The Love-Sick Court:
or the Ambitious Politique.
Dramatis Personae.*n5225
There are several mistakes in this list which suggests that Brome did not create it himself, but that perhaps a member of the printing house put it together. The compiler confuses the characters of Philocles and Philargus, something which is crucial to the resolution of the plot in Act 5, and mistakenly names one of the characters as Euphalus when his entrances denote him as 'Eupathus'.
[Link]
|
KING of Thessaly*n5695
Fertile area in the north-east of Greece surrounded by mountains (including Mount Olympus), here presented as a kingdom.
. |
PHILOCLES*n5219
] Philargus
, the Prince, supposed son of the late slain General*n5693
The General was Adrastus, brother to Disanius, wife to Thymele, and father to Philargus, Placilla and (supposedly) Philocles.
. |
EUDINA, the Princess. |
DISANIUS JUSTINIUS | } | Two lords. |
EUPATHUS,*n5226
] Euphalus The name only appears in the list of characters, confirming suspicions that this list was not compiled by Brome. Throughout the play, the character appears as 'Eupathus'.
a gentleman belonging to the King. |
STRATOCLES, a politician. |
PHILARGUS*n5220
] Philocles
, a young nobleman, son of the late General, [nephew to Disanius] and [supposed]*n4943
Added by a previous reader of the Folger copy.
*n5222
For the purpose of the plot, the audience needs to believe (as do the majority of the other characters) that Philocles and Philargus are twins. Their true history is revealed in Act 5 by Thymele ([LS 5.3.speech868] onwards).
twin with Philocles*n5221
] Philargus
. |
THYMELE, Philargus’*n5223
] Philocles
mother |
PLACILLA, her daughter. |
DORIS, Thymele’s waiting-woman*n6776
However, in Act 3 scene 1, Doris is also referred to by Garrula as Placilla's 'handmaid' [LS 3.1.speech321], which suggests either an error on the part of the drunken midwife, or a fault belonging to whoever compiled the dramatis personae.
. |
GERON*n5224
Greek for 'old man' (pronounced with a hard 'g' and long 'o') presumably referring to the character's pedantic nature.
, a curious coxcomb†gg3016
conceited ass (the term is derived from the cap worn by professional fools, which was shaped like a cock's crest or comb, which came to be the natural substitute for the word "fool", the emblem representing the man)
and a scholar. |
GARRULA, an old midwife, [mother to Geron]. |
MATHO, a villain, servant to Stratocles. |
TERSULUS, a tailor, servant to Philargus. |
VARILLUS, a barber, servant to Philocles. |
RUSTIC 1 |
RUSTIC 2 |
RUSTIC 3 |
RUSTIC 4 |
[2 Rustics] |
[SOLDIERS] |
[Attendants] |
[Nymphs who dance] |
The scene: Thessaly.
PROLOGUE
2PrologueA little wit, less learning, no poetry
This playmaker dares boast: ’tis his modesty.
For though his labours have not found least grace,
It puffs not him up or†gg3456
either
in mind or face,
Which makes him rather in the art disclaim
Bold license, than to arrogate†gg5914
claim (without reason or through self-conceit)
a name.
Yet to the wit, the scholar, and the poet,
Such as the play is, we must dare to show it
Our judgements to but too*n4942
In the Folger copy of the play, a previous reader has annotated the edition, underlining 'but too' and writing 'boot' in the margin.
; and without fear
Of giving least offence to any ear.
If you find pleasure in’t, we boasting none,
Nor†gg3457
neither
you nor we lose by expectation.
Sometimes at poor men’s boards†gg3458
tables
the curious find
’Mongst homely fare some unexpected dish,
Which at great tables they may want†gg491
lack
and wish:
If in this slight collation†gg3227
light meal
you will bind
Us to believe you have pleased your palates here,
Pray bring your friends wi’ you next, you know your cheer†gg1410
what is provided by way of entertainment: fare, provisions, viands, food (OED n. 6a)
.
ACT ONE*n9333
Two equally lengthy scenes make up Act One, both involving several characters on stage and plenty of detailed exposition. The play opens with its central political concern: the King of Thessaly is dying and has no known son to inherit the throne from him, only a daughter, Eudina. Brome provides exposition through a discussion between Disanius and Justinius, both lords and advisors to the King. They also point to two factors threatening the peace of the kingdom: the common people (who have been rioting to demand settlement of the inheritance issue) and Stratocles, the ambitious politician of the play’s sub-title, both of whom are subsequently introduced during the scene.
Stratocles enters almost immediately, meditating on man’s proximity to the gods and the desirability of kingship. It is clear from the conversation which follows that Stratocles and Disanius are at loggerheads (and they continue to bicker throughout the scene), while Justinius functions as pacifier before the King’s entrance.
Emphasis is placed on the national importance of Eudina’s choice of husband: whoever she chooses to marry will inherit the crown and kingdom, and until her choice is made the people do not know who will succeed to the throne. Four Rustics are invited to deliver their petition to the King: a demand for a known successor and for it to be Stratocles. It is revealed that this choice is partly from necessity, since two other strong candidates for the vote are Philargus and Philocles, believed dead whilst journeying to Delphos. When Disanius reveals that this latter was a rumour circulated by Stratocles, the Rustics reconsider their choice but all praise different candidates. The King attempts to impose order by stating that the decision will be made within the month.
Scene Two begins in direct contrast with Scene One, apparently presenting the female domestic side of court, and introducing the focal character of Scene One and the play in general, Eudina. She and Thymele (mother to Philargus and Philocles) are mourning the supposed death of the two men, thus also taken in by the political scheming of Stratocles. Eudina’s first speech of this scene perfectly encapsulates the key themes which dominate Brome’s play, both demonstrating its focus on neo-platonism and frustrations: she describes Philocles and Philargus as ‘a pair of equal lovers … equally beloved’, both respected by the King. This is not going to be a straightforward plot involving a pair of lovers whose union is forbidden. On the contrary, marital union is the yearned for conclusion; the sticking point is that Eudina loves the brothers equally (and they love her and each other in equal measure also) and neither she nor her father, the King, can decide which of them she should marry. The rest of the plot hangs on this impasse, tests it, ridicules and mimics it.
