2CarelessThou hast delivered my letter?

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

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

5WatYes, and then he would have told me, ‘Let your master take his course†gs16 proceed in his habitual way, i.e. debauched and pleasure-loving ’.

6CarelessThen you should ha’ told him again I have taken all the courses†gg29 way of proceeding, action; also trick, way of gaining money illicitly I could, or as any gentleman can to maintain myself like one. But all my courses are run out, and I have not breath, nor know any ground whereon to begin a new one, unless that thing, my uncle, sets me up again, nor have I any means to attain to that, but by his mediation.

7WatThen would he ha’ told me again what all your courses have been: namely, running into debt by all the ways can be imagined, and cheating by all could be invented, then that the said thing*n16 Wat is referring to the way Lord Thrivewell has already been addressed by Careless. (as you call it) your uncle, before he cast you quite off, had redeemed you out of prison and several holds†gg30 periods of confinement (OED n1. 4); OED only records the meaning of 'prison-cell' from 1717 (n1. 13), however there seems to be the suggestion of places of confinement, though perhaps not always in official prisons. within the space of fifteen months, fourteen times.

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

9WatHe would ha’ told me then again that several redemptions cost your uncle at least two thousand pounds, and that upon your last revolt*n17 casting off allegiance (to his uncle), by returning to his old ways; refusal to submit to (his uncle’s) terms , when he quite gave you over for a castaway,†gg31 one rejected two years since, he cast†gs205 give (money), with the sense of 'throw away'; in context, also playing on 'castaway' the third thousand with you, upon condition never to afflict†gg32 trouble him more. And then he married in hope to get an heir.

10CarelessAye, that marrying spoiled all.

11WatBecause you should not after his death cast away†gg33 throw away, e.g. for money, frivolously spend all the rest of the thousands, and ten thousands, which you might have lived to inherit, if your uncle’s love or Master Saveall’s counsel could have prevailed†gg34 been victorious with you against the devil and debauchedness.†gg35 ‘Vicious indulgence in sensual pleasures’ (OED, debauchery, 1)

12CarelessPox on’t†gs45 pox on/of (it): a plague on (an expletive) , let it all go! Let that wretched uncle go, and let Saveall go for a punctual†gs18 punctilious; attentive to detail; formal, ceremonious (OED 7a) ass as he is. I confess he has by his saving help peased*n18 ] peec'd. The OED cites this example under its definition, 'to make peace'. There is also a pun on 'pieced', suggestive of the mending of a garment or relationship; either spelling is acceptable here. me with my uncle a score of†gg39 twenty times at least. What had once more been to him?

13WatSir, it were better for you to think upon some course†gg29 way of proceeding, action; also trick, way of gaining money illicitly by yourself*n19 ] our selfe (emendation follows Parra). Although the reflexive pronoun isn't nonsensical in this instance, Wat is clearly distinguishing between what 'you' Careless and 'me your creature' should do. , and me your creature†gg40 one ready to do another's bidding, puppet (through patronage or devotion) (OED 5) (that have stuck to you, or followed you through all fortunes), to maintain rich lace and bravery†gg41 'finery, fine clothes' (OED 3b); showy attire (worn with an air of bravado) upon you. And think in time, too, before this be worn out, upon some new ways for your supplies—

14CarelessI cannot, nor will I trouble my brains to think of any. I will rather die here in Ram Alley*n24 A narrow alley on the south side of Fleet Street which claimed the right of sanctuary, frequented by those on the wrong side of the law. Careless's use of 'here' strongly suggests that he and Wat are in lodgings on Ram Alley, and therefore not far from the Salisbury Court theatre, for which the play was originally written. , or walk down to the Temple*n21 Situated amongst the buildings of the Inns of Court, Temple Church is just off Fleet Street, and contains effigies of knights lying in stone. and lay myself down alive in the old Synagogue*n22 Specifically refers to the Temple church. See also The Demoiselle [DM 2.1.speech359], in which Attorney also refers to the 'old Synagogue'. , cross-legged among the monumental knights there*n23 A reference to the stone carved effigies of knights on tombs in the Temple Church (which can still be seen). till I turn marble with ’em. Think, quotha!†gg43 'said he', i.e. indeed! (OED); sarcastic exclamation What should I think on?

15WatOn your poor whore, sir, as you have brought†gg44 caused to be her: she’s in worse case†gs20 covering, clothing than yourself. Your clothes are good enough—

16CarelessAye, there’s the devil†gg46 expression of irritation or vexation (OED, devil, 20) . I would do something for her if I knew how. But what have I not done†gs21 have sex (or sexual activity) with that can be done by a forlorn†gg48 lost, abandoned; morally lost, depraved heir?

17WatWhy, though the dice and all other household games and all the cheats†gs10 specific to dice, i.e. false dice (OED 6) †gs9 tricks, ways of cheating belonging unto them have failed you by your and their discoveries, till none dare venture so near you as a man hurls a die or skirrs†gg49 'To throw with a rapid skimming motion' (OED v. 4) a card; though all your hidden ways in Hyde Park races *n25 The area of Hyde Park, known as the Ring or Tour, where races were held on horse, foot and in coaches (see A Jovial Crew [JC 2.1.speech139]). Hyde Park opened to the public in 1637, only two years before this play was first thought to have been performed. are trod out, and all your bowling booties*n26 To 'play booty' was to join with others in order to target another player and gain a share of plunder (see OED, booty, n1. 4), often used in connection with playing bowls (see also The White Devil, 1.2.62). Therefore in this context it presumably means 'partners in a con'. Williams also records many examples of bowling terminology used to describe sexual circumstances, particularly the use of 'alley' for the female anatomy. Although Wat emphasises Careless's financial gain through trickery in this speech, it is not inappropriate for there to be underlying sexual implications also. beaten bare off o’ the grounds and alleys*n1572 The popularity of bowling was reflected in James I's authorisation of licenses for several bowling alleys in London and the surrounding areas, although bowling was considered as bad as dice or cards by moralists for wasting both time and money. , and the sweet honeycombs†gg50 sweet treats; honeycomb is cut from the hive. In MC, Careless's rewards are removed, or he is thwarted. of all your cockpit cozenages*n1384 Deceptions carried out by Careless at cockfighting events; these might include simple thieving from spectators or more complex schemes involving betting (such as is suggested by the 'bowling booties' also). cut off; though all your arts of borrowing are crossed out of all men’s books†gg53 financial records before you offer at †gg1329 make an attempt at; venture ’em, while your old debts stand fairly†gg54 neatly; clearly written, and all your marts†gg55 trade dealings (OED 4). miscarry of putting out†gs23 broadcasting, advertising for credit, venison to citizens, or early cherries, codlings†gg12 variety of apple and apricots*n27 ] apricocks. Fruit given as gifts to the citizens' wives to persuade them to give Careless credit. The juxtaposition of cherries, codlings, and apricots suggests sexual connotations, particularly given the suggestive original spelling, 'apricocks', which Williams notes as having a phallic sense elsewhere. References in other sources pun on having a 'bellyful' of fruit (sexual satisfaction), while 'cod' for 'testicle' is widely employed. However apricots are also noted as appealing to pregnant women in The Duchess of Malfi, 2.2.1: 'there's no question but her tetchiness and most vulterous eating of the apricots are apparent signs of breeding'. So while Careless's aim is boost his finances there is the hint that he provides the wives with more than fresh fruit. to their wives avail†gg56 help; bring you nothing, cannot something yet be found?

