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LOVE FOR LOVE
A Comedy

Nudus agris, nudus nummis paternis,
Insanire parat certa ratione modoque.

Exposed in the fields, lacking inherited wealth,
He gets ready to lose his mind with a clear plan and approach.

Hor.

Hor.

TO THE HONOURABLE
CHARLES, EARL OF DORSET AND MIDDLESEX,
LORD CHAMBERLAIN OF HIS MAJESTY'S HOUSEHOLD,
AND KNIGHT OF THE MOST NOBLE ORDER OF THE GARTER, ETC.

My Lord,—A young poet is liable to the same vanity and indiscretion with a young lover; and the great man who smiles upon one, and the fine woman who looks kindly upon t’other, are both of ’em in danger of having the favour published with the first opportunity.

My Lord,—A young poet is just as prone to vanity and impulsiveness as a young lover; both the important man who smiles at one and the attractive woman who looks favorably at the other are at risk of having their affection exposed at the first chance.

But there may be a different motive, which will a little distinguish the offenders.  For though one should have a vanity in ruining another’s reputation, yet the other may only have an ambition to advance his own.  And I beg leave, my lord, that I may plead the latter, both as the cause and excuse of this dedication.

But there might be a different reason that slightly differentiates the wrongdoers. While one person may take pleasure in ruining someone else’s reputation, the other might simply be driven by a desire to elevate their own status. And I kindly ask, my lord, to consider this latter motive as both the reason and justification for this dedication.

Whoever is king is also the father of his country; and as nobody can dispute your lordship’s monarchy in poetry, so all that are concerned ought to acknowledge your universal patronage.  And it is only presuming on the privilege of a loyal subject that I have ventured to make this, my address of thanks, to your lordship, which at the same time includes a prayer for your protection.

Whoever is king is also the father of their country; and just as no one can challenge your lordship’s dominance in poetry, everyone involved should recognize your broad support. It’s only out of the right of a loyal subject that I’ve dared to make this address of thanks to your lordship, which also includes a request for your protection.

I am not ignorant of the common form of poetical dedications, which are generally made up of panegyrics, where the authors endeavour to distinguish their patrons, by the shining characters they give them, above other men.  But that, my lord, is not my business at this time, nor is your lordship now to be distinguished.  I am contented with the honour I do myself in this epistle without the vanity of attempting to add to or explain your Lordships character.

I’m aware of the typical style of poetical dedications, which usually consist of praise where authors try to elevate their patrons above others with flattering descriptions. But, my lord, that’s not my focus right now, nor is it the time to highlight your status. I take pride in honoring myself with this letter without the arrogance of trying to embellish or explain your character.

I confess it is not without some struggling that I behave myself in this case as I ought: for it is very hard to be pleased with a subject, and yet forbear it.  But I choose rather to follow Pliny’s precept, than his example, when, in his panegyric to the Emperor Trajan, he says:—

I admit that it’s not easy for me to act as I should in this situation because it’s really tough to be interested in a topic and yet hold back. But I prefer to follow Pliny’s advice rather than his actions when he says in his praise of Emperor Trajan:—

Nec minus considerabo quid aures ejus pati possint, quam quid virtutibus debeatur.

I will also think about what his ears can handle, as well as what he owes to his qualities.

I hope I may be excused the pedantry of a quotation when it is so justly applied.  Here are some lines in the print (and which your lordship read before this play was acted) that were omitted on the stage; and particularly one whole scene in the third act, which not only helps the design forward with less precipitation, but also heightens the ridiculous character of Foresight, which indeed seems to be maimed without it.  But I found myself in great danger of a long play, and was glad to help it where I could.  Though notwithstanding my care and the kind reception it had from the town, I could heartily wish it yet shorter: but the number of different characters represented in it would have been too much crowded in less room.

I hope I can be forgiven for quoting this because it fits so well. Here are some lines in print (which you read before this play was performed) that were left out of the stage version; specifically, a whole scene in the third act that not only moves the story along more smoothly but also makes Foresight's ridiculous character even funnier, which honestly feels incomplete without it. However, I was worried it would turn into a really long play, so I was happy to cut it down where I could. Even with my efforts and the positive feedback it got from the audience, I still wish it was shorter: but the number of different characters in it would have made it too cramped in less space.

This reflection on prolixity (a fault for which scarce any one beauty will atone) warns me not to be tedious now, and detain your lordship any longer with the trifles of, my lord, your lordship’s most obedient and most humble servant,

This reflection on wordiness (a flaw that hardly any beauty can make up for) reminds me not to be boring now and to not keep your lordship any longer with the trivial matters of, my lord, your lordship’s most obedient and humble servant,

WILLIAM CONGREVE.

WILLIAM CONGREVE.

PROLOGUE.

Spoken, at the opening of the new house, by Mr. Betterton.

Spoken, at the opening of the new house, by Mr. Betterton.

The husbandman in vain renews his toil
To cultivate each year a hungry soil;
And fondly hopes for rich and generous fruit,
When what should feed the tree devours the root;
Th’ unladen boughs, he sees, bode certain dearth,
Unless transplanted to more kindly earth.
So the poor husbands of the stage, who found
Their labours lost upon ungrateful ground,
This last and only remedy have proved,
And hope new fruit from ancient stocks removed.
Well may they hope, when you so kindly aid,
Well plant a soil which you so rich have made.
As Nature gave the world to man’s first age,
So from your bounty, we receive this stage;
The freedom man was born to, you’ve restored,
And to our world such plenty you afford,
It seems like Eden, fruitful of its own accord.
But since in Paradise frail flesh gave way,
And when but two were made, both went astray;
Forbear your wonder, and the fault forgive,
If in our larger family we grieve
One falling Adam and one tempted Eve.
We who remain would gratefully repay
What our endeavours can, and bring this day
The first-fruit offering of a virgin play.
We hope there’s something that may please each taste,
And though of homely fare we make the feast,
Yet you will find variety at least.
There’s humour, which for cheerful friends we got,
And for the thinking party there’s a plot.
We’ve something, too, to gratify ill-nature,
(If there be any here), and that is satire.
Though satire scarce dares grin, ’tis grown so mild
Or only shows its teeth, as if it smiled.
As asses thistles, poets mumble wit,
And dare not bite for fear of being bit:
They hold their pens, as swords are held by fools,
And are afraid to use their own edge-tools.
Since the Plain-Dealer’s scenes of manly rage,
Not one has dared to lash this crying age.
This time, the poet owns the bold essay,
Yet hopes there’s no ill-manners in his play;
And he declares, by me, he has designed
Affront to none, but frankly speaks his mind.
And should th’ ensuing scenes not chance to hit,
He offers but this one excuse, ’twas writ
Before your late encouragement of wit.

The farmer tirelessly works
To cultivate a hungry field each year;
He hopes for bountiful and abundant fruit,
But what should nourish the tree is eating the roots;
The empty branches clearly predict famine,
Unless they're moved to more fertile ground.
So the struggling playwrights on stage, who found
Their efforts wasted on ungrateful soil,
Have tried this last and only remedy,
Hoping for new fruit from old roots removed.
They can certainly hope, with your generous help,
To plant in a soil that you've enriched.
Just as Nature gave the world to humanity's early days,
We receive this stage from your generosity;
You’ve restored the freedom we were born with,
And provide such abundance to our world,
It feels just like Eden, naturally fruitful.
But since in Paradise weak flesh faltered,
And when only two were made, both went astray;
Don’t be surprised, and forgive the flaws,
If in our larger family we mourn
One fallen Adam and one tempted Eve.
We who remain would sincerely repay
What we can offer and bring today
The first-fruit gift of a brand-new play.
We hope there’s something that will please everyone,
And though it’s simple fare we’ve prepared,
You’ll at least find some variety.
There’s humor, which we've created for cheerful friends,
And for the thoughtful crowd, there’s a storyline.
We’ve got something too, for those with a grumpy nature,
(If any are here), and that's satire.
Though satire rarely dares to laugh, it’s become so mild
Or merely shows its teeth, as if it’s smiling.
Like donkeys nibbling thistles, poets mumble wit,
And don’t dare to bite for fear of being bitten:
They hold their pens like fools hold swords,
And are scared to use their sharp tools.
Since the Plain-Dealer’s scenes of manly rage,
Not one has dared to challenge this troubling age.
This time, the poet takes a bold chance,
Yet hopes there’s no bad manners in his play;
He assures you, through me, he means no offense,
But honestly speaks his mind.
And if the upcoming scenes don’t land well,
His only excuse is that it was written
Before your recent encouragement of wit.

EPILOGUE.

Spoken, at the opening of the new house, by Mrs. Bracegirdle.

Spoken at the opening of the new house by Mrs. Bracegirdle.

Sure Providence at first designed this place
To be the player’s refuge in distress;
For still in every storm they all run hither,
As to a shed that shields ’em from the weather.
But thinking of this change which last befel us,
It’s like what I have heard our poets tell us:
For when behind our scenes their suits are pleading,
To help their love, sometimes they show their reading;
And, wanting ready cash to pay for hearts,
They top their learning on us, and their parts.
Once of philosophers they told us stories,
Whom, as I think, they called—Py—Pythagories,
I’m sure ’tis some such Latin name they give ’em,
And we, who know no better, must believe ’em.
Now to these men, say they, such souls were given,
That after death ne’er went to hell nor heaven,
But lived, I know not how, in beasts; and then
When many years were past, in men again.
Methinks, we players resemble such a soul,
That does from bodies, we from houses stroll.
Thus Aristotle’s soul, of old that was,
May now be damned to animate an ass,
Or in this very house, for ought we know,
Is doing painful penance in some beau;
And thus our audience, which did once resort
To shining theatres to see our sport,
Now find us tossed into a tennis-court.
These walls but t’other day were filled with noise
Of roaring gamesters and your dam’me boys;
Then bounding balls and rackets they encompast,
And now they’re filled with jests, and flights, and bombast!
I vow, I don’t much like this transmigration,
Strolling from place to place by circulation;
Grant heaven, we don’t return to our first station!
I know not what these think, but for my part
I can’t reflect without an aching heart,
How we should end in our original, a cart.
But we can’t fear, since you’re so good to save us,
That you have only set us up, to leave us.
Thus from the past we hope for future grace,
I beg it—
And some here know I have a begging face.
Then pray continue this your kind behaviour,
For a clear stage won’t do, without your favour.

Of course Providence first intended this place
To be the player's refuge in tough times;
For still, in every storm, they all run here,
As to a shelter that protects them from the weather.
But thinking about this change that just happened,
It’s like what I’ve heard our poets say:
For when behind our scenes their cases are being argued,
To support their love, sometimes they show their readings;
And, lacking cash to win hearts,
They throw their learning on us, and their roles.
Once, they told us stories of philosophers,
Whom, if I recall correctly, they called—Py—Pythagoreans,
I’m sure it’s some kind of Latin name they give them,
And we, who know no better, must believe them.
Now, they say about these men, such souls were given,
That after death never went to hell or heaven,
But lived, I don’t know how, in animals; and then
After many years, in humans again.
I think we players resemble such a soul,
That does from bodies, like we do from houses.
Thus Aristotle's soul, from long ago,
May now be damned to inhabit a donkey,
Or in this very house, for all we know,
Is doing painful penance in some beau;
And thus our audience, which once flocked
To bright theaters to see our shows,
Now finds us thrown into a tennis court.
These walls, just the other day, were filled with noise
Of loud gamblers and your damn boys;
Then bouncing balls and rackets surrounded them,
And now they’re filled with jokes, and flights, and arrogance!
I swear, I don’t like this change of scenery,
Strolling from place to place by rotation;
Heaven grant we don’t return to our original spot!
I don’t know what they think, but for my part
I can’t think without an aching heart,
How we should end up back in a cart.
But we can’t fear, since you’re so good to save us,
That you have only set us up, to leave us.
Thus, from the past, we hope for future grace,
I beg for it—
And some here know I have a begging face.
So please continue this kind behavior,
For a clear stage won’t do without your favor.

DRAMATIS PERSONÆ.

MEN.

Men.

Sir Sampson Legend, father to Valentine and Ben,

Sir Sampson Legend, dad to Valentine and Ben,

Mr. Underhill.

Mr. Underhill.

Valentine, fallen under his father’s displeasure by his expensive way of living, in love with Angelica,

Valentine's Day, having fallen out of favor with his father due to his lavish lifestyle, is in love with Angelica,

Mr. Betterton.

Mr. Betterton.

Scandal, his friend, a free speaker,

Controversy, his friend, a straightforward talker,

Mr. Smith.

Mr. Smith.

Tattle, a half-witted beau, vain of his amours, yet valuing himself for secrecy,

Tell on, a dim-witted guy, full of himself about his romances, but proud of his ability to keep secrets,

Mr. Bowman.

Mr. Bowman

Ben, Sir Sampson’s younger son, half home-bred and half sea-bred, designed to marry Miss Prue,

Ben, Sir Sampson’s younger son, raised partly at home and partly at sea, planned to marry Miss Prue,

Mr. Dogget.

Mr. Doggett.

Foresight, an illiterate old fellow, peevish and positive, superstitious, and pretending to understand astrology, palmistry, physiognomy, omens, dreams, etc.; uncle to Angelica,

Future planning, an uneducated old man, irritable and stubborn, superstitious, and claiming to understand astrology, palm reading, facial features, signs, dreams, etc.; uncle to Angelica,

Mr. Sanford.

Mr. Sanford.

Jeremy, servant to Valentine,

Jeremy, Valentine’s servant,

Mr. Bowen.

Mr. Bowen.

Trapland, a scrivener,

Trapland, a writer,

Mr. Triffusis.

Mr. Triffusis.

Buckram, a lawyer,

Buckram, an attorney,

Mr. Freeman.

Mr. Freeman.

WOMEN.

WOMEN.

Angelica, niece to Foresight, of a considerable fortune in her own hands,

Angelica, niece of Foresight, with a significant fortune of her own,

Mrs. Bracegirdle.

Mrs. Bracegirdle.

Mrs. Foresight, second wife to Foresight,

Ms. Foresight, the second wife of Foresight,

Mrs. Bowman.

Ms. Bowman.

Mrs. Frail, sister to Mrs. Foresight, a woman of the town,

Ms. Frail, sister to Mrs. Foresight, a woman of the town,

Mrs. Barry.

Ms. Barry.

Miss Prue, daughter to Foresight by a former wife, a silly, awkward country girl,

Ms. Prue, daughter of Foresight by an earlier marriage, is a naive, clumsy girl from the countryside.

Mrs. Ayliff.

Mrs. Ayliff

Nurse to Miss,

Nurse to Miss,

Mrs. Leigh.

Ms. Leigh

Jenny,

Jenny,

Mrs. Lawson.

Ms. Lawson.

A Steward, Officers, Sailors, and Several Servants.

A Steward, Officers, Sailors, and Several Servants.

The Scene in London.

London Scene.

ACT I.—SCENE I.

Valentine in his chamber readingJeremy waiting.

Valentine in his room reading. Jeremy waiting.

Several books upon the table.

Several books on the table.

VAL.  Jeremy.

VAL. Jeremy.

JERE.  Sir?

JERE. Hey, sir?

VAL.  Here, take away.  I’ll walk a turn and digest what I have read.

VAL. Here, take this away. I'll take a walk and think about what I've read.

JERE.  You’ll grow devilish fat upon this paper diet.  [Aside, and taking away the books.]

JERE. You’re going to get really fat from this paper diet. [Aside, and taking away the books.]

VAL.  And d’ye hear, go you to breakfast.  There’s a page doubled down in Epictetus, that is a feast for an emperor.

VAL. And hey, you should go to breakfast. There's a passage folded over in Epictetus that is a feast for an emperor.

JERE.  Was Epictetus a real cook, or did he only write receipts?

JERE. Was Epictetus actually a chef, or did he just write recipes?

VAL.  Read, read, sirrah, and refine your appetite; learn to live upon instruction; feast your mind and mortify your flesh; read, and take your nourishment in at your eyes; shut up your mouth, and chew the cud of understanding.  So Epictetus advises.

VAL. Read, read, my friend, and cultivate your desire; learn to thrive on knowledge; feed your mind and discipline your body; read, and take in your nourishment through your eyes; close your mouth, and ponder deeply. That's what Epictetus suggests.

JERE.  O Lord!  I have heard much of him, when I waited upon a gentleman at Cambridge.  Pray what was that Epictetus?

JERE. Oh Lord! I've heard a lot about him when I served a gentleman at Cambridge. What was that Epictetus?

VAL.  A very rich man.—Not worth a groat.

VAL. A very wealthy man.—Not worth a penny.

JERE.  Humph, and so he has made a very fine feast, where there is nothing to be eaten?

JERE. Hmph, so he’s put together a really nice feast, but there’s nothing to eat?

VAL.  Yes.

Sure.

JERE.  Sir, you’re a gentleman, and probably understand this fine feeding: but if you please, I had rather be at board wages.  Does your Epictetus, or your Seneca here, or any of these poor rich rogues, teach you how to pay your debts without money?  Will they shut up the mouths of your creditors?  Will Plato be bail for you?  Or Diogenes, because he understands confinement, and lived in a tub, go to prison for you?  ’Slife, sir, what do you mean, to mew yourself up here with three or four musty books, in commendation of starving and poverty?

JERE. Sir, you're a gentleman and probably understand this fancy meal, but if it's okay with you, I'd rather get paid a regular wage. Do your Epictetus or Seneca, or any of these wealthy fools, teach you how to settle your debts without cash? Can they silence your creditors? Will Plato bail you out? Or will Diogenes, since he knows how to live in confinement and once lived in a tub, go to prison for you? Seriously, what do you mean by locking yourself up here with a few old books praising hunger and poverty?

VAL.  Why, sirrah, I have no money, you know it; and therefore resolve to rail at all that have.  And in that I but follow the examples of the wisest and wittiest men in all ages, these poets and philosophers whom you naturally hate, for just such another reason; because they abound in sense, and you are a fool.

VAL. Why, man, I have no money, you know that; so I’ve decided to criticize everyone who does. And in doing this, I’m just following the examples of the wisest and wittiest people throughout history—those poets and philosophers you naturally dislike, and for the same reason; because they’re full of wisdom, and you’re an idiot.

JERE.  Ay, sir, I am a fool, I know it: and yet, heaven help me, I’m poor enough to be a wit.  But I was always a fool when I told you what your expenses would bring you to; your coaches and your liveries; your treats and your balls; your being in love with a lady that did not care a farthing for you in your prosperity; and keeping company with wits that cared for nothing but your prosperity; and now, when you are poor, hate you as much as they do one another.

JERE.  Yeah, sir, I know I’m a fool; I admit it. But honestly, I’m so broke I might as well be a genius. I’ve always been foolish for telling you how much your expenses would add up to: your fancy coaches and outfits, your parties and balls, and your crush on a woman who couldn’t care less about you when you were doing well; and hanging out with people who only cared about your success; and now, when you’re broke, they hate you just as much as they hate each other.

VAL.  Well, and now I am poor I have an opportunity to be revenged on them all.  I’ll pursue Angelica with more love than ever, and appear more notoriously her admirer in this restraint, than when I openly rivalled the rich fops that made court to her.  So shall my poverty be a mortification to her pride, and, perhaps, make her compassionate the love which has principally reduced me to this lowness of fortune.  And for the wits, I’m sure I am in a condition to be even with them.

VAL.  Well, now that I'm broke, I have a chance to get back at them all. I'll chase after Angelica with more passion than ever and make it clear that I'm her biggest admirer during this struggle, more so than when I was openly competing with the rich guys who were trying to win her over. This way, my financial struggles will humble her pride and maybe even make her feel sympathy for the love that has brought me to this low point. And as for the clever ones, I know I can hold my own against them.

JERE.  Nay, your condition is pretty even with theirs, that’s the truth on’t.

JERE.  No, your situation is pretty much the same as theirs, that's the truth of it.

VAL.  I’ll take some of their trade out of their hands.

VAL. I'll take some of their business away from them.

JERE.  Now heaven of mercy continue the tax upon paper.  You don’t mean to write?

JERE. Now, may the heavens have mercy and keep the tax on paper going. You’re not actually planning to write, are you?

VAL.  Yes, I do.  I’ll write a play.

VAL. Yes, I do. I'll write a play.

JERE.  Hem!  Sir, if you please to give me a small certificate of three lines—only to certify those whom it may concern, that the bearer hereof, Jeremy Fetch by name, has for the space of seven years truly and faithfully served Valentine Legend, Esq., and that he is not now turned away for any misdemeanour, but does voluntarily dismiss his master from any future authority over him—

JERE. Ahem! Sir, could you please provide me with a brief certificate—just three lines—to confirm to those it may concern that the bearer, Jeremy Fetch, has faithfully served Valentine Legend, Esq. for seven years, and that he isn’t being let go due to any wrongdoing, but is voluntarily dismissing his master from any future authority over him—

VAL.  No, sirrah; you shall live with me still.

VAL. No, you will still live with me.

JERE.  Sir, it’s impossible.  I may die with you, starve with you, or be damned with your works.  But to live, even three days, the life of a play, I no more expect it than to be canonised for a muse after my decease.

JERE. Sir, it's impossible. I might die with you, starve with you, or be doomed by your actions. But to live, even for three days, the life of a play, I don't expect that any more than being recognized as a saint for my creativity after I'm gone.

VAL.  You are witty, you rogue.  I shall want your help.  I’ll have you learn to make couplets to tag the ends of acts.  D’ye hear?  Get the maids to Crambo in an evening, and learn the knack of rhyming: you may arrive at the height of a song sent by an unknown hand, or a chocolate-house lampoon.

VAL. You’re clever, you trickster. I’ll need your help. I want you to learn how to make couplets to wrap up the acts. Do you hear me? Get the maids to play Crambo in the evening, and pick up the skill of rhyming: you might end up with the best song sent by someone anonymous, or a roast from the chocolate house.

JERE.  But, sir, is this the way to recover your father’s favour?  Why, Sir Sampson will be irreconcilable.  If your younger brother should come from sea, he’d never look upon you again.  You’re undone, sir; you’re ruined; you won’t have a friend left in the world if you turn poet.  Ah, pox confound that Will’s coffee-house: it has ruined more young men than the Royal Oak lottery.  Nothing thrives that belongs to’t.  The man of the house would have been an alderman by this time, with half the trade, if he had set up in the city.  For my part, I never sit at the door that I don’t get double the stomach that I do at a horse race.  The air upon Banstead-Downs is nothing to it for a whetter; yet I never see it, but the spirit of famine appears to me, sometimes like a decayed porter, worn out with pimping, and carrying billet doux and songs: not like other porters, for hire, but for the jests’ sake.  Now like a thin chairman, melted down to half his proportion, with carrying a poet upon tick, to visit some great fortune; and his fare to be paid him like the wages of sin, either at the day of marriage, or the day of death.

JERE. But, sir, is this really how you plan to win back your father’s favor? Sir Sampson will never forgive you. If your younger brother comes back from the sea, he’ll never look at you the same way again. You’re done for, sir; you’re finished; you won’t have a single friend left in the world if you decide to become a poet. Ah, curse that Will’s coffee-house: it has ruined more young men than the Royal Oak lottery. Nothing good comes from it. The owner would have been a city councilman by now with the business he could have had if he’d set up shop in the city. Personally, every time I sit at the door, I get twice the excitement I do at a horse race. The fresh air on Banstead Downs doesn’t compare for getting me pumped; yet whenever I see it, the spirit of hunger appears to me, sometimes like an exhausted porter, worn out from looking for work, carrying around love notes and songs: not like other porters who work for pay, but just for the laughs. Now he looks like a skinny chair-bearer, reduced to half his size from lugging a poet around on credit, hoping for some big break; and his payment will come like the wages of sin, either on the day of marriage or the day of death.

VAL.  Very well, sir; can you proceed?

VAL. Sure thing, sir; can you carry on?

JERE.  Sometimes like a bilked bookseller, with a meagre terrified countenance, that looks as if he had written for himself, or were resolved to turn author, and bring the rest of his brethren into the same condition.  And lastly, in the form of a worn-out punk, with verses in her hand, which her vanity had preferred to settlements, without a whole tatter to her tail, but as ragged as one of the muses; or as if she were carrying her linen to the paper-mill, to be converted into folio books of warning to all young maids, not to prefer poetry to good sense, or lying in the arms of a needy wit, before the embraces of a wealthy fool.

JERE. Sometimes like a cheated bookseller, with a worn-out, terrified face that looks like he wrote for himself, or decided to become an author and drag his fellow writers into the same predicament. And lastly, in the form of a exhausted woman of questionable virtue, holding poems in her hand, which her pride chose over practical living, with no decent covering, as ragged as one of the muses; or as if she were taking her laundry to the paper mill, to be turned into warning books for all young women, advising them not to choose poetry over common sense, or to lie with a broke genius instead of embracing a rich fool.

SCENE II.

Valentine, Scandal, Jeremy.

Valentine, Scandal, Jeremy.

SCAN.  What, Jeremy holding forth?

SCAN. What, Jeremy speaking?

VAL.  The rogue has (with all the wit he could muster up) been declaiming against wit.

VAL. The trickster has been going on and on about wit, using every bit of cleverness he could manage.

SCAN.  Ay?  Why, then, I’m afraid Jeremy has wit: for wherever it is, it’s always contriving its own ruin.

SCAN. Ay? Well, I'm afraid Jeremy has some cleverness because wherever it is, it's always finding a way to bring about its own downfall.

JERE.  Why, so I have been telling my master, sir: Mr. Scandal, for heaven’s sake, sir, try if you can dissuade him from turning poet.

JERE. Why, that’s what I’ve been telling my boss, sir: Mr. Scandal, for goodness’ sake, sir, please see if you can talk him out of becoming a poet.

SCAN.  Poet!  He shall turn soldier first, and rather depend upon the outside of his head than the lining.  Why, what the devil, has not your poverty made you enemies enough?  Must you needs shew your wit to get more?

SCAN. Poet! He'll become a soldier first, relying more on his appearance than his intellect. Why, what the hell, hasn't your poverty already given you enough enemies? Do you really need to show off your cleverness to gain more?

JERE.  Ay, more indeed: for who cares for anybody that has more wit than himself?

JERE.  Yeah, that's true: because who actually cares about someone who's smarter than they are?

SCAN.  Jeremy speaks like an oracle.  Don’t you see how worthless great men and dull rich rogues avoid a witty man of small fortune?  Why, he looks like a writ of enquiry into their titles and estates, and seems commissioned by heaven to seize hte better half.

SCAN. Jeremy speaks like a prophet. Don’t you see how useless great men and boring wealthy con artists steer clear of a clever guy with little money? Well, he looks like an investigation into their titles and estates, and seems sent by heaven to take the better half.

VAL.  Therefore I would rail in my writings, and be revenged.

VAL.  So I would criticize in my writing and get my revenge.

SCAN.  Rail?  At whom?  The whole world?  Impotent and vain!  Who would die a martyr to sense in a country where the religion is folly?  You may stand at bay for a while; but when the full cry is against you, you shan’t have fair play for your life.  If you can’t be fairly run down by the hounds, you will be treacherously shot by the huntsmen.  No, turn pimp, flatterer, quack, lawyer, parson, be chaplain to an atheist, or stallion to an old woman, anything but poet.  A modern poet is worse, more servile, timorous, and fawning, than any I have named: without you could retrieve the ancient honours of the name, recall the stage of Athens, and be allowed the force of open honest satire.

SCAN. Rail? At whom? The whole world? Impotent and useless! Who would die a martyr for common sense in a country where foolishness is the norm? You might hold your ground for a while, but when the mob is against you, you won’t get a fair chance to save your life. If you can't be legitimately hunted down by the hounds, you'll be sneakily shot by the hunters. No, become a pimp, flatterer, quack, lawyer, priest, be a chaplain to an atheist, or a stud to an old woman, anything but a poet. A modern poet is worse, more submissive, fearful, and sycophantic than any I’ve mentioned: unless you could restore the ancient glory of the name, revive the theater of Athens, and be permitted the power of open, honest satire.

VAL.  You are as inveterate against our poets as if your character had been lately exposed upon the stage.  Nay, I am not violently bent upon the trade.  [One knocks.]  Jeremy, see who’s there.  [Jer. goes to the door.]  But tell me what you would have me do?  What do the world say of me, and my forced confinement?

VAL. You’re as biased against our poets as if your character had just been revealed on stage. Look, I'm not really passionate about this profession. [One knocks.] Jeremy, check who's at the door. [Jer. goes to the door.] But seriously, what do you want me to do? What are people saying about me and my forced isolation?

SCAN.  The world behaves itself as it uses to do on such occasions; some pity you, and condemn your father; others excuse him, and blame you; only the ladies are merciful, and wish you well, since love and pleasurable expense have been your greatest faults.

SCAN. The world acts just like it usually does in these situations; some people feel sorry for you and criticize your father; others defend him and blame you; only the women are kind, wishing you well since love and enjoying life have been your biggest mistakes.

VAL.  How now?

VAL. What's up?

JERE.  Nothing new, sir; I have despatched some half a dozen duns with as much dexterity as a hungry judge does causes at dinner-time.

JERE. Nothing new, sir; I’ve sent out about six debt collectors as skillfully as a hungry judge handles cases at dinner time.

VAL.  What answer have you given ’em?

VAL. What did you tell them?

SCAN.  Patience, I suppose, the old receipt.

SCAN. Patience, I guess, the old receipt.

JERE.  No, faith, sir; I have put ’em off so long with patience and forbearance, and other fair words, that I was forced now to tell ’em in plain downright English—

JERE. No, honestly, sir; I’ve put them off for so long with patience and understanding, and other polite words, that I was forced to just tell them straight up—

VAL.  What?

VAL. Huh?

JERE.  That they should be paid.

JERE. That they should get paid.

VAL.  When?

When?

JERE.  To-morrow.

JERE. Tomorrow.

VAL.  And how the devil do you mean to keep your word?

VAL. And how on earth do you plan to keep your word?

JERE.  Keep it?  Not at all; it has been so very much stretched that I reckon it will break of course by to-morrow, and nobody be surprised at the matter.  [Knocking.]  Again!  Sir, if you don’t like my negotiation, will you be pleased to answer these yourself?

JERE. Keep it? Not at all; it's been stretched so much that I think it will definitely break by tomorrow, and no one will be surprised. [Knocking.] Again! Sir, if you don’t like how I’m handling this, would you like to answer these yourself?

VAL.  See who they are.

VAL. Check out who they are.

SCENE III.

Valentine, Scandal.

Valentine, Scandal.

VAL.  By this, Scandal, you may see what it is to be great; secretaries of state, presidents of the council, and generals of an army lead just such a life as I do; have just such crowds of visitants in a morning, all soliciting of past promises; which are but a civiller sort of duns, that lay claim to voluntary debts.

VAL. By this, Scandal, you can see what it means to be important; secretaries of state, council presidents, and army generals live a life just like mine; they face crowds of visitors every morning, all asking for promises that were made in the past; these are just a more polite kind of creditors claiming what they believe is owed to them.

SCAN.  And you, like a true great man, having engaged their attendance, and promised more than ever you intended to perform, are more perplexed to find evasions than you would be to invent the honest means of keeping your word, and gratifying your creditors.

SCAN. And you, being a genuinely great person, having gotten their attention and promised more than you ever intended to deliver, are more confused about finding excuses than you would be about figuring out how to fulfill your promises and satisfy your creditors.

VAL.  Scandal, learn to spare your friends, and do not provoke your enemies; this liberty of your tongue will one day bring a confinement on your body, my friend.

VAL. Scandal, try to be considerate of your friends, and don’t provoke your enemies; this freedom of your words will eventually land you in trouble, my friend.

SCENE IV.

Valentine, Scandal, Jeremy.

Valentine, Scandal, Jeremy.

JERE.  O sir, there’s Trapland the scrivener, with two suspicious fellows like lawful pads, that would knock a man down with pocket-tipstaves.  And there’s your father’s steward, and the nurse with one of your children from Twitnam.

JERE. Oh sir, there’s Trapland the scrivener, with two sketchy guys who look like they mean business, ready to take someone down with their weapons. And there’s your father's steward and the nurse with one of your kids from Twitnam.

VAL.  Pox on her, could she find no other time to fling my sins in my face?  Here, give her this, [gives money] and bid her trouble me no more; a thoughtless two-handed whore, she knows my condition well enough, and might have overlaid the child a fortnight ago, if she had had any forecast in her.

VAL. Damn her, couldn't she find a better time to throw my mistakes in my face? Here, take this, [gives money] and tell her to leave me alone; a reckless two-faced whore, she knows all about my situation, and she could have dealt with the kid two weeks ago if she'd had any sense.

SCAN.  What, is it bouncing Margery, with my godson?

SCAN. What, is it bouncing Margery, with my godson?

JERE.  Yes, sir.

JERE. Sure thing, sir.

SCAN.  My blessing to the boy, with this token [gives money] of my love.  And d’ye hear, bid Margery put more flocks in her bed, shift twice a week, and not work so hard, that she may not smell so vigorously.  I shall take the air shortly.

SCAN. My blessing to the boy, with this token [gives money] of my love. And you hear, tell Margery to put more blankets in her bed, change them twice a week, and not work so hard, so that she doesn't smell so strongly. I’ll be going out shortly.

VAL.  Scandal, don’t spoil my boy’s milk.  Bid Trapland come in.  If I can give that Cerberus a sop, I shall be at rest for one day.

VAL. Scandal, don’t ruin my boy’s milk. Get Trapland in here. If I can give that Cerberus a treat, I’ll be at ease for one day.

SCENE V.

Valentine, Scandal, Trapland, Jeremy.

Valentine, Scandal, Trapland, Jeremy.

VAL.  Oh, Mr. Trapland!  My old friend!  Welcome.  Jeremy, a chair quickly: a bottle of sack and a toast—fly—a chair first.

VAL.  Oh, Mr. Trapland!  My old friend!  Welcome.  Jeremy, get a chair quickly: a bottle of sack and a toast—hurry—a chair first.

TRAP.  A good morning to you, Mr. Valentine, and to you, Mr. Scandal.

TRAP. Good morning to you, Mr. Valentine, and to you, Mr. Scandal.

SCAN.  The morning’s a very good morning, if you don’t spoil it.

SCAN. The morning is a really good morning, as long as you don’t mess it up.

VAL.  Come, sit you down, you know his way.

VAL. Come, sit down, you know how he is.

TRAP.  [sits.]  There is a debt, Mr. Valentine, of £1500 of pretty long standing—

TRAP.  [sits.]  Mr. Valentine, there’s an outstanding debt of £1500 that’s been around for quite a while—

VAL.  I cannot talk about business with a thirsty palate.  Sirrah, the sack.

VAL. I can't talk about business with a dry throat. Get me the wine.

TRAP.  And I desire to know what course you have taken for the payment?

TRAP. And I want to know what you’ve done about the payment?

VAL.  Faith and troth, I am heartily glad to see you.  My service to you.  Fill, fill to honest Mr. Trapland—fuller.

VAL.  Honestly, I’m really happy to see you.  Here’s my service to you.  Let’s drink to honest Mr. Trapland—fill it up.

TRAP.  Hold, sweetheart: this is not to our business.  My service to you, Mr. Scandal.  [Drinks.]  I have forborne as long—

TRAP. Hold on, sweetheart: this isn't our issue. My service to you, Mr. Scandal. [Drinks.] I've put up with this long enough—

VAL.  T’other glass, and then we’ll talk.  Fill, Jeremy.

VAL.  One more drink, and then we’ll chat.  Pour it, Jeremy.

TRAP.  No more, in truth.  I have forborne, I say—

TRAP. No more, really. I've held back, I’m saying—

VAL.  Sirrah, fill when I bid you.  And how does your handsome daughter?  Come, a good husband to her.  [Drinks.]

VAL. Hey, fill this when I ask you. And how's your beautiful daughter? Come on, a good husband for her. [Drinks.]

TRAP.  Thank you.  I have been out of this money—

TRAP. Thank you. I haven't had this money—

VAL.  Drink first.  Scandal, why do you not drink?  [They drink.]

VAL. Drink up first. Scandal, why aren’t you drinking? [They drink.]

TRAP.  And, in short, I can be put off no longer.

TRAP. And honestly, I can't be delayed any longer.

VAL.  I was much obliged to you for your supply.  It did me signal service in my necessity.  But you delight in doing good.  Scandal, drink to me, my friend Trapland’s health.  An honester man lives not, nor one more ready to serve his friend in distress: though I say it to his face.  Come, fill each man his glass.

VAL. I really appreciate your help. It was a big support when I needed it. But you really enjoy doing good. To scandal, let’s drink to my friend Trapland’s health. There isn’t a more honest man out there, nor one more willing to help a friend in trouble—I'm saying that right to his face. Come on, let’s fill everyone’s glass.

SCAN.  What, I know Trapland has been a whoremaster, and loves a wench still.  You never knew a whoremaster that was not an honest fellow.

SCAN. What, I know Trapland has been a player, and he still loves women. You never met a player who wasn’t a decent guy.

TRAP.  Fie, Mr. Scandal, you never knew—

TRAP.  Come on, Mr. Scandal, you never knew—

SCAN.  What don’t I know?  I know the buxom black widow in the Poultry.  £800 a year jointure, and £20,000 in money.  Aha! old Trap.

SCAN. What don’t I know? I know the voluptuous black widow at the Poultry. £800 a year in jointure, and £20,000 in cash. Aha! old Trap.

VAL.  Say you so, i’faith?  Come, we’ll remember the widow.  I know whereabouts you are; come, to the widow—

VAL. You really think so? Alright, let’s remember the widow. I know where you’re at; let’s go see the widow—

TRAP.  No more, indeed.

TRAP. Not anymore, for sure.

VAL.  What, the widow’s health; give it him—off with it.  [They drink.]  A lovely girl, i’faith, black sparkling eyes, soft pouting ruby lips!  Better sealing there than a bond for a million, ha?

VAL. What, the widow’s health? Here’s to her—let’s drink to that. [They drink.] A beautiful girl, honestly, with shiny black eyes and soft, plush red lips! Better than a million-dollar contract, right?

TRAP.  No, no, there’s no such thing; we’d better mind our business.  You’re a wag.

TRAP. No, no, that doesn't exist; we should just focus on our own affairs. You're quite the joker.

VAL.  No, faith, we’ll mind the widow’s business: fill again.  Pretty round heaving breasts, a Barbary shape, and a jut with her bum would stir an anchoret: and the prettiest foot!  Oh, if a man could but fasten his eyes to her feet as they steal in and out, and play at bo-peep under her petticoats, ah!  Mr. Trapland?

VAL. No, really, let’s focus on the widow’s business: fill it up again. She has lovely, curvy breasts, a figure like a Barbary shape, and a little lift at her backside that would catch anyone’s attention: and the cutest feet! Oh, if a guy could just fix his eyes on her feet as they sneak in and out, playing peek-a-boo under her skirts, ah! Mr. Trapland?

TRAP.  Verily, give me a glass.  You’re a wag,—and here’s to the widow.  [Drinks.]

TRAP.  Seriously, hand me a glass.  You’re a real joker,—and here’s to the widow. [Drinks.]

SCAN.  He begins to chuckle; ply him close, or he’ll relapse into a dun.

SCAN. He starts to laugh; keep him engaged, or he’ll fall back into a dull mood.

SCENE VI.

[To them] Officer.

To them Officer.

OFF.  By your leave, gentlemen: Mr. Trapland, if we must do our office, tell us.  We have half a dozen gentlemen to arrest in Pall Mall and Covent Garden; and if we don’t make haste the chairmen will be abroad, and block up the chocolate-houses, and then our labour’s lost.

OFF. By your permission, gentlemen: Mr. Trapland, if we need to proceed with our duties, let us know. We have about six gentlemen to apprehend in Pall Mall and Covent Garden; and if we don’t hurry, the chairmen will be out and clog the chocolate shops, and then our efforts will be wasted.

TRAP.  Udso that’s true: Mr. Valentine, I love mirth, but business must be done.  Are you ready to—

TRAP. So that's true: Mr. Valentine, I love having fun, but we need to get down to business. Are you ready to—

JERE.  Sir, your father’s steward says he comes to make proposals concerning your debts.

JERE. Sir, your father's steward says he's here to discuss your debts.

VAL.  Bid him come in: Mr. Trapland, send away your officer; you shall have an answer presently.

VAL.  Tell him to come in: Mr. Trapland, send your officer away; you'll get an answer soon.

TRAP.  Mr. Snap, stay within call.

TRAP. Mr. Snap, stay close by.

SCENE VII.

Valentine, Scandal, Trapland, Jeremy,
Steward who whispers Valentine.

Valentine, Scandal, Trapland, Jeremy, Steward who whispers Valentine.

SCAN.  Here’s a dog now, a traitor in his wine: sirrah, refund the sack.—Jeremy, fetch him some warm water, or I’ll rip up his stomach, and go the shortest way to his conscience.

SCAN. Here’s a dog now, a traitor in his wine: hey, give back the sack.—Jeremy, get him some warm water, or I’ll cut open his stomach and go straight for his conscience.

TRAP.  Mr. Scandal, you are uncivil; I did not value your sack; but you cannot expect it again when I have drunk it.

