849Swain-wit   [To CIT-WIT]   Come, sir, must I take you in hand again?

850Cit-witMy Lady will convey*n9074 Octavo of 1653 reads `convery'. her madman to Sir Andrew Mendicant’s, it seems.

851Swain-witTell me that I know not, and answer my questions.

852Cit-witShe and the doctor, and the tother†gg1195 other (of two) doctor’s gone with him too.

853Swain-witLeave you by flim-flams,†gg5848 idle talk; humbug (OED n. 1 & 2) and speak to the purpose.

854Cit-witYou know I ha’ sworn.†gg1956 promised by oath Do you not know I ha’ sworn?

855Swain-witTo live and die a beaten ass, a coward, hast thou not?

856Court-witPrithee forbear†gs1593 leave (him) alone him. He’s not worth thy anger.

857Swain-witAnger! Is every schoolmaster angry that gives discipline†gg5868 instruction (OED n. 1a and 3a) with correction?†gg5867 corporal punishment (OED 4)

858Cit-wit   [Aside]   Would he were at Penzance again!

859Swain-witDidst not thou tell my Lady that I was a coward in my own country, and kicked out of Cornwall?

860Cit-witComparatively†gg6047 by way of comparison; somewhat, rather (OED) I think I did in respect of Corineus, that wrestled and threw giant after giant over the cliffs into the sea.*n9090 In Geoffrey of Monmouth's mythical British history, Corineus was a descendant of Trojan War veterans and in his own right an unbeatable wrestler. He accompanied Brutus into Albion, then inhabited only by giants. When the invaders divided the island among themselves, Corineus chose, and gave his name to, Cornwall. The indigenous population of giants was denser there than elsewhere, and Corineus entertained himself by fighting with them -- notably, Gogmagog, whom Corineus hurled over the cliff at Plymouth Hoe. Geoffrey of Monmouth's Latin narrative was mined by Michael Drayton for his Polyolbion (1622), a mythical chorography of Britain. Drayton's version of the story of `great Corineus...the strong'st of mortal men', his victory over `great Gogmagog, an oak that by the roots could tear', and his reward in being given Cornwall, is told in Song I, likely source of Brome's reference.

861Swain-witPox o’ your comparative lies! And didst not thou say that he here   [indicating COURT-WIT]   was peppered so full o’ the whatshacallums,†gg5851 plural contraction of `what-dye-call-um', defined by the OED as an `appellation for a thing or person whose name the speaker forgets, does not know or wish to mention, or thinks not worth mentioning' that his spittle would poison a dog or a rat?*n9091 Another reference, through the figure of Court-wit, to the syphilitic condition of Sir William Davenant.

862Cit-witThat was comparatively too, in respect of a pure virgin, a chrisom-child†gg5852 newly baptised (and thus both innocent and very young) baby: from `chrisom', a white garment or piece of cloth which is used in the Christian ritual of baptism or so.

863Court-witHe never shall move me: I forgive him.

864Cit-witMerely comparatively I speak it.

865Swain-witForgi’ me for swearing: I’ll make thee speak positively, or beat thee superlatively*n9097 Cit-wit's escape hatch has been a plea of moral relativism -- `comparatively speaking'. Picking up Cit-wit's phrase, Swain-wit responds to its linguistic sense as the degree of an adjective or adverb -- positive (e.g., cool), comparative (cooler), superlative (coolest). before I ha’ done with thee.

866BoyGentlemen, my Lady—

867Swain-witHold a little. Didst thou not say this child here was a pickpocket? and that he picked thine of thy money, and thy watch, when he was singing between thy legs today*n9240 Presumably this was offstage during Act 2, when the trio of Wits are reported (and heard) to be singing catches while waiting for Raphael Winterplum to go away. See [CB 3.1.speech303]. ?

868BoyWho, I, a pickpocket?   [BOY] flies at [CIT-WIT.]   

869Cit-witForbear, good [laddy]:*n9099 Octavo of 1653 reads `Lady', which makes no sense in context: Cit-wit is speaking to the Boy, and Lady Strangelove is not onstage to be addressed. The Boy has mentioned her, by title, in the last speech but three, and it seems likely that that occurrence occasioned a slip by scribe or typesetter here. it was comparatively.

870Boy   [Pummeling CIT-WIT]   A pickpocket?

871Court-witForbear and hear him, Hercules*n9810 In classical mythology, Hercules was the greatest of the Greek heroes and the strongest of all mortals. Hercules successfully completed twelve tasks, most of which demanded great strength and endurance in the face of apparently impossible opposition. In addressing the Boy as Hercules, Court-wit mocks his assault on Cit-wit (who may be a coward but as an adult has the advantage of size). At the same time, moreover, Court-wit also makes a metatheatrical allusion to Shakespeare's Love's Labour's Lost, in which the pageboy Moth presents the figure of Hercules in the Act 5 masque. .

872BoyLend me a sword! I’ll kill him and hear him afterwards.

873Court-wit   [Restraining BOY]   Nay, I must hold you then.   [To CIT-WIT]   How was he comparatively your pick-pocket?

