THE DEMOISELLE,
OR, THE NEW ORDINARY.
A COMEDY
Dramatis Personæ [in order of appearance]
[Link]
|
VERMIN,†gg3865
a term used to refer to various kinds of ‘noxious or objectionable’ (OED n, 1) animals, including parasitic insects (OED n, 2); used more generally to refer to vile or depraved human beings (OED n, 3)
an old usurer |
DRYGROUND,*n5780
‘Dry’ here means ‘withered’ (OED a, 2a) or ‘barren’ (OED a, 15a), referring to the fact that Dryground has wasted his resources and fortune, and to the mortgaging of his land which has just been concluded when the play opens.
an old decayed†gg84
fallen into ruin through loss of prosperity, health, or fortune; impaired, or reduced in quality or condition (OED 1)
knight |
ALICE, Vermin’s daughter |
[FIRST] SERVANT,*n5781
] Servants
[one of Vermin’s servants] |
WAT, Vermin’s son |
BUMPSEY,*n5782
‘Bumpsey’ or ‘bumsy’ can mean tipsy or intoxicated (OED a.): OED quotes Tarlton’s Jests (London, 1613), ‘Tarlton being a-carousing, drunk so long to the watermen that one of them was bumpsy’ (sig. A2v), and John Taylor, The Nipping and Snipping of Abuses (London, 1614): ‘Straight staggers by a porter, or a carman / As bumsy as a fox’d flapdragon German’ (sig. K1v). His name therefore reflects the way in which Bumpsey becomes intoxicated by his own ideas, and it can be linked to Oliver’s description of him as a ‘free-cost drunkard’ [DM 2.1.speech183]. Bumpsey’s name may seem to modern audiences to have links with ‘bumptious’ (self-assertive or self-conceited), but the OED’s earliest example of this word dates from 1803.
an old justice†gs630
judge or magistrate (justice of the peace)
|
Mistress*n5783
] Mrs.
MAGDALEN,*n5784
Pronounced ‘Maudlin’; the name is often associated with drinking, and is used to refer to ‘repentant (female) sinners’, and especially prostitutes (OED n, 2a). Compare Brome’s The New Academy, in which the former servant and wife of Matchil is called Maudlin in the dramatis personae, although she is called Rachel in the play proper, and Brome and Heywood’s The Late Lancashire Witches, in which one of the witches is called Maud, a diminutive of Magdalen.
Bumpsey’s wife |
VALENTINE,*n5785
sweetheart (OED n, 2); Brome uses this name elsewhere, in The New Academy; in The Demoiselle it carries less irony in being applied to the newly-married man than it does as the name of the would-be seducer of the earlier play.
Dryground’s son |
JANE, [Bumpsey’s] daughter*n5796
] his daughter
|
Oliver, [a] gallant [and friend of Valentine] |
Ambrose, [a] gallant [and friend of Valentine] |
Sir AMPHILUS,*n5797
the name of a Platonist philosopher who taught Epicurus, here used ironically
a Cornish knight |
TREBASCO, Sir Amphilus his footman |
BROOKALL,*n5798
‘brook’ here means ‘endure’, or ‘put up with’ (OED brook v, 3)
a gentleman undone by Vermin |
PHYLLIS,*n5799
Phyllis’s name derives from the Greek for ‘foliage’ or ‘green bough’; the name, which is widely used in pastoral literature, suggests her innocence and is perhaps mildly ironic in view of her occupation as a beggar in London. In the dialogue, Phyllis twice refers to herself as ‘Nell’, a diminutive of her mother’s name, Eleanor; nowhere is she referred to as ‘Phyllis’. I have retained the octavo’s use of ‘Phyllis’ in speech prefixes, but there might be an argument for adopting ‘Nell’, even if we assume that this is a nickname.
a poor wench†gg285
young woman
|
Lawyers |
ATTORNEY*n5800
A legal professional who conducts litigation in the courts of Common Law and prepares the case for the barrister, or counsel, who argues the case in open court (OED attorney n1, 3).
|
FRIENDLY, a Templer*n5801
i.e. member of the Inner or Middle Temple, two of London’s Inns of Court.
|
FRANCES,*n5802
Frances is only called by name by Dryground, and he always refers to her as ‘Frank’. These names are perhaps more sexually ambiguous to modern ears that they would have been to those of 1630s playgoers, when not only could ‘Frank’ be a nick-name for men or women, but the spelling of Francis and Frances was often interchangeable. (A modern equivalent of the use of ‘Frank’ in The Demoiselle would be ‘Fran’ or perhaps ‘Frankie’.)
Female characters called Frances or Francischina are referred to as ‘Frank’ in dialogue and/or stage directions in plays including The London Prodigal (King’s Men, c. 1604), Middleton’s The Puritan (Children of Paul’s, c. 1606), Chapman’s May-Day (Chapel Children, c. 1601); Marston’s The Dutch Courtesan (Queen’s Revels, c. 1604) and Shirley’s The Constant Maid (?Werburgh Street, Dublin, c. 1639). Female characters in Fletcher’s The Captain (King’s Men, c. 1612) and Middleton’s A Mad World my Masters (Children of Paul’s, c. 1605) are referred to only as ‘Frank’.
Sexually ambiguous characters whose names are variations on Frances or Francis appear in at least three plays that pre-date The Demoiselle. In May-Day Francischina disguises herself as a boy in order to pursue an affair with Angelo, while in Field’s Amends for Ladies (Queen’s Revels, c. 1611), Ingen’s brother, Frank, is required to dress as a woman. The complexity of Brome’s plot is most closely paralleled by that of Jonson’s The New Inn (King’s Men, 1629), in which audiences are led to believe that a boy named Frank is disguised as a woman named Laetitia, the name being chosen for that of one of the central characters’ lost sister; at the play’s conclusion, however, it is revealed that ‘Frank’ is really Laetitia, the lost sister. For further discussion of the links between The New Inn and The Demoiselle see the Introduction.
The name ‘Frances’ also has other relevant associations. As Williams (2: 540-1), points out, it is a common name for a whore in early modern texts, due to the associations of the word ‘frank’ with ‘free’. See Samuel Rowlands, The Letting of Humours’ Blood in the Head Vein (London, 1600), Epigram 20:
Frank in name, and frank by nature,
Francis is a most kind creature:
Herself hath suffered many a fall
In striving how to pleasure all. (sig. B5v)
The prostitutes in Brome’s own The Weeding of Covent Garden are called Betty and Francisca, and the latter is referred to as ‘Frank’ in dialogue and stage directions. See also the prostitute Frank Gullman in Middleton’s A Mad World My Masters; Cicely in Nabbes’s Tottenham Court (Prince Charles’s Men, 1633; published London, 1638) uses the name as a stereotypical one for a whore, declaring, ‘I am not the blade’s intelligence whether Frank or Moll remove their lodgings to ’scape the constables’ search and Bridewell’ (sig. B3v).
Intriguingly, Brome uses the name twice in The New Academy, a play closely associated with The Demoiselle: according to the dramatis personae, the real name of Lafoy’s son is Frances, although it is not used on stage, while Gabriella uses the name Frances when she is working in the academy, Cash asking the two young women, ’Ha’ not you changed your names / From Joyce and Gabriella to Jane and Frances?’ [NA 4.1.speech846].
a young gentlewoman |
[SECOND]*n5803
] Servants
SERVANT, [one of Bumpsey’s servants] |
RABBLE |
[MEMBER OF RABBLE] |
[Two] SERGEANTS |
ELEANOR, [Phyllis’s mother] |
Prologue.
2Prologue.Our
playmaker†gg3875
playwright (a deliberately down-to-earth term)
– for yet he won’t be called
Author, or poet,*n5804
Brome (or the prologue on his behalf) deliberately disclaims terms which elevate the playwright’s activities to the status of literature. Bentley (Jacobean and Caroline Stage, 3: 66) speculates that Brome may have in mind playwrights such as William Davenant and Thomas Nabbes, both of whom had recently been described as ‘author’ on the title-pages of printed plays.
nor beg to be installed
Sir Laureate*n5805
The term refers in general to any poet distinguished for their excellence (OED laureate a, 2b), but Brome also refers specifically either to the jockeying for places in the race to succeed Jonson (who died in August 1637) as poet laureate to the court, or to the appointment of William Davenant to that post in December 1638. (See Bentley, Jacobean and Caroline Stage, 2: 66; Steggle, Richard Brome, 121-2.) Brome also includes digs at courtier-playwrights such as Davenant in other plays of this period, notably The Antipodes (see NOTE n3914) and The Court Beggar.
– has sent me out t’invite
Your fancies to a
full†gg198
abundant, satisfying (OED a, 6a)
and
clean†gs715
pure, chaste (OED a, 4a); elegant, free from faults (OED a,7); ‘neatly made’, ‘not unwieldy’ (OED a, 10a); clever, skilful (OED a, 11)
delight,
And bids me tell you that though he be none
Of those whose tow’ring Muses scale the throne
Of kings,*n5806
This is another dig at courtier-playwrights such as Davenant.
yet his
familiar†gs716
domestic, homely (OED a, 1a); well-known (OED a, 6); ordinary, in every-day use (OED a, 6b); homely, plain, easy to understand (OED a, 6c); affable, friendly (OED a, 7)
mirth’s as good,
When ’tis by you
approved†gg3876
commended, said to be good (OED ppl, 3; here the first citation is given as occurring in Milton’s Paradise Lost, first published 1667)
and
understood,*n5807
a key word for Brome, who takes it from Jonson; cf. Jonson’s Epigram 1, ‘To the Reader’ (in Ben Jonson: Poems, ed. Ian Donaldson [London: Oxford University Press, 1975], 7): ‘Pray thee, take care, that tak’st my book in hand, / To read it well: that is, to understand.’