Light relief is brought in the form of the midwife, Garrula, who constantly sips from a flask at her side. Despite carrying an extremely important and joyful message (that the men are returned home), Garrula’s verbosity prevents her from delivering it, and the boys’ sister, Placilla, is instead bearer of the good news. When Thymele swoons at the news, Brome gives Eudina the opportunity to reveal her suspicions of some secret knowledge between Thymele and Garrula in an aside to the audience. This secret is continually hinted at and used as a threat by Garrula throughout the play (no doubt with plenty of winking and nose-tapping) until its resolution in the final act. Placilla, Thymele and Eudina’s exit to be reunited with the twins gives Garrula time to describe her own son, Geron.
Finally the wonder boys, Philargus and Philocles, enter the stage, bringing with them their relatives, the King’s advisors and the message fetched from the Oracle. A sketchy interpretation of the riddle suggests they must contend for Eudina’s love, but both swear allegiance to each other as well as to her. The scene also cleverly juxtaposes Philargus and Philocles with their ‘governor’, Garrula’s son, Geron, whose bookish learning has made him less than an attractive prospect in marriage to one female servant. Like his mother, Geron also provides some comic relief, with repetitious phrases and scholarly references which are either inappropriate or misunderstood by the rest of the assembled company. The scene ends when Eudina, overcome by the difficulty of choosing between Philargus and Philocles, faints, the cerebral and emotional decision affecting her physically. This moment would also serve as a summary of the play in dumb show.
1.1
[Enter] DISANIUS [and] JUSTINIUS [from different doors] meeting.
3DisaniusGood morrow, my good lord.
How fares the King?*n5233
Disanius' question is supposed to inform the audience that he is newly arrived to court. Later in the scene, while the King discusses affairs with Disanius privately, Stratocles refers to him as an 'old/ Antagonist of mine called to confront me' [LS 1.1.speech28], suggesting an old rivalry between the two, also supposed by Disanius' wish to fight with Stratocles [LS 1.1.speech20].
4JustiniusMore sick in mind than body, by th’opinion
Not only of the skillful doctors, but of all
That come about him.
Since he was sick, can guess then at the cause
Of his
distemper†gs619
ill health, disorder
. He is sick o’th’
subject†gg3459
one (or a group) ruled by a monarch
;
Th’unquiet
commons†gg3460
common people, community; also those who represent them (in England, the Lower House of Parliament)
fill his head and breast
With their impertinent discontents and strife.
The peace that his good care has kept
’em*n7914
MacLeod modernises the original text's 'hem' to 'him', but this edition argues that Disanius is referring to the Commons, and therefore the emendation should be to 'em' for 'them'.
in
For many years, still feeding them with plenty,
Hath, like
o’er-pampered*n4944
] ore pampered
steeds†gg3461
horses (used for state occasions or war)
that throw their masters,
Set them at war with him. O misery of kings!
His virtue breeds their vices, and his goodness
Pulls all their ills upon him. He has been
Too long too
lenitive†gg3462
lenient, gentle
: a thousand heads
(Or, say, a hundred, or but ten) cut off
Of the most
gross†gs620
flagrant, striking, monstrous
ones, the prime, leading heads
Of theirs a month since, had preserved him better
Than all his
doctors’*n5227
] doctors. Moving the apostrophe to signify one doctor would also make sense, however Justinius has referred to 'doctors' earlier [LS 1.1.speech4].
pills can purge him now.
6JustiniusYou are too sharp, Disanius. There’s a means,
As mild as other of the King’s clear acts,
In
agitation†gg3463
motion, discussion
now shall reconcile
All to a common peace, no doubt.
Enter STRATOCLES.
Ambitious
pate†gg904
head
lies the
combustible†gg5915
easily kindled to violence or passion (OED, a. and n. 2)
stuff
Of all this late†gg162
recent
commotion. They confer aside.
Prescribed†gs1633
ordered, directed (in writing beforehand)
on earth to imitate the gods,
But to come nearest them in power and action?
That is to be a king! That only thought
Fills this capacious breast.
A king or nothing!*n5230
Stratocles' ambitious thoughts are resonant of Doctor Faustus, the protagonist of Marlowe's play, who muses in Scene 1 that despite his extensive knowledge he remains an earth-bound human being: 'Yet are thou still but Faustus, and a man' (1.23). Like Faustus (and Ben Jonson's Sejanus), Stratocles desires power, honour and fame, and like Faustus, he falls from favour, though without resorting to necromancy or by selling his soul to the devil; Stratocles' tactics are political, that is, the use of rumour and hearsay, and power harnessed by wooing the people and (as he intends) marrying into the monarchic family.
It is some devilish waking dream affects him.
I’ll
put him out†gg22
to forget one's lines (or words);
for further examples of this usage, see also Moth, 'They do not mark me, and that brings me out' (Love’s Labour’s Lost, 5.2.172); and Coriolanus, 5.3.40-2, 'Like a dull actor now/ I have forgot my part, and I am out/ Even to a full disgrace.'
.
[Aloud] And as I was about
To say, my lord —
It stick still in my jaws. Be not ambitious,
Affect not popularity: ’tis the most
Notable
break-neck†gg3464
i.e. breaker of necks
in a kingdom.
16DisaniusI know to whom I speak. Would Stratocles
As well knew who he is, and what he does:
It would be better for him. Thank me not,
I wish it for the King and kingdom’s good,
Not yours, I do assure you, my great lord;
Yet mine own peer, if you forget me not.
A time may come –
And then
up goes Disanius*n5231
Disanius mocks Stratocles' combined warning and politician's promise that one day he may have greater power and use it to elevate Disanius' status too. Alternatively, this could be a reference to hanging, i.e. that when Stratocles gains the throne he will do away with anyone who has questioned or threatened his authority.
. Is’t not so?
