ACT FOUR*n2235
Act Four is again composed of two scenes, both of which are set in taverns in Covent Garden. In the first, the sadism previously seen becomes more pronounced when two prostitutes are encouraged to assault a citizen who has spent the night with them but then badmouthed them the next morning. The scene can be acted with different intensities of violence, from the essentially farcical to something far more disturbing. During the assault, which is orchestrated by Nick, Cockbrain enters and attempts to intervene, whereupon Nick encourages the prostitutes to turn their attention to the disguised would-be magistrate, whose false beard and wig come off in the struggle. Cockbrain's son, Anthony, recognizes his father and intervenes to protect him.
In the second scene Mihil has taken his elder brother Gabriel to the Paris Tavern, continuing the attempt to get him so drunk that he will forget his puritanism. Here they meet Dorcas and Madge, who are attempting to rendezvous with Nick. Mihil recognizes Dorcas and Dorcas recognizes Mihil and Gabriel and there is a touching set of dialogues among them as Dorcas attempts to make herself known to Gabriel, with whom she has previously been in love, while Mihil increasingly takes command of the situation and begins to formulate schemes that will enable the various plotlines to be brought to a satisfactory conclusion. Towards the end of the scene, Nick, Anthony, Clotpoll, and the two prostitutes Betty and Frank arrive at the Paris Tavern and a scene of some confusion develops, with Gabriel, now well and truly drunk, misunderstanding much and nearly engaging in a fight with Nick. The scene ends with Crosswill's arrival, having been guided by Belt. Mihil encourages the young people to brazen it out and successfully manipulates his father to give them yet more money to pay for the entertainment.
4.1*n7334
This scene is full of a turbulent energy, with more and more characters arriving on the stage to participate in or observe the chaos and violence of the lives of the prostitutes, the young men, and all who associate with them. The scene is both funny and disturbing, and Brome's skill in maintaining and alternating the two is impressive. Even something close to a preliminary reading of the scene revealed its vitality, moving forwards with dynamism and confidence and carrying the audience through radically different moods in their response.
[At the Goat Tavern]
700BettyNay, you perpetual
puss†gg1698
generally a term, often of abuse, for a woman, but here specifically for a prostitute
, I’ll fetch him out of the very bowels of thee.
701FranciscaHe never
came so deep himself*n837
Obvious obscene reference.
yet with all that he could do, and I scorn the threatening of a she-
marmaset*n3797
] marmaser
†gg1699
a small monkey, usually used in a derogatory way for a contemptible male
.
702Nicholas Within*n3281
1659: (Within), set at the beginning of Nick's speech.
Why, Betty, Frank, you mankind
carrions†gg3125
something disgusting and corrupt (OED carrion n, 6); but here, preceded by mankind, also implying that the prostitutes are human versions of flesh-eating birds or animals (OED carrion-crows)
, you! I vow, open the door! Will you both kill one another, and cozen the hangman of his fees?
703BettyThou hadst been better have bit off the
dugs†gg2785
breasts (by the early seventeenth century this term is becoming derogatory)
of thy dam, thou
pin-buttock†gg1700
as in All's Well that Ends Well 2.2, refers to a thin-buttocked person
jade†gg532
on the analogy with an exhausted horse, a jade is an overused prostitute (or more crudely: a clapped-out tart)
, thou, than have
snapped†gg3126
(of animals) to make a quick or sudden bite at something; to feed on in this way (OED snap v, I 1a)
a bit of mine from me.
704FranciscaHere’s that shall stay your stomach better than the bit you snarl for. Thou greedy
brach*n841
A variant of bitch (OED hound n, 7), from which also a female beggar (OED beggar n, 8).
, thou.
705Nicholas Within*n3281
1659: (Within), set at the beginning of Nick's speech.
Why, wenches, are ye wild? Break open the doors.
706BettyThat I could split that devilish tongue of thine!
707FranciscaI have as good a spite at†gg3127
a particular instance of malignant or rancorous feeling directed towards a special object (OED 3a)
as ill a member about thee*n842
The exact meaning is difficult to identify here and there may be a textual corruption. However, the sense is clear: the 'member' is the tongue and Francisca is as ready as Betty to split her rival’s in a fight.
.
NICHOLAS and ANTHONY enter
709AnthonyAre ye so sharp-set, ye
Amazonian trulls?†gg1701
a low prostitute or concubine; a drab, strumpet, trollop (OED)
*n843
Anthony’s ridiculous combination, 'Amazonian trulls,' initiates the bathetic juxtaposition of epic reference and low behaviour that Nick will engage in so exuberantly in the following speech.
710Betty*n9179
This is an example of a press correction in the 1659 printing. Some copies (British Library BL 162.c.21, British Library BL 18536, and Bodleian Library, Oxford, Douce B 334) assign this speech to Belt, clearly misreading the manuscript. Others correct to 'Bett'. The British Library BL 18536 ms. annotator spots the error and corrects.
Let me but make one
pass†gg3128
in fencing, a lunge or thrust made with a sword or rapier (OED n4. 10a)
at her.
712NicholasCan no
blunter tools*n4592
'Tool' is often a term for a sword, and so appropriate here. But it is also a slang term for penis and the 'blunter tools' are a probably sexual joke at the expense of the prostitutes.
than these serve to take down your furies?
713BettyLet me come but within nails’ reach of her.
714FranciscaLet me but try the strength of my teeth upon her.
715NicholasAs Hector ’twixt the hosts of Greece and Troy,
When Paris and the Spartan king should end
Their nine years wars, held up his brazen lance
In signal, that both armies should surcease
And hear him speak. So, let me crave your audience:n3850
Nick's speech makes fun of the women's breach of decorum in proposing to fight in a manner appropriate to men. He parodies the heroic verse, narrative and dramatic, of the period. Using elevated diction ('surcease') he invokes the pre-eminent epic, the Iliad, casting himself as the noble and peace-seeking Hector attempting to part the Trojan Paris and the Spartan king Menelaus and their armies (Book 3: Hector 'went to the middle ground, between the armies,
halted Trojan troops, grasping the centre of his spear shaft'). The result of Nick's intervention is bathos, deflating the women's anger and defusing the quarrel.
Nick thoroughly enjoys himself, however, even as he prevents the fight. Adam Kay leapt onto a table to show Nick's dominance of the scene, giving him a stage on which to perform his parody.
Dear Bettie, be advised, and Frank, forbear
Thy thirst of sister’s blood, whilest I rip up
The folly of your strife. Your cases both
Have been laid open to me.*n7329
Nick ceases with epic diction and now turns judicial.
You contend
For love of a lewd citizen, that sleights,
Nay more, disdains, nay more, defies you both.
Tony can tell, Mun Clotpoll also knows
The words he spoke, that you were both poor whores,
Not poor alone, but foul infectious harlots.
And that he wears your
marks*n3851
The Citizen has been complaining that the prostitutes have transmitted venereal diseases to him.
*n845
] mark (singular). But the noun needs to correspond with 'them' in next line, so emended to plural.
The prostitutes may have wounded the Citizen already, but Nicholas probably also makes facetious reference to the marks of venereal disease acquired from them.
with pain and sorrow,
Hopeless to claw them off. With constant purpose
Never to see you more, unless to greet
Your bumping buttocks with revengeful feet.
717FranciscaAnd must we two fall out for such a slanderous villain?
719NicholasBuss†gg1702
embrace, kiss
and be friends. Buss, or I’ll baste ye both, I vow.
720BettyCome, sister, we’ll be in for ever now.
721FranciscaFor my part, sister, sure I was not out with you.