TRAP. Mr. Scandal, you're being rude; I didn't appreciate your sack; but you can't expect it back after I've finished it.

SCAN.  And how do you expect to have your money again when a gentleman has spent it?

SCAN. And how do you think you’ll get your money back after a gentleman has already spent it?

VAL.  You need say no more, I understand the conditions; they are very hard, but my necessity is very pressing: I agree to ’em.  Take Mr. Trapland with you, and let him draw the writing.  Mr. Trapland, you know this man: he shall satisfy you.

VAL. You don’t need to say anything more, I get the terms; they’re tough, but I really need this: I agree to them. Take Mr. Trapland with you, and let him draft the document. Mr. Trapland, you know this guy: he’ll assure you.

TRAP.  Sincerely, I am loth to be thus pressing, but my necessity—

TRAP. Honestly, I really don’t want to be this pushy, but my situation—

VAL.  No apology, good Mr. Scrivener, you shall be paid.

VAL. No need to apologize, good Mr. Scrivener, you'll be paid.

TRAP.  I hope you forgive me; my business requires—

TRAP. I hope you can forgive me; my work demands—

SCENE VIII.

Valentine, Scandal.

Valentine, Scandal.

SCAN.  He begs pardon like a hangman at an execution.

SCAN. He apologizes like a executioner at a hanging.

VAL.  But I have got a reprieve.

VAL. But I've received a stay of execution.

SCAN.  I am surprised; what, does your father relent?

SCAN. I’m surprised; does your dad actually give in?

VAL.  No; he has sent me the hardest conditions in the world.  You have heard of a booby brother of mine that was sent to sea three years ago?  This brother, my father hears, is landed; whereupon he very affectionately sends me word; if I will make a deed of conveyance of my right to his estate, after his death, to my younger brother, he will immediately furnish me with four thousand pounds to pay my debts and make my fortune.  This was once proposed before, and I refused it; but the present impatience of my creditors for their money, and my own impatience of confinement, and absence from Angelica, force me to consent.

VAL. No; he has sent me the toughest conditions imaginable. You know about my clueless brother who was sent to sea three years ago? My father just found out he’s back on land; so he kindly tells me that if I transfer my claim to his estate after he dies to my younger brother, he’ll give me four thousand pounds right away to settle my debts and make my fortune. This was suggested before, and I turned it down; but now my creditors are hounding me for their money, and I can’t stand being stuck away from Angelica, so I have to agree.

SCAN.  A very desperate demonstration of your love to Angelica; and I think she has never given you any assurance of hers.

SCAN. A really desperate display of your love for Angelica; and I don't think she's ever given you any sign of hers.

VAL.  You know her temper; she never gave me any great reason either for hope or despair.

VAL. You know how she is; she never gave me any real reason to feel hopeful or hopeless.

SCAN.  Women of her airy temper, as they seldom think before they act, so they rarely give us any light to guess at what they mean.  But you have little reason to believe that a woman of this age, who has had an indifference for you in your prosperity, will fall in love with your ill-fortune; besides, Angelica has a great fortune of her own; and great fortunes either expect another great fortune, or a fool.

SCAN. Women with her lighthearted nature often act on impulse and rarely provide us with clear insights into their thoughts. However, you have little reason to think that a woman like her, who showed indifference towards you during your success, will suddenly fall for you now that you’re in a tough spot. Additionally, Angelica has a substantial fortune of her own, and people with significant wealth typically seek either another wealthy partner or someone who’s not very bright.

SCENE IX.

[To them] Jeremy.

[To them] Jeremy.

JERE.  More misfortunes, sir.

JERE. More bad luck, sir.

VAL.  What, another dun?

VAL. What, another bill?

JERE.  No, sir, but Mr. Tattle is come to wait upon you.

JERE. No, sir, but Mr. Tattle has come to see you.

VAL.  Well, I can’t help it, you must bring him up; he knows I don’t go abroad.

VAL. Well, I can't help it, you have to mention him; he knows I don't travel.

SCENE X.

Valentine, Scandal.

Valentine, Scandal.

SCAN.  Pox on him, I’ll be gone.

SCAN. Curse him, I’m out of here.

VAL.  No, prithee stay: Tattle and you should never be asunder; you are light and shadow, and show one another; he is perfectly thy reverse both in humour and understanding; and as you set up for defamation, he is a mender of reputations.

VAL. No, please stay: You and Tattle should never be apart; you’re like light and shadow, showing each other off. He’s completely your opposite in personality and understanding; while you excel at spreading rumors, he’s all about fixing reputations.

SCAN.  A mender of reputations!  Ay, just as he is a keeper of secrets, another virtue that he sets up for in the same manner.  For the rogue will speak aloud in the posture of a whisper, and deny a woman’s name while he gives you the marks of her person.  He will forswear receiving a letter from her, and at the same time show you her hand in the superscription: and yet perhaps he has counterfeited the hand too, and sworn to a truth; but he hopes not to be believed, and refuses the reputation of a lady’s favour, as a Doctor says no to a Bishopric only that it may be granted him.  In short, he is public professor of secrecy, and makes proclamation that he holds private intelligence.—He’s here.

SCAN. A fixer of reputations! Yes, just like he’s a keeper of secrets, another quality he claims in the same way. The scoundrel will speak loudly while pretending to whisper, denying a woman’s name even as he describes her features. He will swear he didn’t receive a letter from her, yet show you her handwriting on the envelope; and maybe he has even forged the writing and lied about it. Still, he doesn’t expect to be believed and turns down the reputation of a lady’s favor, just like a doctor refuses a bishopric only to have it offered to him. In short, he is a public advocate of secrecy and announces that he holds confidential information. —He’s here.

SCENE XI.

[To them] Tattle.

[To them] Gossip.

TATT.  Valentine, good morrow; Scandal, I am yours:—that is, when you speak well of me.

TATT. Valentine, good morning; Scandal, I’m yours—that is, as long as you say nice things about me.

SCAN.  That is, when I am yours; for while I am my own, or anybody’s else, that will never happen.

SCAN. That is, when I’m yours; because while I’m my own, or anyone else's, that will never happen.

TATT.  How inhuman!

TATT. That's so inhumane!

VAL.  Why Tattle, you need not be much concerned at anything that he says: for to converse with Scandal, is to play at losing loadum; you must lose a good name to him before you can win it for yourself.

VAL. Why Tattle, you really shouldn't worry too much about anything he says: talking to Scandal is like playing a losing game; you have to sacrifice your good reputation to him before you can reclaim it for yourself.

TATT.  But how barbarous that is, and how unfortunate for him, that the world shall think the better of any person for his calumniation!  I thank heaven, it has always been a part of my character to handle the reputations of others very tenderly indeed.

TATT. But how cruel that is, and how unfortunate for him, that people will think more highly of anyone for slandering him! Thank goodness, it's always been part of my character to treat the reputations of others very carefully.

SCAN.  Ay, such rotten reputations as you have to deal with are to be handled tenderly indeed.

SCAN.  Yeah, those terrible reputations you have to manage really need to be handled with care.

TATT.  Nay, but why rotten?  Why should you say rotten, when you know not the persons of whom you speak?  How cruel that is!

TATT.  No, but why call it rotten?  Why would you say that when you don’t even know the people you’re talking about?  How unkind is that!

SCAN.  Not know ’em?  Why, thou never had’st to do with anybody that did not stink to all the town.

SCAN. Not know them? Well, you’ve never had to deal with anyone who didn’t smell bad to the whole town.

TATT.  Ha, ha, ha; nay, now you make a jest of it indeed.  For there is nothing more known than that nobody knows anything of that nature of me.  As I hope to be saved, Valentine, I never exposed a woman, since I knew what woman was.

TATT. Ha, ha, ha; now you're really joking about it. Because there’s nothing more certain than that nobody knows anything about me like that. I swear, Valentine, I’ve never put a woman in a tough spot since I understood what a woman is.

VAL.  And yet you have conversed with several.

VAL. And yet you’ve talked to quite a few.

TATT.  To be free with you, I have.  I don’t care if I own that.  Nay more (I’m going to say a bold word now) I never could meddle with a woman that had to do with anybody else.

TATT. To be honest with you, I have. I don't care if I own that. Besides (I'm going to say something bold now), I could never get involved with a woman who was with someone else.

SCAN.  How?

SCAN. How?

VAL.  Nay faith, I’m apt to believe him.  Except her husband, Tattle.

VAL.  No seriously, I tend to believe him.  Except for her husband, Tattle.

TATT.  Oh, that—

TATT. Oh, that—

SCAN.  What think you of that noble commoner, Mrs. Drab?

SCAN. What do you think of that noble commoner, Mrs. Drab?

TATT.  Pooh, I know Madam Drab has made her brags in three or four places, that I said this and that, and writ to her, and did I know not what—but, upon my reputation, she did me wrong—well, well, that was malice—but I know the bottom of it.  She was bribed to that by one we all know—a man too.  Only to bring me into disgrace with a certain woman of quality—

TATT. Ugh, I know Madam Drab has boasted in a few places that I said this and that, wrote to her, and did who knows what—but, honestly, she wronged me—oh well, that was just spite—but I know the real reason. She was bribed to do that by someone we all know—a man too. Just to get me in trouble with a certain noblewoman—

SCAN.  Whom we all know.

SCAN. The person we all know.

TATT.  No matter for that.  Yes, yes, everybody knows.  No doubt on’t, everybody knows my secrets.  But I soon satisfied the lady of my innocence; for I told her: Madam, says I, there are some persons who make it their business to tell stories, and say this and that of one and t’other, and everything in the world; and, says I, if your grace—

TATT. No worries about that. Yes, yes, everyone knows. No doubt about it, everyone knows my secrets. But I quickly reassured the lady about my innocence; I told her, “Madam,” I said, “there are some people who make it their job to spread stories and talk about this and that person, and everything in between; and,” I said, “if your grace—

SCAN.  Grace!

SCAN. Grace!

TATT.  O Lord, what have I said?  My unlucky tongue!

TATT. Oh God, what have I just said? My cursed tongue!

VAL.  Ha, ha, ha.

VAL. Lol.

SCAN.  Why, Tattle, thou hast more impudence than one can in reason expect: I shall have an esteem for thee, well, and, ha, ha, ha, well, go on, and what did you say to her grace?

SCAN. Why, Tattle, you have more nerve than anyone could reasonably expect: I’ll have some respect for you, well, and ha, ha, ha, well, go on, what did you say to her grace?

VAL.  I confess this is something extraordinary.

VAL. I admit this is something really unusual.

TATT.  Not a word, as I hope to be saved; an errant lapsus linguæ.  Come, let’s talk of something else.

TATT. Not a word, I swear; just a slip of the tongue. Come on, let’s talk about something else.

VAL.  Well, but how did you acquit yourself?

VAL.  So, how did you do?

TATT.  Pooh, pooh, nothing at all; I only rallied with you—a woman of ordinary rank was a little jealous of me, and I told her something or other, faith I know not what.—Come, let’s talk of something else.  [Hums a song.]

TATT.  Come on, that’s silly; I was just teasing you—a regular woman felt a bit jealous of me, and I said something or other, honestly I can’t remember what.—Let’s talk about something else.  [Hums a song.]

SCAN.  Hang him, let him alone, he has a mind we should enquire.

SCAN. Hang him, leave him be, he has something on his mind that we should look into.

TATT.  Valentine, I supped last night with your mistress, and her uncle, old Foresight: I think your father lies at Foresight’s.

TATT. Valentine, I had dinner last night with your girlfriend and her uncle, old Foresight: I think your dad is at Foresight’s place.

VAL.  Yes.

Yeah.

TATT.  Upon my soul, Angelica’s a fine woman.  And so is Mrs. Foresight, and her sister, Mrs. Frail.

TATT. Honestly, Angelica is an amazing woman. So is Mrs. Foresight, and her sister, Mrs. Frail.

SCAN.  Yes, Mrs. Frail is a very fine woman, we all know her.

SCAN. Yes, Mrs. Frail is a really great woman, we all know her.

TATT.  Oh, that is not fair.

TATT. That's not cool.

SCAN.  What?

SCAN. What’s up?

TATT.  To tell.

TATT. To share.

SCAN.  To tell what?  Why, what do you know of Mrs. Frail?

SCAN. To tell what? Well, what do you know about Mrs. Frail?

TATT.  Who, I?  Upon honour I don’t know whether she be man or woman, but by the smoothness of her chin and roundness of her hips.

TATT. Who, me? Honestly, I can’t tell if she’s a man or a woman, but based on how smooth her chin is and the shape of her hips.

SCAN.  No?

SCAN. No?

TATT.  No.

TATT. No.

SCAN.  She says otherwise.

SCAN. She disagrees.

TATT.  Impossible!

TATT. No way!

SCAN.  Yes, faith.  Ask Valentine else.

SCAN. Yes, faith. Ask Valentine instead.

TATT.  Why then, as I hope to be saved, I believe a woman only obliges a man to secrecy that she may have the pleasure of telling herself.

TATT. Why, as I hope to be saved, I think a woman keeps a man quiet so that she can enjoy telling it herself.

SCAN.  No doubt on’t.  Well, but has she done you wrong, or no?  You have had her?  Ha?

SCAN. No doubt about it. Well, but has she wronged you, or not? Have you been with her? Huh?

TATT.  Though I have more honour than to tell first, I have more manners than to contradict what a lady has declared.

TATT. Although I have more pride than to speak first, I have more respect than to disagree with what a lady has stated.

SCAN.  Well, you own it?

SCAN. So, do you own it?

TATT.  I am strangely surprised!  Yes, yes, I can’t deny’t if she taxes me with it.

TATT. I'm oddly surprised! Yes, yes, I can’t deny it if she accuses me of it.

SCAN.  She’ll be here by and by, she sees Valentine every morning.

SCAN. She’ll be here soon; she sees Valentine every morning.

TATT.  How?

TATT. How's that?

VAL.  She does me the favour, I mean, of a visit sometimes.  I did not think she had granted more to anybody.

VAL. She does me the favor, I mean, of visiting sometimes. I didn’t think she had given that to anyone else.

SCAN.  Nor I, faith.  But Tattle does not use to bely a lady; it is contrary to his character.  How one may be deceived in a woman, Valentine?

SCAN.  Nor I, for sure.  But Tattle doesn't usually lie about a lady; that's not like him.  It's surprising how easily one can be fooled by a woman, Valentine?

TATT.  Nay, what do you mean, gentlemen?

TATT.  No, what do you mean, guys?

SCAN.  I’m resolved I’ll ask her.

SCAN. I’ve decided I’m going to ask her.

TATT.  O barbarous!  Why did you not tell me?

TATT. Oh, how brutal! Why didn't you tell me?

SCAN.  No; you told us.

SCAN. No; you said that.

TATT.  And bid me ask Valentine?

TATT. And tell me to ask Valentine?

VAL.  What did I say?  I hope you won’t bring me to confess an answer when you never asked me the question?

VAL. What did I say? I hope you’re not trying to make me confess to something when you never even asked me the question.

TATT.  But, gentlemen, this is the most inhuman proceeding—

TATT. But, guys, this is the most inhumane thing—

VAL.  Nay, if you have known Scandal thus long, and cannot avoid such a palpable decoy as this was, the ladies have a fine time whose reputations are in your keeping.

VAL.  No, if you've known about Scandal for this long and can't avoid such an obvious trap like this one, the ladies whose reputations you're in charge of are in for a rough time.

SCENE XII.

[To them] Jeremy.

[To them] Jeremy.

JERE.  Sir, Mrs. Frail has sent to know if you are stirring.

JERE. Sir, Mrs. Frail wants to know if you're awake.

VAL.  Show her up when she comes.

VAL. Show her in when she arrives.

SCENE XIII.

Valentine, Scandal, Tattle.

Valentine, Scandal, Tattle.

TATT.  I’ll be gone.

TATT. I’ll be out.

VAL.  You’ll meet her.

VAL. You'll meet her.

TATT.  Is there not a back way?

TATT. Is there no way to go around?

VAL.  If there were, you have more discretion than to give Scandal such an advantage.  Why, your running away will prove all that he can tell her.

VAL. If there were, you’re smarter than to give Scandal such an edge. Seriously, your running away will confirm everything he can say to her.

TATT.  Scandal, you will not be so ungenerous.  Oh, I shall lose my reputation of secrecy for ever.  I shall never be received but upon public days, and my visits will never be admitted beyond a drawing-room.  I shall never see a bed-chamber again, never be locked in a closet, nor run behind a screen, or under a table: never be distinguished among the waiting-women by the name of trusty Mr. Tattle more.  You will not be so cruel?

TATT. Scandal, you can't be that unkind. Oh, I'm going to lose my reputation for keeping secrets forever. I'll only be welcomed on public days, and I won't be allowed to visit anywhere beyond the living room. I'll never see a bedroom again, never get locked in a closet, or sneak behind a screen, or under a table: I'll never be recognized among the maids as trusty Mr. Tattle anymore. You won't be that harsh, will you?

VAL.  Scandal, have pity on him; he’ll yield to any conditions.

VAL. Scandal, have mercy on him; he'll agree to anything.

TATT.  Any, any terms.

TATT. Any terms.

SCAN.  Come, then, sacrifice half a dozen women of good reputation to me presently.  Come, where are you familiar?  And see that they are women of quality, too—the first quality.

SCAN. Come on, then, bring me half a dozen women of good reputation right away. Come on, where are you involved? And make sure they are women of high status, too—the best.

TATT.  ’Tis very hard.  Won’t a baronet’s lady pass?

TATT. It's really tough. Can't a baronet's wife get through?

SCAN.  No, nothing under a right honourable.

SCAN. No, nothing less than a right honorable.

TATT.  Oh, inhuman!  You don’t expect their names?

TATT. Oh, that's cruel! You don't want to know their names?

SCAN.  No, their titles shall serve.

SCAN. No, their titles will suffice.

TATT.  Alas, that’s the same thing.  Pray spare me their titles.  I’ll describe their persons.

TATT. Unfortunately, that’s the same thing. Please spare me their titles. I’ll describe what they look like.

SCAN.  Well, begin then; but take notice, if you are so ill a painter that I cannot know the person by your picture of her, you must be condemned, like other bad painters, to write the name at the bottom.

SCAN. Well, go ahead; but just remember, if you are such a bad artist that I can't recognize the person from your painting of her, you'll have to write her name at the bottom like other poor artists.

TATT.  Well, first then—

TATT. Well, first off—

SCENE XIV.

[To them] Mrs. Frail.

[To them] Mrs. Frail.

TATT.  Oh, unfortunate!  She’s come already; will you have patience till another time?  I’ll double the number.

TATT. Oh, what a shame! She's already here; will you wait until another time? I'll double the amount.

SCAN.  Well, on that condition.  Take heed you don’t fail me.

SCAN. Well, under that condition. Just make sure you don’t let me down.

MRS. FRAIL.  I shall get a fine reputation by coming to see fellows in a morning.  Scandal, you devil, are you here too?  Oh, Mr. Tattle, everything is safe with you, we know.

MRS. FRAIL. I’ll gain a great reputation by visiting guys in the morning. Scandal, you devil, are you here too? Oh, Mr. Tattle, we know everything is fine with you.

SCAN.  Tattle—

SCAN. Report—

TATT.  Mum.  O madam, you do me too much honour.

TATT.  Mom.  Oh ma'am, you're giving me way too much credit.

VAL.  Well, Lady Galloper, how does Angelica?

VAL. Well, Lady Galloper, how's Angelica?

MRS. FRAIL.  Angelica?  Manners!

Mrs. Frail. Angelica? Show some manners!

VAL.  What, you will allow an absent lover—

VAL. What, you're going to let a distant lover—

MRS. FRAIL.  No, I’ll allow a lover present with his mistress to be particular; but otherwise, I think his passion ought to give place to his manners.

MRS. FRAIL. No, I’ll let a lover be special when he’s with his mistress, but otherwise, I think his feelings should take a backseat to his manners.

VAL.  But what if he has more passion than manners?

VAL. But what if he has more passion than etiquette?

MRS. FRAIL.  Then let him marry and reform.

MRS. FRAIL.  Then let him get married and change for the better.

VAL.  Marriage indeed may qualify the fury of his passion, but it very rarely mends a man’s manners.

VAL. Marriage might calm his intense feelings, but it hardly ever improves a man's behavior.

MRS. FRAIL.  You are the most mistaken in the world; there is no creature perfectly civil but a husband.  For in a little time he grows only rude to his wife, and that is the highest good breeding, for it begets his civility to other people.  Well, I’ll tell you news; but I suppose you hear your brother Benjamin is landed?  And my brother Foresight’s daughter is come out of the country: I assure you, there’s a match talked of by the old people.  Well, if he be but as great a sea-beast as she is a land-monster, we shall have a most amphibious breed.  The progeny will be all otters.  He has been bred at sea, and she has never been out of the country.

MRS. FRAIL. You are completely mistaken; the only truly polite person is a husband. After a short while, he only becomes rude to his wife, and that's considered the highest form of good manners because it makes him more polite to others. Well, I have some news for you; I assume you’ve heard that your brother Benjamin has arrived? And my brother Foresight's daughter is back from the countryside: I assure you, the older folks are talking about a match. Well, if he’s as much of a sea creature as she is a land monster, we’re going to have a very unusual offspring. The kids will all be like otters. He has lived at sea, and she has never left the country.

VAL.  Pox take ’em, their conjunction bodes me no good, I’m sure.

VAL. Damn them, their coming together brings me no good, I’m sure.

MRS. FRAIL.  Now you talk of conjunction, my brother Foresight has cast both their nativities, and prognosticates an admiral and an eminent justice of the peace to be the issue male of their two bodies; ’tis the most superstitious old fool!  He would have persuaded me that this was an unlucky day, and would not let me come abroad.  But I invented a dream, and sent him to Artimedorus for interpretation, and so stole out to see you.  Well, and what will you give me now?  Come, I must have something.

MRS. FRAIL. Now that you mention it, my brother, Foresight has analyzed both their births and predicts that they’ll have a son who will be an admiral and a prominent justice of the peace; he’s such a superstitious old fool! He tried to convince me that today is an unlucky day and wouldn’t let me go outside. But I made up a dream and sent him to Artimedorus for interpretation, and that's how I sneaked out to see you. So, what are you going to give me now? Come on, I need to get something.

VAL.  Step into the next room, and I’ll give you something.

VAL. Step into the next room, and I'll give you something.

SCAN.  Ay, we’ll all give you something.

SCAN.  Yeah, we’ll all give you something.

MRS. FRAIL.  Well, what will you all give me?

MRS. FRAIL. Well, what will you all offer me?

VAL.  Mine’s a secret.

VAL. It's a secret.

MRS. FRAIL.  I thought you would give me something that would be a trouble to you to keep.

MRS. FRAIL. I thought you would give me something that would be a hassle for you to hold onto.

VAL.  And Scandal shall give you a good name.

VAL. And gossip will give you a good reputation.

MRS. FRAIL.  That’s more than he has for himself.  And what will you give me, Mr. Tattle?

MRS. FRAIL. That’s more than he has for himself. So what will you give me, Mr. Tattle?

TATT.  I?  My soul, madam.

TATT. I? My soul, ma'am.

MRS. FRAIL.  Pooh!  No, I thank you, I have enough to do to take care of my own.  Well, but I’ll come and see you one of these mornings.  I hear you have a great many pictures.

MRS. FRAIL. Ugh! No, thanks, I have enough to handle with my own. Well, I’ll come visit you one of these mornings. I heard you have a lot of pictures.

TATT.  I have a pretty good collection, at your service, some originals.

TATT. I have a nice collection, ready for you, including some originals.

SCAN.  Hang him, he has nothing but the Seasons and the Twelve Cæsars—paltry copies—and the Five Senses, as ill-represented as they are in himself, and he himself is the only original you will see there.

SCAN. Hang him, he only has the Seasons and the Twelve Caesars—poor copies—and the Five Senses, which are just as poorly represented in him, and he himself is the only original you'll see there.

MRS. FRAIL.  Ay, but I hear he has a closet of beauties.

MRS. FRAIL.  Yeah, but I heard he has a collection of beauties.

SCAN.  Yes; all that have done him favours, if you will believe him.

SCAN. Yes; everyone who has done him favors, if you want to believe him.

MRS. FRAIL.  Ay, let me see those, Mr. Tattle.

MRS. FRAIL.  Yeah, let me see those, Mr. Tattle.

TATT.  Oh, madam, those are sacred to love and contemplation.  No man but the painter and myself was ever blest with the sight.

TATT. Oh, ma'am, those are meant for love and reflection. No one except the painter and me has ever been lucky enough to see them.

MRS. FRAIL.  Well, but a woman—

MRS. FRAIL. Well, but a woman—

TATT.  Nor woman, till she consented to have her picture there too—for then she’s obliged to keep the secret.

TATT.  Neither a woman nor anyone else, until she agrees to have her picture there too—because then she's required to keep the secret.

SCAN.  No, no; come to me if you’d see pictures.

SCAN. No, no; come to me if you want to see pictures.

MRS. FRAIL.  You?

MRS. FRAIL. You?

SCAN.  Yes, faith; I can shew you your own picture, and most of your acquaintance to the life, and as like as at Kneller’s.

SCAN. Yes, faith; I can show you your own portrait, and most of your acquaintances just as they are, as accurately as at Kneller’s.

MRS. FRAIL.  O lying creature!  Valentine, does not he lie?  I can’t believe a word he says.

MRS. FRAIL.  Oh, you lying scoundrel!  Valentine, isn’t he lying?  I can’t trust a single word that comes out of his mouth.

VAL.  No indeed, he speaks truth now.  For as Tattle has pictures of all that have granted him favours, he has the pictures of all that have refused him: if satires, descriptions, characters, and lampoons are pictures.

VAL. No, he’s telling the truth now. Just as Tattle has portraits of everyone who has done him favors, he also has portraits of everyone who has turned him down—if satires, descriptions, characters, and lampoons count as portraits.

SCAN.  Yes; mine are most in black and white.  And yet there are some set out in their true colours, both men and women.  I can shew you pride, folly, affectation, wantonness, inconstancy, covetousness, dissimulation, malice and ignorance, all in one piece.  Then I can shew you lying, foppery, vanity, cowardice, bragging, lechery, impotence, and ugliness in another piece; and yet one of these is a celebrated beauty, and t’other a professed beau.  I have paintings too, some pleasant enough.

SCAN. Yes, most of mine are in black and white. However, there are some displayed in their true colors, both men and women. I can show you pride, foolishness, pretentiousness, promiscuity, inconsistency, greed, deceit, malice, and ignorance all in one piece. Then I can show you lying, vanity, cowardice, boasting, lust, impotence, and ugliness in another piece; and yet one of these is a celebrated beauty, while the other is a well-known dandy. I have paintings too, some of which are quite nice.

MRS. FRAIL.  Come, let’s hear ’em.

MRS. FRAIL. Come on, let's hear them.

SCAN.  Why, I have a beau in a bagnio, cupping for a complexion, and sweating for a shape.

SCAN. Why, I have a boyfriend in a bagnio, working on his complexion and sweating for a better figure.

MRS. FRAIL.  So.

MRS. FRAIL. Alright.

SCAN.  Then I have a lady burning brandy in a cellar with a hackney coachman.

SCAN.  Then I have a woman heating up brandy in a basement with a cab driver.

MRS. FRAIL.  O devil!  Well, but that story is not true.

MRS. FRAIL. Ugh, seriously! But that story isn't true.

SCAN.  I have some hieroglyphics too; I have a lawyer with a hundred hands, two heads, and but one face; a divine with two faces, and one head; and I have a soldier with his brains in his belly, and his heart where his head should be.

SCAN. I have some hieroglyphics too; I have a lawyer with a hundred hands, two heads, and only one face; a deity with two faces and one head; and I have a soldier with his brains in his belly and his heart where his head should be.

MRS. FRAIL.  And no head?

MRS. FRAIL. And no head?

SCAN.  No head.

SCAN. No head.

MRS. FRAIL.  Pooh, this is all invention.  Have you never a poet?

MRS. FRAIL.  Come on, this is all made up.  Don't you have a poet?

SCAN.  Yes, I have a poet weighing words, and selling praise for praise, and a critic picking his pocket.  I have another large piece too, representing a school, where there are huge proportioned critics, with long wigs, laced coats, Steinkirk cravats, and terrible faces; with cat-calls in their hands, and horn-books about their necks.  I have many more of this kind, very well painted, as you shall see.

SCAN. Yes, I have a poet measuring his words and trading compliments for compliments, and a critic profiting off of him. I have another big piece too, showing a school, where there are oversized critics with long wigs, fancy coats, cravats, and intimidating expressions; holding cat-calls in their hands and flaunting horn-books around their necks. I have many more pieces like this, all very well painted, as you'll see.

MRS. FRAIL.  Well, I’ll come, if it be but to disprove you.

MRS. FRAIL. Well, I’ll come, even if it’s just to prove you wrong.

SCENE XIV.

[To them] Jeremy.

[To them] Jeremy.

JERE.  Sir, here’s the steward again from your father.

JERE. Sir, the steward from your father is here again.

VAL.  I’ll come to him—will you give me leave?  I’ll wait on you again presently.

VAL. I'll go see him—can I get your permission? I'll be back with you shortly.

MRS. FRAIL.  No; I’ll be gone.  Come, who squires me to the Exchange?  I must call my sister Foresight there.

MRS. FRAIL. No; I’ll be leaving. Come on, who’s going with me to the Exchange? I need to meet my sister Foresight there.

SCAN.  I will: I have a mind to your sister.

SCAN. I will: I'm interested in your sister.

MRS. FRAIL.  Civil!

MRS. FRAIL.  Polite!

TATT.  I will: because I have a tendre for your ladyship.

TATT. I will: because I have a soft spot for you, my lady.

MRS. FRAIL.  That’s somewhat the better reason, to my opinion.

MRS. FRAIL. That seems like a pretty good reason, in my opinion.

SCAN.  Well, if Tattle entertains you, I have the better opportunity to engage your sister.

SCAN. Well, if Tattle keeps you amused, I have a better chance to connect with your sister.

VAL.  Tell Angelica I am about making hard conditions to come abroad, and be at liberty to see her.

VAL. Tell Angelica I'm working on some tough conditions to be able to go out and see her.

SCAN.  I’ll give an account of you and your proceedings.  If indiscretion be a sign of love, you are the most a lover of anybody that I know: you fancy that parting with your estate will help you to your mistress.  In my mind he is a thoughtless adventurer

SCAN. I’ll tell you about yourself and what you've been up to. If being reckless is a sign of love, then you’re more in love than anyone I know: you think giving up your property will win over your lady. In my opinion, he’s just a careless risk-taker.

Who hopes to purchase wealth by selling land;
Or win a mistress with a losing hand.

Who hopes to get rich by selling land;
Or win a lover with a losing hand.

ACT II.—SCENE I.

A room in Foresight’s house.

A room in Foresight's house.

Foresight and Servant.

Foresight and Servant.

FORE.  Hey day!  What, are all the women of my family abroad?  Is not my wife come home?  Nor my sister, nor my daughter?

FORE.  Hey day!  What, are all the women in my family out?  Hasn’t my wife come home?  Nor my sister, nor my daughter?

SERV.  No, sir.

SERV. No, sir.

FORE.  Mercy on us, what can be the meaning of it?  Sure the moon is in all her fortitudes.  Is my niece Angelica at home?

FORE. Mercy, what does this mean? Surely the moon is showing all her phases. Is my niece Angelica home?

SERV.  Yes, sir.

Sure, sir.

FORE.  I believe you lie, sir.

FORE. I think you're lying, sir.

SERV.  Sir?

SERV.  Hey?

FORE.  I say you lie, sir.  It is impossible that anything should be as I would have it; for I was born, sir, when the crab was ascending, and all my affairs go backward.

FORE. I say you're lying, sir. It's impossible for things to be as I want them because I was born when the crab was rising, and everything in my life goes wrong.

SERV.  I can’t tell indeed, sir.

SERV. I really can’t say, sir.

FORE.  No, I know you can’t, sir: but I can tell, and foretell, sir.

FORE. No, I know you can't, sir: but I can see, and predict, sir.

SCENE II.

[To them] Nurse.

[To them] Nurse.

FORE.  Nurse, where’s your young mistress?

FORE. Nurse, where's your young lady?

NURSE.   Wee’st heart, I know not, they’re none of ’em come home yet.  Poor child, I warrant she’s fond o’ seeing the town.  Marry, pray heaven they ha’ given her any dinner.  Good lack-a-day, ha, ha, ha, Oh, strange!  I’ll vow and swear now, ha, ha, ha, marry, and did you ever see the like!

NURSE. Well, dear, I don’t know, none of them have come home yet. Poor girl, I bet she loves exploring the town. Honestly, I hope they’ve fed her. Good grief, haha, oh wow! I swear, haha, have you ever seen anything like this!

FORE.  Why, how now, what’s the matter?

FORE. What's happening?

NURSE.  Pray heaven send your worship good luck, marry, and amen with all my heart, for you have put on one stocking with the wrong side outward.

NURSE.  I hope heaven brings you good luck, truly, and amen with all my heart, because you’ve put on one of your stockings inside out.

FORE.  Ha, how?  Faith and troth I’m glad of it; and so I have: that may be good luck in troth, in troth it may, very good luck.  Nay, I have had some omens: I got out of bed backwards too this morning, without premeditation; pretty good that too; but then I stumbled coming down stairs, and met a weasel; bad omens those: some bad, some good, our lives are chequered.  Mirth and sorrow, want and plenty, night and day, make up our time.  But in troth I am pleased at my stocking; very well pleased at my stocking.  Oh, here’s my niece!  Sirrah, go tell Sir Sampson Legend I’ll wait on him if he’s at leisure:—’tis now three o’clock, a very good hour for business: Mercury governs this hour.

FORE. Ha, how? Honestly, I’m glad about it; and I really have been. That could be good luck, it could definitely be very good luck. No, I’ve had some signs too: I got out of bed backwards this morning without even thinking about it; that’s pretty good too. But then I stumbled coming down the stairs and ran into a weasel; those are bad signs. Some things are bad, some are good; our lives are mixed. Joy and sadness, need and abundance, night and day, make up our time. But honestly, I’m pleased with my stocking; very pleased with my stocking. Oh, here’s my niece! Hey, go tell Sir Sampson Legend that I’ll see him if he’s free: it’s now three o’clock, a great time for business: Mercury rules this hour.

SCENE III.

Angelica, Foresight, Nurse.

Angelica, Foresight, Nurse.

ANG.  Is it not a good hour for pleasure too, uncle?  Pray lend me your coach; mine’s out of order.

ANG. Is it not a good time for fun too, uncle? Please lend me your coach; mine’s broken.

FORE.  What, would you be gadding too?  Sure, all females are mad to-day.  It is of evil portent, and bodes mischief to the master of a family.  I remember an old prophecy written by Messahalah the Arabian, and thus translated by a reverend Buckinghamshire bard:—

FORE. What, are you going out again? Seriously, all women are acting crazy today. It’s a bad sign and could mean trouble for the head of the household. I recall an old prophecy written by Messahalah the Arabian, and here’s how a reverend from Buckinghamshire translated it:—

‘When housewives all the house forsake,
And leave goodman to brew and bake,
Withouten guile, then be it said,
That house doth stand upon its head;
And when the head is set in grond,
Ne marl, if it be fruitful fond.’

‘When housewives leave the home,
And leave their husbands to cook and bake,
Without any tricks, then let it be said,
That the house is upside down;
And when the head is set in the ground,
Don’t be surprised if it yields little.’

Fruitful, the head fruitful, that bodes horns; the fruit of the head is horns.  Dear niece, stay at home—for by the head of the house is meant the husband; the prophecy needs no explanation.

Fruitful, the head fruitful, that bodes horns; the fruit of the head is horns. Dear niece, stay at home—for by the head of the house is meant the husband; the prophecy needs no explanation.

ANG.  Well, but I can neither make you a cuckold, uncle, by going abroad, nor secure you from being one by staying at home.

ANG. Well, I can’t make you a fool, uncle, by going away, nor can I prevent you from being one by staying at home.

FORE.  Yes, yes; while there’s one woman left, the prophecy is not in full force.

FORE. Yes, yes; as long as there’s one woman left, the prophecy isn’t fully in effect.

ANG.  But my inclinations are in force; I have a mind to go abroad, and if you won’t lend me your coach, I’ll take a hackney or a chair, and leave you to erect a scheme, and find who’s in conjunction with your wife.  Why don’t you keep her at home, if you’re jealous of her when she’s abroad?  You know my aunt is a little retrograde (as you call it) in her nature.  Uncle, I’m afraid you are not lord of the ascendant, ha, ha, ha!

ANG. But I really want to go out; I’m thinking about heading abroad. If you won’t lend me your coach, I’ll just take a taxi or a chair and leave you to figure out a plan and find out who’s involved with your wife. Why don’t you just keep her at home if you’re worried about her when she’s out? You know my aunt is a bit old-fashioned (as you say) in her ways. Uncle, I’m afraid you’re not in control of the situation, ha, ha, ha!

FORE.  Well, Jill-flirt, you are very pert, and always ridiculing that celestial science.

FORE.  Well, Jill-flirt, you’re pretty cheeky and always making fun of that heavenly knowledge.

ANG.  Nay, uncle, don’t be angry—if you are, I’ll reap up all your false prophecies, ridiculous dreams, and idle divinations.  I’ll swear you are a nuisance to the neighbourhood.  What a bustle did you keep against the last invisible eclipse, laying in provision as ’twere for a siege.  What a world of fire and candle, matches and tinder-boxes did you purchase!  One would have thought we were ever after to live under ground, or at least making a voyage to Greenland, to inhabit there all the dark season.

ANG.  No, uncle, don’t be mad—if you are, I’ll bring up all your false predictions, silly dreams, and pointless guesses.  I’ll swear you’re a pain in the neck to the neighborhood.  What a fuss you made over the last unseen eclipse, stocking up supplies like we were preparing for a siege.  What a ton of fire and candles, matches and tinderboxes you bought!  One would think we were going to live underground forever, or at least taking a trip to Greenland to spend the entire dark season there.

FORE.  Why, you malapert slut—

FORE. Why, you rude slut—

ANG.  Will you lend me your coach, or I’ll go on—nay, I’ll declare how you prophesied popery was coming only because the butler had mislaid some of the apostle spoons, and thought they were lost.  Away went religion and spoon-meat together.  Indeed, uncle, I’ll indite you for a wizard.

ANG. Will you let me borrow your coach, or I’ll go on—no, I’ll say how you predicted that Catholicism was coming just because the butler misplaced some of the apostle spoons and thought they were lost. Away went religion and spoon-meat together. Honestly, uncle, I’ll accuse you of being a wizard.

FORE.  How, hussy!  Was there ever such a provoking minx?

FORE. How, you little flirt! Has there ever been such an annoying tease?

NURSE.  O merciful father, how she talks!

NURSE. Oh, merciful father, look at how she's talking!

ANG.  Yes, I can make oath of your unlawful midnight practices, you and the old nurse there—

ANG. Yes, I can swear to your illegal midnight activities, you and that old nurse there—

NURSE.  Marry, heaven defend!  I at midnight practices?  O Lord, what’s here to do?  I in unlawful doings with my master’s worship—why, did you ever hear the like now?  Sir, did ever I do anything of your midnight concerns but warm your bed, and tuck you up, and set the candle and your tobacco-box and your urinal by you, and now and then rub the soles of your feet?  O Lord, I!

NURSE.  Oh my God, what a mess!  What am I even doing here at midnight?  Am I getting involved in something illegal with my boss?  Have you ever heard anything like this?  Sir, have I ever done anything related to your late-night activities other than warm your bed, tuck you in, light your candle, put your tobacco box and urinal next to you, and occasionally rub your feet?  Oh my God!

ANG.  Yes, I saw you together through the key-hole of the closet one night, like Saul and the witch of Endor, turning the sieve and shears, and pricking your thumbs, to write poor innocent servants’ names in blood, about a little nutmeg grater which she had forgot in the caudle-cup.  Nay, I know something worse, if I would speak of it.

ANG. Yes, I saw you together through the keyhole of the closet one night, like Saul and the witch of Endor, using the sieve and shears, pricking your thumbs to write innocent servants' names in blood over a little nutmeg grater that she had left in the caudle-cup. No, I know something even worse if I wanted to say it.

FORE.  I defy you, hussy; but I’ll remember this, I’ll be revenged on you, cockatrice.  I’ll hamper you.  You have your fortune in your own hands, but I’ll find a way to make your lover, your prodigal spendthrift gallant, Valentine, pay for all, I will.

FORE. I challenge you, you brat; but I’ll remember this. I’ll get my revenge on you, you schemer. I’ll make things difficult for you. You have your future in your own hands, but I’ll figure out how to make your lover, that wasteful playboy, Valentine, pay for everything, I will.

ANG.  Will you?  I care not, but all shall out then.  Look to it, nurse: I can bring witness that you have a great unnatural teat under your left arm, and he another; and that you suckle a young devil in the shape of a tabby-cat, by turns, I can.

ANG. Will you? I don't care, but everything will come to light then. Pay attention, nurse: I can testify that you have a huge unnatural nipple under your left arm, and so does he; and that you nurse a little devil disguised as a tabby cat, alternating between the two, I can.

