rinss p'i Book ~7WI i'iii:si;.\Ti:i) by / '■; YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor LVI THE CASE IS ALTERED BY BEN JONSON EDITED WITH INTRODUCTION, NOTES, AND GLOSSARY BY WILLIAM EDWARD SELIN, Ph.D. NEW HAVEN: YALE UNIVERSITY PRESS LONDON: HUMPHREY MILFORD OXFORD UNIVERSITY PRESS MDCCCCXVII YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor LVI THE CASE IS ALTERED BY BEN JpNSON EDITED WITH INTRODUCTION, NOTES, AND GLOSSARY BY WILLIAM EDWARD SELIN, Ph.D. A Dissertation presented to the Faculty of the Graduate School of Yale University in Candidacy for the Degree of Doctor of Philosophy NEW HAVEN: YALE UNIVERSITY PRESS LONDON: HUMPHREY MILFORD OXFORD UNIVERSITY PRESS MDCCCCXVII tK t"? Gift PREFACE An edition of The Case is Altered will naturally include a discussion of three subjects — the authorship of the play, its date, and the satire on Anthony Munday. Jonson saw fit to ignore the play when he assembled the others in his folio of 1616, and this fact has left the authorship in some doubt. Why did he reject the play? Was he too critical of its faults, or did some one collaborate with him to such an extent that he could not justly claim it as his? Jon- son's name on the title-page of the quarto signifies nothing, since there are some copies that omit the name, and the uncorrected condition of the text is fair evidence that he had no hand in the printing. Its exact date, likewise, is uncertain. It was first printed in 1609, but there is a clear allusion to it by Nashe as early as 1598. As this was the year when Every Man in his Humour was produced, the question of priority naturally arises. The satire on Anthony Munday complicates the problem of the date, as it gives evidence of being a later addition. Was Meres' designation of Munday as 'our best plotter' a sufficient reason to evoke the satire? Its humorous treatment does not conceal the fact that Jonson seems to have had strong provocation for the attack. Such, in brief, are some of the problems discussed in the Introduction. Other questions will be found to rise out of these, which are not so impor- tant, perhaps, but which are nevertheless full of interest. These too have briefly been considered. My sincere thanks are due to Mr. W. A. White, of New York City, for his generous loan of the quarto of The Case is Altered, and for information about the folios ; to Pro- fessors Richard G. Moulton, John M. Manly, Albert H. iv Preface Tolman, and David A. Robertson, of the University of Chicago, for letters regarding the presentation of The Case is Altered by students of that university; to Professor C. F. Tucker Brooke for points about EHzabethan printing; to Mr. Andrew Keogh, Mr. Henry R. Gruener, Mr. George A. Johnson, and Mr. Henry Ginter, of the Yale Library, for bibliographical aid. To Professor Albert S. Cook I owe a special debt of gratitude for frequent inspiring con- ferences, and for his patient criticism of my work. A portion of the expense of printing this dissertation has been borne by the Modern Language Club of Yale University, from funds placed at its disposal by the gen- erosity of Mr. George E. Dimock, of Elizabeth, New Jersey, a graduate of Yale in the Class of 1874. Yale University, June, 1916. CONTENTS INTRODUCTION A. Editions of the Text I. The Quarto of 1609 . . . vii II. Subsequent Editions ... x B. Authorship of THE CASE IS ALTERED xi C. Date ....... xxix D. The Satire I. Anthony Munday .... xxxv II. Conduct of the Audience . . . xxxix E. Sources ....... xHi F. Evaluation of THE CASE IS ALTERED xlvii TEXT I NOTES 95 GLOSSARY 191 BIBLIOGRAPHY 207 INDEX 212 INTRODUCTION A. Editions of the Text I. The Quarto of 1609 The Case is Altered was published in quarto in 1609. It was not published again, either separately or in any collected edition of Jonson's works, until 1756, when it was included in Whalley's edition. Some^ have insisted that the play appears in the folio of 1692, but no evidence is given that the writer saw the play in any particular copy of this folio. A careful search, extending over a wide field, has failed to show that the play was ever printed in any of the folios of Jonson. The search included the folios in the libraries of the following: Yale University, 1616, 1631-1640, 1640 (2 copies), 1692; Professor Wilham Lyon Phelps (Yale), 1616, 1640 (2 copies), 1692; Professor John Milton Ber- dan (Yale), 1640, another issue (undated) ; Elizabethan Qub (Yale), 1616; Boston Athenaeum, 1631-1640; Colum- bia University, 1640-1641 (2 vols.) ; Cornell University, 1616; Professor Joseph Q. Adams (Cornell), 1616, 1640; Harvard University, 1616-1641 (2 vols.) ; Peabody Insti- tute, 1616-1641 (2 vols.) ; Princeton University, 1640 (2 vols.) ; George D. Smith (bookseller. New York City), 1692; University of Chicago, 1616; University of Penn- sylvania, 1616, 1640; Mr. William A. White, New York City, 1616, 1640, 1692. In a letter to Dr. George B. Ten- nant,^ dated November 9, 1906, Mr. W. W. Greg writes, in part, as follows: 'To the best of my belief (and I have ^ Hazlitt, Bibliographical Collections, Second Series, 1882, p. 320; Diet. Nat. Biog. (s. v. Jonson) ; cf. Hart (ed. Wks. i. xxviii). ^Ed. New Inn {Yale Studies 34. iv). viii Introduction examined a good many copies of every edition), The Case is Altered was never printed in folio at all.' Mr. Horace Hart, Controller of the Oxford University Press, under the date of January 8, 1912, writes: 'The Case is Altered does not appear in the folio edition of 1692 in the Bodleian Library.' In preparing the present edition, five copies of the quarto were used. Four were photographic facsimiles, and the fifth was an original copy kindly lent by Mr. W. A. White of New York City. Of the texts that were photographed, one is in the Bodleian Library at Oxford (B), two are in the British Museum (Mi, M2), and the fourth was in the library of the Duke of Devonshire (D). The copies have been carefully collated, and all differences in spelling and punctuation have been recorded in the footnotes. There are noticeable differences in the title-pages. The arrange- ment and reading of one (Mi) are, in several respects, unlike the others. The latter are identical, except that one (D) lacks Jonson's name. Reproductions of the title-pages, showing these variations, will be found on pages 3, 5, and 7. Both copies in the British Museum (Mi, M2) lack the last page, and in each the last line of the page preceding has apparently been excised. The text of the present edition is a faithful reproduction of Mr. White's copy. It is one of the more corrected copies, and has the obvious advantage of being an orig- inal quarto. An edition such as this is intended for the general student, whose work is not of such a character as to demand the original text, but who would find a repro- duction of it of great value, especially since the quarto is not so easy of access. No alterations, therefore, have been made in spelling or punctuation, even when these are obvi- ously incorrect. The quarto does not have the acts and scenes indicated throughout the play. Where these cease, an attempt has been made to supply them. There is no pagination in any of the copies. Editions of the Text ix The collation shows that all but the Mi copy, with five exceptions (Antotiy, p. 9; dost, 1.3. 14; lealous, 2.4.63; Lordship, 2.6.30; come, 2.7.1 17), agree in their readings as far as the end of Act 4, scene 6. The Mi copy differs from the others in twenty-three readings. The collation shows also that all copies but B, with four exceptions (thee, 4.6.1 ; kinsman, 4.7.71 ; sences, smels, 4.7.133), agree from Act 4, scene 7, to the end of the play. The B copy has twenty-two variations. In both parts of the quarto, where the four copies agree, the readings are, in the main, prefer- able. It will be seen then that D, M2, and Mr. White's copy, while they still retain many errors, are at least more free from them than Mi and B, and that attempts at cor- rection were made while the play was in process of being printed. Whoever it was that took the initiative in having the play published, whether it was the theatrical manage- ment of the Blackfriars, as Mr. White is inclined to believe, or whether it was the printers themselves, it is rea- sonably certain that Jonson had no hand in the printing. The correction was never finished, and such as there is does not give evidence of Jonson's painstaking hand. The play seems to have been hurriedly issued. Aside from errors in spelling and punctuation which still remain, the abrupt ending to the division of acts and scenes, and the large portions of Act 5 which are clearly intended to be read as verse, and are not tlius arranged, tend to confirm this view. However the copies of the quarto, which have been col- lated, may differ, whether in title-page or text, or whether Jonson's name appears on the former or not, it is evident that the same form was used to print all of them. The texts are identical in their irregularities of spacing and alignment, in instances where the letters have been slightly damaged or worn, and in numerous places that show typo- graphical errors. The following are a few examples of the last: n for in, 2.4.17; frick for trick, 2.7. 131 ; mothelry X Introduction for motherly, 4.2.58; the omission of Juniper before the speech, 4.7.148; the inversion of m in mad, 4.7.163; a to priest for to a priest, 5.4.12. Others will be found in the footnotes. The footnotes have been limited to the textual variants of the five copies of the quarto, to Gifford's added stage- directions, and to such corrections or alterations made by Whalley and Gifford as seemed of value. II. Subsequent Editions After the quarto of 1609, the next appearance of The Case is Altered was in Peter Whalley's edition of Jonson's works, published in 1756. Credit should be given to Whal- ley for including this play, and for tracing some of its sources. He retained the arrangement of the acts, scenes, and stage-directions of the quarto. He made a practice of retaining the name of the Deity in oaths, such as God's lid, I.I.I 5; also / (ay), 1.1.40; and contracted words: you're, 1. 1. 31; is't, 1.2.10. Though he altered and corrected the spelling, he sometimes allowed misspelled words to remain : lothes, 1.4.34; dow, 5.5.200. The corrupted French in Act 4, scene 3, he wisely left untouched. Metrical lines, not properly arranged, were to some extent corrected. Where the quarto has the modern spelling, Whalley has cheared, 3.4.46; dunghil, 3.5.15. In past participles, he usually wrote try'd for tri'd, 1.4.33; ^Pj'd for spide, 2.6.39. ^^ some instances, words were altered : outer for outward, 1.4. 13; oft-times for oftentimes, 1.5.69; words were inserted: all this for this, 1.2.17; you'll for you, 4.7.31; words were omitted: go for go to, 1.1.121 ; his for and his, 4.2.35 ; words were displaced by others : as for but, 1.5. 214; fear for see, 1.5.249. In one place he altered the reading, compressing two speeches into one (4.3.62-3) : 'Oni. Mon- sieur Pacue.' In another, he omitted the first part of a speech (5.1.41): 'Ang. Do, good foole, do, but ile not meet you there.' It will be seen that many of Whalley's Authorship xi alterations are unnecessary, and are by no means an improvement over the quarto readings. William Gifford included the play in his edition of Jon- son, published in 1816. His emendations and notes are better and more thorough than Whalley's, and he supplied additional notes on the sources. He revised the stage- directions and the division of acts and scenes. Many lines were rearranged to show the verse-structure. In the case of oaths he has Lord for God, 1.4.59; Od's for God's, 1. 1. 1 5. He wrote Ay for I, 1.1.40; an for & or and, 1.1.96,100; them or 'em for hem, 1.1.95; 4.7.29. Contracted words were expanded: you are for yoiir, 1.1.31 ; is it for ist, 1. 2.10; forced for forct, 1.2.20; but sometimes look'd for lookt, 1.3.5; ^^d enamour'd for enamored, 1.1.30. Occasionally the expansion is at the expense of metre : to insinuate, 1.4.32; the abundance, 1.4.35. Words were altered: does for do, 1.5.35; burthen for burden, 4.5.52; words were inserted, usually for metrical reasons : looks aghast for lookes, 1.5.256; my before faire f ether ed, 5.1.90; words were omitted : is for is truly, i . i .66 ; pray for pray God, 2.2.49-50; words were displaced by others: our for your, 1.3. 12; coying for wooing, 5.1.7. In numerous instances he followed the emendations made by Whalley. Cunningham, in the notes to his reprint (1875) of Gififord's edition, justly finds fault with many of Gififord's alterations. B. Authorship of THE CASE IS ALTERED It is well known that The Case is Altered has not so clear a title to Jonson's authorship as the other plays. It was neither included by him in the collected editions of his works, nor was it, so far as we know, ever referred to as his, either by himself or by his contemporaries. Some copies of the quarto have Jonson's name on the title-page, but the value of this is offset by the fact that there are other copies of the same edition that have no name. The uncer- xii Introduction tainty caused by this is not lessened when it is considered that, as a romantic comedy, the play differs from his other plays, and that the variety of plots, and the treatment of the dramatic unities, would seem to be contrary to Jonson's classical ideals and practice. However, the consensus of opinion has been that the play bears the stamp of his hand, and it is therefore usually referred to as his. Before entering upon a discussion of the internal evi- dences of authorship, a few of the questions naturally raised will be briefly considered. If Jonson wrote The Case is Altered, why was it neither acknowledged nor included by him in his works? It has been suggested^ that a possible reason for this was that he had a collaborator whose part was important enough not to be overlooked. Had there been a collaborator — and this seems doubtful — it would not have prevented him from at least allowing the association to be indicated, as, for example, was the case with Eastward Hoe. That Jonson at first was not averse to having his name appear as collaborating with others, there is additional proof from entries in Henslowe's Diary.^ On the other hand, it is possible that he may have collaborated in the present play, and that he refused to have his name appear because he thought that the practice was not credit- able to him. A better reason for ignoring the play, and one more in accord with what we ■'know of Jonson, is that he believed it did not represent his best work. He was not interested in its type, and, as a whole, it did not conform to his ideals of classical unity.^ However skilfully they were interwoven, he must have felt that the presence of two, if not three, major plots and numerous sub-plots, and of several characters more or less undeveloped, dis- credited him as an artist. There were also the time-element and the Balladino incident to disturb its unity. Whether ^ Castelain, p. 207; cf. Swinburne, p. 11. ^Ed. Greg i. 49, 51, 63, 64. * Castelain, p. 207. Authorship xiii he regarded the play as an experiment, or as the crude work of a novice, it is evident that the result did not suit him. Jonson's theories as to the unities of time and action, and his treatment of them in the present play, will be considered more fully under Evaluation. Why some copies of the quarto bear Jonson's name, and others do not, has been a matter of conjecture. Fleay* believed that his name was inserted in later copies. Swin- burne's^ view was that the play was printed without Jon- son's sanction, and that he took measures to stop its circulation. Referring to a newspaper clipping possessed by Dyce, in which it was stated that the title-page of the Devonshire copy gave clear evidence of having had the name canceled, Cunningham** says that if this had been the case, some mention of the circumstance would have been made in the conversations with Drummond. From a comparison of the copies of the quarto which have been used for the present edition, the conclusion seems warranted that the first copies had Jonson's name, and that later, for unknown reasons, probably at Jonson's demand, the name was canceled. This conclusion is based, first, on the degree of correction evident in the texts, and, secondly, on a comparison of the title-pages. Assuming that the texts showing the greater number of typographical errors were the first to come from the press, the choice falls on B and Mi, each of which bears Jonson's name, and both show numerous errors that were corrected in D, M2, and White. Of the two. Mi seems to have been the first to be printed. The errors are found in the first two-thirds of the play, and these have been corrected in B and the other copies. The peculiar arrangement of the title-page of Mi would seem to indicate that it was prepared for an advance issue. The prominence of Jonson's name is especially * Drama i. 357. ° Ben Jonson, p. 9 ; cf . Castelain, p. 193, note. ' Works 6. 510. xiv Introduction noticeable. It heads the printed matter, and its type is so much larger than the rest that the name is featured rather than the title of the play, a device which an enterprising publisher would naturally adopt to ensure a ready sale on its first appearance. Upon comparing the title-pages, there is additional evi- dence that Jonson's name was on the original form, and was later removed. Four title-pages (B, M2, D, White) are identical, except that Jonson's name is omitted on D. Compare D and B, for example, and notice the spacing of each, with a view to deciding which arrangement is the more properly balanced. It will be seen that B has the appearance of a normally arranged page, with no indication of crowding, as if the name had been a later insertion. In D, on the other hand, there is an apparent gap between the line above the device and the words 'children of the Black-friers,' and the page would seem better balanced, either if the words, 'As . . . Black-friers,' had been a little lower, or if the device and the line above it had been raised. The inference that the name was removed from D, and not inserted in B, is strengthened when it is noticed that the same form was used to print both. The spacing between letters, words, and lines is identical, the r in 'sundry' is inverted in both, and the same indications of wear are seen in individual types, especially in A and C of the initial line. It seems improbable that a name of such weight as Jon- son's possessed at this time would be removed through the initiative of the publisher. Jonson consistently avoided mentioning or claiming the play, and, if he gave the order that caused the removal of his name, this would conform to the attitude he seems to have assumed, tliat he had no further interest in the play, and did not wish his name associated with it. Why did Jonson write a romantic comedy, and why did he leave this type for satiric comedy? It was a period Authorship xv when romantic comedy was being written. Quite possibly Shakespeare's'^ success in this field had some influence. Greene,* Munday,® and Dekker/** had written or were writ- ing plays of this type. Being a young writer, it would be natural for Jonson to be experimenting with what was meeting with popular favor. Aside from the tendency which his youth would have in determining the choice, his mate- rial would easily lend itself to such treatment. In the Aulularia, Phaedria, the prototype of Rachel, takes no part in the action. The possibilities here for greater dramatic effect were doubtless clear to Jonson. The choice, on the other hand, may have been influenced by Henslowe, who, with a view to meet the popular demand, requested a romantic comedy. To have produced a play of a kind in which he had no choice, would in a measure help to explain his silence regarding it. The chief reason why he abandoned romantic comedy is probably that he was not interested in it. Evidence of this can be seen in the present play. It is granted that, in Rachel, Jonson has given us his only real and lovable feminine character.^^ But the farcical situations that concern Juniper, Jaques, and Onion, are worked out more carefully, and apparently with greater interest. As we know from his other works, it was in this field that his greatest strength lay. In this connection, Dryden writes^^ : 'You seldom find him making love in any of his scenes, or endeavouring to move the passions; his genius was too sullen and saturnine to do it gracefully, especially when he knew he came after those who had performed both to such an height. Humor was his proper sphere.' As an addi- ' Two G. of v., Com. of E., L. L. L., M. of V., M. N. D. * Friar Bacon, James IV. ^ John a Kent, Downfall. ^'' Shoemaker's Holiday. " Castelain, p. 199; Schelling i. 389. "Essay of Dramatic Poesy (ed. Saintsbury 15. 347). xvi Introduction tional reason, it is possible that circumstances influenced his course. In the years that followed, we know that, during a part of the time, he was involved in the quarreP^ with Marston, Dekker, and others, and romantic comedy was not suitable for his purpose, had he preferred it. When the quar- rel is ended, he tells us he intends to turn to tragedy." How- ever, after the appearance of Sejanus, he returns to comedy — not the comedy of The Case is Altered, but that in which he had found his greatest strength, satiric comedy. With no definite external evidence to support Jonson's authorship of The Case is Altered, it remains to seek this evidence from internal sources. That the value of this is often only apparent, rather than convincing, is fully under- stood. But an author with an individuality as marked as Jonson's must have left some proofs of his personality in his works, which would be easily recognized. In the fol- lowing pages, an attempt will be made to present such proofs. Only the most prominent characteristics have been selected from his works, and tliese will then be applied to the present play in the form of tests. The tests have been limited to five — parallel passages, diction, characters, situa- tions, and prosody. The works of contemporary drama- tists^^ were constantly kept in mind, and material was often rejected when it was found to be common to these with Jonson. The examples supplied are not asserted to be exhaustive, but enough of them have been secured to show the value of the test. In some cases, references have been included which may seem of doubtful value, but it seemed wiser to include them than to risk a possible loss by omitting them. The parallel passages will be found in their proper places in the notes. They have been placed first in the note, ^^Cf. Small, Stage-Quarrel. "Poetaster 2. 520. ^° Especially Shakespeare, Chapman, Dekker, Marston, Middleton, Heywood, and Chettle. Authorship xvii except where quotations are made from the sources. Only one set of parallel passages will be noticed here, and that is in reference to 2. 7. 81-8. The passage from Every Man Out will be seen to have been quoted almost verbatim, a practice^^ that Jonson often follows in his other works. Jonson's vocabulary is not so distinctive as may be sup- posed. Cunningham^^ speaks of his fondness for 'harrot', but the word is used only twice outside of the present play. Gifford^^ refers to his use of 'maker' for poet, in the Greek sense.^^ But this usage is fairly common among Eliza- bethan writers, and the extent to which it was adopted by Jonson is perhaps not sufficient to be regarded as charac- teristic. However, it has been thought best to include the word. Only the verb^° appears here. The words 'circle'^^ and 'sphere'-^ are common ; 'case'^^ (pair) and 'sort'^* " Cf. 2. 7. 83, note. "E. M. I. I. 179, 27; E. M. O. 2. 96. " E. M. O. 2. 109. ^^ Discov. 9. 212. '"i. I. 99; E. M. I. I. 100, Act 5, sc. I (first ed.) ; E. M. O. 2. 26, 109; C. R. 2. 210, 291; Poet. 2. 2,77, 408, 423, 435, 496, 510; Volp. 3. i6s; Epi. 3. 331, 332, 365; B. F. 4. 339, 347; 5". N. 5. ISS, I57, 187, 204, 255, 270, 291; N. I. 5. 411; M. L. 6. 15; Tub 6. 219; Mq. of Chr. 7. 260; /. Jones 8. no; Pembroke 8. 143; /. Donne 8. 200; Ep. 112 8. 216; Underw. 8. 338, 356; Discov. 9. 217. " I. 5. 176; 4. 2. 19; 5. I. 84; 5. 4. 64; 5. 5. 260; E. M. I. I. 25; E. M. O. 2. 21, 82 ; C. R. 2. 294, 345 ; Poet. 2. 467 ; Sej. 3. 49 ; Volp. 3. 219; Epi. 3. 416; Alch. 4. 98, loi; Catil. 4. 193; B. F. 4. 458, 459(5) ; D. A. 5. 18, 24, 30, 125; N. I. 5. 314, 341, Z7Z; M. L. 6. 9, 58, 99; 5". 5. 6. 284; Mq. Blackness 7. 10; Mq. Hymen 7. 54, 64; Barriers 7- 77, 78; Hue and Cry 7. 96; Time Vindic. 8. 19; F. Isles 8. 65 ; Mq. Love's Tr. 8. 89, 90 ; Mq. Love's Welc. 8. 1 19, 133 ; Ep. 128 8. 228; Forest 8. 261; Underw. 8. 326, 352, 372, 380; 9. 10, 54, 55, 60; Misc. 9. 324, 338. "4. 4. 5; 4. 8. I22(?) ; 5. I. 57; E. M. O. 2. 60; C. R. 2. 215, 223, 340, 342; Poet. 2. 382, 389, 466; Sej. 3. 13; Alch. 4. 79; D. A. 5. 9; S. N. 5. 194; 5. S. 6. 281; K. J. E. 6. 424, 431; Mq. Black- ness 7. 16; Mq. Beauty 7. 37; Mq. Hymen 7. 57, 73; Barriers 7. 78; Hue and Cry 7. 96, 97; P. H. B. 7. 153; Love Freed 7. 193; xviii Introduction (company), to a smaller degree ; and 'humour '-^ occurs more often in the earlier plays. Regarding the last, references will be given only to four plays. It is recognized that 'humour' was often used by other dramatists, Shakespeare especially. He used it twenty-six times in Merry Wives. But compare with this Jonson's total of seventy-seven found in Every Man Out. Sarrazin^^^ has given a pos- sible reason for the frequent use of 'humour' in Merry Wives. He believed that it, with other words, was intended as a sort of burlesque on Jonson's early mode of expression. Words that are purposely misused, both here and in other plays, are significant ; such are : 'ingratitude,'" 'ingenuity,'^* 'legibly,'-^ 'corroborate,'^" 'hieroglyphic,'^^ 'intricate,'^^ Irish Mq. 7. 229; G. Age Restored 7- 254; P- R- 7- 305; P- A. 8. 43; F. Isles 8. 63, 6s; L. T. 8. 90; L. IV. 8. 137; Ep. 94 8. I97; Ep. 130 8. 230; Underw. 9- 23, 38, 55; Misc. 9. 354- "■^2. 3. i; E. M. O. 2. 8, 178; Poet. 2. 496, 498; B. F. 4. 392. "i. 5. 21; E. M. I. I. 31, 95; E. M. 0. 2. 17, 43, 67, 86, 100, 137, 186, 188; C. R. 2. 336; Poet. 2. 385, 430; Tub 6. 148. "-' I. I. 34, 90; I. 2. 14, 15; I. 4- 84; I- 5- 41, 86, 138, 157; 2. 2. 6; 2. 3. 22; 4. 8. 88; 5- I- 67; 5- 2. 83; E. M. I. i. 8, 11, 25, 41, 44, 52, 61, 62, 63, 77, 78(7), 83, 85, 87, 97, 104(3), 113, 121, 140; E. M. O. 2. 6, 15(5), 16(4), 17(2), 18, 26, 28, 29(2), 33(2), 35(2), 36, 44, 48, S0(S), 51(2), 53(3). 54, 60, 61, 72, 77, 87, 89, 90, 99, loi, 107, no, 113, 116, 118, 122(3), 125, 134, 136, 142, 154(3), 155, 157, 158(2), 167, 168, 169, 171, 173, 177, 179, 183, 186, 191, 195, 196, 197, 198; C. R. 2. 231, 235(2), 238, 249, 270, 272, 280, 297, 304, 307, 309, 335, 357(3), 358, 359; Poet. 2. 374, 385, 407, 415, 419, 424, 425, 430, 435, 448(2), 463(2), 480, 493, 512, 519. ^^ Jahrbuch 40. 213-22 ('Nym und Ben Jonson'). "4. 5. 56: E. M. I. I. 91 ('monster of ingratitude' was 'ingrati- tude wretch' in the first edition). -'2. 7. 5: E. M. O. 2. 95, 119-20, 121. "-' 5. 3. 57 : E. M. I. I. 30. '"2. 2. 42: E. M. O. 2. 143. '' I. 2. 7-8: C. R. 2. 233; Poet. 2. 486. "-4. 7. 169: C R. 2. 252. Authorship xix 'aggravate,'^^ 'ambiguous,'^^ 'insinuate,'^^ 'epitaph.'^® Words like 'authentic'^^ (-al, -ally), 'bastinado,'^^ 'decorum,'^^ and 'stinkard,'**^ are of less value; but their recurrence seems frequent enough to deserve notice. Abstract and other nouns*^ are often applied to characters. Two classes of 'strange' words are frequently used. One*- is of a kind which is supposed to be unusual to the ears of the listener, for he usually repeats it as if he were struck by its strange- ness. The other*^ is of a kind which the speaker misuses, and the one addressed, or someone else, gives the correct word. The test was then made for Jonson's use of words of Greek or Latin origin, of three or more syllables.** Proper names, words in common use, such as 'presently' and ^5. 3. 17-8: C. R. 2. 253. ^*5. 5. 211: C. R. 2. 283. ''2. 7. 156: C. R. 2. 29s. '" 2. 7. 9 : C. R. 2. 298. "4. 4. 11: E. M. O. 2. 130; C. R. 2. 228, 317; Poet. 2. 468; Epi. 3. 383; Alch. 4. 7Z; D. A. 5. 57; S. N. 5. 175; Mq. Hymen 7. 53. ''4. 7. 6: E. M. I. I. 35(3), 112, 114, 116; C. R. 2. 257; Poet. 2. 497; Ep. 21 8. 155- ^i. I. 87: C. R. 2. 327(2), 350; Poet. 2. 477; Epi. 3. 390; Alch. 4. 179; B. F. 4. 354; N. I. 5. 329; M. L. 6. 8; H. of Wales 7. 319; Convers. 9. 366, 411. *'2. 7. 61: Poet. 2. 378, 426, 428, 430, 431, 436, 446, 447, 456, 463, 482, 484, 486, 496; Alch. 4. 20, 98; Ep. 133 8. 236. «i. 5- 23, 26: E. M. O. 2. 52, 53(2), 141(2), 143(2), 148(2), 154(2), 155(4), 169, 171(2), 177. 181; C. R. 2. 241(2), 261, 262, 268, 270, 273, 274, 280(4), 281(4), 290(4), 291, 293, 294, 295, 299, 314, 322(2), 347; Po^^2. 375; Catil. 4. 226. *" I. 2. 7-8; I. 5. 91 ; 2. 7. 79; 4. 7. 86-7 : E. M. I. 1. 35 ; E. M. 0. 2. 51; C. R. 2. 216, 227, 269; Poet. 2. 381; D. A. 5. 36; S. N. 5. 165(2), 263; A^ /. 5. 337, 344, 375; M. L. 6. 32; Tub 6. 126, 154, 208. *^2. 2. 52; 4. 7. 190: E. M. I. I. 27, 65, 78, 82; E. M. O. 2. 119- 20; C. R. 2. 270; 5". N. 5. i82; M. L. 6. 20; Tub 6. 131, 163. ■•^Cf. Pierce, Collaboration of Webster and Dekker {Yale Studies Z7)- XX Introduction 'gentleman,' and hig-h-sounding words, misused, and intro- duced merely for purposes of affectation, were disregarded. Compound words, and all other words of more than two syllables, whatever their prefix or suffix, provided their base was derived from a Greek or Latin original, were counted. The play best suited to be compared with The Case is Altered was obviously the first edition of Every Man In. Wherever the pages contained solid lines of prose or verse, an average count was made. Where the lines were broken, the words were counted. To get the percentage of poly- syllabic words, their number in the play was divided by the total number of words. In The Case is Altered, the total number of words is approximately i8,i6o; polysyllables, 482; percentage of the latter, .0265. For Every Man In, the total is approximately 25,036 ; polysyllables, 623 ; per- centage, .0248. To have a better basis on which to judge these results, one act from a play of three contemporary dramatists was analyzed. Because it was longer than the first, the second act of Shakespeare's Tzvo Gentlemen of Verona was chosen. The results were: total number of words, 4,920; polysyllables, 109; percentage, .0221. The first act of Dekker's Shoemaker's Holiday gave : total num- ber of words, 2,012; polysyllables, 46; percentage, .0228. The first act of Chapman's All Fools gave : total number of words, 4,554; polysyllables, 150; percentage, .0329. The search was not inclusive enough to determine the exact percentage characteristic of each author, and the results are therefore suggestive, rather than conclusive. They will at least tend to show that the author of The Case is Altered and the author of Every Man In were not influenced to any great extent by unusual words of classical origin, but used the same moderation in their selection as was said to be the case in Jonson's selection of words in general. The characters in The Case is Altered that seem remin- iscent of Jonson are, of course. Juniper, Onion, and Jaques, and, to a smaller degree, Count Ferneze and Maximilian, Authorship xxi In the present play, Juniper and Onion are usually asso- ciated, the latter acting as a sort of foil to the former. Turning to the other plays, the dialogue between Cob*^ and Mathew, and Cob and Cash, strongly resemble those of the above pair. We find the same fluency and extravagance of language, the same nimble repartee, and a like recourse to puns and proverbs. Notice especially the words *har- rot,'*^ 'smell,'*^ 'legiblest,'*^ 'humour,'*^ 'ten thousand thou- sand of my kin' f^ the reference to the 'brazen head,'^^ and to plays f- the misuse of, and the punning on, words f^ and the meaningless quoting of proverbs.^* There is a remi- niscence of the two, again, in the characters of Clove^^ and Orange. Tucca's^** character may not resemble Juni- per's, but his extravagant language frequently does. Fur- ther evidence of this trait of Juniper's will be found in Shift,^''^ Moria,^^ Amorphus,^^ Crispinus,"'' Luscus,®^ and Hilts.«2 The suspicious nature exhibited by Jaques is character- istic of Kitely.*'^ As in the case of the former, his house ''E. M. I. I. 26-30; I. 77-80. *«4. 7. 189. "4. 7. 45. *' 5. 3. 57. ^ I. 2. 15. 'U. 3. 15-6. "4. 3. 82-3. '' r. I. 88 ff. ; 2. 7. 28 ff. ^Esp. 2. 2. 1-S4; 2. 7. 1-158; 4. 5. 1-64; 4. 7. 1-198; 5. 3. 1-103. '' I. I. 21 ; I. 3. 43; 4. 5. 28; 4. 7. 142-3, 160-8; 5. 3. 48. '' E. M. O. 2. 88-96. '"Poet. 2. 378, 382, 384-5, 428-9, 433, 446. ^^ E. M. O. 2. 102-3, 140, 143. '" C. R. 2. 252-4, 281-2, 29s, 298. '" C. R. 2. 283. '" Poet. 2. 408. ^^Poet. 2. 374-5. "' Tub 6. 145-6. •^2. I. 1-65; 3. 2. 1-52; 3. 3. 1-50; 4. 7. 62 ff. : E. M. I. I. 40-6, 70-2, 76-7, 89-90, 103-5. xxii Introduction is the meeting-place of numerous gallants, who keep him in a state of continual fear of being tricked. Volpone has the same veneration for his money, and addresses his 'saint' in language which is strikingly similar to that of Jaques.®* The sentiments uttered by Sir Moth*'^ are of the same order, and his search for the supposed wealth buried in the garden is a reminiscence, though slight, of the hiding-place of Jaques' money. Some of the intolerance and impatience of Count Ferneze is shown by Justice Clement.®^ His attitude toward Cob, seen in his irritation and language, is not unlike that of the Count toward Onion. Later in the play, another side of his character is revealed, his geniality. This too has its counterpart in Count Ferneze.*"' Another character, without the sense of humor of the Count, but with his traits of impatience and temper greatly magnified, is Morose.^* Both, though beyond middle age, are bent on marriage,^^ and, in both cases, the venture is unsuccessful.'*' The absurdity of such a step on the part of the Count in com- peting with his steward, is turned to ridicule in the case of Morose. In Maximilian'^^ we have the vainglorious type, not so pronounced, to be sure, but sufficiently developed to be classified. On one occasion, in his argument with Count Femeze, he shows himself to be somewhat of a bully, too. Men of this type, met with in Jonson's other plays, are Bobadill,'- Puntarvolo,"^^ Tucca,'^^ and Ironsides. ^^ "2. I. 28-31; 3. 5. 16-26; 4. 7. 134-41: Volp. 3. 166-7. ''M. L.6. 41-3, 97-103. '"i- 5- 1-53; 4- 8. 1-95; 5. 5. 1-22: E. M. I. I. 91-3. "2. 5. 1-24: E. M. I. I. 138-45. ""Epi. 3. 352-61. ^2. 6. 36-50; 3. 3. 1-50: Epi. 3. 371-6. ™3. 4. 18-22, 51-4: Epi. 3. 476. "i. 3- 30-9; 4- I. 1-47; 4. 8. 1-81. ''E. M. I. I. 35-8, 64-5, 1 12-9. "£. M. O. 2. 5 ('Characters'), 129-31, 179-83. ''*Poet. 2. 384-6, 420-39. ■"M. L. 6. 51-3, 65. Authorship xxiii Besides the recurrence of certain types of characters in Jonson's plays, some light may be thrown on the subject of authorship by considering the method he follows in naming them. The custom of naming a character to reflect his personality was common, but the persistent prac- tice of punning on the name seems to have been more common with Jonson. It is true that Shakespeare adopted this plan to some extent, especially in two plays.''® As to his other plays, ^^ only a few have indications of it. Of other leading contemporaries, who were writing about 1598, and who followed this device of naming characters, Mid- dleton'^* may be mentioned ; but he rarely puns on the names. In the case of Chapman,^** Dekker,^" Marston,^^ and Heywood, there is only an occasional play with a name of this kind, and the punning is correspondingly less. A few references have been given to show the nature of the puns, and, approximately, the extent to which the custom was followed. In the case of Jonson,^- it would sometimes seem ''"2 Hen. IV 2. I. 27 (Fang, Snare) ; Pistol: 2. 4. 120, 146; 5. 3. 130 (and Heyi. V 2. i. 55) ; 2 Hen. IV 3. 2. 99, 119, 140, 152, 179, 187 (Silence, Mouldy, Shadow, Wart, Feeble, Bullcalf ) ; M. N. D. I. 2. ID, 66 (Quince, Snug) ; 3. i. 186 ff. (Cobweb, Peaseblossom, Mustardseed) ; 4. i. 221 (Bottom). " Meas. for Meas. 2. i. 48, 59, 214, 228 (Elbow, Froth, Pompey) ; L. L. L. 3. I. 71, 107 (Costard) ; 5. i. 156, 162 (Dull). ''^ Blurt, Master-Constable, Wks. i. 23 (Pilcher) ; Michaelmas Term, Wks. i. 221, 225, 230, 239 (Lethe) ; i. 222 (Falselight) ; i. 259 (Easy); Family of Love, Wks. 3. 41, 42 (Purge, Gudgeon); Chaste Maid, Wks. 5. 27, 91 (Touchwood). "^All Fools, Wks. I. 157 (Pock). ^° Roaring Girl (with Middleton), Wks. 3. 143, 145, 149, 190 (Gos- hawk, Green-wit, Trap-door, Hanger). ^'^ Eastward Hoe (with Jonson and Chapman), Wks. 3. 94, 95 (Quicksilver). ^5- 3- 23 (Juniper) ; Onion: i. i. 97, 156; i. 5. 55-6, 58-9; 2. 7. 104-5; 4- 3- 14-6; 4- 5- 36-7; 4- 7- 70-2, 134, 158; 5. 3- 22; 5. 5- 234: E. M. I. I. 27, 79 (Cob) ; 93 (Bobadill) ; E. M. O. 2. 59, 105 (Fungoso, Whiffe) ; 89 (Orange, Clove) ; C. R. 2. 225, 248 (Amor- phus) ; 234, 248 (Cos); 235, 247 (Prosaites) ; 238, 263 (Hedon) ; 242, 263 (Anaides) ; 250 (Argurion) ; 260 (Crites) ; 295 (Morus) ; xxiv Introduction as if the name were chosen for the opportunities it gave for punning. Dryden^^ has referred to Jonson's frequent practice of describing a character^* before he appears. The same may be said of characters'^ who have appeared for a moment, and retired, or of those who have just entered. Jonson's favorite situations, as they concern the present play, are chiefly those that characterize a prevaihng humor.'^ Of the latter, the more prominent are travel, apparel, her- aldry, tobacco, fencing, and courtship. A mere glance through his early plays will show how frequently and how thoroughly he treats these subjects. One of his characters is made to typify a particular 'humour,' and he contributes an important part to the theme that motivates the play. The Case is Altered is not a study of humors on the same Poet. 2. 483 (Lupus) ; Volp. 3. 176, 182 (Volture, Corbaccio) ; B. F. 4- 361 (Quarlous) ; 362, 368 (Littlewit) ; 366-7 (Waspe) ; 371 (Cokes) ; 389 (Ursula) ; S. N. 5. 193, 212-3 (Wax) ; 199 (Mad- rigal) ; 199-201 (Pecunia) ; N. I. 5. 308, 309 (Heart) ; 316-7 (Ferret) ; 324 (Lovel) ; 333, 354 (Trundle) ; 334-5 (Fly) ; 336 (Tipto) ; 342 (Lsetitia) ; 353-8 (Pierce, Jug, Jordan, Peck); 361 (Bat) ; 382 (Stuff) ; M. L. 6. 14 (Steel) ; 14, 50 (Palate) ; 16, 51 (Compass) ; 17, 44 (Silkworm) ; 18 (Loadstone) ; 19 (Polish) ; 26-7 (Bias) ; 32, 73 (Needle) ; Tub 6. 128 (Tub, Zin) ; 134-5 (Clay); 135 (Turfe) ; 136-7, 179 (Metaphor); 138 (Polecat). ^^ Essay, Dramatic Poesy (Wks. 15. 353, ed. Saintsbury). **l. 3. 30-9 (Maximilian); i. 4. 7-17, 84-9 (Angelo, Count Ferneze) ; E. M. L i. 29-30 (Bobadill) ; 35 (Downright) ; 40-1 (Wellbred) ; 83 (Clement) ; E. M. O. 2. 53-4 (Puntarvolo) ; C. R. 2. 238-40 (Hedon) ; Poet. 2. 375 (Tucca) ; Epi. 3. 337 (Collegiate Ladies) ; 341-3 (Morose) ; 346-7 (Daw) ; 347-8 (La-Foole) ; B. F. 4. 364-5 (Busy) ; 367-8 (Cokes) ; D. A. 5. 36-7 (Meercraft) ; 5. N. 5. 165 ('Emissaries') ; 183-4 (Pecunia) ; N. I. 5. 319-20 (Lady Frampul) ; 334-5 (Fly); M. L. 6. 15 (Rut); 24 (Moth). ^'i. I. 34-8 (Onion): E. M. O. 2. 27-8, 37-8 (Macilente) ; 38-9 (Buffone) ; 51-2 (Fastidious) ; C. R. 2. 242-4 (Anaides) ; 247-9 (Amorphus, Asotus) ; 249-50 (Crites) ; 250-1 (Argurion) ; 252, 253 (Moria, Philautia) ; M. L. 6. 14-5 (Palate) ; 23-4 (Silkworm, Practice); 24-5 (Bias). '' Cf. E. M. O. 2. 16. Authorship xxv scale as are some of Jonson's plays. Here they may be regarded as only sketched. As to travel, Valentine^' is the traveler, and though personally he is not made ridiculous, his appearance usually evokes a thrust at travel. Puntar- volo,^^ Amorphus,^^ and, to a smaller degree, Politick and Peregrine,''" are the best examples of this type. After Juniper and Onion had found Jaques' gold, they decided to be 'sumptuously attired.' Fungoso and Fastidious Brisk represent extremes of this 'humour.'®^ Having decided on apparel, another requisite of a gentleman was a coat-of- arms. The aspirations of Sogliardo^^ in this connection v^ill be remembered. Other instances are to be found in the characters of Cob,^^ Crispinus,^* La-Foole,^^ Piedmantle,^*^ and Pecunia. There is just a passing reference to tobacco in our play, and this is not by a smoker, but by one of the female characters. Sogliardo,^^ Shift, and Fastidious Brisk are notable examples of this reputed accomplishment of a gentleman. References to others,®^ however, are frequent. Fencing is another accomplishment which was extensively ridiculed by Jonson, and Bobadill^'' is the central figure. ''l. 2. 22-34; 2. 7. 34-5, 54-8; 5. 3. 44-6, 86-7. **£. M. O. 2. 5 ('Characters'), 58, 70-1, 105, 129-31. ^ C. R. 2. 226-7, 230-2, 248, 273, 291-2, 319. ^ Volp. 3. 196-202, 259-66. °'4- 7. 181-6; s. 3. 1-103; 5. 5. 205-43: E. M. O. 2. 6. 7 ('Char- acters'), 63-9, 79-83, 85, 99, 1 16-7, 123, 148, 152, 156, 168, 190-1 ; cf. E. M. O. 2. 30; 5". A^. 5. 162-8; M. L. 6. 54. "^4. 7. 187-94: E. M. O. 2. 7 ('Characters'), 35-6, 91, 96-8; cf. Nason, Heraldry. ""E. M. I. I. 26. ^*Poet. 2. 394-5. ''Epi. 3. 350-1. "" S. N. 5. 192-3 ; 263-4. "2. 3. 13: E. M. O. 2. 6, 7 ('Characters'), 89, 93-4, 105-7, 116-22, 132-3, 153, 161-2, 181. °*£. M. I. I. 30, 83-8, 92-4; C. R. 2. 209, 243; Epi. 3. 409; Alch. 4. 35-7, loo-i ; B. F. 4. 387, 404-7; D. A. 5. 143. ■^2. 7. 1-29, 89-158: E. M. I. I. 35-8, 64-8, 1 12-8, 126; cf. E. M. 0. 2. 102-4, 145-7; C. R. 2. 313-35; Epi. 3. 434-6; Alch. 4. loi; D. A. 5. 78, 124; N. I. 5. 338-40; M. L. 6. 62-9. xxvi Introduction The allusions to fencing terminology are a characteristic feature. Of Jonson's favorite situations, those that deal with courtship remain to be considered. The fantastic mode of courtship indulged in by Pacue and Finio^°° was ridiculed more extensively in Cynthia's Revels. Puntar- volo's^**^ curious addresses to Lady Puntarvolo are another example. The contest which Lovel^"^ waged to win the favor of Lady Frampul is of a more serious order, but it is worthy of note. Then there are some examples of a minor nature suggested by the exchange in courtesies between Francisco^**^ and Angelo and the two sisters. In the test of prosody, the attention was first turned toward determining Jonson's use of feminine endings. Four plays, besides the present one, were studied : E. M. I. (first and revised editions), E. M. O., C. R., and Poet. To secure tlie percentage of feminine endings, the number of lines showing these were divided by the total number of metrical lines. The results were as follows : The Case is Altered, 1,259 metrical lines, 248 with feminine endings, percentage, .197; E. M. I. (first ed.), 568 metrical lines, 108 feminine endings, percentage, .190; E. M. I. (revised ed.), 679 metrical lines, 179 feminine endings, percentage, .263; E. M. O., 694 metrical lines, 167 feminine endings, percent- age, .240; C. R., 756 metrical lines, 67 feminine endings, percentage, .088; Poet., 889 metrical lines, 149 feminine endings, percentage, .167. The average percentage for all the plays, exclusive of the present play, is .187. The low percentage of C. R. at first seemed surprising; but, on com- paring scenes of a high percentage of feminine endings with those of a low percentage, it was found that the latter were invariably more lofty in theme. ""4.3. 1-83: C. R. 2. 302, 312-35. ^°'E. M. O. 2. 54-61. '"" .V. /. 5. 346-52, 363-72, 385-95. '"^2. 4. 1-69: E. M. O. 2. 118-22, 163-8; C. R. 2. 282-93; -S". N. 5- 251-9. Authorship xxvii An analysis was then made of one play each of three contemporaries, to form a basis on which to judge the above results. Shakespeare's Two Gentlemen of Verona, with 458 metrical lines, 76 feminine endings, has a percentage of .165; Dekker's Shoemaker's Holiday, 979 metrical lines, 64 feminine endings, percentage, .0653; Acts i and 2 of Chapman's All Fools, 961 metrical lines, 283 feminine end- ings, percentage, .294. The results here, as they concern Jonson, are similar to those gained in the polysyllabic test. While there is a tendency to use feminine endings, it does not reach the number found in Chapman, nor the low percentage noticed in Dekker. The play contains many metrical peculiarities that are found elsewhere in his works. As Wilke has made a detailed study of the prosody of Jonson, his work will be referred to for examples from these. Some of the peculi- arities are : the accent on the first syllable of some disyl- lables,^"* and on the second of others, ^"^ where the reverse is the rule ; the accent on the last syllable of compound^"® words ; the accent on the articles,^**^ pronouns,^"^ and on '|.q'io9 q£ ^^ infinitive; the use of a monosyllabic^^^ foot at "* Austere 2. 3. 27; discharge 2. 6. 19; betwixt 3. 2. 39; 5. 5 23; enjoy 3. 3. 33; unjust, unkind 5. 5. 31, 33 (Wilke, pp. 39-44) '"^Arguing i. 4. 46; gaping i. 5. 23; using 2. 4. 30; having 3 2. 10; envies 3. 5. 9; conjured 5. i. 74; justice 5. 5. 45 (W., pp 34-6). ""Godfather 5. 5. 128; threadbare 2. i. 9; fourteen 2. 5. horsedung 3. 5. 13 (W., pp. 29, 32). '"i. 4. 31, 48, 75; I. 5. 169; 2. I. 2, 7, 60, 64; 2. 5. 19; 2. 6. 19 31, 32; 3- 3- 38; 3- 4- 13, 22, 46; 4. I. 33; 4. 8. 78; 5. I. 10; 5. 2 i; 5. 4- 18, 6s; 5. 5. 113 (W., pp. 19-20). "*i. 4. 20, 53; I. 5. 169, 193; 3. 4. 34, 35; 3. 5. 16, 26; 4. 7. 107 5. 4- 48; 5- 5- 24, 25 (W., p. 21). "»i. 4. 88; I. 5. 152, 214; 2. 3. 29; 3. 2. 19; 3. 3. 13; 3. s. 4 4. 2. 66 (W., p. 20). ""No I. 5- 3; I (ay) i. 5- no; 'Sblood 5-4-9; Then 5. 5. 133 (W., p. 50). xxviii Introduction the beginning of a line ; a polysyllabic^ ^^ foot at the end of a line; a pause^^- before an interjection ; and two trochees^^^ in a line. In order to have a visible demonstration of the various elements of the five tests used in the above discussion, the text of The Case is filtered was marked wherever there was a resemblance to the known works of Jonson. All the scenes show some degree of marking. In many, the marks are quite numerous, representing more tlian one test, and having several examples of the same test. This is espe- cially true of the parallel passages in the first, second, and fourth acts. The third act, and tlie fifth, excepting scene 2, do not have so many of these, but in other respects tlie average is about tlie same. There are more parallel pas- sages noticeable in the prose than in the verse, but the dif- ference is small enough to be negligible. As regards diction, the prose has nearly twice the number of markings found in the verse, a circumstance which is not surprising, when the character of tlie words is considered. The mark- ings are not confined to any particular plot, a fact which would tend to disprove tlie presence of a collaborator. The parts that deal with the Ferneze-interests are as prominent in this respect as those dealing with Jaques, and both are almost as extensively marked as the passages that concern Juniper and Onion. The evidence which has been submitted, while not prov- ing conclusively that Jonson wrote The Case is Altered, yet seems to favor tliis conclusion. W^ords and phrases tliat constantly reappear under conditions that are similar must have some weight, however small ; for it will be admitted that writers either from choice or by accident are prone to ^" Presenth' i. 4. 61; armory, melancholy i. 5. i, 160; memory, ceremony 2. 4. 44. 30; courtesies 3. 5. 26 (W., pp. 47-8). "■'Boy, God. hark i. 4. 20, 59, 77: love i. 5. 215: faith 2. 3. 13 (W.. pp. 50-1 V "^Any. flowing i. 5. 63; Rachel open i. 5. 255 (\V.. p. 46). Date xxix repeat themselves. The same may be said of characters and situations. In the case of Jonson, these have special significance, since his type of satiric comedy v;^as peculiar. The characters that have been mentioned, but especially Jaques, Juniper, and Onion, would fit very well into a play such as Every Man In or Every Man Out. The two^^* scenes which refer to the character of the drama and of the audiences of his day are quite in line with the criticisms we find in his inductions and prologues. That one or both may have been later insertions does not detract from their value as evidence. On the contrary, their value is increased. An arraignment of this kind, inserted at a later date, would have more reason for its existence, and would suggest the opposition that Jonson encountered from his critics, a situation which was not so acute when he wrote this play. Finally, and by no means the least valuable as evidence, was his familiarity with the classical writers,^^^ and his recourse to them, especially to Plautus, for material for his dramas. C. Date The Case is Altered has two entries in the Stationers' Register. The first is on January 26, 1608/9: , .. Entred for their Copye vnder the handes ^ of master Segar deputy to Sir George Richard Bonion ^ucke and of the wardens a booke called. The case is altered. The second entry is dated July 20, 1609: „ ,,, .. Entred for their copie by direction of ■n . 1 J Ti master Waterson warden, a booke called Richard Bonyon , , , , • , -r, , , T, ,, 1 the case altered whiche was Entred for Bartholomew ^, x -sw n j t^- 1 j -r, (^ H(enry) VValley and Richard Bonyon the 26 of January (1609) last. I. I. 86-112; 2. 7. 28-88. Cf. Schelling i. 538; Symonds, Ben Jonson, pp. 51-3. XXX Introduction From the evidence we possess at present, it cannot be definitely determined when the play was written or first acted. All attempts to establish a date begin with two references. In our play (i. i. 107-8), Onion tells Antonio Balladino that he is in print as the 'best plotter.' In the Palladis Tamia,^ published in 1598 by Francis Meres, and entered on the Stationers' Register on September 7 of that year, there is a reference to 'Anthony Mundye, our best plotter.' It is generally agreed that Jonson alludes to the passage mentioned by Meres. The second reference is found in Nashe's^ Lenten Stuffe, entered on the Stationers' Register on January 11, 1598/9, and published in 1599. The reference is clearly to Juniper of our play, and reads : 'Is it not right of the merry coblers cutte in that witty Play of the Case is altered?' Jonson's reference to a work registered in September, 1598, and Nashe's allusion to Jonson's play in the January following, would seem to fix the date between these two. But the problem is not so simple as this. BaskervilP has well stated the difficulties which arise from such a conten- tion : 'Lenten Stuffe was in all probability completed when it was entered on the Stationers' Register, and it hardly seems possible that in the four mouths from September 7 to January 11 Meres's work was published, Jonson's play written and probably acted, and Nashe's work prepared, with time for Jonson to make a reference to Meres and Nashe to Jonson. The hypothesis that the passage satiriz- ing Munday was added after the first production of The Case is Altered seems most reasonable.' Furthermore, the manner in which Nashe refers to the play would seem to indicate that it was well known, and not a recent work. ^ Smith, Eliz. Crit. Essays 2. 320; Ingleby, Shak. Allusion-Books, p. 161. ~ Works 3. 220. ^English Elements, p. 91. Date xxxi Opinions vary as to when it first appeared. Gifford* thinks it possible that the plot of a play that Jonson showed to Henslowe, and for which he received an advance of twenty shiUings on December 3, 1597, might refer to The Case is Altered. Both BaskervilP and Small® are inclined to believe that the original version was on the stage by the end of 1597, or early in 1598. Fleay'' says it was performed at the Blackfriars in November, 1598, but does not say whether he regarded this as its first performance. Because of its reference to the Palladis Tamia of Meres, Collier* and Ward^ assign the play to a time subsequent to this. Wheatley's^" reasons are apparently the same, for he places it in 1599. Referring to its early authorship, Lounsbury^^ says it was written by 1599, when it was referred to by Nashe. In view of its reference to Meres, and because of the allusion to it by Nashe, Castelain^^ is inclined to fix the date of the first performance about December, 1598. He admits, however, that it might have been performed earlier that year. This brings us to the discussion of tlie other view — that the original play was written before Meres' publication, and that the part which refers to the latter, and which was clearly intended to satirize Anthony Mun- day, was inserted at a later date. This view has much in its favor, and has been advocated by such scholars as Aronstein,^^ Koeppel,^* Castelain,^^ Fleay,^® Baskervill," and ^ Wks. I. xliii-iv; cf. Diary i. 27, 43 (ed. Greg). '^English Elements, p. 91. ^Stage-Quarrel, p. 17. 'Stage, p. 153. ^Annals i. 342. ^History 2. 344, 350. ^'^ Every Man In, 1877, p. xii. ^Shakespeare, p. 26. ^ Ben Jonson, p. 193. ^^ Ben Jonson, p. 21. '^* Quellen-Studien 11. i, 109, 123. " Ben Jonson, note, pp. 193-4. ^^ Drama i. 357; Stage, p. 153. ^'' Eng. Elements, pp. 90-1. xxxii Introduction Courthope.^^ By assigning the play to an early date, prob- ably antedating Every Man In, Gifford/^ Swinburne,-'' Schelling,-^ Symonds,^^ and SmalP^ may be said to hold the same opinion. In support of a later insertion, the most reasonable argu- ment is that, after his first entry, Balladino disappears from the play. The force of the argument is strengthened by the fact that the incident is found in the opening scene, a place customarily utilized to explain to the audience the previous history of the action, and briefly to mention such facts about the characters or about the existing state of affairs as will make clear what is to follow. In the original draft of the play, it is not likely that Jonson would have introduced, at such a point, an incident that had no future bearing on its development. With a play, however, which had not satisfied him — and this seems to be the case with the present one — he might have had no such scruples. As evidence of such an alteration, the text itself has an appar- ent discrepancy, noticed also by Aronstein.^* In the open- ing scene (i. i. 37-8), a request is made of Balladino for a 'posy' for Onion, to be given to Rachel. Later in the play (4. 3. 7, 1 1-2; 4. 5. 32-47), Onion complaints of Val- entine for not composing the promised ditty. Many circumstances that point to an early authorship of our play, and which would, therefore, tend to strengthen the view that it existed in some form before its reference to Meres was inserted, also bear upon the interesting ques- tion of its priority to Every Man In. When contrasted with the latter, the most noticeable feature about The Case ^^ Hist. Eng. Prosody 4. 269-70. ^^Wks. 6. 