20DisaniusThe court now privileges thee, or I would
change†gg203
(v) exchange
A
cuff†gg3465
blow
with your great soldiership and popular greatness
With clowns and citizens and
gentry*n5232
The following clause only refers to the gentry, not to the clowns and citizens too. This is a topical reference to the aspirant English middle classes, ever keen on social climbing, and Brome's metaphor seems to be to asparagus, which indeed grew from human dung in London's gardens, as featured in The Sparagus Garden.
, sprung
By their late peaceful wealth out of their
dung*n4945
] dongue. OED directs one to 'dung' so it has been adopted it here.
.
But let ’em thank our pious King, not you
That claim (as merit for your service done)
Their loves and voices.
The King may hear on’t, whose
perplexities†gg5916
troubles, complicated circumstances
Already are too grievous. Pray be silent,
The King approaches.
Enter KING and EUPATHUS [in conversation].*n4946
Obviously the King and Eupathus need to begin their entrance just before they are noticed by Justinius.
22DisaniusWe’ll attend†gs621
wait for; expect; ready to be of service
his entrance.
23KingUpon those terms they are come then, Eupathus?
Upon the engagement of my faith, that you
Had passed your kingly word for their return
In safety, I have brought to court, who
wait†gg318
await
Your present†gs378
immediate, current
will and pleasure.
25KingBring ’em in.[Exit EUPATHUS]
Disanius, welcome. I thought well to send for you
To take a counsellor’s part of my late cares
Into your consideration.
Your Highness’ pleasure.
27KingNearer, good Disanius.
They talk privately.
28Stratocles [Aside] Do you deal in secret, King? The commons sent for
To their examination*n5234
to be examined
, and this old
Antagonist of mine called to confront me,
And I prepared by no intelligence
To
fit†gs622
prepare
me for th’encounter? Let ’em come.
I must not be denied to stand as fair
In competition for the crown as any man
The King himself elects for his successor.
The people are mine own through all his
parts†gg4491
attributes, qualities, abilities, gifts
:
He may command their knees, but I their hearts.
29KingStratocles, Justinius, Disanius, sit.
My lords, although our laws of Thessaly
To you, as well as to ourself, are known,
And all our customs, yet for order’s sake
I shall lay open one to you. That is, when
A king deceaseth without
issue†gg2097
child, offspring
male
(As I unfortunately must) the commons
Are to elect their king, provided that
He be of noble blood, a soldier, and one
That has done public service for the crown –
Great general slain in battle for his country
(As my Adrastus*n7633
Also the name of Polynices' father-in-law, upon whom he calls for assistance when attempting to reclaim the reign of Thebes which he had agreed to share with his brother, Eteocles, after their father (Oedipus) had retired. The brothers are referenced by Philargus in Act 5 when contemplating that he and Philocles cannot share Eudina, unlike a kingdom [LS 5.1.speech686].
was).
33KingTwenty years’ sorrow for that soldier’s loss
Has not worn out his memory.
Forgets not then soldiers of fresher fame.
35KingSome other time to boast, good Stratocles.
36Disanius [To STRATOCLES] ’Twere good you’d hear the King.
[To the KING] A general
Or a general’s son may be elected. There
Your Majesty left†gg353
left off
.
Yet has a daughter, and he match her in
His lifetime to a husband that is noble,
He*n5235
i.e. the husband
stands immediate heir unto the crown
Against all contradiction.
39DisaniusNow think upon my nephews, royal master,
The sons of brave Adrastus, who was slain
Twenty years since in fighting of your battle.
40Stratocles [To DISANIUS] ’Twere good you would hear the King.*n5236
Stratocles demonstrates his petty rivalry with his 'antagonist' Disanius by repeating the latter's formula of reprimand for speaking in place of the King, followed by a 'helpful' (yet unctuous) reminder of where he left off speaking, demonstrative of Stratocles' oily political ambition.
[To the KING] The husband of
Your daughter must be elected. There you left, sir.
41KingIt rests now that a speedy choice be made
Of a
fit†gs420
suitable, proper
husband, one that may acquire
Eudina’s love, and people’s
approbation†gg3112
approval, satisfaction
.
The people, for whose
noise†gs1634
disturbance, clamour; common talk; reputation
I must not rest
Till my successor be appointed to them,
Are wild till this
election†gg828
choice, preference
be made:
They have, in arms, made their demand, and
wait†gg318
await
My present answer.
Enter
EUPATHUS*n7915
MacLeod emends this, explaining it as a printer's error for 'Euphalus', however no explanation is given other than that the dramatis personae is being trusted. This edition argues that the dramatis personae contains enough errors to suggest its compilation by someone other than the author, perhaps within the printing house.
[with] four RUSTICS.
42DisaniusOh, here they come. These be the principals,
The heads, the heads, forsooth they call themselves:
Head-carpenter, head-smith, head-ploughman, and head-shepherd.n7726
This scene is particularly complex because the stage is congested with both the seated King and counsellors, and kneeling Rustics, whose asides need to be audible to the audience. Two workshopped stagings are recorded in the following video clips. In the first, the King is positioned stage centre, with Justinius and Disanius on one side and Stratocles on the other; the Rustics enter and kneel along the stage-front, after bowing individually to the King as Disanius names their titles (which could also be signified by key items of clothing or tools) . One problem with this staging is that the Rustics have their backs to the audience; the solution was to have Eupathus (as general court messenger) urge them to turn around away from the King (while he considers their petition), facing the audience, so that their asides are audible .
The second possible staging angles the presentation, placing the King in the upstage right-hand corner, again with Disanius and Justinius on one side and Stratocles on the other; a consequence of this diagonal presentation is that Stratocles occupies the central position on stage, with the Rustics assembled on stage left . In this version, recorded with a different set of actors, the tension between Disanius (here played by Mike Burrell) and Stratocles (Alan Morrissey) was palpable, and clearly irked the sickly King (Philip Cumbus) during its full performance.
43KingNay, pray approach, and seem no more
abashed†gg3466
disconcerted, subdued
Here than amongst your
giddy†gg5917
foolish, angry, excitable
-headed
routs†gg3467
rowdy fellows, company
,
They all kneel.
Where every man’s a king, and wage your powers
’Gainst mine in foul defiance. Freely speak
Your grievance and your full demand.