NURSE.  A teat, a teat—I an unnatural teat!  Oh, the false, slanderous thing; feel, feel here, if I have anything but like another Christian.  [Crying.]

NURSE. A teat, a teat—I’m an unnatural teat! Oh, the false, slanderous thing; feel, feel here, if I have anything but like another Christian. [Crying.]

FORE.  I will have patience, since it is the will of the stars I should be thus tormented.  This is the effect of the malicious conjunctions and oppositions in the third house of my nativity; there the curse of kindred was foretold.  But I will have my doors locked up;—I’ll punish you: not a man shall enter my house.

FORE. I will be patient, since it’s the will of the stars that I should be tormented this way. This is the result of the bad alignments and oppositions in the third house of my birth chart; there the curse of family was predicted. But I will keep my doors locked;—I’ll make you pay: not a single man shall enter my house.

ANG.  Do, uncle, lock ’em up quickly before my aunt come home.  You’ll have a letter for alimony to-morrow morning.  But let me be gone first, and then let no mankind come near the house, but converse with spirits and the celestial signs, the bull and the ram and the goat.  Bless me!  There are a great many horned beasts among the twelve signs, uncle.  But cuckolds go to heaven.

ANG. Do, uncle, lock them up quickly before my aunt gets home. You’ll have an alimony letter by tomorrow morning. But let me leave first, and then let no one come near the house, except to talk to spirits and the stars, the bull, the ram, and the goat. Wow! There are a lot of horned creatures among the twelve signs, uncle. But cheating husbands get into heaven.

FORE.  But there’s but one virgin among the twelve signs, spitfire, but one virgin.

FORE. But there's only one virgin among the twelve signs, fiery and passionate, just one virgin.

ANG.  Nor there had not been that one, if she had had to do with anything but astrologers, uncle.  That makes my aunt go abroad.

ANG. Nor would there have been that one, if she had dealt with anything other than astrologers, uncle. That’s what makes my aunt go out.

FORE.  How, how?  Is that the reason?  Come, you know something; tell me and I’ll forgive you.  Do, good niece.  Come, you shall have my coach and horses—faith and troth you shall.  Does my wife complain?  Come, I know women tell one another.  She is young and sanguine, has a wanton hazel eye, and was born under Gemini, which may incline her to society.  She has a mole upon her lip, with a moist palm, and an open liberality on the mount of Venus.

FORE. How, how? Is that the reason? Come on, you know something; tell me and I’ll forgive you. Please, good niece. Come on, you can have my coach and horses—believe me, you can. Is my wife complaining? I know women talk to each other. She’s young and optimistic, has a seductive hazel eye, and was born under Gemini, which might make her social. She has a mole on her lip, a moist palm, and a generous nature on the mount of Venus.

ANG.  Ha, ha, ha!

ANG.  Haha!

FORE.  Do you laugh?  Well, gentlewoman, I’ll—but come, be a good girl, don’t perplex your poor uncle, tell me—won’t you speak?  Odd, I’ll—

FORE. Do you laugh? Well, lady, I’ll—but come on, be a good girl, don’t confuse your poor uncle, tell me—won’t you say something? Odd, I’ll—

SCENE IV.

[To them] Servant.

To them: Servant.

SERV.  Sir Sampson is coming down to wait upon you.

SERV. Sir Sampson is coming down to meet with you.

ANG.  Good-bye, uncle—call me a chair.  I’ll find out my aunt, and tell her she must not come home.

ANG. Good-bye, uncle—just call me a chair. I’ll find my aunt and let her know she shouldn’t come home.

FORE.  I’m so perplexed and vexed, I’m not fit to receive him; I shall scarce recover myself before the hour be past.  Go nurse, tell Sir Sampson I’m ready to wait on him.

FORE. I'm so confused and frustrated, I'm not even ready to see him; I can hardly gather myself before the time is up. Go, nurse, tell Sir Sampson I'm ready to meet with him.

NURSE.  Yes, sir,

NURSE.  Yes, sir.

FORE.  Well—why, if I was born to be a cuckold, there’s no more to be said—he’s here already.

FORE. Well—if I was meant to be a fool, there’s nothing more to say—he’s already here.

SCENE V.

Foresight, and Sir Sampson Legend with a paper.

Foresight, and Sir Sampson Legend with a document.

SIR SAMP.  Nor no more to be done, old boy; that’s plain—here ’tis, I have it in my hand, old Ptolomey, I’ll make the ungracious prodigal know who begat him; I will, old Nostrodamus.  What, I warrant my son thought nothing belonged to a father but forgiveness and affection; no authority, no correction, no arbitrary power; nothing to be done, but for him to offend and me to pardon.  I warrant you, if he danced till doomsday he thought I was to pay the piper.  Well, but here it is under black and white, signatum, sigillatum, and deliberatum; that as soon as my son Benjamin is arrived, he’s to make over to him his right of inheritance.  Where’s my daughter that is to be?—Hah! old Merlin! body o’ me, I’m so glad I’m revenged on this undutiful rogue.

SIR SAMP. And there’s nothing more to be done, my old friend; that’s obvious—here it is, I have it in my hand, old Ptolemy, I’ll make the ungrateful brat understand who his father is; I will, old Nostrodamus. I’m sure my son thought being a father meant only forgiveness and love; no authority, no discipline, no power to enforce rules; nothing to do but for him to misbehave and me to forgive. I bet if he danced until the end of time, he thought I was supposed to pay for it. Well, but here it is in black and white, signatum, sigillatum, and deliberatum; that as soon as my son Benjamin arrives, he’s supposed to hand over his right of inheritance to him. Where’s my daughter who’s to be?—Hah! old Merlin! I’m so glad I got my revenge on this disobedient rascal.

FORE.  Odso, let me see; let me see the paper.  Ay, faith and troth, here ’tis, if it will but hold.  I wish things were done, and the conveyance made.  When was this signed, what hour?  Odso, you should have consulted me for the time.  Well, but we’ll make haste—

FORE. Oh dear, let me see; let me see the paper. Yeah, honestly, here it is, if it will just hold together. I wish everything was finished and the transfer completed. When was this signed, what time? Oh man, you should have checked with me about the timing. Well, let's hurry—

SIR SAMP.  Haste, ay, ay; haste enough.  My son Ben will be in town to-night.  I have ordered my lawyer to draw up writings of settlement and jointure—all shall be done to-night.  No matter for the time; prithee, brother Foresight, leave superstition.  Pox o’ the time; there’s no time but the time present, there’s no more to be said of what’s past, and all that is to come will happen.  If the sun shine by day, and the stars by night, why, we shall know one another’s faces without the help of a candle, and that’s all the stars are good for.

SIR SAMP. Haste, yes, yes; plenty of haste. My son Ben will be in town tonight. I've asked my lawyer to prepare the settlement and jointure documents—all of it will be done tonight. It doesn’t matter about the time; come on, brother Foresight, let’s leave superstition behind. Forget about the time; there’s only the present, nothing more to say about the past, and whatever happens in the future will happen. If the sun shines during the day and the stars come out at night, then we’ll recognize each other’s faces without needing a candle, and that’s all the stars are good for.

FORE.  How, how?  Sir Sampson, that all?  Give me leave to contradict you, and tell you you are ignorant.

FORE. How, how? Sir Sampson, is that it? Let me disagree with you and say that you're mistaken.

SIR SAMP.  I tell you I am wise; and sapiens dominabitur astris; there’s Latin for you to prove it, and an argument to confound your Ephemeris.—Ignorant!  I tell you, I have travelled old Fircu, and know the globe.  I have seen the antipodes, where the sun rises at midnight, and sets at noon-day.

SIR SAMP. I’m telling you I’m wise; and sapiens dominabitur astris; there’s some Latin for you to back it up, and a point to challenge your Ephemeris.—Clueless! I’m telling you, I’ve traveled old Fircu, and I know the world. I’ve seen the antipodes, where the sun rises at midnight and sets at noon.

FORE.  But I tell you, I have travelled, and travelled in the celestial spheres, know the signs and the planets, and their houses.  Can judge of motions direct and retrograde, of sextiles, quadrates, trines and oppositions, fiery-trigons and aquatical-trigons.  Know whether life shall be long or short, happy or unhappy, whether diseases are curable or incurable.  If journeys shall be prosperous, undertakings successful, or goods stolen recovered; I know—

FORE. But I tell you, I have traveled and traveled in the celestial realms, know the signs and the planets, and their houses. I can judge the direct and retrograde motions, of sextiles, quadrates, trines, and oppositions, fiery-trigons and aquatical-trigons. I know whether life will be long or short, happy or unhappy, whether diseases are curable or incurable. If journeys will be successful, undertakings fruitful, or stolen goods recovered; I know—

SIR SAMP.  I know the length of the Emperor of China’s foot; have kissed the Great Mogul’s slippers, and rid a-hunting upon an elephant with a Cham of Tartary.  Body o’ me, I have made a cuckold of a king, and the present majesty of Bantam is the issue of these loins.

SIR SAMP. I know the size of the Emperor of China’s foot; have kissed the Great Mogul’s shoes, and gone hunting on an elephant with a Cham of Tartary. Goodness, I’ve made a king a cuckold, and the current king of Bantam is the result of these loins.

FORE.  I know when travellers lie or speak truth, when they don’t know it themselves.

FORE. I can tell when travelers are lying or telling the truth, even when they don’t realize it themselves.

SIR SAMP.  I have known an astrologer made a cuckold in the twinkling of a star; and seen a conjurer that could not keep the devil out of his wife’s circle.

SIR SAMP. I’ve seen an astrologer get cheated on in the blink of a star, and I've met a magician who couldn’t keep the devil away from his wife.

FORE.  What, does he twit me with my wife too?  I must be better informed of this.  [Aside.]  Do you mean my wife, Sir Sampson?  Though you made a cuckold of the king of Bantam, yet by the body of the sun—

FORE. What, is he mocking me about my wife too? I need to get the full story on this. [Aside.] Are you talking about my wife, Sir Sampson? Even though you made a fool of the king of Bantam, I swear by the sun—

SIR SAMP.  By the horns of the moon, you would say, brother Capricorn.

SIR SAMP. By the horns of the moon, you would say, brother Capricorn.

FORE.  Capricorn in your teeth, thou modern Mandeville; Ferdinand Mendez Pinto was but a type of thee, thou liar of the first magnitude.  Take back your paper of inheritance; send your son to sea again.  I’ll wed my daughter to an Egyptian mummy, e’er she shall incorporate with a contemner of sciences, and a defamer of virtue.

FORE. Capricorn in your teeth, you modern Mandeville; Ferdinand Mendez Pinto was just a version of you, you liar of the highest order. Take back your inheritance papers; send your son to sea again. I'd rather marry my daughter to an Egyptian mummy than let her be with someone who looks down on knowledge and slanders virtue.

SIR SAMP.  Body o’ me, I have gone too far; I must not provoke honest Albumazar:—an Egyptian mummy is an illustrious creature, my trusty hieroglyphic; and may have significations of futurity about him; odsbud, I would my son were an Egyptian mummy for thy sake.  What, thou art not angry for a jest, my good Haly?  I reverence the sun, moon and stars with all my heart.  What, I’ll make thee a present of a mummy: now I think on’t, body o’ me, I have a shoulder of an Egyptian king that I purloined from one of the pyramids, powdered with hieroglyphics, thou shalt have it brought home to thy house, and make an entertainment for all the philomaths, and students in physic and astrology in and about London.

SIR SAMP.  Goodness, I've gone too far; I shouldn't provoke honest Albumazar:—an Egyptian mummy is quite the fascinating thing, my reliable hieroglyphic; and it might hold meanings about the future. Honestly, I wish my son were an Egyptian mummy for your sake.  What, are you not upset about a joke, my good Haly?  I truly respect the sun, moon, and stars with all my heart.  You know what, I'll give you a mummy as a gift: now that I think of it, goodness, I have a shoulder of an Egyptian king that I took from one of the pyramids, covered in hieroglyphics; I'll have it delivered to your house, and you can throw a party for all the scholars and students in medicine and astrology in and around London.

FORE.  But what do you know of my wife, Sir Sampson?

FORE. But what do you know about my wife, Sir Sampson?

SIR SAMP.  Thy wife is a constellation of virtues; she’s the moon, and thou art the man in the moon.  Nay, she is more illustrious than the moon; for she has her chastity without her inconstancy: ’sbud I was but in jest.

SIR SAMP.  Your wife is a collection of virtues; she’s the moon, and you’re the man in the moon. No, she’s even more remarkable than the moon because she has her purity without being fickle: I swear I was just joking.

SCENE VI.

[To them] Jeremy.

[To them] Jeremy.

SIR SAMP.  How now, who sent for you?  Ha!  What would you have?

SIR SAMP. Hey, who called for you? Huh! What do you want?

FORE.  Nay, if you were but in jest—who’s that fellow?  I don’t like his physiognomy.

FORE. No, if you’re just kidding—who’s that guy? I don’t like the look of him.

SIR SAMP.  My son, sir; what son, sir?  My son Benjamin, hoh?

SIR SAMP: My son, sir; which son, sir? My son Benjamin, huh?

JERE.  No, sir, Mr. Valentine, my master; ’tis the first time he has been abroad since his confinement, and he comes to pay his duty to you.

JERE. No, sir, Mr. Valentine, my boss; it’s the first time he’s been out since his confinement, and he’s here to pay his respects to you.

SIR SAMP.  Well, sir.

Well, sir.

SCENE VII.

Foresight, Sir Sampson, Valentine, Jeremy.

Foresight, Sir Sampson, Valentine, Jeremy.

JERE.  He is here, sir.

JERE. He's here, sir.

VAL.  Your blessing, sir.

Thanks for your blessing, sir.

SIR SAMP.  You’ve had it already, sir; I think I sent it you to-day in a bill of four thousand pound: a great deal of money, brother Foresight.

SIR SAMP. You’ve already received it, sir; I believe I sent it to you today in a bill for four thousand pounds: a lot of money, brother Foresight.

FORE.  Ay, indeed, Sir Sampson, a great deal of money for a young man; I wonder what he can do with it!

FORE.  Yes, really, Sir Sampson, that's a lot of money for a young man; I wonder what he’ll do with it!

SIR SAMP.  Body o’ me, so do I.  Hark ye, Valentine, if there be too much, refund the superfluity; dost hear, boy?

SIR SAMP.  Of course I do.  Listen, Valentine, if there’s too much, give back what’s extra; do you understand, kid?

VAL.  Superfluity, sir?  It will scarce pay my debts.  I hope you will have more indulgence than to oblige me to those hard conditions which my necessity signed to.

VAL. Superfluity, sir? It barely covers my debts. I hope you'll be more understanding than to force me into those harsh terms that my need has agreed to.

SIR SAMP.  Sir, how, I beseech you, what were you pleased to intimate, concerning indulgence?

SIR SAMP. Sir, please tell me, what did you mean when you mentioned indulgence?

VAL.  Why, sir, that you would not go to the extremity of the conditions, but release me at least from some part.

VAL. Why, sir, can you at least not go to the extreme of the conditions and free me from at least part of it?

SIR SAMP.  Oh, sir, I understand you—that’s all, ha?

SIR SAMP. Oh, sir, I get you—that’s it, right?

VAL.  Yes, sir, all that I presume to ask.  But what you, out of fatherly fondness, will be pleased to add, shall be doubly welcome.

VAL. Yes, sir, that's all I intend to ask. But anything you would willingly add out of fatherly affection would be even more appreciated.

SIR SAMP.  No doubt of it, sweet sir; but your filial piety, and my fatherly fondness would fit like two tallies.  Here’s a rogue, brother Foresight, makes a bargain under hand and seal in the morning, and would be released from it in the afternoon; here’s a rogue, dog, here’s conscience and honesty; this is your wit now, this is the morality of your wits!  You are a wit, and have been a beau, and may be a—why sirrah, is it not here under hand and seal—can you deny it?

SIR SAMP. No doubt about it, dear sir; but your duty as a son and my fatherly affection would match perfectly. Here’s a scoundrel, Brother Foresight, who makes a deal with a handshake and signature in the morning and wants to back out of it by the afternoon; here’s a scoundrel, a dog, here’s your conscience and integrity; this is your cleverness now, this is the morality of your cleverness! You are clever, have been a dandy, and could be—a—hey, isn’t this right here with a handshake and signature—can you deny it?

VAL.  Sir, I don’t deny it.

VAL. Yeah, I own it.

SIR SAMP.  Sirrah, you’ll be hanged; I shall live to see you go up Holborn Hill.  Has he not a rogue’s face?  Speak brother, you understand physiognomy, a hanging look to me—of all my boys the most unlike me; he has a damned Tyburn face, without the benefit o’ the clergy.

SIR SAMP. Hey, you’re going to be hanged; I’ll live to see you walking up Holborn Hill. Doesn’t he have a shady face? Speak up, brother, you know about how faces reveal character, and to me, he definitely has a look that says ‘hanging’—of all my kids, he’s the one least like me; he’s got a total Tyburn face, and no chance of being saved by the clergy.

FORE.  Hum—truly I don’t care to discourage a young man,—he has a violent death in his face; but I hope no danger of hanging.

FORE. Hum—honestly, I don’t want to discourage a young man—he looks like he's headed for a violent end; but I hope there's no risk of hanging.

VAL.  Sir, is this usage for your son?—For that old weather-headed fool, I know how to laugh at him; but you, sir—

VAL. Sir, is this how you treat your son?—I can laugh at that old fool with his messed-up hair, but you, sir—

SIR SAMP.  You, sir; and you, sir: why, who are you, sir?

SIR SAMP: You, sir; and you, sir: who are you, sir?

VAL.  Your son, sir.

Your son, sir.

SIR SAMP.  That’s more than I know, sir, and I believe not.

SIR SAMP. That's more than I know, sir, and I really don't think so.

VAL.  Faith, I hope not.

VAL. Faith, I really hope not.

SIR SAMP.  What, would you have your mother a whore?  Did you ever hear the like?  Did you ever hear the like?  Body o’ me—

SIR SAMP. What, do you want your mother to be a prostitute? Have you ever heard anything like that? Have you ever heard anything like that? Good grief—

VAL.  I would have an excuse for your barbarity and unnatural usage.

VAL. I would have an explanation for your cruelty and unnatural behavior.

SIR SAMP.  Excuse!  Impudence!  Why, sirrah, mayn’t I do what I please?  Are not you my slave?  Did not I beget you?  And might not I have chosen whether I would have begot you or no?  ’Oons, who are you?  Whence came you?  What brought you into the world?  How came you here, sir?  Here, to stand here, upon those two legs, and look erect with that audacious face, ha?  Answer me that!  Did you come a volunteer into the world?  Or did I, with the lawful authority of a parent, press you to the service?

SIR SAMP. Excuse me! You’re so rude! Why, you little brat, can’t I do what I want? Aren’t you my servant? Didn’t I create you? And couldn’t I have decided whether to have you or not? For heaven's sake, who do you think you are? Where did you come from? What brought you into this world? How did you even get here, standing on those two legs and looking so bold with that cheeky face, huh? Answer me that! Did you just show up in the world on your own? Or did I, with the right as your parent, push you into this role?

VAL.  I know no more why I came than you do why you called me.  But here I am, and if you don’t mean to provide for me, I desire you would leave me as you found me.

VAL. I don't know any better why I came than you know why you called me. But here I am, and if you don't plan to take care of me, I wish you would just leave me as I was.

SIR SAMP.  With all my heart: come, uncase, strip, and go naked out of the world as you came into ’t.

SIR SAMP. With all my heart: come on, take off your clothes, and go out into the world naked just like you came in.

VAL.  My clothes are soon put off.  But you must also divest me of reason, thought, passions, inclinations, affections, appetites, senses, and the huge train of attendants that you begot along with me.

VAL. My clothes come off quickly. But you also need to strip me of my reason, thoughts, emotions, desires, feelings, cravings, senses, and the whole host of things that came along with me.

SIR SAMP.  Body o’ me, what a manyheaded monster have I propagated!

SIR SAMP. Wow, what a multi-headed monster I’ve created!

VAL.  I am of myself, a plain, easy, simple creature, and to be kept at small expense; but the retinue that you gave me are craving and invincible; they are so many devils that you have raised, and will have employment.

VAL. I’m just a straightforward, low-maintenance person, but the followers you gave me are greedy and relentless; they’re like a bunch of demons you’ve unleashed, and they will always need something to do.

SIR SAMP.  ’Oons, what had I to do to get children,—can’t a private man be born without all these followers?  Why, nothing under an emperor should be born with appetites.  Why, at this rate, a fellow that has but a groat in his pocket may have a stomach capable of a ten shilling ordinary.

SIR SAMP. "Good grief, what do I have to do to have kids—can’t an ordinary guy live without all these people following him? Seriously, no one under an emperor should be born with such desires. At this rate, a guy with just a penny in his pocket might have an appetite fit for a ten-shilling meal."

JERE.  Nay, that’s as clear as the sun; I’ll make oath of it before any justice in Middlesex.

JERE. No way, that's as obvious as the sun; I'll swear to it in front of any judge in Middlesex.

SIR SAMP.  Here’s a cormorant too.  ’S’heart this fellow was not born with you?  I did not beget him, did I?

SIR SAMP. Here’s a greedy one too. Didn’t this guy come into the world with you? I didn’t create him, did I?

JERE.  By the provision that’s made for me, you might have begot me too.  Nay, and to tell your worship another truth, I believe you did, for I find I was born with those same whoreson appetites too, that my master speaks of.

JERE. With the support I've been given, you could have been my father as well. Honestly, to tell you another truth, I think you might be, because I realize I was born with those same impulsive desires that my master talks about.

SIR SAMP.  Why, look you there, now.  I’ll maintain it, that by the rule of right reason, this fellow ought to have been born without a palate.  ’S’heart, what should he do with a distinguishing taste?  I warrant now he’d rather eat a pheasant, than a piece of poor John; and smell, now, why I warrant he can smell, and loves perfumes above a stink.  Why there’s it; and music, don’t you love music, scoundrel?

SIR SAMP. Well, look at that. I’ll argue that by the rules of common sense, this guy shouldn’t have been born with a palate at all. Seriously, what does he need a sense of taste for? I bet he’d prefer a pheasant over a piece of cheap fish any day; and as for smelling, I bet he can smell just fine and prefers perfumes over bad odors. There you have it; and music, don’t you love music, you rascal?

JERE.  Yes; I have a reasonable good ear, sir, as to jigs and country dances, and the like; I don’t much matter your solos or sonatas, they give me the spleen.

JERE. Yes; I have a pretty good ear, sir, for jigs and folk dances, and the like; I don’t really care for your solos or sonatas, they just bore me.

SIR SAMP.  The spleen, ha, ha, ha; a pox confound you—solos or sonatas?  ’Oons, whose son are you?  How were you engendered, muckworm?

SIR SAMP. The spleen, ha, ha, ha; damn you—solos or sonatas? Damn, whose son are you? How were you born, worm?

JERE.  I am by my father, the son of a chair-man; my mother sold oysters in winter, and cucumbers in summer; and I came upstairs into the world; for I was born in a cellar.

JERE. I am my father's son, the child of a businessman; my mother sold oysters in the winter and cucumbers in the summer; and I made my way into the world; because I was born in a basement.

FORE.  By your looks, you should go upstairs out of the world too, friend.

FORE. By your appearance, you should head upstairs and out of this world too, my friend.

SIR SAMP.  And if this rogue were anatomized now, and dissected, he has his vessels of digestion and concoction, and so forth, large enough for the inside of a cardinal, this son of a cucumber.—These things are unaccountable and unreasonable.  Body o’ me, why was not I a bear, that my cubs might have lived upon sucking their paws?  Nature has been provident only to bears and spiders; the one has its nutriment in his own hands; and t’other spins his habitation out of his own entrails.

SIR SAMP. And if we could dissect this scoundrel right now, we’d find his digestive system and so on are big enough for a cardinal, this son of a cucumber. These things are beyond reason. Good heavens, why wasn’t I a bear, so my cubs could survive by sucking their paws? Nature has only been generous to bears and spiders; one gets its food right from its own hands, and the other spins its home from its own insides.

VAL.  Fortune was provident enough to supply all the necessities of my nature, if I had my right of inheritance.

VAL. Fortune was generous enough to provide all the essentials of my being, if I had my rightful inheritance.

SIR SAMP.  Again!  ’Oons, han’t you four thousand pounds?  If I had it again, I would not give thee a groat.—What, would’st thou have me turn pelican, and feed thee out of my own vitals?  S’heart, live by your wits: you were always fond of the wits, now let’s see, if you have wit enough to keep yourself.  Your brother will be in town to-night or to-morrow morning, and then look you perform covenants, and so your friend and servant:—come, brother Foresight.

SIR SAMP.  Again! Good grief, don’t you have four thousand pounds? If I had it again, I wouldn’t give you a penny. What, do you want me to become a pelican and feed you from my own insides? Honestly, live off your own smarts: you’ve always liked using your brain, so let’s see if you can figure out how to take care of yourself. Your brother will be in town tonight or tomorrow morning, and then you better fulfill your promises, so here’s to you, my friend:—come on, brother Foresight.

SCENE VIII.

Valentine, Jeremy.

Valentine, Jeremy.

JERE.  I told you what your visit would come to.

JERE. I told you what your visit would lead to.

VAL.  ’Tis as much as I expected.  I did not come to see him, I came to see Angelica: but since she was gone abroad, it was easily turned another way, and at least looked well on my side.  What’s here?  Mrs. Foresight and Mrs. Frail, they are earnest.  I’ll avoid ’em.  Come this way, and go and enquire when Angelica will return.

VAL. It’s just what I expected. I didn’t come to see him, I came to see Angelica: but since she’s away, I can easily change the plan and at least make it look good for me. What’s this? Mrs. Foresight and Mrs. Frail, they’re serious. I’ll steer clear of them. Come this way and find out when Angelica will be back.

SCENE IX.

Mrs. Foresight and Mrs. Frail.

Mrs. Foresight and Mrs. Frail.

MRS. FRAIL.  What have you to do to watch me?  ’S’life I’ll do what I please.

MRS. FRAIL. What do you have to keep an eye on me for? Honestly, I’ll do what I want.

MRS. FORE.  You will?

Mrs. Fore. You will?

MRS. FRAIL.  Yes, marry will I.  A great piece of business to go to Covent Garden Square in a hackney coach, and take a turn with one’s friend.

MRS. FRAIL. Yes, I will marry. It's quite the hassle to go to Covent Garden Square in a cab and hang out with a friend.

MRS. FORE.  Nay, two or three turns, I’ll take my oath.

MRS. FORE. No way, I’ll swear it’s been two or three times.

MRS. FRAIL.  Well, what if I took twenty—I warrant if you had been there, it had been only innocent recreation.  Lord, where’s the comfort of this life if we can’t have the happiness of conversing where we like?

MRS. FRAIL. Well, what if I took twenty—I bet if you had been there, it would have been just innocent fun. Seriously, what’s the point of this life if we can’t enjoy talking wherever we want?

MRS. FORE.  But can’t you converse at home?  I own it, I think there’s no happiness like conversing with an agreeable man; I don’t quarrel at that, nor I don’t think but your conversation was very innocent; but the place is public, and to be seen with a man in a hackney coach is scandalous.  What if anybody else should have seen you alight, as I did?  How can anybody be happy while they’re in perpetual fear of being seen and censured?  Besides, it would not only reflect upon you, sister, but me.

MRS. FORE. But can’t you talk at home? I admit, I think there’s no happiness like chatting with a pleasant man; I don’t dispute that, nor do I think your conversation was inappropriate; but this place is public, and being seen with a man in a hired coach is scandalous. What if someone else had seen you get out, like I did? How can anyone be happy when they’re always worried about being seen and judged? Plus, it wouldn’t just reflect on you, sister, but on me too.

MRS. FRAIL.  Pooh, here’s a clutter: why should it reflect upon you?  I don’t doubt but you have thought yourself happy in a hackney coach before now.  If I had gone to Knight’s Bridge, or to Chelsea, or to Spring Garden, or Barn Elms with a man alone, something might have been said.

MRS. FRAIL.  Come on, what a mess: why should it be your fault?  I’m sure you’ve felt happy in a cab before.  If I had gone to Knight’s Bridge, Chelsea, Spring Garden, or Barn Elms alone with a guy, people might have talked.

MRS. FORE.  Why, was I ever in any of those places?  What do you mean, sister?

MRS. FORE. Wait, was I ever in any of those places? What do you mean, sister?

MRS. FRAIL.  Was I?  What do you mean?

MRS. FRAIL. Was I? What are you talking about?

MRS. FORE.  You have been at a worse place.

MRS. FORE. You have been in a worse situation.

MRS. FRAIL.  I at a worse place, and with a man!

MRS. FRAIL. I’m in a worse situation, and with a man!

MRS. FORE.  I suppose you would not go alone to the World’s End.

MRS. FORE. I guess you wouldn't go to the World's End alone.

MRS. FRAIL.  The World’s End!  What, do you mean to banter me?

MRS. FRAIL. The World’s End! What, are you trying to tease me?

MRS. FORE.  Poor innocent!  You don’t know that there’s a place called the World’s End?  I’ll swear you can keep your countenance purely: you’d make an admirable player.

MRS. FORE. Poor thing! You don’t realize there’s a place called the World’s End? I swear you can keep a straight face perfectly: you’d be an amazing actor.

MRS. FRAIL.  I’ll swear you have a great deal of confidence, and in my mind too much for the stage.

MRS. FRAIL. I swear you have a lot of confidence, and honestly, I think it's too much for the stage.

MRS. FORE.  Very well, that will appear who has most; you never were at the World’s End?

MRS. FORE. Okay, we'll see who has the most; you’ve never been to the World’s End?

MRS. FRAIL.  No.

MRS. FRAIL. No.

MRS. FORE.  You deny it positively to my face?

MRS. FORE. You flat out deny it to my face?

MRS. FRAIL.  Your face, what’s your face?

MRS. FRAIL. Your face, what’s wrong with your face?

MRS. FORE.  No matter for that, it’s as good a face as yours.

MRS. FORE. No worries about that, it’s just as good a face as yours.

MRS. FRAIL.  Not by a dozen years’ wearing.  But I do deny it positively to your face, then.

MRS. FRAIL.  Not by a dozen years of wearing it down. But I'm telling you directly to your face that it's not true, then.

MRS. FORE.  I’ll allow you now to find fault with my face; for I’ll swear your impudence has put me out of countenance.  But look you here now, where did you lose this gold bodkin?  Oh, sister, sister!

MRS. FORE. I’ll let you criticize my face now; I swear your boldness has thrown me off. But tell me, where did you misplace this gold bodkin? Oh, sister, sister!

MRS. FRAIL.  My bodkin!

Mrs. Frail. My gosh!

MRS. FORE.  Nay, ’tis yours, look at it.

MRS. FORE. No, it's yours, take a look at it.

MRS. FRAIL.  Well, if you go to that, where did you find this bodkin?  Oh, sister, sister!  Sister every way.

MRS. FRAIL. Well, if you're going to say that, where did you find this bodkin? Oh, sister, sister! Sister in every way.

MRS. FORE.  Oh, devil on’t, that I could not discover her without betraying myself.  [Aside.]

MRS. FORE. Oh, it's frustrating that I can't find her without revealing my own secrets. [Aside.]

MRS. FRAIL.  I have heard gentlemen say, sister, that one should take great care, when one makes a thrust in fencing, not to lie open oneself.

MRS. FRAIL. I’ve heard guys say, sister, that you should be very careful when you make a move in fencing, so you don’t leave yourself vulnerable.

MRS. FORE.  It’s very true, sister.  Well, since all’s out, and as you say, since we are both wounded, let us do what is often done in duels, take care of one another, and grow better friends than before.

MRS. FORE. It’s absolutely true, sister. Well, now that everything’s out in the open, and since we’re both hurt, let’s do what often happens in duels: take care of each other and become better friends than we were before.

MRS. FRAIL.  With all my heart: ours are but slight flesh wounds, and if we keep ’em from air, not at all dangerous.  Well, give me your hand in token of sisterly secrecy and affection.

MRS. FRAIL. With all my heart: our wounds are just minor cuts, and as long as we keep them covered, they’re not dangerous at all. Well, give me your hand as a sign of our sisterly secrecy and affection.

MRS. FORE.  Here ’tis, with all my heart.

MRS. FORE. Here it is, with all my heart.

MRS. FRAIL.  Well, as an earnest of friendship and confidence, I’ll acquaint you with a design that I have.  To tell truth, and speak openly one to another, I’m afraid the world have observed us more than we have observed one another.  You have a rich husband, and are provided for.  I am at a loss, and have no great stock either of fortune or reputation, and therefore must look sharply about me.  Sir Sampson has a son that is expected to-night, and by the account I have heard of his education, can be no conjurer.  The estate you know is to be made over to him.  Now if I could wheedle him, sister, ha?  You understand me?

MRS. FRAIL. Well, as a sign of friendship and trust, I’ll share a plan I have. To be honest and open with each other, I’m worried the world has noticed us more than we’ve noticed each other. You have a wealthy husband and are taken care of. I’m in a tough spot, with little in terms of money or reputation, so I have to be very careful. Sir Sampson’s son is expected tonight, and from what I’ve heard about his education, he won’t be very bright. You know the estate is supposed to be given to him. Now, if I could charm him, sister, huh? You get what I mean?

MRS. FORE.  I do, and will help you to the utmost of my power.  And I can tell you one thing that falls out luckily enough; my awkward daughter-in-law, who you know is designed to be his wife, is grown fond of Mr. Tattle; now if we can improve that, and make her have an aversion for the booby, it may go a great way towards his liking you.  Here they come together; and let us contrive some way or other to leave ’em together.

MRS. FORE. I do, and I will help you as much as I can. And I have a little bit of good news; my clumsy daughter-in-law, who is supposed to marry him, has developed feelings for Mr. Tattle. Now, if we can turn that around and make her dislike the fool, it could really help him be more interested in you. Here they come together; let’s find a way to leave them alone.

SCENE X.

[To them] Tattle and Miss Prue.

[To them] Tattle and Miss Prue.

MISS.  Mother, mother, mother, look you here!

MISS. Mother, mother, mother, look here!

MRS. FORE.  Fie, fie, Miss, how you bawl!  Besides, I have told you, you must not call me mother.

MRS. FORE.  Come on, Miss, why are you yelling?  Also, I've told you, you can't call me mother.

MISS.  What must I call you then, are you not my father’s wife?

MISS. What should I call you then? Aren't you my father's wife?

MRS. FORE.  Madam; you must say madam.  By my soul, I shall fancy myself old indeed to have this great girl call me mother.  Well, but Miss, what are you so overjoyed at?

MRS. FORE.  Ma'am; you have to say ma'am.  Honestly, it makes me feel so old to have this big girl call me mom.  But seriously, Miss, what are you so happy about?

MISS.  Look you here, madam, then, what Mr. Tattle has given me.  Look you here, cousin, here’s a snuff-box; nay, there’s snuff in’t.  Here, will you have any?  Oh, good!  How sweet it is.  Mr. Tattle is all over sweet, his peruke is sweet, and his gloves are sweet, and his handkerchief is sweet, pure sweet, sweeter than roses.  Smell him, mother—madam, I mean.  He gave me this ring for a kiss.

MISS. Look at this, madam, what Mr. Tattle gave me. Look, cousin, here’s a snuff-box; and there’s snuff in it. Here, do you want some? Oh, it’s lovely! It smells so sweet. Mr. Tattle is just sweet all over—his wig is sweet, his gloves are sweet, and his handkerchief is sweet, pure sweetness, sweeter than roses. Smell him, mother—uh, I mean, madam. He gave me this ring for a kiss.

TATT.  O fie, Miss, you must not kiss and tell.

TATT. Oh no, Miss, you really shouldn't kiss and tell.

MISS.  Yes; I may tell my mother.  And he says he’ll give me something to make me smell so.  Oh, pray lend me your handkerchief.  Smell, cousin; he says he’ll give me something that will make my smocks smell this way.  Is not it pure?  It’s better than lavender, mun.  I’m resolved I won’t let nurse put any more lavender among my smocks—ha, cousin?

MISS. Yes; I can tell my mom. And he says he’ll give me something to make me smell like that. Oh, please lend me your handkerchief. Smell it, cousin; he says he’ll give me something that will make my dresses smell this way. Isn’t it nice? It’s better than lavender, right? I’ve decided I won’t let the nurse put any more lavender in my dresses—ha, cousin?

MRS. FRAIL.  Fie, Miss; amongst your linen, you must say.  You must never say smock.

MRS. FRAIL. Come on, Miss; you should say linen. You should never say smock.

MISS.  Why, it is not bawdy, is it, cousin?

MISS. Why, it’s not inappropriate, is it, cousin?

TATT.  Oh, madam; you are too severe upon Miss; you must not find fault with her pretty simplicity: it becomes her strangely.  Pretty Miss, don’t let ’em persuade you out of your innocency.

TATT. Oh, ma'am; you’re being too hard on Miss; you shouldn’t criticize her sweet simplicity: it suits her surprisingly well. Sweet Miss, don’t let them talk you out of your innocence.

MRS. FORE.  Oh, demm you toad.  I wish you don’t persuade her out of her innocency.

MRS. FORE. Oh, damn you, toad. I hope you don't talk her out of her innocence.

TATT.  Who, I, madam?  O Lord, how can your ladyship have such a thought?  Sure, you don’t know me.

TATT. Who, me, ma'am? Oh my goodness, how could you think that? Surely, you don't really know me.

MRS. FRAIL.  Ah devil, sly devil.  He’s as close, sister, as a confessor.  He thinks we don’t observe him.

MRS. FRAIL.  Ah, cunning devil.  He’s as secretive, sister, as a confessor.  He thinks we don’t notice him.

MRS. FORE.  A cunning cur, how soon he could find out a fresh, harmless creature; and left us, sister, presently.

MRS. FORE. A clever dog, he quickly found out a new, innocent being; and left us, sister, right away.

TATT.  Upon reputation

TATT. Based on reputation

MRS. FORE.  They’re all so, sister, these men.  They love to have the spoiling of a young thing, they are as fond of it, as of being first in the fashion, or of seeing a new play the first day.  I warrant it would break Mr. Tattle’s heart to think that anybody else should be beforehand with him.

MRS. FORE. They’re all like that, sister, these guys. They love to indulge a young woman; it’s as important to them as being the first to know about the latest fashion or catching a new play on opening night. I’m sure it would crush Mr. Tattle to think anyone could get ahead of him.

TATT.  O Lord, I swear I would not for the world—

TATT. Oh God, I promise I wouldn't for anything—

MRS. FRAIL.  O hang you; who’ll believe you?  You’d be hanged before you’d confess.  We know you—she’s very pretty!  Lord, what pure red and white!—she looks so wholesome; ne’er stir: I don’t know, but I fancy, if I were a man—

MRS. FRAIL. Oh, forget you; who’s going to believe you? You'd rather be hanged than admit it. We know you—she's really beautiful! Goodness, what perfect red and white! She looks so healthy; never move: I don't know, but I imagine, if I were a man—

MISS.  How you love to jeer one, cousin.

MISS. How you love to mock me, cousin.

MRS. FORE.  Hark’ee, sister, by my soul the girl is spoiled already.  D’ee think she’ll ever endure a great lubberly tarpaulin?  Gad, I warrant you she won’t let him come near her after Mr. Tattle.

MRS. FORE. Listen, sister, honestly, the girl is already spoiled. Do you think she’ll ever put up with a big, clumsy sailor? I bet she won’t let him come anywhere near her after Mr. Tattle.

MRS. FRAIL.  O my soul, I’m afraid not—eh!—filthy creature, that smells all of pitch and tar.  Devil take you, you confounded toad—why did you see her before she was married?

MRS. FRAIL.  Oh my gosh, I can't believe it—ugh!—disgusting creature, who reeks of pitch and tar.  Damn you, you annoying toad—why did you meet her before she got married?

MRS. FORE.  Nay, why did we let him—my husband will hang us.  He’ll think we brought ’em acquainted.

MRS. FORE.  No, why did we let him—my husband will hang us.  He'll think we introduced them.

MRS. FRAIL.  Come, faith, let us be gone.  If my brother Foresight should find us with them, he’d think so, sure enough.

MRS. FRAIL. Come on, let's get out of here. If my brother Foresight sees us with them, he’ll definitely think that.

MRS. FORE.  So he would—but then leaving them together is as bad: and he’s such a sly devil, he’ll never miss an opportunity.

MRS. FORE. So he would—but leaving them alone is just as bad: and he’s such a sneaky guy, he’ll never pass up a chance.

MRS. FRAIL.  I don’t care; I won’t be seen in’t.

MRS. FRAIL. I don’t care; I won’t be caught in it.

MRS. FORE.  Well, if you should, Mr. Tattle, you’ll have a world to answer for; remember I wash my hands of it.  I’m thoroughly innocent.

MRS. FORE. Well, if you do, Mr. Tattle, you’ll have a lot to explain; just know that I'm washing my hands of it. I’m completely innocent.

SCENE XI.

Tattle, Miss Prue.

