d es ire s) s ta n d b y m e.L e t th e m th a t lo se th e ir h o p e s , an d liv e to la n g u is h

A m o n g s t th e n u m b e r o f fo rsa k e n lo v e rs , 1 0T e l l th e lo n g w e a ry step s, a n d n u m b e r t im e ,S ta rt at a s h a d o w , an d s h r in k up th e ir b lo o d ,W h ils t I (p o sse sse d w ith a ll c o n te n t an d q u iet)

T h u s tak e m y p re tty lo v e , a n d th u s e m b ra c e h im . j a s p e r Y o u h ave ca u g h t m e , L u c e , so fa st , th a t w h ils t I

I sh a ll b e c o m e y o u r fa ith fu l p r iso n e r ,A n d w e a r th e se c h a in s fo r ever. C o m e , s it d o w n

A n d re st y o u r b o d y , to o , to o d e lica te

F o r th e se d istu rb a n c e s . S o , w i l l y o u sleep?C o m e , d o n o t b e m o re ab le th a n y o u are ; 2 0I k n o w y o u are n o t s k ilfu l in th e se w a tc h e s ,

F o r w o m e n are n o s o ld ie rs ; b e n o t n ice ,B u t tak e it ; s le e p , I say.

L u c E I c a n n o t s le e p ,In d e e d I c a n n o t , fr ie n d .

j a s p e r W h y , th e n w e ’ll s in g ,

A n d try h o w th a t w i l l w o r k u p o n o u r sen ses.L u c E I ’l l s in g , o r say , o r a n y th in g b u t sleep . j a s p e r C o m e , litt le m e rm a id , ro b m e o f m y h e art

W it h th a t e n c h a n t in g v o ice .

l u c e Y o u m o c k m e , Ja s p e r .

SONGj a s p e r Tell me, dearest, what is love# l u c e ’Tis a lightningfrom above, 3 0

’Tis an arrow, ’tis afire,’Tis a boy they call Desire,

’Tis a smile Doth beguile

3 broken: roused11 T e ll: count12 shrink up their blood: fear was thought to dry up the

elem ents o f the body20 able: capable o f endurance21 watches: vigils22 nice: reluctant, fastidious23 take it: yield

29-42 Tell me . . . love anew: the m usic fo r this song hassurvived (see E . S. L in d say in the further reading section for this play)

j a s p e r The poor hearts o f men that proze.Tell me more, are women true#

l u c e Some loze change, and so do you. j a s p e r A re they fa ir , and nezer kind# l u c e Yes, when men turn with the wind. j a s p e r A re they fro w a rd 4 0l u c e E z e r toward

Those that loze to loze anew.

j a s p e r D is s e m b le it n o m o re ; I see th e g o d

O f h e a v y sleep la y o n h is h e a v y m ace U p o n y o u r ey e lid s .

l u c e I am v e ry h e a v y . She fa lls asleepj a s p e r S le e p , s lee p , a n d q u ie t re s t c ro w n th y sw e e t

th o u g h ts .K e e p fro m h e r fa ir b lo o d d is te m p e rs ; s ta rt in g s , H o r r o r s , an d fe a r fu l sh a p e s ; le t all h e r d re a m s B e jo y s , a n d ch a ste d e lig h ts , e m b ra c e s , w is h e s ,

A n d su ch n e w p le a su re s as th e ra v ish e d so u l 50

G iv e s to th e sen ses. S o , m y ch a rm s h a v e to o k .K e e p h e r, y o u p o w e rs d iv in e , w h ils t I c o n te m p la te

U p o n th e w e a lth an d b e a u ty o f h e r m in d .S h e is o n ly fa ir an d c o n sta n t, o n ly k in d ,A n d o n ly to th e e , Ja s p e r . O h m y jo y s ,

W h it h e r w il l y o u tra n sp o rt m e ? L e t n o t fu lln e ss O f m y p o o r b u r ie d h o p e s c o m e up to g e th e r A n d o v e rc h a rg e m y sp ir its . I am w e a k .S o m e say (h o w e v e r ill) th e sea an d w o m e n

A r e g o v e rn e d b y th e m o o n : b o th e b b a n d flo w , 60 B o t h fu ll o f c h a n g e s . Y e t to th e m th a t k n o w A n d tru ly ju d g e , th e se b u t o p in io n s are,A n d h e re s ie s to b r in g o n p le a s in g w a r

B e tw e e n o u r te m p e rs , th a t w ith o u t th e se w e re

B o t h v o id o f a fte r - lo v e , a n d p re se n t fe a r ,W h ic h are th e b e st o f C u p id . O h th o u c h ild

B re d fro m d e sp a ir , I d are n o t e n te rta in th e e ,H a v in g a lo v e w ith o u t th e fa u lts o f w o m e n ,

A n d g re a te r in h e r p e r fe c t g o o d s th a n m e n ;

W h ic h to m a k e g o o d , a n d p le ase m y s e l f th e s tro n g e r, T h o u g h c e r ta in ly I am c e rta in o f h e r lo v e , 7 1I ’l l try h e r, th a t th e w o r ld an d m e m o ry

35 proze: strive44 heavy m ace: a m ace was the em blem o f M orpheus, the

classical god o f sleep45 heavy: drow sy47 distem pers: m ental or physical disorders 50 ravished: ‘transported from the body’ (Kinney)54 is only: alone is

62-6 these but . . . o f C upid : ‘em pty and false notions that pleasantly disturb the balance o f our em otions; for w ithout these w e should not experience either love in retrospect or the pangs o f anxiety w hich are love’s ch ie f jo ys ’ (H attaway)

70 m ake good: dem onstrate72 try: put to the test

M a y s in g to a fte r t im e s h e r c o n sta n c y .

H e draws his swordL u c e , L u c e , aw ak e .

l u c e W h y d o y o u fr ig h t m e , fr ie n d ,

W it h th o se d is te m p e re d lo o k s? W h a t m a k e s y o u r

s w o rdD r a w n in y o u r h a n d ? W h o h a th o f fe n d e d y o u ?I p r ith e e , Ja s p e r , s lee p ; th o u art w i ld w it h w a tc h in g .

j a s p e r C o m e , m a k e y o u r w a y to h e a v e n , a n d b id th e w o r ld

( W it h a ll th e v illa in ie s th a t s t ic k u p o n it)F a r e w e ll ; y o u ’re fo r a n o th e r life .

l u c e O h Ja s p e r , 80H o w h a v e m y te n d e r y ears c o m m itte d ev il

( E s p e c ia l ly a g a in s t th e m a n I lo ve)T h u s to b e c ro p p e d u n tim e ly ?

j a s p e r F o o lis h g ir l,C a n s t th o u im a g in e I co u ld lo v e h is d a u g h te r ,

T h a t f lu n g m e fro m m y fo rtu n e in to n o th in g ,

D is c h a r g e d m e h is se rv ice , sh u t th e d o o rs U p o n m y p o v e rty , a n d sco rn e d m y p ra y e rs ,

S e n d in g m e , lik e a b o a t w ith o u t a m a st ,T o s in k o r sw im ? C o m e , b y th is h a n d y o u d ie ;I m u st h a v e li fe an d b lo o d to sa t is fy 9 0

Y o u r fa th e r ’ s w ro n g s . w i f e A w a y , G e o r g e , a w a y ; ra ise th e w a tc h at L u d g a te ,

a n d b r in g a m itt im u s fro m th e ju s t ic e fo r th is d e sp e ra te v illa in .— N o w I c h a rg e y o u , g e n t le m e n , see

th e k in g ’s p e a c e k e p t.— O h , m y h e a rt , w h a t a v a r le t ’ s th is to o f fe r m a n s la u g h te r u p o n th e h a rm le ss g e n t le w o m a n !

c i t i z e n I w a rra n t th e e , sw e e th e a rt , w e ’ll h a ve h im

h a m p e re d .

l u c e O h , Ja s p e r , b e n o t c ru e l; 10 0I f th o u w i lt k il l m e , sm ile an d d o it q u ic k ly ,

A n d le t n o t m a n y d e a th s a p p e a r b e fo re m e.I am a w o m a n m a d e o f fe a r a n d lo v e ,

A w e a k , w e a k w o m a n ; k il l n o t w it h th y eyes,

T h e y sh o o t m e th ro u g h an d th ro u g h . S tr ik e , I am re a d y ;

A n d , d y in g , s till I lo v e th e e .

E n ter m e r c h a n t , h u m p h r e y , and his men

m e r c h a n t W h e re a b o u ts ?j a s p e r (Aside) N o m o re o f th is , n o w to m y s e l f a g a in . h u m p h r e y T h e r e , th e re h e stan d s w it h sw o rd , lik e

m a rt ia l k n ig h t ,

D r a w n in h is h a n d ; th e re fo re b e w a re th e f ig h t ,

77 w ild w ith watching: m ad w ith anxiety83 cropped untim ely: ‘cut o f f from life before m y tim e’92 Ludgate: a station for the w atch (and used as a prison)93 m ittim us: a warrant, from its opening w ord ‘w e send’ 99 ham pered: confined

Y o u th a t b e w is e ; fo r , w e re I g o o d S ir B e v is , 1 10

I w o u ld n o t s tay h is c o m in g , b y y o u r le a v e s . m e r c h a n t S ir ra h , re s to re m y d a u g h te r . j a s p e r S ir ra h , n o .

m e r c h a n t U p o n h im , th e n .

w i f e S o , d o w n w it h h im , d o w n w it h h im , d o w n w ith h im ! C u t h im i ’th ’ le g , b o y s , cu t h im i ’th ’ leg !

m e r c h a n t C o m e y o u r w a y s , m in io n . I ’l l p ro v id e a c ag e

F o r y o u , y o u ’re g ro w n so ta m e .— H o r s e h e r aw ay .

h u m p h r e y T r u ly I ’m g la d y o u r fo rc e s h a v e th e d ay .Exeunt, manet j a s p e r

j a s p e r T h e y are g o n e , a n d I am h u rt ; m y lo v e is lo st , N e v e r to g e t a g a in . O h , m e u n h a p p y , 12 0

B le e d , b le e d , an d d ie ! I c a n n o t. O h m y fo lly ,T h o u h a st b e tra y e d m e! H o p e , w h e re art th o u fled ? T e l l m e i f th o u b e ’st a n y w h e re re m a in in g .S h a ll I b u t see m y lo v e a g a in ? O h , no!S h e w i l l n o t d e ig n to lo o k u p o n h e r b u tc h e r ,

N o r is it f it sh e sh o u ld ; y e t I m u st v e n tu re .O h , c h a n c e , o r fo rtu n e , o r w h a te ’e r th o u art

T h a t m e n ad o re fo r p o w e r fu l, h e a r m y c ry ,A n d le t m e lo v in g liv e , o r lo s in g d ie .

w i f e I s ’a g o n e , G e o rg e ? 13 0

c i t i z e n A y , co n y .w i f e M a r r y , an d le t h im g o , sw e e th e a rt . B y th e fa ith o ’

m y b o d y , ’a h a s p u t m e in to su ch a fr ig h t th a t I tre m b le , as th e y say , as ’ tw e re an asp en le a f. L o o k o ’

m y lit t le f in g e r , G e o r g e , h o w it sh a k e s . N o w , i ’tru th , e v e ry m e m b e r o f m y b o d y is th e w o rs e fo r ’t.

c i t i z e n C o m e , h u g in m in e a rm s, sw e e t m o u s e ; h e sh a ll n o t fr ig h t th e e a n y m o re . A la s , m in e o w n d ear

h e a rt , h o w it q u iv e rs .

E n ter m i s t r e s s m e r r y t h o u g h t , r a f e , m i c h a e l , t im

as SQUIRE, GEORGE as DWARF, HOST and a TAPSTER

w i f e O h , R a fe , h o w d o s t th o u , R a fe ? H o w h a st th o u

s le p t to n ig h t? H a s th e k n ig h t u se d th e e w e ll? 1 4 1

c i t i z e n P e a c e , N e ll ; le t R a fe a lo n e . t a p s t e r M a s t e r , th e re c k o n in g is n o t p a id . r a f e R ig h t c o u rte o u s k n ig h t , w h o , fo r th e o rd e r ’s sak e

W h ic h th o u h a st ta ’en , h a n g ’st o u t th e h o ly b e ll,

A s I th is f la m in g p e stle b e a r ab o u t,W e re n d e r th a n k s to y o u r p u iss a n t se lf ,Y o u r b e a u te o u s la d y , an d y o u r g e n t le sq u ires ,

ii0 S ir B evis: the hero o f the fam ous m edieval rom ance o fS ir B evis o f H am pton

ii i stay: w ait forii6 m inion: ‘hussy’

II7 you’re: until you arei25 deign: condescendi4i tonight: i.e. last nighti43 the reckoning: the bill for food, drink and

accom m odation at an inni47 puissant: pow erful, noble

F o r th u s re fre s h in g o f o u r w e a r ie d lim b s ,

S t if fe n e d w ith h a rd a c h ie v e m e n ts in w ild d e se rt . 15 0 t a p s t e r S ir , th e re is tw e lv e sh illin g s to p ay . r a f e T h o u m e rry sq u ire T a p s te ro , th a n k s to th e e

F o r c o m fo r t in g o u r so u ls w it h d o u b le ju g ;

A n d i f a d v e n t ’ro u s fo rtu n e p r ic k th e e fo rth ,T h o u jo v ia l sq u ire , to fo l lo w fe a ts o f a rm s,T a k e h e e d th o u te n d e r e v e ry la d y ’s cau se ,

E v e r y tru e k n ig h t , an d e v e ry d a m se l fa ir ;B u t sp ill th e b lo o d o f t re a c h e ro u s S a ra c e n s

A n d fa lse e n c h a n te rs th a t w it h m a g ic spells H a v e d o n e to d e a th fu ll m a n y a n o b le k n ig h t . 16 0

h o s t T h o u v a lia n t K n ig h t o f th e B u r n in g P e s t le , g iv e ea r to m e : th e re is tw e lv e sh illin g s to p a y , an d as I am

a tru e k n ig h t , I w i l l n o t b a te a p e n n y . w i f e G e o r g e , I p ra y th e e te ll m e , m u st R a fe p a y tw e lv e

sh ill in g s n o w ? c i t i z e n N o , N e ll , n o ; n o th in g b u t th e o ld k n ig h t is

m e rry w it h R a fe .

w i f e O h , is ’t n o th in g e lse? R a fe w i l l b e as m e rry as he. r a f e S ir k n ig h t , th is m ir th o f y o u rs b e c o m e s y o u w e ll;

B u t to re q u ite th is l ib e ra l c o u rte sy , 17 0I f a n y o f y o u r sq u ires w il l fo l lo w arm s,H e sh a ll re ce iv e fro m m y h e ro ic h a n d

A k n ig h th o o d , b y th e v irtu e o f th is p estle . h o s t F a i r k n ig h t , I th a n k y o u fo r y o u r n o b le o f fe r ;

T h e r e fo r e , g e n t le k n ig h t ,T w e lv e s h illin g s y o u m u st p a y , o r I m u st cap y o u .

w i f e L o o k , G e o r g e , d id n o t I te ll th e e as m u c h ; th e K n ig h t o f th e B e l l is in e a rn est. R a fe sh a ll n o t b e b e h o ld in g to h im — g iv e h im h is m o n e y , G e o r g e , an d le t h im g o s n ic k u p . 18 0

c i t i z e n C a p R a fe ? N o .— H o ld y o u r h a n d , S ir K n ig h t

o f th e B e l l ; th e re ’s y o u r m o n e y . H a v e y o u a n y th in g to say to R a fe n o w ? C a p R a fe !

w i f e I w o u ld y o u sh o u ld k n o w it , R a fe h a s fr ie n d s th a t w il l n o t s u ffe r h im to b e c a p p e d fo r ten t im e s so

m u c h , an d ten t im e s to th e e n d o f th a t .— N o w tak e

th y c o u rse , R a fe . m i s t r e s s m e r r y t h o u g h t C o m e , M ic h a e l, th o u a n d I

w il l g o h o m e to th y fa th e r ; h e h a th e n o u g h le ft to

i5i twelve shillings: a m odest am ount for the services received

153 double ju g : strong ale154 advent’rous: hazardous

prick thee forth: spur you on156 tender: care for158 Saracens: a loosely applied term ; the ‘enem ies o f the

C rusaders, M o o rs w ho are the enem y o f D o n Q uixote and, b y extension, villains in the rom ances’ (Kinney)

159 false enchanters: those w hom D o n Q uixote believed could turn inns into castles

163 bate: deducti76 cap: seize, arresti79 beholding: indebted

k eep us a d a y o r tw o , a n d w e ’ll set fe llo w s a b ro a d to

c ry o u r p u rse a n d o u r ca sk e t. S h a ll w e , M ic h a e l? 1 9 1 m i c h a e l A y , I p ra y , m o th e r . In tru th m y fe e t are fu ll

o f c h ilb la in s w it h tra v e llin g .

w i f e F a it h , an d th o se c h ilb la in s are a fo u l tro u b le .

