ACT TWO
2.1*n6042
ACT. II. Scene I.
n6041
Act 2 consists of one long scene, set in the Temple Walks, during which a number of important characters and plot-elements are introduced. It begins with Oliver, Ambrose and Valentine discussing the ‘new ordinary’ of the play’s subtitle, which will be introduced on stage in Act 3; Vermin then enters and is taunted about the loss of his daughter, who has run away to avoid being married to Sir Amphilus. Vermin storms off, but returns later when the gallants have gone, only to be accosted by Sir Amphilus and his manservant Trebasco, who have arrived in London in advance of the wedding. They are then joined by Brookall, a gentleman who has been cheated out of his land by Vermin, and the beggar Phyllis. The scene concludes with an exchange between Valentine and Brookall, and Valentine’s reluctant agreement to duel with Brookall, who believes that Valentine is involved with his son’s disappearance from the Temple.
The scene is important in terms of the development of the plot, featuring the first appearances of three important characters: Sir Amphilus, a major comic character; Brookall, whose financial ruin propels much of the plot; and Phyllis, who will play an important role later in the narrative. It is also a key scene in terms of many of the play’s particular preoccupations: nationality and accent; the representation of poverty and its relationship with the law; and an almost symbolist approach to character. It is also typical of Brome’s bravura handling of large-cast scenes, with their ebb and flow of characters exiting and entering, their crescendos and diminuendos, and their subtle (and not so subtle) shifts in tone. In order to examine these aspects of Brome’s dramaturgy, we worked in detail on the section running from just before Vermin’s abrupt exit in the face of the gallants’ mockery [DM 2.1.speeches240-242] to the re-entrance of Valentine to Brookall [DM 2.1.speech375], see this extract for a run-through of the entire section, and see below for more detailed commentary.
[Enter] OLIVER [and] AMBROSE.*n6043
Oliver. Ambrose.
177OliverAnd why this
gullery†gs810
usually means deception or trickery (an attempt to gull or trick), but given Ambrose’s reply it may also mean foolishness (‘gull’ also means a foolish person)
to me, good Ambrose?
178AmbroseI swear I am serious, and you may believe it.
179OliverWhat, that there can be in the world an
ass†gs811
fool, conceited person (OED n1, 2)
(Wert thou a fool to credit it) that would keep
A house, by way of public
ordinary,†gs1572
an establishment where meals were provided at a set price; OED notes that in the seventeenth century ‘the more expensive ordinaries were frequented by men of fashion, and the dinner was usually followed by gambling; hence the term was often used as synonymous with “gambling-house”’ (OED n, 11c)
For fashionable guests and
curious†gs812
particular, fastidious, choosy (OED a, 2)
stomachs,
The daintiest palates, with rich wine and
cheer,†gg1410
what is provided by way of entertainment: fare, provisions, viands, food (OED n, 6a)
And all for nothing, but
all’s paid and welcome?*n6044
A conventional phrase in the context of eating and drinking establishments: compare Middleton, Your Five Gallants (Queen’s Revels, c. 1607), in which Goldstone asks ‘what’s to be done, sirs?’ and the Vintner responds, ‘All’s paid, and your worships are welcome, only there’s a goblet missing, gentlemen, and cannot be found about house’ (2.4.351-4). Brome uses this phrase elsewhere, in The Court Beggar, where Raphael, chiding Lady Strangelove for her ‘spirit of scorn’ tells her that she has ‘won the title of the Humorous Lady by’t, and drawn a scorn upon yourself’; she responds, ‘Why then all’s paid and welcome, good Sir Raphael’ [CB 2.1.speeches257-258].
180AmbroseVal Dryground told it me, whose
truth†gs813
truthfulness
deserves
So well my
credit,†gg4051
belief, trust
that prove you it false
I’ll pay all ord’naries and
tavern†gg4052
taverns normally sold wine but not food (as opposed to an ordinary, which primarily sold food), and provided lodging
reckonings†gg4053
bills
You shall be at this twel’†gg4054
twelve
month.
Of
all the mockeries,*n6045
Oliver seems to refer to practical jokes paid on tradesmen, when the ‘clients’ to whom they are sent turn out to be merely domestic animals.
the ape, the ram, the horns,
The goat, and such
tame†gs814
domestic, domesticated; familiar; insipid
monsters, whom poor wits
Have sent wise tradesmen to, as to a knight,
A lord, or foreign prince, to be his
mercer,†gg453
a person who deals in textiles, especially silks, velvets, etc.
His tailor, sempster,†gg452
a person whose occupation is sewing
milliner,†gg931
seller of fancy goods and apparel, particularly hats
or barber,*n6046
i.e. the tradesmen are sent to knights, lords and princes, and believe that they will be employed by them.
When those that have been mocked still sent their neighbours,*n6047
i.e. even the tradesmen who have made these fruitless errands encourage their neighbours to do the same thing.
Till half the city have
been*n6048
] bee
fool-found.*n6049
discovered to be idiots
Ha!
Is’t not some such poor
trick?†gs815
hoax, practical joke (OED n, 2a)
182AmbroseHere comes my
author.†gg4055
authority, informant
Enter VALENTINE.
183OliverOh, Master Bridegroom, that stole the wealthy
match!†gs816
advantageous marriage partner
How got you loose so soon? I thought you had been
tied up by the loins,†gg4056
the parts of the human body between the lower ribs and the hip-bones; also used to refer to the genital area and the parts of the body immediately above and below it, as in ‘loin-cloth’
like a monkey,*n6051
Pet monkeys were kept from wandering by means of a leash around their waists; see Anthony van Dyck’s portrait of Henrietta Maria with Jeffrey Hudson (1633; National Gallery of Art, Washington, DC: Samuel H. Kress Collection). Monkeys were also often associated with lust, making the reference particularly appropriate here.
*n6050
i.e. kept occupied with sex.
to the bed-post, for a fortnight at the least. How does old Bumpsey, that
free-cost†gg4057
free, gratuitous (OED a, B): Oliver suggests that Bumpsey only gets drunk when he is getting his alcohol for free
drunkard, thy mad father-in-law, take thy
stol’n†gg4058
stolen
marriage? I am sure he knows
on’t.†gg776
of it
184ValentineHe found ’s abed last night,
i’th’ nick,†gg4059
a slang term for the female genitals (OED n1, 2d; Williams, 2: 947)
*n6052
That is: (1) at the crucial moment; (2) when we were engaged in sexual activity.
as we say. But we are
pieced†gs817
united, in agreement (with sexual innuendo: ‘piece’ can refer to the genitals, or to a person, usually a woman, in a sexual context); ‘peased’ means ‘reconciled’ (OED pease v, 1a), and either spelling might be used here
this morning.
185AmbroseThen he
wrangled†gg4060
disputed, argued
it out
of†gg4061
by
himself. I know his
singular†gg4062
unique; remarkable; strange
humour.†gs818
temperament, disposition
That half until he dies, the rest is mine too.
191ValentineHe’ll spend the
t’other,†gs800
the other (of two) (OED A. 1)
and the same way, he swears.
192OliverHe’ll ne’er keep
covenant.†gg4064
(n) a mutual agreement: (the) bargain
193ValentineI’ll tell you how he
runs at waste*n6053
squanders his money
already:
This morning the
French tailor*n6054
French fashion was widely admired and copied in 1630s England; for further discussion see the Introduction.
brought a gown home,
Of the fashion,*n6055
i.e. fashionably designed.
for my wife; he bought one
Straight,†gg2252
immediately
ready-made,†gg4065
finished, immediately available to wear
for his old gentlewoman,
That never wore so
rich†gs819
costly, splendid, made from superior material (OED a, 5a)
in all her life.
194AmbroseO
brave†gs820
courageous, intrepid (OED a, 1a); splendid, showy (in this context, splendidly or showily dressed) (OED a, 2); worthy, excellent (OED a, 3)
old woman! How will she
carry it?†gg2712
behave
195ValentineI spoke but
of*n6056
Coaches were expensive to obtain and run, having ownership of one was therefore a mark of status or social pretension.
a coach, and he
bespoke†gg5380
ordered
one.
196OliverWonder upon wonder!
Nam†gg4066
a diminutive of Ambrose or Abraham
was telling one
Before thou cam’st.
197ValentineWhat the new
ord’nary?†gg4067
ordinary: an establishment where meals were provided at a set price; OED notes that in the seventeenth century ‘the more expensive ordinaries were frequented by men of fashion, and the dinner was usually followed by gambling; hence the term was often used as synonymous with “gambling-house”’ (OED n. 11.c)
199ValentineThey call him
Osbright.*n6057
The name Osbright may have had associations with disreputable and sexually irresponsible behaviour for at least some of the audience: in a widely circulated story, Osbright, King of the West Saxons, raped the wife of Bruer, one of his nobles, and met his death fighting against invading forces as a result. The story appears in John Foxe’s Acts and Monuments, and in John Speed’s History of Great Britain.
A
brave†gs820
courageous, intrepid (OED a, 1a); splendid, showy (in this context, splendidly or showily dressed) (OED a, 2); worthy, excellent (OED a, 3)
old
blade:†gg4068
gallant, good fellow
he was the
president†gg2460
head (OED n, 2b)
Of the
can-quarrelling†gg4069
not in OED; a ‘can’ is a drinking vessel, so ‘can-quarrelling’ probably refers to alcohol-fuelled aggression
fraternity,†gg4070
brotherhood
Now called the
roaring†gs821
riotous, noisy (‘roaring boy’ was a term for the rowdy young men who are a common feature of Jacobean and Caroline plays)
brotherhood, thirty years since;
But now grown wondrous
civil,†gs822
polite, courteous
free†gs823
frank, open; noble, generous
and
hospitable,†gg4071
welcoming; ‘open and generous in mind or disposition’ (OED a, 2: OED’s earliest citation is from 1655, but this meaning seems to be implied)
Having had
something fallen to him,*n6058
i.e. some financial windfall.
as it seems.
200OliverThat Osbright has been dead these many years.