Tattle, Miss Prue.

MISS.  What makes ’em go away, Mr. Tattle?  What do they mean, do you know?

MISS. What makes them leave, Mr. Tattle? Do you know what they mean?

TATT.  Yes my dear; I think I can guess, but hang me if I know the reason of it.

TATT. Yes, my dear; I think I can figure it out, but I swear I have no idea why.

MISS.  Come, must not we go too?

MISS: Come on, shouldn't we go too?

TATT.  No, no, they don’t mean that.

TATT. No, no, they don't mean that.

MISS.  No!  What then?  What shall you and I do together?

MISS. No! What then? What are we going to do together?

TATT.  I must make love to you, pretty Miss; will you let me make love to you?

TATT. I need to express my feelings for you, beautiful Miss; will you allow me to do that?

MISS.  Yes, if you please.

Sure, go ahead.

TATT.  Frank, i’Gad, at least.  What a pox does Mrs. Foresight mean by this civility?  Is it to make a fool of me?  Or does she leave us together out of good morality, and do as she would be done by?—Gad, I’ll understand it so.  [Aside.]

TATT. Frank, I swear, seriously. What on earth does Mrs. Foresight mean by being so polite? Is it to make a fool out of me? Or is she leaving us alone out of good intentions, treating us how she’d want to be treated?—I’ll take it that way. [Aside.]

MISS.  Well; and how will you make love to me—come, I long to have you begin,—must I make love too?  You must tell me how.

MISS. Well, how are you going to woo me? Come on, I can't wait for you to start. Should I also try to charm you? You have to let me know how.

TATT.  You must let me speak, Miss, you must not speak first; I must ask you questions, and you must answer.

TATT. You need to let me talk, Miss; you can’t speak first. I have to ask you questions, and you have to answer.

MISS.  What, is it like the catechism?  Come then, ask me.

MISS. What, is it like the catechism? Go ahead, ask me.

TATT.  D’ye think you can love me?

TATT. Do you think you can love me?

MISS.  Yes.

MISS. Yeah.

TATT.  Pooh, pox, you must not say yes already; I shan’t care a farthing for you then in a twinkling.

TATT. Ugh, come on, you can't say yes right away; I won’t care about you at all in a flash.

MISS.  What must I say then?

MISS. What should I say then?

TATT.  Why you must say no, or you believe not, or you can’t tell—

TATT. Why you have to say no, or you don’t believe it, or you can’t say—

MISS.  Why, must I tell a lie then?

MISS. Why, do I have to lie then?

TATT.  Yes, if you’d be well bred.  All well bred persons lie.—Besides, you are a woman, you must never speak what you think: your words must contradict your thoughts; but your actions may contradict your words.  So when I ask you if you can love me, you must say no, but you must love me too.  If I tell you you are handsome, you must deny it, and say I flatter you.  But you must think yourself more charming than I speak you: and like me, for the beauty which I say you have, as much as if I had it myself.  If I ask you to kiss me, you must be angry, but you must not refuse me.  If I ask you for more, you must be more angry,—but more complying; and as soon as ever I make you say you’ll cry out, you must be sure to hold your tongue.

TATT. Yes, if you want to be refined. All refined people lie. Besides, you’re a woman; you should never say what you really think. Your words should go against your thoughts, but your actions can contradict your words. So when I ask if you love me, you have to say no, even if you love me. If I tell you that you’re beautiful, you have to deny it and say I’m flattering you. But you should believe you’re more charming than I say you are, and like me for the beauty I attribute to you as much as if I had it myself. If I ask you to kiss me, you should act annoyed, but you can’t actually refuse. If I ask for more, you should be even more annoyed—but also give in; and as soon as I make you agree, you should definitely keep quiet.

MISS.  O Lord, I swear this is pure.  I like it better than our old-fashioned country way of speaking one’s mind;—and must not you lie too?

MISS. O Lord, I swear this is genuine. I prefer it to our old-fashioned country way of speaking your mind;—and shouldn’t you lie too?

TATT.  Hum—yes—but you must believe I speak truth.

TATT.  Hmm—yeah—but you have to believe that I'm telling the truth.

MISS.  O Gemini!  Well, I always had a great mind to tell lies; but they frighted me, and said it was a sin.

MISS. O Gemini! Well, I always wanted to tell lies; but they scared me and said it was a sin.

TATT.  Well, my pretty creature; will you make me happy by giving me a kiss?

TATT. Well, my lovely one; will you make me happy by giving me a kiss?

MISS.  No, indeed; I’m angry at you.  [Runs and kisses him.]

MISS. No, actually; I’m mad at you. [Runs and kisses him.]

TATT.  Hold, hold, that’s pretty well, but you should not have given it me, but have suffered me to have taken it.

TATT.  Wait, wait, that's good, but you shouldn't have given it to me; you should have let me take it.

MISS.  Well, we’ll do it again.

MISS. Well, we’ll do it again.

TATT.  With all my heart.—Now then, my little angel.  [Kisses her.]

TATT. With all my heart.—Alright then, my little angel. [Kisses her.]

MISS.  Pish.

Miss. Whatever.

TATT.  That’s right,—again, my charmer.  [Kisses again.]

TATT. That's right, my charming one. [Kisses again.]

MISS.  O fie, nay, now I can’t abide you.

MISS. Oh no, I can't stand you now.

TATT.  Admirable!  That was as well as if you had been born and bred in Covent Garden.  And won’t you shew me, pretty miss, where your bed-chamber is?

TATT. Awesome! That was just as if you had been born and raised in Covent Garden. So, would you show me, pretty miss, where your bedroom is?

MISS.  No, indeed won’t I; but I’ll run there, and hide myself from you behind the curtains.

MISS. No, I definitely won’t; but I’ll run over there and hide from you behind the curtains.

TATT.  I’ll follow you.

TATT. I'll follow you.

MISS.  Ah, but I’ll hold the door with both hands, and be angry;—and you shall push me down before you come in.

MISS. Ah, but I’ll hold the door with both hands, and be angry;—and you’ll have to push me down before you come in.

TATT.  No, I’ll come in first, and push you down afterwards.

TATT. No, I’ll go in first and then push you down afterward.

MISS.  Will you?  Then I’ll be more angry and more complying.

MISS. Will you? Then I'll be angrier and more agreeable.

TATT.  Then I’ll make you cry out.

TATT.  Then I’ll make you scream.

MISS.  Oh, but you shan’t, for I’ll hold my tongue.

MISS. Oh, but you won’t, because I’ll keep quiet.

TATT.  O my dear apt scholar!

TATT. Oh my dear skilled student!

MISS.  Well, now I’ll run and make more haste than you.

MISS. Well, now I’ll hurry and be faster than you.

TATT.  You shall not fly so fast, as I’ll pursue.

TATT. You won't fly away so fast; I'll chase after you.

ACT III.—SCENE I.

Nurse alone.

Nurse solo.

NURSE.  Miss, Miss, Miss Prue!  Mercy on me, marry and amen.  Why, what’s become of the child?  Why Miss, Miss Foresight!  Sure she has locked herself up in her chamber, and gone to sleep, or to prayers: Miss, Miss,—I hear her.—Come to your father, child; open the door.  Open the door, Miss.  I hear you cry husht.  O Lord, who’s there? [peeps]  What’s here to do?  O the Father!  A man with her!  Why, miss, I say; God’s my life, here’s fine doings towards—O Lord, we’re all undone.  O you young harlotry [knocks].  Od’s my life, won’t you open the door?  I’ll come in the back way.

NURSE. Miss, Miss, Miss Prue! Oh my goodness, marry and amen. What happened to the child? Miss, Miss Foresight! I bet she’s locked herself in her room, either asleep or praying. Miss, Miss—I can hear you. Come to your father, dear; open the door. Open the door, Miss. I hear you telling me to be quiet. Oh Lord, who’s there? [peeks] What’s going on? Oh, the Father! A man with her! Miss, I’m telling you; good grief, this is a mess—Oh Lord, we’re all in trouble. Oh you young harlot [knocks]. For heaven’s sake, won’t you open the door? I’ll come in the back way.

SCENE II.

Tattle, Miss Prue.

Tattle, Miss Prue.

MISS.  O Lord, she’s coming, and she’ll tell my father; what shall I do now?

MISS. O Lord, she's coming, and she'll tell my dad; what should I do now?

TATT.  Pox take her; if she had stayed two minutes longer, I should have wished for her coming.

TATT. Ugh, I can't believe her; if she had stayed two minutes longer, I would have actually wanted her to come back.

MISS.  O dear, what shall I say?  Tell me, Mr. Tattle, tell me a lie.

MISS. O dear, what should I say? Tell me, Mr. Tattle, tell me a lie.

TATT.  There’s no occasion for a lie; I could never tell a lie to no purpose.  But since we have done nothing, we must say nothing, I think.  I hear her,—I’ll leave you together, and come off as you can.  [Thrusts her in, and shuts the door.]

TATT. There's no reason to lie; I could never lie just for the sake of it. But since we haven't done anything, I think we should say nothing. I hear her—I'll leave you two alone, and you can handle it from here. [Pushes her in, and shuts the door.]

SCENE III.

Tattle, Valentine, Scandal, Angelica.

Tattle, Valentine, Scandal, Angelica.

ANG.  You can’t accuse me of inconstancy; I never told you that I loved you.

ANG. You can't call me fickle; I never said I loved you.

VAL.  But I can accuse you of uncertainty, for not telling me whether you did or not.

VAL. But I can call you out for being uncertain, since you didn't tell me if you did or not.

ANG.  You mistake indifference for uncertainty; I never had concern enough to ask myself the question.

ANG. You confuse indifference with uncertainty; I never cared enough to ask myself the question.

SCAN.  Nor good-nature enough to answer him that did ask you; I’ll say that for you, madam.

SCAN. Nor kind enough to respond to the one who asked you; I'll say that for you, madam.

ANG.  What, are you setting up for good-nature?

ANG. What, are you trying to act all good-natured?

SCAN.  Only for the affectation of it, as the women do for ill-nature.

SCAN. Only for the show of it, like the women do for bad temper.

ANG.  Persuade your friend that it is all affectation.

ANG. Convince your friend that it’s all just a show.

SCAN.  I shall receive no benefit from the opinion; for I know no effectual difference between continued affectation and reality.

SCAN. I won’t gain anything from the opinion because I see no real difference between pretending and being genuine.

TATT.  [coming up].   Scandal, are you in private discourse?  Anything of secrecy?  [Aside to Scandal.]

TATT.  [coming up].   Scandal, are you having a private conversation? Anything confidential?  [Aside to Controversy.]

SCAN.  Yes, but I dare trust you; we were talking of Angelica’s love to Valentine.  You won’t speak of it.

SCAN. Yes, but I trust you enough; we were discussing Angelica’s feelings for Valentine. You won’t mention it.

TATT.  No, no, not a syllable.  I know that’s a secret, for it’s whispered everywhere.

TATT. No, no, not a word. I know that’s a secret because it’s being whispered all around.

SCAN.  Ha, ha, ha!

SCAN. Haha!

ANG.  What is, Mr. Tattle?  I heard you say something was whispered everywhere.

ANG. What’s going on, Mr. Tattle? I heard you say something was being whispered all around.

SCAN.  Your love of Valentine.

SCAN. Your love for Valentine.

ANG.  How!

ANG. Wow!

TATT.  No, madam, his love for your ladyship.  Gad take me, I beg your pardon,—for I never heard a word of your ladyship’s passion till this instant.

TATT. No, ma'am, it's his love for you. I swear, I apologize—I've never heard anything about your feelings until just now.

ANG.  My passion!  And who told you of my passion, pray sir?

ANG. My passion! And who told you about my passion, if I may ask?

SCAN.  Why, is the devil in you?  Did not I tell it you for a secret?

SCAN. Why, are you possessed? Didn't I tell you that in confidence?

TATT.  Gadso; but I thought she might have been trusted with her own affairs.

TATT. Wow; I really thought she could take care of her own business.

SCAN.  Is that your discretion?  Trust a woman with herself?

SCAN. Is that your decision? Can you really trust a woman to know what’s best for herself?

TATT.  You say true, I beg your pardon.  I’ll bring all off.  It was impossible, madam, for me to imagine that a person of your ladyship’s wit and gallantry could have so long received the passionate addresses of the accomplished Valentine, and yet remain insensible; therefore you will pardon me, if, from a just weight of his merit, with your ladyship’s good judgment, I formed the balance of a reciprocal affection.

TATT. You’re right, I’m sorry. I’ll take everything off. It was impossible for me to believe that someone as smart and charming as you could have listened to the passionate advances of the talented Valentine for so long and not feel anything. So, please forgive me for assuming, based on his qualities and your good judgment, that there would be mutual feelings.

VAL.  O the devil, what damned costive poet has given thee this lesson of fustian to get by rote?

VAL. Oh, the devil, which cursed, uptight poet has taught you this ridiculous stuff to memorize?

ANG.  I dare swear you wrong him, it is his own.  And Mr. Tattle only judges of the success of others, from the effects of his own merit.  For certainly Mr. Tattle was never denied anything in his life.

ANG. I swear you're wrong about him; it's his own. And Mr. Tattle only evaluates others' success based on how well he's done himself. Because, honestly, Mr. Tattle has never been denied anything in his life.

TATT.  O Lord!  Yes, indeed, madam, several times.

TATT. Oh Lord! Yes, ma'am, several times.

ANG.  I swear I don’t think ’tis possible.

ANG. I swear I don’t think it’s possible.

TATT.  Yes, I vow and swear I have; Lord, madam, I’m the most unfortunate man in the world, and the most cruelly used by the ladies.

TATT.  Yeah, I swear I have; oh my, madam, I’m the most unfortunate guy in the world, and the most mistreated by women.

ANG.  Nay, now you’re ungrateful.

ANG. No, now you're ungrateful.

TATT.  No, I hope not, ’tis as much ingratitude to own some favours as to conceal others.

TATT. No, I hope not. It's just as ungrateful to acknowledge some favors as it is to hide others.

VAL.  There, now it’s out.

VAL. There, now it’s said.

ANG.  I don’t understand you now.  I thought you had never asked anything but what a lady might modestly grant, and you confess.

ANG. I don’t get you now. I thought you only ever asked for things a lady could modestly agree to, and yet you’re confessing.

SCAN.  So faith, your business is done here; now you may go brag somewhere else.

SCAN. So, faith, your work is finished here; you can go show off somewhere else now.

TATT.  Brag!  O heavens!  Why, did I name anybody?

TATT. Brag! Oh my gosh! Did I actually name anyone?

ANG.  No; I suppose that is not in your power; but you would if you could, no doubt on’t.

ANG. No; I guess that's not something you can do; but you would if you could, no doubt about it.

TATT.  Not in my power, madam!  What, does your ladyship mean that I have no woman’s reputation in my power?

TATT.  I can't do that, ma'am!  Are you saying that I don’t have any control over a woman's reputation?

SCAN.  ’Oons, why, you won’t own it, will you?  [Aside.]

SCAN. ’Oons, you’re not going to admit it, are you? [Aside.]

TATT.  Faith, madam, you’re in the right; no more I have, as I hope to be saved; I never had it in my power to say anything to a lady’s prejudice in my life.  For as I was telling you, madam, I have been the most unsuccessful creature living, in things of that nature; and never had the good fortune to be trusted once with a lady’s secret, not once.

TATT. Honestly, ma'am, you’re absolutely right; I swear, I've never done anything to harm a lady's reputation in my life. As I was saying, ma'am, I've been the most unlucky person when it comes to matters like that; I've never even had the good fortune to be trusted with a lady’s secret, not even once.

ANG.  No?

ANG.  No?

VAL.  Not once, I dare answer for him.

VAL. Not a single time, I’ll vouch for him.

SCAN.  And I’ll answer for him; for I’m sure if he had, he would have told me; I find, madam, you don’t know Mr. Tattle.

SCAN. And I’ll speak for him; I’m sure if he had, he would have told me; I see, ma'am, you don’t know Mr. Tattle.

TATT.  No indeed, madam, you don’t know me at all, I find.  For sure my intimate friends would have known—

TATT. No, really, ma'am, you don’t know me at all, I see. My close friends would definitely have known—

ANG.  Then it seems you would have told, if you had been trusted.

ANG. Then it looks like you would have shared it if you had been given the trust.

TATT.  O pox, Scandal, that was too far put.  Never have told particulars, madam.  Perhaps I might have talked as of a third person; or have introduced an amour of my own, in conversation, by way of novel; but never have explained particulars.

TATT. Oh, come on, Scandal, that was pushing it too far. I would never have shared specific details, madam. I might have talked about it as if it were a third person’s story, or I could have shared a romantic encounter of my own during our conversation, like a narrative. But I would never have revealed any specifics.

ANG.  But whence comes the reputation of Mr. Tattle’s secrecy, if he was never trusted?

ANG. But where does Mr. Tattle’s reputation for secrecy come from if he was never trusted?

SCAN.  Why, thence it arises—the thing is proverbially spoken; but may be applied to him—as if we should say in general terms, he only is secret who never was trusted; a satirical proverb upon our sex.  There’s another upon yours—as she is chaste, who was never asked the question.  That’s all.

SCAN. Why, that's where it comes from—the saying is well-known; but it can apply to him—as if we were to say broadly, the only one who is secretive is the one who has never been trusted; a mocking saying about our gender. There's another one about yours—she is pure, who was never asked the question. That's it.

VAL.  A couple of very civil proverbs, truly.  ’Tis hard to tell whether the lady or Mr. Tattle be the more obliged to you.  For you found her virtue upon the backwardness of the men; and his secrecy upon the mistrust of the women.

VAL. A couple of really polite proverbs, for sure. It’s tough to say whether the lady or Mr. Tattle owes you more. You discovered her virtue through the hesitance of the men, and his secrecy through the distrust of the women.

TATT.  Gad, it’s very true, madam, I think we are obliged to acquit ourselves.  And for my part—but your ladyship is to speak first.

TATT.  Wow, that's really true, ma'am, I think we have to take responsibility for ourselves.  And for my part—but you should go first, my lady.

ANG.  Am I?  Well, I freely confess I have resisted a great deal of temptation.

ANG. Am I? Well, I honestly admit I've resisted a lot of temptation.

TATT.  And i’Gad, I have given some temptation that has not been resisted.

TATT. And honestly, I've provided some temptation that hasn't been able to be resisted.

VAL.  Good.

VAL. Great.

ANG.  I cite Valentine here, to declare to the court, how fruitless he has found his endeavours, and to confess all his solicitations and my denials.

ANG. I bring up Valentine here to tell the court how useless his efforts have been, and to admit all his requests and my refusals.

VAL.  I am ready to plead not guilty for you; and guilty for myself.

VAL. I'm prepared to say I'm not guilty for you; and guilty for myself.

SCAN.  So, why this is fair, here’s demonstration with a witness.

SCAN. So, here's why this is fair—let me show you with a witness.

TATT.  Well, my witnesses are not present.  But I confess I have had favours from persons.  But as the favours are numberless, so the persons are nameless.

TATT. Well, my witnesses aren't here. But I admit I have received favors from people. However, since the favors are countless, the people are unnamed.

SCAN.  Pooh, this proves nothing.

SCAN. Pooh, this proves nothing.

TATT.  No?  I can show letters, lockets, pictures, and rings; and if there be occasion for witnesses, I can summon the maids at the chocolate-houses, all the porters at Pall Mall and Covent Garden, the door-keepers at the Playhouse, the drawers at Locket’s, Pontack’s, the Rummer, Spring Garden, my own landlady and valet de chambre; all who shall make oath that I receive more letters than the Secretary’s office, and that I have more vizor-masks to enquire for me, than ever went to see the Hermaphrodite, or the Naked Prince.  And it is notorious that in a country church once, an enquiry being made who I was, it was answered, I was the famous Tattle, who had ruined so many women.

TATT. No? I can show you letters, lockets, pictures, and rings; and if we need witnesses, I can call the maids from the chocolate shops, all the porters at Pall Mall and Covent Garden, the doorkeepers at the theater, the servers at Locket’s, Pontack’s, the Rummer, Spring Garden, my own landlady and my valet; all of whom will swear that I get more letters than the Secretary’s office and that I have more people in disguise asking for me than ever went to see the Hermaphrodite or the Naked Prince. And it's well-known that at a country church once, when someone asked who I was, the answer was that I was the famous Tattle, who had ruined so many women.

VAL.  It was there, I suppose, you got the nickname of the Great Turk.

VAL. It was there, I guess, you got the nickname the Great Turk.

TATT.  True; I was called Turk-Tattle all over the parish.  The next Sunday all the old women kept their daughters at home, and the parson had not half his congregation.  He would have brought me into the spiritual court, but I was revenged upon him, for he had a handsome daughter whom I initiated into the science.  But I repented it afterwards, for it was talked of in town.  And a lady of quality that shall be nameless, in a raging fit of jealousy, came down in her coach and six horses, and exposed herself upon my account; Gad, I was sorry for it with all my heart.  You know whom I mean—you know where we raffled—

TATT. True; everyone in the parish called me Turk-Tattle. The following Sunday, all the older women kept their daughters home, and the pastor barely had half his congregation. He would have taken me to the spiritual court, but I got back at him because he had a beautiful daughter whom I introduced to the ways of the world. I regretted it later, though, because it became gossip in town. And a high-class lady, whose name I won’t mention, came down in her fancy carriage with six horses and made a scene out of jealousy because of me; honestly, I felt terrible about it. You know who I’m talking about—you know where we raffled—

SCAN.  Mum, Tattle.

Scan. Mom, Tattle.

VAL.  ’Sdeath, are not you ashamed?

VAL. Damn, are you not ashamed?

ANG.  O barbarous!  I never heard so insolent a piece of vanity.  Fie, Mr. Tattle; I’ll swear I could not have believed it.  Is this your secrecy?

ANG. O barbaric! I’ve never heard such a rude display of arrogance. Come on, Mr. Tattle; I swear I wouldn’t have believed it. Is this your idea of keeping things secret?

TATT.  Gadso, the heat of my story carried me beyond my discretion, as the heat of the lady’s passion hurried her beyond her reputation.  But I hope you don’t know whom I mean; for there was a great many ladies raffled.  Pox on’t, now could I bite off my tongue.

TATT. Gosh, the intensity of my story got the better of my judgment, just like the intensity of the lady's passion got the better of her reputation. But I hope you don't know who I'm talking about; there were a lot of ladies involved in the raffle. Damn it, I wish I could just hold my tongue.

SCAN.  No, don’t; for then you’ll tell us no more.  Come, I’ll recommend a song to you upon the hint of my two proverbs, and I see one in the next room that will sing it.  [Goes to the door.]

SCAN. No, don’t; because then you won’t tell us anything else. Come on, I’ll suggest a song to you based on my two proverbs, and I see someone in the next room who will sing it. [Goes to the door.]

TATT.  For heaven’s sake, if you do guess, say nothing; Gad, I’m very unfortunate.

TATT. For goodness' sake, if you do guess, keep it to yourself; man, I'm really unlucky.

SCAN.  Pray sing the first song in the last new play.

SCAN. Pray sing the first song from the latest play.

SONG.
Set by Mr. John Eccles.

SONG.
Composed by Mr. John Eccles.

I.

I.

A nymph and a swain to Apollo once prayed,
The swain had been jilted, the nymph been betrayed:
Their intent was to try if his oracle knew
E’er a nymph that was chaste, or a swain that was true.

A nymph and a young man once prayed to Apollo,
The young man had been dumped, the nymph had been let down:
They wanted to see if his oracle knew
Of a nymph who was pure, or a young man who was real.

II.

II.

Apollo was mute, and had like t’have been posed,
But sagely at length he this secret disclosed:
He alone won’t betray in whom none will confide,
And the nymph may be chaste that has never been tried.

Apollo was silent, and seemed to want to pose,
But wisely, in the end, he revealed this secret:
He alone won't betray someone whom nobody trusts,
And the nymph may be pure who has never been tested.

SCENE IV.

[To them] Sir Sampson, Mrs. Frail, Miss Prue, and Servant.

[To them] Sir Sampson, Mrs. Frail, Miss Prue, and Servant.

SIR SAMP.  Is Ben come?  Odso, my son Ben come?  Odd, I’m glad on’t.  Where is he?  I long to see him.  Now, Mrs. Frail, you shall see my son Ben.  Body o’ me, he’s the hopes of my family.  I han’t seen him these three years—I warrant he’s grown.  Call him in, bid him make haste.  I’m ready to cry for joy.

SIR SAMP. Is Ben here? Oh wow, my son Ben is here? Good, I’m so glad. Where is he? I can’t wait to see him. Now, Mrs. Frail, you’re going to meet my son Ben. Honestly, he’s the hope of my family. I haven’t seen him in three years—I bet he’s grown. Call him in, tell him to hurry. I’m so happy I could cry.

MRS. FRAIL.  Now Miss, you shall see your husband.

MRS. FRAIL. Now, Miss, you get to see your husband.

MISS.  Pish, he shall be none of my husband.  [Aside to Frail.]

MISS. Psh, he’s not going to be my husband. [Aside to Frail.]

MRS. FRAIL.  Hush.  Well he shan’t; leave that to me.  I’ll beckon Mr. Tattle to us.

MRS. FRAIL. Hush. He won't; leave that to me. I'll signal Mr. Tattle to come over.

ANG.  Won’t you stay and see your brother?

ANG. Won't you stay and see your brother?

VAL.  We are the twin stars, and cannot shine in one sphere; when he rises I must set.  Besides, if I should stay, I don’t know but my father in good nature may press me to the immediate signing the deed of conveyance of my estate; and I’ll defer it as long as I can.  Well, you’ll come to a resolution.

VAL. We are like twin stars, and we can't shine in the same space; when he rises, I have to set. Plus, if I stick around, I'm worried that my father might kindly insist that I immediately sign over my estate; and I’ll put that off for as long as I can. Well, you’ll come to a decision.

ANG.  I can’t.  Resolution must come to me, or I shall never have one.

ANG. I can't. I need resolution to come to me, or I'll never find one.

SCAN.  Come, Valentine, I’ll go with you; I’ve something in my head to communicate to you.

SCAN. Come on, Valentine, I’ll go with you; I have something in my mind to share with you.

SCENE V.

Angelica, Sir Sampson, Tattle, Mrs. Frail, Miss Prue.

Angelica, Sir Sampson, Tattle, Mrs. Frail, Miss Prue.

SIR SAMP.  What, is my son Valentine gone?  What, is he sneaked off, and would not see his brother?  There’s an unnatural whelp!  There’s an ill-natured dog!  What, were you here too, madam, and could not keep him?  Could neither love, nor duty, nor natural affection oblige him?  Odsbud, madam, have no more to say to him, he is not worth your consideration.  The rogue has not a drachm of generous love about him—all interest, all interest; he’s an undone scoundrel, and courts your estate: body o’ me, he does not care a doit for your person.

SIR SAMP. What, has my son Valentine left? What, did he sneak off and not want to see his brother? There’s such an unnatural brat! There’s such a selfish jerk! What, were you here too, madam, and couldn’t stop him? Couldn’t love, duty, or natural affection keep him here? Goodness, madam, don’t waste any more time on him; he’s not worth your attention. That scoundrel doesn’t have an ounce of genuine love in him—all he cares about is his own interests; he’s a total loser and is only after your money: honestly, he doesn’t care a bit about you.

ANG.  I’m pretty even with him, Sir Sampson; for if ever I could have liked anything in him, it should have been his estate too; but since that’s gone, the bait’s off, and the naked hook appears.

ANG. I'm on pretty equal ground with him, Sir Sampson; because if I could have liked anything about him, it would have been his estate too; but since that's gone, the allure is gone, and the bare hook shows.

SIR SAMP.  Odsbud, well spoken, and you are a wiser woman than I thought you were, for most young women now-a-days are to be tempted with a naked hook.

SIR SAMP.  Wow, well said, and you are a smarter woman than I expected, because most young women nowadays can be easily swayed by a flashy offer.

ANG.  If I marry, Sir Sampson, I’m for a good estate with any man, and for any man with a good estate; therefore, if I were obliged to make a choice, I declare I’d rather have you than your son.

ANG. If I marry, Sir Sampson, I’m looking for a good property with any guy, and any guy with a good property; so, if I had to choose, I’d actually prefer you over your son.

SIR SAMP.  Faith and troth, you’re a wise woman, and I’m glad to hear you say so; I was afraid you were in love with the reprobate.  Odd, I was sorry for you with all my heart.  Hang him, mongrel, cast him off; you shall see the rogue show himself, and make love to some desponding Cadua of fourscore for sustenance.  Odd, I love to see a young spendthrift forced to cling to an old woman for support, like ivy round a dead oak; faith I do, I love to see ’em hug and cotton together, like down upon a thistle.

SIR SAMP.  Honestly, you're a smart woman, and I'm really glad to hear you say that; I was worried you had feelings for that loser. Honestly, I felt sorry for you. Forget him, get rid of him; you'll see that guy come around and try to woo some sad old woman for money. Honestly, I love watching a young waster having to cling to an older woman for support, like ivy wrapping around a dead tree; I really do, I love seeing them cuddle up together like fluff on a thistle.

SCENE VI.

[To them] Ben Legend and Servant.

[To them] Ben Legend and Servant.

BEN.  Where’s father?

BEN. Where's Dad?

SERV.  There, sir, his back’s toward you.

SERV. There, sir, his back is turned to you.

SIR SAMP.  My son Ben!  Bless thee, my dear body.  Body o’ me, thou art heartily welcome.

SIR SAMP. My son Ben! Bless you, my dear. Wow, you are truly welcome.

BEN.  Thank you, father, and I’m glad to see you.

BEN. Thank you, Dad, and I'm happy to see you.

SIR SAMP.  Odsbud, and I’m glad to see thee; kiss me, boy, kiss me again and again, dear Ben.  [Kisses him.]

SIR SAMP. Goodness, I’m so happy to see you; kiss me, boy, kiss me over and over, dear Ben. [Kisses him.]

BEN.  So, so, enough, father, Mess, I’d rather kiss these gentlewomen.

BEN. So, enough, Dad, Mess, I’d rather kiss these ladies.

SIR SAMP.  And so thou shalt.  Mrs. Angelica, my son Ben.

SIR SAMP. And you will. Mrs. Angelica, this is my son Ben.

BEN.  Forsooth, if you please.  [Salutes her.]  Nay, mistress, I’m not for dropping anchor here; about ship, i’faith.  [Kisses Frail.]  Nay, and you too, my little cock-boat—so [Kisses Miss].

BEN. Sure, if you’d like. [Salutes her.] No, ma'am, I'm not staying here; let’s turn around, I swear. [Kisses Frail.] No, and you too, my little boat—so [Kisses Miss].

TATT.  Sir, you’re welcome ashore.

TATT. Sir, welcome to shore.

BEN.  Thank you, thank you, friend.

Thanks, buddy.

SIR SAMP.  Thou hast been many a weary league, Ben, since I saw thee.

SIR SAMP. You've traveled a long way, Ben, since I last saw you.

BEN.  Ay, ay, been!  Been far enough, an’ that be all.  Well, father, and how do all at home?  How does brother Dick, and brother Val?

BEN.  Yeah, yeah, I've been! I've been far enough, and that's it.  So, Dad, how is everyone at home?  How's brother Dick, and brother Val?

SIR SAMP.  Dick—body o’ me—Dick has been dead these two years.  I writ you word when you were at Leghorn.

SIR SAMP. Dick—damn it—Dick has been dead for two years. I wrote to you when you were in Leghorn.

BEN.  Mess, that’s true; marry!  I had forgot.  Dick’s dead, as you say.  Well, and how?  I have a many questions to ask you.  Well, you ben’t married again, father, be you?

BEN. That's a mess, for sure; geez! I completely forgot. Dick's dead, like you said. So, what's next? I have a lot of questions to ask you. Well, you aren't married again, are you, dad?

SIR SAMP.  No; I intend you shall marry, Ben; I would not marry for thy sake.

SIR SAMP. No; I plan for you to get married, Ben; I wouldn’t marry for your sake.

BEN.  Nay, what does that signify?  An’ you marry again—why then, I’ll go to sea again, so there’s one for t’other, an’ that be all.  Pray don’t let me be your hindrance—e’en marry a God’s name, an the wind sit that way.  As for my part, mayhap I have no mind to marry.

BEN. No, what does that even mean? If you get married again—then I’ll head back to sea, so that’s one for the other, and that's all there is to it. Please don’t let me get in the way—go ahead and marry if that’s what you want. As for me, maybe I’m just not interested in getting married.

FRAIL.  That would be pity—such a handsome young gentleman.

FRAIL. That would be a shame—such a good-looking young man.

BEN.  Handsome! he, he, he! nay, forsooth, an you be for joking, I’ll joke with you, for I love my jest, an’ the ship were sinking, as we sayn at sea.  But I’ll tell you why I don’t much stand towards matrimony.  I love to roam about from port to port, and from land to land; I could never abide to be port-bound, as we call it.  Now, a man that is married has, as it were, d’ye see, his feet in the bilboes, and mayhap mayn’t get them out again when he would.

BEN. Handsome! Haha! Well, if you’re joking, I’ll joke back, because I love a good laugh, even if the ship is sinking, as we say at sea. But let me explain why I’m not really into marriage. I love to travel from port to port and from land to land; I could never stand being stuck in one place, as we call it. Now, a married man basically has his feet in chains, and he might not be able to get them out when he wants to.

SIR SAMP.  Ben’s a wag.

SIR SAMP. Ben's a joker.

BEN.  A man that is married, d’ye see, is no more like another man than a galley-slave is like one of us free sailors; he is chained to an oar all his life, and mayhap forced to tug a leaky vessel into the bargain.

BEN. A married man, you see, is nothing like another man; he's like a galley slave compared to us free sailors. He's stuck rowing for life and might even have to deal with a leaking boat on top of that.

SIR SAMP.  A very wag—Ben’s a very wag; only a little rough, he wants a little polishing.

SIR SAMP. A real jokester—Ben's a real jokester; just a bit rough around the edges, he could use some polishing.

MRS. FRAIL.  Not at all; I like his humour mightily: it’s plain and honest—I should like such a humour in a husband extremely.

MRS. FRAIL. Not at all; I really like his sense of humor a lot: it's straightforward and genuine—I would love to have that kind of humor in a husband.

BEN.  Say’n you so, forsooth?  Marry, and I should like such a handsome gentlewoman for a bed-fellow hugely.  How say you, mistress, would you like going to sea?  Mess, you’re a tight vessel, an well rigged, an you were but as well manned.

BEN. So you say, really? Well, I'd love to have such a beautiful woman as a bedfellow. What do you think, miss, would you enjoy going to sea? Wow, you're a fine ship, well-equipped, and if only you were as well-crewed.

MRS. FRAIL.  I should not doubt that if you were master of me.

MRS. FRAIL.  I wouldn't hesitate to say that if you were in charge of me.

BEN.  But I’ll tell you one thing, an you come to sea in a high wind, or that lady—you may’nt carry so much sail o’ your head—top and top gallant, by the mess.

BEN. But I’ll tell you one thing, if you go out to sea in a strong wind, or that lady—you might not handle so much sail over your head—top and topgallant, no way.

MRS. FRAIL.  No, why so?

MRS. FRAIL. No, why not?

BEN.  Why, an you do, you may run the risk to be overset, and then you’ll carry your keels above water, he, he, he!

BEN. Why, if you do, you might risk being thrown off balance, and then you’ll have to keep your hulls above water, ha, ha, ha!

ANG.  I swear, Mr. Benjamin is the veriest wag in nature—an absolute sea-wit.

ANG. I swear, Mr. Benjamin is the biggest jokester around—an absolute genius at humor.

SIR SAMP.  Nay, Ben has parts, but as I told you before, they want a little polishing.  You must not take anything ill, madam.

SIR SAMP.  No, Ben has talent, but as I mentioned earlier, it just needs a bit of refinement.  Please don't take any offense, madam.

BEN.  No, I hope the gentlewoman is not angry; I mean all in good part, for if I give a jest, I’ll take a jest, and so forsooth you may be as free with me.

BEN. No, I hope the lady isn't upset; I mean everything in good fun, because if I make a joke, I can take a joke, and you can be just as open with me.

ANG.  I thank you, sir, I am not at all offended.  But methinks, Sir Sampson, you should leave him alone with his mistress.  Mr. Tattle, we must not hinder lovers.

ANG. I thank you, sir, I’m not offended at all. But I think, Sir Sampson, you should let him be with his girlfriend. Mr. Tattle, we shouldn’t get in the way of lovers.

TATT.  Well, Miss, I have your promise.  [Aside to Miss.]

TATT. Well, Miss, I have your promise. [Aside to Miss.]

SIR SAMP.  Body o’ me, madam, you say true.  Look you, Ben, this is your mistress.  Come, Miss, you must not be shame-faced; we’ll leave you together.

SIR SAMP.  Honestly, madam, you’re right.  Listen, Ben, this is your lady.  Come on, Miss, don’t be shy; we’ll leave you two alone.

MISS.  I can’t abide to be left alone; mayn’t my cousin stay with me?

MISS. I can't stand being left alone; can't my cousin stay with me?

SIR SAMP.  No, no.  Come, let’s away.

SIR SAMP. No, no. Come on, let’s go.

BEN.  Look you, father, mayhap the young woman mayn’t take a liking to me.

BEN. Look, father, maybe the young woman just won’t be interested in me.

SIR SAMP.  I warrant thee, boy: come, come, we’ll be gone; I’ll venture that.

SIR SAMP. I promise you, kid: come on, let's go; I'll take that chance.

SCENE VII.

Ben, and Miss Prue.

Ben, and Miss Prue.

BEN.  Come mistress, will you please to sit down? for an you stand a stern a that’n, we shall never grapple together.  Come, I’ll haul a chair; there, an you please to sit, I’ll sit by you.

BEN. Come on, ma'am, would you please sit down? If you keep standing there like that, we’ll never get anywhere together. Come on, I’ll grab a chair; there, if you want to sit, I’ll sit next to you.

MISS.  You need not sit so near one, if you have anything to say, I can hear you farther off, I an’t deaf.

MISS. You don't have to sit so close if you want to say something; I can hear you from further away. I'm not deaf.

BEN.  Why that’s true, as you say, nor I an’t dumb, I can be heard as far as another,—I’ll heave off, to please you.  [Sits farther off.]  An we were a league asunder, I’d undertake to hold discourse with you, an ’twere not a main high wind indeed, and full in my teeth.  Look you, forsooth, I am, as it were, bound for the land of matrimony; ’tis a voyage, d’ye see, that was none of my seeking.  I was commanded by father, and if you like of it, mayhap I may steer into your harbour.  How say you, mistress?  The short of the thing is, that if you like me, and I like you, we may chance to swing in a hammock together.

BEN.  That’s true, as you say, and I’m not dumb; I can be heard just as far as anyone else—I’ll move away to please you.  [Sits farther off.]  Even if we were a mile apart, I’d still be able to talk with you, unless there were a really strong wind in my face.  You see, I’m essentially headed towards marriage; it’s a journey that I didn’t choose for myself.  My father ordered it, and if you’re okay with it, maybe I can end up in your harbor.  What do you say, miss?  To put it simply, if you like me and I like you, we might end up swinging in a hammock together.

MISS.  I don’t know what to say to you, nor I don’t care to speak with you at all.

MISS. I don’t know what to say to you, and I really don’t want to talk to you at all.

BEN.  No?  I’m sorry for that.  But pray why are you so scornful?

BEN. No? I’m sorry to hear that. But why are you being so dismissive?

MISS.  As long as one must not speak one’s mind, one had better not speak at all, I think, and truly I won’t tell a lie for the matter.

MISS. As long as you can't speak your mind, it’s probably better not to say anything at all, I think, and honestly, I won't lie about it.

BEN.  Nay, you say true in that, it’s but a folly to lie: for to speak one thing, and to think just the contrary way is, as it were, to look one way, and to row another.  Now, for my part, d’ye see, I’m for carrying things above board, I’m not for keeping anything under hatches,—so that if you ben’t as willing as I, say so a God’s name: there’s no harm done; mayhap you may be shame-faced; some maidens thof they love a man well enough, yet they don’t care to tell’n so to’s face.  If that’s the case, why, silence gives consent.

BEN. No, you're right about that; it's just foolish to lie. Speaking one way and thinking the opposite is like looking one direction and rowing in another. As for me, you see, I believe in being straightforward. I don’t think we should keep anything hidden—so if you’re not as willing as I am, just say so, for heaven’s sake: no harm done. Maybe you feel a bit shy; some girls, even if they really like a guy, still don't want to say it to his face. If that's the case, well, silence means consent.

MISS.  But I’m sure it is not so, for I’ll speak sooner than you should believe that; and I’ll speak truth, though one should always tell a lie to a man; and I don’t care, let my father do what he will; I’m too big to be whipt, so I’ll tell you plainly, I don’t like you, nor love you at all, nor never will, that’s more: so there’s your answer for you; and don’t trouble me no more, you ugly thing.

MISS. But I'm sure that's not true, because I’d rather speak up than have you believe that. And I’ll be honest, even if people usually lie to a man; I don’t care, let my father do whatever he wants. I’m too grown up to be punished, so I’ll just say it clearly: I don’t like you, don’t love you at all, and never will. So there’s your answer, and don’t bother me anymore, you ugly thing.