M is t r e s s M e r r y th o u g h t , w h e n y o u r y o u th co m e s h o m e , le t h im ru b a ll th e so les o f h is fe e t a n d th e h e e ls an d h is an k le s w it h a m o u se sk in — o r, i f n o n e o f y o u r p e o p le can c a tc h a m o u s e , w h e n h e g o e s to

b e d le t h im ro ll h is fe e t in th e w a rm e m b e rs , an d I

w a rra n t y o u h e sh a ll b e w e ll; an d y o u m a y m a k e h im p u t h is f in g e rs b e tw e e n h is to e s an d sm e ll to th e m ; it ’s v e ry s o v e re ig n fo r h is h e a d i f h e b e c o stive . 2 0 2

m i s t r e s s m e r r y t h o u g h t M a s t e r K n ig h t o f th e

B u r n in g P e s t le , m y so n M ic h a e l an d I b id y o u fa re w e ll; I th a n k y o u r w o rs h ip h e a r t ily fo r y o u r k in d n e ss .

r a f e F a r e w e ll , fa ir la d y , an d y o u r te n d e r sq u ire .

I f , p r ic k in g th ro u g h th e se d e se rts , I d o h e a r

O f a n y tra ito ro u s k n ig h t w h o th ro u g h h is g u ile H a t h l ig h t u p o n y o u r c a sk e t an d y o u r p u rse , 2 10 I w i l l d e s p o il h im o f th e m a n d re sto re th e m .

m i s t r e s s m e r r y t h o u g h t I th a n k y o u r w o rs h ip .

E x it w ith M ICHAEL

r a f e D w a r f , b e a r m y s h ie ld ; sq u ire , e le v a te m y la n c e ;A n d n o w fa re w e ll, y o u K n ig h t o f h o ly B e ll .

c i t i z e n A y , ay , R a fe , a ll is p a id . r a f e B u t y e t b e fo re I g o , sp e a k , w o r th y k n ig h t ,

I f a u g h t y o u d o o f sad a d v en tu res k n o w ,W h e r e e rra n t k n ig h t m a y th ro u g h h is p ro w e s s w in E te rn a l fa m e , a n d fre e so m e g e n t le sou ls F r o m e n d le ss b o n d s o f s tee l an d l in g ’r in g p a in . 2 2 0

h o s t (to t a p s t e r ) S ir ra h , g o to N ic k th e b a rb e r , an d

b id h im p re p a re h im s e lf as I to ld y o u b e fo re , q u ic k ly . t a p s t e r I am g o n e , s ir. E x it t a p s t e r

h o s t S ir k n ig h t , th is w ild e rn e s s a f fo rd e th n o n e B u t th e g re a t v e n tu re w h e re fu ll m a n y a k n ig h t

H a t h tr ie d h is p ro w e ss an d c o m e o f f w it h sh a m e ,

A n d w h e re I w o u ld n o t h a v e y o u lo se y o u r life A g a in s t n o m a n , b u t fu r io u s fie n d o f h e ll.

r a f e S p e a k o n , s ir k n ig h t , te ll w h a t h e is an d w h e re ; F o r h e re I v o w u p o n m y b la z in g b a d g e , 2 30

N e v e r to b la z e a d a y in q u ie tn e ss ;B u t b re a d a n d w a te r w il l I o n ly ea t,A n d th e g re e n h e rb a n d ro c k sh a ll b e m y c o u ch ,T i l l I h a v e q u e lle d th a t m a n o r b e a s t o r fie n d T h a t w o rk s su ch d a m a g e to all e rra n t k n ig h ts .

i9 i to cry: proclaim the loss o f202 sovereign: beneficial

costive: constipated2ii despoil: deprive b y force2i7 sad: grave22i N ick : a) D o n Q uixote’s barber was called M aster

N icholas; b) p lay on the barber’s profession

234 quelled: slain

H o sT N o t fa r fro m h e n c e , n e a r to a c ra g g y c li f f ,

A t th e n o rth e n d o f th is d is tre sse d to w n ,T h e r e d o th sta n d a lo w ly h o u seR u g g e d ly b u ild e d , an d in it a cave

In w h ic h an u g ly g ia n t n o w d o th w o n , 2 4 0

Y c le p e d B a rb a ro s o . In h is h a n dH e sh a k e s a n a k e d la n c e o f p u re st s tee l,

W it h s lee ve s tu rn e d u p , an d h im b e fo re h e w e a rs A m o tle y g a rm e n t to p re se rve h is c lo th es F r o m b lo o d o f th o se k n ig h ts w h ic h h e m assa c re s ,

A n d la d ie s g e n t . W it h o u t h is d o o r d o th h a n g A c o p p e r b a s in o n a p r ic k a n t spear,A t w h ic h n o so o n e r g e n t le k n ig h ts can k n o c k B u t th e sh r ill so u n d fie rc e B a rb a ro so h e a rs ,

A n d ru s h in g fo rth , b r in g s in th e e rra n t k n ig h t , 250 A n d sets h im d o w n in an e n c h a n te d ch a ir.T h e n w it h an e n g in e w h ic h h e h a th p re p a re d ,W it h fo r ty te e th , h e c la w s h is c o u rt ly c ro w n ;

N e x t m a k e s h im w in k , an d u n d e rn e a th h is ch in

H e p la n ts a b ra z e n p e ce o f m ig h ty b o rd ,A n d k n o c k s h is b u lle ts ro u n d a b o u t h is c h e e k s ,

W h i ls t w it h h is f in g e rs , an d an in s tru m e n t W it h w h ic h h e sn a p s h is h a ir o f f , h e d o th fill T h e w r e tc h ’s ea rs w ith a m o st h id e o u s n o ise .

T h u s e v e ry k n ig h t a d v e n tu re r h e d o th tr im , 2 6 0 A n d n o w n o c re a tu re d ares e n c o u n te r h im .

r a f e In G o d ’s n a m e , I w i l l f ig h t w ith h im . K in d sir,G o b u t b e fo re m e to th is d ism a l cave

T h e r e th is h u g e g ia n t B a rb a ro s o d w e lls ,A n d , b y th a t v irtu e th a t b ra v e R o s ic le e r T h a t d a m n e d b ro o d o f u g ly g ia n ts s le w ,

240 ugly: fearsom e241 Y cleped : called, nam ed (archaic)

Barbaroso: a) barbarian; b) barber242 lance: i.e. razor245 w hich he m assacres: i.e. w hose hair he cuts246 gent: fair247 A copper . . . prickant spear: the traditional sign o f a

barber-surgeon: an upright (‘prickant’) pole o f red and w hite that, together w ith the basin, signified that a barber could also draw teeth and let blood

248 can: do252 engine: com b253 crown: head254 w ink: cleanse his eyes (see III.i.394)255 pece: cup

bord: rim256 bullets: sm all balls o f soap258-9 snaps his . . . hideous noise: refers to the m uch-

satirised lo n g hair o f gallants: see, for exam ple Francis B eaum on t’s The Woman Hater, or The Hungry Courtier(i606)

260 trim : can also m ean thrash or trounce266 T h a t dam ned brood o f ugly giants slew: reference to

Rosicleer’s adventure w ith the giant Brandagedeon and his thirty knights in The Mirror o f Knighthood, I.xxxvi

A n d P a lm e r in F ra n n a rc o o v e rth re w ,

I d o u b t n o t b u t to cu rb th is tra ito r fo u l A n d to th e d e v il se n d h is g u i lt y sou l.

h o s t B ra v e s p r ig h te d k n ig h t , th u s fa r I w il l p e r fo rm

T h is y o u r re q u e st : I ’l l b r in g y o u w ith in s ig h t 2 7 1

O f th is m o st lo a th s o m e p la c e , in h a b ite d B y a m o re lo a th s o m e m a n ; b u t d a re n o t stay ,F o r h is m a in fo rc e s w o o p s a ll h e sees aw ay .

r a f e S a in t G e o r g e , set o n b e fo re ! M a r c h , sq u ire an d p a g e . Exeunt

w i f e G e o r g e , d o s t th in k R a f e w i l l c o n fo u n d th e g ia n t? c i t i z e n I h o ld m y cap to a fa r th in g h e d o es . W h y ,

N e ll , I s a w h im w re s t le w it h th e g re a t D u tc h m a n an d h u rl h im . 28 0

w i f e F a it h , a n d th a t D u tc h m a n w a s a g o o d ly m a n , i f a ll th in g s w e re a n sw e ra b le to h is b ig n e s s ; a n d y e t th e y sa y th e re w a s a S c o tc h m a n h ig h e r th a n h e , a n d th a t th e y tw o an d a k n ig h t m e t an d saw o n e a n o th e r fo r n o th in g ; b u t o f a ll th e s ig h ts th a t e v e r w e re in

L o n d o n s in ce I w a s m a rr ie d , m e th in k s th e lit t le c h ild th a t w a s so fa ir g ro w n a b o u t th e m e m b e rs w a s th e p re tt ie st , th a t a n d th e h e rm a p h ro d ite .

c i t i z e n N a y , b y y o u r le a v e , N e ll , N in iv ie w a s b e tte r . w i f e N in iv ie ? O h , th a t w a s th e s to ry o f j o a n a n d th e

w a ll , w a s it n o t, G e o rg e ? 2 9 1c i t i z e n Y e s , la m b .

E n ter m i s t r e s s m e r r y t h o u g h t

w i f e L o o k , G e o r g e , h e re c o m e s M is t r e s sM e r r y th o u g h t a g a in , a n d I w o u ld h a v e R a fe co m e an d f ig h t w ith th e g ia n t . I te ll y o u tru e , I lo n g to see ’t.

c i t i z e n G o o d M is t r e s s M e r r y th o u g h t , b e g o n e , I p ra y

y o u , fo r m y sak e . I p ra y y o u , fo rb e a r a lit t le ; y o u sh a ll h a v e a u d ie n c e p re se n tly ; I h a v e a litt le b u s in e ss . 299

w i f e M is t r e s s M e r r y th o u g h t , i f it p le a se y o u to re fra in y o u r p a ss io n a lit t le t ill R a fe h a v e d isp a tc h e d th e

g ia n t o u t o f th e w a y , w e sh a ll th in k o u rse lve s m u c h

b o u n d to y o u . I th a n k y o u , g o o d M is t r e s s M e r r y th o u g h t . E x it m i s t r e s s m e r r y t h o u g h t

267 Frannarco: the g iant slain b y Palm erin in Palmerin d’Olivia, I.li

274 m ain: full275 Sain t G eo rge , set on before!: battle cry invoking the

patron saint o f E n glan d278 hold: pledge279 the great D utchm an: possib ly a reference to a fam ous

G erm an fencer w ho lived in early seventeenth-century Lo n don ; ‘D utchm an ’ was a term for speakers o f both D u tch and G erm an

288 herm aphrodite: the citizens’ taste fo r ‘freaks’ is referred to in Epicoene and was satirised in a num ber o f plays, for exam ple, Jo n so n ’s The Alchemist (1610), V .i .2 if f

289 N in ivie: a contem porary puppet p lay about Jo n ah and the w hale

E n ter a b o y

c i t i z e n B o y , c o m e h ith e r ; sen d a w a y R a fe a n d th is

w h o re so n g ia n t q u ic k ly .

b o y In g o o d fa ith , s ir , w e ca n n o t. Y o u ’ll u tte r ly sp o il o u r p la y , an d m a k e it to b e h is se d , an d it co s t m o n e y ;

y o u w il l n o t su ffe r us to g o o n w ith o u r p lo t .— I p ra y , g e n t le m e n , ru le h im . 3 1 0

c i t i z e n L e t h im c o m e n o w an d d isp a tc h th is , a n d I ’ll

tro u b le y o u n o m o re . b o y W il l y o u g iv e m e y o u r h a n d o f th a t? w i f e G iv e h im th y h a n d , G e o r g e , d o , an d I ’l l k iss h im .

I w a rra n t th e e th e y o u th m e a n s p la in ly .

b o y I ’l l sen d h im to y o u p re se n tly . E x it b o yw i f e I th a n k y o u , litt le y o u th .— F a it h , th e c h ild h a th a

sw e e t b re a th , G e o r g e , b u t I th in k it b e tro u b le d w ith th e w o rm s . Carduus benedictus a n d m a re ’ s m ilk w e re

th e o n ly th in g in th e w o r ld fo r ’t. O h , R a f e ’ s h e re , G e o r g e .— G o d se n d th e e g o o d lu c k , R a fe . 3 2 1

E n ter r a f e , h o s t , t i m as s q u i r e , and g e o r g e asDWARF

h o s t P u is s a n t k n ig h t , y o n d e r h is m a n s io n is ;

L o , w h e re th e sp e a r a n d c o p p e r b a s in are ;B e h o ld th a t s tr in g o n w h ic h h a n g s m a n y a to o th D ra w n fro m th e g e n t le ja w o f w a n d e r in g k n ig h ts .

I d are n o t s tay to so u n d ; h e w i l l ap p ea r. E x it h o s t r a f e O h , fa in t n o t , h e a rt. S u s a n , m y la d y d e a r,

T h e c o b b le r ’s m a id in M i l k S tre e t , fo r w h o s e sak eI ta k e th e se arm s, o h le t th e th o u g h t o f th e e C a r r y th y k n ig h t th ro u g h a ll a d v e n tu ro u s d e e d s , 3 3 0

A n d in th e h o n o u r o f th y b e a u te o u s s e l f M a y I d e s tro y th is m o n ste r B a r b a r o s o .—K n o c k , sq u ire , u p o n th e b a s in t ill it b re a k

W it h th e s h r ill s tro k e s , o r t ill th e g ia n t sp e ak .

En ter b a r b e r

w i f e O h , G e o r g e , th e g ia n t , th e g ia n t !— N o w , R a fe , fo r th y life .

b a r b e r W h a t fo n d u n k n o w in g w ig h t is th is th a t d ares

S o ru d e ly k n o c k at B a r b a r o s o ’s ce ll,W h e r e n o m a n c o m e s b u t le a v e s h is f le e c e b e h in d ?

r a f e I , t ra ito ro u s c a it i f f , w h o am sen t b y fa te 3 4 0 T o p u n ish a ll th e sad e n o rm itie s

3i5 plainly: honestly319 Carduus benedictus: the blessed thistle (used as a

m edicinal cure-all)m are’s m ilk: considered a good purgative

326 sound: b low a horn328 M ilk Street: between C heapside and G resham Street,

originally L o n d o n ’s m ilk m arket 337 fond: foolish

w ight: m an (archaic)339 fleece: a) beard; b) m oney (as in to ‘fleece’ someone)340 caitiff: wretch

T h o u h a st c o m m itte d a g a in s t la d ie s g e n t

A n d e rra n t k n ig h ts . T r a i t o r to G o d an d m e n ,P re p a re th y se lf ; th is is th e d ism a l h o u r A p p o in te d fo r th e e to g iv e s tr ic t a cco u n t

O f a ll th y b e a s t ly tre a c h e ro u s v illa in ie s .

b a r b e r F o o lh a r d y k n ig h t , fu ll so o n th o u sh a lt ab yH e takes down his pole

T h is fo n d re p ro a c h : th y b o d y w i l l I b a n g ,A n d , lo , u p o n th a t s tr in g th y te e th sh a ll h a n g .P re p a re th y se lf , fo r d e a d so o n sh a lt th o u b e . 35 0

r a f e S a in t G e o r g e fo r m e!b a r b e r G a r g a n tu a fo r m e! They fig h tw i f e T o h im , R a fe , to h im ! H o ld u p th e g ia n t ; se t o u t

th y le g b e fo re , R a fe .

c i t i z e n F a ls i f y a b lo w , R a fe ; fa ls ify a b lo w ; th e g ia n t lie s o p e n o n th e le ft s id e .

w i f e B e a r ’t o f f ; b e a r ’t o f f s till. T h e r e , b o y .— O h ,R a fe ’ s a lm o st d o w n , R a f e ’s a lm o st d o w n .

r a f e S u sa n , in s p ire m e .— N o w h a v e u p ag a in .

w i f e U p , u p , u p , u p , u p ! S o , R a fe , d o w n w it h h im , d o w n w it h h im , R a fe . 3 6 1

c i t i z e n F e t c h h im o ’er th e h ip , b o y . w i f e T h e r e , b o y ; k il l, k il l, k il l, k il l, k il l, R a fe . c i t i z e n N o , R a fe , g e t a ll o u t o f h im first.

r a f e knocks the b a r b e r down r a f e P re su m p tu o u s m a n , see to w h a t d e sp e ra te en d

T h y tre a c h e ry h a th b ro u g h t th e e . T h e ju s t g o d s ,W h o n e v e r p ro sp e r th o se th a t d o d e sp ise th e m ,

F o r a ll th e v illa in ie s w h ic h th o u h a st d o n e T o k n ig h ts an d la d ie s , n o w h a v e p a id th e e h o m e B y m y s t i f f a rm , a k n ig h t a d v e n tu ro u s . 3 7 0B u t say , v ile w r e tc h , b e fo re I sen d th y so u l

T o sad A v e r n u s , w h ith e r it m u st g o ,

W h a t ca p tiv e s h o ld ’st th o u in th y sab le cave? b a r b e r G o in an d fre e th e m a ll; th o u h a st th e d ay .

r a f e G o , sq u ire a n d d w a r f , se a rch in th is d re a d fu l cave ,

A n d fre e th e w re tc h e d p r iso n e rs fro m th e ir b o n d s .