18CarelessNothing, nothing. All projects†gs182 something projected or proposed for execution; a plan, scheme (OED n. 5a) are confounded.†gg57 defeat, ruin

19WatDid your father leave you nothing but wit to live upon for this? And did he leave you that but for years*n28 i.e. only for a finite number of years , and not for life? And is the term*n29 i.e. duration of his father's inheritance of wit expired?

20CarelessHold thy peace. I am casting†gg58 devising, contriving (OED cast, 43b); rolling of dice for something to be done by me, that shall be worth, an’t*n205 ] and (emendation follows Parra); 'an it' meaning 'if it' cost my life, to shame my uncle.

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

22CarelessI must leave her once†gg59 one day (OED 5) , thou know’st.

23WatIf you could leave her now and betake†gg60 take yourself handsomely†gg61 courteously (OED 5a); liberally (5b); cleverly, skilfully to other women, I have thought on a course.

24CarelessWhat*n30 pun on 'Wat', as well as expression of impatience , quickly, what is’t?

25WatTo set up a male bawdy-house†gg62 brothel .

26CarelessFie†gg63 exclamation of disgust or reproach upon’t!

27WatYou are handsome†gg226 attractive , lovely†gg65 'lovable or attractive on account of beauty' (OED 3) , and I think able to do one man’s work†gs82 sexual act . Two or three such gentlemen more, which I know and can describe to you, with the ways I’ll find to bring in custom, shall fill your purses—

28CarelessAnd empt our bones*n1385 Careless identifies the loss which will counterbalance any financial profit from Wat's male brothel scheme, linking 'purses' and 'bones' due to the proximity of the purse (as hanging pocket and scrotum) and penis (see Williams, p. 1118). A similar concept is voiced by Autolycus in The Winter's Tale, 4.4.612: ''twas nothing to geld a codpiece of a purse'. The implication in Mad Couple is that the marrow/semen will drain from their bones/penis (see Williams, 'bone' and 'marrow'), alluding both to sexual exhaustion and the damage caused to bones by sexual diseases such as pox. The marrow was considered to be both the soft material within bones and a person's vitality and (moral) strength (see OED, marrow, n1. 1a and 3c). . I ever†gg68 always had enough of one mistress; variety*n206 Italicised and capitalised in the original printed text. Perhaps the compositor thought it referred to a woman. would destroy me. No gentlemen can be able to hold it out; they are too weak to make common he-whores†gs12 noise made by a donkey when spelled 'hee-haws' (pun) .†gg13 male prostitutes

29WatFor a little while, sir, till we have got a stock of rich clothes; and then we will put draymen†gg69 men who drive 'drays' or carts (sometimes with wheels, otherwise like sleds) for carrying heavy loads and wine-porters, Cornish wrestlers*n31 ] Wrastlers A local form of wrestling in which contestants, wearing loose canvas jackets, try to throw their opponent by grappling, tripping, and other techniques (OED, Cornish, a2. and n.). and suchlike into those clothes and make them country cavaliers*n1386 Suggestive of elegant lovers or gallants, in opposition to the rough 'coarse' men they will recruit, also highlighting the perceived transformative power of clothing in terms of social status and thus also temperament. Possible lewd pun on 'country' in line with Hamlet's 'country matters' (3.2.115). . Have you not seen coarse*n207 ] course snout-fair†gg71 'having a fair countenance'; handsome (OED) drudges†gg72 those working hard, performing servile tasks , clapped into bravery†gs26 put into fine clothes (OED, clap v1. 10a; bravery, 3b) , that would do more bodily service†gg375 sexual action in a brothel than twenty ladies’ daughters? They are the game-bears†gg74 bears chained up for baiting (OED, game, n17); 'game' also suggests 'plucky, spirited' (OED, game, a1. a), the meaning of being 'keen, ready' coming later in the mid-nineteenth century (according to OED) of a bawdy-house, can play ten single courses*n33 possible aural pun on 'coarse' in the previous line †gs70 sexual bout, derived from a pun on the 'courses' involving animal baiting and hunting (see Williams) for a clean-bred gentlewoman’s one. We will hire fellows for groats†gg75 coin valued at roughly fourpence (OED 2), which in today's currency would be worth about £1.43 a piece*n208 ] a peece; a-piece (emendation follows Parra). The meaning in its current form of ‘a piece a day’ is of giving the hired male whores a groat piece for each day’s work. Parra’s emendation (which, according to OED, should be ‘apiece’) changes the meaning, placing the emphasis on the men rather than the money: ‘apiece’ meaning ‘to each’. While the latter reading is not incomprehensible, the former makes better sense in the line. There is also a pun on ‘piece’ as ‘genitals’, i.e. penis (Williams); also identified by Williams as ‘person, usually a woman and often in sexually disparaging terms’, but since Wat is describing hiring men to do a job more commonly associated with female whores, perhaps this is apt. a day, that shall (without the additaments†gg76 additions of clary†gg77 ‘A sweet liquor consisting of a mixture of wine, clarified honey, and various spices, as pepper and ginger’ (OED n1). , caudle†gg78 (cup of) ‘a warm drink consisting of thin gruel, mixed with wine or ale, sweetened and spiced, given chiefly to sick people, esp. women in childbed; also to their visitors’ (OED n. 1a); aphrodisiac or cock-broth*n5966 broth made from a boiled cock; aphrodisiac. There is also an overt pun on 'cock' as 'penis', because the broth is specifically intended to help the hired male prostitutes in Wat's proposed bawdy-house. ) get us forty pieces†gg508 a woman, usually with the connotation of being a sexual object (OED II 9b) †gg80 of gold or silver, i.e. money (OED n. 1b) a man before night or perhaps a hundred by next morning, out of such she-customers†gg81 female customers as an aunt†gs28 bawd; prostitute (OED 3) of mine shall find out†gg83 discover by enquiry; perhaps also ‘provide’, although the first date cited by the OED is 1715 (OED, find, v. 20b; 20d). for us.