300; cf. Wks. I. xliv (note 6). ^ Ben Jonson, pp. 9, 12. ^^ Eliz. Drama i. 477-8. ^' Ben Jonson, p. 16. ^ Stage-Quarrel, p. 17. '* Ben Jonson, p. 17. Date xxxiii is Altered is its immaturity. This is evident from almost every angle from which the play may be regarded. First, consider the selection and treatment of the sources. Jon- son was not accustomed to be so dependent upon others for his plots-^ as he is in this case. As early as Every Man In, his independence in this respect is noticeable. The slight changes in the major episodes borrowed from Plautus, and the presence of numerous sub-plots to offset the undeveloped portions of these, would seem to indicate the work of a novice. Characters such as Camillo, the two sisters, and even Rachel, are merely sketched, and there are possibilities for eft'ective dramatic treatment in situations in which they are concerned, which receive little, if any, notice. The same immaturity is apparent in the use of the so called dramatic unities. His insistence on these,-*^ at a period when their observance was lightly regarded, and the influence this exerted on the later drama,^^ is well known. The selection of the Ca/'^iVi-episode from Plautus made a strict adherence to the unity of time impossible, and the union of this with the plot of the Aulularia, though it makes the infringement on the unity of time less noticeable, yet disturbs the unity of action. That Jonson selected material which inherently possessed elements that would violate the unities, tends to show that at that time he had not definitely formulated those rules regarding them which he advocated later.^^ Another feature of the play which reveals the immaturity of the author, and which indicates an apparent testing of his powers, is noticeable in its type. There is a clear wavering between two types — on the one hand, romantic comedy, which was dictated by the taste of the day, and, on the other, 'humour'-comedy, dictated by " Cf. Schelling i. 536-42; Symonds, Ben Jonson, p. 52. ^Cf. Lounsbury, pp. 25 fif. "^/ft., pp. Z7 ff. ; Buland, pp. 44-5, 49- ^Discoveries 9. 225-6; Ind. Every Man Out 2. 21-3; cf. Magnetic Lady 6. 2O-9. XXXIV Introduction the author's personal inclination. In the latter respect, the attempt is evidently experimental, and falls far short of the confidence and mastery exhibited in Every Man In. Regarding the points which have been mentioned — the manner of securing a plot, the treatment of characters and situations, the observance of the dramatic unities, and the lack of confidence exhibited in wavering between two types, it will be granted that The Case is Altered is decidedly not an improvement over Every Man InP Where the former shows tendencies of immaturity, the latter indicates an author who has approached nearer to the fullness of his powers. At present, it seems to be generally agreed among scholars that Every Man In was first produced in 1598,^" as Jonson stated in the last leaf of the folio of 1616. In view of this, if it is contended that The Case is Altered was written after the Palladis Tamia of Meres (registered September 7, 1598), Jonson would have been working on two plays at the same time. This in itself would not be impossible, but, when the difference in workmanship is considered, it seems improbable. Judged by this fact alone, it is unlikely that The Case is Altered was written after Every Man In. Jonson was not uncertain of his field or his powers when he was writing the latter, and to assert that it preceded our play would seem like an admission that he had retrograded. From such evidence as we possess, circumstantial or internal, it seems reasonable to infer that The Case is Altered preceded Every Man In, and that the original version appeared about the latter part of 1597. "'■' Cf . Castelain, p. 194, and note. ^^ Aronstein, Ben Jonson, p. 27; Koeppel, Wirkung, p. 109. The Satire xxxv D. The Satire I. Anthony Munday Irrespective of the question of a later interpolation, the part dealing with Antonio Balladino is clearly intended to allude to Anthony Munday. Jonson seems to have been careful that there should be no mistake about the identifica- tion. The name of Balladino is doubly suggestive, refer- ring to Munday's activity as a writer of ballads, and to his Palladino of England, translated from the French. Bal- ladino was 'pageant-poet' to the City of Milan, and Mun- day held the same office in the City of London. Add to these, Munday's characterization by Meres as the 'best plotter,' and Jonson's use of the same phrase in reference to Balladino, and the latter's identity seems reasonably certain. The motive usually given for Jonson's ridicule of Mun- day lies in the apparent distinction conferred on the latter by Meres as 'our best plotter.' Two references will be sufficient to show the character of the argument. Speak- ing of the title given to Munday, Collier^ says : 'This pref- erence seems to have excited the ire, if not the envy of Ben Jonson.' Hazlitt,^ in the same connection, says that this was 'a distinction that excited the spleen of Ben Jonson in his "Case is Altered," more particularly, as he was omitted.' Another reason for the satire is proposed by Koeppel.^ He suggests that Jonson's resentment against Munday may possibly have been due to a passage in his Downfall of Robert Earl of Huntington,'^ in which there ^ John a Kent, p. xHx, Shak. Soc, London, 1851. ^Downfall, Introd. 8. 99-100, Dodsley, 1874. ' Wirkung 20. 123-7. *8. 135-6, Dodsley, 1874: 'Ral. Ye protract, Master Friar. I obsecrate ye with all courtesy, omitting compliment, you would vouch or deign to proceed. xxxvi Introduction appears a faint imitation of Juniper's use of high-sounding words ( 1 . 2. 6 ft". ) . The provocation for ridicuUng Munday must have been strong. If it is a fact that the satire is a later addition, Jonson was put to some labor in recasting the play. On the other hand, if the present version is the original, it will be admitted that, as Balladino appears only in the opening scene, Jonson went out of his way to attack him. In either case, it may be inferred that there were doubtless stronger reasons for Jonson's displeasure than either Munday's faint imitation of his work or the title given to the latter by Meres, which in itself was probably not indicative of any special preeminence. Regarding this, the Reverend Ronald Bayne^ says that Munday was spoken of as ' "our best plotter," perhaps because of his seniority and experience as a hewer and trimmer of plays rather than with any reference to his faculty for conducting a plot in the modern sense of the term.' Munday may have offended Jonson by some personal slight, or by some derogatory reference to one of Jonson's early works, evidence of which either has been lost or has not yet been detected. That Jonson had written plays before this time may be inferred from the fact that Meres'* includes him among the prominent waiters of tragedy. Another factor which may have influenced the satire was the difference in ideals and work of the two men. Munday's activities, especially with romances^ and Friar. Deign, vouch, protract, compliment, obsecrate? Why, goodman Tricks, who taught you thus to prate? Your name, your name? Were you never christen'd? Ral. My nomination Radulph is, or Ralph : Vulgars corruptly use to call me Rafe. Friar. O foul corruption of base palliardize, When idiots, witless, travail to be wise. Age barbarous, times impious, men vicious !' " Cambridge Hist. Eng. Lit. 5. 348. ' Palladis Tamia, p. 161 (Ingleby, Shak. Allusion-Books) . '' Cyn. Rev. 2. 269; Alch. 4. 146; New Inn 5. 325; Underwoods 8. 400. The Satire xxxvii ballads,^ included a species of composition for which Jon- son had small regard, and which he frequently ridiculed. His work was mediocre, characterized by a lack of origi- nality, and produced chiefly to meet the popular taste. Jonson, as we know, departed from the prevailing type of drama, and strove to create a taste for his own particular kind of work." He endeavored also to eliminate from the drama the buffoonery and extravagance which often char- acterized it, and, at the same time, by a more dignified appeal, to set before his audience right standards of con- duct. To a large extent, Munday's works contained those elements which Jonson opposed, and in this fact we may find, not perhaps the leading cause for the satire, but at least a contributing motive. The satire is humorously treated, giving no sign of any special bitterness, but its thoroughness must have been none the less effective. Munday's character, standing, and work are held up to ridicule. According to Juniper, Bal- ladino is exactly of the same 'humour' as Onion, and then he proceeds to call tlie latter a rascal and a dunce. Onion's reference to scholars, made to include his visitor, may be suggestive of pretensions of this nature made by Munday. In spite of the allusion to his ability as a pageant-poet, he seems to have been quite successful in this field. Refer- ences to Munday's works and their character are more numerous. In 1593 he had published his Paradoxes. That Onion's love-ditty is called a 'paradox' is therefore sig- nificant. No doubt many of his pageants were made up of 'stale stuff,' and the same may be said of portions of his plays that have come down to us. The 'old decorum' no doubt alludes to pretensions on the part of Munday that he followed Greek and Latin writers. In regard to the unity of time, this is perhaps true, especially with regard to two plays that were anterior to 1598 — Two Italian Gen- * Cf. note on i. i. i. ° Aronstein, Theorie des Lustspiels, pp. 482-3 ; Symonds, Ben Jon- son, p. 31. xxxviii Introduction tlemen, licensed 1584, and John a Kent and John a Cumber, dated 1595. There were no 'kings and princes' in Jon- son's plays. The popular romances had already contributed their share to the English drama, but Munday still busied himself with them, not so much in connection with his plays, perhaps, as in translating and keeping them before the public. It will be remembered, too, that Jonson disliked the species of buffoonery and low form of wit practised by the 'fool.'^" Balladino's statement that he would not raise his 'vein,' even for 'twenty pounds a play,' is regarded to be an apt stroke,^^ considering Munday's grade of work, and the fact that such a price at this date was beyond that received by any dramatist. His dependence on the plot to insure the success of the play was, as is well known, quite at variance with Jonson's views.^^ It is believed by some^^ that Balladino's reference to plays which are composed of 'nothing but humours' is clearly an allusion to Every Man In. This is probably true, for all that is said in this connection seems to justify such a belief. But it is also clear that, in the speech which follows this. Onion is entirely in sympathy with Balladino's criticism of this type of play, only he asserts that the objectionable feature about them is — the kings and princes. In this connection, Onion obviously could not have refer- ence to comedies of 'humour' such as Every Man In or Chapman's Humorous Day's Mirth. Onion is not noted for being always intelligible, and the discrepancy may there- fore be intentional. It is more probable that this is one of the places that was not made to harmonize with the context when the satire on Munday was interpolated. Though the satire was, no doubt, directed chiefly against Munday, there is an evident thrust at those who favor his '"Cf. Staple of News 5. 185-6, 216; Epigram 115 (8. 218-9). ^Cambridge Hist. Eng. Lit. 5. 358; cf. i. i. loo-i, note. "Aronstein, Theorie, pp. 478-9; cf. Cyn. Rev., Prol. 2. 215 (end). ^^ Aronstein, Ben Jonson, p. 17; Small, Stage-Quarrel, p. 17; Koeppel, Wirknng, p. 109. The Satire xxxix productions, especially the 'common sort,' and those who, as Balladino says, would have him 'make such plays.' From the beginning to the end of his career, Jonson seems to have had no respect for the common people.^* In the Induction to Every Man Out (2. 21), Asper is made to say: 'If we fail, We must impute it to this only chance. Art hath an enemy call'd ignorance.' The Prologue to The Alchemist (4. 10) begins : 'Fortune, that favours fools these two short hours.' In The Magnetic Lady (Ind. 6. 6), his opinion remains unchanged, for he calls them 'the foeces, or grounds of your people, that sit in the oblique caves and wedges of your house, your sinful six-penny mechanics.' The question of when the satire on Anthony Munday was inserted in the play has recently been discussed by Mr. C. H. Crawford. ^^ In Bodenham's Belvedere, compiled by A. M., who is thought to be Anthony Munday, he points out four passages which are quoted from The Case is Altered. His contention is that Munday would not have permitted selections from a play that had ridiculed him to appear in the Belvedere. As the latter was published in 1600, Mr. Crawford's inference is that the satire on Munday was inserted after this date. II. Conduct of the Audience Jonson's reasons for criticizing the conduct of an audi- ence, at the early date at which The Case is Altered was probably written, offer some interesting speculations. Was he speaking from observation, or experience? As a mem- ber of Henslowe's company, he had many opportunities of observing their critical and unsympathetic attitude, and the present satire may possibly be the result of these. It is more likely, however, that a more personal reason urged this step, and that some play of his had received rough "Aronstein, Theorie, pp. 470-1; Ben Jonson, pp. 17-8; Symonds, Ben Jonson, p. 16. ^^ Notes and Queries 10. 11. 41-2. xl Introduction treatment at the hands of an audience. Unfortunately very httle is known of Jonson's relations with the stage before the appearance of Every Man In, except that he was employed for a time by Henslowe.^^ Whatever may have been the nature of his work with the latter, whether he was recast- ing old plays, or trying his hand at new ones, we may assume that some of them were performed. Were they all well received? It will be recalled, too, that Meres^^ (1598) enrolls Jonson among those who were noted as writers of tragedy, a statement which obviously was based on plays that had appeared on the stage. The hostile reception of one of these would have been sufficient to provoke a criticism against the audience. There is another possibility, and that is that the satire was inserted at the same time as that on Anthony Munday.^^ There are certain features of the scene which would favor such a view. When the scene opens, there is a discussion on fencing, and Valentine is called upon to relate his experi- ences with this art in 'Utopia.' He begins, but, at the first mention of theatres, the character of the discourse is abruptly changed, and, excepting the duel, there is no return to the original subject of fencing. The criticism of an audience is out of harmony with the scene in which it occurs, and has no bearing on the development of the play as a whole. Its only connection with the latter is through the personages who take part. The striking feature of the criticism is its resemblance in tone and language to that which appears in the Inductions to Every Man Out and Cynthia's Revels. The treatment is more extensive in these, but the satire is intended to serve the same purpose — to condemn the incompetence and insincerity of the critics, as well as their disorderly behavior. About the year 1600, ^'Ward 2. 302-3; Symonds, Ben Jonson, p. 15; Diary i. 24, 37, 43, 49, 51 (ed. Greg). ^^ Palladis Tamia, p. 161 (Ingleby, Shak. Allusion-Books). ^*Cf. Aronstein, Ben Jonson, p. 17. The Satire xli there would be greater reasons for criticizing an audience than we know to have existed at the time when The Case is Altered was written. The Inductions to the two plays just mentioned are proof of this. In respect to its charac- ter, language, and motive, the satire in the three plays seems to belong to the same period. Aside from other considera- tions, these facts would tend to give the impression that the satire on the audience was not in the original version of our play. In a series of articles,^** written a few years ago (1903), Mr. H. C. Hart showed that most of the words misused by Juniper are to be found in the works of Gabriel Harvey. He concludes from this that, in the character of Juniper, Jonson intended to satirize Harvey. The articles are sug- gestive in that the words are used by Harvey, but, as Mr. Hart points out, many of them are found also in Shake- speare, Sidney, Lyly, Nashe, Greene, Marston, and others. It is more probable, then, that if Jonson intended this fea- ture of the play to be a satire, he directed it more against the prevailing use of Latinized words than against any particular author.-** This seems to be more likely, because there is nothing personal or caustic in Jonson's treatment; and, furthermore, he had no quarrel with Harvey. Where Jonson intends a satire to be personal, he is usually specific in his means of identification.-^ Such, it will be recalled, is the case in the satire on Munday in the present play, and that on Marston and Dekker in The Poetaster. For the same reason, too, it may safely be said that Tlie Case is Altered contains no allusions to the two last mentioned, and therefore has no share in the so called stage-quarrel. -- ^'^ Notes and Queries 9. 11. 201, 281, 343, 501; 9. 12. 161, 263, 342, 403. ^ Cf. Baskervill, p. 94. "^ Cf. Brooke, p. 374. '' Cf. Small, p. 18. xlii Introduction E. Sources It is generally known that Jonson found the sources for the two leading plots of The Case is Altered in the Captivi and the Aulularia of Plautus. To what extent he imitated Plautus in respect to incidents and phraseology is of special interest, considering that he never acknowledged the play. As the parallel passages, which have been placed in the notes, clearly show the use that was made of the phrase- ology, no further comment is necessary. It may be added, however, that they include all passages that seem in any way to be reflected in our play, as well as the few that were pointed out by Whalley and Gifford. With a view to indicat- ing tlie use Jonson made of the incidents, a brief com- parison of the two plays of Plautus with ours is subjoined. The characters in the Captivi which are identified with those in The Case is Altered are : Hegio with Count Ferneze, Tyndarus with Camillo, Philopolemus with Paulo, and Philocrates wuth Chamont; in the Aulularia: Euclio with Jaques, Phasdria with Rachel, and Strobilus (servant to Lyconides) with Juniper and Onion. I. 3. 18-29. I" the Captivi, the war — or at least that part of it which concerns the characters in the play — is over before the play opens (Prol. 24, 59; 92-6). I. 5. 174-96; cf. 4. 4. 23-8; 5. 5. 1 18-21. Twenty years before, Tyndarus, aged four years, had been stolen by a slave and sold; his fate was unknown (Capt., Prol. 7-10, 17-20; 759-61,980-1). 1. 5. 253-61. In the Aulularia, the situation, and the suspicious nature of Euclio, are revealed by his attitude toward his servant, Staphila (40-66). 2. I. 1-50. Euclio's wealth, inherited from his grand- father, is buried beneath the hearth ; the motherless girl is his daughter (Aul, Prol. 1-27; 67-8). Sources xliii 2. I. 50-65. Euclio's commands to guard the house are given to Staphila {Aid. 79-104). In this passage Jonson follows the original quite closely. 3. 2. 1-52; 3. 3. 1-50. Like Jaques, Euclio is suspicious of everybody: his servant, Staphila {Aul. 40-66) ; all who greet him cordially (105-19) ; Megadorus, the accepted suitor (178-267, 537-74) ; the servants of Megadorus, who are making preparations for the wedding (388-97, 415-48, 451-9). In our play these suspicions are directed chiefly against the suitors. 3. 4. 1-54. The capture of Philopolemus in the war with the Elians is revealed by the Prologue (Capt. 24-7), and repeated by the Parasite, Ergasilus (92-6). 3. 5. 1-28. Euclio, believing his gold to be unsafe in the house, removes it (Aid. 449-50, 460-74, 574-8), and decides to hide it in the temple of Faith (580-6). Strobilus, who has been requested by Lyconides to spy on the wedding preparations (603-7), hears Euclio invoke the goddess to guard his gold, and, after the latter's departure, goes in to investigate (608-23). 4. I. 1-78; 4. 2. 1-5 1 ; 4. 4. I -3 1. The Prologue explains that Hegio has purchased two Elian prisoners with a view to exchanging them for Philopolemus, who is a prisoner in Elis (Capt. 1-4, 27-34). This transaction is again men- tioned by the Parasite (98-101), and, in a scene dealing mostly with the concerns of the latter, Hegio states that the prisoners have arrived (110-8, 167-72). The pris- oners enter, and the device of exchanging names, which apparently had been discussed before, and which is men- tioned in the Prologue (35-41), is arranged on the stage (195-250). Arrangements are then completed by which Philocrates, the pseudo-slave, is to return to Elis to redeem Hegio's son, Philopolemus, while the supposed master is to remain as security (251-360). Hegio is present at the parting (361-460), xliv Introduction 4. 7. 1-115. While Strobilus is searching for the gold in the temple, he is surprised by Euclio, dragged out, beaten, and, having been carefully examined, is released (Aid. 624-60). This scene was closely imitated by Jon- son. The situation, however, is different, as Strobilus understands the reason for his rough treatment. As Gif- ford has pointed out, there is a difference in motive, too, the discovery of the gold being the prime object, for it was expressly given by the Lar to be the wedding portion of Phsedria (Prol. 23-7). 4. 7. 1 16-41. Euclio removes his gold to a grove outside the city, Strobilus watching him from a tree (Aiil. 661-81). In the whole incident of stealing the gold Strobilus acts alone. 4. 7. 142-98. Strobilus tells how he secured the gold, after which he takes it home and hides it in a chest {Aul. 701-12). , 4, 8. 1-95. The exchange of names between Philocrates and Tyndarus is innocently revealed to Hegio by one who knew both intimately {Capt. 498-658). Tyndarus, having in vain tried to avert the disclosure, finally acknowledges the deception, and is put in chains, and sent to the quarries (659-750)- 5. 2. 5-22. Upon discovering the loss of his gold, Euclio accuses Lyconides, who, having ruined the former's daughter, had come to make reparation by an offer of mar- riage {Aul. 713-807). There is no flight on the part of Phsedria. She does not appear in the action, her voice only being once heard (691-2). 5. 3. 1-103. Strobilus, meeting his master, tells him that he has stolen Euclio's gold. Lyconides orders him to restore it. Strobilus then pretends that his confession is a joke. The rest of the play is missing {Aul. 808-32). 5. 5. 1-29. There is no second appearance of Tyndarus before Hegio. Instead of relenting, his attitude toward all his prisoners becomes more harsh {Capt. 751-7). Sources xlv 5. 5. 85-150. The return of Philocrates with Philo- polemus and Stalagmus is announced to Hegio by tlie Parasite (Capt. 790-900). This is the only appearance of Philopolemus. He is restored to his father, and through the confession of Stalagmus, the slave who had stolen the other son, Hegio learns that Tyndarus is that son (Capt. 922-1028). The above analysis shows that the outline of the story found in the two dramas of Plautus is, in the main, fol- lowed in The Case is Altered. As in the Captivl, a son is lost in childhood ; twenty years later, a second son becomes a prisoner of war ; unrecognized, the lost son is brought as a prisoner to the house of his father, with a young nobleman to whom he acts as servant-companion ; the two exchange names, and the nobleman, disguised as the ser- vant, departs to redeem the second son ; the discovery of the deception leads to the imprisonment of the servant, who has remained as security ; the nobleman returns with the second son, and the imprisoned servant is found to be the lost son. Again, as in the Aulularia, there is a miser with a hidden treasure, and a motherless girl who is sought in marriage ; the constant fear that all who seek him know of the gold, and are plotting to steal it; the removal of the gold to a supposedly safer place, which, in reality, is the means of its loss ; the seizure of a suspected thief ; the hiding-place of the gold discovered from a tree; the grief of the miser at its loss ; and its final recovery. Though Jonson retains the thread of the story, it is evi- dent that in his treatment, he has worked according to his expressed views of what translation and imitation should be — 'to convert the substance or riches of another poet to his own use.'^ On referring to the parallel passages, it will be seen that, except for a few instances, he rarely translates, to any extent, the words of the original. The analysis has shown that most of the episodes of the original '^Discoveries 9. 216. xlvi Introduction have been altered. These alterations appear in the previous history of an episode; the identity of a character; parts shared by several, or the reverse; the compression, expan- sion, or omission of incidents ; the method of announcing events ; the motivation ; and especially in the particulars or details relating to an episode. Furthermore, he has skilfully interwoven the two plots, and with them the Juniper episode, as well as the sub-plots treating of Paulo and Rachel, of the courtship of Rachel by Christopher, Count Ferneze, and Onion, and of Chamont and Aurelia. With the exception of Jaques, and of a few traits notice- able in Count Ferneze, Jonson's debt to Plautus, in respect to the personality of the characters, is very small. This phase of his treatment will be discussed more fully in the Evaluation. Others besides Jonson constructed plays, using the Aulu- laria- as a basis. Among these, the following may be mentioned: Giovanni Battista Gelli, La Sparta, Florence, 1543; Lorenzo Guazzesi, L' Auliilaria, reprinted at Pisa, 1763; MoHere, L'Avare, 1667. Shadwell (1671) and Fielding (1733) each produced a play called The Miser, based on L'Avare.'^ Several plays imitate only parts. In The Devil is an Ass (5. 47), Jonson returns to the passage already used in our play (2. i. 50-65). Johnson {Yale Studies 29. 162) points out that the same passage was imitated by Wilson in his Projectors, Act 2, scene i. In Alhumazar (Act 3, scene 8), usually attributed to Thomas Tomkis, a part of the scene found in the present play (4. 7. 73-83) occurs. As to plays based on the Captivi,'^ the same motive,^ with variations, was employed in The Bugbears, Misogonus, and The Weakest Goeth to the Wall. See also Jean Rotrou, Les Captifs (1638) ; Reinhold Lenz, Die Aussteuer (1774). " Cf. Reinhardstoettner, Plautus, pp. 255-324. ^Ward 3. 457 (note 2). * Cf . Reinhardstoettner, Plautus, pp. 324-55. ° Brooke, p. 403. Evaluation xlvii F. Evaluation of THE CASE IS ALTERED Jonson's theory of dramatic composition, reading, in places, like a page from Aristotle's Poetics, is partly set forth in his Discoveries (9. 221-8). From this it might have been expected that in his dramas he would follow the latter more closely. That he did not always do so demon- strates that his interpretation of Aristotle was broad enough not to hamper his work. On this point^ he says {ib. 9. 219) : 'I am not of that opinion to conclude a poet's liberty within the narrow limits of laws, which either the gram- marians or philosophers prescribe'; and (p. 204): 'Let Aristotle and others have their dues; but if we can make farther discoveries of truth and fitness than they, why are we envied?' Jonson's work is fairly consistent with this stand, and, in making a critical study of any of his dramas, it will be profitable to bear in mind, first, his sympathetic attitude toward the theories of Aristotle, and, secondly, his avowed determination to make his own laws when he believed it necessary. Jonson, as we know, invented most of his plots. ^ When incidents were borrowed, they usually comprised only a small part of the play, and were transformed to suit the situation. This was the case with portions of such plays as Cynthia's Revels, Poetaster, Epiccene, The Staple of News, and The New Inn. In the present play, however, the out- line of the plot was determined by the sources derived from Plautus, a condition which is somewhat analogous to that in his Sejanus and Catiline. Whatever variations we find are in certain details, and in the introduction of sub-inter- ests. The Captivi is, in the main, serious in purpose, with a semi-historical flavor. The Aulularia, on the other hand, is comic. A combination of these two, with more details in the historical part, would have given us a type of play ' Cf. E. M. O. 2. 21-3. ^ Cf . Schelling i. 536 fif. ; Symonds, Ben Jonson, pp. 55 ff. xlviii Introduction of which Henry IV is an example. The elements that determine its character as a romantic comedy were sup- plied by enlarging upon the undeveloped part assigned to Phsedria in the original, and by introducing the minor love-episode of Chamont and Aurelia. The play may be said to have three sets of interests. The first set, which concerns Count Ferneze, Camillo, Paulo, and Chamont, and which is based on the Captizn, may be regarded as the main plot. Subsidiary to this are the incidents relating to Paulo and Rachel, and Angelo's perfidy; the infatuation of Count Ferneze, Christophero, and Onion, for Rachel ; and the interest dealing with Chamont and Aurelia. The second set, which concerns Jaques and his money, and which is derived from the Aulularia, is almost as prominent as the other. It is joined to this, partly by the incidents that relate to Rachel, and partly by what we may call a third set, that which concerns Juniper and Onion. Though both appear in the first two sets. Onion is more prominent in the first, and Juniper in the second. Loosely tied to these are the Bal- ladino incident; the appearances of Aurelia and Phoenix- ella; the censure on the audiences of the theatre, with the subsequent fencing-bout; and the exhibition given by Pacue and Finio. It is probable that the number of plots and incidents, and the incomplete development of some of these, as well as of some of the characters, were due to a request on the part of Henslowe for a play upon short notice. We know that Jonson was connected with Henslowe's company^ about this time (1597-8), and that he was engaged in writing plays, and doing such hackwork* as was customary with young writers. He had perhaps laid aside the plots of the Cap- tivi and the Aulularia, to be used in future plays ; but, when ^ Diary i. 24, Z7, 43. 49, 5i (ed. Greg). *Aronstein, Engl. Studien 34. 195; Swinburne, p. 11; Symonds, Ben Jonson, pp. 8, 15. Evaluation xlix the sudden demand came, he was forced to use both plots, and interwove with them the Juniper-Onion episode and other incidents. In a play containing such a variety of plots, it is not surprising that Jonson found some difficulty in adhering to the so called dramatic unities. He was usually rather care- ful in regard to the unity of time,^ believing it necessary that the action 'exceed not the compass of one day' (Dis- coveries 9. 226). But, in The Case is Altered, the time of the action is approximately one year. Near the beginning of the play. Count Ferneze states that he has lost a son nine- teen years before (i. 5. 178), which at the end he says was nearly twenty years (5. 5. 118). Judging by the age of Camillo, given on each occasion, the time would be between one and two years. Plautus was not so specific in this detail as Jonson. The action of the Captivi is apparently supposed to occupy one day. But this is a physical impos- sibility, considering that, in his journey to redeem Philo- polemus, Philocrates had to travel from Calydon, ^tolia, to Elis, and return. In our play a similar situation presents itself; Chamont must have time to return to France to redeem Pavilo. But before this, Maximilian and Paulo needed time in which to go to France, take part in the war, and return. To have adopted the expedient, used by Plautus, of having the war take place before the opening of the play, would have reduced the time by one half, but it would have eliminated one of the charming features of the play, the constancy of Rachel. In reality, however, the lapse of so long a time as a year is not noticeable. This is largely due to the presence of the Jaques plot, which, at the most, would seem to occupy about two days. A brief summary of the time-scheme will make this clear. The events of the first three scenes in Act i, equal in time the length of the meal which is mentioned at the beginning and ^Cf. Woodbridge, pp. 16 fif. ; Buland, pp. 44 ff.; Lounsbury, pp. 25 ff. 1 Introduction end of this period. Scenes 4 and 5 immediately follow, and the whole act, in real life, should not occupy more than three hours. Jaques enters for a moment at the end of the act. The opening words of his soliloquy, in Act 2, make it clear that he is still excited over his former entrance, which is ample proof that no great length of time separates the two acts. The first two scenes of Act 2 give no indica- tion of an unusual lapse of time. Scenes 3, 4, 5, and 6 are continuous, and scene 7 does not alter the time-scheme. In real life, this act should not occupy much over an hour. That Act 3, in point of time, directly follows Act 2, is evident from the interviews which Christophero and Count Ferneze have with Jaques, an undertaking which each had decided should be attended to without delay. The action up to these interviews has been fairly continuous. There has been no special evidence of an extended period of time either between acts or scenes, and, in actual experience, the action would have occupied between four and five hours. But at this point (Act 3, scene 4) a messenger enters to inform Count Ferneze that the war is over, and that Maximilian had returned with prisoners. Act 4 opens with the entrance of Maximilian, whose arrival had been foretold, thus apparently preserving the continuity in time between the two acts. Scenes i, 2, and 4 closely follow one another. The same may be said of scenes 3, 5, 6, and 7. There is no gap between the two groups, and there is no indication that any lengthy period of time had passed before the Count discovered the exchange of names. In actual experience, tlie time consumed by Act 4 would be some- what over an hour. Acts 4 and 5 are apparently con- tinuous. In 5. I. 74, Angelo tells Rachel that he had heard from Paulo 'by post at midnight last.' But in scene 2, Jaques discovers the loss of his gold, and, judging by the frequency with which he has previously gone to see if it was safe, not much time has elapsed since it was stolen. By the appearance of Juniper and Onion in new apparel, Evaluation li and presumably, with a coat-of-arms, and the speeches of Angelo (scene 4) and the Count (scene 5), it is assumed that some time has passed, but Christophero's lament for Rachel, and Jaques' for his gold, seem closely connected with scene i. The actual time consumed by Act 5, from the standpoint of the Jaques plot, would be about four or five hours. From the above summary, it will be seen tliat The Case is Altered contains what is known as a 'double- time' scheme,® a condition sometimes met with in Shake- speare's plays. One plot assumes the lapse of a long period of time, while another plot, whose action is co-existent with the first, seems to consume only a fraction of the time. This is the case in the two parts of Henry IV, where the comic and historical plots are developed simultaneously, the former occupying approximately from ten to twelve days, and the latter, two or three months.'^ Though Jonson does not emphasize the unity of place, he does not shift the scene from one country to another, or from city to city, as Shakespeare does, say, in Macbeth. In this respect, the method employed here is similar to that found in his other plays. The action is laid in Milan, and alternates between the houses of Count Ferneze and Jaques. The unity of action deserves more attention. His expressed views on this, if applied to all his dramas, would constitute a rather severe test. In one place, he says {Discoveries 9. 224) : 'The fable is called the imitation of one entire and perfect action, whose parts are so joined and knit together, as nothing in the structure can be changed, or taken away, without impairing or troubling the whole, of which there is a proportionable magnitude in the members.' But he insists also 'that there be place left for digression and art. For episodes and digressions in fable are the same that household stuff and other furniture are *Cf. Buland, pp. 1-20. ' Cf. Daniel, Trans. New Shak. Soc, i2>77-i^yg, pp. 279, 288-9. lii Introduction in a house' {ib. g. 226). The latter may explain, to some extent, the freedom with which he sometimes treats the unity of action. A more direct reason may lie in his method of constructing plots. 'He starts with a group of characters whose comic aspects he wishes to bring out. To this end he invents situations for them, and by com- bining these situations, he gets a plot for the comedy.'^ That this was not his method in The Case is Altered has already been shown.^ It is clear also that, with a second plot as important as the Jaques plot, the play does not pos- sess the unity of action that we find in the Alchemist, Volpone, or Epiccene. Whatever may have been Jonson's reasons for incorporating this episode, whether it was to supplement the Captivi plot, in which he was less interested, or whether it was because of a lack of time properly to develop one or the other, we may be reasonably certain it was not done for purposes of 'digression and art' ; for, if we understand his meaning, such additions were to be ornamental, and could be inserted or removed without affecting the unity of the whole. Among digressions of this character, we may include the fencing-bout between Onion and Martino (Act 2, scene 7), and the droll game of salutations indulged in by Pacue and Finio (Act 4, scene 3). As was the case with the unity of time, the nature of the sources seems to have interfered with the possibility of a careful observance of the imity of action. If we regard a strict adherence to these unities as immaterial, it may be said that the Jaques plot does much for the play; in fact, its removal would destroy the play. It helps the time-element, by diverting the attention from the assumed lapse of time, and it gives an interest to the action which is not offered by the main plot. ^Woodbridge, p. 41; cf. Symonds, Ben Jonson, pp. 51-5; Schell- ing I. 535-6. • Cf . Sources ; also, p. xlvii flf. Evaluation liii It may be queried, then, whether our play has the organic unity which is usually seen in the plays of Jonson. An analysis of its structure will show this to be the case. It contains the usual introduction, a rising action, a double climax, a falling action, and a solution or catastrophe. In Act I, scenes 3, 4, and 5, the situation is explained: prepara- tions are being made for a war with France ; Paulo's love for Rachel is revealed to Angelo; and Count Ferneze announces the loss of Camillo. Paulo's departure for France marks the beginning of the rising action. In Act 2, the second plot is introduced. The soliloquy of Jaques, in scene i, explains the situation. In scenes 2 and 6, the plans of the three suitors regarding Rachel begin its rising action. Scenes 4 and 5 are explanatory, giving an insight into Angelo's character. In Act 3, scenes i, 2, and 3, the rising action is continued : Angelo decides to woo Rachel ; and Christophero and Count Ferneze interview Jaques about Rachel. The entrance of the messenger in scene 4 marks the turning-point of the first plot. In scene 5, the removal of the gold to the yard continues the rising action of the second plot, and paves the way for its turning-point in the next act. Act 4 marks the return or falling action of the first plot. Scenes i and 2 deal with the return of Maximilian with prisoners, and the departure of Chamont to ransom Paulo — circumstances which eventually lead to the solution. Phoenixella's remark about Camillo points the same way. In scene 7, the surprisal of Juniper and Onion by Jaques marks the turning-point or climax of the second plot. The Count's discovery of the exchange of names, in scene 8, continues the falling action. The ruse of Angelo and Christophero, in Act 5, scene i, precipitates Jaques' discovery of his loss, and serves as a secondary climax to the second plot. The appearance of Juniper and Onion, in scene 3, richly appareled, continues the falling action, since it leads to the discovery of the culprits. Scene 4, the meet- liv Introduction ing of Angelo and Rachel with Paulo and Chamont, fore- casts the solution. The threatened execution of Camillo, and the semi-comic lamentations of the three victims, in the first part of scene 5, serve to retard the catastrophe, which seemed to have been approaching too rapidly. The return of Chamont finds all the interests united, and brings about the solution. With the exception of Jaques and Count Ferneze, the characters in our play have no resemblance to their originals in Plautus. Jaques and Euclio are so much alike that tlie former has been called^" a mere copy. Being misers, they have the traits common to that class. They live and dress poorly, and lay great stress on their poverty. The suitors are repeatedly reminded that there is no dowry. The natures of both misers are so suspicious that all who approach them are regarded with distrust. Oblivious of everything but their gold, they treat their inferiors with cruelty, and their friends are made to wonder at their strange actions. If they have a sense of humor, their obsession prevents their displaying it. Except for Jaques' soliloquy in Act 2, scene i, neither shows any affection for his daughter. In the case of Jaques, this may be explained by the fact that Rachel is not his daughter. He is, perhaps, a little more self-contained than Euclio. His language is more moderate, and he does not rave in such a melodra- matic way as the latter, when the loss of the gold is dis- covered. From a dramatic standpoint, Jaques is the most imposing figure in the play. There is usually action where he appears, and if he soliloquizes, his words demand atten- tion. When he talks with the Count, his deference, humil- ity, and plea of poverty soften even the Count. When he grasps Juniper by the hair, and alternately rages at the peril of his gold, or is bewildered at the strangeness of Juniper's words, he is the same Jaques who, at the sound of any "Ward 2. 351; cf. Castelain, pp. 200-4. Evaluation Iv human voice, runs into the house to look at his gold, frantically calling on Rachel and Garlick to aid him. Count Ferneze has a few traits in common with Hegio. Under normal conditions, they are kind-hearted and con- siderate. But anxiety for the safety of a captured son has brought their minds to such a tension that when they are tricked by their captives, they suddenly become cruel. The thought tliat they have been imposed upon adds to their bitterness. Hegio's cruelty increases, whereas the Cotmt's spends itself before the son's return. Hegio finds no enjoy- ment in anything but the release of his son. All his thoughts are directed to this one end. The Count, how- ever, jokes with Angelo, and chides his daughters for their interest in the latter. He is a man of moods and of impulse, easily irritated when crossed ; but, like men of this type, the mood does not continue long. His interest in Rachel is due to an impulse, inspired, no doubt, by the very human consideration that Christophero was bent on the same. When he shows exasperation at his awkward servants, whom his own impatience has confused, he becomes almost frantic ; but when Juniper enters, a moment later, to intercede for Onion, his equanimity has been restored. His resolve to execute Camillo for deceiving him lasts longer, for it touches him more deeply. In spite of his cruelty to the latter, he seems to have been devoted to his countess, and to have had much affection for Paulo and the lost Camillo. His character appears to undergo a change after his inability to execute the latter. It does not seem like him to join with Christophero and Jaques in their laments. After the return of Chamont, however, his former character is reassumed. The character of Juniper was original with Jonson. If he resembles Strobilus at all, it is in having no scruples in taking Jaques' money. But of the traits of Juniper's charac- ter which are most prominent, and which attract us to him. Ivi Introduction there is no indication in Strobilus. The most noticeable of these is, of course, his predilection for, and his misuse of, high-sounding words. He has acquired them somewhere, and uses them freely, and with no further care than that they shall be long, and resemble in sound the correct word. Plautus has a suggestion of the use of long words for the purposes of humor, where Philocrates calls his father 'Thensaurochrysonicochrysides'^^ (Capt. 285). However, there is this difference : the word is coined, and per- tains somewhat to the situation. The pretense to learning thus exhibited is maintained on all occasions with great assurance, accentuated here and there with puns, proverbs, and quotations from foreign languages and other sources. With a stock of this material at his disposal, audacious and irrepressible, care-free and good-natured. Juniper must have met with much favor on the stage. This was cer- tainly not lessened when his assurance meets a check at the hands of Jaques, or when he skilfully evades a challenge in an argument witli Valentine. Reminiscences of Juniper are seen in Simon Eyre^- and Dogberry.^" In the incident with Jaques, Juniper and Onion share the part taken in Plautus by Strobilus, who is seized by Euclio, and later climbs a tree. Onion is the complete antithesis of Juniper. Where the latter is self-reliant and resource- ful, the former has to depend on others. Until Jaques' gold is secured, his chief aim is to win the favor of Rachel, and to this end he implores the advice and help of his friends. Juniper is requested to ask Balladino for an appropriate verse ; Christophero is asked to interview Rachel in his behalf ; Valentine has evidently been ap- proached, since Onion is searching for him when he meets Juniper, to whom he unbosoms himself, and begs his pres- " Cf. Plautus, Miles Gloriosus 13-4. ^^ Dekker, Shoemaker's Holiday; cf. Stoll, Modem Lang. Notes, Jan., 1906, p. 20. ^^ Much Ado About Nothing; cf. Castelain, p. 206; Aronstein, Ben Jonson, p. 20; Symonds, Ben Jonson, p. 16. Evaluation Ivii ence at an interview with Rachel. Onion is not lacking in self-importance and boldness — insolence would perhaps better express it. He has neither the merry and buoyant spirits of Juniper, nor the mental alertness. In fact, as the latter characterizes him, he is somewhat of a 'dunce.' Though his language is not so pretentious as Juniper's, he is never at a loss in an argument. He has a like habit of quoting proverbs and popular phrases. In this he may be imitating Juniper, in whom he had great confidence. Onion may not have been as acceptable to an audience as Juniper, but he remains true to his character. When he is led away to be punished, he begins to beg for mercy. Of the three girls in the play, the sisters, Aurelia and Phcenixella, are of minor importance. From their appear- ances, we infer that they are of opposite types. Ward^* characterizes them as 'the sister qui pleure and the sister qui rit.' After their mother's death, Aurelia, the taller and older, bears her mourning lightly, and sees no reason for restricting her pleasures ; Phcenixella is more serious, has more regard for propriety, and derives her happiness from 'contemplation.' In another play, and under different con- ditions, much more could have been made of them. Rachel, however, has a more prominent part. Gifford^^ says of her : 'The character of Rachel is exquisitely drawn : she is gentle and modest, yet steady, faithful and affectionate.' Castelain^® regards her as the only real young girl in all of Jonson's plays, and regrets that more was not made of the possibilities her part offers. There was very little in Plautus to suggest the character of Rachel, unless it was the piety which Phaedria^^ exhibited, and which won the favor of the household god. Outside of this — for piety may be accorded to Rachel — there is nothing in common between the two girls. The situation, too, is quite different. ^* History 2. 351-2; cf. Castelain, p. 197. ^° Works 6. 385. ^^ Ben Jonson, pp. 197-9; cf. Schelling i. 380. '' Aul. 23-8. Iviii Introduction More light is shed on the character of Jaques, when the character of Rachel is considered. With no servant or companion of the opposite sex to take charge of her, Jaques, in spite of his avarice and the fact that she is not his daughter, has reared a girl whom all admire. But we must not forget tliat, when it is necessary to decide between her and his gold, he grieves more for the loss of the gold. Whatever Rachel may have felt about this early period, she is always respectful toward her supposed father. As to her attitude toward her admirers, she is, perhaps, uncon- scious of all but Paulo. There is no record whether the Count, Christophero, and Onion ever succeeded in inter- viewing her, or whether Jaques mentioned their overtures. Her confidence in Angelo, the friend of Paulo, prevents her from perceiving his intentions. Aurelia seems at first to have shown some preference for Maximilian, and to have touched the susceptible Angelo, but Rachel has no thought of admiration. Angelo's treachery is, perhaps, a revelation to her. Worthy of confidence herself, she believes all are to be trusted. It is in keeping with her character that she intercedes for Angelo, when Paulo would have rejected him. It would seem as if more could have been made of her in the recognition-scene.^^ But Jonson had many loose ends to tie, and the action was converging to the point where it was necessary to omit details, and to deal only with essentials. Paulo', Camillo, and Chamont owe nothing to Plautus, except the parts they take in the action. Philopolemus, who is identified with Paulo, is scarcely more than a name, appearing only in the closing scene. Megadorus and Lyconides, the suitors of Phsedria, are identified with no one in our play. The part of the successful suitor, borne by Lyconides, is transferred to Paulo. The character of the latter is somewhat colorless, due, no doubt, to his few " Cf. Castelain, pp. 199-200. Evaluation lix appearances. In the earlier of these he gives promise of being worthy of such a character as Rachel's, but in his last appearance, when he arraigns Angelo for his treachery, this is not realized. His judgment is at fault in trusting Angelo, whose vacillating character seems to have been clear to everybody. His senseless ranting at his friend's perfidy demonstrates a lack of poise. Camillo's character is appar- ently more admirable than his brother's, though at times he resorts to the same extravagant language. His loyalty to, and his faith in, Chamont, in face of a threatened execu- tion, are not mentioned. Even the manner in which he received the disclosure of his birth is passed over. Here again were dramatic possibilities which were not utilized.^^ The little we see of Chamont produces a favorable impres- sion. Christophero's character is shown in his blustering rule over his fellow-servants, his infatuation, and in the ease with which Angelo dupes him by depriving him of both his sweetheart and his money. Balladino-" and Maxi- milian^^ have been discussed elsewhere. Colonnia appears at various times, but has no vital relation to the action. Angelo, the false friend, is perhaps more clearly and con- sistently drawn than any of the minor personages. A hint that he is not to be trusted is given by Paulo before his entrance. Count Ferneze reveals another trait by saying: 'He will swear love to every one he sees.' Angelo's remark, when Aurelia praises Maximilian, shows he likes attention, and resents being displaced. Rachel's beauty, not her character, evidently attracts him. His soliloquy, however, at the beginning of Act 3, summarizes his character. Valentine has two points of interest: he represents the traveler, a type that is often referred to by Jonson; and, in a small way, his part is analogous to that of Asper,^^ " Cf . Castelain, pp. 199-200. ^ See p. XXXV ff. '"■ See p. xxii. '" E. M. O. Ix Introduction Crites,^^ and Horace-* — that is, he is, for the time, Jonson's mouthpiece. This is said, of course, in reference to the criticism of an audience found in Act 2, scene 7. In other respects, his character may be said to be negative. The sources of comic effect are next to be considered. Jonson, with Aristotle in mind, says^^: 'The moving of laughter is not always the end of comedy,' especially, not the kind that 'either in the words or sense of an author or in the language or actions of men is awry or depraved.' Referring to ancient comedy, he includes in this 'all inso- lent and obscene speeches, jests upon the best men, injuries to particular persons, perverse and sinister sayings,' and particularly where the Old Comedy 'did imitate any dis- honesty, and scurrility came forth in the place of wit.' This view is emphasized in his dedication to Volpone. In this respect, the tone of The Case is Altered is especially high. The humor is always clean and wholesome. The comic element is confined almost entirely to the miser-plot, and is furnished chiefly by Jaques, Juniper, and Onion. Its sources are three — eccentricities of character, situations, and unusual words and expressions. The three characters mentioned above have peculiarities which would render them humorous in any situation. A miser is admittedly eccentric. Unrest and suspicion accompany this type of character, and serve to intensify his actions. With a hoard of money to guard, and given a marriageable daughter, a miser is in a more difficult position, and his eccentricities are sure to be magnified. Juniper's self-assurance and elaborate vocabulary, and Onion's cowardice and stupidity, constitute eccentricities which are fit subjects for comic treatment. Count Femeze, though not primarily a comic character, has a tendency to be so at times, because of his irascible temper. The best example of this is of course in "-^C. R. "■* Poet. '^'Discoveries g. 222. Evaluation Ixi Act I, scene 5, where the humor of the situation Ues in the mental paralysis which has seized every one, because of the Count's impatience and irritability. Of the dozen or so comic situations, where the humor rises primarily from the situation, that in Act 4, scene 7, is decidedly the best. Something of the kind is to be expected when the three chief comic agents are brought together for the first and only time. It is fitting, also, that the two most eccentric characters shall grapple, and that Onion shall play the fool from a safe position. Act 5, scene 3, seems to introduce drunkenness as a source of comic effect, something rare with Jonson. Of the drinking-scene in Bartholomew Fair (4. 455), Gifford says: 'His object undoubtedly was to inculcate a contempt and hatred of this vile species of tavern pleasantry.' Reference is made to a case of drunk- enness in Every Man In (1. 144), but there is no presenta- tion of it on the stage. In our play, the emphasis seems to be laid, not so much upon their condition, as upon other features, such as the incongruity in their apparel, and the employment of a page. The third source, words and phrases, includes words misused, puns, proverbs, scraps from foreign languages, apparent quotations from contem- porary plays, and expressions from other sources which had become popular. Some of the humor in these lies in the comparison they invite, of the situation in which they are found with the present. The introduction of Pacue, speak- ing a foreign language, is another comic element. This device was quite popular,-'' but there is very little of it to be found in Jonson.