201ValentineIt was given out so, but he lived
beyond sea*n6059
i.e. abroad, overseas
202OliverThere’s some
strange†gs824
unfamiliar (OED a, 7); unusual, exceptional (OED a, 8); surprising, peculiar (OED a, 10a)
plot
in’t.†gs825
in it
203ValentineO thou
politick†gg4072
shrewd; cunning
Noll!†gg4073
a diminutive of Oliver
204OliverJudge thyself, Val, what can the
mystery†gg4074
secret purpose (OED n1, 6); personal secret (OED n1, 8)
be?
He tells me there’s no
gaming,†gg4075
gambling
so no cheating,
Nor any other
by-way†gg4076
obscure route: figuratively, a disreputable method, a short cut
of expense,
By
bawdry,†gg4077
provision of sex for money
or so, for
privy*n4078
This phrase is not recorded by Dent or Tilley, but the idea has a quasi-proverbial usage in a number of early modern texts. For instance, William Leighton writes in Virtue Triumphant, or A Lively Description of the Four Virtues Cardinal (London, 1603), ‘every virtue finds a vicious foe’ (sig. B2r), and Thomas Jordan in ‘An Elegy on the Death of Mr. John Steward’, in Piety, and Poesy (London, 1643) writes, ‘Virtue seldom goes / By envy unattended’ (sig. D1v). A similar sentiment lies behind the idea that virtue is strengthened by opposition: see, for instance, Robert Herrick, ‘A Panegyric to Sir Lewis Pemberton’, in Hesperides (London, 1648): ‘Virtue dies when foes / Are wanting to her exercise’ (171-2); Charles Aleyn, The Battles of Crecy and Poitiers (London, 1631): ‘virtue gathers heat by having foes’ (sig. B2v).
profit.
I will
unfold†gg4079
explain, make clear
the riddle to you. This feasting
Has been but for three days, and for great persons
That are invited and to be prepared
To
venture†gg1831
(v.) to risk the loss or hazard of something
for a prize. This very night
There will be some great
rifling†gs826
gambling, raffling (‘rifle’ also means to plunder or despoil, and the pun becomes increasingly pointed as The Demoiselle goes on)
for some jewel
Or other rare
commodity†gs827
thing produced for use or sale
they say;
I cannot
name*n6060
Name it.
’t. ’Tis
twenty pound a man.*n6061
£20 was equivalent in terms of spending power to approximately £1700 in today’s currency.
206OliverIs not that gaming,
prithee?†gg262
(I) pray thee: (I) ask you; please
But,
hitherto,†gg1301
until now
nor dice, nor cards, nor
wench†gs828
young woman; (in this context) prostitute
Is seen i’th’ house, but his own only daughter.
208OliverOh! Has he daughter there? Mark that, Nam.
No gaming say’st thou?
’Ods me,†gs829
a mild oath: possibly a contract of ‘God save me’ (‘’Od’ is frequently used as a euphemism for ‘God’); Brome also uses it in The Northern Lass
and they play not
At
the old game†gs830
prostitution (Brome uses this phrase in the same way in The Queen and Concubine [QC 5.2.speech1134])
of old†gg4082
an earlier time
there,
I dare—*n6062
As Valentine assumes, Oliver seems likely to be trying to say ‘I dare be sworn...’
210OliverShe’s too
stale,†gg4083
old, past a marriageable age; no longer fresh
is she?
’Tis above twenty years since he went over,
And was reported dead (they say) soon after,
In France, I take it. But, then, it seems, he lived,
And got this
damsel†gg4084
young, unmarried woman
there? Is she French-born?
English but
brokenly.†gg4085
imperfectly
But for French behaviour
She’s a most complete
demoiselle,†gs831
young woman (Valentine deliberately uses the French word, picking up Oliver’s ‘damsel’)
and able
To give instructions to our courtliest†gg4087
having the manners or breeding appropriate for the court (OED courtly a, 2a); refined, elegant
dames.*n6063
Tuition in French accomplishments, style and manners was popular in the 1630s, and it appears in a number of plays. Another detailed portrait of this trend can be found in Brome’s The New Academy, written a few years before The Demoiselle, and female academies appear (usually as the subject of satire) in plays including Jonson’s The Devil is an Ass (King’s Men, 1616). For further discussion see the Introduction.
Enter VERMIN [and FIRST] SERVANT.*n6064
] Enter Vermine. Servant.
214VerminThou hast
undone†gg1946
ruined, destroyed
me,
villain.†gg2620
scoundrel, rascal (with imputation of low social status)
215[First] ServantOut, alas!†gg4088
exclamation indicating indignant reproach or outrage (OED int. 1)
I was as ignorant of the deceit,
As your own innocent
worship†gs776
a title of honour, used to address people of high status (OED n, 5a)
ever was
Of
cozening†gs832
cheating, defrauding
any man of land or living.
216VerminWas ever man so cursed in his children!
217Valentine’Tis the
wretch†gg4089
vile or contemptible person (OED n, 3); miser (OED n, 4); OED’s post-medieval examples of the latter meaning are largely Scottish, but this sense is found elsewhere, as in Abraham Fleming’s A Memorial of the Famous Monuments and Charitable Almsdeeds of the Right Worshipful Master William Lambe Esquire (London, 1580), sig. B1v: ‘Do you not remember that the Holy Ghost speaketh of a covetous miser, a wretch, a worldling, one that very busily occupied his head about enlarging his barns, that his soul might be more merry in the middest of his abundance’
Vermin.
218OliverWhat makes he here,
trow,†gs833
do you think
in the
Temple Walks?*n6065
The grounds of the Inner Temple and Middle Temple, two of the four Inns of Court where law was taught and practised; this area was a legal sanctuary where people could not be arrested for debt.
219ValentineWhat should he do elsewhere, when
law’s his lechery?*n6066
i.e. law is the thing he lusts for, or is his equivalent of lustful behaviour.
The
Devil’s itch†gg4090
venereal disease (itching is a symptom of scabies, which was often confused with syphilis)
dry up his
marrow†gg4091
bone marrow; the tissue of the bones; vitality and strength (OED n1, 3c); semen (Williams, 2: 857-8)
for’t.†gg2370
for it
He
undid†gg4092
ruined
a worthy gentleman I know.
220OliverAye,*n8767
] I
Brookall,
thrusting†gg4093
pushing, forcing
him out of his land.
221AmbroseHe’s
fitted†gs834
answered
with an heir
for’t,†gg2370
for it
one that can
Justly inherit nothing but the gallows.*n6067
i.e. whose behaviour means that he is destined to be hanged.
222OliverWhere’s Brookall’s son? He had a
hopeful†gg3892
promising, ‘giving promise of success or future good’ (OED a, 2a)
one,
And, at sixteen, a student here i’th’
Temple.*n6068
The Inner Temple or Middle Temple, two of the four Inns of Court, where law was practised and studied.
Mere†gs836
pure, absolute; ‘Having no greater extent, range, value, power, or importance than the designation implies’ (OED a2, 5a)
want of
maint’nance†gg4094
maintenance: means of subsistence, financial resources
forced him to
service,†gs837
work as a servant
In which he’s lately travelled into France.
224VerminGo back to the
recorder’s;†gg4095
office of the recorder, a magistrate or judge with responsibility for a city or borough
fetch the
warrant.†gg4096
(n) ‘a writ or order issued by some executive authority, empowering a ministerial officer to make an arrest, a seizure, or a search, to execute a judicial sentence, or to do other acts incident to the administration of justice’ (OED n1, 10a)
I’ll search the
city†gg3452
The City of London, the ancient capital and commercial area with its own system of power and government; often contrasted with the Royal Court, based a few miles down the Thames at Westminster and Whitehall, a rival base of power, authority, and culture.
and the
suburbs†gg4097
areas outside the city walls
for her.
[FIRST] SERVANT [exits].
225[Ambrose]*n6069
] Amp.
But Vermin has a daughter may prove good.
226ValentineA good one
like enough.†gg4098
probably
I’ll lay a
wager†gg4099
bet
To
match†gg1250
(v) marry
his daughter to a
landed†gg1898
possessing land
husband.
This is their walk.*n6071
i.e. the place where they walk
227OliverLet’s try if we can fit†gg1616
(v) punish accordingly (OED v1, 12)
him.
228ValentineThou’lt†gg4102
thou wilt: you will
ne’er endure his breath: it stinks of brimstone.†gg4103
sulphur
*n6072
Usurers are often associated with the devilish in seventeenth-century texts; see the inset masque sequence in Robert Davenport’s A New Trick to Cheat the Devil (Queen Henrietta Maria’s Men, c. 1625-39; printed London, 1639), in which a figure enters ‘with money bags’ and the motto ‘I am an usurer’, to which Slightall responds, ‘I am an usurer, Satan’s eldest son, / And heir to all his torments; thou hast swallowed / Young heirs, and Hell must one day swallow thee’ (sig. F4v).
229OliverI’ll
take the wind*n6073
This phrase has two associations, one with nautical language, in which it means to ‘to get to windward of (another ship) so as to intercept the wind, to get the weather gage of’ (OED wind n, 1 3b), the other from hunting terminology, in which it means to take the scent of (or detect) an animal (OED wind n, 1 4). Brome also uses the phrase in The Queen and Concubine [QC 1.3.speech153].
of him.
[To VERMIN] You are
well met,†gg4104
welcome into our company, fortuitously encountered
sir.
They say you have a daughter you would
match,†gs839
marry advantageously to someone
sir.
230VerminIt may be I have; it may be not. How then?
What’s that to you?
231OliverPray†gg3327
a contraction of 'I pray you', or 'I ask you'
be not angry, sir.
The
worst†gg4105
poorest, least important
of us has land, and may
deserve†gg4106
be entitled to, be worthy of
her.
232VerminPray let me ask you first, if you be not
The
knaves†gg4107
rogues, scoundrels
confederates that stole her from me?
234[Ambrose]*n6075
] Amp.
’Tis the first news we heard
on’t.†gg776
of it
We heard none ill today, but very good,
As that of the new
ordinary—†gs1572
an establishment where meals were provided at a set price; OED notes that in the seventeenth century ‘the more expensive ordinaries were frequented by men of fashion, and the dinner was usually followed by gambling; hence the term was often used as synonymous with “gambling-house”’ (OED n, 11c)
This gentleman had lately with a wife—
It comes from your own mouth, were
e’en†gs841
even: fully, completely (used as an intensifier)
too good
For our belief,
methinks.†gg3925
it seems to me
That your daughter’s gone, lost, or
stol’n,†gg4058
stolen
as you say?