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

31WatVery good decayed†gg84 fallen into ruin through loss of prosperity, health, or fortune; impaired, or reduced in quality or condition (OED 1) gentlemen have done as much; though I urge this but†gs29 only for your pastime†gg85 entertaining diversion , sir.

32CarelessNo, my first plot shall stand. I will do some notorious death-deserving thing — though these clothes go to th’ hangman*n34 A customary payment to the hangman, here, for executing Careless in punishment for whatever desperate deed he is trying to plan. for’t, what care I? — in defiance of him that was*n35 The past tense signifies Careless's detachment from, and contempt for, his uncle. my uncle, and his methodical, grave, and orthographicaln36 i.e. Saveall speaks words as they are literally spelled, an example of which is given by Careless, and serves as a clue to an actor. †gg86 relating to correct spelling speaking friend, Master Saveall that calls ‘people’, ‘pe-o-ple’.

O Master Saveall, how have you honoured me! How am I bound to you for this visit! Sir, hearing that my uncle was come to town, and you with him, I did presume†gg87 undertake to write to you.

33SaveallSend forth your man.

34Careless   [To WAT]   Go forth.WAT exits.*n3919 ] Exit Wat.

35SaveallOne servant is not fit for all offices, although you keep no more. You presumed†gs30 to take liberties (OED 1b) indeed; I can no less than call it a presumption†gg88 taking more than one's right; arrogance (OED 2) , although it were but unto me you write. I speak not this in the behalf of any dignity in me, but that you should overween†gg89 think too highly of or overrate something (OED v. 2) that I had ability to wrestle*n37 ] wrastle any more with your overgrateful*n38 i.e. excessively grateful; presumably a reference to Thrivewell’s gratitude at being rescued by Careless from ‘thieves’. uncle in your behalf. Therein was your outrecuidance†gg90 ‘excessive self-esteem ... conceit’ (OED, which cites this example); the pronunciation (as directed by the OED) seems to reflect the word's French origins .

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

37SaveallNo, I am not wearied, but still in the same full strength. Yet my modesty dissuadeth me from using strength above reason, and my reason prevaileth with me not to strive against a torrent*n3690 Proverbial (Tilley, S927). .

38CarelessHe is then inexorable†gg91 unable to be persuaded , and I must perish. But did you try him for me this last time?

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

42CarelessI*n236 As printed in the original text, although this could potentially be modernised to 'Aye,' so that Careless is agreeing with Saveall, rather than referring to himself and Wat. and my man, I’m sure, made four of the stoutest purses†gg95 shortened form of 'cutpurses' [GLOSS gg3006]; thieves fly for’t that ever set our country o’ the score†gs32 o' the score: in debt (OED 10b) . After they had him down, and their points†gg97 blades, e.g. knives, daggers etc. at his breast and throat, he crying out for help, when I came on†gs71 came on: arrived (OED, come, v. 66a) by chance at a time, too, when I was in his displeasure — nay, he hated me a whole year together before that, and yet I did it, and more than so—

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

44CarelessNay, sweet Master Saveall —

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

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

48CarelessPoor rogue! And he deserved it, I’ll be sworn,*n209 ] besworne for a thief’s mark*n41 ] Theeves mark The singular modernisation refers to a mark given by one of the thieves. Usually given as punishment for thieving, the thief's mark hints that Wat and Careless are also thieves, deserving of the marks, for organising the fraudulent scheme. †gg104 ‘A sign, badge, brand ... imposed on a person’ (OED, mark, n1. 12a), e.g. on thieves (Ben Jonson was branded on his thumb for murder) that he received: a cut o’ the coxcomb†gg105 head; fool that cracked his skull so that he could never bear his drink since as he could ha’ done before. For, sir, as we came in, I having put by†gg106 thrust aside, evaded the thrusts of three of ’em, the fourth man with a full blow —

49SaveallFare you well, sir, the second time —

50CarelessNay, courteous Master Saveall.

51SaveallI came to speak not with you altogether†gg107 at the same time; (recount) everything , but unto you for to be heard.

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

53SaveallYour uncle having done so gratefully and so plentifully for you,

54CarelessYet then I lived, and could have done till now, merely by being his nephew and supposed his heir had not he married. But his marriage turned the hearts of all believing citizens from me: where before, a tailor could have made me run through all the credit i’ the town, when in a suit clinquant*n1389 ] chinquant †gg1343 glittering with gold or silver (OED a and n) and a la mode†gg117 according to the fashion (OED phr. 1a) *n237 These lines are set as verse in the original text, emended to prose here in keeping with the rest of the speech (following Spove and Parra). , they could inform themselves whose heir I was. But to say truth I vexed him into wedlock, for before he valued not a wife at a bachelor’s button*n43 A flower, but also obvious pun on the name of the flower in the context (with reference to marriage). The operative sense here is bawdy. †gg118 ‘a name given to various flowers of round or button-like form; chiefly to certain cultivated double varieties of wild flowers; orig. and commonly, the double variety of a common yellow buttercup, Ranunculus acris’ (OED, bachelor, 6) .

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

56CarelessSir, you shall see me dien1388 Spove suggests that Brome intends a sexual quibble on 'die', and although Wat also mistakenly links the laying down of Careless's bed with sex, it is clear that Careless's intentions are to produce a melodramatic moment with which to pressurise Saveall into relenting. When, instead, the latter threatens to leave, Careless uses the 'fake death' scam to prevent Saveall. Options explored during workshops included Careless (played by Alan Morrissey) developing pains or pulling a sword or dagger , requiring Saveall (played by Robert Lister) to intervene. Robert Lister also experimented with Saveall's gullibility, responding in shock or disbelief bred from witnessing Careless's melodramatic scams one too many times . first, and that instantly, that you may tell my uncle I’ll be no more his trouble or charge, unless in charity he’ll send to bury me.*n244 There is a possibility that this could be verse, with internal rhymes of 'charity' and 'bury me', plus assonance of 'uncle' and 'trouble'.

