Chapter XXXV: Act V: Scene I (1)

_A great hall in the Duke’s Palace._

_Enter_ GUARDIANO _and the Ward_.

GUAR. Speak, hast thou any sense of thy abuse?
Dost thou know what wrong’s done thee?
WARD. I were an ass else;
I cannot wash my face but I am feeling on’t.
GUAR. Here, take this caltrop[1110] then [_giving
caltrop_], convey it secretly
Into the place I shew’d you: look you, sir,
This is the trap-door to’t.
WARD. I know’t of old, uncle, since the last
triumph;[1111] here rose up a devil with one eye, I
remember, with a company of fireworks at’s tail.
GUAR. Prithee, leave squibbing now: mark me, and fail
not;
But when thou hear’st me give a stamp, down with’t,
The villain’s caught then.
WARD. If I miss you, hang me: I love to catch a villain,
and your stamp[1112] shall go current, I warrant you.
But how shall I rise up and let him down too all at one
hole? that will be a horrible puzzle. You know I have a
part in’t, I play Slander.
GUAR. True, but never make you ready for’t.
WARD. No? my clothes are bought and all, and a foul
fiend’s head, with a long, contumelious tongue i' the
chaps on’t, a very fit shape for Slander i' th'
out-parishes.
GUAR. It shall not come so far; thou understand’st it
not.
WARD. O, O!
GUAR. He shall lie deep enough ere that time,
And stick first upon those.
WARD. Now I conceive you, guardianer.
GUAR. Away!
List to the privy stamp, that’s all thy part.
WARD. Stamp my horns in a mortar, if I miss you, and
give the powder in white wine to sick cuckolds, a very
present remedy for the headach. [_Exit._
GUAR. If this should any way miscarry now—
As, if the fool be nimble enough, ’tis certain—
The pages, that present the swift-wing’d Cupids,
Are taught to hit him with their shafts of love,
Fitting his part, which I have cunningly poison’d:
He cannot ’scape my fury; and those ills
Will be laid all on fortune, not our wills;
That’s all the sport on’t: for who will imagine
That, at the celebration of this night,
Any mischance that haps can flow from spite? [_Exit._

_Flourish. Enter above[1113] Duke_, BIANCA, _Lord
Cardinal_, FABRICIO, _other Cardinals, and Lords and
Ladies in state_.

DUKE. Now, our fair duchess, your delight shall witness
How you’re belov’d and honour’d; all the glories
Bestow’d upon the gladness of this night
Are done for your bright sake.
BIAN. I am the more
In debt, my lord, to loves and courtesies
That offer up themselves so bounteously
To do me honour’d grace, without my merit.
DUKE. A goodness set in greatness; how it sparkles
Afar off, like pure diamonds set in gold!
How perfect my desires were, might I witness
But a fair noble peace ’twixt your two spirits!
The reconcilement would be more sweet to me
Than longer life to him that fears to die.—
Good sir—
CAR. I profess peace, and am content.
DUKE. I'll see the seal upon’t, and then ’tis firm.
CAR. You shall have all you wish. [_Kisses_ BIANCA.
DUKE. I've all indeed now.
BIAN. But I've made surer work; this shall not blind
me;
He that begins so early to reprove,
Quickly rid him, or look for little love:
Beware a brother’s envy; he’s next heir too.
Cardinal, you die this night; the plot’s laid surely;
In time of sports death may steal in securely,
Then ’tis least thought on;
For he that’s most religious, holy friend,
Does not at all hours think upon his end;
He has his times of frailty, and his thoughts
Their transportations too through flesh and blood,
For all his zeal, his learning, and his light,
As well as we, poor soul, that sin by night. [_Aside._
DUKE [_looking at a paper_]. What’s this, Fabricio?
FAB. Marry, my lord, the model
Of what’s presented.
DUKE. O, we thank their loves.—
Sweet duchess, take your seat; list to the argument.
[_Reads._
_There is a Nymph, that haunts the woods and springs,
In love with two at once, and they with her;_
_Equal it runs; but, to decide these things,
The cause to mighty Juno they refer,
She being the marriage-goddess: the two lovers
They offer sighs, the Nymph a sacrifice,
All to please Juno, who by signs discovers
How the event shall be; so that strife dies:
Then springs a second; for the man refus’d
Grows discontent, and, out of love abus’d,
He raises Slander up, like a black fiend,
To disgrace th' other, which pays him i' th' end._
BIAN. In troth, my lord, a pretty, pleasing argument,
And fits th' occasion well: envy and slander
Are things soon rais’d against two faithful lovers;
But comfort is, they’re not long unrewarded. [_Music._
DUKE. This music shews they’re upon entrance now.
BIAN. Then enter all my wishes. [_Aside._

_Enter_ HYMEN _in a yellow robe_, GANYMEDE _in a blue
robe powdered with stars, and_ HEBE _in a white robe
with golden stars, each bearing a covered cup: they
dance a short dance, and then make obeisance to the
Duke, &c._

HYM. _To thee, fair bride, Hymen offers up
Of nuptial joys this the celestial cup;
Taste it, and thou shalt ever find
Love in thy bed, peace in thy mind._
BIAN. We’ll taste you, sure; ’twere pity to disgrace
So pretty a beginning.
[_Takes cup from_ HYMEN, _and drinks_.
DUKE. ’Twas spoke nobly.
GAN. _Two cups of nectar have we begg’d from Jove;
Hebe, give that to innocence, I this to love:
Take heed of stumbling more, look to your way;
Remember still the_ Via Lactea.
[GANYMEDE _and_ HEBE _respectively offer their
cups to the Duke and Cardinal, who drink_.
HEBE. _Well, Ganymede, you’ve more faults, though not
so known;
I spill’d one cup, but you’ve filch’d many a one._
HYM. _No more; forbear for Hymen’s sake:
In love we met, and so let’s part._[1114]
[_Exeunt._ HYMEN, GANYMEDE, _and_ HEBE.
DUKE. But, soft; here’s no such persons in the
argument
As these three, Hymen, Hebe, Ganymede;
The actors that this model here discovers
Are only four,—Juno, a Nymph, two lovers.
BIAN. This is some antimasque[1115] belike, my lord,
To entertain time.—Now my peace is perfect,
Let sports come on apace. [_Aside._]—Now is their time,
my lord: [_Music._
Hark you! you hear from ’em.
DUKE. The Nymph indeed!

_Enter two Nymphs, bearing tapers lighted; then_
ISABELLA _as a Nymph, dressed with flowers and
garlands, carrying a censer with fire in it: they
set the censer and tapers on Juno’s altar with
much reverence, singing this ditty in parts_:

_Juno, nuptial goddess,
Thou that rul’st o’er coupled bodies,
Tiest man to woman, never to forsake her,
Thou only powerful marriage-maker,
Pity this amaz’d affection!
I love both, and both love me;
Nor know I where to give rejection,
My heart likes so equally,
Till thou sett’st right my peace of life,
And with thy power conclude this strife._
ISA. _Now, with my thanks, depart you to the springs,
I to these wells of love._ [_Exeunt the two Nymphs._]—
_Thou sacred goddess
And queen of nuptials, daughter to great Saturn,
Sister and wife to Jove, imperial Juno,
Pity this passionate conflict in my breast,
This tedious war ’twixt two affections;
Crown me with victory, and my heart’s at peace!_

_Enter_ HIPPOLITO _and_ GUARDIANO _as shepherds_.