Exeunt t im as s q u i r e and g e o r g e as d w a r f b a r b e r I c rave fo r m e rc y , as th o u art a k n ig h t ,

A n d sco rn ’ st to sp ill th e b lo o d o f th o se th a t b e g . r a f e T h o u s h o w ’d ’st n o m e rc y , n o r sh alt th o u h ave an y ;

P re p a re th y se lf , fo r th o u sh a lt su re ly d ie . 3 8 0

347 aby: pay for349 string thy teeth shall hang: barbers hung strings o f

extracted teeth outside their prem ises352 G argantua: folktale hero (rather than the gian t from

Rabelais w hose w ork had not been translated at this time)

355 falsify: feign369 paid thee hom e: fully punished372 A vernus: a deep lake near N aples believed to be an

entrance to the underworld373 sable: black374 day: victory

E n ter TIM as s q u i r e leading one winking, with a basin under his chin

t i m B e h o ld , b ra v e k n ig h t , h e re is o n e p r iso n e r

W h o m th is w ild m a n h a th u sed as y o u see. w i f e T h is is th e fir s t w is e w o rd I h e a rd th e sq u ire

sp e ak .r a f e S p e a k w h a t th o u art, an d h o w th o u h a st b e en

u sed ,

T h a t I m a y g iv e h im c o n d ig n p u n ish m e n t.1 k n i g h t I am a k n ig h t th a t to o k m y jo u r n e y p o st

N o r th w a r d fro m L o n d o n , an d in c o u rte o u s w is e T h is g ia n t tra in e d m e to h is lo a th s o m e d en

U n d e r p re te n c e o f k il l in g o f th e itc h ; 3 9 0A n d a ll m y b o d y w it h a p o w d e r s tre w e d ,T h a t sm a rts an d s t in g s , a n d cu t a w a y m y b e a rd A n d m y cu r le d lo c k s w h e re in w e re r ib b o n s t ie d ,

A n d w it h a w a te r w a s h e d m y te n d e r eyes ( W h ils t u p an d d o w n a b o u t m e still h e sk ip p e d ), W h o s e v irtu e is , th a t t ill m in e eyes b e w ip e d W it h a d ry c lo th , fo r th is m y fo u l d isg ra c e

I sh a ll n o t d are to lo o k a d o g i ’th ’ fa ce .

w i f e A la s , p o o r k n ig h t .— R e lie v e h im , R a fe ; re lie ve

p o o r k n ig h ts w h ils t y o u liv e . 4 0 0r a f e M y tru sty sq u ire , c o n v e y h im to th e to w n ,

W h e r e h e m a y fin d re l ie f .— A d ie u , fa ir k n ig h t .

E x it k n i g h t with T IM , who presently re-enters

E n ter g e o r g e as d w a r f leading one with a patch o’er his nose

g e o r g e P u is s a n t K n ig h t o f th e B u r n in g P e st le h ig h t,

S e e h e re a n o th e r w r e tc h , w h o m th is fo u l b e a st H a t h sc o rc h e d an d sco red in th is in h u m a n w ise .

r a f e S p e a k m e th y n a m e an d e k e th y p la c e o f b ir th ,

A n d w h a t h a th b e e n th y u sa g e in th is cave .2 k n i g h t I am a k n ig h t , S ir P o c k h o le is m y n a m e ,

A n d b y m y b ir th I am a L o n d o n e r ,

F r e e b y m y c o p y ; b u t m y a n ce sto rs 4 10W e r e F re n c h m e n a ll; an d r id in g h a rd th is w a y U p o n a t r o t t in g h o rse , m y b o n e s d id ach e ;

A n d I , fa in t k n ig h t , to ease m y w e a ry lim b s ,

sd winking: w ith his eyes shut386 condign: suitable387 post: in haste389 trained: lured390 itch: a sym ptom o f venereal disease393 ribbons: fashionable adornm ent for foppish knights sd patch o’er his nose: sign o f suffering from an advanced case

o f syphilis405 scorched: slashed (with a knife)

scored: cut406 eke: also (archaic)410 copy: certificate o f adm ission to the freedom o f the C ity4 11 Frenchm an: therefore associated w ith syphilis, ‘the

French disease’412 m y bones did ache: sym ptom o f advanced syphilis

L ig h t at th is ca v e , w h e n s tra ig h t th is fu r io u s fie n d ,

W it h sh a rp e st in s tru m e n t o f p u re st stee l D id cu t th e g r is t le o f m y n o se a w a y ,A n d in th e p la c e th is v e lv e t p la ste r stan d s .

R e lie v e m e , g e n t le k n ig h t , o u t o f h is h a n d s .

w i f e G o o d R a fe , re lie ve S ir P o c k h o le an d sen d h im a w a y , fo r , in tru th , h is b re a th st in k s. 4 2 0

r a f e C o n v e y h im s tra ig h t a fte r th e o th e r k n ig h t .—S ir P o c k h o le fa re y o u w e ll.

2 k n i g h t K in d s ir, g o o d n ig h t .

Exeun t k n i g h t with g e o r g e , who then re-enters.Cries within

3 k n i g h t (within) D e liv e r us. w o m a n (within) D e liv e r us.

w i f e H a r k , G e o r g e , w h a t a w o e fu l c ry th e re is. I th in k so m e w o m a n lie s in th e re .

3 k n i g h t (within) D e liv e r us.w o m a n (within) D e liv e r us.

r a f e W h a t g h a s t ly n o ise is th is? S p e a k , B a rb a ro s o ,

O r b y th is b la z in g stee l th y h e a d g o e s o f f . 4 3 0b a r b e r P r is o n e rs o f m in e , w h o m I in d ie t k eep .

S e n d lo w e r d o w n in to th e cave ,A n d in a tu b th a t ’s h e a te d s m o k in g h o t,T h e r e m a y th e y fin d th e m an d d e liv e r th e m .

r a f e R u n , sq u ire an d d w a r f , d e liv e r th e m w ith sp e ed .Exeunt t i m as s q u i r e and g e o r g e as d w a r f

w i f e B u t w i l l n o t R a fe k il l th is g ia n t? S u re ly I am a fe a re d i f h e le t h im g o h e w il l d o as m u c h h u r t as

e v e r h e d id .c i t i z e n N o t so , m o u se , n e ith e r , i f h e c o u ld co n v e rt

h im . 4 4 0w i f e A y , G e o r g e , i f h e c o u ld c o n v e rt h im ; b u t a g ia n t

is n o t so so o n c o n v e rte d as o n e o f us o rd in a ry p e o p le .

T h e r e ’ s a p re tty ta le o f a w itc h th a t h a d th e d e v il’ s m a r k a b o u t h e r, G o d b le ss u s, th a t h a d a g ia n t to h e r

so n , th a t w a s c a lle d L o b - l ie - b y - t h e - f i r e ; d id s t n e v e r h e a r it , G e o rg e ?

En ter T IM as s q u i r e leading a man with a glass o f lotion in his hand, and g e o r g e as the d w a r f leading a woman with diet-bread and drink

4i7 velvet plaster: covering for both the scars o f w ar andthose produced b y the incisions m ade as a treatm ent for syphilis

420 breath stinks: as a result o f taking m ercury, used in the treatm ent o f syphilis

423 D eliver us: parody o f the L itan y fo r G eneral Supplication in The Book of Common Prayer (i549, revised i552 and i559)

433 tub: sw eating tubs w ere believed to cure venereal disease 439 convert: converting ‘heathens’ was a com m on elem ent in

chivalric rom ance 44 3-4 devil’s m ark: the m arks (spots or tooth marks) believed

to identify w itches sd diet-bread: special bread used in the treatm ent o f

syphilis

c i t i z e n P e a c e , N e ll , h e re c o m e s th e p r iso n e rs .

g e o r g e H e r e b e th e se p in e d w re tc h e s , m a n fu l k n ig h t , T h a t fo r th e se six w e e k s h a ve n o t seen a w ig h t .

r a f e D e liv e r w h a t y o u are , a n d h o w y o u c a m e 4 5 0

T o th is sad c a v e , an d w h a t y o u r u sa g e w a s .

3 k n i g h t I am an e rra n t k n ig h t th a t fo llo w e d arm s W it h sp e a r an d sh ie ld , a n d in m y te n d e r y ears

I s trick e n w a s w it h C u p id ’s f ie ry sh a ft,A n d fe ll in lo v e w ith th is m y la d y d ear,A n d sto le h e r fro m h e r fr ie n d s in T u r n b u ll S tre e t,

A n d b o re h e r u p an d d o w n fro m to w n to to w n W h e r e w e d id ea t a n d d r in k a n d m u s ic h e a r ,T i l l a t th e le n g th , at th is u n h a p p y to w n W e d id a rr iv e , a n d c o m in g to th is ca v e , 4 6 0

T h is b e a s t us c a u g h t a n d p u t us in a tu b W h e r e w e th is tw o m o n th s sw e a t, an d sh o u ld h a v e

d o n eA n o th e r m o n th i f y o u h a d n o t re lie v e d us.

w o m a n T h is b re a d an d w a te r h a th o u r d ie t b e e n ,

T o g e t h e r w ith a r ib c u t fro m a n e c k O f b u rn e d m u tto n ; h a rd h a th b e e n o u r fa re .R e le a se us fro m th is u g ly g ia n t ’ s sn are.

3 k n i g h t T h is h a th b e e n all th e fo o d w e h a v e re c e iv e d B u t o n ly tw ic e a d a y , fo r n o v e lty ,

H e g a v e a s p o o n fu l o f th is h e a rty b ro th 4 7 0Pulls out a syringe

T o e a c h o f u s , th ro u g h th is sam e s le n d e r q u ill. r a f e F r o m th is in fe rn a l m o n ste r y o u sh a ll g o ,

T h a t u se th k n ig h ts an d g e n t le la d ie s so .—C o n v e y th e m h e n ce .

Exeunt 3 k n i g h t and w o m a n with t i m and g e o r g ewho presently re-enter

c i t i z e n C o n y , I can te ll th e e th e g e n t le m e n lik e R a fe .

w i f e A y , G e o r g e , I see it w e l l e n o u g h .— G e n t le m e n , I th a n k y o u a ll h e a r t ily fo r g r a c in g m y m a n R a fe , a n d I p ro m ise y o u y o u sh a ll see h im o f t ’n er.

b a r b e r M e r c y , g re a t k n ig h t , I d o re c a n t m y ill,

A n d h e n c e fo r th n e v e r g e n t le b lo o d w i l l sp ill. 4 8 0

r a f e I g iv e th e e m e rc y ; b u t y e t s h a lt th o u sw e a r U p o n m y b u rn in g p e stle to p e r fo rm T h y p ro m is e u tte re d .

b a r b e r I sw e a r a n d k iss . Kisses pestler a f e D e p a r t th e n , a n d a m e n d .—

E x it BARBERC o m e , sq u ire a n d d w a r f , th e su n g ro w s to w a rd s h is

A n d w e h a v e m a n y m o re a d v e n tu re s y e t. Exeunt

448 pined: wasted, starved 450 D eliver: state456 Turnb ull Street: originally T u rn m ill Street, running

south from C lerkenw ell G reen and know n for its prostitutes

465 rib cut from a neck: extrem ely p oor quality m eat466 m utton: prostitute (slang)470 hearty: nourishing

c i t i z e n N o w R a fe is in th is h u m o u r , I k n o w h e w o u ld

h a ’ b e a te n all th e b o y s in th e h o u se i f th e y h a d b e e n

set o n h im . 489w i f e A y , G e o r g e , b u t it is w e ll as it is ; I w a rra n t y o u

th e g e n t le m e n d o c o n s id e r w h a t it is to o v e r th ro w a

g ia n t . B u t lo o k , G e o r g e , h e re co m e s M is tr e s s M e r r y th o u g h t an d h e r so n M ic h a e l .— N o w y o u are

w e lc o m e , M is t r e s s M e r r y th o u g h t , n o w R a fe h as d o n e , y o u m a y g o on .

E n ter m i s t r e s s m e r r y t h o u g h t and m i c h a e l

m i s t r e s s m e r r y t h o u g h t M ic k , m y b o y . m i c h a e l A y , fo rs o o th , m o th e r . 4 9 7m i s t r e s s m e r r y t h o u g h t B e m e rry , M ic k ; w e are at

h o m e n o w , w h e r e , I w a rra n t y o u , y o u sh a ll fin d th e h o u se flu n g o u t at th e w in d o w s . (Music w ithin ) H a r k , h e y d o g s , h e y ; th is is th e o ld w o r ld , i ’ fa ith , w it h m y h u sb a n d . I f I g e t in a m o n g ’e m , I ’l l p la y ’e m su ch a

le sso n th a t th e y sh a ll h a v e lit t le lis t to c o m e sc ra p in g

h ith e r a g a in .— W h y , M a s t e r M e r r y th o u g h t , h u sb a n d , C h a r le s M e r r y th o u g h t .

OLD M ERRYTHO UGHT (within)(Sings) I f you w ill sing and dance and laugh,

A n d hollo and laugh again,A n d then cry, There, boys, there’, why then One, two, three, and four,We shall be merry within this hour. 5 10

m i s t r e s s m e r r y t h o u g h t W h y , C h a r le s , d o y o u n o t

k n o w y o u r o w n n a tu ra l w ife ? I say , o p e n th e d o o r , an d tu rn m e o u t th o se m a n g y c o m p a n io n s ; ’tis m o re th a n t im e th a t th e y w e re fe llo w an d fe llo w - lik e w ith y o u . Y o u are a g e n t le m a n , C h a r le s , a n d an o ld m a n ,

an d fa th e r o f tw o c h ild re n ; an d I m y s e l f ( th o u g h I say

it) b y m y m o th e r ’ s s id e n ie c e to a w o rs h ip fu l g e n t le m a n , a n d a c o n d u c to r ; h e h a s b e e n th re e tim e s

in h is m a je s ty ’ s se rv ice at C h e s te r , an d is n o w th e fo u rth t im e , G o d b less h im an d h is c h a rg e , u p o n h is

jo u rn e y . 5 2 1

OLD M ERRYTHO UGHT (within)(Sings) Go from my window, love, go;

487 hum our: m ood500 house flung . . . the w indow s: signs o f riotous liv ing

(proverbial)501 world: behaviour, habit 503 list: desire

scraping: p laying (the fiddle)507 hollo: shout517 worshipful: honourable518 conductor: captain519 C hester: C heshire port o f em barkation for Ireland w ith a

reputation for m ilitary corruption522-6 and 543-7: Go from .. . lodged here: popular song that

appears in a num ber o f contem porary plays, including Jo h n F letcher’s Monsieur Thomas ( 16 10 -16 ), I II .i ii and The Woman’s Prize (c. 1604), I.iii

Go from my window, my dear;The w in d and the rain W ill drive you back again;You cannot be lodged here. 526

H a r k y o u , M is t r e s s M e r r y th o u g h t , y o u th a t w a lk

u p o n a d v e n tu re s a n d fo rsa k e y o u r h u sb a n d b e ca u se h e s in g s w it h n e v e r a p e n n y in h is p u rse ; w h a t , sh a ll I th in k m y s e l f th e w o rse ? F a it h , n o , I ’l l b e m e rry . Y o u c o m e o u t h e re — h e re ’ s n o n e b u t la d s o f m e tt le , lives o f a h u n d re d y ears a n d u p w a rd s ; care n e v e r d ru n k

th e ir b lo o d s , n o r w a n t m a d e ’e m w a rb le , (Sings) Heigh-ho, my heart is heavy. 534

m i s t r e s s m e r r y t h o u g h t W h y , M a s t e r M e r r y th o u g h t , w h a t am I th a t y o u sh o u ld la u g h m e

to sco rn th u s ab ru p tly ? A m I n o t y o u r fe llo w - fe e le r , as w e m a y say , in a ll o u r m is e r ie s , y o u r c o m fo r te r in h e a lth a n d s ick n e ss? H a v e I n o t b ro u g h t y o u c h ild re n ? A r e th e y n o t lik e y o u , C h a r le s ? L o o k u p o n th in e o w n im a g e , h a rd -h e a r te d m a n . A n d y e t fo r all

th is — 542OLD M ERRYTHO UGHT (within)

(Sings) Begone, begone, my Juggy, mypuggy,Begone, my love, my dear.The weather is warm ’T w ill do thee no harm Thou canst not be lodged here.

— B e m e rry , b o y s ; so m e l ig h t m u s ic , an d m o re w in e . w i f e H e ’s n o t in e a rn e st , I h o p e , G e o r g e , is h e?

c i t i z e n W h a t i f h e b e , s w e e th e a rt? 550w i f e M a r r y , i f h e b e , G e o r g e , I ’l l m a k e b o ld to te ll

h im h e ’s an in g ra n t o ld m a n to use h is b e d - fe llo w so scu rv ily .

c i t i z e n W h a t , h o w d o e s h e u se h e r , h o n e y ?

w i f e M a r r y c o m e u p , S ir S a u c e b o x , I th in k y o u ’ll tak e h is p a rt , w i l l y o u n o t? L o r d , h o w h o t y o u are g ro w n .