BEN.  Look you, young woman, you may learn to give good words, however.  I spoke you fair, d’ye see, and civil.  As for your love or your liking, I don’t value it of a rope’s end; and mayhap I like you as little as you do me: what I said was in obedience to father.  Gad, I fear a whipping no more than you do.  But I tell you one thing, if you should give such language at sea, you’d have a cat o’ nine tails laid cross your shoulders.  Flesh! who are you?  You heard t’other handsome young woman speak civilly to me of her own accord.  Whatever you think of yourself, gad, I don’t think you are any more to compare to her than a can of small-beer to a bowl of punch.

BEN. Look, young woman, you may learn to speak nicely, though. I’ve been polite, you see, and courteous. As for your affection or attraction, I don’t care about it at all; maybe I like you as little as you like me. What I said was out of respect for my father. Honestly, I’m no more afraid of a whipping than you are. But let me tell you this: if you talked like that at sea, you’d get a cat o' nine tails across your back. Honestly! Who do you think you are? You heard that other beautiful young woman speak to me nicely on her own. Whatever you think of yourself, I really don’t think you compare to her any more than a can of cheap beer compares to a bowl of punch.

MISS.  Well, and there’s a handsome gentleman, and a fine gentleman, and a sweet gentleman, that was here that loves me, and I love him; and if he sees you speak to me any more, he’ll thrash your jacket for you, he will, you great sea-calf.

MISS. Well, there’s a good-looking guy, a nice guy, and a sweet guy who was here who loves me, and I love him; and if he sees you talking to me again, he’ll beat you up, he will, you big whale.

BEN.  What, do you mean that fair-weather spark that was here just now?  Will he thrash my jacket?  Let’n,—let’n.  But an he comes near me, mayhap I may giv’n a salt eel for’s supper, for all that.  What does father mean to leave me alone as soon as I come home with such a dirty dowdy?  Sea-calf?  I an’t calf enough to lick your chalked face, you cheese-curd you:—marry thee?  Oons, I’ll marry a Lapland witch as soon, and live upon selling contrary winds and wrecked vessels.

BEN. What, are you talking about that fair-weather guy who was just here? Is he going to mess with my jacket? Let him—let him. But if he comes near me, maybe I’ll serve him a salted eel for dinner, just because. What does my father mean by leaving me alone as soon as I come home with such an ugly loser? Sea-calf? I’m not desperate enough to kiss your chalked face, you cheese-curd: marry you? No way, I’d rather marry a Lapland witch and live off selling bad weather and wrecked ships.

MISS.  I won’t be called names, nor I won’t be abused thus, so I won’t.  If I were a man [cries]—you durst not talk at his rate.  No, you durst not, you stinking tar-barrel.

MISS. I won’t be called names, and I won’t be treated like this, so I won’t. If I were a man [cries]—you wouldn’t dare talk to me like that. No, you wouldn’t, you stinking tar barrel.

SCENE VIII.

[To them] Mrs. Foresight and Mrs. Frail.

[To them] Mrs. Foresight and Mrs. Frail.

MRS. FORE.  They have quarrelled, just as we could wish.

MRS. FORE. They’ve fought, just like we wanted.

BEN.  Tar-barrel?  Let your sweetheart there call me so, if he’ll take your part, your Tom Essence, and I’ll say something to him; gad, I’ll lace his musk-doublet for him, I’ll make him stink: he shall smell more like a weasel than a civet-cat, afore I ha’ done with ’en.

BEN. Tar-barrel? Let your boyfriend over there call me that if he wants to back you up, your Tom Essence, and I'll have a word with him; trust me, I’ll make him regret it. I’ll make him smell so bad he’ll smell more like a weasel than a civet-cat before I'm finished with him.

MRS. FORE.  Bless me, what’s the matter, Miss?  What, does she cry?  Mr. Benjamin, what have you done to her?

MRS. FORE.  Oh my, what’s wrong, Miss?  Is she crying?  Mr. Benjamin, what have you done to her?

BEN.  Let her cry: the more she cries the less she’ll—she has been gathering foul weather in her mouth, and now it rains out at her eyes.

BEN. Let her cry: the more she cries the less she'll—she’s been holding in all this bad stuff, and now it's pouring out through her eyes.

MRS. FORE.  Come, Miss, come along with me, and tell me, poor child.

MRS. FORE. Come on, Miss, let's go together, and share with me, poor thing.

MRS. FRAIL.  Lord, what shall we do?  There’s my brother Foresight and Sir Sampson coming.  Sister, do you take Miss down into the parlour, and I’ll carry Mr. Benjamin into my chamber, for they must not know that they are fallen out.  Come, sir, will you venture yourself with me?  [Looking kindly on him.]

MRS. FRAIL. Lord, what are we going to do? My brother Foresight and Sir Sampson are coming. Sister, why don't you take Miss down to the parlor, and I'll take Mr. Benjamin to my room, so they won't find out that there’s been a falling out. Come on, sir, are you willing to join me? [Looking kindly at him.]

BEN.  Venture, mess, and that I will, though ’twere to sea in a storm.

BEN.  I will take the risk, no matter how messy it is, even if it means heading out to sea during a storm.

SCENE IX.

Sir Sampson and Foresight.

Sir Sampson and Foresight.

SIR SAMP.  I left ’em together here; what, are they gone?  Ben’s a brisk boy: he has got her into a corner; father’s own son, faith, he’ll touzle her, and mouzle her.  The rogue’s sharp set, coming from sea; if he should not stay for saving grace, old Foresight, but fall to without the help of a parson, ha?  Odd, if he should I could not be angry with him; ’twould be but like me, a chip of the old block.  Ha! thou’rt melancholic, old Prognostication; as melancholic as if thou hadst spilt the salt, or pared thy nails on a Sunday.  Come, cheer up, look about thee: look up, old stargazer.  Now is he poring upon the ground for a crooked pin, or an old horse-nail, with the head towards him.

SIR SAMP. I left them together here; what, are they gone? Ben’s a lively guy: he’s got her backed into a corner; father’s own son, seriously, he’ll mess with her and have his way. The kid’s eager, just back from sea; if he doesn’t wait for some moral guidance, old Foresight, but jumps right in without a priest, huh? It’s funny, if he did that I couldn't be mad at him; it’d just be typical of me, a chip off the old block. Ha! You’re looking gloomy, old Prognostication; as gloomy as if you spilled salt or cut your nails on a Sunday. Come on, cheer up, take a look around: look up, old stargazer. Now he’s probably searching the ground for a bent pin or an old horseshoe nail, with the head pointing toward him.

FORE.  Sir Sampson, we’ll have the wedding to-morrow morning.

FORE. Sir Sampson, we’ll have the wedding tomorrow morning.

SIR SAMP.  With all my heart.

SIR SAMP. With all my heart.

FORE.  At ten a’clock, punctually at ten.

FORE. At ten o'clock, right on the dot.

SIR SAMP.  To a minute, to a second; thou shalt set thy watch, and the bridegroom shall observe its motions; they shall be married to a minute, go to bed to a minute; and when the alarm strikes, they shall keep time like the figures of St. Dunstan’s clock, and consummatum est shall ring all over the parish.

SIR SAMP. To the exact minute, to the exact second; you should set your watch, and the groom will watch it closely; they will get married to the minute, go to bed to the minute; and when the alarm goes off, they'll keep time like the figures on St. Dunstan's clock, and consummatum est will ring out all over the parish.

SCENE X.

[To them] Scandal.

[To them] Controversy.

SCAN.  Sir Sampson, sad news.

SCAN. Sir Sampson, bad news.

FORE.  Bless us!

FORE. Bless us!

SIR SAMP.  Why, what’s the matter?

SIR SAMP. What’s happening?

SCAN.  Can’t you guess at what ought to afflict you and him, and all of us, more than anything else?

SCAN. Can’t you figure out what should bother you and him, and all of us, more than anything else?

SIR SAMP.  Body o’ me, I don’t know any universal grievance, but a new tax, or the loss of the Canary fleet.  Unless popery should be landed in the West, or the French fleet were at anchor at Blackwall.

SIR SAMP. Honestly, I don’t know of any widespread issue, except for a new tax or the loss of the Canary fleet. Unless, of course, Catholicism were to take root in the West, or the French fleet were docked at Blackwall.

SCAN.  No.  Undoubtedly, Mr. Foresight knew all this, and might have prevented it.

SCAN. No. Clearly, Mr. Foresight was aware of all this and could have stopped it.

FORE.  ’Tis no earthquake!

FORE. It's no earthquake!

SCAN.  No, not yet; nor whirlwind.  But we don’t know what it may come to.  But it has had a consequence already that touches us all.

SCAN. No, not yet; nor whirlwind. But we don’t know what it might lead to. However, it has already caused a consequence that affects us all.

SIR SAMP.  Why, body o’ me, out with’t.

SIR SAMP.  Why, for heaven's sake, just say it.

SCAN.  Something has appeared to your son Valentine.  He’s gone to bed upon’t, and very ill.  He speaks little, yet he says he has a world to say.  Asks for his father and the wise Foresight; talks of Raymond Lully, and the ghost of Lilly.  He has secrets to impart, I suppose, to you two.  I can get nothing out of him but sighs.  He desires he may see you in the morning, but would not be disturbed to-night, because he has some business to do in a dream.

SCAN. Something has come up with your son Valentine. He’s gone to bed feeling very unwell. He doesn’t say much, but he claims he has a lot to share. He’s asking for his father and the wise Foresight; he’s talking about Raymond Lully and the ghost of Lilly. He probably has secrets to share with you two. The only thing I can get from him are sighs. He wants to see you in the morning, but he doesn’t want to be disturbed tonight because he has some business to handle in a dream.

SIR SAMP.  Hoity toity, what have I to do with his dreams or his divination?  Body o’ me, this is a trick to defer signing the conveyance.  I warrant the devil will tell him in a dream that he must not part with his estate.  But I’ll bring him a parson to tell him that the devil’s a liar:—or if that won’t do, I’ll bring a lawyer that shall out-lie the devil.  And so I’ll try whether my blackguard or his shall get the better of the day.

SIR SAMP. Ugh, why should I care about his dreams or predictions? Seriously, this is just a way to delay signing the transfer. I bet the devil will tell him in a dream that he shouldn’t sell his estate. But I’ll bring him a priest to say that the devil is a liar:—or if that doesn’t work, I’ll get a lawyer who can outsmart the devil. Let’s see if my trickster or his will come out on top.

SCENE XI.

Scandal, Foresight.

Scandal, Foresight.

SCAN.  Alas, Mr. Foresight, I’m afraid all is not right.  You are a wise man, and a conscientious man, a searcher into obscurity and futurity, and if you commit an error, it is with a great deal of consideration, and discretion, and caution—

SCAN. Alas, Mr. Foresight, I'm afraid not everything is okay. You are a wise and diligent man, always exploring the unknown and what lies ahead, and if you make a mistake, it's after careful thought, discretion, and caution—

FORE.  Ah, good Mr. Scandal—

FORE. Ah, good Mr. Scandal—

SCAN.  Nay, nay, ’tis manifest; I do not flatter you.  But Sir Sampson is hasty, very hasty.  I’m afraid he is not scrupulous enough, Mr. Foresight.  He has been wicked, and heav’n grant he may mean well in his affair with you.  But my mind gives me, these things cannot be wholly insignificant.  You are wise, and should not be over-reached, methinks you should not—

SCAN. No, no, it’s obvious; I’m not flattering you. But Sir Sampson is quick to act, very quick. I’m afraid he isn’t careful enough, Mr. Foresight. He has been wrong, and God help us that he may have good intentions in his dealings with you. But I can't shake the feeling that these things can’t be completely unimportant. You are wise, and I believe you shouldn’t let yourself be taken advantage of—you really shouldn’t—

FORE.  Alas, Mr. Scandal,—humanum est errare.

FORE. Alas, Mr. Scandal, — to err is human.

SCAN.  You say true, man will err; mere man will err—but you are something more.  There have been wise men; but they were such as you, men who consulted the stars, and were observers of omens.  Solomon was wise, but how?—by his judgment in astrology.  So says Pineda in his third book and eighth chapter—

SCAN. You’re right, humans will make mistakes; regular people will mess up—but you are something greater. There have been wise people, but they were like you, those who studied the stars and paid attention to signs. Solomon was wise, but how? By his insight in astrology. So says Pineda in his third book and eighth chapter—

FORE.  You are learned, Mr. Scandal.

FORE. You’re quite knowledgeable, Mr. Scandal.

SCAN.  A trifler—but a lover of art.  And the Wise Men of the East owed their instruction to a star, which is rightly observed by Gregory the Great in favour of astrology.  And Albertus Magnus makes it the most valuable science, because, says he, it teaches us to consider the causation of causes, in the causes of things.

SCAN. A person who doesn't take things seriously—but has a passion for art. The Wise Men from the East found guidance in a star, which Gregory the Great wisely noticed in support of astrology. Albertus Magnus considers it the most important science because, as he puts it, it teaches us to think about the reasons behind the causes of things.

FORE.  I protest I honour you, Mr. Scandal.  I did not think you had been read in these matters.  Few young men are inclined—

FORE. I honestly respect you, Mr. Scandal. I didn’t think you were knowledgeable about these things. Not many young men are interested—

SCAN.  I thank my stars that have inclined me.  But I fear this marriage and making over this estate, this transferring of a rightful inheritance, will bring judgments upon us.  I prophesy it, and I would not have the fate of Cassandra not to be believed.  Valentine is disturbed; what can be the cause of that?  And Sir Sampson is hurried on by an unusual violence.  I fear he does not act wholly from himself; methinks he does not look as he used to do.

SCAN. I’m grateful for the good fortune that has come my way. But I worry that this marriage and the transfer of this estate, this passing down of a rightful inheritance, will bring consequences for us. I can sense it, and I wouldn’t want my fate to be dismissed like Cassandra’s. Valentine seems upset; I wonder what’s behind that. And Sir Sampson is acting with unusual intensity. I fear he’s not fully himself; he doesn’t seem to look as he usually does.

FORE.  He was always of an impetuous nature.  But as to this marriage, I have consulted the stars, and all appearances are prosperous—

FORE. He was always impulsive. But regarding this marriage, I've looked to the stars, and everything seems promising—

SCAN.  Come, come, Mr. Foresight, let not the prospect of worldly lucre carry you beyond your judgment, nor against your conscience.  You are not satisfied that you act justly.

SCAN. Come on, Mr. Foresight, don’t let the promise of money lead you astray from your judgment or your conscience. You know deep down that you’re not acting justly.

FORE.  How?

FORE. How?

SCAN.  You are not satisfied, I say.  I am loth to discourage you, but it is palpable that you are not satisfied.

SCAN. You’re not satisfied, I say. I don’t want to discourage you, but it’s clear that you’re not satisfied.

FORE.  How does it appear, Mr. Scandal?  I think I am very well satisfied.

FORE. How does it look, Mr. Scandal? I think I'm pretty satisfied.

SCAN.  Either you suffer yourself to deceive yourself, or you do not know yourself.

SCAN. Either you allow yourself to be fooled, or you don't truly understand yourself.

FORE.  Pray explain yourself.

FORE. Please explain yourself.

SCAN.  Do you sleep well o’ nights?

SCAN. Do you sleep well at night?

FORE.  Very well.

FORE. Okay.

SCAN.  Are you certain?  You do not look so.

SCAN. Are you sure? You don't seem like it.

FORE.  I am in health, I think.

FORE. I think I'm in good health.

SCAN.  So was Valentine this morning; and looked just so.

SCAN. So was Valentine this morning; and looked just like that.

FORE.  How?  Am I altered any way?  I don’t perceive it.

FORE. How? Am I changed in any way? I don’t notice it.

SCAN.  That may be, but your beard is longer than it was two hours ago.

SCAN. That might be true, but your beard is longer than it was two hours ago.

FORE.  Indeed!  Bless me!

Fore! Indeed! Bless me!

SCENE XII.

[To them] Mrs. Foresight.

[To them] Mrs. Foresight.

MRS. FORE.  Husband, will you go to bed?  It’s ten a’clock.  Mr. Scandal, your servant.

MRS. FORE. Honey, are you coming to bed? It’s ten o’clock. Mr. Scandal, nice to see you.

SCAN.  Pox on her, she has interrupted my design—but I must work her into the project.  You keep early hours, madam.

SCAN. Pox on her, she’s interrupted my plan—but I need to work her into the project. You rise early, madam.

MRS. FORE.  Mr. Foresight is punctual; we sit up after him.

MRS. FORE. Mr. Foresight is on time; we wait up for him.

FORE.  My dear, pray lend me your glass, your little looking-glass.

FORE. My dear, can you please lend me your mirror, your little mirror?

SCAN.  Pray lend it him, madam.  I’ll tell you the reason.

SCAN. Please lend it to him, ma'am. I'll explain why.

[She gives him the glass: Scandal and she whisper.]  My passion for you is grown so violent, that I am no longer master of myself.  I was interrupted in the morning, when you had charity enough to give me your attention, and I had hopes of finding another opportunity of explaining myself to you, but was disappointed all this day; and the uneasiness that has attended me ever since brings me now hither at this unseasonable hour.

[She gives him the glass: Drama and she whispers.] My passion for you has grown so intense that I can no longer control myself. I was cut off this morning when you kindly gave me your attention, and I hoped to find another chance to explain myself to you, but I've been disappointed all day; the discomfort I've felt since then brings me here at this late hour.

MRS. FORE.  Was there ever such impudence, to make love to me before my husband’s face?  I’ll swear I’ll tell him.

MRS. FORE. Was there ever such nerve, to flirt with me right in front of my husband? I swear I’ll tell him.

SCAN.  Do.  I’ll die a martyr rather than disclaim my passion.  But come a little farther this way, and I’ll tell you what project I had to get him out of the way; that I might have an opportunity of waiting upon you.  [WhisperForesight looking in the glass.]

SCAN. Do. I’d rather die a martyr than deny my passion. But come a little further this way, and I’ll tell you about my plan to get him out of the way so I can have a chance to be with you. [Whisper. Foreknowledge looking in the mirror.]

FORE.  I do not see any revolution here; methinks I look with a serene and benign aspect—pale, a little pale—but the roses of these cheeks have been gathered many years;—ha!  I do not like that sudden flushing.  Gone already! hem, hem, hem! faintish.  My heart is pretty good; yet it beats; and my pulses, ha!—I have none—mercy on me—hum.  Yes, here they are—gallop, gallop, gallop, gallop, gallop, gallop, hey!  Whither will they hurry me?  Now they’re gone again.  And now I’m faint again, and pale again, and hem! and my hem! breath, hem! grows short; hem! hem! he, he, hem!

FORE. I don’t see any revolution here; I think I’m looking with a calm and kind expression—pale, a bit pale—but the color in my cheeks has faded over many years;—ha! I don’t like that sudden rush of color. Gone already! hem, hem, hem! Feeling faint. My heart is doing alright; it still beats, and my pulses, ha!—I have none—help me—hum. Yes, here they are—gallop, gallop, gallop, gallop, gallop, gallop, hey! Where are they rushing me off to? Now they’re gone again. And now I feel faint again, and pale again, and hem! and my hem! breath, hem! is getting short; hem! hem! he, he, hem!

SCAN.  It takes: pursue it in the name of love and pleasure.

SCAN. It takes: chase it in the name of love and enjoyment.

MRS. FORE.  How do you do, Mr. Foresight!

MRS. FORE.  How are you, Mr. Foresight!

FORE.  Hum, not so well as I thought I was.  Lend me your hand.

FORE. Huh, not as good as I thought I was. Give me your hand.

SCAN.  Look you there now.  Your lady says your sleep has been unquiet of late.

SCAN. Look at that. Your lady says you haven't been sleeping well lately.

FORE.  Very likely.

FORE. Definitely.

MRS. FORE.  Oh, mighty restless, but I was afraid to tell him so.  He has been subject to talking and starting.

MRS. FORE. Oh, really restless, but I was scared to say that to him. He tends to talk and startle easily.

SCAN.  And did not use to be so?

SCAN. And wasn't it always like that?

MRS. FORE.  Never, never, till within these three nights; I cannot say that he has once broken my rest since we have been married.

MRS. FORE.  Never, never, until these last three nights; I can't say he has ever disturbed my sleep since we got married.

FORE.  I will go to bed.

Going to bed.

SCAN.  Do so, Mr. Foresight, and say your prayers.  He looks better than he did.

SCAN. Do that, Mr. Foresight, and say your prayers. He looks better than before.

MRS. FORE.  Nurse, nurse!

Mrs. Fore. Nurse, nurse!

FORE.  Do you think so, Mr. Scandal?

FORE. Do you really think that, Mr. Scandal?

SCAN.  Yes, yes.  I hope this will be gone by morning, taking it in time.

SCAN. Yes, yes. I hope this will be gone by morning if I take it in time.

FORE.  I hope so.

FORE. I hope so.

SCENE XIII.

[To them] Nurse.

[To them] Nurse.

MRS. FORE.  Nurse; your master is not well; put him to bed.

MRS. FORE. Nurse, your boss isn't feeling well; get him to bed.

SCAN.  I hope you will be able to see Valentine in the morning.  You had best take a little diacodion and cowslip-water, and lie upon your back: maybe you may dream.

SCAN. I hope you can see Valentine in the morning. You should take a bit of diacodion and cowslip water, and lie on your back: maybe you'll dream.

FORE.  I thank you, Mr. Scandal, I will.  Nurse, let me have a watch-light, and lay the Crumbs of Comfort by me.

FORE. I appreciate it, Mr. Scandal, I really will. Nurse, please bring me a small lamp and set the Crumbs of Comfort beside me.

NURSE.  Yes, sir.

NURSE.  Yes, sir.

FORE.  And—hem, hem!  I am very faint.

FORE. And—cough, cough! I feel really faint.

SCAN.  No, no, you look much better.

SCAN. No, no, you look way better.

FORE.  Do I?  And, d’ye hear, bring me, let me see—within a quarter of twelve, hem—he, hem!—just upon the turning of the tide, bring me the urinal; and I hope, neither the lord of my ascendant, nor the moon will be combust; and then I may do well.

FORE. Do I? And, do you hear me, bring me, let me see—around a quarter to twelve, um—he, um!—just at the turning of the tide, bring me the urinal; and I hope neither the lord of my ascendant nor the moon will be messed up; then I might do well.

SCAN.  I hope so.  Leave that to me; I will erect a scheme; and I hope I shall find both Sol and Venus in the sixth house.

SCAN. I hope so. Leave that to me; I’ll come up with a plan, and I hope to find both the Sun and Venus in the sixth house.

FORE.  I thank you, Mr. Scandal, indeed that would be a great comfort to me.  Hem, hem! good night.

FORE. I appreciate it, Mr. Scandal, that would really make me feel better. Ahem, good night.

SCENE XIV.

Scandal, Mrs. Foresight.

Scandal, Mrs. Foresight.

SCAN.  Good night, good Mr. Foresight; and I hope Mars and Venus will be in conjunction;—while your wife and I are together.

SCAN. Good night, good Mr. Foresight; and I hope Mars and Venus align while your wife and I are together.

MRS. FORE.  Well; and what use do you hope to make of this project?  You don’t think that you are ever like to succeed in your design upon me?

MRS. FORE. Well, what do you hope to achieve with this project? You really don’t think you’re going to succeed in your plan regarding me?

SCAN.  Yes, faith I do; I have a better opinion both of you and myself than to despair.

SCAN. Yes, I do believe; I have a higher opinion of both you and myself than to lose hope.

MRS. FORE.  Did you ever hear such a toad?  Hark’ee, devil: do you think any woman honest?

MRS. FORE. Did you ever hear such a jerk? Listen up, you devil: do you really think any woman is honest?

SCAN.  Yes, several, very honest; they’ll cheat a little at cards, sometimes, but that’s nothing.

SCAN. Yes, several, very honest; they’ll cheat a little at cards sometimes, but that’s no big deal.

MRS. FORE.  Pshaw! but virtuous, I mean?

MRS. FORE. Pshh! But I mean, virtuous?

SCAN.  Yes, faith, I believe some women are virtuous too; but ’tis as I believe some men are valiant, through fear.  For why should a man court danger or a woman shun pleasure?

SCAN. Yes, faith, I believe some women are virtuous too; but it’s like I believe some men are brave, out of fear. For why would a man seek danger or a woman avoid pleasure?

MRS. FORE.  Oh, monstrous!  What are conscience and honour?

MRS. FORE.  Oh, come on!  What do conscience and honor even mean?

SCAN.  Why, honour is a public enemy, and conscience a domestic thief; and he that would secure his pleasure must pay a tribute to one and go halves with t’other.  As for honour, that you have secured, for you have purchased a perpetual opportunity for pleasure.

SCAN. Why, honor is a public enemy, and conscience is a home thief; and if you want to enjoy yourself, you have to give in to one and compromise with the other. As for honor, you’ve locked that down, because you’ve bought yourself a constant chance for pleasure.

MRS. FORE.  An opportunity for pleasure?

MRS. FORE. An opportunity for fun?

SCAN.  Ay, your husband, a husband is an opportunity for pleasure: so you have taken care of honour, and ’tis the least I can do to take care of conscience.

SCAN.  Yeah, your husband, a husband is a chance for enjoyment: so you’ve managed to keep your honor, and it’s the least I can do to keep my conscience clear.

MRS. FORE.  And so you think we are free for one another?

MRS. FORE. So you believe we’re meant for each other?

SCAN.  Yes, faith I think so; I love to speak my mind.

SCAN. Yes, I believe that's true; I enjoy expressing my thoughts.

MRS. FORE.  Why, then, I’ll speak my mind.  Now as to this affair between you and me.  Here you make love to me; why, I’ll confess it does not displease me.  Your person is well enough, and your understanding is not amiss.

MRS. FORE. Why, then, I’ll say what I think. Now about this situation between you and me. You’re making advances towards me; I’ll admit, it doesn’t bother me. You look good enough, and your intelligence isn’t bad.

SCAN.  I have no great opinion of myself, but I think I’m neither deformed nor a fool.

SCAN. I don't think too highly of myself, but I believe I'm neither ugly nor stupid.

MRS. FORE.  But you have a villainous character: you are a libertine in speech, as well as practice.

MRS. FORE. But you have a wicked nature: you talk like a libertine and act like one too.

SCAN.  Come, I know what you would say: you think it more dangerous to be seen in conversation with me than to allow some other men the last favour; you mistake: the liberty I take in talking is purely affected for the service of your sex.  He that first cries out stop thief is often he that has stol’n the treasure.  I am a juggler, that act by confederacy; and if you please, we’ll put a trick upon the world.

SCAN. Come on, I know what you're thinking: you believe it's more dangerous to be seen talking to me than to let some other men have the last favor; you’re mistaken: the freedom I take in speaking is entirely for the benefit of your gender. The one who first yells “stop thief” is often the one who has actually stolen the treasure. I’m a trickster, working in collaboration; and if you’re up for it, let’s pull a fast one on the world.

MRS. FORE.  Ay; but you are such an universal juggler, that I’m afraid you have a great many confederates.

MRS. FORE.  Yeah; but you’re such a master of tricks that I’m worried you have a lot of accomplices.

SCAN.  Faith, I’m sound.

SCAN. Faith, I'm good.

MRS. FORE.  Oh, fie—I’ll swear you’re impudent.

MRS. FORE. Oh, come on—I swear you're being rude.

SCAN.  I’ll swear you’re handsome.

SCAN. I swear you’re handsome.

MRS. FORE.  Pish, you’d tell me so, though you did not think so.

MRS. FORE.  Come on, you'd say that even if you didn't believe it.

SCAN.  And you’d think so, though I should not tell you so.  And now I think we know one another pretty well.

SCAN. And you might think that, although I shouldn't say it. And now I believe we know each other quite well.

MRS. FORE.  O Lord, who’s here?

MRS. FORE.  Oh Lord, who’s here?

SCENE XV.

[To them] Mrs. Frail and Ben.

[To them] Mrs. Frail and Ben.

BEN.  Mess, I love to speak my mind.  Father has nothing to do with me.  Nay, I can’t say that neither; he has something to do with me.  But what does that signify?  If so be that I ben’t minded to be steered by him; ’tis as thof he should strive against wind and tide.

BEN. Mess, I love to share my thoughts. My father doesn't really connect with me. No, I can’t exactly say that; he is involved in my life. But what does that mean? If I’m not interested in following his lead, it’s like he’s trying to swim against the current.

MRS. FRAIL.  Ay, but, my dear, we must keep it secret till the estate be settled; for you know, marrying without an estate is like sailing in a ship without ballast.

MRS. FRAIL. Yes, but, my dear, we have to keep it a secret until the estate is settled; because, you know, getting married without an estate is like sailing on a ship without any weight to keep it steady.

BEN.  He, he, he; why, that’s true; just so for all the world it is indeed, as like as two cable ropes.

BEN. He, he, he; well, that’s true; it really is just like that, as similar as two cable ropes.

MRS. FRAIL.  And though I have a good portion, you know one would not venture all in one bottom.

MRS. FRAIL. And even though I have a good amount, you know one shouldn't risk everything in one place.

BEN.  Why, that’s true again; for mayhap one bottom may spring a leak.  You have hit it indeed: mess, you’ve nicked the channel.

BEN.  Well, that’s true; one ship might spring a leak.  You really got it right: mess, you’ve found the way.

MRS. FRAIL.  Well, but if you should forsake me after all, you’d break my heart.

MRS. FRAIL. Well, if you end up leaving me, you’ll break my heart.

BEN.  Break your heart?  I’d rather the Mary-gold should break her cable in a storm, as well as I love her.  Flesh, you don’t think I’m false-hearted, like a landman.  A sailor will be honest, thof mayhap he has never a penny of money in his pocket.  Mayhap I may not have so fair a face as a citizen or a courtier; but, for all that, I’ve as good blood in my veins, and a heart as sound as a biscuit.

BEN. Break my heart? I’d rather the Mary-gold break her anchor in a storm, as much as I love her. Seriously, you don’t think I’m deceitful like a landlubber. A sailor will be honest, even if he doesn't have a dime to his name. I might not have as pretty a face as a city guy or a courtier; but still, I’ve got just as good blood in my veins, and a heart as solid as a rock.

MRS. FRAIL.  And will you love me always?

MRS. FRAIL. And will you always love me?

BEN.  Nay, an I love once, I’ll stick like pitch; I’ll tell you that.  Come, I’ll sing you a song of a sailor.

BEN. No, if I love someone, I’ll stick like glue; I’ll tell you that. Come on, I’ll sing you a song about a sailor.

MRS. FRAIL.  Hold, there’s my sister, I’ll call her to hear it.

MRS. FRAIL.  Wait, there's my sister, I'll call her to listen.

MRS. FORE.  Well; I won’t go to bed to my husband to-night, because I’ll retire to my own chamber, and think of what you have said.

MRS. FORE. Well; I won’t go to bed with my husband tonight, because I’ll head to my own room and think about what you’ve said.

SCAN.  Well; you’ll give me leave to wait upon you to your chamber door, and leave you my last instructions?

SCAN. Well, you’ll let me walk you to your room and give you my final instructions?

MRS. FORE.  Hold, here’s my sister coming towards us.

MRS. FORE. Wait, here comes my sister.

MRS. FRAIL.  If it won’t interrupt you I’ll entertain you with a song.

MRS. FRAIL. If it won't distract you, I’ll keep you company with a song.

BEN.  The song was made upon one of our ship’s-crew’s wife.  Our boatswain made the song.  Mayhap you may know her, sir.  Before she was married she was called buxom Joan of Deptford.

BEN. The song was made about one of our crew's wives. Our boatswain created the song. You might know her, sir. Before she got married, she was called pretty Joan of Deptford.

SCAN.  I have heard of her.

SCAN. I know her.

BEN.  [Sings]:—

BEN. [Sings]:—

BALLAD.
Set by Mr. John Eccles.

Ballad.
Set by Mr. John Eccles.

I.

I.

A soldier and a sailor,
A tinker and a tailor,
Had once a doubtful strife, sir,
To make a maid a wife, sir,
   Whose name was buxom Joan.
For now the time was ended,
When she no more intended
To lick her lips at men, sir,
And gnaw the sheets in vain, sir,
      And lie o’ nights alone.

A soldier and a sailor,
A handyman and a tailor,
Once had a heated argument, sir,
About turning a girl into a wife, sir,
   Whose name was charming Joan.
Because now the time was over,
When she no longer planned
To flirt with men, sir,
And waste her nights alone, sir,
      And lie awake by herself.

II.

II.

The soldier swore like thunder,
He loved her more than plunder,
And shewed her many a scar, sir,
That he had brought from far, sir,
   With fighting for her sake.
The tailor thought to please her
With offering her his measure.
The tinker, too, with mettle
Said he could mend her kettle,
   And stop up ev’ry leak.

The soldier cursed like crazy,
He loved her more than treasure,
And showed her many scars, man,
That he got from afar, man,
Fighting for her sake.
The tailor thought he’d impress her
By offering her his measurements.
The tinker, too, with spirit
Said he could fix her kettle,
And stop up every leak.

III.

III.

But while these three were prating,
The sailor slyly waiting,
Thought if it came about, sir,
That they should all fall out, sir,
   He then might play his part.
And just e’en as he meant, sir,
To loggerheads they went, sir,
And then he let fly at her
A shot ’twixt wind and water,
   That won this fair maid’s heart.

But while these three were talking,
The sailor was quietly waiting,
He thought if it happened, sir,
That they should all argue, sir,
He could then make his move.
And just as he planned, sir,
They started to fight, sir,
And then he took a shot at her
A hit between the wind and water,
That won this beautiful girl’s heart.

BEN.  If some of our crew that came to see me are not gone, you shall see that we sailors can dance sometimes as well as other folks.  [Whistles.]  I warrant that brings ’em, an they be within hearing.  [Enter seamen].   Oh, here they be—and fiddles along with ’em.  Come, my lads, let’s have a round, and I’ll make one.  [Dance.]

BEN. If some of the crew that came to see me are still around, you'll see that we sailors can dance just as well as anyone else. [Whistles] I bet that brings them, if they can hear it. [Enter seamen]. Oh, here they are—and bringing their fiddles with them. Come on, guys, let's have a round, and I'll join in. [Dance]

BEN.  We’re merry folks, we sailors: we han’t much to care for.  Thus we live at sea; eat biscuit, and drink flip, put on a clean shirt once a quarter; come home and lie with our landladies once a year, get rid of a little money, and then put off with the next fair wind.  How d’ye like us?

BEN. We’re happy people, us sailors: we don’t have much to worry about. So we live at sea; eat crackers, drink rum, wear a clean shirt every few months; come home and spend time with our landladies once a year, spend a bit of money, and then set off again with the next good wind. What do you think of us?

MRS. FRAIL.  Oh, you are the happiest, merriest men alive.

MRS. FRAIL. Oh, you are the happiest, most carefree guys alive.

MRS. FORE.  We’re beholden to Mr. Benjamin for this entertainment.  I believe it’s late.

MRS. FORE. We owe a thanks to Mr. Benjamin for this entertainment. I think it's getting late.

BEN.  Why, forsooth, an you think so, you had best go to bed.  For my part, I mean to toss a can, and remember my sweet-heart, afore I turn in; mayhap I may dream of her.

BEN. If you really think that, you should just go to bed. As for me, I plan to drink a bit and remember my sweetheart before I sleep; maybe I’ll dream of her.

MRS. FORE.  Mr. Scandal, you had best go to bed and dream too.

MRS. FORE. Mr. Scandal, you should probably go to bed and dream as well.

SCAN.  Why, faith, I have a good lively imagination, and can dream as much to the purpose as another, if I set about it.  But dreaming is the poor retreat of a lazy, hopeless, and imperfect lover; ’tis the last glimpse of love to worn-out sinners, and the faint dawning of a bliss to wishing girls and growing boys.

SCAN. Why, honestly, I have a vivid imagination and can dream just as effectively as anyone else if I really try. But dreaming is the sad escape of a lazy, hopeless, and imperfect lover; it's the final flicker of love for exhausted souls, and the weak beginning of happiness for longing girls and growing boys.

There’s nought but willing, waking love, that can
Make blest the ripened maid and finished man.

There’s nothing but eager, conscious love, that can
Bless the mature woman and complete man.

ACT IV.—SCENE I.

Valentine’s lodging.

Valentine's stay.

Scandal and Jeremy.

Scandal and Jeremy.

SCAN.  Well, is your master ready? does he look madly and talk madly?

SCAN. Well, is your boss ready? Does he seem crazy and talk wildly?

JERE.  Yes, sir; you need make no great doubt of that.  He that was so near turning poet yesterday morning can’t be much to seek in playing the madman to-day.

JERE. Yes, sir; you don't need to worry about that. The guy who was almost becoming a poet yesterday morning can't be too far off from acting crazy today.

SCAN.  Would he have Angelica acquainted with the reason of his design?

SCAN. Would he tell Angelica the reason behind his plan?

JERE.  No, sir, not yet.  He has a mind to try whether his playing the madman won’t make her play the fool, and fall in love with him; or at least own that she has loved him all this while and concealed it.

JERE. No, sir, not yet. He wants to see if acting crazy will make her act foolish and fall in love with him; or at least admit that she has loved him all along and kept it secret.

SCAN.  I saw her take coach just now with her maid, and think I heard her bid the coachman drive hither.

SCAN. I just saw her get into a carriage with her maid, and I think I heard her tell the driver to come this way.

JERE.  Like enough, sir, for I told her maid this morning, my master was run stark mad only for love of her mistress.—I hear a coach stop; if it should be she, sir, I believe he would not see her, till he hears how she takes it.

JERE. It’s possible, sir, because I told her maid this morning that my master has gone completely crazy just from loving her mistress. — I hear a coach stopping; if it’s her, sir, I think he won’t see her until he knows how she feels about it.

SCAN.  Well, I’ll try her:—’tis she—here she comes.

SCAN. Well, I’ll give her a try: it’s her—here she comes.

SCENE II.

[To them] Angelica with Jenny.

To them Angelica with Jenny.

ANG.  Mr. Scandal, I suppose you don’t think it a novelty to see a woman visit a man at his own lodgings in a morning?

ANG. Mr. Scandal, I guess you aren't surprised to see a woman visit a man at his place in the morning?

SCAN.  Not upon a kind occasion, madam.  But when a lady comes tyrannically to insult a ruined lover, and make manifest the cruel triumphs of her beauty, the barbarity of it something surprises me.

SCAN. Not on a nice occasion, ma'am. But when a woman comes harshly to insult a broken-hearted lover and flaunt the cruel triumphs of her beauty, the harshness of it surprises me a bit.

ANG.  I don’t like raillery from a serious face.  Pray tell me what is the matter?

ANG. I don’t appreciate jokes from a serious face. Please tell me what’s going on?

JERE.  No strange matter, madam; my master’s mad, that’s all.  I suppose your ladyship has thought him so a great while.

JERE.  It's nothing unusual, ma'am; my master is just crazy, that's all.  I guess you've believed that for quite some time.

ANG.  How d’ye mean, mad?

ANG. How do you mean, mad?

JERE.  Why, faith, madam, he’s mad for want of his wits, just as he was poor for want of money; his head is e’en as light as his pockets, and anybody that has a mind to a bad bargain can’t do better than to beg him for his estate.

JERE. Well, honestly, ma'am, he's lost his mind just like he was broke; his thoughts are as empty as his wallet, and anyone looking for a bad deal couldn't do better than to ask him for his property.

ANG.  If you speak truth, your endeavouring at wit is very unseasonable.

ANG. If you're being honest, trying to be witty is really out of place.

SCAN.  She’s concerned, and loves him.  [Aside.]

SCAN. She's worried and cares about him. [Aside.]

ANG.  Mr. Scandal, you can’t think me guilty of so much inhumanity as not to be concerned for a man I must own myself obliged to?  Pray tell me truth.

ANG. Mr. Scandal, you can't seriously believe I'm so heartless as not to care about a man I feel indebted to? Please, just tell me the truth.

SCAN.  Faith, madam, I wish telling a lie would mend the matter.  But this is no new effect of an unsuccessful passion.

SCAN. Faith, ma'am, I wish lying would fix this issue. But this isn't just another result of a failed romance.

ANG.  [Aside.]  I know not what to think.  Yet I should be vexed to have a trick put upon me.  May I not see him?

ANG.  [Aside.]  I don't know what to think.  But I would be annoyed to be fooled.  Can I not see him?

SCAN.  I’m afraid the physician is not willing you should see him yet.  Jeremy, go in and enquire.

SCAN. I’m sorry, but the doctor doesn't want you to see him yet. Jeremy, go in and ask.

SCENE III.

Scandal, Angelica, Jenny.

Scandal, Angelica, Jenny.

ANG.  Ha!  I saw him wink and smile.  I fancy ’tis a trick—I’ll try.—I would disguise to all the world a failing which I must own to you: I fear my happiness depends upon the recovery of Valentine.  Therefore I conjure you, as you are his friend, and as you have compassion upon one fearful of affliction, to tell me what I am to hope for—I cannot speak—but you may tell me, tell me, for you know what I would ask?