57SaveallYou will not desperately work a violent end†gg119 death; manner of death (OED n. 8b) upon yourself?n44 i.e. suicide. This line could also be delivered as a statement (rather than a question), perhaps as Saveall makes to take a sword or knife off Careless .

58CarelessNo, sir, the devil’s not so great with me; but my heart, I feel it ready to break. My uncle is no more my uncle, nor you my friend, all by my own fault, and whatn1441 During workshops, Alan Morrissey (as Careless) played with the pun on 'what' and 'Wat', so that it became an urgent signal for Wat to enter . The actors experimented with this 'fake death' scene as a rehearsed scam, which at first Wat (played by Adam Kay) does not understand, linking Careless's bed to a visit from his whore. In the video clip, Careless has to use gesture so that Wat comprehends that they are working a scam, possibly a set-piece from an extensive repertoire. should I do here but in to*n45 Either means Careless getting 'into' his bed, or him going 'in' to another room offstage. my bed, and out o’ the world presently. Wat! Wat!*n245 It's possible that the compositor was confused by Brome's manuscript, thinking that 'Wat' was a call by Careless for his servant, rather than a speech prefix (which has been added in this edition). It is clear that the following line should be allocated to Wat, and is amusing to think that the comic confusion intentionally scripted by Brome also baffled the compositor.

59[Wat]Aye, here, sir!

60Saveall   [Aside]   I have dallied†gg120 to play with someone mockingly too long, and tempted†gg121 tested; tried him too far, I fear.

61CarelessLay down my bed.

62Wat   [Aside]   Your wench is come indeed, but I hope you will not to bed before he*n46 i.e. Saveall. be gone.

63CarelessLay down my bed I say. But first unbutton me*n47 undress me, undo the buttons on my doublet .

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

65Saveall   [Aside]   Not so, I hope.n1442 Workshops experimented with Saveall reacting to Careless's melodrama with scepticism and shock . The implications of these alternate ways of playing the line are either that Saveall implies by his delivery that he has seen this particular scheme performed before, is not taken in, and confides in the audience; alternatively Saveall has enjoyed delaying delivery of the news of reconciliation, revelling in the sound of his own voice and the opportunity to scold Careless, yet is genuinely taken in by the scam.    [Aloud]   I will now come to the point, sir. Master Careless, be comforted†gg122 strengthen (morally or spiritually); encourage, hearten (OED, comfort, v. 1a) .

66CarelessI am, and well resolved†gg123 firm of purpose, determined , I thank my better angel*n48 This could refer to angels sitting on one’s shoulders giving advice, one good and the other bad. .

67SaveallYour uncle’s friends with you.

68CarelessAlas, how can that be?

69SaveallI thought your spirit had been higher.

70CarelessIt will ben49 i.e. higher, when Careless has died and gone to heaven. Alan Morrissey (as Careless) instinctively illustrates this note . , sir, anon, I hope.

71SaveallI have but dallied with you to search†gs1902 Also 'probe' (a wound), hence 'deep' in next line [MC 1.1.speech71]. your temper†gg125 (n) mental constitution, temperament (see OED n. 3) .

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

73CarelessAh!—

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

75CarelessAh!—But, good sir, can this be?*n3696 Careless quickly snaps out of his dying routine when he has processed what Saveall is telling him.

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

77CarelessYour noble friendship hath revived me, sir.   [To WAT]   Oh run and fetch my cloak.[Exit and re-] enter WAT with his cloak.*n50 Wat's entry and exit directions are incomplete for this section of the text, and have been emended economically in order to make sense of the action with the least interference. However, this option raises the question of what happens while Wat fetches the cloak: a long pause? Or is the cloak hanging up just off stage, or even onstage. These incomplete directions are an indication of a pre-theatrical text, evidence of Brome thinking through action in his mind before attempting it on stage. The action could have been managed very differently to the way it appears in the printed text. Both Spove and Parra move the entry direction (with cloak) to after Saveall's move to leave. The multiple entrances and exits see Wat fulfilling the role of the classical servant.

   [Aside]   Tell Phoebe I cannot stay to give her any satisfaction†gg126 fulfilment of desire; compensation (OED 5a. 1b) now: I must go see my uncle first.WAT exits.

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

79CarelessSir, what do you think if I should first, according to the reformation of my mind,*n1390 Careless puns on 'reformation' using it to describe his improved moral conduct and desire to alter his external appearance to symbolise internal mental change. This involves cutting his hair and changing into more sober dress, reflective of moralist literature found in tracts and conduct books of the period. cut off my undecent hair and change this garish apparel*n51 Clothing which is overdecorated or brightly coloured, i.e. inappropriate for the reconciliatory meeting with Careless's uncle. for a civil well-worn student’s suit. I can be fitted presently†gg103 immediately (OED adv. 3); without delay hard by†gg127 close by .

80SaveallNo, the mind reformed is enough. Your habit*n1391 Although 'habit' clearly refers to the Careless's clothes, placed in the context of the feigned death, Saveall could also be referring to the performed routine he has witnessed, particularly as the audience should be alert to the narrated sequence of past 'reformations'. On one level Saveall advocates that internal reformation of morals and conduct is sufficient; however on another there is a sense that there is no need for Careless to go to the extreme lengths of altering his appearance, since the change is suspected to be temporary. Alternatively this line also fits the demands of the theatrical medium: that it is not desirous for the actor (or Careless as actor) to cut his hair or change his clothes (dependent on the stock of costumes available). well becometh you.Exit[s with CARELESS].

81WatNow, wit, an’t*n52 ] and't †gg130 if it be thy will, go with him. And I hope this will be his last hot fit of the uncle.*n53 A pun on the more common phrase 'fit of the mother', i.e. an hysterical fit, perhaps a reference to the frenzy of activity accompanying Careless's sudden visit to his uncle (hence the multiple stage directions and fuss about appearance, of which much could be made by the actor playing Careless to heighten the comedy).

82PhoebeYour master’s gone forth, it seems.

83WatCalled by his fortune, he is so.

84PhoebeShuns he the sight of me? I’ll overtake†gg131 catch up with someone travelling in the same direction (OED v. 2a) him.

85WatOh, your patience, sweet Mistress Phoebe, a little patience. He’s gone to be happy and to make you happy. I dare promise you a satin gown within this sennight†gg132 week (archaic); abbreviation of 'seven nights' .