Y o u are a fin e m a n , a n ’ y o u h a d a fin e d o g ; it b e c o m e s y o u sw e e tly .

c i t i z e n N a y , p r ith e e , N e ll , c h id e n o t. F o r as I am an

h o n e st m a n an d a tru e C h r is t ia n g ro c e r , I d o n o t lik e h is d o in g s . 5 6 1

w i f e I c ry y o u m e rc y th e n , G e o rg e . Y o u k n o w w e are a ll fr a il an d fu ll o f in firm it ie s .— D ’ee h e a r , M a s t e r

M e r r y th o u g h t , m a y I c rav e a w o r d w it h y o u ?OLD M ERRYTHO UGHT (within)

S tr ik e u p liv e ly , la d s. w i f e I h a d n o t th o u g h t , in tru th , M a s t e r

53i m ettle: courage531-2 lives o f . . . and upwards: their m erry lives have kept

them young 543 Juggy: d im inutive o f jo a n

puggy: term o f endearm ent551 M arry: indeed552 ingrant: ignorant555 M arry com e up: ‘now, now ’ (a taunt)562 cry you m ercy: beg your pardon

M e r r y th o u g h t , th a t a m a n o f y o u r a g e a n d d isc re t io n ,

as I m a y say , b e in g a g e n t le m a n , a n d th e re fo re k n o w n b y y o u r g e n t le c o n d it io n s , c o u ld h a ve u sed so litt le re sp e c t to th e w e a k n e s s o f h is w ife . F o r y o u r w i fe is

y o u r o w n fle s h , th e s t a f f o f y o u r ag e , y o u r y o k e

fe llo w , w it h w h o s e h e lp y o u d r a w th ro u g h th e m ire o f th is t ra n s ito ry w o r ld . N a y , sh e ’s y o u r o w n r ib . A n d

a g a in — 574o l d m e r r y t h o u g h t (within)

(Sings) I come not hither fo r thee to teach,I haze no p u lp it fo r thee to preach,I would thou hadst kissed me under the breech, A s thou art a lady gay.

w i f e M a r r y , w it h a v e n g e a n c e ! I am h e a r t i ly so rry fo r

th e p o o r g e n t le w o m a n .— B u t i f I w e re th y w ife , i ’ fa ith , g re y -b e a rd , i ’ fa ith — 5 8 1

c i t i z e n I p r ith e e , sw e e t h o n e y s u c k le , b e c o n te n t. w i f e G iv e m e su ch w o rd s th a t am a g e n t le w o m a n

b o rn ! H a n g h im , h o a ry rasca l! G e t m e so m e d r in k ,

G e o r g e , I am a lm o st m o lte n w it h fre tt in g : n o w b e sh re w h is k n a v e ’s h e a rt fo r it. E x it Citizen

o l d m e r r y t h o u g h t (within) P la y m e a l ig h t la v o lta .C o m e , b e fro lic . F i l l th e g o o d fe llo w s ’ w in e .

m i s t r e s s m e r r y t h o u g h t W h y , M a s t e r

M e r r y th o u g h t , are y o u d isp o s e d to m a k e m e w a it h e re ? Y o u ’ll o p e n , I h o p e ; I ’l l fe tc h th e m th a t sh all o p e n e lse . 592

o l d m e r r y t h o u g h t (at window) G o o d w o m a n , i f

y o u w il l s in g I ’l l g iv e y o u so m e th in g ; i f n o t—SONGYou are no loze fo r me, M a rg ’ret,I am no loze fo r you. Leazes window

(w ithin ) C o m e a lo ft , b o y s , a lo ft . 597

m i s t r e s s m e r r y t h o u g h t N o w a c h u r l’ s fa rt in y o u r te e th , s ir .— C o m e , M ic k , w e ’ll n o t tro u b le h im ; ’ a

sh a ll n o t d in g us i ’th ’te e th w ith h is b re a d an d h is b ro th , th a t h e sh a ll n o t. C o m e , b o y ; I ’l l p ro v id e fo r

th e e , I w a rra n t th e e . W e ’ll g o to M a s t e r

V e n tu r e w e ll ’s, th e m e rc h a n t ; I ’l l g e t h is le tte r to m in e h o st o f th e B e l l in W a lt h a m ; th e re I ’l l p la ce th e e w ith th e ta p ste r . W il l n o t th a t d o w e ll fo r th e e , M ic k ?A n d le t m e a lo n e fo r th a t o ld c u c k o ld ly k n a v e y o u r

fa th e r ; I ’l l u se h im in h is k in d , I w a rra n t y e .

ExeuntFIN IS ACTUS T E R T II

Interlude IIIMusic. E n ter b o y and c i t i z e n

w i f e C o m e , G e o r g e , w h e r e ’s th e b e e r?

c i t i z e n H e r e , lo v e .w i f e T h is o ld fo rn ic a t in g fe llo w w il l n o t o u t o f m y

m in d y e t .— G e n t le m e n , I ’l l b e g in to y o u a ll, a n d I d e s ire m o re o f y o u r a c q u a in ta n c e , w it h all m y h e art.

(Drinks) F i l l th e g e n t le m e n so m e b e e r , G e o r g e . (b o y danceth) L o o k , G e o r g e , th e lit t le b o y ’ s c o m e a g a in ; m e th in k s h e lo o k s so m e th in g lik e th e P r in c e o f O ra n g e in h is lo n g s to c k in g , i f h e h a d a litt le h a rn e ss

a b o u t h is n e c k . G e o r g e , I w i l l h a v e h im d an ce ‘F a d in g ’ .— ‘F a d in g ’ is a f in e j i g , I ’l l a ssu re y o u , g e n t le m e n .— B e g in , b ro th e r .— N o w ’a ca p e rs ,

s w e e th e a rt .— N o w a tu rn o ’th ’to e , an d th e n tu m b le . C a n n o t y o u tu m b le , y o u th ? 14

b o y N o , in d e e d , fo rs o o th .

w i f e N o r ea t fire? b o y N e ith e r .w i f e W h y th e n , I th a n k y o u h e a rtily . T h e r e ’ s

tw o p e n c e to b u y y o u p o in ts w ith a l.E x it BOY

Act IVE n ter j a s p e r and b o y

j a s p e r (gizes a letter) T h e r e , b o y , d e liv e r th is , b u t d o it

w e ll.H a s t th o u p ro v id e d m e fo u r lu s ty fe llo w s

A b le to c a rry m e ? A n d art th o u p e r fe c t In a ll th y b u s in e ss?

b o y S ir , y o u n e e d n o t fe ar :

I h a v e m y le sso n h e re an d c a n n o t m iss it.T h e m e n are re a d y fo r y o u , a n d w h a t e lse P e r ta in s to th is e m p lo y m e n t.

j a s p e r (gizes him money) T h e r e , m y b o y ;

569 conditions: qualities5 7 i-2 yoke-fellow : com panion (from ploughing)587 lavolta: lively dance for couples588 frolic: m erry595-6 You are . . . for you possib ly from a ballad about F air

M argaret and Sw eet W illiam (see I I .427-30). P rinted as part o f the song in Q i-3

597 C o m e aloft: ‘the expression is generally found applied to apes that w ere taught to vault: here it is used m erely as an incitem ent to m irth ’ (D yce)

600 ding: strike, i.e. taunt606 cuckoldly: adulterous

607 in his kind: according to his nature4 begin to: toast

8-9 Prince o f O range: Prince M aurice o f N assau, whose picture (in his ‘long stocking’) was w idely known

9 harness: arm our11 Fadin g: a) an Irish dance; b) sexual orgasm12 capers: lively dancing13 tum ble: som ersault (with sexual connotation)i9 points: laces for tying hose to doublet2 lusty: vigorous3 perfect: instructed (as in ‘perfected’)

T a k e it , b u t b u y n o la n d .

b o y F a it h , s ir , ’tw e re rareT o see so y o u n g a p u rc h a se r . I fly ,A n d o n m y w in g s c a rry y o u r d e stin y . E x it

j a s p e r G o , an d b e h a p p y .— N o w , m y la te s t h o p e , n

F o rs a k e m e n o t, b u t f l in g th y a n c h o r o u t A n d le t it h o ld . S ta n d fix e d , th o u r o llin g s to n e ,T i l l I e n jo y m y d e a re st. H e a r m e , all

Y o u p o w e rs th a t ru le in m e n c e le s tia l. E x itw i f e G o th y w a y s ; th o u art as c ro o k e d a s p r ig as e v e r

g re w in L o n d o n . I w a rra n t h im , h e ’ll c o m e to so m e n a u g h ty e n d o r o th e r , fo r h is lo o k s sa y n o le ss . B e s id e s , h is fa th e r (y o u k n o w , G e o rg e ) is n o n e o f th e b e st ; y o u h e a rd h im tak e m e u p lik e a f l ir t - g i ll , an d

s in g b a w d y so n g s u p o n m e ; b u t , i ’fa ith , i f I liv e , G e o r g e — 22

c i t i z e n L e t m e a lo n e , s w e e th e a rt— I h a v e a tr ic k in m y h e a d sh a ll lo d g e h im in th e A rc h e s fo r o n e y e a r ,

an d m a k e h im s in g peccavi e re I le a v e h im , a n d y e t h e

sh a ll n e v e r k n o w w h o h u r t h im n e ith e r . w i f e D o , m y g o o d G e o r g e , d o .

E n ter b o y

c i t i z e n W h a t sh a ll w e h a v e R a fe d o n o w , b o y ?

b o y Y o u sh a ll h a v e w h a t y o u w i l l , sir. c i t i z e n W h y , so , s ir ; g o a n d fe tc h m e h im th e n , an d

le t th e S o p h y o f P e r s ia c o m e an d c h r is te n h im a ch ild . 3 2

b o y B e lie v e m e , s ir , th a t w i l l n o t d o so w e ll. ’T i s s ta le ;it h as b e e n h a d b e fo re at th e R e d B u ll .

w i f e G e o r g e , le t R a fe tra v e l o v e r g re a t h il ls , a n d le t h im b e v e ry w e a ry , a n d c o m e to th e K in g o f

8 buy no land: from ‘he that buys land buys m any stones’ (proverbial)

i i - i2 m y latest . . . anchor out: anchors often appeared in em blem s associated w ith hope

i3 rolling stone: a) the earth; b) m etaphor fo r uncertain fortune

15 powers that . . . m en celestial: reference to the N eo- P latonic figure Venus C oelestis (H eavenly Love) w ho possesses the m inds o f those w hose intellects pass beyond the sensible to the heavenly

16 sprig: youthi8 naughty: m ischievous

20 flirt-gill: prom iscuous w om an (slang)24 A rches: S t M a ry de A rcubus, a church in C heapside

where the Ecclesiastical C ou rt o f A pp ea l for the Province o f C anterbury sat to hear cases o f abuse o f church law

25 peccavi: ‘I have sinned’3 1-2 Soph y o f . . . a child: reference to the Soph y o f Persia,

godfather to R ob ert Sherley’s child in The Travels o f the Three English Brothers (c. 1607) b y Jo h n D ay , W illiam R ow ley and G eo rge W ilkin s

34 the R ed B ull: a popular theatre in C lerkenw ell, but also know n for presenting bom bastic (‘stale’) plays o f little consequence

C r a c o v ia ’ s h o u se , co v e re d w ith b la c k v e lv e t , an d th e re

le t th e k in g ’ s d a u g h te r s tan d in h e r w in d o w all in b e a te n g o ld , c o m b in g h e r g o ld e n lo c k s w it h a co m b o f iv o ry , an d le t h e r sp y R a fe , a n d fa ll in lo v e w ith h im , a n d c o m e d o w n to h im , an d c a rry h im in to h e r

fa th e r ’s h o u se , an d th e n le t R a f e ta lk w ith h e r. 4 2 c i t i z e n W e ll sa id , N e ll , it sh a ll b e so .— B o y , le t ’s h a ’t

d o n e q u ic k ly .b o y S ir , i f y o u w il l im a g in e a ll th is to b e d o n e a lre a d y ,

y o u sh a ll h e a r th e m ta lk to g e th e r . B u t w e c a n n o t

p re se n t a h o u se co v e re d w it h b la c k v e lv e t, a n d a la d y in b e a te n g o ld .

c i t i z e n S ir b o y , le t ’ s h a ’t as y o u ca n , th e n . b o y B e s id e s , it w i l l s h o w i l l- fa v o u re d ly to h a v e a

g ro c e r ’ s p re n tic e to co u rt a k in g ’ s d a u g h te r . 5 1c i t i z e n W il l it so , sir? Y o u are w e l l read in h is to r ie s ! I

p ra y y o u , w h a t w a s S ir D a g o n e t? W a s n o t h e p re n tic e to a g ro c e r in L o n d o n ? R e a d th e p la y o f The Four Prentices o f London, w h e re th e y to ss th e ir p ik e s so. I

p ra y y o u , fe tc h h im in , s ir , fe tc h h im in . b o y I t sh a ll b e d o n e .— I t is n o t o u r fa u lt , g e n t le m e n .

E x itw i f e N o w w e sh a ll see fin e d o in g s , I w a rra n t ’ee ,

G e o rg e . O h , h e re th e y c o m e ; h o w p re tt ily th e K in g

o f C r a c o v ia ’s d a u g h te r is d re sse d . 60

E n ter r a f e and the l a d y p o m p io n a , t i m as s q u i r e andGEORGE as DWARF

c i t i z e n A y , N e ll , it is th e fa sh io n o f th a t c o u n try , I w a r r a n t ’ee.

LAD Y W e lc o m e , s ir k n ig h t , u n to m y fa th e r ’s co u rt,K in g o f M o ld a v ia ; u n to m e , P o m p io n a ,

H is d a u g h te r d ear. B u t su re y o u d o n o t lik e

Y o u r e n te r ta in m e n t , th a t w il l s tay w it h us N o lo n g e r b u t a n ig h t .

r a f e D a m s e l r ig h t fa ir ,I am o n m a n y sad a d v e n tu re s b o u n d ,

T h a t c a ll m e fo r th in to th e w ild e rn e ss ;

B e s id e s , m y h o rs e ’s b a c k is s o m e th in g g a lle d , 7 0

37 Cracovia: C racow , capital o f Poland (until 1609) black: eds (om itted from Q i)

39 beaten gold: an exam ple o f the elaborate costum es used fo r entertainm ents presented at court, such as B en Jo n so n ’s The Masque of Blackness (1605)

53 S ir D agonet: K in g A rth u r’s fool but possib ly know n to early seventeenth-century audiences from ‘A rth u r’s Sh ow ’, an exhibition o f archery held at M ile E n d ; see2 Henry IV, III.ii.257

54-5 The Four Prentices o f London: in H eyw ood ’s p lay Eustace and G u y toss and catch their pikes to show their readiness for w ar

64 M old avia : a D anubian province (now in Rom ania); the P rince o f M oldavia was w ith a T u rk ish delegation to the En g lish court in N ovem ber 1607

70 galled: sore

W h ic h w i l l e n fo rc e m e r id e a so b e r p ace .

B u t m a n y th a n k s , fa ir la d y , b e to y o u ,F o r u s in g e rra n t k n ig h t w it h co u rte sy .

l a d y B u t say , b ra v e k n ig h t , w h a t is y o u r n a m e an d

b irth ?

r a f e M y n a m e is R a fe ; I am an E n g l is h m a n ,A s tru e as s tee l, a h e a rty E n g l is h m a n ,A n d p re n tic e to a g ro c e r in th e S tra n d

B y d e e d in d e n t , o f w h ic h I h a v e o n e part.B u t F o r tu n e c a llin g m e to fo l lo w a rm s,

O n m e th is h o ly o rd e r I d id tak e 80O f B u r n in g P e s t le , w h ic h in a ll m e n ’ s eyes I b e a r , c o n fo u n d in g la d ie s ’ e n e m ie s .

l a d y O ft h a v e I h e a rd o f y o u r b ra v e c o u n try m e n ,

A n d fe rt ile so il an d s to re o f w h o le s o m e fo o d ;M y fa th e r o ft w il l te ll m e o f a d r in k In E n g la n d fo u n d , a n d ‘n ip ita to ’ c a lle d ,W h ic h d r iv e th all th e s o r ro w fro m y o u r h e arts .

r a f e L a d y , ’tis tru e , y o u n e e d n o t la y y o u r lip s

T o b e tte r n ip ita to th a n th e re is. l a d y A n d o f a w ild fo w l h e w i l l o fte n s p e a k 9 0

W h ic h ‘p o w d e re d b e e f an d m u sta rd ’ ca lle d is.F o r th e re h a v e b e e n g re a t w a rs ’tw ix t us a n d y o u ;B u t tru ly , R a fe , it w a s n o t lo n g o f m e.