239[Ambrose]*n6077
] Amp.
May we
report†gg4109
relate, give an account of (OED v, 1a)
it
after†gs842
behind (i.e. behind your back); after you have left our company
you, good sir?
That cannot but rejoice at your
affliction,†gg2204
distress, misery
And therefore blameless, that desire
to hear it.*n6078
i.e. to hear about it
242VerminCannot this place, where law is
chiefly†gg4110
pre-eminently, most particularly (OED adv. 1)
studied,
Relieve†gs843
rescue, assist (OED v, 1a); also used specifically to refer to legal relief (OED v, 1d)
me with
so much*n6079
i.e. so much legal support
as may revenge
Me on these
scorners?†gg4111
people who mock or scorn
How my slave
stays†gs844
delays
too!
Yet
I may find a time—*n6080
i.e. the time will come.
[VERMIN] exit[s].*n6081
] Exit.
Enter [Sir] AMPHILUS [and] TREBASCO.*n6083
] Enter Amphilus, Trebasco.
245[Amphilus]*n6084
] Amb.
Trebasco,
skip-kennel.†gg4112
someone who has to jump (skip) over gutters (known as ‘kennels’), ‘a lackey, a foot-boy, a footman’ (OED; earliest citation is from 1668)
246Trebasco[Replies in Cornish.]*n6085
] . . . .
n6086
Oliver’s comment makes it clear that Trebasco’s first lines are in Cornish. Brome apparently relied on Queen Henrietta Maria’s Men to supply the dialogue, although Cornish dialogue does appear in The Sparagus Garden. In this extract from the workshop on the scene he says ‘Soweth, syrra, agas margh yú marow’ (‘Alas, sir, your horse is dead’), and Sir Amphilus reacts emotionally to being reminded of this sad fact. In this extract and in the full run-through of a longer extract from the scene, the Cornish accents of Sir Amphilus and Trebasco are set alongside the middle-class tones of the gallants and Brookall, Vermin’s London accent, and the country lilt that actor Jennifer McEvoy gives to Phyllis.
247[Ambrose]*n6087
] Amp.
It*n6088
The gallants again suggest that Sir Amphilus is something less than human; ‘it’ can also be used as patronising baby-talk: compare Elder Loveless in Beaumont and Fletcher’s The Scornful Lady (Queen's Revels, c. 1610; revived frequently by the King’s Men in the 1630s), who tells the Lady,
You were the prettiest fool to play withal,
The wittiest little varlet, it would talk,
Lord, how it talked, and when I angered it
It would cry out, and scratch, and eat no meat,
And it would say ‘Go hang -’ (4.1.143-7).
speaks,
methinks.†gg3925
it seems to me
249ValentineI know him: ’tis the
wise*n6090
The word is used ironically.
western†gg4113
from the west of England
knight that should
Have married Vermin’s daughter.
250AmphilusSkip-kennel, you shall turn
footman,†gg4114
attendant or foot-servant, especially a servant who runs before his master’s carriage (OED 3)
now,
skip-kennel.†gg4112
someone who has to jump (skip) over gutters (known as ‘kennels’), ‘a lackey, a foot-boy, a footman’ (OED; earliest citation is from 1668)
I’ll
ne’er†gg2599
never
keep horse
more—†gg4115
any more
251TrebascoYou must be
footman†gs847
someone who walks on foot
then yourself, sir.
253TrebascoYou need not, sir, now you
be†gg4116
are
determined to marry and live here i’ the city
altogether.†gs848
permanently (OED a, 3)
And truly, sir, she could never
ha’†gg4039
have
died better, nor been taken from you (as they say) in a better time, so near her journey’s end.
255AmphilusWas it
well done†gg4117
appropriate, fitting, morally good
of her, dost think, to die today upon the way, when
she*n6091
i.e. the money that he would have got for her
had been i’ my purse tomorrow in
Smithfield?*n6092
London’s main meat market
Poor
fool,†gs849
used as a term of endearment or pity (OED fool n1, 1c)
I think she died
for†gs850
on account of
grief I would ha’ sold her.
256Trebasco’Twas unlucky to refuse
Reynold Pengutling’s*n6093
Reynold Pengutling is probably devised by Brome as a typical-sounding Cornish name. ‘Pen’ (meaning ‘end’, ‘head’ or ‘headland’) is a common prefix in Cornish surnames, cf. the widely circulating rhyme, ‘By Tre, Pol, and Pen, / You shall know the Cornishmen’ (see Thomas Fuller, The History of the Worthies of England who for Parts and Learning have been Eminent in the Several Counties [London, 1662], p. 197).
money for her.
257AmphilusWould I had
taken’t†gg4118
taken it
now. And she had not died mine own, ’twould ne’er have grieved me.
258TrebascoPray
bear†gs851
endure
it, sir, as they say—
We are all mortal,*n6094
This does not appear in Dent or Tilley’s collections of proverbs, but it is a cliché with a quasi-proverbial force. In the popular King’s Men play The Merry Devil of Edmonton, first performed c. 1603 but revived and performed at court in February 1631 and November 1638, the parson Sir John’s catchphrase is ‘Grass and hay, we are all mortal’, and the hero of Chapman’s Sir Giles Goosecap (Chapel Children, 1601-3, but published in 1636 with a title-page attribution to Salisbury Court) also (over-)uses the phrase ‘we are all mortal’.
you know, and
her time*n6095
i.e. time when she was fated to die.
was come, we must think.
259AmphilusAnd ’t had not been the first loss that
e’er†gg4119
ever
I had in my life, I could ha’ borne it.
260TrebascoAnd
grace og†gg4120
by the grace of God: og is a variant on ‘gog’, a corruption of ‘god’ used in oaths
(as they say) it shall not be the last.
261AmphilusI would thou couldst ascertain me that, but mischiefs are
tailed†gg4121
joined on behind, annexed
to one another, and I must grieve as well
for the what’s to come as the departed.*n6096
i.e. for the mishap that may befall me, as well as for the deceased.
262OliverWe will have a bout†gg4122
contest, match: often used to describe a round at fighting or a trial of strength (OED n, 2 3a)
with him.n6097
At this point the gallants move in on Sir Amphilus. This might be handled in a variety of ways on the stage, but see this clip from the workshop on the scene, in which Alan Morrissey, Beth Vyse and Olivia Darnley, reading Valentine, Ambrose and Oliver, encircle Sir Amphilus (Mike Burrell) and Trebasco (Joseph Thompson). Trebasco responds to this by trying, unsuccessfully, to manoeuvre Sir Amphilus away.
Who is departed, sir?
263AmphilusMy mare, my mare sir. ’Twas the
prettiest†gg4123
cleverest, most able (OED a, 1a); most attractive (OED a, 2a); most pleasing (OED a, 3b); boldest, most gallant, most admirable (OED a, 3a)
tit—†gs852
horse, nag: originally used to describe a small breed of horse, or an immature horse (OED n3, 1a); also used to refer to a girl or young woman (OED n3, 2a)
But she is gone—
265Trebasco [To Sir AMPHILUS] You will not talk to ’em.
267TrebascoSir, as it were, because she could go no further.
268ValentineGood angry man, give us
leave†gg885
permission
to talk with thy master.
269OliverGood sir,
a little more of*n6098
i.e. talk a bit more about
your mare.
270TrebascoI would you
had her all*n6099
i.e. had all of her body (deliberately misunderstanding Oliver’s ‘a little more of your mare’ [DM 2.1.speech269]).
to do you good,*n6100
Two meanings apply: (1) to show kindness to you; (2) and much good may it do you.
sir: she lies but a quarter of a mile beyond
Brainford.*n6101
A town in Middlesex, to the west of London on the Thames, now known as Brentford; Brainford appears in a number of other plays of this period, and it is often associated with illicit sexual activity. In Massinger’s The City Madam (King’s Men, 1632), Luke accuses Goldwire of keeping ‘your punks at livery / In Brainford, Staines and Barnet’ (The Plays and Poems of Philip Massinger, ed. by Philip Edwards and Colin Gibson 5 vols [Oxford: Clarendon Press, 1976], vol. 4, 4.2.85-6), and a lyric in Thomas Ravenscroft’s Pammelia (London, 1609) runs, ‘Go no more to Brainford, unless you love a punk, for that wicked sinful town hath made me drunk’ (sig. C1v). See Sugden, Topographical Dictionary, 73, s.v. Brainford.
271ValentineDid you leave skin and shoes and
all†gg4124
everything
behind, sir?
272TrebascoShoes
all behind?*n6102
Trebasco deliberately misunderstands Valentine and interprets his statement as meaning that all of the mare’s four horseshoes were worn on her hind-legs.
I thought how wise you were.*n6103
Either (1) I thought you were wiser than that, or (2) I thought you had that little wisdom.
[To Sir AMPHILUS] Come away, master.
[To VALENTINE] No, while she lived, she never wore but
two*n6104
i.e. two shoes (one on each hind-leg).
behind, sir.
273OliverGramercy,†gg1450
thanks
honest†gs853
suggests appreciation or praise, but can also be said with a patronising air to a social inferior (OED a, 1c)
fellow, thou hast wit in thy anger.
274AmphilusSirrah,†gs324
sir (authoritatively or contemptuously); often addressed to a boy or servant
answer not the gentleman so
snappishly.†gg4125
peevishly, abruptly
275TrebascoHow can I choose, when they do nothing but make a fool of your worship before your worship’s face, and your worship
perceives†gg4126
sees, realises
it not.
276ValentineGood sir, fall from your man to your beast again.
280AmphilusThese were her shoon, gentlemen,n6108
In this extract from the workshop, intimacy is created between Sir Amphilus and the gallants as they gather around him and he tells them the sad story of his horse’s death; nonetheless, their mocking amusement is plain.
