ACT THREE
3.1*n9626
Act 3 completes introductions of the dramatis personae and complicates the plot situation. Having closed the previous act by arranging for the Doctor and his patient Ferdinand to stay in Lady Strangelove’s house, Mendicant (with the assistance of Philomel) opens this act by escorting them onstage. Ferdinand plays mad riffs in various roles – soldier, gamester, and poet. Raphael returns with get-well messages from Court to Lady Strangelove’s houseguest, but Ferdinand responds by threatening the messenger with physical violence and is therefore carried off again. Lady Strangelove enters and, in her turn, behaves alarmingly enough to scare away Mendicant and then Raphael. Left alone with Philomel, Strangelove questions her about her preference among suitors: the mistress recommends Cit-Wit, but the maid fancies Dainty. Their conversation also establishes the maid’s previous sexual experience, Philomel having been suffering from gonorrhea when Strangelove brought her out of the country and into her service. A member of the household who has not been seen before (the Boy) enters to announce both the Doctor’s approach in hopes of speaking to Strangelove and the proximity of Cit-wit, Court-wit and Swain-wit. The Boy and Philomel exit separately. The Doctor enters and, after some advice on psychiatric care from Strangelove, persuades her to visit her lunatic houseguest. Having personally guaranteed Strangelove’s safety, the Doctor leads her off. Their exit clears the stage and therefore breaks the scene, but time is uninterrupted, and place remains within Lady Strangelove’s house. Swain-wit and Cit-wit enter, soon followed by Court-wit, and Swain-wit again attempts to pick a fight with Cit-wit. The bullying and the banter are interrupted by cries for help from Strangelove offstage. Philomel and Dainty hurry onstage together, and all save Cit-wit rush off to assist the lady. From offstage Ferdinand exclaims, insanely, over the failure of his attempt to rape his hostess. With her other guests and Philomel, Strangelove comes back onstage just long enough to confirm that that was what Ferdinand was trying (but failing) to do and to resolve to get even with the treacherous Doctor. All exit to devise his punishment.
Enter PHILOMEL, MENDICANT, DOCTOR.
405PhilomelThese are the
lodgings†gg4782
rooms for temporary occupancy; guestsuite
that my Lady appointed
For your distracted†gg2573
maddened, deranged
patient.
407DoctorExceeding well. Excuse me, Gentlewoman,
That now intreat your absence.
I am not taken with the sight you bring:
For I see mad-folks enough every day.Exit [PHILOMEL].
409DoctorHere set him down. Unbind him, and unblind him.
[Enter SERVANTS carrying on FERDINAND, who has been bound and hooded, in a chair. Having set down the chair, loosened the prisoner's bonds and removed his hood, the SERVANTS exit.]*n7125
Octavo of 1653 reads: `Ferdinand brought in a chaire bound and hooded, &c.' The stage direction is printed in the margin alongside the Doctor's command and Ferdinand's first two lines: the command thus cues the entry which it anticipates. The entry could, however, begin a line earlier, with Ferdinand being carried on through one stage door as Philomel makes her exit through the other: the command would then react to the entry rather than control it. Either way, the command is addressed to at least two servants, the minimum necessary to carry on an adult in a chair. Octavo of 1653 does not assign the servants an exit at any point before it gives another entrance for servants, summoned by the Doctor in Speech No. 465. It seems reasonable to assume that the servants who there respond to the Doctor's cry for help are the same as those who have earlier acted as medical orderlies. The intervening dialogue implies no cue for the servants' departure, but neither does it give them anything to do once they have deposited Ferdinand and obeyed the Doctor's command to release his bonds and restore his vision. This edition clears them away sooner rather than later: directorial decision, however, might determine their movements otherwise.
410FerdinandAm I then taken prisoner in the North?*n8804
Sir Ferdinand's first outburst of insanity jeers at Sir John Suckling's conduct in the military stand-off between the Crown and the Scottish Presbyterians. The struggle being partly a matter of resistance to ecclesiastical governance on the English model (control by bishops who answered to archbishop), it is sometimes designated `the Bishops' Wars'. As the plural suggests, it had two phases: one escalating through 1638 and ending, without battle, in June of 1639; and the other seeing a defeat of royalist forces in August of 1640. Suckling was widely ridiculed for his behaviour in both phases.
Wounded, disarmed and bound? I shall be ransomed.
To which of your rebelliously usurped
Castles ha’ you brought me?*n8803
The escalation of hostilities between the Covenanters and the Crown during the first half of 1639 included the Scots' seizure of royal castles in Scotland. By an agreement reached (without battle) on 18 June 1639, these were restored to the king, and armies on both sides were disbanded.
[To DOCTOR] You, sir
Presbyter,†gg5746
An Elder or office-holder (whether cleric or layperson) in Presbyterianism, a mode of Protestantism in which churches are governed locally and without bishops
That better can
pugnare than orare,*n7124
These Latin infinitive verbs mean `to fight' and `to pray'. Medieval political theory, as articulated by Geraldus Cambrensis in the eleventh century, had identified the former as the responsibility of kings and the latter as the responsibility of bishops.
And so
abjure†gg6040
renounce, repudiate (OED v. 2)
all duty and allegiance —
411MendicantHe takes you for a Northern Pastor,†gg5747
minister in charge of a Christian church or congregation (OED n. 1a)
Mr. Doctor.*n8802
A speech in the previous act [CB 1.1.speech40] describes the doctor as a `trim, effeminate gentleman' whose fashion sense runs to `gay clothes and Flanders laces'. His costume will exaggerate the absurdity of Sir Ferdinand addressing the doctor as a Christian cleric of any sort, let alone an elder of the Scottsh Presbyterian church.
412DoctorNo matter what, let him
run out†gg5748
exhaust, get through (OED v. 77 Ja and Jb)
his
fancy.†gg5742
fantasy, hallucination (OED n and a, 3)
413FerdinandYou were best to use me well, and like a soldier.
Order†gg5743
action(s) to a particular end; measures or steps for the accomplishment of a purpose (OED n. 18)
will else be ta’en --
though you know none.*n9627
Octavo of 1653 presents this phrase in parentheses.
415FerdinandAnd use my horse well, too, and let my horse and
armour
Be decently preserved*n8805
In the military skirmish near Newcastle that concluded the Second Bishops' War, Sir John Suckling was reported to have conducted himself with ludicrous cowardice. The least humiliating reports were that some of his horses had been seized by the Scottish forces and the best steed given to their general, or that his coach had been taken, along with both clothing and cash. (See The Works of Sir John Suckling, ed. Thomas Clayton, [Oxford: Clarendon, 1971], I, l-liii, and references there cited.) If these lines by Brome refer to those reports from the front -- and it is difficult to construe them otherwise -- then they are evidence for dating The Court Beggar somewhat later in 1640 than has been previously thought: see Introduction.
and
seen forthcoming
At my redemption.†gg194
ransom
417FerdinandFor I shall soon be sent for, or
fetched off†gg6050
rescued (OED, fetch v, 16)
With ruin of your country ’bout your ears.
418DoctorYou shall have
all content the country yields,*n9322
`Content' is here used in the now-obsolete sense as not the state, but rather the source or material condition, of satisfaction. The entry for this sense in the OED (content n2, 3) goes on to gloss the plural form as `pleasures, delights', which also seem appropriate for this instance of the singular. For an urban English audience, the joke is of course that oatcakes, ale and bagpipes constitute the sum of comforts available in the North country or Scotland.
sir.
419FerdinandI shall have
oatbread,†gg5745
bread made of oatflour, characteristic of Scottish diet
ale, and bagpipes, shall I?
Come,
let’s ha’ cards, and you and I to cribbage†gg4740
card game involving 2 to 4 persons and full pack of 52 cards (OED), said by Aubrey to have been invented by Sir John Suckling
*n8800
Sir John Suckling, whose cardgamesmanship was well known. Near the beginning of the brief biography which he wrote of Suckling in 1680, John Aubrey recorded: `He was the greatest gallant of his time, and the greatest Gamester...so that no Shopkeeper would trust him for 6d, as today, for instance, he might, by winning, be worth 200 pounds, and the next day might not be worth half so much, or perhaps sometimes be minus nihilo.....He played at Cards rarely well, and did use to practise by himselfe a-bed, and there studyed how the best way of managing the cards could be.' In a separate manuscript note, Aubrey amplified this account: `Sir John Suckling -- from Mr. William Beeston -- invented the game of cribbidge. He sent his Cards to all Gameing places in the countrey, which were marked with private markes of his; he gott twenty thousand pounds by this way.' (Brief Lives, chiefly of Contemporaries, set down by John Aubrey, between the Years 1669 and 1696', edited from the author's MSS by Andrew Clark (Oxford: Clarendon, 1898) II, 240-1, 245. The longer quotation comes from Bodleian MS Aubrey 6, fol. 110, and the shorter from Bodleian MS Aubrey 8, fol 10v.)
