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The English Dramatists

The English Playwrights

Illustration: decorative line

JOHN MARSTON

JOHN MARSTON

VOLUME THE THIRD

VOLUME 3

THE WORKS

OF

JOHN MARSTON

EDITED BY

A. H. BULLEN, B.A.

IN THREE VOLUMES

VOLUME THE THIRD

VOLUME 3

Illustration: printer logo

LONDON
JOHN C. NIMMO
14, KING WILLIAM STREET, STRAND, W.C.
MDCCCLXXXVII

LONDON
JOHN C. NIMMO
14 King William Street, Strand, W.C.
1887

Two hundred copies of this Edition on Laid paper, medium 8vo, have been printed, viz., 120 for the English Market, and 80 for America. Each copy numbered as issued.

Two hundred copies of this edition on laid paper, medium 8vo, have been printed, viz., 120 for the English market and 80 for America. Each copy is numbered as issued.

No. 30

No. 30

CONTENTS OF VOL. III.

PAGE
EASTWARD HO
Act I
Act II
Act III
Act IV
Act V
1
THE INSATIATE COUNTESS
Act I
Act II
Act III
Act IV
Act V
125
THE METAMORPHOSIS OF PYGMALION’S IMAGE, AND CERTAIN SATIRES 245
THE SCOURGE OF VILLAINY 295
ENTERTAINMENT OF ALICE, DOWAGER-COUNTESS OF DERBY 383
CITY PAGEANT 405
VERSES FROM CHESTER’S LOVE’S MARTYR 413
THE MOUNTEBANK’S MASQUE 417
COMMENDATORY VERSES PREFIXED TO BEN JONSON’S SEJANUS 444
INDEX 445

EASTWARD HO.

Eastward Hoe. As It was playd in the Black-friers. By The Children of her Maiesties Reuels. Made by Geo: Chapman. Ben: Jonson. Ioh: Marston. At London Printed for William Aspley. 1605. 4to.

Eastward Hoe. As It was performed at the Blackfriars. By The Children of Her Majesty's Revels. Created by Geo: Chapman. Ben: Jonson. John: Marston. Printed in London for William Aspley. 1605. 4to.

STORY OF THE PLAY.

PLAY'S STORY.

Master Touchstone, an honest goldsmith, has two daughters and two apprentices. The elder daughter, Gertrude, is proud, extravagant, and wanton; the younger, Mildred, is simple, thrifty, and modest. So with the apprentices: Quicksilver is a graceless unthrift, but Golding is a model of industry and sobriety. A needy knight, Sir Petronel Flash, who represents himself to be the owner of a castle, marries Gertrude; and Golding, released from his apprenticeship, marries Mildred. Sir Petronel’s aim is to acquire some land of which Gertrude is possessed, turn it into ready money, and take ship with some adventurous spirits for Virginia, leaving his wife to find her way to the imaginary castle. Quicksilver, who has been dismissed from Touchstone’s service for riotous living, introduces Sir Petronel to an old usurer, Security; and Gertrude signs a deed, by which her estate is conveyed into Security’s hands. The knight is in love with Security’s wife, Winifred, and is anxious to have her society on the voyage. He tells Security that he intends to run away with the wife of one Bramble, a lawyer, and Security enters heartily into the scheme. It is contrived by Sir Petronel and Quicksilver that on the eve of the voyage Security brings Winifred in disguise (imagining her to be Bramble’s wife) to a river-side tavern, where are gathered Sir Petronel, Quicksilver, Seagull (the captain of the ship which is to sail for Virginia), Bramble, and the knight’s fellow-passengers, Scapethrift and Spendall. After drinking heavily at the tavern, the company rises to take boat for Blackwall, where Sir Petronel’s ship lies. As there is a stormy wind blowing and the tide is against them, the watermen urge that it would be unsafe to venture; but the company insists in starting, and the result is that the boats—one driven one way, another another—are capsized, and the drunken occupants are soused in the Thames. Security swims ashore at Cuckold’s Haven; Winifred is rescued at St. Katherine’s; Quicksilver finds himself by the gallows at Wapping; Sir Petronel and Seagull are cast-up on the Isle of Dogs, which the cupshot knight takes to be a spot on the French coast. Quicksilver falls in with Sir Petronel and the two repair to London, where they are arrested at the suit of Touchstone and, after being examined before Golding (who has been appointed deputy to the alderman of his ward), are committed to the Counter. Here, having leisure to review their conduct, they become deeply penitent, and set a wholesome example to the rest of the prisoners. By Golding’s kind offices they are released from the Counter and are taken into the good graces of Touchstone, who has had convincing proof of their reformation. Gertrude, though she has been slower to express contrition, finally humbles her pride and is received back into favour. Quicksilver marries his cast mistress, Sindefy, and lives cleanly; Security takes back Winifred.

Master Touchstone, an honest goldsmith, has two daughters and two apprentices. The older daughter, Gertrude, is proud, extravagant, and flirtatious; the younger, Mildred, is simple, thrifty, and modest. It's the same with the apprentices: Quicksilver is a careless spendthrift, while Golding is a model of hard work and self-restraint. A needy knight, Sir Petronel Flash, who claims to own a castle, marries Gertrude; and Golding, released from his apprenticeship, marries Mildred. Sir Petronel’s goal is to acquire some land that Gertrude owns, turn it into cash, and set sail with some adventurous spirits for Virginia, leaving his wife to find her way to the imaginary castle. Quicksilver, who has been let go from Touchstone’s service for his wild lifestyle, introduces Sir Petronel to an old moneylender, Security; and Gertrude signs a deed transferring her estate into Security’s hands. The knight is in love with Security’s wife, Winifred, and is eager to have her along on the trip. He tells Security that he plans to run away with the wife of one Bramble, a lawyer, and Security enthusiastically joins the plan. It's arranged by Sir Petronel and Quicksilver that on the eve of the voyage, Security brings Winifred in disguise (thinking she is Bramble’s wife) to a riverside tavern, where Sir Petronel, Quicksilver, Seagull (the captain of the ship bound for Virginia), Bramble, and the knight’s fellow travelers, Scapethrift and Spendall, have gathered. After drinking heavily at the tavern, the group gets up to take a boat to Blackwall, where Sir Petronel’s ship is moored. Since there's a strong wind blowing and the tide is against them, the watermen argue that it would be unsafe to go; but the group insists on leaving, resulting in the boats—some blown one way, others another—capsizing, and the drunken passengers tumbling into the Thames. Security swims ashore at Cuckold’s Haven; Winifred is rescued at St. Katherine’s; Quicksilver finds himself near the gallows at Wapping; Sir Petronel and Seagull land on the Isle of Dogs, which the drunken knight mistakes for a spot on the French coast. Quicksilver runs into Sir Petronel, and the two head to London, where they are arrested on Touchstone’s orders and, after being examined by Golding (who has been appointed deputy to the alderman of his ward), are committed to the Counter. Here, with time to reflect on their actions, they become deeply remorseful and set a positive example for the other prisoners. Through Golding’s kind efforts, they are released from the Counter and welcomed back by Touchstone, who has seen clear proof of their change. Gertrude, although she has been slower to show remorse, eventually humbles herself and is accepted back into favor. Quicksilver marries his former mistress, Sindefy, and lives a clean life; Security takes Winifred back.

PROLOGUS.

PROLOGUE.

Not out of envy, for there’s no effect
Where there’s no cause; nor out of imitation,
For we have evermore been imitated;[1]
Nor out of our contention to do better
Than that[2] which is opposed to ours in title,
For that was good; and better cannot be:
And for the title, if it seem affected,
We might as well have call’d it, “God[3] you good even:”
Only that eastward westwards still exceeds,
Honour the sun’s fair rising, not his setting.    10
Nor is our title utterly enforced,
As by the points we touch at you shall see.
Bear with our willing pains, if dull or witty,
We only dedicate it to the City.

Not out of jealousy, since it doesn't have any impact.
Without a reason; nor out of imitation,
Since we've always been the ones being copied;[1]
Nor from attempting to improve.
Than that[2] which contradicts ours in title,
Because that was good; and nothing can be better:
Regarding the title, if it comes off as pretentious,
We could have just named it, “God[3] you good evening:”
Only the east still exceeds the west,
Appreciate the beauty of the sunrise, not the sunset.    10
Our title isn’t entirely forced either,
As you’ll see from the points we cover.
Please be patient with our attempts, regardless of whether they seem boring or smart,
We dedicate it entirely to the City.

[1] This tone of arrogant assumption is very characteristic of Ben Jonson, who probably contributed the prologue. Cf. Prologue to Cynthia’s Revels:

[1] This tone of arrogant assumption is very typical of Ben Jonson, who likely wrote the prologue. Cf. Prologue to Cynthia’s Revels:Understood. Please provide the text you would like me to modernize.

“In this alone his Muse her sweetness hath;
She shuns the print of any beaten path,
And proves new ways to come to learned ears,” &c.

"In this alone, his Muse holds her charm;
She stays away from the path of any worn-out trail,
And discovers new methods to engage educated minds,” &c.

[2] The comedy of Westward Ho, by Webster and Dekker; it was not published until 1607.—Eastward Ho and Westward Ho were the cries of the watermen who plied on the Thames.

[2] The comedy of Westward Ho, by Webster and Dekker; it wasn't published until 1607.—Eastward Ho and Westward Ho were the shouts of the watermen who worked on the Thames.

[3] A shortened form of “God give you good even.”

[3] A shortened version of “God give you a good evening.”

DRAMATIS PERSONÆ.[4]

CAST OF CHARACTERS.[4]

Touchstone, a goldsmith.
Quicksilver, and Golding, apprentices to Touchstone.
Sir Petronel Flash, a shifty knight.
Security, an old usurer.
Bramble, a lawyer.
Seagull, a sea-captain.
Scapethrift, and Spendall, adventurers bound for Virginia.
Slitgut, a butcher’s apprentice.
Poldavy, a tailor.
Holdfast, and Wolf, officers of the Counter.
Hamlet, a footman.
Potkin, a tankard-bearer.
Drawer.

Touchstone, a goldsmith.
Mercury, and Golding, apprentices to Touchstone.
Sir Petronel Flash, a dubious knight.
Safety, an old moneylender.
Bramble berry, a lawyer.
Seagull, a sea captain.
Scapethrift, and Spendall, adventurers heading to Virginia.
Slit gut, a butcher’s apprentice.
Poldavy, a tailor.
Hold tight, and Wolf, officers of the Counter.
Hamlet, a footman.
Potkin, a tankard bearer.
Drawer.

Mistress Touchstone.
Gertrude, and Mildred, her daughters.
Winifred, wife to Security.
Sindefy, mistress to Quicksilver.
Bettrice, a waiting-woman.
Mrs. Ford, Mrs. Gazer, Coachman, Page, Constables, Prisoners, &c.

Mistress Touchstone.
Gertrude, and Mildred, her daughters.
Winifred, wife of Safety.
Sindefy, partner of Mercury.
Betterice, a maid.
Mrs. Ford, Mrs. Observer, Coachman, Page, Constables, Prisoners, &c.

Scene—London and Thames-side.

Scene—London and Thames riverbank.


[4] Not marked in old ed.

Not marked in old ed.

EASTWARD HO.

ACT I.

SCENE I.

SCENE I.

Goldsmiths’ Row.

Goldsmiths' Row.

Enter Master Touchstone and Quicksilver at several doors; Quicksilver with his hat, pumps, short sword and dagger, and a racket trussed up under his cloak. At the middle door, enter Golding, discovering a goldsmith’s shop, and walking short turns before it.

Enter Master Touchstone and Mercury from different doors; Mercury wearing his hat, boots, short sword, and dagger, with a racket tucked under his cloak. At the middle door, enter Golding, showing a goldsmith’s shop, and pacing back and forth in front of it.

To. And whither with you now? what loose action are you bound for? Come, what comrades are you to meet withal? where’s the supper? where’s the rendezvous?

To. So, where are you off to now? What careless plans are you headed for? Come on, who are you meeting up with? Where's dinner? Where's the meetup?

Qu. Indeed, and in very good sober truth, sir—

Qu. Honestly, and in all seriousness, sir—Understood. Please provide the text you would like me to modernize.

To. Indeed, and in very good sober truth, sir! Behind my back thou wilt swear faster than a French foot-boy, and talk more bawdily than a common midwife; and now “indeed and in very good sober truth, sir!” but if a privy search should be made, with what furniture are you rigged now? Sirrah, I tell thee, I am thy master, William Touchstone, goldsmith; and thou my prentice, Francis Quicksilver, and I will see whither you are running. Work upon that now.    14

To. Absolutely, and honestly, sir! Behind my back, you swear faster than a French servant and talk more crudely than a common midwife; and now “absolutely and honestly, sir!” But if a secret search were to be done, with what tools are you equipped now? Listen, I’m telling you, I am your master, William Touchstone, goldsmith; and you’re my apprentice, Francis Quicksilver, and I’m going to find out where you think you’re going. Think about that now. 14

Qu. Why, sir, I hope a man may use his recreation with his master’s profit.

Qu. Well, sir, I think a man should be able to enjoy his free time while also benefiting his boss.

To. Prentices’ recreations are seldom with their master’s profit. Work upon that now. You shall give up your cloak, though you be no alderman. Heyday! ruffians’-hall sword, pumps, here’s a racket indeed!

To. Apprentices rarely have fun that benefits their boss. Work on that now. You’ll have to give up your cloak, even if you’re not a city official. Wow! Thug’s sword, fancy shoes, this is quite a scene!

[Touchstone uncloaks Quicksilver.

[Touchstone reveals Quicksilver.

Qu. Work upon that now.

Qu. Work on that now.

To. Thou shameless varlet! dost thou jest at thy lawful master, contrary to thy indentures?    23

To. You shameless scoundrel! Are you making fun of your rightful master, against your agreement? 23

Qu. Why ’sblood, sir, my mother’s a gentlewoman, and my father a justice of peace and of Quorum; and though I am a younger brother and a prentice, yet I hope I am my father’s son; and by God’s lid, ’tis for your worship and for your commodity that I keep company. I am entertained among gallants, true;[5] they call me cousin Frank, right; I lend them moneys, good; they spend it, well. But when they are spent, must not they strive to get more, must not their land fly? and to whom? Shall not your worship ha’ the refusal? Well, I am a good member of the city, if I were well considered. How would merchants thrive, if gentlemen would not be unthrifts? How could gentlemen be unthrifts if their humours were not fed? How should their humours be fed but by white meat, and cunning secondings? Well, the city might consider us. I am going to an ordinary now: the gallants fall to play; I carry light gold with me; the gallants call, “Cousin Frank, some gold for silver;” I change, gain by it; the gallants lose the gold, and then call, “Cousin Frank, lend me some silver.” Why——    43

Qu. Why the hell, sir, my mom’s a lady, and my dad's a justice of the peace and a member of the Quorum; and even though I’m a younger brother and an apprentice, I still hope to be my dad’s son; and for God’s sake, it’s for your benefit that I hang out with you. I’m hanging with the high society, it’s true; they call me Cousin Frank, right; I lend them money, sure; they spend it, good for them. But when they run out, don’t they have to find more? Doesn’t their land disappear? And to whom? Shouldn’t you have the first chance? Well, I contribute to the city, if they’d think of me properly. How would merchants do well if gentlemen didn’t waste money? How could gentlemen waste money if their appetites weren’t satisfied? How should their appetites be satisfied but with fine food and clever support? Well, the city should take notice of us. I’m off to a gathering now: the high society start gambling; I bring some cash with me; they call out, “Cousin Frank, some cash for change;” I swap it, make a profit; they lose the cash, and then they say, “Cousin Frank, lend me some change.” Why— 43

To. Why? I cannot tell. Seven-score pound art thou out in the cash; but look to it, I will not be gallanted out of my moneys. And as for my rising by other men’s fall, God shield me! did I gain my wealth by ordinaries? no: by exchanging of gold? no: by keeping of gallants’ company? no. I hired me a little shop, fought low, took small gain, kept no debt-book, garnished my shop, for want of plate, with good wholesome thrifty sentences; as, “Touchstone, keep thy shop, and thy shop will keep thee;” “Light gains makes heavy purses;” “’Tis good to be merry and wise.” And when I was wived, having something to stick to, I had the horn of suretyship ever before my eyes. You all know the device of the horn, where the young fellow slips in at the butt-end, and comes squeezed out at the buckall: and I grew up, and I praise providence, I bear my brows now as high as the best of my neighbours: but thou——well, look to the accounts; your father’s bond lies for you: seven-score pound is yet in the rear.    62

To. Why? I can’t say. You’re short seven hundred pounds; but be warned, I won’t be tricked out of my money. And as for getting ahead by other people’s misfortune, God forbid! Did I earn my wealth through handouts? No. By trading gold? No. By hanging out with rich folks? No. I set up a small shop, kept it modest, took small profits, didn’t keep a debt book, and decorated my shop with wise sayings instead of fancy plates; such as, “Touchstone, take care of your shop, and it will take care of you;” “Small profits make big savings;” “It’s good to be cheerful and smart.” And when I got married, with something to hold onto, I always had the idea of security in mind. You all know the story about the horn, where the young guy sneaks in one end and gets squeezed out the other: and I grew, and I thank fate, I hold my head high just like my best neighbors: but you—well, check the accounts; your father’s bond is on you: you still owe seven hundred pounds. 62

Qu. Why ’slid, sir, I have as good, as proper gallants’ words for it as any are in London—gentlemen of good phrase, perfect language, passingly behaved; gallants that wear socks and clean linen, and call me “kind cousin Frank,” “good cousin Frank,” for they know my father: and by God’s lid shall I not trust ’hem?—not trust?

Qu. Well, sir, I have as good words for it as anyone in London—gentlemen with great manners, perfect language, and excellent behavior; gentlemen who wear socks and clean shirts, and call me “kind cousin Frank,” “good cousin Frank,” because they know my father: and by God, should I not trust them?—not trust?

Enter a Page as inquiring for Touchstone’s shop.

Enter a Page asking for Touchstone’s shop.

Go. What do ye lack, sir? What is’t you’ll buy, sir?

Go. What do you need, sir? What will you buy, sir?

To. Ay, marry sir; there’s a youth of another piece. There’s thy fellow-prentice, as good a gentleman born as thou art: nay, and better meaned. But does he pump it, or racket it? Well, if he thrive not, if he outlast not a hundred such crackling bavins as thou art, God and men neglect industry.    75

To. Yeah, sure, buddy; there’s a guy who’s different. Your fellow apprentice is as good a gentleman as you are— actually, he’s even better. But does he work hard, or just play? Well, if he doesn’t succeed, if he can’t outlast a hundred noisy idiots like you, then God and people must be ignoring hard work. 75

Go. It is his shop, and here my master walks.

Go. It's his shop, and this is where my boss walks.

[To the Page.

[To the Page.

To. With me, boy?

To. You coming with me, kid?

Pa. My master, Sir Petronel Flash, recommends his love to you, and will instantly visit you.

Pa. My master, Sir Petronel Flash, sends his love to you and will come to see you right away.

To. To make up the match with my eldest daughter, my wife’s dilling,[6] whom she longs to call madam. He shall find me unwillingly ready, boy. [Exit Page.] There’s another affliction too. As I have two prentices, the one of a boundless prodigality, the other of a most hopeful industry—so have I only two daughters: the eldest, of a proud ambition and nice wantonness; the other of a modest humility and comely soberness. The one must be ladified, forsooth, and be attired just to the court-cut and long tail.[7] So far is she ill-natured to the place and means of my preferment and fortune, that she throws all the contempt and despite hatred itself can cast upon it. Well, a piece of land she has; ’twas her grandmother’s gift; let her, and her Sir Petronel, flash out that; but as for my substance, she that scorns me, as I am a citizen and tradesman, shall never pamper her pride with my industry; shall never use me as men do foxes, keep themselves warm in the skin, and throw the body that bare it to the dunghill. I must go entertain this Sir Petronel. Golding, my utmost care’s for thee, and only trust in thee; look to the shop. As for you, Master Quicksilver, think of husks, for thy course is running directly to the prodigal’s hog’s-trough; husks, sirrah! Work upon that now.

To. To arrange a match for my oldest daughter, my wife’s favorite, [6] who she can’t wait to call madam. He will find me reluctantly ready, boy. [Exit Page.] There’s another problem too. Since I have two apprentices, one who is endlessly wasteful, the other who works hard—so I have only two daughters: the oldest, full of pride and a bit spoiled; the younger, modest and well-behaved. The older one must be dressed like a court lady, with the proper fashion and long train.[7] She is so disrespectful towards my position and my success that she looks down on it with complete disdain. Well, she has a piece of land; it was a gift from her grandmother; let her and her Sir Petronel flaunt that. But as for my wealth, she who scorns me as a citizen and tradesman will never indulge her pride with my hard work; she will never use me like people do with foxes, keeping warm in their fur and throwing the remains away. I must go entertain this Sir Petronel. Golding, my only concern is for you, and I trust only in you; take care of the shop. As for you, Master Quicksilver, think about husks, because you’re headed straight for the prodigal’s pigsty; husks, young man! Focus on that now.

[Exit Touchstone.

[Exit Touchstone.

Qu. Marry faugh,[8] goodman flat-cap![9] ’sfoot! though I am a prentice I can give arms;[10] and my father’s a justice-a-peace by descent, and ’sblood——    106

Qu. What nonsense, you old flat-cap! Even though I'm an apprentice, I can stand my ground; and my father is a justice of the peace by inheritance, and damn it— 106

Go. Fie, how you swear!

Go. Wow, watch your language!

Qu. ’Sfoot, man, I am a gentleman, and may swear by my pedigree. God’s my life! Sirrah Golding, wilt be ruled by a fool? Turn good fellow, turn swaggering gallant, and let the welkin roar, and Erebus also.[11] Look not westward to the fall of Dan Phœbus, but to the east—Eastward-ho!

Qu. Seriously, man, I'm a gentleman and can vouch for my family background. Honestly! Sirrah Golding, will you let a fool lead you? Be a good guy, be a bold show-off, and let the sky thunder, along with the underworld. [11] Don’t look west to the sunset, but look to the east—Eastward-ho!

Where radiant beams of lusty Sol appear,
And bright Eous makes the welkin clear.

Where bright rays of the lively sun shine,
And the bright morning clears the sky.

We are both gentlemen, and therefore should be no coxcombs: let’s be no longer fools to this flat-cap, Touchstone. Eastward, bully, this satin belly, and canvas-backed Touchstone: ’slife! man, his father was a maltman, and his mother sold gingerbread in Christchurch.[12]    121

We’re both gentlemen, so let’s not act like idiots. No more being fools for this flat-cap, Touchstone. Come on, get it together, this fancy guy in satin and canvas—can you believe it? His dad was a maltster, and his mom sold gingerbread in Christchurch.[12] 121

Go. What would you ha’ me to do?

Go. What do you want me to do?

Qu. Why, do nothing, be like a gentleman, be idle; the curse of man is labour. Wipe thy bum with testones, and make ducks and drakes with shillings. What, Eastward-ho! Wilt thou cry, “what is’t ye lack?” stand with a bare pate, and a dropping nose, under a wooden pent-house, and art a gentleman? Wilt thou bear tankards, and mayst bear arms? Be ruled; turn gallant; Eastward-ho! ta, lirra, lirra, ro! “Who[13] calls Jeronimo? Speak, here I am.” God’s so! how like a sheep thou look’st: o’ my conscience, some cowherd begot thee, thou Golding of Golding-hall! Ha, boy?    133

Qu. Why, just chill out, be like a gentleman, be lazy; the burden of a man is work. Wipe your butt with coins, and skip stones with shillings. What, Eastward-ho! Will you shout, “what do you need?” stand with a bare head and a dripping nose, under a wooden roof, and call yourself a gentleman? Will you carry tankards, and can you bear arms? Be smart; be bold; Eastward-ho! ta, lirra, lirra, ro! “Who[13] is calling Jeronimo? Speak, here I am.” Goodness! how much like a sheep you look: I swear, some cowherd must have fathered you, you Golding of Golding-hall! Ha, boy? 133

Go. Go, ye are a prodigal coxcomb! I a cowherd’s son, because I turn not a drunken whore-hunting rake-hell like thyself!

Go. Go, you are a reckless fool! I'm just a cowherd's son because I don't turn into a drunken, woman-chasing idiot like you!

Qu. Rake-hell! rake-hell!

Party animal! Party animal!

[Offers to draw, and Golding trips up his heels and holds him.

[Offers to draw, and Golding trips him up and holds him.

Go. Pish, in soft terms, ye are a cowardly bragging boy. I’ll ha’ you whipt.

Go. Come on, in simple words, you’re just a cowardly little bragger. I’ll have you punished.

Qu. Whipt?—that’s good, i’faith! untruss me?    140

Whipt?—that’s good, I swear! untruss me?

Go. No, thou wilt undo thyself. Alas! I behold thee with pity, not with anger: thou common shot-clog,[14] gull of all companies; methinks I see thee already walk-in Moorfields[15] without a cloak, with half a hat, without a band, a doublet with three buttons, without a girdle, a hose with one point, and no garter, with a cudgel under thine arm, borrowing and begging threepence.

Go. No, you’re going to ruin yourself. Oh! I look at you with pity, not anger: you common loser,[14] fool of all crowds; I can already picture you walking in Moorfields[15] without a coat, with half a hat, without a collar, a jacket with three buttons, without a belt, pants with one point, and no garter, carrying a stick under your arm, borrowing and begging threepence.

Qu. Nay, ’slife! take this and take all; as I am a gentleman born, I’ll be drunk, grow valiant, and beat thee.

Qu. No way! Take this and take everything; as I'm a born gentleman, I’ll get drunk, feel brave, and fight you.

[Exit.

Exit.

Go. Go, thou most madly vain, whom nothing can recover but that which reclaims atheists, and makes great persons sometimes religious—calamity. As for my place and life, thus I have read:—    154

Go. Go, you incredibly vain person, whose only hope for redemption lies in what brings atheists back to faith and sometimes even turns powerful people towards religion—tragedy. As for my position and existence, this is what I have learned:— 154

Whate’er some vainer youth may term disgrace,
The gain of honest pains is never base;
From trades, from arts, from valour, honour springs,
These three are founts of gentry, yea, of kings.

No matter what some arrogant young person defines as shame,
The reward for hard work is never meaningless;
Honor comes from trades, arts, and courage,
These three are the sources of nobility, and even of kings.

Enter Gertrude, Mildred, Bettrice, and Poldavy, a tailor; Poldavy with a fair gown, Scotch farthingale and French-fall in his arms; Gertrude in a French head-attire, and citizen’s gown; Mildred sewing and Bettrice leading a monkey after her.[16]

Enter Gertrude, Mildred, Bettrice, and Poldavy, a tailor; Poldavy with a nice dress, a Scottish farthingale and a French-style collar in his arms; Gertrude wearing a French headdress and a citizen’s gown; Mildred sewing and Bettrice leading a monkey after her.[16]

Ge. For the passion of patience, look if Sir Petronel approach—that sweet, that fine, that delicate, that—for love’s sake tell me if he come. O sister Mill, though my father be a low-capped tradesman, yet I must be a lady; and I praise God my mother must call me madam. Does he come? Off with this gown, for shame’s sake, off with this gown: let not my knight take me in the city-cut in any hand: tear’t, pax on’t (does he come?) tear’t off. “Thus whilst she sleeps, I sorrow for her sake,” &c.[17]    167

Ge. For the sake of my patience, is Sir Petronel coming? That sweet, fine, delicate man—please tell me if he’s on his way. O sister Mill, even though my father is just a lowly tradesman, I have to act like a lady; and I thank God that my mother must refer to me as "madam." Is he coming? I need to get this gown off—how embarrassing! I can’t let my knight see me like this in public. Tear it off, for goodness' sake! (Is he coming?) Just rip it off. “Thus whilst she sleeps, I sorrow for her sake,” &c.[17] 167

Mi. Lord, sister, with what an immodest impatiency and disgraceful scorn do you put off your city ’tire; I am sorry to think you imagine to right yourself in wronging that which hath made both you and us.

Mi. Honestly, sister, with what shameless impatience and disgraceful disdain do you take off your city clothes; I’m sorry to think you believe you can make things right by disrespecting what has built both you and us.

Ge. I tell you I cannot endure it, I must be a lady: do you wear your coif with a London licket,[18] your stammel[19] petticoat with two guards,[20] the buffin[21] gown with the tuff-taffety cape, and the velvet lace. I must be a lady, and I will be a lady. I like some humours of the city-dames well: to eat cherries[22] only at an angel a pound, good; to dye rich scarlet, black, pretty; to line a grogram gown clean thorough with velvet, tolerable; their pure linen, their smocks of three pounds a smock, are to be borne withal. But your mincing niceries, taffeta pipkins, durance[23] petticoats, and silver bodkins—God’s my life, as I shall be a lady, I cannot endure it! Is he come yet? Lord, what a long knight ’tis! “And ever she cried, Shoot[24] home!” and yet I knew one longer; “And ever she cried, Shoot[24] home,” fa, la, ly, re, lo, la!

Ge. I can't take it anymore; I have to be a lady. Do you wear your coif with a fancy London style,[18] your stammel[19] petticoat with two guards,[20] the buffin[21] gown with a taffeta cape and velvet lace? I have to be a lady, and I will be a lady. I enjoy some things about city ladies: like eating cherries[22] that cost a fortune, good; dyeing rich scarlet or black, nice; lining a grogram gown entirely with velvet, acceptable; their fine linen, their smocks costing three pounds each, I can deal with. But your picky little luxuries, taffeta pipkins, expensive[23] petticoats, and silver bodkins—goodness, as I want to be a lady, I just can’t stand it! Is he here yet? Lord, what a long wait this is! "And ever she cried, Shoot[24] home!” and yet I knew one that took longer; “And ever she cried, Shoot[24] home,” fa, la, ly, re, lo, la!

Mi. Well, sister, those that scorn their nest, oft fly with a sick wing.    188

Mi. Well, sister, those who reject their home often struggle to soar. 188

Ge. Bow-bell!

Bow-bell!

Mi. Where titles presume to thrust before fit means to second them, wealth and respect often grow sullen, and will not follow. For sure in this, I would for your sake I spake not truth: Where ambition of place goes before fitness of birth, contempt and disgrace follow. I heard a scholar once say, that Ulysses, when he counterfeited himself mad, yoked cats[25] and foxes and dogs together to draw his plough, whiles he followed and sowed salt; but sure I judge them truly mad, that yoke citizens and courtiers, tradesmen and soldiers, a goldsmith’s daughter and a knight. Well, sister, pray God my father sow not salt too.    201

Mi. Where titles assume to carry weight before they actually should, wealth and respect often become resentful and refuse to follow. Honestly, I wish for your sake that I weren't speaking the truth: When the ambition for a position comes before being suited for it, contempt and disgrace follow. I once heard a scholar say that Ulysses, when feigning madness, hitched together cats[25], foxes, and dogs to draw his plow as he scattered salt. But I truly think it's mad to pair citizens with courtiers, tradespeople with soldiers, or a goldsmith’s daughter with a knight. Well, sister, I pray that my father doesn't sow salt, either. 201

Ge. Alas! poor Mildred, when I am a lady, I’ll pray for thee yet, i’faith: nay, and I’ll vouchsafe to call thee sister Mill still; for though thou art not like to be a lady as I am, yet sure thou art a creature of God’s making; and mayest peradventure to be saved as soon as I (does he come?). “And ever and anon she doubled in her song.” Now, lady’s my comfort, what profane ape’s here? Tailor, Poldavy, prithee, fit it, fit it: is this a right Scot?[26] Does it clip close, and bear up round?    210

Ge. Oh dear! poor Mildred, when I’m a lady, I’ll pray for you still, honestly: and I’ll even call you sister Mill; because even though you might not become a lady like I will, you’re still a creation of God; and you might just be saved as quickly as I will (is he coming?). “And every now and then she repeated her song.” Now, my lady, what vulgar idiot is this? Tailor, Poldavy, come on, fit it, fit it: is this a proper Scot?[26] Does it fit snugly and hold its shape? 210

Po. Fine and stiffly, i’faith; ’twill keep your thighs so cool, and make your waist so small; here was a fault in your body, but I have supplied the defect, with the effect of my steel instrument, which, though it have but one eye, can see to rectify the imperfection of the proportion.

Po. Great and stylish, I swear; it’ll keep your thighs cool and make your waist look small. There was a flaw in your body, but I’ve fixed it with my tool, which, even though it has just one eye, can still correct the proportion issue.

Ge. Most edifying tailor! I protest you tailors are most sanctified members, and make many crooked things go upright. How must I bear my hands? Light? light?    219

Ge. Most enlightening tailors! I swear you tailors are the most honorable people, and you make many twisted things straight. How should I hold my hands? Light? Light? 219

Po. O ay, now you are in the lady-fashion, you must do all things light. Tread light, light. Ay, and fall so: that’s the Court-amble.

Po. Oh yes, now that you're dressed up like a lady, you have to do everything delicately. Walk lightly, lightly. Yes, and even fall like that: that’s the way to move in the Court.

[She trips about the stage.

She stumbles around the stage.

Ge. Has the Court ne’er a trot?

Ge. Does the Court never have a moment?

Po. No, but a false gallop, lady.

Po. No, but a fake gallop, lady.

Ge. And if she will not go to bed

Ge. And if she doesn't want to go to bedUnderstood. Please provide the text you want me to modernize.

[Cantat.

Sing.

Be. The knight’s come, forsooth.

The knight has arrived, for sure.

Enter Sir Petronel, Master Touchstone, and Mistress Touchstone.

Enter Sir Petronel, Master Touchstone, and Mistress Touchstone.

Ge. Is my knight come? O the Lord, my band! Sister, do my cheeks look well? Give me a little box o’ the ear, that I may seem to blush; now, now! So, there, there, there! here he is: O my dearest delight! Lord, Lord! and how does my knight?    231

Ge. Is my knight here? Oh my gosh, my outfit! Sister, do my cheeks look good? Give me a quick slap on the face, so I can pretend to blush; come on, come on! There, there, there! Here he is: Oh my greatest joy! Wow! And how's my knight doing? 231

To. Fie! with more modesty.

To. Ugh! Be more modest.

Ge. Modesty! why, I am no citizen now—modesty! Am I not to be married? y’are best to keep me modest, now I am to be a lady.

Ge. Patience! I’m not even a citizen anymore—how ridiculous! Aren’t I about to get married? It’s better to keep me humble, now that I’m going to be a lady.

Sir Pe. Boldness is good fashion and courtlike.

Sir Pe. Being bold is stylish and suits life at court.

Ge. Ay, in a country lady I hope it is, as I shall be. And how chance ye came no sooner, knight?

Ge. Yes, I hope to be in a country house, just like a lady. So, why didn't you arrive sooner, knight?

Sir Pe. ’Faith, I was so entertained in the progress with one Count Epernoum, a Welsh knight; we had a match at balloon[27] too with my Lord Whachum, for four crowns.    242

Sir Pe. Honestly, I was really entertained while hanging out with Count Epernoum, a Welsh knight. We even had a balloon match with my Lord Whachum, for four crowns. 242

Ge. At baboon? Jesu! you and I will play at baboon in the country, knight.

Ge. At baboon? Wow! You and I will mess around at baboon in the countryside, knight.

Sir Pe. O, sweet lady! ’tis a strong play with the arm.

Sir Pe. Oh, sweet lady! It's quite a powerful show of strength.

Ge. With arm or leg, or any other member, if it be a Court-sport. And when shall’s be married, my knight?

Ge. With your arm or leg, or any other part, if it’s a court sport. So when are you going to get married, my knight?

Sir Pe. I come now to consummate it, and your father may call a poor knight son-in-law.    250

Sir Pe. I'm here to finalize it, and your dad might be calling a broke knight his son-in-law. 250

M. To. Sir, ye are come; what is not mine to keep I must not be sorry to forego. A 100 li. land her grandmother left her, ’tis yours; herself (as her mother’s gift) is yours. But if you expect aught from me, know, my hand and mine eyes open together; I do not give blindly. Work upon that now.

M. To. Sir, you're here; I can't be upset about giving up what isn't mine to keep. The £100 worth of land her grandmother left her is yours; she herself (as a gift from her mother) is yours. But if you expect anything from me, know that I see and understand everything at the same time; I don’t give without knowing. Now, work with that.

Sir Pe. Sir, you mistrust not my means? I am a knight.

Sir Pe. Sir, you don't doubt my abilities, do you? I'm a knight.

To. Sir, sir, what I know not, you will give me leave to say I am ignorant of.    260

To. Sir, sir, I don’t know what I don’t know, and I’m allowed to say I’m clueless about it. 260

Mist. To. Yes, that he is a knight; I know where he had money to pay the gentlemen-ushers and heralds their fees. Ay, that he is a knight, and so might you have been too, if you had been aught else than an ass, as well as some of your neighbours. And I thought you would not ha’ been knighted, as I am an honest woman, I would ha’ dubbed you myself. I praise God I have wherewithal. But as for your daughter—

Mist. To. Yes, he is a knight; I know how he got the money to pay the gentlemen-ushers and heralds. Yes, he is a knight, and you could have been one too if you weren't such a fool, just like some of your neighbors. I thought if you hadn’t been knighted, as sure as I’m an honest woman, I would have made you one myself. Thank God I have the means to do it. But as for your daughter—Understood. Please provide the text you would like me to modernize.

Ge. Ay, mother, I must be a lady to-morrow; and by your leave, mother (I speak it not without my duty, but only in the right of my husband), I must take place of you, mother.    272

Ge. Yes, mother, I have to be a lady tomorrow; and with your permission, mother (I say this not out of disrespect, but because it’s my duty as your husband’s wife), I need to take your place, mother. 272

Mist. To. That you shall, lady-daughter, and have a coach as well as I too.

Mist. To. You will, dear daughter, and you'll have a carriage just like I do.

Ge. Yes, mother. But by your leave, mother (I speak it not without my duty, but only in my husband’s right), my coach-horses must take the wall of your coach-horses.

Ge. Yes, mom. But if you don't mind, mom (I say this not out of disrespect, but only in my husband’s interest), my carriage horses need to take the side of your carriage horses.

To. Come, come, the day grows low; ’tis supper-time; use my house; the wedding solemnity is at my wife’s cost; thank me for nothing but my [un]willing blessing; for I cannot feign, my hopes are faint. And, sir, respect my daughter; she has refused for you wealthy and honest matches, known good men, well-moneyed, better traded, best reputed.    284

To. Come on, the day is ending; it’s time for supper; make yourself at home; the wedding celebration is at my wife’s expense; just thank me for my (un)willing blessing; because I can’t pretend, my hopes are low. And, sir, please consider my daughter; she has turned down wealthy and respectable suitors, known good men, well-off, better connected, and with great reputations. 284

Ge. Body-o’-truth! chittizens,[28] chittizens! Sweet knight, as soon as ever we are married, take me to thy mercy out of this miserable chitty; presently carry me out of the scent of Newcastle coal, and the hearing of Bow-bell; I beseech thee down with me, for God sake!

Ge. Honestly! Citizens,[28] citizens! Sweet knight, as soon as we’re married, please take me away from this miserable place; get me out of the smell of Newcastle coal and the sound of Bow-bell. I beg you, come with me for God’s sake!

To. Well, daughter, I have read that old wit sings:

To. Well, daughter, I’ve read that old saying: Understood! Please provide the text you'd like me to modernize.

The greatest rivers flow from little springs:
Though thou art full, scorn not thy means at first,
He that’s most drunk may soonest be athirst.

The largest rivers start from little springs.
Even if you have a lot now, don’t overlook where you began,
The person who drinks the most might get thirsty the quickest.

Work upon that now.    294

Work on that now.

[All but Touchstone, Mildred, and Golding depart.

All except Touchstone, Mildred, and Golding depart.

No, no! yond’ stand my hopes—Mildred, come hither, daughter. And how approve you your sister’s fashion? how do you fancy her choice? what dost thou think?

No, no! There stand my hopes—Mildred, come here, daughter. And what do you think of your sister’s style? How do you feel about her choice? What do you think?

Mi. I hope as a sister, well.

Mi. I hope you're doing well, as a sister.

To. Nay but, nay but, how dost thou like her behaviour and humour? Speak freely.    300

To. Come on, how do you really feel about her behavior and attitude? Be honest. 300

Mi. I am loth to speak ill; and yet I am sorry of this, I cannot speak well.

Mi. I don't want to say anything bad; and yet I regret to say this, I can't say anything good.

To. Well; very good, as I would wish; a modest answer. Golding, come hither; hither, Golding. How dost thou like the knight, Sir Flash? does he not look big? how likest thou the elephant? he says he has a castle in the country.

To. Well, that’s perfect; exactly what I wanted; a humble response. Golding, come here; over here, Golding. What do you think of the knight, Sir Flash? Doesn’t he look impressive? What do you think of the elephant? He claims he owns a castle in the countryside.

Go. Pray heaven, the elephant carry not his castle on his back.[29]    309

Go. I hope to God the elephant isn't carrying his castle on his back.[29] 309

To. ’Fore heaven, very well! but seriously, how dost repute him?

To. Honestly, that’s great! But seriously, what do you think of him?

Go. The best I can say of him is, I know him not.

Go. The best I can say about him is, I don't know him.

To. Ha, Golding! I commend thee, I approve thee, and will make it appear my affection is strong to thee. My wife has her humour, and I will ha’ mine. Dost thou see my daughter here? She is not fair, well-favoured or so indifferent, which modest measure of beauty shall not make it thy only work to watch her, nor sufficient mischance to suspect her. Thou art towardly, she is modest; thou art provident, she is careful. She’s now mine; give me thy hand, she’s now thine. Work upon that now.    322

To. Ha, Golding! I commend you, I approve of you, and I’ll show that my affection for you is strong. My wife has her way, and I’ll have mine. Do you see my daughter here? She isn’t beautiful or striking, but that modest amount of beauty shouldn’t make it your only job to keep an eye on her, nor should it be enough to suspect her. You’re forward, she’s modest; you’re cautious, she’s careful. She’s mine now; give me your hand, she’s yours now. Work with that now. 322

Go. Sir, as your son, I honour you; and as your servant, obey you.

Go. Sir, as your son, I respect you; and as your servant, I will follow your orders.

To. Sayest thou so? Come hither, Mildred. Do you see yond’ fellow? he is a gentleman, though my prentice, and has somewhat to take too; a youth of good hope; well friended, well parted.[30] Are you mine? you are his. Work upon that now.    329

To. Do you really mean that? Come here, Mildred. Do you see that guy over there? He’s a gentleman, even though he’s my apprentice, and he’s got something going for him; a promising young man; well-connected, well-bred.[30] Are you mine? you belong to him. Think about that for a moment. 329

Mi. Sir, I am all yours; your body gave me life; your care and love, happiness of life; let your virtue still direct it, for to your wisdom I wholly dispose myself.

Mi. Sir, I’m completely yours; your presence gave me life; your care and love brought me happiness; let your goodness continue to guide me, for I fully entrust myself to your wisdom.

To. Say’st thou so? Be you two better acquainted. Lip her, lip her, knave. So, shut up shop; in. We must make holiday.

To. Are you serious? You two should get to know each other better. Kiss her, kiss her, you fool. So, close the shop; come on in. We need to celebrate.

[Exeunt Golding and Mildred.

[Exit Golding and Mildred.

This match shall on, for I intend to prove
Which thrives the best, the mean or lofty love.
Whether fit wedlock vow’d ’twixt like and like,
Or prouder hopes, which daringly o’erstrike    340
Their place and means. ’Tis honest time’s expense,
When seeming lightness bears a moral sense.
Work upon that now.

This competition will continue because I want to prove __A_TAG_PLACEHOLDER_0__.
Which type of love is better, humble or grand?
Whether a good marriage is best between equals,
Or ambitious hopes that confidently exceed    340
Their status and resources. It's a good use of time.
When something that seems trivial has a deeper significance.
Focus on that now.

[Exit.

[Leave.

[5] Compare the turn of this sentence with a passage of The Fawn (vol. ii. p. 181):—“His brother your husband, right; he cuckold his eldest brother, true; he get her with child, just.”

[5] Compare the twist in this sentence with a section from The Fawn (vol. ii. p. 181):—“Your husband, his brother, right; he cheated his older brother, true; he got her pregnant, exactly.”

[6] Darling.

Babe.

[7] An allusion to the proverbial expression, “cut and long tail” (i.e., dogs of every kind).

[7] A reference to the saying, “cut and long tail” (i.e., dogs of all sorts).

[8] “Marry, faugh”—a common expression of disgust.

[8] “Come on, gross”—a typical way to express disgust.

[9] A nickname for a citizen.

A resident's nickname.

[10] “Give arms”—show armorial bearings.

“Display arms”—show armorial bearings.

[11] Scraps of Pistol’s rant.—“To the infernal deep with Erebus and tortures vile also,” &c.

[11] Bits of Pistol's rant.—“To the fiery depths with Erebus and cruel tortures as well,” &c.

[12] The parishes of St. Ewin, St. Nicholas, and part of St. Sepulchre’s were amalgamated into one large parish and called Christ Church. It has been suggested that the reference is to Christ Church in Hampshire!

[12] The parishes of St. Ewin, St. Nicholas, and part of St. Sepulchre’s were merged into one large parish and named Christ Church. Some have proposed that this refers to Christ Church in Hampshire!

[13] “Who calls, &c.”—a line from The Spanish Tragedy (Hazlitt’s Dodsley, v. 54).

[13] “Who calls, &c.”—a line from The Spanish Tragedy (Hazlitt’s Dodsley, v. 54).

[14] One who paid the reckoning for the whole company at a tavern. Cf. Jonson, Poetaster, i. 1:—“What shall I have my son ... a gull, a rook, a shot-clog, to make suppers and be laugh’d at?”

[14] Someone who covered the bill for everyone at a bar. Cf. Jonson, Poetaster, i. 1:—“What should I have my son ... a fool, a sucker, a shot-clog, to prepare dinners and be laughed at?”

[15] A favourite spot for sturdy beggars.—“I took him begging o’ the way this morning as I came over Moorfields.”—Every Man in his Humour, iv. 4.

[15] A popular place for tough beggars.—“I took him begging on the way this morning as I walked over Moorfields.”—Every Man in his Humour, iv. 4.

[16] Bettrice is not introduced elsewhere in the play. I presume she is a waiting-woman in attendance upon Gertrude, and that it is part of her duty to look after her mistress’s monkey. Formerly ladies kept monkeys for pets,—a custom to which the dramatists constantly allude.

[16] Bettrice isn’t mentioned anywhere else in the play. I assume she’s a maid serving Gertrude, and part of her job is to take care of her mistress’s monkey. In the past, women often had monkeys as pets—a trend that playwrights frequently refer to.

[17] A line from a song in John Dowland’s First Book of Songs or Airs, 1597. The song begins—“Sleep, wayward thoughts, and rest you with my love.”

[17] A line from a song in John Dowland’s First Book of Songs or Airs, 1597. The song begins—“Sleep, restless thoughts, and rest with my love.”

[18] “I have a notion,” says Nares in his Glossary, “of having seen a London licket somewhere else, but cannot recall the place.” I regret to say that I am in the same difficulty. Possibly we were both thinking of London lickpenny.—“Licket” may be another form of “tippet.”

[18] “I have an idea,” says Nares in his Glossary, “that I’ve seen a London licket somewhere, but I can’t remember where.” I’m sorry to admit that I’m experiencing the same issue. Perhaps we both had London lickpenny in mind.—“Licket” might be another version of “tippet.”

[19] Red.

Red.

[20] Facing, trimmings.

Facing, trims.

[21] A sort of coarse cloth.

A type of coarse fabric.

[22] Cf. Middleton, i. 65.—Dekker, in the Bachelors Banquet (1603), describing “The humour of a woman lying in child-bed,” says:—“She must have cherries, though for a pound he pay ten shillings, or green peacods at four nobles a peck.”

[22] Cf. Middleton, i. 65.—Dekker, in the Bachelors Banquet (1603), describing “The humor of a woman giving birth,” says:—“She must have cherries, even if they cost ten shillings a pound, or green peas at four nobles a peck.”

[23] Durance was the name of a sort of strong buff-coloured stuff.

[23] Durance was the name of a type of sturdy tan fabric.

[24] Old ed. “shoute.” I have not been able to discover the song (if discoverable it is) from which Gertrude is quoting; there is something similar in one of the Roxburghe Ballads (vol. ii. p. 207) entitled “Have at a venture,” but the passage is hardly quotable.

[24] Old ed. “shoute.” I haven't been able to find the song (if it exists) that Gertrude is referencing; there's something similar in one of the Roxburghe Ballads (vol. ii. p. 207) called “Have at a venture,” but the excerpt isn't really suitable for quoting.

[25] It was a horse (or an ass) and an ox that Ulysses yoked together, according to the ordinary account. See Hyginus Fab. xcv., and the notes of the commentators thereon.

[25] It was a horse (or a donkey) and an ox that Ulysses hooked up together, according to the usual story. See Hyginus Fab. xcv., and the notes of the commentators on that.

[26] The Scotch farthingale is mentioned in Dekker and Webster’s Westward Ho, i. 1.

[26] The Scottish farthingale is mentioned in Dekker and Webster’s Westward Ho, i. 1.

[27] A game in which a large inflated ball of leather was driven to and fro by a flat piece of wood attached to the arm.

[27] A game in which a large inflatable leather ball was hit back and forth with a flat piece of wood connected to the arm.

[28] This affected pronunciation of the word citizens occurs frequently in Middleton’s Blurt, Master Constable.

[28] This change in the pronunciation of the word citizens happens often in Middleton’s Blurt, Master Constable.

[29] “’Tis an ordinary thing,” says Burton (Anat. of Mel., ed. 1660, p. 476), “to put a thousand oaks and an hundred oxen into a suit of apparel, to wear a whole manor on his back.” Cf. Henry VIII., i. 1, 30-35, &c.

[29] “It’s a common thing,” says Burton (Anat. of Mel., ed. 1660, p. 476), “to put a thousand oaks and a hundred oxen into an outfit, to wear an entire estate on his back.” See Henry VIII., i. 1, 30-35, &c.

[30] “Well parted” = of good abilities. The expression is Jonsonian. Macilente in “The Character of the Persons” prefixed to Every Man out of his Humour is described as “A man well parted, a sufficient scholar,” &c.

[30] “Well parted” means having good abilities. This expression comes from Jonson. Macilente in “The Character of the Persons” at the beginning of Every Man out of his Humour is described as “A man well parted, a capable scholar,” etc.

ACT II.

SCENE I.

SCENE I.

Goldsmiths’ Row.

Goldsmiths' Row.

Touchstone, Quicksilver, Golding, and Mildred, sitting on either side of the stall.

Touchstone, Mercury, Golding, and Mildred, sitting on either side of the stall.

To. Quicksilver, Master Francis Quicksilver, Master Quicksilver!

To. Quicksilver, Master Francis Quicksilver, Master Quicksilver!

Enter Quicksilver.

Enter Quicksilver.

Qu. Here, sir (ump).

Here, sir (ref).

To. So, sir; nothing but flat Master Quicksilver (without any familiar addition) will fetch you; will you truss my points, sir?

To. So, sir; nothing but plain Master Quicksilver (without any friendly title) will get you; will you tie my points, sir?

Qu. Ay, forsooth (ump).

Yep, for sure (ump).

To. How now, sir? the drunken hiccup so soon this morning?

To. Hey there, sir! Already drunk with a hiccup this early in the morning?

Qu. ’Tis but the coldness of my stomach, forsooth.    10

Qu. It's just the chill in my stomach, really. 10

To. What? have you the cause natural for it? y’are a very learned drunkard: I believe I shall miss some of my silver spoons with your learning. The nuptial night will not moisten your throat sufficiently, but the morning likewise must rain her dews into your gluttonous weasand.

To. What? Do you have a good reason for it? You’re quite the knowledgeable drunk: I think I might lose some of my silver spoons thanks to your smarts. The wedding night won't be enough to quench your thirst, but the morning also has to pour its dew into your greedy throat.

Qu. An’t please you, sir, we did but drink (ump) to the coming off of the knightly bridegroom.

Qu. I’m sorry, sir, we were just having a drink to celebrate the arrival of the knightly bridegroom.

To. To the coming off an’ him?    19

Are we really doing this?

Qu. Ay, forsooth, we drunk to his coming on (ump) when we went to bed; and now we are up, we must drink to his coming off: for that’s the chief honour of a soldier, sir; and therefore we must drink so much the more to it, forsooth (ump).

Qu. Yes, indeed, we drank to his arrival (ump) before we went to bed; and now that we’re up, we have to drink to his departure: because that’s the main honor of a soldier, sir; and so we should definitely drink even more to it, indeed (ump).

To. A very capital reason! So that you go to bed late, and rise early to commit drunkenness; you fulfil the scripture very sufficient wickedly, forsooth.

To. That's a great reason! So you stay up late and get up early to drink; you're definitely living out the scripture in a wicked way, for sure.

Qu. The knight’s men, forsooth, be still o’ their knees at it (ump), and because ’tis for your credit, sir, I would be loth to flinch.    30

Qu. The knight’s men are still on their knees doing it (ump), and since it’s for your reputation, sir, I would hate to back down. 30

To. I pray, sir, e’en to ’hem again then; y’are one of the separated crew, one of my wife’s faction, and my young lady’s, with whom, and with their great match, I will have nothing to do.

To. I ask you, sir, to do it again then; you’re one of the separated group, part of my wife’s crew, and my young lady’s, and I want nothing to do with them or their big match.

Qu. So, sir, now I will go keep my (ump) credit with ’hem, an’t please you, sir.

Qu. So, sir, I'm going to maintain my (ump) reputation with them, if that’s alright with you, sir.

To. In any case, sir, lay one cup of sack more o’ your cold stomach, I beseech you.    38

To. In any case, sir, could you please pour me one more cup of sack for your cold stomach? I beg you. 38

Qu. Yes, forsooth.

Yes, indeed.

[Exit Quicksilver.

[Exit Quicksilver.

To. This is for my credit! servants ever maintain drunkenness in their master’s house for their master’s credit; a good idle serving-man’s reason. I thank time the night is past; I ne’er waked to such cost; I think we have stowed more sorts of flesh in our bellies than ever Noah’s ark received; and for wine, why my house turns giddy with it, and more noise in it than at a conduit. Ay me! even beasts condemn our gluttony. Well, ’tis our city’s fault, which, because we commit seldom, we commit the more sinfully; we lose no time in our sensuality, but we make amends for it. O that we would do so in virtue, and religious negligences! But see here are all the sober parcels my house can show; I’ll eavesdrop, hear what thoughts they utter this morning.    54

To. This is for my reputation! Servants always indulge in drunkenness at their master's house to protect their master's image; that's just the reasoning of a lazy servant. I'm glad the night is over; I've never woken up to such a bill. I think we've stuffed more kinds of food into our stomachs than Noah’s ark ever carried; and as for wine, my house is spinning from it, with more noise than at a fountain. Oh dear! Even animals criticize our gluttony. Well, it's our city's fault; since we indulge so rarely, we sin even more when we do. We don’t waste any time on our pleasures, but we certainly make up for it. If only we would do the same with virtue and spiritual carelessness! But look, here are all the sober things my house can show; I’ll eavesdrop and hear what they think this morning. 54

Enter Golding and Mildred.

Enter Golding and Mildred.

Go. But is it possible that you, seeing your sister preferred to the bed of a knight, should contain your affections in the arms of a prentice?

Go. But is it really possible that you, seeing your sister favored over a knight, would hold your feelings for an apprentice?

Mi. I had rather make up the garment of my affections in some of the same piece, than, like a fool, wear gowns of two colours, or mix sackcloth with satin.

Mi. I would prefer to create a garment made from the same fabric of my feelings than, like a fool, wear clothes of two colors, or mix rough fabric with satin.

Go. And do the costly garments—the title and fame of a lady, the fashion, observation, and reverence proper to such preferment—no more inflame you than such convenience as my poor means and industry can offer to your virtues?    65

Go. And do the expensive clothes—the title and recognition of a lady, the style, attention, and respect that come with such status—mean no more to you than what my limited resources and hard work can provide for your qualities? 65

Mi. I have observed that the bridle given to those violent flatteries of fortune is seldom recovered; they bear one headlong in desire from one novelty to another, and where those ranging appetites reign, there is ever more passion than reason: no stay, and so no happiness. These hasty advancements are not natural. Nature hath given us legs to go to our objects; not wings to fly to them.    73

Mi. I've noticed that the control over those intense flatteries of luck is rarely regained; they push one recklessly from one new desire to another, and where those wandering cravings exist, there's always more passion than reason: no pause, and so no happiness. These quick advances aren't natural. Nature gave us legs to walk toward our goals, not wings to fly to them. 73

Go. How dear an object you are to my desires I cannot express; whose fruition would my master’s absolute consent and yours vouchsafe me, I should be absolutely happy. And though it were a grace so far beyond my merit, that I should blush with unworthiness to receive it, yet thus far both my love and my means shall assure your requital: you shall want nothing fit for your birth and education; what increase of wealth and advancement the honest and orderly industry and skill of our trade will afford in any, I doubt not will be aspired by me; I will ever make your contentment the end of my endeavours; I will love you above all; and only your grief shall be my misery, and your delight my felicity.    87

Go. I can’t express how much you mean to my desires; if I could gain your master's full approval and yours, I would be completely happy. Even though it would be a blessing well beyond what I deserve, making me feel unworthy to accept it, both my love and my efforts will ensure you are repaid: you will lack nothing suitable for your status and upbringing. I have no doubt that I will strive for whatever increase in wealth and advancement our honest and diligent work can offer. I will always make your happiness my priority; I will love you above all else, and your sorrow will be my sorrow, while your joy will be my happiness. 87

To. Work upon that now. By my hopes, he wooes honestly and orderly; he shall be anchor of my hopes! Look, see the ill-yoked monster, his fellow!

To. Get started on that now. Honestly, I hope he’s courting in a proper and respectful way; he will be the foundation of my hopes! Look, see the terrible mismatched creature, his companion!

Enter Quicksilver unlaced, a towel about his neck, in his flat-cap, drunk.

Enter Mercury with his laces undone, a towel around his neck, wearing his flat-cap, and drunk.

Qu. Eastward-ho! Holla, ye pampered jades of Asia![31]

Qu. Let’s go east! Hey there, spoiled horses of Asia![31]

To. Drunk now downright, o’ my fidelity!

To. I'm completely drunk, oh my loyalty!

Qu. (Ump).[32] Pull eo, pullo! showse, quoth the caliver.    95

Qu. (Ump).[32] Pull it, pull it! Show yourself, said the gun. 95

Go. Fie, fellow Quicksilver, what a pickle are you in!

Go. Wow, buddy Quicksilver, what a mess you’re in!

Qu. Pickle? pickle in thy throat; zounds, pickle! Wa, ha, ho! good-morrow, knight Petronel: morrow, lady goldsmith; come off, knight, with a counterbuff, for the honour of knighthood.

Qu. Got a lump in your throat? Wow, what a problem! Hey there! Good morning, Sir Petronel: morning, Lady Goldsmith; step up, Sir, with a comeback, for the honor of knighthood.

Go. Why, how now, sir? do ye know where you are?    102

Go. What’s up, sir? Do you know where you are? 102

Qu. Where I am? why, ’sblood! you jolthead, where I am!

Qu. Where am I? What the heck! You clueless fool, where am I!

Go. Go to, go to, for shame; go to bed and sleep out this immodesty: thou shamest both my master and his house.

Go. Enough already, seriously; go to bed and sleep off this embarrassment: you’re bringing shame to both my master and his home.

Qu. Shame? what shame? I thought thou wouldst show thy bringing-up; and thou wert a gentleman as I am, thou wouldst think it no shame to be drunk. Lend me some money, save my credit; I must dine with the serving-men and their wives—and their wives, sirrah!    112

Qu. Shame? What shame? I thought you would show your upbringing; if you were a gentleman like me, you wouldn't think it shameful to be drunk. Lend me some money, help me save my reputation; I have to dine with the servants and their wives—and their wives, buddy! 112

Go. E’en who you will; I’ll not lend thee threepence.

Go. Whoever you want; I won’t lend you threepence.

Qu. ’Sfoot; lend me some money; hast thou not Hiren here?[33]

Qu. ’Sfoot, can you lend me some money? Don’t you have Hiren here?[33]

To. Why, how now, sirrah? what vein’s this, ha?

To. What’s going on, buddy? What’s this all about, huh?

Qu. Who cries on murther? Lady, was it you?[34] how does our master? pray thee cry Eastward-ho!

Qu. Who cries over murder? Lady, was it you?[34] how is our master? please shout Eastward-ho!

To. Sirrah, sirrah, y’are past your hiccup now; I see y’are drunk.    121

To. Hey, man, you’ve gotten over your hiccups; I can see you’re drunk. 121

Qu. ’Tis for your credit, master.

It's for your reputation, master.

To. And hear you keep a whore in town.

To. And I hear you have a prostitute in town.

Qu. ’Tis for your credit, master.

It's for your reputation, master.

To. And what you are out in cash, I know.

To. And I know how much you’re spending in cash.

Qu. So do I; my father’s a gentleman. Work upon that now. Eastward-ho!

Qu. Me too; my dad's a gentleman. Work on that for now. Eastward-ho!

To. Sir, Eastward-ho will make you go Westward-ho:[35] I will no longer dishonest my house, nor endanger my stock, with your licence. There, sir, there’s your indenture; all your apparel (that I must know) is on your back, and from this time my door is shut to you: from me be free; but for other freedom, and the moneys you have wasted, Eastward-ho shall not serve you.    134

To. Sir, heading east will only send you west: [35] I won’t keep deceiving my household or risk my livelihood because of your permission anymore. There, sir, here’s your contract; you’re wearing all your clothes (that I need to know about), and from now on, my door is closed to you: you’re free from me, but when it comes to finding other freedom and the money you’ve wasted, heading east isn’t going to help you. 134

Qu. Am I free o’ my fetters? Rent, fly with a duck in thy mouth, and now I tell thee, Touchstone—

Qu. Am I free from my chains? Go on, fly with a duck in your mouth, and now I’m telling you, Touchstone—Understood. Please provide the text you would like modernized.

To. Good sir—

To. Good sir—

Qu. When[36] this eternal substance of my soul

Qu. When[36] this everlasting essence of my beingUnderstood! Please provide the text you would like me to modernize.

To. Well said; change your gold-ends[37] for your play-ends.    140

To. Well said; swap your gold rewards[37] for your performance rewards. 140

Qu. Did live imprison’d in my wanton flesh

Qu. I was trapped in my reckless bodyI’m ready to assist! Please provide the text you would like me to modernize.

To. What then, sir?

What now, sir?

Qu. I was a courtier in the Spanish Court, and Don Andrea was my name.

Qu. I was a courtier in the Spanish Court, and my name was Don Andrea.

To. Good master Don Andrea, will you march?

To. Hey, good master Don Andrea, are you ready to move out?

Qu. Sweet Touchstone, will you lend me two shillings?

Qu. Sweet Touchstone, can you lend me two shillings?

To. Not a penny.

Not a dime.

Qu. Not a penny? I have friends, and I have acquaintance; I will piss at thy shop-posts, and throw rotten eggs at thy sign. Work upon that now.    150

Qu. Not a penny? I have friends and acquaintances; I’ll urinate on your shop signs and throw rotten eggs at your sign. Deal with that now. 150

[Exit staggering.

[Exit unsteadily.

To. Now, sirrah, you! hear you? you shall serve me no more neither—not an hour longer.

To. Now, listen up, you! Do you hear me? You're not going to serve me anymore—not for another hour.

Go. What mean you, sir?

Go. What do you mean, sir?

To. I mean to give thee thy freedom, and with thy freedom my daughter, and with my daughter a father’s love. And with all these such a portion as shall make Knight Petronel himself envy thee! Y’are both agreed, are ye not?

To. I plan to give you your freedom, and along with that my daughter, and with my daughter a father's love. And with all of this, a portion that would make Knight Petronel himself envious of you! You both agree, right?

Am. With all submission, both of thanks and duty.

Am. With all respect, both of gratitude and obligation.

To. Well then, the great Power of heaven bless and confirm you. And, Golding, that my love to thee may not show less than my wife’s love to my eldest daughter, thy marriage feast shall equal the knight’s and hers.    163

To. Well then, may the great Power of heaven bless and confirm you. And, Golding, so that my love for you doesn’t seem any less than my wife’s love for our eldest daughter, your wedding feast will match the knight’s and hers. 163

Go. Let me beseech you, no, sir; the superfluity and cold meat left at their nuptials will with bounty furnish ours. The grossest prodigality is superfluous cost of the belly; nor would I wish any invitement of states or friends, only your reverent[38] presence and witness shall sufficiently grace and confirm us.    169

Go. Let me ask you, no, sir; the extra food and leftovers from their wedding will generously supply ours. The most extreme wastefulness is just unnecessary spending on food; nor would I want any invitations for states or friends, only your respected[38] presence and witness will be enough to honor and confirm us. 169

To. Son to my own bosom, take her and my blessing. The nice fondling, my lady, sir-reverence, that I must not now presume to call daughter, is so ravished with desire to hansell her new coach, and see her knight’s Eastward Castle, that the next morning will sweat with her busy setting forth. Away will she and her mother, and while their preparation is making, ourselves, with some two or three other friends, will consummate the humble match we have in God’s name concluded. ’Tis to my wish, for I have often read,
Fit birth, fit age, keeps long a quiet bed.    180
’Tis to my wish; for tradesmen, well ’tis known,
Get with more ease than gentry keeps his own.

To. Son to my own heart, take her and my blessing. The lovely young lady, sir-reverence, whom I can’t quite call my daughter yet, is so eager to try out her new coach and visit her knight’s Eastward Castle that tomorrow morning will be filled with her busy preparations. She and her mother will set off, and while they get ready, we, along with a couple of other friends, will finalize the humble match we have agreed upon in God’s name. This is what I want, because I've read many times,
Healthy childbirth and appropriate age allow for a long, peaceful rest.    180
This is what I want, because it's well known,
Tradespeople have an easier time getting by than gentlemen maintain their status.

[Exeunt.

Exeunt.

[31] A hackneyed quotation from Tamburlaine.

A cliché from Tamburlaine.

[32] Old ed. “Am pum pull eo,” &c.

__A_TAG_PLACEHOLDER_0__ Old ed. “I’m carrying the weight,” &c.

[33] A favourite quotation of Pistol’s (“Have we not Hiren here?”). It is supposed to come from Peele’s lost play The Turkish Mahomet and Hyren the Fair Greek.

[33] A favorite quote from Pistol’s (“Have we not Hiren here?”). It's believed to be from Peele’s lost play The Turkish Mahomet and Hyren the Fair Greek.

[34] This line would seem to belong to the Spanish Tragedy, but it is not in the text that has come down. When Horatio is stabbed by the assassins, Bellimperia cries:—“Murder! murder! Help, Hieronimo, help!” She is forced off the stage, and then Hieronimo enters, exclaiming, “What outcries pluck me from my naked bed!” (a much-ridiculed line). But in a passage of Jonson’s Poetaster (iii. 1), where there is clearly an allusion to Jeronimo, we find the line (slightly altered) that Quicksilver quotes:

[34] This line seems to be from the Spanish Tragedy, but it’s not included in the text we have. When Horatio gets stabbed by the assassins, Bellimperia shouts, “Murder! Murder! Help, Hieronimo, help!” She’s pulled off the stage, and then Hieronimo comes in, shouting, “What kind of noise is pulling me from my naked bed!” (a line that's often mocked). However, in a section of Jonson’s Poetaster (iii. 1), where there’s a clear reference to Jeronimo, we see the line (slightly changed) that Quicksilver quotes:Understood! Please provide the text you would like me to modernize.

2d Pyr. Ay, but somebody must cry Murder! then in a small voice.
Tuc. Your fellow-sharer there shall do’t: cry, sirrah, cry!
1st Pyr. Murder, murder!
2d Pyr. Who calls out murder? lady, was it you?

2d Pyr. Yeah, but someone has to shout Murder! then say it quietly.”
Tuc. Your friend over there will take care of it: shout, you troublemaker, shout!
1st Pyr. Help, help!
2d Pyr. Who's accusing someone of murder? Was it you, ma'am?

[35]I.e., will make you go to Tyburn. So in Greene’s Second Part of the Art of Conny Catching, sig. 2:—‘And yet at last so long the pitcher goeth to the brooke that it cometh broken home: and so long the foists put their villainie in practice that Westward they goe, and there solemnly make a rehearsal sermon at tiborne.’ Again in the third part, sig. C, ‘the end of such (though they scape a while) will be sailing Westward in a carte to Tiborn.’”—Reed.

[35]That is, will send you to Tyburn. So in Greene’s Second Part of the Art of Conny Catching, sig. 2:—‘And yet eventually the pitcher goes to the brook until it comes back broken: and so long the cheats carry out their wrongdoing that Westward they go, and there they formally give a rehearsal sermon at Tyburn.’ Again in the third part, sig. C, ‘the end of such (even if they escape for a while) will be going Westward in a cart to Tyburn.’”—Reed.

[36] “When this eternal substance of my soul
Did live imprison’d in my wanton flesh,
Each in their function serving other’s need,
I was a courtier in the Spanish court:
My name was Don Andrea.”
—Opening lines of the Spanish Tragedy.

[36] "When this timeless essence of my soul
was stuck in my indulgent body,
Meeting each other's needs,
I was a courtier in the Spanish court:
"My name is Don Andrea."
—Opening lines of the Spanish Tragedy.

[37] Broken pieces of gold.

Broken gold pieces.

[38] Frequently used for reverend.

__A_TAG_PLACEHOLDER_0__ Often used for reverend.

SCENE II.

SCENE II.

Room in Security’s house.

Room in Security's house.

Security solus.

Security only.

Sec. My privy guest, lusty Quicksilver, has drunk too deep of the bride-bowl; but with a little sleep, he is much recovered; and, I think, is making himself ready to be drunk in a gallanter likeness. My house is as ’twere the cave where the young outlaw hoards the stolen vails of his occupation; and here, when he will revel it in his prodigal similitude, he retires to his trunks, and (I may say softly) his punks; he dares trust me with the keeping of both; for I am Security itself; my name is Security, the famous usurer.

Sec. My secret guest, lively Quicksilver, has had one too many from the wedding bowl; but with a little sleep, he’ll bounce back quickly. I think he’s getting ready to show himself off in style. My house is like the cave where a young outlaw hides the stolen treasures of his trade; and here, when he wants to party in his extravagant way, he goes to his trunks and (I can say this discreetly) his ladies of the night. He trusts me to keep both; because I am Security itself; my name is Security, the well-known moneylender.

[Exit.

[Leave.

SCENE III.

SCENE III.

Room in Security’s house.

Room in Security’s place.

Enter Quicksilver in his prentice’s coat and cap, his gallant breeches and stockings, gartering himself, Security following.

Enter Mercury wearing his apprentice's coat and cap, his stylish breeches and stockings, putting on his garters, Safety following.

Qu. Come, old Security, thou father of destruction! th’ indented sheepskin is burned wherein I was wrapt; and I am now loose, to get more children of perdition into thy usurous bonds. Thou feed’st my lechery, and I thy covetousness; thou art pander to me for my wench, and I to thee for thy cozenages. Ka me, ka thee,[39] runs through court and country.

Qu. Come on, old Security, you father of destruction! The sheepskin with my indenture is burned, and now I'm free to drag more souls into your greedy grasp. You feed my lust while I feed your greed; you’re my pimp for my girl, and I'm your con artist for your scams. Ka me, ka thee,[39] runs through court and country.

Sec. Well said, my subtle Quicksilver! These ka’s ope the doors to all this world’s felicity: the dullest forehead sees it. Let not master courtier think he carries all the knavery on his shoulders: I have known poor Hob, in the country, that has worn hob-nails on’s hoes, have as much villainy in’s head as he that wears gold buttons in’s cap.    14

Sec. Well said, my clever Quicksilver! These ka’s open the doors to all the happiness in the world: even the dullest person can see it. Let not the master courtier think he bears all the deceit on his shoulders: I've known poor Hob in the countryside, who wore hobnails on his shoes, to have just as much wickedness in his head as someone who wears gold buttons on their cap. 14

Qu. Why, man, ’tis the London highway to thrift; if virtue be used, ’tis but as a scape to the net of villainy. They that use it simply, thrive simply, I warrant. Weight and fashion makes goldsmiths cuckolds.

Qu. Why, man, it’s the London road to saving money; if you use virtue, it’s just a way to escape the trap of villainy. Those who use it for what it is, thrive simply, I promise. Fashion and status make goldsmiths fools.

Enter Sindefy, with Quicksilver’s doublet, cloak, rapier, and dagger.

Enter Sindefy, with Quicksilver’s doublet, cloak, sword, and dagger.

Si. Here, sir, put off the other half of your prenticeship.

Si. Here, sir, finish the other half of your apprenticeship.

Qu. Well said, sweet Sin! Bring forth my bravery.
Now let my trunks shoot[40] forth their silks conceal’d.    22
I now am free, and now will justify
My trunks and punks. Avaunt, dull flatcap, then!
Via the curtain that shadow’d Borgia![41]
There lie, thou husk of my envassail’d state,
I, Sampson, now have burst the Philistines’ bands,
And in thy lap, my lovely Dalila,
I’ll lie, and snore out my enfranchised state.

Qu. Well said, dear Sin! Bring out my bravery.
Now let my trunks reveal[40] the hidden silks.    22
I'm free now, and I'll show
My trunks and punks. Go away, boring fool!
Through the curtain that covered Borgia![41]
There lies, you shell of my captured state,
I, Sampson, have now broken the chains of the Philistines,
And in your lap, my beautiful Dalila,
I’ll lie down and snooze in my freedom.

When[42] Sampson was a tall young man,    30
His power and strength increased than;
He sold no more nor cup nor can;
But did them all despise.
Old Touchstone, now write to thy friends
For one to sell thy base gold-ends;
Quicksilver now no more attends
Thee, Touchstone.

When[42] Sampson was a tall young man,    30
His strength increased;
He sold neither cup nor can;
But looked down on all of them.
Hey Touchstone, go ahead and reach out to your friends now
To find someone to sell your inexpensive gold scraps;
Quicksilver isn't coming anymore
To you, Touchstone.

But, dad, hast thou seen my running gelding dressed to-day?

But, Dad, have you seen my running horse dressed today?

Sec. That I have, Frank. The ostler a’th’ Cock dressed him for a breakfast.    41

Sec. I have that, Frank. The stableworker at the Cock got him ready for breakfast. 41

Qu. What! did he eat him?

What! Did he eat him?

Sec. No, but he eat his breakfast for dressing him; and so dressed him for breakfast.

Sec. No, but he ate his breakfast to get ready; and in doing so, got ready for breakfast.

Qu. O witty age! where age is young in wit,
And all youths’ words have gray-beards full of it!

Qu. Oh, smart age! where people are quick-witted,
And all the young speak with the wisdom of the elderly!

Sec. But alas, Frank! how will all this be maintained now? Your place maintained it before.    48

Sec. But unfortunately, Frank! How will all of this be managed now? Your place used to handle it. 48

Qu. Why, and I maintained my place. I’ll to the court: another manner of place for maintenance, I hope, than the silly City! I heard my father say, I heard my mother sing an old song and a true: Thou art a she-fool, and know’st not what belongs to our male wisdom. I shall be a merchant, forsooth! trust my estate in a wooden trough as he does! What are these ships but tennis-balls for the winds to play withal? tossed from one wave to another; now under line, now over the house; sometimes brick-walled against a rock, so that the guts fly out again; sometimes strook under the wide hazard, and farewell, master merchant!    60

Qu. Why, I held my ground. I’m heading to the court; hopefully, it’ll be a better place for support than that silly City! I heard my dad say it, and I remember my mom singing an old tune that rings true: Thou are a she-fool and don’t understand what our male wisdom entails. I’m going to be a merchant, really! Trust my fortune to a wooden box like he does? What are these ships but tennis balls for the winds to toss around? Being thrown from wave to wave; sometimes submerged, sometimes capsizing; occasionally crashing against a rock, with everything spilling out; sometimes struck by the vast risks, and goodbye, master merchant! 60

Si. Well, Frank, well: the seas you say, are uncertain: but he that sails in your Court seas shall find ’hem ten times fuller of hazard; wherein to see what is to be seen is torment more than a free spirit can endure; but when you come to suffer, how many injuries swallow you! What care and devotion must you use to humour an imperious lord, proportion your looks to his looks, smiles to his smiles; fit your sails to the winds of his breath!

Si. Well, Frank, well: the seas you mention are unpredictable: but someone navigating your court will find it ten times riskier; the things you see there are more tormenting than a free spirit can bear; but when it comes to suffering, how many wrongs do you have to endure! What care and dedication you need to please a demanding lord, matching your expressions to his, your smiles to his smiles; adjusting your sails to the direction of his breath!

Qu. Tush! he’s no journeyman in his craft that cannot do that.    71

Qu. Come on! He’s no skilled worker in his trade if he can't do that. 71

Si. But he’s worse than a prentice that does it; not only humouring the lord, but every trencher-bearer, every groom, that by indulgence and intelligence crept into his favour, and by panderism into his chamber; he rules the roast; and when my honourable lord says it shall be thus, my worshipful rascal, the groom of his close stool, says it shall not be thus, claps the door after him, and who dares enter? A prentice, quoth you? ’Tis but to learn to live; and does that disgrace a man? He that rises hardly stands firmly; but he that rises with ease, alas! falls as easily.    82

Si. But he’s worse than an apprentice who does it; not only catering to the lord but also to every server and every attendant who has won his favor through flattery and sneaking into his room; he calls the shots. And when my honorable lord declares it should be done this way, my unworthy scoundrel, the groom of his private quarters, says it shouldn’t be done that way, slams the door behind him, and who dares to enter? An apprentice, you say? It’s just to learn how to live; does that really disgrace a person? Someone who rises with difficulty stands firmly, but someone who rises easily, alas! falls just as easily. 82

Qu. A pox on you! who taught you this morality?

Qu. Curse you! Who taught you this sense of right and wrong?

Sec. ’Tis ’long of this witty age, Master Francis. But, indeed, Mistress Sindefy, all trades complain of inconvenience, and therefore ’tis best to have none. The merchant, he complains and says, traffic is subject to much uncertainty and loss; let ’hem keep their goods on dry land, with a vengeance, and not expose other men’s substances to the mercy of the winds, under protection of a wooden wall (as Master Francis says); and all for greedy desire to enrich themselves with unconscionable gain, two for one, or so; where I, and such other honest men as live by lending money, are content with moderate profit; thirty or forty i’ th’ hundred, so we may have it with quietness, and out of peril of wind and weather, rather than run those dangerous courses of trading, as they do.    98

Sec. It’s because of this clever time, Master Francis. But really, Mistress Sindefy, every profession has its complaints, so it’s probably best not to have any at all. The merchant gripes and says that trade is full of uncertainty and losses; they should just keep their goods on solid ground and not risk other people’s stuff to the whims of the wind, hidden behind a wooden barrier (as Master Francis says); all for the greedy ambition to profit off outrageous gains, two for one, or something like that; while I, along with other honest folks who make a living by lending money, are happy with a reasonable profit; thirty or forty percent, so we can have it peacefully and away from the dangers of storms, rather than take the risky routes of trading, like they do. 98

[Exit[43] Sindefy.

[Exit[43] Sindefy.

Qu. Ay, dad, thou may’st well be called Security, for thou takest the safest course.

Qu. Yeah, Dad, you could be called Security because you always choose the safest option.

Sec. ’Faith, the quieter, and the more contented, and, out of doubt, the more godly; for merchants, in their courses, are never pleased, but ever repining against heaven: one prays for a westerly wind, to carry his ship forth; another for an easterly, to bring his ship home, and at every shaking of a leaf[44] he falls into an agony, to think what danger his ship is in on such a coast, and so forth. The farmer, he is ever at odds with the weather: sometimes the clouds have been too barren; sometimes the heavens forget themselves; their harvests answer not their hopes; sometimes the season falls out too fruitful, corn will bear no price, and so forth. The artificer, he’s all for a stirring world: if his trade be too full, and fall short of his expectation, then falls he out of joint. Where we that trade nothing but money are free from all this; we are pleased with all weathers, let it rain or hold up, be calm or windy; let the season be whatsoever, let trade go how it will, we take all in good part, e’en what please the heavens to send us, so the sun stand not still, and the moon keep her usual returns, and make up days, months, and years.    121

Sec. 'Truly, the quieter, more content, and certainly more godly; because merchants, in their pursuits, are never satisfied but always complaining about fate: one prays for a westerly wind to take his ship out; another for an easterly wind to bring it back, and with every rustle of a leaf[44] he panics, worrying about the dangers his ship might face on such waters, and so on. The farmer is always battling the weather: sometimes the clouds are too dry; sometimes the heavens neglect their duties; their harvests don’t meet their expectations; other times the season is too bountiful, and grain has no value, and so forth. The craftsman is all about an active market: if his business is too busy and doesn't meet his expectations, he becomes discontent. Meanwhile, we who trade solely in money are free from all this; we’re fine with any weather, whether it rains or clears up, is calm or windy; whatever the season, however trade goes, we accept it all graciously, as long as the sun keeps rising and the moon follows her usual cycles, marking the days, months, and years. 121

Qu. And you have good security?

And do you have good security?

Sec. Ay, marry, Frank, that’s the special point.

Sec. Yeah, exactly, Frank, that’s the key point.

Qu. And yet, forsooth, we must have trades to live withal; for we cannot stand without legs, nor fly without wings, and a number of such scurvy phrases. No, I say still, he that has wit, let him live by his wit; he that has none, let him be a tradesman.

Qu. And yet, we really need jobs to get by; we can't stand without legs, nor fly without wings, and a bunch of other silly sayings. No, I still say, if someone has talent, let them make a living with it; if they don't, let them be a tradesperson.

Sec. Witty Master Francis! ’tis pity any trade should dull that quick brain of yours. Do but bring Knight Petronel into my parchment toils once, and you shall never need to toil in any trade, o’ my credit. You know his wife’s land?    133

Sec. Clever Master Francis! It's a shame any job should dull that sharp mind of yours. Just get Knight Petronel into my paperwork once, and you'll never have to work another job, I promise. You know about his wife’s property? 133

Qu. Even to a foot, sir; I have been often there; a pretty fine seat, good land, all entire within itself.

Qu. I've been there a lot, sir; it's a nice spot, great land, completely self-contained.

Sec. Well wooded?

Well forested?

Qu. Two hundred pounds’ worth of wood ready to fell, and a fine sweet house, that stands just in the midst on’t, like a prick in the midst of a circle; would I were your farmer, for a hundred pound a year!

Qu. Two hundred pounds' worth of wood ready to fall, and a nice, sweet house right in the middle of it, like a thorn in the center of a circle; I wish I were your farmer for a hundred pounds a year!

Sec. Excellent Master Francis! how I do long to do thee good! How I do hunger and thirst to have the honour to enrich thee! ay, even to die, that thou mightest inherit my living! even hunger and thirst! for o’ my religion, Master Francis, and so tell Knight Petronel, I do it to do him a pleasure.    146

Sec. Excellent Master Francis! How I long to help you! How I crave the opportunity to enrich you! Yes, I would even die so that you could inherit my fortune! I truly hunger and thirst for this! For the sake of my beliefs, Master Francis, and let Knight Petronel know, I'm doing this to please him. 146

Qu. Marry, dad! his horses are now coming up to bear down his lady; wilt thou lend him thy stable to set ’hem in?

Qu. Seriously, Dad! His horses are coming up to take his lady away; will you let him use your stable to keep them?

Sec. ’Faith, Master Francis, I would be loth to lend my stable out of doors; in a greater matter I will pleasure him, but not in this.

Sec. "Honestly, Master Francis, I really wouldn't want to lend my stable outside; for something bigger, I’d be happy to help him, but not with this."

Qu. A pox of your hunger and thirst! Well, dad, let him have money; all he could any way get is bestowed on a ship now bound for Virginia; the frame of which voyage is so closely conveyed that his new lady nor any of her friends know it. Notwithstanding, as soon as his lady’s hand is gotten to the sale of her inheritance, and you have furnished him with money, he will instantly hoist sail and away.    160

Qu. Curse your hunger and thirst! Well, Dad, let him have the cash; all he could get is already invested in a ship that's headed to Virginia; the details of this trip are kept so secret that neither his new wife nor any of her friends are aware of it. However, as soon as he gets his wife's portion and you provide him with the money, he'll immediately set sail and be gone. 160

Sec. Now, a frank gale of wind go with him, Master Frank! we have too few such knight adventurers; who would not sell away competent certainties to purchase, with any danger, excellent uncertainties? your true knight venturer ever does. Let his wife seal to-day; he shall have his money to-day.

Sec. Now, a strong wind goes with him, Master Frank! We have too few true knight adventurers; who wouldn’t trade solid guarantees for the chance of something great, no matter the risk? Your real knight in shining armor always does. Let his wife sign today; he’ll get his money today.

Qu. To-morrow she shall, dad, before she goes into the country; to work her to which action with the more engines, I purpose presently to prefer my sweet Sin here to the place of her gentlewoman; whom you (for the more credit) shall present as your friend’s daughter, a gentlewoman of the country, new come up with a will for awhile to learn fashions forsooth, and be toward some lady; and she shall buzz pretty devices into her lady’s ear; feeding her humours so serviceably (as the manner of such as she is, you know).    176

Qu. Tomorrow, Dad, she will, before she heads to the countryside; to push her towards that action, I plan to introduce my sweet Sin here as your friend’s daughter, a country girl who has just come to town for a bit to learn the latest trends, and to be suited to some lady. She’ll whisper charming ideas into her lady's ear, catering to her moods very effectively (as those like her do, you know). 176

Sec. True, good Master Francis.

Sure, good Master Francis.

Re-enter Sindefy.

Re-enter Sindefy.

Qu. That she shall keep her port open to anything she commends to her.

Qu. That she will be receptive to anything she recommends to her.

Sec. O’ my religion, a most fashionable project; as good she spoil the lady, as the lady spoil her; for ’tis three to one of one side. Sweet Mistress Sin, how are you bound to Master Francis! I do not doubt to see you shortly wed one of the head-men[45] of our city.

Sec. Oh, my goodness, what a trendy idea; it’s just as likely she’ll ruin the lady as the lady will ruin her; because it’s three to one in favor of one side. Sweet Mistress Sin, how are you connected to Master Francis! I have no doubt I’ll see you soon married to one of the top guys[45] of our city.

Si. But, sweet Frank, when shall my father Security present me?    186

Si. But, dear Frank, when will my father Security introduce me? 186

Qu. With all festination; I have broken the ice to it already; and will presently to the knight’s house, whither, my good old dad, let me pray thee, with all formality to man her.

Qu. I've already made the first move; and I'm heading to the knight’s house now, where, my good old dad, I kindly ask you to properly host her.

Sec. Command me, Master Francis, I do hunger and thirst to do thee service. Come, sweet Mistress Sin, take leave of my Winifred, and we will instantly meet Frank, Master Francis, at your lady’s.

Sec. Tell me what to do, Master Francis, I’m eager to serve you. Come on, dear Mistress Sin, say goodbye to my Winifred, and we’ll head over to your lady’s to meet Frank, Master Francis, right away.

Enter Winifred above.

Enter Winifred upstairs.

Wi. Where is my Cu there? Cu?

Wi. Where is my Cu there? Cu?

Sec. Ay, Winnie.    196

Ay, Winnie.

Wi. Wilt thou come in, sweet Cu?

Wi. Will you come in, sweet Cu?

Sec. Ay, Winnie, presently.

Sure, Winnie, right now.

[Exeunt Security and Sindefy.

[Exit Security and Sindefy.

Qu. Ay, Winnie, quod he, that’s all he can do, poor man, he may well cut off her name at Winnie. O, ’tis an egregious pander! What will not an usurous knave be, so he may be rich? O, ’tis a notable Jew’s trump! I hope to live to see dogs’ meat made of the old usurer’s flesh, dice of his bones, and indentures of his skin; and yet his skin is too thick to make parchment, ’twould make good boots for a peter-man[46] to catch salmon in. Your only smooth skin to make fine vellum is your Puritan’s skin; they be the smoothest and slickest knaves in a country.    209

Qu. Yeah, Winnie, he can only do that, poor guy, he might as well just call her Winnie. Oh, what a terrible opportunist! What won’t a greedy scoundrel do to get rich? Oh, it’s a classic trick! I hope to see that old usurer’s flesh turned into dog food, his bones into dice, and his skin made into contracts; and yet his skin is too thick for parchment, it would be good boots for a fisherman to catch salmon in. The only smooth skin good for fine vellum is a Puritan's skin; they are the smoothest and slickest crooks in the country.[46]

Enter Sir Petronel in boots, with a riding-wand.[47]

Enter Sir Petronel in boots, holding a riding crop.[47]

Pe. I’ll out of this wicked town as fast as my horse can trot! Here’s now no good action for a man to spend his time in. Taverns grow dead; ordinaries are blown up; plays are at a stand; houses of hospitality at a fall; not a feather waving, nor a spur jingling anywhere. I’ll away instantly.

Pe. I'm getting out of this terrible town as quickly as my horse can run! There’s no good reason for a man to stick around here. Taverns are empty; inns are shut down; plays are on hold; welcoming homes are disappearing; there’s not a single feather fluttering or spur jingle to be heard. I’m leaving right now.

Qu. Y’ad best take some crowns in your purse, knight, or else your Eastward Castle will smoke but miserably.

Qu. You’d better grab some coins for your pocket, knight, or else your castle to the east will end up in ruins.

Pe. O, Frank! my castle? Alas! all the castles I have are built with air, thou know’st.    219

Pe. Oh, Frank! my castle? Sadly, all the castles I have are just figments of my imagination, as you know. 219

Qu. I know it, knight, and therefore wonder whither your lady is going.

Qu. I get it, knight, so I'm curious where your lady is headed.

Pe. ’Faith, to seek her fortune, I think. I said I had a castle and land eastward, and eastward she will, without contradiction; her coach and the coach of the sun must meet full butt. And the sun being outshined with her ladyship’s glory, she fears he goes westward to hang himself.

Pe. “Honestly, I think she’s off to find her fortune. I mentioned I have a castle and land to the east, and without a doubt, that’s where she’s heading; her coach and the sun’s coach must meet head-on. And with the sun overshadowed by her ladyship’s brilliance, she worries he’s going west to end it all.”

Qu. And I fear, when her enchanted castle becomes invisible, her ladyship will return and follow his example.

Qu. And I'm worried that when her magical castle disappears, she'll come back and do the same thing he did.

Pe. Oh, that she would have the grace! for I shall never be able to pacify her, when she sees herself deceived so.    232

Pe. Oh, if only she had the grace! Because I’ll never be able to calm her down when she realizes she’s been fooled like this.232

Qu. As easily as can be. Tell her she mistook your directions, and that shortly yourself will down with her to approve it; and then clothe but her crouper in a new gown, and you may drive her any way you list. For these women, sir, are like Essex calves, you must wriggle ’hem on by the tail still, or they will never drive orderly.

Qu. It's as easy as that. Just tell her she misunderstood your directions, and that you'll go down with her soon to sort it out; then just put her in a new dress, and you can lead her wherever you want. Because, sir, these women are like young calves; you have to guide them by the tail, or they won't follow properly.

Pe. But, alas! sweet Frank, thou knowest my ability will not furnish her blood with those costly humours.

Pe. But, unfortunately! dear Frank, you know my capacity won't provide her with those expensive qualities in her blood.

Qu. Cast that cost on me, sir. I have spoken to my old pander, Security, for money or commodity; and commodity (if you will) I know he will procure you.    243

Qu. Put that burden on me, sir. I’ve talked to my old fixer, Security, about money or goods; and if you’re interested, I know he’ll get you the goods. 243

Pe. Commodity! Alas! what commodity?

Commodity! Alas! what commodity?

Qu. Why, sir! what say you to figs and raisins?

Qu. Why, sir! what do you think about figs and raisins?

Pe. A plague of figs and raisins, and all such frail[48] commodities! We shall make nothing of ’hem.

Pe. A bunch of spoiled figs and raisins, and all those delicate[48] products! We won't get anything out of them.

Qu. Why then, sir, what say you to forty pound in roasted beef?[49]

Qu. Why then, sir, what do you say to forty pounds of roasted beef?[49]

Pe. Out upon’t, I have less stomach to that than to the figs and raisins; I’ll out of town, though I sojourn with a friend of mine, for stay here I must not; my creditors have laid to arrest me, and I have no friend under heaven but my sword to bail me.    254

Pe. Honestly, I’m less interested in that than I am in figs and raisins; I’ve got to leave town, even if I end up with a friend of mine because I can’t stay here; my creditors are about to arrest me, and the only friend I have in the world is my sword to get me out of this mess. 254

Qu. God’s me, knight, put ’hem in sufficient sureties, rather than let your sword bail you! Let ’hem take their choice, either the King’s Bench or the Fleet, or which of the two Counters they like best, for, by the Lord, I like none of ’hem.

Qu. Honestly, knight, get them some proper guarantees instead of relying on your sword! Let them choose between the King’s Bench or the Fleet, or whichever of the two Counters they prefer, because, to be honest, I don’t like any of them.

Pe. Well, Frank, there is no jesting with my earnest necessity; thou know’st if I make not present money to further my voyage begun, all’s lost, and all I have laid out about it.    263

Pe. Well, Frank, I’m not joking about my serious need; you know if I don’t get the money right now to support my journey, everything will be lost, including all the expenses I’ve already made. 263

Qu. Why, then, sir, in earnest, if you can get your wise lady to set her hand to the sale of her inheritance, the bloodhound, Security, will smell out ready money for you instantly.

Qu. Why, then, sir, seriously, if you can convince your smart wife to sign off on the sale of her inheritance, the bloodhound, Security, will immediately sniff out some cash for you.

Pe. There spake an angel: to bring her to which conformity, I must feign myself extremely amorous; and alleging urgent excuses for my stay behind, part with her as passionately as she would from her foisting hound.[50]    272

Pe. An angel spoke: to convince her of this, I need to pretend I'm very much in love; and making up urgent reasons for my delay, I’ll let her go as passionately as she would from her annoying dog.[50] 272

Qu. You have the sow by the right ear, sir. I warrant there was never child longed more to ride a cock-horse or wear his new coat, than she longs to ride in her new coach. She would long for everything when she was a maid, and now she will run mad for ’hem. I lay my life, she will have every year four children; and what charge and change of humour you must endure while she is with child, and how she will tie you to your tackling till she be with child, a dog would not endure. Nay, there is no turnspit dog bound to his wheel[51] more servilely than you shall be to her wheel; for, as that dog can never climb the top of his wheel but when the top comes under him, so shall you never climb the top of her contentment but when she is under you.    286

Qu. You’ve got the sow by the right ear, sir. I bet there has never been a child that wanted more to ride a hobby horse or wear a new coat than she wants to ride in her new coach. She used to long for everything when she was a girl, and now she’ll go crazy for it. I’d stake my life that she’ll have four children every year; and just think of the expenses and mood swings you’ll have to deal with while she’s pregnant, and how she’ll keep you tied down until she’s pregnant again, a dog wouldn’t put up with that. No, there is no turnspit dog tied to his wheel more servilely than you will be to her whims; because just like that dog can only reach the top of his wheel when it comes underneath him, you’ll only find happiness when she’s beneath you. 286

Pe. ’Slight, how thou terrifiest me!

Pe. 'Wow, you really scare me!

Qu. Nay, hark you, sir; what nurses, what midwives, what fools, what physicians, what cunning women must be sought for (fearing sometimes she is bewitched, sometimes in a consumption), to tell her tales, to talk bawdy to her, to make her laugh, to give her glisters, to let her blood under the tongue and betwixt the toes; how she will revile and kiss you, spit in your face, and lick it off again; how she will vaunt you are her creature; she made you of nothing; how she could have had thousand mark jointures; she could have been made a lady by a Scotch knight, and never ha’ married him; she could have had ponados[52] in her bed every morning; how she set you up, and how she will pull you down: you’ll never be able to stand of your legs to endure it.    301

Qu. No, listen, sir; what nurses, what midwives, what fools, what doctors, what clever women must be found (sometimes fearing she's bewitched, sometimes sick), to tell her stories, to talk dirty to her, to make her laugh, to give her remedies, to draw blood under the tongue and between the toes; how she will insult and kiss you, spit in your face, and lick it off again; how she will brag that you are her creation; she made you from nothing; how she could have had a thousand marks as a marriage settlement; she could have been made a lady by a Scottish knight, and never even married him; she could have had young lovers[52] in her bed every morning; how she built you up, and how she will tear you down: you’ll never be able to stand on your own two feet to handle it. 301

Pe. Out of my fortune, what a death is my life bound face to face to! The best is, a large time-fitted conscience is bound to nothing: marriage is but a form in the school of policy, to which scholars sit fastened only with painted chains. Old Security’s young wife is ne’er the further off with me.

Pe. What a death my life is stuck facing! The truth is, a well-adjusted conscience isn't tied down by anything: marriage is just a formal arrangement in the realm of politics, where students are stuck only by superficial bonds. Old Security’s young wife is never any closer to me.

Qu. Thereby lies a tale, sir. The old usurer will be here instantly, with my punk Sindefy, whom you know your lady has promised me to entertain for her gentlewoman; and he (with a purpose to feed on you) invites you most solemnly by me to supper.    312

Qu. There's a story for you, sir. The old moneylender will be here soon, along with my friend Sindefy, whom your lady has agreed to entertain for her lady-in-waiting; and he (looking to take advantage of you) formally invites you to dinner through me. 312

Pe. It falls out excellently fitly: I see desire of gain makes jealousy venturous.

Pe. It turns out perfectly suited: I see that the desire for gain makes jealousy bold.

Enter Gertrude.

Enter Gertrude.

See, Frank, here comes my lady. Lord! how she views thee! she knows thee not, I think, in this bravery.

See, Frank, here comes my lady. Wow! Look at how she’s checking you out! I don’t think she recognizes you in this get-up.

Ge. How now? who be you, I pray?

Ge. Hey there! Who are you, if I may ask?

Qu. One Master Francis Quicksilver, an’t please your ladyship.

Qu. Master Francis Quicksilver, if it pleases you, my lady.

Ge. God’s my dignity! as I am a lady, if he did not make me blush so that mine eyes stood a-water. Would I were unmarried again!    322

Ge. Oh my goodness! Honestly, if he didn't make me blush so much that my eyes filled with tears. I wish I were single again! 322

Enter Security and Sindefy.

Enter Security and Sindefy.

Where’s my woman, I pray?

Where's my girl, I ask?

Qu. See, madam, she now comes to attend you.

Qu. Look, ma'am, she’s here to see you now.

Sec. God save my honourable knight and his worshipful lady.

Sec. God bless my esteemed knight and his respected lady.

Ge. Y’are very welcome; you must not put on your hat yet.

Ge. You’re very welcome; you shouldn’t put on your hat just yet.

Sec. No, madam; till I know your ladyship’s further pleasure, I will not presume.

Sec. No, ma'am; until I know what you would like next, I won't assume anything.

Ge. And is this a gentleman’s daughter new come out of the country?    332

Ge. So, is this a gentleman’s daughter who just arrived from the countryside? 332

Sec. She is, madam; and one that her father hath a special care to bestow in some honourable lady’s service, to put her out of her honest humours, forsooth; for she had a great desire to be a nun, an’t please you.

Sec. She is, ma'am; and her father is particularly keen to place her in the service of some distinguished lady, to divert her from her proper ways, truly; because she had a strong desire to become a nun, if it pleases you.

Ge. A nun? what nun? a nun substantive? or a nun adjective?

Ge. A nun? Which nun? A nun as a thing? Or a nun describing something?

Sec. A nun substantive, madam, I hope, if a nun be a noun. But I mean, lady, a vowed maid of that order.

Sec. A nun in the true sense, madam, I hope, if a nun is a noun. But what I mean, lady, is a dedicated woman of that order.

Ge. I’ll teach her to be a maid of the order, I warrant you. And can you do any work belongs to a lady’s chamber?    343

Ge. I’ll make sure she becomes a maid of honor, I promise you. And can you handle any tasks that a lady’s chamber needs? 343

Si. What I cannot do, madam, I would be glad to learn.

Si. What I can't do, ma'am, I would be happy to learn.

Ge. Well said; hold up, then; hold up your head, I say; come hither a little.

Ge. Well said; wait a moment; keep your head up, I say; come here for a sec.

Si. I thank your ladyship.

Thanks, your ladyship.

Ge. And hark you, good man, you may put on your hat now; I do not look on you. I must have you of my faction now; not of my knight’s, maid.    351

Ge. Listen, good man, you can put on your hat now; I’m not looking at you. I need you on my side now; not on my knight’s, maid. 351

Si. No, forsooth, madam, of yours.

No, indeed, madam, of yours.

Ge. And draw all my servants in my bow, and keep my counsel, and tell me tales, and put me riddles, and read on a book sometimes when I am busy, and laugh at country gentlewomen, and command anything in the house for my retainers; and care not what you spend, for it is all mine; and in any case be still a maid, whatsoever you do, or whatsoever any man can do unto you.

Ge. And gather all my staff around me, keep my secrets, tell me stories, challenge me with riddles, read from a book when I'm busy, laugh at country ladies, manage everything in the house for my servants; don't worry about your spending because it's all mine; and no matter what you do or what any man might do to you, always remain a maid.

Sec. I warrant your ladyship for that.    360

Sec. I guarantee that for you, my lady. 360°

Ge. Very well; you shall ride in my coach with me into the country, to-morrow morning. Come, knight, pray thee let’s make a short supper, and to bed presently.

Ge. Alright; you can ride in my carriage with me to the country tomorrow morning. Come on, knight, let’s have a quick dinner and then head to bed right away.

Sec. Nay, good madam, this night I have a short supper at home waits on his worship’s acceptation.

Sec. No, good lady, tonight I have a quick dinner at home that’s waiting for his worship’s approval.

Ge. By my faith, but he shall not go, sir; I shall swoon and he sup from me.

Ge. I swear, he’s not going anywhere, sir; I’ll faint if he drinks from me.

Pe. Pray thee, forbear; shall he lose his provision?

Pe. Please, hold on; is he going to lose his resources?

Ge. Ay, by-lady, sir, rather than I lose my longing. Come in, I say; as I am a lady, you shall not go.    370

Ge. Yes, honestly, sir, I’d rather not lose my desire. Come in, I insist; as a lady, you’re not leaving. 370

Qu. I told him what a burr he had gotten.

Qu. I told him what a problem he had gotten into.

Sec. If you will not sup from your knight, madam, let me entreat your ladyship to sup at my house with him.

Sec. If you're not going to have dinner with your knight, ma'am, may I kindly invite you to have dinner at my place with him?

Ge. No, by my faith, sir; then we cannot be abed soon enough after supper.

Ge. No, I swear, sir; then we can't be in bed soon enough after dinner.

Pe. What a medicine is this! Well, Master Security, you are new married as well as I; I hope you are bound as well. We must honour our young wives, you know.

Pe. What kind of medicine is this! Well, Master Security, you are newly married just like I am; I hope you're committed too. We need to show respect to our young wives, you know.

Qu. In policy, dad, till to-morrow she has sealed.

Qu. In terms of policy, Dad, she has made her decision until tomorrow.

Sec. I hope in the morning yet your knighthood will breakfast with me?    381

Sec. I hope your knighthood will have breakfast with me in the morning? 381

Pe. As early as you will, sir.

Pe. As soon as you can, sir.

Sec. I thank your good worship; I do hunger and thirst to do you good, sir.

Sec. I appreciate your kindness; I'm eager to help you, sir.

Ge. Come, sweet knight, come; I do hunger and thirst to be abed with thee.

Ge. Come, sweet knight, come; I’m eager and thirsty to be in bed with you.

[Exeunt.

Exeunt.

[39] “Ka me, ka thee”—one good turn deserves another. See Nares’ Glossary.

[39] “Do good for me, and I’ll do good for you”—one good turn deserves another. See Nares’ Glossary.

[40] Trunk was a term for a pea-shooter.

__A_TAG_PLACEHOLDER_0__ Trunk referred to a slingshot.

[41] “This alludes to a scene in the tragedy of Mulleasses the Turke, 1610, by Mason, where Borgias appears as a ghost, and is addressed by Mulleasses in these words:

[41] “This refers to a moment in the play Mulleasses the Turke, 1610, by Mason, where Borgias shows up as a ghost, and Mulleasses speaks to him with these words:I'm ready to assist with your text. Please provide the phrases you'd like me to modernize.

‘Illusive ayre, false shape of Borgias,
Could thy vaine shadow worke a feare in him
That like an Atlas under went the earth,
When with a prim and constant eye he saw
Hell’s fifty-headed porter; thus I’d prove
Thy apparition idle.  [Runnes at Borgias.
Borg. Treason! I live.’”—Reed.

"Deceptive presence, misleading image of the Borgias,
Could your arrogant shadow scare him?
Like Atlas carrying the weight of the earth,
When he looked on with a serious and unwavering gaze, he saw
Hell's fifty-headed gatekeeper; this is how I would demonstrate
Your appearance doesn’t matter.  [Runs at Borgias.
Borg. Treason! I’m still alive.” — Reed.

[42] A parody of an old ballad. See Evans’ Old Ballads, i. 283 (1810); Chappell’s Popular Music of the Olden Time, i. 241.

[42] A humorous take on an old ballad. See Evans’ Old Ballads, i. 283 (1810); Chappell’s Popular Music of the Olden Time, i. 241.

[43] Not marked in old ed.—She leaves the stage while Security and Quicksilver are conversing; and presently (p. 37) returns.

[43] Not marked in old ed.—She exits the stage while Security and Quicksilver are talking; and soon (p. 37) comes back.

[44] Cf. Merchant of Venice, i. 1:

__A_TAG_PLACEHOLDER_0__ Cf. Merchant of Venice, i. 1:—

“My wind, cooling my broth,
Would blow me to an ague, when I thought
What harm a wind too great at sea might do.”

“My breeze, cooling my soup,
It would drive me crazy when I realized
"What damage a strong wind at sea can cause."

[45] A jocular term for cuckolds.

A humorous term for cuckolds.

[46] Nickname for a fisherman (one who followed the occupation of the apostle Peter).

[46] Nickname for a fisherman (someone who worked in the same profession as the apostle Peter).

[47] “A hollie wand or riding wand. Houssine.”—Cotgrave.

[47] “A holly wand or riding wand. Houssine.”—Cotgrave.

[48] Used with a quibble. Frail was a basket for figs, raisins, &c.

[48] Used with a slight objection. Frail was a basket for figs, raisins, etc.

[49] In Lanthorn and Candlelight (1609) Dekker mentions this extraordinary commodity:—“After a revelling, when younger brothers have spent all, or in gaming have lost all, they sit plotting in their chambers with necessity how to be furnished presently with a new supply of money. They would take up any commodity whatsoever, but their names stand in too many texted letters in mercers’ and scriveners’ books. Upon a hundred pounds’ worth of roasted beef they could find in their hearts to venture, for that would away in turning of a hand; but where shall they find a butcher or a cook that will let any man run so much upon the score for flesh only?” (Works, ed. Grosart, iii. 231.)

[49] In Lanthorn and Candlelight (1609), Dekker mentions this amazing commodity: “After a night of partying, when younger brothers have blown all their money or lost everything while gambling, they sit in their rooms scheming on how to quickly get more cash. They would consider any type of commodity, but their names are already in too many records kept by merchants and notaries. They could muster the courage to gamble on a hundred pounds’ worth of roasted beef since that could be sold off in no time, but where will they find a butcher or a chef willing to let anyone rack up such a debt just for meat?” (Works, ed. Grosart, iii. 231.)

[50] “Foisting hound” = a dog with an evil smell.

[50] "Foisting hound" = a dog with a terrible odor.

[51] “There is comprehended under the curs of the coarsest kind a certain dog in kitchen service excellent. For when any meat is to be roasted they go into a wheel, which they turning round about with the weight of their bodies so diligently look to their business that no drudger nor scullion can do the feat more cunningly: whom the popular sort hereupon call turnspits.”—Topsel’s History of Four-footed Beasts, ed. 1658 (p. 139).

[51] “In the roughest kind of work, we find a type of dog that excels in kitchen service. When it’s time to roast meat, they get into a wheel, and by turning it with their bodies, they focus so intently on their task that no laborer or kitchen helper can do it more skillfully. The common people call them turnspits.”—Topsel’s History of Four-footed Beasts, ed. 1658 (p. 139).

[52] The old ed. gives “poynados” (= poniards), which modern editors strangely retain. Ponado (panado) was a caudle made of bread, currants, sack, eggs, &c.

[52] The old ed. says “poynados” (= poniards), which modern editors oddly keep. Ponado (panado) was a caudle made of bread, currants, sack, eggs, etc.

ACT III.

SCENE I.

SCENE I.

Security’s house.

Security’s home.

Enter Sir Petronel, Quicksilver, Security, Bramble, and Winifred.

Enter Sir Petronel, Quicksilver, Security, Bramble, and Winifred.

Pe. Thanks for your feast-like breakfast, good Master Security; I am sorry (by reason of my instant haste to so long a voyage as Virginia) I am without means by any kind amends to show how affectionately I take your kindness, and to confirm by some worthy ceremony a perpetual league of friendship betwixt us.

Pe. Thanks for the amazing breakfast, good Master Security; I apologize for my rush to set off on my long journey to Virginia, so I don’t have any way to properly repay your kindness or to establish a lasting friendship between us with some meaningful gesture.

Sec. Excellent knight! let this be a token betwixt us of inviolable friendship. I am new married to this fair gentlewoman, you know; and by my hope to make her fruitful, though I be something in years, I vow faithfully unto you to make you godfather, though in your absence, to the first child I am blest withal; and henceforth call me gossip, I beseech you, if you please to accept it.    13

Sec. Excellent knight! Let this be a symbol between us of unbreakable friendship. I'm newly married to this lovely lady, as you know; and I hope to make her fruitful, even though I'm a bit older. I promise you faithfully that I will make you the godfather, even if you're not there, to the first child I'm blessed with; and from now on, please call me your friend, if you’re willing to accept it. 13

Pe. In the highest degree of gratitude, my most worthy gossip; for confirmation of which friendly title, let me entreat my fair gossip, your wife here, to accept this diamond, and keep it as my gift to her first child, wheresoever my fortune, in event of my voyage, shall bestow me.

Pe. I am incredibly grateful, my dear friend; to confirm this friendly title, let me ask your lovely wife here to accept this diamond as my gift for her first child, wherever my journey takes me.

Sec. How now, my coy wedlock;[53] I make you strange of so noble a favour? Take it, I charge you, with all affection, and, by way of taking your leave, present boldly your lips to our honourable gossip.    23

Sec. So, my shy bride; [53] am I making you uncomfortable with such a generous gift? Accept it, I insist, with all my love, and as a way to say goodbye, confidently offer your lips to our esteemed friend. 23

Qu. How venturous he is to him, and how jealous to others!

Qu. How daring he is to him, and how envious to others!

Pe. Long may this kind touch of our lips print in our hearts all the forms of affection. And now, my good gossip, if the writings be ready to which my wife should seal, let them be brought this morning before she takes coach into the country, and my kindness shall work her to despatch it.    31

Pe. May this gentle kiss linger in our hearts as a reminder of all the ways we care for each other. Now, my dear friend, if the documents are ready for my wife to sign, please bring them this morning before she leaves for the countryside, and I’ll make sure she gets them done. 31

Sec. The writings are ready, sir. My learned counsel here, Master Bramble the lawyer, hath perused them; and within this hour I will bring the scrivener with them to your worshipful lady.

Sec. The documents are ready, sir. My knowledgeable lawyer here, Master Bramble, has reviewed them; and within this hour, I will bring the writer along with them to your esteemed lady.

Pe. Good Master Bramble, I will here take my leave of you then. God send you fortunate pleas, sir, and contentious clients!

Pe. Alright, Master Bramble, I’ll take my leave now. I hope you have good luck with your cases, sir, and challenging clients!

Br. And you foreright winds, sir, and a fortunate voyage.

Br. And you, forward winds, sir, and a safe journey.

[Exit.

[Leave.

Enter a Messenger.

Enter a Messenger app.

Me. Sir Petronel, here are three or four gentlemen desire to speak with you.    42

Me. Sir Petronel, there are three or four men who want to talk to you. 42

Pe. What are they?

What are they?

Qu. They are your followers in this voyage, knight: Captain Seagull and his associates; I met them this morning, and told them you would be here.

Qu. They are your followers on this journey, knight: Captain Seagull and his crew; I met them this morning and informed them you would be here.

Pe. Let them enter, I pray you; I know they long to be gone, for their stay is dangerous.

Pe. Let them in, please; I know they want to leave, as their presence here is risky.

Enter Seagull, Scapethrift, and Spendall.

Enter Seagull, Scapethrift, and Spendall.

Sea. God save my honourable colonel!    49

Sea. God save my honorable colonel!    49

Pe. Welcome, good Captain Seagull, and worthy gentlemen. If you will meet my friend Frank here, and me, at the Blue Anchor Tavern by Billingsgate this evening, we will there drink to our happy voyage, be merry, and take boat to our ship with all expedition.

Pe. Welcome, good Captain Seagull, and esteemed gentlemen. If you could join my friend Frank and me at the Blue Anchor Tavern by Billingsgate this evening, we will raise a toast to our successful voyage, enjoy ourselves, and quickly take a boat to our ship.

Sp. Defer it no longer, I beseech you, sir; but as your voyage is hitherto carried closely, and in another knight’s name, so for your own safety and ours, let it be continued: our meeting and speedy purpose of departing known to as few as is possible, lest your ship and goods be attached.    60

Sp. Please don’t put it off any longer, I urge you, sir; since your journey has been kept so private and under another knight’s name, for your own safety and ours, let’s keep it that way: let as few people as possible know about our meeting and quick plan to leave, so your ship and belongings won’t be seized. 60

Qu. Well advised, captain; our colonel shall have money this morning to despatch all our departures; bring those gentlemen at night to the place appointed, and, with our skins full of vintage, we’ll take occasion by the vantage,[54] and away.

Qu. Good thinking, captain; our colonel will have money this morning to send off all our departures; bring those gentlemen to the designated place tonight, and, with our spirits high from the wine, we'll seize the opportunity and get going.

Sp. We will not fail, but be there, sir.

Sp. We won't let you down; we'll be there, sir.

Pe. Good morrow, good captain, and my worthy associates. Health and all sovereignty to my beautiful gossip; for you, sir, we shall see you presently with the writings.    70

Pe. Good morning, good captain, and my esteemed friends. Wishing health and all the best to my lovely friend; we'll see you soon with the documents. 70

Sec. With writings and crowns to my honourable gossip. I do hunger and thirst to do you good, sir.

Sec. With my writings and accolades to my respected gossip. I truly want to do good for you, sir.

[Exeunt.

Exeunt.

[53] Wife.

Spouse.

[54] Collier compares Nashe’s Summer’s Last Will, &c.:—“Our vintage was a vintage, for it did not work upon the advantage.”

[54] Collier compares Nashe’s Summer’s Last Will, &c.:—“Our harvest was a true harvest, because it didn’t take advantage of the situation.”

SCENE II.

SCENE II.

An inn-yard.

A tavern courtyard.

Enter a Coachman in haste, in his frock, feeding.

Enter a Coachman in a hurry, in his coat, feeding.

Co. Here’s a stir when citizens ride out of town, indeed as if all the house were a-fire! ’Slight! they will not give a man leave to eat’s breakfast afore he rises.

Co. There’s quite a commotion when people leave the town, as if the entire place is on fire! Honestly! They won't even let a guy have his breakfast before he gets up.

Enter Hamlet, a footman, in haste.

Enter Hamlet, a footman, rushing in.

Ha. What, coachman—my lady’s coach! for shame! her ladyship’s ready to come down.

Ha. What, driver—my lady's coach! That's embarrassing! She's about to come down.

Enter Potkin, a tankard-bearer.

Enter Potkin, a beer server.

Po. ’Sfoot! Hamlet, are you mad?[55] Whither run you now? you should brush up my old mistress!

Po. What the heck! Hamlet, are you crazy?[55] Where are you running off to now? You should be taking care of my old boss!

Enter Sindefy.

Enter Sindefy.

Si. What, Potkin?—you must put off your tankard and put on your blue coat,[56] and wait upon Mistress Touchstone into the country.

Si. What’s up, Potkin? — you need to set down your tankard and put on your blue coat, [56] and go with Mistress Touchstone to the countryside.

[Exit.

Exit.

Po. I will, forsooth, presently.

I will, for sure, soon.

[Exit.

[Leave.

Enter Mistress Fond and Mistress Gazer.

Enter Mistress Fond and Mistress Gazer.

Fo. Come, sweet Mistress Gazer, let’s watch here, and see my Lady Flash take coach.    13

Fo. Come on, dear Mistress Gazer, let’s hang out here and watch my Lady Flash get into her carriage. 13

Ga. O’ my word here’s a most fine place to stand in; did you see the new ship launched last day, Mistress Fond?

Ga. Oh my, what a great place to stand! Did you see the new ship launched the other day, Mistress Fond?

Fo. O God! and we citizens should lose such a sight!

Fo. Oh God! And we citizens would miss out on such a sight!

Ga. I warrant here will be double as many people to see her take coach as there were to see it take water.

Ga. I bet there will be twice as many people here to watch her get into the carriage as there were to see it launched.

Fo. O she’s married to a most fine castle i’ th’ country, they say.    21

Fo. Oh, she’s married to a really nice castle in the countryside, they say. 21

Ga. But there are no giants in the castle, are there?

Ga. But there aren't any giants in the castle, right?

Fo. O no: they say her knight killed ’hem all, and therefore he was knighted.

Fo. Oh no: they say her knight killed them all, and that's why he was knighted.

Ga. Would to God her ladyship would come away!

Ga. I wish to God she would just leave!

Enter Gertrude, Mistress Touchstone, Sindefy, Hamlet, Potkin.

Enter Gertrude, Mistress Touchstone, Sindefy, Hamlet, Potkin.

Fo. She comes, she comes, she comes!

Fo. She's coming, she's coming, she's coming!

Ga. and Fo. Pray heaven bless your ladyship!

Ga. and Fo. Bless your ladyship!

Ge. Thank you, good people. My coach, for the love of heaven, my coach! In good truth I shall swoon else.

Ge. Thank you, everyone. My ride, for heaven's sake, my ride! Honestly, I'm about to faint otherwise.

Ha. Coach, coach, my lady’s coach!

Coach, coach, my lady's ride!

[Exit.

Exit.

Ge. As I am a lady, I think I am with child already, I long for a coach so. May one be with child afore they are married, mother?    33

Ge. As a lady, I believe I am already pregnant. I really want a carriage. Can you be pregnant before you’re married, mother? 33

Mist. T. Ay, by’r lady, madam; a little thing does that; I have seen a little prick no bigger than a pin’s head swell bigger and bigger, till it has come to an ancome;[57] and e’en so ’tis in these cases.

Mist. T. Yeah, by my lady, madam; it’s a small thing that does that; I’ve seen something tiny, no bigger than a pinhead, swell bigger and bigger until it has come to a climax;[57] and it’s just like that in these situations.

Enter Hamlet.

Enter Hamlet.

Ha. Your coach is coming, madam.

Your ride is here, ma'am.

Ge. That’s well said. Now, heaven! methinks I am e’en up to the knees in preferment.    40

Ge. That’s well put. Now, wow! I feel like I'm knee-deep in opportunities. 40

But a little higher, but a little higher, but a little higher,
There, there, there lies Cupid’s fire!

But a little higher, just a little higher, just a little higher,
Look, look, look at Cupid’s fire!

Mist. T. But must this young man, an’t please you, madam, run by your coach all the way a-foot?

Mist. T. But does this young man really have to walk beside your coach the whole way, ma'am?

Ge. Ay, by my faith, I warrant him; he gives no other milk, as I have another servant does.

Ge. Yeah, I swear he's the one; he doesn't provide any other milk, unlike another servant I have.

Mist. T. Alas! ’tis e’en pity, methinks; for God’s sake, madam, buy him but a hobby-horse; let the poor youth have something betwixt his legs to ease ’hem. Alas! we must do as we would be done to.    50

Mist. T. Oh, what a shame, I think; for heaven's sake, ma'am, buy him a hobby horse; let the poor guy have something to ride to ease his troubles. Oh dear, we should treat others the way we want to be treated. 50

Ge. Go to, hold your peace, dame; you talk like an old fool, I tell you!

Ge. Come on, be quiet, lady; you sound like a crazy old person, I’m telling you!

Enter Sir Petronel and Quicksilver.

Enter Sir Petronel and Quicksilver.

Pe. Wilt thou be gone, sweet honey-suckle, before I can go with thee?

Pe. Will you leave, sweet honeysuckle, before I can go with you?

Ge. I pray thee, sweet knight, let me; I do so long to dress up thy castle afore thou comest. But I marle how my modest sister occupies herself this morning, that she cannot wait on me to my coach, as well as her mother.

Ge. Please, sweet knight, let me; I really want to decorate your castle before you arrive. But I wonder how my modest sister is spending her morning that she can't come see me off to my carriage like her mother does.

Qu. Marry, madam, she’s married by this time to prentice Golding. Your father, and some one more, stole to church with ’hem in all the haste, that the cold meat left at your wedding might serve to furnish their nuptial table.    63

Qu. Well, madam, she’s probably married by now to apprentice Golding. Your father, along with someone else, rushed to the church with them so quickly that the cold food left from your wedding might be used for their wedding feast. 63

Ge. There’s no base fellow, my father, now; but he’s e’en fit to father such a daughter: he must call me daughter no more now: but “madam,” and “please you, madam;” and “please your worship, madam,” indeed. Out upon him! marry his daughter to a base prentice!

Ge. There’s no lowly man now, my father, but he’s definitely worthy of being the father of such a daughter: he must no longer call me daughter; it’s now “madam,” and “if it pleases you, madam;” and “if it pleases your worship, madam,” indeed. Ugh! To marry his daughter off to a lowly apprentice!

Mist. T. What should one do? Is there no law for one that marries a woman’s daughter against her will? How shall we punish him, madam?    71

Mist. T. What should we do? Is there no law for someone who marries a woman's daughter against her wishes? How should we punish him, madam? 71

Ge. As I am a lady, an’t would snow, we’d so pebble ’hem with snow-balls as they come from church; but, sirrah Frank Quicksilver.

Ge. As a lady, if it snowed, we would pelt them with snowballs as they come out of church; but, hey Frank Quicksilver.

Qu. Ay, madam.

Sure, ma'am.

Ge. Dost remember since thou and I clapt what-d’ye-call’ts in the garret?

Ge. Do you remember when you and I were hiding things in the attic?

Qu. I know not what you mean, madam.

Qu. I don't know what you mean, ma'am.

Ge. His[58] head as white as milk, all flaxen was his hair;
But now he is dead, and laid in his bed,    80
And never will come again.
God be at your labour!

Ge. His[58] head was as white as milk, and his hair was completely blonde;
But now he's gone, resting in his grave,    80
And he won’t come back.
Bless your work!

Enter Touchstone, Golding, Mildred, with rosemary.[59]

Enter Touchstone, Golding, Mildred, with rosemary.[59]

Pe. Was there ever such a lady?

Pe. Was there ever a lady like her?

Qu. See, madam, the bride and bridegroom!

Qu. Look, ma'am, the bride and groom!

Ge. God’s my precious! God give you joy, mistress. What lack you? Now out upon thee, baggage! My sister married in a taffeta hat! Marry, hang you! Westward with a wanion[60] t’ye! Nay, I have done wi’ ye, minion, then, i’faith; never look to have my countenance any more, nor anything I can do for thee. Thou ride in my coach, or come down to my castle! fie upon thee! I charge thee in my ladyship’s name, call me sister no more.    93

Ge. Oh my God! I hope you’re happy, mistress. What do you need? Ugh, you annoying person! My sister married while wearing a fancy hat! Seriously, get lost! Head off west with your nonsense! No, I’m done with you, for real; don’t expect my support anymore or anything I can do for you. Don’t ride in my carriage or come to my house! Shame on you! I demand that you no longer call me sister. 93

To. An’t please your worship, this is not your sister: this is my daughter, and she calls me father, and so does not your ladyship, an’t please your worship, madam.

To. If I may, your worship, this isn’t your sister: this is my daughter, and she calls me father, whereas your ladyship does not, if I may say so, madam.

Mist. T. No, nor she must not call thee father by heraldry, because thou makest thy prentice thy son as well as she. Ah! thou misproud prentice, darest thou presume to marry a lady’s sister?    100

Mist. T. No, and she shouldn’t call you father just because of titles, since you make your apprentice your son just like she does. Ah! You arrogant apprentice, do you really think you can marry a lady’s sister? 100

Go. It pleased my master, forsooth, to embolden me with his favour; and though I confess myself far unworthy so worthy a wife (being in part her servant, as I am your prentice) yet (since I may say it without boasting) I am born a gentleman, and by the trade I have learned of my master (which I trust taints not my blood), able, with mine own industry and portion, to maintain your daughter, my hope is, heaven will so bless our humble beginning, that in the end I shall be no disgrace to the grace with which my master has bound me his double prentice.    111

Go. It made my master happy, truly, to encourage me with his favor; and although I admit I'm not worthy of such an amazing wife (being partly her servant, just as I am your apprentice), I can say without bragging that I was born a gentleman. Thanks to the skills I've learned from my master (which I hope doesn't taint my background), I can support your daughter with my own hard work and savings. My hope is that, with heaven's blessing on our humble start, I'll eventually prove to be no embarrassment to the honor my master has given me as his dual apprentice. 111

To. Master me no more, son, if thou think’st me worthy to be thy father.

To. Don’t boss me around anymore, son, if you think I’m worthy of being your father.

Ge. Son! Now, good Lord, how he shines! and you mark him, he’s a gentleman!

Ge. Son! Wow, he really stands out! And you can see he's a gentleman!

Go. Ay, indeed, madam, a gentleman born.

Go. Yes, truly, ma'am, a gentleman by birth.

Pe. Never stand o’ your gentry, Master Bridegroom; if your legs be no better than your arms, you’ll be able to stand upright on neither shortly.    119

Pe. Don't try to act all high and mighty, Master Bridegroom; if your legs are as weak as your arms, you won't be able to stand up straight for long. 119

To. An’t please your good worship, sir, there are two sorts of gentlemen.

To. If it pleases you, sir, there are two kinds of gentlemen.

Pe. What mean you, sir?

What do you mean, sir?

To. Bold to put off my hat to your worship—

To. Bold enough to take my hat off to you—Understood! Please provide the text you'd like me to modernize.

Pe. Nay, pray forbear, sir, and then forth with your two sorts of gentlemen.

Pe. No, please hold on, sir, and then go on with your two types of gentlemen.

To. If your worship will have it so, I say there are two sorts of gentlemen. There is a gentleman artificial, and a gentleman natural. Now though your worship be a gentleman natural: work upon that now.    129

To. If that's what you want, I say there are two types of gentlemen. There's the artificial gentleman and the natural gentleman. Now, even though you are a natural gentleman, let's focus on that now. 129

Qu. Well said, old Touchstone; I am proud to hear thee enter a set speech, i’faith; forth, I beseech thee.

Qu. Well said, old Touchstone; I'm glad to hear you give a speech, honestly; go ahead, I ask you.

To. Cry your mercy, sir, your worship’s a gentleman I do not know. If you be one of my acquaintance, y’are very much disguised, sir.

To. Please show some mercy, sir, I don’t recognize you as a gentleman. If you’re someone I know, you look quite different, sir.

Qu. Go to, old quipper; forth with thy speech, I say.    137

Qu. Come on, you old wisecracker; get on with what you want to say. 137

To. What, sir, my speeches were ever in vain to your gracious worship; and therefore, till I speak to you gallantry indeed, I will save my breath for my broth anon. Come, my poor son and daughter, let us hide ourselves in our poor humility, and live safe. Ambition consumes itself with the very show. Work upon that now.

To. What, sir, my speeches have always fallen on deaf ears for your kind self; so until I can speak to you in a charming way, I’ll save my breath for my soup soon. Come, my poor son and daughter, let’s hide in our simple humility and stay safe. Ambition burns itself out with just the appearance. Let’s work on that now.

Ge. Let him go, let him go, for God’s sake! let him make his prentice his son, for God’s sake! give away his daughter, for God’s sake! and when they come a-begging to us for God’s sake, let’s laugh at their good husbandry for God’s sake. Farewell, sweet knight, pray thee make haste after.    149

Ge. Let him go, let him go, for goodness’ sake! Let him make his apprentice his son, for goodness’ sake! Give away his daughter, for goodness’ sake! And when they come begging to us, for goodness’ sake, let’s laugh at their fine management, for goodness’ sake. Goodbye, dear knight, please hurry after him. 149

Pe. What shall I say?—I would not have thee go.

Pe. What can I say?—I don't want you to leave.

Qu.
Now,[61] O now, I must depart,
Parting though it absence move.

Qu.
Now,[61] Oh, I need to go now,
Even though parting hurts.

This ditty, knight, do I see in thy looks in capital letters.

This little song, knight, I see in your face in capital letters.

What a grief ’tis to depart, and leave the flower that has my heart!
My sweet lady, and alack for woe, why, should we part so?

What a sadness it is to leave and leave behind the flower that holds my heart!
My dear lady, it’s so unfortunate; why must we say goodbye like this?

Tell truth, knight, and shame all dissembling lovers; does not your pain lie on that side?    158

Tell the truth, knight, and expose all the deceitful lovers; doesn't your pain come from that side? 158

Pe. If it do, canst thou tell me how I may cure it?