722BettyBut did he say he would kick us?
723AnthonyLo here, the man*n847
Anthony echoes a standard epic formula ('Lo, here the man...'), continuing Nick’s mock-heroic diction. His line is, appropriately, an iambic pentameter.
that dares it not deny.
CITIZEN and DRAWER enter
724CitizenBut do ye hear, gentlemen? I hope you will use me kindlier than so.
726CitizenThan to win all my money, and leave me at stake for the reckoning. Pray, do you pay the drawer for me,
though I pay it you again.*n3143
Meaning, 'for I will repay you'. The use of 'though' (OED 4) may be provoked by the form of the Citizen's request to the young men: 'Pray do you pay the Drawer'.
728DrawerThe gentlewomen and he had fourteen shillings in before you came.
729Nicholas’Tis a plain case, your cloak must answer it at the bar, sir.
Drawer, away with it*n848
Unable to pay with money, the Citizen forfeits his cloak in payment of the outstanding debt.
.
Exit DRAWER with [CITIZEN’s] cloak.
731NicholasI vow,
do but look after it, till we be gone, and these shall claw thine eyes out*n849
If you but look at your cloak until the rest of the company has left, the two punks will attack you.
.
732CitizenWell, sir,
I hope this quarter will not be always lawless*n850
Splendidly hypocritical, after a night with the whores in the tavern.
.
733AnthonyDo you grumble, Master
Cuffless*n851
The citizen is nowhere else called by this name. Though it may be the character’s name, it seems more likely to be a snide epithet, a caste insult. Generous cuffs marked higher social status; cuffless shirts labeled the wearer as an artisan. It is ironic that Anthony, whose own caste is uncertain, makes this joke.
?
734NicholasI vow, you shall have
cuffs*n852
Nick puns to mean 'blows.'
.
736FranciscaCuts and slashes too before we part, sir.*n4593
Francisca too has a line of iambic pentameter here.
738NicholasDamsels, forbear; and you, forbear your noise.*n4594
Nick takes control once more with iambic pentameter rhythm and obvious rhetorical patterning ('forbear ... forbear').
I vow, I’ll slit your
whistle†gg3129
a jocular, colloquial name for the mouth or throat as used in speaking or singing (OED n. 2)
else. You shall give him due correction
civilly*n853
Nick harps on 'civil', drawing attention again to the difference in caste.
, and we will make him take it civilly. Sit you down, sir.
CLOTPOLL and COCKBRAIN enter
741ClotpollO, are ye here? Was it a brotherly trick, do ye think, to leave me to pay one reckoning twice? Or did I think never to be made a mouth more, after I had paid my swearing dinner, and am I now a greater mouth than e’er I was?
742NicholasMum, hold your tongue still in your mouth, lest I
halifax*n854
No other such literary uses have been found, but probably refers to a Halifax blade, used in sheep shearing. Nick is threatening to cut off Clotpoll’s tongue if he persists in talking.
it with your teeth.
743Clotpoll [Aside] “Halifax my tongue”. And “listen to a business”.
[Writes in his notebook]
746NicholasThese are the Sisters that his lavish tongue so lewdly did deprave.
747ClotpollI cry them heartily mercy. Are you of the sweet Sisterhood? I hope to know you all, all the pretty
mumpers†gg1647
a beggar, a mendicant; a person who sponges on others (OED), from the Dutch, Momper
*n855
OED cites usages in The Weeding of Covent Garden but says the precise sense is unclear. Clearly, Brome's characters think that, as well as beggar, the word connotes prostitute. Here almost surely a sexually active woman, a prostitute, 'a goer' in colloquial modern English
in the
bury*n856
'Berry' is a colloquial form of 'borough' or 'burrow', closely connected terms. Clotpoll may mean 'all the prostitutes in the town', or 'all the prostitutes in the [coney-]burrow', with the obscene reference to female genitalia and rabbits; or he may mean both.
here, before I have done. ’Tis true, I protest, he spake words of you, that such flesh and blood could not bear. He could not have spoken worse of
mutton of a groat a quarter*n857
a cheap cut of meat, but 'mutton' means prostitute.
.
748BettyAnd were we so
fond†gg1469
foolish
to fight for him?
749FranciscaBut now we’ll both be revenged upon the flesh of him.
751NicholasNo, they shall beat you first. And mark me well. Do thou but stir an hand or foot, or raise a voice that may be heard to the next room, we’ll cut thy
weasand†gg1703
throat, windpipe
. Now, wenches, take your course.
752BettyNay, you slave, we’ll mark you for a
sheepbiter*n860
A malicious, shifty person; but here more specifically a whore-monger, as in John Tatham’s play, Love Crowns the End (1632), 25, 'since I came among these mutton-mongers - these sheep-eaters'. See John Tatham, The Fancies Theater (1640).
.
754BettyHave I given you that you cannot claw off, you mongrel?
755ClotpollRare, I protest*n2971
Clotpoll's wide-eyed enjoyment of the attack on the Citizen is another indication of his unpleasant character. He exhibits a range of sociopathic attitudes and responses.
.
756Citizen*n9180
This is another example of a press correction. Some copies print the Speech Prefix as 'Ciot.' (British Library BL 162.c.21; Bodleian Library, Oxford, 8o B 459(2) Linc.; National Art Library Dyce 25.E.44); others have this correctly as 'Cit.'.
Oh!–Oh!–Oh!
757NicholasThere, there!n7330
Nick appears to be directing the prostitutes to attack the citizen in specific parts of his body. It seems likely they aim for his genitalia.
761CockbrainO outrage, most insufferable,
all this goes into my black bookn2214
There is no suggestion that Cockbrain is actually writing in a notebook, but the similarity with Clotpoll does not tend to increase his dignity.
Cockbrain can here address the audience in an aside, drawing them into the scene while indulging his own pomposity.
.
762NicholasTo him Bettie, at him Frank; there, whores, there.
763AnthonyFie, fie, forbear, enough, too much in consciencen861
Anthony is working himself up to intervene, being morally outraged by the attack. But Brome renders him risible by packing his speech with fs: 'Fie, fie, forbear, enough'. Jonson undermines Bonario when he prevents the rape of Celia in the same way in Volpone: 'Forbear, foul ravisher, libidinous swine, free the forced lady, or thou diest, impostor.' (3.7. 266). Like his master Jonson, Brome undermines his 'hero' by making him say 'forbear' instead of the more authoritative monosyllable, 'Stop'.
Nonetheless, Anthony's role -- both here and in maintaining moral order throughout the play -- is more than funny. One of this scene's problems explored with actors was how to render Anthony's role more prominent than the number of his lines would seem to permit. Without that, his status as a moral touchstone seems inconsequential. By making his asides directly to the audience and placing him at the front of the stage, audience awareness of Anthony's significance could be strengthened.
.
767NicholasI vow, do you prate? You shall have as much. Come, take the chair, sir, the braches*n9181
In the 1659 printing, this is set as 'breaches' (see [GLOSS gg5102]). But Nick is referring to the prostitutes as attacking dogs (Cockbrain himself will later refer to them as 'hell-hounds' [CG 4.1.speech780].
shall bait him too.n7331
Cockbrain's incautious intervention is another of the scene's turning-points. Nick rounds on him and thrusts him into the place vacated by the citizen, so that Cockbrain too can be bullied and hurt. Nick's response is dark and sadistic.
769NicholasI vow, they shall. To him and claw him, I’ll
clapperclaw†gg1704
to claw or scratch with the open hand and nails; to beat, thrash, drub (OED)
*n862
Nick may be playing on the diseased nature of the prostitutes, 'clap'.
your sides else.
