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publications 
 
 OF THE 
 
 XHniv>ersit\> of Pennsylvania 
 
 SERIES IN 
 
 Philology and Literature 
 
 VOLUME XII. 
 
 THE ROYALL KING 
 
 AND 
 
 LOYALL SUBJECT 
 
 WRITTEN BY 
 
 THOMAS HEYWOOD 
 
 REPRINTED FROM THE QUARTO OF 1637 
 AND EDITED WITH INTRODUCTION AND NOTES 
 
 KATE WATK1NS TIBBALS 
 
 Late University Fellow in English, University of Pennsylvania 
 
 Published for the University 
 
 PHILADELPHIA 
 
 1906 
 
 The John C. Winston Co., Selling Agents, 
 1 006-1 6 Arch Street, Philadelphia Pa. 
 

 <?* 
 
 c.^ 
 
 5U 
 
PREFACE. 
 
 The only early edition of The Royall King and the Loyall 
 Subject known to exist to-day is that of 1637, in quarto. It 
 was printed, then, during the life of Heywood, but it is at 
 least doubtful whether he gave his consent to its publication. 
 There is no preface or address to the reader, such as we 
 find in the plays printed under Heywood's supervision. The 
 printing is not faultless but it cannot be said to be unusually 
 careless. The quarto from which this reprint of 
 the play is taken is in excellent preservation. The 
 tops of the title page and the next leaf (A 3), containing the 
 Prologue to the Stage and the Dramatis Personae, have been 
 torn, but these are the only mutilations, and in each case, the 
 injury is very slight. Copies of the quarto would seem to 
 be fairly numerous — there are several in the British Museum 
 — but I have been able to obtain no other for purposes of 
 comparison. It is possible that variations in different copies 
 of the quarto may explain some of the radical differences 
 between the readings of the editions where such are not noted 
 as emendations by the editors. (See, for instance, the note 
 on "Let" III, 191, and Collier's reading for IV, 121-125.) 
 
 The three modern editions of the play are: (1) that of 
 Charles Wentworth Dilke, in Volume VI of Old English 
 Plays, a supplement to Dodsley, London, 1815. (pages 219- 
 322 y (2) J. Payne Collier, Shakespeare Society, London, 
 1850. (The Woman Killed with Kindness, is also included.) 
 (3) The play in the complete edition of The Dra- 
 matic Works of Thomas Heywood, published by John Pear- 
 son, London, 1874. The two earlier editions are modernized 
 in spelling and punctuation, and somewhat freely emended. 
 
 1 Collier does not seem to have known Dilke's reprint. He calls his 
 own editions the first since 1637. 
 
 (3) 
 
4 Preface. 
 
 Of the two, Dilke's is the more accurate, though there are 
 occasional bad misprints. The Pearson edition is fairly 
 exact, attempting as it does to reproduce the spelling and 
 punctuation of the Quarto; but in that, too, misprints and 
 unnoted emendations occur. 
 
 The present edition aims to reproduce the Quarto as 
 exactly as possible, and at the same time to embody all the 
 previous work of correction and emendation. No attempt 
 has been made to record the variations in spelling in the 
 editions of Dilke and Collier — since they are modernized 
 throughout — nor in punctuation, unless the sense is altered 
 thereby. The notes of all three editions are incorporated, 
 with ascription to the earliest in which they occur. Pearson 
 adopts freely from both Dilke and Collier, without quotation 
 marks, or acknowledgement of indebtedness. 
 
 The three editions have been carefully compared with 
 each other and with the Quarto, and all emendations of word 
 or phrase are recorded at the foot of each page. Longer 
 explanatory and illustrative notes are relegated to the end 
 of the play, that the text may be left as clear as possible. 
 The lines are numbered according to the printing of the 
 Quarto, which includes in its numbering, stage directions, 
 and, indeed, everything except the title at the beginning. 
 The numbering is by acts, Prologue and Epilogue being 
 counted separately. The quarto, a reprint of which is here 
 presented, is the property of Professor P. E. Schelling, to 
 whom grateful acknowledgment is herewith made, not only 
 for the loan of the book, but for constant encouragement and 
 assistance in the task of preparing it for republication. 
 
THE ROYALL KING AND THE LOYALL SUBJECT. 
 
 The Royall King and the Loyall Subject may claim an 
 especial interest from students for at least two reasons: 
 first, because it furnishes an excellent illustration of the 
 ease with which the playwrights of the great period of the 
 English drama converted a story from a foreign source into 
 a thoroughly English play ; and second, because it gives them 
 an opportunity to compare the method of a realistic poet 
 with that of a romanticist working on the same theme. More- 
 over, certain questions arise in connection with this play, 
 to which scholars have given varying, and sometimes con- 
 tradictory answers. Of these questions, the following are 
 perhaps the chief: Who wrote The Royall King? If 
 Thomas Heywood, as the earliest edition, published in his 
 life-time, asserts, did he work alone ? or did he have in it 
 only a "main finger" ? Is it possible that we have a record 
 of this play, otherwise unmentioned, in Henslowe's Diary 
 under the name of "Marshalle Oserecke"? In setting forth 
 a new edition of this play, and one that aims to be fuller 
 and, if possible, freer from faults, than the three modern 
 reprints that have preceded it, it seems proper to reconsider 
 these questions, and to go into the matter of the source of 
 the story, and its analogues in other plays, a little more 
 fully, than has yet been done. This, then, will be the attempt 
 of the Introduction. 
 
 I. The Royall King and the Loyall Subject is a sort of 
 pseudo-chronicle play, dealing with the relations between 
 a king and his High Marshal, or chief minister. Neither 
 king nor marshal is named, and it is improbable that a 
 parallel for the story could be found in any English chronicle, 
 
 (5) 
 
6 The Roy all King and the Loyall Subject. 
 
 or history. 1 Indeed, the source is quite other, as we shall 
 see. The spirit of the play is intensely English and, at least 
 in its minor scenes, realistic. The foreign material has been 
 almost completely transformed into an English equivalent. 
 This change of atmosphere is due, not only to change in the 
 names and aspects of the characters, and to references to 
 English places, persons and customs, but also, and chiefly, to 
 scenes and conversations quite impossible in the oriental 
 original of the story. These are of course, mainly those 
 of the minor characters : such as the short, uncorrelated scene 
 between the 1 Clown and the Welshman, the 2 riot in the 
 Ordinary and, indeed, most of the scenes where the Captain 
 and his followers appear. 
 
 The Englishing of the scene and characters of the play 
 has an important bearing on the question of its date, the 
 latter being determinable, in the absence of direct evidence, 
 only by inference. The date of our only early edition, in 
 quarto, is 1637. The Epilogue to the Reader acknowledges 
 that the play was old at the time of its publication, and 
 refers it back to the period when 3 "rime," "doublets with 
 stuft bellies and big sleeves, And those trunk hose which 
 
 1 Dilke, in his Introduction to the play, endeavors to place its action 
 in the reign of an actual king of England. He says: "Who was the 
 sovereign depicted in this drama, does not seem absolutely certain; 
 but as the first Richard and the first Edward were the only kings of 
 England who personally carried their arms into Palestine, one of them 
 must be supposed to be meant by our poet; and as the Prince of England 
 is one of the persons in the drama, this circumstance seems to confine 
 it to the latter. The Marshal, however, who here seems to entertain 
 as high a notion of a subject's passive obedience as patient Grisild 
 of conjugal non-resistance (see "The Clerke's Tale" in Chaucer), agrees 
 but ill with the character of Bigod, the Marshal of England in that 
 reign, who flatly refused to serve under any other than the king in 
 person, and who, on Edward's swearing by the eternal God that he 
 should either march or be hanged, swore by the same oath that he would 
 neither march nor be hanged." 
 
 a Act I, 104. 
 
 2 II, 285. 
 
 8 Ep. 8, 10. 
 
The Royall King and the Loyall Subject. 7 
 
 now the age doth scorn," were all in fashion. Ward, in his 
 English Dramatic Literature, II, 560-561, comparing with 
 Fairholt's Costume in England, page 207, judges the time 
 of writing to have been "about the close of the century." 
 With this dating the character of the play very well agrees. 
 For, only a little later, i. e., with the accession of King James, 
 the vogue for things English, national, passed away, and the 
 scenes of plays came to be laid more and more in foreign 
 lands. That this change was general and marked can easily 
 be proved by running over any list of plays performed or 
 published before the death of Elizabeth and comparing it 
 with a similar list of Jacobean dramas. In Fletcher's play, 
 The Loyal Subject, licensed in 1618, the scene is laid not 
 in London, but in Moscow. The importance of this distinc- 
 tion can hardly be overestimated, and the English tone of 
 the play might, almost of itself, be considered evidence 
 weighty enough to fix its date. One or two small details 
 may be added by way of corroboration. The frequent em- 
 ployment of rime has been alluded to. The almost supera- 
 bundant use of "Ey" as a response, or, more rarely, as a 
 concessive particle, seems characteristic of the writing of the 
 close of the century. According to the New English Dic- 
 tionary, the word appears suddenly about 1575, and is 
 exceedingly common about 1600. Finally, in character 
 delineation, and a certain carelessness in the arrangement of 
 its scenes the play seems to show the work of a young man, 
 connecting itself most closely with what we may call the 
 prentice work of its author. 
 
 So much being said, the question immediately arises "who 
 M its author ?" and this question connects itself very closely 
 with the discussion of the date. Former editors, Dilke, 
 Collier, and the editor of the Pearson edition of Heywood's 
 works, appear never to have doubted that Heywood and 
 Heywood alone was the author of The Royall King and the 
 Loyall Subject. The play is not mentioned in the Stationers* 
 Register, or in Henslowe's Diary. In the latter, however. 
 
8 The Boyall King and the Loyall Subject. 
 
 the following entries occur: 1 "Lent unto the companye, the 
 20 of septmbr 1602, to paye unto Mr Smythe, in ptc of pay- 
 ment of the Boocke called marshalle Oserecke, some of 
 iij li." 'Td unto Thomas Hewode, the 20 of septmbr 1602, 
 for the new adicyons of cuttyng Dicke some of xx s." "Pd 
 unto Thomas Hewode, the 30 of septmbr 1602, in fulle 
 payment for his boocke of Oserecke, the some of 
 iij li." "Pd at the apoyntment of the compayne, the 3 of 
 novmbr 1602, unto the tayller, for the mackynge of the 
 sewte of Oserecke, the some of xxvj s." 2 It has been sug- 
 gested by Fleay 3 that this play called "Marshalle Oserecke," 
 of which nothing further is known, may be identical with, 
 or at least an early form of The Royall King and the Loyall 
 Subject, in which a Marshal is the hero. In this case, we 
 should have "Mr Smythe" and Heywood collaborating, and 
 the date of the composition of the play would be before the 
 end of September, 1602. The question hardly seems capable 
 of settlement. In no part of The Royall King and the Loyall 
 Subject is the name of the Marshal mentioned. As will be 
 seen later, the source of the plot is an oriental story, its 
 hero Ariobarzanes ; from that, then, we derive no help. More- 
 over, it seems at least possible, from the insertion of the item 
 concerning the "new adycyons of cuttyng Dicke" between the 
 two memoranda of "Oserecke" without mention of the play 
 to which the addition was made, that this "cuttyng Dicke" 
 
 1 The Diary of Philip Henslowe, ed. J. P. Collier (Shakes. Soc), 1845, 
 p. 240. 
 
 2 The same, p. 243. 
 
 3 Chronicle of the English Drama, 1, 300. "It was, I feel sure, the 
 Marshal Osric of 1602, Sept., by Heywood and Went. Smith, rewritten 
 in consequence of the revival of Fletcher's Loyal Subject, 1633, Nov. 
 The bar and scaffold 'for the play of Beroivne' are entered in Henslowe 
 immediately after this play." (This is not quite true, three entries 
 intervene. ) "In V. 2, 'a bar' is set out, and the King calls for 'a scaffold,' 
 which was no doubt also set out to increase the comedy of the ending, 
 where a tragedy was expected. There is no note of 'Berowne' in Malone's 
 trustworthy extracts (Variorum, III, 327). Is this another forgery of 
 Collier's?" 
 
The Boyall King and the Loyall Subject. 9 
 
 represented part of Heywood's share in "Marshalle 
 Oserecke," in which case we should be quite sure that it was 
 a distinct play from this of ours, since no such character 
 appears in the Royall King. 
 
 It may not be amiss, at this point, to call attention to a 
 slight want of coherence in Mr. Fleay's statements with 
 regard to this play. He mentions as marks of alteration in 
 the play, "besides the removal of rhyming words, by altera- 
 tion and transposition, the substitution of the name Katha- 
 rine for Margaret, the transference of the name Cock from 
 the Corporal to the Clown, and the expunging of Lord 
 Lacy altogether. All this we learn from the Dram. Pers. 
 which have not been rewritten." These sentences follow 
 that in which he says: "It was, I feel sure, the Marshal 
 Osric of 1602, Sept., by Heywood and Went. Smith, re- 
 written in consequence of the revival of Fletcher's Loyal 
 Subject, 1633, Nov." 1 Both these statements seem reason- 
 able, though they lack proof, and the first is certainly a good 
 way of accounting for the discrepancies between the names in 
 the Dramatis Personae and those used in the play. What 
 Mr. Fleay fails to make clear is why, if we have here the 
 old original name list for a play called Marshal Osric, this 
 name is not to be found in the list. Either the list is not 
 the old list, or the Marshal had no other name, at the first 
 appearance of the play, or, finally, we have the curious situa- 
 tion of a play named for its hero, who is, in the Dramatis 
 Personae, and the play itself, nameless ! 
 
 If we turn from these moot points of external evidence, 
 to learn what the play itself can teach us of its authorship, 
 we have of course to consider the possibility of a revision, 
 such as Mr. Fleay insists upon, that would have wiped out 
 all traces of a collaboration in the earliest form of the play. 
 As it has come down to us, the Royall King certainly exhibits 
 throughout all the characteristic traits of Heywood's style, 
 the easy, continuous flow of his verse, his multiplicity of 
 
 1 Eng. Dram., I, 300. 
 
10 The Royall King and the Loyall Subject. 
 
 puns and plays with words, and his occasional real power of 
 emotional expression. Heywood's style has, moreover, 
 another characteristic not observable I think, to such a 
 degree, in any other dramatist of his time : that is, his way 
 of dropping pentameter lines with apparent unconscious- 
 ness, into the midst of what he evidently intended to be 
 purely prose passages. 1 It is as if the rhythm of his verse 
 had taken such hold upon him that he could never quite rid 
 himself of it, even when he wanted to speak the plain prose 
 of clown or servant, or common soldier. 2 The Royall King 
 furnishes many examples of this trait, but they can be 
 paralleled in almost any of the undoubted plays of Heywood. 
 No one knows with certainty who the "Mr Smythe" men- 
 tioned by Henslowe was, though Mr. Fleay takes it for 
 granted that he was Wentworth Smith. An extant play by 
 "W. Smith," The Palsgrave 3 shows marked differences of 
 style and rhythm, when compared with the Royall King and 
 with Heywood's undoubted work. Smith's verse is mechan- 
 ical and stiff, consisting almost exclusively of decasyllabic, 
 end-stopped lines, in contrast with the freedom of rhythm 
 and phrasing that Heywood claims. His prose is plain prose, 
 with no trace of the half-rhythmic character of Heywood's. 
 If this play be the work of the "Mr. Smythe" mentioned in 
 Henslowe, that author, we may be fairly certain, had no part 
 in the extant form of the Royall King and the Loyall Subject. 
 On the slender evidence now produceable, then, I should be 
 inclined to reject the identification of "Marshalle Oserecke" 
 with the present play, and assign the latter to a year not 
 later, at the utmost, than 1603. 
 
 II. Let us turn, now, to the story, or plot, of the Royall 
 King and the Loyall Subject, to that of Fletcher's Loyal 
 
 1 See A Woman Killed with Kindness, Pearson's Heywood, II, 118, 136. 
 Fair Maid of the West, pt. II, 275, "In your time have you seene a 
 sweeter creature?" etc. 
 
 2 Act. I, 484; II, 97-98, 127, 311; III, 209; IV, 191, 545. 
 
 3 The full title of the play, printed in 1615, is, The Hector of Germany, 
 or The Palsgrave, Prime Elector. 
 
The Roy all King and the Loyall Subject. 11 
 
 Subject 1 which has so often been mentioned in connection 
 with our play, and to an examination of the source of the 
 two stories. A more detailed comparison of the incidents 
 of the two plays will follow. 
 
 A "Martiall" of England, having grown to great 
 height of favor with his king, excites the envy of 
 two Lords, who plot to overthrow him. They slander 
 him to the King, making his magnanimity appear pride and 
 ambition. The King, listening to their insinuations, de- 
 grades him and dismisses him from his offices. He retires 
 to his country estate and the society of his two daughters. 
 
 The King, desiring to test his subject's boasted loyalty to 
 the utmost, commands him to send his fairest, best-loved 
 daughter to the court, to be dealt with according to his royal 
 pleasure. This the Martiall promises to do, but sends instead, 
 the elder and less fair, who is, however, so beautiful as to 
 gain the King's love and be made his bride. 
 
 For some time all goes well, but when the Queen finds that 
 she is to have a child, she remembers an injunction laid upon 
 
 1 Dilke, Introduction: "It may not perhaps be unnecessary to remark 
 that Langbaine, who has observed that the plot of this play extremely 
 resembles that of Fletcher's 'Loyal Subject,' has not pointed out the 
 source from which the story was derived. The 'Loyal Subject' appears 
 to have been acted in 1618. The only copy of the present play, of which 
 the editor has any knowledge, is printed in 1637, but it is to be observed 
 that it is spoken of in the Epilogue as an old play, and fitted to some 
 former season. It cannot therefore, perhaps, be affirmed with certainty, 
 that our poet was indebted to the 'Loyal Subject' for the general outline 
 of his drama, though the circumstances of resemblance are such as 
 cannot easily be supposed accidental; and as the present performance 
 does not appear to advantage on the comparison, one would be glad if 
 it could be proved to be the original. The resentful jealousy which 
 the King only feigns in the present play, is in some degree felt in 
 the 'Loyal Subject,' and is naturally and satisfactorily accounted for; 
 and the incident of the renewal of the war with the Tartars gives a 
 degree of spirit and interest to that play, to which the present has 
 by no means an equal claim; the change of the sovereign's mind also 
 is well accounted for; but the unexpected anger which the King assumes, 
 almost compels the reader to expect a most unjust and tragical issue." 
 
12 The Boy all King and the Loyall Subject. 
 
 her by her father, in obedience to which, she tells the King 
 that her younger sister, Katherine, is really the fairer and 
 better-loved. The King, in anger, returns her and her dowry 
 to her father, demanding, at the same time, that Katherine 
 be delivered to him. On a plea of illness (an illness feigned, 
 not real) however, the Martiall detains her until such time 
 as the Queen's child is born, and the Queen herself, recov- 
 ered. 
 
 In regal state, the Queen returns to court, with her sister 
 Katherine as her waiting-maid. So overjoyed is the King 
 at sight of his first love, that he forgets his wrath against 
 her father, reinstates her as his queen, and gives Katherine to 
 the Prince, who has loved her at first sight. The Martiall, 
 by special permission, now appears, bringing with him the 
 royal child, his last and greatest gift to the King, — unre- 
 quitable, as he thinks, until the King offers him the Prin- 
 cess as his wife. 
 
 Angered by the restoration of their enemy to favor, the 
 plotting lords once more gain the King's ear, and succeed 
 in convincing him that his Martiall is guilty of high treason 
 in the act of refusing the Princess' dower — too overwhelming 
 a gift for his pride to brook. The Martiall is haled suddenly 
 before a court of justice, — araigned and condemned. His 
 wife, his daughters and the Prince plead for him, apparently 
 in vain, until the King, suddenly recognizing the difference 
 between him, honest, loving and loyal even unto death, and 
 his base accusers, (or in fulfillment of a preconceived plan 
 to test him to the utmost), reverses the sentence, cancels his 
 doom and punishes his enemies. 
 
 There is an underplot of which a Captain is the hero. 1 
 The Captain returns from the King's wars ragged and appar- 
 ently destitute. He tests his friends and acquaintances in 
 all ranks, by appearing before them in his rags, and finds 
 none to acknowledge him except the Lady Mary Audley, 
 to whom he had pledged his love before setting out to the 
 
 1 See note on III, 58, for a comparison with Fletcher's Captain. 
 
The Roy all King and the Loyall Subject. 13 
 
 wars. After proving her loyalty and the hollowness of the 
 affection of all others, courtiers and followers (with the 
 exception of the clown) he reveals the fact that he has 
 actually come home rich, rewards his hollow friends with 
 the scorn they deserve, marries the Lady Mary and rises 
 high in the favor of the King. 
 
 III. Let us turn now to the plot of Fletcher's Loyal 
 Subject, 1 which is briefly this : 
 
 Archas, the chief general of the Duchy of Moscow, having 
 been dishonored by the young Duke, has retired, on his 
 accession, to his country seat, to live in quiet with his daugh- 
 ters. An enemy appears suddenly upon the borders of 
 Muscovia. The Duke's favorite, who has been appointed 
 general to succeed Archas, feigns illness, and will not lead 
 the troops. Nobles and people join in a prayer that Archas 
 be restored to command. The Duke's sister, Olympia, at 
 the Duke's instigation, finally succeeds in persuading him 
 to recall his oath, take back his arms from the temple where 
 he had dedicated them, and assume the conduct of the war. 
 
 Influenced by his jealous favorite, Borosky, the Duke 
 slights and dishonors Archas and his soldiers when they 
 return victorious. Archas retires to his estate. Still 
 instigated by Borosky, the Duke visits Archas, discovers a 
 treasure intrusted to him by the old Duke, siezes it and 
 accuses Archas of peculation and dishonesty in having kept 
 it so long hidden. Half by whim and half for punishment, 
 he commands him to send his two daughters up to court, to 
 attend the Duke's sister, Olympia. 
 
 Meanwhile, Archas' son, "Young Archas," has been serving 
 Olympia disguised as a waiting-maid, and has taken the 
 fancy of the somewhat inflammable Duke, — whereas the 
 youth loves Olympia, who finds herself drawn to him by 
 a strange attraction. She, misled by the insinuations of her 
 jealous women to think that there is a secret intrigue between 
 
 1 The Works of Beaumont and Fletcher, Alex. Dyce, Boston, 1854, 
 Vol. I, 914-952. 
 
14: The Boyall King and the Loyall Subject. 
 
 the Duke and Alinda (Young Arenas), banishes the sup- 
 posed waiting-maid from court. 
 
 The Duke now summons Archas to court, and at a ban- 
 quet there, he has him treacherously siezed and thrown into 
 prison. He is accused of sacrilege in removing his conse- 
 crated arms from the temple, a crime for which death is the 
 penalty. The Duke has, however, no intention of actually 
 putting him to death, desiring merely to prove his loyalty. 
 The soldiery, hearing of the outrage, storm the palace, while 
 Archas is undergoing torture, administered by Borosky 
 against orders. Archas, appearing just in time, harangues 
 the soldiers and prevents them from firing the palace. 
 Borosky is imprisoned, Archas restored to favor and tenderly 
 cared for. 
 
 Meanwhile Young Archas returns in his proper dress. 
 The soldiery, still mutinous, march away to join forces with 
 the Tartar. Archas, with some of the nobles of the court, 
 goes out against them, subdues them with scornful words, 
 and arraigns their leader, his own son, for treason. Bring- 
 ing him before the Duke, Archas purposes to slay him in 
 the royal presence, as punishment for his disloyal treachery, 
 but by the interference of his brother Brisky, who determines 
 to kill Young Archas unless Theodore, the offending son, is 
 spared, his life is saved. The deception in regard to Alinda 
 is now confessed; Young Archas weds Olympia, the Duke, 
 Honora, Archas' elder daughter, and Burris, the one lord 
 faithful to Archas, Viola, his younger daughter. The play 
 ends with the forgiveness and release of Borosky by Archas. 
 
 IV. The source of the story of the royal king and loyal 
 subject is Painter's Palace of Pleasure, Tome II, The Fourth 
 Novel. 1 The story is here quoted in Painter's own words, 
 but circumlocutions, long descriptions, and other irrelevant 
 matters have been omitted. 
 
 1 Pointed out by Koeppel in the Appendix to Quellen-Studien zu den 
 Dramen Ben Jonson's, pp. 133-135. Translated through the French 
 from a novella of Bandello. 
 
The Roy all King and the Loyall Subject. 15 
 
 "Ariobarzanes, great steward to Artaxerxes Icing of Persia, 
 goeth about to exceede his soueraigne lord and maister in 
 curtesie : where in be conteyned many notable and pleasaunt 
 chaunces, besides the great patience and loyaltie naturally 
 planted in the sayd Ariobarzanes." 
 
 "There was in the kyngdome of Persia, a kyng called 
 Artaxerxes,'^— who— "was estemed— to be the most liberal 
 and magnanimous prince that in any age euer raigned. This 
 
 king had a Senescall or steward, named Ariobarzanes," 
 
 who — ;"besydes noble Linage and incomparable ritches/was 
 the most curtious and liberal knight that frequented the court 
 whose immoderate expense was such, as leaving the mean- 
 he fel into the vice of prodigality, whereby he semed not 
 only m curtious dedes to compare with the King, but also 
 contended to excel him. 
 
 "One day the king for his recreation called for the 
 chessebord/requirmg Ariobarzanes to kepe him company.— 
 The king and Ariobarzanes being sette downe at a table in 
 the greate Hall of the Pallace, one right against another, 
 accompanied with a great number of noble personages, and 
 Gentlemen looking vpon them— they began to counter one 
 another with the Chesse-men.— Ariobarzanes— coursed the 
 king to such a narrow straight, as he could not avoid, but 
 within 2 or 3 draughts, he must be forced to receiue the 
 Checke-mate: which the king perceiuing— besides his blush- 
 ing, fetched out diuers sighes whereby the standers by that 
 marked the game, perceiued that he was dryuen to his 
 shiftes. The Senescall esypinge the kinge's demeanour- 
 would not suffer him to receiue such a sovle, but made a 
 draught by remouing his knighte backe— ;as not only he 
 delmered him from the daunger of the Mate, but also lost 
 one of his Rockes for lacke of taking hede, whereupon the 
 game rested equall.— The king thought that Ariobarzanes did 
 not the same so much for curtesie as to bynde his soueraigne 
 lord and king by benefit to recompense his subiecte's like 
 
 'Act I, 349. 
 
16 The Roy all King and the Loyall Subject. 
 
 behaviour, which he did not very well like. Notwithstanding 
 the king neither by signe or deede, ne yet in talke, shewed any 
 token of displesure for that curtesie done. 
 
 "Not long after the king — ordayned a notable day of hunt- 
 ing 1 — and — with the most part of his Court, repayred to 
 the pastyme. — Ariobarzanes was one of those noble men 
 which pursued the game. It chaunced that day the kinge 
 rode vpon a horse, thet was the swiftest runner in his stable, 
 which hee esteemed better than a thousand other. — Thus 
 following with bridle at will, the flying rather than running 
 beast, they were deuided far from their company, and by 
 reason of the king's spedines none was able to follow him 
 but Ariobarzanes, and behind him one of his seruants vpon 
 a good horse — which horse was counted the beste in all the 
 court. And thus following the chace with galloping spede, 
 Ariobarzanes at length espyed the horse of his soueraigne 
 lord had lost his shooes before, and that the stones had sur- 
 bated his hoofes, whereupon the kyng was driuen either to 
 geue oer the chace or else to marre his horse. — The Senescall 
 did no sooner esype the same but sodainly dismounted from 
 his owne, caused his man to deliuer vnto him a hammer and 
 nailes (which for such like chaunces he alwayes carried 
 aboute him) and toke of two shoes from the horse feet (fore 
 feet ?) of his good horse, to set vpon the kynge's, not caring 
 for his owne rather then the kinge should forgoe his pleas- 
 ure : wherefore hallowing 2 the king which was earnestly bent 
 vppon the chace, tolde him of the daunger wherein his horse 
 was for lacke of shoes. The king hearinge that lighted from 
 his horse, and seying two shooes in Ariobarzanes manne's 
 hand, thinking that Ariobarzanes had brought them with 
 him, or that they were the shoes which fell from his owne, 
 taried stil vntil his horse was shod. But when he saw the 
 notable horse of his senescall vnshod before, then he thought 
 that to be the curtesie of Ariobarzanes, and so did let the 
 matter passe, studying by lyke meanes to requite him with 
 
 J Act I. 145-260, 357. 
 2 See note on I, 201. 
 
The Boyall King and the Loyall Subject. 17 
 
 Curtesie, which forced himselfe to surmount in the same : and 
 when his horse was shod, he gaue the same to Ariobarzanes 
 
 in rewarde. 
 
 "Within a few daies after the king by proclamation som- 
 moned a solemn and pompous iust and tryumph at the tilt. 1 — 
 The reward appointed the victor was a couragious and goodly 
 curser" — [with magnificent trappings described at great 
 length.] — Among the king's subjects — "of chief est fame the 
 kynge's eldest sonne was the fyrst that gaue his name, a Gen- 
 tlemann very valourous. — The Senescall also caused his name 
 to be inrolled. — The triumphe begon and many launces broken 
 in good order, on either sides Iudgement was geuen generally 
 that the Senescall Ariobarzanes had wonne the prise, and 
 next vnto him the kinge's sonne did passe them all. — But yet 
 it greued him [the king] that the Senescall had the greater 
 advantage, and yet being a matter so well knowen and dis- 
 cerned by the Iudges, like a wyse man he discembled his 
 countenaunce. On the other syde, the young Gentleman — 
 was very sorrowful for that he was voyde of hope of the 
 chiefest honour. — But the vertue and valour of the Senescall 
 did cut off eythers griefe — who purposed to geue ouer the 
 honour atchieued by himselfe, to leave it to the sonne and 
 heir of his lorde and mayster : and yet hee knewe f ul wel that 
 those his curtesies pleased not the king, neuerthelesse he was 
 determined to perseuer in his opinion, not to bereue the king 
 of his glory, but onely to acquire fame and honour for him 
 selfe." So, "when he was ready to encounter — he let fal 
 his launce out of his handes, and said Tarewel this curtesie 
 of mine sith it is no better taken.' The kinge's sonne gaue a 
 gentle counterbuffe vpon the Placard of the Senescall and 
 brake his staffe in many pieces. — Then Ariobarzanes departed 
 the listes and the prince, without any great resistence wan 
 the prise and victory. — The King was displeased with these 
 noble dedes and curtesie of his Senescall because he thought 
 it not mete or decente that a subject and seruant should com- 
 
 *Act I, 261, 358-367; II, 4-11. 
 
 2 
 
18 The Roy all King and the Loyall Subject. 
 
 pare with his lord and mayster and therfore did not bare 
 him that louing and chereful countenaunce which he was 
 wont to doe, and in the end purposed to let him know that he 
 spent his brayne in a very great errour if he thought to force 
 his mayster to be bound or beneficial vnto him, as here after 
 you shall perceiue. 
 
 "There was an auncient and approued custom in Persia, 
 that the kinges yerely did solemnize an Anniversarye of 
 theyr Coronation with great feast and tryumph, vpon which 
 day all the Barons of the kyngdome were bounde to repayre 
 to the courte where the king by the space of VIII dayes 
 with sumptuous bankets and other feastes kept open house. 
 — Vpon the Anniversary day of Artaxerxes coronation 1 — 
 the king desirous to accomplish a certayne conceiued deter- 
 mination commaunded one of his faythful chamberlaynes 
 spedely to seeke out Ariobarzanes, which he did, and telling 
 him the kinge's message sayde 'My lorde Ariobarzanes, the 
 king hath willed me to say vnto you, that his pleasure is, that 
 you in your own person, euen forthwith shal cary your white 
 steede and Courser, the mace of gold, and other ensignes due 
 to the office of Senescal vnto Darius, your mortal enemy, and 
 in his maiestye's name to say vnto him that the king hath 
 geuen him that office, and hath clerely dispossessed you there- 
 of 2 . Ariobarzanes — was like to dye for sorrowe, and the 
 greatter was his grief because it was geuen to his greatest 
 enemy. Notwithstanding, would not in open appearance sig- 
 nifie the displeasure which hee conceiued within, but with 
 mery cheare and louing countenaunce answered — ' Do my 
 right humble commendations to the king's maiesty and say 
 vnto him that like as he is soueraine lord of all this land, 
 and I his faythful subiect, euen so mine office, my lyfe, 
 landes and goods be at his disposition, and that willinglye 
 I will performe his best.' — When he had spoken — hee 
 rendred vp his office to Darius. — And when the king was set 
 
 *Act. II, 112, 137-284; not an anniversary of coronation, but a feast 
 to celebrate the King's victories in the wars. 
 2 Act II, 173ff. 
 
The Royall King and the Loyall Subject. 19 
 
 Ariobarzanes with comly countenance sate downe among the 
 rest of the lords, which sodenlye deposition and deprivation 
 did maruelously amaze the whole assembly. 1 The king — 
 did marke and note the countenance of Ariobarzanes, and to 
 attaine the ende of his purpose, hee began with sharpe wordes 
 in the presence of the nobilitie to disclose his discontented 
 mmd — ; on the other syde the king suborned diuers persons 
 diligently to espy what he said and did. Ariobarzanes, hear- 
 ing the king's sharp wordes of rebuke, and stimulated by the 
 persuasions of dieurs flatterers, — at length vanquished with 
 disdayne brake the bridle of patience, began in a rage to 
 complayne on the king : 2 — wherefore fame he would haue 
 departed the court and retired home to his country, which 
 he could not do without speciall licence from the king." 
 [The King hearing his murmurs called him to private con- 
 ference, told him the reason of his displeasure, his liberality 
 and over-courtesy, and permitted him to speak in his own 
 defence.] " 'How beit before this tyme I did neuer beleue 
 nor hard your grace confesse that magnanimity gentlenes 
 and curtesie were vertues worthy of blame and correction,' " 
 [The king dismissed the argument for the time, to be tried 
 later according to Persian laws and customs] " 'In the meane 
 tyme thou shalt repayre into the country, and come no more 
 to the Court till I commaund thee.' " 3 [Ariobarzanes depart- 
 ed.] "Mynded to abyde and suffer all Fortune, he gaue him- 
 selfe to the pastime of huntinge of Deere running of the 
 wylde Bore, and flying of the Hauke. 4 — 
 
 "This noble Gentleman had onlye two daughters of his 
 wife that was deceased, the most beautiful Gentlewomen of 
 the countrey. 5 — He was not in his countrey resiant the space 
 of fower monethes,— but one of the kinge's Haraulds sente 
 from the Court, appeared before him with message to this 
 
 'Act. II, 198,-204. 
 
 2 Act. II, 235-266. 
 
 3 Act. II, 267. 
 
 4 Act. II, 384-389. 
 
 5 Act. II, 24-34. 
 
20 The Royall King and the Loyall Subject. 
 
 effecte, saying vnto him 1 'My lord, Ariobarzanes, the king 
 my souerayne Lord hath commaunded you to send with me 
 to the Court the fayrest of your two daughters.' — Ariobar- 
 zanes not well able to conceiue the meaning of the king's 
 eommaundiment, — determined to send his younger daugh- 
 ter, which was not in beautie comparable to her elder sister, 
 whereupon hee caused the mayden to be sent for, and sayde 
 vnto her these words: 2 'Daughter the king my maister and 
 thy soveraigne Lord, hath by his messenger commanded me 
 to sende vnto him the fayrest of my daughters, but, for a 
 certain reasonable respect which at thys time I purpose not 
 to disclose, my mynde is that thou shalt goe, praying thee 
 not to say but that thou thy selfe art of the twain the fayrest, 
 — but if so be the king doe beget thee with childe, in any 
 wise keepe close the same: but when no longer it can be 
 closely kept, then in conuenient time when thou seest the 
 kinge merily disposed, thou shalt tell the king that thy sister 
 is far more beautiful than thy selfe, and that thou art the 
 younger sister.' The wise maiden well vnderstanding her 
 father's minde, — promised to performe his charge, and so 
 with the Haraulde and honourable traine, he caused his 
 daughter to be conueyed to the Court. 
 
 — "An easie matter it was to deceiue the king in the beauty 
 of that maiden: for although the elder daughter was the 
 fairest, yet this Gentlewoman seemed so peerless in the 
 Courte, that without comparison she was the most beautifull 
 that was to be found either in Courte or countrey. 3 
 
 — "The wife of the king was dead the space of one yeare 
 before, for which cause he determined to mary the daughter 
 of Ariobarzanes. "When the kinge sawe this Gentlewoman, he 
 iudged her to be the fairest that euer he saw 4 — whom in the 
 
 1 Act II, 407-536. 
 
 2 Act II, 425-28. Here, however, it is the best-loved and not the 
 fairest daughter that is demanded; but see 446, "My fairest daughter?" 
 490-502. 
 