^'^ The aim of the play is not satirical, though it has parts that are intended as a satire. The allusion to Anthony ^ Cf. Dekker, Shoemaker's Holiday, Wonder of a Kingdom, and his masque with Ford, The Sun's Darling; Lodge, Wounds of Civil War; Middleton, Anything for a Quiet Life; Jack Drum's Enter- tainment; L. L. Lost (Act 5, scene 1). " Alch. 4. 125-34; D. A. 5. I4S-6; Tub 6. 128 fif. (dialect). Ixii Introduction Munday will be recalled. Here, too, an opportunity seems to be taken to show disapproval of the insipid material used for plays, and of the poor taste of those who favored them. Another instance is the arraignment of the audiences in a theatre. Both of these have been discussed under Satire. As a comedy, what can be said, then, of The Case is Altered, and how does it compare with the other plays of Jonson? The fact that the title-page states it had been 'sundry times' acted would suggest that it had been received with some favor. The reference to it by Nashe^® seems to indicate that the play was well known, and quotations from it made in Bodenham's Belvedere^^ confirm this view. Meagre as it is, such external evidence as we have attests its popularity. On the other hand, a perusal of it, or a more detailed study, will demonstrate that it was wortliy of recognition. The above analysis has shown some of its strong points, as well as the weak ones. The selection of two diverse plays from Plautus, with the outline of each practically retained, offered many problems for the har- monious development of a new play. By this the scope of the new play, if not its character, was largely predetermined, and the freedom with which Jonson usually worked in devising his plots was somewhat circumscribed. Yet it will be admitted that the task was managed with great skill. Though his theory of dramatic unity suffered somewhat, there is, nevertheless, an inner or organic relation main- tained ; and his treatment of the unity of time was cleverly effected. The borrowed characters were, for the most part, transformed, showing very few traits of the originals. Some of the more prominent of these were not so fully drawn as their parts seem to warrant. No doubt he was more interested in the comic characters and the situations that concerned them — a view which is substantiated by his later success in this field. The words and phrases that are used as comic devices, and which so often recur, tend ^Lenten Stuff e (Wks. 3. 220). ^Cf. Index. Evaluation Ixiii to make some parts of the play a little tedious. But, as a rule, the pleasantries are wholesome, and there are no portions which we should prefer to excise. The statement^^ that Jonson was not interested in treat- ing love-episodes is doubtless true. In our play, however, he has shown that he could treat this topic with a fair measure of success, if the occasion required. The modesty, constancy, and refinement of Rachel are drawn with a nice- ness of touch that is not found in Awdrey in A Tale of a Tub; and, for dramatic interest, her part is superior to that of Lady Frampul in The New Inn, and Julia in The Poetaster. On the other hand, neither is the structure of our play as perfect, nor its interest as intense, as that of The Alchemist, Volpone, or Epiccene. A wider range of episodes, too, is offered in Every Man In, Every Man Out, and Bartholomew Fair. Its humor, though not so broad or so varied as in the last mentioned, is nevertheless, good- natured, and, in this respect, and in its freedom from boister- ous features, it is noticeably superior to many of the others. The personal satire is not elaborate, as in Cynthia's Revels, nor bitter, as in The Poetaster. In fact, considering that the Balladino-incident is evidently a later insertion, the original play may be said to have been free from personali- ties. His descriptions of characters are often long and tedious, and, while the action waits, the interest necessarily flags. In this respect our play is more fortunate than some, containing only a few, and these short and concise, as con- trasted with the many found in such plays as Every Man Out and Cynthia's Revels. It surpasses the latter in not being so unwieldy, and it is more spontaneous, and has more freshness and elegance, than the plays written after Bar- tholomew Fair. Finally, its clearness is not obscured by allegory, as is the case with Cynthia's Revels and The Poetaster. ^"Castelain, p. 199; Symonds, Ben Jonson, pp. 53-4; cf. citation from Dryden, supra, p. xv; Lounsbury, p. 119. Ixiv Introduction As a romantic comedy, it is more like Shakespeare's early plays than Jonson's. Though it is not to be ranked so high as the Two Gentlemen of Verona, the two plays have much in common.^^ The kind of humor practised by Juniper and Onion finds its counterpart in that of Speed and Launce; the friendship of Paulo and Angelo, the duplicity of the latter, and their reconciliation, are reminiscent of Valentine and Proteus; and, for her constant and loving character, Rachel deserves to be compared with Julia. It is a source of common regret"- that Jonson did not produce more of this type of drama, when he seems to have made such a promising start. His originality^ and inde- pendence, however, as well as his inaptitude, would seem to explain the coiirse he finally pursued. Because of his decided views on the life of the day, and the attitude he assumed toward the drama, he would naturally not adopt a type of composition which would be contrary to the task he had set for himself, and which would necessarily limit his powers. The ease with which The Case is Altered lends itself to presentation on the stage was recently shown when it was performed by the students of the University of Chicago. In a letter dated April 3, 191 5, Professor Richard G. Moul- ton, who was asked to give his impression of the play judging from these performances, has kindly submitted the following comments : 'The presentation of The Case is Altered in 1902 was a conspicuous success, with large and appreciative audiences. I attribute the success very largely to the fact that the antiquities of the Elizabethan stage were maintained, and, as a part of this, that an Elizabethan audience was part of the presentation. There was a stage for the play, and a fore-stage for the Elizabethan audi- ence — some 200 of them, in appropriate costume, and with "Aronstein, Ben Jonson, pp. 19-20; Woodbridge, pp. 75-7. '^Swinburne, p. 11; Symonds, Ben Jonson, p. 16; cf. Aronstein, Ben Jonson, pp. 21-2. Evaluation Ixv considerable "business," such as would represent the free behavior of a theatrical audience in those days. Queen Elizabeth, I remember, had a private box. I am afraid that, at this distance of time, I cannot say anything useful about the details of the play, beyond that I was favorably impressed with its acting qualities. But there is no doubt that the combination of play and scenic audience was most entertaining ; my impression at the time was that it was one of the most successful stage-spectacles that I had seen.' In the same connection. Professor Albert H. Tolman writes (June 13, 191 5) : 'The impression of the play that has staid in my mind may be briefly stated thus : The play proved to be full of effective situations that came out with great force in the acting. This was especially true of the role of Jaques de Prie, the miser. The exchange of names between the two friends, Camillo and Lord Chamont, and the explanation of this later in the play, were so huddled up that they made little impression.' Professor David A. Robertson, who took the part of Jaques in this performance, writes (April 22, 1915) : 'Professor Manly has turned over to me your letter with respect to "The Case is Altered." . . . Speaking as a participant, I may say that the play lent itself easily to presentation.' The interest and enthusiasm with which a revived play of this character is received cannot justly be regarded as a criterion by which its dramatic qualities are to be judged. In this particular instance, much of the success was due, as Professor Moulton says, to somewhat extraneous features such as the retention of the antiquities of the Elizabethan stage, and to the inclusion of a typical Eliza- bethan audience as a part of the presentation. Professor Gayley's views coincide with those expressed by Professor Moulton. Speaking of the present play, and others that have been recently revived by stage-societies and universi- ties, he adds^^ : 'But the interest evoked has been historical ^ Repr. Eng. Corn. 2. xiii. Ixvi Introduction and literary, rather than dramatic' Aside from the spectac- ular features which aided the performance under discussion, it is clear, as Professor Tolman and Professor Robertson testify, that The Case is Altered possesses evident act- ing qualities, and that these contributed their share to its success. The episodes have considerable action, and the action moves forward with a fair degree of rapidity to the catastrophe, carrying suspense as well as interest in its wake. Furthermore, characters such as Jaques, Juniper, Count Ferneze, and Rachel, are sufficiently diverse to intensify this interest, and to broaden the scope of the play. THE CASE IS ALTERED TEXT EDITOR'S NOTE The text is a reproduction of an original quarto of 1609, owned by Mr. W. A. White, New York City. No changes have been made in spelling, punctuation, capitalization, or italics. Acts and scenes are not indicated after Act 4, scene i, and these have been supplied from that point. The quarto has no pagination. The footnotes to the text com- prise all variants of the five copies of the quarto which were collated, important stage-directions added by Gifford, and significant emendations made by Whalley and GifTord. B. Copy of the quarto in the Bodleian Library at Oxford. D. Copy in the library of the Duke of Devonshire. Mi, M2. Copies in the British Museum. G. Giflford. W. Whalley. A Plcafant Comedy, CALLED; The Cafe is Alterd. Ask hath bccnc fundiy times z&cd by thc children of thc Black-friers. Written by B b n. I o n » o k# Iftnted hxBArMomewStttm, zni^iOfdmBArr^g^, and are to be fold at the great North-doorc of Saint Paules Church. 1 6 o p. [B] BEN: lONSOH HIS CASE IS ALTERD. As it hath beene fundry times A6ied by the Children of the Blacke-fricrs. j4t LONDOTi^ rintcdfor BmholomcwSHtton, dwelling in Paulcs Church-yard nccrc the great north door<:of S» P^uIcs Church, i«o^. [Mi] f\ Pleafant Comedy, CALLED; The Cafe is Alcerd. As it hath bfcncfundiy times a(flcd by the children of the Black-friers. Printed for B^rthlomew Suttm, and Wittiam BArrenger^ and arc to be fold ar the great North-doorc of Saint Panics Church, i 6op. [DJ THE PERSONS OF THE PLAY Count Ferneze. Lord Paulo Ferneze, his Son. Camillo Ferneze, supposed Gasper. Maximilian, General of the Forces. Chamont, Friend to Gasper. Angelo, Friend to Paulo. Francisco Colonnia. Jaques de Prie, a Beggar. Antonio Balladino, Pageant Poet. Christophero, Count Ferneze's Steward. Sebastian, 1 Martino, I > hts Servants. ViNCENTIO, Balthasar, j Valentine, Servant to Colonnia. Peter Onion, Groom of the Hall. Juniper, a Cobler. Pacue, Page to Gasper. Finio, Page to Camillo. Page to Paulo. Aurelia, ) Daughters to Phcenixella, ) Count Ferneze. Rachel de Prie. Sewer, Messenger, Servants, etc. SCENE— Milan. [A list of the Dramatis Pcrsonae does not appear in the quarto. For purposes of convenience, the list given by Gifford is reproduced.] A pleafant Comedy called, the Cafe is Alter d. Actus primi, Scaena prima. Sound? after a floiirifh: luniper a Cohler is difcouered, fitting at worke in his fhoppe and finging. luniper. Onion, Antony Baladino. OV wofidl wights giiie eare a while. And marke the tenor of my ftile. Which fhall fuch trembling hearts vnfold As feldome hath to fore bene told. 'Enter Onion in haft. Such chances rare and dolefull newes Oni. fellow luniper 5 Peace a Gods name. As may attempt your wits to mufe. Oni. Gods fo, heere man. A pox a God on you. And caufe fuch trickling teares to paffe, Except your hearts he flint or hraffe: Oni. luniper, 10 To heare the newes which I fhall tell, luniper. That in Caftella once befell. Sbloud, where didft thou learne to corrupt a man in the midft of a verfe, ha? Onion. Gods lid man, feruice is ready to go vp man, 15 you muft flip on your coate and come in, we lacke waiters pittyfully. lunip. A pittifull hearing, for now muft I of a merry Cobler become mourning creature. A . . . called,] 0111. G Sound?] om. G Onion, . . . Baladino.] om. G Antouy B 12 Cuftella W 19 [a] mourning G a Cobler] om. G 8 a God] om. G lo A pleafant Comedy, called [Act i Onion. Well youle come. ¥.xit Onion. 20 lunip. Prefto. Go to, a word to the wife, away, flie ? vanifh : Lye there the weedes that I difdaine to weare. Anto. God faue you Maifter luniper. luni. What Signior Antonio Balladino, welcome 25 fweet Ingle. Anto. And how do you fir? luni. Faith you fee, put to my fhifts here as poore retainers be oftentimes, firrah Antony ther's one of my fellowes mightely enamored of thee, and I faith you 30 flaue, now your come Fie bring you together, i'ts Peter Onion, the groome of the hal, do you know him. Anto. No not yet, I affure you. luni. O he is one as right of thy humour as may be, a plaine fimple Rafcal, a true dunce, marry he hath 35 bene a notable vilaine in his time : he is in loue, firrah, with a wench, & I haue preferd thee to him, thou fhalt make him fome prety Paradox or fome Aligory, how does my coate fit? well. Anto. I very well. JLnter Onion. 40 Oni. Na Gods fo, fellow luniper, come away. lun. Art thou there mad flaue, I come with a powder?. Sirrah fellow Onion. I muft haue you pe- rufe this Gentleman well, and doe him good offices of refpect and kindneffe, as inftance fhall be giuen. 45 Anto. Nay good maifter Onion what do you meane, I pray you fir you are to refpectue in good faith. Onion. I would not you fhould thinke fo fir, for though I haue no learning, yet I honour a fcholer in any ground of the earth fir, 50 Shall I requeft your name fir ? Anto. My name is Antonio Balladino. Oni, Balladino f you are not Pageant Poet to the City of Millaine fir, are you. 23 Enter Antonio Balladino. G 45 [Exit. G Scene i] The Cafe is Alterd ii Anto. I fupply the place fir : when a worfe cannot 55 be had fir. Oni. I crie you mercy fir, I loue you the better for that fir, by lefu you muft pardon me, I knew you not, but Il'd pray to be better acquainted with you fir, I haue feene of your works. 60 Anto. I am at your feruice good Maifter Onion, but concerning this maiden that you loue fir? what is fhe. Onion. O did my fellow luniper tell you ? marry fir, fhe is as one may fa}^, but a poore mans child indeede, and for mine owne part I am no Gentleman borne I 65 muft confeffe, but my mind to me a kingdome is truly. Anto. Truly a very good faying. Onion. T'is fomewhat ftale, but that's no matter. Anto. O t'is the better, fuch things euer are like bread, which the ftaler it is, the more holefome. 70 Onion. This is but a hungry comparifon in my iudgement. Anto. Why, I'le tell you, M. Onion, I do vfe as much ftale ftuffe, though I fay it my felfe, as any man does in that kind I am fure. Did you fee the laft 75 Fageant, I fet forth? Onion. No faith fir, but there goes a huge report on't. Anto. Why, you fhal be one of my Mcecen-affes, Vie giue you one of the bookes, O you'le like it admir- 80 ably. Oni. Nay that's certaine, I'le get my fellow luniper to read it. Anto. Reade it fir, I'le reade it to you. Onion. Tut then I fhall not chufe but like it. 85 Anto. Why looke you fir, I write fo plaine, and keepe that old Decorum, that you muft of neceffitie like it ; mary you fhall haue fome now (as for example, in plaies) that will haue euery day new trickes, and 66 is truly.] is. G 12 A pleafant Comedy, called [Act i write you nothing but humours : indeede this pleafes the 90 Gentlemen: but the common fort they care not for't, they know not what to make on't, they looke for good matter, they, and are not edified with fuch toyes. Onion. You are in the right, Fie not giue a halfe- peny to fee a thoufand on 'hem, I was at one the laft 95 Tearme, but & euer I fee a more roguifh thing, I am a peece of cheefe, & no onion, nothing but kings & princes in it, the foole came not out a iot. Anto. True fir, they would haue me make fuch plaies, but as I tell hem, and they'le giue me twenty 100 pound a play, I'le not raife my vaine. Onion. No, it were a vaine thing, and you fhould fir. Anto. Tut giue me the penny, giue me the peny, I care not for the Gentlemen I, let me haue a good 105 ground, no matter for the pen, the plot fhall carry it. Onion. Indeed that's right, you are in print already for the beft plotter. Anto. I, I might as well ha bene put in for a dumb fhew too. no Oni. I marry fir, I marie you were not, ftand afide fir a while : 'Enter an armd Sewer: fome halfe dozen in mourning coates following and paffe by with feruice. Enter Valentine. Onion. How now friend, what are you there? be vncouered. Would you fpeake with any man here? Valen. I, or elfe I muft ha' returnd you no anfwer. 115 Oni. Friend, you are fomewhat to peremptory, let's craue your abfence: nay neuer fcorne it, I am a little your better in this place. Valen. I do acknowledge it. 112 [Exit Antonio. G Enter . . . feruice:] An armed Sewer, followed by Juniper, Sebastian, Martino, Balthasar, ViNCENTio, and other Servants in mourning, with dishes, &c. passes over the stage. G Scene i] The Cafe is Alterd 13 Onion. Do you acknowledge it? nay then you fhall go forth, He teach you how fhall acknowledge it 120 another time ; go to, void, I muft haue the hall purg'd, no fetting vp of a reft here, packe, begone. Valen. I pray you fir is not your name Onion f Oni. Your friend as you may vfe him, and M. Onion, fay on. 125 Yalen. M. Onion with a murraine, come come put off this Lyons hide, your eares haue difcouered you, why Peter! do not I know you Veter? Onion. Gods fo, \ dentine! Yalen. O can you take knowledge of me now fir? 130 Oni. Good Lord, firra, how thou art altred with thy trauell? Yalen. Nothing fo much as thou art with thine office, but firra. Onion is the Count Ferneze at home? 'Kxit Anthony. Oni. I Bully, he is aboue; and the Lord Faulo Fer- 135 nese, his fon, and Maddam Aurelia, & maddam Fhoen- ixella, his daughters, But O Yalentinef Yalen. How now man, how doft thou? Oni. Faith fad, heauy, as a man of my coate ought to be. 140 Yalen. Why man, thou wert merry inough euen now. Oni. True, but thou knoweft All creatures here foiorning, vpon this wretched earth. Sometimes haue a fit of mourning, as well as a fit of 145 m,irth. O Yalentine, mine old Lady is dead, man. Yalen. Dead ! Oni. I faith. Yalen. When dyed fhe? " 150 Onion. Mary, tomorrow fhall be three months, fhe 120 how you W how [you] G 14 A pleafant Comedy, called [Act i was feene going to heauen they fay, about fome fiue weekes agone! how now? trickling teares, ha? Valen. Faith thou haft made me weepe with this newes. i55 Onion. Why I haue done but the parte of an Onion, you muft pardon me. Scsene. 2. Enter the fewer, paffe by with feruice againe, the feru- ingmen take knowledge of Valentine as they goe. luniper falutcs him. luni. What Valentiuef fellow Onion, take my difh 1 prithee you rogue firrah, tell me, how thou doft, fweet Ingle. Valen. Faith, luniper, the better to fee thee thus frolicke. 'Exit Oni. 5 luni. Nay, flid I am no changling, I am luniper ftill. I keepe the priftmate ha, you mad Hierogliphick, when fhal we fwagger. Valen. Hierogliphick, what meaneft thou by that. luni. Meane? Gods fo, ift not a good word man? 10 what? ftand vpon meaning with your freinds. Puh, Abfconde. Valen. Why, but ftay, ftay, how long has this fprightly humor haunted thee? luni. Foe humour, a foolifh naturall gift we haue 15 in the Aquino ctiall. Valen. Naturall, flid it may be fupernaturall, this? luni. Valentine, I prithee ruminate thy felfe wel- come. What fortuna de la Guerra. Scasne . . . him.] Re-enter the Sewer, followed by the Servants with dishes, as before: they all pass over the stage but Juniper. G 2 prithee [Exit Onion with the dish.] G 7 priftinate; W, G 17 all this. IV Scene 3] The Cafe is Alterd 15 Valen. O how pittifully are thefe words forc't. 20 As though they were pumpt out on's belly. luni. Sirrali Ingle, I thinke thou haft feene all the ftrange countries in Chriftendome fince thou wentft? Valen. I haue feene fome luniper. luni. You haue feene Conftantinoplef 25 Valen. I, that I haue. luni. And lerufalem, and the Indies, and Goodwine fands, and the tower of Babylon, and Venice and all. Valen. I all; no marie and he haue a nimble tong, if he practife to vault thus from one fide of the world 30 to another. luni. O it's a moft heauenly thing to trauel, & fee countries, efpecially at fea, and a man had a pattent not to be ficke. Valen. O fea ficke left, and full of the fcuruie. 35 Scaene 3. 'Enter luniper, Antonio, Sebaftian, Martino, Vincentio, Balthafar and Chriftophero. Seba. Valentine f welcome I faith how doft firra? Mart. How do you good Valentine. Vincen. Troth, Valentine, I am glad to fee you. "Balth. Welcome fweet rogue. Sebaft. Before God he neuer lookt better in his life. 5 Balth. And how ift man? what. Alia Coragio. Valen. Neuer better gentlemen I faith. luni. S'will here comes the fteward. Chrift. Wh)^ how now fellowes all here? and nobody to waight aboue now they are ready to rife? 10 31 [Aside. G Scaene . . . Chriftophero.] Re-enter Sebas- tian, Martino, Vincentio, and Balthasar, G 8 Enter Chris- TOPHERO. G 1 6 A plea f ant Comedy, called [Act i looke vp one or two Signior France fco Colomia's man how doo's your good maifter. 'Exeunt lumper, Martino, Vincentio. Valen. In health fir he will be here anon. Chrifta. Is he come home, then? Valen. I fir he is not paft fixe miles hence, he fent 15 me before to learne if Count Ferneze were here and returne him word. Chrifto. Yes, my Lord is here; and you may tel your maifter he fhal come very happily to take his leaue of Lord Paulo Ferneze: who is now inftantly to 20 depart with other noble gentlemen, vpon fpeciall feruice. Valen. I will tell him fir. Chrifto. I pray you doe, fellowes make him drinke. Valen. Sirs, what feruice ift they are imployed in? Sebaft. Why againft the French they meane to haue 25 a fling at Millaine againe they fay. Valen. Who leades our forces, can you tell? Sebaft. Marry that do's Signior Maximilianf he is aboue, now. Valen. Who, Maximilian of Vicenzaf 30 Bfl/f. I he? do you know him? Valen. Know him? O yes he's an excellent braue foldier. Ba/?. I fo they fay, but one of the moft vaine glori- ous men in Europe. 35 Valen. He is indeed, marry exceeding valient. Sebaft. And that is rare. Bait. What. Sebaft. Why to fee a vaineglorious man valient. Valen. Well he is fo I affure you. Enter luniper. 40 luni. What no further yet, come on you precious rafcall, fir Valentine, He giue you a health I faith ; for the heauens you mad Capriceio, hold hooke and line. 12 doo's] doft B 12 your] our G Scene 4] The Cafe is Alterd 17 Scsene 4. 'Enter Lord Paulo Fernese, his boy following him. Pau. Boy. Boy. My Lord Van. Sirrah go vp to Signior Angelio, And pray him (if he can) deuife fome meanes, To leaue my father, and come fpeake with me. 5 Boy. I will my Lord. Pau. Well heauen, be aufpicious in the euent; For I do this againft my Genius, And yet my thoughts cannot propofe a reafon, Why I fhould feare, or faint thus in my hopes, 10 Of one fo much endeered to my loue. Some fparke it is, kindled within the foule: Whofe light yet breaks not to the outward fence. That propagates this tymerous fufpect; His actions neuer carried any face 15 Of change, or weaknes : then I iniury him ? In being thus cold conceited of his faith, O here he comes. Enter Angela. Ang. How now fweet Lord, whats the matter? Fail. Good faith his prefence makes me halfe afhamd. Of my ftraid thoughts. Boy. Beftow your selfe. 20 Exit Boy. Where is my father, Signior Angelio. Ang. Marry in the galery, where your Lordfhip left him. Fau. Thats well. Then Angelio I will be briefe. Since time forbids the vfe of circumftance, Scaene . . . him.] Scene II. A Room in count Ferneze's House. Enter lord Paulo Ferneze, followed by his Page. G 6 [Exit. G 13 outer W 18 Re-enter Page with Angelo. G 20 [Exit Page. G 1 8 A pleafant Comedy, called [Act i How well you are receiued in my affection, 25 Let it appeare by this one inftance, onely That now I will deliuer to your truft, The deereft fecrets, treafurd in my bofome, Deare An^elio. You are not euery man, But one, whome my election hath defign'd, 30 As the true proper obiect of my foule : I vrge not this t'infinuate my defert, Or fupple your tri'd temper, with foft phrafes ; True friendfhip lothes fuch oyly complement: But from th' aboundance of that loue, that flowes 35 Through all my fpirits, is my fpeech enforc'd. Ang. Before your Lordfhip do proceed too far. Let me be bould to intimate thus much ; That what fo ere your wifedome hath t'expofe, Be it the waightieft and moft rich affaire, 40 That euer was included in your breaft, My faith fhall poife it, if not Fau. O no more, Thofe words haue rapt me with their fweet effects, So freely breath'd, and fo refponfible. To that which I endeuoured to extract, 45 Arguing a happy mixture of our foules. Ange. Why were there no fuch fympathy fweete Lord? Yet the impreffure of thofe ample fauours, I haue deriu'd from your vnmatched fpirit. Would bind my faith to all obferuances. 50 Pau. How ! fauours Angello, 6 fpeake not of them. They are meere paintings, and import no merit, Lookes my loue well? thereon my hopes are plac't: Faith, that is bought with fauours, cannot laft. Enters Boy. My Lord. Boy. 55 Pau. How now? 43 wrapt W 54 Re-enter Page. G Scene 4] The Cafe is Alterd 19 Boy. You are fought for all about the houfe, within, The Count your father cals for you. Pau. God, what croffe euents do meet my purpofes r Now will he violently fret and grieue 60 That I am abfent. Boy, fay I come prefently: 'Kxit Sweet Angello, I cannot now infift Boj. Vpon particulars, I muft ferue the time The maine of all this is, I am in loue. Angc. Why ftarts your Lordfhip? 6$ Pau. I thought I heard my father comming hither- ward, lift, ha? Ange. I heare not any thing, it was but your imagi- nation fure. Pau. No. 70 Ange. No, I affure your Lordfhip. 'Pau. I would worke fafely. Ange. Why, has he no knowledge of it then? Pau. O no, no creature yet pertakes it but your felf e In a third perfon, and beleeue me friend, 75 The world containes not now another fpirit. To whom I would reueile it. Harke, harke, „ , ( Signior Paulo. ) ... 6eruants. < ^ , „ > withm. ( Lord Ferneze. ) Ange. A pox vpon thofe brazen throated flaues, 80 What are they mad, trow? Paw. Alas, blame not them, Their feruices are (clock-like) to be fet, Backward and forward, at their Lords command, You know my father's wayward, and his humour Muft not receiue a check, for then all obiects, 85 Feede both his griefe and his impatience. And thofe afifections in him, are like powder, Apt to enflame with euery little fparke. And blow vp reafon, therefore Angela, peace. 70 No.] No? Mi within. "^ A pleafant Comedy, called [Act i 'Count. Why this is rare, is he not in the garden ? 90 Crift. I know not my Lord. ■ Count. See, call him? Fau. He is comming this way, let's withdraw a little. Exeunt. ... f Seruants. Signior Faulo, Lord Fernese, ^^*^^"- i Lord Faulo. 95 Scsene 5. Enter Count Ferneze, Maximilian, Aurelia, Fhce- nixella, Sebaft. Balthafar. Count. 'W TT THere fhould he be, trow? did you looke in V V the armory? Sebaft. No my Lord. Count. No, why there? 6 who would keepe fuch drones? Kxeunt Sebaft. and Baltho. F.nter Martino. How now, ha ye found him? Mart. No my Lord. 5 Count. No my Lord, I fhall haue fhortly all my family Speake nought, but no my Lord, where is Chriftophero, 'Enter Chrriftophero. Looke how he ftands, you fleepy knaue, Exit Martino. What is he not in the Garden? 10 Chrifto. No my good Lord. Count. Your good Lord, 6 how this fmels of f ennell. Enter Sebaft. Baltha. You haue bene in the garden it appeares, well, well. Scaene . . . Count.] Enter count Ferneze, Maximilian, Aurelia, Phcenixella, Sebastian, and Balthasar. G Scene 5] The Cafe is Alterd 21 Balth. We cannot find him my Lord. Sebaft. He is not in the armory. 15 Count. He is not, he is no where, is he? Maxi. Count Fernese. Count. Signior. Maxi. Preferue your patience honorable Count. Count. Patience? a Saint would loofe his patience to be croft, 20 As I am with a fort of motly braines, See fee, how like a neft of Rookes they ftand, Fnter Onion. Gaping on one another ! now Diligence, what news bring you? Oni. Ant pleafe your honour. 25 Count. Tut, tut, leaue pleafing of my honour Dili- gence, you double with we, come. Oni. How : does he find fault with Vleafe his Honour. S'wounds it has begun a feruingmans fpeech, euer fince I belongd to the blew order : I know not 30 how it may fhew, now I am in blacke, but Count. Whats that, you mutter fir ? will you proceed ? Oni. Ant like your good Lordfhip. Count. Yet more, Gods precious. Oni. What, do not this like him neither? 35 Count. What fay you fir knaue? Oni. Mary I fay your Lordfhip were beft to fet me to fchoole againe, to learne how to deliuer a meffage. Count. What do you take exceptions at me then. Om. Exception? I take no exceptions, but by Gods 40 fo your humours Count. Go to you are a Raskall, hold your tongue, Oni. Your Lordfhips poore feruant, L Count. Tempt not my patience. 23 Gaping at W 27 we,] me, W, G 31 [Aside. G 35 [Aside. G 40 Exception?] Exceptions! G 22 A plea f ant Comedy, called [Act i Oni. Why I hope I am no fpirit, am I ? 45 Maxi. My Lord, command your Steward to correct the flaue. Oni. Correct him, S'bloud come you and correct him and you haue a minde to it, correct him, that's a good ieft I faith, the Steward and you both, come and 50 correct him. Count. Nay fee, away with him, pull his cloth ouer his eares. Oni. Cloth ? tell me of your cloth, here's your cloth, nay and I mourne a minute longer, I am the rotteneft 55 Onion that euer fpake with a tongue. They thruft him out. Maxi. What call your hind's count Vernezef Count. His name is Onion Signior, yiaxi. I thought him fome fuch fawcy companion. Count. Signior Maximillian. 60 Maxi. Sweet Lord. Count. Let me intreat you, you would not regard Any contempt flowing from fuch a fpirit. So rude, fo barbarous. Maxi. Moft noble Count vnder your fauour — 65 Coun. Why He tell you Signior, Heele bandy with me word for word, nay more. Put me to filence, ftrike me perfect dumb ; And fo amaze me, that oftentimes I know not. Whether to check or cherifh his prefumption : 70 Therefore good Signior. Maxi. Sweet Lord fatisfie your felf e, I am not now to learn how to manage my affections, I haue obferu'd, and know the difference betweene a bafe wretch and a true man, I can diftinguifh them, the property of the 75 wretch is, he would hurt and cannot, of the man, he can hurt, and will not. 57 caIl[you] G 57 hind's [name,] G 57 call . . . hind's] call you your hind, IV 77 not. [Aurelia smiles. G Scene 5] The Cafe is Alterd 23 Coun. Go to, my merry daughter, 6 thefe lookes, Agree well with your habit, do they not? Knter luniper. lunip. Tut, let me alone. By your fauour, this is 80 the Gentleman I thinke. Sir you appeare to be an honor- able Gentleman, I vnderftand, and could wifh ( for mine owne part) that things were conden't otherwife then they are: but (the world knowes) a foolifh fellow, fomewhat procliue, and hafty, he did it in a preiudicate 85 humour ; mary now vpon better computation, he wanes ; he melts ; his poore eyes are in a cold fweat. Right noble Signior, you can haue but compunction, I loue the man, tender your compaffion. Ma;ri. Doth any man here vnderftand this fellow? 90 lunip. O God fir, I may fay fruftra to the compre- henfion of your intellection. Maxi. Before the Lord, he fpeakes all riddle, I thinke. I muft haue a comment ere I can conceiue him. 95 Count. Why he fues to haue his fellow Onion pardon'd. And you muft grant it Signior. Maxi. O with all my foule my Lord, is that his motion ? lunip. I fir, and we fhall retort thefe kinde fauours 100 with all allacrity of fpirit, we can fir, as may be moft expedient, as well for the quality as the caufe, till when in fpight of this complement: I reft a poore Cobler, feruant to my honorable Lord here, your friend and luniper. Kxit. 105 Maxi. How luniperf Count. I Signior. M.axi. He is a fweete youth, his tongue has a happy turne when he fleepes. 79 Enter Juniper in his cobler's dress. G 24 A pleafant Comedy, called [Act i Enter Paulo Yerneze, Francifco, Colomea, Angela, Valentine. Count. I for then it refts, O Sir your welcome, no Why God be thanked you are found at laft: Signior Coloma truly you are welcome, I am glad to fee you fir fo well returned. Fran. I gladly thanke your honour, yet indeed I am fory for fuch caufe of heauineffe, 115 As hath poffeft your Lordfhip in my abfence. Count. O Francifco' you knew her what fhe was ! Fran. She was a wife and honorable Lady. Count. I was fhe not! well weepe not fhe is gone, Paffons duld eye can make two grieues of one, 120 Whom death marke out, vertue, nor bluod can faue. Princes, as beggers, all muft feed the graue. Max. Are your horfe ready Lord Faulo, Fau. I fignior the ftay for vs at the gate. Max. Well tis good. Ladies I will take my leaue 125 of you, Be your fortunes as your felues? faire. Come let vs to horfe, Count Ferneze I beare a fpirit full of thanks for all your honorable courtefies. Count: Sir I could wifh the number and value of them more in refpect of your deferuings. But Signior 130 Maximtllian. I pay you a word in priuate. Aur. I Faith brother you are fitted for a generall yonder, Befhrow my heart (If I had Fortnnatus hat here) and I would not wifh my felfe a man and go with you, only t' enioy his prefence. 135 Fau. Why do you loue him fo well fifter. Aur. No by my troth, but I haue fuch an odde prety apprehenfion of his humour me thinks : that I am eene tickled with the conceite of it. O he is a fine man. 140 Ang. And me thinks another may be as fine as he. Enter . . . Colomea, . . .] Enter . . . Colonnia, . . . G 123 horses G 131 pay] pray W, G 131 [They walk aside. G Scene 5] The Cafe is Alterd 25 Kur. O Angelio, do you thinke I do vrge any com- parifon againft you ? no, I am not fo illbred, as to be a deprauer of your worthines : beleeue me, if I had not fome hope of your abiding with vs, I fhould neuer 145 defire to go out of black whilft I Hued: but learne to fpeake i' the nofe, and turne puritan prefently. An^. I thanke you Lady : I know you can flout. Aur. Come doe you take it fo? I faith you wrong me. 150 Fran. I, but Maddame, Thus to difclaime in all the effects of pleafure, May make your fadneffe feeme to much affected, And then the proper grace of it is loft. Vhoenix Indeed fir, if I did put on this fadneffe 155 Onely abroad, and in Society, And were in priuate merry ; and quick humor'd ; Then might it feeme affected and abhord : But as my lookes appeare, fuch is my fpirit, Drown'd vp with confluence of griefe, and melancholy, 160 That like to riuers run through all my vaines. Quenching the pride and feruour of my bloud. Max. My honorable Lord ? no more : There is the honour of my bloud ingag'd, For your fonnes fafety. Count. Signior, blame me not, 165 For tending his fecurity fo much. He is mine onely fonne, and that word onely. Hath with his ftrong, and reprecuffiue found, Stroke my heart cold, and giuen it a deepe wound. Max. Why but ftay, I befeech you, had your Lord- 170 fhip euer any more fonnes then this. Count. Why haue not you know en it Maximilian f Max. Let my Sword faile me then. Count. I had one other yonger borne then this, 142 do vrge any] urge any G do urge my W 153 to] so W 168 his] its IV 26 A pleafant Comedy, called [Act i By twife fo many howers as would fill 175 The circle of a yeare, his name Camillo, Whome in that blacke, and fearfuU night I loft, (Tis now a nineteene yeares agone at leaft. And yet the memory of it fits as frefh Within my braine as twere but yefterday) 180 It was that night wherein the great Chamont, The generall for France furprifed Vicensa, Methinks the horrour of that clamorous fhout His fouldiers gaue' when they attaind the wall, Yet tingles in mine eare, me thinkes I fee 185 With what amazed lookes, diftracted thoughts, And minds confuf'd, we, that were citizens. Confronted one another : euery ftreet Was fild with bitter felfe tormenting cries, And happy was that foote, that firft could preffe, 190 The flowry champaigne, bordering on Verona. Heere I (imploy'd about my deare wiues fafety) Whofe foule is now in peace) loft my Camillo. Who fure was murdered by the barbarous Souldiers, Or elfe I fhould haue heard — my heart is great. 195 Sorrow is faint f and paffion makes me fweat. Max Grieue not fweet Count: comfort your fpirits, you haue a fonne a noble gentleman, he ftands in the face of honour: For his fafety let that be no queftion. I am maifter of my fortune, and he fhall fhare with 2CX) me. Farewell my honorable Lord. Ladies once more adiew, for your felfe maddam you are a moft rare creature, I tell you fo, be not proud of it, I loue you: come Lord Paulo to horfe. Paw. Adiew good Signior Francefco: farewell fifter. 205 Sound a tucket, and as they paffe euery one feue- rally depart, Maximilian, Paulo Ferne- ze and Angela remaine 181 that] the W 185 ears W, G 205 sisters. G Sound . . . remaine] A tucket sounds. Exeunt severally. Scene 5] The Cafe is Alterd 27 Ang. How fhall we rid him hence. Paw. Why well inough? fweet Signior Maximilian, I haue fome fmall occafion to ftay: If it may pleafe you but take horfe afore He ouer take you, ere your troopes be rang'd. 210 Ma;?;. Your motion hath taf t wel : Lord Fernese I go. "Exit Max. Vau. Now if my loue faire Rachel, were fo happy, But to looke forth. See fortune doth me grace. "Enter Rachel. Before I can demaund? how now loue. 215 Where is your father? Each. Gone abroad my Lord: Fau. Thats well. Rach. I but I feare heele prefently returne, Are you now going my moft honored Lord? Pau. I my fweet Rachel. 220 Ang. Before God, fhe is a fweet wench. Pau. Rachel I hope I fhall not need to vrge, The facred purity of our effects, As if it hung in triall or fufpence : Since in our hearts, and by our mutuall vowes, 225 It is confirmd and feald in fight of heauen. Nay doe not weepe, why ftarte you^ feare not, Loue. Your father cannot be return'd fo foone, I prithee doe not looke fo heauily. Thou fhalt want nothing. Rach. No is your prefence nothing? 230 I fhall want that, and wanting that, want all : For that is all to me. Pau. Content thee fweet, Scene III. The Street before Jaques de Prie's House. Enter Paulo Ferneze, and Angelo, followed by Maximilian. G 210 ranged. Mi 211 hath] doth W, G 214 But] As W 221 [Aside. G 227 ftarte] ftare W 228 returned Mi 229 heauily Mi 230 nothing . . . nothing, Mi 231 all Mi 232 fweet Ml 28 A pleafant Comedy, called [Act 2 I haue Made choife here of a conftant friend This gentleman? one, whofe zealous loue I doe repofe more, then on all the world, 235 Thy beauteous felfe excepted: and to him, Haue I committed my deere care of thee. As to my genius, or my other foule, Receiue him gentle loue, and what deflects My abfence proues, his prefence fhall fupply. 240 The time is enuious of our longer ftay. Farewell deere Rachel. Rack: Moft deere Lord, adew, Heauen and honour crowne your deeds, and you. Kxit Rachel. Paw. Faith tell me Angelio how doft thou like her? Ang. Troth well my Lord, but fhall I fpeake my mind. 245 Pau. I prithee doe. Ang. She is deriud too meanely to be wife To fuch a noble perfon, in my iudgement. Paw. Nay then thy iudgement is to meane, I fee: Didft thou neare read in difference of good, 250 Tis more to fhine in vertue then in bloud. Knter laqnes. Ang. Come you are fo fententious my Lord. Paw. Here comes her father. How doft thou good laquesf Ang. God faue thee Jaques. lag. What fhould this meane? Rachel open the dore. 255 Kxit laques. Ang. Sbloud how the poore flaue lookes, as though He had bene haunted by the fpirit Lar, 234 one, whofe] on whofe W one, [on] whose G 238 foule. Mi 239 Rsceiue hi . . . loue . . . deflects, Mi 243 you.] you, Mi 249 meene. Mi 249 fee] fear W 250 good Mi 256 looks [aghast,] G Scene i] The Cafe is Alterd 29 Or feene the ghol't of fome great Satrapas In an vnfauory fheet. Paw. I mufe he fpake not, behke he was amazd 260 Comming fo fuddenly and vnprepard? Well lets go. Exeunt. Actus fecundi Scsena prima. 'Enter laques folus. SO now inough my heart, beat now no more. ; At leaft for this afright, what a could fweat Flow'd on my browes, and ouer all my bofome ! Had I not reafon? to behold my dore Befet with vnthrifts, and my felfe abroad? 5 Why laques f was their nothing in the houfe Worth a continuall eye, a vigelent thought, Whofe head fhould neuer nod, nor eyes once wincke? Looke on my coate, my thoughts ; worne quite thredbare, That time could neuer couer with a nappe, 10 And by it learne, neuer with nappes of fleepe, To fmother your conceipts of that you keepe. But yet, I maruell, why thefe gallant youths Spoke me fo f aire, and I efteemd a beggar ? The end of flattery, is gaine, or lechery : 15 If they feeke gaine of me, they thinke me rich. But that they do not: for their other obiect: Tis in my handfome daughter, if it be. And by your leaue, her handfomneffe may tell them My beggery counterfeits, and, that her neatneffe, 20 Flowes from fome ftore of wealth, that breakes my coffers, With this fame engine, loue to mine owne breed. 258 Satrapas. Mi 260 not,] no, Mi 261 go: Mi Actus . . . folus.] Act II. Scene I. The Court-yard, at the back of Jaques' House. Enter Jaques. G ii knaps W 3© A pleafant Comedy, called [Act 2 But this is anfwered : Beggers will keepe fine, Their daughters, being faire, though themfelues pine. Well then, it is for her, I, t'is fure for her, 25 And I make her fo briske for fome of them. That I might Hue alone once with my gold. O t'is a fweet companion ! kind and true, A man may truft it when his father cheats him ; Brother, or friend, or wife, 6 wondrous pelfe, 30 „That which makes all men falfe, is true it felfe. But now this maid, is but fuppos'd my daughter: For I being Steward to a Lord of France, Of great eftate, and wealth, called Lord Chammount, He gone into the warres, I ftole his treafure; 35 (But heare not, any thing) I ftole his treafure. And this his daughter, being but two yeares old, Becaufe it lou'd me fo, that it would leaue The nurfe her felfe, to come into mine armes. And had I left it, it would fure haue dyed, 40 Now herein I was kinde, and had a confcience ; And fince her Lady mother that did dye In child-bed of her, loued me paffing well, It may be nature fafhiond this affection. Both in the child and her : but hees ill bred, 45 That ranfackes tombes, and doth deface the dead. rie therefore fay no more : fuppofe the reft, Here haue I chang'd my forme, my name and hers. And Hue obfurely, to enioy more fafe 'Enter Rachel. My deereft treafure. But I muft abroad, Rachel. 50 Rach. What is your pleafure fir? lag. Rachel I must abroad. Lock thy felfe in, but yet take out the key. That whofoeuer peepes in at the key-hole, May yet imagine there is none at home. 55 Rach. I will fir. laq. But harke tliee Rachel: fay a theefe fhould come. Scene 2] The Cafe is Alterd 31 And miffe the key, he would refoule indeede None were at home, and fo breake in the rather : Ope the doore Rachel, fet it open daughter ; 60 But fit in it thy felf e : and talke alowd, As if there were fome more in houfe with thee: Put out the fire, kill the chimnies hart, That it may breath no more then a dead man, The more we fpare my child, the more we gaine, 65 'Exeunt. Scasne 2. Enter Chriftophero, luniper and Onion. CHrift. What fayes my fellow Onion t come on. Oni. All of a houfe fir, but no fellowes, you are my Lords Steward, but I pray you what thinke you of loue, fir? Chrift. Of loue Onion f Why it's a very honour- 5 able humor. Oni. Nay if it be but worfhipfuU I care not. lunip. Go to, it's honorable, checke not at the con- ceit of the Gentleman. Oni. But in truth fir, you fhall do well to think well 10 of loue : For it thinkes well of you, in me, I affure you. Chrif. Gramercy fellow Onion: I do thinke well, thou art in loue, art thou? Oni. Partly fir, but I am afham'd to fay wholy. 15 Chrif. Well, I will further it in thee to any honeft woman, or maiden, the beft I can. lunip. Why now you come neere him fir, he doth vaile, 62 th' house G Scaene . . . Onion.] Scene II. A Room ill count Ferneze's House. Enter Christophero, Juniper, and Onion. G 32 A pleafant Comedy, called [Act 2 He doth remunerate, he doth chaw the cud in the 20 kindneffe Of an honeft imperfection to your worfhip. Chrif. But who is it thou loueft fellow Onionf Oni. Mary a poore mans daughter, but none of the honefteft, I hope. 25 Chrif. Why, wouldft thou not haue her honeft? Oni. O no, for then I am fure fhe would not haue me. T'is Rachel de Prie. Chrif. Why, fhe hath the name of a very vertuous mayden. 30 lunip. So fhee is fir, but the fellow talkes in quid- dits, he. Chrif. What wouldft thou haue me do in the matter ? Oni. Do nothing fir, I pray you, but fpeake for me. Chrif. In what maner? 35 Oni. My fellow luniper can tell you fir. lunip. Why as thus fir. Your worfhip may com- mend him for a fellow fit for confanguinity, and that he fhaketh with defire of procreation, or fo. Chrif. That were not fo good, me thinkes. 40 lunip. No fir, why fo fir? what if you fhould fay to her, correborate thy felfe fweete foule, let me diftin- guifh thy pappes with my fingers, diuine Mumps, prety Paftorellaf lookeft thou fo fweet and bounteous? comfort my friend here. 45 Chrif. Well I perceiue you v/ifh, I fhould fay fome- thing may do him grace, and further his defires, and that be fure I will. Oni. I thanke you fir, God faue your life, I pray God fir. 50 lunip. Your worfhip is too good to Hue long : youle contaminate me no feruice. Chrif. Command thou wouldeft fay, no good luniper. 20 chew G 31 quiddities, W 49 pray God] pray, G Scene 3] The Cafe is Alterd 33 lunip. Health and wealth fir. 'Exeunt Onion and luniper. Chrif. This wench wil I folicite for my felfe, 55 Making my Lord and maifter priuy to it ; And if he fecond me with his confent, I will proceede, as hauing long ere this, Thought her a worthy choyce to make my wife. Exit. Scsene 3. Enter Aurelia, Pha^nixella. AVre. Roome for a cafe of matrons coloured blacke, How motherly my mothers death hath made vs ? I would I had fome girles now to bring vp ; O I could make a wench fo vertuous, She fliould fay grace to euery bit of meate, 5 And gape no wider then a wafers thickneffe : And fhe fhould make French curfies, fo moft low. That euery touch fhould turne her ouer backward. Phceni. Sifter, thefe words become not your attire, Nor your eftate: our vertuous mothers death 10 Should print more deepe effects of forrow in vs, Then may be worne out in fo little time. Aure. Sifter, faith you take too much Tobacco, It makes you blacke within, as y' are without. What true-ftich fifter? both your fides alike? 15 Be of a fleighter worke: for of my word. You fhall be fold as deere or rather deerer? Will you be bound to cuf tomes and to rites f Shed profitable teares, weepe for aduantage; Or elfe, do all things, as you are enclynd. 20 Hate when your ftomacke ferues (faith the Phyfitian) 59 Thought] Though Mi Scsene . . . Phoenix ella.] Scene III. Another Room in the Same. Enter, etc. G 13 i' faith W, G 21 Hate] Eat W. G 34 A pleafant Comedy, called [Act 2 Not at eleuen and fixe. So if your humour Be now affected with this heauineffe. Giue me the reines and fpare not, as I do, In this my pleafurable appetite, 25 It is Prcecifianifme to alter that With auftere iudgement, that is giuen by nature. I wept you faw too, when my mother dyed: For then I found it eafier to do fo. And fitter with my moode, then not to weepe. 30 But now tis otherwife, another time Perhaps I fhall haue fuch deepe thoughts of her. That I fhall weepe afrefh, fome tweluemonth hence, And I will weepe, if I be fo difpos'd. And put on blacke, as grimly then, as now ; 35 Let the minde go ftill with the bodies ftature, Judgement is fit for Judges, giue me nature. Sc3ene. 4. Enter Aurelia, Phcenixella, Francifco, Angelo. FRan. See Signior Angelo here are the Ladies, Go you and comfort one. He to the other. Ange. Therefore I come fir, I'le to the eldeft. God faue you Ladies, thefe fad moodes of yours, That make you choofe thefe folitary walkes, 5 Are hurtfull for your beauties. Aure. If we had them. Ange. Come, tliat condition might be for your hearts. When you proteft faith, fince we cannot fee them. But this fame heart of beauty, your fweet face Is in mine eye ftill. 24 me] it W , G 30 moode,] mode, W Scsene . . . Angelo.] Enter Francisco Colonnia and Angelo. G 4 moodes] modes W Scene 4] The Cafe is Alterd 35 Aure. O you cut my heart 10 with your fharpe eye. Knge. Nay Lady thats not fo, your heart's to hard. Aure. My beauties hart? Ange. O no. I meane that reg^ent of affection, Maddam, 15 That tramples on al loue with fuch contempt n this faire breaft. Aur. No more, your drift is fauour'd, I had rather feeme hard hearted Ang. Then hard fauour'd. Is that your meaning, Lady? Aur. Go too fir. Your wits are frefh I know, they need no fpur. 20 Ang. And therefore you wil ride them. . Aur. Say I doe. They will not tire I hope? Ang. No not with you, hark you fweet Lady. Yran. Tis much pitty Maddam. You fhould haue any reafon to retaine 25 This figne of griefe, much leffe the thing difignde. Vhce. Griefes are more fit for Ladies then their pleafures. ¥ran. That is for fuch as follow nought but pleafures. But you that temper them fo wel with vertues, Vfing your griefes fo it would prooue them pleafures. 30 And you would feeme in caufe of griefes & pleafures equally pleafant. VhoB Sir fo I do now. It is the exceffe of either that I ftriue So much to fhun in all my proou'd endeauours, 35 Although perhaps vnto a generall eye, I may appeare moft wedded to my griefes, 17 n] in W, G 23 [Walks aside with Aur. G 36 A pleafant Comedy, called [Act 2 Yet doth my mind for fake no taft of pleafure, I meane that happy pleafure of the foule, Deuine and facred contemplation 40 Of that eternall, and moft glorious bliffe, Propofed as the crowne vnto our foules. Fran. I will be filent, yet that I may ferue But as a Decade in the art of memory To put you ftil in mind of your owne vertues 45 When your too ferious thoughts make you too fad) Accept me for your feruant honored Lady. Phocn. Thofe cerimonies are too comon fignior Vrancis, For your vncommon grauitie, and iudgement, And fits them onely, that are nought but cerimony. 50 Ang. Come, I will not fue, ftally to be your feruant, But a new tearme, will you be my refuge? Aur. Your refuge, why fir. Ange. That I might fly to you, when all elfe faile me. Aur. And you be good at flying, be my Plouer. 55 Ang. Nay take away the P. Aur. Tut, then you cannot fly: Ang. He warrant you. He borrow Cupids wings. Aur. Maffe then I f eare me youle do ftrange things : I pray you blame me not, if I fufpect you, 60 Your owne confeffion fimply doth detect you, Nay and you be fo great in Cupids bookes, T'will make me lealous : you can with your lookes (I warrant you) enflame a womans heart, And at your pleafure take loues golden dart, 65 And wound the breft of any vertous maide. Would I were hence: good Faith I am affraid, 48 fignior Francis,] signior, G 50 fit G 52 [Comes for- ward with Aur. G 63 lealous. D, Mi 64 I'll W Scene 5] The Cafe is Alterd 37 You can conftraine one ere they be aware, To run mad for your loue? Ang. O this is rate. Scaene 6. [5.] Aurelio, Vhoenixella, Francifco, Angela, Count. COunt. Clofe with my daughters gentlemen? wel done, Tis hke your felues : nay lufty Angela, Let not my prefence make you bauke your fport, I will not breake a minute of difcourfe Twixt you and one of your faire Miftreffes. 5 Ang. One of my miftreffes ? why thinks your Lord- fhip I haue fo many Count. Many? no Angela. I do not thinke th'aft many, fome fourteene I here thou haft, euen of our worthieft dames, Of any note, in Millaine: 10 Ang. Nay good my Lord fourteene : it is not fo. Count. By'th the Maffe that ift, here are their names to fhew Fourteene, or fifteene t'one. Goad Angela. You need not be afhamd of any of them. They are gallants all. Ang. Sbloud you are fuch a Lord. 15 Count. Nay ftay fweet Angela, I am difpofed A little to be pleafant paft my couftome, Exit Ang: 69 rate.] rare! W, G Scaene . . . Count.] Enter count Fer- NEZE. G 12 By 'th the] By th' W By the G 38 A pleafant Comedy, called [Act 2 He's gone? he's gone, I haue dif graft him fhrewdly, Daughters take heede of him, he's a wild youth, Looke what he fayes to you beleeue him not, 20 He will fweare loue to euery one he fees. Francifco, giue them councell, good Francifco, I dare truft thee with both, but him with neither, Fran. Your Lordfhip yet may truft both them with him. Exunt. Scaene 7. [6.] Count. Chriftopher, Count. Well goe your waies away, how now Chrif- topher, What newes with you? Chrift. I haue an humble fuit to your good Lordfhip. Count. A fuit Chriftopher f what fuit I prithee? 5 Chrift. I would craue pardon at your Lordfhips hands, If it feeme vaine or fimple in your fight. Count. He pardon all fimplicity, Chriftopher, What is thy fuit? Chrift. Perhaps being now fo old a batcheler, 10 I fhall feeme halfe vnwife, to bend my felfe In ftrict affection to a poore yong maide. Count. What? is it touching loue Chriftopher f Art thou difpoft to marry, why tis well. Chrifto. I, but your Lordfhip may imagine now 15 That I being fteward of your honours houfe. If I be maried once, will more regard The maintenance of my wife and of my charge. Then the due difcharge of my place and office : Count. No, no, Chriftopher, I know thee honeft. 20 Chrifto. Good faith my Lord, yout honour may fufpect it — but — Scsene . . . Chriftopher,] oni. G i away, [Exeunt AuR. Phcen. and Francisco. Enter Christophero. G i, 5, 8, 13, 20 Chris- tophero W, G Scene 6] The Cafe is Alterd 39 Count. Then I fhould wrong thee, thou haft euer been Honeft and true, and will be ftill I knowe, Chrif. I but this marriage alters many men: 25 And you may feare, it will do me my Lord, But ere it do fo? I will vndergoe Ten thoufand feuerall deaths. Count. I know it man. Who wouldft thou haue I prithee? Chrif. Rachel de prie, If your good Lordfhip, graunt me your confent. 30 Count. 'Rachel de prie? what the poore beggers daughter ? Shees a right handfome maide, how poore foeuer, And thou haft my confent, with all my hart. Chrif. I humbly thanke your honour. He now afke her father. Exit. 35 Count. Do fo Chriftofero thou fhalt do well. Tis ftrange (fhe being fo poore) he fhould affect her. But tliis is more ftrange that my felfe fhould loue her. I fpide her, lately, at her fathers doore, And if I did not fee in her fweet face 40 Gentry and nobleneffe, nere truft me more : But this perfwafion, fancie wrought in me. That fancie being created with her lookes. For where loue is he thinke his bafeft obiect Gentle and noble : I am f arre in loue, 45 And fhall be f orc'd to wrong my honeft fteward, For I muft fue, and feeke her for my felfe; How much my duetie to my late dead wife. And my owne deere renowne fo ere it fwaies. He to her father ftraight. Loue hates delays. Exit. 50 30 Lordfhip B 4© A pleafant Comedy, called [Act 2 Scasne 8. [7.] Enter Onion, luniper, Valentine, Sebaftian, Balthafar, Martino. Onion. Come on I faith, lets to fome exercife or other my hearts : Fetch the hilts fellow luniper, wilt thou play : 'Exit Martino. lun. I cannot refolue you ? tis as I am fitted with the ingenuity, quantity, or quality of the cudgell. 