874Cit-witThat is, as much as any man I know. That is, I accuse nobody. That is, all are as innocent as the child, and he as the innocent unborn.   [To BOY]   And let that satisfy you.

875BoyLive. I am satisfied. Now, gentlemen, my Lady prays you to follow her to Sir Andrew Mendicant’s.

876Court-witI know the business. ’Tis about our revels.†gg1349 entertainments in royal or aristocratic households (as these were most often performed by professional acting troupes, the word was often added to the name of a company, such as the Children of the King's Revels) [Exit BOY.]*n9448 Octavo of 1653 does not provide an exit for the Boy once he has accomplished his errand. There is nothing in the dialogue to hold him onstage for the rest of the scene; and it makes dramatic sense for the Boy not to be around for the romantic reconciliation of Philomel and Cit-wit. If he is to exit, then it seems best for him to go as soon as the lines alllow, his departure marking a break before Swain-wit has another go at Cit-wit.

877Swain-wit   [To CIT-WIT]   Suffer a child to beat thee!

878Court-witHis cause was bad, you know.

879Swain-wit   [To CIT-WIT]   Incorrigible coward! Say now: art not thou thyself a pickpocket, and a cutpurse? Say.

880Cit-witComparatively†gg6047 by way of comparison; somewhat, rather (OED) it may be said I am to a churchwarden,†gg4384 a lay honorary officer of a parish or district church, elected to assist the incumbent in the discharge of his administrative duties, to manage such various parochial offices as by custom or legislation devolve upon him, and generally to act as the lay representative of the parish in matters of church-organization (OED) a collector for the poor or such.

881Swain-witThe conclusion is, that if ever I hear thou mentionst my name again in any sense whatsoever, I’ll beat thee out of reason.

882Cit-witIn my good wishes, and prayers I may. Heaven forbid else.

883Swain-witNot in your prayers, sir, shall you mention me: you were better never pray.

884Cit-witHeaven forbid I should, then!

885Swain-witAnd make thine oath good on that sly fellow that has ta’en away thy wench, or—

886Cit-witHe has not ta’en her yet.

887Court-witYou ha’ not seen her or him these two hours. Has not my Lady called too, and she not to be found?

888Cit-witTrue, true, and if I be not revenged —

889Swain-witDo’t then, now, while thou art hot.

She comes: here take and keep her while thou art hot and hast her.

890Philomel   [To SWAIN-WIT]   Is she at your dispose,†gs1594 control, disposal (OED n. 3, where it is noted that the phrase `at one's dispose' is very common 1600-1730) sir?

891Cit-witYour Lady gave you me.

892PhilomelOr am in her gift?

893Cit-witYou are in my possession,   [Aside]   nor shall Lucifer†gg6056 Satan, the Devil (OED 2) dispossess me of her.

894PhilomelSo valiant on a sudden!

895Cit-witHave I not cause?

896PhilomelYou’ll have me with all faults?

897Cit-witYes, and a match forever.   [CIT-WIT and PHILOMEL] kiss.   

898Swain-witHow means she ‘by all faults’?

899Cit-wit   [Interrupting the kiss]   A word she always uses in waggery.†gs1595 both: jest, jocularity (OED 1); and (an innuendo suggested by the onstage situation) sexual play

900Court-wit   [To DAINTY]   By all means take her from him.   [DAINTY demurs.]   What! Afraid of a coward?

901Swain-wit   [To DAINTY]   You must do’t or take the share. He should ha’ had a downright beating.    [To COURT-WIT]   Forgi’ me for swearing:    [indicating DAINTY]   he’s a verier†gg5288 truer coward than tother.†gg1195 other (of two)

902Court-witHe will serve the better to flesh†gg5853 initiate in bloodshed (OED v. 2a) him. And do but note his tyrannical rage that is the vanquisher.

903Swain-wit   [To DAINTY, who is dithering]   You will on.

904Dainty   [To CIT-WIT, who is still entwined with PHILOMEL]   Sir, she is mine by promise.

905Cit-witShe’s mine by act and deed, sir, according to the flesh. Let her deny’t and†gg857 if she can.

906Dainty   [Crossing to CIT-WIT and prising PHILOMEL from him]   That shall be tried by law.

907Cit-witBy law of arms and hands it shall!   [Striking DAINTY]   Take that, and let her go.

908Dainty   [To COURT-WIT and SWAIN-WIT]   Bear witness, gentlemen: he struck me.

909PhilomelO pitiful picture-drawer!

910Cit-wit   [To DAINTY]   Will you not draw? I will then.

911Dainty   [Retreating]   What would you have, sir? If she be yours, take her.

912Cit-witThat’s not enough. I will make thee fight. What blindness have I lived in! I would not but be valiant to be Cæsar.

913Court-witO brave Cit! O brave Cit!

914Swain-wit   [To DAINTY]   Why dost not draw, thou fellow, thou?

915DaintyShe’s his, he says; and she denies it not. Shall I fight against him for his own?