I’ll keep ’em for her sake, that little tit, my little poor
gonhelly,†gg4129
a Cornish term for a pony (OED’s earliest citation is from 1640)
that would have carried me on
this little iron*n6109
i.e. these horseshoes
from
Penzance*n6110
One of the major towns of West Cornwall, which became wealthy during the seventeenth century as a result of the local mining industry. Brome also mentions Penzance in The Court Beggar [CB 2.1.speech201].
to
St Columb*n6111
Sir Amphilus is probably referring to St Columb Major, a town to the east of Newquay in Cornwall, around 40 miles by road (or 35 miles as the crow flies) from Penzance. (There is also a St Columb Minor, just outside Newquay.)
on a day. And that’s a
way†gs856
road, path
would
try†gg1932
test
a
stumbler,†gg4130
someone or something that stumbles, especially used of horses
you’ll say, if you know it.
281Valentine’Tis enough. I know you, Sir Amphilus, and have
fooled†gg4131
played; behaved like a fool
enough with you.
Adieu;†gg4132
goodbye
my
business†gs806
affairs, concerns, tasks to attend to
calls me. Gentlemen, will you meet me tonight at the
ordinary?†gs1572
an establishment where meals were provided at a set price; OED notes that in the seventeenth century ‘the more expensive ordinaries were frequented by men of fashion, and the dinner was usually followed by gambling; hence the term was often used as synonymous with “gambling-house”’ (OED n, 11c)
[VALENTINE] exit[s].*n6112
] Exit.
282OliverYes, and perhaps, be there before you too.
Come, Ambrose—
[OLIVER and AMBROSE exit.]*n6113
] Exeunt.
283AmphilusOdd†gs858
peculiar, eccentric (OED a, 9a)
gentlemen, methinks.
284TrebascoWhy did you talk with ’em? What had you to make with*n6182
That is: to have to do with (OED make v, 1 57); ‘to side with, make common cause with’ (OED to make with 2)
’em?n6181
The exchange between Trebasco and Sir Amphilus following the departure of the gallants might be played in a variety of ways. In this extract from the run-through of the full sequence from Vermin’s first exit, Joseph Thompson, reading Trebasco, maintains a certain degree of anger at Mike Burrell’s Sir Amphilus, whereas in this earlier version he quickly becomes more relaxed and tolerant.
285AmphilusTrue, we have other
matters†gg4143
things, concerns
to think on. Your first
course,†gs859
action
Trebasco, after we come to our
lodging,†gg4144
accommodation, lodging-house
shall be to
Turnbull*n6183
A street in Clerkenwell, London, now (and originally) known as Turnmill Street (Sugden, Topographical Dictionary, 533, s.v. Turnbull Street). Turnbull Street was a notorious location for brothels (Sugden describes it as ‘the most disreputable street in London’), and it is often used as a byword for rowdy and promiscuous behaviour. See, for instance, Beaumont and Fletcher, The Scornful Lady (in Bowers, gen. ed., vol. 2), in which Savill complains ‘here has been such a hurry, such a din, such dismal drinking, swearing and whoring, ’thas almost made me mad: we have all lived in a continual Turnball Street’ (3.2.143-5). The ambiguity about the keeping of dogs and women which we find in The Demoiselle also appears in Brome’s The New Academy; see [NOTE n5188]. See also Wat’s comment of Sir Amphilus in 1.1, ‘Cheap whores and duck-hunting: / There’s his delight indeed’ [DM 1.1.speech75].
Street, to the cobbler.
287AmphilusYes, and see how my
whelp†gg4145
puppy
proves I put to him last
term.†gg408
'each of the periods (usually three or four in the year) appointed for the sitting of certain courts of law, or for instruction and study in a university or school' (OED n, 5a) which also dictated busy periods in London in terms of business and pleasure
289AmphilusAnd know of him what
gamesters†gg4146
gamblers; those who engage in sexual ‘play’
came to the ponds nowadays, and what good dogs.
292TrebascoNever
misdoubt,†gg4147
doubt
your whelp’s right, I
warrant†gg859
assure, promise
you, for why, he could
lap before he could well go,*n6186
i.e. drink before he could walk.
and at ten weeks old he
could piss under leg.*n6187
Trebasco seems to mean that the puppy could urinate as most dogs do, by lifting his leg.
293AmphilusHe was a
fine†gg4148
skilful, accomplished; excellent
forward†gs861
eager; precocious
puppy, true enough. But and that be a sign of short life, and he should
peak†gg4149
languish, become sickly (OED v1, 3)
away after my mare now— Here,
prithee,†gg262
(I) pray thee: (I) ask you; please
take her
shoon†gg4128
shoes (in this period a marker of northern or southern English dialect speech, or a poetic archaism)
again. What should I keep ’em for? They put me too much in mind of
mortality.†gg4150
loss of life, an abnormal frequency of death (OED n, 2a); the fact that living beings are mortal
Do ’em away, make money of ’em, and I’ll
convert it*n6188
i.e. have it made
into a dog-collar—
Enter VERMIN [and FIRST] SERVANT.*n6189
] Enter Vermine. Servant.
294TrebascoI’ll
try the market*n6190
i.e. see whether I can sell them.
with ’em.
295VerminThe frumping†gg4151
mocking, scoffing (OED)
jacks†gs862
fellows, knaves (OED n1, 2a)
are gone—n6191
In this extract from the workshop on this scene, Philip Cumbus speaks Vermin’s words as an expression of his relief that the persecuting gallants are no longer there to mock him.
296AmphilusSee my
aldermanical†gg4152
like an alderman (OED lists only this example, and I have not found any others)
n6192
Sir Amphilus clearly enjoys long, polysyllabic words (see also ‘cittner’ and ‘abomination’), something that is captured nicely by Mike Burrell in this workshop extract.
father-in-law! How d’ye do sir? I am come. I
keep my day,*n6193
That is: keep my appointment (with financial undertones; to keep one's day also means to pay one’s debts on time).
you see, before I am a
citiner†gg4153
citizen: according to OED, in Scots and Northern English dialect, but it is used in other London-based comedies, often with a mocking undertone: compare Chapman, Jonson and Marston, Eastward Ho (Queen’s Revels, 1605), in which the aspiring citizen’s daughter Gertrude tells her mother, ‘you talk like yourself and a cittiner in this, i’faith’ (Eastward Ho, ed. R.W. Van Fossen [Manchester: Manchester University Press, 1979], 5.1.141-2), and Dekker and Webster, Northward Ho (Children of Paul’s, 1605), in which Bellamont comments, ‘when your citizen comes into his inn, wet and cold, dropping, either the hostess or one of her maids warms his bed, pulls on his night-cap, cuts his corns, puts out the candle, bids him command ought if he want ought: and so after master citiner sleeps as quietly as if he lay in his own low-country of Holland’ (Bowers, ed., vol. 2, 5.1.66-70).
among you. How does my best beloved, I pray, your daughter? You do not speak, methinks.
297VerminAsk you for my daughter? Let me ask you first what was your plot to put me in this fright, to make me
trudge†gg4154
walk laboriously or wearily (OED v1, 1)
to your inn, whilst
knave†gg779
rogue, scoundrel
your man here— Is not this he?
299VerminHaving first left a bag of
trumpery†gg790
trifles, rubbish
with me – stones and
old iron*n6195
An ironic repetition of Sir Amphilus’ descriptions of his horseshoes, as Sir Amphilus himself recognises in the following lines.
– steals away the
baggage.†gs863
good-for-nothing, strumpet (punning on baggage as ‘luggage’ – one baggage has been exchanged for another)
300AmphilusThis is
abomination!†gs864
a terrible thing to have happened
What inn? And what old iron? I
came at*n6196
i.e. went to.
no inn today, nor
touch old iron but that with sorrow enough— My poor mare’s shoes;n6197
Sir Amphilus probably gestures at the horseshoes at some point during this statement. In this extract from the workshop on this scene, the shoes are in Trebasco’s shirt pocket, so Sir Amphilus places his hand on Trebasco’s chest, a gesture which is sympathetically received by Trebasco, who puts his hand on Sir Amphilus’s.
she left me at her sad decease
to*n6198
i.e. at
Brainford. I had rather
ha’†gg4039
have
lost the best part of five
mark,†gs865
marks: gold or silver coins worth about thirteen shillings and four pence (OED n2, 2a)
iwus.†gg4155
iwis (certainly, indeed, truly); I have kept the octavo’s spelling in case it gives a clue to the pronunciation
From whence I came by water, landed here at the Temple,
to*n6199
i.e. in order to
leave a letter
to*n6200
i.e. at
a kinsman’s chamber,
now right as sure as can be.*n6201
i.e. certainly, undoubtedly
Say,*n6202
i.e. tell him
Trebasco.
304AmphilusAll ill go with her.*n6203
i.e. may she suffer every misfortune.
Did not I say I should hear of more mischief, and that one was ever
tailed†gg4121
joined on behind, annexed
to another?
305TrebascoYou said so indeed, but
if she had been tailed to your mare I should have seen her, sure, when I stripped her.*n6204
That is: if Alice had been attached to the horse, I would have seen her (Alice) when I groomed her (the mare) at night (with a pun on ‘stripped’ which leaves the referent of ‘her’ ambiguous).
306VerminThis is the day of my
affliction,†gg2204
distress, misery
This day I’ll
cross out of my almanac†gg1376
book of tables, containing a calendar of months and days, with astronomical data and calculations, ecclesiastical and other anniversaries, besides other useful information, including astrological forecasts of good days for special occasions like weddings
*n6205
Vermin claims that this day has been so distressing that he would prefer to forget about it altogether, by erasing it from his almanac.
For ever having anything to do
on’t.†gs866
on it
Although methinks the day might
serve†gs867
suffice, be of use
as well
To find her, as to lose her, if luck serve.
Best
lose*n6207
i.e. waste
no time, sir.
309[Vermin.]*n6208
] the speech prefix is omitted in the octavo
No, no, we’ll go.
