© University of Sheffield, 2010
The transcribed text is made freely available for non-commercial usage. Copyright, of the design and content, remains with the Royal Holloway, University of London and the University of Sheffield. Commercial exploitation of this material is prohibited without licence from the Royal Holloway, University of London and the University of Sheffield.

A MAD COUPLE WELL MATCHED

Dramatis Personæ
[George] CARELESSa young wild heir
Sir Oliver THRIVEWELLhis uncle that adopted him heir
SAVEALLSir Oliver’s demure steward
LADY Thrivewell[Sir Oliver's wife, not related to Careless]
Nurse CLOSETan old crone, nurse-keeper to Lady Thrivewell
[Thomas] SALEWAREa citizen and a cuckold
Mistress ALICIA SalewareSaleware’s lightgg1327 wife
Mistress [Anne] CROSTILLa rich vintner’sgg451 widow, and humorousn1328
PHOEBE [Gimcrack]Careless’s whore
Lord LOVELYa wencher
BELLAMYa woman disguisedn1327, and his steward
WATn1943a bluntgg1328 fellow, Careless’s servingman
OLD BELLAMY[Bellamy's uncle]
APPRENTICEin Saleware’s shop
[PAGEto Lord Lovely]
[FITZGERRARDBellamy's brother]
A Servingman[Non-speaking]

The Scene: London


Prologue

[Enter the PROLOGUE.]

1PrologueHere you’re all metgg5, and look forgg14 a set speechn7
        Put into rhyme to court you, and beseechgg6
        Your worships but to hear and like the play;
        But I, I vow, have no such partn8gg7 to say.
        I’m sent a-wooing to you, but how to do’t,n9
        I ha’n’t the skill; ’tis true I’ve a new suit,
        And ribbons fashionable, ycleptgg8 fancies,gs14
        But for the complimentsgg15, the tripsgg16, and dancesn10,
        Our poet can’t abide ’em, and he swears,
        They’re all butgg17 cheatsgs15, and sugaredgg18 words but jeersgg19.
        He’s heark’ningn204gg20 theren13: and if I go aboutgg28
        To make a speech, he vows he’ll put me out.gg22
        Nor dare I write t’you: therefore, in this conditionn14,
        I’ll turn my courtship into admonition.
        When a good thing is proffered, don’t be nicegg21;
        Our poet vows, you shan’t be proffered twice.[Exit.]
ACT ONEn177
1.1
[Enter] CARELESS [and] WAT.

2CarelessThou hast delivered my letter?

3WatYes, sir, to Master Saveall, your uncle’s friend. But he has stood your friend so long, and so often, to so little purpose in moving your uncle for you, that he holds it utterly in vain to urge him any further, he told me.

4CarelessThou should’st ha’ told him I would not be so answered.

5WatYes, and then he would have told me, ‘Let your master take his coursegs16’.

6CarelessThen you should ha’ told him again I have taken all the coursesgg29 I could, or as any gentleman can to maintain myself like one. But all my courses are run out, and I have not breath, nor know any ground whereon to begin a new one, unless that thing, my uncle, sets me up again, nor have I any means to attain to that, but by his mediation.

7WatThen would he ha’ told me again what all your courses have been: namely, running into debt by all the ways can be imagined, and cheating by all could be invented, then that the said thingn16 (as you call it) your uncle, before he cast you quite off, had redeemed you out of prison and several holdsgg30 within the space of fifteen months, fourteen times.

8CarelessThat was not once a month then, or if it had, what had that been to him? ’Twas I that suffered, thou shouldst ha’ told him, not he.

9WatHe would ha’ told me then again that several redemptions cost your uncle at least two thousand pounds, and that upon your last revoltn17, when he quite gave you over for a castaway,gg31 two years since, he castgs205 the third thousand with you, upon condition never to afflictgg32 him more. And then he married in hope to get an heir.

10CarelessAye, that marrying spoiled all.

11WatBecause you should not after his death cast awaygg33 all the rest of the thousands, and ten thousands, which you might have lived to inherit, if your uncle’s love or Master Saveall’s counsel could have prevailedgg34 with you against the devil and debauchedness.gg35

12CarelessPox on’tgs45, let it all go! Let that wretched uncle go, and let Saveall go for a punctualgs18 ass as he is. I confess he has by his saving help peasedn18 me with my uncle a score ofgg39 times at least. What had once more been to him?

13WatSir, it were better for you to think upon some coursegg29 by yourselfn19, and me your creaturegg40 (that have stuck to you, or followed you through all fortunes), to maintain rich lace and braverygg41 upon you. And think in time, too, before this be worn out, upon some new ways for your supplies—

14CarelessI cannot, nor will I trouble my brains to think of any. I will rather die here in Ram Alleyn24, or walk down to the Templen21 and lay myself down alive in the old Synagoguen22, cross-legged among the monumental knights theren23 till I turn marble with ’em. Think, quotha!gg43 What should I think on?

15WatOn your poor whore, sir, as you have broughtgg44 her: she’s in worse casegs20 than yourself. Your clothes are good enough—

16CarelessAye, there’s the devilgg46. I would do something for her if I knew how. But what have I not donegs21 that can be done by a forlorngg48 heir?

17WatWhy, though the dice and all other household games and all the cheatsgs10gs9 belonging unto them have failed you by your and their discoveries, till none dare venture so near you as a man hurls a die or skirrsgg49 a card; though all your hidden ways in Hyde Park races n25are trod out, and all your bowling bootiesn26 beaten bare off o’ the grounds and alleysn1572, and the sweet honeycombsgg50 of all your cockpit cozenagesn1384 cut off; though all your arts of borrowing are crossed out of all men’s booksgg53 before you offer at gg1329 ’em, while your old debts stand fairlygg54 written, and all your martsgg55 miscarry of putting outgs23 for credit, venison to citizens, or early cherries, codlingsgg12 and apricotsn27 to their wives availgg56 you nothing, cannot something yet be found?

18CarelessNothing, nothing. All projectsgs182 are confounded.gg57

19WatDid your father leave you nothing but wit to live upon for this? And did he leave you that but for yearsn28, and not for life? And is the termn29 expired?

20CarelessHold thy peace. I am castinggg58 for something to be done by me, that shall be worth, an’tn205 cost my life, to shame my uncle.

21WatThere’s a plot! Think of your poor whore, sir: how shall she live if you cast away yourself?

22CarelessI must leave her oncegg59, thou know’st.

23WatIf you could leave her now and betakegg60 yourself handsomelygg61 to other women, I have thought on a course.

24CarelessWhatn30, quickly, what is’t?

25WatTo set up a male bawdy-housegg62.

26CarelessFiegg63 upon’t!

27WatYou are handsomegg226, lovelygg65, and I think able to do one man’s workgs82. Two or three such gentlemen more, which I know and can describe to you, with the ways I’ll find to bring in custom, shall fill your purses—

28CarelessAnd empt our bonesn1385. I evergg68 had enough of one mistress; varietyn206 would destroy me. No gentlemen can be able to hold it out; they are too weak to make common he-whoresgs12.gg13

29WatFor a little while, sir, till we have got a stock of rich clothes; and then we will put draymengg69 and wine-porters, Cornish wrestlersn31 and suchlike into those clothes and make them country cavaliersn1386. Have you not seen coarsen207 snout-fairgg71 drudgesgg72, clapped into braverygs26, that would do more bodily servicegg375 in a brothel than twenty ladies’ daughters? They are the game-bearsgg74 of a bawdy-house, can play ten single coursesn33gs70 for a clean-bred gentlewoman’s one. We will hire fellows for groatsgg75 a piecen208 a day, that shall (without the additamentsgg76 of clarygg77, caudlegg78 or cock-brothn5966) get us forty piecesgg508gg80 a man before night or perhaps a hundred by next morning, out of such she-customersgg81 as an auntgs28 of mine shall find outgg83 for us.

30CarelessO base villain! No, I’ll never fall so deep below a gentleman as to be master of a bawdy-house.

31WatVery good decayedgg84 gentlemen have done as much; though I urge this butgs29 for your pastimegg85, sir.

32CarelessNo, my first plot shall stand. I will do some notorious death-deserving thing — though these clothes go to th’ hangmann34 for’t, what care I? — in defiance of him that wasn35 my uncle, and his methodical, grave, and orthographicaln36gg86 speaking friend, Master Saveall that calls ‘people’, ‘pe-o-ple’.
Enter SAVEALL.n1440

O Master Saveall, how have you honoured me! How am I bound to you for this visit! Sir, hearing that my uncle was come to town, and you with him, I did presumegg87 to write to you.

33SaveallSend forth your man.

34Careless   [To WAT]   Go forth.WAT exits.n3919

35SaveallOne servant is not fit for all offices, although you keep no more. You presumedgs30 indeed; I can no less than call it a presumptiongg88, although it were but unto me you write. I speak not this in the behalf of any dignity in me, but that you should overweengg89 that I had ability to wrestlen37 any more with your overgratefuln38 uncle in your behalf. Therein was your outrecuidancegg90.

36CarelessThe miserablest man on earth, in having wearied out my worthiest friend, on whom the sum of all my hopes was cast!

37SaveallNo, I am not wearied, but still in the same full strength. Yet my modesty dissuadeth me from using strength above reason, and my reason prevaileth with me not to strive against a torrentn3690.

38CarelessHe is then inexorablegg91, and I must perish. But did you try him for me this last time?

39SaveallI have both tried and tempted him to his vexation.

40CarelessBut did you urgegg92 that pious act of minen39
        Which he once vowed should never be forgot,
        Or unrewarded by him?

41SaveallYour standing upon merit in that act
        Perplexeth nature in him,n1387 and confoundsgg57
        Both your desert and his benevolence.
        And now, since you have urged it, I’ll tell you:
        Your act was undeniablegg93, most noble
        And glorious in a nephew — greater piety
        Could not have been expected in a son —
        When from the swords of thieves and murderers
        Your valourgg94 rescued him. But —

42CarelessIn236 and my man, I’m sure, made four of the stoutest pursesgg95 fly for’t that ever set our country o’ the scoregs32. After they had him down, and their pointsgg97 at his breast and throat, he crying out for help, when I came ongs71 by chance at a time, too, when I was in his displeasure — nay, he hated me a whole year together before that, and yet I did it, and more than so—

43SaveallFare you well, sir. I thought to have said all this for you, and more than so too. But —

44CarelessNay, sweet Master Saveall —

45SaveallGood Master Careless, as I can hear, I would be heard sometimes.

46CarelessIndeed, I cry you mercy. Pray, sir, speak.