HIP. _Make me that happy man, thou mighty goddess!_
GUAR. _But I live most in hope, if truest love_
_Merit the greatest comfort._
ISA. _I love both
With such an even and fair affection,
I know not which to speak for, which to wish for,
Till thou, great arbitress ’twixt lovers' hearts,
By thy auspicious grace design the man;
Which pity I implore!_
HIP. } _We all implore it!_
GUAR. }
ISA. _And after sighs—contrition’s truest odours—
I offer to thy powerful deity
This precious incense_ [_waving the censer_]; _may it
ascend peacefully!_—
And if it keep true touch, my good aunt Juno,
'Twill try your immortality ere’t be long:
I fear you’ll ne’er get so nigh heaven again,
When you’re once down. [_Aside._
[LIVIA _descends, as_ JUNO, _attended by pages as
Cupids_.
LIV. _Though you and your affections
Seem all as dark to our illustrious brightness
As night’s inheritance, hell, we pity you,
And your requests are granted. You ask signs,
They shall be given you; we’ll be gracious to you:
He of those twain which we determine for you,
Love’s arrows shall wound twice; the later wound
Betokens love in age; for so are all
Whose love continues firmly all their lifetime
Twice wounded at their marriage, else affection
Dies when youth ends._—This savour overcomes me!
[_Aside._
_Now, for a sign of wealth and golden days,
Bright-ey’d prosperity—which all couples love,
Ay, and makes love—take that;[1116] our brother Jove
Never denies us of his burning treasure
To express bounty._ [ISABELLA _falls down and dies_.
DUKE. She falls down upon’t;
What’s the conceit of that?
FAB. As o’erjoy’d belike:
Too much prosperity o’erjoys us all,
And she has her lapful, it seems, my lord.
DUKE. This swerves a little from the argument though:
Look you, my lords. [_Shewing paper._
GUAR. All’s fast: now comes my part to tole him
hither;
Then, with a stamp given, he’s despatch’d as cunningly.
[_Aside._
HIP. [_raising the body of_ ISA.] Stark dead! O
treachery! cruelly made away!
[GUARDIANO _stamps, and falls through a
trap-door_.
How’s that?
FAB. Look, there’s one of the lovers dropt away
too!
DUKE. Why, sure, this plot’s drawn false; here’s no
such thing.
LIV. O, I am sick to the death! let me down quickly,
This fume is deadly; O, ’t has poison’d me!
My subtlety is sped, her art has quitted me;
My own ambition pulls me down to ruin.
[_Falls down and dies._
HIP. Nay, then, I kiss thy cold lips, and applaud
This thy revenge in death. [_Kisses the body of_
ISABELLA.
FAB. Look, Juno’s down too!
[_Cupids shoot at_ HIPPOLITO.
What makes she there? her pride should keep aloft:
She was wont to scorn the earth in other shows;
Methinks her peacocks' feathers are much pull’d.
HIP. O, death runs through my blood, in a wild flame
too!
Plague of those Cupids! some lay hold on ’em,
Let ’em not scape; they’ve spoil’d me, the shaft’s
deadly.
DUKE. I've lost myself in this quite.
HIP. My great lords,
We’re all confounded.
DUKE. How?
HIP. Dead; and I worse.
FAB. Dead! my girl dead? I hope
My sister Juno has not serv’d me so.
HIP. Lust and forgetfulness have[1117] been amongst
us,
And we are brought to nothing; some blest charity
Lend me the speeding pity of his sword,
To quench this fire in blood! Leantio’s death
Has brought all this upon us—now I taste it—
And made us lay plots to confound each other;
Th' event so proves it; and man’s understanding
Is riper at his fall than all his lifetime.
She, in a madness for her lover’s death,
Reveal’d a fearful lust in our near bloods,
For which I'm punish’d dreadfully and unlook’d for;
Prov’d her own ruin too; vengeance met vengeance,
Like a set match, as if the plague[s] of sin
Had been agreed to meet here altogether:
But how her fawning partner fell I reach not,
Unless caught by some springe of his own setting,—
For, on my pain, he never dream’d of dying;
The plot was all his own, and he had cunning
Enough to save himself: but' tis the property
Of guilty deeds to draw your wise men downward;
Therefore the wonder ceases. O, this torment!
DUKE. Our guard below there!

_Enter a Lord with a Guard._

LORD. My lord?
HIP. Run and meet death then,
And cut off time and pain!
[_Runs on a sword,[1118] and dies._
LORD. Behold, my lord,
Has run his breast upon a weapon’s point!
DUKE. Upon the first night of our nuptial honours
Destruction play her triumph, and great mischiefs
Mask in expected pleasures! ’tis prodigious!
They’re things most fearfully ominous; I like ’em not.—
Remove these ruin’d bodies from our eyes.

[_The Guard remove the bodies of_ ISABELLA, LIVIA, _and_
HIPPOLITO.

BIAN. Not yet, no change? when falls he to the earth?
[_Aside._
LORD. Please but your excellence to peruse that paper,
[_Giving paper to the Duke._
Which is a brief confession from the heart
Of him that fell first, ere his soul departed;
And there the darkness of these deeds speaks plainly,
’Tis the full scope, the manner, and intent:
His ward, that ignorantly let him down,
Fear put to present flight at the voice of him.
BIAN. Nor yet? [_Aside._
DUKE. Read, read, for I am lost in sight and strength!
[_Falls._
CAR. My noble brother!
BIAN. O, the curse of wretchedness!
My deadly hand is faln upon my lord:
Destruction, take me to thee! give me way;
The pains and plagues of a lost soul upon him
That hinders me a moment!
DUKE. My heart swells bigger yet; help here, break’t
ope!
My breast flies open next. [_Dies._
BIAN. O, with the poison
That was prepar’d for thee! thee, Cardinal,
’Twas meant for thee.
CAR. Poor prince!
BIAN. Accursèd error!
Give me thy last breath, thou infected bosom,
And wrap two spirits in one poison’d vapour!
Thus, thus, reward thy murderer, and turn death
[_Kisses the dead body of the Duke._
Into a parting kiss! my soul stands ready at my lips,
Even vex’d to stay one minute after thee.
CAR. The greatest sorrow and astonishment
That ever struck the general peace of Florence
Dwells in this hour.
BIAN. So, my desires are satisfied,
I feel death’s power within me:
Thou hast prevail’d in something, cursed poison!
Though thy chief force was spent in my lord’s bosom;
But my deformity in spirit’s more foul,
A blemish’d face best fits a leprous soul.
What make I here? these are all strangers to me,
Not known but by their malice now thou’rt gone,
Nor do I seek their pities.
[_Drinks from the poisoned cup._[1119]
CAR. O restrain
Her ignorant, wilful hand!
BIAN. Now do; ’tis done.
Leantio, now I feel the breach of marriage
At my heart-breaking. O, the deadly snares
That women set for women, without pity
Either to soul or honour! learn by me
To know your foes: in this belief I die,—
Like our own sex we have no enemy.[1120]
LORD. See, my lord,
What shift sh’as made to be her own destruction!
BIAN. Pride, greatness, honours, beauty, youth,
ambition,
You must all down together, there’s no help for’t:
Yet this my gladness is, that I remove
Tasting the same death in a cup of love. [_Dies._
CAR. Sin, what thou art, these ruins shew too
piteously:
Two kings on one throne cannot sit together,
But one must needs down, for his title’s wrong;
So where lust reigns, that prince cannot reign long.
_Exeunt omnes._

END OF VOL. IV.