86[Phoebe]*n55 In the original printed text, a speech prefix for Phoebe appears two lines above, 'For let me tell thee...'. A reader (British Library 1653 copy, 161.a.18) has crossed out the original ‘Phe.’ (so these last two lines continue Wat’s speech) and, in his own hand, added the speech prefix ‘Phebe’ after ‘Knight’, so that Phoebe’s lines begin ‘Away Pimpe...’. This makes sense given that Phoebe is addressed by name in these lines; it is likely that they have been allocated mistakenly to her by the compositor, perhaps because of confusion in the manuscript copy. Away, pimp, flamster*n56 ] Flamsted (emendation follows Spove). Possibly derived from 'flam', 'A sham story, fabrication, falsehood; a piece of deception, a trick' (OED n. 1 and a. 3), i.e. deceiver. [LW 1.1.speech171]. †gg133 deceiver; trickster (not in OED, but related to 'flam' n1 and v) ! I came to be serious with him, to let him know the miseries I suffer by the wrongs he has done me, and that I can nor will no longer bear’em.

87WatNor him neither, will you?*n1329 i.e. you won't bear (put up with; have sex with) him any longer, will you? Take heed what you say, Madam Marion*n57 Spove glosses with reference to the character in the Robin Hood legend, performed by a man dressed as a woman in Morris dances. However this also ignores the later revelation that Phoebe's name is Mariana Gimcrack, as is written on her letter from Careless (see Act 3). Presumably she is known as Phoebe in the city (perhaps in an attempt to disguise her identity because of the shame Careless brings her), while Mariana was her country name. Marian = true love; Gimcrack = showy person, fop (see OED). .

88PhoebeNo, nor him neither, you panderly parasite†gg136 'A person who lives at the expense of another' (OED n. 1a); flatterer , till he make his vows good and me an honest†gs37 married, respectable woman.

89WatByr’lady†gg138 contraction of 'by our Lady'; an oath or expletive (OED) , a shrewd†gg139 cunning, artful (OED adj. 13a); perhaps also 'difficult, dangerous' or even evil (see OED 4) task, and, I fear, an impossible work.

90PhoebeSirrah†gg140 term of contempt , I will claw your ugly face till thou undertak’st†gg793 to take in hand, take on a case (but often as here with the additional sense of making a pledge or promise) it with him to make it easy.

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

92PhoebeOh, will you so?

93WatHow desperately valiant a whore grows when she is so poor that her clothes fear no tearing.*n1330 This could be performed as an aside to the audience, although equally it could be a cruel comment designed to enrage or hurt Phoebe. But by what means can you hope to bring this work about?

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

95WatOh, Master Saleware, and he has a wife too that bears*n59 i.e. having sex. †gg142 (v) supports a sexual burden (used in reference to women) it up bravely†gg141 worthily; fearlessly; splendidly, handsomely (OED) .

96PhoebePimp impudent, shall I claw your face into blushes*n60 Scratch your cheeks until they turn red (like blushes) with bleeding. Although marks upon the face can be associated with the manifestation or punishment of women's crimes (see Heywood, A Woman Killed With Kindness (1603), 6.155-7; Chapman, An Humorous Day's Mirth, Scene 9), they are also associated with the traitor: Stanley ‘Makes a cross on Clifford’s face with his finger [-nail]’ in Ford’s Perkin Warbeck (2.2.83) as a badge of ‘the traitor’s infamy’ (l. 86). at my injuries? To be mocked†gg143 tricked, deceived (OED, mock, v. 1a) out of my maidenhead when I was upon†gg144 ‘At the point of; close on, touching on’ (OED prep. 6d); ‘Unto, to (a person): in reference to ... marriage’ (OED prep. 18) a good match in the country*n61 Gordon Williams asserts that the country 'is often polar opposite to court or city as a place of innocent sexuality' (Williams, I, 316). ; then, with a promise of marriage, to be enticed from my friends into fool’s paradise†gg146 ‘A state of illusory happiness or good fortune; enjoyment based on false hopes or anticipations’ (OED 1); here more specifically, London. (that was a new title for the city) and here to be used and abused from lodging to lodging by him that now flies†gg147 (v) run away from me for the decays†gg84 fallen into ruin through loss of prosperity, health, or fortune; impaired, or reduced in quality or condition (OED 1) he hath brought me to?*n1331 This exposition could either be performed as direct address or an aside to the audience. But my kinsman has money though I have none, and for money there is law*n1393 legal presentation. to be found, and in a just cause he will not let me sink, he says, for I have told him all.

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

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

99WatYou have schooled me handsomely, and brought me into sense of your injuries: you have been over-wronged, but not overwrought†gg148 ‘Exhausted by overwork; worked to excess’ (OED a. 1), with possible sexual connotations, i.e. sexually over-used , nor overworn†gg373 ‘worn by excessive use’, i.e. spoilt (OED a. 1a and b). Possible sexual connotations, i.e. sexually over-used. . You do excel in beauty, strength, and spirit, which makes you in your very anger now appear so lovely, that I profess myself your creature†gg40 one ready to do another's bidding, puppet (through patronage or devotion) (OED 5) . What would a kiss of this fair hand now make me do, and of those lips what not?

100PhoebeAway, you creature*n147 Phoebe picks up on Wat's use of the word and uses it to express her contempt for him (see OED 3c). !   She strikes him.*n246 Moved from the end of Wat's speech (above) to the current location, allowing the actor playing Phoebe to strike Wat on her line.    

101WatLeave these temptations;*n1392 Wat jokingly refers to Phoebe's blows as endearing her to him, perhaps also employing a bawdy pun on 'strike' as 'copulation' (see Williams). do not strike me too deeply in love with you.

102PhoebeAway, you creature*n148 Due to Phoebe's repetitious speech, there are some interesting staging options at this point: does Phoebe strike Wat regardless of his warning that it urges him on (as a temptation)? Or perhaps she strikes him semi-flirtatiously? Or perhaps not at all. The decision would depend on the way the director and actors had chosen to make sense of Wat and Phoebe's apparently complex relationship: here they are at war, but at the end of the play, Wat confesses to Careless that he has enjoyed a similar relationship with Phoebe (in which case, is this something which develops over the course of the play, or does it further indicate that the copy text of the printed play was a pre-theatrical manuscript?). !