5 Valen. How doft thou baftinado the poore cudgell with tearmes? luni. O Ingle, I haue the phrafes man, and the Anagrams and the Epitaphs, fitting the miftery of the noble fcience. 10 Oni. He be hangd & he were not misbegotten of fome fencer. Sebaft. Sirrah Valentine, you can refolue me now, haue they their maifters of defence in other countries as we haue here in Italy f 15 Yalen. O Lord, I, efpecially they in Vtopia, there they performe their prizes and chalenges, with as great cerimony as the Italian or any nation elfe. Bait Indeed? how is the manner of it (for gods loue) good Valeniinef 20 luni. Ingle? I prithee make recourfe vnto vs, wee are thy friends and familiars : fweet Ingle. Yalen. Why thus fir. Oni. God a mercy good Valentine, nay go on. luni. Silentium bonus focius Onionus, good fellow 25 Onion be not fo ingenious, and turbulent: fo fir? and how? how fweete Ingle? Yalen. Marry, firft they are brought to the publicke Theater: Scsene 7.] Scene IV. A Hall in the Same. Enter, etc. G Scene 7] The Cafe is Alterd 41 luni. What? ha? they Theater there 30 Valen. Theaters ? I and plaies to : both tragidy and comedy & fet foorth with as much ftate as can be imagined ? luni. By Gods fo; a man is nobody, till he has trauelled. 35 Sebaft. And how are their plaies? as ours are? extemporall ? Valen. O no? all premeditated things, and fome of them very good I faith, my maifter vfed to vifite them often when he was there. 40 Balth. Why how are they in a place where any man may fee them? Valen. I, in the common Theaters, I tell you. But the {port is at a new play to obferue the fway and variety of oppinion that paffeth it. A man fhall haue 45 fuch a confus'd mixture of iudgement, powr'd out in the throng there, as ridiculous, as laughter itfelf e : one faies he likes not the writing, another likes not the plot, another not the playing. And fometimes a fellow that comes not there paft once in fiue yeare at a Parliament 50 time or fo, will be as deepe myr'd in cenfuring as the beft, and fweare by Gods foote he would neuer ftirre his foote to fee a hundred fuch as that is. Oni. I muft trauell to fee thefe things, I fhall nere think well of my felfe elfe. 55 lunip. Fellow Onion, He beare thy charges and thou wilt but pilgrimize it along with me, to the land of Vtopia. Sebaft. Why but me thinkes fuch rookes as thefe fhould be afham'd to iudge. 60 Valen. Not a whit? the rankeft ftinkard of them all, will take vpon him as peremptory, as if he had writ himfelfe in artibus magifter. 30 theatres W, G 42 A pleafant Comedy, called [Act 2 Sebaft. And do they ftand to a popular cenfure for any thing they prefent. 65 Valen. I euer, euer, and the people generally are very acceptiue and apt to applaud any meritable worke, but there are two forts of perfons that moft commonly are infectious to a whole auditory. Balth. What be they? 70 lunip. I come lets know them. Oni. It were good they were noted. Valen. Marry? one is tlie rude barbarous crue, a people that haue no braines, and yet grounded iudge- ments, thefe will hiffe any thing that mounts aboue 75 their grounded capacities. But the other are worth the obferuation, I faith. Omnes. What be they ? what be they ? Valen. Faith a few Caprichious gallants. lunip. Caprichious f ftay, that word's for me. 80 Valen. And they haue taken fuch a habit of diflike in all things, that they will approue nothing, be it neuer fo conceited or elaborate, but fit difperft, making faces, and fpitting, wagging their vpright eares and cry filthy, filthy. Simply vttering their owne condition, and vfing 85 their wryed countenances in ftead of a vice, to turne the good afpects of all that fhall fit neere them, from what they behold. Enter Martino with cudgels. Oni. O that's well fayd, lay them downe, come firs. Who plaies, fellow luniper, Sehaftian, Balthafar: 90 Some body take them vp, come. lunip. Ingle Valentine? Valen. Not I fir, I profeffe it not. lunip. Sehaftian. Sebaft. Balthafar. 95 Balth. Who? I? Oni. Come, but one bout. He giue hem thee, I faith. 78 What . . . what] Where . . . where W Scene 7] The Cafe is Alterd 43 Balth. Why, heres Martino. Oni. Foe he, alas he cannot play a whit, man. lunip. That's all one : no more could you in ftata 100 quo prills, Martino, play with him, euery man has his beginning and conduction. Mart. Will you not hurt me fellow Onion f Oni. Hurt thee, no? and I do, put me among pot- hearbs. And chop me to peeces, come on? 105 lunip. By your fauor fweet bullies giue them roome, back, fo, Martino, do not looke fo thin vpon the matter. Oni. Ha, well plaid, fall ouer to my legge now? fo, to your guard againe, excellent, to my head now, make no home your blow : fpare not me, make it home, good, good againe. Sebaft: Why how now Peter? Yalen. Gods fo. Onion has caught a bruife. lunip. Couragio? be not caprichiousf what? ' 115 Oni. Caprichiousf not I, I fcorn to be caprichious for a fcrach, Martino muft haue another bout, come : Va/. Seh. Balth. No, no, play no more, play no more. Oni. Foe, tis nothing, a philip, a deuife, fellow 120 luniper prithee get me a Plantan, I had rather play with one that had skil by halfe. Mart. By my troth, fellow Onion, twas againft my will. Oni. Nay that's not fo, twas againft my head, 125 But come, weele ha one bout more. lunip. Not a bout, not a ftroke. Omnes. No more, no more. 99 Foe] Foh, W, G 100 statu W, G 108 [Mart, and Onion play a bout at cudgels. G 112 [Mart, breaks his head. G 117 Martino muft] I must G 117 Come. B, D, Mi, M2 118 Val. . . . Balth.] Jun. G 120 Foe,] Foh, W, G 128 [Exit Martino. G 44 A. pie a f ant Comedy, called [Act 3 lunip. Why He giue you demonftration, how it came, Thou openeft the dagger to falfifie ouer with the 130 back fword frick, and he interrupted, before he could fall to the clofe. Oni. No, no, I know beft how it was better the any man here, I felt his play prefently: for looke you, I gathered vpon him thus, thus do you fee? for the double 135 locke, and tooke it fingle on the head. Yalen. He fayes very true, he tooke it fingle on the head. Sebaft. Come lets go. Enter Martino with a cob-web. Mar. Here fellow Onion, heres a cob-web. 140 Oni. How ? a cob-web Martino, I will haue another bout with you? S'wounds do you firft breake my head, and then giue me a plaifter in fcorne? come to it, I will haue a bout. Mart. God's my witneffe. 145 Oni. Tut! your witneffe cannot ferue. lunip. S'bloud? why what, thou are not lunatike, art thou ? and thou bee'ft auoide Mephoftophiles. Say the figne fhould be in Aries now : as it may be for all vs, where were your life? Anfwere me that? 150 Sebaft. Hee fayes well. Onion. Yalen. I indeed doo's he. lunip. Come, come, you are a foolifh Naturalift, go, get a white a of an G:gge, and a little flax, and clofe the breach of the head, it is the moft conducible thing 155 that can be. Martino, do not infinuate vpon your good fortune, but play an honeft part and beare away the bucklers. ¥.xeunt. 130 openedst thy W open'dst the G 131 frick,] trick, IV, G 148 Mephostophilus IV, G 152 I indeed] Indeed W, G 154 a of] of W, G Scene 2] The Cafe is Alterd 45 Act 3. Scsene i. Enter Angela folus. ANge. My yong and fimple friend, Paulo Ferneze, Bound me with mighty folemne coniurations, To be true to him, in his loue, to Rachel, And to foHcite his remembrance ftill, In his enforced abfence, much, I faith, 5 True to my friend in cafes of affection? In womens cafes? what a ieft it is? How filly he is, that imagines it! He is an affe that will keepe promife ftricktly In any thing that checkes his priuate pleafure ; 10 Chiefly in loue. S'bloud am not I a man? Haue I not eyes that are as free to looke? And bloud to be enflam'd as well as his? And when it is fo, fhall I not purfue Mine owne loues longings, but preferre my friends? 15 I tis a good foole, do fo, hang me then, Becaufe I fwore, alas, who doo's not know, That louers periuries are ridiculous? Haue at thee Rachel: He go court her fure : For now I know her father is abroad. Y.nter laques. 20 S'bloud fee, he is here, 6 what damn'd lucke is this? This labour's loft, I muft by no meanes fee him. tau, dery, dery, ¥.xit. Scsene 2. laques, Chriftophero. IAq. Mifchiefe and hell, what is this man a fpirit, Haunts he my houfes ghoft ? ftill at my doore ? He has beene at my doore, he has beene in, In my deere doore : pray God my gold be faf e. Act . . . folus.] Act III. Scene I. The Street before Jaques DE Prie's House. Enter Angelo. G 23 [Exit singing. G Scaene . . . Chriftophero.] om. G 46 A pleafant Comedy, called [Act 3 'Enter Chriftophero. Gods pitty, heres another. Rachel, ho Rachel. 5 Chrif. God faue you honeft father. lag. Rachel, Gods Hght, come to me, Rachel, Rachel! JLxit. Chrif. Now in Gods name what ayles he? this is ftrange ! He loues his daughter fo, He lay my Hfe, That hee's afraid, hauing beene now abroad, 10 I come to feeke her loue vnlawfully. 'Enter laques. lag. Tis faf e, tis faf e, they haue not rob'd my treafure. Chrif. Let it not feeme offenfiue to you fir. lag. Sir, Gods my Hfe, fir, fir, call me fir. Chrif. Good father here me. lag. You are moft welcome fir, 15 I meant almoft; and would your worfhip fpeake? Would you abafe your felfe to fpeake to me? Chrif. Tis no abafing father: my intent Is to do further honour to you fir Then onely fpeake : which is to be your fonne. 20 lag. My gold is in his noftrels, he has fmelt it, Breake breaft, breake heart, fall on the earth my entrailes. With this fame burfting admiration ! He knowes my gold, he knowes of all my treafure. How do you know fir? whereby do you gueffe? 25 Chrif. At what fir ? what ift you meane ? lag. I aske, an't pleafe your Gentle worfhip, how you know? I meane, how I fhould make your worfhip know That I haue nothing — 30 To giue with my poore daughter ? I haue nothing : The very aire, boimteous to euery man, Is fcant to me, fir. 12, 14, 24 [Aside. G 18 abusing W Scene 3] The Cafe is Alterd 47 Chrif. I do thinke good father, you are but poore, laq. He thinkes fo, harke, but thinke fo : 35 He thinkes not fo, he knowes of all my treafure. Exit. Chrif. Poore man he is fo ouerioyed to heare His daughter may be paft his hopes beftowed. That betwixt feare and hope (if I meane f imply) He is thus paffionate. 'Enter laques. 40 laq. Yet all is faf e within, is none without ? No body breake my walles ? Chrif. What fay you father, fhall I haue your daughter ? laq. I haue no dowry to beftow vpon her. Chrif. I do expect none, father. laq. That is well, 45 Then I befeech your worfhip make no queftion Of that you wifh, tis too much fauour to me. Chrif. He leaue him now to giue his paffions breath, Which being fetled, I will fetch his daughter : I fhall but moue too much, to fpeake now to him. 50 Exit Chriftophero. laq. So, hee's gone, would all were dead and gone, That I might Hue with my deere gold alone. Scsene 3. laques, Count. COunt. Here is the poore old man. laq. Out of my foule another, comes he hither ? Count. Be not difmaid old man, I come to cheere you. laq. To me by heauen, Turne ribs to braffe, turne voice into a trumpet, 5 36 [Aside and exit. G Scsene . . . Count.] Enter count Ferneze. G 48 A pleafant Comedy, called [Act 3 To rattle out the battels of my thoughts, One comes to hold me talke, while th' other robbes me. Kxit. Count. He has forgot me fure: what fhould this meane He feares authority, and my want of wife Will take his daughter from him to defame her : 10 He that hath naught on earth but one poore daughter, May take this extafie of care to keepe her. 'Enter laques. laq. And yet tis faf e : they meane not to vfe force, But fawning comming. I fhall eafly know By his next queftion, if he thinke me rich, 15 Whom fee I? my good Lord? Count. Stand vp good father, I call thee not father for thy age. But that I gladly wifh to be thy fonne, In honoured marriage with thy beauteous daughter. 20 lag. O, fo, fo, fo, fo, fo, this is for gold, Now it is fure, this is my daughters neatneffe. Makes them beleeue me rich. No, my good Lord, He tell you all; how my poore hapleffe daughter Got that attire fhe weares from top to toe. 25 Count. Why father, this is nothing. laq. O yes, good my Lord. Count. Indeed it is not. laq. Nay fweet Lord pardon me? do not diffemble, Heare your poore beadf-man fpeake ; tis requifite 30 That I (fo huge a beggar) make account Of things that paffe my calling: fhe was borne T'enioy nothing vnderneath the fonne : But that, if fhe had more then other beggars She fhould be enuied : I will tell you then 35 7 [Aside and exit. G 14 comming.] cunning. G IS [Aside. G 17 (second) father] good father W [good] father G 23 rich. [Aside.] G Scene 4] The Cafe is Alterd 49 How fhe had all flie weares, her warme fhooes (God wot) A kind maide gaue her, feeing her go barefoot In a cold f rofty morning ; God requite her ; Her homely ftockings Count. Father, He heare no more, thou mou'ft too much 40 With thy too curious anfwere for thy daughter, That doth deferue a thoufand times as much, He be thy Sonne in law, and fhe fhall weare Th'attire of Counteffes. laq. O good my Lord, Mock not the poore, remembers not your Lordfhip, 45 That pouerty is the precious gift of God. As well as riches, tread vpon me, rather Then mocke my poorenes. Count. Rife I fay: When I mocke poorenes, then heauens make me poore. 50 Enter Nuntius. Scsene 7. [4.] Nuncio, Count. NVn. See heres the Count Ferneze, I will tell him The hapleffe accident of his braue sonne. That hee may feeke the fooner to redeeme him. Exit laques. God faue your Lordfhip. Count. You are right welcome fir. Nun. I would I brought fuch newes as might deferue it. c Count. What, bring you me ill newes ? Nun. Tis ill my Lord, Yet fuch as vfuall chance of warre afifoords, 47 [Kneels. G 50 heaven W, G 50 poore. . . . Count. [Exit Jaques. Enter a Messenger. G 50 A pleafant Comedy, called [Act 3 And for which all men are prepar'd that vfe it, And thofe that vfe it not, but in their friends, Or in their children. Count. Ill newes of my fonne? 10 My deere and onely fonne. He lay my foule. Ay me accurs'd, thought of his death doth wound me. And the report of it will kill me quite. Nun. Tis not fo ill my Lord. Count. How then? 15 Nun. Hee's taken prifoner, and that's all. Count. That's enough, enough, I fet my thoughts on loue, on feruile loue. Forget my vertuous wife, feele not the dangers. The bands and wounds of mine owne flefh and bloud, 20 And therein am a mad man: therein plagu'd. With the moft iuft affliction vnder heauen. Is Maximilian taken prifoner to? Nun. My good my Lord, he is return'd with prif- oners. Count. Ift poffible, can Maximilian f 25 Returne, and view my face without my fonne. For whom he fwore fuch care as for himfelfe? Nun. My Lord no care can change the euents of war. Count. O ! in what tempefts do my fortunes faile. Still wrackt with winds more foule and contrary, 30 Then any northen gueft, or Southerne flawe? That euer yet inforc't the fea to gape. And fwallow the poore Marchants traffique vp? Firft in Vieenza, loft I my firft fonne ; Next here in Millaine my moft deere lou'd Lady : 35 And now my Paulo, prifoner to the French, Which laft being printed with my other griefes, Doth make fo huge a volume, that my breft 12 Ay] Ah W, G 24 My] No, W, G 31 gueft,] gust, W, G Scene 5] The Cafe is Alterd 51 Cannot containe them. But this is my loue! I muft make loue to Rachel, heauen hath throwne, 40 This vengeance on me moft deferuedly : Were it for nought but wronging of my fteward. Nun. My Lord fince onely mony may redreffe The worft of this miffortune, be not griued, Prepare his ranfome and your noble fonne 45 Shall greete your cheered eyes, with the more honour. Count. I will prepare his ranfome : gratious heauen Grant his imprifonment may be his worft, Honored and fouldier-like imprifonment. And that he be not manacled and made 50 A drudge to his proude foe. And here I vow, Neuer to dreame of feeme-les amorous toyes. Nor aime at other ioy on earth. But the fruition of my onely fonne. 'Exunt Scsene 5. Enter laques with his gold and a f cuttle full of horfe-dung. Iaq, He^s gone : I knew it ; this is our hot louer, I will beleeue them ! I ! they may come in Like fimple woers, and be arrant theeues, And I not know them ! tis not to be told, What feruile villanies, men will do for gold, 5 O it began to haue a huge ftrong fmell. Which lying fo long together in a place ; He giue it vent, it fhall ha fhift inough, And if the diuell, that enuies all goodneffe, 53 other] any other G Scaene 5.] Scene II. A Court-yard, at the back of Jaques' House. Enter, etc. (horfe- om.) G 7 Which] With W, G 52 A plea f ant Comedy, called [Act 4 Haue told them of my gold, and where I kept it, 10 He fet his burning nofe once more a worke. To fmell where I remou'd it, here it is: He hide and couer it with this horfe-dung: Who will fuppofe that fuch a precious neft Is crownd with fuch a dunghill excrement? 15 In my deere life, fleepe fweetly my deere child. „Scarce lawfully begotten, but yet gotten, „And thats enough. Rot all hands that come neere thee Except mine owne. Burne out all eyes that fee thee. Except mine owne. All thoughts of thee be poyfon 20 To their enamor'd harts, except mine owne, He take no leaue, fweet Prince great Emperour, But fee thee euery minute. King of Kings, He not be rude to thee, and turne my backe, In going from thee, but go backward out: 25 With my face toward thee, with humble curtefies, None is within. None ouerlookes my wall. To haue gold, and to haue it fafe, is all. Y.xit. Actus 3. [4.] Scsene i. Knter Maximilian, with fouldiers Chamount, Camilla, Fernese, IPacue. Max. Lord Chamount and your valient friend there, I cannot fay welcome to Millaine: your thoughts and that word are not muficall, but I can fay you are come to Millaine: Fac. Mort diew. 5 Cha. Gar foone. 13 [Digs a hole in the ground. G Actus ... I.] Scene III. A Gallery in count Ferneze's House. Enter, etc. (Fernese orn.) G 6 [Takes Pacue aside. G Scene i] The Cafe is Alter d 53 Max. Gentlemen (I would cal an Emperour fo) you are now my prifoners, I am forry, marry this, fpit in the face of your fortunes, for your vfage fhall be honorable. 10 Cam. Wee know it fignior Maximilian, The fame of al your actions founds nought elfe. But perfect honour from her fwelling cheeks. Max. It fhall do fo ftill I affure you, and I will giue you reafon, there is in this laft action (you know) a 15 noble gentleman of our party, & a right valient; fem- blably prifoner to your general, as your honor'd felfe's to me, for whofe fafety, this tongue hath giuen warrant to his honorable father, the Count Ferneze. You conceiue me. Cam. I fignior. 20 Max. Well? then I muft tell you .your ranfomes be to redeeme him, what thinke you? your anfwer. Cam. Marry with my Lords leaue here I fay fignior. This free & ample offer you haue made, Agrees well with your honour, but not ours : 25 For I thinke not but Chamount is afwell borne As is Fernese, then if I miftake not, He fcornes to haue his worth fo vnderprifed. That it fhould neede an adiunct, in exchange, Of any equall fortune. Noble Signiort 30 I am a fouldier, and I loue Chamount, Ere I would brufe his eftimation. With the leaft ruine of mine owne refpect. In this vild kind, thefe legs fhould rot with irons. This body pine in prifon, till the flefh 35 Dropt from my bones in flakes, like withered leaues, In heart of Autumne, from a ftubborne Oke. Maxi. Mounfieur Gafper (I take it fo is your name) mifprife me not, I wil trample on the hart, on the foule of him that fhall fay, I will wrong you : what 40 34 vild] vile JV, G 36 drop W 54 A pie a f ant Comedy, called [Act 4 I purpofe, you cannot now know; but you fhall know, and doubt not to your contentment. Lord Chamount, I will leaue you, whileft I go in and prefent my felfe to the honorable Count, till my regreffion fo pleafe you, your noble f eete may meafure this priuate, pleafant and 45 moft princely walke, Souldiers regard them and refpect them. Pac. O Ver bon: excellenta gull, he tak'a my Lord Chamount for Mounfieur Gafpra, & Mounfieur Gafpra for my Lord Chamont, 6 dis be braue for make 50 a me laugh'a, ha, ha, ha, 6 my heart tickla. Cam. I but your Lordfhip knowes not what hard fate Might haue purfued vs, therefore howfoere The changing of our names was neceffary And we muft now be carefuU to maintaine 55 This error ftrongly, which our owne deuife, Hath thruft into their ignorant conceits, For fhould we (on the tafte of this good fortune) Appeare our felues, t'would both create in them A kinde of iealoufie, and perchaunce inuert 60 Thofe honourable courfes they intend. Cha. True my deere Gafper: but this liangby here, Will (at one time or other) on my foule Difcouer vs: A fecret in his mouth Is like a wild bird put into a cage, 65 Whofe doore no fooner opens, but tis out. But firra, if I may but know Thou vtterft it Pac. Vtteria? vat Mounfieur? Cha. That he is Gafper, and I true Chamount. 70 Pac. O pardone may, fore my tongue fhall put out de fecreta, Shall breede de cankra in my mouth. Count. Speake not fo loud Pacue. 47 [Exit. G 51 [Aside. G 74 Count.] Cam. W, G Scene 2] TJie Cafe is Alterd 55 Fac. Foe, you fhall not lieare foole, for all your 75 long eare, Reguard Mounfieur : you be de Chamont, Chamont be Gafpra. [Scaene 2.] Knter Count Fernese, Maximilian, France fco, Au- relia, Fhcenixella, Finio. Cha. Peace, here comes Maximilian. Cam. O belike that's the Count Fernese, that old man. Cha. Are thofe his daughters, trow? Cam. I fure, I thinke they are. , 5 Cha. Fore God the taller is a gallant Lady. Caw. So are they both beleeue me. Max. True my honorable Lord, that Chamont was the father of this man. Count. O that may be, for when I loft my fonne, 10 This was but yong it feemes. Fran. Faith had Camillo liued. He had beene much about his yeares, my Lord. Count. He had indeed, well, fpeake no more of him. Max. Signior perceiue you the errour? twas no 15 good office in vs to ftretch the remembrance of fo deere a loffe. Count Ferneze, let fommer fit in your eye, looke cheerefully fweete Count, will you do me the honour to confine this noble fpirit within the circle of your armes? 20 Count. Honor'd Chamont reach me your valiant hand, I could haue wifht fome happier accident, Had made the way vnto this mutuall knowledge. Which either of vs now muft take of other, 75 Foe,] Foh! G 75 not] om. W 75 de fool, G 77 de] om. G Scaene 2.] 0111. G 56 A pleafant Comedy, called [Act 4 But fure it is the pleafure of our fates, 25 That we fhould thus be wrack't on Fortunes wheele, Let vs prepare with fteeled patience To tread on torment, and with mindes confirm'd Welcome the worft of enuy. Max. Noble Lord, tis thus, I haue here (in mine 30 honour) fet this gentleman free, without ranfome, he is now himfelfe, his valour hath deferu'd it, in the eye of my iudgement. Mounfieur Gafper you are deere to me : fortuna non mutuat genus. But to the maine, if it may fquare with your Lordfhips liking, and his 35 loue, I could defire that he were now inftantly imployed to your noble Generall in the exchange of Ferneze for your felfe, it is the bufineffe that requires the tender hand of a friend. Count. I, and it would be with more fpeed effected, 40 If he would vndertake it. Max. True my Lord. Mounfieur Gafper, how ftand you affected to this motion? Cha. My duty muft attend his Lordfhips will. Max. What fayes the Lord Chamontf 45 Cam. My will doth then apprroue what thefe haue vrg'd. Max. Why there is good harmony, good muficke in this : Mounfieur Gafper, you fhall protract no time, onely I will giue you a bowle of rich wine to the health of your Generall, another to the fucceffe of your 50 iourney, and a third to the loue of my fword. Paffe. Exeunt all but Aurelia and Fhcenixella. Aure. Why how now fifter in a motley mufe? Go to, thers fomewhat in the wind, I fee. Faith this browne ftudy fuites not with your blacke, Your habit and your thoughts are of two colours. 55 Vhcen. Good faith me thinkes that this young Lord 25 fure] since G 35 and his] his W 38 is the] is a G Scene 3] The Cafe is Alterd 57 Chamont fauours my mother, fifter, does he not? Aure. A mothelry conceite, 6 blind excufe, Blinder then loue himfelfe. Well fifter, well. Cupid hath tane his ftand in both your eyes. The cafe 60 is alterd. Vhoen. And what of that? Aure. Nay nothing but a Saint. Another Bridget, one that for a face Would put downe Vefta, in whofe lookes doth fwim. The very fweeteft creame of modefty. 65 You to turne tippet? fie, fie, will you giue A packing penny to Virginity. I thought youl'd dwell fo long in Cypres He, You'd worfhip Maddam Venus at the length; But come, the ftrongeft fall, and why not you? 70 Nay, do not frowne. Phoen. Go, go, you foole. Adiew. Exit. Aure. Well I may left, or fo: but Cupid knowes My taking is as bad, or worfe then hers. O Mounfieur Gafperf if thou bee'ft a man. Be not affraid to court me, do but fpeake, 75 Challenge thy right and weare it: for I fweare Till thou arriud'ft, nere came affection here. Exit. [Scaene 3.] Enter Pacue, Finio. Fin. Come on my fweet finicall Pacue, the very prime Of Pages, heres an excellent place for vs to practife in. No body fees vs here, come lets to it. Enter Onion. Pac. Contenta: Reguarde, vou le Preimer. 58 motherly W, G 68 Cyprus W 71 adiew] ovi. W Scaene 3.] Act IV. Scene I. A Room in count Ferneze's House. Enter, etc. G 58 A pleajant Comedy, called [Act 4 Oni. Sirra Finiof 5 Pac. Mort deiu le pefant. Oni. Didft thou fee Valentine f Finio. Valentine f no. Oni. No ? Fmi. No. Sirrah Onion, whither goeft? 10 Oni. O I am vext, he that would truft any of thefe lying trauellers. Finio. I prithee ftay good Onion. Pac. Mounfieur Onion, vene ca, come hidera, le vou prey. By gar me ha fee two, tree, foure hundra 15 towfand of your Coufan hang. Lend me your hand, fhall prey for know you bettra. Oni. I thanke you good fignior Farla vou? O that I were in an other world, in the \ngies, or fome where, that I might haue roome to laugh : 20 Pac. A we fort boon : ftand ? you be deere now, me come. Boon iour Mounfieur. Vnder the arme. Fin. God morrow good fignior. Fac By gar, be mufh glad for fee you. Fin I returne you moft kind thanks fir. 25 Oni. How? how? Sbloud this is rare? Fac. Nay, fhall make you fay rare by and by, Reguard Mounfieur Finio, The fhoulder Fin. Signior Fache. Fac. Dieu vou gard Mounfieur. 30 Fin. God faue you fweet fignior. Pac. Mounfieur Onionf is not fort boon. Oni. Beane? quoth he, would I were in debt of a pottle of beanes I could do as much. Fin. Welcome fignior, whats next? 35 Pac. O here. Void de grand admiration, as fhould meet perchance Mounfieur Finio. FiM. Mounfieur Facue' II thefe] thofe W 21 you be] you G 22 Vnder . . . arme.] om. G 24 me be G 28 The fhoulder] om. G 31 fignior Mi Scene 3] The Cafe is Alterd 59 Vac. lefu ? by Gar who thinke wee fhall meete here ? Vin. By this hand I am not a Httle proud of it, fir 40 Oni: This trick is onely for the the chamber, it can- not be cleanly done abroad. Vac. Well what fay you for dis den? Mounfieur. Fm. Nay pray, fir. Vac. Par ma foy vou bein encounters? 45 Vin What doe you meane fir, let your gloue alone. Vac. Comen, fe porte la fante. Fm. Faith exceeding well fir. Vac, Trot, be mufh ioy for heire. Fm; And how ift with you fweet fignior Vac he. 50 Vac. Fat comme vou voyer. Oni. Yong gentlemen? fpirits of bloud, if euer youle taft of a fweet peece of mutton, do Onion a good turne now. Pac. Que que, parla Mounfeir, what ift. 55 Oni. Faith teach me one of thefe tricks. Pac. O me fhall doe prefently, ftand you deere, you fignior deere, my felfe is here: fo fort bein, now I parle to Mounfeir Onion, Onion pratla to you, you fpeaka to me, fo, and as you parle chang the bonet, 60 Mounfeir Onion. Oni. Mounfeiur Finio. Fin. Mounfeur Vacue. Pac. Pray be couera. Oni. Nay I befeech you fir. 65 Fm. What do you meane. Pac. Pardon moy, fhall be fo, Oni O God fir, Fm. Not I in good faith fir. Vac. By gar you muft. 70 Oni: It fhall be yours. 39 lefu?] om. G 41 for the W, G 42 cleverly W 42 abroad, Mi 43 Mounfieur: Mi 45 vou] vous voila G 49 hear heire. W 62-3 Oni. Monfieur Pacue. W 6o A pleafant Comedy, called [Act 4 Fm. Nay then you wrong me, Om. Well and euer I come to be great : Vac. You be big enough for de Onion already, Oni. I meane a great man. 75 Fm. Then thou'dft be a monfter. Oni. Well God knowes not what fortune may doe, commaund me, vfe me from the foule to the crowne, and the crowne to the foule : meaning not onely from the crowne of the head, and the fole of the foot, but 80 alfo the foote of the mind and the crownes of the purfe, I cannot ftay now yong gentlemen but — time was, time is, and time fhall be. "Exeunt. [Scasne 4.] Enter Chamount, Camillo. Cha. Sweet lafper I am forry we muft part, But ftrong neceffity enforceth it. Let not the time feeme long vnto my friend, Till my returne for by our loue I fweare (The f acred fpheare wherein our foules are knit) 5 I will endeauour to effect this bufines With all induftrious care and happy fpeed. Cam. My Lord thefe circumftances would come well. To one leffe capable of your defert Then I : in whom your mirrit is confirmed 10 With fuch authenticall and grounded proues. Cha. Well I will vfe no more. Gafper adiew. Cam. Farewell my honored Lord. Cha. Commend me to the Lady, my good Gafper: Cam. I had remembred that had not you vrgd it. 15 Cha. Once more adiew fweet Gafper. Cam. My good Lord. Exit Camillo. Scaene 4.] Scene II. Another Room in the Same. Enter, etc. G I Gasper, G Scene 5] The Cafe is Alterd 61 Cha. Thy vertues are more precious then thy name, Kind gentleman I would not fell diy loue, For all the earthly obiects that mine eyes, Haue euer tafted, fure thou art nobly borne, 20 How euer fortune hath obfcurd thy birth : For natiue honour fparkles in thine eyes, How may I bleffe the time wherein Chamont My honored father did furprife vicenza, Where this my friend (knowen by no name) was found, 25 Being- then a child and fcarce of power to fpeake. To whom my father gaue this name of Gafper, And as his owne refpected him to death. Since when wee two haue fhard our mutuall fortunes, Witli equall fpirits, and but deathes rude hand, 30 No violence fhall diffolue this facred band. ^xit. [Scsene 5.] ^nter luniper in his fhop finging: to him Onion. Oni. Fellow Iimiper, no more of thy fongs and fonets, fweet lumper, no more of thy hymnes and madrigals, thou fing'ft, but I figh. luni. Whats the matter Veter ha ? what in an Acad- emy ftill, ftill in fable, and coftly black array? ha? 5 Oni. Prithee rife mount, mount fweet luniper, for I goe downe the wind, and yet I puffe: for I am vext. luni. Ha Bully? vext? what intoxicate? is thy braine in a quintefcence ? an Idea? a metamorphofis ? an Apology? ha rogue? come this loue feeds vpon thee, 10 I fee by thy cheekes, and drinkes healthes of vermilion, teares I fee by thine eyes. 31 this] the W Scaene . . . Onion.] Scene III. Juniper is discovered in his shop, singing. Enter Onion. G 5 black coftly JV 62 A pleafant Comedy, called [Act 4 Oni. I confeffe Cupids caroufe, he plaies fuper negulum with my liquor of life luni. Tut, thou art a goofe to be Cupids gull, go 15 to, no more of this contemplations, & calculations, mourne not, for Kachels thine owne Oni. For that let the higher powers worke : but fweet luniper, I am not fad for her, and yet for her in a fecond perfon, or if not fo, yet in a third. 20 luni. How fecond perfon? away, away, in the crot- chets already Longitude and Latitude? what fecond? what perfon? ha? Oni. luniper, He bewray my felfe before thee, for thy company is fweet vnto me, but I muft entreat thy 25 helping hand in the cafe. luni. Tut? no more of this furquedry; I am thine owne? ad vngem vpfie freeze: pell mell, come, what cafe? what cafe? Oni. For the cafe it may be any mans cafe, afwell 30 as mine, Kachel I meane, but He medle with her anon, in the meane time, Valentine is the man hath wrongd me. luni. How? my Ingle wrong thee, ift poffible? Oni. Your Ingle, hang him infidell, well and if I be 35 not reuengd one him let Feter Onion (by the infernall Gods) be turned to a leeke or a fcalion, I fpake to him for a ditty for this handkerchier. luni. Why, has he not done it? Oni. Done it, not a verfe by this hand. 40 luni. O in diebus illis, O prepofterous, wel come be blith, the beft inditer of the al is fomtimes dul, fellow Onion, pardon mine Ingle: he is a man, has impefec- tions and declinations, as other men haue, his maffe fomtimes cannot caruet nor prognifticat and come of, 45 16 this] these G 17 not. Mi 20 not, yet fo W 21 in thy G 43 Onion Mi 44 maffe] muse G 45 curvet IV, G Scene 6] The Cafe is Alterd 63 as it fhould, no matter, lie hammer our a paraphrafe for thee my felfe. Om*. No fweet luniper, no danger doth breed delay, loue makes me chollericke, I can beare no longer. luni. Not beare ? what my mad Meridian f laue ? not 50 beare? what? Oni. Cupids burden : tis to heauy, to tollerable, and as for the handkerchire and the pofie: I will not trouble thee: but if thou wilt goe with me into her fathers backfide, old laques backfide, and fpeake for 55 me to Rachel, I wil not be ingratitude, the old man is abroad and all. luni. Art thou fure on't. Oni. As fure as an obligation. luni. Lets away then, come we fpend time in a vaine 60 circumference, trade I cafhire thee til to morrow, fellow Onion for thy fake I finifh this workiday. Oni. God a mercy, and for thy fake He at any time make a holiday. Exunt. [Scsene 6.] 'Enter Angelio, Rachel. Ang. Nay I prithee Rachel, I come to comfort thee, Be not fo fad. Rach. O fignior Angelo, No comfort but his prefence can remoue. This fadneffe from my heart. Ang. Nay then y'are fond. And want that ftrength of iudgement and election, 5 That fhould be attendent on your yeares and forme, 46 para hrafe Mi 52 heauy B 56 will B 56-7 ould . . , all, B 59 as an] an W 61 circumference B Scsene 6.] Scene IV. The Court-yard at the back of Jaques' House. Enter, etc. G Enter . . . Rachel, B i thee; D, M2 4 ye' are B 64 A pleafant Comedy, called [Act 4 Will you, becaufe your Lord is taken prifoner, Blubber and weepe and keepe a peeuifh ftirre, As though you would turne turtle with the newes, Come, come, be wife. Sblood fay your Lord fhould die : 10 And you goe marre your face as you begin. What would you doe trow ? who would care for you ; But this it is, when nature will beftow Her gifts on fuch as know not how to vfe them. You fhall haue fome that had they but one quarter 15 Of your faire beauty? they would make it fhew A little otherwife then you do this, Or they would fee the painter twice an hower. And I commend them I, that can vfe art, With fuch iudiciall practife. Rack. You talke iedly, 20 If this be your beft comfort keepe it ftill. My fences cannot feede on fuch fower cates. Ang. And why fweet heart. Rack. Nay leaue good fignior. Ang. Come I haue fweeter vyands yet in ftore. [Scsene 7.] 'Enter Onion and lumper. luni: I in any cafe miftres Rachel. Ang. 'Rachel? Rach. Gods pitty fignior Angelo, I here my father, away for Gods fake. Ang: S'bloud, I am betwixt, I thinke, this is twice now, I haue been ferued thus. Exit 19 them IB 20 practife, B 23 leaue] leau' B Scsene . . . luniper.] om. G i Jun. [within.] G I I] om. W 5 bewitch'd W, G Scene 7] The Cafe is Alter d 65 Kach. Pray God he meet him not. 'Exit Rechel. Oni. O braue ? fhe's yonder, O terrible fhee's gone. luni. Yea? fo nimble in your Dilemma' Sj and your Hiperbole' s Hay my loue ? O my loue, at the firft fight : 10 By the maffe. Oni. O how fhe fkudded, O fweet feud, how fhe tripped, O delicate trip and goe. luni. Come thou art enamored with the influence of her profundity, but firrah harke a little. 15 Oni. O rare, what? what? paffing I faith, what ift? what ift? luni. What wilt thou fay now, if 'Rachel ftand now, and play hity tity through the keyhole, to behold the equipage of thy per f on : 20 Oni: O fweet equipage, try good Juniper, tickle her, talke, talke, O? rare luni. Miftris Rachel (watch then if her father come) Rachel f Madonaf Rachel f No. Oni. Say I am here. Onion or Peter or fo. 25 luni. No, He knock, weele not ftand vpon Horizons, and tricks, but fall roundly to the matter. Oni. Well faid fweet luniper: Horizons? hang hem? knock, knock. Rach. Whofe there? father. 30 luni. Father no? and yet a father, if you pleafe to be a mother. Oni. Well faid luniper, to her againe, a fmack or two more of the mother luni. Do you here? fweet foule, fweet radamant? 35 fweet mathauell one word Melpominef are you at leafure. Rach. At leafure? what to doe? 7 not.] Enter Onion and Juniper. G 24 come) [Goes to the door.'\ G 29 [Juniper knocks. G 30 Rach. [within.] G 31 you'll W 36 Machavel? G 38 Rach. [within.] G 66 A plea f ant Comedy, called [Act 4 Jmii. To doe what, to doe nothing, but to be Hable to the extafie of true loues exigent, or fo, you fmell 40 my meaning. Oni. Smell, filthy, fellow luniper filthy? fmell? O moft odious. luni. How filthy. Oni. Filthy, by this finger ? fmell ? fmell a rat, fmel 45 a pudding, away thefe tricks are for truls, a plaine wench loues plaine dealing, ile vpon my felfe, fmel to march paine wench. Itmi. With all my heart, Ile be legitimate and filent as an apple-fquire, lie fee nothing, and fay nothing. 50 Oni. Sweet hart, fweet hart ? luni. And bag pudding, ha, ha, ha? lag. What Rachel my girle what Rachel; Within Oni. Gods lid : lag. What Rachel, | ^.^^ .^ 55 Rack. Here I am j Oni What rakehell cals Rachel: O treafon to my loue. luni. Its her father on my life, how fhall wee entrench and edifie our felues from him? 60 Oni. O conni-catching Cupid. 'Enter laques. lag. How in my back fide ? where ? what come they for? Onion gets vp into a tree. Where are they? Rachel? theeues, theeues? Stay villaine flaue: Rachel f vntye my dog: Nay theife thou canft not fcape. Inni. 1 pray you fir. 65 Oni A pitifull Onion, that tliou hadft a rope. lag. Why Rachel: when I fay: let loofe my dog? garlique my maftiue, let him loofe I fay. 47 upon her W, G 47-8 to a G 64 flaue : [Sei::es Jun. as he is running out.] G 66, 70, 84, 93 Oni. [above.] G 66 A] Ah W, G Scene 7] The Cafe is Alterd 67 limi. For Gods fake here me fpeake, keepe vp your cur. Oni. I feare not garlique, heele not bite Onion his 70 kinfman pray God he come out, and then theile not fmell me. laq. well then deliuer, come deliuer flaue? luni. What fhould I deliuer? lag. O thou wouldft haue me tell thee? wouldft 75 thou fhew me thy hands, what haft thou in thy hands ? luni. Here be my hands. laq. Stay are not thy fingers ends begrimd with durt, no thou haft wipt them. ' luni. Wipt them ? 80 laq. I thou villaine? thou art a fubtile knaue, put off thy fhewes, come I will fee them, giue me a knife here Rachel, He rip the foles. Oni. No matter he's a cobler, he can mend them. luni. What are you mad ? are you detef table, would 85 you make an Anatomy of me, thinke you I am not true Ortographie ? laq. Ortographie, Anatomy? luni. For Gods fake be not fo inuiolable, I am no ambufcado, what predicament call you this, why do you 90 intimate fo much. laq. I can feele nothing. Oni. Bir Lady but Onion feeles fomething. laq. Soft fir, you are not yet gon, fhake your legs, come, and your armes, be briefe, ftay let me fee thefe 95 drums, thefe kilderkins, thefe bombard flops, what is it crams hem fo. luni. Nothing but haire. laq. Thats true, I had almoft forgot this rug, this hedghogs neft, this haymowe, this beares fkin, this 100 heath, this firfbufh. 71 kinfman, B, D, M2 78 are not] are W, G 79 dur,t no B 94 not] no W 97 crams] charms W loi firfbufh; B loi [Pulls him by the hair. G 68 A pleafant Comedy, called [Act 4 luni. O let me goe, you teare my haire, you reluolue my braines and vnderftanding. laq. Heart, thou art fomewhat eas'd? halfe of my feare Hath tane his leaue of my, the other halfe 105 Still keepes poffeffion in dilpight of hope, Vntill tliefe amorous eyes, court my faire gold: Deare I come to thee : friend, why art not gone ? Auoid my foules vexation, Sathan hence ? Why doeft thou ftare on me, why doeft thou ftay? no Why por'ft thou on the ground with theeuifh eyes? What fee' ft thou there, thou curre ? what gap'ft thou at ? Hence from my houfe, Rachel, fend garlick forth. lunip. I am gone fir, I am gone, for Gods fake ftay. Exit luniper. 115 laq. Pack, and thanke God thou fcap'ft fo well away. Oni. If I fcape this tree, deftinies, I defie you. laq. I cannot fee by any Characters Writ on this earth, that any fellon foote Hatli tane acquaintance of this hallowed ground. 120 None fees me : knees do homage to your Lord. Tis fafe, tis fafe, it lyes and fleepes fo foundly, Twould do one good to looke on't. If this bliffe Be giuen to any man that hath much gold, luftly to fay tis fafe, I fay tis fafe. 125 O what a heauenly round thefe two words dance Within me and without me: Firft I thinke hem. And then I fpeake hem, then I watch their found, And drinke it greedily with both mine eares, Then thinke, then fpeake, then drinke their found againe, 130 102 teare, B 102 haire B 102 reloulue B revolve W, G 105 my] me JV, G 108 thee: [Aside.] G 108 Fiend, G 117, 134 Oni. [above.] G 120 ground, B 121 [Kneels down and removes the dung from his treasure. G 129 eares,] eyes : W Scene 7] The Cafe is Alterd 69 And racket round about this bodies court. Thefe two fweet words : tis fafe: ftay I will feed My other fences, 6 how fweet it fmels : Oni. I mar'le he fmels not Onion, being fo neere it. lag. Downe to thy graue againe, thou beauteous Ghoft, 135 Angels men fay, are fpirits: Spirits be Inuifible, bright angels are you fo? Be you inuifible to euery eye, Saue onely thefe : Sleepe, He not breake your reft, Though you breake mine : Deare Saints adiew, adiew : 140 My feete part from you, but my foule dwels with you. Exit. Oni. Is he gone? 6 Fortune my friend, & not for- tune my foe, I come downe to embrace thee, and kiffe thy great toe. Knter luniper. 145 lunip. Fellow Onion f Veter. Oni. Fellow luniper. What's the old panurgo gone? departed, cofmografied, ha? Oni. O I, and harke Sirrah. (Shall I tell him? no. 150 lunip. Nay, be briefe and declare, ftand not vpon conodrums now, thou knoweft what contagious fpeeches I haue fufferd for thy fake and he fhould come againe and inuent me here, Oni. He faies true, it was for my fake, I will tell 155 him. Sirra luniper? and yet I will not. lunip. What fayeft thou fweete Onion? Oni. And thou hadft fmelt the fent of me when I was in the tree, thou wouldeft not haue faid fo: but Sirra, The cafe is alterd with me, my heart has giuen 160 loue a box of the eare, made him kicke vp the heeles I faith. 133 fences ; B, D, [Takes up some of the gold and smells to it.] G 133 fmels. Mi, M2 141 [Rises and exit. G 145 [Comes down from the tree. G 148 Juni. What's, etc. W, G 161 his heels, W 70 A pleafant Comedy, called [Act 4 lunip. Sayeft thou me fo, mad Greeke? how haps it? how chances it. Oni. I cannot hold it, lumper, haue an eye, looke, 165 haue an eye to the doore, the old prouerb's true, I fee : gold is but mucke. Nay Gods fo lunip er to the doore, an eye to the maine chance, here you flaue, haue an eye. lunip. O inexorable ! 6 infallible ! 6 infricate deuine, and fuperficiall fortune. 170 Oni. Nay, it will be fufificient anon, here, looke heere. lunip. O infolent good lucke! How didft thou produce th' intelligence of the gold' mynerals. Oni. He tell you that anon, heere, make fhift, 175 conuey, cramme. He teach you how you fhall call for garlike againe I faith. lunip. S'bloud what fhall we do with all this? we fhall nere bring it to a confumption. 180 Oni. Confumption? why weele bee moft fumptu- oufly attir'd, man. lunip. By this gold, T will haue three or foure moft ftigmaticall fuites prefently. Oni. He go in my foot-cloth. He turne Gentleman. 185 lunip. So will I. Oni. But what badge fhall we giue, what cuUifon? lunip. As for that lets vfe the infidelity and com- miferation of fome harrot of armes, he fhall giue vs a gudgeon. 190 Oni. A gudgeon ? a fcutheon thou wouldft fay, man. lunip. A fcutcheon or a gudgeon, all is one. Oni. Well, our armes be good inough, lets looke to our legges. lunip. Content, weele be logging. 195 Oni. Rachel f we retire : garlike God boy ye. 168 chance, [Removes the dung, and shews him the gold.] G 175 you] thee W 191 gudgeon?] gupgeon? B 196 Godb'ye W good b'ye G Scene 8] The Cafe is Alterd 71 lunip. Farewell fweete laques. Oni. Farewell fweete Rachel, fweet dogge adiew. Rxeunt. [Scsene 8.] Fnter Maximilian, Count Fernese, Aurelia, Fhce- nixella, Fache. Max. Nay but fweet Count. Count. Away, He heare no more, Neuer was man fo palpably abufd, My fonne fo bafely mar ted ; and my felf e Am made the fubiect of your mirth and fcorne. Max. Count Fernese you tread to hard vpon my 5 patience, Do not perfift I aduife your Lordfhip. Count. I will perfift, and vnto thee I fpeake. Thou Maximilian thou haft iniur'd me. yiax. Before the Lord: Aur. Sweet fignior. Phoe. O my father. lO Max. Lady let your father thank your beauty. Fac. By gar me fhall be hang for tella dis fame, Me tella madamoyfelle, fhe tell her fadera. Count. The true Chamount fet free, and one left here Of no defcent, clad barely in his name. 15 Sirrah boy come hither, and be fure, you fpeake the f imple truth : Fac. O pardone moy mounfieur. Count Come leaue your pardons, and directly fay. What villaine is the fame that hath vfurpt, 20 The honor'd name and perfon of Chamount : Scsene 8.] Scene V. A Room in count Ferneze's House. Enter, etc. G 16 fpaeke B 19 fay, B 72 A plcafant Comedy, called [Act 4 Pac. O Mounfieur, no point villaine, braue Cheual- ier, Mounfieur Gafper. Count. Monufieur Gafper, on what occafion did they change their names, what was their poHcy, or their 25 pretext. Fac. Me canno tell, par ma foy Mounfieur. Max. My honorable Lord. Count. Tut tut, be filent. Max. Silent? Count Verneze, I tell thee if Amurath the great Turke were here I would fpeake, and he 30 fliould here me. Count. So will not I. Max: By my fathers hand, but thou fhalt Count, I fay till this inftant, I was neuer toucht in my reputa- tion : here me you fhall knowe that you haue wrongd 35 me, and I wil make you acknowledge it, if I cannot my fword fhall. Count. By heauen I will not, I will ftop mine eares, My fences loath the Sauiour of thy breath, Tis poyfon to me, I fay I will not heare. 40 What fhall I know, tis you haue iniurd me, What will you make ? make me acknowledge it. Fetch forth that Gafper, that lewd counterfeit. 'E.nter feruing with Camillo. He make him to your face approue your wrongs. Come on falfe fubftance, fhadow to Chamont: 45 Had you none elfe to worke vpon but me, Was I your fitteft proiect? well confeffe, What you intended by this fecret plot. And by whofe policy it was contriu'd, Speake truth, and be intreated courteoufly, 50 But double with me, and refolue to proue 27 ccanno B 28 Lord, B 39 loath] lotah B Enter . . . Camilla.] Enter Servants with Camillo. G 45 fubftance : B 45 Chamont, B Scene 8] The Cafe is Alter d 73 The extremeft rigor that I can inflict. Cam. My honor'd Lord, heare me with patience, Nor hope of fauour, nor the feare of torment, Shall fway my tongue, from vttring of a truth. 55 Count. Tis well, proceed then. Cam. The morne before this battell did begin, Wherein my Lord Chamount and I were tane. We vow'd one mutuall fortune, good or bad, That day fhould be imbraced of vs both, 6o And vrging that might worft fucceede our vow, We there concluded to exchange our names. Count. Then Maximilian tooke you for Chamount. Cam. True noble Lord. Count: Tis falfe, ignoble wretch, Twas but a complot to betray my fonne. 65 Max. Count, thou lyeft in thy bofome. Count: Count: Lye ? Cam. Nay I befeech you honor'd gentlemen. Let not the vntimely ruine of your loue. Follow thefe Height occurents ; be affured 70 Chamounts returne will heale thefe wounds againe, And breake the points of your too piercing thoughts. Count. Returne? I when? when will Chamount returne ? Heele come to fetch you, will he? I tis like, Youl'd haue me thinke fo, that's your policy. 75 No, no, yong gallant, your deuice is ftale. You cannot feed me with fo vaine a hope. Cam. My Lord, I f eede you not with a vaine hope, I know affuredly he will returne. And bring your noble fonne along with him. 80 Max. I, I dare pawne my foule he will returne. Count. O impudent dirifion? open fcorne? Intollerable wrong ? is't not inough ? 55 of truth. W, G 61 worse W, G 74 A pleafant Comedy, called [Act 5 That you haue plaid vpon me all this while ; But ftill to mocke me, ftill to ieft at me? 85 Fellowes, away with him, thou ill-bred flaue. That fets no difference twixt a noble fpirit, And thy owne flauifh humour, do not thinke But ile take worthy vengeance on thee, wretch? Cam. Alas, thefe threats are idle, like the wind, 90 And breed no terror in a guiltleffe mind. Count. Nay, thou fhalt want no torture, fo refolue, bring him away. Cam. Welcome the worft, I fuffer for a friend, Your tortures will, my loue fliall neuer end. Exeunt. 95 Manent Maximillian, Aurelia, Phoenixella, Pacue. Phcen. Alas poore gentleman, my fathers rage Is too extreame, too fterne and violent! O that I knew with all my ftrongeft powers. How to remoue it from thy patient breaft. But that I cannot, yet my willing heart, 100 Shall minifter in fpight of tyranny To thy miffortune, fomething there is in him. That doth enforce this ftrange affection, With more then common rapture in my breaft: For being but Gafper, he is ftill as deare 105 To me, as when he did Chamount appeare. Exit Phamixella. Aure. But in good fadneffe Signior, do you thinke Chamount will returne? Max. Do I fee your face, Lady? Aure. I fure, if loue haue not blinded you. no Max. That is a queftion, but I will affure you no, I can fee, and yet loue is in mine eye: well, the Count 91 in the W 93 [Exit. G 95 {Exeunt Servants with Camillo and Pacue. G Manent . . . Pacue.] oin. G 103 this] the W 106 [Aside and exit. G 108 will e'er W no haue] has W Scene i] The Cafe is Alter d 75 your father fimply hath diflionor'd me : and this fteele fhall engraue it on his burgonet. Aure. Nay, fweet Signior, 115 Max. Lady, I do preferre my reputation to my hfe. But you fhall rule me, come lets march. Exit Maximillian. Aure. He follow Signior, 6 fweet Oueene of loue ! Soueraigne of all my thoughts, and thou faire fortune, Who (more to honour my affections) 120 Haft thus tranflated Gafper to Chamount. Let both your flames now burne in one bright fpeare ; And giue true light to my afpiring hopes, Haften Chamounts returne, let him affect me. Though father, friends, and all the world reiect me. 125 'Exit. [Act 5. Scsene i.] Knter Angela, Chriftopher. Ange. Sigh for a woman, would I f ould mine armes, Raue in my fleepe, talke idly being awake. Pine and looke pale, make loue-walkes in the night, To fteale cold comfort from a day-ftarres eyes. Kit, thou art a foole, wilt thou be wife? then lad 5 Renounce this boy-gods nice idolatry. Stand not on complement, and wooing trickes. Thou loueft old laques daughter, doeft thou? Chrif. Loue her? Ange. Come, come, I know't, be rul'd and fhees " thine owne, Thou't fay her father laques, the old begger, lO Hath pawnd his word to thee, that none but thou, Shalt be his fonne in law. Chrif. He has. 122 sphere, W, G Act V. Scene I. The Court at the back of Jaques' House. Enter, etc. G 7 wooing] coying G 76 A pleafant Comedy, called [Act 5 Knge. He has ? wilt thou beleeue him, and be made a kooke, 15 To waite on fuch an antique wethercocke; Why he is more inconftant then the fea, His thoughts, Cameleon-Wke, change euery minute: No Kit, worke foundly, fteale the wench away, Wed her, and bed her, and when that is done, 20 Then fay to laques, fhall I be your fonne? But come to our deuife, where is this gold? Chrif. Heere Signior Angela. Ange. Beftow it, bid thy hands fhed golden drops, Let thefe bald french crownes be vncouered, 25 In open fight, to do obeyfance To laques ftaring eyes when he fteps forth. The needy beggar will be glad of gold. So, now keepe thou aloof e, and as he treades This guilded path, ftretch out his ambling hopes, 30 With fcattring more & more, & as thou go'ft, cry laques, laques Chrif. Tufh, let me alone. Ang. Firft ile play the ghoft. He cal him out, Kit keep aloofe. 35 Chrif. But Signior Angela. Where wil your felfe and 'Rachel ftay for me, after the left is ended? Ange. Maffe, that's true, at the old Priory behinde S. Fayes. Chrif. Agreed, no better place, ile meete you there. 40 Ange. Do good f oole, do, but ile not meet you there. Now to this geere, laques, laques, what laques? {within} lag. Who cals ? whofe there ? Ange. laques. \ within \ laq. Who cals ? Ange. Steward, he comes, he comes laques. 45 IS kooke,] cokes, G cook, W 17 Why] While W 27 fteps] fets W 29 thou] them W 34 But first W, G 40 [Retires, dropping the gold. G 41 Do . . . there.] om. W 45 [Retires. G Scene i] The Cafe is Alterd 77 'E.nter laques. laq. What voice is this? no body here, was I not cald? I was. And one cride laques with a hollow voyce, I was deceiu'd, no I was not deceiu'd, See fee, it was an Angell cald me forth, 50 Gold, gold, man-making gold, another ftarre, Drop they from heauen, no, no, my houfe I hope Is haunted with a Fairy. My deere Lar, My houfhold God, My Fairy on my knees. Chrift. laques. Kxit Chriftophero. 55 laq. My Lar doth call me, 6 fweet voyce, Muficall as the fpheares, fee, fee, more gold. I within I Chrif. laques. Enter Rachel. laq. What Rachel, Rachel, lock my doore, looke to my houfe. 60 { within }• Chrif. laques. laq. Shut faft my doore, a golden crowne, laques fhall be a king. Exit. Ange. To a fooles paradice that path will bring Thee and thy houfhold Lar. 65 Rach. What means my father, I wonder what ftrange humor. Ange. Come fweete foule, leaue wondring, ftart not, twas I laid this plot to get thy father forth. Rach. O Angela. 70 Ange. O me no oo's, but heare, my Lord your loue, Paulo Ferneze is returnd from warre. Lingers at Vont Valeria, and from thence By poft at midnight laft, I was coniur'd To man you thither, ftand not on replies, 75 A horfe is fadled for you, will you go. And I am for you, if you will ftay, why fo. 49 [Sees the gold. G 55 Chris, [within.l G 63 [Exit, following the sound, and picking up the gold. G 64 Ang. [Comes forward. 'I G 69 thy] your W 78 A pleafant Comedy, called [Act 5 "Rach. O Angela, each minute is a day till my Ferneze come, come weele away fir. Ange. Sweet foule I gueffe thy meaning by thy lookes, 80 At pont Valeria thou thy loue fhalt fee, But not Ferneze, Steward fare you well. You wait for Kachel to, when can you tell ? Exeunt. 'Enter laq. laq. O in what golden circle haue I dan'ft? Millaine thefe od'rous and enfloured fields 85 Are none of thine, no heres Elizium, Heere bleffed ghofts do walke, this is the Court And glorious palace where the God of gold Shines like the fonne, of fparkling maiefty ; faire fethered, my red-brefted birds, 90 Come flye with me, ile bring you to a quier, Whofe confort being fweetned with your found : The mufique will be fuller, and each hower Thefe eares fhall banquet with your harmony 6, 6, 6, Enter Chrift. [Scsene 2.] Chrif. At the old priorie, behind Saint Foyes, That was the place of our appointment fure : 1 hope he will not make me loofe my gold. And mock me to, perhaps they are within : lie knock. laq. O God, the cafe is alterd. 