 3 Act II, 529; III, 89-108. 
 
 4 Act III, 93. 
 
The Boyall King and the Loyall Subject. 21 
 
 presence of his noblemen he solemnly did marry, and sent 
 vnto her Father to appoynct the Dowry of his married Daugh- 
 ter out of hande, and to returne the same by that messenger. 1 
 When Ariobarzanes hearcle tell of thys vnhoped manage, 
 right ioyfull for that successe, sent vnto his Daughter the 
 Dowry which he had promised to geue to both his Daugh- 
 ters. 2 — The mariage being solemnized in very sumptuous 
 and princely guise, Ariobarzanes sent to the king the like 
 Dowry which before he had sent him, with message to this 
 effect : That for so much as he had Assigned to his Daugh- 
 ters two certayne Dowries to mary them to their equal feeres 
 and seeing that he which was without exception, was the 
 hosbande of the one, his duty was to bestow vpon his grace a 
 much greater gift, than to any other who should haue bene 
 his sonne in law : 3 but the king would not receive the increase 
 of his dowry deeming him selfe well satisfied with the beauty 
 and good conditions of his new Spouse, whom he entertayned 
 and honored as Queene. 4 — 
 
 "In the mean time she was with childe which so wel as she 
 could she kept close, but — as occasion serued she disclosed to 
 the king that she was not the fayrest of her father's daugh- 
 ters, but her elder sister was more beautiful than she 5 . — The 
 king was greatly offended with Ariobarzanes, and albeit he 
 loued well his wife, he called his Harauld vnto him — and 
 with him returned again his new maried spouse vnto her 
 father, — and willed him to sende his eldest daughter, and 
 he returned the Dowry which he gaue with his younger. 6 — 
 Ariobarzanes receyued his daughter and the dowry with will- 
 ing minde, and sayd 'Mine other daughter which the King 
 my Soueraygne Lord requireth is not able presently to go 
 
 1 Act III, 122, 143, 149-153. The King does not send for a dowry. 
 
 2 Act III, 156-167. 
 
 3 Act III, 160-167. 
 
 *Aet III, 169. The King receives the dower, but cf. the action of 
 the Martiall in V, 92-104. 
 
 5 Act III, 449-506. 
 
 6 Act III, 515-530; IV, 29-31. 
 
22 The Royall King and the Loyall Subject. 
 
 with thee, "bycause in her bed she lieth sicke, as thou mayst 
 manifestly perceiue if thou come into her chamber: but 
 say vnto the king, that vppon my fayth and allegiaunce, so 
 soon as she recouered, I will send hir to the court.' 1 — The 
 harauld seeing the mayden lye sicke in her bed, returned to 
 the king. 2 — And by the time the yong Gentlewoman was 
 rysen from her childbed, the sister was perfectly whole and 
 had recouered her former hiewe and beauty, both which 
 beinge richelly apparelled, Ariobarzanes with an honourable 
 trayne, sent vnto the kinge. 3 — The kinge hearinge and see- 
 inge the liberalyty of Ariobarzanes, accepted the same in 
 good part" [and married the elder daughter to his son 
 Cyrus] 4 "Ariobarzanes hearinge these good newes, would 
 not yet acknowledge himselfe to be ouercome — , and deter- 
 mined to sende the little childe, to the kinge, which so resem- 
 bled the kinge's face and Countenaunce as was possible." 
 [And having procured a cradle enriched with all manner 
 cf gems and ornament, placed the child therein] "and 
 together with the nourice, accompanied with a pompous 
 trayne of Gentlemen, he sent him to the kinge the very time 
 that the solemne mariage should be celebrated. 5 — When the 
 Cradle was discouered, there apeared a goodly yong Chylde, 
 Smiling and Laughing vpon his father, the ioyfullest sight 
 that euer his father sawe, and so like vnto him, as the halfe 
 moon is lyke the proportion of the rest. — ; The king could 
 not be satisfied with the sight of his child by reason of the 
 great delight he had to look vpon him. — The Chylde agayne 
 vpon the common reioyce made vpon him, but specially of 
 hys Father, with preaty motions and sweete laughinges, rep- 
 resentinge two smiling pyttes in his ruddy cheekes, crowed 
 
 'Act IV, 54-117. 
 
 2 Act IV, 118-132. Chester does not see Katherine, nor is she really 
 ill. 
 
 3 Act IV, 334-351. 
 
 4 Act IV, 380. 
 
 5 Act IV, 440-464. The Martiall himself brings the child. 
 
The Royall King and the Loyall Subject. 23 
 
 many tymes vpon his father, toyinge up and downe hys 
 tender handes. 1 
 
 "Notwithstanding seeming to be thus surmounted, he (the 
 king) thought if he did not surpasse this curtesy, his noble 
 and princely minde should be disgraced : wherefore he deter- 
 mined to vse a kind of magnanimity thereby eyther to ouer- 
 come Ariobarzanes, or else having apparent occasion alto- 
 gether to fall out, and to conceyue a mortall malice agaynst 
 him. The Kynge had a Daughter of the age of 21 yeares, 
 a very fayre and comely Lady whom as yet he had not 
 matched in mariage. 2 — The kynge then purposing to excell 
 Ariobarzanes, mynded by coupling hym wyth hys Daughter, 
 to make him his sonne in lawe. Wherefore he sent for 
 Ariobarzanes to come vnto the Court 3 who vpon that com- 
 maundiment came, and the kyng sayd vnto him 'Ariobar- 
 zanes, for so mutch as thou art without a wyfe, we minde to 
 bestow vpon thee a Gentlewoman which not only we well like 
 and loue but also is such a one as thou thyself shalt be well 
 contented to take.' Then the king caused his daughter to 
 come before him, and there openly commaunded that Ario- 
 barzanes should marry her: which with seemely ceremonies 
 being consummate, Ariobarzanes shewed little ioy of the par- 
 entage and in appearance made as though he cared not for 
 his wyfe. 4 — The nobles of the court — greatly murmured to 
 see the obstinacy and rudeness of Ariobarzanes towards the 
 kyng and the Fayre newe maried Spouse, mutch blaminge 
 and rebukinge hys vnkinde demeanor. 5 — Notwithstanding 
 the kynge did marke the Gesture and countenance of Ario- 
 barzanes and after the Banket, the Kynge in Solempne guise 
 and great Pompe caused hys Daughter to bee accompanyed 
 wyth a great Trayne to the Lodginge of Ariobarzanes and to 
 
 *Act IV, 465-477. Heywood has nothing so charming as Painter'3 
 description of the child. 
 
 2 Act IV, 499. The Princess is earlier introduced by H. Cf . act II, 9. 
 
 8 Act IV, 426. The Mar. sues to be allowed to appear at Court. 
 
 * Act IV, 505, 520-524; V, 29-33, 41. 
 
 6 Act V. The nobles say little. Cf. Chest. I, 41. 
 
24 The Roy all King and the Loyall Subject. 
 
 be caried with hir hir Pryncely Dowry, 1 where Ariobarzanes 
 very Honourably receyued his wyfe, and, in the presence of 
 all the Noble men and Barons hee doubled the Dowry 
 receyued and the same wyth the Ten Thousand Crownes 
 geuen hym by the kynge, he sent back agayne. 2 This vnmeas- 
 ured Liberality seemed passyng straunge vnto the kynge, and 
 bredde in him sutch disdayne as doubtful he was whether to 
 yelde or to condemne him to perpetual Banishment. An easy 
 matter it was to perceiue the rage and furie of the king who 
 was so sore displeased, as he bare good looke and counte- 
 naunce to no man, 3 — and bicause in those dayes the Persian 
 kings were honored and reuerenced as Gods, there was a lawe 
 that when the king was driuen into a furie, or had conceiued 
 a iust displeasure, he should manifest, vnto his Counsellors, 
 the cause of his anger, who afterwardes by mature diligence 
 hauing examined the cause and finding the kinge to be 
 vniustly displeased, should see meanes of his appeasing: 
 but if they found his anger and displeasure to be iustly 
 grounded, the cause of the same, according to the quality of 
 the offence, they should punish, eyther by banishment or 
 capital death, the sentence of whom should passe and be 
 without appeale. — Howbeit Lawful it was for the Kynge to 
 mitigate the pronounced sentence, eyther in al, or in part, and 
 to diminish the payne, or clearly to assoyle the party: 
 whereby it euidently appeared — that the Kynge's wyll if 
 he pardoned was meere grace and mercy. — 
 
 "The Counsellors when they heard the reasons of the 
 Kynge, sent for Ariobarzanes of whom by due examination 
 they gathered, that in diuers causes he had prouoked the 
 Kynge's displeasure. 4 In the end, they iudged Ariobarzanes 
 worthy to lose his head and for better confirmation of their 
 iudgment the Counsellors alleaged a certayne definitiue sen- 
 
 1 Act V, 46-53, 70-7G. 
 
 2 Act V, 77, 92-113. 
 
 3 Act V, 153-189. 
 
 4 Act V, 217-227, 240-255, 278-280. 
 
The Royall King and the Loyall Subject. 25 
 
 tence registred in their Chronicles, whilom done by the kings 
 of Persia. 1 The cause was this : one of the kyngs of that 
 Region went a Hauking, — and with a Faucan to fly at diuers 
 game. — Within a while they sprang a Hearon and the 
 Kyng commaunded that one of the faucons which was a 
 notable swift and soaring Hauke should be cast to the Hearon 
 — , and as the Hauke after many batings and intercourses 
 was about to seaze vpon the hearon, he espied an Egle: the 
 stoute Hauke, seeing the Egle, gaue ouer the fearfull Hearon 
 and with swift flight flewe towardes the hardy Egle and 
 fiercely attempted to seaze vpon her : — In the ende the 
 good Hauke, with her sharpe talendes, agayne seazed vpon 
 the Egle' s neck, and with her beake strake her starke dead, 
 where withal she fel downe amid the company that wayted 
 vpon the king. — 
 
 Al the Barons and Gentlemen highly commended and 
 praysed the Hauke, affirminge that a better was not in the 
 worlde. 2 The king spake not a worde, but stoode musing with 
 himselfe and did neyther prayse nor blame the Hauke. — 
 The next day the king caused a Gold Smith to make an 
 exceeding fayre crowne of gold — apt and meete for the Fal- 
 con's head. 3 Afterwards — he ordayned that in the market 
 place of the Citty a Pearche should be erected and adorned 
 with Tapestry, Arras, and other costly furnitures such as 
 Prynces Palaces are bedecked withal. Thither with sound 
 of trumpets he caused the Faucon to be conueyed, where the 
 kinge commaunded one of his noble men to place the Crowne 
 vpon his head for price of the excellent pray atcheeved vpon 
 the Egle. Then he caused the hangman or common execu- 
 tioner of the Citty, to take the Crowne from the Faucon's 
 head, and with the trenchant sword to cut it of. 4 — 
 
 "This example the Iudges alleaged against Ariobarzanes 
 
 J Act V, 297-317. 
 
 2 Act V, 305-6. 
 
 3 Act V, 307-310. 
 
 4 Act V, 313-317. 
 
26 The Royall King and the Loyall Subject. 
 
 and applying the same to him, ordeyned that first Ariobar- 
 zanes, for his Magnamity and liberal curtesie should be 
 Crowned wyth a Laurell Garland, but for his great emulation 
 and continuall dyuice to contende wyth hys Pry nee, and in 
 Liberality,to show him selfe superior, his head ought to be 
 stricken of. 1 Ariobarzanes in such maner behaued as no 
 sygne of Choler or Dyspayre appeared in him, onely pro- 
 nouncing thys sentence with ioyful cheare in the presence of 
 many: "Glad am I that at length there resteth in me so 
 mutch to be liberall, as I employ my life and bloud, to declare 
 the same to my Soueraygne Lorde, which right willingly I 
 meane to do, that the World may know, how I had rather 
 lose my lyfe than to faynt and geue ouer in mine accustomed 
 liberality. 2 — Then calling a Xotary vnto him he made his 
 will." [The terms of the will are identical with those in 
 the play.] 3 
 
 "The eight day being come (for the lawe allowed that 
 space to the condemned) a SkafTolde was made in the mid- 
 dest of the Market place," [to which Ariobarzanes was led 
 royally robed and crowned with the laurel; then, divested 
 of his rich attire and prepared for execution.] "The king, 
 seeing his constancy was moueel with pity and offered to free 
 him: 'if now thou wilt acknowledge thyself vanquished and 
 ouerdome and accepte thy lyfe in gratefull part, I will par- 
 don thee, and restore thee to thyne offyces and promotions.' " 4 
 [This offer Ariobarzanes humbly accepted in a long explan- 
 atory speech, and remained the king's chosen counsellor ever 
 after. ] 
 
 V. A single perusal of the plots of The Royall King and 
 the Loyall Subject, and Fletcher's Loyal Subject, as outlined 
 above, in connection with the excerpts from the original story, 
 will make clear the essential difference between the two plays. 
 
 1 Act V, 318-325. 
 
 2 Act V, 328-332. 
 
 3 Act V, 340-354. 
 
 4 Act V, 382-418. 
 
The Royall King and the Loyall Subject. 27 
 
 Heywood has taken the story as he found it, seized upon the 
 moments most important for presentation, condensed minor 
 material into description and narrative, and related the 
 whole in the form of speeches apportioned to the different 
 characters. In many cases, he has adopted almost the 
 exact words of his author, altering only so far as his metre 
 required. 1 To the material thus obtained, he has added an 
 underplot carried on, for the most part, in independent 
 scenes, not carefully correlated with the main thread of 
 the story. 2 Indeed, until quite the end of the play, the 
 Lady Mary Audley is the only connecting link between the 
 Captain's story, and that of the Marshal, in which she her- 
 self takes a very subordinate part. Heywood's additions, 
 then, to the original material have been superimposed, laid 
 on from the outside, and are easily separable from his bor- 
 rowed story. 
 
 Fletcher, on the other hand, has seized upon the underly- 
 ing idea in the Persian tale — that of a subject whose supreme 
 loyalty is tested by the whims of a despotic master — and has 
 developed it after a fashion of his own. He has added him- 
 self to the borrowed material and the resulting transforma- 
 tion is very much greater than in Heywood's case of piecing. 
 The orientalism that Heywood did not quite succeed in wip- 
 ing out of his rendition of the story, is in Fletcher quite 
 gone, though his placing of the scene might have served as 
 excuse for its retention. The mention of the student's gown 
 and the volume of Seneca, in the scene between Archas and 
 the Duke, shows how Western, how English, he is in his 
 conceptions, in spite of his foreign names and settings. 
 
 A detailed study of the two dramas, scene by scene, seems 
 to justify the belief that Fletcher had the Heywood play 
 before him, and that from its faults of construction and 
 characterization, he profited in the composition of his own 
 play. Certain scenes and situations not in the oriental 
 
 1 "The Persian History", the description of the horse-shoe incident, 
 the will, the banquet scene. 
 
 2 The story of the Captain. 
 
28 The Roy all King and the Loyall Subject. 
 
 story find their analogues in the Heywood play, and many 
 minute parallelisms can be found that seem to point to a 
 conscious effort at improvement upon something that has 
 gone before. Let us take up a few of these. 
 
 Fletcher, like Heywood, has a banquet scene 1 — suggested, 
 doubtless, in both cases, by that in the original story — unlike 
 Heywood, he has not been content to leave it at the begin- 
 ning of his action, but has raised it into the position of the 
 catastrophe, when Arenas is covered with the black cloak, 
 seized and dragged away to imprisonment and, as he is led to 
 believe, to death. With this scene Fletcher has combined all 
 he gives us of the trial, — Archas' demand for the law and 
 Borosky's accusation. The latter bears a verbal resemblance 
 to the accusing speeches of Chester and Audley: 
 
 "Laying aside a thousand petty matters, 
 As scorns and insolencies both from your self and fol- 
 lowers 
 
 Which you put first fire to (and these are deadly) 
 I come to one main cause." 2 
 
 The plottings of Clinton and Chester are paralleled, or par- 
 odied, by Fletcher in the machinations of Olympia's wait- 
 ing-maids against "Alinda." Compare such lines as these 
 with the conversations of the lords : 
 
 "Gent. If the wind stand in this door, 
 
 We shall have but cold custom. Some trick or other 
 
 And speedily! 
 
 Pet. Let me alone to think on't." 3 
 
 Their thoughts lead to the banishment of Alinda, on a 
 false charge, just as the lords' plots do to that of the Marshal. 
 Fletcher, then, has made his underplot, in some points, the 
 shadow of the main action. 
 
 1 The Loyal Subject, Dyce, Act I, sc. 5, p. 943. 
 
 2 The same, p. 945, cf. R. K. V. 240-246. 
 
 8 L. S., I, 2, p. 918, R. K. I. 153-163, IV, 394-398, 428-432, nearest 
 parallel. 
 
The Roy all King and the Loyall Subject. 29 
 
 This action, moreover, is condensed and unified, in the 
 Loyal Subject, by the fact that the first disgrace of Archas is 
 due to an old grudge, on the part of the Duke, and results 
 at the outset, in his resignation from office and retirement to 
 the country. Thus the capricious favor of the Duke is ex- 
 plained by the primary misunderstanding of Archas' char- 
 acter, and his desire to try him "by a few fears" is far more 
 natural. Fletcher evidently saw in Heywood's play, the 
 inconsistency given to the King's character by his frequent 
 reversals of the Marshal's fate, and remedied it in the best 
 possible way. It is through a public misfortune that only 
 Archas can avert, that the Duke is led to regret his rash spite, 
 and recall his sentence. Thus the return of Archas is much 
 better motived than that of the Marshal, when, owing to the 
 various marriages in act IV, the action is apparently con- 
 cluded before the catastrophe, the trial and condemnation of 
 the Marshal, has occurred. 1 Fletcher reserves the unions, 
 otherwise quite parallel to those in the Royall King, to their 
 rightful place at the close. 2 
 
 Again, instead of a Captain who pursues his own affairs 
 quite independently of events at court, Fletcher has given 
 his general a son, Theodore, who acts as mouthpiece for his 
 father's injuries, and who, like our Captain, serves to point 
 out the vices and follies of the court. The moral lesson 
 taught in the coarse scenes of which the Captain is the hero, 
 is by Fletcher more closely interwoven with the action of 
 his chief characters, in the scenes following the introduction 
 of Archas' daughters, Honora and Viola, to Court. 3 The 
 Captain's followers have here become Archas' own soldiers, 
 under the command of his son, Theodore ; so they, too, seem 
 to have a stronger right to their province of comic relief, 
 especially since, at the close, having turned their play to 
 earnest, they serve as the means of bringing about the reso- 
 
 1 L. S., I, 5, p. 922, R. K. IV, 520-524. 
 ! L. S., V, 7, p. 951. 
 
 3 L. S., Ill, 4, p. 935, sc. 6, 937-8; IV, 2, p. 939-40, 3, p. 941-2, R. K. 
 Ill, 209-435. 
 
30 The Royall King and the Loyall Subject. 
 
 lution of the action. They too, are soldiers turned beggars 
 — or hawkers of street wares — not because they have no 
 money, but because they will not accept money from men 
 who dishonor their general. Theodore and the Captain 
 both go ragged for honor's sake, and both feel free to speak 
 their minds with utmost frankness to the silken followers of 
 the court. 
 
 One or two brief similarities in thought or expression 
 add to the general impression of Fletcher's knowledge of the 
 Royall King. Thus, in the last scene, the Marshal says he 
 gives his life to the King, "In liew of which oh grant me 
 but a grave." Burris, telling of Archas' refusal to return 
 to arms, says : 
 
 "He shook his head, let fall a tear, and pointed 
 
 Thus with his finger to the ground; a grave 
 
 I think he meant; and this was all he answered." 1 
 
 There are several references to hawking that at once sug- 
 gest the strife of the falcon and the eagle, but references to 
 falconry are so common in plays of the period that they 
 hardly furnish available evidence. The adjurations to 
 "hold," "stay," "forbear," etc., addressed by the Queen, 
 Prince, Princess and others to the executioner, in the last 
 scene of the Royall King, are paralleled by Archas' address 
 to the mutinous soldiers near the close of the Loyal Subject. 
 
 "Hold, hold, I say, hold Soldiers, 
 On your allegiance, hold !" 2 
 
 While Archas is not actually threatened with death, and 
 the Duke had never intended for him anything beyond a 
 temporary imprisonment, Fletcher has preserved the tragic 
 suspense of the last scene in the punishment of Theodore 
 and has heightened it by the introduction of Brisky and 
 Young Archas, and still more by the fact that the minister 
 
 1 L. S., I, 5, p. 922, R. K. V, 332. 
 
 2 L. S., IV, 7, p. 946. R. K. V, 357-8. 
 
The Royall King and the Loyall Subject. 31 
 
 of this summary justice is the offender's own father. Now 
 it is the Duke who says "Hold, hold, I say, a little hold ! 
 consider." 1 Here too, the culprit makes a last request, par- 
 allel to the Marshal's will : 
 
 "Your grace's mercy, 
 Not to my life applied, but to my fault, sir ! 
 The world's forgiveness, next ! last, on my knees, sir, 
 I humbly beg 
 
 Do not take from me yet the name of father; 
 Strike me a thousand blows, but let me die yours !" 2 
 
 Lastly, Fletcher, too, quotes the much-used line from the 
 Battle of Alcazar: "Let 'em feed so and be fat." in the 
 scene between Arenas and his daughters, after they have been 
 commanded to come up to court. 2 Throughout this scene, 
 there are many likenesses of thought and expression to the 
 scenes between the Marshal and his daughters, but, as the 
 situations are practically identical, this was to be expected. 
 As to the quoted line, it does not, of course prove anything, 
 by itself, except Fletcher's knowledge of a current phrase ; 
 but it does seem curious, that of all Fletcher's plays this 
 should have been the one in which he happened to use it, 
 if it had not been recalled to his mind by its occurrence in 
 Heywood's play. 
 
 Finally, the accusation brought against Arenas, while 
 quite as unreasonable as that made at the Marshal's trial, is 
 far more fitting and dramatic, in that it is actually based on 
 the action of the General in yielding to the Duke's own 
 prayer: he is accused of impiety for doing just that which 
 saved his master and his state from destruction. 
 
 The key-notes to the heroes are the same, in the two plays. 
 Arenas' declaration, 
 
 "Through all the ways I dare 
 
 I'll serve your temper though you try me far" 3 
 
 1 ~L. S., V, 7, p. 951. R. K. V, 336-354. 
 
 2 L. S., Ill, 2, p. 932, next to last line. 
 
 3 L. S., II, 6, last two lines. R. K. IV, 133-135. 
 
32 The Royall King and the Loyall Subject. 
 
 is quite in the Marshal's spirit ; and the Duke's admission, 
 
 "Through a few fears I mean to try his goodness 
 That I may find him fit to wear here, Burris." 1 
 
 voices the King's motive for his erratic behaviour to his 
 Marshal. In many points, they differ. The pathos of Arenas' 
 position is greatly increased by the fact that he is an old 
 man, enfeebled by long service. The Duke's carelessness, 
 and his spite against Archas, on the other hand, gain excuse 
 from his youth. The moral tone of the play, as is often the 
 case with Fletcher, is decidedly lower than Heywood's; in- 
 deed, the latter seems to have a distinct moral end in view, 
 whereas Fletcher's single purpose, is, as always, emotional 
 and aesthetic, quite unmoral. 
 
 In the Royall King and the Loyall Subject, then, we 
 have the work of a poet, who at his best, is thoroughly realis- 
 tic. He has chosen here a romantic subject, but according 
 to the bent of his genius, has worked it up as realistically 
 as possible, leaving the story much as he found it, and creat- 
 ing variety by a series of characteristically English scenes, 
 in which he is thoroughly at home. For this reason, in my 
 opinion, it is not the King or the Marshal, who is the best 
 and most living character in the play, but the honest free- 
 spirited Captain, through whom, if through any character, 
 the poet himself speaks. 
 
 The Loyal Subject, on the contrary, gives us a character- 
 istic play from the hand of a master in the romantic tem- 
 per. It is unmistakably the work of Fletcher, at his best, 
 and we have in Archas one of the most admirable and 
 pathetic, and in Theodore, one of the most refreshing of all 
 his creations. 
 
 Frequent mention has been made by writers on the drama 
 (Ward, Collier, Fleay, etc.) of the parallelism between The 
 Royall King and the Loyall Subject and Fletcher's Loyal 
 Subject. What has been said in regard to their likenesses 
 
 'L S., IV, 6, p. 945. 
 
The Royall King and the Loyall Subject. 33 
 
 and differences, therefore, is but an amplification of a fact 
 previously noted. There is another parallel to our play, how- 
 ever, that has attracted little notice, the drama called 
 "Chdbot, Admiral of France/' usually ascribed to Chapman 
 and Shirley. Curiously enough, in this instance, as in that 
 of "El Duque de Yiseo," noted by Ward, 1 we have a play 
 whose plot, founded on actual historical incidents, neverthe- 
 less bears a strong resemblance to that of another play, drawn 
 from a quite different, and probably purely fictional source. 
 The main incidents of "Chabot" 2 are as follows : 
 Philip Chabot, Admiral of France, a man renowned for 
 his absolute justice and unimpeachable virtue, was for many 
 years first favorite with King Francis I. At last, however, 
 a younger man, Montmorency, Lord Constable, began to 
 equal if not to supplant him in the King's favor. Three 
 irresponsible officers of the court, Chancellor, Treasurer, and 
 Secretary, knowing Montmorency to be pliable through his 
 ambition, and Chabot, incorruptible and an obstacle to their 
 illegal practices, seized on the moment of a reconciliation 
 between Chabot and Montmorency to make the latter pres- 
 ent an unjust bill requiring the Admiral's signature, an act 
 that they felt very sure would create a new rupture. The 
 King, on a wayward impulse to test the boasted righteousness 
 of his Admiral, himself signed the bill, and sent it, armed 
 thus with his authority, to Chabot. 
 
 The latter, in a rage at the flagrant injustice of the whole 
 proceeding, not only refused to sign, but tore the bill to 
 fragments. Appealed to by the King, he persisted in the 
 justice of his course, even claiming that all the honors granted 
 him by the King were fully equalled by his services. The 
 King provoked to genuine anger by this assumption, threat- 
 
 1 El Duque de Viseo, Lope de Vega, written earlier than 1614, printed 
 at Madrid, 1617. See L. de V., complete works, introduction to El D. 
 de V. Ward, Eng. Dram. Lit., II, 560. The resemblance is limited to 
 the Loyal Subject. 
 
 2 The Dramatic Works and Poems of James Shirley, ed. A. Dyce, 
 London, 1833, Vol. VI, p. 85, Chabot, Admiral of France. 
 
34 The Royall King and the Loyall Subject. 
 
 ened him with an attainder, whereat he claimed that by that 
 threat all his former favors were annulled. 
 
 The trial followed, with a condemnation assured before- 
 hand, though grounded on worthless accusations, the judges 
 following the Chancellor's lead perforce, but reserving to 
 themselves the statement that it was perforce alone. Chabot's 
 dearest friend, Allegre, was meantime put to the torture. 
 
 After the condemnation, Montmorency, weak and vacil- 
 lating, but not evil, joined the Queen, who from jealousy 
 of Chabot's wife, had at first tried to excite the King 
 against him, in an appeal for the Admiral's pardon and re- 
 enstatement. This had been the King's very intention from 
 the first. Summoning, therefore, the officers of Court, the 
 Queen, and others, and calling Chabot into his presence, 
 the King pronounced upon him a free pardon, and re-estab- 
 lishment in all his forfeited prerogatives. Chabot, inimita- 
 bly just, astonished the court by his quiet "You cannot par- 
 don me, sir." Since he was innocent, pardon, implying 
 guilt, was impossible. An examination into the papers of 
 the trial, and the conduct of the judges, convinced the King 
 of Chabot's truth and the righteousness of his claim, result- 
 ing in the arrest, trial and condemnation of the unjust and 
 ambitious Chancellor. 
 
 Chabot, weakened and unnerved by his unjust trial and 
 condemnation, and distressed by the sufferings of Allegre, 
 racked for his sake, fell now to brooding on the imperfect 
 love of the King, who for a whim, had been induced to sub- 
 ject one who was not only his just and faithful servant, but 
 his nearest friend, to suffering and the threat of death. His 
 utmost loyalty thus stricken, he weakened more and more, 
 till at last, in the very presence of the King, who had come 
 to cheer and comfort him, and in the act of pleading for 
 mercy on his old enemy, the Chancellor, he died. 
 
 This play, then, unlike those of Heywood and Fletcher, is 
 a tragedy. Plot and motive are far simpler than in the 
 former plays. The climax of the action lies in the trial of 
 the Admiral, worked up to by the machinations of the plot- 
 
The Royall King and the Loyall Subject. 35 
 
 ting lords (paralleled by Chester and Clinton in our play) 
 hastened by Chabot's own independence of attitude toward 
 the King. There are no alternations of favor and disfavor, 
 as in the other plays. There is no under-plot, no comedy 
 incident, no variation in the action. Of all the plays, this 
 most simply presents the central theme, — a subject loyal, 
 first to his own sense of right and justice, second to his royal 
 master, a ruler, magnanimous in the main, but led by bad 
 counsellors into opposition to this most loyal of his subjects, 
 whom, after many years of faithful service, he first hurls 
 down and at last re-enstates in his capricious favor. In 
 Chabot's case, however, the reinstatement comes too late. 
 
 In consistency of character, the three central figures in 
 these plays the Marshal, Archas and Chabot, may be con- 
 sidered equal. In some ways, the last is the noblest of the 
 three. He is calmly just in his defense of himself, he is abso- 
 lutely without the plotting instinct that somewhat mars the 
 Marshal's dignity and though he claims equality with the 
 king in the matter of services rendered and benefits con- 
 ferred, he does not actually show the spirit of emulation 
 that actuates the Marshal. The king's character, too, is 
 clarified and simplified. In The Royall King and the Loyall 
 Subject, it is difficult to tell whether the royal master is 
 actually swayed by the plots and arguments of his courtiers 
 and by pique at the Marshal's spirit of emulation, or whether, 
 throughout, he too, like Louis, is merely trying the temper 
 of his subject, Fletcher's play shows us the Duke actually 
 prejudiced against Archas, at first, and only coming grad- 
 ually to understand and appreciate his real worth and his 
 enemy's corruptness. 
 
 Undoubtedly, then, this play of Chapman-Shirley lacks 
 variety, and the efforts at humor in the Proctor's speeches 
 (the only comedy relief attempted) are heavy and tire- 
 some; yet it compels a sympathetic interest throughout by 
 the directness and intensity of its appeal. The chief char- 
 acters are carefully differentiated and clearly defined, in few 
 and simple strokes, while many of the speeches are not only 
 
36 The Roy all King and the Loyall Subject. 
 
 poetic, but like much of Chapman's work, weighted with 
 thought. Even the more minor characters are interesting 
 and alive, and we conclude the play with the feeling that 
 Chabot himself has worthily filled the role of the tragic hero. 
 
 In contrast even to the Royall King, and much more to 
 Fletcher's play, Chabot is a realistic chronicle, romantic only 
 in the situation, not at all in treatment. Direct, bare, force- 
 ful, it sets the work of Chapman in sharp — one might almost 
 say, solemn — contrast with that of his lighter-handed, per- 
 haps more hasty and superficial fellow-poets. 
 
 It is "interesting to note that in at least four important 
 points, the plot of the Loyal Subject bears a closer resem- 
 blance to that of Chabot than to that of Heywood's play. 
 (l)Borosky and Montmorency are both young men, recently 
 taken into the royal favor, of good repute among the other 
 nobles, and rather weak than wholly corrupt. 1 There is no 
 exact parallel to these characters in the Royall King, though 
 Chester and Clinton together act their part in prejudicing 
 the ruler against his subject. (2) The climax of the plot, 
 the condemnation of the loyal subject, in the Royall King, 
 comes as a result of emulation, personal rivalry between the 
 Marshal and the King; while in Chabot and the Loyal Sub- 
 ject, it is the direct consequence of a public action, done for 
 the sake of the common good. (3) Archas is put to the 
 
 1 Compare the character of Borosky, as given by Theodore, with that 
 of Montmorency in Allegre's mouth : 
 
 L. S.. I, 1 : "Believe it, a brave gentleman, 
 Worthy the Duke's respect, a clear, sweet gentleman, 
 And of a noble soul." 
 
 Chabot, I, 1: "As just and well inclin'd (as Chabot), when he's 
 himself, 
 (Not wrought on with the counsels and opinions 
 Of other men) and the main difference is, 
 The admiral is not flexible, nor won 
 To move one scruple, when he comprehends 
 The honest track and justness of a cause: 
 The constable explores not so sincerely 
 The course he runs, but takes the mind of others." 
 Cf. M. in III, I, IV, I. 
 
The Boyall King and the Loyall Subject. 37 
 
 torture, as is Allegre and through him, we may say, Chabot, 
 in the Chapman play. The Marshal suffers nothing like 
 this. (4) Finally, Archas, like Chabot, forgives his enemy, 
 at the close of the action, and begs the remission of his pun- 
 ishment, and his restoration to favor. In our play, we are 
 left to suppose that the Marshal let justice take its course 
 with the plotting lords who had deprived him of his offices. 
 
 Fletcher's Loyal Subject was licensed in 1618, Chabot, 
 Admiral of France, not until 1635, so it would seem clear 
 that Fletcher could not have borrowed from Chapman's 
 play. Whether or not he knew its source, however is a dif- 
 ferent question, and one that cannot be settled here. The 
 rather noteworthy resemblances detailed above would lead 
 one to suspect some such possibility. 1 
 
 VII. The foregoing pages have attempted to define the 
 distinctive character of The Boyall King and the Loyall 
 Subject as a drama, thus fixing it place with relation to other 
 plays. They have also reviewed the questions that have 
 arisen with regard to its date and authorship, summarized 
 its plot, the p^ts of parallel plays and the source from which 
 the original story was drawn. It only remains to say a few 
 words, in conclusion, upon the individual worth of the 
 play. The chief merit of The Royall King and the Loyall 
 Subject is, in my opinion, that it is so thoroughly character- 
 istic of Iieywood. His carelessness, his lack of system, his 
 
 1 Koeppel ( Quellen-studien zu den Dramen George Chapman's, 
 Philip Massinger's und John Ford's, Strassburg, 1897) assigns 
 Les Recherches de la France d'Estienne Pasquier, 1521, as 
 the source of Chabot. It is, of course, possible tbat Chap- 
 man, who seems to be the chief, if not the only, author of the play 
 as we have it, knew both Heywood's play and Fletcher's, and took hints 
 from the latter for the treatment of a stoiy which, though historically 
 true, embodied the same principle as the loyal subject plays. The 
 four points of similarity between Chabot and The Loyal Subject, 
 enumerated above, are not mentioned by Koeppel as founded on Pas- 
 quier's account of Chabot's life. A more detailed study of the possible 
 sources of the play would be necessary before one would be justified 
 in arriving at the conclusion that Chapman actually used Fletcher's 
 play. The interesting possibility at least presents itself. 
 
38 The Royall King and the Loyall Subject. 
 
 haste, his habit of taking his material wherever he could find 
 it, and just as he found it, — all those faults of the hack 
 writer that were pecuUarly his — are here exemplified; but 
 this is not all. His ability to infuse life into his material, 
 and thoroughly characteristic English life, to present with 
 vividness scenes of every-day realism, of pathos, and of 
 a somewhat obvious touch-and-go humor, all in a smooth, 
 easy, rhythmical flow of expressive verse; to inspire with 
 a wholesome moral purpose even the coarsest scenes, and to 
 create characters, especially the characters of direct, upright 
 open-minded young men, that live before us and compel our 
 sympathy and friendship, this power, too, appears in full 
 measure in this play. It will live because the spirit of 
 Heywood lives within it. 
 
THE 
 
 ROYALL 
 
 KING 
 
 AND 9 
 
 The Loyall Subject. 
 
 As it hath beene Aded with great 
 
 Applaufe by the Queenes Maiefhes 
 
 Servants. 
 
 Aut frodefjefolent, ant dele flare. 
 
 Written by Thomas Hey wood. 
 
 LONDON. 
 
 Printed by \ich m m&JohnOkes for fames 
 
 £tt^,andarerobefold.at his Chop acthc 
 
 inner Temple neare the Gate. 1637. 
 
PROLOGUE TO THE STAGE. 
 