Enter BROOKALL.n6209
Different effects might be achieved in performance depending on where Brookall enters, as three extracts from the workshop on this scene demonstrate. In the first, Vermin makes to leave down-stage right, only to wheel around when Brookall enters up stage right. However, it is more effective if Vermin makes for the door that Brookall is about to emerge from, as in the second and third versions. The comic effect of this confrontation can be heightened or decreased depending on the positioning of Brookall and Vermin, and of Sir Amphilus, and the movement on stage; for a discussion of these issues see this extract from the workshop. The delivery of Brookall’s lines also affects the tone of the exchange. In the first version, the two men confront each other at close proximity, and Brookall (Sam Alexander) spits defiance at Vermin (Philip Cumbus). Brookall’s overt hostility is maintained the in second version, but here the adversaries circle around the bemused Sir Amphilus, and Vermin, increasingly frustrated, eventually takes refuge behind his servant. In the third version, Brookall is more depressive and subdued, and Vermin less panicked, while the reduced mobility of the actors enables a greater degree of pathos to be established.
310BrookallFirst take my
execration†gg4156
curse, utter hatred
with thee, monster.
311VerminHell vomits all her
malice†gg4157
ill-will, hatred; malicious action
this day on me.
312BrookallHell sends by me this
commendation†gg4158
expression of approval (OED 2)
to thee,
That thou hast there a most
deserved†gg4159
rightfully earned, merited (OED ppl. a. 1)
possession†gg4160
piece of property; in legal discourse, exclusive control of a piece of land (OED n, 1b)
That
gapes†gg4161
longs, opens its mouth eagerly
to
entertain†gg777
receive
thee.
313AmphilusWho’s this, a
conjurer†gs869
someone who conjures spirits or devils; a wizard or magician
that knows hell so?
314[First] ServantNo, but a certain
spirit†gs868
soul (i.e. of a deceased person); can also be used to refer to a demon
that my master
Conjured†gg4162
charmed, bewitched; ordered through supernatural means (punning on Sir Amphilus’ ‘conjurer’ (exorcist); [DM 2.1.speech313])
out of his land.
315AmphilusIf you can
conjure,†gs870
cast spells; consult with spirits or devils
Here’s money to be got, sir, but to tell us
What may
be now betid of*n6212
That is: have happened to (see OED betide v, 1).
this man’s daughter?
316BrookallHimself and his
posterity†gg307
descendents
must all
Sink unavoidably†gg4163
inevitably
to hell.
Most
deeply read!*n6471
learned
May not a son-in-law—
318VerminWhy talk you to that railer?†gg4289
someone who rails, or rants abusively (OED n2)
A son-in-law escape in your opinion?
And by his son-in-law, or outlawed, down he must,
If he set
vent’rous†gg4290
daring, bold, adventurous
foot, as his inheritor,
Upon the mould†gg4291
soil
was got by his oppression.*n6472
Brookall argues that through his position as Vermin’s son-in-law and inheritor Sir Amphilus will be doomed to the same fate as Vermin himself. The syntax is rather odd: it is not entirely clear whether ‘he’ in the first line refers to Vermin, who has purchased the land, or Sir Amphilus, who is purchasing his position as Vermin’s son-in-law; ‘his’ in the second line might refer to Vermin but probably refers to Sir Amphilus (‘son-in-law’ should perhaps be in inverted commas); ‘he’ in the third line is Sir Amphilus, but ‘his’ in the third and fourth lines refers to Vermin.
321AmphilusPretty†gs792
clever, crafty, ingenious (OED a, 1); fairly, very (OED adv, 1a)
mad
reason,†gs887
reasoning, thinking (OED n1, 10); statement, remark (OED n1, 3a); ground, cause (OED n1, 6)
methinks! Where’s that land?
322Vermin [To BROOKALL] Sirrah, I’ll
tame†gs888
curb, discipline
thy tongue.
323BrookallNo,
wretch,†gg4089
vile or contemptible person (OED n, 3); miser (OED n, 4); OED’s post-medieval examples of the latter meaning are largely Scottish, but this sense is found elsewhere, as in Abraham Fleming’s A Memorial of the Famous Monuments and Charitable Almsdeeds of the Right Worshipful Master William Lambe Esquire (London, 1580), sig. B1v: ‘Do you not remember that the Holy Ghost speaketh of a covetous miser, a wretch, a worldling, one that very busily occupied his head about enlarging his barns, that his soul might be more merry in the middest of his abundance’
thou canst not,
Nor
fly†gs889
flee, escape
out of the reach of my
fell†gg323
dreadful, terrible; cruel, savage
curses.
That freedom (being all that thou hast left me)
Thou canst not rob me of.
324VerminI shall find
means,†gs890
ways, methods of action; opportunities (OED n3, 3a); resources
Then, to confine it and yourself in
Bedlam.†gs891
an early mental asylum, the Hospital of St. Mary of Bethlehem, situated next to Bishopsgate, on the edge of the City of London (see Sugden, Topographical Dictionary, 53-4, s.v. Bedlam)
325BrookallThou canst not be so
just,†gg4292
fair, righteous
sure, to exchange
Thine own inheritance for mine.*n6473
i.e. Vermin belongs in Bedlam, not Brookall.
A purchase
there*n6474
i.e. in Bedlam
too,
father-’law†gg4293
a contraction of father-in-law
that should be?
327VerminHow am I tortured! I will
fly†gs889
flee, escape
this place.
Enter PHYLLIS, a box*n6476
i.e. money-box, or box for collecting money
in her hand.n6475
Vermin is again prevented from exiting, this time by the beggar-maid Phyllis. As this extract from the workshop suggests, the tone of the scene again shifts, though the extent of the shift would depend on the tone established for Brookall’s condemnation of Vermin (see [NOTE n2609]). In writing Phyllis, Brome teeters on the verge of sentimentality, but the economic verisimilitude with which she is sketched, and her uncanny ability to say exactly the right thing to rile Vermin, give an edge to her appearance here. Jennifer McEvoy, reading Phyllis, gives her a rustic lilt to her voice which suggests that the urban environment is an alien one for her; it also contrasts her effectively with the aggressively urban Vermin.
328PhyllisNay, prithee,
stay†gs238
wait
a little, good old man.
Give something to my box.
329VerminOut on†gg4294
curses upon (OED int. 2)
thee, baggage.†gg294
good-for-nothing; strumpet, whore
330PhyllisA little something, prithee, but a
tester.†gg966
sixpence
332PhyllisThou*n6477
Phyllis deliberately uses the intimate ‘thou’, instead of the more formal ‘you’, as part of her attempt to ingratiate herself with Vermin.
look’st like a good penny-father,†gg4295
man who is careful with money; also OED notes, it is often used in a derogatory sense to mean a miser
A little of thy money would so
thrive†gs801
be successful, prosper
here,
’Twould†gg4296
it would
grow,
by that*n6478
That is: by the time that...
I were ready for a husband,
Up to a
pretty†gs766
considerable, abundant (OED a, 4a)
portion.†gg1143
dowry (monies, goods or lands brought by the wife to augment her husband’s estate on their marriage)
Pray thee now—
334PhyllisIn sooth†gg1015
truly
a gentlewoman, but a
by-blow;†gs892
illegitimate child, bastard (OED n, 1a)
My father is a knight, but
must be nameless.*n6479
That is: (1) his name must remain unknown: he must be left in inglorious obscurity (OED a, 1a); (2) his name must not be given to avoid incriminating him (‘nameless’ also means ‘illegitimate’, recalling ‘by-blow’ in the previous line)
335VerminCan knights
get†gs893
beget, father
beggars?*n6480
i.e. the sons of usurers such as Vermin rise to the status of knights, on the back of their fathers’ wealth.
Nay, prithee, prithee now, gi’ me a tester.
I
ne’er†gg2599
never
ask less: my mother’s a poor gentlewoman
And has no
means†gs377
resources (especially financial)
but what comes
through†gg4297
by means of
my fingers,
And this is all my work. Come,
wring†gg4298
squeeze, strain, force
it out.
Oh, how I love a
hard-bound†gg4299
(1) frozen: compare Nathan Field, A Woman is a Weathercock (Queen’s Revels, c. 1610): ‘Lord, how he labours, like a hard-bound poet, whose brains had a frost in ’em’ (in William Peery, ed., The Plays of Nathan Field [Austin: University of Texas Press, 1950] 3.3.17-18); (2) constipated: compare John Day, The Parliament of Bees (auspices uncertain; printed London, 1641):
Phar[macopolis.] I’ll tell your master, sir, though you’ll take none,
Let me give your steward a purgation.
St[eward]. Why, I am well.
Phar[macopolis.] No, you are too hard bound,
And you must cast me up the fifty pound
I gave you in bribe-powder. (sig. F4v)
money-master,†gg4300
moneylender (OED money a, C2)
Whose
count’nance†gs894
face
shows how
loath†gg1201
reluctant, unwilling (OED a, 4a)
he is to part with ’t!
It comes so
sweetly†gs393
pleasurably (OED adv. 3); delightfully (OED adv. 4); smoothly, easily (OED adv. 5); lovingly (OED adv. 6)
from him, when it comes.
Nay, when? I pray thee, when?
Pish,†gg3269
an interjection 'expressing contempt, impatience, or disgust' (OED)
make an end.
337AmphilusIt is the
prettiest†gg4123
cleverest, most able (OED a, 1a); most attractive (OED a, 2a); most pleasing (OED a, 3b); boldest, most gallant, most admirable (OED a, 3a)
merry†gg4301
pleasing, delightful (OED a, 1a); happy (OED a, 1b); witty (OED a, 4d)
beggar.*n6481
a cliché, and something of an oxymoron; Brome’s own Jovial Crew is subtitled ‘The Merry Beggars’
338VerminHousewife,†gg4302
a worthless or impudent woman or girl (OED n, 2): pronounced ‘hussif’
I’ll
ha’†gg4039
have
you
whipped.*n6482
Whipping was the conventional punishment for beggars.
339PhyllisAye,*n6483
] I
when I beg
i’th’ streets.*n6484
i.e. in the streets of the cities of London or Westminster, outside the sanctuary of the Temple Walks.