916Cit-wit   [To DAINTY]   I’ll make thee fight, or cut thee into pieces.

917Court-wit   [To SWAIN-WIT]   He turns your words over to him.

918Cit-wit   [To DAINTY]   Why dost thou wear a sword? Only to hurt men’s feet that kick thee?

919Court-wit   [To SWAIN-WIT]   Do you observe?   [To CIT-WIT]   Nay, thou art too severe.

920Cit-witPray hold your peace. I’ll jowl†gg5740 knock, bump, bang (OED v1. 2) your heads together and so beat tone†gg6046 the one (of two) *n9811 ] ton with tother†gs240 the other else.

921Swain-wit   [To COURT-WIT]   Forgi’ me for swearing. He’ll beat’s all anon.

922Cit-wit   [To DAINTY]   Why dost thou wear a sword, I say!

923DaintySome other time, sir, and in fitter place.

924Cit-witSirrah, you lie! Strike me for that, or I will beat thee abominably.†gg5854 greatly, terribly (OED adv. 2)

925Dainty   [To COURT-WIT and SWAIN-WIT]   You see this, gentlemen.

926PhilomelAnd I see’t too. Was ever poor wench so cozened†gg1611 beguiled, deceived in a man?

927Cit-wit   [To DAINTY]   The wench thou lov’st and doat’st on is a whore.

928PhilomelHow’s that?

929Cit-wit   [Aside]   No, no, that was not right.   [To DAINTY]   Your father was a cuckold, tho’, and you the son of a whore.

930Swain-witGood, I shall love this fellow.

931DaintyI can take all this upon account.

932Cit-witYou count all this is true, then. Incorrigible coward!   [To SWAIN-WIT]   What was the last vile name you called me, Mr. Swain-wit? Oh, I remember!   [Turning back to DAINTY]   ‘Sirrah, thou art a pickpocket and a cutpurse!’ And gi’ me my money again, and   [Indicating SWAIN-WIT]   him his, or I will cut thy throat!

933Dainty   [Aside]   I am discovered.

934Cit-witDo you answer nothing? Do you demur†gs1596 delay, stall for time upon’t?

935DaintyHold, sir, I pray. Gentlemen, so†gs1676 provided that you will grant me pardon and forbear the law, I’ll answer you.

936Court-wit and Swain-wit.Agreed, agreed.

937DaintyIt is confessed: I am a cutpurse.†gg5858 one` who steals by the method of cutting purses, a common practice when men wore their purses at their girdles'; hence, a pickpocket, thief, robber (OED)

938Cit-witComparatively or positively do you speak? Speak positively or I will beat thee superlatively.

939Swain-witForgi’ me for swearing: a brave boy.

940Dainty   [To SWAIN-WIT]   Here is your watch and money   [producing and returning goods],   and   [To CIT-WIT]   here is yours   [returning more goods].   Now, as you are gentlemen, use no extremity.†gs1597 extreme severity or rigour (OED 6)

941Court-wit   [Aside]   Beyond all expectation!

942Swain-wit   [Aside]   All thought!

943Cit-wit   [Aside]   Miraculous! Oh, the effects of valour!

944Philomel   [Aside]   Was ever woman so mistaken o’ both sides?

945Swain-wit   [To CIT-WIT]   But dost thou think thou art valiant for all this, though?

946Cit-witYou were best try,   [To COURT-WIT]   or you, or both, or come all three.

947Swain-wit   [To CIT-WIT]   I swear thou shalt have it to keep up while thou art up.*n9576 Swain-wit's promise might make more sense in performance than it does on the page. If the pronoun `it' here refers to stolen goods which Dainty has just returned, then Swain-wit is offering his restored property for Cit-wit to look after (and/or drawing attention to the property which has been restored to Cit-wit) as long as the fierce fit holds.

948Cit-wit   [To DAINTY]   Is this your picture-drawing? Are you the king’s picture-drawer? A neat denomination†gg5855 title (OED 2) for a cutpurse†gg5858 one` who steals by the method of cutting purses, a common practice when men wore their purses at their girdles'; hence, a pickpocket, thief, robber (OED) that draws the king’s pictures out of men’s pockets!*n9104 Dainty steals coins, on which the King's portrait is stamped, from his victims' pockets. The joke plays with the double senses of `draw' (as `delineate' and as `withdraw, remove') and of `pictures' (as `image painted or drawn on a flat surface' and as `three-dimensional image'). Having seen the joke, Cit-wit will repeat it in the next scene: see [CB 5.2.speech948] and [NOTE n9265]. Dainty used a similar equivocation (playing with `draw' and `pieces') back in Act 2: see [CB 2.1.speech331] and [NOTE n8371].

949Court-wit   [Shielding DAINTY from CIT-WIT]   Come, sir, come in with us.

950DaintyPray use me kindly,†gg5859 with sympathy, benevolence, good nature (OED adv. 2) gentlemen.

951Cit-witYes, we will use you in your kind,*n9105 That is: as suits your sort. Dainty has asked to be treated kindly (in the sense of `humanely'), and Cit-wit responds by threatening to treat him as befits the thieving subspecies of humankind. Cit-wit, suddenly valorous, proposes that Dainty should be punished for his crimes. sir.