ANG. Ha! I saw him wink and smile. I think it's a trick—I’ll try. I want to hide from everyone a weakness I have to confess to you: I’m afraid my happiness depends on getting Valentine back. So I ask you, since you are his friend and you care about someone who’s scared of suffering, to tell me what I should hope for—I can’t say it, but you can tell me, tell me, because you know what I want to ask, right?

SCAN.  So, this is pretty plain.  Be not too much concerned, madam; I hope his condition is not desperate.  An acknowledgment of love from you, perhaps, may work a cure, as the fear of your aversion occasioned his distemper.

SCAN. So, this is quite straightforward. Don't worry too much, ma'am; I hope his condition isn't hopeless. A sign of love from you might help him recover, since the fear of your disapproval caused his distress.

ANG.  [Aside.]  Say you so; nay, then, I’m convinced.  And if I don’t play trick for trick, may I never taste the pleasure of revenge.—Acknowledgment of love!  I find you have mistaken my compassion, and think me guilty of a weakness I am a stranger to.  But I have too much sincerity to deceive you, and too much charity to suffer him to be deluded with vain hopes.  Good nature and humanity oblige me to be concerned for him; but to love is neither in my power nor inclination, and if he can’t be cured without I suck the poison from his wounds, I’m afraid he won’t recover his senses till I lose mine.

ANG.  [Aside.]  Is that what you really think? Well, now I’m convinced. And if I don’t return the favor in kind, may I never experience the joy of revenge. — Acknowledgment of love!  I see you’ve misunderstood my compassion and think I have a weakness that I'm not familiar with.  But I’m too honest to mislead you, and too kind to let him cling to false hopes.  Good nature and humanity make me care about him; however, loving him is neither something I can do nor want to do.  And if he can’t get better without me sucking the poison out of his wounds, I’m afraid he won’t regain his senses until I lose mine.

SCAN.  Hey, brave woman, i’faith—won’t you see him, then, if he desire it?

SCAN. Hey, brave woman, seriously—will you see him if he wants to?

ANG.  What signify a madman’s desires?  Besides, ’twould make me uneasy:—if I don’t see him, perhaps my concern for him may lessen.  If I forget him, ’tis no more than he has done by himself; and now the surprise is over, methinks I am not half so sorry as I was.

ANG. What do a madman's desires matter? Besides, it would make me uneasy—if I don’t see him, maybe my worry for him will fade. If I forget him, it’s no different from what he has done to himself; and now that the surprise is over, I don’t think I feel as sorry as I did before.

SCAN.  So, faith, good nature works apace; you were confessing just now an obligation to his love.

SCAN. So, faith, good vibes are flowing; you were just admitting a debt to his love.

ANG.  But I have considered that passions are unreasonable and involuntary; if he loves, he can’t help it; and if I don’t love, I can’t help it; no more than he can help his being a man, or I my being a woman: or no more than I can help my want of inclination to stay longer here.  Come, Jenny.

ANG. But I've thought about how feelings are often unreasonable and beyond our control; if he loves, he can't help it; and if I don't love, I can't help that either; just like he can't change the fact that he's a man, or I that I'm a woman. It's just like I can't change my lack of desire to stay here any longer. Come on, Jenny.

SCENE IV.

Scandal, Jeremy.

Scandal, Jeremy.

SCAN.  Humh!  An admirable composition, faith, this same womankind.

SCAN. Humh! An impressive creation, indeed, this same woman.

JERE.  What, is she gone, sir?

JERE. What, is she gone, sir?

SCAN.  Gone?  Why, she was never here, nor anywhere else; nor I don’t know her if I see her, nor you neither.

SCAN. Gone? Why, she was never here, nor anywhere else; and I wouldn’t recognize her if I saw her, nor would you.

JERE.  Good lack!  What’s the matter now?  Are any more of us to be mad?  Why, sir, my master longs to see her, and is almost mad in good earnest with the joyful news of her being here.

JERE.  Goodness! What’s going on now? Are we all going crazy? Look, sir, my boss really wants to see her and is almost genuinely losing it with the exciting news of her being here.

SCAN.  We are all under a mistake.  Ask no questions, for I can’t resolve you; but I’ll inform your master.  In the meantime, if our project succeed no better with his father than it does with his mistress, he may descend from his exaltation of madness into the road of common sense, and be content only to be made a fool with other reasonable people.  I hear Sir Sampson.  You know your cue; I’ll to your master.

SCAN. We’re all mistaken. Don’t ask questions, because I can’t explain; but I’ll let your master know. In the meantime, if our plan doesn’t work out any better with his father than it does with his mistress, he might come down from his delusions into reality and be okay with just being a fool like everyone else. I hear Sir Sampson coming. You know your part; I’ll go to your master.

SCENE V.

Jeremy, Sir Sampson Legend, with a Lawyer.

Jeremy, Sir Sampson Legend, with a Lawyer.

SIR SAMP.  D’ye see, Mr. Buckram, here’s the paper signed with his own hand.

SIR SAMP. Do you see this, Mr. Buckram? Here’s the paper signed in his own hand.

BUCK.  Good, sir.  And the conveyance is ready drawn in this box, if he be ready to sign and seal.

BUCK. Good, sir. And the agreement is ready to go in this box if he's ready to sign and seal.

SIR SAMP.  Ready, body o’ me?  He must be ready.  His sham-sickness shan’t excuse him.  Oh, here’s his scoundrel.  Sirrah, where’s your master?

SIR SAMP.  Ready, my friend?  He has to be ready.  His fake illness won't be an excuse.  Oh, here comes that rascal.  Kid, where’s your boss?

JERE.  Ah sir, he’s quite gone.

JERE. Ah man, he’s really gone.

SIR SAMP.  Gone!  What, he is not dead?

SIR SAMP. Gone! What, he's not dead?

JERE.  No, sir, not dead.

JERE.  No, sir, not dead.

SIR SAMP.  What, is he gone out of town, run away, ha? has he tricked me?  Speak, varlet.

SIR SAMP. What, has he left town, vanished, huh? Has he played me? Speak up, servant.

JERE.  No, no, sir, he’s safe enough, sir, an he were but as sound, poor gentleman.  He is indeed here, sir, and not here, sir.

JERE. No, no, sir, he’s fine, sir, if he were just as healthy, poor guy. He really is here, sir, and not here, sir.

SIR SAMP.  Hey day, rascal, do you banter me?  Sirrah, d’ye banter me?  Speak, sirrah, where is he? for I will find him.

SIR SAMP.  Hey, you little troublemaker, are you messing with me? Hey, are you messing with me?  Speak up, where is he? Because I will find him.

JERE.  Would you could, sir, for he has lost himself.  Indeed, sir, I have a’most broke my heart about him—I can’t refrain tears when I think of him, sir: I’m as melancholy for him as a passing-bell, sir, or a horse in a pound.

JERE.  I wish you could, sir, because he’s really lost himself.  Honestly, sir, I’ve almost broken my heart over him—I can’t help but cry when I think about him, sir: I’m as sad for him as a funeral bell, sir, or a horse stuck in a pound.

SIR SAMP.  A pox confound your similitudes, sir.  Speak to be understood, and tell me in plain terms what the matter is with him, or I’ll crack your fool’s skull.

SIR SAMP.  Damn your comparisons, man.  Speak clearly so I can understand you, and tell me straight what’s wrong with him, or I’ll smash your foolish head.

JERE.  Ah, you’ve hit it, sir; that’s the matter with him, sir: his skull’s cracked, poor gentleman; he’s stark mad, sir.

JERE.  Ah, you got it, sir; that’s what’s wrong with him, sir: his skull’s broken, poor guy; he’s completely insane, sir.

SIR SAMP.  Mad!

SIR SAMP. Crazy!

BUCK.  What, is he non compos?

BUCK. What, is he out of it?

JERE.  Quite non compos, sir.

JERE. Quite out of it, sir.

BUCK.  Why, then, all’s obliterated, Sir Sampson, if he be non compos mentis; his act and deed will be of no effect, it is not good in law.

BUCK.  Well, if that’s the case, everything's wiped out, Sir Sampson, because if he’s non compos mentis; his actions and decisions won’t mean anything, they aren’t valid in law.

SIR SAMP.  Oons, I won’t believe it; let me see him, sir.  Mad—I’ll make him find his senses.

SIR SAMP.  Oh no, I can't believe it; let me see him, sir.  Crazy—I’ll make him come to his senses.

JERE.  Mr. Scandal is with him, sir; I’ll knock at the door.

JERE. Mr. Scandal is with him, sir; I’ll knock on the door.

[Goes to the scene, which opens.]

[Arrives at the scene, which opens.]

SCENE VI.

Sir Sampson, Valentine, Scandal, Jeremy, and LawyerValentine upon a couch disorderly dressed.

Sir Sampson, Valentine's Day, Controversy, Jeremy, and Attorney. Valentine's Day lying on a couch in messy clothes.

SIR SAMP.  How now, what’s here to do?

SIR SAMP. What’s going on here?

VAL.  Ha!  Who’s that?  [Starting.]

VAL. Ha! Who’s that? [Starting.]

SCAN.  For heav’n’s sake softly, sir, and gently; don’t provoke him.

SCAN. For heaven's sake, please be gentle, sir, and take it easy; don't provoke him.

VAL.  Answer me: who is that, and that?

VAL.  Answer me: who is that? And who is that?

SIR SAMP.  Gads bobs, does he not know me?  Is he mischievous?  I’ll speak gently.  Val, Val, dost thou not know me, boy?  Not know thy own father, Val?  I am thy own father, and this is honest Brief Buckram, the lawyer.

SIR SAMP. Goodness, does he not recognize me? Is he up to something? I'll take a softer approach. Val, Val, don't you know me, kid? You don't recognize your own father, Val? I am your father, and this is honest Brief Buckram, the lawyer.

VAL.  It may be so—I did not know you—the world is full.  There are people that we do know, and people that we do not know, and yet the sun shines upon all alike.  There are fathers that have many children, and there are children that have many fathers.  ’Tis strange!  But I am Truth, and come to give the world the lie.

VAL. It might be true—I didn’t know you—the world is crowded. There are people we know, and people we don’t know, and yet the sun shines on everyone equally. There are fathers with many children, and children with many fathers. It’s odd! But I am Truth, and I’ve come to expose the world’s lies.

SIR SAMP.  Body o’ me, I know not what to say to him.

SIR SAMP. Honestly, I don’t know what to say to him.

VAL.  Why does that lawyer wear black?  Does he carry his conscience withoutside?  Lawyer what art thou?  Dost thou know me?

VAL. Why is that lawyer wearing black? Does he carry his conscience openly? Lawyer, what are you? Do you know me?

BUCK.  O Lord, what must I say?  Yes, sir,

BUCK. Oh Lord, what should I say? Yes, sir,

VAL.  Thou liest, for I am Truth.  ’Tis hard I cannot get a livelihood amongst you.  I have been sworn out of Westminster Hall the first day of every term—let me see—no matter how long.  But I’ll tell you one thing: it’s a question that would puzzle an arithmetician, if you should ask him, whether the Bible saves more souls in Westminster Abbey, or damns more in Westminster Hall.  For my part, I am Truth, and can’t tell; I have very few acquaintance.

VAL. You’re lying, because I am Truth. It’s hard that I can’t make a living among you. I’ve been sworn out of Westminster Hall on the first day of every term—let me think—no matter how long. But I’ll tell you one thing: it’s a question that would confuse a mathematician if you asked him whether the Bible saves more souls in Westminster Abbey or damns more in Westminster Hall. As for me, I am Truth, and I can’t say; I have very few acquaintances.

SIR SAMP.  Body o’ me, he talks sensibly in his madness.  Has he no intervals?

SIR SAMP.  Goodness, he's making sense in his craziness.  Does he have any breaks?

JERE.  Very short, sir.

JERE. Very brief, sir.

BUCK.  Sir, I can do you no service while he’s in this condition.  Here’s your paper, sir—he may do me a mischief if I stay.  The conveyance is ready, sir, if he recover his senses.

BUCK. Sir, I can't help you while he's like this. Here’s your paper, sir—he might hurt me if I stick around. The transportation is ready, sir, in case he comes to his senses.

SCENE VII.

Sir Sampson, Valentine, Scandal, Jeremy.

Sir Sampson, Valentine, Scandal, Jeremy.

SIR SAMP.  Hold, hold, don’t you go yet.

SIR SAMP.  Wait, wait, don’t leave yet.

SCAN.  You’d better let him go, sir, and send for him if there be occasion; for I fancy his presence provokes him more.

SCAN. You should really let him go, sir, and call for him if needed; I think his presence just makes him more upset.

VAL.  Is the lawyer gone?  ’Tis well, then we may drink about without going together by the ears—heigh ho!  What a’clock is’t?  My father here!  Your blessing, sir.

VAL. Is the lawyer gone? That’s good, then we can drink without getting into a fight—heigh ho! What time is it? My father is here! Your blessing, sir.

SIR SAMP.  He recovers—bless thee, Val; how dost thou do, boy?

SIR SAMP. He’s better now—thank you, Val; how are you doing, kid?

VAL.  Thank you, sir, pretty well.  I have been a little out of order, Won’t you please to sit, sir?

VAL. Thank you, sir, I'm doing quite well. I've been feeling a bit under the weather. Would you please take a seat, sir?

SIR SAMP.  Ay, boy.  Come, thou shalt sit down by me.

SIR SAMP. Yeah, kid. Come on, sit down next to me.

VAL.  Sir, ’tis my duty to wait.

VAL. Sir, it's my job to wait.

SIR SAMP.  No, no; come, come, sit thee down, honest Val.  How dost thou do?  Let me feel thy pulse.  Oh, pretty well now, Val.  Body o’ me, I was sorry to see thee indisposed; but I’m glad thou art better, honest Val.

SIR SAMP.  No, no; come on, sit down, my friend.  VAL.  How are you?  Let me check your pulse.  SIR SAMP.  Oh, I'm pretty good now, Val.  Honestly, I was worried to see you unwell, but I'm glad you're feeling better, my friend.

VAL.  I thank you, sir.

Thanks, sir.

SCAN.  Miracle!  The monster grows loving.  [Aside.]

SCAN. Miracle! The monster becomes affectionate. [Aside.]

SIR SAMP.  Let me feel thy hand again, Val.  It does not shake; I believe thou canst write, Val.  Ha, boy? thou canst write thy name, Val.  Jeremy, step and overtake Mr. Buckram, bid him make haste back with the conveyance; quick, quick.  [In whisper to Jeremy.]

SIR SAMP. Let me hold your hand again, Val. It’s steady; I think you can write, Val. Ha, kid? You can write your name, right? Jeremy, go catch up with Mr. Buckram and tell him to hurry back with the ride; quick, quick. [In a whisper to Jeremy.]

SCENE VIII.

Sir Sampson, Valentine, Scandal.

Sir Sampson, Valentine, Scandal.

SCAN.  That ever I should suspect such a heathen of any remorse!  [Aside.]

SCAN. That I would ever suspect such a pagan of any remorse! [Aside.]

SIR SAMP.  Dost thou know this paper, Val?  I know thou’rt honest, and wilt perform articles.  [Shows him the paper, but holds it out of his reach.]

SIR SAMP. Do you know this paper, Val? I know you’re honest and will stick to your word. [Shows him the paper, but holds it out of his reach.]

VAL.  Pray let me see it, sir.  You hold it so far off that I can’t tell whether I know it or no.

VAL.  Please let me see it, sir.  You’re holding it so far away that I can’t tell if I recognize it or not.

SIR SAMP.  See it, boy?  Ay, ay; why, thou dost see it—’tis thy own hand, Vally.  Why, let me see, I can read it as plain as can be.  Look you here.  [Reads.]  The condition of this obligation—Look you, as plain as can be, so it begins—and then at the bottom—As witness my hand, VALENTINE LEGEND, in great letters.  Why, ’tis as plain as the nose in one’s face.  What, are my eyes better than thine?  I believe I can read it farther off yet; let me see.  [Stretches his arm as far as he can.]

SIR SAMP.  Do you see it, boy?  Yeah, yeah; of course you see it—it’s your own handwriting, Vally.  Let me see, I can read it as clearly as day.  Look here.  [Reads.]  The condition of this obligation—See, it starts off as clear as can be, and then at the bottom—As witness my hand, VALENTINE'S STORY, in big letters.  It’s as obvious as the nose on your face.  What, are my eyes better than yours?  I think I can read it from even farther away; let me see.  [Stretches his arm as far as he can.]

VAL.  Will you please to let me hold it, sir?

VAL. Can I hold it, please, sir?

SIR SAMP.  Let thee hold it, sayest thou?  Ay, with all my heart.  What matter is it who holds it?  What need anybody hold it?  I’ll put it up in my pocket, Val, and then nobody need hold it.  [Puts the paper in his pocket.]  There, Val; it’s safe enough, boy.  But thou shalt have it as soon as thou hast set thy hand to another paper, little Val.

SIR SAMP. You want to hold it, do you? Sure, with all my heart. What difference does it make who holds it? Why does anyone need to hold it? I’ll just put it in my pocket, Val, and then no one has to hold it. [Puts the paper in his pocket.] There you go, Val; it’s safe enough, buddy. But you can have it as soon as you’ve signed another paper, little Val.

SCENE IX.

[To them] Jeremy with Buckram.

[To them] Jeremy and Buckram.

VAL.  What, is my bad genius here again!  Oh no, ’tis the lawyer with an itching palm; and he’s come to be scratched.  My nails are not long enough.  Let me have a pair of red-hot tongs quickly, quickly, and you shall see me act St. Dunstan, and lead the devil by the nose.

VAL. What, is my bad luck showing up again! Oh no, it’s the lawyer with greedy hands; he’s here to get something. My nails aren’t long enough. Someone get me a pair of red-hot tongs quickly, quickly, and you’ll see me handle this like St. Dunstan, leading the devil around by the nose.

BUCK.  O Lord, let me begone: I’ll not venture myself with a madman.

BUCK. O Lord, let me leave: I won’t put myself in danger with a crazy person.

SCENE X.

Sir Sampson, Valentine, Scandal, Jeremy.

Sir Sampson, Valentine, Scandal, Jeremy.

VAL.  Ha, ha, ha; you need not run so fast, honesty will not overtake you.  Ha, ha, ha, the rogue found me out to be in forma pauperis presently.

VAL. Ha, ha, ha; you don’t need to hurry so much, honesty will not catch up with you. Ha, ha, ha, the trickster figured out that I’m in forma pauperis right now.

SIR SAMP.  Oons!  What a vexation is here!  I know not what to do, or say, nor which way to go.

SIR SAMP.  Ugh!  What a frustration this is!  I don't know what to do, what to say, or which way to turn.

VAL.  Who’s that that’s out of his way?  I am Truth, and can set him right.  Harkee, friend, the straight road is the worst way you can go.  He that follows his nose always, will very often be led into a stink.  Probatum est.  But what are you for? religion or politics?  There’s a couple of topics for you, no more like one another than oil and vinegar; and yet those two, beaten together by a state-cook, make sauce for the whole nation.

VAL. Who's that who's off the beaten path? I am Truth, and I can steer him right. Listen, my friend, the straight road is the worst one you can take. Those who always follow their instincts will often find themselves in a mess. Probatum est. But what are you into? Religion or politics? Those are two topics that are as different as oil and vinegar; yet when mixed together by a clever politician, they create a sauce for the entire nation.

SIR SAMP.  What the devil had I to do, ever to beget sons?  Why did I ever marry?

SIR SAMP. What on earth was I thinking, ever having kids? Why did I even get married?

VAL.  Because thou wert a monster, old boy!  The two greatest monsters in the world are a man and a woman!  What’s thy opinion?

VAL. Because you were a monster, old boy! The two biggest monsters in the world are a man and a woman! What's your opinion?

SIR SAMP.  Why, my opinion is, that those two monsters joined together, make yet a greater, that’s a man and his wife.

SIR SAMP.  I believe that when those two monsters are combined, they create an even bigger monster, which is a man and his wife.

VAL.  Aha!  Old True-penny, say’st thou so?  Thou hast nicked it.  But it’s wonderful strange, Jeremy.

VAL. Aha! Old True-penny, are you saying that? You’ve hit the nail on the head. But it’s really strange, Jeremy.

JERE.  What is, sir?

JERE. What is it, sir?

VAL.  That gray hairs should cover a green head—and I make a fool of my father.  What’s here!  Erra Pater: or a bearded sibyl?  If Prophecy comes, Truth must give place.

VAL. That gray hair should be on a young head—and I’m making a fool of my dad. What’s this! Erra Pater: or a bearded prophetess? If Prophecy shows up, Truth has to step aside.

SCENE XI.

Sir Sampson, Scandal, Foresight, Miss Foresight, Mrs. Frail.

Sir Sampson, Scandal, Foresight, Miss Foresight, Mrs. Frail.

FORE.  What says he?  What, did he prophesy?  Ha, Sir Sampson, bless us!  How are we?

FORE. What does he say? Wait, did he predict something? Ha, Sir Sampson, wow! How are we doing?

SIR SAMP.  Are we?  A pox o’ your prognostication.  Why, we are fools as we use to be.  Oons, that you could not foresee that the moon would predominate, and my son be mad.  Where’s your oppositions, your trines, and your quadrates?  What did your Cardan and your Ptolemy tell you?  Your Messahalah and your Longomontanus, your harmony of chiromancy with astrology.  Ah! pox on’t, that I that know the world and men and manners, that don’t believe a syllable in the sky and stars, and sun and almanacs and trash, should be directed by a dreamer, an omen-hunter, and defer business in expectation of a lucky hour, when, body o’ me, there never was a lucky hour after the first opportunity.

SIR SAMP. Are we? Curse your prediction. We’re as foolish as ever. Seriously, you couldn’t see that the moon would take over, and my son would go crazy. Where are your oppositions, your trines, and your quadrates? What did Cardan and Ptolemy tell you? Your Messahalah and Longomontanus, your blend of palmistry and astrology. Ugh! It’s infuriating that someone like me, who knows the world and people and their ways, doesn’t buy into any of this sky and star nonsense, and yet I’m being guided by a dreamer, an omen-chaser, putting off important matters while waiting for a lucky moment, when, for heaven's sake, there’s never been a lucky moment after the first opportunity.

SCENE XII.

Scandal, Foresight, Mrs. Foresight, Mrs. Frail.

Scandal, Foresight, Mrs. Foresight, Mrs. Frail.

FORE.  Ah, Sir Sampson, heav’n help your head.  This is none of your lucky hour; Nemo omnibus horis sapit.  What, is he gone, and in contempt of science?  Ill stars and unconvertible ignorance attend him.

FORE. Ah, Sir Sampson, heaven help you. This is not your lucky moment; Nemo omnibus horis sapit. What, has he left, ignoring knowledge? Bad luck and stubborn ignorance are with him.

SCAN.  You must excuse his passion, Mr. Foresight, for he has been heartily vexed.  His son is non compos mentis, and thereby incapable of making any conveyance in law; so that all his measures are disappointed.

SCAN. You have to forgive his anger, Mr. Foresight, because he has been truly upset. His son is non compos mentis, which means he can't make any legal decisions; therefore, all his plans have fallen through.

FORE.  Ha! say you so?

FORE. Ha! Is that so?

MRS. FRAIL.  What, has my sea-lover lost his anchor of hope, then?  [Aside to Mrs. Foresight.]

MRS. FRAIL. What, has my sea-lover lost his anchor of hope, then? [Aside to Ms. Foresight.]

MRS. FORE.  O sister, what will you do with him?

MRS. FORE. O sister, what are you going to do about him?

MRS. FRAIL.  Do with him?  Send him to sea again in the next foul weather.  He’s used to an inconstant element, and won’t be surprised to see the tide turned.

MRS. FRAIL. What do with him? Send him back to sea in the next bad weather. He’s used to unpredictable conditions and won’t be shocked when the tide changes.

FORE.  Wherein was I mistaken, not to foresee this?  [Considers.]

FORE. Where did I go wrong in not seeing this coming? [Thinks.]

SCAN.  Madam, you and I can tell him something else that he did not foresee, and more particularly relating to his own fortune.  [Aside to Mrs. Foresight.]

SCAN. Madam, you and I can reveal something to him that he didn’t expect, especially concerning his own future. [Aside to Mrs. Foresight.]

MRS. FORE.  What do you mean?  I don’t understand you.

MRS. FORE. What do you mean? I don’t get you.

SCAN.  Hush, softly,—the pleasures of last night, my dear, too considerable to be forgot so soon.

SCAN. Hush, quietly,—the joys of last night, my dear, are too significant to be forgotten so quickly.

MRS. FORE.  Last night!  And what would your impudence infer from last night?  Last night was like the night before, I think.

MRS. FORE. Last night! And what do you think your arrogance means by that? Last night was just like the night before, I believe.

SCAN.  ’Sdeath, do you make no difference between me and your husband?

SCAN. Damn it, do you see no difference between me and your husband?

MRS. FORE.  Not much,—he’s superstitious, and you are mad, in my opinion.

MRS. FORE. Not much—he's superstitious, and I think you're crazy.

SCAN.  You make me mad.  You are not serious.  Pray recollect yourself.

SCAN. You’re driving me crazy. You’re not being serious. Please get yourself together.

MRS. FORE.  Oh yes, now I remember, you were very impertinent and impudent,—and would have come to bed to me.

MRS. FORE. Oh yes, now I remember, you were very rude and disrespectful—and you would have come to bed with me.

SCAN.  And did not?

SCAN. And didn't?

MRS. FORE.  Did not!  With that face can you ask the question?

MRS. FORE. Did not! With that face, can you even ask that question?

SCAN.  This I have heard of before, but never believed.  I have been told, she had that admirable quality of forgetting to a man’s face in the morning that she had lain with him all night, and denying that she had done favours with more impudence than she could grant ’em.  Madam, I’m your humble servant, and honour you.—You look pretty well, Mr. Foresight: how did you rest last night?

SCAN. This is something I've heard of before, but I never really believed it. I've been told she had that unusual ability to forget a man's face the morning after they spent the night together, and she denied having done anything for him with more shamelessness than she could actually manage. Madam, I'm your humble servant and I respect you. — You look pretty good, Mr. Foresight: how did you sleep last night?

FORE.  Truly, Mr. Scandal, I was so taken up with broken dreams and distracted visions that I remember little.

FORE. Honestly, Mr. Scandal, I was so caught up in shattered dreams and scattered thoughts that I remember very little.

SCAN.  ’Twas a very forgetting night.  But would you not talk with Valentine?  Perhaps you may understand him; I’m apt to believe there is something mysterious in his discourses, and sometimes rather think him inspired than mad.

SCAN. It was a very forgettable night. But wouldn’t you like to talk to Valentine? Maybe you could make sense of him; I tend to believe there’s something mysterious in what he says, and sometimes I think he’s more inspired than crazy.

FORE.  You speak with singular good judgment, Mr. Scandal, truly.  I am inclining to your Turkish opinion in this matter, and do reverence a man whom the vulgar think mad.  Let us go to him.

FORE. You really have a unique way of thinking, Mr. Scandal. I'm starting to agree with your Turkish perspective on this, and I respect someone whom the masses believe to be crazy. Let's go meet him.

MRS. FRAIL.  Sister, do you stay with them; I’ll find out my lover, and give him his discharge, and come to you.  O’ my conscience, here he comes.

MRS. FRAIL. Sister, you stay with them; I’ll go find my boyfriend, let him go, and then come back to you. Oh my gosh, here he comes.

SCENE XIII.

Mrs. Frail, Ben.

Mrs. Frail, Ben.

BEN.  All mad, I think.  Flesh, I believe all the calentures of the sea are come ashore, for my part.

BEN.  Everyone's crazy, I think.  Honestly, I believe all the fevers from the sea have come ashore, as for me.

MRS. FRAIL.  Mr. Benjamin in choler!

MRS. FRAIL.  Mr. Benjamin is really angry!

BEN.  No, I’m pleased well enough, now I have found you.  Mess, I have had such a hurricane upon your account yonder.

BEN. No, I'm actually pretty happy now that I've found you. Man, I've had such a whirlwind of trouble because of you over there.

MRS. FRAIL.  My account; pray what’s the matter?

MRS. FRAIL. My account; what’s going on?

BEN.  Why, father came and found me squabbling with yon chitty-faced thing as he would have me marry, so he asked what was the matter.  He asked in a surly sort of a way—it seems brother Val is gone mad, and so that put’n into a passion; but what did I know that? what’s that to me?—so he asked in a surly sort of manner, and gad I answered ’n as surlily.  What thof he be my father, I an’t bound prentice to ’n; so faith I told ’n in plain terms, if I were minded to marry, I’d marry to please myself, not him.  And for the young woman that he provided for me, I thought it more fitting for her to learn her sampler and make dirt-pies than to look after a husband; for my part I was none of her man.  I had another voyage to make, let him take it as he will.

BEN. Why, my dad came and found me arguing with that ugly little thing he wanted me to marry, so he asked what was going on. He asked in a really grumpy way—it turns out brother Val has lost it, and that made him even angrier; but what did I know about that? What’s it to me?—so he asked in a grumpy way, and honestly, I answered him just as grumpily. Even though he’s my father, I’m not obligated to him; so I straight-up told him that if I wanted to marry, I’d do it to make myself happy, not him. And as for the girl he chose for me, I thought it would be better for her to learn how to sew and make mud pies than to look for a husband; for my part, I wasn’t interested in her. I had another journey ahead of me, let him take it however he wants.

MRS. FRAIL.  So, then, you intend to go to sea again?

MRS. FRAIL. So, you plan to go back to sea again?

BEN.  Nay, nay, my mind run upon you, but I would not tell him so much.  So he said he’d make my heart ache; and if so be that he could get a woman to his mind, he’d marry himself.  Gad, says I, an you play the fool and marry at these years, there’s more danger of your head’s aching than my heart.  He was woundy angry when I gave’n that wipe.  He hadn’t a word to say, and so I left’n, and the green girl together; mayhap the bee may bite, and he’ll marry her himself, with all my heart.

BEN. No, no, I’ve been thinking about you, but I wouldn't tell him that much. He said he’d make my heart ache; and if he finds a woman he likes, he’ll marry her. I said, if you’re foolish enough to marry at this age, you’re more likely to end up with a headache than I am with a heartache. He got really angry when I said that. He didn’t have a response, so I left him with the young girl; maybe the bee will sting him, and he’ll marry her himself, which I’d totally support.

MRS. FRAIL.  And were you this undutiful and graceless wretch to your father?

MRS. FRAIL. And were you this ungrateful and disrespectful person to your father?

BEN.  Then why was he graceless first?  If I am undutiful and graceless, why did he beget me so?  I did not get myself.

BEN. Then why was he ungraceful at first? If I'm undutiful and lacking grace, why did he bring me into the world like this? I didn't create myself.

MRS. FRAIL.  O impiety!  How have I been mistaken!  What an inhuman, merciless creature have I set my heart upon?  Oh, I am happy to have discovered the shelves and quicksands that lurk beneath that faithless, smiling face.

MRS. FRAIL.  Oh, how unholy!  How wrong I was!  What a cruel, heartless person have I fallen for?  I'm glad I found out about the hidden dangers beneath that deceitful, smiling face.

BEN.  Hey toss!  What’s the matter now?  Why, you ben’t angry, be you?

BEN. Hey, what’s up? Why, you’re not mad, are you?

MRS. FRAIL.  Oh, see me no more,—for thou wert born amongst rocks, suckled by whales, cradled in a tempest, and whistled to by winds; and thou art come forth with fins and scales, and three rows of teeth, a most outrageous fish of prey.

MRS. FRAIL. Oh, don’t show yourself to me again, for you were born among rocks, nursed by whales, rocked in a storm, and called by the winds; and you’ve emerged with fins and scales, and three rows of teeth, a truly outrageous predator.

BEN.  O Lord, O Lord, she’s mad, poor young woman: love has turned her senses, her brain is quite overset.  Well-a-day, how shall I do to set her to rights?

BEN. O Lord, O Lord, she’s lost it, poor young woman: love has messed with her mind, her brain is completely out of whack. Well, what am I going to do to help her?

MRS. FRAIL.  No, no, I am not mad, monster; I am wise enough to find you out.  Hadst thou the impudence to aspire at being a husband with that stubborn and disobedient temper?  You that know not how to submit to a father, presume to have a sufficient stock of duty to undergo a wife?  I should have been finely fobbed indeed, very finely fobbed.

MRS. FRAIL. No, no, I’m not crazy, monster; I’m smart enough to see through you. Did you really have the nerve to think you could be a husband with that stubborn and rebellious attitude? You who can’t even submit to a father, do you think you have enough sense of duty to take on a wife? I would have been completely fooled, truly completely fooled.

BEN.  Harkee, forsooth; if so be that you are in your right senses, d’ye see, for ought as I perceive I’m like to be finely fobbed,—if I have got anger here upon your account, and you are tacked about already.  What d’ye mean, after all your fair speeches, and stroking my cheeks, and kissing and hugging, what would you sheer off so?  Would you, and leave me aground?

BEN.  Listen, seriously; if you’re in your right mind, because as far as I can tell, I’m about to be badly tricked—if I get angry over you, and you’re already out of my reach.  What do you mean, after all your sweet talk, and caressing my face, and kissing and hugging, why would you just pull away like that?  Would you really leave me hanging?

MRS. FRAIL.  No, I’ll leave you adrift, and go which way you will.

MRS. FRAIL. No, I’ll leave you to figure it out on your own, and go wherever you want.

BEN.  What, are you false-hearted, then?

BEN. What, are you being unfaithful, then?

MRS. FRAIL.  Only the wind’s changed.

MRS. FRAIL. Only the wind has shifted.

BEN.  More shame for you,—the wind’s changed?  It’s an ill wind blows nobody good,—mayhap I have a good riddance on you, if these be your tricks.  What, did you mean all this while to make a fool of me?

BEN. More shame on you—has the wind shifted? It’s a bad wind that brings no one good—maybe I’m better off without you if this is how you play. What, did you really intend to make a fool out of me this whole time?

MRS. FRAIL.  Any fool but a husband.

MRS. FRAIL.  Any idiot except a husband.

BEN.  Husband!  Gad, I would not be your husband if you would have me, now I know your mind: thof you had your weight in gold and jewels, and thof I loved you never so well.

BEN. Husband! Honestly, I wouldn't be your husband even if you wanted me to now that I know how you feel: even if you had your weight in gold and jewels, and even if I loved you more than ever.

MRS. FRAIL.  Why, can’st thou love, Porpuss?

MRS. FRAIL.  Why can't you love, Porpuss?

BEN.  No matter what I can do; don’t call names.  I don’t love you so well as to bear that, whatever I did.  I’m glad you show yourself, mistress.  Let them marry you as don’t know you.  Gad, I know you too well, by sad experience; I believe he that marries you will go to sea in a hen-pecked frigate—I believe that, young woman—and mayhap may come to an anchor at Cuckolds-Point; so there’s a dash for you, take it as you will: mayhap you may holla after me when I won’t come to.

BEN. No matter what I can do, don’t call me names. I don’t love you enough to put up with that, no matter what I did. I’m glad to see you, mistress. Let them marry you who don’t know you. Honestly, I know you too well from painful experience; I believe whoever marries you will feel trapped in a henpecked life—I really believe that, young woman—and might end up stuck at Cuckolds-Point; there’s a fun thought for you, take it however you like: maybe you'll shout after me when I don't come back.

MRS. FRAIL.  Ha, ha, ha, no doubt on’t.—My true love is gone to sea.  [Sings]

MRS. FRAIL. Ha, ha, ha, no doubt about it.—My true love has gone to sea.  [Sings]

SCENE XIV.

Mrs. Frail, Mrs. Foresight.

Mrs. Frail, Mrs. Foresight.

MRS. FRAIL.  O sister, had you come a minute sooner, you would have seen the resolution of a lover:—honest Tar and I are parted;—and with the same indifference that we met.  O’ my life I am half vexed at the insensibility of a brute that I despised.

MRS. FRAIL. O sister, if you had arrived just a minute earlier, you would have witnessed a lover's resolve: honest Tar and I have broken up—and with the same indifference with which we came together. Oh my, I'm half annoyed at the callousness of a jerk I couldn't stand.

MRS. FORE.  What then, he bore it most heroically?

MRS. FORE. What, then, did he handle it like a true hero?

MRS. FRAIL.  Most tyrannically; for you see he has got the start of me, and I, the poor forsaken maid, am left complaining on the shore.  But I’ll tell you a hint that he has given me: Sir Sampson is enraged, and talks desperately of committing matrimony himself.  If he has a mind to throw himself away, he can’t do it more effectually than upon me, if we could bring it about.

MRS. FRAIL. Most definitely; you see, he's gotten the upper hand on me, and I, the poor abandoned girl, am left here lamenting. But I'll share a little secret he told me: Sir Sampson is really angry and is seriously talking about getting married himself. If he wants to waste himself, he couldn't do it any better than by choosing me, if we can make it happen.

MRS. FORE.  Oh, hang him, old fox, he’s too cunning; besides, he hates both you and me.  But I have a project in my head for you, and I have gone a good way towards it.  I have almost made a bargain with Jeremy, Valentine’s man, to sell his master to us.

MRS. FORE. Oh, forget him, that old sly fox; he’s too clever. Plus, he despises both you and me. But I have an idea for you, and I’m making progress on it. I’ve nearly struck a deal with Jeremy, Valentine’s man, to sell his master to us.

MRS. FRAIL.  Sell him?  How?

MRS. FRAIL. Sell him? How?

MRS. FORE.  Valentine raves upon Angelica, and took me for her, and Jeremy says will take anybody for her that he imposes on him.  Now, I have promised him mountains, if in one of his mad fits he will bring you to him in her stead, and get you married together and put to bed together; and after consummation, girl, there’s no revoking.  And if he should recover his senses, he’ll be glad at least to make you a good settlement.  Here they come: stand aside a little, and tell me how you like the design.

MRS. FORE. Valentine is obsessed with Angelica and mistook me for her, and Jeremy says he’ll take anyone for her that he tricks him into believing. Now, I’ve promised him a lot if, in one of his crazy moods, he can bring you to him in her place, get you both married, and put you to bed together; and after you’ve consummated the marriage, there’s no going back, girl. If he regains his senses, he’ll at least be happy to set you up nicely. Here they come: step aside a bit and let me know what you think of the plan.

SCENE XV.

Mrs. Foresight, Mrs. Frail, Valentine, Scandal, Foresight, and Jeremy.

Mrs. Foresight, Mrs. Frail, Valentine, Scandal, Foresight, and Jeremy.

SCAN.  And have you given your master a hint of their plot upon him?  [To Jeremy.]

SCAN. And have you hinted to your boss about their scheme against him? [To Jeremy.]

JERE.  Yes, sir; he says he’ll favour it, and mistake her for Angelica.

JERE. Yes, sir; he says he’ll support it and confuse her with Angelica.

SCAN.  It may make us sport.

SCAN. It might make us laugh.

FORE.  Mercy on us!

FORE. Help us, please!

VAL.  Husht—interrupt me not—I’ll whisper prediction to thee, and thou shalt prophesy.  I am Truth, and can teach thy tongue a new trick.  I have told thee what’s past,—now I’ll tell what’s to come.  Dost thou know what will happen to-morrow?—Answer me not—for I will tell thee.  To-morrow, knaves will thrive through craft, and fools through fortune, and honesty will go as it did, frost-nipt in a summer suit.  Ask me questions concerning to-morrow.

VAL. Shh—don't interrupt me—I'll whisper a prediction to you, and you'll prophesy. I am the Truth and can teach your tongue a new trick. I've told you what has happened—now I'll reveal what’s to come. Do you know what will happen tomorrow?—Don't answer me—I'll tell you. Tomorrow, crooks will prosper through cunning, and fools through luck, while honesty will struggle just like it always does, frostbitten in a summer outfit. Ask me questions about tomorrow.

SCAN.  Ask him, Mr. Foresight.

SCAN. Ask him, Mr. Insight.

FORE.  Pray what will be done at court?

FORE.  What will happen at court?

VAL.  Scandal will tell you.  I am Truth; I never come there.

VAL. Scandal will say what it wants. I am Truth; I never go there.

FORE.  In the city?

FORE. In town?

VAL.  Oh, prayers will be said in empty churches at the usual hours.  Yet you will see such zealous faces behind counters, as if religion were to be sold in every shop.  Oh, things will go methodically in the city: the clocks will strike twelve at noon, and the horned herd buzz in the exchange at two.  Wives and husbands will drive distinct trades, and care and pleasure separately occupy the family.  Coffee-houses will be full of smoke and stratagem.  And the cropt prentice, that sweeps his master’s shop in the morning, may ten to one dirty his sheets before night.  But there are two things that you will see very strange: which are wanton wives with their legs at liberty, and tame cuckolds with chains about their necks.  But hold, I must examine you before I go further.  You look suspiciously.  Are you a husband?