LONDON:
PRINTED BY LEVEY, ROBSON, AND FRANKLYN,
46 St. Martin’s Lane.

------------------------------------------------------------------------

Footnotes

-----

# 1:

_Kix_] Or _kex_ is a dry stalk, properly of hemlock.
Why this name (which Middleton has used in another
play, see vol. ii. p. 4) is given to Sir Oliver, the
reader will presently discover.

# 2:

_Dahanna_] Old ed. in _Dram. Pers._, and more than
once in the text, “Dahumma.”

# 3:

_virginals_] See note, vol. iii. p. 112.

# 4:

_Yes? you are_, &c.] Was not this speech originally
verse, though the present state of the text will not
admit of its being arranged as such?

# 5:

_board_] Old ed. “bord”—perhaps a misprint.

# 6:

_I ha'_, &c.] Qy. “Ay, ha’,” &c.? but compare p. 27,
l. 13.

# 7:

_bracks_] i. e. breaks.

# 8:

_Hobson’s porters_] Hobson was the celebrated
Cambridge-carrier, on whose death, in Jan. 1630-1,
Milton, while a student at that university, composed a
copy of verses. There are three epitaphs on Hobson in
_Wit’s Recreations_, p. 249, reprint 1817; and his
will, dated Dec. 1630, is printed in the _Coll. of
Pieces_ appended to Peck’s _Memoirs of Cromwell_, p.
44. A tract, published in 1617, 4to, is called, from
him, _Hobson’s Horse-load of Letters, or a President
for Epistles_; and he is said (see _The Spectator_,
No. 509,) to have given rise to the expression
_Hobson’s choice_.

# 9:

_the Bell_] Qy. “the Bull?”

“He is not dead, but left his mansion here,
Has left the _Bull_, and flitted to the Beare.”
_First Epitaph on Hobson—Wit’s Recr._ p. 249.

“This memorable man [Hobson] stands drawn in fresco,
at an inn, which he used in Bishopsgate-Street, with
an hundred pound bag under his arm, with this
inscription upon the said bag:

The fruitful mother of a hundred more.”
The _Spectator_, No. 509.

# 10:

_tester_] i. e. sixpence: see note, vol. i. p. 258.

# 11:

_gear_] i. e. matter.

# 12:

_What is’t you lack_] See note, vol. i. p. 447.

# 13:

_marks_] A mark was 13_s._ 4_d._

# 14:

_wound_] Qy. “sound?”

# 15:

_serve_] Old ed. “serues.”

# 16:

_pick_] i. e. _peak_—grow meagre.

# 17:

_Turn not_, &c.] Corrupted text, I believe; the whole
speech having been originally verse.

# 18:

_O turn, sir, turn_ There appears to be some grievous
corruption here. Perhaps for “_turn_” we ought to read
“Tim,”—of whom Yellowhammer proceeds to speak: the
hopeful youth is certainly not present; he does not
arrive from Cambridge till act iii. sc. 2.

# 19:

_What is’t you lack_] See note, vol. i. p. 447.

# 20:

_rules_] i. e. sports, games: compare in vol. ii. p.
124, “how go the squares?” and see Steevens’s note on
the word “night-rule,” Shakespeare’s _Mid.'s Night’s
Dream_, act iii. sc. 2, and Douce’s _Illust. of
Shak._, vol. i. p. 192.

# 21:

_wittol_] i. e. tame cuckold.

# 22:

_gaudy-shops_] i. e. shops where they sell _gauds_,
finery.

# 23:

_Gresham’s Burse_] i. e. the Royal Exchange, built by
Sir Thomas Gresham.

# 24:

_think’s_] i.e. _think_ these things _is_ mine—an
expression which, on account of the metre, cannot be
altered.

# 25:

_where_] i. e. whereas.

# 26:

_string_] Old ed. “strings.”

# 27:

_meet_] Old ed. “meets.”

# 28:

_and_] i. e. if.

# 29:

_Put on_] i. e. put on your hat.

# 30:

_God-den_] A corruption of _Good even_.

# 31:

_Thus do I rid myself of fear_, &c.] An imperfect
couplet: compare vol. i. p. 424, vol. ii. p. 7, vol.
iii. p. 52, &c.

# 32:

_will_] Old ed. “willes”—but a rhyme is intended here.

# 33:

_gear_] i. e. stuff.

# 34:

_progress_] i. e. the travelling of the sovereign and
court to different parts of the kingdom.

# 35:

_snaphance_] “A spring-lock to a gun or pistol; a
fire-lock, which term, as _snaphance_ sometimes was,
is since given to the gun itself.” Nares, _Gloss._
in v., where see more concerning the word. The
metaphorical sense in which the lady uses it is
sufficiently obvious.

# 36:

_mutton_] See note, vol. iii. p. 102.

# 37:

_have_] Old ed. “has.”

# 38:

_promoters_] See note, p. 31.

# 39:

_passion_] i. e. sorrow.

# 40:

_Touch. jun._] Old ed. “_Lady._”

# 41:

_mark ... for thirteen shillings fourpence_] A play on
words: see note, p. 10.

# 42:

_I cannot do withal_] i. e. I cannot help it: see
Gifford’s note on Ben Jonson’s _Works_, vol. iii. p.
470, and my note on Webster’s _Works_, vol. iii. p.
215.

# 43:

_kersten_] A corruption of _Christian_.

# 44:

_And that’s worth_, &c.] Thus in old ed.;

“I'le about it.
And that’s worth all sweet Husband.”

# 45:

_Before Allwit’s house_] If the reader, during the
earlier part of this scene, should wonder why I have
not placed it _within_ the house, he will presently
see the reason. Perhaps, indeed, as there was no
painted moveable scenery when the play was written,
the author might have meant the audience to suppose
that the stage represented a chamber, until the
entrance of the Promoters, when it was suddenly to be
taken for a street. See notes, vol. ii. pp. 142, 147.

# 46:

_o’erthrows_] Qy. “o’ergrows?”

# 47:

_Dahanna_] Old ed. here “Dahumma:” see note, p. 4.

# 48:

_Promoters_] “Be those which in popular and penall
actions do deferre the names, or complaine of
offenders, having part of the profit for their
reward.” Cowell’s _Interpreter_, ed. 1637, in v.—But
the Promoters in our play do more than inform,—they
execute the law.

# 49:

_corps_] A plural: compare vol. ii. p. 135, l. 6, and
p. 162, (note 310).

# 50:

_golls_] A cant term for hands,—fists, paws.

# 51:

_colon_] i. e. hunger—properly, the largest of the
intestines.

# 52:

_a foutra for_] Equivalent to—a fig for: the
expression is used by Pistol in Shakespeare’s _Henry
IV. P. Sec._ act v. sc. 3.