[BETTY and FRANCISCA attack COCKBRAIN; COCKBRAIN’s false beard and wig come off]
772AnthonyAnd his head too.*n4595
Clotpoll means that Cockbrain's wig has come off in the struggle.
What rotten
scab*n863
Scab is a term for the pox. Anthony playfully asks if the disguised Cockbrain is so far gone in venereal disease that he’s falling apart.
is this?
773ClotpollI protest, they have pulled my pieced brother*n864
A 'pieced brother' in the sense that Cockbrain had paid Clotpoll’s pieces, his reckoning at the last tavern. This is the beginning of a series of different uses of piece and peace in this act, but it began with Cockbrain’s praise of 'yond magnificent Piece', the Piazza in Covent Garden, in Act 1, Scene 1.
in pieces here.n7332
Clotpoll's lines can again be direct address to the audience, framing the action and drawing the audience in.
774NicholasI vow, some disguised villain, and
but for doing the state so good service*n865
By delivering him alive as a spy to the authorities.
, we would hang him presently without examination.
775Anthony [Aside] I know him. And you shall not touch him. Best is, he knows nor me. Good heaven, what braintrick has possessed him?*n866
The actor has to make decisions at this point about how much of this speech is an aside or direct address to the audience. Is all of it aside, or only after 'touch him'? Anthony’s next speech implies that Nick has not heard any of this one.
777AnthonyCome, ’tis an honest fellow, that is only
ashamed to run so base a course for his living in his own face*n867
Anthony suggests that Cockbrain is ashamed of being a low tavern singer and so does his job in disguise.
. Poor man, I warrant
his fear threatens his breeches shrewdlyn3852
Terrified of the coming attack, the disguised Cockbrain may lose control of his bowels. In keeping with the rest of the scene, which combines comedy with something much darker and sadistic throughout, Cockbrain's terror and its consequence can be played for broad humour.
. But let’s away, and quickly, our stay is dangerous. Come, we forgot Mick Crosswill and the wenches.
778NicholasCome all away, then. Sirrah,
thank this gentleman*n4596
Nick indicates that Anthony is the intercessor.
, and pray for him at the end of your songs hereafter.
779ClotpollFarewell, friend piece. I’ll know you better now, before you have
’t*n8825
It is not immediately clear what 'it' refers to. Has Clotpoll picked up Cockbrain's false beard or wig?
again.
All exit except COCKBRAIN and CITIZEN
780CockbrainWhat monsters in mankind? What hell-hounds are they?*n3144
The first two lines of this speech are printed as prose in the 1659 text. However, they are sufficiently close to iambic pentameter for this edition to set all four lines as verse. Cockbrain seems to be self-dramatising as ever.
Only as Ovid feigned among the
Getes†gg1705
the Getae, the Thracian tribe among whom Ovid was sent into exile
.
A friend at need, I with a friend was blessed,
Whom I may gratify, and plague the rest.
How is it with you, sir?
781CitizenO, I am very sore.n7333
Attention turns to the Citizen at the end of the scene: hurt, humiliated, pitiful, and potentially very funny.
782CockbrainIndeed, you are sorely handled. This may warn you out of such
caterwaling†gg1706
crying like a cat in heat, but also lecherous (OED vbl.n, 1 and 2)
company. You look like one more civil. And in hope you will be so, I’ll bring you to
a barber†gg1707
a surgeon
.
Will in an honest plot assistant be.
785CitizenO Sir, in any thing, and thank you too, Sir.
COCKBRAIN and CITIZEN exit together
4.2*n4272
Throughout this scene, Brome characteristically varies the rhythms, metre, and diction to represent various characters' shifting responses to their situations as they, too, change. Gabriel uses the ponderous rhythm and diction of the humourless Puritan, and his brother Mihil occasionally adopts these in order to manipulate him; but Dorcas, humbly approaching her cousins for pardon and assistance, frequently speaks in iambic pentameter or something close, and Mihil responds similarly to reassure her. Gabriel, too, begins to adopt pentameter rhythm in speaking to her, as he softens. When Gabriel and Nicholas nearly come to blows, the latter uses pentameter, but here as a parody of the heroic: he uses an iambic line to cover his cowardly retreat.
[At the Paris Tavern]
Enter MIHIL,
GABRIEL*n4265
In this scene Gabriel, increasingly drunk and becoming violent, draws a sword. His costume is probably already changing from that of a demure and godly Puritan to become more that of a young man of the town, including a sword.
, and BOY, with
wine*n4266
The standard paraphernalia of a tavern, including glasses.
, &c.
786MihilA Paris il’y’a bien venu*n872
The play’s characters have a running joke about the ambiguity of Paris as a city and Paris as a tavern.
. Here’s no
bush at this door*n873
The bush is a traditional symbol for a wine shop or tavern. Unlicensed taverns and alehouses were a major issue in the Covent Garden area, with repeated and unsuccessful attempts to close them. The Paris Tavern appears to be unlicensed and to be concealing itself by not using the traditional advertising symbol.
, but good wine rides post upon, I mean, the sign-post. Boy, get you down, and if Nick Rooksbill or any of his company ask for me, bring ’em up,
d’ ye*n874
Mihil adopts his father's end-of-sentence question, demonstrating that he is a chip off the old block in his dealings with inferiors.
hear?
787BoyI will, I will, sir.
BOY exits
788MihilYou are welcome to Paris, brother Gabriel.
789GabrielIt is nevertheless a tavern, brother Mihil, and you promised and covenanted with me at the last house of noise and noisomeness, that you would not lead me to any more taverns.
790MihilLead you, brother? Men use to be led from taverns sometimes. You saw I did not lead you nor bring you to any that was more a tavern than the last, nor so much neither; for here is no bush you saw.
791Gabriel’Twas that betrayed and entrapped me. But let us yet forsake it.
792MihilPray, let us drink first, brother. By your leave, here’s to you.
[He drinks a toast]
793GabrielOne glassfull more is the most that I can bear. My head is very full, and laboureth with that I have had already.
[GABRIEL drinks a toast]
794MihilThere, sir.
[Aside] I’ll undertake one good fellow, that has but just as much religion as will serve an honest man’s turn, will bear more wine than ten of these giddy-brained Puritans, their heads are so full of
whimsies†gg3130
A variant of 'whim': a capricious notion or fancy; a fantastic or freakish idea; an odd fancy (OED Whim n, 1 and 3)
.
795Gabriel’Tis mighty heady, mighty heady, and truly I cannot but think that the over-much abuse of these outlandish liquors have bred
so many errors in the Romish church*n875
Gabriel as a Puritan expresses his fear of Papistry. But ironically the Paris Tavern was one of those sometimes associated with covert French and Catholic property interests in Covent Garden.
.
796MihilIndeed, brother, there is too much abuse made of such good creatures. Wine in itself is good, you will grant, though the excess be nought; and taverns are not contemptible, so the company be good.
797GabrielIt is most true, we find that holy men have gone to taverns, and made good use of ’em upon their
peregrinations*n3853
Gabriel chooses a word from a religious or theological register. See OED peregrination n.1: orig. and chiefly Theol. The course of a person's life viewed originally as a temporary sojourn on earth (cf. sense 4b) and hence as a spiritual journey, esp. to heaven.
Brome draws on these associations also in naming the character Peregrin in The Antipodes.
.
798MihilAnd cannot men be content to take now and then a cup, and discourse of good things by the way? As thus: brother, here’s a remembrance (if she be living, and have not lost her honour) to our cousin Dorcas.