5 Chrift. 'Rachel? Angela? Signior Angela? laq. Angels? I where? mine Angels? wher's my gold? Why Rachel? O thou theeuifh Canibal, Thou eateft my flefh in ftealing of my gold. 79 fir.] om. G 79 [Exit. G 83 Exeunt. {Exit hastily. G 83 Enter /eg.] Re-enter Jaques with his hands full of money. G go 0]0 my W 0[my] G 94 The ears W, G 94 [Exit. G 5 Jaq. [within.'] G 6 Re-enter Jaques. G Scene 3] The Cafe is Alter d 79 Chrif. What gold ? lag. What gold? Rachel call help, come forth, 10 He rip thine entrailes, btit ile haue my gold : Rachel why comes thou not ? I am vndone, Ay me fhe fpeakes not, thou haft flaine my child. 'Exit Chrif. What is the man poffeft trow ? this is ftrange, Rachel I fee is gone with Angela: 15 Well ile once againe vnto the priory. And fee if I can meete them. Exit Chriftopher, lag. Tis too true, Enter lagues. Th'aft made away my child, how haft my gold : what Hienna cald me out of dores. The theife is gone: my gold's gone, Rachels gone, 20 Al's gone? faue I that fpend my cries in vaine. But ile hence too, and die or end this paine. Exit. [Scsene 3.] Enter luniper. Onion, Finio, Valentine. luni. Swonds, let me goe, hay catfo, catch him aliue, 1 call, I call, boy. I come, I come fweetheart: Oni. Page hold my rapier, while I hold my freind here. Valen. O heer's a fweet metamorphofis, a cupple of 5 buzzards turn'd to a paire of peacocks. luni. Signior Onion, lend me thy boy to vnhang my rapier : On. Signior luniper for once or fo, but troth is, you muft inueigle, as I haue done, my Lords page here 10 a poor folower of mine. luni. Hei ho, your page then fha'not be fuper inten- dent vpon me? he fhall not be addicted? he fhall not 16 into W 18 how] thou W, G Scaene . . . Valentine.] Scene II. The Street before count Ferneze's House. Enter Juniper and Onion richly dressed, and drunk, followed by Finio and Valentine. G 12 cannot W 8o A pleafant Comedy, called [Act 5 be incident? he fhall not be incident? he fhall not be incident, fhall he? He foynes 15 Fin. O fweet fignior lumper. luni. Sbloud ftand away princocks ? do not aggrau- ate my ioy. Valen. Nay good Maifter. Onion. Oni. Nay and he haue the heart to draw my bloud, 20 let him come. luni. He flice you Onion, He flice you? Oni. He cleaue you luniper. Valen. Why hold, hold, hough ? what do you meane ? luni. Let him come Ingle, ftand by boy, his alle- 25 bafter blad cannot feare me. Fin. Why heare you fweet fignior, let not there be any contetion, betweene my Maifter & you, about me, if you want a page fir, I can helpe you to a proper ftripling. 30 luni. Canft thou? what parentage? what anceftry? what genealogy is he? Fin. A french boy fir. luni. Has he his French linguift ? has he ? Fin. I, fir. 35 luni. Then transport him : her's a crufado for thee. Oni. You will not, imbecell my feruant with your beneuolence will you, hold boy their's a portmantu for thee. Fin. Lord fir. 40 On. Do take it boy, its three pounds ten fhill. a portmantu. Fin. I thanke your Lordfhip. Exit Finio. luni. Sirrah Ningle: thou art a traueller, and I honour thee. 45 I prithee difcourfe? cherifh thy mufe? difcourfe? Valen. Of what fir? IS [He joins with his rapier. G Scene 3] The Cafe is Alterd 81 luni. Of what thou wilt. Sbloud? hang forrow? Oni. Prithy Valentine affoile me one thing. Valen. Tis pitty to foile you fir, your new apparell. 50 On. Maffe thou faift true, aparel makes a man forget himfelf. lun. Begin, find your tongue N ingle. Val. Now will gull thefe ganders rarely: Gentlemen hauing in my peregrinatid through Mefo- 55 potamia. lun. Speake legibly, this gam's gone, without the great mercy of God, Heres a fine tragedy indeed. Thers a Keifars royall. By Gods lid, nor King nor Keifar fhall ? 60 Knter Finio, Pacue, Bait. Martino. Bait. Where? where? Finio, where be they: lun. Go to, ile be with you anon. Oni. O her's the page fignior luniper: lun. What fayth monfieur Onion, boy. Fin: What fay you fir. luni. Tread out boy. 65 Fin: Take vp, you meane fir. lun. Tread out I fay, fo, I thanke you, is this the boy. Pac. Aue mounfieur. luni. Who gaue you that name ? 70 Pac. Giue me de name, vat name: Oni. He thought your name had been, we yong gentlemen, you muft do more then his legges can do for him, beare with him fir. luni. Sirrah giue me inftance of your carriage? 75 youle ferue my turne, will you? Pac. What? turne vpon the toe. Fin. O fignior no. luni. Page will you follow me, ile giue you good exhibition. 80 54 will] will I W, G 58 God,] om. G 60 'slid G 82 A pleafant Comedy, called [Act 5 Vac. By gar, fhal not alone follow you, but fhal leade you to. Oni. Plaguie boy, he fooths his humour? thefe french villaines ha pockie wits. luni. Here? difarme me? take my femitary. 85 Valen. O rare, this would be a rare man, and he had a little trauell, Balthafar, Martino, put off your fhooes, and bid him coble them, luni. Freinds, friends, but pardon me for fellows, no more in occupation, no more in corporation, tis fo 90 pardon me, the cafe is alterd, this is law, but ile ftand to nothing. Pac. Fat fo me tinke. luni. Well then God faue the dukes Maiefty, is this any harme now ? fpeake, is this any harme now. 95 Oni. No nor good neither, Sbloud? luni. Do you laugh at me? do you laugh at me? do you laugh at me? Valen. I fir, we do. lunip. You do indeed? Valen. I indeed fir. luni. Tis fufficient. Page carry my purfe, dog me? 100 'Exit. Oni. Gentlemen leaue him not, you fee in what cafe he is, he is not in aduerfity, his purfe is full of money, leaue him not? Exeunt [Scsene 4.] Enter Angela with Rachel. Ang. Nay gentle Rachel? Rach. Away? forbeare? vngentle Angela, Touch not my body, with thofe impious hands, That like hot Irons feare my trembling heart. And make it hiffe, at your difloyalty, 5 Scaene . . . Rachel.^ Scene III. The open Country. Enter, etc. G 5 Enter Paulo Ferneze and Chamont at a dis- tance. G Scene 4] The Cafe is Alter d 83 Enter Chamount Paulo Fernese. Was this your drift? to vfe Ferneses name? Was he your fitteft ftale, 6 wild difhonor ! Fau. Stay noble fir. Ange. Sbloud how like a puppet do you talke now ? Difhonor ? what difhonor ? come, come, f oole, 10 Nay then I fee y'are peeuifh. S'heart difhonor? To haue you a to prieft and marry you. And put you in an honorable ftate. Rack. To marry me ? 6 heauen, can it be ? That men fhould Hue with fuch vnfeeling foules, 15 Without or touch or confcience of religion, Or that their warping appetites fhould fpoile Thofe honor'd formes, that the true feale of friendfhip Had fet vpon their faces. Ange. Do you heare ? what needs all this ? fay, will 20 you haue me, or no? Kach. Il'e haue you gone, and leaue me, if you would. Ange. Leaue you ? I was accurft to bring you hither, And make fo faire an ofifer to a foole. A pox vpon you, why fhould you be coy, 25 What good thing haue you in you to be proud of ? Are y'any other then a beggars daughter? Becaufe you haue beauty, O Gods light a blaft. Pau. I Angela. Ange. You fcornefull baggage, I lou'd thee not fo 30 much, but now I hate thee. Rack. Vpon my knees, you heauenly powers, I thanke you. That thus haue tam'd his wild affections. Ange. This will not do, I muft to her againe, Rachel, 6 that thou fawft my heart, or didft behold, 35 7 wild] vile G 8 [Holding back Chamont. G 12 to a W, G 18 fcale IV 34 [Aside. G 84 A pleafant Comedy, called [Act 5 The place from whence that fcalding figh euented. Rachel, by lefu I loue thee as my foule, 'Rachel, fweet 'R.achel. Rack. What againe returnd vnto this violent paffion. Ange. Do but heare me, by heauen I loue you 40 Rachel. Rach. Pray forbeare, 6 that my Lord Fernese were but here : Ange. Sbloud and he were, what would he do. Rau. This would he do bafe villaine: Rach. My deere Lord, 45 Rau. Thou monfter, euen the foule of trechery ! O what difhonord title of reproch. May my tongue fpit in thy deferued face ? Me thinkes my very prefence fhould inuert, The fteeled organs of those traytrous eyes, 50 To take into thy heart, and pierce it through : Turn'ft thou them on the ground? wretch, dig a graue, With their fharp points, to hide th' abhorred head; Sweet loue, thy wrongs haue beene too violent Since my departure from thee, I perceiue : 55 But now true comfort fhall againe appeare. And like an armed angell guard thee fafe From all th' affaults of couered villany. Come Mounfieur, let's go, & leaue this wretch to his defpaire. 60 Ange. My noble Fernese. Pau. What canft thou fpeake to me, and not thy tongue, Forc't with the torment of thy guilty foule Breake that infected circle of thy mouth, Like the rude clapper of a crazed bell. 65 I, that in thy bofome lodg'd my foule, 45 Pau. [Rushes forward.] G 45 villaine : [Flings him off. G 45 Lord, [Runs into his arms. G 53 th'] thy W, G 61 [lord!] Ferneze! G 66 I, [I] G Scene 5] The Cafe is Alterd 85 With all her traine of fecrets, thinking them To be as fafe, and richly entertained, As in a Princes court, or tower of ftrength, And thou to proue a traitor to my truft, 70 And bafely to expofe it, 6 this world ! Ange. My honorable Lord. Pau. The very owle, who other birds do ftare & wonder at. Shall hoot at thee, and fnakes in euery bufh 75 Shall deafe thine eares with their — Cha. Nay good my Lord, giue end vnto your paffions. Ange. You fhall fee, I will redeeme your loft opinion. 80 Rack. My Lord beleeue him. Cha. Come, be farisfied, fweet Lord you know our hafte, Let vs to horfe, the time for my engaged returne is paft ; Be friends againe, take him along with you. 85 Pau. Come fignior Angela, hereafter proue more true. 'Exeunt. [Scsene 5.] 'Enter Count Eerneze, Maximillian, Erancefco. Count. Tut Maximillian, for your honor'd felfe, I am perfwaded, but no words fhall turne The edge of purpofd vengeance on that wretch. Come, bring him forth to execution. Enter Camillo hound, with feruants lie hang him for my fonne, he fhall not fcape, 5 Had he an hundred Hues : Tell me vile flaue, Thinkeft thou I loue my fonne? is he my flefh? 86 fignior] om. G Scsene . . . Francefco.] Scene IV. A Room in count Ferneze's House. Enter, etc. G 86 A pleafant Comedy, called [Act 5 Is he my bloud, my life? and fhall all thefe be torturd for thy fake, and not reueng'd? truffe vp the villaine. 10 Max. My Lord, there is no law to confirme this action. Tis difhonorable. Count. Difhonorable ? Maximillianf It is difhonorable in Chamount, the day of his prefixt returne is paft, and he fhall pay fort. 15 Cam. My Lord, my Lord, Vfe your extreameft vengeance, ile be glad To fufifer ten time more, for fuch a friend. Count. O refolute and peremptory wretch ! Fran. My honored Lord, let vs intreat a word. 20 Count. lie heare no more, I fay he fhall not Hue, My felfe will do it. Stay, what forme is this Stands betwixt him and me, and holds my hand. What miracle is this? tis my owne fancy, Carues this impreffion in me, my foft nature, 25 That euer hath retaind fuch foolifh pitty, Of the moft abiect creatures mifery. That it abhorres it, what a child am I To haue a child? Ay me, my fon, my fon. Fnter Chriftophero. Chrif. O my deere loue, what is become of thee ? 30 What vniuft abfence layeft thou on my breft. Like waights of lead, when fwords are at my backe, That run me through with thy vnkind flight. My gentle difpofition waxeth wild, I fhall run frantike, 6 my loue, my loue. JLnter laques. 35 laq. My gold, my gold, my life, my foule, my heauen. What is become of thee ? fee, ile impart My miferable loffe to my good Lord, Let me haue fearch my Lord, my gold is gone. 29 Ay] ah W, G 29 [Weeps and walks aside. G Scene 5] The Cafe is Alterd 87 Count. My (onne, Chriftophero, thinkft it poffible, 40 I euer fhall behold his face againe. Chrif. O father wher's my loue, were you fo care- leffe To let an vnthrift fteale away your child. laq. I know your Lordfhip may find out my gold, For Gods fake pitty me, iuftice, fweet Lord. 45 Count Now they haue yong Chamountf Chrifto- phero? Surely they neuer will reftore my fonne. Chrif. Who would haue thought you could haue beene fo careleffe to loofe your onely daughter. laq. Who would thinke, 50 That looking to my gold with fuch hares eyes, That euer open, I euen when thy fleepe, I thus fhould loofe my gold, my noble Lord, what faies your Lordfhip? Count. O my fonne, my fonne. Chrif. My deereft Rachel? laq. My nioft hony gold. 55 Count. Heare me Chriftophero. Chrif. Nay heare me laques. laq. Heare me moft honor'd Lord. Max. What rule is here? Count. O God that we fhould let Chamount efcape. Enter Aurelia, Phocnixella. Chrif. I and that 'Rachel, fuch a vertuous mayd, fhould be thus ftolne away. 60 laq. And that my gold, being fo hid in earth, fhould bee found out. Ma;r. O confufion of languages, & yet no tower of Bah el! Fran. Ladies, befhrew me, if you come not fit to 65 make a iangling confort, will you laugh to fee three conftant paffions. 40 think'st thou W, G 52 thy] I W they G 64 Enter AuRELiA and Phcenixella. G 88 A pleafant Comedy, called [Act 5 lAax. Stand by, I will vrge them, fweet Count, will you be comforted. Count. It cannot be but he is handled the molt 70 cruelly, That euer any noble prifoner was. "Max. Steward, go cheere my Lord: Chrif. Well, if 'Rachel tooke her flight willingly? Ma.r. Sirrah, fpeake you touching your daughters 75 flight? lag. O that I could fo foone forget to know the thiefe againe, that had my gold, my gold. Ma.*-. Is not this pure? Count. O thou bafe wretch, ile drag thee through the ftreets, 80 Enter Balthafar, and whifpers with him. And as a monfter, make thee wondred at, how now. Fhcen. Sweet Gentleman? how too vnworthily Art thou thus tortured, braue Maximillian, Pitty the poore youth and appeafe my father. Count. How, my fonne returnd? O Maximillian, 85 Francifco, daughters? bid him enter here. Knter Chamount, Ferneze, Rachel, Angela. Doft thou not mocke me? O my deere Paulo welcome. Max. My Lord Chamount? Cha. My Gafper. Chrif. Rachel. laq. My gold Rachel f my gold? Count Some body bid the begger ceafe his noife. 90 Chrif. O fignior Angela, would you deceiue Your honeft friend, that f imply trufted you? Well Rachel: I am glad tho' art here againe. Ang. I faith fhe is not for you fteward. laq. I befeech you maddam vrge your father. 95 Rho^. I will anon? good laques be content. Aur. Now God a mercy fortune, and fweet Venus, Let Cupid do his part, and all is well. Rhos. Me thinks my heart's in heauen with this comfort. Scene 5] The Cafe is Alterd 89 Cha. Is tliis tlie true Italian courtefie. 100 Vernese were you torturd thus in France ? by my foules fafety. Count. My moft noble Lord? I do befeech your Lordfhip. Cha. Honored Count, wrong not your age with 105 flexure of a knee, I do impute it to thofe cares and griefes, That did torment you in your abfent fonne. Count O worthy gentlemen, I am afhamd That my extreame affection to my fonne, no Should giue my honour fo vncur'd a maine, But my firft fonne, being in Vicensa loft. Cha. How in Vicenza? loft you a fonne there ? About what time my Lord ? Count. O the fame night, wherein your noble father 115 tooke the towne. Cha. How long's that fince my Lord? can you remember. Count. Tis now well nie vpon the twentith yeare. Cha. And how old was he then? Count. I cannot tel, betweene the yeares of three 120 and foure, I take it. Cha. Had he no fpeciall note in his attire. Or otherwife, that you can call to mind. Count I cannot well remember his attire, But I haue often heard his mother fay: 125 He had about his necke a tablet, Giuen to him by the Emperour Sigifmund. His Godfather, with this infcription, Vnder the figure of a filuer Globe: 'En minimo, mundus. 130 Cha. How did you call your fonne my Lord? 103 Lord? [Kneels. G 105 Count, [Raises him. G III maine,] maim; W, G 129 En] In W, G 90 A pleafant Comedy, called [Act 5 Count Camillo Lord Chamount. Cha. Then no more my Gafperf but Camillo, Take notice of your father, gentlemen: Stand not amazd? here is a tablet, 135 With that infcription ? found about his necke That night, and in Vicensa by my father, (Who being ignorant, what name he had) Chriftned him Gafper, nor did I reueale. This fecret till this hower to any man. 140 Count. O happy reuelation? 6 bleft hower? 6 my Camillo. Vha^. O ftrange my brother. Yran. Maximilian f behold how the aboundance of his ioy 145 Drownds him in teares of gladneffe. Count. O my boy ? f orgiue thy fathers late aufterity : Max. My Lord? I deliuered as much before, but your honour would not be perfwaded, I will hereafter giue more obferuance to my vifions? I drempt of this. 150 lag. I can be ftill no longer, my good Lord, Do a poore man fome grace mongft all your ioyes. Count. Why whats the matter laques. laq. I am robd, I am vndone my Lord, robd and vndone: 155 A heape of thirty thoufand golden crownes, Stolne from me in one minute, and I feare: By her confedracy, that cals me father. But fhe's none of mine, therefore fweet Lord: Let her be tortured to confeffe the truth. 160 Max. More wonders yet. Count. How laques is not Rachel then thy daughter. laq. No, I difclaime in her, I fpit at her, She is a harlot, and her cuftomers. Your fonne this gallant, and your fteward here, 165 Haue all been partners with her in my fpoile? no leffe then thirty thoufand. Scene 5] The Cafe is Alter d 91 Count, laques, laques, this is impoffiole, how fhouldft thou come? to the poffeffion of fo huge a heape: 170 Being alwaies a knowen begger. laq. Out alas, I haue betraid my felfe with my owne tongue. The cafe is alterd. Count. One ftay him there. Max. What meanes he to depart, Count Fernese, 175 vpon my foule this begger, this begger is a counterf ait : vrge him? didft thou loofe gold? laq. O no I loft no gold. Max. Said I not true. Count. How? didft thou firft loofe thirty thoufand crowns, 180 And now no gold? was Rachel firft thy child: And is fhee now no daughter, firra laques, You know how farre onr Millaine lawes extend, for punifhment of liars, laq: I my Lord? what fhall I doe? I haue no 185 ftarting hols ? Mounfieur Chamount ftand you my honored Lord. Cha. For what old man? laq. Ill gotten goods neuer thriue, I plaid the thief e, and now am robd my felfe: I am not as I feeme, laques de prie, 190 Nor was I borne a begger as I am : But fometime fteward to your noble father. Cha. What Melun that robd my fathers treafure, ftole my fifter? laq. I, I, that treafure is loft, but Ifabell your 195 beautious fifter here feruiues in Rachel: and therefore on my knes ? Max Stay laques ftay? the cafe ftill alters? 174 alterd. [Going. G 174 Some one W, G 174 there.] here. W, G 176 (first) this begger,] om. G 184 punish- ing IV 186 [Aside. G 190 as] what IV, G 92 A plea f ant Comedy, called [Act s Count. Faire 'Rachel fifter to the Lord Chamount. Ang. Steward your cake is dow, as well as mine. 200 Paw. I fee that honours flames cannot be hid, No more then lightening in the blackeft cloud. Max. Then firra tis true? you haue loft this gold, lag. I worthy fignior, thirty thoufand crownes. Count. Maffe who was it told me, that a couple of 205 my men, were become gallants of late. 'Fran. Marry twas I my Lord? my man told me? Enter Onion and luniper. Max. How now what pagent is this, luni. Come fignior Onion, lets not be afhamd to appeare, 210 Keepe ftate? looke not ambiguous now? Oni. Not I while I am in this fute. luni. Lordings, equiualence to you all. Oni. We thought good, to be fo good, as fee you gentlemen 215 Max. What? mounfieur Onion f Oni. How doft thou good captaine. Count. What are my hinds turnd gentlemen. Oni. Hinds fir? Sbloud and that word will beare action, it fhall coft vs a tlioufand pound a peece, but 220 weele be reuenged. luni. Wilt thou fell thy Lordfhip Count? Count. What? peafants purchafe Lordfhips? luni. Is that any Nouels fir. M-ax. O tranfmutation of elements, it is certified 225 you had pages: luni. I fir, but it is knowen they proued ridiculus, they did pilfer, they did purloine, they did procraftinate our purfes, for tlie which wafting of our ftocke, we haue put tlie to the ftocks. 230 207 Enter Onion and Juniper dressed as before. G 220 an action W, G Scene 5] The Cafe is Alterd 93 Count. And thither fhall you two prefently, Thefe be the villaines, that ftole laques gold, Away with them, and fet them with their men. M.ax. Onion you will now bee peeld. Fran; The cafe is alterd now 235 Oni. Good my Lord, good my Lord : luni. Away fcoundrell? doft thou feare a little elocution ? Shall we be confifcate now? fhal we droope now? Shall we be now in helogabolus : 240 Oni. Peace, peace, leaue thy gabling? Count. Away, away witli them; whats this they prate. Exeunt with luniper and Onion. Keepe the knaues fure, ftrickt inquifition Shall prefently be made for laques gold. To be difpofd at pleafure of Chamount. 245 Cha. She is your owne Lord Paulo, if your father Giue his confent. Ang. How now Chriftofero? The cafe is alterd. Chrif. With you, as well as me, I am content fir. Count. With all my heart ? and in exchange of her, 250 (If with your faire acceptance it may ftand) I tender my Aurelia to your loue. Cha. I take her from your Lordfhip, with all thanks, And bleffe the hower wherein I was made prifoner : For the fruition of this prefent fortune, 255 So full of happy and vnlookt for ioyes, Melun, I pardon thee, and for the treafure, Recouer it, and hold it as thine owne : It is enough for me to fee my fif ter : Liue in the circle of Ferneses armes, 260 My friend, the fonne of fuch a noble father, And my vnworthy felf e rapt aboue all. By being the Lord to fo diuine a dame. 242 [Exeunt Servants with JuN. and Onion. G 251 your] you W 262 wrapt W 263 to] of W 94 A pleafant Comedy, etc. [Act 5 Max. Well, I will now fweare the cafe is alterd. Lady fare you well, I will fubdue my affections, Mad- 265 dam (as for you) you are a profeft virgin, and I will be filent, my honorable Lord Ferneze, it fhall become you at this time not be frugall, but bounteous, and open handed, your fortune hath been fo to you Lord Chamount. 270 You are now no ftranger, you muft be welcome, you haue a faire amiable and fplendius Lady : but fignior Paulo, fignior Camillo, I know you valiant? be louing: Lady I muft be better knowne to you, figniors for you, I paffe you not: though I let you paffe; for in truth 275 I paffe not of you, louers to your nuptials, Lordings to your dances, March faire al, for a faire March, is worth a kings ranfome. 'Exeunt The end. 272 splendid W, G Notes 95 NOTES. These notes include whatever has been thought valuable in previ- ous editions. Notes signed W are from Whalley, G from Gifford, C from Cunningham. The Bibliography should be consulted for other abbreviated references and editions of works cited. Refer- ences to the text of The Case is Altered are to act, scene, and line of this edition; other references to Jonson are to volume and page of the Cunningham-Gifford edition of 1875. TITLE-PAGE The Case is Alterd. A proverbial expression, said to have been originated by Edmund Plowden (1518^1585), a celebrated lawyer. 'His name was embodied in the proverb, "The Case is Altered, quoth Plowden," which has occasioned some speculation as to its origin. The most probable explanation is that Plowden was engaged in defending a gentleman who was prosecuted for hearing mass, and elicited the fact that the service had been performed by a lay- man, who had merely assumed the sacerdotal character and vest- ments for the purpose of informing against those who were present. Thereupon the acute lawyer remarked, "The case is altered : no priest, no mass," and succeeded in obtaining the acquittal of his client.' — D.N.B. Other explanations are given by Ray (p. 119) ; Grose (p. 219); Hazlitt (1907, p. 411). The following are some of the places where the expression is quoted: Every Man In 1. 139; Return from Parnassus (p. 64); 3 Hen. VI 4. 3. 31 ; Kyd, Solyman and Pcrseda (p. 192) ; Lyly, Mother Bomhie (Wks. 3.218) ; Chapman, May Day (Wks. 2.341) ; Greene, James IV {Wks. I3-3I5), George a Greene {Wks. 14. 156), Looking Glass for London { Wks. 14. 38) ; Harvey, Foure Letters {Wks. 1. 185) ; Heywood, // You Know Not Me {Wks. 1.332); Nashe, Saffron-Walden {Wks. 3. loi). Chappell says there was a tune called 'The case is altered,' to which many ballads were sung (1.279). children of the Black-friers. One of the companies of players selected from the choirs of the Chapel Royal, and from the cathedral and collegiate churches in and near London. Under the management of Nathaniel Gyles, it performed at the Blackfriars from 1597 to 1603. The same company performed Cynthia's Revels 96 The Cafe is Alterd [Title-Page (1600), Poetaster (1601), and, as the Children of her Majesty's Revels, Epicoene (1609) ; cf. Fleay, Stage (p. 127), Drama (1.348-9, 362, 365); Brooke (p. 380); Baker (pp. 12, 13); Schelling (i. in ff., 472-3) ; Ward (2. 354, 356, 364) ; Wallace, The Children . . . at Blackfriars. 'The freehold of the house which was transformed into this theatre was purchased by James Burbadge of Sir W. More 4th May 1596. It was near Ludgate in London, so that both the private houses were within the walls. It consisted of seven large rooms, middle stories, and upper rooms. The purchase money was £600. . . . There is no trace of any performance there until November 1598, when The Case is altered, by Jonson, (his earliest extant play) was acted by "the children of the Blackfriars." ... In 1642 this theatre was finally closed' (Fleay, Stage, pp. 152-3). See also Baker (pp. 11-3) ; Lawrence {s. v. Blackfriars) ; Schelling (i. 154, 160) ; Wallace, The Children . . . at Blackfriars. Written by Ben lonson. His name is omitted from some copies of the quarto. A discussion of this will be found in the Introduc- tion, pp. xi ff. In Domino confide. See Ps. 11. i. The use by printers and publishers of special ornaments or designs in order to distinguish their work from that of others came from the Continent, where devices had been used by printers since 1462. The earliest device used in England was that of the St. Albans Press, which dates from about 1485. Caxton's was the next, and was used about 1487 or 1488. Up to the end of the fifteenth century, only eleven separate devices were in use. The device of the fleur-de-lis, which appears on the title-page of our play, was used by several printers. It seems first to have been used by John Wolfe, who was printer to the City of London from 1593 to 1601. At his death in 1601, his business and stock were transferred to Adam Islip, but his devices seem to have been dis- persed. Regarding Wolfe's adoption of the fleur-de-lis, McKerrow says (Devices, p. xxix) : 'Wolfe had, as is well known, a connection with Italy, and is supposed to have passed some time at Florence about 1576. It is perhaps for this reason that as his regular device he used the fleur-de-lis of the Junta family. Most if not all of his numerous fleur-de-lis devices are more or less closely copied from those of one or other branch of this family, who had printing establishments at Florence, Venice, and Lyons.' There is no record of how the device came to be used by Barren- ger and Sutton. The probability is that it was selected merely as an ornament. More details of the history and use of the fleur-de- Act i] Notes 97 lis by printers will be found in McKerrow (Devices, pp. xi, xxix, 5, 185, 186, 264-72, 298). Bartholomew Sutton and William Barrenger. Bartholomew Sut- ton was a bookseller in London, 1609, at St. Paul's churchyard. He was the son of Bartholomew Sutton, citizen and draper of London. Apprenticed for eight years to Edward Whyte, stationer of London, from December 25, 1601, he took up his freedom on January 18, 1608/9 (Arber 2.255; 3-683). He made his first book-entry in partnership with William Barrenger on March 3, 1608/9 (Arber 3. 403; McKerrow, Diet, of Printers, p. 259). William Barrenger (or Barringer) was a bookseller in London, 1600-1622, near the great north door of St. Paul's. He was the son of Thomas Barrenger of Steventon, Co. Bedford, yeoman. Apprenticed to Clement Knight, stationer of London, for eight years, from midsummer, 1600 (Arber 2.245), he took up his freedom January 8, 1607/8 (Arber 3.683; McKerrow, Diet., p. 24). great North-doore of Saint Paules Church. St. Paul's church- yard, chiefly occupied by printers and booksellers, was an irregular area, lined with houses and booths, encircling St. Paul's Cathedral. At an early date, the printers abandoned the churchyard to the booksellers, probably because they needed more room for their print- ing. After the fire which destroyed the old Cathedral, the majority of the stationers removed to Little Britain and Paternoster Row. Cf. Wheatley-Cunningham, London Past and Present (3. 53-4) ; Stationers' Register (Vol. 5) ; McKerrow, Devices. ACT I 1. 1. 1. Yov wofuU wights, etc. Probably a parody on the manner in which the ballads of the day usually began. Jonson evidently did not favor this kind of literature. Cf. Conversations 9. 404: 'A poet should detest a Ballet maker.' We gain the same impression from his disparaging references to ballads, in his works: Every Man In 1.204 (cf. pp. 21-2, 97, 102) : 'And they must come here to read ballads, and roguery, and trash.' Nightingale, the ballad-singer in Bartholomew Fair, will be remembered (4. 385, 393-4,425-30). See also Pleasure Reconciled 7.300; Neptune's Triumph 8.28; Fortunate Isles 8.71; Underwoods 8.369. Regarding the popularity of ballads, Chappell writes (pp. 105-6) : 'Some idea of the number of ballads that were printed in th., early part of the reign of Elizabeth may be formed from the fact that seven hundred and ninety-six ballads, left for entry at Stationers' Hall, remained in the cupboard of the council chambers 98 The Cafe is Alterd [Act i of the company at the end of the year 1560, to be transferred to the new Wardens, and only forty-four books.' The best collection of ballads is, of course. Child's English and Scottish Popular Ballads. For the Cambridge edition of this work, Professor Kittredge has written a valuable introduction. A discus- sion of the literary character of the ballad will be found in Gum- mere, The Popular Ballad (Boston and New York, 1907). A bibliography of ballads will be found in The Cambridge Hist, of Eng. Lit. (2.553-6). 1. 1. 14. Ha resembles our eh. Franz (249-55) has a compre- hensive list of interjections. 1. 1. 18-9. now must I of a merry Cobler become mourning creature. Cf. Every Man In 1.49: 'I cannot choose but laugh to see myself translated thus, from a poor creature to a creator.' Of sometimes meant instead of, when used with become (Matzner 2.240; Abbott 171). According to Professor Cook, this usage is to be found in 'classical' English writers, since it comes from Greek and Latin. Judson {Yale Studies 45.231) has a valuable note on the subject, furnishing numerous references from Greek and Latin writers. See Cynthia's Revels 2. 355 : 'And of a stone, be called a Weeping-cross'; Volpone 3.192: 'Of a whore, she became a philosopher' ; Staple of News 5- 249 : 'Of an advocate, he grew the client'; Nabbes, Microcosmos (9.133, Dodsley, 1825): 'Of her gentleman-usher, I became her apple-squire.' a merry Cobler. Cobblers were proverbially merry. In Locrine (2.2) they enter and sing, 'We coblers lead a merie life.' Thomas Deloney, in The Gentle Craft, has six short stories dealing with men of this trade. In one of them (p. 61), a man masquerading as a cobbler is found to be an imposter, because he could neither sing, sound the trumpet, play the flute, nor 'recon up his tooles in rime.' See also Dekker, Shoemaker's Holiday (Wks. 1.277); Wilson, Cobbler's Prophecy. mourning creature. By putting on a black coat. The family were in mourning for the death of Lady Ferneze. 1. 1. 21. a word to the wise. See Plautus, Persa 4.7.19: 'Dic- tum sapienti sat est.' The same expression is found in Terence, Phormio 3. 3. 8. Cf . Rabelais, Pantagruel 5. 7 : 'A bon entendeur ne fault qu'une parole.' A part of the Portuguese version of the proverb is quoted in the Masque of Augurs 7.420. See also Miscel- laneous Pieces 9.328; Brome, City Wit (Wks. 1.356). Other examples may be found in Ray (p. 117) and Hazlitt (1907, pp. 31, 45). 1. 1. 22-3. Lye there the weedes that I disdaine to weare. Cf. Marlowe, / Tamburlaine {Wks. i. 18) : 'Lie here ye weeds that Act i] Notes 99 I disdain to wear.' The expression was used to serve various pur- poses. Referring to one that had been killed : Marlowe, Massacre at Paris (JVks. 2.279) : 'Lie there, the King's delight, and Guise's scorn'; Rom. and Jul. 5.3. 87; K. John 3.2.3; ^ Hen. VI 5.2.66; T. Andron. i. 1.387; laying down apparel: Tempest 1.2.25: 'Lie there my art'; Staple of News 5.162; Marston, Eastward Hoe {Wks. 3.32); Ford, Lover's Melancholy (IVks. 1.22); referring to a sword: 2 Hen. IV 2.4. 197: 'Sweetheart, lie thou there'; Rom and Jul. 4.3.23; speaking of a letter: T. Night 2.5.24. In this connection, Dyce has collected several references relating to apparel (Shak. Gloss., p. 244). 1. 1. 26. Ingle. Originally a boy favorite. Later 'it came to be used for a mere intimate. . . . The boys of the theatre were frequently called Engle, which is more likely than anything else to have brought the word into common use, and to have aboHshed the first meaning.' — Nares. Cf. Nashe, Foure Letters (Wks. 1.326): 'I am afraide thou wilt make mee thy Ingle.' In Histrio-Mastix (Simpson, Sch. of Shak. 2. ss), the editor defines ingles as : 'Players, claque men, or applauders.' The definition refers to the following passage in that play (the characters are speculating on the reception of a sub-play called The Prodigall Childe) : 'Gulsh. I, but how if they do not clap their hands? Post. No matter so they thump us not. Come, come, we poets have the kindest wretches to our Ingles. Belch. Why, whats an Ingle, man? Post. One whose hands are hard as battle doors with clapping at baldness. Clorot. Then we shall have rare ingling at the prodigall child.' See Poetaster 2. 378 (and cf . 405, 434) : 'What ! shall I have my son a stager now? an enghle for players? a gull, a rook, a shotclog, to make suppers, and be laughed at'; Cynthia's Revels 2.211. In our play, the word is used only by Juniper, and each time to an intimate. For the term used in this sense, see Massinger, City-Madam ( Wks. 4. 70) : 'Coming, as we do, From his quondam patrons, his dear ingles now'; Peele, Jests (Wks. 2. 394) : 'He was in a manner an ingle to George, one that took great delight to have the first hearing of any work that George had done'; Scott, Kenilworth (Chap. 3) : 'Ha! my dear friend and ingle, Tony Foster.' See also Epiccene 3-344; Dekker, Wonderfull Yeare (Pr. Wks. i. 87); and his Guls Horne-booke (Pr. Wks. 2.264). The word was not used by Shakespeare. 1. 1. 28. put to my shifts. Forced to adopt some stratagem or trick; to be in a difficulty: Cynthia's Revels 2.279: 'As a citizen's loo The Cafe is Alterd [Act i wife, be troubled with a jealous husband, and put to my shifts'; Marlowe, Jew of Malta (IV ks. 2.29) : And, since you leave me in the ocean thus To sink or swim, and put me to my shifts, I'll rouse my senses and awake myself. See also T. Andron. 4.2.175; Sheridan, Rivals 5.1. Jonson has another example in Love Restored 7. 201. 1. 1. 31. Are come used for have come (Matzner 2.73; Franz 631 ; N. E. D., s. V. he 14 b, have 24). 1.1.34-5- he is one as right of thy humour as may be. Cf. Poetaster i. 374: 'I am right of mine old master's humour for that.' 1. 1.35-6. he hath bene a notable vilaine m his time. Cf. Every Man Out 2.7, 140: '[Fungoso] One that has revelled in his time'; 'He has done five hundred robberies in his time'; Poetaster 2.414: 'I have been a reveller, ... in my time'; Epiccene 3.351, 379 : 'I have been a mad wag in my time' ; 'He has been a great man at the Bear-garden in his time'; Barth. Fair 4.388: 'I have been one of your little disciples, in my days.' 1. 1. 37. A discussion of the uses of shall and will and other auxiliaries is found in Franz 608 fif. ; Matzner 2.80,130; A''. E. D. I. 1.42-3. I come with a powder? Impetuously, with all speed. The N. E. D. quotes from George Ruggle, Club Law, c. 1600 (3. 4. 1295, ed. 1907) : 'He sett you in with a powder {hee fells him)' ; and New Sermon of Newest Fashion, ? 1640 (p. 39, ed. 1877) : 'If I might have my will itt should goe downe with a pouder.' See also Marlowe, Jew of Malta {Wks. 2.69): 'Here's a drench to poison a whole stable of Flanders mares: I'll carry 't to the nuns with a powder'; Fuller, Pisgah-sight (5.5, p. 151, London, 1662): 'Jordan . . . comes down with a powder, and at set times overflows all his banks.' An interrogation-point was often used after an exclamation. Cf. Simpson, Shakespearian Punctuation, p. 85, Oxford, 191 1. I.I. 43-5. I must haue you peruse this Gentleman well, and doe him good offices of respect and kindnesse. Cf. Every Man Out 2.63: 'One that I must entreat you to take a very particular knowledge of, and with more than ordinary respect'; ih. 2.139: 'Know this gentleman, ... do him good offices.' I.I. 53. Pageant Poet. The following may be mentioned among others as serving in this capacity for the Lord Mayors' pageants : Peele, Munday, Dekker, Middleton, Webster, Jonson, and Thomas Heywood. Act i] Notes loi The term 'pa&eant' was originally applied to the movable scaffold on which a play was produced, but later it was used of the play itself. In its widest sense, the word includes the processional pageants or miracle plays of the town guilds ; performances in connection with particular festivals, such as Corpus Christi Day, Midsummer Eve, Eves of St. John and of St. Peter, etc. ; the play of St. George, which was often accompanied by processional pageantry; representations of Robin Hood during Mayday festivi- ties; and the Hock Tuesday plays at Coventry, a performance of which was witnessed by Queen Elizabeth at Kenilworth in 1575. In the generally accepted and narrower sense, the term 'pageant' was used for moving shows with very little dialogue or action. Their character was largely allegorical. This class of show was usually performed on some state occasion : the procession of the rulers to Westminster for their coronation ; the progress of royalty through various parts of the kingdom; the reception of foreign monarchs ; the return of the monarch from abroad ; and the Lord Mayor's annual procession to celebrate his entrance into office. Pageants of this character began in England in 1236 under Henry III, and were given at intervals during most of the reigns of the succeeding monarchs, but especially in the reigns of Henry VIII and Queen Elizabeth. In the course of the latter's reign, the most celebrated pageant was that recorded by Laneham as given in 1575, on her visit to Kenilworth. The material for pageants was usually selected from the Bible, history, mythology, folk-lore, and from events illustrating the glory of the city, organization, or personage in whose honor the perform- ance was given. Strutt (p. xl) remarks that along the line of march were usually to be seen 'castles, palaces, gardens, rocks, or forests,' in which were gathered 'nymphs, fawns, satyrs, gods, goddesses, angels, devils, giants, dragons, saints, knights, dwarfs, buffoons, minstrels, and choristers.' For a more complete study, the works of the following may be consulted : Nichols ; Fairholt, Lord Mayors' Pageants; Sharp ; Spencer; Chambers (2.160-76); Strutt; Ward (i. 143-8); War- ton (Index, s. vv. Feasts and Solemnities, and Spectacula) ; Greg, hist of Masques. 1.1.60. Of sometimes separated an object from the direct action of the verb (Abbott 177; Franz 513). 1. 1. 66. my minde to me a kingdome is. From a poem by Dyer (d. 1607). It was included by Byrd in his Psalmes, Sonets, and Songs of Sadnes (1588). Among others it appears in Hannah, Courtly Poets; Fuller, Worthies Library (4.251, ed. Grosart, 1872); I02 The Cafe is Alter d [Act i Percy, Reliques (1.234); Arber, English Garner (2.78). The ver- sion in the Reliques has slight differences. Chappell (i. 117), in a note, says the poem was sung to the tune of In Crete. The poem is supposed to have been suggested by a verse in Seneca, Thyestes (2.380) : 'Mens regnum bona possidet.' The first stanza (Hannah, p. 149) reads: My mind to me a kingdom is. Such present joys therein I find, That it excels all other bliss That earth affords or grows by kind : Though much I want which most would have. Yet still my mind forbids to crave. In the following, the first line of the poem is quoted unchanged : Every Man Out 2. 28; Taylor, Begger (p. 96) ; Breton, The Courtier and the Country-man (p. 191). The following instances may be cited, where the author probably had Dyer's poem in mind: 3 Hen. VI 3. 1.59-60: Sec. Keep. Ay, but thou talk'st as if thou wert a king. K. Hen. Why, so I am, in mind ; and that's enough. Beaumont and Fletcher, Monsieur Thomas (IVks. 7.315) : I found him at Valentia, poor and needy. Only his mind the master of a treasure. Byrom's poem, Carless Content {Wks. of Eng. Poets 15.199, ed. Chalmers, London, 1810) : Dame Nature doubtless has design'd A man the monarch of his mind. Southwell's poem, Content and Rich {Poems, p. 58, ed. TurnbuU. London, 1856) : My mind to me an empire is. While grace aflfordeth health. Cowper's poem. Truth (11. 405-6) : A monarch clothed with majesty and awe, His mind his kingdom, and his will his law. Greene, Faretvell to Follie (IVks. 9.279) : Sweet are the thoughts that sauour of content, The quiet mind is richer then a crowne. 1. 1. 66. truly. This word was omitted by Giftord. That it should be retained is clear from Antonio's reply. Act i] Notes 103 1. 1. 78. On was used for of, especially before a contracted pro- noun (Abbott 182; Franz 500; Matzner 2. 244). 1. 1. 79. Maecen-asses. Dekker, Guls Horne-booke (Pr. Wks. 2. 197) has the same pun : 'Whom can I choose (my most worthie Mecccn-asses) to be Patrons to this labour of mine fitter then your- selues.' See Every Man Out 2. 19 : 'Aristarchus, or stark ass' ; Cynthia's Revels 2. 287 : 'Breeches, quasi bear-riches' ; L. L. Lost 5. 2. 631 : 'Jud-as' ; and the same play, 4. 2. 85 : 'Master Parson, quasi pers-on. An if one should be pierced, which is the one'; Davies, Paper's Complaint (Wks. 2. 78, 1878): 'Macheuill, that euill none can match.' 1. 1. 90. nothing but humours. Cf . Poetaster 2. 430 : 'They say you have nothing but Humours, Revels, and Satires' ; ib. 2. 448 : 'Alas, sir, Horace ! he is a mere sponge ; nothing but Humours and observation.' 1. 1. 95-6. the last Tearme. The last session of the High Court of Justice. The courts were in session four times a year. Halliwell- Phillipps has published a small book {Regnal Years, Brighton, 1883), giving the list of Law Terms during the years 1564-1616. From this we see that the Hilary Term was usually Jan. 23-Feb. 12; the Easter Term varied from Apr. 8-May 4, to May ii-June 6; the Trinity Term varied from May 22-June 10, to June 24-July 13; and the Michaelmas Term was usually Oct. 9-Nov. 28. Sundays, of course, were excepted. A list of dates are given also by the C. D., and by Harrison (2.9.208-12). Cf. Meas. for Meas. i. 1. 11-4: Our city's institutions, and the terms For common justice, you're as pregnant in As art and practice hath enriched any That we remember. 'The law-terms were the principal times for business and pleasure. The country gentlemen then flocked to London with their famihes, to settle their disputes, see plays and puppet shows (motions), and learn the fashions' (Gififord, note. Every Man Out 2.7). Cf. ib. ('Character' of Sogliardo) : 'He comes up every term to learn to take tobacco, and see new motions' ; Epicoene 3. 336 : 'As if a man should sleep all the term, and think to eflfect his business the last day.' Nares (.$•. v. term) remarks: 'They were the harvest times of various dealers, particularly booksellers and authors, many of whom made it a rule to have some new work ready for every term.' Cf. Dekker, Gnls Horne-booke {Pr. Wks. 2. 199) : 'It is not my I04 The Cafe is Alterd [Act i ambition to bee a man in Print, thus euery Tearm' ; Nashe, Lenten Stuff e (Wks. 3. 151) : 'There is a booke of the Red Herring's Taile printed foure Termes since.' For other examples, see Cynthia's Revels 2.279; Alchemist 4.20; Staple of News 5. 175 ; As You Like If 3. 2. 349; 2 Hen. IV 5- 1- 9o; Dekker, North-ward Hoe {Wks. 3. 11), Deuils Answer (Pr. Wks. 2.144), lests (Pr. Wks. 2.288, 295, 327); Nashe, Summer's Last Will (Wks. 3. 292), Anatomie of Absurditie {Wks. 1.23) ; Middle- ton, Michaelmas Term {Wks. 1.220); Seruingmans Comfort (p. 124). The word termer sometimes occurs : Beaumont and Fletcher, Wit at Several Weapons {Wks. 4.6); Middleton, Michaelmas Term {Wks. 1. 219), Family of Love {Wks. 3.7), Roaring Girl {Wks. 4.7), Witch {Wks. 5.360). In the Phanix, Middleton uses term- trotter {Wks. 1.122). In addition to Middleton's Michaelmas Term, the following titles will be recalled : Dekker, The Dead Tearme or West- minster's Complaint for Long Vacations and Short Tearmes; Greene, A Peale of Villanies rung out, being Musicall to all Gentle- men, Lawyers, Farmers, and all sorts of People that come up to the Tearme. 1. 1. 96. A discussion of and, an, used for if, is found in Franz 564; cf. A^. E. D. {an, 2; and, C). For the use of see for saw, cf. Franz 166; Matzner 2. 67. Another instance of a present tense used for a past is found in 4. i. 15. 1. 1. loo-i. twenty pound a play. An unheard-of sum before 1612. Of the amount received by an author for a play, Traill (3. 570) says : 'A new play was known to cost £6. 13s. 4d., though a private theatre would be willing to give double that amount.' Thornbury (2. 8) and Malone {Shak., 1821, Wks. 3. 161) report the same amount. In Histrio-Mastix (Simpson, Sch. of Shak. 2. 50), Chrisoganus, who is supposed to represent Jonson, asks iio for a play. Drummond {Conversations, Wks. 9.407) remarks: 'Of all his [Jonson's] plays he never gained two hundreth pounds.' In Greg's edition of Henslowe's Diary (2. 126-7), this matter is treated in some detail in the chapter on Dramatic Finance. From this we see that the usual sum about 1600 was £6, though the amount fluctuated between £5 and £10. Cf. Collier (3.224-32). For the advance in price after 1612, see Greg {Diary 2. 141) and Malone {Shak. 3.336). Pound for pounds. Plural nouns denoting measure, value, dis- tance, time, etc., were often used in the singular (Franz 190; Matzner i. 240). Act i] Notes 105 1. 1. 104. giue me the penny. The price of admission to the pit or gallery of the inferior theatres. At this time the prices to any part of the theatre usually ranged from a penny to a shilling. See Dekker, Gids Horne-booke (Pr. Wks. 2. 247) : 'Your Ground- ling and gallery-Commoner buyes his sport by the penny' ; Nashe, Martin's Month's Mind {Wks. i. 179, ed. Grosart, 1883-1884) : The other, now wearie of our state mirth, that for a penie, may haue farre better oddes at the Theater and Curtaine, and any blind play- ing house euerie day' ; Beaumont and Fletcher, Wit Without Money {Wks. 4. 176) : 'Break in at plays, like 'prentices. For three a groat, and crack nuts with the scholars In penny-rooms again' ; Middle- ton, Father Hitbbard's Tales {Wks. 8.64): *A dull audience of stinkards sitting in the penny-galleries of a theatre.' See Overbury, Characters (p. 154) : 'If he have but twelve-pence in his purse he will give it for the best room in a play-house' ; Mars- ton, Malcontent (Ind., Wks. 1.202) : 'But I say, any man that hath wit may censure, if he sit in the twelve-penny room.' See also Hen. VIII (Prol. 11. 1 1-4) ; and Dekker, Guls Horne-booke {Pr. Wks. 2.203). At first performances, and on benefit-nights of the authors, the prices seem to have been doubled. See Symonds (p. 288) ; Malone (3.164); Rye (p. 88); and Lawrence (p. 11). The fact that it was a first performance is supposed partly to account for the high prices mentioned in the Induction to Barth. Fair 4. 347 : 'It shall be lawful for any man to judge his six-pen' worth, his twelve-pen' worth, so to his eighteen-pence, two shillings, half a crown, to the value of his place.' Prices of admission, however, were advancing at this time (1614) : Beaumont and Fletcher, Wit Without Money {Wks. 4.107) : 'Who extoll'd you in the half crown boxes.' See also Habington, Queen of Arragon (Prol. 9.339, Dodsley, 1825); Mayne, City Match (Epil. 9.330, Dodsley, 1825). A stool on the stage brought six pence, later a shilling: Cynthia's Revels 2. 210: 'S Child. A stool, boy ! 2 Child. Ay, sir, if you'll give me sixpence I'll fetch you one.' See Middleton, Roaring Girl {Wks. 4.37): 'The private stage's audience, the twelvepenny-stool gentlemen.' See also Dekker, Guls Horne-booke {Pr. Wks. 2.249); and Marston, Malcontent {Wks. 1.200). The following deal with the subject: Traill (5.69); Ordish, Theatres (pp. 66-7); Baker (p. 19); Thornbury (2.8); Malone (3.73-8); and Collier (3.146-57, 342). io6 TJie Cafe is Alterd [Act i 1. 1. 104-5. The nominative of a pronoun was often repeated for the sake of emphasis (Franz 298; Matzner 2. 16). 1. 1, 105-6. let me haue a good ground. Referring, of course, to the pit at the theatres. It was somewhat below the level of the stage, and was frequented chiefly by the lower classes, who stood throughout the performance (cf. Nares, and Collier, Hist. Dram. Poetry 3.335)- Because of their position, Jonson refers to these as 'The understanding gentlemen o' the ground' (Barth. Fair 4. 346), and 'deep-grounded understanding men' (Underwoods 8.336). Later in our play, he speaks of their 'grounded judgments' and 'grounded capacities' (2.7.74-6); cf. Barth. Fair 4.346, 347; Cynthia's Revels 2. 214. It will be remembered that the frequenters of the pit were known as 'groundlings' ; cf. Hamlet 3. 2. 12 ; Dekker, Guls Horne-booke (Pr. IVks. 2.247). 1. 1. 109-10. dumb shew. The earlier dumb-shows usually gave, without speech, a representation of the events of the following act. As the dramatic value of the dumb-show became better under- stood, it was accompanied by a 'chorus,' or interpreter, who either commented on the play, or explained portions that had been omitted. Later, members of the dumb-show were assigned spoken parts. The following plays may be cited as examples: Gorboduc (1562); Gascoigne, Jocasta (1566) ; Kyd, Spanish Tragedy (1586) ; Hughes, Misfortunes of Arthur (1587) ; Peek, Battle of Alcazar (1591) ; Hey wood. Four Prentices of London (1594) ; Warning for Fair Women (1598); Gismond of Sal erne (1568); Marston, What you Will (1601) ; Dekker, Whore of Babylon (1604) ; Beaumont and Fletcher, Triumph of Love (1608) ; and Webster, Duchess of Malfi (1617). Cf. Shakespeare's treatment of the dumb-show: Hamlet 3. 2. 146 fif. ; Pericles, Acts 2, 3, 4. 4. See the following references : Dekker, Guls Horne-booke (Pr. Wks. 2.214) : 'You haue heard all this while nothing but the Pro- logue, and scene no more but a dumbe shew' ; M. of Venice i. 2. 77-9: 'He is a proper man's picture, but, alas, who can converse with a dumb-show'; Much Ado 2.3.225-6; T. Andron. 3. i. 131-2; Hamlet 3.2. 12-4; Greville, Sidney (1652, p. 77) : 'Both stood still a while, like a dumb shew in a tragedy'; Taylor, The Hog hath lost his Pearl (11.464, Dodsley, 1875): 'Why, page, I say! 'Sfoot, he is vanished as suddenly as a dumb show.' For a comprehensive article, see Foster, 'The Dumb Show in Elizabethan Drama before 1620' (Englische Stiidien 44. 8-17). See also Cunliffe, 'Italian Prototypes of the Masque and Dumb Show' (Pub. Mod. Lang. Association 2.2. 140-56). 1. 1. 120. The omission of the subject of shall may have been an error. However, the nominative was sometimes omitted where its Act i] Notes 107 identity was clear. See 5- 3- 54: 'Now will gull' (Abbott 400, 402; Franz 306; Matzner 2. 27-30). 1. 1. 122. setting vp of a rest. In primero, the 'rest' was 'the stakes kept in reserve, which were agreed upon at the beginning of the game, and upon the loss of which the game terminated; the venture of such stakes.' — N. E. D. The phrase to set up one's rest meant to venture one's final stake or reserve : Gascoigne, Supposes (Belles-Lettres, ed. Cunliffe, p. 50) : 'This amorous cause that hangeth in controversie betwene Domine Doctor and me, may be compared to them that play at primero: of whom some one perad- venture shal leese a great sum of money before he win one stake, and at last halfe in anger shal set up his rest: and win it.' Figuratively, the expression had several meanings. One of these was 'to take up one's permanent abode,' with an allusion to 'rest' meaning 'repose.' This is its import in our text. It is used with this sense in The New Inn 5. 309 : 'We have set our rest up here, sir, in your Heart.' Romeo, about to take the poison in Juliet's tomb, exclaims, 'O, here Will I set up my everlasting rest' (Rom. and Jul. 5. 3. lie). See also Lodge, Rosalynde (Wks. i. 50) : 'Aliena resolued there to set vp her rest, and by the helpe of Coridon swept a bargane with his Landlord, and so became Mistres of the farme & the flocke.' Cf. Lear 1. i. 125; and Every Man Out 2. 195. Another meaning of the phrase was 'to stake or venture one's all upon something': Greene, Penelope's Web (IVks. 5. 181) : 'Least ayming more at ye weale of our countrey then our own Hues, we set our rest on the hazard and so desperately throw at all.' Also, 'to be resolved or determined': M. of Venice 2. 2. no: 'I have set up my rest to run away.' See Com. of Errors 4. 3. 27 ; and cf. Tale of a Tub 6. 135. In the play just mentioned (p. 159), the expression means also, 'to settle upon' or 'decide for' : 'Arrested, As I had set my rest up for a wife.' For further discussion and additional examples, see Nares, and Notes and Queries (10.6.509; 7.53,54,175). 1. 1. 124. Your friend as you may vse him. Cf. Sir Andrew's challenge to the masquerading Viola in T. Night 3. 4. 186-7 : 'Thy friend, as thou usest him, and thy sworn enemy.' 1. 1. 126-7. put off this Lyons hide, your eares haue discouered you. A reference, of course, to the familiar fable of ^sop. See Greene, Mamillia {Wks. 2. 156) : 'Like ^sops asse they clad them- selues in a Lions skinne, yet their eares wil bewray what they be.' Also Chapman, Bussy D'Ambois {Wks. 2. 19) ; K. John 2. i. 144. 1. 1. 131. After the recognition, notice the change from you to the more friendly and intimate thou. See Abbott 231-4; Franz 289-289 h. io8 The Cafe is Alterd [Act i 1. 