Pe. If it does, can you tell me how I can fix it?

Qu. Excellent easily. Divide yourself in two halves, just by the girdlestead; send one half with your lady, and keep t’other yourself; or else do as all true lovers do—part with your heart, and leave your body behind. I have seen’t done a hundred times: ’tis as easy a matter for a lover to part without a heart from his sweetheart, and he ne’er the worse, as for a mouse to get from a trap and leave her [sic] tail behind him. See, here comes the writings.    168

Qu. It's easy enough. Just split yourself in two, right at the waist; send one half with your lady, and keep the other half for yourself; or do what all true lovers do—leave your heart behind and take your body with you. I've seen it happen a hundred times: it's as easy for a lover to leave without a heart from their sweetheart, and they’re none the worse for it, as it is for a mouse to escape a trap and leave its tail behind. Look, here come the writings. 168

Enter Security with a Scrivener.

Enter Security with a Scrivener.

Sec. Good morrow to my worshipful lady. I present your ladyship with this writing, to which if you please to set your hand with your knight’s, a velvet gown shall attend your journey, o’ my credit.

Sec. Good morning to my esteemed lady. I bring you this letter, and if you would be so kind as to sign it alongside your knight’s, a velvet gown will accompany your journey, I assure you.

Ge. What writing is it, knight?

What writing is it, knight?

Pe. The sale, sweetheart, of the poor tenement I told thee of, only to make a little money to send thee down furniture for my castle, to which my hand shall lead thee.

Pe. The sale, darling, of the rundown apartment I mentioned, just to make a little money to send you down furniture for my castle, which I'll bring you to.

Ge. Very well. Now give me your pen, I pray.

Ge. Alright. Now, please hand me your pen.

Qu. It goes down without chewing, i’faith.

Qu. It goes down easily, I swear.

Scr. Your worships deliver this as your deed?    180

Scr. Is this what you all claim as your official document? 180

Ambo. We do.

Ambo. We totally do.

Ge. So now, knight, farewell till I see thee.

Ge. So now, knight, goodbye until we meet again.

Pe. All farewell to my sweetheart!

Goodbye to my sweetheart!

Mist. T. God-b’w’y’, son knight.

Mist. T. God bless you, son knight.

Pe. Farewell, my good mother.

Goodbye, my dear mother.

Ge. Farewell, Frank; I would fain take thee down if I could.

Ge. Goodbye, Frank; I would really like to bring you with me if I could.

Qu. I thank your good ladyship; farewell, Mistress Sindefy.

Qu. Thank you, my good lady; goodbye, Mistress Sindefy.

[Exeunt.

[They exit.

Pe. O tedious voyage, whereof there is no end! What will they think of me?    191

Pe. What a boring journey, with no end in sight! What are they going to think of me? 191

Qu. Think what they list. They longed for a vagary into the country, and now they are fitted. So a woman marry to ride in a coach, she cares not if she ride to her ruin. ’Tis the great end of many of their marriages. This is not the first time a lady has rid a false journey in her coach, I hope.

Qu. Consider what they want. They dreamed of an adventure in the countryside, and now they have it. Just like a woman who marries just to ride in a fancy carriage, she doesn’t care if it leads to her downfall. That’s the ultimate goal of many of their marriages. I hope this isn’t the first time a lady has taken a deceptive trip in her carriage.

Pe. Nay, ’tis no matter, I care little what they think; he that weighs men’s thoughts has his hands full of nothing. A man, in the course of this world, should be like a surgeon’s instrument—work in the wounds of others, and feel nothing himself. The sharper and subtler, the better.    203

Pe. No, it doesn’t matter; I don’t care much about their opinions. Someone who worries about what others think is just filled with emptiness. A person in this world should be like a surgeon’s tool—operating on others’ wounds without feeling anything themselves. The sharper and more skillful, the better. 203

Qu. As it falls out now, knight, you shall not need to devise excuses, or endure her outcries, when she returns; we shall now begone before, where they cannot reach us.

Qu. As it turns out now, knight, you won’t need to come up with excuses or deal with her outbursts when she comes back; we’ll leave now to a place where they can’t find us.

Pe. Well, my kind compeer, you have now the assurance we both can make you; let me now entreat you, the money we agreed on may be brought to the Blue Anchor, near to Billingsgate, by six o’clock; where I and my chief friends, bound for this voyage, will with feasts attend you.    213

Pe. Well, my kind friend, you now have the guarantee we both can provide; let me now ask you to bring the money we agreed on to the Blue Anchor, near Billingsgate, by six o’clock. My main companions and I, who are going on this journey, will be there to celebrate with you. 213

Sec. The money, my most honourable compeer, shall without fail observe your appointed hour.

Sec. The money, my esteemed friend, will definitely be there at the time you specified.

Pe. Thanks, my dear gossip. I must now impart
To your approved love, a loving secret;
As one on whom my life doth more rely
In friendly trust than any man alive.
Nor shall you be the chosen secretary    220
Of my affections for affection only:
For I protest (if God bless my return)
To make you partner in my actions’ gain
As deeply as if you had ventured with me
Half my expenses. Know then, honest gossip,
I have enjoy’d with such divine contentment
A gentlewoman’s bed whom you well know,
That I shall ne’er enjoy this tedious voyage,
Nor live the least part of the time it asketh,
Without her presence; so I thirst and hunger    230
To taste the dear feast of her company.
And if the hunger and the thirst you vow
As my sworn gossip, to my wishèd good
Be, as I know it is, unfeign’d and firm,
Do me an easy favour in your power.

Pe. Thanks, my dear friend. I need to share now
With your reliable love, a sincere secret;
Since my life relies on you even more
In a more trustworthy way than anyone else alive.
You won't just be the selected secretary.
For the sake of love itself:
I promise (if God lets me come back)
To make you a partner in the benefits of my actions.
As completely as if you had shared with me
Half my expenses. So, listen, my sincere friend,
I have felt such incredible joy.
In the bed of a woman you know well,
I can't handle this long journey.
I won't be able to stand even a moment of it,
Without her there, I feel eager and longing    230
To appreciate her valuable presence.
And if the desire you claim
As my loyal friend, for my happiness that I hope for
Is, as I believe it is, real and unwavering,
Please do me a simple favor that you can handle.

Sec. Be sure, brave gossip, all that I can do,
To my best nerve, is wholly at your service:
Who is the woman, first, that is your friend?

Sec. Just know, brave friend, that all I can do,
To the best of my ability, I'm totally at your service:
Who is the woman who is your friend?

Pe. The woman is your learned counsel’s wife,
The lawyer, Master Bramble; whom would you    240
Bring out this even in honest neighbourhood,
To take his leave with you, of me your gossip,
I, in the meantime, will send this my friend
Home to his house, to bring his wife disguised,
Before his face, into our company;
For love hath made her look for such a wile,
To free her from his tyrannous jealousy.
And I would take this course before another,
In stealing her away to make us sport,
And gull his circumspection the more grossly;    250
And I am sure that no man like yourself
Hath credit with him to entice his jealousy
To so long stay abroad as may give time
To her enlargement, in such safe disguise.

Pe. The woman is your attorney's wife,
Master Bramble; who would you
Dare to reveal this even in a nice neighborhood,
To have him go with you while I talk about it,
In the meantime, I'll send my friend __A_TAG_PLACEHOLDER_0__.
He went home to secretly get his wife.
To come together here in front of him;
For love has driven her to seek such a trick,
To liberate herself from his jealousy.
I would choose this method instead of another one,
In taking her away quietly to entertain us,
And to fool his caution even more;    250
And I'm sure no one is like you.
Does he have the ability to make him jealous?
To stay out long enough to allow
Her freedom in such a secure disguise.

Sec. A pretty, pithy, and most pleasant project!
Who would not strain a point of neighbourhood
For such a point device? that as the ship[62]
Of famous Draco went about the world,
Will wind about the lawyer, compassing
The world himself; he hath it in his arms,    260
And that’s enough for him, without his wife.
A lawyer is ambitious, and his head
Cannot be praised nor raised too high,
With any fork of highest knavery.
I’ll go fetch her straight.

Sec. This is a nice, smart, and truly enjoyable project!
Who wouldn't make an effort for something so special?
Just like the boat __A_TAG_PLACEHOLDER_0__
Of the renowned Draco who explored the world,
Will wrap around the lawyer, surrounding
The world itself; he holds it in his arms,    260
And that’s enough for him, even without his wife.
A lawyer is driven, and his thoughts
Can't be praised or elevated too much,
With any form of extreme dishonesty.
I'll go get her now.

[Exit Security.

[Exit Security.

Pe. So, so. Now, Frank, go thou home to his house,
’Stead of his lawyer’s, and bring his wife hither,
Who, just like to the lawyer’s wife, is prison’d
With his[63] stern usurous jealousy, which could never
Be over-reach’d thus but with over-reaching.    270

Pe. Okay, Frank, head back to his place,
Instead of his lawyer’s, bring his wife here.
Who, just like the lawyer's wife, is stuck
Through his[63] intense, selfish jealousy, which could never
Don't let yourself be overwhelmed like this unless you're being too ambitious.    270

Re-enter Security.

Re-enter Security.

Sec. And, Master Francis, watch you th’ instant time
To enter with his exit: ’twill be rare,
Two fine horn’d beasts!—a camel and a lawyer!

Sec. And, Master Francis, focus on the moment.
Coming in right after he leaves will be something special.
Two amazing creatures!—a camel and a lawyer!

Qu. How the old villain joys in villainy!

Qu. How the old villain delights in being evil!

Sec. And hark you, gossip, when you have her here,
Have your boat ready, ship her to your ship
With utmost haste, lest Master Bramble stay you.
To o’er-reach that head that out-reacheth all heads,
’Tis a trick rampant!—’tis a very quiblin![64]
I hope this harvest to pitch cart with lawyers,    280
Their heads will be so forked. This sly touch
Will get apes to invent a number such.

Sec. And hey, my friend, when you have her here,
Get your boat ready and load it onto your ship.
Do it as fast as you can, or Master Bramble will hold you back.
To outsmart someone who believes they’re smarter than everyone else,
It's a bold move! It's a really smart trick![64]
I expect to team up with lawyers this season,    280
Their minds will be so distorted. This smart move
There will be fools coming up with crazy ideas.

[Exit.

Exit.

Qu. Was ever rascal honey’d so with poison?
He that delights in slavish avarice,
Is apt to joy in every sort of vice.
Well, I’ll go fetch his wife, whilst he the lawyer’s.

Qu. Has any villain ever been made so charming by poison?
The person who finds joy in selfish servitude,
Is likely to enjoy all kinds of misbehavior.
Alright, I'll go get his wife while he speaks with the lawyer.

Pe. But stay, Frank, let’s think how we may disguise her upon this sudden.    288

Pe. But hold on, Frank, let’s figure out how we can disguise her quickly. 288

Qu. God’s me! there’s the mischief! But hark you, here’s an excellent device: ’fore God, a rare one! I will carry her a sailor’s gown and cap, and cover her, and a player’s beard.

Qu. Oh my goodness! There’s the problem! But listen, here’s a brilliant idea: honestly, it’s a great one! I’ll bring her a sailor’s outfit and cap, and disguise her with a fake beard.

Pe. And what upon her head?

And what is on her head?

Qu. I tell you, a sailor’s cap! ’Slight, God forgive me! what kind of figent[65] memory have you?

Qu. I swear, a sailor’s cap! Goodness, what kind of strange memory do you have?

Pe. Nay, then, what kind of figent wit hast thou?
A sailor’s cap?—how shall she put it off
When thou present’st her to our company?

Pe. No, seriously, what kind of silly humor do you have?
A sailor's cap?—how is she supposed to remove it?
When will you introduce her to our group?

Qu. Tush, man, for that, make her a saucy sailor.    299

Qu. Come on, man, for that, turn her into a cheeky sailor. 299

Pe. Tush, tush! ’tis no fit sauce for such sweet mutton,
I know not what t’ advise.

Pe. Come on, that's not the right seasoning for such tasty lamb.
I’m not sure what to recommend.

Re-enter Security with his wife’s gown.

Re-enter Security in his wife's gown.

Sec. Knight, knight, a rare device!

Sec. Knight, knight, a unique item!

Pe. ’Swounds, yet again!

Oh my gosh, again!

Qu. What stratagem have you now?

What plan do you have now?

Sec. The best that ever. You talk of disguising?

Sec. The best there ever was. You want to talk about disguises?

Pe. Ay, marry, gossip, that’s our present care.

Pe. Yeah, for sure, chat, that’s what we’re focused on right now.

Sec. Cast care away then; here’s the best device
For plain Security (for I am no better)
I think, that ever lived: here’s my wife’s gown,
Which you may put upon the lawyer’s wife,    310
And which I brought you, sir, for two great reasons;
One is, that Master Bramble may take hold
Of some suspicion that it is my wife,
And gird me so perhaps with his law-wit;
The other (which is policy indeed)
Is, that my wife may now be tied at home,
Having no more but her old gown abroad,
And not show me a quirk, while I firk others.
Is not this rare?

Sec. Set aside your caution for a moment; here’s the best plan.
For basic security (because I’m not any better)
I think that ever existed: here’s my wife’s dress, __A_TAG_PLACEHOLDER_0__.
You can put that on the lawyer's wife,    310
I brought this to you, sir, for two main reasons:
One possibility is that Master Bramble might think
That's my wife's dress,
And maybe use his legal skills against me;
The other one (which is pretty strategic)
Is my wife going to be kept at home?
With only her old dress to wear,
And don’t make it difficult for me while I go after other people.
Isn't this smart?

Ambo. The best that ever was.

Ambo. The greatest of all time.

Sec. Am I not born to furnish gentlemen?    320

Sec. Am I not meant to serve gentlemen? 320

Pe. O my dear gossip!

Oh my dear gossip!

Sec. Well hold, Master Francis; watch when the lawyer’s out, and put it in. And now I will go fetch him.

Sec. Alright, Master Francis; keep an eye out when the lawyer leaves, and then insert it. Now, I’m going to go get him.

[Exit.

Exit.

Qu. O my dad! he goes as ’twere the devil to fetch the lawyer; and devil shall he be, if horns will make him.

Qu. Oh my dad! he rushes off like the devil to get the lawyer; and he might as well be the devil if that's what it takes.

Pe. Why, how now, gossip? why stay you there musing?

Pe. Hey, what's up, gossip? Why are you just standing there lost in thought?

Sec. A toy, a toy runs in my head, i’faith.    330

Sec. A toy, a toy is running through my mind, I swear. 330

Qu. A pox of that head! is there more toys yet?

Qu. Curse that head! Are there any more toys?

Pe. What is it, pray thee, gossip?

Pe. What is it, I ask you, gossip?

Sec. Why, sir, what if you should slip away now with my wife’s best gown, I having no security for it?

Sec. Why, sir, what if you were to take off with my wife’s best gown and I have no guarantee for it?

Qu. For that I hope, dad, you will take our words.

Qu. For that, I hope you’ll believe what we’re saying, Dad.

Sec. Ay, by th’ mass, your word—that’s a proper staff
For wise Security to lean upon!
But ’tis no matter, once I’ll trust my name
On your crack’d credits; let it take no shame.
Fetch the wench, Frank.

Sec. Yeah, honestly, that's great support.
For reliable security to trust!
But that doesn't matter, I'll put my name down.
Don’t let your broken promises be a source of shame.
Get the girl, Frank.

[Exit.

Exit.

Qu. I’ll wait upon you, sir,    340
And fetch you over, you were ne’er so fetch’d.
Go to the tavern, knight; your followers
Dare not be drunk, I think, before their captain.

I’ll wait for you, sir,
And take you with me; you’ve never been taken along like this before.
Head to the bar, knight; your followers
They probably won’t get drunk before their leader.

[Exit.

[Leave.

Pe. Would I might lead them to no hotter service
Till our Virginian gold were in our purses!

Pe. I wish I could guide them to a less demanding job.
Until we have that Virginian gold in our hands!

[Exit.

[Leave.

[55] One of many allusions that show the early popularity of Shakespeare’s play.

[55] One of many references that highlight the early popularity of Shakespeare’s play.

[56] “Blue coat”—the livery of a serving-man.

[56] “Blue coat”—the uniform of a servant.

[57] Ulcerous swelling.

Ulcerative swelling.

[58] A variation of the snatch sung by Ophelia.

[58] A version of the snatch sung by Ophelia.

[59] The herb of remembrance, used at weddings and funerals.

[59] The herb of remembrance, utilized at weddings and funerals.

[60] “With a wanion,”—with a plague!

“With a curse,”—with a curse!

[61] A misquotation from a song in John Dowland’s First Book of Songs or Airs (1597):—
“Now, O now, I needs must part,
Parting though I absent mourn,” &c.

[61] A misquotation from a song in John Dowland’s First Book of Songs or Airs (1597):—
“Now, oh now, I have to go,
"Leaving even though I’m sad for you," &c.

[62] Sir Francis Drake’s ship, in which he sailed round the world. By order of Queen Elizabeth it was laid up at Deptford, whither it attracted many sightseers. See Nares’ Glossary.

[62] Sir Francis Drake's ship, which he used to sail around the world. By order of Queen Elizabeth, it was docked at Deptford, where it drew many visitors. See Nares’ Glossary.

[63] “Both the quartos [there is only one] have it ‘With eyes stern usurous jealousy,’ which may be right, though the sense is rather forced.”—Collier. The copy that lies before me gives, “With his sterne vsurous Ielosie.”

[63] “Both the quartos [there is only one] say ‘With eyes stern usurious jealousy,’ which could be correct, although the meaning feels a bit strained.”—Collier. The version I have in front of me states, “With his stern usurious jealousy.”

[64] Device, trick.—In The Insatiate Countess, ii. 3, we have the word “whiblin” used in the same sense.

[64] Device, trick.—In The Insatiate Countess, ii. 3, we see the word “whiblin” used in the same way.

[65] Fidgetty, volatile.

Restless, unpredictable.

SCENE III.

Scene 3

The Blue Anchor, Billingsgate.

The Blue Anchor, Billingsgate.

Enter Seagull, Spendall, and Scapethrift, in the Tavern, with a Drawer.

Enter Seagull, Spendall, and Spendthrift, in the Tavern, with a Drawer.

Sea. Come, drawer, pierce your neatest hogsheads, and let’s have cheer—not fit for your Billingsgate tavern, but for our Virginian colonel; he will be here instantly.

Sea. Come on, bartender, tap your finest barrels, and let’s celebrate—not the kind of vibe for your Billingsgate tavern, but for our Virginian colonel; he’ll be here any minute.

Dr. You shall have all things fit, sir; please you have any more wine?

Dr. You'll have everything you need, sir; would you like some more wine?

Sp. More wine, slave! whether we drink it or no, spill it, and draw more.

Sp. More wine, servant! Whether we're going to drink it or not, just spill it and pour more.

Sea. Fill all the pots in your house with all sorts of liquor, and let ’hem wait on us here like soldiers in their pewter coats; and though we do not employ them now, yet we will maintain ’hem till we do.    12

Sea. Fill all the pots in your house with all kinds of liquor, and let them wait on us here like soldiers in their pewter uniforms; and even if we’re not using them now, we will keep them until we do. 12

Dr. Said like an honourable captain; you shall have all you can command, sir.

Dr. Said like a respected captain; you will have all that you can command, sir.

[Exit Drawer.

[Exit Drawer.]

Sea. Come, boys, Virginia longs till we share the rest of her maidenhead.

Sea. Come on, guys, Virginia can't wait until we share the rest of her virginity.

Sp. Why, is she inhabited already with any English?

Sp. Why, is she already filled with any English?

Sea. A whole country of English is there, man, bred of those that were left there in ’79;[66] they have married with the Indians, and make ’hem bring forth as beautiful faces as any we have in England; and therefore the Indians are so in love with ’hem, that all the treasure they have they lay at their feet.    23

Sea. A whole nation of English people is there, man, descendants of those who were left behind in ’79;[66] they have married the Indians and have beautiful children, as lovely as anyone we have in England; and so the Indians are so enamored with them that they offer all their treasures at their feet. 23

Sca. But is there such treasure there, captain, as I have heard?

Sca. But is there really treasure there, captain, like I’ve heard?

Sea. I tell thee, gold is more plentiful there than copper is with us; and for as much red copper as I can bring, I’ll have thrice the weight in gold. Why, man, all their dripping-pans and their chamber-pots are pure gold; and all the chains with which they chain up their streets are massy gold; all the prisoners they take are fettered in gold; and for rubies and diamonds, they go forth on holidays and gather ’hem by the seashore, to hang on their children’s coats, and stick in their caps, as commonly as our children wear saffron-gilt brooches and groats with holes in ’hem.    36

Sea. I tell you, gold is more common there than copper is here; and for as much red copper as I can bring, I'll get three times its weight in gold. Seriously, all their cooking pans and toilets are made of pure gold; and all the chains they use to secure their streets are solid gold; all the prisoners they capture are shackled in gold; and when it comes to rubies and diamonds, they go out on holidays and collect them from the beach, to hang on their children’s clothes and stick in their hats, just like our kids wear gold-plated brooches and pennies with holes in them. 36

Sca. And is it a pleasant country withal?

Sca. And is it a nice country as well?

Sea. As ever the sun shined on; temperate and full of all sorts of excellent viands: wild boar is as common there as our tamest bacon is here; venison as mutton. And then you shall live freely there, without sergeants, or courtiers, or lawyers, or intelligencers, only[67] a few industrious Scots, perhaps, who indeed are dispersed over the face of the whole earth. But as for them, there are no greater friends to Englishmen and England, when they are out on’t, in the world, than they are. And for my part, I would a hundred thousand of ’hem were there, for we are all one countrymen now, ye know, and we should find ten times more comfort of them there than we do here. Then for your means to advancement, there it is simple, and not preposterously mixed. You may be an alderman there, and never be scavenger: you may be a nobleman, and never be a slave. You may come to preferment enough, and never be a pander; to riches and fortune enough, and have never the more villainy nor the less wit. Besides,[68] there we shall have no more law than conscience, and not too much of either; serve God enough, eat and drink enough, and enough is as good as a feast.    59

Sea. The sun always shines there, warm and filled with all kinds of delicious food: wild boar is as common as our basic bacon, and venison is as easy to find as mutton. You can live freely there, without police, courtiers, lawyers, or spies, just a few hardworking Scots scattered all over the globe. But honestly, there are no better friends to English people and England when they’re away than they are. Personally, I wish there were a hundred thousand of them there because we’re all countrymen now, you know, and we would find ten times more comfort with them there than here. As for your chances for success, it’s straightforward and not overly complicated. You could be an alderman there without being a garbage collector: you could be a nobleman without being a servant. You can achieve plenty of success without having to be a sycophant; you can gain wealth and fortune without losing your integrity or wit. Plus, there we would have no more laws than our own conscience, and not too much of either; serve God enough, eat and drink enough, and that’s as good as a feast.

Sp. God’s me! and how far is it thither?

Sp. Goodness! How far is it to there?

Sea. Some six weeks’ sail, no more, with any indifferent good wind. And if I get to any part of the coast of Africa, I’ll sail thither with any wind; or when I come to Cape Finisterre, there’s a foreright wind continually wafts us till we come at Virginia. See, our colonel’s come.    66

Sea. About six weeks of sailing, no more, with decent winds. And if I reach any part of the coast of Africa, I’ll head there with any wind; or when I reach Cape Finisterre, there’s a steady wind that takes us all the way to Virginia. Look, our colonel has arrived. 66

Enter Sir Petronel with his followers.

Enter Sir Petronel with his crew.

Pe. Well met, good Captain Seagull, and my noble gentlemen! Now the sweet hour of our freedom is at hand. Come, drawer, fill us some carouses, and prepare us for the mirth that will be occasioned presently. Here will be a pretty wench, gentlemen, that will bear us company all our voyage.

Pe. Great to see you, Captain Seagull, and my esteemed friends! Now the joyful moment of our freedom is finally here. Come on, bartender, pour us some drinks, and get us ready for the fun that's about to happen. There will be a lovely lady with us, gentlemen, who will keep us company throughout our journey.

Sea. Whatsoever she be, here’s to her health, noble colonel, both with cap and knee.

Sea. Whatever she is, let's raise a toast to her health, noble colonel, with cap in hand and on one knee.

Pe. Thanks, kind Captain Seagull, she’s one I love dearly, and must not be known till we be free from all that know us. And so, gentlemen, here’s to her health.    78

Pe. Thanks, kind Captain Seagull, she's someone I love deeply, and we can't let anyone know until we're free from all those who know us. So, gentlemen, here's to her health. 78

Ambo. Let it come, worthy colonel; we do hunger and thirst for it.

Ambo. Bring it on, respected colonel; we're eager for it.

Pe. Afore heaven! you have hit the phrase of one that her presence will touch from the foot to the forehead, if ye knew it.

Pe. Oh my goodness! You’ve just nailed the phrase of someone whose presence will affect you from head to toe, if you really knew it.

Sp. Why, then, we will join his forehead with her health, sir; and Captain Scapethrift, here’s to ’hem both.

Sp. So, let's toast to his future and her well-being, sir; and Captain Scapethrift, cheers to them both.

Enter Security and Bramble.

Enter Security and Bramble.

Sec. See, see, Master Bramble, ’fore heaven! their voyage cannot but prosper; they are o’ their knees for success to it!

Sec. Look, look, Master Bramble, I swear! Their journey has to succeed; they’re on their knees praying for it!

Br. And they pray to god Bacchus.    90

Br. And they pray to God Bacchus. 90

Sec. God save my brave colonel, with all his tall captains and corporals. See, sir, my worshipful learned counsel, Master Bramble, is come to take his leave of you.

Sec. God save my brave colonel, along with all his tall captains and corporals. Look, sir, my esteemed and knowledgeable advisor, Master Bramble, has come to bid you farewell.

Pe. Worshipful Master Bramble, how far do you draw us into the sweet-briar of your kindness! Come, Captain Seagull, another health to this rare Bramble, that hath never a prick about him.

Pe. Worshipful Master Bramble, how deeply you pull us into the delightful charm of your kindness! Come on, Captain Seagull, let's raise another toast to this extraordinary Bramble, who has never a thorn about him.

Sea. I pledge his most smooth disposition, sir. Come, Master Security, bend your supporters, and pledge this notorious health here.    101

Sea. I promise he's the friendliest person, sir. Come on, Master Security, raise your glasses, and toast to this infamous health right here. 101

Sec. Bend you yours likewise, Master Bramble; for it is you shall pledge me.

Sec. You should also promise me, Master Bramble; it's you who will make the pledge.

Sea. Not so, Master Security; he must not pledge his own health.

Sea. No way, Master Security; he can't risk his own health.

Sec. No, Master Captain?

No, Captain?

Enter Quicksilver with Winny disguised.

Enter Quicksilver with Winny in disguise.

Why, then, here’s one is fitly come to do him that honour.

Why, then, here comes someone who is here to give him that honor.

Qu. Here’s the gentlewoman your cousin, sir, whom, with much entreaty, I have brought to take her leave of you in a tavern; ashamed whereof, you must pardon her if she put not off her mask.    112

Qu. Here’s your cousin’s friend, sir, whom I’ve brought to say goodbye to you at a tavern after much convincing; please excuse her for not taking off her mask out of embarrassment. 112

Pe. Pardon me, sweet cousin; my kind desire to see you before I went, made me so importunate to entreat your presence here.

Pe. Sorry, dear cousin; I really wanted to see you before I left, which is why I was so eager to ask you to be here.

Sec. How now, Master Francis? have you honoured this presence with a fair gentlewoman?

Sec. What’s up, Master Francis? Have you brought a lovely lady to this gathering?

Qu. Pray, sir, take you no notice of her, for she will not be known to you.

Qu. Please, sir, don't pay any attention to her, because she won't acknowledge you.

Sec. But my learned counsel, Master Bramble here, I hope he may know her.    121

Sec. But my wise lawyer, Master Bramble here, I hope he knows her. 121

Qu. No more than you, sir, at this time; his learning must pardon her.

Qu. Not any more than you, sir, at the moment; her lack of knowledge should be forgiven.

Sec. Well, God pardon her for my part, and I do, I’ll be sworn; and so, Master Francis, here’s to all that are going eastward to-night towards Cuckold’s Haven;[69] and so to the health of Master Bramble.

Sec. Well, God forgive her for my part, and I do, I swear; and so, Master Francis, here’s to everyone heading east tonight towards Cuckold’s Haven;[69] and here’s to the health of Master Bramble.

Qu. I pledge it, sir. Hath it gone round, Captain?

Qu. I promise it, sir. Has it made its way around, Captain?

Sea. It has, sweet Frank; and the round closes with thee.    130

Sea. It has, sweet Frank; and the round ends with you. 130

Qu. Well, sir, here’s to all eastward and toward cuckolds, and so to famous Cuckold’s Haven, so fatally remembered.

Qu. Well, sir, here's to all the eastward journeys and to fools, and so to the well-known Cuckold’s Haven, so painfully remembered.

[Surgit.

Surgit.

Pe. Nay, pray thee, coz, weep not; gossip Security.

Pe. No, please, cousin, don't cry; talk to Security.

Sec. Ay, my brave gossip.

Hey, my brave friend.

Pe. A word, I beseech you, sir. Our friend, Mistress Bramble here, is so dissolved in tears, that she drowns the whole mirth of our meeting. Sweet gossip, take her aside and comfort her.    139

Pe. I need to say something, sir. Our friend, Mistress Bramble, is crying so much that she’s ruining the fun of our gathering. Sweet friend, please take her aside and cheer her up. 139

Sec. Pity of all true love, Mistress Bramble; what, weep you to enjoy your love? What’s the cause, lady? Is’t because your husband is so near, and your heart yearns to have a little abused him? Alas, alas! the offence is too common to be respected. So great a grace hath seldom chanced to so unthankful a woman, to be rid of an old jealous dotard, to enjoy the arms of a loving young knight, that when your prickless Bramble is withered with grief of your loss, will make you flourish afresh in the bed of a lady.    149

Sec. Oh, the sadness of true love, Mistress Bramble; why do you cry over your affection? What’s the matter, lady? Is it because your husband is so close, and your heart longs to have a little fun at his expense? Alas, alas! This kind of offense is too common to care about. Such a wonderful opportunity has rarely come to such an ungrateful woman, to be free from an old jealous fool and to be in the embrace of a loving young knight. When your useless Bramble is worn out from grieving your loss, he will let you thrive again in the bed of a lady. 149

Enter Drawer.

Enter drawer.

Dr. Sir Petronel, here’s one of your watermen come to tell you it will be flood these three hours; and that ’twill be dangerous going against the tide, for the sky is overcast, and there was a porcpisce[70] even now seen at London Bridge, which is always the messenger of tempests, he says.

Dr. Sir Petronel, one of your watermen is here to tell you that it will be high tide for the next three hours, and that it will be dangerous to travel against the current. The sky is cloudy, and there was a porcupine fish seen just now at London Bridge, which he says is always a sign of storms.

Pe. A porcpisce!—what’s that to th’ purpose? Charge him, if he love his life, to attend us; can we not reach Blackwall (where my ship lies) against the tide, and in spite of tempests? Captains and gentlemen, we’ll begin a new ceremony at the beginning of our voyage, which I believe will be followed of all future adventurers.    161

Pe. A porcupine!—what’s that got to do with anything? Tell him, if he cares about his life, to join us; can’t we make it to Blackwall (where my ship is) against the tide, and despite the storms? Captains and gentlemen, we’ll start a new tradition as we begin our voyage, one I believe all future explorers will follow. 161

Sea. What’s that, good colonel?

Sea. What’s that, Colonel?

Pe. This, Captain Seagull. We’ll have our provided supper brought aboard Sir Francis Drake’s ship,[71] that hath compassed the world; where, with full cups and banquets, we will do sacrifice for a prosperous voyage. My mind gives me that some good spirits of the waters should haunt the desert ribs of her, and be auspicious to all that honour her memory, and will with like orgies enter their voyages.    170

Pe. Here it is, Captain Seagull. We’ll have our provided dinner brought aboard Sir Francis Drake’s ship,[71] which has sailed around the world; where, with full cups and feasts, we will offer a toast for a successful journey. I believe that good spirits of the waters should linger around her, bringing good fortune to all who honor her memory, and who will embark on their own journeys with similar celebrations. 170

Sea. Rarely conceited! One health more to this motion, and aboard to perform it. He that will not this night be drunk, may he never be sober.

Sea. Rarely arrogant! One more drink to this toast, and then let's get to it. Whoever isn’t getting drunk tonight may never be sober.

[They compass in Winifred, dance the drunken round, and drink carouses.

[They gather around Winny, dance in a drunken circle, and drink to celebrate.

Br. Sir Petronel and his honourable captains, in these young services we old servitors may be spared. We only came to take our leaves, and with one health to you all, I’ll be bold to do so. Here, neighbour Security, to the health of Sir Petronel, and all his captains.

Br. Sir Petronel and his esteemed captains, in these early days, we seasoned servants can take a step back. We just came to say our goodbyes, and with one toast to you all, I’ll confidently proceed. Here’s to you, neighbor Security, to the health of Sir Petronel and all his captains.

Sec. You must bend then, Master Bramble; so now I am for you. I have one corner of my brain, I hope, fit to bear one carouse more. Here, lady, to you that are encompassed there, and are ashamed of our company. Ha, ha, ha! by my troth, my learned counsel, Master Bramble, my mind runs so of Cuckold’s Haven to-night, that my head runs over with admiration.    186

Sec. You have to give in then, Master Bramble; so now I’m here for you. I hope there's still a little bit of room in my mind for one more drink. Here’s to you, lady, who are stuck there and embarrassed by our company. Ha, ha, ha! Honestly, my knowledgeable friend, Master Bramble, I can’t stop thinking about Cuckold’s Haven tonight, and I’m just overflowing with admiration. 186

Br. But is not that your wife, neighbour?

Br. But isn't that your wife, neighbor?

Sec. No, by my troth, Master Bramble. Ha, ha, ha! A pox of all Cuckold’s Havens, I say!

Sec. No, I swear, Master Bramble. Ha, ha, ha! Damn all the Cuckold's Havens, I say!

Br. O’ my faith, her garments are exceeding like your wife’s.

Br. Oh my gosh, her clothes are really similar to your wife's.

Sec. Cucullus non facit monachum, my learned counsel; all are not cuckolds that seem so, nor all seem not that are so. Give me your hand, my learned counsel; you and I will sup somewhere else than at Sir Francis Drake’s ship to-night. Adieu, my noble gossip.

Sec. Cucullus non facit monachum, my wise friend; not everyone who looks like a fool is one, and not everyone who doesn't look like a fool isn't one either. Give me your hand, my wise friend; you and I will eat dinner somewhere other than on Sir Francis Drake's ship tonight. Goodbye, my noble friend.

Br. Good fortune, brave captains; fair skies God send ye!

Br. Good luck, brave captains; may fair skies be with you!

Omnes. Farewell, my hearts, farewell!    199

Everyone. Goodbye, my loves, goodbye!    199

Pe. Gossip, laugh no more at Cuckold’s Haven, gossip.

Pe. Stop gossiping and laughing at Cuckold’s Haven, gossip.

Sec. I have done, I have done, sir; will you lead, Master Bramble? Ha, ha, ha!

Sec. I've done it, I've done it, sir; will you lead, Master Bramble? Haha!

Pe. Captain Seagull, charge a boat.

Captain Seagull, get a boat.

Omnes. A boat, a boat, a boat!

Everyone. A boat, a boat, a boat!

[Exeunt all but Drawer.

Exeunt all except Drawer.

Dr. Y’are in a proper taking indeed, to take a boat, especially at this time of night, and against tide and tempest. They say yet, “drunken men never take harm.” This night will try the truth of that proverb.    208

Dr. You’re really something for wanting to take a boat, especially at this hour, fighting against the tide and the storm. They say, “drunken men never get hurt.” Tonight will test the truth of that saying. 208

[Exit.

Exit.

[66] This date is too early. The first colony was established (by Sir Richard Grenville) in 1585; see Hakluyt’s Voyages (ed. 1600), iii. 254. These colonists stayed only a year in Virginia. A second batch was sent out in 1587.

[66] This date is too early. The first colony was established (by Sir Richard Grenville) in 1585; see Hakluyt’s Voyages (ed. 1600), iii. 254. These colonists stayed only a year in Virginia. A second group was sent out in 1587.

[67] “Only a few ... than we do here.”—This is one of the passages that gave offence and procured the author’s imprisonment. It is found only in a few copies. Englishmen were disgusted at the favours lavished by James on the needy Scots who swarmed southwards “with pride and hungry hopes completely arm’d.” See Jesse’s Court of England under the Stuarts, ed. 1855, i. 52-3.

[67] “Only a few ... than we do here.”—This is one of the passages that upset people and led to the author’s imprisonment. It appears in only a handful of copies. Englishmen were appalled by the favors that James showed to the needy Scots who were coming south “with pride and hungry hopes completely armed.” See Jesse’s Court of England under the Stuarts, ed. 1855, i. 52-3.

[68] “Besides ... good as a feast.”—This passage is omitted in the copies that contain the cancelled passage about the Scots.

[68] “Besides ... just as good as a feast.”—This part is left out in the versions that include the crossed-out section about the Scots.

[69] A spot on the Thames below Rotherhithe.

[69] A location on the Thames near Rotherhithe.

[70] Old form of porpoise: it occurs in Jonson’s Silent Woman, &c. The gambolling of porpoises was supposed to portend a storm.

[70] Old term for porpoise: it appears in Jonson’s Silent Woman, etc. The playful behavior of porpoises was thought to signal an approaching storm.

[71] See note 1, p. 59.

__A_TAG_PLACEHOLDER_0__ See note 1, __A_TAG_PLACEHOLDER_1__

SCENE IV.

SCENE 4.

Outside Security’s house.

Outside Security’s place.

Enter Security.

Enter Security.

Sec. What, Winny!—wife, I say! out of doors at this time! where should I seek the gad-fly? Billingsgate, Billingsgate, Billingsgate! She’s gone with the knight, she’s gone with the knight; woe be to thee, Billingsgate! A boat, a boat, a boat! a full hundred marks for a boat![72]

Sec. What’s going on, Winny!—Wife, I mean! Out here at this hour! Where should I look for that nuisance? Billingsgate, Billingsgate, Billingsgate! She’s gone with the knight, she’s gone with the knight; shame on you, Billingsgate! A boat, a boat, a boat! A full hundred marks for a boat![72]

[Exit.

Exit.

[72] See note 2, vol. ii. p. 349.

__A_TAG_PLACEHOLDER_0__ See note 2, vol. ii. p. 349.

ACT IV.

SCENE I.

SCENE I.

Cuckold’s Haven.

Cuckold's Haven.

Enter Slitgut with a pair of ox-horns, discovering Cuckold’s Haven above.

Enter Slit gut with a pair of bull horns, finding Cuckold’s Haven above.

Sl. All hail, fair haven of married men only! for there are none but married men cuckolds. For my part, I presume not to arrive here, but in my masters behalf (a poor butcher of East-cheap), who sends me to set up (in honour of Saint Luke) these necessary ensigns of his homage.[73] And up I got this morning, thus early, to get up to the top of this famous tree, that is all fruit and no leaves, to advance this crest of my master’s occupation. Up then; heaven and Saint Luke bless me, that I be not blown into the Thames as I climb, with this furious tempest. ’Slight! I think the devil be abroad, in likeness of a storm, to rob me of my horns! Hark how he roars! Lord! what a coil the Thames keeps! she bears some unjust burthen, I believe, that she kicks and curvets thus to cast it. Heaven bless all honest passengers that are upon her back now; for the bit is out of her mouth, I see, and she will run away with ’hem! So, so, I think I have made it look the right way; it runs against London Bridge, as it were, even full butt. And now let me discover from this lofty prospect, what pranks the rude Thames plays in her desperate lunacy. O me! here’s a boat has been cast away hard by. Alas, alas! see one of her passengers labouring for his life to land at this haven here! pray heaven he may recover it! His next land is even just under me; hold out yet a little, whatsoever thou art; pray, and take a good heart to thee. ’Tis a man; take a man’s heart to thee; yet a little further, get up a’ thy legs, man; now ’tis shallow enough. So, so, so! Alas! he’s down again. Hold thy wind, father: ’tis a man in a nightcap. So! now he’s got up again; now he’s past the worst: yet, thanks be to heaven, he comes towards me pretty and strongly.    33

Sl. All hail, fair haven for married men only! because there are none but married men who are cheated on. For my part, I don’t intend to come here for myself, but on behalf of my master (a poor butcher from East-cheap), who sent me to put up (in honor of Saint Luke) these important symbols of his tribute.[73] And I got up this morning, quite early, to climb to the top of this famous tree, which has all fruit and no leaves, to display this crest of my master’s trade. Up then; heaven and Saint Luke bless me, that I don’t get blown into the Thames as I climb, with this wild storm. Goodness! I think the devil is out, disguised as a storm, to steal my horns! Listen to how he roars! Wow! what a commotion the Thames is making! she seems to be carrying some heavy burden, I believe, that she’s kicking and jumping to throw it off. Heaven bless all honest travelers on her back right now; because the bit is out of her mouth, I see, and she’s going to run away with them! So, so, I think I have made it look the right way; it’s headed straight for London Bridge, head-on. And now let me see from this high point, what tricks the wild Thames is playing in her crazy state. Oh no! here’s a boat that has capsized nearby. Alas, alas! look at one of her passengers struggling for his life to reach this haven here! I pray heaven he makes it! His next land is just below me; hold on a little longer, whoever you are; please, gather your courage. It’s a man; gather a man’s courage; just a little farther, get up on your legs, man; now it’s shallow enough. So, so, so! Alas! he’s gone down again. Catch your breath, father: it’s a man in a nightcap. All right! now he’s up again; now he’s past the worst: yet, thank heaven, he’s coming towards me pretty strongly. 33

Enter Security without his hat, in a nightcap, wet band, &c.

Enter Security without his hat, in a nightcap, wet band, etc.

Sec. Heaven, I beseech thee, how have I offended thee! where am I cast ashore now, that I may go a righter way home by land? Let me see; O I am scarce able to look about me: where is there any seamark that I am acquainted withal?

Sec. Heaven, I beg you, how have I wronged you? Where have I ended up now, so I can find a better way home on land? Let me see; oh, I can barely look around: is there any landmark that I recognize?

Sl. Look up, father; are you acquainted with this mark?    40

Sl. Look up, Dad; do you recognize this mark? 40

Sec. What! landed at Cuckold’s Haven! Hell and damnation! I will run back and drown myself.

Sec. What! I ended up at Cuckold’s Haven! This is unbelievable! I’m going to run back and drown myself.

[He falls down.

He falls down.

Sl. Poor man, how weak he is! the weak water has washed away his strength.

Sl. Poor guy, he's so weak! The weak water has drained away his strength.

Sec. Landed at Cuckold’s Haven! If it had not been to die twenty times alive, I should never have ’scaped death! I will never arise more; I will grovel here and eat dirt till I be choked; I will make the gentle earth do that, which the cruel water has denied me.    49

Sec. I’ve made it to Cuckold’s Haven! If I hadn’t been ready to die twenty times over, I wouldn’t have escaped death! I won’t get up again; I’ll just lie here and eat dirt until I choke; I’ll make the kind earth do what the harsh water has denied me. 49

Sl. Alas! good father, be not so desperate! Rise, man; if you will I’ll come presently and lead you home.

Sl. Oh no! Good father, don’t be so hopeless! Get up, man; if you want, I’ll come right away and take you home.

Sec. Home! shall I make any know my home, that has known me thus abroad? How low shall I crouch away, that no eye may see me? I will creep on the earth while I live, and never look heaven in the face more.

Sec. Home! Should I let anyone know my home, that has seen me like this out in the world? How low should I hide, so no one can see me? I will crawl on the ground while I live and never look up at the sky again.

[Exit creeping.

Exit creeping.

Sl. What young planet reigns now, trow,[74] that old men are so foolish? What desperate young swaggerer would have been abroad such a weather as this, upon the water? Ay me! see another remnant of this unfortunate shipwreck, or some other. A woman, i’faith, a woman; though it be almost at St. Katherine’s, I discern it to be a woman, for all her body is above the water, and her clothes swim about her most handsomely. O, they bear her up most bravely! has not a woman reason to love the taking up of her clothes the better while she lives, for this? Alas! how busy the rude Thames is about her! a pox o’ that wave! it will drown her, i’faith, ’twill drown her! Cry God mercy, she has ’scaped it—I thank heaven she has ’scaped it! O how she swims like a mermaid! some vigilant body look out and save her. That’s well said; just where the priest fell in, there’s one sets down a ladder, and goes to take her up. God’s blessing o’ thy heart, boy! Now take her up in thy arms and to bed with her; she’s up, she’s up! She’s a beautiful woman, I warrant her; the billows durst not devour her.    77

Sl. What young planet is ruling now, I wonder, that old men are so foolish? What reckless young person would be out in this weather, on the water? Oh dear! look, there’s another survivor from this unfortunate shipwreck, or another one. A woman, indeed, a woman; even though it's almost at St. Katherine’s, I can tell it's a woman because her body is above the water, and her clothes are floating around her so elegantly. Oh, they’re keeping her up wonderfully! Doesn’t a woman have reason to appreciate her clothes being lifted while she’s alive? Alas! how busy the rough Thames is around her! Damn that wave! It will drown her, I swear, it will drown her! Thank God, she made it—I'm grateful to heaven she made it! Oh, how she swims like a mermaid! Someone alert and save her. That’s right; just where the priest fell in, someone is lowering a ladder to help her up. God bless your heart, boy! Now take her in your arms and get her to bed; she’s up, she’s up! She’s a beautiful woman, I bet; the waves wouldn’t dare to take her. 77

Enter the Drawer of the Blue Anchor,[75] with Winifred.

Enter the Drawer of the Blue Anchor, __A_TAG_PLACEHOLDER_0__ with Winifred.

Dr. How fare you now, lady?

Dr. How are you now, lady?

Wi. Much better, my good friend, than I wish; as one desperate of her fame, now my life is preserved.

Wi. Way better, my good friend, than I hoped; since I was desperate for my reputation, my life is now saved.

Dr. Comfort yourself: that power that preserved you from death can likewise defend you from infamy, howsoever you deserve it. Were not you one that took boat late this night, with a knight and other gentlemen at Billingsgate?

Dr. Take solace: the power that saved you from death can also protect you from shame, no matter how much you deserve it. Weren't you the one who took a boat late last night, with a knight and some other gentlemen at Billingsgate?

Wi. Unhappy that I am, I was.    86

Wi. I was unhappy, and still am. 86

Dr. I am glad it was my good hap to come down thus far after you, to a house of my friend’s here in St. Katherine’s, since I am now happily made a mean to your rescue from the ruthless tempest, which (when you took boat) was so extreme, and the gentleman that brought you forth so desperate and unsober, that I feared long ere this I should hear of your shipwreck, and therefore (with little other reason) made thus far this way. And this I must tell you, since perhaps you may make use of it, there was left behind you at our tavern, brought by a porter (hired by the young gentleman that brought you), a gentlewoman’s gown, hat, stockings, and shoes; which if they be yours, and you please to shift you, taking a hard bed here in this house of my friend, I will presently go fetch you.    101

Dr. I'm glad I was lucky enough to come down this way after you, to a friend's house here in St. Katherine’s, because I’m now able to help rescue you from the brutal storm that was so fierce when you took the boat. The man who brought you over was so reckless and out of control that I was genuinely worried I would hear about your shipwreck long before now, which is why I made the trip this far. Also, I should mention that there was a lady’s gown, hat, stockings, and shoes left behind at our tavern, carried by a porter hired by the young man who brought you. If they’re yours and you want to change, you can take a tough bed here at my friend’s house, and I’ll go get them for you right away. 101

Wi. Thanks, my good friend, for your more than good news. The gown with all things bound with it are mine; which if you please to fetch as you have promised, I will boldly receive the kind favour you have offered till your return; entreating you, by all the good you have done in preserving me hitherto, to let none take knowledge of what favour you do me, or where such a one as I am bestowed, lest you incur me much more damage in my fame than you have done me pleasure in preserving my life. 110

Wi. Thanks, my good friend, for your more than generous news. The gown and everything that comes with it are mine; if you could please pick it up as you promised, I will gladly accept your kind favor until you return. I urge you, considering all the good you've done to save me so far, to keep this favor between us, so that no one finds out about it or where someone like me is being cared for, or else you might damage my reputation even more than you have helped me by saving my life. 110

Dr. Come in, lady, and shift yourself; resolve that nothing but your own pleasure shall be used in your discovery.

Dr. Come in, ma'am, and make yourself comfortable; decide that only your own enjoyment will guide your exploration.

Wi. Thank you, good friend; the time may come, I shall requite you.

Wi. Thank you, my good friend; there might come a time when I repay you.

[Exeunt.

Exeunt.

Slit. See, see, see! I hold my life, there’s some other a taking up at Wapping now! Look, what a sort of people cluster about the gallows there! in good troth it is so. O me! a fine young gentleman! What, and taken up at the gallows! Heaven grant he be not one day taken down there! O’ my life, it is ominous! Well, he is delivered for the time. I see the people have all left him; yet will I keep my prospect awhile, to see if any more have been shipwracked.    124

Slit. Look, look, look! I can’t believe it, there’s someone else getting arrested at Wapping right now! Check out the crowd gathered around the gallows! Honestly, it’s true. Oh my! A fine young guy! What, and captured at the gallows! I hope he doesn’t end up down there one day! Oh man, it feels ominous! Well, he's safe for now. I see the crowd has all left him; but I’ll keep watching a bit longer, just to see if anyone else gets caught up in this mess. 124

Enter Quicksilver, bareheaded.

Enter Quicksilver, without a hat.

Qu. Accursed that ever I was saved or born!
How fatal is my sad arrival here!
As if the stars and providence spake to me,
And said, “The drift of all unlawful courses
(Whatever end they dare propose themselves,
In frame of their licentious policies),    130
In the firm order of just destiny,
They are the ready highways to our ruins.”
I know not what to do; my wicked hopes
Are, with this tempest, torn up by the roots.
O! which way shall I bend my desperate steps,
In which unsufferable shame and misery
Will not attend them? I will walk this bank,
And see if I can meet the other relics
Of our poor shipwreck’d crew, or hear of them.
The knight, alas! was so far gone with wine,    140
And th’ other three, that I refused their boat,
And took the hapless woman in another,
Who cannot but be sunk, whatever fortune
Hath wrought upon the others’ desperate lives.

Qu. Damn that I was ever saved or born!
How tragic is my unfortunate arrival here!
It feels like the stars and fate are communicating with me,
Saying, “The way of all illegal actions
(No matter what goal they say they're pursuing,
In their reckless plans,
In the unchanging course of true destiny,
"They are the guaranteed paths to our destruction."
I'm not sure what to do; my wicked desires.
Have been displaced by this storm.
Oh! Which way should I take with my desperate steps,
Where intense shame and misery
You won’t follow me? I’ll walk along this shore,
And see if I can find the other survivors.
Of our unfortunate shipwrecked crew, or hear any updates about them.
The knight, unfortunately, had too much to drink,    140
So I turned down their boat along with the other three,
And took the unfortunate woman in another,
Who can't help but feel overwhelmed, regardless of their fate.
Has happened to the desperate lives of others.

[Exit.

[Leave.

Enter Sir Petronel and Seagull, bareheaded.

Enter Sir Petronel and Seagull, without hats.

Pe. Zounds! captain, I will tell thee, we are cast up o’ the coast of France. ’Sfoot! I am not drunk still, I hope. Dost remember where we were last night?

Pe. Wow! Captain, I’ve got to tell you, we’ve landed on the coast of France. Good grief! I hope I’m not still drunk. Do you remember where we were last night?

Sea. No, by my troth, knight, not I; but methinks we have been a horrible while upon the water and in the water.    150

Sea. No, I swear, knight, not me; but it feels like we’ve been out on the water and in the water for a really long time. 150

Pe. Ay me! we are undone for ever! Hast any money about thee?

Pe. Oh no! We're doomed forever! Do you have any money on you?

Sea. Not a penny, by Heaven!

Not a dime, by God!

Pe. Not a penny betwixt us, and cast ashore in France!

Pe. Not a penny between us, and stranded in France!

Sea. ’Faith, I cannot tell that; my brains nor mine eyes are not mine own yet.    157

Sea. 'Honestly, I can't say that; my mind and my eyes aren't my own yet. 157

Enter two Gentlemen.

Enter two men.

Pe. ’Sfoot! wilt not believe me? I know’t by th’ elevation of the pole, and by the altitude and latitude of the climate. See, here comes a couple of French gentlemen; I knew we were in France; dost thou think our Englishmen are so Frenchified, that a man knows not whether he be in France or in England, when he sees ’hem? What shall we do? We must e’en to ’hem, and entreat some relief of ’hem. Life is sweet, and we have no other means to relieve our lives now but their charities.

Pe. Goodness! You don’t believe me? I can tell by the height of the pole and the climate’s position. Look, here come a couple of French gentlemen; I knew we were in France. Do you think our Englishmen are so influenced by French culture that you can’t tell if you’re in France or England when you see them? What should we do? We have to go to them and ask for some help. Life is sweet, and we have no other way to improve our situation right now except through their kindness.

Sea. Pray you, do you beg on ’hem then; you can speak French.    168

Sea. Please, do you ask them for help then; you can speak French. 168

Pe. Monsieur, plaist il d’avoir pitie de nostre grande infortune. Je suis un poure chevalier d’Angleterre qui a souffri l’infortune de naufrage.

Pe. Sir, please show mercy on our great misfortune. I’m a poor knight from England who has endured the tragedy of a shipwreck.

1st Gent. Un poure chevalier d’Angleterre?

1st Gent. A poor knight from England?

Pe. Oui, monsieur, il est trop vray; mais vous sçaves bien nous sommes toutes subject à fortune.

Pe. Yes, sir, it's all too true; but you know we are all at the mercy of fate.

2nd Gent. A poor knight of England?—a poor knight of Windsor, are you not? Why speak you this broken French when y’are a whole Englishman? On what coast are you, think you?

2nd Gent. Are you a poor knight from England?—a poor knight from Windsor, right? Why are you speaking this broken French when you’re completely English? What coast do you think you’re on?

Pe. On the coast of France, sir.    179

Pe. On the coast of France, sir. 179

1st Gent. On the coast of Dogs, sir; y’are i’th’ Isle o’ Dogs, I tell you, I see y’ave been washed in the Thames here, and I believe ye were drowned in a tavern before, or else you would never have took boat in such a dawning as this was. Farewell, farewell; we will not know you for shaming of you. I ken the man weel; he’s one of my thirty pound knights.[76]

1st Gent. You’re on the coast of Dogs, sir; you’re in the Isle of Dogs. I can see you’ve been washed in the Thames, and I believe you were drowned in a tavern before, or you wouldn’t have taken a boat out in a dawn like this. Goodbye, goodbye; we won’t recognize you out of embarrassment. I know the man well; he’s one of my thirty-pound knights.[76]

2nd Gent. No, no, this is he that stole his knighthood o’ the grand day for four pound given to a page; all the money in’s purse, I wot well.

2nd Gent. No, no, this is the guy who bought his knighthood on the big day for four pounds given to a page; all the money in his purse, I know for sure.

[Exeunt.

[Exit.

Sea. Death! colonel, I knew you were over-shot.    190

Sea. Death! Colonel, I knew you were out of control. 190

Pe. Sure I think now, indeed, Captain Seagull, we were something over-shot.

Pe. I definitely think now, Captain Seagull, that we were a bit too much.

Enter Quicksilver.

Enter Quicksilver.

What! my sweet Frank Quicksilver! dost thou survive to rejoice me? But what! nobody at thy heels, Frank? Ay me! what is become of poor Mistress Security?

What! My sweet Frank Quicksilver! Are you really alive to make me happy? But wait! No one is following you, Frank? Oh dear! Whatever happened to poor Mistress Security?

Qu. ’Faith, gone quite from her name, as she is from her fame, I think; I left her to the mercy of the water.

Qu. 'Honestly, it's like her faith has disappeared along with her reputation; I left her to the mercy of the water.

Sea. Let her go, let her go! Let us go to our ship at Blackwall, and shift us.    199

Sea. Let her go, let her go! Let’s head to our ship at Blackwall and make some changes. 199

Pe. Nay, by my troth, let our clothes rot upon us, and let us rot in them; twenty to one our ship is attached by this time! If we set her not under sail this last tide, I never looked for any other. Woe, woe is me! what shall become of us? The last money we could make, the greedy Thames has devoured; and if our ship be attached, there is no hope can relieve us.

Pe. No, honestly, let our clothes fall apart on us, and let us rot in them; there’s a good chance our ship is tied up by now! If we don’t get her sailing with this last tide, I don’t expect any other chance. Oh, what a tragedy! What will happen to us? The last money we could scrape together has been gobbled up by the greedy Thames; and if our ship is tied up, there’s no hope for us.

Qu. ’Sfoot! knight, what an unknightly faintness transports thee! Let our ship sink, and all the world that’s without us be taken from us, I hope I have some tricks in this brain of mine shall not let us perish.    210

Qu. Oh man! What an unchivalrous weakness takes over you! Let our ship sink, and let the whole world outside us fade away, but I’m sure I have some clever ideas in my head that will keep us from dying. 210

Sea. Well said, Frank, i’faith. O, my nimble-spirited Quicksilver! ’Fore God! would thou hadst been our colonel!

Sea. Well said, Frank, I swear. Oh, my quick-witted Quicksilver! By God! I wish you had been our colonel!

Pe. I like his spirit rarely; but I see no means he has to support that spirit.

Pe. I appreciate his spirit sometimes; but I don’t see how he can keep that spirit up.

Qu. Go to, knight! I have more means than thou art aware of. I have not lived amongst goldsmiths and goldmakers all this while, but I have learned something worthy of my time with ’hem. And not to let thee stink where thou stand’st, knight, I’ll let thee know some of my skill presently.    221

Qu. Come on, knight! I have more resources than you realize. I haven't spent my time around goldsmiths and jewelers without picking up something valuable. And to save you from looking foolish where you are, I'll share some of my skills with you right now. 221

Sea. Do, good Frank, I beseech thee.

Sea. Please, good Frank, I'm begging you.

Qu. I will blanch copper so cunningly that it shall endure all proofs but the test: it shall endure malleation, it shall have the ponderosity of Luna, and the tenacity of Luna—by no means friable.

Qu. I will process copper so expertly that it can withstand everything except the ultimate test: it will endure shaping, have the weight of silver, and the strength of silver—definitely not brittle.

Pe. ’Slight! where learn’st thou these terms, trow?

Pe. "Really! Where did you learn these words, I wonder?"

Qu. Tush, knight! the terms of this art every ignorant quacksalver is perfect in; but I’ll tell you how yourself shall blanch copper thus cunningly. Take arsenic, otherwise called realga (which indeed is plain ratsbane); sublime ’hem three or four times, then take the sublimate of this realga, and put ’hem into a glass, into chymia, and let them have a convenient decoction natural, four-and-twenty hours, and he will become perfectly fixed; then take this fixed powder, and project him upon well-purged copper, et habebis magisterium.    237

Qu. Come on, knight! Anyone clueless about this craft thinks they understand it; but I’ll show you how to cleverly whiten copper. First, take arsenic, also known as realgar (which is actually just plain rat poison); sublime it three or four times, then take the sublimate of this realgar and put it into a glass for purification, letting it stew naturally for twenty-four hours, and it will become completely fixed. Then take this fixed powder and apply it to well-purged copper, et habebis magisterium. 237

Ambo. Excellent Frank, let us hug thee!

Ambo. Great Frank, let's give you a hug!

Qu. Nay, this I will do besides. I’ll take you off twelvepence from every angel, with a kind of aquafortis, and never deface any part of the image.

Qu. No, there's more. I’ll take you down twelve pence from every angel, using some kind of acid, and I won't damage any part of the image.

Pe. But then it will want weight?

Pe. But then will it need weight?

Qu. You shall restore that thus: Take your sal achime prepared, and your distilled urine, and let your angels lie in it but four-and-twenty hours, and they shall have their perfect weight again. Come on, now; I hold this is enough to put some spirit into the livers of you; I’ll infuse more another time. We have saluted the proud air long enough with our bare sconces. Now will I have you to a wench’s house of mine at London, there make shift to shift us, and after, take such fortunes as the stars shall assign us.    252

Qu. You’ll restore that like this: Take your prepared sal achime and your distilled urine, and let your angels sit in it for just twenty-four hours, and they’ll regain their perfect weight. Let’s go; I think this should lift your spirits a bit; I’ll give you more another time. We’ve greeted the proud air long enough with our bare heads. Now, I want to take you to a girl’s place of mine in London, where we can make ourselves comfortable, and afterward, we’ll see what fate has in store for us. 252

Ambo. Notable Frank, we will ever adore thee!

Ambo. Awesome Frank, we will always adore you!

[Exeunt.

[Exit.

Enter Drawer, with Winifred new-attired.

Enter Drawer, with Winifred in new clothes.

Wi. Now, sweet friend, you have brought me near enough your tavern, which I desired I might with some colour be seen near, inquiring for my husband, who, I must tell you, stole[77] thither the last night with my wet gown we have left at your friend’s, which, to continue your former honest kindness, let me pray you to keep close from the knowledge of any: and so, with all vow of your requital, let me now entreat you to leave me to my woman’s wit and fortune.    262

Wi. Now, dear friend, you've brought me close enough to your tavern, which I wanted to be seen near while I look for my husband. I have to tell you, he took off last night wearing my wet gown, which we left at your friend's place. To continue your previous kindness, please keep that a secret. Now, with my utmost gratitude, I ask you to let me rely on my own cleverness and luck. 262

Dr. All shall be done you desire; and so all the fortune you can wish for attend you.

Dr. Everything you want will be done; may all the luck you desire be with you.

[Exit Drawer.

[Exit Drawer.]

Enter Security.

Enter Security.

Sec. I will once more to this unhappy tavern before I shift one rag of me more; that I may there know what is left behind, and what news of their passengers. I have bought me a hat and band with the little money I had about me, and made the streets a little leave staring at my nightcap.

Sec. I will go back to this miserable tavern one more time before I change my clothes; so I can find out what's been left behind and any news about the travelers. I used the little money I had to buy a hat and a band, and now the streets have become a little curious about my nightcap.

Wi. O, my dear husband! where have you been to-night? All night abroad at taverns! Rob me of my garments! and fare as one run away from me! Alas! is this seemly for a man of your credit, of your age, and affection to your wife?    275

Wi. Oh, my dear husband! Where have you been tonight? Out at bars all night! You’ve stripped me of my dignity and acted like someone who has abandoned me! Is this how a man of your reputation, age, and love for his wife should behave? 275

Sec. What should I say?—how miraculously sorts this!—was not I at home, and called thee last night?

Sec. What should I say?—how wonderfully this works out!—wasn't I at home and didn’t I call you last night?

Wi. Yes, sir, the harmless sleep you broke; and my answer to you would have witnessed it, if you had had the patience to have stayed and answered me; but your so sudden retreat made me imagine you were gone to Master Bramble’s, and so rested patient and hopeful of your coming again, till this your unbelieved absence brought me abroad with no less than wonder, to seek you where the false knight had carried you.    285

Wi. Yes, sir, the peaceful sleep you interrupted; and my response to you would have shown that if you had just stayed and listened to me. But your sudden departure made me think you had gone to Master Bramble’s, so I waited patiently and hopefully for your return, until your unexpected absence drove me to go out and search for you where the false knight had taken you. 285

Sec. Villain and monster that I was! how have I abused thee! I was suddenly gone indeed; for my sudden jealousy transferred me. I will say no more but this: dear wife, I suspected thee.

Sec. What a villain and monster I was! How I mistreated you! I was really gone; my sudden jealousy took over. I won’t say more than this: dear wife, I suspected you.

Wi. Did you suspect me?    290

Did you suspect me?

Sec. Talk not of it, I beseech thee; I am ashamed to imagine it. I will home, I will home; and every morning on my knees ask thee heartily forgiveness.

Sec. Please, don't talk about it; I'm embarrassed just thinking about it. I'm going home, I'm going home; and every morning on my knees, I'll sincerely ask for your forgiveness.

[Exeunt.

[Exit.

[Slit.] Now will I descend my honourable prospect; the farthest seeing sea-mark of the world; no marvel, then, if I could see two miles about me. I hope the red tempest’s anger be now over-blown, which sure, I think, Heaven sent as a punishment for profaning holy Saint Luke’s memory[78] with so ridiculous a custom. Thou dishonest satire! farewell to honest married men, farewell to all sorts and degrees of thee! Farewell, thou horn of hunger, that call’st the inns o’ court to their manger! Farewell, thou horn of abundance, that adornest the headsmen of the commonwealth! Farewell, thou horn of direction, that is the city lanthorn! Farewell, thou horn of pleasure, the ensign of the huntsman! Farewell, thou horn of destiny, th’ ensign of the married man! Farewell, thou horn tree, that bearest nothing but stone-fruit!    309

[Slit.] Now I will lower my noble expectations; the farthest visible landmark of the world; no wonder then, if I can see two miles around me. I hope the furious storm has passed, which I believe Heaven sent as a punishment for disrespecting the memory of holy Saint Luke with such a foolish tradition. You dishonest mockery! Goodbye to honest married men, goodbye to all varieties of you! Goodbye, you horn of hunger, that calls the inns of court to their feeding trough! Goodbye, you horn of abundance, that adorns the leaders of the commonwealth! Goodbye, you horn of guidance, that is the city lantern! Goodbye, you horn of pleasure, the symbol of the hunter! Goodbye, you horn of fate, the symbol of the married man! Goodbye, you horn tree, that bears nothing but stone fruit! 309

[Exit.

[Leave.

[73] Horn-fair was held at Charlton on St. Luke’s Day, 18th October.—The tradition was that King John cuckolded a miller who lived near Charlton, and compensated him by giving him all the land that he could see from his house, looking down the river; the condition being that the miller should walk round the estate annually on St. Luke’s Day with a pair of buck’s horns fastened on his head.

[73] Horn Fair took place in Charlton on St. Luke's Day, October 18th. The story goes that King John cheated on a miller living near Charlton and made it up to him by giving him all the land he could see from his house by the river. The catch was that the miller had to walk around the estate every year on St. Luke's Day with a pair of deer horns attached to his head.

[74] I.e., think you?

__A_TAG_PLACEHOLDER_0__ Like, you think?

[75] Old ed.Enter the Drawer in the tavern before.”

__A_TAG_PLACEHOLDER_0__ Old ed. “Enter the Drawer in the tavern before.”

[76] A sneer at those who purchased the honour of knighthood from King James. As he spoke the words the actor mimick’d James’ Scotch accent.

[76] A mockery of those who bought the title of knight from King James. As he said this, the actor imitated James’ Scottish accent.

[77] Old ed. “stale.”

Old ed. “stale.”

[78] See note, p. 72.

__A_TAG_PLACEHOLDER_0__ See note, __A_TAG_PLACEHOLDER_1__

SCENE II.

SCENE II.

Goldsmiths’ Row.

Goldsmiths' Row.

Enter Touchstone.

Enter Touchstone.

To. Ha, sirrah! thinks my knight adventurer we can no point of our compass? Do we not know nor-north-east, north-east-and-by-east, east-and-by-north? nor plain eastward? Ha! have we never heard of Virginia? nor the Cavallaria? nor the Colonoria? Can we discover no discoveries? Well, mine errant Sir Flash, and my runagate Quicksilver, you may drink drunk,[79] crack cans, hurl away a brown dozen of Monmouth caps[80] or so, in sea ceremony to your bon voyage; but for reaching any coast, save the coast of Kent or Essex, with this tide, or with this fleet, I’ll be your warrant for a Gravesend toast. There’s that gone afore will stay your admiral,[81] and vice-admiral and rear-admiral, were they all (as they are) but one pinnace, and under sail, as well as a remora,[82] doubt it not; and from this sconce,[83] without either powder or shot. Work upon that now. Nay, and you’ll show tricks, we’ll vie[84] with you a little. My daughter, his lady, was sent eastward by land, to a castle of his, i’ the air (in what region I know not), and, as I hear, was glad to take up her lodging in her coach, she and her two waiting-women, her maid, and her mother, like three snails in a shell, and the coachman a-top on ’hem, I think. Since they have all found the way back again by Weeping Cross;[85] but I’ll not see ’hem. And for two on ’hem, madam and her malkin, they are like to bite o’ the bridle for William, as the poor horses have done all this while that hurried ’hem, or else go graze o’ the common. So should my Dame Touchstone too; but she has been my cross these thirty years, and I’ll now keep her to fright away sprites, i’faith. I wonder I hear no news of my son Golding. He was sent for to the Guildhall this morning betimes, and I marvel at the matter; if I had not laid up comfort and hope in him, I should grow desperate of all. See! he is come i’ my thought. How now, son? What news at the Court of Aldermen?    35

To. Ha, buddy! Does my knight think we can’t find our way? Don’t we know nor-north-east, north-east-and-by-east, east-and-by-north, or straight east? Ha! Have we never heard of Virginia? Or the Cavallaria? Or the Colonoria? Can't we make any discoveries? Well, my dutiful Sir Flash and my runaway Quicksilver, you can get drunk, [79] crack open some drinks, toss a dozen Monmouth caps[80] or so in a seaside ceremony for your bon voyage; but as for reaching any shore, other than the coast of Kent or Essex, with this tide or with this fleet, I’ll bet you a Gravesend toast. That ship that left before will hold your admiral,[81] vice-admiral and rear-admiral, even if they’re all just one small boat, and sailing like a remora,[82] you can bet on that; and from this spot,[83] without any powder or shot. Think about that. And if you’re going to show off, we’ll compete[84] a little. My daughter, his wife, was sent east by land to one of his castles in the air (I have no idea where), and I heard she was happy to settle in her coach, her and her two maids, her lady-in-waiting, and her mother, all like three snails in a shell, with the coachman on top of them, I think. Since then, they’ve all found their way back via Weeping Cross;[85] but I won’t see them. And as for two of them, my lady and her maid, they’re likely to be champing at the bit for William, just like the poor horses that have been pushing them this whole time, or else go graze on the common. So should my Dame Touchstone too; but she’s been my burden for thirty years, and I’ll keep her to scare away ghosts, for sure. I wonder why I haven’t heard any news about my son Golding. He was called to the Guildhall this morning early, and I’m curious about it; if I hadn’t put my comfort and hope in him, I’d be feeling desperate. Look! He’s come to mind. How’s it going, son? What’s the news from the Court of Aldermen? 35

Enter Golding.

Enter Golding.

Go. Troth, sir, an accident somewhat strange, else it hath little in it worth the reporting.

Go. Honestly, sir, it's a somewhat strange accident; otherwise, there's not much about it worth mentioning.

To. What? it is not borrowing of money, then?

To. What? So it's not borrowing money, then?

Go. No, sir; it hath pleased the worshipful commoners of the city to take me one i’ their number at presentation of the inquest—

Go. No, sir; the respected citizens of the city have decided to include me as one of their own at the presentation of the inquest—Understood! Please provide the text you would like me to modernize.

To. Ha!

To. Ha!

Go. And the alderman of the ward wherein I dwell to appoint me his deputy—

Go. And the city council member of the neighborhood where I live to appoint me his assistant—Understood! Please provide the text you'd like me to modernize.

To. How?    45

To. How?    45

Go. In which place I have had an oath administered me, since I went.

Go. I have been sworn in that place since I left.

To. Now, my dear and happy son, let me kiss thy new worship, and a little boast mine own happiness in thee. What a fortune was it (or rather my judgment, indeed) for me, first to see that in his disposition which a whole city so conspires to second! Ta’en into the livery of his company the first day of his freedom! Now (not a week married) chosen commoner and alderman’s deputy in a day! Note but the reward of a thrifty course. The wonder of his time! Well, I will honour Master Alderman for this act (as becomes me), and shall think the better of the Common Council’s wisdom and worship while I live, for thus meeting, or but coming after me, in the opinion of his desert. Forward, my sufficient son! and as this is the first, so esteem it the least step to that high and prime honour that expects thee.

To. Now, my dear and happy son, let me kiss your new status, and take a moment to celebrate my happiness in you. What an incredible fortune it was (or rather my good judgment) to first recognize in him the qualities that an entire city supports! He was welcomed into the service of his group on the very first day of his freedom! Now, just a week after getting married, he’s been chosen as a commoner and deputy alderman in one day! Just look at the reward of a smart approach. The wonder of his time! Well, I will honor Master Alderman for this achievement (as is appropriate) and will think more highly of the Common Council’s wisdom and reputation while I live, for this endorsement, or even just the recognition of what he deserves, pleases me. Go ahead, my capable son! And as this is the first step, regard it as the least as you aim for that great and primary honor that awaits you.

Go. Sir, as I was not ambitious of this, so I covet no higher place; it hath dignity enough, if it will but save me from contempt; and I had rather my bearing in this or any other office should add worth to it, than the place give the least opinion to me.    67

Go. Sir, since I never wanted this position, I don’t desire a higher one either; it holds enough dignity if it can keep me from being looked down on. I would prefer that my role in this or any other position adds value to it, rather than the role giving me any kind of importance. 67

To. Excellently spoken! This modest answer of thine blushes, as if it said, I will wear scarlet shortly. Worshipful son! I cannot contain myself, I must tell thee; I hope to see thee one o’ the monuments of our city, and reckoned among her worthies to be remembered the same day with the Lady Ramsey[86] and grave Gresham, when the famous fable of Whittington and his puss shall be forgotten, and thou and thy acts become the posies for hospitals; when thy name shall be written upon conduits, and thy deeds, played i’ thy lifetime, by the best companies of actors,[87] and be called their get-penny.[88] This I divine. This I prophesy.    79

To. Well said! Your humble response makes it seem like it's saying, "I'll be bold soon." Dear son! I can’t hold back; I need to tell you; I hope you become one of the landmarks of our city, remembered alongside its greats on the same day as Lady Ramsey and the serious Gresham, when the famous story of Whittington and his cat is forgotten, and you and your achievements become the inspiration for hospitals; when your name will be engraved on fountains, and your actions performed during your life by the finest acting troupes,[87] and be known as their money-maker.[88] This I foresee. This I predict. 79

Go. Sir, engage not your expectation farther than my abilities will answer; I, that know mine own strengths, fear ’hem; and there is so seldom a loss in promising the least, that commonly it brings with it a welcome deceit. I have other news for you, sir.

Go. Sir, don't expect more than I can deliver; I know my own strengths and I'm wary of them. It's rare to face disappointment when you promise the least, as it usually brings a pleasant surprise. I have more news for you, sir.

To. None more welcome, I am sure?

To. Probably none more welcome, huh?

Go. They have their degree of welcome, I dare affirm. The colonel and all his company, this morning putting forth drunk from Billingsgate, had like to have been cast away o’ this side Greenwich; and (as I have intelligence by a false brother) are come dropping to town like so many masterless men, i’ their doublets and hose, without hat, or cloak, or any other——    92

Go. They have their own way of being welcomed, I can assure you. The colonel and his crew, who this morning staggered out drunk from Billingsgate, nearly ended up wrecked on this side of Greenwich; and (according to information I've received from a disloyal friend) they're coming into town looking like a group of lost souls, in their tunics and breeches, with no hats, cloaks, or anything else— 92

To. A miracle! the justice of Heaven! Where are they? let’s go presently and lay[89] for ’hem.

To. A miracle! The justice of Heaven! Where are they? Let’s go right now and search for them.

Go. I have done that already, sir, both by constables and other officers, who shall take ’hem at their old Anchor, and with less tumult or suspicion than if yourself were seen in’t—and under colour of a great press that is now abroad, and they shall here be brought afore me.    100

Go. I’ve already taken care of that, sir, using both constables and other officers, who will catch them at their usual hideout, causing less chaos or suspicion than if you were actually seen doing it—and under the pretense of a large crowd that’s currently out and about, and they will be brought before me here. 100

To. Prudent and politic son! Disgrace ’hem all that ever thou canst; their ship I have already arrested. How to my wish it falls out, that thou hast the place of a justicer upon ’hem! I am partly glad of the injury done to me, that thou may’st punish it. Be severe i’ thy place, like a new officer o’ the first quarter, unreflected. You hear how our lady is come back with her train, from the invisible castle?

To. Prudent and smart son! Expose everyone you can; I’ve already seized their ship. It’s just what I wanted that you’re in a position to administer justice against them! I’m somewhat pleased about the harm done to me so that you can take action. Be tough in your role, like a new officer at the start of their term, untested. Did you hear that our lady has returned with her entourage from the invisible castle?

Go. No; where is she?    109

Go. No; where is she?

To. Within; but I ha’ not seen her yet, nor her mother, who now begins to wish her daughter undubbed, they say, and that she had walked a foot-pace with her sister. Here they come; stand back.

To. Inside; but I haven't seen her yet, nor her mother, who they say is starting to wish her daughter hadn't taken on this role and that she had walked alongside her sister. Here they come; step back.

Enter Mistress Touchstone, Gertrude, Mildred, and Sindefy.

Enter Mistress Touchstone, Gertrude, Mildred, and Sindefy.

God save your ladyship—save your good ladyship! Your ladyship is welcome from your enchanted castle, so are your beauteous retinue. I hear your knight errant is travelled on strange adventures. Surely, in my mind, your ladyship hath fished fair, and caught a frog, as the saying is.

God save you, my lady—save your good ladyship! You’re welcome from your enchanted castle, along with your lovely companions. I hear your knight errant has gone off on some strange adventures. Truly, it seems to me, my lady, you’ve fished well and caught a frog, as the saying goes.

Mist. T. Speak to your father, madam, and kneel down.    121

Mist. T. Speak to your father, ma'am, and kneel down. 121

Ge. Kneel? I hope I am not brought so low yet; though my knight be run away, and has sold my land, I am a lady still.

Ge. Kneel? I hope I'm not brought so low yet; even if my knight has run away and sold my land, I’m still a lady.

To. Your ladyship says true, madam; and it is fitter and a greater decorum, that I should curtsey to you that are a knight’s wife, and a lady, than you be brought o’ your knees to me, who am a poor cullion[90] and your father.

To. You’re right, madam; it’s more appropriate and proper for me to curtsy to you, being a knight’s wife and a lady, than for you to kneel to me, who am just a lowly servant and your father.

Ge. Law!—my father knows his duty.    130

Law!—my dad knows his duty.

Mist. T. O child!

O child!

To. And therefore I do desire your ladyship, my good Lady Flash, in all humility, to depart my obscure cottage, and return in quest of your bright and most transparent castle, however presently concealed to mortal eyes. And as for one poor woman of your train here, I will take that order, she shall no longer be a charge unto you, nor help to spend your ladyship; she shall stay at home with me, and not go abroad, nor put you to the pawning of an odd coach-horse or three wheels, but take part with the Touchstone. If we lack, we will not complain to your ladyship. And so, good madam, with your damosel here, please you to let us see your straight backs in equipage; for truly here is no roost for such chickens as you are, or birds o’ your feather, if it like your ladyship.    146

To. So, I humbly ask your ladyship, my dear Lady Flash, to leave my humble cottage and head back to your bright and beautiful castle, even if it's currently hidden from sight. As for one poor woman from your entourage here, I'll take care of that; she won’t be a burden to you anymore, nor will she help to spend your resources. She’ll stay with me and won’t go out, so you won’t have to worry about pawning a mismatched horse or a few wheels. If we end up lacking anything, we won’t complain to you. So, good madam, with your attendant here, please allow us to see your departure; because honestly, there’s no place here for someone like you or your kind, if it pleases your ladyship. 146

Ge. Marry, fist[91] o’ your kindness! I thought as much. Come away, Sin, we shall as soon get a fart from a dead man,[92] as a farthing of courtesy here.

Ge. Honestly, thank you for your kindness! I figured as much. Come on, Sin, we’re just as likely to get a fart from a dead man,[92] as a penny of politeness here.

Mi. O, good sister!

Mi. Oh, good sister!

Ge. Sister, sir reverence! Come away, I say, hunger drops out at his nose.

Ge. Sister, with all due respect! Let’s go, I’m telling you, he’s really hungry.

Go. O, madam, fair words never hurt the tongue.

Go. Oh, ma'am, nice words never hurt anyone.

Ge. How say you by that? You come out with your gold-ends now!

Ge. What do you think about that? You're showing off your gold chains now!

Mist. T. Stay, lady-daughter; good husband!    156

Stay, lady-daughter; good husband!

To. Wife, no man loves his fetters, be they made of gold. I list not ha’ my head fastened under my child’s girdle; as she has brewed, so let her drink, o’ God’s name. She went witless to wedding, now she may go wisely a-begging. It’s but honeymoon yet with her ladyship; she has coach-horses, apparel, jewels, yet left; she needs care for no friends, nor take knowledge of father, mother, brother, sister, or anybody. When those are pawned or spent, perhaps we shall return into the list of her acquaintance.    166

To. Wife, no man enjoys being chained down, even if the chains are made of gold. I don't want to be stuck under my child's control; if she wants to make her choices, let her deal with the consequences. She rushed into marriage, so now she can figure out how to beg wisely. It’s still the honeymoon phase for her; she has fancy horses, nice clothes, and plenty of jewels left. She doesn’t need to worry about friends or acknowledge family—parents, siblings, or anyone else. Once her treasures are gone or spent, maybe then she'll remember her old connections. 166

Ge. I scorn it, i’faith. Come, Sin.

Ge. I really despise it, honestly. Come on, Sin.

Mist. T. O madam, why do you provoke your father thus?

Mist. T. Oh madam, why do you upset your father like this?

[Exeunt Gertrude and Sindefy.

[Exit Gertrude and Sindefy.

To. Nay, nay; e’en let pride go afore, shame will follow after, I warrant you. Come, why dost thou weep now? Thou art not the first good cow hast had an ill calf, I trust.

To. No, no; even if pride leads the way, shame will follow, I promise you. Come on, why are you crying now? You’re not the first good cow to have a bad calf, I hope.

Enter Constable.

Enter Officer.

What’s the news with that fellow?

What's up with that dude?

Go. Sir, the knight and your man Quicksilver are without; will you ha’ ’hem brought in?

Go. Sir, the knight and your man Quicksilver are outside; do you want them brought in?

To. O, by any means. [Exit Constable.] And, son, here’s a chair; appear terrible unto ’hem on the first interview. Let them behold the melancholy of a magistrate, and taste the fury of a citizen in office.    180

To. Oh, by all means. [Exit Constable.] And, son, here’s a chair; make sure to look imposing during the first meeting. Let them see the seriousness of a magistrate and feel the anger of a citizen in office. 180

Go. Why, sir, I can do nothing to ’hem, except you charge ’hem with somewhat.

Go. Why, sir, I can’t do anything to them unless you accuse them of something.

To. I will charge ’hem and recharge ’hem, rather than authority should want foil to set it off.

To. I will keep challenging them and pushing them again, rather than have authority lack the support it needs.

Go. No, good sir, I will not.

Go. No, good sir, I won't.

To. Son, it is your place; by any means—

To. Son, it is your role; in any way—Understood. Please provide the text for modernization.

Go. Believe it, I will not, sir.

Go. I can't believe it, sir.

Enter Sir Petronel, Quicksilver, Constable, Officers.

Enter Sir Petronel, Quicksilver, Constable, and Officers.

Pe. How misfortune pursues us still in our misery!

Pe. How misfortune continues to chase us even in our suffering!

Qu. Would it had been my fortune to have been trussed up at Wapping[93] rather than ever ha’ come here!

Qu. I wish I had been tied up at Wapping[93] instead of ever coming here!

Pe. Or mine, to have famished in the island!    191

Pe. Or my own, to have starved on this island! 191

Qu. Must Golding sit upon us?

Must Golding sit on us?

Co. You might carry an M. under your girdle[94] to Master Deputy’s worship.

Co. You might have an M. tucked under your belt[94] for Master Deputy’s honor.

Go. What are those, Master Constable?

Go. What are those, Constable?

Co. An’t please your worship, a couple of masterless men I pressed for the Low Countries, sir.

Co. I beg your pardon, sir, but I had to recruit a couple of men without masters for the Low Countries.

Go. Why do you not carry ’hem to Bridewell, according to your order, they may be shipped away?

Go. Why aren't you taking them to Bridewell like you were supposed to, so they can be shipped out?

Co. An’t please your worship, one of ’hem says he is a knight; and we thought good to show him to your worship, for our discharge.    202

Co. Excuse me, your honor, one of them claims to be a knight; and we thought it best to bring him to your attention, for our own sake. 202

Go. Which is he?

Go. Which one is he?

Co. This, sir.

Co. This, sir.

Go. And what’s the other?

Go. And what's the other one?

Co. A knight’s fellow, sir, an’t please you.

Co. A knight's companion, sir, if it pleases you.

Go. What! a knight and his fellow thus accoutred? Where are their hats and feathers, their rapiers and their cloaks?

Go. What! A knight and his companion dressed like that? Where are their hats and feathers, their swords and cloaks?

Qu. O, they mock us.    210

O, they're mocking us.

Co. Nay, truly, sir, they had cast both their feathers and hats too, before we see ’hem. Here’s all their furniture, an’t please you, that we found. They say knights are now to be known without feathers, like cockerels by their spurs, sir.

Co. No, really, sir, they had thrown away both their feathers and hats before we even saw them. Here’s all their stuff, if you’re interested, that we found. They say knights are now recognized without feathers, just like roosters are by their spurs, sir.

Go. What are their names, say they?

Go. What do they call themselves, you ask?

To. Very well this. He should not take knowledge of ’hem in his place, indeed.

To. That's right. He really shouldn't be aware of them in his position, actually.

Co. This is Sir Petronel Flash.

Co. This is Sir Petronel Flash.

To. How!    220

To. Hey!    220

Co. And this, Francis Quicksilver.

Co. And this is Francis Quicksilver.

To. Is’t possible? I thought your worship had been gone for Virginia, sir; you are welcome home, sir. Your worship has made a quick return, it seems, and no doubt a good voyage. Nay, pray you be covered, sir. How did your biscuit hold out, sir? Methought I had seen this gentleman afore—good Master Quicksilver! How a degree to the southward has changed you!

To. Is it possible? I thought you were off to Virginia, sir; welcome back! It seems you returned quickly, and I bet you had a good trip. Please, cover yourself, sir. How did your supplies hold up, sir? I feel like I’ve seen this gentleman before—good Master Quicksilver! How much a journey south has changed you!

Go. Do you know ’hem, father? Forbear your offers a little, you shall be heard anon.    230

Go. Do you know them, Dad? Hold off on your offers for a bit; you’ll be heard soon. 230

To. Yes, Master Deputy; I had a small venture with them in the voyage—a thing called a son-in-law, or so. Officers, you may let ’hem stand alone, they will not run away; I’ll give my word for them. A couple of very honest gentlemen. One of ’hem was my prentice, Master Quicksilver here; and when he had two year to serve, kept his whore and his hunting nag, would play his hundred pound at gresco,[95] or primero, as familiarly (and all o’ my purse) as any bright piece of crimson on ’hem all; had his changeable trunks of apparel standing at livery with his mare, his chest of perfumed linen, and his bathing-tubs, which when I told him of, why he!—he was a gentleman, and I a poor Cheapside groom. The remedy was, we must part. Since when, he hath had the gift of gathering up some small parcels of mine, to[96] the value of five hundred pound, dispersed among my customers, to furnish this his Virginia venture; wherein this knight was the chief, Sir Flash—one that married a daughter of mine, ladyfied her, turned two thousand pounds’ worth of good land of hers into cash within the first week, bought her a new gown and a coach; sent her to seek her fortune by land, whilst himself prepared for his fortune by sea; took in fresh flesh at Billingsgate, for his own diet, to serve him the whole voyage—the wife of a certain usurer called Security, who hath been the broker for ’hem in all this business. Please, Master Deputy, work upon that now.    257

To. Yes, Master Deputy; I had a little deal with them during the trip—a thing called a son-in-law, or something like that. Officers, you can let them stand alone; they won't run away; I promise you that. They're a couple of very honest guys. One of them was my apprentice, Master Quicksilver here; and when he had two years left to serve, he kept his mistress and his hunting horse, would play his hundred pounds at gresco,[95] or primero, just as casually (and all my money) as any flashy piece of crimson among them all; he had his changeable clothes ready at livery with his mare, his chest of perfumed linens, and his bathing tubs, which when I pointed out to him, well—he!—he was a gentleman, and I was just a poor Cheapside groom. The solution was that we had to part ways. Since then, he has been gathering up some of my small parcels, to[96] the value of five hundred pounds, spread among my customers, to fund this Virginia venture; in which this knight was the main player, Sir Flash—one who married a daughter of mine, turned her into a lady, converted two thousand pounds’ worth of her good land into cash within the first week, bought her a new dress and a coach; sent her to look for her fortune by land while he prepared for his fortune by sea; picked up fresh meat at Billingsgate for his own meals, to last him the whole voyage—the wife of a certain usurer called Security, who has been the broker for them in all this business. Please, Master Deputy, work on that now. 257

Go. If my worshipful father have ended—

Go. If my respected father has finished—Understood! Please provide the text you'd like me to modernize.

To. I have, it shall please Master Deputy.

To. I have, it will please Master Deputy.

Go. Well then, under correction—

Go. Well then, with all due respect—

To. Now, son, come over ’hem with some fine gird, as thus, “Knight, you shall be encountered,” that is, had to the Counter; or, “Quicksilver, I will put you into a crucible,” or so.

To. Now, son, come over here with some good stuff, like, “Knight, you’re going to face off,” meaning you’re going to the Counter; or, “Quicksilver, I’ll put you in a test,” or something like that.

Go. Sir Petronel Flash, I am sorry to see such flashes as these proceed from a gentleman of your quality and rank; for mine own part, I could wish I could say I could not see them; but such is the misery of magistrates and men in place, that they must not wink at offenders. Take him aside; I will hear you anon, sir.    270

Go. Sir Petronel Flash, I'm sorry to see such outbursts coming from someone of your status and position; honestly, I wish I could pretend I didn't notice them, but that's the burden of being a magistrate and someone in authority—you can't ignore rule-breakers. Please take him aside; I'll hear you shortly, sir. 270

To. I like this well, yet; there’s some grace i’ the knight left—he cries.

To. I like this a lot, but there’s still some decency in the knight—he’s crying.

Go. Francis Quicksilver, would God thou hadst turned quacksalver, rather than run into these dissolute and lewd courses! It is great pity; thou art a proper young man, of an honest and clean face, somewhat near a good one; God hath done his part in thee; but thou hast made too much, and been too proud of that face, with the rest of thy body; for maintenance of which in neat and garish attire, only to be looked upon by some light housewives, thou hast prodigally consumed much of thy master’s estate; and being by him gently admonished at several times, hast returned thyself haughty and rebellious in thine answers, thundering out uncivil comparisons, requiting all his kindness with a coarse and harsh behaviour; never returning thanks for any one benefit, but receiving all as if they had been debts to thee, and no courtesies. I must tell thee, Francis, these are manifest signs of an ill-nature; and God doth often punish such pride and outrecuidance[97] with scorn and infamy, which is the worst of misfortune. My worshipful father, what do you please to charge them withal? From the press I will free ’hem, Master Constable.    293

Go. Francis Quicksilver, I wish you had become a quack instead of getting into these reckless and immoral behaviors! It's a real shame; you're a decent young man with an honest and good-looking face, close to being attractive. God has done His part in you, but you've taken that and been too proud of your looks and your body. To keep up your flashy style, just to impress some loose women, you've wasted a lot of your master's money. Even after he kindly warned you several times, you responded with arrogance and defiance, throwing around rude comparisons and repaying his kindness with rude and rough behavior. You never say thank you for anything, acting like all his help was a debt owed to you, not a kindness. I have to tell you, Francis, these are clear signs of a bad character; God often punishes such pride and arrogance with contempt and disgrace, which is the worst kind of misfortune. My esteemed father, what do you wish to charge them with? I’ll make sure to clear them, Master Constable. 293

Co. Then I’ll leave your worship, sir.

Co. Then I’ll take my leave, sir.

Go. No, you may stay; there will be other matters against ’hem.

Go. No, you can stay; there will be other issues against them.

To. Sir, I do charge this gallant, Master Quicksilver, on suspicion of felony; and the knight as being accessary in the receipt of my goods.

To. Sir, I accuse this brave man, Master Quicksilver, of suspicion of theft; and I hold the knight as being involved in receiving my stolen goods.

Qu. O God, sir!    300

O God, sir!

To. Hold thy peace, impudent varlet, hold thy peace! With what forehead or face dost thou offer to chop logic with me, having run such a race of riot as thou hast done? Does not the sight of this worshipful man’s fortune and temper confound thee, that was thy younger fellow in household, and now come to have the place of a judge upon thee? Dost not observe this? Which of all thy gallants and gamesters, thy swearers and thy swaggerers, will come now to moan thy misfortune, or pity thy penury? They’ll look out at a window, as thou ridest in triumph to Tyburn, and cry, “Yonder goes honest Frank, mad Quicksilver!” “He was a free boon companion, when he had money,” says one; “Hang him, fool!” says another; “he could not keep it when he had it!” “A pox o’ th’ cullion, his master,” says a third, “he has brought him to this;” when their pox of pleasure, and their piles of perdition, would have been better bestowed upon thee, that hast ventured for ’hem with the best, and by the clue of thy knavery brought thyself weeping to the cart of calamity.    320

To. Shut up, you arrogant fool, just shut up! What audacity do you have to try and argue with me after causing so much chaos? Doesn’t seeing this respected man’s success and character leave you speechless, who was once your younger peer in our household and now sits in judgment over you? Don’t you realize that? Which of your friends and gamblers, your boastful swearers and show-offs, will come now to grieve over your misfortune or feel sorry for your poverty? They’ll just peek out the window as you ride in triumph to Tyburn and shout, “Look at honest Frank, crazy Quicksilver!” “He used to be a good buddy when he had money,” one will say; “hang him, idiot!” another will chime in; “he couldn’t hold onto it when he had it!” “Curse that good-for-nothing, his master,” says a third, “he’s the one who got him into this mess,” while their silly pleasures and their irresponsible actions would have been better spent on you, who risked everything for them, and through your own mischief have brought yourself weeping to the cart of disaster. 320

Qu. Worshipful master!

Worshipful master!

To. Offer not to speak, crocodile; I will not hear a sound come from thee. Thou hast learnt to whine at the play yonder. Master Deputy, pray you commit ’hem both to safe custody, till I be able farther to charge ’hem.

To. Don’t even start talking, crocodile; I won’t listen to anything you have to say. You’ve learned to whine at that play over there. Master Deputy, please put them both into safe custody until I can charge them further.

Qu. O me! what an infortunate thing am I!

Qu. Oh no! What an unfortunate thing I am!

Pe. Will you not take security, sir?

Pe. Will you not take a guarantee, sir?

To. Yes, marry, will I, Sir Flash, if I can find him, and charge him as deep as the best on you. He has been the plotter of all this; he is your enginer,[98] I hear. Master Deputy, you’ll dispose of these. In the meantime, I’ll to my lord mayor, and get his warrant to seize that serpent Security into my hands, and seal up both house and goods to the king’s use or my satisfaction.    335

To. Yes, I will marry, Sir Flash, if I can find him, and hold him accountable just like the best of you. He’s the mastermind behind all this; he’s your schemer,[98] I’ve heard. Master Deputy, you’ll handle these matters. In the meantime, I’ll go to my lord mayor and get his warrant to take that deceiver Security into my custody, and secure both the house and goods for the king’s use or my satisfaction. 335

Go. Officers, take ’hem to the Counter.

Go. Officers, take them to the Counter.

Qu. and Pe. O God!

Oh God!

To. Nay, on, on! you see the issue of your sloth. Of sloth cometh pleasure, of pleasure cometh riot, of riot comes whoring, of whoring comes spending, of spending comes want, of want comes theft, of theft comes hanging; and there is my Quicksilver fixed.

To. No, keep going! You can see the consequences of your laziness. From laziness comes pleasure, from pleasure comes partying, from partying comes promiscuity, from promiscuity comes spending, from spending comes need, from need comes stealing, and from stealing comes execution; and there is my Quicksilver fixed.

[Exeunt.

Exeunt.

[79] “’Slid now, I’m quite altered! ... sit up late till it be early; drink drunk till I am sober.”—Middleton, iii. 254.

[79] “Wow, I’ve really changed! ... stay up late until it's early; get drunk until I’m sober.” —Middleton, iii. 254.

[80] “Monmouth caps” were caps worn by sailors. (See “The Ballad of the Caps” in Fairholt’s Satirical Songs and Poems on Costume, p. 115.)

[80] “Monmouth caps” were hats worn by sailors. (See “The Ballad of the Caps” in Fairholt’s Satirical Songs and Poems on Costume, p. 115.)

[81] The chief ship of a fleet.

[81] The main ship of a fleet.

[82] A barnacle.—It was supposed to be able to stop a ship’s course by adhering to the rudder.

[82] A barnacle.—It was believed to have the ability to change a ship’s direction by clinging to the rudder.

[83] “Sconce” = (1) head, (2) fort.

[83] "Sconce" = (1) head, (2) fort.

[84] Vie was a term in card-playing; it meant to back one’s cards against an opponent’s.

[84] Vie was a term used in card games; it meant to wager your cards against an opponent's.

[85] A proverbial saying. See Nares’ Glossary.

A popular saying. See Nares’ Glossary.

[86] Lady Mary Ramsey, second wife of Sir Thomas Ramsey (who was lord mayor in 1577). She was a benefactress of Christ’s Hospital and other institutions: she died in 1596. See Stow’s Annales, ed. 1720, i. 278.

[86] Lady Mary Ramsey, the second wife of Sir Thomas Ramsey (who was lord mayor in 1577). She supported Christ’s Hospital and other organizations: she passed away in 1596. See Stow’s Annales, ed. 1720, i. 278.

[87] There is an allusion to Heywood’s play, If you know not me you know nobody. The First Part was printed in 1605; the Second Part in 1606. In the prologue to the First Part Heywood mentions that the play had enjoyed extraordinary popularity; and from the same source we gather that it had been written some considerable time before the date of publication. The Second Part is largely taken up with the building of Gresham’s Royal Exchange. Lady Ramsey is one of the characters.

[87] There’s a reference to Heywood’s play, If you know not me you know nobody. The First Part was published in 1605, and the Second Part in 1606. In the prologue to the First Part, Heywood notes that the play was extremely popular; we also learn from this source that it was written quite some time before it was published. The Second Part mainly focuses on the construction of Gresham’s Royal Exchange. Lady Ramsey is one of the characters.

[88] A theatrical term for a profitable performance. See Middleton, iii. 134.

[88] A theatrical term for a successful performance. See Middleton, iii. 134.

[89] I.e., set officers in ambush to arrest them.

[89] That is, position officers in hiding to catch them.

[90] Mean rascal.

Mean troublemaker.

[91] An indelicate observation.—“Vessifier. To breed a fyste, to make breake wind, or let a fyste.”—Cotgrave.

[91] A less-than-tactful remark.—“Vessifier. To cause a fart, to pass gas, or let a fart.”—Cotgrave.

[92] A proverbial expression.—“J’aymeroy autant tirer un pet d’un asne mort, que, &c.—I would as soone undertake to get a fart of a dead man, as, &c.”—Cotgrave.

[92] A common saying.—“I would just as soon try to get a fart from a dead man as, etc.”—Cotgrave.

[93] Where pirates were hanged.

Where pirates were executed.

[94] “You might carry an M. under your girdle” = you might have the civility to use the term Master. Cf. Heywood’s A Maidenhead well Lost, iii. 2:—
Wife. Sirrah.
Clown. Madam.
Lan. Why dost view me thus?
Clown. To see if the tailor that made your gown hath put ne’er an M. under your girdle: there belongs more to beaten satin than sirrah.”

[94] “You might have an M. under your belt” = you might have the politeness to use the term Master. Cf. Heywood’s A Maidenhead well Lost, iii. 2:—
"Wife. Sir."
Clown. Ma'am.
Lan. Why are you staring at me like that?
Clown. To find out if the tailor who made your dress has marked an M. under your belt: there’s more to nice satin than sir.

[95] A game at cards.

A card game.

[96] Old ed. “so.”

__A_TAG_PLACEHOLDER_0__ Old ed. “so.”

[97] Presumption, arrogance.—Ben. Jonson has this French word in Cynthia’s Revels, v. 2. Nares quotes an instance from Chapman’s Monsieur d’Olive.

[97] Presumption, arrogance.—Ben. Jonson uses this French term in Cynthia’s Revels, v. 2. Nares cites an example from Chapman’s Monsieur d’Olive.

[98] Schemer.

__A_TAG_PLACEHOLDER_0__ Planner.

ACT V.

SCENE I.

SCENE I.

Gertrude’s lodging.

Gertrude's place.

Enter Gertrude and Sindefy.

Enter Gertrude and Sindefy.

Ge. Ah, Sin! hast thou ever read i’ the chronicle of any lady and her waiting-woman driven to that extremity that we are, Sin?

Ge. Ah, Sin! have you ever read in the chronicles of any lady and her maid who were pushed to the same limit we are, Sin?

Si. Not I, truly, madam; and if I had, it were but cold comfort should come out of books now.

Si. Not me, really, ma'am; and even if I did, it would be little comfort to find anything in books now.

Ge. Why, good faith, Sin, I could dine with a lamentable story, now. O[99] hone, hone, o no nera! &c. Canst thou tell ne’er a one, Sin?

Ge. Well, honestly, Sin, I could really tell you a sad story right now. O[99] hone, hone, o no nera! &c. Can you tell me one, Sin?

Si. None but mine own, madam, which is lamentable enough: first to be stolen from my friends, which were worshipful and of good accompt, by a prentice, in the habit and disguise of a gentleman, and here brought up to London, and promised marriage, and now likely to be forsaken, for he is in possibility to be hanged!    14

Si. Nothing but my own, madam, which is bad enough: first, I was stolen from my friends, who were respectable and of good standing, by an apprentice disguised as a gentleman, and brought to London, promised marriage, and now I’m likely to be abandoned, since he might be hanged! 14

Ge. Nay, weep not, good Sin; my Petronel is in as good possibility as he. Thy miseries are nothing to mine, Sin; I was more than promised marriage, Sin; I had it, Sin; and was made a lady; and by a knight, Sin; which is now as good as no knight, Sin. And I was born in London, which is more than brought up, Sin; and already forsaken, which is past likelihood, Sin; and instead of land i’ the country, all my knight’s living lies i’ the Counter, Sin; there’s his castle now!    24

Ge. No, don’t cry, dear Sin; my Petronel has just as good a chance as he does. Your troubles are nothing compared to mine, Sin; I was promised marriage, Sin; I actually had it, Sin; and I became a lady; and by a knight, Sin; who is now as good as no knight, Sin. And I was born in London, which is more than just being raised there, Sin; and I’ve already been abandoned, which is something unlikely, Sin; and instead of having land in the countryside, all my knight’s fortune is stuck in the Counter, Sin; there’s his castle now! 24

Si. Which he cannot be forced out of, madam.

Si. He can't be pushed out of it, ma'am.

Ge. Yes, if he would live hungry a week or two. “Hunger,” they say, “breaks stone walls.” But he is e’en well enough served, Sin, that so soon as ever he had got my hand to the sale of my inheritance, run away from me, and I had been his punk, God bless us! Would the Knight o’ the Sun,[100] or Palmerin of England, have used their ladies so, Sin? or Sir Lancelot? or Sir Tristram?

Ge. Yes, if he could go hungry for a week or two. “They say hunger breaks down stone walls.” But he is doing fine, Sin, considering that as soon as he got my signature to sell my inheritance, he ran off with it, and I was his fool, God help us! Would the Knight of the Sun, [100] or Palmerin of England, have treated their ladies like this, Sin? Or Sir Lancelot? Or Sir Tristram?

Si. I do not know, madam.    34

I don’t know, ma'am.

Ge. Then thou know’st nothing, Sin. Thou art a fool, Sin. The knighthood nowadays are nothing like the knighthood of old time. They rid a-horseback; ours go a-foot. They were attended by their squires; ours by their lackeys. They went buckled in their armour; ours muffled in their cloaks. They travelled wildernesses and deserts; ours dare scarce walk the streets. They were still pressed to engage their honour; ours still ready to pawn their clothes. They would gallop on at sight of a monster; ours run away at sight of a sergeant. They would help poor ladies; ours make poor ladies.

Ge. Then you know nothing, Sin. You're a fool, Sin. The knights today are nothing like the knights of the past. They rode on horseback; ours walk on foot. They were accompanied by their squires; ours by their servants. They wore their armor; ours wear cloaks. They ventured through wildernesses and deserts; ours hardly dare walk the streets. They were always eager to defend their honor; ours are always ready to hock their clothes. They would charge at the sight of a monster; ours run away at the sight of a sergeant. They would help poor ladies; ours make poor ladies.

Si. Ay, madam, they were knights of the Round Table at Winchester, that sought adventures; but these of the Square Table at ordinaries, that sit at hazard.[101]    48

Si. Yes, ma'am, they were knights of the Round Table in Winchester who went out looking for adventures; but these are the knights of the Square Table at parties, sitting around taking chances.[101] 48

Ge. True,[102] Sin, let him vanish. And tell me, what shall we pawn next?

Ge. True,[102] Sin, let him disappear. And tell me, what should we sell next?

Si. Ay, marry, madam, a timely consideration; for our hostess (profane woman!) has sworn by bread and salt she will not trust us another meal.

Si. Yes, indeed, madam, that's something to think about; for our hostess (that shameless woman!) has sworn by bread and salt that she won't trust us with another meal.

Ge. Let it stink in her hand then. I’ll not be beholding to her. Let me see, my jewels be gone, and my gowns, and my red velvet petticoat that I was married in, and my wedding silk stockings, and all thy best apparel, poor Sin! Good faith, rather than thou shouldst pawn a rag more, I’d lay my ladyship in lavender[103]—if I knew where.    60

Ge. Let her deal with the smell then. I’m not going to owe her anything. Let me see, my jewels are gone, along with my gowns and my red velvet petticoat that I wore for my wedding, and my silk stockings, and all your best clothes, poor Sin! Honestly, I’d rather put my ladyship in lavender[103]—if I knew where to find it. 60

Si. Alas, madam, your ladyship!

Oh no, ma'am!

Ge. Ay,—why?—you do not scorn my ladyship, though it is in a waistcoat? God’s my life! you are a peat[104] indeed! Do I offer to mortgage my ladyship for you and for your avail, and do you turn the lip and the alas to my ladyship?

Ge. Oh, why? You don't look down on my ladyship, even if I'm wearing a waistcoat? Goodness! You really are something else! Am I trying to put my ladyship on the line for you and your benefit, and you just scoff at my ladyship?

Si. No, madam; but I make question who will lend anything upon it?    68

Si. No, ma'am; but I wonder who would lend anything on it? 68

Ge. Who?—marry, enow, I warrant you, if you’ll seek ’hem out. I’m sure I remember the time when I would ha’ given one thousand pounds (if I had had it) to have been a lady; and I hope I was not bred and born with that appetite alone: some other gentle-born o’ the city have the same longing, I trust. And for my part, I would afford ’hem a penn’orth; my ladyship is little the worse for the wearing, and yet I would bate a good deal of the sum. I would lend it (let me see) for forty pound in hand, Sin; that would apparel us; and ten pound a year, that would keep me and you, Sin (with our needles); and we should never need to be beholding to our scurvy parents. Good Lord! that there are no fairies nowadays, Sin!    82

Ge. Who?—well, I guarantee you, if you want to find them. I definitely remember the time when I would have paid a thousand pounds (if I had it) to be a lady; and I hope I wasn't just born with that desire: I trust some other well-off people from the city feel the same way. And as for me, I would give them a little help; my lady status hasn’t worn off much, but I would still knock off a good chunk of that amount. I would lend it (let me think) for forty pounds upfront, Sin; that would help us get dressed; and ten pounds a year, that would support both of us, Sin (with our sewing); and we’d never need to rely on our awful parents. Good Lord! it’s a shame there are no fairies anymore, Sin! 82

Si. Why, madam?

Why, ma'am?

Ge. To do miracles, and bring ladies money. Sure, if we lay in a cleanly house, they would haunt it, Sin. I’ll try. I’ll sweep the chamber soon at night, and set a dish of water o’ the hearth. A fairy may come, and bring a pearl or a diamond. We do not know, Sin. Or, there may be a pot of gold hid o’ the backside,[105] if we had tools to dig for’t? Why may not we two rise early i’ the morning, Sin, afore anybody is up, and find a jewel i’ the streets worth a hundred pound? May not some great court-lady, as she comes from revels at midnight, look out of her coach as ’tis running, and lose such a jewel, and we find it? Ha?    95

Ge. To perform miracles and bring ladies money. Sure, if we kept a tidy house, they would haunt it, Sin. I’ll give it a shot. I’ll clean the room soon at night and set a dish of water on the hearth. A fairy might come and bring a pearl or a diamond. We just don’t know, Sin. Or, there might be a pot of gold hidden in the back, [105] if we had tools to dig for it. Why can’t we two get up early in the morning, Sin, before anyone else is awake, and find a jewel in the streets worth a hundred pounds? Couldn’t some fancy court-lady, as she comes back from a party at midnight, lean out of her coach while it’s moving and lose such a jewel, and we find it? Huh? 95

Si. They are pretty waking dreams, these.

These are nice daydreams.

Ge. Or may not some old usurer be drunk overnight, with a bag of money, and leave it behind him on a stall? For God’s sake, Sin, let’s rise to-morrow by break of day, and see. I protest, law, if I had as much money as an alderman, I would scatter some on’t i’ th’ streets for poor ladies to find, when their knights were laid up. And, now I remember my song o’ the Golden Shower, why may not I have such a fortune? I’ll sing it, and try what luck I shall have after it.    105

Ge. Or maybe an old moneylender got drunk last night, forgot his bag of cash, and left it on a stall? For heaven's sake, Sin, let’s get up early tomorrow and check it out. Honestly, if I had as much money as a city official, I would throw some on the streets for poor ladies to find when their knights are down. And now that I remember my song about the Golden Shower, why can’t I have that kind of luck? I’ll sing it and see what happens afterward. 105

“Fond fables tell of old,
How Jove in Danäe’s lap
Fell in a shower of gold,
By which she caught a clap;
O had it been my hap    110
(How ere the blow doth threaten),
So well I like the play,
That I could wish all day
And night to be so beaten.”

“Familiar stories tell us that long ago,
How Jove ended up in Danäe's arms
In a shower of gold,
Which left her with a child;
Oh, if only that had been my destiny __A_TAG_PLACEHOLDER_0__
(No matter how the hit might appear),
I really enjoy the game a lot,
I could wish for that all day.
"And for the night to be treated that way."

Enter Mistress Touchstone.

Enter Mistress Touchstone.

O here’s my mother! good luck, I hope. Ha’ you brought any money, mother? Pray you, mother, your blessing. Nay, sweet mother, do not weep.

O look, here’s my mom! Good luck, I hope. Did you bring any money, Mom? Please, Mom, your blessing. Come on, sweet Mom, don’t cry.

Mist. T. God bless you! I would I were in my grave!    119

Mist. T. God bless you! I wish I were in my grave! 119

Ge. Nay, dear mother, can you steal no more money from my father? Dry your eyes, and comfort me. Alas! it is my knight’s fault, and not mine, that I am in a waistcoat, and attired thus simply.

Ge. No, dear mom, can’t you take any more money from my dad? Wipe your tears and cheer me up. Unfortunately, it’s my knight’s fault, not mine, that I’m wearing this vest and dressed so simply.

Mist. T. Simply, ’tis better than thou deservest. Never whimper for the matter. Thou shouldst have looked before thou hadst leapt. Thou wert afire to be a lady, and now your ladyship and you may both blow at the coal, for aught I know. Self do, self have. The hasty person never wants woe, they say.    129

Mist. T. Honestly, it’s better than what you deserve. Don’t complain about it. You should have thought before you acted. You were so eager to be a lady, and now both you and your ladyship can just fan the flames for all I care. You get what you earn. They say a hasty person is always in trouble. 129

Ge. Nay, then, mother, you should ha’ looked to it. A body would think you were the older; I did but my kind, I. He was a knight, and I was fit to be a lady. ’Tis not lack of liking, but lack of living, that severs us. And you talk like yourself and a cittiner in this, i’faith. You show what husband you come on, I wis. You smell the Touchstone—he that will do more for his daughter, that he has married [to] a scurvy gold-end man[106] and his prentice, than he will for his t’other daughter, that has wedded a knight and his customer. By this light, I think he is not my legitimate father.    140

Ge. No, then, mother, you should have paid attention to this. One would think you were the older one; I was just being kind. He was a knight, and I was meant to be a lady. It’s not a lack of love, but a lack of life that keeps us apart. And you talk like yourself and a city dweller in this, I swear. You show what kind of husband you come from, I see. You can smell the Touchstone—he who will do more for his daughter, who he has married to a dirty gold-digging man and his apprentice, than he will for his other daughter, who has married a knight and his customer. By this light, I think he is not my real father. 140

Si. O, good madam, do not take up your mother so!

Si. Oh, dear lady, please don't involve your mother in this!

Mist. T. Nay, nay, let her e’en alone. Let her ladyship grieve me still, with her bitter taunts and terms. I have not dole enough to see her in this miserable case, I—without her velvet gowns, without ribands, without jewels, without French-wires, or cheat-bread,[107] or quails, or a little dog, or a gentleman-usher, or anything, indeed, that’s fit for a lady—

Mist. T. No, no, just leave her be. Let her ladyship keep making me suffer with her harsh comments and insults. I can't bear to see her in this sad state, me—without her fancy gowns, without ribbons, without jewels, without the latest trends, or rare birds, or a little dog, or a gentleman attendant, or anything, really, that's suitable for a lady—

Si. Except her tongue.    149

Except her tongue.

Mist. T. And I not able to relieve her, neither, being kept so short by my husband. Well, God knows my heart; I did little think that ever she should have had need of her sister Golding.

Mist. T. And I can’t help her either since my husband keeps me so restricted. Well, God knows my heart; I never thought she would need her sister Golding.

Ge. Why, mother, I ha’ not yet. Alas! good mother, be not intoxicate for me; I am well enough; I would not change husbands with my sister, I. The[108] leg of a lark is better than the body of a kite.

Ge. Why, mom, I haven't yet. Oh! good mom, don’t worry about me; I’m fine. I wouldn’t trade husbands with my sister, I wouldn’t. The leg of a lark is better than the body of a kite.

Mist. T. I know that: but—

I know that: but—

Ge. What, sweet mother, what?

What is it, sweet mother?

Mist. T. It’s but ill food when nothing’s left but the claw.    161

Mist. T. It’s not great when all that’s left is the claw. 161

Ge. That’s true, mother. Ay me!

That's true, mom. Oh no!

Mist. T. Nay, sweet lady-bird,[109] sigh not. Child, madam—why do you weep thus? Be of good cheer; I shall die if you cry, and mar your complexion thus.

Mist. T. No, sweet ladybird, [109] don't sigh. Child, madam—why are you crying like this? Cheer up; I’ll be heartbroken if you keep crying and ruin your beautiful face.

Ge. Alas, mother, what should I do?

Ge. Oh no, mom, what am I supposed to do?

Mist. T. Go to thy sister’s, child; she’ll be proud thy ladyship will come under her roof. She’ll win thy father to release thy knight, and redeem thy gowns, and thy coach and thy horses, and set thee up again.    170

Mist. T. Go to your sister's, kid; she'll be thrilled that you're coming to stay with her. She'll convince your dad to let your knight go, get your dresses back, and your carriage and horses, and help you get back on your feet. 170

Ge. But will she get him to set my knight up too?

Ge. But will she get him to help my knight out too?

Mist. T. That she will, or anything else thou’lt ask her.

Mist. T. She will do that, or anything else you ask her.

Ge. I will begin to love her if I thought she would do this.

Ge. I would start to love her if I believed she would do this.

Mist. T. Try her, good chuck,[110] I warrant thee.

Mist. T. Give it a shot, my dear,[110] I promise you'll succeed.

Ge. Dost thou think she’ll do’t?

Do you think she'll do it?

Si. Ay, madam, and be glad you will receive it.

Si. Yes, madam, and be happy that you will get it.

Mist. T. That’s a good maiden; she tells you true. Come, I’ll take order for your debts i’ the alehouse.    180

Mist. T. That’s a good young woman; she speaks honestly. Come, I’ll sort out your debts at the pub. 180

Ge. Go, Sin, and pray for thy Frank, as I will for my Pet.

Ge. Go ahead, Sin, and pray for your Frank, just like I will pray for my Pet.

[Exeunt.

Exeunt.

[99] See Chappell’s Popular Music of the Olden Time, i. 369.

[99] See Chappell’s Popular Music of the Olden Time, i. 369.

[100] See note, vol. i. p. 30.

__A_TAG_PLACEHOLDER_0__ See note, vol. i. p. 30.

[101] Hazard was the name of a game at dice. Cotton in the Complete Gamester, 1674 (pp. 67-72), devotes a chapter to it. He remarks:—“Certainly Hazard is the most bewitching game that is played on the dice, for when a man begins to play he knows not when to leave off; and having once accustomed himself to play at Hazard, he hardly ever after minds anything else.”

[101] Hazard was the name of a dice game. Cotton in the Complete Gamester, 1674 (pp. 67-72), dedicates a chapter to it. He notes: “Hazard is definitely the most captivating game played with dice, because once someone starts playing, they don’t know when to stop; and once they get used to playing Hazard, they rarely focus on anything else."

[102] Old ed. “Trie.”

Old ed. “Trie.”

[103] “Lay in lavender” = pawn.

__A_TAG_PLACEHOLDER_0__ “Lay in lavender” = pawn.

[104] A spoilt, self-willed girl.

A spoiled, headstrong girl.

[105] “Backside”—the yard at the back of a house.

"Backyard"—the space behind a house.

[106] “Gold-end man”—one who buys ends (i.e., broken pieces) of gold. See Gifford’s Jonson, ed. 1875, iv. 76.

[106] “Gold-end man”—someone who buys the ends (i.e., scraps) of gold. See Gifford’s Jonson, ed. 1875, iv. 76.

[107] Fine wheaten bread.

Fine bread.

[108] An old proverb: it is among John Heywood’s Proverbs.

[108] An old saying: it is from John Heywood’s Proverbs.

[109] This term of endearment is applied by the Nurse to Juliet (Rom. and Jul., 1. iii.)

[109] This affectionate term is used by the Nurse for Juliet (Rom. and Jul., 1. iii.)

[110] A favourite word with Marston.

A favorite word of Marston.

SCENE II.

SCENE 2.

Goldsmiths’ Row.

Goldsmiths’ Row.

Enter Touchstone, Golding, Wolf.

Enter Touchstone, Golding, Wolf.

To. I will receive no letters, Master Wolf; you shall pardon me.

To. I won't accept any letters, Master Wolf; please forgive me.

Go. Good father, let me entreat you.

Go. Please, good father, I ask you.

To. Son Golding, I will not be tempted; I find mine own easy nature, and I know not what a well-penned subtle letter may work upon it; there may be tricks, packing, do you see? Return with your packet, sir.

To. Son Golding, I won’t be swayed; I recognize my own easygoing nature, and I’m not sure how a cleverly written letter might affect it; there could be tricks involved, you know? Please take your packet back, sir.

Wo. Believe it, sir, you need fear no packing here; these are but letters of submission all.

Wo. Believe me, sir, you don't have to worry about any tricks here; these are just letters of submission, that's all.

To. Sir, I do look for no submission. I will bear myself in this like blind Justice. Work upon that now. When the sessions come they shall hear from me.    12

To. Sir, I'm not expecting any submission. I will handle this like blind Justice. Focus on that for now. When the hearings come, they will hear from me. 12

Go. From whom come your letters, Master Wolf?

Go. Where do your letters come from, Master Wolf?

Wo. And’t please you, sir, one from Sir Petronel, another from Francis Quicksilver, and a third from old Security, who is almost mad in prison. There are two to your worship; one from Master Francis, sir, another from the knight.

Wo. And if it pleases you, sir, here’s a message from Sir Petronel, another from Francis Quicksilver, and a third from old Security, who is nearly going crazy in prison. There are two for you, sir; one from Master Francis and another from the knight.

To. I do wonder, Master Wolf, why you should travail thus, in a business so contrary to kind, or the nature o’ your place: that you, being the keeper of a prison, should labour the release of your prisoners; whereas, methinks, it were far more natural and kindly in you to be ranging about for more, and not let these ’scape you have already under the tooth. But they say you Wolves, when you ha’ sucked the blood, once that they are dry, you ha’ done.    27

To. I really wonder, Master Wolf, why you’re working so hard on a task that's so against your nature and your role: that you, as the keeper of a prison, should be trying to free your prisoners; when, to me, it seems much more natural and kind for you to be out looking for more and not let the ones you already have escape your grasp. But they say you Wolves, once you've drained the blood, when they’re all used up, you’re done. 27

Wo. Sir, your worship may descant as you please o’ my name; but I protest I was never so mortified with any men’s discourse or behaviour in prison; yet I have had of all sorts of men i’ the kingdom under my keys; and almost of all religions i’ the land, as Papist, Protestant, Puritan, Brownist, Anabaptist, Millenary, Family-o’-Love, Jew, Turk, Infidel, Atheist, Good-Fellow, &c.

Wo. Sir, you can talk about my name as much as you want; but I swear I've never been so embarrassed by anyone's words or actions in prison. Yet I've had all kinds of men under my control in the kingdom, and almost every religion in the land, like Catholic, Protestant, Puritan, Brownist, Anabaptist, Millenarian, Family of Love, Jew, Turk, Infidel, Atheist, Good Fellow, etc.

Go. And which of all these, thinks Master Wolf, was the best religion?    37

Go. And which of all these, thinks Master Wolf, was the best religion? 37

Wo. Troth, Master Deputy, they that pay fees best: we never examine their consciences farther.

Wo. Honestly, Master Deputy, those who pay fees get the best treatment: we never look into their consciences any deeper.

Go. I believe you, Master Wolf. Good faith, sir, here’s a great deal of humility i’ these letters.

Go. I trust you, Master Wolf. Honestly, sir, there’s a lot of humility in these letters.

Wo. Humility, sir? Ay, were your worship an eyewitness of it you would say so. The knight will i’ the Knight’s Ward,[111] do what we can, sir; and Master Quicksilver would be i’ the Hole if we would let him. I never knew or saw prisoners more penitent, or more devout. They will sit you up all night singing of psalms and edifying the whole prison; only Security sings a note too high sometimes, because he lies i’ the Twopenny Ward, far off, and cannot take his tune. The neighbours cannot rest for him, but come every morning to ask what godly prisoners we have.    52

Wo. Humility, sir? Yes, if you saw it for yourself, you would agree. The knight will be in the Knight’s Ward,[111] and we’ll do what we can, sir; and Master Quicksilver would be in the Hole if we allowed him. I’ve never known nor seen prisoners who are more remorseful or devout. They’ll keep you up all night singing psalms and uplifting everyone in the prison; only Security sometimes sings a bit too high because he’s in the Twopenny Ward, far away, and can’t keep the tune. The neighbors can’t get any rest from him, but come every morning to ask what godly prisoners we have. 52

To. Which on ’hem is’t is so devout—the knight or the t’other?

To. Which one of them is so devoted—the knight or the other?

Wo. Both, sir; but the young man especially. I never heard his like. He has cut his hair too. He is so well given, and has such good gifts, he can tell you almost all the stories of the Book of Martyrs, and speak you all the Sick Man’s Salve[112] without book.

Wo. Both, sir; but especially the young man. I've never seen anyone like him. He’s even cut his hair. He’s so generous and has such great talents; he can tell you almost all the stories from the Book of Martyrs and recite the whole Sick Man’s Salve[112] from memory.

To. Ay, if he had had grace—he was brought up where it grew, I wis. On, Master Wolf.    61

To. Yeah, if he had any charm—he was raised in a place where it thrived, I guess. Come on, Master Wolf. 61

Wo. And he has converted one Fangs, a sergeant, a fellow could neither write nor read; he was called the Bandog o’ the Counter; and he has brought him already to pare his nails and say his prayers; and ’tis hoped he will sell his place shortly, and become an intelligencer.

Wo. And he has converted a guy named Fangs, a sergeant who couldn't read or write; he was known as the Bandog of the Counter. He's already gotten him to trim his nails and say his prayers; and it's hoped he will soon leave his position and become an informant.

To. No more; I am coming already. If I should give any farther care I were taken. Adieu, good Master Wolf. Son, I do feel mine own weaknesses; do not importune me. Pity is a rheum that I am subject to; but I will resist it. Master Wolf, fish is cast away that is cast in dry pools. Tell hypocrisy it will not do; I have touched and tried too often; I am yet proof, and I will remain so; when the sessions come they shall hear from me. In the meantime, to all suits, to all entreaties, to all letters, to all tricks, I will be deaf as an adder, and blind as a beetle, lay mine ear to the ground, and lock mine eyes i’ my hand, against all temptations.    78

To. I won’t say more; I’m already on my way. If I think about it any longer, I’ll get involved. Goodbye, good Master Wolf. Son, I'm aware of my own weaknesses, so don’t pressure me. I’m prone to compassion, but I’ll fight against it. Master Wolf, fish thrown into dry pools are a waste. Tell hypocrisy that it’s not going to work; I’ve experienced and tested it too many times; I’m still strong, and I plan to stay that way; when the sessions arrive, they’ll hear from me. In the meantime, for all requests, pleas, letters, and tricks, I’ll be as deaf as a snake and blind as a beetle, pressing my ear to the ground, and covering my eyes with my hand against all temptations. 78

[Exit.

Exit.

Go. You see, Master Wolf, how inexorable he is. There is no hope to recover him. Pray you commend me to my brother knight, and to my fellow Francis; present ’hem with this small token of my love; tell ’hem, I wish I could do ’hem any worthier office; but in this, ’tis desperate: yet I will not fail to try the uttermost of my power for ’hem. And, sir, as far as I have any credit with you, pray you let ’hem want nothing; though I am not ambitious they should know so much.    87

Go. You see, Master Wolf, how relentless he is. There’s no hope of bringing him back. Please send my regards to my brother knight and to my fellow Francis; give them this small token of my affection; tell them I wish I could do something more meaningful for them; but in this, it’s hopeless: yet I won’t hesitate to do everything I can for them. And, sir, as far as I have any influence with you, please ensure they want for nothing; though I’m not eager for them to know so much. 87

Wo. Sir, both your actions and words speak you to be a true gentleman. They shall know only what is fit, and no more.

Wo. Sir, your actions and words show that you are a true gentleman. They will only know what is appropriate, and nothing more.

[Exeunt.

Exeunt.

[111] The Knight’s Ward, the Twopenny Ward, and the Hole were different divisions of a prison: see Fenner’s Compter’s Commonwealth, 1617. Sir Petronel showed his humility by choosing the inferior accommodation of the Knight’s Ward when it was open to him to lie of the Master’s side. Cf. Westward Ho, iii. 2:—
 “Monopoly. Which is the dearest ward in prison, Sergeant? the Knight’s Ward?
Ambush. No, sir, the Master’s side.”

[111] The Knight’s Ward, the Twopenny Ward, and the Hole were different sections of a prison: see Fenner’s Compter’s Commonwealth, 1617. Sir Petronel demonstrated his humility by picking the less favorable accommodation of the Knight’s Ward when he could have chosen to lie of the Master’s side. Cf. Westward Ho, iii. 2:—
 “Monopoly. Which is the most expensive ward in prison, Sergeant? the Knight’s Ward?
Ambush. No, sir, the Master’s side.”

[112] A treatise by Thomas Becon, originally published in 1561. It was very popular, and is frequently mentioned by the dramatists.

[112] A work by Thomas Becon, first published in 1561. It gained a lot of popularity and is often referenced by playwrights.

SCENE III.

SCENE III.

The Compter.

The Computer.

Enter Holdfast and Bramble.

Enter Holdfast and Bramble.

Ho. Who would you speak with, sir?

Ho. Who do you want to talk to, sir?

Br. I would speak with one Security, that is prisoner here.

Br. I would like to talk to a Security who is being held here.

Ho. Y’are welcome, sir. Stay there, I’ll call him to you. Master Security!

Ho. You're welcome, sir. Stay right there, I'll get him for you. Master Security!

Enter Security.

Enter Security.

Sec. Who calls?

Who's calling?

Ho. Here’s a gentleman would speak with you.

Ho. Here’s a guy who wants to talk to you.

Sec. What is he? Is’t one that grafts my forehead now I am in prison, and comes to see how the horns shoot up and prosper?    10

Sec. What is he? Is he someone who plants his ideas in my mind while I’m locked up, just to see how the trouble grows and thrives? 10

Ho. You must pardon him, sir; the old man is a little crazed with his imprisonment.

Ho. You have to excuse him, sir; the old guy is a bit out of his mind from being locked up.

Sec. What say you to me, sir? Look you here.—My learned counsel, Master Bramble! cry you mercy, sir! When saw you my wife?

Sec. What do you have to say to me, sir? Look here.—My knowledgeable lawyer, Master Bramble! I beg your pardon, sir! When did you last see my wife?

Br. She is now at my house, sir; and desired me that I would come to visit you, and inquire of you your case, that we might work some means to get you forth.    18

Br. She is at my place now, sir, and asked me to come visit you and check on your situation so we can find a way to help you get out. 18

Sec. My case,[113] Master Bramble, is stone walls and iron grates; you see it, this is the weakest part on’t. And for getting me forth, no means but hang myself, and so to be carried forth, from which they have here bound me in intolerable bands.