For an odd hundred pound: I mean not Scotch,
But sterling English
pieces!†gg2873
coin, usually gold, and at this date the equal of twenty-two shillings (the spending worth in today's currency would be £94.38p.)
Where’s your money?
All gone in ammunition, and charge military.
423FerdinandOh, here’s a third man! Let’s then to
gleek.†gg3407
a card game involving 3 players and 44 cards
424MendicantCrown†gg2902
a coin (once gold, subsequently silver) to the value of five shillings (its spending power in terms of the currency of 2009 would be £21.45p)
gleek, sir, if you please.
You seem to be a thrifty
Covenanter†gg5744
subscriber or adherent of the Scottish Presbyterians' national covenant, signed 28 February 1638, for the defense of reformed religion and resistance to episcopacy
To play but at crown gleek: whole
piece†gg2873
coin, usually gold, and at this date the equal of twenty-two shillings (the spending worth in today's currency would be £94.38p.)
gleek or nothing!
426MendicantHigh as you please, sir, we’ll find money enough,
And pay us but our
buyings.†gg5120
stakes, shares
427FerdinandSir, you must
bate me aces.*n7787
The phrase `to bate an ace' means `to lose or abate a jot or tittle, to make the slightest abatement' (OED ace n, 3b). The addition of the first-person pronoun as an indirect object turns the phrase -- apt in conversation about cardgames -- into an expression of incredulity.
You will play
Tib and Tom.†gg5117
the ace and the knave of trumps in the game of gleek (OED Tib n, 2; Tom n1, 2)
429FerdinandAway with cards. Bring dice, set all at
hazard,†gg4742
game at dice in which chances are complicated by arbitrary rules (OED 1)
And though I lose all, I have yet a project
That at the end o’ th’ war, and
the great sitting*n8801
After fully a decade of personal rule, late in 1639 Charles I summoned a Parliament, the fourth of his reign. It sat for only three weeks -- from April 13th to May 5th. Sir John Suckling's personal sitting was even shorter than most MPs': defeated in his first bid for a seat, on April 30th he won another (Bramber, Sussex), but parliament was dissolved within a week. If the phrase refers to this Parliament, then it must be ironic. It may, however, refer to the Parliament which opened on 3 November 1640 and was not dissolved until 16 March 1660, eight years after Brome's death. Although the eventual duration of this later Parliament of course could not have been anticipated by the playwright, its importance was obvious from the start (because the commons had the upper hand over the king), and its early business was dominated by monopolies. If the reference is to this later Parliament, however, then The Court Beggar must have been written -- or at least revised -- later than has previously been suggested. See Introduction.
Shall
fetch all in†gs1190
recoup everything (OED v. II 12a)
again. But oh, my Muse!
How dare I so neglect thy inspirations?
Give me pen, ink and paper.
Ovid’s*n9780
Publius Ovidius Naso (43BC-18AD) was a Latin poet, active in the early years of the Roman Empire. Among Ovid's extant works, the one most influential for Medieval and Early Modern literature was his Metamorphoses, a collection of myths about the gods. He is also, however, celebrated for his love poetry. Ovid wrote in elegaic distichs (that is, pairs of lines in which a hexameter line is followed by a pentameter one), and his verse is indeed distinguished by smoothness.
smooth vein, or
Petrarch’s*n9782
Francesco Petrarca (1304-1374) was an Italian poet, best known (and most influential) for his celebrations -- across three hundred sonnets -- of idealised and unrequited love.
buskin†gg5121
tragic -- `buskin' being a kind of boot and a high, thick-soled boot (`cothurnus') being a characteristic of the Athenian tragic actor (OED 1 and 2b)
style.
Nor
Laura,†gg5749
The name of the lady who is the spiritual centre of Petrarch's love lyrics, collectively titled in brief as Canzoniere (Book of Songs) and in full as Rime in Vita e Morte di Madonna Laura (Poems on the Life and Death of Milady Laura)
nor
Corinna,†gg5702
The object of Ovid's amorous attentions in Elegies VIII, XIII and XVII of his love poetry, known as the Amores
did deserve
To have their prayers written in such verse
As I’ll bestow on her that I adore.
Listen to me, you blest
Intelligences†gg5122
Spirits (OED n. 4a)
– – –
And, Phoebus, stay thy course to hear me sing
Her praises,*n8806
In addition to his responsibilities for poetry, music and prophecy, Phoebus (Apollo) was Greek classical mythology's god of the sun, figured as a chariot which he drove across the sky every day. Sir Ferdinando is thus asking that the god bring time to a standstill while pausing to listen to the praises of Lady Strangelove. Note that what Sir Ferdinando proceeds to celebrate is the reaction of other (male) gods and that he is advertising his own supposed skill. In other words, and as is usually the case in English Petrarchan poetry, the lady disappears.
for whose love th’enamoured gods
Would leave their proper seats, and in stolen shapes,
Converse with mortals*n9783
Ferdinand imagines the gods as a group being so smitten with his beloved as to abandon their respective territories and to adopt disguises which would give them access to human beings.
– – – You soul-ravishing spheres,*n8808
Octavo of 1653 reads: `, your soule-ravishing spheres'. The emendation and repunctuation turn Ferdinand's invocation of Phoebus Apollo into a self-interruption. What it interrupts is his address to the spirits which control the cosmos, construed as a graduated series of rotating spheres, nested like a Russian doll. The turning of these spheres produced harmonious vibrations: the music of the spheres.
Send forth your sweetest harmony whilst I sing – – –
But, oh, she is disdainful, and her scorn
Hath blotted all the glory of her praise.
Away, away with all!
432DoctorNow, sir, do you observe the root of his disease?
434FerdinandDisease! What’s that? who is diseased? Who wants
A remedy? Are you, sir, a physician?
Be you patient.
436DoctorOh, you will move†gs1662
excite, disquiet (OED v. 25a); anger, provoke (OED v. 25d)
him.
That tie your knowledge unto days and hours
Marked out for good or ill i’ th’
almanac.†gg1376
book of tables, containing a calendar of months and days, with astronomical data and calculations, ecclesiastical and other anniversaries, besides other useful information, including astrological forecasts of good days for special occasions like weddings
Your best
receipts†gg5123
recipes (whether culinary or, as here, medical), prescriptions
are
candy†gg5948
crystallised sugar, made by boiling and evaporating a sirup of it
for a cold,
And
Carduus Benedictus*n7833
Carduus benedictus is a southern European species of thistle (also known as Cnicus benedictus) used for medicinal purposes. In the Jacobean Pharmacopoeia Londinensis (1618), both the leaves and the seeds of Carduus benedictus are listed among apothecaries’ store cupboard of ingredients, and it appears as the basis of various medicines, including infusions and conserves. Its ordinariness is indicated by a passage in William Harrison's Description of Britain (2nd edition 1586) which opposes the reputation of exotic medicinal herbs like tobacco to the reality of domestic ones such as `our common germander or thistle benet [which are] found and knowne to bee so wholesome and of so great power in medicine as any other hearbe'.
for an
ague.†gg3796
acute fever
Could you give life as
Æsculapius*n7797
In Greek and Roman mythology Æsculapius was the legendary physician and god of medicine. The son of Apollo and a Thessalian maiden named Coronis, he had the skill and the benevolence towards humankind to restore Hippolitus to life. For this violation of divine prerogative, Æsculapius incurred the mortal wrath of Zeus, who killed him with his thunderbolt. In his last utterance as recorded by Plato, Socrates (another violator of established orders) left a memorable trace of the cult of Æsculapius.
Did to unjustly slain
Hippolytus,*n7799
Son of the Greek mythological hero Theseus and an Amazon (variously named Hippolyta and Antiope), Hippolytus grew up to be the object of his stepmother's sexual obsession. When Hippolytus rejected her advances, she killed herself and blamed him for her suicide. The unjust accusation prompted Theseus to send his son into exile with his curses, which in turn caused the death of Hippolytus. A sea-monster appeared and so spooked his horses that he lost control, crashed his chariot and died of his injuries.