I have
allowance†gs647
permission
here, as well as any
Brokers,†gg4303
middlemen in bargains, agents (OED 3)
projectors,†gg4304
promoters of bogus or unsound business ventures; cheats, swindlers (OED n, 1b)
common bail,*n6485
A bail is someone who procures the release of another person from custody or prison by giving security (either money or their own person) for the prisoner’s appearance in court (OED n.1 6). Thomas Blount writes in Glossographia, or A Dictionary (London, 1656), ‘There is both common and special bail; common bail is in actions of small prejudice or slight proof, in which case any sureties are taken; whereas upon cases of greater weight special bail or surety must be given’ (sig. F3r). The term ‘common bail’ is used in some texts to refer to those who make false oaths: see the vision of hell in Dekker’s Dekker his Dream (London, 1620), in which ‘perjured common bail’ mingle
With pettifoggers, that set law to sale
With cauterized consciences; thieves, cheats,
Tradesmen that fed upon the broken meats
Of oaths and rotten wares (sigs. E3v-E4r)
or
bankrupts,†gg4305
insolvent traders or merchants (OED n, 2); people who bring themselves into debt through reckless living, fugitives from their creditors (OED n, 2b)
Panders,†gg4306
bawds, go-betweens
and
cheaters†gg4307
dishonest gamblers (OED 2); swindlers (OED 3)
of all sorts, that mix here
’Mongst†gg4308
amongst
men of honour,
worship,†gg2931
authority (as a man of good repute and standing, fit to be addressed as "Your worship")
lands and money.
[As PHYLLIS speaks,] lawyers and others pass over the stage as conferring two by two.n6486
In the octavo text, this stage direction is located in the right-hand margins of lines 946-9 [DM 2.1.lines946-949]. If the lawyers actually appear as Phyllis describes the ‘Brokers, projectors, common bail, or bankrupts, / Panders, and cheaters of all sorts, that mix here / ’Mongst men of honour, worship, lands and money’ [DM 2.1.speech339] of the Temple Walks, an ironic comparison is set up between her words and the appearance of the ‘lawyers and others’. Something of this effect may be captured in this workshop version of the sequence, in which the ‘lawyers’ are soberly dressed in black overcoats. The direction is the most explicit indication of the symbolism often found in The Demoiselle, which builds on the names of characters such as Vermin, Dryground and Brookall to suggest that the play works in a symbolist manner analogous to the estates satire. On the other hand, however, it might also be used to create realistic ‘colour’ and a sense of the bustle and clamour of the Temple Walks. Brome is at his most Jonsonian here, the movement of bodies around the stage recalling the fair scenes of Bartholomew Fair (Lady Elizabeth’s Men, 1614), or the Paul’s Walk scene in Every Man out of his Humour (Chamberlain’s Men, 1599). In the workshop, we experimented with different ways of presenting the ‘lawyers’. In this version, they pass across the front of the stage, intervening between the audience and the other characters; in these later versions, the diagonals are used. In production, choices have to be made about the extent to which the ‘lawyers’ are engaged by the other characters. In this version, Phyllis accosts them as they pass, trying to persuade them to give her money, whereas in this version, she remains still but nonetheless gestures towards them with her bowl. In both of these versions, the lawyers’ movements centre on Sir Amphilus, and Trebasco again attempts to protect his master from what he perceives to be a threat. If the play were to be staged in a playhouse with a configuration like that of the Salisbury Court, with entry doors placed only at the rear of the stage, diagonals could not be used, and it would be necessary for them to cross the back of the stage, to walk around the edge of the stage, or to circle the other characters before exiting.
*n8768
] Lawyers and others / passe over the Stage / as conferring by / two and two.
341PhyllisI come not
hither†gg1268
here (to this place)
to entrap or
cozen;†gs896
cheat, defraud
My work lies plain before me as my way,
With, ‘will you give me’? Pray thee, hard old man.
343PhyllisWhat though thou com’st to deal†gs897
negotiate, do business
For this man’s land, or sell another’s
right,†gg207
(n) justifiable claim, title
Or else to match thy daughter, if thou hast one
To
this young gentleman—*n6487
This is said ironically or flatteringly to Sir Amphilus.
Thou wilt give me something.
344VerminThe Devil haunts†gg4309
pursues, molests
me.
Thy money such an
idol†gg4277
image of a god or deity
as to think
Thou shalt
dishonour’t,†gg4310
dishonour it
or
impair†gg4311
damage, make less valuable (OED v, 1)
this bargain,
That
match,†gs898
marriage or marriage agreement (OED n1, 8a); bargain (OED n1, 9)
or whatsoever thou hast in
traffic,†gg4312
trade
By parting with a
silly†gs899
insignificant
silver sixpence.
Shalt not,
i’fecks,†gg4313
a very mild oath, meaning ‘in faith’
la,†gg4314
an exclamation used ‘to call attention to an emphatic statement’ (OED int.)
shalt not.
I’ll strike luck to it;*n6488
According to OED, to strike a person luck is ‘to give him a “luck-penny” on making a bargain’ (strike, v. 69.b): a luck-penny is ‘a piece of money given or kept “for luck”’, or ‘a certain sum which local custom prescribes to be returned by the seller to the buyer, esp. in the sale of live-stock’ (luck, n. 5). Phyllis says that by giving her sixpence Vermin will gain better fortune in his business dealings.
Thy match shall
thrive†gs801
be successful, prosper
the better. Look, I have got
Here four and sixpence; prithee
make it a crown.†gg2902
a coin (once gold, subsequently silver) to the value of five shillings (its spending power in terms of the currency of 2009 would be £21.45p)
*n6489
i.e. by giving her the sixpence Vermin will make Phyllis’ total fortune five shillings, the worth of a crown.
’Twill†gg4315
it will
ne’er be missed in thy dear daughter’s
dowry,†gs704
the money or property which the wife brings to her husband; the portion given with the wife (OED dowry n, 2; dower n2, 2)
If (as I said) thou hast one.
347VerminHellish baggage!†gg294
good-for-nothing; strumpet, whore
348Phyllis [To Sir AMPHILUS] He’ll
gi’t†gg4316
give it (i.e. give it to)
me by and by. I prithee find
Thy money out the while.*n6490
That is: get out your money: the use of the word ‘find’ also suggests that Phyllis (rightly) assumes that Amphilus is as miserly as Vermin.
[To VERMIN] Come, out with it, man.
349VerminPull her away.n6491
Vermin may direct this line to his servant, as he does in this extract from the workshop on this scene.
I
fly†gs889
flee, escape
thee, as I would the devil that sent thee.
350AmphilusYes, let’s away,
’tis time;*n6492
i.e. it’s time we went
she
begs*n6493
i.e. she is asking me for money
of me now.
My
pensive†gs900
melancholy, ‘sorrowfully thoughtful’ (OED a, 1); anxious (OED a, 4)
heart by his
vexation.†gg840
trouble, harassment, affliction
She
spake†gg4318
spoke
as
divination†gs901
clairvoyance, supernatural insight
had inspired her
With knowledge of
my wrongs and his oppression*n6497
That is: the wrongs done to me and his oppression of me.
To take my part. Take thou a blessing
for’t,†gg2370
for it
Whoe’er†gg4319
whoever
thou art, whilst I
recalculate†gg4320
go over again, recount, ‘calculate afresh’ (OED) (a very rare word)
The miseries of a distressèd man,
Cast†gs902
thrown; ‘cast’ can also mean ‘beaten in a law suit’ (OED ppl. a, 2), and Brookall may pun on this sense
out of all.
Unhappy†gs903
disastrous, associated with or causing misfortune (OED a, 3)
chance†gg1405
falling out or happening of events; in this context, mischance
of law,
More
false†gg2556
disloyal, treacherous
and
merciless†gg4321
unrelenting, pitiless
than
dice*n6498
i.e. gambling
or
strumpets,†gg4322
prostitutes
That hast into thy
Hydra-throated†gg4323
The Lernaean Hydra was a many-headed beast fought by Hercules as his second labour. As soon as one of the Hydra’s heads was cut off, another one grew in its place, and Hercules only defeated it by using a firebrand to scorch each neck stump after he had cut off a head. Brookall’s allusion to the Hydra suggests the monstrosity of the law, its multiplicity and its imperviousness to attack.
maw†gs904
throat, usually used of a voracious animal (OED n, 1 3a)
Gulped up*n6499
swallowed greedily
my
life’s*n6500
] lives
supportance,†gg4324
means of support
left me nothing,
Not means for one day’s
sustenance,†gg5717
food, nourishment
for breath
To
cry†gg4325
shout indignantly (about), proclaim, pronounce
thy cruelty before my death!
That law, once called sacred, and
ordained†gg4326
appointed, ordered
For
safety†gg4327
protection, safeguard (OED 3)
and
relief†gs905
aid, help, assistance; (especially in legal discourse) deliverance, redress (OED relief n2, 6a)
to
innocence,†gs906
as an adjective: freedom from sin, moral purity (OED 1); guilelessness, artlessness, simplicity (OED 3); as a noun: innocent people
Should live to be
accursed†gg4328
cursed, doomed to misery or perdition (OED ppl. a, 1); hateful, damned (OED ppl. a, 2)
in her
succession,†gg4329
successors, offspring (OED 8); followers (OED 10.b: recorded from 1653)
And now be styled
supportress†gg4330
a female supporter
of oppression,
Ruin of families,
past†gs907
exceeding, surpassing (OED prep, 2b)
the
bloody†gg4331
accompanied by bloodshed (OED a, 4b); blood-thirsty, cruel (OED a, 6)
rage
Of rape or murder, all the
crying†gg4332
shouting, clamorous (OED ppl. a, 1); wailing, weeping (OED ppl. a, 2); notorious (OED ppl. a, 3)
sins
Enter ATTORNEY.
353Attorney [Aside] A man, I hope, for my purpose,n6501
After the intense emotion of Brookall’s speech, Brome again insists on the immediate social and topographical context in his introduction of the corrupt attorney looking for a man to swear a (presumably false) oath. (A nicely amoral urbanity is captured by Anita Wright in this extract from the workshop.) The Attorney’s appearance also has the immediate effect of endorsing Brookall’s view of the law.
and save me
a-going†gg4334
going
to the church*n6502
possibly because he would find desperate people praying there
for one.
[To BROOKALL] Will you make an
oath,†gg4335
‘a solemn or formal declaration invoking God (or a god, or other object of reverence) as witness to the truth of a statement, or to the binding nature of a promise or undertaking’ (OED n, 1a)
sir?