1, 131-2. altred with thy trauell. Foreign travel was much in vogue. The accounts of navigators and explorers, first published separately, and then collected by Hakluyt in his Principall Naviga- tions (1589, 1598-1600), created a great deal of interest in this kind of travel. There were accounts also of land-travel. In 1547 Boorde published the Fyrste Boke of the Introduction of Knowledge, describing his journeys on the Continent. Johnson brought out a translation from many sources, the Travellers Breviat (1601). Coryat made a walking-tour through France, Italy, and Germany in 1608, which was described in his Crudities (1611), and for which Jonson wrote a humorous character-sketch of the author. Sandys, in the Relation of a Journey (1615), gave an account of his travels in Turkey, Egypt, the Holy Land, and Italy. Lithgow, a Scotch traveler, claimed he had journeyed 36,000 miles on foot. His travels are described in Rare Adventures and Paineful Peregrinations (1632). A work condemning travel was published by Hall: Quo Vadis? A Just Censure of Travell (1617). Brome's play, The Antipodes, represented the manner in which a young man was cured of a madness brought on by reading too much about travels and voyages. Another form of travel was for educational purposes. It became quite the fashion for the sons of noblemen to travel on the Con- tinent, generally with a tutor. Of the custom of going to Italy, Ascham says {Schoolmaster, p. 71, ed. Arber) : T take goyng thither, and liuing there, for a yonge ientleman, that doth not goe vnder the keepe and garde of such a man, as both, by wisdome can, and authoritie dare rewle him, to be meruelous dangerous.' Cf. Har- rison's remark on the same subject (Furnivall, p. 81) : 'One thing onlie I mislike in them [the students], and that is their usuall going into Italic, from whense verie few without speciall grace doo returne good men, whatsoeuer they pretend of conference or practise.' Of travel, when not abused. Bacon writes (Essays, 'Travel') : 'Travel, in the younger sort, is a part of education; in the elder, a part of experience.' And Shakespeare remarks (T. G. of Verona I. 1. 2) : 'Home-keeping youth have ever homely wits.' But the practice was overdone. Cf. Drake (p. 421) : 'To such a height had this fashion for travelling attained, that those who were not able to accomplish a distant expedition, crossed to France or to Italy, and gave themselves as many airs on their return, as if they had been to the antipodes' ; Gosson (p. 34) : 'We haue robbed Greece of Gluttonie, Italy of wantonnesse, Spaine of pride, Fraunce of deceite, and Dutchland of quaffing.' Bacon's sane remarks on the Act i] Notes 109 subject are worth quoting (^Essays, 'Travel') : 'When a traveller returneth home, ... let his travel appear rather in his discourse than in his apparel or gesture; and in his discourse let him be rather advised in his answers, than forward to tell stories; and let it appear that he doth not change his country manners for those of foreign parts ; but only prick in some flowers of that he hath learned abroad into the customs of his own country.' See note to Ellis, Original Letters (4. 46, London. 1846) : 'In Queen Elizabeth's time, leave to go abroad for the purpose of travell- ing was difficult to obtain. Lord Burghley, too, when application for such permissions were made, would frequently call the party before him, and examine into what the applicant knew of his own country; and if found deficient in that knowledge would advise him to stay at home for the present.' A copy of 'Queen Elizabeth's Letter of Recall for those who had gone abroad without her leave' accompanies the note. In our text, Onion calls Valentine a 'lying traueller' (4.3.12). See Tempest 3. 3.26: 'Travellers ne'er do lie. Though fools at home condemn 'em'; Dekker, Seuen Deadly Sinnes {Pr. Wks. 2.35): 'Thou art no Traueler; the habit of Lying therefore will not become thee, cast it off'; Old Fortunatus {Wks. 1.117). Cf. Chapman, Monsieur D' Olive {Wks. 1. 195) ; Donne, Letters {Wks. 6.318, ed. Alford, London, 1839). Traveling influenced apparel: Every Man Out 2.58: 'Punt. Then he has travelled? . . . Car. As far as Paris, to fetch over a fashion, and come back again.* Hen. VIII 1.3. 31: 'Tall stockings. Short blister'd breeches, and those types of travel' ; As You Like It 4. i. z^ : 'Farewell, Monsieur Traveller : look you lisp and wear strange suits.' In our text. Juni- per remarks: 'A man is nobody, till he has trauelled' (2.7.34-5). See Nashe, Vnfortunate Traveller {Wks. 2. 297) : 'Hee is no bodie that hath not traueld'; Beaumont and Fletcher, Wild Goose Chase {Wks. 8. 121) : 'Till we are travell'd, and live abroad, we are cox- combs.' Some travelers assumed a solemn pose : Mdirsion, Ant. and Melt., Pt. I {Wks. I. 12, Ind.) : 'As solemn as a traveller'; Marston, Satires {Wks. 3-274) : 'With what a discontented grace Bruto the traveller doth sadly pace' ; As You Like It 4. i. 21 : 'A Traveller ! By my faith you have great reason to be sad : I fear you have sold your own lands to see other men's.' Traveling encouraged decep- tion: Nashe, Pierce Penilesse {Wks. 1.220): 'These [evil prac- tices], and a thousand more such sleights, hath hypocrisie learned no The Cafe is Alter d [Act i by trauailing strange Countries' ; cf. Carlo Buffone's advice to Sogliardo {Every Man Out 2. 107) : 'You must be impudent enough, sit down, and use no respect : when anything's propounded above your capacity, smile at it, make two or three faces, and 't is excellent ; they'll think you have travell'd.' See also Every Man Out 2. 83, 105 ; Cynthia's Revels 2.226, 240, 291, 319; Volpone 3-196, 202; Devil is an Ass 5. 23; Masque of Augurs 7. 413. In Puntarvolo {Every Man Out) and Amorphus {Cynthia's Revels), Jonson has drawn two characters which typify, in some measure, the abuses of travel. Beside Hakluyt's work, a compilation of travels was made by Purchas : Purchas his Pilgrimage (1613), and Hakluytus Posthumus (1625), the latter being a work made from Hakluyt's notes. In our own day, Harrisse (1830-1909) has done the same for voyages (chiefly American) taken during the 15th and i6th centuries. For the i6th and 17th centuries, we have Arber's English Garner (London, 1877- 1890), a work which Beazley has used as the basis for a new edition under the same title (N. Y., 1903). The Travels of Sir John Mande- ville, printed in 1499 by Wynkyn de Worde, was popular in Jonson's day. It purports, as every one knows, to be the record of a journey to the far East. A good bibliography of sea-faring and travel is to be found in the Cambridge Hist. Eng. Lit. (4. 518). See also Howard, English Travellers of the Renaissance (London, New York, and Toronto, 1914). 1. 1. 144-5. All creatures here soiorning, etc. If this is a quota- tion, its source has remained undiscovered. A possible source may be in Chettle, Kind-hart's Dreame (iS93, p. 65) : 'But indeede there is a time of mirth, and a time of mourning.' Professor Cook sug- gested Ecclesiastes 3.1,4: 'To everything there is a season, and a time to every purpose under the heaven : . . . a time to weep, and a time to laugh ; a time to mourn, and a time to dance.' The same sentiment is expressed by Chapman, Bussy D'Ambois {Wks. 2.61); and Beaumont and Fletcher, Wild Goose Chase {Wks. 8.144-5). 1. 1. 151-3. tomorrow shall be three months, she was scene going to heauen they say, about some fiue weekes agone. Cf. Every Man In i. 64: 'I was thinking of a most honourable piece of service, was performed to-morrow, being St. Mark's day, shall be some ten years, now'; ib. 1.83: 'Here's the remainder of seven pound since yesterday was seven-night'; Alchemist 4. 154: T heard it too, just this day three weeks, at two o'clock next morning' ; Staple of News 5. 179 : 'His father died on this day seven-night. Act i] Notes iii . . . At six o' the clock in the morning, just a week Ere he was one and twenty.' Cf. M. of Venice 2. 5. 25. 1. 1. 156. I haue done but the parte of an Onion. The associa- tion of tears with an onion is very old. The Greek word for onion 35 KpofjLfjivoi^, so called, because it caused the eyes to close {Kopas avnij.veiv) . See Aristophanes, Frogs 654: AI. Tc dfjra xXat'ets; AI. KpofiiMvuv 6a7i-7, London, 1671). The A'^. E. D. refers to Copeland {The Art of Memory, 1540?). See Nashe, Vnfortunate Traveller {Wks. 2. 299) : 'It is not possible for anie man to learne the Art of Memorie . . . except hee haue a naturale memorie before.' A humorous allusion occurs in Beaumont and Fletcher, Thierry and Theodoret {Wks. I. 153) : 'He, mistaking the weapon, lays me over the chaps with his clubfist, for which I was bold to teach him the art of memory.' See also Cowley, Poems {The Mistress, 'Soul,' p. 84, ed. Waller, Cambridge, 1905). Memory may be read as a disyllable (Abbott 464, 468). 2. 4. 50. Scan (Abbott 494, 468) : And fits I them one | ly, that | are nought | but cerimony. 2- 4' 52-5. will you be my refuge? ... be my Plouer. Cf. Every Man Out 2. 140, 141 : 'He is my Pylades, and I am his Orestes' ; 'He shall be your Judas, and you shall be his elder-tree' ; 'Let him be Captain Pod, and this his motion' ; 'You shall be Hol- den, and he your camel'; 'You shall be his Countenance, and he your Resolution'; Cynthia's Revels 2.240, 296: 'I call madam Act 2] Notes 133 Philautia, my Honour; and she calls me, her Ambition'; 'You shall be no more Asotus to us, but our goldfinch, and we your cages' ; Poetaster 2. 497 : 'Be his ^sculapius, . . . and he shall be your patient' ; Epiccene 3. 393 : 'Before, I was the bird of night to you, the owl ; but now I am the messenger of peace, a dove' ; Barth. Fair 4. 495 : 'I'll for ever be thy goose, so thou'lt be my gander'; Devil is an Ass 5.92: '[I would] be your blackbird, . . . your throstle' ; New Inn 5. 337 : 'Thou shalt be the bird To sovereign Prue, . . . her Fly.' 2. 4. 58-9. lie borrow Cupids wings. Masse then I feare me youle do strange things. Cf. Masque of Owls 8. 53 : And though he have not on his wings. He will do strange things. Rom. and Jul. 1.4. 17: You are a lover; borrow Cupid's wings. For the reflexive use of feare, see Matzner 2.65; Abbott 296; Franz 628, 307. 2. 5. 10. Single lines with two or three accents are often found at the beginning or end of a speech (Abbott 511). 2. 5. II. My and other possessive adjectives, when unemphatic, were sometimes transposed (Abbott 13; Franz 328). 2. 5. 19. Daughters take heede of him, he's a wild youth. Cf . Horace, Sat. i. 4. 85 : 'Hie niger est, hunc tu, Romane, caveto.' See Every Man Out 2. 38 : 'O, he's a black fellow, take heed of him' ; Poetaster 2.495: 'These be black slaves; Romans, take heed of these.' 2. 6. 1-3. This speech was arranged by Gifford so as to read 'How now . . . with you' as a verse. 'In the quarto, throughout the ensuing dialogue, the Count calls his steward Christopher simply, not Christophero, which I should think was intended, and ought to have been retained.' — C. It is apparent, however, that the change was made for metrical reasons. 2.6.6. At used for from (Franz 462). 2. 6. 8. Here Christopher should be read as written, and simplicity should be regarded as a trisyllable (Abbott 468). 2.6.18. Maintenance is a disyllabic (Abbott 468). 2.6. 19. The first syllable of discharge receives the accent (Gram- mar 9. 266; Abbott 492). 2.6.23-4. thou hast euer been Honest and true, etc. Plautus, Aul. 215-6: 134 The Cafe is Alter d [Act 2 Certe edepol equidem te ciuem sine mala omni malitia Semper sum arbitratus et nunc arbitror. Cf. M. of Venice 3. 4. 46-7 : As I have ever found thee honest-true, So let me find thee still. 2.6.29, Who wouldst thou haue, etc. Plautus, Aid. 170-2: Eun. Die mihi, quaeso, quis east quam uis ducere uxorem ? Meg. Eloquar. Nouistin hunc senem Euclionem ex proxumo pauperculum? Eun. Noui : hominem baud malum mecastor. Scan (Abbott 456) : Who wouldst I thou haue | I prithee? | Chris. Rachel | de prie. Who for whom (Abbott 274; Franz 334). 2. 6. 40-1. And if I did not see in her sweet face Gentry and noblenesse. Cf . Poetaster 2. 398 : 'I see, even in her looks, gentry, and general worthiness.' 2. 6. 44-5. For where loue is he thinke his basest obiect Gentle and noble. Cf. M. N. Dream i. i. 232-3 : Things base and vile, holding no quantity, Love can transpose to form and dignity. Also Hazlitt (1907, p. 304) : 'Love sees no faults.' 2. 7. 6. bastinado the poore cudgell. The first use of bastinado given by the A'^. E. D. was in 1577, and as a noun. As a verb, the first example is dated 1614. Thus its use as a verb in our text antedates this by several years. It was used thus in Every Man In (i. 116), and in Poetaster (2.497), acted in 1598 and 1601 respec- tively. The same quibble occurs in Every Man In i. 35 : 'Mat. He brags he will give me the bastinado, as I hear. Bob. How! he the bastinado! how came he by that word, trow? Mat. Nay, indeed, he said, cudgel me; I term'd it so, for my more grace.' Also in K. John 2. 1.463: 'He gives the bastinado with his tongue: Our ears are cudgell'd.' 2.7.8-10. I haue the phrases . . . fitting the mistery of the noble science. Cf. Every Man Out 2.50-1: 'I have the method for Act 2] Notes 135 the threading of the needle . . . and all the humours incident to the quality.' Epitaphs. Juniper of course means epithets. Cf. Cynthia's Revels 2. 298 : 'Gel. [He] calls me at his pleasure I know not how many cocka- trices, and things. Mor. In truth and sadness, these are no good epitaphs, Anaides, to bestow upon any gentlewoman.' Mrs. Malaprop's remark in Sheridan, Rivals (3. 3) is familiar : 'Sure, if I reprehend any thing in this world, it is the use of my oracular tongue, and a nice derangement of epitaphs.' the noble science. During the reign of Henry VHI, a corpora- tion was formed under the name of 'The Noble Science of Defence.' It provided for a specified course of training in fencing, and con- ferred degrees. Upon entrance, the candidate was known as a 'Scholar.' Later at a public contest, if successful, he became a 'Provost of Defence.' At a final trial, he was declared a 'Master of Defence' (Strutt, pp. 259-64). In Cynthia's Revels (2.313) there is a burlesque imitation of these public trials of skill. See Traill (3. 574) : 'In 1565 the Queen issued a proclamation to limit and control the "schools of fence," in which "the multitude and the common people" were being taught "to play at all kinds of weapons," and the size of the rapier and dagger was regulated.' Gosson (p. 46) remarks: 'The cunning of Fencers [is] applied to quarrelling' ; and later (p. 47) : 'Fencing is growne to such abuse, that I may wel compare the Scholers of this Schoole to them that prouide Staues for their owne shoulders.' Later in the scene (1. 14), 'maisters of defence' are mentioned. Cf. Every Man In i. 113: 'Did you ever prove yourself upon any of our masters of defence here' ; Merry Wives i. i. 295 ; Beaumont and Fletcher, Knight of the Burning Pestle {Wks. 2. 155) ; Dekker, Honest Whore, Pt. i {Wks. 2.63); Dekker, Setien Deadly Sinnes (Pr. Wks. 2.28). That Jonson had no fault to find with fencing per se may be gained from his Epigram To William Earl of Newcastle 9. 15. But for the style of fencing then in vogue he had small sympathy. See Every Man In 1.35, 113, 126; Every Man Out 2. loi ; Cynthia's Revels 2.313; Epicane 3. 435; Alchemist 4.100; Devil is an Ass 5. 78; New Inn 5. 339, 388; Magnetic Lady 6. 12; Pan's Anniversary 8.42. For other references, see Rotn. and Jul. 2.4.21-7; 3.1.88; As You Like It 5. 4. 48-108; Merry Wives 2.3.26; L. L. Lost 1.2. 184; 136 The Cafe is Alterd [Act 2 Beaumont and Fletcher, French Lawyer (Wks. 3. 483), King and No King (Wks. 2.244); Marston, Scourge of Villainy (Wks. 3.373). For a work on fencing, see Castle, Schools and Masters of Fence (London, 1885) ; cf. Saviolo, Practise (London, 1595). 2. 7. 16. Vtopia. 'England.' — G. 2. 7. 28-9. the publicke Theater. Plays were performed in four kinds of places : the converted inn-yards ; the buildings used also for bull- and bear-baiting; the public theatres; and the private theatres (Fleay, Hist, of Stage, p. 146). A list of the public and private theatres of Jonson's day, as given by Lawrence (pp. 25-6), follows : PUBLIC. PRIVATE. The Theatre (1576-1598). ' Paul's (i 581-1608). The Curtain (1576-1630). Blackfriars (1596-1655). Newington Butts (1586-1603). Whitefriars (1603-1621). The Rose (1592-1603). Cockpit or Phoenix (1617-1649). The Swan (1595-1635). Salisbury Court (1629-1649). (First) Globe (159&-1613). (First) Fortune (1600-1621), Red Bull (1600-1663). The Hope (1614-1656). (Second) Globe (1614-1644). (Second) Fortune (1623-1649). Cf. the list published by Fleay, Stage (pp. 367-8) ; and Collier (3. 81-139). The Globe and the Blackfriars were the best of their class in respect to the character of the audience, and the eminence of the dramatists whose plays they produced. Plays of Shake- speare and Jonson were produced in each. For comfort and select- ness of audience, the Blackfriars surpassed the Globe. The private theatres had many peculiarities that distinguished them from the public theatres. They were smaller, and were covered with a roof. The prices of admission were higher, and the audience was more select. Performances began later, were shorter, and were conducted partly by artificial light. Traill (3. 570) says that private theatres in dwelling-houses had evening performances. The pit was furnished with benches, whereas in the public theatres the 'ground- lings' stood throughout the performance. Spectators were permitted to sit on the stage. The boxes were kept locked, and were rented for the season. There was not so much horse-play on the part of the players. The spectators conducted themselves with more decorum. The music was of a high class, and in great contrast to the 'jigs' in the public theatres. Act 2] Azotes 137 The audiences in the public and private theatres are compared in the Prologue to The Doubtful Heir (Shirley). For works dealing with the characteristics of the two classes of theatres, see Law- rence (s. V. Blackfriars) ; Baker (pp. 18, 19, 23, 24, 27) ; Collier (3.140-5); Thornbury (2.8); Wilkes (p. 210); Schelling (i. 160-2) : Fleay, Hist, of Stage (p. 153). See also works on the subject by Chambers; Genest; Ordish, Theatres; Albright, Shake- spearean Stage (N. Y., 1909) ; Cambridge Hist. Eng. Lit. (6. 10). In the last, there is a valuable bibliography. Cf. Lawrence, 'Evo- lution and Influence of the Elizabethan Playhouse' (Jahrbuch 47. 18-41) ; Wallace, The Children . . . at Blackfriars. 2.7.36-7. are their plaies? as ours are? extemporall? A refer- ence to the improvised comedy which had its beginning in Italy about the middle of the sixteenth century, and which is generally known as the commedia dell' arte all' improvviso. The outline of the plot, with the various stage-directions, was carefully written out, but its development through dialogue and action was left to the ingenuity of the players. The humor of this type of comedy was of a boisterous and farcical nature. See Middleton, Spanish Gipsy (Wks. 6. 195) : There is a way Which the Itahans and the Frenchmen use, That is, on a word given, or some slight plot. The actors will extempore fashion out Scenes neat and witty. Brome, City Wit (Wks. i. 364) : 'It should be done after the fashion of Italy by our selues, only the plot premeditated to what our aim must tend: Marry the Speeches must be extempore'; Kyd, Spanish Tragedie 4. i. 163: The Italian Tragedians were so sharpe of wit That in one houres meditation They would performe any thing in action. In Brome, Antipodes (Wks. 3.271), 'Byplay' is represented as an extempore actor. Near the end of Act 4 of the same play, Letoy says (p. 312) : 'We now give over The play, and doe all by Extem- pore.' Cf . I Hen. IV 2. 4. 308 : 'Shall we be merry ? shall we have a play extempore?' In Volpone (3.215) mention is made of 'Pantalone,' one of the stock characters of the commedia dell' arte. As Dr. Smith suggests (see below), the mountebank performance here (pp. 203-14) is no doubt an echo of the Italian improvised drama. Cf. As You Like It 138 The Cafe is Alterd [Act 2 2.7.158; T. of Shrew 3.1-37; Nashe, Pierce PenUesse (IV ks. I. 215). In England, it seems to have been the custom after the perform- ance of a play to introduce extemporal verse : Nashe, Pierce PenUesse (Wks. 1.244): Like the queint Comsedians of our time, That when their Play is doone do fal to ryme. Dekker, Strange Horse-Race (Pr. Wks. 3. 340) : 'I haue often seene, after the finishing of some worthy Tragedy, or Catastrophe in the open Theaters, that the Sceane after the Epilogue hath beene more blacke (about a nasty bawdy Igge) then the most horrid Sceane in the play.' Of the better class of improvisers, Tarleton, Wilson, and Kemp are often mentioned. See Stow, Annales (1631, p. 698) ; Harvey, Letters {Wks. i. 125), and Foure Letters (p. 168) ; Brome, Antipodes {Wks. 3.260). The following works will be valuable for a study of the subject: Memoirs of Carlo Gossi (tr. Symonds, London, 1890) ; Paget (Vernon Lee), Studies of the Eighteenth Century in Italy (Chicago, 1908) ; Moland, Moliere et la Comedie Italicnne (Paris, 1867) ; Scherillo, La Commedia dell' Arte in Italia (Turin, 1884), and La Vita Italiana ncl Seicento (Florence, 1897) ; Wolfif, 'Shakespeare and die Commedia dell' Arte' {Jahrbuch 46. 1-20). The latest work on the subject is by Dr. Winifred Smith, The Commedia Dell' Arte {Columbia Studies in English, N. Y., 1912). It contains a good bibliography. See also the new edition of Flogel's Geschichte des Grotesk-komischen (1788), brought out by Bauer (2 vols., Munich, 1914) : 1.40-70. 2. 7. 44. the sport is at a new play. The occasion of the presen- tation of a new play must have been a trying ordeal for the author. The hostile reception that was given to some of Jonson's plays, especially Sejanus and The New Inn, is well known. In his dedica- tion to Lord Aubigny, when he published the former in 1616, Jonson says (3. 3) : 'It is a poem, that, if I well remember, in your lord- ship's sight, suffered no less violence from our people here, than the subject of it did from the rage oi the people of Rome.' Of The New Inn, he says in a note prefaced to his famous Ode (5. 415) : 'The just indignation the author took at the vulgar censure of his play, by some malicious spectators, begot this following Ode to himself.' Several features were characteristic of first performances. They seem to have been well attended, either because of genuine interest or because of the expectation of witnessing the rough treatment Act 2] Notes 139 sometimes given a new play. Cf. Dekker, Dcuils Anszver (Pr. Wks. 2. 118) : 'It was a Comedy, to see what a crowding, as if it had beene at a new Play.' Dekker's advice to a playgoer on such an occasion will be remembered (Guls Horne-hooke, Pr. Wks. 2. 254) : 'Mary, if either the company, or indisposition of the weather binde you to sit it out, my counsell is then that you turne plain Ape, . . . mewe at passionate speeches, blare at merrie, finde fault with the musicke, whew at the childrens Action, whistle at the songs.' That Sejanus was greeted in this manner is evident from a poem written at that time by Fennor, and quoted by Gifford, in which the follow- ing lines appear {Z-i) '■ They screwed their scurvy jawes, and lookt awry. Like hissing snakes adjudging it to die. It is commonly known that the admission to a new play was double the usual price. Collier (3. 214) quotes from Marmion's Fine Companion: 'A new play, and a gentleman in a new suit claim the same privilege — at their first presentment their estimation is double.' See also note to i. i. 104. Cf . Hen. VIII 5. 4. 63-7 ; Brome, Antipodes {Wks. 3.259); Beaumont and Fletcher, Knight of the Burning Pestle {Wks. 2. 127, dedication by Burre). 2. 7. 51-2. will be as deepe myr'd in censuring as the best. Cf . Cynthia's Revels 2.213: 'As some one civet-wit among you, that knows no other learning, than the price of satin and velvets ; nor other perfection than the wearing of a neat suit; and yet will censure as desperately as the most profess'd critic in the house, presuming his clothes should bear him out in it' In the Discoveries (9. 158) Jonson remarks : 'But the wretcheder are the most obsti- nate contemners of all helps and arts ; such as presuming on their own naturals (which perhaps are excellent) dare deride all diligence, and seem to mock at the terms, when they understand not the things, thinking that way to get off wittily, with their ignorance.' He had used almost the same words in The Alchemist (4.6). Dekker holds this class of critics up to ridicule in the chapter on 'How a Gallant should behaue himself in a Play-house' {Guls Horne-booke, Pr. Wks. 2.246). 2.7.62. Him for himself (Franz 307; Abbott 223). 2. 7. 63. in artibus magister. Harrison (p. 79) gives the follow- ing requirements for the degree of Master of Arts: 'From thence also [the receipt of the Bachelor's degree] giuing their minds to more perfect knowledge in some or all the other liberall sciences, & the toongs, they rise at the last (to wit, after other three or foure yeeres) to be called masters of art, ech of them being at that I40 The Cafe is Alterd [Act 2 time reputed for a doctor in his facultie. if he prof esse but one of the said sciences (besides philosophie) or for his generall skill, if he be exercised in them all.' Dekker, Guls Home-boo ke (Nott, p. 21), makes reference to the gallant, who, 'haunting tauerns, desires to take the bacchanalian degrees, and to write himself in arte bibendi magister.' Cf. Staple of News 5. 180; Fortunate Isles 8. 71. 2. 7. 68-9. there are two sorts of persons that most commonly are infectious to a whole auditory. Cf. Every Man Out 2. 19 : For in such assemblies They are more infectious than the pestilence. 2. 7. 73-6. Notice the change in the verb from singular to plural. For a plural verb used after the singular of a collective noun, see Franz 674, 675. Cf. M. of Venice i. i. 88: 'There are a sort of men.' these will hisse any thing that mounts aboue their grounded capacities. Cf. Cynthia's Revels 2.214: 'A fourth miscalls all by the name of fustian, that his grounded capacity cannot aspire to.' 2.7.80. Caprichious? stay, that word's for me. Cf. Staple of News 5.165: 'Emissaries? stay, there's a fine new word.' Other examples of this character will be found in the Introduction, p. xix. 2.7.82. Never was sometimes used instead of ever (Matzner 3.130; Abbott 52; Franz 408). 2.7.83-8. sit disperst, etc. This speech is found, in pait, in Every Man Out 2. 19 (cf. pp. 18, 86) : How monstrous and detested is't, to see A fellow, that has neither art nor brain. Sit like an Aristarchus, or stark ass, Taking men's lines, with a tobacco face, In snuff, still spitting, using his wry'd looks. In nature of a vice, to wrest and turn The good aspect of those that shall sit near him, From what they do behold ! O, 't is most vile. See Cynthia's Revels 2.213: 'Another, whom it hath pleased nature to furnish with more beard than brain, prunes his mustaccio, lisps, and, with some score of affected oaths, sweare down all that sit about him.' In Satiromastix (Wks. 1.62), Dekker has Horace (sup- posed to be Jonson) swear 'not to sit in a Gallery when your Comedies and Enterludes haue entred their Actions, and there make vile and bad faces, at euerie lyne, to make a Gentleman haue an eye to you.' Jonson frequently quoted from his works, or reprinted passages in other places in his works: Poetaster 2.516: 'Strength of my Act 2] Notes 141 country,' etc. {Epigram 108 8. 211); Volpone 3.247: 'Come, my Celia' {Forest 8. 255) ; Alchemist 4. 6 : 'For they commend writers' (Discoveries 9. 155) ; Devil is an Ass 5.64: 'Do but look' (Under- woods 8.296) ; Staple of News 5. 177: 'But it is the printing I am offended at' (News from New World 7. 337) ; ib. 5. 241 : 'Send in an Arion' (Neptune's Triumph 8. 29) ; ib. 5. 252 : 'Oracle of the Bottle' (Neptune's Triumph 8. 25) ; cf. Devil is an Ass 5. 47 : 'Lock the street-doors fasf (2.1.53). Some of these were pointed out by Gilford and Cunningham. instead of a vice. The Vice was a character in the moralities, and in many of the comic interludes. His name varied with the nature of his part in the play: Ambition, Covetousness, Fraud, Hypocrisy, Infidelity, Iniquity, Sin, Haphazard, Merry Report, Nichol Newfangle. The Devil and the Vice sometimes appeared in the same play (Lupton, All for Money) ; sometimes the Devil was alone (Ingelend, Disobedient Child) ; or the Vice was alone (Nice Wanton). In The Devil is an Ass, Jonson introduces both charac- ters, and his satirical treatment of each is in accord with judgments previously passed on them (Volpone 3.158; Staple of News 5. 186-7). His views have been discussed by Johnson in his edition of the above play (Yale Studies 29. xxiii-xl). The following are some examples: In The Devil is an Ass (5. 10), Pug, before descending to the earth, asks Satan for a Vice as a companion : Sat. What Vice? What kind wouldst thou have it of? Pug. Why any: Fraud, Or Covetousness, or lady Vanity, or old Iniquity; Epigram 115, Town's Honest Man 8.218: Being no vicious person, but the Vice About town; and known too, at that price. Every Man Out 2. 19; Conversations 9.400. See also Richard III 3. 1. 82 : 'Like the formal vice, Iniquity' ; T. Night 4. 2. 132-8 : I'll be with you again. In a trice, Like to the old Vice, Your need to sustain ; Who, with dagger of lath. In his rage and his wrath, Cries, ah, ha ! to the devil. Hamlet 3.4.98; 2 Hen. IV 3.2.347. See stage-direction, Histrio- Mastix (Simpson, Sch. of Shak. 2.40); and Stubbes (p. 166): 'In 142 The Cafe is Alterd [Act 2 enterludes and plaies . . . you will learne to plaie the vice, to sweare, teare, and blaspheme both heauen and earth.' A study of the Vice has been made by Cushman and Eckhardt. For shorter discussions, see Chambers (2. 203) ; Collier (2. 186) ; Douce (497); Schelling (1.53); Ward (i. 109); Gayley, Plays (208), Repr. Eng. Com. (i.xlvi). Dr. Thiimmel has two articles on 'Shakespeare's Fools' (Jahrbuch 9.87-106; 11.78-96). Cf. 'Der Humor bei Shakespeare' by Helene Richter (Jahrbuch 45. 1-50). 2. 7. 121. Plantan. 'A plant of the genus Plantago, especially P. major, the common or greater plantain. It is a famihar door- yard weed, with large spreading leaves, close to the ground, and slender spikes; it is a native of Europe and temperate Asia, but is iiow found nearly everywhere.' — C. D. As to its sanatory proper- ties, Gerarde (Herball, 1597, PP- 340, 344) has this to say: 'Plantaine is good for ulcers that are of hard curation. ... It staieth bleeding, it healeth up hollow sores, and concauate ulcers as well olde as new. . . . Galen, Discorides, and Pliny haue prooued it to be such an excellent wounde herbe, that it presently closeth or shutteth up a wounde though it be very great and large.' See Two Noble Kinsmen 1.2.61: 'These poore sleight sores Neede not a plantin.' Also Rom. and Jul. 1.2.52: Rom. Your plantain-leaf is excellent for that. Ben. For what, I pray thee? Rom. For your broken shin. See also L. L. Lost 3. i. 74. 2. 7. 136. he tooke it single. 'Foote has imitated this scene in his Commissary, vol. 2, p. y2.' — G. The ending of the bout is similar, but there the similarity ends. 2. 7. 140. cob-web. Pliny writes regarding the astringent and curative properties of a cobweb (Hist. Nat. 29.6) : 'Fracto capiti aranei tela ex oleo et aceto imposita, non nisi vulnere sanato, abscedit. Haec et vulneribus tonstrinarum sanguinem sistit.' See also Bartholomaeus Anglicus (18. 11.346): 'The cob-web that is white and cleane . . . hath vertue to constraine, joj^ne, and to restra3aie, and therefore it stauncheth bloud that runneth out of a wound, . . . and healeth a new wound, . . . and withstandeth sweUing'; M. N. Dream 3.1.185: 'I shall desire you of more acquaintance, good Master Cobweb: if I cut my finger, I shall make bold with you.' 2. 7. 142-3. breake my head, and then giue me a plaister. A proverbial expression. Heywood (p. 95) and Ray (p. 122) write it: 'Break my head, and bring me a plaister.' Hazlitt (1907, p. 33) Act 2] Notes 143 has : 'A plaster is but small amends for a broken head.' See Har- vey, Letters (i. 115) : 'To give me that as a plaster for a broakin pate.' 2. 7. 147-8. thou art not lunatike, art thou? and thou bee'st auoide Mephostophiles. See Stephenson, Elizabethan People (p. 27) : 'They believed that an insane person was possessed of a devil ; literally that an evil spirit had taken up his abode in the house of clay, and that the only way to drive him out was to make his dwelling uncomfortable'; Com. of Errors 4. 4. 57-61 : Pinch. I charge thee, Satan, housed within this man. To yield possession to my holy prayers And to thy state of darkness hie thee straight: I conjure thee by all the saints in heaven! Ant. E. Peace, doting wizard, peace ! I am not mad. Edgars feigned madness {Lear 3.4.37 ff.), and Malvolio's incar- ceration {T. Night 4.2.24 ff.) are familiar instances. See also Fitzdottrel's fit in The Devil is an Ass 5.140-6; Volpone 3.308; and cf. Matt. 8. 28 ; John 10. 20. 2. 7. 148. Mephostophiles. 'The name of the evil spirit to whom Faust (in the German legend) was represented to- have sold his soul. Hence applied allusively to persons (in the 17th c. with reference to the character presented in Marlowe's Doctor Faustus, in recent use to that presented by Goethe).' The name 'appears first in the German Faustbuch 1587 as Mephostophiles; of unknown origin. The now current form Mephistopheles, and the abbreviation Mephisto, come from Goethe's Faust.' — A^. E. D. Cunningham calls Gifford to task for substituting Mephostophilus 'for the Mephistophiles of the quarto.' The latter spelling is not found in the copies of the quarto at hand. See Middleton, Blurt, Master-Constable {Wks. 1.31): 'Sirrah Mephostophilis, did not you bring letters'; Massinger, The Picture {Wks. 3.222) : 'You know How to resolve yourself what my intents are. By the help of Mephostophilus, and your picture' ; Shirley, Young Admiral (Wks. 3. 145) : 'Flav. Where is Mephistophilus ? Paz. No more devils, if you love me.' See also Merry Wives i. 1. 132; Beaumont and Fletcher, Wife for a Month (Wks. 9.374); Dekker, Shoemaker's Holiday (Wks. 1.72), and Deuils Answer (Pr. Wks. 2.130). Koeppel gives a list of references to Mephistophiles (Ben J onsen's Wirkung 20. 15). 2. 7, 148-9. Say the signe should be in Aries. In astrology, the zodiac was regarded as a prototype of the human body, the different 144 The Cafe is Alterd [Act 3 parts of which all had their corresponding section in the zodiac itself. The head was placed in Aries, the first sign of the zodiac. See Encycl. Brit., nth ed. A reference to this may be found in Middleton, Family of Love (Wks. 3.12). 2. 7. 154. get a white of an egge, and a little flax. Pliny, Hist, Nat. 29. II, speaks of the medicinal properties of wool and eggs. About the white of an egg for wounds, he says : 'Aiunt et vulnera candido [ovorum] glutinari.' See Lear 3. 7. 106 : 'I'll fetch some flax and whites of eggs To apply to his bleeding face.' Cf. Barth. Fair 4. 404 : ' 'Tis but a blister as big as a windgall. I'll take it away with the white of an egg, a little honey and hog's grease.' 2. 7. 157-8. beare away the bucklers. Sometimes used as a quib- ble. 'To carry away the bucklers : to come off winner.' — A^^. E. D. The latter quotes E. Topsell, Historic of Serpents, 1607 (644.) : 'Severus side carryed away the bucklers.' See also Heywood, Faire Maide of the Exchange {Wks. 2.56), where, after Bowdler has tried in vain to gain a favorable reply from her. Mall Berry remarks : 'Why then ile beare the bucklers hence away.' ACT III 3.1.4. Remembrance of him. Cf. Franz 322. 3.1.5. Much. Ironically for 'not at all.' See Every Man Out 2. 42: Here's a device. To charge me bring my grain unto the markets : Ay, much ! when I have neither barn nor garner. Volpone 3.272: 'But you shall eat it. Much!" Cf. Alchemist 4. 164. In Marlowe, Faustus (Wks. 1.298, 1616 and 1631 versions), the vintner demands the return of a goblet. Robin answers, 'I much! when can you tell?' See also 3 Hen. IV 2.4.142: 'God's light, with two points on your shoulder? much'; T. of Athens 1.2. 119; and Marston, Malcontent {Wks. 1.243). 3. 1. 6. True to my friend in cases of affection. Cf. Much Ado 2. 1. 182: Friendship is constant in all other things Save in the office and affairs of love. T. G. of Verona 5.4.54: 'In love Who respects a friend?' 3. 1. 16. For this use of it, see Franz 297. Cf. As You Like It I. I. 149: 'It is the stubbornest young fellow of France.' 3. 1. 18. louers periuries are ridiculous. Cf. Ovid, Ars Amat. "^■^H'- 'Juppiter ex alto perjuria ridet amantum'; Rom. and Jul. Act 3] Notes 145 2.2.92: 'At lovers' perjuries, They say, Jove laughs'; TibuUus, Eleg. 3. 6. 49 ; Propertius, Eleg. 2. 16. 47 ; Callimachus, Epigr. 26. 3 ; Webster, White Devil (IVks. i. 119) : 'Lovers' oaths are like mariners' prayers, uttered in extremity' ; Dryden, Palamon and Arcite 2.149; Massinger, Great Duke of Florence (Wks. 2.463); Underwoods 8. 391. 3. 1. 19. Haue at thee. 'Chiefly used in the imperative, announc- ing the speaker's intent to get at or attack.' — N. E. D. See Chaucer, Legende of Good Women 1383 : 'Have at the, Jason ! now^ thyn horn is blowe' ; Appius and Virginia (4. 119, Dodsley, 1874): 'Have at ye, your manhood to try.' In Every Man In (1.57), Brainworm, disguised, seeing Knowell approach, exclaims, 'My master! nay, faith, have at you,' and then proceeds to beg alms. Cf. Devil is an Ass 5. 442, p. 98, note. See also Rom. and Jul. 5. 3. 70 : 'Wilt thou provoke me? then have at thee, boy! (they fight)'; ib. (4.5. 125) : 'Then have at you with my wit! I will dry-beat you with an iron wit'; Hamlet 5.2.313: 'Laer. Have at you now! {Laertes wounds Hamlet)'; Marlowe, Massacre at Paris {Wks. 2.278): 'What, are ye come so' soon? Have at ye, sir! (Shoots at Mugeroun and kills him).' Additional references from Shakespeare: Com. of Errors 3.1. 51; W. Tale 4.4.302; 2 Hen. IV 1.2. 218; Hen. V 3. 7. 129 ; 2 Hen. VI 2. 3. 92 ; Hen. VIII 2. 2. 85. 3. 1. 23. tau, dery, dery. Perhaps suggestive of some old ballad. Chappeil has several in which the word 'dery' appears (1.59, 62, 277-8, 348, 352; 2.677). Others may be found in Hickscorner (361) ; Revesby Sword Play (39) ; Ralph Roister Doister 2.3. 154; Wilson, Cobblers Prophecy (Act i, scene i) ; Dekker, Shoemaker's Holiday (Wks. 1.50); Nashe, Summer's Last Will (Wks. 3.258, 263); and cf. Nashe, Saffron-Walden (Wks. 3.10, 32). 3.2.3. He has beene at my doore. Plautus, Aul. 388-9: Sed quid ego apertas aedis nostras conspicor? Et strepitust intus. Numnam ego compiler miser? 3.2.5. In reading this line, ho may be disregarded (Abbott 512). 3. 2. 8-11. Now in Gods name, etc. Plautus, Aul. 204-7: Meg. Credo edepol, ubi mentionem ego fecero de filia, Mi ut despondeat, sese a me derideri rebitur. Neque illo quisquamst alter hodie ex paupertate parcior. Eve. Di me seruant, salua res est : saluum est, siquid non perit. 3. 2. 14. Scan (Abbott 478, 508) : Sir, Gods I my life, | sir, sir, I call I me sir. 146 The Cafe is Alterd [Act 3 3. 2. 17. Would you abase your selfe to speake to me. Plau- tus, Aul. 184: Non temerariumst, ubi diues blande appellat pauperem. This scene was pointed out by Whalley as having its source in Plautus. 3.2.21. My gold is in his nostrels. Plautus, Aul. 216: 'Aurum huic olet.' 3. 2. 22. Breake breast, breake heart, fall on the earth my entrailes. Cf . Every Man Out 2. 30 : 'O, I could eat my entrails, And sink my soul into the earth with sorrow' ; ib. 2. 36 : 'Torment and death ! break head and brain at once' ; Poetaster 2. 370-1 : 'Crack, eye-strings, and your balls Drop into earth'; Catiline 4.240: 'O my breast, break quickly.' 3.2.23. For the use of with, see Abbott 193; Franz 535; for this same, cf. Franz 317. 3. 2. 24. He knowes my gold. Plautus, Aul. 185 : lam illic homo aurum scit me habere, eo me salutat blandius. Notice the omission of the preposition with the first know, and its use with the second (Abbott 200; Franz 630). 3. 2. 26-7. This was written by Gifford : Chris. At what, sir? what is it you mean? Jaq. I ask. 3.2.30-1. I haue nothing . . . To giue with my poore daugh- ter. Euclio is equally insistent about his poverty (Plautus, Aul. 190-2) : Meam pauperiem conqueror. Virginem habeo grandem, dote cassam atque inlocabilem, Neque eam queo locare quoiquam. 3. 2. 34. Gifford divided this line after father, each part being made to form a verse with the preceding and succeeding lines, respectively. 3.2.43-5. shall I haue your daughter. Plautus, Aul. 237-9: Meg. Tu condicionem banc accipe : ausculta mihi Atque eam desponde mi. Eve. At nil est dotis quod dem. Meg. Ne duas. Dum modo morata recte ueniat, dotatast satis. Act 3] Notes i47 3. 3. 8-12. He has forgot me sure, etc. Plautus, Aul. 244-9 : Meg. Sed ubi hinc est homo? Abiit neque me certiorem fecit: fastidit mei. Quia uidet me suam amicitiam uelle, more hominum facit. Nam si opulentus it petitum pauperioris gratiam, Pauper metuit congrediri. Per metum male rem gerit. Idem quando occasio illaec periit, post sero cupit. We would say a wife. The indefinite article was sometimes omitted when the noun stood for the class (Abbott 84). 3. 3. 16-7. These were written by Whalley and Gifford : Whom see I ? my good lord ? Count F. Stand up, good father. 3.3.21. this is for gold. Plautus, Aul. 194: Nunc petit, quom pollicetur : inhiat aurum ut deuoret. 3. 3. 33. In reading, the elision is to be disregarded. The first syllable of enioy is accented (^Grammar 9. 266). Allowing the elision, the line may be scanned (Abbott 484; cf. example from Coriol. 4- 5- 149) : T'enio | y no | thing vn | derneath | the sonne. 3.3.36. Scan (Abbott 485, 512) : How she I had all | she weares, | her war | me shooes. The expression God zvot is evidently not to be read as a part of the verse. 3.3.38. In for on (Abbott 161; Franz 503). 3- 3' 45-50- Mock not the poore, etc. Plautus, Aul. 220-4: Eve. Heia, Megadore, hand decorum facinus tuis factis facis, Vt inopem atque innoxium abs te atque abs tuis me inrideas. Nam de te neque re neque uerbis merui, ut faceres quod facis. Meg. Neque edepol ego te derisum uenio neque derideo : Neque dignum arbitror. 3. 3. 46. pouerty is the precious gift of God. See Lucan, Phar- salia 5. 527 : 148 The Cafe is Alterd [Act 3 O vitae tuta facultas Pauperis, angustique lares ! O munera nondum Intellecta deum. Cf. Ecclesiastes 5. 19. In this connection, it will be remembered that Jonson's critics sought to wound him by referring to his poverty {Discoveries 9. 179-80). 3. 3. 50. Scan (Abbott 454) : When I I mocke poorenes, | then heau | ens make ] me poore. An extra syllable was frequently added before a pause, especially at the end of a line; and sometimes, as here, at the end of the second foot. For the correlation of when . . . then, see Franz 554, Anm. 3. 'The plural heavens was formerly used, esp. in Biblical language, in the same sense as in the sing.' — N. E. D. Cf. Macbeth 4. 3. 231. 3.4.16-7. Gifford wrote the verse: And that is all. Count F. That is enough, enough. 3. 4. 34-42. First in Vicenza, etc. The count's recital of his reverses resembles Hegio's briefer enumeration after he discovers the trick of the exchange of names (Plautus, Capt. 759-6i). Cf. note on i. 5. 181-2. 3. 4. 37. Which was sometimes used with a repeated antecedent, or with a noun of similar meaning (Matzner 3.238; Franz ^27', Abbott 269). 3.4.48. That could be omitted (Franz 551). 3. 5. 1-5. He's gone, etc. Plautus, Aul. 265-7 '■ Illic hinc abiit. Di immortales, obsecro, auruni quid ualet. Credo ego ilium iam indaudisse mihi esse thensaurum domi: Id inhiat, ea affinitatem banc obstinauit gratia. The source of this scene was referred to by Gifford. Read villanies as a disyllabic (Abbott 468). 3.5.4-26. The selection of these lines by Lamb for his Specimens has been pointed out by Cunningham. 3. 5. 5- What seruile villanies, men will do for gold. Cf . Virgil, ^n. 3. 56-7 : Quid non mortalia pectora cogis, Auri sacra fames ! 3.5.7. Read lying as a monosyllable (Abbott 470). Act 4] Notes 149 3.5.9. Eniiies is accented on the second syllable (Abbott 490). 3. 5. II. For the use of a before a noun, as in a worke, see Grammar 9. 299 ; Abbott 24, 140 ; Franz 238. 3. 5. 16-28. In my deere life, etc. Plautus, Aul. 608-9, 614-5 : Tu modo caue quoiquam indicassis aurum meum esse istic, Fides : Non metuo ne quisquam inueniat : ita probe in late- bris situmst. . . . Vide, Fides, etiam atque etiam nunc, saluam ut aulam abs te auferam : Tuae fidei concredidi aurum : in tuo luco et fano modost situm. 3. 5. 17-8. Scarce lawfully begotten, but yet gotten, And thats enough. Cf. Every Man hi i. 56: Get money ; still, get money, boy ; No matter by what means. 3. 5. 22-3. lie take no leaue, . . , But see thee euery minute. Plautus, Aul. 449: Hoc quidem hercle quoquo ibo mecum erit, mecum feram. 3. 5. 26. Scan (Abbott 492, 468) : With my | face to | ward thee, | with hum | ble curtesies. 3. 5. 28. Crawford has pointed out that this line is found in Bodenham's Belvedere, p. 128 {Notes and Queries 10. 11. 41-2). ACT IV Actus 3. [4.] Scaene i. The quarto has no further division of acts and scenes. These have been supplied without comment where the division is obvious. 4. 1. 1-4. Cf. Every Man Out 2.59: 'You are not ill come, neighbour Sordido, though I have not yet said, well-come.' 4. 1. 16. For this use of valiant, see Franz 686. Cf. i Hen. IV 2. 4. 465 : 'A goodly portly man, i'faith, and a corpulent.' 4. 1, 34-7. Cf . Catiline 4. 265 : May my brain Resolve to water, and my blood turn phlegm. My hands drop ofif unworthy of my sword. 4.1.44. The ellipsis of it was common before please; and so meant if, provided that (Franz 306, 565; Abbott 404, 133). 150 The Cafe is Alter d [Act 4 4. 1. 45-7. your noble feete may measure, etc. Plautus, Capt. 1 14-5: Sinito ambulare, si foris si intus uolent: Sed uti adseruentur magna diligentia. 4. 1. 55-6. And we must now be carefull to maintaine This error strongly. Plautus, Capt. 223-6: Nam si erus tu mi es atque ego me tuom esse ser- uom assimulo, Tamen uiso opust, cautost opus, ut hoc sobrie sine- que arbitris Accurate hoc agatur, docte et diligenter. 4. 1, 58-61. For should we . . . Appear e our selues, etc. Plau- tus, Capt. 705-6: Quia uera obessent illi quoi operam dabam : Nunc falsa prosunt. Read iealousie as a disyllable (Abbott 468). 4. 1. 64-6. A secret in his mouth Is like a wild bird put into a cage, etc. Plautus, Capt. 116-8: Liber captiuos auis ferae consimilis est: Semel fugiendi si datast occasio, Satis est — numquam postilla possis prendere. 4. 1. 68. Giflford placed this with the preceding line. 4. 1. 70. That he is Gasper, and I true Chamount. Plautus, Capt. 249: Scio quidem me te esse nunc et te esse me. 4. 1.75-6. for all your long eare. Cf. Sejanus 3. 57: Yea, had Sejanus both his ears as long As to my inmost closet. The preposition for was used as a preventitive, meaning 'in spite of.' See A''. E. D. (s.v. for, 23) ; Abbott 154; Graiivnar 9. 315. 4. 2. 2. GifiFord arranged O belike so as to form a verse with the preceding line. 4. 2. II. This sometimes stood for the one designated (Franz 313). Cf. Epiccene 3. 361 : 'This too, with whom you are to marry'; Hen. V 4. 4. 78 : 'They are both hanged ; and so would this be.' Act 4] Notes 151 4. 2. 25-9. But sure [since] it is the pleasure of our fates, etc. Plautus, Capt. 195-6: Si di immortales id uoluerunt uos hanc aerumnam exsequi, Decet id pati animo aequo : si id f acietis, leuior labos erit. See Terence, Phormio 1.2.88: 'Quod fors feret feremus aequo animo.' Cf. Virgil, ^n. 5. 710 : 'Quidquid erit, superanda omnis f ortuna f erenda est' ; and 3 Hen. VI 4. 3. 58 : 'What fates impose, that men must needs abide.' 4. 2. 26. wrack't on Fortunes wheele. 'Her emblem is a wheel, betokening vicissitude {N. E. D.) : 1300 Cursor M 2>^7ig: Dame fortune turnes than hir quale And castes vs dun vntil a wele.' Cf. Cicero, In Pison. Oratio 10. 22 : 'Fortunae rotam pertimescere' ; Tibull. 1.5.70; Prop. 2.8.8; Hen. V 3.6.28: 'Giddy Fortune's furious fickle wheel'; Chaucer, Troilus 1.850: For if her wheel stinte any thing to torne. Than cessed she Fortune anon to be. Other examples may be found in Chaucer, Knight's Tale 925 ; Sejanus 3.144; Prince Henry's Barriers 7. 160-1 ; Underwoods 8. 334; Discoveries 9.178; As You Like It 1.2.35; Hen. V 3-6.34; 3 Hen. VI 4.3.47; Hamlet 2.2.517; Lear 2.2. 180; Ant. and Clro. 4.15.44; Marlowe, Edward II (Wks. 2.214); Overbury, Charac- ters, p. 119; Seruingmans Comfort, p. 166. Cumberland wrote a comedy, The Wheel of Fortune (i779)- For an account of the various attributes of Fortune, see Roscher, Ausfiihrliches Lexikon der Griechischen und Rbmischen Mythologie (Leipzig, 1 884- 1 886). 4. 2. 27. Read patience as a trisyllable (Abbott 479) ; likewise in 4- 8. 53- 4. 2. 34. fortima non mutuat genus. From Horace, Epod. 4. 5-6 : Licet superbus ambules pecunia, Fortuna non mutat genus. 4, 2. 49. giue a bowle of rich wine to the health of. Healths were drunk with head bare : Epiccene 3. 388 : 'Have her health drunk as often, as bare, and as loud as the best of them'; Dekker, Honest Whore, Pt. 2 {Wks. 2. 11 1) : 'Be bare. For in the Caps praise all of you haue share'; Chapman, All Fooles {Wks. i. 176) : 152 The Cafe is Alterd [Act 4 Dariot. Well, Ladies heere is to your honour d healths. For. What Dariotto, without hat or knee? The last example indicates another custom, drinking while kneeling. A few lines below, Dariot revises his toast : 'Heere's to the Ladies on my knees.' See Nashe, Summer's Last Will {Wks. 3.267): 'Bacchus. Crouch, crouch on your knees, foole, when you pledge god Bacchus.' See also Dekker, Honest Whore, Pt. 2 (^Wks. 2. 162). The arms were sometimes pierced, and blood mixed with the wine. See Cynthia's Revels 2. 280 (cf. p. 357) : 'Stabbing himself, and drinking healths'; Dekker, Honest Whore, Pt. i {Wks. 2.38) : 'How many Gallants have drunke healths to me. Out of their dag- ger'd arms'; Cook, Greenes Tu Quoque (7.66, Dodsley, 1825): 'I will . . . stab him that will not pledge your health, and with a dagger pierce a vein, to drink a full health to you.' See also Mars- ton, Dutch Courtezan {Wks. 2.70) ; Middleton, Trick to Catch the Old One {Wks. 2.352); Catiline 4.208, and cf. Sallust, Bellum Catilin. 22. Brand (2.325-37) has a discussion on the subject of pledging. Dodsley (1825, 3.242) quotes a passage from Barnaby Riche, who wrote an article on the forms prescribed in drinking healths : The Irish Hubbub, or the English Hue and Crie {The Ruffing Order of drinking Healths used by the Spendalls of this age, 1623, p. 24). 4. 2. 51. Passe. This word was intended either as a command for the soldiers who attended upon Maximilian to leave the room, or as a stage-direction. The latter is more probable. The word was used under similar conditions in Julius Ccesar i. 2. 24, and W. A. Wright, in his notes on the play, considers the word a stage-direction. 4. 2. 54. browne study. 'A state of mental abstraction or mus- ing : gloomy meditations.' — A''. E. D. The latter quotes Diceplay (1532) 29.6 (Percy Soc, London, 1849): 'Lack of company will soon lead a man into a brown study.' See Marriage of Witt and Wisdome (1579) 13 (Shak. Soc, 1846) : 'I must be firme to bring him out of his Broune stodie'; Cynthia's Revels 2.321: ' 'T is the horsestart out o' the brown study'; Greene, Philomela {Wks. 11. 120) : 'Signeor Giouanni seeing the Countie in a brown study, wakened him of his muse with a merrie greeting.' Greene has other instances : Wks. 6. 37 ; 10. 17 ; 13. 96 ; 14. 93. The expres- sion is discussed in Notes and Queries (3.1. 190; 6.2.408; 6.3.54; 6. S-53)- 4. 2. 55. Your habit and your thoughts are of two colours. Cf. Every Man Out 2.116: 'My thoughts and I were of another v/orld.' Act 4] Notes 153 4. 2. 56-7. Whalley and Gifford made two verses here, the division being after Chamont. 4. 2. 60. Cupid hath tane his stand in both your eyes. Cf . Tottel's Miscellany ('A praise of his Ladye') : In eche of her two cristall eyes Smileth a naked boye. Dekker used the same figure in Old Fortunatus (IVks. 1.95) : Wish but for beauty, and within thine eyes Two naked Cupids amorously shall swim. 4. 2. 62-3. a Saint. Another Bridget. Probably a reference to St. Bridget of Ireland (c. 452-523), though Sweden has one of the same name. Regarding the former, the Encycl. Brit, (nth ed.) says : 'Refusing to marry, she chose a life of seclusion, making her cell, the first in Ireland, under a large oak tree, whence the place is called Kil-dara, "the church of the oak." The city of Kildare is supposed to derive its name from St. Brigid's cell. Her reputation was not confined to Ireland, for, under the name of St. Bride, she became a favorite saint in England.' Another account will be found in Mrs. Jameson's Legends of the Monastic Orders (pp. 195-7)- 4. 2. 66. turne tippet. 'To turn one's coat — that is, make a com- plete change in one's course or condition.' — C. D. See Merry Devil of Edmonton 3. 2. 138 : 'The Nun will soone at night turne tippit ; if I can but deuise to quit her cleanly of the Nunry, she is mine owne' ; Lyly, Euphues to Philaiitus (Wks. 1.246): 'If Lucilla reade this trifle, she will straight proclaime Euphues for a traytour, . . . seeing mee tourne my tippet'; Greene, Mamillia {Wks. 2. 156) : 'They accuse women of wauering when as they themselues are such weathercocks as euerie wind can turne their tippets.' Greene has several other examples {Wks. 3.97, 231; 4.18). See also Beaumont and Fletcher, Mounsieur Thomas {Wks. 7.332): You must turn tippet, And suddenly, and truly, and discreetly. Put on the shape of order and humanity. Heywood has the phrase in his Proverbs (pp. 54, 178-80). 4. 2, 68-9. Cypres lie . . . Maddam Venus. A pun on Cypress (or Cyprus), the island, where Venus was worshiped, and Cypress, a thin transparent material, originally imported from or through Cyprus, which, when black, was used for mourning. The sense is, Phoenixella, having lived so long in Cyprus (in black), would 154 The Cafe is Alterd [Act 4 eventually be influenced by the 'Cyprean Queen.' The same quibble was used by Shirley, Love Tricks {Wks. 1.42) : 'Gorg. Goddess of Cyprus — Bub. Stay; I do not like that word Cyprus, for she'll think I mean to make hatbands of her: cannot you call her taffata goddess? or, if you go to stuff, cloth of gold were richer. Gorg. Oh, there's a conceit; Cyprus is the emblem of mourning, and here by Cyprus you declare how much you pine and mourn after her, sir.' See Staple of News 5. 181 : Why, this is better far, than to wear cypress, Dull smutting gloves, or melancholy blacks. For other examples, see Every Man In 1.24; Epigram 73 8.183; W. Tale 4. 4. 221 ; T. Night 3. i. 132 ; Heywood, Foure P's 241 ; Dekker, Guls Horne-booke (Nott, p. 100) ; Middleton, The Puritan (Act I, scene i, 'Enter') ; Milton, // Penseroso 35. Among the Romans, cypress, the evergreen tree, was sacred to Pluto. It was an emblem of mourning, and sprigs of the tree were used at funerals. See Pliny, Hist. Nat. 16. 33 ; Horace, Od. 2.14.23, and Epod. 5.18; Virgil, JEn. 3.64, and 6.216; T. Night 2. 4. 53 ; Spenser, Faerie Queene 2. i. 60, and Daphnaida 529; Poole, English Parnassus (p. 561, London, 1657) ; Prior, Poems ('Ode . . . Queen's Death' 1.41, London, 1721). 4. 2. 69. 'The was inserted in a few phrases which had not, though they now have, become adverbial' (Abbott 91). Cf. Franz 268. 4. 3. 2-3. heres an excellent place for vs to practise in. The extravagant salutations rehearsed by the two pages remind us of a somewhat similar scene in Cynthia's Revels 2. 313-35. Jonson had little sympathy with the affectations of those who fenced, hunted (cf. Every Man In 1.9), courted, or performed the customary social amenities by book or rote. Cf. As You Like It 5. 4. 44 flf. ; Rom. and Jul. 2. 4. 20 flf. The instance in Moliere, Les Precieuses Ridicules, is familiar, where affected language and manners are satirized in the persons of the two masquerading valets, the Marquis of Mascarille and the Viscount of Jodelet. 4. 3. 14-6. Mounsieur Onion, . . . me ha see two, tree, foure hundra towsand of your Cousan hang. Cf. Every Man In i. 79-80 : 'Cob. . . . (pulls out a red herring.) ... I could weep salt- water enough now to preserve the lives of ten thousand thousand of my kin.' Cf. Masque of Augurs 7. 