452. Rustic [To other RUSTICS] By all means have a care that, to any question,
we give the King good words to his face. He is another manner of man here than we took him for at home.
463. RusticI sweat for’t. I am sure
I have scarce a dry thread*n9197
Either the Rustic has wet himself or is sweating excessively, both from fear at being in the presence of the King.
in my leather
linings†gg3468
inner linings of clothing; underwear
.
474. RusticThey made us heads i’ the country. But if our headships now, with all our country care, should be hanged up at court for
displeasing of this good King, for the next king’s good
our necks will not be set right again in the next king’s reign,*n9196
The fourth Rustic is anxious that he and his fellows might be made an example of with some kind of punishment (punning on the dual meaning of 'head' as 'representative' or 'leader' and as part of the body), perhaps by hanging. This latter action is not something the next king will be able to undo, since, being hanged, they will be dead.
I take it.
492. RusticMy
heart*n4947
] head. This change means that the Third Rustic repeats and compounds both his fellows' statements.
itches to be at home again.
503. RusticMy head and heart both aches with fear. Would I were honestly hanged out o’ the way to be rid
on’t†gg776
of it
.
51King [Indicating petition] There you may read, my lords, what we before
Found†gs623
suspected, thought
would be their demand. ’Tis for a king
That must succeed me.
Governed them long in peace, by which they thrive,
Their wisdom would have you
entail†gg3469
bestow on (permanently)
that
piece*n5237
It is tempting to alter this to 'peace', to echo the line above, however this edition reads the repetition as an intended pun, especially since the two words as set by the compositor in octavo follow modern spelling in denoting difference in meaning. 'Piece' fits the second context of bequeathal, and although 'peace' would make sense, the former choice contributes an extra layer of meaning.
†gs624
form of action (bequest), function, quality (OED n. 5)
On them for after-times; and so they nominate
Ambitious Stratocles to be your heir.
Their motive.
54KingCease your strife. [To RUSTICS] You have stood more inclined
To lay your choice on Philocles or Philargus,
The twin-born sons of long-since slain Adrastus.
That in their
travels*n5238
] travails. This edition chooses the journeying aspect as the primary meaning, however, exertion and toil (travails) is an obvious secondary meaning.
unto
Delphos*n5694
This is the 'usual Elizabethan name for Delphi'; according to Sugden, a Greek city, south of Thessaly, situated on the southern slopes of Mount Parnassus. It was the site of the famous Delphic oracle of the god Apollo, which provided answers to questions put by visitors. Thus, in The City Wit, 3.4, Toby says 'You are more dark than Delphos' [CW 3.4.speech511].
, both
Of them are dead.
Was merely by suggestion
(I dare speak it)*n5696
Disanius takes a moment mid-sentence to reassure himself he can name Stratocles as the origin of the rumour that the twins have died. An actor may wish to experiment between delivering this as an aside directed to the audience or something uttered under his breath. Perhaps Disanius also checks the proximity of the King and Stratocles to him when he speaks these words.
Insinuated by Stratocles. They both live
And are upon return.
571. RusticWould we knew that.*n5697
I wish we had known that (before making our decision to choose Stratocles).
Lord Stratocles then should pardon us. He’s a man
Gracious amongst us. But –
Philargus, be he living.
Brave Philocles is the man.
60Stratocles [Aside] False, empty
weathercocks†gg3845
weather-vane designed to point in the direction from which the wind is blowing, often in the shape of a cockerel; used of persons who are changeable, inconstant (likely to change their minds with the wind or common opinion)
.
And ought to honour.
63JustiniusWhat strange confusion’s this? Or whither will
You run by several ways? ‘Philargus’, one;
Another, ‘Philocles’; a third cries ‘Stratocles’.
In this you say you’ll have no king at all.
This must be reconciled, or you pull ruin
Upon yourselves. He whom the King is pleased
To give his daughter to must be your king.
641. RusticAll that we crave
(and that upon our knees)*n5698
There are two main significations of this line: the First Rustic is reiterating the Rustics' subservience to the King by pointing to its physical demonstration; the second supposes that the Rustics become excitable upon learning that the twins are not dead, and leap up in recommendation of each of their preferred choices, returning to their knees for this speech in humble deference to the King.
Is that the King will graciously be pleased
To make a speedy choice, and give us leave
With pardon to depart and signify
His royal pleasure to the doubtful
countries†gg1959
counties; rural regions outside of London/Middlesex and Westminster; generally, neither court nor city
.
65KingTell ’em they shall
expect†gs1635
wait (for)
, then, but a month,
In which short time my daughter’s marriage
Shall be consummate.
67KingAnd now, my lords, the commons being at peace,
Let me prevail your private
jars†gg1231
discord, want of harmony, disagreement; a divergence or conflict of opinions (OED 5)
to cease.
[They all exit.]*n11290
] Exeunt Omnes.
1.2
[Enter] EUDINA [and] THYMELE weeping.
68EudinaMadam, the cause is mine; ’tis mine to mourn
In chief, if they be dead. They were your sons,
’Tis true, and though they were your only comforts
Upon this earth, you but resign to heaven
The blessings that it lent you. But to me
They were a pair of equal lovers; and
By me so equally beloved; and by
The King, my father, so ’bove all men respected
That I by either had been made a queen,
Which title I forever will disclaim
If they be dead.
Ye gods, I know they did not seek your counsels
Nor dare to approach your altars,
but†gs307
except
with all
Due reverence and required ceremony.
And could your
Delphian oracle*n5699
Belonging to the god Apollo and Greece's most important oracle, it is more commonly called the Delphic oracle, however this edition preserves the original 'Delphian' since a change would sometimes affect the metre (although Brome clearly also uses it as a disyllabic word). Worshippers could present questions and receive an answer supposedly from Apollo, delivered through one of his priestesses. Philargus and Philocles have visited the oracle to determine which of them should marry Eudina and inherit the kingdom of Thessaly.
, when they
Were friendly
competitioners†gg3846
competitors; fellow-petitioners, co-petitioners (OED 1 and 2)
for love,
Answer them but with death?