As if he’d writ
strong†gs717
powerful or formidable (OED a, 7a), powerful or loud (as of a voice) (OED a, 13d); intense, uncompromising (OED a, 13i), firmly convinced (OED a, 13j); having a powerful effect, hard to resist or control (OED a, 16)
lines and had the fate
Of other fools for meddling with the state.*n5808
This may be a reference to the Star Chamber trial of the ‘puritan’ writers John Bastwick, Henry Burton and William Prynne in 1637, after which all three men were fined, condemned to the pillory, and had their ears cropped. See Cyndia Clegg, Press Censorship in Caroline England (Cambridge: Cambridge University Press, 2008), 179-81. On the other hand, if the prologue has been amended for a revival, it may refer to the incident in which the author and performers in The Whore New Vamped, a Red Bull play, were called before the Privy Council because they ’have lately for many days together acted a scandalous and libellous play wherein they have audaciously reproached, and in a libellous manner traduced and personated, some persons of quality, and scandalized and defamed the whole profession of proctors belonging to the Court of the Civil Law, and reflected upon the present Government’ (Privy Council Register vol. 50, p. 653 (Charles I, vol XVI), transcribed from C.W. Wallace Papers, Huntington Library, Box 3, BI18; see also Bentley, Jacobean and Caroline Stage, 5: 1441-2). Another possible target might be another courtier poet, John Suckling (a target for Brome’s satire in 1637, when he printed his play Aglaura in folio rather than the customary quarto format), and his involvement (with Davenant) in a royalist scheme of May 1641 the second Army Plot, which aimed to free the imprisoned Earl of Strafford.
Readers and
audients†gs718
hearers or listeners (OED n.)
make good plays or books;
’Tis appetite makes dishes, ’tis not cooks.
But let me tell you, though you have the power
To kill or save,
they’re tyrants that devour*n5810
The image of the tyrant devouring his people was a conventional one, with biblical authority: the translators of the Bishops’ Bible comment that ‘the scriptures compare tyrants to cruel and huge beasts, which devour all that be weaker then they, and such as they may overcome’ (The Holy Bible Containing the Old Testament and the New [London, 1568), sig. CLVIIr [Ezekiel, 32.2.2]). The comparison of the audience to devouring tyrants also fits neatly into the line of culinary imagery developed in the prologue.
And princes that preserve. He does not aim
So much at praise, as pardon, nor does claim
Laurel,*n5811
laurel crowns or wreaths were traditionally as a symbol of distinction, especially in poetry
but money;
bays†gg2728
a wreath of laurel or bay leaves: an emblem of victory or of distinction in poetry
will buy no
sack†gg483
white wine from Spain: sack is derived from 'sec', and usually meant a dry white wine; hence Falstaff's enjoyment of 'sack and sugar'
And honour fills no belly, clothes no back.
And therefore you may see his main intent
Is his own welfare and your merriment.
Then often come, ’twill make us and him the
wetter,†gg3877
more addicted to drink (OED wet a, 14b); cf. Thomas Nashe, Pierce Penniless his Supplication to the Devil (London, 1592): ‘inveigh against all men but those that keep a wet corner for a friend, and will not think scorn to drink with a good fellow and a soldier’ (p. 33, fol. 16); see also ‘wetting’ below [DM 1.1.speech31].
We’ll drown the faults of this in one that’s better.
The scene, London.
ACT ONE
1.1*n5813
] ACT. I. Scene I.
*n5812
Act 1 consists of two scenes, each of which introduces us to a family grouping. Scene 1 opens with an exchange between the decayed knight Sir Humphrey Dryground and the usurer Vermin; they have just agreed a deal in which Vermin has loaned Dryground money in exchange for a mortgage on his land. This was a conventional opening for a city comedy – we might compare, for instance, Thomas Middleton’s A Trick to Catch the Old One (Children of Paul’s, c. 1605), which opens with Witgood lamenting the loss of his lands. However, although Dryground looks like the familiar dramatic stereotype of a member of the gentry whose expenses exceed his income, it becomes clear that his ‘project’ is not a self-interested scheme, but one which aims to recover the fortune of another distressed gentleman, Brookall. Furthermore, Vermin’s mocking response to this plan informs the audience of the narrative’s pre-history: Dryground is keen to make (belated) amends to Brookall for his crimes against the latter’s sister, whom he seduced and then refused marriage. The plot thus recalls Brome’s earlier play The Sparagus Garden, in which the feud between Striker and Touchwood was provoked by Touchwood’s seduction of Striker’s sister; Brookall seems not to have thrown his sister out of doors, but she has nonetheless disappeared. The other plot element introduced in this scene is the planned marriage between Vermin’s daughter Alice and a Cornish knight, Sir Amphilus. Alice is wholly opposed to the match, and she escapes her father’s house with the assistance of her scapegrace brother, Wat, who appears in disguise as one of Sir Amphilus’ servants.
Scene 2 also focuses on a man’s thwarted desire to make a good marriage for his daughter. It features Bumpsey, a successful businessman who had hoped to marry his daughter Jane to a wealthy suitor but has instead just discovered that she has married Dryground’s son, Valentine (having apparently caught the pair in bed together). The marriage has the approval of Dryground, and of Bumpsey’s wife, Magdalen, and the scene focuses on the other characters’ attempts to reconcile Bumpsey to the match and to persuade him to make a suitable financial settlement on his daughter and her new husband.
[Enter] VERMIN [and] DRYGROUND.*n5814
] Vermine, Dryground.
3VerminYou have your money, full a thousand pound,*n7608
Vermin may be holding a copy of the agreement and Dryground a purse containing the money he has just borrowed.
Sir Humphrey Dryground.
4DrygroundAnd you have my mortgage.*n7607
i.e. you have my agreement that if I default on the loan you will get my estate.
5VerminAll well and good, all well and good. But now,
Sir Humphrey Dryground, let me counsel you.
You have already spent a fair estate,
A goodly, great estate – I do not taunt,
Nor tax†gg1085
censure, accuse
you for’t.
The purses of such wretches as thyself.
7VerminBut give me leave, now, fairly to admonish
You to a care how you do part with this.
You
spirited†gg3878
lively, energetic (OED a, 2)
men call money dirt and mud;
I say it is the eel.
That foster it.
In such
sleek†gs719
plausible, specious (OED a, 3); also means 'perfectly smooth or polished' (OED a, 2), so Vermin may suggest that money slips through the hands of men like Dryground
hands as yours, from whence it glides—
10DrygroundInto the mud,
oft-times,†gg3879
often
from whence it came.
11VerminI know you do
conceive†gs720
understand (OED v, 9c)
me. Therefore, sir
(As I before was saying), hold it fast.
‘Youth keep thy money fast
And tie it in thy purse,
For that must be thine only friend
For better and for worse.’*n5817
This song also appears in George Powell’s A Very Good Wife (first performed 1693; printed London, 1693), where it is sung by Hickman, a linen draper, as he refuses to give the hero, Courtwit, the money he owes to him. The text appears as:
Youth keep, oh keep thy money fast,
And tie it in thy purse,
For that must be thy friend at last,
For better, and for worse. (p. 4)
The setting appears to be lost. See Restoration Theatre Song Archive, compiled by Anthony W. Butler, with the assistance of Tracey Caulfield, Felicity Henderson and Harold Love, Item GPAVGW2. The song is not mentioned in Julia K. Wood’s 'Music in Caroline Plays', unpublished PhD thesis, University of Edinburgh, 1991, the most extensive survey of Caroline theatre music. Powell draws extensively on Brome’s plays in A Very Good Wife, closely adapting material taken from The City Wit and The Court Beggar, and he probably takes the song directly from The Demoiselle.
14DrygroundAye,*n5818
] I
to thy comfort. This is the usurer’s
scripture,†gg3880
sacred writings (OED n, 1d); motto (OED n, 3)
And all that they
pretend†gg3881
lay claim to, profess to have (OED v, 3); intend, plan (OED v, 10); aspire to, have pretensions to (OED v, 12)
salvation by:
To give good
admonition†gg2656
warning, 'authoritative counsel' (OED)
with their money,
Though in their hearts they wish the quick
subversion†gg758
ruin, overthrow
Of all they deal with. This is all they plead
Against the curses of oppressèd souls:
‘Did not I warn you?’ ‘Did not I say, “take heed”?’
And so, and so forth. I must thank you, sir.
15VerminYou say you’ll make a
venture†gg193
enterprise, commercial speculation
of this money.
16DrygroundYes, Master Vermin, in a
project†gs182
something projected or proposed for execution; a plan, scheme (OED n, 5a)
that—
17VerminOut upon†gg3882
curses upon (in modern-day English this would mean something like ‘to hell with’)
projects.
Fie,†gg63
exclamation of disgust or reproach
fie,
out,†gg3883
an exclamation expressing grief, abhorrence, or indignant reproach: alas!, woe is me!; get out!, curses upon you! (OED out int, 1)
out, out.
With you and all the world, and reap again
All that I formerly have sown, with profit.
19VerminSown! There’s a word!
Prodigal†gg3002
extravagant, recklessly wasteful
waste is sowing;
We shall call shipwreck, shortly, sowing too.
Hark you, Sir Humphrey Dryground, may not I
Be privy to*n5819
share in the knowledge of, become accessory to (OED privy a, 4a)
your project? Will you tell me,
If I guess on it?*n5820
i.e. of it
21VerminIs’t not to drain the
Goodwins?*n5821
Goodwin Sands, ‘A shoal off the coast of Kent between the Isle of Thanet and the S. Foreland’ (Sugden, Topographical Dictionary, 227, s.v. Goodwin Sands), which was a notorious site of shipwrecks. Cf. The Merchant of Venice, 3.1.1-5: ‘Antonio hath a ship of rich lading wrecked on the narrow seas – the Goodwins I think they call the place – a very dangerous flat, and fatal, where the carcases of many a tall ship lie buried, as they say’. Also mentioned in Heywood, The Four Prentices of London (?Admiral’s Men, c. 1594?; printed London, 1615): ‘Were ye the four young London prentices, / That in the ships were wracked on Goodwins’ sands?’ (sig. I4v).
To be lord
Of all the treasure buried in the sands there?
And have a million yearly from the merchants
To clear the passage?
22DrygroundYou have had your blow.†gg3884
(n) attack, act of hostility (OED n1, 3)
No, sir, my project is in the behalf
Of the poor gentleman you overthrew
By the
strong†gg2592
powerful; severe
hand of law, bribes, and oppression:
Brookall – do you know him, sir? – whose state you sucked,
That
wrought†gs722
shaped, moulded: in this context means something like 'reduced' or 'transformed'
him to a poverty that cries
Your sinful
covetise†gg3528
covetousness; excessive desire for the acquisition and possession of wealth; especially of possessing what belongs to another (OED 2)
up
to†gg3885
‘To the highest or utmost degree; to the extremity; to the utmost’ (OED n, 19)
the height,
And renders you the monster of our time
For avarice†gg3886
greed, desire to acquire and hoard wealth (OED)
and cruelty.