You could prescribe no remedy for me.
Go study
Galen*n11549
A Greek physician (c.129-c.216) whose patients included several Roman Emperors. Galen was also an anatomist and prolific writer of medical treatises whose influence was still very strong in the Renaissance.
and
Hippocrates,*n7801
Greek physician (c. 460-370 BC) whose writings survived to earn him recognition as the father of medicine
And when your
rare†gg5782
exceptional
simplicities†gg5949
ignorances (OED simplicity 2a); stupidities
have found
Simples†gg2177
plants or herbs employed for medical purposes; remedies (OED simple n, 6)
to cure the lunacy of love,
Compose a potion and administer’t
Unto the
Family at Amsterdam.†gg5124
Netherlandish religious sect, in England popularly known as the `Family of Love' and mocked for wife-swapping
438DoctorI’ll
physic†gg5125
(v) treat with medicine, especially a purgative
you tomorrow and allay
The heat of this strong fit or
leech†gg5126
(v) draw blood by application of blood-sucking leeches to the skin
it out.
Enter RAPHAEL.*n9871
] Enter sir Raphael.
439Raphael [Aside] I have ventured to this house again, assured
That now the
humorous†gg150
moody, whimsical
lady is from home,
Forgetting not her love-trick put upon me
Which she already boasts to my disgrace
For which I may requite her Ladyship,
[To MENDICANT] How does your patient? Asleep! That’s well.
That he is so, so long.
441RaphaelThe Lords in honourable
regard†gs1723
consideration (for) (OED n. 14b)
unto
His health directed me to visit him.
444Fre.You are, I tak’t, the ghost of
Dionysus,*n7805
Born ca. 430 BC, Dionysus the Elder ruled Sicily from 406 BC until his death in 367 BC. Best remembered for his cruelty, he was also a patron of the arts, a playwright, and a player of horribly instructive pranks: the most famous was his dangling, by a thread, of a sword over the head of Damocles in order to teach that courtier the perils of high office.
The great tyrannical court schoolmaster.
445RaphaelYour friends at court commend them to you, sir.
446FerdinandWhat,*n9786
Ferdinand asks that his well-wishers at Court be alerted to the need for their kind in hell, where he imagines himself to be. He proceeds to elaborate the attractions of hell as a site for colonisation by young men and women (hell being old-fashioned), by great ladies (hell being ugly), by men who are tired of their wives and mistresses, and by women who can manage without their husbands and servants.
hither? Unto hell? Extend their loves
So far, to find me out? Pray let ’em know
That here’s a troubled world in
want†gs991
lack
of statesmen.
But tell the youths and beauties there, they never
Shall find a happier opportunity
To raise a new
plantation.†gg3161
a settlement, a colony, often in an overseas territory
They’ll drive all
Before ’em*n9787
conquer all; overcome and expel everyone (from OED, drive v, 1a).
here. For pride is at a
stand;†gs1664
state of arrested movement; standstill (OED stand n1, 5a
Fashions are all worn out; and no
invention†gs1663
the action of contriving or devising OED invention 2)
For new here to be found. All beauty’s lost;
Nor have the greatest ladies here the
art*n7806
art] act
To make so much as their poor chambermaids.
Let ’em come down,*n10193
Ferdinand invites men who have wearied of their female partners, and women who can get along without their male partners, to descend into hell for holiday activities which will include sexual reshuffles. The terms of his invitation imply a common assumption that female sexual appetite is inexhaustible: whether through boredom or exhaustion, men tire of their women, while women merely tolerate the absence of their men.
as many of the gallants
As are made weary of their wives or mistresses;
And, of those wives and mistresses, as many
As can their husbands or their servants spare:
And what a year of
holidays,*n9729
]holy-days. The original spelling retains the sense (OED, holiday n, 1) of a religious festival, a consecrated day. This sense is sustained through the line-ending word `jubilee', which has religious significances (OED 1a, 2) in both Judaism and Roman Catholicism.
a
jubilee†gg6041
season of celebration (OED n. 4), extended period of holidays
Shall we have in hell then?
Hah!*n10175
Octavo of 1653 reads `Ha' old Lad!' The first word might just as sensibly be emended to `Hey'; but elsewhere in Ferdinand's rant, Octavo of 1653 presents that syllable as `haigh': see [CB 4.2.speech713] and [NOTE n8894].
Old Lad!*n1082
449RaphaelPray give me leave to touch it though, a little.
That
humorous†gg150
moody, whimsical
Madam, and tell her from me,
The many lovers she has sent before her
Into these shades (where we can find no torments
Like those that she inflicted) have prevailed
With the great queen,
Proserpina,*n7808
In classical Roman mythology, goddess of the underworld and consort of Pluto
that she
Shall be in place next to her royal person.
451RaphaelThe Lady Strangelove! You are in her house, sir.
Where do you think you are? or who you are?
Pray call yourself to mind, sir. Are not you
The noble
cavalier†gg3829
gentlemen trained to arms, gallants
and
hopeful†gs1660
full of hope, expectant of something desired (OED adj. 1)
courtier
The most accomplished knight, Sir Ferdinando?
452DoctorForbear, sir, you will
move†gs1662
excite, disquiet (OED v. 25a); anger, provoke (OED v. 25d)
him strongly else.
Can you forget yourself, sir, or neglect
The bounteous fortunes that the court and kingdom
Have in store for you, both for past achievements,
And for the large
endowments†gg3789
‘gift’, power, capacity, or other advantage with which a person is endowed by nature or fortune (OED 4)
of court virtue
Are found still growing in you, studied and practised
So to the life, as if you were built up
Virtue’s own
mansion,†gg2569
dwelling-place, home
on her four firm pillars?—
454Mendicant [Aside] I hope he cannot flatter him into’s wits
When ’tis the way to fool men out of ’em.
And
temperance*n8071
Sir Raphael is paraphrasing Cicero's On Duties (De Officiis) I.v, where this quartet of virtues is said to comprise all human moral goodness ('omne quod est honestum'). Written in 44BC, the treatise is addressed to Cicero's son, then a student in Athens, so Sir Raphael could be construed as positioning himself as Ferdinand's father figure. He is certainly uttering platitudes: the Latin treatise was reprinted many times over in the 16th and 17th centuries. Moreover, the verse paragraph in which he pronounces them is an imitation of Cicero's oratorical style. Note the extension of a single sentence across 14 lines of verse, punctuated at midpoint by Sir Andrew's aside, which interrupts an apposition after `pillars' and thereby draws attention to the list of virtues.
of Court you are exactly
Framed and composed of, and
indued†gg2078
archaic form of 'endowed'
with all
The excellencies that may adorn a man
By nature, fortune, art and industry!
And all this glorious light to be eclipsed
And such divine perfections seem to sleep?
458FerdinandWhat do you think of
Salisbury steeple,*n7814
The steeple of Salisbury's 13th-century cathedral rises to over 400 feet, and the effect of its height is exaggerated by the geographical situation of the city. In his Britannnia (1586, English translation by Philemon Holland published 1610), William Camden commented on the visual impact of the building, `Which (with its high steeple and double cross-isles,) by a venerable kind of grandeur strikes the spectators with a sacred joy and admiration.'
sir,
For a fit hunting spear t’incounter with
The
Whore of Babylon?*n7811
In Chapter 7 of Revelations, the visionary last book of the Christian New Testament, a gaudily and richly dressed woman, who is labelled (in the King James translation) `MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH' across her forehead and is inebriated with the blood of the saints and martyrs, is seen riding across a desert on a seven-headed beast. When the book was written, she and her steed constituted a figure of Roman Imperial persecution of the first Christians. In the 16th and 17th centuries, however, Protestant apologists construed the pair as Roman Catholicism and its persecution of the Reformed Church.
Might I not
firk†gs1197
beat, lash, trounce (OED firk v, 4), but with an audible innuendo on `fuck'
her, think you?
459MendicantYour doctrine does not
edify,†gs1724
benefit spiritually (OED, edify v, 3a)
Sir Raphael.