47SaveallI was commending of your act, and do so still.
        You did express yourself in bloodgg99 and naturegg100
        A perfect kinsman, and your pietygg101
        Drew blessings on you: for, whereas before,
        Your uncle left you off to reprobationgg102,
        He then receives you an40 son, (being his sister’s)
        Adopted you, intended you his heir,
        And out of his estate then presentlygg103
        Allowed you two hundred pounds per annum,
        And gave your man for what he suffered
        In the conflict an hundred marks —

48CarelessPoor rogue! And he deserved it, I’ll be sworn,n209 for a thief’s markn41gg104 that he received: a cut o’ the coxcombgg105 that cracked his skull so that he could never bear his drink since as he could ha’ done before. For, sir, as we came in, I having put bygg106 the thrusts of three of ’em, the fourth man with a full blow —

49SaveallFare you well, sir, the second time —

50CarelessNay, courteous Master Saveall.

51SaveallI came to speak not with you altogethergg107, but unto you for to be heard.

52CarelessSir, I will hear you with all due respect.

53SaveallYour uncle having done so gratefully and so plentifully for you,
        You, building still on merit for that service,
        Did hold him so fast boundn42 that you presumed
        To run upongg108 more extravagancies
        In all the outwaysgg109 of debauchery,
        Till for the one good deed you did for him
        He did you forty in restoring you
        From surfeitsgg110, wantsgg111, wounds and imprisonments;
        Till, overbornegg112 with chargegg113, and more with anguish
        At your outrageous, unexampledgg114 riotsgg115,
        He gave you an irrevocablegs35 farewell.
        Yet then at your departure —

54CarelessYet then I lived, and could have done till now, merely by being his nephew and supposed his heir had not he married. But his marriage turned the hearts of all believing citizens from me: where before, a tailor could have made me run through all the credit i’ the town, when in a suit clinquantn1389gg1343 and a la modegg117n237, they could inform themselves whose heir I was. But to say truth I vexed him into wedlock, for before he valued not a wife at a bachelor’s buttonn43gg118.

55SaveallFarewell to you the third time.[Begins to leave].

56CarelessSir, you shall see me dien1388 first, and that instantly, that you may tell my uncle I’ll be no more his trouble or charge, unless in charity he’ll send to bury me.n244

57SaveallYou will not desperately work a violent endgg119 upon yourself?n44

58CarelessNo, sir, the devil’s not so great with me; but my heart, I feel it ready to break. My uncle is no more my uncle, nor you my friend, all by my own fault, and whatn1441 should I do here but in ton45 my bed, and out o’ the world presently. Wat! Wat!n245
Enter WAT.

59[Wat]Aye, here, sir!

60Saveall   [Aside]   I have dalliedgg120 too long, and temptedgg121 him too far, I fear.

61CarelessLay down my bed.

62Wat   [Aside]   Your wench is come indeed, but I hope you will not to bed before hen46 be gone.

63CarelessLay down my bed I say. But first unbutton men47.

64WatLord, how his heart beats! Pangs of death, I fear.

65Saveall   [Aside]   Not so, I hope.n1442   [Aloud]   I will now come to the point, sir. Master Careless, be comfortedgg122.

66CarelessI am, and well resolvedgg123, I thank my better angeln48.

67SaveallYour uncle’s friends with you.

68CarelessAlas, how can that be?

69SaveallI thought your spirit had been higher.

70CarelessIt will ben49, sir, anon, I hope.

71SaveallI have but dallied with you to searchgs1902 your tempergg125.

72WatBut you have searched too deep, I fear, sir.

73CarelessAh!—

74SaveallYour uncle is friends with you, I say, so far as to make a further trial of your nature. You may be yet his heir, for your aunt despaireth of any child by him, having fruitlessly been married now these two years.

75CarelessAh!—But, good sir, can this be?n3696

76SaveallIt is, and I will bring you to him and see that all be well.

77CarelessYour noble friendship hath revived me, sir.   [To WAT]   Oh run and fetch my cloak.[Exit and re-] enter WAT with his cloak.n50

   [Aside]   Tell Phoebe I cannot stay to give her any satisfactiongg126 now: I must go see my uncle first.WAT exits.

78Saveall   [Aside]   Poor gentleman, how weakly he standeth! The sight of his uncle will recover him.   [Aloud]   Come, Master Careless, let us go.

79CarelessSir, what do you think if I should first, according to the reformation of my mind,n1390 cut off my undecent hair and change this garish appareln51 for a civil well-worn student’s suit. I can be fitted presentlygg103 hard bygg127.

80SaveallNo, the mind reformed is enough. Your habitn1391 well becometh you.Exit[s with CARELESS].
[Enter WAT].

81WatNow, wit, an’tn52gg130 be thy will, go with him. And I hope this will be his last hot fit of the uncle.n53
Enter PHOEBE.

82PhoebeYour master’s gone forth, it seems.

83WatCalled by his fortune, he is so.

84PhoebeShuns he the sight of me? I’ll overtakegg131 him.

85WatOh, your patience, sweet Mistress Phoebe, a little patience. He’s gone to be happy and to make you happy. I dare promise you a satin gown within this sennightgg132.
        For let me tell thee, Mistress Phoebe bright,
        He’s reconcilèd to his uncle knight.

86[Phoebe]n55Away, pimp, flamstern56gg133! I came to be serious with him, to let him know the miseries I suffer by the wrongs he has done me, and that I can nor will no longer bear’em.

87WatNor him neither, will you?n1329 Take heed what you say, Madam Marionn57.

88PhoebeNo, nor him neither, you panderly parasitegg136, till he make his vows good and me an honestgs37 woman.

89WatByr’ladygg138, a shrewdgg139 task, and, I fear, an impossible work.

90PhoebeSirrahgg140, I will claw your ugly face till thou undertak’stgg793 it with him to make it easy.
[Makes to scratch his face.]

91WatHold, hold! I’ll do you all the good I can.

92PhoebeOh, will you so?

93WatHow desperately valiant a whore grows when she is so poor that her clothes fear no tearing.n1330 But by what means can you hope to bring this work about?

94PhoebeYou know I have a wealthy kinsman in the city.

95WatOh, Master Saleware, and he has a wife too that bearsn59gg142 it up bravelygg141.

96PhoebePimp impudent, shall I claw your face into blushesn60 at my injuries? To be mockedgg143 out of my maidenhead when I was upongg144 a good match in the countryn61; then, with a promise of marriage, to be enticed from my friends into fool’s paradisegg146 (that was a new title for the city) and here to be used and abused from lodging to lodging by him that now fliesgg147 me for the decaysgg84 he hath brought me to?n1331 But my kinsman has money though I have none, and for money there is lawn1393 to be found, and in a just cause he will not let me sink, he says, for I have told him all.

97WatBut not the how many times, the whens, the wheres, and the wherewithals, I hope, have you?

98PhoebeSirrah, I shall show you, and your master too, a way to more civility, since I am thus abused and slighted.

99WatYou have schooled me handsomely, and brought me into sense of your injuries: you have been over-wronged, but not overwroughtgg148, nor overworngg373. You do excel in beauty, strength, and spirit, which makes you in your very anger now appear so lovely, that I profess myself your creaturegg40. What would a kiss of this fair hand now make me do, and of those lips what not?

100PhoebeAway, you creaturen147!   She strikes him.n246   

101WatLeave these temptations;n1392 do not strike me too deeply in love with you.

102PhoebeAway, you creaturen148!

103Wat’Tis true I am your creature, as I am my master’s; and sometimes the serving creature breaks his fast with a bit off the spit before the same meat is served up to his master’s table, but is never denied to dine upon his master’s leavings.n149 You cannot think what an appetitegg266 that frown gives me.

104PhoebeYou are no saucygs175 rascaln150.

105WatGood wit, too! My appetite needs no sauce; nor shall you need to make use of law or friend against my master, but myself.n151

106PhoebeYou!

107WatBe ruled by me. If I do not lay you down and joingg380 with you presently in a coursegg29gs70 that shall content you, then hang me, lady, at your doorn152.

108PhoebeWhat do you mean?

109WatIn the next room we shall find pen, inkn153 and paper. You shall write him such a letter (as I will dictate to you) that shall so nettle him.

110PhoebeNay, I did intend to leave him part of my mindn1332 in writing before I went.
Enter SALEWARE.

111PhoebeOh cousin, I want you.

112Wat   [Aside]   A pox ofgs45 this interrupting cuckoldgg1331! He hinders all tradinggs72gg381 but his wife’sn247. Zoundsgg382, I was going with full speed a-tiltgg383, as the learned say. Had not this horn-headgg1330 come, we had writ lines together should have put downgg384 Hero and Leandern154.   [Aloud]   Hark you, Mistress Phoebe, is this your kinsman that you told me you had told all the business to?

113SalewareYes, sir, I am the gentleman, and she has told me so much, sir, that I must tell you to tell your master from me, and as I would tell him myself if he were here personally present, he is a most dishonest gentleman if he do her not lawful right by marrying her; and that right I came to demand, and obtain of him, or to denounce the law against him.n155

114WatHow happy are you that you came shortgs73 to tell him so, else he would ha’ so beaten you, as never was citizen beaten since the great battle of Finsbury Fieldn1573.

115SalewareYour great words cannot make me fear his blows (I am not dashed nor bashed)n156 nor cross him out of my book for fear of any such payment. I have him there for four score poundn3697, as you know, though you are pleased to forget me. But Sapientia mea mihi, stultitia tua tibin157.

116WatCry mercy, Master Saleware, is it you? I hope Mistress Saleware is well, your most exquisite and most courtly wife, the flower-de-lucen158 of the city.

117SalewareWell, wag, wellgg2132. You must not now put me off with my wifen159; she’s well and much respected. I come to speak of and for my distressed kinswoman, hern160 whom your wicked master has most wickedly dealtn1394 withal. He has deflowered and delucedn161 her, and led her from her friends and out of her country into fool’s paradisen162gg146 by making her believe he would marry her. And here he has put her on, and put her off, with hopes and delays till she is come to both woe and want; and (which may prove her most affliction, if he be suffered to forsake her) she is with child by him.

118WatSay you so, Mistress Phoebe? Here’s small shown163 of it yet.

119PhoebeSirrah, I shall shown164 you, and your master too, a way to more civility, if I be thus abused and slighted.

120WatBy the way, Master Saleware, how many children have you by your most amiable wife?

121SalewareSir, that needs not to fall by the way ofn165 our discourse.

122WatBut by the way I speak of gettinggg386 children. Or, I pray tell me, did not you correctgg387 one of her children once, for which your wife reprehended you and bade you correct your ownn166? And how then shall my master be suren168 that this (if it be onen167) is his?