VAL. Oh, people will say prayers in empty churches at the usual times. But you’ll see such eager faces behind counters, as if religion were being sold in every store. Oh, everything will run smoothly in the city: the clocks will strike noon, and the busy crowds will gather at the exchange at two. Wives and husbands will run their separate businesses, and care and pleasure will keep the family occupied in distinct ways. Coffee shops will be filled with smoke and schemes. And the young apprentice who sweeps his master’s shop in the morning might very well mess up his sheets by night. But there are two things you’ll find really strange: wanton wives with their freedom, and submissive cuckolds wearing chains around their necks. But wait, I need to check something before we go on. You look a bit suspicious. Are you a husband?

FORE.  I am married.

I'm married.

VAL.  Poor creature!  Is your wife of Covent Garden parish?

VAL. Poor thing! Is your wife from Covent Garden parish?

FORE.  No; St. Martin’s-in-the-Fields.

FORE. No; St. Martin's in the Fields.

VAL.  Alas, poor man; his eyes are sunk, and his hands shrivelled; his legs dwindled, and his back bowed: pray, pray, for a metamorphosis.  Change thy shape and shake off age; get thee Medea’s kettle and be boiled anew; come forth with lab’ring callous hands, a chine of steel, and Atlas shoulders.  Let Taliacotius trim the calves of twenty chairmen, and make thee pedestals to stand erect upon, and look matrimony in the face.  Ha, ha, ha!  That a man should have a stomach to a wedding supper, when the pigeons ought rather to be laid to his feet, ha, ha, ha!

VAL. Alas, poor guy; his eyes are sunken, and his hands are shriveled; his legs are thin, and his back is hunched: please, please, let there be a transformation. Change your form and shake off old age; get Medea’s kettle and be boiled anew; come out with strong, calloused hands, a body of steel, and shoulders like Atlas. Let Taliacotius shape the calves of twenty chairmen, and make you pedestals to stand tall upon, and face marriage head-on. Ha, ha, ha! That a man should have the appetite for a wedding feast, when the pigeons should rather be at his feet, ha, ha, ha!

FORE.  His frenzy is very high now, Mr. Scandal.

FORE. His excitement is at an all-time high now, Mr. Scandal.

SCAN.  I believe it is a spring tide.

SCAN. I think it's a spring tide.

FORE.  Very likely, truly.  You understand these matters.  Mr. Scandal, I shall be very glad to confer with you about these things which he has uttered.  His sayings are very mysterious and hieroglyphical.

FORE. Very likely, for sure. You get these things. Mr. Scandal, I would be very happy to discuss with you the things he has said. His words are very mysterious and cryptic.

VAL.  Oh, why would Angelica be absent from my eyes so long?

VAL. Oh, why has Angelica been away from my sight for so long?

JERE.  She’s here, sir.

JERE. She's here, boss.

MRS. FORE.  Now, sister.

MRS. FORE. Now, sis.

MRS. FRAIL.  O Lord, what must I say?

MRS. FRAIL.  Oh my God, what am I supposed to say?

SCAN.  Humour him, madam, by all means.

SCAN. Humour him, ma'am, by all means.

VAL.  Where is she?  Oh, I see her—she comes, like riches, health, and liberty at once, to a despairing, starving, and abandoned wretch.  Oh, welcome, welcome.

VAL. Where is she? Oh, I see her—she's coming, like wealth, health, and freedom all at once, to a desperate, starving, and forsaken person. Oh, welcome, welcome.

MRS. FRAIL.  How d’ye, sir?  Can I serve you?

MRS. FRAIL. How are you, sir? Can I help you?

VAL.  Harkee; I have a secret to tell you: Endymion and the moon shall meet us upon Mount Latmos, and we’ll be married in the dead of night.  But say not a word.  Hymen shall put his torch into a dark lanthorn, that it may be secret; and Juno shall give her peacock poppy-water, that he may fold his ogling tail, and Argus’s hundred eyes be shut, ha!  Nobody shall know but Jeremy.

VAL.  Listen up; I have a secret to share with you: Endymion and the moon will meet us on Mount Latmos, and we’ll get married under the cover of night.  But don’t say a word.  Hymen will put his torch in a dark lantern to keep it a secret, and Juno will give her peacock some poppy-water so it can fold its staring tail, and Argus’s hundred eyes will be closed, ha!  Nobody will know except Jeremy.

MRS. FRAIL.  No, no, we’ll keep it secret, it shall be done presently.

MRS. FRAIL. No, no, we'll keep it a secret; it will be done soon.

VAL.  The sooner the better.  Jeremy, come hither—closer—that none may overhear us.  Jeremy, I can tell you news: Angelica is turned nun, and I am turning friar, and yet we’ll marry one another in spite of the pope.  Get me a cowl and beads, that I may play my part,—for she’ll meet me two hours hence in black and white, and a long veil to cover the project, and we won’t see one another’s faces, till we have done something to be ashamed of; and then we’ll blush once for all.

VAL. The sooner, the better. Jeremy, come here—closer—so no one can overhear us. Jeremy, I have news: Angelica has become a nun, and I’m becoming a friar, yet we’ll still marry each other despite the pope. Get me a cowl and beads so I can play my part—she’ll meet me in two hours in black and white with a long veil to cover our plan, and we won’t see each other’s faces until we’ve done something to be ashamed of; then we’ll blush just once for it.

SCENE XVI.

[To them] Tattle and Angelica.

[To them] Tattle and Angelica.

JERE.  I’ll take care, and—

JERE. I’ve got this, and—

VAL.  Whisper.

VAL.  Hush.

ANG.  Nay, Mr. Tattle, if you make love to me, you spoil my design, for I intend to make you my confidant.

ANG.  No, Mr. Tattle, if you flirt with me, you ruin my plan, because I want you to be my confidant.

TATT.  But, madam, to throw away your person—such a person!—and such a fortune on a madman!

TATT. But, ma'am, to waste your life—such a life!—and such a fortune on a lunatic!

ANG.  I never loved him till he was mad; but don’t tell anybody so.

ANG. I never loved him until he went crazy; but don’t tell anyone that.

SCAN.  How’s this!  Tattle making love to Angelica!

SCAN. How's this! Tattle is making out with Angelica!

TATT.  Tell, madam?  Alas, you don’t know me.  I have much ado to tell your ladyship how long I have been in love with you—but encouraged by the impossibility of Valentine’s making any more addresses to you, I have ventured to declare the very inmost passion of my heart.  O madam, look upon us both.  There you see the ruins of a poor decayed creature—here, a complete and lively figure, with youth and health, and all his five senses in perfection, madam, and to all this, the most passionate lover—

TATT. Tell me, ma'am? Unfortunately, you don't know me. I have a lot to say about how long I've been in love with you—but given that Valentine can’t make any more attempts at winning your heart, I've taken the chance to express the deepest feelings of my heart. Oh ma'am, look at us both. There you see the remains of a poor, faded soul—here stands a vibrant and complete individual, full of youth and health, with all five senses working perfectly, ma'am, and on top of that, a truly passionate lover—

ANG.  O fie, for shame, hold your tongue.  A passionate lover, and five senses in perfection!  When you are as mad as Valentine, I’ll believe you love me, and the maddest shall take me.

ANG. O come on, for shame, stop talking. A passionate lover and perfect in every way! When you're as crazy as Valentine, then I'll believe you love me, and the craziest will take me.

VAL.  It is enough.  Ha!  Who’s here?

VAL. That's enough. Ha! Who's here?

FRAIL.  O Lord, her coming will spoil all.  [To Jeremy.]

FRAIL. O Lord, her arrival will ruin everything. [To Jeremy.]

JERE.  No, no, madam, he won’t know her; if he should, I can persuade him.

JERE. No, no, ma'am, he won't recognize her; if he does, I can convince him.

VAL.  Scandal, who are these?  Foreigners?  If they are, I’ll tell you what I think,—get away all the company but Angelica, that I may discover my design to her.  [Whisper.]

VAL. Scandal, who are these people? Foreigners? If they are, I’ll tell you what I think—send everyone away except Angelica, so I can reveal my plan to her. [Whisper.]

SCAN.  I will—I have discovered something of Tattle that is of a piece with Mrs. Frail.  He courts Angelica; if we could contrive to couple ’em together.—Hark’ee—[Whisper.]

SCAN. I will—I’ve found something out about Tattle that matches up with Mrs. Frail. He’s trying to win Angelica over; if we could figure out a way to get them together.—Listen—[Whisper.]

MRS. FORE.  He won’t know you, cousin; he knows nobody.

MRS. FORE. He won't recognize you, cousin; he doesn't know anyone.

FORE.  But he knows more than anybody.  O niece, he knows things past and to come, and all the profound secrets of time.

FORE. But he knows more than anyone. Oh niece, he knows things from the past and what’s to come, and all the deep secrets of time.

TATT.  Look you, Mr. Foresight, it is not my way to make many words of matters, and so I shan’t say much,—but in short, d’ye see, I will hold you a hundred pounds now, that I know more secrets than he.

TATT. Look, Mr. Foresight, I’m not the type to talk a lot, so I won’t say much—but basically, you see, I bet you a hundred pounds right now that I know more secrets than he does.

FORE.  How!  I cannot read that knowledge in your face, Mr. Tattle.  Pray, what do you know?

FORE. How! I can't read that knowledge in your face, Mr. Tattle. Please, what do you know?

TATT.  Why, d’ye think I’ll tell you, sir?  Read it in my face?  No, sir, ’tis written in my heart; and safer there, sir, than letters writ in juice of lemon, for no fire can fetch it out.  I am no blab, sir.

TATT. Why do you think I’ll tell you, sir? Read it on my face? No, sir, it’s written in my heart; and it’s safer there than letters written in lemon juice, because no fire can bring it out. I'm not a blabbermouth, sir.

VAL.  Acquaint Jeremy with it, he may easily bring it about.  They are welcome, and I’ll tell ’em so myself.  [To Scandal.]  What, do you look strange upon me?  Then I must be plain.  [Coming up to them.]  I am Truth, and hate an old acquaintance with a new face.  [Scandal goes aside with Jeremy.]

VAL. Get Jeremy in on this; he can easily make it happen. They’re welcome, and I’ll let them know myself. [To Controversy.] What, are you looking at me weird? Then I’ll be straightforward. [Coming up to them.] I’m Truth, and I can’t stand an old friend with a new look. [Controversy goes aside with Jeremy.]

TATT.  Do you know me, Valentine?

TATT. Do you know me, Valentine?

VAL.  You?  Who are you?  No, I hope not.

VAL. You? Who are you? No, I really hope not.

TATT.  I am Jack Tattle, your friend.

TATT. I'm Jack Tattle, your friend.

VAL.  My friend, what to do?  I am no married man, and thou canst not lie with my wife.  I am very poor, and thou canst not borrow money of me.  Then what employment have I for a friend?

VAL. My friend, what should I do? I'm not a married man, and you can't sleep with my wife. I'm very broke, so you can't borrow money from me. So what use do I have for a friend?

TATT.  Ha! a good open speaker, and not to be trusted with a secret.

TATT. Ha! A good speaker, but definitely not someone to trust with a secret.

ANG.  Do you know me, Valentine?

ANG. Do you know me, Valentine?

VAL.  Oh, very well.

VAL. Alright, fine.

ANG.  Who am I?

Who am I?

VAL.  You’re a woman.  One to whom heav’n gave beauty, when it grafted roses on a briar.  You are the reflection of heav’n in a pond, and he that leaps at you is sunk.  You are all white, a sheet of lovely, spotless paper, when you first are born; but you are to be scrawled and blotted by every goose’s quill.  I know you; for I loved a woman, and loved her so long, that I found out a strange thing: I found out what a woman was good for.

VAL. You’re a woman. One that heaven blessed with beauty, like putting roses on a thornbush. You’re the reflection of heaven in a pond, and anyone who reaches for you will drown. You’re completely pure, like a beautiful, blank sheet of paper when you’re first born; but you’ll get scribbled on and stained by every fool's pen. I know you; because I loved a woman, and loved her for so long that I discovered something strange: I found out what a woman is really good for.

TATT.  Ay, prithee, what’s that?

TATT. Hey, what’s that?

VAL.  Why, to keep a secret.

VAL. Why, to keep a secret.

TATT.  O Lord!

TATT. Oh my God!

VAL.  Oh, exceeding good to keep a secret; for though she should tell, yet she is not to be believed.

VAL. Oh, it's really great to keep a secret; because even if she tells it, no one would believe her anyway.

TATT.  Hah! good again, faith.

TATT. Hah! good again, seriously.

VAL.  I would have music.  Sing me the song that I like.

VAL. I want to hear some music. Sing me my favorite song.

SONG
Set by Mr. Finger.

SONG
Set by Mr. Finger.

I tell thee, Charmion, could I time retrieve,
And could again begin to love and live,
To you I should my earliest off’ring give;
   I know my eyes would lead my heart to you,
   And I should all my vows and oaths renew,
   But to be plain, I never would be true.

I tell you, Charmion, if I could go back in time,
And if I could start to love and live again,
I would give you my very first gift;
I know my eyes would lead my heart to you,
And I would renew all my promises and oaths,
But honestly, I would never be faithful.

II.

II.

For by our weak and weary truth, I find,
Love hates to centre in a point assign’d?
But runs with joy the circle of the mind.
   Then never let us chain what should be free,
   But for relief of either sex agree,
   Since women love to change, and so do we.

For by our weak and weary truth, I find,
Love hates to focus on a specific point?
But happily runs around the circle of the mind.
Then let’s never bind what should be free,
But for each other’s relief, let’s agree,
Since women like to change, and so do we.

No more, for I am melancholy.  [Walks musing.]

No more, because I’m feeling down.  [Walks lost in thought.]

JERE.  I’ll do’t, sir.  [To Scandal.]

I’ll do it, sir. [To Scandal.]

SCAN.  Mr. Foresight, we had best leave him.  He may grow outrageous, and do mischief.

SCAN. Mr. Foresight, we should probably leave him alone. He might get angry and cause some trouble.

FORE.  I will be directed by you.

FORE. I will follow your lead.

JERE.  [To Mrs. Frail.]  You’ll meet, madam?  I’ll take care everything shall be ready.

JERE.  [To Mrs. Frail.]  Will you meet, ma'am?  I'll make sure everything is ready.

MRS. FRAIL.  Thou shalt do what thou wilt; in short, I will deny thee nothing.

MRS. FRAIL. You can do what you want; in short, I won't deny you anything.

TATT.  Madam, shall I wait upon you?  [To Angelica.]

TATT. Madam, should I wait on you? [To Angelica.]

ANG.  No, I’ll stay with him; Mr. Scandal will protect me.  Aunt, Mr. Tattle desires you would give him leave to wait on you.

ANG. No, I’ll stay with him; Mr. Scandal will take care of me. Aunt, Mr. Tattle wants to know if you’ll allow him to visit you.

TATT.  Pox on’t, there’s no coming off, now she has said that.  Madam, will you do me the honour?

TATT. Damn it, there's no backing out now that she's said that. Madam, will you do me the honor?

MRS. FORE.  Mr. Tattle might have used less ceremony.

MRS. FORE. Mr. Tattle could have been a bit less formal.

SCENE XVII.

Angelica, Valentine, Scandal.

Angelica, Valentine, Scandal.

SCAN.  Jeremy, follow Tattle.

SCAN. Jeremy, follow Tattle.

ANG.  Mr. Scandal, I only stay till my maid comes, and because I had a mind to be rid of Mr. Tattle.

ANG. Mr. Scandal, I'm only staying until my maid arrives, and because I wanted to get away from Mr. Tattle.

SCAN.  Madam, I am very glad that I overheard a better reason which you gave to Mr. Tattle; for his impertinence forced you to acknowledge a kindness for Valentine, which you denied to all his sufferings and my solicitations.  So I’ll leave him to make use of the discovery, and your ladyship to the free confession of your inclinations.

SCAN. Madam, I'm very pleased that I overheard a better reason you gave to Mr. Tattle; his rudeness made you admit a fondness for Valentine, which you had previously denied despite all his struggles and my pleas. So I’ll let him take advantage of this discovery, and your ladyship can openly acknowledge your feelings.

ANG.  O heav’ns!  You won’t leave me alone with a madman?

ANG. O heavens! You aren’t going to leave me alone with a crazy person?

SCAN.  No, madam; I only leave a madman to his remedy.

SCAN. No, ma'am; I only leave a crazy person to their cure.

SCENE XVIII.

Angelica, Valentine.

Angelica, Valentine.

VAL.  Madam, you need not be very much afraid, for I fancy I begin to come to myself.

VAL. Madam, you don’t need to be too worried, because I think I’m starting to regain my senses.

ANG.  Ay, but if I don’t fit you, I’ll be hanged.  [Aside.]

ANG.  Ugh, but if I don’t suit you, I’ll be in big trouble.  [Aside.]

VAL.  You see what disguises love makes us put on.  Gods have been in counterfeited shapes for the same reason; and the divine part of me, my mind, has worn this mask of madness and this motley livery, only as the slave of love and menial creature of your beauty.

VAL. You see the masks that love makes us wear. Gods have taken on fake forms for the same reason; and the divine part of me, my mind, has worn this mask of madness and this ridiculous outfit, only as a servant of love and a humble follower of your beauty.

ANG.  Mercy on me, how he talks!  Poor Valentine!

ANG. Mercy on me, how he talks! Poor Valentine!

VAL.  Nay, faith, now let us understand one another, hypocrisy apart.  The comedy draws toward an end, and let us think of leaving acting and be ourselves; and since you have loved me, you must own I have at length deserved you should confess it.

VAL.  No, really, let's be clear with each other, without any pretense.  The play is coming to an end, and we should consider dropping the act and just be ourselves; and since you’ve loved me, you have to admit that I’ve finally earned you confessing it.

ANG.  [Sighs.]  I would I had loved you—for heav’n knows I pity you, and could I have foreseen the bad effects, I would have striven; but that’s too late.  [Sighs.]

ANG.  [Sighs.]  I wish I had loved you—because heaven knows I feel sorry for you, and if I had known how bad things would turn out, I would have tried. But that's too late.  [Sighs.]

VAL.  What sad effects?—what’s too late?  My seeming madness has deceived my father, and procured me time to think of means to reconcile me to him, and preserve the right of my inheritance to his estate; which otherwise, by articles, I must this morning have resigned.  And this I had informed you of to-day, but you were gone before I knew you had been here.

VAL. What sad outcomes? What’s too late? My feigned madness has fooled my father and bought me time to come up with a way to make up with him and keep my claim to his estate; otherwise, according to the agreements, I would have had to give it up this morning. I was going to let you know about this today, but you left before I realized you had been here.

ANG.  How!  I thought your love of me had caused this transport in your soul; which, it seems, you only counterfeited, for mercenary ends and sordid interest.

ANG. How! I thought your love for me had caused this excitement in your soul; which, it seems, you only faked for selfish reasons and personal gain.

VAL.  Nay, now you do me wrong; for if any interest was considered it was yours, since I thought I wanted more than love to make me worthy of you.

VAL. No, you're wronging me now; if there was any interest to consider, it was yours, since I believed I needed more than just love to be worthy of you.

ANG.  Then you thought me mercenary.  But how am I deluded by this interval of sense to reason with a madman?

ANG.  So, you thought I was just in it for the money.  But how am I fooled by this moment of clarity to argue with a crazy person?

VAL.  Oh, ’tis barbarous to misunderstand me longer.

VAL. Oh, it’s cruel to keep misunderstanding me.

SCENE XIX.

[To them] Jeremy.

To them, Jeremy.

ANG.  Oh, here’s a reasonable creature—sure he will not have the impudence to persevere.  Come, Jeremy, acknowledge your trick, and confess your master’s madness counterfeit.

ANG.  Oh, here’s a rational person—he definitely won’t have the audacity to keep this up.  Come on, Jeremy, admit your trick and confess that your master’s craziness is fake.

JERE.  Counterfeit, madam!  I’ll maintain him to be as absolutely and substantially mad as any freeholder in Bethlehem; nay, he’s as mad as any projector, fanatic, chymist, lover, or poet in Europe.

JERE. Counterfeit, ma'am! I'll argue that he's as completely and genuinely crazy as any property owner in Bethlehem; in fact, he's as insane as any schemer, zealot, chemist, lover, or poet in Europe.

VAL.  Sirrah, you be; I am not mad.

VAL.  Hey, you! I’m not crazy.

ANG.  Ha, ha, ha! you see he denies it.

ANG. Ha, ha, ha! You see, he denies it.

JERE.  O Lord, madam, did you ever know any madman mad enough to own it?

JERE. O Lord, ma'am, have you ever met a crazy person who's bold enough to admit it?

VAL.  Sot, can’t you apprehend?

VAL. Sot, can't you understand?

ANG.  Why, he talked very sensibly just now.

ANG. Why, he was making a lot of sense just now.

JERE.  Yes, madam; he has intervals.  But you see he begins to look wild again now.

JERE. Yes, ma'am; he has his moments. But you can see he’s starting to look a bit erratic again now.

VAL.  Why, you thick-skulled rascal, I tell you the farce is done, and I will be mad no longer.  [Beats him.]

VAL. Why, you thick-headed fool, I’m telling you the show is over, and I won’t be crazy anymore. [Beats him.]

ANG.  Ha, ha, ha! is he mad or no, Jeremy?

ANG. Ha, ha, ha! Is he crazy or what, Jeremy?

JERE.  Partly, I think,—for he does not know his own mind two hours.  I’m sure I left him just now in the humour to be mad, and I think I have not found him very quiet at this present.  Who’s there?  [One knocks.]

JERE. I think it’s partly because he doesn’t know what he wants for more than a couple of hours. I’m pretty sure I just left him in a mood to be angry, and right now he doesn’t seem very calm. Who’s there? [Someone knocks.]

VAL.  Go see, you sot.—I’m very glad that I can move your mirth though not your compassion.

VAL. Go on, take a look, you fool.—I’m really happy that I can amuse you, even if I can’t touch your empathy.

ANG.  I did not think you had apprehension enough to be exceptions.  But madmen show themselves most by over-pretending to a sound understanding, as drunken men do by over-acting sobriety.  I was half inclining to believe you, till I accidently touched upon your tender part: but now you have restored me to my former opinion and compassion.

ANG. I didn't think you were aware enough to be an exception. But madmen often reveal themselves by trying too hard to appear rational, just like drunk people do by acting too sober. I was beginning to believe you, until I accidentally touched on your sensitive spot: but now you’ve brought me back to my original opinion and pity.

JERE.  Sir, your father has sent to know if you are any better yet.  Will you please to be mad, sir, or how?

JERE. Sir, your father has sent to ask if you’re feeling any better yet. Will you please let me know if you're angry or what?

VAL.  Stupidity!  You know the penalty of all I’m worth must pay for the confession of my senses; I’m mad, and will be mad to everybody but this lady.

VAL. Stupidity! You know the cost of everything I’m worth must be paid for admitting what I feel; I’m crazy, and I’ll act crazy to everyone except this lady.

JERE.  So—just the very backside of truth,—but lying is a figure in speech that interlards the greatest part of my conversation.  Madam, your ladyship’s woman.

JERE. So—just the barest hint of the truth—but lying is a figure of speech that mixes into most of what I say. Madam, your lady's maid.

SCENE XX.

Valentine, Angelica, Jenny.

Valentine, Angelica, Jenny.

ANG.  Well, have you been there?—Come hither.

ANG. Well, have you been there?—Come here.

JENNY.  Yes, madam; Sir Sampson will wait upon you presently.  [Aside to Angelica.]

JENNY. Yes, ma'am; Sir Sampson will see you shortly. [Aside to Angelica.]

VAL.  You are not leaving me in this uncertainty?

VAL. You're not going to leave me in this uncertainty?

ANG.  Would anything but a madman complain of uncertainty?  Uncertainty and expectation are the joys of life.  Security is an insipid thing, and the overtaking and possessing of a wish discovers the folly of the chase.  Never let us know one another better, for the pleasure of a masquerade is done when we come to show our faces; but I’ll tell you two things before I leave you: I am not the fool you take me for; and you are mad and don’t know it.

ANG. Would anyone but a madman complain about uncertainty? Uncertainty and anticipation are the joys of life. Security is dull, and achieving a wish reveals the foolishness of the pursuit. Let’s not get to know each other better, because the fun of a masquerade ends when we reveal our true selves; but I’ll tell you two things before I go: I’m not the fool you think I am; and you’re crazy and don’t even realize it.

SCENE XXI.

Valentine, Jeremy.

Valentine, Jeremy.

VAL.  From a riddle you can expect nothing but a riddle.  There’s my instruction and the moral of my lesson.

VAL. From a riddle, you can only expect another riddle. That’s my lesson and the point I’m trying to make.

JERE.  What, is the lady gone again, sir?  I hope you understood one another before she went?

JERE. What, is the lady gone again, sir? I hope you two cleared things up before she left?

VAL.  Understood!  She is harder to be understood than a piece of Egyptian antiquity or an Irish manuscript: you may pore till you spoil your eyes and not improve your knowledge.

VAL. Understood! She is harder to understand than an Egyptian artifact or an Irish manuscript: you can stare at it until your eyes hurt and still not learn anything.

JERE.  I have heard ’em say, sir, they read hard Hebrew books backwards; maybe you begin to read at the wrong end.

JERE. I’ve heard people say, sir, they read difficult Hebrew books backwards; maybe you start reading from the wrong end.

VAL.  They say so of a witch’s prayer, and dreams and Dutch almanacs are to be understood by contraries.  But there’s regularity and method in that; she is a medal without a reverse or inscription, for indifference has both sides alike.  Yet, while she does not seem to hate me, I will pursue her, and know her if it be possible, in spite of the opinion of my satirical friend, Scandal, who says—

VAL. They say the same about a witch's prayer, and dreams and Dutch almanacs should be interpreted in opposites. But there's a structure and method to it; she is like a coin with no back or engraving, because indifference has both sides the same. Still, even though she doesn’t seem to hate me, I will chase after her and try to understand her if I can, despite what my sarcastic friend, Scandal, says—

That women are like tricks by sleight of hand,
Which, to admire, we should not understand.

That women are like magic tricks,
Which, to appreciate, we shouldn't fully understand.

ACT V.—SCENE I.

A room in Foresight’s house.

A room in Foresight's house.

Angelica and Jenny.

Angelica and Jenny.

ANG.  Where is Sir Sampson?  Did you not tell me he would be here before me?

ANG. Where's Sir Sampson? Didn't you say he would be here before me?

JENNY.  He’s at the great glass in the dining-room, madam, setting his cravat and wig.

JENNY. He's at the big mirror in the dining room, ma'am, fixing his tie and wig.

ANG.  How!  I’m glad on’t.  If he has a mind I should like him, it’s a sign he likes me; and that’s more than half my design.

ANG. How! I'm glad to hear that. If he wants to like me, it's a sign that he does; and that's more than half my plan.

JENNY.  I hear him, madam.

JENNY. I hear him, ma'am.

ANG.  Leave me; and, d’ye hear, if Valentine should come, or send, I am not to be spoken with.

ANG. Leave me; and, you know what, if Valentine comes or sends someone, I don't want to talk to him.

SCENE II.

Angelica, Sir Sampson.

Angelica, Sir Sampson.

SIR SAMP.  I have not been honoured with the commands of a fair lady a great while,—odd, madam, you have revived me,—not since I was five-and-thirty.

SIR SAMP. I haven't been honored with the requests of a lovely lady in quite a while—it's strange, madam, you've brought me back to life—not since I was thirty-five.

ANG.  Why, you have no great reason to complain, Sir Sampson, that is not long ago.

ANG. Why, you don't really have much to complain about, Sir Sampson, that wasn't too long ago.

SIR SAMP.  Zooks, but it is, madam, a very great while: to a man that admires a fine woman as much as I do.

SIR SAMP. Wow, it really has been a long time, madam, for someone like me who admires a beautiful woman as much as I do.

ANG.  You’re an absolute courtier, Sir Sampson.

ANG. You're such a flatterer, Sir Sampson.

SIR SAMP.  Not at all, madam,—odsbud, you wrong me,—I am not so old neither, to be a bare courtier, only a man of words.  Odd, I have warm blood about me yet, and can serve a lady any way.  Come, come, let me tell you, you women think a man old too soon, faith and troth you do.  Come, don’t despise fifty; odd, fifty, in a hale constitution, is no such contemptible age.

SIR SAMP. Not at all, ma'am—honestly, you’re mistaken—I’m not so old to be just a superficial courtier, purely a man of words. Honestly, I still have warm blood in me and can serve a lady in any way. Come on, let me tell you, you women think a man is old way too soon, really you do. Come on, don’t look down on fifty; honestly, fifty, in good health, isn’t such a disgraceful age.

ANG.  Fifty a contemptible age!  Not at all; a very fashionable age, I think.  I assure you, I know very considerable beaus that set a good face upon fifty.  Fifty!  I have seen fifty in a side box by candle-light out-blossom five-and-twenty.

ANG. Fifty is a ridiculous age! Not at all; it’s actually quite a stylish age, in my opinion. I assure you, I know quite a few charming guys who pull off fifty really well. Fifty! I’ve seen someone at fifty in a side box by candlelight look more vibrant than someone at twenty-five.

SIR SAMP.  Outsides, outsides; a pize take ’em, mere outsides.  Hang your side-box beaus; no, I’m none of those, none of your forced trees, that pretend to blossom in the fall, and bud when they should bring forth fruit: I am of a long-lived race, and inherit vigour; none of my ancestors married till fifty, yet they begot sons and daughters till fourscore: I am of your patriarchs, I, a branch of one of your antedeluvian families, fellows that the flood could not wash away.  Well, madam, what are your commands?  Has any young rogue affronted you, and shall I cut his throat?  Or—

SIR SAMP.  Outsides, just outsides; a plague take them, mere outsides.  Forget those flashy guys; no, I'm not one of those, not one of those artificial types that pretend to bloom in the fall and sprout when they should be bearing fruit: I come from a long-lived line, and I've got strength inherited from my ancestors; none of them married until they were fifty, yet they had sons and daughters until they were eighty. I'm one of your patriarchs, I’m a descendant of one of those ancient families, guys that the flood couldn’t wash away.  So, madam, what do you need?  Has some young scoundrel offended you, and should I take care of him?  Or—

ANG.  No, Sir Sampson, I have no quarrel upon my hands.  I have more occasion for your conduct than your courage at this time.  To tell you the truth, I’m weary of living single and want a husband.

ANG. No, Sir Sampson, I’m not in any conflict right now. I need more guidance from you than your bravery at this moment. Honestly, I’m tired of being single and I want a husband.

SIR SAMP.  Odsbud, and ’tis pity you should.  Odd, would she would like me, then I should hamper my young rogues.  Odd, would she would; faith and troth she’s devilish handsome.  [Aside.]  Madam, you deserve a good husband, and ’twere pity you should be thrown away upon any of these young idle rogues about the town.  Odd, there’s ne’er a young fellow worth hanging—that is a very young fellow.  Pize on ’em, they never think beforehand of anything; and if they commit matrimony, ’tis as they commit murder, out of a frolic, and are ready to hang themselves, or to be hanged by the law, the next morning.  Odso, have a care, madam.

SIR SAMP. Good grief, it's a shame you should. If only she liked me, then I could keep my young troublemakers in check. If only she did; honestly, she's really gorgeous. [Aside.] Madam, you deserve a good husband, and it would be a pity to waste your time on any of these young, lazy guys in town. Honestly, there's not a single young man worth a hang—at least not the really young ones. Ugh, they never think ahead about anything; and if they get married, it's just like committing murder on a whim, and they're ready to either hang themselves or get hanged by the law the very next morning. Goodness, be careful, madam.

ANG.  Therefore I ask your advice, Sir Sampson.  I have fortune enough to make any man easy that I can like: if there were such a thing as a young agreeable man, with a reasonable stock of good nature and sense—for I would neither have an absolute wit nor a fool.

ANG. Therefore, I'm seeking your advice, Sir Sampson. I have enough money to make any man comfortable that I like: if there's such a thing as a young, charming guy with a decent amount of good nature and common sense—because I wouldn't want a complete genius or an idiot.

SIR SAMP.  Odd, you are hard to please, madam: to find a young fellow that is neither a wit in his own eye, nor a fool in the eye of the world, is a very hard task.  But, faith and troth, you speak very discreetly; for I hate both a wit and a fool.

SIR SAMP. It's strange, you're difficult to satisfy, madam: finding a young man who isn't full of himself nor seen as a fool by others is quite a challenge. But honestly, you make a good point; I can't stand either a know-it-all or a fool.

ANG.  She that marries a fool, Sir Sampson, forfeits the reputation of her honesty or understanding; and she that marries a very witty man is a slave to the severity and insolent conduct of her husband.  I should like a man of wit for a lover, because I would have such an one in my power; but I would no more be his wife than his enemy.  For his malice is not a more terrible consequence of his aversion than his jealousy is of his love.

ANG.  A woman who marries a fool, Sir Sampson, loses her reputation for honesty or intelligence; and a woman who marries a really witty man becomes a victim to her husband's harshness and arrogance.  I would prefer a witty man as a lover, because I'd want to have some control over him; but I wouldn’t want to be his wife any more than I would want to be his enemy.  His spite is just as bad a result of his dislike as his jealousy is of his affection.

SIR SAMP.  None of old Foresight’s sibyls ever uttered such a truth.  Odsbud, you have won my heart; I hate a wit: I had a son that was spoiled among ’em, a good hopeful lad, till he learned to be a wit; and might have risen in the state.  But, a pox on’t, his wit run him out of his money, and now his poverty has run him out of his wits.

SIR SAMP. None of old Foresight’s seers ever spoke such a truth. Wow, you’ve won my heart; I can’t stand a smart aleck: I had a son who got ruined by them, a great kid, until he learned to be a know-it-all; he could have made something of himself. But, curse it, his cleverness got him to blow all his money, and now his lack of funds has driven him crazy.

ANG.  Sir Sampson, as your friend, I must tell you you are very much abused in that matter: he’s no more mad than you are.

ANG. Sir Sampson, as your friend, I have to tell you that you’re being treated unfairly in this situation: he’s not mad at all, just like you aren’t.

SIR SAMP.  How, madam!  Would I could prove it.

SIR SAMP. What, madam! I wish I could prove it.

ANG.  I can tell you how that may be done.  But it is a thing that would make me appear to be too much concerned in your affairs.

ANG. I can explain how that can be done. But it’s something that might make me seem too involved in your business.

SIR SAMP.  Odsbud, I believe she likes me.  [Aside.]  Ah, madam, all my affairs are scarce worthy to be laid at your feet; and I wish, madam, they were in a better posture, that I might make a more becoming offer to a lady of your incomparable beauty and merit.  If I had Peru in one hand, and Mexico in t’other, and the Eastern Empire under my feet, it would make me only a more glorious victim to be offered at the shrine of your beauty.

SIR SAMP. Honestly, I think she likes me. [Aside.] Ah, my lady, my situation is hardly worthy of your attention; I wish it were better so I could make a more fitting proposal to someone as beautiful and admirable as you. If I had Peru in one hand and Mexico in the other, with the Eastern Empire beneath my feet, it would just make me an even more glorious sacrifice to offer at the altar of your beauty.

ANG.  Bless me, Sir Sampson, what’s the matter?

ANG. Bless me, Sir Sampson, what's going on?

SIR SAMP.  Odd, madam, I love you.  And if you would take my advice in a husband—

SIR SAMP.  That's strange, ma'am, I love you.  And if you'd consider my suggestion for a husband—

ANG.  Hold, hold, Sir Sampson.  I asked your advice for a husband, and you are giving me your consent.  I was indeed thinking to propose something like it in jest, to satisfy you about Valentine: for if a match were seemingly carried on between you and me, it would oblige him to throw off his disguise of madness, in apprehension of losing me: for you know he has long pretended a passion for me.

ANG. Hold on, Sir Sampson. I asked for your advice about a husband, and you’re just giving me your approval. I was actually thinking of suggesting something like that as a joke, just to reassure you about Valentine. If it looked like there was a potential match between us, it would force him to drop his act of madness, worried about losing me. You know he’s been pretending to be in love with me for a while now.

SIR SAMP.  Gadzooks, a most ingenious contrivance—if we were to go through with it.  But why must the match only be seemingly carried on?  Odd, let it be a real contract.

SIR SAMP.  Wow, what a clever setup—if we decide to go through with it.  But why does the match have to just seem like it’s happening?  Strange, let’s make it an actual agreement.

ANG.  Oh, fie, Sir Sampson, what would the world say?

ANG. Oh, come on, Sir Sampson, what would people think?

SIR SAMP.  Say?  They would say you were a wise woman and I a happy man.  Odd, madam, I’ll love you as long as I live, and leave you a good jointure when I die.

SIR SAMP. Say? They'd say you were a wise woman and I a lucky man. Strange, madam, I'll love you as long as I live and leave you a nice inheritance when I die.

ANG.  Ay; but that is not in your power, Sir Sampson: for when Valentine confesses himself in his senses, he must make over his inheritance to his younger brother.

ANG. Oh; but that's not up to you, Sir Sampson: because when Valentine realizes what's going on, he has to pass his inheritance to his younger brother.

SIR SAMP.  Odd, you’re cunning, a wary baggage!  Faith and troth, I like you the better.  But, I warrant you, I have a proviso in the obligation in favour of myself.  Body o’ me, I have a trick to turn the settlement upon the issue male of our two bodies begotten.  Odsbud, let us find children and I’ll find an estate!

SIR SAMP. That's funny, you're clever and cautious! Honestly, I like you more for it. But, I assure you, I have a condition in the agreement that benefits me. Seriously, I have a plan to transfer the assets to the male heirs we have together. Goodness, let's have some kids, and I'll secure a property!

ANG.  Will you?  Well, do you find the estate and leave t’other to me.

ANG. Will you? Well, check out the estate and leave the other part to me.

SIR SAMP.  O rogue!  But I’ll trust you.  And will you consent?  Is it a match then?

SIR SAMP. O you trickster! But I'll trust you. So, will you agree? Is it a deal then?

ANG.  Let me consult my lawyer concerning this obligation, and if I find what you propose practicable, I’ll give you my answer.

ANG. Let me check with my lawyer about this obligation, and if I find your proposal doable, I’ll get back to you with my answer.

SIR SAMP.  With all my heart: come in with me, and I’ll lend you the bond.  You shall consult your lawyer, and I’ll consult a parson.  Odzooks, I’m a young man—odzooks, I’m a young man, and I’ll make it appear,—odd, you’re devilish handsome.  Faith and troth, you’re very handsome, and I’m very young and very lusty.  Odsbud, hussy, you know how to choose, and so do I.  Odd, I think we are very well met.  Give me your hand, odd, let me kiss it; ’tis as warm and as soft—as what?  Odd, as t’other hand—give me t’other hand, and I’ll mumble ’em and kiss ’em till they melt in my mouth.

SIR SAMP. With all my heart: come in with me, and I’ll lend you the bond. You can talk to your lawyer, and I’ll talk to a priest. Goodness, I’m a young man—goodness, I’m a young man, and I’ll make it clear—wow, you’re really handsome. Honestly, you’re very handsome, and I’m very young and very eager. Wow, you know how to pick well, and so do I. Honestly, I think we’re a great match. Give me your hand, wow, let me kiss it; it’s as warm and soft—as what? Wow, as the other hand—give me the other hand, and I’ll kiss them both until they melt in my mouth.

ANG.  Hold, Sir Sampson.  You’re profuse of your vigour before your time.  You’ll spend your estate before you come to it.

ANG.  Hold on, Sir Sampson.  You're wasting your energy before it’s necessary.  You’ll burn through your money before you actually have it.

SIR SAMP.  No, no, only give you a rent-roll of my possessions.  Ah, baggage, I warrant you for little Sampson.  Odd, Sampson’s a very good name for an able fellow: your Sampsons were strong dogs from the beginning.

SIR SAMP. No, no, just give you a list of my properties. Ah, nonsense, I promise you it won't be much for little Sampson. Strange, Sampson is a great name for a strong guy: your Sampsons have always been tough from the start.

ANG.  Have a care and don’t over-act your part.  If you remember, Sampson, the strongest of the name, pulled an old house over his head at last.

ANG.  Be careful and don’t overdo your role.  If you recall, Sampson, the strongest one of the group, ended up bringing an old house down on himself.

SIR SAMP.  Say you so, hussy?  Come, let’s go then; odd, I long to be pulling too; come away.  Odso, here’s somebody coming.

SIR SAMP. So you say, you little troublemaker? Come on, let’s go then; honestly, I’m eager to join in too; let’s get moving. Oh look, someone’s approaching.

SCENE III.

Tattle, Jeremy.

Tattle, Jeremy.

TATT.  Is not that she gone out just now?

TATT. Isn't she the one who just went out?

JERE.  Ay, sir; she’s just going to the place of appointment.  Ah, sir, if you are not very faithful and close in this business, you’ll certainly be the death of a person that has a most extraordinary passion for your honour’s service.

JERE.  Yeah, sir; she’s just heading to the meeting point.  Ah, sir, if you’re not very careful and dedicated in this matter, you’ll definitely cause trouble for someone who has a strong passion for your service.

TATT.  Ay, who’s that?

TATT.  Hey, who's that?