Carries so little show of truth, that you
Do ill to take so
deep†gs1186
profound, earnest
a sense of it;
Much worse t’expostulate, as if you had
An injury done you by the gods. Have you
Been from mine infancy my governess
And careful counsel-giver? And must I
Find cause to
chide†gg1365
give loud and angry expression to dissatisfaction and displeasure; scold (OED 1b)
you now? Come, dry these tears.
Enter GARRULA.
Where’s my lady governess?
72EudinaOh Garrula, welcome. I could never wish
Thy company more usefully, for thou bring’st
Some
recreation†gs709
pleasure, entertainment, comfort
on thy countenance always.
73GarrulaI am glad my countenance pleases you. It may,
For I have on it now (could you discern ’em)
A thousand joys dancing within these wrinkles
More than my feeble, failing tongue can utter.
And that’s a grief to me ’mong all my joys;
The failing of
the tongue, the tongue, the tongue*n5700
This repetition could point to Garrula's drunken forgetfulness, so that the actor playing this part might choose to forget what she is saying part-way through the line. It may also prepare the audience for Garrula's unsubtle hints that she possesses concealed knowledge (which Thymele does not want her to reveal), the tongue being the organ of speech. It is also possible that Garrula distracts herself with the word 'tongue', pointing to a latent penis joke. See also The Antipodes, 4.1., where the Man-Scold uses 'tongue' in a context where one might expect 'penis' [AN 4.1.speech753].
Is a great grief to any woman. But
To one in years, and
well in years†gg2128
old
, as I am,
It is a grief indeed, more than the loss
Of any other member†gg1311
part of the body; penis
.
Let not that grief deprive us of the hearing
Of, at least, one of thy whole thousand joys.
75Garrula’Tis a report of joy and wonder, princess;
Enough to make not only you,
and you*n5702
Presumably Garrula points to Thymele after Eudina, since they are the only two onstage. It forms another of Garrula's threats to reveal information.
,
But King and kingdom glad, could I but utter’t.
76EudinaThou dost speak well enough, and enough too.
I pray thee tell it.
77Thymele’Tis some feignèd†gg1860
invented
*n4948
] faign'd. Although the original text's apostrophe signifies a short 'e', the metre requires a grave accent.
stuff
She hopes to
palliate†gg3847
alleviate, relieve (OED v. 1)
our sorrows with.
78Garrula’Tis a report, worth more than all the stories
That I myself have told in child-bed chambers,
To restore spirit to the
pallid†gg3848
pale, faint (in colour)
flesh.
And I have been a woman as good at it
(Without vain boast be’t spoke) as any
she*n5703
i.e. woman
In Thessaly, that e’er durst undertake
The
office†gg352
service, duty, employment, responsibility
of a midwife. And that the Queen
Your mother knew, when I delivered her
Of the sweet babe (yourself). She is in bliss
Now in
Elysium†gg3293
'The supposed state or abode of the blessed after death in Greek mythology' (OED).
. But you, Madam Governess,
Can
yet†gg1497
still
remember good old Garrula,
That took into the light your twin-born sons,
And thereby hangs a tale*n7888
Proverbial (Tilley, T48), i.e. there's a story to be told about that.
–
79ThymeleWhat means this woman?*n5704
There are two main options for performance of this line: either Thymele is feigning ignorance and surprise at Garrula's words and interrupts in order to silence her; or, Thymele is irritated by Garrula's threat to disclose the information and unsure what Garrula is trying to achieve by revealing it.
80EudinaGood Garrula, thy news? Thy
present†gs378
immediate, current
story?
81Garrula’Tis such a story*n5706
Garrula's storytelling is reminiscent of the Nurse in Romeo and Juliet 2.4, who teases Juliet whilst interrupting the news she delivers from Romeo in complaining of various bodily aches. The character of Closet in Brome's A Mad Couple Well Matched is another midwife who finds it difficult to relay messages, in her case due to a bad memory (see [MC 2.2.speech412]).
that could I but utter’t
With volubility of tongue! – But oh
This tongue, that fails me now, for all the helps
Of syrups and sweet sippings. I still go
Provided*n5705
Garrula refers to the bottle she carries on her which contains 'medicinal' (i.e. alcoholic) liquids.
, as you see, to cherish it.
And yet it falters with me.
She sips oft of a bottle at her girdle†gg3849
belt worn around the waist, from which personal items could be suspended
.*n4949
This stage direction has been moved from its marginal position alongside the speech.
Anon†gg236
soon; immediately; in good time
I hope.
Enter PLACILLA.
Placilla, what’s your news?
83Placilla’Tis excellent, madam. And I was ambitious
To bring you the first taste of it. But if
Garrula has in that
prevented*n5707
i.e. by delivering the news already
me,
I can with no less joy relate it yet.
My brothers are returned, and safe, from Delphos.
85EudinaNow, madam.*n5710
It seems evident that Thymele gives some physical response to the news, such as falling to her knees, prompting Eudina to assist her. That Eudina's line is directed to Thymele (not Placilla) is compounded by Placilla's response to her mother, not Eudina. Eudina further enquires as to Thymele's health at [LS 1.2.speech90] shortly before Thymele faints. Eudina could also be sharing Thymele's hope and joy that the news is correct.
Had not my tongue failed me i’th’ utterance.
88EudinaThy tongue ran fast enough, but lost its way.
89PlacillaThree minutes, madam, brings ’em to your presence.
90Eudina [To THYMELE] How is it with you, madam? Let not joy
Beget†gg5189
generate, father
a worse effect than did your fears.
THYMELE
swounds†gg3853
faints, swoons
.
Help, Garrula.
91Garrula’Ods†gg3854
God's (abbreviated oath)
pity, what d’ye mean?
Madam, look up, and speak up too, you were best,
Do you know who talks to you? Speak; and speak well too.
I shall speak that will be worse for you else.
Madam,
you know that I know what I know*n5715
This and the line above form Garrula's thinly-veiled threats to reveal Thymele's secret, but also serve to alert the audience to the anticipation of intrigue and a revelation.
.