355AttorneyFor
two shillings.*n6503
twelve pence
And it be
half a crown,*n6504
Then equivalent to two and a half shillings, or thirty pence.
my client shall not
stand w’ ye;*n6505
That is: argue with you, haggle (OED stand v, 79).
the judge is
at leisure,*n6506
free, unoccupied
and
the other of our bail†gg4336
someone who procures the release of another person from custody or prison by giving security (either money or their own person) for the prisoner’s appearance in court (OED n1, 6)
*n6507
i.e. the other person who is giving security for the accused person.
is there
already.†gs908
a legal professional who conducts litigation in the courts of Common Law and prepares the case for the barrister, or counsel, who argues the case in open court (OED attorney, n1, 3)
Come, go along.
357AttorneyNo, nor any man we
employ†gg4337
hire, use
in these cases.
358Brookall [Aside] He takes me for a
common†gs909
‘free to be used by every one’ (OED a, 6a); used to describe criminals and offenders (OED a, 8); inferior
bail,*n6485
A bail is someone who procures the release of another person from custody or prison by giving security (either money or their own person) for the prisoner’s appearance in court (OED n.1 6). Thomas Blount writes in Glossographia, or A Dictionary (London, 1656), ‘There is both common and special bail; common bail is in actions of small prejudice or slight proof, in which case any sureties are taken; whereas upon cases of greater weight special bail or surety must be given’ (sig. F3r). The term ‘common bail’ is used in some texts to refer to those who make false oaths: see the vision of hell in Dekker’s Dekker his Dream (London, 1620), in which ‘perjured common bail’ mingle
With pettifoggers, that set law to sale
With cauterized consciences; thieves, cheats,
Tradesmen that fed upon the broken meats
Of oaths and rotten wares (sigs. E3v-E4r)
a
knight o’ th’ post.*n6508
Someone who makes a living by giving false evidence, a false bail.
[To ATTORNEY] Thou art a villain, and
crop-eared*n6509
Cropping of the ears was a punishment for various forms of misdemeanour, including perjury; as Garthine Walker notes, ‘Torn, cropped and amputated ears imparted an explicit message to early modern observers: the owner was literally “ear-marked” for life as one who had been officially punished as a rogue, or a seditious, libellous, fraudulent or perjured person.’ (Crime, Gender and Social Order in Early Modern England [Cambridge: Cambridge University Press, 2003], 91). As Matthew Steggle hints (Richard Brome 132) this may also allude to the fate of William Prynne, whose ears - already trimmed as a result of the reception of his anti-theatrical tract Histriomastix - were cut away completely when he was prosecuted for seditious libel, along with John Bastwick and Henry Burton, in 1637.
I doubt not.
What, darest thou say, thou see’st upon me that—
359AttorneyI
cry you mercy!*n6510
I beg your pardon, forgive me
I must up, I see,
To the old synagogue,*n6512
There were no synagogues in London in the seventeenth century, but an alternative meaning of synagogue is a place of worship (OED synagogue, 3.b), so the attorney probably refers to the Temple church. In A Mad Couple Well Matched, Careless tells Wat that rather than think up schemes to gain wealth he will ‘rather die here in Ram Alley, or walk down to the Temple and lay myself down alive in the old Synagogue, cross-legged among the monumental knights there till I turn marble with ’em.’ [MC 1.1.speech14] The use of the word synagogue implies, through a common, racist stereotype about Jews, the avarice of the people he will find there.
there I shall be fitted—†gs910
supplied, furnished
n6511
This line may be delivered as an aside, as it is in this extract from the workshop on this scene.
[ATTORNEY] exit[s].*n6513
] Exit.
360BrookallCan I appear so
wretched?†gs911
sunk into degradation, vile, despicable
Or can grief
So
soil†gg4338
tarnish, bring disgrace on (OED v1, 3)
the face of poverty, which is virtue,
To make it seem that monster
perjury?†gg4339
the action of making a false oath, or swearing to something that you know is not true
Rather let sorrow
end me all at once*n6514
That is: kill me immediately.
Than virtue be
misconstrued†gg4340
misinterpreted
in my looks,
Which I will hide from such
interpretation.†gg4341
construction put on intentions, etc. (OED 2b)
He lies on his face.n6515
That is: he lies down with his face towards the ground. Compare similar stage directions in Thomas Lord Cromwell (Chamberlain’s Men, c. 1601; printed London, 1602), in which Friskiball despairs of life and, commenting ‘Be patient therefore, lay thee down and die’, ‘He lies down.’ (sig. E1r), and Massinger’s The Maid of Honour (Lady Elizabeth’s Men, 1621-2), in which Bertoldo despairs:
Can it then
Be censured womanish weakness in me, if
Thus clogged with irons, and the period
To close up all calamities denied me
(Which was presented Seneca), I wish
I ne’er had being, at least never knew
What happiness was? Or argue with heaven’s justice,
Tearing my locks, and in defiance throwing
Dust in the air? Or falling on the ground, thus
With my nails, and teeth to dig a grave or rend
The bowels of the earth, my stepmother,
And not a natural parent? Or thus practise
To die, and as I were insensible,
Believe I had no motion? Lies on his face.
(Edwards and Gibson, eds., vol. 1, 4.3.21-34)
Brookall may lie flat on his face, as he does in this extract from the workshop on this scene, or he may assume a crouching position, with his head on the ground, as he does in this extract. In the latter version, the position is assumed with a certain melodramatic flourish – suggesting ways in which the scene might be made more comic – but in this extract from the run-through of a longer extract it is handled more seriously. For further discussion of the handling of this moment, with actors Sam Alexander and Hannah Watkins, see this extract from the workshop.
Enter FRIENDLY.
361Friendly [Aside] Alas, he’s
sore†gg4342
severely, dangerously; intensely
afflicted,†gg2237
troubled (OED ppl. a, 1); affected by disease of body or mind, suffering (OED ppl. a, 2; the first citation is dated 1680-90, but the context here suggests that this meaning is possible); downcast (OED ppl. a, 3)
and my news,
I fear, will strike him dead. Yet I must speak.
[To BROOKALL] Sir, give not misery that advantage
on*n6516
i.e. over
you
To make*n6517
i.e. by making
yourself the less by
shrinking†gg4343
cowering, retreating; curling up (see OED shrink v, 11)
under
The buffetings†gg4344
blows
of Fortune.
362BrookallI desired you*n6518
i.e. asked you to, wanted you to
To
seek†gg4345
go in search of; go to, visit (OED v, 4a)
my son. Ha’ you found him at his
chamber?†gg4346
room or apartment in a house (OED n, 1a)
Or has not want of
fatherly supplies*n6519
i.e. the financial support that Brookall should have provided as his son’s father.
(Which Heaven knows I am robbed of)
thrust†gg4347
forced, pushed
him out
Where is he? Have you found him?
But I have found what may be comfort to you,
If you receive it
like a man of courage.*n6521
i.e. courageously
366BrookallPhew—n6522
This is probably a dismissive sound such as a snort, rather than an expression of relief (compare Wat’s similar expression in 3.1 and this extract from the workshop on that scene). See these extracts from the workshop on this scene for other ways of handling it in a modern production: in the first, Brookall (Sam Alexander) sobs instead of saying ‘phew’; in the second, he says ‘phew’.
And happily†gs915
fortunately, appropriately
for a better.*n6524
This expression is related to a number of proverbial phrases, such as ‘DEATH is the end of all' (Dent D142.1) and ‘A man can die but once’ (Tilley M73). In Kaina Kai Palaia Things New and Old, Or, a Store-House of Similes, Sentences, Allegories, Apophthegms, Adages, Apologues, Divine, Moral, Political, &c. (London, 1658), under the heading ‘The Day of Death Better Than the Day of Life’, John Spenser quotes Elizabeth I as saying ‘Whilst I call things past to mind [...] I behold things present; and whilst I expect things to come, I hold them happiest that go hence soonest’ (p. 407).
He is happiest
That goes the right way soonest.*n6525
This is related to the proverbial phrases ‘The best WAY to travel is towards heaven’ (Tilley W14) and ‘To go the WAY of all flesh’ (Tilley W166).
Nature sent us*n6526
A common cliché: compare Thomas Blenerhasset’s account of the ‘Complaint of Carassus’ in The Second Part of the Mirror for Magistrates Containing the Falls of the Unfortunate Princes of this Land, from the Conquest of Caesar, unto the Coming of Duke William the Conqueror (London, 1578):
Sith men be born by Nature naked all,
With their estates why are not men content?
Why do they deem the want of wealth a thrall?
Why should they loathe the lot which God hath sent? (sig. C2r)
Like Brome, Blenerhasset links the image of man coming naked into the world with his dependence on God for his earthly fortune.
All naked
hither,†gg1268
here (to this place)
and all the goods we had
We only took on credit†gs916
financial credit: ‘trust or confidence in a buyer’s ability and intention to pay at some future time’ (OED n, 9)
with the world.*n6527
This phrase also has proverbial associations: compare, for instance, ‘LIFE is no sure inheritance’ (Tilley L253), ‘No MAN has a lease of his life’ (Tilley M327) and ‘DEATH pays all debts’ (Tilley D148). In Kaina Kai Palaia Things New and Old, Or, a Store-House of Similes, Sentences, Allegories, Apophthegms, Adages, Apologues, Divine, Moral, Political, &c. (London, 1658), under the heading ‘A Rich Man is Gods Steward’, John Spenser quotes a story of Nicholas Udall’s about a rich woman who gives money to a beggar telling him, ‘God hath not given, but lent unto me what I have’ (p. 129).
And that the best of men are but mere borrowers,
Though some take longer day.†gg4348
a fixed date (especially for a payment) (OED n, 9a)
*n6529
i.e. who take longer to make their payment
*n6528
Related to the proverb ‘To pay one’s DEBT to nature’ (Dent D168); compare William Drummond of Hawthornden’s ‘Ah, burning thoughts’ (in Poems: by William Drummond, of Hawthornden [Edinburgh, 1616], sig. C2r): ‘Let me renowned live from the vulgar throng, / And when ye list (Heavens) take this borrowed breath’, and Henry King, ‘Sic Vita’ (in Poems, Elegies, Paradoxes, and Sonnets [London, 1657], sig. K5r):
Like to the falling of a star,
Or as the flights of eagles are,
Or like the fresh springs gaudy hue,
Or silver drops of morning dew,
Or like a wind that chafes the flood,
Or bubbles which on water stood,
Even such is man, whose borrow’d light
Is straight called in, and paid tonight.