JERE.  Even my unworthy self, sir.  Sir, I have had an appetite to be fed with your commands a great while; and now, sir, my former master having much troubled the fountain of his understanding, it is a very plausible occasion for me to quench my thirst at the spring of your bounty.  I thought I could not recommend myself better to you, sir, than by the delivery of a great beauty and fortune into your arms, whom I have heard you sigh for.

JERE. Even I, unworthy as I am, sir. I’ve been eager for your commands for a long time; and now, with my former master having caused a lot of confusion in his mind, it’s a perfect chance for me to satisfy my thirst at the source of your generosity. I figured I couldn’t present myself to you better, sir, than by bringing a great beauty and wealth into your arms, someone I know you've been longing for.

TATT.  I’ll make thy fortune; say no more.  Thou art a pretty fellow, and canst carry a message to a lady, in a pretty soft kind of phrase, and with a good persuading accent.

TATT. I'll make you successful; that's all I'll say. You're a charming guy, and you can deliver a message to a woman in a nice, gentle way, with a convincing tone.

JERE.  Sir, I have the seeds of rhetoric and oratory in my head: I have been at Cambridge.

JERE. Sir, I have ideas about rhetoric and public speaking in my mind: I've been to Cambridge.

TATT.  Ay; ’tis well enough for a servant to be bred at an university: but the education is a little too pedantic for a gentleman.  I hope you are secret in your nature: private, close, ha?

TATT.  Yeah; it’s fine for a servant to be educated at a university: but the education is a bit too bookish for a gentleman.  I hope you can keep things to yourself: discreet, reserved, right?

JERE.  Oh, sir, for that, sir, ’tis my chief talent: I’m as secret as the head of Nilus.

JERE. Oh, sir, for that, sir, it's my main skill: I'm as secretive as the source of the Nile.

TATT.  Ay?  Who’s he, though?  A privy counsellor?

TATT. Huh? Who is he, anyway? A private advisor?

JERE.  O ignorance!  [Aside.]  A cunning Egyptian, sir, that with his arms would overrun the country, yet nobody could ever find out his head-quarters.

JERE. Oh, ignorance! [Aside] A sly Egyptian, sir, who would conquer the country with his forces, yet no one could ever figure out where his base was.

TATT.  Close dog!  A good whoremaster, I warrant him:—the time draws nigh, Jeremy.  Angelica will be veiled like a nun, and I must be hooded like a friar, ha, Jeremy?

TATT. Close dog! I bet he's a great pimp:—the time is almost here, Jeremy. Angelica will be covered up like a nun, and I have to be masked like a friar, right, Jeremy?

JERE.  Ay, sir; hooded like a hawk, to seize at first sight upon the quarry.  It is the whim of my master’s madness to be so dressed, and she is so in love with him she’ll comply with anything to please him.  Poor lady, I’m sure she’ll have reason to pray for me, when she finds what a happy exchange she has made, between a madman and so accomplished a gentleman.

JERE.  Yeah, sir; dressed like a hawk, ready to swoop in on the first opportunity.  It's my master's crazy idea to be dressed this way, and she's so in love with him that she'll do whatever it takes to make him happy.  Poor lady, I’m sure she’ll have reason to pray for me when she realizes what a lucky trade she’s made, switching from a madman to such a refined gentleman.

TATT.  Ay, faith, so she will, Jeremy: you’re a good friend to her, poor creature.  I swear I do it hardly so much in consideration of myself as compassion to her.

TATT.  Yeah, I really will, Jeremy: you’re a good friend to her, poor thing.  I honestly do it more out of compassion for her than for myself.

JERE.  ’Tis an act of charity, sir, to save a fine woman with thirty thousand pound from throwing herself away.

JERE. It's an act of kindness, sir, to save a great woman with thirty thousand pounds from wasting herself.

TATT.  So ’tis, faith; I might have saved several others in my time, but, i’gad, I could never find in my heart to marry anybody before.

TATT. So it is, honestly; I might have saved several others in my time, but, seriously, I could never bring myself to marry anyone before.

JERE.  Well, sir, I’ll go and tell her my master’s coming, and meet you in half a quarter of an hour with your disguise at your own lodgings.  You must talk a little madly: she won’t distinguish the tone of your voice.

JERE. Well, sir, I’ll go and tell her that my master is coming, and I’ll meet you in about 15 minutes with your disguise at your place. You have to act a bit crazy: she won’t be able to tell the sound of your voice.

TATT.  No, no; let me alone for a counterfeit.  I’ll be ready for you.

TATT. No, no; just leave me alone with the fake. I’ll be prepared for you.

SCENE IV.

Tattle, Miss Prue.

Tattle, Miss Prue.

MISS.  O Mr. Tattle, are you here?  I’m glad I have found you; I have been looking up and down for you like anything, till I’m as tired as anything in the world.

MISS. O Mr. Tattle, are you here? I’m so glad I found you; I’ve been searching everywhere for you until I'm completely worn out.

TATT.  Oh, pox, how shall I get rid of this foolish girl?  [Aside.]

TATT. Oh man, how am I going to get rid of this silly girl? [Aside.]

MISS.  Oh, I have pure news, I can tell you, pure news.  I must not marry the seaman now—my father says so.  Why won’t you be my husband?  You say you love me, and you won’t be my husband.  And I know you may be my husband now, if you please.

MISS. Oh, I have some exciting news, I can tell you, exciting news. I can't marry the sailor right now—my father says so. Why won't you be my husband? You say you love me, yet you won't marry me. And I know you could be my husband right now, if you wanted to.

TATT.  Oh, fie, miss; who told you so, child?

TATT. Oh, come on, miss; who told you that, kid?

MISS.  Why, my father.  I told him that you loved me.

MISS. Why, my father. I told him that you loved me.

TATT.  Oh, fie, miss; why did you do so?  And who told you so, child?

TATT. Oh no, miss; why did you do that? And who told you that, kid?

MISS.  Who?  Why, you did; did not you?

MISS. Who? You did, didn’t you?

TATT.  Oh, pox, that was yesterday, miss, that was a great while ago, child.  I have been asleep since; slept a whole night, and did not so much as dream of the matter.

TATT. Oh, come on, that was yesterday, miss, that was ages ago, kid. I've been asleep since then; I slept a whole night and didn't even dream about it.

MISS.  Pshaw—oh, but I dreamt that it was so, though.

MISS. Pshaw—oh, but I dreamt that it was true, though.

TATT.  Ay, but your father will tell you that dreams come by contraries, child.  Oh, fie; what, we must not love one another now.  Pshaw, that would be a foolish thing indeed.  Fie, fie, you’re a woman now, and must think of a new man every morning and forget him every night.  No, no, to marry is to be a child again, and play with the same rattle always.  Oh, fie, marrying is a paw thing.

TATT. Yeah, but your dad will tell you that dreams are the opposite of reality, kid. Oh, come on; what, we can't love each other now? Come on, that would be really silly. Seriously, you're a woman now, and you have to think about a new guy every morning and forget about him every night. No, no, getting married is like being a kid again, always playing with the same toy. Oh, come on, marriage is such a dull thing.

MISS.  Well, but don’t you love me as well as you did last night then?

MISS. Well, do you not love me as much as you did last night then?

TATT.  No, no, child, you would not have me.

TATT. No, no, kid, you wouldn't want me.

MISS.  No?  Yes, but I would, though.

MISS. No? Yes, but I would still.

TATT.  Pshaw, but I tell you you would not.  You forget you’re a woman and don’t know your own mind.

TATT. Pshaw, but I’m telling you, you wouldn’t. You forget that you’re a woman and don’t know what you really want.

MISS.  But here’s my father, and he knows my mind.

MISS. But here’s my dad, and he knows what I'm thinking.

SCENE V.

[To them] Foresight.

[To them] Vision.

FORE.  O Mr. Tattle, your servant, you are a close man; but methinks your love to my daughter was a secret I might have been trusted with.  Or had you a mind to try if I could discover it by my art?  Hum, ha!  I think there is something in your physiognomy that has a resemblance of her; and the girl is like me.

FORE. O Mr. Tattle, your servant, you are a secretive man; but I think you should have trusted me with your feelings for my daughter. Or were you hoping to see if I could figure it out on my own? Hmm, yeah! I feel like there's something in your appearance that resembles her; and the girl looks like me.

TATT.  And so you would infer that you and I are alike?  What does the old prig mean?  I’ll banter him, and laugh at him, and leave him.  [Aside.]  I fancy you have a wrong notion of faces.

TATT. So you think you and I are the same? What’s that old fool trying to say? I’ll tease him, make fun of him, and move on. [Aside.] I get the feeling you have a strange idea about faces.

FORE.  How?  What?  A wrong notion?  How so?

FORE. How? What? A mistaken idea? How come?

TATT.  In the way of art: I have some taking features, not obvious to vulgar eyes, that are indications of a sudden turn of good fortune in the lottery of wives, and promise a great beauty and great fortune reserved alone for me, by a private intrigue of destiny, kept secret from the piercing eye of perspicuity, from all astrologers, and the stars themselves.

TATT. In terms of art: I have some striking features, not noticeable to unrefined eyes, that hint at a sudden shift of good luck in the lottery of partners, and suggest a great beauty and great fortune waiting just for me, through a personal twist of fate, hidden from the keen gaze of insight, from all astrologers, and even the stars themselves.

FORE.  How!  I will make it appear that what you say is impossible.

FORE. How! I’ll prove that what you’re saying is impossible.

TATT.  Sir, I beg your pardon, I’m in haste—

TATT. Sir, I’m sorry, I’m in a hurry—

FORE.  For what?

FORE. Why?

TATT.  To be married, sir, married.

TATT. To be married, sir, married.

FORE.  Ay, but pray take me along with you, sir—

FORE.  Yeah, but please take me with you, sir—

TATT.  No, sir; ’tis to be done privately.  I never make confidants.

TATT. No, sir; it needs to be done privately. I never share secrets.

FORE.  Well, but my consent, I mean.  You won’t marry my daughter without my consent?

FORE. Well, but my approval, I mean. You won’t marry my daughter without my approval?

TATT.  Who?  I, sir?  I’m an absolute stranger to you and your daughter, sir.

TATT. Who? Me, sir? I'm a complete stranger to you and your daughter, sir.

FORE.  Hey day!  What time of the moon is this?

FORE.  Hey! What time is it by the moon?

TATT.  Very true, sir, and desire to continue so.  I have no more love for your daughter than I have likeness of you, and I have a secret in my heart which you would be glad to know and shan’t know, and yet you shall know it, too, and be sorry for’t afterwards.  I’d have you to know, sir, that I am as knowing as the stars, and as secret as the night.  And I’m going to be married just now, yet did not know of it half an hour ago; and the lady stays for me, and does not know of it yet.  There’s a mystery for you: I know you love to untie difficulties.  Or, if you can’t solve this, stay here a quarter of an hour, and I’ll come and explain it to you.

TATT. Very true, sir, and I want to keep it that way. I have no more affection for your daughter than I have resemblance to you, and I hold a secret in my heart that you would love to know but won't, and yet you will know it, too, and regret it afterwards. I want you to understand, sir, that I'm as wise as the stars and as secretive as the night. And I’m about to get married right now, although I didn't even know it half an hour ago; and the lady is waiting for me, not realizing it yet. There's a mystery for you: I know you love to untangle challenges. Or, if you can't figure this out, just stay here for a quarter of an hour, and I’ll come and explain it to you.

SCENE VI.

Foresight, Miss Prue.

Foresight, Miss Prue.

MISS.  O father, why will you let him go?  Won’t you make him to be my husband?

MISS. O Father, why will you let him go? Won't you make him my husband?

FORE.  Mercy on us, what do these lunacies portend?  Alas! he’s mad, child, stark wild.

FORE. Mercy on us, what do these crazinesses mean? Alas! he’s crazy, child, completely insane.

MISS.  What, and must not I have e’er a husband, then?  What, must I go to bed to nurse again, and be a child as long as she’s an old woman?  Indeed but I won’t.  For now my mind is set upon a man, I will have a man some way or other.  Oh, methinks I’m sick when I think of a man; and if I can’t have one, I would go to sleep all my life: for when I’m awake it makes me wish and long, and I don’t know for what.  And I’d rather be always asleep than sick with thinking.

MISS. What, am I not allowed to have a husband then? Am I supposed to go to bed with a nurse again and be a child until she’s an old woman? I absolutely won’t do that. My mind is set on a man; I’m going to have one somehow. Oh, I feel sick just thinking about a man, and if I can’t have one, I’d rather sleep my whole life away. Because when I’m awake, it just makes me wish and long for something, and I don’t even know what it is. I’d prefer to be asleep all the time than feel this sick from thinking.

FORE.  Oh, fearful!  I think the girl’s influenced too.  Hussy, you shall have a rod.

FORE. Oh, this is scary! I think the girl’s been influenced too. Hussy, you’re going to get a spanking.

MISS.  A fiddle of a rod, I’ll have a husband; and if you won’t get me one, I’ll get one for myself.  I’ll marry our Robin the butler; he says he loves me, and he’s a handsome man, and shall be my husband: I warrant he’ll be my husband, and thank me too, for he told me so.

MISS. A ridiculous situation, I’m going to get myself a husband; and if you won’t help me find one, I’ll find one on my own. I’ll marry our Robin the butler; he says he loves me, he’s a good-looking guy, and he will be my husband: I guarantee he’ll be my husband, and he’ll appreciate it too, because he said so.

SCENE VII.

[To them] Scandal, Mrs. Foresight, and Nurse.

[To them] Scandal, Mrs. Foresight, and Nurse.

FORE.  Did he so?  I’ll dispatch him for’t presently.  Rogue!  O nurse, come hither.

FORE. Did he really? I’ll take care of that right away. Scoundrel! Oh nurse, come here.

NURSE.  What is your worship’s pleasure?

NURSE. What can I do for you?

FORE.  Here, take your young mistress and lock her up presently, till farther orders from me.  Not a word, Hussy; do what I bid you, no reply, away.  And bid Robin make ready to give an account of his plate and linen, d’ye hear: begone when I bid you.

FORE. Here, take your young mistress and lock her up right now, until I give further instructions. Not a word, Hussy; just do as I say, no responses, go on. And tell Robin to get ready to report on his silverware and linens, do you understand? Now, leave when I tell you.

MRS. FORE.  What’s the matter, husband?

Mrs. Fore. What’s wrong, sweetie?

FORE.  ’Tis not convenient to tell you now.  Mr. Scandal, heav’n keep us all in our senses—I fear there is a contagious frenzy abroad.  How does Valentine?

FORE. It’s not a good time to share that with you. Mr. Scandal, may heaven keep us all sane—I’m worried there’s a crazy fever going around. How’s Valentine?

SCAN.  Oh, I hope he will do well again.  I have a message from him to your niece Angelica.

SCAN. Oh, I hope he does well again. I have a message for your niece Angelica.

FORE.  I think she has not returned since she went abroad with Sir Sampson.  Nurse, why are you not gone?

FORE. I don't think she has come back since she went overseas with Sir Sampson. Nurse, why haven't you left?

SCENE VIII.

Foresight, Scandal, Mrs. Foresight, Ben.

Foresight, Scandal, Mrs. Foresight, Ben.

MRS. FORE.  Here’s Mr. Benjamin, he can tell us if his father be come home.

MRS. FORE. Here’s Mr. Benjamin; he can tell us if his dad has come home.

BEN.  Who?  Father?  Ay, he’s come home with a vengeance.

BEN. Who? Dad? Yeah, he’s back with a bang.

MRS. FORE.  Why, what’s the matter?

Mrs. Fore. What's happening?

BEN.  Matter!  Why, he’s mad.

BEN.  Seriously!  Why, he's crazy.

FORE.  Mercy on us, I was afraid of this.  And there’s the handsome young woman, she, as they say, brother Val went mad for, she’s mad too, I think.

FORE.  Have mercy, I was worried about this.  And there’s the beautiful young woman who, as they say, brother Val went crazy for; I think she’s crazy too.

FORE.  Oh, my poor niece, my poor niece, is she gone too?  Well, I shall run mad next.

FORE. Oh, my poor niece, my poor niece, is she gone too? Well, I’m going to lose my mind next.

MRS. FORE.  Well, but how mad?  How d’ye mean?

MRS. FORE. Well, how mad are we talking? What do you mean?

BEN.  Nay, I’ll give you leave to guess.  I’ll undertake to make a voyage to Antegoa—no, hold; I mayn’t say so, neither.  But I’ll sail as far as Leghorn and back again before you shall guess at the matter, and do nothing else.  Mess, you may take in all the points of the compass, and not hit right.

BEN. No, I’ll let you guess. I’ll promise to make a trip to Antegoa—wait; I can’t say that either. But I’ll sail all the way to Leghorn and back before you figure it out, and that’s all I’ll do. Mess, you can cover all the points of the compass and still not get it right.

MRS. FORE.  Your experiment will take up a little too much time.

MRS. FORE. Your experiment is going to take a bit too long.

BEN.  Why, then, I’ll tell you; there’s a new wedding upon the stocks, and they two are a-going to be married to rights.

BEN.  Well, here’s the deal; there’s a new wedding in the works, and those two are definitely getting married.

SCAN.  Who?

SCAN. Who's that?

BEN.  Why, father and—the young woman.  I can’t hit of her name.

BEN. Why, father—and the young woman. I can't think of her name.

SCAN.  Angelica?

SCAN. Angelica?

BEN.  Ay, the same.

BEN.  Yeah, same here.

MRS. FORE.  Sir Sampson and Angelica?  Impossible!

MRS. FORE. Sir Sampson and Angelica? No way!

BEN.  That may be—but I’m sure it is as I tell you.

BEN. That might be true—but I'm confident it's just as I say.

SCAN.  ’Sdeath, it’s a jest.  I can’t believe it.

SCAN. Damn it, it’s a joke. I can’t believe it.

BEN.  Look you, friend, it’s nothing to me whether you believe it or no.  What I say is true, d’ye see, they are married, or just going to be married, I know not which.

BEN. Look, friend, it doesn’t matter to me whether you believe it or not. What I’m saying is true, you see, they are married, or they're about to get married, I’m not sure which.

FORE.  Well, but they are not mad, that is, not lunatic?

FORE. Well, they’re not crazy, right?

BEN.  I don’t know what you may call madness.  But she’s mad for a husband, and he’s horn mad, I think, or they’d ne’er make a match together.  Here they come.

BEN. I don’t know what you call madness. But she’s crazy for a husband, and I think he’s crazy too, or else they’d never end up together. Here they come.

SCENE IX.

[To them] Sir Sampson, Angelica, Buckram.

[To them] Sir Sampson, Angelica, Buckram.

SIR SAMP.  Where is this old soothsayer, this uncle of mine elect?  Aha, old Foresight, Uncle Foresight, wish me joy, Uncle Foresight, double joy, both as uncle and astrologer; here’s a conjunction that was not foretold in all your Ephemeris.  The brightest star in the blue firmament—is shot from above, in a jelly of love, and so forth; and I’m lord of the ascendant.  Odd, you’re an old fellow, Foresight; uncle, I mean, a very old fellow, Uncle Foresight: and yet you shall live to dance at my wedding; faith and troth, you shall.  Odd, we’ll have the music of the sphere’s for thee, old Lilly, that we will, and thou shalt lead up a dance in Via Lactea.

SIR SAMP. Where is that old fortune teller, my chosen uncle? Aha, old Foresight, Uncle Foresight, congratulate me, Uncle Foresight, double congratulations, both for being my uncle and an astrologer; here’s a situation that wasn’t predicted in any of your charts. The brightest star in the sky—has shot down from above, in a jelly of love, and so on; and I’m the one in charge. How strange, you’re an old guy, Foresight; I mean, very old, Uncle Foresight: and yet you’ll live to dance at my wedding; I swear you will. How strange, we’ll have the music of the spheres for you, old Lilly, we will, and you’ll lead a dance in the Milky Way.

FORE.  I’m thunderstruck!  You are not married to my niece?

FORE. I'm shocked! You're not married to my niece?

SIR SAMP.  Not absolutely married, uncle; but very near it, within a kiss of the matter, as you see.  [Kisses Angelica.]

SIR SAMP. Not officially married, uncle; but really close to it, just a kiss away, as you can see. [Kisses Angelica.]

ANG.  ’Tis very true, indeed, uncle.  I hope you’ll be my father, and give me.

ANG. It's really true, uncle. I hope you'll be like a father to me and give me.

SIR SAMP.  That he shall, or I’ll burn his globes.  Body o’ me, he shall be thy father, I’ll make him thy father, and thou shalt make me a father, and I’ll make thee a mother, and we’ll beget sons and daughters enough to put the weekly bills out of countenance.

SIR SAMP. That he will, or I'll destroy his globes. Seriously, he will be your father, I'll make him your father, and you’ll make me a father, and I’ll make you a mother, and we’ll have enough sons and daughters to make the weekly bills look ridiculous.

SCAN.  Death and hell!  Where’s Valentine?

SCAN. Death and damnation! Where’s Valentine?

SCENE X.

Sir Sampson, Angelica, Foresight, Mrs. Foresight, Ben, Buckram.

Sir Sampson, Angelica, Foresight, Mrs. Foresight, Ben, Buckram.

MRS. FORE.  This is so surprising.

MRS. FORE. This is so shocking.

SIR SAMP.  How!  What does my aunt say?  Surprising, aunt?  Not at all for a young couple to make a match in winter: not at all.  It’s a plot to undermine cold weather, and destroy that usurper of a bed called a warming-pan.

SIR SAMP.  What? What does my aunt say?  Surprising, aunt?  Not at all for a young couple to get together in winter: not at all.  It’s a way to fight off the cold and get rid of that intruder of a bed called a warming-pan.

MRS. FORE.  I’m glad to hear you have so much fire in you, Sir Sampson.

MRS. FORE. I'm happy to hear you're so passionate, Sir Sampson.

BEN.  Mess, I fear his fire’s little better than tinder; mayhap it will only serve to light up a match for somebody else.  The young woman’s a handsome young woman, I can’t deny it: but, father, if I might be your pilot in this case, you should not marry her.  It’s just the same thing as if so be you should sail so far as the Straits without provision.

BEN. Mess, I worry his passion is hardly better than kindling; maybe it will only work to set someone else on fire. The young woman is definitely attractive, I can’t deny that: but, Dad, if I could guide you here, you shouldn’t marry her. It’s just like sailing all the way to the Straits without any supplies.

SIR SAMP.  Who gave you authority to speak, sirrah?  To your element, fish, be mute, fish, and to sea, rule your helm, sirrah, don’t direct me.

SIR SAMP. Who gave you the right to speak, you? Stick to your world, fish, stay silent, fish, and to the sea, steer your ship, you, don’t tell me what to do.

BEN.  Well, well, take you care of your own helm, or you mayn’t keep your new vessel steady.

BEN. Well, well, take care of your own steering, or you might not keep your new boat steady.

SIR SAMP.  Why, you impudent tarpaulin!  Sirrah, do you bring your forecastle jests upon your father?  But I shall be even with you, I won’t give you a groat.  Mr. Buckram, is the conveyance so worded that nothing can possibly descend to this scoundrel?  I would not so much as have him have the prospect of an estate, though there were no way to come to it, but by the North-East Passage.

SIR SAMP. Why, you cheeky sailor! Do you really bring your sailor jokes to your father? But I'll get back at you; I won’t give you a penny. Mr. Buckram, is the document written in such a way that nothing can possibly go to this scoundrel? I wouldn't even want him to have the chance of inheriting an estate, even if the only way to get it was through the North-East Passage.

BUCK.  Sir, it is drawn according to your directions; there is not the least cranny of the law unstopt.

BUCK. Sir, it's been done exactly as you instructed; there's not a single loophole in the law that's left open.

BEN.  Lawyer, I believe there’s many a cranny and leak unstopt in your conscience.  If so be that one had a pump to your bosom, I believe we should discover a foul hold.  They say a witch will sail in a sieve: but I believe the devil would not venture aboard o’ your conscience.  And that’s for you.

BEN. Lawyer, I think there are a lot of cracks and leaks in your conscience. If only we had a pump for your heart, I believe we would uncover something really dirty. They say a witch can sail in a sieve, but I believe even the devil wouldn't dare step on your conscience. And that’s for you.

SIR SAMP.  Hold your tongue, sirrah.  How now, who’s here?

SIR SAMP.  Keep quiet, you.  What’s happening, who's here?

SCENE XI.

[To them] Tattle and Mrs. Frail.

[To them] Tattle and Mrs. Frail.

MRS. FRAIL.  O sister, the most unlucky accident.

MRS. FRAIL.  Oh, sister, what an unfortunate incident.

MRS. FORE.  What’s the matter?

Mrs. Fore. What's wrong?

TATT.  Oh, the two most unfortunate poor creatures in the world we are.

TATT. Oh, we are the two unluckiest, most unfortunate beings in the world.

FORE.  Bless us!  How so?

FORE. Bless us! How come?

MRS. FRAIL.  Ah, Mr. Tattle and I, poor Mr. Tattle and I are—I can’t speak it out.

MRS. FRAIL. Ah, Mr. Tattle and I, poor Mr. Tattle and I are—I can’t say it out loud.

TATT.  Nor I.  But poor Mrs. Frail and I are—

TATT. Nor am I. But poor Mrs. Frail and I are—

MRS. FRAIL.  Married.

Mrs. Frail. Married.

MRS. FORE.  Married!  How?

MRS. FORE. Married! How?

TATT.  Suddenly—before we knew where we were—that villain Jeremy, by the help of disguises, tricked us into one another.

TATT. Suddenly—before we realized what was happening—that villain Jeremy, with the help of disguises, fooled us into thinking we were each other.

FORE.  Why, you told me just now you went hence in haste to be married.

FORE. Why, you just told me you left quickly to get married.

ANG.  But I believe Mr. Tattle meant the favour to me: I thank him.

ANG. But I think Mr. Tattle was trying to do me a favor: I appreciate it.

TATT.  I did, as I hope to be saved, madam; my intentions were good.  But this is the most cruel thing, to marry one does not know how, nor why, nor wherefore.  The devil take me if ever I was so much concerned at anything in my life.

TATT. I did, I swear, ma'am; my intentions were good. But this is the most awful thing, to marry someone without knowing how, or why, or for what reason. I can't believe I've ever been this worried about anything in my life.

ANG.  ’Tis very unhappy, if you don’t care for one another.

ANG. It's really unfortunate if you don't care for each other.

TATT.  The least in the world—that is for my part: I speak for myself.  Gad, I never had the least thought of serious kindness.—I never liked anybody less in my life.  Poor woman!  Gad, I’m sorry for her too, for I have no reason to hate her neither; but I believe I shall lead her a damned sort of a life.

TATT. The least in the world—that’s just how I feel: I'm speaking for myself. Honestly, I never had a single thought of genuine kindness. I’ve never liked anyone less in my life. Poor woman! I really do feel sorry for her too, since I have no reason to hate her either; but I think I'm going to make her life pretty miserable.

MRS. FORE.  He’s better than no husband at all—though he’s a coxcomb.  [To Frail.]

MRS. FORE. He's better than not having a husband—though he’s a fool. [To Fragile.]

MRS. FRAIL [to her].  Ay, ay, it’s well it’s no worse.—Nay, for my part I always despised Mr. Tattle of all things; nothing but his being my husband could have made me like him less.

MRS. FRAIL [to her].  Yeah, yeah, it’s good it’s not worse. —Honestly, I’ve always hated Mr. Tattle; nothing but being my husband could have made me dislike him more.

TATT.  Look you there, I thought as much.  Pox on’t, I wish we could keep it secret; why, I don’t believe any of this company would speak of it.

TATT. Look at that, I figured as much. Damn it, I wish we could keep it under wraps; honestly, I don't think any of these people would say a word about it.

MRS. FRAIL.  But, my dear, that’s impossible: the parson and that rogue Jeremy will publish it.

MRS. FRAIL. But, my dear, that's impossible: the pastor and that trickster Jeremy will announce it.

TATT.  Ay, my dear, so they will, as you say.

TATT.  Yeah, my dear, that's exactly what they'll do, just like you said.

ANG.  Oh, you’ll agree very well in a little time; custom will make it easy to you.

ANG. Oh, you’ll get used to it soon enough; it’ll become easy over time.

TATT.  Easy!  Pox on’t, I don’t believe I shall sleep to-night.

TATT.  Easy!  Ugh, I don't think I’ll be able to sleep tonight.

SIR SAMP.  Sleep, quotha!  No; why, you would not sleep o’ your wedding-night?  I’m an older fellow than you, and don’t mean to sleep.

SIR SAMP. Sleep, really? No way, you wouldn't sleep on your wedding night! I'm older than you, and I don't plan to sleep.

BEN.  Why, there’s another match now, as thof a couple of privateers were looking for a prize and should fall foul of one another.  I’m sorry for the young man with all my heart.  Look you, friend, if I may advise you, when she’s going—for that you must expect, I have experience of her—when she’s going, let her go.  For no matrimony is tough enough to hold her; and if she can’t drag her anchor along with her, she’ll break her cable, I can tell you that.  Who’s here?  The madman?

BEN.  Well, there’s another fight brewing, as if a couple of privateers were hunting for a prize and ended up crossing paths.  I really feel for the young man.  Listen, my friend, if I can give you some advice, when she decides to leave—and you should be ready for that, I know from experience—just let her go.  No marriage is strong enough to keep her; and if she can't manage to take her anchor with her, she’ll snap her cable, believe me.  Who’s here?  The crazy guy?

SCENE the Last.

Valentine, Scandal, Sir Sampson, Angelica, Foresight, Mrs. Foresight, Tattle, Mrs. Frail, Ben, Jeremy, Buckram.

Valentine, Scandal, Sir Sampson, Angelica, Foresight, Mrs. Foresight, Tattle, Mrs. Frail, Ben, Jeremy, Buckram.

VAL.  No; here’s the fool, and if occasion be, I’ll give it under my hand.

VAL. No; here’s the fool, and if necessary, I’ll put it in writing.

SIR SAMP.  How now?

SIR SAMP. What's up?

VAL.  Sir, I’m come to acknowledge my errors, and ask your pardon.

VAL. Sir, I’ve come to admit my mistakes and ask for your forgiveness.

SIR SAMP.  What, have you found your senses at last then?  In good time, sir.

SIR SAMP. So, you finally came to your senses, huh? Just in time, man.

VAL.  You were abused, sir: I never was distracted.

VAL. You were mistreated, sir: I was never unfocused.

FORE.  How!  Not mad!  Mr. Scandal—

FORE. How! Not crazy! Mr. Scandal—

SCAN.  No, really, sir.  I’m his witness; it was all counterfeit.

SCAN. No, seriously, sir. I'm his witness; it was all fake.

VAL.  I thought I had reasons—but it was a poor contrivance, the effect has shown it such.

VAL. I thought I had my reasons—but it was a bad setup, and the outcome has proven that.

SIR SAMP.  Contrivance!  What, to cheat me? to cheat your father?  Sirrah, could you hope to prosper?

SIR SAMP.  Scheme! What, to trick me? to trick your father? Seriously, did you really think you could get away with this?

VAL.  Indeed, I thought, sir, when the father endeavoured to undo the son, it was a reasonable return of nature.

VAL. Indeed, I thought, sir, when the father tried to ruin the son, it was a natural response.

SIR SAMP.  Very good, sir.  Mr. Buckram, are you ready?  Come, sir, will you sign and seal?

SIR SAMP. Sounds good, sir. Mr. Buckram, are you ready? Come on, sir, will you sign and seal?

VAL.  If you please, sir; but first I would ask this lady one question.

VAL. If you don’t mind, sir; but first I'd like to ask this lady a question.

SIR SAMP.  Sir, you must ask me leave first.  That lady?  No, sir, you shall ask that lady no questions till you have asked her blessing, sir: that lady is to be my wife.

SIR SAMP. Sir, you need to ask for my permission first. That lady? No, sir, you shouldn't ask her anything until you've asked for her blessing, sir: that lady is going to be my wife.

VAL.  I have heard as much, sir; but I would have it from her own mouth.

VAL. I've heard that too, sir; but I want to hear it directly from her.

SIR SAMP.  That’s as much as to say I lie, sir, and you don’t believe what I say.

SIR SAMP. That’s basically saying I’m lying, sir, and you don’t trust what I say.

VAL.  Pardon me, sir.  But I reflect that I very lately counterfeited madness; I don’t know but the frolic may go round.

VAL. Pardon me, sir. But I just remembered that I recently pretended to be crazy; I’m not sure if the fun will come back around.

SIR SAMP.  Come, chuck, satisfy him, answer him.  Come, come, Mr. Buckram, the pen and ink.

SIR SAMP. Come on, darling, please him, respond to him. Come on, Mr. Buckram, grab the pen and ink.

BUCK.  Here it is, sir, with the deed; all is ready.  [Valentine goes to Angelica.]

BUCK. Here it is, sir, with the deed; everything is ready. [Valentine's Day goes to Angelica.]

ANG.  ’Tis true, you have a great while pretended love to me; nay, what if you were sincere?  Still you must pardon me if I think my own inclinations have a better right to dispose of my person than yours.

ANG. It’s true, you’ve pretended to love me for quite a while; but what if you were sincere? Still, you have to forgive me if I believe my own feelings have a better claim to decide my life than yours.

SIR SAMP.  Are you answered now, sir?

SIR SAMP. Are you satisfied now, sir?

VAL.  Yes, sir.

Sure thing, sir.

SIR SAMP.  Where’s your plot, sir? and your contrivance now, sir?  Will you sign, sir?  Come, will you sign and seal?

SIR SAMP. Where’s your plan, man? And your scheme now, huh? Will you sign it? Come on, will you sign and seal it?

VAL.  With all my heart, sir.

Sure thing, sir.

SCAN.  ’Sdeath, you are not mad indeed, to ruin yourself?

SCAN. 'Damn it, are you really not crazy to destroy yourself?

VAL.  I have been disappointed of my only hope, and he that loses hope may part with anything.  I never valued fortune but as it was subservient to my pleasure, and my only pleasure was to please this lady.  I have made many vain attempts, and find at last that nothing but my ruin can effect it; which, for that reason, I will sign to—give me the paper.

VAL. I’ve lost my only hope, and when you lose hope, you can let go of anything. I never cared about fortune unless it served my happiness, and my only happiness came from pleasing this lady. I’ve made many pointless attempts and finally realized that nothing but my downfall will achieve it; for that reason, I’ll agree to it—give me the paper.

ANG.  Generous Valentine!  [Aside.]

ANG. Generous Valentine! [Aside.]

BUCK.  Here is the deed, sir.

Sure thing. Here’s the deed, sir.

VAL.  But where is the bond by which I am obliged to sign this?

VAL. But where is the agreement that requires me to sign this?

BUCK.  Sir Sampson, you have it.

BUCK. Sir Sampson, you’ve got it.

ANG.  No, I have it, and I’ll use it as I would everything that is an enemy to Valentine.  [Tears the paper.]

ANG. No, I have it, and I’ll use it like I would anything that’s an enemy to Valentine. [Tears the paper.]

SIR SAMP.  How now?

SIR SAMP. What’s up?

VAL.  Ha!

VAL. LOL!

ANG.  Had I the world to give you, it could not make me worthy of so generous and faithful a passion.  Here’s my hand:—my heart was always yours, and struggled very hard to make this utmost trial of your virtue.  [To Valentine.]

ANG. If I had the whole world to give you, it still wouldn’t make me deserving of such a generous and faithful love. Here’s my hand: my heart has always been yours, and it fought hard to test your virtue to the fullest. [To Valentine's Day.]

VAL.  Between pleasure and amazement I am lost.  But on my knees I take the blessing.

VAL. Between pleasure and amazement, I'm completely overwhelmed. But on my knees, I accept the blessing.

SIR SAMP.  Oons, what is the meaning of this?

SIR SAMP.  Honestly, what does this mean?

BEN.  Mess, here’s the wind changed again.  Father, you and I may make a voyage together now.

BEN. Mess, the wind has changed again. Dad, you and I can go on a trip together now.

ANG.  Well, Sir Sampson, since I have played you a trick, I’ll advise you how you may avoid such another.  Learn to be a good father, or you’ll never get a second wife.  I always loved your son, and hated your unforgiving nature.  I was resolved to try him to the utmost; I have tried you too, and know you both.  You have not more faults than he has virtues, and ’tis hardly more pleasure to me that I can make him and myself happy than that I can punish you.

ANG. Well, Sir Sampson, since I’ve played a trick on you, let me suggest how you can avoid it happening again. Learn to be a good father, or you’ll never find a second wife. I’ve always loved your son and disliked your unforgiving nature. I was determined to test him to the limit; I’ve tested you too, and I know both of you well. You have just as many faults as he has virtues, and it brings me as much joy to make him and myself happy as it does to punish you.

VAL.  If my happiness could receive addition, this kind surprise would make it double.

VAL. If my happiness could be increased, this kind of surprise would make it even greater.

SIR SAMP.  Oons, you’re a crocodile.

SIR SAMP. Ugh, you’re a total fake.

FORE.  Really, Sir Sampson, this is a sudden eclipse.

FORE. Really, Sir Sampson, this is a sudden surprise.

SIR SAMP.  You’re an illiterate old fool, and I’m another.

SIR SAMP. You're a clueless old fool, and so am I.

TATT.  If the gentleman is in disorder for want of a wife, I can spare him mine.—Oh, are you there, sir?  I’m indebted to you for my happiness.  [To Jeremy.]

TATT. If the guy is feeling down because he doesn't have a wife, I can lend him mine.—Oh, you're here, sir? I'm grateful to you for my happiness. [To Jeremy.]

JERE.  Sir, I ask you ten thousand pardons: ’twas an errant mistake.  You see, sir, my master was never mad, nor anything like it.  Then how could it be otherwise?

JERE. Sir, I sincerely apologize: it was a complete mistake. You see, sir, my master was never crazy or anything like that. So how could it be any different?

VAL.  Tattle, I thank you; you would have interposed between me and heaven, but Providence laid purgatory in your way.  You have but justice.

VAL. Tattle, thanks; you tried to get in the way of me and heaven, but fate put purgatory in your path. You only have justice.

SCAN.  I hear the fiddles that Sir Sampson provided for his own wedding; methinks ’tis pity they should not be employed when the match is so much mended.  Valentine, though it be morning, we may have a dance.

SCAN. I hear the fiddles that Sir Sampson arranged for his own wedding; I think it’s a shame they shouldn’t be used now that the match is so much improved. Valentine, even though it's morning, we can have a dance.

VAL.  Anything, my friend, everything that looks like joy and transport.

VAL. Anything, my friend, everything that feels like joy and excitement.

SCAN.  Call ’em, Jeremy.

SCAN. Call them, Jeremy.

ANG.  I have done dissembling now, Valentine; and if that coldness which I have always worn before you should turn to an extreme fondness, you must not suspect it.

ANG. I’ve stopped pretending now, Valentine; and if that coolness I’ve always shown you turns into intense affection, you shouldn’t take it the wrong way.

VAL.  I’ll prevent that suspicion: for I intend to dote to that immoderate degree that your fondness shall never distinguish itself enough to be taken notice of.  If ever you seem to love too much, it must be only when I can’t love enough.

VAL. I’ll put a stop to that suspicion: I plan to be so overly affectionate that your love won’t stand out enough to be noticed. If you ever seem to love too much, it will only be when I can't love enough.

ANG.  Have a care of promises; you know you are apt to run more in debt than you are able to pay.

ANG.  Be careful with promises; you know you tend to take on more debt than you can afford to pay back.

VAL.  Therefore I yield my body as your prisoner, and make your best on’t.

VAL.  So, I give myself up as your prisoner, and do your worst.

SCAN.  The music stays for you.  [Dance.]

SCAN. The music is here for you. [Dance.]

SCAN.  Well, madam, you have done exemplary justice in punishing an inhuman father and rewarding a faithful lover.  But there is a third good work which I, in particular, must thank you for: I was an infidel to your sex, and you have converted me.  For now I am convinced that all women are not like fortune, blind in bestowing favours, either on those who do not merit or who do not want ’em.

SCAN. Well, ma'am, you've done an excellent job punishing a cruel father and rewarding a loyal lover. But there's a third good deed I specifically want to thank you for: I was skeptical about your gender, and you’ve changed my mind. Now I believe that not all women are like fate, blindly giving favors to those who don’t deserve them or don’t want them.

ANG.  ’Tis an unreasonable accusation that you lay upon our sex: you tax us with injustice, only to cover your own want of merit.  You would all have the reward of love, but few have the constancy to stay till it becomes your due.  Men are generally hypocrites and infidels: they pretend to worship, but have neither zeal nor faith.  How few, like Valentine, would persevere even to martyrdom, and sacrifice their interest to their constancy!  In admiring me, you misplace the novelty.

ANG. It's an unfair accusation you're making about our gender: you blame us for being unjust just to hide your own lack of worth. You all want the reward of love, but only a few have the commitment to wait until it is rightfully yours. Men are often hypocrites and disloyal: they pretend to be devoted but lack both passion and belief. How rare is it, like Valentine, for someone to endure even to the point of sacrifice and put their loyalty above their self-interest! In admiring me, you’ve got the wrong idea about what’s special.

The miracle to-day is, that we find
A lover true; not that a woman’s kind.

The miracle today is that we find
A true lover; not that a woman's nature.


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