[They drink another toast]
799GabrielO, that kinswoman of ours. She was the dearest loss that e’er fell from our house.
[GABRIEL drinks another toast]
802Mihil [Aside] I hope ’twill
maudlenize†gg1708
sobering or reforming
*n876
There is an ironic ambiguity, here, in that Gabriel is to be reclaimed from Puritanism to a less extreme position, while Dorcas is to be reclaimed from prostitution. See OED Magdalen 2. In extended uses a. A repentant (female) sinner; esp. a reformed prostitute.
him.
803GabrielBut have you never seen that miscreant that wronged her, since he did that same? They say you knew him.
804MihilAlas, suppose I had, what could be done? She’s lost, we see.
What good could she receive by any course against him?*n2216
Mihil studiously avoids answering his brother, leaving unclear the degree of his knowledge of Nick's behaviour.
805GabrielIt had been good to have humbled him, though, into the knowledge of his transgression. And of himself for his soul’s good, either by course of law, or else in case of necessity, where the law promiseth no release, by your own right hand you might have smote him, smote him with great force, yea, smote him unto the earth, until he had prayed that the evil might be taken from him.
806Mihil [Aside to the audience] This is their way of loving enemies, to beat ’em into goodness.
[Aloud] Well, brother, I may meet with him again, and then I know what to do.
[Aside] If he knew him as I do now, what a religious combat were here like to be at Nick’s coming?
BOY enters
807BoySir, here’s a gentlewoman asks for Master Rooksbill.
808MihilThe travelled gallant, is’t not?
809BoyYes, sir, and the
old black party*n2973
The boy may be referring to Madge's cleanliness, but calling her 'the old black party' recalls the play on devils and hell in the first act, where Nick called her 'infernal'.
, her landlady with her. But they ask for nobody but him, sir.
810MihilSay he is here by all means, and bring ’em up.
BOY exits
811GabrielWomen! Pray, brother, let’s avoid the place, let us fly it. What should we do with women in a tavern?
812MihilNo harm, assure yourself. Cannot we govern ourselves?
DORCAS and MARGERY enter; [they] start back.
Nay, lady, stay, he will be here presently that you look for.
813GabrielI will not glance an eye toward temptation.
814Mihil [Aside] I am amazed. Sure, I have seen this face, howe’er your habit and the course of time may give’t another seeming.
815Dorcas [Aside] Good angels, help my thoughts and memory. It is my kinsman Mihil. What’s the other that hides his face so?
817Dorcas [Aside] It is my
cousin Gabriel*n877
In the Globe 'Read not Dead' reading, the actress playing Dorcas made the mistake of calling Gabriel 'brother', suggesting that she was aware in some way that the relationship between Dorcas and Gabriel was closer than that of cousins.
,
strangely†gg231
very greatly (OED adv. 4); surprisingly, oddly, wondrously, unaccountably (OED adv. 5); (compare Jonson, Volpone, in which Peregrine, when asked how he likes the mountebank, replies, ‘Most strangely’)
altered.
818Mihil [To MARGERY] Come hither you. I’ll make a little bold with you, thou that hast been a concealer of more sins in women’s actions than thou hast grizzled hairs.
819Dorcas [Aside] Sure, I will speak to him. He always loved me.
820Mihil [To MARGERY] Reveal a truth to me on my demand, now instantly, without premeditation.
I’ll cut thy tongue out else*n878
Cutting out or slitting tongues is a recurrent threat in the play, as in Nick’s earlier reference to 'Halifax thy mouth' and Bettie and Francisca’s threat to split each other’s tongues.
.
821MargeryWhat’s here to do? Do you think I am a devil that you make such conjurations over me?
822MihilI think thou art as true a servant of his as any bawd can be. But lie now if thou darest. How long have you known that
gentlewoman*n879
Mihil immediately calls Dorcas a gentlewoman.
? And what do you know by her?
824MargeryHere’s a stir about nothing. I know nothing by her, not I. Nor whether she has
anything or nothing*n880
A common obscene reference to male and female genitalia: thing and no thing.
, that a woman should have by the report of knowledge of man, woman or beast, not I. She came to me but this morning, with a purpose to set me up in my new house as I hoped. But she has taken a course to make it honestly spoken of already, to my utter undoing; but she never comes within my doors again, as I hope to thrive by my trade hereafter.
826MihilWas she so resolutely bent, and so soon altered?
827MargeryUpon the very first sight of the very first man that came into my house, the very first hour of my setting up in it.
829MargeryA shame take him, your roaring friend, Nick. I think she is enamoured of him or of something she guesses he has; and would fain play the honest woman with him, that never played honest man with woman in his life.
830Mihil [Aside] ’Tis she, and ’tis most wonderful.
831DorcasIf you knew who I were, you would not be so
strange†gg2316
aloof, distant
to me.
832MargeryAnd here she comes me a-hunting after him, like a
fondling†gg3173
a foolish, childish, or innocent person
, whilst half a dozen pieces might ha’ been gotten at home by this time, and she have had the halves of it in her purse by this time; if she would have done, as I thought, she would have done by this time.
833MihilAlas, poor
Howlet*n2977
Mihil uses an affectionate diminutive of 'owl' (see also note 465) to commiserate with Madge; but the whole phrase recalls Shakespeare: 'Alas, poor Yorick' (Hamlet 5.1).
.
834MargeryI sent whooping after the best
guests*n9182
guest. Singular in the 1659 printing.
that haunt my house, to have taken the first fruits of her conversation, and she would not see a man of ’em, to my undoing.
835MihilWell, leave thy hooting, Madge. And hold thy peace, thou shalt
get*n3854
Mihil encourages Madge to remain silent by holding out the prospect of some sort of reward or prize if his strategem succeeds.
by it.
836MargeryYes, I shall get a good name shortly, and this
gear†gg1709
habits, manners (OED 1c; obsolete; rare)
hold, and turn beggar, I shall.
838MihilSpeak to her, brother, ’tis our cousin Dorcas.
840MihilAnd will you not give her leave to be found again? His wine and
her sudden apprehension*n3855
Gabriel's sudden realization that it is his cousin Dorcas. See [GLOSS gg3131]
work*n9183
works. Singular in the 1659 printing.
on him at once. Cousin, I’ll speak to you, though I confess the miracle of our meeting thus amazes me.
841DorcasO, cousins both: as ye are gentlemen,*n883
This is set as prose in the 1659 text but, as McClure concludes, it is iambic verse, communicating Dorcas’s victim-nobility here. From this point on in the conversation between Dorcas and her cousins, iambic verse is used to give the sense of redemption and affection.
And of that noble stock whose mere remembrance,
When
I*n9184
he. Left unamended, the grammar of this sentence is unclear; it appears to refer to giving up Nick. But the Folger Shakespeare Library B4872 ms. annotator is surely right in thinking this should be Dorcas referring to herself, as in the rest of the sentence.
was given up, and at the brink
Of desperate folly,
struck*n882
1659: stroke
that reverend fear
Into my soul, that hath preserved my honour
From further falling, lend me now your aid,
To vindicate that honour by that man,
That threw me in the way of loss and ruin.
842MihilAll shall be well, good cousin, you shall have both hands and hearts to
re-estate†gg1710
to reinstate, re-establish (very common in the seventeenth century)
you in him. So that in fact you have
not wronged that honour*n885
Always assuming that you have not gone further in vice since Nick abandoned you.
, since he forsook you?