419: 'As it be two, dree, veir, vife towsand mile off.' Act 4] Notes i55 Pacue no doubt refers to the ropes of onions strung or plaited together that were displayed at the markets and fairs. See note on 4. 7. 66. A fair which is known as 'Onion Fair' is still held at Chertsey, Surrey, on Sept. 25 (Holy Rood day). It derives its name from the quantity of onions brought for sale (Brailey and Britton, History of Surrey 2. 191). 4. 3. 79-80. from the crowne of the head, etc. The proverb is humorously reversed in Tale of a Tub 6. 195 : 'From the sole of the head To the crown of the foot.' See Much Ado 3.2.9: 'From the crown of his head to the sole of his foot, he is all mirth' ; Beau- mont and Fletcher, Honest Man's Fortune {Wks. 3-368) : 'I am all lead; from the crown of the head to the sole of the foot, not a sound bone about me.' See also Tempest 4. i. 233 ; Macbeth i. 5. 43 ; Middleton, A Mad World (Wks. 3.256). 4. 3. 82-3. time v/as, time is, and time shall be. A probable echo of the words spoken by the brazen head in Greene, Friar Bacon and Friar Bungay (lVks.13.79)'- 'Time is . . . Time was . . . Time is past' They are quoted by Overbury in A Maquercla (p. 99). Cf. Every Man In 1.29: 'Oh, an my house were the Brazen- head now ! faith it would e'en speak Moe fools yet.' Koeppel gives a list of references to the 'brazen head' {Ben Jonson's Wirkung 20.43). 4.4.4-5. by our loue . . . The sacred spheare wherein our soules are knit. Plautus, Capt. 402: Inter nos fulsse ingenio baud discordabili. Cf. Mucedorus i. i. 4-5 : Whose deare affections boosome with my heart, And keepe their domination in one orbe. 4. 4. 17. more precious then thy name. Chamont addressed him as lasper at the opening of this scene. 4. 4. 28. And as his owne respected him to death. In Plautus the boy is sold as a slave {Capt., Prol. 19-20) : Is postquam hunc emit, dedit eum huic gnato suo Peculiarem, quia quasi una aetas erat. Cf. ib. 273 : 'Nee mihi secus erat quam si essem familiaris filius.' 4.4.31. Read violence as a disyllable (Abbott 468). 4. 5. 1-2. no more of thy songs and sonets. Cf. Poetaster 2. 374 : 'Away with your songs and sonnets.' A jocular allusion to the poetical miscellanies, and the collections of songs that were being published at the time. Of the former, Tottel's Miscellany of Songes and Sonnettes (1557) was the first of 156 The Cafe is Alterd [Act 4 any importance. Of songs and music, Byrd and Morley were noted compilers and publishers. In 1587 Byrd published a collection called Psahnes, Sonets, and Songs of sadnes and pietie. Cf. Merry Wives I. 1.206: 'I had rather than forty shillings I had my Book of Songs and Sonnets here' ; Staple of News 5. 266 : His lyrics, and his madrigals ; fine songs Which we will have at supper. Cf. Every Man In i. 104. 4. 5. 4-5. in an Academy still. He is still in mourning. Black seems to have been the color worn by scholars. Cf. New Inn 5. 335 : Lord L. Is he a scholar? Host. Nothing less ; But colours for it, as you see ; wears black. Overbury (p. 87) writes: 'A meere scholer is an intelligible asse: or a silly fellow in blacke.* See Greene, Friar Bacon and Friar Bungay {Wks. 13.56) : The towne gorgeous with high built colledges, And schoUers seemely in their graue attire. And Dekker, lests (Pr. Wks. 2.275): 'He tooke him [the Preci- sian] to be a scholler, because he went all in blacke.' In Shirley's Lady of Pleasure {Wks. 4.25-6) Lady Bornwell is on the point of fainting when she sees her nephew in his black college attire. See Earle, Micro-cosmographie (p. 45, Engl. Reprints, ed. Arber). 4. 5. 7. downe the winde. A term in hawking, often used figuratively to mean : 'toward ruin or adversity.' — C. D. See Mad- den, Diary of Master William Silence (p. 199) : 'If you would get rid of an irreclaimable haggard, you would whistle her oflf and let her down the wind, to prey at fortune'; cf. Othello 3.3.259-63. For the figurative use, see Taylor, Motto (p. 51) : 'But his good dayes are past, he's downe the winde'; Breton, Courtier and Coun- try-man (p. 177); Pepys, Diary 3.22 (Jan. 25, 1662-1663). In Every Man In (1.9), Jonson pays his respects to those, who, to gain 'skill in the hawking and hunting language,' purchased books on the subject. That he had no fault to find in the sport itself, nor any censure for those who pursued it for its own sake, may be seen from his epigram. To Sir Henry Goodyere 8. 188. For works on hawking, see Harting, Bibliotheca Accipitraria; Turbervile, Booke of Falconrie; Latham, Falconry; and Michell. Art and Practice of Hawking. Strutt (pp. 24-38) gives an account of this sport. Act 4] Notes 157 4.5.13-4. super negulum. Nares says of supernaculum: 'A kind of mock-Latin term, intended to mean upon the nail. A com- mon term among topers.' He refers to a pamphlet printed in Leipsic in 1746, in which the derivation is discussed. The title is De Super- naculo Anglorum, and the derivation is stated thus : 'Est vox hybrida, ex Latina prepositione super et Germana nagel (a nail) composita.' In a side note to Nashe, Pierce Penilesse (Wks. 1.205), we read : 'Drinking super nagulum, a deuise of drinking new come out of Fraunce ; which is, after a man hath turnd vp the bottom of the cup, to drop it on his naile, & make a pearle with that is left; which, if it shed, & he cannot make stand on, by reason thers too much, he must drinke againe for his pennance.' The note is a comment on : 'Now, he is no body that cannot drinke super nagulum.' See Nashe, Summer's Last Will (Wks. 3.266) : 'A vous mounsieur Winter, a frolick vpsy freese, crosse, ho, super nagulum.' The stage-direction reads : 'Knockes the lacke [cup] vpon his thumbe.' See also Massinger, Virgin-Martyr {Wks. 1.26): 'Bac- chus, the god of brew'd wine, and sugar, grand patron of rob-pots, upsy freesy tipplers, and super-naculum takers.' Cf. Seruingmans Comfort (p. 152). A discussion of the term, with references, is to be found in Notes and Queries (4.1.460, 559) and Brand (2.238). Cf. the proverb: 'Make a pearl on your nail' (Hazlitt, 1869, p. 271). See Dekker, Honest Whore, Pt. i (Wks. 2.22): I ha done you right on my thumb naile, What will you pledge me now? 4. 5. 18. For that let the higher powers worke. Cf. Horace, Od. 1.9.9; 'Permitte divis cetera.' 4. 5. 21-2. in the crotchets already. The N. E. D. gives this definition of crotchet: 'A whimsical fancy; a perverse conceit; a peculiar notion on some point (usually considered unimportant) held by an individual in opposition to common opinion. The origin of this sense is obscure. It has the radical notion of "mental twist or crook." ' Hazlitt has 'To have crotchets in one's crown' in his collection of Proverbs, p. 419. Jonson uses the same word again in Volpone 3.310: 'I must have my crotchets, and my conundrums.' Cf. Merry Wives 2. i. 159: 'Faith, thou hast some crotchets in thy head'; Meas. for Meas. 3.2.135; Much Ado 2.3.158; Brewer, Lingua (5. 165, Dodsley, 1825). 4. 5. 27. no more of this surquedry. Cf . Chaucer, Parson's Tale 403 : 'Presumpcioun is whan a man undertaketh an emprise that hym oghte nat do, or elles that he may nat do, and this is called 158 The Cafe is Alterd [Act 4 surquidie'; Spenser, Faerie Queene 5-2.30 (cf. 2. 12. 31 ; 3.1. 13; 3. 10.2) : There they beheld a mighty Gyant stand Upon a rocke, and holding forth on hie An huge great paire of ballance in his hand, With which he boasted, in his surquedrie, That all the world he would weigh equallie. Jonson used the word again in Love Restored 7. 200. 4. 5. 28. ad vngem. Exactly, perfectly. The expression is bor- rowed from sculptors, who, in modeling, give the finishing touch with the nail; or from joiners, who test the accuracy of joints in wood by the nail. See Horace, Sat. i. 5. 32 : 'Ad unguem Factus homo'; Horace, Ars Poetica 294: 'Carmen decies castigare ad unguem' ; Virgil, Georg. 2. 277 : 'Omnis in unguem . . . secto via limite quadret.' In Tale of a Tub (6.135), when Miles Meta- phor is recommended as the one to borrow a messenger's coat, Hugh replies : 'He will do it ad unguem.' Cf. Magnetic Lady 6. 72 ; L. L. Lost 5. 1. 81-3: 'Cost. Go to ; thou hast it ad dunghill, at the fingers' ends, as they say. Hoi. O, I smell false Latin ; dunghill for unguem.' vpsie freeze. 'In the Dutch fashion, or a la mode de Frisc.' — Nares. The C. D. has the same explanation, giving as the Dutch origin, op sijn Friesch, and adding, 'Upsee has been conjectured to mean "a kind of heady beer," qualified by the name of the place where it was brewed.' The expression clearly implies deep drinking. See Dekker, Dead Tearme (Pr. Wks. 4. 12) : 'Fellowes there are that follow mee, who in deepe bowles shall drowne the Dutchman, and make him lie vnder the table. At his owne weapon of Vpsie freeze will they dare him' ; Dekker, Guls Horne-booke (Pr. Wks. 2. 206) : 'Awake thou noblest drunkerd Bacchus, . . . teach me (you soueraigne skinker) how to take the Germanies vpsy freeze'; Massinger, Virgin-Martyr (Wks. 1.26): 'Bacchus, the god of brew'd wine and sugar, grand patron of rob-pots, upsy-freesy tip- plers, and supernaculum takers'; Jack Drum's Entertainment (Simp- son, Sch. of Shak. 2. 165) : 'Drinke Dutch, like gallants, let's drinke vpsey freeze'; also Lodge, Rosalynde (Wks. i. 10) ; Dekker, Dead Tearme (Pr. Wks. 2.19, 206; 3.270), and Seuen Deadly Sinnes (Pr. Wks. 2.19); Nashe, Pierce Penilesse (Wks. 1.205); Scott, Lady of the Lake 6.5.94-5; and cf. Hamlet 1.4.8-9. The expression Upsee-Dutch occurs in The Alchemist (4. 142), and in Act 4] Notes i59 Beaumont and Fletcher, Beggar's Bush {IVks. 9.44)- In the latter, reference is made to Upsey-English (p. 80). See Nares for a discussion on Upsee Freeze, and Brand (2. 330) for additional examples. 4.5.38. a ditty for this handkercher. Later in the scene (1. 53) called a 'posie.' A short motto or verse of poetry, either engraved in. a ring, or sent to a lady to accompany some gift or token. In An English Garner (pp. 269, 281, 295, ed. BuUen) are to be found the following collections of 'posies' : Love Posies (Harl. MS. 6910, dated about 1596) ; Love's Garland (1624) ; Cupid's Posies, For Bracelets, Handkerchers, and Rings; With Scarfs, Gloves, and other things (1674). They are also in Arber's English Garner (1.611; 8.97, 351; cf. 8.410). See Lydgate, Minor Poems (p. 65, Percy Soc.) : And for youre poyesye these lettres v. ye take. Of this name Maria, only for hir sake. The 'posy' of the ring given by Nerissa to Gratiano (M. of Venice 5. I. 150) was : 'Love me, and leave me not.' Asotus in Cynthia's Revels (2. 302) presents a ring with this motto : 'Let this blush for me.' See Hamlet 3.2.162: 'Is this a prologue, or the posy of a ring.' For other examples, see Every Man In i. 51 ; Cynthia's Revels 2.242; Barth. Fair 4.424; New Inn 5-3io; Epigram 73 8. 183; Shakespeare, Lover's Complaint 45 ; Beaumont and Fletcher, Knight of the Burning Pestle (Wks. 2.227); Marlowe, Jew of Malta (Wks. 2.52); Middleton, Family of Love (Wks. 3. 113) ; Shirley, Lady of Pleasure (Wks. i. i. 15). A handkerchief was a customary token, and it was the gift of either sex. Stow says (Annals, 1631, p. 1039) : 'It was then the Custome for maydes, and Gentlewomen, to giue their fauourites as tokens of their loue, little handkerchiefs of about three or foure inches square, wrought round about, and with a button, or a tassell at each corner.' In the Vow Breaker (Sampson, Act i, scene i), Miles, on leaving for the wars, says to Ursula : 'I leave an hand- kercher with you, 't is wrought with blew Coventry.' See Masque of Owls 8. 58 : Their maids and their makes. At dancings and wakes. Had their napkins and posies. In the Courtier and Country-man (Breton, p. 183), the country- man speaks of the wholesome relations of the young folks in the country, where 'a payre of Gloues & a handkerchifTe are as good as the best obligation.' The fateful handkerchief in Othello is a i6o The Cafe is Alterd [Act 4 familiar instance (3. 3. 290) : 'Emil. This was her first remem- brance from the Moor.' Later (3.4.55), Othello remarks: That handkerchief Did an Egyptian to my mother give. The following couplet is selected from Cupid's Posies (p. 296, ed. Bullen) as being characteristic : This Handkercher to you assures That this and what I have is yours. 'Posies' were inscribed also on trenchers : Dekker, North-ward Hoe {Wks. 3.38): 'I'll haue you make 12. poesies for a dozen cheese trenchers.' See also The Devil is an Ass 5. 4 ; Dekker, Honest Whore, Pt. i (Wks. 2.72); Middleton, Old Law (Wks. 2. 149), and No Wit, No Help (Wks. 4.322). 4. 5. 41. in diebus illis. An expression used by the following : Greene, A Quip for an Upstart Courtier (Wks. 11.222, 230, 245, 294); Nashe, Terrors of the Night (Wks. 1.367), Vnfortunate Traveller (Wks. 2.230), Prayse of the Red Herring (Wks. 3. 188) ; Seruingmans Comfort (pp. 135, 146). Professor Cook reminds me of its extensive use in the Bible. Cruden (Concordance) records 26 examples. See Genesis 6.4: 'There were giants in the earth in those days' ; Luke 2. i : 'And it came to pass in those days.' 4. 5. 48. danger doth breed delay. Onion has of course reversed the proverb. Cf. Hazlitt (1907, p. 127). See Greene, Anatomic of Fortune (Wks. 3.230): 'Let vs leaue therefore these needlesse protestations, . . . delay breedes danger' ; / Hen. VI 3. 2. 33 : 'Defer no time, delays have dangerous ends' ; Greene, Carde of Fancie (Wks. 4-49), James IV (Wks. 13. 311); Preston, New Covenant 435 (1634) ; Don Quixote 2.41. 4. 5. 50. Meridian slaue. See Glossary. The following uses of 'meridian' are cited by the TV. E. D.: 'Meridian devil: translation of the Vulgate dcemonium meridianum (Ps. 91.6), for which the Eng. Bible has "the destruction that wasteth at noonday" ; Skelton, Image Ipoc. 2. 429 : "Thou art a wicked sprite, ... A beestely bogorian, And a devill meridian"; Bale, Eng. Votaries 2. 118: "O deuyls merydyane, as the Prophet doth call yow." ' 4.5.52. Cupids burden: tis to heauy, to tollerable. The same misuse of tolerable for intolerable occurs in Much Ado 3. 3. 37 : 'To babble and to talk is most tolerable and not to be endured'; and in Heywood, Faire Maide of the Exchange (Wks. 2.57): ' 'T is most tolerable, and not to be endured, flesh and bloud cannot beare it.' Act 4] Notes 161 4.6.1. Scan (Abbott 456, 465; : Nay I pri | thee Rachel, | I come | to com | fort thee. / may be regarded as redundant, and final el is softened before a vowel. 4.6.5-6. Cf. Every Man In 1.202 (original edition) : Methought he bare himselfe with such observance, So true election and so faire a forme. 4. 6. 9. turne turtle. The turtle-dove, often shortened to turtle, was an emblem of chaste and faithful love. See Lyly, Euphues and his England (IV ks. 2.54) : 'The Turtle hauing lost hir mate, wan- dreth alone, ioying in nothing, but in solitarinesse.' Bond, in a note to the above passage, refers to Bartholomseus Anglicus, De Prop. Rerum 12. 34, where the same sentiment is expressed. Pliny writes of the dove. Hist. Nat. 10. 52 : 'Pudicitia illis prima. . . . Con- iugii fidem non violant.' See also Chaucer, Parlement of Foules 355 : 'The wedded turtel, with hire herte trewe'; W. Tale 4.4.154: 'So turtles pair. That never mean to part' ; Troi. and Cres. 3. 2. 185 : 'As true as steel, . . . as turtle to her mate'; cf. Phoenix and Turtle; Lyly, Euphues and his Ephoebus (Wks. 1. 285). In a note to the reference just cited from W. Tale (Variorum ed., p. 302), the editor refers to Gesta Romanorum, where a young widow says to her father-in- law : 'Donee audiam de sponso meo dulcissimo, ad instar turturis manebo tecum.' 4. 6, 13-4. But this is, when nature will bestow Her gifts on such as know not how to vse them. Cf. Every Man Out 2. 77 : Blind Fortune still Bestows her gifts on such as cannot use them. Poetaster 2. 473 : And with her blind hand She, blind, bestows blind gifts, that still have nurst, They see not who, nor how, but still, the worst. Every Man In i. 11 -2: Have you not yet found means enow to waste That which your friends have left you, but you must Go cast away your money on a buzzard, And know not how to keep it, when you have done? Devil is an Ass 5. 120 : 'That shall be kept for your wife's good, Who will know better how to use it.' i62 The Cafe is Alterd [Act 4 These lines appear in Bodenham's Belvedere (p. 149), somewhat altered : Fortune her gifts in vaine to such doth giue. Who when they Hue, seeme as they did not Hue. Zeus is said to have deprived Plutus of his sight, that he might distribute his gifts blindly, and without any regard to merit (Aristophanes, Plut. 90; Schol. ad Theocrit. 10.19). Cf. Cicero, Lael. 15.54: 'Non enim solum ipsa fortuna caeca est, sed eos etiam plerumque efficit caecos quos complexa est.' 4.6.18. see the painter, etc. Of the custom of painting and of using washes to improve the complexion, Strutt (The Man- ners and Customs of the English 3.103, London, 1776) says: "These curious arts the moderns must not arrogate to themselves the invention of, for assuredly they are of very ancient date; though the first mention that I remember to have seen of painting being used in England, is in a very old MS. which is preserv'd in the Harleian Library (1605), which I suppose is full as old as the 14th century.' From this MS. he then quotes three recipes, of which the following is the first: 'Moeng (mix) to gyder the milk of an asse, and of a blak kow and brimstone, of everych y lucke [yliche?] moche (of each a like quantity) and anoynte thy face, so thu shalt be fayr and hwyt (white).' In The Devil is an Ass (5.68, and 104-5), the ladies are informed at a great length of all the fashionable washes and cosmetics then in vogue in Spain. Stubbes (pp. 55-60) considered this custom 'most ofifensiue to God, and derogatorie to his maiestie.' 4. 7. — Enter Onion and luniper. Jonson regularly makes a new scene when a character enters who alters the situation. This is the case even when characters remain on the stage from the preceding scene. The following are a few examples taken at random from the folio of 1616: Cynthia's Revels, Act i, scene 2; Poetaster, Act 2, scene 2; Alchemist, Act i, scene 2; Epicocne Act i, scene 2. 4.7.5. I am betwixt [bewitched]. Jonson makes other allu- sions to witchcraft in this play (1.5.45; 2.7.147-8). He has treated the matter more fully in The Devil is an Ass; The Masque of Queens; and The Sad Shepherd. Characteristic plays on the subject by contemporary dramatists are, of course: Shakespeare's Macbeth; Middleton's The Witch; and Ford, Dekker, and Rowley's The Witch of Edm.onton. 4.7.10-3. Hay my loue? O my loue, . . . O dcHcate trip and goe. Cf. Nashe, Wks. 3.332 (Preface, Astrophel and Stella) : 'My stile is somewhat heauie gated, and cannot daunce trip and goe so Act 4] Notes 163 liuely, with oh my loue, ah my loue, all my loues gone, as other Sheepheards that haue beene fooles in the Morris time out of minde.' The expression trip and go was frequently used by Simon Eyre in the Shoemaker's Holiday (Dekker, Wks. 1.20, 23, 62, 72). Cf. L. L. Lost 4. 2. 14s : 'Trip and go, my sweet ; deliver this paper' ; Gosson (p. 25): 'Trype and goe, for I dare not tarry'; Tempest 4.1.46; Nashe, Summer's Last Will {Wks. 3.240): Milton, L'Al. 2Z- For other references, and for the words and music of a song with this title, see Chappell (i. 130-1). 4. 7. 35. radamant. Juniper may have had in mind either Rhada- manthus or Bradamant. Each is used elsewhere in Jonson's works, the former in The Poetaster (2.413) and Epigram 133 (8.239), and the latter in The Alchemist (4.68). 'Radamant' is suggestive, too, of Rodomont, the Moorish king in Orlando Innamorato and Orlando Furioso. 4.7.36. Mathauell. Niccolo Machiavelli (1469-1527), the cele- brated statesman and author who lived in Florence. Meyer in his article, 'Machiavelli and the Elizabethan Drama' (Litterarhistor- ische Forschungen 1.89-90), says this is the first instance of a woman being called a Machiavel. He cites four other instances. In 1604 Andrew published a poem. The Vnniasking of a feminine Machiavell. Ward (1.339) has a note on Machiavelli's appearances in Eliza- bethan literature. See Merry Wives 3. i. 104: 'Am I politic? am I subtle? am I a Machiavel'; Greene, Mamillia (Wks. 2.205) : 'So Pharicles . . . beeing in the state of his life such a mutable machauilian, as he neither regarded friend nor faith, oath nor promise, if his wauering wit perswaded him to the contrarie.' In Nashe, Saffron-Walden {Wks. 3.137), Dr. Perne is called: 'An apostata, an hipycryte, a Machauill, a cousner, a iugler.' Other references may be found in / Hen. VI 5. 4. 74 ; 3 Hen. VI 3.2. 193; Magnetic Lady 6.26; Greene, Cony-Catching, Pt. 2 {Wks. 10. 7z) ', Nashe, Pierce Penilesse {Wks. i. 176, 220). 4. 7. 40-3. luni. You smell my meaning. Oni. Smell, filthy, fellow luniper filthy? smell? O most odious. Cf. Every Man In 1.27: 'Cob. I smell his ghost ever and anon. Mat. Smell a ghost! O unsavory jest!' 4. 7. 45. smell a rat. An expression found in Ray (p. 143) and Hazlitt (1907, p. 493). It is quoted in Tale of a Tub 6. 194; Look About You (7.416, Dodsley, 1874); Butler, Hudibras 1. 1.821. 1 64 The Cafe is Alterd [Act 4 4.7.51-2. sweet hart? . . . And bag pudding. 'A pudding made evidently of flour and suet, with plums, and of an elongated shape, as it had two ends. It probably represented our roUy-polly puddings, and seems from the frequent allusions to it to have been a very popular dish at the tables of the middle and lower classes.' — Nares. Grose (p. 192) calls it a 'Leicestershire plower.' In another place (p. 148), he says that 'bag-pudding' was a jocular appellation given by the Scotch for an English poke-pudding. 'Sweet-heart and bag-pudding' was a proverbial expression (Ray, p. 45). See Day, Humor Out of Breath 2.1.25: 'Farewell sweet heart — God a mercy, bag pudding.' For other references to bag-pudding, see Hazlitt, Proverbs (1907, P- 397) ; Three Ladies of London (6. 312, Dodsley, 1874) ; Hey- wood, Edward IV (IVks. 1.47); Cartright, Ordinary (10.193, Dodsley, 1826). 4.7.61. conni-catching. Cheating, swindling. A 'cony-catcher' was a rogue or cheat who preyed upon and gulled the simple people of London. The term was made famous by Greene's Defence of C onny-C atching , published in 1591. It is a metaphor taken from the cunning artifices practised in robbing cony- or rabbit-warrens. The first use of the term given in the N. E. D., with this sense, is from Nobody and Somebody (Simpson, Sch. of Shak. 1.338): 'If I had not overheard this treason to his person, these cunni- catching knaves would have made lesse than Nobody of him.' In Every Man In (1.67), Stephen calls Brainworm a 'coney-catching rascal' for selling him a supposed Toledo rapier. Slender has the same epithet for Bardolph, Nym, and Pistol {Merry Wives i. i. 128). In Nashe, Terrors of the Night (Wks. 1.362), we read of 'Cony- catching Riddles'; and in his Vnfortunate Traveller (Wks. 2.259), reference is made to a 'fine cunny-catching corrupt translation.' See also T. of Shrew 4. 1.45; 5. i. 102; and Seruingmans Comfort (pp. 125, 147). Hart has an article on Greene's 'Cony-catching series' in Notes and Queries (10.2.484). 4. 7. 62. Onion gets vp into a tree. Plautus, Aul. 678-9 : lam ego illuc praecurram atque inscendam aliquam in arborem Indeque obseruabo aurum ubi abstrudat senex. Regarding the difference in motive of this scene, Giflford says : Tn Plautus the discovery of the treasure is the prime object; in Jon- son, it is merely incidental, and forms no necessary part of the plot. Rachel might have obtained a husband had Jaques been as poor as every one thought him ; whereas the Lar kindly informs us Act 4] Notes 165 in the prologue, that the treasure was expressly bestowed on Euclio, that he might be enabled to give a marriage portion with his daughter to a youth of quality.' 4. 7. 66. Pitiful Onion, that thou hadst a rope. References to a rope were usually made with a quibble. Onion's use of the word here is not quite clear. It may be the customary joke, a reference to the gallows. See Tempest i.i. 33: 'Stand fast, good Fate, to his hanging: make the rope of his destiny our cable'; / Hen. VI I- 3- 53: 'I cry, a rope! a rope!' Again, the remark may be a quibble on his own name. The A^^. E. D. gives as one meaning of rope : 'A number of onions strung or plaited together.' Cf. Heywood, Proverbs, p. 206: 'Wilt thou hang up with ropes of onions.' Earlier in our play (4. 3. 14-6) a humorous reference is made to a rope of this character. See also Appius and Virginia (4. 151, Dodsley, 1874) : Reward. Then for thy reward, then, here is a rope. Haphazard. Nay, soft, my masters : by Saint Thomas of Trunions, I am not disposed to buy of your onions. Parrots were taught to cry 'rope.' Onion's remarks were intended to cause laughter, and the expression under consideration may refer as well to parrots as to hanging or onions. Cf. Taylor, p. 265, Epigram 31: Why doth the Parrat cry a Rope, a Rope? Because hee's cag'd in prison out of hope. In this connection, see Butler, Hudibras i. i. 549-52; Magnetic Lady 6. loi ; Coin, of Errors 4. 4. 44-6. 4.7.68,70. garlique. In Dekker, Satiromastix (IVks. 1.201), Tucca says to Horace (supposed to be Jonson) : 'Demetrius shall write thee a Scene or two in one of thy strong garlicke Comedies ; and thou shalt take the guilt of conscience for't, and sweare 't is thine owne olde lad, 't is thine owne.' 4- 7- 73-5- deliuer, etc. Plautus, Aul. 634: Eve. Redde hue sis. Str. Quid tibi uis reddam? Eve. Rogitas ? 4- 7- 75-7- wouldst thou shew me thy hands, etc. Plautus, Aul. 640-1 : Eve. Ostende hue manus. Str. Em tibi, ostendi : eccas. Eve. Video. Age ostende etiam tertiam. 1 66 The Cafe is Alterd [Act 4 Also 649-50: Eve. Age rusum ostende hue manum Dexteram. Str. Em. Eve. Nunc laeuam ostende. Str. Quin equidem ambas propero. Whalley has pointed out Jonson's indebtedness to Plautus, in regard to this scene. 4. 7. 75-87. The speeches in this scene are a mixture of prose and verse, intended no doubt to show the excitement of the participants. Even Juniper and Onion resort to verse. That such verses occur more than once would seem to show they were not accidental. Several speeches by Jaques and Juniper, not considered as verse by Gifford, may possibly be regarded as such : Jaq. O thou wouldst have me tell thee, wouldst thou? Shew me thy hands, what hast thou in thy hands ? Jun. Here be my hands. Jaq. Stay, are n't thy fingers' ends begrimed with dirt? No, thou hast wiped them. Jun. Wiped them ! Jaq. Ay, thou villain ; Thou art a subtle knave. Put off thy shoes ; Come, I will see them ; give me a knife here, Rachel, I'll rip the soles. Oni. [ahove.^ No matter, he's a cobler, he can mend them. Jun. What, are you mad, are you detestable? Would you make an anatomy of me? Think you I am not true orthography? 4. 7. 85. What are you mad. Plautus, Aid. 642-3 : Laruae hunc atque intemperiae insaniaeque agitant senem. Facin iniuriam mihi an non? 4- 7- 95-7- let me see these drums, etc. Plautus. Aul. 646-7: Eve. Agedum, excutedum pallium. Str. Tuo arbitratu. Eve. Ne inter tunicas habeas. bombard slops. 'Bombard,' as a noun, referred to a species of cannon. From a resemblance to the latter, its meaning was made to include a large leather jug or bottle for holding liquor. See Mercury Vindieated 7.235; Masque of Augurs 7-414; Tempest 2. 2. 21 ; I Hen. IV 2. 4. 497 ; and Hen. VIH 5- 4- 85. When large loose breeches became the fashion, they received the name of 'bombards,' from their resemblance to the leather bottles : 'Bombards Act 4] Notes 167 was a style of breeches worn in the seventeenth century, before the introduction of tight-fitting knee-breeches. They reached to the knee, and were probably so named because they hung loose and resembled the leathern drinking-vessels called bombards.' — C. D. Neither the A'^. E. D. nor the C. D. gives bombard as an adjective. The noun was used in combinations, such as, bombard-like, bombard-man, bombard-phrase, bombard-style. Jonson used three of these: 'bom- bard-man,' Masque, Love Restored 7. 203 ; 'bombard-phrase,' Trans. Horace, Art of Poetry 9. 87 ; 'bombard-style,' Epigram iss 8. 234, 467. Among these may be classed the 'bombard slops' of our text. The usual term, however, for this loose style of breeches, was 'slops.' Originally large, their size was further emphasized by stuffing them with hair, cotton, rags, etc. : Strutt (3. 84) : 'These slops or breeches, or trunk hose, they used to stuff out with rags, or such-like stuff, till they brought them to an enormous size.' Bulwer tells of a gallant who stuffed his with bran {Man Trans- formed, pp. 541-2, London, 1653). Peck relates the same incident in his Desiderata Curiosa (2.575, London, 1779). Peck (2.576), quoting from Bulwer (p. 542), speaks of a man who was brought before a judge for violating the law against stuffed breeches. In these were found a pair of sheets, two table cloths, ten napkins, four shirts, a brush, glass, and comb, with night caps, and various other articles. The same account is given by Strutt (3.84), and by Weber in his edition of Beaumont and Fletcher (IVks. 5.458). See Wright, Passions of the Minde (p. 332, London, 1604, 1630) : 'Sometimes I have seene Tarleton play the Clowne, and use no other breeches, than such slops or slivings, as now many Gentlemen weare, they are almost capable of a bushell of wheate, and if they be of sacke-cloth, they would serve to carry Mawlt to the Mill. This absurd, clownish and unseemely attyre, only by custome now, is not misliked, but rather approoved' ; Every Man In 1.45-6: 'I'll go near to fill that huge tumbrel-slop of yours with somewhat, an I have good luck : your Garagantua breech cannot carry it away so.' In Greene, Looking-Glasse for London {Wks. 14. 105-6), Adam, a servant, enters 'with a bottle of beere in one slop, and a great peece of beefe in an other.' The N. E. D. says : 'In the Geneva, Bishops', and Douay Bible, sloppes is employed in rendering Isa. 3. 20.' Don Pedro {Much Ado 3. 2. 34-7) speaks of Benedick as appearing 'in the shape of two countries at once, as a German from the waist downward, all slops, and a Spaniard from the hip upward, no doublet.' • Various qualifying words were used — 'Dutch' : Middleton, Roar- ing Girl {Wks. 4-53); 'French': Rom. and Jul. 2.4.47; 'Spanish': 1 68 The Cafe is Alterd [Act 4 Alchemist 4.146; Dekker, Guls Horne-booke (Pr. Wks. 2.210); 'green': Beaumont and Fletcher, Pro^/i^f^jj (W^^.y. 8. 281) ; 'great': Alchemist 4.96; Marston, Antonio and Mcllida, Pt. i {Wks. 1.83) ; Middleton, No Wit, No Help {Wks. 4.308); 'side': Greene, Mainillia {Wks. 2.19); Peele, Old Wives Tale i. 1.36; 'round': M.zr\o-we:, Faustus {Wks. 1.230); Greene, Reports of the Shepheards {Wks. 6.57); 'dangling': Beaumont and Fletcher, Scornful Lady {Wks.3.u). Additional examples may be found in Sidney, Arcadia (p. 85, ed. Friswell, London, 1867) ; L, L. Lost 4.3.59; i" Hen. IV 1.2.35; Beaumont and Fletcher, Mad Lover {Wks. 6. 134) ; Middleton, Blurt, Master-Constable {Wks. 1.26, 80); Every Man In i. 102-3. Consult Fairholt, Costume (1.237, 263; 2.371), for a description, with numerous prints, of this garment. 4. 7, gg-ioi. this rug, this hedghogs nest, etc. See Dekker, Guls Horne-booke {Pr. Wks. 2. 229) : 'Long haire will make thee looke dreadfully to thine enemies, and manly to thy friends'; T. Night 1.3. 99-101: Sir And. O, had I but followed the arts ! Sir Tob. Then hadst thou had an excellent head of hair. 4. 7. 104-6. Cf. Every Man In i. 46 : Yet my troubled spirit's somewhat eased, Though not reposed in that security As I could wish. 4. 7. 105. His was used as the genitive of it as well as of he. In this instance the use of his may be due to the personification of fear. Cf. our text, 4. i. 13. See Grammar 9.297; Abbott 228, 229; Franz 203-14. 4. 7. 117. Preposition omitted after scape. This was frequently the case after verbs of motion (Abbott 198; Franz 630). 4. 7. 129. drinke it greedily with both mine eares. The same figure is used by Shakespeare, Rom. and lid. 2. 2. 58: 'My ears have not j^et drunk a hundred words.' The figure is an old one, as Theobald points out (p. 220). See Ovid, Tr. 3.4.39-40: Nostra tuas vidi lacrymas super ora cadentes. Tempore quas uno, fidaque verba, bibi. Also Horace, Od. 2.13.30; Propertius 3.6.8. 4. 7. 141. My feete part from you, but my soule dwels with you. Plautus, Aul. 181 : Nunc domum properare propero : nam egomet sum hie, animus domist. Act 4] Notes 169 4. 7. 142-3. fortune my foe. The title of a popular ballad sung to the tune of Fortune. There were many variations of the ballad, and numerous parodies. Chappell (i. 162) published the words of one version, and the music. There are twenty-two stanzas, of which the following is the first : Fortune my foe, why dost thou frown on me? And will thy favours never greater be? Wilt thou, I say, for ever breed me pain, And wilt thou not restore my joys again? In Brome, Antipodes {Wks. 3.283), the song is whistled. The expression Fortune iny foe was freely used by writers : Gipsies Metamorphosed 7. 385 : 'I swear I'll never marry for that, an't be but to give fortune, my foe, the lie' ; Hen. V 3. 6. 41 : 'Fortune is Bardolph's foe, and frowns on him'; Harvey, Foure Letters {Wks. I. 178) : 'Who euer hearde me complaine of ill-lucke, or once say. Fortune my foe'; Nabbes, Unfortunate Mother (O. E. Plays 2. 154) : 'Fortune hath bin my Matchiaveile.' For other examples, see Chaucer, Troilus i. 837 ; Merry Wives 3.3.69; Lyly, Maydes Metamorphosis (Wks. 3.358); Beaumont and Fletcher, Knight of the Burning Pestle (Wks. 2.225), and Custom of the Country (Wks. 4.394); Greene, Pinner of Wake- field (Wks. 2. 170, ed. Dyce) ; Returne from Parnassus (p. 29) ; Chappell (i. 162-4); Brewer, Lingua (5.166, Dodsley, 1825). Horace remarks on the hostility of Fortune (Sat. 2. 8. 61 ; cf. 2. 2. 126) : 'Heu, Fortuna, quis est crudelior in nos Te deus.' 4. 7. 148. panurgo. Probably a reference to Panurge, a humor- ous character in Rabelais' History of Gargantua and Pantagruel. Cf. Every Alan In 1.46: 'Your Garagantua breech cannot carry it away so.' Pantagruel is mentioned in The New Inn 5. 325. 4. 7. 161. Of for on (Abbott 175; Franz 520). 4.7.163. To was omitted before the indirect object of say (Abbott 201, 220). mad Greeke. 'A merry fellow, a roysterer, a boon companion, a person of loose habits.' — A^. E. D. 'The Greeks were proverbially spoken of by the Romans, as fond of good living and free pota- tions ; and they used the term graecari, for to indulge in these articles.' — Nares. The word pergraecor is defined : 'To live like the Greeks (revel, carouse).' See Plautus, Mostellaria i. 1.21: 'Dies noctesque bibite pergraecamini' ; and Julius Paulus, Ex Fest. (p. 215, ed. Miill.) : 'Pergraecari est epulis et potationibus inservire.' Cf . Juvenal, Sat. 3. 78 : 'Graeculus esuriens' ; and see Mayor's edi- tion of the Satires (i. 191) for references on this passage. Cf. also lyo The Cafe is Alterd [Act 4 Volpone 3. 254 : 'Let's die like Romans, Since we have lived like Grecians.' Reference to the Greeks, such as the one in our text, are of course not to be construed literally. Some qualifying v^rord was generally used, such as merry, mad, foolish — 'merry' : Troi. and Cres. 4. 4. 58 : 'A wof ul Cressid 'mongst the merry Greeks' ; of. ib. 1.2. 119; Beaumont and Fletcher, Woman's Prize (Wks. 7.132): 'Go home, and tell the Merry Greeks that sent you' ; New Inn 5. 337; Tale of a Tub 6.190; Dekker, Guls Horne-booke (Pr. Wks. 2. 227) ; and cf. Matthew Merrygreek, the parasite in Ralph Roister Doister; 'mad': Dekker, Shoemaker's Holiday {Wks. 1.23): 'Drinke you mad Greekes, and worke like Trojans'; Pan's Anniver- sary 8. 43 ; Dekker, lests {Pr. Wks. 2. 349) ; Return from Parnassus (P- 33)- See Jonson's 'Character' of Coryat {Crudities i. 17, Glasgow, 1905) : 'Hee is a mad Greeke, no lesse than a merry.' 'Foolish' occurs: T. Night 4. i. 19: 'Foolish Greek, depart from me.' 4. 7. 167. gold is but mucke. The proverb in Hazlitt runs : 'Muck and money go together' (p. 286) ; and 'Riches are like muck, which stink in a heap, but spread abroad, make the earth fruitful' (P- 325). See Bacon, Essays ('Seditions and Troubles') : 'Money is like muck, not good except it be spread.' The first example given by the A^. E. D. of 'muck' used to mean money is: a 1300, Sarniun xx. in E. E. P. (1862) 3: 'The wrecchis v/ringit the mok so fast up ham silf hi nul noght spened.' See Occleve, De Reg. Princ. 1632: 'But they that marien hem for muck & good Only, & noght for loue.' Spenser used the word with the same sense {Faerie Queene 2.7.10; 3. 10.31). See also Dekker, Deuils Anszver {Pr. Wks. 2. 136) ; Massinger, City Madam {Wks. 4.71); and cf. Coriolanus 2.2.129-30; Cymbeline 3.6.54; Jack Drum's Entertainment (Simpson, Sch. of Shak. 2. 138). Professor Cook referred me to the 'Man with the muck-rake' in Bunyan's Pilgrim's Progress (Pt. 2). Chaucer used 'mokeren' (to heap up) and 'mokerers' (heapers up, hoarders) with reference to riches {Bocce 425). 4. 7. 168. an eye to the maine chance. The main chance was 'a term in the game of Hazard. In quotations, only fig. and allusive. . . . Phrases, To look, have an eye, etc., to the main chance: To use one's best endeavors, be solicitous (about some object).' — A^. E. D. In the C. D., the game is briefly explained thus : 'The players are a caster and any number of setters. . . . The caster first calls a main— that is, he calls any of the numbers 5, 6, 7, 8, or 9. He then throws his chance. If this is 2, 3, 11, or 12, it is called crabs and he loses, unless the main were 7 and he throws 11, or the Act 4] Notes 171 main were 6 or 8 and he throws 12. In these cases, and also if he throws the main, his throw is called nick, and he wins. If he throws neither crabs nor nick, he must continue to throw until he again throws the main or his chance; if he throws the former first, the setter wins, if the latter the caster wins.' For a more complete explanation, see Encycl. Brit., nth ed. (s. v. Hazard), or Seymour, Com pleat Gamester (pp. 252-5, London, 1739). The following are some examples of the use of the expression : Wilson, Three Ladies of London (6. 343, Dodsley, 1874) : 'Trust me, thou art as crafty, to have an eye to the main-chance as the tailor, that out of seven yards stole one and a half of durance' ; 2 Hen. VI I. I. 208-12: Sal. Then let's make haste away, and look unto the main. War. Unto the main ! O father, Maine is lost, . . . Main chance, father, you meant. Also I Hen. IV 4. 1.47; 2 Hen. IV 3. 1.83; Nashe, Foure Letters {Wks. 1.330) ; Greene, Disputation (Wks. 10.269) ; Lyly, Euphues (Wks. 1.245) ; Hazlitt, Proverbs (1869, P- 269). 4. 7. 181-2. most sumptuously attired. Though the extravagance in men's dress at this time was not quite so marked as during the reign of Henry VIII, it was sufficient to evoke criticism. See Har- rison (i. 168) : 'And as these fashions are diuerse, so likewise it is a world to see the costlinesse and the curiositie : the excesse and the vanitie : the pompe and the brauerie : the change and the varietie: and finallie the ficklenesse and the foUie, that is in all degrees : in somuch that nothing is more constant in England than inconstancie of attire'; Seruingmans Comfort (p. 154) : 'Trust me, I holde this excessiue costly Apparell a great cause why Gentlemen cannot maynteyne their wonted and accustomed bountie and lib- eralitie in Hospitalitie & house-keeping : for when as the Mercers booke shall come, Item for so many yardes of Cloth of Golde, of Siluer, Veluets, Sattin, Tafifata, or such lyke ware : the Goldsmithes Debet for Chaynes, Ringes, Jewels, Pearles, and precious Stones : the Taylors Bill, so much for such a Sute of laced Satten, and such lyke superfluous Charges, amounting in one yeere to more then the reuenues of his Landes' ; Dekker, Seuen Deadly Sinnes (Pr. Wks. 2. 59) : 'An English-mans suite is like a traitors bodie that hath beene hanged, drawne, and quartered, and is set vp in seuerall places : his Codpeece is in Denmarke, the coller of his Dublet and the belly in France: the wing and narrow sleeue in Italy: the short waste hangs ouer a Dutch Botchers stall in V trick: his huge sloppes speakes Spanish: Polonia giues him the Bootes.' 172 The Cafe is Alterd [Act 4 In Every Man Out, in the character of Fastidious Brisk, Jonson satirized the tendency of following the fashions in dress. See also Discoveries 9. 181. References to Jonson's works, dealing with this subject, will be found in the Introduction (p. xxv, note 91) ; cf. T. of Shrew 4.3.55-8; 5.1.68-70; M. of Venice 1.2.79; Hamlet 1.3.70-4; Middleton, Father Hubbard's Tales {Wks. 8.68-71); Traill (3.159, 274, 387); Stubbes (1.26-87). In the last (p. 239), many other examples may be found. Statutes were enacted to check the extravagance in apparel, and to regulate what the different classes should wear (Traill 3. 161, 388). Cf. Gosson (p. 39). For historical treatises, see Fairholt {Costume) ; Hill, History of English Dress (N. Y., 1893) ; Ash- down, British Costume During XIX Centuries (London and Edin- burgh, 1910). 4.7.190. gudgeon. The word occurs again in the Alchemist (4. 76) with the sense of a credulous or gullible person, used figuratively, one of the original meanings being a small fresh-water fish. Cf. M. of Venice 1. 1. 102. 4. 8. 2. Neuer was man so palpably abusd. Plautus, Capt. 656-7 : Ita mi stolido sursum uorsum os subleuere offuciis. Hicquidem me numquam irridebit. 4.8.14-5. The true Chamount set free, etc. Plautus, Capt. 654-5 : Illic seruom se assimulabat, hie sese autem liberum. Nuculeum amisi, reliqui pigneri putamina. 4. 8. 24-6. This speech was arranged by Whalley and Gifford : Count F. Monsieur Gasper ! On what occasion did they change their names, What was their policy or their pretext? 4.8.29-31. Cf. Every Man Out 2.183: 'If the Adalantado of Spain were here he should not enter.' Amurath. There have been five sultans of this name: Amurath I (reigned 13S9-1389) ; H (1421-1451) ; HI (i574-i595) ; IV (1623-1640) ; V (May to Aug., 1876). The appearance of Marlowe's Tamburlaine (1587) seems to have made the Turks popular subjects for the drama. The following may be given as typical: Marlowe, Jew of Malta (1590) ; Soliman and Perseda (1592) ; Peele, Battle of Alcazar (1594) and Turkish Mohamet (never published) ; Tragical Reign of Selimus (1594) ; Greene, Alphonsus of Arragon (1599) ; Life and Death of Captaine Thomas Stukeley (1605) ; and Mason, The Turke (1610). Act 4] Notes i73 In the Battle of Alcazar, the name 'Amurath' appears about 30 times. In Alphonsus of Arragon, it is 'Amurack, the Great Turk.' See also 2 Hen. IV 5. 2. 48 : 'Not Amurath an Amurath succeeds, but Harry, Harry.' For an account of the Turks in English literature, see Conant, The Oriental Tale in England in the Eighteenth Century (N. Y., 1908). 4. 8. 39. My sences loath the Sauiour of thy breath. Cf . Every Man Out 2. 136 : T can but faintly endure the savour of his breath.' 4.8.40. The second syllable of poyson is softened (Abbott 470). 4.8.43. Fetchr forth that Gasper. In a note to this passage, Whalley refers to the Captivi of Plautus as the source of this plot in our play. 4.8.55. The verbal, used as a noun, was often followed by of when the did not precede (Abbott 178, 373; Franz 667). 4. 8. 59. We vow'd one mutual! fortune, good or bad. Cf. Mar- lowe, J Tamburlaine (Wks. 1.44) : 'Vowing our loves to equal death or life.' 4.8.60. Of used for by (Abbott 170; Franz 519). 4. 8. 86-8. thou ill-bred slaue, That sets no difference twixt a noble spirit. And thy owne slauish humour. Cf. Every Man In i. 149, note (original edition) : But that this barren and infected age Should set no difference 'twixt these empty spirits And a true poet. Poetaster 2. 387 : When, would men learn but to distinguish spirits. And set true difference 'twixt those jaded wits . . . And the high rapture of a happy muse. 4.8.89-91. But ile take worthy vengeance on thee, etc. Plau- tus, Capt. 681-2 : He. At cum cruciatu maxumo id factumst tuo. Tyn. Dum ne ob malefacta peream, parui existumo. Alas, these threats are idle, like the wind, etc. Cf. /. Ccesar 4- 3- 66-9 : There is no terror, Cassius, in your threats. For I am arm'd so strong in honesty That they pass by me as the idle wind. Which I respect not. 174 The Cafe is Alterd [Act 5 4. 8. 92-3. thou shalt want no torture, . . . bring him away. Plautus, Capt. 721-3 : Ducite, Vbi ponderosas crassas capiat compedes : Inde ibis porro in latomias lapidarias. 4. 8. 94. Welcome the worst, I suffer for a friend. Plautus, Capt. 687-8 : Aleumque potius me caput periculo Praeoptauisse quam is periret ponere. 4.8.95. Your tortures will . . . end. Plautas, Capt. 742-3: Et si peruiuo usque ad summam aetatem, tamen Breue spatiumst perferundi quae minitas mihi. 4. 8. 1 13-4. this Steele shall engraue it on his burgonet. Cf. Greene, Selimus {Wks. 14.285) : But we shall soone, with our fine tempered swords, Engraue our prowesse on their burganets. And 2 Hen. VI 5.1.200: 'And that I'll write upon thy burgonet.' ACT V 5. 1. 6-7. Renounce this boy-gods nice idolatry, Stand not on complement, and wooing trickes. Cf. Every Man In i. 90 (original edition) : Cosen, lay by such superficiall formes, . . . Stand not so much on your gentility. 5. I. 10. Here and in nearly all the instances that follow, laqucs is to be read as a disyllabic (Abbott 489). 5. 1. 12-4. Whalley and Gifford formed two verses of these lines, the first being: Shalt be his son-in-law. Chris. He has. Aug. He has ! The changes of this character, which Whalley and Gifford found it necessary to make in the text of the remaining scenes, are so numerous that it would require too much space to record them. No attempt, therefore, will be made to do so. 5. 1. 17. Why he is more inconstant then the sea. Cf. The Forest 8.264: '[Love is] Inconstant, like the sea, of whence 'tis born.' Act 5] Notes 175 5. 1. 18. His thoughts, Cameleon-like, change euery minute. The change in color, characteristic of the chameleon, is mentioned by Pliny, Hist. Nat. 8. 51 : 'Et coloris natura mirabilior : mutat namque eum subinde, et oculis, et cauda, et toto corpore, redditque semper quemcunque proxima attingit, praeter rubrum candidumque.' Cf. Aelian, De Nat. Anim. 2. 14. Aristotle (De Part. Anim. 4. 11) attributes the change in hue to fear. See T. G. of Verona 2.4.23-6: Sil. What, angry, Sir Thurio ! do you change colour ? Val. Give him leave, madam ; he is a kind of chameleon. Greene, Mamillia, Pt. i (Wks. 2. 120) : '[Love is] more variable in thought then ye Camelion in hue'; Nashe, Pierce Penilesse (Wks. 1.224) '• 'He grew in league with an old Camelion, that could put on all shapes, and imitate any colour, as occasion serued.' 'From their inanimate appearance, and power of existing for long periods without food, they were formerly supposed to live on air.' — N. E. D. For references to this belief, see Pliny, Hist. Nat. 8.51; Ovid, ikf^iam. 15. 411 ; Hamlet 3.2. gj; Lyly, Endimion (Wks. 3.50); Greene, Groats-worth of Wit (Wks. 12.133). Bond (see Lyly above) refers to Bartholomaeus Anglicus, De Prop. Reruni 18.21. See also Purchas, Hakl. Posth. 4. 12 (Glasgow, 1905). Additional references to the chameleon : Volpone 3. 279 ; Staple of News 5.221; T. G. of Verona 2.1. 178; 3 Hen. VI 3. 2. 191; Drummond, Poems 2. 24,9, (ed. Ward, N. Y. and London, 1894) ; Dekker, Wonderfull Yeare (Pr. Wks. i. 117), Seuen Deadly Sinnes (Pr. Wks. 2.21); Chapman, Monsieur D'Olive (Wks. 1.223); Lodge, Reply to Stephen Gosson (Wks. 1.25) ; Poole, Eng. Parnas- sus (p. 273, London, 1657) ; Nashe (Wks., ed. McKerrow, index) ; Greene (Wks., ed. Grosart, index) ; Phipson, Animal-Lore (1883, pp. 310-2). Many others may be found in the N. E. D. 5. 1. 24. bid thy hands shed golden drops. This expression is reminiscent of the incident referred to in The Alchemist 4. 112: Heighten thy self, talk to her all in gold; Rain her as many showers as Jove did drops Unto his Danae. 5. 1. 25. Let these bald french crownes be vncouered. The quibble here is obvious. The expression was frequently used with a pun for 'top of the head,' and with reference to the baldness produced by the 'French disease' : Beaumont and Fletcher, Mon- sieur Thomas (Wks. 7.320) : 'Leave me your rotten language, and tell me plainly, and quickly sirrah, lest I crack your French crown' ; T76 The Cafe is Alterd [Act 5 M. N. Dream i. 2. 99 : 'Some of your French crowns have no hair at all.' Cf. Cynthia's Revels 2. 232 : 'Aso. 'T is a beaver, it cost me eight crowns but this morning. Amo. After your French account?' See also Meas. for Meas. 1.2.52; All's Well 2.2.24; Dekker, Deuils Answer (Pr. Wks. 2. 138). For references to the coin, French crown, see Harrison (1.364) ; Every Man Out 2. 52 ; 2 Hen. IV 3. 2. 237 ; Hen. V 4. i. 245. 5.1.26. Read obeysance as a quadrisyllable (Abbott 479). 5. 1.34. Both Whalley and Gifford inserted But at the beginning of this line, making the verse end with out. However, if the con- traction in the first He is disregarded, the verse will have the required number of syllables. 5.1.39. S. Foyes. Plautus, Aul. 582-3: Nunc hoc mihi factumst optumum, ut ted auferam, Aulam, in Fidei f anum : ibi abstrudam probe. The name Foyes was probably suggested by the above temple of Fides. However, see Beaumont and Fletcher, Knight of the Burst- ing Pestle (Wks. 2.217) : But in the dark will wear out my shoe-soles In passion in Saint Faith's church under Paul's. In a note to this passage, the editor cites Stow, Survey 3. 145 (ed. 1720) : 'At the west end of this Jesus Chappel, under the Quire of Pauls, also was, and is, a Parish Church of St. Faith, commonly called St. Faith under Pauls.' 5. 1.43-6. These lines will admit of a metrical arrangement: Jaq. [within.] Who calls? who's there? Ang. Jaques. Jaq. [within.] Who calls? Ang. Steward, He comes, he comes. — ^Jaques. Jaq. What voice is this? 5. 1. 53. My deere Lar. In the Aulularia of Plautus, the house- hold god speaks the Prologue. 5. 1. 57. Musicall as the spheares. An allusion, of course, to the familiar theory originated by Pythagoras. See Chaucer, Park' jnent of Pontes 60-3 : And after that the melodye herde he That Cometh of thilke speres thryes three, That welle is of musik and melodye In this world heer, and cause of armonye. Act 5] Notes i77 Cf. Dekker (quoted in Park's Heliconia 3. 447) : Bridegroome of morning, dayes eternall king, To whom nine Muses (in a sacred ring) In daunces sphericall, trip hand in hand, Whilst thy seaven-stringed lute theyr feete commaund; Whose motion such proportioned measure beares, That to the musicke daunce nine heavenly spheares. M. of Venice 5. 1.60: There's not the smallest orb which thou behold'st But in his motion like an angel sings. Brewer, Lingua (5. 166, Dodsley, 1825) : I hear the celestial music of the spheres, As plainly as ever Pythagoras did. See also Cynthia's Revels 2.223; Poetaster 2.389; Staple of News 5-253; Sad Shepherd 6. 281; Prince Henry's Barriers 7. iS3 1 Epi- gram 130 8. 230 ; Underwoods 9. 38 ; Dante, Par. i. 78 ; 6. 126 ; Purg. 30.93; As You Like It 2.7.6; T. Night 3. 1. 121 ; Ant. and Cleo. 5.2.84; Pericles 5.1. 231; Lodge, Reply to Stephen Gossan (Wks. 1.25); Webster, Duchess {Wks. i. 199) ; Dekker, Roaring Girl {Wks. 3.203) ; Middleton, Family of Love {Wks. 3-49) ; Brewer, Lingua (5.166, Dodsley, 1825); Montaigne, Essays 1.22; Browne, Religio Medici 2. 9; Milton, Nativity Ode 13, and P. L. 5. 169, 177-9. 620-7. For various theories, arranging the planets so as to form a diapason, or octave, see Nicomachus, Enchirid. Harm., ed. Meibom, p. iTi'') Censorinus, De Die Nat. chap. 13. Cf. Pliny, Hist. Nat. 2.22.20; Plato, Timaeus 35; Cicero, Somn. Scip. chap. 5, and De Nat. Dear. 3. 11. These are from Professor Cook's article, cited below. Aristotle, De Caelo 2.9, and Aquinas (on Job 38.37), oppose the theory of the music of the spheres. For a valuable note discussing the subject, together with a long list of references, see Albert S. Cook, 'Notes on Milton's Ode on the Morning of Christ's Nativity' {Transactions of the Connecticut Academy of Arts and Sciences 15.342-4). 5.1.62-3. laques shall be a king. Plautus, Aul. 704: Ego sum ille rex Philippus. O lepidum diem. 5. 1. 64. To a fooles paradice. 'A state of illusory happiness or good fortune; enjoyment based on false hopes or anticipations.' — N. E. D. The earliest quotation of this expression given by the N. E. D. dates from 1462 : Paston, Letters (no. 457) 2. 109, ed. 178 The Cafe is Alterd [Act 5 Gairdner, London, 1874: 'I wold not be in a folis paradyce.' See Rom. and Jul. 2.4. 175: 'If ye should lead her into a fool's paradise, . . . it were a very gross kind of behaviour' ; Dekker, Seuen Deadly Sinnes (Pr. Wks. 2. 64) : 'Vsurers : who for a little money, and a greate deale of trash . . . bring yong Nouices into a fooles Paradice.' It will be recalled that Milton (P. L. 3.495) writes of 'A Limbo large and broad, since called The Paradise of Fools.' Mrs. Browning's use of the expression is also familiar (Aurora Leigh 4. 339) : 'Love's fool-paradise Is out of date, like Adam's.' Other examples may be found in Greene, Mamillia {Wks. 2.99) ; Tritameron {Wks. 3.97); Dekker, Deuils Answer {Pr. Wks. 2.100); Middleton, Family of Love (Wks. 3.12); Robinson, Handefull of Pleasant D elites (p. 34, Spenser Soc, 1871) ; Roy, Rede me (p. 86, ed. Arber). Nares gives an example from Barnabe Rich, Farewell. Johnstone wrote The Reverie or A Flight to the Paradise of Fools (1763). A discussion of the expression may be found in Notes and Queries (4. 8. 64 ; 6. 5. 7 ; 8. 9. 327, 414, 496 ; 8. 10.32). 5. 1. 71. O me no go's. This doubling of words indicated impatience at, and a disagreement with, the words of another. See Tale of a Tub 6. 149 : 'Pancridge me no Pancridge' ; Richard II 2. 3. 87 : 'Grace me no grace, nor uncle me no uncle' ; Rom. and Jul. 3. 5. 153 : 'Thank me no thankings, nor proud me no prouds' ; Beaumont and Fletcher, Knight of the Burning Pestle {Wks. 2. 164) : 'Plot me no plots'; Peele, Old Wives Tale {Wks. 1.323) : 'Parish me no parishes'; Arden of Faversham 2. i. 106: 'Plat me no plat- formes.' See Bartlett, Quotations (p. 861) for a list of examples from various writers. 5. 1. 83. when can you tell. 'A proverbial phrase expressing scorn at the demand or menace of another' (Schmidt, Shak. Lex.). See I Hen. IV 2. i. 42-5 : 'Gads. I pray thee, lend me thine. Sec. Car. Ay, when? canst tell? Lend me thy lantern, quoth he? marry, I'll see thee hanged first.' In Marlowe, Edward II {Wks. 2. 171), when Arundel comes to the lords with a request from the king to speak with Gaveston, after which he was to be sent back, Warwick exclaims : 'When, can you tell? Arundel, no.' Jonson used the phrase in Every Man In (i. no), first edition, immediately before 'Much wench.* For other examples of its use, see Com. of Errors 3. i. 52 ; As You Like It 4. I. 133 ; Kyd, Soliman and Perseda (p. 193) ; Marlowe, Faustus Act 5] Notes 179 {Wks. 1.298); Middleton, Blurt, Master-Constable (IVks. 1.77), and The Phcenix (IVks. i. I57)- 5. 1. 88. the God of gold. A reference, of course, to Plutus. See T. of Athens i. 1.287: 'Plutus, the god of Gold, Is but his steward.' Cf. Hesiod, Th. 969 ; Phaedrus 4. 12. 5 ; Aristophanes, Plutus; and the character of the same name in Lucian's Timon. The E}icycl. Brit, (nth ed.) says that the custom of regarding Mammon as the god of riches had its origin in Milton, P. L. I. 679. See Matt. 6. 24; Spenser, Faerie Queene 2. 7. 39 (cf. 2. 7. 