Sec. My situation,[113] Master Bramble, is like being trapped behind stone walls and iron bars; you can see it, this is the most vulnerable point. And to get me out, the only option is to hang myself, so I can be taken away, as they have bound me here in unbearable chains.

Br. Why, but what is’t you are in for, sir?

Br. Why, what are you in for, sir?

Sec. For my sins, for my sins, sir, whereof marriage is the greatest. O, had I never married, I had never known this purgatory, to which hell is a kind of cool bath in respect; my wife’s confederacy, sir, with old Touchstone, that she might keep her jubilee and the feast of her new moon. Do you understand me, sir?    30

Sec. For my sins, for my sins, sir, and marriage is the biggest one. Oh, if only I had never gotten married, I wouldn’t have experienced this purgatory, which makes hell feel like a refreshing swim; my wife’s secret alliance with old Touchstone, so she could celebrate her jubilee and the feast of her new moon. Do you get what I’m saying, sir? 30

Enter Quicksilver.

Enter Quicksilver.

Qu. Good sir, go in and talk with him. The light does him harm, and his example will be hurtful to the weak prisoners. Fie! father Security, that you’ll be still so profane! Will nothing humble you?

Qu. Hey, please go in and talk to him. The light is bad for him, and his behavior will be damaging to the vulnerable prisoners. Seriously, Father Security, why are you still being so disrespectful? Will nothing bring you down to earth?

[Exeunt Security, Bramble, and Holdfast.[114]

[Exit Security, Bramble, and Holdfast.[114]

Enter two Prisoners, with a Friend.

Enter two Prisoners, with a Friend.

Fr. What’s he?

Fr. What is he?

1st Pr. O, he is a rare young man! Do you not know him?

1st Pr. Oh, he’s a one-of-a-kind young man! Don’t you know him?

Fr. Not I. I never saw him, I can remember.

Fr. Not me. I don’t remember ever seeing him.

2nd Pr. Why, it is he that was the gallant prentice of London—Master Touchstone’s man.    40

2nd Pr. It's him, the brave apprentice from London—Master Touchstone’s guy. 40

Fr. Who?—Quicksilver?

Fr. Who?—Quicksilver?

1st Pr. Ay, this is he.

1st Pr. Yes, this is him.

Fr. Is this he? They say he has been a gallant indeed.

Fr. Is this him? They say he's been quite the gentleman.

1st Pr. O, the royallest fellow that ever was bred up i’ the city! He would play you his thousand pound a-night at dice; keep knights’ and lords’ company; go with them to bawdy-houses; had his six men in a livery; kept a stable of hunting-horses, and his wench in her velvet gown and her cloth of silver. Here’s one knight with him here in prison.    51

1st Pr. Oh, the most royal guy that ever grew up in the city! He would gamble away a thousand pounds a night; hang out with knights and lords; go with them to brothels; had six men in uniforms; kept a stable of hunting horses, and his girl in her velvet dress and silver fabric. Here’s one knight with him here in prison. 51

Fr. And how miserably he is changed!

Fr. And how horribly he has changed!

1st Pr. O, that’s voluntary in him: he gave away all his rich clothes as soon as ever he came in here among the prisoners; and will eat o’ the basket,[115] for humility.

1st Pr. Oh, that's his own choice: he gave away all his expensive clothes as soon as he arrived here with the prisoners; and he’ll eat from the basket, [115] to stay humble.

Fr. Why will he do so?

Fr. Why is he doing that?

1st Pr. Alas, he has no hope of life! He mortifies himself. He does but linger on till the sessions.

1st Pr. Unfortunately, he has no hope of survival! He tortures himself. He merely hangs on until the trial.

2nd Pr. O, he has penned the best thing, that he calls his Repentance or his Last Farewell, that ever you heard. He is a pretty poet; and for prose—you would wonder how many prisoners he has helped out, with penning petitions for ’hem, and not take a penny. Look! this is the knight in the rug gown. Stand by.    64

2nd Pr. Oh, he has written the best thing, which he calls his Repentance or his Last Farewell, that you’ve ever heard. He’s a talented poet; and as for prose—you’d be amazed at how many prisoners he has helped out by writing petitions for them, and he doesn’t take a dime. Look! This is the knight in the rug gown. Stand by. 64

Enter[116] Sir Petronel and Bramble.

Enter[116] Sir Petronel and Bramble.

Br. Sir, for Security’s case, I have told him. Say he should be condemned to be carted or whipt for a bawd, or so, why, I’ll lay an execution on him o’ two hundred pound; let him acknowledge a judgment, he shall do it in half an hour; they shall not at all fetch him out without paying the execution, o’ my word.    70

Br. Sir, regarding Security, I've informed him. If he's sentenced to be carted or whipped for being a pimp, then I'll put a judgment of two hundred pounds on him; if he acknowledges that judgment, he can settle it in half an hour. They won't be able to extract him without paying the judgment, I swear. 70

Pe. But can we not be bailed, Master Bramble?

Pe. But can't we get bailed out, Master Bramble?

Br. Hardly; there are none of the judges in town, else you should remove yourself (in spite of him) with a habeas corpus. But if you have a friend to deliver your tale sensibly to some justice o’ the town, that he may have feeling of it (do you see), you may be bailed; for as I understand the case, ’tis only done in terrorem; and you shall have an action of false imprisonment against him when you come out, and perhaps a thousand pound costs.    80

Br. Hardly; none of the judges are in town, or else you would be able to get yourself out (despite him) with a habeas corpus. But if you have a friend who can explain your situation clearly to a local judge so that he can understand it (you know what I mean), you might be released on bail; because from what I gather, it's only done in terrorem; and you can file a lawsuit for false imprisonment against him when you get out, and maybe even claim a thousand pounds in costs. 80

Enter Master Wolf.

Enter Master Wolf.

Qu. How now, Master Wolf?—what news?—what return?

Qu. Hey there, Master Wolf! What’s the news? What do you have to report?

Wo. ’Faith, bad all: yonder will be no letters received. He says the sessions shall determine it. Only, Master Deputy Golding commends him to you, and with this token wishes he could do you other good.

Wo. Honestly, this is all bad: it looks like there will be no letters received. He says the sessions will decide it. Still, Master Deputy Golding sends his regards and wishes he could do something more for you.

Qu. I thank him. Good Master Bramble, trouble our quiet no more; do not molest us in prison thus, with your winding devices; pray you depart. For my part, I commit my cause to Him that can succour me; let God work His will. Master Wolf, I pray you let this be distributed among the prisoners, and desire ’hem to pray for us.    93

Qu. I thank him. Good Master Bramble, please stop disturbing our peace; do not bother us in prison like this, with your sneaky schemes; I ask that you leave us alone. As for me, I place my fate in the hands of the One who can help me; let God do as He wishes. Master Wolf, please share this with the other prisoners and ask them to pray for us. 93

Wo. It shall be done, Master Francis.

Sure thing, Master Francis.

1st Pr. An excellent temper!

A great attitude!

2nd Pr. Now God send him good luck!

2nd Pr. Hopefully, God brings him good luck!

[Exeunt[117] two Prisoners and Friend.

[Exit[117] two Prisoners and Friend.

Pe. But what said my father-in-law, Master Wolf?

Pe. But what did my father-in-law, Master Wolf, say?

Enter Holdfast.

Enter Holdfast.

Ho. Here’s one would speak with you, sir.

Ho. Someone here wants to talk to you, sir.

Wo. I’ll tell you anon, Sir Petronel; who is’t?

Wo. I’ll let you know in a moment, Sir Petronel; who is it?

Ho. A gentleman, sir, that will not be seen.    100

Ho. A gentleman, sir, who refuses to be seen. 100

Enter Golding.

Enter Golding.

Wo. Where is he? Master Deputy! your worship is welcome—

Wo. Where is he? Master Deputy! It's great to see you—Understood! Please provide the text you would like me to modernize.

Go. Peace!

Go. Peace!

Wo. Away, sirrah!

Get lost, buddy!

[Exit[118] Bramble.

[Exit[118] Bramble.

Go. Good faith, Master Wolf, the estate of these gentlemen, for whom you were so late and willing a suitor, doth much affect me; and because I am desirous to do them some fair office, and find there is no means to make my father relent so likely as to bring him to be a spectator of their miseries, I have ventured on a device, which is, to make myself your prisoner: entreating you will presently go report it to my father, and (feigning an action at suit of some third person) pray him by this token, that he will presently, and with all secrecy, come hither for my bail; which train, if any, I know will bring him abroad; and then, having him here, I doubt not but we shall be all fortunate in the event.    117

Go. Honestly, Master Wolf, the situation of these gentlemen, for whom you were recently and eagerly a suitor, really concerns me; and since I want to do something good for them, I’ve figured out that the best way to get my father to change his mind is to show him their suffering. So, I’ve come up with a plan: I’ll make myself your prisoner. I ask you to go tell my father right away and pretend this is an urgent matter from someone else. Please ask him, using this as a signal, to come here secretly to bail me out. If this scheme works, I’m sure it will get him out here, and once he’s here, I have no doubt that everything will turn out well for us. 117

Wo. Sir, I will put on my best speed to effect it. Please you come in.

Wo. Sir, I will do my best to make it happen quickly. Please come in.

Go. Yes; and let me rest concealed, I pray you.

Go. Yeah; and please let me stay hidden.

Wo. See here a benefit truly done, when it is done timely, freely, and to no ambition.

Wo. Here’s a real benefit, when it’s given at the right time, willingly, and without any selfish desire.

[Exeunt.

[Exit.

[113] Covering.

Cover.

[114] Here and elsewhere there is no stage-direction in the old ed.

[114] Here and elsewhere, there aren't any stage directions in the old ed.

[115] The basket containing the broken victuals collected for the poor prisoners.

[115] The basket with the leftover food collected for the needy prisoners.

[116] Old ed.Enter Sir Petronel, Bramble, Quicksilver, Wolf.”

__A_TAG_PLACEHOLDER_0__ Old ed. “Enter Sir Petronel, Bramble, Quicksilver, Wolf.”

[117] The stage-direction in old ed. is simply “Exeunt.”

[117] The stage direction in the old ed. is just “Exeunt.”

[118] I give this stage-direction at a venture.

[118] I'm suggesting this stage direction as a guess.

SCENE IV.

SCENE 4.

Goldsmiths’ Row.

Goldsmiths’ Row.

Enter Touchstone, Mistress Touchstone, Gertrude, Mildred, Sindefy, and Winifred.

Enter Touchstone, Mistress Touchstone, Gertrude, Mildred, Sindefy, and Winifred.

To. I will sail by you, and not hear you, like the wise Ulysses.

To. I’ll pass by you without hearing a word, just like the clever Ulysses.

Mi. Dear father!

Dear Dad!

Mist. T. Husband!

Husband!

Ge. Father!

Dad!

Wi. and Si. Master Touchstone!

Wi. and Si. Master Touchstone!

To. Away, sirens! I will immure myself against your cries, and lock myself up to your lamentations.

To. Go away, sirens! I will shut myself off from your cries and lock myself away from your wailing.

Mist. T. Gentle husband, hear me!

Mist. T. Sweetheart, listen to me!

Ge. Father, it is I, father; my Lady Flash. My sister and I am friends.    11

Ge. Dad, it’s me, Dad; my Lady Flash. My sister and I are friends. 11

Mi. Good father!

Great dad!

Wi. Be not hardened, good Master Touchstone!

Wi. Don't be so stubborn, good Master Touchstone!

Si. I pray you, sir, be merciful!

Please, sir, have mercy!

To. I am deaf; I do not hear you; I have stopped mine ears with shoemakers’ wax, and drunk Lethe and mandragora[119] to forget you. All you speak to me I commit to the air.

To. I can’t hear you; I’ve plugged my ears with shoe maker’s wax and drunk Lethe and mandragora[119] to forget you. Everything you say to me just goes into the air.

Enter Wolf.

Enter Wolf.

Mi. How now, Master Wolf?

Mi. What's up, Master Wolf?

Wo. Where’s Master Touchstone? I must speak with him presently; I have lost my breath for haste.    21

Wo. Where’s Master Touchstone? I need to talk to him right away; I've lost my breath from rushing. 21

Mi. What is the matter, sir? Pray all be well!

Mi. What's wrong, sir? I hope everything's okay!

Wo. Master Deputy Golding is arrested upon an execution, and desires him presently to come to him, forthwith.

Wo. Master Deputy Golding is arrested during an execution and wants him to come to him immediately.

Mi. Ay me! do you hear, father?

Mi. Oh my! Do you hear me, Dad?

To. Tricks, tricks, confederacy, tricks! I have ’hem in my nose—I scent ’hem!

To. Tricks, tricks, deception, tricks! I can smell them—I can sense them!

Wo. Who’s that? Master Touchstone?

Who’s that? Master Touchstone?

Mist. T. Why, it is Master Wolf himself, husband.    30

Mist. T. Why, it's Master Wolf himself, dear. 30

Mi. Father!

Dad!

To. I am deaf still, I say. I will neither yield to the song of the siren nor the voice of the hyena,[120] the tears of the crocodile nor the howling o’ the Wolf. Avoid my habitation, monsters!

To. I am still deaf, I say. I will not give in to the song of the siren or the voice of the hyena,[120] the tears of the crocodile or the howling of the wolf. Stay away from my home, monsters!

Wo. Why, you are not mad, sir? I pray you look forth, and see the token I have brought you, sir.

Wo. Why, are you seriously not mad, sir? Please, take a look outside and see the sign I've brought you, sir.

To. Ha! what token is it?

To. Ha! What is that token?

Wo. Do you know it, sir?

Wo. Do you know about it, sir?

To. My son Golding’s ring! Are you in earnest, Master Wolf?    41

To. My son Golding’s ring! Are you serious, Master Wolf? 41

Wo. Ay, by my faith, sir. He is in prison, and required me to use all speed and secrecy to you.

Wo. Yes, I swear, sir. He’s in jail and asked me to get to you as quickly and quietly as possible.

To. My cloak, there (pray you be patient). I am plagued for my austerity. My cloak! At whose suit, Master Wolf?

To. My coat, over there (please bear with me). I'm being bothered because of my seriousness. My coat! Who asked for it, Master Wolf?

Wo. I’ll tell you as we go, sir.

Wo. I'll explain it as we go, sir.

[Exeunt.

[Exit.

[119] A powerful soporific.

A strong sleep aid.

[120] See Topsel’s History of Fourfooted Beasts, ed. 1658, p. 341.

__A_TAG_PLACEHOLDER_0__ See Topsel’s History of Fourfooted Beasts, ed. 1658, p. 341.

SCENE V.

SCENE V.

The Compter.

The Computer.

Enter two Prisoners and Friend.

Enter two Prisoners and a Friend.

Fr. Why, but is his offence such as he cannot hope of life?

Fr. Why, is his wrongdoing so serious that he can't hope for a chance at life?

1st Pr. Troth, it should seem so; and ’tis great pity, for he is exceeding penitent.

1st Pr. Truly, it seems that way; and it's a real shame, because he is very sorry.

Fr. They say he is charged but on suspicion of felony yet.

Fr. They say he is accused but still under suspicion of a crime.

2nd Pr. Ay, but his master is a shrewd fellow; he’ll prove great matter against him.

2nd Pr. Yeah, but his boss is pretty clever; he’ll bring up some serious accusations against him.

Fr. I’d as lieve as anything I could see his Farewell.

Fr. I'd just as soon see his Farewell.

1st Pr. O, ’tis rarely written; why, Toby may get him to sing it to you; he’s not curious to anybody.    11

1st Pr. Oh, it’s not often written; well, Toby might sing it for you; he’s not shy around anyone. 11

2nd Pr. O no! He would that all the world should take knowledge of his repentance, and thinks he merits in’t the more shame he suffers.

2nd Pr. Oh no! He wants the whole world to know about his regret and believes he deserves to suffer even more shame.

1st Pr. Pray thee, try what thou canst do.

1st Pr. Please, give it a shot and see what you can do.

2nd Pr. I warrant you he will not deny it, if he be not hoarse with the often repeating of it.

2nd Pr. I guarantee that he won’t deny it, unless he’s too hoarse from saying it so many times.

[Exit.

[Leave.

1st Pr. You never saw a more courteous creature than he is, and the knight too: the poorest prisoner of the house may command ’hem. You shall hear a thing admirably penned.    21

1st Pr. You’ve never met a more polite person than he is, along with the knight: even the lowliest prisoner in the house can order them around. You’re about to hear something beautifully written. 21

Fr. Is the knight any scholar too?

Fr. Is the knight also a scholar?

1st Pr. No, but he will speak very well, and discourse admirably of running horses and White-Friars, and against bawds; and of cocks; and talk as loud as a hunter, but is none.

1st Pr. No, but he will talk really well and discuss things like racehorses and White-Friars, and complain about pimps; and about roosters; and he’ll speak as loudly as a hunter, but he's not one.

Enter Wolf and Touchstone.

Enter Wolf and Touchstone.

Wo. Please you, stay here; I’ll call his worship down to you.    28

Wo. Please stay here; I’ll call him down to you. 28

[Exit Wolf.

[Exit Wolf.

Re-enter[121] Wolf with Golding, Quicksilver,
Sir Petronel, and Security.

Re-enter[121] Wolf with Golding, Quicksilver,
Sir Petronel, and Security.

1st Pr. See, he has brought him, and the knight too; salute him, I pray. Sir, this gentleman, upon our report, is very desirous to hear some piece of your Repentance.

1st Pr. Look, he has brought him, along with the knight; please greet him. Sir, this gentleman is very eager to hear a part of your Repentance.

Qu. Sir, with all my heart; and, as I told Master Toby, I shall be glad to have any man a witness of it. And the more openly I profess it, I hope it will appear the heartier, and the more unfeigned.

Qu. Sir, I genuinely mean it; and, as I mentioned to Master Toby, I'm happy to have anyone witness it. The more openly I express this, the more sincere and heartfelt I hope it will seem.

To. Who is this?—my man Francis, and my son-in-law?

To. Who is this?—my guy Francis, and my son-in-law?

Qu. Sir, it is all the testimony I shall leave behind me to the world, and my master that I have so offended.

Qu. Sir, this is all the proof I will leave to the world and to my master whom I have so wronged.

Fr. Good, sir!    40

Good, sir!

Qu. I writ it when my spirits were oppressed.

Qu. I wrote it when I was feeling down.

Pe. Ay, I’ll be sworn for you, Francis.

Pe. Yeah, I’ll take your word for it, Francis.

Qu. It is in imitation of Mannington’s,[122] he that was hanged at Cambridge, that cut off the horse’s head at a blow.

Qu. It is similar to Mannington's,[122] the one who was hanged at Cambridge, who struck off the horse's head in one blow.

Fr. So, sir!

Fr. So, dude!

Qu. To the tune of “I wail in woe, I plunge in pain.”

Qu. To the tune of “I moan in sorrow, I dive into agony.”

Pe. An excellent ditty it is, and worthy of a new tune.

Pe. It’s a great song, and it deserves a fresh melody.

Qu. In Cheapside, famous for gold and plate,
Quicksilver I did dwell of late;    50
I had a master good and kind,
That would have wrought me to his mind.
He bade me still, Work upon that,
But, alas! I wrought I knew not what.
He was a Touchstone black, but true,
And told me still what would ensue;
Yet woe is me! I would not learn;
I saw, alas! but could not discern!

Qu. I recently lived in Cheapside, famous for its gold and silver,
where Quicksilver was home;    50
I had a master who was good and kind,
who would have molded me to his preference.
He always told me, "Keep working on that."
But, unfortunately, I worked on things I didn’t grasp.
He was a black Touchstone, but he was honest,
and always warned me about what would happen;
yet unfortunately, I wouldn’t find out;
I saw it, but unfortunately couldn't grasp it!

Fr. Excellent, excellent well!

Great, great job!

Go. O let him alone: he is taken already.    60

Go. Oh, leave him alone; he's already been affected. 60

Qu. I cast my coat and cap away,
I went in silks and satins gay;
False metal of good manners I
Did daily coin unlawfully.
I scorn’d my master, being drunk;
I kept my gelding and my punk;
And with a knight, Sir Flash by name,
Who now is sorry for the same,—

Qu. I took off my coat and hat,
I wore vibrant silks and satins;
I acted like I had good manners,
Creating a fake charm every day.
I disrespected my boss when I was drunk;
I held onto my horse and my woman;
And I spent time with a knight named Sir Flash,
Who regrets it now,—

Pe. I thank you, Francis.

Thanks, Francis.

[Qu.] I thought by sea to run away,    70
But Thames and tempest did me stay.

[Qu.]
I thought I could escape by sea, 70
But the Thames and the storm held me back.

To. This cannot be feigned, sure. Heaven pardon my severity! The ragged colt may prove a good horse.

To. This can’t be faked, for sure. Heaven forgive my strictness! The scruffy colt might turn out to be a great horse.

Go. How he listens, and is transported! He has forgot me.

Go. Look at how he listens and gets lost in it! He has forgotten me.

Qu. Still Eastward-ho was all my word:
But westward I had no regard,
Nor never thought what would come after,
As did, alas! his youngest daughter.
At last the black ox trod o’ my foot,[123]    80
And I saw then what long’d unto ’t;
Now cry I, “Touchstone, touch me still,
And make me current by thy skill.”

Qu. I kept saying I was going east:
But I never focused on the west,
Nor did I think about what would happen next,
Unfortunately, so did his youngest daughter.
Finally, the black ox stepped on my foot,[123]    80
And then I realized what was about to happen;
Now I shout, “Touchstone, keep touching me,
"Make me feel important with your talent."

To. And I will do it, Francis.

To. And I'll do it, Francis.

Wo. Stay him, Master Deputy; now is the time: we shall lose the song else.

Wo. Hold him, Master Deputy; this is the moment: we’ll miss the song otherwise.

Fr. I protest it is the best that ever I heard.

Fr. I swear it's the best thing I've ever heard.

Qu. How like you it, gentlemen?

What do you think, gentlemen?

All. O admirable, sir!

All. Oh, wow, sir!

Qu. This stanze now following, alludes to the story of Mannington, from whence I took my project for my invention.    92

Qu. This next section refers to the story of Mannington, which was the inspiration for my invention. 92

Fr. Pray you go on, sir.

Please continue, sir.

Qu. O Mannington, thy stories show,
Thou cutt’st a horse-head off at a blow!
But I confess, I have not the force
For to cut off the head of a horse;
Yet I desire this grace to win,
That I may cut off the horse-head of Sin,
And leave his body in the dust    100
Of sin’s highway and bogs of lust,
Whereby I may take Virtue’s purse,
And live with her for better, for worse.

O Mannington, your stories show,
You can behead a horse in one hit!
But I have to admit, I don't have the strength.
To cut off a horse's head;
I still hope to receive this blessing,
That I can eliminate the main problem of Sin,
And leave its body behind in the dust    100
Of sin's path and the marshes of desire,
So that I can take Virtue's bag,
And live with her through good times and bad.

Fr. Admirable, sir, and excellently conceited!

Fr. Impressive, sir, and very full of yourself!

Qu. Alas, sir!

Sadly, sir!

To. Son Golding and Master Wolf, I thank you: the deceit is welcome, especially from thee, whose charitable soul in this hath shown a high point of wisdom and honesty. Listen, I am ravished with his repentance, and could stand here a whole prenticeship to hear him.    111

To. Son Golding and Master Wolf, thank you: the trickery is appreciated, especially from you, whose kind heart in this has demonstrated great wisdom and integrity. Listen, I’m overwhelmed by his remorse, and I could stay here for a whole apprenticeship just to hear him. 111

Fr. Forth, good sir.

Fr. Forth, good sir.

Qu. This is the last, and the Farewell.—
Farewell, Cheapside, farewell, sweet trade
Of Goldsmiths all, that never shall fade;
Farewell, dear fellow prentices all,
And be you warnèd by my fall:
Shun usurers, bawds, and dice, and drabs,
Avoid them as you would French scabs.
Seek not to go beyond your tether,    120
But cut your thongs unto your leather:
So shall you thrive by little and little,
’Scape Tyburn, Counters, and the Spital!

Qu. This is the final one, and the Farewell.—
Goodbye, Cheapside, goodbye, dear trade
Of all Goldsmiths, which will never go out of style;
Goodbye, dear fellow trainees,
Let my downfall be a warning to all of you:
Avoid usurers, sex workers, gambling, and heavy drinkers,
Stay away from them just like you'd stay away from the French disease.
Don't try to overextend yourself,    120
But stay within your limits:
Then you’ll succeed little by little,
Escape from Tyburn, debtor's prisons, and the hospital!

To. And ’scape them shalt thou, my penitent and dear Francis!

To. You will escape them, my remorseful and dear Francis!

Qu. Master!

Master!

Pe. Father!

Dad!

To. I can no longer forbear to do your humility right. Arise, and let me honour your repentance with the hearty and joyful embraces of a father and friend’s love. Quicksilver, thou hast eat into my breast, Quicksilver, with the drops of thy sorrow, and killed the desperate opinion I had of thy reclaim.    133

To. I can't hold back from giving you the respect you deserve anymore. Get up, and let me celebrate your change of heart with the warm and joyful hugs of a father and friend's love. Quicksilver, you've seeped into my heart, Quicksilver, with the tears of your sorrow, and crushed the hopeless belief I had in your recovery. 133

Qu. O, sir, I am not worthy to see your worshipful face!

Qu. Oh, sir, I’m not worthy to be in your presence!

Pe. Forgive me, father.

Sorry, Dad.

To. Speak no more; all former passages are forgotten; and here my word shall release you. Thank this worthy brother, and kind friend, Francis.—Master Wolf, I am their bail.

To. Don’t say anything more; everything that happened before is forgotten; and now my word will set you free. Thank this good brother and friend, Francis.—Master Wolf, I am their guarantor.

[A shout in the prison.

A shout in the jail.

Sec. Master Touchstone! Master Touchstone!

Hey Touchstone! Hey Touchstone!

To. Who’s that?

To. Who’s that?

Wo. Security, sir.

Security, sir.

Sec. Pray you, sir, if you’ll be won with a song, hear my lamentable tune too!    144

Sec. Please, sir, if you'd like to be won over by a song, listen to my sorrowful tune too! 144

Song.

Track.

O Master Touchstone,
My heart is full of woe;
Alas, I am a cuckold!
And why should it be so?
Because I was a usurer
And bawd, as all you know,    150
For which, again I tell you,
My heart is full of woe.

Oh Master Touchstone,
My heart is filled with sadness;
Unfortunately, I'm a fool!
And why should this occur?
Because I was a loan shark
And a pimp, as all of you know,    150
For this, I’ll say it again,
My heart is filled with sadness.

To. Bring him forth, Master Wolf, and release his bands. This day shall be sacred to mercy and the mirth of this encounter in the Counter. See, we are encountered with more suitors!

To. Bring him out, Master Wolf, and free him from his bonds. Today will be dedicated to kindness and the joy of this meeting in the Counter. Look, we have more suitors joining us!

Enter Mistress Touchstone, Gertrude, Mildred,
Sindefy, Winifred, &c.

Enter Mistress Touchstone, Gertrude, Mildred,
Sindefy, Winifred, & more.

Save your breath, save your breath! All things have succeeded to your wishes: and we are heartily satisfied in their events.

Save your breath, save your breath! Everything has gone the way you wanted it: and we're really happy with how it turned out.

Ge. Ah, runaway, runaway! have I caught you? And how has my poor knight done all this while?    161

Ge. Oh, run away, run away! Have I caught you? And how has my poor knight been this whole time? 161

Pe. Dear lady-wife, forgive me!

Dear wife, forgive me!

Ge. As heartily as I would be forgiven, knight. Dear father, give me your blessing, and forgive me too; I ha’ been proud and lascivious, father; and a fool, father; and being raised to the state of a wanton coy thing, called a lady, father; have scorned you, father, and my sister, and my sister’s velvet cap too; and would make a mouth at the city as I rid through it; and stop mine ears at Bow-bell. I have said your beard was a base one, father; and that you looked like Twierpipe the taberer; and that my mother was but my midwife.    172

Ge. As sincerely as I hope to be forgiven, knight. Dear father, please give me your blessing, and forgive me too; I have been proud and promiscuous, father; and a fool, father; and having been raised to the position of a shameless, coy creature, called a lady, father; I have scorned you, father, and my sister, and my sister’s fancy cap too; and would make faces at the city as I rode through it; and block my ears at Bow-bell. I have said your beard was shameful, father; and that you looked like Twierpipe the tavern keeper; and that my mother was just my midwife. 172

Mist. T. Now, God forgi’ you, child madam!

Mist. T. Now, may God forgive you, dear!

To. No more repetitions. What else is wanting to make our harmony full?

To. No more repeats. What else do we need to complete our harmony?

Go. Only this, sir, that my fellow Francis make amends to Mistress Sindefy with marriage.

Go. Just this, sir, that my friend Francis will make things right with Mistress Sindefy by marrying her.

Qu. With all my heart.

With all my heart.

Go. And Security give her a dower, which shall be all the restitution he shall make of that huge mass he hath so unlawfully gotten.    181

Go. And Security will give her a dowry, which will be all the repayment he makes for that huge fortune he has unlawfully obtained. 181

To. Excellently devised! a good motion![124] What says Master Security?

To. Perfectly planned! A great idea![124] What does Master Security say?

Sec. I say anything, sir, what you’ll ha’ me say. Would I were no cuckold!

Sec. I'll say whatever you want me to say, sir. I wish I wasn't such a fool!

Wi. Cuckold, husband? Why, I think this wearing of yellow[125] has infected you.    187

Wi. Are you really jealous, husband? I think this wearing yellow[125] has rubbed off on you. 187

To. Why, Master Security, that should rather be a comfort to you than a corasive. If you be a cuckold, it’s an argument you have a beautiful woman to your wife; then you shall be much made of; you shall have store of friends, never want money; you shall be eased of much o’ your wedlock pain, others will take it for you. Besides, you being a usurer (and likely to go to hell), the devils will never torment you: they’ll take you for one o’ their own race. Again, if you be a cuckold, and know it not, you are an innocent; if you know it and endure it, a true martyr.    198

To. Well, Master Security, that should actually be more of a comfort to you than a burden. If you’re a cuckold, it just means you have a beautiful woman for a wife; then you’ll be popular, you'll always have friends, never have to worry about money, and you'll be relieved of a lot of the pains of marriage—others will handle that for you. Plus, since you’re a loan shark (and probably headed for hell), the devils won’t bother you: they’ll think you’re one of them. Also, if you’re a cuckold and don’t realize it, you’re innocent; if you know and accept it, you’re a true martyr. 198

Sec. I am resolved, sir. Come hither, Winny.

Sec. I am determined, sir. Come here, Winny.

To. Well, then, all are pleased, or shall be anon. Master Wolf, you look hungry, methinks; have you no apparel to lend Francis to shift him?

To. Well, everyone seems happy, or will be soon. Master Wolf, you look hungry; don't you have any clothes to lend Francis to change into?

Qu. No, sir, nor I desire none; but here make it my suit, that I may go home through the streets in these, as a spectacle, or rather an example to the children of Cheapside.

Qu. No, sir, and I don't want any; but I ask that I may walk home through the streets in these, as a spectacle, or rather an example for the children of Cheapside.

To. Thou hast thy wish. Now, London, look about,
And in this moral see thy glass run out:
Behold the careful father, thrifty son,
The solemn deeds which each of us have done;    210
The usurer punish’d, and from fall so steep
The prodigal child reclaim’d, and the lost sheep.

To. You got what you wanted. Now, London, take a moment to look around,
And in this lesson, watch your time expire:
Notice the attentive father, the protective son,
The serious actions we've all taken;    210
The moneylender was punished, and from that downfall
The wayward child is returned, and the lost sheep is found.

[121] Old ed.Enter Quicksilver, Sir Petronel, &c.

__A_TAG_PLACEHOLDER_0__ Old ed. “Enter Quicksilver, Sir Petronel, &c.”

[122] There was entered in the Stationers’ Books, on 7th November 1576, “A woeful Ballad made by Mr. George Mannynton, an houre before he suffered at Cambridge-castell.” The ballad is printed in Ritson’s Ancient Songs and Ballads (ed. 1877), pp. 188-191. It begins:—
“I wayle in woe, I plundge in payne,
With sorrowing sobbes I do complayne,
With wallowing waves I wishe to dye,
I languish sore here as I lye,” &c.

[122] On November 7, 1576, it was recorded in the Stationers’ Books, “A sad ballad created by Mr. George Mannynton, an hour before he was executed at Cambridge Castle.” The ballad is published in Ritson’s Ancient Songs and Ballads (ed. 1877), pp. 188-191. It starts with:—
"I cry in sadness, I drown in pain,
I complain with grieving sobs,
With crashing waves, I want to die,
"I'm in a lot of pain as I lie here," &c.

[123] “The black ox trod o’ my foot”—a proverbial expression, meaning “trouble came upon me.”

[123] “The black ox stepped on my foot”—a saying that means “trouble came my way.”

[124] Proposition.

__A_TAG_PLACEHOLDER_0__ Proposal.

[125] The colour of (1) jealousy, (2) Security’s prison-dress.

[125] The color of (1) jealousy, (2) Security’s prison uniform.

EPILOGUS.

EPILOGUE.

[Qu.] Stay, sir, I perceive the multitude are gather’d together to view our coming out at the Counter. See if the streets and the Fronts of the Houses be not thick with people, and the windows fill’d with ladies as on the solemn day of the pageant!
O may you find in this our pageant here
The same contentment which you came to seek,
And as that show but draws you once a year    220
May this attract you hither once a week.

[Qu.] Wait, sir, I see that a crowd has gathered to watch us come out at the Counter. Look at how the streets and the fronts of the buildings are packed with people, and the windows are filled with ladies just like on the big day of the parade!
Oh, may you discover in this event here
The same enjoyment you were seeking,
And just like that event takes place only once a year    220
I hope this brings you here once a week.

[Exeunt omnes.

[Everyone exits.

THE
INSATIATE COUNTESS.

The Insatiate Countesse. A Tragedie: Acted at White-Fryers. Written By Iohn Marston. London: Printed by T. S. for Thomas Archer, and are to be sold at his Shop in Popes-head-Pallace, neere the Royall-Exchange. 1613. 4to.

The Insatiate Countess. A Tragedy: Performed at Whitefriars. Written by John Marston. London: Printed by T. S. for Thomas Archer, and available for purchase at his shop in Pope's Head Alley, near the Royal Exchange. 1613. 4to.

The Insatiate Countesse. A Tragedie: Acted at White-Fryers. Written By Iohn Marston. London, Printed by I. N. for Hugh Perrie, and are to be sould at his shop, at the signe of the Harrow in Brittaines-burse. 1631. 4to.

The Insatiate Countess. A Tragedy: Performed at White-Fryers. Written by John Marston. London, Printed by I. N. for Hugh Perrie, and available at his shop, at the sign of the Harrow in Brittaines-burse. 1631. 4to.

STORY OF THE PLAY.

PLAY SUMMARY.

Isabella, Countess of Suevia, being left a widow, proceeds with indecent haste to take a second husband, Roberto, Count of Cyprus. At a masqued dance given by the bridegroom’s friends on the day of the wedding, Isabella falls in love with one of the masquers, whom she discovers to be the Count of Massino [Messina?]. She sends him a letter in which she proffers her love and summons him to her presence. With her paramour she flies to Pavia, where she meets Massino’s friend Gniaca, Count of Gaza or Gazia [Gaeta?]. The Insatiate Countess immediately falls in love with Gniaca, who—though at first unwilling to wrong his friend—quickly yields to her blandishments. Returning from a hunting expedition Massino is denied admittance by Isabella. He gives vent to his indignation by penning bitter satirical verses, in which he proclaims to the world her inordinate lust. Enraged at this exposure, Isabella incites Gniaca to slay Massino. An encounter ensues between Gniaca and Massino, but after a few passes the combatants put up their weapons, hold a friendly colloquy, and part in peace. Isabella is furious and resolves to destroy both Gniaca and Massino. She employs the services of a Spanish colonel, Don Sago, who at first sight of her has been violently inflamed with passion. The colonel shoots Massino dead, is arrested, and, being brought before the Duke of Medina, makes full confession. Isabella is condemned to be beheaded. At the place of execution a strange friar requests that he may have private speech with her. The friar is Count Roberto, who has come to pronounce forgiveness, and bid a last farewell, to his erring wife.

Isabella, Countess of Suevia, becomes a widow and quickly rushes to marry a second husband, Roberto, Count of Cyprus. At a masked dance hosted by the groom's friends on the wedding day, Isabella falls for one of the masked dancers, who turns out to be the Count of Massino. She writes him a letter confessing her love and inviting him to see her. Together with her lover, she escapes to Pavia, where she meets Massino’s friend Gniaca, Count of Gaza. The Insatiate Countess immediately becomes infatuated with Gniaca, who—though initially reluctant to betray his friend—soon succumbs to her charms. When Massino returns from a hunting trip, Isabella refuses him entry. Outraged, he expresses his fury in bitter satirical poems, publicly denouncing her insatiable desire. Furious about this revelation, Isabella urges Gniaca to kill Massino. They confront each other, but after a brief skirmish, they lower their weapons, share a friendly conversation, and part peacefully. Isabella is livid and decides to eliminate both Gniaca and Massino. She hires a Spanish colonel, Don Sago, who becomes infatuated with her at first sight. The colonel shoots Massino dead, is arrested, and when brought before the Duke of Medina, he confesses everything. Isabella is sentenced to behead. At the execution site, a mysterious friar asks to speak to her in private. The friar is Count Roberto, who has come to forgive his wayward wife and say a final goodbye.

There is also an underplot to the play. Rogero and Claridiana, between whom an hereditary feud exists, celebrate their marriage on the same day. As they return from the church an altercation arises between the bridegrooms, but by the intervention of friends they are at length induced to declare that they will lay aside their hatred. These professions are marked with little sincerity, for the new-made friends are intent upon cornuting one another. The wives, who are excellent friends, take counsel together and devise a scheme by which the husbands, while taking their lawful pleasure, imagine that they are tasting the sweets of adultery. Claridiana, announcing that he has gone to his farm in the country, repairs by appointment to the house of Rogero, where, under the impression that he is enjoying Rogero’s wife Thais, he lies with his own wife Abigail; and Rogero, under Claridiana’s roof lies with Thais in the belief that he is clipping Abigail. While these night-sports are in progress, Mendoza, nephew of the Duke Amago, holds a clandestine interview with the widowed Lady Lentulus. As he is mounting to her chamber, the rope-ladder breaks. Injured by the fall, he drags himself some distance from the house to a spot where he is discovered by the watch. It is supposed that he has met with foul play; a search is instituted; Rogero is discovered by the watch in the house of Claridiana, and Claridiana in the house of Rogero. Charged before the Duke Amago with the murder of Mendoza they declare themselves guilty—preferring to be hanged as murderers rather than to be derided as cuckolds. Mendoza, recovering from the effects of his fall, asserts (in order to save the honour of the Lady Lentulus) that he met his injuries in trying to steal some jewels from her house. The Duke, who is in a maze of wonder at the strange statements and confessions, condemns the three prisoners to be executed, hoping by this means to extort from them the truth. On the day fixed for the execution Thais and Abigail make an explanation to the Duke; and their husbands—finding that they have not been cuckolded—are glad to spare the hangman his labour. How Mendoza fares is not stated.

There’s also a subplot in the play. Rogero and Claridiana, who have a long-standing feud, celebrate their wedding on the same day. As they return from the church, a disagreement breaks out between the grooms, but with the help of their friends, they eventually promise to put aside their enmity. However, these promises lack sincerity, as the newly reconciled friends are more focused on tricking each other. The wives, who are good friends, come up with a plan to make their husbands believe they’re having an affair while they indulge in their lawful pleasures. Claridiana, claiming he’s gone to his country farm, secretly meets at Rogero’s house, where he thinks he’s with Rogero’s wife Thais, but ends up with his own wife Abigail; meanwhile, Rogero, at Claridiana’s place, thinks he’s with Abigail but is actually with Thais. While these escapades unfold, Mendoza, the Duke Amago’s nephew, has a secret meeting with the widowed Lady Lentulus. As he climbs to her room, the rope ladder breaks. Injured from the fall, he drags himself away from the house and is found by the watch. They suspect foul play, leading to a search, during which Rogero is found in Claridiana’s house and Claridiana in Rogero’s. Accused before Duke Amago of Mendoza’s murder, they both plead guilty, choosing execution over being ridiculed as fools. Mendoza, recovering from his injury, claims (to protect Lady Lentulus’s reputation) that he was hurt trying to steal jewelry from her house. The Duke, baffled by these strange claims and confessions, condemns the three to execution, hoping to extract the truth from them. On the day of the execution, Thais and Abigail explain everything to the Duke, and their husbands—learning they haven’t been cheated on—are relieved to avoid the hangman’s noose. What happens to Mendoza is not revealed.

DRAMATIS PERSONÆ.[126]

CHARACTERS.[126]

Amago, Duke of Venice.
Duke of Medina.
Roberto, Count of Cyprus.
Count Massino.
Guido, Count of Arsena.
Gniaca, Count of Gazia.
Mendoza Foscari, nephew to Amago.
Signior Mizaldus.
Claridiana.
Rogero.
Don Sago, a Spanish Colonel.
Cardinal.

Amago, Duke of Venice.
Duke of Medina.
Roberto, Count of Cyprus.
Count Massino.
Guido, Count of Arsena.
Gniaca, Count of Gazia.
Mendoza Foscari, nephew of Amago.
Signior Mizaldus.
Claridiana.
Rogero.
Don Sago, a Spanish Colonel.
Cardinal.

Isabella, the Insatiate Countess.
Lady Lentulus, a widow.
Abigail, wife to Claridiana.
Thais, wife to Rogero.
Anna, waiting-woman to Isabella.
Senators, captain, lieutenant, soldiers, messenger, executioner, &c.

Isabella, the Insatiable Countess.
Lady Lentulus, a widow.
Abby, wife of Claridiana.
Thais, wife of Rogero.
Anna, lady-in-waiting to Isabella.
Senators, captain, lieutenant, soldiers, messenger, executioner, etc.

Scene—Venice and Pavia.

Scene—Venice and Pavia.


[126] There is no list of characters in the old editions.

[126] There isn't a character list in the old editions.

THE
INSATIATE COUNTESS.

ACT I.

SCENE I.

SCENE I.

Venice.—Room in Isabella’s house.

Venice.—Room in Isabella’s house.

Isabella, Countess of Suevia, discovered sitting at a table covered with black, on which stands two black tapers lighted, she in mourning.

Isabella, Countess of Suevia, was found sitting at a table draped in black, with two lit black candles placed on it, dressed in mourning.

Enter Roberto Count of Cyprus, Guido Count of Arsena, and Signior Mizaldus.

Enter Roberto Count of Cyprus, Guido Count of Arsena, and Signior Mizaldus.

Miz. What should we do in this countess’s dark hole?
She’s sullenly retirèd as the turtle.
Every day has been
A black day with her since her husband died;
And what should we unruly members make[127] here?

Miz. What should we do in this countess's dark space?
She’s withdrawn like a turtle.
Every day has been
It’s a hard day for her since her husband passed away;
So what are we unruly members supposed to do here? __A_TAG_PLACEHOLDER_0__

Gui. As melancholy night masks up heaven’s face,
So doth the evening star present herself
Unto the careful shepherd’s gladsome eyes,
By which unto the fold he leads his flock.    9

Gui. As the gloomy night conceals the sky,
The evening star shows herself
To the joyful eyes of the attentive shepherd,
By which he leads his group to the shelter.    9

Miz. Zounds! what a sheepish beginning is here? ’Tis said true love is simple; and it may well hold; and thou art a simple lover.

Miz. Wow! What an awkward start this is? They say true love is straightforward, and that might be true; and you are a straightforward lover.

Rob. See how yond star, like beauty in a cloud,
Illumines darkness, and beguiles the moon
Of all her glory in the firmament!

Rob. Look at that star, like beauty concealed in a cloud,
Illuminating the darkness and taking the moon.
Of all her brilliance in the night sky!

Miz. Well said, man i’ the moon. Was ever such astronomers? Marry, I fear none of these will fall into the right ditch.

Miz. Well said, man in the moon. Have there ever been such astronomers? Honestly, I doubt any of them will land in the right place.

Rob. Madam.

Ma'am.

Isa. Ha, Anna! what, are my doors unbarr’d?    20

Isa. Ha, Anna! What, are my doors unlocked? 20

Miz. I’ll assure you the way into your ladyship is open.

Miz. I can guarantee that the path to your ladyship is clear.

Rob. And God defend that any profane hand
Should offer sacrilege to such a saint!
Lovely Isabella, by this duteous kiss,
That draws part of my soul along with it,
Had I but thought my rude intrusion
Had waked the dove-like spleen harbour’d within you,
Life and my first-born should not satisfy
Such a transgression, worthy of a check;    30
But that immortals wink at my offence,
Makes me presume more boldly. I am come
To raise you from this so infernal sadness.

Rob. And heaven help us if any disrespectful hand
How could someone commit such a disrespectful act against a saint!
Beautiful Isabella, with this heartfelt kiss,
That takes a piece of my soul with it,
If I had just considered my rude interruption
Had awakened the gentle heart that’s hidden inside you,
Life and my first child wouldn’t be enough.
For this kind of wrongdoing, deserving of a reprimand;    30
But the fact that the gods ignore my wrongdoing,
Gives me the confidence to take more risks. I have come
To pull you out of this terrible sadness.

Isa. My lord of Cyprus, do not mock my grief.
Tears are as due a[128] tribute to the dead,
As fear to God, and duty unto kings,
Love to the just, or hate unto the wicked.

Isa. My lord of Cyprus, please don’t mock my grief.
Tears are just as important a[128] tribute to those who have passed away,
As fear is to God, and duty is to rulers,
Love for the just, or hate for the wicked.

Rob. Surcease;
Believe it is a wrong unto the gods.[129]
They sail against the wind that wail the dead:    40
And since his heart hath wrestled with death’s pangs,
From whose stern cave none tracts a backward path,[130]
Leave to lament this necessary change,
And thank the gods, for they can give us good.

Stop;
Believe that it’s disrespectful to the gods.[129]
They sail against the wind that grieves for the dead:    40
And since his heart has fought against the pain of death,
From which no one returns, __A_TAG_PLACEHOLDER_0__
Stop grieving this necessary change,
Be thankful to the gods, as they can bring us blessings.

Isa. I wail his loss! Sink him ten cubits deeper,
I may not fear his resurrection.
I will be sworn upon the Holy Writ
I mourn thus fervent ’cause he died no sooner:
He buried me alive,
And mewed me up like Cretan Dædalus,    50
And with wall-ey’d[131] jealousy kept me from hope
Of any waxen wings to fly to pleasure;
But now his soul her Argus’ eyes hath closed,
And I am free as air. You of my sex,
In the first flow of youth, use you the sweets
Due to your proper beauties, ere the ebb
And long wane of unwelcome change shall come.
Fair women, play; she’s chaste whom none will have.
Here is a man of a most mild aspect,
Temperate, effeminate, and worthy love;    60
One that with burning ardor hath pursued me.
A donative he hath of every god:
Apollo gave him locks; Jove his high front;[132]
The god of eloquence his flowing speech;
The feminine deities strew’d all their bounties
And beauty on his face; that eye was Juno’s;
Those lips were hers[133] that won the golden ball;
That virgin-blush, Diana’s. Here they meet,
As in a sacred synod. My lords, I must intreat
A while your wish’d forbearance.

Isa. I cry for his loss! Bury him ten times deeper,
I won’t be afraid of his return.
I swear on the Holy Scriptures.
I grieve so deeply because he didn’t die earlier:
He buried me alive,
And confine me like Cretan Dædalus,    50
And with excessive watchfulness[131] jealousy prevented me from having hope.
For any wings made of wax to soar toward happiness;
But now his soul has shut her Argus’ eyes,
And I am free as the wind. You of my gender,
In the prime of your youth, savor the pleasures.
That comes from your natural beauty, before it faded.
And the unwanted passage of time begins.
Beautiful women, enjoy yourselves; the one who is pure is the one no one desires.
Here is a man with a very gentle nature,
Calm, gentle, and worthy of love;    60
Someone who has chased me with intense desire.
He has a blessing from every god:
Apollo gave him his hair, and Jove gave him his noble forehead; [132]
The god of eloquence is known for his smooth speech;
The goddesses showered him
With all her gifts and beauty, that eye belonged to Juno;
Those lips belonged to her[133] that won the golden ball;
That fresh blush, Diana’s. Here they come together,
As in a sacred gathering. My lords, I need to ask
For a moment of your chosen patience.

Gui.[134] and Miz. We obey you, lady.    70

We obey you, ma'am.

[Exeunt Guido and Mizaldus.

[They exit Guido and Mizaldus.

Isa. My lord, with you I have some conference.
I pray, my lord, do you woo every lady
In this phrase you do me?

Isa. My lord, I need to speak with you.
Please, my lord, do you pursue every woman?
Is this how you treat me?

Rob. Fairest, till now
Love was an infant in my oratory.

The fairest, until now
Love was just a baby in my talks.

Isa. And kiss thus too?

And kiss like this too?

[Kisses him.

[Kisses him.]

Rob. I never[135] was so kiss’d; leave thus to please;
Flames into flames, seas thou pour’st into seas!

Rob. I’ve never[135] been kissed like this; just let me savor it.
Flames into flames, oceans pouring into oceans!

Isa. Pray frown, my lord: let me see how many wives You’ll have.[136] Heigh ho! you’ll bury me, I see—

Isa. Please frown, my lord: let me see how many wives You plan to have.[136] Oh dear! I can see you’ll be burying me—Understood. Please provide the text for modernization.

Rob. In the swan’s down, and tomb thee in mine arms!    80

Rob. In the soft feathers of the swan, I’ll hold you close in my arms! 80

Isa. Then folks shall pray in vain to send me rest.
Away, you’re such another meddling lord!

Isa. Then people will pray in vain to give me peace.
Go away, you're just another irritating noble!

Rob. By heaven! my love’s as chaste as thou art fair,
And both exceed comparison. By this kiss,
That crowns me monarch of another world
Superior to the first, fair, thou shalt see
As unto heaven my love, so unto thee!

Rob. I promise, my love is as genuine as your beauty is striking,
Both are incomparable. With this kiss,
I become the king of a different world.
That's better than the first; you'll see.
My love for you is as strong as my love for heaven!

Isa. Alas!
Poor creatures, when we are once o’ the falling hand,
A man may easily come over us.    90
It is as hard for us to hide our love
As to shut sin from the Creator’s eyes.
I’faith, my lord, I had a month’s mind[137] unto you,
As tedious as a full-riped[138] maiden-head;
And, Count of Cyprus, think my love as pure
As the first opening of the blooms in May:
(You’re virtuous, man;[139] nay, let me not blush to say so:)
And see for your sake thus I leave to sorrow.
Begin this subtile conjuration with me,
And as this taper, due unto the dead,    100
I here extinguish, so my late-dead lord
I put out ever from my memory,
That his remembrance may not wrong our love,

Oh no!
Poor souls, once we sink into despair,
It's easy for a man to exploit us.    90
It's just as difficult for us to conceal our love.
Just as it is to hide sin from the Creator.
Honestly, my lord, I was completely devoted to you, __A_TAG_PLACEHOLDER_0__.
As boring as a fully ripe[138] virginity;
And, Count of Cyprus, know that my love is genuine.
As the first flowers bloom in May:
(You’re a good man;[139] I’m not ashamed to admit that:)
And look, for your sake, I let go of my sadness.
Begin this subtle ritual alongside me,
And just as I blow out this candle, intended for the dead,    100
I will remove my recently deceased husband.
From what I remember,
To make sure his memory doesn't get in the way of our love,

[Puts out the taper.

Turns off the candle.

As bold-faced women, when they wed another,
Banquet their husbands with their dead loves’ heads.

As self-assured women, when they marry someone else,
Feed their husbands the heads of their past lovers.

Rob. And as I sacrifice this to his ghost,
With this expire all corrupt thoughts of youth,
That fame-insatiate devil jealousy,
And all the sparks that may bring unto flame,
Hate betwixt man and wife, or breed defame.    110

Rob. And as I present this to his spirit,
With this, I release all the negative thoughts of my youth,
That fame-hungry devil named jealousy,
And all the sparks that could set off a fire,
Hatred between a husband and wife can lead to shame.    110

[Puts out the other taper.

Extinguishes the other candle.

Re-enter[140] Mizaldus and Guido.

Re-enter[140] Mizaldus and Guido.

Miz.[141] Marry, amen. I say; madam, are you that were in for all day, now come to be in for all night? How now, Count Arsena?

Miz.[141] Well, sure. I ask you, ma'am, have you been inside all day, and now you're planning to stay in all night too? What’s up, Count Arsena?

Gui.[142] Faith, signior, not unlike the condemn’d malefactor,
That hears his judgment openly pronounced;
But I ascribe to fate. Joy swell your love;
Cypress and willow grace my drooping crest.

Gui.[142] Honestly, sir, it feels a bit like a guilty person listening to their sentence being read.
But I believe it's all destiny. May your love flourish;
Cypress and willow decorate my sorrowful head.

Rob. We do intend our hymeneal rites
With the next rising sun. Count Arsena,[143]
Next to our bride, the welcom’st to our feast.    120

Rob. We intend to have our wedding ceremony.
With the next sunrise. Count Arsena, [143]
Next to our bride, the most appreciated guest at our celebration.    120

[Exeunt Isabella and Roberto.

[Exit Isabella and Roberto.

Gui. Sancta Maria! what think’st thou of this change?
A player’s passion I’ll believe hereafter,
And in a tragic scene weep for old Priam,[144]
When fell-revenging Pyrrhus with supposed
And artificial wounds mangles his breast,
And think it a more worthy act to me,
Than trust a female mourning o’er her love.
Naught that is done of woman shall me please,
Nature’s step-children, rather her disease.[145]

Gui. Holy Mary! How do you feel about this change?
From now on, I’ll trust a player’s passion,
In a heartbreaking moment, I will cry for old Priam,[144]
When avenging Pyrrhus, with fake
And fake injuries tear him apart,
I believe it would be a more honorable thing for me,
Than trusting a woman grieving over her love.
Nothing a woman does will satisfy me.
Nature’s stepchildren, more like a curse.[145]

Miz. Learn of a well-composèd epigram    130
A woman’s love, and thus ’twas sung unto us;

Miz. Discover a well-crafted epigram    130
A woman's love, and that's how it was expressed to us;

The[146] tapers that stood on her husband’s hearse,
Isabel advances to a second bed:
Is it not wondrous strange for to rehearse
She should so soon forget her husband, dead
One hour? for if the husband’s life once fade,
Both love and husband in one grave are laid.

The[146] candles placed on her husband's casket,
Isabel shifts to another bed:
Isn’t it surprisingly amazing to think
She would move on from her husband so quickly, now that he’s gone.
Just one hour? For when a husband's life comes to an end,
Both love and husband are laid to rest in the same grave.

But we forget ourselves: I am for the marriage
Of Signior Claridiana and the fine Mistress Abigail.    139

But we lose sight of who we are: I support the marriage.
between Signior Claridiana and the charming Mistress Abigail.    139

Gui. I for his arch-foe’s wedding, Signior Rogero, and the spruce Mistress Thais: but see, the solemn rites are ended, and from their several temples they are come.

Gui. I for his main rival’s wedding, Signior Rogero, and the stylish Mistress Thais: but look, the formal ceremonies are over, and they've come from their respective places of worship.

Miz. A quarrel, on my life!

A fight, for real!

Enter at one door Signior Claridiana, Abigail his wife, and the Lady Lentulus, with rosemary,[147] as from church; at the other door Signior Rogero, Thais his wife, and Mendoza Foscari, nephew to the Duke, from the bridal; they see one another, and draw; Guido and others step between them.

Enter through one door Mr. Claridiana, Abby his wife, and the Lady Lentulus, with rosemary,[147] as if coming from church; through the other door Mr. Rogero, Thais his wife, and Mendoza Foscari, the duke's nephew, from the wedding; they spot each other and draw; Guido and others step between them.

Clar. Good, my lord, detain me not; I will tilt at him.

Clar. Alright, my lord, don’t hold me back; I’m going to confront him.

Miz.[148] Remember, sir, this is your wedding-day,
And that triumph belongs only to your wife.

Miz.[148] Just a reminder, sir, today is your wedding day.
This victory is solely for your wife.

Rog. If you be noble, let me cut off his head.

Rog. If you’re noble, let me chop off his head.

Gui.[149] Remember, o’ the other side, you have a maiden-head of your own to cut off.    150

Gui.[149] Remember, on the other side, you have your own virginity to lose. 150

Rog. I’ll make my marriage-day like to the bloody bridal
Alcides by the fiery Centaurs had!

Rog. I'll make my wedding day just like the damn wedding.
Hercules had to deal with the fiery Centaurs!

Tha. Husband, dear husband!

Husband, my dear husband!

Rog. Away with these catterwallers!
Come on, sir.

Enough with these annoying people!
Let's go, boss.

Clar. Thou son of a Jew!

You son of a Jew!

Gui. Alas, poor wench, thy husband’s circumcised!

Gui. Unfortunately, poor girl, your husband’s circumcised!

Clar. Begot when thy father’s face was toward th’ east,
To show that thou would’st prove a caterpiller.
His Messias shall not save thee from me;    160
I’ll send thee to him in collops!

Clar. Born when your father was looking east,
To prove that you would become a nuisance.
His Messiah won't shield you from me;    160
I’m going to send you to him in pieces!

Gui. O fry not in choler so, sir!

Don’t get so mad, sir!

Rog. Mountebank, with thy pedantical action—
Rimatrix, Bugloss,[150] Rhinoceros!

Hustler, with your fancy act—
Rimatrix, Bugloss, Rhino!

Men. Gentlemen, I conjure you
By the virtues of men!

Men. Guys, I encourage you
By the virtues of men!

Rog. Shall any broken quacksalver’s bastard oppose him to me in my nuptials? No; but I’ll show him better metal than e’er the gallemawfrey[151] his father used. Thou scum of his melting-pots, that wert christen’d in a crusoile[152] with Mercury’s water to[153] show thou wouldest prove a stinging aspis! for all thou spitt’st is aqua fortis, and thy breath is a compound of poison’s stillatory: if I get within thee, hadst thou the scaly hide of a crocodile, as thou art partly of his nature, I would leave thee as bare as an anatomy[154] at the second viewing.    176

Rog. Is any broken con artist’s bastard going to stand against me at my wedding? No; but I’ll show him a better quality than anything his father ever used. You scum of his melting pots, who were baptized in a crucible with Mercury’s water to prove you could be a stinging asp! All you spit is strong acid, and your breath is a blend of poison’s distillation: if I get close to you, even if you had the scaly skin of a crocodile, since you share some of his nature, I would leave you as exposed as a dissection on the second look. 176

Clar. Thou Jew of the tribe of Gad that, I were[155] sure, were there none here but thou and I, wouldst teach me the art of breathing; thou wouldst run like a dromedary!

Clar. You Jew from the tribe of Gad, if I were sure, if it were just you and me here, you would teach me the art of breathing; you would run like a camel!

Rog. Thou that art the tall’st man of Christendom when thou art alone; if thou dost maintain this to my face, I’ll make thee skip like an ounce.[156]

Rog. You who are the tallest man in Christendom when you're on your own; if you say that to my face, I'll make you jump like a panther.[156]

Men. Nay, good sir, be you still.

Men. No, good sir, please stay still.

Rog. Let the quacksalver’s son be still:
His father was still, and still, and still again!    185

Rog. Let the con artist's son be quiet:
His father was silent, and silent, and silent again!    185

Clar. By the Almighty, I’ll study negromancy but I’ll be reveng’d!

Clar. I swear by the Almighty, I’ll practice dark magic, but I will have my revenge!

Gui. Gentlemen, leave these dissensions;
Signior Rogero, you are a man of worth.

Gui. Hey guys, let’s set aside our differences;
Mr. Rogero, you are an important person.

Clar. True, all the city points at him for a knave.    190

Clar. It's true, everyone in the city thinks he's a thief. 190

Gui. You are of like reputation, Signior Claridiana.
The hatred ’twixt your grandsires first began;
Impute it to the folly of that age:
These your dissensions may erect a faction
Like to the Capulets and the Montagues.[157]

Gui. You have a similar reputation, Mr. Claridiana.
The bitterness between your grandfathers began.
Blame it on the naivety of that time:
These conflicts of yours could lead to a rivalry.
Just like the Capulets and Montagues.[157]

Men. Put it to equal arbitration, choose your friends;
The senators will think ’em happy in ’t.

Men. Put it out for fair judgment, choose your friends;
The senators will feel fortunate about it.

Rog.[158] I’ll ne’er embrace the smoke of a furnace, the quintessence of mineral or simples, or, as I may say more learnedly, nor the spirit of quicksilver.    200

Rog.[158] I will never accept the smoke from a furnace, the essence of minerals or herbs, or, to put it more scientifically, nor the spirit of mercury. 200

Clar. Nor I, such a Centaur,—half a man, half an ass, and all a Jew!

Clar. Not me, like a Centaur—half man, half donkey, and completely a Jew!

Gui. Nay, then, we will be constables, and force a quiet. Gentlemen, keep ’em asunder, and help to persuade ’em.

Gui. No, then, we will be the peacekeepers and make things calm. Gentlemen, keep them apart and help convince them.

[Exeunt[159] at one door Mizaldus and Claridiana; at another Guido and Rogero.

[Exit[159] at one door Mizaldus and Claridiana; at another Guido and Rogero.

Men. Well, ladies, your husbands behave ’em as lustily on their wedding-days as e’er I heard any. Nay, lady-widow, you and I must have a falling; you’re of Signior Mizaldus’ faction, and I am your vowed enemy, from the bodkin to the pincase. Hark in your ear.    210

Men. Well, ladies, your husbands act as passionately on their wedding days as I’ve ever seen. No, lady-widow, you and I are destined to clash; you’re part of Signior Mizaldus’ group, and I am your sworn enemy, from the needle to the sewing kit. Listen closely. 210

Abi. Well, Thais. O you’re a cunning carver;[160] we two, that any time these fourteen years have called sisters, brought and bred up together, that have told one another all our wanton dreams, talk’d all night long of young men, and spent many an idle hour; fasted upon the stones on St. Agnes’[161] night together, practised all the petulant amorousness that delights young maids, yet have you conceal’d not only the marriage, but the man: and well you might deceive me, for I’ll be sworn you never dream’d of him, and it stands against all reason you should enjoy him you never dream’d of.    221

Abi. Well, Thais. You’re a sly one; [160] we two, who have called each other sisters for the past fourteen years, grew up together, shared all our wild dreams, talked all night about young men, and spent countless lazy hours; we fasted on the stones on St. Agnes' [161] night together, practiced all the playful flirtation that excites young women, yet you've kept not only the marriage but the man a secret: and you could easily fool me, for I swear you never even thought of him, and it makes no sense that you should have him when you never thought of him. 221

Tha. Is not all this the same in you? Did you ever manifest your sweetheart’s nose, that I might nose him by’t? commended his calf or his nether lip? apparent signs that you were not in love, or wisely covered it. Have you ever said, such a man goes upright, or has a better gait than any of the rest, as indeed, since he is proved a magnifico, I thought thou would’st have put it into my hands whate’er ’t had been.    229

Tha. Isn’t all of this the same for you? Did you ever point out your crush’s nose, so I could recognize him by it? Did you compliment his calves or his bottom lip? Clear signs that you weren’t really in love, or maybe you just hid it well. Have you ever said, that guy walks straight or has a better stride than anyone else? Since he’s proven to be a big deal, I thought you would’ve handed me whatever it was. 229

Abi. Well, wench, we have cross fates; our husbands such inveterate foes, and we such entire friends; but the best is we are neighbours, and our back arbors may afford visitation freely. Prithee, let us maintain our familiarity still, whatsoever thy husband do unto thee, as I am afraid he will cross it i’ the nick.

Abi. Well, my friend, we have tangled fates; our husbands are such stubborn enemies, and we are such close friends; but the best part is that we live next to each other, and our back yards can allow us to visit freely. Please, let’s keep our friendship strong, no matter what your husband does to you, as I’m worried he’ll interfere just in time.

Tha. Faith, you little one, if I please him in one thing, he shall please me in all, that’s certain. Who shall I have to keep my counsel if I miss thee? who shall teach me to use the bridle when the reins are in mine own hand? what to long for? when to take physic? where to be melancholy? Why, we two are one another’s grounds,[162] without which would be no music.    242

Tha. Listen, my dear, if I make him happy in one thing, he’ll make me happy in everything, that’s for sure. Who will I confide in if I lose you? Who will guide me on how to control things when I hold the reins myself? What should I desire? When should I take medicine? When should I feel down? We are each other’s support, [162] without which there would be no harmony. 242

Abi. Well said, wench; and the prick-song we use shall be our husbands.

Abi. Well said, girl; and the song we use will be our husbands.

Tha. I will long for swine’s-flesh o’ the first child.

Tha. I will crave the flesh of the first pig.

Abi. Wilt ’ou, little Jew? And I to kiss thy husband upon the least belly-ache. This will mad ’em.

Abi. Will you, little Jew? And I to kiss your husband at the slightest stomachache. This will drive them crazy.

Tha. I kiss thee, wench, for that, and with it confirm our friendship.

Tha. I kiss you, girl, for that, and with it, I affirm our friendship.

Men. By these sweet lips, widow!    250

By these sweet lips, widow!

Lady Lent. Good my lord, learn to swear by rote;
Your birth and fortune makes my brain suppose
That, like a man heated with wines and lust,
She that is next your object is your mate,
Till the foul water have quench’d out the fire.
You, the duke’s kinsman, tell me I am young,
Fair, rich, and virtuous. I myself will flatter
Myself, till you are gone that are more fair,
More rich, more virtuous, and more debonair:
All which are ladders to an higher reach.    260
Who drinks a puddle that may taste a spring?
Who kiss a subject that may hug a king?

Lady Lent. Come on, my lord, get better at swearing on cue;
Your background and circumstances make me reflect.
That, like a guy driven by wine and desire,
The person closest to you is your partner,
Until the dirty water puts out the fire.
You, the duke's relative, say I'm young,
Attractive, rich, and virtuous. I’ll compliment
I'll be here until you go, with those who are more attractive.
Richer, more virtuous, and more charming:
All of these are steps toward a bigger goal.    260
Who drinks from a puddle when they can enjoy a spring?
Who kisses a subject when they can hug a king?

Men. Yes, the camel always drinks in puddle-water;
And as for huggings, read antiquities.
Faith, madam, I’ll board thee one of these days.

Men. Yes, camels always drink from puddles;
If you’re interested in hugs, take a look at the past stories.
Honestly, ma'am, I’ll approach you one of these days.

Lady Lent. Ay, but ne’er bed me, my lord. My vow is firm,
Since God hath called me to this noble state,
Much to my grief, of virtuous widow-hood,
No man shall ever come within my gates.

Lady Lent. Yes, but don’t ever ask me, my lord. I keep my promises strong,
Since God has placed me in this important position,
To my deep sadness, of honorable widowhood,
No man will ever come into my home.

Men. Wilt thou ram up thy porch-hold? O widow, I perceive    270
You’re ignorant of the lover’s legerdemain!
There is a fellow that by magic will assist
To murder princes invisible; I can command his spirit.
Or what say you to a fine scaling-ladder of ropes?
I can tell you I am a mad wag-halter;
But by the virtue I see seated in you,
And by the worthy fame is blazon’d of you;
By little Cupid, that is mighty nam’d,
And can command my looser follies down,
I love, and must enjoy, yet with such limits    280
As one that knows enforcèd marriage
To be the Furies’ sister. Think of me.

Men. Are you thinking about blocking your porch? Oh widow, I understand    270
You don't get the games of love!
There's a guy who can magically assist.
To eliminate princes without being detected; I can call upon his spirit.
What do you think about a stylish rope ladder?
I can confidently say I'm a wild prankster;
But by the goodness I see in you,
And because of your great reputation;
By little Cupid, who is very powerful,
And can control my wilder impulses,
I love and have to enjoy it, but within certain limits.
As someone who understands forced marriage
She is the sister of the Furies. Remember me.

Abig. and Tha. Ha, ha, ha!

Ha, ha, ha!

Men. How now, lady? does the toy take you, as they say?

Men. Hey there, lady! Are you interested in this trinket, as they say?

Abi. No, my lord; nor do we take your toy, as they say.
This is a child’s birth that must not be delivered before a man,
Though your lordship might be a midwife for your chin.

Abi. No, my lord; we won’t take your toy, as they say.
This is a child being born that shouldn’t be seen by a man.
Even if you could help deliver your chin like a midwife.

Men. Some bawdy riddle, is ’t not? You long till ’t be night.    290

Men. Is that a raunchy riddle or what? You can't wait for it to be night. 290

Tha. No, my lord, women’s longing comes after their marriage night. Sister, see you be constant now.

Tha. No, my lord, women’s desire comes after their wedding night. Sister, be sure to stay steady now.

Abi. Why, dost think I’ll make my husband a cuckold?
O here they come!

Abi. Why do you think I would make a fool of my husband?
Oh, here they are!

Enter at several doors Mizaldus[163] with Claridiana; Guido, with Rogero, at another door; Mendoza meets them.

Enter through several doors Mizaldus[163] with Claridiana; Guido, with Rogero, at another door; Mendoza joins them.

Men. Signior Rogero, are you yet qualified?

Men. Mr. Rogero, are you ready yet?

Rog. Yes; does any man think I’ll go like a sheep to the slaughter? Hands off, my lord; your lordship may chance come under my hands. If you do, I shall show myself a citizen, and revenge basely.    299

Rog. Yeah; does any guy really think I’m just going to walk into danger like a sheep? Hands off, my lord; you might just find yourself in my path. If that happens, I’ll show you I’m a citizen and take my revenge in a ruthless way. 299

Clar. I think, if I were receiving the Holy Sacrament,
His sight would make me gnash my teeth terribly.
But there’s the beauty without parallel,[164]
In whom the Graces and the Virtues meet!
In her aspect mild Honour sits and smiles;
And who looks there, were it the savage bear
But would derive new nature from her eyes?
But to be reconciled simply for him,
Were mankind to be lost again, I’d let it,
And a new heap of stones should stock the world.
In heaven and earth this power beauty hath—    310
It inflames temperance and temp’rates wrath.
Whate’er thou art, mine art thou, wise or chaste;
I shall set hard upon thy marriage-vow,
And write revenge high in thy husband’s brow
In a strange character.—You may begin, sir.

Clar. I believe that if I were about to receive the Holy Sacrament,
His stare made me clench my teeth in anger.
But there’s an unparalleled beauty,[164]
In whom the Graces and Virtues unite!
In her calming presence, Honor relaxes and smiles;
And anyone who looks at her, even a wild bear,
Could I only improve my character by looking into her eyes?
But to be reconciled just for him,
If humanity were to lose itself again, I’d accept it,
And a new pile of stones would cover the ground.
In both heaven and on earth, this beauty holds such power—    310
It sparks moderation and calms anger.
No matter who you are, I am yours, whether you're wise or pure;
I will remain committed to your marriage vow,
And boldly write revenge on your husband's forehead.
In an unexpected manner.—You may begin, sir.

Men. Signior Claridiana, I hope Signior Rogero thus employed me about a good office: ’twere worthy Cicero’s tongue, a famous oration now; but friendship, that is mutually embraced of the gods,
And is Jove’s usher to each sacred synod,    320
Without the which he could not reign in heaven,—
That over-goes my admiration, shall not
Under-go my censure!
These hot flames of rage, that else will be
As fire midst your nuptial jollity,
Burning the edge off from[165] the present joy,
And keep you wake to terror.

Men. Signor Claridiana, I hope Signor Rogero has tasked me with a good purpose: it deserves Cicero’s eloquence, a famous speech for sure; but friendship, which the gods themselves cherish,
And is Jove's messenger to every sacred gathering,    320
Without which he couldn't rule in heaven,—
That exceeds my admiration, it won't.
Face my criticism!
These intense flames of anger, which would otherwise be
Like fire at your happy wedding,
Diminishing the intensity of[165] the current joy,
And keeping you awake with fear.

Clar. I have not yet swallowed the rhimatrix nor the onocentaur—the rhinoceros[166] was monstrous!

Clar. I haven't swallowed the rhimatrix or the onocentaur—the rhinoceros[166] was huge!

Gui. Sir, be you of the more flexible nature, and confess an error.    331

Gui. Sir, if you are more adaptable, admit to a mistake. 331

Clar. I must; the gods of love command,
And that bright star her eye, that guides my fate.—
Signior Rogero, joy, then, Signior Rogero!

Clar. I have to; the love gods are insisting on it,
And that bright star in her eye, which guides my fate.
Mr. Rogero, be happy then, Mr. Rogero!

Rog. Signior, sir? O devil!

Rog. Sir, oh no!

Tha. Good husband, show yourself a temperate man!
Your mother was a woman, I dare swear—
No tiger got you, nor no bear was rival
In your conception—you seem like the issue
The painters limn leaping from Envy’s mouth,    340
That devours all he meets.

Tha. Good husband, please be reasonable!
Your mother was definitely a woman—
No tiger attacked you, and no bear was your opponent.
At your birth—you resemble the child
That artists show jumping out of Envy's mouth,    340
That consumes everything in its way.

Rog. Had the last, or the least syllable
Of this more than immortal eloquence
Commenced to me when rage had been so high
Within my blood that it o’er-topt my soul,
Like to the lion when he hears the sound
Of Dian’s bowstring in some shady wood,
I should have couch’d my lowly limb on earth
And held my silence a proud sacrifice.

Rog. Had the last word, or the least important point.
Of this even more than eternal eloquence
Come to me when my anger was so strong.
That it took over my spirit,
Like a lion hearing a sound
Of Diana's bowstring in some shaded woods,
I would have laid my humble self on the ground.
And remained silent as a proud gesture.

Clar. Slave, I will fight with thee at any odds;    350
Or name an instrument fit for destruction,
That e’er[167] was made to make away a man,
I’ll meet thee on the ridges of the Alps,[168]
Or some inhospitable wilderness,
Stark-naked, at push of pike, or keen curtle-axe,
At Turkish sickle, Babylonian saw,
The ancient hooks of great Cadwallader,
Or any other heathen invention!

Clar. Slave, I'm prepared to battle you regardless of the risks;    350
Just name a weapon designed for destruction,
That was ever created to take a person's life,
I'll meet you in the Alps,[167]
Or some harsh wilderness,
Totally unarmed, confronted by a spear or a sharp axe,
With a Turkish sickle and a Babylonian saw,
The ancient stories of great Cadwallader,
Or any other cruel invention!

Tha. O God bless the man!

O God, bless the man!

Lady Len. Counsel him, good my lord!    360

Lady Len. Please advise him, my lord! 360

Men. Our tongues are weary, and he desperate.
He does refuse to hear. What shall we do?

Men. We're tired, and he's feeling hopeless.
He won't listen. What should we do?

Clar. I am not mad—I can hear, I can see, I can feel!
But a wise rage in man, wrong’d[169] past compare,
Should be well nourish’d, as his virtues are.
I’d have it known unto each valiant sprite,[170]
He wrongs no man that to himself does right.
Catzo,[171] I ha’ done; Signior Rogero, I ha’ done!

Clar. I'm not crazy—I can hear, see, and feel!
But a wise anger in a man, deeply wronged __A_TAG_PLACEHOLDER_0__
Should be well-nourished, just like his virtues.
I want every courageous person to know, [170]
He doesn't harm anyone who does good for themselves.
Damn it, [171] I'm finished; Mr. Rogero, I'm finished!

Gui. By heaven!
This voluntary reconciliation, made    370
Freely and of itself, argues unfeign’d
And virtuous knot of love. So, sirs, embrace!

Wow!
This voluntary reconciliation, made 370
Freely and willingly, it demonstrates a genuine
And the righteous bond of love. So, gentlemen, embrace!

Rog. Sir, by the conscience of a Catholic man,
And by our mother Church, that binds
And doth atone in amity with God
The souls of men, that they with men be one,
I tread into the centre all the thoughts
Of ill in me toward you, and memory
Of what from you might aught disparage me;
Wishing unfeignedly it may sink low,    380
And, as untimely births, want power to grow.

Rog. Sir, I swear on the conscience of a Catholic man,
And by our mother Church, which connects
And makes peace with God in friendship.
The souls of people are united,
I put aside all the negative thoughts.
I have feelings for you, and memories.
Of anything you may have done to make me feel small;
Hoping genuinely that it will go away,    380
And, like premature babies, they lack the strength to survive.

Men. Christianly said! Signior, what would you have more?

Men. Well said, sir! What else do you want?

Clar. And so I swear. You’re honest, onocentaur!

Clar. And so I swear. You’re honest, centaur!

Gui. Nay, see now! Fie upon your turbulent spirit!
Did he doo ’t in this form?

No way! Seriously, chill out!
Did he actually do it this way?

Clar. If you think not this sufficient, you shall command me to be reconciled in another form—as a rhimatrix or a rhinoceros.[172]

Clar. If you don't think this is enough, you'll have me reconciled in another way—as a rhimatrix or a rhinoceros.[172]

Men. ’Sblood! what will you do?    389

Men. 'Blood! What will you do?    389

Clar. Well, give me your hands first: I am friends with you, i’faith. Thereupon I embrace you, kiss your wife, and God give us joy!

Clar. Well, let me take your hands first: I really am your friend. With that, I hug you, kiss your wife, and may God bring us joy!

[To Thais.

To Thais.

Tha. You mean me and my husband?

Tha. You mean my husband and me?

Clar. You take the meaning better than the speech, lady.

Clar. You understand the point better than the words, lady.

Rog. The like wish I, but ne’er can be the like,
And therefore wish I thee.

Rog. I want the same, but it can never be the same.
And that's why I'm wishing you the best.

Clar. By this bright light, that is deriv’d from thee—

Clar. By this bright light, that comes from you—Understood! Please provide the text that needs modernizing.

Tha. So, sir, you make me a very light creature!

Tha. So, sir, you make me feel very light!

Clar. But that thou art a blessèd angel, sent
Down from the gods t’ atone mortal men,    400
I would have thought deeds beyond all men’s thoughts,
And executed more upon his corps.
O let him thank the beauty of this eye,
And not his resolute swords or destiny.

Clar. But since you are a wonderful angel, sent
descend from the gods to establish peace with humans,    400
I would have believed in things beyond all human comprehension,
and done more to honor his memory.
Oh, let him appreciate the beauty of this eye,
and not because of his relentless weapons or destiny.

Gui. What say’st thou, Mizaldus? Come, applaud this jubilee,
A day these hundred years before not truly known
To these divided factions.

Gui. What do you think, Mizaldus? Let’s celebrate this milestone!
A day that hasn’t been truly acknowledged for a hundred years.
By these separate groups.

Clar. No, nor this day had it been falsely born,
But that I mean to sound it with his horn.    409

Clar. No, this day isn't a hoax,
But I plan to announce it with his horn.    409

Miz. I liked the former jar better. Then they show’d like men and soldiers, now like cowards and lechers.

Miz. I preferred the old jar. Back then, they resembled men and soldiers; now they look like cowards and perverts.

Gui. Well said, Mizaldus; thou art like the bass viol in a consort,—let the other instruments[173] wish and delight in your highest sense, thou art still grumbling.

Gui. Well said, Mizaldus; you're like the bass viol in an ensemble—while the other instruments[173] find joy and express their highest notes, you just keep grumbling.

Clar. Nay, sweet, receive it [gives a letter to Thais[174]], and in it my heart:
And when thou read’st a moving syllable,
Think that my soul was secretary to ’t.
It is your love, and not the odious wish
Of my revenge in styling him a cuckold,
Makes me presume thus far. Then read it, fair,    420
My passion’s ample, as your[175] beauties are.

Clar. No, dear, take this [gives a letter to Thais[174]], and inside is my heart:
And when you read each sincere word,
Remember that my soul was involved in it.
It's your love, not that gross thought.
By seeking revenge and calling him a fool,
That gives me the confidence to express myself like this. Now read it, beautiful,    420
My feelings are as profound as your[175] beauty.

Tha.[176] Well, sir, we will not stick with you.

Tha.[176] Well, sir, we won’t be staying with you.

Gui. And, gentlemen, since it hath hapt so fortunately,
I do entreat we may all meet to-morrow
In some heroic masque, to grace the nuptials
Of the most noble Count of Cyprus.[177]

Gui. So, gentlemen, now that it has gone so well,
I would like to ask everyone to come together tomorrow.
for an amazing masquerade to celebrate the wedding
of the highly regarded Count of Cyprus.[177]

Men. Who does the young count marry?

Men. Who does the young count end up marrying?

Gui. O, sir,
Who but the very heir of all her sex,
That bears the palm of beauty from ’em all?
Others, compared to her, show like faint stars    430
To the full moon of wonder in her face:—
The Lady Isabella, the late widow
To the deceased and noble Viscount Hermus.

Oh, sir,
Who else but the true heir to all her kind,
Who holds the title for beauty above everyone else?
Others around her seem like faint stars.    430
Compared to the bright wonder on her face:—
Lady Isabella, the newly widowed
Of the recently deceased and esteemed Viscount Hermus.

Men. Law you there, widow, there’s one of the last edition,
Whose husband yet retains in his cold trunk
Some little airing of his noble guest;[178]
Yet she a fresh bride as the month of May.

Men. Check that out, widow, there's one from the latest edition,
Whose husband still rests in his cold grave
With just a small memory of his esteemed guest; [178]
Yet she is a new bride like the month of May.

Lady Len. Well, my lord, I am none of these
That have my second husband bespoke;
My door shall be a testimony of it;    440
And but these noble marriages incite me,
My much abstracted presence should have show’d it.
If you come to me, hark in your ear, my lord,
Look your ladder of ropes be strong,
For I shall tie you to your tackling.

Lady Len. Well, my lord, I'm not one of those
Who have already chosen their second husband;
My door will prove that;    440
And if these honorable marriages didn't motivate me,
My frequently absent presence would have made it clear.
If you come to me, pay attention, my lord,
Make sure your rope ladder is strong,
Because I will secure you to your equipment.

Gui. Gentlemen, your answer to the masque.

Gui. Gentlemen, what is your response to the masquerade?

Omnes. Your honour leads: we’ll follow.

Omnes. We’ll follow your lead.

Rog. Signior Claridiana.

Mr. Claridiana.

Clar. I attend you, sir.

I'm here for you, sir.

Tha.[179] You’ll be constant?    450

You’ll be consistent? __A_TAG_PLACEHOLDER_0__

[Exeunt all but Claridiana.

[Everyone exits except for Claridiana.

Clar. Above the adamant; the goat’s blood[180] shall not break me.
Yet shallow fools and plainer moral men,
That understand not what they undertake,
Fall in their own snares or come short of vengeance.
No; let the sun view with an open face,
And afterward shrink in his blushing cheeks,
Ashamed and cursing of the fix’d decree,
That makes his light bawd to the crimes of men.
When I have ended what I now devise,
Apollo’s oracle shall swear me wise.    460
Strumpet his wife! branch my false-seeming friend!
And make him foster what my hate begot,
A bastard, that, when age and sickness seize him,
Shall be a corsive[181] to his griping heart.
I’ll write to her; for what her modesty
Will not permit, nor my adulterate forcing,
That blushless herald shall not fear to tell.
Rogero shall know yet that his foe’s a man,
And, what is more, a true Italian!

Clar. Above what can’t be broken; the goat’s blood[180] won't hold me back.
Yet naive and honest people,
Who don't realize what they're getting into,
Get stuck in their own traps or lose the chance for revenge.
No; let the sun shine brightly,
And then pull back with a red face,
Embarrassed and cursing the unchangeable fate,
That makes his light a witness to people's sins.
When I finish my current plan,
Apollo’s oracle will say I’m wise.    460
Wife is a strumpet! Deceitful friend!
And make him take care of what my hatred brought to life,
A person who, when old age and illness set in,
It will be a poison[181] to his troubled heart.
I'll write to her because of her modesty.
Will not allow, nor my cheating pressure,
That fearless messenger won't hesitate to speak up.
Rogero should know that his enemy is a man,
And, what's more, a real Italian!

[Exit.

Exit.

[127] “What should we make here?” = What business have we here? See Middleton, i. 202.

[127] “What should we create here?” = What purpose do we have here? See Middleton, i. 202.

[128] So ed. 1613.—Ed. 1631 “as.”

__A_TAG_PLACEHOLDER_0__ So ed. 1613.—Ed. 1631 “as.”

[129] Cf. Hamlet, i. 2:—
“Fie, ’tis a fault to heaven,
A fault against the dead, a fault to nature,” &c.

[129] Cf. Hamlet, i. 2:—
“Shame is a sin against God,
"A sin against the dead, a sin against nature," etc.

[130] Cf. Hamlet, iii. 1:—
“The undiscovered country, from whose bourn
No traveller returns.”

[130] Cf. Hamlet, iii. 1:—
“The unknown land, from which
“No traveler returns.”

[131] “Wall-ey’d”—having eyes in which the proportion of white is too large; fierce-eyed. “Œil de chevre. A whall, or over-white eye; an eye full of white spots, or whose apple seems divided by a streake of white.”—Cotgrave.

[131] “Wall-eyed”—having eyes where the white part is too prominent; having a fierce look. “Œil de chevre. A whall, or overly white eye; an eye filled with white spots, or one whose pupil appears split by a streak of white.”—Cotgrave.

[132] Cf. Hamlet, iii. 4:—
“See what a grace was seated on this brow
Hyperion’s curls; the front of Jove himself,” &c.

[132] Cf. Hamlet, iii. 4:—
"Check out the elegance that rests on this forehead."
the curls of Hyperion; the forehead of Jove himself,” etc.

[133] Old eds. “his.”

Old eds. “his.”

[134] Old eds.Omnes.

__A_TAG_PLACEHOLDER_0__ Old eds. “Omnes.”

[135] Old eds. “ne’er.”

Old eds. “never.”

[136] “It is a vulgar belief that a man is destined to have as many wives as there appear wrinkles in his forehead when he frowns.”—Ed. of 1820.

[136] “It's a common misconception that a man is meant to have as many wives as there are wrinkles on his forehead when he frowns.”—Ed. of 1820.

[137] “Month’s mind” = a strong desire. See Dyce’s Shakesp. Gloss.

[137] “Month’s mind” = a strong craving. See Dyce’s Shakesp. Gloss.

[138] So ed. 1613.—Ed. 1631 “full-ri’dd.”

__A_TAG_PLACEHOLDER_0__ So ed. 1613.—Ed. 1631 “full-ridd.”

[139] Ed. 1613 gives “Your vertues man.”—Ed. 1631 “Your vertues may.”

[139] Ed. 1613 gives “Your virtues man.”—Ed. 1631 “Your virtues may.”

[140] Old eds.Enter Mizaldus and Mendosa.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Enter Mizaldus and Mendosa.”

[141] Old eds.Guid.

__A_TAG_PLACEHOLDER_0__ Old eds. “Guid.

[142] Old eds.Miz.

__A_TAG_PLACEHOLDER_0__ Old eds. “Miz.

[143] Old eds. “Cypres.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Cypres.”

[144] This play bears many traces of the study of Hamlet. The present passage was clearly suggested by the player’s speech, “The rugged Pyrrhus,” &c., and Hamlet’s comments thereon.

[144] This play shows a lot of influence from studying Hamlet. The current passage was obviously inspired by the actor’s speech, “The rugged Pyrrhus,” etc., and Hamlet’s remarks about it.

[145] Old eds. “desire.”

__A_TAG_PLACEHOLDER_0__ Old eds. “desire.”

[146] Cf. Hamlet, i. 2:—
“The funeral baked meats
Did coldly furnish forth the marriage-tables.”

[146] Cf. Hamlet, i. 2:—
"The leftover food from the funeral"
"was served cold at the wedding reception."

[147] Branches of rosemary were formerly used at weddings. See note on Middleton, i. 9, 10.

[147] Rosemary branches were once used at weddings. See note on Middleton, i. 9, 10.

[148] Old eds.Rogero.

__A_TAG_PLACEHOLDER_0__ Old eds. “Rogero.

[149] Old eds.Clarid.

__A_TAG_PLACEHOLDER_0__ Old eds. “Clarid.

[150] Old eds. “Buglors, Rhimocers.”—The herb bugloss was much used for medicinal purposes. The same virtues were attributed to the rhinoceros’ horn as to the unicorn’s horn: see Topsel’s Hist. of Four-footed Beasts.

[150] Old eds. “Buglors, Rhimocers.” The herb bugloss was widely used for medicinal purposes. The same benefits were believed to come from rhino horn as from unicorn horn: see Topsel’s Hist. of Four-footed Beasts.

[151] Hotchpotch, farrago; a contemptuous term for an apothecary.

[151] Mismatch, jumble; a dismissive term for a pharmacist.

[152] Crucible.

Crucible.

[153] Ed. 1631 “O.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 “O.”

[154] Subject for dissection.

Subject for analysis.

[155] “I were”—omitted in ed. 1613.

__A_TAG_PLACEHOLDER_0__ “I were”—omitted in ed. 1613.

[156] Ed. 1631 “skip on ounce.”

“Skip on ounce.”

[157] If Romeo and Juliet had not been a highly popular play the allusion to the Montagues and Capulets could hardly have been generally intelligible.

[157] If Romeo and Juliet hadn’t been such a popular play, the reference to the Montagues and Capulets wouldn’t have been easily understood by everyone.

[158] Old eds.Miz.

Old editions “Miz.”

[159] Not marked in old eds.

__A_TAG_PLACEHOLDER_0__ Not marked in old eds.

[160] i.e., you are a clever schemer.

[160] that is, you are a smart planner.

[161] Girls who fasted on St. Agnes’ night (January 21) dreamed of their future husbands.—“They’ll give anything to know when they shall be married, how many husbands they shall have by Cromnyomantia, a kind of divination with onions laid on the altar on Christmas eve, or by fasting on St. Agnes’ eve or night to know who shall be their first husband.” Burton’s Anatomy of Melancholy, ed. 1660, p. 538. See the sixth stanza of Keats’ Eve of St. Agnes.

[161] Girls who fasted on St. Agnes' night (January 21) dreamed of their future husbands. "They’ll do anything to find out when they’ll get married, how many husbands they’ll have, using Cromnyomantia, a method of divination with onions placed on the altar on Christmas Eve, or by fasting on St. Agnes’ Eve or night to discover who their first husband will be.” Burton’s Anatomy of Melancholy, ed. 1660, p. 538. See the sixth stanza of Keats’ Eve of St. Agnes.

[162] See note, vol. i. p. 37.

__A_TAG_PLACEHOLDER_0__ See note, vol. i. p. 37.

[163] Old eds.Count Ars.

Old eds. “Count Ars.”

[164] In old eds. is the stage-direction “To Abigall.”—Claridiana is of course glancing at Thais.

[164] In earlier editions, there's a stage direction “To Abigall.”—Claridiana is obviously looking at Thais.

[165] Ed. 1631 “to.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 "to."

[166] So ed. 1631.—Ed. I, “rimocheros.”

__A_TAG_PLACEHOLDER_0__ So ed. 1631.—Ed. I, “rimocheros.”

[167] Old eds. “ne’er” and “ne’re.”

Old eds. “ne'er” and “ne’re.”

[168] An echo from Richard II. (i. 1):—
“Which to maintain I would allow him odds
And meet him, were I tied to run a-foot
Even to the frozen ridges of the Alps,
Or any other ground inhabitable.”

[168] An echo from Richard II. (i. 1):—
“To prove my point, I’d give him a head start.”
And confront him, even if I had to run on foot.
All the way to the snowy slopes of the Alps,
"Or any other land where people reside."

[169] Old eds. “wrongs.”

Old eds. “wrongs.”

[170] Ed. 1613 “sp’rit.”—Ed. 1631 “spirit.”

__A_TAG_PLACEHOLDER_0__ Ed. 1613 “sp’rit.”—Ed. 1631 “spirit.”

[171] A vulgar oath.

A crude curse.

[172] Ed. 1613 “rimocheros.”

__A_TAG_PLACEHOLDER_0__ Ed. 1613 “rimocheros.”

[173] Ed. 1613 “instrument.”

__A_TAG_PLACEHOLDER_0__ Ed. 1613 “instrument.”

[174] Old eds.Abigall” and “Abigail.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Abigall” and “Abigail.”

[175] Old eds. “our.”

Old eds. “our.”

[176] Old eds.Abig.

__A_TAG_PLACEHOLDER_0__ Old eds. “Abig.”

[177] Ed. 1631 “Countesse of Sweuia.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 “Countess of Sweden.”

[178] Cf. vol. 1, p. 62.

__A_TAG_PLACEHOLDER_0__ Cf. vol. 1, p. 62.

[179] Old eds.Abigall” and “Abig.

__A_TAG_PLACEHOLDER_0__ Old eds. “Abigall” and “Abig.”

[180] In Vulgar Errors, ii. 5, Sir Thomas Browne discusses the question whether “a diamond, which is the hardest of stones, not yielding unto steel, emery, or anything but its own powder, is yet made soft or broke by the blood of a goat.”

[180] In Vulgar Errors, ii. 5, Sir Thomas Browne talks about whether “a diamond, which is the hardest of stones, not giving in to steel, emery, or anything except its own dust, can still be softened or broken by goat's blood.”

[181] Contracted form (found in Spenser, Jonson, &c.) for corrosive.

[181] Shortened form (seen in Spenser, Jonson, etc.) for corrosive.

ACT II.

SCENE I.

SCENE I.

Venice.—Hall in Roberto’s house.

Venice.—Roberto’s house.

Enter Roberto, Lord Cardinal, Isabella, Lady Lentulus, Abigail, and Thais. Lights.

Enter Roberto, Cardinal, Isabella, Lady Lentulus, Abigail, and Thais. Lights.

Rob. My grave Lord Cardinal, we congratulate,
And zealously do entertain your love,
That from your high and divine contemplation
You have vouchsafed to consummate a day
Due to our nuptials. O may this knot you knit—
This individual Gordian grasp of hands,
In sight of God so fairly intermixt—
Never be sever’d, as Heaven smiles at it,
By all the darts shot by infernal Jove!
Angels of grace, Amen, Amen, say to ’t!    10
Fair lady-widow, and my worthy mistress,
Do you keep silence for a wager?

Rob. My respected Lord Cardinal, we gather to celebrate,
And eagerly embrace your love,
That from your elevated and divine thoughts
You have given us a day.
For our wedding. Oh, may this connection you create—
This special joining of hands,
In the presence of God, so beautifully connected—
Never let yourself be broken, as Heaven sees it.
By all the arrows shot by wicked Jove!
Angels of grace, Amen, Amen, please add your blessing!    10
Lovely widow and my esteemed mistress,
Are you staying silent as part of a wager?

Tha. Do you ask a woman that question, my lord, when she enforcedly pursues what she’s forbidden? I think, if I had been tied to silence, I should have been worthy the cucking-stool ere this time.

Tha. Do you really ask a woman that question, my lord, when she’s actively going after what she’s not allowed to? I think if I had been forced to stay silent, I would have earned a punishment by now.

Rob. You shall not be my orator, lady, that pleads thus for your self.

Rob. You won't be my spokesperson, lady, if you argue like this for yourself.

Enter a Servant.[182]

Enter a Servant.[182]

Ser. My lord, the masquers are at hand.

Ser. My lord, the performers are here.

Rob. Give them kind entertainment.—Some worthy friends of mine, my lord, unknown to me, too lavish of their loves, bring their own welcome in a solemn masque.    23

Rob. Give them good entertainment.—Some good friends of mine, my lord, whom I don’t know well, are being overly generous with their affections and are bringing their own warm welcome in a formal mask. 23

Abi. I am glad there’s noblemen in the masque, with our husbands to overrule them; they had shamed us all[183] else.

Abi. I'm glad there are noblemen at the masquerade, with our husbands to keep them in check; otherwise, they would've embarrassed us all[183].

Tha. Why? for why, I pray?

Why? Why, I ask?

Abi. Why?—marry, they had come in with some city show else; hired a few tinsel coats, at the vizard-makers, which would ha’ made them look for all the world like bakers in their linen bases[184] and mealy vizards, new come from boulting. I saw a show once at the marriage of Magnificero’s daughter, presented by Time, which Time was an old bald thing, a servant: ’twas the best man; he was a dyer, and came in likeness of the rainbow, in all manner of colours, to show his art; but the rainbow smelt of urine so we were all afraid the property was changed, and look’d for a shower. Then came in after him, one that, it seem’d, feared no colours[185]—a grocer that had trimm’d up himself handsomely: he was justice, and show’d reasons[186] why. And I think this grocer—I mean this justice—had borrowed a weather-beaten balance from some justice of a conduit, both which scales were replenish’d with the choice of his ware. And the more liberally to show his nature, he gave every woman in the room her handful.    46

Abi. Why?—they had come in with some city show; rented a few flashy costumes from the mask-makers, which made them look like bakers in their white aprons and flour-covered masks, just returned from sifting. I once saw a performance at the wedding of Magnificero’s daughter, presented by Time, who was an old bald guy, a servant: he was the best character; he was a dyer and came dressed like a rainbow, in all sorts of colors, to show off his craft; but the rainbow smelled terrible, like urine, so we all worried that it was a bad prop, and braced for a downpour. Then came in someone else, who seemed to have no fear of colors—a nicely dressed grocer: he was a judge and explained why. And I think this grocer—I mean this judge—had borrowed a worn-out balance from some local judge, both of which scales were filled with the best of his goods. To show off his generosity, he gave every woman in the room a handful. 46

Tha. O great act of justice! Well, and my husband come cleanly off with this, he shall ne’er betray his weakness more, but confess himself a citizen hereafter, and acknowledge their wit, for alas! they come short.

Tha. Oh, what a great act of justice! Well, if my husband gets through this unscathed, he will never hide his weakness again, but will admit he belongs here from now on and recognize their cleverness, because sadly, they fall short.

Enter in the Masque, the Count of Massino,[187] Mendoza, Claridiana, and Torch-bearers. They deliver their shields to their several mistresses—that is to say, Mendoza to the Lady Lentulus; Claridiana to Thais;[188] to Isabella, Massino; to Abigail, Rogero.

Enter in the Masque, the Count of Massino,[187] Mendoza, Claridiana, and Torch-bearers. They hand their shields to their respective ladies—that is to say, Mendoza to the Lady Lentulus; Claridiana to Thais;[188] to Isabella, Massino; to Abby, Rogero.

Isa. Good my lord, be my expositor.

Isa. Please, my lord, explain things to me.

[To the Cardinal.

To the Cardinal.

Car. The sun setting, a man pointing at it:
The motto, Senso tamen ipse calorem.
Fair bride, some servant of yours, that here imitates
To have felt the heat of love bred in your brightness,
But setting thus from him by marriage;
He only here acknowledgeth your power,
And must[189] expect beams of a morrow-sun.

Car. The sun is going down, and a man is pointing at it:
The motto, Senso tamen ipse calorem.
Beautiful bride, one of your servants who imitates
Having experienced the warmth of love sparked by your beauty,
But now she is turning away from him by getting married;
He only recognizes your power here,
And must[189] wait for the sunlight of tomorrow.

Lady Len. Lord Bridegroom, will you interpret me?

Lady Len. Lord Bridegroom, will you explain what I mean?

Rob. A sable shield: the word,[190] Vidua spes.    60
What—the forlorn hope, in black, despairing?
Lady Lentulus, is this the badge of all your suitors?

Rob. A black shield: the word, [190] Widow's hope.    60
What—a hopeless desire, dark and filled with despair?
Lady Lentulus, is this the emblem of all your admirers?

Lady Len. Ay, by my troth, my lord, if they come to me.

Lady Len. Yes, I swear, my lord, if they come to me.

Rob. I could give it another interpretation. Methinks this lover has learn’d of women to deal by contraries; if so, then here he says, the widow is his only hope.

Rob. I could see it another way. I think this lover has learned to navigate women by playing opposites; if that's the case, then here he claims that the widow is his only hope.

Lady Len. No; good my lord, let the first stand.

Lady Len. No; my lord, let the first one stay.

Rob. Inquire of him, and he’ll resolve the doubt.

Rob. Ask him, and he’ll clear up the confusion.

Abi. What’s here?—a ship sailing nigh her haven?
With good ware belike: ’tis well ballast.    70

Abi. What's happening here? Is a ship coming into the harbor?
With a good load, I bet: it’s well balanced.    70

Tha. O this your device smells of the merchant. What’s your ship’s name, I pray? The Forlorn Hope?

Tha. Oh, this plan of yours has a business vibe. What’s the name of your ship, if you don’t mind me asking? The Forlorn Hope?

Abi. No; The Merchant Royal.

No; The Merchant Royal.

Tha. And why not Adventurer?

Tha. And why not Adventurer?

Abi. You see no likelihood of that: would it not fain be in the haven? The word, Ut tangerem portum. Marry, for aught I know; God grant it. What’s there?

Abi. You don’t see that happening: wouldn’t it prefer to be in the harbor? The phrase, Ut tangerem portum. Well, for all I know; God willing. What’s going on there?

Tha. Mine’s an azure shield: marry, what else? I should tell thee more than I understand; but the word is, Aut pretio, aut precibus.    80

Tha. Mine’s a blue shield: what else? I should tell you more than I know; but the saying is, Aut pretio, aut precibus. 80

Abi. Ay, ay, some common-council device.

Sure, some city council plan.

[They take the women, and dance the first change.

[They grab the women and dance the first change.]

Men. Fair widow, how like you this change?

Men. Hey, widow, how do you feel about this change?

Lady Len. I chang’d too lately to like any.

Lady Len. I changed too late to like anyone.

Men. O your husband! you wear his memory like a death’s-head.
For Heaven’s love, think of me as of the man
Whose dancing days you see are not yet done.

Men. Oh, your husband! You hold onto his memory like a haunting presence.
For goodness' sake, think of me as the man.
Whose days of dancing aren't finished yet.

Lady Len. Yet you sink a-pace,[191] sir.

Lady Len. Yet you fall behind,[191] sir.

Men. The fault’s in my upholsterer, lady.

Men. The problem's with my upholsterer, ma'am.

Rog. Thou shalt as soon find Truth telling a lie,    90
Virtue a bawd, Honesty a courtier,
As me turn’d recreant to thy least design.
Love makes me speak, and he makes love divine.

Rog. You might as well find Truth being dishonest,    90
Virtue as a hustler, Honesty as a sycophant,
As if I would back down from your smallest request.
Love inspires me to express myself, and it makes love feel divine.

Abi.[192] Would Love could make you so! but ’tis his guise
To let us surfeit ere he ope our eyes.

Abi.[192] If only love could change you like this! But that's not how it happens.
He allows us to indulge before he reveals the truth.

Tha.[193] You grasp my hand too hard, i’faith, fair sir.

Tha.[193] You’re holding my hand a bit too tightly, I swear, kind sir.

[Claridiana holds her by the hand.

[Claridiana holds her hand.

Clar. Not as you grasp my heart, unwilling wanton.
Were but my breast bare and anatomised,
Thou shouldst behold there how thou torturest it;
And as Apelles limn’d the Queen of Love,    100
In her right hand grasping a heart in flames,
So may I thee, fairer, but crueller.

Clar. Not in the way you have my heart, wild and uncontrolled.
If only my chest were exposed and examined,
You would see how you torture it;
And just like Apelles painted the Goddess of Love,    100
With a heart blazing in her right hand,
So I could depict you, more beautiful but also more ruthless.

Tha.[193] Well, sir, your vizor gives you colour for what you say.

Tha.[193] Well, sir, your mask gives you the confidence to say what you mean.

Clar. Grace me to wear this favour; ’tis a gem
That vails to your eyes, though not to the eagle’s,
And in exchange give me one word of comfort.

Clar. Please let me wear this token; it’s a gem.
That looks good to you, but not to the eagle,
And in exchange, just give me one word of comfort.

Tha.[193] Ay, marry: I like this wooer well:
He’ll win’s pleasure out o’ the stones.

Tha.[193] Yeah, I really like this person trying to win me over:
He'll bring us joy even from the toughest situations.

[The second change, Isabella falls in love with Massino;[194] when[195] they change she speaks.

[The second change, Isabella falls in love with Massino;[194] when[195] they change she speaks.

Isa. Change is no robbery; yet in this change    110
Thou robb’st me of my heart. Sure Cupid’s here,
Disguisèd like a pretty torch-bearer,
And makes his brand a torch, that with more sleight
He may entrap weak women. Here the sparks
Fly, as in Ætna from his father’s anvil.
O powerful boy!
My heart’s on fire, and unto mine eyes
The raging flames ascend like to two beacons,
Summoning my strongest powers; but all too late;
The conqueror already opes the gate.    120
I will not ask his name.

Isa. Change isn't theft; but with this change    110
You've stolen my heart. Cupid must be around,
Dressed like a cute torchbearer,
Turning his brand into a beacon, so that with more tricks
He can manipulate vulnerable women. Here are the sparks __A_TAG_PLACEHOLDER_0__.
Fly, just like in Ætna from his dad's forge.
Oh powerful dude!
My heart is on fire, and the blazing flames
Rise to my eyes like two lights.
I’m using all my strength, but it’s too late;
The conqueror has already opened the gate.    120
I won’t ask for his name.

Abi. You dare put it into my hands.

Abi. You actually want me to take it?

Rog.[196] Zounds,[197] do you think I will not?

Rog.[196] Seriously, [197] do you really think I won't?

Abi. Then thus: to-morrow (you’ll be secret, servant)

Abi. So, here it is: tomorrow (you’re going to keep this quiet, right?)Understood! Please provide the text you'd like me to modernize.

Rog. All that I do, I’ll do in secret.

Rog. Everything I do, I’ll do in private.

Abi. My husband goes to Maurano[198] to renew the farm he has.

Abi. My husband goes to Maurano[198] to renew the farm he has.

Rog. Well, what time goes the jakes-farmer?

Rog. Well, what time does the restroom attendant leave?

Abi. He shall not be long out, but you shall put in, I warrant you. Have a care that you stand just i’ the nick about six o’clock in the evening; my maid shall conduct you up. To save mine honour, you must come up darkling, and to avoid suspicion.    133

Abi. He won’t be gone long, but I promise you’ll get in. Make sure you’re right at the spot around six in the evening; my maid will guide you up. To protect my reputation, you need to come up without being seen, to avoid any suspicion. 133

Rog. Zounds! hoodwink’d! and if you’ll open all, sweet lady—

Rog. Wow! Cheated! And if you’ll reveal everything, sweet lady—Understood.

Abi. But if you fail to do ’t—

Abi. But if you don't do it—Understood. Please provide the text for modernization.

Rog. The sun shall fail the day first.

Rog. The sun will be the first to fail the day.

Abi. Tie this ring fast, you may be sure to know.
You’ll brag of this, now you have brought me to the bay.

Abi. Wrap this ring snugly, and you’ll definitely find out.
You'll brag about this now that you've brought me to the shore.

Rog. Pox o’ this masque! would ’twere done! I might
To my apothecary’s for some stirring meats!    141

Rog. Ugh, this masquerade is so annoying! I just want it to be over! I could go to my apothecary’s for some unique food!    141

Tha. Methinks, sir, you should blush e’en through your vizor.
I have scarce patience to dance out the rest.

Tha. I believe, sir, you should feel ashamed even behind your mask.
I can’t wait to stop dancing.

Clar.[199] The worse my fate, that ploughs a marble quarry:
Pygmalion, yet thy image was more kind,
Although thy love[200] not half so true as mine.
Dance they that list, I sail against the wind.

Clar.[199] The worse my fate, which works in a marble quarry:
Pygmalion, but your image was gentler,
Although your love[200] isn’t anywhere near as genuine as mine.
Let those who want to dance, dance; I’m going against the wind.

Tha. Nay, sir, betray not your infirmities,
You’ll make my husband jealous by and by.
We will think of you, and that presently.    150

Tha. No, sir, don’t reveal your weaknesses,
You'll make my husband jealous before long.
We'll think about you, and that will be soon.    150

Mass.[201] The spheres ne’er danced unto a better tune.
Sound music there!

Mass.[201] The spheres have never danced to a better tune.
Awesome music there!

[The third change ended, ladies fall off.

[The third change is over, ladies exit.]

Isa. ’Twas music that he spake.

It was music that he spoke.

Rob. Gallants, I thank you, and begin a health
To your mistresses!

Rob. Thanks, everyone, and let’s raise a toast.
to your girlfriends!

Three or four. Fair thanks, Sir Bridegroom.

Three or four. Thanks a lot, Sir Bridegroom.

Isa. [Aside.] He speaks not to this pledge; has he no mistress?
Would I might choose one for him! but ’t may be
He doth adore a brighter star than we.

Isa. [Aside.] He's not serious about this promise; doesn't he have a girlfriend?
I wish I could choose one for him! But it could be
He loves someone better than us.

Rob. Sit, ladies, sit; you have had standing long.

Rob. Please, ladies, take a seat; you’ve been standing for a while.

[Massino[202] dances a Levalto or a Galliard, and in the midst of it falleth into the Bride’s lap, but straight leaps up and danceth it out.

[Massino[202] dances a Levalto or a Galliard, and in the middle of it, he falls into the Bride’s lap, but immediately jumps up and continues dancing.

Men. Bless the man! sprightly and nobly done!

Men. Cheers to the guy! Lively and done with style!

Tha. What, is your ladyship hurt?

What, is your lady hurt?

Isa. O no, an easy fall.    160
[Aside.] Was I not deep enough, thou god of lust,
But I must further wade! I am his now,
As sure as Juno’s Jove’s! Hymen, take flight,
And see not me, ’tis not my wedding night.

Isa. Oh no, that was such an easy fall.    160
[Aside.] Wasn’t I deep enough, you god of desire,
But I need to go further! I belong to him now,
As certain as Juno is to Jove! Hymen, take off,
And don’t look at me; it’s not my wedding night.

[Exit Isabella.

[Leave Isabella.

Car. The bride’s departed, discontent it[203] seems.

Car. The bride’s gone, seems unhappy[203].

Rob. We’ll after her. Gallants, unmasque I pray,
And taste a homely banquet, we entreat.

Rob. Let’s go after her. Gentlemen, please remove your masks.
We invite you to join us for a simple meal.

[Exeunt Roberto, Cardinal, and lights.

[Exit Roberto, Cardinal, and lights.

Clar. Candied[204] eringoes, I beseech thee.

Candied __A_TAG_PLACEHOLDER_0__ eringoes, please.

Men. Come, widow, I’ll be bold to put you in.
My lord, will you have a sociate?    170

Men. Come on, widow, I’ll be bold enough to include you.
My lord, would you like a companion?    170

[Exeunt Thais, Lady Lentulus, Abigail, and Mendoza.

Exeunt Thais, Lady Lentulus, Abigail, and Mendoza.

Mass.[205] Good gentlemen, if I have any interest in you,
Let me depart unknown; ’tis a disgrace
Of an eternal memory.

Mass.[205] Good gentlemen, if I have any concern for you,
Let me sneak out without anyone noticing; it's a pity.
That will last forever.

Rog.[206] What, the fall, my lord?—as common a thing as can be. The stiffest man in Italy may fall between a woman’s legs.

Rog.[206] What, a fall, my lord?—it's as ordinary as it gets. Even the toughest guy in Italy can trip over a woman's legs.

Clar. Would I had changed places with you, my lord—would it had been my hap!

Clar. I wish I had swapped places with you, my lord—if only that had been my fate!

Mass. What cuckold laid his horns in my way?
Signior Claridiana, you were by the lady when I fell:
Do you think I hurt her?    181

Mass. Who was the idiot that got in my way?
Mr. Claridiana, you were with the woman when I fell:
Do you think I caused her harm?    181

Clar. You could not hurt her, my lord, between the legs.

Clar. You couldn't hurt her, my lord, down there.

Mass. What was ’t I fell withal?

Mass. What was it that I fell for?

Rog. A cross-point, my lord.

A crossroads, my lord.

Mass. Cross-point, indeed.
Well, if you love me, let me hence unknown;
The silence yours, the disgrace mine own.

Mass. Definitely a crossroad.
If you really love me, let me leave without any signs.
The silence belongs to you, the shame belongs to me.

[Exeunt Claridiana and Rogero.[207]

Exeunt Claridiana and Rogero. __A_TAG_PLACEHOLDER_0__

Enter Isabella with a gilt goblet, and meets Massino.[208]

Enter Isabella with a gold goblet, and meets Massino.[208]

Isa. Sir, if wine were nectar, I’d[209] begin a health
To her that were most gracious in your eye:    190
Yet deign, as simply ’tis the gift of Bacchus,
To give her pledge that drinks. This god of wine
Cannot inflame me more to appetite,
Though he be co-supreme[210] with mighty Love,
Than thy fair shape.

Isa. Sir, if wine were nectar, I’d[209] make a toast.
To the one who is the most beautiful in your eyes:    190
But please, just like it's the gift of Bacchus,
Raise a glass to her in return. This god of wine
You can't make me want more than I already do,
Even though he shares power[210] with powerful Love,
More than your beautiful body.

Mass. Zounds! she comes to deride me.

Mass. Wow! She's here to make fun of me.

Isa. That kiss shall serve
To be a pledge, although my lips should starve.—
[Aside.] No trick to get that vizor from his face?

Isa. That kiss will be a promise, even if my lips are dry.
[Aside.] Is there any way to remove that mask from his face?

Mass. I will steal hence, and so conceal disgrace.

Mass. I will leave now and hide my shame.

Isa. Sir, have you left naught behind?    200

Isa. Sir, have you not left anything behind? 200

Mass. Yes, Lady,[211] but the fates will not permit
(As gems once lost are seldom or never found)
I should convey it with me. Sweet, good-night!
[Aside.] She bends to me: there’s my fall again.

Mass. Yes, my lady, [211] but fate won't let it happen.
(Like lost gems, they are seldom or never discovered)
I should take it with me. Goodnight, sweet dreams!
[Aside.] She leans in closer: here’s where I mess up again.

[Exit.

Exit.

Isa. He’s gone! That lightning that a while doth strike
Our eyes with amaz’d brightness, and on a sudden
Leaves us in prison’d darkness! Lust, thou art high;
My similes[212] may well come from the sky.
Anna, Anna!

Isa. He's gone! That lightning that just hit
Our eyes shine with incredible brightness, and suddenly
Leaves us in total darkness! Lust, you have great power;
My comparisons[212] could easily be celestial.
Anna, Anna!

Enter Anna.

Enter Anna.

Anna. Madam, did you call?    209

Anna. Ma'am, did you call?    209

Isa. Follow yond stranger; prithee learn his name.
We may hereafter thank him. [Exit Anna.] How I dote!
Is he not a god
That can command what other men would win
With the hard’st advantage? I must have him,
Or, shadow-like, follow his fleeting steps.
Were I as Daphne, and he followed chase,
(Though I rejected young Apollo’s love,
And like a dream beguile his wand’ring steps;)
Should he pursue me through the neighbouring grove,
Each cowslip-stalk should trip a willing fall,    220
Till he were mine, who till then am his thrall.
Nor will I blush, since worthy is my chance:[213]
’Tis said that Venus with a satyr slept;
And how much short came she of my fair aim!
Then, Queen of Love, a precedent I’ll be,
To teach fair women learn to love of me.
Speak, music: what’s his name?

Isa. Follow that stranger; please find out his name.
We might appreciate him later. [Exit Anna.] How obsessed I am!
Isn't he like a deity
Who can obtain what other men would battle for?
With the utmost ease? I need to have him,
Or like a shadow, follow his fading footsteps.
If I were like Daphne, and he were pursuing me,
Even though I rejected young Apollo's love,
And like a dream led his wandering steps astray.
If he follows me through the nearby grove,
Every cowslip stem would trip me on purpose,    220
Until he became mine, I was his captive.
And I won't feel ashamed, since my opportunity is valuable:[213]
They say that Venus hooked up with a satyr;
And how far did she fall short of my ideal!
Then, Queen of Love, I’ll set the example,
To show beautiful women how to love like I do.
Speak, music: what's his name?

Enter Anna.

Enter Anna.

Anna. Madam, it was the worthy Count Massino.

Anna. Ma'am, it was the honorable Count Massino.

Isa. Blest be thy tongue! The worthy count indeed,
The worthiest of the worthies. Trusty Anna,    230
Hast thou pack’d up those monies, plate, and jewels
I gave direction for?

Isa. Bless your heart! The noble count really,
The cream of the crop. Loyal Anna,    230
Have you packed the cash, silverware, and jewelry?
Did I tell you to?

Anna. Yes, madam; I have truss’d up them, that many a proper man has been truss’d up for.

Anna. Yes, ma'am; I've tied them up, just like many respectable men have been tied up for.

Isa. I thank thee. Take the wings of night,
Beloved secretary, and post with them to Pavia;[214]
There furnish up some stately palace
Worthy to entertain the king of love:
Prepare it for my coming and my love’s.
Ere Phœbus’ steeds once more unharness’d be,    240
Or ere he sport with his belovèd Thetis,
The silver-footed goddess of the sea,
We will set forward. Fly like the northern wind,
Or swifter, Anna,—fleet like to my mind.

Isa. Thank you. Embrace the night,
Dear secretary, and fly with them to Pavia;[214]
There, establish a grand palace.
Ready to welcome the king of love:
Prepare it for my arrival and my partner’s.
Before Phœbus' horses are hitched up again,    240
Or before he spends time with his beloved Thetis,
The silver-footed goddess of the ocean,
We'll get going. Move like the northern wind, __A_TAG_PLACEHOLDER_0__,
Or even faster, Anna—quick as my thoughts.

Anna. I am just of your mind, madam. I am gone.

Anna. I'm just what's on your mind, madam. I'm out of here.

[Exit Anna.

[Exit Anna.

Isa. So to the house of death the mourner goes,
That is bereft of what his soul desired,
As I to bed—I to my nuptial bed,
The heaven on earth: so to thought-slaughters went
The pale Andromeda, bedew’d with tears.    250
When every minute she expected gripes
Of a fell monster, and in vain bewail’d
The act of her creation. Sullen Night,
That look’st with sunk eyes on my nuptial bed,
With ne’er a star that smiles upon the end,
Mend thy slack pace, and lend the malcontent,
The hoping lover, and the wishing bride,
Beams that too long thou shadowest: or, if not,
In spite of thy fix’d front, when my loath’d mate
Shall struggle in due pleasure for his right,    260
I’ll think ’t my love, and die in that delight!

Isa. So the mourner heads to the house of death,
That is lacking what his soul craved,
As I go to sleep—I to my wedding bed,
Heaven on earth: that's how thoughtlessly slaughter went.
The pale Andromeda, full of tears.    250
When she expected the grips every minute
About a fierce monster, and lamented in vain.
The moment of her creation. Gloomy Night, __A_TAG_PLACEHOLDER_0__,
That gazes with hollow eyes at my wedding bed,
With not a single star that shines at the end,
Slow down, and give the dissatisfied,
The hopeful lover and the dreaming bride,
The light that you've been blocking for too long: or, if not,
Even though you're staring fixedly, when my despised partner
Will strive to claim his rightful pleasure,    260
I’ll take it as my love, and be happy to the end!

[Exit.

[Leave.

[182] Not marked in old eds.

__A_TAG_PLACEHOLDER_0__ Not marked in old eds.

[183] Omitted in ed. 1631.

__A_TAG_PLACEHOLDER_0__ Omitted in ed. 1631.

[184] Seemingly, here, a sort of apron.—The word is used in a variety of senses: see Nares’ Glossary.

[184] It appears to refer to some kind of apron here.—The term is used in different ways: see Nares’ Glossary.

[185] Properly a military expression, meaning—fear no enemy.

[185] It's originally a military term, meaning—don't be afraid of any enemy.

[186] Used with a quibble: (1) reason, (2) raisin.

[186] Used with a twist: (1) reason, (2) raisin.

[187] Old eds. “Count of Arsena;” and so below “to Isabella, Gvido Count of Arsena.”—It was Guido who prepared the masque (see p. 149), and he ought certainly to be one of the masquers; but if we suppose that he is the masquer with whom Isabella falls in love, we are involved at once in wild confusion. Throughout this scene the prefixes are constantly wrong. The masquer who is now called Guido is frequently transformed into Rogero: see p. 157, “The second change, Isabella fals in loue with Rogero” and what follows. Later in the scene Isabella sends her waiting-woman Anna to discover the unknown masquer’s name; and Anna returns with the announcement, “Madam, it was the worthy Count Massino.” In the third scene she sends her page to summon the stranger to her presence. When the page returns with him, the stage-direction is “Enter Count Arsena and a Page.” She flies with her paramour, and the first man to proffer his advice to Roberto is this same Guido, Count of Arsena, who—according to the old copies—is flying with the Countess to Pavia! In iii. 11 the stage-direction is “Enter Count Guido, Isabella,” &c., and presently Isabella addresses her paramour as Rogero. Isabella pretends that she is sick and Guido goes to fetch a doctor: when he returns the stage direction is “Enter Rogero, Anna, and Doctor.” So the changes are rung through several scenes. In iv. 3 Isabella speaks of—
“False Count Guido, treacherous Gniaca,
Counties of Gazia and of rich Massino.”

[187] Old eds. “Count of Arsena;” and so below “to Isabella, Gvido Count of Arsena.”—It was Guido who prepared the masque (see p. 149), and he should definitely be one of the performers; but if we assume that he is the performer that Isabella falls in love with, we instantly run into a big mix-up. Throughout this scene, the character labels are constantly wrong. The performer now referred to as Guido is often shifted to Rogero: see p. 157, “The second change, Isabella falls in love with Rogero” and what comes next. Later in the scene, Isabella sends her maid Anna to find out the unknown performer's name; and Anna returns with the news, “Madam, it was the worthy Count Massino.” In the third scene, she sends her servant to bring the stranger to her. When the servant returns with him, the stage direction is “Enter Count Arsenal and a Page.” She escapes with her lover, and the first person to give advice to Roberto is the same Guido, Count of Arsena, who—according to the old copies—is running away with the Countess to Pavia! In iii. 11, the stage direction is “Enter Count Guido, Isabella,” &c., and soon Isabella calls her lover Rogero. Isabella pretends to be sick, and Guido goes to get a doctor: when he returns, the stage direction is “Enter Rogero, Anna, and Doctor.” So the role changes occur across several scenes. In iv. 3, Isabella mentions—
"False Count Guido, deceitful Gniaca,"
"Counties of Gazia and wealthy Massino."

Gniaca is the Count of Gazia [Gaeta?], and it follows that Guido would be the name of the Count of Massino [Messina?]. But Guido is the Count of Arsena; and it will be intolerable to have another Guido. Throughout I shall give the name Massino to the paramour who elopes with the Countess, and shall prefix “Mass.” to his speeches. Count Arsena will have to be excluded from the masque. It is no fault of mine; the author (or authors) and the old printer must bear the blame.

Gniaca is the Count of Gazia, which means Guido would be the name of the Count of Massino. But Guido is actually the Count of Arsena, and having another Guido would be unacceptable. From now on, I will call the lover who runs off with the Countess Massino and will prefix “Mass.” to his lines. Count Arsena will have to be left out of the performance. This isn’t my fault; the blame lies with the author(s) and the old printer.

[188] Old eds.Claridiana, to Abigal; to Isabella, Gvido Count of Arsena; to Thais, Rogero.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Claridiana, to Abigal; to Isabella, Gvido Count of Arsena; to Thais, Rogero.”

[189] Ed. 1631 “I must.”

“I must.”

[190] i.e., motto.

motto

[191] Shakespeare has a more elaborate quibble:—“And then comes repentance, and with his bad legs falls into the cinque-pace faster and faster till he sink into his grave.”—Much Ado, ii. 1. Cinque-pace was the name of a lively dance.

[191] Shakespeare has a more complex joke:—“And then comes regret, and with his bad legs stumbles into the cinque-pace faster and faster until he sinks into his grave.”—Much Ado, ii. 1. Cinque-pace was the name of a lively dance.

[192] Old eds.Thais.”

Old eds. “Thais.”

[193] Old eds.Abig.

__A_TAG_PLACEHOLDER_0__ Old eds. “Abig.”

[194] Old eds.Rogero.”

Old eds. “Rogero.”

[195] Old eds.when the changers speak.”

Old eds. “when the changers speak.”

[196] To this speech and Rogero’s five following speeches the prefix “Men. ” is given in the old copies.

[196] In the old copies, this speech and Rogero’s subsequent five speeches are prefixed with “Men.”.

[197] Omitted in ed. 1631.

Omitted in ed. 1631.

[198] Ed. 1631 “Mucaue.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 “Mucaue.”

[199] Old eds.Robert” and “Rob.”

Old eds. “Robert” and “Rob.”

[200] Ed. 1631 “love’s.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 “love’s.”

[201] Old eds.Gui.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Gui.”

[202] Old eds.Rogero.”

Old editions “Rogero.”

[203] Omitted in ed. 1631.

__A_TAG_PLACEHOLDER_0__ Omitted in ed. 1631.

[204] Old eds. “Candidi Ernigos” and “Erignos.”

Old eds. "Candidi Ernigos" and "Erignos."

[205] To Massino’s speeches old eds. give the prefix “Rog.

[205] To Massino’s speeches, older editions give the prefix “Rog.

[206] Old eds. give the prefix “Men. ” here and at l. 184.

[206] Previous editions use the prefix “Men.” here and at l. 184.

[207] Old eds.Mend.

__A_TAG_PLACEHOLDER_0__ Old eds. “Mend.”

[208] Old eds.Rogero.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Rogero.”

[209] Old eds. “Ile.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Ile.”

[210] So ed. 1613.—Ed. 1631 “to supreme.”

__A_TAG_PLACEHOLDER_0__ So ed. 1613.—Ed. 1631 “to supreme.”

[211] Omitted in ed. 1631.

__A_TAG_PLACEHOLDER_0__ Omitted in ed. 1631.

[212] Old eds. “smiles.”

__A_TAG_PLACEHOLDER_0__ Old eds. "smiles."

[213] Quy. “choice”?

__A_TAG_PLACEHOLDER_0__ Quy. “choice?”

[214] Old eds. “Sweuia.”

Old eds. “Sweuia.”

SCENE II.

SCENE II.

Venice.—A street.

Venice.—A street.

Enter at several doors Abigail and Thais.

Enter through multiple doors Abigail and Thais.

Abi. Thais, you’re an early riser. I have that to show will make your hair stand an-end.[215]

Abi. Thais, you wake up early. I have something to show you that will really surprise you.[215]

Tha. Well, lady, and I have that to show you will bring your courage down. What would you say and I would name a party saw your husband court, kiss, nay, almost go through for the hole?

Tha. Well, lady, I have something to show you that will really test your courage. What would you think if I told you I saw your husband flirting, kissing, and almost going all the way?

Abi. How, how? what would I say? nay, by this light! what would I not do? If ever Amazon fought better, or more at the face than I’ll do, let me never be thought a new married wife. Come, unmask her; ’tis some admirable creature, whose beauty you need not paint; I warrant you, ’tis done to your hand.    12

Abi. How can I express this? No, honestly! What wouldn't I do? If any warrior woman fought better, or more fiercely than I will, then I should never be seen as a newlywed. Come on, take off her mask; she’s an amazing person, someone whose beauty doesn't need embellishing; I assure you, it's right in front of you. 12

Tha. Would any woman but I be abused to her face? Prithee read the contents. Know’st thou the character?

Tha. Would any woman other than me be insulted to her face? Please read the contents. Do you know the character?

Abi. ’Tis my husband’s hand, and a love-letter; but for the contents I find none in it. Has the lustful monster, all back and belly, starved me thus? What defect does he see in me? I’ll be sworn, wench, I am of as pliant and yielding a body to him, e’en which way he will—he may turn me as he list himself. What? and dedicate to thee! Ay, marry, here’s a stile so high as a man cannot help a dog o’er it. He was wont to write to me in the city-phrase, My good Abigail. Here’s astonishment of nature, unparallel’d excellency, and most unequal rarity of creation!—three such words will turn any honest woman in the world[216] whore; for a woman is never won till she know not what to answer; and beshrew me if I understand any of these. You are the party, I perceive, and here’s a white sheet, that your husband has promis’d me to do penance in: you must not think to dance the shaking of the sheets[217] alone; though there be not such rare phrases in ’t, ’tis more to the matter: a legible hand, but for the dash or the (he) and (as):[218] short bawdy parentheses as ever you saw, to the purpose; he has not left out a prick, I warrant you, wherein he has promis’d to do me any good; but the law’s in mine own hand.    36

Abi. It’s my husband’s handwriting and a love letter; but I can’t find any content in it. Has that lustful beast, with all his excess, starved me like this? What does he see wrong with me? I swear, girl, I have a body as flexible and willing for him as anyone could be—he can turn me however he likes. What? And dedicate to you! Yes, indeed, here’s a hurdle so high that a man can’t help but help a dog over it. He used to write to me in the city style, My good Abigail. Here’s a wonder of nature, unmatched excellence, and incredible rarity of creation!—three such words would turn any decent woman into a whore; for a woman is never truly won until she doesn’t know how to respond; and I swear I don’t understand any of this. You are the topic, I see, and here’s a clean sheet that your husband has promised me to do penance on: don’t think you can enjoy the shaking of the sheets[216] alone; although there aren’t any fancy phrases in it, it’s more to the point: a readable hand, except for the dash or the (he) and (as):[217] short naughty parentheses you’ve ever seen, to the purpose; he hasn’t left out a single promise, I assure you, in which he has vowed to do me any good; but the law is in my own hands. 36

Tha. I ever thought by his red beard he would prove a Judas;[219] here am I bought and sold; he makes much of me indeed. Well, wench, we were best wisely in time seek for prevention; I should be loath to take drink and die on ’t, as I am afraid I shall, that he will lie with thee.