460FerdinandIs orator
Demosthenes*n9793
Athenian statesman and orator (385?-322 BC) whose denunciations of Philip of Macedon are remembered in the word `Philippic' (OED n, 1), meaning `invective' or `scathing attack'
grown dumb
O’th’ sudden? What! No answer? give me a knife:
He is but tongue-tied. *n8773
Literally to be tongue-tied is to have movement of one's tongue restricted by shortness of the ligament at its base and to be rendered dumb by this impediment. The condition can be cured by loosening the ligament surgically. Ferdinand's verbal threat to attempt such a procedure on Raphael would occasion some physical business --enough to prompt Raphael's call for divine protection in Speech No. 461.
462Doctor [To RAPHAEL] I told you what you would do.
465DoctorHelp here suddenly!†gg4781
forthwith, promptly (OED adv. 2)
Enter SERVANTS.
Give me my horse and arms, and come a hundred.
[SERVANTS subdue FERDINAND and strap him back onto his chair.]
467DoctorWe’ll arm and horse you, since you're so unruly.
Away with him into his bedchamber.
[SERVANTS lift FERDINAND in his chair and move towards a stage door.]
468FerdinandOh, do you make me then your Knight o’ th’ Shire?*n9325
Ferdinand now imagines himself as having just been elected to parliament: see `Knight of the Shire' in the OED (knight n 4c). He addresses the Servants as his constituents, who are now carrying him in victory on their shoulders and will soon be celebrating his victory with wine provided by him. Beyond its generally comic misreading of the situation in the dramatic fiction, the speech particularly ridicules Sir John Suckling's defeat when he stood for election to a seat in the Parliament of April 1639: see [NOTE n8801].
A
tun†gg6042
large cask or barrel, usually for liquids, especially wine, ale, or beer (OED n. 1)
o’ wine for that. Shoulder your Knight,
Advance your Knight, bear him out!
469AllA†gg5721
prefix which turns a proper name into a battlecry (OED int., 2)
Ferdinand, a Ferdinand!*n9323
In Octavo of 1653 the speech heading for this line is `Al.' (All), which this edition takes to mean both the servants, who are carrying Ferdinand, and also the doctor, who has been playing along with his patient's various whims throughout the scene. The Octavo prints the line itself as: `A Ferdinand, a Ferdinand, &c.': that final et cetera [`and other things'] is an invitation to directorial imaginations of rowdiness.
[Exit DOCTOR and SERVANTS, carrying FERDINAND in his chair.]*n9324
Octavo of 1653 does not supply an exit for Ferdinand and his medical team. It specifies instead that Mendicant and Raphael should remain onstage: `Manent Men. sir Rap'. This stage direction is placed, parenthetically, to the right, across two lines -- the last in Ferdinand's speech (no. 466) and then the cheers which the others exclaim for him.
That rings all in with an assured advantage.
[To RAPHAEL] How now, Sir Raphael! Frighted?
471RaphaelIn all my
disputations,†gg6043
controversies
all my
travels,*n7815
] travailes. The sense could be either `exertions' (OED travail n1, I 1) or `journeys' (OED travail n1, II 7. Either sense would fit. Modern usage spells the word in the latter sense `travels' and stresses its first syllable: this is metrically smoother within the line, and the relative regularity of his verse is one of Sir Raphael's few distinctions as an orator.
And all conspiracies that have been had
Against me, never met I an encounter
By man or spirit that I feared so much.
Yet here’s another fury.
Enter STRANGELOVE.
I’m sure, could never do’t) is my house here
Confiscated†gg6044
forfeited to the sovereign by way of penalty (OED, confiscate v, 1)
or usurped, and I become your slave?
What drudgery do you appoint me to?
The noise of
Bedlam†gs891
an early mental asylum, the Hospital of St. Mary of Bethlehem, situated next to Bishopsgate, on the edge of the City of London (see Sugden, Topographical Dictionary, 53-4, s.v. Bedlam)
is soft music to’t.
Could
your Projectorship*n10156
In the immediately preceding speech, Mendicant has addressed Strangelove as `your Ladyship'. She now bounces back this formal title, appropriately adjusted.
find no house else
To make a madman madder in but mine,
And me as mad as he too with the trouble?
478MendicantI was no principal in’t, good Madam.
Exit [MENDICANT].
479StrangeloveWas it your plot then, Sir
Philosophaster,†gg5140
Pseudo-philosopher, whose phoniness is a matter of shallowness and/or pretentiousness.
That so you might, under pretext of reading
Philosophy to him to cure his madness,
Make your address to me to
prosecute†gg2642
pursue, continue with (OED v. 1a)
Your love-suit when I thought I had answered you?
But if you must proceed, o’ercome me if you can:
Yet let me warn you to take heed withal
You pull not a disease unto you, that may
By your ungoverned haste
post†gg258
(as a verb) hasten, hurry
into
Your grave, for I shall prove a torment to you.
Though you’ll take no denial, take yet a warning.
480RaphaelI take it to forsake your house and never
More to
resort†gg6045
frequent (OED v1. 9)
where madness reigns. Did I
Make love to you?
It is my love to you that tortures me
Into this wild
distraction.†gg5247
disorder or confusion, caused by internal conflict or dissension; disturbance of mind or feelings
Oh, Sir Raphael!
482Raphael [Aside] Now virtue guide me! I will shun this place
More than I would the
Spanish Inquisition.*n10144
Initially pursuing Jewish and Moorish converts who were suspected of having secretly relapsed, the Spanish Inquisition was instituted in 1478 by Ferdinand and Isabella of Castile. It sought further targets but remained under royal control, and its notoreity, particularly in Protestant countries, fuelled antipathy to Spain and Roman Catholicism.
[Exit RAPHAEL.]
And have the
liberty†gg5720
unrestricted use (OED n1. 4b)
of mine own house
With mine own company, and to mine own ends.
Where are you, Phil? I were but dead if I
Had not this wench to fool†gg5974
play the fool with; tease
withal†gs363
substituted for ‘with’ (OED prep.)
sometimes.*n9789
Octavo of 1653 sets these last two sentences of Strangelove's speech as prose, but they are as regular iambic pentameter as Brome writes.
Enter PHILOMEL.
486Philomel [Aside] Now am I called into
correction.†gs1725
rebuke, reprehension for faults of character or conduct (OED, 3)
When she is vexed and wants the company
She likes, then come I into question.
’Tis common among ladies with their women.
An answer or excuse out of your apron-strings
Before you are charged or questioned? What new fault
Has passed of late?
Upon my face or looks? I never was in love
Much with my face, nor ever hated it. But if I thought
It had upon’t, or in it, any trespass
Against your Ladyship (my heart being clear)
These nails should claw it out.
[PHILOMEL scratches at her own face.]*n9326
Octavo of 1653 the corresponding stage direction, placed to the right of the last line in Philomel's speech ([CB 3.1.speech 488]), reads 'Teare.': see [CB 3.1.line1395]. That she gestures at clawing rather than crying is clear from the dialogue.
489StrangeloveNay, be not
passionate,†gg5141
sorrowful (OED adj and n, 5b)
Phil. I know you cannot
Forget the care I have had of you, nor should you
Distrust me in the promises I have made you,
Bearing yourself according to your
covenant,†gs1025
a mutual agreement between two or more persons, a contract, a legal undertaking, pledge
Phil,
Of which one
article†gg6013
item in the contract, stipulation
is to laugh with me.
493StrangeloveDost not thou know my seriousness is to laugh in private,
And that thou art bound to stir that
humour†gg222
mood, temper, attitude, frame of mind
in me?
There’s but two things more
conditioned†gg4599
settled on conditions; stipulated; bargained (for); according to the agreed terms (OED cites only The Novella as an instance of this sense [adj, 4] but it also occurs in The Court Beggar)
in thy service:
To do what I bid thee, and tell me the truth
In all things that I ask thee.
494PhilomelAye Madam, you had never known that same else.
495StrangeloveOf the
clap†gg5142
gonorrhea (OED n. 2)
thou hadst i’the country
ere†gg1781
before
*n7962
] e're
I took thee?
But hast thou faithfully kept thine own
e’er†gg5238
contraction of 'ever' (Onions)
*n7963
] e're
since?
496PhilomelYes, most severely, Madam, on your promise —
I have already made my choice for you:
Your sweetheart Cit-wit makes most suit to you,
And has a good estate, and wit enough,
Too, for a husband, and a handsome person.
So base a coward that he may be soon
Beaten out of his wit and money.