103Wat’Tis true I am your creature, as I am my master’s; and sometimes the serving creature breaks his fast with a bit off the spit before the same meat is served up to his master’s table, but is never denied to dine upon his master’s leavings.*n149 Wat develops an analogy between the duty and practice of a household servant in serving food and presenting a sexual partner to his master, in which the woman becomes the 'meat' which is served up. Wat insinuates that he will have his sexual share of Phoebe, just as he might sample food 'off the spit', i.e. just before service to his master, or after his master has had his fill, i.e. from his 'leavings'. There is a striking juxtaposition here of two 'carnal' appetites: of the flesh for sexual fulfilment and food. In the course of this comparison, Wat puns on himself as sexual servitor, taking advantage of the dual culinary/sexual meanings of 'spit' and 'meat', where 'table' is presumably analogous to 'bed'. See Williams, 'serve'. You cannot think what an appetite†gg266 sexual preference, desire, craving that frown gives me.

104PhoebeYou are no saucy†gs175 appetising, attractive (MCWM: this usage continues Wat's eating imagery while also expressing Phoebe's dislike of him) rascal*n150 Parra emends to 'a saucy rascal', but this is not an obvious compositorial error, and the sense can be explained if Phoebe is deliberately punning on Wat's reference to 'appetite', as his exclamatory response suggests. Spove suggests that 'saucy' here means 'love-intending', but it seems more likely that the word belies some sexual tension, either between a couple on the brink of sexual relations, or already enjoying a volatile relationship which is maintained with flirtation and teasing. .

105WatGood wit, too! My appetite needs no sauce; nor shall you need to make use of law or friend against my master, but myself.*n151 i.e. have an affair with me to get your own back on Careless.

106PhoebeYou!

107WatBe ruled by me. If I do not lay you down and join†gg380 connect sexually (Williams), i.e. have sex. with you presently in a course†gg29 way of proceeding, action; also trick, way of gaining money illicitly †gs70 sexual bout, derived from a pun on the 'courses' involving animal baiting and hunting (see Williams) that shall content you, then hang me, lady, at your door*n152 This could be a simple proverbial statement, which Wat chooses for its potential in sexual punning, whilst also allowing him to suggest they move into a more private room to the writing materials. Williams notes that 'door' can refer to the 'vulva', so that Wat could be saying 'If I don't soon have sex with you, then have sex with me', where 'hang me' refers to the male sexual organs (as recorded in other drama; see Williams, 'hanger'). .

108PhoebeWhat do you mean?

109WatIn the next room we shall find pen, ink*n153 Wat is trying to get Phoebe into another (perhaps more private) room, and following the sexual punning on appetite, it is difficult not to suspect Wat of employing a double entendre here. Williams records many references to 'pen' and 'ink' as male and female components in a sexual act, so that the 'letter' or message which will so enrage Careless would be for Phoebe to have sex with Wat. and paper. You shall write him such a letter (as I will dictate to you) that shall so nettle him.

110PhoebeNay, I did intend to leave him part of my mind*n1332 presumably related to 'a piece of one's mind', being a candid opinion or criticism (OED, piece, n. P6). in writing before I went.

111PhoebeOh cousin, I want you.

112Wat   [Aside]   A pox of†gs45 pox on/of (it): a plague on (an expletive) this interrupting cuckold†gg1331 man with an unfaithful wife, traditionally thought of as having horns on his head ! He hinders all trading†gs72 sexual dealing (Williams). †gg381 buying and selling but his wife’s*n247 ] Wives . Zounds†gg382 'by God's wounds' (OED), a strong oath , I was going with full speed a-tilt†gg383 'an encounter on horseback with the thrust of a lance. Now usually fig. of controversial encounters' (OED 2); i.e. with directive purpose. Secondary sexual sense where tilting is a metaphor for copulation. , as the learned say. Had not this horn-head†gg1330 cuckold (man with an unfaithful wife) who traditionally was thought of as having horns on his head come, we had writ lines together should have put down†gg384 i.e. improved on Hero and Leander*n154 'Marlowe's Ovidian poem' (Spove). .   [Aloud]   Hark you, Mistress Phoebe, is this your kinsman that you told me you had told all the business to?

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

114WatHow happy are you that you came short†gs73 came short: arrived short of time, i.e. too late (MCWM). to tell him so, else he would ha’ so beaten you, as never was citizen beaten since the great battle of Finsbury Field*n1573 Finsbury Field was used as a drill field for the trained bands, and was also a place to practise archery. Pepys refers to a 'fray' in Moorfields in his diary entry for 26 July 1664 between butchers and weavers, but no specific reference to the 'great battle' referred to here has yet been found. .

115SalewareYour great words cannot make me fear his blows (I am not dashed nor bashed)*n156 I will not be frustrated, daunted or dismayed. As Spove notes, this is one of Saleware's repeated phrases which marks him as a humour character. nor cross him out of my book for fear of any such payment. I have him there for four score pound*n3697 Saleware has written a note of Careless's debt to him of eighty pounds in his account book. , as you know, though you are pleased to forget me. But Sapientia mea mihi, stultitia tua tibi*n157 'My wisdom to me, your folly to you' (Horace, Oxford Dictionary of Quotations). .

116WatCry mercy, Master Saleware, is it you? I hope Mistress Saleware is well, your most exquisite and most courtly wife, the flower-de-luce*n158 A flower known as 'fleur-de-lis', it was also used as a badge for the kings of France (and thought to represent either an iris or a lance-head). Of four known taverns which bore this symbol in London, two were located on Fleet Street (at the corner of Shoe Lane, and Fetter Lane, respectively) and one on Lombard Street. Jane Shore orders for her trunks to be delivered to the latter: 'To Mistress Blage, an Inn in Lombard Street, The Flower-de-Luce' (Thomas Heywood, Edward IV, Part Two, 13.85). Perhaps Wat's compliment is then a very thinly-veiled reference to Alicia's extra-marital activities: likening her to a common tavern through which many customers pass. Another possibility is of a pun on 'luce' as 'lues' or 'lues venerea', or syphilis, thus hinting at Alicia's sexual promiscuity. of the city.

117SalewareWell, wag, well†gg2132 denoting surprise (sometimes with intervening noun; OED well adv. 24b) . You must not now put me off with my wife*n159 Wat has superficially complimented Saleware's wife, so his response betrays his anxiety about her reputation. ; she’s well and much respected. I come to speak of and for my distressed kinswoman, her*n160 Perhaps accompanied by a gesture to Phoebe. whom your wicked master has most wickedly dealt*n1394 A careful choice of word which, appropriately for Saleware, plays on the mercantile imagery of 'do business with', whilst also punning on the sexual activity Phoebe claims has occurred. withal. He has deflowered and deluced*n161 'deflowered, probably coined by Brome with a pun on the Flower-de-luce' (Spove). her, and led her from her friends and out of her country into fool’s paradise*n162 Comedy is derived from the repetition of Phoebe's words. †gg146 ‘A state of illusory happiness or good fortune; enjoyment based on false hopes or anticipations’ (OED 1); here more specifically, London. by making her believe he would marry her. And here he has put her on, and put her off, with hopes and delays till she is come to both woe and want; and (which may prove her most affliction, if he be suffered to forsake her) she is with child by him.