Tha. I never thought he would turn out to be a traitor just because of his red beard; here I am, being bought and sold; he really acts like he cares about me. Well, girl, we should smartly look for a way to stop this in time; I would hate to drink and end up dying from it, as I'm worried I might, since he will sleep with you.

Abi. To be short, sweetheart, I’ll be true to thee, though a liar to my husband. I have signed your husband’s bill like a woodcock, as he is held; persuaded him (since naught but my love can assuage his violent passions) he should enjoy, like a private friend, the pleasures of my bed. I told him my husband was to go to Maurano to-day, to renew a farm he has; and in the meantime he might be tenant at will to use mine. This false fire has so took with him, that he’s ravish’d afore he come. I have had stones on him all red. Dost know this?

Abi. To keep it short, sweetheart, I’ll be loyal to you, even if it means being unfaithful to my husband. I tricked your husband, like a fool caught in a trap; I convinced him (since only my love can calm his wild desires) that he could enjoy the pleasures of my bed as a close friend. I told him my husband was going to Maurano today to renew a lease he has; in the meantime, he could use mine whenever he wanted. This deceitful spark has caught fire with him so much that he's already excited before he even arrives. I've had feelings for him all fired up. Do you know this?

Tha. Ay, too well; it blushes, for his master.    53

Tha. Yeah, it knows too well; it blushes for his master. 53

[Points to the ring.

[Points to the ring.

Abi. Now my husband will be hawking about thee anon, and thou canst meet him closely.

Abi. Now my husband will be around soon, and you can meet him up close.

Tha. By my faith, I would be loth in the dark, and he knew me.

Tha. Honestly, I would be reluctant in the dark, and he recognized me.

Abi. I mean thus: the same occasion will serve him too; they are birds of a feather, and will fly together, I warrant thee, wench; appoint him to come; say that thy husband’s gone for Maurano, and tell me anon if thou madest not his heart-blood spring for joy in his face.    62

Abi. I mean this: the same opportunity will work for him too; they’re cut from the same cloth and will stick together, I promise you, girl; tell him to come; say your husband’s gone to Maurano, and let me know right away if you didn’t see joy light up his face. 62

Tha. I conceive you not all this while.

Tha. I haven't understood you at all this time.

Abi. Then th’ art a barren woman, and no marvel if thy husband love thee not. The hour for both to come is six—a dark time fit for purblind lovers; and with cleanly conveyance by the nigglers our maids, they shall be translated into our bed-chambers. Your husband into mine, and mine into yours.

Abi. Then you're a barren woman, so it's no surprise if your husband doesn't love you. The time for both of us to meet is six—a dark hour for blind lovers; and with the help of our sneaky maids, they will be brought into our bedrooms. Your husband into mine, and mine into yours.

Tha. But you mean they shall come in at the backdoors?    71

Tha. But you mean they will come in through the back doors? 71

Abi. Who? our husbands? nay, an’ they come not in at the fore-doors there will be no pleasure in ’t. But we two will climb over our garden-pales, and come in that way (the chastest that are in Venice will stray for a good turn), and thus wittily will we be stowed—you into my house to your husband, and I into your house to my husband; and I warrant thee before a month come to an end, they’ll crack louder of this night’s lodging than the bedsteads.    80

Abi. Who? Our husbands? No way, if they don’t come through the front doors, there won’t be any fun in it. But we can sneak over our garden fences and come in that way (even the most virtuous in Venice will stray for a good reason), and that’s how cleverly we’ll manage it—you’ll go into my house to your husband, and I’ll go into your house to my husband; and I guarantee that before the month is over, they’ll be talking more about tonight's adventure than the beds will be creaking. 80

Tha. All is if our maids keep secret.

Tha. Everything depends on whether our maids keep things confidential.

Abi. Mine is a maid I’ll be sworn; she has kept her secrets hitherto.

Abi. I have a maid, I swear; she has kept her secrets so far.

Tha. Troth, and I never had any sea-captain boarded in my house.

Tha. Honestly, I've never had a sea captain stay at my house.

Abi. Go to, then; and the better to avoid suspicion, thus we must insist: they must come up darkling, recreate themselves with their delight an hour or two, and after a million kisses or so—    89

Abi. Alright then; and to avoid raising any suspicion, we need to make sure of this: they should come up in the dark, enjoy themselves for an hour or two, and after a million kisses or so— 89

Tha. But is my husband content to come darkling?

Tha. But is my husband okay with coming in the dark?

Abi. What, not to save mine honour? He that will run through fire, as he has profess’d, will, by the heat of his love, grope in the dark! I warrant him he shall save mine honour.

Abi. What, not to save my honor? The guy who says he'll run through fire, will, because of his love, feel around in the dark! I bet he'll save my honor.

Tha. I am afraid my voice will discover me.

Tha. I'm worried my voice will give me away.

Abi. Why, then, you’re best say nothing, and take it thus quietly when your husband comes.

Abi. Well, in that case, it's better to say nothing and just handle it calmly when your husband arrives.

Tha. Ay, but you know a woman cannot choose but speak in these cases.

Tha. Yeah, but you know a woman can’t help but speak in these situations.

Abi. Bite in your nether-lip, and I warrant you;    100 Or make as if you were whiffing tobacco; Or puich[220] like me. Gods so! I hear thy husband!

Abi. Bite your lower lip, and I promise you; 100 Or pretend you're smoking tobacco; Or fidget[220] like me. Oh my! I hear your husband!

[Exit Abigail.

[Exit Abigail.

Tha. Farewell, wise woman.

Goodbye, wise woman.

Enter Rogero.[221]

Enter Rogero.[221]

Rog.[222] Now ’gins my vengeance mount high in my lust:
’Tis a rare creature, she’ll do ’t i’faith;
And I am arm’d at all points. A rare whiblin,[223]
To be revenged, and yet gain pleasure in ’t,
One height above revenge! Yet what a slave am I!
Are there not younger brothers enough, but we must
Branch one another? O but mine’s revenge!    110
And who on that does dream
Must be a tyrant ever in extreme.—
O my wife Thais, get my breakfast ready;
I must into the country to my farm I have
Some two miles off, and, as I think,
Shall not come home to-night. Jaques, Jaques?
Get my vessel ready to row me down the river.
Prithee make haste, sweet girl.

Rog.[222] Now my urge for revenge is growing just like my desire:
She's unique; I'm sure she'll get it done;
And I'm prepared for anything. A real pleasure, [223]
To seek revenge and still take pleasure in it,
It's a step beyond just revenge! Yet I feel so trapped!
Isn’t there enough younger siblings? Why do we have to...
Fight amongst ourselves? But what really matters is my revenge!    110
And anyone who dreams of that
They can be a tyrant at their worst.
Oh my wife Thais, please make my breakfast;
I need to go to my farm.
It's about two miles away, and I think
I'm not coming home tonight. Jaques, Jaques?
Prepare my boat to take me down the river.
Please hurry, dear.

[Exit Rogero.[224]

[Exit Rogero.[224]

Tha. So, there’s one fool shipp’d away. Are your cross-points discovered? Get your breakfast ready!    120
By this light I’ll tie you to hard fare; I have been too sparing of that you prodigally offer voluntary to another: well, you will be a tame fool hereafter,
The finest light is when we first defraud;
Husband, to-night ’tis I must lie abroad.

Tha. So, one fool has been shipped away. Have your secret plans been discovered? Get your breakfast ready! 120
By this light, I’ll put you on a tough diet; I’ve been too easy on what you generously give to others. Well, you’ll be a compliant fool from now on,
The best light appears when we first deceive;
Honey, tonight I need to sleep somewhere else.

[Exit.

Exit.

[215] “And each particular hair to stand an-end.”—Hamlet, i. 4.

[215] “And every single hair to stand on end.”—Hamlet, i. 4.

[216] Ed. 1631 “a whore.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 “a whore.”

[217] “The shaking of the sheets” was the name of an old dance. It is often used with a quibble (as in the text).

[217] “The shaking of the sheets” was the name of an old dance. It is often used with a playful twist (as in the text).

[218] I follow the reading of the old copies.

[218] I stick to the interpretations of the old texts.

[219] In tapestry Judas was commonly represented with a red beard.

[219] In tapestry, Judas was often depicted with a red beard.

[220] Puke, simper.

Throw up, smile.

[221] Old eds.Mizaldus.”

__A_TAG_PLACEHOLDER_0__ Old editions “Mizaldus.”

[222] Old eds.Miz.

__A_TAG_PLACEHOLDER_0__ Old eds. “Miz.

[223] This word is used in a variety of senses: see Nares’ Gloss. Here the meaning seems to be “device, trick.” We have had the word “quiblin” in this sense: see p. 60.

[223] This word is used in different ways: see Nares’ Gloss. Here, it appears to mean “device, trick.” We have used the word “quiblin” in this way: see p. 60.

[224] Old eds.Mizal.

__A_TAG_PLACEHOLDER_0__ Old eds. “Mizal.”

SCENE III.

SCENE III.

Venice.Roberto’s house.

Venice.Roberto’s home.

Enter Isabella, and a Page with a letter.

Enter Isabella, and a Page with a note.

Isa. Here, take this letter, bear it to the count.
But, boy, first tell, think’st thou I am in love?

Isa. Here, take this letter and give it to the count.
But first, tell me, do you think I'm in love?

Page. Madam, I cannot tell.

Page. I can't say, ma'am.

Isa. Canst thou not tell? Dost thou not see my face?
Is not the face the index of the mind?
And canst thou not distinguish love by that?

Isa. Can’t you tell? Don’t you see my expression?
Isn't the face a reflection of the mind?
Can't you see love in that?

Page. No, madam.

No, ma'am.

Isa. Then take this letter and deliver it
Unto the worthy count. No, fie upon him!
Come back: tell me, why shouldst thou think    10
That same’s a love-letter?

Isa. Then take this letter and deliver it.
To the respected count. No, what a disgrace!
Come back: tell me, why do you think __A_TAG_PLACEHOLDER_0__?
That it’s a love note?

Page. I do not think so, madam.

I don't think so, ma'am.

Isa. I know thou dost; for thou dost ever use
To hold the wrong opinion. Tell me true,
Dost thou not think that letter is of love?

Isa. I know you do because you always hold
the wrong opinion. Give me the truth,
Don't you think that letter is about love?

Page. If you would have me think so, madam, yes.

Page. If you want me to believe that, ma'am, then yes.

Isa. What, dost thou think thy lady is so fond?
Give me the letter; thyself shall see it.
Yet I should tear it in the breaking ope,
And make him lay a wrongful charge on thee,    20
And say thou brokest it open by the way,
And saw what heinous things I charge him with.
But ’tis all one, the letter is not of love;
Therefore deliver it unto himself,
And tell him he’s deceived—I do not love him.
But if he think so, bid him come to me,
And I’ll confute him straight: I’ll show him reasons—
I’ll show him plainly why I cannot love him.
And if he hap to read it in thy hearing,
Or chance to tell thee that the words were sweet,    30
Do not thou then disclose my lewd intent
Under those siren words, and how I mean
To use him when I have him at my will;
For then thou wilt destroy the plot[225] that’s laid,
And make him fear to yield when I do wish
Only to have him yield; for when I have him,
None but myself shall know how I will use him.
Begone! why stayest thou?—yet return again.

Isa. What, do you really think your lady is that attached?
Give me the letter; you'll see it for yourself.
But I should rip it when I open it,
And make him accuse you falsely,    20
And let's say you opened it on the way,
And witnessed the awful things I accuse him of.
But it doesn’t matter, the letter isn’t about love;
So just give it to him in person,
And let him know he’s wrong—I don’t love him.
But if he thinks that, have him come to me.
And I'll set him right: I'll show him the reasons—
I'll clearly explain why I can't love him.
And if he ends up reading it while you're listening,
Or happens to mention that the words were sweet,    30
Don't reveal my evil plan then.
Behind those appealing words, and how I intend
To use him when I have him under my control;
Because then you’ll mess up the plan [225] that’s in place,
And make him scared to give in when all I want is
Him to give in; because when I have him,
Only I will know how I plan to use him.
Go now! Why are you still here?—but come back later.

Page. Ay, madam.    39

Page. Yes, ma'am.    39

Isa. Why dost thou come again? I bade thee go.
If I say go, never return again.

Isa. Why are you here again? I told you to go away.
If I say go, don't return.

[Exit Page.

[Exit Page.

My blood, like to a troubled ocean,
Cuff’d with the winds, incertain where to rest,
Butts at the utmost shore[226] of every limb!
My husband’s not the man I would have had.
O my new thoughts to this brave sprightly lord
Was fix’d to [by?] that hid fire lovers feel!
Where was my mind before—that refined judgment
That represents rare objects to our passions?
Or did my lust beguile me of my sense,    50
Making me feast upon such dangerous cates,
For present want, that needs must breed a surfeit?
How was I shipwrack’d? Yet, Isabella, think;
Thy husband is a noble gentleman,
Young, wise, and rich; think what fate follows thee,
And naught but lust doth blind thy worthy love.
I will desist. O no, it may not be.
Even as a headstrong courser bears away
His rider, vainly striving him to stay;
Or as a sudden gale thrusts into sea    60
The haven-touching bark, now near the lea,
So wavering Cupid brings me back amain,[227]
And purple Love resumes his darts again:
Here of themselves, thy shafts come as if shot,
Better than I thy quiver knows ’em not.

My blood is like an endless ocean,
Tossed by the winds, unsure where to land,
Crashing against the distant shore[226] of every part of me!
My husband isn't the guy I would have picked.
Oh, my new feelings for this vibrant, attractive lord.
Were sparked by that secret passion lovers feel!
Where was my mind before—that harsh judgment?
What reveals unique experiences to our emotions?
Or did my desire fool me into losing my senses,    50
Getting me to indulge in such risky pleasures,
Is there a craving that leads to overindulgence?
How did I end up shipwrecked? But, Isabella, think about this;
Your husband is a noble man,
Young, smart, and rich; consider the fortune that comes with you,
Only desire blinds you to the love you truly deserve.
I will stop. Oh no, it can't be.
Just like a stubborn horse pulls away
His rider, stupidly trying to restrain him;
Or like a sudden gust of wind pushes a boat    60
Into the sea, near the shore,
So fickle Cupid pulls me back fast,[227]
And passionate Love takes up his arrows once more:
Here, your arrows come at me as if they were shot.
Better than I do, your quiver isn’t even aware of them.

Enter Count Massino[228] and the Page.

Enter Count Massino[228] and the Page.

Page. Madam, the count.

Page. Ma'am, the count.

Mass.[229] So fell the Trojan wanderer on the Greek,
And bore away his ravish’d prize to Troy.
For such a beauty, brighter than his Danae,[230]
Jove should (methinks) now come himself again.    70
Lovely Isabella, I confess me mortal—
Not worthy to serve thee in thought, I swear;
Yet shall not this same overflow of favour
Diminish my vow’d duty to your beauty.

Mass.[229] Thus, the Trojan traveler met the Greek,
And brought his stolen prize back to Troy.
For someone so beautiful, shining brighter than his Danae,[230]
It seems to me that Jove should come himself again.    70
Lovely Isabella, I confess I'm only human—
I swear I'm not even worthy to serve you in my thoughts;
Yet this wealth of favor
I won't reduce my dedication to your beauty.

Isa. Your love, my lord, I blushingly proclaim it,
Hath power to draw me through a wilderness,
Were ’t armed with furies, as with furious beasts.
Boy, bid our train be ready; we’ll to horse.

Isa. I'm hesitant to say it, my lord, but your love
has the ability to lead me through any wilderness,
even if it's filled with anger, like wild animals.
Hey, tell our crew to get ready; we’re heading out.

[Exit Page.

[Exit Page.

My lord, I should say something, but I blush;
Courting is not befitting to our sex.    80

My lord, I want to say something, but I'm feeling shy;
Flirting isn't suitable for our gender.    80

Mass. I’ll teach you how to woo. Say you have loved me long,
And tell me that a woman’s feeble tongue
Was never tuned unto a wooing-string;
Yet for my sake you will forget your sex,
And court my love with strain’d immodesty:
Then bid me make you happy with a kiss.

Mass. I’ll show you how to win someone over. Picture this: you’ve had feelings for me for a long time,
And tell me that a woman's soft voice
Was never meant for loving words of romance;
But for my sake, you'll forget that you're a man,
And chase my affection with excessive confidence:
Then ask me to make you happy with a kiss.

Isa. Sir, though women do not woo, yet for your sake
I am content to leave that civil custom,
And pray you kiss me.

Isa. Sir, even though it's not common for women to propose, I’m ready to set aside that tradition for you,
And I’m asking you to kiss me.

Mass. Now use some unexpected ambages[231]    90
To draw me further into Vulcan’s net.

Mass. Now use some surprising twists[231]    90
To draw me further into Vulcan’s trap.

Isa. You love not me so well as I love you.

Isa. You don’t love me as much as I love you.

Mass. Fair lady, but I do.

Fair lady, but I do.

Isa. Then show your love.

Then show your love.

Mass. Why, in this kiss I show ’t, and in my vowed service
This wooing shall suffice: ’tis easier far
To make the current of a silver brook
Convert his flowing backward to his spring
Than turn a woman wooer. There’s no cause
Can turn the settled course of Nature’s laws.

Mass. Well, in this kiss, I show it, and in my promised service
This pursuit will be sufficient: it's much easier.
To create the flow of a silver stream
Go back to its source
Than to change a woman's mind about being pursued. There’s no reason
That can change the established course of Nature's laws.

Isa. My lord, will you pursue the plot?    100

Isa. My lord, are you going to follow through with the plan? 100

Mass. The letter gives direction here for Pavy.
To horse, to horse! Thus on Eurydice,[232]
With looks regardiant [sic], did the Thracian gaze,
And lost his gift while he desired the sight:
But wiser I, led by more powerful charm,
I’d see the world win thee from out mine arm.

Mass. The letter gives Pavy instructions on what to do here.
To horse, to horse! That's how it was with Eurydice,[232]
With watchful eyes, the Thracian stared,
And lost his talent while yearning for a glance:
But I, being wiser and attracted by a stronger pull,
I would watch the world take you away from me.

[Exeunt.

Exeunt.

[225] Ed. 1631 “plots.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 “plots.”

[226] Old eds. “share.”

Old eds. “share.”

[227] Old eds. “againe.”

Old eds. "again."

[228] Old eds.Arsena.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Arsena.”

[229] The prefix to Massino’s speeches in old eds. is “Rog.

[229] The prefix to Massino’s speeches in old editions is “Rog.

[230] Old eds. “Dana.”

Old eds. “Dana.”

[231] Old. eds. “vmbages.” The word ambages (= roundabout statements) is not uncommon. Cf. Spanish Tragedy:—
“Tush, tush, my lord, let go these ambages,
And in plain terms acquaint me with your love.”
—Hazlitt’s Dodsley, v. 30.

[231] Old. eds. “vmbages.” The word ambages (= roundabout statements) is fairly common. Cf. Spanish Tragedy:—
"Come on, my lord, stop with these ambages,
"Just tell me how you really feel."
—Hazlitt’s Dodsley, v. 30.

[232] Old eds. “once Eridace” (and “Fridace”).

Old eds. “once Eridace” (and “Fridace”).

SCENE IV.

SCENE 4.

Venice.—Courtyard of Robert’s house.

Venice.—Robert's house courtyard.

Enter at several doors Claridiana and Guido.

Enter through several doors Claridiana and Guido.

Gui. Zounds! is the hurricano coming? Claridiana, what’s the matter?

Gui. Wow! Is the hurricane on its way? Claridiana, what's wrong?

[A trampling of horses heard.

A stampede of horses heard.

Cla. The Countess of Suevia has new taken horse.—
Fly, Phœbus, fly, the hour is six o’clock.!

Cla. The Countess of Suevia has just gotten on her horse.
Hurry, Phœbus, it's six o'clock!

Gui. Whither is she gone, signior?

Where has she gone, sir?

Cla. Even as Jove went to meet his Semele—
To the devil, I think.

Cla. Even as Jupiter headed to meet his Semele—
To hell, I guess.

Gui. You know not wherefore?

You don't know why?

Cla. To say sooth. I do not.—
So in immortal wise shall I arrive——

Cla. Honestly, I don't.
In an everlasting way, I will reach that point——

Gui. At the gallows. What, in a passion, signior?    10

Gui. At the gallows. What’s the matter, sir? 10

Cla. Zounds! do not hold me, sir.—
Beauteous Thais, I am all thine wholly.
The staff is now advancing for the rest,
And when I tilt, Rogero,[233] ’ware thy crest!

Cla. Wow! Don't stop me, man.—
Beautiful Thais, I am entirely yours.
The team is preparing for the rest.
And when I charge, Rogero,[233] watch your helmet!

[Exit Claridiana.

[Exit Claridiana.

Gui. What’s here?
The cap’ring god-head[234] tilting in the air?

What’s happening here?
Is the capping deity[234] leaning in the air?

Enter Roberto in his night-gown and cap, with
Servants; he kneels down.

Enter Roberto in his nightgown and cap, with
Servants; he kneels down.

Rob. The gods send her remorse,[235] a poor old age,
Eternal woe, and sickness’ lasting rage!

Rob. The gods give her regret,[235] a sad old age,
Never-ending sadness and the ongoing rage of sickness!

Gui. My lord, you may yet o’ertake ’em.

Gui. My lord, you might still catch up to them.

Rob. Furies supply that place, for I will not! No:    20
She can forsake me when pleasure’s in the full,
Fresh and untired;
What would she on the least barren coldness?
I warrant you she has already got
Her bravoes and her ruffians; the meanest whore
Will have one buckler, but your great ones more.
The shores of Sicil retain not such a monster,
Though to galley-slaves they daily prostitute.
To let the nuptial tapers give light to her new lust!
Who would have thought it? She that could no more
Forsake my company than can the day    31
Forsake the glorious presence of the sun!—
When I was absent then her gallèd eyes
Would have shed April showers, and outwept
The clouds in that same o’er-passionate mood,
When they drowned all the world, yet now forsakes me!
Women, your eyes shed glances like the sun:
Now shines your brightness, now your light is done.
On the sweetest flowers[236] you shine—’tis but by chance,
And on the basest weed you’ll waste a glance.    40
Your beams, once lost, can never more be found,
Unless we wait until your course run round,
And take you at fifth hand. Since I cannot
Enjoy the noble title of a man,
But after-ages, as our virtues are
Buried whilst we are living, will sound out
My infamy and her degenerate shame,
Yet in my life I’ll smother ’t, if I may,
And like a dead man to the world bequeath
These houses of vanity, mills, and lands.    50
Take what you will, I will not keep, among you, servants:
And welcome some religious monastery.
A true sworn beads-man I’ll hereafter be,
And wake the morning cock with holy prayers.

Rob. Furies can take that role, because I refuse to! No:    20
She can leave me when everything is fine,
Fresh and energized.
What would she do with a touch of coldness?
I bet she’s already got
Her tough guys and her thugs; even the lowest sex worker.
You’ll have one protector, but your top people need more.
The shores of Sicily don't have such a monster,
Even though they sell themselves every day to galley slaves.
To let the wedding candles ignite her new passion!
Who would have thought it? She who could no longer
Leave my company by the end of the day.    31
Leave the radiant presence of the sun!—
While I was gone, her furious gaze
Would have shed tears in April and cried.
More than the clouds in that same intense vibe,
When they flood the world, yet now she leaves me!
Women, your eyes shine with a glow like the sun:
Now your shine is bright, now your light has vanished.
You shine on the sweetest flowers[236]—it's purely accidental,
And you'll throw a glance at the lowest weeds.    40
Your rays, once lost, can never be found again.
Unless we wait for your cycle to finish,
And catch you later. Since I can't
Enjoy the esteemed title of a man,
But future generations, just like our virtues, are
Buried while we live will be uncovered.
My disgrace and her embarrassing fall,
But in my life, I’ll hide it, if I can,
And like a dead person, move on.
These houses of vanity, mills, and land.    50
Take what you want; I won’t keep any of it from you, my servants:
And I'll welcome a religious monastery.
From now on, I'll be a truly devoted man,
And wake the morning rooster with sacred prayers.

Ser. Good my lord—noble master—

Serv. My lord—noble master—

Rob. Dissuade me not, my will shall be my king;
I thank thee, wife; a fair change thou has given;
I leave thy lust to woo the love of Heaven!    58

Rob. Don’t try to change my mind; my will is my guide.
Thank you, my wife; you've made a great change.
I'm putting your desires aside to pursue the love of Heaven!    58

[Exit cum servis.

Exit with the servants.

Gui. This is conversion, is ’t not—as good as might have been? He turns[237] religious upon his wife’s turning courtesan. This is just like some of our gallant prodigals, when they have consum’d their patrimonies wrongfully, they turn Capuchins for devotion.

Gui. This is a transformation, isn’t it—as good as it could be? He becomes religious after his wife becomes a courtesan. This is just like some of our extravagant spendthrifts, who, after squandering their inheritance foolishly, turn to the Capuchins for a show of devotion.

[Exit.

Exit.

[233] Old eds. “Mizaldus aware.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Mizaldus aware.”

[234] Ed. 1613 “Cods-head.”

“Cods-head.” Ed. 1613

[235] So the editor of 1820.—Old eds. “no horse.”

[235] So the editor of 1820.—Old eds. “no horse.”

[236] Ed. 1631 “showres.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 “shows.”

[237] Ed. 1631 “returnes.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 "returns."

ACT III.

SCENE I.

SCENE I.

Venice.—Outside Lady Lentulus’ house.

Venice.—Outside Lady Lentulus’ place.

Claridiana and Rogero, being in a readiness, are received in at one another’s houses by their Maids.

Claridiana and Rogero, being prepared, are welcomed into each other's homes by their maids.

Then enter Mendoza, with a Page, to the Lady Lentulus’ window.

Then enter Mendoza, with a Page, to the Lady Lentulus’ window.

Men. Night, like a solemn mourner, frowns on earth,
Envying that day should force her doff her robes,
Or Phœbus chase away her melancholy.
Heaven’s eyes look faintly through her sable masque,
And silver Cynthia hides[238] her in her sphere,
Scorning to grace black Night’s solemnity.
Be unpropitious, Night, to villain thoughts,
But let thy diamonds shine on virtuous love.
This is the lower house of high-built heaven,    9
Where my chaste Phœbe sits inthroned ’mong thoughts
So purely good, brings her to heaven on earth.
Such power hath souls in contemplation!
Sing, boy (though night yet), like the morning’s lark—

Men. Night, like a grieving mourner, casts a frown over the earth,
Jealous that the day should make her remove her dark robes,
Or that the sun could drive away her sadness.
Heaven's eyes gaze softly through her dark mask,
And silver Cynthia conceals[238] in her realm,
Refusing to elevate the gravity of black Night.
Be unkind, Night, to wicked thoughts,
But let your stars shine on noble love.
This is the lower house of the elevated heavens,    9
Where my pure Phœbe sits on her throne surrounded by thoughts
So completely good, it gives her a taste of heaven on earth.
Such powerful souls have in deep reflection!
Sing, boy (even though it’s still night), like the lark in the morning—

[Music plays.

[Music is playing.

A soul that’s clear is light, though heaven be dark.

A clear soul is bright, even if heaven is dark.

The Lady Lentulus at her window.

The Lady Lentulus at her window.

Lady Len. Who speaks in music to us?

Lady Len. Who communicates with us through music?

Men. Sweet, ’tis I. Boy, leave me and to bed.

Men. Sweet, it’s me. Boy, let me go to bed.

[Exit Page.

Exit Page.

Lady Len. I thank you for your music; now, good-night.

Lady Len. Thanks for the music; now, good night.

Men. Leave not the world yet, Queen of Chastity;
Keep promise with thy love Endymion,
And let me meet thee there on Latmus’ top.    20
’Tis I, whose virtuous hopes are firmly fix’d
On the fruition of thy chaste vow’d love.

Men. Don't go just yet, Queen of Chastity;
Stay true to your promise to your love, Endymion,
Let's meet at the top of Latmus.    20
It’s me, whose hopeful dreams are firmly established.
On the fulfillment of your pure promised love.

Lady Len. My lord,
Your honour made me promise you ascent
Into my house, since my vow barr’d my doors,
By some wit’s engine made for theft and lust;
Yet for your honour, and my humble fame,
Check your blood’s passions, and return, dear lord.
Suspicion is a dog that still doth bite
Without a cause: this act gives food to envy;    30
Swoll’n big, it bursts, and poisons our clear flames.

Lady Len, my lord,
You asked me to let you into my home,
even though my promise keeps my doors shut,
due to a clever scheme created for theft and longing;
But for your honor and my good reputation,
Control your emotions and return, dear lord.
Suspicion is a dangerous beast that attacks.
without reason: this action fuels jealousy;    30
Growing large, it explodes and taints our pure emotions.

Men. Envy is stingless when she looks on thee.

Men. Envy is harmless when she sees you.

Lady Len. Envy is blind, my lord, and cannot see.

Lady Len. Envy is blind, my lord, and cannot see.

Men. If you break promise, fair, you break my heart.

Men. If you break a promise, fine, you break my heart.

Lady Len. Then come,—yet[239] stay! ascend,—yet let us part.
I fear,—yet know not what I fear.
Your love [i]s precious, yet mine honour’s dear.

Lady Len. Alright, let's go—oh, hold on! Let's stand up, but we should say our goodbyes first.
I'm scared, but I don't know what I'm scared of.
Your love means a lot, but my honor matters as well.

Men. If I do stain thy honour with foul lust,
May thunder strike me to show Jove is just!

Men. If I tarnish your honor with inappropriate desire,
May lightning strike me to prove that Jupiter is just!

Lady Len. Then come, my lord; on earth your vow is given.    40
This aid I’ll lend you.

Lady Len. So, come on, my lord; you've made your promise here on earth.    40
I’ll assist you with this.

[He throws up a ladder of cords, which she makes fast to some part of the window; he ascends, and at top falls.

He throws up a ladder of cords, which she secures to some part of the window; he climbs up, and at the top, he falls.

Men. Thus I mount my heaven:
Receive me, sweet!

Men. So I rise to my paradise:
Welcome me, babe!

Lady Len. O me, unhappy wretch!
How fares your honour? Speak, fate-cross’d lord!
If life retain his seat within you, speak!
Else like that Sestian dame, that saw her love
Cast by the frowning billows on the sands,
And lean death, swoll’n big with the Hellespont,
In bleak Leander’s body—like his love,
Come I to thee. One grave shall serve us both!

Oh me, miserable wretch!
How are you, my lord? Please, speak, fate-battered lord!
If you still have life in you, say something!
Otherwise, like that Sestian woman who saw her love
Thrown by the furious waves onto the beach,
And death, filled with the Hellespont,
In the poor body of Leander—just like his love,
I'm coming to you. One grave will hold us both!

Men. Stay, miracle of women! yet I breathe.    50
Though death be entered in this tower of flesh,
He is not conqueror; my heart stands out,
And yields to thee, scorning his tyranny!

Men. Wait, miracle of women! I'm still alive.    50
Even though death has taken hold of this body,
He hasn't won; my heart holds back,
And surrenders to you, challenging his control!

Lady Len. My doors are vow’d shut, and I cannot help you.
Your wounds are mortal; wounded is mine honour
If there the town-guard find you. Unhappy dame!
Relief is perjur’d,—my vow kept, shame!
What hellish destiny did twist my fate!

Lady Len. My doors are closed, and I can't assist you.
Your injuries are lethal; my honor is also hurt.
If the town guard catches you here. What a unfortunate woman!
Help is a betrayal—my vow stands, how shameful!
What a terrible fate has messed up my life!

Men. Rest seize thine eyelids; be not passionate;
Sweet, sleep secure; I’ll remove myself,    60
That viper Envy shall not spot thy fame:
I’ll take that poison with me, my soul’s rest,
For like a serpent I’ll creep on my breast.

Men. Close your eyes; don’t get too emotional;
Sweetheart, sleep well; I'll be right back.
To prevent the snake of Envy from ruining your reputation:
I’ll carry that poison with me for the peace of my soul,
Because like a snake, I’ll slide close to my heart.

Lady Len. Thou more than man! Love-wounded, joy and grief
Fight in my blood. Thy wounds and constancy
Are both so strong, none can have victory!

Lady Len. You are more than just a man! With love, joy, and sorrow.
Conflict in my blood. Your scars and devotion.
Both are so powerful that no one can win!

Men. Darken the world, earth’s queen; get thee to bed;
The earth is light while those two stars are spread:
Their splendour will betray me to men’s eyes.
Veil thy bright face; for if thou longer stay,    70
Phœbus will rise to thee and make night day.

Men. Shade the world, queen of the earth; get some rest;
The earth is bright while those two stars shine:
Their brilliance will draw people's attention to me.
Cover your bright face; because if you stay any longer,    70
Phœbus will rise for you and turn night into day.

Lady Len. To part and leave you hurt my soul doth fear.

Lady Len. Leaving you hurts my soul, and I’m afraid.

Men. To part from hence I cannot, you being there.

Men. I can't leave here when you're over there.

Lady Len. We’ll move together, then fate love controls;
And as we part, so bodies part from souls.

Lady Len. We'll move together, and then love will determine our destiny;
As we say goodbye, our bodies part from our souls.

Men. Mine is the earth, thine the refinèd fire;
I am mortal, thou divine; then soul mount higher.

Men. This land is mine, and the refined fire is yours;
I’m human, you’re divine; so let the soul elevate.

Lady Len. Why then, take comfort, sweet; I’ll see you[240] to-morrow.

Lady Len. So, cheer up, darling; I'll see you[240] tomorrow.

Men. My wounds are nothing; thy loss breeds my sorrow.

Men. My wounds mean nothing; your loss causes my grief.

[Exit Lady Lentulus.

[Exit Lady Lentulus.

See now ’tis dark!    80
Support your master, legs, a little further;
Faint not, bold heart, with anguish of my wound;
Try further yet. Can blood weigh down my soul?
Desire is vain without ability.

Look, it’s dark now!
Hold me up a little longer, legs;
Don't give up, strong heart, even with the hurt from my wound;
Just try a little harder. Can blood drag down my spirit?
Desire is useless without the ability to fulfill it.

[He staggers on, and then falls down.

He trips forward, then falls.

Thus falls a monarch, if fate push at him.

Thus falls a ruler, if fate pushes against him.

Enter a Captain and the Watch.

Enter a Captain and the Crew.

Cap. Come on, my hearts; we are the city’s security. I’ll give you your charge, and then, like courtiers, every man spy out. Let no man in my company be afraid to speak to a cloak lined with velvet, nor tremble at the sound of a gingling spur.    90

Cap. Come on, everyone; we are the city’s protection. I’ll give you your orders, and then, like loyal subjects, every man should keep watch. Let no one in my crew be scared to talk to someone in a velvet-lined cloak, nor flinch at the sound of jingling spurs. 90

Watch. May I never be counted a cock of the game if I fear spurs, but be gelded like a capon for the preserving of my voice.

Watch. May I never be seen as a coward if I'm afraid of challenges, but instead be made less courageous like a capon to keep my voice intact.

Cap. I’ll have none of my band refrain to search a venereal house, though his wife’s sister be a lodger there; nor take two shillings of the bawd to save the gentlemen’s credits that are aloft, and so, like voluntary panders, leave them, to the shame of all halberdiers.

Cap. I won’t let any of my crew hold back from searching a brothel, even if his wife’s sister is staying there; nor will I accept two shillings from the madam to protect the reputations of the men above, and thus, like willing pimps, let them suffer the shame of all soldiers.

2. Nay, the wenches, we’ll tickle them, that’s flat.    99

2. No way, we’ll make them laugh, no doubt about it. 99

Cap. If you meet a shevoiliero, that’s in the gross phrase a knight that swaggers in the street, and, being taken, has no money in his purse to pay for his fees, it shall be a part of your duty to entreat me to let him go.

Cap. If you encounter a shevoiliero, which basically means a knight who struts around in the street and, when caught, has no money to pay for his fees, it will be part of your responsibility to ask me to let him go.

1. O marvellous! is there such shevoiliers?

1. Oh wow! Are there really such knights?

2. Some two hundred, that’s the least, that are reveal’d.

2. At least two hundred have been revealed.

[Mendoza groans.

[Mendoza groans.

Cap. What groan is that? Bring a light. Who lies there?
It is the Lord Mendoza, kinsman to our duke.
Speak, good my lord: relate your dire mischance;
Life, like a fearful servant, flies his master;    110
Art must atone them, or th’ whole man is lost.
Convey him to a surgeon’s, then return;

Cap. What was that groan? Bring a light. Who's down there?
It's Lord Mendoza, a relative of our duke.
Speak, my lord: tell us what happened to you;
Life, like a frightened servant, flees from its master;    110
Art must seek redemption, or the entire person is condemned.
Take him to a surgeon's and then come back.

[Part of the Watch bear away Mendoza.

[Part of the Watch bear away Mendoza.

No place shall be unsearch’d until we find
The truth of this mischance. Make haste again.
Whose house is this stands open? In and search
What guests that house contains, and bring them forth.

No place will be overlooked until we find __A_TAG_PLACEHOLDER_0__.
the truth about this mistake. Hurry up again.
Whose house is this that's wide open? Go inside and look around.
for whoever is inside and get them out.

[Exit the Watch to search the houses of Rogero and Claridiana.

[Exit the Watch to search the houses of Rogero and Claridiana.

This noble man’s misfortune stirs my quiet,
And fills my soul with fearful fantasies;
But I’ll unwind this labyrinth of doubt,
Else industry shall lose part of itself’s labour.    120

The misfortune of this noble man bothers my peace,
And fills my mind with frightening thoughts;
But I’ll navigate through this maze of uncertainty,
Otherwise, effort will lose some of its worth.    120

[Re-enter[241] the Watch with Claridiana and Rogero taken in one another’s houses in their shirts and night-gowns. They see one another.

[Re-enter[241] the Watch with Claridiana and Rogero in each other's homes, wearing their shirts and nightgowns. They see each other.

Who have we there? Signiors, cannot you tell us
How our prince’s kinsman came wounded to the death
Nigh to your houses?

Who do we have there? Guys, can’t you tell us?
How our prince's relative ended up seriously injured
Close to your homes?

Rog. Heyday! cross-ruff[242] at midnight! Is’t Christmas,
You go a-gaming to your neighbour’s house?

Rog. Wow! Let’s play some cards[242] at midnight! Is it Christmas?
Are you going to your neighbor's house to hang out?

Cla. Dost make a mummer of me, ox-head?

Cla. Are you making a fool of me, you idiot?

Cap. Make answer, gentlemen, it doth concern you.

Cap. Respond, gentlemen, this is important to you.

Rog. Ox-head will bear an action; I’ll ha’ the law; I’ll not be yoked. Bear witness, gentlemen, he calls me ox-head.    130

Rog. Ox-head is going to take legal action; I’ll get the law involved; I won’t be controlled. You all heard it, gentlemen, he called me ox-head. 130

Cap. Do you hear, sir?

Cap. Do you hear me, sir?

Cla. Very well, very well; take law and hang thyself; I care not. Had she no other but that good face to dote upon? I’d rather she had dealt with a dangerous Frenchman than with such a pagan.

Cla. Alright, alright; go ahead and follow the law and hang yourself; I don’t care. Did she have nothing else to admire besides that pretty face? I’d rather she had been involved with a dangerous Frenchman than someone like this pagan.

Cap. Are you mad? Answer my demand.

Cap. Are you crazy? Respond to my request.

Rog. I am as good a Christian as thyself, Though my wife have now new christen’d me.

Rog. I’m as good a Christian as you are, Even though my wife has just baptized me again.

Cap. Are you deaf, you make no answer?    139

Cap. Are you deaf? You’re not responding. 139

Cla. Would I had had the circumcising of thee, Jew; I’d ha’ cut short your cuckold-maker; I would i’faith, I would i’faith!

Cla. If only I had been the one to circumcise you, Jew; I would have cut short your cuckold-maker; I truly would, I truly would!

Cap. Away with them to prison! they’ll answer better there.

Cap. Take them to prison! They’ll do better there.

Rog. Not too fast, gentlemen; what’s our crime?

Rog. Easy there, guys; what did we do wrong?

Cap. Murder of the duke’s kinsman, Signior Mendoza.

Cap. Murder of the duke’s relative, Signior Mendoza.

Ambo. Nothing else? We did it, we did it, we did it!

Ambo. Nothing else? We did it, we did it, we did it!

Cap. Take heed, gentlemen, what you confess.

Cap. Pay attention, gentlemen, to what you admit.

Cla. I’ll confess anything, since I am made a fool by a knave. I’ll be hang’d like an innocent, that’s flat.    151

Cla. I’ll admit anything, since I’ve been tricked by a jerk. I’ll end up as innocent as they come, that's for sure. 151

Rog. I’ll not see my shame. Hemp instead of a quacksalver. You shall put out mine eyes, and my head shall be bought to make ink-horns of.

Rog. I won’t face my shame. Hemp instead of a scammer. You’ll blind me, and my head will be used to make ink-horns.

Cap. You do confess the murder?

You do admit to the murder?

Cla. Sir, ’tis true,
Done by a faithless Christian and a Jew.

Cla. Dude, it’s true,
Carried out by a deceitful Christian and a Jew.

Cap. To prison with them; we will hear no further;
The tongue betrays the heart of guilty murther.

Cap. Take them to jail; we're not hearing any more of this.
The words expose the heart of the guilty killer.

[Exeunt omnes.

[Everyone exits.

[238] Old eds. “hyes.”

__A_TAG_PLACEHOLDER_0__ Old eds. "hyes."

[239] Ed. 1631 “yea.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 "yes."

[240] Ed. 1631 “see ’ou.”—Ed. 1631 “see, on.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 “see ’ou.”—Ed. 1631 “see, on.”

[241] This stage direction is omitted in ed. 1631.

[241] This stage direction is not included in the 1631 edition.

[242] Ruff was the name of an old game at cards.

[242] Ruff was the name of an old card game.

SCENE II.

SCENE II.

Pavia.

Pavia.

Enter Count Massino,[243] Isabella, Anna, and Servants.

Enter Count Massino, Isabella, Anna, and Servants.

Mass. Welcome to Pavy, sweet; and may this kiss
Chase melancholy from thy company;
Speak, my soul’s joy, how fare you after travel?

Mass. Welcome to Pavy, my dear; and may this kiss
Drive away sadness from around you;
Tell me, my love, how are you after your trip?

Isa. Like one that scapeth danger on the seas,
Yet trembles with cold fears, being safe on land,
With bare imagination of what’s past.

Isa. Like someone who avoids danger at sea,
Yet shivers with cold fears, feeling secure on land,
Just the vivid memory of what happened.

Mass. Fear keep with cowards, air[244]-stars cannot move.

Mass. Fear sticks with cowards; the stars above can’t be moved.

Isa. Fear in this kind, my lord, doth sweeten love.

Isa. Fear in this way, my lord, makes love even sweeter.

Mass. To think fear joy, dear, I cannot conjecture.

Mass. I can’t imagine how fear can feel like joy, my dear.

Isa. Fear’s sire to fervency,    10
Which makes love’s sweet prove nectar;
Trembling desire, fear, hope, and doubtful leisure,
Distil from love the quintessence of pleasure.

Fear fuels passion,    10
Transforming love's sweetness into something heavenly;
Shaking with desire, fear, hope, and anxious anticipation,
Extract the purest essence of joy from love.

Mass. Madam, I yield to you; fear keeps with love,
My oratory is too weak against you:
You have the ground of knowledge, wise experience,
Which makes your argument invincible.

Mass. Ma'am, I surrender to you; fear comes with love,
My words aren't strong enough against you:
You have a solid base of knowledge and valuable experience,
That makes your argument unbeatable.

Isa. You are Time’s scholar, and can flatter weakness.

Isa. You are Time's expert, capable of flattering those who are vulnerable.

Mass. Custom allows it, and we plainly see
Princes and women maintain flattery.    20

Mass. It's considered acceptable by tradition, and we clearly observe
that leaders and women use compliments.    20

Isa. Anna, go see my jewels and my trunks
Be aptly placèd in their several rooms.

Isa. Anna, can you please check on my jewelry and my bags?
Make sure they're settled in their own rooms.

[Exit Anna.

[Leave Anna.

Enter Gniaca Count of Gaza, with Attendants.

Enter Gniaca Count of Gaza, with attendants.

My lord,
Know you this gallant? Tis a complete gentleman.

My lord,
Do you know this guy? He's a real gentleman.

Mass. I do; ’tis Count Gniaca, my endeared friend.

Mass. I do; it’s Count Gniaca, my dear friend.

Gni. Welcome to Pavy; welcome, fairest lady.
Your sight, dear friend, is life’s restorative;
This day’s the period of long-wish’d content,
More welcome to me than day to the world,
Night to the wearied, or gold to a miser:    30
Such joy feels friendship in society.

Gni. Welcome to Pavy; welcome, gorgeous lady.
Seeing you, my dear friend, revives me;
This day signifies the conclusion of a long-anticipated joy,
More welcome to me than day is to the world,
Night is for the tired, just like gold is for a miser:    30
Friendship brings such joy in being together.

Isa. [Aside.] A rare-shaped man: compare them both together.

Isa. [Aside.] A uniquely shaped guy: put them side by side.

Mass. Our loves are friendly twins, both at a birth;
The joy you taste, that joy do I conceive.
This day’s the jubilee of my desire.

Mass. Our loves are like close friends who were born on the same day;
Your joy is my joy.
Today is the celebration of what I've been yearning for.

Isa. [Aside.] He’s fairer than he was when first I saw him.
This little time makes him more excellent.

Isa. [Aside.] He seems to look better now than he did when I first saw him.
This brief period has made him even more exceptional.

Gui. Relate some news. Hark you; what lady’s that?
Be open-breasted, so will I to thee.

Gui. Got some news to share. Hey, who’s that woman?
Be truthful, and I’ll be truthful with you.

[They whisper.

They talk quietly.

Isa. [Aside.] Error did blind him that paints love blind;    40
For my love plainly judges difference:
Love is clear-sighted, and with eagle’s eyes,
Undazzled, looks upon bright sun-beam’d beauty.
Nature did rob herself when she made him,
Blushing to see her work excel herself;
’Tis[245] shape makes mankind femelacy.
Forgive me, Count Massino,[246] ’tis my fate
To love thy friend, and quit thy love with hate.
I must enjoy him; let hope thy passions smother;
Faith cannot cool blood; I’ll clip him were ’t my brother.
Such is the heat of my sincere affection,    51
Hell nor earth can keep love in subjection!

Isa. [Aside.] Mistakes deceive the one who claims that love is blind;    40
For my love clearly recognizes differences:
Love is sharp-sighted and, with keen vision,
Unbothered, looks at radiant beauty.
Nature shortchanged herself when she created him,
Feeling embarrassed that her creation is way better than she is;
It's __A_TAG_PLACEHOLDER_0__ appearance that defines femininity.
I'm sorry, Count Massino,[246] it's my destiny.
To love your friend and return that love with hate.
I have to hold him close; let hope calm your desires;
Faith can't dampen passion; I'd choose him even if he were my brother.
The strength of my true love is such,    51
Neither hell nor earth can contain love!

Gni. I crave your honour’s pardon; my ignorance
Of what you were may gain a courteous pardon.

Gni. I seek your honor's forgiveness; my ignorance
Talking about who you were might get a polite excuse.

Isa. There needs no pardon where there’s no offence.
[Aside.] His tongue strikes music ravishing my sense:
I must be sudden, else desire confounds me.

Isa. You don't need forgiveness if nobody has done anything wrong.
[Aside.] His voice is like music that captures my attention:
I need to move fast, or my desire will take over.

Mass. What sport affords this climate for delight?

Mass. What sport provides this atmosphere for enjoyment?

Gni. We’ll hawk and hunt to-day; as for to-morrow,
Variety shall feed variety.    60

Gni. We'll be selling and searching today; as for tomorrow,
Different experiences will lead to even more varied experiences.    60

Isa. Dissimulation women’s armour is,
Aid love, belief, and female constancy.—
O I am sick, my lord! Kind Massino,[247] help me!

Deception is a woman's armor,
Supporting love, trust, and loyalty.
Oh, I feel sick, my lord! Kind Massino,[247] please help me!

Mass. Forfend it, Heaven! Madam, sit; how fare you?
My life’s best comfort, speak—O speak, sweet saint!

Mass. Heaven forbid! Ma'am, please take a seat; how are you?
You are my biggest source of comfort, please—oh please, dear angel!

Isa. Fetch art to keep life; run, my love, I faint;
My vital breath runs coldly through my veins;
I see lean death, with eyes imaginary,
Stand fearfully before me; here my end,
A wife unconstant, yet thy loving friend!    70

Isa. Help me save my life; please hurry, my love, I'm feeling faint;
My breath is turning cold in my veins;
I see a faint death, with unseen eyes,
Standing fearfully in front of me; this is my end,
An unfaithful wife, yet still your loving friend!    70

Mass. As swift as thought fly I to wish thee aid.

Mass. I quickly rush in to offer you help.

[Exit.

[Leave.

Isa. Thus innocence by craft is soon betray’d.—
My Lord Gniaca, ’tis your art must heal me;
I am love-sick for your love; love, love, for loving!
I blush for speaking truth; fair sir, believe me,
Beneath the moon nought but your frown can grieve me.

Isa. So, innocence can be easily deceived by intelligence.
My Lord Gniaca, your skill is what can heal me;
I'm infatuated with your love; love, love, just for the sake of loving!
I feel embarrassed for speaking the truth; dear sir, trust me,
Under the moon, only your scowl can bother me.

Gni. Lady, by Heaven, methinks this fit is strange.

Gni. Lady, honestly, I think this situation is weird.

Isa. Count not my love light for this sudden change:
By Cupid’s bow I swear, and will avow,
I never knew true perfect love till now.    80

Isa. Don’t underestimate my love just because of this sudden change:
I swear by Cupid's bow, and I'll say it openly,
I've never felt real, perfect love until now.    80

Gni. Wrong not yourself, me, and your dearest friend;
Your love is violent, and soon will end.
Love is not love unless love doth persever;
That love is perfect love that loves for ever.

Gni. Don't hurt yourself, me, or your best friend;
Your love is passionate, but it won't last forever.
Love isn't true love unless it lasts;
True love is the type that lasts forever.

Isa. Such love is mine; believe it, well-shaped youth,
Though women use to lie, yet I speak truth.
Give sentence for my life, or speedy death.
Can you affect me?

Isa. I know what that kind of love feels like; believe me, good-looking young man,
Even though women often bend the truth, I’m being truthful.
Decide my fate—either let me live or let me die quickly.
Do you care about me?

Gni. I should belie my thoughts to give denial;
But then to friendship I must turn disloyal.    90
I will not wrong my friend; let that suffice.

Gni. I shouldn't suppress my feelings just to deny them;
But that would mean betraying my friendship.    90
I won't betray my friend; that's all that matters to me.

Isa. I’ll be a miracle; for love a woman dies.

Isa. I’ll be a miracle; for love a woman dies.

[Offers to stab herself.

Offers to self-harm.

Gni. Hold, madam; these are soul-killing passions.
I’d rather wrong my friend than you yourself.

Gni. Hold on, ma'am; these emotions can really hurt your spirit.
I would rather betray my friend than hurt you.

Isa. Love me, or else, by Jove, death’s but delay’d.
My vow is fix’d in heaven; fear shall not move me;
My life is death with tortures ’less you love me.

Isa. Love me, or I swear, death is just delayed.
My promise is made in heaven; fear won't change my mind;
My life is unbearable and feels like hell unless you love me.

Gni. Give me some respite, and I will resolve you.

Gni. Give me a break, and I’ll figure it out for you.

Isa. My heart denies it;
My blood is violent; now or else never.    100
Love me! and like love’s queen I’ll fall before thee,
Enticing dalliance from thee with my smiles,
And steal thy heart with my delicious kisses.
I’ll study art in love, that in a rapture[248]
Thy soul shall taste pleasure’s excelling nature.
Love me!
Both art and nature in large recompense
Shall be profuse in ravishing thy sense.

My heart refuses it;
My blood is boiling; it's now or never.    100
Love me! And like the queen of love, I’ll fall for you.
Drawing you in with my smiles,
And winning your heart with my sweet kisses.
I’ll become a pro at love, so in pure bliss[248]
Your soul will feel pure joy.
Love me!
Both talent and character will be highly rewarded.
And fill your senses with joy.

Gni. You have prevail’d; I am yours from all the world;
Thy wit and beauty have entranced my soul;    110
I long for dalliance, my blood burns like fire.
Hell’s pain on earth is to delay desire!

Gni. You've won; I belong to you more than anyone else;
Your intelligence and beauty have won my heart;    110
I long for closeness; my passion feels intense.
The greatest pain on earth is to suppress your desires!

Isa. I kiss thee for that breath. This day you hunt;
In midst of all your sports leave you Massino;[249]
Return to me, whose life rests in thy sight,
Where pleasure shall make nectar our delight.

Isa. I kiss you for that breath. You're going hunting today;
While playing all your games, take a break from Massino;[249]
Come back to me; my life relies on you,
Where enjoyment will transform our happiness into sweetness.

Gni. I condescend to what thy will implores me;
He that but now neglected thee adores thee.
But see, here comes my friend; fear makes him tremble.

Gni. I'm ready to do what you ask;
The person who just ignored you now looks up to you.
But look, here comes my friend; he’s trembling with fear.

Enter Massino,[250] Anna, and Doctor.

Enter Massino,[250] Anna, and Doctor.

Isa. Women are witless that cannot dissemble:    120
Now I am sick again.—Where’s my Lord Massino?[250]
His love and my health’s vanish’d both together.

Isa. Women are foolish if they can't control their emotions:    120
I'm sick again. Where's my Lord Massino?[250]
His love and my health have both vanished.

Mass. Wrong not thy friend, dear friend, in thy extremes;
Here’s a profound Hippocrates, my dear,
To administer to thee the spirit of health.

Mass. Don’t betray your friend, dear friend, in your worst moments;
Here's some wisdom from Hippocrates, my friend,
To promote your well-being.

Isa. Your sight to me, my lord, excels all physic;
I am better far, my love, than when you left me;
Your friend was comfortable to me at the last.
’Twas but a fit, my lord, and now ’tis past.
Are all things ready, sir?    130

Isa. Having you here, my lord, is more healing than any medicine;
I feel much better, my love, than I did when you left;
Your friend really helped me feel better in the end.
It was just a moment, my lord, and now it’s done.
Is everything ready, sir?

Anna. Yes, madam, the house is fit.

Anna. Yes, ma'am, the house is ready.

Gni. Desire in women is the life of wit.

Gni. Desire in women is what brings wit to life.

[Exeunt omnes.

[Everyone exits.]

[243] Old eds.Guido.” The prefix to Massino’s speeches throughout the scene is “Gui.

[243] Old eds.Guido.” The prefix to Massino’s speeches throughout the scene is “Gui.

[244] Quy. “our stars”?—The sense would be “Our fortunes cannot change.”

[244] Quy. “our stars”?—It means “Our fates can’t change.”

[245] Here, as frequently throughout this play, the text is hopelessly corrupt.—Quy. “His shape makes mankind females’ jealousy”? On p. 137 we have the word female as a substantive—“Than trust a female mourning o’er her love.”

[245] Here, as often throughout this play, the text is completely messed up.—Quy. “His shape makes women jealous”? On p. 137 we see the word "female" used as a noun—“Than trust a female mourning over her love.”

[246] Old eds. “Forgiue me, Rogero.”

__A_TAG_PLACEHOLDER_0__ Old eds. "Forgive me, Rogero."

[247] Old eds. “Rogero.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Rogero.”

[248] Old eds. “rupture.”

__A_TAG_PLACEHOLDER_0__ Old editions “rupture.”

[249] Old eds. “Rogero.”

Old eds. "Rogero."

[250] Old eds. “Rogero.”

Old eds. “Rogero.”

SCENE III.

SCENE III.

Venice.—A Street.

Venice.—A Street.

Enter Abigail and Thais at several doors.

Enter Abigail and Thais through multiple doors.

Abi. O partner, I am with child of laughter, and none but you can be my midwife. Was there ever such a game at noddy?[251]

Abi. O partner, I’m filled with joy, and no one but you can help me through this. Has there ever been such a playful game? [251]

Tha. Our husbands think they are foremen of the jury; they hold the heretic point of predestination, and sure they are born to be hanged!

Tha. Our husbands believe they are in charge of everything; they insist on their misguided views about fate, thinking they are destined for punishment!

Abi. They are like to prove men of judgment; but not for killing of him that’s yet alive and well recovered.

Abi. They seem to want to show they are wise, but not by taking down someone who is still alive and has fully recovered.

Tha. As soon as my man saw the watch come up,
All his spirit was down.    10

Tha. As soon as my guy spotted the watch being offered,
He was completely drained.

Abi. But though they have made us good sport in speech,
They did hinder us of good sport in action.
O wench! imagination is strong in pleasure!

Abi. But even though we enjoyed talking,
they stopped us from having any real fun.
Oh girl! Imagination is powerful when it comes to pleasure!

Tha. That’s true; for the opinion my good man had of enjoying you made him do wonders.

Tha. That's true; the way my good man felt about being with you made him do amazing things.

Abi. Why should a weak man, that is so soon satisfied, desire variety?

Abi. Why should a weak man, who gets satisfied so quickly, want variety?

Tha. Their answer is, to feed on pheasants continually would breed a loathing.

Tha. Their response is that constantly eating pheasants would lead to disgust.

Abi. Then if we seek for strange flesh that have stomachs at will, ’tis pardonable.    21

Abi. Then if we look for unusual beings that can eat whenever they want, it’s understandable. 21

Tha. Ay, if men had any feeling of it; but they judge us by themselves.

Tha. Yeah, if men had any real understanding of it; but they judge us by their own standards.

Abi. Well, we will bring them to the gallows, and then, like kind virgins,[252] beg their lives; and after live at our pleasures, and this bridle shall still rein them.

Abi. Well, we'll take them to the gallows, and then, like pure-hearted virgins,[252] plead for their lives; and afterward, live as we want, with this control still holding them in check.

Tha. Faith, if we were disposed, we might sin[253] as safe as if we had the broad seal to warrant it; but that night’s work will stick by me this forty weeks. Come, shall we go visit the discontented Lady Lentulus, whom the Lord Mendoza has confess’d to his chirurgion he would have robb’d? I thought great men would but have robb’d the poor, yet he the rich.    33

Tha. Honestly, if we were inclined to do so, we could sin just as easily as if we had official permission for it; but what happened that night will weigh on me for forty weeks. So, shall we go visit the unhappy Lady Lentulus, who the Lord Mendoza admitted to his surgeon he wanted to rob? I thought important people only robbed the poor, but he’s going after the rich. 33

Abi. He thought that the richer purchase, though with the worse conscience; but we’ll to comfort her, and then go hear our husband’s lamentations. They say mine has compiled an ungodly volume of satires against women, and calls his book The Snarl.

Abi. He believed that the more costly choice came with a guiltier conscience; but let’s go comfort her, and then we can hear our husband’s complaints. They say mine has put together an inappropriate collection of satirical writings about women, and he titles his book The Snarl.

Tha. But he’s in hope his book will save him.

Tha. But he hopes his book will rescue him.

Abi. God defend that it should, or any that snarl in that fashion!    41

Abi. God forbid that it should, or anyone who acts like that! 41

Tha. Well, wench, if I could be metamorphosed into thy shape, I should have my husband pliant to me in his life, and soon rid of him; for being weary with his continual motion, he’d die of a consumption.

Tha. Well, girl, if I could be transformed into your form, I'd have my husband wrapped around my finger in no time and then get rid of him; because being worn out from his constant activity, he'd eventually waste away.

Abi. Make much of him, for all our wanton prize;
Follow the proverb, “Merry be and wise.”

Abi. Value him highly, because he’s our precious treasure;
Follow the saying, "Be happy and clever."

[Exeunt.

Exeunt.

[251] There was a game at cards called noddy.

[251] There was a card game called noddy.

[252] It was popularly supposed that a virgin might save a man from the gallows by offering to marry him. In Arden of Feversham, when the serving-man Michael promises to murder his master, Alice Arden says—“But Michael see you do it cunningly:” to which he replies:—
“Why, say I should be took, I’ll ne’er confess
That you know anything; and Susan, being a maid,
May beg me from the gallows of the shrief.”

[252] People commonly believed that a virgin could save a man from the gallows by offering to marry him. In Arden of Feversham, when the servant Michael promises to kill his master, Alice Arden says, “But Michael, make sure you do it cleverly.” He replies:—
"Well, even if I get caught, I’ll never confess."
that you knew anything; and Susan, being a maid,
“might be able to plead for me from the gallows to the sheriff.”

Alice bids him “trust not to that;” but he is convinced that all will be right:—
“You cannot tell me; I have seen it, I.”

Alice tells him, “Don’t count on that,” but he believes everything will be fine:—
"You can't change my mind; I've seen it, really."

Many similar passages might be adduced to prove that this extraordinary belief prevailed. I suspect that we must go back to the ancients for an explanation. Plutarch in his life of Numa tells us that a vestal virgin, accidentally meeting a criminal on his way to execution, was entitled by law to give him life and liberty.—The curious Manx custom in regard to rape may be noticed in this connection. The injured woman was presented with a ring, a rope, and a knife. If the offender was a bachelor, the woman might marry him with the ring; if he was a married man, it was left to her discretion whether she should hang him with the rope or castrate him with the knife (an awkward dilemma—for the married man).

Many similar examples could be cited to show that this unusual belief was widespread. I think we need to look back to ancient times for an explanation. Plutarch, in his biography of Numa, tells us that a vestal virgin, by chance encountering a criminal on his way to execution, was legally allowed to grant him life and freedom. The interesting Manx tradition related to rape can be mentioned here. The woman who was harmed was given a ring, a rope, and a knife. If the offender was single, she could marry him with the ring; if he was married, it was up to her whether to hang him with the rope or castrate him with the knife (a tricky situation for the married man).

[253] Old eds. “seeme.”—The correction was made by the editor of 1820.

[253] Old eds. “seeme.”—The correction was made by the editor in 1820.

SCENE IV.

SCENE IV.

Isabella’s house at Pavia.

Isabella’s place in Pavia.

Enter Isabella, Anna, and Servants.

Enter Isabella, Anna, and Servants.

Isa. Time, that devour’st all mortality,
Run swiftly these few hours,
And bring Gniaca on thy aged shoulders,
That I may clip the rarest model of creation.
Do this, gentle Time,
And I will curl thine agèd silver lock,
And dally with thee in delicious pleasure:
Medea-like I will renew thy youth,
But if thy frozen steps delay my love,
I’ll poison thee, with murder curse thy paths,    10
And make thee know a time of infamy.—
Anna, give watch, and bring me certain notice
When Count Gniaca doth approach my house.

Isa. Time, which devours everything human,
Rush through these few hours,
And carry Gniaca on your weary shoulders,
So I can have the most unique example of creation.
Do this, kind Time,
And I’ll style your grey hair,
And enjoy wonderful moments with you:
Like Medea, I’ll bring back your youth,
But if your frozen steps hold up my love,
I’ll poison you and ruin your life with death,    10
And let you go through a time of shame.—
Anna, keep an eye out and let me know.
When Count Gniaca is on his way to my house.

Anna. Madam, I go.—
I am kept for pleasure, though I never taste it;
For ’tis the usher’s office still to cover
His lady’s private meetings with her lover.

Anna. Ma'am, I'm out.
I'm here for fun, but I never really enjoy it.
Because it's always the usher's responsibility to conceal
His girlfriend's secret meetings with her partner.

[Exit.

[Leave.

Isa. Desire, thou quenchless flame that burn’st our souls,
Cease to torment me;
The dew of pleasure shall put out thy fire,    20
And quite consume thee with satiety.
Lust shall be cool’d with lust, wherein I’ll prove
The life of love is only saved by love.

Isa. Desire, you endless fire that burns within us,
Stop bothering me;
The dew of enjoyment will put out your flame,    20
And totally fulfill you to the point of being consumed.
Desire will diminish with desire, where I'll demonstrate
Love can only be sustained through love.

Enter Anna.

Enter Anna.

Anna. Madam, he’s coming.

Anna. Ma'am, he's on his way.

Isa. Thou blessed Mercury,
Prepare a banquet fit to please the gods;
Let sphere-like[254] music breathe delicious tones
Into our mortal ears; perfume the house
With odoriferous scents, sweeter than myrrh,
Or all the spices in Panchaia.
His sight and touching we will recreate,    30
That his five senses shall be fivefold happy.
His breath like roses casts out sweet perfume;
Time now with pleasure shall itself consume.

Hey, blessed Mercury,
Prepare a feast that would impress the gods;
Let music with heavenly vibes
Fill our ears with joy; perfume the space.
With scents sweeter than myrrh,
Or all the spices from Panchaia.
We'll satisfy his sense of sight and touch,    30
So his five senses will be five times more joyful.
His breath, like roses, gives off sweet smells;
And now, enjoyment will make time pass quickly.

Enter Gniaca in his hunting weeds.

Enter Gniaca in his hunting gear.

How like Adonis in his hunting weeds,
Looks this same goddess-tempter!
And art thou come? This kiss entrance thy[255] soul!
Gods, I do not envy you; for, know this,
Way’s[256] here on earth complete, excels your bliss:
I’ll not change this night’s pleasure with you all.

How much like Adonis in his hunting outfit,
Does this same goddess tempt you, or what?
And have you arrived? This kiss will captivate your[255] soul!
Gods, I don’t envy you; just know this,
The experiences here on earth are greater than your happiness:
I won't trade the enjoyment of tonight for anything with any of you.

Gni. Thou creature made by love, composed of pleasure,    40
That makest true use of thy creation,
In thee both wit and beauty’s resident;
Delightful pleasure, unpeer’d excellence.
This is the fate fix’d fast unto thy birth,
That thou alone shouldst be man’s heaven on earth.
If I alone may but enjoy thy love,
I’ll not change earthly joy to be heaven’s Jove:
For though that women-haters now are common,
They all shall know earth’s joy consists in woman.

Gni. You, a creature formed by love, made of happiness,    40
Who truly represents your creation,
Inside you, there is both intelligence and beauty;
Pure joy, unmatched quality.
This is the fate that is strongly linked to your birth,
You alone should be humanity's paradise on earth.
If I can only experience your love,
I wouldn't exchange earthly happiness for a heavenly reward:
Even though it's common to encounter women-haters today,
They will all realize that earthly happiness comes from women.

Isa. My love was dotage till I lovèd thee,    50
For thy soul truly tastes our petulance;
Condition’s[257] lover, Cupid’s Intelligencer,
That makes man[258] understand what pleasure is:
These are fit tributes unto thy knowledge;
For women’s beauty o’er men bear that rule,
Our power commands the rich, the wise, the fool.
Though scorn grows big in man, in growth and stature,
Yet women are the rarest works of[259] nature.

Isa. My feelings were just a crush until I loved you,    50
Because your soul really gets our moodiness;
A fan of circumstances, Cupid's messenger,
Who helps a man[257] understand what pleasure truly means:
These are meaningful acknowledgments of your wisdom;
For women's beauty has a strong influence on men,
Our influence reaches the wealthy, the smart, and the naive.
Although pride may increase in men, both in size and presence,
Women are some of the most unique creations of[258] nature.

Gni. I do confess the truth, and must admire
That women can command rare man’s desire.    60

Gni. I acknowledge the truth and must say
That women can inspire the desire of a truly rare man.    60

Isa. Cease admiration, sit to Cupid’s feast,
The preparation to Paphian dalliance;
Harmonious music, breathe thy silver airs
To stir up appetite to Venus’ banquet,
That breath of pleasure that entrances souls,
Making that instant happiness a heaven,
In the true taste of love’s deliciousness.

Isa. Stop admiring, and come join Cupid's celebration,
The setup for Paphian love;
Melodic music, fill the air with your lovely sounds.
To ignite the urge for Venus' feast, __A_TAG_PLACEHOLDER_0__
That lovely breath that enchants hearts,
Transforming that moment of happiness into pure joy,
In the genuine essence of love's sweetness.

Gni. Thy words are able to stir cold desire
Into his flesh that lies entomb’d in ice,
Having lost the feeling use of warmth in blood;    70
Then how much more in me, whose youthful veins,
Like a proud river, overflow their bounds?
Pleasure’s ambrosia, or love’s nourisher,
I long for privacy; come, let us in;
’Tis custom, and not reason, makes love sin.

Gni. Your words can awaken dormant desire.
In his body that is buried in ice,
Having lost the warm sensation of blood;    70
Then how much more in me, whose youthful veins,
Like a proud river, does it overflow its banks?
Pleasure’s sweet nectar, or love’s nourishment,
I want some privacy; come on, let’s go inside;
It's tradition, not logic, that makes love a sin.

Isa. I’ll lead the way to Venus’ paradise,
Where thou shalt taste that fruit that made man wise.

Isa. I’ll guide you to Venus’ paradise,
Where you can taste the fruit that gave humans wisdom.

[Exit Isabella.

[Exit Isabella.

Gni. Sing notes of pleasure to elate our blood:
Why should heaven frown on joys that do us good?
I come, Isabella, keeper of love’s treasure,    80
To force thy blood to lust, and ravish pleasure.

Gni. Shout out happy tunes to lift our spirits:
Why would heaven be bothered by joys that are good for us?
I'm here, Isabella, protector of love’s treasure,    80
To spark your desire and enjoy pleasure.

[Exit.

[Leave.

After some short song, enter Isabella and Gniaca again, she hanging about his neck lasciviously.

After a brief song, enter Isabella and Gniaca again, she draped around his neck flirtatiously.

Gni. Still I am thy captive, yet thy thoughts are free;
To be love’s bondman is true liberty.
I have swum in seas of pleasure without ground,
Ventrous desire past depth itself hath drown’d.
Such skill has beauty’s art in a true lover,
That dead desire to life it can recover.
Thus beauty our desire can soon advance,
Then straight again kill it with dalliance.
Divinest women, your enchanting breaths    90
Give lovers many lives and many deaths!

Gni. Even so, I’m still your captive, but your thoughts are free;
Being in love's service is true freedom.
I have swum in seas of pleasure without any end,
Fearless desire has submerged me in its depths.
Such skill has the allure of beauty for a true lover,
It can revive lost desire.
Beauty can quickly ignite our desire,
Then just as quickly put it out with some teasing.
Divine women, your enchanting breaths
Give lovers multiple lives and many deaths!

Isa. May thy desire to me for ever last,
Not die but surfeit on my delicates;
And as I tie this jewel about thy neck,
So may I tie thy constant love to mine,
Never to seek weaking variety,
That greedy curse of man and woman’s hell,
Where nought but shame and loath’d diseases dwell.

Isa. I hope your wish for me lasts forever,
Don't fade away, but indulge in my pleasures;
As I put this necklace on you,
So may I connect your steady love to mine,
Never seek the weak option,
That greedy curse of humanity and the hell of both men and women,
Where only shame and dreaded diseases flourish.

Gni. You counsel well, dear; learn it then;
For change is given more to you than men.    100

Gni. You give great advice, my dear; so follow it;
Because change happens to you more often than it does to others.    100

Isa. My faith to thee, like rocks, shall never move,
The sun shall change his course ere I my love.

Isa. My faith in you, like a rock, will never waver,
The sun will change its course before my love does.

Enter Anna.

Enter Anna.

Ann. Madam, the Count Massino[260] knocks.

Ann. Ma'am, Count Massino[260] is knocking.

Isa. Dear love, into my chamber, till I send
My hate from sight.

Isa. My dear, come into my room while I hide my hatred from sight.

Gni. Lust makes me wrong my friend.

Gni. Desire leads me to betray my friend.

[Exit Gniaca.

[Exit Gniaca.

Isa. Anna, stand here and entertain Lord Massino;[260]
I from my window straight will give him answer.
The serpent’s wit to woman rest in me;
By that man fell, then why not he by me?    109
Feign’d sighs, and tears dropp’d from a woman’s eye,
Blinds man of reason, strikes his knowledge dumb.
Wit arms a woman; Count Massino,[260] come.

Isa. Anna, come over here and keep Lord Massino company;[260]
I’ll reply to him directly from my window.
The snake's cleverness is within me;
If that guy can fall, then why not him next to me?    109
Fake sighs and tears from a woman's eyes,
Cloud a man's judgment, leaving him at a loss for words.
Wit empowers a woman; Count Massino, [260] come.

[Exit Isabella.

[Leave Isabella.

Ann. My office still is under: yet in time
Ushers prove masters, degrees makes us climb.

Ann. My office is still open, but eventually
Ushers become leaders, and degrees help us succeed.

[Massino[261] knocks.

[Massino[261] knocks.

Who knocks? Is’t you, my noble lord?

Who’s there? Is it you, my noble lord?

Enter Massino[261] in his hunting weeds.

Enter Massino[261] in his hunting gear.

Mass. Came my friend hither—Count Gniaca?

Mass. Did my friend come here—Count Gniaca?

Ann. No, my good lord.

No, my lord.

Mass. Where’s my Isabella?

Where’s my Isabella?

Ann. In her chamber.

In her room.

Mass. Good: I’ll visit her.    120

Mass. Good: I'll see her.    120

Ann. The chamber’s lock’d, my lord: she will be private.

Ann. The room's locked, my lord: she will be alone.

Mass. Lock’d against me—my saucy malapert?

Mass. Locked out—my cheeky smart aleck?

Ann. Be patient, good my lord; she’ll give you answer.

Ann. Hang in there, my lord; she'll get back to you.

Mass. Isabella! life of love, speak, ’tis I that calls.

Mass. Isabella! The love of my life, speak, it’s me calling you.

[Isabella at her window.[262]

Isabella at her window. __A_TAG_PLACEHOLDER_0__

Isa. I must desire your lordship pardon me.

Isa. I must ask your lordship to forgive me.

Mass. Lordship? what’s this? Isabella, art thou blind?

Mass. My lord? What’s going on? Isabella, are you blind?

Isa. My lord,
My lust was blind, but now my soul’s clear-sighted,
And sees the spots that did corrupt my flesh:
Those tokens sent from hell, brought by desire,    130
The messenger of everlasting death!

My lord,
I was blinded by desire, but now my soul sees clearly,
And acknowledges the imperfections that damaged my body:
Those signs sent from hell, fueled by desire,    130
The herald of eternal death!

Ann. My lady’s in her pulpit, now she’ll preach.

Ann. My lady’s in her place, now she’ll start her sermon.

Mass. Is not thy lady mad? In verity I always
Took her for a puritan, and now she shows it.

Mass. Is your woman not insane? Honestly, I always
She thought she was a puritan, and now it's showing.

Isa. Mock not repentance. Profanation
Brings mortals laughing to damnation.
Believe it, lord, Isabella’s ill-pass’d life,
Like gold refined, shall make a perfect wife.
I stand on firm ground now, before on ice;
We know not virtue till we taste of vice.    140

Don’t mock repentance. It's disrespectful.
Leads people to joke their way to damnation.
Trust me, my lord, Isabella's difficult past, __A_TAG_PLACEHOLDER_0__,
Like refined gold, it will create the ideal wife.
I’m on stable ground now; I used to be walking on thin ice;
We can’t really understand virtue until we experience vice.    140

Mass. Do you hear dissimulation, woman sinner?

Mass. Do you hear deception, woman sinner?

Isa. Leave my house, good my lord, and for my part,
I look for a most wish’d reconciliation
Betwixt myself and my most wrongèd husband.
Tempt not contrition then, religious lord.

Isa. Please leave my house, my lord, and as for me,
I’m hoping for a much-needed reconciliation.
Between me and my deeply wronged husband.
Don't make me feel guilty, you self-righteous lord.

Mass. Indeed I was one of your family once;
But do not I know these are but brain-tricks:
And where the devil has the fee-simple,
He’ll keep possession; and will you halt
Before me that yourself has made a cripple?    150

Mass. It’s true, I used to be part of your family;
But I know these are just mind tricks:
And where the devil has complete control,
He’ll hold on to what belongs to him; and will you stop
Have you turned yourself into a cripple right in front of me?    150

Isa. Nay, then, you wrong me; and, disdainèd lord,
I paid then for thy pleasures vendible—
Whose mercenary flesh I bought with coin.
I will divulge thy baseness, ’less with speed
Thou leave my house and my society.

Isa. No, you’re mistaken; and, dismissive lord,
I paid for your pleasures that you could buy—
I bought the services of a mercenary with money.
I will reveal your dishonor unless you quickly
Leave my house and my business.

Mass. Already turn’d apostate! but now all pure,
Now damn’d your faith is, and [your] loves endure
Like dew upon the grass; when pleasure’s sun
Shines on your virtues, all your virtue’s done.
I’ll leave thy house and thee; go, get thee in,    160
Thou gaudy child of pride, and nurse of sin.

Mass. You've already turned your back on the truth! But now you're all cleaned up,
Now your faith is doomed, and your loves endure.
Like dew on the grass; when the sun of pleasure
Your virtues shine, but all your goodness disappears.
I’ll leave your house and you; go ahead, get inside,    160
You showy child of pride, and promoter of wrongdoing.

Isa. Rail not on me, my lord; for if you do,
My hot desire of vengeance shall strike wonder;
Revenge in women falls like dreadful thunder!

Isa. Don’t lecture me, my lord; if you do,
My strong desire for revenge will amaze;
When women go for revenge, it strikes like scary thunder!

[Exit.

[Leave.

Ann. Your lordship will command me no further service?

Ann. Will you require any more help from me, my lord?

Mass. I thank thee for thy watchful service past;
Thy usher-like attendance on the stairs,
Being true signs of thy humility.

Mass. Thank you for your attentive service in the past;
Your guiding presence on the stairs,
Is a true sign of your humility.

Ann. I hope I did discharge my place with care.    169

Ann. I hope I fulfilled my role with care. 169

Mass. Ushers should have much wit, but little hair;[263]
Thou hast of both sufficient: prithee leave me,
If thou hast an honest lady, commend me to her,
But she is none.

Mass. Ushers should be sharp but not overly hairy; [263]
You have plenty of both: please go away.
If you know a nice lady, send her my regards.
But she isn't real.

[Exit Anna.

[Exit Anna.

Farewell, thou private strumpet, worse than common!
Man were on earth an angel but for woman.
That sevenfold branch of hell from them doth grow;
Pride, lust, and murder, they raise from below,
With all their fellow-sins. Women are made
Of blood, without souls; when their beauties fade,
And their lust’s past, avarice or bawdry    180
Makes them still loved; then they buy venery,
Bribing damnation, and hire brothel-slaves:
Shame’s their executors, infamy their graves.
Your painting will wipe off, which art did hide,
And show your ugly shape in spite of pride.
Farewell, Isabella, poor in soul and fame,
I leave thee rich in nothing but in shame.
Then, soulless women, know, whose faiths are hollow,
Your lust being quench’d a bloody act must follow.

Goodbye, you private escort, worse than the average!
If it weren't for women, men would be angels on earth.
From them arise all the levels of hell;
Pride, lust, and murder come from within.
Along with all their other sins, women are created.
Of blood, without souls; when their beauty disappears,
And their desire is lost, whether due to greed or promiscuity __A_TAG_PLACEHOLDER_0__.
Keeps them feeling loved; then they pay for sex,
Bribing their way to destruction and hiring sex workers:
Shame kills them, and disgrace is their burial site.
Your makeup will wash off, which you tried to hide with art,
And show your true self despite your pride.
Goodbye, Isabella, lacking in spirit and reputation,
I leave you with nothing but shame.
So, empty women, understand that your hollow beliefs,
Once your desire is satisfied, a violent action is required.

[Exit.

[Leave.

[254] Ed. 1631 “speare-like.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 "like a spear."

[255] Ed. 1631 “enters into thy.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 “enters into you.”

[256] Quy. “Joy’s?”

__A_TAG_PLACEHOLDER_0__ Quy. “Joy's?”

[257] The text is corrupt. Some copies of ed. 1613 have “conditious.”

[257] The text is corrupted. Some copies of ed. 1613 have “conditious.”

[258] Ed. 1631 “men.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 “men.”

[259] Ed. 1631 and some copies of ed. 1613 “in.”

[259] Ed. 1631 and some copies of ed. 1613 “in.”

[260] Old eds. “Rogero.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Rogero.”

[261] Old eds. “Guido.”—The prefix to his speeches throughout the scene is “Gui.

[261] Old eds. “Guido.”—The prefix to his speeches throughout the scene is “Gui.

[262] Evidently the window of an inner chamber.

[262] Clearly the window of a private room.

[263] An allusion to the proverb “More hair than wit.”

[263] A reference to the saying “More hair than brains.”

ACT IV.

SCENE I.

SCENE I.

Venice.—The Senate-house.

Venice.—The Senate building.

Enter the Duke Amago, the Captain, and the rest of the Watch, with the Senators.

Enter the Duke Amago, the Captain, and the rest of the Watch, with the Senators.

Duke. Justice, that makes princes like the gods,
Draws us unto the senate,
That with unpartial balance we may poise
The crimes and innocence of all offenders.
Our presence can chase bribery from laws;
He best can judge that hears himself the cause.

Duke. Justice, which makes rulers appear as if they are divine,
Leads us to the Senate,
So that we can evaluate fairly and justly
The crimes and innocence of all offenders.
Our presence can push bribery away from the laws;
The person who listens to the case understands it the best.

1st Sen. True, mighty duke, it best becomes our places,
To have our light from you the sun of virtue.
Subject authority, for gain, love, or fear,
Oft quits the guilty, and condemns the clear.    10

1st Sen. You're right, powerful duke; it really suits us,
To seek our guidance from you, the source of goodness.
When those in power are influenced by money, affection, or fear,
It frequently allows the guilty to escape punishment while condemning the innocent.    10

Duke. The land and people’s mine; the crimes being known,
I must redress; my subjects’ wrong’s mine own.
Call for the two suspected for the murder
Of Mendoza, our endeared kinsman,
These voluntary murderers that confess
The murder of him that is yet alive.
We’ll sport with serious justice for a while;
In show we’ll frown on them that make us smile.

Duke. The land and its people belong to me; with the crimes acknowledged,
I need to fix things; my people's mistakes are mine too.
Bring in the two suspects for the murder.
Of Mendoza, our cherished relative,
These murderers who confess
The murder of a man who is still living.
We’ll engage in some serious justice for a while;
On the outside, we’ll frown at those who make us smile.

2d Sen. Bring forth the prisoners, we may hear their answers.

2d Sen. Bring in the prisoners, so we can hear their responses.

Enter (brought in with Officers) Claridiana and Rogero.[264]

Enter (escorted by Officers) Claridiana and Rogero.[264]

Duke. Stand forth, you vipers, [you] that have suck’d blood,    20
And lopp’d a branch sprung from a royal tree!
What can you answer to escape tortures?

Duke. Step forward, you traitors, you who have spilled blood,    20
And cut off a branch that grew from a royal tree!
What can you say to escape punishment?

Rog. We have confessed the fact,[265] my lord, to God and man,
Our ghostly father, and that worthy captain:
We beg not life, but favourable death.

Rog. We have acknowledged this truth,[265] my lord, before God and others,
Our spiritual leader and that esteemed captain:
We don't ask for life, but for a gentle death.

Duke. On what ground sprung your hate to him we loved?

Duke. What made you hate him when we cared for him?

Cla. Upon that curse laid on Venetians, jealousy. We thought he, being a courtier, would have made us magnificoes of the right stamp, and have play’d at primero in the presence, with gold of the city brought from our Indies.    31

Cla. Because of that curse on the Venetians: jealousy. We believed that, since he was a courtier, he would have turned us into true dignitaries and played primero in front of us, using the city's gold brought from our Indies. 31

Rog. Nay, more, my lord, we feared that your kinsman, for a mess of sonnets, would have given the plot of us and our wives to some needy poet, and for sport and profit brought us in some Venetian comedy upon the stage.

Rog. No, my lord, we were worried that your relative, for a few sonnets, would have spilled the beans about us and our wives to some desperate poet, and for fun and profit, put us in a Venetian comedy on stage.

Duke. Our justice dwells with mercy; be not desperate.

Duke. Our justice is filled with mercy; don't lose hope.

1st Sen. His highness fain would save your lives if you would see it.

1st Sen. He really wants to save your lives if you're willing to acknowledge it.

Rog. All the law in Venice shall not save me; I will not be saved.

Rog. All the laws in Venice can’t save me; I won’t be saved.

Cla. Fear not, I have a trick to bring us to hanging in spite of the law.    43

Cla. Don't worry, I have a plan to get us hanged regardless of the law. 43

Rog. Why, now I see thou lovest me; thou hast confirm’d
Thy friendship for ever to me by these words.
Why, I should never hear lanthorn and candle[266] call’d for
But I should think it was for me and my wife.
I’ll hang for that, forget not thy trick;
Upon ’em with thy trick; I long for sentence.

Rog. Well, now I can see that you love me; you've confirmed it.
Your friendship means everything to me, and I want to express that with these words.
Whenever I hear someone asking for a lantern and candle[266],
I’ll assume it’s for me and my wife.
I’d be up for that; don’t forget your trick;
Go ahead with your trick; I’m ready for my sentence.

2d Sen. Will you appeal for mercy to the duke?    50

2d Sen. Will you ask the duke for mercy? 50

Cla. Kill not thy justice, duke, to save our lives;
We have deserved death.

Cla. Don’t give up your sense of justice, duke, just to save our lives;
We deserve to live.

Rog. Make not us precedents for after-wrongs;
I will receive punishment for my sins:
It shall be a means to lift me towards heaven.

Rog. Don’t use us as examples for future mistakes;
I will accept the consequences for my actions:
It will be a way to lift me up to heaven.

Cla. Let’s have our desert; we crave no favour.

Cla. Let’s enjoy our dessert; we don’t want any special treatment.

Duke. Take them asunder; grave justice makes us mirth;
That man is soulless that ne’er smiles[267] on earth.
Signor Rogero,[268] relate the weapon you kill’d him with,
and the manner.    60

Duke. Break them down; true justice gives us happiness;
That person is heartless who never smiles[267] while living on this earth.
Mr. Rogero,[268] describe the weapon you used to kill him.
and how it went down.    60

Rog. My lord, your lustful kinsman—I can title him no better—came sneaking to my house like a promoter to spy flesh[269] in the Lent. Now I, having a Venetian spirit, watch’d my time, and with my rapier run him through, knowing all pains are but trifles to the horn of a citizen.

Rog. My lord, your lustful relative—I can’t describe him any other way—crept into my house like a sleazy promoter looking to lust during Lent. So, with a sharp mind, I waited for my moment and stabbed him with my rapier, knowing that all troubles are just minor inconveniences to the pride of a city dweller.

Duke. Take him aside. Signior Claridiana, what weapon had you for this bloody act? What dart used death?

Duke. Take him aside. Mr. Claridiana, what weapon did you use for this violent act? What means caused the death?

Cla. My lord, I brain’d him with a [c]leaver my neighbour lent me, and he stood by and cried, “Strike home, old boy.”    71

Cla. My lord, I knocked him out with a cleaver my neighbor lent me, and he just stood there, shouting, “Go for it, old boy.” 71

Duke. With several instruments. Bring them face to face.
With what kill’d you our nephew?

Duke. With various instruments. Bring them together.
What caused our nephew's death?

Rog. With a rapier, liege.

With a rapier, my lord.

Cla. ’Tis a lie;
I kill’d him with a [c]leaver, and thou stood’st by.

That's a lie;
I killed him with a cleaver, and you were right there.

Rog. Dost think to save me and hang thyself? No, I scorn it; is this the trick thou said’st thou had’st? I kill’d him, duke.
He only gave consent: ’twas I that did it.    80

Rog. Do you think you can save me by hanging yourself? No, I refuse to accept that; is this the plan you said you had? I killed him, duke.
He just approved it: I was the one who did it.    80

Cla. Thou hast always been cross to me, and wilt be to my death. Have I taken all this pains to bring thee to hanging, and dost thou slip now?

Cla. You’ve always been hostile towards me, and you will be until I die. Did I go through all this effort to bring you to your demise, and now you’re slipping away?

Rog. We shall never agree in a tale till we come to the gallows, then we shall jump.

Rog. We'll never see eye to eye on a story until we reach the gallows, then we’ll both jump.

Cla. I’ll show you a cross-point, if you cross me thus, when thou shalt not see it.

Cla. I'll show you a turning point if you keep crossing me like this, when you won't see it coming.

Rog. I’ll make a wry mouth at that, or it shall cost me a fall. ’Tis thy pride to be hang’d alone, because thou scorn’st my company; but it shall be known I am as good a man as thyself, and in these actions will keep company with thy betters, Jew.    92

Rog. I’ll smirk at that, or it’ll bring me trouble. It’s your pride to be hanged alone because you look down on my company; but it’ll be known that I’m just as good a person as you are, and in these matters, I’ll associate with those who are better than you, Jew. 92

Cla. Monster!

Monster!

Rog. Dog-killer!

Dog killer!

Cla. Fencer!

Fencer!

[They bustle.

They hurry.

Duke. Part them, part ’em!

Duke. Split them, split ’em!

Rog. Hang us, and quarter us; we shall ne’er be parted till then.

Rog. Hang us and cut us into pieces; we won’t ever be separated until then.

Duke. You do confess the murder done by both?

Duke. Do you admit to the murder committed by both of you?

Cla. [Aside] But that I would not have the slave laugh at me,
And count me a coward, I have a good mind to live.
But I am resolute: ’tis but a turn.—
I do confess.

Cla. [Aside] But I don’t want the servant to make fun of me,
And they think I’m a coward, so I’m really thinking about staying alive.
But I'm resolute: it's just a change.
I admit it.

Rog. So do I.    103
Pronounce our doom, we are prepared to die.

Same here.    103
Say what our fate is; we're ready to die.

1st Sen. We sentence you to hang till you be dead;
Since you were men eminent in place and worth,
We give a Christian burial to you both.

1st Sen. We sentence you to hang until you die;
Since you are prominent individuals of importance and worth,
We give you both a Christian burial.

Cla. Not in one grave together, we beseech you, we shall ne’er agree.

Cla. Not in a single grave together, we plead with you, we will never agree.

Rog. He scorns my company till the day of judgment; I’ll not hang with him.    111

Rog. He despises my company until the end of time; I won’t associate with him. 111

Duke. You hang together, that shall make you friends;
An everlasting hatred death soon ends.
To prison with them till the death;
Kings’ words, like fate, must never change their breath.

Duke. Stay close, and you’ll become friends;
A lasting hatred dies with death.
Keep them locked up until they pass away;
The words of kings, like destiny, must always be upheld.

Rog. You malice-monger, I’ll be hang’d afore thee,
And ’t be but to vex thee.

Rog. You're such a troublemaker; I'd rather be hung than let you win.
And it’s just to irritate you.

Cla. I’ll do you as good a turn, or the hangman and [I] shall fall out.

Cla. I’ll do you a solid, or the hangman and I will clash.

[Exeunt ambo, guarded.

[Both exit, guarded.

Duke. Now to our kinsman, shame to royal blood;
Bring him before us.    121

Duke. Now to our family member, a shame to royal lineage;
Bring him to us.    121

Enter Mendoza in his nightgown and cap, guarded, with the Captain.

Enter Mendoza in his nightgown and cap, accompanied by the Captain.

Theft in a prince is sacrilege to honour;
’Tis virtue’s scandal, death of royalty.
I blush to see my shame. Nephew, sit down.
Justice, that smiles on those, on him must frown!
Speak freely, captain; where found you him wounded?

Theft by a prince is a shame to honor;
It's a disgrace to morality, a strike against nobility.
I'm embarrassed to see this. Nephew, have a seat.
Justice that favors some must look down on him!
Speak up, captain; where did you find him hurt?

Capt. Between the widow’s house and these cross neighbours;
Besides, an artificial ladder made of ropes
Was fasten’d to her window, which he confess’d
He brought to rob her of jewels and coin.    130
My knowledge yields no further circumstance.

Capt. Between the widow's house and these intrusive neighbors;
Also, a fake ladder made of ropes.
He admitted he was tied to her window.
He came to steal her jewels and money.    130
I don't have any additional information.

Duke. Thou know’st too much; would I were past all knowledge,
I might forget my grief springs from my shame!
Thou monster of my blood, answer in brief
To these assertions made against thy life.
Is thy soul guilty of so base a fact?

Duke. You know too much; I wish I could forget everything.
so I could forget that my pain comes from my shame!
You creature of my blood, respond quickly.
to these accusations about your life.
Is your soul guilty of such a vile act?

Men. I do confess I did intend to rob her;
In the attempt I fell and hurt myself.
Law’s thunder is but death; I dread it not,
So my Lentulus’ honour be preserved    140
From black suspicion of a lustful night.

Men. I confess I intended to steal from her;
While trying, I fell and injured myself.
The law's punishment is simply death; I'm not scared of it.
As long as my Lentulus's honor is maintained    140
Free from the dark doubts of a sinful night.

Duke. Thy head’s thy forfeit for thy heart’s offence;
Thy blood’s prerogative may claim that favour.
Thy person then to death doom’d by just laws;
Thy death is infamous, but worse the cause.

Duke. Your life is in danger because of a mistake made by your heart;
Your blood might require that mercy.
You are sentenced to death according to the law;
Your death will be infamous, but even worse is the reason behind it.

[Exeunt.

[Exit.

[264] Old eds. “Mizaldus.”

__A_TAG_PLACEHOLDER_0__ Old editions “Mizaldus.”

[265] Ed. 1631 “act.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 “act.”

[266] “Lanthorn and candle-light”—the cry of the bellman. See Middleton, i. 70.

[266] “Lantern and candlelight”—the shout of the bellman. See Middleton, i. 70.

[267] So the editor of 1820.—Old eds. “sinnes.”

__A_TAG_PLACEHOLDER_0__ So the editor of 1820.—Old eds. “sins.”

[268] Old eds. “Mizaldus.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Mizaldus.”

[269] Rigid rules were enacted from time to time forbidding the consumption of flesh in Lent: see Overall’s Remembrancia. It may be seen from Middleton’s Chaste Maid that promoters (i.e., informers) were busily engaged in preventing any infringement of the regulations.

[269] Strict rules were occasionally put in place that prohibited eating meat during Lent: see Overall’s Remembrancia. It can be observed from Middleton’s Chaste Maid that informants were actively involved in ensuring that the regulations were followed.

SCENE II.

SCENE II.

Pavia.Isabella’s house.

Pavia.Isabella’s home.

Enter Isabella alone, Gniaca following her.

Enter Isabella alone, Gniaca following her.

Isa. O Heavens, that I was born to be hate’s slave,
The food of rumour that devours my fame!
I am call’d Insatiate Countess, lust’s paramour,
A glorious devil, and the noble whore!
I am sick, vex’d, and tormented. O revenge!

Isa. Oh my God, I can’t believe I was meant to be a slave to hate,
The rumors that ruin my reputation!
I’m known as the Insatiable Countess, the lover of desire,
A stunning bad boy, and a top-tier escort!
I'm feeling sick, upset, and tormented. Oh, revenge!

Gni. On whom would my Isabella be revenged?

Gni. Who would my Isabella take revenge on?

Isa. Upon a viper, that does eat[270] mine honour;
I will not name him till I be revenged.
See, here’s the libels are divulg’d against me—
An everlasting scandal to my name—    10
And thus the villain writes in my disgrace:—

Isa. About a snake that damages[270] my reputation;
I won't mention his name until I get my revenge.
Look, here are the accusations made against me—
A permanent shame on my name—    10
And this is how the villain writes to embarrass me:—

[She reads.

She’s reading.

Who loves Isabella the Insatiate,
Needs Atlas’ back for to content her lust,
That wand’ring strumpet, and chaste wedlock’s hate,
That renders truth deceit for loyal trust;
That sacrilegious thief to Hymen’s rites,
Making her lust her god, heaven her delights!
Swell not, proud heart, I’ll quench thy grief in blood;
Desire in woman cannot be withstood.

Who loves Isabella the Insatiable,
Needs Atlas's strength to fulfill her desires,
That seductive wanderer, and the foe of marriage,
Who twists the truth into lies out of loyalty;
That disrespectful thief of marriage vows,
Making her desires her god and heaven her pleasures!
Don’t get too proud, my heart, I’ll wash away your sorrow with blood;
A woman's desire is unstoppable.

Gni. I’ll be thy champion, sweet, ’gainst all the world;    20
Name but the villain that defames thee thus.

Gni. I’ll be your champion, darling, against everyone;    20
Just name the jerk who badmouths you.

Isa. Dare thy hand execute whom my tongue condemns,
Then art thou truly valiant, mine for ever;
But if thou faint’st, hate must our true lover sever.

Isa. If your hand does what my words oppose,
Then you are truly brave, mine forever;
But if you hesitate, hatred will drive a wedge between our true love.

Gni. By my dead father’s soul, my mother’s virtues,
And by my knighthood and gentility,
I’ll be revenged
On all the authors of your obloquy!
Name him.

Gni. I promise on my late father's soul and my mother's kindness,
And regarding my status as a knight and my nobility,
I will get revenge.
To everyone accountable for your shame!
Tell me who it is.

Isa. Massino.[271]    30

Isa. Massino.[271]    30

Gni. Ha!

Gni. Haha!

Isa. What! does his name affright thee, coward lord!
Be mad, Isabella! curse on thy revenge!
This lord was knighted for his father’s worth,
Not for his own.
Farewell, thou perjured man! I’ll leave you all;
You all conspire to work mine honour’s fall.

Isa. What! Does his name frighten you, you cowardly lord!
Let loose, Isabella! Dam your vengeance!
This lord was knighted because of his father's legacy,
Not because of anything he did on his own.
Goodbye, you dishonest man! I'm going now;
You all are planning to ruin my reputation.

Gni. Stay, my Isabella; were he my father’s son,
Composed of me, he dies!
Delight still keep with thee. Go in.

Gni. Hold on, my Isabella; if he were my father's son,
made from me, he would die!
May happiness always be with you. Please go inside.

Isa. Thou art just;    40
Revenge to me is sweeter now than lust.

You’re right;    40
Revenge feels more satisfying to me now than wanting something.

[Exit Isabella.

[Leave Isabella.

Enter Massino;[272] they see one another and draw and make a pass; then enter Anna.

Enter Massino;[272] they see each other, connect, and make a move; then enter Anna.

Ann. What mean you, nobles? Will you kill each other?

Ann. What do you mean, nobles? Are you going to kill each other?

Ambo. Hold!

Stop!

Mass. Thou shame to friendship, what intends thy hate?

Mass. You disgrace of friendship, what are you planning with your hate?

Gni. Love arms my hand, makes my soul valiant!
Isabella’s wrongs now sit upon my sword,
To fall more heavy to thy coward’s head
Than thunderbolts upon Jove’s rifted oaks.
Deny thy scandal, or defend thy life.

Gni. Love gives me strength and courage!
Isabella's injustices now rely on my sword,
Ready to hit harder on your cowardly head
Than lightning strikes on Jupiter’s fallen oaks.
Deny your shame, or fight for your survival.

Mass. What?—hath thy faith and reason left thee both,    50
That thou art only flesh without a soul?
Hast thou no feeling of thyself and me?
Blind rage, that will not let thee see thyself!

Mass. What? Have you lost your faith and reason?    50
Are you just a body without a soul?
Are you not aware of yourself and me?
Blind rage, that prevents you from recognizing yourself!

Gni. I come not to dispute but execute:
And thus comes death!

Gni. I'm here not to dispute but to get my job done:
And so, death comes!

[Another pass.

Another try.

Mass. And thus I break thy dart.
Here’s at thy whore’s face!

Mass. So, I’m breaking your dart.
Here’s to your whore’s face!

Gni. ’Tis miss’d. Here’s at thy heart!
Stay, let us breathe.

Gni. It's lost. Cheers to your heart!
Hold on, let’s take a moment to breathe.

Mass. Let reason govern rage yet, let us leave;
Although most wrong be mine, I can forgive.
In this attempt thy shame will ever live.    60

Mass. Let's keep our anger in check for now; let's go.
Even if I’m mostly to blame, I can forgive.
In this struggle, your shame will always be present.    60

Gni. Thou hast wrong’d the Phœnix of all women rarest—
She that’s most wise, most loving, chaste, and fairest.

Gni. You have betrayed the most extraordinary woman, the Phoenix of them all—
She who is the wisest, most loving, pure, and beautiful.

Mass. Thou dotest upon a devil, not a woman,
That has bewitch’d thee with her sorcery,
And drown’d thy soul in lethy faculties.
Her quenchless[273] lust has [quite] benumbed thy knowledge;
Thy intellectual powers oblivion smothers,
That thou art nothing but forgetfulness.

Mass. You’re in love with a devil, not a woman,
Who has captivated you with her magic,
And drowned your soul in meaningless desires.
Her endless[273] desire has completely dulled your mind;
Your intelligence is hidden in obscurity,
So that you become nothing but forgetfulness.

Gni. What’s this to my Isabella? My sin’s mine own.
Her faults were none, until thou madest ’em known.    70

Gni. What does this have to do with my Isabella? My mistakes are my own.
Her flaws only became noticeable after you highlighted them.    70

Mass. Leave her, and leave thy shame where first thou found’st it;
Else live a bondslave to diseasèd lust,
Devour’d in her gulf-like appetite,
And infamy shall write thy epitaph;
Thy memory leave nothing but thy crimes—
A scandal to thy name in future times.

Mass. Walk away from her, and leave your shame where you discovered it;
Otherwise, live as a slave to your twisted desires,
Consumed by her infinite hunger,
And shame will be your legacy;
Your memory will only hold onto your mistakes—
A scandal associated with your name in the future.

Gni. Put up your weapon; I dare hear you further.
Insatiate lust is sire still to murther.

Gni. Put away your weapon; I dare you to keep going.
Uncontrollable desire always leads to murder.

Mass. Believe it, friend, if her heart-blood were vext,
Though you kill me, new pleasure makes you next.    80
She loved me dearer than she loves you now;
She’ll ne’er be faithful, has twice broke her vow.
This curse pursues female adultery,
They’ll swim through blood for sin’s variety;
Their pleasure like a sea, groundless and wide,
A woman’s lust was never satisfied.

Mass. Trust me, my friend, if her heart was in distress,
Even if you kill me, you'll still feel that thrill next.    80
She loved me more than she loves you now;
She's never going to be loyal; she's already broken her promise twice.
This curse follows women's infidelity,
They'll wade through blood for the sake of variety;
Their pleasure is like an ocean, limitless and expansive,
A woman's desire was never completely fulfilled.

Gni. Fear whispers in my breast, I have a soul
That blushes red for tend’ring[274] bloody facts.
Forgive me, friend, if I can be forgiven;
Thy counsel is the path leads me to heaven.    90

Gni. Fear whispers in my heart; I have a soul.
That turns red for caring [274] tough realities.
I'm sorry, my friend, if you can forgive me;
Your guidance shows me the way to heaven.    90

Mass. I do embrace thy reconcilèd love—

Mass. I do accept your reconciled love—Understood! Please provide the text you'd like me to modernize.

Gni. That death or danger now shall ne’er remove.
Go tell thy Insatiate Countess, Anna,
We have escap’d the snares of her false love,
Vowing for ever to abandon her.

Gni. Death or danger will never tear us apart now.
Go tell your greedy Countess, Anna,
We've freed ourselves from the traps of her false love,
Swearing to leave her for good.

Mass. You have heard our resolution; pray, be gone.

Mass. You've heard our decision; please, leave us.

Ann. My office ever rested at your pleasure;
I was the Indian, yet you had the treasure.
My faction often sweats, and oft takes cold;
Then gild true diligence o’er with gold.    100

Ann. My office was always available whenever you needed it;
I was the one putting in the effort, but you reaped the benefits.
My side often struggles and sometimes gets overlooked;
Then cover real effort with some money.    100

Mass. Thy speech deserves it. There’s gold;

Mass. Your words deserve it. There’s gold;

[Gives her gold.

Gives her gold.

Be honest now, and not love’s noddy,
Turn’d up and play’d on whilst thou keep’st the stock.
Prithee formally let’s ha’ thy absence.

Be honest now, and don’t be a fool in love,
Pretending to be nice while you're really holding back.
Let's just recognize that you're not here.

Ann. Lords, farewell.

Lords, goodbye.

[Exit Anna.

[Exit Anna.

Mass. ’Tis whores and panders that makes earth like hell.

Mass. It’s whores and pimps that make the world feel like hell.

Gni. Now I am got out of lust’s labyrinth,
I will to Venice for a certain time,
To recreate my much abusèd spirits,
And then revisit Pavy and my friend.    110

Gni. Now that I’ve gotten out of the maze of desire,
I’m going to Venice for a bit,
To lift my tired spirits,
Then I'll return to Pavy and my friend.    110

Mass. I’ll bring you on your way, but must return;
Love is like Ætna, and will ever burn.
Yet now desire is quench’d, flamed once in height:
Till man knows hell he never has firm faith.

Mass. I'll assist you, but I need to head back;
Love is like a volcano; it will always keep burning.
But now desire is gone, which once burned brightly:
Until someone goes through hell, they never have real faith.

[Exeunt ambo.

Exeunt both.

[270] Old eds. “get.”

Old eds. “get.”

[271] Old eds. “Rogero.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Rogero.”

[272] Old eds.Guido.”—The prefix to his speeches is “Gui.

[272] Old eds.Guido.”—The prefix to his speeches is “Gui.

[273] So the editor of 1820.—Old eds. “vselesse.”

__A_TAG_PLACEHOLDER_0__ So the editor of 1820.—Old eds. “vselesse.”

[274] Ed. 1613 “tending.”

__A_TAG_PLACEHOLDER_0__ Ed. 1613 “tending.”

SCENE III.

SCENE III.

The balcony of Isabella’s house at Pavia.

Isabella’s house balcony in Pavia.

Enter Isabella raving,[275] and Anna.

Enter Isabella raving,[275] and Anna.

Isa. Out, screech-owl, messenger of my revenge’s death!
Thou dost belie Gniaca; ’tis not so.

Isa. Get out, you screech owl, messenger of the end of my revenge!
You betray Gniaca; that's not accurate.

Ann. Upon mine honesty, they are united.

Honestly, they’re together.

Isa. Thy honesty?—thou vassal to my pleasure,
Take that!

Isa. Your honesty?—you're a servant to my desires,
Take that!

[Strikes her.

Strikes her.

Darest thou control me when I say no?
Art not my footstool—did not I create thee,
And made thee gentle, being born a beggar?
Thou hast been my woman’s pander for a crown,
And dost thou stand upon thy honesty?    10

Do you really think you can control me when I say no?
Aren't you just my assistant—didn't I create you?
And how can you be kind, even though you were born a beggar?
You've served my lady for a crown,
And you actually think you're being honest?    10

Ann. I am what you please, madam; yet ’tis so.

Ann. I am whatever you want me to be, madam; that's just how it is.

Isa. Slave, I will slit thy tongue, ’less thou say no!

Isa. Slave, I will cut out your tongue unless you say no!

Ann. No, no, no, madam.

No, no, no, ma'am.

Isa. I have my humour, though thy[276] no be false.
Faint-hearted coward, get thee from my sight!
When,[277] villain? Haste, and come not near me.

Isa. I have my sense of humor, but don't let it be a deception.
Get out of my sight, you coward!
When,[277] are you going to stop being a jerk? Hurry up, and don’t get near me.

Ann. Madam, I run;—her sight like death doth fear me.

Ann. Ma'am, I'm running; her gaze frightens me like death.

[Exit.

[Leave.

Isa. Perfidious cowards, stain of nobility!
Venetians, and be reconciled with words!
O that I had Gniaca once more here,    20
Within this prison made of flesh and bone,
I’d not trust thunder with my fell revenge,
But mine own hands should do the dire exploit,
And fame should chronicle a woman’s acts!
My rage respects the persons, not the facts:
Their place and worths hath power to defame me;
Mean hate is stingless, and does only name me:
I not regard it. ’Tis high blood that swells,
Give me revenge, and damn me into hells!

Isa. Treacherous cowards, shame of nobility!
Venetians, make peace with your words!

Oh, how I wish I had Gniaca here again,    20
Stuck in this body of flesh and bone,
I wouldn’t trust thunder to carry out my intense revenge,
My own hands would commit the terrible act,
And history will remember a woman's actions!
My anger respects people, not the facts:
Their status and value can make me feel ashamed;
Minor hate is insignificant and simply defines me:
I don’t care about it. It’s noble blood that runs hot,
Give me revenge, and send me straight to hell!

Enter Don Sago, a Coronel,[278] with a band of Soldiers and a Lieutenant.

Enter Don Sago, a Colonel,[278] with a group of Soldiers and a Lieutenant.

A gallant Spaniard, I will hear him speak;    30
Grief must be speechless, ere the heart can break!

A brave Spaniard, I will hear him talk;    30
Sorrow has to remain quiet before the heart can break!

Sago. Lieutenant, let good discipline be used
In quart’ring of our troops within the city—
Not separated into many streets.
That shows weak love, but not sound policy:
Division in small numbers makes all weak;
Forces united are the nerves of war.
Mother and nurse of observation—
Whose rare ingenious sprite fills all the world,
By looking on itself with piercing eyes—    40
Will look through strangers’ imbecilities.
Therefore be careful.

Sago. Lieutenant, let's keep good discipline.
When we position our troops in the city—
Not spread out over multiple streets.
That demonstrates a lack of commitment, not a smart strategy:
Splitting into small groups makes everyone exposed;
Unified forces are the key to military strength.
They are the source and guide of awareness—
Whose one-of-a-kind perspective fills the world,
By looking at itself with keen insight—    40
Will see through people's foolishness.
So, be careful.

Lie. All shall be order’d fitting your command,
For these three gifts which makes a soldier rare,
Is love and duty with a valiant care.

Lie. Everything will be organized as you instructed.
For these three qualities that make a soldier stand out,
Are love, duty, and brave focus.

[Exeunt Lieutenant and Soldiers.

[Exit Lieutenant and Soldiers.

Sago. What rarity[279] of women feeds my sight,
And leads my senses in a maze of wonder?

Sago. What a rare sight of women I see,
And leads my senses through a wonder-filled maze?

[Sees Isabella.

Sees Isabella.

Bellona,
Thou wert my mistress till I saw that shape;
But now my sword I’ll consecrate to her,    50
Leave Mars and become Cupid’s martialist.
Beauty can turn the rugged face of War,
And make him smile upon delightful Peace,
Courting her smoothly like a femalist.
I grow a slave unto my potent[280] love,
Whose power change[281] hearts, make our fate remove.

Bellona,
You were my mistress until I saw that person;
But now I’ll dedicate my sword to her,    50
Leave Mars and become Cupid’s fighter.
Beauty can ease the brutal reality of War,
And make him smile at gentle Peace,
Pursuing her elegantly like a lady.
I'm becoming a slave to my intense [280] love,
Whose power transforms [281] hearts, changing our destiny.

Isa. Revenge, not pleasure, now o’er-rules my blood;
Rage shall drown faint love in a crimson flood;
And were he caught, I’d make him murder’s hand!

Isa. Right now, it's revenge, not pleasure, that drives my feelings.
Anger will drown weak love in a flood of red;
And if I had him, I’d make him a killer!

Sago. Methinks ’twere joy to die at her command.    60
I’ll speak to hear her speech, whose powerful breath
Is able to infuse life into death.

Sago. I think it would be amazing to die at her command.    60
I’ll talk just to hear her voice, which has the power
To revive the dead.

Isa. He comes to speak: he’s mine; by love he is mine!

Isa. He comes to speak: he’s mine; by love, he belongs to me!

Sago. Lady, think bold intrusion courtesy;
’Tis but imagination alters them;
Then ’tis your thoughts, not I, that do offend.

Sago. Ma'am, think of this bold interruption as a polite gesture;
It's only imagination that transforms them;
So it's your thoughts, not me, that are the issue.

Isa. Sir, your intrusion yet ’s but courtesy,
Unless your future humour alter it.

Isa. Sir, your interruption is quite courteous,
Unless your mood shifts that.

Sago. Why then, divinest woman, know my soul
Is dedicated to thy shrine of beauty,    70
To pray for mercy, and repent the wrongs
Done against love and female purity.
Thou abstract, drawn from nature’s empty storehouse,
I am thy slave; command my sword, my heart;
The soul is tried best by the body’s smart.

Sago. So, my beautiful lady, understand that my soul
Is dedicated to your shrine of beauty,    70
To ask for forgiveness and feel remorse for the mistakes.
Dedicated to love and the integrity of women.
You, a sight created from nature's barren supply,
I am your servant; give me orders for my sword and my heart;
The soul reveals itself most clearly through the body’s suffering.

Isa. You are a stranger to this land and me.
What madness is’t for me to trust you then?
To cozen women is a trade ’mongst men;
Smooth promises, faint passions, with a lie,
Deceives our sex[282] of fame and chastity.    80
What danger durst you hazard for my love?

Isa. You aren't familiar with this place or with me.
What kind of madness would it be for me to trust you now?
Deceiving women is a game that men play;
Empty promises, weak emotions, all based on lies,
Deceives our gender[282] in terms of reputation and virtue.    80
What risks are you ready to take for my love?

Sago. Perils that ever mortal durst approve.
I’ll double all the works of Hercules,
Expose myself in combat against an host,
Meet danger in a place of certain death,
Yet never shrink, or give way to my fate;
Bare-breasted meet the murderous Tartar’s dart,
Or any fatal engine made for death:
Such power has love and beauty from your eye,[283]
He that dies resolute does never die!    90
’Tis fear gives death his strength, which I resisted,
Death is but empty air the fates have twisted.

Sago. Risks that any human would be brave enough to confront.
I’ll tackle all of Hercules’ challenges,
I put myself in a fight against an army,
Face peril in a certain death situation,
Yet I will not flinch or give in to my fate;
Confront the deadly Tartar's arrow without armor,
Or any deadly weapon intended to kill:
Such strength comes from the love and beauty in your eyes,[283]
The person who dies with purpose never really dies!    90
It's fear that gives death its strength, which I fight against,
Death is just empty air that fate has turned into something else.

Isa. Dare you revenge my quarrel ’gainst a foe?

Isa. Do you dare to take revenge for my conflict with an enemy?

Sago. Then ask me if I dare embrace you thus,
Or kiss your hand, or gaze on your bright eye,
Where Cupid dances on those globes of love!
Fear is my vassal; when I frown he flies;
A hundred times in life a coward dies![284]

Sago. Then ask me if I'm brave enough to hold you like this,
Or kiss your hand, or gaze into your shining eyes,
Where Cupid dances in those realms of love!
Fear is my servant; when I scowl, he backs off;
In life, a coward dies a hundred times![284]

Isa. I not suspect your valour, but your will.    99

Isa. I don’t doubt your bravery, but your willingness. 99

Sago. To gain your love my father’s blood I’ll spill.

Sago. I'll spill my father's blood to win your love.

Isa. Many have sworn the like, yet broke their vow.

Isa. Many have promised the same but ended up breaking their word.

Sago. My whole endeavour to your wish shall bow;
I am your plague to scourge your enemies.

Sago. I'll do whatever it takes to make your wish come true;
I'm your pest to annoy your enemies.

Isa. Perform your promise, and enjoy your pleasure;
Spend my love’s dowry, that is women’s treasure;
But if thy resolution dread the trial,
I’ll tell the world a Spaniard was disloyal.

Isa. Stick to your word and have a great time;
Use my love’s dowry, which is a woman's treasure;
But if you're scared to go through with it,
I'll let everyone know that a Spaniard cheated.

Sago. Relate your grief; I long to hear their names
Whose bastard spirits thy true worth defames.
I’ll wash thy scandal off when their hearts bleeds;    110
Valour makes difference betwixt words and deeds.
Tell thy fame’s poison, blood shall wash thee white.

Sago. Share your grief; I’m keen to know their names.
Whose deceitful influences undermine your true value.
I’ll clear your name when they feel remorse;    110
Courage is what distinguishes words from actions.
Uncover the toxicity in your fame; blood will purify you.

Isa. My spotless honour is a slave to spite.
These are the monsters Venice doth bring forth,
Whose empty souls are bankrupt of true worth:
False Count Guido,[285] treacherous Gniaca,
Counties[286] of Gazia, and of rich Massino.
Then, if thou beest a knight, help the oppress’d;
Through danger safety comes, through trouble rest.
And so my love——    120

Isa. My perfect honor is caught up in revenge.
These are the monsters that Venice produces,
Whose empty souls have no true value:
Fake Count Guido, __A_TAG_PLACEHOLDER_0__ deceitful Gniaca,
Counts[286] of Gazia and affluent Massino.
So, if you're a knight, help those who are suffering;
From danger comes safety, and from trouble comes peace.
And so my love—

Sago. Ignoble villains! their best blood shall prove,
Revenge falls heavy that is raised by love!

Sago. Despicable villains! Their true colors will be revealed,
Revenge fueled by love hits hard!

Isa. Think what reproach is to a woman’s name,
Honour’d by birth, by marriage, and by beauty;
Be god on earth, and revenge innocence.
O, worthy Spaniard, on my knees I beg,
Forget the persons, think on their offence!

Isa. Think about how harmful shame can be to a woman’s reputation,
Admired for her family background, her marriage, and her beauty;
Be a force for good in the world, and pursue justice for the innocent.
Oh, honorable Spaniard, I'm pleading with you on my knees,
Forget the people, focus on the misdeeds!

Sago. By the white soul of honour, by heav’n’s Jove,
They die if their death can attain your love!    129

Sago. By the pure spirit of honor, by the heavens' Jove,
They will die if their death can earn your love!    129

Isa. Thus will I clip thy waist—embrace thee thus;
Thus dally with thy hair, and kiss thee thus:
Our pleasures, Protean-like, in sundry shapes
Shall with variety stir dalliance.

Isa. So this is how I'll hold your waist—I'll wrap my arms around you;
This is how I'll style your hair and kiss you:
Our pleasures, like changing shapes, come in many forms.
We'll keep our flirting fun and interesting.

Sago. I am immortal. O, divinest creature,
Thou dost excel the gods in wit and feature!
False counts, you die, revenge now shakes his rods;
Beauty condemns you—stronger than the gods.

Sago. I am eternal. Oh, most divine being,
You are smarter and more attractive than the gods!
Deceitful nobles, you will meet your end; revenge is coming for you now;
Beauty judges you—stronger than the gods.

Isa. Come, Mars of lovers, Vulcan is not here;
Make vengeance, like my bed, quite void of fear.

Isa. Come on, god of love, Vulcan isn’t here;
Take revenge, just like my bed, free from fear.

Sago. My senses are entranced, and in this slumber
I taste heav’n’s joys, but cannot count the number.    141

Sago. My senses are captivated, and in this sleep
I feel the joys of heaven, but I can't keep track of them.    141

[Exeunt ambo.

Exeunt both.

[275] Ed. 1631 “running.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 "running."

[276] Old eds. “they now be false.”

__A_TAG_PLACEHOLDER_0__ Old eds. "they might now be false."

[277] Exclamation of impatience.

__A_TAG_PLACEHOLDER_0__ Ugh!

[278] Old form of colonel.

Old form of colonel.

[279] Old eds. “rarietie.” (The form rariety—which would here be unmetrical—is sometimes found. Cf. Heywood’s Golden Age, act iii.:—
“Then to our palace
Pass on in state: let all rarieties
Shower down from heaven a largess.”)

[279] Old eds. “rarity.” (The form rarity—which would be unmetrical here—is sometimes found. Cf. Heywood’s Golden Age, act iii.:—
“Then to our place”
Pass on in state: let all rarities
"Pour down from heaven a generous gift."

[280] For “my potent” the editor of 1820 reads “omnipotent.”

[280] For “my potent,” the 1820 editor reads “omnipotent.”

[281] Not unfrequently we find a plural verb following a singular subject.

[281] It’s not uncommon to see a plural verb used after a singular subject.

[282] Ed. 1631 “sect” (a common form of “sex”).

[282] Ed. 1631 “sect” (a common term for “sex”).

[283] Old ed. “eyes.”

Old ed. “eyes.”

[284] Cf. Jul. Cæs. ii. 2:—
“Cowards die many times before their deaths:
The valiant never taste of death but once.”

[284] Cf. Jul. Cæs. ii. 2:—
“Cowards face death many times before they truly die:”
"The brave only confront death once."

[285] See note 2, p. 154.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__, p. 154.

[286] i.e. Counts.—Old eds. “Countesse.”

__A_TAG_PLACEHOLDER_0__ i.e. Counts.—Old eds. "Countess."

SCENE IV.

SCENE IV.

Venice.—A street.

Venice.—A street.

Enter Lady Lentulus, Abigail, and Thais.

Enter Lady Lentulus, Abigail, and Thais.

Abi. Well, madam, you see the destiny that follows marriage:
Our husbands are quiet now, and must suffer the law.

Abi. Well, ma'am, you can see the outcome that comes with marriage:
Our husbands are quiet now and have to deal with the consequences.

Tha. If my husband had been worth the begging, some courtier would have had him; he might be begg’d[287] well enough, for he knows not his own wife from another.

Tha. If my husband was worth begging for, some courtier would have taken him; he could be easily begged for, since he can't even tell his own wife from someone else.

Lady Lent. O, you’re a couple of trusty wenches, to deceive your husbands thus!

Lady Lent. Oh, you two are quite the reliable ladies, tricking your husbands like this!

Abi. If we had not deceived them thus, we had been truss’d wenches.

Abi. If we hadn't tricked them like this, we would have been tied-up girls.

Tha. Our husbands will be hang’d, because they think themselves cuckolds.    11

Tha. Our husbands will be hanged because they think they’re being cheated on. 11

Abi. If all true cuckolds were of that mind, the hangman would be the richest occupation, and more wealthy widows than there be younger brothers to marry them.

Abi. If all genuine cuckolds thought that way, the hangman would have the most lucrative job, and there would be more wealthy widows than younger brothers to marry them.

Tha. The merchant venturers would be a very small company.

Tha. The merchant adventurers would be a very small group.

Abi. ’Tis twelve to one of that; however the rest ’scape, I shall fear a massacre.

Abi. It's twelve to one on that; however, if the rest escape, I will fear a massacre.

Tha. If my husband hereafter, for his wealth, chance to be dubb’d, I’ll have him call’d the knight of the supposed horn.    22

Tha. If my husband, from now on, gets knighted because of his wealth, I want him to be called the knight of the supposed horn. 22

Abi. Faith, and it sounds well.

Faith, and it sounds good.

Lady Lent. Come, madcaps, leave jesting, and let’s deliver them out of their earthly purgation; you are the spirits that torment them; but my love and lord, kind Mendoza, will lose his life to preserve mine honour, not for hate to others.

Lady Lent. Come on, everyone, stop joking around, and let’s help them out of their earthly struggles; you are the spirits that trouble them. But my beloved and gentle Mendoza will sacrifice his life to protect my honor, not out of hatred for others.

Abi. By my troth, if I had been his judge, I should have hang’d him, for having no more wit; I speak as I think, for I would not be hang’d for ne’er a man under the heav’ns.    32

Abi. Honestly, if I had been his judge, I would have hanged him for being so foolish. I say this because I wouldn't want to be hanged for any man under the sky. 32

Tha. Faith, I think I should for my husband: I do not hold the opinion of the philosopher, that writes, we love them best that we enjoy first; for I protest I love my husband better than any that did know me before.

Tha. Honestly, I believe I should for my husband: I don’t agree with the philosopher who says we love those we first enjoy the most; because I truly love my husband more than anyone who knew me before.

Abi. So do I; yet life and pleasure are two sweet things to a woman.

Abi. I feel the same way; still, life and enjoyment are two wonderful things for a woman.

Lady Lent. He that’s willing to die to save mine honour, I’ll die to save his.    40

Lady Lent. Anyone who is willing to die to protect my honor, I'm ready to die to protect theirs. 40

Abi. Tut, believe it who that list, we love a lively man, I grant you; but to maintain that life I’ll ne’er consent to die.
This is a rule I still will keep in breast,
Love well thy husband, wench, but thyself best!

Abi. Sure, we love a lively guy, I’ll admit that; but I’ll never agree to die just to keep that life alive.
This is a principle I’ll always cherish,
Take good care of your husband, girl, but take care of yourself even more!

Tha. I have followed your counsel hitherto, and mean to do still.

Tha. I've followed your advice so far and intend to keep doing so.

Lady Lent. Come, we neglect our business; ’tis no jesting;
To-morrow they are executed ’less we reprieve them.
We be their destinies to cast their fate.    50
Let’s all go.

Lady Lent. Come on, we’re procrastinating; this isn’t a joke;
They're being executed tomorrow unless we save them.
We determine their fate.    50
Let's all head out.

Abi. I fear not to come late.

Abi. I'm not afraid to be late.

[Exeunt.

[Exit.

[287] i.e., he might be begged for a fool.—See Nares’ Glossary.

[287] i.e., he might be pleaded with to act like a fool.—See Nares’ Glossary.

SCENE V.

SCENE V.

Pavia.—A street.

Pavia.—A street.

Enter Don Sago solus, with a case of pistols.

Enter Don Sago pudding alone, with a case of pistols.

Sago. Day was my night, and night must be my day;
The sun shined on my pleasure with my love,
And darkness must lend aid to my revenge.
The stage of heaven is hung with solemn black,
A time best fitting to act tragedies.
The night’s great queen, that maiden governess,
Musters black clouds to hide her from the world,
Afraid to look on my bold enterprise.
Cursed creatures, messengers of death, possess the world;
Night-ravens, screetch-owls, and voice-killing[288] mandrakes,
The ghosts[289] of misers, that imprison’d gold    11
Within the harmless[290] bowels of the earth,
Are night’s companions. Bawds to lust and murder,
Be all propitious to my act of justice
Upon the scandalisers of her fame,
That is the lifeblood of deliciousness,
Deem’d[291] Isabella, Cupid’s treasurer,
Whose soul contains the richest gifts of love:
Her beauty from my heart fear doth expel:
They relish pleasure best that dread not hell!    20
Who’s there?

Sago. Day feels like night to me, and night has to be my day;
The sun lights up my happiness with my love,
And darkness will aid me in my quest for revenge.
The sky is shrouded in deep black,
A time most fitting for tragedies.
The great queen of the night, that maiden ruler,
Calls upon dark clouds to protect her from the world,
Afraid to see my bold plan.
Cursed beings, messengers of death, wander the earth;
Night ravens, screech owls, and voice-destroying[288] mandrakes,
The ghosts[289] of greedy people, who stash away gold    11
Deep within the innocent[290] layers of the earth,
Are the companions of the night. Facilitators of desire and violence,
May they all support my pursuit of justice.
Against those who damage her reputation,
That is the essence of joy,
Known as Isabella, Cupid's guardian,
Whose soul carries the greatest gifts of love:
Her beauty scares away any fear I have:
Those who seek pleasure the most don't fear hell!    20
Who's there?

Enter Count Massino.[292]

Enter Count Massino.[292]

Mass. A friend to thee, if thy intents
Be just and honourable.

Mass. A friend to you, if your intentions
Are fair and trustworthy.

Sago. Count Massino,[292] speak, I am the watch.

Sago. Count Massino,[292] go ahead, I'm all ears.

Mass. My name is Massino:[292] dost thou know me?

Mass. My name is Massino:[292] do you know me?

Sago. Yes, slanderous villain, nurse of obloquy,
Whose poison’d breath has speckled clear-faced[293] virtue,
And made a leper of Isabella’s fame,
That is as spotless as the eye of heaven!
Thy vital thread’s a-cutting; start not, slave;
He’s sure of sudden death, Heaven cannot save!    30

Sago. Yes, you deceitful villain, purveyor of falsehoods,
Whose harmful words have tarnished the innocent[293] virtue,
And made Isabella’s reputation a curse,
That is as pure as the sky!
Your life thread is being severed; don’t back down, coward;
He's staring down death, and there's no way Heaven can save him!    30

Mass. Art not Gniaca turn’d apostata?[294]
Has pleasure once again turned thee again
A devil? art not Gniaca—hah?

Mass. Has art really made Gniaca a traitor?[294]
Has pleasure drawn you back again?
Into a devil? Isn't Gniaca that—hah?

Sago. O that I were, then would I stab myself,
For he is mark’d for death as well as thee!
I am Don Sago, thy mortal enemy,
Whose hand love makes thy executioner!

Sago. If I could, I would take my own life.
Because he is meant to die just like you!
I am Don Sago, your deadly enemy,
Whose love makes me your killer!

Mass. I know thee, valiant Spaniard, and to thee
Murder’s more hateful than is sacrilege.
Thy actions ever have been honourable.    40

Mass. I recognize you, courageous Spaniard, and to you
Murder is worse than sacrilege.
Your actions have always been honorable.    40

Sago. And this the crown of all my actions,
To purge the earth of such a man turn’d monster!

Sago. And this is the best part of everything I’ve done,
To get rid of a guy who has turned into a monster!

Mass. I never wrong’d thee, Spaniard—did I? speak:

Mass. I never wronged you, Spaniard—did I? Speak:

[Tell[295] him all the plot.

Tell __A_TAG_PLACEHOLDER_0__ everything.

I’ll make thee satisfaction like a soldier,
A true Italian, and a gentleman.
Thy rage is treachery without a cause.

I'll give you what you want like a soldier,
A true Italian and a real gentleman.
Your anger is an unreasonable betrayal.

Sago. My rage is just, and thy heart blood shall know,
He that wrongs beauty, must be honour’s foe.
Isabel’s quarrel arms the Spaniard’s spirit!