T e l l m e th e n , R a fe , c o u ld y o u c o n te n te d b e T o w e a r a la d y ’s fa v o u r in y o u r sh ie ld ?

r a f e I am a k n ig h t o f re lig io u s o rd e r ,A n d w il l n o t w e a r a fa v o u r o f a la d y ’s

T h a t tru sts in A n t ic h r is t an d fa lse tra d it io n s . c i t i z e n W e ll sa id , R a fe , c o n v e rt h e r i f th o u can st. r a f e B e s id e s , I h a v e a la d y o f m y o w n 10 0

In m e rry E n g la n d , fo r w h o s e v irtu o u s sak e I t o o k th e se arm s, a n d S u s a n is h e r n a m e ,

A c o b b le r ’s m a id in M i l k S tre e t , w h o m I v o w N e ’e r to fo rs a k e w h ils t l i fe a n d p e stle la st.

l a d y H a p p y th a t c o b b lin g d a m e , w h o e ’e r sh e b e ,T h a t fo r h e r o w n , d e a r R a fe , h a th g o tte n th e e ;

U n h a p p y I , th a t n e ’er sh a ll see th e d a y

T o see th e e m o re , th a t b e a r ’st m y h e a rt aw ay . r a f e L a d y , fa re w e ll; I n eed s m u st tak e m y le av e . l a d y H a r d - h e a r te d R a fe , th a t la d ie s d o s t d e ce iv e . 1 1 0 c i t i z e n H a r k th e e , R a fe , th e re ’s m o n e y fo r th e e ; g iv e

s o m e th in g in th e K in g o f C r a c o v ia ’s h o u se ; b e n o t b e h o ld in g to h im .

r a f e L a d y , b e fo re I g o , I m u st re m e m b e r

77 Strand Q 2 (strond Q i)78 deed indent: duplicate agreem ent o f indenture between

apprentice and m aster; the deed was torn irregularly (‘indented’) so that it could be proved genuine i f the two parts m atched

82 confounding: a) confusing, bew ildering; b) defeating 86 ‘n ipitato’: prim e ale 9i pow dered: salted93 long: on account

i05 cobbling: could also m ean ‘bungling’

Y o u r fa th e r ’ s o f fic e rs , w h o , t ru th to te ll,

H a v e b e e n a b o u t m e v e ry d ilig e n t .H o ld up th y s n o w y h a n d , th o u p r in c e ly m a id :T h e r e ’s tw e lv e p e n ce fo r y o u r fa th e r ’s c h a m b e r la in ; A n d a n o th e r s h ill in g fo r h is c o o k ,

F o r , b y m y t ro th , th e g o o se w a s ro a ste d w e l l ; 1 2 0 A n d tw e lv e p e n c e fo r y o u r fa th e r ’ s h o rse -k e e p e r ,

F o r ’n o in t in g m y h o rse b a c k — an d fo r h is b u tte r , T h e r e is a n o th e r s h ill in g — to th e m a id T h a t w a sh e d m y b o o t - h o s e , th e re ’ s an E n g l is h g ro a t:

A n d tw o p e n c e to th e b o y th a t w ip e d m y b o o ts ;A n d la s t, fa ir la d y , th e re is fo r y o u r s e lf T h r e e p e n c e , to b u y y o u p in s at B u m b o F a ir .

l a d y F u l l m a n y th a n k s ; a n d I w il l k e e p th e m safe

T i l l a ll th e h e a d s b e o f f , fo r th y sa k e , R a fe . r a f e A d v a n c e , m y sq u ire a n d d w a r f ; I c a n n o t stay . 1 3 0 l a d y T h o u k il l ’st m y h e a rt in p a r t in g th u s aw ay .

Exeuntw i f e I c o m m e n d R a fe y e t th a t h e w i l l n o t s to o p to a

C ra c o v ia n . T h e r e ’ s p ro p e re r w o m e n in L o n d o n th a n a n y are th e re , iw is . B u t h e re co m e s M a s t e r

H u m p h re y a n d h is lo v e ag a in n o w , G e o rg e . c i t i z e n A y , c o n y , p eace .

E n ter m e r c h a n t , h u m p h r e y , l u c e , and b o y . l u c ekneels

m e r c h a n t G o , g e t y o u u p ; I w i l l n o t b e en tre a te d . A n d , g o ss ip m in e , I ’l l k eep y o u su re h e re a fte r

F r o m g a d d in g o u t a g a in w it h b o y s an d u n th r ifts . C o m e , th e y are w o m e n ’ s te a rs ; I k n o w y o u r

fa s h io n .— 14 0G o , s irra h , lo c k h e r in , an d k e e p th e k e y

S a fe as y o u lo v e y o u r life . Exeun t l u c e and b o y

N o w , m y son H u m p h re y , Y o u m a y b o th re s t a ssu re d o f m y lo v e

In th is , an d reap y o u r o w n d esire . h u m p h r e y I see th is lo v e y o u sp e a k o f , th ro u g h y o u r

d a u g h te r ,

A lt h o u g h th e h o le b e lit t le ; an d h e re a fte r W il l y ie ld th e lik e in a ll I m a y , o r can ,F i t t in g a C h r is t ia n , a n d a g e n t le m a n .

m e r c h a n t I d o b e lie v e y o u , m y g o o d so n , an d th a n k

y o u :

124 boot-hose: elaborately em broidered footless stockings w hich covered the ca lf

125 boots: the footw ear o f gallants and w ould-be gentlem en i27 pins: elaborate pins w ere a fashionable g ift

Bum bo Fair: probably from a drink sold at fairs (made from rum , water, sugar and nutmeg)

132 stoop: subm it133 properer: handsom er137 up: either from kneeling or to her cham ber138 gossip: fem ale friend139 unthrifts: prodigals140 w om en’s tears: i.e. not to be taken seriously

F o r ’tw e re an im p u d e n c e to th in k y o u fla tte re d . 15 0

h u m p h r e y I t w e re in d e e d ; b u t sh a ll I te ll y o u w h y ?I h a v e b e e n b e a te n tw ic e a b o u t th e lie .

m e r c h a n t W e ll , so n , n o m o re o f c o m p lim e n t . M y

d a u g h te r

Is y o u rs a g a in ; a p p o in t th e t im e , a n d ta k e h e r;W e ’ll h a ve n o s te a lin g fo r it. I m y s e lf

A n d so m e fe w o f o u r fr ie n d s w i l l see y o u m a rr ie d . h u m p h r e y I w o u ld y o u w o u ld , i ’fa ith , fo r , b e it

k n o w n ,

I e v e r w a s a fra id to lie a lo n e . m e r c h a n t S o m e th re e d ay s h e n c e , th e n . h u m p h r e y T h r e e d a y s? L e t m e see:

’T i s s o m e w h a t o f th e m o st ; y e t I ag re e 16 0

B e c a u s e I m e a n a g a in s t th e a p p o in te d d a y T o v is it all m y fr ie n d s in n e w array .

E n ter s e r v a n t

s e r v a n t S ir , th e re ’s a g e n t le w o m a n w ith o u t w o u ld

sp e a k w it h y o u r w o rs h ip . m e r c h a n t W h a t is sh e?

s e r v a n t S ir , I a sk e d h e r n o t.m e r c h a n t B id h e r c o m e in . E x it s e r v a n t

E n ter m i s t r e s s m e r r y t h o u g h t and m i c h a e l

m i s t r e s s m e r r y t h o u g h t P e a c e b e to y o u r w o rs h ip . I co m e as a p o o r su ito r to y o u , s ir , in th e b e h a l f o f th is ch ild . 17 0

m e r c h a n t A r e y o u n o t w ife to M e r r y th o u g h t? m i s t r e s s m e r r y t h o u g h t Y e s , tru ly ; w o u ld I h a d

n e ’er seen h is eyes! H e h a s u n d o n e m e an d h im s e lf an d h is c h ild re n , a n d th e re h e liv e s at h o m e , an d s in g s an d h o its an d reve ls a m o n g h is d ru n k e n

c o m p a n io n s ; b u t , I w a rra n t y o u , w h e re to g e t a p e n n y to p u t b re a d in h is m o u th h e k n o w s n o t ; an d th e re fo re , i f it lik e y o u r w o r s h ip , I w o u ld e n tre a t y o u r

le tte r to th e h o n e st h o st o f th e B e l l in W a lt h a m , th a t

I m a y p la ce m y c h ild u n d e r th e p ro te c t io n o f h is

ta p ste r , in so m e se ttle d co u rse o f life . 18 1m e r c h a n t I ’m g la d th e h e a v e n s h a v e h e a rd m y

p ra y e rs . T h y h u s b a n d ,W h e n I w a s r ip e in so rro w s , la u g h e d at m e ;

T h y so n , lik e an u n th a n k fu l w re tc h , I h a v in g R e d e e m e d h im fro m h is fa ll a n d m a d e h im m in e ,T o s h o w h is lo v e a g a in , firs t s to le m y d a u g h te r ,T h e n w r o n g e d th is g e n t le m a n , a n d , la s t o f a ll,

G a v e m e th a t g r i e f h a d a lm o st b ro u g h t m e d o w n

U n to m y g ra v e , h a d n o t a s tro n g c r h a n d R e lie v e d m y so rro w s . G o , an d w e e p as I d id , 19 0

A n d b e u n p it ie d ; fo r I h e re p ro fe ss

i55 W e ’ll have . . . for it: ‘w e ’ll not have another elopem ent’160 o f the m ost: overlong161 against: in expectation o fi75 hoits: laughs

A n e v e r la s t in g h a te to all th y n am e.

m i s t e s s m e r r y t h o u g h t W i l l y o u so , sir? H o w say y o u b y th a t?— C o m e , M ic k , le t h im k e e p h is w in d to c o o l h is p o rr id g e . W e ’ll g o to th y n u rse ’ s, M ic k ; she k n its s ilk s to c k in g s , b o y , a n d w e ’ll k n it to o , b o y , an d

b e b e h o ld in g to n o n e o f th e m all.Exeunt m i c h a e l and his m o t h e r

E n ter a b o y w ith a letter

b o y S ir , I ta k e it y o u are th e m a s te r o f th is h o u se .

m e r c h a n t H o w th e n , b o y ?b o y T h e n to y o u rse lf , s ir, c o m e s th is le tte r . 2 0 0m e r c h a n t F r o m w h o m , m y p re tty b o y ? b o y F r o m h im th a t w a s y o u r se rv a n t; b u t n o m o re

S h a ll th a t n a m e e v e r b e , fo r h e is d e a d :G r i e f o f y o u r p u rc h a se d a n g e r b ro k e h is h e art.I sa w h im d ie , a n d fro m h is h a n d re c e iv e d T h is p a p e r , w it h a c h a rg e to b r in g it h ith e r ;

R e a d it , an d sa tis fy y o u r s e lf in all. 2 0 7

m e r c h a n t (reads letter) ‘ S ir , th a t I h a ve w r o n g e d y o u r lo v e , I m u st c o n fe s s ; in w h ic h I h a v e p u rc h a s e d to

m y s e lf , b e s id e s m in e o w n u n d o in g , th e ill o p in io n o f m y fr ie n d s . L e t n o t y o u r a n g e r , g o o d s ir , o u t liv e m e , b u t s u ffe r m e to re s t in p e a ce w ith y o u r fo rg iv e n e s s ;

le t m y b o d y ( i f a d y in g m a n m a y so m u c h p re v a il w it h y o u ) b e b r o u g h t to y o u r d a u g h te r , th a t sh e m a y tru ly k n o w m y h o t fla m e s are n o w b u r ie d , an d , w ith a l , re ce iv e a te s t im o n y o f th e z e a l I b o re h e r

v irtu e . F a r e w e ll fo r e v e r , an d b e e v e r h a p p y . J a s p e r . ’ G o d ’ s h a n d is g re a t in th is . I d o fo rg iv e h im ;Y e t I am g la d h e ’s q u ie t , w h e re I h o p e H e w i l l n o t b ite a g a in .— B o y , b r in g th e b o d y , 2 2 0

A n d le t h im h a v e h is w il l , i f th a t b e all.

b o y ’T i s h e re w ith o u t , sir. m e r c h a n t S o , s ir , i f y o u p le a se ,

Y o u m a y c o n d u c t it in ; I d o n o t fe a r it. h u m p h r e y I ’l l b e y o u r u sh e r , b o y , fo r th o u g h I sa y it,

H e o w e d m e s o m e th in g o n c e , an d w e ll d id p a y it.

Exeunt

E n ter l u c e alone

l u c e I f th e re b e a n y p u n is h m e n t in flic te d

U p o n th e m is e ra b le , m o re th a n y e t I fe e l,L e t it to g e th e r se ize m e , an d at o n ce P re ss d o w n m y so u l. I c a n n o t b e a r th e p a in O f th e se d e la y in g to rtu re s . T h o u th a t a rt 2 3 0

T h e e n d o f a ll, an d th e sw e e t re s t o f a ll,

C o m e , c o m e , o h D e a t h , b r in g m e to th y p e a c e ,A n d b lo t o u t all th e m e m o ry I n o u r ish

B o t h o f m y fa th e r an d m y c ru e l fr ie n d .O h w re tc h e d m a id , s till l iv in g to b e w re tc h e d ,

204 purchased: incurred b y his conduct2i8 great: evident224 usher: either a doorkeeper or an assistant

T o b e a say to F o r tu n e in h e r c h a n g e s ,

A n d g r o w to n u m b e r t im e s a n d w o e s to g e th e r !H o w h a p p y h a d I b e e n , i f , b e in g b o rn ,M y g ra v e h a d b e e n m y c rad le .

E n ter s e r v a n t

s e r v a n t B y y o u r le a v e ,

Y o u n g m is tre ss , h e re ’s a b o y h a th b ro u g h t a c o ff in . 2 4 0 W h a t ’a w o u ld say , I k n o w n o t , b u t y o u r fa th e r C h a r g e d m e to g iv e y o u n o tic e . H e r e th e y c o m e .

E x it

E n ter two ( c a r r i e r and b o y ) bearing a coffin, j a s p e r in it

L u c E F o r m e I h o p e ’tis c o m e , an d ’tis m o st w e lc o m e . b o y F a i r m is tre ss , le t m e n o t ad d g re a te r g r ie f

T o th a t g re a t s to re y o u h a v e a lre a d y . Ja s p e r ,T h a t w h ils t h e liv e d w a s y o u rs , n o w d e a d A n d h e re e n c lo se d , c o m m a n d e d m e to b r in g

H is b o d y h ith e r , an d to c rave a tea r F r o m th o se fa ir ey es , th o u g h h e d e se rv e d n o t p ity

T o d e c k h is fu n e ra l; fo r so h e b id m e T e l l h e r fo r w h o m h e d ie d .

l u c e H e sh a ll h a v e m a n y .—

G o o d fr ie n d s , d e p a rt a lit t le , w h ils t I tak e M y le a v e o f th is d e a d m a n th a t o n c e I lo v ’d :

Exeunt c o f f i n c a r r i e r and b o y H o ld y e t a lit t le , l i fe , a n d th e n I g iv e th e e

T o th y fir s t h e a v e n ly b e in g . O h , m y fr ie n d !H a s t th o u d e c e iv e d m e th u s , a n d g o t b e fo re m e?I sh a ll n o t lo n g b e a fte r . B u t , b e lie v e m e ,T h o u w e r t to o c ru e l, J a s p e r , ’g a in s t th y s e lf

In p u n is h in g th e fa u lt I co u ld h a ve p a rd o n e d ,

W it h so u n t im e ly d e a th . T h o u d id s t n o t w r o n g m e , B u t e v e r w e r t m o st k in d , m o st tru e , m o st lo v in g ; 2 6 1

A n d I th e m o st u n k in d , m o st fa lse , m o st c ru el.D id s t th o u b u t a sk a tea r? I ’l l g iv e th e e all,

E v e n a ll m y ey es can p o u r d o w n , a ll m y s ig h s,

A n d a ll m y s e lf , b e fo re th o u g o e s t fro m m e.T h e s e are b u t s p a r in g r ite s ; b u t i f th y so u l B e y e t ab o u t th is p la c e , an d can b e h o ld A n d see w h a t I p re p a re to d e c k th e e w ith ,

I t sh a ll g o u p , b o rn e o n th e w in g s o f p e a c e ,A n d s a tisfie d . F ir s t w i l l I s in g th y d irg e ,T h e n k iss th y p a le lip s , an d th e n d ie m y s e lf,A n d f il l o n e c o ff in a n d o n e g ra v e to g e th e r .

Come you whose loves are dead,A n d whiles I sing Weep and w ring E very hand, and every head

236 say: test, touchstone (from ‘assay’)266 sparing: m eagre270 dirge: hym n for a funeral

B in d with cypress and sad yew ;Ribands black and candles blue F o r him that was o f men most true.

Come w ith heavy moaning, 2 8 0

A n d on his grave L et him haveSacrifice o f sighs and groaning;L et him have f a ir flow ers enow,White and purple, green and yellow,F o r him that was o f men most true.

T h o u sab le c lo th , sad c o v e r o f m y jo y s ,I l i f t th e e u p , an d th u s I m e e t w it h d eath .

j a s p e r (rising out o f the coffin) A n d th u s y o u m e e t th e

liv in g .l u c e S a v e m e , h e aven !j a s p e r N a y , d o n o t f ly m e , fa ir ; I am n o sp ir it ; 2 9 0

L o o k b e tte r o n m e ; d o y o u k n o w m e y et?

l u c e O h , th o u d e a r s h a d o w o f m y fr ie n d .

j a s p e r D e a r su b sta n ce ;I sw e a r I am n o s h a d o w ; fe e l m y h a n d ,

250 I t is th e sam e it w a s . I am y o u r Ja s p e r .Y o u r Ja s p e r th a t ’s y e t l iv in g , an d y e t lo v in g .P a rd o n m y ra sh a tte m p t, m y fo o lis h p r o o f

I p u t in p ra c tic e o f y o u r c o n sta n c y ;F o r so o n e r s h o u ld m y sw o rd h a v e d ru n k m y b lo o d A n d set m y so u l at l ib e r ty , th a n d ra w n T h e le a s t d ro p fro m th a t b o d y ; fo r w h ic h b o ld n e ss

D o o m m e to a n y th in g : i f d e a th , I tak e it , 3 0 1A n d w ill in g ly .

l u c e T h is d e a th I ’l l g iv e y o u fo r it. Kisses himS o , n o w I am sa tis f ie d ; y o u are n o sp ir it ,

B u t m y o w n tru e st , tru e st, tru e st fr ie n d .