972MendicantThe gallants†gs1656 fine fellows (ironic: see OED n. 2a) that were today so merry with me!

973StrangeloveThe same: but very harmless.

974Cit-wit   [To MENDICANT]   All but one, sir. Did you not lose your purse today?

975StrangeloveWhat’s the meaning?

976Court-wit [and] Swain-witWe’ll tell you, Madam.

977MendicantMy purse? I missed it at my Lady Strangelove’s.*n9454 In Octavo of 1653, this line is set in parentheses -- apparently to signal that it is an aside. It makes better sense, however, for the line to be part of Mendicant's reply to Cit-wit: the purse was stolen onstage in the final business of Act 2, so any audience will know what has happened to it; and he is not going to keep its theft a secret from the others onstage in this scene.

978Cit-witThis picture-drawer drew it, and has drawn more of the King’s pictures*n9265 Dainty has often stolen coins, on which the King's portrait is stamped, from his victims' pockets and purses. The joke plays with the double senses of `draw' (as `delineate' and as `withdraw, remove') and of `pictures' (as `image painted or drawn on a flat surface' and as `three-dimensional image'). Cit-wit has registered the joke in the scene immediately preceding this one: [CB 5.1.speech948] and [NOTE n9104]. Here, as is characteristic of his speech, he reiterates it. A similar quibble (involving `draw' and `pieces' was introduced by Dainty in Act 2: see [CB 2.1.speech331] and [NOTE n8371]. than all the limners†gg5166 painters, especially of portraits in the town.   [To DAINTY]   Restore it, sirrah.

979MendicantI will not take it: ’twas my neglect that lost it, not he that stole it.    [Aside]   This is my day of fortune. It comes home to me, more than I dare receive. O my joys, let me be able to contain you!

980Cit-witHa’ you another purse to lose?

981MendicantI have a purse, which if I lose, I’ll blame myself, none else.

982Cit-witLet him but come so near you as to ask forgiveness for the last, and if he do not take the next, though it be six fathom†gg4269 literally, a measurement that is the equivalent of the distance between the fingertips of each hand when the arms are outstretched to the full (roughly six-foot); figuratively, a great distance deep i’ your pocket, I’ll hang for him when his time comes.

983MendicantI’ll watch his fingers for that.

984Court-wit   [To STRANGELOVE]   Observe, good Madam.

985Dainty   [Kneeling before MENDICANT]   Sir, at your feet I beg your pardon.

986MendicantIt needs not. Prithee rise.

988Mendicant   [Embracing DAINTY, who cuts his purse]   In sooth, thou hast it. Heaven pardon thee as I do.

989DaintyI have it, sir, indeed, and as your gift I’ll keep it, promising before all these witnesses, I’ll never venture†gs1600 risk oneself for another.*n9268 The joke pivots on ambiguity of pronominal reference: where Mendicant has used the word `it' to mean the pardon which he is extending to Dainty, Dainty uses that pronoun to mean the purse which he has just stolen from Mendicant during their reconciliatory embrace. Dainty then extends the joke with a second ambiguous pronoun, `another'.

990Mendicant’Fore me, an expert†gg5864 trained by experience, skilful (OED a1, 2) fellow! Pity he should be hanged before we have more of his breed.

991Cit-witDid not I tell you, sir? And these are but his short arms. I’ll undertake, when he makes a long arm, he shall take a purse twelve score off.

992MendicantI do not like thieves’ handsel,†gg5865 first experience, taken as auspicious of what is to follow (OED n. 4) though. This may presage†gs1603 portend (OED 1a) some greater loss at hand.*n9107 Having just been robbed for the first time, Sir Andrew Mendicant interprets the experience as a sign that he may be about to take another, and bigger, financial hit.

993Swain-witNow, gentlemen, you know your task: be expeditious†gg5878 speedy (OED adj. 3) in’t.

994Court-witI have cast†gg5863 contrived, devised (OED v. 43b) the design†gg5862 plan, scheme (OED n. 1a) for’t already, Madam. My inventions are all flame and spirit.*n9126 The sense of `inventions' is ambiguous. Court-wit could be speaking of his own inventive ability (OED 4), or his inventive activity (OED 3b), or that which he has invented (OED 6). His use of the plural, however, suggests that the last of these three senses is the dominant one. He is in any case boasting: according to medieval cosmology, the great distinction of fire relative to the other three elements (earth, air and water) which constituted the universe was that only fire leapt upwards. But you can expect no great matter to be done extempore†gs1598 without preparation (OED adv. 1a) or in six minutes.*n9122 If Court-wit stresses and aspirates the first syllable of the first word, it will be heard as `HEX', which means `six' in Greek.

995Swain-witWhat matter is’t so†gg1766 so (that), so long as (OED adv. and conj. 26a) we skip†gg5869 leap, spring (OED v1. 2a) up and down? our friend Jack Dainty here, Mr. Cutpurse, dances daintily†gg5877 excellent, finely, handsomely (OED adv. 1; now obsolete) tho’.