Sago. My anger is warranted, and you will feel its sting.
Anyone who disrespects beauty is against dignity.
Isabel’s struggle inspires the spirit of the Spaniards!

Mass. Murder should keep with baseness, not with merit.    50
I’ll answer thee to-morrow, by my soul,
And clear thy doubts, or satisfy thy will.

Mass. Murder should be associated with dishonor, not with goodness.    50
I’ll get back to you tomorrow, I promise.
And either clear up your questions or make your wishes come true.

Sago. He’s war’s best scholar can with safety kill.
Take this to-night; now meet with me to-morrow.

Sago. He's the top expert in warfare and can kill without any hesitation.
Take this tonight and meet me tomorrow.

[Shoots. Massino falls dead.

Shoots. Massino falls dead.

I come, Isabella; half thy hate is dead;
Valour makes murder light, which fear makes lead.[296]

I'm here, Isabella; half of your anger has faded.
Courage makes killing seem easy, while fear makes it feel burdensome.[296]

Enter Captain with a band of Soldiers.

Enter Captain with a group of Soldiers.

Capt. The pistol was shot here; seize him!
Bring lights. What, Don Sago, colonel of the horse?
Ring the alarum-bell, raise the whole city;
His troops are in the town; I fear treachery.    60
Who’s this lies murder’d? Speak, bloodthirsty Spaniard!

Capt. The gun went off here; stop him!
Bring in the lights. What's happening, Don Sago, colonel of the cavalry?
Sound the alarm, notify the entire city;
His troops are in the town, and I'm concerned about betrayal.    60
Who’s lying dead here? Speak, bloodthirsty Spaniard!

Sago. I have not spoil’d his face, you may know his visnomy.

Sago. I haven't disfigured his face; you can recognize him by his features.

Capt. ’Tis Count Massino;[297] go convey him hence;
Thy life, proud Spaniard, answers this offence.
A strong guard for the prisoner, ’less the city’s powers
Rise to rescue him!

Capt. It’s Count Massino; [297] get him out of here;
Your life, arrogant Spaniard, is in danger because of this offense.
We need a strong guard for the prisoner, unless the city's forces __A_TAG_PLACEHOLDER_0__.
rise up to save him!

[Begirt him with soldiers.

Surround him with soldiers.

Sago. What needs this strife?
Know, slaves, I prize revenge above my life.
Fame’s register to future times shall tell
That by Don Sago, Count Massino[297] fell!

Sago. What’s the purpose of this struggle?
Listen up, I value revenge more than my own life.
History will remember this
Don Sago, Count Massino[297] was defeated!

[Exeunt omnes.

[Everyone exits.

[288] Ed. 1631 and some copies of ed. 1613, “vote-killing.”—The mandrake plant was supposed to shriek so poignantly when pulled from the ground, as to cause madness or death in the person who plucked it.

[288] Ed. 1631 and some copies of ed. 1613, “vote-killing.”—The mandrake plant was believed to scream so painfully when it was pulled from the ground that it could drive the person who pulled it mad or even cause their death.

[289] An allusion to the well-known superstition (to which there is a reference in Hamlet) that ghosts haunted the spot where they had concealed treasure in their lifetime.

[289] This refers to the common superstition (mentioned in Hamlet) that ghosts are said to haunt the places where they hid their treasure while they were alive.

[290] The writer had certainly Hotspur’s words in his memory:—
“That villainous salt-petre should be digg’d
Out of the bowels of the harmless earth.”—1 Henry IV. i. 2.

[290] The writer definitely remembered Hotspur’s words:—
"That wicked saltpeter should be excavated."
"From the depths of the innocent earth.” — 1 Henry IV. i. 2.

[291] Qu. “Divine” or “Dear”?

Qu. “Divine” or “Dear”?

[292] Old eds.Rogero.”—The prefix to his speeches is “Rog.

[292] Old eds.Rogero.”—The prefix to his speeches is “Rog.

[293] Ed. 1631 “cleane fac’t.”

__A_TAG_PLACEHOLDER_0__ Ed. 1631 "clean fac'd."

[294] An old form of “apostate.”

An old version of “apostate.”

[295] I suppose it was left to the actor to explain shortly the history of Massino’s relations with Isabella.

[295] I guess it was up to the actor to briefly explain the history of Massino’s relationship with Isabella.

[296] Old eds. “dead.”

__A_TAG_PLACEHOLDER_0__ Old eds. “dead.”

[297] Old eds. “Rogero.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Rogero.”

ACT V.

SCENE I.

SCENE I.

Pavia.—The place of execution.

Pavia.—The execution site.

Enter[298] Medina, followed by soldiers with the dead body of Count Massino on a bier; Don Sago guarded, Executioner. A scaffold laid out.

Enter[298] Medina, followed by soldiers carrying the dead body of Count Massino on a stretcher; Don Sago stands guard as Executioner. A scaffold is set up.

Med. Don Sago, quakest thou not to behold this spectacle—
This innocent sacrifice, murder’d nobleness—
When blood, the Maker ever promiseth,
Shall though with slow yet with sure vengeance rest?
’Tis a guerdon earn’d, and must be paid;
As sure revenge, as it is sure a deed;
I ne’er knew murder yet, but it did bleed.
Canst thou, after so many fearful conflicts
Between this object and thy guilty conscience,
Now thou art freed from out the serpent’s jaws,    10
That vild adulteress, whose sorceries
Doth draw chaste men into incontinence—
Whose tongue flows over with harmful eloquence—
Canst thou, I say, repent this heinous act,
And learn to loathe that killing cockatrice?[299]

Med. Don Sago, don’t you feel afraid looking at this—
This innocent gift, slain royalty—
When blood, which the Creator always guarantees,
Will definitely return with a slow but sure vengeance?
It's a debt that's been incurred, and it needs to be repaid;
Just as certain as revenge is, just as certain as the action;
I've never heard of a murder that didn't result in bloodshed.
Can you, after so many frightening battles
Between this view and your guilty conscience,
Now that you're free from the serpent's grip,    10
That wicked cheater, whose magic
Leads pure men into immorality—
Whose words are filled with harmful persuasion—
Can you, I ask, regret this awful act,
And learn to hate that lethal serpent?[299]

Sago. By this fresh blood, that from thy manly breast
I cowardly sluiced[300] out, I would in hell,
From this sad minute till[301] the day of doom,
To re-inspire vain Æsculapius,
And fill these crimson conduits, feel the fire    20
Due to the damnèd and this horrid fact![302]

Sago. By this new blood, that from your strong chest
I cowardly let spill[300] out, I would in hell,
From this sorrowful moment until[301] the day of judgment,
To revive vain Asclepius,
And fill these red veins, feel the fire    20
Because of the damned and this awful truth![302]

Med. Upon my soul, brave Spaniard, I believe thee.

Med. I truly believe you, brave Spaniard.

Sago. O cease to weep in blood, or teach me too!
The bubbling wounds[303] do murmur for revenge.
This is the end of lust, where men may see,
Murder’s the shadow of adultery,
And follows it to death.

Sago. Stop crying tears of blood, or show me how to do it, too!
The bubbling wounds[303] demand vengeance.
This is where desire ends, where people can see, __A_TAG_PLACEHOLDER_0__.
Murder is the dark consequence of betrayal,
And it leads straight to death.

Med. But, hopeful lord, we do commiserate
Thy bewitch’d fortunes, a free pardon give
On this thy true and noble penitence.    30
Withal we make thee colonel of our horse,
Levied against the proud Venetian state.

Med. But, dear lord, we empathize
With your cursed fate, giving you a complete pardon
Because of your sincere and true remorse.    30
At the same time, we are appointing you as colonel of our cavalry,
Opposed to the arrogant Venetian state.

Sago. Medina, I thank thee not; give life to him
That sits with Risus and the full-cheek’d Bacchus,
The rich and mighty monarchs of the earth;
To me life is ten times more terrible
Than death can be to me. O, break, my breast!
Divines[304] and dying men may talk of hell,
But in my heart the several torments dwell.
What Tanais, Nilus, or what Tigris[305] swift,    40
What Rhenus ferier[306] than the cataract,—
Although[307] Neptolis cold, the waves of all the Northern Sea,
Should flow for ever through these guilty hands,
Yet the sanguinolent stain would extant be!

Sago. Medina, I don’t thank you; just bring him back to life.
Who sits with Risus and the chubby-cheeked Bacchus,
The wealthy and influential leaders of the world;
To me, life is ten times scarier.
Than death ever could be. Oh, break my heart!
Gods[304] and dying people can discuss hell,
But in my heart, different torments linger.
What Tanais, Nilus, or what faster Tigris[305] 40
What fiercer Rhenus[306] than the waterfall,—
Even if Neptolis were cold, the waves of the Northern Sea,
Should flow endlessly through these guilty hands,
But the bloody stain would still be there!

Med. God pardon thee! we do.

God forgive you! We do.

Enter a Messenger.

Enter a Messenger.

Mes. The countess comes, my lord, unto the death;

Mes. The countess has arrived, my lord, at her end;

[A shout.

A shout.

But so unwillingly and unprepared,
That she is rather forced, thinking the sum
She sent to you of twenty thousand pound
Would have assurèd her of life.

But she’s really hesitant and not ready,
She feels like she's being pushed into this, thinking the amount
She sent you twenty thousand pounds.
Would have saved her life.

Med. O Heavens!    50
Is she not weary yet of lust and life?
Had it been Crœsus’ wealth, she should have died;
Her goods by law are all confiscate to us,
And die she shall: her lust
Would make a slaughter-house of Italy.
Ere she attain’d to four-and-twenty years,
Three earls, one viscount, and this valiant Spaniard,
Are known to ha’ been the fuel to her lust;
Besides her secret lovers, which charitably
I judge to have been but few, but some they were.    60
Here is a glass wherein to view her soul,
A noble but unfortunate gentleman,
Cropp’d by her hand, as some rude passenger
Doth pluck the tender roses in the bud!
Murder and lust, the least of which is death,
And hath she yet any false hope of breath?

Oh my!
Isn't she tired of wanting and life yet?
If she had Crœsus’ wealth, she would have died;
Her belongings are all legally ours,
And she will die: her desire
Would turn Italy into a killing field.
Before she turns 24,
Three earls, one viscount, and this courageous Spaniard,
Are recognized as the driving force behind her desire;
Not to mention her secret lovers, which I__A_TAG_PLACEHOLDER_0__
There were only a few, but they were there.    60
Here’s a way to reflect on her true self,
A noble yet unfortunate man,
Struck down by her hand, like an indifferent bystander.
Picking delicate roses before they bloom!
Murder and desire, with death being the least of their concerns,
Does she still have any false hopes of living?

Enter Isabella, with her hair hanging down, a chaplet of flowers on her head, a nosegay in her hand; Executioner before her, and with her a Cardinal.

Enter Isabella, with her hair down, a flower crown on her head, a bouquet in her hand; the Executioner in front of her, and a Cardinal with her.

Isa. What place is this?

What is this place?

Car. Madam, the Castle Green.

Car. Ma'am, the Castle Green.

Isa. There should be dancing on a green, I think.

Isa. I think there should be dancing on the grass.

Car. Madam,
To you none other than your dance of death.    70

Ma'am,
It's just you and your deadly dance.    70

Isa. Good my Lord Cardinal, do not thunder thus;
I sent to-day to my physician,
And, as he says, he finds no sign of death.

Isa. Please, my Lord Cardinal, don't speak so severely;
I called my doctor today.
And he says he doesn't see any signs of death.

Car. Good madam, do not jest away your soul.

Car. Please, madam, don’t joke about your soul.

Isa. O servant, how hast thou betray’d my life!

Isa. O servant, how have you betrayed my life!

[To Sago.

To Sago.

Thou art my dearest lover now, I see;
Thou wilt not leave me till my very death.
Bless’d be thy hand! I sacrifice a kiss
To it and vengeance. Worthily thou didst;
He died deservedly. Not content to enjoy    80
My youth and beauty, riches and my fortune,
But like a chronicler of his own vice,
In epigrams and songs he tuned my name,
Renown’d me for a strumpet in the courts
Of the French King and the great Emperor.
Did’st thou not kill him drunk?[308]

You are my most beloved partner now, I see;
You won't leave me until I die.
Bless your hand! I offer a kiss.
To it and seek revenge. You acted admirably;
He died as he deserved. Not content to enjoy    80
My youth and beauty, my wealth and fortune,
But like someone keeping a record of his own wrongdoing,
In poems and songs, he used my name,
Made me infamous as a prostitute in the courts.
Of the French King and the powerful Emperor.
Didn’t you kill him when he was drunk?[308]

Med. O shameless woman!

O shameful woman!

Isa. Thou should’st, or in the embraces of his lust;
It might have been a woman’s vengeance.[309]
Yet I thank thee, Sago, and would not wish him living
Were my life instant ransom.

Isa. You should, or in his passionate embrace;
It might have been a woman's revenge.[309]
Still, I thank you, Sago, and wouldn't want him to be alive.
If my life were the direct cost for it.

Car. Madam, in your soul    90
Have charity.

Have compassion.

Isa. There’s money for the poor.

There’s funds for the needy.

[Gives him money.

Gives him cash.

Car. O lady, this is but a branch of charity,
An ostentation, or a liberal pride:
Let me instruct your soul, for that, I fear,
Within the painted sepulchre of flesh,
Lies in a dead consumption. Good madam, read.

Car. Oh lady, this is merely a display of goodwill,
A show of generosity or pride:
Let me guide your spirit, because I'm concerned,
That deep within the ornate tomb of your body,
Your spirit is fading. Please, kind lady, read this.

[Gives a book.

Gives a book.

Isa. You put me to my book, my lord; will not that save me?[310]

Isa. You’ve sent me back to my studies, my lord; won’t that help me? [310]

Car. Yes, madam, in the everlasting world.

Car. Yes, ma'am, in the eternal world.

Sago. Amen, amen!

Sago. Amen, amen!

Isa. While thou wert my servant, thou hast ever said    100
Amen to all my wishes. Witness this spectacle.
Where’s my lord Medina?

Isa. When you were my servant, you always said    100
Amen to all my wishes. Check out this scene.
Where's my lord Medina?

Med. Here, Isabella. What would you?

Med. Here, Isabella. What do you want?

Isa. May we not be reprieved?

Can we not be spared?

Med. Mine honour’s past; you may not.

Med. My honor is in the past; you cannot touch it.

Isa. No, ’tis my honour past.

No, it's my honor now.

Med. Thine honour’s past, indeed.

Your honor's past, indeed.

Isa. Then there’s no hope of absolute remission?

Isa. So there’s no chance of a complete recovery?

Med. For that your holy confessor will tell you;
Be dead to this world, for I swear you die,    110
Were you my father’s daughter.

Med. Your priest will verify this for you;
Let go of this world, because I promise you will die,    110
If you were my dad's daughter.

Isa. Can you do nothing, my Lord Cardinal?

Isa. Can't you do anything, my Lord Cardinal?

Car. More than the world, sweet lady; help to save
What hand of man wants power to destroy.

Car. More than anything, dear lady; please help to save
What humanity can destroy.

Isa. You’re all for this world, then why not I?
Were you in health and youth, like me, my lord,
Although you merited the crown of life,
And stood in state of grace assured of it,
Yet in this fearful separation,
Old as you are, e’en till your latest gasp,    120
You’d crave the help of the physician,
And wish your days lengthen’d one summer longer.
Though all be grief, labour, and misery,
Yet none will part with it, that I can see.

Isa. If you’re all about this world, then why not include me?
If you were young and healthy like I am, my lord,
Even though you deserve the crown of life,
And were in a state of grace, ensured to have it,
Still, in this scary breakup,
No matter your age, even until your last breath,    120
You’d want the doctor's help,
And hope your days last one more summer.
Even though it's all sorrow, struggle, and hardship,
I can see that no one wants to let it go.

Med. Up to the scaffold with her, ’tis late.

Med. Let's take her up to the scaffold; it's getting late.

Isa. Better late than never, my good lord; you think
You use square dealing, Medina’s mighty duke,
Tyrant of France, sent hither by the devil.

Isa. It's better to be late than not show up at all, my good lord; you know that.
You play fair, the strong duke of Medina,
the tyrant of France, sent here by the devil.

[She ascends the scaffold.

She climbs the scaffold.

Med. The fitter to meet you.

The better to meet you.

Car. Peace! Good my lord, in death do not provoke her.    130

Car. Calm down! My lord, don’t upset her even in death. 130

Isa. Servant,
Low as my destiny I kneel to thee,

Isa. Staff member,
I kneel before you, as low as my destiny permits.

[To Sago.

To Sago.

Honouring in death thy manly loyalty;
And what so e’er become of my poor soul,
The joys of both worlds evermore be thine.
Commend me to the noble Count Gniaca,
That should have shared thy valour and my hatred:
Tell him I pray his pardon, and—
Medina, art [thou] yet inspired from heaven?
Show thy Creator’s image: be like Him,    140
Father of mercy.

Honoring your courageous loyalty in death;
And no matter what happens to my poor soul,
May you always enjoy the best of both worlds.
Please send my best wishes to the esteemed Count Gniaca,
Who should have shared your bravery and my anger:
Tell him I’m asking for his forgiveness, and—
Medina, are you still blessed by heaven?
Reflect your Creator’s image: be like Him,    140
Merciful Father.

Med. Head’s-man, do thine office.

Head of the crew, do your job.

Isa. Now God lay all thy sins upon thy head,
And sink thee with them to infernal darkness,
Thou teacher of the furies’ cruelty!

Isa. Now may God place all your sins upon you,
And bury you with them in eternal darkness,
You who teach the harsh ways of the furies!

Car. O madam, teach yourself a better prayer;
This is your latest hour.

Car. Oh ma'am, find a better prayer for yourself;
This is your last hour.

Isa. He is mine enemy, his sight torments me;
I shall not die in quiet.

Isa. He's my enemy; just looking at him makes me lose my mind.
I won’t give up without a struggle.

Med. I’ll be gone: off with her head there!

Med. I'm out of here: off with her head!

[Exit.

[Leave.

Isa. Takest thou delight to torture misery?    150
Such mercy find thou in the day of doom.

Isa. Do you like making things worse for those who are already suffering?    150
May you find mercy on the day of judgment.

Soul. My lord, here is a holy friar desires
To have some conference with the prisoners.

Soul. My lord, a holy friar wants
to talk to the prisoners.

Enter Roberto, Count of Cyprus, in friar’s weeds.

Enter Roberto, Count of Cyprus, dressed as a friar.

Rob. It is in private, what I have to say,
With favour of your fatherhood.

Rob. I need to talk to you privately.
If you don't mind me asking.

Car. Friar, in God’s name, welcome.

Car. Friar, welcome in God’s name.

[Roberto ascends to Isabella.

[Roberto climbs up to Isabella.

Rob. Lady, it seems your eye is still the same—
Forgetful of what most it should behold.
Do not you know me, then?

Rob. Lady, it seems your gaze hasn't changed one bit—
Not paying attention to what it should really focus on.
Don't you know who I am?

Isa. Holy sir,
So far you are gone from my memory,    160
I must take truce with time ere I can know you.

Oh my gosh,
You've faded so much from my memory,    160
I need to come to terms with time before I can truly see you.

Rob. Bear record, all you blessèd saints in heaven,
I come not to torment thee in thy death;
For of himself he’s terrible enough.
But call to mind a lady like yourself;
And think how ill in such a beauteous soul,
Upon the instant morrow of her nuptials,
Apostasy and vild revolt would show:
Withal imagine that she had a lord,
Jealous the air should ravish her chaste looks:[311]    170
Doting like the creator in his models,
Who views them every minute, and with care
Mix’d in his fear of their obedience to him.
Suppose he[r] sung through famous Italy,
More common than the looser songs of Petrarch,
To every several zany’s instrument;
And he, poor wretch, hoping some better fate
Might call her back from her adulterate purpose,
Lives in obscure and almost unknown life,
Till hearing that she is condemn’d to die—    180
For he once loved her—lends his pinèd corpse
Motion to bring him to her stage of honour,
Where drown’d in woe at her so dismal chance,
He clasps her: thus he falls into a trance.

Rob. Hey, all you blessed saints up in heaven,
I'm not here to torture you while you die;
He's already scary enough by himself.
But think of a woman like you;
And think about how wrong it would be for such a beautiful soul,
Right after her wedding,
To demonstrate disloyalty and disgusting betrayal:
Also, imagine she had a husband, __A_TAG_PLACEHOLDER_0__
Jealous that the world could take away her natural beauty:[311]    170
Obsessed like an artist with their artwork,
Who keeps a constant, careful watch over them
Combined with his fear of them not following his orders.
Picture her singing all over famous Italy,
More common than Petrarch's unsuitable songs,
To every fool's tool;
And he, poor soul, wishing for a better future
May bring her back from her deceptive schemes,
Lives a mostly unknown and obscure life,
Until he finds out she has been sentenced to death—    180
Since he once loved her, he offers his tired body.
The power to bring him to her place of honor,
Where, filled with grief over her awful fate,
He hugs her, and that’s when he falls into a trance.

Isa. O, my offended lord, lift up your eyes:
But yet avert them from my loathèd sight.
Had I with you enjoyed the lawful pleasure,
To which belongs nor fear nor public shame,
I might have lived in honour, died in fame!
Your pardon on my falt’ring knees I beg,    190
Which shall confirm more peace unto my death
Than all the grave instructions of the Church.

Isa. Oh, my wounded lord, please look up:
But still, keep your eyes away from my gross appearance.
If I had shared with you the true joy,
That comes without fear or social embarrassment,
I could have lived with dignity and died renowned!
I ask for your forgiveness on my shaking knees,    190
Which would give me more peace in death
Than all the serious teachings of the Church.

Rob. Pardon belongs unto my holy weeds,
Freely thou hast it.
Farewell, my Isabella! let thy death
Ransom thy soul. O die a rare example!
The kiss thou gavest me in the church, here take;
As I leave thee, so thou the world forsake!

Rob. Forgiveness is a part of my sacred vows,
You can have it for free.
Goodbye, my Isabella! May your passing
Free your spirit. Oh, be a unique example!
Take back the kiss you gave me in the church;
As I leave you, so leave the world!

[Exit Roberto.

[Leave Roberto.

Car.[312] Rare accident, ill welcome, noble lord.
Madam, your executioner desires you to forgive him.    200

Car.[312] It's a regrettable event, truly unwelcome, my lord.
Ma'am, your executioner requests your forgiveness.    200

Isa. Yes, and give him too. What must I do, my friend?

Isa. Yes, and also give him that. What should I do, my friend?

Exec. Madam, only tie up your hair.

Exec. Ma'am, just tie up your hair.

Isa. O, these golden nets,
That have ensnared so many wanton youths,
Not one but has been held a thread of life,
And superstitiously depended on.
Now to the block we must vail! What else?

Oh, these golden traps,
That have trapped so many reckless young men,
Every single one has been a lifeline,
And depended on it with a hint of superstition.
Now we have to accept the inevitable! What else is there?

Exec. Madam, I must entreat you, blind your eyes.

Exec. Ma'am, I must ask you to close your eyes.

Isa. I have lived too long in darkness, my friend;
And yet mine eyes, with their majestic light,
Have got new muses in a poet’s sprite.    210
They have been more gazed at than the god of day:
Their brightness never could be flatterèd,
Yet thou command’st a fixèd cloud of lawn
To eclipse eternally these minutes of light.
What else?

Isa. I've been in the dark for too long, my friend;
And yet my eyes, with their bright light,
I've discovered new inspiration in a poet's spirit.    210
They have been observed more than the sun itself:
Their brightness could never be dimmed,
But you maintain a constant veil of mist.
To permanently dull these moments of brightness.
What else is there?

Exec. Now, madam, all’s done,
And when you please, I’ll execute my office.

Exec. Now, ma'am, everything's set,
And whenever you want, I’ll do my job.

Isa. We will be for thee straight.
Give me your blessing, my Lord Cardinal.
Lord, I am well prepared:
Murder and lust, down with my ashes sink,    220
But, like ingrateful seed, perish in earth,
That you may never spring against my soul,
Like weeds to choke it in the heavenly harvest.
I fall to rise; mount to thy Maker, spirit!
Leave here thy body, death has her demerit.

Isa. We'll be ready for you in just a moment.
Please grant me your blessing, my Lord Cardinal.
I'm all set, Lord:
Murder and desire, may they burden my remains,    220
But, like ungrateful seeds, may they die in the ground,
So you might never go against my soul,
Like weeds that suffocate it in the heavenly harvest.
I fall in order to rise; elevate yourself to your Creator, spirit!
Leave your body behind; death has its drawbacks.

[The executioner strikes off her head.

The executioner chops off her head.

Car. A host of angels be thy convey [sic] hence.

Car. May a bunch of angels carry you away from here.

Re-enter Medina.[313]

Re-enter Medina.[313]

Med. To funeral with her body and this lord’s.
None here, I hope, can tax us of injustice:
She died deservedly, and may like fate
Attend all women so insatiate.

Med. To the funeral with her and this lord’s body.
I hope no one here can claim we are being unfair:
She died as she deserved, and may the same fate
Attention to all women who are so greedy.

[Exeunt omnes.    230

Exeunt all.

[298] Old eds.Enter Medina, the dead body of Guido alias Count Arsena, and Souldiours, &c.

[298] Old eds.Enter Medina, the dead body of Guido also known as Count Arsenal, and soldiers, etc.

[299] A creature resembling a serpent. It was bred from a cock’s egg, and had a cock’s crest; the sight of it caused sudden death.—The term was frequently applied to a wanton woman.

[299] A creature that looks like a snake. It was hatched from a rooster's egg and had a rooster's comb; just seeing it could cause instant death.—The term was often used to refer to a promiscuous woman.

[300] See note, vol. i. p. 189.

__A_TAG_PLACEHOLDER_0__ See note, vol. i. p. 189.

[301] Ed. 1613 “still.”

__A_TAG_PLACEHOLDER_0__ Ed. 1613 "still."

[302] “Fact”—guilty deed, crime.

“Fact”—guilty act, crime.

[303] It was a common superstition that the wounds of a murdered man bled in the presence of the murderer.

[303] It was a widely held belief that the wounds of a murdered person bled when the murderer was nearby.

[304] This couplet is from a copy of verses in Nashe’s Pierce Penniless, 1592 (Works, ed. Grosart, ii. 10). It is also found in the Yorkshire Tragedy, 1608.

[304] This couplet comes from a version of verses in Nashe’s Pierce Penniless, 1592 (Works, ed. Grosart, ii. 10). It's also included in the Yorkshire Tragedy, 1608.

[305] Ed. 1613 “Tioris.”

__A_TAG_PLACEHOLDER_0__ Ed. 1613 “Tioris.”

[306] Fere = proud, fierce. The word was obsolete in Marston’s time.

[306] Fere = proud, fierce. The word was outdated in Marston’s era.

[307] Quy. “Though Neptune cold”?—The passage smacks of Macbeth.

[307] Quy. “Is Neptune really that cold?”—The line reminds me of Macbeth.

[308] Cf. Hamlet, iii. 3:—
“Up, sword; and know thou a more horrid hent:
When he is drunk, asleep, or in his rage;
Or in the incestuous pleasures of his bed,” &c.

[308] Cf. Hamlet, iii. 3:—
"Stand up, sword; and understand there’s a more daunting chance:"
When he's drunk, sleeping, or mad;
"Or in the distorted pleasures of his bed," &c.

[309] Marston almost invariably makes a trisyllable of “vengeance.”

[309] Marston almost always turns “vengeance” into three syllables.

[310] i.e., cannot I be saved by “benefit of clergy”?

[310] i.e., can’t I be saved by “benefit of clergy”?

[311] Cf. Hamlet, i. 2:—
“So loving to my mother
That he might not beteem the winds of heaven
Visit her face too roughly.”

[311] Cf. Hamlet, i. 2:—
“He loved my mom so much.
He wouldn’t even allow the winds of heaven
"Don’t touch her face too hard."

[312] Old eds.Clarid.

Old eds. “Clarid.”

[313] Medina’s re-entrance is not marked in old eds.

[313] Medina’s return isn’t noted in old eds.

SCENE II.

SCENE II.

Venice.—The Senate-house.

Venice.—The Senate building.

Enter Amago the Duke, the Watch, and Senators.

Enter Amago the Duke, the Watch, and Senators.

Duke. I am amazèd at this maze of wonder,
Wherein no thread or clue presents itself,
To wind us from the obscure passages.
What says my nephew?

Duke. I'm blown away by this confusing situation,
Where there’s no clue or sign to lead us,
To guide us through these uncertain paths.
What does my nephew say?

Watch. Still resolute, my lord, and doth confess the theft.

Watch. Still determined, my lord, and admits the theft.

Duke. We’ll use him like a felon; cut him off,
For fear he do pollute our sounder parts.
Yet why should he steal,
That is a loaden vine? Riches to him
Were adding sands into the Libyan shore,    10
Or far less charity. What say the other prisoners?

Duke. We'll treat him like a criminal; isolate him,
Out of concern that he might taint our better qualities.
But why would he steal,
When he's already a wealthy person? Money for him
It would be like adding sand to the Libyan shore,    10
Or even less generous. What do the other inmates say?

Watch. Like men, my lord, fit for the other world,
They take’t upon their death, they slew your nephew.

Look. They are like men, my lord, prepared for the afterlife,
They took it upon themselves when they died; they killed your nephew.

Duke. And he is yet alive; keep them asunder;
We may scent out the wile.

Duke. And he’s still alive; keep them separated;
We might discover the trick.

Enter Claridiana and Rogero bound; with a Friar and Officers.

Enter Claridiana and Rogero enter with a Friar and Officers.

Rog. My friend, is it the rigour of the law
I should be tied thus hard, I’ll undergo it;
If not, prithee then slacken. Yet I have deserved it;
This murder lies heavy on my conscience.

Rog. My friend, is it truly the rigidness of the law
that I should be tied down like this? I’ll take it;
But if not, please loosen it a little. I still deserve it.
This murder is a heavy burden on my conscience.

Cla. Wedlock, ay, here’s my wedlock! O whore, whore, whore!    21

Cla. Marriage, yes, here's my marriage! Oh you promiscuous woman, promiscuous woman, promiscuous woman! 21

Friar. O, sir, be qualified.

Friar. Oh, sir, be prepared.

Cla. Sir,[314] I am to die a dog’s death, and will snarl a little at the old signor. You are only a parenthesis, which I will leave out of my execrations; but first to our quondam wives, that makes us cry our vowels in red capital letters, “I[315] and U are cuckolds!” O may bastard-bearing, with the pangs of childbirth, be doubled to ’em![316] May they have ever twins, and be three week in travail between! May they be so rivell’d[317] with painting by that time they are thirty, that it may be held a work of condign merit but to look upon ’em! May they live to ride in triumph in a dung-cart, and be brown’d with all the odious ceremonies belonging to ’t! may the cucking-stool be their recreation, and a dungeon their dying-chamber! May they have nine lives like a cat, to endure this and more! May they be burnt for witches of a sudden! And lastly, may the opinion of philosophers prove true, that women have no souls!    39

Cla. Sir,[314] I’m going to die a miserable death, and I’ll snap a bit at the old man. You’re just a side note, which I will ignore in my curses; but first, to our once wives, who make us scream our heart out in big, bold letters, “I[315] and U are fools!” Oh, may the pain of giving birth to bastards be doubled for them![316] May they always have twins and spend three weeks in labor! May they be so overwhelmed[317] with makeup by the time they're thirty that it’s considered a real achievement just to look at them! May they live to ride in a manure cart, covered in all the disgusting rituals that go with it! May the cucking-stool be their entertainment, and a dungeon their deathbed! May they have nine lives like a cat to survive this and more! May they be burned as witches suddenly! And finally, may the beliefs of philosophers turn out to be true, that women have no souls! 39

Enter Thais and Abigail.

Enter Thais and Abigail.

Tha. What, husband—at your prayers so seriously?

Tha. What’s going on, husband—are you really that serious about your prayers?

Cla. Yes, a few orisons. Friar, thou that stand’st between the soul of men and the devil, keep these female spirits away, or I will renounce my faith else.

Cla. Yes, a few prayers. Friar, you who stand between the souls of men and the devil, keep these female spirits away, or I will renounce my faith.

Abi. O husband, I little thought to see you in this taking!

Abi. Oh husband, I never expected to see you like this!

Rog. O whore, I little thought to see you in this taking! I am governor of this castle of cornets; my grave will be stumbled at, thou adult’rate whore! I might have lived like a merchant.

Rog. Oh, you whore, I never expected to see you like this! I'm the governor of this castle of cornets; my reputation will be ruined, you deceitful whore! I could have lived like a merchant.

Abi. So you may still, husband.    50

So you may still, babe.

Rog. Peace! thou art very quick with me.

Rog. Chill! You're really fast with me.

Abi. Ay, by my faith, and so I am, husband; belike you know I am with child.

Abi. Yes, by my word, I really am, husband; you probably know I'm expecting a baby.

Rog. A bastard, a bastard, a bastard! I might have lived like a gentleman, and now I must die like a hanger on, show tricks upon a wooden horse, and run through an alphabet of scurvy faces! Do not expect a good look from me.

Rog. A jerk, a jerk, a jerk! I could have lived like a decent person, and now I have to die like a loser, performing tricks on a wooden horse, and dealing with a whole lineup of shady characters! Don’t expect me to look good.

Abi. O me unfortunate!    59

Abi. Oh, how unfortunate!    59

Cla. O to think, whilst we are singing the last hymn, and ready to be turn’d off, some new tune is inventing by some metremonger, to a scurvy ballad of our death! Again, at our funeral sermons, to have the divine divide his text into fair branches! O, flesh and blood cannot endure it! Yet I will take it patiently like a grave man. Hangman, tie not my halter of a true lover’s knot: I burst it if thou dost.

Cla. Oh, to think that while we are singing the last hymn and getting ready to be sent off, some new song is being created by some verse-maker, to a lousy ballad about our death! Again, during our funeral sermons, to have the divine split his sermon into neat sections! Oh, flesh and blood can’t handle it! Yet I will bear it like a serious man. Hangman, don’t tie my noose with a true lover’s knot: I’ll break it if you do.

Tha. Husband, I do beseech you on my knees,
I may but speak with you. I’ll win your pardon,
Or with tears, like Niobe, bedew a—    70

Tha. Husband, I'm begging you on my knees,
Just let me talk to you. I’ll earn your forgiveness.
Or with tears, like Niobe, wet a—    70

Cla. Hold thy water, crocodile, and say I am bound to do thee no harm; were I free, yet I could not be looser than thou; for thou art a whore! Agamemnon’s daughter, that was sacrificed for a good wind, felt but a blast of the torments thou should’st endure; I’d make thee swound oftener than that fellow that by his continual practice hopes to become drum-major. What sayst thou to tickling to death with bodkins? But thou hast laugh’d too much at me already, whore! Justice, O duke! and let me not hang in suspense.    80

Cla. Hold your horses, crocodile, and know that I’m not here to hurt you; even if I could, I wouldn’t be any looser than you are; because you’re a prostitute! Agamemnon’s daughter, who was sacrificed for a favorable wind, only felt a fraction of the torment you should endure; I’d make you faint more often than that guy who practices all the time hoping to become the drum major. What do you think about being tickled to death with needles? But you've laughed at me too much already, prostitute! Justice, oh duke! and don’t keep me hanging in suspense. 80

Abi. Husband,
I’ll nail me to the earth, but I’ll win your pardon.
My jewels, jointure, all I have shall fly;
Apparel, bedding, I’ll not leave a rug,
So you may come off fairly.

Partner,
I'll stay grounded, but I'll earn your forgiveness.
My jewels, my possessions, everything I own will be lost;
Clothes, bedding, I won’t leave a single rug behind,
So you can gain an advantage.

Cla. I’ll come off fairly: thou[318] beg my pardon! I had rather Chirurgeons’ Hall should beg my dead body for an anatomy[319] than thou beg my life. Justice, O duke! and let us die!

Cla. I’ll be fair: you[318] should apologize! I’d rather Chirurgeons’ Hall ask for my dead body for an anatomy[319] than for you to beg for my life. Justice, O duke! Let us just die!

Duke. Signior, think, and dally not with heaven,    90
But freely tell us, did you do the murder?

Duke. Sir, think about this and don’t spend time with heaven,    90
But just be honest with us, did you kill anyone?

Rog. I have confess’d it to my ghostly father,
And done the sacrament of penance for it.
What would your highness more?

Rog. I’ve admitted it to my spiritual advisor,
And completed the sacrament of confession for it.
What else do you want, your highness?

Cla. The like have I; what would your highness more?
And here before you all take’t o’ my death.

Cla. I feel the same; what do you want from me, your highness?
And standing here in front of all of you, think of it as my last wish.

Duke. In God’s name, then, on to the death with them.
For the poor widows that you leave behind,
Though by the law their goods are all confiscate,
Yet we’ll be their good lord, and give ’em them.    100

Duke. In God’s name, let’s push ahead with this to the finish.
For the poor widows you leave behind,
Even though the law states that their belongings are taken,
We'll take care of them and give them what they deserve.    100

Cla. O, hell of hells! Why did not we hire some villain to fire our houses?

Cla. Oh, what a nightmare! Why didn’t we hire someone to burn our houses down?

Rog. I thought not of that; my mind was altogether of the gallows.

Rog. I didn’t think about anything else; I was completely focused on the gallows.

Cla. May the wealth I leave behind me help to damn her!
And as the cursèd fate of courtezan,
What she gleans with her traded art,
May one, as a most due plague, cheat from [her]
In the last dotage of her tirèd lust,
And leave her an unpitied age of woe!    110

Cla. I hope the fortune I leave behind helps to bring her a curse!
And as the tragic fate of a courtesan,
What she makes from her skills that she trades,
May someone, as a just punishment, take from her.
In the last moments of her wearied longing,
And leave her a lonely time filled with misery!    110

Rog. Amen, amen!

Amen!

Watch. I never heard men pray more fervently.

Watch. I’ve never heard men pray with more passion.

Rog. O that a man had the instinct of a lion!
He knows when the lioness plays false to him.[320]

Rog. Oh, if only a man had the instincts of a lion!
He can tell when the lioness is cheating on him.[320]

But these solaces, these women, they bring man to grey hairs before he be thirty; yet they cast out such mists of flattery from their breath, that a man’s lost again. Sure I fell into my marriage-bed drunk, like the leopard;[321] well, with sober eyes, would I had avoided it!
Come, grave, and hide me from my blasted fame.
O that thou couldst as well conceal my shame!

But these comforts, these women, they can age a man before he even hits thirty; yet they exhale such flattering illusions that a man gets lost again. I definitely fell into my marriage bed drunk, like a leopard; with sober thoughts, I wish I had avoided it!
Come, seriousness, and shield me from my damaged reputation.
Oh, I wish you could hide my shame too!

[Exeunt ambo, with Officers.

[Both exit, with Officers.]

Tha. Your pardon and your favour, gracious duke,    120

Tha. I seek your forgiveness and your kindness, esteemed duke, 120

[Women kneel.

Women kneel.

At once we do implore, that have so long
Deceived your royal expectation,
Assurèd that the comic knitting up
Will move your spleen unto the proper use
Of mirth, your natural inclination;
And wipe away the watery-coloured anger
From your enforcèd cheek. Fair lord, beguile
Them and your saf’t[322] with a pleasing smile.    130

We urgently request you, after keeping you waiting for so long,
To achieve your royal dreams,
I'm sure this comedy will bring you back.
To your innate happiness;
And wash away the tears of anger.
From your tense expression. Oh my gosh, charm.
Stay safe and greet them with a warm smile. [322]    130

Duke. Now by my life I do: fair ladies, rise;
I ne’er did purpose any other end
To them and these designs. I was inform’d
Of some notorious error as I sat in judgment;
And—do you hear?—these night works require
A cat’s eyes to impierce dejected darkness.
Call back the prisoners.

Duke. I promise, I really do: lovely ladies, please stand up;
I never meant for anything else to happen.
For them and these plans, I was informed.
Regarding a significant mistake I made while judging;
And—do you hear?—these nighttime tasks need
A cat's eyes can see through the deep darkness.
Release the prisoners.

Re-enter Claridiana and Rogero, with Officers.

Re-enter Claridiana and Rogero, with Officers.

Cla. Now what other troubled news, that we must back thus? Has any senator begg’d my pardon upon my wife’s prostitution to him?    140

Cla. So what other bad news do we have to face? Has any senator asked for my forgiveness regarding my wife's affair with him? 140

Rog. What a spite’s this; I had kept in my breath of purpose, thinking to go away the quieter, and must we now back?

Rog. What a pain this is; I had been holding back my intention, planning to leave peacefully, and now we have to go back?

Duke. Since you are to die, we’ll give you winding-sheets,
Wherein you shall be shrouded alive,
By which we wind out all these miseries.
Signor Rogero, bestow a while your eye,
And read here of your true wife’s chastity.

Duke. Since you're about to die, we’ll give you burial shrouds,
In which you'll be wrapped up alive,
Through which we’ll uncover all these challenges.
Mr. Rogero, please take a moment to look,
And read about the honesty of your real wife.

[Gives him a letter.

[Hands him a letter.]

Rog. Chastity?
I will sooner expect a Jesuit’s recantation,    150
Or the great Turk’s conversion, than her chastity.
Pardon, my liege; I will not trust mine eyes:
Women and devils will deceive the wise!

Chastity?
I would be more likely to expect a Jesuit to retract what he said,    150
It's easier for the great Turk to convert than for me to believe in her purity.
Forgive me, my lord; I can't believe what I'm seeing:
Women and demons can deceive even the most astute!

Duke. The like, sir, is apparent on your side.

Duke. It’s clear on your side, sir.

[To Claridiana.

To Claridiana.

Cla. Who? my wife?—chaste? Has your grace your sense? I’ll sooner believe a conjuror may say his prayers with zeal, than her honesty. Had she been an hermaphrodite, I would scarce have given credit to you.
Let him that hath drunk love-drugs trust a woman.
By Heaven, I think the air is not more common!    160

Cla. Who? My wife? Pure? Are you serious? I’d sooner believe a magician might actually pray with sincerity than trust her honesty. If she were a hermaphrodite, I’d barely believe you.
Let someone who's been deceived by love potions trust a woman.
Honestly, I think the air is less ordinary!    160

Duke. Then we impose a strict command upon you.
On your allegiance read what there is writ.

Duke. Then we establish a clear guideline for you.
Based on your loyalty, read what’s written there.

Cla. A writ of error, on my life, my liege!

Cla. A writ of error, I swear, my lord!

Duke. You’ll find it so, I fear.

Duke. I’m afraid you’ll see it that way.

Cla. What have we here—the Art of Brachygraphy?

Cla. What do we have here—the Art of Brachygraphy?

[Looks on the letter.

Looks at the letter.

Tha. He’s stung already:
As if his eyes were turn’d on Perseus’ shield,
Their motion’s fix’d, like to the pool of Styx.

He’s already been hurt:
It's like his eyes were glued to Perseus' shield,
Their movement is frozen, just like the waters of the Styx.

Abi. Yonder’s our flames; and from the hollow arches
Of his quick eyes comes comet-trains of fire,    170
Bursting like hidden furies from their caves.

Abi. Here are our flames, and from the empty arches
From his sharp eyes come streaks of fiery light,    170
Exploding like concealed anger coming out of their hiding spots.

Cla.[323] [reading.] Yours till he sleep the sleep of all the world, Rogero.

Cla.[323] [reading.] I’ll be yours until he falls into the eternal sleep, Rogero.

Rog. Marry, and that lethargy seize you! Read again.

Rog. Seriously, and let that laziness take over you! Read again.

[Reads again.

[Rereads.

Cla. Thy servant so made by his stars, Rogero.
A fire on your wand’ring stars, Rogero!

Cla. Your servant is shaped by his fate, Rogero.
A fire on your wandering stars, Rogero!

Rog. Satan, why hast thou tempted my wife?

Rog. Satan, why did you tempt my wife?

[To Claridiana.

To Claridiana.

Cla. Peace, seducer; I am branded in the forehead with your star-mark. May the stars drop upon thee, and with their sulphur vapours choke thee, ere thou come at the gallows!    181

Cla. Calm down, seducer; I've got your mark on my forehead. May the stars fall on you and suffocate you with their sulfur fumes before you reach the gallows! 181

Rog. Stretch not my patience, Mahomet.

Rog. Don't test my patience, Mahomet.

Cla. Termagant,[324] that will stretch thy patience!

Termagant, __A_TAG_PLACEHOLDER_0__ that will test your patience!

Rog. Had I known this I would have poison’d thee in the chalice
This morning, when we received the sacrament.[325]

Rog. If I had known this, I would have poisoned your drink.
This morning when we took the sacrament.[325]

Cla. Slave, know’st thou this? [showing the ring] ’tis an appendix to the letter;
But the greater temptation is hidden within.
I will scour thy gorge like a hawk:
Thou shalt swallow thine own stone in this letter,
Seal’d and delivered in the presence of——

Cla. Hey, slave, do you know about this? [showing the ring] It's an addition to the letter;
But the greater temptation lies in what’s concealed within.
I'll investigate you closely like a hawk:
You’ll need to accept your own truth in this letter,
Sealed and delivered in the presence of——

[They bustle.

They rush around.

Duke. Keep them asunder; list to us, we command

Duke. Keep them apart; listen to us, we insistUnderstood! Please provide the text you'd like me to modernize.

Cla. O violent villain! is not thy hand hereto,    192
And writ in blood to show thy raging lust?

Cla. O cruel villain! Isn't your hand already    192
And written in blood to show your intense desire?

Tha. Spice of a new halter, when you go a-ranging thus like devils, would you might burn[326] for’t as they do!

Tha. The excitement of a new outfit, when you go out exploring like wild ones, I wish you could set it on fire like they do![326]

Rog. Thus ’tis to lie with another man’s wife: he shall be sure to hear on’t again. But we are friends, sweet duck.

Rog. So that's what it's like to be with another man's wife: he'll definitely hear about it later. But we're friends, sweetie.

[Kisses Thais.

Kisses Thais.

And this shall be my maxim all my life:—
Man never happy is till in a wife.    200

And this will be my motto for life:—
A man is never really happy until he has a wife.    200

Cla. Here sink our hate lower than any whirlpool;
And this chaste kiss I give thee for thy care,

Cla. Let our hatred go deeper than any whirlpool;
And I give you this sincere kiss as thanks for your care,

[Kisses Abigail.

Kisses Abigail.

Thou[327] fame of women, full as wise as fair.

Thou[327] fame of women, just as wise as they are beautiful.

Duke. You have saved us a labour in your love.
But, gentlemen, why stood you so prepost’rously?
Would you have headlong run to infamy—
In so defamed a death?

Duke. You've saved us a lot of work with your love.
But, guys, why were you just standing there so foolishly?
Would you have jumped straight into shame—
In such a disgraceful death?

Rog. O, my liege, I had rather roar to death with Phalaris’ bull, than, Darius-like, to have one of my wings extend to Atlas, the other to Europe.    210
What is a cuckold, learn of me:
Few can tell his pedigree,
Nor his subtile nature conster.
Born a man but dies a monster:
Yet great antiquaries say,
They spring from out Methusala,
Who after Noah’s flood was found
To have his crest with branches crown’d.
God in Eden’s happy shade
This same [wondrous] creature made.    220
Then to cut off all mistaking,
Cuckolds are of women’s making;
From whose snares, good Lord deliver us!

Rog. Oh, my lord, I would rather scream to death inside Phalaris’ bull than, like Darius, have one wing stretch out to Atlas and the other to Europe. 210
Let me explain what a cuckold is:
Few can trace their family tree,
Or figure out his clever nature.
Born a man but dies a monster:
But great historians say,
They come from Methuselah.
Who, after Noah's flood, was discovered
To crown his crest with branches.
God made this amazing creature.
In the happy shade of Eden.    220
To clarify any misunderstanding,
Cuckolds are created by women;
From whose traps, good Lord, save us!

Cla. Amen, amen!
Before I would prove a cuckold, I would endure a winter’s pilgrimage in the frozen zone—go stark naked through Muscovia, where the climate is nine degrees colder than ice. And thus much to all married men:—
Now I see great reason why    230
Love should marry jealousy:
Since man’s best of life is fame,
He hath need preserve the same;
When ’tis in a woman’s keeping,
Let not Argus’ eyes be sleeping.
The box[328] unto Pandora given
By the better powers of heaven,
That contains pure chastity,
And each virgin sovereignty,
Wantonly she oped and lost,    240
Gift whereof a god might boast.
Therefore, shouldst thou Diana wed,
Yet be jealous of her bed.

Cla. Amen, amen!
Before I let myself be made a fool, I would rather go on a winter journey in freezing temperatures—walk completely naked through Russia, where it's nine degrees colder than ice. And this is my advice to all married men:—
Now I understand a good reason why    230
Love should unite with jealousy:
Since a man's most valuable asset is his reputation,
He needs to safeguard it;
When it's in a woman's hands,
Don't let Argus' eyes be shut.
Pandora's box[328]
By the higher powers of heaven,
That represents pure chastity,
And each virgin's autonomy,
She carelessly opened and lost,    240
A gift that even a god would be proud of.
So, if you marry Diana,
Make sure to keep an eye on her bed.

Duke. Night,[329] like a masque, is enter’d heaven’s great hall,
With thousand torches ushering the way.
To Risus will we consecrate this evening;
Like[330] Mycerinus cheating th’ oracle,
We’ll make this night the day. Fair joys befall
Us and our actions. Are you pleasèd all?

Duke. Night, [329] like a masquerade, has arrived in heaven’s great hall,
With a thousand torches illuminating the path.
We'll dedicate this evening to joy;
Like Mycerinus tricking the oracle,
We'll make this night feel like day. Here's to good times ahead.
To us and what we've done. Are you all happy?

[Exeunt omnes.

[Everyone exits.

[314] This scene is printed throughout as verse in old eds.

[314] This scene is presented as a poem in old editions.

[315] “I and U”—so the editor of 1820. Old eds. “IOV.”

[315] “Me and You”—that’s what the editor in 1820 called it. Old editions “IOV.”

[316] Old eds. “him.”

__A_TAG_PLACEHOLDER_0__ Old eds. "him."

[317] Wrinkled.

Wrinkled.

[318] Old eds. “then.”

Old eds. “then.”

[319] i.e., subject for dissection.

subject for analysis.

[320] Topsel in his account of the lion writes:—“Their sight and their smelling are most excellent, for they sleep with their eyes open, and because of the brightness of their eyes they cannot endure the light of fire, for fire and fire cannot agree: also their smelling (for which cause they are called Odorati) is very eminent, for if the lioness have committed adultery with the leopard the male discovereth it by the sense of his nose.”—History of Fourfooted Beasts, ed. 1658, p. 360.

[320] Topsel, in his account of the lion, writes: “Their eyesight and sense of smell are exceptional, as they often sleep with their eyes open, and due to the brightness of their eyes, they cannot tolerate the light of fire, since fire and fire do not mix. Moreover, their sense of smell (which is why they are called Odorati) is very keen, because if a lioness has been unfaithful with a leopard, the male detects it by his sense of smell.” —History of Fourfooted Beasts, ed. 1658, p. 360.

[321] Topsel has some remarks on the fondness of leopards for wine.

[321] Topsel has a few comments about how much leopards enjoy wine.

[322] Quy. “Them, and yourself too”?

__A_TAG_PLACEHOLDER_0__ Quy. “Them, and yourself too?”

[323] Not marked in old eds.

__A_TAG_PLACEHOLDER_0__ Not marked in old editions.

[324] Often mentioned in company with Mahomet and regarded as a Saracen deity. In the miracle-plays he was introduced as a noisy ranter, like Herod.

[324] Often referenced alongside Muhammad and seen as a Saracen god. In the miracle plays, he was portrayed as a loud-mouthed figure, similar to Herod.

[325] In the closing chapter of Vulgar Errors, Sir Thomas Browne writes:—“I hope it is not true, and some indeed have probably denied, what is recorded of the monk who poisoned Henry the emperor in a draught of the Holy Eucharist. ’Twas a scandalous wound unto the Christian religion, and I hope all Pagans will forgive it, when they shall read that a Christian was poisoned in a cup of Christ and received his bane in a draught of his salvation.”

[325] In the final chapter of Vulgar Errors, Sir Thomas Browne writes: “I hope it isn’t true, and some have likely denied it, what’s recorded about the monk who poisoned Henry the emperor in a sip of the Holy Eucharist. It was a scandalous blow to the Christian faith, and I hope all non-Christians will forgive it when they read that a Christian was poisoned in a cup of Christ and received his doom in a sip of his salvation.”

[326] An allusion to lues venerea.

__A_TAG_PLACEHOLDER_0__ A reference to venereal disease.

[327] Old eds. “That.”

__A_TAG_PLACEHOLDER_0__ Old eds. “That.”

[328] The waggish old printers read “The pox is unto panders given!” The line (which was properly restored by the editor of 1820) must have been purposely misprinted.

[328] The playful old printers read “The pox is for panders given!” The line (which was correctly fixed by the editor in 1820) must have been intentionally misprinted.

[329] “Night ... the way.”—These lines are found in Barkstead’s Myrrha, 1607. See Introduction to vol. i.

[329] “Night ... the way.”—These lines are from Barkstead’s Myrrha, 1607. See Introduction to vol. i.

[330] Old eds. “Like Missermis cheating of the brack.” The editor of 1820 reads “Like Missermis cheating of the brach,” and to the word brach appends a note, “i.e., the bitch;” but who was Missermis and what the bitch? Every reader of Herodotus (and every reader of Matthew Arnold) will remember how Mycerinus cheated the oracle by turning the day into the night. Six thousand years ago the torches flared in Mycerinus’ palace; and I saw his bones this afternoon at Bloomsbury!

[330] Old eds. “Like Missermis cheating of the brack.” The editor from 1820 says “Like Missermis cheating of the brach,” and adds a note to the word brach, “i.e., the female dog;” but who was Missermis and what does the female dog mean? Every reader of Herodotus (and every reader of Matthew Arnold) will recall how Mycerinus tricked the oracle by switching day into night. Six thousand years ago, the torches were burning in Mycerinus’ palace; and I saw his bones this afternoon at Bloomsbury!

THE
METAMORPHOSIS
OF
PYGMALION’S IMAGE,
AND SOME SATIRES.

The Metamorphosis of Pigmalions Image. And Certaine Satyres. At London, Printed for Edmond Matts, & are to be sold at the signe of the hand and Plough in Fleet streete. 1598. 8vo.

The Metamorphosis of Pygmalion's Image. And Certain Satires. In London, Printed for Edmond Matts, & are for sale at the sign of the Hand and Plough on Fleet Street. 1598. 8vo.

TO THE WORLD’S MIGHTY MONARCH,

TO THE WORLD'S POWERFUL LEADER,

GOOD OPINION.

Great opinion.

Sole regent of affection, perpetual ruler of judgment, most famous justice of censures, only giver of honour, great procurer of advancement, the world’s chief balance, the all of all, and all in all, by whom all things are that that they are, I humbly offer this my poem.

Sole ruler of love, constant judge of decisions, most renowned authority on criticism, the only source of honor, great provider of progress, the world’s main balance, everything and the essence of everything, through whom all things exist as they do, I humbly present this poem.

Thou soul of pleasure, honour’s only substance,
Great arbitrator, umpire of the earth,
Whom fleshly epicures call virtue’s essence;
Thou moving orator, whose powerful breath
Sways all men’s judgment—Great Opinion,
Vouchsafe to gild my imperfection.

You spirit of enjoyment, the only genuine essence of honor,
Great judge, the referee of the world,
Whom hedonists refer to as the core of virtue;
You persuasive speaker with a strong voice
Affects everyone's judgment—Great Opinion,
Please highlight my flaws.

If thou but deign to grace my blushing style,
And crown my muse with good opinion;
If thou vouchsafe with gracious eye to smile
Upon my young new-born invention,
I’ll sing a hymn in honour of thy name
And add some trophy to enlarge thy fame.

If you could just give my shy style some attention,
And bless my muse with your positive thoughts;
If you could please smile upon
My new creation,
I’ll sing a song to celebrate your name.
And include a prize to enhance your reputation.

But if thou wilt not with thy deity
Shade and inmask the errors of my pen,
Protect an orphan poet’s infancy,
I will disclose, that all the world shall ken
How partial thou art in honours giving,
Crowning the shade, the substance’ praise depriving.

But if you won’t with your god
Hide the mistakes in my writing,
Support a young poet's start,
I will share this so that everyone will be aware.
How biased you are when giving out honors,
Crowning the darkness, taking away the praise from the substance.

W. K.[331]

W. K.

[331] W. K[insayder].—See Introduction, vol. i.

__A_TAG_PLACEHOLDER_0__ W. K[insayder].—See Introduction, vol. 1

THE ARGUMENT OF THE POEM.

THE POEM'S ARGUMENT.

Pygmalion, whose chaste mind all the beauties in Cyprus could not ensnare, yet, at the length having carved in ivory an excellent proportion of a beauteous woman, was so deeply enamoured on his own workmanship that he would oftentimes lay the image in bed with him, and fondly use such petitions and dalliance as if it had been a breathing creature. But in the end, finding his fond dotage, and yet persevering in his ardent affection, made his devout prayers to Venus, that she would vouchsafe to inspire life into his love, and then join them both together in marriage. Whereupon Venus, graciously condescending to his earnest suit, the maid (by the power of her deity) was metamorphosed into a living woman. And after, Pygmalion (being in Cyprus) begat a son of her, which was called Paphus; whereupon that island Cyprus, in honour of Venus, was after, and is now, called by the inhabitants, Paphos.[332]

Pygmalion, whose pure mind could not be captivated by any beauties in Cyprus, eventually carved an incredibly well-proportioned statue of a beautiful woman out of ivory. He became so infatuated with his own creation that he would often take the statue to bed with him, treating it with the same affection and tenderness as if it were a living being. However, realizing his foolish obsession yet remaining deeply in love, he prayed fervently to Venus, asking her to grant life to his beloved and unite them in marriage. In response to his heartfelt plea, Venus graciously agreed, and the statue was transformed into a living woman. Later, Pygmalion, while in Cyprus, had a son with her named Paphus; as a result, the island of Cyprus came to be known as Paphos in honor of Venus, a name still used by its inhabitants today.[332]

[332] Paphos was the name of a town in Cyprus (celebrated for its temple of Aphrodite)—not of the island itself.

[332] Paphos was the name of a town in Cyprus (known for its temple of Aphrodite)—not the name of the island itself.

TO HIS MISTRESS.

TO HIS GIRLFRIEND.

My wanton muse lasciviously doth sing
Of sportive love, of lovely dallying.
O beauteous angel! deign thou to infuse
A sprightly wit into my dullèd muse.
I invocate none other saint but thee,
To grace the first blooms of my poesy.
Thy favours, like Promethean sacred fire,
In dead and dull conceit can life inspire;
Or, like that rare and rich elixir stone,
Can turn to gold leaden invention.
Be gracious then, and deign to show in me
The mighty power of thy deity;
And as thou read’st (fair) take compassion—
Force me not envy my Pygmalion:
Then when thy kindness grants me such sweet bliss,
I’ll gladly write thy Metamorphosis.

My playful muse sings freely.
About playful romance and charming teasing.
Oh beautiful angel! Please grant me
With some energetic motivation for my boring muse.
I ask no other saint but you,
To celebrate the first blooms of my poetry.
Your gifts, like the sacred fire of Prometheus,
Can bring energy to dull ideas;
Or, like that rare and valuable philosopher's stone,
Can turn boring ideas into something amazing.
So be kind, and let me express it through me.
The amazing strength of your divine nature;
As you read this, please show compassion—
Don’t make me jealous of my Pygmalion:
Then when your kindness brings me such sweet joy,
I’ll gladly write your Metamorphosis.

PYGMALION.

Pygmalion, whose high love-hating mind
Disdain’d to yield servile affection
Or amorous suit to any woman-kind,
Knowing their wants and men’s perfection;
Yet love at length forced him to know his fate,
And love the shade whose substance he did hate.

Pygmalion, whose proud heart ignored
The concept of demonstrating submissive affection
Or romantic advances towards any woman,
Knowing their own flaws and the perfection of men;
In the end, love forced him to confront his destiny,
And love the form that he hated at its core.

For having wrought in purest ivory
So fair an image of a woman’s feature,[333]
That never yet proudest mortality
Could show so rare and beauteous a creature    10
(Unless my mistress’ all-excelling face,
Which gives to beauty beauty’s only grace)—

For crafting in the finest ivory
What a beautiful depiction of a woman's features,[333]
That even the most prideful of humans
Could never show such a rare and beautiful being.
(Except for my mistress's unmatched beauty,
Which gives beauty its real elegance)—

He was amazèd at the wondrous rareness
Of his own workmanship’s perfection.
He thought that Nature ne’er produced such fairness,
In which all beauties have their mansion;
And, thus admiring, was enamourèd
On that fair image himself portrayèd.

He was blown away by the incredible uniqueness.
Of the perfection of his work.
He believed that nature had never made such beauty,
Where all beauties belong;
As he admired, he fell in love.
With that flattering image he had formed of himself.

And naked as it stood before his eyes,
Imperious Love declares his deity:    20
O what alluring beauties he descries
In each part of his fair imagery!
Her nakedness each beauteous shape contains;
All beauty in her nakedness remains.

And bare as it was right in front of him,
Demanding Love shows its strength:    20
Oh, what stunning beauties he sees.
In every part of her beautiful body!
Her naked form showcases every beautiful curve;
All beauty is found in her nakedness.

He thought he saw the blood run through the vein
And leap, and swell with all alluring means;
Then fears he is deceived, and then again
He thinks he seeth the brightness of the beams
Which shoot from out the fairness of her eye;
At which he stands as in an ecstasy.    30

He thought he saw the blood moving through the vein.
And pulse, expand with all enchanting methods;
Then he worries that he’s been deceived, and once again
He thinks he sees the brightness of the rays.
That glance from the beauty of her eye;
And he stands there in a daze.    30

Her amber-colourèd, her shining hair,
Makes him protest the sun hath spread her head
With golden beams, to make her far more fair;
But when her cheeks his amorous thoughts have fed,
Then he exclaims, “Such red and so pure white,
Did never bless the eye of mortal sight!”

Her shiny amber hair,
Causes him to say that the sun has spread its rays.
To make her even more beautiful;
But when her cheeks ignite his loving thoughts,
Then he exclaims, “Such bright red and pure white,
"Have never blessed anyone's eyes!"

Then views her lips, no lips did seem so fair
In his conceit, through which he thinks doth fly
So sweet a breath, that doth perfume the air;
Then next her dimpled chin he doth descry,    40
And views and wonders, and yet views her still,—
Love’s eyes in viewing never have their fill.

Then he looks at her lips; no lips have ever appeared so beautiful.
In his mind, he thinks they carry __A_TAG_PLACEHOLDER_0__.
Such a sweet smell that fills the air;
Then he notices her dimpled chin,    40
He stares and wonders, still gazing at her—
Love's gaze is never fulfilled.

Her breasts like polish’d ivory appear,
Whose modest mount do bless admiring eye,
And makes him wish for such a pillowbear.[334]
Thus fond Pygmalion striveth to descry
Each beauteous part, not letting over-slip
One parcel of his curious workmanship;

Her breasts resemble polished ivory,
Their subtle curves are captivating to look at,
And he longs for such a gentle hug.[334]
So, beloved Pygmalion aims to see
Every beautiful detail, no missing
Any part of his complex creation;

Until his eye descended so far down
That it descrièd Love’s pavilion,    50
Where Cupid doth enjoy his only crown,
And Venus hath her chiefest mansion:
There would he wink, and winking look again,
Both eyes and thoughts would gladly there remain.

Until his eyes fell so low
That it saw Love’s pavilion,    50
Where Cupid wears his only crown,
And Venus has her primary home:
There he would wink, and with a wink, he would look again,
Both eyes and thoughts would gladly remain there.

Who ever saw the subtile city-dame
In sacred church, when her pure thoughts should pray,
Peer through her fingers, so to hide her shame,
When that her eye, her mind would fain bewray:
So would he view and wink, and view again;
A chaster thought could not his eyes retain.    60

Who ever saw the sophisticated city woman?
In a holy church, when her clean thoughts should pray,
Peeking through her fingers, trying to hide her embarrassment,
When she looked into his eyes, her thoughts would quickly give her away:
He would look and wink, then look again;
A more innocent thought couldn't capture his attention.    60

He wondered that she blush’d not when his eye
Saluted those same parts of secresy:
Conceiting not it was imagery
That kindly yielded that large liberty.
O that my mistress were an image too,
That I might blameless her perfections view!

He was surprised she didn't get embarrassed when he looked at those private parts.
Not knowing it was just a daydream.
That generously offered that kind of freedom.
Oh, how I wish my mistress were just a statue as well,
So I could appreciate her beauty without feeling guilty!

But when the fair proportion of her thigh
Began appear, “O Ovid!” would he cry,
“Did e’en Corinna show such ivory
When she appeared in Venus livery!”    70
And thus enamour’d dotes on his own art
Which he did work, to work his pleasing smart.

But when the perfect shape of her thigh
Started to show, “O Ovid!” he would shout,

"Did even Corinna have such smooth skin?"
"When she dressed up as Venus!"    70
And so he falls in love with his own work.
Which he made to address his own desire.

And fondly doting, oft he kiss’d her lip;
Oft would he dally with her ivory breasts;
No wanton love-trick would he over-slip,
But still observ’d all amorous beheasts,
Whereby he thought he might procure the love
Of his dull image, which no plaints could move.

He often kissed her lips lovingly;
He would often playfully tease her soft skin;
He wouldn't skip any playful act of love,
But still complied with all tender requests,
Hoping to win someone's affection
Of his motionless reflection, which displayed no signs of emotion.

Look how the peevish[335] Papists crouch and kneel
To some dumb idol with their offering,    80
As if a senseless carvèd stone could feel
The ardour of his bootless chattering,
So fond he was, and earnest in his suit
To his remorseless image, dumb and mute.

Look at how the grumpy[335] Catholics shrink back and kneel.
Before a lifeless idol with their offerings,    80
As if a lifeless carved stone could actually feel
The intensity of his pointless rambling,
He was so dedicated and earnest in his request.
To his unyielding image, quiet and motionless.

He oft doth wish his soul might part in sunder
So that one half in her had residence;
Oft he exclaims, “O beauty’s only wonder!
Sweet model of delight, fair excellence,
Be gracious unto him that formèd thee,
Compassionate his true love’s ardency.”    90

He often wishes his soul could be divided.
So that one half could reside within her;
He often shouts, “Oh, the greatest wonder of beauty!
Sweet embodiment of joy, beautiful brilliance,
Be kind to your creator,
"Show empathy for the passion of his true love."    90

She with her silence seems to grant his suit;
Then he all jocund, like a wanton lover,
With amorous embracements doth salute
Her slender waist, presuming to discover
The vale of Love, where Cupid doth delight
To sport and dally all the sable night.

Her silence appears to agree with his request;
Then he, all cheerful, like a fun-loving partner,
Greets with loving hugs
Her slim waist, bold enough to explore
The world of Love, where Cupid thrives.
To have fun and flirt all through the night.

His eyes her eyes kindly encounterèd;
His breast her breast oft joinèd close unto;
His arms’ embracements oft she sufferèd;
Hands, arms, eyes, tongue, lips, and all parts did woo;    100
His thigh with hers, his knee play’d with her knee,—
A happy consort when all parts agree!

His eyes connected with hers in a warm way;
His chest often pressed tightly against hers;
He often held her in his arms;
Hands, arms, eyes, tongue, lips, and every part yearned for her love;    100
His thigh next to hers, his knee brushing against hers—
A joyful harmony when everything is in sync!

But when he saw, poor soul, he was deceivèd
(Yet scarce he could believe his sense had failed[336]),
Yet when he found all hope from him bereavèd,
And saw how fondly all his thoughts had erred,
Then did he like to poor Ixion seem,
That clipt a cloud instead of Heaven’s Queen.

But when he saw, the poor guy, he was misled.
Yet he could hardly believe his senses had deceived him[336],
But when he realized that all hope was gone,
And realized how foolish all his thoughts had been,
Then he resembled unfortunate Ixion,
Who welcomed a cloud instead of Heaven’s Queen.

I oft have smiled to see the foolery
Of some sweet youths, who seriously protest    110
That love respects not actual luxury,
But only joys to dally, sport, and jest;
Love is a child, contented with a toy;
A busk-point[337] or some favour stills the boy.

I often smile at the silliness
Some young people who genuinely assert __A_TAG_PLACEHOLDER_0__
That love doesn’t care about real wealth,
But just loves to play, joke around, and have a good time;
Love is like a child, joyful with a toy;
A nice piece of clothing or some item makes him happy.

Mark my Pygmalion, whose affections’ ardour
May be a mirror to posterity;
Yet viewing, touching, kissing (common favour),
Could never satiate his love’s ardency:
And therefore, ladies, think that they ne’er love you,
Who do not unto more than kissing move you.    120

Look at my Pygmalion, whose strong emotions
Could inspire future generations;

But just looking, touching, and kissing (basic affection),
Could never fulfill his intense love:
So, ladies, know that they never really love you,
Who only go as far as kissing.   120

For Pygmalion kiss’d, view’d, and embraced,
And yet exclaims, “Why were these women made,
O sacred gods, and with such beauties graced!
Have they not power as well to cool and shade,
As for to heat men’s hearts? Or is there none,
Or are they all, like mine, relentless stone?”

For Pygmalion kissed, looked at, and embraced,
And yet he shouts, “Why were these women created,
O holy gods, blessed with such beauty!
Can’t they also provide coolness and shade,
Does it also ignite men's hearts? Or is there none?
“Or are they all, like mine, hard as rock?”

With that he takes her in his loving arms,
And down within a down-bed softly laid her;
Then on his knees he all his senses charms,
To invocate sweet Venus for to raise her    130
To wishèd life, and to infuse some breath
To that which, dead, yet gave a life to death.

With that, he pulls her into his loving embrace,
And gently places her on a soft bed;
Then, on his knees, he captivates all his senses,
To summon sweet Venus to bring her back
To the life she wants, and to fill her with energy.
For something that, even though it's dead, still brings life to death.

“Thou sacred queen of sportive dallying”
(Thus he begins), “Love’s only emperess,
Whose kingdom rests in wanton revelling,
Let me beseech thee show thy powerfulness
In changing stone to flesh! Make her relent,
And kindly yield to thy sweet blandishment.

"You holy queen of playful teasing"
(And so he begins), “The only ruler of love,
Whose domain flourishes with easygoing pleasure,
Please let me ask you to demonstrate your strength.
By transforming stone into flesh! Make her surrender,
And please reply to your lovely charm.

“O gracious goodess,[338] take compassion;
Instil into her some celestial fire,    140
That she may equalise affection,
And have a mutual love, and love’s desire!
Thou know’st the force of love, then pity me—
Compassionate my true love’s ardency.”

"O gracious goddess, __A_TAG_PLACEHOLDER_0__ have mercy;"
Inspire her with some divine passion,    140
To help her manage affection,
And share mutual love, along with the longing for love!
You know the power of love, so have compassion for me—
"Have empathy for my true love’s passion."

Thus having said, he riseth from the floor
As if his soul divinèd him good fortune,
Hoping his prayers to pity moved some power;
For all his thoughts did all good luck importune;
And therefore straight he strips him naked quite,
That in the bed he might have more delight.    150

That said, he stands up from the floor.
As if he thought that his soul would bring him good fortune,
Hoping his prayers would persuade some power to grant him mercy;
He was completely focused on bringing in good luck;
So he quickly takes off all his clothes,
So he could have more fun in bed.    150

Then thus, “Sweet sheets,” he says, “which now do cover
The idol of my soul, the fairest one
That ever loved, or had an amorous lover—
Earth’s only model of perfection—
Sweet happy sheets, deign for to take me in,
That I my hopes and longing thoughts may win!”

"Soft sheets," he says.
"that now cover"
the idol of my heart, the most beautiful one
who has ever loved or had a romantic admirer—
the only perfect example on Earth—
sweet, lovely sheets, please let me in,
"so I can achieve my hopes and dreams!"

With that his nimble limbs do kiss the sheets,
And now he bows him for to lay him down;
And now each part with her fair parts do meet,
Now doth he hope for to enjoy love’s crown;    160
Now do they dally, kiss, embrace together,
Like Leda’s twins at sight of fairest weather.

With that, his swift limbs touch the sheets,
And now he bends down to lie down;
And now each part comes together with its beautiful match,
Now he hopes to experience the joy of love;    160
Now they flirt, kiss, and hug each other,
Like Leda's twins when they see perfect weather.

Yet all’s conceit—but shadow of that bliss
Which now my muse strives sweetly to display
In this my wondrous Metamorphosis.
Deign to believe me—now I sadly[339] say—
The stony substance of his image feature
Was straight transform’d into a living creature!

But everything is just an idea—only a glimpse of that happiness.
Which my muse is now trying to express beautifully
In this incredible transformation of mine.
Please believe me—now I sadly say—
The cold, harsh resemblance of his image
Was instantly transformed into a living being!

For when his hands her fair-form’d limbs had felt,
And that his arms her naked waist embraced,    170
Each part like wax before the sun did melt,
And now, O now, he finds how he is graced
By his own work! Tut! women will relent
When as they find such moving blandishment.

When his hands made contact with her beautifully shaped limbs,
And his arms wrapped around her bare waist,    170
Each part melted like wax in the sunlight,
And now, oh now, he understands how fortunate he is.
By his own creation! Come on! Women will relent.
When they encounter such convincing charm.

Do but conceive a mother’s passing gladness
(After that death her only son had seized,
And overwhelm’d her soul with endless sadness)
When that she sees him ’gin for to be raised
From out his deadly swoun to life again:
Such joy Pygmalion feels in every vein.    180

Just picture a mother's immense happiness.
After her only son had passed away,
And filled her heart with endless sadness.
When she sees him starting to return
From his near-death experience to life once more:
Pygmalion feels such joy in every part of himself.    180

And yet he fears he doth but dreaming find
So rich content and such celestial bliss;
Yet when he proves and finds her wondrous kind,
Yielding soft touch for touch, sweet kiss for kiss,
He’s well assured no fair imagery
Could yield such pleasing love’s felicity.

Yet, he worries that he’s just dreaming.
Of such great happiness and heavenly joy;
But when he witnesses her incredible kindness,
Offering a gentle touch for a gentle touch, a sweet kiss for a sweet kiss,
He's certain that no beautiful illusion
Could bring such joyful love and happiness.

O wonder not to hear me thus relate,
And say to flesh transformèd was a stone!
Had I my love in such a wishèd state
As was afforded to Pygmalion,    190
Though flinty-hard, of her you soon should see
As strange a transformation wrought by me.

Don't be surprised when I say it like this,
And say that a stone turned into flesh!
If I could have my beloved in such a desired state
As Pygmalion was granted,    190
Even though she was as tough as nails, you'd soon see __A_TAG_PLACEHOLDER_0__.
A strange transformation created by me.

And now methinks some wanton itching ear,
With lustful thoughts and ill attention,
Lists to my muse, expecting for to hear
The amorous description of that action
Which Venus seeks, and ever doth require,
When fitness grants a place to please desire.

And now I believe some curious listener,
With careless thoughts and ill intentions,
is attuned to my creativity, hoping to hear
The romantic aspects of that action
What Venus longs for and always requires,
When the right moment comes, desire can thrive.

Let him conceit but what himself would do
When that he had obtainèd such a favour    200
Of her to whom his thoughts were bound unto,
If she, in recompence of his love’s labour,
Would deign to let one pair of sheets contain
The willing bodies of those loving twain.

Let him think about what he would do.
When he received such a favor __A_TAG_PLACEHOLDER_0__
From the person to whom his thoughts were dedicated,
If she, in exchange for his efforts in love,
I would be willing to let one set of sheets stay.
The eager bodies of these two lovers.

Could he, O could he! when that each to either
Did yield kind kissing and more kind embracing—
Could he when that they felt and clipp’d together,
And might enjoy the life of dallying—
Could he abstain midst such a wanton sporting,
From doing that which is not fit reporting?    210

Could he, oh could he! when each of them
Gave sweet kisses and even sweeter hugs—
Could he when they felt close and embraced each other,
And could enjoy a fun life—
Could he restrain himself during such carefree fun,
Is it about doing things that shouldn’t be shared?    210

What would he do when that her softest skin
Saluted his with a delightful kiss;
When all things fit for love’s sweet pleasuring
Invited him to reap a lover’s bliss?
What he would do, the self-same action
Was not neglected by Pygmalion.

What would he do when her gentle skin
Gave him a sweet kiss.
When everything intended for love's sweet joy
Did you call him to share a lover's happiness?
What he would do, the same action
Wasn't overlooked by Pygmalion.

For when he found that life had took his seat
Within the breast of his kind beauteous love—
When that he found that warmth and wishèd heat
Which might a saint and coldest spirit move—    220
Then arms, eyes, hands, tongue, lips, and wanton thigh,
Were willing agents in love’s luxury!

When he understood that life had taken hold
In the core of his beautiful love—
When he found warmth and the heat he craved
That could move even a saint and the coldest person—    220
Then arms, eyes, hands, tongue, lips, and playful thighs,
Become enthusiastic participants in the pleasures of love!

Who knows not what ensues? O pardon me!
Ye gaping ears that swallow up my lines,
Expect no more: peace, idle poesy,
Be not obscene though wanton in thy rhymes;
And, chaster thoughts, pardon if I do trip,
Or if some loose lines from my pen do slip.

Who doesn't know what comes next? Oh, sorry!
You eager listeners who take in my words,
Don't expect anything more: just be still, passive poetry,
Avoid being inappropriate, even if your rhymes are playful;
And, pure thoughts, please forgive me if I mess up,
Or if some stray lines come out from my pen.

Let this suffice, that that same happy night,
So gracious were the gods of marriage,    230
Midst all their pleasing and long-wish’d delight
Paphus was got; of whom in after age
Cy[p]rus was Paphos call’d, and evermore
Those islanders do Venus’ name adore.

Let this suffice, that on that truly joyful night,
The marriage gods were very generous,    230
Amid all their excitement and anticipated enjoyment
Paphus was born; in later times
Cyprus was known as Paphos, and always
Those islanders honor the name of Venus.

The Author in praise of his precedent Poem.

The Author honoring his previous Poem.

Now, Rufus, by old Glebron’s fearful mace,
Hath not my muse deserved a worthy place?
Come, come, Luxurio, crown my head with bays,
Which, like a Paphian, wantonly displays
The Salaminian[340] titillations,
Which tickle up our lewd Priapians.
Is not my pen complete? Are not my lines
Right in the swaggering humour of these times?
O sing pæana to my learnèd muse:
Io bis dicite! Wilt thou refuse?    10
Do not I put my mistress in before,
And piteously her gracious aid implore?
Do not I flatter, call her wondrous fair,
Virtuous, divine, most debonair?
Hath not my goddess, in the vaunt-guard[341] place,
The leading of my lines their plumes to grace?
And then ensues my stanzas, like odd bands
Of voluntaries[342] and mercenarians,
Which, like soldados[343] of our warlike age,
March rich bedight in warlike equipage,    20
Glittering in dawbèd laced accoustrements,[344]
And pleasing suits of love’s habiliments;
Yet puffy as Dutch hose they are within,
Faint and white-liver’d, as our gallants bin;
Patch’d like a beggar’s cloak, and run as sweet
As doth a tumbril[345] in the pavèd street.
And in the end (the end of love, I wot),
Pygmalion hath a jolly boy begot.
So Labeo did complain his love was stone,
Obdurate, flinty, so relentless none;    30
Yet Lynceus knows that in the end of this
He wrought as strange a metamorphosis.
Ends not my poem then surpassing ill?
Come, come, Augustus, crown my laureate quill.
Now, by the whips of epigrammatists,
I’ll not be lasht for my dissembling shifts;
And therefore I use Popelings’[346] discipline,
Lay ope my faults to Mastigophoros’ eyne;
Censure my self, ’fore others me deride
And scoff at me, as if I had denied    40
Or thought my poem good, when that I see
My lines are froth, my stanzas sapless be.
Thus having rail’d against myself a while,
I’ll snarl at those which do the world beguile
With maskèd shows. Ye changing Proteans, list,
And tremble at a barking satirist.

Now, Rufus, by old Glebron’s fearsome mace,
Hasn't my muse earned a well-deserved place?
Come on, Luxurio, place laurels on my head,
Which, like a bold Paphian, displays
The Salaminian teasing passions,
That excites our lustful Priapians.
Is my pen not finished? Are my lines
Right in the bold spirit of these times?
Oh, sing praises to my knowledgeable muse:
Io bis dicite! Will you say no?    10
Don't I put my mistress first,
And unfortunately ask for her generous help?
Don't I praise her, say she's incredibly beautiful,
Good, heavenly, and so suave?
Hasn't my goddess been in the leading position, __A_TAG_PLACEHOLDER_0__?
Should I give my words their decorations?
And then my stanzas arrive, like mismatched groups
Of volunteers and mercenaries,
Which, like soldiers[343] of our aggressive time,
March was dressed in elaborate, battle-ready attire,    20
Glistening in fancy clothes,[344]
And appealing outfits of love's attire;
Yet they're puffy inside like Dutch leggings,
Weak and cowardly, just like our elite;
Patching like a beggar's cloak, and moving as smoothly
As a cart__A_TAG_PLACEHOLDER_0__ on the cobblestone street.
And in the end (the end of love, I know),
Pygmalion has fathered a happy boy.
So Labeo complained that his love was unresponsive,
Hard and relentless.
Yet Lynceus knows that, in the end, this
He created a bizarre transformation.
Doesn't that make my poem really terrible?
Come on, Augustus, crown my award-winning pen.
Now, by the skills of epigram writers,
I won't face consequences for my clever tricks;
And so I embrace Popelings’ discipline,
Reveal my faults to Mastigophoros' gaze;
Critique myself before others judge
And make fun of me, as if I had denied __A_TAG_PLACEHOLDER_0__
Or thought my poem was good when I saw
My lines are just filler, and my stanzas lack energy.
After scolding myself for a bit,
I’ll lash out at those who mislead the world.
With hidden motives. You unpredictable Proteans, pay attention,
And shudder at a mocking satirist.

[333] Shape.

Shape.

[334] Pillowcase.—An old word used by Chaucer in the prologue to the Canterbury Tales.

[334] Pillowcase.—An outdated term used by Chaucer in the prologue to the Canterbury Tales.

[335] Idle, silly.

Lazy, ridiculous.

[336] Quy. “swerved” (an imperfect rhyme to “erred”)?

[336] Quy. “swerved” (not a perfect rhyme with “erred”)?

[337] See note, vol. i. p. 9.

__A_TAG_PLACEHOLDER_0__ See note, vol. i. p. 9.

[338] Old eds. “Gods.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Gods.”

[339] “Sadly”—in sober truth.

“Sadly”—in all honesty.

[340] Salamis,—a town of Cyprus.

Salamis—town in Cyprus.

[341] Van-guard.

__A_TAG_PLACEHOLDER_0__ Vanguard.

[342] Volunteers.

Volunteers.

[343] Soldiers. (Span.)

__A_TAG_PLACEHOLDER_0__ Soldiers. (Span.)

[344] See note, vol. i. p. 24.

__A_TAG_PLACEHOLDER_0__ See note, vol. 1, p. 24.

[345] Dung-cart.

Dung cart.

[346] Contemptuous term for Papists.

Contemptuous term for Catholics.

SATIRES.

SATIRE I.

Quœdam videntur, et non sunt.

Some things appear, but aren't.

I cannot show in strange proportion,
Changing my hue like a cameleon;
But you all-canning[347] wits, hold water out,
Ye vizarded-bifronted-Janian rout.
Tell me, brown Ruscus, hast thou Gyges’ ring,
That thou presumest as if thou wert unseen?
If not, why in thy wits half capreal
Lett’st thou a superscribèd letter fall?
And from thyself unto thyself dost send,
And in the same thyself thyself commend?    10
For shame! leave running to some satrapas,
Leave glavering[348] on him in the peopled press;
Holding him on as he through Paul’s doth walk,
With nods and legs[349] and odd superfluous talk;
Making men think thee gracious in his sight,
When he esteems thee but a parasite.
For shame! unmask; leave for to cloke intent,
And show thou art vain-glorious, impudent.
Come, Briscus, by the soul of compliment,
I’ll not endure that with thine instrument    20
(Thy gambo-viol placed betwixt thy thighs,
Wherein the best part of thy courtship lies)
Thou entertain the time, thy mistress by.
Come, now let’s hear thy mounting Mercury.
What! mum? Give him his fiddle once again,
Or he’s more mute than a Pythagoran.
But oh! the absolute Castilio,[350]
He that can all the points of courtship show;
He that can trot a courser, break a rush,
And arm’d in proof, dare dure a straw’s strong push;    30
He, who on his glorious scutcheon
Can quaintly show wit’s new invention,
Advancing forth some thirsty Tantalus,
Or else the vulture on Prometheus,
With some short motto of a dozen lines;
He that can purpose it in dainty rhymes,
Can set his face, and with his eye can speak,
Can dally with his mistress’ dangling feak,[351]
And wish that he were it, to kiss her eye
And flare about her beauty’s deity:—    40
Tut! he is famous for his revelling,
For fine set speeches, and for sonnetting;
He scorns the viol and the scraping stick,
And yet’s but broker of another’s wit.
Certes, if all things were well known and view’d,
He doth but champ that which another chew’d.
Come, come, Castilion, skim thy posset curd,
Show thy queer substance, worthless, most absurd.
Take ceremonious compliment from thee!
Alas! I see Castilio’s beggary.    50
O if Democritus were now alive,
How he would laugh to see this devil thrive!
And by an holy semblance blear men’s eyes,
When he intends some damnèd villanies.
Ixion makes fair weather unto Jove,
That he might make foul work with his fair love;
And is right sober in his outward semblance,
Demure, and modest in his countenance;
Applies himself to great Saturnus’ son,
Till Saturn’s daughter yields his motion.    60
Night-shining Phœbe knows what was begat—
A monstrous Centaur illegitimate.
Who would not chuck to see such pleasing sport—
To see such troops of gallants still resort
Unto Cornuto’s shop? What other cause
But chaste Brownetta,[352] Sporo thither draws?
Who now so long hath praised the chough’s white bill,
That he hath left her ne’er a flying quill:
His meaning gain, though outward semblance love,
So like a crabfish Sporo still doth move.    70
Laugh, laugh, to see the world, Democritus,
Cry like that strange transformèd Tereus.[353]
Now Sorbo, with a feignèd gravity,
Doth fish for honour and high dignity.
Nothing within, nor yet without, but beard,
Which thrice he strokes, before I ever heard
One wise grave word to bless my listening ear.
But mark how Good Opinion doth him rear:
See, he’s in office, on his foot-cloth placed;
Now each man caps, and strives for to be graced    80
With some rude nod of his majestic head,
Which all do wish in limbo harrièd.
But O I grieve that good men deign to be
Slaves unto him that’s slave to villany!
Now Sorbo swells with self-conceited sense,
Thinking that men do yield this reverence
Unto his virtues: fond credulity!
Ass, take[354] off Isis, no man honours thee.
Great Tubrio’s feather gallantly doth wave,
Full twenty falls[355] doth make him wondrous brave.    90
O golden jerkin! royal arming coat!
Like ship on sea, he on the land doth float.
He’s gone, he’s shipp’d, his resolution
Pricks him[356] (by Heaven) to this action.
The pox it doth! Not long since did I view
The man betake him to a common stew;
And there (I wis), like no quaint-stomach’d man,
Eats up his arms; and war’s munition,
His waving plume, falls in the broker’s chest.
Fie! that his ostrich stomach should disgest    100
His ostrich feather, eat up Venice lace!
Thou[357] that didst fear to eat poor-johns a space,
Lie close, ye slave, at beastly luxury!
Melt and consume in pleasure’s surquedry![358]
But now, thou that didst march with Spanish pike before,
Come with French pox out of that brothel door.
The fleet’s return’d. What news from Rodio?[359]
“Hot service, by the Lord,” cries Tubrio.
Why dost thou halt? “Why, six times through each thigh
Push’d with the pike of the hot enemy!    110
Hot service, hot, the Spaniard is a man;
I say no more, and as a gentleman
I served in his face. Farewell. Adieu.”
Welcome from Netherland, from steaming stew.
Ass to thy crib, doff that huge lion’s skin,
Or else the owl will hoot and drive thee in.
For shame, for shame! lewd-living Tubrio,
Presume not troop among that gallant crew
Of true heroic spirits; come, uncase,
Show us the true form of Dametas’[360] face.    120
Hence, hence, ye slave! dissemble not thy state,
But henceforth be a turncoat, runagate.
O hold my sides! that I may break my spleen
With laughter at the shadows I have seen!
Yet I can bear with Curio’s nimble feet,
Saluting me with capers in the street,
Although in open view and people’s face,
He fronts me with some spruce, neat, cinquepace;[361]
Or Tullus, though, whene’er he me espies,
Straight with loud mouth “A bandy, sir,“[362] he cries;    130
Or Robrus, who, addict to nimble fence,
Still greets me with stockado’s[363] violence.
These I do bear, because I too well know
They are the same they seem in outward show.
But all confusion sever from mine eye
This Janian bifront, Hypocrisy.

I can't reveal my true self in weird ways,
Changing my appearance like a chameleon;
But you smart ones, keep your secrets.
You two-faced, fake friends.
Tell me, brown Ruscus, do you have Gyges' ring,
Why do you act like you're invisible?
If not, why would you let a marked letter fall?
And send it from you back to you,
And at the same time, give yourself some praise?    10
Shame on you! Leave deception to some petty leaders,
Stop sucking up to him in a crowded area;
Supporting him as he walks through Paul’s,
With nods, leg movements, and meaningless small talk;
Making people believe you're charming in his eyes,
When he views you as nothing more than a leech.
Shame on you! Reveal yourself; stop concealing your real intentions.
And show that you're superficial and unashamed.
Come on, Briscus, by the power of flattery,
I won't tolerate you trying to impress __A_TAG_PLACEHOLDER_0__.
(Your rebab resting between your thighs,
Where the best part of your relationship happens)
While enjoying the moment with your girlfriend.
Now let's hear your high-minded Mercury.
What! Silent? Give him back his fiddle.
Or he's quieter than a Pythagorean.
But oh! the ultimate Castilio,[350]
The one who can demonstrate all the aspects of dating;
The one who can ride a great horse and break a rush,
And, fully equipped, handle even the smallest challenge;    30
The person who can skillfully showcase the latest invention of wit,
Creating something refreshing like Tantalus,
Or the vulture on Prometheus,
With a brief motto of twelve lines;
Whoever can put it into beautiful rhymes,
Can set his expression, and communicate with his eyes,
Can playfully respond to his lady’s teasing glances,[351]
And wish that he were it, to kiss her eye.
And praise her incredible beauty:—    40
Tut! He's famous for his partying,
For well-crafted speeches and for writing sonnets;
He turns away from the viola and the bow,
Yet he’s merely a middleman for someone else’s cleverness.
If everything were completely understood and observed,
He's just chewing on what someone else has already consumed.
Come on, Castilion, quickly enjoy your light meal,
Show your odd material, insignificant, completely absurd.
Take your fancy compliments and leave!
Alas! I see Castilio’s struggle.    50
Oh, if Democritus were alive today,
How he would laugh to see this fraud succeed!
And by a sacred sight, the eyes of blind men,
When he plots some evil scheme.
Ixion creates good weather for Jove,
So he can create chaos with his sweet love;
He seems quite serious in his outward appearance,
He is reserved and humble in his behavior;
He aligns himself with the great son of Saturn,
Until Saturn's daughter agrees to his advances.    60
Night-shining Phoebe knows what she created—
A huge illegitimate Centaur.
Who wouldn’t laugh at this funny sight—
To see so many young men still gathering
To Cornuto’s shop? What other reason is there?
But pure Brownetta, [352] is Sporo bringing them there?
Who has praised the chough’s white bill for so long,
That he hasn’t left her a single feather to take flight.
His intention once more, despite appearing to be love on the surface,
Like a crab, Sporo still moves.    70
Laugh, laugh, to observe the world, Democritus,
Cry like that weird changed Tereus.[353]
Now Sorbo, with mock seriousness,
Fish for prestige and elevated status.
Nothing inside or outside, just a beard,
He strokes it three times before I ever heard.
One thoughtful, serious word to bless my attentive ear.
But look at how Good Opinion lifts him up:
Look, he’s in office, standing on his rug;
Now every man bows and tries to be favored __A_TAG_PLACEHOLDER_0__
With a slight nod of his grand head,
Everyone wants to capture it in limbo.
But oh, I mourn that good men lower themselves to be
Slaves to someone who's trapped by evil!
Now Sorbo is filled with self-satisfied pride,
Believing that people admire him for his good qualities:
Naive foolishness!
Ass, take[354] off Isis, nobody respects you.
Great Tubrio’s feather proudly waves,
He is exactly twenty falls[355], which makes him quite brave.
Oh golden vest! royal armor!
Like a ship on the ocean, he drifts on land.
He's gone, he's out of here, his determination
Urges him[356] (for goodness' sake) to take this action.
The plague, for real! Not too long ago, I saw
The man went to the nearby brothel;
And there (I swear), like someone who has no appetite,
He consumes his arms, and the war's resources,
His waving plume falls on the broker's chest.
Wow! That his ostrich stomach could digest    100
His ostrich feather, devour Venice lace!
You[357] who was afraid to eat the food of the poor for a time,
Stay out of sight, you servant, in your animalistic comfort!
Melt away and indulge in the pleasure of excess![358]
But now, you who once marched with a Spanish pike,
Come out with syphilis from that brothel door.
The fleet is back. What’s the news from Rodio?[359]
"Hot service, for real," shouts Tubrio.
Why are you hesitating? “Why, six times through each thigh
Attacked with the spear of the fierce enemy!    110
Hot service, hot, the Spaniard is a man;
I won’t say anything further, and as a gentleman
I was in his presence. Goodbye. See you later."
Welcome back from the Netherlands, from that chaotic situation.
Donkey, go back to your home and take off that big lion skin.
Otherwise, the owl will hoot and bring you inside.
What a disappointment, what a disgrace! immoral Tubrio,
Don't associate with that bold crowd.
Of true heroic spirits; come, show yourselves,
Reveal the true face of Dametas’[360] appearance.    120
Go away, you slave! Don't hide your true situation,
But from now on, be a traitor, rebel.
Oh, hold my sides! I think I'm going to burst from laughter!
With laughter at the shadows I've seen!
But I can put up with Curio’s quick feet,
Welcoming me with dances in the street,
Even though it's out in the open and right in front of everyone,
He challenges me with some lively, tidy, and graceful moves; [361]
Or Tullus, whenever he sees me,
He immediately calls out loudly, “A favor, sir,”[362]
Or Robrus, who, hooked on fast fencing,
Always greets me with basic moves[363] aggressively.
I put up with these because I know all too well.
They are exactly what they appear to be.
But let all confusion fade from my sight.
This Janian double-faced Hypocrisy.

[347] i.e., all-kenning, all-knowing. Marston uses the word two or three times.

[347] i.e., all-kenning, all-knowing. Marston uses the word two or three times.

[348] Fawning.

Kissing up.

[349] Bows.

Bows.

[350] A mirror of refinement, a gallant of Castilian breeding. But there is also a reference to Baldessar Castiglione, author of the celebrated treatise Il Cortese. So in Guilpin’s Skialeheia, 1598, the name “Balthazer” is applied to a spruce courtier:—
“Come to the court, and Balthazer affords
Fountains of holy and rose-water words.
Hast thou need of him and wouldst find him kind?
Nay, then, go by, the gentleman is blind.” Sig. C. 4.

[350] A reflection of sophistication, a noble from Castile. But there's also a nod to Baldessar Castiglione, the author of the famous book Il Cortese. So in Guilpin’s Skialeheia, 1598, the name “Balthazer” is used for a polished courtier:—
"Come to the court, and Balthazer offers"
Springs of holy and fragrant words.
Do you need his help and want him to be friendly?
"No? Then just keep walking; the guy has no idea." Sig. C. 4.

[351] Lock of hair?

Lock of hair?

[352] See note, vol. ii. p. 60.

__A_TAG_PLACEHOLDER_0__ See note, vol. 2, p. 60.

[353] Who was transformed into the hoopoe. Old ed. “Tyreus.”

[353] Who was turned into the hoopoe. Old ed. “Tyreus.”

[354] Old ed. “talke;” but the correction is made in the author’s list of errata.

[354] Old ed. “talk;” but the correction is made in the author’s list of errors.

[355] Falling bands, which lay upon the shoulders.

[355] Fading collars that rest on the shoulders.

[356] “Him”—omitted in old ed., but supplied in the author’s list of errata.

[356] “Him”—left out in the old ed., but added in the author's list of corrections.

[357] i.e., you who feared a short while ago (“a space”) that you would have to dine off stock-fish.

[357] i.e., you who were worried not long ago (“a space”) that you would have to eat dried fish.

[358] Wantonness.

Lustfulness.

[359] “Is the reference to Essex’s expedition to Cadiz in 1596? Rodao is the Italian form of a Portuguese town in the province of Beira.”—Grosart.

[359] “Is this about Essex's trip to Cadiz in 1596? Rodao is the Italian name for a Portuguese town in the province of Beira.”—Grosart.

[360] The foolish shepherd in Sir Philip Sidney’s Arcadia.

[360] The foolish shepherd in Sir Philip Sidney’s Arcadia.

[361] The name of a dance.

The name of a dance.

[362] Tullus can talk of nothing but tennis.

[362] Tullus can’t stop talking about tennis.

[363] A thrust in fencing.

A thrust in fencing.

SATIRE II.

Quædam sunt, et non videntur.

Some things are, but unseen.

I, that even now lisp’d like an amorist,
Am turn’d into a snaphance[364] satirist.
O title, which my judgment doth adore!
But I, dull-sprited fat Bœotian[365] boor,
Do far off honour that censorian seat;
But if I could in milk-white robes entreat
Plebeians’ favour, I would show to be
Tribunus plebis, ’gainst the villany
Of these same Proteans, whose hypocrisy
Doth still abuse our fond credulity.    10
But since myself am not immaculate,
But many spots my mind doth vitiate,
I’ll leave the white robe and the biting rhymes
Unto our modern Satire’s sharpest lines,
Whose hungry fangs snarl at some secret sin,
And in such pitchy clouds enwrappèd been
His Sphinxian riddles, that old Œdipus
Would be amazed, and take it in foul snuffs
That such Cymmerian darkness should involve
A quaint conceit that he could not resolve.    20
O darkness palpable! Egypt’s black night!
My wit is stricken blind, hath lost his sight;
My shins are broke with groping for some sense,
To know to what his words have reference.
Certes, sunt but non videntur that I know;
Reach me some poets’ index that will show.
Imagines Deorum, Book of Epithets,
Natalis Comes,[366] thou I know recites,
And makest anatomy of poesy;
Help me to unmask the satire’s secrecy;    30
Delphic Apollo, aid me to unrip
These intricate deep oracles of wit—
These dark enigmas, and strange riddling sense,
Which pass my dullard brain’s intelligence.
Fie on my senseless pate! Now I can show
Thou writest that which I nor thou dost know.
Who would imagine that such squint-eyed sight
Could strike the world’s deformities so right?
But take heed, Pallas, lest thou aim awry;
Love nor yet Hate had e’er true-judging eye.    40
Who would once dream that that same elegy,
That fair-framed piece of sweetest poesy,
Which Muto put betwixt his mistress’ paps
(When he, quick-witted, call’d her Cruel Chaps,
And told her there he might his dolors read
Which she, O she! upon his heart had spread),
Was penn’d by Roscio the tragedian?
Yet Muto, like a good Vulcanian—
An honest cuckold—calls the bastard, son,
And brags of that which others for him done.    50
Satire, thou liest, for that same elegy
Is Muto’s own, his own dear poesy:
Why, ’tis his own, and dear, for he did pay
Ten crowns for it, as I heard Roscius say.—
Who would imagine yonder sober man,
That same devout meal-mouth’d precisian,
That cries “Good brother,” “Kind sister,” makes a duck
After the antique grace, can always pluck
A sacred book out of his civil hose,
And at th’ op’ning and at our stomach’s close,    60
Says with a turn’d-up eye a solemn grace
Of half an hour; then with silken face
Smiles on the holy crew, and then doth cry,
“O manners! O times of impurity!”
What that depaints[367] a church-reformed state,
The which the female tongues magnificate,
Because that Plato’s odd opinion
Of all things common hath strong motion
In their weak minds;—who thinks that this good man
Is a vile, sober, damned politician?    70
Not I, till with his bait of purity
He bit me sore in deepest usury.
No Jew, no Turk, would use a Christian
So inhumanely as this Puritan.
Diomedes’ jades were not so bestial
As this same seeming saint—vile cannibal!
Take heed, O world! take heed advisedly
Of these same damnèd anthropophagi.
I had rather be within a harpy’s claws
Than trust myself in their devouring jaws,    80
Who all confusion to the world would bring
Under the form of their new discipline.
O I could say, Briareus’ hundred hands
Were not so ready to bring Jove in bands,
As these to set endless contentious strife
Betwixt Jehovah and his sacred wife!
But see—who’s yonder? True Humility,
The perfect image of fair Courtesy;
See, he doth deign to be in servitude
Where he hath no promotion’s livelihood!    90
Mark, he doth courtesy, and salutes a block,
Will seem to wonder at a weathercock;
Trenchmore[368] with apes, play music to an owl,
Bless his sweet honour’s running brasil[369] bowl;
Cries “Bravely broke!” when that his lordship miss’d,
And is of all the throngèd[370] scaffold hiss’d;
O is not this a courteous-minded man?
No fool, no; a damn’d Machiavelian;
Holds candle to the devil for a while,
That he the better may the world beguile,    100
That’s fed with shows. He hopes, though some repine,
When sun is set the lesser stars will shine;
He is within a haughty malcontent,
Though he do use such humble blandishment.
But, bold-faced Satire, strain not over-high,
But laugh and chuck at meaner gullery.
In faith, yon is a well-faced gentleman;
See how he paceth like a Cyprian!
Fair amber tresses of the fairest hair
That ere were wavèd by our London air;    110
Rich lacèd suit, all spruce, all neat, in truth.
Ho, Lynceus! what’s yonder brisk neat youth
’Bout whom yon troop of gallants flocken so,
And now together to Brown’s Common go?
Thou know’st, I am sure; for thou canst cast thine eye
Through nine mud walls, or else old poets lie.
“’Tis loose-legg’d Lais, that same common drab
For whom good Tubrio took the mortal stab.”[371]
Ha, ha! Nay, then, I’ll never rail at those
That wear a codpis,[372] thereby to disclose    120
What sex they are, since strumpets breeches use,
And all men’s eyes save Lynceus can abuse.
Nay, stead of shadow, lay the substance out,
Or else, fair Briscus, I shall stand in doubt
What sex thou art, since such hermaphrodites,
Such Protean shadows so delude our sights.
Look, look, with what a discontented grace
Bruto the traveller doth sadly[373] pace
’Long Westminster! O civil-seeming shade,
Mark his sad colours!—how demurely clad!    130
Staidness itself, and Nestor’s gravity,
Are but the shade of his civility.
And now he sighs: “O thou corrupted age,
Which slight regard’st men of sound carriage!
Virtue, knowledge, fly to heaven again;
Deign not ’mong these ungrateful sots remain!
Well, some tongues I know, some countries I have seen,
And yet these oily snails respectless been
Of my good parts.” O worthless puffy slave!
Didst thou to Venice go ought[374] else to have,    140
But buy a lute and use a courtesan,[375]
And there to live like a Cyllenian?[376]
And now from thence what hither dost thou bring,
But surphulings,[377] new paints, and poisoning,[378]
Aretine’s[379] pictures, some strange luxury,
And new-found use of Venice venery?
What art thou but black clothes? Sad Bruto, say,
Art anything but only sad[380] array?
Which I am sure is all thou brought’st from France,
Save Naples pox and Frenchmen’s dalliance;    150
From haughty Spain, what brought’st thou else beside
But lofty looks and their Lucifrian pride?
From Belgia, what but their deep bezeling,[381]
Their boot-carouse[382] and their beer-buttering?
Well, then, exclaim not on our age, good man,
But hence, polluted Neapolitan.
Now, Satire, cease to rub our gallèd skins,
And to unmask the world’s detested sins;
Thou shalt as soon draw Nilus river dry
As cleanse the world from foul impiety.    160

I, who just spoke like a lovesick fool,
I have become a sharp-witted satirist.
Oh title, which I truly admire!
But I, foolish and silly,
I can only respect that important position from afar;
But if I could, dressed in pure white robes, ask
To earn the favor of the common people, I would make an appearance.
People's tribune, opposing the wickedness
Among these shape-shifters, whose deception
Continues to take advantage of our naive beliefs.
But since I have my imperfections,
And my mind is marred by many stains,
I'll set aside the white robe and the sharp verses.
To the most biting lines of contemporary satire,
Whose hungry fangs snap at some concealed wrongdoing,
And it has wrapped itself in such dark clouds.
With Sphinx-like riddles, that old Oedipus
Would be shocked and gasp in disbelief.
That such deep darkness should cover
A clever idea he couldn't figure out.
Oh, tangible darkness! Egypt's pitch-black night!
My mind is clouded, has lost its clarity;
My legs are bruised from searching for some meaning, __A_TAG_PLACEHOLDER_0__.
To understand what his words mean.
They are real, but they can't be seen, as I know.
Bring me an index of poets that will reveal.
Imagines Deorum, Book of Names,
Natalis Comes, __A_TAG_PLACEHOLDER_0__ you recite,
And analyze the structure of poetry;
Help me uncover the hidden meaning of the satire;
Delphic Apollo, assist me in unraveling
These complex deep insights of humor—
These mysterious puzzles and peculiar meanings,
Which go beyond the understanding of my dull mind.
Curse my foolish mind! Now I can show
You write things that neither you nor I understand.
Who would believe that such squinty-eyed vision
Could identify the world's flaws so precisely?
But be careful, Pallas, so you don’t miss your target;
Love or hate never had an impartial judge.
Who would ever think that same elegy,
That beautifully crafted piece of sweet poetry,
Which Muto placed between his mistress's breasts.
When he, being clever, called her Cruel Chaps,
And told her that there he could express his sorrows
Which she, oh she! had laid upon his heart),
Was it written by Roscius the tragedian?
Yet Muto, as a good Vulcan—
A truthful cuckold—says the bastard is his son,
And brags about what others have done for him.
Satire, you deceive, for that farewell poem.
Is Muto’s own, his own beloved poetry:
Well, it's his own, and precious, because he paid.
Ten crowns for it, as I heard Roscius say.
Who would expect that sober man,
That same devout, self-righteous puritan,
Who says “Good brother,” “Kind sister,” and imitates
After the vintage charm, can always attract.
A holy book from his fancy pants,
At the beginning and end of our meal,
Speaks with an elevated gaze, a serious elegance.
For thirty minutes; then with a smooth grin
Smiles at the crowd and then yells,
"Oh, the manners! Oh, the times of corruption!"
What that shows[367] a church-reformed state,
Which the women’s voices proudly praise,
Because of Plato’s strange perspective
The idea of everything being shared has a powerful impact.
In their narrow-mindedness;—who thinks this good man
Is a corrupt, serious, terrible politician?
Not me, until he appeared with his facade of innocence.
He bit me hard in the toughest betrayal.
No Jew, no Turk, would treat a Christian.
So inhumanely as this Puritan.
Diomedes' horses weren't that wild.
As this same seemingly holy person—disgusting cannibal!
Pay attention, oh world! Pay attention closely.
Of these same damn flesh-eaters.
I’d rather be caught in a harpy’s claws.
I'd rather trust myself in their devouring jaws,
Who would cause so much confusion in the world?
Under the cover of their new discipline.
Oh, I could say, Briareus' hundred hands
Let's not rush to judge Jove,
As these lead to never-ending arguments and conflict.
Between Jehovah and his holy wife!
But look—who’s that? True Humility,
The ideal example of polite behavior;
Look, he acts superior while serving.
Where he can't expect to benefit!
Notice how he bows politely and greets a group,
Seems to be amazed by a weather vane;
Trenchmore[368] with monkeys, making music for an owl,
Bless his sweet honor’s running Brazilian bowl;
Shouts, “Great job!” when his lordship misses,
And is booed by the crowd that has rushed in;
Oh, isn't this a polite guy?
Not a fool, no; a real Machiavellian.
Holds a candle for a moment to the devil,
To better deceive the world,
That's filled with excitement. He hopes, even though some complain,
When the sun goes down, the smaller stars will shine;
Deep down, he is a proud dissenter,
Although he uses such modest flattery.
But, bold-faced Satire, don't aim too high,
But laugh at and ridicule smaller foolishness.
In reality, there’s a stylishly dressed man;
Look at how he walks confidently like someone from Cyprus!
Beautiful golden locks of the finest hair
That have ever been waved by the air of London;
Richly tailored suit, perfectly neat and tidy, indeed.
Hey, Lynceus! Who's that energetic young guy?
Who is that group of gentlemen gathering like that?
Are we all heading to Brown’s Common now?
You know what I mean; you can see through nine mud walls,
Otherwise, old poets are lying.
"It’s loose-legged Lais, that same ordinary woman."
"For whom good Tubrio took the deadly hit."
Ha, ha! Then I’ll never criticize those __A_TAG_PLACEHOLDER_0__!
Who wears a codpiece,[372] to reveal    120
What their gender is, since prostitutes wear pants,
And all men’s eyes, except Lynceus's, can be deceived.
No, instead of a shadow, show the substance,
Otherwise, dear Briscus, I'll be left in doubt.
What your sex is, since such hermaphrodites,
These shifting shadows blind our vision.
Look, look, at how dissatisfied
Bruto the traveler walks sadly[373] down Westminster!
Oh civilized-looking shadow,
Look at his dark colors!—he's so modestly dressed!
Seriousness and Nestor's seriousness,
Are just a mere shadow of his civility.
And now he sighs: “Oh, you corrupt times,
What a lack of respect for people who have sound judgment!
Virtue and knowledge, return to heaven once more;
Don’t stick around these ungrateful idiots!
Well, I know a few languages, and I've visited some countries,
And yet these greasy snails show no respect.
"For my good qualities." Oh, useless, arrogant slave!
Did you go to Venice for anything[374] other than to    140
Just buy a lute and hire a courtesan,
And live there like a Cyllenian?
And now from there, what do you bring back?
But superficialities,[377] new trends, and toxicity,[378]
Aretine’s[379] images, a peculiar luxury,
And newly discovered ways of enjoying life in Venice?
What are you if not just dark clothes? Sad Bruto, tell me,
Are you more than just a sad[380] outfit?
I'm sure that's all you brought back from France.
Except for Naples' disease and the flirting of the French;
From proud Spain, what else did you bring back?
But arrogant expressions and their wicked arrogance?
From Belgium, what else but their deep pockets,
Their heavy drinking and their buttery beer?
Well, then, don't complain about our age, good sir,
But go away, polluted Napoli.
Now, Satire, stop irritating our sensitive spots,
And to reveal the world's most despised sins;
You’ll have just as much luck trying to drain the Nile River dry.
As purging the world of wickedness.

[364] A spring-lock to a gun; hence applied to anything that goes off sharply.

[364] A spring-lock for a gun; so it's used to refer to anything that triggers suddenly.

[365] Old ed. “Boetian.”

__A_TAG_PLACEHOLDER_0__ Old ed. “Boetian.”

[366] Old ed.Natales Comes.”—Noël Conti (1520-1580), a native of Milan, better known under his Latinised name, Natalis Comes, was the author of Mythologiæ, sive explicationis Fabularum, libri decem, first printed at Venice in 1551, and frequently reprinted. To some editions are appended Deorum Imagines ... M. Antonii Tritonii Vtinensis. Many old treatises on mythology have the title Imagines Deorum.

[366] Old ed.Natales Comes.”—Noël Conti (1520-1580), who was from Milan and is better known by his Latinized name, Natalis Comes, wrote Mythologiæ, sive explicationis Fabularum, libri decem, first published in Venice in 1551, and it has been reprinted many times. Some editions include Deorum Imagines ... M. Antonii Tritonii Vtinensis. Many older works on mythology have the title Imagines Deorum.

[367] We had the word “depaint” in vol. i., p. 90. It is as old as Chaucer.

[367] We came across the term “depaint” in vol. i., p. 90. It dates back to Chaucer's time.

[368] Dance trenchmore—a lively rustic dance.

Dance trenchmore—a lively folk dance.

[369] A sort of hard wood, used in dyeing to produce a red colour.—It is a very old word and is still in use.

[369] A type of hardwood that’s used in dyeing to create a red color. It’s a very old term, but it’s still in use.

[370] Old ed. “thurnged.”

Old ed. “thurnged.”

[371] It has been suggested, without the slightest shadow of foundation, that the allusion is to the death of Marlowe. Dr. Nicholson (Grosart’s Marston, p. xlvi.) says:—“If Tubrio be Marlowe, then the hitherto unknown courtesan was the hermaphroditic ‘Moll Cutpurse’” At the earliest computation Moll was born in 1584-5 (see Middleton, iv. 3); and Marlowe died in 1593.—(In old ed. the line runs:—“For from good Tubrio looke the mortall stab.” The correction is made in the author’s list of errata.)

[371] It has been suggested, without any solid evidence, that the reference is to Marlowe's death. Dr. Nicholson (Grosart’s Marston, p. xlvi.) states:—“If Tubrio is Marlowe, then the previously unknown courtesan was the androgynous ‘Moll Cutpurse’.” By the earliest estimates, Moll was born in 1584-5 (see Middleton, iv. 3); and Marlowe died in 1593.—(In the old ed., the line reads:—“For from good Tubrio looke the mortall stab.” The correction is noted in the author’s list of errata.)

[372] I have kept this spelling, as it was doubtless used intentionally. Nashe, in his droll abuse of Barnabe Barnes, writes:—“The first of them (which is Barnes) presently upon it, because he would be noted, getting him a strange pair of Babylonian breeches with a codpisse as big as a Bolonian sausage,” &c. (Works, ed. Grosart, iii. 162).

[372] I have kept this spelling because it was clearly used on purpose. Nashe, in his humorous mockery of Barnabe Barnes, writes:—“The first of them (which is Barnes) right away, because he wanted to stand out, got himself a weird pair of Babylonian pants with a codpiece as big as a Bolonian sausage,” &c. (Works, ed. Grosart, iii. 162).

[373] Cf. vol. i. p. 12, “Now as solemn as a traveller,” and the note on that passage.

[373] Cf. vol. i. p. 12, “Now as serious as a traveler,” and the note on that passage.

[374] Old ed. “oft”—corrected in the author’s list of errata.

[374] Old ed. “often”—corrected in the author’s list of errors.

[375] Old ed. “Currezan.”

Old ed. “Currezan.”

[376] Mercury was born on Cyllene, a mountain in Arcadia. Hence Marston uses the term, Cyllenian for a person of mercurial disposition.

[376] Mercury was born on Cyllene, a mountain in Arcadia. That's why Marston uses the term, Cyllenian, to describe someone with a mercurial personality.

[377] Cosmetics.

Cosmetics.

[378] Nashe in The Unfortunate Traveller writes in a similar strain:—“Italy, the paradise of the earth and the epicure’s heaven, how doth it form our young master?... From thence he brings the art of atheism, the art of epicurising, the art of whoring.” Ascham and others make similar observations.

[378] Nashe in The Unfortunate Traveller writes in a similar way:—“Italy, the paradise of the earth and the epicure’s heaven, how does it shape our young master?... From there he brings the skills of atheism, the skills of indulgence, the skills of promiscuity.” Ascham and others make similar points.

[379] Illustrations (after paintings of Giulio Romano) of the positions in venery. Aretine wrote verses to accompany the designs.

[379] Illustrations (after paintings by Giulio Romano) showing different positions in intimacy. Aretine wrote verses to go along with the illustrations.

[380] Old ed. “say”—corrected in the author’s list of errata.

[380] Old ed. “say”—updated in the author’s list of corrections.

[381] Tippling.

Drinking.

[382] Dr. Grosart quotes from Hall’s Satires, vi. i. 81-2:—
“When erst our dry-soul’d sires so lavish were
To charge whole bootsful to their friends’ welfare.”

[382] Dr. Grosart quotes from Hall’s Satires, vi. i. 81-2:—
"When our indifferent ancestors were so generous __A_TAG_PLACEHOLDER_0__"
"To load up entire bootsful for their friends' well-being."

SATIRE III.

Quædam et sunt, et videntur.

They exist and are seen.

Now, grim Reproof, swell in my rough-hued rhyme,
That thou mayst vex the guilty of our time.
Yon is a youth whom how can I o’er-slip,
Since he so jump doth in my meshes hit?
He hath been longer in preparing him
Than Terence wench; and now behold he’s seen.
Now, after two years’ fast and earnest prayer
The fashion change not (lest he should despair
Of ever hoarding up more fair gay clothes),
Behold at length in London street he shows.    10
His ruff did eat more time in neatest setting
Than Woodstock’s[383] work in painful perfecting;
It hath more doubles far than Ajax’ shield
When he ’gainst Troy did furious battle wield.
Nay, he doth wear an emblem ’bout his neck;
For under that fair ruff so sprucely set,
Appears a fall, a falling-band forsooth.
O dapper, rare, complete, sweet nitty[384] youth!
Jesu Maria! How his clothes appear
Cross’d and recross’d with lace, sure for some fear    20
Lest that some spirit with a tippet mace[385]
Should with a ghastly show affright his face.
His hat, himself, small crown and huge great brim,
Fair outward show, and little wit within.
And all the band with feathers he doth fill,
Which is a sign of a fantastic still.
Why, so[386] he is, his clothes do sympathise
And with his inward spirit humorise,
As sure as (some do tell me) evermore
A goat doth stand before a brothel door.    30
His clothes perfumed, his fusty mouth is aired,
His chin new swept, his very cheeks are glaired.[387]
But ho! what Ganymede is that doth grace
The gallant’s heels? One who for two days’ space
Is closely hired. Now who dares not call
This Æsop’s crow—fond, mad, fantastical?
An open ass, that is not yet so wise
As his derided fondness to disguise.
Why, thou art Bedlam mad, stark lunatic,
And glori’st to be counted a fantastic;    40
Thou neither art, nor yet will seem to be,
Heir to some virtuous praisèd quality.
O frantic man! that thinks all villany
The complete honours of nobility!
When some damn’d vice, some strange misshapen suit,
Make youths esteem themselves in high repute.
O age! in which our gallants boast to be
Slaves unto riot and rude luxury!
Nay, when they blush, and think an honest act
Doth their supposèd virtues maculate!    50
Bedlam, Frenzy, Madness, Lunacy,
I challenge all your moody empery
Once to produce a more distracted man
Than is inamorato Lucian.
For when my ears received a fearful sound
That he was sick, I went, and there I found
Him laid of love, and newly brought to bed
Of monstrous folly and a frantic head.
His chamber hang’d about with elegies,
With sad complaints of his love’s miseries;    60
His windows strew’d with sonnets, and the glass
Drawn full of love-knots. I approach’d the ass,
And straight he weeps, and sighs some sonnet out
To his fair love! And then he goes about
For to perfume her rare perfection
With some sweet-smelling pink epitheton;
Then with a melting look he writhes his head,
And straight in passion riseth in his bed;
And having kiss’d his hand, stroke up his hair,
Made a French conge, cries, “O cruel fear!”    70
To the antic bedpost. I laugh’d amain,
That down my cheeks the mirthful drops did rain.
Well, he’s no Janus, but substantial,
In show and essence a good natural;
When as thou hear’st me ask spruce Duceus
From whence he comes; and he straight answers us,
From Lady Lilla; and is going straight
To the Countess of (——), for she doth wait
His coming, and will surely send her coach,
Unless he make the speedier approach:    80
Art not thou ready for to break thy spleen
At laughing at the fondness thou hast seen
In this vain-glorious fool, when thou dost know
He never durst unto these ladies show
His pippin face? Well, he’s no accident,
But real, real, shameless, impudent;
And yet he boasts, and wonders that each man
Can call him by his name, sweet Ducean;
And is right proud that thus his name is known.
Ay, Duceus, ay, thy name is too far blown:    90
The world too much, thyself too little know’st,
Thy private self. Why, then, should Duceus boast?
But, humble Satire, wilt thou deign display
These open nags, which purblind eyes bewray?
Come, come, and snarl more dark at secret sin,
Which in such labyrinths enwrappèd bin,
That, Ariadne, I must crave thy aid
To help me find where this foul monster’s laid;
Then will I drive the Minotaur from us,
And seem to be a second Theseus.    100

Now, intense criticism, increase in my tough rhyme,
So you might hold the guilty of our time accountable.
There's a young man I can't ignore,
Since he fits perfectly into my plan, like a hook.
He's taken more time to get himself ready.
Than Terence's girl; and now look, he's all ready.
Now, after two years of fasting and intense prayer,
The style hasn’t changed (so he won’t lose hope)
Of always gathering more nice clothes),
Finally, here he is, showing off on the streets of London.    10
It took longer for his ruff to look good.
Than Woodstock’s __A_TAG_PLACEHOLDER_0__ work in painstaking perfection;
It has more folds than Ajax's shield.
When he fought bravely on the battlefield at Troy.
He wears an emblem around his neck;
For underneath that stylish ruff, so neatly arranged,
There’s a decline, a declining trend, for sure.
Oh stylish, unique, complete, charming young man!
Jesus Mary! Look at how his clothes look.
Laced and relaced, definitely out of fear    20
That some spirit with a creepy stick __A_TAG_PLACEHOLDER_0__
Could scare him with a creepy display.
His hat, almost like a crown, has a wide brim,
A great outer look, but no intelligence inside.
And the entire band is filled with feathers,
Which indicates a whimsical style.
Well, he’s exactly that; his clothes go perfectly with his vibe.
And keep his inner spirit light-hearted, all while moving forward,
As definitely as (some say) forever
A goat stands watch in front of a brothel door.    30
His clothes smell nice, and his stale breath is freshened up,
With a freshly shaved chin and well-kept cheeks.[387]
But wait! Who is that serving?
The dandy’s feet? Someone who’s been employed.
For just two days. Now, who wouldn’t be bold enough to call?
This is Aesop's crow—how foolish, crazy, and strange?
A clear fool, but still not smart.
Sufficient to mask his foolishness with a disguise.
You're crazy, absolutely insane,
And you're proud to be seen as amazing;    40
You're not genuine, and you never will be.
Heir to a worthy quality deserving of recognition.
Oh frantic man! Imagining all sorts of evil.
Stands as the complete honors of nobility!
When a certain vice, some unusual outfit,
Makes young people believe they are highly regarded.
Oh age! In which our brave ones assert that they are
Slaves to addiction and excessive indulgence!
No, when they blush and think an honest act
Will stain their so-called virtues for sure!    50
Madness, Frenzy, Insanity, I defy
Throughout your entire emotional reign, come and testify.
To create a more distracted person
Than lovesick Lucian, if you can.
When I heard a scary noise
When I heard he was sick, I rushed over and found him
He was laid up from love, recently delivered.
Of huge foolishness and a mind that wanders.
His room was filled with elegies,
With sorrowful cries about his lover's troubles;    60
His windows filled with sonnets, and the glass
Filled with love knots. I went up to the fool,
And he immediately starts crying, letting out some lines of verse.
To his beautiful love! And then he goes around
To scent her rare perfection
With a sweet-scented flower name;
Then, with a wistful gaze, he turns his head,
And suddenly, caught up in passion, he sits up in his bed;
And after kissing his hand, ruffled his hair,
Made a French bow, cries, “Oh cruel fate!”    70
To the funny bedpost. I laughed so hard,
And happy tears flowed down my face all afternoon.
Well, he’s not Janus, but he’s pretty significant,
In both looks and nature, a good person;
When you hear me ask cheerful Duceus
Where he's from; and he quickly responds to us,
From Lady Lilla; and is heading straight
To the Countess of (——), who is eagerly anticipating
For his arrival, she will definitely send him a ride.
Unless he picks up the pace:    80
Are you not ready to laugh?
At the foolishness you've witnessed
In this vain and foolish person, when you realize
He would never dare to show
His goofy face with these ladies? Well, he doesn't stand a chance.
But truly, authentically, bold, brazen;
And yet he brags and is surprised that every person
You can call him by his name, sweet Ducean;
And he's really proud that his name is well-known.
Yes, Duceus, your name is too well-known:    90
The world has so much information, but you don’t know enough.
Your private self. So why should Duceus brag?
But, humble Satire, will you show
Are these obvious absurdities that foolish eyes show?
Come, come, and growl more ominously at concealed wrongdoing,
Which is entangled in such complicated webs,
Ariadne, I need to ask for your help.
To help me locate where this terrible monster is buried;
Then I'll drive the Minotaur away from us,
And show up as a second Theseus.    100

[383] The maze at Woodstock.

The maze at Woodstock.

[384] I suppose that “nitty” = spruce (Lat. nitidus). The usual meaning of “nitty” is—lousy.

[384] I guess that “nitty” means spruce (Lat. shiny). The common meaning of “nitty” is—lousy.

[385] Carried by the sheriff’s officer when he arrested a man for debt.

[385] Carried by the sheriff’s deputy when he arrested a man for unpaid debts.

[386] In the original, the couplet “Why, so ... humorise,” follows l. 36. Mr. Gosse pointed out this error (Grosart’s Marston, p. li.); he proposes to put the couplet about the goat lower down.

[386] In the original, the couplet “Why, so ... humorise,” follows l. 36. Mr. Gosse noted this mistake (Grosart’s Marston, p. li.); he suggests moving the couplet about the goat further down.

[387] Anointed with the white of an egg.—Old eds. “glazed.”

__A_TAG_PLACEHOLDER_0__ Coated with egg white.—Old eds. “glazed.”

SATIRE IV.

Reactio.

Reactio.