123SalewareWhat an asinego’sgg388 this? I shall find a time, sir, to talk with your master. In the meantime I tell you that my kinswoman is a gentlewoman of as good bloodgs176 as himself, and of the best in Herefordshire —

124WatYes, Welsh-bloodn169.

125Saleware— And shall find friends that shall not see her abused by you nor him. There is law to be found for money,n1395 and money to be found for friends, and friends to be found in the Archesn171, and so tell your master. Come away, cousin.

126WatBut one word before you go, sir. Is this gentlewoman (who was but a country chambermaid when my master took her to his mercy) of such boasted blood your cousin by your own or by your wife’sn247 siden3698, I pray?

127SalewareSirrah, like a saucy companion as you are, though you meddlegg391 with me that am a common-councilmangg389, I charge you meddlen1396 not with my wife. You have had two or three jerksgg390 at her.

128WatI was warned before, sir, in my own understanding: for she is for great personsn172.

129SalewareThen know your distancen173, sir.

130WatYet give me leave to wait you downn174, sir.   [Aside to PHOEBE]   Cudshogg392, did it telln175 itn176 kinsman that it is got with champkingg393.

131PhoebeYou are a panderly rascal, and I’ll be a terror both to you and your patronn1333gg1332.They exit.n3920
1.2
Enter THRIVEWELL [and] LADY [Thrivewell].

132ThrivewellHow can you think so?

133LadyThink? I see’t apparentlygg394 upon your face and hear it in your sighs. Your broken sleeps tonight, when your own groans waked you, declared no less. But had I had the power of some wivesn249 with their husbands, I could have fetched it outgs177 of you. Waking once (I thank you) you took me in your arm, but when you found ’twas I, you turned away as in a dream.

134ThrivewellSure you dream now; whencegg395 can this talk proceed else?

135LadyI must not give it overgg396 till I know the cause of your melancholy fit. Do you doubt my duty, or my loyalty? Perhaps you do, and so make me the cause of your affliction.

136ThrivewellMay such a thought within me stickgg1340 me to the endless tormentsn3689.

137Lady’Tis latelygg397 entertained, whate’er it be; you came heart-wholegg398 to town and jovial. Ha’ you been drawn for security into bondsgg399 by any of my friends for great sums, and forced to pay ’em?

138ThrivewellFie,gg63 fie!

139LadyAre any great friends of yours in questiongg1342, attaintedgg1341, imprisoned, or run away?

140ThrivewellPsewh.

141LadyOr are you further grieved about your nephew, Careless? I thought that your friend Saveall and myself had made his peace with you, and that you had sent for him. Do you repent that?

142ThrivewellNo, no, sweetheart, he shall be welcome. And pray let me entreat you make no further inquisition. If (as you suppose) there be a trouble in my thoughts, I shall soon pass it over.

143LadyTell me, or I shall prove the greater trouble. I would those few examples of women that could not keep their husbands’ counsels had been burnt, and the woman too, rather than I should be distrusted thus and slighted by a husband—

144ThrivewellNay, then you’ll grieve me indeed.

145LadyThere has been many examples of discreet women that have not only kept their husbands’ counsels, but advise and help ’em in extremities, and delivered ’em out of dangers.

146ThrivewellI pray content yourself.

147LadyBe you content to tell me then what troubles you. And I pray you tell me speedily, now presentlygg103; or (excuse me in my vow) it is the last request that ever I will make to you, and the last question I’ll ever ask you; and (the easier to get it from you) I promise you by the continuance of my faith to you (which by this kiss I seal).   [She kisses him.]   Be it a deadly injury to myself, I will forgive it freely, not be troubled at it.

148Thrivewell   [Aside]   I shall do that now which few wise men would.n178
        But she’s discreet, and has a fortitude
        Above the boast of women; should that fail,
        And this too weightygg400 knowledge for a wife
        Should prove a torment to her, I’m excused:
        She pulls it on herself, and for revenge
        Should she against her protestation move it,
        I am enough abovegg1344 her.

149LadyYou are resolved, it seems, to keep your secret
        Unto yourself; much good, sir, may it do you.n179

150ThrivewellNo, you shall know it, sirn180, and (if unshaken
        Now, in your love to me) the wonder of all wives,
        You’re bound by a fair pledge, the kiss you gave me,
        To be unmoved and to forgive it though
        It be a deadly injury to yourself;
        It is, and ’tis a great one; and so great,
        But that you have sealed my pardon, the hid knowledge
        Of it should feed upon my heart and livern1397
        Till life were banished thencegg401, rather than pull
        Your just revenge upon me. Yet you frown not!
        But before I declare it to your justice,
        Let me renew your mercy.   [He] kiss[es her].   
        And on this altarn181, which I have prophaned
        While it breathed sacred incense,n182 now with penitence
        Offer religious vows, never to violate
        My faith or love to you again. One more
        Before you hear it:   [He] kiss[es her].n250   for if then you stand not
        Firm to your mercy, it must be my last.

151LadyWhat do you but violate your love to me
        Now in your most unjust suspicion?

152ThrivewellI’ll trespass so no more; yet many husbands
        (I wish they had my sorrow, and no less
        Purposen183 to reformation) wrong their wives.

153LadyLeave these perambulationsgg2129. To the point:
        You have unlawfully lainn184 with some woman!

154Thrivewell’Tis said; and now your doomn1398.

155LadyHa, ha, ha! Here’s a businessn252!
        Wouldgg24 somebody heard you, faith! Nay, of five hundred
        That now might overhear us (I mean not only
        Gallantsgg402, but gravegg259 substantialgg403 gentlemen)
        Could be picked out a twelve good men and true
        To find you guilty, I would then condemn you,
        But such a jury must be panelledgg404 first.

156ThrivewellAnd can you be so mild? Then farewell thought.n185

157LadyThought of your mistress, sir? And then farewell
        My jealousy, for let me tell you, sir,
        That I have had an ache upon these browsn186
        Since your last being in town. And since you have dealt
        So faithfully as to tell me it is one,
        There’s no more, is there?n253

158ThrivewellNo, upon my vow.

159LadyName me the woman: if it be the same
        That I suspect, I’ll never suspect more.

160ThrivewellAs faithfully as to my confessor: Lightweight
        Saleware, my silkman’s wife.n187

161LadyThe same I meant.n188
        You’re a fair-dealingn189 husband. On what condition?
        Come, this is merry talk.n190 Pritheegg262, on what condition?
        Only to bring good custom to her shop,
        And send her husband venison (flesh for flesh)?
        I did observe you bought all there last term,
        And wished men191 to her shop, and Master Saveall
        With diversgg406 others, to bestow our monies.
        Trothgg257, she’s a handsome one. Prithee, on what conditions?

162ThrivewellThou shalt know all to purge me of my folly.

163LadyWell said.n192

164ThrivewellAfter a costly and a tedious suitgg407,
        With many an answer ‘No’, and ‘No such woman’,
        At length she yields for a hundred piecesgg80;
        Had’em,n193 and I enjoyed her once.

165LadyThat was
        When you last termgg408 sat up all night, and said
        You sat up with the three lady gamestersgg409.

166ThrivewellIt is confessed.n194

167LadyFair dealing stillgg410.

168ThrivewellBut here was the foul dealing, and for which I hate her now:
        I, having paid so great a fine and ta’enn11285
        Possession, thought after to deal rent-free.

169LadyA peppercorn a quartern195, if she be pepper-proofn196.

170ThrivewellBut she at my very next approach, which was but yesterday, denies me egressn197 gg411, except I make it a new purchase at the same former rate, and so for all times after.

171LadyTroth, ’tis unreasonable. A hundred pound a time? How rich would citizens be if their wives were all so paid, and how poor the court and country!
Enter SAVEALL [and] CARELESS.n198

   [Aside to Lord THRIVEWELL]   But husht, here comes Master Saveall with your nephew, I take it. A handsome gentleman! Could he be so debauched?n201

172SaveallSir, I have brought you home a reformadogg412, and do entreat (for what I have said unto him, and he hath fairly answered unto me) that words may not by you be multiplied.n1400

173ThrivewellNot a word of unkindness, nephew. You are welcome. Give me your hand. George, thou art welcome.

174Careless   [Aside]   I shall be George o’ horsebackn199 once more, I see.   [Aloud]   In all humility I thank you, sir.

175ThrivewellNay, now thou speakest and look’st too tamely, George. I would have thee keep and use the lively spirit that thou hadst, but not to let it fly at random as it has done, George.

176CarelessSir, I have learnt now, by the inconveniences I have met with in those extravagant out-flightsn200gg413, the better to contain it within the limits of your leave and fair allowance hereafter.n1382

177ThrivewellWell said, and again welcome, George. But (and this you shall give me leave to say, Master Saveall) I remit your thanks for any inclination I had towards this reconcilement till I do you some further kindness; only you had good advocates who pleaded friendly for you, Master Saveall and your aunt there, before she ever saw you, whom you may thank.

178CarelessA man must be so tied now.n1383

179ThrivewellPray take notice of her.

180CarelessI cannot use respect enough,n1399 sir.

181ThrivewellI like that modesty.

182SaveallDoubt him in nothing, for he is come home.n202

183CarelessMadam, as you are my gracious patroness, and myself so all unworthy, my duty checks me in my approach to you.

184LadyYou are the more entirely welcome, cousin.   [She] kiss[es him].   

185Careless   [Aside]   She kisses like an old man’s wife, that is, as a child late starved at nurse sucks a fresh-flowing breast.

186LadyYou must not, sir, be bashful.

187Careless’Twill less become me to presume, good madam.

188ThrivewellGeorge, here’s a lodging for you in this house, and my table has a place for you. Send for your man to wait upon you. Ha’ you Wat still?

189CarelessYes, sir, an honest true-hearted civil fellow he is, as I have managed him. He can say gracegg414 now.

190ThrivewellThe world’s well mended. Tomorrow you shall give me a note of your debts, George, which I’ll take order for, if I may presume you have any.

191CarelessSome dribletsgg415, sir. My credit has not lately wronged me much.

192SaveallYou speak sententiouslygg416, for credit sought
        With tradesmen, then their wares are dearer bought;n203
        So gentlemen are wronged.