 To give content to this most curious Age, 1 
 
 The gods themselves we' have brought downe 
 
 to the Stage, 
 And figur'd them in Planets, made even Hell 
 Deliver up the Furies, by no spell, 5 
 
 (Saving the Muses rapture) further, we 
 Have traffickt by their helpe ; no History 
 We have left unrifled, our Pens have beene dipt 
 As well in opening each hid Manuscript, 
 As Tracts more vulgar, whether read, or sung 10 
 
 In our domesticke, or more forraigne tongue: 
 Of Faiery Elves, Nymphs of the Sea, and Land ; 
 The Lawnes and Groves, no number can be scan'd 
 Which we' have not given feet to, nay 'tis knowne, 
 That when our Chronicles have barren growne 15 
 
 Of Story, we have all Invention stretcht, 
 Div'd low as to the Center, and then reacht 
 Unto the Primum mobile above : 
 (Nor scapt things intermediate) for your love, 
 These have beene Acted often, all have past 20 
 
 Censure ; of which some live, and some are cast : 
 For this in agitation, stay the end, 
 Though nothing please, yet nothing can offend. 23 
 
 2 We' have.) Dilke, Collier: we've. 
 10 As tracts) D., tracks. 
 
 13 The Lawnes and Groves.) D. The lawns, the groves. 
 
 14 We' have.) D., we have ; C, we've. 
 
 18 stretcht.) D., C. stretch'd, so reach'd. 
 18 D. no parenthesis, 'scap'd for scapt. 
 
 (41) 
 
DRAM MATI8 PERSON AE. 
 
 The King of England. 
 
 The Lord Martiall. 
 
 The Earle of Chester. 
 
 The Lord Lacy. 
 
 The Lord Clinton. 
 
 The Lord Audley. 
 
 The Lord Bonvile. 
 
 The Princesse. 
 
 Isabella the Martialls eldest 
 
 Daughter. 
 Margaret, the Martials 
 
 Younger Daughter. 
 The Lady Mary Audley. 
 Two Gentlemen in a Bro- 
 
 thelhouse. 
 
 The Prince of England. 
 Captaine Bonvile. 
 Corporall Cocke. 
 Lansprisado Match. 
 The Clowne. 
 A Welch-man. 
 An Host of the Ordinary. 
 Foure young Gallants 
 at the Ordinary. 
 A Servant. 
 A Bawd. 
 Two Courtezans. 
 Attendants, &c. 
 
 10 
 
 15 
 
 * Corporall Cocke.) D. brackets "Corporal Touch-box, Lanceprezado 
 Match, Cock" as "three of Captain Bonvile's soldiers." Cock and the 
 Clown are one. 
 
 * The Lord Lacy. Does not speak in the play. 
 7 C. A Host. 
 
 • at the Ordinary.) D. omits. 
 
 n Margaret.) C. corrects to "Katherine," the name used throughout 
 the play. 
 
 " in a Brothel-house.) D. omits. 
 
 (42) 
 
The ROY ALL KING, and The LOYALL SUBJECT. 
 
 Actus primus , Scena prima. 1 
 
 Enter the King of England, the Lord Lacy, Clinton, 
 Chester, and the Martiall, Audley, and Bonvile. 
 
 King. 
 Thus from the holy Warres are we returned, 
 To slumber in the Summer of soft peace, 
 Since those proud enemies that late blaspheamd 
 And spit their furies in the face of Heaven, 
 Are now laid low in dust. 
 
 Chester. Dread Soveraigne, 10 
 
 The Heavens have shew'd their bounty unto us, 
 In guarding your most dear and sacred life 
 From opposite hatred, and that immiment perill 
 To which you were ingaged. 
 
 Clinton. When in one battaile you were twice unhorst, 15 
 Guirt with the opposite rankes of Infidels, 
 That had not timely rescue come from Heaven, 
 Mortall assistance had beene us'd in vain. 
 
 King. Ey, now you load me with a surplussadge 
 Of comptlesse debt to this thrice valiant Lord 20 
 
 My noble Martiall, twice that perillous day 
 Did he bestride me, and beneath his Targe 
 Me thought that instant did I lie as safe 
 As in my best and strongest Cittadell; 
 
 Title.) Dilke. The Royal King and Loyal Subject. 
 
 1 Actus primus, etc.) D. Act I, Scene I. 
 
 2 the Lord.) D., C. the Lords. 
 
 9 Are now.) Pearson: And now. 
 19 Ey.) C. Fye! 
 a Me thought.) D., C. Methought 
 
 (43) 
 
44 The Boyall King and the Loyall Subject. 
 
 The whilst his bright Sword like the Bolt of love, 25 
 
 Pierc't the steele-crests of barbarous Infidels, 
 
 And flatted them with earth ; although my Subject, 
 
 Yet in this one thing thou hast prov'd my Lord: 
 
 For when my life was forfeit to the Warres, 
 
 Thou by thy valour didst redeeme it freely, 30 
 
 And gav'st it me, whilst thou ingag'st thy life : 
 
 For which if ever by like chance of Warre, 
 
 Lawes forfeiture, or our prerogative, 
 
 Thy life come in like danger, here we sweare 
 
 By our earths honours, and our hopes divine, 35 
 
 As thou for us, wee'le ours ingage for thine. 
 
 Mart. You give my Lord, to Duty Attributes 
 Too high for her submisse humility: 
 I am your vassall, and ten thousand lives 
 Of equall ranke with mine, subjects and servants, 40 
 
 Be over-rated if compar'd with yours. 
 
 King. When I forget thee, may my operant parts 
 Each one forget their office : We create thee 
 Next to our selfe of power, we but except 
 The name of King, all other dignities 45 
 
 We will communicate to thee our friend. 
 
 M art. May I no longer use these Royalties, 
 Or have the power to enjoy them, then I wholly 
 Devote them to your service. 
 
 Prince. Noble Martiall, 50 
 
 If I survive Englands Inheritance, 
 Or ever live to sit on Iacobs Stone, 
 Thy love shall with my Crowne be hereditary. 
 
 Mart. And gracious Prince, since Heaven hath bin as 
 liberall 
 
 28 Steele-crests.) D., C. steel crests. 
 
 28 Yet in this one thing.) P. omits "thing." 
 
 31 ingag'st.) D. engag'd'st. — correct, but unpronounceable. 
 
 41 over-rated.) D, C, overrated. 
 
 42 may my operant parts.) D, operant powers. 
 41 our selfe.) D., C. ourself, so throughout. 
 
60 
 
 The Boyall King and the Loyall Subject. 45 
 
 To grace me with your favour, as my birth 55 
 
 Was to endow me richly ; all your graces 
 Shall with my great and ample revenues 
 Be ever to your vertues serviceable. 
 
 King. We know it, and have beene observers long 
 Of thy choice vertues, neither could we yet 
 Fasten that love on thee, which came not home 
 With double use and ample recompence. 
 
 Clint. These graces are beyond dimension, 
 They have nor height, nor depth, uncircumscrib'd, 
 And without bounds. He like a broad arm'd tree 65 
 
 O're — shadows us, and throw his spacious bowes, 
 We that grow under cannot see the Sunne, 
 Nor taste the cheerefull warmth of his bright beames. 
 These branches we must loppe by fire or Thunder, 
 Or by his shadowy armes be still kept under. 70 
 
 Chest. I was borne Eagle-sighted, and to gaze 
 In the Suns fore-head ; I will brooke no cloud 
 To stand betwixt me and his glorious fire, 
 I'le have full light, or none; either soare high, 
 Or else sinke low; my ominous Fate is cast, 75 
 
 Or to be first, or of all abjects last. 
 
 King. You shall renowned Martiall feast for us 
 The Embassadors that come from forraigne Lands, 
 To gratulate our famous victories. 
 
 Mar. I shall my Lord, and give them intertainment 80 
 To Englands honour, and to suite the place 
 Of which I beare the name. 
 
 King. We doubt it not : 
 We understand Lords, in these tedious warres 
 
 63 Clint. J D. and C. add (aside to Chester). 
 
 65 broad arm'd.) D., C. : broad-arm'd. 
 
 C6 O're-shadows.) D., C: O'er shadows. 
 
 n Chest.) D, (To Clint). C. (aside to Clinton). 
 
 72 Fore-head.) D., C. forehead. 
 
 77 renowned.) D., renown'd. This elision destroys the metre. 
 
 83 We doubt it not.) C, a dash after "not." 
 
46 The Royall King and the Loyall Subject. 
 
 Some forward spirits have beene at great expence 85 
 
 To furnish them like noble Gentlemen ; 
 
 And many spent most part of their revenues 
 
 In honour of their Countrey, some undone 
 
 In pursuit of these warres ; now if such come 
 
 For their relief e by suite petitionary, 90 
 
 Let them have gracious hearing, and supply 
 
 Or by our service, or our Treasury 
 
 Audley. I have one Kinsman hath spent all his land, 
 And is return' d a beggar, and so tatter' d, 
 As that I can but blush to acknowledge him: 95 
 
 But in the Warres he spent it, and for me, 
 Warres shall relieve him. He was a noble Heire, 
 But what these lost, let other Warres repaire. 
 
 King. Lords all, once more we greete your safe returne. 
 With generall welcome, we invite you all 100 
 
 To feast with us, and joy what we have wonne, 
 Happiest in these, our Martiall, and our sonne. Exit. 
 
 Enter the Clowne and a Welch-man. 
 
 Clowne. It seemes thou hast not beene in the Warres my 
 Friend, but art new come up to London. 105 
 
 Welch. Heaven plesse thee from all his mercies, and 
 his 
 graces : It was told us in Wales, that you have great pigge Or- 
 gan in Pauls, and pigger by a great deale than our Organ 
 at Rixam, which made me make my travels and my journies 
 on the pare hoofe up to London, to have resolutions and cer- 
 tifications in 112 
 that pisinesse, that when I return into my 
 
 BS Audley.) D. Aud. (Aside). 
 
 102 Exit.) D., C. Exeunt. Throughout the play, "Exit" is oftenest 
 used to denote the end of a scene and the departure of all the characters. 
 
 103 Enter the Clowne.) D. Enter Cock, etc. So throughout the scene. 
 we jp rom a n foi s mercies.) T>. for all, etc. 
 
 107 graces.) D. : graces ! 
 
 109 at Rixam.) D. : in Rixam; C: Wrexham; so, in 118, 125. 
 
The Royall King and the Loyall Subject. 47 
 
 Countries and habitations, I may give notice to mine Uncle, 
 
 Rice ap Davy, ap Morgan, ap Evan, ap Tones, ap Gef- 
 frey. 
 
 I pray where apout stands Pauls Church, can you tell her ? 
 
 Clowne. O very easily; stand with thy face that way, 
 and 115 
 
 follow thy nose, and thou wilt be there presently. But does 
 thou heare Brittan, take my word, our Organ of Powles is 
 much bigger and better than yours of Rixam, by as 
 much as Powles Church is bigger and better than Saint 
 Pancridge. 120 
 
 Welch. Awe man, you prittle and prattle nothing but leas- 
 ings and untruths: now will you but ease your posteriors a 
 little and I will quickly show you your Organ of Pauls. 
 
 Clowne. Very good, I like your demonstration well ; but 
 doest thou thinke your Organ of Rixam can compare with 
 ours for all that ? 126 
 
 Welch. Lend me but your eares and your apprehensions, 
 and 
 I will make you easily to acknowledge your errours. 
 
 Clowne. But first shew me your case in which you carry 
 your two paire of Organs, sure those slops wil not hold 
 them: 130 
 
 but in the meane time walke with me to the next red Lettice, 
 and I will give thee two Cannes, and wet thine Organ-pipes 
 well I warrant thee. 
 
 Welch. I will take your courtesies, and if ever I shall 
 meet 
 you in Glamorgan, or Rednock-shire, I will make bold to 
 requite 135 
 
 some part of your kindnesses. 
 
 u * tell her.) C. hur. 
 
 nr take my word.) D. : take my words. Powles.) D. Powl's, C. Paul's. 
 
 121 Awe man.) D.: Awe-man (?). C. : Awe, man! No doubt the 
 correct modern equivalent. 
 
 130 Sure those slops will not hold them:) A question in D. 
 
 135 Rednockshire) C. Brecknockshire. 
 
48 The Boyall King and the Loyall Subject. 
 
 A loud winding of Homes within. 
 
 Cloivne. The very noise of that Home hath frightened my 
 courtesie, but all's one, fare- well for this time, and at our 
 next meeting ten to one I will be as good as my word. 140 
 
 Welch. Say you so man, why then Cad keepe you from 
 all his mercies, and good fortunes, and make us all his ser- 
 vants. Sound againe. 
 
 Enter the King, Martiall, &c. 
 
 King. Come, we will to the chace, be neare us Martiall, 
 I'le try today which of our two good steeds 
 Can speed it best ; let the most swift take both. 
 
 Mar. So please your Grace, but I shall surely loose ; 
 Yours is the best for proofe, though mine for show. 
 
 King. That will we try, the wager growes not deepe 150 
 Equals the lay, and what we winne, wee'le keepe, 
 Mount, mount, Exeunt. 
 
 Chester. Greater and greater still no plot, no tricke 
 To have him quite remov'd from the Kings Grace, 
 To slander him? 155 
 
 Clin. The King will lend no eare 
 To any just complaint that's made of him ; 
 What can our scandals doe then ? 
 
 Chest. Challenge him 
 Of Treason then, and that may haply call 160 
 
 His Loyalty into suspect and question, 
 
 130 fare-well.) D. : farewell. C. : fare well. 
 
 141 Say you so man.) A question in D. and C. Cad). D. Cod. 
 
 148 D. Exeunt. No doubt correct. 
 
 146 today. D. today ; C. today. 
 
 162 Exeunt.) D. Exeunt King and Marshal. C. Exeunt King, Marshal, 
 etc., manent Chester and Clinton. 
 
 153 D. lias a colon after "still" ; C. an exclamation. Both, an interro- 
 gation mark after "Grace." 
 
 168 What can our scandals doe then.) P. misprints "them." 
 
The Roy all King and the Loyall Subject 49 
 
 Which in the King at least will breed a coldnesse, 
 If not a deadnesse of affection. 
 
 Clint. Of Treason ? say he crave the combate then, 
 For that's the least he can; which of ns two 165 
 
 Shall combate him, \ I know his blowes too well, 
 NotL 
 
 Chest. I should be loathe. 
 
 Clin. How do you relish this ? 
 His vertue and his bounty wonne him grace, 170 
 
 On that wee'le build to mine all his favours, 
 And worke him to disgrace. 
 
 Chest. Pray teach me how ? 
 
 Clin. First, praise him to the King, give all his vertues 
 Double their due, adde unto every thing, 175 
 
 Ey, and Hyperbolize in all his deeds: 
 Let his knowne vertues be the common Theame 
 Of our discourse to stale him, rate his worth, 
 To equalize, if not to exceed the King : 
 This cannot but beget distast at least. 180 
 
 Chest. But further. 
 
 Clin. Thus ; then fall off from his praise, 
 And question his best deeds, as it may be 
 His noble bounty is but popular grace, 
 
 And his humility but inward pride: 185 
 
 His vulgar suffrage and applause abroad, 
 A way to climbe and seate himselfe aloft, 
 You understand me ? 
 
 Chest. Fully ; come to horse, Homes. 
 
 And as we ride, our further plots disgest, 190 
 
 To finde what may disturbe, what ayd us best. Exit. 
 
 Enter Martiall, and Servant. 
 
 181 But further.) C. : farther. So, wherever the word occurs. 
 
 188 Fully, etc.) D. Fully. (Horns sound.) Come, to horse; 
 
 1M disgest.) D. digest. See note. 
 
 191 Exit.) D., C: Exeunt. 
 
 in D. "Scene changes to a Forest. Enter" etc. 
 
50 The Royall King and the Loyall Subject. 
 
 Mar. Spurre to the King, his steed's unshod before, 
 The wayes be stony, and hee'le spoyle his beast : 
 Here take these shooes and hammer, brought of purpose 195 
 For mine own use. 
 
 Serv. My Lord, have you pluck' t the shooes off from 
 your owne horse, to set them on anothers, a thousand to 
 one but you will spoyle your owne Guelding quite. 
 
 Maf. No matter, doe as I command thee sirrah ; 200 
 
 Hollow him streight, I know he loves that horse, 
 And would not ride him bare for any gold. 
 
 Serv. Your horse is as good as his I am sure, and I think 
 you love him as well. 204 
 
 Mar. No matter, if he asks thee where thou hadst them, 
 Tell him, thou broughtest them with thee for my use. 
 Away, Fie gallop after, and over-take thee. 
 
 Serv. Put your shooes on another horses feete, and let 
 your owne goe bare-oot % a Jest indeed. 
 
 Mar. The King affects both his good horse and Game, 210 
 Fie helpe to further both. 
 
 Enter the King, and Martiall: Winde homes. 
 
 King. You have fetcht me up at length, that's to your 
 fortune, 
 Or my misfortune, for I lost a shooe. 
 Martiall you ride well furnisht to the field, 215 
 
 Mar. My Lord, so Horsemen should, and I am glad 
 My man was so well furnisht, and the rather 
 Since we are f arre from helpe ; my man is cunning, 
 Your Highnesse to his skill may trust your horse. 
 
 188 anothers) D., C. another's ? A etc. 
 201 Hollow.) D., C. "Follow." See note. 
 
 207 and over-take thee.) C. "o'ertake." This improves the metre. 
 298 bare-foot? a Jest indeed.) C. barefoot. D. : A jest, indeed! 
 211 D. Exeunt. 
 
 212 D. "Horns sound. Enter King and Marshal." 
 
 215 field.) The comma of the Quarto is emended in all editions to a 
 period. 
 
The Boyall King and the Loyall Subject. 51 
 
 King. Thou couldst not have presented me a gift 220 
 
 I could have tasted better, for that beast 
 I much esteeme: you were out-stript at length. 
 
 Mar. Till I was forc't to alight, my horse with yours 
 Kept equall speed. Enter the Lords. 
 
 King. Our Lords? now Gentlemen, 225 
 
 How do you like the Chace ? 
 
 Audi. 'Twas excellent. 
 
 King. Had not my horse beene by mischance unshod, 
 My Martiall here and I had led you still. 
 
 Chest. You were the better horst. 230 
 
 King. And you the worst, 
 Witnesse the hugenesse of your way behind : 
 Is not my horse yet shod ? 
 
 Serv. He is my Lord. 
 
 King. Then let us mount againe. 235 
 
 Clin. Your horse my Lord, is not in state to ride, 
 He wants two shooes before. 
 
 King. Whose doth, the Martials ? 
 
 Mart. Oft such mischances happen. 
 
 King. Were you furnisht 240 
 
 For us and for your selfe kept no supply? 
 
 Mar. So I may have my Lord to furnish you, 
 I care not how my selfe want. 
 
 King. Apprehension helpe mee, for every circumstance 
 apply. 
 Thou hast done me an unwonted courtesie; 245 
 
 You spy'd my loss first. 
 
 Mar. I did my Lord. 
 
 222 out stript.J D C. outstripp'd. 
 
 225 Our Lords?) Both D. and C. omit the question mark. 
 
 236 Clin.) D. : Clint. (To Marsh.) 
 
 238 Whose doth) C. and D. both make here two questions. "Whose 
 doth? the Marshal's?" 
 
 244 Apprehension) This word, as has been noted by all the editors, 
 should be alone on the line, since it completes the preceding verse. 
 "Help" then begins a new verse. 
 
 248 A question in D., as is also 248. 
 
52 The Roy all King and the Loyall Subject. 
 
 King. And then alighted. 
 
 Mar. True. 
 
 King. Upon my life 'tis so, 250 
 
 To unshooe thine own good steed, and furnish mine, 
 Was't not ? upon thy life resolve me true. 
 
 Mar. What I have done my Lord, I did to you. 
 
 King. You will exceed me still, and yet my courtesie 
 Shall ranke with thine; for this great duty showne, 255 
 I pay thee thus, both steeds are now thine owne. 
 
 Clint. They wager love. 
 
 Mar. The best thing I can doe 
 In me is duty ; the worst, Grace in you. 
 
 King. Th'art ours; come mount, we will returne to 
 Court, 260 
 
 To order the great Turnament prepar'd 
 To do our sonne grace; in which we intreat 
 Martiall, your ayde, because your skill is great. Exit 
 
 Enter Corporall and Cocke ragged. 
 
 Corpor. We have visited all our familiars, is it not now 265 
 time that we revisite our Captaine ? 
 
 Cock. With all my heart good Corporall, but it had not 
 bin amisse, if we had gone to Burchen-lane first to have sui- 
 ted us: and yet it is a credit for a man of the sword to goe 
 thread-bare, because by his aparrell he may be taken to be 
 an old Soldier. 
 
 Corp. Cocke, thy father was a fresh water-soldier, 
 
 (thou are not; 
 Thou hast beene powdred, witnesse thy flaxe & touch-box. 
 
 260 D. "'tis so!" 
 
 257 Clint.) D. adds (Aside). 
 
 240 Th'art) D. Thou'rt ours ! 
 
 283 Exit.) D., C. Exeunt. 
 
 284 D. ''Scene changes to London. Enter" etc. 
 
 205 We have visited, etc.) C. places a question mark after "familiars." 
 
 272 - 3 written as prose by C. and D. 
 
 272 fresh water- soldier.) D. has no hyphen. C. a fresh-water soldier. 
 
The Royall King and the Loyall Subject. 53 
 
 Enter Match. 
 
 Cocke. But who comes yonder, my Match ? I am glad to 275 
 have met thee. 
 
 Match. I knew Cock, at one time or other thou wouldst 
 meete with thy Match. What, shall we goe to my Captains 
 lodging ? 
 
 Enter Captaine extreame ragged. 280 
 
 Corp. Spare that paines, yonder he appears in his colours. 
 
 Capt. Fortun' de la guere ; I that have flourisht, no colours 
 like me nay, no Trumpet thou in his highest key ; have no 
 thing now but ragges to flourish ; I that have f ac't the enemy, 
 have not so much as any facing left me : were my suite but as 
 well pointed as I have seene some, and stood I but in the 
 midst of my followers, I might say I had nothing about me 
 but tagge and ragge. I am descended nobly; for I am descen- 
 ded so low that all the cloaths of my backe are scarce worth 
 a ISToble: I was borne to thousands, and yet a thousand to 290 
 one, they will now scarce acknowledge mee where I was 
 borne. 
 
 Corp. Health to our worthy Captaine, 
 
 Capt. Thanks my most worthy soldiers ; and yet if I should 
 examine your worths, what at the most could all you make ? 
 
 295 
 
 Corp. I would not have your Worship to examine our 
 outsides. 
 
 Capt. And for your insides I'le passe my word. 
 
 Cock. Cannot all your worships credit afford you a new 
 suit? 
 
 275 C. and D. both read: "But who conies yonder? My Match!" The 
 emendation does not strike me as an improvement. 
 
 280 C. "Enter Captain Bonville, extremely ragged." D., too, prints 
 "extremely." There is but one "Captain" who is so called throughout. 
 See note. 
 
 282 C. and D. correct the French: Fortune de la guerre! 
 
 284 C. omits "but ragges." 
 
54 The Royall King and the Loyall Subject. 
 
 Cap. Credit me, no ; my revenues were a thousand a yeere, 
 part of which i lavish't amongst gallants, riotted in Tav- 300 
 ernes, havockt in Ordinaries ; and when my estate began to 
 ebbe, as my last refuge, I laid all my hopes upon the last wars, 
 but failing there, (as the world imagins) iam return' d as 
 you see. The King hath promised supply and reliefe to all 
 that have spent their estates in his expeditions, but many 
 like 305 
 
 my selfe have beene borne to be poore, that scorne to be beg- 
 gars ; as many have been borne to be rich, that can never 
 leave it; the truth is, I am my selfe as my proceedings will 
 expresse me further. 
 
 Cor. Will you cashiere us Captaine, or shall wee follow 310 
 your future fortunes ? 
 
 Capt. You shall not leave me ; my purpose is to try the 
 humours of all my friends, my Allies, my ancient associates, 
 and see how they will respect me in my supposed poverty: 
 though I loose their acquaintance, I shall lose none of my 315 
 retinew. How say you Gentlemen, will you copart with 
 me in this my dejectednesse ? 
 
 Corp. As I am Corporall, so will I prove true Squire to 
 thy body. 
 
 Cock. And as I am true Cocke, so will I crow at thy 
 ser- 320 
 
 vice, waite on thee with a combe for thy head, with fire to 
 thy Peece, with water to thy hands, and be cocke sure in a- 
 ny imployment whatsoever. 
 
 Match. And as I am true Match, I shall scorne that any 
 of 
 them shall o're-match me in duty. 325 
 
 Capt. Attend me then ; if I rise, you shall ascend ; if fall. 
 I will lie flat with you. First then I will make some tryall of 
 my Friends at the Court, and in good time : here's the King. 
 
 299 j) "C re( jit me? no:" this changes the meaning, unnecessarily. 
 ^D. C. "a-year." 
 825 C. "o'ermatch." 
 
The Roy all King and the Loyall Subject. 55 
 
 Sound, Enter the King discoursing with Chester, and 
 
 Clinton, Audley, and Bonvile. 330 
 
 King. You have perswaded much, and I begin 
 To censure strangely of his emulous love. 
 
 Chest. Further my Lord, what can his smoothnesse meane, 
 His courtesie, and his humility, 
 
 But as sly baites to catch the peoples hearts, 335 
 
 And weane them from your love. 
 
 Clin. Doth he not strive 
 In all things to exceed your courtesie, 
 Of purpose to out-shine your Royall deeds, 
 And dazell your brightnesse, that himself e may shine? 340 
 Is he not onely popular my Liege ? 
 Is not the peoples suffrage sole to him, 
 Whilst they neglect your fame; his traine doth equall 
 If not exceed yours; still his Chamber throng'd 
 With store of suitors: where the Martiall lies, 345 
 
 There is the Court, all eyes are bent on him, 
 And on his glories; there's no Theame abroad, 
 But how he sav'd you from the Pagans sword, 
 How his sole hand swayes, guides, and guards the Realme. 
 
 Chest. Thinke but my Lord on his last game at Cheese, 350 
 'Twas his past odds, but when he saw you moov'd, 
 With what a sly neglect he lost the mate, 
 Onely to make you bound to' him. 
 
 Clin. For all the favours, graces, honours, loves 
 Bestow'd upon him from your bounteous hand, 355 
 
 $2 * C. adds to the direction : "and Captain Bonville." D. alters as ff. 
 "Flourish. Enter the King, discoursing with Chester and Clinton: 
 Audley and Bonville, Captain, and the others, stand apart." The 
 scene is the same as the foregoing, hence it is not necessary to mark 
 the entrance of the Captain, who is already present. 
 
 335 P. reads "fly bates," no doubt a misunderstanding of the Quarto. 
 
 338 D. adds a f, here, and after "fame," in 343. So also, C. 
 
 360 Even by the rules followed in the printing of the Quarto, a comma 
 should follow "my Lord." 
 
 353 to' him. D. C. to him. 
 
56 The Boy all King and the Loyall Subject. 
 
 His cunning was to thinke to quit you all, 
 And pay you with a borse-shooe. 
 
 Chest. In the Turnament 
 Made by the Prince your sonne, when he was Peerelesse, 
 And without equall, this ambitious Martiall 360 
 
 Strives to exceed, and did; but when he saw 
 Your Highnesse moov'd to see the Prince disgrac't, 
 He lost the Prize ; but how ? that all the people 
 Might see it given, not forfeit, which did adde 
 Rather than derogate; briefly my Lord, 365 
 
 His courtesie is all ambition. 
 
 King. And well it may be ; is he not our vassal ? 
 Why should the Martiall then contend with us, 
 To exceed in any vertue? we observe him. 
 His popularity, how affable 370 
 
 He's to the people; his Hospitality, 
 Which addes unto his love; his forwardnesse, 
 To entertaine Embassadors, and feast them, 
 Which though he doo't upon his proper charge, 
 And for our honour, yet it may be thought 375 
 
 A smoothnesse, and a cunning, to grow great; 
 It must be so. A project we intend 
 To proove him faithlesse, or a perfect friend. Exit. 
 
 Chest. It takes, these jealous thoughts we must pursue, 
 And to his late doubts still adde something new. 380 
 
 Cap. Your speech being ended, now comes in my cue. 
 My honourable Lord. 
 
 Chest. What begger's this ? 
 
 Cap. Beggar my Lord ? I never begg'd of you : 
 But were I a begger, I might be a Courtiers fellow; 385 
 
 ^'D. "Cap. (Aside J" and 382, ("Comes forward"), "now come in." 
 Misprint. 
 
 384 C. changes the questions here, and in 389, to exclamations. The 
 latter are very rare in this Quarto. C. "begged." 
 
 385 D. "But were I, I might be a courtier's fellow:" Note: "The quarto 
 reads, 'But were I a beggar, I might be a courtier's fellow:' It was 
 quite unnecessary to the sense, and destroyed the measure." 
 
The Royall King and the Loyall Subject. 57 
 
 Could I begge suites my Lord as well as you, 
 I need not goe thus clad ; or were you free 
 From begging as I am, you might ranke me. 
 
 Chest. Comparisons ? Away. Exit. 
 
 Cap. Folly and pride 390 
 
 In Silkes and Lace their imperfections shew, 
 But let pure vertue come in garments tome 
 To begge reliefe, she gets a courtly scorne: 
 My Lord you know me ? 
 
 Clin. I have seene that face. 395 
 
 Cap. Why 'tis the same it was, it is no changeling, 
 It beares the self e-same front ; 'tis not like yours, 
 Paled with the least disgrace, or puft with bragges, 
 That smiles upon gay cloaths, and frownes on rags. 
 Mine's stedfast as the Sunne, and free as Fate, 400 
 
 Whose equall eyes looke upon want and state. 
 
 Clin. And doth not mine so too ? Pray what's your business ? 
 
 Cap. Onely that you would know me : the Kings favour 
 hath made you a Baron, and the Kings warres have made 
 me a bare one: there's lesse difference in the Accent of the 
 word, than in the cost of our weeds : This is the same face 
 you were once acquainted with though not the same habite : 
 I could know your face, though your diseas'd body were 
 wrapt in sheepe-skins. 
 
 Clin. This fellow offends me. 410 
 
 Cap. Goe churle, passe free, 
 
 Thou knowst my forfeit lands, though forget'st me: 
 Nay, you would be going too, you are as affraid of a torne 
 suite, as a younger brother of a Sergeant, a riche corne-master 
 
 389 D. "Comparisons ? Away!" C. "Comparisons!" 
 
 402 D. "And doth not mine so tol" Probably a misprint. 
 
 404 D. "wars hath made" etc. A poor emendation, if it is one; certainly 
 Heywood's errors in grammar are sufficiently numerous, without any 
 assistance from his editors! 
 
 410 D. adds "Exit." 
 
 412 D. emends: "thou forget'st me:" unnecessary. 
 
 413 D. "(To Boninle) Nay, you would be going to:" 
 
58 The Roy all King and the Loyall Subject. 
 
 of a plentiful yeere, or a troublesome Attourney to heare 415 
 
 of suits put to compremize. 
 
 Sir, I must challenge you, you are my kinsman ; 
 
 My Grandsir was the first that rais'd the name 
 
 Of Bonvile to this height, but Lord to see 
 
 That you are growne a Lord, and know not me. 
 
 Bonv. Cousin, I know you, you have bin an unthrift, 
 And lavisht what you had ; had I so done, 
 I might have ebb'd like you, where I now flow. 
 
 Cap. Yet I can purchase that, which all the wealth you 
 have will never winne you. 425 
 
 Bon. And what's that I pray ? 
 
 Cap. Wit : is the word strange to you, wit ? 
 
 Bon. Whither wilt thou ? 
 
 Cap. True, 
 Wit will to many ere it come to you. 430 
 
 Bon. Feed you upon your purchase, I'le keepe mine. 
 
 Cap. Have you the wit to doo't ? 
 
 Cap. I have wit to buy, 
 And you to sell, which is the greater gaine ? 
 Cousin, I'le keepe my wealth, keep you your brain. 435 
 
 Cap. The wealth of My das choak thee ere th'art old, 
 And even the bread thou feed'st on change to gold. 
 My Lord, you heare how I pray for my Kinred, 
 
 424 26 
 
 C. "I since came to purchase that, 
 
 Which all the wealth you have will never win you." No note explains 
 the emendation. D. rearranges the lines as follows: 
 
 Capt. Yet I can purchase that which all the wealth 
 
 You have will never win you. 
 
 Bonv. And what's that, 
 
 I pray? 
 
 Capt. Wit — is the word strange to you? Wit! 
 
 This certainly corrects the metre, though the next line is still deficient. 
 
 433 All editions give this line, correctly, to Bonvile. C. emends: "I 
 have the wit to buy." A better correction for the metre would be : "I've 
 wit to buy." 
 
 435 D. "Exit" after "brain." 
 
 438 D. inserts, "(To AudJ." 
 
The Roy all King and the Loyall Subject. 59 
 
 I have a little more charity for my friend: with you 
 
 I have some businesse. 440 
 
 Aud. I am in haste now. 
 
 Cap. I pray you stay. 
 
 Audi. Not now indeed. 
 
 Cap. Pardon, for here's no way 
 Before you heare me. 445 
 
 Aud. Prithee be brief e. 
 
 Cap. Your daughter lives I hope. 
 
 Aud. What's that to thee ? 
 
 Cap. Somewhat 'twill proove, ey, and concerning me ; 
 Before I laid my fortunes on these warres 450 
 
 And was in hope to thrive, by your consent, 
 Nay, by your motion our united hearts 
 Were made more firme by contract; well you know 
 We were betroth' d. 
 
 Aud. Sir, I remember't not. 455 
 
 Cap. I doe, and thus proceed : 
 I was in hope to have rais'd my fortunes high, 
 And with them to have pull'd her by degrees 
 Vnto that eminence at which I aime: 
 
 I venter'd for it, but instead of wealth 460 
 
 I purchast nought but wounds. Honour I had, 
 And the repute of valour ; but my Lord, 
 These simply of themselves are naked Titles, 
 Respectlesse, without pride, and bombast wealth, 
 And to the purblind world shew seeming bad, 465 
 
 Behold in me their shapes, they thus goe clad. 
 
 Aud. You said you would be brief e. 
 
 439 D. reads: 
 
 I have a little more charity for my friend: 
 With you I have some business. 
 
 The lines cannot all be made to read smoothly, and it seems wisest 
 to leave them as they stand. 
 446 D. adds "(Stops him J." 
 467 D. "fortune," probably a misprint. 
 4es C. "seeming-bad." 
 
60 The Boy all King and the Loyall Subject. 
 
 Cap. All that I had, 
 I spent upon my Soldiers, we took no spoile. 
 The warres have grated on me ev'n to this 470 
 
 That you now see: Now my last refuge is, 
 To raise my selfe by her. 
 
 Aud. And spend her meanes 
 As thou hast done thine owne vile unthrift? no, 
 I know no Contract. 475 
 
 Cap. I have one to shew. 
 
 Aud. No matter ; think' st thou that I'le vent my bagges 
 To suite in Sattin him that Jets in ragges ? Exit. 
 
 Cap. The world's all of one heart, this blaze I can, 
 All love the money, none esteemes the man. 480 
 
 These be our friends at Court, and fine ones too, 
 Are they not pray ? where be our followers ? 
 
 Cock. Here noble Captaine. 
 
 Cap. You see how our friends grace us, what hopes we have 
 to preferre you? 485 
 
 Corp. I see sufficient : Captaine, I will discharge my selfe, 
 I meane to seeke else-where for preferment. 
 
 Cap. All leave me if you please; but him that stayes, 
 If e're I mount, I'le with my fortunes raise. 
 
 Match. Captaine, I desire your passe, I meane to march a- 
 
 490 
 long with my Corporall. 
 
 Capt. Wilt thou goe too ? 
 
 Cock. I leave you ? who I ? for a little diversity, for a wet 
 storme ? no Sir, though your out-sides fall away, I'le cleave 
 as close to you as your linings. 495 
 
 " 3 C. "And spend her means 
 
 As thou hast thine own. Vile unthrift! no:" 
 
 The omission of "done" is probably a misprint. 
 
 D. places ? after "own," the rest like C. 
 
 478 Exit. C. "Exeunt Lords." 
 
 484 C. writes as verse : 
 
 You see how our friends 
 
 Grace us, what hopes we have to prefer you ? 
 
 48 ° 7 D. writes as prose. 
 
The Royall King and the Loyall Subject. 61 
 
 Cap. Gramercy yet, away without reply ? 
 