996StrangeloveAnd Mr. Cit-wit, you have worthily won my woman, sir.

997Cit-witI have her, Madam. She is mine.

998StrangeloveI’ll make her worth a thousand pound to you, besides all she has of her own.

999Cit-witHer faults and all, Madam: we are agreed o’ that.

1000PhilomelSuppose this boy be mine.

1001Cit-witI would he were else,†gs1599 already (OED adv. 3c) that I might have him under lawful correction,†gg5867 corporal punishment (OED 4) and the cause†gs1605 good, proper or adequate ground for action (OED 3a) o’ my side, for he beat me not long since.

1002BoyAnd†gg857 if you be my father, and do not make much of me and give me fine things, I’ll beat you again, so I will, and my mother shall help me.

1003Cit-witAgreed, Billy! Agreed, Philly! Never was man so suddenly so rich. Nay, never! Look, gentlemen: she is mine, and he’s mine own. I am sure I ha’ got†gs1262 begot, fathered him now, and all faults are salved.†gg5866 explained away, cleared up (OED v2. 2)

1004Swain-witHer word in waggery†gs1595 both: jest, jocularity (OED 1); and (an innuendo suggested by the onstage situation) sexual play is made good in earnest now tho’.

1005StrangeloveTo your business, gentlemen.    [They consult.]*n9475 In Octavo of 1653, this stage direction is placed, parenthetically and to the right, across the first three of the four prose lines in Strangelove's speech ([CB 5.2.speech1005]).     If you have a short speech or two, the boy’s a pretty†gg229 pleasing; good, excellent actor; and his mother can play her part. Women-actors now grow in request.*n9108 The novelty here is that the request was beginning to be met, albeit by players from the Continent, in the London commercial theatre. Early in November 1629 a French company played at the Blackfriars: according to the Master of the Revels, in a record of which the original is now lost, what they staged there was a `farce'. More remarkable than the genre is the gender composition of the French company: as William Prynne recorded in his Histrio-Mastix, published four years after the French company's performance at Blackfriars: `They have now their female players in Italy and other foreign parts...[And] in imitation of these, some French women, or monsters rather, on Michaelmas term 1629 attempted to act a French play at the playhouse in Blackfriars -- an impudent, shameful, unwomanish, graceless, if not more than whorish attempt.' Five and a half years later, London again gave place to women performers on the commercial stage, this time the Phoenix in Drury Lane. Owned by Christopher Beeston and later known as the Cockpit, the Phoenix in 1635 was the home of Queen Henrietta Maria's men. In a document of which the original is no longer extant, the Master of the Revels recorded the French company's week-long residency there: his account suggests that their visit had involved a high level of intervention by King Charles on behalf of his Queen. See Bentley, Jacobean and Caroline Stage, VI (Oxford University Press, 1968), 23, 225-7; and Wickham et al., eds., English Professional Theatre 1580-1660 (Cambridge University Press, 2000), 526-7, 584, 632.

Sir Andrew! Melancholy?

1006MendicantI was thinking on the omen†gg6060 event or phenomenon regarded as a portent of good or evil (OED n. 1) of my purse.

1007StrangeloveFear no further mishap, sir. ’Tis ominous†gs1601 ruinous, disastrous (OED 1c) to fear.

1008MendicantPray let’s go in and see how things proceed.

1009StrangelovePray give me leave to make the first discovery.†gs1657 reconnaissance; viewing (OED 3b and 3c) Walk down into the garden. I’ll come to you.

And here are some would speak with you.[MENDICANT exits through one stage door,
STRANGELOVE exits through the other stage door.]*n9477 In Octavo of 1653, the corresponding stage direction is placed to the right of the last line in Speech No. 1006. It reads: `Ex. severally' -- that is, separately.

1010Projector 1Into the garden! Good: let’s follow him.

1011Projector 2’Tis not the repulse he gave us in the morning shall quit†gs1606 release, rescue, redeem (OED v. 6a) him of us.

1012Projector 1No, now his superintendent’s turned away, we’ll once more fill his head with millions.[PROJECTORS] exit [in pursuit of MENDICANT].

1013DaintyI’ll make the dance and give you all the footing.†gs1602 choreography, dance steps

1014Swain-witStand further off o’ my pocket tho’.

1015Cit-witNo matter. If we lose anything and he within ten miles of us, I’ll make him answer’t.

1016DaintyI want†gg491 lack a fifth man. I would have an odd.

1017DoctorThe marriage is performed. The priest has done his office —

1018Swain-witDoctor, can you dance?

1019DoctorAnd sing too: I ha’ forgot much else.

1020PhilomelI’ll speak the speech. Ha’ not I forgot my actor’s tone, trow?†gs104 do you suppose? I shall remember’t. I could have acted ’em all o’er.

1021BoyI can speak a speech too, mother. Must I call you ‘mother’ now?