W h y d o y o u c o m e th u s to m e? j a s p e r F i r s t to see y o u ,

T h e n to c o n v e y y o u h e n ce .L u c E I t c a n n o t b e ,

F o r I am lo c k e d u p h e re an d w a tc h e d at all h o u rs ,

T h a t ’tis im p o s s ib le fo r m e to ’ scap e. j a s p e r N o t h in g m o re p o ss ib le . W it h in th is c o ff in

D o y o u c o n v e y y o u rse lf ; le t m e a lo n e , 3 1 0I h a v e th e w its o f tw e n ty m e n a b o u t m e.

O n ly I c rave th e sh e lte r o f y o u r c lo se t 2 7 0 A lit t le , a n d th e n fe a r m e n o t. C re e p in ,

T h a t th e y m a y p re se n t ly c o n v e y y o u h e n ce .F e a r n o th in g , d e a re st lo v e , I ’l l b e y o u r se co n d .

277 cypress and sad yew: traditional em blem s o f m ourning; see Twelfth Night, II.iv .50-65

278 blue: the colour o f constancy285 White and. . . and yellow: sym bols o f purity, sorrow, the

soul, and divinity respectively 292 shadow: shade, departed spirit312 closet: private room313 fear m e not: ‘do not have fear fo r m e’3i5 second: support

l u c e lies down in the coffin, and j a s p e r cozers herwith the cloth

L ie c lo se , so ; a ll g o e s w e ll y e t .— B o y .

E n ter b o y and c o f f i n c a r r i e r

b o y A t h a n d , sir.j a s p e r C o n v e y a w a y th e c o ff in , a n d b e w a ry .

b o y ’T i s d o n e a lread y .ja s p e r N o w m u st I g o c o n ju re . E x it

E n ter m e r c h a n t

m e r c h a n t B o y , b o y !b o y Y o u r serv an t, s ir. 3 2 0m e r c h a n t D o m e th is k in d n e ss , b o y (h o ld , h e re ’s a

c ro w n ): b e fo re th o u b u ry th e b o d y o f th is fe llo w , ca rry it to h is o ld m e rry fa th e r , an d sa lu te h im fro m m e , an d b id h im s in g ; h e h a th cau se .

b o y I w i l l , sir.

m e r c h a n t A n d th e n b r in g m e w o r d w h a t tu n e h e is

in , an d h a ve a n o th e r c ro w n ; b u t d o it tru ly . I h a ve fitte d h im a b a rg a in n o w w il l v e x h im .

b o y G o d b less y o u r w o r s h ip ’s h e a lth , sir. 3 2 9m e r c h a n t F a r e w e ll , b o y . Exeunt

E n ter m a s t e r m e r r y t h o u g h t

w i f e A h , o ld M e r r y th o u g h t , a rt th o u th e re a g a in ?L e t ’s h e a r so m e o f th y so n g s.

o l d m e r r y t h o u g h t

(Sings) Who can sing a merrier noteThan he that cannot change a groat#

N o t a d e n ie r le f t , an d y e t m y h e a rt le a p s . I d o w o n d e r y e t , as o ld as I a m , th a t a n y m a n w i l l fo l lo w a trad e ,

o r se rv e , th a t m a y s in g an d la u g h , an d w a lk th e

stre ets. M y w ife an d b o th m y so n s are I k n o w n o t w h e re ; I h a ve n o th in g le ft , n o r k n o w I h o w to c o m e

b y m e a t to su p p e r, y e t am I m e rry s t ill, fo r I k n o w I sh a ll f in d it u p o n th e ta b le at s ix o ’c lo c k . T h e r e fo r e ,

h a n g th o u g h t . 3 4 2

(Sings) I would not be a serzing man To carry the cloak-bag still,N or w ould I be a falconer The greedy hawks to f i l l ;B u t I would be in a good house,A n d haze a good master too,B u t I would eat and drink o f the best,A n d no work would I do. 35 0

T h is is it th a t k e e p s li fe an d so u l to g e th e r : m irth .

T h is is th e p h ilo so p h e r ’ s s to n e th a t th e y w r ite so m u c h o n , th a t k e e p s a m a n e v e r y o u n g .

E n ter a b o y

b o y S ir , th e y sa y th e y k n o w a ll y o u r m o n e y is g o n e , a n d th e y w i l l tru st y o u fo r n o m o re d r in k .

o l d m e r r y t h o u g h t W il l th e y n o t? L e t ’e m ch o o se . T h e b e s t is , I h a ve m ir th at h o m e , an d n e e d n o t sen d a b ro a d fo r th a t ; le t th e m k eep th e ir d r in k to

th e m se lv e s .(Sings) F o r Jillia n o f Bury she dwells on a hill, 3 6 0

A n d she hath good beer and ale to sell,A n d o f good fellow s she thinks no ill;A n d thither w ill we go now, now, now, now, A n d thither w ill we go now.A n d when you haze made a little stay,You need not ask w hat is to pay,B u t kiss your hostess and go your way;A n d thither, etc.

E n ter another b o y

2 b o y S ir , I can g e t n o b re a d fo r su p p e r. 36 9o l d m e r r y t h o u g h t H a n g b re a d a n d su p p er! L e t ’s

p re se rve o u r m ir th , a n d w e sh a ll n e v e r fe e l h u n g e r ,I ’l l w a rra n t y o u . L e t ’ s h a ve a c a tc h ; b o y , fo llo w m e ; c o m e , s in g th is ca tch :(They sing) Ho, ho, nobody at home!

M eat, nor drink, nor money ha’ we none.F i l l the pot, Eedy,N ezer more need I.

S o , b o y s , e n o u g h ; fo l lo w m e ; le t ’s c h a n g e o u r p la ce

an d w e sh a ll la u g h a fre sh .

Exeunt

FIN IS A CT IV

Interlude IVw i f e L e t h im g o , G e o r g e ; ’a sh a ll n o t h a v e an y

c o u n te n a n c e fro m u s , n o r a g o o d w o rd fro m a n y i ’th ’ c o m p a n y , i f I m a y strik e s tro k e in ’t.

c i t i z e n N o m o re ’ a sh a ’n o t , lo v e ; b u t , N e ll , I w i l l h a v e R a fe d o a v e ry n o ta b le m a tte r n o w , to th e e te rn a l h o n o u r a n d g lo r y o f a ll g ro c e rs .— S ir ra h , y o u th e re , b o y ! C a n n o n e o f y o u h e ar?

3i6 close: hidden3i8 conjure: perform the trick 326 tune: m ood328 fitted: furnished333-4 Who can . . . a groat# a catch from Ravenscroft’s

Pammelia (i606)335 denier: Fren ch coin o f very sm all value342 hang: dism iss all344 cloak-bag\ portm anteau

352 philosopher’s stone: the stone w hich, in alchem y, heals wounds, turns base m etals into gold , and prolongs life

372 catch: song sung as a round373 sing this catch: these words are slightly separated from

the preceding ‘com e’ in Q i- 2 and som e eds present them as a stage direction

374-7 Ho, ho . . . need I: a catch from Pammelia2 countenance: favour3 strike stroke: have m y say

E n ter b o y

b o y S ir , y o u r p le asu re ?

c i t i z e n L e t R a fe c o m e o u t o n M a y D a y in th e

m o rn in g , a n d s p e a k u p o n a c o n d u it w ith a ll h is scarfs a b o u t h im , an d h is fe a th e rs an d h is r in g s a n d h is

k n a c k s . 12b o y W h y , s ir , y o u d o n o t th in k o f o u r p lo t. W h a t w ill

b e c o m e o f th a t , th e n ?

c i t i z e n W h y sir, I ca re n o t w h a t b e c o m e o n ’t. I ’l l h ave h im c o m e o u t, o r I ’l l fe tc h h im o u t m y s e lf. I ’l l h a ve s o m e th in g d o n e in h o n o u r o f th e c ity . B e s id e s , h e h a th b e e n lo n g e n o u g h u p o n a d v e n tu re s. B r in g h im

o u t q u ic k ly , o r , i f I c o m e in a m o n g s t y o u — b o y W e l l , s ir, h e sh a ll c o m e o u t. B u t i f o u r p la y

m isc a rry , s ir , y o u are lik e to p a y fo r ’t. E x it b o yc i t i z e n B r in g h im a w a y , th e n . 22

w i f e T h is w il l b e b ra v e , i ’ fa ith ; G e o r g e , sh a ll n o t h e d a n c e th e m o rr is to o fo r th e c re d it o f th e S tra n d ?

c i t i z e n N o , sw eeth eart, it w i ll b e to o m u c h fo r th e b o y .

E n ter r a f e

O h , th e re h e is , N e ll ; h e ’ s re a so n a b le w e l l in re p a re l,

b u t h e h as n o t r in g s e n o u g h . r a f e L o n d o n , to th e e I d o p re se n t th e m e rry m o n th o f

M a y ;

L e t ea ch true su b ject b e c o n ten t to h e a r m e w h a t I say: F o r fro m th e to p o f c o n d u it h e a d , as p la in ly m a y

a p p e a r, 3 0I w i l l b o th te ll m y n a m e to y o u a n d w h e re fo re I cam e

h e re .

M y n a m e is R a fe , b y d u e d e s c e n t th o u g h n o t ig n o b le I ,

Y e t fa r in fe r io r to th e f lo c k o f g ra c io u s g ro c e ry ;

A n d b y th e c o m m o n c o u n se l o f m y fe llo w s in th e

S tra n d ,W it h g ild e d s t a f f an d c ro sse d sc a rf, th e M a y L o r d

h e re I stan d .R e jo ic e , o h E n g l is h h e a rts , re jo ic e ; re jo ic e , o h lo v e rs

d ear;

R e jo ic e , o h c ity , to w n , an d c o u n try ; re jo ic e e k e e v e ry sh ire .

9 M a y D ay: the festival o f spring w ith festivities, speeches, dancing and song. A good account can be found in Philip Stubbes’s The Anatomy of Abuses (1583), C h . xiii

10 conduit: fountain, cistern 10 - 12 scarfs about . . . his knacks: the accoutrem ents o f

M orris dancing 28-63 Lo nd on , to . . . I cease: written in lines o f fourteen

syllables as a parody o f M a y D a y speeches and, possibly, hym n books

32 M y nam e . . . ignoble I: parodies the speech b y the G h o st o f D o n A n d rea in The Spanish Tragedy, I .i.5-7 , by T h om as K yd

35 gilded s ta ff and crossed scarf: sym bols o f the M a y L o rd ’s authority

F o r n o w th e fra g ra n t flo w e rs d o s p r in g an d sp ro u t in

se e m ly so rt,T h e litt le b ird s d o s it an d s in g , th e la m b s d o m a k e

fin e sp o rt.

A n d n o w th e b irc h e n tree d o th b u d , th a t m a k e s th e

s c h o o lb o y c ry ; 4 0T h e m o rr is r in g s w h ile h o b b y -h o rs e d o th fo o t it

fe a te o u s ly .T h e lo rd s an d la d ie s n o w a b ro ad fo r th e ir d isp o rt an d

p la y ,

D o k iss so m e tim e s u p o n th e g ra s s , an d s o m e tim e s in th e h ay .

N o w b u tte r w it h a l e a f o f sage is g o o d to p u rg e th e b lo o d ;

F ly V e n u s an d p h le b o to m y , fo r th e y are n e ith e r g o o d .N o w litt le fish o n te n d e r sto n e b e g in to c a s t th e ir

b e llie s ,A n d s lu g g ish sn a ils , th a t e rst w e re m u te , d o creep o u t

o f th e ir sh e llie s .

T h e ru m b lin g r ive rs n o w d o w a rm fo r litt le b o y s to p a d d le ,

T h e s tu rd y steed n o w g o e s to g ra s s , an d u p th e y h a n g h is sad d le .

T h e h e a v y h a rt , th e b e llo w in g b u c k , th e ra sc a l, an d

th e p r ic k e t , 50A r e n o w a m o n g th e y e o m a n ’ s p e a s , an d le a v e th e

fe a r fu l th ic k e t .A n d b e lik e th e m , o h y o u , I say , o f th is sam e n o b le

to w n ,A n d l i f t a lo ft y o u r v e lv e t h e a d s , a n d , s lip p in g o f f y o u r

g o w n ,W it h b e lls o n le g s an d n a p k in s c le a n u n to y o u r

sh o u ld e rs t ie d ,

40 birchen tree: the branches o f the birch w ere used for corporal punishm ent

41 hobby-horse: a wooden fram e that allowed dancers to pretend to be horses. It becam e a principal focus o f Puritan attacks on M a y D a y celebrations because o f the sexual sym bolism o f its rocking m otionfeateously: nim bly

44 butter: thought to take on m edicinal properties during the spring

45 Venus and phlebotom y: sexual intercourse (here represented b y the classical goddess o f love) and bloodletting (phlebotom y) w ere both believed to w eaken the body

46 cast their bellies: spawn47 snails: believed to trace the lover’s nam e in the ashes o f a

heartherst: form erly

50 rascal: young or inferior deer in a herd pricket: tw o-year-old buck

53 velvet heads: a) the new antlers o f deer; b) the antlers o f a new cuckold

54-5 bells on . . . and garters: m ore M orris dancer’s accoutrements

W it h sca rfs an d g a r te rs as y o u p le a se , a n d ‘H e y fo r

o u r to w n ’ c r ie d ,M a r c h o u t, an d s h o w y o u r w i l l in g m in d s , b y tw e n ty

an d b y tw e n ty ,

T o H o g s d o n o r to N e w in g to n , w h e re a le an d cak es

are p le n ty .A n d le t it n e ’er b e sa id fo r sh a m e , th a t w e th e y o u th s

o f L o n d o nL a y th r u m m in g o f o u r cap s at h o m e , an d le ft o u r

c u sto m u n d o n e .

U p th e n , I say , b o th y o u n g an d o ld , b o th m a n an d m a id a -m a y in g , 60

W it h d ru m s a n d g u n s th a t b o u n c e a lo u d , an d m e rry ta b o r p la y in g !

W h ic h to p ro lo n g , G o d save o u r k in g , an d sen d h is c o u n try p eace ,

A n d ro o t o u t tre a so n fro m th e L a n d ! A n d so , m y fr ie n d s , I cease .

E x it

Act VE n ter m e r c h a n t , solus

m e r c h a n t I w i l l h a ve n o g re a t s to re o f c o m p a n y at th e w e d d in g : a c o u p le o f n e ig h b o u rs a n d th e ir w iv e s ; an d

w e w il l h a v e a c a p o n in ste w e d b ro th , w it h m a rro w , an d a g o o d p ie c e o f b e e f , s tu c k w it h ro se m a ry .

E n ter j a s p e r , his face mealed

j a s p e r F o r b e a r th y p a in s , fo n d m a n ; it is to o la te .

m e r c h a n t H e a v e n b le ss m e! Ja s p e r? j a s p e r A y , I am h is g h o st ,

W h o m th o u h a st in ju re d fo r h is c o n s ta n t lo v e ,

F o n d w o r ld ly w re tc h , w h o d o s t n o t u n d e rsta n d In d e a th th a t tru e h e a rts c a n n o t p a r te d b e .

F ir s t , k n o w th y d a u g h te r is q u ite b o rn e a w a y 1 0

O n w in g s o f a n g e ls , th ro u g h th e liq u id air,T o fa r o u t o f th y re a c h , a n d n e v e r m o re S h a lt th o u b e h o ld h e r fa c e . B u t sh e a n d I

W il l in a n o th e r w o r ld e n jo y o u r lo v e s ,W h e r e n e ith e r fa th e r ’s a n g e r , p o v e rty ,N o r an y cro ss th a t tro u b le s e a rth ly m en S h a ll m a k e us sever o u r u n ite d h e arts .

57 H ogsdon or to N ew ington: places o f resort and recreation

59 thrum m ing o f our caps: decorating caps w ith tassels (a sign o f w asting time) custom: ‘w enching’

6i tabor: sm all drum3 -4 capon . . . w ith rosem ary: traditional seventeenth-century

w edding fare sd mealed: w hitened w ith flour

5 pains: labours (in preparation)i6 cross: im pedim ent

A n d n e v e r sh a lt th o u sit, o r b e a lo n e

In an y p la c e , b u t I w i l l v is it th e eW it h g h a s t ly lo o k s , a n d p u t in to th y m in d 2 0T h e g re a t o ffe n c e s w h ic h th o u d id s t to m e.