 Corp. Futre for thy base service. 
 
 Cap. Away, sfoot how am I f alne out of my humour ? aud 
 yet this strangenesse of my nearest friends and allience de- 
 serves alittle contemplating ;is't possible, that even Lords, that 
 
 500 
 have the best educating, whose eares are frequent to the most 
 fluent discourse, that live in the very braine of the Land, the 
 Court, that these should be gull'd with shadows, and not 
 be able to distinguish a man when they see him ; thou know- 
 est me, yet these do not. 505 
 
 Cock. Why may not a poore man have as good eyes as a 
 nother ? their eares indeed may be larger than mine, but I 
 can see as far without spectacles as the best Lord in the land. 
 
 Cap. These superficiall Lords thinke every thing to 
 be as it appeares, they never question a mans wit, his discre- 
 tion, his language, his inward vertues, but as hee seemes, 
 he passes 512 
 
 Cocke. I warrant if I should looke like an Asse, 
 They would take mee for one too. 
 
 Cap. The next I try is my betroth'd, if she acknowledge 
 
 515 
 this hand that hath received hers, this heart, this face, and 
 knowes the person from the garment, I shall say, Woman, 
 there is more vertue in thee than Man 
 
 498 C. omits the ? D. writes thus : 
 
 Capt. Gramercy yet! (To Corp and Match) Away! without reply! 
 
 497 C. adds after "service" (Exeunt Corporal and Match,; Note: 
 "This necessary stage-direction is wanting in the old copy. The same 
 remark applies to the next Exeunt of the Captain and Cock." 
 
 498 C. and D. Away ! 'Sfoot, how am I fallen out of my humour ! 
 004 D. ? after "him," C. ! 
 
 505 D. "know'st." 
 
 eo< q «why, may not" etc., slightly alters the sense. 
 614 D. and C. write "they," without the capital. The line is evidently 
 not verse. 
 
 517 D. "woman." 
 
62 The Royall King and the Loyall Subject. 
 
 Cock. There's no question of that ; for they say, they will 
 hold out better : But Sir, if we be no better habited, I make a 
 
 520 
 question how we shall get in at the Court-gate ; for Fie assure 
 you your fashion is not in request at the Court. 
 
 Cap. My vertue is not to be imitated ; Fie hold my pur- 
 pose though I kept backe, and venter lashing in the Por- 
 ters Lodge, Come, follow me, I will go see my Mistresse, 525 
 Though guirt with all the Ladies of the Court : 
 Though ragged Vertue oft may be kept out, 
 No grate so strongly kept above the Center, 
 But Asses with gold laden, free may enter. 
 
 Actus secundus, Scena secunda. 1 
 
 Enter the Prince, the Princesse, the Martiall, and the 
 Lady Mary Audley. 
 
 Prince. Lord Martiall, we are much in debt to you, 
 For by your favour we obtain'd the prize 5 
 
 In the last Tourney: we acknowledge it. 
 
 Mar. I could not love my Soveraigne Gracious Prince, 
 Without extent of duty to the sonne. 
 
 Princesse. 'Twas nobly ply'd on both sides, both had 
 honour ; 
 Yet brother to be modest in your praise, 10 
 
 You had the best. 
 
 Prince. You please to grace me Sister. 
 
 823 The entire speech of the Captain is verse, and is so printed in all 
 the editions. 
 
 My vertue is not to be imitated; 
 
 I'le hold my purpose though I be kept backe, 
 
 And venter lashing in the Porters Lodge. 
 
 Come, follow me, I will go see my Mistresse, etc. 
 
 1 D. "Act II, Scene I." 
 
The Royall King and the Loyall Subject. 63 
 
 Martiall, I heare you are a widdower late: 
 
 How long is't since your beauteous Countesse dy'd ? 
 
 Mar. My Lord, you make me now unsoldier-like 15 
 
 Forget the name of Martiall, to become 
 A passionate husband ; her remembrance drawes 
 Teares from mine eyes : shee dy'd some three Moneths since, 
 Good Lady shee's now gone. 
 
 Princesse. A kinde Husband 20 
 
 I'le warrant him: if e're I chance to bride, 
 Heaven grant I find no worse. 
 
 Prince. Have you no children by her? 
 
 Mar. Two sweet Girles, 
 Now all my hopes and solace of this earth, 25 
 
 Whom next the zeale I owe unto my King, 
 I prise above the world. 
 
 Prince. Why noble Sir, 
 Are they not brought up to be train'd at Court, 
 To attend our Sister? 30 
 
 Mar. They are young and tender, 
 And e're I teach them fashion, I would gladly 
 Traine them in vertue, and to arme their youth 
 Against the smooth and amorous baits of Court. 
 
 Princesse. As kind a Father as a Husband now : 35 
 
 If e're I chance to wedde, such Heaven grant me. 
 
 Prince. Why Heaven may heare your prayer: here's one 
 I warrant that dreames not on a Husband. 
 
 Princesse. Yet e're long 
 
 14 beauteous Countesse.) So printed in D. and P. C. prints "boun- 
 teous," with the note : "So the old copy ; but perhaps we ought to read 
 beauteous countess." C. must, we think, have misread his Quarto. 
 
 28 C. "Where, next the zeal" etc. 
 
 37 M The lines are wrongly arranged. Dilke has corrected them : 
 
 Why, heaven may hear your prayer. (To Lady Aud.) Here's one I 
 warrant 
 
 That dreams not on a husband. So, P. 
 C. makes confusion worse confounded in his version: 
 
 Why, Heaven may hear your prayer: here is one, 
 
 I warrant, that dreams on a husband. ( ! ) 
 
64 The Royall King and the Loyall Subject. 
 
 Shee may bothe dreame, and speake as much as I. 40 
 
 No question but she thinks as much already; 
 And were here voyce and her election free, 
 Shee would not sticke to say this man for me. 
 
 Prince. You make the Lady blush. 
 
 Princesse. Why to change face, 45 
 
 They say in modest Maides are signes of grace : 
 Yet many that like her hold downe the head, 
 Will ne're change colour when they're once in bed. 
 
 Prince. You'le put the Lady out of countenance quite. 
 
 Princesse. Not out of heart ; for all of her complexion, 50 
 Shew in their face the fire of their affection: 
 And even the modest wives, this know we too, 
 Oft blush to speake what is no shame to doe. 
 
 Mar. Lady, the Princesse doth but try your spirit, 54 
 And prove your cheeke, yet doe not take it ill, 55 
 
 Hee'le one day come will act the Husbands part. 
 
 Enter Captaine and Cocke. 
 
 Princesse. Here enters one, I hope it be not he. 
 
 Cap. Attend me sirrah into the presence, and if any of the 
 Grand repulse thee, regard him not. 60 
 
 Cocke. Fie march where my Captaine leads, wer't into 
 the Presence of the Great Termagaunt. 
 
 Cap. My duty to the Prince, Madam your favour, 
 Lord Martiall, yours. 
 
 Prince. What will the fellow doe ? 65 
 
 Cap. Lady, your lip. 
 
 Princesse. My Lord, how like you this ? 
 Shee'd blush to speake, that doth not blush to kisse. 
 
 Cocke. Well said Mistris. 
 
 Prince. A good bold fellow. TO 
 
 45 this man for me.) C. sets in quotation marks, with ! at end. 
 
 " are sighnes) C. "is sign of grace : " 
 
 48 they're) C. "they are." 
 
 " C. "Captain Bonville." C. always gives Cap. his full name. 
 
 66 D. "Cap. (To Lady Audley.) Lady, your lip. (Kisses her.)" 
 
 "D. "fellow!" 
 
The Royall King and the Loyall Subject. 65 
 
 Cap. You are not asham'd to acknowledge me in this good 
 company: I have brought thee all that the warres have left 
 of me; were I better worth, 'twere all thine; than canst 
 have no more of the Cat but his skinne, I have brought thee 
 home the same eyes that first saw thee, the same tongue 75 
 that first courted thee, the same hand that first contracted 
 thee, and the same heart that first affected thee: More I have 
 not, lesse I cannot: nay quickly sweet Wench, and let mee 
 know what to trust to. 
 
 Lady Mary. Were you more worth, I could not love you 
 more, 80 
 
 Or lesse, affect you lesse ; you have brought me home 
 All that I love, your selfe, and you are welcome. 
 I gave no faith to Money, but a Man, 
 And that I cannot loose possessing you: 
 'Tis not the robe or garment I affect, 85 
 
 For who would marry with a suite of cloaths ? 
 Diamonds, though set in Lead, reteine their worth, 
 And leaden Knives may have a golden sheath. 
 My love is to the Jewell, not the Case, 
 And you my Jewell are. 90 
 
 Cap. Why god-amercy Wench : come sirrah. Exit. 
 
 Cock. Here's a short horse soone curryed. 
 
 Princesse. Is this your sweet-heart? I had need wish you 
 much joy, for I see but a little towards : Where did you take 
 him up by the hye-wye, or did you not fall in love with him 
 
 95 
 hanging on a Gibbet? 
 
 Prince. What is he for Heavens sake ? can no man give him 
 his true character ? 
 
 Mar. I can my Lord, he's of a noble House, 
 
 "Exit.) D. omits. C. D. "wench!" 
 
 92 C. places "(Exit" at the end of this line. D. reads: "(Exeunt Capt. 
 and Cock." 
 
 86 C. "Where did you take him up? by the highway?" D. the same. 
 
 " 9S D. writes as verse : 
 
 What is he, for Heaven's sake ? 
 
 Can no man give him his true character? 
 
66 The Boy all King and the Loyall Subject. 
 
 A Bonvile, and great Heire; but being profuse, 100 
 
 And lavish in his nonage, spent the most 
 
 Of his knowne meanes, and hoping now at last 
 
 To raise his fortunes by the warres now ceast, 
 
 His hopes have fail'd him, yet we know him valiant 
 
 And fortunate in service: One whose minde 105 
 
 ~No fortune can deject, no favour raise 
 
 Above his vertues pitch. 
 
 Prince. If he be such, 
 Wee'le move the King in his behalf, and helpe 
 To cherish his good parts. Enter Chester. 110 
 
 Chest. My Lord the Prince, 
 The King calls for you; for he dines to day 
 In the great Hall with great solemnity, 
 And his best state: Lord Martiall, you this day 
 Must use your place, and waite, so all the Lords. 115 
 
 Prince. Come, wee'le goe see the King. 
 
 Mar. I shall attend your Grace. Exit. 
 
 Princesse. And in faith Lady can you be in love with this 
 ragge of honour ? 
 
 Lady Ma. Madam, you know I am my Fathers heire, 120 
 My possibilities may raise his hopes 
 To their first height : should I despise my hand 
 In a tome glove, or taste a poysonous draught 
 Because presented in a Cup of Gold ? 
 
 Vertue will last when wealth flyes, and is gone : 125 
 
 Let me drinke Nectar though in earth or stone. 
 
 Princesse. But say your Father now, as many Fathers are, 
 
 103 fortunes) C. "fortune." 
 
 117 Exit) C. ["Exeunt." D. ["Exeunt all but the Princess and Lady 
 Mary." 
 
 m D. "In a torn glove?" 
 
 m C. prints as verse : 
 
 Princess. But say 
 
 Your father now, as many fathers are, 
 
 Prove a true worldling, and rather than bestow thee 
 
 On one dejected, disinherit thee: 
 
 How then? 
 
The Royall King and the Loyall Subject. 67 
 
 proove a true wordling, and rather than bestow thee on one 
 dejected, dis-inherite thee ? how then ? 
 
 Lady Ma. My Father is my Father, but my Husband, 130 
 He is my selfe: my resolution is 
 To prof esse constancy, and keepe mine honour ; 
 And rather than to Queene it where I hate, 
 Begge where I love: I wish no better fate. 
 
 Princesse. By my faith good counsell; if I live long 
 
 enough, 135 
 
 It may be I may have the grace to follow it. Exit. 
 
 Sound: enter two banquets brought forth, at one the King 
 and the Prince in their State, at the other the Lords : then 
 Martiall with his Staff e and Key, and other offices borne be- 
 fore him to waite on the King. 110 
 
 King. This Anniversary doe we yeerely keepe 
 In memory of our late victories. 
 In joy of which we make a publicke feast, 
 And banquet all our Peeres thus openly. 
 Sit Lords, those onely we appoint to waite, 145 
 
 Attend us for this day: and now to crowne 
 Our Festivall, we will begin this health. 
 Who's that so neare our elbow ? Martiall ? you ? 
 Stand off we wish you, further. 
 
 Mar. Me my Lord ? King. Ey you my Lord. 150 
 
 133 D. "And rather than to quean it" etc. The emendation, if it be 
 not a misprint, is poor. 
 
 ™Exit) T>. "Exeunt." C. omits. 
 
 m D. stage-direction reads: "Flourish. Two banquets are set out, at 
 the one, the King and the Prince sit, dressed in their Robes of State, 
 at the other, the Lords of the Court, standing: the Mabshai. attends 
 with the Staff and Key of Office, to wait upon the King." 
 
 148 D. C. "Marshal, you?" 
 
 149 D. and C. read : "Stand off, we wish you further." (C. "farther.") 
 This punctuation alters the meaning slightly. As the line stands, it 
 means: "We wish you to stand off further," the "we wish you" being 
 parenthetical, with the regular punctuation, only after the inserted 
 words. 
 
68 The Royall King and the Loyall Subject. 
 
 Mar. Your Highnesse will's a law, 
 I shall obey. 
 
 King. You are too neare us yet : what are we King, 
 Or have we countermanders ? 
 
 Chest. Note you that? Clint. Now it begins 155 
 
 Mar. I feare some Sycophants 
 
 Have dealt ignobly with us to the King: 
 No matter I am arm'd with innocence, 
 And that dares front all danger. 
 
 King. Lords this health: The King drinks, 160 
 
 See it goes round, 'twas to our victory. they all stand. 
 
 Mar. With pardon, can your Highnesse that remember, 
 And so forget me ? 
 
 King. Thou doest prompt me well, 
 You are our Martiall. Mar. I have us'd that place. 165 
 
 King. Your Staffe ? support it, and resolve me this : 
 Which of yon Lords there seated at the bord, 
 Hast thou beene most in opposition with ? 
 Or whom dost thou least favour ? 
 
 Mars I love all: 170 
 
 But should you aske me who hath wrong' d me most, 
 Then should I point out Chester. 
 
 King. Chester then, 
 Beare him that Staffe, giv't up into his hand, 
 Say, I commend me to him by the name 175 
 
 Of our High Martiall; take your place below, 
 And let him waite on us : what doe you pause ? 
 Or shall we twice command ? 
 
 163 D. alters, to correct the metrical reading, which is, however, 
 imperfect in any case : 
 You are too near us yet; 
 What! are we King, or have we countermanders? 
 
 165 D. "(Aside to Clint)" C. "(Aside)." 
 
 166 D. "Marsh. (Aside)." 
 
 160 D. "King. Lord, this health, (The King drinks, the Lords all stand 
 up)." 
 
 "" D. "King. Your staff: support it," etc. 
 173 D. "King. Chester? then 
 Bear him that staff" etc. 
 
The Royall King and the Loyall Subject. 69 
 
 Mar. Fie doo't my Lord : 
 Chester, the King commends his love to you, 180 
 
 And by my mouth he styles you by the name 
 Of his High Martiall, which this Staffe of Office 
 Makes good to you ; my place I thus resigne, 
 And giv't up freely as it first was mine. 
 You must attend the King, it is a place 185 
 
 Of honour Chester, and of great command, 
 Vse it with no lesse modesty than he 
 That late injoy'd it and resignes it thee. 
 
 Chest. I need not your instruction ; the Kings bounty 
 Bestows it freely and I take my place. 190 
 
 Mar. And I mine here, th' allegeance that I owe him 
 Bids me accept it, were it yet more low. 
 
 King. Attend us Chester, wait upon our Cup, 
 It is an honour due to you this day. 
 
 Chest. I shall my Lord. 195 
 
 Clin. Oh my Lord you are welcome, wee have not had 
 your company amongst us long. 
 
 Mar. You ever had my heart, though the Kings service 
 Commanded still my person: I am eas'd 
 Of a great burden so the King rest pleas'd. 200 
 
 And. I have not seene a man hath borne his disgrace with 
 more patience ; especially to be f orc't with his owne hand 
 to deliver up his honours to his enemy. 
 
 Bonv. It would have troubl'd me, I should not brooke it. 
 
 King. Command yon fellow give his golden Key 205 
 
 To the Lord Clinton; henceforth we debarre him 
 Accesse unto our Chamber, see it done. 
 
 179 D. "Marsh. I'll do't my lord. (He advances to, and then addresses 
 Chester.)" 
 
 196 j) "Oh, m y loj.^ you're welcome," C. writes Clinton's speech as 
 verse : 
 
 "Oh, my lord, you are welcome. We have not had 
 
 Your company amongst us long." This is no more metrical than the 
 majority of Heywood's prose speeches. 
 
 201 D. "Aud. (To Bon.)" 
 
70 The Royall King and the Loyall Subject. 
 
 Chest. The King commands you to give up your Key 
 Unto that Lord that neares you : henceforth Sir, 
 You to his person are deny'd accesse, 210 
 
 But when the King commands. 
 
 Mar. Say to my Liege, 
 The proudest foe he hath, were he an Emperor, 
 Should not have forc't the least of these from me : 
 
 But I acknowledge these, and all I have, 215 
 
 To be sole his; my life too, which as willingly 
 To please him I will send : I thanke his Highnesse 
 That sees so into my debility, 
 That he hath care to ease me of these loads 
 That have opprest me long ; so Sir 'tis done : 220 
 
 Come Lords, now let's be merry, and drinke round, 
 After great tempests we a calme have found. 
 
 Aud. This Lord is of an unwonted constancy, 
 He entertaines his disgraces as merrily as a man dyes that is 
 tickled to death. 225 
 
 King. Cannot all this stirre his impatience up ? 
 Fie search his breast but I will find his gaule: 
 Command him give his Staffe of Councell up, 
 We will bestow it elsewhere where we please. 
 
 Chest. The King would have you to forbeare the Coim- 
 cel, 230 
 
 And to give up your Staffe. 
 
 Mar. I shall turne man, 
 Kings cannot force to beare more than we can. 
 
 Chest. Sir, are you moov'd ? 
 
 208 D. "Chest. (To Marsh.)" 
 
 209 D. and C. "Unto that lord that's near you:" 
 
 220 D. "So, sir, 'tis done. (Gives the key to Clinton.)" 
 
 222 D. "After great tempest." S at the end of words is often omitted 
 in the Dilke edition, where one can but suspect a misprint rather than 
 an emendation. 
 
 223 C. prints the whole of Audley's speech as prose. 
 » D. "King. (Aside)" 
 
 "•D. "Chest. (To Marsh.)" 
 
The Royall King and the Loyall Subject. 71 
 
 Mar. Those that are wronged may speaker 235 
 
 My Lord, I let you know my innocence, 
 And that my true and unstain'd Loyalty 
 Deserves not this disgrace; none ever bore 
 Like eminence with me that hath discharg'd it 
 With better zeale and conscience: for my service 240 
 
 Let my wounds witnesse, I have some to shew ; 
 That had I not my body interpos'd, 
 Had beene your skarres: all my deserved honours 
 You have bestow'd upon my enemies, 
 
 Ey such as have whole skinnes. ■ 245 
 
 And never bled but for their ease and health. 
 
 You might with as much Iustice take my life, 
 
 As seaze my honours : howsoe're my Lord 
 
 Give me free leave to speake but as I finde, 
 
 I ever have beene true, you now unkind. 250 
 
 King. Will you contest ? 
 What have you Sir that is not held from us ? 
 Or what can your owne vertue purchase you 
 Without our grace ? Are not your fortunes, favours, 
 And your revenewes ours ? where should they end 255 
 
 But where they first began ? have we not power 
 To give our owne ? or must we aske your counsell, 
 To grace where you appoint ? neede we a Guardian, 
 Or aime you at the place ? 
 
 Mar. Oh my dread King, 260 
 
 It sorrows me that you misprize my love, 
 
 286 C. "Those are that wrong'd may speak, — " 
 
 286 wronged) C. "wrong'd," correctly, without doubt. 
 
 241 A semi-colon is certainly too strong a mark here, since "that" in 
 the following lines refers back directly to "some to shew." D. uses no 
 mark at all; C. a comma. 
 
 245 skinnes. ) The Quarto seems to have a period before the dash here, 
 though the mark is faint. P. prints a comma. D. and C. omit the dash. 
 
 268 D. "To grace where we appoint?" notes the reading of the Quarto. 
 P. notes the emendation without adopting it. It seems to us quite 
 unnecessary. The reading in the text means: "To give favor aa you 
 counsel us." 
 
72 The Boyall King and the Loyall Subject. 
 
 And with more freedome I could part with life 
 
 Then with your Grace: my offices alas, 
 
 They were my troubles, but to want your favours, 
 
 That onely thus afflicts my loyall thoughts, 265 
 
 And makes me bold to tearme your Grace unkind. 
 
 King. Sir, we command you to abandon Court, 
 And take it as a favour that we now 
 Not question of your life ; without reply 
 Leave us. 270 
 
 Mar. I'le leave the Court as I would leave my burden 
 But from your Highnesse in this kind to part, 
 Is as my body should forsake my heart. Exit. 
 
 King. Shall we not be ourselfe, or shall we brooke 
 Competitors in reigne? act what we doe 275 
 
 By other mens appointment ? he being gone, 
 We are unrival'd ; wee'le be sole, or none. 
 
 Prince. The Martiall's gone in discontent my Liege. 
 
 King. Pleas'd, or not pleas' d, if we be Englands King, 
 And mightiest in the Spheare in which we moove, 280 
 
 Wee'le shine alone, this Phaeton cast downe, 
 Wee'le state us now midst of our best affected: 
 Our new created Martiall first lead on, 
 Whose Loyalty we now must build upon. Exit. 
 
 Enter Captaine and Cloivne. 285 
 
 Cap. Sir, now attend me, I'le to the Ordinary, 
 And see if any of my ancient friends will take note of me. 
 Where's the good man ? within % 
 
 281 Exit) D. "Exeunt." C. "Exeunt omnes" 
 
 285 C. "Captain Bonville" as usual ! D. "Enter Captain and Cock." 
 Note : "In the quarto it is 'Enter Captain and Clown.' There is a 
 confusion throughout the play, and indeed in the Dramatis Personae." 
 
 286 D. and C. correct the arrangement. D. : 
 "Sir, now attend me : I'll to the ordinary 
 And see if any of my ancient friends 
 
 Will take note of me. (Calls) Where's the good man? Within?" 
 
The Royall King and the Loyall Subject. 73 
 
 Clown. There's none dwels here ; you may speak with the 
 Master 
 of the house if you will. Enter the Host. 290 
 
 Clowne. Captaine, Captaine, I have descri'd an Host. 
 
 Cap. An Host ? Where ? which way march they ? 
 
 Clown. Mine Host of the house, see where he marches. 
 
 Cap. Here take my cloake, what is't not Dinner-time ? 
 Are there no gallants come yet ? 295 
 
 Host. Why Sir, doe you meane to dine here today? 
 
 Cap. Here doe I meane to cranch, to munch, to eate, 
 To feed, and be fat my fine Cullapolis. 
 
 Host. You must pardon me Sir, my house intertaines none 
 but Gentlemen ; if you will stand at gate, when Dinner's 300 
 done, I'le helpe you to some fragments, 
 
 Cap. Sirrah, if your house be free for Gentlemen, it is fit 
 for me ; thou seest I keepe my man, I've Crownes to spend 
 with him that's bravest here : I'le keepe my roome in spight 
 of Silkes and Sattins 305 
 
 Host. I would I were well rid of this ragge-muffin. 
 
 Enter two Gentlemen. 
 
 1. Gent. How goes the day ? 
 
 2. Gent. It cannot yet be old, because I see no 
 more gallants come. 
 
 1. Gent. Mine Host, what's here? 310 
 
 Host. A Tatterdemalean, that stayes to sit at the Ordinary 
 to day. 
 
 200 D. "Enter Host" 
 
 294 D. after "cloake" (To Host) 
 
 298 D. and C. "Calipolis," but D. does not capitalize. 
 
 303 This speech should be written as verse, so D. and C. 
 
 305 D, "Host. (Aside)" 
 
 308 D. prints : "It cannot yet be old 
 
 Because I see no more gallants come." 
 
 311 D. more verse arrangement ! 
 
 "Host. A tatterdemalion 
 
 That stays to sit at th' ordinary to-day." 
 
74 The Royall King and the Loyall Subject. 
 
 2. Gent. Doest know him ? 
 
 Host. I did when he was flush, and had the Crownes ; but 
 since he grew poore, he is worne quite out of my remem- 315 
 brance. He is a decay'd Captaine, and his name is Bonvile. 
 
 1. Gent. I would he would leave this place, and 
 ranke himselfe with his companions. 
 
 Enter two more. 
 
 2. Gent. Morrow Gentlemen. 320 
 
 3. Gent. The morning's past, 'tis mid-day at the least. 
 
 4. Gent. What is the roome so empty ? 
 Host. And please your worships, 
 
 Here's more by one than it can well receive. 
 
 3. Gent. What Tatter's that that walkes there? 325 
 
 Jf. Gent. If he will not leave the roome kicke him downe 
 staires. 
 
 Cap. There's ne're a silken outside in this company 
 That dares present a foot to doe that office : 
 I'le tosse that heele a yard above his head 330 
 
 That offers but a spurne. 
 
 1 Gent. Can we not be private ? 
 
 Cap. I am a man like you perhaps well bred, 
 Nor want I coyne, for harke, my pockets chinke: 
 I keepe my man to attend me more perhaps, 335 
 
 Than some can doe that goe in costlier Silke. 
 Are you so fearefull of a ragged suite? 
 They were first paid for e're they were put on ; 
 A man may question whether yours were so. 
 Who kicks first, ha, come; have you minde to game? 340 
 
 316 D. "He is a decay'd captain, and his name Bonvile." 
 
 8w j) "Enter two more Gentlemen." 
 
 328 D. "An please" etc. 
 
 330 1 keepe my man) D. fails to italicize the "I." 
 
 340 D. and C. "Who kicks first, ha? Come, have you" etc. We prefer 
 the reading of the Quarto, that connects "come" with the challenge 
 that precedes. See note. 
 
The Royall King and the Loyall Subject. 75 
 
 I'le cast, or set at thus much ; will you card 
 A rest for this ? no ? then let's to dinner : 
 Come serve in meate. 
 
 1. Gent. Mine Host, prithee put this fellow out 
 of the room, 
 
 And let him not drop his shooe-clouts here. 345 
 
 2. Gent. Sfoot dost thou meane we shall goe louzie out of 
 the house ? 
 
 3. Gent. If he will not goe out by faire meanes, 
 Send for a Constable. 
 
 Jf.. Gent. And send him to Bridewell Ordinary; whip- 
 ping cheere is best for him 350 
 
 Host. Nay pray sir leave my house, you see the Gentlemen 
 will not endure your company. 
 
 Cap. Mine Host, thou knewst me in my nourishing prime : 
 I was the first brought custome to thine house, 355 
 
 Most of my meanes I spent here to enrich thee; 
 And to set thee up, I've cast downe my selfe. 
 
 Host. I remember sir some such matter, but you see the 
 times change. Nay, will you leave the Gentlemen ? 
 
 Cap. The Lease of this house hadst thou not from me % 360 
 Did I not give thee both the Fyne and Rent ? 
 
 Host. I must needs say you were bountiful when you had 
 it, but in troth sir, if you will not be gone, J shall be f orc't to 
 turne you out by the head and shoulders. 
 
 Cap. And is not all this worth the trusting for 365 
 
 an Ordinary ? 
 
 Host. Nay if you prate, I shall use you somewhat extraor- 
 dinary. Gent. Downe with the Rogue. 
 
 ta thus much) D. adds "(takes out money)." The next question 
 he misunderstands: 
 
 "Will you card ? 
 
 A rest for this: no: then let's to dinner." See note. 
 
 844 Prose. C. prints as such. 
 
 850 C. "And sent him" etc. Probably, a misprint. 
 
 soip "Did I not give thee both the Fyne and the Rent?" Clearly 
 wrong. 
 
76 The Boyall King and the Loyall Subject. 
 
 Cap. Since you hate calmes, and will move stormy weather, 
 Now Host and guest shall all downe staires together. 
 
 Clowne. Ah well done Master, tickle them noble 370 
 Captaine. 
 
 Cap. Come Cock, I have tooke some of their stomacks 
 away from them before Dinner. 
 
 Enter the Martiall with his two men, and his 
 two Daughters. 
 
 Mar. We are at peace now, and in threatned death 375 
 We doe enjoy new life: my onely comforts, 
 The image of my late deceased wife, 
 ~Now have I time to surfeit on your sight, 
 Which Court-imployments have debarr'd me long. 
 Oh Fortune, thou didst threaten misery, 380 
 
 And thou hast paid me comfort; neede we ought 
 That we should seeke the suffrage of the Court ? 
 Are we not rich ? are we not well revenew'd ? 
 Are not the Countrey-pleasures farre more sweete 
 Than the Court-cares ? Instead of balling suiters 385 
 
 Our eares receive the musicke of the Hound ; 
 For mounting pride and lofty ambition, 
 We in the Ayre behold the Falcons Tower, 
 And in that Morall mock those that aspire. 
 Oh my good King, instead of threat and wrong, 390 
 
 Thou hast brought me rest which I have wisht so long. 
 
 Isabella. Sir, we have long beene Orphans in the Coun- 
 trey, 
 
 sea j) "gi nce y OU hate calms and will more stormy weather, 
 
 Now host and guests shall all down stairs together. (Draws and beats 
 them out of the room.)" 
 
 373 j) "Scene. The Marshal's House in the Country. Enter Marshal 
 and his two Daughters" 
 
 375 threatned) D. "threaten'd." C. "threat'ned." 
 
 M * 6 D. "country pleasures" "court cares." C. "Court cares." 
 
 388 q "Falcon's tower." See note. 
 
 391 C. "Thou'st brought" etc. 
 
The Royall King and the Loyall Subject. 77 
 
 Whilst you still followed your affairs at Court; 
 
 We heard we had a Father by our Guardian, 
 
 But scarce till now could we enjoy your sight. 395 
 
 Katherine. Nor let it seeme offensive to your love, 
 That we in your retirement should take pride, , 
 
 The King in this pursues our greater happinesse, 
 And quickens most where he would most destroy. 
 
 Mar. You are mine owne sweet girles & in your vertues, 
 
 400 
 I place my sole blisse; you are all my honours, 
 My favours, state, and offices at Court: 
 What are you not ? Let the King take my lands, 
 And my possession, and but leave me you, 
 He leaves me rich; more would I not desire, 405 
 
 And lesse he cannot grant. Enter a servant. 
 
 Serv. One from the King. 
 Attends your honour, and his urgency 
 Craves quick dispatch. 
 
 Mar. Ladies withdraw a little, 410 
 
 I long to know what mischiefe's now afoot; 
 Wee'le front it be it death, ey and march towards it. 
 A Chaire, admit the Herald, let him in ; 
 We are arm'd 'gainst what can come, our breast is true, 
 And that's one Maxim, what is forc't, is wrong, 415 
 
 We can both keepe our heart and guide our tongue. 
 
 Enter the servant ushering in Chester. 
 
 Chest. Sir, the King greets you, and commands you effect 
 His will in this; you know the Character. 
 
 393 followed.) C. "follow'd" correct. 
 
 410 Ladies withdrmo) C. "(Exeunt daughters." Note: "It is clear 
 that the two daughters go out; and it will be seen that just afterwards 
 they return : their exit is not marked in the old copy, but it is necessary. 
 The same may be said of the next stage-direction, which, with some 
 others, is new in our reprint." D. "(Isab. and Cath. retire." 
 
 419 Character ) C. adds: "(Gives a letter." D. inserts after "his will 
 in this" "(delivers a letter.)" 
 
78 The Roy all King and the hoy all Subject. 
 
 Mar. My good Lord Martiall you are welcome hither, 420 
 These lines I kisse because they came from him. 
 
 Chest. You'le like the letter better than the style: 
 Ha, change your face ? is your blood moov'd to the tyde, 
 Or ebbes it to your heart? 
 
 Mar. Thou hast two Daughters, He reads. 425 
 
 Faire by report, her whom thou lov'st best 
 Send to the Court: it is thy Kings behest, 
 Doe this on thy allegeance. 
 
 Chest. Sir your Answer? 
 
 Mar. I pray Sir deale with men in misery 430 
 
 Like one that may himselfe be miserable : 
 Insult not too much upon men distrest, 
 Play not too much upon my wretchednesse ; 
 The noble minds still will not when they can. 
 
 Chest. I cannot stay for answer, pray be brief e. 135 
 
 Mar. You are more welcome than your message Sir, 
 And yet that's welcome comming from my King; 
 Pray Sir forbeare me, 'tis the Kings command, 
 And you shall know mine answer instantly: 
 Receive him nobly. 440 
 
 Chest. I shall waite your pleasure. 
 
 Mar. Malice, revenge, displeasure, envy, hate, 
 I had thought that you had onely dwelt at Court, 
 And that the Countrey had beene cleere and free: 
 But from Kings wraths no place I finde is safe. 445 
 
 My fairest daughter? had the King commanded 
 One of my hands, I had sent it willingly; 
 
 422 D. "Chest. C aside)." 
 
 423 change your face) D. "changes your face ?" A better reading would 
 be: "change you face," i. e., "do you change face," Cf. line 45, "why 
 to change face" etc., V, 129. 
 
 425 D cc Marsh. (Reads) "Thou hast," etc. 
 
 426 lov'st best) C. corrects : "lovest best." 
 
 «i -£) "The noble mind" etc. An S is again omitted. 
 
 440 D. "(To servant) Receive him" etc. 
 
 441 your pleasure) C. "Exit." D. "Exeunt Chester and Servant." 
 
The Royall King and the Loyall Subject. 79 
 
 But her ! yet Kings must not be dallied with, 
 
 Somewhat I must resolve to breed of force 
 
 Treason or to my blood, or to my King, 450 
 
 False Father, or false Subject I must proove, 
 
 Be true to him I serve, or her I love, 
 
 Somewhat I must: my Daughters, call them in: 
 
 Enter one ushering the Ladies. 
 
 Leave them and us. 455 
 
 Ladies I must be blunt, the King's displeas'd, 
 
 And hearing of two children whom I love, 
 
 My patience and my loyalty to try, 
 
 Commands that she whom I love best must dye. 
 
 Isab. Dye ? 'las that's nothing ; must not all men so ? 460 
 And doth not Heaven crowne martyr' d innocence ? 
 I was afraid my Lord the King had sent 
 To have strumpetted the fairest of your blood: 
 An innocent death my Lord is crowne of rest, 
 Then let me dye as her whom you love best. 465 
 
 Kath. If but to dye, prove that you love me then; 
 Death were most welcome to confirme your love. 
 Alas my Sister, she hath not the heart 
 To looke upon a rough Tormentors face : 
 
 I am bold and constant, and my courage great ; 470 
 
 As token of your love then point out me. 
 
 Mar. Alas my girles for greater ills prepare, 
 Death would end yours, and somewhat ease my sorrows: 
 What I must speake, containes Heavens greatest curse, 
 Search all the world, you can find nought so ill. 475 
 
 Isab. Speak' t at once. 
 
 453 My Daughters) Again, as in 410, an address to one of the "men" 
 said to enter with the Martiall. Evidently he goes out and immediately 
 re-enters. 
 
 454 D. alters to "Enter Servant, ushering them in." 
 
 455 D. adds "Exit Servant." 
 4,3 To have) C. "T'have." 
 
 486 Kath.) D. spells Cath. throughout. 
 ""Speak't) C. corrects "Speak it." 
 
80 The Royall King and the Loyall Subject. 
 
 Mar. Her whom I best affect, 
 The King intends to strumpet. 
 
 Kath. Blesse me Heaven ! 
 
 Mar. Should he, 480 
 
 Kath. By all my joyes I'le sooner dye 
 Then suffer it. 
 
 Isdb. And so by Heaven will I. 
 
 Mar. Now you are mine indeed, who would forgoe 
 One of these jemmes so fine, and valued so? 485 
 
 But passion give me leave, the King commands, 
 I must obey. The fairest he sent for; 
 None of my daughters have beene seene at Court, 
 Nor hath the ambitious Chester view'd them yet: 
 My eldest then shall goe, come hither girle ; 490 
 
 I send thee, (Heaven knowes) whether to thy death 
 Or to thine honour; though he envie me, 
 Yet in himselfe the King is honourable, 
 And will not stretch his malice to my child. 
 The worst I feare; and yet the best I hope. 495 
 
 I charge thee then even by a fathers name, 
 If the King daine to take thee to his bed 
 By name of Queene, if thou perceiv'st thy selfe 
 To be with child, conceale it even from him; 
 Next, when thou find'st him affable and free, 500 
 
 Tinde out some talke about thy Sister here, 
 As thus; thy Father sent thee but in jest, 
 Thy Sister's fairest, and I love her best. 
 