844MihilInfants*n4597
Dorcas is not a child, so she is technically no 'infant'. But Mihil seems to be using this word in line with the etymological root of 'innocent': one who has not hurt or damaged something (chiefly here herself and her family's honour).
then shall be pardoned. Brother, speak*n886
In the 1659 text, the next three lines are set as prose, but are in iambic pentameter (though with an additional syllable, as is common for Brome).
.
845DorcasYou were wont still to be my loving’st cousin.
846GabrielWhat a strange dream has wine wrought in my head.
847MihilI hope it will work out his superfluous zeal and render him civil Christian again.*n887
Set as prose in the 1659 text, but this could easily divide into 12 and a 10 syllable line, the 12 syllable line being about superfluity
848DorcasIt is no dream, good cousin, you are awake.*n888
Dorcas's speech returns to the emotional tone of her reconnection with her cousin Gabriel, so she speaks in verse, which is set as such in 1659. Her final lines are plangent, eleven syllable lines, ending on the weak syllable.
And I, that Dorcas for whom you have wished
Affinity of blood might be dispensed with,
And you to be my choice. So well you loved me.
849GabrielAnd will above my life affect you still.*n3146
1659: set as prose but clearly the rhythm of the first line of Gabriel's response is iambic. However, although his second line is eleven syllables, the verse rhythm begins to break down as he turns from sympathy to judgemental instruction; so from verse to prose.
But you must leave these gauds and profane dressings.
850MargeryBawds, did he say? How comes he to know me, trow?
851DorcasHow came my cousin Gabriel thus translated
Out of gay clothes, long hair, and lofty spirit,
Stout and brave action, manly carriage,
Into so strict a reformation?
Where is the martial humour he was wont so to affect?
852MihilHis purity and your disgrace fell on you both about a time,
i’faith*n889
In 1659 this is 'I faith'. Two readings are possible, here: 'i’faith' and 'aye, faith'.
.
853GabrielDo you swear by your
FAITH?*n3147
So capitalized in 1659, indicating Gabriel's loud emphasis.
854MihilHe’s falling back again.
Boy!*n3148
In the 1659 text this is set as a Speech Prefix, the compositor not realizing that Mihil is calling for an attendant and that his speech continues. Both the Folger Shakespeare Library B4872 and National Art Library Dyce 25.E.45 ms. annotators recognise the error.
Some more wine! You will drink with our cousin, brother, will you not?
[Enter BOY]
855BoyWhat wine is’t, gentlemen?
857BoyWhat other wine you please, gentlemen, we have none such i’ th’ house*n890
As before, the tavern employees hear only orders for real wine, having no ear for imagery and metaphor.
.
860MargeryAssuredly, we are no profane wine-bibbers, not we.
861GabrielModest, and well-spoken verily, she should be a sister or a
matron†gg1711
a mature and respectable woman
.
[MARGERY and GABRIEL converse apart with seriousness and piety]*n3282
1659: Bawd and Gabriel confer devoutly the while. This edition moves the stage direction to the point at which Mihil and Dorcas begin to talk unheard by Madge and Gabriel.
862MihilYes, yes, we’ll all drink for the good o’ th’ house.
’Tis upon putting down, they say, and more o’th neighbours*n892
The implication is that the Paris Tavern was about to be closed as unlicensed, along with a number of other unlicensed taverns in the same street and neighbourhood. This was indeed the order of the Privy Council. See introduction.
. But, cousin, he knew you not today?
864MihilAnd the old one knows nothing, does she?
866MihilShe can
bewray†gg1968
to expose...by divulging secrets (OED archaic)
nothing then. My brother knows not him. I only do for his fair sister’s sake, of which you may hear more hereafter; in the
mean*n893
Mean=meantime
, bear your self fair and free, as if you knew him not, and I’ll work him to your end, never fear it.
868Margery [Aloud] Truly, you speak most edifyingly.
Enter BOY with [more] wine
869MihilWell said. Give it to my brother. Drink to our cousin, brother.
870GabrielI will, and to that virtuous matron, whose care of her, I hope, tends unto good edification.
[Drinks] Truly, the wine is good, and I was something thirsty.
872GabrielI will follow your motherly advice.
Drinks.
874GabrielAnd you have travelled, cousin. I may suppose you brought this well-disposed gentlewoman from
Amsterdam*n894
Amsterdam was well known both as a haven and centre for Separatists and as a notorious city of prostitutes; see Lotte van de Pol and Erika Kuijpers, 'Poor Women’s Migration to the City: The Attraction of Amsterdam Health Care and Social Assistance in Early Modern Times', Journal of Urban History 32 (2005), pp. 44-61 and Lotte van de Pol, Het Amsterdams hoerdom. Prostitutie in de zeventiende en achttiende eeuw [The Whores of Amsterdam] (1996). Foreign place names were often associated with London prostitution, as in the famous brothel, Holland's Leaguer, and the Paris Garden.
with you. And this unto your welcome, hoping I shall be informed by you how the two zealous brethren thrive there that broke in
St. Helen’s*n1009
This surely refers to an incident in Great St Helen’s in Bishopsgate, but no reference has yet been found.
.
[Drinks]
875MargeryOf that or anything, sir.
Pray, drink again, sir.*n2219
This encouragement is probably directed to Gabriel.
[Drinks]
NICHOLAS, ANTHONY, CLOTPOLL, BETTY, and FRANCISCA enter
877NicholasO, are ye here, gallants? I made all the haste I could, but was stayed, I vow, by the bravest sport, baiting of a fellow or two with our pussy-cats here. I could e’en find in my heart to marry ’em both for their valours.
878Dorcas [Aside to MIHIL] Those words are daggers.
879Mihil [Aside to DORCAS] I pray, dissemble your passion.
880NicholasWhat? Are you acquainted already,
Mich?*n3151
In the 1659 text this is printed as a Speech Prefix, indicating a speech for Mihil. But the compositor has mistaken Nick's addressing of Mihil by his nickname and assigns the rest of Nick's speech to him. The Folger Shakespeare Library B4872 ms. annotator recognises the problem and corrects.
Did I not tell thee she was a brave madona?
881MihilHow long have you had
acquaintance*n1010
There may be a covert sexual meaning to 'acquaintance'. If so, Nick appears entirely unconscious of Mihil’s meaning.
with her, Nick?
882NicholasNever saw her before this morning, I, standing upon her balcony.
883GabrielTruly, cousin, I think ’twas you that I saw today too, standing upon a balcony.
884NicholasYou
spell†gg1712
speak; to discourse or to preach; to talk, converse, or speak (OED v1 intr.)
very modestly, sir. Your brother, I take it. But did
you call her cousin, sir?*n2220
The ambiguous application of the term 'cousin' seems acknowledged in this tense exchange.
886Mihil [Aside] ’Twill out too soon.
[Aloud] Why, Nick, thou knowest these kind of creatures call and are called
cousins commonly*n1012
Cousin was often used as a name for an illicit lover, especially a prostitute, so again Mihil is using terms the relevance of which to this situation are understood more fully by the audience than by Nick. 'Common', to imply prostitution, is later used of Dorcas by Nick himself. At this point the roisterers and Gabriel enter the series of confusions concerning 'brothers' and fraternities: the religious brethren, the club brethren, those who frequent brothels.
.
887NicholasYes, in their tribe. But I thought he had been too holy for them. But Dammy –
889NicholasYou said you had a story to relate, of dire misfortune, and of
unquoth†gg1713
unquoth probably means hitherto unspoken
hearing. I come to hear your story. What stop you your ears at, sir?