# 53:

_Turnbull Street_] A corruption of _Turnmill Street_,
near Clerkenwell: repeatedly mentioned in our early
dramas as the residence of dissolute persons of both
sexes.

# 54:

_band_] Not a misprint for _hand_.—Old ed. “Band.”

# 55:

_Queenhive_] A corruption of _Queenhithe_.

# 56:

_Branford_] Or _Brainford_—an old and corrupt form of
Brentford.

# 57:

_trussing him_] i. e. tying his points: see note, vol.
iii. p. 319.

# 58:

_kursning-day_] i. e. christening-day.

# 59:

_and_] i. e. if.

# 60:

_come_] Old ed. “comes.”

# 61:

_beholding_] i. e. beholden—a form common in old
writers.

# 62:

_Enter from the house_, &c.] The direction in old ed.
is, “_Enter Midwife with the Child, and the Gossips to
the Kursning._” That the christening did not take
place at home appears from the opening of the second
scene of the next act.

# 63:

_it_] i. e. the precedence.

# 64:

_And_] i.e. if.

# 65:

_Here’s no_, &c.] See note, vol. i. p. 169.

# 66:

_receiv’d baffling_] i. e. put up with insult: see
note, vol. ii. p. 449.

# 67:

_A bed-chamber_, &c.] Old ed. “_A Bed thrust out vpon
the Stage, Allwit’s wife in it, Enter all the
Gossips._”

# 68:

_kursen_] i.e. christened.

# 69:

_Amsterdam_] See note, vol. i. p. 205.

# 70:

_Ey’d_] Old ed. “Ey’s.”

# 71:

_spiny_] i.e. slender.

# 72:

_'postle-spoons_] i. e. apostle-spoons,—the usual gift
of sponsors at christenings—spoons of silver,
sometimes gilt, the handle of each ending in the
figure of an apostle.

# 73:

_Judas with the red beard_] Judas Iscariot, according
to the common notion, had red hair and beard, and was
so represented in tapestries and pictures: see note,
vol. i. p. 259.

# 74:

_come_] Old ed. “comes.”

# 75:

_go_] Old ed. “goes.”

# 76:

_and_] i. e. if.

# 77:

_mar’l_] i. e. marvel.

# 78:

_fitters_] i. e. pieces,—small fragments.

# 79:

_Bucklersbury_] When this play was written, was
chiefly occupied by druggists; at whose shops, it
appears, sweetmeats were to be purchased. “Go into
_Bucklersbury_ and fetch me two ounces of preserved
melons.” _Westward Ho_,—Webster’s _Works_, vol. iii.
p. 19.

# 80:

_and_] i. e. if.

# 81:

_Lady Kix_] Old ed. has merely “Lady:” but such is the
prefix to all the speeches of Lady Kix throughout the
play; and see p. 27, l. 13.

# 82:

_towards_] i. e. in preparation.

# 83:

_cattle_] i. e. the Welsh _runts_, of which we hear
more afterwards.

# 84:

_fresh-woman_] A term invented by Tim,—corresponding
to _freshman_, one lately come to the university, and
unacquainted with its customs.

# 85:

_lin_] i. e. cease.

# 86:

_Dunces_] i.e. the schoolmen,—properly the disciples
of _Duns_ Scotus: see Todd’s Johnson’s _Dict._ in v.
_Dunce_.

# 87:

_beholding_] See note, p. 40.

# 88:

_Pissing-conduit_] A little conduit, which ran a small
stream, near the Royal Exchange.

# 89:

_rushes_] With which, previous to the introduction of
carpets, the floors were strewed.

# 90:

_shittle-cork_] The proper form of the word—now
corrupted to _shittle-cock_.

# 91:

_bankrout_] i. e. bankrupt.

# 92:

_And lay him level_, &c.

_Get but his wife_, &c.] I may just notice, that by
“him” is meant Sir Walter Whorehound—by “his wife,”
Sir Oliver Kix’s wife.

# 93:

_and_] i. e. if.

# 94:

_common-place_] i. e. common-pleas: compare vol. ii.
p. 336, and note.

# 95:

_go_] Old ed. “goes.”

# 96:

_out-cry_] i. e. an auction (announced by the common
_crier_).

# 97:

_pranking up_] i. e. decking out.

# 98:

_her_] Old ed. “their.”

# 99:

_And_] i. e. if.

# 100:

———] So old ed.

# 101:

_figient_] i.e. fidging, fidgetty.

# 102:

_this_] A table or chair, perhaps.

# 103:

_wife_] Old ed. “wifes.”

# 104:

_rationalis_] Old ed. “rationalibus.”

# 105:

_dici_] Old ed. “dicere”—Middleton, I fear, having
written “diceri.”

# 106:

_haberdines_] Perhaps Tim alludes to some childish
sport: a kind of cod, generally salted, was called
_haberdine_.

# 107:

_sir-reverence_] See note, vol. i. p. 171.

# 108:

_mar’l_] i. e. marvel.—I have deviated but slightly
from the old ed. in arranging the lines of this
speech. The probability is, that the genuine text has
not come down to us.

# 109:

_kiff nor kin_] A not uncommon corruption of kith nor
kin.

# 110:

_runts_] i. e. cattle of a small size.

# 111:

_Rider’s Dictionary_] _A Dict. Engl. and Lat., and
Lat. and Engl._, by John Rider, first printed 1589,
was a work once in great repute at Oxford.

# 112:

_tu virgo_, &c.] Old ed. “abundis:” as, in the
next speech of Tim, the old ed. has “abundat,” I
should have supposed, but for the lady’s reply
“abundand_is_,” and what has been previously said
of her wealth, that Middleton wrote here, “tua,
_virgo, Wallia ut opibus_ abundat _maximis_.”

# 113:

_simul et ... parato_] Old ed. “simule ... parata.” I
am by no means satisfied with my alterations; indeed,
I do not quite understand the drift of Tim’s oration.

# 114:

_cog_] i.e. lie, deceive, wheedle.

# 115:

_proceeded_] i. e. taken a degree.

# 116:

_and_] i. e. if.

# 117:

_Welsh._ [_sings_] Old ed. “Musicke and Welch Song,”—
the words probably being adapted to some Welsh air.

# 118:

_Cupid is Venus'_, &c.
. . . . . . . .
_To keep a lady’s lips in play_] This portion of the
song, with two additional lines, occurs in our
author’s _More Dissemblers besides Women_, vol. iii.
p. 574.

# 119:

_thought_] Old ed. “taught:” but see vol. iii. p. 575.

# 120:

_lose it_] Qy. “lost is?”

# 121:

_I can do somewhat_] Here, it would seem, from what
Yellowhammer says on entering, that Tim either kisses
the Welshwoman, or proceeds to sing.

# 122:

_a' life_] i. e. as my life, extremely.

# 123:

_Resolve_] i. e. satisfy, inform.

# 124:

——] So old ed.

# 125:

——] So old ed.

# 126:

_Poulters ... conies_] i.e. Poulterers ... rabbits.

# 127:

_wittol’s_] i.e. tame cuckold’s.

# 128:

_Cato_] i.e. the _Disticha de Moribus_, to which the
name of Cato is prefixed.

# 129:

_Corderius_] Old ed. “Cordelius.”