193ThrivewellThen not to wrong ourselves, let’s in to dance.n1401They exit.n3895

Edited by Eleanor Lowe


gg1327   light wanton, unchaste (OED a1. 14b) [go to text]

gg451   vintner’s a person who deals in or sells wine [go to text]

n1328   humorous The Widow's particular 'humour' or whimsy is that she likes to be treated badly. [go to text]

n1327   a woman disguised As is explained in Act 5, Bellamy is actually 'Amy', who had fallen in love with Lord Lovely after an amorous encounter and disguised herself as a man to enter his service and be near him. [go to text]

n1943   WAT In addition to providing comical opportunities for punning on this name (as 'what' or 'wot'), it can also mean 'hare' perhaps suggestive of the character's role as a servant, bounding off on his master's errands. [go to text]

gg1328   blunt (of persons) plain-spoken, rough [go to text]

gg5   met gathered [go to text]

gg14   look for expect [go to text]

n7   set speech A composed public address, i.e. not informal utterance. [go to text]

gg6   beseech entreat, beg [go to text]

gg7   part (n) actor’s part, i.e. lines [go to text]

n8   part A possible pun on the grammatical and semantic categories of words, e.g. adjective, verb, noun etc. known as the 'parts of speech' (OED 1c), in which case 'say' could mean 'decline'. [go to text]

n9   how to do’t, A possible bawdy connection between wooing and having sex, with the addition of 'part' in the line above which can pun on male genitals. [go to text]

gg8   yclept called, styled [go to text]

gs14   fancies, ‘The ornamental tags, etc., appended to the ribbons by which the hose were secured to the doublet’ (OED A. 5c); MC cited as first reference. Also in the context of MC Prologue: inventions, fripperies. [go to text]

gg15   compliments tributes of courtesy and polite praise [go to text]

gg16   trips lively, light movements (OED I.1a) [go to text]

n10   dances The arrangement of steps and movement, contrived, and thus disliked, as are formal speeches here. [go to text]

gg17   but nothing but [go to text]

gs15   cheats deceptions [go to text]

gg18   sugared full of sweetness (OED 2e); alluring [go to text]

gg19   jeers (n) ‘derisive speech’, mockery (OED 1a and 1b) [go to text]

gg20   heark’ning listening, eavesdropping [go to text]

n204   heark’ning Parra modernises to 'hearkening', however the elision of the 'e' is necessary in order to fit the verse line. [go to text]

n13   there presumably gestured to by the speaker of the prologue i.e. backstage. This echoes Brome's first mention, in the Induction to Jonson’s Bartholomew Fair, as lurking behind the arras: a servant of Ben, a son of Ben, watching and learning, taking notes, developing his own playwriting skills. In contrast, he has now come out of the shadow of Jonson, and is the attendant author overseeing a performance of his own play. [go to text]

gg28   go about endeavour, contrive (OED, about, adv. and prep. 10); in nautical terms, to change course (OED 6b), i.e. to deviate from the prescribed speech [go to text]

gg22   put me out. to forget one's lines (or words); for further examples of this usage, see also Moth, 'They do not mark me, and that brings me out' (Love’s Labour’s Lost, 5.2.172); and Coriolanus, 5.3.40-2, 'Like a dull actor now/ I have forgot my part, and I am out/ Even to a full disgrace.' [go to text]

n14   in this condition with this limitation, in these circumstances [go to text]

gg21   nice foolish (OED 1a), fussy (OED 3b) [go to text]

n177   ACT ONE The act consists of two distinct scenes: although the second is not explicitly marked in the octavo, the stage is cleared after the exit of Wat, Phoebe and Saleware, and before the entrance of Lord and Lady Thrivewell. Both scenes occupy indoor spaces: Careless's dwelling in Ram Alley, followed by the Thrivewells' residence (exact London location unknown).
Act One, scene one reveals the main character, Careless, at the height of his troubles: he has no money, no ideas for gaining any, and his previously tolerant uncle has cut all ties. The scene introduces the themes of gambling, gaming, whoring and other lewd pastimes, references to which occur throughout the play, often as euphemistic descriptions of (illicit) sexual activity. It also sets the play up as one big game: a game of risk and loss, with the betting of money and marriage, its winners and losers, at the core. Anxieties concerning fidelity and child-bearing are particularly central: extra-marital sex and bastard babies are issues combined with the fecundity of the lower classes and apparent barrenness of citizens and lords.
The first two scenes function as a well-balanced pair: the contrast between the setting of the first in Careless's debtor's den (with talk of male brothels, whores and suicide) with the second in the Thrivewells’ (presumed) clean and spacious noble house. Yet the whiff of bitterness, jealousy, infidelity and melancholy lingers here, despite the reconciliation between uncle and nephew. Thrivewell's over-anxious desire for all present to dance, a symbolic manifestation of harmony, suggests he is papering over the cracks. [go to text]

gs16   take his course proceed in his habitual way, i.e. debauched and pleasure-loving [go to text]

gg29   courses way of proceeding, action; also trick, way of gaining money illicitly [go to text]

n16   thing Wat is referring to the way Lord Thrivewell has already been addressed by Careless. [go to text]

gg30   holds periods of confinement (OED n1. 4); OED only records the meaning of 'prison-cell' from 1717 (n1. 13), however there seems to be the suggestion of places of confinement, though perhaps not always in official prisons. [go to text]

n17   revolt casting off allegiance (to his uncle), by returning to his old ways; refusal to submit to (his uncle’s) terms [go to text]

gg31   castaway, one rejected [go to text]

gs205   cast give (money), with the sense of 'throw away'; in context, also playing on 'castaway' [go to text]

gg32   afflict trouble [go to text]

gg33   cast away throw away, e.g. for money, frivolously spend [go to text]

gg34   prevailed been victorious [go to text]

gg35   debauchedness. ‘Vicious indulgence in sensual pleasures’ (OED, debauchery, 1) [go to text]

gs45   Pox on’t pox on/of (it): a plague on (an expletive) [go to text]

gs18   punctual punctilious; attentive to detail; formal, ceremonious (OED 7a) [go to text]

n18   peased ] peec'd. The OED cites this example under its definition, 'to make peace'. There is also a pun on 'pieced', suggestive of the mending of a garment or relationship; either spelling is acceptable here. [go to text]

gg39   a score of twenty [go to text]

gg29   course way of proceeding, action; also trick, way of gaining money illicitly [go to text]

n19   yourself ] our selfe (emendation follows Parra). Although the reflexive pronoun isn't nonsensical in this instance, Wat is clearly distinguishing between what 'you' Careless and 'me your creature' should do. [go to text]

gg40   creature one ready to do another's bidding, puppet (through patronage or devotion) (OED 5) [go to text]

gg41   bravery 'finery, fine clothes' (OED 3b); showy attire (worn with an air of bravado) [go to text]

n24   Ram Alley A narrow alley on the south side of Fleet Street which claimed the right of sanctuary, frequented by those on the wrong side of the law. Careless's use of 'here' strongly suggests that he and Wat are in lodgings on Ram Alley, and therefore not far from the Salisbury Court theatre, for which the play was originally written. [go to text]

n21   Temple Situated amongst the buildings of the Inns of Court, Temple Church is just off Fleet Street, and contains effigies of knights lying in stone. [go to text]

n22   the old Synagogue Specifically refers to the Temple church. See also The Demoiselle [DM 2.1.speech359], in which Attorney also refers to the 'old Synagogue'. [go to text]

n23   cross-legged among the monumental knights there A reference to the stone carved effigies of knights on tombs in the Temple Church (which can still be seen). [go to text]

gg43   quotha! 'said he', i.e. indeed! (OED); sarcastic exclamation [go to text]

gg44   brought caused to be [go to text]

gs20   case covering, clothing [go to text]

gg46   there’s the devil expression of irritation or vexation (OED, devil, 20) [go to text]

gs21   done have sex (or sexual activity) with [go to text]

gg48   forlorn lost, abandoned; morally lost, depraved [go to text]

gs9   cheats tricks, ways of cheating [go to text]

gs10   cheats specific to dice, i.e. false dice (OED 6) [go to text]

gg49   skirrs 'To throw with a rapid skimming motion' (OED v. 4) [go to text]

n25   Hyde Park races The area of Hyde Park, known as the Ring or Tour, where races were held on horse, foot and in coaches (see A Jovial Crew [JC 2.1.speech139]). Hyde Park opened to the public in 1637, only two years before this play was first thought to have been performed. [go to text]

n26   bowling booties To 'play booty' was to join with others in order to target another player and gain a share of plunder (see OED, booty, n1. 4), often used in connection with playing bowls (see also The White Devil, 1.2.62). Therefore in this context it presumably means 'partners in a con'. Williams also records many examples of bowling terminology used to describe sexual circumstances, particularly the use of 'alley' for the female anatomy. Although Wat emphasises Careless's financial gain through trickery in this speech, it is not inappropriate for there to be underlying sexual implications also. [go to text]

n1572   alleys The popularity of bowling was reflected in James I's authorisation of licenses for several bowling alleys in London and the surrounding areas, although bowling was considered as bad as dice or cards by moralists for wasting both time and money. [go to text]

gg50   honeycombs sweet treats; honeycomb is cut from the hive. In MC, Careless's rewards are removed, or he is thwarted. [go to text]

n1384   cockpit cozenages Deceptions carried out by Careless at cockfighting events; these might include simple thieving from spectators or more complex schemes involving betting (such as is suggested by the 'bowling booties' also). [go to text]

gg53   books financial records [go to text]

gg1329   offer at make an attempt at; venture [go to text]

gg54   fairly neatly; clearly [go to text]

gg55   marts trade dealings (OED 4). [go to text]

gs23   putting out broadcasting, advertising [go to text]

gg12   codlings variety of apple [go to text]

n27   apricots ] apricocks. Fruit given as gifts to the citizens' wives to persuade them to give Careless credit. The juxtaposition of cherries, codlings, and apricots suggests sexual connotations, particularly given the suggestive original spelling, 'apricocks', which Williams notes as having a phallic sense elsewhere. References in other sources pun on having a 'bellyful' of fruit (sexual satisfaction), while 'cod' for 'testicle' is widely employed. However apricots are also noted as appealing to pregnant women in The Duchess of Malfi, 2.2.1: 'there's no question but her tetchiness and most vulterous eating of the apricots are apparent signs of breeding'. So while Careless's aim is boost his finances there is the hint that he provides the wives with more than fresh fruit. [go to text]

gg56   avail help; bring [go to text]

gs182   projects something projected or proposed for execution; a plan, scheme (OED n. 5a) [go to text]

gg57   confounded. defeat, ruin [go to text]

n28   but for years i.e. only for a finite number of years [go to text]

n29   term i.e. duration of his father's inheritance of wit [go to text]

gg58   casting devising, contriving (OED cast, 43b); rolling of dice [go to text]

n205   an’t ] and (emendation follows Parra); 'an it' meaning 'if it' [go to text]

gg59   once one day (OED 5) [go to text]

gg60   betake take [go to text]

gg61   handsomely courteously (OED 5a); liberally (5b); cleverly, skilfully [go to text]

n30   What pun on 'Wat', as well as expression of impatience [go to text]

gg62   bawdy-house brothel [go to text]

gg63   Fie exclamation of disgust or reproach [go to text]