890GabrielI dare not speak it but in thy reproof. Thou swearest
G O D, D A M N*n4603
Gabriel spells it out letter by letter, to avoid blasphemy. In the 1659 printing this is represented quasi-phonetically: 'Gee o Dee, Dee a m'.
thee, as I take it.
891NicholasI vow thou liest, I called her Dammy, because her name is Damyris.
892GabrielI say thou liest, her name is Dorcas, which was
the name of an holy woman*n1014
Acts 9.36: 'Now there was at Joppa a certain disciple named Tabitha, which by interpretation is called Dorcas: this woman was full of good works and almsdeeds which she did'.
.
[GABRIEL draws his sword]*n1015
Gabriel, despite being a Puritan, must be carrying a weapon, and draws first, perhaps significantly in defence of his cousin’s honour. Though there is no stage direction in 1659 stating this action, Gabriel must do so to make sense of Mihil’s appeal to him to drop his weapon and avoid a fight.
893NicholasShall we have
things and things*n2982
Though I can find no other usage, the meaning appears clear: come to blows.
? I vow!
[NICHOLAS] draw[s his sword]
895Mihil [Aside] This will spoil all.
[Aloud] Brother, I pray forbear.
896GabrielI may not forbear, I am moved for to smite him; yea, with often stripes to smite him; my zealous wrath is kindled, and he shall fly before me.
897DorcasLet me entreat you, sir.
[MIHIL [restrains] GABRIEL*n1016
Prevents him from engaging in fight. 1659:'Mihil holds up Gabriel'. Gabriel has been drinking heavily and will later collapse, so to 'hold up' could mean that Mihil prevents him falling (OED hold v. 44a); but in this context it is more likely to mean restrain (OED hold v. 44d) though this is said to be an American usage only. However, hold 2a,d,e; and 7a all have this sense of restraining.
]
899NicholasGreat
damboys*n1017
Referring to the eponymous hero of George Chapman’s popular play, Bussy D’Ambois (c. 1603/4). But Nick here engages in this little rodomontade to cast a heroic light on the fact that he is running away from a fight.
shrink, and give a little
ground*n1018
A pentameter; Gabriel’s next line is 11 syllables. Dorcas’s is 2, then Gabriels’ is 7. So it could be set thus:
NICHOLAS Great Damboys shrink, and give a little ground.
GABRIEL I will pursue him in mine indigna-
tion.
DORCAS O me!
GABRIEL And beat him into Potsherds.
The suggestions of the iambic-pentameter line contribute to the air of mock-heroic here.
.
[NICHOLAS, ANTHONY, BETTY, and FRANCISCA] exit
900GabrielI will pursue him in mine indignation.*n3149
Gabriel's next two speeches, together with Dorcas's interjected 'O Me!' add up to 30 syllables, three lines of pentameter. Again, Brome is indicating - this time rather satirically - an elevated emotional content, at least in Gabriel's mind.
902GabrielAnd beat him into
potsherds†gg1714
a fragment of a broken earthenware pot; a broken piece of pottery
*n1019
Gabriel again uses a vaguely religious diction, perhaps recalling Isaiah 45.9.
.
903MargeryNow he has
banged the pitcher*n1020
Drunk the whole pitcher of alcohol.
, he may do anything.
905ClotpollA Brother to be so controlled?*n1021
Clotpoll seems disconcerted at Nick’s rapid exit from the field, not the courageous action he had expected of a member of the Brotherhood of the Blade. But he’s also remarking on Gabriel being restrained by his real brother, Mihil. Gabriel, meanwhile, thinks in terms of religious Brethren.
906MihilYou, sir,
put up your steel-stick*n1022
His sword; a disdainful euphemism.
.
907ClotpollI desire but to know first if he be a Brother.
909ClotpollSir, I am satisfied.
So let him live.*n1023
Clotpoll disguises his own disinclination to engage in combat with a furious opponent by claiming that fellowship prevents his fighting and killing Gabriel.
[Sheathes his sword][CLOTPOLL exits]*n9061
There is no stage direction here in the 1659 printing. However, Clotpoll is included among those who re-enter a few lines later.
910GabrielPray give me leave to ask you, do these men take part with the brethren?
911MihilYes, and are brothers a little disguised, but for some ends.
913MihilMere
intelligencers†gg1715
one who conveys intelligence or information; one employed to obtain secret information, an informer, a spy, a secret agent
, to collect up such and such observations, for a great
Separatist†gg3132
one who advocates ecclesiastical separation; one who belongs to a religious commmunity separated from the Church or from a particular church; a member of any of the sects separated from the Church of England; in the 17th c. (hence in mod. use Hist., with capital S) applied chiefly to the Independents and those who agreed with them in rejecting all ecclesiastical authority outside the individual congregation (OED a and n, 1)
that is now writing a book against playing at
barlibreak†gg1716
a country game, much used for sexual connotation (see The Changeling (1622) 5.3.164: 'I coupled with your mate/At barley-break; now we are left in hell')
,
moulding of cocklebread*n1026
John Aubrey, Remains (1688): 'Young wenches have a wanton sport which they call moulding of Cocklebread: viz. they get upon a table-board, and then gather up their knees and their Coates with their hands as high as they can, and then they wabble to and fro with their Buttocks as if they were kneading of Dowgh with their Arses, and say these words, viz. - "My Dame is sick and gone to bed And I'le go mould my Cockle-bread."' Brome, Jovial Crew, 2.1 has Rachel say she and her sister used to make their father laugh by dancing and performing bawdy jokes. An earlier reference to this lewd game appears in George Peele's The Old Wives Tale, when Zantippa goes to the well to draw a husband, and hears the head rising from the well recite: 'Fair maiden, white and red,/ Stroke me smooth, and comb my head, / And thou shalt have some cockell-bread' (666-68). Insulted, she breaks her pitcher over the head instead, but nevertheless gains a suitable husband. The idea of kneading dough with the buttocks was deemed a magic practice to secure a husband, and in Venice could bring the kneader before the Inquisition.
, and such like
profane exercises*n1027
Mihil is persuading his brother that the Philoblathici are disguised fellow Puritans, gathering evidence on pastimes and sports as part of the campaign against them.
.
914GabrielTruly, such exercises are profane exercises that bear the denomination of good things ordained for man’s use, as barley, cockles, and bread. Are such things to be made sports and play-games? I pray you, let me see these brethren again, to make my atonement with them. And are those sisters too, that were with them?
915MihilO, most notorious ones, and are as equally disguised to be as rank spies as the other. S’lid, man, and they should be taken for such as they are, they would be cut off presently. They came in this mad humour to be merry with you for my sake.
916GabrielPray let ’em come again, I shall not be well until I have
rendered satisfaction*n1028
Gabriel means to reconcile with them, but there are obvious sexual double entendres given that some of the riotous crew are prostitutes and that he will indeed begin to behave lewdly with them later in the scene.
.
917MihilYou must do as they do then, or they will think you are a spy upon them.
918GabrielI will be as merry as they. Let wine be given unto us.
919MihilMore wine, boy, and bid ’em all come in.
Exit BOY
920DorcasAlas, cousin, let him drink no more.
921MihilFear nothing, cousin, it shall be for his good and yours, as I will order it.
NICHOLAS, ANTHONY, CLOTPOLL, BETTY, FRANCISCA,
enter, and DRAWER with [more] wine
922MihilAll welcome, not any repetition, but begin anew*n1029
Let’s start over and not pick up the quarrel
.
923GabrielI will begin it, two glasses: it shall be a faithful salutation to all the brothers and sisters of –
[GABRIEL drinks another toast]
926AnthonyI’ll swear you do not well to let him drink so.