# 130:

_kursen’d_] i. e. christen’d.

# 131:

_mark_] See note, p. 10.

# 132:

_anno_——] The player, perhaps, was to fill up the
date.

# 133:

_lay_] See note, vol. ii. p. 11.

# 134:

_Blackfriars_] i. e. Blackfriars' Theatre.

# 135:

_gill_] i. e. wanton.

# 136:

_up on_] Old ed. “_vp_ vpon.”

# 137:

_tongue_] i. e. perhaps, suit—if it be not a misprint.

# 138:

_first_] Old ed. “at _first_.”

# 139:

_she smiles_] Qy. “_she smiles_ [on you],” for the
measure?

# 140:

_darken_] Old ed. “darkens.”

# 141:

_stand_] Old ed. “stands.”

# 142:

_O too_] I can make nothing else of the “ho to” of old
ed.

# 143:

_have_] Old ed. “hath.”

# 144:

_seven_] i. e. the seven children: see p. 73, l. 6
from bottom.

# 145:

_wittol_] i. e. tame cuckold.

# 146:

_with part_] Qy. “any _part_”—for the measure?

# 147:

_wittols_] i. e. tame cuckolds.

# 148:

_push_] See note, vol. i. p. 29.

# 149:

_you taught me_, &c.] Does he allude to the foolish
game called _A thing done_, &c.? See B. Jonson’s
_Cynthia’s Revels_—_Works_, vol. ii. p. 306, ed. Giff.

# 150:

_Ovid_] Qy. “Ovidius”—for the measure?

# 151:

_joy_] Old ed. “ioyes.”

# 152:

_cast_] i. e. contrived.

# 153:

_Recorders_] i. e. flageolets.

# 154:

_epitaphs pinned on it_] According to the custom of
the time.

# 155:

_music-room_] On the present stage-direction Mr. J. P.
Collier (_Hist. of Engl. Dram. Poetry_, vol. iii. p.
447) founds a conjecture, which, to me at least, is
not quite satisfactory—viz. that as in our early
theatres the boxes were called _rooms_, one of them
was probably appropriated to the musicians.

# 156:

_What nature could there shine_] i. e., perhaps, what
good qualities, &c.—A friend conjectures “shrine.”

# 157:

_First Mour._] Old ed. prefixes “All” to the speeches
which I have assigned to different mourners.

# 158:

_Touch. jun._] Old. ed. “T. S.”

# 159:

_First Mour._] Old ed. “All” (see note in preceding
page): but as Mistress Allwit spoke last, the speech
perhaps belongs to her husband, though in this scene
old ed. gives the abbreviation of his name “Allw.”

# 160:

_prevent_] i. e. anticipate.

# 161:

_Knights' ward_] See note, vol. i. p. 392.

# 162:

_and_] i. e. if.

# 163:

_saw_] Old ed. “say.”

# 164:

_Brainford_] See note, p. 37.

# 165:

_runts_] See note, p. 66.

# 166:

_Flectere_, &c.] Virg. _Æn._ vii. 312.

# 167:

_falleris_] Old ed. “falacis.” Compare p. 62, where
Tim says “_falleris_ sane.”

# 168:

——] So old ed.

# 169:

_Scene, Madrid_, &c.] Old eds. “The Scene, Allegant”
[i. e. Alicant].

# 170:

_borachio_] i. e. drunkard. “A _borachio_ is a vessel
made of skins, in which wine is kept in Spain.” Editor
of 1816.

# 171:

_for gentlemen_] First ed. “for a gentlemen.” Ed.
1661, “for a’ gentleman.”

# 172:

_be_] So ed. 1661. Not in first ed.

# 173:

_Madrill_] i. e. Madrid—a form of the word repeatedly
found in our early writers.

# 174:

_alablaster_] See note, vol. i. p. 281.

# 175:

_is_] Old eds. “are.”

# 176:

_penance_] i. e. penitence.

# 177:

_Live_ Is one of several important corrections made
with a pen in a copy of the first 4to, by some
early possessor, who, as he has also inserted some
additions to the text, had, in all probability, seen a
manuscript of the piece.—Both eds. “Lay,” which,
before the copy just mentioned came into my hands, I
had altered to “Play.”

# 178:

_lodgings_] Must mean his apartments in Fernando’s
house: see p. 106, l. 1.

# 179:

_Exit Louis_, &c.] At p. 115, Diego tells Louis,

“_as we parted_, I perceiv’d
A walking thing before me,” &c.;

but I cannot help suspecting (as there was no painted
moveable scenery when this drama was written: see
notes, vol. ii. pp. 142, 147, and p. 29 of the present
vol.), that as soon as Diego had said, “I this way,”
the audience was to imagine a change in the place of
action; and, perhaps, after these words, he made his
exit “at one door,” and “entered presently at the
other:” see note on the commencement of the 2d sc. of
act v.

# 180:

_reading_] By this direction we are to understand,
perhaps, that John is looking on a paper which he
afterwards gives to Constanza (“this paper tells you
more,” p. 128); for, surely, the rhyming lines now
spoken by him are a soliloquy.

# 181:

_ennoble_] Old eds. “enable.”

# 182:

_keep_] Old eds. “keeps.”

# 183:

_float_] i. e. flow, flood.

# 184:

_conjure_] Old eds. “conjures.”

# 185:

_temption_] Altered by the editor of 1816 to
“temptation;” and, I believe, with similar
inconsiderateness, by myself, in a prose passage of
one of the preceding plays, though I cannot recollect
where.

# 186:

_and_] Qy. “of?”

# 187:

_fegary_] i. e. vagary.

# 188:

_Of the sweet voyage_, &c.] Here the editor of 1816,
“to complete the measure,” prints,

“Of the sweet voyage [that] he stole to-night;”

and a little after,

“You’re i' the right, [it was] not you indeed;”

but I apprehend that the speeches of Roderigo, “You’re
pleasant,” and “Not I,” make up the lines.

# 189:

_lin’d_] Qy. “lim’d?”

# 190:

_I have_, &c.] The editor of 1816, boldly deviating
from the old eds., gives,

“I have observ’d him often to frequent
The sports the gipsies newly come present;”

which, as he thinks, “improves the measure without
affecting the sense.”

# 191:

_pullen_] i. e. poultry.

# 192:

_the arts of Cocoquismo and Germania_, &c.] Alvarez
proceeds to explain his meaning; but I may just
observe that _Cocoquismo_ should perhaps be
_Cacoquismo_, formed from the Spanish _caco_, a
pickpocket (unless indeed it has some affinity with
the phrase _hacer cocos_, to wheedle), and that
_Germania_ signifies, in that language, the jargon of
the gipsies: see Neuman’s _Span. and Engl. Dict._ in
vv.

# 193:

_pickaroes_] i. e. rogues.—“_Picaro_, knavish,
roguish,” &c. Neuman’s _Span. and Engl. Dict._ in v.

# 194:

_foisting_] See note, vol. ii. p. 544.

# 195:

_defy_] i. e. reject, renounce.

# 196:

_teniente_] “_Teniente de una compania_, lieutenant of
a company.” Neuman’s _Span. and Engl. Dict._ in v.

# 197:

_Madrill_] See note, p. 104.