500PhilomelIf he were valiant now, I could say something,
But to wait for growing to’t were such a loss of time.
I might fear him but never love him.
So much of all waters, that when he has
A fountain of his own, he’ll be too
jealous†gg5137
apprehensive of losing some desired benefit through the rivalry of another; zealous, vigilant, watchful of one's interests (OED adj. 4b and 3)
of it
And
fear*n7835
] feard
that every man will drink of’s cup
When perhaps none dares touch it, were I it.*n10145
Philomel's metaphorical suggestion that men might fear being her sexual partner is ambiguous: the reason could be her own gonorrhea (as has been mentioned by Lady Strangelove in [CB 3.1.speech495] or Court-wit's syphilis (as will be implied by Swain-wit in [CB 4.2.speech767]).
505StrangeloveWhat say to Dainty, then, the
curious†gg2874
skilful, clever, inventive (OED curious a, 4)
limner?†gg5166
painters, especially of portraits
507StrangeloveWell, I’ll take thy cause in hand, wench. But yet we are not merry. I am
inclined most jovially to mirth, me thinks. Pray
Jove†gg5731
poetical form of `Jupiter', the name of the highest and most powerful of the Roman gods
some good be
towards.†gg1499
on the way
Laugh, or I’ll pinch you till you do!
508PhilomelHa, ha, ha, ha, Madam, ha, ha, ha! Oh, the picture-drawer! Ha, ha, ha!
509StrangeloveAye,
come,†gs1573
come (as an imperative of conversational encouragement): proceed, out with it, keep talking
the picture-drawer!
510PhilomelOh,
I love drawing and painting, as no lady better, who for the most part are of their occupation
that profess it.*n8785
The syntax is strained but the sense is clear, and it is a joke on female use of cosmetics. Philomel is saying that she herself is just as fond of drawing and painting as all ladies -- who for the most part, and like professional limners, practise painting.
And shall I tell all, Madam?
511StrangeloveBy all means, Phil.
[Aside] Now she’s
entered.†gg5167
begin, start (OED v. 6)
512PhilomelI hope I am handsome enough, too. For I have heard that limners or picture-drawers
do
covet†gs1726
desire, wish for (OED v. 1)
to have the fairest and best-featured wives (or if not wives, Mistresses)
that they can possibly purchase,
to draw naked pictures by,
as of Diana,*n9794
in classical Roman mythology, the goddess of the moon, patroness of virginity and of hunting
Venus,*n9795
in classical Roman mythology, the goddess of beauty and of love
Andromeda,*n9796
Ethiopian princess who (in punishment of her mother for boasting of their beauty) was chained to a rock as food for a sea-monster but was rescued and eventually married by the hero Perseus
Leda,*n9797
in classical Greek mythology, the wife of King Tyndareus of Sparta and the mother of Helen of Troy
*n8786
In Greek classical mythology Diana and Venus were deities, while Andromeda and Leda were humans. What they have in common was that all four are most often depicted naked, the objects of male gazes within their respective stories as well as in the paintings which represent those stories: Diana bathing and attracting the attention of the hunter Actaeon, whom she transforms into a stag for staring at her; Venus and two other goddesses displaying themselves in a divine beauty contest judged by Paris, Prince of Troy ; Andromeda, wearing nothing but some jewelry, chained to a rock overflown by Perseus; and Leda being raped by Jupiter in swan's disguise.
or the like, either virtuous or lascivious, whom they make to sit or stand naked
in all the
several†gg798
various
postures, and to lie as many ways to help their art in drawing.
Who knows how I may set his fancy a-work? And with modesty enough: we were all naked once,
and must be so again. I could sit for the naked shepherdess, with one leg over the
tother†gs240
the other
knee,
picking the thorn out of her foot most neatly, to make the satyr peep under.
514Boy Within. Mistress Philomel.
[PHILOMEL goes to the stage door through which BOY has spoken]
[Enter BOY.]
Now, sir, your news?
516BoyThe mad knight's doctor, Madam, entreats to speak with you.
518BoyAnd Mr. Court-wit and the other gentlemen are below.
519Strangelove [To PHILOMEL] Go you and entertain the gentlemen, while I consult
with the doctor.
[To BOY] Let him enter.
[Exit BOY via stage door through which he entered
and PHILOMEL via the other.]
Enter DOCTOR.
Now, Mr. Doctor! You come to ask my counsel, I know, for your impatient patient.
But let me tell you first,
the most learned authors
that I can turn over,*n7966
Purporting to offer a diagnosis to the doctor, Lady Strangelove begins by gesturing at a conflation of opinions to be found in the writings of ancient medical authorities.
as
Dioscorides,*n7964
Greek physician of the first century A.D., known for influential treatise on substances used in medicine
Avicenna,*n7965
Anglicised form of the name Ibn Sina (980-1037 A.D.), Persian philosopher and physician whose writings (translated from Arabic) on medicine and science were authoritative in medieval Europe
Galen,*n11549
A Greek physician (c.129-c.216) whose patients included several Roman Emperors. Galen was also an anatomist and prolific writer of medical treatises whose influence was still very strong in the Renaissance.
and
Hippocrates,*n7801
Greek physician (c. 460-370 BC) whose writings survived to earn him recognition as the father of medicine
are much discrepant in their opinions concerning the remedies for his disease.
521StrangeloveTherefore I trust you’ll pardon my weakness, if my opinion
jumps not altogether with†gs1904
to jump with: to coincide, to agree completely (OED jump v, 5a)
your judgement.
523StrangeloveMy purpose is to advise you, though, that, if his frenzy proceed from love
as you conjecture, that you administer of the roots of
hellebore,*n7831
Shade-loving and winter-flowering, Hellebore (Veratra nigra) has a tangle of black roots. These are conspicuous in John Payne's image of this plant in the second (1636) edition of Gerard's Herball, Book II, Chapter 377. The list of apothecaries' ingredients in Pharmacopoeia Londiniensis (1618) includes root of both black and white hellebores. According to Gerard, `A purgation of Hellebor is good for mad and furious men, for melancholy, dull and heavie persons...and briefly for all those that are troubled with blacke choler, and molested with melancholy' (p.977, sig.Nnnn1).
distilled
together with
saltpetre*n8790
Potassium nitrate, also known as 'saltpetre' and `nitre', was used both medicinally and, as the basis of gunpowder, militarily.
and the flowers of
blindnettles.*n7968
One of many English names for a plant (Lamium) which resembles stinging nettle save that it does not sting. According to Geoffrey Grigson in The Englishman's Flora, it is so called in Somerset and Devon. Other names include `deaf nettles', `dead nettles' and `archangel'. Its medicinal uses have been for gynaecological and prostate problems.
I’ll give you the proportions, and the quantity is to take.*n7967
Even as she teases the young physician, Lady Strangelove shows herself to be up-to-date in matters medical. The time-honoured method of comparing and contrasting the opinions of ancient authorities has, she says, revealed discrepancies in their respective opinions. She proposes instead to adopt the clinical approach of Theodore Turquet de Mayerne (1573-1655), celebrated physician to both the French and the English courts. Mayerne's voluminous casebooks are models of diagnostic care; and he was a prime mover in the regularisation of apothecaries, their guild being chartered in 1617, and in the standardisation of pharmaceuticals, the first Pharmacopoeia Londinensis being published in 1618. This volume closes with a list of apothecaries' basic ingredients, including everything needed for the potion which Lady Strangelove is poised to prescribe.
525StrangeloveBut
if his malady grow out of ambition and his overweening hopes of greatness (as I conjecture),
then he may take a top of cedar,*n10146
Strangelove's taunt is at first iconographical rather than pharmaceutical. The cedar (cedrus) was known for its height: in An English Expositor (1616) John Bullokar defined it as `a tall great tree, which groweth in Africa, and Syria, straight vpright like the Firre tree'.
or an
oak-apple*n10148
An oak-apple is a gall which an insect forms around itself on an oak leaf. The joke may lie in the contrast between it and cedar-tops.
is very
sovereign†gg5738
efficacious or potent to a supreme degree (OED adj. 3)
with the spirit of
hempseed.*n10147
The seed of hemp (cannabis) is among the pharmaceutical simples listed in the Pharmacopoeia Londinensis (1618). Gerard reports various medicinal uses for hempseed in his Herball (second edition 1636): `it consumeth winde'; it clears obstructions in the ear canal; it cures yellow jaundice; and it improves egg production in hens. That none of these appears at all appropriate for Ferdinand's condition may be the point: Lady Strangelove is starting to torment the Doctor with silliness rather than (as before) knowledge.