Now doth Rhamnusia Adrastian,
Daughter of Night, and of the Ocean,
Provoke my pen. What cold Saturnian
Can hold, and hear such vile detraction?
Ye pines of Ida, shake your fair-grown height,
For Jove at first dash will with thunder fight;
Ye cedars, bend, ’fore lightning you dismay;
Ye lions tremble, for an ass doth bray.
Who cannot rail?—what dog but dare to bark
’Gainst Phœbe’s brightness in the silent dark?    10
What stinking scavenger (if so he will,
Though streets be fair) but may right easily fill
His dungy tumbrel? Sweep, pare, wash, make clean,
Yet from your fairness he some dirt can glean.
The windy-colic striv’d to have some vent,
And now ’tis flown, and now his rage is spent.
So have I seen the fuming waves to fret,
And in the end naught but white foam beget;
So have I seen the sullen clouds to cry,
And weep for anger that the earth was dry,    20
After their spite that all the hail-shot drops
Could never pierce the crystal water tops,
And never yet could work her more disgrace
But only bubble quiet Thetis’ face
Vain envious detractor from the good,
What cynic spirit rageth in thy blood?
Cannot a poor mistaken title ’scape,
But thou must that into thy tumbrel scrape?
Cannot some lewd immodest beastliness
Lurk and lie hid in just forgetfulness,    30
But Grillus’[388] subtile-smelling swinish snout
Must scent and grunt, and needs will find it out?
Come, dance, ye stumbling satyrs by his side,
If he list once the Sion Muse deride;
Ye Granta’s white nymphs, come, and with you bring
Some sillabub, whilst he doth sweetly sing
’Gainst Peter’s tears[389] and Mary’s moving moan,
And like a fierce enragèd boar doth foam
At sacred sonnets. O daring hardiment!
At Bartas’ sweet Semains[390] rail impudent;    40
At Hopkins, Sternhold, and the Scottish King,[391]
At all translators that do strive to bring
That stranger language to our vulgar tongue,
Spit in thy poison their fair acts among;
Ding[392] them all down from fair Jerusalem,
And mew them up in thy deserved Bedlam.
Shall Paynims honour their vile falsèd gods
With sprightly wits, and shall not we by odds
Far, far more strive with wit’s best quintessence
To adore the sacred ever-living essence?    50
Hath not strong reason moved the legists’ mind,
To say the fairest of all nature’s kind
The prince by his prerogative may claim?
Why may not then our souls, without thy blame
(Which is the best thing that our God did frame),
Devote the best part to his sacred name,
And with due reverence and devotion,
Honour his name with our invention?
No, poesy not fit for such an action,
It is defiled with superstition:    60
It honoured Baal, therefore pollute, pollute—
Unfit for such a sacred institute.
So have I heard a heretic maintain
The church unholy, where Jehovah’s name
Is now adored, because he surely knows
Sometimes[393] it was defiled with Popish shows;
The bells profane, and not to be endured,
Because to Popish rites they were inured.
Pure madness! Peace, cease to be insolent,
And be not outward sober, inly impudent.    70
Fie, inconsiderate! it grieveth me
An academic should so senseless be.
Fond censurer! why should those mirrors seem
So vile to thee, which better judgments deem
Exquisite then, and in our polish’d times
May run for senseful tolerable lines?
What, not mediocria firma from thy spite?
But must thy envious hungry fangs needs light
On Magistrates’ Mirror?[394] Must thou needs detract
And strive to work his ancient honour’s wrack?    80
What, shall not Rosamond[395] or Gaveston
Ope their sweet lips without detraction?
But must our modern critic’s envious eye
Seem thus to quote some gross deformity,
Where art, not error, shineth in their style,
But error, and no art, doth thee beguile?
For tell me, critic, is not fiction
The soul of poesy’s invention?
Is’t not the form, the spirit, and the essence,
The life, and the essential difference,    90
Which omni, semper, soli, doth agree
To heavenly descended poesy?
Thy wit God comfort, mad chirurgion.
What, make so dangerous an incision?—
At first dash whip away the instrument
Of poet’s procreation! Fie, ignorant!
When as the soul and vital blood doth rest,
And hath in fiction only interest,
What, Satire, suck the soul from poesy,
And leave him spriteless! O impiety!    100
Would ever any erudite pedant[396]
Seem in his artless lines so insolent?
But thus it is when petty Priscians
Will needs step up to be censorians.
When once they can in true scann’d verses frame
A brave encomium of good Virtue’s name;
Why, thus it is, when mimic apes will strive
With iron wedge the trunks of oaks to rive.
But see, his spirit of detraction
Must nibble at a glorious action.    110
Euge! some gallant spirit, some resolvèd blood,
Will hazard all to work his country’s good,
And to enrich his soul and raise his name,
Will boldly sail unto the rich Guiane:
What then? Must straight some shameless satirist,[397]
With odious and opprobrious terms insist
To blast so high resolv’d intention
With a malignant vile detraction?
So have I seen a cur dog in the street
Piss ’gainst the fairest posts he still could meet;    120
So have I seen the March wind strive to fade
The fairest hue that art or nature made:
So envy still doth bark at clearest shine,
And strives to stain heroic acts divine.
Well, I have cast thy water, and I see
Th’ art fall’n to wit’s extremest poverty,
Sure in consumption of the spritely part.
Go, use some cordial for to cheer thy heart,
Or else I fear that I one day shall see
Thee fall into some dangerous lethargy.    130
But come, fond braggart, crown thy brows with bay,
Intrance thyself in thy sweet ecstasy;
Come, manumit thy plumy pinion,
And scour the sword of elvish champion;
Or else vouchsafe to breathe in wax-bound quill,
And deign our longing ears with music fill;
Or let us see thee some such stanzas frame,
That thou mayst raise thy vile inglorious name.
Summon the Nymphs and Dryades to bring
Some rare invention, whilst thou dost sing    140
So sweet that thou mayst shoulder from above
The eagle from the stairs of friendly Jove,[398]
And lead sad Pluto captive with thy song,
Gracing thyself, that art obscured so long.
Come, somewhat say (but hang me when ’tis done)
Worthy of brass and hoary marble stone;
Speak, ye attentive swains, that heard him never,
Will not his pastorals[399] endure for ever?
Speak, ye that never heard him ought but rail,
Do not his poems bear a glorious sail?    150
Hath not he strongly justled from above
The eagle from the stairs of friendly Jove?
May be, may be; tut! ’tis his modesty;
He could, if that he would: nay, would, if could, I see.
Who cannot rail, and with a blasting breath
Scorch even the whitest lilies of the earth?
Who cannot stumble in a stuttering style,
And shallow heads with seeming shades beguile?
Cease, cease, at length to be malevolent
To fairest blooms of virtues eminent;    160
Strive not to soil the freshest hues on earth
With thy malicious and upbraiding breath.
Envy, let pines of Ida rest alone,
For they will grow spite of thy thunder-stone;
Strive not to nibble in their swelling grain
With toothless gums of thy detracting brain;
Eat not thy dam, but laugh and sport with me
At strangers’ follies with a merry glee.
Let’s not malign our kin. Then, satirist,
I do salute thee with an open fist.[400]    170

Now Rhamnusia Adrastian,
Daughter of Night and the Ocean,
Challenges my pen. What cold Saturnian
How can anyone stand and listen to such terrible insults?
You pines of Ida, sway at your tall peaks,
For Jove will strike with thunder from the beginning;
You cedars, bend, as the lightning scares you;
You lions shake in fear because a donkey is braying.
Who can't insult?—which dog doesn't dare to bark?
Against Phoebe's brightness in the quiet dark?    10
What a disgusting scavenger (if he wants to,
Although the streets are clean, they can easily fill.
His dirty cart? Sweep it, trim it, wash it, clean it,
But from your beauty, he can find some flaws.
The windy colic sought some relief,
And now it's gone, and now he's calmed down.
I have seen the angry waves to worry,
And in the end, it produces nothing but white foam;
I've witnessed the dark clouds weep,
And cry in frustration that the ground was dry,    20
After their bitterness that all the hail falls
Could never break through the clear surface of the water,
And have never brought her more shame.
But only bubble quietly on Thetis’ face.
Vain, jealous critic of the good,
What cynical energy courses through your veins?
Can't a poor misnamed title get away,
But you have to add it to your cart?
Can't some vulgar inappropriate behavior
Stay hidden in plain forgetfulness,    30
But Grillus’ foul-smelling snout
Must sniff and grunt, and will definitely figure it out?
Come, dance, you clumsy satyrs next to him,
If he ever wants to tease the Sion Muse;
You white nymphs of Granta, come, and bring
Some sillabub while he sings sweetly
Despite Peter's tears[389] and Mary's heartfelt moan,
And like an angry, raging boar, he foams.
At sacred sonnets. Oh, what boldness!
At Bartas’ sweet Semains[390] rail boldly;    40
At Hopkins, Sternhold, and the Scottish King,[391]
To all translators who work hard to bring
That foreign language compared to our common language,
Spread your negativity about their good efforts.
Knock them all down from beautiful Jerusalem,
And keep them locked up in your well-deserved Bedlam.
Should pagans worship their disgusting false gods?
With lively intelligence, shouldn't we instead highlight the contrast?
Aim to excel with the finest wit.
To worship the sacred, eternal essence?    50
Hasn't a strong reason influenced the minds of thinkers,
To call her the most beautiful of all nature's creations
Can the prince assert this right by his privilege?
Why can't our souls, without your judgment,
(Which is the best thing our God ever created),
Dedicate the best part to his holy name,
And with proper respect and dedication,
Shall we honor his name with our creativity?
No, poetry isn’t suitable for that purpose,
It’s tainted by superstition:    60
It worshipped Baal, so it is defiled—
Not suitable for such a holy calling.
I've heard a heretic claim.
The unholy church, where Jehovah’s name
Is now worshipped, because he definitely knows
Sometimes[393] it was corrupted with Catholic practices;
The bells are disrespectful and should not be accepted.
Because they were used to Catholic rituals.
Total madness! Peace, quit being disrespectful.
And don’t act composed on the outside while being disrespectful on the inside.    70
Ugh, thoughtless! It really hurts me.
An academic shouldn't be so foolish.
Silly critic! Why should those mirrors appear
So disgusting to you, which better judgments consider
Exquisite, especially in our refined era
Can these be considered sensible and acceptable lines?
What, not mediocria firma from your grudge?
But must your envious, hungry fangs grab
On Magistrates’ Mirror?[394] Do you really need to take away
And try to destroy his long-standing honor?    80
What, can’t Rosamond or Gaveston
How can I talk to them openly without facing criticism?
But must our contemporary critic's jealous gaze
Seem to indicate some serious deformity,
Where creativity, not mistakes, stands out in their style,
But do errors, and not art, mislead you?
Tell me, critic, isn't this fiction?
What's the essence of poetry?
Is it not the shape, the spirit, and the essence,
The life, and the key difference, __A_TAG_PLACEHOLDER_0__
Which all, always, alone, agrees
With poetry from above?
May God soothe your humor, crazy surgeon.
What, make such a risky cut?—
At the first strike, take away the tool.
Of the poet's creation! What a shame, how ignorant!
When the soul and vital blood are at rest,
And is only interested in fiction,
What, Satire, drain the spirit from poetry,
And leave it empty! Oh, how disrespectful!    100
Would any knowledgeable expert __A_TAG_PLACEHOLDER_0__
Have you ever seen such arrogance in his simple lines?
But this is how it is when petty Priscians
Will insist on being critics.
When they are finally able to express themselves in properly structured verses
A bold praise of Virtue's good name;
Well, this is what happens when mimic apes try.
To split the trunks of oak trees with iron wedges.
But look, his critical spirit
Must engage in an amazing action.    110
Euge! a brave spirit, some determined blood,
Will risk everything to serve the greater good of his country,
To enrich his soul and elevate his reputation,
Will confidently journey to the wealthy Guiane:
What happens next? Does a bold satirist need to take action right away? [397]
With hateful and derogatory language, insist
To undermine such a strong intention
With a nasty, harmful criticism?
I've seen a mutt in the street.
He urinated against the most beautiful posts he could find;    120
I've seen the March wind fight to disappear.
The most beautiful color that art or nature created:
So envy always growls at the brightest shine,
And works to make heroic acts seem divine.
Well, I've addressed your slander, and I see
The art has sunk to the most basic level of humor,
Surely in enjoying the lively part.
Go, find something to lift your spirits,
Otherwise, I worry that one day I will see
You're slipping into a risky lethargy.    130
But come, foolish show-off, crown your head with laurel,
Lose yourself in your sweet bliss;
Come, free your feathered wing,
And sharpen the sword of the elf champion;
Otherwise, spend some time writing with a wax-bound quill,
And please fill our eager ears with music;
Or let's see you create some verses,
So that you can elevate your disgraceful, ignoble name.
Call the Nymphs and Dryads to come
Some unique creation while you sing    140
So sweet that you might rise above
The eagle from the steps of friendly Jove,[398]
And capture sad Pluto with your song,
Honor yourself, who has been hidden for so long.
Come on, say something (but I’ll hold you to it if you don’t).
Deserving of bronze and ancient marble.
Listen up, you attentive shepherds, who have never heard him,
Will his pastorals[399] last forever?
Speak, you who have only ever heard his rants,
Don't his poems soar beautifully?    150
Has he not firmly pressured from above?
The eagle from the steps of friendly Jupiter?
Maybe, maybe; tsk! it’s his humility;
He could do it if he wanted to; in fact, he would do it if he were able, I understand.
Who cannot insult, and with a mighty breath
Burn even the purest lilies of the earth?
Who can't trip over their words,
And do shallow minds with false appearances lead us astray?
Stop, stop, finally being evil.
To the most beautiful expressions of outstanding virtues;    160
Don’t try to dirty the brightest colors on earth.
With your spiteful and accusatory words.
Envy, let the pines of Ida be at peace,
For they will thrive regardless of your thunderstone;
Don't try to pick at their growing wealth.
With the bare gums of your critical mind;
Don't eat your mother; instead, have fun and play with me.
At the foolishness of strangers with cheerful joy.
Let’s not speak poorly of our family. So, satirist,
I greet you with an open fist.[400]    170

[388] The allusion in the following lines is to Hall’s Satires, i. 8. See Introduction, vol. i.—Grillus was one of Ulysses’ companions who were turned into swine. When the others rejoiced at resuming their human shape, Grillus preferred to remain a swine.

[388] The reference in the following lines is to Hall’s Satires, i. 8. See Introduction, vol. i.—Grillus was one of Ulysses' friends who got turned into pigs. When the others were happy to become human again, Grillus chose to stay a pig.

[389] An allusion to Southwell’s poems Saint Peter’s Complaint and The Virgin Mary to Christ on the Cross.

[389] A reference to Southwell’s poems Saint Peter’s Complaint and The Virgin Mary to Christ on the Cross.

[390] The allusion is to Sylvester’s once famous translations of Du Bartas.

[390] The reference is to Sylvester’s once-popular translations of Du Bartas.

[391] James in his Poetical Exercises (1591) published a translation of Du Bartas’ poem The Furies; but there seems also to be a reference to the metrical translation of the psalms (first published in 1631), on which James was known to be engaged.

[391] James in his Poetical Exercises (1591) published a translation of Du Bartas’ poem The Furies; but there also appears to be a mention of the metrical translation of the psalms (first published in 1631), which James was known to be working on.

[392] Dash.

Dash.

[393] Often used for sometime.

__A_TAG_PLACEHOLDER_0__ Often used for sometimes.

[394] In Hall’s Satires, i. 5, the Mirror of Magistrates is ridiculed.

[394] In Hall’s Satires, i. 5, the Mirror of Magistrates is mocked.

[395] The allusion is to Daniel’s Complaint of Rosamond, 1592, and to Michael Drayton’s Complaint of Gaveston, 1593. I cannot discover any abuse of Daniel or Drayton in Hall’s Satires. I have elsewhere suggested (Marlowe, iii. 243) that Marston is here glancing at Sir John Davies’ forty-fifth epigram, in which a conceit from Daniel’s Rosamond is ridiculed.

[395] The reference is to Daniel’s Complaint of Rosamond, 1592, and to Michael Drayton’s Complaint of Gaveston, 1593. I can’t find any criticism of Daniel or Drayton in Hall’s Satires. I have previously suggested (Marlowe, iii. 243) that Marston is subtly referencing Sir John Davies’ forty-fifth epigram, which mocks a concept from Daniel’s Rosamond.

[396] A sneer at Hall, who left Cambridge (soon to return), before completing his course, to take temporary work as a schoolmaster, as he relates in Some Specialities of the Life of Joseph Hall, Bishop of Norwich (Works, ed. Wynter, 1. xxiv).

[396] A mockery of Hall, who left Cambridge (soon to come back), before finishing his studies, to take a temporary job as a schoolteacher, as he shares in Some Specialities of the Life of Joseph Hall, Bishop of Norwich (Works, ed. Wynter, 1. xxiv).

[397] The satirist is Hall, who wrote in the third satire of Book iv. of Virgidem:—
“Ventrous Fortunio his farm hath sold
And gads to Guiane land to fish for gold.”

[397] The satirist is Hall, who wrote in the third satire of Book iv. of Virgidem:—
"Adventurous Fortunio has sold his farm"
“and goes to Guiana to look for gold.”

[398] Marston is ridiculing Hall’s Defiance to Envy, prefixed to Virgidem.:—
“Or would we loose her plumy pinion,
Manacled long with bonds of modest fear,
Soon might she have those kestrels proud outgone
Whose flighty wings are dew’d with weeter [sic] air;
And hopen now to shoulder from above
The eagle from the stairs of friendly Jove.

[398] Marston is mocking Hall’s Defiance to Envy, prefixed to Virgidem:—
"Or would we lose her delicate wing,"
Held back for too long by the chains of shyness,
Soon she would be able to surpass those proud kestrels.
Whose delicate wings are touched by gentler breezes;
And now hope to overcome from above
The eagle from the steps of friendly Jove.

“Or list she rather in late triumph rear
Eternal trophies to some conqueror
Whose dead deserts slept in his sepulchre,
And never saw nor life nor light before,
To lead sad Pluto captive with my song
To grace the triumphs he obscured so long, &c.”

"Or does she prefer, in her late victory, to raise"
forever trophies for some conqueror
whose lifeless remains rest in his tomb,
never having seen life or light before,
to captivate sad Pluto with my song
"to honor the successes he has concealed for so long, etc."

[399] It is not improbable that Hall published an early volume of pastorals which is now unknown. See Corser’s Collectanea, vii. 134. In Virgidem. vi. 1. ll. 175-184 (“Shall the controller of proud Nemesis, &c.”), Hall replies to Marston’s raillery.

[399] It's possible that Hall published an early collection of pastorals that we don't have any record of today. See Corser’s Collectanea, vii. 134. In Virgidem. vi. 1. ll. 175-184 (“Shall the controller of proud Nemesis, &c.”), Hall responds to Marston’s teasing.

[400] Edward Guilpin in his sixth Satire (Skialetheia, 1598, sig. E. V.) alludes to Marston’s Reactio:—
“The double-volum’d satire praised is
And liked of divers for his rods in piss,
Yet other some who would her credit crack,
Have clapp’d Reactio’s action on her back.”

[400] Edward Guilpin in his sixth Satire (Skialetheia, 1598, sig. E. V.) references Marston’s Reactio:—
“The highly acclaimed satire is
And appreciated by many for its ridiculous humor,
There are also those who want to tarnish its reputation,
"She has taken on the burden of Reactio's actions."

The expression “rods in piss” is used in reference to Sat. i. l. 44. of the Scourge of Villainy. “Double-volum’d satire” seems to refer to Hall’s two collections of Satires; but the passage is obscure.

The phrase “rods in piss” is referenced in Sat. i. l. 44 of the Scourge of Villainy. “Double-volum’d satire” appears to refer to Hall’s two collections of Satires, but the passage is unclear.

SATIRE V.

Parva magna, magna nulla.

Parva magna, magna nulla.

Ambitious Gorgons, wide-mouth’d Lamians,[401]
Shape-changing Proteans, damn’d Briarians,
Is Minos dead, is Rhadamanth asleep,
That ye thus dare unto Jove’s palace creep?
What, hath Rhamnusia spent her knotted whip,
That ye dare strive on Hebe’s cup to sip?
Yet know Apollo’s quiver is not spent,
But can abate your daring hardiment.
Python is slain, yet his accursèd race
Dare look divine Astrea in the face;    10
Chaos return, and with confusion
Involve the world with strange disunion;
For Pluto sits in that adorèd chair
Which doth belong unto Minerva’s heir.
O hecatombe! O catastrophe![402]
From Midas’ pomp to Irus’ beggary!
Prometheus, who celestial fire
Did steal from heaven, therewith to inspire
Our earthly bodies with a senseful mind,
Whereby we might the depth of nature find,    20
Is ding’d[403] to hell, and vulture eats his heart,
Which did such deep philosophy impart
To mortal men; when thieving Mercury,
That even in his new-born infancy
Stole fair Apollo’s quiver and Jove’s mace,
And would have filch’d the lightning from his place,
But that he fear’d he should have burnt his wing
And sing’d his downy feathers’ new-come spring;
He that in ghastly shade of night doth lead
Our souls unto the empire of the dead;    30
When he that better doth deserve a rope
Is a fair planet in our horoscope,
And now hath Caduceus in his hand,
Of life and death that hath the sole command.
Thus petty thefts are paid and soundly whipt,
But greater crimes are slightly overslipt;
Nay, he’s a god that can do villany
With a good grace and glib facility.
The harmless hunter, with a ventrous eye,
When unawares he did Diana spy    40
Nak’d in the fountain, he became straightway
Unto his greedy hounds a wishèd prey,
His own delights taking away his breath,
And all ungrateful forced his fatal death
(And ever since hounds eat their masters clean,
For so Diana curst them in the stream).
When strong-back’d Hercules, in one poor night,
With great, great ease, and wond[e]rous delight,
In strength of lust and Venus’ surquedry,
Robb’d fifty wenches of virginity—    50
Far more than lusty Laurence[404]—yet, poor soul,
He with Actæon drinks of Nemis’[405] bowl:
When Hercules’ lewd act is registered,
And for his fruitful labour deified,
And had a place in heaven him assigned,
When he the world unto the world resigned.
Thus little scapes are deeply punishèd,
But mighty villains are for gods adored.
Jove brought his sister to a nuptial bed,
And hath an Hebe and a Ganymede,    60
A Leda, and a thousand more beside
His chaste Alcmena and his sister-bride,
Who ’fore his face was odiously defil’d,
And by Ixion grossly got with child:
This thunderer, that right vertuously
Thrust forth his father from his empery,
Is now the great monarcho of the earth,
Whose awful nod, whose all-commanding breath,
Shakes Europe’s ground-work; and his title makes[406]
As dread a noise as when a cannon shakes    70
The subtile air. Thus hell-bred villany
Is still rewarded with high dignity,
When Sisyphus, that did but once reveal
That this incestuous villain had to deal
In isle Phliunte with Ægina fair,[407]
Is damn’d to hell, in endless black despair
Ever to rear his tumbling stone upright
Upon the steepy mountain’s lofty height;
His stone will never now get greenish moss,
Since he hath thus incurred so great a loss    80
As Jove’s high favour. But it needs must be
Whilst Jove doth rule and sway the empery.
And poor Astrea’s fled into an isle,
And lives a poor and banishèd exile,
And there penn’d up, sighs in her sad lament,
Wearing away in pining languishment.
If that Silenus’ ass do chance to bray,
And so the satyrs’ lewdness doth bewray,
Let him for ever be a sacrifice;
Prick, spur, beat, load, for ever tyrannise    90
Over the fool. But let some Cerberus
Keep back the wife of sweet-tongued Orpheus,
Gnato[408] applauds the hound. Let that same child
Of night and sleep (which hath the world defiled
With odious railing) bark ’gainst all the work
Of all the gods, and find some error lurk
In all the graces; let his laver[409] lip
Speak in reproach of Nature’s workmanship;
Let him upbraid fair Venus, if he list,
For her short heel; let him with rage insist    100
To snarl at Vulcan’s man, because he was
Not made with windows of transparent glass,
That all might see the passions of his mind;
Let his all-blasting tongue great errors find
In Pallas’ house, because if next should burn,
It could not from the sudden peril turn;
Let him upbraid great Jove with luxury,
Condemn the heaven’s queen of jealousy:
Yet this same Stygian Momus must be praised,
And to some godhead at the least be raised.    110
But if poor Orpheus sing melodiously,
And strive with music’s sweetest symphony
To praise the gods, and unadvisedly
Do but o’er-slip one drunken deity,
Forthwith the bouzing Bacchus out doth send
His furious Bacchides, to be revenged;
And straight they tear the sweet musician,
And leave him to the dogs’ division.
Hebrus, bear witness of their cruelty,
For thou didst view poor Orpheus’ tragedy.    120
Thus slight neglects are deepest villany,
But blasting mouths deserve a deity.
Since Gallus slept, when he was set to watch
Lest Sol or Vulcan should Mavortius catch
In using Venus; since the boy did nap,
Whereby bright Phœbus did great Mars intrap,
Poor Gallus now (whilom to Mars so dear)
Is turnèd to a crowing chaunticlere;
And ever since, ’fore that the sun doth shine
(Lest Phœbus should with his all-piercing eyne    130
Descry some Vulcan), he doth crow full shrill,
That all the air with echoes he doth fill;
Whilst Mars, though all the gods do see his sin,
And know in what lewd vice he liveth in,
Yet is adored still, and magnified,
And with all honours duly worshipped.
Euge! Small faults to mountains straight are raised;
Slight scapes are whipt, but damnèd deeds are praised.
Fie, fie! I am deceived all this while,
A mist of errors doth my sense beguile;    140
I have been long of all my wits bereaven;
Heaven for hell taking, taking hell for heaven;
Virtue for vice, and vice for virtue still;
Sour for sweet, and good for passing ill.
If not, would vice and odious villany
Be still rewarded with high dignity?
Would damned Jovians be of all men praised,
And with high honours unto heaven raised?
’Tis so, ’tis so; riot and luxury
Are virtuous, meritorious chastity:    150
That which I thought to be damn’d hell-born pride,
Is humble modesty, and nought beside;
That which I deemèd Bacchus’ surquedry,
Is grave and staid, civil sobriety.
O then, thrice holy age, thrice sacred men,
’Mong whom no vice a satire can discern,
Since lust is turnèd into chastity,
And riot unto sad sobriety,
Nothing but goodness reigneth in our age,
And virtues all are join’d in marriage!    160
Here is no dwelling for impiety,
No habitation for base villany;
Here are no subject for reproof’s sharp vein;
Then hence, rude satire, make away amain,
And seek a seat where more impurity
Doth lie and lurk in still security!
Now doth my satire stagger in a doubt,
Whether to cease or else to write it out.
The subject is too sharp for my dull quill;
Some son of Maia, show thy riper skill;    170
For I’ll go turn my tub against the sun,
And wistly mark how higher planets run,
Contemplating their hidden motion.
Then on some Latmos with Endymion,
I’ll slumber out my time in discontent,
And never wake to be malevolent,
A beadle to the world’s impurity.
But ever sleep in still security.
If this displease the world’s wrong-judging sight,
It glads my soul, and in some better sprite    180
I’ll write again. But if that this do please,
Hence, hence, satiric Muse, take endless ease,
Hush now, ye band-dogs, bark no more at me,
But let me slide away in secrecy.

Ambitious Gorgons, wide-mouthed Lamians, __A_TAG_PLACEHOLDER_0__
Shape-shifting Proteans, cursed Briarians,
Is Minos dead, is Rhadamanth asleep,
Do you really have the guts to sneak into Jupiter's palace?
What, has Rhamnusia run out of her whip,
Do you really dare to sip from Hebe’s cup?
But know that Apollo's quiver is not empty,
And can control your reckless ambition.
Python is defeated, but his cursed relatives
Dare to confront divine Astrea;    10
Chaos is back, and confusion
Engage the world in unusual division;
For Pluto occupies that esteemed position.
Which belongs to Minerva's heir.
Oh no! Oh no![402]
From Midas' wealth to Irus' poverty!
Prometheus, who took fire from the gods
From the heavens to inspire
Our physical bodies with a thinking mind,
So we can explore the depths of nature,    20
is cursed to hell, and a vulture feasts on his heart,
Which shared such deep insight
With mortal people; when the crafty Mercury,
That even in his newborn infancy
He took Apollo's quiver and Jupiter's scepter,
And would have taken the lightning from its spot,
But he was afraid he would burn his wing.
And burn his soft new feathers;
He who guides us through the dark night
To the realm of the dead;    30
While he who deserves punishment
Is a bright star in our horoscope,
And now he holds the Caduceus in his hand,
With complete power over life and death.
So, minor thefts are punished and dealt with severely,
But more serious offenses are often brushed aside;
Indeed, he’s a god who can do wrong.
With kindness and effortless charisma.
The innocent hunter, with a bold gaze,
When he unexpectedly saw Diana naked in the fountain,
Instantly became
To his eager hounds, a sought-after catch,
His own pleasures taking his breath away,
And all ungratefully pushed to his tragic death.
(And ever since, dogs have completely devoured their masters,
As Diana cursed them in the river.
When the strong-backed Hercules, in one night,
With great ease and amazing joy,
In the heat of passion and Venus' pride,
Took fifty maidens' virginity—    50
Far more than passionate Laurence—yet, poor thing,
He drinks from Nemis’ bowl with Actæon:
When Hercules' inappropriate action is documented,
And for his rewarding work, he was made divine,
And a spot in heaven designated for him,
When he returned the world to the world.
So, minor offenses are heavily penalized,
But powerful villains are worshipped like gods.
Jove married his sister.
And has a Hebe and a Ganymede,    60
A Leda, and a thousand others as well
His pure Alcmena and his sister-wife,
Who was shamefully tarnished before his eyes,
And by Ixion, who was inappropriately made pregnant:
This thunderer, who courageously
He pushed his father out of his empire,
Is now the great ruler of the earth,
Whose awful nod, whose powerful breath,
Shakes the foundation of Europe; and his title makes[406]
As scary a sound as when a cannon booms    70
The subtle atmosphere. So, the villainy born from hell.
Is still rewarded with great respect,
When Sisyphus, who just revealed
That this twisted villain had to handle
On the island of Phliunte with beautiful Ægina,[407]
is condemned to hell, in unending dark hopelessness,
Always to keep his rolling stone upright.
At the high peak of the steep mountain;
His stone will never gather green moss now.
Since he has faced such a significant loss __A_TAG_PLACEHOLDER_0__
As Jove’s great favor. But it has to be
While Jupiter rules and controls the empire.
And poor Astrea has escaped to an island,
And lives as a poor and exiled outcast,
And there she wrote, sighing in her sorrowful lament,
Withering away in longing.
If Silenus' donkey happens to bray,
And so the satyrs' lustfulness is exposed,
Let him be a sacrifice for eternity;
Prick, spur, hit, burden, and endlessly oppress    90
Over the fool. But let some Cerberus
Restrict the wife of sweet-talking Orpheus,
Gnato[408] praises the dog. Let that same kid
Of night and sleep (who has corrupted the world)
With disgraceful insults) criticize all the work
Among all the gods, discover some hidden error.
In all the charms; let his laver[409] lips
Criticize the way Nature works;
Let him criticize fair Venus if he wants to,
For her short heel; let him insist angrily.
To snarl at Vulcan's guy, since he was
Not made with clear glass windows,
So that everyone can see what he's passionate about;
Let his harmful words uncover significant mistakes.
In Pallas' house, because if it ever catches fire,
It couldn't avoid the sudden danger;
Let him blame great Jove for his excess.
Condemn the queen of heaven for being jealous:
Yet this same dark Momus must be praised,
And be elevated to a somewhat divine status.    110
But if poor Orpheus sings so beautifully,
And works hard with music's sweetest symphony
To worship the gods, and unknowingly
Misses one tipsy deity,
Right away, the partying Bacchus sends
His furious Bacchides are out for revenge;
And right away they rip the sweet musician apart,
And let the dogs eat him.
Hebrus, see their cruelty,
For you witnessed the tragedy of poor Orpheus.    120
So, small neglects are serious wrongdoing,
But slanderous mouths deserve a god.
Since Gallus was asleep when he was supposed to be on watch
In case Sol or Vulcan find Mavortius.
With Venus; since the boy was sleeping,
Where bright Phoebus caught great Mars,
Poor Gallus now (once so beloved by Mars)
Is transformed into a crowing rooster;
And ever since then, before the sun rises
(Lest Phœbus see everything with his all-knowing eyes    130
Spot some Vulcan), he calls out very loudly,
That the entire air resonates with his sound;
While Mars, even though all the gods see his wrongdoing,
And be aware of the terrible vice he indulges in,
Still loved and highly praised,
And properly honored with all respects.
Euge! Small faults quickly become huge problems;
Minor wrongdoings are punished, but serious offenses are celebrated.
Ugh, I’ve been tricked this whole time,
A cloud of mistakes has confused my senses;    140
I have been completely out of my mind for a long time;
Taking hell for heaven, and heaven for hell;
Virtue for vice, and vice for virtue remain the same;
Sour for sweet, and good for very bad.
If not, then would wickedness and awful villainy
Will you still be honored with great respect?
Would cursed Jove be praised by everyone,
And elevated to great status in heaven?
It is true, it is true; chaos and extravagance
Are celebrated for their virtuous and commendable purity:    150
What I thought was a pride born from hell,
Humble is just being modest, and nothing more;
What I thought was Bacchus' arrogance,
Is serious, composed, civil sobriety.
Oh, then, three times holy era, three times sacred individuals,
Among whom no flaw can be found in satire,
Since desire has transformed into purity,
And party turns into sad reality,
Only goodness prevails in our time,
All virtues come together in marriage!    160
This is no place for disrespect.
No place for evil acts;
There are no topics for harsh criticism here;
Then go away, rude satire, hurry up and leave,
And look for a place with more impurity
Lurks in quiet safety!
Now my satire is uncertain,
Deciding whether to stop or keep writing.
The topic is too intense for my blunt pen;
Some son of Maia, demonstrate your exceptional talent;    170
I'll turn my tub toward the sun,
And observe how the outer planets move,
Thinking about their hidden movement.
Then on some Latmos with Endymion,
I’ll spend my time sleeping in frustration,
And never wake up feeling angry,
A servant to the world's dirtiness.
But always sleep in peaceful security.
If this goes against the world's misguided perspective,
It brings joy to my soul, and in a better mood __A_TAG_PLACEHOLDER_0__
I'll write again. But if this makes you happy,
Then, satirical Muse, take your endless rest,
Be quiet now, you group of dogs, stop barking at me.
But let me escape quietly.

EPICTETUS.[410]

EPICTETUS.[410]

[401] In Topsel’s Hist. of Four-footed Beasts (ed. 1658, pp. 352-5) there is an interesting chapter “of the Lamia.”

[401] In Topsel’s Hist. of Four-footed Beasts (ed. 1658, pp. 352-5) there’s an interesting chapter “about the Lamia.”

[402]Huc usque Xylinum.”—Marginal note in old ed. The meaning is “Bombast—balderdash—up to this point.” Marston lets the reader know that the high-sounding lines at the beginning of this satire are to be taken in jest. See more on p. 342. (Lat. xylinum, Gr. ξύλινον = cotton, bombast.)

[402]Huc usque Xylinum.”—Note in an old edition. The meaning is “Nonsense—rubbish—up to this point.” Marston indicates to the reader that the pretentious lines at the start of this satire should be viewed humorously. See more on p. 342. (Lat. xylinum, Gr. ξύλινον = cotton, bombast.)

[403] Dashed.

Dashed.

[404] Dyce, in a note on a passage of The Captain, iv. 3 (Beaumont and Fletcher, iii. 295), quotes from A Brown Dozen of Drunkards, 1648, sig. C:—“This late Lusty Lawrence, that Lancashire Lad, who had seventeen bastards in one year, if we believe his Ballad,” &c.

[404] Dyce, in a note about a section of The Captain, iv. 3 (Beaumont and Fletcher, iii. 295), cites from A Brown Dozen of Drunkards, 1648, sig. C:—“This recent lively Lawrence, that guy from Lancashire, who had seventeen illegitimate children in one year, if we believe his ballad,” &c.

[405] Seemingly a contraction (metri causa) of “Nemesis.”

[405] It appears to be a shortened form (metri causa) of “Nemesis.”

[406]Rex hominumque deorumque.”—Marginal note in old ed.

[406]King of men and gods.”—Marginal note in old ed.

[407] One legend makes Asopus, father of Aegina, to have been the river that watered the Phliasian territory in Argolis. See Heyne’s note on Apollodorus’ Bibl., iii. 12. 5.

[407] One legend says that Asopus, the father of Aegina, was the river that flowed through the Phliasian territory in Argolis. See Heyne’s note on Apollodorus’ Bibl., iii. 12. 5.

[408] Gnatho,—used by Plautus and Terence as a proper name for a parasite (Gr. γνάθων).

[408] Gnatho—used by Plautus and Terence as a name for a parasite (Gr. γνάθων).

[409] “Laver lip” = hanging lip. Cf. Hall’s Satires, ii. 2:—“A lave-ear’d ass with gold may trappèd be;” and again in iv. 1—“His ears hang laving like a new-lugg’d swine.”

[409] “Laver lip” = hanging lip. Cf. Hall’s Satires, ii. 2:—“A lave-ear’d donkey can be decked out in gold;” and again in iv. 1—“His ears hang laving like a freshly unloaded pig.”

[410] I fail to understand why Epictetus’ name should stand here. The conclusion of this satire is more in ‘Ercles’ vein than in Epictetus’.—At the end of old ed. is a list of “Faults escaped.”

[410] I don't understand why Epictetus’ name is mentioned here. The ending of this satire seems more in line with ‘Ercles’ style than Epictetus’.—At the end of the old edition, there’s a list of “Mistakes overlooked.”

THE SCOURGE OF VILLAINY.

The Scovrge of Villanie. Three bookes of Satyres.
Persevs.
v v v Nec scompros [sic] metuentia carmina nec thus.

The Scourge of Villainy. Three Books of Satires.
Perseus.
v v v Neither the scornful songs nor the incense will be feared.

At London, Printed by I. R. and are to be sold by Iohn Buzbie, in Paules Church-yard, at the signe of the Crane, 1598.8vo.

In London, printed by I. R. and available for sale by John Buzbie, in Paul's Churchyard, at the sign of the Crane, 1598.8vo.

The Scovrge of Villanie. Corrected, with the addition of newe Satyres. Three Bookes of Satyres.

The Scourge of Villainy. Revised, with the addition of new Satire. Three Books of Satire.

Persivs.
v v v Nec scombros metuentia carmina nec thus.

Persivs.
v v v Nec scombros metuentia carmina nec thus.

At London, Printed by I. R.  Anno Dom. 1599.8vo.

In London, printed by I. R.  Year of our Lord 1599.8vo.

The letters “v v v” indicate that the dactyl at the beginning of the line has been dropped.

The letters “v v v” show that the dactyl at the start of the line has been removed.

To[411] his most esteemed and best beloved Self dat dedicatque.

To[411] his most valued and beloved Self dat dedicatque.

[411] This dedication is not found in ed. 1598.

[411] This dedication is not included in the 1598 edition.

To Detraction I present my Poesy.

To Criticism I present my Poetry.

Foul canker of fair virtuous action,
Vile blaster of the freshest blooms on earth,
Envy’s abhorrèd child, Detraction,
I here expose, to thy all-tainting breath,
The issue of my brain: snarl, rail, bark, bite,
Know that my spirit scorns Detraction’s spite.

The ugly decay of good actions,
The ugly stain on the most vibrant flowers on earth,
Criticism, the despised child of envy,
I now reveal to your all-corrupting breath,
The outcome of my thoughts: snarl, insult, bark, bite,
Know that my spirit resists the malice of criticism.

Know that the Genius, which attendeth on
And guides my powers intellectual,
Holds in all vile repute Detraction;
My soul an essence metaphysical,    10
That in the basest sort scorns critics’ rage
Because he knows his sacred parentage.

Be aware that the Genius, which follows
And guides my mind,
Has a low opinion of criticism;
My soul is a spiritual essence,    10
That ignores critics' anger
Because it understands its sacred heritage.

My spirit is not puft[412] up with fat fume
Of slimy ale, nor Bacchus’ heating grape.
My mind disdains the dungy muddy scum
Of abject thoughts and Envy’s raging hate.
True judgment slight regards Opinion,
A spritely wit disdains Detraction.

My spirit isn't boosted[412] by heavy smoke.
From sticky beer or the warm wine of Bacchus.
My mind rejects the dirty, nonsensical trash.
Of pointless thoughts and the anger of Envy.
True judgment pays little heed to opinion,
A witty person ignores criticism.

A partial praise shall never elevate
My settled censure of my own esteem;    20
A canker’d verdict of malignant hate
Shall ne’er provoke me worse myself to deem.
Spite of despite and rancour’s villainy,
I am myself, so is my poesy.

Half-hearted praise will never elevate
My established opinion of my own value;    20
A harsh opinion driven by hate
Will never make me feel worse about myself.
Even with the hostility and bitterness surrounding me,
I am who I am, and my poetry reflects that.

[412] Ed. 1598 “huft.”

__A_TAG_PLACEHOLDER_0__ Ed. 1598 “huff.”

In Lectores prorsus indignos.

In Lectores prorsus indignos.

Fie, Satire, fie! shall each mechanic slave,
Each dunghill peasant, free perusal have
Of thy well-labour’d lines?—each[413] satin suit,
Each quaint fashion-monger, whose sole repute
Rests in his trim gay clothes, lie slavering,
Tainting thy lines with his lewd censuring?
Shall each odd puisne[414] of the lawyer’s inn,
Each barmy-froth, that last day did begin
To read his little, or his ne’er a whit,
Or shall some greater ancient, of less wit    10
(That never turn’d but brown tobacco leaves,
Whose senses some damn’d occupant[415] bereaves),
Lie gnawing on thy vacant time’s expense,
Tearing thy rhymes, quite altering the sense?
Or shall perfum’d Castilio censure thee,
Shall he o’erview thy sharp-fang’d poesy
(Who ne’er read further than his mistress’ lips),
Ne’er practised ought but some spruce cap’ring skips,
Ne’er in his life did other language use,
But “Sweet lady, fair mistress, kind heart, dear cuz”—
Shall this phantasma, this Coloss peruse,    21
And blast, with stinking breath, my budding muse?
Fie! wilt thou make thy wit a courtezan
For every broken handcraft’s artisan?
Shall brainless cittern-heads,[416] each jobbernoul,[417]
Pocket the very genius of thy soul?
Ay, Phylo, ay, I’ll keep an open hall,
A common and a sumptuous festival;
Welcome all eyes, all ears, all tongues to me,
Gnaw peasants on my scraps of poesy;    30
Castilios, Cyprians, court-boys, Spanish blocks,[418]
Ribanded[419] ears, Granado netherstocks,[420]
Fiddlers, scriveners, pedlars, tinkering knaves,
Base blue-coats,[421] tapsters, broad-cloth-minded slaves—
Welcome, i’faith; but may you ne’er depart
Till I have made your gallèd hides to smart.
Your gallèd hides? avaunt, base muddy scum,
Think you a satire’s dreadful sounding drum
Will brace itself, and deign to terrify
Such abject peasants’ basest roguery?    40
No, no, pass on, ye vain fantastic troop
Of puffy youths; know I do scorn to stoop
To rip your lives. Then hence, lewd nags, away,
Go read each post,[422] view what is play’d to-day,
Then to Priapus’ gardens.[423] You, Castilio,
I pray thee let my lines in freedom go,
Let me alone, the madams call for thee,
Longing to laugh at thy wit’s poverty.
Sirra livery cloak, you lazy slipper-slave,
Thou fawning drudge, what, wouldst thou satires have?    50
Base mind, away, thy master calls, be gone.
Sweet Gnato, let my poesy alone:
Go buy some ballad of the Fairy King,
And of the beggar wench[424] some roguy thing,
Which thou mayst chant unto the chamber-maid
To some vile tune, when that thy master’s laid.
But will you needs stay? am I forced to bear
The blasting breath of each lewd censurer?
Must naught but clothes, and images of men,
But spriteless trunks, be judges of thy pen?    60
Nay then, come all; I prostitute my muse,
For all the swarms of idiots to abuse.
Read all, view all; even with my full consent,
So you will know that which I never meant;
So you will ne’er conceive, and yet dispraise
That which you ne’er conceived, and laughter raise
Where I but strive in honest seriousness
To scourge some soul-polluting beastliness.
So you will rail, and find huge errors lurk
In every corner of my cynic work.    70
Proface,[425] read on, for your extrem’st dislikes
Will add a pinion to my praise’s flights.
O how I bristle up my plumes of pride,
O how I think my satire’s dignifi’d,
When I once hear some quaint Castilio,
Some supple-mouth’d slave, some lewd Tubrio,
Some spruce pedant, or some span-new-come fry
Of inns-o’-court, striving to vilify
My dark reproofs! Then do but rail at me,
No greater honour craves my poesy.    80

Come on, Satire, seriously? Should every regular worker,
Every dirty peasant, get to read
Your hard-earned lines?—Every fancy-dressed man,
Every trendy fashion follower, whose only claim
Their fame relies on their flashy outfits and over-the-top behavior,
Are their harsh critiques ruining your lines?
Should every inexperienced young law intern,
Every clueless idiot who just started
To read a little, or maybe not at all,
Or should some older, less smart guy    10
(Who has only ever processed brown tobacco leaves,
Whose senses are numbed by some damn tenant),
Sit around wasting your valuable time,
Are you tearing apart your rhymes and totally missing the point?
Or will some scented Castilio judge you,
Will he ignore your intense poetry?
(Who’s never read past his mistress’ lips),
Never learned anything except for some silly tricks.
He has never used any words in his life,
Except for "Sweet lady, beautiful mistress, dear heart, my cousin"—
Will this illusion, this giant, read through,    21
And ruin my blossoming inspiration with his bad breath?
Come on! Are you really going to sell your cleverness like a prostitute?
For every useless artisan's support?
Will brainless fools,[416] each idiot,[417]
Steal away the very essence of your soul?
Yes, Phylo, yes, I’ll keep my doors wide open,
A grand celebration;
Welcome everyone—those who see, those who hear, and those who speak to me,
Let peasants chew on my leftover poetry;    30
Castilians, Cypriots, court jesters, Spanish fools,[418]
Dressed-up guys, Granado knee-high socks, __A_TAG_PLACEHOLDER_1__
Musicians, writers, vendors, tinkerers,
Lowly workers, tavern keepers, narrow-minded slaves—
Welcome, I promise; but I hope you never go away.
Until I've made your sore backs feel the sting.
Your sore hides? Go away, you filthy scum,
Do you think a satire's loud drum
Would sink so low to scare
Such unfortunate peasants and their worst schemes?    40
No, no, keep going, you self-absorbed, pretentious crowd.
Of arrogant young people; know that I refuse to bend.
To ruin your lives. Now go ahead, you immoral fools,
Go check out every post,[422] see what’s playing today,
Then go to Priapus' gardens.[423] You, Castilio,
I ask you to let my words be free,
Leave me alone; the ladies are calling for you.
Keen to mock your lack of humor.
Servant in an elegant cloak, you slacker,
You flatterer, would you like some sarcasm?    50
Humble mind, go, your master is calling, leave now.
Sweet Gnato, just leave my poetry be:
Go purchase a ballad about the Fairy King,
And there's something about that beggar girl[424] that seems off.
That you can sing to the maid.
To some nasty tune while your boss is asleep.
But do you really want to stay? Am I stuck dealing with this?
The unpleasant breath of every rude critic?
Only clothing and pictures of men,
But lifeless figures, do you judge your writing?    60
Then come on, everyone; I’ll sell my inspiration,
For all the crowds of fools to laugh at.
Read everything, see everything; even with my complete consent,
So you'll get what I never meant to convey;
So you'll never understand, yet still criticize.
With things you never understood, and laugh.
Where I only aim to be genuinely serious
To criticize some disgusting, soul-destroying trash.
You'll complain and discover major mistakes hiding.
In every aspect of my jaded work.    70
Go ahead, [425] keep reading, because your strong dislikes
Will lift my praise to new heights.
Oh, how I inflate my pride,
Oh, how I believe my satire is dignified,
When I hear some strange Castilio,
Some smooth-talking slave, some oversexed Tubrio,
Some pretentious know-it-all, or some newbie
From the law school, attempting to undermine
My harsh critics! Go ahead and insult me, then.
I seek no greater honor for my poetry.    80

1. But, ye diviner wits, celestial souls,
Whose free-born minds no kennel-thought controlls,
Ye sacred spirits, Maia’s eldest sons—

1. But you, divine thinkers, celestial beings,
Whose independent thoughts aren't limited by narrow beliefs,
You holy spirits, Maia’s first child—

2. Ye substance of the shadows of our age,
In whom all graces link in marriage,
To you how cheerfully my poem runs!

2. The essence of the shadows of our time,
In whom all virtues come together,
How joyfully my poem flows to you!

3. True-judging eyes, quick-sighted censurers,
Heaven’s best beauties, wisdom’s treasurers,
O how my love embraceth your great worth!

3. Honest eyes that perceive the truth, quick to judge,
Heaven's greatest beauties, gems of wisdom,
Oh, how my love appreciates your immense worth!

4. Ye idols of my soul, ye blessed spirits,    90
How shall I give true honour to your merits,
Which I can better think than here paint forth!

You idols of my soul, you cherished spirits,
How can I genuinely acknowledge your greatness,
Which I can express more clearly in thought than in words!

You sacred spirits, Maia’s eldest sons,
To you how cheerfully my poem runs!
O how my love embraceth your great worth,
Which I can better think than here paint forth!
O rare!

You sacred spirits, Maia’s eldest sons,
Look how effortlessly my poem flows for you!
Oh, how my love cherishes your great value,
Which I can imagine more clearly than I can express here!
Oh, wow!

[413] Ed. 1598 “shal each.”

__A_TAG_PLACEHOLDER_0__ Ed. 1598 "shall each."

[414] A newly-entered student at the inns-of-court. Cf. Middleton, iv. 37:—“Now I, not intending to understand her, but like a puny at the inns of Venery, &c.”

[414] A new student at the inns of court. Cf. Middleton, iv. 37:—“Now I, not planning to understand her, but like a rookie at the inns of Pleasure, &c.”

[415] See Dyce’s Shakesp. Gloss., s. Occupy.

__A_TAG_PLACEHOLDER_0__ See Dyce’s Shakesp. Gloss., s. Occupy.

[416] In allusion to the grotesque figures carved on the tops of citterns. See Nares’ Glossary.

[416] Referring to the strange figures carved on the tops of citterns. See Nares’ Glossary.

[417] “A jobbernoll. Teste de bœuf, michon, grosse teste.”—Cotgrave.

[417] “A fool. Test a small piece of beef, large head.”—Cotgrave.

[418] Spanish hats, fashionable at this time. “From Spain what bringeth our traveller? A skull-crown’d hat of the fashion of an old deep porrenger,” &c.—Nashe’s Unfortunate Traveller.

[418] Spanish hats, trendy right now. “What does our traveler bring from Spain? A skull-crowned hat styled like an old deep porringer,” &c.—Nashe’s Unfortunate Traveller.

[419] See note, vol. ii. p. 391.

__A_TAG_PLACEHOLDER_0__ See note, vol. 2, p. 391.

[420] So in the Debate between Pride and Lowliness:—“The nether-stocks of pure Granada silk.” See Fairholt’s History of Costume, 1860, p. 211.

[420] So in the Debate between Pride and Lowliness:—“The lower stockings of pure Granada silk.” See Fairholt’s History of Costume, 1860, p. 211.

[421] Serving-men.

Servants.

[422] It was the custom to paste on a pillar near the theatre the title of the play that was to be acted.

[422] It was common to post the title of the play that was set to be performed on a pillar near the theater.

[423] In the suburbs—particularly near the Curtain Theatre—were many gardens, “either paled or walled round very high, with their arbours and bowers” (Stubbes), to which libertines resorted. See Mr. Halliwell-Phillipps’ chapter on “The Theatre and Curtain” in Outlines of the Life of Shakespeare.

[423] In the suburbs—especially near the Curtain Theatre—there were many gardens, “either fenced or surrounded by tall walls, with their arbors and gazebos” (Stubbes), where people looking for a good time would go. Check out Mr. Halliwell-Phillipps’ chapter on “The Theatre and Curtain” in Outlines of the Life of Shakespeare.

[424] An allusion to a jest (common in the fugitive poetry of the time) about a beggar-wench, with a child at her back, who refused the advances of a knight (on the ground that the child would be injured in the amorous encounter), unless he would allow the child to be strapped to his own back.

[424] An allusion to a joke (common in the poetry of the time) about a beggar woman, with a child on her back, who turned down a knight's advances (arguing that the child would be harmed in the romantic situation) unless he would let her strap the child to his back.

[425] “Proface”—an exclamation of welcome from the host to his guests at a feast. See Nares’ Glossary.

[425] “Proface”—an expression of welcome from the host to his guests at a feast. See Nares’ Glossary.

To those that seem judicial Perusers.

To those who appear to be careful readers.

Know, I hate to affect too much obscurity and harshness, because they profit no sense. To note vices, so that no man can understand them, is as fond as the French execution in picture. Yet there are some (too many) that think nothing good that is so courteous as to come within their reach. Terming all satires bastard which are not palpable dark, and so rough writ that the hearing of them read would set a man’s teeth on edge; for whose unseasoned palate I wrote the first Satire, in some places too obscure, in all places misliking me. Yet when by some scurvy chance it shall come into the late perfumed fist of judicial Torquatus[426] (that, like some rotten stick in a troubled water, hath got a great deal of barmy[427] froth to stick to his sides), I know he will vouchsafe it some of his new-minted epithets (as real, intrinsicate, Delphic), when in my conscience he understands not the least part of it. But from thence proceeds his judgment. Persius is crabby, because ancient, and his jerks (being particularly given to private customs of his time) dusky. Juvenal (upon the like occasion) seems to our judgment gloomy. Yet both of them go a good seemly pace, not stumbling, shuffling. Chaucer is hard even to our understandings: who knows not the reason? how much more those old satires which express themselves in terms that breathed not long even in their days. But had we then lived, the understanding of them had been nothing hard. I will not deny there is a seemly decorum to be observed, and a peculiar kind of speech for a satire’s lips, which I can willinglier conceive than dare to prescribe; yet let me have the substance rough, not the shadow. I cannot, nay, I will not delude your sight with mists; yet I dare defend my plainness against the verjuice-face of the crabbed’st satirist that ever stuttered. He that thinks worse of my rhymes than myself, I scorn him, for he cannot: he that thinks better, is a fool. So favour me, Good Opinion, as I am far from being a Suffenus.[428] If thou perusest me with an unpartial eye, read on: if otherwise, know I neither value thee nor thy censure.

Know that I dislike being overly obscure and harsh because it serves no purpose. Pointing out flaws in a way that no one can understand is as foolish as a poorly executed painting. Yet, there are many who think nothing worth having is courteous enough to come within their reach, labeling all satires as illegitimate if they're not painfully obvious and so poorly written that just hearing them would make someone cringe; for these unrefined tastes, I wrote the first Satire, which is at times too vague and in all instances is not to their liking. However, when it eventually falls into the hands of the late, overly perfumed judge Torquatus[426] (who, like a rotten stick in murky water, has gathered a lot of frothy nonsense), I know he'll assign it some of his trendy labels (like real, complex, mysterious), even though I’m certain he doesn’t grasp a bit of it. But that's where his judgment comes from. Persius is deemed cranky because he’s old, and his jabs (tailored to the private customs of his time) seem obscure. Juvenal (in a similar situation) appears gloomy to us. Yet both maintain a respectable flow, not stumbling or shuffling. Chaucer is difficult even for us to understand: who can blame him? How much harder then are those old satires that express themselves in terms that were outdated even in their time. But had we lived then, understanding them would have been no challenge. I won’t deny that there’s a proper decorum and a specific way of speaking suited for satire, which I can picture more easily than I dare to define; yet, I want the substance to be rough, not just a shadow. I cannot, nor will I, deceive your perception with fog; yet I’m confident my straightforwardness can stand up to the sour-faced critics who have ever stuttered. Anyone who thinks less of my rhymes than I do, I dismiss as they cannot outsmart me; those who think more highly of them are fools. So consider me kindly, Good Opinion, as I’m far from being a Suffenus.[428] If you read me with an unbiased eye, continue; if not, know that I care little for you or your judgment.

W. Kinsayder.

W. Kinsayder.

[426] A hit at Ben Jonson.—See Introduction to vol. i.

[426] A success with Ben Jonson.—See Introduction to vol. i.

[427] Ridiculed by Ben Jonson in the Poetaster.

[427] Mocked by Ben Jonson in the Poetaster.

[428] The poet ridiculed by Catullus.

The poet mocked by Catullus.

THE
SCOURGE OF VILLAINY.

PROEMIUM IN LIBRUM PRIMUM.

Introduction to the First Book.

I bear the scourge of just Rhamnusia,
Lashing the lewdness of Britannia.
Let others sing as their good genius moves,
Of deep designs, or else of clipping loves:
Fair fall them all, that with wit’s industry
Do clothe good subjects in true poesy;
But as for me, my vexèd thoughtful soul
Takes pleasure in displeasing sharp control.
Thou nursing mother of fair Wisdom’s lore,
Ingenuous Melancholy, I implore    10
Thy grave assistance: take thy gloomy seat,
Enthrone thee in my blood; let me entreat,
Stay his quick jocund skips, and force him run
A sad-paced course, until my whips be done.
Daphne, unclip thine arms from my sad brow;
Black cypress crown me, whilst I up do plow
The hidden entrails of rank villainy,
Tearing the veil from damn’d impiety.
Quake, guzzel dogs,[429] that live on putrid slime,
Skud from the lashes of my yerking rhyme.    20

I bear the rightful punishment of Rhamnusia, __A_TAG_PLACEHOLDER_0__,
Condemning Britannia's immorality.
Let others sing as their inspiration guides them,
About complex plans, or about forbidden loves:
Good luck to those who, through skill and hard work, __A_TAG_PLACEHOLDER_0__
Clothe good themes in genuine poetry;
But for me, my troubled and thoughtful soul
Takes pleasure in resisting strict authority.
You caring mother of true Wisdom's knowledge,
Genuine Sadness, I plead
For your serious help: take your dark place,
Stay with me in my struggle; let me ask,
Stop his lively jumps and have him run.
A slow-paced race, until my lashes are finished.
Daphne, release your arms from my troubled forehead;
Let a black cypress crown me while I work the land.
The secret workings of evil schemes,
Ripping away the veil from sinful disrespect.
Tremble, hungry dogs,[429] that feed on rot,
Run from the sting of my sharp words.    20

[429] “In other words, dogs of the gutter or drain. A small gutter is still called a guzzle in some of the provinces.”—Halliwell.

[429] “In other words, dogs that live in the gutter or drain. A small gutter is still referred to as a guzzle in some areas.” —Halliwell.

SATIRE I.

Fronti nulla fides.

No trust in appearances.

Marry, God forefend! Martius swears he’ll stab:
Phrygio, fear not, thou art no lying drab.
What though dagger-hack’d mouths of his blade swears
It slew as many as figures of years
Aquafortis eat in’t, or as many more
As methodist[430] Musus kill’d with hellebore
In autumn[431] last; yet he bears that male lie[432]
With as smooth calm as Mecho rivalry.
How ill his shape with inward form doth fage,[433]
Like Aphrogenia’s ill-yoked marriage!    10
Fond physiognomer, complexion
Guides not the inward disposition,
Inclines I yield; thou sayst law; Julia,  ⎫
Or Cato’s often-curst Scatinia,     ⎬
Can take no hold on simp’ring Lesbia. ⎭
True, not on her eye; yet alum oft doth blast
The sprouting bud that fain would longer last.
Chary Casca, right pure, or Rhodanus,
Yet each night drinks in glassy Priapus.[434]
Yon pine is fair, yet foully doth it ill    20
To his own sprouts; mark, his rank drops distill
Foul Naples’ canker[435] in their tender rind.
Woe worth, when trees drop in their proper kind!
Mistagogus, what means this prodigy?
When Hiadolgo speaks ’gainst usury,
When Verres rails ’gainst thieves, Milo doth hate
Murder, Clodius cuckolds, Marius the gate
Of squinting Janus shuts? Run beyond bound
Of Nil ultra, and hang me when one’s found
Will be himself. Had nature turn’d our eyes    30
Into our proper selves, these curious spies
Would be ashamed: Flavia would blush to flout
When Oppia calls Lucina help her out,
If she did think Lynceus did know her ill,
How nature art, how art doth nature spill.
God pardon me! I often did aver,
Quod gratis grate, the astronomer
An honest man; but I’ll do so no more.
His face deceived me; but now, since his whore
And sister are all one, his honesty    40
Shall be as bare as his anatomy,
To which he bound his wife. O, packstaff[436] rhymes!
Why not, when court of stars shall see these crimes?
Rods are in piss—ay, for thee, empirick,
That twenty grains of opium will not stick
To minister to babes. Here’s bloody days,
When with plain herbs Mutius more men slays
Than ere third Edward’s sword! Sooth, in our age,
Mad Coribantes need not to enrage
The people’s minds. You, Ophiogeni[437]    50
Of Hellespont, with wrangling villainy
The swoll’n world’s inly stung, then deign a touch,
If that your fingers can effect so much.
Thou sweet Arabian Panchaia,
Perfume this nasty age: smug Lesbia
Hath stinking lungs, although a simp’ring grace,
A muddy inside, though a surphuled[438] face.
O for some deep-searching Corycean,
To ferret out yon lewd Cinædian![439]
How now, Brutus, what shape best pleaseth thee?    60
All Protean forms, thy wife in venery,
At thy enforcement takes? Well, go thy way,
She may transform thee, ere thy dying day.
Hush, Gracchus hears, that hath retail’d more lies,
Broachèd more slanders, done more villainies,
Than Fabius’ perpetual golden coat
(Which might have Semper idem for a mott)
Hath been at feasts, and led the measuring[440]
At court, and in each marriage revelling;
Writ Palæphatus’[441] comment on those dreams    70
That Hylus takes, ’midst dung-pit reeking steams
Of Athos’ hot-house. Gramercy, modest smile,
Chremes asleep! Paphia, sport the while.
Lucia, new set thy ruff; tut, thou art pure,
Canst thou not lisp “good brother,” look demure?
Fie, Gallus, what, a sceptic Pyrrhonist,
When chaste Dictynna breaks the zonelike twist?
Tut, hang up hieroglyphics. I’ll not feign,
Wresting my humour from his native strain.

Seriously, God forbid! Martius vows he’ll stab:
Phrygio, don't stress, you're not a deceitful woman.
Even if the dagger-like mouth of the blade takes
It has killed as many people as there are years.
Or as many more as Methodist[430] Musus killed with hellebore.
Last autumn[431]; he still holds onto that falsehood of masculinity[432]
With a calm as smooth as Mecho's competition.
How badly his appearance reflects his true self,[433]
Like Aphrogenia's bad marriage!    10
Foolish facial analyst, complexion
Doesn't define true character,
I submit to you; you refer to the law; Julia,  ⎫
Or Cato’s often-cursed Scatinia,
Cannot influence naïve Lesbia. ⎭
True, not in her eye; yet aluminum often spoils
The emerging flower that wants to last longer.
Chary Casca, genuinely pure, or Rhodanus,
But every night drinks from a shiny Priapus.[434]
That pine looks good, but strangely it’s harmful.    20
To its own sprouts; notice, its rank diminishes.
Foul Naples’ infection[435] into their delicate outer layer.
Woe to us when trees fall like their own kind!
Mistagogus, what does this marvel mean?
When Hiadolgo speaks out against usury,
When Verres complains about thieves, Milo dislikes it.
Murder, Clodius deceives, Marius at the gate.
What does squinting Janus close? Run past the limit.
Of Nil ultra, and hang me when someone is found.
Will be himself. Had nature turned our eyes __A_TAG_PLACEHOLDER_0__
Into our true selves, these curious spies
Flavia would feel embarrassed to make fun of.
When Oppia reaches out to Lucina for assistance,
If she believed Lynceus didn't know her well,
How true nature is, how art reflects nature.
God forgive me! I would often say,
Quod gratis grate, the astronomer
A truthful person; but I won’t say that again.
His face misled me; but now, since his whore __A_TAG_PLACEHOLDER_0__
And sisters are the same; his honesty __A_TAG_PLACEHOLDER_0__.
Will be as exposed as his body,
To which he tied his wife. Oh, packstaff[436] rhymes!
Why not, when the court of stars will witness these crimes?
Rods are in trouble—yeah, for you, empiric,
Twenty grains of opium won't be effective.
To support babies. Here are tough days,
When simple herbs, Mutius, kill more men.
Than Edward the Third's sword! Truly, in our time,
Mad Coribantes don't need to get angry
The thoughts of the people. You, Ophiogeni[437]    50
Of Hellespont, with your quarrelsome deceit
The inflated world has been hurt inside, so be kind,
If your fingers can do so much.
You sweet Arabian Panchaia,
Perfume this unpleasant time: self-satisfied Lesbia
Has unpleasant lungs, even though she looks elegant,
A messy interior, but a nice-looking[438] face.
Oh for a thoughtful guide,
To get rid of that offensive Cinædian![439]
What's up, Brutus, which style do you like best?    60
All changing forms, your wife in love,
If you really want it that way, then go ahead.
She might change you before you die.
Quiet, Gracchus hears, who has spread more lies,
Spoken more lies, committed more wrongdoings,
Than Fabius' endless golden coat
(Which might have Semper idem as a motto)
Has attended celebrations and conducted the measuring[440]
At court and during every wedding celebration;
Wrote Palæphatus’[441] commentary on those dreams 70
That Hylus sees, among the stench of the dung pit steam
Of Athos’ greenhouse. Grateful, humble smile,
Chremes is asleep! Paphia, enjoy yourself for now.
Lucia, go fix your collar; come on, you're innocent,
Can't you say "good brother" with a lisp and look modest?
Come on, Gallus, really, a doubtful Pyrrhonist?
When will pure Dictynna untwist the zonelike bind?
Tut, hang up the hieroglyphs. I won’t pretend,
Taking my humor from his natural style.

[430] A regular physician, opposed to an empiric.

[430] A regular doctor, in contrast to a quack.

[431] Imitated from Juvenal, x. 221, “Quot Themison aegros autumno occiderit uno.

[431] Imitated from Juvenal, x. 221, “How many patients has Themison killed this autumn?

[432]Male lie”—great, strong lie: perhaps in imitation of Gr. ἄρσην.

[432]Male lie”—big, powerful lie: maybe drawing from Gr. ἄρσην.

[433] Fadge.

Fadge.

[434] From Juvenal—“Vitreo bibit ille Priapo,” Sat. ii. 95. The vitreus Priapus was a drinking-cup fashioned in the shape of a Priapus.

[434] From Juvenal—“Vitreo drinks from the Priapus,” Sat. ii. 95. The vitreus Priapus was a drinking cup shaped like a Priapus.

[435] “Naples’ canker”—the pox.

“Naples’ canker”—the disease.

[436]Cf. Hall, Prol. B. iii. ‘Satyres ... packstaff plain.’”—Grosart.

[436]Cf. Hall, Prol. B. iii. ‘Satyres ... packstaff plain.’”—Grosart.

[437] “There is a certain kind of people to whom it is naturally given, either by touching or sucking, to cure the wounding of venomous serpents; called Psylli (a people of Libya) and Marsi, people of Italy, bordering upon the Samnites, and Aequiculania, and those that were called by the ancient writers Ophiogenes, which dwelt about Hellespont, as both Pliny, Aelianus, and Aeneas Silvius do witness.”—Topsel’s Hist. of Serpents, ed. 1658, p. 624.

[437] “There are certain people who naturally have the ability, either through touch or sucking, to heal the wounds caused by venomous snakes; they are called the Psylli (a group from Libya) and the Marsi, a group from Italy, who live near the Samnites and Aequiculania, and those referred to by ancient writers as Ophiogenes, who lived around the Hellespont, as noted by Pliny, Aelianus, and Aeneas Silvius.”—Topsel’s Hist. of Serpents, ed. 1658, p. 624.

[438] Washed with Cosmetics.

Washed with Makeup.

[439] Gr. κίναιδος.

__A_TAG_PLACEHOLDER_0__ Gr. κίναιδος.

[440] The measures—a stately dance.

The measures—a formal dance.

[441] The author of a treatise (Περὶ Απίστων) on mythology.

[441] The writer of a work (On Myths) about mythology.

SATIRE II.

Difficile est Satiram non scribere.Juve.

It's hard not to write satire.

I cannot hold, I cannot, I, endure
To view a big-womb’d foggy cloud immure
The radiant tresses of the quick’ning sun:
Let custards quake,[442] my rage must freely run.
Preach not the Stoic’s patience to me;
I hate no man, but men’s impiety.
My soul is vex’d; what power will resist,
Or dares to stop a sharp-fang’d satirist?
Who’ll cool my rage? who’ll stay my itching fist?
But I will plague and torture whom I list.    10
If that the threefold walls of Babylon
Should hedge my tongue, yet I should rail upon
This fusty world, that now dare put in ure[443]
To make JEHOVA but a coverture
To shade rank filth. Loose conscience is free
From all conscience, what else hath liberty?
As’t please the Thracian Boreas to blow,
So turns our airy conscience to and fro.
What icy Saturnist, what northern pate,
But such gross lewdness would exasperate?    20
I think the blind doth see the flame-god rise
From sister’s couch, each morning to the skies,
Glowing with lust. Walk but in dusky night
With Lynceus’ eyes, and to thy piercing sight
Disguisèd gods will show, in peasants’ shape,
Prest[444] to commit some execrable rape.
Here Jove’s lust-pander, Maia’s juggling son,
In clown’s disguise, doth after milkmaids run;
And, ’fore he’ll lose his brutish lechery,
The trulls shall taste sweet nectar’s surquedry.    30
There Juno’s brat forsakes Neries’ (?) bed
And like a swaggerer, lust-firèd,
Attended only with his smock-sworn page,
Pert Gallus, slyly slips along, to wage
Tilting encounters with some spurious seed
Of marrow pies and yawning oysters’ breed.
O damn’d!
Who would not shake a satire’s knotty rod,
When to defile the sacred seat of God
Is but accounted gentlemen’s disport?    40
To snort in filth, each hour to resort
To brothel-pits; alas! a venial crime,
Nay, royal, to be last in thirtieth slime!
Ay me! hard world for satirists begin
To set up shop, when no small petty sin
Is left unpurged! Once to be pursy fat,
Had wont because that life did macerate.
Marry, the jealous queen of air doth frown,
That Ganymede is up, and Hebe down.
Once Albion lived in such a cruel age    50
That[445] men did hold by servile villenage:
Poor brats were slaves of bondmen that were born,
And marted, sold: but that rude law is torn
And disannull’d, as too too[446] inhumane,
That lords o’er peasants should such service strain.
But now (sad change!) the kennel sink of slaves,
Peasant great lords, and servile service craves.
Bond-slave sons had wont be bought and sold;
But now heroës’ heirs (if they have not told
A discreet number[447] ’fore their dad did die)    60
Are made much of: how much from merchandie?
Tail’d, and retail’d, till to the pedlar’s pack
The fourth-hand ward-ware comes; alack, alack![448]
Would truth did know I lied: but truth and I
Do know that sense is born to misery.
Oh would to God this were their worst mischance,
Were not their souls sold to dark ignorance!
Fair godness is foul ill, if mischief’s wit
Be not repress’d from lewd corrupting it.
O what dry brain melts not sharp mustard rhyme,    70
To purge the snottery of our slimy time!
Hence, idle “Cave,” vengeance pricks me on,
When mart is made of fair religion.
Reform’d bald Trebus swore, in Romish quire,
He sold God’s essence for a poor denier.[449]
The Egyptians adorèd onions,
To garlic yielding all devotions.
O happy garlic, but thrice happy you,
Whose scenting gods in your large gardens grew!
Democritus, rise from thy putrid slime,    80
Sport at the madness of that hotter clime,
Deride their frenzy, that for policy
Adore wheat dough as real deity.
Almighty men, that can their Maker make,
And force his sacred body to forsake
The cherubins, to be gnawn actually,
Dividing individuum really;
Making a score of gods with one poor word.
Ay, so I thought, in that you could afford
So cheap a pennyworth. O ample field,    90
In which a satire may just weapon wield
But I am vex’d, when swarms of Julians
Are still manured by lewd precisians,
Who, scorning Church-rites, take the symbol up
As slovenly as careless courtiers slup
Their mutton gruel! Fie! who can withhold,
But must of force make his mild muse a scold,
When that he grievèd sees, with red vex’d eyes,
That Athens’ ancient large immunities
Are eyesores to the Fates! Poor cells forlorn!    100
Is’t not enough you are made an abject scorn
To jeering apes, but must the shadow too
Of ancient substance be thus wrung from you!
O split my heart, lest it do break with rage,
To see th’ immodest looseness of our age!
Immodest looseness? fie, too gentle word,
When every sign can brothelry afford:
When lust doth sparkle from our females’ eyes,
And modesty is roosted in the skies!
Tell me, Galliottæ, what means this sign,    110
When impropriate gentles will turn Capuchine?
Sooner be damn’d! O, stuff satirical!
When rapine feeds our pomp, pomp ripes our fall;
When the guest trembles at his host’s swart look;
The son doth fear his stepdame, that hath took
His mother’s place for lust; the twin-born brother
Maligns his mate, that first came from his mother;
When to be huge, is to be deadly sick;
When virtuous peasants will not spare to lick
The devil’s tail for poor promotion;    120
When for neglect, slubber’d Devotion
Is wan with grief; when Rufus yawns for death
Of him that gave him undeservèd breath;
When Hermus makes a worthy question,
Whether of right,[450] as paraphernalion,
A silver piss-pot[451] fits his lady dame,
Or it’s too good—a pewter best became;
When Agrippina poisons Claudius’ son,
That all the world to her own brat might run;
When the husband gapes that his stale wife would die
That he might once be in by courtesy;    131
The big-paunch’d wife longs for her loath’d mate’s death,
That she might have more jointures here on earth;
When tenure for short years (by many a one)
Is thought right good be[452] turn’d forth Littleton,
All to be heady, or freehold at least,
When ’tis all one, for long life be a beast,
A slave, as have a short-term’d tenancy;
When dead’s the strength of England’s yeomanry;
When inundation of luxuriousness    140
Fats all the world with such gross beastliness:—
Who can abstain? What modest brain can hold,
But he must make his shame-faced muse a scold?

I can't hold it in; I just can't take it anymore.
To see a large, thick foggy cloud hold
The bright hair of the nourishing sun:
Let custards shake, [442] my anger has to come out.
Don't lecture me about Stoic patience;
I don't hate any man, but I do hate the evil actions of men.
My soul is troubled; what strength can withstand, __A_TAG_PLACEHOLDER_0__,
Who would dare to silence a sharp-tongued satirist?
Who will calm my anger? Who will stop my clenched fist?
But I will torment and punish whoever I want.    10
Even if the three-layered walls of Babylon
I should hold my tongue, but I would still complain about
This awful world that now has the audacity to introduce[443]
To regard JEHOVAH just as a facade
To conceal disgusting dirt. A relaxed conscience is liberating.
Honestly, what else does liberty have?
As it pleases the Thracian North Wind to blow,
So our light conscience sways back and forth.
What cold Saturnian, what foolish person from the north,
But who would be upset by such blatant lewdness?    20
I believe the blind can see the flame-god ascend.
Every morning, he rises from his sister's bed to the skies,
Glowing with longing. Walk only in the dark.
With Lynceus' eyes, you'll see with sharp clarity.
Disguised gods will appear in the form of peasants,
Ready to commit a terrible crime.
Here’s Jupiter’s passionate messenger, Maia’s clever son,
Dressed as a clown, he runs after the milkmaids;
And before he gives up his violent desire,
The girls will experience the sweet irony of nectar.    30
There Juno's child leaves Neries' bed.
And like a show-off, driven by desire,
Only accompanied by his humorous comic strip,
Crafty Gallus sneaks away to get involved
In spontaneous meetings with some illegitimate child
Of marrow pies and yawning oysters.
Oh no!
Who wouldn't take on a satirist's tricky challenge,
When to disrespect the holy seat of God
Is it considered just a man's hobby?    40
To indulge in dirt, to visit often
Brothel-pits; sadly, a minor sin,
In fact, it’s royal to be the last one stuck in the mess of the thirties!
Oh no! It’s hard for satirists these days.
To start a business without any minor wrongdoing
Is left unpunished! Once being overweight and lazy
It was okay because that lifestyle was tough.
But now, the jealous queen of the sky is unhappy,
Ganymede is up, while Hebe is down.
Once, Albion existed during a really tough time    50
That[445] people were held in forced servitude:
Poor kids were the children of indentured servants,
And sold and traded, but that cruel law is gone.
And annulled, as far too inhumane,
Lords over peasants should provide such service.
But now (sadly changed!) the pit of slaves,
Peasants need powerful lords, and servitude is required.
Bonded sons were once traded like property;
But now the heirs of heroes (if they haven't mentioned [447] a decent number before their father passed away)    60
Are given a lot of attention: how much comes from trade?
Customized and sold, until the sketchy market
Turns them into used goods; oh no, oh no!
If only truth knew I was lying: but truth and I
Understand that reason is born from suffering.
Oh, I wish to God that this was their worst misfortune,
If only they hadn't sold their souls to dark ignorance!
True goodness looks unattractive if it’s paired with a mischievous mind.
Is not prevented from being corrupted.
Oh, what dull mind doesn't give in to the sharp sting of mustard rhyme,    70
To clean up the mess of our disgusting times!
Leave now, lazy “Cave,” revenge drives me forward,
When true religion becomes a commodity for sale.
Reformed bald Trebus swore, in a Roman chorus,
He sold the essence of God for a paltry coin.[449]
The Egyptians revered onions.
All about garlic.
Oh joyful garlic, but three times happier are you,
Whose sweet-smelling gods thrived in your huge gardens!
Democritus, get up from your decaying filth,    80
Mock the craziness of that hotter place,
Mock their madness in the pursuit of power.
Honor wheat dough as true divinity.
Powerful men, who can create their Creator,
And make his sacred body leave
The cherubs, meant to be actually chewed on,
Dividing individual genuinely;
Creating many gods with just one word.
Sure, I figured you could handle it.
Such an affordable product. Oh, wide expanse,    90
Where a satire can effectively use its power
But I am worried when groups of Julians
Are still supported by lustful hypocrites,
Who, ignoring church rituals, pick up the symbol
As casually as careless courtiers drink
Their mutton broth! Ugh! Who can resist,
But will inevitably turn his gentle muse into a critic,
When he looks with furious red eyes,
Athens' ancient large freedoms
Are eyesores to the Fates! Poor abandoned cells!    100
Isn't it enough that you're treated as an object of scorn?
To mock the apes, but must the shadow as well
May you be torn away from ancient things!
Oh, break my heart before it shatters with anger,
To see the outrageous laxity of our times!
Immodest looseness? What a mild way to put it,
When every sign can afford to indulge in promiscuity:
When desire shines in our women's eyes,
And modesty is flying high in the sky!
Tell me, Galliottæ, what does this sign mean?    110
When will inappropriate nobles become Capuchin?
Better to be cursed! Oh, what irony!
When looting fuels our pride, that pride leads to our downfall;
When the guest shivers at the host's harsh look;
The son is afraid of his stepmother, who has taken
His mother's spot for desire; the brother born alongside him.
Hates his friend, who originally came from their mother;
When being big means being really sick;
When noble peasants are willing to do anything
The devil's tail for a little promotion;    120
When neglect results in careless Devotion
Being pale with grief; when Rufus yearns for death.
Of the man who gave him a life he didn’t earn;
When Hermus asks a valid question,
Whether correctly, [450] as a type of accessory,
A silver urinal __A_TAG_PLACEHOLDER_0__ suits his lady,
Or it’s too good—a pewter one is better;
When Agrippina poisons Claudius's son,
So everyone in the world would rush to her own kid;
When the husband wishes his uninteresting wife would die
He might be let in out of courtesy;    131
The heavyset wife wishes for the death of her despised husband,
So she could receive more inheritances here on earth;
When holding a position for only a few years (by many people)
It is seen as quite reasonable to [452] present Littleton,
All should be fierce, or at least independent,
Ultimately, it's all the same for a long life to be tough,
A slave is viewed as having a temporary rental status;
When the strength of England’s common people has faded;
When a flood of luxury
Fats fill the world with such disgusting ugliness:—
Who can say no? What humble mind can hold,
But does he really have to turn his embarrassed muse into a nag?

[442] Ridiculed in The Poetaster, v. i.; but we have the expression quaking custard in the prologue to Volpone.

[442] Mocked in The Poetaster, v. i.; but we find the phrase quaking custard in the prologue to Volpone.

[443] Use.

Use.

[444] i.e., intent on committing.

__A_TAG_PLACEHOLDER_0__ i.e., determined to commit.

[445] So ed. 1598.—Ed. 1599 “Than.”

So ed. 1598.—Ed. 1599 “Than.”

[446] See note 1, vol. ii. p. 328.

__A_TAG_PLACEHOLDER_0__ See note 1, vol. 2, p. 328.

[447] i.e., if they have not attained their majority.

[447] i.e., if they are not yet adults.

[448] Dekker, on the other hand, tells us in The Seven Deadly Sins of London, 1606, that orphans were nowhere more carefully guarded than in London. “For what city in the world,” he writes, “does more dry up the tears of the widow and gives more warmth to the fatherless than this ancient and reverend grandame of cities? Where hath the orphan (that is to receive great portions) less cause to mourn the loss of parents? He finds four and twenty grave senators to be his father instead of one; the city itself to be his mother; her officers to be his servants, who see that he want nothing; her laws to suffer none to do him wrong; and though he be never so simple in wit or so tender in years, she looks as warily to that wealth which is left him as to the apple of her own eye.”

[448] Dekker, on the other hand, tells us in The Seven Deadly Sins of London, 1606, that orphans were nowhere more carefully protected than in London. “For what city in the world,” he writes, “dries up the tears of widows and provides more comfort to the fatherless than this ancient and esteemed grandmother of cities? Where does the orphan (who stands to inherit great wealth) have less reason to grieve for the loss of parents? He finds twenty-four respected senators to be his father instead of just one; the city itself as his mother; her officials as his servants, who make sure he lacks for nothing; her laws to prevent anyone from doing him harm; and even if he is not very bright or is very young, she takes as much care of the wealth left to him as she does of the apple of her own eye.”

[449] A small French coin.

A tiny French coin.

[450] Old eds. “Whether of Wright, as Paraphonalion.”

__A_TAG_PLACEHOLDER_0__ Old eds. “Whether of Wright, as Paraphonalion.”

[451] It would appear from old inventories that these articles were occasionally made of the precious metals.

[451] It seems from old inventories that these items were sometimes made of precious metals.

[452] The text is evidently corrupt.

The text is clearly broken.

SATIRE III.

Redde, age, quæ deinceps risisti.

Redde, age, quæ deinceps risisti.

It’s good be wary, whilst the sun shines clear
(Quoth that old chuff that may dispend by year
Three thousand pound), whilst he of good pretence
Commits himself to Fleet, to save expense.
No country’s Christmas—rather tarry here,
The Fleet is cheap, the country hall too dear.
But, Codrus, hark! the world expects to see
Thy bastard heir rot there in misery.
What! will Luxurio keep so great a hall
That he will prove a bastard in his fall?    10
No; “Come[453] on five! St. George, by Heaven, at all!”
Makes his catastrophe right tragical!
At all? till nothing’s left! Come on, till all comes off,
Ay, hair and all! Luxurio, left a scoff
To leprous filths! O stay, thou impious slave,
Tear not the lead from off thy father’s grave
To stop base brokeage!—sell not thy father’s sheet—
His leaden sheet, that strangers’ eyes may greet
Both putrefaction of thy greedy sire
And thy abhorrèd viperous desire!    20
But wilt thou needs, shall thy dad’s lacky brat
Wear thy sire’s half-rot finger in his hat?
Nay, then, Luxurio, waste in obloquy,
And I shall sport to hear thee faintly cry,
“A die, a drab, and filthy broking knaves,
Are the world’s wide mouths, all-devouring graves.”
Yet Samus keeps a right good house, I hear—
No, it keeps him, and free’th him from chill fear
Of shaking fits. How, then, shall his smug wench,
How shall her bawd (fit time) assist her quench    30
Her sanguine heat? Lynceus, canst thou scent?
She hath her monkey and her instrument
Smooth fram’d at Vitrio. O grievous misery!
Luscus hath left his[454] female luxury;
Ay, it left him! No, his old cynic dad
Hath forc’d him clean forsake his Pickhatch[455] drab.
Alack, alack! what peace of lustful flesh
Hath Luscus left, his Priape to redress?
Grieve not, good soul, he hath his Ganymede,
His perfumed she-goat, smooth-kemb’d and high fed.    40
At Hogson[456] now his monstrous love he feasts,
For there he keeps a bawdy-house of beasts.
Paphus, let Luscus have his courtezan,
Or we shall have a monster of a man.
Tut! Paphus now detains him from that bower,
And clasps him close within his brick-built tower.
Diogenes,[457] thou art damn’d for thy lewd wit,
For Luscus now hath skill to practise it.
Faith, what cares he for fair Cinædian boys,
Velvet-caped[458] goats, Dutch mares? Tut! common toys!
Detain them all on this condition,    51
He may but use his cynic friction.
O now, ye male stews, I can give pretence
For your luxurious incontinence.
Hence, hence, ye falsèd seeming patriots,
Return not with pretence of salving spots,
When here ye soil us with impurity,
And monstrous filth of Doway seminary.
What, though Iberia yield you liberty,
To snort in sauce of Sodom villainy?    60
What, though the blooms of young nobility,
Committed to your Rhodon’s custody,
Ye, Nero-like, abuse? yet ne’er approach
Your new St. Omer’s[459] lewdness here to broach;
Tainting our towns and hopeful academes
With your lust-baiting, most abhorrèd means.
Valladolid, our Athens, ’gins to taste
Of thy rank filth. Camphire and lettuce chaste[460]
Are clean cashier’d; now Sophi ringoes eat,
Candied potatoes are Athenians’ meat.    70
Hence, holy thistle, come sweet marrow-pie,
Enflame our backs to itching luxury.
A crab’s[461] baked guts, a lobster’s butter’d thigh,
I hear them swear is blood for venery.
Had I some snout-fair[462] brats, they should endure
The new-found Castilion calenture
Before some pedant tutor, in his bed,
Should use my frie like Phrygian Ganymede.
Nay, then, chaste cells, when greasy Aretine,
For his rank fico,[463] is surnamed divine;    80
Nay, then, come all ye venial scapes to me,
I dare well warrant you’ll absolvèd be.
Rufus, I’ll term thee but intemperate—
I will not once thy vice exaggerate—
Though that each hour thou lewdly swaggerest,
And at the quarter-day pay’st interest
For the forbearance of thy chalkèd score;
Though that thou keep’st a tally with thy whore:
Since Nero keeps his mother Agrippine,
And no strange lust can satiate[464] Messaline.    90
Tullus, go scotfree; though thou often bragg’st
That, for a false French crown thou vaulting hadst;
Though that thou know’st, for thy incontinence,
Thy drab repaid thee true French pestilence.
But tush! his boast I bear, when Tegeran
Brags that he foists his rotten courtezan
Upon his heir, that must have all his lands,
And them hath join’d in Hymen’s sacred bands.
I’ll wink at Robrus, that for vicinage
Enters common on his next neighbour’s stage;    100
When Jove maintains his sister and his whore,
And she incestuous, jealous evermore
Lest that Europa on the bull should ride;
Woe worth, when beasts for filth are deified!
Alack, poor rogues! what censor interdicts
The venial scapes of him that purses picks?
When some sly golden-slopp’d Castilio
Can cut a manor’s strings at primero?
Or with a pawn shall give a lordship mate,
In statute-staple[465] chaining fast his state?    110
What academic starved satirist
Would gnaw reez’d[466] bacon, or, with ink-black fist,
Would toss each muck-heap for some outcast scraps
Of half-dung bones, to stop his yawning chaps?
Or, with a hungry, hollow, half-pined jaw
Would once a thrice-turn’d bone-pick’d subject gnaw,
When swarms of mountebanks and banditti,
Damn’d Briareans, sinks of villainy,
Factors for lewdness, brokers for the devil,
Infect our souls with all-polluting evil?    120
Shall Lucia scorn her husband’s lukewarm bed
(Because her pleasure, being hurrièd
In jolting coach, with glassy instrument,
Doth far exceed the Paphian blandishment),
Whilst I (like to some mute Pythagoran)
Halter my hate, and cease to curse and ban
Such brutish filth? Shall Matho raise his fame
By printing pamphlets in another’s name,
And in them praise himself, his wit, his might,
All to be deem’d his country’s lanthorn-light?    130
Whilst my tongue’s tied with bonds of blushing shame,
For fear of broaching my concealèd name?
Shall Balbus, the demure Athenian,
Dream of the death of next vicarian,
Cast his nativity, mark his complexion,
Weigh well his body’s weak condition,
That, with gilt sleight, he may be sure to get
The planet’s place when his dim shine shall set?
Shall Curio streak[467] his limbs on his day’s couch,
In summer bower, and with bare groping touch    140
Incense his lust, consuming all the year
In Cyprian dalliance, and in Belgic cheer?
Shall Faunus spend a hundred gallions
Of goat’s pure milk to lave his stallions,
As much rose-juice? O bath! O royal, rich,
To scour Faunus and his salt-proud bitch.
And when all’s cleans’d, shall the slave’s inside stink
Worse than the new cast slime of Thames ebb’d brink,
Whilst I securely let him over-slip,
Ne’er yerking him with my satiric whip?    150
Shall Crispus with hypocrisy beguile,
Holding a candle to some fiend a while—
Now Jew, then Turk, then seeming Christian,
Then Atheist, Papist, and straight Puritan;
Now nothing, anything, even what you list,
So that some gilt[468] may grease his greedy fist?
Shall Damas use his third-hand ward as ill
As any jade that tuggeth in the mill?
What, shall law, nature, virtue be rejected,
Shall these world-arteries be soul-infected    160
With corrupt blood, whilst I shall Martia task,
Or some young Villius all in choler ask
How he can keep a lazy waiting-man,
And buy a hood, and silver-handled fan,
With forty pound? Or snarl at Lollius’ son,
That with industrious pains hath harder won
His true-got worship and his gentry’s name
Than any swineherd’s brat that lousy came
To luskish[469] Athens and, with farming pots,
Compiling beds, and scouring greasy spots,    170
By chance (when he can, like taught parrot, cry
“Dearly belov’d,” with simpering gravity)
Hath got the farm of some gelt[470] vicary,
And now, on cock-horse, gallops jollily;
Tickling, with some stol’n stuff, his senseless cure,
Belching lewd terms ’gainst all sound literature?
Shall I with shadows fight, task bitterly
Rome’s filth, scraping base channel roguery,
Whilst such huge giants shall affright our eyes
With execrable, damn’d inpieties?    180
Shall I find trading Mecho never loath
Frankly to take a damning perjured oath?
Shall Furia broke her sister’s modesty,
And prostitute her soul to brothelry?
Shall Cossus make his well-faced wife a stale,[471]
To yield his braided[472] ware a quicker sale?
Shall cock-horse, fat-paunch’d Milo stain whole stocks
Of well-born souls with his adultering spots?
Shall broking panders suck nobility,
Soiling fair stems with foul impurity?    190
Nay, shall a trencher-slave extenuate
Some Lucrece rape, and straight magnificate
Lewd Jovian lust, whilst my satiric vein
Shall muzzled be, not daring out to strain
His tearing paw? No, gloomy Juvenal,
Though to thy fortunes I disastrous fall.

It's wise to be careful while the sun is shining brightly.
(Said that old fool who can waste each year
Three thousand pounds), while he acts convincingly
He's in Fleet Prison to save some money.
There’s no holiday cheer here—it's better to stay in place,
The Fleet is affordable, but the country hall is too expensive.
But, Codrus, listen! The world is waiting to see
Your illegitimate son is suffering in pain.
What! Is Luxurio really going to host such a large event?
That he’ll end up in shame?    10
No; “Come on five! St. George, bring it all in!”
Makes his downfall really tragic!
Everything? Until there's nothing left! Let’s go, until everything’s gone.
Yes, hair and all! Luxurio was left feeling scorned.
To disgusting leprosy! Oh wait, you evil servant,
Don’t pull the lead off your father’s grave.
To pay off your debts!—don’t sell your father’s sheet—
His heavy sheet, for others to see
Both the decline of your greedy father
And your gross, snake-like desire!
But if you have to, will your dad’s servant be a jerk?
Wear your dad's half-rotten finger on his hat?
No, then, Luxurio, squander in shame,
And I’ll enjoy hearing you cry softly,
"A die, a prostitute, and dirty, plotting rogues,
"Are the world's vast mouths, all-consuming graves."
I've heard that Samus maintains a pretty nice home, though—
No, it keeps him safe and frees him from the chilling fear.
Of shaking fits. So then, how will his lovely girl,
How will her pimp (at the right time) help her calm down?
Can you smell her intense heat, Lynceus?
She has her monkey and her instrument.
Beautifully made at Vitrio. Oh, what terrible suffering!
Luscus has given up his[454] female extravagance;
Yes, it left him! No, his old cynical father.
Has forced him to completely leave his Pickhatch[455] mistress behind.
Oh no, oh no! What a tempting piece of flesh!
Has Luscus gone to take care of his Priape?
Don't worry, good person, he has his Ganymede,
His well-groomed and well-fed she-goat, scented with perfume.    40
At Hogson[456], he now indulges in his overwhelming love.
Because there, he operates a brothel of animals.
Paphus, let Luscus keep his mistress,
Or we'll have a huge guy.
Tut! Paphus is now keeping him out of that room,
And keeps him snug inside his brick tower.
Diogenes,[457] you are condemned for your crude humor,
For Luscus now has the skills to put it into practice.
Honestly, what does he care about fair Cinædian boys,
Velvet-caped[458] goats, Dutch mares? Pfft! Just ordinary playthings!
Keep them all on this condition,    51
He can only use his sarcastic criticism.
Oh now, you male brothels, I can provide justification.
For your excessive incontinence.
Go away, you fake patriots,
Don't come back pretending to fix things,
When you come here and contaminate us with impurity,
And the horrific filth of Doway seminary.
What, although Iberia gives you freedom,
To give in to the wickedness of Sodom?    60
What about the blossoms of young nobility,
Delivered to your Rhodon’s care,
Are you, like Nero, abusing things? But never getting close?
Your new St. Omer’s[459] suggestiveness is here to show;
Polluting our cities and promising colleges
With your most disgusting and tempting methods.
Valladolid, our Athens, starts to savor
Of your dirty habits. Camphor and fresh lettuce[460]
Are now completely dismissed; now Sophi ringoes eat,
Candied potatoes have become a popular dish in Athens.    70
Go away, holy thistle, bring sweet marrow pie,
Light up our backs with the itch of luxury.
A crab’s[461] baked insides, a lobster’s buttery leg,
I hear them vow it's blood for desire.
If I had some well-shaped[462] kids, they should endure.
The newly discovered Castilian fever
Before a picky tutor, in his bed,
I should treat my friend like the Phrygian Ganymede.
No, then, pure homes, when greasy Aretine,
For his outrageous act,[463] is referred to as divine;    80
No, then, all you minor offenses, come to me,
I assure you that you will be forgiven.
Rufus, I'll just call you reckless—
I won’t even exaggerate your bad habits—
Even though you strut around confidently every hour,
And when the quarter-day arrives, you pay interest.
For the flexibility of your recorded score;
Even though you keep track with your prostitute:
Since Nero keeps his mother Agrippina,
No unusual desire can satisfy[464] Messalina.
Tullus, get away without punishment; even though you often boast
That, for a fake French crown, you jump to get;
Even though you know about your lack of control,
Your mistress hit you back with a real French plague.
But that's ridiculous! I tolerate his bragging, when Tegeran
Boasts that he makes his corrupt mistress do what he wants.
Upon his heir, who will inherit all his lands,
And has bound them together in the sacred bond of marriage.
I’ll ignore Robrus, who for the sake of friendliness
It's common on his neighbor’s stage;    100
When Jove holds onto his sister and his mistress,
And she's jealous and clingy.
So that Europa can ride on the bull;
Woe to those when filthy creatures are worshipped!
Sadly, poor scoundrels! What censor prohibits
The small crimes of someone who steals from pockets?
When some cunning golden-clad Castilio
Can you cut a manor’s strings at Primero?
Or with a pawn, one can gain a lordship,
In a legal agreement[465] securing his position?
What starving satirical academic
Would munch on reheated[466] bacon, or, with a fist as dark as ink,
Would search through every pile of garbage for some discarded scraps.
Of half-dung bones to fill his wide-open mouth?
Or, with a hungry, empty, half-starved mouth
Would often chew over a well-worn, bone-picking topic,
When groups of con artists and thieves,
Cursed Briareans, pits of evil,
Factors for indecency, agents for the devil,
Infect our souls with overwhelming evil?    120
Will Lucia reject her husband’s unwelcoming bed?
(Because her pleasure, being rushed
In a bumpy carriage, with a shiny device,
Exceeds the joys of Paphos),
While I (like some silent Pythagorean)
Stop my hatred, and quit cursing and judging.
Such crude filth? Will Matho gain fame?
By printing pamphlets using someone else's name,
And in them, he praises himself, his intelligence, his strength,
All to be considered the guiding light of his country?    130
While I'm tongue-tied with the bonds of blushing shame,
Are you afraid of revealing my secret name?
Should Balbus, the shy Athenian,
Dream about the death of the next vicar,
Create his horoscope, examine his complexion,
Consider carefully the fragile condition of his body,
So that, with clever deception, he can make sure
What's the planet's position when his dim light goes out?
Should Curio mark his limbs on his day’s couch, __A_TAG_PLACEHOLDER_0__?
In the summer shade, with a bare, searching touch
Incense his desire, spending the whole year
In Cypriot pleasures and in Belgian joy?
Will Faunus use a hundred gallons?
Of pure goat's milk to wash his stallions,
So much rose juice? Oh bath! Oh royal, rich,
To purify Faunus and his arrogant companion.
And when everything's cleaned, will the slave's insides smell bad?
Worse than the fresh slime by the edge of the Thames,
While I let him pass without scolding,
Never hitting him with my sarcastic remarks?    150
Shall Crispus deceive through hypocrisy,
Holding a candle for a while to some evil spirit—
Now a Jew, then a Turk, then pretending to be a Christian,
Then Atheist, Catholic, and immediately Puritan;
Now nothing, anything, even whatever you want,
So that some gold[468] can line his greedy pockets?
Will Damas treat his illegitimate ward poorly?
Is there any horse that works in the mill?
What, will we turn our backs on law, nature, and virtue?
Shall these world-arteries be corrupted
With tainted blood, as I have Martia work,
Or some young Villius asks in anger
How he can keep a lazy servant waiting,
And get a hood and a silver-handled fan,
With forty pounds? Or snap at Lollius’ son,
That has achieved success through hard work.
His hard-earned respect and his noble status
Than any pig herder's kid who arrived poorly
To the lustful[469] Athens, along with farming pots,
Making beds and cleaning greasy stains,    170
By chance (when he can, like a trained parrot, shout
"Dearly beloved," with feigned seriousness
Has acquired the farm of a well-spoken[470] vicar,
And now, on a wooden horse, it gallops happily;
Tickling, along with some stolen items, his pointless remedy,
Using vulgar language against all good literature?
Should I struggle with shadows, tasked with bitterness?
Rome’s dirt, scraping the depths of dishonest behavior,
While such massive giants may frighten us
With terrible, unforgivable sins?    180
I will find trading Mecho, who is never hesitant.
To take a false, damaging oath?
Will Furia compromise her sister's modesty,
And sell her soul to strip clubs?
Should Cossus make his attractive wife a prostitute,[471]
How can he sell his braided[472] items faster?
Will the fat-bellied Milo spoil all the goods?
Of well-born souls with their adulterous flaws?
Will scheming panderers tarnish nobility,
Soiling noble lines with dirty impurity?    190
No, a waiter shouldn't downplay
Some celebrate Lucrece’s rape, and then glorify
Naughty Jupiter's desire, while my sarcastic side
Should be silenced, not daring to speak out
His tearing claw? No, gloomy Juvenal,
Even though my situation is terrible, I won't give up.

[453] “Come on five,” “at all,”—old terms in dice-playing.

[453] “Come on five,” “at all,”—old phrases used in playing dice.

[454] Ed. 1599 “her.”

__A_TAG_PLACEHOLDER_0__ Ed. 1599 “her.”

[455] A low part of Clerkenwell.

A lower part of Clerkenwell.

[456] Hoxton,—in Elizabethan times a favourite resort for pleasure-seekers. See particularly the opening of The Passionate Morrice (pt. ii. of Tell-Trothes New Yeares Gift), 1593.

[456] Hoxton—once a popular destination for those seeking fun in the Elizabethan era. Check out the beginning of The Passionate Morrice (pt. ii. of Tell-Trothes New Yeares Gift), 1593.

[457] There is an allusion to a scandalous story told of Diogenes the Cynic. See Plutarch’s De Stoicorum Repugnantiis, cap. xxi., and Diogenes Laertius’ Philosophorum Vitæ, vi. 2, 46.

[457] There’s a reference to a scandalous tale about Diogenes the Cynic. Check out Plutarch’s De Stoicorum Repugnantiis, cap. xxi., and Diogenes Laertius’ Philosophorum Vitæ, vi. 2, 46.

[458] So I understand the “Velvet-cap’t” of the old eds.

[458] So I get the “Velvet-capped” from the old eds.

[459] Old eds. “S. Homers.”

Old eds. “S. Homers.”

[460] So Hall in Virgidem., iv. 4:—
“Virginius vow’d to keep his maidenhead,
And eats chaste lettuce and drinks poppy head,
And smells on camphire fasting.”

[460] So Hall in Virgidem., iv. 4:—
“Virginius promised to remain chaste,
And eats fresh lettuce and drinks poppy juice,
And smells like camphor while fasting.”

[461] See vol. i. p. 239.

__A_TAG_PLACEHOLDER_0__ See vol. 1, p. 239.

[462] Hall has this word in Virgidem., iv. 1.

__A_TAG_PLACEHOLDER_0__ Hall uses this term in Virgidem., iv. 1.

[463] The name of a disease (Gr. σῦκον, Lat. ficus).—Aretine was styled Il divino.

[463] The name of a disease (Gr. σῦκον, Lat. ficus).—Aretine was called Il divino.

[464] Juvenal, Sat. vi. 130.

__A_TAG_PLACEHOLDER_0__ Juvenal, Sat. vi. 130.

[465] See Cowell’s Interpreter.

__A_TAG_PLACEHOLDER_0__ See Cowell’s Interpreter.

[466] Rusty, rancid. Hall has the expression “reez’d bacon” in Virgidem., iv. 2.

[466] Rusty, spoiled. Hall mentions the phrase “reez’d bacon” in Virgidem., iv. 2.

[467] Stretch. So Hall in Virgidem. vi. 1. 207: “When Lucan streakèd on his marble bed, &c.”

[467] Stretch. So Hall in Virgidem. vi. 1. 207: “When Lucan was lying on his marble bed, etc.”

[468] “Gilt” (or gelt)—money.—Old eds. “guilt.”

__A_TAG_PLACEHOLDER_0__ “Gilt” (or gelt)—money.—Old eds. “guilt.”

[469] Clownish.—“Maudolé. Misshapen, ill-framed, ill-favoured, luskish, without proportion.”—Cotgrave. Athens is evidently Cambridge; and Marston is again glancing at Hall.

[469] Clownish.—“Maudolé. Deformed, badly shaped, unattractive, luskish, lacking in proportion.”—Cotgrave. Athens is clearly Cambridge; and Marston is once more referencing Hall.

[470] It seems to have been too common a practice for the patron of a living to pocket the best part of the incumbent’s income—to “geld” the vicarage. Cf. Jack Drum’s Entertainment:—
“Sir, it were good you got a benefice,
Some eunuch’d vicarage or some fellowship”

[470] It seems to have been a pretty common practice for the patron of a living to take the largest share of the incumbent’s income—to “drain” the vicarage. Cf. Jack Drum’s Entertainment:—
"Sir, it would be beneficial for you to secure a benefice,
"Some castrated vicarage or some fellowship"

(Simpsons’s School of Shakspere, ii. 172); Hall’s Virgidem., iv. 2, 105-6:—
“plod at a patron’s tail
To get a gelded chapel’s cheaper sale.”

(Simpsons’s School of Shakespeare, ii. 172); Hall’s Virgidem., iv. 2, 105-6:—
“work hard for a boss”
"To score a better price for a castrated church."

[471] See note, vol. ii. p. 60.

__A_TAG_PLACEHOLDER_0__ See note, vol. 2, p. 60.

[472] Faded.

Faded.

SATIRE IV.

Cras.

Cras.

Ay, marry, sir, here’s perfect honesty,
When Martius will forswear all villainy
(All damn’d abuse of payment in the wars,
All filching from his prince and soldiers),
When once he can but so much bright dirt glean
As may maintain one more Whitefriars quean,
One drab more; faith, then farewell villainy,
He’ll cleanse himself to Shoreditch purity.
As for Stadius, I think he hath a soul;
And if he were but free from sharp control    10
Of his sour host, and from his tailor’s bill,
He would not thus abuse his rhyming skill;
Jading our tirèd ears with fooleries,
Greasing great slaves with oily flatteries.
Good faith, I think he would not strive to suit
The back of humorous Time (for base repute
’Mong dunghill peasants), botching up such ware
As may be saleable in Sturbridge fair,
If he were once but freed from specialty;
But sooth, till then, bear with his balladry.    20
I ask’d lewd Gallus when he’ll cease to swear,
And with whole-culverin, raging oaths to tear
The vault of heaven—spitting in the eyes
Of Nature’s nature loathsome blasphemies.
To-morrow, he doth vow, he will forbear.
Next day I meet him, but I hear him swear
Worse than before. I put his vow in mind.
He answers me “To-morrow;” but I find
He swears next day far worse than e’er before,
Putting me off with “morrow” evermore.    30
Thus, when I urge him, with his sophistry
He thinks to salve his damnèd perjury.
Silenus now is old, I wonder, I,
He doth not hate his triple venery.
Cold, writhled[473] eld, his life-sweat[474] almost spent,
Methinks a unity were competent.
But, O fair hopes! he whispers secretly,
When it leaves him he’ll leave his lechery.
When simp’ring Flaccus (that demurely goes
Right neatly tripping on his new-black’d toes)    40
Hath made rich use of his religion,
Of God himself, in pure devotion;
When that the strange ideas in his head
(Broachèd ’mongst curious sots, by shadows led)
Have furnish’d him, by his hoar auditors,
Of fair demesnes and goodly rich manors;
Sooth, then, he will repent when’s treasury
Shall force him to disclaim his heresy.
What will not poor need force? But being sped,
God for us all! the gurmond’s[475] paunch is fed;    50
His mind is changed. But when will he do good?
To-morrow,—ay, to-morrow, by the rood!
Yet Ruscus swears he’ll cease to broke a suit,
By peasant means striving to get repute
’Mong puffy sponges, when the Fleet’s defrayed,
His revel tire, and his laundress paid.
There is a crew which I too plain could name,
If so I might without th’ Aquinians’[476] blame,
That lick the tail of greatness with their lips—
Labouring with third-hand jests and apish skips,    60
Retailing others’ wit, long barrellèd,
To glib some great man’s ears till paunch be fed—
Glad if themselves, as sporting fools, be made
To get the shelter of some high-grown shade.
To-morrow yet these base tricks they’ll cast off,
And cease for lucre be a jeering scoff.
Ruscus will leave when once he can renew
His wasted clothes, that are ashamed to view
The world’s proud eyes; Drusus will cease to fawn
When that his farm, that leaks in melting pawn,    70
Some lord-applauded jest hath once set free:
All will to-morrow leave their roguery.
When fox-furr’d Mecho (by damn’d usury,
Cut-throat deceit, and his craft’s villainy)
Hath raked together some four thousand pound,
To make his smug girl bear a bumming sound
In a young merchant’s ear, faith, then (may be)
He’ll ponder if there be a Deity;
Thinking, if to the parish poverty,
At his wish’d death, be doled a halfpenny,    80
A work of supererogation,
A good filth-cleansing strong purgation.
Aulus will leave begging monopolies
When that, ’mong troops of gaudy butterflies,
He is but able jet it jollily
In piebald suits of proud court bravery.
To-morrow doth Luxurio promise me
He will unline himself from bitchery;
Marry, Alcides thirteenth act must lend
A glorious period, and his lust-itch end,    90
When once he hath froth-foaming Ætna past,
At one-and-thirty,[477] being always last.
If not to-day (quoth that Nasonian),
Much less to-morrow. “Yes,” saith Fabian,
“For ingrain’d habits, dyed with often dips,
Are not so soon discolourèd. Young slips,
New set, are easily mov’d and pluck’d away;
But elder roots clip faster in the clay.”
I smile at thee, and at the Stagyrite,[478]
Who holds the liking of the appetite,    100
Being fed with actions often put in ure,[479]
Hatcheth the soul in quality impure
Or pure; may be in virtue: but for vice,
That comes by inspiration, with a trice.
Young Furius, scarce fifteen years of age,
But is, straightways, right fit for marriage—
Unto the devil; for sure they would agree,
Betwixt their souls there is such sympathy.
O where’s your sweaty habit, when each ape,
That can but spy the shadow of his shape,    110
That can no sooner ken what’s virtuous,
But will avoid it, and be vicious!
Without much do or far-fetch’d habiture,
In earnest thus:—It is a sacred cure
To salve the soul’s dread wounds; omnipotent
That Nature is, that cures the impotent,
Even in a moment. Sure, grace is infused
By Divine favour, not by actions used,
Which is as permanent as heaven’s bliss,
To them that have it; then no habit is.    120
To-morrow, nay, to-day, it may be got,
So please that gracious power cleanse thy spot.
Vice, from privation of that sacred grace
Which God withdraws, but puts not vice in place.
Who says the sun is cause of ugly night?
Yet when he veils our eyes from his fair sight,
The gloomy curtain of the night is spread.
Ye curious sots, vainly by Nature led,
Where is your vice or virtuous habit now?
For Sustine[480] pro nunc doth bend his brow,    130
And old crabb’d Scotus, on the Organon,
Pay’th me with snaphance,[481] quick distinction.
“Habits, that intellectual termèd be,
Are got or else infused from Deity.”
Dull Sorbonist, fly contradiction!
Fie! thou oppugn’st the definition;
If one should say, “Of things term’d rational,
Some reason have, others mere sensual,”
Would not some freshman, reading Porphyry,
Hiss and deride such blockish foolery?    140
“Then vice nor virtue have from habit place;
The one from want, the other sacred grace;
Infused, displaced; not in our will or force,
But as it please Jehovah have remorse.”
I will, cries Zeno. O presumption!
I can. Thou mayst, doggèd opinion
Of thwarting cynics. To-day vicious;
List to their precepts, next day virtuous.
Peace, Seneca, thou belchest blasphemy!
“To live from God, but to live happily”    150
(I hear thee boast) “from thy philosophy,
And from thyself.” O ravening lunacy!
Cynics, ye wound yourselves; for destiny,
Inevitable fate, necessity,
You hold, doth sway the acts spiritual,
As well as parts of that we mortal call.
Where’s then I will? Where’s that strong deity
You do ascribe to your philosophy?
Confounded Nature’s brats! can will and fate
Have both their seat and office in your pate?    160
O hidden depth of that dread secrecy,
Which I do trembling touch in poetry!
To-day, to-day, implore obsequiously;
Trust not to-morrow’s will, lest utterly
Ye be attach’d with sad confusion,
In your grace-tempting lewd presumption.
But I forget. Why sweat I out my brain
In deep designs to gay boys, lewd and vain?
These notes were better sung ’mong better sort;
But to my pamphlet, few, save fools, resort.    170

Ah, truly, sir, here’s complete honesty,
When Martius vows to avoid all wrongdoing
(All the terrible misuses of pay in the wars,
All theft from his king and soldiers),
When he can just collect enough clean soil
In order to retain one more Whitefriars woman,
One more prostitute; seriously, then farewell to wickedness,
He'll get himself cleaned up to Shoreditch standards.
Regarding Stadius, I believe he has a soul;
And if he were just free from strict control    10
About his cranky landlord and from his tailor's bill,
He wouldn’t take advantage of his rhyming talent;
Dulling our tired ears with nonsense,
Complimenting important people with insincere praise.
Honestly, I don't think he would try to cater.
At the mercy of silly Time (for a bad reputation
Among dirty peasants, producing such trash
As it might be sold at the Sturbridge fair,
If he were only free from responsibilities;
But really, until then, put up with his ballads.    20
I asked crude Gallus when he would stop cursing,
And with strong promises to break
The sky—spitting in the faces
Of nature's terrible blasphemies.
Tomorrow, he promises he will hold back.
The next day I run into him, but I hear him swearing.
It's worse than before. I remind him of his promise.
He replies, “Tomorrow;” but I find out
He curses again, even worse than before,
Constantly delaying me with “tomorrow.”    30
So, when I push him with his clever talk
He thinks to calm his cursed lies.
Silenus is old now; I wonder,
Doesn't he hate his triple indulgence?
Cold, frail old age, his life's hard work[473] nearly all spent,
I believe a unifying principle would be appropriate.
But, oh hope! he whispers quietly,
When he lets go of it, he'll let go of his desire.
When flattering Flaccus (who walks so modestly
Right neatly tripping on his freshly polished shoes.    40
Has made excellent use of his religion,
Of God himself, in genuine devotion;
When the unusual thoughts in his mind
(Growing up among curious drunks, guided by shadows)
I have shared with him, through his former listeners, __A_TAG_PLACEHOLDER_0__,
Of nice properties and valuable estates;
Then he will really regret when his wealth
Makes him give up his heresy.
What does the poor really need? But feeling satisfied,
God help us all! The glutton’s[475] belly is full;    50
He has changed his mind. But when will he start doing good?
Tomorrow—yes, tomorrow, by the holy cross!
Yet Ruscus promises he’ll stop begging,
By peasant means of trying to gain a good reputation.
Among lazy sponges, when the Fleet is done paying,
His party is getting exhausted, and his laundress is getting paid.
There's a group that I can clearly identify,
If I could do so without the Aquinians’ __A_TAG_PLACEHOLDER_0__ blame,
That kiss the boots of greatness with their lips—
Struggling with recycled jokes and goofy antics,    60
Retailing others' cleverness, long overlooked,
To flatter someone important until they feel satisfied—
Happy if they, like foolish jokers, are made
To seek refuge in the shade of tall trees.
Tomorrow, these petty tricks will be abandoned,
And stop letting profit make you a joke.
Ruscus will leave when he's able to renew.
His tattered clothes, embarrassed to confront
The world watches with pride; Drusus will cease to flatter.
When his farm, which leaks in melting snow,    70
Has received the approval of a lord for a joke:
Everyone will abandon their wrongdoing tomorrow.
When fox-furred Mecho (through outrageous lending,
Heartless deception and the betrayal of his trade.
Has managed to gather around four thousand pounds,
To get his spoiled girl to make a nice noise
In a young merchant's ear, honestly, then (maybe)
He'll wonder if there's a God;
Curious if, after his wished-for death,
The church will resent giving him even a penny,    80
A task of extra effort,
A strong cleansing purge.
Aulus will stop asking for monopolies.
When he’s finally surrounded by swarms of colorful butterflies,
He can show it off happily.
In vibrant clothing of elegant court style.
Tomorrow Luxurio is promising me
He will free himself from promiscuity;
Honestly, Alcides' thirteenth act must give
A glorious conclusion to his passionate desires,    90
Once he has crossed the frothy Ætna,
At thirty-one, __A_TAG_PLACEHOLDER_0__ always finishing last.
If not today (says the Nasonian),
Much less tomorrow. “Yes,” says Fabian,
"For deep-rooted habits, colored by regular experiences,
Are not easily discolored. Young sprouts,
Newly planted ones can be easily moved and pulled away;
"But older roots remain deeper in the clay."
I smile at you and at the Stagyrite,[478]
Who believes that desire is enjoyable,    100
Being nourished by actions that are frequently repeated,[479]
Shapes the soul with flawed quality.
Or pure; maybe in virtue; but for vice,
That comes from inspiration, in a flash.
Young Furius, just fifteen years old,
Is already perfectly suited for marriage—
To the devil; because they would surely agree,
There is such a deep connection between their souls.
Oh, where's your sweaty practice, when every ape,
Can only see the shadow of his figure,    110
That can hardly understand what’s virtuous,
But they will avoid it and turn cruel!
Without too much fuss or ridiculous antics,
In all seriousness:—It is a sacred remedy.
To heal the deep wounds of the soul; all-powerful
Is it Nature that heals the powerless?
Even in an instant. Sure, grace is offered.
Through Divine favor, not through actions performed,
Which is as everlasting as the joy of heaven,
To those who get it; then there’s no habit.    120
Today, it can be achieved.
If that kind force removes your sin.
Vice, due to the absence of that sacred grace
Which God withdraws, but does not replace with vice.
Who says the sun brings on a terrible night?
But when he keeps our eyes away from his beautiful view,
The dark curtain of night is coming down.
You curious fools, foolishly guided by Nature,
Where is your bad habit or good habit now?
For Sustine[480] pro nunc frowns,    130
And the old grumpy Scotus, on the Organon,
Pays me with instant insights.
"Habits, which are referred to intellectually,"
"Are either obtained or given from Divinity."
Boring Sorbonist, avoid contradictions!
Unfortunately, you oppose the definition;
If someone were to say, “Of things called rational,
“Some have reason, while others are just driven by their senses,”
Wouldn't some freshman, reading Porphyry,
Hiss and mock this nonsense?    140
“So neither vice nor virtue comes from habit;
One from lack, the other from divine favor;
Affected and pushed aside; not within our control or ability,
"But as it pleases God to show mercy."
"I will," Zeno exclaims. "Oh, the audacity!"
I can. You might have a strong opinion.
Of opposing cynics. Today harsh;
Follow their rules and you'll be virtuous the next day.
Stay quiet, Seneca, that's blasphemy!
"To live apart from God, yet still live happily"    150
(I hear you brag) “from your philosophy,
"And from yourself." Oh, what a reckless obsession!
Cynics, you harm yourselves; because fate, __A_TAG_PLACEHOLDER_0__,
Inevitable fate, necessity,
You say, defines the spiritual actions,
Along with the aspects of what we refer to as mortal.
Where's the I will? Where's that powerful god?
What philosophy do you follow?
Confused nature’s descendants! can will and fate
Do you have their place and role in mind?    160
Oh, hidden depth of that terrible secret,
Which I touch with trembling in poetry!
Today, please beg humbly;
Don't rely on tomorrow's intentions, or else completely
You find yourself trapped in a state of sadness and confusion,
In your bold pursuit of grace.
But I forget. Why do I tire myself out mentally?
Are you making elaborate plans for showy, vain guys?
These notes would sound better among better people;
But for my pamphlet, hardly anyone shows up, except for fools.    170

[473] Writhed, crooked.

Writhed, twisted.

[474] Old eds.liues-wet.”

__A_TAG_PLACEHOLDER_0__ Old eds. “liues-wet.”

[475] “Gourmand. A glutton, gormand, bellie-god, greedy-gut.”—Cotgrave.

[475] “Gourmand. A person who loves food, gormand, big eater, food lover.”—Cotgrave.

[476] Juvenal was a native of Aquinum: hence Aquinians = satirists.

[476] Juvenal was from Aquinum: that’s why people from Aquinum are called satirists.

[477] There was a game at cards called “one-and-thirty.”

[477] There was a card game called “one-and-thirty.”

[478] ἑνὶ δὴ λόγῳ ἐκ τῶν ὁμοίων ἐνεργειῶν αἱ ἕξεις γίνονται . Arist. Eth. Nicom. ii. 1, 7.

[478] So, in sum, the habits are formed from similar actions. Arist. Eth. Nicom. ii. 1, 7.

[479] Use.

Use.

[480] I.e., maintain the thesis for the occasion.

[480] That is, keep the argument consistent for the situation.

[481] See note, p. 269.

__A_TAG_PLACEHOLDER_0__ See note, __A_TAG_PLACEHOLDER_1__

PROEMIUM IN LIBRUM SECUNDUM.

I cannot quote a mott[482] Italionate,
Or brand my satires with some Spanish term;
I cannot with swoll’n lines magnificate
Mine own poor worth, or as immaculate
Task others’ rhymes, as if no blot did stain,
No blemish soil, my young satiric vein.

I can't quote a motto,
Or label my critiques with some fancy Spanish term;
I can’t make my basic value seem impressive.
Or say I'm perfect;
I can't use other people's verses and act like they're perfect,
Without any flaws tarnishing my youthful satirical style.

Nor can I make my soul a merchandise,
Seeking conceits to suit these artless times;
Or deign for base reward to poetise,
Soothing the world with oily flatteries.    10
Shall mercenary thoughts provoke me write—
Shall I for lucre be a parasite?

I can't make my soul into a product,
Trying to think of ideas that suit these straightforward times;
Or lower myself for a trivial reward to write poetry,
Using insincere compliments to flatter others.    10
If selfish thoughts lead me to write—
Should I become a parasite for cash?

Shall I once pen for vulgar sorts applause,
To please each hound, each dungy scavenger;
To fit some oyster-wench’s yawning jaws
With tricksey tales of speaking Cornish daws?[483]
First let my brain (bright-hair’d Latona’s son)
Be clean distract with all confusion.

Should I actually write for the approval of the general public,
To please every dog, every dirty scavenger;
To satisfy some barmaid’s bored chatter
With clever stories about talking crows? [483]
First, let my thoughts (bright-haired Latona's son)
Feel utterly confused.

What though some John-à-Stile will basely toil,
Only incited with the hope of gain:    20
Though roguey thoughts do force some jade-like moil;
Yet no such filth my true-born muse will soil.
O Epictetus, I do honour thee,
To think how rich thou wert in poverty!

What if a common worker struggles for low pay,
Only motivated by the desire for profit:    20
Even if dubious thoughts drive some to work diligently;
Still, my true muse won’t be affected by such negativity.
Oh Epictetus, I admire you,
To understand how rich you were in your simplicity!

[482] Motto.

__A_TAG_PLACEHOLDER_0__ Slogan.

[483] “Cornish daws”—jackdaws.

“Cornish daws”—jackdaws.

Ad rhythmum.

To the rhythm.

Come, pretty pleasing symphony of words,
Ye well-match’d twins (whose like-tuned tongues affords
Such musical delight), come willingly
And dance lavoltas in my poesy.
Come all as easy as spruce Curio will,
In some court-hall, to show his cap’ring skill;
As willingly come, meet and jump together
As new-join’d loves, when they do clip each other;
As willingly as wenches trip around
About a May-pole after bagpipe’s sound;    10
Come, rhyming numbers, come and grace conceit,
Adding a pleasing close, with your deceit
Enticing ears. Let not my ruder hand
Seem once to force you in my lines to stand;
Be not so fearful (pretty souls) to meet
As Flaccus is the sergeant’s face to greet;
Be not so backward, loth to grace my sense,
As Drusus is to have intelligence
His dad’s alive; but come into my head
As jocundly as (when his wife was dead)    20
Young Lælius to his home. Come, like-faced rhyme,
In tuneful numbers keeping music’s time;
But if you hang an arse, like Tubered,
When Chremes dragg’d him from his brothel bed,
Then hence, base ballad-stuff, my poetry
Disclaims you quite; for know my liberty
Scorns rhyming laws. Alas, poor idle sound!
Since I first Phœbus knew I never found
Thy interest in sacred poesy;
Thou to invention add’st but surquedry,    30
A gaudy ornature, but hast no part
In that soul-pleasing high infusèd art.
Then if thou wilt clip kindly in my lines,
Welcome, thou friendly aid of my designs:
If not, no title of my senseless change
To wrest some forcèd rhyme, but freely range.
Ye scrupulous observers, go and learn
Of Æsop’s dog; meat from a shade discern.

Come, beautiful and charming symphony of words,
You perfectly matched twins (whose synchronized voices provide
Such musical delight, come join
And dance beautifully in my poetry.
Come as effortlessly as a lively Curio would,
In a grand hall, to show off his playful skills;
Gather, meet, and jump
As new lovers hold each other close;
As freely as girls dance about
A Maypole accompanied by the sound of a bagpipe;    10
Come, rhyming numbers, come and improve my ideas,
Adding a nice touch, with your charm
Captivating the ears. Don't let my rough hand
Seem to push you into my lines;
Don’t be so afraid (sweet souls) to come.
As Flaccus is about to greet the sergeant;
Don't hold back, hesitant to indulge my senses,
As Drusus is about to learn
His dad is alive, but he comes to mind.
As happily as (when his wife passed away)    20
Young Lælius heads home. Come, rhyme that matches my mood,
In melodic tunes that maintain the rhythm of music;
But if you hang loosely, like Tubered,
When Chremes pulled him out of his brothel bed,
Then leave, you lame ballad stuff, my poetry.
Rejects you entirely; for I know my freedom.
Hates rhyming rules. Oh, poor meaningless sound!
Since I first met Phœbus, I never found
Your value in sacred poetry;
You only make invention seem more pretentious,    30
A flashy decoration, but no involvement.
In that fulfilling, deeply enriching art.
Then if you would please fit into my lines,
Welcome, you helpful supporter of my plans:
If not, I won't claim that my change is meaningless.
To create a forced rhyme, but still move freely.
You careful observers, go and learn.
From Æsop’s dog; tell the difference between meat and a shadow.

SATIRE V.

Totum in toto.

Everything in total.

Hang thyself, Drusus: hast nor arms nor brain?
So Sophi say, “The gods sell all for pain.”
Not so.
Had not that toiling Theban’s[484] steelèd back
Dread poisoned shafts, lived he now, he should lack
Spite of his farming ox-stalls. Themis’ self
Would be cashier’d from one poor scrap of pelf.
If that she were incarnate in our time,
She might lusk,[485] scornèd in disdainèd slime,
Shaded from honour by some envious mist    10
Of wat’ry fogs, that fill the ill-stuff’d list
Of fair Desert, jealous even of blind dark,
Lest it should spy, and at their lameness bark.
“Honour’s shade thrusts honour’s substance from his place.”
’Tis strange, when shade the substance can disgrace.
“Harsh lines!” cries Curus, whose ears ne’er rejoice
But at the quavering of my lady’s voice.
Rude limping lines fits this lewd halting age:
Sweet-scenting Curus, pardon then my rage,
When wisards[486] swear plain virtue never thrives,    20
None but Priapus by plain dealing wives.
Then, subtile Hermes, are the destinies
Enamour’d on thee! Then up, mount the skies,
Advance, depose, do even what thou list,
So long as fates do grace thy juggling fist.
Tuscus, hast Beuclerc’s arms and strong sinews,
Large reach, full-fed veins, ample revenues?
Then make thy markets by thy proper arm;
O brawny strength is an all-canning[487] charm!
Thou dreadless Thracian![488] hast Hallirhothius slain?    30
What, is’t not possible thy cause maintain
Before the dozen Areopagites?
Come, Enagonian,[489] furnish him with sleights.
Tut, Pluto’s wrath Proserpina can melt,
So that thy sacrifice be freely felt.
What! cannot Juno force in bed with Jove,
Turn and return a sentence with her love?—
Thou art too dusky.—Fie, thou shallow ass!
Put on more eyes, and mark me as I pass.
Well, plainly thus: “Sleight, force are mighty things,    40
From which much (if not most) earth’s glory springs.
If virtue’s self were clad in human shape,
Virtue without these might go beg and scrape.
The naked truth is, a well-clothèd lie,
A nimble quick pate mounts to dignity;
By force or fraud, that matters not a jot,
So massy wealth may fall unto thy lot.”
I heard old Albius swear Flavus should have
His eldest girl, for Flavus was a knave,
A damn’d deep-reaching villain, and would mount    50
(He durst well warrant him) to great account;
What, though he laid forth all his stock and store
Upon some office, yet he’ll gain much more,
Though purchased dear; tut, he will treble it
In some few terms, by his extorting wit.
When I, in simple meaning, went to sue
For tongue-tied Damus, that would needs go woo,
I prais’d him for his virtuous honest life.
“By God,” cries Flora, “I’ll not be his wife!
He’ll ne’er come on.” Now I swear solemnly,    60
When I go next I’ll praise his villainy:
A better field to range in nowadays.
If vice be virtue, I can all men praise.
What, though pale Maurus paid huge simonies
For his half-dozen gelded vicaries,[490]
Yet, with good honest cut-throat usury,
I fear he’ll mount to reverent[491] dignity.
“O sleight, all-canning sleight, all-damning sleight,
The only gally-ladder unto might.”
Tuscus is trade-fall’n; yet great hope he’ll rise,    70
For now he makes no count of perjuries;
Hath drawn false lights[492] from pitch-black loveries,[493]
Glazed his braided[494] ware, cogs, swears, and lies;
Now since he hath the grace, thus graceless be,
His neighbours swear he’ll swell with treasury.
Tut, who maintains such goods, ill-got, decay?
No, they’ll stick by thy[495] soul, they’ll ne’er away.
Luscus, my lord’s perfumer, had no sale
Until he made his wife a brothel-stale.
Absurd, the gods sell all for industry,    80
When what’s not got by hell-bred villainy!
Codrus, my well-faced lady’s tail-bearer
(He that sometimes play’th Flavia’s usherer),
I heard one day complain to Lynceus
How vigilant, how right obsequious,
Modest in carriage, how true in trust,
And yet (alas!) ne’er guerdon’d with a crust.
But now I see he finds by his accounts
That sole Priapus, by plain-dealing, mounts.
How now? What, droops the new Pegasian inn?    90
I fear mine host is honest. Tut, begin
To set up whorehouse; ne’er too late to thrive;
By any means, at Porta Rich arrive;
Go use some sleight, or live poor Irus’ life;
Straight prostitute thy daughter or thy wife,
And soon be wealthy; but be damn’d with it.
Hath not rich Milo then deep-reaching wit?
Fair age!
When ’tis a high and hard thing t’ have repute
Of a complete villain, perfect, absolute;    100
And roguing virtue brings a man defame,
A packstaff[496] epithet, and scornèd name.
Fie, how my wit flags! How heavily
Methinks I vent dull sprightless poesy!
What cold black frost congeals my numbèd brain!
What envious power stops a satire’s vein!
O now I know the juggling god of sleights,
With Caduceus nimble Hermes fights,
And mists my wit; offended that my rhymes
Display his odious world-abusing crimes.    110
O be propitious, powerful god of arts!
I sheathe my weapons, and do break my darts.
Be then appeased; I’ll offer to thy shrine
An hecatomb of many spotted kine.
Myriads of beasts shall satisfy thy rage,
Which do profane thee in this apish age.
Infectious blood, ye gouty humours quake,
Whilst my sharp razor doth incision make.