94Eudina [Aside] I have observed that often in her language,
This chatt’ring midwife
glanceth†gg3858
alludes or refers (to)
at the knowledge
Of some strange hidden thing, which, like as with
A charm, she keeps my governess in awe with.
I guess it but some trifle, for I know
The lady is right virtuous; yet it may
Be worth my
inquisition†gg5918
investigation, scrutiny
at
fit†gg761
(a) appropriate; necessary
time.
95ThymeleYou have felt the comforts of my friendship, Garrula,
And had you common charity, you’d
forbear†gs711
spare; leave (me) alone
me.
96GarrulaI– – done, madam*n5721
Either these dashes indicate a short pause, during which Garrula changes her mind about what she is to say and decides to acquiesce to Thymele's demand, or they represent a compositorial error, or misreading of the copy text. 'Am' would fit the metrical gap left by the dashes.
. Be secure. But yet,
Though I
forbear†gs712
cease, refrain (from)
to speak, I not forget.
97EudinaYou have not yet, Placilla, told the means
Of your rich knowledge.
A shout and crying ‘PHILARGUS’ and ‘PHILOCLES’, etc.*n4950
This direction has been moved from its original position in the right-hand margin alongside Eudina and Placilla's lines.
These shouts of joy that followed them to Court
Attend them to your presence.
99EudinaOh, let us meet ’em. Madam, come away.
100ThymeleO ye gods, I thank ye.
They exit; GARRULA remains.*n4951
] Ex.omnes pret. Garula
As any mother’s only born can be,
Whose name’s not voiced with theirs. Yet by your favour,
Great Madam Governess, he has discharged
The office of a governor o’er your sons
As well as you have over the King’s daughter.
And they have sucked more of his
Helicon†gg3359
a mountain in Beotia, in myth the haunt of the Muses, and thus a figure for art, especially poetry
Than she has of your doctrine:
Sips [t]he bottle.*n4952
Moved from original marginal position alongside Garrula's speech.
which their breeding,
Together with their travels through his care,
Will testify (I doubt not) to my honour
That have brought forth a son of such performance.
Enter DISANIUS, JUSTINIUS, PHILARGUS, PHILOCLES, EUDINA, THYMELE, PLACILLA [and] GERON.
That hideous rumour of their deaths among
His wild
idolaters†gg3859
devoted admirers, worshippers
, in hope to gain
Election by their ignorance and rudeness?
103Justinius’Twas well those
factious†gg806
seditious
heads were
wrought†gg1029
(literally) moulded, shaped; (in context) persuaded
to come
Before the King to find his
clemency†gg697
mercy, leniency
,
And
probability†gg3860
outcome; likelihood of this happening
*n4953
] probabilily (MacLeod)
that these were living.
104Disanius*n4954
] Phila. The Folger copy reader has annotated this speech prefix, pointing out that it is Disanius who must speak these words to his nephews. The error of 'Phila.' is probably confusion of prefixes in the copy text where the next line should be spoken as a response from both brothers.
And how they then
shrunk in their necks*n5725
as if snails, drawing in their heads for protection
from Stratocles!
It has so
laid†gs713
cause to subside
the flames of his ambition,
That these may safely now tread out the fire.
Welcome again, my princely nephews, welcome.
105Phil[argus and Philocles]*n4955
Although the original speech prefix is 'Phil.' it is clear that both brothers speak in response to their uncle, as suggested by the erroneous speech prefix in the line above (which must be spoken by their uncle, since it references his nephews).
Thanks, courteous uncle.
107DisaniusGood woman, cry thee mercy. Mothers are such things!
109Disanius [Aside]*n5726
Disanius could deliver this as an aside to the audience or to other characters onstage (such as Justinius), however it is clear that he does not allow Garrula to overhear him.
Oh, the old
night-piece*n5735
Williams' second definition of 'piece' is that it is used of a woman and often in disparaging terms, while MacLeod glosses as 'mistress', which is supported by Middleton's A Chaste Maid in Cheapside where the expression is used of a mistress: 'some merchants would ... dye/ Their conscience in the bloods of prodigal heirs/ To deck their night-piece' (1.2.41-44).
Additionally informing Disanius' description is Garrula's status as a midwife, with its nocturnal duties. His reference to her 'lantern' presumably means the bottle she carries at her girdle, so she is likened to the traditional presentation of the man in the moon, with lantern, dog and bush (as in the play within A Midsummer Night's Dream), or simply that just as a lantern befits someone who works at night, the bottle suits Garrula as a metonymic marker. The 'dark lantern' or 'lanthorne' might refer to the vessel's construction out of horn, or point to the dark colouration of the liquid contained within.
with her dark
lantern*n4956
] lanthorne
by her.
The comforts due unto us in our age,
For which we suffered sorrow in our youth!
Our children are our children, young or old.
112Geron*n5815
] Gar. From this point there are three mistaken speech prefixes which muddle 'Gar.' for Garrula and 'Ger.' for Geron. The repetition of Geron's 'whilom' identify which of the lines properly belong to him and not his mother. MacLeod's edition also notes these errors, as does the previous reader of the Folger copy, who emends 'Gar.' to 'Ger.'.
You have replied
As
whilom†gg3861
in times past
did a
counsellor-at-law†gg3862
one who gives legal advice to clients, barrister
,
Who said his
adverse†gg3863
opposite in position
advocate†gg958
lawyer
had pleaded
To as much purpose as a hen i’th’ forehead.*n7889
'As fat as a hen in the forehead' is
proverbial (Tilley, H416). The suggestion that Geron is demonstrating his muddled learning here by misquoting the proverb is supported by Lyly's Mother Bombie. Accio, described as an 'idiot boy' in the dramatis personae, says: 'I'll warrant 'tis to as much purpose as a hem in the forehead' (4.2.9), to which the response comes: 'There was an ancient proverb knocked in the head'.
MacLeod additionally suggests that The Love-Sick Court could present a printer's error of 'hen' for 'hem', so that 'the meaning may lie with the definition of hem – a guttural sound made in clearing the throat. This would better fit the context since a guttural utterance in the forehead is unintelligible, as is the 'adverse Advocate's' legal argument.'