927MihilWell said,
civil roarer*n1030
This may be spoken contemptuously to Anthony, but it is more likely an aside. Mihil’s oxymoron - 'civil roarer' - comments on Anthony’s lack of real essence of the roarer and his citizen status.
.
928GabrielLet it go round, go to, you are a wag. I know what you mean by the blade and the scabbard.
929ClotpollWho could have thought this had been such a Brother?
930GabrielNay, who could have thought you had been of the brethren?
934MihilDo not cross him again. If thou dost, and I do not maul thee! Yes, brother, these are virtuous men howe’er they seem.
935NicholasI vow, I have so much
virtue*n1031
Playing on the different meanings of virtue, the religious and 'virtú', being nobly strong and manly.
as to rebuke thee for lying. But we are Brethren, sir, and as factious as you, though we differ in the grounds; for you, sir, defy
Orders*n3856
Nick puns on the different meanings of 'order'. The riotous young men defy the orders of the civil magistracy; and the Separatist puritans defy the orders of the established church and, indeed, refuse to acknowledge the hierarchy of the church. See [GLOSS gg3133].
, and so do we; you of the Church, we of the civil magistrate; many of us speak i’th’ nose, as you do; you out of humility of spirit, we by the
wantonness of the flesh*n1032
Syphilis, contracted through sexual activity, eats away at the bridge of the nose.
; now in devotion we go beyond you, for you will not kneel to a ghostly father, and we do to a carnal mistress.
936MihilI’ll stop your mouth, you said you came to be merry.
937NicholasYes, I vow, and brought fiddlers along, but
they must play i’ th’ next room*n4988
Gabriel's violence gives good reason for keeping the musicians separate, but this is clearly also a way of managing the resources of the playhouse, avoiding the need to bring the fiddlers on stage.
, for here’s one breaks all the fiddles that come in his reach. Come, sir, will you drink, dance, and do as we do?
938GabrielI’ll drink, I’ll dance, I’ll kiss, or do anything, any living thing with any of you, that is brother or sister. Sweetheart, let me feel thy
coney*n1033
Female genitalia. To whom should Gabriel say this, however? One of the whores? Or to Dorcas, a more shocking and disturbing image.
.
939Mihil [Aside] Aye, now he’s in. [Aloud] Play, fiddlers.*n1034
In 1659 this is all set as a single line spoken by Mihil: 'I now he's in. Play Fidlers. Dance'. McClure retains this setting: 'Aye, now he's in. Play fiddlers! Dance!' It is conceivable that Mihil is commanding music and dancing, but it seems more likely that Mihil calls for music ('Play, fiddlers') and then there is a Stage Direction ('Dance'), which the compositor has failed to recognize. Gabriel has said in the previous speech that he will dance.
[Fiddlers heard offstage.] [GABRIEL, MARGERY, BETTY, AND FRANCISCA]
dance*n4987
No indication is given in the text as to the nature of the dance performed here or of the second dance later in this scene. The occasion is dominated by Mihil, however, a sophisticated man-about-town and a student in the Inns of Court. The dance is probably courtly in style, something like a galliard (as opposed to a more stately form, such as a pavan); but country dances were also becoming fashionable among the more sophisticated and urbane. Students in the Inns of Court were known to take dancing lessons both privately and in dancing academies. The boundaries between decorous courtly activities and those considered sinful and illicit were contested, however, and courtesans and prostitutes were associated with dancing also, particularly by the more militant Protestants.
All bravely perform’d, admirably well done, &c.*n3152
In 1659, this is set as a continuation of Mihil's speech, a response to the dancing. McClure proposes that 'All' is a Speech Prefix. This is attractive but a radical proposal, and it seems unnecessary.
940NicholasI vow, thou art a Brother after my own heart.
To GABRIEL*n1035
Set to the right of Nick's speech, it is not clear whether this applies to Nick’s line or the women’s, or both, since all are talking here to Gabriel.
.
941Betty, Francisca, and Margery*n9185
In the 1659 printing, this line is given the Speech Prefix 'Women'. Dorcas surely does not join in.
We cannot commend you enough, sir.
942GabrielThis done in civil sort among ourselves, I hope, will prove no scandal to a brother.
946MihilThou little
dapper thing*n3857
Literally someone neat and well-dressed, 'dapper' is used in this period contemptuously for someone aspiring to fashion; by the eighteenth century, a kind of minor fop (see [GLOSS gg3134]. Mihil's contempt is intensified by the use of 'thing'. Brome may expect his audience to remember Ben Jonson's Dapper in The Alchemist.
, thou, hold thy peace.
948GabrielNo, my religious brethren, no more wine.*n1037
Though set as a mix of verse and prose in 1659, Gabriel's rhythms throughout this speech are those of iambic pentameter, suiting his assumption of a military role.
Enough’s a feast, and little doth suffice.
I thirst to do some honour to our cause.
To lead forth legions to fight a battle
’Gainst our malignant adversaries.
950GabrielSuch an employment now would make me famous, for my sufficiency of art in arms*n1038
Again, very close to pentameter.
.
952MihilHe had*n3153
1659: has
as brave a warlike spirit, man, before his precise humour tainted it*n1039
Again, very close to pentameter.
, as ever breath’d in Hector.
953NicholasI vow, then, a good, orderly diet of nothing but sack for a week together would revive it in him, and bring it to good again.
956GabrielI fear some
Jesuitical*n2985
Gabriel associates everything wrong and evil with Catholicism and here, in particular, the feared and demonized Jesuits (Society of Jesus). Ironically, contemporary conspiracy theorists suspected the more outrageous independent protestants, such as the Quakers (Society of Friends) and the Jesuits of being one and the same.
, fumes have invaded my brainpan. All, methinks, goes whirly, whirly, whirly.
958GabrielSoldiers must not be curious*n1040
Must not be particular about the comfort of where they sleep - anything horizontal will do for him to lie on.
. A bench or anything.
959DrawerThe gentleman may have a bed here, an’t please you. But, sir, there’s an old angry gentleman below, that asks for you, and by all description for that
mortified*n1041
The drawer puns on various meanings of mortify: to shame and to render unconscious. See OED, mortify, v 7 and 1.
gentleman. And will by all means press into your room here.
961Dorcas [Aside to MIHIL] O me! What shall I do?
962Margery, Betty, and FranciscaWe shall all be clapped up*n1042
They mean 'be imprisoned' (OED clap v1 11), but the audience will also think of sexual disease (OED clap v2).
.
963Mihil [Aside to DORCAS] Fear nothing, veil your face a little.
[Aloud] Who is with him?
964DrawerNobody but his old servingman, that it seems discovered you. You may put this gentleman into this inner room, and keep the key yourself. I know not what
charge*n3858
The meaning here is obscure. 'Charge' could mean money, expense, or liability (financial and otherwise); or it could mean energy or force.
he has about him.
966DrawerAnd you may tell your father
he is gone, for he is gone, you see*n1044
The witty Drawer suggests another pun: they can equivocate, saying Gabriel is gone, for he is far gone in drink; and he is mentally gone, in that he is no longer conscious.
.
968DrawerNow,
if you’ll be civil*n1045
If you want to be civil or are prepared to be civil.
, I may bring him up to you; if not, because he is your father, we’ll thrust him out of doors, an’t please you.
969MihilNotable rascal. Well, sir, let him up. I know how to
fit†gg1616
(v) punish accordingly (OED v1. 12)
him.
970Dorcas [Aside to MIHIL] But this delays my business, cousin, and will, I fear, frustrate my hopes.