gg226   handsome attractive [go to text]

gg65   lovely 'lovable or attractive on account of beauty' (OED 3) [go to text]

gs82   work sexual act [go to text]

n1385   empt our bones Careless identifies the loss which will counterbalance any financial profit from Wat's male brothel scheme, linking 'purses' and 'bones' due to the proximity of the purse (as hanging pocket and scrotum) and penis (see Williams, p. 1118). A similar concept is voiced by Autolycus in The Winter's Tale, 4.4.612: ''twas nothing to geld a codpiece of a purse'. The implication in Mad Couple is that the marrow/semen will drain from their bones/penis (see Williams, 'bone' and 'marrow'), alluding both to sexual exhaustion and the damage caused to bones by sexual diseases such as pox. The marrow was considered to be both the soft material within bones and a person's vitality and (moral) strength (see OED, marrow, n1. 1a and 3c). [go to text]

gg68   ever always [go to text]

n206   variety Italicised and capitalised in the original printed text. Perhaps the compositor thought it referred to a woman. [go to text]

gg13   he-whores. male prostitutes [go to text]

gs12   he-whores noise made by a donkey when spelled 'hee-haws' (pun) [go to text]

gg69   draymen men who drive 'drays' or carts (sometimes with wheels, otherwise like sleds) for carrying heavy loads [go to text]

n31   Cornish wrestlers ] Wrastlers A local form of wrestling in which contestants, wearing loose canvas jackets, try to throw their opponent by grappling, tripping, and other techniques (OED, Cornish, a2. and n.). [go to text]

n1386   country cavaliers Suggestive of elegant lovers or gallants, in opposition to the rough 'coarse' men they will recruit, also highlighting the perceived transformative power of clothing in terms of social status and thus also temperament. Possible lewd pun on 'country' in line with Hamlet's 'country matters' (3.2.115). [go to text]

n207   coarse ] course [go to text]

gg71   snout-fair 'having a fair countenance'; handsome (OED) [go to text]

gg72   drudges those working hard, performing servile tasks [go to text]

gs26   clapped into bravery put into fine clothes (OED, clap v1. 10a; bravery, 3b) [go to text]

gg375   service sexual action [go to text]

gg74   game-bears bears chained up for baiting (OED, game, n17); 'game' also suggests 'plucky, spirited' (OED, game, a1. a), the meaning of being 'keen, ready' coming later in the mid-nineteenth century (according to OED) [go to text]

gs70   courses sexual bout, derived from a pun on the 'courses' involving animal baiting and hunting (see Williams) [go to text]

n33   courses possible aural pun on 'coarse' in the previous line [go to text]

gg75   groats coin valued at roughly fourpence (OED 2), which in today's currency would be worth about £1.43 [go to text]

n208   a piece ] a peece; a-piece (emendation follows Parra). The meaning in its current form of ‘a piece a day’ is of giving the hired male whores a groat piece for each day’s work. Parra’s emendation (which, according to OED, should be ‘apiece’) changes the meaning, placing the emphasis on the men rather than the money: ‘apiece’ meaning ‘to each’. While the latter reading is not incomprehensible, the former makes better sense in the line. There is also a pun on ‘piece’ as ‘genitals’, i.e. penis (Williams); also identified by Williams as ‘person, usually a woman and often in sexually disparaging terms’, but since Wat is describing hiring men to do a job more commonly associated with female whores, perhaps this is apt. [go to text]

gg76   additaments additions [go to text]

gg77   clary ‘A sweet liquor consisting of a mixture of wine, clarified honey, and various spices, as pepper and ginger’ (OED n1). [go to text]

gg78   caudle (cup of) ‘a warm drink consisting of thin gruel, mixed with wine or ale, sweetened and spiced, given chiefly to sick people, esp. women in childbed; also to their visitors’ (OED n. 1a); aphrodisiac [go to text]

n5966   cock-broth broth made from a boiled cock; aphrodisiac. There is also an overt pun on 'cock' as 'penis', because the broth is specifically intended to help the hired male prostitutes in Wat's proposed bawdy-house. [go to text]

gg80   pieces of gold or silver, i.e. money (OED n. 1b) [go to text]

gg508   pieces a woman, usually with the connotation of being a sexual object (OED II 9b) [go to text]

gg81   she-customers female customers [go to text]

gs28   aunt bawd; prostitute (OED 3) [go to text]

gg83   find out discover by enquiry; perhaps also ‘provide’, although the first date cited by the OED is 1715 (OED, find, v. 20b; 20d). [go to text]

gg84   decayed fallen into ruin through loss of prosperity, health, or fortune; impaired, or reduced in quality or condition (OED 1) [go to text]

gs29   but only [go to text]

gg85   pastime entertaining diversion [go to text]

n34   clothes go to th’ hangman A customary payment to the hangman, here, for executing Careless in punishment for whatever desperate deed he is trying to plan. [go to text]

n35   was The past tense signifies Careless's detachment from, and contempt for, his uncle. [go to text]

gg86   orthographical relating to correct spelling [go to text]

n36   orthographical Video i.e. Saveall speaks words as they are literally spelled, an example of which is given by Careless, and serves as a clue to an actor. [go to text]

n1440   Enter SAVEALL. Video The positioning of the stage direction raises the question of how much Saveall hears of Careless's speech. Careless could see Saveall enter and either speak disparagingly of him on purpose, or as an aside to Wat (which seems more likely, given that Careless is dependent on Saveall as a link to his uncle). Alternatively, Saveall's entrance can be played ambiguously, so that neither Careless nor the audience are sure as to how much of his speech has been overheard, hence the excessive lines of gratitude which follow the entrance.
During workshops, Robert Lister (playing Saveall) discovered that this subtle approach worked best for him, combining both options and producing a more interesting and complex theatrical effect . [go to text]

gg87   presume undertake [go to text]

n3919   WAT exits. ] Exit Wat. [go to text]

gs30   presumed to take liberties (OED 1b) [go to text]

gg88   presumption taking more than one's right; arrogance (OED 2) [go to text]

gg89   overween think too highly of or overrate something (OED v. 2) [go to text]

n37   wrestle ] wrastle [go to text]

n38   overgrateful i.e. excessively grateful; presumably a reference to Thrivewell’s gratitude at being rescued by Careless from ‘thieves’. [go to text]

gg90   outrecuidance ‘excessive self-esteem ... conceit’ (OED, which cites this example); the pronunciation (as directed by the OED) seems to reflect the word's French origins [go to text]

n3690   my reason prevaileth with me not to strive against a torrent Proverbial (Tilley, S927). [go to text]

gg91   inexorable unable to be persuaded [go to text]

gg92   urge push forward; urgently remind of [go to text]

n39   that pious act of mine The incident is described in detail in the lines that follow. [go to text]

n1387   Your standing upon merit in that act Perplexeth nature in him, Lord Thrivewell's naturally benevolent disposition (nature) is puzzled by Careless's insistent reminders of his 'good deed' in saving his uncle from thieves. [go to text]

gg57   confounds defeat, ruin [go to text]

gg93   undeniable indisputable [go to text]

gg94   valour courage [go to text]

n236   I As printed in the original text, although this could potentially be modernised to 'Aye,' so that Careless is agreeing with Saveall, rather than referring to himself and Wat. [go to text]

gg95   purses shortened form of 'cutpurses' [GLOSS gg3006]; thieves [go to text]

gs32   o’ the score o' the score: in debt (OED 10b) [go to text]

gg97   points blades, e.g. knives, daggers etc. [go to text]

gs71   came on came on: arrived (OED, come, v. 66a) [go to text]

gg99   blood blood relationship, e.g. nephew [go to text]

gg100   nature human nature, character (OED n. 7a); instinctive physical response [go to text]

gg101   piety compassion; ‘faithfulness to the duties naturally owed to one's relatives ... affectionate loyalty and respect’ (OED n. 3) [go to text]

gg102   reprobation rejection, shame (OED 4. 1) [go to text]

n40   a as a [go to text]

gg103   presently immediately (OED adv. 3); without delay [go to text]

n209   be sworn, ] besworne [go to text]

gg104   thief’s mark ‘A sign, badge, brand ... imposed on a person’ (OED, mark, n1. 12a), e.g. on thieves (Ben Jonson was branded on his thumb for murder) [go to text]

n41   thief’s mark ] Theeves mark The singular modernisation refers to a mark given by one of the thieves. Usually given as punishment for thieving, the thief's mark hints that Wat and Careless are also thieves, deserving of the marks, for organising the fraudulent scheme. [go to text]

gg105   coxcomb head; fool [go to text]

gg106   put by thrust aside, evaded [go to text]

gg107   altogether at the same time; (recount) everything [go to text]

n42   fast bound i.e. in gratitude for saving Lord Thrivewell's life. [go to text]

gg108   run upon seek; ‘engage in’ (OED, run, v. 70b and d) [go to text]

gg109   outways ways; remote or inaccessible places (OED outway n. 1) [go to text]

gg110   surfeits excesses; ‘action that exceeds the limits of law or right; (a) transgression, trespass, fault’ (OED, surfeit n. 1 and 2) [go to text]

gg111   wants (n) penury; destitution (OED, want, n2. 3a) [go to text]

gg112   overborne oppressed, overcome [go to text]

gg113   charge trouble, expense, responsibility (OED n. 11) [go to text]

gg114   unexampled unprecedented [go to text]

gg115   riots loose living; debauchery, extravagance; noisy or wanton revelry; arising disturbances (OED n. 1a, 2a) [go to text]

gs35   irrevocable final [go to text]

n237   when in a suit clinquant and a la mode These lines are set as verse in the original text, emended to prose here in keeping with the rest of the speech (following Spove and Parra). [go to text]

gg1343   clinquant glittering with gold or silver (OED a and n) [go to text]

n1389   clinquant ] chinquant [go to text]

gg117   a la mode according to the fashion (OED phr. 1a) [go to text]

gg118   bachelor’s button ‘a name given to various flowers of round or button-like form; chiefly to certain cultivated double varieties of wild flowers; orig. and commonly, the double variety of a common yellow buttercup, Ranunculus acris’ (OED, bachelor, 6) [go to text]

n43   bachelor’s button A flower, but also obvious pun on the name of the flower in the context (with reference to marriage). The operative sense here is bawdy. [go to text]

n244   Sir, you shall see me die first, and that instantly, that you may tell my uncle I’ll be no more his trouble or charge, unless in charity he’ll send to bury me. There is a possibility that this could be verse, with internal rhymes of 'charity' and 'bury me', plus assonance of 'uncle' and 'trouble'. [go to text]