 I sab. It may incense the King. 
 
 Mar. What I intend 505 
 
 Is to my selfe, inquire no further of it. 
 
 Isdb. I shal performe your will, and thus resolv'd 
 To be a Martyr e're a Concubine. 
 But if the King afford me further favour, 
 
 180 D. C. "should he—" 
 
 480 D. "My eldest then shall go. (To Isdb.) Come hither, girl." 
 
 481 D. "I send thee, heaven knows whether to thy death 
 
 Or to thine honour!" C. has no italics or exclamation. 
 
The Roy all King and the Loyall Subject. 81 
 
 In my close bosome your last words I'le place. 510 
 
 Mar. Sister and Sister part, be you not seene, 
 Bid her farewell, a Martyr or a Queene. 
 They cannot speake for teares, alas for woe, 
 That force should part Sister and Sister thus, 
 And that the Child and Father of one heart, 515 
 
 Commands and powerful threats should thus divide. 
 But Chester stayes, within there ? Enter servant. 
 
 Serv. My Lord ? 
 
 Mar. Have you receiv'd Earle Chester honourably ? 
 
 Serv. The noblest welcome that the house could yeeld 520 
 He hath had my Lord, nothing was held too deere : 
 He much extolls your bounty. 
 
 Mar. Usher him in, we are now ready for him. 
 
 Serv. I shall my Lord. 
 
 Enter Chester. 525 
 
 Chest. Sir, I have stay'd your leasure, now your Answer ? 
 
 Mar. That I obey, the fairest of my girles 
 I send the King. 
 
 Chest. I easily can beleeve 
 That this the fairest is, her like in Court 530 
 
 Lives not; she is a Present for a King. 
 
 Mar. Say to the King I give her, but conditionally, 
 That if he like not this fairest of the two, 
 Unstain'd he will his gift send backe againe. 
 
 Chest. I shall, come Lady. 535 
 
 Mar. My Lord, I doe not load you with commends 
 And duties which I could doe, to the King: 
 I know your love your memory may faile you, 
 
 5ii D <c( To Qajh.) Be you not seen," 
 
 512 Queene) C. "Exit Katherine." 
 
 514 thus) D. "Exit Cath." 
 
 517 within there?) D. and C. "But Chester stays.— Within, there!" 
 This is not the first case in which the Quarto has given us an interro- 
 gation point where we should expect an exclamation. The latter are 
 used very sparingly. 
 
 6 
 
82 The Boyall King and the Loyall Subject. 
 
 And you them all may scatter by the way. 
 
 Doe thou a Fathers duty thus in teares, 540 
 
 And send me how thou speed' st to free these feares. Exeunt. 
 
 Actus tertius. 1 
 
 Enter Clowne and the Lady Mary. 
 
 Mary. Came you from him? 
 
 Clowne. Yes, if it please your Maidenship; my Master 
 sends 
 you word he is the old man, and his suite is the old suite still 5 
 and his cloaths the old cloaths ; He scornes to be a change- 
 ling, or a shifter ; he feares nothing but this, that he shall 
 fall into the Lord your fathers hands for want of repara- 
 tions. 
 
 Mary. We know thy meaning, here beare him this gold, 10 
 And bid him suite him like the man he was, 
 Bid him to face the proudest bee in Court; 
 He shall not want whilst we have. 
 
 Clowne. That was out of my Commission Lady, Gold 
 tempts, I have commandment not to touch it ; 'tis another 15 
 thing he aymes at: it is a thing, but I know not what man-, 
 ner of thing; but something it is, and he vowes not to shift' 
 a shirt till he be further resolv'd : hee onely sends you Com- 
 mendations, and withall to know if you woud stand to 
 your word. . 20 
 
 Mary. He wrongs me to cast doubts : 
 
 540 D. "(To Isab.) Do thou a father's duty" etc. 
 1 D. "Act III, Scene I." 
 
 2 D. "Enter Cock and Lady Maby." C. "Enter Clown and the Lady 
 Mary Audley." 
 
 3 D., C. "L. Mary." So throughout. 
 
 8 reparations) D. "reparation." 
 
 u Clowne. That was) D. "Cock. This was" etc. 
 
The Royall King and the Loyall Subject. 83 
 
 Tell him I am the same I ever was, 
 
 And ever will continue as I am. 
 
 But that he should disdaine this courtesie 
 
 Being in want, and comming too from me, 25 
 
 Doth somewhat trouble me. 
 
 Clowne. We want Madam ? you are deceiv'd, wee have 
 store, of ragges ; plenty, of tatters; aboundance, of jagges; 
 huge rents, witnesse our breeches ; ground enough to com- 
 mand, for we can walke where we will, none will bid us 30 
 to Dinner; houses rent-free, and goodly ones to chuse 
 where we will; the Martialsie, the Counter, Newgate, 
 Bridewell ; and would a man desire to dwell in stronger buil- 
 dings ? and can you say that we are in want ? ISTo Lady, my 
 Captaine wants nothing but your love, and that he intreats 35 
 you to send by me the bearer. 
 
 Mary. I doe, with all the best affection 
 A Virgin can bestow upon her friend. 
 
 Clowne. I dare sweare he is an honest man, but I dare 
 not 
 say he is a true man. 
 
 Mary. How, not a a true man ? 
 
 Clowne. ISTo; for hee hath sworne to steale you away, 
 and thus I prove it ; if he steale you away, I am sure you will 
 not goe naked ; he cannot steale you, but he must steale the 
 cloaths you have on; and he that steales apparrel, what is he 
 
 45 
 but a Theefe ? and hee that is a Theefe cannot be a true man 
 Ergo. 
 
 Mary. That is no theft when men but steale their owne, 
 And I am his, witnesse this Diamond, 
 
 Which beare him, and thus say, that no disaster 50 
 
 Shall ever part me from his company. 
 
 28 ff. C. omits the commas after "store," "plenty," and thus partly 
 destroys the sense of the Clown's speech. D. punctuates by dashes, 
 which give the pause values of the Quarto, at least: "store — of rags" 
 etc. 
 
 48 D. "That is not theft" etc. 
 
84 The Roy all King and the hoy all Subject. 
 
 Clowne. I shall beare this with as good will as you would 
 beare him, Vtcunque volumus. 
 
 Mary. What are we but our words ? when they are past, 
 Faith should succeed, and that should ever last. 55 
 
 My Father ? Enter Audley. 
 
 Aud. Wots thou who's returnd, 
 The unthrift Bonvile, ragged as a scarre-crow, 
 The Warres have gnaw'd his garments to the skinne: 
 I met him, and he told me of a Contract. 60 
 
 Mary. Sir, such a thing there was. 
 
 Aud. Upon condition if he came rich. 
 
 Mary. I heard no such exception. 
 
 Aud. Thou doest not meane to marry with a begger? 
 
 Mary. Unlesse he he a Gentleman, and Bonvile 65 
 
 Is by his birth no lesse. 
 
 Aud. Such onely gentile are, that can maintaine 
 Gentily. 
 
 Mary. Why, should your state faile you, 
 Can it from you your honours take away ? 70 
 
 Whilst your Allegeance holds, what need you more, 
 You ever shall be noble although poore. 
 
 Aud. They are noble that have nobles ; gentle they 
 That appeare such. 
 
 Mary. Indeed so wordlings say: 75 
 
 But vertuous men proove they are onely deare 
 That all their riches can about them beare. 
 
 Sound: Enter the King, Clinton, Bonvile, Prince, Prince sse. 
 
 King. Is not Earle Chester 
 Return' d yet with an answer from the Martiall ? 80 
 
 53 D. utcunque volumus. (Exit." 
 
 56 C. "My father! Enter the Lord Audley." 
 
 57 D. and C. "Wott'st thou who's return'd ?" 
 
 68 Gentily.) Corrected in D. and P. to "Gentility." 
 
 71 C, D. "what need you more ?" 
 
 "beare.) C. "[Exit Lady Mary." 
 
 78 Sound:) D. "Flourish." etc. — "and Princess." C. "Lord Clinton, 
 
 BONVILLE." 
 
The Royall King and the Loyall Subject. 85 
 
 Prince. Not yet my Lord. 
 
 King. For such contention we now scorne revenge, 
 Wee'le try the utmost of his patience now: 
 We would exceed our love, if it appeare, 
 He will hold nothing for his King too deere. 85 
 
 Aud. Earle Chester is return'd. 
 
 Enter Chester and Isabella. 
 
 King. Hast brought her Chester'? 
 
 Chest. Her whom her father the most faire esteemes, 
 He hath sent by me, onely with this request, 90 
 
 That if his free gift doe not like your Highnesse, 
 You'le send her backe untoucht to his embrace. 
 
 King. I feare we shall not, she appeares too faire, 
 So streightly to part with ; what is he would 
 Attempt such virgin-modesty to staine 95 
 
 By hopes of honour, flatteries, or constraint? 
 How doe you like her? your opinions Lords? 
 
 Prince. A beauteous Lady, one that hath no peere 
 In the whole Court. 
 
 King. Therefore I hold her precious. 100 
 
 Princesse. A fairer face in Court who ever saw? 
 Her beauty would become the name of Queene. 
 
 Clin. One of more state or shape where shall we finde ? 
 
 Aud. Her modesty doth doe her beauty grace, 
 Both in her cheeke have chus'd a soveraigne seate. 105 
 
 King. You have past censure Lady, now you're mine, 
 And by your Fathers free gift you are so, 
 To make, or marre; to keepe, or bestow. 
 
 Isab. It glads me I am present to a King, 
 Whom I have alwayes heard my father tearme 110 
 
 Royall in all things ; vertuous, modest, chaste ; 
 And to have one free attribute besides, 
 
 98 flatteries) D. "flattery." 
 
 10S or lestoic.) All eds. insert "to," D. and C. in brackets. The 
 omission is clearly that of the printer. 
 
86 The Roy all King and the Loyall Subject. 
 
 Which even the greatest Emperour need not scorne, 
 
 Honest ; to you if you be such my Liege, 
 
 A Virgins love I prostrate, and a heart 115 
 
 That wishes you all goodnesse with the duty 
 
 Of a true subject, and a noble father; 
 
 Then mighty Prince report your subject noble, 
 
 Since all those vertues you receive in me. 
 
 King. Thou hast o'recome us all ; that thou hast tearm'd 
 us 120 
 
 Wee'le strive to be, and to make good those attributes 
 Thou hast bestow'd upon us, rise our Queene, 
 Thy vertue hath tooke off the threatning edge 
 Of our intended hate: though thou art ours 
 Both by free gift and duty, which we challenge 125 
 
 As from a subject; though our power could stretch 
 To thy dishonour, we proclaime thee freed, 
 And in this grace thy father we exceed. 
 
 Prince. The King in this shews honour : Princes still 
 Should be the Lords of their owne appetites, 
 And cherish vertue. 
 
 King. Have I your applause ? 
 
 Bon. Your Highnesse shews both Royalty and Iudgment 
 In your faire choice. 
 
 King. Are your opinions so? 135 
 
 Aud. Parre be it mighty King we should distast 
 Where you so well affect. 
 
 Princesse. For grace and feature 
 England affords not a more compleate Virgin. 
 
 Clin. Were she not the Martials daughter, 140 
 
 I'd tearme her worthy for my Soveraignes Bride. 
 
 Chest. Ey that's the griefe. 
 
 King. This kisse then be the Seale, 
 Thou art our Queene, and now art onely mine. 
 
 11B D. adds "(Kneels." 
 
 140 D. "Glint. (Aside to Chest.) Were she" etc. 
 
 145 D. adds "(Kisses Isabella." 
 
The Royall King and the Loyall Subject. 87 
 
 Isab. May I become your vassall and your Hand-maid,145 
 Titles but equall to my humble birth: 
 But since your Grace a higher title dames, 
 Envy must needs obey where power compells. 
 Give expeditious order for the Rites 
 
 Of these our present Nuptials which shall be 150 
 
 Done with all State, and due solemnity; 
 And Martiall in this businesse thou shalt finde 
 Thy selfe defective, and not us unkind. 
 
 Enter servant. 
 
 Serv. Health to your Highnesse. King. Whence ? 155 
 
 Ser. From my sad Master, 
 Your Martiall once, now your dejected vassall, 
 And thus he bid me say: If the King daine 
 To grace my daughter with the stile of Queene, 
 To give you then this Casket which containes 160 
 
 A double dower; halfe of this mighty summe 
 He out of his revenewes had afforded, 
 Had she bin match but to a Barons bed ; 
 But since your Highnesse daines her for your Bride, 
 And his Alliance scornes not to disdaine, 165 
 
 He saith a double dower is due to you. 
 
 King. He strives to exceed us still ; this emulation 
 Begets our hate, and questions him of life, 
 This Dower we take, his Daughter entertaine, 
 But him we never shall receive to grace. 170 
 
 Beare not from us so much as love or thankes: 
 We onely strive in all our actions 
 To be held peerelesse for our courtesie 
 And Royall bounty, which appeares the worse, 
 Since he a Subject would precede his Prince: 175 
 
 148 153 
 
 All eds. give these lines to the King. D. notes: "In the quarto 
 this is, beyond question erroneously, the continuation of Isabella's 
 speech." C. has a note to the same effect, copied in P. 
 186 D. "He sayeth." 
 
88 The Royall King and the Loyall Subject. 
 
 And did we not his Daughter dearely love, 
 
 Wee'd send her backe with scorne, and base neglect. 
 
 But her we love, though him in heart despise, 
 
 Pay him that thanks for all his courtesies. 
 
 Serv. In this imployment I will strive to doe 180 
 
 Th' office of a subject, and of servant too. 
 
 King. Since to that emulous Lord we have sent our 
 hate, 
 Come to our Nuptials let's passe on in state. Exit. 
 
 Enter Captaine and Clowne. 184 
 
 Gap. The humours of Court, Citty, Campe, and Country 
 I have trac't, and in them can finde no man, but money ; all 
 subscribe to this Motto, Malo pecuniam viro. Oh poverty, 
 thou art esteem'd a sinne worse than whoredome, gluttony, 
 extortion, or usury: 
 
 And earthly gold, thou art preferr'd 'fore Heaven. 190 
 
 Let but a poore man in a thred-bare suite, 
 Or ragged as I am, appeare at Court, 
 The fine-nos'd Courtiers will not sent him; no, 
 They shunne the way as if they met the Pest: 
 Or if he have a suite, it strikes them deafe, 195 
 
 They cannot heare of that side. 
 
 Clown. Come to the Citty, the Habberdasher will sooner 
 call us blockheads, than blocke us; come to the Sempsters, 
 unlesse we will give them money, we cannot enter into their 
 bands : though we have the Law of our sides, yet wee may 200 
 walke through Burchin-lane and be non-suited: come bare- 
 
 m D. "The office" 
 
 183 C. punctuates : "Come to our nuptials : let's pass on in state." 
 "Come, to our nuptials let's pass on in state," seems preferable. 
 
 183 Exit) D., C. "Exeunt." 
 
 is* y> "Enter Captain and Cock." C. "Enter Captain Bonville" etc. 
 
 191 Let) This word must have been missing from C.'s quarto, for he 
 prints the following note : "The word Let seems to have dropped out of 
 this line: it is clearly wanting for the sense of the passage." 
 
 187 Clown) D. "Cock" as usual. 
 
The Royall King and the Loyall Subject. 89 
 
 foot to a Shooe-maker, though he be a Constable, he will 
 
 not 
 put us into his Stocks ; though the Girdler be my brother, yet 
 he will not let his leather imbrace me ; come to the Glover, 
 his gloves are either so little that I cannot plucke them on, 
 or 205 
 
 so great that I cannot compasse. And for the Campe there's 
 honour cut out of the whole peace, but not a ragge of mo- 
 ney. 
 
 Cap. The Countrey hath alliance with the rest : my pur- 
 pose is now I have so thorowly made proofs of the humours 
 of men, I will next assay the dispositions of women, not of 
 the choicest, but of those whom we call good wen- 
 ches. 
 
 Clowne. Pray Master if you goe to a house of good fel- 
 lowship, give me something to spend upon my Cockatrice; 
 
 215 
 if I have nothing about me, I shall never get in. 
 
 Cap. Ther's for you sirrah ; doth not the world wonder I 
 should be so flush of money, and so bare in cloaths ? the rea- 
 son of this I shall give account for hereafter: But to our 
 
 pur- 
 pose, here they say dwels my Lady Bawdy-face, here will 
 
 220 
 we knock. 
 
 Enter Baivd. 
 
 Bawd. Who's there ? what would you have ? ha ? 
 Cap. Sweet Lady we would enter ; nay by your leave. 
 Bawd. Enter ? where ? here be no breaches for you to en- 
 
 225 
 ter truely. 
 
 Cap. And yet we are souldiers, and have venter'd upon 
 as 
 hot service as this place affords any. 
 
 Bawd. Away you base companions, we have no breaches 
 
 217 j) "There's for you, sirrah. (Gives him money.)" 
 
90 The Roy all King and the Loyall Subject. 
 
 for such tatter'd breeches, we have no patches to suite with 
 
 230 
 your ragges. 
 
 Cap. Nay, pray give way. 
 
 Bawd. Away you rogues, doe you come to shake your 
 ragges here ? doe you thinke we can vent our ware without 
 money you rascals ? get you from my doore you beggerly 235 
 companions, or I'le wash you hence with hot scalding wa- 
 ter. 
 
 Clown. ISFay I warrant her, wenches can afford her that at 
 all times. 
 
 Bawd. Doe I keepe house to entertaine Tatterdemaleans 
 
 240 
 with a Poxe, you will be gone? 
 
 Cap. We must forbeare, the gallants are out of patience, 
 stand aside. Enter two Gentlemen. 
 
 1. Cent. I would faine goe in, but I have spent all my 
 
 mony. 
 
 2. Cent. No matter, they shall not know so much till we 
 
 245 
 get in, and then let me alone, I'le not out till I be fir'd out. 
 
 1. Gent. Then let's set a good face of the matter, 
 By your leave Lady. 
 
 Bawd. You're welcome Gentlemen. 
 
 1. Gent. What fellows be yon? 250 
 
 Bawd. Two poore souldiers that came for an almes and 
 please you, that stay for some reversions ; there's none such 
 come into my house I warrant you. 
 
 238 q "Nay, I warrant, her wenches" etc. A better punctuation. 
 
 241 D. "with a pox!" C. "with a pox?" 
 
 242 Both D. and C. read: "We must forbear the gallows out of patience" 
 without a note! P. has the reading in the text, which certainly better 
 fits the situation. The "two Gentlemen" have evidently been waiting 
 some time for the Captain to make way for them. The Quartos may 
 differ, see notes. 
 
 248 D. "(To Bawd) By your leave. Lady." 
 251 D. "an please you," 
 
The Roy all King and the Loyall Subject. 91 
 
 2. Gent. Save you sweet Lady. 
 
 Bawd. Where be those kitchinstuffes here, shall we 
 have 255 
 
 no attendants? shew these Gentlemen into a close roome, 
 with a standing bed in't, and a truckle too ; you are welcome 
 Gentlemen. 
 
 Cap. Tis geenrall thorow the world, each state esteemes 
 A man not what he is, but what he seemes: 260 
 
 The purest flesh rag'd can no entrance have, 
 But It'ch and all disease if it come brave, 
 Wide open stand the gates of lust and sin, 
 And those at which the wide world enters in. 
 Madam, to be short, I must have a wench, though I am rag- 
 
 265 
 ged outward, I am rich inward : here's a brace of Angels for 
 you, let me have a pritty wench, I'le be as bountiful to her. 
 
 Bawd. Your Worship's very heartily welcome: wher's 
 Sis? Where's Ioyce? the best roome in the house for 
 the Gentleman: call Mistris Priscilla, and bid her keepe 
 the 270 
 
 Gentleman company. 
 
 Cap. I'le make bold to enter. 
 
 Bawd. Your Worship's most lovingly welcome : let the 
 Gentleman have attendance, and cleane linnen if he need 
 
 any; 
 whither would you, you rogue ? 275 
 
 Clown. Marry I would after my Master. 
 
 Bawd. Thy Master ? why is yon raggamuffin able to keep 
 a man? 
 
 255 C "where be those kitchen-stuffs ? Here ! shall we" etc. 
 
 266 D. "attendance? (Enter Servant) Show" etc. 
 
 ass j) "gentlemen. (Exeunt Gent, and Serv." 
 
 268 C. "through." 
 
 262 D. and C. "itch." 
 
 265 D. "(To Bawd J." 
 
 272 to enter) D. "(Goes in." C. "Exit." 
 
 274 Gentleman) P. "Gentlemen." 
 
 275 jy «( To (jock) Whither" etc. 
 
92 The Royall King and the Loyall Subject. 
 
 Clown. Ey that he is able to keepe a man, and him- 
 self e too. 
 
 Bawd. Then that man must be able to pay for himselfe 
 too, or else he may coole his heeles without if his appetite 
 be hot. 
 
 Clown. Then shall I not goe in ? 
 
 Bawd. No by my Mayden-head shal you not, nor any such 
 beggerly companion shall enter here but he shall come tho- 
 
 285 
 row me too. Shakes a purse. 
 
 Clown. No ? what remedy ? ha, ha ; hee that rings at a 
 doore with such a Bell, and cannot enter? Well, if there be 
 no remedy, I'le even stay without. 
 
 Bawd. Oh me ! is it you Sir ? and are so strong, to stand 
 at 290 
 
 the doore ? Pray will you come neare ? your Master is new 
 gone in afore: Lord, Lord, that you would not enter with- 
 out trusting ! you were even as f arre out of my remembrance 
 as one that I had never seene afore. 
 
 Clown. I cannot blame you to forget me, for I thinke 295 
 this be the first time of our meeting. 
 
 Bawd. What would you have Sir ? 
 
 Clowne. Nothing as they say, but a congratulation for our 
 first acquaintance. I have it here old bully bottom, I 
 have it here. 300 
 
 Bawd. I have it here too : nay, pray sir come in, I am loath 
 to kisse at doore, for feare my neighbours should see. 
 
 Clowne. Speake, shall you and I condogge together? 
 I'le pay you to a haire. 
 
 Bawd. Nay, I beesech you sir, come in: a Gentleman, 
 
 and 305 
 
 stand at doore ? I'le lead the way, and you shal come behind. 
 
 285 C. "through." 
 
 288 Shakes a purse) Inserted by D. after "what remedy?", by C. after 
 "cannot enter!" 
 
 290 so strong.) All eds. read "strange." D. notes: "The quarto reads 
 'strong.' " C. : "The old copy has strong for "strange," which is clearly 
 the right word." P. copies C. 
 
The Roy all King and the Loyall Subject. 93 
 
 Clown. No, no ; I will not salute you after the Italian fa- 
 shion : Fie enter before. 
 
 Bawd. Most lovingly, pray draw the latch sir. Exit. 
 
 Enter the two Gentlemen with the two wenches. 310 
 
 1. Gent. Nay faith sweet rogue thou shalt trust me for 
 
 once. 
 1. Whore. Trust you ? come up, canst thou pay the hackny 
 for the hire of a horse, and think'st thou to breath me upon 
 
 trust. 
 1. Gen. Thou bid'st me come up, and shal I not ride ? 
 
 1. Whore. Yes the gallows as soone. 315 
 
 2. Whore. A Gentleman, and have no money? marry you 
 make a most knightly offer. 
 
 2. Gent. How? to offer thee no money? 
 2. Whore. How can they offer that have none ? 
 2. Gent. Fie either give thee ware or money, that's as 
 g° od - 320 
 
 2. Whore. Ey but sir, Fie deale with no such chapmen. 
 
 Enter Bawd, Captaine, and Clowne. 
 
 Bawd. What's the matter here ? ha ? can you not agree a- 
 bout the bargaine ? 
 
 1. Whore. Here's Gallants would have us breath'd, and 
 
 for " 325 
 
 sooth they have no money. 
 
 2. Whore. They thinke belike, dyet, lodging, ruffes, cloaths, 
 and holland-smocks can all be had without money, and a 
 disease, if wee should catch it, Heaven blesse us, can be cur'd 
 without money. 3 30 
 
 309 Exit) D., C. "Exeunt" 
 
 310 D. "with Two Wenches." 
 
 122 D. "Enter Baivd." He reserves the entrance of "Captain and Cock" 
 till later. C. "Enter Bawd and Clown." Note: "In the old stage- 
 direction, the 'Captain' is also mentioned, but he does not come & in 
 until afterwards, as marked, where the old copy repeats his entrance." 
 
 323 D. "Ha, can you not" etc. C. "Ha! can" etc. 
 
94 The Roy all King and the Loyall Subject. 
 
 Bawd. That's fine yfaith: if my beds be shaken out of 
 their joynts, or my cords broken, must not the Ioyner and 
 the Rope-maker both have money ? if my rugges be rub'd out 
 with your toes, can they be repair'd without money? if my 
 linnen be foul'd, can I pay my landresse without money? 
 be- 335 
 
 sides, we must have something to maintaine our broken win- 
 dows I hope ; the Glazier wil not mend them without mony. 
 
 1. Gent. Come, come, let's run a score for once. 
 
 Bawd. You shall not score of my tally, out of my doores. 
 
 Enter Captaine. 340 
 
 Cap. Why shall we not be bosom'd have we paid, and 
 must we not have wenches ? 
 
 Bawd. You shal have the choicest of my house gentlemen. 
 
 1. Gent. Who, those Rascalls ? 
 
 Bawd. They be Rascalls that have no money ; those be 345 
 Gentlemen that have Crownes; these are they that pay the 
 Ioyner, the rope-maker, the Vpholster, the Laundrer, the 
 Glazier; will you get you out of my doores, or shall wee 
 scold you hence? 
 
 Clown. That you shall never by thrusting them out of 350 
 doores. 
 
 1. Gent. Who but a mad man would be so base as to be 
 hir'd, 
 much more to hire one of those bruitists, that make uo dif- 
 
 337 mony. C. "them without money ?" 
 
 340 D. "Enter Captain (and Cock)" C. "Enter Captain Bonville." 
 
 342 3 C. prints as verse: 
 
 Why, shall we not be bosom'd? Have we paid. 
 And must we not have wenches? 
 
 3iS D. "Will you out of my doors, or shall we scald you hence?" 
 Note : "The quarto reads "scold you hence." I think the present 
 reading more in character; and the reader may recollect she so threatens 
 the Captain when she first sees him." 
 
 C. "Will you get out of my doors," etc. For P.'s comment, see Notes. 
 
 352 C. "Who but a man" etc. 
 
 353 D. "brutist." 
 
The Roy all King and the Loyall Subject. 95 
 
 ference betwixt a Gentleman and a beggar, nay, I have seene 
 enough to be soone intreated. 355 
 
 2. Gent. You shall not need to feare me, I am gone : 
 Hee's past before, nor will I stay behinde ; 
 I have seene enough to loathe all your sisterhood. 
 
 Bawd. Marry farewell frost. Now Sir, will you make 
 your choice, and your man after? 360 
 
 Cap. I'le have both, these are mine. 
 
 Clown. Goe you then with your paire of Whores, I'le goe 
 with this old skuller that first ply'd me. 
 
 Bawd. I see thou lovest to goe by water; come shall we 
 dally together ? sit upon my knee my sweet boy, what mo- 365 
 ney hast thou in thy purse? wilt thou bestow this upon me 
 my sweet chicke? 
 
 Clowne. I'le see what I shall have first for my money by 
 your favour. 
 
 1. Whore. And shall I have this ? 370 
 
 2. Whore. And I this ? 
 
 Cap. Both these are mine, we are agreed then ? 
 But I am asham'd, being such a tatter'd rogue, to lye with 
 two such fine gentlewomen ; besides, to tell you truely, I am 
 louzie. 375 
 
 1. Whore. ISTo matter, thou shalt have a cleane shirt, and 
 but pay for the washing, and thy cloaths shall in the meane 
 time be cast into an Oven. 
 
 Cap. But I have a worse fault, my skinne's not perfect : 
 what shall I say I am? 380 
 
 1. Whore. Itchy? Oh thou shalt have Brimstone and 
 Butter. 
 
 355 D., C. "soon entreated. (Exit" 
 
 358 D., C. "sisterhood. (Exit." 
 
 373 s-5 pj an(i c write as verge . D 
 
 But I'm ashamed, being such a tatter'd rogue, 
 To lie with two such fine gentlewomen; 
 Besides, to tell you truly, I am lousy. 
 C: But, I am asham'd — the rest as D. 
 
 376 D. "No matter; thou shalt have a clean shirt, but pay for the 
 washing." 
 
96 The Royall King and the Loyall Subject. 
 
 Cap. Worse than all these, my body is diseased, 
 I shall infect yours. 
 
 1. Whore. If we come by any mischance, thou hast money 
 
 385 
 to pay for the cure: come, shall's withdraw into the next 
 chamber ? 
 
 Cap. You are not women, you are devils both, 
 And that your Damme; my body save in warres, 
 Is yet unskarr'd, nor shall it be with you. 390 
 
 Say the last leacher that imbrac't you here, 
 And folded in his armes your rottennesse, 
 Had beene all these, would you not all that filth 
 Vomite on me? or who would buy diseases, 
 And make his body for a Spittle fit, 395 
 
 That may walke sound? I came to schoole you Whoore, 
 Not to corrupt you ; for what need I that 
 When you are all corruption; be he lame, 
 Have he no Nose, be all his body stung 
 With the French Fly, with the Sarpego try'd : 400 
 
 Be he a Lazar, or a Leper, bring 
 Coyne in his first, he shall embrace your lust 
 Before the purest flesh that sues of trust. 
 
 Bawd. What Diogenes have we here ? I warrant the 
 Cin- 
 nicke himselfe sayd not so much when he was seene to 
 come 405 
 
 out of a Bawdy house. 
 
 Cap. He sham'd not to come out, but held it sinne 
 Not to be pardon'd, to be seene goe in. 
 But I'le be modest: nay, nay, keepe your Gold 
 
 385 D. "spital" 
 
 400 C. "serpigo." 
 
 408 D. inserts after "modest," "(The whores offer him back the money.)" 
 C. gives "But I'll be modest." to 1 Whore. Note: "In the old copy, 
 this declaration is made part of the speech of the Captain, but it 
 clearly belongs to the woman, who, at the same time, offers him back 
 the money." 
 
The Boyall King and the Loyall Subject. 97 
 
 To cure those hot diseases you have got, 410 
 
 And being once cleere, betake you to one man, 
 And study to be honest, that's my counsell: 
 You have brought many like yon Gentlemen 
 That jet in Silkes, to goe thus ragg'd like us, 
 Which did they owne our thoughts, these rags would 
 change 415 
 
 To shine as we shall, though you think it strange. 
 Come, come, this house is infected, shall we goe ? 
 
 Clowne. Why Sir, shall I have no sport for my money, but 
 even a snatch and away ? 
 
 Cap. Leave me, and leave me ever, and observe 420 
 
 This rule from me, where there is lodg'd a Whore, 
 Thinke the Plagues crosse is set upon that doore. 
 
 Clowne. Then Lord have mercy upon us: where have we 
 beene? 
 
 The Clowne goes tearing away, and shaking his head. 425 
 
 Bawd. Hist, hist; here's a rayling companion in- 
 deed. 
 
 1. Whore. I know not what you call a rayling companion : 
 but such another discourse would make me goe neere to turn 
 honest. 430 
 
 Bawd. Nay, if you be in that minde, I'le send for your 
 love : the plague in my house ? the Pox is as soone : I am sure 
 there was never man yet that had Lord have mercy upon 
 us in his minde, that would ever enter here : Nay will you 
 goe ? 435 
 
 Sound, enter the King, Prince, Princesse, all the Lords, 
 the Queene, &c. 
 
 *" D. "(To Cock) Come, come." etc. 
 
 422 D., C. "Exit." 
 
 423 D. italicizes "Lord have mercy upon us." 
 
 425 D. "He goes out leering and shaking his head." 
 435 D., C. "Exeunt." 
 
 486 j) "Flourish. Enter the King, Queen, Prince, Princess, Lords, 
 Ac." 
 
 7 
 
98 The Boyall King and the Loyall Subject. 
 
 King. Before you all I here acknowledge Lords, 
 I never held me happy but in this 
 
 My vertuous choice, in having your applause, 440 
 
 Me-thinks I had the sweet consent of Heaven. 
 
 Princesse. This noble Lady, now my royall Mother, 
 Hath by her love to you, regard to us, 
 And courteous affability to all, 
 Attain'd the generall suffrage of the Realme. 445 
 
 Princesse. Her modest carriage shall be rules to me, 
 Her words instructions, her behaviour precepts, 
 Which I shall ever study to observe. 
 
 Queen. I feele my body growing by the King, 
 And I am quicke although he know it not ; 450 
 
 Now comes my fathers last injunction 
 To my remembrance, which I must fulfill, 
 Although a Queene, I am his daughter still. 
 
 King. Lords, and the rest forbeare us till we call, 
 A chaire first, and another for our Queene, 455 
 
 Some private conference we intend with her: 
 !Now leave us. Exeunt Lords. 
 
 King. My fairest Isabella, the choice Jewell 
 That I weare next my heart; I cannot hide 
 My love to thee, 'tis like the Sunne invelopt 460 
 
 In watery clouds, whose glory will breake thorow, 
 And spite opposure, scornes to be conceal'd; 
 Saving one thing, aske what my kingdome yeelds, 
 And it is freely thine. 
 
 Queen. What's that my Lord? 465 
 
 King. I cannot speake it without some distaste 
 
 412 D. "Prince. This noble" etc. So C, with note: "This speech is 
 erroneously assigned to the Princess in the old copy. She speaks next." 
 Copied in Pearson. 
 
 449 D. "Queen. (Aside). So C. 
 
 439 D. "intend for her. (They place the Chairs." 
 
 ^'D. "Exeunt all but King and Queen." C. "Exeunt Prince, Princess, 
 Lords, &c." 
 
 461 C. "through." 
 
The Royall King and the Loyall Subject. 99 
 
 To thee my Queene, yet if thy heart be ours 
 Name it not to me. 
 
 Queen. I am onely yours. 
 
 King. Begge not thy fathers free repeale to Court, 470 
 And to those offices we have bestow' d, 
 Save this, my Kingdome, and what it containes, 
 Is thy wills subject. 
 
 Queen. You are my King, and Husband ; 
 The first includes allegeance, the next duty, 475 
 
 Both these have power above a Fathers name, 
 Though as a daughter I could wish it done, 
 Yet since it stands against your Royall pleasure, 
 I have no suite that way. 
 
 King. Thou now hast thrust thy hand into my bosome, 
 
 480 
 And we are one: Thy beauty, oh thy beauty! 
 Never was King blest with so faire a wife. 
 I doe not blame thy Father to preferre 
 Thee 'fore thy sister both in love and face, 
 Since Europe yeelds not one of equall grace: 485 
 
 Why smiles my love ? 
 
 Queene. As knowing one so faire, 
 With whom my pale cheeke never durst compare: 
 Had you but seene my Sister, you would say, 
 To her the blushing Corrall should give way: 490 
 
 For her cheeke staines it; Lillies to her brow 
 Must yeeld their Ivory whitenesse, and allow 
 Themselves o'recome. If e're you saw the skie 
 When it was clearest, it never could come nigh 
 Her Azure veines in colour ; shee's much clearer, 495 
 
 Ey, and her love much to my Father dearer. 
 
 King. We by our noble Martiall made request 
 For the most faire, and her whom he best lov'd: 
 Durst he delude us ? 
 
 Queen. What I speake is true, 500 
 
 So will your selfe say when shee comes in place. 
 
 494 clearest. C. "clear'st." 
 
100 The Royall King and the Loyall Subject. 
 
 King. Our love to thee shall not or'ecome that hate 
 We owe thy Father, though thou bee'st our Queene. 
 
 Queen. He keeps her as his Treasure, locks her safe 
 Within his arms: he onely minded me 505 
 
 As one he lov'd not, but thought meerely lost. 
 
 King. Thou art lost indeed, for thou hast lost my heart, 
 Nor shalt thou keepe it longer: all my love 
 Is swallowed in the spleene I beare thy Father, 
 And in this deepe disgrace put on his King, 510 
 
 Which wee'le revenge. 
 