W h e n th o u art at th y ta b le w it h th y fr ie n d s ,

M e r r y in h e a rt , a n d fil le d w it h s w e llin g w in e ,I ’l l c o m e in m id s t o f a ll th y p r id e a n d m ir th ,In v is ib le to all m e n b u t th y se lf ,

A n d w h is p e r su ch a sad ta le in th in e ea r S h a ll m a k e th e e le t th e cu p fa ll fro m th y h a n d ,

A n d stan d as m u te an d p a le as D e a t h itse lf. m e r c h a n t F o r g iv e m e , Ja s p e r . O h , w h a t m ig h t I d o ,

T e l l m e , to s a t is fy th y tro u b le d g h o st? 3 0j a s p e r T h e r e is n o m e a n s ; to o la te th o u th in k ’st o f

th is .m e r c h a n t B u t te ll m e w h a t w e re b e st fo r m e to d o? j a s p e r R e p e n t th y d e e d , a n d sa t is fy m y fa th e r ,

A n d b e a t fo n d H u m p h re y o u t o f th y d o o rs .

E x it j a s p e r

E n ter HUM PHREY

w i f e L o o k , G e o r g e , h is v e ry g h o s t w o u ld h a v e fo lk s b e a te n .

h u m p h r e y F a th e r , m y b r id e is g o n e , fa ir M is tre s s L u c e ;

M y so u l’s th e fo u n t o f v e n g e a n c e , m is c h ie f ’s s lu ice . m e r c h a n t H e n c e , fo o l, o u t o f m y s ig h t w it h th y fo n d

p a ssio n !T h o u h a st u n d o n e m e . Beats him

h u m p h r e y H o ld , m y fa th e r d e a r , 4 0F o r L u c e th y d a u g h te r ’s sa k e , th a t h a d n o p eer.

m e r c h a n t T h y fa th e r , fo o l? T h e r e ’s so m e b lo w s m o re , b e g o n e !

Ja s p e r , I h o p e th y g h o s t b e w e l l a p p ea sed

T o see th y w i l l p e r fo rm e d . N o w w il l I g o T o sa t is fy th y fa th e r fo r th y w ro n g s .

h u m p h r e y W h a t sh a ll I d o ? I h a ve b e e n b e a te n tw ic e A n d M is t r e s s L u c e is g o n e . H e lp m e , d ev ice !

S in c e m y tru e lo v e is g o n e , I n e v e r m o re

W h i ls t I d o liv e , u p o n th e sk y w il l p o re ,B u t in th e d a rk w i l l w e a r o u t m y sh o e so les 50In p a ss io n in S a in t F a i t h ’s C h u r c h u n d e r P a u l ’s. E x it

w i f e G e o r g e , ca ll R a fe h ith e r ; i f y o u lo v e m e , ca ll R a fe

h ith e r . I h a ve th e b ra v e st th in g fo r h im to d o ,G e o r g e ; p r ith e e c a ll h im q u ic k ly .

c i t i z e n R a fe , w h y R a fe , b o y !

E n ter r a f e

i9 -28 a parody o f Shakespeare’s Macbeth (i606), III .iv .48-i4338 fount: source39 passion: g r ie f47 device: contrivance5i Saint Faith ’s . . . under Paul’s: St Faith ’s was a parish church

located in the crypt o f St Paul’s underneath the choir; gallants would parade in the aisle o f the cathedral above

53 bravest: m ost splendid

r a f e H e r e , s ir. 56

c i t i z e n C o m e h ith e r , R a fe ; c o m e to th y m is tre ss , b o y . w i f e R a fe , I w o u ld h a ve th e e c a ll a ll th e y o u th s

to g e th e r in b a t t le - ra y , w it h d ru m s , a n d g u n s , an d fla g s , an d m a rc h to M i le E n d in p o m p o u s fa sh io n ,

an d th e re e x h o r t y o u r so ld ie rs to b e m e rry a n d w is e , an d to k eep th e ir b e a rd s fro m b u rn in g , R a fe ; an d

th e n s k irm is h , an d le t y o u r fla g s fly , a n d c ry , ‘K i ll , k il l, k il l ’ . M y h u s b a n d sh a ll le n d y o u h is je r k in , R a fe , an d th e re ’s a sca r f, fo r th e rest, th e h o u se sh a ll

fu rn ish y o u , an d w e ’ll p a y fo r ’t. D o it b ra v e ly , R a fe , an d th in k b e fo re w h o m y o u p e r fo rm , a n d w h a t p e rso n y o u re p re se n t. 68

r a f e I w a rra n t y o u , m is tre ss , i f I d o it n o t fo r th e

h o n o u r o f th e c ity a n d th e c re d it o f m y m a ste r , le t m e n e v e r h o p e fo r fre e d o m .

w i f e ’T i s w e l l sp o k e n , i ’fa ith . G o th y w a y s ; th o u art a sp a rk in d e e d .

c i t i z e n R a fe , R a fe , d o u b le y o u r file s b ra v e ly , R a fe .

r a f e I w a rra n t y o u , s ir. E x it r a f ec i t i z e n L e t h im lo o k n a rro w ly to h is se rv ice , I sh a ll

ta k e h im e lse . I w a s th e re m y s e l f a p ik e m a n o n ce in th e h o tte s t o f th e d a y , w e n c h ; h a d m y fe a th e r sh o t sh e e r a w a y , th e fr in g e o f m y p ik e b u rn t o f f w ith

p o w d e r , m y p ate b ro k e n w it h a s c o u r in g -s tic k , an d y e t I th a n k G o d I am h e re . Drum within

w i f e H a r k , G e o r g e , th e d ru m s. 82c i t i z e n R a n , ta n , ta n , ta n ; ran , tan . O h , w e n c h , an

th o u h a d st b u t seen litt le N e d o f A ld g a t e , D r u m - N e d , h o w h e m a d e it ro a r a g a in , a n d la id o n lik e a ty ra n t, an d th e n s tru c k s o ft ly t ill th e w a rd c a m e u p , an d th e n th u n d e re d a g a in , an d to g e th e r w e g o . ‘ S a , sa , sa , b o u n c e ’ , q u o th th e g u n s ; ‘C o u r a g e , m y h e a rts ’ ,

q u o th th e c a p ta in s , ‘ S a in t G e o r g e ’ , q u o th th e p ik e m e n ; a n d w ith a l h e re th e y la y , an d th e re th e y la y .

A n d y e t fo r a ll th is I am h e re , w e n c h . 9 1w i f e B e th a n k fu l fo r it , G e o r g e , fo r in d e e d ’tis

w o n d e r fu l.

En ter r a f e and his company, with drums and colours

r a f e M a r c h fa ir , m y h e arts ! L ie u te n a n t , b e a t th e rear u p .— A n c ie n t , le t y o u r c o lo u rs fly ; b u t h a v e a g re a t

59 battle-ray: battle form ation60 pom pous: cerem onial64 jerkin : jacket or short coat65 house: theatre71 freedom : rank o f freem an in the G rocers ’ C om pany 74 double your files: com bine your two ranks76 narrowly: closely

service: m anreuvres77 take: reprehend80 scouring-stick: cane used fo r clearing the barrel o f a gun86 ward: detachm ent o f the m ilitia

94-5 beat the rear up: round up w ith a roll o f the drums95 A ncient: ensign-bearer

care o f th e b u tc h e rs ’ h o o k s at W h ite c h a p e l; th e y h a v e

b e e n th e d e a th o f m a n y a fa ir a n c ie n t .— O p e n y o u r file s th a t I m a y tak e a v ie w b o th o f y o u r p e rso n s an d m u n it io n .— S e rg e a n t , c a ll a m u ster .

s e r g e a n t A s ta n d !— W il l ia m H a m e r to n , p ew te re r !

h a m e r t o n H e r e , c a p ta in . 1 0 1r a f e A c o rs le t a n d a S p a n is h p ik e ; ’tis w e ll. C a n y o u

sh a k e it w it h a te rro r? h a m e r t o n I h o p e so , ca p ta in .r a f e C h a r g e u p o n m e . ( h a m e r t o n charges upon r a f e )

’T i s w ith th e w e a k e st . P u t m o re s tre n g th , W il l ia m H a m e r to n , m o re stre n g th . A s y o u w e re a g a in .— P ro c e e d , S e rg e a n t.

s e r g e a n t G e o r g e G r e e n g o o s e , p o u lte re r!

g r e e n g o o s e H e r e . I l lr a f e L e t m e see y o u r p ie c e , n e ig h b o u r G r e e n g o o s e ;

w h e n w a s sh e sh o t in ? g r e e n g o o s e A n ’t lik e y o u , m a s te r c a p ta in , I m a d e a

sh o t e v e n n o w , p a r t ly to sco u r h e r, an d p a rt ly fo r

a u d a c ity .r a f e I t sh o u ld seem so c e r ta in ly , fo r h e r b re a th is y e t

in f la m e d ; b e s id e s , th e re is a m a in fa u lt in th e to u c h - h o le , it ru n s a n d s t in k e th ; a n d I te ll y o u m o re o v e r , an d b e lie v e it , ten su ch to u c h -h o le s w o u ld b re e d th e

p o x in th e arm y. G e t y o u a fe a th e r , n e ig h b o u r , g e t y o u a fe a th e r , sw e e t o il , a n d p a p e r , an d y o u r p ie ce m a y d o w e ll e n o u g h y e t. W h e r e ’ s y o u r p o w d e r? I2 2

g r e e n g o o s e H e r e .

r a f e W h a t , in a p a p e r? A s I am a so ld ie r an d a g e n t le m a n , it c rav es a m a rt ia l co u rt. Y o u o u g h t to d ie fo r ’t. W h e r e ’s y o u r h o rn ? A n s w e r m e to th a t.

g r e e n g o o s e A n ’t lik e y o u , s ir , I w a s o b liv io u s .

r a f e I t lik e s m e n o t y o u sh o u ld b e so ; ’tis a sh a m e fo r

y o u , an d a sc a n d a l to a ll o u r n e ig h b o u rs , b e in g a m an o f w o r th an d e s t im a tio n , to le a v e y o u r h o rn b e h in d

y o u : I am a fra id ’tw ill b re e d e x a m p le . B u t le t m e te ll y o u n o m o re o n ’t .— S ta n d , t ill I v ie w y o u a ll.—

W h a t ’s b e c o m e o ’th n o se o f y o u r fla sk ? 13 3

1 s o l d i e r In d e e d la , c a p ta in , ’tw a s b lo w n a w a y w ith p o w d e r .

r a f e P u t o n a n e w o n e at th e c ity ’s c h a rg e .— W h e r e ’ s

96 W hitechapel: a parish to the east o f A ld gate know n for its butchers’ shops

99 muster: roll102 corslet: arm our covering the body

Spanish pike: ‘probably superior to the E n g lish ’ (Kinney)103 shake it: w ith sexual connotation111 piece: gun (but w ith sexual connotation)

117 -18 touch-hole: the ignition hole in the breech o f a gun but, as w ith m ost o f the technical language in this scene, w ith a sexual connotation

120 pox: syphilis121 feather, sweet oil, and paper: m aterials for cleaning a gun126 horn: a) pow der horn; b) cuckold’s horn127 oblivious: forgetful

th e s to n e o f th is p iece? 13 7

2 s o l d i e r T h e d ru m m e r to o k it o u t to lig h t to b acco . r a f e ’T i s a fa u lt , m y fr ie n d ; p u t it in a g a in .— Y o u w a n t

a n o se — a n d y o u a s to n e .— S e rg e a n t , ta k e a n o te o n ’t,

fo r I m e a n to stop it in th e p a y .— R e m o v e , an d

m a rch ! S o ft an d fa ir , g e n t le m e n , s o ft a n d fa ir !D o u b le y o u r files! A s y o u w e re ! F a c e s ab o u t! N o w ,

y o u w it h th e so d d e n fa c e , k eep in th e re ! L o o k to y o u r m a tc h , s irra h , it w i l l b e in y o u r fe llo w ’ s f la s k an o n .S o , m a k e a c re sc e n t n o w ; a d v a n ce y o u r p ik e s ; s ta n d ,

an d g iv e ear! G e n t le m e n , c o u n try m e n , fr ie n d s , an d m y fe llo w -s o ld ie r s , I h a v e b ro u g h t y o u th is d a y fro m th e sh o p s o f s e cu rity a n d th e c o u n te rs o f c o n te n t , to m e a su re o u t in th e se fu r io u s fie ld s h o n o u r b y th e e ll,

an d p ro w e ss b y th e p o u n d . L e t it n o t, o h , le t it n o t , I say , b e to ld h e re a fte r th e n o b le issu e o f th is c ity fa in te d , b u t b e a r y o u rse lv e s in th is fa ir a c t io n lik e m e n , v a lia n t m e n , a n d fre e m e n . F e a r n o t th e fa c e o f th e e n e m y , n o r th e n o ise o f th e g u n s , fo r b e lie v e m e ,

b re th re n , th e ru d e ru m b lin g o f a b re w e r ’s c a r is fa r m o re te rr ib le , o f w h ic h y o u h a v e a d a ily e x p e r ie n c e , n e ith e r le t th e s t in k o f p o w d e r o f fe n d y o u , s in ce a m o re v a lia n t s t in k is n ig h t ly w ith y o u . T o a re so lv e d m in d h is h o m e is e v e ry w h e re . I s p e a k n o t th is to tak e

a w a y th e h o p e o f y o u r re tu rn ; fo r y o u sh a ll see , I d o n o t d o u b t it , an d th a t v e ry sh o rt ly , y o u r lo v in g w iv e s a g a in , a n d y o u r sw e e t c h ild re n , w h o s e care d o th b e a r y o u c o m p a n y in b a sk e ts . R e m e m b e r , th e n , w h o s e

cau se y o u h a v e in h a n d , an d lik e a so rt o f tru e -b o rn sca v e n g e rs , sco u r m e th is fa m o u s re a lm o f e n e m ie s . I h a ve n o m o re to say b u t th is : s ta n d to y o u r ta c k lin g s , la d s , an d s h o w to th e w o r ld y o u can as w e ll b ra n d is h

a sw o rd as sh a k e an a p ro n . S a in t G e o r g e , an d o n , m y

h e arts ! 17 0o m n e s S a in t G e o rg e ! S a in t G e o rg e !

w i f e ’T w a s w e l l d o n e , R a fe . I ’l l se n d th e e a c o ld c a p o n a - f ie ld , an d a b o ttle o f M a r c h b e e r ; an d it m a y b e ,

c o m e m y s e l f to see th e e .

i37 stone: a) flint; b) testiclei39 want: lack (also im plying the effects o f syphilis)144 sodden face: a) drunken; b) suffering the effects o f the

sw eating-tub treatm ent for syphilis145 m atch: fuse for igniting m usketi46 -70 stand, and . . . m y hearts!: R afe ’s exhortation to his

soldiers parodies that o f R ichard to his troops in Shakespeare’s Richard I II (i593), V .v i.4 4 -8 i, echoes a num ber o f other pre-battle speeches in the history plays, and contains som e o f the rhetorical features o f A n to n y ’s speech in Julius Caesar (i599-i60 0) I I I .ii.7 0 -i0 4

i50 ell: a m easure o f forty-five inchesi59 valiant stink: another reference w ith sexual

connotations164 baskets: i.e. o f provisions165 sort: com panyi67 tacklings: a) weapons; b) genitalsi73 M arch beer: strong beer (brewed early in the season)

c i t i z e n N e ll , th e b o y h a s d e c e iv e d m e m u c h ; I d id n o t

th in k it h a d b e e n in h im . H e h a s p e r fo rm e d su ch a m a tte r , w e n c h , th a t i f I liv e , n e x t y e a r I ’l l h a ve h im c a p ta in o f th e g a l le y - fo is t , o r I ’l l w a n t m y w ill . 178

o l d m e r r y t h o u g h t Y e t , I th a n k G o d , I b re a k n o t a

w r in k le m o re th a n I h a d . N o t a s to u p , b o y s? C a r e live w it h ca ts , I d e fy th ee ! M y h e a rt is as so u n d as an o a k , an d th o u g h I w a n t d r in k to w e t m y w h is t le , I can

s in g :(Sings) Come no more there, boys, come no more

there;F o r w e shall nezer whilst w e lize, come any

more there.

E n ter a b o y and c o f f i n c a r r i e r s with a coffin

b o y G o d save y o u , sir.

o l d m e r r y t h o u g h t I t ’s a b ra v e b o y . C a n s t th o u s in g ?

b o y Y e s , s ir , I can s in g , b u t ’tis n o t so n e c e ssa ry at th is t im e .

o l d m e r r y t h o u g h t

(Sings) Sing we, and chant it, 19 0

Whilst loze doth grant it. b o y S ir , s ir , i f y o u k n e w w h a t I h a v e b r o u g h t y o u , y o u

w o u ld h a ve litt le lis t to s in g . o l d m e r r y t h o u g h t

(Sings) Oh, the minion round,F u ll long I haze thee sought,A n d now I haze thee found,A n d w hat hast thou here brought#

b o y A c o ff in , s ir , an d y o u r d e a d so n J a s p e r in it. o l d m e r r y t h o u g h t D e a d ?

(Sings) Why, fa rew ell he. 2 0 0Thou wast a bonny boy,A n d I d id loze thee.

E n ter j a s p e r

j a s p e r T h e n , I p ra y y o u , s ir , d o so still. o l d m e r r y t h o u g h t J a s p e r ’ s g h o st?