1022PhilomelAy, my boy, now I dare avouch*n9115 Octavo of 1653 reads `vouch', but the OED does not give a transitive sense for this verb. For `avouch', however, it gives a sense (4) which exactly fits this context: `to acknowledge (or claim) solemnly as one's own'. The difference between the verbs being but a single letter, easily dropped in typesetting, the emendation seems justifiable as well as semantically preferable. thee.

1023Doctor   [To DAINTY]   What think you of this tune, sir, for your dance?

Tay dee, dee.....n9479 Octavo of 1653 reads `Tay dee. dee, &c.' (See [CB 5.2.line2576].) Expanded to `et cetera', the abbreviation `&c.' means `and other things': it here indicates that the Doctor hums, or wordlessly sings, more than just `Tay dee, dee'. Subsequent stage directions in the 1653 octavo make clear that the Doctor carries on with this business up to and including his exit with the other performers after [CB 5.2.speech1045]. (See [CB 5.2.line2626].) Doubtless his volume would vary in performance: as General Editor Richard Cave has pointed out to the editor of The Court Beggar, this stage direction is a good example of Brome encouraging improvisation. Workshop session on 13 December 2008 demonstrated what such encouragement might foster: see clip .

1024DaintyI’ll borrow a viol†gg913 early forms of stringed instruments played with a bow that came in different pitches akin to the modern violin, viola or cello and take†gs1608 learn (OED v. 30) it of you instantly.Ex[it DAINTY].

1025[Raphael]*n9114 Octavo of 1653 neglects to give a heading for this speech, but the question is obviously being asked by Sir Raphael on his entrance.    (To COURT-W[IT])*n9499 In Octavo of 1653, the corresponding stage direction, distinguished by an open-parenthesis sign, is placed at the end of the line which it governs ([CB 5.2.speech1025]).    Pray sir, is Sir Andrew Mendicant i’the house?

1027[Raphael]*n9114 Octavo of 1653 neglects to give a heading for this speech, but the question is obviously being asked by Sir Raphael on his entrance.    [Still to COURT-WIT, who remains preoccupied by poetic creation]    Is he within, sir, can you tell?    [Aside]   He’s too busy it seems.    (To CIT-WIT, who as [RAPHAEL] move[s] toward him, [takes no notice and] dances, looking on his [own] feet)    Can you tell me, sir, I pray, if Sir Andrew be within?    [Aside]   Very strange! Among what nation am I arrived?    [Noticing DOCTOR]   Here’s one in civil†gg5872 of apparel: sober, decent, grave (OED adj. 10) habit sure will answer me.    [To DOCTOR]   Sir, may I be informed by you? Saw you Sir Andrew?     (DOCTOR stretches his throat in the tune.)    Te precor, domine Doctor.*n9109 `I beseech you, master doctor' is a formula for a pupil's address to a teacher.    [Aside]   They are no Christians sure.    ([DOCTOR]sings on.)       (To SWAIN-WIT, who whistles and dances `Sellinger's Round' or the like*n9513 `Sellinger's Round' is a country dance tune: its popularity (which has continued for centuries) is suggested here by the alternative selection. )   Sir, may I be informed by you?    [Aside]   Bless me! The people are bewitched.    Enter Dainty [with the viol which he has just fetched].       (TO DAINTY[, who] fiddles to him)    Do you belong to the house, sir?    (The four [DAINTY, CIT-WIT, SWAIN-WIT and DOCTOR], dancing and singing, practise about him.)   I hope for courtesy here.     To PHIL[OMEL]   Lady, will you be pleased —

1029Raphael   [Aside]   This is most heathenish†gg5886 pagan of all.

1031Raphael   [Aside]   What woman monster’s this?*n9521 Sir Raphael's question suggests that he has only just noticed that a female character is spouting pseudo-Senecan tragic verse. Beyond the absurdity of Sir Raphael's obtuseness, there is a metatheatrical joke. In theatrical fact, Philomel is played by a boy; but in the dramatic fiction Philomel is a female character. And at this point, speaking as she does in the character of the Cumaean Sibyl, who in Book 6 of Vergil's Æneid escorts the hero AEneas to the underworld, Philomel is performing as an actress -- deemed a monstrosity by William Prynne. In Histrio-Mastix (1633), he notoriously condemned `some French women, or monsters rather, [who] on Michaelmas term 1629 attempted to act a French play at the playhouse in Blackfriars -- an impudent, shameful, unwomanish, graceless, if not more than whorish attempt'. (See Bentley, J&CS, 6, 227; and Wickham et al. 412)    [To BOY]   Sweet young gentleman, let me ask you a question.

1038Cit-witYou write admirably, I confess; but you have an ill tone to instruct in. I’ll read to ’em myself. You give your words no grace.

1039Doctor   [To DAINTY]   You have the tune right. Will you instruct the music men?

1047MendicantGo back and be not seen till I come to you. Ex[it] PRO[JECTOR 1 and PROJECTOR 2].

1048Raphael   [Aside]   He’s come.   [To MENDICANT]   Ha’ you heard the news, Sir Andrew?

1049MendicantWhat, Sir Raphael?