 Enter Prince, Princesse, Chester, Clinton, Bonvile, 
 and Audley. 
 
 King. It shall be thus: 
 Chester beare hence this Lady to her Father 515 
 
 As one unworthy us, with her that dower 
 The double dower he by his servant sent: 
 Thy teares nor knee shall once prevaile with us. 
 As thou art loyall, without further language 
 Depart our presence, wee'le not heare thee speake. 520 
 
 Chest. What shall I further say? 
 
 King. Command him on his life to send to Court 
 His tother Daughter, and at our first summons, 
 Lest we proclaime him Traytor: this see done 
 On thy Allegeance. 525 
 
 Chest. Now the goale is ours. 
 
 King. None dare to censure or examine this, 
 That we shall hold our friend, or of our blood: 
 Subjects that dare against their Kings contend, 
 Hurle themselves downe whilst others hie ascend. Exit. 530 
 
 007 C. "Thou'rt lost, indeed;" 
 
 °" King) Unnecessary, repeated on account of the interposition of 
 the stage direction. 
 
 818 D. "(To the Queen) Thy tears," etc. 
 
 521 C. "farther." 
 
 523 C. "other." 
 
 628 D. "Chest. (Aside)." C. "ours. (Aside, and exit)." 
 
 629 D. "King." 
 
The Boyall King and the Loyall Subject. 101 
 
 Actus quartus. 1 
 
 Enter the Martiall and his daughter Katherine. 
 
 Mar. I see the King is truely honourable : 
 All my disgraces and disparagements 
 
 He hath made good to me in this, to queene my child, 5 
 
 And which more glads me, with such ardency 
 He seemes to affect her, and to hold her deare, 
 That nothing's valued, if compar'd with her. 
 Now Heaven whilst thou this second happinesse 
 And blisse wilt lend me, I shall still grow great 10 
 
 In my content, opinion, and my fate, 
 In spight of whisperers, and Court-flatterers. 
 
 Kath. Had you best lov'd my Sister, and lesse me, 
 I had beene Queene before her; but she venter'd 
 For her preferment, therefore 'tis her due ; 15 
 
 Out of our fears and loves her honours grew. 
 
 Mar. Whilst I may keepe thy beauty in mine eye, 
 And with her rais'd fortunes fill mine eare, 
 I second me in blisse; shee's my Court comfort, 
 Thou my home happinesse : in these two blest, 20 
 
 Heaven hath inrich't me with a crowne of rest. 
 
 Kath. Nor doe I covet greater Royalties 
 Than to enjoy your presence, and your love, 
 The best of these I prize above all fortunes, 
 Nor would I change them for my Sisters state. 25 
 
 1 D. "Act IV, Scene I. 
 
 "The Marshal's House in the Country. Enter the Marshal and his 
 Daughter Catharine." 
 
 18 C, P. "new rais'd fortunes." A simpler emendation would be, 
 "raised," which perfects the metre. 
 
 18 All eds. read, "I second none," doubtless correctly. 
 
 24 C. note: "The lust of these.) Perhaps we ought to read "The last 
 of these," viz., her father's love: the misprint was easy." As easy as 
 C's misprint of "lust" for "best!" P. copies the note. Perhaps we 
 have here, and in 19, two more differences in the readings of different 
 Quartos: see notes III, 242. 
 
102 The Roy all King and the Loyall Subject. 
 
 Mar. Her beauty and her vertues niixt have won 
 The King my Soveraigne to be tearm'd my son. 
 
 Enter Servant. 
 
 Ser. Earle Chester, with the Queene your princely 
 daughter 
 Are without traine alighted at the gate, 30 
 
 And by this entred. 
 
 Mar. Thou hast troubled me, 
 And with a thousand thoughts at once perplex' t 
 My affrighted heart : admit them ; soft, not yet ; 
 What might this meane ? my daughter in the charge 35 
 
 Of him that is my greatest opposite, 
 And without traine, such as becomes a Queene? 
 More tempest towards Kate? from which sweete child, 
 If I may keept thee, may it on my head 
 Powre all his wrath, even till it strike me dead. 40 
 
 Kath. Rather, my Lord, your Royall life to free, 
 All his sterne fury let him showre on me. 
 
 Ser. My Lord, shall I admit them ? 
 
 Mar. Prithee stay, 
 Fate threatens us, I would devise a meanes 45 
 
 To shunne it if we might : thou shalt withdraw, To his 
 
 And not be seene ; something we must devise Daughter. 
 
 To guard our selves, and stand our opposites : 
 Goe keepe your chamber, now let Chester in. 
 
 Serv. I shall my Lord. 50 
 
 Mar. My Loyalty for me, that keepe me still ; 
 A Tower of safety, and a shield 'gainst Fate. 
 
 Enter the servant ushering Chester and the Queene. 
 
 Chest. The King thy daughter hath in scorne sent backe. 
 
 88 D. "Kate!" C. "Kate;" Why not a question? 
 
 S9 P. rightly emends "keepe." C. D. "keep." 
 
 49 "Chamber (exit Cath.J" C. "in. (Exit Katherine." 
 
 "C. "Lord. (Exit." 
 
 n D. "Enter Servant, ushering in the Queen and Chesteb." 
 
 M D. "back " 
 
The Royall King and the Loyall Subject. 103 
 
 Mar. Pause there, and as y'are noble answer me 55 
 E're you proceed, but to one question. 
 
 Chest. Propound it. 
 
 Mar. Whence might this distaste arise? 
 From any loose demeanor, wanton carriage, 
 Spouse-breach, or disobedience in my daughter ? 60 
 
 If so, I'le not receive her, shee's not mine. 
 
 Queen. That let mine enemy speake, for in this kind 
 I would be tax't by such. 
 
 Chest. Vpon my soule. 
 There is no guilt in her. 65 
 
 Mar. Bee't but his humour, 
 Th'art welcome, both my daughter and my Queene ; 
 In this my Palace thou shalt reigne alone, 
 I'le keepe thy state, and make these armes thy Throne : 
 WhiPst thou art chast, thy stile with thee shall stay, 70 
 
 And reigne, though none but I and mine obey. 
 What can you further speake ? 
 
 Chest. Her double Dower 
 The King returnes thee. 
 
 Mar. We accept it, see, 75 
 
 It shall maintaine her port even with her name, 
 Being my Kings wife, so will I love his Grace, 
 Shee shall not want, will double this maintaine her. 
 
 Chest. Being thus discharg'd of her, I from the King 
 Command thee send thy fairer Girle to Court, SO 
 
 Shee that's at home, with her to act his pleasure. 
 
 Mar. Sir, you were sent to challenge, not to kill ; 
 These are not threats, but blowes, they wound, they wound. 
 
 Chest. If Treasons imputation thou wilt shun, 
 And not incurre the forfeit of thy life, 85 
 
 Let the Kings will take place. 
 
 Mar. You have my offices, 
 
 65 D. "You're." 
 
 82 D. "Then let" etc. 
 
 87 D. "Thou'rt." 
 
 72 D. "(To Chest.) What" etc. 
 
104 The Royall King and the Loyall Subject. 
 
 Would you had now my grief e; but that alone 
 I must endure: would thou hadst both, or none. 
 Sentence of death when it is mildly spoke, 90 
 
 Halfe promises life; but when your doome you mixe 
 With such rough threats, what is't but twice to kill? 
 You tyrannize Earle Chester. 
 
 Chest. Will you send her ? 
 
 Mar. That you shall know anon. Tell me my Queene, 95 
 How grew this quarrell 'tweene the King and thee? 
 
 Queen. By you was never Lady more belov'd, 
 Or wife more constant than I was to him: 
 Have you forgot your charge, when I perceiv'd 
 My selfe so growne, I could no longer hide 100 
 
 My greatnesse, I began to speake the beauties 
 Of my faire Sister, and how much she excell'd, 
 And that you sent me thither as a jest, 
 That shee was fairest, and you lov'd her best ? 
 
 Mar. Enough; th'art sure with child and neare thy 
 time. 105 
 
 Queen. Nothing more sure. 
 
 Mar. Then that from hence shall grow 
 A salve for all our late indignities : 
 Pray doe my humble duty to the King, 
 
 And thus excuse me, that my daughter's sicke, 110 
 
 Crazed, and weake, and that her native beauty 
 Is much decay'd ; and should she travell now, 
 Before recovered, 'twould ingage her life 
 
 95 C. "That you shall know anon. — " D. inserts, "(aside to his 
 daughter) Tell" etc. 
 
 97 D. punctuates: "By you: was" etc. This makes the answer to the 
 Marshal's question a more direct one. C. "charge?" omits ? after 
 "best." 
 
 105 A question, as D. and C. read. 
 
 ios q "Nothing more sure than that." Note : "In the old copy, the 
 words "than that" are made to begin the next speech of the Marshal." 
 Copied in P. 
 
 107 j) "Then," elsewhere always altered to "than." 
 
 io» D «( To Chest.) Pray" etc. 
 
The Royall King and the Loyall Subject. 105 
 
 To too much danger; when she hath ability 
 
 And strength to journey, I will send her safe 115 
 
 Vnto my King ; this as I am a subject, 
 
 And loyall to his Highnesse. 
 
 Chest. Your excuse 
 Hath ground from love and reason: 
 This your answer I shall returne to the King. 120 
 
 Mar. With all my thanks : 
 That since my daughter doth distaste his bed, 
 He hath sent her backe, and home to me her father, 
 His pleasure I withstand not, but necessity, 
 My zeale with these doe not forget I pray. 125 
 
 Chest. I shall your words have perfect, and repeate them 
 Vnto the King. 
 
 Mar. I should disgrace her beauty 
 To send it maim'd and wayning; but when she 
 Attaines her perfectnesse, then shall appeare 130 
 
 The brightest Starre fix't in your Courtly Spheare. 
 
 Chest. The King shall know as much. 
 
 Mar. It is my purpose, 
 All my attempts to this one head to draw, 
 Once more in courtesies to o'recome the King. 135 
 
 Come beauteous Queene, and thy fair Sister cheere, 
 Whom this sad newes will both amaze and feare. Exeunt. 
 
 Enter Bonvile in all his bravery, and his man in a new livery. 
 
 us m q corrects the arrangement of the lines, and is followed by P. 
 Chest. Your excuse 
 
 Hath ground, from love and reason. This your answer 
 
 I shall return to the King, 
 m 122 c « With all my thanks 
 
 That, since" etc. Certainly, the colon after "thanks" is too strong. 
 m 125 C. and P. have quite a different reading from our Quarto and D. 
 
 "His pleasure I withstand not, but return 
 
 My zeal; and these do not forget, I pray. 
 1,2 D., C. "as much. (Exit." 
 
 138 j) "Enter Captain very richly dressed, attended by Cock in a new 
 livery." C. "Captain Bonville" etc. 
 
106 The Royall King and the Loyall Subject. 
 
 Cap. Sirrah, are all my lands out of mortgage, and my 
 deeds redeem'd ? 140 
 
 Clowne. I cannot tell that Sir ; but wee have had whole 
 chest-fulls of writings brought home to our house. 
 
 Cap. Why then 'tis done, I am possest againe 
 Of all my Fathers ancient revenues. 
 
 Clowne. But how came you by all this money to buy 145 
 these new suits ? methinks we are not the men we were. 
 
 Cap. Questionlesse that; for now those that before de- 
 spis'd us, and our company, at meeting give us the bonjour. 
 Oh Heaven, thou ever art Vertues sole Patron, 
 And wilt not let it sinke: all my knowne fortunes 150 
 I had ingag'd at home, are spent abroad : 
 But in the warres, when I was held quite bankrupt 
 Of all good happ, it was my chance to quarter 
 In such a house when we had sack't a Towne, 
 That yeelded me inestimable store 155 
 
 Of gold and Jewells, those I kept till now 
 Vnkowne to any, pleading poverty, 
 Onely to try the humour of my friends; 
 Which I have proov'd, and now know how to finde 
 Fixt upon wealth, to want unnatural. 160 
 
 Enter Match and Touch-boxe. 
 
 Clown. See Sir, yonder are my old fellows, Match and 
 Touch-boxe; I doe not thinke but they come to offer their 
 service to you. 
 
 Touch. Save thee noble Captaine, hearing of thy good 165 
 
 142 D. "whole chests full." C. "whole chestfuls." 
 
 148 D. "bon jour." C. "bonjour." 
 
 161 All eds. read "or spent" etc. 
 
 i6o q e"p wan t unnatural — " Note : "The sense is perhaps incomplete 
 in consequence of the sudden entrance of Match and Touch-box." C. 
 must have misunderstood the sense, which is simply "fixed upon wealth, 
 and therefore unnatural to want, i. e., to those in want." P. copies 
 the note. 
 
 lei j)_ "E n t er Coeporal and Match." 
 
The Royall King and the Loyall Subject. 107 
 
 fortunes, and advancement, I am come to offer my selfe to be 
 partaker of the same, and to follow thee in the same colours 
 that thou hast suited the rest of thy servants. 
 
 Clown. God-a-mercy horse, you shall not stand to my 
 livery. 
 
 Match. You see our old clothes sticke by us still, good 
 
 170 
 Captaine see us new moulded. 
 
 Cap. You are flies, away; they that my Winter fled 
 Shall not my Summer taste : they onely merit 
 A happy harbour, that through stormy Seas 
 Hazard their Barkes, not they that sayle with ease. 175 
 
 You taste none of my fortunes. 
 
 Clowne. Corporall, you see this Livery ? if you had stay'd 
 by it, we had beene both cut out of a peece; Match, if you 
 had not left us you had beene one of this guard : Goe, away, 
 betake you to the end of the Towne ; let me finde you be- 180 
 tweene Woods close-stile and Islington, with will it please 
 your Worship to bestow the price of two Cannes upon a 
 poore souldier, that hath serv'd in the face of the Souldan, 
 and so forth, Apage, away I scorne to be fellow to any 
 that wil leave their Masters in adversity: if he entertaine 
 you, 185 
 
 he shall turne away me, that's certaine. 
 
 Match. Then good your Worship bestow something up- 
 on a poore souldier, I protest 
 
 Clown. Loe, I have taught him his lesson already ; I knew 
 where I should have you? 190 
 
 170 m C. punctuates: "You see, our old clothes stick by us still, good 
 Captain: see us new moulded." The arrangement of the Quarto, which 
 makes "good Captain," hortatory, is preferable. 
 
 179 C. "Go away;" "away" is an exclamation, as elsewhere. 
 
 184 D. "and so forth a page — away ! " ( ! ) D. neglected to notice the 
 italics that show the foreign word: one of the Clown's tags of Latin 
 or Greek ? 
 
 100 Hardly a question: probably this is one of the cases, of which 
 there are several, where ? is used for !. 
 
108 The Royall King and the Loyall Subject. 
 
 Cap. There's first to make you beggers; for to that all 
 such must come that leave their Masters poore. Begon, and 
 never let me see you more. 
 
 Touch. God be with you good Captaine: Come Match, 
 let us betake us to our randevous at some out end of the 195 
 Citty. 
 
 Cap. Hee makes a begger first that first relieves him; 
 Not Vsurers make more beggers where they live, 
 Than charitable men that use to give. 
 
 Clown. Here comes a Lord. Enter Clinton. 200 
 
 Clin. I am glad to see you Sir. 
 
 Cap. You know me now ? your Worship's wondrous wise ; 
 You could not know me in my last disguise. 
 
 Clin. Lord God you were so chang'd. 
 
 Cap. So am I now 205 
 
 From what I was of late : you can allow 
 This habite well, but put my tother on, 
 ~No congie then, your Lordship must be gon. 
 You are my Summer-friend. Enter Bonvile. 
 
 Bonv. Cousin, well met. 210 
 
 Cap. You should have said well found, 
 For I was lost but late, dead, under ground 
 Our Kinred was: when I redeem' d my Land, 
 They both reviv'd, and both before you stand. 
 
 Bon. Well, well, I know you now. 215 
 
 Cap. And why not then? 
 I am the same without all difference ; when 
 
 191 D. "beggars (gives them money)" 
 i9i 193 q arran g es as verse : 
 
 There's first to make you beggars; for to that 
 All such must come that leave their masters poor. 
 Begone, and never let me see you more. 
 
 198 D. "city. (Exeunt Corp. and Match." C. {"Exeunt." 
 
 189 D. "give. Enter Clinton. Cock. Here comes" etc. 
 
 200 C. "Enter Lord Clinton." 
 
 202 C. "now!" 
 
 207 D., C. "my other." 
 
 209 C. "Lord Bonville." 
 
The Royall King and the Loyall Subject. 109 
 
 You saw me last, I was as rich, as good, 
 
 Have no additions since of name, or blood ; 
 
 Onely because I wore a thread-bare suite, 220 
 
 I was not worthy of a poore salute. 
 
 A few good cloaths put on with small adoo, 
 
 Purchase your knowledge, and your kinred too. 
 
 You are my silken Unkle: oh my Lord, 
 
 Enter Audley and his Daughter. 225 
 
 You are not in haste now ? 
 
 Aud. I have time to stay, 
 To aske you how you doe, being glad to heare 
 Of your good fortune, your repurchast lands, 
 And state much amplified. 230 
 
 Cap. All this is true ; 
 Ey but my Lord, let me examine you: 
 Remember you a Contract that once past 
 Betwixt me and your daughter? here she stands. 
 
 Aud. Sir, since you did vnmorgage all your meanes. 235 
 It came into my thoughts; trust me, before 
 I could not call't to minde. 
 
 Cap. Oh mens weake strength, 
 That aime at worlds, when they but their meere length 
 Must at their end enjoy: Thou then art mine, 240 
 
 Of all that I have proov'd in poverty, 
 The onely test of vertue: what are these? 
 Though they be Lords, but worldlings, men all earth. 
 Thou art above them; vertuous, that's divine; 
 Onely thy heart is noble, therefore mine. 245 
 
 Mary. And to be yours, is to be what I wish; 
 
 224 oh my Lord,) C. transfers to 226, reading: 
 "Oh, my lord! you are not in haste now?" 
 
 This destroys the metrical arrangement of the lines. D. inserts 
 "Enter" etc., after "uncle" without disarranging the lines. 
 
 225 C «Enter Lord Audley and his Daughter, Lady Mart." 
 
 226 D. omits t after "now." 
 
 240 D. "enjoy. (To Lady Mary) Thou" etc. 
 
110 The Royall King and the Loyall Subject. 
 
 You were to me as welcome in your ragges, 
 
 As in these Silkes. I never did examine 
 
 The out-side of a man, but I begin 
 
 To censure first of that which growes within. 250 
 
 Cap. Onely for that I love thee: These are Lords 
 That have bought Titles. Men may merchandize 
 Wares, ey, and trafficke all commodities 
 From Sea to Sea, ey and from shore to shore, 
 But in my thoughts, of all things that are sold, 255 
 
 'Tis pitty Honour should be bought for gold. 
 It cuts off all desert. Enter the Host. 
 
 Clowne. Master, who's here ? mine Host of the Ordinary ? 
 
 Cap. Your businesse sir? what by petition? 
 
 Host. Falne to a little decay by trusting, and knowing 
 your Worship ever a bountifull young Gentleman, I make 
 bold to make my wants first knowne to you. 
 
 Cap. Pray what's your suite ? 
 
 Host. Onely for a cast suite, or some small remuneration. 
 
 Cap. And thou shalt have the suite I last put off: 265 
 Fetch it me Cock, Code. I shall Sir. 
 
 Cap. Falne to decay? I'le fit you in your kind. 
 
 Cock. I have a suite to you Sir, and this it is. 
 
 Cap. In this suit came I to thine Ordinary, 
 In this thou would'st have thrust me out of doores, 270 
 
 Therefore with this that then proclaim'd me poore, 
 I'le salve thy wants, nor will I give thee more. 
 Base worldlings, that despise all such as need; 
 Who to the needy begger are still dumbe, 
 Not knowing unto what themselves may come. 275 
 
 Host. I have a cold suite on't if I be forc't to weare it in 
 winter. I bid your worship farewell. 
 
 ^Ordinary?) C. "ordinary!" 
 
 2=9 D. "Sir? (Host offers a 'petition)" 
 
 266 j) "Q 0C ] Cw J shall, sir. (Goes out and returns immediately icith 
 an old suit of clothes." C. "(Exit. 
 
 267 C. "kind. Re-enter Cock." The exit and re-entrance of Cock are 
 necessarily, marked, but are only understood in the old copy." 
 
 277 C. "farewell. (Exit." 
 
The Royall King and the Loyall Subject. Ill 
 
 Clowne. So should all that keepe Ordinaries, bid their 
 guests 
 farewell, though their entertainment be never so ill. Well 
 sir, I take you but for an ordinary fellow, and so I leave 
 you. 280 
 
 Master, who will not say that you are a brave fellow, and a 
 most noble Captaine, that with a word or two can discom- 
 fit an Host. 
 
 Cap. I know you, therefore know to rate your worths 
 Both to their height and depth, their true dimensions 285 
 
 I understand; for I have try'd them all: 
 But thou art of another element, 
 A mirrour of thy sexe, that canst distinguish 
 Vertue from wealth,thee as my owne I elect, 
 And these according to themselves despise. 290 
 
 A Courtier henceforth I my selfe professe, 
 And thee my wife, thou haste deserv'd no lesse. 
 
 Enter the King, the Prince, and the Princesse, 
 and Chester. 
 
 King. No newes yet from our Martiall ? we three moneths 
 
 295 
 Have stay'd his leasure, but receive not yet 
 That daughter we sent for. 
 
 Prince Shee peradventure 
 Hath not her strength recovered, or her beauty 
 Lost by her sickenesse, to the full regain'd. 300 
 
 Chest. Upon my life my Lord, when she is perfect, 
 And hath receiv'd her full ability, 
 Shee shall attend your pleasure. 
 
 Princesse. But your Queene, 
 
 ^D. "leave you. (Exit Host)" 
 
 287 D. "(To L. Mary) But thou" etc. 
 
 292 D., C. "no less. (Exeunt. 
 
 283 D. "Enter the King, Prince, Princess and Chester. 
 
 504 D. "But our queen." 
 
112 The Boy all King and the Loyall Subject. 
 
 That vertuous Lady, when I thinke on her, 305 
 
 I can but grieve at her dejectednesse. 
 
 King. Heaven knowes I love her above all the world, 
 And but her Father, this contends with us 
 When we in all our actious strive to exceed : 
 We could not brooke her absence halfe so long. 310 
 
 But we will try his patience to the full. 
 
 Enter Bonvile, Audley, Captaine, Clinton, Mary, 
 the Cloivne. 
 
 Cap. My prostrate duty to the King my Master 
 I here present. 315 
 
 Prince. This is the Gentleman 
 Commended for his valour in your warres, 
 Whose ruin'd fortunes I made suite to raise: 
 I would intreat your Highnesse to respect him. 
 
 King. All his proceedings we partake at large, 320 
 
 Know both his fall and height; we shall regard him 
 Even with his worth: be neare us, of our chamber. 
 Sir, we shall use your wisedome, and preferre it 
 According to your worth. Be this your hope 
 We know you. 325 
 
 Cap. Onely in that I am happy. 
 
 Enter the Servant. 
 
 Serv. Health to your Majesty. King. Whence ? 
 
 Serv. From my Master, 
 The poorest subject that your land containes, 330 
 
 Rich onely in his truth and loyalty. 
 
 308 C. "And but her father thus contends" etc. Certainly the comma 
 after "Father" is a misprint. 
 
 308 actious) misprint for "actions;" so eds. 
 
 310 P. prints a comma after "long;" but in the Quarto, it is clearly 
 a period. 
 
 3 "D. "Enter Lady Mary and Cock." C. "Enter Lords Bonville, 
 
 Clinton, and Audley, Captain Bonville, Lady Mary, and the Clown." 
 
 327 ~D."Enter Servant." 
 
The Boy all King and the Loyall Subject 113 
 
 King. Speake, hath he sent his daughter? 
 
 Serv. Yes my Liege, 
 He hath sent his daughters, please you rest satisfied, 
 And patiently peruse what he hath sent. 335 
 
 King. We are full of expectations, pray admit 
 Those Presents that he meanes to greete us with. 
 
 Serv. You shall my Lord. 
 
 Sound, enter with two Gentlemen-ushers before them, the 
 Queen crown' d, her sister to attend her as her waiting-maid 
 
 340 
 
 with a traine. 
 
 Serv. Your Queene and wife crown'd with a wreath of 
 gold 
 Of his owne charge, with that this double dower 
 Doubled againe, and guarded with this traine 
 Of Gentlewomen according to her state, 345 
 
 My Lord presents you: this his younger daughter, 
 He hath bestow'd a hand-maide to your Queene, 
 A place that may become her, were she child 
 Vnto your greatest Peere; had he had more, 
 More had he sent; these worthlesse as they be, 350 
 
 He humbly craves you would receive by me. 
 
 King. His bounty hath no limit, but my Queene! 
 Her bright aspect so much perswades with me, 
 It charmes me more than his humility. 
 Arise in grace, and sweet, forget your wrong. 355 
 
 Queen. My joyes unspeakable can finde no tongue 
 To expresse my true hearts meaning. 
 
 King. Beauteous Maide, 
 You are our Sister, and that royall Title 
 Prom all disgrace your freedome shall proclaime. 360 
 
 335 D. "sent. (Delivers a letter which the King reads." 
 
 340 C. "her sister Katherine" etc. D. "Flourish" for "Sound." 
 
 341 D. "and a Train of Ladies following." 
 
 347 a hand-maide) possibly "as" should be read. 
 
 352 D. "my Queen ! (Queen kneels." 
 
 368 D. "King. (To Cath.J" 
 
 8 
 
114 The Royall King and the Loyall Subject. 
 
 Kath. I finde your Grace the same my noble Father 
 Hath still reported you ; royall in all, 
 By whom the vertuous rise, th' ignoble fall. 
 
 Prince. I have not seene a Lady more compleate; 
 Her modesty and beauty, both are matchlesse. 365 
 
 King. Am I a King, and must be exceeded still ? 
 Or shall a subject say that we can owe ? 
 His bounty we will equall, and exceed; 
 We have power to better what in him's but well. 
 Your free opinions Lords, is not this Lady 370 
 
 The fairer of the twaine? how durst our subject 
 Then dally with us in that high designe? 
 
 Chest. With pardon of the Queene, shee's paralell'd 
 By her faire Sister. 
 
 Clin. Were my censure free, 375 
 
 I durst say better'd. 
 
 Prince. Were it put to me, 
 I should avow she, not the Queene alone 
 Excells in grace: but all that I have seene 
 
 King. Dost love her ? Prince. As my honour, or my 
 
 life. 380 
 
 King. Her whom thou so much praisest, take to wife. 
 
 Prince. You blesse my youth. 
 
 Kate. And strive to eternize me. 
 
 Queen. Nor in this joy have I the meanest part, 
 Now doth your Grace your inward love expresse 385 
 
 To me, and mine. 
 
 King. I never meant thee lesse : 
 Thy Sister and thy daughter freely imbrace, 
 That next thee hath our Kingdomes second place. 
 How say you Lords, have we requited well 390 
 
 Our subjects bounty? are we in his debt? 
 
 Aud. Your Highnesse is in courtesie invincible. 
 
 Bonv. And bountifull beyond comparison. 
 
 379 The dash after "seene" does not seem necessary; the sense is quite 
 complete. 
 
The Roy all King and the Loyall Subject. 115 
 
 Chest. This must not hold, prevention out of hand, 
 For if the Martiall rise, we stand not long. 395 
 
 Clin. Our wits must then to worke. 
 
 Chest. They must of force. 
 This is not that to which our fortunes trust. 
 
 King. Let then our subject know his King hath power 
 To vanquish him in all degrees of honour, 400 
 
 And he must now confesse him selfe excell'd: 
 With what can Heaven or Earth his want supply 
 To equall this our latest courtesie ? 
 We have the day, we rise, and he must fall 
 As one subdu'd. 405 
 
 Serv. His Highnesse knows not all, 
 One speciall gift he hath reserv'd in store, 
 May happily make your Grace contend no more . 
 
 King. No sir ? thinke you your Master will yet yeeld ? 
 And leave to us the honour of the day? 410 
 
 I wish him here but this last sight to see, 
 To make him us acknowledge. 
 
 Serv. On my knee 
 One boone I have to begge. 
 
 King. Speake, let me know 41 5 
 
 Thy utmost suite. 
 
 Serv. My noble Master stayes 
 Not farre from Court, and durst he be so ambitious 
 As but to appeare before you, and present you 
 With a rich gift exceeding all have past, 420 
 
 The onely perfect token of his zeale, 
 
 394 D., C. "Chest. (Aside to Clinton) This" etc. 
 
 ^ D. "Serv. (Aside.)" 
 
 408 happily. C. "haply." 
 
 409 C. "King. No sir!" If the servant's speech is aside, as D. thinks, 
 possibly we should read "Now sir!" here. The speeches are rather 
 unsatisfactory, as they stand. Or, if the servant addresses his last 
 two lines to the King, his answer might be read, with but small change 
 in the printed words, and much greater clearness: "No sir? think you 
 your Master will not yeeld?" 
 
116 The Roy all King and the Loyall Subject. 
 
 He would himselfe perpetually hold vanquish't 
 In all degrees of love and courtesie. 
 
 King. For our Queenes love, and our f aire daughters sake, 
 We doe not much care if we grant him that. 425 
 
 Admit him and his presence urge with speed ; 
 Well may he imitate, but not exceed. 
 
 Chest. I feare our fall : if once the Martiall rise, 
 Downe, downe must we. 
 
 Clin. Therefore devise some plot 430 
 
 His favour to prevent. 
 
 Chest. Leave it to me. 
 King. Lords, we are proud of this our unity, 
 Double Alliance, of our sonnes faire choice, 
 Since 'tis applauded by your generall voyce; 435 
 
 The rather since so matchlesse is our Grace, 
 That force perforce our subject must give place. 
 
 Enter the Martiall, with a rich Cradle borne after him 
 by two Servants. 
 
 Mar. Not to contend, but to expresse a duty 440 
 
 Of zeale and homage I present your grace 
 With a rich Jewell, which can onely value 
 These royall honours to my Daughters done. 
 
 King. Value our bounty? shouldst thou sell thy selfe 
 Even to thy skin, thou couldst not rate it truely. 445 
 
 Mar. My Liege, I cannot, but in liew and part, 
 Though not in satisfaction, I make bold 
 To tender you this Present. 
 
 King. What's the project? 
 Here's cost and art, and amply both exprest, 450 
 
 I have not view'd the like. 
 
 Prince. 'Tis wondrous rare, 
 I have not seene a Modell richlier fram'd. 
 
 Princesse. Or for the quantity better contriv'd : 
 This Lord in all his actions is still noble, 455 
 
 Exceeding all requitall. 
 
 428 D., C. "Chest. (Aside to Clinton) I fear" etc. 
 
The Royall King and the Loyall Subject. 117 
 
 King. 'Tis a brave out-side. 
 
 Mar. This that you see my Lord is nothing yet; 
 More than its worth it hath commended bin: 
 This is the case, the Jewell lyes within, 460 
 
 Pleaseth your Grace t'unvaile it. 
 
 King. Yes, I will: 
 But e're I open it my Lord, I doubt 
 The wealth within not equalls that without. 
 
 King. What have we here ? 465 
 
 Mar. A Jewell I should rate, 
 Were it mine owne, above your Crowne and Scepter. 
 
 King. A child ? 
 
 Mar. A Prince, one of your royall blood: 
 Behold him King, my grand-child, and thy sonne, 470 
 
 Truely descended from thy Queene and thee, 
 The Image of thy selfe. 
 
 King. How can this be ? 
 
 Queen. My royall Liege and Husband, view him well, 
 If your owne favour you can call to minde, 475 
 
 Behold it in this Infant, limn'd to'th life ; 
 Hee's yours and mine, no kinred can be nearer. 
 
 King. To this rich Jewell I hold nothing equall, 
 I know thee vertuous, and thy father loyall ; 
 But should I doubt both, yet this royall Infant 480 
 
 Hath such affection in my heart imprest, 
 That it assures him mine : my noble subject, 
 Thou hast at length o're come me, and I now 
 Shall ever, ever hold me vanquished. 
 
 Had'st thou sought Earth or Sea, and from them both 485 
 Extracted that which was most precious held, 
 
 4e4 D. "that without. (Uncovers it." 
 
 465 C, P. omit "King.", correctly. C. notes: "The prefix 'King' is 
 unnecessarily placed before this interrogatory in the old copy: it is 
 part of the previous speech." 
 
 468 C. "A child!" wrongly. 
 
 476 D., C. "limn'd to the life." The abbreviation in the text stands 
 for either "t'the," or "to th'life." 
 
118 The Royall King and the Loyall Subject. 
 
 Thou nothing could'st have found to equall this, 
 
 This, the mixt Image of my Queene and me ; 
 
 Here then shall all my emulation end, 
 
 O'recome by thee our subject, and our friend. 490 
 
 Mar. Your vassal, and your servant, that have strove 
 Onely to love you, and your royall favours: 
 Not to requite, for that I never can; 
 But to acknowledge, and in what I may 
 To expresse my gratitude. 495 
 
 King. Thine is the conquest: 
 But shall I gee't o're thus ? 'tis in my head 
 How I this lost dayes honour shall regaine, 
 A gift as great as rich I have in store, 
 With which to gratify our subjects love, 500 
 
 And of a value unrequitable: 
 Thou hast given me a Grand-child, and a sonne, 
 A royall infant, and to me most deare, 
 Yet to surpasse thee in this emulous strife, 
 I give thee here a daughter and a wife. 505 
 
 ]STow must thou needs confesse the conquest wonne 
 By me thy King, thy Father, and thy sonne. 
 
 Mar. Your father, sonne, and subject quite surpast, 
 Yeelds himselfe vanquish't, and o'recome at length. 
 
 Princesse. You have not my consent yet. 510 
 
 Mar. Madam, no; 
 The King doth this, his bounty to expresse. 
 Your love is to your selfe, and therefore free, 
 Bestow it where you please. 
 
 Princesse. Why then on thee : 515 
 
 He that the Father doth so much respect, 
 Should not me-thinks the daughters love despise. 
 'Tis good for Maides take Husbands when they may, 
 Heaven knowes how long we may be forc't to stay. 
 
 488 C. "and me!" 
 
 493 D. "for that it never can." 
 
 m D., C. "give't o'er." 
 
The Royall King and the Loyall Subject. 119 
 
 King. Now Lords, these Nuptialls we will solemnize 520 
 In all high state, in which we will include 
 Yours noble Bonvile, and with masks and revells 
 Sport out the tedious nights, each hand his Bride 
 Doubly by us from either part ally'd. 
 
 Enter Clowne. 525 
 
 Cock. Why this is as it should be ; now doe I smell Court- 
 tier already, I feele the Souldier steale out of me by degrees, 
 for Souldier and Courtier can hardly dwell both together in 
 one bosome. I have a kind of fawning humour creeping up- 
 on me as soone as I but look't into the Court-gate; and 
 now 530 
 
 could I take a bribe, if any would be so foolish to gee't me. 
 Now farewell Gun powder, I must change thee into Da- 
 mask-powder; for if I offer but to smell like a souldier, the 
 Courtiers will stop their noses when they passe by me. My 
 Caske I must change to a Cap and a Feather, my Bandilee- 
 
 535 
 ro to a Skarfe to hang my Sword in, and indeede, fashion 
 my selfe wholly to the humours of the time. My Peece I 
 must alter to a Poynado, and my Pike to a Pickadevant: 
 onely this is my comfort, that our provant will be better 
 here in the Court than in the Campe : there we did use to lye 
 
 540 
 hard, and seldome: here I must practise to lye extreamely, 
 and often: But whil'st I am trifling here, I shall loose the 
 
 B24 D. "allied. (Exeunt." C. "ally'd. [Exeunt King, do." 
 
 625 D. "Enter Cock." C. "Manet Cock, the Clown." Note: "The old 
 stage-direction is 'Enter Clown,' and nothing is said of the departure 
 of the King, etc., from the scene. The clown had not quitted the 
 stage after his entrance on p. 65, (1.312.) and he remains behind the 
 royal cortege." 
 
 526 D. "should be!" 
 
 529 D. "I had a kind" etc. 
 
 e31 D., C. "give't me." 
 
120 The Royall King and the Loyall Subject. 
 
 sight of the Solemnity: The Prince is married, and the 
 
 Mar- 
 tiall's married, and my Master's married, there will be sim- 
 ple 
 doings at night. Well, I must hence, for I beleeve, the King 
 
 545 
 the Queene, and the rest of the Lords will use this place for 
 their revells. Dixi. 
 