(Sings) Thou art welcome from Stygian lake so soon; Declare to me w hat wondrous things in

Pluto’s court are done. j a s p e r B y m y tro th , s ir , I n e ’er c a m e th e re ; ’tis to o h o t

fo r m e , sir.

178 galley-fo ist: the L o rd M ay o r ’s state barge179 break: show180 stoup: m easure o f drink (two quarts) i8 0 - i C are live w ith cats: ‘C are w ill kill a cat’

(proverbial)i84-5 Come no . . . more there: from Ballets to Fize Voices by

T h om as M o rle y (i595 and i600)205 Stygian lake: the river Styx in the classical underworld

(H ades)207 Pluto’s court: P luto was the k in g o f H ades

o l d m e r r y t h o u g h t A m e rry g h o s t , a v e ry m e rry

g h o st ! 2 I I(Sings) A n d where is your true love. Oh, where is

yours#j a s p e r M a r r y , lo o k y o u , sir.

Heaves up the Coffin, and l u c e climbs out o l d m e r r y t h o u g h t A h , h a ! A r t th o u g o o d at th a t,

i ’ fa ith ?(Sings) With hey, trixy, terlery-whiskin,

The world it runs on wheels,When the young m an’s — ,Up goes the maiden’s heels. 2 19

M ISTRESS M ERRYTHO UGHT and M ICH AEL within

m i s t r e s s m e r r y t h o u g h t (within) W h a t , M a s t e r M e r r y th o u g h t , w i l l y o u n o t le t ’s in ? W h a t d o y o u th in k sh a ll b e c o m e o f us?

o l d m e r r y t h o u g h t W h a t v o ic e is th a t th a t c a lle th at

o u r d o o r?

m i s t r e s s m e r r y t h o u g h t (within) Y o u k n o w m e w e ll e n o u g h ; I am su re I h a v e n o t b e e n su ch a s tra n g e r to

yo u .OLD M ERRYTHOUGHT

(Sings) A n d some they whistled, and some they sung, Hey, down, dow n!A n d some d id loudly say, 2 30E v e r as the L ord Barnet’s horn blew,A w ay, Musgrave, away.

m i s t r e s s m e r r y t h o u g h t (within) Y o u w i l l n o t h a ve us starve h e re , w il l y o u , M a s t e r M e r r y th o u g h t?

j a s p e r N a y , g o o d s ir , b e p e rsu a d e d , sh e is m y m o th e r . I f h e r o ffe n c e s h a v e b e e n g re a t a g a in s t y o u , le t y o u r o w n lo v e re m e m b e r sh e is y o u rs , an d so fo rg iv e

h er.l u c e G o o d M a s t e r M e r r y th o u g h t , le t m e e n tre a t y o u ;

I w i l l n o t b e d e n ie d . 2 4 0m i s t r e s s m e r r y t h o u g h t (within) W h y , M a s t e r

M e r r y th o u g h t , w i l l y o u b e a v e x e d th in g still?

o l d m e r r y t h o u g h t W o m a n , I tak e y o u to m y lo v e a g a in ; b u t y o u sh a ll s in g b e fo re y o u e n te r ; th e re fo re d isp a tc h y o u r s o n g an d so c o m e in .

m i s t r e s s m e r r y t h o u g h t (within) W e ll , y o u m u st

h a v e y o u r w il l w h e n a ll’ s d o n e .— M ic k , w h a t so n g ca n st th o u s in g , b o y ?

m i c h a e l (within) I can s in g n o n e , fo rs o o th , b u t ‘A L a d y ’ s D a u g h te r o f P a r is ’ p ro p e r ly . 250

215 The world it runs on wheels: proverbial216 When the young man’s . . .: the om itted w ord is possibly

‘frisking’. Som e editors note the A c t to Restrain the A buses o f the Players (1606) as an explanation for this om ission (as in Interlude 1.11)

228-32 And some . . . Musgrave, away: from the ballad o f L ittle M argaret and L a d y Barnard

237 own love: self-love242 vexed: cantankerous

M ISTRESS M ERRYTHO UGHT w ith M ICHAEL (within)SONGI t was a lady’s daughter, etc.

OLD M ERRYTHO UGHT admits M ISTRESS M ERRYTHO UGHT and M ICHAEL

o l d m e r r y t h o u g h t C o m e , y o u ’re w e lc o m e h o m e

ag a in .(Sings) I f such danger be in playing,

A n d jest must to earnest turn,You shall go no more a-maying. 256

m e r c h a n t (within) A r e y o u w ith in , sir? M a s t e r M e r r y th o u g h t?

j a s p e r I t is m y m a s te r ’ s v o ic e . G o o d s ir , g o h o ld h im

in ta lk , w h ils t w e c o n v e y o u rse lve s in to so m e in w a rd ro o m . E x it with l u c e

o l d m e r r y t h o u g h t W h a t are y o u ? A r e y o u m e rry ?Y o u m u st b e v e ry m e rry i f y o u en ter.

m e r c h a n t (within) I a m , sir.

o l d m e r r y t h o u g h t S in g th e n . m e r c h a n t (within) N a y , g o o d s ir , o p e n to m e.

o l d m e r r y t h o u g h t S in g , I say , o r , b y th e m e rry h e a rt , y o u c o m e n o t in .

m e r c h a n t (within) W e ll , s ir , I ’l l s in g :

(Sings) Fortune my foe, etc. 2 7 0

OLD M ERRYTHO UGHT admits M ERCHANT

o l d m e r r y t h o u g h t Y o u are w e lc o m e , s ir, y o u are

w e lc o m e . Y o u see y o u r e n te r ta in m e n t; p ra y y o u , be m erry .

m e r c h a n t O h , M a s t e r M e r r y th o u g h t , I am c o m e to a sk y o u

F o rg iv e n e s s fo r th e w ro n g s I o f fe re d y o u

A n d y o u r m o st v irtu o u s so n ; th e y ’re in fin ite ;Y e t m y c o n tr it io n sh a ll b e m o re th a n th e y .

I d o c o n fe ss m y h a rd n e ss b ro k e h is h e a rt,F o r w h ic h ju s t h e a v e n h a th g iv e n m e p u n is h m e n t

M o r e th a n m y age can ca rry . H is w a n d e r in g sp ir it , 28 0

251 It was a lady’s daughter, etc.: from a broadside ballad that begins:It was a lady’s daughter,O f Paris properly,H er m other her com m anded T o mass that she should hie:0 pardon m e, dear m other,H er daughter dear did say,U nto that filthy idol1 never can obey

254-6 I f such . . . more a-maying. from ‘M y L o ve H ath V ow ed ’ in Philip Rosseter’s Book of Airs (1601) playing: flirting

270 Fortune my foe, etc.: from a very popular song that begins: Fortune m y foe, w h y dost thou frow n on me?A n d w ill thy favours never better be?W ilt thou, I say, for ever breed m y pain?A n d w ilt thou not restore m y jo ys again?

N o t y e t at rest, p u rsu e s m e e v e ry w h e re ,

C r y in g , ‘I ’l l h a u n t th e e fo r th y c ru e lty ’ .M y d a u g h te r , sh e is g o n e , I k n o w n o t h o w ,T a k e n in v is ib le , an d w h e th e r liv in g

O r in g ra v e , ’tis y e t u n c e rta in to m e.

O h M a s t e r M e r r y th o u g h t , th e se are th e w e ig h ts W il l s in k m e to m y g ra v e . F o r g iv e m e , sir.

o l d m e r r y t h o u g h t W h y , s ir , I d o fo rg iv e y o u , an d b e m e rry ;

A n d i f th e w a g in ’ s l i fe t im e p la y e d th e k n a ve ,

C a n y o u fo rg iv e h im to o ? m e r c h a n t W it h a ll m y h e a rt , sir. 2 9 0o l d m e r r y t h o u g h t S p e a k it a g a in , an d h e a rtily . M ERCHAN T I d o , s ir,

N o w , b y m y so u l, I d o . o l d m e r r y t h o u g h t

(Sings) With that came out his paramour;She was as white as the lily flower,Hey, trolly, trolly, lolly.

E n ter l u c e and j a s p e r

With that came out her own dear knight,H e was as true as ezer d id fight. etc.

S ir , i f y o u w i l l fo rg iv e ’e m , c la p th e ir h a n d s to g e th e r ;

th e re ’s n o m o re to b e sa id i ’ th ’ m a tte r .M ERCHAN T I d o , I d o . 3 0 0c i t i z e n I d o n o t lik e th is .— P e a c e , b o y s , h e a r m e o n e

o f y o u . E v e ry b o d y ’s p a rt is c o m e to an e n d b u t R a f e ’s,

an d h e ’ s le ft ou t. b o y ’T i s lo n g o f y o u rse lf , s ir ; w e h a v e n o th in g to d o

w ith h is part. c i t i z e n R a fe , c o m e a w a y .— M a k e an e n d o n h im as

y o u h a v e d o n e o f th e rest, b o y s ; c o m e .

w i f e N o w , g o o d h u s b a n d , le t h im c o m e o u t a n d d ie . c i t i z e n H e sh a ll N e l l .— R a fe , c o m e a w a y q u ic k ly an d

d ie , b o y . 3 1 0b o y ’T w i l l b e v e ry u n fit h e s h o u ld d ie , s ir , u p o n n o

o c c a s io n , an d in a c o m e d y to o .

c i t i z e n T ak e y o u n o care o f th a t , s ir b o y , is n o t h is p a rt at an e n d , th in k y o u , w h e n h e ’s d e a d ?— C o m e a w a y , R a fe .

E n ter r a f e , with a forked arrow through his head

r a f e W h e n I w a s m o rta l, th is m y c o stive co rp se D id la p u p fig s a n d ra is in s in th e S tra n d ,

289 wag: m ischievous boy298 clap their hands together: i.e. as a sign o f betrothal 304 long: on accountsd forked: barbed. Parody o f the entrance o f C liffo rd in The

True Tragedy of Richard Duke ofYork (i595)3 i6 -5 i parody o f ghost scenes in Eastward Ho! (i605) by

G eo rge C hapm an , B en Jo n so n and Jo h n M arsto n , The Spanish Tragedy, and Richard III

316 costive: reluctant (plays on ‘constipated’)317 figs and raisins: fruits used as laxatives

W h e r e s it t in g , I e sp ie d a lo v e ly d a m e ,

W h o s e m a s te r w r o u g h t w ith l in g e l an d w it h aw l,A n d u n d e r g ro u n d h e v a m p e d m a n y a b o o t . 3 2 0 S tr a ig h t d id h e r lo v e p r ic k fo r th m e , te n d e r sp r ig ,

T o fo llo w fe a ts o f a rm s in w a r lik e w is e

T h r o u g h W a lt h a m D e s e r t , w h e re I d id p e r fo rm M a n y a c h ie v e m e n ts , an d d id la y o n g ro u n d

H u g e B a rb a ro s o , th a t in s u lt in g g ia n t ,A n d a ll h is ca p tiv e s so o n se t at lib e rty .T h e n h o n o u r p r ic k e d m e fro m m y n a tiv e so il

In to M o ld a v ia , w h e re I g a in e d th e lo v e O f P o m p io n a , h is b e lo v e d d a u g h te r ,B u t y e t p ro v e d c o n s ta n t to th e b la c k - th u m b e d m a id S u sa n , an d sco rn e d P o m p io n a ’ s lo v e . 3 3 1

Y e t l ib e ra l I w a s , a n d g a v e h e r p in s ,A n d m o n e y fo r h e r fa th e r ’s o ffic e rs .I th e n re tu rn e d h o m e , an d th ru s t m y s e l f In a c tio n , an d b y a ll m e n c h o se n w a s L o r d o f th e M a y , w h e re I d id f lo u r ish it,

W it h scarfs an d r in g s , an d p o s y in m y h a n d .A f t e r th is a c tio n , I p re fe rre d w a s ,A n d c h o se n c ity c a p ta in at M i le E n d ,

W it h h a t a n d fe a th e r an d w ith le a d in g - s ta f f , 3 4 0 A n d tra in e d m y m e n a n d b r o u g h t th e m all o f f c le ar

(S a v e o n e m a n th a t b e ra y e d h im w ith th e n o ise ) .B u t a ll th e se th in g s I R a fe d id u n d e rta k e O n ly fo r m y b e lo v e d S u s a n ’s sak e .T h e n c o m in g h o m e , an d s it t in g in m y sh o p

W it h a p ro n b lu e , D e a t h c a m e u n to m y sta ll T o ch e a p e n aqua zitae— b u t ere I C o u ld ta k e th e b o ttle d o w n , a n d fi l l a taste ,D e a t h c a u g h t a p o u n d o f p e p p e r in h is h a n d ,

A n d s p r in k le d a ll m y fa ce a n d b o d y o ’e r , 35 0

A n d in an in s ta n t v a n ish e d aw ay . c i t i z e n ’T i s a p re tty fic t io n i ’fa ith .

r a f e T h e n to o k I up m y b o w an d sh a ft in h a n d ,A n d w a lk e d in to M o o r f ie ld s to c o o l m y se lf;

B u t th e re g r im c ru e l D e a t h m e t m e a g a in ,

A n d s h o t th is fo rk e d a rro w th ro u g h m y h e a d ,A n d n o w I fa in t . T h e r e fo r e b e w a rn e d b y m e ,M y fe llo w s e v e ry o n e , o f fo rk e d h e ad s.F a r e w e ll , all y o u g o o d b o y s in m e rry L o n d o n ;

N e ’e r sh a ll w e m o re u p o n S h ro v e T u e s d a y m e e t 3 6 0

319 lingel: waxed thread used b y shoem akers320 vam ped: renewed the uppers o f321 prick: spur (with sexual connotation)325 insulting: bragging329 his: i.e. the K in g o f M o ld avia ’s337 posy: bouquet340 leading-staff: officer’s baton342 berayed him : befouled h im se lf347 cheapen: bargain for354 M oorfields: a popular sum m er resort north o f the city

walls beyond M oorgate358 forked heads: i.e. o f cuckolds

A n d p lu c k d o w n h o u se s o f in iq u ity .

M y p a in in c re a s e th .— I sh a ll n e v e r m o re H o ld o p e n , w h ils t a n o th e r p u m p s b o th le g s ,N o r d a u b a satin g o w n w it h ro tte n e g g s ;

S e t u p a s ta k e , o h , n e v e r m o re I sh a ll.

I d ie ; fly , f ly , m y so u l, to G r o c e r s ’ H a l l.O h , o h , o h , etc.

w i f e W e l l sa id , R a fe . D o y o u r o b e isa n c e to th eg e n tle m e n an d g o y o u r w a y s . W e ll sa id , R a fe . 36 9

E x it RAFE

o l d m e r r y t h o u g h t M e t h in k s a ll w e , th u s k in d ly an d u n e x p e c te d ly re c o n c ile d , s h o u ld n o t d e p a rt w ith o u t a so n g .

m e r c h a n t A g o o d m o tio n .

o l d m e r r y t h o u g h t S t r ik e u p , th e n .SONGBetter music ne’er was known Than a choir o f hearts in one.L et each other that hath been Troubled with the g a ll or spleen,Learn o f us to keep his browSmooth and plain as ours are now. 3 8 0Sing, though before the hour o f dying;H e shall rise, and then be crying,Hey, ho, ’tis nought but mirth,That keeps the body from the earth’.

Exeunt o m n e s

3 6 0 -1 Shrove T u esday . . . o f iniquity: the last day before Len t was a tim e o f revelry and riot for apprentices who som etim es attacked theatres and brothels

364 satin gow n: the dress o f gallants as dandies365 Set up a stake: reference to the use o f staked cockerels as

targets371 depart: i.e. take leave o f one another

Epilogusc i t i z e n C o m e N e ll , sh a ll w e g o ? T h e p la y ’ s d o n e .w i f e N a y , b y m y fa ith , G e o r g e , I h a ve m o re m a n n e rs

th a n so ; I ’l l s p e a k to th e se g e n t le m e n fir s t .— I th a n k

y o u a ll, g e n t le m e n , fo r y o u r p a tie n c e an d co u n te n a n c e to R a fe , a p o o r fa th e r le ss c h ild ; an d i f I m ig h t see y o u at m y h o u se , it s h o u ld g o h a rd b u t I

w o u ld h a v e a p o tt le o f w in e a n d a p ip e o f to b a c c o fo r y o u ; fo r , tru ly , I h o p e y o u d o lik e th e y o u th , b u t I

w o u ld b e g la d to k n o w th e tru th . I re fe r it to y o u r o w n d isc re tio n s , w h e th e r y o u w i l l a p p la u d h im o r n o ; fo r I w i l l w in k , a n d w h ils t y o u sh a ll d o w h a t y o u w ill .I th a n k y o u w ith a ll m y h e a rt . G o d g iv e y o u g o o d

n ig h t .— C o m e , G e o rg e .Exeunt

7 pottle: m easure o f two quartstobacco: N e ll’s sense o f hospitality (and social clim bing) outweighs her antipathy to tobacco at 1 .2 10 -14

11 w ill w ink: close m y eyes whilst: m eanwhile

francis beaumont, the knight oft he burning pestle€¦ · edmund spenser (i552- the faerie queene...

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