971Mihil [Aside to DORCAS] Nor hinder anything. I’ll warrant thee, he’s thine.
[Aloud] Play, fiddlers, t’other dance.
974AnthonyYou are not wild?*n1046
This probably means, 'You aren’t mad, are you?', Anthony, cautious citizen’s son that he is, is questioning the wisdom of Mihil’s behaviour. Madge says to the whores, 'Come on, if he’s prepared to do this, surely it’s up to us to play and dance with a bit of confidence'.
975MargeryCome, wenches, if he venture in his father’s sight, shame take us and we blush.
[Fiddlers heard playing offstage] [They] Dance.
CROSSWILL and BELT enter
976Crosswill*n3283
The 1659 text gives this speech to both Crosswill and Belt, a compositor's error.
[Aside to BELT] And I had not sold all my land to live upon my money in town here, out of danger of the statute, I would give thee a
copyhold*n1047
Tenure of lands belonging to a manor.
for this discovery.
977Belt [Aside to CROSSWILL] I thank your worship, and truly ’tis a goodly sight, methinks, an’t please your worship.
978CrosswillI’m glad it likes you. Heigh, excellent good again. Heigh, heigh, what an happiness may fathers boast, that can bring their children up to this.
Dance ends*n2223
1659:(Dance ended)
I cry ye mercy, gentlemen all, ha! I am sorry I interrupted your serious, private occasions.
981CrosswillThy father? Hold thy peace! Dar’st thou use thy father thus? To spend thy time thus? Ha! Is this place fit for the son of a gentleman of quality? Ha! Why dost not answer me, does this company
sort†gg3135
to answer or correspond to, to befit or suit (OED 8)
with thy reputation? Ha!
983CrosswillHold thy peace, I say. Or are these exercises allowable for a gentleman, that ever said or heard grace at his father’s table? Answer me that.
986NicholasThe company, sir, offends not you, I hope. You see the worst of us.
987CrosswillIn good time, sir. You are the distracted gentlemen, I take it, that asked him if he would
moot†gg2784
to complain, argue, plead, discuss, dispute, esp. in a law case; to bring an action to court, to litigate (OED v. 1 and 2a); later, specifically to debate a hypothetical case, to take part in a moot (the OED cites this usage by Brome)
tonight? Is this your
mooting†gg2784
to complain, argue, plead, discuss, dispute, esp. in a law case; to bring an action to court, to litigate (OED v. 1 and 2a); later, specifically to debate a hypothetical case, to take part in a moot (the OED cites this usage by Brome)
? Do you put
cases†gg1717
vagina, punning on 'a thing fitted to contain or enclose something else; a receptacle or holder; a box, chest, bag, sheath, covering, etc.; in very early use a reliquary' (OED case n1, 1a)
to your wenches, or they to you?
990MargeryBut that*n1049
Were it not that
you are his father, sir, and an old man, and he an honest young gentleman, and our friend, we would tell you.
991CrosswillI thank you for him, yes truly, heartily; and for your good opinion of him, heartily. Pray keep him amongst you while you have him, for I’ll ha’ no more to say to him, I. Is your invectives against drinking, wenching, and the abomination of the times come to this? Is this your spending of time more precious than money? Is it you that knows not what to do with money but to buy books and were drawn with such unwillingness to a tavern? Ha! You shall graze upon
Littleton’s Commons*n3352
Crosswill refers again to the lawbooks Mihil should have been reading as a student in the Inns of Court, here Thomas de Littleton's treatise on land tenure, one of the most popular of all textbooks until the nineteenth century. Crosswill puns on 'Commons' as also common land, for grazing.
, or eat nothing but books, an’t please you, for any
exhibition†gg2806
OED 1. a. Maintenance, support. Obs. [Cf. late L. exhibitio et tegumentum = ‘food and raiment’ (Forcellini).].
In modern English this usage survives in the scholarships sometimes given by Oxford and Cambridge colleges (OED 3. a. Pecuniary assistance given to a university student).
thou ever get’st from me – And in that faith thou hast lost a father.
[To BELT] Come, sir, you have brought me to a goodly sight here; would any villain but thyself have showed his master light to see so much woe? Thy
coxcomb†gg105
head; fool
shall yet pay for’t.
[CROSSWILL beats BELT]
993CrosswillThis was your
trim†gg990
fine, neat, smart (clever)
sight, was it?
[CROSSWILL beats BELT]
995CrosswillBut well remembered. Pray, where’s your brother? My son, I would say, for I know no brother or father thou hast. Where is Gabriel?
998BeltI told you then too much.
I feel it here*n3150
1659 assigns this speech to Crosswill. Several ms. annotators see the error and correct.
.
999Mihil*n3150
1659 assigns this speech to Crosswill. Several ms. annotators see the error and correct.
He was here, sir, but he is gone, sir.
1000CrosswillSo, so, he’s lost.
He must be cried*n1051
Sought through proclamation of his being lost. See OED cried, ppl. a.
, or we shall never find him.
1001MihilI’ll warrant you, I’ll find him yet tonight, sir. Pray, gentlemen, pay you the reckoning. I’ll wait upon my father home.
1002CrosswillWas that spoke like a son of mine? Must others pay your reckoning, and I in place? Take that, and do not make me mad.
[CROSSWILL gives MIHIL money] And why should you home with me, I pray, sir?
1003MihilBecause, sir, it grows dark, and ’tis the worst way as it is about the town, so many odd
holes*n4598
Mihil's literal meaning is that his father may fall in the poor streets of Covent Garden, but there is probably also a sexual pun concerning prostitution. Certainly Mihil teases his father into his usual competitiveness in his response: 'Do not think me worse at it in the dark than yourself, I beseach you'. Even if Crosswill is not taking this sexually, the audience is surely conscious of the double entendres.
a man may slip into. Pray take me with you, sir.
1004CrosswillPray take no care for me, sir, and let the way be as it is.
Do not think me worse at it in the dark than yourself, I beseech you.*n8826
Crosswill appears to mean no more than that he can find his way home unharmed by night as well as his son. But the audience may hear an obscene double entendre, that Crosswill can have his way with a lady of the night just as well the young blades.
But you talked of the reckoning: pray let not the want of money for that hinder the search of your brother.
[CROSSWILL gives MIHIL more money] There’s towards your pains for that; and so for a farewell to you and your friends here; till I hear thou keepest better company, let me hear no more of thee.
CROSSWILL and BELT exit
1005MihilThere was no way to get this money and be rid of him, but to offer him my service. He would have driven me out before him else. But come, let’s see my brother that went to sleep in so warlike a passion. I hope he’ll wake in a better.
1007ClotpollNo, I protest, but struck with admiration at the old
blade’s†gg649
smart, fashionable young men, so called from the swords or rapiers they carried as signs of their prowess (although such a reference to gallants was often familiarly laudatory, just as frequently it was contemptuous)
humour.
1008NicholasCome, Dammy and the rest, be merry. I vow, we’ll sup together, and so at last hear all thy
dismal†gg3136
disastrous, calamitous (OED dismal a, 3)
story.
1009Mihil*n3154
1659 misassigns this speech to Nick. Several ms. annotators recognise the error and correct.
[Aside] I mean he shall, and such an
audit*n3859
Mihil puns on 'audit' meaning to hear (Nick means to hear Dorcas's story, not knowing that he is its villain) and 'audit' as a statement of accounts. Nick will find himself forced to accept responsibility.
make,
As shall restore her honour from the
stake†gg3137
a post upon which persons were bound for execution, esp. by burning (OED stake n, 1b)
.
All exit
Edited by Michael Leslie