 Actus Quintus. 1 
 
 Enter Clinton and Chester. 
 
 Clin. And why so sad my Lord ? 
 
 Chest. I am all dulnesse, 
 There's no life in me, I have lost my spirit, 5 
 
 And fluence of my braine : observe you not 
 In what a height yon fellow now resides 
 That was so late dejected ; trebly grafted 
 Into the Royall blood ? what can succeed, 
 But that we all our honours must resigne, 10 
 
 And he of them be repossest againe? 
 
 Clin. The Marriages indeed are celebrated. 
 
 Chest. And they have all our pointed stratagems 
 Turn'd backe upon our selves. 
 
 Clin. What, no prevention? 15 
 
 Chest. His Basses are so fixt he cannot shrinke, 
 Being so many wayes ingraft and planted 
 In the Kings blood: but our supporters stand 
 As shak't with Earthquakes, or else built on sand. 
 
 M7 D., C. "Dixi. (Exit." 
 1 B. "Act V, Scene I" 
 2 C. "Enter Lords Clinton and Chester." 
 
The Royall King and the Loyall Subject. 121 
 
 Enter Audley and Bonvile. 20 
 
 Aud. My Lords attend the King, and cleare this chamber, 
 For this nights revells 'tis the place prepar'd. 
 
 Bon. Your duties Lords, the King's upon his entrance. 
 
 Enter the King, the Queene, the Prince, his 
 
 wife, the Martiall and the Princesse. 25 
 
 King. Ey, so 'tmust be, each man hand his owne: 
 For I am where I love; we are even coupled, 
 Some Musicke then. 
 
 Princesse. Here's one falls off from me. 
 
 King. How now my Lord, dejected in your looks ? 30 
 Or doth our sports distaste you? 
 
 Mar. Pardon me, 
 I cannot dance my Liege. 
 
 King. You can looke on: 
 My Lord, you take his place, wee'le have a measure, 35 
 
 And I will lead it; bid the Musicke strike. 
 
 A measure: in the midst the Martiall goes disconten- 
 ted away. 
 
 So, well done Ladies : but we misse the Husband 
 
 To our faire Daughter, what's become of him? 40 
 
 Chest. Gone discontented hence. 
 
 King. What might this meane? 
 Doth he distaste his Bride, or envy us 
 That are degree'd above him? where's our Queene? 
 
 Queen. My Liege ? 45 
 
 King. You shall unto him instantly, 
 
 20 D. "Enter Audley and Captain." C. "Enter Lords" etc. 
 24 25 p_) "Enter the King, leading the Queen ; the Prince, his Bride; 
 and the Marshal, the Princess." C. adds to the text, "Lords, etc." 
 28 D. "Ay, so it must be:" this emendation is required by the verse. 
 
 30 C. "looks," 
 
 31 C. "Or do our sports" etc. 
 45 D. No ? after "Liege." 
 
122 The Royall King and the Loyall Subject. 
 
 Attended with a beauteous traine of Ladies, 
 
 And to his Chamber beare his princely Bride. 
 
 Bonvile, take you her royall Dower along, 
 
 You shall receive it of our Treasurer. 50 
 
 Cap. I shall my Lord. 
 
 King. Usher the Queene and Ladies, be their guide, 
 That done, each one to bed with his fa ire Bride. 
 
 Enter Martiall. 
 
 Mar. I am so high, that when I looke but downe, 55 
 To see how farre the earth is under me, 
 It quakes my body, and quite chills my blood: 
 And in my feare although I stand secure, 
 I am like him that falls, I but a subject, 
 And married to the Daughter of the King, 60 
 
 Though some may thinke me happy in this match, 
 To me 'tis fearefull: who would have a wife 
 Above him in command, to imbrace with awe, 
 Whom to displease, is to distaste the King? 
 It is to have a Mistris, not a wife, 65 
 
 A Queene, and not a subjects bed-fellow. 
 State I could wish abroad to crowne my head, 
 But never yet lov'd Empire in my bed. 
 
 Enter servant. 
 
 Serv. The Queene your daughter with your princely 
 Bride, TO 
 
 And other Ladies, make way towards your chamber. 
 Mar. 'Tis open to receive them, pray them in. 
 
 49 Bonvile) D. notes: "The Captain is addressed." 
 
 53 Bride.) D. "Exeunt." C. "Exeunt omnes." 
 
 64 D. "Scene changes to the Marshal's Chamber." 
 
 58 D. "(Although I stand secure)" 
 
 60 C. "Am married" etc. The emendation is needless, since "I 
 
 King" is an exclamation. "Though some" etc., really begins a new 
 sentence and phase of the thought. 
 
The Roy all King and the Loyall Subject. 123 
 
 Enter Bonvile, the Queene, the Princesse, &c. 
 
 Queen. My Lord the King commends his love to you 
 In your faire Bride, whom royally conducted 75 
 
 He hath sent to be the partner of your bed. 
 
 Mar. Whom we receive in the armes of gratitude, 
 Duty to him, and nuptiall love to her. 
 
 Prince. 'Tis well they brought me, trust me my deare 
 Lord, 
 I should have scarce had face to have come my selfe ; 80 
 
 But yet their boldnesse mixt with mine together, 
 Makes me to venter I yet scarce know whither. 
 
 Mar. 'Tis to our Nuptiall bed. 
 
 Princesse. Ey so they say, 
 But unto me it is a path unknowne ; 85 
 
 Yet that which cheeres me, I shall doe no more 
 Than those, and such as I, have done before. 
 Sure 'tis a thing that must, though without skill, 
 Even when you please, I am ready for your will. 
 
 Cap. With her the King hath sent this princely dower, 
 In which his love and bounty hee commends. 
 
 Mar. You are noble Sir, and honour waites on you 
 To crowne your future fortunes: for that Casket, 
 Her beauty and her birth are dower sufficient 
 For me a subject. 95 
 
 I cannot thinke so much good to my King 
 As I am owing for her single selfe: 
 Then with all duty pray returne that summe. 
 Her dower is in her selfe, and that Fie keepe 
 Which in these loyall armes this night shall sleepe : 100 
 
 That is the Kings, with that this Jewell too, 
 I thinke her cheape bought at that easie rate; 
 
 73 D. "Enter Captain, the Queen, Peincess, etc., etc." C. "Enter 
 Captain Bonviixe," etc. 
 
 79 D., C. "Princess. 'Tis well" etc. C. notes : "In the old copy, this 
 speech is given to the Prince, who is not upon the stage." 
 
 88 D. "Since 'tis a thing" etc. Note : "The quarto reads 'Sure'." 
 
124 The Royall King and the Loyall Subject. 
 
 My second duty in that gift commend, 
 
 Were I worth more, more I have will to send. 
 
 Cap. An Emperor cannot shew more Royalty 105 
 
 Than this brave Peere, hee's all magnificent: 
 I shall with the best eloquence I have, 
 Make knowne your thoughts. 
 
 Mar. To all at once good night: 
 Save this my beauteous Bride, no wealth I prize, 110 
 
 That hath my heart tooke captive in her eyes. 
 Lights for the Queene and Ladies, night growes old, 
 I count my Vertue treasure, not my Gold. 
 
 Exeunt divers wayes. 
 
 Enter Clinton to the Earle Chester in his study. 
 
 Clin. What not at rest my Lord? 
 
 Chest. Why who can sleepe 
 That hath a labouring braine, and sees from farre 
 So many stormes and tempests threaten him? 
 It is not in my element to doo't 120 
 
 Clin. Finde you no project yet how to remove him ? 
 
 Chest. None, none, and therefore can I finde no rest. 
 
 Clin. It growes towards day. 
 
 Chest. That day is night to me, 
 Whilst yon Sunne shines : I had this even some conference 
 In private with the King, in which I urg'd 
 The Martialls discontent, withall inferr'd, 
 That by his looke the Princesse he despise'd ; 
 The King chang'd face: and could we second this 
 By any new conjecture, there were hope 130 
 
 To draw him in displeasure. 
 
 Clin. Watch advantage, 
 And as you finde the humour of the King, 
 
 115 D. "Chester is discovered in his Study. 
 
 Enter Clinton." 
 C. "Enter Clinton to Chester in his study." 
 125 D. "yon sun shines" Note : i. e., the Marshal." 
 
The Boyall King and the Loyall Subject. 125 
 
 Worke it unto the Martialls deepe disgrace: 
 
 But soft the Prince. Enter the Prince and Katherine: 
 
 Kath. So early up, how did you like your rest ? 
 
 Prince. I found my most rest in my most unrest; 
 A little sleepe serves a new married man: 
 The first night of his brydalls I have made you 
 A Woman of a Maide. 140 
 
 Kath. You were up 
 Both late and early. 
 
 Prince. Why you were abroad 
 Before the Sunne was up, and the most wise 
 Doe say 'tis healthfull still betimes to rise. 1-15 
 
 Good day. 
 
 Chest. In one, ten thousand. 
 
 Prince. Lords, you have not seene 
 The King to day ? it was his custome ever 
 Still to be stirring early with the Sunne; 150 
 
 But here's his Majesty. 
 
 Enter Captaine and the King, Audley, and Bonvile. 
 
 King. ]STot all your smooth and cunning Oratory 
 Can colour so his pride, but we esteeme him 
 A flattering Traytor, one that scornes our love, 155 
 
 And in disdaine sent backe our Daughters Dower: 
 Your Iudgment Lords ? 
 
 Chest. Hath he refus'd the Princesse ? 
 
 135 T>. "the Prince. (They retire to the back of the stage." 
 
 139 pj "Bridal." C. ends his sentence with "bridals," and begins anew. 
 
 141 142 C. prints together : "You were up both late and early." 
 
 145 D. "by times to rise." 
 
 146 D. "(Chester and Clinton come forward. 
 Good day." 
 
 152 j) "Enter King, Captain, Atjdley, and Bonvile." 
 
 C. "Enter Captain Bonville and the King; Lords Audley and 
 Bonville." Note: "In this order, the dramatis personae are named 
 in the old copy, in the introduction to the scene; it seemed unnecessary 
 to alter it by giving the King precedence of Captain Bonville, who, as 
 usual, is only called "Captain." 
 
126 The Roy all King and the Loyall Subject. 
 
 King. No; but her Dower sent back, and insolently; 
 Her whom we gave, he with a gift would buy, 160 
 
 A jewell: shall we merchandize our Daughter, 
 As one not able to bestow her nobly, 
 But that our poverty must force us sell her? 
 
 Cap. Your Highnesse much mispriseth his intent, 
 For he had no such thought. 165 
 
 King. We know his pride, 
 Which his ambition can no longer shadow. 
 
 Chest. Your Highnesse might doe well to call in question 
 His insolence, and to arraigne him for't. 
 
 King. Be you his Iudges Bonvile, Audley, you; 170 
 
 Command him straight on his Allegiance, 
 To make appearance, and to answer us 
 Before our Lords of his contempt and scorne. 
 
 Bonv. Shall we command him hither ? 
 
 King. From his bed, 175 
 
 And if convicted, he shall surely pay for't. 
 
 And. We shall my Lord. 
 
 Chest. Arraigne him on the suddaine, e're provided; 
 Let him not dreame upon evasive shifts, 
 But take him unprepared. ISO 
 
 Clin. Shall we command 
 A Barre, and call a Iury of his Peeres, 
 Whil'st Chester, that enjoyes the place of Martiall, 
 Objects such Allegations 'gainst his life, 
 As he hath drawne out of his rude demeanor? 185 
 
 King. It shall be so ; a Barre, and instantly 
 We will our selfe in person heare him speake, 
 And see what just excuse he can produce 
 For his contempt. 
 
 Prince. My gracious Lord and Father, 190 
 
 What he hath done to you, proceeds of honour, 
 Not of disdaine, or scorne ; hee's truely noble : 
 
 130 unprepared) should be "unprepar'd." 
 
 186 C. places a full stop after "instantly," as is probably correct. 
 
The Royall King and the Loyall Subject. 127 
 
 And if a Regall bounty be a sinne 
 
 In any subject, hee's onely guilty 
 
 :Of that true vertue. 195 
 
 Cap. Saw your Majesty. 
 With what an humble zeale, and prostrate love 
 He did retender your faire Daughters Dower, 
 You would not his intent thus misreceive. 
 
 Chest. 'Tis humble pride, and meere hypocrisie 200 
 
 To blinde the King, 'tis but ambitious zeale, 
 And a dissembling cunning to aspire. 
 
 Kath. My Father call'd in question for his life ? 
 Oh let not me a sad spectator be 
 Of such a dismall object. 205 
 
 Prince. IsTor will I, 
 But leave them to their hated cruelty. 
 
 King. This is no place for Ladies, we allow 
 Her absence ; of the rest let none depart, 
 Till we have search' t the cunning of his heart 210 
 
 A Barre set out, the King and Chester, with Clinton, and 
 the Prince, and Captaine take their seates, Audley and 
 Bonvile bring him to the Barre as out of his bed, then take 
 their seates. 
 
 Mar. A Barre, a Iudgement seate, and Iury set ? 215 
 
 Yet cannot all this daunt our innocence. 
 
 Chest. You have disloyally sought to exceed 
 The King your Soveraigne, and his royall deeds 
 To blemish, which your fellow Peeres thus conster, 
 
 194 C. "he is only" etc., corrects the metre. 
 
 198 C. "dower ?" but this is no question. 
 
 209 D. "depart, (Exit Cath." 
 
 2u j) "The King, Prince, Chester, Clinton, and Captain, take 
 their seats: Audley and Bonvile bring the Marshal to the bar as 
 just risen from his bed, and then take their seats." 
 
 212 C. "and Captain Bonville, take their seats : Lords Audley" etc. 
 
 215 D. "a jury set?" C. "set!" 
 
 219 D. "construe." 
 
128 The Royall King and the Loyall Subject. 
 
 That strengthen' d by th' alliance of the King, 220 
 
 And better armed by the peoples love, 
 
 You may prove dangerous. 
 
 In policy of state to quench the sparkes 
 
 Before they grow to flame, and top your height, 
 
 Before your spacious branches spread too farre, 225 
 
 What to this generall motion can you say, 
 
 Before we taxe you with particulars ? 
 
 Mar. With reverence to the State 'fore which I stand, 
 That you my Lord of Chester appeare shallow, 
 To thinke my actions can disgrace the Kings, 230 
 
 As if the luster of a petty Starre 
 Should with the Moone compare : Alas, my deeds 
 Conferr'd with his, are like a Candles light 
 To out-shine the mid-dayes glory. Can the King 
 The glorious mirrour of all gratitude, 235 
 
 Condemne that vertue in anothers bosome, 
 Which in his owne shines so transparantly ? 
 Oh pardon me, meere vertue is my end, 
 Whose pitch the King doth many times transcend. 
 
 Clin. To taxe you more succinctly, you have first 240 
 Abus'd the King in sending to the Court 
 Your daughter lesse faire, and the least belov'd. 
 
 Aud. And that includes contempt most barbarous, 
 Which you in that unsubject-like exprest : 
 Your former emulations we omit, 245 
 
 As things that may finde tolerable excuse, 
 And are indeed not matters capitall : 
 But to the best and greatest, when the King, 
 Out of his bounty and magnificence 
 
 Vouchsaft to stile thee with the name of sonne 250 
 
 Being but a subject, with contorted browes 
 
 221 D. "arm'd," destroys the metre. 
 
 223 j) " 'Tis policy" etc. Note: "The quarto reads 'In policy'." 
 229 According to the methods of punctuation pursued by the printer 
 of the Quarto, a comma should follow "Chester." 
 248 Should Me not read: "the last and greatest?" 
 
The Royall King and the Loyall Subject. 129 
 
 And lookes of scorne you tooke his courtesie, 
 And in contempt sent backe the Princesse dower. 
 
 Chest. Most true ; a grounded proposition 
 To question you of life. 255 
 
 Mar. My life my Lords ? 
 It pleases me, that the King in person daines 
 To grace my cause with his Majesticke eare : 
 You plead for me in this, and speake my excuse. 
 I have but two in all 260 
 
 He sent for one, and he receiv'd them both, 
 With them a sweete and lovely Prince to boote; 
 Who ever lost, I am sure the King hath wonne 
 At once, a wife, a daughter, and a sonne. 
 
 Bonv. 'Tis true my Lord, we all can witnesse it. 265 
 
 Mar. He that my discontent objects to me, 
 With the faire Princesse, speakes uncertainly. 
 The man judicious such for fooles allowes, 
 As have their inward hearts drawne in their browes : 
 Is there in all that bench a man so honest 270 
 
 That can in this be discontent with me ? 
 I charge you all ; those favours I receive 
 From his high Majesty, I swallow not 
 With greedy appetite, perhaps like you: 
 When I am grac't, it comes with awe and feare, 275 
 
 Lest I offend that Prince that holds me deare. 
 That for my brow. 
 
 Chest. But for your scornfull sending 
 
 280 There is certainly an omission here, "I have but two" of course 
 refers to his daughters, but they have not been mentioned, except that 
 Audley, in 242, speaks of one. The Marshal must have said: "As for 
 my daughters," or used some equivalent phrase. 
 
 265 T>. "Capt. 'Tis true" etc. Note: "The quarto has Bonvile prefixed 
 to this speech; the nobleman, however, was probably too finished a 
 courtier to have opened his lips on this occasion, and I had the less 
 hesitation in making the alteration, from some preceding confusion 
 in this particular in the quarto, which is, however, I believe, now 
 rectified." 
 
130 The Boy all King and the Loyall Subject. 
 
 Of the faire Princesse dower backe to th' King, 
 
 How can you answer that ? 280 
 
 Mar. Why Chester thus : 
 I am a man, though subject ; if the meanest 
 Lord or'e his wife; why should that priviledge 
 Be onely bard me ? should I wive an Empresse, 
 And take her dowerlesse, should we love, or hate, 285 
 
 In that my bounty equalls her estate. 
 Witnesse that Iudge above you, I esteeme 
 The Princesse dearely, and yet married her 
 But as my wife, for which I am infinitely 
 Bound to the King: why should I grow ingag'd 290 
 
 Above my power, since this my Lords you know, 
 The lesse we runne in debt, the lesse we owe. 
 Give me my thoughts, and score you on I pray, 
 I wish no more than I have meanes to pay. 294 
 
 Chest. Shall we my Lord his actions censure freely? 
 
 King. And sentence them. 
 
 Aud. A Persian History 
 I read of late, how the great Sophy once 
 Flying a noble Falcon at the Heme, 
 
 In comes by chance an Eagle sousing by, 300 
 
 Which when the Hawke espyes, leaves her first game, 
 And boldly venters on the King of Birds ; 
 Long tug'd they in the Ayre, till at the length 
 The Falcon better breath'd, seiz'd on the Eagle, 
 
 279 C. "to the King," 
 
 292 D. "the meanest's Lord o'er" etc. D. mistook the function of 
 "Lord," which is here a verb. 
 
 286 D., C. "her estate?" A mistake, "should" being conditional, not 
 interrogative. Cf. 196-198 for a similar error. 
 
 287 D. "that judge," but the reference is probably to God, not the 
 King. 
 
 291 C. "this, my lord,". 
 
 292 C. prints a ? after "owe;" if anywhere, it belongs after "power," 
 in the line above. 
 
 299 Heme. C. "heron." 
 
 300 D. "It comes." 
 
 304 D. "The falcon (better breath'd)." 
 
The Royall King and the Loyall Subject. 131 
 
 And struck it dead: The Barons prais'd the Bird, 305 
 
 And for her courage she was peerelesse held. 
 
 The Emperor, after some deliberate thoughts, 
 
 Made him no lesse : he caus'd a Crowne of gold 
 
 To be new fram'd, and fitted to her head 
 
 In honour of her courage: Then the Bird 310 
 
 With great applause was to the market-place 
 
 In triumph borne, where, when her utmost worth 
 
 Had beene proclaim' d, the common Executioner 
 
 Eirst by the Kings command tooke off her Crowne, 
 
 And after with a sword strooke off her head, 315 
 
 As one no better than a noble Traytor 
 
 Vnto the King of Birds. 
 
 Chest. This use we make 
 Erom this your ancient Persian History, 
 That you a noble and a courteous Peere, 320 
 
 Prais'd for your hospitall vertues and high bounty, 
 Shall be first crown'd with Lawrell to your worth : 
 But since you durst against your Soveraigne 
 Oppose your selfe, you by your pride misled, 
 Shall as a noble Traytor loose your head. 325 
 
 King. That Sentence we confirme, and it shall stand 
 Irrevocable by our streight command. 
 
 Mar. I am glad my Liege I have a life yet left, 
 In which to shew my bounty, even in that 
 I will be liberall, and spend it for you; 330 
 
 Take it, 'tis the last Jewell that I have, 
 In liew of which oh grant me but a grave. 
 
 King. A Lawrell wreath, a scaffold, and a blocke, 
 
 303 D. "Made her no less." 
 
 327 D. "strict command." 
 
 333 D. "a block! (These things are brought in, followed by the 
 Executioner." Note: "This stage direction is not in the quarto ; 
 something of the sort, however, was necessary, as it seems evident 
 from Cathekine's calling to the Executioner to forbear, that prepara- 
 tion had been made for his death before they entered; and this, on the 
 whole, appears to be the proper place for it." 
 
132 The Royall King and the Loyall Subject. 
 
 Our selfe will see the Execution done: 
 
 Onely thy life is ours, thy goods are free. 335 
 
 Mar. My Lord, you are the life of courtesie, 
 And you are kinde unto me above measure, 
 To give away what might enrich your selfe. 
 Since they are mine, I will bestow them thus: 
 The best of those that were so late but yours 340 
 
 My Jewells, I, by will, restore you backe, 
 You shall receive them separate from the rest: 
 To you the Kings sonne, and by marriage mine, 
 On you I will bestow my Armory, 
 
 Stables of Horse, and weapons for the warres, 345 
 
 I know you love a Souldier: to the Princesse, 
 And my two Daughters I give equall portions 
 From my revenue; but if my faire wife 
 Proove, and produce a Male-child, him I make 
 My universal Heire, but if a Female, 350 
 
 Her Dower is with the rest proportionable. 
 The next I give, it is my Soule to Heaven, 
 Where my Creator reignes ; my words thus end, 
 Body to earth, my Soule to Heaven ascend. 
 
 Enter the Queene, Katherine, the Princesse, and 
 
 the other Lady. 356 
 
 Princesse. Stay. Queen. Hold. 
 
 Kath. Executioner forbeare. 
 
 Queene. Heare me a Daughter for a Father plead. 
 
 Princesse. Oh, Father, heare me for my Husbands life. 
 Doubly ally'd, I am his ISTeece and Wife. 361 
 
 Kath. Oh Father heare me, for a Father crave. 
 
 Queene. Than sentence him, oh let me perish rather; 
 I pleade for him that's both my sonne and Father. 
 
 Kath. Oh make your mercy to this prisoner free. 365 
 
 Queene. Father to us. 
 
 356 D. "Lady Mary Audley." C. "Lady Mary." 
 
 357 C. "Stay!" "Hold!" etc. 
 
The Royall King and the Loyall Subject. 133 
 
 Princesse. And husband unto me. 
 
 King. Hence with these womanish clamours. 
 
 Prince. Vnto these 
 Let me my Liege presume to adde another, 370 
 
 Behold him kneele that is your sonne and brother. 
 
 Kath. Your Sister and your Daughter great King heare. 
 
 Princesse. Your Mother and your Daughter. 
 
 Queene. Or like deare, 
 Your Queene and Sister. 
 
 Princesse. Speake, what hath he done ? 375 
 
 Prince. Who ever saw a father on a sonne 
 Give sentence ? or my Royall Lord, which rather 
 Addes to your guilt, a sonne condemne the father ? 
 
 Chest. My Liege, command them hence, they but dis- 
 turbe 380 
 
 The Traytor in his death. 
 
 King. A Traytor' s he 
 That dares so tearme him, Chester, we meane thee: 
 Our best of subjects, with our height of grace 
 We wedde thee to us, in this strict imbrace 385 
 
 Thy vertues, bounties, envy'd courtesies; 
 Thy courage, and thy constancy in death, 
 Thy love and Loyalty to the end continued, 
 More than their clamorous importunities 
 Prevaile with us: then as our best and greatest 390 
 
 Not to exceed, but equall thee in love, 
 To end betweene us this Heroick strife, 
 Accept what we most pecious hold, thy Life. 
 
 Mar. Which as your gift I'le keepe, till Heaven & Nature 
 Confine it hence, and alwayes it expose 395 
 
 Vnto your love and service; I never lov'd it, 
 But since 'twas yours, and by your gift now mine. 
 
 382 D. "A traitor he." 
 
 384 D. "(To the Marsh.) Our" etc. 
 
 385 D. "We wed thee unto us in this embrace. (Embraces him." 
 "embrace" certainly requires a period after it. 
 
 393 All eds. read "precious." 
 
134 The Royall King and the Loyall Subject. 
 
 King. I observe in thee 
 The substance of all perfect Loyalty; 
 
 In you save flattery, envy, hate, and pride 400 
 
 Nothing, or ought to goodnesse that's ally'd: 
 Resigne those places that belong to him, 
 Better than so borne noble, be unborne. 
 Till you your hearts can fashion to your faces, 
 We here suspend you from your stiles and places. 405 
 
 Prince. A royall doome. 
 
 King. Once more from us receive 
 Thy beauteous Bride, as we will hand our Queene : 
 The Prince already is possest of his. 
 
 Nay Bonvile, as your Bridals were together, 410 
 
 So follow in your ranke, and by the stile 
 Of a Lord Baron, you are now no lesse 
 If you dare take our word : Our Funerals thus 
 Wee'le turne to feasting, and our blood to wines 
 Of most choice taste, prest from the purest Grape. 415 
 Our noble Martiall, kinsman, and our friend, 
 In our two vertues after times shall sing, 
 A Loyall Subject, and a Royall King. 418 
 
 400 D. "(To Chest, and Clint.) In you" etc. 
 
 401 D. "to goodness thus ally'd. C. "allied." 
 
 No italics are used in the Epilogue by either D. or C. 
 
The Boyall King and the Loyall Subject. 135 
 
 THE EPILOGUE TO THE 1 
 
 HEADER 
 
 That this Play's old 'tis true, but now if any 
 
 Should for that cause despise it, we have many 
 
 Reasons, both just and pregnant to maintaine 5 
 
 Antiquity, and those too, not al vaine. 
 
 We know (and not long since) there was a time, 
 
 Strong lines were not looTct after, but if rime, 
 
 then 'twas excellent: who but beleeves, 
 
 But Doublets with stuft bellies and bigge sleeves, 10 
 
 And those Trunke-hose which now the age doth scorn, 
 
 Were all in fashion, and with frequence worne; 
 
 And what's now out of date, who is't can tell, 
 
 But it may come in fashion, and sute well? 
 
 With rigour therefore judge not, but with reason, 15 
 
 Since what you read was fitted to that season. 16 
 
 EINIS. 
 
 12 C. "worn ?" 
 
NOTES. 
 
 Prologue to the Stage. Probably written at time of first presentation. 
 
 Lines 2-14, We'have stands for "we've." 
 
 Drammatis Personae. 4. The Lord Lacy. There is no such character 
 in the play, as we have it. He is mentioned only in the first stage 
 direction. See Fleay's suggestion that this is an older list affixed 
 unchanged to the revised play. 
 
 11. Margaret. The name of the "Martialls younger Daughter," 
 as given in the play, is Katherine, as Collier notes. Margaret may 
 have arisen from a hasty glance over the scenes between Katherine 
 and her father, where "Mar." is used for Martial. 
 
 3,5. Corporall Cocke. The Clowne. Another confusion between 
 this list and the play itself. In the play, "Cocke" is the same person 
 as "The Clowne," and the "Corporall" has no other name. In con- 
 nection with Match's title, Dilke has the following note: "Lance- 
 presado. On this word, occurring in the 'Maid of Honour,' Mr. Gifford 
 quotes the following from the 'Souldier's Accidence.' 'The lowest range 
 and meanest officer in an army is called the lancepresado or presado, 
 who is the leader or governor of half a file; and therefore is commonly 
 called a middle man or captain over four.' " 
 
 The arrangement of the Drammatis Personae is somewhat peculiar: 
 it is hard to decide whether one should read downward or across. If 
 downward, the position of the Prince is certainly unusual; if across, 
 that of the Lords no less so. Dilke rearranges. 
 
 ACT I. 
 
 13, 16. Opposite. Opposing. Col. notes that this word in Elizabethan 
 usage, "means the hatred of opposites, or enemies." 
 
 14. Ingaged. So spelled throughout, and most other words now 
 begun with "en — ." This is one of the small number of incomplete 
 lines in the play. 
 
 19. Ey. So spelled throughout. There is no need to change it 
 to "Ay" as Collier has done. The word appears about 1575, and is 
 especially common about 1600. See the New English Dictionary, and 
 Col.'s note on 176. 
 
 20. Comptlesse. A frequent form for countless. Cf. Venus and 
 Adonis, 84. "And one sweet kisse shall pay this comptlesse debt." 
 
 (137) 
 
138 The Roy all King and the Loyall Subject. 
 
 32-36. The oath registered by the King in these lines is not again 
 referred to, or heeded. Lack of care in working up the plot has made 
 Heywood forget this, which was, no doubt, intended to be a skillful 
 anticipation. Such carelessness, if other evidence were forthcoming, 
 would perhaps lend color to the theory of a dual authorship for this 
 play. 
 
 42. When I forget thee. Dilke notes: "If I forget thee, 
 Jerusalem, let my right hand forget her cunning!' Psalms." Col., 
 note: "This passage is quoted by Steevens, in a note on Hamlet, act iii, 
 sc. 2, to show the meaning of 'operant' is active." 
 
 48. Then. Frequently, but not invariably, used for than. 
 
 52. Jacobs Stone. Dilke notes: "This is fabulously reported to 
 have been Jacob's pillow : it was brought from Scotland by King Edward 
 the First, and deposited in Westminster, where it may still be seen 
 under the coronation chair." 
 
 62. Double use. Col. "With double interest, or usance." 
 
 63. Clinton's speech is of course aside. No asides are noted in 
 the Quarto. 
 
 74. Full light or none. This phrase seems to be a favorite with 
 Heywood, cf. act II, 279: "Wee'le be sole, or none." 
 
 87. Revenues. The accent, here, and in general through the play, 
 is on the second syllable; but, in line 57, it must fall on the first. 
 Shakespeare's usage is divided. 
 
 103. Enter the Cloione. Evidently a street scene. The Welch-man 
 appears only here. The scene is a clumsy introduction of uncorrelated 
 material, for the sake of comic variety. No doubt, this Welch-matt 
 owes his existence to the popularity of Shakespeare's portrayal of the 
 type. If so, he perhaps furnishes an additional argument for the early 
 date of this play. A number of verbal likenesses can be found between 
 this play and the Henry IV and Henry V series, but none sufficiently 
 striking to warrant, by themselves, the assumption that Heywood was 
 intentionally imitating parts of those plays. 
 
 108. Note the difference in spelling — Pauls and P moles (117).' 
 This, consistently maintained between Clowne and Welch-man, must 
 indicate an intended difference in pronunciation. 
 
 109. Rixam. Dilke notes: "The town of Wrexam has been 
 remarked by Camden as noted for its organ; it is a question whether 
 it was as ancient as the supposed date of the present play." Dilke, be 
 it recalled, has attempted to place the action of the play in the reign 
 of an actual king of England, and hit tipon that of Edward I as the 
 only one that would fulfill all the conditions. 
 
 120. Pancridge. Dilke notes that Saint Pancras "is still called 
 so (Pancridge) by the lower classes." 
 
The Roy all King and the Loyall Subject. 139 
 
 121. Leasings. A rare word at this time. Cf. New English Dic- 
 tionary. 
 
 131. Red Lettice. Dilke notes: "i. e., To the next ale-house." 
 
 135. Rednock-shire. Dilke: "Brecknockshire, or Radnorshire, 
 is, I suppose, meant." Rather, it is probably an intentional com- 
 bination of the two names. 
 
 144. Enter the king. Perhaps on horseback, or at least obviously 
 prepared to mount. 
 
 152. Mount, mount. Outside the metrical scheme. Professor 
 Schelling suggests that "mount" may possibly have been a stage- 
 direction. 
 
 153. A colon or semi-colon is necessary before or after "still." 
 "Greater and greater: still no plot, no trick" seems preferable. 
 
 176. Ey and hyperbolize. Col. "The most usual mode of spelling 
 'Ay,' in our old dramatists, is by the letter I, used as an interjection; 
 but Heywood's printer in this play has adopted a new mode — Ey." 
 Col. was mistaken; see above 2. 19. 
 
 190. Disgest. Col. "In our old writers, 'disgest' is a word that is 
 often used for digest. It occurs among others in Webster and Middleton, 
 but it is not necessary to quote the passages." Quoted verbatim in 
 Pearson, without comment or quotation marks. 
 
 192. Enter Martiall. The scene must be imagined to be in the 
 wild country described in Painter's story. The necessity for not 
 bringing the horses actually upon the stage is well provided for. 
 
 200. Sirrah. In direct address, no punctuation precedes the 
 name or title. If the sense is not complete, a comma follows. A 
 consistent use throughout the play. Line 232, and a few others, noted 
 in the emendations, are exceptions. 
 
 201. Hollow him streight. Col. corrects to "follow" and notes; 
 Misprinted, in the old copy, "hollow him straight.'" Dilke: "The 
 Quarto reads 'Hollow him straight;' but it can scarcely be supposed 
 that the Marshal would direct his servant to holla to the King: I 
 have therefore presumed on the alteration." Pearson: "Both Dilke 
 and Collier read 'Follow,' on the assumption that 'Hollow' is a mis- 
 print. But it may be only the spelling that is at fault, and that the 
 Marshal directs his servant to 'Holla' or cry out after the King." 
 This latter is the proper explanation, as reference to the source of the 
 story shows. This is one of the cases where Heywood has adopted 
 the very words of his original. Painter reads: "Wherefore hallowing 
 the king, — told him of the daunger wherein his horse was for lacke 
 of shoes." 
 
 263. The place where Corporall and Cocke meet must be con- 
 ceived as different from that of the last scene; probably a street of 
 the town. 
 
140 The Boyall King and the Loyall Subject. 
 
 168. Burchen-lane. Dilke: "Birchin Lane seems to have been the 
 Monmouth-street of that age." Col: "Birchin Lane was principally 
 famous, at this time, for shops where clothes were sold; see Cunning- 
 ham's 'Handbook of London,' p. 55, 2nd edit., where many authorities 
 on the point are collected." Pearson copies and adds: "See King 
 Edward IV, Part I." The line referred to is, "Birchin lane shall suite 
 us." Cf. act III, 201, of the present play. 
 
 272. A fresh water-soldier. Unpractised, cf. North, Plutarch, 232. 
 [The storm] "did marvellously trouble them, and especially those that 
 were but freshwater souldiers." 
 
 280. Enter Captaine. Col. "The stage-direction in the old copy 
 is merely 'Enter Captain,' but Captain Bonville is intended." Col. 
 takes great pains to give the Captain his full name whenever he 
 appears. There is no other Captain, so such care seems unnecessary, 
 especially since the Quarto names him Captaine Bonvile in the Dram- 
 matis Personae only. 
 
 290. Noble. Dilke. "The piece of money so called was first coined 
 by Edward the Third." 
 
 19. 299, 312. These speeches of the Captain give the reason for his 
 failure to apply directly to the King for aid. They are, like several 
 other speeches in the play, directed far more to the audience than to 
 the companions of the speaker; a dramatic fault of which Heywood is 
 too often guilty. Cf. Act III, 217. 
 
 340. Dazell your brightnesse. A rare use of the word, in the sense 
 of outshine, hence, dim, or eclipse. Cf. Burroughes, Exposition of Rosea, 
 V, 243, "They can see into the beauty of his wayes so that it dazeleth 
 all the glory of the world in their eyes." Shakespeare uses the verb, 
 but not in this sense. V. and A., 106, LLL. I, 1, 82. 
 
 350. See Painter, quoted in the Introduction, for the game of 
 chess, the tournament, and other references in this scene. 
 
 358. The tournament, mentioned in 260, as about to take place, 
 must be presumed to have occurred in the interval between that and 
 the present scene. 
 
 422, 423. This is probably one of the couplets altered to avoid 
 rime. 422, as first written, probably ended: "had I done so," Other 
 such altered lines are: II, 513-514; III, 497-498, 500-501; IV, 394-395, 
 396-397, 428-430, 508-509. 
 