# 198:

_grandees_] Old eds. “grandos,” which, perhaps, the
author wrote.

# 199:

_We shall ... short_] One speech in old eds., with the
prefix “_Both._”

# 200:

_tweezes_] i. e. tweezers.

# 201:

_marvedi_] Or _maravedi_—“an extremely small [copper]
Spanish coin.” Editor of 1816.

# 202:

_blank_ “_Blanquilla_, doit, a very small coin.”
Neuman’s _Span. and Engl. Dict._ in v.—_Blanks_ “are
said to be coins struck by Henry V. in France, of
baser alloy than sterling [silver], and running for
eightpence. They were called Blanks or Whites from
their colour.” Ruding’s _Ann. of the Coinage_, vol.
ii. p. 8, ed. 4to.

# 203:

_pullen_] i. e. poultry.

# 204:

_Valladolid ... Cordova_] Old eds. “Vallidoly ...
Cordica.”

# 205:

_Rochelle_] “In the time of our poets, seems to have
been a general asylum for those persecuted Protestants
who knew not where to go; and Alvarez intimates that
the whole world was equally open to people of their
description, who had no settled home.” Editor of
1816,—whether rightly or not, I cannot determine.

# 206:

_sack-buts_] See the same play on the meanings of the
word—_musical instruments_ and _buts of sack_—in vol.
i. p. 177.

# 207:

_the_] Editor of 1816, “thee.”

# 208:

_bubbers_] Which Nares (_Gloss._ in v.) would alter to
“lubbers”—is (see Grose’s _Class. Dict. of Vulg.
Tongue_, in v.) a vulgarised form of _bibbers_,
Constanza having used the word _butt_ in the double
sense of _mark_ and _liquor-vessel_.

# 209:

_gave aim_] See note, vol. ii. p. 335. The editor of
1816 wrongly follows the reading of ed. 1661, “give.”

# 210:

_a parrot ... almond_] See note, vol. iii. p. 112.

# 211:

_woman’s_] Old eds. “womens.”

# 212:

_try that conclusion_] i. e. make that experiment.

# 213:

_alcumy_] Or _alchemy_—a sort of base mixed metal
(supposed originally to have been formed by the
alchemist). Compare vol. ii. p. 249, “here be the
tavern beakers, and here peep out the fine _alchemy
knaves_.”

# 214:

_in musses_] “i. e. to make a scramble of.” Editor of
1816.

# 215:

_sakers_] “A species of hawk.” Editor of 1816.

# 216:

_Thyself_] A MS. addition in copy of the first 4to:
see note, p. 109.

# 217:

_None but myself_, &c.] Here the editor of 1816 thinks
that “perhaps the performer who personated Pretiosa
[Constanza] had before met with applause in Antonio,
the character in _The Changeling_ that gives name to
the piece.”

# 218:

_come aloft_] See note, vol. iii. p. 112.

# 219:

_cogs_] i. e. teeth of the wheels.

# 220:

_cummin-seeds_] Were used for luring pigeons to a
dove-cote.

# 221:

_mother Bumby_] Or _Bomby_—was a _wise_ or _cunning
woman_ of great celebrity, who told fortunes, cast
waters, &c. Lilly wrote a comedy called _Mother
Bombie_ (first ed. 1594), in which she figures.

# 222:

_yon_] Old eds. “you.”

# 223:

_San. Hum, hum_] A MS. addition in copy of the first
4to: see note, p. 109.

# 224:

_nuncle_] i. e. uncle—contracted from _mine uncle_.

# 225:

_Alv. And of as long a style_] A MS. addition in copy
of the first 4to: see note, p. 109.

# 226:

_be_] Old eds. “been.”

# 227:

_do you wish me blind_] “The whitish spots in the eye,
arising from the small pox or other causes, and
occasioning blindness, are still frequently called
pearls.” Editor of 1816.

# 228:

_rhymes_] A MS. correction in copy of the first 4to:
see note, p. 109. Old eds. “crime.”

# 229:

_then_] A MS. addition, ibid.

# 230:

_Soto. Do, master, and I'll run division behind your
back_

# 231:

_maunders_] “i. e. speaks obscurely [rather,—whines],
as beggars do. [See note, vol. ii. p. 536.]” Editor of
1816.

# 232:

_Const., Car., &c._] Old eds. “Omnes.”

# 233:

_thy_] Old eds. “thee.”

# 234:

_a pistolet_] A play on the word—which meant both a
small coin and a small pistol.

# 235:

_Alv., Car., &c._] Old eds. “Omnes.”

# 236:

_told_] Qy. “trowed?”

# 237:

_task_] Old eds. “taste” and “tast.”

# 238:

_turn gipsy_] “Vincent and Hilliard are required by
Rachel and Meriel, in the _Jovial Crew_ of Brome, to
give a similar proof of their affection.” Editor of
1816. If there be any imitation in the case, it is on
the part of Brome.

# 239:

[_heaven with_] So the editor of 1816. There is
certainly some imperfection in the line.

# 240:

_Mar._] Old eds. “Ped.”

# 241:

_Here comes, &c._] To this line old eds. prefix DIE.,
which in copy of the first 4to (see note, p. 109) is
rightly drawn through with a pen.

# 242:

_when_] The editor of 1816 follows the reading of ed.
1661, “then.”

# 243:

_cast_] i. e. couple: see Gifford’s note on B.
Jonson’s _Works_, vol. iii. p. 447, and my note on
Webster’s _Works_, vol. iv. p. 295.

# 244:

_without his cloak, &c._] See p. 125.

# 245:

_How, &c._] Given to “_Soto_” in old eds.

# 246:

_beg me for a fool_] See note, vol. iii. p. 16.

# 247:

_cony-catched_] i. e. cheated, deceived: see vol. i.
p. 290.

# 248:

_haut_] i. e. high, lofty: “to brave his enemy in the
rich and _lofty Castilian_ [tongue].” Dekker’s
_English Villanies_, &c. sig. M 4, ed. 1632.

# 249:

_brave_] A play on the word—fine.

# 250:

_cloth_] Improperly altered by the editor of 1816 to
“clothes.”

# 251:

_maps_] i. e. mops.

# 252:

_in Rome, I'll go to him with a mortar_ “The clown in
Fletcher’s _Fair Maid of the Inn_, act v. sc. 2, makes
use of a similar expression: ‘He did measure the stars
with a false yard, and may now _travel to Rome with a
mortar on’s head_, to see if he can recover his
money.’ On this Mason observes, ‘One class of
presidents in the parliament of Paris were styled
_présidents à mortier_, for a cap they wore resembling
in shape a mortar.’” Editor of 1816. See also
Cotgrave’s _Fr. Engl. Dict._ in v. _mortier_; but in
this expression, which seems to have been proverbial,
does _mortar_ mean a cap? “So that methinkes I could
flye to Rome (at least hop to Rome, as the olde
Prouerb is) with a morter on my head.” _Dedicatory
Epistle_ to _Kemps nine daies wonder_, 1600.

# 253:

_woods_] Old eds. “wookes.”

# 254:

_marvedi_] See note, p. 119.

# 255:

_larks_] So editor of 1816. Old eds. “_markes_.”

# 256:

_cog_] See note, p. 67.