To his relief, to
waive†gs723
shun; escape (OED v1, 6a)
the bitter curse
That will in time fall on you and your house.
25VerminOh ho! I now remember; you have reason!
That Brookall had a sister, whom you
vitiated†gg3887
corrupted, spoiled (OED)
In your wild
heat†gs724
rage, ardour; passion, lust
of blood, and then denied
Her promised marriage,
turned her off*n5823
That is: dismissed her, sent her away (OED turn v, 74b).
with child
A dozen years since, and since that never heard of.
Ha!
Is’t†gg3888
is it
not so? Pray, did you
know†gg3889
have sexual intercourse with (OED v, 7)
her, sir?
26DrygroundI wish I could redeem that
ruthful†gg3890
lamentable, piteous (OED a, 2)
fault
By all
expiatory means.*n5824
ways of making amends
But thy
Inhuman*n5825
] inhumane (could be modernised as either ‘inhuman’ or ‘inhumane’)
cruelty is
inexpiable*n5826
That is: cannot be atoned for (OED inexpiable a, 1).
Unless (it comes from Heaven into my heart
To
move†gg1799
persuade, convince
thee to’t) thou tak’st a speedy
course†gs544
line (course) of action, procedure (but with the suggestion too of a planned series of actions or medical prescriptions to effect a cure)
To give him
threefold†gg3891
consisting of three parts; three times as great
restitution.†gg462
'The action of restoring or giving back something to its proper owner, or of making reparation to one for loss or injury previously inflicted' (OED 1a).
I’ll put thee
in the way.*n5827
i.e. on that path, in the right direction
He has a son,
A
hopeful†gg3892
promising, ‘giving promise of success or future good’ (OED a, 2a)
youth, a student in the law,
If his poor father’s want of
means†gs377
resources (especially financial)
have not
Declined†gs725
decayed, debased (OED ppl.)
his
course;†gs1571
programme of study (OED n, 23a)
give him thy only daughter,
And make his father’s own inheritance
(By thee
unrighteously†gg3893
unjustly, wrongfully (OED)
usurped†gg3894
seized, possessed unjustly (OED ppl. 1)
) her
dowry,†gs704
the money or property which the wife brings to her husband; the portion given with the wife (OED dowry n, 2; dower n2, 2)
And pray a blessing may go with it. And then
Thou may’st regain a Christian reputation,
Till age shall lead thee to a
quiet†gs726
peaceful, undisturbed; free from agitation (of the conscience, etc.) (OED a, 10)
grave.
Come, is’t a match? Will you
bestow†gg3895
give in marriage (OED v, 4)
your daughter
On Brookall’s son, and make your way to Heaven
by’t?†gg3896
by it: on account of it, because of it
28DrygroundAnd thou hast adder’s ears*n5831
Adders were assumed to be deaf; Brome also uses this comparison elsewhere, in The Weeding of Covent Garden, in which Gabriel declares ‘Mine ears shall be that of the adder against the song of the serpent’ [CG 2.2.speech394].
To all such counsels.
29VerminIf you break your day*n5833
That is: fail to keep your arranged time for payment (OED break v, 15e).
I shall think of your counsel.
This parcel of thy land, I’ll keep from
wetting:†gg3898
being drenched with, or converted into, alcohol; cf. ‘wetter’ in the Prologue [DM 1.1.speech2]
[VERMIN produces] the mortgage.*n5834
] The Mortgage.
’Tis not in thee to turn an acre of it
Into pure liquor
for a twelvemonth’s day,*n5836
i.e. until a day twelve months from now
And
break that day thy payment*n5837
fail to make your payment on that day
and the sun
Sets not more sure*n5838
i.e. as surely as the sun will set
than all this land is mine.
My daughter! Ha!
Can*n5841
can it
’t be in thought of man
To dream of such a
match?†gs727
husband; marriage
A wretch, a beggar?
Within there! Where’s my girl? What, Ally? Ally?
Enter ALICE.
33VerminMy blessing, and good
morn.†gg3900
morning
Now hear me, girl.
35VerminThe care of children’s such a
startle-brain,†gg3901
thing that upsets the brain (OED); this is OED’s only example, and I have not been able to find another: the word may be Brome’s invention
That had I more than one I should run
wildcat;†gg3902
mad or demented (OED 2; this is OED’s only example)
Than one, I mean, to care for – that’s thyself,
My
sober,†gs728
moderate, avoiding excess (OED a, 1); abstemious (OED a, 2); serious, staid (OED 5a)
discreet†gs729
prudent, cautious (OED a, 1)
daughter. Note my care,
Piled up for thee in
massy†gs730
solid and heavy; ‘wrought in solid pieces’ (OED a, 1a)
sums of wealth,
Too weighty for thy weak consideration
To guess from whence it came, or how together
So laid in mountainous heaps.
As strange to me, as are the stony wonders
On Salisbury Plain*n5846
Alice is referring to Stonehenge, which was well known in early modern England. In Ancient Funeral Monuments Within the United Monarchy of Great Britain, Ireland, and the Islands Adjacent (London, 1631), John Weever writes, ‘So here in England, the interments of the dead were anciently far out of all towns and cities, either on the ridges of hills, or upon spacious plains, fortified or fenced about, with obelisks, pointed stones, pyramids, pillars, or such like monuments; for example, England’s wonder upon Salisbury plain, called Stonehenge, the sepulchre of so many Britains, who by the treachery of the Saxons, were slain there at a parley.’ (p. 6). Given the context of the origin of her father’s wealth, Alice may also be thinking of Salisbury Plain’s reputation as a haunt of robbers and highwaymen. Brome also refers to Salisbury Plain in The New Academy, where Valentine, asked if he can read, says ‘I had done ill to venture on Salisbury Plain else’, meaning that he would have to be able to read his neck-verse and claim benefit of clergy to avoid being hanged [NA 5.2.speech1163].
to others. But my
duty†gs1569
reverence (for you); moral obligation (to you)
Persuades me ’twas your
thrift,†gg3903
industry, labour (OED n, 1 1b); economical management, frugality (OED n, 1 3a)
and that great blessing
That gives increase to honest
industry,†gg3904
effort, diligence
Drawn on it by your prayers and
upright†gg3905
honourable, honest
life,
That
wrought†gs731
worked, moulded
these heaps together.
’Tis well if thine with all thy
housewifery†gg3906
management of household affairs, housekeeping (OED 1); thrift, economy (OED 1b)
Can keep ’em so! I thank thee for thy judgement
And charitable thoughts. But—
39VerminI say, thou art the only child I care for.
Thy brother (though I loath to call him so)
Is, now, an utter
stranger†gs732
foreigner; someone unconnected by family ties
to my
blood,†gs733
family, kindred, children
Not to be named but with my curse, a
wolf*n5852
This alludes to the supposed savagery of the wolf.
That tears my very bowels out.
40Alice [Aside] Your money.*n5853
Alice suggests that Vermin’s avarice, not his son, is the ‘wolf’ that tears at him.
41VerminA riotous
reprobate,†gg3907
someone rejected by God or lost in sin (OED n, 1); ‘an abandoned or unprincipled person’ (OED n, 2)
that hath consumed
His last, already, of my
means†gs377
resources (especially financial)
and blessing.
42AliceBut he yet may be turned,†gg3908
converted
sir.
43VerminOut o’th’ compter!†gg3909
an obsolete spelling of ‘counter’ (a prison attached to a local magistrate’s court): used specifically in the seventeenth century to refer to London’s debtors’ prisons (OED compter; OED counter n3, 7)
May he be so, dost think? Could I but dream
His creditors, that have him
fast,†gg255
secure
could be
So
idly†gs734
carelessly, frivolously
merciful, or that his youthful
ging†gs735
company, gang (OED n, 3); cf. Jonson, The New Inn: ‘I would not willingly / See, or be seen, to any of this ging, / Especially the lady.’ (Michael Hattaway, ed., The New Inn [Manchester: Manchester University Press, 1984], 1.5.45-7)
Could
stretch†gg3910
strain their abilities (OED v, 20)
to get him out, I’ll lay, myself,
An action on him weightier than the strength
Of all their poor abilities could lift.
His
Jacks, his Toms, his Nams, Nolls, Gills, and Nuns,*n5856
Common nicknames for John (Jack), Thomas (Tom), Ambrose or Abraham (Nam), Oliver (Noll), Gilbert (Gill); ‘Nuns’ was a slang term for prostitutes (OED n1, 2).
Should not release his carcass. If they did,
I’d force him to a trial for his life
For the two hundred
pieces†gs737
coins, especially the unite of James I, a coin first issued in 1604, with a value of 20 shillings; OED says that these coins rose to a value of 22 shillings in 1611 (OED n.), but in 3.1 [DM 3.1.speech477] Wat assumes that a piece is worth 20 shillings
that he
pilfered†gg3913
stole
Out of my
counting-house.†gg3915
building, room or office used for business (OED c)
He shall up.*n5858
i.e. on the gallows, to be hanged.
44AliceI will not
forfeit†gs738
give up
my obedience, sir,
To urge against your justice, only I
crave†gg2469
ask, beg
Your
leave†gg885
permission
to grieve that I have such a brother.
45VerminThou shalt
defy the name of brother in him,*n5877
i.e. deny that he has any claim to be your brother.
My only, only child, and but in one command
Obey me further, all my estate is thine.
’Tis that I called thee for.
More than your daily blessing, but desire
To know what you’ll impose upon my duty.
47VerminThou shalt, and style thyself a lady by’t.
48Alice [Aside] Now
Love†gg3917
Cupid: the personification of love
defend me from the man I fear.
49VerminThis day I’ll match thee to a
matchless†gg3918
peerless, incomparable
knight.
50AliceThe western knight, sir, that was here last
term?†gs1570
one of the four periods of the year during which London’s law courts were active
51VerminEven he; this day he comes to town.
Were out
on’t†gg776
of it
first. A
matchless†gs741
incomparable in a negative sense: there is no other knight like him
knight
Indeed, and shall be
matchless†gs740
without a match; i.e. without a wife
still for me.
53Vermin [Aside] I like those blushes well:*n5878
Vermin reads Alice’s dismay as maidenly reticence.
I read his welcome
Upon her cheeks.
But little land.
Enough to buy the best knight’s land, that is
A selling knight,*n5879
i.e. a knight who is forced to sell his lands.
in the west part of England.