8) : Suffise it then, thou Money God, (quoth hee) That all thine ydle oflters I refuse. In Love Restored, Jonson refers to both Plutus and Mammon (7. 205-7)- 5.1.90. The insertion of my by Whalley and Giflford seems unnecessary, as fair and many other monosyllables ending in r or re were frequently pronounced as disyllables (Abbott 480). 5. 2. — Enter Christ. This should clearly be a new scene. Christophero has been to keep his appointment with Angelo and Rachel at Saint Foyes, and, not meeting with them, has returned to the house of Jaques to see if by chance they might still be there. Sufficient time should be given for this. Then, too, Jaques' discovery has changed the situation. 5. 2. 5. O God, the case is alterd. The following is the begin- ning of Euclio's frenzied outburst of fourteen lines, six of which are addressed to the audience: Plautus, Aul. 713-5: Perii, interii, occidi. Quo curram? Quo non curram? Tene, tene. Quem? Quis? Nescio, nil uideo, caecus eo atque equidem quo eam aut ubi sim aut qui sim Nequeo cum animo certum inuestigare. 5. 2. 7-8. mine Angels? wher's my gold? Why Rachel? The reminiscence here of Shylock and Barabas has been pointed out by Ward (1.346, note). Cf. M. of Venice 2.8.15-7: 'My daughter! O my ducats! O my daughter'; Marlowe, Jew of Malta (Wks. 2-37) '■ 'O my girl, my gold, my fortune, my felicity'; cf. ib., p. 29: 'My gold ! my gold,' etc. There is probably no significance in these resemblances, for, as Schelling says : 'Jonson seems to have scorned to borrow ideas from the contemporary drama about him, going either to the classics or at least to less obvious modern sources' (1.540). i8o The Cafe is Alterd [Act 5 5. 2. 9. Thou eatest my flesh in stealing of my gold. Cf . M. of Venice 4. i. 376: 'You take my life When you do take the means whereby I live.' In a note to the latter, Halliwell (Variorum ed., p. 22y) refers to Ecclesiasticus 34.22: 'He that taketh away his neighbour's living, slayeth him.' Cf. also Arden of Faversham I. 1.474; Marlowe, Jew of Malta (IVks. 2.24). 5. 2. 12. Comes instead of coni'st. The t was dropped because the next word begins with th (Franz 152). 5. 2. ig. what Hienna cald me out of dores. That the hj'^ena was thought to imitate the human voice, is mentioned by Pliny (Hist. Nat. 8. 44) : 'Sed maxime sermonem humanum inter pastorum stabula assimulare, nomenque alicuius addiscere, quern evocatum foras laceret.' See also Bartholomaeus Anglicus (p. 368) : 'The Hiena . . . commeth to houses by night, and feineth mannes voyce as hee maye, for men should thinke that it is a man.' The N. E. D. quotes the following from the Geneva Bible (1560), Eccle- siasticus 13.19: 'What felowship hathe hyena {marg. Which is a wilde beaste that counterfaiteth the voyce of men, and so entiseth them out of their houses and devoureth them] with a dogge?' See also Marston, Eastward Ho (Wks. 3. 115) : 'I will neither jaeld to the song of the siren nor the voice of the hyena' ; Greene, Groats-worth of Wit (IVks. 12. 114) : 'When this painted sepulchre [Lamilia] was shadowing her corrupting guilt, Hiena-like alluring to destruction.' For other references, see Marbeck, Book of Notes (1581) 488; Dekker, Seuen Deadly Sinnes (Pr. Wks. 2.21) ; Nashe, Vnfortunate Traveller {Wks. 2.284); and cf. the following: Volpone 3-279; Staple of News 5.202; As You Like It 4. i. 156; Lyly, Euphues to Philautus (Wks. 1.250). 5. 3. — Enter luniper, Onion. Gifford adds 'richly dressed, and drunk.' We may infer the latter from their actions, and from remarks made by Onion. These would seem to imply that Juniper is in a worse condition than Onion : 'While I hold my friend' ; 'You must do more then his legges can do for him'; 'You see in what case [condition] he is.' 5. 3. 5-6. a cupple of buzzards turn'd to a paire of peacocks. Cf. Every Man Out 2. 95 : 'O, here be a couple of fine tame parrots.' 5.3.10. you must inueigle, etc. Achilles served Ajax in the same way, Troi. and Cres. 2.3.99-100: Nest. What moves Ajax thus to bay at him. Ulyss. Achilles hath inveigled his fool from him. 5. 3. 12. For hei ho, Giflford writes hey ho. The .V. E. D. defines the latter as 'An utterance, apparently of nautical origin ; . . . Act 5] ' Notes i8i often used in the burdens of songs.' A better spelling would per- haps be heigh-ho, an exclamation, which the N. E. D. gives, among others, as expressing disappointment. 5.3.31-2. what parentage? what ancestry? what genealogy is he? Cf. Every Man In 1.26: 'Thy lineage, monsieur Cob! what lineage, what lineage?' 5. 3. 38. portmantu. Cunningham suggests that this way of spelling the word indicates its pronunciation. 5. 3. 44. Ningle. The same as ingle. See Glossary ; also note on I. 1. 26. In Dekker, Satiromastix, Horace is repeatedly called ningle: 'Horace, my sweet ningle, is alwayes in labour when I come' {Wks. i. 191) ; 'You did it Ningle to play the Bug-beare Satyre' (1.259) ! cf. i. 194, 211, 258, 261, 262, and passim. See also Massinger, Virgin-Martyr {Wks. 1.27): 'Priapus . . . was the only ningle that I cared for under the moon' ; Ford, Witch of Edmonton {Wks. 3.220): 'You shall not starve, Ningle Tom, believe that'; and ib. (p. 221): 'O, sweet ningle, thy neuf [fist] once again ; friends must part for a time.' 5. 3. 46. discourse? cherish thy muse? discourse? Cf. Poetaster 2. 428 : 'To him, cherish his muse, go.' 5.3.47. Of used for about, concerning (Abbott 174; Franz 517). 5. 3. 48. hang sorrow. Presumably a reference to the proverb : 'Hang sorrow, care will kill a cat.' Ray (p. 58) adds : 'And yet a cat is said to have nine lives.' It is quoted in Every Man In i. 30, and in Wither's Christinas Carol. The last part of the proverb appears in Taylor, Motto {Wks., 1630, p. 56), and in Much Ado 5- 1. 133- 5.3. 57. Speake legibly. Cf. Every Man In 1.30: 'He does swear the legiblest.' 5. 3. 60. nor King nor Keisar shall. Cf . Tale of a Tub 6. 146 : 'Tell me o' no queen or keysar' ; Spenser, Faerie Queene 6. 3. 5 : 'This is the state of Keasars and of Kings'; also 3. 11.29; 4.7.1; 5. 9. 29 ; 6. 12. 28. 5- 3- 73-4- you must do more then his legges can do for him, beare with him sir. Cf. Every Man Out 2. 91 : 'Fast. Do you know how to go into the presence, sir? Maci. Why, on my feet, sir. Fast. No, on your head, sir ; for 't is that must bear you out.' Poetaster 2. 394 : 'Your legs do sufficiently shew you are a gentle- man born, sir ; for a man borne upon little legs, is always a gentle- man born.' 5- 3' 79-82. Cf. Every Man In i. 25 : 1 82 The Cafe is Alterd [Act 5 'Step. I'll follow you. E. Know. Follow me! you must go before.' 5.3.94-100. Cf. Every Man In 1.22: 'E. Know. I did laugh at you, coz. Step. Did you, indeed? E. Know. Yes, indeed. Step. Why then— E. Know. What then ? Step. I am satisfied ; it is sufficient.' lb. I. 116-7: 'Bob. It is not he, is it? E. Know. Yes faith, it is he. Mat. I'll be hang'd then if that were he. E. Know. Sir, ... I assure you that was he. Step. Upon my reputation, it was he. Bob. Had I thought it had been he, he must not have gone so : but I can hardly be induced to believe it was he yet.' Koeppel (Ben Jonson's Wirkung, p. no) has called attention to a similar display of cowardice given by Tucca {Poet. 2.464). 5. 3. loi. A was sometimes omitted after what, in the sense of what kind of (Abbott 86). 5. 4. 9. Sbloud forms the first foot. This license was sometimes allowed in the case of monosyllabic exclamations (Abbott 481, 482). like a puppet. In a mock-heroic manner. The puppet-shows were originally developed from the old English moralities. They were usually to be seen at wakes and fairs, and their popularity was greatest with the lower classes. At the beginning of the reign of James I, they had increased to such an extent that, in order to restrict their number, a law was enacted requiring the owners of such shows to secure a license. Of this law. Knight (London i. 42) says: 'While the people, however, were willing to encourage them, it was not very easy for statutes to put them down ; and if there were fewer licensed players, the number of unlicensed, who travelled about with motions or puppet-shows, were prodigiously increased. The streets of London appear to have swarmed with motions.' Jonson mentions several masters of puppet-shows : Pod, Every Man Out 2. 141 ; Barth. Fair 4.473; Epigram gy 8.200; Epigram i2<) 8. 229 ; Cokely and Vennor, Devil is an Ass 5. 13 ; Cokely and others, Epigram I2g 8. 229 ; 'Young Goose,' New Inn 5. 320. Cf . Gifford's note on Vennor, Masque of Augurs 7. 414. In Satiro- nrastix (Wks. 1.243), Dekker calls Horace [Jonson] 'the puppet- teacher.' Act 5] Notes 183 An idea of the character of these shows may be gained from their titles : Jerusalem, Nineveh, Sodom and Gomorrah, Jonas and the Whale, The Prodigal Son, Babylon, London, Norwich, The Gun- powder Plot, Rome, Julius Ccesar. The following mention puppet- shows : Barth. Fair 4. 473 ; Every Man Out 2. 19, 64 ; W. Tale 4. 3. 103 ; Beaumont and Fletcher, Knight of the Burning Pestle, and Wit at Several Weapons (Wks. 2.185; 4- 12) ; Middleton, Blurt, Master-Constable (Wks. 1.8); Spanish Gipsy (6.188); Father Hubbard's Tales (8.79) ; Marston, Dutch Courtesan (Wks. 2.51) ; Brewer, Lingua (5. 164, Dodsley, 1825). Collier gives a number of others (Punch and Judy). The following are a few examples: Dekker, Jests (Wks. 2.317) : 'He thought like Bankes his horse, or the Baboones, or captaine Fold with his motion, shee should haue showne him some strange & monstrous sighte' ; T. G. of Verona 2. i. 100: 'O excellent motion ! O exceeding puppet ! Now will he interpret to her' ; Poetaster 2. 436: 'What's he with the half arms there, that salutes us out of his cloak, like a motion' ; Every Man Out 2. 7 ; Cynthia's Revels 2.225, 236, 279; Epicane 3.392, 463; Alchemist 4.29, 152; Staple of News 5.183; Beaumont and Fletcher, Woman-Hater (Wks. 1.42) ; Nashe, Pasquill (Wks. 1.91) ; Ford, 'Tis Pity (Wks. i. 145). A good example of how a puppet-show was conducted is to be found in Barth. Fair 4. 482-508. Another of smaller pretensions is given in Tale of a Tub 6. 220-5. See also Don Quixote 2. 26. The following give a brief account of puppet-shows: Encycl. Brit, (nth ed.) ; Chambers (2. 157-60) ; Strutt (pp. 163-6) ; Alden, Barth. Fair (Yale Studies 25. xv-xviii) ; Flogel, Geschichte des Grotesk- komischen (2. 1-70). For a more complete study, see Mangnin, Histoire des Marionnettcs; Dietrich, Pulcinella; and cf. Collier, Punch and Judy. The last contains a typical performance of a Punch and Judy show of the i8th century, together with interesting engravings by Cruikshank. 5. 4. 16. Without or touch or conscience of religion. Cf . Catiline 4. 244 : [Ambition], being both a rebel Unto the soul and reason, and enforceth All laws, all conscience, treads upon religion, And offereth violence to nature's self. Jb. 4. 31S Dost thou ask After a law, that would'st have broke all laws Of nature, manhood, conscience, and religion? 184 The Cafe is Alterd [Act 5 'This is the Hne which Mr. Collier censures Giflford for not chang- ing to "Without a touch of conscience or religion." ' — C. Consider- ing the fact that one of the meanings of conscience at that time was consciousness, the phrase is intelligible as it stands. 5, 4. 18-9. formes, that the true scale of friendship Had set vpon their faces. Cf. Sejanus 3. 131 : But away, With the pale troubled ensigns of great friendship Stamp'd in your face. Whalley says the latter is from Juvenal, Sat. 4. 5. 72- 5. 4. 26-7. What good thing haue you in you to be proud of? Are y' any other then a beggars daughter? Cf. Every Man Out 2. 83 : 'Why, what has he in him of such virtue to be regarded, ha?' Cynthia's Revels 2.216: 'What are you any more than my uncle Jove's pander?' 5.4.35. Rachel is not to be read as a part of the verse (Abbott 512). 5. 4. 62-5. thy tongue . . . Like the rude clapper of a crazed bell. Cf. Much Ado 3. 2. 12-3 : 'He hath a heart as sound as a bell, and his tongue is the clapper.' 5. 4. 66. I, that in thy bosome lodg'd my soul. This sentiment was expressed by other writers : Richard III 3. 5. 27 : Made him my book, wherein my soul recorded The history of all her secret thoughts. W. Tale 1.2.235: I have trusted thee, Camillo, With all the nearest things to my heart, as well My chamber-councils. Beaumont and Fletcher, Little French Lawyer (IV ks. 3.477) : To you all secrets of my heart lie open. And I rest most secure that whatsoe'er I lock up there, is as a private thought. Greene, Friar Bacon and Friar Bungay (Wks. 13. 50) : Did I unfold the passions of my love, And lock them in the closet of thy thoughts. Hey wood, Woman Killed with Kindness (Wks. 2. 140) : Did I not lodge thee in my bosom? Wear thee here in my heart. The omission of a verb to go with / was probably intentional. Paulo's excitement would excuse such an oversight. Act 5] Notes 185 5-4-73-5' The very owle . . . Shall hoot at thee. The cry of the owl was considered an omen of impending calamity. See Virgil, ^n. 4.462: Solaque culminibus ferali carmine bubo Saepe queri et longas in fletum ducere voces. Also Pliny, Hist. Nat. 10. 12. 16; Lucan 5. 396; Ovid, Metam. 5. 550; 6.432; 10.453; Chaucer, Parleiuent of Foules 343: 'The oule eke, that of deth the bode bryngeth'; i Hen. VI 4.2. 15: 'Thou ominous and fearful owl of death'; Epiccene 3.392: 'Before, I was the bird of night to you, the owl ; but now I am the messenger of peace, a dove.' Other references may be found in Chaucer, Legende of Good Women 2253-4; Spenser, Faerie Queene 1.9.33; Macbeth 2.2.3; Richard HI 4. 4. 509 ; 3 Hen. VI 5. 6. 44 ; Sad Shepherd 6. 249. Brand (3. 206) discusses this superstition. 5.5. 19. Accent peremptory on the first syllable (Grammar 9.266; Abbott 492). 5. 5. 31. The first syllable of unjust (also, unkind, 1. 33) receives the accent. Cf. peremptory, 1. 19. 5. 5. 33- Read through as a disyllable. Cf. Abbott 478 (example from 2 Hen. VI 4. i. 87). 5. 5. 40. Whalley and Gifford wrote think'st thou. The verse may perhaps be read without any change of text (Abbott 469, p. 354): My Sonne, | Christo | phero, thinkst | it pos | sible. 5. 5. 51. hares eyes. The hare's keenness of vision seems to have been proverbial. The A^'. E. D. in this connection quotes Carpenter : 'Its eyes are so situated that the animal can see nearly all around it.' See Pliny, Hist. Nat. 11.54; 'Quin et patentibus dormiunt lepores, multique hominum. quos Kopv^avnav Graeci dicunt' ; Ste- phenson (p. 275) : 'He sleeps like a hare, with his eyes open, and that's no good sign' ; Poetaster 2. 426 : 'You walk with hare's eyes, do you.' 5. 5. 63-4. O confusion of languages. A reference to the same occurs in The New Inn 5. 320 : Host. A strange division of a family! Lov. And scattered as in the great confusion! Also in Time Vindicated 8. 12. 5. 5. 66-7. three constant passions. Of a father for his son, a lover for his mistress, and a miser for his gold. 1 86 The Cafe is Alterd [Act 5 5. 5. 78-9. Is not this pure. 'Pure here means matter for won- der, as being such pure human nature.' — C. On the contrary, is not pure here used ironically, meaning fine, capital, or excellent? It is true that the first illustration in the N. E. D. of the use of the word in this sense is 1675, but the situation seems to warrant an ironical interpretation. 5. 5. 105-6. wrong not your age with flexure of a knee. Cf. Every Man In 1.25: 'Come, wrong not the quality of your desert, with looking downward.' 5. 5. 109-12. O worthy gentlemen, I am ashamd. Plautus, Capt. 993-6 : Et miser sum et fortunatus, si uera dicitis. Eo miser sum, quia male illi feci, si gnatust meus. Eheu, quom ego plus minusue feci quam me aequom fuit. Quod male feci, crucior : modo si infectum fieri possiet. 5. 5. 117-32. How long's that since, etc. Plautus, Capt. 980-4: Phil. Quam diu id factumst? Stal. Hie annus incipit uicensumus. Phil. Falsa memorat. Stal. Aut ego aut tu : nam tibi quadrimulum tuous pater peculiarem paruolo puero dedit. Phil. Quid erat ei nomen? Si uera dicis, memoradum mihi. Stal. Paegnium uocitatust : post uos indididistis Tyndaro. 5. 5. 119-21. Cha. how old was he then? Count. I cannot tel, betweene the yeares of three and foure, I take it. Cf. Every Man In i. 138: 'Clem. About what time was this? Know. Marry, between one and two, as I take it.' betweene the yeares of three and foure. Earlier in the play (i. 5. 175-6) Camillo's age is given as two years. 5.5.126,135. Read tablet as a trisyllable (Abbott 477). 5. 5. 127. Emperour Sigismund. There was only one of that name to hold this title, Sigismund (of Luxemburg), Roman emperor, and king of Hungary and Bohemia. He was the son of the emperor Charles IV; born 1361, and died 1437. The name has no historical significance here. An emperor was introduced to dignify Camillo, and one name was as good as an other. Act 5] Notes 187 5. 5. 133. Scan (Abbott 483) : Then | no more | my Gas | per? but | Camillo. 5. 5. 148-9. I deliuered as much before, but your honour would not be perswaded. Cf. Every Man In 1.60: 'Your brother dehvered us as much' ; Cynthia's Revels 2. 350 : 'I see that come to pass, which I presaged in the beginning' ; Poetaster 2. 378 : 'I did augur all this to him beforehand'; Epiccene 3.367: 'I presaged thus much afore to you.' 5, 5. 150. I drempt of this. See Mrs. Ott's experience with dreams in Epicwne 3.385. In Lyly, Sapho and Phao {Wks. 2. 405-7), a whole scene is taken up with the relation of dreams. See also Endimion's dream (Lyly, Wks. 3.66-7). In Nashe, Terrors of the Night (Wks. 1.355), there is a discussion on dreams. Shakespeare has many allusions to the subject. The following may be given as typical: M. of Venice 2. 5. 18; 2 Hen. VI 1.2. 31 ; Troi. and Cres. 5.3.6; Rom. and lul. 5.1.2; /. Caesar 2.2.76, 90; Othello I. I. 143. For a study on the subject of dreams, the following works will be of value: Biichsenschiitz, Tratnn und Traumdeutung in Alter- thume (Berlin, 1868) ; Amgraldus, Discourse concerning Divine Dreams mentioned in Scripture (tr. Lowde, London, 1676) ; Baake, Die Verwendung des Traummotivs in der Englischen Dichtung bis auf Chaucer (Halle, 1906) ; Seafield, The Literature and Curiosities of Dreams (2 vols., London, 1865) ; and Brand (3. 127). 5. 5. 156. thirty thousand golden crownes. The crown was an English coin first coined by Henry VIII in gold, but since Edward VI it has been of silver. Its value was five shillings, which in U. S. money (reckoning a shilling as 24 cents) would amount to $1.20. Jaques' total loss would therefore be about $36,000. Cf. note on 5- 1- 25. 5. 5. 188. Ill gotten goods neuer thriue. Heywood (p. 42) writes the proverb : 'Evil-gotten goods never proveth well' ; Ray (P- 79) '• 'Ill-gotten goods seldom prosper'; Hazlitt (1907, p. 256) : TU-gotten goods thrive not to the third heir.' Both Ray and Haz- litt give numerous versions of the proverb in other languages. The latter says the idea is in Juvenal, Sat. 14. 303 : 'Tantis parta malis cura maiore metuque servantur.' See Mayor's edition of Juvenal (2. 344) for references to Greek and Latin writers. Cf. Plautus, Poenulus 4. 2. 22 : 'Male partum male disperit' ; Cicero, In M. Ant. Orat. Philipp. 2. 65 : 'Male parta male dila- buntur' ; j Hen. VI 2. 2. 46 ; 'Things ill-got had ever bad success' ; Harrison (p. 7s). i88 The Cafe is Alterd [Act 5 5.5.300. your cake is dow. Your project has failed. The prov- erb is used under similar circumstances in T. of Shrew 5. i. 145. When Gremio learns that Lucentio is the accepted suitor of Bianca, he remarks : My cake is dough ; but I'll in among the rest, Out of hope of all, but my share of the feast. Gremio had used it earlier in the play (i. i. 110). See also Settle, Reflections on . . . Dryden's Plays (p. 4, London, 1687) : 'She is sorry his Cake is dough, and that he came not soon enough to speed.' 5. 5. 205-6. a couple of my men, were become gallants of late. Cf. Cynthia's Revels 2. 219 : 'You are turn'd a most acute gallant of late.' 5.5.214. After conjunctions, the to before the infinitive was sometimes omitted (Matzner 3. 17; Abbott 353; Franz 650, Anm. i). 5. 5. 225. transmutation of elements. A reference of course to the theory held by the alchemists that the baser metals may be changed into gold. Cf. Alchemist 4. 45 : This night, I'll change All that is metal, in my house, to gold : And, early in the morning, will I send To all the plumbers and the pewterers. And buy their tin and lead up ; and to Lothbury For all the copper. T. of Athens 5. 1. 117: 'You are an alchemist; make gold of that'; K. John 3. 1.78; New Inn 5.369; Chaucer, Canon's Yeoman's Tale 972-1481. Jonson's most elaborate satire dealing with this theory is The Alchemist. Later he treated the subject in a masque, Mercury Vindicated. In the last 15 years, new interest in the theory has been created by the discovery of radium. See Encycl. Brit. (p. 258, nth ed., j-. v. Elements) : 'In recent times not only our belief in the absolute exactness of the law of the conservation of weight has been shaken, but also our belief in the law of the conservation of the elements. The wonderful substance radium, whose existence has made us to revise quite a number of old and established views, seems to be a fulfilment of the old problem of the alchemists. It is true that by its help lead is not changed into gold, but radium not only changes itself into another element, helium (Ramsay), but seems also to cause other elements to change.' Act 5] Notes 189 The Encycl. Brit, gives an extensive list of articles on radium. In addition the following general treatises are given (s. v. Radioactiv- ity) : Curie, Qiuvres 1908; Rutherford, Radioactive Transforma- tions 1906; Soddy, Interpretation of Radium 1909; Strutt, Becquerel Rays and Radium 1904;' Makower, Radioactive Substances 1908; Joly, Radioactivity and Geology 1909. See also Muir, The Story of Alchemy and the Beginnings of Chemistry (N. Y., 1903)- 5. 5. 229. For the which with a repeated antecedent, see Matzner 3.168; Abbott 270; Franz 337. stocks. 'Stocks were used for the punishment of petty offences. That they were used by the Anglo Saxons is proved by their often figuring in drawings of the time (see Harleian MSS. No. 65). Though never expressly abolished, the punishment of the stocks began to die out in England during the early part of the 19th cen- tury, though there is a recorded case of its use so late as 1865 at Rugby' {Encycl. Brit., nth ed.). See Andrews' Bygone Punish- ments. 5. 5, 240. helogabolus. Reminiscent of Heliogabalus, the Roman emperor, referred to again in Volpone 3.250, and in The Alchemist 4- 54- 5. 5. 277. March faire al. An expression which seems to have served as a military command. Neither the N. E. D. nor the C. D. comments on it. In our text it is probably used as an indication that the play is over, as well as a signal for the players to leave the stage. See Beaumont and Fletcher, Knight of the Burning Pestle (Wks. 2.218): 'March fair, my hearts'; Heywood, / Edward IV {Wks. 1. 26) : 'March fair, ye rogues, all kings or capknitters' ; Greene, Orlando Furioso {Wks. 13. 161) : 'March faire, fellow frying pan.' Dekker, Shoemaker's Holiday {Wks. 1.70) ; New Inn 5- 3^5- 5. 5. 277-8. a faire March is worth a kings ransome. Ray (p. 25) writes the proverb: 'A bushel of March dust is worth a king's ransom.' Grose (p. 148) explains the proverb thus : 'England con- sisting chiefly of clay lands, a dry March makes them bear great crops of corn; wherefore, if in that month the weather is so dry, as to make the roads dusty, the kingdom will be benefited to the amount of a king's ransom, which, according to the sum paid for King Richard I to the Emperor of Germany, was one hundred thousand pounds.' Brewer (p. 550) has another explanation for the origin and value of 'a king's ransom' : 'According to the Anglo- Saxon laws, the fine of murder was a sliding scale proportioned to the rank of the person killed. The lowest was £10 and the highest 19° The Cafe is Alterd [Act 5 £60; the former was the ransom of a churl, and the latter of a king.' See Greene, Farewell to Follie (Wks. 9.277) : 'Oft haue I heard my Father saie that a husbandman plowed out of the ground three things, wealth, health, and quiet, which (quoth hee) is more worth then a kinges ransome'; Tusser, Husbandry (ed. Mavor, p. 125): March dust to be sold. Worth ransom of gold. The expression is discussed in Notes and Queries (2.5.272). GLOSSARY The New English Dictionary and the Century Dictionary have been the chief authorities, in preparing this glossary. Considerable aid has been furnished also by Schmidt's Shakespeare-Lexicon and Nares' Glossary. A dagger before a word or a definition indicates that the word or definition is obsolete ; parallel lines, that a word has never been natural- ized; an interrogation mark, that the sense is doubtful. Abuse, V. jTo deceive, impose upon. 4. 8. 2. Acceptiue, a. fWilling to ac- cept, receive. 2. 7. 67. Acquaintance, n. fPhr. to take acquaintance of: To acquaint one- self with. 4. 7. 120. Addicted, ppl. a. fGiven up, surrendered. 5. 3. 13. Admirably, adv. fWonderfully, marvelously. i. i. 80. Admiration, n. Wonder, aston- ishment, surprise. Arch. 4. 3. 36. Affect, V. To fancy, like, or love. Arch, or ?obs. 2. 6. 37. Afore, adv. Arch, and dial. Be- fore, in advance, i. 5. 209. Agone, ppl. a. [Form of ago.] [From iago, v., to pass.] Arch. and dial. Gone by; ago. 1. 1. 153. Amaze, v. fTo bewilder, con- found, perplex, i. 5. 69. Amazed, ppl. a. fi • Terror- stricken, terrified, alarmed. i. 5. 186. t2. Bewildered, confounded. 5. 5- 135- Anatomy, n. fA body or sub- ject for dissection; a skeleton. 4. 7.86. And, &, conj. Arch, and dial. If. I. I. 100, 96. Angel, n. An old English gold coin having as its device the Arch- angel Michael. Value about los. 4- 7- 137. Anon, adv. flmmediately. i. 3. 13- Antique, a. [Form of antic] Antiquated ; fantastic ; grotesque. 5. I. 16. Appetite, n. Inclination, liking, fancy. Arch. 2. 3. 25. fApple-squire, n. A page who waited on loose women. 4. 7. 50. Approue, v. fTo prove, con- firm. 4. 8. 44. Aries, n. See note on 2. 7. 149. Assoile, V. fTo clear up, solve, resolve. 5. 3. 49. Attempt, V. To tempt, entice. Arch. I. I. 7. Auoide, v. impv. [Form of avoid.] fBegone! be off! away! 2. 7. 148. Authenticall, a. Arch, form of authentic. 4. 4. 11. Ay me, int. Cf. the It. aime (ahime) : Ah me! oh! alas! 5.2. 13. 192 The Cafe is Alterd Backside, n. fBack yard, the rear of a dwelling. 4. 5. 55- Badge, n. 'A distinctive device, emblem, or mark, used originally to identify a knight or distinguish his followers (= cognizance in Her.).'—N. E. D. 4.7.188. Bands, n. pi. Bonds, fetters, chains. 3. 4. 20. Bastinado, v. [Sp. bastonada.] Arch. To beat with a stick; to thrash, thwack. See note on 2. 7. 6. Bauke, v. trans. Obs. form of balk: fTo overlook, neglect. 2.5.3. Beads-man, n. A man of prayer ; one who prays for the soul or spiritual welfare of another. ['The term by which men used to designate or subscribe themselves in addressing their patrons and superiors, answering to our modern "humble servant." '—iV. E. D.] 3. 3- 30. Beare, v. Phr. bear action: To admit of a legal process or suit. 5- 5- 219- Belike, adv. Arch, or dial. Perhaps, possibly, i. 5. 260. Beshrow, v. [Form of be- shrew.] 'Evil befall,' 'mischief take !' Arch. 1. 5. 133 ; 5- 5- 65. Bestow, V. I. Phr. to bestow oneself: To repair to one's post. Arch. I. 4. 20. 2. To dispose of. Arch. 5.1.^24- Betwixt, prep. Arch, and poet. Between. 3. 2. 39. Bewray, v. Arch. To reveal, declare, make known. 4. 5. 24. Bir Lady, int. [Form of By'r Lady.] Obs. exc. dial. Contrac- tion of by our Lady, used as an oath, form of adjuration, or ex- pletive. 4. 7. 93. Blew, a. Obs. form of blue: The distinctive color for the dress of servants, tradesmen, etc. See note on i. 5. 30. fBombard, a. Shaped like the large leather jugs or bottles used for holding liquor. See note on 4. 7. 96. Bonet, n. Obs. form of bonnet. 4- 3- 60. Braue, a. Used as a general epithet of admiration or praise: Excellent, 'capital,' 'fine.' Arch. 4.1.50; 4.7.8. Breake, v. To interrupt the con- tinuance of; suspend, delay. 2.5.4. Breed, n. fOffspring. 2. i. 22. Briske, a. fSmartly or finely dressed; trim, spruce. 2.1.26. Bully, n. fA term of endear- ment and familiarity, i. i. 135. fBurgonet, n. Obs. exc. Hist. A helmet with a visor. 4.8. 114. Bursting, ppl. a. Sudden. 3. 2. 22,. Capable, a. fAble to perceive or comprehend. 4. 4. 9. Carouse, n. fA cupful drunk 'all out,* a full draught of liquor. Obs. before 1700 (but used by Scott). 4-5.I3- Case, n. fi. A couple, brace, pair. 2. 3. I. 2. A physical condition. lObs. (With a quibble on clothes.) 5. 3. lOI. Cashire, v. [Form of cashier.] To put away, lay aside, dismiss. 4- 5- 61. Catch, V. To get, receive. 2. 7. 114. Cate, n. [Aphetized form of acate.] Most commonly used in Glossary 193 the plural : fVictuals, food. 4. 6. 22. fCatso, int. [It. cazso, mem- brum virile.] Used as a word of exclamation. 5. 3. i. Cf. Godso. Cause, «. Phr. in cause of: In the case of. Obs. exc. dial. 2. 4. 31. Censure, n. Judgment; opinion, esp. expressed opinion ; criticism. Obs. or arch. 2. 7. 64. Censure, v. fTo pass judgment or opinion on, to criticise. 2. 7. 51. Cerimony, n. Obs. form of ceremony. 2. 4. 50. Champaigne, n. An expanse of level, open country, i. 5. 191. Chance, n. An unfortunate event, mishap, mischance. Arch. I.I.5- Chance, v. To happen. Some- what arch. 4. 7. 164. Chang, V. [Form of change.] fTo shift or transfer (from one place to another). Rare. 4.3.60. Changling, n. One given to change; a fickle or inconstant per- son. Arch. 1.2.6. Charge, n. Expense, outlay. Arch. 2. 7. 56. Checke, v. fPhr. to check at: To aim reproof or censure at. 2. 2.8. Circumstance, n. i. Circumlocu- tion. Arch. I. 4. 24. 2. Formality, ceremony. Arch. 4. 4- 8. Close, adv. Hidden, secluded; fsecretly. 2. 5. i. Cloth, n. fApparel. See note on I. 5. 52. Coate, n. fUsed chiefly in such phrases as a man of his coat: Profession, class, order, i. i. 139. fCold conceited, ppl. a. Having a cold opinion of. 1.4. 17. Come, V. I. Phr. to come home (to one) : To touch or affect deeply. Now rare. See note on 2. 2. 18. 2. To come about, happen. 2. 7. 130. t3. To be becoming or appropri- ate (to), befit. 4.4.8. Comment, n. fA commentary; an exposition, i. 5. 95. Companion, n. fA term of fa- miliarity or contempt; 'fellow.' 1.5. 59- Complement, ti. Obs. form of compliment, i. 4. 34. Complot, n. Now rare. A de- sign of covert nature planned in concert ; a conspiracy, plot. 4. 8. 65. Compunction, n. fPity, com- passion. I. 5. 88. Conceipt, n. 2. 1. 12. See Con- ceit. Conceit, n. fi- Notion, idea, thought. I. 5. 139. t2. The faculty of conceiving : apprehension, understanding. 4. i. 57. Conceited, ppl. a. fFancifully or ingeniously conceived; clever, witty, amusing. 2. 7. 83. Conceiue, v. To understand, comprehend. Arch. 1.5.95. fConni-catching, ppl. a. [Form of cony- or coney-.] That cheats or tricks ; gulling, swindling. See note on 4. 7. 6r. Conscience, n. fConsciousness ; internal or mental recognition of. 5- 4- 16. Consort, n. fConcert. 5. 5. C^. 194 The Cafe is Alterd Counterfait, n. See Counterfeit. 5. 5. 176. Counterfeit, n. fAn impostor, pretender. 4. 8. 43. llCouragio, int. [It. corragio, courage.] Courage! as a hortatory exclamation. 2. 7. 115. Coy, n. fDisdainful. 5. 4. 25. Crazed, ppl. a. fBroken, cracked. 5- 4 65. Crie, V. fTo beg. fPhr. / cry you mercy: Nearly equivalent to / beg your pardon, i. i. 57. Crotchets. See note on 4.5.21. Crowne, n. An English coin valued at about five shillings. See note on 5. 5. 156. llCrusado, n. Obs. [Sp. and Pg. cruzado.] 'A Portuguese coin bearing the figure of a cross, orig- inally of gold, later also of sil- ver.' — N. E. D. 'The earlier coin was equivalent to 43 cents, the later to 52 cents, in U. S. money.' — C. D. 5- 3- 36. fCuUison, n. Obs. corruption of cognizance: A badge worn on their sleeves by servants. 4. 7. 187. Curious, a. fCareful, particular, scrupulous. 3. 3. 41. Cursie, n. Obs. form of curtsy. 2. 3- 7- tCypress. Obs. or dial. See note on 4. 2. 68. Deafe, v. trans. To deafen. Arch, or dial. 5. 4. 76. Decade, n. See note on 2. 4. 44. Decorum, n. That which is proper or becoming; fused espe- cially in dramatic, literary, or artis- tic composition, i. i. 87. Deepe, a. fGrave, serious, in- tense. 2. 3. 32. Deere, a. fPrecious in import or significance, i. 5. 237. Deliuer, v. fTo declare, state, tell. 5- 5- 148. Deprauer, n. fOne who vilifies, defames, or disparages, i. 5. 144. Detect, V. fTo betray, expose. 2. 4. 61. Deuise, n. [Form of device.] A trick; a scheme, plan, project. 2. 7. 120; 4. I. 56. Disclaime, v. intr. fPhr. to dis- claim in: To renounce or disavow all part in. 1.5. 152; 5.5. 163. Discouer, v. To reveal the iden- tity of a person ; hence, to betray. Arch. I. I. 127. Disgrace, v. fTo cast shame or discredit upon. 2. 5. 18. Dispight, n. Obs. form of de- spite. fPhr. in dispight of: In open defiance of, in overt opposi- tion to. 4. 7. 106. Double, V. intr. To make eva- sive turns or shifts ; to use duplic- ity. ?Obs. 1.5. 27. Doubt, V. fTo fear. (?)4. 1.42. Drift, n. i. Meaning or purport. 2. 4. 17. t2. A scheme, plot, design. 5. 46. Eene, adv. [Chiefly in colloq. form e'en.] Prefixed to verbs, with vague force expressible by 'just,' 'nothing else but.' Arch, and dial. I. 5. 139. Effects, n. pi. i. fManifesta- tions, signs, tokens. 1.4.43. 2. [Form of jaffccts.] Affection, love. I. 5. 223. Glossary 195 Election, n. fjudicious selec- tion; the faculty of choosing with taste or nice discrimination, i. 4. 30. Elizium. The abode of the souls of the good and of heroes exempt from death, in ancient classical mythology. 5.1.86. Enforce, v. fTo add force to, intensify, strengthen. 4. 8. 103. Ennious, a. fGrudging; jealous. I. 5- 241- Enuy, n. fActive evil, harm, mischief. 4. 2. 29. Enuy, V. fTo begrudge, dislike. 3- 5- 9- Epitaphs, n. See note on 2. 7. 9. Ere, conj. Before. Arch, or poet. I.S.95. Ere, prep. Before. Arch, or poet. 2.2.58. Estimation, n. f'Account' or worth in the opinion of others ; re- pute. 4. I. 2)2. Euen, adv. Exactly, precisely. Now chiefly arch, after Biblical use. 5. 4. 46. fEuent, V. intr. for refl. To vent itself, find a vent. 5. 4. 36. Exceeding, adv. Prefixed to adjs. or advs. Very common in I7th-i8th c. ; now somewhat arch. Exceedingly. 1.3.36. Exchange, n. fPhr. in exchange of: In exchange for. 4.1.29. Exhibition, n. fAn allowance of money for a person's support. 5. 3-80. Exigent, n. fNeeds, require- ments. 4. 7. 40. Extasie, n. Obs. form of ec- stasy. ['The expressions ecstasy of woe, sorrow, despair, etc., still occur, but are usually felt as trans- ferred.'— N. E. D.] 3- 3- 12. Extemporall, a. Now rare. Extempore, unpremeditated. 2. 7. z?- Faint, v. To grow weak or feeble; decline. Obs. exc. poet. 1. 4. ID. Falsifie, v. ^Fencing: To feign (a blow) ; to feint. 2. 7. 130. Fancie, n. fLove. 2. 6. 42. Fauour, n. Phr. under favor: With all submission, subject to cor- rection. Obs. or arch. i. 5. 65. Fauour, v. Now colloq. To re- semble in face or feature. 4. 2. 57. Feare, v. trans. To inspire with fear ; to frighten. Obs. exc. arch. or vulgar. 5. 3. 26. Feel, V. fTo perceive mentally. 2. 7. 134- Fellow, n. fi- A term of famil- iarity (before a name) : 'Friend,' 'neighbor.' i. 2. i. 2. PI. An equal, peer. 2. 2. 2. t3. A customary title of address to a servant, i. 3. 9. Fennell, n. An emblem of flat- tery. ['A fragrant perennial plant having yellow flowers, cultivated chiefly for its use in sauces eaten with salmon, etc' — N. E. D.] See note on i. 5. 12. Fetch, V. To bring to terms ; to cause to yield or to meet one's wishes. Colloq. 3. 2. 49. Filthy, a. fContemptible, foul, disgusting. 2. 7. 84. Flawe, n. A sudden burst or squall of wind. 3. 4. 31. Fling, n. Chiefly in phr. to have a fling at: A passing attempt at or attack upon something, i. 3. 26. 196 The Cafe is Alterd Foe, int. Form of faugh or foh. 2. 7. 120. Fond, a. Foolish, silly. ['Since i6th c. the sense in literary use has been chiefly: Foolishly credulous or sanguine. In dialects the wider sense is still current.' — A'^. E. D.] 4. 6. 4- fFoot-cloth, n. A large, richly ornamented cloth laid over the back of a horse and hanging down to the ground on each side. 4. 7. 185. fFore, prep. Before, by: used in asseveration or adjuration. 4. 2.6. Forme, n. fi- A grade or de- gree of rank. 2. 1.48. t2. Beauty, comeliness. 4. 6. 6. 3. Observance of etiquette, cere- mony or decorum. 5. 4. 18. French crowne. 'A gold coin, value 4 shillings, 8 pence, and, from the 15th to the i8th century, the common English name for the French ecu, as well as for other foreign coins of similar value.' — N. E. D. See note on 5. i. 25. Frolicke, a. [Form of frolic.] tJoyous, merry, mirthful. 1.2.5. ['This was the early use. In later use with sense derived from the verb : frolicsome, sportive.' — N. E. D.] llFrustra, adv. Latin: In vain, to no purpose. 1.5. 91. Gallant, a. Of women: fFine- looking, handsome. 4. 2. 6. Gallant, n. fA fashionably at- tired beauty. 2. 5. 15. Gander, n. A dull or stupid per- son ; a fool, simpleton. 5. 3. 54. Gar, int.phr. by gar: From Gad, a minced pronunciation of God. Rare exc. arch. 4. 3. 15. liGarsoone. [Form of mod. F. gargoji.] A boy servant, attendant. 4. 1. 6. Gather, v. intr. Fencing: To collect or summon up (one's ener- gies) ; to gather oneself (to- gether). 2.7.135. Geere, n. [Form of gear.] fAffair, business, matter. 5. i. 42. Genius, n. The tutelary god or attendant spirit. See note on i. 4. 8. Giue, -v. fi- To display as an armorial bearing; to bear (such or such a cognizance). Obs. 4.7.187. t2. Phr. give end: Put an end to ; cease. 5. 4. yy. Go, V. I. Phr. go to: Used to express disapprobation, remon- strance, protest, or derisive incredu- lity. Obs. or arch. 1.1.21. 2. Phr. go your ways: Take your way ; go about your business ; or used as a mere expletive. Obs. or arch. 2. 6. i. tGod a mercy, int. phr. Used in the sense, 'God reward you,' as an exclamation of applause or thanks. 2. 7. 24. fGods my life, int. phr. God save my life. An exclamation of surprise. 3. 2. 14. God so, int. ['?Var. of Gadso after oaths beginning with God's. Gadso is a var. of Cat so (It. cazzo, membrum virile, also word of ex- clamation) through false connec- tion with other oaths beginning with Gad.'—N. E. D.] An excla- mation. I. I. 7. fGods precious, int. phr. God's (Christ's) precious (blood, body, nails, or the like). 1.5.34. Grace, n. fPhr. to do (a per- son) grace: To do honor to. i. 5-214. Glossary 197 Gramercy, int. phr. [Fr. grand merci.] Thanks ; thank you. Obs. exc. arch. 2. 2. 13. Great, a. fi- Full or 'big' with sorrow. I. 5. 195. t2. Of considerable knowledge or experience in, conversant with. Ohs. with in. 2. 4. 62. Greeke, n. Qualified by merry, mad, gay: A merry fellow, a roys- terer, a boon companion. See note on 4. 7. 163. Griefe, n. fA feeling of offense ; displeasure, anger. 1.4.86. Grimly, adv. Austerely, uncom- promisingly. 2. 3. 35. Ground, n. fi- A region, land, country, i. i. 50. t2. The bare floor which consti- tuted the pit of the theatre. See note on i. i. 106. Gull, n. A dupe, fool, simpleton. 4- 5- IS- Gull, V. To make a gull of; to befool. 5. 3. 54. Ha. Worn-down form of have. I. I. 109. Habit, n. Clothing, raiment, dress. Arch. i. 5. 79. Handkerchier, n. Handkercher was the spelling common to liter- ary usage in i6th and 17th c. Now dial, and vulgar. 4. 5. 38. Hand- kerchire. 4. 5. 53. fHangby, n. A contemptuous term for a dependent or hanger-on. 4. 1. 62. Hap, V. Arch. To happen. 4. 7. 163. Haplesse, a. Unfortunate, un- lucky. 3. 3. 24. Hard fauour'd, a. Unpleasing in feature; ugly. Arch. 2.4.18. fHarrot, n. Obs. form of herald. fPhr. herald of (at) arms. One of his duties was to regulate the use of armorial bearings. 4. 7- 189. Haue, V. intr. or absol. Phr. to have at (some one) : To go at or get at, esp. in a hostile way. See note on 3. i. 19. Hearing, vbl. n. Something heard ; report, rumor, news. Dial. I. I. 18. Heart, n. As a term of com- mendation : A man of courage or spirit. 2. 7. 2. Heauily, adv. With sorrow, grief, displeasure, or anger. Obs. or arch. i. 5. 229. Heauinesse, n. fGrief, sadness. I. 5- 115- Heauy, a. Serious, grave ; sad. Now rare or obs. i. i. 139. Hei ho, int. [Form of heigh- ho.] An exclamation usually ex- pressing sighing, weariness, disap- pointment. See note on 5. 3. 12. Hem, pron. Them. In the 17th c. often printed as 'hem or 'em. 1. 1. 95- Hienna, n. Form of hiena, the obs. form of hyena. See note on 5- 2. 19. Hilt, n. fBy extension, a sword- stick or foil. 2. 7. 3. Hind, n. i. As sing. A servant. (In later use, a farm servant.) I- 5- 57. t2. As pi. Household servants, domestics. 5. 5. 218. Hitherward, adv. Arch. Hither ; in this direction, i. 4. 66. tHity tity, n. Bo-peep. 4. 7. 19. ['The same as hoity-toity, highty- tighty, but there is no obvious con- nection of sense.' — N. E. D.] 198 The Cafe is Alterd Honest, a. Chaste. Arch. 2. 2. 25- Hony, a. [Form of honey.] Sweet ; dear. 5. 5. 55. Horizon, n. [Form of horison, the obs. form of orison = etymol- ogically, a doublet of oration.] A prayer, supplication. Arch. 4. 7. 26. fHough, int. Obs. spelling of ho, int. Also form of how. 5. 3. 24. Humour, n. i. Mental disposi- tion ; constitutional or habitual tendency, i. i. 34; 1.4.84. 2. Fancy, whim, caprice, i. 2. 14 ; I. 5.4I- 3. State of mind or feeling; mood, temper. 2. 2. 6 ; 2. 3. 22. I, adv. Obs. form of ay. i. i. 40. I. Weakened form of in, prep., before a cons., as in / faith. Now dial, or arch. 1. 1. 30. lealous, a. Suspicious ; appre- hensive of evil, fearful. Dial. 2. 4.63. lealousie, n. Suspicion ; appre- hension of evil; mistrust. Dial. 4. I. 60. ledly, adv. Form of idly. 4. 6. 20. Imbecell, v. Obs. form of em- bezzle. fTo entice away (a per- son) from service. 5. 3. 27- Imploy, v. [Form of employ.] fPhr. to employ to: To send (a person) with a commission to (a person or place). 4.2.36. Impressure, n. Now rare. A mental or sensuous impression, i. 4.48. Infidell, n. fOne who is un- faithful to some duty. (?) 4.5.35. Ingies, n. Form of Indies. 4.3 19. tingle. [Also engle, enghle, inghle. Origin unknown.] Orig- inally a boy favorite (in a bad sense), a catamite; but later used for an intimate. See note on i. i. 26 ; 2. 7. 92. flnjury, v. Supplanted c. 1600 by the current injure, i. 4. 16. Instance, n. i. Occasion. 1. 1. 45. 2. Example, i. 4. 26. t3. Phr. to give instance: To give an example. 5. 3. 75. Intelligence, n. Information, knowledge. Now rare or obs. 4. 7. 174- Inuent, v. fTo come upon, find. 4- 7- 154- ludiciall, a. tJudicious. 4. 6. 19. Keepe, v. To continue to make ; to keep up. 4. 6. 8. Kilderkin, n. A cask for liquids, fish, etc., with the capacity of half a barrel. 4. 7. 96. Kind, n. Mode of action ; man- ner, way, fashion. Common in 17th c. in phr. in any, no, this kind, etc. Now arch. i. i. 75. Knaue, n. A menial. Arch. i. 5.9. Know, V. To recognize, distin- guish. 3. 5. 4. Knowledge, n. fPhr. to take knowledge of: To recognize, i. i. 130. fKooke, n. [Form of cokes.] A fool, a simpleton, one easily 'taken in.' 5. i. 15. Leaue, v. To cease, desist from, stop. Arch. 1. 5. 26. Glossary 199 Lend, v. fTo hold out (a hand) to be taken. 4. 3. 16. Lewd, a. fVile, 'base'; ill-bred. 4- 8. 43- Like, adv. Rare exc. in phr. like enough, very like: Likely, prob- ably. 4. 8. 74. Like, V. Chiefly quasi-trans. with dative: To please, be pleasing to, suit a person. Arch, and dial. i. 5-35. List, V. Arch. To listen, i. 4. 67. Lording, n. Frequently in pi.: Sirs ! Gentlemen ! 5. 5. 213. Lusty, a. fMerry, cheerful ; gal- lant. 2. 5. 2. Maddam, n. fi. Prefixed to a first or sole name. i. i. 136. t2. A lady of rank or station. I. 5. 202. llMadona, n. [Form of Madon- na.] An Italian form of address or title; my lady, madam. Obs. 4. 7- 24. Maecen-asses. A quibble on Maecenas, the well-known patron of Horace and Virgil. See note on I. I. 79. Maine, n. [Form of maim.] Obs. or arch. Injury. 5. 5. iii. Maine, n. fi. Phr. the main of all: The important or essential point. 1.4.64. 2. The chief matter or principal thing in hand. 4. 2. 34. Maine chance. See note on 4. 7. 168. Make, v. Phr. to make a holi- day : To take a holiday. 4. 5. 64. Make away, ftrans. To put (a person) out of the way, put to death. Obs. Now superseded in the transitive senses by make away with. 5. 2. 18. Man, V. fTo escort (a person, esp. a woman). 5.1.75- March paine, quasi-arf;'. [Form of march-pane.] fDainty, super- fine. 4. 7. 48. [The noun indicated 'a kind of confectionery composed of a paste of pounded almonds, sugar, etc., made up into small cakes or moulded into ornamental forms.'— A^ E. D.] Marie, n. and v. Obs. exc. dial. A contraction of marvel. 1.2.29; I. I. III. Marry, int. Obs. exc. arch, or dial. [A corruption of Mary.] The name of the Virgin Mary used as an oath or an interjection of assev- eration, surprise, or indignation, i. 1.35. Mary. i. i. 151. fMart, V. [Contraction of mar- ket.] To make merchandise of, to traffic in. 4. 8. 3. Masse. An abbreviation of by the mass: Used in oaths and assev- erations. Dial. 2. 4. 59. Mathauell. For Machiavelli. See note on 4. 7. 36. Medle, v. [Form of meddle.] To deal with. 4. 5. 31. Melpomine. In classical mythol- ogy, originally the Muse of song and musical harmony, looked upon later as the especial patroness of tragedy. 4. 7. 36. Melt, V. fTo be overwhelmed with dismay and grief, i. 5. 87. Mercy, n. fPhr. / cry you m,er- cy: Nearly equivalent to / beg your pardon, i. i. 57. Meridian, a. See note on 4. 5. 50. Meritable, a. ?Obs. Meritori- ous. 2. 7. 67. The Cafe is A Herd Me thinkes, impers. Arch, and poet. It seems to me. i. 5. 138. tMisprise, v. To mistake, mis- understand. 4.1.39. Mistery, n. [Form of mystery.] tOccupation, profession. 2. 7. 9. Motion, 11. fProposal, request. 1. 5. 99- Motly, a. Pertaining to a fool ; foolish. 1.5. 21. Moue, V. fTo address one's self to ; to speak about an affair. 3. 2. 50. Much, adv. Used ironically for 'not at all.' See note on 3. i. 5. Mucke, n. fA jocular term for money. See note on 4. 7. 167. fMumps, n. A term of contempt or mock endearment for a woman. 2. 2. 43. Murraine, n. flnt. phr. with a murrain: An exclamation of anger. I. 1. 126. Muse, V. To wonder, marvel. Now rare or poet. i. 1.7. Mutton, n. A loose woman. Slang. (?)4-3-53- Na, adv. Obs. variant of nay. 1. I. 41. Natiue, a. Conferred by birth ; inborn ; hereditary. 4. 4. 22. Neere, prep. Phr. to come near any one: To touch or affect deep- ly. Now rare. See note on 2. 2. 18. tNingle, n. [By epithesis of n, from the article an, or poss. mine f ingle.] See note on 5. 3. 44. fNoble Science, n. Fencing; 'Science of Defence.' See note on 2. 7. 10. Nor, conj. In correlation : nor . . . nor. Arch, or poet. 5. 3. 60. Note, n. 'An objective sign, or visible token, which serves to iden- tify or distinguish some person or thing. Common from c. 1580 to 1680 ; now rare.' — N. E. D. 5. 5. 122. Nouels, n. fSomething new ; a novelty. In early use always pi. 5. 5- 224. Nought, n. Nothing. 2. 4. 28. Naught. 3. 3. II. Now only lit. Obiect, n. fAn obstruction, in- terposition. Obs. rare. 1. 4. 85. Obseruance, n. i. Respectful or courteous attention, dutiful service. 1. 4 50. t2. Observant care, heed. 5. 5. 150. Occurents, n. Obs. or a rare archaism. Occurrences, incidents, I events. 4. 8. 70. Odde, adv. fSingularly, unusu- ally. I. 5. 137- Once, adv. fi. Once for all. 2. 1.27. 2. Ever, at all, only. Chiefly in conditional and negative statements. 2. 6. 17. Ope, V. [Reduced from open, v.] Chiefly, and since 17th c. ex- clusively /Jo^i. 2.1.60. Or, conj. In correlation : or . . . or. Arch, or poet. 5. 4. 16. Packe, V. intr. To go away, to depart, esp. when summarily dis- missed. I. I. 122. fPacking penny, n. A penny given at dismissal. Phr. to give a packing-penny to: To 'send pack- ing,' to dismiss. 4. 2. 67. Panurgo. For Panurge. See note on 4. 7. 148. Glossary Passe, V. I. To go from side to side of, or across. 2. 7. 45. t2. To surpass, exceed. 3. 3. 32. t3. To care for, regard. Gen- erally used with a negative. 5. 5. 275- t4. Phr. to pass of: To depart from a person or thing. 5. 5. 276. Passing, ppl. adv. Surpassingly, exceedingly, very. Now somewhat arch. 2.1.43. Past, prep. fMore than, above (in number or quantity). 2.7.50. Pastorella. A shepherdess in the Faerie Queene (6.9). 2.2.44. PeasJint, n. fA boor, clown ; rascal. 5. 5. 223. Peeuish, a. fP^rverse, refrac- tory ; foolish, childish. 4. 6. 8. Pelfe, n. Money. Now depreci- atory. 2. 1. 30. Pen, n. Manner, style, or quality of writing, i. i. 106. Peremptory, a. i. Positive in opinion or assertion; bold. i. i. 116. t2. Obstinate. 5. 5. 19. Peremptory, adv. fPositively. 2. 7. 62. Perfect, adv. Perfectly. Obs. exc. dial, or poet. i. 5. 68. Pertake, v. [Form of partake.} fTo share in (a communication or news), to be informed of. 1.4.74. Peruse, v. To survey, inspect, examine, or consider in detail. Arch. I. I. 43. Pesant, n. See Peasant. 4. 3. 6. Philip, n. [Form of fillip.] Something of small importance, a trifle. 2. 7. 120. Plaid, ppl. a. fPhr. play upon: To make sport of, delude. Now rare. 4. 8. 84. Plantan, ti. [Form of plantain.] A tropical, tree-like, perennial herb, noted, among other things, for its properties of stanching the flow of blood, or of closing wounds. See note on 2. 7. 121. Play, V. To contend for exer- cise or pastime with swords, rapi- ers, or sticks ; to fence. Obs. or arch. 2. 7. 3. Pleasant, a. fMerry, facetious. 2. 5. 17. Pockie, a. fAs a coarse expres- sion of reprobation, or merely in- tensive ; vile, contemptible. 5. 3. 84. Poise, v. fTo balance, equal, match. 1.4.42. Posie, n. Arch, or dial. [A form of posy, syncopated form of poesy.] fA motto or short inscrip- tion. See note on 4. 5. 53. Possest, ppl. a. Inhabited and controlled by a demon or spirit ; mad, crazy. 5. 2. 14. Pottle, n. A measure of capacity for liquids (also for corn and other dry goods), equal to two quarts; now abolished. 4. 3. 34. Powder, n. Obs. exc. dial. ['Origin unascertained. Identity with powder (i) is, from the sense, improbable.' — A''. E. D.] An impe- tus, rush ; force, impetuosity. Chiefly in phr. with a powder, im- petuously, violently. See note on I. 1.43. Pox, n. fUsed in imprecations, or exclamations of irritation or of impatience; as a pox upon; a pox a God on. i. i. 8. Practise, v. fTo attempt, en- deavor, try. I. 2. 30. Praecisianism, n. The practice or conduct of a precisian; orig. The Cafe is A Herd applied to Puritanism. See note on 2. 3. 26. Prefer, v. To recommend. Obs. or arch. i. i. 37. Presently, adv. Immediately. Obs. or arch. 1.5. 147. Presto, adv. An interjection. Commonly used by conjurers and jugglers in various phases of com- mand = immediately, instanter. i. I. 21. Prety, a. [Form of pretty.] fClever, excellent, shrewd. 1. 1. 38. fPrincocks, n. [Form of fprin- cox.] A pert, forward, saucy boy or youth. 5. 3. 17. fPristmate, n. [Form of fpris- tinate.] The first or original state. Rare. i. 2. 7. Prithee, int. phr. Arch. A col- loquialism for '(I) pray thee.' i. 2. 2. Prithy. 5. 3. 49. Prize, n. fA contest, competi- tion, match. 2. 7. 17. Procliue, o. Obs. or arch. Has- ty, forward, precipitate, i. 5. 85. Proiect, n. PObject. 4.8.47. . Proper, a. Of goodly appear- ance, well-formed, handsome. Arch. and dial. 5. 3. 29. Protract, v. fTo extend or pro- long time so as to cause delay; to v-aste time. 4. 2. 48. Proude, a. [Fr. preux, valiant.] t Valiant, brave ; mighty. 3.4.51. Proue, V. To experience, suffer. Arch. 4. 8. 51. Puh, int. Obs. form of pooh. I. 2. II. Pure, a. Fine, capital, excellent. Slang or colloq. ( Porig. ironical). Now rare or obs. See note on 5. 5-79- Put, V. fPhr. put down: To excel or surpass by comparison. 4. 2. 64. Quality, 71. fProfession, busi- ness. 2. 7. 5. Quick humor'd, a. Lively ; char- acterized by physical or mental live- liness or sprightliness. i. 5. 157- Quiddit, n. Now arch. = quid- dity: A subtlety or captious nicety in argument ; a quirk, quibble. 2. 2 31. Quoth. [Preterit of quethe, to say.] Said. ['Used with sbs., or pronouns of the first and third persons, to indicate that the words of a speaker are being repeated.' — N. E. D.] 4. 3. 33. fRacket, v. trans. To toss or bandy about. 4. 7. 131. Rakehell, n. Arch. A thorough scoundrel or rascal. 4. 7. 57. Rapt, ppl. a. [From rape.} En- raptured, ravished, transported, i. 4-43- Regard, v. fTo look after, take care of. 4. i. 46. Religion, n. fThe sense of any holy obligation ; duty and awe paid to things held sacred. 5. 4. 16. Reluolue, v. [Form of revolve.] t(?) To upset by revolution. 4.7. 102. Resolue, v. i. To decide or de- termine. 2. I. 58. 2. To answer a question ; to solve a problem ; to explain. 2. 7. 4, 13 (? finform). t3. To be satisfied or convinced. 4. 8. 92. Resoule, v. 2. i. 58. See Re- solue. Glossary 203 Respect, n. fPhr. in respect of: In view of, by reason of or because of. I. 5- 130. Respect, v. To regard, consider, look upon, as being of a certain kind. Rare. 4. 4. 28. Respectue, a. [Form of respec- tive.] fRespectful, courteous. Very common 1600-1650. i. i. 47. Responsible, a. fCorrespondent or answering to something, i. 4. 44. Rest, n. fPhr. to set up one's rest: To take up one's permanent abode. See note on 1. 1. 122. Retort, V. To repay, i. 5. 100. Right, adv. i. Exactly, precisely. Dial, or arch. i. i. 34. 2. With adj.: Very. Arch. 2.6. 32. Rooke, n. fA gull, simpleton, i. 5-22. Rude, a. i. Ignorant, uncultured, unmannerly. 2. 7. 73. 2. Ungentle, violent. 4. 4. 30. 3. Of sounds : Discordant, harsh. 5- 4- 65. Rug, n. t'A rough woolen ma- terial, a sort of coarse frieze, in common use in the i6-i7th c' — N. E. D. 4. 7. 99. Rule, n. fMisrule, disorder. 5. 5. 57- Sad, a. fSerious, sober, grave. I. I. 139. Sadnesse, n. fi. Seriousness, gravity, i. 5. 153. ■\2. Phr. in good sadness: In earnest, not joking. 4.8. 107. Satrapas, n. [Form of satrap.] A governor of a province under the ancient Persian monarchy, i. 5.258. Saue, (\ndis\-prep. Except. i. Often strengthened by the addition of only. 4. 7. 139. 2. Followed by the Nom. of a pro- noun. 5.2.21. Sauiour, n. [Form of savor.] Odor, smell. Poet, and arch. 4. 8.39- Sauour'd, ppl. a. fPerceived, ap- prehended. 2. 4. 17. Say, V. Speak. [Used with well, true, truly.] Somewhat arch. 2. 7- 151- fSbloud, int. [ Yale Studies in English XLIX. The Later Version of the Wycliflfite Epistle to the Romans, compared with the Latin Original : A Study of Wycliffite English. Emma Curtiss Tucker, Ph.D. $1.50 L. Some Accounts of the Bewcastle Cross between the Years 1607 and 1861. Albert Stanburrough Cook. $1.50. LL The Ready and Easy Way to Establish a Free Common- wealth, by John Milton, edited with Introduction, Notes, and Glossary. Evert Mordecai Clark, Ph.D. $1.50. LIL Every Man in his Humour, by Ben Jonson, edited with Intro- duction, Notes, and Glossary. Henry Holland Carter, Ph.D. $2.00. LIII. Catiline, his Conspiracy, by Ben Jonson, edited with Intro- duction, Notes, and Glossary. Lynn Harold Harris, Ph.D. $2.00. LIV. Of Reformation, touching Church-Discipline in England, by John Milton, edited with Introduction, Notes, and Glossary. Will Taliaferro Hale, Ph.D. $2.00. LV. Old English Scholarship in England from 1566 to 1800. Eleanor N. Adams, Ph.D. $2.00. LVI. The Case is Altered, by Ben Jonson, edited with Introduction, Notes, and Glossary. William Edward Selin, Ph.D. $2.00. Deacidified using the Bookkeeper proce; Neutralizing agent: Magnesium Oxide Treatment Date: Feb. 2009 PreservationTechnologie A WORLD LEADER IN COLLECTIONS PRESERVATII 111 Thomson Park Drive Cranberry Townstiip, PA 16066 (724) 779-2111