# 257:

_the elephant and camels_] The writer thought only of
London, where such shows were much followed: see
Gifford’s notes on B. Jonson’s _Works_, vol. ii. pp.
149, 152; and Chalmers’s _Suppl. Apol._, p. 208.

# 258:

_vild_] i. e. vile—a form common in our old authors.

# 259:

_about_] Qy. “above?”

# 260:

_Madrill_] See note, p. 104.

# 261:

_Who are_] A MS. addition in copy of the first 4to:
see note, p. 109. The editor of 1816 supplied “But who
are.”

# 262:

_gaberdines_] i. e. coarse loose frocks.

# 263:

_tiring-house_] i. e. the dressing-room—in theatrical
language.

# 264:

_do our tops_, &c.] Qy. ought Alvarez and his
companions to enter before these words?

# 265:

_Alv. Gui., &c._] Old eds. “Omnes.”

# 266:

_grandees_] Old eds. “grandoes:” see note, p. 119.

# 267:

_San._ [_sings_] I suspect that only a portion of this
song should be assigned to Sancho.

# 268:

_threading-needles_] “_Thread my needle_ is yet a
common sport; and to this, probably, the song
alludes.” Editor of 1816.

# 269:

_ging_] i. e. gang: see note, vol. ii. p. 532.

# 270:

_Mull-sack_] A familiar contraction: so “mull-wines,”
vol. i. p. 391.

# 271:

_Peter-see-me_] A corruption of _Pedro-Ximenes_: see
note, vol. iii. p. 213.

# 272:

_noul_] i. e. noddle, head.

# 273:

_fox_] “i. e. intoxicate.” Editor of 1816.

# 274:

_A garden_, &c.] See note, p. 154.

# 275:

_quarrels_] Old eds. “families.”—“I have no doubt the
printer caught the word from the preceding lines.”
Editor of 1816.

# 276:

_his_] Old eds. “he.”

# 277:

_Mar._] Old ed. “Al.”

# 278:

_in your t’other hose_]—_hose_, i. e. breeches—a sort
of proverbial expression: compare vol. i. p. 262, and
B. Jonson’s _Tale of a Tub_;

“We robb’d in St. John’s wood! _In my t’other hose!_”
_Works_ (by Gifford), vol. vi.
p. 164.

# 279:

_report_] Ed. 1661, “a report.”

# 280:

_Madrill_] See note, p. 104.

# 281:

_trow_] i. e. think you.

# 282:

_Yes, sure_, &c.] To this line, which in old eds.
forms part of Francisco’s speech, the prefix “_Joh._”
is added with a pen in copy of the first 4to: see
note, p. 109.

# 283:

_As hotly_, &c.] To this line in old eds. is prefixed
“Ans.” i. e., perhaps, the _Answer_ of those who form
the rear.

# 284:

_Ped_.] Old eds. “Ro.”

# 285:

_father_] Old eds. “fathers.”

# 286:

_need_] Old eds. “needs.”

# 287:

_have_] Old eds. “hath.”

# 288:

_Gui. Car., &c._] Old eds. “Omnes.”

# 289:

_and_] i. e. if.

# 290:

_we’d_] Old eds. “hee’d.”

# 291:

_your_] Qy. “you?” compare p. 145, 3d line from
bottom.

# 292:

[_straightway_] Inserted by the editor of 1816.

# 293:

_Sir_] A MS. correction in copy of the first 4to: see
note, p. 109. Old eds. “For.” The editor of 1816 makes
“For she’s past the worst” the conclusion of Louis’s
speech.

# 294:

_You shall not part_, &c.] The audience, it seems, was
to suppose that, after Francisco (p. 152) had said,
“With your favour,
We will attend you home,”
the scene had changed to the neighbourhood of
Fernando’s house!

# 295:

_alablaster_] See note, vol. i. p. 281.

# 296:

_Thy griefs grow wild_] So editor of 1816. Old eds.
“The _griefs grow_ wide.”

# 297:

_Azevida_] A MS. correction in copy of the first 4to:
see note, p. 109. Old eds. “Azeutda.”

# 298:

_Madrill_] See note, p. 109.

# 299:

_a wife, young lady_] The editor of 1816 strangely
follows the reading of ed. 1661, “_a_ wise _young
lady_.”

# 300:

_style_] Old eds. “stiles.”

# 301:

_crucifix_] See p. 108.

# 302:

_one_] Qy. “son?”

# 303:

_What I have suffer’d, what thou ought’st to do_] “I
cannot but believe that the line that should follow
this has been lost.” Editor of 1816.—I see no reason
for believing so.

# 304:

_Sir_] Qy. “Sit?”

# 305:

_gules_] i. e., in heraldic language, red.

# 306:

_This_] The editor of 1816 prints “Thy.”

# 307:

_Night_] Old eds. “Might.”

# 308:

_Alv., Gui., &c._] Old ed. here and afterwards,
“_All._”

# 309:

_mutton_] See note, vol. iii. p. 102.

# 310:

_Muly Crag a whee_] A corrupted name probably, used
with a quibble.

# 311:

[_sings_] Had there not been a “Chorus” (in old eds.
“_Omnes_”), I should have supposed that the rhyming
lines in this initiation-scene were spoken, not sung.

# 312:

_best_] Qy. “left?”

# 313:

_leman_] i. e. mistress.

# 314:

_Now mark_, &c.] Before these words in the old eds. is
a direction (printed as part of the verse), “_Teach
him how_,” merely intended for the actor who played
Alvarez,—not, as the editor of 1816 thinks, “a
direction to the other gipsies to instruct Don John
how he is to perform the directions of their chief.”

# 315:

_Car._] Old eds. “_Cla._”

# 316:

_hey-de-guize_] A kind of rural dance—a word variously
spelt, and of doubtful etymology.

# 317:

_lopes_] i. e. leaps.

# 318:

_wench_] Qy. “wrench?” Compare Sir John Davies’s
_Orchestra, or a Poeme of Dauncing_;

“Such winding sleights, such turns and tricks he hath,
Such creeks, such _wrenches_, and such dalliaunce.”
St. 53.

# 319:

_growt_] a corruption of _great_.

# 320:

_because the beast is corn-fed_] “This seems so odd a
reason why the elephant could not go, that I believe
we should read, ‘is _not_ fed.’” Editor of 1816.—But
does not _corn-fed_ mean, even in the present day,
fattened up? and, perhaps, there is a quibble—
_cornified_ (having corns).