57VerminA
lusty†gs742
healthy, strong, vigorous, valiant
bachelor of two and fifty,
With— oh, the
husbandry†gg3919
management of a household, thrift (OED n, 4)
that’s in him!
58AliceHow came he by his knighthood? Cost it nothing?
59VerminNo. He was one o’th’ cob-knights in the throng
When they were dubbed in clusters.*n5881
On 17 July 1603, shortly after his accession to the throne of England, James I ordered that all people with an income of at least £40 per year were to be knighted or face fines. There were about 550 knights in the 1590s, but by the end of the first year of his reign James had tripled their number. See Linda Levy Peck, Court Patronage and Corruption in Early Stuart England (London: Routledge, 1993), 32. The word ‘cob’ can mean ‘miser’ (OED n.1 1.b), so Vermin may be saying that Sir Amphilus got his knighthood on the cheap, being knighted to avoid a fine rather than paying for the honour. There may also be a pun on ‘cob-nuts’, which leads into ‘clusters’ in the following line.
Enter [FIRST] SERVANT.*n5882
] in the octavo this stage direction (‘Enter Servant’) is placed in the margins [DM 1.1.lines207-208].
That you expect this day is come to town;
His man has brought ’s portmanteau.†gg3920
case or bag used for travelling (OED n, 1)
The
welcomest†gg3921
most welcome
man alive is come to town!
Ally, my girl, my daughter, Lady Bride!
What title shall I give thee? Now
bestir you.*n5883
busy yourself, get moving
I know his
thrift;†gs743
frugality, stinginess
he has
rid†gg3922
ridden
hard today
To save his dinner.
Enter WAT disguised like a country serving-man.
Welcome, honest friend.
And how does the right worshipful Sir Amphilus?
62WatMy master is in health, sir, praised be
Go—*n5884
This may be a bowdlerism in the octavo, or it may be Wat’s attempt to swallow a swear-word that would not be ‘in character’ for the servingman.
A little weary,
or so,*n5885
Or the like.
as I am of my
carriage,†gs744
action of carrying
Which I must not lay down, but in the hands
Of your own worship.
63Vermin’Tis of weight and locked; I guess the worth,
And warrant him the safety under these keys.
But where’s thy master?
64WatAt his inn in Holborn*n5886
A major road running west from the City of London to Covent Garden, and one of the major entrances to London. Its many taverns included the George and Blue Boar, the Castle, the Old Bell, the Sun, the Bear and the Black Bull (Sugden, Topographical Dictionary, 252, s.v. Holborn). Sugden notes that it was ‘a great lawyers’ quarter’, as Inns of Court and Chancery surrounded it to the north and south; it was also close to the Middle and Inner Temple, the location for much of The Demoiselle. It supposedly had a reputation for activities connected with the sex trade: in Lording Barry’s Ram Alley (King’s Revels, 1607-8; printed London, 1611), Constantia says of her Boutcher, her lover,
what makes he here
In the skirts of Holborn, so near the field,
And at a garden house? ’A has some punk,
Upon my life. (sig. B1r)
Telling†gs745
talking, gossiping (OED tell v, 15); counting out pieces of money (OED tell v, 22a)
a little with the host, till I
Bring word from you.
Myself. You shall stay here, his chamber
Fitted†gg3923
prepared
against he comes. Ally, bestir you,
And think no pains your trouble on this day;
Tomorrow’s sun shall light your wedding way.
[VERMIN] exit[s].*n5887
] Exit.
66Alice [Aside] Unless some unexpected fate relieve me,
I shall be hurried to my
endless†gg3924
unending, eternal; infinite
ruin.
67WatYou are sad,
methinks,†gg3925
it seems to me
young mistress. I can tell you,
My master, when he comes, will make you merry.
68AliceHow? As†gs746
because
he is a fool?
The soul of mirth and music at command:
Money, the all-rejoicing
spirit.†gs747
life-blood, breath of life (OED n, 1); ‘brisk or lively quality in things’ (OED n, 14a)
That
He’ll make you merry with. Nor that alone,
But dignity, which women prize
’bove†gg2459
above
money.
You are a lady by’t:
mark†gg2220
(v) pay attention to, observe
that. And if
He has a weakness, which you reckon folly,
It lays you
open†gg3926
free from obstruction; unrestricted; clear
way to
sovereignty,†gg3927
rule, supremacy, authority
The thing which is of most esteem. You’ll be
His lady
regent,†gg3928
ruling, governing, controlling (as sovereign)
rule all his, and him.
70AliceThis fellow talks not like a serving-man,
A
forty-shilling-wages*n5888
Forty shillings was widely assumed to be a wage earned by more lowly kinds of servants. In Greene’s Tu Quoque (Queen Anna’s Men, c. 1611; printed London, 1614), Staines tells Bubble, ‘I am humble in body, and dejected in mind, and will do your worship as good service for forty shillings a year, as another shall for three pounds’ (sig. B4v). In one of the inset Antipodean sequences in Brome’s Antipodes, the gentleman offers Byplay ‘To mend thy wages t’other forty shillings / A year, for thy true care of me’ [AN 2.2.speech333]. For commentary see [NOTE n1548].
creature, but
Some disguised
spokesman.†gg3929
representative, mouthpiece
What may be the
trick†gg3930
stratagem, crafty or fraudulent device (OED n, 1a); hoax, practical joke (OED n, 2a); thoughtless or stupid act (OED n, 2b)
on’t?
71WatYou cannot, in th’
estate†gg314
(n) condition of existence (OED n, 1a); status, position in the world (OED n, 3a); ‘condition with respect to worldly prosperity, fortune’ (OED n, 2a)
you are, imagine
What ’tis to be a wife to such a man.
72AliceNo more than you perceive the pains you loose
In
fooling†gg3931
acting like a fool
for him thus. But spare your breath
And take
this brief taste of his entertainment.*n5889
That is: an example of the kind of welcome I will give him.
First, know that I do know the man you speak of
To be a
covetous†gg3932
greedy, grasping, avaricious
miser, old and foolish,
Not worth in my estimation the worst meal
That ever he himself
paid three pence for.*n5890
This suggests Sir Amphilus’s frugality: three pence would be a small amount for someone of his social standing to pay for a meal.
73WatWho do you mean? Sir Amphilus, my knight?
74AliceYes,
squire,†gs748
someone ranking immediately below a knight in the feudal system (OED n, 1a); personal attendant or servant (OED n, 1c); a contemptuous term for a servant (OED n, 1d); pimp (OED n, 4b)
I know him and his
qualities,†gg3933
character traits (OED n, 2a); accomplishments or attainments (OED n, 2b); ranks or positions in society (OED n, 4a)
The ways he got his wealth by:
casual†gg3934
produced by chance, fortuitous (OED a, 1a); uncertain, not to be relied on (OED a, 2); uncertain, precarious (OED a, 5a)
matches†gs749
contests on which Sir Amphilus has placed bets (see OED n1, 6b)
Of forty, fifty, and sometimes a hundred
For one, when
bounteous†gg3935
generous, full of goodness (OED a, 1)
Fortune (seldom failing
Men of his brain) cast all into his mouth
The
gudgeon†gs750
a small fresh-water fish (Gobio fluviatilis), which was often used for bait (OED n1, 1); therefore used to refer to someone gullible, who ‘will bite at any bait or swallow anything’ (OED n1, 2a)
gaped for. And how
slight†gg558
mean, insubstantial, lowly, small, trifling
a thing
It is for such
base†gs751
contemptible, degraded, unworthy; inferior, unrefined
worldlings†gg3936
people devoted to earthly pleasures
to be rich,
That
study†gg316
(v) seek to achieve (OED v, 11); in this context also suggests ‘plot for’
nothing but to
scrape†gg3937
gather together or hoard up money (OED v, 5c)
and save,
That have no faith but in their
ready money,†gg1245
cash
Nor love to worldly pleasures above those
Poor cobblers use.*n5891
Alice claims that Sir Amphilus enjoys lower-class leisure pursuits that should be beneath him socially (and Wat defines them in the following lines).
75WatCheap whores and duck-hunting:*n5892
Duck-hunting was a popular sport in many parts of London in the seventeenth century, often associated with citizens. In Brome’s The New Academy, the ‘city shop-keeper’ Ralph Cameleon is passionately fond of duck-hunting (like Sir Amphilus, he keeps his dog in Turnbull Street), and in Jonson’s Every Man in his Humour (Chamberlain’s Men, 1598) Stephen aspires to learn about hawking, asking, ‘Because I dwell at Hogsden, I shall keep company with none but the archers of Finsbury? Or the citizens that come a-ducking to Islington ponds? A fine jest i’faith! ’Slid, a gentleman mun show himself like a gentleman.’ (C.H. Herford, Percy and Evelyn Simpson, eds., Ben Jonson, 11 vols. [Oxford: Clarendon Press, 1925-52], vol. 3, 1.1.47-51). William B. Boulton (The Amusements of Old London: Being a Survey of the Sports and Pastimes, Tea Gardens and Parks, Playhouses and Other Diversions of the People of London from the 17th to the Beginning of the 19th Century, 2 vols. [London: John C. Nimmo, 1901]) notes, ‘The ducking-pond was a small affair, and boarded to the height of the knee round its edges to prevent the excited spectators from falling in in their eagerness to follow the incidents of the sport.’ (2: 251). The duck was pinioned so that it could not fly away, and was put into the water and hunted by one or more spaniels; its only escape from the dogs was to dive underwater. Sugden states that the principal duck-ponds were in the suburbs to the north of the City of London: on Islington Green, in the Back Road, near White Conduit House, and in East Lane (Topographical Dictionary, 158, s.v. Ducking-Pond); there were others in Mayfair and south London.
There may also be a double entendre here, since ‘duck’ can also refer to a woman, and especially a whore (Williams, 1: 423); cf. Richard Brathwaite, Barnabee’s Journal (London, 1638): ‘dainty Ducks ... Wenches that could play the wantons’ (sig. V1r).
There’s his delight indeed.
76AliceI hate to think of such a
dunghill-scarab.*n5893
In addition to referring to a beetle (especially those thought to live in dunghills), ‘scarab’ was used as an insult: cf. Jonson, The Alchemist (King’s Men, 1610), in which Face tells Subtle ‘You might talk softlier, rascal’, to which Subtle responds, ‘No, you scarab, / I’ll thunder you in pieces’ (The Alchemist, ed. F.H. Mares [London: Methuen, 1967], 1.1.59-60).