118WatSay you so, Mistress Phoebe? Here’s small show*n163 little evidence, i.e. no bump to indicate pregnancy. Wat seems to indicate that he knows she's lying. of it yet.

119PhoebeSirrah, I shall show*n164 Phoebe punningly turns Wat's noun into a verb in her riposte. you, and your master too, a way to more civility, if I be thus abused and slighted.

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

121SalewareSir, that needs not to fall by the way of*n165 lie in the path of, i.e. be of concern to. our discourse.

122WatBut by the way I speak of getting†gg386 begetting, conceiving children. Or, I pray tell me, did not you correct†gg387 rebuke, admonish; punish one of her children once, for which your wife reprehended you and bade you correct your own*n166 Wat seems to insinuate that Saleware's wife's children are not also his children, compounding previous implications that she is unfaithful. ? And how then shall my master be sure*n168 Using the example of Saleware’s wife’s infidelity, Wat suggests that Phoebe might be similarly unfaithful to Careless, thus casting doubt on whether the alleged child is his. that this (if it be one*n167 i.e. if the baby exists at all; Wat is highly sceptical and suspects that Phoebe has invented a pregnancy to strengthen the claim that she has been wronged by Careless and enlist her cousin's help for her. ) is his?

123SalewareWhat an asinego’s†gg388 little ass; fool this? I shall find a time, sir, to talk with your master. In the meantime I tell you that my kinswoman is a gentlewoman of as good blood†gs176 stock, family (OED n. 9a) as himself, and of the best in Herefordshire —

124WatYes, Welsh-blood*n169 Herefordshire is adjacent to Wales, and Spove's comments suggest a link between Wales and prostitution. Given Phoebe's lie about being pregnant, Wat might be conflating the noun and verb, meaning to swindle a person out of money (see OED v. 1). Perhaps there is also a connection between Wat's description of Phoebe almost as an animal, and common comparisons between women and animals, particularly with reference to sexual activity. .

125Saleware— And shall find friends that shall not see her abused by you nor him. There is law to be found for money,*n1395 i.e. lawyers, who will threaten Careless with a suit. and money to be found for friends, and friends to be found in the Arches*n171 'The Ecclesiastical Court of Appeal for the province of Canterbury' which met at the church of Sancta Marie-de-Arcubus on Cheapside, now more commonly known as St Mary-le-Bow; both names refer to the stone arches in the crypt. The Court of Arches still meets at St Mary-le-Bow church, maintaining its strong ties with the See of Canterbury, although the medieval church which stood in Brome's day was burnt down in the Great Fire of London (1666) and rebuilt by Sir Christopher Wren; the important arched crypt survived the fire. Williams notes that the periods when the Inns of Court men are present and the law courts are sitting are particularly profitable for prostitutes, 'hence Arches puns on brothel and the ecclesiastical court at St Mary-le-Bow' (p. 35). Therefore, although Saleware is attempting to impress Wat with his legal connections, he unwittingly suggests he has whores for friends. , and so tell your master. Come away, cousin.

126WatBut one word before you go, sir. Is this gentlewoman (who was but a country chambermaid when my master took her to his mercy) of such boasted blood your cousin by your own or by your wife’s*n247 ] Wives side*n3698 Wat points to the Salewares' obsession with social climbing and status. Later it is revealed that while Saleware was born a gentleman, his wife is of more lowly origins [MC 3.1.speech607], perhaps explaining Saleware's prickly reaction to Wat's question. , I pray?

127SalewareSirrah, like a saucy companion as you are, though you meddle†gg391 mix, mingle; interfere, concern (oneself) with with me that am a common-councilman†gg389 member of the administrative body of London (see OED, council, n. 15b; council-man) , I charge you meddle*n1396 Saleware is clearly rattled by Wat's references to his wife, but unfortunately chooses vocabulary which exposes his obsession with being cuckolded. He means to warn Wat not to interfere or mix with his wife and notes Wat's witty jibes; however both 'meddle' and 'jerk' can alternatively stand for 'have sex with', and this slip presumably heightens the comedy of the scene. not with my wife. You have had two or three jerks†gg390 witty gibes; can also refer to copulation at her.

128WatI was warned before, sir, in my own understanding: for she is for great persons*n172 Saleware understands Wat to mean that his wife should only socialise with important people. Wat's secondary sense seems to imply that Alicia will only have sex with wealthy people, so there is no danger of her stooping to someone as lowly as him, and therefore Saleware need have no fear of Wat 'meddling' with his wife. .

129SalewareThen know your distance*n173 i.e. keep your distance and know your place. , sir.

130WatYet give me leave to wait you down*n174 'accompany you downstairs to the door' (Parra). Possible pun on weighting Saleware down with worries and anxieties about his wife, which could also be associated with Saleware's concern that in his wife's infidelities she is being weighted down by another man during extra-marital sex. , sir.   [Aside to PHOEBE]   Cudsho†gg392 an oath, where 'cuds' is a 'deformation of the word God's, in oaths and exclamations' (OED) . Not entirely convincing is Spove's gloss: 'by God's toe'. , did it tell*n175 Wat employs childish language to taunt Phoebe with the lie she has told Saleware about her 'pregnancy'. Similar language is also used by Constance when mimicking Elinor's appeals to her grandson, Arthur, in Shakespeare's King John: 'Give grandam kingdom, and it grandam will/ Give it a plum, a cherry, and a fig' (2.1.161-2, Oxford). Compare with Doris's dismissal of Geron: 'Go tell it mother, do' [LS 4.1.speech506]. it*n176 its kinsman that it is got with champkin†gg393 According to the OED (which quotes Mad Couple as its only citation), 'champkin' is a nonce-word, comparable to 'bumpkin'. While the latter speaks to Phoebe's country roots, the word seems more specifically to refer to 'child'. .

131PhoebeYou are a panderly rascal, and I’ll be a terror both to you and your patron*n1333 Although this seems an usual choice of word for Careless (where 'master' might do), it allows Phoebe to distance herself with a satisfying explosive final word for the actor playing her part. †gg1332 lord, master (sometimes providing financial support) .They exit.*n3920 ] Exit omnes.