Hang yourself, Drusus: do you lack arms or brains?
Sophi says, “The gods trade everything for suffering.”
False.
If that hardworking Theban’s steel back
He wouldn't have feared poisoned arrows; if he were alive now, he would be missing out.
Despite his farming cows, Themis herself
Would be dismissed from a small amount of wealth.
If she lived in our time,
She might stay hidden,[485] looked down on and surrounded by gross dirt,
Shrouded in envy, away from honor    10
Of misty fogs that fill the poorly filled list
Of genuine worth, envious even of total darkness,
So it wouldn't see and bark at their weakness.
"The appearance of honor displaces the essence of honor."
It's odd when the shadow can overshadow the substance.
"Those are harsh lines!" exclaims Curus, whose ears never find joy.
Except when my lady's voice trembles.
Harsh, clumsy lines suit this crude, awkward time:
Sweet-scented Curus, forgive my anger,
When wise people[486] claim that true virtue never flourishes,
Except for Priapus with uncomplicated women.
Then, clever Hermes, are the fates
In love with you! So rise, reach for the skies,
Go ahead, take action, do whatever you want,
As long as luck is on your side with your deception.
Tuscus, do you have Beulerc’s strength and powerful muscles,
Long reach, well-nourished veins, plenty of wealth?
Then build your fortune through your own efforts;
Oh, muscular strength is an incredibly powerful attraction!
You brave Thracian![488] have you killed Hallirhothius?    30
What, can’t you hold your ground?
Before the twelve Areopagites?
Come, Enagonian, __A_TAG_PLACEHOLDER_0__ equip him with tricks.
Tut, even Proserpina can calm Pluto’s anger,
As long as your sacrifice is made willingly.
What! Can't Juno influence Jove in bed,
Change and repeat a sentence with her love?—
You’re too dark.—Come on, you silly fool!
Open your eyes and notice me as I go by.
Well, this is simple: “Deception and power are powerful things,    40
From which a lot (if not most) of the earth’s beauty comes.
If virtue herself were to take on human form,
Virtue without these might struggle and go unnoticed.
The plain truth is, a nicely presented lie,
A smart, quick mind rises to greatness;
Whether by force or deception, it makes no difference at all,
"Great wealth could come your way."
I heard old Albius say that Flavus should have
His oldest daughter, since Flavus was a trickster,
A seriously deep-reaching villain, and would rise    50
(He confidently claimed it) to great effect;
What if he spent all his resources and inventory?
In some position, he’ll gain a lot more,
Even though he bought it at a high price, he will triple it.
In a few words, through his clever manipulation.
When I, in good faith, went to file a lawsuit
For the awkward Damus, who wanted to romance,
I praised him for his good and honest life.
"By God," Flora exclaims, "I refuse to be his wife!"
"He'll never come forward." Now I swear seriously,    60
Next time, I’ll compliment his wickedness:
A better area to explore these days.
If vice is virtue, I can commend everyone.
What, although pale Maurus spent large amounts
For his six castrated priests,[490]
However, with straightforward and ruthless lending practices,
I'm afraid he'll be elevated to a respected[491] status.
"Oh deceit, all-powerful deceit, all-consuming deceit,
The only path to power.
Tuscus has lost in trade; yet there is great hope he’ll recover,    70
For now, he doesn't count any lies.
Has attracted false lights[492] from the darkest loves,[493]
Coated his woven[494] items, deceits, curses, and falsehoods;
Now that he has the grace, let him be without grace.
His neighbors insist that he will get rich.
Who holds onto these goods, gained through wrongdoing, and lets them fall into decay?
No, they’ll always stand by your[495] soul; they’ll never leave you.
Luscus, my lord’s perfumer, had no sales.
Until he turned his wife into a sex worker.
It's ridiculous; the gods trade everything for hard work.    80
When you can achieve anything through wicked dishonesty!
Codrus, my charming lady's gossip
(He who occasionally plays Flavia’s usher),
I heard someone complain to Lynceus one day.
How aware, how truly focused,
Humble in behavior, how loyal in trust,
And yet (unfortunately!) never rewarded with a crumb.
But now I see he discovers from his accounts
Only Priapus, through straightforward actions, rises.
What's going on? What does the new Pegasian inn offer?    90
I’m worried my host is telling the truth. Come on, let’s go.
To open a brothel; it’s always a good time to succeed;
Make sure to get to Porta Rich by any means necessary;
Use some cleverness, or live the unfortunate life of Irus;
Quickly sell your daughter or your wife.
You'll be rich soon, but it's not worth it.
Does rich Milo not have profound wisdom?
Fair age!
When it's tough and challenging to have a reputation
Of a total villain, perfect and complete;    100
And mischievous virtue brings a man shame,
A packhorse __A_TAG_PLACEHOLDER_0__ title, and scorned name.
Ugh, my wit is fading! It feels so heavy.
It feels like I’m expressing boring, lifeless poetry!
What icy, black frost is freezing my numb brain!
What envious force interrupts the flow of satire!
Oh, now I understand the trickster god of deception,
With quick Caduceus, Hermes battles,
And clouds my mind; annoyed that my verses
Expose his horrific crimes against humanity.    110
Oh, please be kind, mighty god of the arts!
I put away my weapons and break my darts.
So be satisfied; I’ll make an offering at your shrine.
A massive sacrifice of many spotted cattle.
Countless creatures will satisfy your anger,
Which disrespect you in this foolish age.
Infectious blood, you cause harmful conditions to tremble,
As my sharp blade makes a cut.

[484] Hercules.

Hercules.

[485] Lie in idleness.

Lie around doing nothing.

[486] i.e., wise men.

__A_TAG_PLACEHOLDER_0__ i.e., wise people.

[487] i.e., all-powerful.

__A_TAG_PLACEHOLDER_0__ i.e., all-powerful.

[488] Ares.—See Apollodorus’ Bibl., iii. 14.

Ares.—See Apollodorus’ Bibl., III. 14.

[489] A term (coined from Gr. ἐναγώνιος) for a rhetorician.

[489] A term (originating from Gr. ἐναγώνιος) for a speaker or public communicator.

[490] See note, p. 324.

__A_TAG_PLACEHOLDER_0__ See note, __A_TAG_PLACEHOLDER_1__

[491] Frequently used by Marston in the sense of reverend.

[491] Often used by Marston to mean reverend.

[492] It was a common device with dishonest tradesmen to darken their shops in order to palm off inferior goods on their customers. Middleton, i. 247.

[492] Dishonest salespeople often dimmed their shops to trick customers into buying subpar products. Middleton, i. 247.

[493] Loovers,—openings in the roof to let in light.

[493] Loovers—openings in the roof that allow light to come in.

[494] Faded.

Faded.

[495] Ed. 1599 “the.”

__A_TAG_PLACEHOLDER_0__ Ed. 1599 "the."

[496] Fitting a pedlar.—See note 1, p. 310.

Adjusting a vendor.—See note 1, __A_TAG_PLACEHOLDER_1__

SATIRE VI.

Hem, nosti’n?

Hey, you know?

Curio, know’st me? Why, thou bottle-ale,[497]
Thou barmy[498] froth! O stay me, lest I rail
Beyond Nil ultra! to see this butterfly,
This windy bubble, task my balladry
With senseless censure. Curio, know’st my sprite?
Yet deem’st that in sad[499] seriousness I write
Such nasty stuff as is Pygmalion?
Such maggot-tainted, lewd corruption!
Ha, how he glavers[500] with his fawning snout,
And swears he thought I meant but faintly flout    10
My fine smug rhyme. O barbarous dropsy-noul![501]
Think’st thou that genius that attends my soul,
And guides my fist to scourge magnificos,
Will deign my mind be rank’d in Paphian shows?
Think’st thou that I, which was create to whip
Incarnate fiends, will once vouchsafe to trip
A pavin’s[502] traverse, or will lisp “Sweet love,”
Or pule “Aye me,” some female soul to move?
Think’st thou that I in melting poesy
Will pamper itching sensuality    20
(That in the body’s scum all fatally
Entombs the soul’s most sacred faculty)?
Hence, thou misjudging censor: know I wrot
Those idle rhymes to note the odious spot
And blemish that deforms the lineaments
Of modern poesy’s habiliments.
O that the beauties of invention,
For want of judgment’s disposition,
Should all be spoil’d![503] O that such treasury,
Such strain of well-conceited poesy,    30
Should moulded be in such a shapeless form,
That want of art should make such wit a scorn!
Here’s one must invocate some loose-legg’d dame,
Some brothel drab, to help him stanzas frame,
Or else (alas!) his wits can have no vent,
To broach conceit’s industrious intent.
Another yet dares tremblingly come out;
But first he must invoke good Colin Clout.
Yon’s one hath yean’d a fearful prodigy,
Some monstrous misshapen balladry;    40
His guts are in his brains, huge jobbernoul,[504]
Right gurnet’s-head;[505] the rest without all soul.
Another walks, is lazy, lies him down,
Thinks, reads, at length some wonted sleep doth crown
His new-fall’n lids, dreams; straight, ten pound to one,
Out steps some fairy with quick motion,
And tells him wonders of some flow’ry vale;
Awakes, straight rubs his eyes, and prints his tale.
Yon’s one whose strains have flown so high a pitch,
That straight he flags and tumbles in a ditch.    50
His sprightly hot high-soaring poesy
Is like that dreamèd of imagery,
Whose head was gold, breast silver, brassy thigh,
Lead legs, clay feet;[506] O fair-framed poesy!
Here’s one, to get an undeserved repute
Of deep deep learning, all in fustian suit
Of ill passed, far-fetch’d words attiereth
His period, that sense forsweareth.
Another makes old Homer Spenser cite,
Like my Pygmalion, where, with rare[507] delight,    60
He cries, “O Ovid!” This caus’d my idle quill,
The world’s dull ears with such lewd stuff to fill,
And gull with bumbast lines the witless sense
Of these odd nags, whose pates’ circumference
Is fill’d with froth. O these same buzzing gnats
That sting my sleeping brows, these Nilus’ rats,[508]
Half dung, that have their life from putrid slime—
These that do praise my loose lascivious rhyme!
For these same shades, I seriously protest,
I slubbered up that chaos indigest,    70
To fish for fools that stalk in goodly shape;
“What, though in velvet cloak, yet still an ape.”
Capro reads, swears, scrubs, and swears again,
“Now by my soul an admirable strain;”
Strokes up his hair, cries, “Passing passing good;”
O, there’s a line incends his lustful blood!
Then Muto comes, with his new glass-set face,
And with his late-kiss’d hand my book doth grace,
Straight reads, then smiles, and lisps, “’Tis pretty good,”
And praiseth that he never understood.    80
But room for Flaccus, he’ll my Satires read;
O how I trembled straight with inward dread!
But when I saw him read my fustian,
And heard him swear I was a Pythian,
Yet straight recall’d, and swears I did but quote
Out of Xylinum[509] to that margent’s note,
I could scarce hold and keep myself conceal’d,
But had well-nigh myself and all reveal’d.
Then straight comes Friscus, that neat gentleman,
That new-discarded academian,    90
Who, for he could cry Ergo in the school,
Straightway with his huge judgment dares control
Whatsoe’er he views: “That’s pretty, pretty[510] good;
That epithet hath not that sprightly blood
Which should enforce it speak; that’s Persius’ vein;
That’s Juvenal’s; here’s Horace’ crabbèd strain;”
Though he ne’er read one line in Juvenal,
Or, in his life, his lazy eye let fall
On dusky Persius. O, indignity
To my respectless free-bred poesy!    100
Hence, ye big-buzzing little-bodied gnats,
Ye tattling echoes, huge-tongued pigmy brats:
I mean to sleep: wake not my slumb’ring brain
With your malignant, weak, detracting vein.
What though the sacred issue of my soul
I here expose to idiots’ control;
What though I bare to lewd opinion,
Lay ope to vulgar profanation,
My very genius,—yet know, my poesy
Doth scorn your utmost, rank’st indignity;    110
My pate was great with child, and here ’tis eased;
Vex all the world, so that thyself be pleased.

Curio, do you know who I am? Well, you bottle of beer,[497]
You silly nonsense! Oh, stop me before I go on a rant.
Beyond limits! Just to catch a glimpse of this butterfly,
This light bubble inspires my poetry.
Face pointless criticism. Curio, do you understand my spirit?
But you believe that I write with true[499] sincerity.
Such awful stuff as is Pygmalion?
Such vile, immoral corruption!
Ha, look at how he drools[500] with his smooth talk,
And he insists he thought I meant to only tease a little.    10
My clever rhyme. Oh, foolish, arrogant fool![501]
Do you believe that the brilliant force guiding my soul,
And raising my hand to punish the powerful,
Will I lower myself to let my thoughts be compared to worthless distractions?
Do you think that I, who was made to whip
Embodied demons, will I ever bow down to dance?
A pavin's[502] melody, or will softly say "Sweet love,"
Or sigh "Alas," to touch some woman's heart?
Do you think that I in flowing poetry
Will indulge selfish desire    20
That in the body's dirt all fatally
Buried the soul's most sacred ability?
So step back, you judgmental critic: understand that I wrote
Those useless rhymes to point out the ugly flaws
And imperfections that change the features
Of modern poetry's style.
Oh, the wonders of creativity,
Due to a lack of discernment and taste,
Everything should be ruined![503] Oh, what a treasure,
Such impressive examples of well-crafted poetry,    30
Should be shaped into such a formless structure,
That lack of skill should make that kind of wit a joke!
Here's someone who must reach out to a promiscuous woman,
Some dull tavern, to help him write his poems,
Otherwise (unfortunately!), his mind cannot find any relief,
To share creative goals.
Another one bravely steps forward, trembling;
But first, he must call upon good Colin Clout.
That one has given birth to a terrifying monster,
Some weird, strange ballad;    40
His brains are filled with nonsense, big foolish idiot,[504]
Right like a gurnet’s head; [505] everything else is lifeless.
Another person strolls by, casually, and then lies down,
Thinks, reads, and eventually some familiar sleep takes over.
His eyes are now gently closed, dreams filling his mind; soon, it's a strong possibility,
Out jumps a fairy, quick as lightning.
And tells him about the wonders of a beautiful valley;
He wakes up, rubs his eyes, and writes his story.
That's someone whose verses have reached such heights,
That he immediately stumbles and falls into a ditch.    50
His vibrant, grand poetry
Is like that dreamed image,
Whose head was gold, chest silver, and thighs bronze,
Lead legs, clay feet; [506] Oh, beautifully crafted poetry!
Here's one way to gain an undeserved reputation.
For deep learning, all dressed in a dull suit.
Of poorly chosen, unrealistic words dressing
His sentences deny that sense.
Another quotes the old sayings of Homer and Spenser,
Like my Pygmalion, where, with rare[507] delight,    60
He exclaims, “Oh Ovid!” This inspired my idle pen,
To fill the world's boring ears with such improper things,
And mislead with pompous phrases the unsuspecting mind
Among these strange individuals, whose head circumference
Is filled with foam. Oh, these pesky gnats!
That sting on my sleeping brows, those Nile rats,[508]
Half dung, who draw their life from rotten slime—
Those who praise my free and playful verse!
For these same colors, I sincerely state,
I struggled through that chaotic mess,    70
To catch the fools who show off their good looks;
"What, even in a velvet cloak, you're still an ape."
Capro reads, curses, cleans, and curses again,
"Now, by my soul, what an amazing piece!"
He runs his fingers through his hair and exclaims, "Really great;"
Oh, there’s a line that sparks his desire!
Then Muto arrives, with his freshly polished face,
And with his freshly kissed hand, he touches my book,
She reads it right away, smiles, and says, “It’s pretty good.”
And compliments that he never grasped.    80
But make way for Flaccus; he’s going to read my Satires.
Oh, how I trembled with fear inside!
But when I saw him reading my grandstanding,
And heard him claim I was a prophet,
Then he quickly remembered and swore I just quoted.
From Xylinum to that margin’s note,
I could barely stay hidden.
But I was about to reveal myself and everything.
Then Friscus arrives, that dapper gentleman,
That recently discarded scholar,    90
Who, because he could say Ergo in class,
Right away, with his big judgment, he dares to criticize.
Whatever he sees: “That’s really, really good; __A_TAG_PLACEHOLDER_0__.”
That term doesn’t have the vibrancy it should.
That’s similar to what Persius would say;
"That's Juvenal's; here's Horace's intricate style;"
Even though he never read a single line by Juvenal,
Or, in his life, let his lazy eye drop.
On the bleak pages of Persius. Oh, the humiliation.
To my wild, free-spirited poetry!    100
So go away, you annoying little gnats,
You noisy little gossips with big mouths:
I want to sleep; don’t disturb my resting mind.
With your hurtful, feeble, undermining tone.
What if the sacred matter of my soul
I now present this for the judgment of fools;
Even if I expose myself to selfish judgment,
Open to crude defamation,
My genius,—but know, my poetry
Defies your deepest, harshest insult;    110
My head was heavy with the burden of pregnancy, and now it feels lighter.
Annoy everyone around you, as long as it makes you happy.

[497] So Doll Tearsheet to Pistol:—“Away, you bottle-ale rascal, you basket-hilt juggler you.”—2 Henry IV., ii. 4.

[497] So Doll Tearsheet said to Pistol:—“Get lost, you bottle-ale fool, you basket-hilt trickster.”—2 Henry IV., ii. 4.

[498] See note, p. 305.

__A_TAG_PLACEHOLDER_0__ See note, __A_TAG_PLACEHOLDER_1__

[499] “Sad seriousness”—sober earnestness.

“Sad seriousness” – serious earnestness.

[500] See note, p. 263.

__A_TAG_PLACEHOLDER_0__ See note, __A_TAG_PLACEHOLDER_1__

[501] “Dropsy-noul”—grouthead.

“Dropsy-noul”—grouthead.

[502] Old eds. “Paunis.”—Pavin was the name of an old dance.

[502] Old eds. “Paunis.”—Pavin was the name of an old dance.

[503] So. ed. 1599.—Ed. 1598 “soyl’d.”

So. Ed. 1599.—Ed. 1598 “soiled.”

[504] See note 2, p. 301.

__A_TAG_PLACEHOLDER_0__ See note 2, __A_TAG_PLACEHOLDER_1__

[505] A term of contempt for a stupid empty-headed person.

[505] A derogatory term for a foolish, clueless person.

[506] See the second chapter of The Book of Daniel.

[506] See the second chapter of The Book of Daniel.

[507] So ed. 1598.—Ed. 1599 “rage.”

__A_TAG_PLACEHOLDER_0__ So ed. 1598.—Ed. 1599 “rage.”

[508] Rats were supposed to be bred from the slime of the Nile when the river had shrunk.

[508] Rats were believed to have been created from the slime of the Nile when the river had receded.

[509] For the “margent’s note,” see p. 288. Flaccus is represented as misunderstanding the meaning of “Huc usque xylĭnum” (“bombast up to this point”) and as supposing that Marston in his marginal note was acknowledging his indebtedness to a work entitled Xylīnum.

[509] For the “marginal note,” see p. 288. Flaccus is depicted as misinterpreting the phrase “Huc usque xylĭnum” (“bombast up to this point”) and as thinking that Marston in his marginal note was admitting his debt to a work called Xylīnum.

[510] In ed. 1599 the word “pretty” is not repeated.

[510] In the 1599 edition, the word “pretty” is not repeated.

SATIRE VII.

A Cynic Satire.

A Cynic's Satire.

A man,[511] a man, a kingdom for a man!
Why, how now, currish, mad Athenian?
Thou Cynic dog, see’st not the[512] streets do swarm
With troops of men? No, no: for Circe’s charm
Hath turn’d them all to swine. I never shall
Think those same Samian[513] saws authentical:
But rather, I dare swear, the souls of swine
Do live in men. For that same radiant shine—
That lustre wherewith Nature’s nature decked
Our intellectual part—that gloss is soiled    10
With staining spots of vile impiety,
And muddy dirt of sensuality.
These are no men, but apparitions,
Ignes fatui, glowworms, fictions,[514]
Meteors, rats of Nilus, fantasies,
Colosses, pictures, shades, resemblances.
Ho, Lynceus!
Seest thou yon gallant in the sumptuous clothes,
How brisk, how spruce, how gorgeously he shows?
Note his French herring-bones:[515] but note no more,    20
Unless thou spy his fair appendant whore,
That lackies him. Mark nothing but his clothes,
His new-stamp’d compliment, his cannon oaths;
Mark those: for naught but such lewd viciousness
E’er gracèd him, save Sodom beastliness.
Is this a man? Nay, an incarnate devil,
That struts in vice and glorieth in evil.
A man, a man! Peace, Cynic, yon is one:
A complete soul of all perfection.
What, mean’st thou him that walks all open-breasted,    30
Drawn through the ear, with ribands,[516] plumy-crested;
He that doth snort in fat-fed luxury,
And gapes for some grinding monopoly;
He that in effeminate invention,
In beastly source of all pollution,
In riot, lust, and fleshly seeming sweetness,
Sleeps sound, secure, under the shade of greatness?
Mean’st thou that senseless, sensual epicure—
That sink of filth, that guzzel[517] most impure—
What, he? Lynceus, on my word thus presume,    40
He’s nought but clothes, and scenting sweet perfume;
His very soul, assure thee, Lynceus,
Is not so big as is an atomus:
Nay, he is spriteless, sense or soul hath none,
Since last Medusa turn’d him to a stone.
A man, a man! Lo, yonder I espy
The shade of Nestor in sad gravity.
Since old Silenus brake his ass’s back,
He now is forc’d his paunch and guts to pack
In a fair tumbrel.[518] Why, sour satirist,    50
Canst thou unman him? Here I dare insist
And soothly say, he is a perfect soul,
Eats nectar, drinks ambrosia, sans control;
An inundation of felicity
Fats him with honour and huge treasury.
Canst thou not, Lynceus, cast thy searching eye,
And spy his imminent[519] catastrophe?
He’s but a sponge, and shortly needs must leese[520]
His wrong-got juice, when greatness’ fist shall squeeze
His liquor out. Would not some shallow[521] head,    60
That is with seeming shadows only fed,
Swear yon same damask-coat, yon garded[522] man,
Were some grave sober Cato Utican?
When, let him but in judgment’s sight uncase,
He’s naught but budge,[523] old gards, brown fox-fur face;
He hath no soul the which the Stagyrite
Term’d rational: for beastly appetite,
Base dunghill thoughts, and sensual action,
Hath made him lose that fair creation.
And now no man, since Circe’s magic charm    70
Hath turn’d him to a maggot that doth swarm
In tainted flesh, whose foul corruption
Is his fair food: whose generation
Another’s ruin. O Canaan’s dread curse,
To live in people’s sins! Nay, far more worse,
To muck rank hate! But, sirra Lynceus,
Seest thou that troop that now effronteth us?
They are naught but eels,[524] that never will appear
Till that tempestuous winds or thunder tear
Their slimy beds. But prithee stay a while;    80
Look, yon comes John-a-Noke and John-a-Stile;
They are nought but slow-paced, dilatory pleas,
Demure demurrers, still striving to appease
Hot zealous love. The language that they speak
Is the pure barbarous blacksaunt[525] of the Gete;
Their only skill rests in collusions,
Abatements, stoppels, inhibitions.
Heavy-paced jades, dull-pated jobbernouls,
Quick in delays, checking with vain controls
Fair Justice’ course; vile necessary evils,    90
Smooth-seeming saints, yet damn’d incarnate devils.
Far be it from my sharp satiric muse,
Those grave and reverent[526] legists to abuse,
That aid Astræa, that do further right;
But these Megeras that inflame despite,
That broach deep rancour, that study still
To ruin right, that they their paunch may fill
With Irus’ blood—these furies I do mean,
These hedgehogs, that disturb Astrea’s scene.
A man, a man! Peace, Cynic, yon’s a man;    100
Behold yon sprightly dread Mavortian;
With him I stop thy currish barking chops.—
What, mean’st thou him that in his swaggering slops
Wallows unbracèd, all along the street;
He that salutes each gallant he doth meet
With “Farewell, sweet captain, kind heart, adieu;”
He that last night, tumbling thou didst view
From out the great man’s head,[527] and thinking still
He had been sentinel of warlike Brill,[528]
Cries out, “Que va la? zounds, que?” and out doth draw    110
His transform’d poniard, to a syringe straw,
And stabs the drawer? What, that ringo-root![529]
Mean’st thou that wasted leg, puff bumbast boot;
What, he that’s drawn and quarterèd with lace;
That Wesphalian gammon clove-stuck[530] face?
Why, he is nought but huge blaspheming oaths,
Swart snout, big looks, misshapen Switzers’[531] clothes;
Weak meagre lust hath now consumèd quite,
And wasted clean away his martial sprite;
Enfeebling riot, all vices’ confluence,    120
Hath eaten out that sacred influence
Which made him man.
That divine part is soak’d away in sin,
In sensual lust, and midnight bezelling,[532]
Rank inundation of luxuriousness[533]
Have tainted him with such gross beastliness,
That now the seat of that celestial essence
Is all possess’d with Naples’ pestilence.[534]
Fat peace, and dissolute impiety,
Have lullèd him in such security,    130
That now, let whirlwinds and confusion tear
The centre of our state; let giants’ rear
Hill upon hill; let western termagant
Shake heaven’s vault: he, with his occupant,[535]
Are cling’d so close, like dew-worms in the morn,
That he’ll not stir till out his guts are torn
With eating filth. Tubrio, snort on, snort on,
Till thou art waked with sad confusion.
Now rail no more at my sharp cynic sound,
Thou brutish world, that in all vileness drown’d    140
Hast lost thy soul: for nought but shades I see—
Resemblances of men inhabit thee.
Yon tissue slop, yon holy-crossèd pane,[536]
Is but a water-spaniel that will fawn,
And kiss the water, whilst it pleasures him;
But being once arrivèd at the brim,
He shakes it off.
Yon in the cap’ring cloak, a mimic ape,
That only strives to seem another’s shape.
Yon’s Æsop’s ass; yon sad civility    150
Is but an ox that with base drudgery
Ears up the land, whilst some gilt ass doth chaw
The golden wheat, he well apaid with straw.
Yon’s but a muckhill overspread with snow,
Which with that veil doth even as fairly show
As the green meads, whose native outward fair[537]
Breathes sweet perfumes into the neighbour air.
Yon effeminate sanguine Ganymede
Is but a beaver,[538] hunted for the bed.
Peace, Cynic; see, what yonder doth approach;    160
A cart? a tumbrel? No, a badged[539] coach.
What’s in’t? Some man. No, nor yet womankind,
But a celestial angel, fair, refined.
The devil as soon! Her mask so hinders me,
I cannot see her beauty’s deity.
Now that is off, she is so vizarded,
So steep’d in lemon’s[540] juice, so surphulèd,
I cannot see her face. Under one hood
Two faces; but I never understood
Or saw one face under two hoods till now:    170
’Tis the right resemblance of old Janus’ brow.
Her mask, her vizard, her loose-hanging gown
(For her loose-lying body), her bright-spangled crown,
Her long slit sleeve,[541] stiff busk, puff verdingal,
Is all that makes her thus angelical.
Alas! her soul struts round about her neck;
Her seat of sense is her rebato[542] set;
Her intellectual is a feignèd niceness,
Nothing but clothes and simpering preciseness.
Out on these puppets, painted images,    180
Haberdashers’ shops, torchlight maskeries,
Perfuming-pans, Dutch ancients,[543] glow-worms bright,
That soil our souls, and damp our reason’s light!
Away, away, hence, coachman, go enshrine
Thy new-glazed puppet in port Esquiline![544]
Blush, Martia, fear not, or look pale, all’s one;
Margara keeps thy set complexion.
Sure I ne’er think those axioms to be true,
That souls of men from that great soul ensue,
And of his essence do participate    190
As ’twere by pipes; when so degenerate,
So adverse is our nature’s motion
To his immaculate condition,
That such foul filth from such fair purity,
Such sensual acts from such a Deity,
Can ne’er proceed. But if that dream were so,
Then sure the slime, that from our souls do flow,
Have stopp’d those pipes by which it was convey’d,
And now no human creatures, once disray’d
Of that fair gem.    200
Beasts’ sense, plants’ growth, like being as a stone;
But out, alas! our cognisance is gone.

A man, [511] a man, a kingdom for a man!
What's happening now, angry, crazy Athenian?
You cynical dog, can’t you see that the[512] streets are filled
With a bunch of guys? No, no: because of Circe’s magic.
Has turned them all into pigs. I will never
Believe that those same Samian[513] sayings are authentic:
But rather, I must say, the spirits of pigs
Live in men. For that same bright light—
That gleam with which Nature decorated its essence
Our minds—that light is dimmed
With stains of wickedness,
And dirty muck of desire.
These aren't men, but ghosts,
Will-o'-the-wisps, glowworms, illusions, __A_TAG_PLACEHOLDER_0__
Meteors, Nile rats, daydreams,
Colossi, images, shadows, likenesses.
Hey, Lynceus!
Do you see that stylish guy in fancy clothes,
How lively, how stylish, how amazing he looks!
Check out his French herringbones:[515] but focus only on that,    20
Unless you see his attractive girlfriend,
Who follows him around. Doesn’t notice anything except his clothes,
His newly given compliments, his loud curses;
Be mindful of that: for nothing but such disgraceful behavior
Has ever honored him, except for the Sodom-like obscenity.
Is this a man? No, a devil in human form,
Who flaunts wrongdoing and takes satisfaction in wickedness.
A man, a man! Calm down, Cynic, that’s a real man:
A fully perfect soul.
What do you mean, the guy who struts around with his chest puffed out?    30
Pierced through the ear, with ribbons,[516] feathered crown;
He who revels in excessive luxury,
And desires some greedy monopoly;
He who, in delicate creativity,
In the dirty source of all pollution,
In chaos, desire, and a seemingly sweet flesh,
Sleeps peacefully, feeling safe under the protection of greatness?
Are you referring to that inconsiderate, self-indulgent foodie—
That filthy pit, that greedy __A_TAG_PLACEHOLDER_0__ most unclean—
What, him? Lynceus, I swear,
He's just clothes and nice-smelling cologne;
His very soul, trust me, Lynceus,
Is no larger than a speck:
No, he is soulless and lacks any sense.
Since the last Medusa turned him to stone.
A guy, a guy! Look, over there I see
The serious shade of Nestor.
Since old Silenus broke his donkey's back,
He now has to stuff his belly and intestines.
In a nice cart.[518] Why, bitter critic,    50
Can you take away his manhood? Here I insist on that.
And honestly say, he is a truly amazing person,
Feeds on nectar, drinks ambrosia, without holding back;
A surge of happiness
Fills him with pride and great wealth.
Can’t you, Lynceus, use your keen sight,
And see his looming disaster?
He’s just soaking it all up, and soon he will have to lose[520]
His wrongfully obtained juice, when the hand of greatness will squeeze
His liquid is out. Wouldn't some shallow[521] care?
That is only fueled by apparent shadows,
Swear that same damask coat, that protected[522] man,
Was there a really serious sober Cato of Utica?
When he is revealed before the eyes of judgment,
He's just a bunch of old rags, [523] with a brown fox-fur face;
He has no soul, according to the Stagyrite.
Rational: for basic desires,
Negative thoughts and bad actions,
Have caused him to lose that beautiful creation.
And now no man, since Circe’s magical spell
Has turned him into a swarming maggot
In decaying flesh, whose disgusting rot
Is his fine food: whose reproduction
Means someone else's downfall. Oh, Canaan’s terrible curse,
To live in people's sins! No, even worse,
To indulge in intense hatred! But, hey Lynceus,
Do you see that crowd standing in front of us now?
They are just eels,[524] that will never appear.
Until the stormy winds or thunder tear
Their slimy beds. But please hold on for a moment;    80
Look, here come John-a-Noke and John-a-Stile;
They are just slow, procrastinating requests,
Humble objections, still trying to appease
Intense passionate love. The language they use
Is the purely barbaric blacksaunt[525] of the Gete;
Their only skill is in colluding,
Lowering taxes, obstacles, bans.
Slow-moving nags, clueless fools,
Fast in postponing, meddling with pointless regulations.
The path of Fair Justice; necessary evils that are unfortunate,    90
They appear to be gentle saints, but they are truly wicked devils in disguise.
It's far from my keen satirical inspiration,
To take advantage of those serious and respected[526] legal experts,
That supports Astraea, who promotes justice;
But these furies that fuel resentment,
That spread deep resentment and constantly tries
To ruin things right, to satisfy their hunger.
With the blood of Irus—I'm talking about these demons,
These hedgehogs that disrupt Astraea's scene.
A man, a man! Be quiet, Cynic, that’s a man;    100
Check out that intense fear, Mavortian;
With him, I’ll quiet your angry barking.
What, do you mean the guy in his flashy pants?
Wallows aimlessly along the street;
He who greets every stylish guy he encounters.
“Goodbye, dear captain, gentle spirit;”
The person you saw last night in a tumble
From the great man's mind,[527] still in thought
He had been the guard of warrior Brill,[528]
Shouts, “What’s happening? What the heck?” and pulls out    110
His changed dagger into a syringe straw,
And attacks the vendor? What, that ring-root![529]
Are you referring to that damaged leg, that swollen boot;
What about him who's dressed up in lace;
That Wesphalian ham with cloves[530] on it?
He’s just full of huge, disrespectful curses.
Dark snout, prominent features, ill-fitting Swiss[531] clothes;
His weak, feeble desire has completely taken over him now.
And completely drained his fighting spirit;
Debauched behavior, all vices collide,    120
Has diminished that sacred influence
That made him a man.
That divine part is drenched in sin,
In passionate desire and late-night indulgence,[532]
Rank flood of indulgence__A_TAG_PLACEHOLDER_0__
Has tarnished him with such coarse animalistic behavior,
That now the source of that divine essence
Is totally affected by the plague in Naples.[534]
Chill vibes, and indulgent mischief,
Have lulled him into such a false sense of security,    130
Let whirlwinds and chaos rip apart now.
The heart of our state; let the giants rise
Hill after hill; let western bullies
Shake the heavens: he, along with his occupant, [535]
Are sticking so close, like dew worms in the morning,
That he won't budge until he's completely torn apart inside.
With eating dirt. Tubrio, keep snorting, keep snorting,
Until you're jolted awake with a heavy sense of confusion.
Stop criticizing my sharp cynicism now,
You brutal world, that is completely submerged in wickedness.
You've lost your soul, because all I see are shadows—
You have qualities of men.
That tissue mess, that holy-crossed window,[536]
It's just a water spaniel that will flatter,
And kiss the water, as long as it makes him happy;
But upon reaching the edge,
He brushes it off.
That one in the fancy cloak, a mimic ape,
That just tries to appear like someone else.
That's Æsop's donkey; that sad civility    150
It’s just an ox that contributes through its hard work.
Tends to the land while a pampered donkey grazes.
The golden wheat, clearly rewarded with straw.
That’s just a pile of manure covered in snow.
Which, with that cover, looks nice.
As the green meadows, with their natural beauty __A_TAG_PLACEHOLDER_0__
Exhales pleasant scents into the surrounding air.
That delicate, rosy Ganymede
It's just a beaver,[538] hunted for the dam.
Stay quiet, Cynic; look, what's coming over there;    160
A cart? A tumbrel? No, a branded[539] coach.
What's inside? Just some guy. No, not a woman either,
But a heavenly angel, stunning and elegant.
The devil is coming soon! Her mask is blocking my way,
I can't see the divine beauty in her.
Now that it's off, she's really made up,
So drenched in lemon’s[540] juice, so fragrant,
I can't see her face. Under one hood
Two faces; but I never got it.
Or saw one face under two hoods until now:    170
It’s a true reflection of old Janus' brow.
Her mask, her facial covering, her flowing gown
(For her comfortably fitting body), her bright, sparkling crown,
Her long slit sleeve, [541] rigid bodice, and puffed skirt,
It's everything that makes her look so angelic.
Unfortunately, her soul flaunts itself around her neck;
Her sense of style is represented by her collar[542] set;
Her intelligence is a false kindness,
Just clothes and fake perfection.
Shame on these puppets, painted images,    180
Shop displays, flashlight parties,
Perfume jars, Dutch antiques,[543] fireflies bright,
That soil our souls and dull our reason's light!
Leave me alone, just go away.
Your newly-glazed puppet for the Esquiline port![544]
Blush, Martia, don’t be scared or look pale, it’s all the same;
Margara maintains your usual complexion.
I definitely don't think those sayings are true,
That the souls of people come from that great soul,
And they share in his essence.
As if by pipes; when our natural instincts are at work
Is so opposed to his perfect condition,
That such dirty filth comes from such pure beauty,
Such sensual actions from such a Deity,
Can never happen. But if that dream were true,
Then definitely the slime that comes from our souls,
Must have blocked those pipes through which it was carried,
And now no human beings, once stripped
Of that beautiful gem.    200
The senses of animals, the growth of plants, as if they were like a stone;
But unfortunately, our awareness is lost.

[511] See note 2, vol. ii. p. 349.

__A_TAG_PLACEHOLDER_0__ See note 2, vol. ii, p. 349.

[512] Omitted in ed. 1598.

Omitted in ed. 1598.

[513] Samos—the birthplace of Pythagoras.

Samos—the home of Pythagoras.

[514] “Fictions ... rats of Nilus.”—Cf. Shirley’s School of Compliment, ii. 1:—“Sirrah clothes, rat of Nilus, fiction, monster, golden calf.”

[514] “Fictions ... rats of Nilus.”—Cf. Shirley’s School of Compliment, ii. 1:—“Hey, you're wearing clothes, rat of Nilus, fiction, monster, golden calf.”

[515] The name of a particular kind of stitch.

[515] The name for a specific type of stitch.

[516] See note, vol. ii. p. 391.

__A_TAG_PLACEHOLDER_0__ See note, vol. 2, p. 391.

[517] See note 1, p. 308.

__A_TAG_PLACEHOLDER_0__ See note 1, __A_TAG_PLACEHOLDER_1__

[518] Dung-cart.

Manure cart.

[519] Ed. 1599, “eminent.”

__A_TAG_PLACEHOLDER_0__ Ed. 1599, “eminent.”

[520] Lose.

Lose.

[521] Omitted in ed. 1599.

__A_TAG_PLACEHOLDER_0__ Omitted in ed. 1599.

[522] i.e., whose garments are ornamented with gards or fringes.

[522] i.e., whose clothes are decorated with gards or fringes.

[523] Lamb’s fur.

Lamb's wool.

[524] Thunder is supposed to rouse eels from the mud. So Shakespeare—“Thunder shall not so awake the beds of eels.” I suppose that Mr. Browning was giving us a piece of Italian folk-lore when he wrote (in Old Pictures in Florence):—
“The morn when first it thunders in March,
The eel in the pond gives a leap, they say.”

[524] Thunder is said to wake eels from the mud. So Shakespeare said—“Thunder shall not so awake the beds of eels.” I think Mr. Browning was sharing a piece of Italian folklore when he wrote (in Old Pictures in Florence):—
"The morning __A_TAG_PLACEHOLDER_0__ when it first thunders in March,"
"They say the eel in the pond jumps."

[525] A corruption of black sanctus, which seems to have been a burlesque hymn set to a harsh tune, “in ridicule of the Sanctus or Holy, Holy, Holy, of the Romish Missal” (Nares); hence used to express any discordant noise,—as the rude speech of the Scythians.

[525] A distortion of black sanctus, which appears to have been a mock hymn set to a harsh tune, “making fun of the Sanctus or Holy, Holy, Holy, of the Roman Missal” (Nares); thus used to describe any jarring noise,—like the crude speech of the Scythians.

[526] So ed. 1598; and I have kept the form “reverent” (though ed. 1599 reads “reverend”), as it was constantly used for “reverend.”

[526] So ed. 1598; and I’ve kept the form “reverent” (even though ed. 1599 says “reverend”), since it was consistently used for “reverend.”

[527] “The great man’s head”—evidently the name of a tavern. Quy. the Saracen’s Head?

[527] “The great man’s head”—clearly the name of a pub. Quy. the Saracen’s Head?

[528] One of the cautionary towns pledged to the English crown by the States of Holland.

[528] One of the warning towns that promised loyalty to the English crown by the States of Holland.

[529] Sink of lechery.

Sink of lust.

[530] His face, I suppose, is stuck with plaster, to lead people to imagine that he has been scarred in the wars.

[530] I guess his face is covered in plaster to make people think he has battle scars.

[531] Switzers—mercenary soldiers.

__A_TAG_PLACEHOLDER_0__ Switzers—paid soldiers.

[532] Tippling.

Drinking.

[533] Lust.

Desire.

[534] The pox.

The pox.

[535] See note 2, p. 300.

__A_TAG_PLACEHOLDER_0__ See note 2, __A_TAG_PLACEHOLDER_1__

[536] See note 2, vol. ii. p. 337.

__A_TAG_PLACEHOLDER_0__ See note 2, vol. ii. p. 337.

[537] Fairness.

Fairness.

[538] “Rugs or covers were made of ‘beever skins,’ which Batman calls ‘very precious.’”—Grosart.

[538] “Rugs or covers were made from ‘beaver skins,’ which Batman calls ‘very valuable.’”—Grosart.

[539] i.e., exhibiting armorial bearings.

__A_TAG_PLACEHOLDER_0__ i.e., displaying coat of arms.

[540] In Guilpin’s Skialetheia, 1598, there is a long list of cosmetics. Juice of lemons is mentioned:—
“They [the gallants] were plain asses if they did not know
Quicksilver, juice of lemons, borax too,
Alum, oil tartar, whites of eggs, and galls.
Are made the bawds to morphew, scurfs, and scalls.”

[540] In Guilpin’s Skialetheia, 1598, there’s an extensive list of cosmetics. Juice of lemons is mentioned:—
“They [the gentlemen] were fools if they didn’t know."
Quicksilver, lemon juice, borax too,
Alum, tartar oil, egg whites, and galls.
These are used to treat morphea, dandruff, and scalp problems.

[541] So ed. 1598.—Ed. 1599 “sleeves.”

__A_TAG_PLACEHOLDER_0__ So ed. 1598.—Ed. 1599 “sleeves.”

[542] See note 2, vol. 1. p. 31.

__A_TAG_PLACEHOLDER_0__ See note 2, vol. 1, p. 31.

[543] Ancient was the name for the (1) standard, (2) the standard-bearer. Here it has the first meaning; but I cannot find that Dutch standards were particularly tawdry.

[543] In ancient times, the term referred to (1) a standard and (2) the person who carries it. Here, it has the first meaning, but I can't find any evidence that Dutch standards were especially shabby.

[544] “Port Esquiline”—the jakes.

“Port Esquiline”—the restroom.

PROEMIUM IN LIBRUM TERTIUM.

In serious jest, and jesting seriousness,
I strive to scourge polluting beastliness;
I invocate no Delian deity,
No sacred offspring of Mnemosyne;
I pray in aid of no Castalian[545] muse,
No nymph, no female angel, to infuse
A sprightly wit to raise my flagging wings,
And teach me tune these harsh discordant strings.
I crave no sirens of our halcyon times,
To grace the accents of my rough-hew’d rhymes;    10
But grim Reproof, stern hate of villainy,
Inspire and guide a Satire’s poesy.
Fair Detestation of foul odious sin,
In which our swinish times lie wallowing,
Be thou my conduct and my genius,
My wits-inciting sweet-breath’d Zephyrus.
O that a Satire’s hand had force to pluck
Some floodgate up, to purge the world from muck!
Would God I could turn Alpheus river in,
To purge this Augean oxstall from foul sin!    20
Well, I will try; awake, Impurity,
And view the veil drawn from thy villainy!

In serious joking and joking seriously,
I strive to eliminate the dirt of immoral actions;
I don't invoke any Delian god,
No divine child of Mnemosyne;
I don’t ask for help from any Castalian[545] muse,
No nymph, no female spirit, to give me
A sharp sense of humor to lift my tired spirits,
And teach me to tune these rough, jarring strings.
I’m not looking for the distractions of our peaceful times,
To improve the sound of my roughly made rhymes;    10
But serious Critique, a harsh disdain for wrongdoing,
Inspire and guide the poetry of a Satire.
A deep aversion to vile, repulsive sin,
In which our dirty times are stuck,
Be my guide and my inspiration,
My witty, sweet-breathed Zephyr.
Oh, that a Satire’s hand had the ability to uplift
Some barrier, to rid the world of dirt!
I wish I could change the course of Alpheus' river,
To get rid of this dirty mess of sin!    20
Alright, I will give it a shot; rise, Impurity,
And watch as the truth exposes your wrongdoing!

[545] Ed. 1598 “Castalia.”

__A_TAG_PLACEHOLDER_0__ Ed. 1598 “Castalia.”

SATIRE VIII.

Inamorato, Curio.

Inamorato, Curio.

Curio, aye me! thy mistress’ monkey’s dead;
Alas, alas, her pleasure’s burièd!
Go, woman’s slave, perform his exequies,
Condole his death in mournful elegies.
Tut, rather pæans sing, hermaphrodite;
For that sad death gives life to thy delight.
Sweet-faced Corinna, deign the riband tie
Of thy cork-shoe, or else thy slave will die:
Some puling sonnet tolls his passing bell,
Some sighing elegy must ring his knell,    10
Unless bright sunshine of thy grace revive
His wambling stomach, certes he will dive
Into the whirlpool of devouring death,
And to some mermaid sacrifice his breath.
Then oh, oh then, to thy eternal shame,
And to the honour of sweet Curio’s name,
This epitaph, upon the marble stone,
Must fair be graved of that true-loving one:

Curio, oh no! Your owner’s monkey is dead;
What a shame, her happiness is buried!
Go, woman's servant, arrange his funeral,
Grieve his death with sorrowful poems.
Forget that, sing praises instead, gender-neutral one;
For that tragic loss brings happiness to your heart.
Sweet-faced Corinna, please tie the ribbon.
From your cork sandal, or your servant will be doomed:
Some complaining sonnet sounds his farewell,
Some mournful lament must announce his death,    10
Unless the warm light of your kindness brings me back to life
His weak stomach, he'll definitely end up sinking.
Into the depths of overwhelming death,
And to some mermaid, he gave up his breath.
Then, oh, oh then, for your everlasting disgrace,
And in honor of sweet Curio’s name,
This gravestone inscription, on the marble stone,
Must be beautifully engraved by that one who truly loves:

“Here lieth he, he lieth here,
That bounced and pity cried:    20
The door not oped, fell sick, alas,
Alas, fell sick and died!”

“Here he rests, he rests here,
He who jumped and shouted for mercy:    20
The door stayed closed and became troubled, oh no,
"Oh no, got sick and died!"

What Myrmidon, or hard Dolopian,
What savage-minded rude Cyclopian,
But such a sweet pathetic Paphian
Would force to laughter? Ho, Amphitrion,
Thou art no cuckold. What, though Jove dallièd,
During thy wars, in fair Alcmena’s bed,
Yet Hercules, true born, that imbecility
Of corrupt nature, all apparently    30
Appears in him. O foul indignity!
I heard him vow himself a slave to Omphale,
Puling “Aye me!” O valour’s obloquy!
He that the inmost nooks of hell did know,
Whose ne’er-crazed[546] prowess all did overthrow,
Lies streaking[547] brawny limbs in weak’ning bed;
Perfumed, smooth-kemb’d, new glazed, fair surphulèd.
O that the boundless power of the soul
Should be subjected to such base control!
Big-limb’d Alcides, doff thy honour’s crown,    40
Go spin, huge slave, lest Omphale should frown.
By my best hopes, I blush with grief and shame
To broach the peasant baseness of our name.
O, now my ruder hand begins to quake,
To think what lofty cedars I must shake;
But if the canker fret, the barks of oaks,
Like humbler shrubs, shall equal bear the strokes
Of my respectless rude satiric hand.
Unless the Destin’s adamantine band
Should tie my teeth, I cannot choose, but bite,    50
To view Mavortius metamorphos’d quite,
To puling sighs, and into “Aye me’s” state,
With voice distinct, all fine articulate,
Lisping, “Fair saint, my woe compassionate;
By heaven! thine eye is my soul-guiding fate.”
The god of wounds had wont on Cyprian couch
To streak himself, and with incensing touch
To faint his force, only when wrath had end;
But now, ’mong furious garboils,[548] he doth spend
His feebled valour, in tilt and tourneying,    60
With wet turn’d kisses, melting dallying.
A pox upon’t that Bacchis’[549] name should be
The watchword given to the soldiery!
Go, troop to field, mount thy obscurèd fame,
Cry out St. George, invoke thy mistress’ name;
Thy mistress and St. George, alarum cry!
Weak force, weak aid, that sprouts from luxury!
Thou tedious[550] workmanship of lust-stung Jove,
Down from thy skies, enjoy our females’ love:
Some fifty more Beotian girls will sue    70
To have thy love, so that thy back be true.
O, now me thinks I hear swart Martius cry,
Swooping[551] along in wars’ feign’d maskery;
By Lais’ starry front he’ll forthwith dye
In clutter’d[552] blood, his mistress’ livery;
Her fancy’s colours waves upon his head.
O, well-fenced Albion, mainly manly sped,
When those that are soldadoes[553] in thy state
Do bear the badge of base, effeminate,
Even on their plumy crests; brutes sensual,    80
Having no spark of intellectual!
Alack! what hope, when some rank nasty wench
Is subject of their vows and confidence?
Publius hates vainly to idolatrise[554]
And laughs that Papists honour images;
And yet (O madness!) these mine eyes did see
Him melt in moving plaints, obsequiously
Imploring favour; twining his kind arms,
Using enchantments, exorcisms, charms;
The oil of sonnets, wanton blandishment,    90
The force of tears, and seeming languishment,
Unto the picture of a painted lass!
I saw him court his mistress’ looking-glass,
Worship a busk-point, which, in secresy,
I fear was conscious of strange villainy;
I saw him crouch, devote his livelihood,
Swear, protest, vow peasant servitude
Unto a painted puppet; to her eyes
I heard him swear his sighs to sacrifice.
But if he get her itch-allaying pin,    100
O sacred relic! straight he must begin
To rave outright,—then thus: “Celestial bliss,
Can Heaven grant so rich a grace as this?
Touch it not (by the Lord! sir), ’tis divine!
It once beheld her radiant eye’s bright shine!
Her hair embraced it. O thrice-happy prick,
That there was throned, and in her hair didst stick!”
Kiss, bless, adore it, Publius, never lin;
Some sacred virtue lurketh in the pin.
O frantic, fond, pathetic passion!    110
Is’t possible such sensual action
Should clip the wings of contemplation?
O can it be the spirit’s function,
The soul, not subject to dimension,
Should be made slave to reprehension
Of crafty nature’s paint? Fie! can our soul
Be underling to such a vile control?
Saturio wish’d himself his mistress’ busk,
That he might sweetly lie, and softly lusk[555]
Between her paps; then must he have an eye    120
At either end, that freely might descry
Both hills and dales. But, out on Phrigio,
That wish’d he were his mistress’ dog, to go
And lick her milk-white fist! O pretty grace!
That pretty Phrigio begs but Pretty’s place.
Parthenophil,[556] thy wish I will omit,
So beastly ’tis I may not utter it.
But Punicus, of all I’ll bear with thee,
That fain wouldst be thy mistress’ smug monkey.
Here’s one would be a flea[557] (jest comical!);    130
Another, his sweet lady’s verdingal,
To clip her tender breech; another, he
Her silver-handled fan would gladly be;
Here’s one would be his mistress’ necklace, fain
To clip her fair, and kiss her azure vein.
Fond fools, well wish’d, and pity but [’t] should be;
For beastly shape to brutish souls agree.
If Laura’s painted lip do deign a kiss
To her enamour’d slave, “O Heaven’s bliss!”
(Straight he exclaims) “not to be match’d with this!”
Blaspheming dolt! go threescore sonnets write    141
Upon a picture’s kiss, O raving sprite!
I am not sapless, old, or rheumatic,
No Hipponax, misshapen stigmatic,[558]
That I should thus inveigh ’gainst amorous sprite
Of him whose soul doth turn hermaphrodite;
But I do sadly grieve, and inly vex,
To view the base dishonour of our sex.
Tush! guiltless doves, when gods, to force foul rapes,
Will turn themselves to any brutish shapes;    150
Base bastard powers, whom the world doth see
Transform’d to swine for sensual luxury!
The son of Saturn is become a bull,
To crop the beauties of some female trull.
Now, when he hath his first wife Metis[559] sped,
And fairly choked,[560] lest foul[561] gods should be bred
Of that fond mule; Themis, his second wife,
Hath turn’d away, that his unbridled life
Might have more scope; yet, last, his sister’s love
Must satiate the lustful thoughts of Jove.    160
Now doth the lecher in a cuckold’s shape,
Commit a monstrous and incestuous rape.
Thrice sacred gods! and O thrice blessèd skies,
Whose orbs include such virtuous deities!
What should I say? Lust hath confounded all;
The bright gloss of our intellectual
Is foully soil’d. The wanton wallowing
In fond delights, and amorous dallying,
Hath dusk’d the fairest splendour of our soul;
Nothing now left but carcass, loathsome, foul;    170
For sure, if that some sprite remainèd still,
Could it be subject to lewd Lais’ will?
Reason, by prudence in her function,
Had wont to tutor all our action,
Aiding, with precepts of philosophy,
Our feeblèd natures’ imbecility;
But now affection, will, concupiscence,
Have got o’er reason chief pre-eminence.
’Tis so; else how should such vile baseness taint
As force it be made slave to nature’s paint?    180
Methinks the spirit’s Pegase, Fantasy,
Should hoise the soul from such base slavery;
But now I see, and can right plainly show
From whence such abject thoughts and actions grow.
Our adverse body, being earthly, cold,
Heavy, dull, mortal, would not long enfold
A stranger inmate, that was backward still
To all his dungy, brutish, sensual will:
Now hereupon our intellectual,
Compact of fire all celestial,    190
Invisible, immortal, and divine,
Grew straight to scorn his landlord’s muddy slime;
And therefore now is closely slunk away
(Leaving his smoky house of mortal clay),
Adorn’d with all his beauty’s lineaments
And brightest gems of shining ornaments,
His parts divine, sacred, spiritual,
Attending on him; leaving the sensual
Base hangers-on lusking at home in slime,
Such as wont to stop port Esquiline.[562]    200
Now doth the body, led with senseless will
(The which, in reason’s absence, ruleth still),
Rave, talk idly, as ’twere some deity,
Adoring[563] female painted puppetry;
Playing at put-pin,[564] doting on some glass
(Which, breath’d but on, his falsèd gloss doth pass);
Toying with babies,[565] and with fond pastime,
Some children’s sport, deflow’ring of chaste time;
Employing all his wits in vain expense,
Abusing all his organons of sense.    210
Return, return, sacred Synderesis!
Inspire our trunks! Let not such mud as this
Pollute us still. Awake our lethargy,
Raise us from out our brain-sick foolery!

What Myrmidon or tough Dolopian,
What rude, savage Cyclops,
But such a sweet, sad Paphian
Would that make you laugh? Ha, Amphitrion,
You’re not a fool in that way. Even though Jove played around,
During your battles, in Alcmena’s bed,
Yet Hercules, truly born, that vulnerability
Of corrupt nature, all clearly
It shows in him. Oh, what a disgrace!
I heard him promise to become a slave to Omphale,
Crying out "Oh no!" What a shame it is to be brave!
He who understood the darkest depths of hell,
Whose calm prowess overcame all,
Lies lay sprawled[547] in a sagging bed;
Fragrant, neatly styled, freshly polished, beautifully decorated.
Oh, how immense the power of the soul
They should be subjected to such low-level control!
Big-limbed Alcides, remove your crown of honor,    40
Go spin, big slave, before Omphale gets angry.
With all my hopes, I feel a mix of sadness and embarrassment.
To highlight the humble origins of our name.
Oh, now my calloused hand starts to tremble,
To consider the tall cedars I have to shake;
But if the decay consumes the bark of oak trees,
Like more modest shrubs, will take the hits
Of my harsh, rude, satirical hand.
Unless Fate’s unbreakable chain
I have to hold back my teeth; I can't stop myself from biting.    50
To see Mavortius fully transformed,
To sad sighs, and into an "Oh no!" state,
With a clear, refined, and articulate voice,
Speaking softly, “Dear saint, my sadness deserves your pity;
"By heavens! your gaze is my guiding destiny."
The god of wounds was accustomed to resting on a Cyprian couch.
To comfort himself, and with a warm touch
To diminish his power, only after his anger had subsided;
But now, amidst the loud chaos,[548] he spends
His diminished bravery in competitions and jousting,    60
With wet kisses and flirtation.
Damn it, that Bacchus’[549] name should be
The battle cry for the soldiers!
Go, march to the field, and elevate your hidden glory,
Shout out, St. George, call upon your lady's name;
Your lady and St. George, it's time to rally!
Weak force, weak support, that comes from luxury!
You tiresome[550] creation of lustful Jove,
Come down from your high place, and enjoy the love of our women:
About fifty more Beotian girls will plead __A_TAG_PLACEHOLDER_0__
To have your love, as long as you remain faithful.
Oh, I think I can hear dark Martius calling now,
Swooping along in war’s false disguise;
He'll soon be captivated by Lais' stunning beauty.
In pooled[552] blood, in his lover's colors;
Her imagination’s colors dance above his head.
Oh, well-defended Albion, mostly strong and swift,
When those who serve as soldiers[553] in your country
Wear the badge of being lowly and effeminate,
Even on their feathered tops; alluring creatures,    80
Lacking any spark of intellect!
Unfortunately! What hope is there when a filthy, disgusting woman
Is the focus of their promises and trust?
Publius foolishly dislikes idolizing[554]
And laughs that Catholics respect images;
And yet (Oh madness!) these eyes have seen
He melts in emotional complaints, submissively.
Pleading for approval; wrapping his gentle arms,
Using spells, exorcisms, charms;
The essence of sonnets, lighthearted praise,    90
The strength of tears and pretending to be weak,
Here’s to the picture of a painted girl!
I saw him flirt with his mistress's mirror,
Worship a busk-point that secretly,
I suspect there was some strange wrongdoing.
I saw him bow and dedicate his life,
Swear, protest, vow serfdom
To a painted puppet; to her eyes
I heard him vow his sighs for a sacrifice.
But if he gets her itch-soothing pin,    100
Oh sacred relic! He must begin.
To say it clearly: “Heavenly bliss, __A_TAG_PLACEHOLDER_0__,
Can Heaven bestow such a generous grace as this?
Don't touch it (I swear, sir), it's amazing!
It once saw the bright shine of her radiant eyes!
Her hair held it close. Oh, joyfully perfect pin,
"That was seated on the throne, and in her hair was stuck!"
Kiss it, bless it, adore it, Publius, never stop;
Some sacred quality is hidden in the pin.
Oh frantic, foolish, ridiculous passion!    110
Is it possible that such intimate action
Should we limit our ability to reflect?
Oh, could it be that the spirit's purpose,
The soul, untied to any physical dimensions,
Should be made a slave to the criticism
Of nature's clever art? No way! Can our soul
Submit to such disgusting control?
Saturio wanted to be his mistress’s busk,
That he could gently rest and softly cuddle[555]
Between her breasts; then he must have seen this __A_TAG_PLACEHOLDER_0__
At either end, that could see freely
Both hills and valleys. But, unfortunately for Phrigio,
He wished he were his mistress's dog, to go
And kiss her smooth, white hand! Oh such beauty!
That attractive Phrigio begs for Pretty's spot.
Parthenophil,[556] I will skip your wish,
It's so terrible that I can't even say it.
But Punicus, I will tolerate you above all else,
That you would gladly be your mistress’s arrogant pet.
Here’s someone who would be a flea[557] (so funny!);    130
Another, his lady's petticoat,
To pinch her soft backside; another, he
Her silver-handled fan would be happy to be;
Here’s someone who would be his mistress's necklace, eager.
To embrace her gently and kiss her delicate blue vein.
Dear naive fools, it's unfortunate that it has to be this way;
For ugly forms suit savage souls.
If Laura’s painted lips give a kiss
To her devoted admirer, “Oh, what heavenly joy!”
He immediately exclaims, "This can't be compared to anything!"
Blaspheming fool! Go write sixty sonnets    141
About the kiss in a picture, oh wild spirit!
I am not lifeless, old, or suffering from arthritis,
No Hipponax, distorted stigmatic,[558]
That I should complain like this about the romantic spirit
Of him whose soul is becoming a mix of male and female;
But I do feel sad and troubled inside,
To witness the fundamental disgrace of our gender.
Enough! Innocent doves, when gods, to compel terrible assaults,
Will transform into any aggressive forms;    150
Base bastard powers, which the world can see
Turned into pigs for indulgent pleasure!
The son of Saturn has turned into a bull,
To collect the charms of a certain unfortunate woman.
Now that he has sent away his first wife Metis,[559]
And choked,[560] so that evil[561] gods wouldn't arise.
Of that beloved mule; Themis, his second wife,
Has turned away, so that his unchecked life
He might have more freedom, but in the end, his sister's love.
Must fulfill the lustful desires of Jove.    160
Now the seducer in the guise of a deceived husband,
Commits a horrific and incestuous attack.
Three times sacred gods! And oh, three times blessed skies,
Whose domains include such virtuous gods!
What should I say? Lust has muddled everything;
The bright shine of our intelligence
Is completely dirty. The reckless rolling around
In sweet pleasures and playful flirting,
Has dulled the brightest brilliance of our soul;
All that remains is a carcass, disgusting and putrid;    170
Definitely, if any spirit was still present,
Could it be subject to the lewd will of Lais?
Reason, through careful judgment in its role,
Guided all our actions,
Helping with philosophical principles,
Our weaker nature’s shortcomings;
But now longing, determination, desire,
Have gained dominance over reason.
It's true; otherwise, how could such terrible dishonor corrupt
To compel it to submit to nature's colors?    180
I believe the spirit's Pegasus is Fantasy, __A_TAG_PLACEHOLDER_0__.
Should elevate the spirit from such degrading servitude;
But now I understand, and can clearly demonstrate
From where such degrading thoughts and actions come.
Our opposing body, being grounded and cold,
Heavy, dull, and lifeless, would not last long.
A foreign resident who was still hesitant
To all his dirty, primal, indulgent cravings:
Now based on our intellect,
Made of celestial fire,    190
Invisible, eternal, and divine,
Grew to openly mock his landlord's dirty mess;
And so now has quietly slipped away.
(Leaving his smoky home made of earthly material),
Decorated with all the features of his beauty
And the brightest gems of shining jewelry,
His divine essence, sacred, spiritual,
Taking care of him; moving away from the sensual
Base hangers-on lounging at home in filth,
Used to block the Esquiline gates.[562]    200
Now the body, guided by a mindless desire
(Which, in the absence of reason, still governs),
Raves, chatting casually, as if it were some god,
Adoring female painted dolls;
Playing tag,[564] focusing on a piece of glass.
(Which, when breathed on, his false shine does fade);
Playing with kids,[565] and silly games,
Some kids' sports, wasting precious time;
Using all his cleverness on pointless efforts,
Overstimulating all his senses.
Return, return, sacred Synderesis!
Inspire our bodies! Let not dirt like this
Keep contaminating us. Wake us from our sluggishness,
Lift us from our confused foolishness!

[546] Broken, cracked, impaired.

Broken, cracked, damaged.

[547] Stretching.

Stretching.

[548] “Garboil”—tumult, commotion.

“Garboil” – chaos, uproar.

[549] The name of a Terentian meretrix.

The name of a Terentian prostitute.

[550] Jupiter made the night of thrice its ordinary length when he begot Hercules.

[550] Jupiter extended the night to three times its usual length when he fathered Hercules.

[551] Old eds. “Souping.”

Old eds. “Souping.”

[552] Clotted.

Clotted.

[553] Soldiers (Span.).

__A_TAG_PLACEHOLDER_0__ Soldiers (Span.).

[554] Old eds. “idolatries.”

__A_TAG_PLACEHOLDER_0__ Old eds. “idolatries.”

[555] See note 1, p. 335.

__A_TAG_PLACEHOLDER_0__ See note 1, __A_TAG_PLACEHOLDER_1__

[556] An allusion to the closing lines of Barnabe Barnes’ sixty-third sonnet.

[556] A reference to the final lines of Barnabe Barnes' sixty-third sonnet.

[557] Donne has some verses On a Flea on his Mistress’ Bosom, beginning:—
“Madam, that flea which crept between your breast
I envied that there he should make his rest.”

[557] Donne wrote some lines On a Flea on his Mistress’ Bosom, starting with:—
"Ma'am, that flea that crawled between your breasts
I was envious of how comfortable he made himself there.

Whether these verses of Donne had been written (and circulated in MS.) so early, I do not know; but the conceit was certainly out of the common.

Whether Donne wrote these verses (and circulated them in MS.) that early, I don’t know; but the idea was definitely uncommon.

[558] A deformed person; literally, one who has been branded with a hot iron. The very words “misshapen stigmatic” occur in 3 Henry VI., ii. 2. (The Greek satirist Hipponax was an ill-looking fellow.)

[558] A person with deformities; literally, someone who has been marked with a hot iron. The exact phrase “misshapen stigmatic” appears in 3 Henry VI., ii. 2. (The Greek satirist Hipponax was not considered attractive.)

[559] Old eds. “Metim.”

Old eds. “Metim.”

[560] When Jupiter discovered that he had got Metis with child, he swallowed her; for it had been foretold that he would be dethroned if Metis had a son.—Apollod. Bibl. i. 6.

[560] When Jupiter found out that Metis was pregnant, he swallowed her, as it had been prophesied that he would lose his throne if Metis had a son.—Apollod. Bibl. i. 6.

[561] Old eds. “foole.”

__A_TAG_PLACEHOLDER_0__ Old eds. “fool.”

[562] See note 4, p. 351.

__A_TAG_PLACEHOLDER_0__ See note 4, __A_TAG_PLACEHOLDER_1__

[563] So ed. 1598.—Ed. 1599 “adorning.”—The confusion between “adore” and “adorn” is common.

[563] So ed. 1598.—Ed. 1599 “adorning.”—The mix-up between “adore” and “adorn” happens often.

[564] Commonly called “push-pin,” a childish game described by Strutt.

[564] Often referred to as “push-pin,” a simple game explained by Strutt.

[565] Children’s toys,—particularly dolls.

Kids' toys, especially dolls.

SATIRE IX.

Here’s[566] a Toy to mock an Ape indeed.

Here’s[566] a toy to make fun of an ape, for sure.

Grim-faced Reproof, sparkle with threatening eye!
Bend thy sour brows in my tart poesy!
Avaunt! ye curs, howl in some cloudy mist,
Quake to behold a sharp-fang’d satirist!
O how on tip-toes proudly mounts my muse!
Stalking a loftier gait than satires use.
Methinks some sacred rage warms all my veins,
Making my sprite mount up to higher strains
Than well beseems a rough-tongu’d satire’s part;
But Art curbs Nature, Nature guideth[567] Art.    10
Come down, ye apes, or I will strip you quite,
Baring your bald tails to the people’s sight!
Ye mimic slaves, what, are you perch’d so high?
Down, Jackanapes, from thy feign’d royalty!
What! furr’d with beard—cast in a satin suit,
Judicial Jack? How hast thou got repute
Of a sound censure? O idiot times,
When gaudy monkeys mow o’er spritely rhymes!
O world of fools! when all men’s judgment’s set,
And rests[568] upon some mumping marmoset!    20
Yon Athens’ ape (that can but simp’ringly
Yaul “Auditores humanissimi!
Bound to some servile imitation,
Can, with much sweat, patch an oration)
Now up he comes, and with his crookèd eye
Presumes to squint on some fair poesy;
And all as thankless as ungrateful Thames,
He slinks away, leaving but reeking steams
Of dungy slime behind. All as ingrate
He useth it as when I satiate    30
My spaniel’s paunch, who straight perfumes the room
With his tail’s filth: so this uncivil groom,
Ill-tutor’d pedant, Mortimer’s[569] numbers
With muck-pit Esculine filth bescumbers.[570]
Now the ape chatters, and is as malcontent
As a bill-patch’d door, whose entrails out have sent
And spewed their tenant.
My soul adores judicial scholarship;
But when to servile imitatorship
Some spruce Athenian pen is prenticèd,    40
’Tis worse than apish. Fie! be not flatterèd
With seeming worth! Fond affectation
Befits an ape, and mumping babion.[571]
O what a tricksy, learnèd, nicking strain
Is this applauded, senseless, modern vein![572]
When late I heard it from sage Mutius’ lips,
How ill, methought, such wanton jigging skips
Beseem’d his graver speech. “Far fly thy fame,
Most, most of me beloved! whose silent name
One letter bounds. Thy true judicial style    50
I ever honour; and, if my love beguile
Not much my hopes, then thy unvalued worth
Shall mount fair place, when apes are turnèd forth.”
I am too mild. Reach me my scourge again;
O yon’s a pen speaks in a learned vein,
Deep, past all sense. Lanthorn and candle-light![573]
Here’s all invisible—all mental sprite!
What hotch-potch gibberidge doth the poet bring?
How strangely speaks, yet sweetly doth he sing?
I once did know a tinkling pewterer,    60
That was the vilest stumbling stutterer
That ever hack’d and hew’d our native tongue,
Yet to the lute if you had heard him sung,
Jesu! how sweet he breath’d! You can apply.
O senseless prose, judicial poesy,
How ill you’re link’d! This affectation,
To speak beyond men’s apprehension,
How apish ’tis, when all in fustian suit
Is cloth’d a huge nothing, all for repute
Of profound knowledge, when profoundness knows    70
There’s naught contain’d but only seeming shows!
Old Jack of Paris-garden, canst thou get
A fair rich suit, though foully run in debt?
Look smug, smell sweet, take up commodities,[574]
Keep whores, fee bawds, belch impious blasphemies,
Wallow along in swaggering disguise,
Snuff up smoke-whiffs, and each morn, ’fore she rise,
Visit thy drab? Canst use a false-cut die
With a clean grace and glib facility?
Canst thunder cannon-oaths, like th’ rattling    80
Of a huge, double, full-charg’d culvering?[575]
Then Jack, troop ’mong our gallants, kiss thy fist,
And call them brothers; say a satirist
Swears they are thine in near affinity,
All cousin-germans, save in villainy;
For (sadly, truth to say) what are they else
But imitators of lewd beastliness?
Far worse than apes; for mow or scratch your pate,
It may be some odd ape will imitate;
But let a youth that hath abused his time    90
In wrongèd travel, in that hotter clime,
Swoop by old Jack, in clothes Italianate,
And I’ll be hang’d if he will imitate
His strange fantastic suit-shapes:
Or let him bring o’er beastly luxuries,
Some hell-devisèd lustful villanies,
Even apes and beasts would blush with native shame,
And think it foul dishonour to their name,
Their beastly name, to imitate such sin
As our lewd youths do boast and glory in.    100
Fie! whither do these monkeys carry me?
Their very names do soil my poesy.
Thou world of marmosets and mumping apes,
Unmask, put off thy feignèd, borrowed shapes!
Why looks neat Curus all so simp’ringly?
Why babblest thou of deep divinity,
And of that sacred testimonial,
Living voluptuous like a bacchanal?
Good hath thy tongue; but thou, rank Puritan,
I’ll make an ape as good a Christian;    110
I’ll force him chatter, turning up his eye,
Look sad, go grave; demure civility
Shall seem to say, “Good brother, sister dear!”
As for the rest, to snort in belly-cheer,[576]
To bite, to gnaw, and boldly intermel
With sacred things, in which thou dost excel,
Unforced he’ll do. O take compassion
Even on your souls! Make not Religion
A bawd to lewdness. Civil Socrates,
Clip not the youth of Alcibiades    120
With unchaste arms. Disguisèd Messaline,
I’ll tear thy mask, and bare thee to the eyn
Of hissing boys, if to the theatres
I find thee once more come for lecherers,
To satiate (nay, to tire) thee with the use
Of weak’ning lust. Ye feigners, leave t’ abuse
Our better thoughts with your hypocrisy;
Or, by the ever-living verity!
I’ll strip you nak’d, and whip you with my rhymes,
Causing your shame to live to after-times.    130

Serious Criticism, shine with a menacing look!
Scowl your unhappy faces at my intense poetry!
Get lost! You mutts, howl in some foggy mist,
Beware the presence of a sharp-tongued satirist!
Oh, how my muse stands proudly on her toes!
Walking taller than any satire would ever try to.
I feel a powerful anger coursing through my veins,
Lifting my spirit to new heights through verses
Than what suits a coarse-tongued criticism;
But Art controls Nature, and Nature guides[567] Art.
Get down here, you apes, or I'll reveal everything about you,
Exposing your bald backs to the audience!
You imitate servants, so why are you sitting up there so high?
Get down, Jackanapes, from your pretend throne!
What! Wearing fur—dressed in a satin suit,
Judgmental Jack? How did you end up with that reputation?
For valid criticism? Oh, foolish times,
When flashy monkeys mess around with upbeat rhymes!
Oh, world of fools! When all of humanity's judgment
Rests[568] on a whining monkey!    20
That Athens monkey (who can only half-heartedly
Yell “Most human audience!”
Stuck in a servile imitation,
Can, with a lot of effort, put together a speech.
Here he comes, squinting with his crooked eye.
Taking the liberty to critique some great poetry;
And just as ungrateful as the dirty Thames,
He sneaks away, leaving only the smell.
Of filthy slime left behind. Just as thankless.
Just like when I fill my spaniel's belly, and he instantly scents the room.
With the dirt on his tail: so this rude guy,
Uninformed know-it-all, Mortimer’s[569] writing
Is covered with the sludge of a dirty pit.[570]
Now the ape chatters and is just as unhappy.
Like a patched-up door, with its insides completely removed.
And expelled its tenant.
I respect genuine scholarship;
But when a skilled Athenian writer is an apprentice
To submissive copying,    40
It's worse than being like a monkey. What a shame! Don't take it as a compliment.
By false worth! Blind arrogance
Fits an ape, and a complaining baboon.[571]
Oh, what a clever, knowledgeable, sly style!
This famous, pointless, modern trend is![572]
Not long ago, I heard it from the wise Mutius.
I thought about how badly those silly, bouncy movements were.
It seemed to match his more serious tone. "May your fame reach great heights,"
My dearest! whose unspoken name
Is limited to one letter. Your genuine academic style    50
I always show respect; and if my love isn't misleading
My hopes are too high, then your value goes unrecognized.
"Will rise to a fair place when the apes are sent away."
I'm being too lenient. Give me my whip again;
Oh, there’s a pen that talks in an educated manner,
Far beyond all understanding. Light from lanterns and candles![573]
Everything here is invisible—all just a mental concept!
What a jumble of nonsense does the poet present?
How oddly he talks, yet he sings so beautifully!
I once knew a tinkling pewter maker,    60
Who was the worst stuttering mess-up?
That always butchered our native language,
But if you heard him sing to the lute,
Wow! He breathed so sweetly! You get it.
Oh pointless writing, real poetry,
Wow, your connections are really weak! This pretentiousness,
To speak beyond people's grasp,
How monkey-like it looks when all dressed in a cheap suit.
It's just a big nothing, all for the sake of appearances.
Of deep knowledge, when true depth understands    70
There’s nothing in here but just appearances!
Old Jack of Paris Garden, can you get
A nice, expensive outfit, even when heavily in debt?
Look happy, smell nice, get involved in business, [574]
Keep prostitutes, pay pimps, and shout disrespectful curses,
Stumble in a swaggering disguise,
Sniff up smoke, and every morning, before she gets up,
Visit your dull? Can you use a fake-cut die?
With clean elegance and effortless skill?
Can you curse like the rattling __A_TAG_PLACEHOLDER_0__?
Of a massive, double-barrel, fully loaded cannon?[575]
Then Jack, join our friends, and kiss your hand,
And refer to them as brothers; a satirist would say
Claims they are yours in a close relationship,
All cousins, except for villains;
For (sadly, let’s be honest) what else can they be?
But copycats of evil?
Much worse than apes; because whether you laugh or are confused,
A strange ape might copy you;
But let a young person who has wasted his time __A_TAG_PLACEHOLDER_0__
In corrupt journeys, in those warmer places,
Swoop by old Jack, dressed in Italian clothes,
And I’ll be damned if he will copy.
His quirky tailored suit styles:
Or let him bring over lavish indulgences,
Some lustful acts inspired by hell,
Even apes and animals would feel a natural sense of shame,
And consider it a terrible shame to their name,
Their animal name, to imitate such sin
As our inappropriate youth brag and take pride in.    100
Shame! Where are these monkeys taking me?
Their very names taint my poetry.
You world of marmosets and crying monkeys,
Reveal yourself, shed your fake, borrowed identities!
Why does neat Curus look so foolish?
Why do you ramble on about complicated theology,
And regarding that sacred testimony,
Living lavishly like a party?
Good for your taste; but you, strict Puritan,
I'll turn an ape into as good a Christian;    110
I’ll get him talking, rolling his eyes,
Look sad, act serious; pretend to be polite.
"Will likely say, 'Good brother, dear sister!'"
For the rest, laughing out loud, [576]
To bite, to chew, and confidently blend
With the sacred things in which you excel,
He'll do it on his own. Oh, have some compassion.
Even on your souls! Don’t make religion
A prostitute to evil. Civil Socrates,
Don't take away the youth of Alcibiades    120
With inappropriate behavior. Disguised Messaline,
I’ll rip off your mask and reveal you to everyone.
If I catch you hissing again at the theaters, boys,
Targeting predators,
To satisfy (or tire) yourself with the use
Of degrading lust. You fakers, stop the abuse.
Our better ideas clash with your hypocrisy;
Or, by the eternal truth!
I’ll expose you and lash out with my words,
Keeping your shame alive for future generations.    130

[566] An old proverbial saying.

__A_TAG_PLACEHOLDER_0__ A classic saying.

[567] Ed. 1598 “guildeth.”

__A_TAG_PLACEHOLDER_0__ Ed. 1598 “guildeth.”

[568] Ed. 1599 “rest.”

__A_TAG_PLACEHOLDER_0__ Ed. 1599 “rest.”

[569] The allusion is to Drayton’s Mortimeriados originally published in 1596 (and republished in 1603, with many alterations, under the title of the Baron’s Wars).

[569] The reference is to Drayton’s Mortimeriados first published in 1596 (and republished in 1603, with many changes, under the title of Baron’s Wars).

[570] Befouls. The word is ridiculed in The Poetaster.

[570] Pollutes. The word is mocked in The Poetaster.

[571] Baboon.—Old eds. “Babilon.”

Baboon.—Old eds. “Babilon.”

[572]Non lædere, sed ludere: non lanea, sed linea: non ictus, sed nictus potius.”—Marginal note in old eds.

[572]Don't hurt, but play: not with wool, but with linen: not a hit, but a wink instead.”—Marginal note in old eds.

[573] See note, vol. i. p. 35.

__A_TAG_PLACEHOLDER_0__ See note, vol. i. p. 35.

[574] Get goods on credit.

Buy now, pay later.

[575] A piece of ordnance.

A piece of military equipment.

[576] Gluttony.—The word is not uncommon.

Gluttony.—The term is common.

SATIRE X.[577]

Satira Nova.

New Satire.

Stultorum plena sunt omnia.

The world is full of fools.

TO HIS VERY FRIEND, MASTER E. G.

TO HIS GOOD FRIEND, MASTER E. G.

From out the sadness of my discontent,
Hating my wonted jocund merriment
(Only to give dull time a swifter wing),
Thus scorning scorn, of idiot fools I sing.
I dread no bending of an angry brow,
Or rage of fools that I shall purchase now;
Who’ll scorn to sit in rank of foolery,
When I’ll be master of the company?
For prithee, Ned, I prithee, gentle lad,
Is not he frantic, foolish, bedlam mad,    10
That wastes his sprite, that melts his very brain
In deep designs, in wit’s dark gloomy strain?
That scourgeth great slaves with a dreadless fist,
Playing the rough part of a satirist,
To be perused by all the dung-scum rabble
Of thin-brain’d idiots, dull, incapable,
For mimic apish scholars, pedants, gulls,
Perfumed inamoratos, brothel-trulls?
Whilst I (poor soul) abuse chaste virgin time,
Deflow’ring her with unconceived rhyme.    20
“Tut, tut; a toy of an idle empty brain,
Some scurril jests, light gewgaws, fruitless, vain,”
Cries beard-grave Dromus; when, alas! God knows
His toothless gums ne’er chaw but outward shows.
Poor budge-face,[578] bowcase sleeve: but let him pass;
“Once fur and beard shall privilege an ass.”
And tell me, Ned, what might that gallant be,
Who, to obtain intemperate luxury,
Cuckolds his elder brother, gets an heir,
By which his hope is turnèd to despair?    30
In faith (good Ned), he damn’d himself with cost;
For well thou know’st full goodly land was lost.
I am too private. Yet methinks an ass
Rhymes well with viderit utilitas;
Even full as well, I boldly dare aver,
As any of that stinking scavenger
Which from his dunghill be dedaubèd on
The latter page of old Pygmalion.
O that this brother of hypocrisy
(Applauded by his pure fraternity)    40
Should thus be puffèd, and so proud insist
As play on me the epigrammatist!
“Opinion mounts this froth unto the skies,
Whom judgment’s reason justly vilifies.”
For (shame to the poet) read, Ned, behold
How wittily a master’s hood can scold!

From the sadness of my unhappiness,
Disliking my usual cheerful vibe
(Just to make the dull moments go by faster),
So, putting aside disdain, I sing about foolish people.
I'm not scared of an angry stare,
Or I’ll confront the anger of fools now;
Who will laugh at sitting in the ranks of foolishness,
When will I be the one in charge of the group?
So please, Ned, I'm asking you, my dear friend,
Isn't he insane, ridiculous, completely out of his mind,    10
Who squanders his energy, who exhausts his mind
In deep thought, with a dark and gloomy sense of humor?
Who punishes strong slaves with unwavering power,
Taking on the tough role of a satirist,
To be judged by all the clueless masses
Of clueless fools, boring and inept,
For imitating foolish scholars, know-it-alls, and idiots,
Perfumed lovers and escorts?
While I (poor soul) waste valuable time,
Disrespecting her with cliché lines.    20
“Come on; a toy for a lazy, empty mind,
Some trivial jokes, insignificant items, worthless, and shallow.
The bearded Dromus cries; oh, who knows when!
His toothless gums consume only appearances.
Poor foolish man, [578] sleeve of a bowcase: but let him be.
"Once fur and a beard make someone look foolish."
So tell me, Ned, who could that flashy guy be?
Who, to indulge in extreme luxury,
Cucks his older brother, gets an heir,
With which his hopes turn to despair?    30
Honestly (good Ned), he ruined himself with spending;
You know very well that good land was lost.
I’m too private. But I think I'm an idiot.
Rhymes well with viderit utilitas;
I’d confidently say,
Like any of those dirty scavengers
Who spreads their mess around
On the last page of the old Pygmalion.
Oh, that this fake brother
(Acclaimed by his genuine peer group)    40
Should be so inflated and so proud to insist
So you're trying to be clever with me!
"Opinion lifts this foam to the skies,
"Whom judgment's reason rightly condemns."
For (shame on the poet) read, Ned, look.
How cleverly a master's cap can critique!

An Epigram which the Author Vergidemiarum caused to be pasted to the latter page of every Pygmalion that came to the Stationers of Cambridge.

An Epigram that the Author Vergidemiarum had put on the last page of every Pygmalion that was brought to the Stationers of Cambridge.

I ask’d Physicians what their counsel was
For a mad dog, or for a mankind ass?
They told me, though there were confections’ store
Of poppy-seed and sovereign hellebore,    50
The dog was best cured by cutting and kinsing,[579]
The ass must be kindly whipped for winsing.
Now then, S. K., I little pass.
Whether thou be a mad dog or a mankind ass.

I asked the doctors for their advice.
For a mad dog or a silly person?
They told me that there were many remedies available.
Just like poppy seeds and strong hellebore,    50
The dog was best treated by cutting and cauterizing it, __A_TAG_PLACEHOLDER_0__
The foolish person needs to be gently corrected.
So, S. K., I really don't care.
Whether you're a crazy dog or a silly person.

Smart[580] jerk of wit! Did ever such a strain
Rise from an apish schoolboy’s childish brain?
Dost thou not blush, good Ned, that such a scent
Should rise from thence, where thou hadst nutriment?
“Shame to Opinion, that perfumes his dung,
And streweth flowers rotten bones among!    60
Juggling Opinion, thou enchanting witch!
Paint not a rotten post[581] with colours rich.”
But now this juggler, with the world’s consent,
Hath half his[582] soul; the other, compliment;
Mad world the whilst. But I forget me, I,
I am seducèd with this poesy,
And, madder than a bedlam, spend sweet time
In bitter numbers, in this idle rhyme.
Out on this humour! From a sickly bed,
And from a moody mind distemperèd,    70
I vomit forth my love, now turn’d to hate,
Scorning the honour of a poet’s state.
Nor shall the kennel rout of muddy brains
Ravish my muse’s heir, or hear my strains,
Once more. No nitty[583] pedant shall correct
Enigmas to his shallow intellect
Enchantment, Ned, have ravishèd my sense
In a poetic vain circumference.
Yet thus I hope (God shield I now should lie),
Many more fools, and most more wise than I.    80

Smart[580] clever jerk! Has anything like this ever happened before?
Come from a kid's brain?
Don't you feel embarrassed, good Ned, that such a smell
Should it come from where you once received your nourishment?
"Shame on those who disguise their flaws,"
And scatters flowers over decayed bones!    60
Cunning Opinion, you captivating witch!
"Don’t cover a decayed post[581] with bright colors."
But now this deceptive person, with the world's approval,
Has half his[582] soul; the other half is just flattery;
It's a wild world while it lasts. But I'm distracted,
I'm captivated by this poetry.
And, crazier than a lunatic, waste precious time.
In meaningless lines, in this pointless rhyme.
Curse this mood! From a sickly bed,
And from a troubled mind that’s upset,    70
I express my love, which has now turned into hate,
Disregarding the honor of being a poet.
Nor will the group of confused minds
Steal my muse's legacy, or listen to my songs,
Never again. No more nitpicky[583] pedants will correct
Riddles that match his simple mind
Enchantment, Ned, has taken away my senses.
In a poetic endless loop.
Yet, I hope (God forbid I lie),
Many more fools, and many more wise people than I.    80

VALE.

Farewell.

[577] This satire was added in ed. 1599.—I suspect that “Master E. G.” was Edward Guilpin, author of Skialetheia, 1598, a collection of epigrams.

[577] This satire was added in ed. 1599.—I think that “Master E. G.” was Edward Guilpin, who wrote Skialetheia in 1598, a collection of epigrams.

[578] See note 6, p. 346.

__A_TAG_PLACEHOLDER_0__ See note 6, __A_TAG_PLACEHOLDER_1__

[579] “Mark the witty allusion to my name.”—Marginal note in old ed. (See Introduction to vol. i.)

[579] “Notice the clever reference to my name.”—Marginal note in old ed. (See Introduction to vol. i.)

[580] The heading of the page in old ed. is changed from “Stultorum plena sunt omnia” to “Medice cura tripsum.”

[580] The heading of the page in the old ed. is changed from “Stultorum plena sunt omnia” to “Medice cura tripsum.”

[581] An allusion to the posts that stood at the doors of sheriffs. These posts were repainted when new sheriffs came into office.—Middleton, v. 149.

[581] A reference to the markers that stood at the entrances of sheriffs. These markers were repainted when new sheriffs took office.—Middleton, v. 149.

[582] i.e., the world’s.

the world's.

[583] Lousy.

Terrible.

SATIRE XI.

Humours.

Humors.

Sleep, grim Reproof; my jocund muse doth sing
In other keys, to nimbler fingering.
Dull-sprighted Melancholy, leave my brain—
To hell,[584] Cimmerian night! in lively vein
I strive to paint, then hence all dark intent
And sullen frowns! Come, sporting Merriment,
Cheek-dimpling Laughter, crown my very soul
With jouisance, whilst mirthful jests control
The gouty humours of these pride-swoll’n days,
Which I do long until my pen displays.    10
O, I am great with Mirth! some midwif’ry,
Or I shall break my sides at vanity.
Room for a capering mouth, whose lips ne’er stir
But in discoursing of the graceful slur.[585]
Who ever heard spruce skipping Curio
E’er prate of ought but of the whirl on toe,
The turn-above-ground, Robrus’ sprawling kicks,
Fabius’ caper, Harry’s tossing tricks?
Did ever any ear e’er hear him speak
Unless his tongue of cross-points did entreat?    20
His teeth do caper whilst he eats his meat,
His heels do caper whilst he takes his seat;
His very soul, his intellectual
Is nothing but a mincing capreal.[586]
He dreams of toe-turns; each gallant he doth meet
He fronts him with a traverse in the street.
Praise but Orchestra,[587] and the skipping art,
You shall command him, faith you have his heart
Even cap’ring in your fist. A hall, a hall![588]
Room for the spheres, the orbs celestial    30
Will dance Kempe’s[589] jig: they’ll revel with neat jumps;
A worthy poet hath put on their pumps.
O wit’s quick traverse, but sance ceo’s [?] slow;
Good faith ’tis hard for nimble Curio.
“Ye gracious orbs, keep the old measuring;
All’s spoil’d if once ye fall to capering.”
Luscus, what’s play’d to-day? Faith now I know
I set thy lips abroach, from whence doth flow
Naught but pure Juliet and Romeo.
Say who acts best? Drusus or Roscio?    40
Now I have him, that ne’er of ought did speak
But when of plays or players he did treat—
Hath made a common-place[590] book out of plays,
And speaks in print: at least what e’er he says
Is warranted by Curtain plaudities.
If e’er you heard him courting Lesbia’s eyes,
Say (courteous sir), speaks he not movingly,
From out some new pathetic tragedy?
He writes, he rails, he jests, he courts (what not?),
And all from out his huge long-scraped stock    50
Of well-penn’d plays.
Oh come not within distance! Martius speaks,
Who ne’er discourseth but of fencing feats,
Of counter times,[591] finctures, sly passatas,
Stramazones, resolute stoccatas,
Of the quick change with wiping mandritta,
The carricada, with the embrocata.
“Oh, by Jesu, sir!” methinks I hear him cry,
“The honourable fencing mystery
Who doth not honour?” Then falls he in again,    60
Jading our ears, and somewhat must be sain
Of blades and rapier-hilts, of surest guard,
Of Vincentio,[592] and the Burgonian’s ward.[593]
This bombast foil-button I once did see,
By chance, in Livia’s modest company;
When, after the god-saving ceremony,
For want of talk-stuff, falls to foinery;
Out goes his rapier, and to Livia
He shows the ward by puncta reversa,
The incarnata. Nay, by the blessed light!    70
Before he goes, he’ll teach her how to fight
And hold her weapon. Oh I laugh amain,
To see the madness of this Martius’ vein!
But room for Tuscus, that jest-mounging youth
Who ne’er did ope his apish gerning mouth
But to retail and broke another’s wit
Discourse of what you will, he straight can fit
Your present talk, with “Sir, I’ll tell a jest”
(Of some sweet lady, or grand lord at least).
Then on he goes, and ne’er his tongue shall lie    80
Till his engrossèd jests are all drawn dry;
But then as dumb as Maurus, when at play
Hath lost his crowns, and pawn’d his trim array.
He doth nought but retail jests: break but one,
Out flies his table-book; let him alone,
He’ll have it i’faith. Lad, hast an epigram,
Wilt have it put into the chaps of fame?
Give Tuscus copies; sooth, as his own wit
(His proper issue) he will father it.
O that this echo, that doth seek, spet, write    90
Nought but the excrements of others sprite,
This ill-stuff’d trunk of jests (whose very soul
Is but a heap of gibes) should once enroll
His name ’mong creatures termed rational!
Whose chief repute, whose sense, whose soul and all
Are fed with offal scraps, that sometimes fall
From liberal wits in their large festival.
Come aloft, Jack! room for a vaulting skip,
Room for Torquatus, that ne’er oped his lip
But in prate of pommado reversa,[594]    100
Of the nimble, tumbling Angelica.
Now, on my soul, his very intellect
Is nought but a curvetting sommerset.
“Hush, hush,” cries honest Philo, “peace, desist!
Dost thou not tremble, sour satirist,
Now that[595] judicial Musus readeth thee?
He’ll whip each line, he’ll scourge thy balladry,
Good faith he will.” Philo, I prithee stay
Whilst I the humour of this dog display.
He’s nought but censure; wilt thou credit me,    110
He never writ one line in poesy,
But once at Athens in a theme did frame
A paradox in praise of virtue’s name;
Which still he hugs and lulls as tenderly
As cuckold Tisus his wife’s bastardy?
Well, here’s a challenge: I flatly say he lies
That heard him ought but censure poesies;
’Tis his discourse, first having knit the brow,
Stroke up his fore-top, champèd every row,
Belcheth his slavering censure on each book    120
That dare presume even on Medusa look.
I have no artist’s skill in symphonies,
Yet when some pleasing diapason flies
From out the belly of a sweet-touch’d lute,
My ears dare[596] say ’tis good: or when they suit
Some harsher sevens for variety,
My native skill discerns it presently.
What then? Will any sottish dolt repute,
Or ever think me Orpheus absolute?
Shall all the world of fidlers follow me,    130
Relying on my voice in musickry?
Musus, here’s Rhodes; let’s see thy boasted leap,
Or else avaunt, lewd cur, presume not speak,
Or with thy venom-sputtering chaps to bark
Gainst well-penn’d poems, in the tongue-tied dark.
O for a humour, look, who yon doth go,
The meagre lecher, lewd Luxurio!
’Tis he that hath the sole monopoly,
By patent, of the suburb lechery;
No new edition of drabs comes out,    140
But seen and allow’d by Luxurio’s snout.
Did ever any man e’er hear him talk,
But of Pick-hatch,[597] or of some Shoreditch balk,
Aretine’s filth, or of his wand’ring whore;[598]
Of some Cinædian, or of Tacedore;
Of Ruscus’ nasty, loathsome brothel rhyme,
That stinks like A-jax[599] froth, or muck-pit slime?
The news he tells you is of some new flesh,
Lately broke up, span new, hot piping fresh.
The courtesy he shows you is some morn    150
To give you Venus ’fore her[600] smock be on.
His eyes, his tongue, his soul, his all, is lust,
Which vengeance and confusion follow must.
Out on this salt humour, letcher’s dropsy,
Fie! it doth soil my chaster poesy!
O spruce! How now, Piso, Aurelius’ ape,
What strange disguise, what new deformèd shape,
Doth hold thy thoughts in contemplation?
Faith say, what fashion art thou thinking on?
A stitch’d taffeta cloak, a pair of slops    160
Of Spanish leather? O, who heard his chops
E’er chew of ought but of some strange disguise?
This fashion-monger, each morn ’fore he rise,
Contemplates suit-shapes, and once from out his bed,
He hath them straight full lively portrayèd.
And then he chucks, and is as proud of this
As Taphus when he got his neighbour’s bliss.
All fashions, since the first year of this queen,
May in his study fairly drawn be seen;
And all that shall be to his day of doom;    170
You may peruse within that little room;
For not a fashion once dare show his face,
But from neat Piso first must take his grace:
The long fool’s coat, the huge slop, the lugg’d[601] boot,
From mimic Piso all do claim their root.
O that the boundless power of the soul
Should be coop’d up in fashioning some roll!
But O, Suffenus! (that doth hug, embrace
His proper self, admires his own sweet face;
Praiseth his own fair limbs’ proportion,    180
Kisseth his shade, recounteth all alone
His own good parts) who envies him? Not I,
For well he may, without all rivalry.
Fie! whither’s fled my sprite’s alacrity?
How dull I vent this humorous poesy!
In faith I am sad, I am possess’d with ruth,
To see the vainness of fair Albion’s youth;
To see their richest time even wholly spent
In that which is but gentry’s ornament;
Which, being meanly done, becomes them well;    190
But when with dear time’s loss they do excell,
How ill they do things well! To dance and sing,
To vault, to fence, and fairly trot[602] a ring
With good grace, meanly done, O what repute
They do beget! But being absolute,
It argues too much time, too much regard
Employ’d in that which might be better spar’d
Than substance should be lost. If one should sue
For Lesbia’s love, having two days to woo,
And not one more, and should employ those twain    200
The favour of her waiting-wench to gain,
Were he not mad? Your apprehension,
Your wits are quick in application.
Gallants,
Methinks your souls should grudge and inly scorn
To be made slaves[603] to humours that are born
In slime of filthy sensuality.
That part not subject to mortality
(Boundless, discursive apprehension
Giving it wings to act his function),    210
Methinks should murmur when you stop his course,
And soil his beauties in some beastly source
Of brutish pleasures; but it is so poor,
So weak, so hunger-bitten, evermore
Kept from his food, meagre for want of meat,
Scorn’d and rejected, thrust from out his seat,
Upbraid[604] by capons’ grease, consumèd quite
By eating stews, that waste the better sprite,
Snibb’d[605] by his baser parts, that now poor soul
(Thus peasanted to each lewd thought’s control)    220
Hath lost all heart, bearing all injuries,
The utmost spite and rank’st indignities,
With forcèd willingness; taking great joy,
If you will deign his faculties employ
But in the mean’st ingenious quality.
(How proud he’ll be of any dignity!)
Put it to music, dancing, fencing-school,
Lord, how I laugh to hear the pretty fool,
How it will prate! His tongue shall never lie,
But still discourse of his spruce quality,    230
Egging his master to proceed from this,
And get the substance of celestial bliss.
His lord straight calls his parliament of sense;
But still the sensual have pre-eminence.
The poor soul’s better part so feeble is,
So cold and dead is his Synderesis,
“That shadows, by odd chance, sometimes are got;
But O the substance is respected not!”
Here ends my rage. Though angry brow was bent,
Yet I have sung in sporting merriment.    240

Sleep, harsh critic; my joyful muse sings.
In various keys, with faster fingers.
Boring, gloomy Melancholy, get out of my head—
To hell with you, [584] Cimmerian night! I attempt to create with vibrant colors.
So push aside all negative thoughts.
And gloomy looks! Come on, playful Joy,
Cheek-dimpling laughter fills my soul.
With joy, as playful jokes take over
The intense emotions of these days filled with pride,
Which I've been wanting to express with my pen.    10
Oh, I'm filled with joy! Someone help me out,
Or I’ll start laughing at vanity.
Make way for a dancing mouth, whose lips stay still.
Except to discuss graceful dance moves.[585]
Who has ever heard lively Curio?
Talk about anything except the twist on his toes,
The turnaround, Robrus’ wide kicks,
Fabius' dance, Harry's juggling tricks?
Has anyone ever heard him talk?
Unless he was referring to his impressive skills?    20
His teeth move around as he eats his food,
He dances on his heels as he sits down;
His whole being, his mind
Is just a flashy dance.[586]
He dreams of dance moves; every charming person he meets
He spins around and waves in the street.
Give a shoutout to the Orchestra,[587] and the skill of skipping,
And you’ll win him over; you already have his heart.
Even dancing in your hold. A hall, a hall![588]
Make space for the spheres, the celestial orbs.
They will dance Kempe’s[589] jig: they’ll celebrate with clean jumps;
A talented poet has put on their shoes.
Oh, the sharpness of humor, but sance ceo’s slow;
Wow, it's hard for quick Curio.
“Hey, kind stars, stick to the old way of measuring;
"Everything’s ruined if you begin dancing."
Luscus, what's on today? Now I get it.
I’ve got your lips parted, from which flows
Just pure Juliet and Romeo.
So, who performs better? Drusus or Roscio?    40
Now I have him, who never talks about anything.
Unless talking about plays or players—
He has turned a collection of plays into a regular book, __A_TAG_PLACEHOLDER_0__.
And communicates in writing: at least whatever he expresses
Is supported by applause from behind the curtain.
If you've ever heard him trying to win Lesbia's attention,
Hey there, doesn’t he speak so passionately,
Is this straight out of some new tragic play?
He writes, he rants, he jokes, he flirts (what else?).
And all from his extensive collection __A_TAG_PLACEHOLDER_0__
Of well-crafted plays.
Oh, don’t come any closer! Martius is speaking,
Who only talks about fencing techniques,
Of counter times,[591] finctures, sneaky passatas,
Stramazones, determined stoccatas,
With the rapid change brought by wiping mandritta,
The cicada, with the embrocata.
“Oh my God, sir!” I think I hear him exclaim,
"The honorable fencing mystery"
"Who doesn't honor?" Then he goes back again,    60
Dulling our senses, and we must say a bit
Of swords and rapier grips, of the most reliable defense,
Of Vincentio,[592] and the Burgundian’s stance.[593]
I once saw this flashy foil-button,
By chance, in Livia's modest company;
After the life-saving ceremony,
Since there’s a lack of conversation, he starts fencing;
He pulls out his rapier and approaches Livia.
He demonstrates to the guard using puncta reversa,
The incarnata. No, by the holy light!    70
Before he leaves, he'll teach her how to fight.
And how to hold her weapon. Oh, I laugh so much.
Look at the craziness of Martius’ behavior!
But make way for Tuscus, the hilarious young guy.
Who never opens his silly mouth
Unless it's to repeat and take someone else's cleverness.
Feel free to talk about anything; he can adapt right away.
Your current conversation, with "Sir, I'm going to tell a joke."
(About some kind lady, or at least a noble lord).
Then he continues, and his tongue never gets weary.
Until all his collected jokes are exhausted;
But then as quiet as Maurus when he's playing
He has lost his crowns and pawned his nice clothes.
He only tells jokes: break just one,
He takes out his notebook; just let him be.
He'll get it, I promise. Dude, do you have an epigram,
Do you want it to be included in the halls of fame?
Give Tuscus copies; indeed, as his own cleverness.
He will take credit for his proper creation.
Oh, how this echo that searches, spits, writes    90
Just the waste of other people's spirits,
This poorly filled trunk of jokes (which holds its very essence
It's just a bunch of jokes) should finally sign up.
His name among those considered rational!
Whose main reputation, intuition, essence—all
Are given scraps that sometimes drop
From generous individuals at their grand celebration.
Come on up, Jack! Make room for a vaulting skip,
Room for Torquatus, who never speaks a word.
Except to ramble on pommado reversa,[594]    100
About the agile, tumbling Angelica.
Honestly, his intelligence
Is nothing more than a flashy flip.
“Shh, shh,” says honest Philo, “quiet, stop!
Do you not shake, bitter satirist,
Now that [595] the judge Musus is reviewing your work?
He’ll refine every line, he’ll criticize your poetry,
"I promise he will." Philo, please stay.
While I showcase the humor of this dog.
He's just all about criticism; will you trust me,    110
He never wrote a single line of poetry,
But once in Athens, a theme was created.
A contradiction that celebrates the name of virtue;
Which he still holds onto and values deeply
How does cuckold Tisus handle his wife's infidelity?
Well, here’s a challenge: I definitely say he’s lying.
That heard him say anything other than criticize poetry;
It's his speech, first with a furrowed brow,
Combing his hair, considering every idea,
Spitting his drooling criticism on every book    120
That even dares to look at Medusa.
I don't have any musical talent.
But when a lovely harmony emerges
From a gently played lute,
My ears can confidently say it's good: or when they fit.
Some harsher tunes for variety,
My natural ability spots it quickly.
What now? Will any foolish idiot think,
Do you really think I'm Orpheus himself?
Should all the fiddlers in the world follow me,    130
Do you believe in my voice for music?
Musus, here’s Rhodes; let’s see that leap you’ve been bragging about.
Otherwise, go away, you shameless one, and don't say a word,
Or with your poisonous mouth bark
Against well-written poems, in the silent dark.
Oh, for some laughs, look who's arriving,
The slim creep, lewd Luxurio!
It's him who has the exclusive monopoly,
By permission, of the suburb’s desire;
No new edition of drabs is being released,    140
But seen and approved by Luxurio's nose.
Has any man ever heard him talk,
Except for Pick-hatch,[597] or some Shoreditch scandal,
Aretine’s dirt, or his roaming prostitute;[598]
About some Cinædian or Tacedore;
About Ruscus' repulsive, detestable brothel verse,
That smells like Ajax's foam or swamp sludge?
The gossip he's sharing with you is about some new person.
Just recently broken up, brand new, fresh out of the oven.
The kindness he shows you is a bit of morning __A_TAG_PLACEHOLDER_0__.
To give you Venus before her[600] dress is on.
His eyes, his tongue, his soul, all are desire,
Which revenge and chaos must follow.
Out with this sarcastic humor and sleazy behavior,
Ugh! It ruins my better poetry!
Oh cool! What's up, Piso, Aurelius' monkey,
What a weird disguise, what a new twisted shape,
Keeps your thoughts in mind?
For goodness' sake, what style are you considering?
A stitched taffeta cape, a pair of baggy trousers __A_TAG_PLACEHOLDER_0__
Of Spanish leather? Oh, who has heard his lips
Is there anything to discuss other than this weird disguise?
This fashion enthusiast, every morning before he gets up,
Thinks about outfit styles, and as soon as he gets out of bed,
He has all of them vividly alive in his mind.
And then he walks with confidence, feeling really proud of this
As Taphus received his neighbor's happiness.
All trends, since the first year of this queen,
Can be seen depicted in his study;
And all of that will last until his final day;    170
You can look around in that small room;
No fashion dares to show its face,
But first, we must receive favor from neat Piso:
The long fool’s coat, the massive pants, the large[601] boots,
All styles originate from imitating Piso.
Oh, the endless power of the soul
You should be stuck making some roll!
But oh, Suffenus! (who embraces, admires
He admires his own nice face.
He admires the proportion of his own fair limbs,    180
Kisses his own shadow, reminisces all by himself.
Who envies him for his good qualities? Not me.
He can do it well, without any competition.
Ugh! Where has my energy gone?
How boring I make this funny poetry!
Honestly, I'm feeling sad; I'm overwhelmed with sorrow.
To witness the vanity of the beautiful youth of Albion;
To watch their best moments completely wasted
In what is just decoration for the wealthy;
If done poorly, it works for them.
But when they succeed despite the valuable time lost,
How badly they do things right! To dance and sing,
To jump, to fence, and elegantly trot[602] in a circle
With good grace, poorly executed, oh what a reputation.
They create! But when they are certain,
It shows too much time and too much worry.
Spent on things that could be saved for better use.
Better to maintain the essence than to lose it. If someone should pursue
For Lesbia’s love, with just two days to charm,
And not a single one more, and those two days should be spent __A_TAG_PLACEHOLDER_0__    200
The approval of her maid to earn,
Wouldn't he be crazy? Your understanding, __A_TAG_PLACEHOLDER_0__,
You are quick-thinking in your actions.
Chivalrous people,
I think your souls should feel bitterness and look down upon.
To become slaves[603] to whims that arise
In the dirt of vulgar desire.
That part not affected by death
Endless, wandering thought
Giving it the ability to perform its function),    210
Should whisper when you stop its path,
And tarnish its beauty with a cruel origin
Of savage pleasures; but it's so lacking,
So weak, so hungry, forever
Starved and weak from not having enough to eat,
Rejected and pushed away from its rightful place,
Mocked by greasy fools, completely consumed
By eating stews that dampen the better mood,
Snubbed[605] by its lower nature, that unfortunate soul
(So bound by the control of every immoral thought)    220
Has lost all spirit, enduring all wounds,
The highest level of contempt and extreme disrespect,
With reluctant enthusiasm; finding great pleasure,
If you’re willing to use his abilities
Only in the simplest tasks.
(How proud he will be of any dignity!)
Put it to music, dance, or fencing class,
Lord, how I laugh to hear that silly fool,
How much he'll talk! His words will always be true,
But always talk about his fancy style,    230
Encouraging his master to continue from this,
And attain the essence of heavenly happiness.
His lord immediately gathers his wise council;
But still, the sensual have the advantage.
The poor soul's better side is so weak,
His Synderesis is so cold and lifeless,
"Sometimes, shadows exist by coincidence;
But oh, the essence is not appreciated!”
Here ends my anger. Even though my brow was wrinkled,
Yet I have sung in playful joy.    240

[584] i.e. “Melancholy, get you to hell!”

“Melancholy, go to hell!”

[585] Seemingly a term for some sliding dance-movement.

[585] It seems to refer to a type of sliding dance move.

[586] “Intellectual ... mincing capreal.”—These words are ridiculed by Ben Jonson in Every Man out of his Humour, iii. 1. See Introduction, vol. i.

[586] “Smart ... fancy hat.” These words are mocked by Ben Jonson in Every Man out of his Humour, iii. 1. See Introduction, vol. i.

[587] Sir John Davies’ excellent poem.

Sir John Davies' amazing poem.

[588] “A hall, a hall!”—The cry raised when an open space was wanted for the dancers.

[588] “A hall, a hall!”—The call made when a space was needed for the dancers.

[589] There is no allusion to Will Kempe’s famous dance from London to Norwich, as that feat was performed in 1600. Kempe’s jig was the name of a popular dance; and there was a ballad that bore the same title.

[589] There's no reference to Will Kempe’s famous dance from London to Norwich, which took place in 1600. Kempe’s jig was the name of a popular dance, and there was also a ballad with the same title.

[590] So in the Induction to the Malcontent:—“I am one that hath seen this play often: I have most of the jests here in my table-book.”—Dekker, in the Gull’s-Horn Book, advises a gallant to “hoard up the finest play-scraps you can get, upon which your lean wit may most savourly feed for want of other stuff, when the Arcadian and Euphuized gentlewomen have their tongues sharpened to set upon you!”

[590] So in the introduction to the Malcontent:—“I’m someone who has seen this play many times: I have most of the jokes written down in my notebook.”—Dekker, in the Gull’s-Horn Book, advises a gentleman to “collect the best snippets of plays you can find, so your thin wit has something tasty to feast on when the trendy and eloquent ladies are ready to go after you!”

[591] The italicised words are technical terms in fencing. I cannot find the term finctures, but it doubtless has the meaning feints(otherwise called falses).

[591] The italicized words are technical terms in fencing. I can't find the term finctures, but it likely means feints (also known as falses).

[592] The reference is to Vincentio Saviolo, a famous Italian master of fence, author of Vincentio Saviolo his Practise in two Bookes. The first intreating of the use of the Rapier and Dagger. The Second of Honor and Honorable Quarrels, 1595, 4to.

[592] The reference is to Vincentio Saviolo, a well-known Italian fencing master, author of Vincentio Saviolo his Practise in two Bookes. The first discussing the use of the Rapier and Dagger. The Second about Honor and Honorable Quarrels, 1595, 4to.

[593] In Every Man in his Humour Cob speaks of Bobadil as a “Burgullian fencer“; and Dekker in the Preface to Satiromastix says that “Horace [Jonson] questionless made himself believe that his Burgonian wit might desperately challenge all comers, and that none durst take up the foils against him.” In each case the allusion is to the Bastard of Burgundy who was overthrown at Smithfield in 1467 by Anthony Woodville. There is doubtless the same allusion in the present passage.

[593] In Every Man in his Humour, Cob refers to Bobadil as a “Burgullian fencer”; and Dekker in the Preface to Satiromastix states that “Horace [Jonson] clearly convinced himself that his Burgonian wit could take on anyone, and that no one would dare challenge him.” In both cases, the reference is to the Bastard of Burgundy who was defeated at Smithfield in 1467 by Anthony Woodville. The same reference is likely present in the current passage.

[594] The pommado was the vaulting on a horse (without touching the stirrups) and the pommado reversa was the vaulting off again.

[594] The pommado was the act of vaulting onto a horse (without using the stirrups), and the pommado reversa was the act of vaulting off again.

[595] Omitted in ed. 1598.

__A_TAG_PLACEHOLDER_0__ Omitted in ed. 1598.

[596] Ed. 1598 “dares.”

__A_TAG_PLACEHOLDER_0__ Ed. 1598 “dares.”

[597] Pick-hatch (in Clerkenwell) and Shoreditch were the head-quarters of whores.

[597] Pick-hatch (in Clerkenwell) and Shoreditch were the main hubs for sex workers.

[598] Puttana Errante is the title of a poem (by Lorenzo Veniero) falsely ascribed to Aretino. The same title was sometimes given to Dialoghi di Rosana e Ginevra. See Preface to vol. i. of Les Ragionamenti ou Dialogues du divin Pietro Aretino, Paris, 1882.

[598] Puttana Errante is the name of a poem (by Lorenzo Veniero) incorrectly attributed to Aretino. The same name was sometimes used for Dialoghi di Rosana e Ginevra. See Preface to vol. i. of Les Ragionamenti ou Dialogues du divin Pietro Aretino, Paris, 1882.

[599] (1) Ajax; (2) A jakes.—The joke is of constant occurrence.

[599] (1) Ajax; (2) A jakes.—This joke comes up all the time.

[600] Ed. 1599 “his.”

__A_TAG_PLACEHOLDER_0__ Ed. 1599 “his.”

[601] i.e., with long ears, or tags.

[601] i.e., with long ears or tags.

[602] “Trot a ring.”—See note 1, vol. i. p. 111.

[602] “Walk in a circle.”—See note 1, vol. i. p. 111.

[603] Ed. 1598 “slave.”

__A_TAG_PLACEHOLDER_0__ Ed. 1598 "slave."

[604] “Remors de l’estromac, The upbraiding of the stomacke.”—Cotgrave.

[604] “Remorse of the stomach, The upbraiding of the stomach.”—Cotgrave.

[605] Snubbed.

Rejected.

TO EVERLASTING OBLIVION.[606]

TO EVERLASTING OBLIVION. __A_TAG_PLACEHOLDER_0__

Thou mighty gulf, insatiate cormorant!
Deride me not, though I seem petulant
To fall into thy chops. Let others pray
For ever their fair poems flourish may;
But as for me, hungry Oblivion,
Devour me quick, accept my orison,
My earnest prayers, which do importune thee,
With gloomy shade of thy still empery,
To veil both me and my rude poesy.
Far worthier lines, in silence of thy state,    10
Do sleep securely, free from love or hate;
From which this living ne’er can be exempt,
But whilst it breathes will hate and fury tempt:
Then close his eyes with thy all-dimming hand,
Which not right glorious actions can withstand.
Peace, hateful tongues, I now in silence pace,
Unless some hound do wake me from my place,
I with this sharp, yet well-meant poesy,
Will sleep secure, right free from injury
Of canker’d hate, or rankest villainy.    20

O mighty ocean, endless predator!
Don't make fun of me, even if I come off as grumpy.
To fall into your trap. Let others beg.
May their beautiful poems always flourish;
But for me, hungry Oblivion,
Swallow me fast, listen to my plea,
I genuinely request, with great urgency,

With the shadow of your quiet rule,
To protect both myself and my gritty poetry.
Much better lines, in the quiet of your space,    10
Rest peacefully, without love or hate;
From which this life can never escape,
But as long as it lives, it will be tempted by hate and anger.
Then close its eyes with your completely darkening hand,
That cannot stand up to truly glorious actions.
Silence, hateful voices, I'm now moving in peace,
Unless some dog interrupts my sleep,
With this insightful yet well-meaning poetry,
I will sleep safely, completely free from danger.
Of intense hatred or the worst kind of evil.    20

[606] Compare “The Author’s Charge to his Satires” prefixed to Hall’s Virgedemiarum, The three last Books.

[606] Compare “The Author’s Charge to his Satires” included in Hall’s Virgedemiarum, The three last Books.

TO HIM THAT HATH PERUSED ME.

TO THE PERSON WHO HAS READ THIS.

Gentle or ungentle hand that holdest me, let not thine eye be cast upon privateness, for I protest I glance not on it. If thou hast perused me, what lesser favour canst thou grant than not to abuse me with unjust application? Yet, I fear me, I shall be much, much injuried[607] by two sorts of readers: the one being ignorant, not knowing the nature of a satire (which is, under feigned private names to note general vices), will needs wrest each feigned name to a private unfeigned person: the other, too subtile, bearing a private malice to some greater personage than he dare, in his own person, seem to malign, will strive, by a forced application of my general reproofs, to broach his private hatred,—than the which I know not a greater injury can be offered to a satirist. I durst presume, knew they how guiltless and how free I were from prying into privateness, they would blush to think how much they wrong themselves in seeking to injure me. Let this protestation satisfy our curious searchers; so may I obtain my best hopes, as I am free from endeavouring to blast any private man’s good name. If any one (forced with his own guilt) will turn it home and say, “’Tis I,” I cannot hinder him; neither do I injure him. For other faults of poesy, I crave no[608] pardon, in that I scorn all penance the bitterest censurer can impose upon me. Thus (wishing each man to leave inquiring whom I am, and learn to know himself) I take a solemn congee of this fusty world.

Gentle or harsh hand that holds me, don't let your gaze fall on personal matters, because I swear I don't pay attention to them. If you've read me, what less favor can you grant than not to misuse me with unfair assumptions? Yet, I worry that I will be greatly, greatly hurt by two types of readers: one being those who are clueless, not understanding what satire is (which is to highlight general vices under fake personal names), will insist on twisting each fake name to a real person; the other, too cunning, harboring a personal grudge against someone more important than he dares to criticize openly, will try, through a forced interpretation of my general criticisms, to express his personal animosity,—which I know is the greatest offense to a satirist. I would dare to think that if they knew how innocent and free I am from prying into personal matters, they would be ashamed to realize how much they harm themselves by trying to hurt me. Let this declaration satisfy our curious inquirers; may I achieve my greatest hopes, as I have no intention of ruining any private individual’s reputation. If anyone (guilty of their own faults) wants to take it personally and say, "It's me," I can't stop him; nor do I harm him. As for other flaws in my poetry, I ask for no forgiveness, as I disregard any punishment the harshest critic can impose on me. Thus (wishing everyone to stop asking who I am and instead learn to know themselves), I take a formal farewell from this outdated world.

THERIOMASTIX.

THERIOMASTIX.

[607] The verb injury is frequently found.

The term injury is commonly used.

[608] Ed. 1598 “me.”

__A_TAG_PLACEHOLDER_0__ Ed. 1598 “me.”

ENTERTAINMENT
OF
ALICE, DOWAGER-COUNTESS OF
DERBY.

The noble Lorde & Lady of Huntingdons Entertainement of theire right Noble Mother Alice: Countesse Dowager of Darby the first night of her honors arrivall att the house of Ashby.

The noble Lord and Lady of Huntingdon's welcome of their esteemed mother, Alice: Countess Dowager of Derby, on the first night of her arrival at Ashby.

The MS. of this Entertainment is preserved at Bridgewater House. Extracts were printed in Halliwell’s Marston, vol. iii.; but the Entertainment was first printed in full by Dr. Grosart. I have not seen the MS.: it seemed unnecessary to go over the ground again, for Dr. Grosart’s transcript was evidently made with great care.[609] “The MS.,” he observes, “fills fifteen leaves. The first leaf, which contains the address to the dowager-duchess of Derby, and leaves fourteen and fifteen, which contain the ‘Epilogue’ (never before printed), are in Marston’s own handwriting. The rest of the MS. is in two hands.... Throughout the MS. there are several corrections made in a darker ink, and apparently by Marston himself. On leaf two is a small blank space and the following words by Marston: ‘as this lame figure demonstrates’—a sketch being evidently intended. But, spite of the author’s supervision, various mistakes of the scribe are left.”

The MS. of this Entertainment is kept at Bridgewater House. Extracts were printed in Halliwell’s Marston, vol. iii.; but the Entertainment was first published in full by Dr. Grosart. I haven't seen the MS.: it felt unnecessary to revisit it, as Dr. Grosart’s transcript was clearly made with great care.[609] “The MS.,” he notes, “consists of fifteen leaves. The first leaf, which includes the address to the dowager-duchess of Derby, and leaves fourteen and fifteen, which contain the ‘Epilogue’ (never before printed), are in Marston’s own handwriting. The rest of the MS. is in two different hands.... Throughout the MS. there are several corrections made in a darker ink, likely by Marston himself. On leaf two is a small blank space with the following words by Marston: ‘as this lame figure demonstrates’—a sketch appears to have been intended. However, despite the author’s oversight, various errors by the scribe remain.”

[609] At the close of his Introduction to Hall’s Satires, Dr. Grosart corrects a few errors that had crept into his transcript of Marston’s Entertainment. These corrections I have silently adopted.

[609] At the end of his Introduction to Hall’s Satires, Dr. Grosart fixes a few mistakes that had slipped into his version of Marston’s Entertainment. I have quietly accepted these corrections.

TO THE

RIGHT NOBLE LADY ALICE,

Dowager Countess of Derby.


Madam,

Ma'am,

If my slight Muse may suit your noble merit,
My hopes are crown’d, and I shall cheer my spirit;
But if my weak quill droops or seems unfit,
’Tis not your want of worth, but mine of wit.
The servant of your honour’d virtues,

John Marston.

If my simple inspiration aligns with your amazing talent,
Then my hopes are realized, and I’ll raise my spirits;
But if my weak writing falls short or seems insufficient,
It's not that you don't have value, but that I don't have the skill.
The servant to your valued qualities,

John Marston.

When her Ladyship approached the Park corner, a full noise of cornets winded; and when she entered into the Park, treble cornets reported one to another, as giving warning of her Honour’s nearer approach; when presently her eye was saluted with an antique gate, which suddenly was erected in this form. Upon the gate did hang many silver scrolls with this word in them, Tantum uni. Upon the battlements over the gate three gilt shields in diamond-figure, impaled on the top with three coronets purfled with gold, and severally inscribed with silver words; in the first shield, Venisti tandem; in the second, Nostra sera; in the third, Et sola voluptas. Over these, upon a half sphere, stood embossed an antique figure gilt; the slight tower[s] to this gate, which were only raised for show, were set out with battlements, shields, and coronets suitable to the rest. When the Countess came near the gate an old enchantress in crimson velvet, with pale face, black hair, and disliking countenance, affronted her Ladyship, and thus rudely saluted her:

When her Ladyship reached the Park corner, a loud fanfare of cornets played. As she entered the Park, high cornets called out to each other, signaling her Honour’s closer arrival. Soon, her gaze was caught by an ancient gate that suddenly appeared in front of her. Hanging from the gate were several silver scrolls, each bearing the words, Tantum uni. On the battlements above the gate, there were three gilt shields in a diamond shape, topped with three gold coronets, each marked with silver inscriptions; on the first shield, Venisti tandem; on the second, Nostra sera; and on the third, Et sola voluptas. Above these, on a half sphere, stood a gilded ancient figure. The slender towers flanking the gate, which were merely for decoration, were adorned with battlements, shields, and coronets that matched the rest. As the Countess approached the gate, an old enchantress in crimson velvet, with a pale face, black hair, and an unpleasing expression, confronted her Ladyship and rudely greeted her:

Woman, Lady, Princess, Nymph, or Goddess,
For more you are not, and you seem no less;
Stay, and attempt not passage through this port,
Here the pale Lord of Sadness keep[s] his court,
Rough-visag’d Saturn, on whose bloodless cheeks,
Dull Melancholy sits, who straightly seeks
To seize on all that enter through this gate.
Grant gracious listening, and I shall relate
The means, the manner, and of all the sense,
Whilst your fair eye enforceth eloquence.
There was a time (and since that time the sun
Hath not yet through nine signs of heaven run)
When the high Sylvan, that commands these woods,
And his bright Nymph, fairer than Queen of Floods,
With most impatient longings hoped to view
Her face to whom their hearts’ dear’st zeal was due.
Youth’s joys to love, sweet light unto the blind,
Beauty to virgins, or what wit can find
Most dearly wished, was not so much desired
As she to them; O my dull soul is fired
To tell their longings, but it is a piece
That would o’erload the famous tongues of Greece.
Yet long they hop’d, till Rumour struck Hope dead,
And showed their wishes were but flatterèd;
For scarce her chariot cut the easy earth,
And journeyed on, when Winter with cold breath
Crosseth her way, her borrowed hair doth shine
With glittering icicles all crystalline;
Her brows were periwigg’d with softer snow,
Her russet mantle, fringed with ice below,
Sat[610] stiffly on her back; she thus came forth,
Ushered with tempest of the frosty North;
And seeing her, she thought she sure had seen
The sweet-breath’d Flora, the bright Summer’s Queen.
So full of cheerful grace she did appear,
That Winter feared her face recalled the year,
And forced untimely springs to seize her right,
Whereat with anger and malicious spite
She vows revenge; straight with tempestuous wings,
From Taurus, Alps, and Scythian rocks she flings
Their covering off, and here their thick fur spread,
That patient earth was almost smotherèd.
Up Boreas mounts, and doth so strongly blow
Athwart her way huge drifts of blinding snow,
That mountain-like, at length heaps rose so high,
Man’s sight might doubt whether Heaven or Earth were sky.
Hereat she turnèd back, and left her way
(Necessity all mortals must obey);
Which was no sooner voiced and hither flown,
It sads me but to think what grief was shown;
Which to augment (mishap ne’er single falls),
The God of Sadness and of Funerals,
Of heavy pensiveness and discontent,
Cold and dull Saturn hither straight was sent.
Myself, Merimna, who still wait upon
Pale Melancholy and Desolation,
Usher’d him in, when straight we strongly seize
All this sad house, and vowed no means should ease
These heavy bands which pensive Saturn tied,
Till with wish’d grace this house was beautified.
Pace then no further, for vouchsafe to know,
Till her approach here can no comfort grow;
’Tis only one can their sad bondage break,
Whose worth I may admire, not dare to speak.
She’s so complete, that her much honoured state
Gives Fortune Virtue, makes Virtue fortunate;
As one in whom three rare mix’d virtues sit
Seen seldom joinèd, Fortune, Beauty, Wit;
To this choice Lady and to her dear state
All hearts do open, as alone this gate;
She only drives away dull Saturn hence,
She whom to praise I need her eloquence!

Woman, Lady, Princess, Nymph, or Goddess,
You are not more than you are, and you don't appear any less.
Stay here and don’t try to go through this gate,
Here, the pale Lord of Sadness holds his court,
Rough-faced Saturn, with his pale cheeks,
Boring sadness sits, who eagerly searches
To welcome everyone who comes through this gate.
Please pay attention, and I’ll share
The methods, the way, and the entire story,
Your beautiful gaze inspires my words.
There was a time (and since then the sun __A_TAG_PLACEHOLDER_0__)
Has not yet journeyed through nine signs of heaven.
When the great Sylvan, who rules over these woods,
And his shining Nymph, more beautiful than the Queen of Waters,
With restless desire, I hoped to see.
The face of the person they loved the most.
The joys of young love, a sweet light to the blind,
Beauty for the young and innocent, or whatever cleverness can discover.
What was most wanted wasn't that much desired.
As she speaks to them; Oh, my dull soul is ignited.
To share their desires, but it's a challenge.
That would be too much for the greatest speakers of Greece.
Yet they hoped for a long time, until Rumor killed Hope.
And revealed that their wishes were just flattery;
Barely had her chariot hit the soft ground,
When Winter, with a chilly breath,
Crossed her path, her borrowed hair glistening
With shimmering icicles, all crystalline;
Her eyebrows were sprinkled with softer snow,
Her brown cloak, edged with ice at the bottom,
Sat[610] rigidly on her back; she came out,
Brought in by the storm from the icy North;
And when she saw her, she thought she must have seen
The sweet-smelling Flora, the radiant Queen of Summer.
She seemed full of joyful grace,
That Winter was afraid her face would remind everyone of the past year,
And make early springs claim her due,
At that moment, filled with anger and resentment
She swore to get revenge; right away, with intense determination,
From Taurus, the Alps, and the Scythian mountains, she was cast out.
They took off their coverings and spread their thick furs here,
That patient earth was almost suffocated.
Up Boreas rises and blows so fiercely.
In her way were massive heaps of blinding snow,
That mountain, in the end, piled up so high,
A person's vision might question whether Heaven or Earth was the sky.
At this, she turned around, changing her path.
(Necessity all humans must obey);
As soon as it was spoken and reached here,
It hurts me just to think about the sadness being expressed;
To add to this, (misfortune never comes alone),
The God of Grief and Funerals,
Of deep sadness and discontent,
Cold and dull Saturn was sent here directly.
I, Merimna, who still wait on
Sadness and emptiness,
Showed him in, and then we quickly took control
This sorrowful house, and promised that nothing would help.
These heavy chains that thoughtful Saturn forged,
Until this house was enhanced by its desired charm.
So don’t go any further, just know that
Until she arrives, no comfort can develop;
Only one can break free from their sad chains,
I can appreciate their worth, but I'm too afraid to say it out loud.
She’s so well-rounded that her highly esteemed status
Gives luck to virtue, making virtue successful;
As someone who has three rare mixed virtues
Rarely found together are Fortune, Beauty, and Wit;
To this respected Lady and her noble position
All hearts open, just like this one gate;
She alone drives away the boring Saturn,
The person I want to praise lacks eloquence!

This speech thus ended, presently Saturn issued from forth the port, and curiously beholding the Countess, spake thus:

After this speech concluded, Saturn came out of the door and, noticing the Countess, said: Understood! Please provide the text you'd like me to modernize.

Peace! stay, it is, it is, it is even she!
Hail happy honours of Nobility!
Did never Saturn see, or ne’er see such?
What should I style you? what choice phrase may touch,
Or hopes in words such wondrous grace to suit,
Whose worth doth want an equal attribute.
Let never mortal wondering silence break,
Since to express you Gods themselves must speak.
Sweet glories of your sex, know that your eyes
Makes mild the roughest planet of the skies.
Even we, the Lord that sits on ebon thrones,
Circled with sighs and discontented groans,
Are forced at your fair presence to relent,
At your approach all Saturn’s force is spent.
Now breaks my bands, now sadness leaves their towers,
Now all are turn’d to Flora’s smiling bowers;
Then now give way, now is my bondage due
Only to those who safely envy you.
Hence, solitary Beldam, sink to-night,
I give up all to joy, and to delight.
And now pass on, all-happy-making dame!
O could you but imagine what a flame
Of many joys now in their bosoms shine
Who count it their dear’st honour to be thine,
You would aver, to number[611] them who seeks
Must sure invent some new arithmetics,
For who to cast their reckoning takes in hand
Had need for counters take the ocean-sand.
Their service is your right, your love their due
Who only love themselves for loving you.
Their palace waits you with so hearty gate
Men cannot utter nor Gods scarce relate.

Peace! Wait, it is, it is, it really is her!
Hey, noble titles!
Has Saturn ever witnessed, or will he ever witness, something like this?
What should I call you? What words can convey, __A_TAG_PLACEHOLDER_0__?
Or hopes in speech to match such amazing beauty,
Whose value has no equal?
Let no one ever disturb the amazing silence,
Only the Gods themselves can express you.
Sweet glories of your kind, know that your eyes
Calm the harshest planet in the sky.
Even we, the Lord who sits on dark thrones,
Surrounded by sighs and dissatisfied murmurs,
Are forced to give in to your graceful presence,
As you get closer, all of Saturn's power is exhausted.
Now my chains are broken, now sadness departs from its stronghold,
Now everything is transformed into Flora’s smiling groves;
So now step aside, I’m tied up now.
Only to those who can safely envy you.
Go away, lonely old woman, fade into the night,
I surrender everything to joy and happiness.
And now, let's move on, all-happy-making lady!
Oh, if you could just picture what a fire
Many joys now shine in their hearts.
Who consider it their greatest honor to be yours,
You would say that to count[611] those who are looking for
They must definitely come up with some new math,
For anyone who takes on the job of counting
Needs to collect the sands of the ocean.
Their service is your right; your love is what they deserve.
Who love only themselves for loving you.
Their palace is waiting for you with a welcoming gate.
That men can't express, and even gods can hardly describe.

Then passed the whole troop to the house, until the Countess had mounted the stairs to the great chamber; on the top of which, Merimna, having changed her habit all to white, met her, and, whilst a consort softly played, spake thus:

Then the entire group moved to the house, until the Countess had climbed the stairs to the main room; at the top, Merimna, dressed in all white, greeted her, and while a soft melody played, she spoke: Understood. Please provide the text you would like me to modernize.