n1388   die Video Spove suggests that Brome intends a sexual quibble on 'die', and although Wat also mistakenly links the laying down of Careless's bed with sex, it is clear that Careless's intentions are to produce a melodramatic moment with which to pressurise Saveall into relenting. When, instead, the latter threatens to leave, Careless uses the 'fake death' scam to prevent Saveall. Options explored during workshops included Careless (played by Alan Morrissey) developing pains or pulling a sword or dagger , requiring Saveall (played by Robert Lister) to intervene. Robert Lister also experimented with Saveall's gullibility, responding in shock or disbelief bred from witnessing Careless's melodramatic scams one too many times . [go to text]

n44   violent end upon yourself? Video i.e. suicide. This line could also be delivered as a statement (rather than a question), perhaps as Saveall makes to take a sword or knife off Careless . [go to text]

gg119   end death; manner of death (OED n. 8b) [go to text]

n1441   what Video During workshops, Alan Morrissey (as Careless) played with the pun on 'what' and 'Wat', so that it became an urgent signal for Wat to enter . The actors experimented with this 'fake death' scene as a rehearsed scam, which at first Wat (played by Adam Kay) does not understand, linking Careless's bed to a visit from his whore. In the video clip, Careless has to use gesture so that Wat comprehends that they are working a scam, possibly a set-piece from an extensive repertoire. [go to text]

n45   in to Either means Careless getting 'into' his bed, or him going 'in' to another room offstage. [go to text]

n245   Wat! It's possible that the compositor was confused by Brome's manuscript, thinking that 'Wat' was a call by Careless for his servant, rather than a speech prefix (which has been added in this edition). It is clear that the following line should be allocated to Wat, and is amusing to think that the comic confusion intentionally scripted by Brome also baffled the compositor. [go to text]

gg120   dallied to play with someone mockingly [go to text]

gg121   tempted tested; tried [go to text]

n46   he i.e. Saveall. [go to text]

n47   unbutton me undress me, undo the buttons on my doublet [go to text]

n1442   Not so, I hope. Video Workshops experimented with Saveall reacting to Careless's melodrama with scepticism and shock . The implications of these alternate ways of playing the line are either that Saveall implies by his delivery that he has seen this particular scheme performed before, is not taken in, and confides in the audience; alternatively Saveall has enjoyed delaying delivery of the news of reconciliation, revelling in the sound of his own voice and the opportunity to scold Careless, yet is genuinely taken in by the scam. [go to text]

gg122   comforted strengthen (morally or spiritually); encourage, hearten (OED, comfort, v. 1a) [go to text]

gg123   resolved firm of purpose, determined [go to text]

n48   angel This could refer to angels sitting on one’s shoulders giving advice, one good and the other bad. [go to text]

n49   It will be Video i.e. higher, when Careless has died and gone to heaven. Alan Morrissey (as Careless) instinctively illustrates this note . [go to text]

gs1902   search Also 'probe' (a wound), hence 'deep' in next line [MC 1.1.speech71]. [go to text]

gg125   temper (n) mental constitution, temperament (see OED n. 3) [go to text]

n3696   Ah!—But, good sir, can this be? Careless quickly snaps out of his dying routine when he has processed what Saveall is telling him. [go to text]

n50   [Exit and re-] enter WAT with his cloak. Wat's entry and exit directions are incomplete for this section of the text, and have been emended economically in order to make sense of the action with the least interference. However, this option raises the question of what happens while Wat fetches the cloak: a long pause? Or is the cloak hanging up just off stage, or even onstage. These incomplete directions are an indication of a pre-theatrical text, evidence of Brome thinking through action in his mind before attempting it on stage. The action could have been managed very differently to the way it appears in the printed text. Both Spove and Parra move the entry direction (with cloak) to after Saveall's move to leave. The multiple entrances and exits see Wat fulfilling the role of the classical servant. [go to text]

gg126   satisfaction fulfilment of desire; compensation (OED 5a. 1b) [go to text]

n1390   reformation of my mind, Careless puns on 'reformation' using it to describe his improved moral conduct and desire to alter his external appearance to symbolise internal mental change. This involves cutting his hair and changing into more sober dress, reflective of moralist literature found in tracts and conduct books of the period. [go to text]

n51   garish apparel Clothing which is overdecorated or brightly coloured, i.e. inappropriate for the reconciliatory meeting with Careless's uncle. [go to text]

gg103   presently immediately (OED adv. 3); without delay [go to text]

gg127   hard by close by [go to text]

n1391   habit Although 'habit' clearly refers to the Careless's clothes, placed in the context of the feigned death, Saveall could also be referring to the performed routine he has witnessed, particularly as the audience should be alert to the narrated sequence of past 'reformations'. On one level Saveall advocates that internal reformation of morals and conduct is sufficient; however on another there is a sense that there is no need for Careless to go to the extreme lengths of altering his appearance, since the change is suspected to be temporary. Alternatively this line also fits the demands of the theatrical medium: that it is not desirous for the actor (or Careless as actor) to cut his hair or change his clothes (dependent on the stock of costumes available). [go to text]

gg130   an’t if it [go to text]

n52   an’t ] and't [go to text]

n53   fit of the uncle. A pun on the more common phrase 'fit of the mother', i.e. an hysterical fit, perhaps a reference to the frenzy of activity accompanying Careless's sudden visit to his uncle (hence the multiple stage directions and fuss about appearance, of which much could be made by the actor playing Careless to heighten the comedy). [go to text]

gg131   overtake catch up with someone travelling in the same direction (OED v. 2a) [go to text]

gg132   sennight week (archaic); abbreviation of 'seven nights' [go to text]

n55   [Phoebe] In the original printed text, a speech prefix for Phoebe appears two lines above, 'For let me tell thee...'. A reader (British Library 1653 copy, 161.a.18) has crossed out the original ‘Phe.’ (so these last two lines continue Wat’s speech) and, in his own hand, added the speech prefix ‘Phebe’ after ‘Knight’, so that Phoebe’s lines begin ‘Away Pimpe...’. This makes sense given that Phoebe is addressed by name in these lines; it is likely that they have been allocated mistakenly to her by the compositor, perhaps because of confusion in the manuscript copy. [go to text]

gg133   flamster deceiver; trickster (not in OED, but related to 'flam' n1 and v) [go to text]

n56   flamster ] Flamsted (emendation follows Spove). Possibly derived from 'flam', 'A sham story, fabrication, falsehood; a piece of deception, a trick' (OED n. 1 and a. 3), i.e. deceiver. [LW 1.1.speech171]. [go to text]

n1329   Nor him neither, will you? i.e. you won't bear (put up with; have sex with) him any longer, will you? [go to text]

n57   Madam Marion Spove glosses with reference to the character in the Robin Hood legend, performed by a man dressed as a woman in Morris dances. However this also ignores the later revelation that Phoebe's name is Mariana Gimcrack, as is written on her letter from Careless (see Act 3). Presumably she is known as Phoebe in the city (perhaps in an attempt to disguise her identity because of the shame Careless brings her), while Mariana was her country name. Marian = true love; Gimcrack = showy person, fop (see OED). [go to text]

gg136   parasite 'A person who lives at the expense of another' (OED n. 1a); flatterer [go to text]

gs37   honest married, respectable [go to text]

gg138   Byr’lady contraction of 'by our Lady'; an oath or expletive (OED) [go to text]

gg139   shrewd cunning, artful (OED adj. 13a); perhaps also 'difficult, dangerous' or even evil (see OED 4) [go to text]

gg140   Sirrah term of contempt [go to text]

gg793   undertak’st to take in hand, take on a case (but often as here with the additional sense of making a pledge or promise) [go to text]

n1330   How desperately valiant a whore grows when she is so poor that her clothes fear no tearing. This could be performed as an aside to the audience, although equally it could be a cruel comment designed to enrage or hurt Phoebe. [go to text]

gg142   bears (v) supports a sexual burden (used in reference to women) [go to text]

n59   bears i.e. having sex. [go to text]

gg141   bravely worthily; fearlessly; splendidly, handsomely (OED) [go to text]

n60   claw your face into blushes Scratch your cheeks until they turn red (like blushes) with bleeding. Although marks upon the face can be associated with the manifestation or punishment of women's crimes (see Heywood, A Woman Killed With Kindness (1603), 6.155-7; Chapman, An Humorous Day's Mirth, Scene 9), they are also associated with the traitor: Stanley ‘Makes a cross on Clifford’s face with his finger [-nail]’ in Ford’s Perkin Warbeck (2.2.83) as a badge of ‘the traitor’s infamy’ (l. 86). [go to text]

n1331   To be mocked out of my maidenhead when I was upon a good match in the country; then, with a promise of marriage, to be enticed from my friends into fool’s paradise (that was a new title for the city) and here to be used and abused from lodging to lodging by him that now flies me for the decays he hath brought me to? This exposition could either be performed as direct address or an aside to the audience. [go to text]

gg143   mocked tricked, deceived (OED, mock, v. 1a) [go to text]

gg144   upon ‘At the point of; close on, touching on’ (OED prep. 6d); ‘Unto, to (a person): in reference to ... marriage’ (OED prep. 18) [go to text]

n61   country Gordon Williams asserts that the country 'is often polar opposite to court or city as a place of innocent sexuality' (Williams, I, 316). [go to text]

gg146   fool’s paradise ‘A state of illusory happiness or good fortune; enjoyment based on false hopes or anticipations’ (OED 1); here more specifically, London. [go to text]

gg147   flies (v) run away from [go to text]

gg84   decays fallen into ruin through loss of prosperity, health, or fortune; impaired, or reduced in quality or condition (OED 1) [go to text]

n1393   law legal presentation. [go to text]

gg148   overwrought ‘Exhausted by overwork; worked to excess’ (OED a. 1), with possible sexual connotations, i.e. sexually over-used [go to text]

gg373   overworn ‘worn by excessive use’, i.e. spoilt (OED a. 1a and b). Possible sexual connotations, i.e. sexually over-used. [go to text]

gg40   creature one ready to do another's bidding, puppet (through patronage or devotion) (OED 5) [go to text]

n147   creature Phoebe picks up on Wat's use of the word and uses it to express her contempt for him (see OED 3c). [go to text]

n246   She strikes him. Moved from the end of Wat's speech (above) to the current location, allowing the actor playing Phoebe to strike Wat on her line. [go to text]

n1392   Leave these temptations; Wat jokingly refers to Phoebe's blows as endearing her to him, perhaps also employing a bawdy pun on 'strike' as 'copulation' (see Williams). [go to text]