A
water-dog-knight!*n5894
A knight obsessed with water dogs: dogs trained to retrieve wildfowl, often spaniels or poodles. In Of English Dogs: The Diversities, the Names, the Natures, and the Properties, trans. Abraham Fleming (London, 1576), John Caius writes of the Water Spaniel: 'This kind of dog is properly called Aquaticus, a water spaniel, because he frequenteth and hath usual recourse to the water where all his game and exercise lieth, namely waterfowls, which are taken by the help and service of them, in their kind. And principally ducks and drakes, whereupon he is likewise named a dog for the duck, because in that quality he is excellent' (sig. C4v).
77WatBut
wedlock to his age*n5895
i.e. marriage to someone as old as him.
will bring him home
To
choicer†gg3938
more select or sophisticated
pleasures, and abandon such.
78AliceHis age is fit for nothing but to rock
Another’s child, and to rejoice
through spectacles*n6566
Williams (3: 1281) notes that spectacles are part of the iconography of the fool and of the 'erotic fool', the cuckold.
At the strong guess he has it is his own.
79WatYou
slight†gg1900
(v) disregard, treat with disrespect
him
strangely†gs758
‘In an unfriendly or unfavourable manner; with cold or distant bearing’ (OED adv. 2); very greatly (OED adv. 4); surprisingly, oddly, wondrously, unaccountably (OED adv. 5)
yet, but when you see
Him, and his
weighty†gs759
telling, potent (OED a, 4a); earnest, solemn (OED a, 6)
reasons to
confute†gg3976
overcome
you—
80AliceI will
nor weigh,†gg2484
consider
nor see him,*n8759
That is: not weigh, nor see him. (The first ‘nor’ here now sounds archaic, but would not have done so in the 1630s.)
or his reasons.
And if thou
ow’st†gg3977
owe
him so much service, tell him,
Go back and tell him straight, save him the end
Of his intended journey. For to come
Hither†gg1268
here (to this place)
will be to drive me
hence.†gg2500
away from here
And tell
My father,
ere†gg1781
before
he shall enforce me take him
I’ll fly into the arms of one he hates.
81WatAre you in†gs760
serious
earnest?
83WatThese are the arms that must receive thee then.
Nay, be not
frighted,†gg3978
afraid
sister; look, ’tis I.
[Takes] off his beard, etc.
84AliceBeshrew me†gg3979
curse me, evil befall me (a not entirely serious curse: compare ‘hang me’) (OED v, 3b)
but I am. How got you hither?
Could not the compter†gg3909
an obsolete spelling of ‘counter’ (a prison attached to a local magistrate’s court): used specifically in the seventeenth century to refer to London’s debtors’ prisons (OED compter; OED counter n3, 7)
hold you?
My virtue was not to be so
obscured.†gg3980
hidden, disguised
Noble Sir Humphrey Dryground, sister, was
My
frank†gg3981
free from obligation, unconditional (OED a2, 1d); liberal, generous (OED a2, 2)
enfranchiser.†gg3982
someone who enfranchises, or sets free (OED; earliest citation is 1632)
Oh, I have wonders
To tell thee, sister! Thou must go with me.
But first, lend me some money. Borrow some
(And let it be a good sum) of my father,
Now, in his absence. Come,
supply,†gg3983
(v) provide, furnish
supply†gs761
(v) satisfy the wants of (OED v1, 8)
My pockets and thine own, for we must hence.
Th’art†gg3984
thou art
made forever, sister. Quick,
dispatch.†gg3985
make haste, get a move on
86AliceWhat’s the meaning of all this?
87Wat’Twill be too long to tell it here.
The
rascal†gg3986
(a) wretched, mean (OED a, 2), with implications of low class status
fool to whom my father gives thee
Is come to town, and should he now surprise thee,
Here in my father’s
power,†gg3987
authority, dominion
thy strength might fail thee;
Be therefore
at a sure†gs762
firm, immovable (OED a, 5)
guard.†gg3988
posture of defence (in sword-fighting, etc.) (OED n, 3a)
*n5976
i.e. be alert, be on your guard
Oh, Sir Humphrey,
How are my sister and myself
bound†gg3989
obliged, indebted (OED a2, 7a)
to thee
That plottest this escape! Dispatch, good Ally,
And hear
the*n5977
] thee
rest
by th’ way.*n5978
i.e. on the way
88AliceWhy? Wither? What’s the matter?
89WatSay thou will have that
coxcomb,†gs207
fool, from the hat in the shape of a cock’s comb worn by jesters (see the professional fool in Queen and Concubine)
I’ll but kill thee,
And leave
thee*n5979
] the
here, and all my care is over.
90AliceI’ll sooner die than have him.
91WatWhy do you not
shun†gs763
escape from (OED v, 2a and 4a); flee from (OED v, 6a); avoid encountering (OED v, 3); keep away from (OED v, 6b)
him then? O sweet Sir Humphrey,
Is thy care
slighted†gg1141
treated contemptuously, with indifference
thus in my
delivery?†gg3990
action of setting free, deliverance (OED 1a)
In my disguise? In sending out my father
On
Tom Fool’s errand,*n5981
] Errant
*n5980
A profitless undertaking (cf. OED ‘a fool’s errand’ [errand 2c]). OED glosses ‘tom-fool’ as a ‘quasi-proper name … a man mentally deficient; a half-witted person’ (n, a) and someone who acts the part of a fool in a play, or a laughing-stock (n, b) (the earliest citation in OED of the latter from 1650). The expression is the origin of present-day English ‘tomfoolery’.
while a coach is sent
To the back door here? All to save my sister,
My thankless sister, here, from worse than rape!
92AliceWhy, whither†gg1313
(to whatever) place; where
would you have me?
93WatBut hard by,†gg127
close by
But till the
wildfire†gg2549
furious or destructive fire (OED 1), used figuratively to refer to a destructive force (OED 5a); also used for a mixture of highly inflammable substances set on fire and used in warfare (OED 3)
of my father’s passion
Shall be run out.
’Slid,†gs764
an oath, deriving from ‘God’s eyelid’. See Jonathon Green, Cassell’s Dictionary of Slang (London: Cassell & Co., 1998), s.v. ’slid! excl.
I had
e’en†gs765
even: just now; completely
forgot!
Bear money with us, sister,
pretty†gs766
considerable, abundant (OED a, 4a)
store.†gs767
supply
Who knows
occasions?†gs768
circumstances, situations (OED occasion n1, 6a); the course of events (OED occasion n1, 6b); needs, necessities, requirements (OED occasion n1, 9)
Let him keep in pawn
My rich portmanteau†gg3920
case or bag used for travelling (OED n, 1)
for’t.
94AliceThere’s some good stuff†gs769
textile material, cloth (see OED n1, 5b); property, household goods (OED stuff n1, 1g)
in’t?
95WatMore than he’ll thank me for. We’ll talk i’th’ coach.
In, in, and
furnish,†gg3992
supply what is necessary (OED v, 5a)
and so through the garden,
And,
whirr,†gg3991
seems to mean ‘hurrying along’, ‘moving swiftly’, or ‘flying’ (see OED v, 1b: ‘To carry or hurry along, to move or stir, with a rushing or vibratory sound’; OED v, 2: ‘To move swiftly in some way (rush, fly, dart, flutter, turn, etc.) with a continuous vibratory sound, as various birds, rapidly revolving wheels, bodies flying quickly through the air, etc.’)
we are gone! If we should be prevented,
By this good steel,*n5982
Wat is referring to the sword that he wears: he may draw it here, or he may put his hand on the hilt.
if I but hear one knock
I’ll make sure work o’ thee. I can but
truss†gg3993
be tied up (i.e. imprisoned) or hanged
for’t;
There’s a fair end
on’s†gs770
of (or for) us
both. And what will he
Do with his money then? Look how thou stand’st!
If you respect your father, or the dog-master
To be your husband, better than me, then take
You your own course. Mine shall be known next
sessions.†gg2415
series of sittings or meetings of a court (OED session n, 3a); judicial sittings (OED n, 4)
96AliceBetter than you! Don’t you respect your father
Better than me?
97WatNo. If I do, let me be hanged for nothing,
And that would anger any man, I think.
’Slid,†gs764
an oath, deriving from ‘God’s eyelid’. See Jonathon Green, Cassell’s Dictionary of Slang (London: Cassell & Co., 1998), s.v. ’slid! excl.
thou and I had one mother (which
We both take after), so had not he and we.
And he takes after nobody that I know.
He loves a
stranger†gs771
someone unconnected by family ties
better than ’s own child,
And that man’s money better than that man,
The devil
’bove†gg2459
above
all, I think. Thou dost not know
What coals we stand on.*n5983
i.e. how dangerous the basis of our family’s wealth and/or our inheritance is.
98AliceWho shall
look to†gg3994
look after
th’ house?
99WatWilt loose thyself with keeping
that?*n5984
i.e. the house
Is that
All, now? Away, away!
100AliceY’are a
precious†gs772
beloved (OED a, 1a); costly (OED a, 2) (the meaning could be shifted depending on the delivery of the line by the actor playing Alice)
brother.
[They exit.]*n5985
] Exeunt.
1.2*n5987
ACT. I. Scene II.
n5986
In this scene Brome switches to another strand of his narrative, and another family group. Again, our attention is on a mature man, and a father, and although there are some similarities between Bumpsey and Vermin, the successful citizen and businessman is a rather different proposition to the usurious Vermin. Both are seemingly self-made men, who have gained their wealth through their own labour, but Brome draws a distinction between Bumpsey, who gained his (enormous) fortune of £10,000 through what he calls his ‘thrifty industry’ [DM 1.2.speech129], and Vermin, whose fortune has been ground out of other men’s estates. Similarly, both are concerned to marry their daughters to well-off men, but Bumpsey’s concern is not with status but with solid worth; he tells Dryground, ‘land-lordship’s real honour, / Though in a tradesman’s son, when your fair titles / Are but the shadows of your ancestry’ [DM 1.2.speech116]. Bumpsey has only a daughter, whereas Vermin proclaims that his daughter is his only child because of his desire to disown his son. Another important difference in the presentation of the two men lies in the presence of Magdalen, Bumpsey’s wife, in this scene. Vermin never speaks of his late wife, and she is only mentioned as a means for Wat and Alice to assert their difference from their father, Wat declaring ‘thou and I had one mother (which / We both take after), so had not he and we. / And he takes after nobody that I know’ [DM 1.1.speech97]. Valentine’s mother is also dead, and although Phyllis’s mother finally appears at the end of the play she does not have much dramatic impact in her own right. In a play otherwise notable for the (not untypical in early modern drama) absence of mothers, the presence of Magdalen, and her desire to support her daughter’s choice of marriage-partner, is therefore significant.