Madam,
See what a change the spirit of your eyes
Hath wrought in us. Hence dull Saturn flies,
And we that were the ghost of woe and earth
Are all transform’d unto the soul of mirth.
O we are full of joy, no breast more light
But those who owe you theirs by nature’s right;
From whom vouchsafe this present,—’tis a work
Wherein strange miracles and wonders lurk.
For, know, that Lady whose ambition towers
Only to this, to be term’d worthy yours;
Whose forehead I could crown with clearest rays,
But that her praise is she abhors much praise;
Not long since thought she saw in slumb’ring trances
The Queen of Fairies and of moonlight dances
Come tripping in; and with a fairy kiss
She chastely touch’d her and straight gave her this
With this strange charge:—“This piece alone was made
For her in whom no graces e’er shall fade;
For her whose worth is such I dare aver
It fears not satire nor the flatterer;
For her who gave you first most gracing name,
Who loveth goodness for itself, not fame;
For her whom modest virtue doth enfold[612] so
That she had rather be much graced than told so;
For her for whom, had you the whole world’s breast
And of it all gave her sole interest,
You’d judge it slight.” This said, hence straight she flew,
And left it her who only vows it you.
Then whilst our breast with secret welcomes ring,
Vouchsafe acceptance of this offering.

Ma'am,
Check out the change that your eyes have created.
In us. The dreary Saturn is gone,
And we, who were just shadows of sorrow and dirt,
Have all turned into pure joy.
Oh, we are filled with joy; no heart feels lighter.
Except for those who naturally owe you theirs;
Please accept this gift from me—it's a creation.
Where unusual miracles and wonders exist.
For, know this: that the lady whose ambition soars
Just to be considered worthy of you;
Whose head I could decorate with the brightest rays,
But she doesn't want too much attention;
Not too long ago, she believed she saw in drowsy dreams
The Queen of Fairies and moonlight celebrations
Come gliding in, and with a magical kiss
She softly touched her and then handed her this.
With this unusual command:—“This piece was created
For her in whom no qualities will ever diminish;
For her whose value I can confidently state
Is beyond satire and flattery;
For the one who first gave you the most elegant name,
Who loves goodness for its own sake, not for recognition;
For her whom modest virtue surrounds so
That she would prefer to be honored rather than be told.
For her, if you had all the treasures in the world
And gave them all to her by herself,
"You'd think it's nothing." After saying this, she flew away,
And left it to the one who dedicates it solely to you.
Then while our hearts resonate with hidden greetings,
Please accept this gift.

Thus with a song Merimna presented her[613] honour with a very curious and rich waistcoat; which done, the Countess passed on to her chamber.

Thus, with a song, Merimna presented her[613] honor with a very interesting and luxurious waistcoat; after that, the Countess went to her room.

The Masque presented by four knights and four gentlemen at the right noble Earl of Huntingdon’s house of Ashby in honour of his Lady’s most worthy mother’s arrival, Alice Countess Dowager of Derby.

The performance put on by four knights and four gentlemen at the esteemed Earl of Huntingdon’s home in Ashby, celebrating the arrival of his Lady’s remarkable mother, Alice, Countess Dowager of Derby.

The form was thus:

The form was as follows:

At the approach of the countesses into the great chamber the hoboys played until the room was marshalled; which once ordered, a traverse[614] slided away; presently a cloud was seen move up and down almost to the top of the great chamber, upon which Cynthia was discovered riding; her habit was blue satin, fairly embroidered with stars and clouds: who looking down and earnestly surveying the ladies, spake thus:

As the countesses entered the grand chamber, the musicians played until the room was set up; once everything was arranged, a partition slid away. Soon, a cloud was seen moving up and down almost to the top of the great chamber, and on it, Cynthia was spotted riding; she wore a blue satin outfit, beautifully embroidered with stars and clouds. Looking down and studying the ladies intently, she spoke these words:

Cynth. Are not we Cynthia? and shall earth display
Brighter than us and force untimely day?
What daring flames beam such illustrious light,
Enforcing darkness from the claim of night?
Up, Ariadne, thy clear beauty rouse,
Thou Northern Crown to lusty Bacchus’ spouse,
Let’s mix our glories to outblaze your flame;
To be outshone is Heaven’s and great hearts’ shame.
Look down; know’st them? See how their fronts rebate
Splendour like Jove and beauty worth our state!
Hath our bright brother, the fair Lord of days,
Into their eyes shed his us-dark’ning rays?
Or hath some daring spirit forgot Jove’s ire
And to grace them stol’n his celestial fire?
We are not Phœbe, this is not Heaven’s story;
Place gives not worth, but worth gives place his glory.

Cynth. Aren't we, Cynthia? And will the earth reveal
Brighter than us and pushing the day too quickly?
What bright flames glow with such stunning light,
Chasing away the nighttime darkness?
Rise, Ariadne, and let your true beauty shine.
You Northern Crown, partner of lively Bacchus,
Let's combine our strengths to outshine your flame;
To be overshadowed is a shame for Heaven and for noble hearts.
Look down; do you recognize them? Notice how their faces show
Splendor like Jupiter and beauty that matches our status!
Has our shining brother, the fair Lord of days,
Shine his light-dimming rays into their eyes?
Or has some bold soul forgotten Jupiter’s wrath?
And took his divine fire to enhance them?
We aren't Phoebe; this isn't a story from Heaven.
Status doesn't determine value, but value gives status its shine.

In the midst of this speech Ariadne rose from the bottom of the room, mounted upon a cloud which waved up until it came near Cynthia, where resting Ariadne spake thus:

In the middle of this speech, Ariadne got up from the back of the room, riding on a cloud that floated up until it reached Cynthia. Once there, Ariadne said this: Got it! Please provide the text you would like me to modernize.

Ariad. Can our chaste queen, searching Apollo’s sister,
Not know those stars that in yon valley glister?
Is virtue strange to heaven? Can Cynthia
Not know the goodly-form’d Pasithea?
She who loves greatness to be greatly good,
Knowing fair’st worth from virtue springs, not blood;
Whose graceful just proportion is held such
That what may be judge[d] beauty must have touch
And proof from hers: yet this her least of grace
(Which is the most in most)—her beauty’s but the case
Of fairest mind: when Fortune gave her eyes,
Her worth made Fortune judge she once had eyes.
But see a piece that would strike envy blind,
Whose face would Furies tame, make monsters kind.
He gave her mighty praise and yet no other
But that in mind and form she’s like her mother:
Up, raisèd passion, and with pæans follow
Grace of the Muses, daughter of Apollo!
O precious selahs’ praise thy worth is under;
He that would limn thy grace must only wonder.
Then views not Cynthia sweet Sophrosyne,
Long honour of most rare virginity,
But now much happy in her noble choice?
In well-link’d nuptials all the gods rejoice.
Next learn’d Eulogia, bright in gracious rays,
Whose merit faster springeth than my praise;
For whoso strives to give her worth fair due,
Shall find his praise straight old, her merit new.

Ariad. Can our virtuous queen, in search of Apollo’s sister,
Don't you recognize those stars that shine in that valley?
Is virtue not part of heaven? Can Cynthia
Don't you know the beautifully shaped Pasithea?
She who loves greatness must be genuinely good,
Recognizing that true value comes from character, not family background;
Whose graceful symmetry is highly admired
What is considered beautiful must be experienced.
And confirmed by hers: yet this tiniest favor
(Which is the greatest for most)—her beauty is just the surface.
Of the greatest intellect: when Fortune blessed her with beauty,
Her value made Fortune decide that she once had beauty.
But check out a figure that would make anyone envious,
Whose face would calm Furies, turning monsters gentle.
He praised her highly but offered nothing more.
With that in mind, she resembles her mother in both mind and form:
Rise up, ignite your passion, and follow with joyful songs.
Grace of the Muses, daughter of Apollo!
Oh cherished praise, your value is immeasurable;
Whoever tries to capture your beauty can only admire it.
Then sweet Cynthia does not see Sophrosyne,
Long celebrated for her unique purity,
But is she much happier with her noble choice now?
In strong partnerships, everyone celebrates.
Next is the learned Eulogia, glowing with gracious light,
Whose achievements deserve more recognition than my compliments;
For anyone who tries to recognize her true value,
Will find his praise quickly outdated, while her merit remains always fresh.

Cynth. But, look, whose eyes are those that shine more clear
Than lightning thrown from shield of Jupiter?
See, see, how quick fire leaps from forth her eyes
Which burn all hearts and warm the very skies.
Is’t not bright Euthera?

Cynth. But look, whose eyes sparkle even more
Than the lightning that flashes from Jupiter's shield?
Look, see how quickly fire jumps from her eyes.
Which ignite all hearts and warm the skies themselves.
Isn’t it the bright Eleuthera?

Ariad. The very same,
But her mind’s splendour hath a nobler flame.
But let the gods Eurythia behold,
And let them envy her, face nobly bold,
Proportion all proportion, with a mind
But like itself, no epithet can find.

The same one,
But her brilliant mind has an even stronger passion.
But let the goddess Eurythia see her,
And let them envy her, confidently beautiful,
Perfectly balanced, with intelligence
That alone is unique; no words can express it.

Cynth. Let’s visit them and slide from our abode:
Who loves not virtue leaves to be a god.
Sound, spheres, spread your harmonious breath,
When mortals shine in worth gods grace the earth.

Cynth. Let’s go visit them and leave our home:
Anyone who doesn’t value virtue wants to be a god.
Lovely sounds, share your harmonious essence,
When people excel in their value, the gods bless the land.

The clouds descend: while soft music soundeth, Cynthia and Ariadne dismount from their clouds, and, pacing up to the ladies, Cynthia, perceiving Ariadne wanting her crown of stars, speaks thus:

The clouds come down: while soft music plays, Cynthia and Ariadne get down from their clouds and, walking up to the ladies, Cynthia, noticing that Ariadne is missing her crown of stars, says: Sure! Please provide the short piece of text you'd like me to modernize.

Cynth. But where is Ariadne’s wreath of stars,
Her eight pure fires that stud with golden bars
Her shining brows? hath sweet-tongued Mercury
Advanced his sons to station of the sky
And throned them in thy wreath? [or] dost thou leave
Thy splendour off and trust of gods deceive?

Cynth. But where is Ariadne’s crown of stars,
Her eight bright flames arranged with golden bars<

Ariad. Queen of chaste dew, they will not be confined
Or fix themselves where Mercury assign’d,
But every night upon a forest-side,
On which an eagle percheth, they abide,
And honour her with their most raisèd light,
Chaste sports, just praises, and all soft delight,
Vowing their beams to make her presence heaven:
Thus is the glory of my front bereaven.

Ariad. Queen of pure dew, they won't be stopped.
Or settle where Mercury intended,
But every night by the edge of a forest,
Where an eagle rests, they remain,
And honor her with their brightest light,
Pure fun, genuine praise, and all sweet enjoyment,
Devoting their light to make her presence heavenly:
This is how my glory has been taken from me.

Cynth. Tell them they err, and say that we, the Queen
Of night’s pale lamps, have now the substance seen
Whose shadow they adore. Go, bring those eight
At mighty Cynthia’s summons hither straight.
Let us behold, that mount whilst we salute,
Their faces, ’fore whom no dullness can be mute.

Cynth. Tell them they're wrong, and let them know that we, the Queen
of the night’s pale lights, have now witnessed the essence
of what they worship. Go, get those eight
here right away at mighty Cynthia’s command.
Let’s check them out as we say hello,
their faces, before whom no dullness can stay quiet.

Presently Ariadne sings this short call:

Presently, Ariadne sings this brief call:Understood. Please provide the text you would like me to modernize.

Music and gentle night,
Beauty, youth’s chief delight,
Pleasures all full invite
Your due attendance to this glorious room;
Then, if you have or wit or virtue, come,
Oh, come! oh, come!

Music and a peaceful night,
Beauty, the primary joy of youth,
All pleasures fully welcome

We need you in this amazing room;
If you have intelligence or good character, come along with us,
Oh, come on!

Suddenly, upon this song, the cornets were winded, and the traverse that was drawn before the masquers sank down. The whole show presently appeareth, which presented itself in this figure: the whole body of it seemed to be the side of a steeply ascending wood, on the top of which, in a fair oak, sat a golden eagle, under whose wings sat, in eight several thrones, the eight masquers, with visards like stars, their helms like Mercury’s, with the addition of fair plumes of carnation and white, their antique doublets and other furniture suitable to those colours, the place full of shields, lights, and pages all in blue satin robes, embroidered with stars. The masquers, thus discovered, sat still until Ariadne pronounced this invocation, at which they descended:

Suddenly, as the music played, the cornets sounded, and the curtain drawn before the performers fell away. The entire scene was revealed, taking the shape of a steeply rising forest. At the top, perched in a beautiful oak, was a golden eagle, beneath whose wings sat the eight performers on separate thrones, wearing masks that resembled stars and helmets like Mercury’s, adorned with lovely plumes in shades of pink and white. Their old-fashioned doublets and attire matched these colors, filling the space with shields, lights, and attendants dressed in blue satin robes embroidered with stars. The performers, now revealed, remained still until Ariadne delivered this invocation, at which point they descended:Understood! Please provide the text you would like modernized.

Ariad. Mercurian issue, sons of son of Jove,
By the Cyllenian rod, and by the love
Devotely chaste you vow Pasithea,
Descend: first thou more bright of these
That givest my crown her name, clear Dolopes,
Whose brave descent lets not thy fair heart fall
As born of parents most heroical,
Who vows himself, his life, his sword and fortune
To her whose constant goodness doth importune
More than he is: descend! Next him, Auctolius,
Of nimble spirit slide to honour us;
Faithfull’st Evander; clear-soul’d Erythus;
The hopeful Prilis and sweet Polybus;
And thou, true son of quick-brain’d Mercury,
Dear-loved Myrtillus, with that bright soul mix’d,
Experienced Lares, that at last is fix’d
After much danger in securer sphere.
Here all with wishèd easiness appear,
And O, if ever you were worth the grace
Of viewing majesty in mortal’s face,
If e’er to perfect worth you vow’d heart’s duty,
Show spirit worth your virtues and their beauty.

Ariad. Children of Mercury, sons of Jupiter's son,
By the Cyllenian staff and by love
Devoutly pure, you dedicate yourself to Pasithea,
Come down: you first, the brightest of them all.
Who names my crown, clear Dolopes,
Don’t let your kind heart waver because of your noble background.
As the child of the most heroic parents,
Who commits himself, his life, his sword, and his wealth
To her whose constant kindness encourages
More than he is: come down! Next is Auctolius,
With a lively spirit, come celebrate with us;
Most loyal Evander; kind-hearted Erythus;
The optimistic Prilis and kind Polybus;
And you, true child of clever Mercury,
Dear Myrtillus, intertwined with that radiant spirit,
Experienced Lares, finally safe
After facing many dangers in a safer world.
Here, everyone shows up with the desired comfort,
And oh, if you’ve ever deserved the grace
Of seeing greatness in a human's face,
If you ever pledged your heart's devotion to true worth,
Exhibit a spirit that reflects your virtues and their beauty.

The violins upon this played a new measure, to which the masquers danced; and ceasing, Cynthia spake:

The violins played a new tune, which the dancers moved to; and when it ended, Cynthia spoke:Understood. Please provide the text you would like me to modernize.

Stay a little, and now breathe ye,
Whilst these ladies grace bequeath ye;
Then mix fair hands, and gently ease ye,
Cynthia charms hence what may displease ye.
From ladies that are rudely coy,
Barring their loves from modest joy,
From ignorant silence, and proud looks,
From those that answer out of books,
From those that hate our chaste delight,
I bless the fortune of each starry Knight.
From gallants who still court with oaths,
From those whose only grace is clothes,
From bumbast stockings, vile leg-makers,
From beards and great tobacco-takers,
I bless the fortune of each starry dame.
Sing, that my charm may be more strong;
The gods are bound by verse and song.

Hang out for a moment, and now take a breath,
While these women shower you with their grace;
Then shake out your hands and take a moment to relax.
Cynthia's charms will take away anything that might bother you.
From women who are excessively timid,
Keeping their love from just simple happiness,
From dumbfounded silence and arrogant looks,
From those who only read from books,
From those who don't appreciate our genuine joy,
I appreciate the destiny of every noble Knight.
From gentlemen who still court with promises,
From those whose only appeal is their clothing,
From silly stockings, terrible leg-makers,
From beards and frequent tobacco users,
I bless the fate of every noble woman.
Sing, so my magic can be more powerful;
The gods are tied to poetry and music.

The Song

The Track

Audacious night makes bold the lip,
Now all court chaster pleasure,
Whilst to Apollo’s harp you trip,
And tread the gracing measure.
Cynth. Now meet, now break, then feign a warlike sally;
So Cynthia sports, and so the gods may dally.

Bold nights encourage us to express ourselves,
Now everyone seeks true pleasure,
As you dance to Apollo’s music,
And move to the lovely rhythm.
Cynth. Now come together, now pull apart, and then act like you’re playfully fighting;
That's how Cynthia plays, and that's how the gods might enjoy themselves.

Judicious wit, now raise thy brain,
Now heat thy nimbler spirit,
Show what delicious faces strain;
Much passion shows much merit.
Cynth. Now meet, now break, then feign a warlike sally;
So Cynthia sports, and so the gods may dally.

Clever thoughts, now elevate your thinking,
Now energize your vibrant spirit,
Show off those charming faces you can make;
A lot of passion brings a lot of value.
Cynth. Now meet, now pretend, then imitate a bold attack;
That's how Cynthia plays, and that's how the gods might play as well.

Lascivious youth not dare to speak
The language of loose city;
He that Diana’s bonds doth break
Is held most rudely witty.
Cynth. Now meet, now break, then feign a warlike sally;
So Cynthia sports, and so the gods may dally.

Naughty kids don't dare to talk.
The vibe of a carefree city;
Who breaks Diana’s bonds
Is seen as sharply clever.
Cynth. Now we come together, then we separate, and then we act like we're in a fierce battle;
That's how Cynthia plays, and that's how the gods might play.

Disgracious dullness yet much mars
The shape of courtly talking;
He that can silent touch such stars
His soul lies in his walking.
Cynth. Now meet, now break, then feign a warlike sally;
So Cynthia sports, and so the gods may dally.

Awkward silence really ruins things
The art of speaking in court;
The person who can quietly reach for such stars
Has a soul that moves with intention.
Cynth. Now we come together, now we separate, then act like we're rushing into battle;
That's how Cynthia plays, and that's how the gods might joke around.

During this song, the masquers presented their shields, and took forth their ladies to dance. After they had danced many measures, galliards, corantos, and levaltos, the night being much spent, whilst the masquers prepared themselves for their departing measure, Cynthia spake thus:

During this song, the performers showcased their shields and brought their ladies out to dance. After dancing several rounds of galliards, corantos, and levaltos, as the night was winding down and the performers got ready for their final dance, Cynthia spoke up:Understood! Please provide the text you'd like me to modernize.

Cynth. Now pleasing rest; for, see the night
(Wherein pale Cynthia claims her right)
Is almost spent; the morning grows,
The rose and violet she strows
Upon the high celestial floor,
’Gainst Phœbus rise from paramour.
The Fairies, that my shades pursue,
And bathe their feet in my cold dew,
Now leave their ringlets and be quiet,
Lest my brother’s eye should spy it.
Then now let every gracious star
Avoid at sound of Phœbus’ car;
Into your proper place retire,
With bosoms full of beauty’s fire;
Hence must slide the Queen of Floods,
For day begins to gild the woods.
Then whilst we sing, though you depart,
I’ll swear that here you leave your heart.

Cynth. Now it’s time to rest; look, the night
(Where pale Cynthia maintains her domain)
It's almost over; morning is coming.
She arranges the rose and violet.
Across the sky above,
As Phœbus rises from his lover.
The fairies that pursue my shadows,
And dip their feet in my cold dew,
Now stop their dances and be quiet,
So my brother can't see them.
So now let every beautiful star
Avoid the sound of Phœbus' chariot;
Return to your proper place,
With hearts full of the passion for beauty;
The Queen of the Waters has to go,
Day is beginning to brighten the woods.
Then as we sing, even as you leave,
I swear you leave your heart here.

The eclogue which a despairing shepherd spake to a nymph at my Lady’s departure:

The poem that a heartbroken shepherd spoke to a nymph when my Lady left:Understood. Please provide the text you would like me to modernize.

Stay, fair Beliza, and, whilst Heaven throws
On the crack’d earth
His burning breath,
O hear thy Dorus’ woes,
Whose cause and cure only Beliza knows.

Hold on, beautiful Beliza, and while Heaven casts
On the broken ground
His hot breath,
Oh, listen to the sorrows of your Dorus,
Only Beliza understands the reason and the solution.

See now the god of flames in full pomp rides,
And now each lass
On flowery grass
By the cool fountain sides
With quiet bosom and soft ease abides.

See now as the fire god rides in all his glory,
And now every girl
On blooming grass
By the chill fountain's edge
With peaceful hearts and a sense of relaxed comfort.

Do you so too, for see this bounteous spring:
Pray thee sit down,
Then shall I crown
Thy brows with flowery ring,
Whilst thus with shepherd’s homely voice I sing.

Do you agree? Just take a look at this plentiful spring:
Please have a seat.
Then I’ll put
A flower crown on your head,
As I sing with a straightforward shepherd's voice.

He sang a passionate ditty; which done, he spake thus:

He sang a heartfelt song; when he was done, he said this:I'm ready to assist! Please provide the text you'd like me to modernize.

Shep. Now, fairest, deign once to impart,
Did ever live so coy a lass
Who unto love was never moved?

Shep. Now, my dear, please tell me,
Has there ever been such a shy girl?
Who hasn't experienced love?

Nymph. Yes, shepherd, she that hath the heart
And is resolved her life to pass
Neither to love or be beloved.

Nymph. Yes, shepherd, I'm the one with the heart.
And I've decided to live.
Without love or affection.

Shep. She senseless lives without affection.

Shep. She lives without love.

Nymph. Yet happy lives without subjection.

Nymph. Yet lives happily free.

Shep. To be pluck’d are roses blown,
To be mow’d are meadows grown [sown?],
Gems are made but to be shown,
And woman’s best—

Shep. The roses that are in full bloom are to be chosen,
To be harvested are cultivated fields,
Gems are meant to be shown off,
And a woman's best—

Nymph. To keep her own.

Nymph. To hold onto her.

Shep. Well, shepherdess, still hate to love me;
No scorn from my fix’d vow shall move me.
When sheep to finest grass have loathing,
When courtiers shall disdain rich clothing,
When shepherds shun their mayday’s sports,
Green sickness when ’tis rife in courts,—
O then, and not till then, I’ll hate
Beliza, my sole love and fate.

Shep. Well, shepherdess, you still dislike loving me;
No disrespect from my firm promise can change that.
When sheep don’t like the best grass,
When nobles abandon elegant attire,
When shepherds skip their May Day festivities,
Green sickness is often seen in courts,—
Oh, then, and not until then, I’ll hate.
Beliza, my one and only love and fate.

Nymph. When love in daughters shall ascend
For simple Piety’s sole end,
When any child her mother graces
With all she can, yet all defaces
In her fair thought the faith she oweth
(Though what she can she freely showeth);
Then, shepherd, mayst thou hope attend,
For then my hate shall have an end.

Nymph. When love begins to blossom in daughters
For the sake of simple devotion,
When any child respects her mother
With all her efforts, she still leaves a blemish.
In her clear mind, the faith she owes
(Though she demonstrates what she can share freely);
Then, shepherd, you can hope and wait,
Then my hatred will come to an end.

Shep. Thou’rt mine, Beliza; for behold
All the hopes thy wishes crave,
All the best the world can have,
Here these happy characters unfold;
Which who dares but once deny,
In the most just and fair defence
Of her love’s highest excellence,
I of thousands am the weak’st will die:
From which, O deign to give this touch,
Who gives what he can get, gives much.

Shep. You are mine, Beliza; because look
At all the hopes your wishes seek,
All the greatest things the world has to offer,
Here, these joyful moments show themselves;
Anyone who dares to deny this,
In the fairest and most valid argument
Of her love's greatest worth,
I will be the weakest among thousands and will perish.
So, please accept this small gesture,
Whoever contributes what they can, contributes a lot.

[The Shepherd presented a scarf.

The shepherd gave a scarf.

Farewell, farewell!
Joy, Love, Peace, Health in you long dwell,
With our farewell, farewell!

See you later!
May Joy, Love, Peace, and Health be with you always,
With our farewell, farewell!

So the Countess passed on until she came through the little park, where Niobe presented her with a cabinet and so departed.

So the Countess continued on until she walked through the small park, where Niobe gave her a cabinet and then left.

[610] Dr. Grosart reads “Sott” (from MS.).

__A_TAG_PLACEHOLDER_0__ Dr. Grosart reads "Sott" (from MS.).

[611] Dr. Grosart reads (from the MS.) “You would aueer to numbers: them who seekes.”

[611] Dr. Grosart reads (from the MS.) “You would appear to count those who seek.”

[612] Dr. Grosart gives from the MS. “vnfolde.”

__A_TAG_PLACEHOLDER_0__ Dr. Grosart provides from the manuscript “unfolded.”

[613] MS. “his.”

__A_TAG_PLACEHOLDER_0__ MS. “his.”

[614] Moveable screen.

Portable screen.

CITY PAGEANT.

CITY PAGEANT,[615]

ON THE OCCASION OF THE VISIT PAID BY THE KING
OF DENMARK TO JAMES I. IN 1606.

ON THE OCCASION OF THE VISIT PAID BY THE KING
OF DENMARK TO JAMES I. IN 1606.


The argument of the spectacle presented to the sacred Majesties of Great Britain and Denmark as they passed through London.

The discussion of the spectacle shown to the esteemed Majesties of Great Britain and Denmark as they moved through London.

After that the Recorder in the name of the City had saluted the Majesties of Great Britain and Denmark with this short oration:

After that, the Recorder on behalf of the City addressed the Majesties of Great Britain and Denmark with this brief speech:Understood! Please provide the text you'd like me to modernize.

“Serenissime, Augustissime Rex: quid enim Reges dicam, quos non tam conjunctio sanguinis, quam communio pietatis unum fecit? Anni sunt quinquaginta plus minus, a quo Regem vel unum aspeximus; nunc duos simul contemplamur, admiramur: quapropter antiqua civitas London, nova ista condecorata gloria, triumphat gaudio, salutat precibus, Majestatis binam hanc majestatem.

“Most Serene, Most August King: for what can I say about kings, who are united not just by blood but by a shared sense of duty? It has been about fifty years since we have seen even one king; now we behold and admire two at once: for this reason, the ancient city of London, now adorned with this new glory, celebrates with joy and offers prayers to this double majesty.”

“Sed quid offeremus? Corda non nostra, tua sunt, magne, maxime Jacobe: et quia tua, Regi huic, potentissimo, fraternitatis vinculo majestati vestræ conjunctissimo, amoris ergo hæcque [sic] munusculo dicantur.”

“But what will we offer? Our hearts aren't ours; they're yours, great, most esteemed James: and because they are yours, to this most powerful king, connected by the bond of brotherhood to your majesty, let these be called gifts of love.”

The Scene or Pageant of Triumph presented itself in this figure. In the midst of a vast sea, compassed with rocks, appeared the Island of Great Britain, supported on the one side by Neptune, with the force of Ships; on the other, Vulcan with the power of iron, and the commodities of tin, lead, and other minerals. Over the island, Concord, supported by Piety, and Policy, sat enthroned: the body of it thus shaped, the life of it thus spake; whilst the Tritons in the sea sounded loud music, the mermaids singing; then in a cloud Concord descending, and landing on the crag of a rock, spake thus:

The scene of triumph unfolded in this image. In the middle of a vast ocean, surrounded by rocks, lay the Island of Great Britain, held up on one side by Neptune with the power of ships, and on the other by Vulcan with the strength of iron and the resources of tin, lead, and other minerals. Over the island, Concord, supported by Piety and Policy, sat enthroned: its form was shaped like this, its spirit spoke like this; while the Tritons in the sea played loud music, and the mermaids sang. Then, in a cloud, Concord descended and landed on the edge of a rock, saying this: Understood! Please provide the text for modernization.

Concordia.

Concordia.

Gentes feroces inter, et crudæ necis
Animos capaces, quibus et ignavum est mori
Paulo coactis, queis et arma civica,
Bellaque leonum paria lacerabant agros,
Nunc pacis almæ mater, et cælo edita,
Et arcuato cælicæ pacis throno
Suffulta, stabilis hic sedeo Concordia.
Sic nempe amorum jubet et armorum Deus,
Presto ut Britannum principi illustri forem.
Religio dextram fulsit, et monet pie
Bonum supremum scire supremum est bonum;
Justitia lævam, voce sancta cognita,
“Servate jus, servate cælicam fidem.”
Nunc itaque, reges, tuque, super omnes mihi
Dilecte, Brutii magne moderator soli,
Et tu, sacrato fœdere et fratris pio
Nexu revinctus, vos in æternum jubet
Salvere missa cælitus Concordia.
Non has inique denuo hostilis furor
Gentes lacessat, neque leonum fortia
Ferro dolove corda pertentet malo.
Quoties in unum junctis [olim] viribus
Coiere Bruti[i], non potuit ulla rabies
Externa quatere, aut noxii vis consilii.
Romana cessit aquila, donec proditor,
Et scelere cœpta civium distractio,
Animam addidisset hostibus, patriæ metum.
Nunc sceptra cum septena vi Normannicæ
Camberque cessit, arma deposuit diu
Indomita Ierne, et insulis centum potens
Magni Getheli accessit antiquum genus.
Fraternum amorem, jus sacrati fœderis
Fideique sanctæ, vinculo astrinxit Jupiter;
Quæ vis lacesset? quod scelus quatiet? quibus
Armis dolisve insanus utetur furor?
En hic frequentes et celebres civium
Turmæ, hic juventæ dulce conspirans cohors,
Matres puellis, juvenibus[616] misti senes,
Vos intuentur: omnis ordo suspicit.
[617] gratiosa lumina, illi pectora
Generosa pariter et serena prædicant.

Fierce tribes and violent death
There are spirits that are strong but too scared to die.
When faced with some pressure, to whom civic arms,
And the battles of lions tore the land apart,
Now the caring mother of peace, born from heaven,
And backed by the arched throne of divine tranquility.
Here I am, sitting in Concord, firmly in this seat.
So truly the God of love and war commands,
Ready to be the famous prince of Britain.
Religion shines on the right hand and kindly advises.
Understanding the ultimate good is the greatest good;
Justice, on the left, recognized by a sacred voice,
"Stand for justice and keep the divine faith."
So now, kings, and you, especially for me
Dearly loved, great leader of the Bruti,
And you, bound by a sacred agreement and a loyal connection
Of brotherhood, are bound forever
To be saved by divine Harmony sent forth.
No longer allow this unfair angry rage
Challenge these nations, and don't let the fierce
The sword of lions pierces hearts with evil,
Whenever in united strength
The Bruti once united, free from outside anger.
Could shake them, or the damaging power of betrayal.
The Roman eagle gave in until the traitor,
And the downfall of citizens started with crime,
Would have brought life to enemies and fear for the homeland.
Now the seven scepters of the Normans
And Camber has surrendered; she has long put down her weapons.
Untamed Ierne, and she became part of the hundred islands.
From the ancient lineage of Great Gethel.
The bond of brotherhood, the rule of the sacred agreement.
And holy trust, Jupiter has connected;
What force could challenge? What crime could disrupt? By what
Should we resort to weapons or cunning madness in anger?
Look, here are the many well-known gatherings of citizens,
Here is the charming group of young people,
Moms with daughters, older guys hanging out with younger guys,
You are currently viewing: all ranks are available for viewing.
These gracious eyes, those hearts
Noble and calm declare.

(Adventu Regis, Insula Britanniæ sese aperit, Londinumque prodit.)

(Adventu Regis, Insula Britanniæ sese aperit, Londinumque prodit.)

Totius aperit Insula imperii fores,
Ultroque prodit cana mater urbium.

The whole island opens the doors to the empire,
And the ancient mother of cities shows herself.

Londinum.

Londinium.

Sera quidem, at felix, O cælo addenda, sereno
Numina nata solo, illuxit præsentia vestra.
Ecce, domus omnes turgent, plenæque fenestræ
Expectantum oculos, et prospera cuncta precantum.
Invide, Brittannas complexe, Tridentifer,[618] oras,
Cur tam longa piæ mora gaudia distulit urbis?

It’s evening, but it’s a happy one, oh sky, so calm.
Divine beings born from the earth, your light has shone.
Look, all the houses are expanding, and the windows
Wait with anticipation and hope for all the best things.
Jealous one, welcome the British shores,
Why has the prolonged delay of virtuous joys held the city back?

Neptunus.

Neptune.

Urbs cara nobis, cara supremo patri,
Non aliqua nos invidia, sed zelus tui,
Movit, citatque, ut cursui obstarem ratis.
Ego, cum viderem Principem tantum meo
Sedisse dorso, ac linteis plenis vehi,
Quidnam pararet veritus, et quo tenderet,
Remoras adhibui, fateor, ac per me obsteti,
Ne te moveret, ne tibi damnum daret;
Tibi ut faverem moris antiqui est mihi.
Sed, amore cuncta plena[619] fraterno videns,
Preces benignas ut perimpleret tuas,
Ventum ferentem et maria concessit Jupiter,
Dabuntque Neptunus, et Eolus, et Jupiter.[620]

Beloved city, cherished by our supreme father,
It's not just jealousy that drives us, but your passion,
It motivated and encouraged me to go against the flow.
I saw the Prince sitting up straight,
Sailing with full sails,
What was he getting ready for, and where was he going,
I admit, I created obstacles and blocked the path,
So you wouldn't be affected, and you wouldn't be harmed;
It's in my nature to support you as a time-honored practice.
But, seeing everything filled with brotherly love,
To meet your requests,
Jupiter gave the winds their power and let the seas give way,
Neptune, Aeolus, and Jupiter will provide assistance.

Londinum.

Londinium.

Sic, O sic fiat! læto exultate triumpho,
Terra ferax, mare fluctisonum, resonabilis Echo:
Vivant, æternum vivant, pia numina, fratres!
Vivant, Vivant!
 The [h]umblest servant
  of your sacred Majesty,
   John Marston.

Yes, oh yes, let it happen! Celebrate with joyful triumph,
Fertile land, rolling seas, resonating sound:
Let them live, may they live on forever, dear spirits, brothers!
Let them live, let them live!
The most humble servant
of your sacred Majesty,
John Marston

[615] From Royal MSS. 18A xxxi. (British Museum).

__A_TAG_PLACEHOLDER_0__ From Royal MSS. 18A xxxi. (British Museum).

[616] MS.juvenibusque”—an unmetrical reading.

__A_TAG_PLACEHOLDER_0__ MS.juvenibusque”—a non-metrical reading.

[617] MS. “Hi.”

“Hey.”

[618] MS.Tridentifere.

__A_TAG_PLACEHOLDER_0__ MS. “Tridentifere.”

[619] MS.pleno fraterna.

__A_TAG_PLACEHOLDER_0__ MS. “pleno fraterna.”

[620] “In MS. legitur, Neptunus, Eolus, Jupiter; Monosyllaba hæc duo interposita metrum ad iambicos Marstonianos (non Horatianos, fatemur) restituunt.”—Halliwell.

[620] “In MS. It reads, Neptune, Aeolus, Jupiter; These two one-syllable words bring back the rhythm to Marstonian iambics (not Horatian, I admit).”—Halliwell.

VERSES BY MARSTON.

From Sir Robert Chester’s Love’s Martyr,[621] 1601.

From Sir Robert Chester’s Love’s Martyr,[621] 1601.


A Narration and Description of a most exact wondrous Creature, arising out of the Phœnix and Turtle-Dove’s ashes.

A story and description of a truly amazing creature that emerges from the ashes of the Phoenix and the Turtle Dove.

O, ’twas a moving Epicedium!
Can fire, can time, can blackest fate consume
So rare creation? No, ’tis thwart to sense;
Corruption quakes to touch such excellence;
Nature exclaims for justice, justice fate,—
Ought into nought can never remigrate.
Then look; for see what glorious issue, brighter
Than clearest fire, and beyond faith far whiter
Than Dian’s tier, now springs from yonder flame!
Let me stand numb’d with wonder; never came    10
So strong amazement on astonish’d eye
As this, this measureless pure rarity.
Lo, now, th’ extracture of Divinest essence,
The soul of Heaven’s laboured quintessence,
(Pæans to Phœbus!) your dear lover’s death
Takes sweet creation and all-blessing breath.
What strangeness is’t, that from the Turtle’s ashes
Assumes such form, whose splendour clearer flashes
Than mounted Delius? Tell me, genuine muse!
Now yield your aids, you spirits that infuse    20
A sacred rapture, light my weaker eye,
Raise my invention on swift fantasy;
That whilst of this same Metaphysical,
God, man, nor woman, but elix’d of all,
My labouring thoughts with strainèd ardour sing,
My muse may mount with an uncommon wing.

Oh, it was such a heartfelt tribute!
Can fire, time, or the darkest fate cause destruction?
Is that really a rare creation? No, that doesn’t add up;
Corruption hesitates to engage with such excellence;
Nature calls out for justice, justice from fate,—
What turns to nothing can never come back.
Then look; see what a glorious result, brighter
Than the brightest flame, and much whiter
From the bright tier of the moon, that flame now rises!
Let me stand here, amazed and in awe; never has    10
Such strong amazement caught an astonished eye.
As this, this boundless pure rarity.
Look, now, the essence of the divine,
The essence of Heaven's deep purity,
(Praises to Apollo!) the death of your beloved
Brings forth sweet creation and life-giving breath.
What an oddity it is that from the turtle’s ashes
Takes on a form whose brilliance stands out.
Brighter than the celebrated Delius? Tell me, true muse!
Now summon your help, you spirits that fill __A_TAG_PLACEHOLDER_0__
A holy ecstasy, brighten my dimmer sight,
Elevate my creativity with quick thinking;
While exploring this same metaphysical,
God, neither man nor woman, but a combination of essences,
My restless thoughts resonate with intense passion,
My inspiration might fly with an incredible wing.

The Description of this Perfection.

The Definition of this Perfection.

Dares then thy too audacious sense
Presume define that boundless Ens,
That amplest thought transcendeth?
O yet vouchsafe, my muse, to greet
That wondrous rareness, in whose sweet
All praise begins and endeth.

Are you bold enough to share your thoughts,
To attempt to define that infinite Being,
That best idea ever?
Oh, please give me, my muse, a moment to recognize
That amazing rarity, in whose delightful
All praise begins and ends.

Divinest Beauty! that was slightest,
That adorn’d this wondrous Brightest,
Which had nought to be corrupted.
In this perfection had no mean;    10
To this earth’s purest was unclean,
Which virtue even instructed.

Divine Beauty! That was the smallest,
That decorated this amazing Brightest,
Which was not intended to be spoiled.
In this, perfection had no standard;    10
To this earth's purest was unclean,
Which virtue guided it.

By it all beings deck’d and stainèd,
Ideas that are idly feignèd
Only here subsist invested;
Dread not to give strain’d praise at all,
No speech is hyperbolical
To this Perfection blessèd.

By it, all beings are decorated and identified,
Ideas that are created for enjoyment
Only exist here, invested;
Feel free to give over-the-top compliments,
No words are too fancy.
For this perfect blessing.

Thus close my rhymes; this all that can be said,
This wonder never can be flatterèd.    20

So, this is where my verses finish; that’s everything that can be said,
This amazing thing can never be reduced.    20

To Perfection.—A Sonnet.

To Perfection.—A Sonnet.

Oft have I gazèd with astonish’d eye
At monstrous issues of ill-shapèd birth,
When I have seen the midwife to old Earth,
Nature, produce most strange deformity.

I have frequently looked on in amazement
At the terrifying results of strangely shaped births,
When I've met the midwife from ancient Earth,
Nature, reveal the oddest deformities.

So have I marvell’d to observe of late
Hard-favour’d feminines so scant of fair,
That masks so choicely shelter’d of the air,
As if their beauties were not theirs by fate.

I've been really impressed lately
To see women who are not very attractive,
Wearing masks that protect them so well,
As if their beauty wasn't made for them.

But who so weak of observation,
Hath not discern’d long since how virtues wanted,    10
How parsimoniously the Heavens have scanted
Our chiefest part of adoration?

But who is so unaware,
That hasn't noticed for a long time how virtues are missing,    10
How carefully the Heavens have held back
What are our most treasured objects of worship?

But now I cease to wonder, now I find
The cause of all our monstrous penny-shows;
Now I conceit from whence wit’s scarcety grows,
Hard favour’d features, and defects of mind.

But now I’ve stopped wondering; now I see.
The reason for all our super affordable shows;
Now I see where the absence of wit originates from,
Unappealing appearance and flaws in judgment.

Nature long time hath stor’d up virtue, fairness,
Shaping the rest as foils unto this Rareness.

Nature has always embraced beauty and goodness,
Shaping everything else as contrasts to this uniqueness.

Perfectioni Hymnus.

Hymn of Perfection.

What should I call this Creature,
Which now is grown unto maturity?
How should I blaze this feature
As firm and constant as eternity?

What should I call this creature,
Now that it has reached maturity?
How should I showcase this feature?
As strong and enduring as forever?

Call it perfection? Fie!
’Tis perfecter than brightest names can light it;
Call it Heaven’s mirror? Ay,
Alas! best attributes can never right it.

Call it perfection? No chance!
It's more perfect than even the brightest names can capture;
Call it Heaven's mirror? Sure,
Unfortunately, the best qualities can never fully capture it.

Beauty’s resistless thunder?
All nomination is too straight of sense.    10
Deep contemplation’s wonder?
That appellation give this excellence.

The unstoppable power of beauty?
All titles are too simple.    10
The wonder of deep thinking?
That name reflects this greatness.

Within all best confined,
(Now, feebler Genius, end thy slighter rhyming),
No suburbs,[622]—all is mind,—
As far from spot as possible defining.

In the best way possible,
(Now, lesser talent, stop your basic rhymes),
No borders,[622]—everything is thought,—
As far away from a specific place as possible.

John Marston.

John Marston.

[621] The verses are from the appendix to Love’s Martyr. The appendix has a separate title—Hereafter Follow Diverse Poeticall Essaies on the former Subiect; viz.: the Turtle and Phœnix. Done by the best and chiefest of our moderne writers, with their names subscribed to their particular workes: neuer before extant, &c. Marston’s verses follow Shakespeare’s Phœnix and Turtle.

[621] The verses are from the appendix to Love’s Martyr. The appendix has a separate title—Hereafter Follow Various Poetic Essays on the Previous Subject; i.e.: the Turtle and Phoenix. Written by the best and most prominent of our modern writers, with their names attached to their individual works: never before published, etc. Marston’s verses follow Shakespeare’s Phoenix and Turtle.

[622]Differentia Deorum et Hominum, apud Senecam; Sic habet nostri melior pars animum, in illis nulla pars extra animum.”—Marginal note in old ed.

[622]The difference between gods and humans, according to Seneca; Therefore, the greatest part of us is our mind, while in them, there is nothing beyond the mind.”—Marginal note in old ed.

THE
MOUNTEBANK’S MASQUE.

THE MOUNTEBANK’S MASK.

THE CON ARTIST'S MASK.

It is with some diffidence that I include this piece among Marston’s Works. Mr. J. P. Collier printed it in 1848 for the Shakespeare Society from a MS. in the possession of the Duke of Devonshire; and he stated that Marston’s name is pencilled on the cover of the MS. in a handwriting of the time. This MS. appears to have been mislaid, for I can find no mention of it in the catalogue of His Grace’s dramatic collection.

It is with some hesitation that I include this piece among Marston’s Works. Mr. J. P. Collier printed it in 1848 for the Shakespeare Society from a manuscript in the possession of the Duke of Devonshire; he noted that Marston’s name is written on the cover of the manuscript in handwriting from that time. This manuscript seems to have been lost, as I can find no mention of it in the catalog of His Grace’s dramatic collection.

Collier was not aware that Nichols had printed this Masque in the third volume of his “Progress of Queen Elizabeth” from another MS., and that there is extant a third MS. copy in Add. MS. 5956 (Brit. Museum).

Collier didn't realize that Nichols had published this Masque in the third volume of his “Progress of Queen Elizabeth” from a different MS., and that there is a third MS. copy available in Add. MS. 5956 (Brit. Museum).

I have contented myself with printing Collier’s text without any material alterations; but I have given in a footnote the graceful song with which the Masque concludes in Nichols’ transcript. The Masque was performed at Court 16th February 1617-8 (See Nichols’ Progresses of King James I., iii. 466).

I have left Collier’s text mostly unchanged, but I've included in a footnote the lovely song that concludes the Masque as found in Nichols’ version. The Masque was performed at Court on February 16, 1617-8 (See Nichols’ Progresses of King James I., iii. 466).

THE
MOUNTEBANK’S MASQUE.


THE FIRST ANTIMASQUE OF
MOUNTEBANKS.

THE FIRST ANTIMASQUE OF MOUNTEBANKS.

MOUNTEBANK’S SPEECH.

SCAMMER'S SPEECH.

The great Master of medicine, Æsculapius, preserve and prolong the sanity of these Royal and Princely Spectators. And if any here present happen to be valetudinary, the blessed finger of our grand Master Paracelsus be at hand for their speedy reparation. I have heard of a mad fellow that styles himself a merry Greek, and goes abroad by the name of Paradox, who with frisking and dancing, and new broached doctrine, hath stolen himself, this Festival time of Christmas, into favour at the Court of Purple, and having there got some approbation for his small performance, is grown so audacious as to intrude himself into this honoured presence. To prevent whose further growing fame, I have, with these my fellow Artists of several nations, all famous for the bank, hither made repair, to present unto your view more wholesome, more pleasing, and more novel delights, which, to avoid prolixity, I distribute into these following commonplaces.

The great Master of medicine, Æsculapius, keep and extend the sanity of these Royal and Princely Spectators. And if anyone present is feeling unwell, may the blessed touch of our grand Master Paracelsus be available for their quick recovery. I've heard about a crazy guy who calls himself a merry Greek and goes by the name of Paradox, who with his lively dancing and fresh ideas has managed to win favor at the Court of Purple during this Christmas Festival. Having received some approval for his minor performance, he's become so bold as to present himself in this honored gathering. To prevent his fame from growing any further, I have come here with my fellow Artists from various nations, all well-known for their talents, to offer you more wholesome, more enjoyable, and more innovative delights, which I've organized into the following categories to avoid being too lengthy.

Names of Diseases cured by us,
Which being infinite, purposely we omit.
Musical Charms,
Familiar Receipts,

Diseases we treat,
There are so many that we decided to leave them out.
Music Magic,
Popular Recipes,

Sing their Songs, viz.:

Sing their Songs, namely:

Chorus. What is’t you lack, what would you buy?
What is it that you need?
Come to me, Gallants; taste and try:
Here’s that will do the deed.

Chorus. What do you need, what do you want to get?
What do you need?
Come here, guys; try it out and see:
Here’s what will accomplish the task.

1 Song.

1 Song.

1.  Here’s water to quench maiden fires;
Here’s spirits for old occupiers;
Here’s powder to preserve youth long,
Here’s oil to make weak sinews strong.
What!

2.  This powder doth preserve from fate;
This cures the Maleficiate:
Lost Maidenhead this doth restore,
And makes them Virgins as before.
What!

3.  Here’s cure for toothache, fever-lurdens,[623]
Unlawful and untimely burdens:
Diseases of all Sex and Ages
This Medicine cures, or else assuages.
What!

4.  I have receipts to cure the gout,
To keep pox in, or thrust them out;
To cool hot bloods, cold bloods to warm,
Shall do you, if no good, no harm.
What!

1. Here’s some water to cool those intense feelings;
Here are solutions for old problems;
Here’s a powder to maintain youthful appearance,
Here's oil to help strengthen weak muscles.
What the!

2. This powder shields you from destiny;
This breaks the curse:
Lost my virginity, this brings back,
And makes them virgins again.
What!

3. Here's a remedy for toothache, fever burdens,[623]
Illegal and unexpected troubles:
Diseases Affecting All Genders and Ages
This medicine heals or at least helps.
What!?

4. I have treatments for gout,
To keep pox contained, or to push them out;
To calm heated emotions, warm those who are cold,
It will help you, or it won't hurt you.
What?!

2 Song.

2 Songs.

1.  Is any deaf? Is any blind?
Is any bound, or loose behind?
Is any foul, that would be fair?
Would any Lady change her hair?
Does any dream? Does any walk,
Or in his sleep affrighted talk?
I come to cure what ere you feel,
Within, without, from head to heel.

2.  Be drums or rattles in thy head;
Are not thy brains well tempered?
Does Eolus thy stomach gnaw,
Or breed there vermin in thy maw?
Dost thou desire, and cannot please,
Lo! here the best Cantharides.
I come.

3.  Even all diseases that arise
From ill disposed crudities,
From too much study, too much pain,
From laziness, or from a strain,
From any humour doing harm,
Be ’t dry or moist, or cold or warm.
I come.

4.  Of lazy gout I cure the Rich;
I rid the Beggar of his itch;
I fleam avoid, both thick and thin:
I dislocated joints put in.
I can old Æson’s youth restore,
And do a thousand wonders more.
Then come to me. What!

1. Is anyone deaf? Is anyone blind?
Is anyone stuck, or can someone leave?
Is anyone unattractive who wants to be beautiful?
Would any woman change her hairstyle?
Does anyone dream? Does anyone walk, __A_TAG_PLACEHOLDER_0__,
Or do they talk in their sleep because they're scared?
I'm here to help you with whatever you're going through,
Inside and out, from top to bottom.

2.  Do you have drums or rattles in your head;
Is your mind in balance?
Does the wind gnaw at your stomach,
Or are there parasites growing in your stomach?
Do you want something but can't get it?
Check it out! Here are the top remedies.
I'm here.

3. For all the illnesses that occur
From badly managed excesses,
From excessive studying, too much suffering,
From laziness or from overdoing it,

From any harm-causing imbalance,
Whether it's dry or humid, cold or warm.
I'm here.

4. I treat the wealthy for their lazy gout;
I help the beggar with his itch;
I stay away from bloodletting, whether for the rich or the poor:
I can put dislocated joints back in position.
I can bring back old Æson's youth,
And do a thousand more amazing things.
So come to me. What!

3 Song.

3 Songs.

1.  Maids of the chamber or the kitchen,
If you be troubled with an itching,
Come give me but a kiss or two,
I’ll give you that shall soon cure you.
Nor Galen nor Hippocrates
Did ever do such cures as these.

2.  Crack’d maids, that cannot hold your water,
Or use to break wind in your laughter;
Or be you vex’d with kibes or corns,
I’ll cure; or Cuckolds of their horns.
Nor Galen.

3.  If lusty Doll, maid of the dairy,
Chance to be blue-nipp’d by the Fairy,
For making Butter with her tail,
I’ll give her that did never fail.
Nor Galen.

4.  Or if some worse mischance betide her,
Or that the nightmare over-ride her;
Or if she tell all in a dream,
I’ll cure her for a mess of cream.
Nor Galen.

1.  Housemaids in the room or kitchen,
If you're experiencing an itch,
Just give me a kiss or two,
I'll give you something that will heal you quickly.
Neither Galen nor Hippocrates
Ever done cures like these?

2. Struggling maids, who can't keep it together,
Or tend to fart when you laugh;
Or if you're dealing with dry skin or corns,
I'll sort that out; or Cuckolds with their horns.
Neither Galen.

3. If lively Doll, the dairy maid,
It turns out to be pinched by the Fairy,
For churning butter with her tail,
I'll give her something that always works.
Neither Galen.


4. Or if she faces some worse fate,
Or if nightmares start to haunt her;
Or if she reveals everything in a dream,
I'll fix it for a little bit of cream.
Neither Galen.

4 Song.

4 Song.

1.  Is any so spent, that his wife keeps Lent?
Does any waste in his marrow?
Is any a slug? Let him taste of my drug,
’Twill make him as quick as a sparrow.
My powder and oil, extracted with toil,
By rare sublime infusions,
Have proof they are good, by mine own dear blood,
In many strange conclusions.

2.  Does any consume with the salt French rheum?
Doth the gout or palsy shake him:
Or hath he the stone, ere a month be gone,
As sound as a bell I’ll make him.
My powder.

3.  The griefs of the spleen, and maids that be green,
Or the heat in the Ladies’ faces;
The gripes of the stitch, or the Scholar’s itch,
In my cures deserve no places.
My powder.

The web or the pin,[624] or the morphew of skin,
Or the rising of the mother,
I can cure in a trice. Oh, then, be not nice,
Nor ought that grieves you smother.
My powder.

1.  Is anyone so tired that their wife is doing Lent?
Does anyone feel completely exhausted?
Is anyone being lazy? Let them give my solution a shot,
It’ll energize them like a bird.
My powder and oil, made with attention,
Through unique, exceptional blends,
Have shown they work, by my own experience,
In many unusual situations.

2.  Is anyone dealing with the salty French cold?
Does gout or paralysis affect them?
Or have they developed kidney stones in the past month?
I’ll make them as healthy as can be.
My powder.

3. The issues with the spleen, and those young women,
Or the flush on the women's faces;
The cramping pain, or the scholar's itch,
None of these situations deserve my attention.
My makeup.

The web or the pin,[624] or the skin rash,
Or any childbirth complications,
I can heal quickly. So, don’t be picky,
And don’t hide what bothers you.
My makeup.

FAMILIAR RECEIPTS.

Familiar recipes.

An approved receipt against Melancholy feminine.

An accepted response to Melancholy femininity.

If any Lady be sick of the Sullens, she knows not where, let her take a handful of simples, I know not what, and use them I know not how, applying them to the part grieved, I know not which, and she shall be well, I know not when.

If any woman is feeling down, she won't know why. She should take a handful of herbs, I don’t know which ones, and use them I don’t know how, applying them to the affected area, I don’t know which one, and she will feel better, I don’t know when.

Against the Scurvy.

Combatting Scurvy.

If any Scholar be troubled with an itch, or breaking out, which in time may prove the Scurvy, let him first forbear clawing and fretting meats, and then purge choler, but by no means upwards.

If any scholar has an itch or a rash that could develop into scurvy, they should first avoid scratching and eating irritating foods, and then detox their body of bile, but definitely not from the top down.

For restoring Gentlemen Ushers’ Legs.

For restoring Gentlemen Ushers’ legs.

If any Gentleman Usher hath the consumption in his legs, let him feed lustily on veal two months in the spring time, and forbear all manner of mutton, and he shall increase in calf.

If any gentleman usher has weak legs, let him eat plenty of veal for two months in the spring and avoid all kinds of mutton, and he will gain muscle.

For the Tentigo.

For the Tentigo.

If any be troubled with the Tentigo, let him travel to Japan, or, because the forest of Turnbolia is of the same altitude, or elevation of the Pole, and at hand, let him hunt there for his recreation, and it shall be done in an instant.

If anyone is having issues with the Tentigo, they should travel to Japan, or, since the Turnbolia forest is at the same height, or elevation as the Pole, and is nearby, they should go there for some relaxation, and it'll be resolved quickly.

For the Angina.

For angina.

If any Scholar labour of the Angina, a dangerous disease in the throat, so that he cannot speak an hour together once in a quarter of a year, let him forbear all violent exercises, as trotting to Westminster Hall every term, and all hot liquors and vapours; let him abstain from company, retiring himself warm clad in his study four days in a week, et fiet.[625]

If any Scholar suffers from Angina, a serious throat condition, to the point where he can't speak for an hour once every three months, he should avoid all strenuous activities, like running to Westminster Hall every term, as well as hot drinks and fumes; he should stay away from others, keeping himself warm and staying in his study four days a week, et fiet.[625]

For a Felon.

For an Ex-Convict.

If any be troubled with a Felon on his finger, whereby he hath lost the lawful use of his hand, let him but once use the exercise of swinging, and stretch himself upon the sovereign tree of Tiburnia, and it will presently kill the Fellon. Probatum.

If anyone is dealing with an abscess on their finger that has caused them to lose the normal use of their hand, they should simply try swinging and stretch themselves out on the sacred tree of Tiburnia, and it will quickly eliminate the abscess. Probatum.

For a Tympany.

For a Tympany.

If any Virgin be so sick of Cupid that the disease is grown to a Tympany, let her with all speed possible remove herself, changing air for forty weeks at least, keeping a spare diet as she travels, always after using lawful exercises, till she be married, and then she is past danger.

If any virgin is so lovesick that it has turned into a serious condition, she should quickly get away, changing her surroundings for at least forty weeks. She should maintain a light diet while traveling and always engage in proper exercises until she gets married, after which she'll be out of danger.

For Barrenness.

For Infertility.

If any lady be long married, yet childless, let her first desire to be a mother, and to her breakfast take a new-laid egg, in a spoonful of goat’s milk, with a scruple of Ambergris; and at supper feed on a hen trodden but[626] by one cock. But above all things, let her avoid hurrying in a Caroch, especially on the stones, and assuming a finer mould than nature meant her, and no doubt she shall fructify.

If a woman has been married for a long time but hasn't had any kids, she should first really want to be a mother. For breakfast, she should have a freshly laid egg with a spoonful of goat’s milk and a pinch of Ambergris. For dinner, she should eat a hen that has been mated by one rooster. Most importantly, she should avoid rushing in a carriage, especially over rough stones, and trying to be someone she's not, and she will likely become pregnant.

For the Falling Sickness.

For epilepsy.

If any woman be troubled with the falling sickness, let her not travel Westward Ho, because she must avoid the Isle of Man; and for that it is an evil Spirit only entered into her, let her for a Charm always have her legs across when she is not walking, and this will help her.

If any woman is dealing with epilepsy, she should avoid traveling to Westward Ho, because she needs to steer clear of the Isle of Man; and since it’s just an evil spirit that has possessed her, she should always keep her legs crossed when she’s not walking, and this will help her.

For a Rupture.

For a Breakup.

If any Tradesman be troubled with a Rupture in the bowels of his estate, that he cannot go abroad, let him decoct Gold from a pound to a noble, taking the broth thereof from six months to six months, and he shall be as able a man as ever he was.

If any Tradesman is dealing with a problem in his finances that keeps him from going out, let him extract Gold from a pound to a noble, taking the liquid from it every six months, and he will be as capable as he ever was.

Now, Princely Spectators, to let you see that we are men qualified from head to foot, we will show you a piece of our footmanship.

Now, Noble Spectators, to demonstrate that we are fully capable, we will showcase a display of our skill.

Dance Antimasque.

Dance Antimasque.

[Exeunt.

[Exit.

Enter Paradox.

Enter Paradox.

Health and jouisance to this fair assembly. Now the thrice three learned Sisters forsake me, if ever I beheld such beauties in Athens. You ask, perhaps, who I am that thus conceitedly salute you? I am a merry Greek, and a Sophister of Athens, who, by fame of certain novel and rare presentments undertaken and promised by the gallant Spirits of Graia drawn hither, have intruded myself, Sophiste like, in at the back door, to be a Spectator, or rather a Censor, of their undertakings. The Muses grant they may satisfy our expectations. Ah, the shows and the songs, and the speeches, and the plays, and the comedies, and the actings that I have seen at Athens! The universe never saw the like. But let that pass. There was another end of my coming, and that was to get some of these Beauties to be my disciples; for I teach them rare doctrines, but delightful; and if you be true Athenians (that is, true lovers of novelties, as I hope you all are) you will give my hopes their looked-for expectation. Know, then, my name is Paradox: a strange name, but proper to my descent, for I blush not to tell you truth. I am a slip of darkness, my father a Jesuit, and my mother an Anabaptist; and as my name is strange, so is my profession, and the art which I teach, myself being the first that reduced it to rules and method, bears my own name, Paradox. And I pray you, what is a Paradox? It is a Quodlibet, or strain of wit and invention screwed[627] above the vulgar conceit, to beget admiration. And (because method is the mother of discipline) I divide my Paradox[es] into these [three] heads—Masculine, Feminine, and Neuter; and first of the first, for the Masculine is more worthy than the Feminine, and the Feminine than the Neuter.

Health and pleasure to this lovely gathering. Now, the three wise Sisters abandon me, if I’ve ever seen such beauty in Athens. You might be wondering who I am to greet you so boldly. I’m a cheerful Greek and a philosopher from Athens, who, by the word of certain novel and rare performances promised by the brave Spirits of Graia, have slipped in through the back door to be a spectator, or rather a critic, of their endeavors. May the Muses help them meet our expectations. Oh, the shows, songs, speeches, plays, and comedies I’ve seen in Athens! The world has never witnessed anything like it. But let’s move on. There’s another reason for my visit, and that’s to recruit some of these beauties as my students; I teach them rare but delightful doctrines, and if you are true Athenians (that is, lovers of new experiences, as I hope you all are), you will fulfill my hopes. So, know that my name is Paradox: a strange name, but fitting for my background, for I don’t shy away from the truth. I am a blend of darkness, my father a Jesuit, and my mother an Anabaptist; and just as my name is unusual, so is my profession, and the art I teach, having been the first to put it into rules and method, bears my name, Paradox. And tell me, what is a Paradox? It’s a Quodlibet, or a strain of wit and creativity elevated above ordinary thought to inspire admiration. And (since method is the mother of discipline) I divide my Paradoxes into these three categories—Masculine, Feminine, and Neuter; starting with the first, because the Masculine is more worthy than the Feminine, and the Feminine more so than the Neuter.

[Draws his Book and reads.

Pulls out his book and reads.

Masculine.[628]

Masculine.[628]

1. He cannot be a Cuckold that wears a Gregorian, for a perriwig will never fit such a head.

1. He can't be a cuckold if he wears a Gregorian, because a wig will never fit that head.

2. A Knight of the long robe is more honourable than a Knight made in the field; for furs are dearer than spurs.

2. A Knight of the long robe is more honorable than a Knight made in the field; for furs are pricier than spurs.

3. ’Tis better to be a coward than a Captain; for a goose lives longer than a cock of the game.

3. It’s better to be a coward than a leader; because a goose lives longer than a fighting rooster.

4. A Cannibal is the lovingest man to his enemy; for willingly no man eats that he loves not.

4. A cannibal is the most affectionate person to his enemy; because no one willingly eats someone they don’t love.

5. A Bachelor is but half a man, and being wed, he may prove more than half a monster; for Aries and Taurus rule the head and shoulders, and Capricorn reacheth as low as the knees.

5. A bachelor is only half a man, and when married, he might turn into more than half a monster; because Aries and Taurus govern the head and shoulders, and Capricorn reaches down to the knees.

6. A wittall cannot be a Cuckold: for a Cuckold is wronged by his wife, which a wittall cannot be; for volenti non fit injuria.

6. A fool cannot be a cuckold: because a cuckold is wronged by his wife, which a fool cannot be; for volenti non fit injuria.

7. A Shoemaker is the fittest man of the parish to make a Constable; for he virtuti officii put any man in the stocks, and enlarge him at last.

7. A shoemaker is the best person in the parish to be a constable because he can put anyone in the stocks and eventually release them.

8. A prisoner is the best fencer; for he ever lies at a close ward.

8. A prisoner is the best fencer because he’s always on guard.

9. An elder Brother may be a wise man; for he hath wherewithal to purchase experience, at any rate.

9. An older brother can be a wise guy; after all, he has the means to gain experience, at the very least.

10. A Musician will never make a good Vintner; for he deals too much with flats and sharps.

10. A musician will never be a good winemaker; because he's too involved with flats and sharps.

11. A Drunkard is a good philosopher; for he thinks aright that the world goes round.

11. A drunk person is a good philosopher; they understand correctly that the world keeps turning.

12. The Devil cannot take Tobacco through his nose; for St. Dunstan hath seared that up with his tongs.

12. The Devil can't take tobacco through his nose; because St. Dunstan has burned that shut with his tongs.

13. Prentices are the nimblest Scavengers; for they can cleanse the City Stews in one day.

13. Apprentices are the fastest at cleaning up; they can tidy up the city’s muck in just one day.

14. No native Physician can be excellent; for all excellent simples are foreigners.

14. No local doctor can be great because all the best medicines come from abroad.

15. A Master of Fence is more honourable than a Master of Arts; for good fighting was before good writing.

15. A master of fencing is more honorable than a master of arts; because good fighting came before good writing.

16. A Court fool must needs be learned; for he goes to school in the Porter’s Lodge.

16. A court jester needs to be educated; after all, he goes to school in the gatehouse.

17. Burgomasters ought not to wear their fur gowns at Midsummer; for so they may bring in the sweating sickness again.

17. Mayors shouldn’t wear their fur gowns in the summer; otherwise, they might bring back the sweating sickness.

18. A Cutpurse is of the surest trade; for his work is no sooner done, but he hath his money in his hand.

18. A pickpocket is one of the most reliable jobs; as soon as he finishes his work, he has his money in hand.

Feminine.

Feminine.

1. ’Tis far better to marry a widow than a maid.—Causa patet.

1. It’s much better to marry a widow than a young woman.—Causa patet.

2. Downright language is the best Rhetoric to win a woman; for plain dealing is a jewel, and there is no lady but desires her lap full of them.

2. Straightforward language is the best way to win a woman; for honesty is precious, and every lady wants her lap full of it.

3. Women are to be commended for loving Stage players; for they are men of known action.

3. Women should be praised for loving actors; they are men of great action.

4. If a woman with child long to lie with another man, her husband must consent; for if he will not, she will do it without him.

4. If a pregnant woman wants to be with another man, her husband must agree; because if he doesn't, she'll do it anyway.

5. Rich widows were ordained for younger brothers; for they, being born to no land, must plough in another man’s soil.

5. Wealthy widows were meant for younger brothers; since they were born without any land, they have to work on someone else's property.

6. A maid should marry before the years of discretion; for Malitia supplet et cætera.

6. A maid should get married before she reaches her best years; for Malitia supplet et cætera.

7. ’Tis dangerous to wed a widow; for she hath cast her rider.

7. It's risky to marry a widow; she's already lost her partner.

8. An English virgin sings sweeter here than at Brussells; for a voluntary is sweeter than a forc’d note.

8. An English virgin sings sweeter here than in Brussels; because a voluntary note is sweeter than a forced one.

9. A great Lady may with her honour wear her servant’s picture; for a shadow yet never made a Cuckold.

9. A great lady can carry her servant’s picture with pride; after all, a shadow has never made a man a cuckold.

10. A painted Lady best fits a Captain; for so both may fight under their colours.

10. A painted lady is best suited for a captain; because both can fight under their own colors.

11. It is good for a young popish wench to marry an old man; for so she shall be sure to keep all fasting nights.

11. It's beneficial for a young Catholic girl to marry an older man; that way, she'll definitely have all the fasting nights to herself.

12. A dangerous secret is safely plac’d in a woman’s bosom; for no wise man would search for it there.

12. A dangerous secret is securely hidden in a woman's heart; because no wise man would go looking for it there.

13. A woman of learning and tongues is an admirable creature; for a starling that can speak is a present for an Emperor.

13. A knowledgeable woman with skills in different languages is an impressive person; a starling that can talk is a gift for an Emperor.

14. There were never so many chaste wives as in this age; for now ’tis out of fashion to lie with their own husbands.

14. There have never been as many faithful wives as there are now; because nowadays it’s no longer in style to sleep with their own husbands.

15. A great Lady should not wear her own hair; for that’s as mean as a coat of her own spinning.

15. A great lady shouldn't wear her own hair; that's as cheap as a coat made from her own spinning.

16. A fair woman’s neck should stand awry; for so she looks as if she were looking for a kiss.

16. A beautiful woman's neck should be tilted; it makes her look like she's waiting for a kiss.

17. Women love fish better than flesh; for they will have Place, whatever they pay for it.

17. Women prefer fish over meat; they will find a way to get it, no matter the cost.

Neuter.[629]

Neuter. __A_TAG_PLACEHOLDER_0__

1. Old things are the best things; for there is nothing new but diseases.

1. Old things are the best; because there's nothing new except for diseases.

2. The best bodies should wear the plainest habits; for painted Clothes were made to hide bare walls.

2. The best bodies should wear the simplest clothes; painted outfits are meant to cover up bare walls.

3. Dissemblers may safely be trusted; for their meaning is ever contrary to their words.

3. You can trust deceivers; their intentions are always the opposite of what they say.

4. Musicians cannot be but healthful; for they live by good air.

4. Musicians can’t help but be healthy because they thrive on fresh air.

5. An Usurer is the best Christian; for Quantum nummorum in arca, Tantum habet et fidei.

5. A moneylender is the best Christian; for Quantum nummorum in arca, Tantum habet et fidei.

6. None should have license to marry but rich folks; for Vacuum is a monster in rerum natura.

6. Only wealthy people should be allowed to marry; because Vacuum is a monster in rerum natura.

7. A hare is more subtle than a fox; for she makes more doubles than old Reynard.

7. A hare is sneakier than a fox; she pulls off more tricks than old Reynard.

8. ’Tis better to be a beggar than a Merchant; for all the world lies open to his traffic, and yet he pays no custom.

8. It's better to be a beggar than a merchant; because the whole world is open to his dealings, and yet he pays no taxes.

9. ’Tis more safe to be drunk with the hop than with the grape; for a man should be more inward with his Countryman than with a stranger.

9. It’s safer to be drunk on beer than on wine; because a man should be more open with his fellow countryman than with a stranger.

10. It is better to buy honour than to deserve it; for what is far fetched and dear bought is good for Ladies.

10. It’s better to buy honor than to earn it; because what is hard to get and costly is appealing to Ladies.

11. A man deep in debt should be as deep in drink; for Bacchus cancels all manner of obligations.

11. A man who is heavily in debt should also be heavily into drinking; because Bacchus wipes away all kinds of debts.

12. Playhouses are more necessary in a well governed Commonwealth than public Schools; for men are better taught by example than precept.

12. Playhouses are more essential in a well-run society than public schools because people learn better through example than through instruction.

13. It is better to feed on vulgar and gross meats, than on dainty and high dishes; for they that eat only partridge or quail, hath no other brood than woodcock or goose.

13. It's better to eat simple and hearty foods than fancy and extravagant dishes; because those who only eat partridge or quail have no other offspring than woodcock or goose.

14. Taverns are more requisite in a City than Academies; for it is better the multitude were loving than learned.

14. Pubs are more necessary in a city than schools; it's better for the masses to be friendly than educated.

15. A Tobacco shop and a Bawdy house are coincident; for smoke is not without fire.

15. A tobacco shop and a brothel go hand in hand; after all, where there's smoke, there's fire.

16. An Almanack is a book more worthy to be studied than the history of the world; for a man to know himself is the most worthy knowledge, and there he hath twelve signs to know it by.

16. An almanac is a book that's more valuable to study than world history; because knowing oneself is the most important knowledge, and it provides twelve signs to understand it.

17. Wealth is better than wit; for few poets have had the fortune to be chosen Aldermen.

17. Money is better than cleverness; because few poets have been lucky enough to be selected as Aldermen.

18. Marriage frees a man from care; for then his wife takes all upon her.

18. Marriage relieves a man of worry; because then his wife handles everything.

19. A Kennel of hounds is the best Consort;[630] for they need no tuning from morning to night.

19. A kennel of hounds is the best companion;[630] because they require no training from morning to night.

20. The Court makes better Scholars than the University: for where a King vouchsafes to be a teacher, every man blushes to be a non-proficient.

20. The Court creates better Scholars than the University: because when a King offers to be a teacher, everyone feels ashamed to be uneducated.

[Music sounds.

[Music plays.

Enter Pages.

Enter Pages.

Para. But hark! Music: they are upon entrance. I must put up.

Para. But listen! Music: they are entering. I must prepare.

Main Masque.

Main Masque.

Enter Pages 4.

Go to Pages 4.

Their Song, dialoguewise.

Their Song, dialogue-wise.

Where shall we find relief?
Is there no end of grief?
Is there no comfort left?
What cruel Charms bereft
The patrons of our youth?
We must now beg for ruth.
Enter Obscurity.
Kind pity is the most
Poor boys can hope for, when
Their joys are lost.

Where can we get help?
Is there no end to our pain?
Is there no comfort anymore?
What cruel magic took away
The joys of our youth?
Now, we have to plead for mercy.
Step into obscurity.
Kindness is everything
Poor boys can hope for when
Their happiness is lost.

Obscurity.

Obscurity.

Light, I salute thee; I, Obscurity,
The son of Darkness and forgetful Lethe;
I, that envy thy brightness, greet thee now,
Enforc’d by Fate. Fate makes the strongest bow.
The ever youthful Knights by spells enchain’d,
And long within my shady nooks restrain’d,
Must be enlarged, and I the Usher be
To their night glories; so the Fates agree.
Then, put on life, Obscurity, and prove
As light as light, for awe, if not for love.
Lo! hear their tender year’d, kind-hearted Squires,
Mourning their Master’s loss; no new desires
Can train them from these walks, but here they wend
From shade to shade, and give their toils no end.
But now will I relieve their suffering care.
Hear me, fair Youths! since you so constant are
In faith to your lov’d Knights, go haste apace,
And with your bright lights guide them to this place;
For if you fall directly, that descent,
Their wished approach will farther search prevent.
Haste by the virtue of a charming song,
While I retrieve them, lest they lag too long.

Light, I greet you; I, Obscurity,
The child of Darkness and the forgetful Lethe;
I, jealous of your brilliance, greet you now,
Forced by Fate. Fate creates the strongest bonds.
The timeless Knights captivated by magic,
And for a long time kept hidden in my dark corners,
Must be set free, and I will be the Guide.
To their nighttime greatness; this is what the Fates decide.
Then, embrace life, Obscurity, and reveal
As bright as light, to inspire awe, if not love.

Look! Hear their gentle and kind Squires,
Mourning their Master's loss; no new desires.
Can lead them away from these paths, but here they continue walking.
From one area of shade to another, putting in endless effort.
But now I will relieve their suffering.
Listen up, young ones! Since you are so loyal
To your dear Knights, move quickly,
And with your bright lights, lead them to this place;
For if you fall straight down, that drop,
Will stop their preferred approach from happening.
Hurry with the power of a catchy song,
While I bring them back so they don't stay too long.

THE CALL, OR SONG OF OBSCURITY.

THE CALL, OR SONG OF OBSCURITY.

Appear, Appear, you happy Knights!
Here are several sorts of Lights:
Fire and beauty shine together,
Your slow steps inviting hither.
Come away; and from your eyes
Th’ old shades remove,
For now the Destinies
Release you at the suit of Love.

So, so: ’tis well marched, march apace;
Two by two fill up the place,
And then with voice and measure
Greet the King of Love and Pleasure.
Now, Music, change thy notes, and meet
Aptly with the Dancers’ feet;
For ’tis the pleasure of Delight
That they shall triumph all this night.

Come on, come on, you happy Knights!
Here are all types of lights:
Fire and beauty shine together,
Your slow steps brought us here.
Come on; and with your eyes
Clear out the old shadows,
For now, the Fates
I release you at Love's request.

Alright, great job, keep it up;
Pair up and fill the space,
Then, with voice and rhythm
Welcome the King of Love and Pleasure.
Now, Music, change your notes and match.
In sync with the dancers;
For it's the joy of Delight.
They will celebrate all night long.

THE SONG AND DANCE TOGETHER.

The song and dance together.

Frolic measures now become you,
Overlong obscured Knights:
What if Lethe did benumb you,
Love now wakes you to delights.
Love is like a golden flower,
Your comely youth adorning:
Pleasure is a gentle shower
Shed in some April morning.

Lightly rise, and lightly fall you
In the motion of your feet:
Move not till our notes do call you;
Music makes the action sweet.
Music breathing blows the fire
Which Cupids feeds with fuel,
Kindling honour and desire,
And taming hearts most cruel.

Quickly, quickly, mend your paces,
Nimbly changing measured graces:
Lively mounted high aspire,
For joy is only found in fire.

Music is the soul of measure,
Mixing both in equal grace;
Twins are they, begot of Pleasure,
When she wisely numbered space.
Nothing is more old or newer
Then number, all advancing;
And no number can be truer
Than music joined with dancing.

Every Knight elect a Beauty,
Such as may thy heart inflame:
Think that her bright eye doth view thee,
And to her thy action frame.
So shall none be faint or weary,
Though treading endless paces;
For they all are light and merry
Whose hopes are fed with graces.

Sprightly, sprightly, end your paces,
Nimbly changing measured graces:
Lively mounted high aspire,
For joy is only found in fire.

Have fun with your moves now, __A_TAG_PLACEHOLDER_0__.
Hidden Knights:
What if Lethe has numbed you,
Love now brings you happiness.
Love is like a golden flower,
Embracing your lovely youth:
Pleasure is a soft rain.
Falling on an April morning.

Rise softly and fall gently
With the movement of your feet:
Wait until our notes tell you to move;
Music makes everything better.
Music and breathing fuel passion
That Cupids fuel with energy,
Starting respect and passion,
And softening the harshest hearts.

Hurry up, speed it up,
Swiftly altering your elegant moves:
Rise up and aim high,
Joy is only found in fire.

Music is the essence of rhythm,
Blending both with equal flair;
They are twins, born from Pleasure,
When she carefully measured the space.

Nothing is old or new
Than rhythm, always getting better;
And no rhythm can be more authentic.
Better than music with dancing.

Every Knight should select a Beauty,
Someone who can set your heart on fire:
Imagine her bright eyes looking at you,
And adjust your actions for her.
Then no one will feel tired or worn out,
Even while walking endless paths;
For they are all bright and happy.
Whose hopes are nourished by beauty.

Lively, lively, complete your steps,
Fluidly changing your graceful moves:
Stay energetic and reach high,
Joy can only be found in fire.

Obscurity.

Obscurity.

Servants of Love, for so it fits you be,
Since he alone hath wrought your liberty,
His ceremonies now and courtly rites
Perform with care, and free resolved sprites.
To sullen darkness my dull steps reflect;
All covet that which Nature doth affect.

You who serve Love, which is what you are,
Since he is the only one who has granted you your freedom,
Now perform his rituals and formalities.
With care and determined spirits that are free.
My slow footsteps echo in the dark gloom;
Everyone wants what Nature has selected.

The Second Measure; which danc’d,

The Second Measure, which danced,

SONG TO TAKE OUT THE LADIES.

SONG TO TAKE OUT THE LADIES.

On, on, brave Knights, you have well showed
Each his due part in nimble dances:
These Beauties to whose hands are owed
Yours, wonder why
 You spare to try.
Mark how inviting are their glances.
Such, such a charm, such faces, such a call,
Would make old Æson skip about the Hall.

See, see fair choice, a starry sphere
Might dim bright day: choose here at pleasure.
Please your own eye: approve you here,
Right gentle Knights:
 To these soft wights
View, talk and touch, but all in measure.
Far far from hence be roughness, far a frown;
Your fair deportment this fair night shall crown.

Forward, brave Knights, you've done great.
To showcase each of your roles in vibrant performances:
These beauties to whom your hearts are devoted
Wondering why
You're hesitant to try.
Notice how welcoming their looks are.
Such charm, such faces, such a call,
Could make even old Æson dance around the hall.

Look, check out your perfect choices, a starry view.
That could dampen a bright day: pick what you want.
Please trust your own taste: like what you see,
Gentle Knights:
To these beautiful beings
Engage, talk, and connect, but do it thoughtfully.
Keep the roughness away, and stay clear of any frowns;
Your elegant behavior will make this night truly special.

After they have danced with the Ladies, and set them in their places, fall to their last Dance.

After they’ve danced with the Ladies and positioned them, they proceed to their final Dance.

Enter Paradox, and to him his Disciples.

Enter Paradox, and his Disciples follow him.

Silence, Lordings, Ladies, and fiddles! Let my tongue twang awhile. I have seen what hath been showed; and now give me leave to show what hath not been seen, for the honour of Athens. By virtue of this musical Whistle I will summon my disciples. See obedience: here they are all ready. Put forward, my paradoxical Pupils, methodically and arithmetically, one by one.

Silence, lords, ladies, and musicians! Let me speak for a moment. I have witnessed what has been shown; and now allow me to reveal what hasn't been seen, for the honor of Athens. With this musical whistle, I will call my students. Look at their readiness: here they all are. Step forward, my unconventional students, systematically and orderly, one by one.

1. Behold this principal Artist that swift encounters me, whose head is honoured by his heels for dancing in a Chorus of a Tragedy presented at Athens, where he produced such learned variety of footing, and digested it so orderly and close to the ground, that he was rewarded with this relic, the cothurne or buskin of Sophocles, which for more eminence he wears on his head. The paradoxical virtue thereof is, that being dipped into River or Spring, it alters the nature of the liquor, and returneth full of wine of Chios, Palermo, or Zante.

1. Check out this main Artist who quickly crosses my path, whose head is honored by his heels for dancing in a Chorus of a Tragedy performed in Athens, where he showcased such a skilled variety of steps, keeping it so orderly and close to the ground that he earned this relic, the cothurne or buskin of Sophocles, which he proudly wears on his head. The interesting thing about it is that when dipped in a River or Spring, it changes the nature of the liquid and comes back full of wine from Chios, Palermo, or Zante.

2. This second Master of the science of footmanship (for he never came on horseback in his life) was famed at the Feast of Pallas, where in dancing he came off with such lofty tricks, turns above ground, capers, cross-capers, horse-capers, so high and so lofty performed, that he for prize bore away the Helmet of Pallas. The paradoxical virtue of the Cask is, that in our travels if we fall among enemies, show but this, and they suddenly vanish all like fearful shadows.

2. This second Master of footwork (since he never rode a horse in his life) was well-known at the Feast of Pallas, where he impressed everyone with his amazing dance moves, including incredible tricks, jumps, and aerial stunts that were so high and impressive that he won the Helmet of Pallas as a prize. The strange power of the Cask is that if we find ourselves among enemies during our travels, just showing this will make them disappear like scared shadows.

3. Now, view this third piece of Excellence: this is he that put down all the Bakers, at the feast of Ceres, and so danced there, as if he had kneaded dough with his feet: wherewith the Goddess was so tickled, that she in reward set this goodly loaf on his head, and endued it with this paradoxical influence, that cut off it and eat as often as you please, it straight fills up again, and is in the instant healed of any wound our hunger can inflict on it.

3. Now, look at this third piece of Excellence: this is the one who shut down all the bakers at Ceres' feast and danced as if he had kneaded dough with his feet. The Goddess was so amused by this that she rewarded him by placing this lovely loaf on his head, giving it the amazing ability that no matter how often you cut it or eat from it, it instantly fills back up and heals from any injury our hunger can cause.

4. Approach now thou that comest in the rear of my disciples, but mayest march in the vanguard of thy validity; for at the celebration of the feast of Venus Cytherea, this Amoroso did express such passion with his eyes, such casts, such winks, such glances, and with his whole body such delightful gestures, such cringes, such pretty wanton mimics, that he won the applause of all; and, as it was necessary at the Feast of that Goddess, he had then a most ample and inflaming codpiece, which, with his other graces, purchased him this prize, the Smock of Venus, wrapped turbanlike on his head, the same she had on when she went to bed to Mars, and was taken napping by Vulcan. The Paradox of it is, that if it be hanged on the top of our Maypole, it draws to us all the young lads and lasses near adjoining, without power to part till we strike sail ourselves. And now I have named our Maypole, go bring it forth, though it be more cumbersome than the Trojan horse: bring it by force of arms, and see you fix it fast in the midst of this place, lest, when you encircle it with your capricious dances, it falls from the foundation, lights upon some lady’s head, and cuffs off her perriwig. But now for the glory of Athens!

4. Approach now you who come behind my followers, but you may lead with your strength; for at the celebration of Venus Cytherea, this Amoroso showed such passion with his eyes, such looks, such winks, such glances, and with his whole body such delightful movements, such bows, such charming playful gestures, that he won everyone's applause; and, as was necessary at the Feast of that Goddess, he had a very large and eye-catching codpiece, which, along with his other charms, earned him this prize, the Smock of Venus, wrapped like a turban on his head, the same one she wore when she went to bed with Mars and was caught napping by Vulcan. The paradox is that if it's hung at the top of our Maypole, it attracts all the young boys and girls nearby, and they can't leave until we decide to end it. And now that I've mentioned our Maypole, go bring it out, even though it's more cumbersome than the Trojan horse: bring it with force, and make sure you secure it right in the middle of this place, lest, when you surround it with your whimsical dances, it falls over, lands on some lady’s head, and knocks off her wig. But now, for the glory of Athens!

Music plays the Antimasque. The disciples dance one Strain.

Music plays the Antimasque. The disciples dance one tune.

We have give you a taste of the excellency of our Athenial Revels, which I will now dignify with mine own person. Lie here, impediment, whereof being freed, I will descend. O, you Authors of Greek wonders! what ostent is this? What supernatural Paradox? a wooden Maypole find the use of voluntary motion! Assuredly this tree was formerly the habitation of some wood nymph, for the Dryads (as the Poets say) live in trees; and perhaps, to honour my dancing, the nymph hath crept into this tree again: so I apprehend it, and will entertain her courtesy.

We’ve given you a glimpse of the greatness of our Athenial Revels, which I will now grace with my presence. Stay here, obstacle, from which I will be freed to come down. Oh, you authors of Greek wonders! What show is this? What supernatural paradox? A wooden Maypole is moving on its own! Surely, this tree must have once been home to some wood nymph, since Dryads (as the poets say) live in trees; and maybe, to honor my dancing, the nymph has once again crept into this tree: that’s how I see it, and I will appreciate her kindness.

Paradox, his Disciples, and the Maypole, all dance.

Contradiction, his disciples, and the Maypole, all dance.

Did ever eye see the like footing of a tree, or could any tree but an Athenian tree do this? or could any nymph move it but an Athenian nymph? Fair Nymph, though I cannot arrive at thy lips, yet will I kiss the wooden mask that hides thy no doubt most amiable face.

Did any eye ever see the like of a tree’s roots, or could any tree but an Athenian tree do this? Or could any nymph move it but an Athenian nymph? Beautiful Nymph, even though I can't reach your lips, I will kiss the wooden mask that hides your surely lovely face.

Paradox offers to kiss and a Nymph’s head meets him out of the Maypole.

Contradiction offers to kiss, and a Nymph’s head meets him from the Maypole.

Wonder of wonders! Sweet Nymph, forbear: my whole structure trembles: mortality cannot stand the brightness of thy countenance. Pursue me not, I beseech thee: put up thy face, for love’s sake. Help, help! Disciples, take away this dismal peal from me. Rescue me, with all your violence.—So, the Devil is gone, and I will not stay long after. Lordings and Ladies: if there be any here desirous to be instructed in the mystery of Paradoxing, you shall have me at my lodging in the black and white Court, at the sign of the Naked Boy. And so to you all the best wishes of the night.

Wonder of wonders! Sweet Nymph, please hold on: my whole being is shaking; mere mortals can't handle the brilliance of your face. Don't pursue me, I beg you: hide your face, for love's sake. Help, help! Disciples, take away this dreadful noise from me. Rescue me with all your strength. —So, the Devil is gone, and I won't be sticking around much longer. Lords and Ladies: if anyone here wants to learn the secrets of Paradoxing, you can find me at my place in the black and white Court, at the sign of the Naked Boy. Wishing you all a wonderful night.

Enter Mountebank, like a Swiss.

Enter Mountebank, like a pro.

Stay, you presumptuous Paradox! I have viewed thy antics and thy Puppet, which have kindled in me the fire of Emulation. Look; am I not in habit as fantastic as thyself? Dost thou hope for grace with Ladies, by thy novel doctrine? I am a man of art: witness this, my Charming Rod, wherewith I work Miracles; and whereas thou like a fabulous Greek, hast made monsters of thy Disciples, lo! I will oppose squadron against squadron, and plain truth against painted fiction. Now for [thy] moving Ale-sign: but for frighting the Devil out of it, I could encounter thee with Tottenham High Cross, or Cheap Cross (though it be new guilt), but I scorn odds, and therefore will I affront thee pole to pole. Go, Disciples: usher in our lofty enchanted motion; and, Paradox, now betake you to your tackling, for you deal with men that have got air and fire in them.

Stay, you arrogant Paradox! I've watched your antics and your Puppet, which have sparked the fire of competition in me. Look; am I not dressed as strangely as you are? Do you think you'll win favor with the ladies because of your new ideas? I am a man of skill: witness this, my Charming Rod, with which I perform miracles; and while you, like an amazing Greek, have created monsters out of your followers, I will challenge you squad against squad, and straightforward truth against embellished fiction. Now for your moving Ale-sign: but to scare the devil out of it, I could face you with Tottenham High Cross or Cheap Cross (though it may be new gilt), but I refuse to count the odds, so I will confront you stick for stick. Go, followers: bring forth our grand enchanted movement; and, Paradox, now prepare yourself, because you’re up against men full of passion and fire.

Paradox.

Paradox.

Assist me, thou active nymph, and you, my glorious associates. Victory! Victory for Athens!

Help me, you energetic nymph, and you, my amazing friends. Victory! Victory for Athens!

[Dance.

Dance.

Mountebank.

Fraud.

Accomplished Greek! now, as we are true Mountebanks, this was bravely performed on both parts, and nothing now remains but to make these two Maypoles better acquainted. But we must give place: the Knights appear.

Accomplished Greek! Now, since we're true showmen, this was done well by both sides, and all that's left is to get these two Maypoles to know each other better. But we need to step aside: the Knights are coming.

Obscurity Enter.

Obscurity Enter.

Enough of these night-sports! part fairly, Knights,
And leave an edge on pleasure, lest these lights
I suddenly dim all; and pray, how then
Will these gay Ladies shift among you men,
In such confusion? Some their homes may miss:
Obscurity knows tricks as mad as this.
But make your parting innocent for me;
I will no author now of Error be.
Myself shall pass with you, a friend of light,
Giving to all this round a kind good night.

Enough with these late-night activities! Play fair, Knights,
And keep some joy alive, or else these lights
Could suddenly go out; and then,
How will these lovely ladies interact with you men,

In such chaos, some might lose their way home:
Darkness has its own wild ways just like this.
But please separate on good terms for me;
I won't be responsible for any mistakes.
I will accompany you as a friend of happiness,
Wishing everyone a peaceful good night.

LAST SONG.[631]

LAST SONG.[631]

We must away: yet our slack pace may show
’Tis by constraint we this fair Orb forego.
Our longer stay may forfeit what but now
Love hath obtained for us: to him we bow,
And to this gentler Power, who so contriv’d
That we from sullen shades are now depriv’d,
And hither brought, where Favour, Love, and Light,
So gloriously shine, they banish Night.
More would we say, but Fate forbids us more.—
Our Cue is out—Good night is gone before.[632]

We have to leave, but our slow pace might give us away.
It's just that we have to leave this beautiful place.
Staying longer might cause us to lose what we just had.
Love has triumphed for us: we honor him,
And to this kinder force, who organized
To be freed from dark clouds,
And brought us here, where Favor, Love, and Light,
Shine so brightly that they drive away the night.
We'd share more, but Fate won't let us.
Our cue is ready—Good night has arrived.[632]

[623] “Fever-lurdens”—a jocular term for slothfulness.

“Fever-lurdens”—a playful term for sloth.

[624] “Pin and the web” was the name of a disorder of the eye.

[624] “Pin and the web” was the term used for an eye condition.

[625] The words “et fiet” are omitted in Add. MS.—Nichols gives “at first.”—It may be remarked that Nichols’ transcript is made throughout in a slovenly manner.

[625] The words “et fiet” are left out in Add. MS.—Nichols states “in the beginning.”—It can be noted that Nichols’ transcript is consistently done in a careless way.

[626] “But” is omitted by Collier, but found in Add. MS. and Nichols.

[626] “But” is left out by Collier, but included in Add. MS. and Nichols.

[627] So Add. MS. and Nichols.—Collier gives “strued.”

__A_TAG_PLACEHOLDER_0__ So Add. MS. and Nichols.—Collier gives “strued.”

[628] In Add. MS. and Nichols are some additional “paradoxes.”

[628] In Add. MS. and Nichols, there are some extra “paradoxes.”

[629] “Epicæne” in the MS. is struck out and “Newter” written as a correction.

[629] “Epicæne” in the MS. is crossed out and “Newter” is written as a correction.

[630] Concert.

Concert.

[631] In Nichols’ Progresses the Masque concludes with the following song:—
“The hour of sweety night decays a-pace,
And now warm beds are better than this place.
All time is long that is unwillingly spent,
But hours are minutes when they yield content:
The gathered flowers we love that breathe sweet scent,
But loathe them, their sweet odours being spent.
It is a life is never ill
To lie and sleep in roses still.

The rarer pleasure is it is more sweet,
And friends are kindest when they seldom meet.
Who would not hear the nightingale still sing,
Or who grew ever weary of the spring?
The day must have her night, the spring her fall,
All is divided, none is lord of all:
It were a most delightful thing
To live in a perpetual spring.”

[631] In Nichols’ Progresses, the Masque ends with this song:—
"The sweet hour of night is disappearing quickly,
And now cozy beds are better than this place.
Time always feels long when it's spent with reluctance,
But hours feel like minutes when they're enjoyable:
We love the bunches of flowers that emit a sweet fragrance,
But we can't stand them once their scent disappears.
A life spent deceiving and resting among roses.
It's definitely never a bad thing.

The less frequent the pleasure, the more enjoyable it is.
Friends are at their nicest when they don't see each other often.
Who wouldn't want to listen to the nightingale sing forever,
Or who has ever gotten tired of spring?
The day needs its night, and spring needs its fall,
Everything is split up; nobody is in control of it all:
It would be a very enjoyable thing.
"To live in a perpetual spring."

In the third line we should doubtless read “unwilling” for “unwillingly.”

In the third line, we should definitely read “unwilling” instead of “unwillingly.”

[632] In Add. MS. follow some “paradoxes” which “were read at Gray’s Inn but left out at Court to avoid tediousness.” Most of these are found in pp. 428-432.

[632] In Add. MS. there are some “paradoxes” that “were presented at Gray’s Inn but not included at Court to keep things from getting tedious.” Most of these can be found on pp. 428-432.

Amicis,[633] amici nostri dignissimi dignissimis,

Dear friends, __A_TAG_PLACEHOLDER_0__ esteemed friends

EPIGRAMMA

EPIGRAM

D.

D.

Johannes Marstonius.

Johannes Marstonius.

Ye ready friends, spare your unneedful bays:
This work despairful Envy must even praise.

Phœbus hath voiced it loud through echoing skies:
“Sejanus’ Fall shall force thy merit rise:”

For never English shall, or hath before
Spoke fuller graced. He could say much, not more.

Alright friends, hold off on your excessive compliments:
This work, filled with despair, must be recognized by Envy.

Apollo has announced it boldly in the skies:
"Sejanus' Fall will increase your value:"

For no English writer has, or ever will,
Speak with such elegance. He could say a lot, but no more.

[633] Prefixed to the 1605 4to. of Ben Jonson’s Sejanus.

[633] Added to the 1605 4to. edition of Ben Jonson’s Sejanus.

INDEX.

  • Abhominable, ii. 219
  • Accourt, i. 52
  • Accoustrements, iii. 261
  • Accustrements, i. 24
  • Achelous, ii. 144
  • Actors (two or more parts taken by one actor), i. 8
  • Adamant softened by goat’s blood, iii. 151
  • Aderliver, ii. 18
  • Admiral, iii. 84
  • Adore and adorn (confusion between), iii. 362
  • Ægina, iii. 290
  • Affects (= affections), i. 119, 160
  • A-jax, ii. 368; iii. 377
  • Allay, ii. 73
  • All-canning, iii. 263, 335
  • Aloune (Fr. allons), ii. 355
  • Ambages, iii. 173
  • Anatomy, iii. 139, 236
  • Ancome, iii. 51
  • And ever she cried Shoot home, iii. 15
  • Anechou e apechou, ii. 176
  • An-end, iii. 164
  • Aphrodisiacs, i. 239
  • Apple-squire, ii. 383
  • Aporn, ii. 65
  • Apostata, iii. 220
  • Approvement, i. 189
  • Apricock, ii. 130
  • Aquinian, iii. 327
  • Aretine, Puttana Errante falsely ascribed to, iii. 377;
    • Aretine’s Pictures, iii. 275
  • Aristotle quoted, iii. 329;
    • Aristotle’s Problems, i. 152
  • Armed Epilogue, i. 93
  • Assay (“give me assay”), i. 64
  • Assured, i. 109
  • At all, iii. 318
  • Aunt, ii. 14
  • Babies, iii. 362
  • Babion, iii. 364
  • Bable, i. 85, 158; ii. 69
  • Bacchis, iii. 356
  • Backside, iii. 101
  • Bacon, Friar, ii. 125
  • Badged coach, iii. 350
  • Baffle, ii. 401
  • Baldessar Castiglione, i. 222; iii. 264
  • Bale of dice, ii. 382
  • Balloon, iii. 17
  • Bankrout, i. 138
  • Banks, i. 21
  • Barbary sugar, ii. 360
  • Barksteed, William, iii. 243
  • Barmy froth, iii. 339
  • Barnes, Barnabe, iii. 358
  • Bases, iii. 153
  • Basilisco, ii. 348
  • Basilus manus, iii. 192
  • Basket (for collecting food for poor prisoners), iii. 111
  • Bastard, Thomas, quoted by Marston, Addenda, vol. i.
  • Battle fate, ii. 350
  • Bawbees, i. 204
  • Bayard (“bold as blind Bayard”), ii. 324
  • Beaking, i. 133
  • Bear a brain, ii. 60, 124
  • Bear no coals, i. 168
  • Beat, i. 146
  • Beaver, iii. 350
  • Becco, i. 214, 287
  • Beg for a fool, i. 233; ii. 347; iii. 217
  • Beggar-wench, jest about, iii. 302
  • Bel and the Dragon, ii. 131
  • Belly-cheer, iii. 366
  • Bescumber, iii. 363
  • Bessicler’s armour, i. 30
  • Bewray and beray, i. 114; ii. 359
  • Bezel, i. 240; iii. 275, 349
  • Black ox trod o’ my foot, iii. 119
  • Blackfriars, feather-makers reside at, i. 202;
    • Blackfriars’ Theatre, i. 199
  • Black-guard, ii. 182
  • Blacks, ii. 339
  • Blacksaunt, iii. 347
  • Blind Gew, i. 13
  • Blue coat, iii. 50, 301
  • Books called in, ii. 48
  • Boot-carouse, iii. 275
  • Borage in wine, iii. 394
  • Bottle-ale (term of reproach), iii. 339
  • Brack, i. 9, 140
  • Bragot, ii. 101
  • Braided, iii. 325, 337
  • Brakes, i. 320
  • Brasil, iii. 272
  • Brides serenaded on the morning after their wedding, ii. 389
  • Brill, iii. 348
  • Brittany, i. 26
  • Browne, Sir Thomas, quoted, ii. 197; iii. 151, 241
  • Budge, iii. 346, 368
  • Buffin, iii. 14
  • Bully, i. 79; ii. 353
  • Burbage, Richard, i. 201
  • Burbolt, ii. 323
  • Burgonian’s ward, iii. 373
  • Buried treasure, iii. 219
  • Burn, iii. 241
  • Busk, i. 9
  • Busk-point, i. 274; iii. 255
  • Buss, ii. 90
  • But a little higher, &c., Addenda, vol. i.
  • Cable-hatband, i. 31
  • Cables (used as a protection from the fire of the enemy), i. 30
  • Camomile (“mount like camomile”), ii. 144
  • Campion, Thomas, Addenda, vol. i.
  • Cant, i. 132
  • Carpet-boy, i. 20
  • Carry coals, i. 288
  • Carver (“you’re a cunning carver”), iii. 141
  • Case (kaze), ii. 11
  • Case (= covering), iii. 109
  • Case of rapiers, i. 30
  • Cast o’ ladies, i. 238
  • Castilio, i. 222; iii. 264
  • Casting-bottle, i. 13
  • Catso, i. 216, 304, &c.
  • Censure, i. 202; ii. 255, 323
  • Chamlet, ii. 345
  • Chaun, i. 46
  • Cheat-bread, iii. 103
  • Cheator, ii. 406
  • Cherries at an angel a pound, iii. 15
  • Chittizen, iii. 19
  • Chopines, ii. 50
  • Christ-Church Parish, iii. 12
  • Chuck (term of endearment), iii. 104
  • Cinædian, iii. 310
  • Cinquepace, iii. 268
  • Cipres, i. 258
  • Cittern-heads, iii. 301
  • Claw, i. 105
  • Clerkenwell, ii. 16
  • Close fight, i. 24
  • Clove-stuck face, iii. 348
  • Clumsy, i. 99
  • Clutch, i. 144
  • Cluttered, i. 120; iii. 356
  • Coast, i. 312
  • Cockatrice, i. 301; ii. 18; iii. 224
  • Codpis, iii. 273
  • Cog a die, i. 48
  • Coistered, i. 293
  • Collogue, i. 302
  • Colour de roy, i. 111
  • Come aloft Jack-an-apes, i. 214
  • Come on five, iii. 318
  • Commodities (“take up commodities”), i. 305, &c.
  • Common-place book out of plays, iii. 372
  • Complements, i. 233
  • Consort, iii. 432
  • Convey, ii. 387
  • Copy, ii. 408
  • Coranto, i. 32
  • Corbed, i. 130
  • Cork shoe, i. 81
  • Cornish daws, iii. 332
  • Coronel, iii. 212
  • Corsive, iii. 151
  • Cote, i. 167
  • Crab’s baked guts, i. 239; iii. 320
  • Crack (pert boy), ii. 383
  • Creak’s noise, ii. 45
  • Cressit light, i. 41
  • Cross-bite, ii. 381, 387
  • Crowds, ii. 373
  • Crudled, i. 26
  • Cuckold’s haven, iii. 68
  • Cuckquean, ii. 377
  • Cullion, i. 206; iii. 89
  • Cullisses, ii. 141
  • Culvering, iii. 365
  • Curson’d, i. 55
  • Curtain Theatre, Romeo and Juliet performed at, iii. 373
  • Custard (“let custards quake”), iii. 312
  • Cut (“in the old cut”), i. 11
  • Cut and long tail, iii. 10
  • Cutter, ii. 401
  • Cutting, ii. 45
  • Cyllenian, iii. 274
  • Dametas, iii. 268
  • Daniel the Prophet, ii. 150; iii. 341
  • Daniel, Samuel, iii. 283
  • Day (“let him have day”), ii. 8
  • Day, John, his Humour out of Breath dedicated to Signior Nobody, i. 5;
    • quotation from his Isle of Gulls, i. 289
  • Death o’ sense, ii. 158
  • Death’s head on rings, ii. 16
  • Decimo sexto, i. 203
  • Defend (“God defend!”), i. 204
  • Demosthenes paid for his silence, ii. 152
  • Denier, iii. 315
  • Depaint, i. 90; iii. 271
  • Deprave, ii. 126
  • Diet, ii. 370;
    • diet-drink, ii. 15
  • Diety, ii. 24
  • Digby, Sir Everard, ii. 193
  • Dilling, ii. 344; iii. 10
  • Ding, i. 11, 166; iii. 282
  • Diogenes the Cynic, scandalous story about, iii. 319
  • Dipsas, i. 238
  • Discreet number, iii. 314
  • Disgest, i. 140, 146, 161; ii. 179
  • Divines and dying men may talk of hell, &c., iii. 225
  • Division, i. 48, 81
  • Do me right and dub me knight, i. 81
  • Donne’s verses On a Flea on his Mistress’ Bosom, iii. 359
  • Donzel del Phebo, i. 300
  • Dowland, John, his First Book of Songs quoted, iii. 14, 55
  • Drake’s ship at Deptford, iii. 59
  • Drayton, Michael, iii. 283, 363
  • Drink drunk, iii. 84
  • Dropsy-noul, iii. 340
  • Dun cow with a kettle on her head, i. 72
  • Durance, iii. 15
  • Dutch ancients, iii. 351
  • Eager, ii. 73
  • Eastward Ho! iii. 5;
    • satirical reflections on the Scots, iii. 65
  • Ela (“I have strained a note above Ela”), i. 86
  • Enagonian, iii. 336
  • Enginer, iii. 97
  • Enhanceress, ii. 15
  • Epictetus, saying of, ii. 176
  • Erasmus, resemblance between a passage of his Colloquies and passage of First Part of Antonio and Mellida, i. 62
  • Ercole, Duke of Ferrara, ii. 117
  • Estro, ii. 156
  • Euphues, ii. 69
  • Fact, ii. 95; iii. 224
  • Fage, iii. 308
  • Fair, iii. 350
  • Falls, iii. 267
  • False lights, iii. 337
  • Family of Love, ii. 13
  • Far fet and dear bought is good for ladies, i. 306
  • Fart (“get a fart from a dead man”), iii. 90
  • Fawn, ii. 115
  • Feak, iii. 265
  • Fear (= frighten), ii. 158
  • Fear no colours, iii. 153
  • Featherbeds used in naval engagements as a protection against the fire of the enemy, i. 30
  • Feature, iii. 251
  • Feed and be fat, my fair Calipolis, ii. 404
  • Fencing, terms in, iii. 373
  • Fere, iii. 225
  • Fetch, i. 127
  • Fever-lurdens, iii. 420
  • Fico, ii. 133; iii. 320
  • Figent, iii. 60
  • Fin (“the fin of his eyes”), i. 214
  • Fist, ii. 42, 73, 82; iii. 90
  • Flap-dragon, ii. 70
  • Flat-cap, ii. 32; iii. 11
  • Fleam, i. 230
  • Fleamy, i. 133
  • Flushing, i. 234
  • Flyboat, i. 87
  • Foisting-hound, iii. 41
  • Foot-cloth, i. 213; ii. 153
  • Foutra, ii. 32
  • Fowl (fool), i. 260
  • Frail commodities, iii. 40
  • French brawl, ii. 377
  • Froe, ii. 13
  • Froterer, ii. 384
  • Fumatho, ii. 184
  • Galleasse, i. 87, 162
  • Gallemawfrey, iii. 139
  • Gamashes, ii. 344
  • Garboil, iii. 356
  • Geason, ii. 331, 339
  • Gelded vicary, iii. 324, 337
  • Gelid and jellied, ii. 291
  • Gern, i. 55, 111; ii. 203, 403
  • Get-penny, iii. 87
  • Gew, the actor, i. 13; Addenda, vol. i.
  • Ghosts of misers, iii. 219
  • Giants at the Lord Mayor’s pageant, ii. 50
  • Gib-cat, ii. 203
  • Giglet, ii. 340, 400
  • Gilt, iii. 323
  • Give arms, iii. 11
  • Give further day, ii. 328
  • Glaired, iii. 277
  • Glassy Priapus, iii. 309
  • Glaver, iii. 263, 339
  • Glibbery, i. 22
  • Glory, ii. 225
  • Gnatho, iii. 291
  • Goat’s blood, iii. 151
  • God you good even, iii. 5;
    • God ye good morrow, ii. 393
  • God’s neaks, i. 54
  • Gold ends, iii. 28
  • Gold-end man, iii. 103
  • Goldsmiths’ Row, i. 205
  • Good man (= wealthy man), ii. 57
  • Goose-turd-green, ii. 47
  • Gorget, ii. 260
  • Gormand, iii. 327
  • Granado netherstocks, iii. 301
  • Grand grincome, ii. 31
  • Great man’s head, iii. 348
  • Gresco, iii. 93
  • Griffith, Margaret, i. 233
  • Griffon, i. 297
  • Grillus, iii. 281
  • Ground, i. 37; iii. 142
  • Guarded, i. 232; iii. 346
  • Guards, ii. 387; iii. 14
  • Guilpin, Edward, iii. 287, 367
  • Gundolet, i. 57
  • Gurnet’s head, iii. 341
  • Guzzel dogs, iii. 308
  • Half-clam’d, i. 150
  • Half-crown ordinary, ii. 406
  • Hall, Joseph, iii. 281-6;
    • Marston’s imitations of, iii. 310, 320, 323
  • Hall (“A hall! a hall!”), iii. 372
  • Hamlet, quoted in The Malcontent, i. 201, 264;
    • early popularity of, iii. 49, 52;
    • imitation of passages from, i. 224; iii. 133, 134, 137, 230
  • Hangers, i. 36; ii. 406
  • Harvey, John, i. 205
  • Hatch short sword, ii. 406
  • Hazard, iii. 100
  • Head-men, iii. 37
  • Healths in urine, ii. 70
  • Heathy, i. 15; Addenda, vol. i.
  • Hem, ii. 14
  • Henry IV., Part I., imitation of passage from, iii. 219
  • Herring-bones, iii. 344
  • Hey-pass re-pass, ii. 381
  • Heywood, Thomas, popularity of his If you know not me you know nobody, iii. 87
  • High-lone, i. 172
  • High-noll’d, i. 165
  • Hipponax, iii. 359
  • Hiren (“Hast thou not Hiren here?”), iii. 26
  • Hogson, iii. 319
  • Hole (part of a prison), iii. 106
  • Honorificabilitudinitatibus, ii. 92
  • Horn-fair, iii. 72
  • Hout, i. 65
  • Huddle, i. 213
  • Hull, i. 87; ii. 250
  • Hyena, iii. 115;
    • confused by Marston with the panther, ii. 347
  • Hymen represented in a saffron robe, i. 261
  • Imagines Deorum, iii. 270
  • Imbraid, i. 117, 283
  • Incubus, i. 107, 172
  • Inductions to plays, i. 7
  • Ingenious, ii. 109, 397
  • Injury (verb), iii. 381
  • Instaur’d, ii. 333
  • Intellectual, iii. 372
  • Inward, i. 282
  • Io! i. 183
  • Irishmen, commendable bashfulness of, i. 265
  • Italy, vices brought to England from, iii. 275
  • Jakes of Lincoln’s Inn, ii. 368
  • James I, his Poetical Exercises, iii. 281;
    • James’ knights, sneer at, iii. 79
  • Jawn, i. 129
  • Jellied, i. 114, 126; ii. 291
  • Jingling spurs, i. 233
  • Jobbernole, iii. 301, 341
  • Jones, Robert, quotation from his First Book of Songs and Airs, ii. 33
  • Jonson, Ben, compliment to, i. 320;
    • allusion to a passage in his Volpone, ii. 190;
    • sneer at his Sejanus, ii. 235;
    • ridiculed, iii. 305
  • Jove (influence of the planet Jupiter), ii. 292
  • Judas’ red beard, iii. 166
  • Julia (daughter of Augustus), witty saying of, ii. 12
  • Julius Cæsar, quoted, iii. 215
  • Juvenal imitated, iii. 308-9
  • Ka me, ka thee, iii. 30
  • Keel, i. 77; ii. 321
  • Kempe’s Jig, iii. 372
  • King of flames, ii. 292
  • King John, quoted, ii. 354
  • Kinsing, iii. 369
  • Kinsayder, ii. 350
  • Knight’s ward, iii. 106
  • Knighthood purchased from King James, iii. 79
  • Knights of the mew, ii. 322
  • Knock, i. 31
  • Knurly, i. 166
  • Lady-bird, iii. 104
  • Lælius Balbus, ii. 130
  • Lamb, Charles, his criticisms on Marston, i. 49, 100;
    • his remarks on the Decay of Symbols, ii. 338
  • Lanch (= lance), ii. 193
  • Lanthorn and candle-light, i. 35; iii. 202
  • Laver-lip, iii. 291
  • Lavolta, i. 183
  • Lay, iii. 88
  • Lay in lavender, iii. 100
  • Leese, iii. 346
  • Leg of a lark is better than the body of a kite, iii. 104
  • Legend of Lies, ii. 69
  • Legs (= bows), iii. 264
  • Lemon’s juice, iii. 350
  • Lent, consumption of flesh forbidden during, iii. 203
  • Leopards, their fondness for wine, iii. 238
  • Lettuce, iii. 320
  • Lie, ii. 16
  • Lindabrides, ii. 55
  • Linstock, i. 30
  • Lion, curious belief concerning, iii. 237
  • London licket, iii. 14
  • Long stock, ii. 337
  • Loose (“at the loose”), ii. 387
  • Los guantes, i. 276
  • Lovery, iii. 337
  • Lozenges of Sanctified Sincerity, i. 255
  • Lugg’d boot, iii. 378
  • Lusk, iii. 335, 358
  • Luskish, iii. 324
  • Lusty Laurence, iii. 289
  • Luxuriousness, iii. 349
  • M. under your girdle, iii. 92
  • Mace, iii. 277
  • Main, ii. 406
  • Make (“What should we make here?”), iii. 131
  • Male lie, iii. 308
  • Malice (verb), ii. 40, 91, 109
  • Mandragora, iii. 114
  • Mandrake, iii. 219
  • Mannington, George, his woeful ballad, iii. 118
  • March-panes, ii. 373
  • Marry faugh, iii. 11
  • Marry muff, i. 169
  • Martial quoted, ii. 28, 110
  • Mary Ambree, i. 22
  • Mason’s Mulleasses, allusion to passage of, iii. 31;
    • quoted, Addenda, vol. i.
  • Maypole (term of abuse), i. 23
  • Measure, i. 184, 276; ii. 43
  • Measuring, iii. 311
  • Merchant of Venice quoted, iii. 34
  • Mere, merely, i. 236, 320; ii. 297
  • Methodist Musus, iii. 308
  • Metreza, i. 213
  • Mincing capreal, iii. 372
  • Minikin, i. 51, 80
  • Minikin-tickler, ii. 401
  • Minioning, i. 279
  • Mirror of Knighthood, i. 300; ii. 69
  • Mirror for Magistrates, iii. 283
  • Modern, i. 11; iii. 364
  • Monmouth caps, iii. 84
  • Month’s mind, iii. 135
  • Moorfields (favourite spot for beggars), iii. 13
  • More hair than wit, iii. 199
  • Mortimer’s numbers, iii. 363
  • Motion (= proposal), i. 159; ii. 51, 96; iii. 123
  • Motion (= puppet-show), ii. 51
  • Mott, iii. 332
  • Much (ironical), i. 243, 251, &c.
  • Muckender, ii. 359
  • Mumchance, ii. 382
  • Murr, i. 153; ii. 140
  • Muscovy glass, i. 234
  • Music-houses, i. 185
  • Mycerinus, iii. 243
  • Naples’ canker, iii. 309;
    • Naples’ pestilence, ii. 349
  • Nashe, Thomas, quoted, iii. 48, 225, 273
  • Natalis Comes, iii. 270
  • Neast (nest) of goblets, ii. 7
  • Nectar-skink, ii. 307
  • Ne’er-crazed, iii. 355
  • Nemis, iii. 289
  • Nile, dogs drinking on the bank of, ii. 281
  • Nitty, iii. 276, 370
  • No point, ii. 77
  • Noddy, iii. 189
  • Noise, ii. 43
  • Nuzzel, ii. 372
  • O God, i. 32
  • O hone, hone, iii. 98
  • O Lord, sir, ii. 30
  • Obligation, ii. 57
  • Occupant, iii. 300, 349
  • Occupation, ii. 219
  • O’er-peise, i. 310
  • Old cut (= old fashion), i. 11
  • One and thirty, iii. 329
  • Ophelia, iii. 52
  • Ophiogeni, iii. 310
  • Outrecuidance, iii. 95
  • Owe, ii. 259
  • Ox-pith, i. 239
  • Packstaff epithets, iii. 338;
    • packstaff rhymes, iii. 310
  • Pages, their fondness for dicing, ii. 382
  • Paize, i. 100, 121; ii. 327
  • Palæphatus, iii. 311
  • Pale, ii. 287
  • Palladium, ii. 252
  • Palmerin de Oliva, ii. 69
  • Pane, ii. 337; iii. 349
  • Pantable, pantofle, i. 29; ii. 382
  • Parcel-gilt, ii. 57
  • Parkets, ii. 141
  • Parmeno (“nothing ad Parmenonis suem”), i. 204
  • Parted, iii. 20
  • Parthenophil, iii. 358
  • Party per pale, ii. 345
  • Passion, i. 90
  • Pavin, iii. 340
  • Peat, ii. 339; iii. 100
  • Peele, Gronge, Merry Jests of, i. 40
  • Peevish, iii. 254
  • Peggy’s complaint for the death of her Willy, ii. 29
  • Pepper in the nose, ii. 321
  • Peregal, i. 55
  • Perfumed jerkin, i. 314
  • Perpetuana, ii. 343
  • Persius quoted, ii. 111
  • Peterman, iii. 38
  • Petronel, i. 19
  • Physic against Fortune, i. 255
  • Pickhatch, iii. 319, 376
  • Pill (= peel), i. 99
  • Pillowbear, iii. 253
  • Pin and the web, iii. 423
  • Pirates hanged at Wapping, iii. 91
  • Pistol, Ancient (scraps of his rant), iii. 11
  • Placket, ii. 383
  • Plastic, i. 234
  • Plat, i. 54
  • Play-bills stuck on posts, iii. 302
  • Plunge, i. 105
  • Plutarch quoted, ii. 152, 266
  • Pole-head, ii. 348
  • Pomander, i. 294
  • Pommado reversa, iii. 375
  • Pompey the huge, i. 214
  • Ponado, iii. 42
  • Poor John, i. 89
  • Popeling, iii. 262
  • Porcpisce, iii. 69
  • Port Esquiline, iii. 351, 361
  • Possessed persons able to speak in various tongues, i. 212
  • Poting-stick, i. 308
  • Prest, ii. 250; iii. 312
  • Priapus’ gardens, iii. 302
  • Proface, iii. 303
  • Prostitution (= whore), ii. 13
  • Protest (use of the word considered affected), ii. 345
  • Pudding tobacco, ii. 344
  • Pug, i. 29, 152
  • Puisne, iii. 300
  • Purchase, i. 303; ii. 410
  • Purfled, i. 110
  • Puritan (cant term for a whore), ii. 383
  • Puritans’ ruffs, i. 13
  • Put-pin, iii. 362
  • Putry, i. 150
  • Quelquechose, i. 216
  • Quiblin, iii. 60
  • Quote, ii. 364
  • Ramp, i. 99
  • Ramsey, Lady, iii. 87
  • Rariety, iii. 213
  • Rats of Nilus, iii. 342, 344
  • Real (= regal), i. 34
  • Reason (raisin), iii. 154
  • Rebato, i. 31; iii. 351
  • Red lattice, i. 86
  • Reez’d bacon, iii. 322
  • Remora, iii. 84
  • Remorse, i. 21, 90
  • Renowmed, ii. 165
  • Respective (= respectful), i. 152
  • Reverent (= reverend), ii. 292; iii. 29, &c.
  • Rhinoceros’ horn, iii. 139
  • Ribanded ears, ii. 391; iii. 301
  • Richard II., quoted, i. 28;
    • imitation of passage from, iii. 146
  • Richard III., quoted, i. 47, 48; ii. 349; iii. 344
  • Ride at the ring, i. 214
  • Riding-wand, iii. 38
  • Rings with death’s head, ii. 16
  • Ringo-root, iii. 348
  • Rivels (= wrinkles), i. 243;
    • rivell’d, i. 108; iii. 234
  • Rivo, ii. 349, 355
  • Roast beef (a “commodity”), iii. 40
  • Rochelle churchman, i. 252
  • Rodio, iii. 267
  • Room, i. 202, 206
  • Romeo and Juliet performed at the Curtain Theatre, iii. 373;
    • early popularity of, iii. 140
  • Rope-maker’s son, ii. 153
  • Rosa solis, ii. 45
  • Rosemary, iii. 53, 138
  • Rosicleer, i. 30, 300
  • Ruff, iii. 182
  • Ruffled boot, i. 83
  • Rug-gowns, ii. 395
  • Rutter, ii. 386
  • Sacramental wine poisoned, iii. 241
  • Sad, sadly, sadness, i. 71; iii. 258, 339
  • St. Agnes’ Eve, iii. 141
  • Salaminian, iii. 261
  • Say (“take say”), ii. 11
  • Sconce, i. 236; iii. 84
  • Scotch barnacle, i. 256;
    • Scotch boot, i. 257;
    • Scotch farthingale, iii. 16
  • Scots, satirised in Eastward Ho! iii. 64
  • Seneca quoted, i. 20, 49, 122, 127, 130, 133, 141, 144-5, 149, 174, 237, 265, 304; ii. 109
  • Servant (= suitor, lover), i. 33; ii. 388
  • Sest, ii. 374, 402
  • Sewer, ii. 135
  • Shakespeare, imitated, i. 28, 47, 48, 224; ii. 23, 143, 218; iii. 133, 134, 137, 146, 215, 219, 230;
    • burlesqued, i. 206; ii. 349; iii. 344
  • Shaking of the sheets, iii. 165
  • Shale, ii. 185
  • Ship of Fools, ii. 122
  • Shirley, James, iii. 344
  • Shot-clog, iii. 13
  • Si quis, ii. 304
  • Sick Man’s Salve, iii. 107
  • Siddow, i. 162
  • Silver piss-pots, iii. 316
  • Sink a-pace (cinquepace), iii. 156
  • Sinking thought, i. 106
  • Sinklo, the actor, i. 200
  • Sip a kiss, i. 91
  • Slatted, i. 281
  • Sliftred, i. 27
  • Slip, i. 81, 111
  • Slop, i. 83
  • Sluice (“sluiced out his life-blood”), i. 189; iii. 224
  • Slur, iii. 371
  • Sly, William, i. 199
  • Small, ii. 361
  • Snaphance, iii. 269, 330
  • Snib, i. 264; ii. 353; iii. 379
  • Snout-fair, iii. 320
  • Snurling, i. 186
  • Soil (“take soil”), i. 254
  • Soldado, iii. 261, 357
  • Sometimes, iii. 282
  • Sophocles’ Antigone quoted, i. 128
  • Souse, i. 279
  • Southwell, Robert, iii. 281
  • Spanish blocks, iii. 301
  • Spanish leather, ii. 7
  • Spanish Tragedy, i. 121, 168; iii. 12, 26, 28
  • Speak pure fool, i. 85
  • Speeding-place, ii. 333
  • Spiders eaten by monkeys, i. 213
  • Spur-royals, i. 109
  • Spurs (jingling spurs affected by gallants), i. 233
  • Squibs running on lines, ii. 121
  • Stabb’d arms, ii. 70
  • Stage, custom of gallants to sit (and smoke) on the, i. 199, 200, 206
  • Stalking-horse, i. 283
  • Stammel, ii. 387; iii. 14
  • State (= throne), i. 36; ii. 215
  • States (= nobles), i. 109, 159, 162
  • Statist, ii. 262
  • Statute-staple, iii. 322
  • Stigmatic, iii. 359
  • Stock (= stoccata), i. 111, 239
  • Stockado, iii. 268
  • Stone-bows, ii. 8
  • Streak, iii. 323, 355
  • Stut, ii. 342
  • Suburbs (bawdy-houses in), i. 317
  • Suffenus, iii. 306
  • Surphule, i. 245; iii. 275, 310
  • Surquedry, i. 50, 147; iii. 267
  • Switzer, iii. 348
  • Swound, ii. 93
  • Sylvester, Joshua, iii. 281
  • Tacitus, his remarks on prohibited books, ii. 48
  • Take say, ii. 11
  • Take the whiff, ii. 353
  • Take up commodities, ii. 340; iii. 365
  • Tamburlaine, iii. 25
  • Tanakin, ii. 13
  • Taw, ii. 376
  • Tereus, iii. 266
  • Termagant, iii. 240
  • There goes but a pair of shears betwixt, i. 290
  • Thou’st (= thou must), i. 283
  • Thristing, ii. 413
  • Thunder, eels roused from the mud by, iii. 347
  • Thus while she sleeps I sorrow for her sake, iii. 14
  • Thwack a jerkin, ii. 405
  • Toderers, i. 210
  • Too too, ii. 328; iii. 313
  • Totter’d, ii. 373
  • Touch (= perception), i. 105
  • Toy to mock an ape withal, iii. 362
  • Tradesmen’s wives used as lures to attract customers, ii. 60; iii. 266, 325
  • Tragœdia cothurnata, i. 140
  • Travellers, affected solemnity of, i. 12; iii. 274
  • Traverse, iii. 394
  • Trenchmore, iii. 272
  • Tretably, ii. 358
  • Trick of twenty, i. 276; ii. 54
  • Trot the ring, i. 111, 142; iii. 378
  • Trow (= think you?), iii. 74
  • Trunk, iii. 31
  • Trunk-sleeves, ii. 184
  • Truss my hose, i. 10
  • Tubrio, iii. 273
  • Tumbrel, iii. 262, 346
  • Turnmill Street, ii. 16
  • Turn-spit dog bound to his wheel, iii. 41
  • Tweer, i. 71
  • Twelve-penny room, i. 202
  • Twinest (= embraces), i. 117
  • Twopenny ward, iii. 106
  • Ulysses, his counterfeited madness, iii. 15
  • Unheal, i. 243
  • Unnookt simplicity, i. 163
  • Unpaiz’d, i. 144
  • Unperegall, ii. 85
  • Unshale, i. 215
  • Upbraid, iii. 379
  • Ure, iii. 312, 329
  • Vaunt-guard, iii. 261
  • Vaut, ii. 288
  • Velure, i. 79
  • Via, ii. 20, 43, 133
  • Vie, iii. 84
  • Vin de monte, ii. 140
  • Vincentio Saviolo, iii. 373
  • Violets, bridal-beds strewn with, ii. 373
  • Virgil imitated, i. 113
  • Virginia, early settlers in, iii. 63
  • Virgins, popularly supposed to have the right to save the lives of criminals, iii. 190
  • Virtue, ii. 247
  • Vively, ii. 293
  • Voluntaries, iii. 261
  • Wall-eyed, iii. 133
  • Wandering whore, iii. 377
  • Wards, treatment of, iii. 314
  • Wedlock (= wife), ii. 143; iii. 47
  • Weeping Cross, iii. 85
  • Welshmen’s pride in their gentility, i. 258
  • Westward Ho! comedy of, iii. 5
  • Westward Ho! (i.e., to Tyburn), iii. 27
  • Wet finger (“with a wet finger”), ii. 189
  • What could I do withal? ii. 214
  • When (exclamation of impatience) i. 241; ii. 348, &c.
  • When Arthur first in Court began, i. 240
  • When Sampson was a tall young man, iii. 32
  • Whiblin, iii. 168
  • Whiff, take the, ii. 353
  • Who calls Jeronimo? iii. 12
  • Who cries out murther? Lady, was it you? iii. 26
  • Wighy, i. 56
  • Will (= command), i. 125, ii. 305
  • Willow garland, ii. 336
  • Wimble, i. 58
  • Wisards (wise men), i. 159; iii. 335
  • With a wanion, iii. 53
  • Witches turned into cats, ii. 203
  • Without a man (i.e., outside of man’s sense), ii. 294
  • Wolt, i. 27
  • Wood, ii. 253
  • Woodstock’s work, iii. 276
  • Woollen caps, ii. 60
  • Word (= motto), i. 77, 84; iii. 155
  • Wounds of a murdered man supposed to bleed in the presence of the murderer, iii. 224
  • Wrapt up in the tail of his mother’s smock, ii. 407
  • Wrinkles, vulgar belief concerning, iii. 135
  • Writhled, iii. 326
  • Wrought shirt, i. 79
  • Yellow, iii. 123
  • You’st (= you must), i. 310
  • Zabarella, Giacomo, ii. 363

PRINTED BY BALLANTYNE, HANSON AND CO.
EDINBURGH AND LONDON.

PRINTED BY BALLANTYNE, HANSON AND CO.
EDINBURGH AND LONDON.

Transcriber’s Note:

Punctuation was standardized. Variations in spelling were retained, e.g. shipwreck’d, shipwracked, shipwrecked, and Abigail, Abigall, Abigal. Obsolete words, variant spellings, and dialect were not changed.

Punctuation was standardized. Variations in spelling were kept, e.g. shipwreck’d, shipwracked, shipwrecked, and Abigail, Abigall, Abigal. Outdated words, different spellings, and dialect were not modified.

In the Table of Contents, links were added to the beginning of each act of the plays for the convenience of users.

In the Table of Contents, links have been added to the start of each act of the plays for the convenience of users.

Line numbers in prose sections may not be accurate if the user's browser is not the same width as the original book.

Line numbers in prose sections might not be accurate if the user's browser width differs from that of the original book.

The index applies to all three volumes of Marston’s works. Links were added only to this volume.

The index applies to all three volumes of Marston’s works. Links have been added only to this volume.

Footnotes were renumbered sequentially and moved to follow the scene or section in which the related anchor appears. There are multiple anchors for Footnotes [24], [193], [250], [260], [261], [292], and [297]. Each of these footnotes is linked to its first respective anchor.

Footnotes were renumbered in order and placed after the scene or section where the related anchor appears. There are several anchors for Footnotes [24], [193], [250], [260], [261], [292], and [297]. Each of these footnotes is connected to its first respective anchor.

The following changes were made:

The following updates were made:

  • Eastward Ho:
    • Footnote [25], ‘otes’ to ‘notes’
    • Act III, Scene II, stage direction after line 25, ‘Enetr’ to ‘Enter’
    • Added anchor for Footnote [167], missing in the original.
  • Insatiate Countess:
    • Act II, Scene 1, added anchor for Footnote [214], missing in the original.
    • Act III, Scene 4, missing word ‘I’ added to beginning of line 166.
  • Montebank’s Masque:
    • 2 Song, Stanza 3, line 6, ‘Bee’t’ to ‘Be ’t’
    • Familiar Receipts, For Barrenness, ‘mik’ to ‘milk’
    • Footnote [509], removed ‘of’ from ‘Huc usque of Xylinum’

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