1050RaphaelThat Ferdinand’s restored to’s wits.

1051MendicantI am glad on’t.

1053MendicantI hope you think me a Christian, sir.   [Aside]   But how should he arrive at such a sudden knowledge of it, if it be so? I will pretend ‘tis*n9154 Octavo of 1653 reads 'tis' (without an apostrophe) true.   [To RAPHAEL]   Yes, sir: he is in’s wits.

1068StrangeloveNay, Sir Raphael, I protest we will be friends, notwithstanding I have outstripped†gs1607 overtaken, surpassed you in your plot of matching your nephew Frederick here to his love Charissa.

1073FerdinandIt is, and, sir, in testimony of my recovery, I make demand of my estate, of which you thought yourself possessed.

1074MendicantWhat hopes am I fallen from, and what misery fallen into, when the little I have is begged for manslaughter!

1107MendicantThis is a patent for the taking of poor John and barrel-cod alive, and so to preserve ’em in salt water for the benefit of the fishmongers.*n9164 Poor John is smoked fish (usually hake, according to the OED), and barrel-cod is pickled fish. A project for catching these preserved foods alive would approximate one for growing spaghetti.

1110MendicantThis is a fresh one, sir, for the catching, preservation, and transportation of butterflies, whereby they may become a native commodity.

1112MendicantThis is for profits out of all the common cries i’ th’ City,†gg3452 The City of London, the ancient capital and commercial area with its own system of power and government; often contrasted with the Royal Court, based a few miles down the Thames at Westminster and Whitehall, a rival base of power, authority, and culture as of — ‘Oysters!’ — ‘Codlings!’ — ‘Wood to cleave!†gg5900 split, hew (OED v1. 1) ’ — ‘Kitchen stuff!’ — and the thousand more, even to the matches†gg6068 pieces of cord, cloth, paper, wood, etc., dipped in melted sulphur so as to be readily ignited with a flint, and used to light a candle or lamp, or to light fuel (OED match n2, 2a) for your tinder-box.†gg6069 box in which materials for making fire were kept And all foreigners to pay double. And a fee out of the link-boys’*n9165 Octavo of 1653 reads `link-boyes'. Rendering this as a possessive plural (rather than singular) seems preferable in context, close to clearly plural `Forrainers'. A link-boy was a torch-bearer, hired to illuminate the way along the streets of London. profits. But no cries to escape: ’Tis for a peace.*n10142 A levy on all London streetcries (with some criers taxed more heavily than others, but none to escape taxation altogether) may be expected to reduce noise levels in the City.

1124FerdinandAn excellent moral! The projects are all cancelled, and the projectors turned out o’ doors.

1127DaintyBy Mr. Bridegroom’s leave,†gg885 permission I’ll stir her blood a little for the good meaning she had towards me.

1128Cit-witYou may do so. He dares not pick her pocket, and for her maidenhead I dare trust him, tho’ he should dance quite out of sight with her.

1133Swain-witShe’s a wise widow by’t: for sure enough, she saw something in his mad naked fit, when he put her to’t, to choose a husband by, won’t out of her thought yet.*n9846 Recollecting that Strangelove is a widow and therefore sexually experienced, Swain-wit surmises that she must have found Ferdinand attractive when he attempted to rape her.