113DisaniusGeron, th’art welcome. Thou still keepst thy
humour†gg222
mood, temper, attitude, frame of mind
;
Thy travels ha’ not changed thee. Thou camest home
As wise as thou wentst out.
A miser, having much increased his store,
He had as much still as he had before.
115DisaniusEnough, I’ll
give thee over†gg396
finish, give up, i.e. stop (OED, give, v. 63)
.
116ThymeleOh, my dear offspring; every sight of you
Is a new recompense and satisfaction
For all the pain and
travail*n5736
] travel
†gs714
exertion and suffering of childbirth
of your birth.
In you your father’s memory shall live
Beyond the malice of the grave and death.
And I, when my rejoicing shall be full,
And cannot take addition, freely yielding
My flesh to dust, shall yet be blessed by those
Who shall give
testimony†gs1238
evidence, proof
to your virtue.
To be rewarded
but†gs29
only
with your content,
Which to procure we make our business.
Your brow is
clouded†gg3868
troubled, obscured
. Has the oracle
Adjudged†gg3869
decided, decreed (by judicial sentence)
against you.
Pray†gg3327
a contraction of 'I pray you', or 'I ask you'
, let us
partake†gg3870
share
The knowledge of the Delphian decree;
And which of you stands highest in the favour
Of wise Apollo, to be husband to
Princess Eudina here, the kingdom’s heir.
What speaks the oracle?
Requires an
Oedipus†gg3871
'With allusion to Oedipus's deciphering of the riddle of the Sphinx: a person who is clever at solving riddles or puzzles' (OED n)
to
construe†gg3872
interpret, decipher
it.
I neither know’t, nor am
solicitous†gg3873
anxious, eager
After the meaning.
So whilom answered an Egyptian porter
To one demanding what he bore concealed:
“’Tis therefore covered that thou shouldst not know”.
The cases are alike*n5793
Because both concern concealment of something: in the Egyptian porter's case, what he is carrying; in the case of the oracle's decree the concealment is of meaning through language.
.
Cannot your tutor, Geron, play the
Hermes†gg3874
interpreter (in Greek mythology, son of Zeus, skilled in interpretation)
T’interpret it?
122Geron*n5816
] Gar.
I am not enigmatical†gg3897
(good at deciphering) obscure references
,
But all for
apothegms†gg3899
short, pithy sayings
. Besides, I say
(As, whilom,
Aristippus*n5845
A Greek philosopher, known for the luxuriousness of his living, about whom Diogenes writes. On two occasions he 'loosed' his belongings: upon a journey across the deserts of Africa he told servants to throw away money (as it was too burdensome); on a sea voyage, he threw property overboard (on discovering the ship he was on belonged to pirates) adding that he chose rather to lose his property than his life.
of a riddle)
It is not safe to
loose†gg5208
(v) release
what being
bound†gg3989
obliged, indebted (OED adj.2, 7a)
Doth trouble us so much.
The blind are best i’th’ dark.*n9340
Possibly proverbial, but no mention is made in Tilley.
125GarrulaMy lord, your trumps†gg3916
loud proclamations, triumphant comments (OED, trump, n1. 4)
Are ever shot at me. Blind as I am,
I perceive that. And make much of your riddle,
I know both what it can and will come to,
Better without the sight of it, than all
You can, with all your wise constructions.
And so I leave you.
127GarrulaMadam, you know I know.*n5874
Perhaps delivered as a warning aside to Thymele, out of earshot of the other characters, while Garrula's final words are spoken to all.
I must take leave
To take a nap. [She] exits.
128DisaniusAnd Governor Geron,
wait†gs155
tend (upon someone); accompany as a servant
upon your mother;
Trust our cares with your charge.
A schoolboy, when another
raised his top*n5875
pulled his hair upwards; or perhaps a reference to a spinning top, a child's toy
:
Let me alone, myself can keep it up. [He] exits.
130EudinaAnd now let me entreat that we may hear
The hidden sentence. Happily so many
May guess at the intent.
131DisaniusShe longs to hear*n5876
Possible aside, either to the audience, or to Justinius.
Which of the two is
pricked†gg3483
selected from a list by marking beside the name
to be her husband.
[Producing a paper]
132Philocles*n4958
The octavo has 'Phi.' here, by which either Philocles or Philargus could be meant. This edition augments the abbreviation to 'Philocles' simply because he is speaking in the next few lines, and it doesn't appear to be of too much importance which of the brothers hands over the oracle's message.
Here it is, if there be anything.
[Taking paper]
133DisaniusLet me be clerk. I hope at least to read it:
Contend not for the jewel which
Ere long shall both of you enrich.
Pursue your fortune: for ’tis she
Shall make you what you seem to be.
Apollo, thy great wisdom hath quite fooled mine.
Contend not for the jewel– we agree
Eudina is the jewel– which shall both of you enrich.
How shall she enrich us both? Can she be wife to us both?
Then here he bids:
Pursue your fortune.– And we both agree
Eudina is that fortune too: she’s both
The jewel we must not contend for, and
The fortune we must both pursue. Then here
He says ’tis she shall make us what we seem to be.
What do we seem? We are no hypocrites
In flesh or spirit; no
fantastic†gs739
imaginary
bodies
Or
shadows†gg2448
ghosts; delusions
of humanity.
137PhilargusNo, Delphos is but a den of
jugglers†gg5209
tricksters, deceivers
which profanely
Abuse divinity, and pretend a god
Their patron to authorise their delusions.
138DisaniusNephews, the gods had need be
cautelous†gg3951
cautious
For what they speak, if you may be their judges.
One, that you not contend to gain the jewel;
The other, that you both pursue your fortune.
Both these commands are thus to be obeyed.
Contend not for her as to violate
Your unexampled friendship, which you are
Renowned for o’er all Greece; and both pursue
Your fortune in her without eithers’ grudge,
At
tother’s†gg1195
other (of two)
happiness in her choice.
We here confirm the friendship long since
plighted†gg3952
promised, solemnly pledged
,
Which never shall be broken by Philargus.