526DoctorMadam, I seek no counsel in this case: my
cunning*n8788
Octavo of 1653 reads `cunning', which suggests that the Doctor is poised to insist upon his own knowledge in general and medical expertise in particular (OED `cunning' n 1 & 3). Lady Strangelove, however, responds to the word as if she had heard it as `coming' (OED vbl n sup 1 1) and anticipates an explanation of his motive in speaking to her.
is——
527StrangeloveTo let me know, that that part of my house which I allow you is too little for you.
You are come to warn me out
on†gg776
of it
’t, are you not?
531StrangeloveOr do you
call†gs1665
call for, demand (OED call v, 4f)
my attendance on his person, by
way of a
nursekeeper?†gg5736
a nurse who tends the sick (OED)
I can do little service.
532DoctorFor my part, Madam, I am sorry we are made the trouble of your house,
and rather wish me out
on’t †gg776
of it
than your favour.
But if your Ladyship will be pleased to entertain with patience the little I have to say——
534DoctorFirst, let me tell you, Madam, as ’tis
manifest†gg329
obvious, clear
You were the cause of his
distraction,†gg5247
disorder or confusion, caused by internal conflict or dissension; disturbance of mind or feelings
You're bound in charity to yield such means
(With safety of your honour and estate)
As you may render for his restoration
Which of all the earthly means depends on you
If I know anything in my profession.
536DoctorTrue, Madam, for a sight of you shall more
Allure†gg5737
draw forth, attract (OED v. 4)
his reason to him, than all medicine
Can be prescribed.
(Saving my honour and estate) I am bound;
But may I with the safety of my life,
And limbs, and a whole skin dare venture?
Lives of a hundred patients.
Now shall he see you, but at most secure
And modest distance.
541StrangeloveCome, for once I’ll trust you.[DOCTOR and STRANGELOVE] exit.
3.2*n10234
No scene division is indicated in Octavo of 1653. The reason for introducing one in this edition is merely that when the Doctor and Lady Strangelove exit together, their departure clears the stage. Dramatic time, however, is not broken; and if any change of place is imagined, the move is merely from somewhere in Lady Strangelove’s household to somewhere else in Lady Strangelove’s household. The act has begun with Philomel's statement of place: `These are the lodgings that my Lady appointed/ For your distracted patient' [CB 3.1.speech 405]. The demonstrative adjective suggests that she, the Doctor and Mendicant are conversing in or adjacent to the suite of rooms which Lady Strangelove has assigned to Ferdinand; but it is subsequently [CB 3.1.speech467] made clear that they are not in Ferdinand's own bedchamber within the suite. Immediately after the exit of Lady Strangelove and the Doctor, Swain-wit's speech of entry `into this garden here' [CB 3.2.speech542] establishes place for the rest of the act. A modern producer might decide to change stage sets at this point and thereby separate the fictional place where the act begins from that where it ends, but this would not be necessary nor even appropriate. Under early Stuart staging conventions, continuity of playing from one scene to another means that distinctions of place have to be indicated verbally. When, as in this act, they are not thus made, it can be assumed (until proven contrary) that they do not matter. What does matter in this act is an imaginary place offstage: Ferdinand’s bed-chamber.
Enter SWAIN-WIT and CIT-WIT.n10235
The 14 December 2008 workshop session on this scene started with lengthy consideration of whether or not the initial entrance of Swain-wit and Court-wit should be amplified by Court-wit, to whom Octavo of 1653 assigns a separate entrance three speeches further on: see [CB 3.2.line 1543]. Director Brian Woolland thought this change necessary to make sense of some parts of Swain-wit’s first speech [CB 3.2.speech 542] ; but neither the editor of the play, nor the actor who played Court-wit, was persuaded of his opinion. The strongest of the textual arguments against moving Court-wit's entrance from its position in the original text to the beginning of the scene are: (1) Cit-wit soon says [CB 3.2.speech546] that Swain-wit had `pulled me out', and his first-person singular pronoun does not suggest that a third person had been present; and (2) Court-wit somewhat later [CB 3.2.speech597] tells the other two Wits that he himself had left Philomel and Dainty `close on a couch together kissing', and his use of a singular first-person pronoun implies that he had remained offstage to observe the couple's amorous activity rather longer than the other two Wits had done. Moreover, nowhere else in Octavo of 1653 is an entrance misplaced by more than a line or two, nor does anything about the placement of either of these entrances on the page suggest that something has gone awry in printing. This edition has therefore retained the entrances from Octavo of 1653, but it has amplified Swain-wit’s first speech with directions distinguishing those parts of it which are to be addressed to Court-wit, still offstage. In workshop, it was General Editor Richard Cave who pointed out the possibility of such directional additions, and I am grateful to him for the suggestion. Their effect can be observed in the second of the three different walk-throughs which, along with some of the discussion of how to arrange the entrances, are recorded in the following video clip: .
542Swain-wit [Calling to COURT-WIT, who is still offstage] Come out into the garden here and let them talk within.
I say he shall talk with her, and his bellyful, and
do†gg4811
have sex with (OED doing vbl n, 1b: euphemism for copulation)
with her too, her bellyful,
for all†gg5739
notwithstanding (OED all a, 9c); despite
thou, an honest
discreet†gg2336
judicious
gentleman,
[turning to CIT-WIT] and thou, a coward and a
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)
Besides he has an art and
quality†gs1574
profession, occupation, business, especially that of an actor (OED n. 6a [a])
to live upon, and maintain her lady-like,
when all thy money may be gone. And yet thou prat’st o’ thy
two thousand pound at use,*n10236
Cit-wit's income is not mentioned elsewhere: that it is ten times Swain-wit's own [CB 2.1.speech309] may help to explain the Cornishman's antipathy.
when thou and thy money too are but an ass and’s load tho’.
543Cit-witWell, you may speak your pleasure. This is no cause to fight for.
544Swain-witI’ll make thee fight, or promise to fight with me, or somebody else, before we part, or cut thee into pieces.
Enter COURT-WIT.
545Court-wit [To CIT-WIT] But tell me seriously, dost thou love my Lady’s woman so well as to marry her,
and suffer the picture-drawer now to court her privately, and perhaps to
draw†gg3085
attract, entice, lure
and carry her from thee?
546Cit-witWhy, he here will have it so, you see, and pulled me out.
548Cit-witCoward!
Pish!†gg3269
an interjection 'expressing contempt, impatience, or disgust' (OED)
A common name to men
in
buff†gg2891
a leather (made generally in England out of ox-hide, treated with oil till it developed a fuzzy, dull yellow finish) from which at this date soldiers’ clothing was fashioned
and
feather.*n8789
military uniform, with a implicit sneer at Sir John Suckling's extravagant outfitting of his troop of solders `in white doubtletts and scarlett breeches, and scarlet coates, hatts, and...feathers' (`Brief Lives,' chiefly of Contemporaries, set down by John Aubrey, between the Years 1669 and 1696, ed. Andrew Clark (Oxford: Clarendon Press, 1898), II, 242
I scorn to answer to’t.
549Swain-witWhy dost thou wear a sword? Only to hurt men’s feet that kick thee?
551Swain-wit [To COURT-WIT] Pray hold your peace. I’ll
jowl†gg5740
knock, bump, bang (OED v1. 2)
your
heads together, and so beat
tone†gg6046
the one (of two)
with
tother†gg1195
other (of two)
else.
[To CIT-WIT] Why dost thou wear a sword, I say?
555Cit-witI am not to tell you that, sir. It must be found out and given me before I ought to take notice.
556Court-witYou may safely say for Religion, King or Country.
558Cit-witWho that has any Religion will fight, I say.
560Cit-witTruly, in this
wavering†gg2369
inconstant, fickle
world I know not how to answer.
561Swain-witLa†gg4314
an exclamation used ‘to call attention to an emphatic statement’ (OED int.)
you! He’ll say he has no King neither, rather than fight.
562Court-witWhy, if he will not fight for him, he is no Subject; and no Subject, no King.
564Swain-witOh, thou wouldst make a
special†gs1575
notable, important, distinguished (The OED examples of this now-obsolete sense [a, 1d] are all dated between 1576 and 1631.)
soldier now!