The scene opens shortly after Bumpsey has discovered the secret marriage between Jane and Valentine, and it centres on his reaction to the marriage and the attempts of Jane, Valentine, Magdalen and Dryground to bring about a financial settlement that will benefit the young couple. The other characters attempt to manipulate Bumpsey in various ways, but Bumpsey never quite loses control: at the start of the scene he dominates linguistically, humiliating Dryground by pointing out at length his financial and parental shortcomings; it is noticeable that for the first 113 lines of the scene, beyond Dryground’s brief and sporadic attempts to intervene, the others characters’ responses are entirely in asides. Later, he seems to be manoeuvred by Magdalen into changing his mind about giving money to Jane and Valentine, but he quickly disconcerts her with his proposal not only to give half of his estate to Valentine, but also to mimic the younger man’s spending.
Our workshop on this scene focused on this latter section, from ‘But here’s the substance of’t’ to Bumpsey exclamation ‘And so God gi’ ye joy’ [DM 1.2.speech168], the point at which he finally utters the words conventionally addressed to a newly married couple. See this extract for a run-through of the whole sequence. The extract captures nicely Bumpsey’s volatility and his ability to adapt to a new situation: this is a man who is not used to being disconcerted; we also see a man who is used to responsibility reacting to events that are out of his control by abjuring that responsibility. Part of the comedy of this sub-plot lies in Brome’s presentation of Bumpsey as an elderly (and thus rather incongruous) prodigal. Unlike Vermin, he is rarely entirely unsympathetic; indeed, his increasingly generosity is a counter-point to the steadfast miserliness of the other man. Despite the focus on Bumpsey, however, the presentation of Magdalen is also important, as it suggests not only the relationships within the Bumpsey household, but exactly what is at stake in Bumpsey’s sudden willingness to squander his money: his widow’s livelihood. Magdalen has more to say in this scene than Jane, but it may be difficult for an actor playing her to signal her shifts of tone and attitude effectively, especially as during the middle part of the scene she is being deliberately obstructive in the hope of making Bumpsey listen to Valentine. Her aside to Dryground [DM 1.2.speech153] is crucial, as it suggests a complacency which is rudely undermined by Bumpsey’s new plan. The remaining member of the Bumpsey family, Jane, has comparatively few lines, and we get the impression that Bumpsey is deliberately avoiding talking to her directly. Nonetheless, her presence on the stage is crucial, and a range of effects might be created in performance depending on the physical proximity (or lack of it) between her and other characters. For instance, in this photograph from the workshop on this sequence [IMAGEDM_1_1], we see Jane seated, detached somewhat from Valentine and the action of the scene. In contrast, in this photograph [IMAGEDM_1_2] she is more integrated into the action, standing alongside Valentine. For much of this sequence Jane and Dryground act as an onstage audience, and although they say little their reactions may be crucial guides for the spectators. For more detailed comments on these issues see below, and for further discussion of familial relationships in The Demoiselle see the introduction.
[Enter] BUMPSEY, DRYGROUND, VALENTINE, MAGDALEN, [and] JANE.*n5988
Bumpsey, Dryground, Valentine, Magdalen, Jane.
101BumpseyAll this
needs not,*n5989
is not necessary
Sir Humphrey.
102DrygroundDo but hear patiently, and
do your pleasure.*n5990
Do as you please.
I go not about to stop your
course,†gs773
method of proceeding, way of acting (OED n, 22a)
Master Bumpsey.
103BumpseyNor I yours, Sir Humphrey, nor your son’s here, nor his wife’s there. Only
this gentlewoman*n5991
i.e. Magdalen
in mine own
right†gs774
legal, equitable or moral title to possess (OED n1, 9a): i.e. that of the husband over the wife
I may be bold
withal,†gs363
substituted for ‘with’ (OED prep.)
while you depart my house, if you may be entreated, so. Is not this right? Is not this
plain?†gs775
evident, obvious (OED a1, 7); simple, clear, unambiguous (OED a1, 9); free from ambiguity, straightforward, direct, blunt (OED a1, 12)
104MagdalenYet hear his
worship†gs776
a title of honour, used to address people of high status (OED n, 5a)
speak, good Bump.
105BumpseyGood
whirly,†gg3995
not in OED; it may be short for ‘whirligig’, meaning a fickle, giddy or inconstant person (OED n, 3a); see also ‘whirl’, to make giddy, or to put into a whirl or tumult (OED v, 7)
what can his worship speak? Or your wisdom
twattle†gg3996
chatter, babble (OED v, 1)
for him in this
cause†gg3997
affair, business (OED n, 10); in legal discourse, the subject of a lawsuit, or the case made by one of the parties (OED n, 7)
that I do not understand already? Has not his son wedded our daughter? How
directly,†gg3998
plainly, evidently (Crystal and Crystal, Shakespeare’s Words, s.v. directly); straightforwardly (OED adv, 1b); completely (OED adv, 4); without any intervention or intermediary (OED adv, 5)
or
indirectly,†gs777
wrongly, dishonestly (OED adv. 1.b); with an intermediary (OED adv. 2) (Bumpsey may be referring to Magdalen’s apparent connivance at the marriage of Valentine and Jane)
who
meddles†gs778
interferes; ‘meddle’ can also mean ‘to have sex with’ (Williams, 2: 870), and the pun seems to bring Bumpsey on to that subject in his next accusation
with his match? Nay, more, has he not
bedded†gg4001
had sexual intercourse with
her? How, directly or indirectly, who
meddles†gg4000
interferes
with that either? Let him have and hold,
possess†gs779
hold, enjoy (OED v, 1b); take possession of (OED v.,5a); have sexual intercourse with (OED v, 5b)
(hmh!)†gg4002
a variation on inarticulate exclamations such as ‘hum’ and ‘hem’, which can be used to express hesitation, embarrassment or dissatisfaction (see OED hum, int.; hem, int. A)
and enjoy, do his worst and make his best of her, though she be an heir,
I will not sue him out of her.*n5992
That is: I will not attempt to have the marriage annulled (with sexual innuendo on ‘out of her’).
No, I protest, were it
ante copulam,*n5993
That is: before sexual intercourse (Latin). In the absence of legal divorce, it was very difficult to annul a marriage after sex had taken place.
as it is
post,*n5994
after (Latin)
I would not
cross†gs780
oppose, contradict
’em. Is not this right and plain enough?
106DrygroundBut good Master Bumpsey,
brother*n5995
The fathers of a married couple were sometimes referred to as brothers-in-law, and might address one another as ‘brother’; Dryground tentatively claims kinship with Bumpsey, which the latter rejects.
Bumpsey, I would call you—
107BumpseyKeep your ‘brother’s and your ‘good’s to yourself, sir, I have no need of ’em. You are a knight, and a man of worship—
108Valentine [To MAGDALEN and JANE] He will speake all himself.*n5996
i.e. he will not let anyone else speak.
109BumpseyI am a
plain†gs781
simple, unpretentious (OED a1, 13); frugal, unostentatious (OED a1, 14); ordinary, unsophisticated (OED a1, 16); humble, not high-ranking (OED a1, 16); candid, frank, free from duplicity, blunt (OED a1, 11)
fellow, and out of debt.
110Magdalen [To VALENTINE] Aye,*n5997
] I
let him
run on.†gg4003
keep going
111BumpseyI sought none of your
alliance,†gg4004
union through marriage, kinship (OED n, 1)
I—
112Valentine [To MAGDALEN and JANE] Has he the speed
to run beyond himself?*n5998
i.e. to wear himself out, or to overtake himself.
113Jane [To VALENTINE] Yes, and
bring himself about,*n5999
i.e. to reverse his opinion or change his own mind.
I
warrant†gg859
assure, promise
you.
114BumpseyNor to be
joined†gs782
connected, united (i.e. through the marriage of Valentine and Jane), possibly with a pun on ‘jointure’, the part of a husband’s estate that is assigned to his wife on marriage or on his death
with
houses†gg4006
families, lineages, especially those of high status
of great
sound,†gg4007
(n) significance (OED n3, 4a); echo, a hollow noise, without significance (OED n3, 4e)
Whose noise grows from their hollow emptiness.
I could have matched my daughter here, that was,
But now a
baronetess†gg4008
the wife of a baronet; this is the only early example in OED, and I have been unable to trace any others
in
reversion,†gg4009
right of succession after the death of the current holder of the title
To a
substantial†gs783
firmly established, solid, of firm value (OED a, 10); in legal discourse, ‘Belonging to or involving essential right, or the merits of a matter’ (OED a, 5b); wealthy (OED a, 12a); of good standing or status (OED a, 13); consisting of solid material (OED a, 14); not imaginary, true (OED a, 15)
heir of two
fair†gs784
desirable; considerable; unobstructed
lordships.†gg4010
the status and material goods of lords (by implication the goods gained from lords)
116BumpseyYet honourable:
land-lordship’s*n11562
The status connected with owning land. Compare Bumpsey’s attitude towards land and status with that of Vermin generally in 1.1.
real honour,
Though in a
tradesman’s*n6000
] Trades-man Son
son, when your fair titles
Are but the shadows of your ancestry,
And you walk in ’em, when your land is gone,
Like the pale ghosts of dead nobility.*n6001
Bumpsey argues that without the land that should underpin noble status the titles themselves are empty words.
Ha! Is’t not so? Is not this right and
plain?†gs786
evident, obvious (OED a1, 7); simple, clear, unambiguous (OED a1, 9); straightforward, direct, blunt (OED a1, 12): Bumsey probably intends the first or second meaning, but Dryground interprets his behaviour as the third
117DrygroundYes, like the
privilege†gs787
special licence or right (in this case, to speak as he likes in his own house)
you use in your own house here.