132ThrivewellHow can you think so?

133LadyThink? I see’t apparently†gg394 evidently, visibly upon your face and hear it in your sighs. Your broken sleeps tonight, when your own groans waked you, declared no less. But had I had the power of some wives*n249 ] wifes with their husbands, I could have fetched it out†gs177 draw forth (OED fetch v. 17) of you. Waking once (I thank you) you took me in your arm, but when you found ’twas I, you turned away as in a dream.

134ThrivewellSure you dream now; whence†gg395 from where can this talk proceed else?

135LadyI must not give it over†gg396 finish, give up, i.e. stop (OED, give, v. 63) till I know the cause of your melancholy fit. Do you doubt my duty, or my loyalty? Perhaps you do, and so make me the cause of your affliction.

136ThrivewellMay such a thought within me stick†gg1340 stab, pierce; (of pointed instrument) remain imbedded; (of thoughts, feelings) to remain permanently in the mind (OED, stick, v. 1, 4a, 6b) me to the endless torments*n3689 Biblical reference to eternal punishment, i.e. hell .

137Lady’Tis lately†gg397 recently entertained, whate’er it be; you came heart-whole†gg398 'Uninjured at the heart; having the spirits or courage unimpaired; undismayed' (OED 1) to town and jovial. Ha’ you been drawn for security into bonds†gg399 a pledge of oneself by any of my friends for great sums, and forced to pay ’em?

138ThrivewellFie,†gg63 exclamation of disgust or reproach fie!

139LadyAre any great friends of yours in question†gg1342 under (judicial) examination; on trial (OED, question, n. 2c) , attainted†gg1341 convicted (of a crime) , imprisoned, or run away?

140ThrivewellPsewh.

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

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

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

144ThrivewellNay, then you’ll grieve me indeed.

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

146ThrivewellI pray content yourself.

147LadyBe you content to tell me then what troubles you. And I pray you tell me speedily, now presently†gg103 immediately (OED adv. 3); without delay ; or (excuse me in my vow) it is the last request that ever I will make to you, and the last question I’ll ever ask you; and (the easier to get it from you) I promise you by the continuance of my faith to you (which by this kiss I seal).   [She kisses him.]   Be it a deadly injury to myself, I will forgive it freely, not be troubled at it.

168ThrivewellBut here was the foul dealing, and for which I hate her now:

169LadyA peppercorn a quarter*n195 a nominal quarterly rent (OED 1b); here, a payment for sex , if she be pepper-proof*n196 Resistant to offence and/or the pox, 'pepper' being another name for the disease (see Williams; OED 8). As well as making an obvious pun, Lady seems to be going along with her husband's narrative almost as a male confidant, agreeing that if she were pox-free he would naturally want to continue to have sexual liaisons with Alicia. In a fine essay on commodity fetishism in the play, Bradley Ryner explains variations on the 'lover's gift regained' story in Italian sources and Chaucer's Shipman's Tale, all of which involve a payment for sexual favours by a married woman, which, once granted the payment is returned through trickery. One thirteenth-century source contains a poem entitled 'Versus de Mola Piperis' ['Verses on the Pepper-mill'], which describes how the payment of a cloak is returned to its owner because he has secretly taken the wife's pepper-mill, and demands exchange of it for the cloak in front of the woman's husband. Therefore the wife has provided sex for no gain. Ryner suggests that Brome alludes to this popular story with Lady Thrivewell's reference to pepper. .

170ThrivewellBut she at my very next approach, which was but yesterday, denies me egress*n197 †gg411 going out, leaving (OED n. 1a) , except I make it a new purchase at the same former rate, and so for all times after.

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

   [Aside to Lord THRIVEWELL]   But husht, here comes Master Saveall with your nephew, I take it. A handsome gentleman! Could he be so debauched?*n201 Since Thrivewell doesn't respond to her question, it is possible that Lady's line could be spoken as an aside to self, rather than to him.

172SaveallSir, I have brought you home a reformado†gg412 one who is reformed (OED 2) , and do entreat (for what I have said unto him, and he hath fairly answered unto me) that words may not by you be multiplied.*n1400 i.e. that you are not verbose, but quickly welcome Careless. Saveall seems to be hinting at the impression his own verbosity made on Careless, upsetting him into (feigned) illness.

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

174Careless   [Aside]   I shall be George o’ horseback*n199 St George mounted on his horse, a common sign for taverns (Sugden; Spove). Williams also compares references to the slaying of the dragon by St George with his sword and the man as sexual partner. Careless clearly sees forgiveness by his uncle merely as a means of access to more money with which to continue his debauched life. once more, I see.   [Aloud]   In all humility I thank you, sir.

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

176CarelessSir, I have learnt now, by the inconveniences I have met with in those extravagant out-flights*n200 Careless picks up on Thrivewell's reference to his 'lively spirit' flying out 'at random', and it is to this that he refers. †gg413 release; lashing out (see OED out-, prefix 7) , the better to contain it within the limits of your leave and fair allowance hereafter.*n1382 Careless expresses his hope that the supply of money will continue indefinitely.

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

178CarelessA man must be so tied now.*n1383 Careless's line expresses his reluctance to be obligated in gratitude to those who have spoken favourably on his behalf. If he sees Lady Thrivewell before uttering this line, his sight of her beauty could cause him to turn away and direct it as an aside to the audience. Alternatively he could be utterly self-absorbed, also explaining why he might not spot Lady until prompted to do so by Lord Thrivewell.

179ThrivewellPray take notice of her.

180CarelessI cannot use respect enough,*n1399 Thrivewell understands Careless to mean that he will be overly respectful, however another interpretation of the line identifies Careless's skill at acting and 'using' respectful behaviour as a means to an end, i.e. his uncle's favour and money. Similarly, at the end of the play Careless appears as the reformed husband, yet quickly kisses the transformed Bellamy (Belle Amy). sir.

181ThrivewellI like that modesty.

182SaveallDoubt him in nothing, for he is come home.*n202 The tone is similar to that of the parable of the prodigal son in Luke 15:11-32.

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

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

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

186LadyYou must not, sir, be bashful.

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

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

189CarelessYes, sir, an honest true-hearted civil fellow he is, as I have managed him. He can say grace†gg414 (n) 'a short prayer either asking a blessing before, or rendering thanks after, a meal' (OED n. 20) now.

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

191CarelessSome driblets†gg415 a small sum of money or petty debts (OED 1a and b); a small quantity (OED 3) , sir. My credit has not lately wronged me much.