n148   Away, you creature Due to Phoebe's repetitious speech, there are some interesting staging options at this point: does Phoebe strike Wat regardless of his warning that it urges him on (as a temptation)? Or perhaps she strikes him semi-flirtatiously? Or perhaps not at all. The decision would depend on the way the director and actors had chosen to make sense of Wat and Phoebe's apparently complex relationship: here they are at war, but at the end of the play, Wat confesses to Careless that he has enjoyed a similar relationship with Phoebe (in which case, is this something which develops over the course of the play, or does it further indicate that the copy text of the printed play was a pre-theatrical manuscript?). [go to text]

n149   sometimes the serving creature breaks his fast with a bit off the spit before the same meat is served up to his master’s table, but is never denied to dine upon his master’s leavings. Wat develops an analogy between the duty and practice of a household servant in serving food and presenting a sexual partner to his master, in which the woman becomes the 'meat' which is served up. Wat insinuates that he will have his sexual share of Phoebe, just as he might sample food 'off the spit', i.e. just before service to his master, or after his master has had his fill, i.e. from his 'leavings'. There is a striking juxtaposition here of two 'carnal' appetites: of the flesh for sexual fulfilment and food. In the course of this comparison, Wat puns on himself as sexual servitor, taking advantage of the dual culinary/sexual meanings of 'spit' and 'meat', where 'table' is presumably analogous to 'bed'. See Williams, 'serve'. [go to text]

gg266   appetite sexual preference, desire, craving [go to text]

n150   no saucy rascal Parra emends to 'a saucy rascal', but this is not an obvious compositorial error, and the sense can be explained if Phoebe is deliberately punning on Wat's reference to 'appetite', as his exclamatory response suggests. Spove suggests that 'saucy' here means 'love-intending', but it seems more likely that the word belies some sexual tension, either between a couple on the brink of sexual relations, or already enjoying a volatile relationship which is maintained with flirtation and teasing. [go to text]

gs175   saucy appetising, attractive (MCWM: this usage continues Wat's eating imagery while also expressing Phoebe's dislike of him) [go to text]

n151   nor shall you need to make use of law or friend against my master, but myself. i.e. have an affair with me to get your own back on Careless. [go to text]

gg380   join connect sexually (Williams), i.e. have sex. [go to text]

gs70   course sexual bout, derived from a pun on the 'courses' involving animal baiting and hunting (see Williams) [go to text]

gg29   course way of proceeding, action; also trick, way of gaining money illicitly [go to text]

n152   door This could be a simple proverbial statement, which Wat chooses for its potential in sexual punning, whilst also allowing him to suggest they move into a more private room to the writing materials. Williams notes that 'door' can refer to the 'vulva', so that Wat could be saying 'If I don't soon have sex with you, then have sex with me', where 'hang me' refers to the male sexual organs (as recorded in other drama; see Williams, 'hanger'). [go to text]

n153   pen, ink Wat is trying to get Phoebe into another (perhaps more private) room, and following the sexual punning on appetite, it is difficult not to suspect Wat of employing a double entendre here. Williams records many references to 'pen' and 'ink' as male and female components in a sexual act, so that the 'letter' or message which will so enrage Careless would be for Phoebe to have sex with Wat. [go to text]

n1332   part of my mind presumably related to 'a piece of one's mind', being a candid opinion or criticism (OED, piece, n. P6). [go to text]

gs45   pox of pox on/of (it): a plague on (an expletive) [go to text]

gg1331   cuckold man with an unfaithful wife, traditionally thought of as having horns on his head [go to text]

gg381   trading buying and selling [go to text]

gs72   trading sexual dealing (Williams). [go to text]

n247   wife’s ] Wives [go to text]

gg382   Zounds 'by God's wounds' (OED), a strong oath [go to text]

gg383   a-tilt 'an encounter on horseback with the thrust of a lance. Now usually fig. of controversial encounters' (OED 2); i.e. with directive purpose. Secondary sexual sense where tilting is a metaphor for copulation. [go to text]

gg1330   horn-head cuckold (man with an unfaithful wife) who traditionally was thought of as having horns on his head [go to text]

gg384   put down i.e. improved on [go to text]

n154   Hero and Leander 'Marlowe's Ovidian poem' (Spove). [go to text]

n155   Yes, sir, I am the gentleman, and she has told me so much, sir, that I must tell you to tell your master from me, and as I would tell him myself if he were here personally present, he is a most dishonest gentleman if he do her not lawful right by marrying her; and that right I came to demand, and obtain of him, or to denounce the law against him. This extremely tedious and foolish speech confirms Wat's aside about Saleware. [go to text]

gs73   short came short: arrived short of time, i.e. too late (MCWM). [go to text]

n1573   great battle of Finsbury Field Finsbury Field was used as a drill field for the trained bands, and was also a place to practise archery. Pepys refers to a 'fray' in Moorfields in his diary entry for 26 July 1664 between butchers and weavers, but no specific reference to the 'great battle' referred to here has yet been found. [go to text]

n156   (I am not dashed nor bashed) I will not be frustrated, daunted or dismayed. As Spove notes, this is one of Saleware's repeated phrases which marks him as a humour character. [go to text]

n3697   I have him there for four score pound Saleware has written a note of Careless's debt to him of eighty pounds in his account book. [go to text]

n157   Sapientia mea mihi, stultitia tua tibi 'My wisdom to me, your folly to you' (Horace, Oxford Dictionary of Quotations). [go to text]

n158   flower-de-luce A flower known as 'fleur-de-lis', it was also used as a badge for the kings of France (and thought to represent either an iris or a lance-head). Of four known taverns which bore this symbol in London, two were located on Fleet Street (at the corner of Shoe Lane, and Fetter Lane, respectively) and one on Lombard Street. Jane Shore orders for her trunks to be delivered to the latter: 'To Mistress Blage, an Inn in Lombard Street, The Flower-de-Luce' (Thomas Heywood, Edward IV, Part Two, 13.85). Perhaps Wat's compliment is then a very thinly-veiled reference to Alicia's extra-marital activities: likening her to a common tavern through which many customers pass. Another possibility is of a pun on 'luce' as 'lues' or 'lues venerea', or syphilis, thus hinting at Alicia's sexual promiscuity. [go to text]

gg2132   Well, wag, well denoting surprise (sometimes with intervening noun; OED well adv. 24b) [go to text]

n159   put me off with my wife Wat has superficially complimented Saleware's wife, so his response betrays his anxiety about her reputation. [go to text]

n160   her Perhaps accompanied by a gesture to Phoebe. [go to text]

n1394   dealt A careful choice of word which, appropriately for Saleware, plays on the mercantile imagery of 'do business with', whilst also punning on the sexual activity Phoebe claims has occurred. [go to text]

n161   deluced 'deflowered, probably coined by Brome with a pun on the Flower-de-luce' (Spove). [go to text]

gg146   fool’s paradise ‘A state of illusory happiness or good fortune; enjoyment based on false hopes or anticipations’ (OED 1); here more specifically, London. [go to text]

n162   fool’s paradise Comedy is derived from the repetition of Phoebe's words. [go to text]

n163   small show little evidence, i.e. no bump to indicate pregnancy. Wat seems to indicate that he knows she's lying. [go to text]

n164   show Phoebe punningly turns Wat's noun into a verb in her riposte. [go to text]

n165   fall by the way of lie in the path of, i.e. be of concern to. [go to text]

gg386   getting begetting, conceiving [go to text]

gg387   correct rebuke, admonish; punish [go to text]

n166   bade you correct your own Wat seems to insinuate that Saleware's wife's children are not also his children, compounding previous implications that she is unfaithful. [go to text]

n168   how then shall my master be sure Using the example of Saleware’s wife’s infidelity, Wat suggests that Phoebe might be similarly unfaithful to Careless, thus casting doubt on whether the alleged child is his. [go to text]

n167   if it be one i.e. if the baby exists at all; Wat is highly sceptical and suspects that Phoebe has invented a pregnancy to strengthen the claim that she has been wronged by Careless and enlist her cousin's help for her. [go to text]

gg388   asinego’s little ass; fool [go to text]

gs176   blood stock, family (OED n. 9a) [go to text]

n169   Welsh-blood Herefordshire is adjacent to Wales, and Spove's comments suggest a link between Wales and prostitution. Given Phoebe's lie about being pregnant, Wat might be conflating the noun and verb, meaning to swindle a person out of money (see OED v. 1). Perhaps there is also a connection between Wat's description of Phoebe almost as an animal, and common comparisons between women and animals, particularly with reference to sexual activity. [go to text]

n1395   There is law to be found for money, i.e. lawyers, who will threaten Careless with a suit. [go to text]

n171   Arches 'The Ecclesiastical Court of Appeal for the province of Canterbury' which met at the church of Sancta Marie-de-Arcubus on Cheapside, now more commonly known as St Mary-le-Bow; both names refer to the stone arches in the crypt. The Court of Arches still meets at St Mary-le-Bow church, maintaining its strong ties with the See of Canterbury, although the medieval church which stood in Brome's day was burnt down in the Great Fire of London (1666) and rebuilt by Sir Christopher Wren; the important arched crypt survived the fire. Williams notes that the periods when the Inns of Court men are present and the law courts are sitting are particularly profitable for prostitutes, 'hence Arches puns on brothel and the ecclesiastical court at St Mary-le-Bow' (p. 35). Therefore, although Saleware is attempting to impress Wat with his legal connections, he unwittingly suggests he has whores for friends. [go to text]

n3698   by your own or by your wife’s side Wat points to the Salewares' obsession with social climbing and status. Later it is revealed that while Saleware was born a gentleman, his wife is of more lowly origins [MC 3.1.speech607], perhaps explaining Saleware's prickly reaction to Wat's question. [go to text]

n247   wife’s ] Wives [go to text]

gg391   meddle mix, mingle; interfere, concern (oneself) with [go to text]

gg389   common-councilman member of the administrative body of London (see OED, council, n. 15b; council-man) [go to text]

n1396   meddle Saleware is clearly rattled by Wat's references to his wife, but unfortunately chooses vocabulary which exposes his obsession with being cuckolded. He means to warn Wat not to interfere or mix with his wife and notes Wat's witty jibes; however both 'meddle' and 'jerk' can alternatively stand for 'have sex with', and this slip presumably heightens the comedy of the scene. [go to text]

gg390   jerks witty gibes; can also refer to copulation [go to text]

n172   for great persons Saleware understands Wat to mean that his wife should only socialise with important people. Wat's secondary sense seems to imply that Alicia will only have sex with wealthy people, so there is no danger of her stooping to someone as lowly as him, and therefore Saleware need have no fear of Wat 'meddling' with his wife. [go to text]

n173   know your distance i.e. keep your distance and know your place. [go to text]

n174   wait you down 'accompany you downstairs to the door' (Parra). Possible pun on weighting Saleware down with worries and anxieties about his wife, which could also be associated with Saleware's concern that in his wife's infidelities she is being weighted down by another man during extra-marital sex. [go to text]