118BumpseyNay, I come up to you now, Sir Humphrey Dryground,
Up in a
point†gs788
issue, argument (OED n1, 10); puns on the meaning of ‘point’ in heraldry, where it refers to ‘One of nine recognized locations on a shield which serve to determine the position of a charge, etc.; a charge or device occupying such a location; also: one of a number of horizontal sections of different tinctures into which a shield may be divided, esp. a section at the base of a shield divided from the rest’ (OED point n1, 8d)
of chivalry. You are a knight,
A
baronet†gg4012
the lowest hereditary rank in the English peerage, instituted in 1611 for the purpose of paying for the plantation of Ulster in northern Ireland; a baronetcy initially cost £1095, and although James I originally promised to limit their number to 200, Charles I continued to create them in the early years of his reign, and by 1629 there were just under 300; after 1628-9, however, what Kevin Sharpe calls 'the traffic in titles' was abruptly halted (see Sharpe, The Personal Rule of Charles I, second edition (New Haven: Yale University Press, 1995), 419; Peck, Court Patronage and Corruption, 32-3)
to boot:†gs789
in addition, moreover
your son is like
T’inherit that
dear-paid-for*n6002
expensive, bought at a high cost
title, but—
You’ll give me leave to use my
plainness?†gg4013
openness, honesty, bluntness
120BumpseyYour son (I say) is heir to your
bought honour,*n6003
The rank of baronet cost £1095, a very substantial sum (equivalent to roughly £93,951 in today’s money).
Which may hereafter
ladify†gg4015
make a lady of
my daughter,
But where’s the land you once were lord of? Ha?
The goodly cornfields, meadows, woods and pastures
That must maintain the house, the gowns, the coach,
Withal†gg1607
along with the rest
by
complements†gg4016
qualities or amounts that complete (OED n, 4a); complementing accessories (OED n, 6)
of horses, hawks, and hounds—
122BumpseyWhere be the parks, the
warrens,†gg4017
‘piece[s] of land enclosed and preserved for breeding game’ (OED warren n1, 1a); also used, as now, to refer to a piece of land used for breeding rabbits (OED warren n1, 2a)
herds and flocks?
Besides the gardens, orchards, walks and fish-ponds?*n6004
Bumpsey catalogues the features that he thinks belong to the kind of country estate that Dryground inherited but has now lost.
124Bumpsey’Od’s pity,†gg4018
an exclamation meaning ‘for the pity of God’ (‘’od’ is a corruption of ‘God’, often found in oaths). Brome is fond of ‘’od’s pity’, using it in The Demoiselle, The Lovesick Court, The Northern Lass and The Sparagus Garden; it is not common elsewhere, although Shakespeare uses ‘’od’s pittikins’ in Cymbeline (4.2.293)
give me leave.
You, that had all these once in three fair lordships,
To be
wrought on†gg4019
manipulated
and
tonied†gg4020
cheated or swindled; OED cites only The Demoiselle for ‘tony’ as a verb, but notes the connection with the noun, ‘a foolish person; a simpleton’ (Tony, n1, 1), which may have its origin in Middleton and Rowley’s The Changeling (first performed by Lady Elizabeth’s Men in 1622, and revived by Queen Henrietta Maria’s Men in 1635; in 1639 it was owned by Beeston’s Boys)
out of all
But a small pittance of
trois cents per annum*n6005
That is: three hundred a year (French/Latin).
–
By
providence†gs790
foresight; divine intervention (Bumpsey is probably being ironic)
entailed†gg4021
settled so that it cannot be bequeathed to anyone else, or used by anyone else (OED entail v2, 1)
upon the heir
Or ’t had had
wasted†gg4022
been consumed or spent needlessly or lavishly (OED waste v, 9)
too – which now maintains you
In a
proportion†gg4023
quantity (OED n, 7)
of
smoke†gg4024
(n) tobacco smoke
and
sack†gg483
white wine from Spain: sack is derived from 'sec', and usually meant a dry white wine; hence Falstaff's enjoyment of 'sack and sugar'
To wash your mouth with after, where you live
Confined in
Milford Lane,*n6006
A street running off the Strand to the south towards the river, to the west of the city of London. Milford Lane appears to have been a sanctuary for debtors. In an apparently autobiographical epigram in A Strappado for the Devil: Epigrams and Satires Alluding to the Time (1615), Richard Brathwaite writes,
Where shall I fly to? ’las I know not where,
For Milford Lane is grown too monstrous dear.
No, there I must not go, for know you how
That place is styled? The gallants’ rendezvous. (55)
or
Fullers Rents,*n6007
A court ‘opposite the end of Chancery Lane, leading from Holborn into Gray’s Inn Walks’ (Sugden, Topographical Dictionary, 211, s.v. Fuller’s Rents). It was mainly occupied by taverns and inns, and was a haven for debtors and other fugitives. See also Careless's comment in A Mad Couple Well Matched: 'I need no more ensconcing now in Ram Alley, nor the sanctuary of Whitefriars, the forts of Fuller’s Rents and Milford Lane, whose walls are daily battered with the curses of bawling creditors' [MC 2.2.speech337].
Or who knows where, it
skills†gg4025
matters (OED skill v1, 2b)
not—
126MagdalenNow he has almost done.*n6008
These lines might be delivered as a whispered exchange between Dryground and Magdalen, or Valentine and Jane might also be included. Given that the smooth flow of Bumpsey’s speech is uninterrupted, it seems likely that he hears neither line.
127BumpseyCan you (I say) think your good
husbandry†gg3919
management of a household, thrift (OED n, 4)
A lawful precedent for your
gamesome†gg4026
merry, playful (OED); but with a pun on ‘game’, meaning sexual act, and ‘gamester’, someone who indulges in sexual play
son
To make my daughter happy in a marriage,
Though he had twice my fortunes?
128Jane [To VALENTINE] Now he’s coming.
Bear but with this, and if he offer not
More than you would request, I’ll lose your love.
129BumpseyBut here’s the substance†gg4027
what the speech amounts to (OED 11a); essence (OED 14); puns on possessions, estate, fortune (OED 16)
of ’t,*n6009
As Alan Morrissey (reading Bumpsey) commented during the workshop, this is a ‘great line’ for an actor, coming as it does after Bumpsey has been setting out his position in inordinate detail, and it is recalled in ‘There’s the point / And the whole substance on’t’ below [DM 1.2.speech164].
you have my daughter.n6010
The tone of these lines can be varied, as these two different readings from the workshop demonstrate. In the first extract, Bumpsey is self-satisfied and relatively jovial. In the second, in contrast, there is a degree of anger and reproach, especially towards the end of the speech; this is underlined by the way in which Alan Morrissey (reading Bumpsey) physically disengages himself from the rest of the group at the end of the speech.
Your son, sir, has my daughter, that must have,
And shall, my whole estate at my decease
(No law
exacts†gg4028
demands, extorts
it sooner). This estate
You safely may suppose
ten thousand pounds,*n6011
£10,000 would be worth around £850,000 in today’s money.
Which I have got by
thrifty†gg4029
economical, provident (OED a, 4)
industry.
Only one thousand, I confess, my wife*n6012
Bumpsey gained £1000 as Magdalen’s dowry; he now returns it to her, saying that she is free to give it to Jane (which would mean that it would become Valentine’s property) if she pleases. £1000 would have the spending power of around £85,000 in today’s currency.
Improved my fortune with. Here’s the just sum.*n6012
Bumpsey gained £1000 as Magdalen’s dowry; he now returns it to her, saying that she is free to give it to Jane (which would mean that it would become Valentine’s property) if she pleases. £1000 would have the spending power of around £85,000 in today’s currency.
[Produces the money.]n6013
There is no stage direction in the octavo. In the workshop on this sequence we used a purse, but it would also be possible to have Bumpsey count out notes or coins, or to produce a cheque or credit-card, depending on the period in which a production is set. In the workshop extract, Bumpsey presents the purse to Magdalen, and she holds it in front of her, ensuring that it holds the audience’s attention, until she gives it to Jane on ‘Now chop in with him’ [DM 1.2.speech130].
I give her leave to give it to her daughter:
She may
endow†gg4030
enrich, furnish (OED v, 3b)
her husband with it. So,
Is not this plain? Now
note†gg2768
(v) observe, pay attention to
me further, sir,
What I have left is my own, and you, sir, may
With*n6014
] Which
what is theirs take hence your son and daughter,
Till you shall hear old Bumpsey is deceased.
Meantime I know my
course.†gs773
method of proceeding, way of acting (OED n, 22a)
130Jane [To MAGDALEN] Now
chop in†gg4031
intervene, break in (OED chop v 1, 8)
with him, mother, you know how
apt†gg4032
given, inclined, prone (OED a, 4b)
He is to cross†gs780
oppose, contradict
you in these moods.*n6016
Jane claims that Madgalen can manipulate Bumpsey because he is liable to automatically do the opposite of whatever she suggests; her statement also hints that they have been accustomed to manoeuvring him in this manner.
131Valentine [To BUMPSEY] Dear, worthy, honoured, sir—*n6017
It is not clear whether Valentine’s intervention is part of Jane and Magdalen’s plan, or whether it threatens to derail it. If it is the latter, Magdalen quickly adapts to the changed circumstances, persuading Bumpsey to listen to Valentine by suggesting that he should not listen to him.
133MagdalenAye,*n6020
] J
Bump. Let us go our way, and let them take theirs a’†gg4033
in
God’s name.n6021
Magdalen is at this point playing a role, performing the opposite of her true feelings in an attempt to manipulate Bumpsey. In this extract from the workshop, a shift in Olivia Darnley’s tone and style of performance is clear, as is the effect of her role-playing on Alan Morrissey’s Bumpsey, who quickly takes offence and changes his mind about hearing Valentine.
136BumpseyShall not! He shall, sure.
’Od’s pity!†gg4018
an exclamation meaning ‘for the pity of God’ (‘’od’ is a corruption of ‘God’, often found in oaths). Brome is fond of ‘’od’s pity’, using it in The Demoiselle, The Lovesick Court, The Northern Lass and The Sparagus Garden; it is not common elsewhere, although Shakespeare uses ‘’od’s pittikins’ in Cymbeline (4.2.293)
Shall not!
Are you pleased to speak, sir?n6022
The comedy in this part of the sequence lies in Bumpsey’s constant re-iteration of his desire to hear Valentine speak, which actually prevents the younger man from speaking. See this extract from the workshop for a demonstration of how it might work in performance: Alan Morrissey’s Bumpsey keeps control of the conversation, but Hannah Watkins’ Valentine gradually gains in confidence.