1144Swain-witAnd why you now? or you? or you? I’ll speak enough for you all.    [To DAINTY]   You now would tell the audience they should not fear to throng hither the next day, for you will secure their purses cut-free and their pockets pick-free. ’Tis much for you to do tho’.    [To MENDICANT]   And you would say that all your projects are put down, and you’ll take up no new but what shall be spectators*n10141 Octavo of 1653 reads `(spectators)'. The parentheses here may indicate tone or manner of utterance drawing attention to the word. The OED cites usage from 1586; but thirty years later John Bullokar included it in his dictionary of difficult words, many of which were relatively new to the language (An English Expositor [London: John Legatt, 1616]). His definition of `spectator' is `beholder'. to please you.    [To COURT-WIT]   And your*n10139 Octavo of 1653 reads `you'. poetic part induces you, t’apologise now for the poet, too, as they ha’ done already,    [To STRANGELOVE]   you to the ladies,    [To FERDINAND]   you to the cavaliers and gentry,    [To CIT-WIT]   you to the City friend, and all for the poet, poet, poet, when all’s but begging tho’. I’ll speak to ’em all, and to my country folks too if here be any o’em, and yet not beg for the Poet tho’. Why should we? Has not he money for his doings, and the best price too? Because we would ha’ the best! And if it be not, why so!*n9554 This is an expression of content or acquiescence (OED `why' IV, 7d). Octavo of 1653 punctuates this phrase with a question mark (and without an intermediate comma), but it is no more interrogative than its modern idiomatic equivalents, `so what' or `what then'. The poet has showed his wit and we our manners. But to stand beg, beg for reputation for one that has no countenance†gs1677 position, standing, dignity (OED n. 10) to carry†gs1740 manage (OED v. 22a); do it, and must ha’ money, is such a pastime!— If it were for one of the great and curious†gg2874 skilful, clever, inventive (OED curious a, 4) poets that give these plays as the Prologue said, and money too, to have ’em acted *n9553 The particular target here is once again Sir John Suckling and his subsidy, in 1638, of the production of his first finished play, Aglaura. In violation of economic practice in the professional theatre of the time, instead of the playing company paying him a flat fee for his playtext, Suckling paid them to stage it: the fact that payment had been in theatrical kind -- new costumes -- reduced neither the offence to Brome nor the expense to Suckling. See: the Introduction to this edition; and John Freehafer, `Brome, Suckling, and Davenant's Theater Project of 1639', Texas Studies in Literature and Language, X (1968). — for them, indeed, we are bound to ply for an applause, because they look for nothing else, and scorn to beg for themselves. But then you’ll say those plays are not given to you: you pay as much for your seats at them as at these, though you sit ne’er the merrier, nor rise the wiser, they are so above common understanding; and tho’ you see for your love, you will judge for your money. Why so for that too, you may. But take heed you displease not the ladies tho’ who are their partial judges, being bribed by flattering verses to commend their plays, for whose fair cause, and by their powerful voices to be cried up wits o’ court, the right worshipful poets boast to have made those interludes,†gg5963 stage plays (OED n. 1) when for aught*n9555 Octavo of 1653 reads `ought', which is the archaic form of this pronoun meaning `anything whatever' (OED `aught' n2, A). Modern usage here would be `for all you know'. you know they bought ’em of University scholars tho’,*n9580 This suggestion is yet another jibe at Sir John Suckling's playwriting, particularly of Aglaura: see Introduction. and only show their own wits in owning†gg5966 laying claim to (OED v. 3b) other men’s, and that but†gg5728 only as†gs746 because they are like neither.*n9556 The negation and connection of this adverbial conjunction both work backwards (see OED `neither' adv & conj, 2a). The phrase 'show their wits in owning other men's, and that but as they are like neither' could be paraphrased 'show their intelligence in claiming other men's and make such claims only because they are stupid'. As thus, ‘Do you like that song?’ ‘Yes.’ ‘I made it.’ ‘Is that scene or that jest good?’ ‘Yes.’ ‘’Twas mine.’ And then if all be good, ‘’Twas all mine.’ There’s wit in that now. But this small poet*n9557 That is, Richard Brome. In explaining -- at some length -- why he will not beg for the author of The Court Beggar, Swain-wit is doing just that. Despite the informal style of his speech, Swain-wit's ploy, for which the technical term is 'asservatio' ['swearing off'], has an impeccable pedigree in classical rhetoric. Perhaps best known among English dramatic examples, however, is Antony's speech over Caesar's corpse in Act 3 scene 2 of Shakespeare's Julius Caesar: `I come to bury Caesar, not to praise him.....' vents†gg5964 vends or sells (something) (OED notes that this form was very common c. 1600 to c. 1670) none but his own, and his by whose care and directions this stage is governed, who has for many years both in his father’s days, and since,*n9581 The reference is to William Beeston [aka Hutchinson] (1610/11?-1682) and his father Christopher (1579/80-1638), actors and theatrical impresarios whose careers included the management of the Cockpit (or Phoenix) in Drury Lane and the company of boy players which bears the better known of their surnames. See introduction. directed poets to write and players to speak till he trained up these youths here to what they are now — ay, some of ’em from before they were able to say a grace†gg414 (n) 'a short prayer either asking a blessing before, or rendering thanks after, a meal' (OED n. 20) of two lines long to have more parts in their pates†gs1741 brains (OED pate n1, 2) than would fill so many dryfats.†gg5965 large vessels (casks, barrels, tubs, cases, boxes) used to hold dry things (as opposed to liquids) (OED) And to be serious with you, if after all this, by the venemous practice of some who study nothing more than his destruction, he should fail us, both poets and players would be at loss in reputation. But this is from our poet again, who tells you plainly all the helps he has or desires. And let me tell you he has made pretty merry jigs†gs1680 light performances or entertainment of a lively or comical character; dramatic farces. that ha’ pleased a many. As (le’me see) Th’Antipodes, and — oh, I shall never forget! —Tom Hoyden o’ Tanton Deane.*n9560 This is the alternative title of Richard Brome's Sparagus Garden. He’ll bring him hither very shortly in a new motion,†gs1679 show, entertainment (OED n. 8a) and in a new pair o’ slops†gg1431 baggy breeches or hose, often called Dutch slops (OED n1. 4a) (the title page of Middleton and Dekker's The Roaring Girl has an illustration of Mary Frith dressed in slops (available on EEBO); the portrait of Sir Martin Frobisher (painted by Cornelius Ketel, 1577, owned by the Bodleian, and available online) illustrates the slops often worn by sailors: see http://elizabethangeek.com/costumereview/image.mhtml?image_id=58 and new netherstocks†gg5969 stockings: `nether' meaning `lower', `netherstock[ing]s' were hose which covered the lower part of the leg as brisk as a body-louse in a new pasture.