’Tis not the cloudy language of the gods
Shall make our breasts tempestuous or stormy;
But with the same serenity and quiet
As
heretofore†gg3953
in times past, formerly
, our hearts shall mingle
still†gg410
always; continually; ever; on every occasion
,
And fortify their truce. Let the event
Expound their riddle.*n5939
It is unclear whether 'their riddle' refers to the gods (mentioned at the beginning of Philocles' speech) or brothers' hearts. If the latter, the 'event' refers to the pledging of the oath of friendship, perhaps with a physical marker, such as handshaking or embracing (where the 'riddle' is the enigmatic friendship between the two). In the former case, the 'event' could still refer to the pledge, where the 'riddle' is the oracle's declaration (supposed a message from Apollo).
If good, it is our merit;
If bad, we know our virtue can correct it.
Meantime, Philargus, take the word of Philocles,
That though there be no happiness on earth
I can esteem above Philargus’ friendship,
But fair Eudina’s love, which only is
The treasure I can
covet†gg5919
desire, long for (what belongs to another)
from Philargus;
And cannot look to live but to enjoy it
Rather than
justle†gg3954
push against, collide with
with his friendship, I
Will die to lose it.
146EudinaNoble Philocles.*n7721
Eudina could make her courtesy to Philocles at this point, in formal courtly gratitude for his speech.
147PhilargusYou have made my vow, my brother Philocles,n7720
During the workshop of this scene, it was noted by Brian Woolland, the director, that these formal, poetic speeches are unusually complex syntactically, in direct contrast with Brome's usually translucent, elegant prose. Much time was spent working through the speeches ensuring actors knew what each phrase meant and how it could be delivered. Olivia Darnley, playing Philargus, noted that this speech is to be addressed to Philocles, not Eudina, which sets up an interesting tension between the three characters, as explored by Hannah Watkins (playing Eudina) in her frustrated version of this scene .
And friend, which is above it. I will seek
And rather die than fail to gain her love:
But that, and the whole kingdom in addition,
Must divide*n7917
MacLeod follows the handwritten intervention of a previous reader on the Newberry copy by arguing that 'not' has been omitted from between 'must divide'.
our friendship
or†gs752
and
affection.
As we are twins in birth, we’ll be in mind
Unto our
latest†gg3955
last
breath. Let Greece hereafter
Forget to mention the
Tyndarides*n5940
The name given in Greek myth to twin brothers, Castor and Pollux (whose mother, Leda, was married to Tyndareus, King of Sparta). They are referenced as a classical example of loyal (half-) brothers. See also [LS 5.1.speech686] and [NOTE n7634].
With their
alternate deities*n5943
Castor and Pollux can stand in for one another as deities. In some versions of their story, both were sons of Leda and Zeus (who approached her in the form of a swan), in others, only Pollux was Zeus's son, Castor being the natural son of Leda's husband, Tyndareus.
, and tell
Of
two Thessalian brothers*n5944
i.e. Philargus and Philocles
could*n5945
who could
refuse
A happiness
(which only is not heaven)*n7722
i.e. Eudina, who is one step from heaven; this is Philargus' one deviation in Eudina's direction from his proclamation of love and friendship to Philocles.
In detestation of priority*n5946
Neither Philocles or Philargus wants to take priority over the other by putting himself forward for Eudina's love and the kingdom.
;
Would not be happy,
’cause†gg2756
because
they might not share
An
individual*n5948
An individual, by definition, cannot be divided; a rather depersonalised description of the woman both men are vying for, and one that is representative of their neo-platonic love for each other and her.
, both time and thing.
148Eudina [Aside] Love and ambition (I have heard men say)n7719
During the workshop session, Hannah Watkins (playing Eudina) experimented with different performance modes. In the first clip, she remains between the two brothers and expresses shock at the thought of having both of them on 'O ye gods!' . The acknowledged formality of this staging was highlighted when, in clip 2, Philocles moves to embrace Philargus, breaking the symmetry and enabling Eudina to come forward to the audience ; behind her the brothers engage in a family conference with Thymele and Placilla (their mother and sister). Given the way in which this play is mocking the complicated, courtly ways of constructing relationships and the neo-platonism of Queen Henrietta Maria's court, the actors also experimented with testing the comedic aspects of the scene, delivering a more melodramatic version of Philargus's speech (played by Olivia Darnley) and an exasperated Eudina, who resorts to swooning in order to reclaim the brothers' attention from each other . Although it is not suggested that the play be performed in this way (and given that the workshopped sequence only tests a small section of the text rather than producing a coherent through-reading of character), however it is an interesting experiment which reveals the tensions at work, both for the actors and characters.
Admit no fellowship;
it holds not here.*n7723
i.e. generally it is the case (that ambitious men in love with one woman cannot be friends), but not for Philocles and Philargus.
These will have neither wife nor crown alone.
They each desire my love; but neither can
Enjoy’t unless he were the other man.
My love is doubly ta’en, yet must gain neither,
Unless I could enjoy them both together. O ye gods!
Why made ye them two persons, and assigned
To both but one inseparable mind?
Or, why was I marked out to be that one
That loves and must embrace
or†gg3456
either
two or none.
Oh my perplexity†gg5920
confusion, uncertainty, distress
! [She] sinks.
151PhiloclesShe sinks.
Dear mother, sister, bring your aids.*n7724
In the workshop, the actors experimented with the idea that Philocles and Philargus, as young men, would not be allowed to touch Eudina; therefore they instruct their mother and sister, her female attendants, to assist.
152PhilargusTo keep the world alive*n7725
i.e. because the King is ill and Eudina is his only known heir, but also because the brothers delight in describing Eudina in such hyperbolic statements.
give your assistance.
153JustiniusYe gods be now auspicious†gg2609
kind, showing favour (OED adj. 2b)
.
154DisaniusA love-qualm†gg3958
sudden feeling of faintness or sickness attributed to love
.
To bed with her and call for
Cupid’s†gg3708
blind boy-god of love or infatuation, son of Venus
aid;
He best can cure the wound that he has made.
[They all exit.]*n11290
] Exeunt Omnes.
Edited by Eleanor Lowe