 428. Col. "Whither toilt thou"?" a proverbial expression, occurring 
 in various old writers. Steevens quotes the passage in the text in his 
 note upon 'As You Like It,' act IV, sc I. See also Dyce's Middleton, 
 III, 611." "Wit, whither wilt thou?" was rather a common catch-word 
 than a proverbial expression. P. copies Col. 
 
 464. Bombast wealth. Bombast seems to have been used quite 
 commonly in the various constructions of noun, verb, or adjective as 
 
The Roy all King and the Loyall Subject. 141 
 
 here, all the uses of this sort being, of course, figurative. Cf. 
 Othello, I, i, 13. "A bombast circumstance, Horribly stuft with epithets 
 of war." 
 
 465. The purblind world. Half-blind. Cf. 1 Henry VI, II, iv, 21. 
 "Any purblind eye may find it out." 
 
 503. GulVd with shadoivs. An anticipation of Carlyle. The 
 Captain was a man after Carlyle's own heart. 
 
 525. The Porters Lodge. Dilke quotes Gifford's note from The 
 Duke of Millain, "The porter's lodge, in our author's days, when the 
 great claimed and indeed, frequently exercised, the right of chastising 
 their servants, was the usual place of punishment." P. copies. 
 
 Act II. 
 
 Line 1. Scena Secunda. It is only to acts I and II that the 
 "scena" is added; in each case, the numbering being the same as that 
 of the act. This is the more remarkable since the place of the scene 
 must have been conceived to be the same at the opening of this act 
 that it was when the play began, a room in the palace. 
 
 19. Moneths. A common spelling; evidently a monosyllable. Cf. 
 
 IV, 294. 
 
 20. A kind husband. This speech of the Princesse is, again, an 
 anticipation of the action; in this case, actually carried out. In the 
 same way, the mention of the Martiall's daughters prepares us for 
 their story. 
 
 43. This man for me. This is, of course, a direct quotation; the 
 marks are not used in the Quarto. 
 
 46. The language of the Princesse, like that of many other 
 noble ladies in comedy, is frank, if not rather coarse, throughout, 
 with the exception of the scene immediately following on her marriage: 
 
 V, 79, ff. 
 
 57. Enter Captaine. The entrance of the Captain at this point 
 is about as well planned dramatically as anything in the play. 
 
 62. Termagaunt. A well-known character in the Miracle Plays, 
 rendered more familiar to moderns by the reference in Hamlet, III, 
 ii, 12. Cf. also, 1 Henry IV, V, iv, 114. Dilke notes that "Dr. Percy 
 conjectured that this was a name given to the god of the Saracens: it 
 should have been added that Mr. Gifford is of a contrary opinion, and 
 supposes it to have been an attribute of the supreme being of the 
 Saxons, see his note on the Renegado, vol. II, p. 125." Percy is sup- 
 ported by Nares and without doubt, his is the correct explanation. 
 
 74. No more of the cat but his skin. Dilke, "A common proverb." 
 
 86. For who would marry with a suite of clothes? Carlyle again, 
 or Swift. Both exceeded even our Captain in frankness of speech! 
 
142 The Boyall King and the Loyall Subject. 
 
 91. Exit (Captain). The very abrupt departure of the Captain 
 leaves us rather out of breath. Though apparently inartistic, it is in 
 keeping with the character. 
 
 92. Here's a short horse — Dilke: "This also seems a proverbial 
 expression, implying that the business in hand has been soon dispatched. 
 It is found in 'The Valentinian,' of Beaumont and Fletcher, where the 
 Emperor and his Courtiers are playing at dice, and one of them, having 
 lost his money, stakes his horse — 
 
 Chi. At my horse, sir. 
 
 Yal. The dappled Spaniard? 
 
 Chi. He. 
 
 Val. (Throws^ He's mine. 
 
 Chi. He is so. 
 
 Max. Your short horse is soon curried." Copied by P. 
 
 109. Wee'le move the King. The question of the Prince, and his 
 promise to speak to the King in the Captain's behalf, makes the 
 omission of any such scene, or reference to one, even more peculiar 
 than if the King's own declaration only had foreshadowed it. 
 
 145. Those only we appoint to wait. i. e., "Only those whom we 
 appoint to wait need attend us." 
 
 152. 7 shall obey. Cf. the different servants' speeches; to com- 
 mands they always reply, "I shall." 
 
 153. What are we king. "What" is of course an exclamation, 
 cf. 177, etc. 
 
 157. Us. The Martiall uses the royal first person plural in 
 several instances, cf. act II, 335, 444. This might, it seems, be used 
 by other great personages, beside royalty. 
 
 164-165. Here, and again in 168, there is a curious alternation 
 in the use of "thou" and "you." In general, the usage is regular. 
 
 183. etc. The Martiall's speeches are often peculiarly rich in rimes. 
 
 216. To be sole his. Sole is used adverbially, like alone. Cf. 
 Shakes. T. and C. I, iii, 244: "But what the repining enemy 
 commends 
 
 That breath fame blows ; that praise, sole pure, transcends." 
 
 224. This Lord, etc. From this time, until the last scene, Audley 
 and Bonvile seem to be friendly to the Martiall. 
 
 233. I shall turn man. The Martiall's outburst of wrath is much 
 softened in the play; in the story, he is quite orientally violent. 
 
 240. For my service. Cf. The Loyal Subject, where the General's 
 service is both his crime and his defense. 
 
 245. A dash to indicate an incomplete line. There are several 
 others not so indicated. Whether of set purpose or not, line 171 
 contains exactly the four lacking syllables. 
 
 254. Are not your fortunes, favours etc. Is this two questions: 
 
The Royall King and the Loyall Subject. 143 
 
 "Are not your fortunes, favors ? Are not your revenues ours ?" or one, 
 "Are not your fortunes, your favors and your revenues all ours?" 
 The former interpretation seems the better one. 
 
 261. It sorrows me. For "sorrows" as a verb, cf. Guevara, 
 Letters, (trans. Hellowes, 1577.) "The excesse you bled is grief unto 
 me; the ague that held you sorroweth me." 
 
 274. The King has worked himself into a rather reasonless 
 passion — or else, he is acting to deceive his courtiers. It is such 
 cases as this that show a certain haziness in the conception of the 
 King's character. Heywood wavers between Painter's conception 
 of the monarch who really desires vengeance on his over-courteous and 
 over-ambitious subject, and his own better notion of the King who, 
 seeing through his courtiers' plots, lets them have their way for awhile, 
 that he may test the boasted loyalty of his favorite. 
 
 281. Phaeton. In view of Heywood's work with classical story, 
 it is rather surprising that he should employ so few classical allusions 
 in his English plays. Another proof of his realism. 
 
 289-291. Clown. The repetition of Clown is of course unnecessary; 
 it is due to the interposition of the stage-direction. 
 
 294. Here take my cloake. This to the Clown; the remainder of 
 the speech is evidently to the Host. 
 
 297. To Cranch. Equivalent to "crunch." Cf. Massenger, Empire 
 of the East, IV, 11. "We prune the orchards and you cranch the fruit." 
 After 1600, the word became varied with scranch. See N. E. D. 
 
 298. Feed and be fat. Cf. 2 Henry IV, II, iv, 143: 
 "Then feed, and be fat, my fair Calipolis." 
 
 The original lines are in the Battle of Alcazar, 1594, 
 "Feed then, and faint not, my fair Calipolis," and 
 "Feed and be fat, that we may meet the foe." 
 Dilke notes this as "A burlesque on a line in an old play," and refers 
 to Steevens. Col. has a longer note to the same effect, copied by P., cf. 
 The Loyal Subject III, 2. Dyce ed. of Fletcher, I, 932. 
 
 299 ff. Host. The Host's speech illustrates Heywood's apparent 
 difficulty with prose. "If you will stand at gate, when dinner's done," 
 is better verse than some of his more pretentious pentameters. Again, 
 in the Captain's speech, (302, ff.) it is hard to decide whether to print 
 as prose or as verse; Col. does the latter: 
 
 "Sirrah, if your house be free for Gentlemen, 
 It is ('tis) fit for me; thou seest I keepe my man, 
 I've crownes to spend with him that's bravest here; 
 I'le keepe my roome in spight of Silkes and Sattins." 
 
 306. Ragge-muffin. Cf. act III, 277, "raggamuffin." 1 Henry IV, 
 V, 3, 36. "I have led my ragamuffins where they are peppered." 
 
 307. Enter two Gentlemen. Evidently talking together. These 
 
144: The Boyall King and the Loyall Subject. 
 
 men have nothing to do with the plot and are not in themselves 
 interesting, as Shakespeare's unnamed characters often are. 
 
 314. I did when he xoas flush. Again a metrical line for the Host. 
 For "flush," cf. "So flush of money and so bare in clothes." Ill, 218. 
 Flush is a term derived from the game of primero. Compare its modern 
 use in games of cards. Cf., also, Dekker Bachelor's Banquet. (1603), 
 VIII, G, ii, a. "Some dames are more flush in crownes than her good 
 man." 
 
 325. What tatter's that. Tatter, probably short for "Tatterde- 
 malean," a word used by the Host in 311. 
 
 338. They icere first paid for. The plural, as if referring back to 
 "clothes," though suite is actually the word that precedes. 
 
 340. Have you mind to game? The question seems rather abrupt. 
 After the Captain's threat: "Ha, come!" the Gentlemen must have 
 shrugged and turned away; so, once more he rouses them by suggesting 
 a game. 
 
 342. Card a rest. Equivalent to "set up a rest," in Primero, 
 which means: to stand by the cards one has in one's hand, hence, 
 figuratively, to determine, to make up one's mind. 
 
 350. Bridewell Ordinary. The prison, of course. Cf. Pasquil's 
 Return, (1589), B, iii, 6. "The stocke-keeper of the Bridewel-house 
 of Canterburie." 
 
 372. Dinner. This ends the scene of the Ordinary. From the 
 first lines, one would judge it to be in the street near the Inn. From 
 the conclusion, it would rather appear to be in the room where dinner 
 was to be served with a stair leading down into the street. With such 
 simple scenic arrangements as the Elizabethan stage boasted, it was 
 easy to imagine the same spot several places in succession. Such scenes 
 would need radical alteration to fit them for presentation on a modern 
 stage. 
 
 385. Balling suitors. For bawling. The word bawl, however 
 spelled, is not found before the 15th. century. Cf. Stanyhurst, Trans, 
 of Vergil, (1583) "Belcht out blasphemy, bawling." 
 
 388. The Falcon's tower. So Col., but "Tower" may here be a 
 verb, and "Falcons" the plural subject, especially since we have "those 
 that aspire." Cf. Mcb. II, iv, 12. "A falcon towering in her pride of 
 place." 
 
 400. You are mine owne sweet girles. A good instance of Aristo- 
 telian "dramatic irony." The calm content of the Martial heightens 
 the effect of the coming crisis. 
 
 432. Insult — upon. To exult over. Cf. W. Day, Eng. Secretary, 
 II, 89. "When injuriously we insult upon a man's doings." Shakes. 
 Tit. Ill, ii, 71. "I will insult on him." 
 
 446. My fairest daughter. Dilke: "It is singular enough that 
 
The Roy all King and the Loyall Subject. 145 
 
 the King does not send for his "fairest daughter," but for her "he loved 
 best." But in Painter, it is the fairest that is demanded. Heywood 
 forgets his own improvement and falls back upon the words of his 
 source. 
 
 449. Of force. Perforce. Cf. LLL. I, i, 145. "We must of force 
 dispense with this decree.", and many other instances. 
 
 477. Her whom I best affect. Cf. act III, 137; Twelfth Night, 
 II, v, 28, "Maria once told me she did affect me." 
 
 488. None of my daughters have been seene. Heywood is often 
 led astray by the interposition of another noun, into giving singular 
 subjects a plural verb or vice versa. 
 
 504. Cf. Painter, where the daughter is supposed to understand 
 the father's plan. 
 
 507. And thus resolved. For "And am thus resolved." 
 
 536. Commends. Commendations. Cf. Rich. II, III, i, 38, "Tell her 
 I send to her my kind commends." 
 
 Act III. 
 
 2. Enter Clowne. Scene: a room in the palace. The speeches 
 between the Clown and Mary serve but little to advance the plot, 
 inasmuch as Mary has seen the Captain and given him her faith. They 
 prepare for Audley's entrance, merely. 
 
 6, 7. Changeling, shifter. A double use, applying both to feelings 
 and to clothes. Cf. 1 Henry IV, V, i, 76. "Fickle changelings and poor 
 discontents." 
 
 8. Reparations. Dilke: "Possibly as an astray, wandering 
 about, and by grant from the crown, belonging to the Lord of the 
 Manor." 
 
 37. Affection. One of the few instances in which Heywood counts 
 -tion as two syllables. Perhaps, this, like the changed couplets, might 
 be considered an evidence of revision, that is, a survival from an earlier 
 version. 
 
 39, 40. Honest, true. The meanings of these words seem to have 
 been reversed in modern parlance. Collier notes: "To say that a person 
 was not 'a true man' was the same as to call him a thief; and the 
 Clown explains it by saying that Captain Bonville had sworn to steal 
 the Lady Mary away. Innumerable instances show the opposition 
 between the words 'true man' and 'thief'." 
 
 47, 53. Ergo, Utcunque volumus. The clown seems to be the only 
 person to use tags of Latin; a mild satire on pedants. 
 
 57. Wots thou, for "wot'st." Cf. Antony and Cleopatra, I, v, 22. 
 "Wot'st thou whom thou movest?" 
 
 58. Scare-croio. Cf. / Henry IV, IV, ii, 41. "No eye hath 
 
146 The Royall King and the Loyall Subject. 
 
 seen such scarecrows." There is an interesting parallel to this 
 passage in Fletcher's Captain, II, 2, where the friends of another noble 
 Lady, enamoured of another ragged, impecunious Captain, say — 
 "I think she was bewitched, or mad, or blind, 
 She would never have taken such a scarecrow elsft 
 Into protection." 
 
 The resemblance is probably accidental. There is not sufficient 
 evidence to prove that Fletcher borrowed his notion of the Captain from 
 Heywood, or Heywood from Fletcher. The latter's hero is a much 
 coarser and weaker character than Captain Bonvile. 
 
 65. Unless he be. Not unless he be. 
 
 76. Deare. Used in a double sense, beloved and valued. 
 
 91. Doe not like your Eighnesse. Cf. Lear, I, i, 203. "If all of it 
 may fitly like your Grace." A common use in the sense of please. 
 
 94. Streightly. Straitly, strictly. Cf. Rich. Ill, I, i, 85. "His 
 majesty hath straitly given in charge." 
 
 105. Chus'd. Cf. Heywood, Gunaikeion III, 143. "She chused one 
 who seemed to excel all the rest." 
 
 108. To make or mar. Dilke, rather pointlessly; "It has been 
 observed by Stevens that make and mar are always placed in opposition 
 to each other by our ancient writers." 
 
 109. It glads me. Cf. Spenser, Colin Clout, 266, "At length we 
 land far off descryde, Which sight much gladded me." 
 
 114. Honest. We should expect the noun, honesty, in apposition 
 with "one free attribute." 
 
 121. Wee'le strive, etc. A case of two extra syllables at the end 
 of the line, rare in Heywood. 
 
 136. We should distaste. Cf. Drayton, Legends, III, 607. 
 "Who was so dull that did not then distaste 
 That thus the King his Nobles should neglect." 
 
 140. Were she not. This line is incomplete both at the beginning 
 and at the end; as if the poet, in running his metre from half-line to 
 half-line, in the broken speeches above, had, at last, lost count. See I, 
 435ff. Of course, it is always possible to explain such irregularities 
 by an incomplete revision of older material, lines, or parts of lines 
 added or omitted, and not carefully fitted to the metrical scheme; it 
 is noticeable, however, that the irregularities in this play occur most 
 frequently where the lines have been broken up into short speeches. 
 
 158. If the King daine. A confusion between direct and indirect 
 discourse, no doubt intentional. 
 
 165. And his alliance scorns not to disdaine. Unless "disdaine" 
 is a noun, and the phrase means "to the point of disdain," the servant 
 here says the opposite of what he intends to convey to the King. One 
 would expect some such words as "And his alliance scorns not to 
 accept." 
 
The Royall King and the Loyall Subject. 147 
 
 167, 168. This emulation — questions him of life: i. e., puts his life 
 in question. Cf. act V, 255: "That we now Not question of his life." 
 The two uses are somewhat different. Cf., Suckling, Goblins, V, 58. 
 "Behold (grave Lord) the man whose death questioned the life of 
 these." 3 Henry VI, III, ii, 123: "Goe wee to the man that tooke him 
 To question of his apprehension." 
 
 193. Sent. For Scent. 
 
 196. Of that side. Not unusual for "on that side." See Abbot, 
 Shakes. Grammar, p. 175. 
 
 198. Blocke us. Dilke: "A block, as has been observed by Steevens, 
 is a mould on which a hat is formed, but it is commonly enough used 
 by our ancient writers for the hat itself. See notes on act IV of Learr 
 A hat of a new block is a hat of a new style. 
 
 201. Burchin-lane. See note on I, 258. 
 
 215. Cockatrice, a wanton. Cf. Fletcher, Love's Cure, III, iv, "I'll 
 show him and his cockatrice together." 
 
 251. And please you. For " An't please you." 
 
 252. Reversions. Dilke: "What is meant by 'reversions,' unless 
 it be broken victuals, I cannot say." 
 
 255. Kitchinstuffes. Contemptuously used of persons; literally, 
 waste products of the kitchen. Cf. Middleton, Trick to Catch an Old 
 One, III, iv: "Thou Kitchenstuff, drab of beggary," etc. B. Googe, 
 Heresbach's Husb., 904: "All those that smell of grease or kitchen- 
 stuffe." 
 
 257. A standing bed in't and a truckle too. Col.: "Steevens quoted 
 this passage in illustration of 'his standing bed and his truckle bed' in 
 Merry Wives of Windsor, act iv, scene 5." P. copies. The truckle bed, 
 American, trundle-bed, was slid under the standing bed when not in use. 
 
 262. It'ch. Evidently a printer's error, since there is no contraction. 
 
 293. Without trusting. The meaning is obscure; urging would 
 perhaps be consistent with the foregoing. 
 
 299. Old bully bottom. Col. "An expression adopted, possibly, 
 from Midsummer Night's Dream, act iii, sc. 1, and differently applied." 
 P. copies. But such an expression was probably never borrowed 
 definitely from one source. 
 
 339. Of my tally. Another case of "of" for "on." Cf. 196 above. 
 
 340. Enter Captaine. At 322, Cap. is said to enter with Bawd 
 and Clown; either he is supposed to have passed out, or his entry here 
 is a mistake: probably the latter, the repetition arising from his not 
 having spoken until now, when he pushes himself into attention. D. 
 and C. omit his entrance in 322. 
 
 348. Will you get you out of my doores. P. notes : " 'Scold' is tbe 
 reading of the original quarto and of the Shakespeare Society's edition. 
 I am inclined, however, to think that Mr. Dilke is undoubtedly right 
 
148 The Royall King and the Loyall Subject. 
 
 in reading 'scald,' both from the nature of the Clown's reply, and 
 from the fact that Bawd has already threatened the Captain and his 
 servant to 'wash them hence with hot scalding water,' when the Clown 
 makes a similar play upon the word. I have not ventured, indeed, to 
 adopt the emendation: but any reader who is convinced of its necessity 
 can easily alter the o into a with his pen. 
 
 As an instance of the looseness and inaccuracy of previous reprints 
 of Heywood's plays, I may mention that in the passage cited above, 
 Dilke prints, 'Will you out of my doors,' and Collier, 'Will you 
 get out of my doors;' the latter omitting one and the former two 
 words of the text." This note is the only original critical matter 
 contributed to the comment on the play by the editor of the Pearson 
 edition. 
 
 353. Bruitists. Those who regard or treat men as brutes. "The 
 bruitists who prefer the Bruits, yea, the wildest, before men." Baxter 
 Catholic Commonwealth, Preface. 
 
 359. Marry fareivell frost. Col.: "This expression is proverbial, and 
 is alluded to in the Merchant of Venice, II. 7, where the Prince of 
 Morocco exclaims — 
 
 ' Cold indeed, and labour lost: 
 
 Then, farewell, heat, and welcome, frost.' 
 
 362. Goe you then. Col.: "The terms 'oars' and 'sculls' were 
 as well understood in Heywood's time as in our own, and the Clown 
 here plays upon them." P. copies. "Oars" equalled going in a private 
 carriage; "sculls," in a hackney coach, or as we might say, in a street- 
 car; the application of the Clown is, then, entirely appropriate. (Prof. 
 Schelling. ) 
 
 395. Spittle. Hospital. Cf. Henry V, II, i, 78: "No; to the spital 
 go." Massinger, Picture, IV, 2. 
 "He is 
 
 A spittle of diseases and indeed 
 More loathsome and infectious." 
 Hospital had a much broader sense in Heywood's time than in our own. 
 
 400. With the French Fly, with the Serpigo dry'd. Col.: "The 
 disease here alluded to was often imputed to the French: respecting 
 the 'dry serpigo,' see Steeven's note to Troilus and Cressida, act II, 
 sc. 3." Cf. Dilke, note on "sarpigo:" "This word is found in the 
 Measure for Measure and Troilus and Cressida of Shakespeare, and is 
 explained by Stevens to be a kind of tetter." 
 
 404-408. Cf. Lyly, Campaspe, Act IV, Sc. I. "Did I not see thee 
 come out of a brothell house? was it not a shame? Diogenes. It was 
 no shame to goe out, but a shame to goe in." 
 
 415. Which did they own our thoughts. The construction is 
 obscure. The meaning may be paraphrased thus: Many, who now go 
 
The Royall King and the Loyall Subject. 149 
 
 ragged, would change, to shine as we shall, if their thoughts (i. e., 
 opinions) were like ours. 
 
 416. Though you think it strange. A reference to the Cap's real 
 wealth and intended for the audience. 
 
 429. Leave me and leave me ever. The Cap. evidently means that 
 if Cock leaves him now, he may not return to his service. 
 
 422. Think the Plagues cross. Dilke: "In the Ordinances of 
 Elizabeth reprinted by King James in 1603, relating to the plague, it 
 is directed that 'some speciall marke shall be made and fixed to the 
 doores of infected houses, and where such houses shall be innes or 
 ale-houses, the signes shall be taken downe for the time of the restraint 
 (i. e., six weeks) and some crosse or other marke set upon the place 
 thereof, to be a token of the sicknesse.' " Col. : "The placing of a cross 
 upon the doors of houses, the inhabitants of which were infected with 
 the plague, is alluded to by various old writers : it was often accom- 
 panied with the words, 'Lord, have mercy upon us,' " P. copies. See 
 further, Nash's poem, "Death's Summons," and Professor Schelling's 
 note upon it, in Elizabethan Lyrics, p. 52, 235. 
 
 432. I am sure there was never man yet. Dilke: "The bawd 
 may be more correct in this than she imagined. In those times of 
 dreadful mortality, when persons not infrequently expired without 
 assistance in the streets, 'Lord have mercy upon us,' was naturally 
 enough in the mouths of every one of the dying persons, and of those 
 who accidentally approached them. When the Captain tells Cock that 
 the Plague's cross is set upon the house he had just quitted, the latter 
 says, 'Then Lord have mercy upon us! where have we been?' And the 
 Bawd alludes here only to the Captain's charge." 
 
 434. Nay will you goef Col. "This scene is extremely gross, 
 but it shows the manners of the time; and it is not so much so as many 
 portions of Beaumont and Fletcher's plays, and those of other drama- 
 tists, which do not convey a moral so admirable and forcible. Heywood's 
 laudable object was to disgust, not to excite." P. copies with a few 
 changes. 
 
 462. And spite opposure. i. e., opposition. Cf. Heywood, Golden 
 Age, III, "Wee'l stand their fierce opposure." Chapman, Odyss. xi, 127 : 
 "Neptune still will his opposure try." 
 
 487. As knowing one. The Queen's praise of her sister is quite 
 in the sonnet vein, with all the conventional hyperbole. The lyric 
 quality is enhanced by the couplet form of the entire speech. 
 
 504. He keeps her. The Queen exaggerates to annoy the King, 
 as if she knew the Martiall's plan of which she is supposed to be 
 ignorant. Here again, Heywood is too close to his source. 
 
 523. His tother daughter. "Tother" is colloquial for "the other," 
 and even for "other." Cf. IV, 207. 
 
150 The Roy all King and the hoy all Subject. 
 
 Act IV. 
 
 3. / see the King. These speeches between the Martiall and 
 Katherine are so placed as to heighten the effect of the catastrophe 
 about to come upon them, as the audience knows. Cf. act II, 380. 
 
 5. To queen my child. Apparently a unique use of the verb in 
 the sense of "to make queen." The New Eng. Diet, gives no example 
 earlier than the nineteenth century. For the common use see above II, 
 133: "And rather than to Queene it where I hate, Begge where I love." 
 
 36. Opposite. Cf. I, 15. 2 Henry VI, III, ii, 251: "Free from 
 a stubborn opposite intent." 
 
 38. More tempest towards. "Towards" is accented on the first 
 syllable. Cf. II, 94: "I had need wish you much joy for I see but 
 a little towards." In both cases, the word is clearly equivalent to 
 "in prospect." 
 
 41. Royall life. This exaggerated adjective corresponds with the 
 Martiall's use of "we." 
 
 51-52. Mar. We should expect a couplet here, were Heywood's 
 use of rime nearly so consistent as that of Shakespeare. 
 
 133-134. It is my purpose. The Martiall's declaration rather 
 detracts from his attitude as a faithful servant suffering under 
 injustice. 
 
 137. Feare. i. e., frighten. Cf. 3 Henry VI, V, ii, 2: "Warwicke 
 was a Bugge that fear'd us all." A comparatively common use in 
 Shakespeare. 
 
 169. God-a-mercy horse. Col. "A proverbial exclamation. See 
 'Tarlton's Jests,' printed by the Shakespeare Society in 1844, p. 23." 
 P. copies. 
 
 180. The end of the Towne. Cf. 1 Henry IV, V, iii, 37: "And 
 they are for the town's end, to beg during life." 
 
 195. At some out end of the Citty. Dilke: "The Clown had 
 before recommended them to betake themselves 'to the end of the town,' 
 and Falstaff tells us that the three of his ragged company who were 
 left at the battle of Shrewsbury, were for the town's end to beg during 
 life." 
 
 191, 197. Compare Lyly, Campaspe. Act III, Sc. 4. "Diog. He 
 made thee a beggar, that first gave thee any thing." 
 
 208. No congie then. Congie, a ceremonious dismissal and leave- 
 taking. Cf. Marston, Scourge of Villanie, III, xi, 234: "I take a 
 solemn congie of this fustie world." With slightly different meaning, 
 Marlowe, Edward II, V, iv: "With a lowly conge to the ground, The 
 proudest lords salute me as I passe." 
 
The Roy all King and the Loyall Subject. 151 
 
 224. Silken Unkle. Cf. II, 328, King John, V, i, 70: 
 "Shall a beardless boy 
 
 A cockered silken wanton, brave our fields, 
 And flesh his spirit in a warlike soil?" 
 
 245. Onely thy heart, i. e., "thy heart alone." 
 
 338. You shall my Lord. There is a loss of connection between 
 these words and those that they are supposed to answer. A half-line 
 may have been omitted in the printing. 
 
 364. Compleate. The word expresses high praise. Shakespeare 
 uses it in several significations, but: oftenest, perhaps, to mean "perfect," 
 as here. Cf. LLL. I, i, 137: "A maid of grace and complete majesty." 
 I, ii, 47: "A complete man." Cf. above III, 139: "A more compleate 
 Virgin." The accent, as in these examples, regularly falls on the first 
 syllable when the word precedes a noun, on the last, when it is used 
 as predicate. 
 
 394. This must not hold. Col.: "From the number of rhyming 
 lines in this play, we may perhaps suspect an error here, and that 
 Hey wood intended a couplet: 
 
 'This must not hold: prevention out of hand: 
 For if the Marshal rise, not long we stand.' 
 Possibly, however, the poet purposely meant to avoid the jingle: the 
 same remark Avill apply to what immediately follows between Clinton 
 and Chester: 
 
 'Our wits must then to work — of force they must: 
 This is not that to which our fortunes trust.' 
 
 In printing the play, in 1637, the author may have introduced the 
 change, in order to give it a more modern appearance, and to expunge 
 rhymes which, at the time the drama was originally acted, were 
 acceptable." P. copies. See above. 
 
 408. Happily. For "haply," as often. 
 
 437. Force perforce. See II, 449. Cf. 2 Henry TV, IV, i, 116; 
 "Was force perforce compelled to banish him.", also IV, iv, 46. Col.: 
 "An expression hardly requiring a note, since it frequently occurs in 
 Shakespeare." Gives the above references. P. copies. 
 
 465. What have toe here? The King opens the cradle. 
 
 497. Gee't o're. This contraction is used again in 531. For "give 
 over," Cf. M or M., II, ii, 43. "Give it not over so." 
 
 507. ff. Thy King, etc. This ringing of the changes on the 
 complex relationships so recently established seems to us unpoetical 
 and undignified. The poet, however, evidently enjoyed it, for, see act 
 V, 359 ff., for an even more tedious rehearsal. 
 
 519. To stay. i. e., To wait for another chance to wed, or, to stay 
 maids. 
 
 526. Cock. Cock acts as "Epilogue" to this act. Were it not for 
 
152 The Roy all King and the Loyall Subject. 
 
 the version of Painter, we might almost think the play had originally 
 ended with this scene, and that act V was tacked on as an afterthought, 
 so slight is its logical and dramatic connection with what precedes. 
 
 535. Bandileero. Dilke: "The bandileer was a leathern belt 
 worn by the musketeers over the left shoulder, to which was suspended 
 a bullet bag, a primer, a priming-wire, and ten or twelve small boxes 
 each containing a charge of powder." P. copies. 
 
 538. Pickadevant. Dilke: "This expression is found in the 
 'Midas' of Lyly and seems to have been the affected term for the beard 
 when so dressed as to taper to a point, or what the courtly barber 
 there calls a bodken beard." The reference is to the Midas, V, 2, 
 (Nares) : "And here I vow by my concealed beard, if ever it chance 
 
 to be discovered to the world, that it may make a pike-devant — I will 
 have it so sharp pointed that it shall slap Motto like a poynado." P. 
 copies. 
 
 539. Provant. Col.: i. e., our provision — what was provided 
 for soldiers in the way of food, and sometimes clothing and arms : thus 
 in old authors, we read of 'provant breeches' and 'provant swords.'" 
 P. copies. Cf. Fletcher, Love's Cure, II, i, "I say unto thee one pease 
 was a soldier's provant a whole day, at the destruction of Jerusalem." 
 
 Act V. 
 
 16. Basses. Bases. The metaphor is from architecture, yet confused 
 with the idea of tree or plant growth. Cf. Shakespeare, Sonnets, 
 125, 3 : "Laid great bases for eternity." 
 
 31. Doth our sports distaste you. It is rarer to find a singular 
 verb with a plural subject, than such an instance as that in II, 488. 
 
 35. My Lord, you take his place. We may conjecture that this 
 was addressed to Chester, who has so often taken the Martiall's place 
 elsewhere. 
 
 57. It quakes my body. A rather rare use. Cf. Heywood London's 
 Peace Established, Works, V, 372: "Cannon quaking the bellowing 
 Ayres." Coriolanus, I, ix. 6; "Where ladies shall be frighted, and 
 gladly quaked, hear more." 
 
 115. Enter Clinton. This is the only stage-direction in the play 
 in which the place of the action is indicated — and here it hardly seems 
 correct. Chester's study seems a strange place for the meeting of the 
 Prince and Princess Katherine, after their morning stroll; and a still 
 stranger for the establishment of a court of justice, yet the scene is 
 continuous. 
 
 161. Merchandize. Cf. Shakespeare, Sonn. 102, 3. "That love is 
 merchandized whose rich esteeming The owner's tongue doth publish 
 everywhere." 
 
The Boy all King and the Loyall Subject. 153 
 
 163. Force us sell her. Common Elizabethan omission of the 
 infinitive particle, to. 
 
 167. Shadow. The figures of light and shade are used over and 
 over in relation to the Martiall and his position. Cf. I, 66, 79, 329, 
 ff. V, 125, 231, ff. 
 
 173. Of his contempt and scorn, i. e., for his contempt and scorn. 
 
 175. From his bed. The despotic method of the King in ordering 
 justice is rather oriental than English, and is one of the instances in 
 which Heywood has followed his original too closely, without the 
 necessary adaptation to its new surroundings. Nay, he is more Persian 
 than the Persians, themselves. See Painter, in the Introduction. 
 
 211. A Barre set out. The lines prevent us from considering 
 this a new scene. The "Barre" is "set out" while the King and his 
 retinue remain on the stage. 
 
 216. Daunt our innocence. The MartialPs regal mind again 
 expresses itself in the kingly plural, as in II, 157, 414. 
 
 219. Conster. A common form for "construe" with the accent on 
 the first syllable. Cf. Two Gentlemen of Verona I, ii, 56: "Which they 
 would have the proffer conster ay." 
 
 233. Conferr'd. Dilke: "Compared. The word frequently occurs 
 in this sense in the old writers." 
 
 283. Lord. A verb, of course; Dilke misunderstands it. Cf. 
 2 Henry VI, IV, viii, 47 : "I see them lording it in London streets." 
 
 284. Wive. Cf. Othello, III, iv, 64: "When my fate would have 
 me wive." 
 
 287. That Iudge above you. God, not the King. D. reads "judge." 
 
 293. Score you on. i. e., "run into debt as much as you will." Cf. 
 Heywood, Fair Maid of the West, ed. Pearson, II, 275: "It is the com- 
 monest thing that can be for these Captaines to score and to score, 
 but when the scores are to be paid non est inventus." See above, III. 
 338. 
 
 298. The great Sophy. Shah of Persia. Cf. Painter, in the 
 Introduction, for the story. 
 
 301. Leaves. The subject is omitted: "she leaves her first game." 
 
 308. Made him no less. Somewhat obscure; probably: "the 
 Emperor made himself no less than peerless," by his action in the 
 matter. Dilke changes "him" to "her," and so refers the pronoun to 
 the bird; but this is not necessary. 
 
 321. Hospitall. Col. "Hospital for hospitable." — an ordinary con- 
 traction. 
 
 327. Irrevocable. Cf. the King's promise in the first scene, I 
 32-36, and his final action in revoking this "irrevocable" sentence. 
 
 332. Grant me hut a grave. Cf. Rich. II, III, jii, 153: "I'll 
 give" — "My large kingdom for a little grave, A little, little grave, an 
 obscure grave." 
 
154 The Roy all King and the Loyall Subject. 
 
 352. The next I give, it is my Soule to Heaven. The ordinary 
 conclusion of the wills of the day. 
 
 359. Heare me, etc. Dilke: "Our poet (or his auditory) seems 
 to have been much pleased with these riddling distinctions, if we may 
 be allowed to judge by the various forms in which the same idea is 
 introduced and repeated. The passage may remind the reader of the 
 riddle in Pericles; but, on the whole, it seems to have been better 
 calculated for publication in the Lady's Diary than for so serious a 
 scene as the present was intended to be." 
 
 382. A Traytor's he. It is really difficult to decide whether the 
 King has been waiting for this moment through the year of the 
 Martiall's trials, or whether he actually turns a mental summersault 
 and reverses his opinions in the twinkling of an eye. The Emperor's 
 attitude in the story is better motived. Heywood's difficulty arises, 
 at least in part, from too hasty abridgement of the action in the final 
 scenes. 
 
 395. Confine it hence. Col.: "This use of the word 'confine' 
 is peculiar." I do not find it particularly so; it is a fairly common 
 Elizabethan equivalent for "banish." Cf . Heywood Gunaikeion, IV, 207 : 
 "Alcippus intended to abrogate — their laws, for which he was confine! 
 from Sparta." Hamlet, III, i, 194: "To England send him, or confine 
 him where your wisdom best shall think." Dilke: "It ( the word 
 confine) occurs in the same sense in Appius and Virginia." Webster's 
 Appius and Virginia, V, iii; Hazlitt's Webster, Vol. Ill, p. 221. 
 "Redeem a base life with a noble death 
 And through your lust-burnt veins confine your breath." 
 
 The Epilogue to the Reader. Col. : "The Prologue was 'to the Stage.' 
 but this Epilogue was, of course, not recited, but intended as an excuse 
 for the revival of an old play, by the publication of it. Among other 
 points, it refers to the period when rhyme was mainly in request with 
 audiences, and they (sic) are abundantly sprinkled throughout the 
 different scenes." Copied in Pearson, but with the correction of "rhyme 
 was" to "rhymes were." 
 
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