565Cit-witWell, sir, all are not choice dogs that run: some are taken in to make up the
cry.†gg5741
pack of hounds (OED n. 13a)
566Swain-witAnd for thy Country, I dare swear thou wouldst rather run it than fight for’t.
568Swain-witDarest thou tell me of
clowns,†gs1322
man without refinement or culture; an ignorant, rude, uncouth, ill-bred man (OED clown n, 2), opposed to `courtier'
thou
cockney*n9799
A cockney is someone who was born in the city of London -- more precisely, within the sound of the bells of St. Mary-le-Bow in Cheapside. Swain-wit is here using the word to counter the insult implicit in `clown'. As the OED entry for this sense explains, the word is `always more or less contemptuous or bantering, and particularly used to connote the characteristics in which the born Londoner is supposed to be inferior to other Englishmen.' John Minsheu's multi-lingual dictionary Ductor in Linguas (1617) gives an etymological anecdote which insults citizens' sons like Cit-wit: the `tearme came first out of this tale: That a Cittizens sonne riding with his father out of London into the Country, and being a nouice and meerely ignorant how corne or cattell increased, asked, when he heard a hourse neigh, what the horse did, his father answered, the horse doth neigh, riding farther he heard a cocke crowe, and said doth the cocke neigh too?
chicken-hearted
whelp,†gs1727
low fellow; impertinent youngster (OED n1. 3b)
thou?
569Cit-witforbear,†gs1728
be patient (OED 8c)
good sir! There are country gentlemen as well as clowns, and for the rank I honour you.
570Swain-witSirrah, you lie! Strike me for that, now, or I will beat thee abominably.
571Court-wit [To CIT-WIT] Up to him, man! Wilt thou suffer all?
574Cit-witI think I do, I think I do, and why should I
maintain†gs1729
support, uphold, defend
an evil cause?
575Swain-witThe wench thou lov’st and
doatest on†gg6048
art infatuated with
is a whore.
576Cit-witSir, if she be ’tis not my fault, nor hers: somebody else made her so then, I warrant you.
But should another man tell me so!
578Cit-witI would say as much to him as to you. Nor indeed is any man’s report of that
a sufficient cause to provoke me unless she herself confessed it, and then it were no cause at all.
579Swain-witHere’s a true
City†gg3452
The City of London, the ancient capital and commercial area with its own system of power and government; often contrasted with the Royal Court, based a few miles down the Thames at Westminster and Whitehall, a rival base of power, authority, and culture
wit now.
580Cit-witI should
have wit, sir, and am accounted a wit*n8791
Have discretion or prudence (OED n, 6a)...considered to be a person of lively fancy, who has the faculty of saying smart or brilliant things (OED n, 10).
within the walls.*n8792
within the City of London: see [NOTE n1571] re `City Walls'
I am sure my father
was master of his
company,†gg5719
City of London trade guild (OED n. 6a) which both regulated the practices of its members and also was part of the political organisation of the City
and of the wisest
company, too, i’the
City.†gg3452
The City of London, the ancient capital and commercial area with its own system of power and government; often contrasted with the Royal Court, based a few miles down the Thames at Westminster and Whitehall, a rival base of power, authority, and culture
582Cit-witThe
Salters,*n8793
Incorporated in 1558, the Salters were a London livery company, one of the twelve great companies from whose ranks the aldermen (and eventually mayor) of the City of London were chosen.
sir. For
sal sapit omnia*n8783
The Latin phrase sal sapit omnia, which is indeed the motto of the Salters' Company, means `salt seasons everything' or `salt gives savour to all things'. In citing this phrase to prove that the Salters are the wisest of the City companies, however, Cit-wit is perpetrating a pun which turns on the double sense of the Latin 2nd-conjugation verb `sapere': as it can mean `to know' or `to be wise', the motto could be translated as `salt knows all'.
you know.
583Swain-witYour father was a
cuckold†gg1331
man with an unfaithful wife, traditionally thought of as having horns on his head
tho’, and you the son of a whore.
584Court-witFight now or you’ll die infamous! Was your mother a whore?
586Cit-witComparatively she might be in respect of some holy woman, the
Lady
Ramsey,*n8795
Mary Dale Avery Ramsey (d. 1601) was the second wife of Sir Thomas Ramsey (1510/1-1590), a freeman of the Grocers Company who held high office in the City of London. The couple were noted for their charitable giving, which she maintained as a widow. A particular beneficiary of their philanthropy was Christ's Hospital, where her portrait survives. They both figure in Thomas Heywood's If You Know Not Me You Know Nobody (1606), where she is represented `as the model of virtuous civic womanhood' (Ian W. Archer, ODNB entry).
Mistress Katherine Stubbes*n8794
Katherine Emmes Stubbes (1570/1-1590) was the wife of the Protestant pampleteer Philip Stubbes (c.1555-1610), best known for his Anatomie of Abuses (1583). She died, aged 19 or 20, weeks after giving birth to their son. Her widower promptly memorialised her in a pamphlet entitled A Christal Glasse for Christian Women: Wherein they may see most wonderfull and rare examples of a right vertuous Life and Christian death. First published in 1591, it went through multiple editions. As Alex Walsham notes in her ODNB entry on the couple, `It is difficult to disentangle the historical person Katherine Stubbes from the paragon she became in a text heavily conditioned by generic convention.' According to her widower, the paragon's virtues included avoidance of entertainments in his absence: `When her husband was abroad...there was not the dearest friend she had in the world that could get her abroad to dinner or supper, or to plaies or enterludes, nor to any other pastimes, or disports whatsoever' (sig A3).
and such, ha, ha! Is that a cause?
588Cit-witHe may say his pleasure. It hurts her not: she is dead and gone. Besides,
at the best she was but a woman, and at the worst she might have her frailties like other women.
And is that a cause for me to fight for the dead, when
we are forbidden to pray for ’em?*n8796
Praying for the souls of the Christian faithful departed was a charitable devotion which, being dependent upon the doctrine of Purgatory and associated with the practice of indulgences, went out with the Reformation. In England, prayers for the dead disappear from the Prayerbook as of its second Edwardian version (1552). See Eamon Duffy, The Stripping of the Altars (1992), passim, but especially 338-376, 485.
589Court-witBut were your mother living now, what would you say or do?
590Cit-witWhy, I would civilly ask her if she were a whore. If she confessed it,
then he were in the right, and I ought not to fight against him, for my cause were naught.
If she denied it, then he were in an error, and his cause were naught,
and I would not fight: ’twere better he should live to repent his error.
591Swain-witNay, now if I do not kill thee, let me be hanged for idleness.
[SWAIN-WIT] draw[s his sword from the scabbard at his side].n10237
Both the position of the stage direction in the middle of the line in Octavo of 1653 after the end of Swain-wit's speech and the content of the dialogue make clear that it is he who draws a sword here [CB 3.1.speech591] and then sheathes the sword in its scabbard four lines later [CB 3.1.speech595]. In workshop session on 14 December 2008 actors Joseph Thompson as Swain-wit and Alan Morrissey as Cit-wit invented appropriately comic business around Swain-wit's sword .
593Swain-witI care not! Unless thou swear presently, and without all
equivocation,†gg6049
intentional ambiguity in speech
upon this sword —
594Cit-witScabbard†gg4963
sheath or covering for a sword
and all, I pray, sir. The cover
of the book is allowed in courts to swear upon.
595Swain-witWell, sir, now you shall swear to challenge the next that wrongs you.
[SWAIN-WIT] sheathes it [back in its scabbard].
596Cit-witYes, if the wrong give me sufficient cause.
597Court-witCause again! suppose that fellow within should take your wench from you?
which very likely he has done already, for I left ’em close on a couch together kissing and —
600Court-witI like a man, whom neither lie, kick,
baton,*n8797
] Octavo of 1653 reads `Battoune': according to the OED entry, the usual spelling in the 17th and 18th centuries was `battoon'. The sense is double: one sense, which continues the physical violence of the previous word (`kick') in the series, is `club, cudgel, truncheon'(OE n, 1a); and the other sense, which anticipates the shame of the next word (`scandall'), is `the baton sinister, the badge of bastardy' in English heraldry (OED n, 3).
scandal, friends, or parents,
the wrongs of Country, King or Religion, can move, that will, yet, fight for his wench.