138BumpseyNot to a
fiddlestick.†gg4034
something insignificant: ‘fiddlestick’ is often substituted for another word when a remark is repeated scornfully (OED n, 2)
Shall not!
Can you speak or not? If not, pray
tell*n6023
] yell
me so.
Her mother
for’t,†gg2370
for it
not me. Well, will you speak?
141ValentineI married her in a
firm†gg4035
steadfast, determined (OED a, 6a)
hope to win
Your love and
favour.†gg201
goodwill, kindness; partiality, approval, encouragement
143ValentineWhich since I have not yet, and time must
work†gs381
bring about; stir; urge; manipulate
it,
I would make this my suit—†gg773
(n) petition, supplication
144BumpseyWould I could hear it once.*n6024
This line is especially ironic, as Bumpsey has spent much of the scene refusing to allow the other characters to have their say.
With re-acceptance*n6025
i.e. taking back.
of this thousand poundn6026
This is a key moment in the scene, as Valentine’s action disconcerts Bumpsey, who expects Valentine to behave in a manner suiting the grasping prodigal he thinks he is, and it provokes his new course of action. He apparently sees something in Valentine that he did not expect to see, something that distinguishes him from his spendthrift father, and decides to test him further. In this extract from the workshop on this scene, Valentine takes the purse from Jane and gives it back to Bumpsey; this means that we still pay attention to Jane, and her claim to her mother’s money, even as it is passed from one man to another; in an earlier version, Valentine had already taken the purse from Jane when he moved to speak to Bumpsey on ‘Dear, worthy, honoured sir’ [DM 1.2.speech131]. In this version Bumpsey is more obviously taken aback by Valentine’s offer.
Your daughter and me
into your family.*n6027
That is: into Bumpsey’s household.
146BumpseyAnd why the thousand pound? Does ’t burn your fingers?
147[Valentine]*n7177
] the speech prefix is missing in the octavo
Give us but
meat†gg376
food of any kind, not necessarily just flesh, fowl, or fish
and lodging for’t. My father,
Out of his
little-left†gg4036
diminished
estate, will give us
A hundred yearly*n6028
In terms of spending power, this is equivalent to approximately £8500 in today’s currency.
for other
necessaries.†gg1257
essential items
Your future favour, so extend your
bounty,†gs791
kindness, generosity
When age shall call upon you to dispose
Of all your fair possessions.
150BumpseyHumh! A pretty†gs792
clever, crafty, ingenious (OED a, 1); fairly, very (OED adv, 1a)
odd†gs793
remarkable (OED a, 7a); singular (OED a, 7b); peculiar, eccentric, unexpected (OED a, 9a)
speech this!n6030
In this workshop reading of the scene, this is the point at which Bumpsey begins to devise his plan for his money. His plan seems to be driven by a desire both to test Valentine and, as he states below, to find an entertaining way of putting into action a pre-existing plan to spend all of his estate before his death, and so ensure that there is nothing left for Valentine and Jane to inherit.
I would I knew
The meaning
on’t.†gg776
of it
Strong probability*n6031
high likelihood
in me to manage
A good estate, you trust me not with any.
152BumpseyHa! Is it so? Then I come to a
point†gs794
proposition, idea (OED n1, 10a)
with you.
153Magdalen [To DRYGROUND] Mark him now, Sir Humphrey.n6032
Magdalen’s aside demonstrates the complicity and, possibly, forward planning between her and Sir Humphrey; it can also signal her complacent satisfaction with the way things are progressing immediately before Bumpsey announces his plan, which disconcerts her and seems to pull her out of the role that she has been playing. In the lines that follow, she interjects with increasing desperation, but unfortunately for her, Bumpsey is now reacting against her true feelings rather than assumed ones. Compare these two versions of the sequence from this line to Bumpsey’s ‘God gi’ ye joy’ [DM 1.2.speech168]. In the first, Magdalen is initially sitting beside Jane, from which position she delivers her aside to Sir Humphrey, but she first stands (on ‘Half? What mean you half?’ [DM 1.2.speech155] and then moves across to Bumpsey (on ‘Pray be advised.’ [DM 1.2.speech159]). In the second version, all the actors are standing, and Magdalen is initially positioned beside Bumpsey. She moves across to Sir Humphrey for her aside, then moves to stand beside Jane during Bumpsey’s speech. She is initially slower to take Bumpsey seriously, and there is a nice progression in which she gets more serious and Bumpsey (more volatile and less jovial in this version) gets more lighthearted.
154BumpseyYou look, sir, in my daughter’s
right,†gs795
legal, equitable or moral title to possess (OED n, 1 9a)
to have
After my death my whole estate, by showing
Me, in my lifetime, your good husbandry,
By husbanding†gg4037
managing; saving up or storing
of nothing.*n6033
Punctuation here follows the octavo; other options would be an exclamation mark or a question mark.
Y’ have
ta’en†gg2156
taken
off half my purpose, for I meant
To have kept it in my power whether to leave her
Any or nothing, and perhaps (
d’ye†gg4038
do you
hear)
By an odd course that I was thinking on
To
ha’†gg4039
have
made all nothing
ere†gg1781
before
I died. But now
Half of that power I’ll put into your hands:
I’ll try what you can do with something.
156BumpseyEven†gs796
precisely (OED adv. 6)
half of all I have.
157MagdalenI hope you will not
deal†gs797
behave (OED v, 19); act, proceed (OED v, 20); distribute or bestow (OED v, 4a); negotiate (OED v, 12)
so.
158BumpseyAnd as he
deals†gg4040
does business, trades (OED v, 13); behaves (OED v, 19); acts, proceeds (OED v, 20)
with that, I’ll use the rest.
I’ll give him instantly the
free†gs798
unrestricted, unrestrained
possession
Of half I have. Now
mark:†gs799
pay attention
if you increase
Or keep that half, then,
doubtless,†gg2966
without doubt, unquestionably, certainly
I shall do
As well with
t’other†gs800
the other (of two) (OED A. 1)
for you. If you diminish
Or waste it all, I’ll do the like with my part.
162BumpseyI’ll
do’t.†gg4041
do it
Together we will live,
And I’ll along with you in your own
course,†gs773
method of proceeding, way of acting (OED n, 22a)
And, as you play your game, you win or lose all:
Thrive†gs801
be successful, prosper
and I’ll thrive; spend you, and I will spend;
Save, and I’ll save;
scatter,†gg4042
squander
and I’ll scatter.
Into the Thames,
make ducks and drakes*n6034
(1) play a game in which participants skim a flat stone over a body of water, trying to make it bounce as many times as possible before it sinks (OED duck and drake 1); (2) throw away carelessly, squander (OED duck and drake, 2)
with
pieces,†gs737
coins, especially the unite of James I, a coin first issued in 1604, with a value of 20 shillings; OED says that these coins rose to a value of 22 shillings in 1611 (OED n.), but in 3.1 [DM 3.1.speech477] Wat assumes that a piece is worth 20 shillings
I’ll do the like, till he has made a
match†gs802
a (financially) advantageous wife
Or no match of my daughter.*n6035
A common formulation; compare the title of Beaumont and Fletcher’s A King and No King (King’s Men, c. 1611).
There’s the
point†gs803
proposition, idea (OED n1, 10a); main subject or focus of a discussion (OED n1, 10b); objective, aim (OED n1, 10c); conclusion (OED n1, 11)
And the whole
substance†gg4027
what the speech amounts to (OED 11a); essence (OED 14); puns on possessions, estate, fortune (OED 16)
on’t.
166BumpseyWill I? ’Tis done. I’ll make him a good
husband†gg4043
manager of an estate; someone who manages his affairs well; marriage partner
Or be no
husband†gs804
manager of an estate; someone who manages his affairs well
for him, and so see
What’s mine out of the danger of his waste,
And have some
sport†gs446
entertainment, amusement, recreation, diversion (OED n1, 1a)
too for my money. Ha!
I love to do these things.
167MagdalenNay, but in one thing, Bump, let me advise you.
168BumpseyIn nothing ’gainst this
course,†gs773
method of proceeding, way of acting (OED n, 22a)
good
whirly.†gg3995
not in OED; it may be short for ‘whirligig’, meaning a fickle, giddy or inconstant person (OED n, 3a); see also ‘whirl’, to make giddy, or to put into a whirl or tumult (OED v, 7)
No,
’Tis so
set down.†gg4044
settled, as if it has been put down in writing; decided
I know I shall be counted
An
odd†gs793
remarkable (OED a, 7a); singular (OED a, 7b); peculiar, eccentric, unexpected (OED a, 9a)
old
humorous†gs805
capricious, whimsical (OED a, 3); suffering from an imbalance of bodily humours (in old-fashioned physiology, the four chief fluids of the body, blood, phlegm, yellow bile and black bile) (OED a, 2)
coxcomb†gs207
fool, from the hat in the shape of a cock’s comb worn by jesters (see the professional fool in Queen and Concubine)
for’t†gg2370
for it
by some,
But the truth is I love to do these things.
169DrygroundI’ll
take my leave,†gg4045
leave you; bid you farewell
sir.
171DrygroundI have
business,†gs806
affairs, concerns, tasks to attend to
And go well satisfied with this agreement.
And Val, take briefly this my
charge:†gs807
instruction (i.e. about his responsibilities)
you are now
A
husband,†gs808
marriage partner; manager of an estate
be a good one;
y’†gg4046
you
have my blessing.
But
(hark you)†gg5322
listen to me
do you remember
’gainst†gs809
against: in preparation for
the evening?
172ValentineAll, sir, all. I have spread my
nets†gg4047
traps, means of catching or securing someone or something (OED n1, 1b)
already.
173Dryground [To BUMPSEY] Sir,
fare you well.†gg4048
farewell, goodbye
176BumpseyAt your own good time,*n6038
i.e. whenever you wish
sir.
DRYGR[OUND exits].*n6039
Exit Drygr.
[Aside] These shall stay here. I’ll blindfold them with money,
And by a new way try if they can
grope†gg4049
feel their way, as if they are in the dark
The right way into th’ world.*n6040
At the end of this long sequence in which Bumpsey’s motives have been unclear, he suggests that his actions are aimed at educating his daughter and his new son-in-law.
[Aloud] Come your way.†gg4050
come along
[They exit.]
Edited by Lucy Munro