The wind blows out; the bubble dies;
The spring entombed in autumn lies;
The dew dries up; the star is shot;
The flight is past; and man forgot.
Sir, I know all
Your
arguments of consolation—*n6530
statements that aim to console or comfort
I am the surer
on’t,†gg776
of it
for that he lived
Not to learn law enough to—*n6531
i.e. he didn’t learn enough law to end up in hell. (Brookall breaks off before reaching the end of his statement, but it is clear where his thoughts are heading).
Hush. No more.
371FriendlySubstantially†gg4349
as a substantial, physical being
he lives,
in flesh,*n6532
i.e. in physical form, in his body
as we do.
Only, sir, this: if you can
brook†gg4350
endure, put up with (OED v, 3)
his absence
Without
fear†gg4351
anxiety (for someone’s safety) (OED n1, 4); alarm, dread
or
mistrust,†gg4352
suspicion, distrust, doubt
then he is well.
374BrookallHow
thou play’st with me!*n6533
i.e. you amuse yourself at my expense; you mock me.
375FriendlyHe’s gone to travel, sir. Here comes the gentleman.
Enter VALENTINE.
376Valentine [Aside] I am sure he does not know me. If he could
I were as sure this charity would be rejected,
So much I know his
spirit.†gs917
character, disposition
[To BROOKALL] Is your name Brookall, sir?
377Brook.My losses,
wrongs*n6534
i.e. the wrongs that have been committed against me
and sorrows speak my name.
378ValentineYou had a son
late†gs918
recently, formerly; ‘late’ also means ‘deceased’, which is the sense that Brookall picks up
of this house.
379Brookall [To FRIENDLY] And do not you
infer†gg4353
deduce, conclude
by that he’s dead?
[To VALENTINE] Good,†gs919
a courteous way of addressing someone (‘good sir’ would be more usual, and it is possible that a word is missing)
do not mock me, sir.
He lives and sent it to you:
forty pieces.*n6536
The word ‘piece’ was most often used to refer to the unite of James I; Wat assumes in 3.1 [DM 3.1.speech477] that a piece is worth 20 shillings, so on this reckoning forty pieces would be worth £40, which is roughly equivalent to £3400 in today’s currency.
*n6535
The octavo places this phrase in Valentine’s speech, and the scancion suggest that it belongs here, but the punctuation (it appears as ‘to you; forty peeces?’) might suggest that it rather belongs at the beginning of Brookall’s speech.
381BrookallPray, sir, from
whence,†gs920
what source
or where, might he
achieve†gg4355
gain
So great a sum? Not in this world, I fear.
A
handsome†gs921
considerable
possibility†gg4356
potential fortune, financial prospects
he had once,
Could I ha’†gg4039
have
kept it for him.
Now to a
hopeful†gg3892
promising, ‘giving promise of success or future good’ (OED a, 2a)
fortune. A noble gentleman,
Late†gs922
recently
gone to travel,
ta’en with good affection*n6538
i.e. becoming fond of, feeling good will towards (ta'en: taken).
Towards your son, has
ta’en†gg2156
taken
him to his care,
And like a father, not a master, keeps him,
From whose
free†gs923
generous; unrestricted, unrestrained
bounty†gs791
kindness, generosity
he received this
means.†gs924
money
383BrookallDo you think the boy did well to send it me, then,
When
’twas†gg4357
it was
intended for his master’s honour,
To
fly†gs925
move quickly, travel
in
silks and feathers?*n6539
Used here as representative of expensive clothing.
’Tis not
servant-like*n6540
i.e. the appropriate behaviour of a servant.
To waive†gs406
cast aside, reject, disregard
a master’s meaning so.
Though most
unhappily†gg4358
unfortunately, unluckily
mislaid.
387BrookallHa! But mislaid, you say.
Ha, ha, ha—*n6541
Brookall’s laughter may be hysterical, hollow, or scornful.
What is the gentleman?*n6542
Either ‘of what rank or character?’, or ‘what is his name?’.
Or
whither†gs926
where, to what place
travelled?
If you can
render†gs927
return; deliver
me my son, I’ll thank you.
390ValentineYou speak not like a father. Wanting
means†gs377
resources (especially financial)
Yourself for his
advancement,†gg830
promotion, preferment
would you
bar him*n6543
obstruct him from; hinder him from gaining
The
bounty†gs791
kindness, generosity
of another’s
full†gs928
abundant, perfect
ability?†gg4359
financial power, estate, means (OED 4)
391BrookallI speak
more like a father than a beggar,*n6544
i.e. emphasising fatherly care over financial need.
Although no beggar poorer, and I fear
I am no father.*n6545
i.e. because he believes his son is dead.
For I would not give
My son to gain a province, nor
accept*n6546
] except
This coin to save my life. If he be lost—
Let me look nearer on*n6547
i.e. more closely at
you, sir.
He will accept the money. Poverty
Was ne’er so coy†gg4360
shy, disdainful
else.*n6548
i.e. a poor person will never have been so coy.
I ever saw this face. But I have seen
(Many years since) one that it so resembles,
As I could spit†gg4361
(v) speak with anger or hatred
defiance†gg4362
a challenge (OED 2); an declaration of hostility or of hatred (OED 4 and 5)
on’t—*n6549
on it: in this context, at it
395BrookallAnd charge
thee*n6551
Brookall moves from addressing Valentine with the polite ‘you’ to using the informal ‘thou’, the shift signalling his sudden anger.
with the
murther†gg4363
murder
of my son.
401BrookallEven so thy father looked, when at
like†gs930
the same, similar
years
He was my rival. For, young man, I tell thee
Thou hadst a virtuous,
well-deserving†gg4364
worthy, virtuous
mother.
He won her without loss of my
known†gg4365
well-known, recognised
friendship,
But since her death, you cannot but have heard,
He
basely†gg1770
dishonourably, disingenuously
wronged†gg4366
injured, treated unfairly
my sister and, in her,
Me, and my family, whored her, and
cast her off*n6552
discarded her
On the appointed†gs931
agreed, arranged
marriage day.
403BrookallYou cannot but have heard
on’t.†gg776
of it
Nay, it seems,
My boy has
charged†gg4367
challenged
thee
with’t,*n6553
i.e. about it
before his years*n6554
i.e. before he was old enough.
Could
warrant†gs932
assure, guarantee
his ability in combat,
And so is fallen; or thou, not daring stand
Trial in such a cause, by treachery
Hast
cut him off,*n6555
i.e. killed him
and com’st to make thy peace,
Presuming†gg4368
relying on (OED v, 7); taking unscrupulous advantage (OED v, 6)
on my poverty, with money.
Worse than the
base†gs933
contemptible
attorney’s
project†gs934
scheme
this!
404ValentineThis is
mere†gs397
pure, complete
madness. In an act so foul
As your
wild†gs935
rude, uncivilised; reckless; unruly; passionate; furious; demented
fancy†gs936
imagination
gathers†gg4369
concludes
this to be
Who could escape the law?
Talk not to me of law; law’s not my friend.
Law is
as*n6556
] a
fatal to me as your
house.†gg2042
family
I have enough of law.
[To FRIENDLY] Pray
stand you off.*n6557
keep back
[To VALENTINE] Will you, sir,
furnish†gs937
provide
me but with a sword,
And bring me to
fit†gs938
suitable
ground to end this
difference?†gg3297
disagreement
Will you do so,
and like a gentleman?*n6558
That is: will you behave in the honourable way expected of a gentleman?
406Valentine [Aside] What shall I do
for pity?†gg4370
an exclamation expressing remonstrance (compare ‘for pity’s sake’) (OED pity n, 2c)
Now I have it.
407BrookallTalk not to me of law.[He fenceth.*n6559
Brookall is apparently not carrying a sword, given that he asks Valentine to provide him with one in [DM 2.1.speech405], so he mimes fencing, in an aggressive manner. In Barnabe Barnes’ The Devil’s Charter (King’s Men, 1606; printed London, 1607), Frescobaldi, according to a stage direction, ‘fenceth’, while saying,
He makes a thrust, I with a swift passado,
Make quick avoidance, and with this stoccado
(Although he fence with all his finest force)
Bared of his body thrust him in the throat. (sig. F1v)
]
409BrookallNow, sir,
your will before your end.*n6560
i.e. your dying wishes
Be brief.
[Aside] I must speak in his
phrase—†gg4371
style
[Aloud] and by that honour
A gentleman should keep sacred,
two hours*n6561
The events of the play apparently take place within a very short space of time; in 4.1 Valentine says that Wat was freed from prison ‘this day’, and in 5.1 Frances says that Alice arrived at the ordinary ‘but dis day’. For further comment see the Introduction.
hence†gs939
from now
I’ll meet you in this place—
411Brookall [To FRIENDLY*n6562
In the octavo this stage direction appears in the right hand margin.
] Pray stand you off—
412ValentineFrom whence†gs940
which place
we’ll walk—*n6563
Brookall and Valentine finish one another’s sentences, suggesting the complicity between them in the plan to fight a duel.
413BrookallSilent, as nothing were— *n6563
Brookall and Valentine finish one another’s sentences, suggesting the complicity between them in the plan to fight a duel.
414ValentineAs nothing were betwixt†gg3294
between
us,*n6563
Brookall and Valentine finish one another’s sentences, suggesting the complicity between them in the plan to fight a duel.
to some other
Fit ground, as you
propounded,†gg4372
intended, suggested
where we’ll end
The difference.
No whinnelling†gg4373
weak, puny; trifling (OED whindle v)
satisfaction.
417BrookallGo
set thy house in order.*n6565
That is: settle your estate (in advance of death).
Here I’ll meet thee.
[They all] exit.
Edited by Lucy Munro