Thou wilt be one of the
stiff blades*n8799
Stalwart gallants, stout roysterers (OED stiff, a, 13a; OED, blade, n, 11a) with a sexual innuendo, which the double entendre of Swain-wit's reply will continue, on both words. The stage picture makes the verbal joke unmissable: with Cit-wit lifting up Swain-wit's scabbarded sword in order to swear upon it, Swain-wit will present the image of a man with an enormous erection.
o’ the time, I see.
601Swain-witA wench is a
moving cause*n8798
quibble on (a)incitement to an action, and (b)excitement to an erection
—
602Strangelove [Screaming,] unseen, above.*n9328
Octavo of 1653 places this stage direction to the right and across two lines, the second of which is the cry for help which it governs.
Help, help! Here help!
Aaaaah!!!*n9733
]---ha---
603Swain-wit [To CIT-WIT] Why dost not draw and run in upon ’em?
606Cit-wit [Drawing his sword] No, sir, I am drawn, you see.
607Strangelove [Still unseen above] Help, help, a rape, a rape, murder, help!
[COURT-WIT and SWAIN-WIT draw their swords.]*n9330
Octavo of 1653 reads: `Draw all'. This stage direction is placed to the right of the single line ([CB 3.2.line 1659]) which is Strangelove's second cry for help ([CB 3.2.speech607]).
Enter DAINTY (his sword drawn) and PHILOMEL.
615Strangelove Above.*n9331
Octavo of 1653 places this stage direction to the right the cry for help (Speech No. 613) which it governs.
Is there help? Help, help!!!
616PhilomelOh, ’tis my Lady in the madman’s chamber. Is her mirth come to this?
618PhilomelHere, here!
[Trying a stage door] The door’s made fast.
[COURT-WIT, SWAIN-WIT, PHILOMEL and DAINTY exit. CIT-WIT, his sword still drawn, remains onstage.]n9335
In Octavo of 1653 the corresponding stage direction is placed, parenthetically, to the right of the two-line exchange between Swain-wit and Philomel about the door [CB 3.1.lines1671-1672]. It reads: `Exe. omnes Pret. Cit. his sword drawn.' That is, with abbreviations expanded: `Exeunt omnes Praeter Cit-wit his sword drawn', which translates `Let all go off except Cit-wit whose sword is drawn.' Having been quickly filled up with ineffectual activity, the stage now almost empties again, and even more quickly than it had filled up. Workshop session on 14 December 2008 demonstrated Brome's skill in thus orchestrating comic confusion: see clip .
620Doctor Look[ing] out [from stage window] above*n9339
In Octavo of 1653 the corresponding stage direction is placed, parenthetically, to the right of three lines, starting at [CB 3.2.line1673] with the speech from the Doctor ([CB 3.2.speech 620])which it governs. It there reads: `Doctor looks out above.' There is no direction for the Doctor to stop looking out. However, his disappearance from the stage window will be cued by, and will probably occur during, Ferdinand's detumescent rant at [CB 3.2.speech622].
Help here! Help the Lady! Help the Lady!!
621Cit-witWe are a-coming, you shall have help enough, I
warrant!†gg589
employment, interest
What’s the matter?
You shall not lack for help —
[CIT-WIT] flourish[es] his sword.
622Ferdinand Above unseen*n9341
Octavo of 1653 places this stage direction to the right of the last line ([CB 3.2.line1680]) of the speech ([CB 3.2.speech622]) that it governs.
Away,
Medusa!*n9798
In classical Greek mythology, the ugliest of the three gorgons, Libyan monsters who had serpents instead of hair on their heads. Medusa was so hideous that the sight of her face turned the beholder to stone.
Hence,
thou hast transformed me! Stone, stone, I am all stone!n8758
Complaining of impotence, and consequent inability to rape his hostess, Sir Ferdinando overstates his figurative transformation. Where the sight of Medusa turned her victims wholly to stone, the petrification of Sir Ferdinando has been limited to his genitals. Note that the actor of Ferdinand is invisible: the nakedness of the character and the flaccidness of his penis are left to audience imagination. What is visible is the actor of Cit-wit, left alone onstage. In the workshop on 14 December 2008, Alan Morrissey devised some showy swordplay which responded to Ferdinand's cries: see clip .
Bring mortar and make a
bulwark†gg3144
a fortification
of me.
623Cit-witOh, that’s the madman! How madly he talks!
625Cit-witStones*n8760
Picking up Ferdinando's metaphor for impotence as petrification and his mad call for mortar to make himself into a bulwark, Cit-wit exploits the familiar slang sense of `stones' as 'testicles': Ferdinando's cannot be big enough to be incorporated in military fortifications. For them to serve merely as ammunition for a demiculverin, they would have to be very large indeed: that kind of cannon had a four-and-half-inch bore.
to make a bulwark,
quotha!†gg43
'said he', i.e. indeed! (OED); sarcastic exclamation
If he had but to make a brace of
demi-culverin*n8761
Octavo of 1653 reads `demy-culvering'.
bullets,
they were
thumpers,†gg5709
anything ‘thumping’ or strikingly big of its kind (OED 3, where the earliest example given for usage in this colloquial sense dates from 1660)
I think.
626FerdinandHold me not down, but rear me up, and make me my own statue!
Enter STRANGELOVE, SWAIN-WIT, COURT-WIT, DAINTY [and] PHIL[OMEL].*n12043
627StrangeloveWas ever such a
practice?†gg5711
stratagem, trick, treachery (OED n. 5a and 5b)
628Court-witA mere
accident†gg5713
symptom (OED n. 3)
of madness.
629StrangeloveI say it was a
practice†gg5711
stratagem, trick, treachery (OED n. 5a and 5b)
in the Doctor.
631StrangeloveYou had broke up the door first. That was but to
colour†gg5714
disguise (OED v. 3)
his treachery.
632Swain-witA new way, and a very learned one, I promise you, to cure madness with a
plaster†gg5715
a solid medicinal or emollient substance applied to the skin (OED n. 1)
of warm lady-guts.
633Cit-witHe would ha’had a mad bout with my Lady, it seems. He would ha’
vented†gg5716
discharged, evacuated (OED v2. 2b)
his madness into her. And
she could ha’ drawn better than the leeches.*n8769
Cit-wit likens sexual ejaculation into a woman's vagina to medical blood-letting by means of leeches. Behind the analogy lies the venerable notion of human health as a balance among four fluids or `humours': phlegm, blood, choler (or bile), black choler (or black bile).
634Court-witIf you believe this, Madam, tho’ Sir Ferdinand be by his madness excusable in the attempt, you ought to be revenged upon the doctor.
636StrangeloveI’ll think upon some way to make him a dreadful example to all
the
Pandarean*n8772
That is: pimp-like, from Pandarus, who procures Cressida for Troilus in medieval legends of Troy. (In the classical Greek narratives, Pandarus is no pimp but a skilled archer who fights on the Trojan side.) This adjectival form does not appear at all in the OED, which gives an example (from Thomas Dekker's Wonderfull Year) of the participal adjective for early as 1603. An emendation of the 1653 Octavo reading `Pandarean' to `pandering' is thus a possibility here.
doctors i’the town. Come in,
gentlemen, and help me with your advices.
[All start to exit, DAINTY taking PHILOMEL by the arm as they move off.]
637Cit-witYou shall
want†gg491
lack
no advice, Madam,
no strength. Let’s go, sir.
[CIT-WIT detaches PHILOMEL from DAINTY.]n9345
In Octavo of 1653 the stage direction corresponding both to this and to part of the one which this edition has added to the preceding speech (No. 636) reads: `He snatcheth Phil. from Dainty, who took her by the arm.' This is printed, parenthetically, to the right across two lines -- Cit-wit's exhortation at [CB 3.2.speech637] and Philomel's question at [CB 3.2.speech638]. (See [CB 3.2.line1709] and CB 3.2.line1710].) Neither the original stage direction nor the dialogue makes clear to whom Cit-wit speaks his stage-clearing exhortation: it could be addressed threateningly to Dainty, possessively to Philomel, and/or triumphantly to Swain-wit andCourt-wit. In workshop on 14 December 2008, Alan Morrissey as Cit-wit centred its delivery first on Philomel and then on Dainty before striding off: see clip
639Cit-witI have
sworn†gg1956
promised by oath
. Therefore I say no more, but I have sworn.
[All exit.]*n9343
Octavo of 1653 reads: `Exeunt omnes.'
Edited by Marion O'Connor