gg392   Cudsho an oath, where 'cuds' is a 'deformation of the word God's, in oaths and exclamations' (OED) . Not entirely convincing is Spove's gloss: 'by God's toe'. [go to text]

n175   did it tell Wat employs childish language to taunt Phoebe with the lie she has told Saleware about her 'pregnancy'. Similar language is also used by Constance when mimicking Elinor's appeals to her grandson, Arthur, in Shakespeare's King John: 'Give grandam kingdom, and it grandam will/ Give it a plum, a cherry, and a fig' (2.1.161-2, Oxford). Compare with Doris's dismissal of Geron: 'Go tell it mother, do' [LS 4.1.speech506]. [go to text]

n176   it its [go to text]

gg393   champkin According to the OED (which quotes Mad Couple as its only citation), 'champkin' is a nonce-word, comparable to 'bumpkin'. While the latter speaks to Phoebe's country roots, the word seems more specifically to refer to 'child'. [go to text]

gg1332   patron lord, master (sometimes providing financial support) [go to text]

n1333   patron Although this seems an usual choice of word for Careless (where 'master' might do), it allows Phoebe to distance herself with a satisfying explosive final word for the actor playing her part. [go to text]

n3920   They exit. ] Exit omnes. [go to text]

gg394   apparently evidently, visibly [go to text]

n249   wives ] wifes [go to text]

gs177   fetched it out draw forth (OED fetch v. 17) [go to text]

gg395   whence from where [go to text]

gg396   give it over finish, give up, i.e. stop (OED, give, v. 63) [go to text]

gg1340   stick stab, pierce; (of pointed instrument) remain imbedded; (of thoughts, feelings) to remain permanently in the mind (OED, stick, v. 1, 4a, 6b) [go to text]

n3689   endless torments Biblical reference to eternal punishment, i.e. hell [go to text]

gg397   lately recently [go to text]

gg398   heart-whole 'Uninjured at the heart; having the spirits or courage unimpaired; undismayed' (OED 1) [go to text]

gg399   bonds a pledge of oneself [go to text]

gg63   Fie, exclamation of disgust or reproach [go to text]

gg1342   in question under (judicial) examination; on trial (OED, question, n. 2c) [go to text]

gg1341   attainted convicted (of a crime) [go to text]

gg103   presently immediately (OED adv. 3); without delay [go to text]

n178   I shall do that now which few wise men would. The prose suddenly changes to verse at this point. [go to text]

gg400   weighty serious, grave, important [go to text]

gg1344   above superior; higher in rank or position [go to text]

n179   You are resolved, it seems, to keep your secret Unto yourself; much good, sir, may it do you. Lady Thrivewell notes that she receives no response from her husband, either hearing silence during his aside or stating he is mumbling to himself and not responding to her. [go to text]

n180   sir Can be applied to women (see OED 9). [go to text]

n1397   heart and liver Vital organs of the body, regarded as essential for life; the heart is additionally the seat of conscience (see OED 13) and the liver of love and violent passion. [go to text]

gg401   thence from there [go to text]

n181   this altar i.e. Lady's mouth (Spove). [go to text]

n182   sacred incense, i.e. her breath [go to text]

n250   [He] kiss[es her]. Moved from the end margin of the line above. This position makes better sense dramatically, punctuating rather than interrupting the line. [go to text]

n183   Purpose ] Purposer [go to text]

gg2129   perambulations verbal digressions (from the subject) [go to text]

n184   lain ] lyen (emendation follows Parra). [go to text]

n1398   doom Sentence, judgement. The word is also used to refer to the last judgement, thus maintaining Lord Thrivewell's religious imagery. [go to text]

n252   business ] busiesse [go to text]

gg24   Would wish (that/to) [go to text]

gg402   Gallants fashionable young man [go to text]

gg259   grave serious [go to text]

gg403   substantial reliable, of good standing [go to text]

gg404   panelled i.e. enrolled as jurors [go to text]

n185   And can you be so mild? Then farewell thought. Thrivewell is completely taken aback at her response to his admission of infidelity, perhaps explaining why he lets his guard down and continues talking to her in a relaxed, confidential manner. [go to text]

n186   ache upon these brows Reference to the horns of cuckoldry. A female cuckold was known as a 'cuckquean' (OED). [go to text]

n253   There’s no more, is there? The brackets surrounding the original text have been removed as the sense of the line continues, however their purpose might be to indicate that Lady breaks off, interrupting herself to check that her husband has told her everything, thus taking the place of the more usual dash. [go to text]

n187   Lightweight Saleware, my silkman’s wife. The punctuation of the original printed text suggests two possible readings of this line: as it has been modernised here, or 'Lightweight, Saleware my silkman's wife'. [go to text]

n188   The same I meant. This line could be delivered as an aside to the audience, but equally could be directed at Lord Thrivewell. [go to text]

n189   fair-dealing While Lady comments positively on her husband's openness, her use of slang is also wittily appropriate given the involvement of a tradeswoman. [go to text]

n190   Come, this is merry talk. Lady appears to be putting her husband at ease so that she can prise more information from him and use it to confront her rival. [go to text]

gg262   Prithee (I) pray thee: (I) ask you; please [go to text]

n191   wished me wanted me to go; told me to go [go to text]

gg406   divers several (OED 3) [go to text]

gg257   Troth (in) truth [go to text]

n192   Well said. This could be played as an aside. [go to text]

gg407   suit (n) pursuit, chase (OED n. 5a) [go to text]

gg80   pieces of gold or silver, i.e. money (OED n. 1b) [go to text]

n193   Had’em, i.e. she took the money. [go to text]

gg408   term '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 [go to text]

gg409   gamesters one who gambles (OED 3); lewd person of either sex (OED 5) [go to text]

n194   It is confessed. From this point, the verse seems to slip into prose; perhaps an indicator of Lady moving away from Lord Thrivewell's formal verse and towards a more intimate style of conversation as a way of encouraging him to open up. In this context, his move from verse to prose could indicate him relaxing his guard and opening up to her. [go to text]

gg410   still always; continually; ever; on every occasion [go to text]

n11285   ta’en taken [go to text]

n195   peppercorn a quarter a nominal quarterly rent (OED 1b); here, a payment for sex [go to text]

n196   pepper-proof Resistant to offence and/or the pox, 'pepper' being another name for the disease (see Williams; OED 8). As well as making an obvious pun, Lady seems to be going along with her husband's narrative almost as a male confidant, agreeing that if she were pox-free he would naturally want to continue to have sexual liaisons with Alicia. In a fine essay on commodity fetishism in the play, Bradley Ryner explains variations on the 'lover's gift regained' story in Italian sources and Chaucer's Shipman's Tale, all of which involve a payment for sexual favours by a married woman, which, once granted the payment is returned through trickery. One thirteenth-century source contains a poem entitled 'Versus de Mola Piperis' ['Verses on the Pepper-mill'], which describes how the payment of a cloak is returned to its owner because he has secretly taken the wife's pepper-mill, and demands exchange of it for the cloak in front of the woman's husband. Therefore the wife has provided sex for no gain. Ryner suggests that Brome alludes to this popular story with Lady Thrivewell's reference to pepper. [go to text]

gg411   egress going out, leaving (OED n. 1a) [go to text]

n197   egress [go to text]

n198   Enter SAVEALL [and] CARELESS. The entry has been moved from its original position in the text (just before Saveall's first line). It is clear from the final lines of Lady's dialogue that Saveall and Careless begin entering the stage before Saveall begins to speak, as she can see them and points them out to her husband. Either Saveall and Careless could remain at the back of the stage (if Lord and Lady Thrivewell are downstage) or take time to make their way towards the Thrivewells. [go to text]

n201   A handsome gentleman! Could he be so debauched? Since Thrivewell doesn't respond to her question, it is possible that Lady's line could be spoken as an aside to self, rather than to him. [go to text]

gg412   reformado one who is reformed (OED 2) [go to text]

n1400   words may not by you be multiplied. i.e. that you are not verbose, but quickly welcome Careless. Saveall seems to be hinting at the impression his own verbosity made on Careless, upsetting him into (feigned) illness. [go to text]

n199   George o’ horseback St George mounted on his horse, a common sign for taverns (Sugden; Spove). Williams also compares references to the slaying of the dragon by St George with his sword and the man as sexual partner. Careless clearly sees forgiveness by his uncle merely as a means of access to more money with which to continue his debauched life. [go to text]

gg413   out-flights release; lashing out (see OED out-, prefix 7) [go to text]

n200   out-flights Careless picks up on Thrivewell's reference to his 'lively spirit' flying out 'at random', and it is to this that he refers. [go to text]

n1382   fair allowance hereafter. Careless expresses his hope that the supply of money will continue indefinitely. [go to text]

n1383   A man must be so tied now. Careless's line expresses his reluctance to be obligated in gratitude to those who have spoken favourably on his behalf. If he sees Lady Thrivewell before uttering this line, his sight of her beauty could cause him to turn away and direct it as an aside to the audience. Alternatively he could be utterly self-absorbed, also explaining why he might not spot Lady until prompted to do so by Lord Thrivewell. [go to text]

n1399   I cannot use respect enough, Thrivewell understands Careless to mean that he will be overly respectful, however another interpretation of the line identifies Careless's skill at acting and 'using' respectful behaviour as a means to an end, i.e. his uncle's favour and money. Similarly, at the end of the play Careless appears as the reformed husband, yet quickly kisses the transformed Bellamy (Belle Amy). [go to text]

n202   Doubt him in nothing, for he is come home. The tone is similar to that of the parable of the prodigal son in Luke 15:11-32. [go to text]

gg414   grace (n) 'a short prayer either asking a blessing before, or rendering thanks after, a meal' (OED n. 20) [go to text]

gg415   driblets a small sum of money or petty debts (OED 1a and b); a small quantity (OED 3) [go to text]

gg416   sententiously neatly, concisely; utterance of maxims (wise sayings) [go to text]

n203   for credit sought With tradesmen, then their wares are dearer bought; Presumably these lines strike a chord with Thrivewell and wife. [go to text]

n1401   let’s in to dance. The invitation to dance suggests familial harmony and unification, and at the end of play is a nuptial celebration preceding a feast. Thrivewell makes no mention of dinner to accompany this dancing. [go to text]

n3895   They exit. ] Exeunt omnes [go to text]

© University of Sheffield, 2010
The transcribed text is made freely available for non-commercial usage. Copyright, of the design and content, remains with the Royal Holloway, University of London and the University of Sheffield. Commercial exploitation of this material is prohibited without licence from the Royal Holloway, University of London and the University of Sheffield.