# 321:

_Jack[s]-in-boxes_ I have to regret that the following
passage does not well admit of abridgment: “This Jacke
in a Boxe, or this Diuell in mans shape, wearing (like
a player on a stage, good clothes on his backe) comes
to a Goldsmiths Stall, to a Drapers, a Habberdashers,
or into any other shoppe, where he knowes good store
of siluer faces are to be seene. And there drawing
foorth a faire new boxe, hammered all out of Siluer
plate, he opens it, and powres forth twenty or forty
Twenty-shillings pieces in new Gold. To which heape of
worldly temptation thus much hee addes in words, that
either he himselfe, or such a Gentleman (to whom he
belongs) hath an occasion for foure or fiue dayes to
vse forty pound. But because he is very shortly (nay
he knowes not how suddenly) to trauaile to Venice,
to Jerusalem or so, and would not willingly bee
disfurnished of Gold, he doth therefore request the
Citizen to lend (vpon those Forty Twenty-shilling
pieces) so much in white money (but for foure, or
fiue, or sixe dayes at the most) and for his good will
he shall receiue any reasonable satisfaction. The
Citizen (knowing the pawne to be better then a Bond)
powreth downe forty pound in siluer: the other drawes
it, and hauing so much gold in hostage, marcheth away
with Bag and Baggage. Fiue dayes being expired, Jacke
in a Boxe (according to his bargaine) beeing a man of
his word, comes againe to the shop or stall, (at
which he Angles for fresh Fish) and there casting out
his line with a siluer hooke, that is to say, powring
out the forty pound which he borrowed. The Citizen
sends in, or steppes himselfe for the Boxe with the
Golden Deuill in it: it is opened, and the army of
Angels being mustered together, they are all found to
be there. The Boxe is shut againe and set on the stall
whilest the Citizen is telling of his mony: But
whilest the musicke is sounding, Jacke in a Boxe actes
his part in a dumbe shew thus; he shifts out of his
fingers another Boxe of the same mettall and making
that the former beares, which second Boxe is filled
only with shillings, and being poized in the hand,
shall seeme to carry the weight of the former, and is
clap’d downe in place of the first. The Citizen in the
meane time (whilest this Pitfall is made for him)
telling the forty pounds, misseth thirty or forty
shillings in the whole summe, at which the Jacke in a
Boxe starting backe (as if it were a matter strange
vnto him) at last (making a gathering within himselfe
for his wits) he remembers, he sayes, that he layd by
so much money as is wanting (of the forty pounds) to
dispatch some businesse or other, and forgot to put it
into the bag againe; notwithstanding, he intreats the
Citizen to keepe his Gold still, he will take the
white money home to fetch the rest and make vp the
summe, his absence shall not bee aboue an houre or
two: before which time hee shall bee sure to heare of
him, and with this the little Deuil vanisheth carrying
that away with him which in the end will send him to
the Gallowes, (that is to say, his owne Gold) and
forty pound besides of the Shop-keepers which he
borrowed, the other being glad to take forty shillings
for the whole debt, and yet is soundly boxt for his
labor.” _English Villanies_, &c., sig. H, ed. 1632.

# 322:

_cozen fools with gilt rings_ “You haue another kind
of Lifter, or more properly a cunning night shifter,
and it is thus: You shall haue a fellow that in an
euening or night time, or some time at noone dayes, as
hee likes the company and sorts his opportunity, that
will wilfully drop sometime a spoone, other while a
ring or else some peece of coyned money, as the
likenes of gold and siluer, and so spurning it afore
them in the view of others, to the end they should cry
halfe part; which he taking hold of, sayth, nay by my
troth, what will you giue me and take it all? and so
some greedy fooles offer thus much, thinking it gold,
which the Lifter takes as knowing it counterfeit, and
so are they cunny-caught.” Dekker’s _Belman of
London_, sig. G 4, ed. 1608.

# 323:

_Not_] Ed. of 1816, “Rot,” mistaking for an _r_ the
broken _n_ of ed. 1661.

# 324:

_such a motion as the city Nineveh_] See note, vol. i.
p. 229.

# 325:

_black_] May be the right reading: but qy. “back?”

# 326:

_Car._] Old eds. “_Cla._”

# 327:

_mall’d_] So written for the rhyme.

# 328:

_all to-be-dabbled_ A writer in the additions to
Boucher’s _Gloss._ (new ed. in v. _All_) has well
observed, that in such expressions as this it is a
mistake to suppose that _all_ is coupled with _to_,
and that it becomes equivalent to _omnino_ from being
thus conjoined: the _to_ is connected with the
following participle as a prefix.

# 329:

_dill_] i. e., perhaps, darling: see Nares’s _Gloss._
in v. _Dilling_, and Moor’s _Suff. Words_ in v.
_Dills_; or, perhaps, another form of _dell_—see note,
vol. ii. p. 538.

# 330:

_Jet_] i. e. strut.

# 331:

_bravery_] i. e. finery.

# 332:

_like_] i. e. please.

# 333:

_young_] A MS. correction in copy of the first 4to,
see note, p. 109, and so the editor of 1816. Old eds.
“younger.”

# 334:

_reals_] “_Real_, a Spanish sixp_Guide into Tongues_
in v.—“A coin worth forty maravedis.” Neuman’s _Span.
and Engl. Dict._ in v.

# 335:

_since_] A MS. correction _ubi sup._, and so the
editor of 1816. Old eds. “sinne,” and “sin.”

# 336:

_a striker_] A quibble:

“nor was old Laïs liker
Unto herselfe then shee is to _a striker_.”
Brathwait’s _Honest Ghost_, 1658, p. 167.

The word is more frequently applied to the dissolute
of the other sex: note, vol. ii. p. 454.

# 337:

_arm_] A MS. correction _ubi sup._ Old eds. “army,”
which the editor of 1816 vainly endeavoured to
explain.

# 338:

_See they_, &c.] Given to “_Al._” in first ed. by a
mistake, which is corrected in ed. 1661.

# 339:

_not like a pantaloon_] “i. e. represent him in the
full possession of his strength and mental faculties,
and not like a feeble old man. ‘The lean and slipper’d
pantaloon’ of Shakespeare will occur to every reader.”
Editor of 1816.

# 340:

_canaries_] A quick and lively dance: see note, vol.
iii. p. 39.

# 341:

_jet_] i. e. strut.

# 342:

[_pleasures_] Compare p. 172, last line; but I am by
no means confident that I have supplied the right
word.

# 343:

_property_] i. e. in theatrical language, a thing
necessary for the scene.

# 344:

_Take you pepper in the nose_] “i. e. if you be
captious and ready to take offence.” Editor of 1816.

# 345:

_like an owl_, &c.] “To look like an owl in an
ivy-bush” is a proverbial expression: see Ray’s
_Proverbs_, p. 61, ed. 1768. A tuft or bush of ivy was
formerly hung out at the door of a vintner.

# 346:

_marvedi_] See note, p. 119.

# 347:

_Hold his nose_, &c.] i. e. “confine him to a short
allowance.” Editor of 1816.

# 348:

_case_] i. e. pair.

# 349:

_anon, anon_] “Was the reply of the waiters [drawers]
when called, as sufficiently appears in act ii. sc.
iv. of the _First Part of Henry IV._” Editor of 1816.

# 350:

_ningle_] i. e. intimate, favourite: see note, vol.
ii. p. 498.

# 351:

_Alv._] Old eds. “An.”

# 352:

_visitation_] Ed. 1661, “visitations.”

# 353:

_Madrill_] See note, p. 104.

# 354:

_Exit Sancho_] So the editor of 1816: but I suspect a
misprint in the words “Away you.” It is necessary,
however, that Sancho should quit the stage: see p.
180.

# 355:

_haberdine_] See note, p. 64.

# 356:

_I make buttons_] Compare vol. i. p. 135 and note.

# 357:

_Madrill_] See note, p. 104.

# 358:

_sell_] A MS. correction in copy of the first 4to: see
note, p. 109. Old eds. “see.”

# 359: