ACT TWO*n7024
Act 2 takes place the day after the wedding. Its three scenes are set in three domestic, interior locations: the houses of Rashley, Quicksands, and Meanwell respectively. In turn, each of the three female leads - Phillis (2.1), Millicent (2.2), and Dionysia (2.3) - is given a bravura scene in which the boy-actor can shine. First Phillis displays her quickness of understanding in discovering Lucy's secret and deceiving Theophilus; then Millicent demonstrates her moral maturity in her dealings with Quicksands, exemplified by her impassioned speech about honour; finally, Dionysia gets to display both her anger and the vulnerability which it exposes in her. Each scene, also, serves the rapidly thickening plot, as we learn for the first time of Arthur and Lucy's love affair; as Quicksands hatches his plan to disguise Millicent; and as Dionysia edges a little further into a Changeling-like dependence upon her lustful servant Rafe.
2.1
[Enter] LUCY [and] PHILLIS [disguised as]
a chambermaid*n6351
] Phillis like a Chambermayd MS. No equivalent SD in O, but it is implicit in the dialogue. This is the first of Phillis's three disguises in the course of the play.
.
212LucyY’are the first maid that e'er I
entertained†gs128
took into service
Upon so small acquaintance. Yet y’are welcome.
I like your hand†gg2040
handwriting (OED n. 16)
and carriage†gg982
deportment, bearing
.
213Phillis’Tis your favour†gg201
goodwill, kindness; partiality, approval, encouragement
.
But love, they say, sweet mistress, is received
At the first sight, and why not service then,
Which often brings more absolute returns
Of the dear trust
imposed†gg2799
placed (in someone)
, and firmer faith
By servants than by lovers?
I may, by that, conjecture you have been
Deceived by some false lover.
I hope I
look too merrily*n2381
That is: look too merry ('look' at this date customarily takes an adverb in this construction, rather than an adjective as in modern usage).
for such a one;
Somewhat too
coarsely*n2382
Coarse here carries the sense of ordinary-looking. The use of an adverb where today one would use an adjective is characteristic of the grammar of Brome's period.
too, to be beloved;
If I were sad and handsome, then it might
Be thought I were a little love-sick. Pray,
How long has this disease affected you?
This melancholy, mistress? Not ever since
You lost your father, I hope.
Thou saidst, methought, that love might be ta'en in
At the first sight.
217Phillis [Aside] There ’tis. I find her*n6355
I find her out (by discovering her secret).
.
[Aloud] Love, mistress? yes, a maid may take in more
Love at one look, or at a little
loop-hole†gg2041
a small opening (with obvious double entendre)
,
Then all the
doddypolls*n2384
Blockheads: but also, specifically, doctors, with reference to the eponymous doctor in the anonymous comedy The Wisdom of Dr Dodypoll (1600).
in town can purge
Out of her while she lives; she smothering it,
And not make known her passion*n2385
Ungrammatical in both O and MS; strict grammar would require 'making'. The sense is, that no doctors are any good, as long as a woman continues to conceal her passionate feelings.
. There’s the mischief!
218LucySuppose
she love*n2386
Subjunctive: 'that she should love'.
an enemy to her
house†gg2042
family
.
219PhillisAn enemy!
Put case†gg2043
suppose that (a legal metaphor)
the
case*n2387
Two meanings are current here: a) state of affairs; b) vagina. This punning continues in subsequent lines.
were yours.
220LucyBut ’tis no case of mine;
put by†gg2044
give over
, I pray thee.
221PhillisI’ll put it to you though I miss your case.
Suppose it were your house, and Master Arthur,
Whose father was your father's enemy,
Were your beloved—
223Phillis [Aside] Now I have
struck the vein*n2388
That is: found the vulnerable spot (OED vein n, 2c).
.
[Aloud] Suppose, I say,
All this were true! would you confound yourself
In smothering your love, which, in itself,
Is pure and innocent, until it grow
To a pernicious disease within you;
And hide it in your bosom, till it
work†gs265
wear out by friction (OED v. 12e)
Your kindled heart to ashes?
My patience to attention. Therefore tell me
If thou canst find or think it honourable
In me to
take†gs878
undertake, begin
such an affection?
Could you but win his love into a marriage
To beget peace between your families.
How many, and what great examples have we
From former ages, and of later times,
Of strong
dissentions†gg2045
disagreements
between furious factions,
That to their opposite houses have drawn in
Either's allies and friends, whole provinces,
Yea, kingdoms into deadly opposition;
Till the wide wounds on both sides have sent forth
Rivers of blood, which only have been stopped
By the soft bands of love in marriages
Of equal branches, sprung from the first roots
Of all those hell-bred hatreds*n6356
The 'examples' of which Phillis is thinking could include the Wars of the Roses, where the uniting of York and Lancaster through the marriage of the future Henry VII helped end the civil wars; or, in fiction, the feuding clans of Shakespeare's Romeo and Juliet.
!
227Phillis [Aside] Yes, I have been
a good one*n2389
This refers to her previous 'service' to Nathaniel as his lover.
, to my grief.
228LucyThou hast given me strength to tell thee, and I hope
When it is told, I shall have yet more ease.
229PhillisI warrant you, mistress. Therefore out with it.
230LucyI love that worthy gentleman; and am confident
That in the time of our two fathers' friendship
He
affected†gg2047
had affection for
me no less: But since that time
I have not seen him, nor dare mention him
To wrong*n2391
For fear of wronging. The 'brother' is Theophilus, whose passionate nature has been amply demonstrated in Act One.
my brother's patience, who is so passionate,
That could he but suspect I bred a thought
That favoured him, I were forever lost.
For this sad cause, as well as for the loss
Of my dear father, I have sighed away
Twelve moons in silent sorrow; and have heard
That Arthur too (but for what cause I know not)
Has not been seen abroad; but spends his time
In pensive solitude.
As much for the supposed loss of you,
As of his father too.
I make of his retiredness, is the blessed
Prevention*n2392
To paraphrase: 'The best construction I can make of his behaviour is to think that he has stayed inside so as to prevent...'
(which I daily pray for) of
A fatal meeting ’twixt him and my brother,
Which would be sure the death of one or both.
And now that fear invades me, as it does always*n3293
Up till this point, Lucy has been speaking in regular blank verse. As she reveals at last all her anxieties, the last few lines of this speech are entirely disjointed and unmetrical. One can be sure that this is not the result of a printing-house mishap: MS, while offering a different version of the words in these lines, is also obviously and pointedly unmetrical.
My brother being abroad; and such an absence
Has not been usual; I have not seen him
Since yesterday—
233PhillisFear nothing, mistress. Now you have eased your mind,
Let me alone to comfort you -
[PHILLIS comes close to comfort LUCY.] Enter THEOPHILUS. [PHILLIS starts backwards.]
[Aloud] - And see, your brother!
235Lucy*n3294
] MS; Phi. O, 1873. O (followed by the 1873 edition) is clearly incorrect in assigning this speech to Phillis rather than Lucy.
Much better now than when you left me, brother,
If no ill accident has happened you
Since your departure;
as I fear there has*n3295
Lucy notices that Theophilus has been fighting.
;
Why look you else so sadly? Speak, dear brother.
I hope you did not meet the man you hate.
If you did, speak. If you have fought and slain him,
I charge you tell, that I may know the worst
Of fortune can befall me: I shall gain
Perhaps a death*n2393
I may die from grief, if that is the case.
by’t.
And that you fear I have killed him.
Of him, I assure you, sir; but of yourself.
Her fear in this case, sir, is that the law
May take from her the comfort of her life
In taking you from her, and so she were
But a dead woman. We were speaking
Of such a danger just as you came in;
And truly, sir, my heart even
tremble-tremble-trembles*n6357
Phillis is acting flustered, and this repetition is mimetic of stammering speech. It may also be an established phrase, since EEBO reveals various examples of the word 'tremble' being reduplicated, all in the context of fire-and-brimstone preaching: see for instance, David Lindsay, The Godly Man's Journey to Heaven (1625) 529-530, 'Tremble, tremble, o thou blasphemer of the blessed word of the most high God'.
,
To think upon it yet. Pray, sir, resolve her.
238TheophilusThen ’twas your frivolous fear that
wrought in†gg2808
affected
her.
Good sister, be at peace: for, by my love to you,
An oath I will not violate, I neither saw
Nor sought him, I. But other thoughts perplex me.
239LucyWhat, were you at the wedding, brother?
241LucyYour lost love, Millicent's. Are you now sad
After your last leave-taking?
243LucyThere may be other matches, my good brother—
Can think of other than her memory.
Though she be lost and dead to me, can you
Be so unnatural as to desire
The separation of a thought of mine
From her dear memory, which is all the comfort
My heart is married to, or I can live by?
Sharp†gg2048
hungry (OED adj. 4f)
, eager stomachs may be better fed
With airy smell of meat, than the bare thought
Of the most curious dainties—
Into my house?
I took her, as I find her, for my comfort.
She has by
counsel†gg817
advice, direction
and
discourse†gg269
(n) conversation; or topic of conversation
wrought much
Ease and delight into my troubled thoughts.
I pray thee, bear with my
distractions†gg1366
madness, confusion caused by dissension and conflict
.
249Phillis [Aside] A good-natured gentleman, for all his hasty
flashes†gg2049
outburst of anger
.
I have a new affliction.
A noble, valiant gentleman, for my life,
By hazarding his own, in my behalf.
253LucyIt was then
against Arthur*n2394
Irony at Lucy's expense: the audience know that in fact it was Arthur, coming to Theophilus's rescue.
.
What villain was’t durst take your cause in hand
Against that man?
And my dear father's blood within yourself,
In seeming careful of that man's safety—
A villain that would take the honour of
His death out of your hands,
if he must fall*n2395
To paraphrase: 'Assuming that Arthur must die by a man's sword, then anyone who kills him other than you is a villain, because they will have deprived you of the honour of killing Arthur yourself'.
By sword of man.
A quarrel yesterday, that drew strong odds
Upon my single person; three to one:
When, at the instant, that brave gentleman
With his sword,
sides†gg2809
stands by the side of
me, puts’em all to flight—
257LucyBut how can that afflict you?
259LucyGood brother, I ha’ done*n3354
I have done: I have nothing more to say.
.
That I not know the man, to whom I am
So much engaged, to give him thanks at least.
Enter NATHANIEL.
O, sir, y’are welcome, though we parted somewhat
Abruptly yesterday.
262TheophilusPray thee, Nat, tell me, for I hope thou knowst him;
What gentleman was that came in betwixt us?
263NathanielIf the devil know him no better*n2397
'The devil knows who he is; particularly since, in my opinion, the man in question deserves to go to hell'.
, he will lose
A part of his due, I think. But to the purpose:
I knew your wonted nature would be friends
With me before I could come at you. However, I
Have news for you that might deserve your love,
Were you my deadly enemy.
[NATHANIEL sees LUCY.]
[NATHANIEL greets LUCY with a] kiss. [
NATHANIEL sees PHILLIS*n3355
This is a reconstructed stage direction. Phillis does not welcome the penetration of her disguise, so we may reasonably imagine her trying to turn her head or make herself otherwise inconspicuous; Nathaniel's double-take is inferred from Lucy having to prompt him to speak.
, who tries in vain to hide her face. He is surprised.]
266LucyMy brother attends your news, sir.
267Nathaniel [Aside] My wench become her chambermaid! Very pretty!
How the
jade†gg532
on the analogy with an exhausted horse, a jade is an overused prostitute (or more crudely: a clapped-out tart)
mumps†gg2050
grimaces
for fear I should discover her.
Or are you now but
coining*n2398
That is, thinking up. Nathaniel picks up on the coinage metaphor in his reply.
it?
269NathanielNo, it was coined last night, o’the right stamp,
And
passes current*n2399
Like a genuine coin (one of the 'right stamp'), his news is real and valuable.
for your good. Now know,
That I, and
Mun*n2400
Nickname for Edmund, as 'Vince' is for Vincent.
, and Vince, with
divers†gg406
several (OED 3)
others
Of our comrades, were last night at the
bride-house†gg2051
house where a wedding is held (OED)
.
The Miseries of Enforced Marriages*n2401
A reference to George Wilkins, The Miseries of Enforced Marriage (1607). Wilkins's play must have been successful on the Renaissance stage, since its fourth quarto was printed in 1637.
So lively—
Zooks†gg1998
a shortened version of 'gadzooks', a strong oath
,
lay by your captious countenance*n2402
Stop looking at me with that disapproving expression. Nat has once again forgotten Theophilus's extreme touchiness on the subject of Millicent's marriage.
,
And hear me
handsomely*n6358
Two meanings are current: a) properly; b) without pulling a face. A pun by Nathaniel.
.
272LucyGood brother, do, it has a fine beginning.
This morning, early up we got again,
And with our fiddlers made a fresh assault
And battery ’gainst the bed-rid bridegroom's window
With an old song, a very wondrous old one,
Of all the cares, vexations, fears and torments
That a decrepit, nasty, rotten husband
Meets in a youthful, beauteous, sprightly wife:
So as the weak wretch will shortly be afraid
That
his own feebler shadow makes him cuckold*n2415
A variant of the phrase 'afraid of one's own shadow' (OED shadow n. 4b). 'Feebler' is a reference to the fact that Quicksands is already old and feeble.
.
Our masque
o’er night†gg2054
in the course of the previous night (OED, over prep, 20)
begat†gg2055
caused
a separation
Betwixt ’em before bedtime: for we found
Him at one window, coughing and spitting at us;
She at another, laughing, and throwing money
Down to the fiddlers, while her Uncle Testy
From a third
porthole†gg1570
small windows, usually circular, originally made for cannons on ships, but subsequently used of any similar apertures in a building
raves,
denouncing†gg2056
declaring: 'laying down the law'
law,
And thundering statutes ’gainst their
minstrelsy*n2416
The music they were playing.
.
274LucyWould he refuse his bride-bed the first night?
276NathanielOur
horn-masque*n2417
The masque of horned creatures seen in Act 1.
put him off
it†gg2057
the act of sex
, bless my invention,
For which, I think, you’ll judge she’ll forsake him
All nights and days hereafter. Here’s
a blessing*n2418
That is, the fact that she will be sexually unsatisfied in her marriage. Theophilus, according to the debauched Nathaniel, will thus be able to seduce her more easily.
Prepared now for you, if you have grace to follow it.
For here it were
inhospitable*n2419
Theophilus would kill Nathaniel on the spot (for his assumption that Millicent would be easily seduced), except that Nathaniel is currently a guest in Theophilus's house.
. Hence,
Thou
busy†gg4245
acting like a busybody
villain*n2420
] MS; vaillain O. O's meaningless reading seems to be merely a misprint.
, that with sugared malice
Hast
poisoned all my hopes*n2421
It is not immediately clear to the audience what this means, and Theophilus only explains it in his next speech.
, ruined my comforts
In that sweet soul forever. Go, I say,
That I may
with the safety of my manhood*n2422
That is: without compromising my manly honour. (Referring back to the start of the speech: it would be dishonourable to kill a guest, so he requests Nathaniel to step outside to be killed).
Right*n2423
That is: right the wrong that has been done against me.
me upon that mischievous head of thine.
Or is’t our luck always to meet good friends,
And never part so? Yet before I go,
I will demand your reason (if you have any)
Wherein
our friendly care*n2424
That is by organizing the horn-music for Quicksands.
can prejudice you,
Or poison any hopes of yours in Millicent?
Satisfied, that I did but justice on him,
In killing him. That villain, old in mischief
(Hell take him!) that has married her, conceives
It was my plot (I know he does) and, for
A sure revenge, will either work her death
By poison, or some other cruelty,
Or keep her locked up in such misery
That I shall never see her more.
285NathanielHer maid shall then, or
I’ll not out*n2425
I'll not go out (of the house I'm currently standing in).
to night.
[NATHANIEL takes PHILLIS aside.]
287Nathaniel [Aside to PHILLIS] Be not afraid*n2450
Afraid, that is, of Nathaniel bringing shame on her, by exposing her as his former mistress. In the next lines, Nathaniel's fertile mind sees in the situation an opportunity for further sexual blackmail.
: I take no notice o’thee,
I like thy course, wench, and will keep thy
counsel†gs274
secret
,
And come sometimes, and bring thee
a bit†gg2077
a) a small piece of food; b) with sexual overtones
and th’wilt*n3356
If you want.
.
288Phillis [Aside to NATHANIEL] I’ll see you choked first.
Cast†gs209
rejected (here used of a person)
wench that has made a good chamber-maid.
290Phillis [Aside to NATHANIEL] O, you are base, and I could claw your eyes out.
291Nathaniel [Aloud to PHILLIS] Pray tell your master now.*n2451
Nathaniel's parting shot is delivered aloud for Theophilus and Lucy to hear. It challenges Phillis to think up, instantly, a lie to explain away the conversation she has just had.
[Aloud to THEOPHILUS] So fare you well,
sir.*n2452
i.e. Theophilus. Humorous, because Theophilus has previously announced his intention to follow Nathaniel out and kill him.
[NATHANIEL] exits.
292LucyI thank you, brother, that you promise me
You will not follow him now: some other time
Will be more fit. What said he to you, Phillis?
293PhillisMarry he said -
[Aside] help me, good apron strings!
[Aloud] It was in answer, sir, of your objections.
First, that you feared the old man wickedly
Would make away his wife: to which he saies,
That is not to be feared, while she has so
Much
fear of heaven before her eyes*n3428
'In Millicent's virtue lies her safety' (Steen).
. And next,
That he would lock her up from sight of man:
To which he answers, she is so
endued†gg2078
archaic form of 'endowed'
With
wit of woman*n2455
Perhaps a reference to a play-title: the anonymous The Wit of a Woman (1604).
, that, were she locked up
Or had locks hung upon her, locks upon locks;
Locks of
prevention, or security*n2454
Not clear; perhaps the line implies firstly metaphorical 'locks', i.e. precautions, and then real locks, such as a chastity belt (Steen). Alternatively, it might differentiate between locks to keep gallants out, and locks to keep her in.
;
Yet being a woman,
she would have her will*n2456
Another play-title; William Haughton's Englishmen for my Money, or A Woman Will Have Her Will (1616).
,
And break those locks as easily as her wedlock.
Lastly, for your access unto her sight:
If you have land, he says, to sell or mortgage,
He’ll undertake*n2459
The pronouns are by now quite complicated. Nathaniel (according to Phillis) will undertake (that is, guarantee) that Quicksands' doors will fly open if Theophilus goes to him with land to sell.
his doors, his wife*n2461
Zeugma leading to an obscene comparison: Millicent's body will open like a door to let Theophilus in.
and all,
Shall fly wide open to you.
296TheophilusHe*n2467
i.e. Nathaniel (because Theophilus thinks that Phillis is reporting Nathaniel's parting words).
could not say so.
297LucyTroth, but ’tis like his wild way of expression.
298Phillis [Aside] Yes; I knew that: my wit else had been puzzled.
And friends with him again.
Enter ARNOLD.
Now, Arnold, any tidings?
300ArnoldNot of the gentleman that fought for you,
But I have other news that’s worth your knowledge.
Your enemy, young Arthur, that has not
Been seen abroad this twelvemonth is got forth
In a disguise I hear, and weaponed well.
I have it from most sure
intelligence.†gg2087
information
Look to yourself, sir.
302TheophilusPseugh†gg2088
an interjection, equivalent to 'pah' or 'pshaw' (used by Brome in both O and MS versions of The English Moor)
, I’ll not think of him. To dinner, sister.
[THEOPHILUS, LUCY, and PHILLIS exit.]
2.2
[Enter] QUICKSANDS, TESTY, [and] MILLICENT.
Given by a crew†gg807
'crew' could be neutral, meaning a gathering or group, but here the pejorative meaning is clear: 'a number of persons classed together (by the speaker) from actual connexion or common characteristics; often with derogatory qualification or connotation; lot, set, gang, mob, herd' (OED n1. 4)
of devils.
304Testy’Twas her*n2468
Millicent's. (Quicksands is, of course, wrong).
plot,
And let her smart†gg2089
(v) suffer pain
for’t.
I think ’twas
smart†gg1619
(n) sharp physical pain
enough for a young bride
To be made lie alone, and
gnaw the sheets*n2469
That is: in frustration at not being able to have sex. An idiomatic expression: cf. Congreve, Love for Love (1695) 53;
...she no more intended,
To lick her lips at men, Sir,
And gnaw the sheets in vain, Sir,
And lie o' nights alone.
Upon her wedding.
307MillicentBut for
your*n2470
Testy's (as the next line makes clear). By implication, Millicent has no respect for Quicksands.
satisfaction, as I hope
To gain your favour as you are my uncle,
I know not any
actor*n3453
anyone who was active
in this business.
Enter BUZZARD with a paper.
308BuzzardSir, here’s a letter, thrown into the
entry†gg2090
entrance-hall (OED n. 7)
.
QUICKSANDS reads [the paper].
309TestyIt is some villanous libel then, I warrant.
Sawst thou not who conveyed it in?
The devil owed me a
spite†gg2091
injury (OED n. 1)
; and when he has
ploughed†gg2092
hard to parallel exactly from OED in this metaphorical sense, but clearly meaning 'stimulated'
An old man’s lust up, he sits grinning at him.
Nay, I that have so many
gallant†gg402
fashionable young man
enemies
On fire to do me mischief, or disgrace;
That I must provide tinder for their sparks!
The very thought bears weight enough to sink me.
Thou shalt be wicked. Hundreds have ta’en oaths
To make thee false, and me a
horned†gg2093
with reference to the belief that cuckolded husbands grew horns
monster.
318MillicentA dream has done much more. Pray, sir, your patience,
And now
I will be serious*n6365
Millicent's long, eloquent, and serious speech about the difference between reputation and true honour performs a number of dramatic functions. It offers a tour de force, a change of register within a scene comparable to Fitchow's impressive speech on law and marriage in [NL 1.2.speech164]; by showing Millicent making a serious attempt to rebut Quicksands's suspicions, it exculpates her from any overtone of being complicit in the undoing of her marriage; and, in the short term, it gives her the leverage to make Quicksands accept her vow of a month's virginity.
, and endeavour
To mend your faith in me. Is’t in their power
To destroy virtue, think you? or do you
Suppose me false already? ’tis perhaps
Their plot to drive you into that opinion.
And so to make you cast me out amongst ’em:
You may do so upon the words of strangers;
And if they tell you
all*n2472
] MS; all, O. O's comma is clearly erroneous.
your gold is counterfeit,
Throw that out after me.
319TestyNow she
speaks woman*n2492
The general meaning is clear - 'now she sounds like a woman' - but the precise sense is hazy: perhaps OED v. 30, 'To manifest or show (a person, thing, etc.) to be or do a certain thing'.
.
320MillicentBut since these men pretend, and you suppose ’em
To be my friends, that
carry this presumption*n2493
That is: carry out this arrogant action.
Over†gg2122
against
my will, I’ll take charge of myself,
And do fair justice, both on them and you:
My honour is my own; and I’m no more
Yours yet, on whom my uncle has bestowed me,
Than all the world’s,
the ceremony off*n2494
That is: apart from the ceremony. (This sets up an important plot element: in early modern comedies, and to an extent in early modern Britain, marriages could still be annulled if they had not been consummated).
;
And will remain so, free from them and you,
Who, by the false light of their
wildfire flashes*n2496
Two meanings are current here: a) in a literal sense, implying the gallants have had fireworks of some sort as part of their assault on the windows; b) metaphorically, indicating their ill-disciplined desire.
Have slighted and depraved me and your bride-bed;
Till you recant your wilful
ignorance*n2498
She means of her own worth.
,
And they their petulant folly.
322MillicentBoth they and you
trench on†gg2124
infringe upon (OED v. 7b)
my peace and honour,
Dearer than beauty, pleasure, wealth and fortune.
I would stand under the fall of my estate
Most cheerfully, and sing, for there be ways
To raise up fortune’s ruins, were her towers
Shattered in pieces, and the glorious
ball*n2503
Traditionally, Fortune was pictured standing on a ball, an emblem of the instability of the world. For numerous illustrations, see Thomson, ed., Fortune: 'All is but Fortune' (2000). See, alternatively, George Wither's illustration of Fortune in A Collection of Emblemes (1635), online at the English Emblem Book Project, http://emblem.libraries.psu.edu/withe174.htm.
She stands on cleft asunder: but for peace
Once ruined, there’s no reparation;
If honour fall, which is the soul of life,
’Tis like the damned, it ne’er lifts the head
Up to the light again.
And nephew, she’s too good for you. I charge you,
Give her her will: I’ll have her home again else.
To keep a vow I made, which was last night
Because you slighted me.
[Aside to QUICKSANDS] I’ll lay the price of twenty
maidenheads*n2504
Virginities. That is, Testy is willing to bet a large sum of money (the sum required to corrupt twenty virgins) that Quicksands will not get to take Millicent's virginity in the next week.
Now, as the market goes, you get not hers
This
sennight†gg132
week (archaic); abbreviation of 'seven nights'
.
I crave your faithful promise not to attempt me.
In the meantime, because I will be
quit†gs286
paid back
With my
trim†gg990
fine, neat, smart (clever)
,
forward†gg1398
bold, presumptuous, immodest (OED 8)
gentlemen, and secure you
From their assaults, let it be given out,
That you have sent me down into the country
Or back unto my uncle's; whither you please.
But be locked up in some convenient room
Not to be seen by any, but yourself:
Or else to have the liberty of your house
In some disguise, if it were possible,
Free from the least suspicion of your servants.
Do we not live in a well-governed city?
And have not I authority? I’ll take
The care and guard of you and of your house
’Gainst all outrageous attempts; and
clap†gg2959
imprison
Those
goatish†gg2033
a) like a goat; b) lustful (because goats were proverbially so)
roarers†gg478
a noisy, riotous bully or reveller; a wild roisterer; the term was particularly associated with tavern culture in the Caroline period (OED, 1b)
up, fast as they come.
331QuicksandsI understand her
drift†gg1954
purpose, meaning
, sir, and applaud
Her
quaint†gg1761
skilful, clever
device†gg1174
scheme, project, often one of an underhand or evil character; a plot, stratagem, trick
. ’Twill put ’em to more trouble,
And more expense in doubtful search of her.
The best way to undo ’em is to
foil†gg2127
defeat (a metaphor from fencing)
’em
At their own weapons. ’Tis not to be thought
They’ll seek by violence to force her from me,
But wit; in which we’ll overcome ’em.
332TestyAgree on’t ’twixt yourselves. I see y’are friends.
I’ll leave you to yourselves.
[TESTY takes MILLICENT to one side.]
[Aside to MILLICENT] Hark hither, niece—now I dare trust you with him.
He is
in years†gg2128
old
, ’tis true. But hear’st thou girl,
Old foxes are best blades*n2505
Two meanings are current here: a) old swords are the best swords, because a 'fox' is a type of sword (OED n, 6); and b) (metaphorically, and because 'blade' can denote a dashing, active man) old men are the best lovers.
.
334Testy [Aside to MILLICENT] Good keeping makes him
bright*n2506
Two meanings again obtain: a) continuing the metaphor of Quicksands as an old sword; b) with sexual overtones.
and young again.
[TESTY and MILLICENT take a long, appraising look at QUICKSANDS.]*n4240
This stage direction is implied by the dialogue. Quicksands, unaware he is being watched, is distracted in some other activity: perhaps revelling in his plans to trick the gallants.
336Testy [Aside to MILLICENT] A year or two, perhaps.
Then, when he dies, his wealth makes thee a countess.
[Aloud to QUICKSANDS] And nephew, love her, I find she deserves it;
Be as benevolent to her as you can;
Show your good will, at least. You do not know
How the good will of an old man may work
In a young wife. I must now take my journey
Down to my country house. At your month’s end
I’ll visit you again. No ceremony!
Joy and content be with you.
Or put in some disguise, and have it said
Y’are gone unto your uncle's. I have heard
Of some bridegrooms that shortly after marriage
Have gone to see their uncles*n2507
OED quotes Grose's Dictionary of the Vulgar Tongue (1785): ''He is gone to visit his uncle', saying of one who leaves his wife soon after marriage' (OED uncle n, 1c).
, seldom brides.
I have thought of another course.
Out of a detestation of your match?
’Twill give it credit. They’ll commend you for it.
As for disguise, or privacy in my house,
You’ll leave to me.
Provided still you urge not to infringe
My vow concerning my virginity.
I will not offer at it till your time.
351MillicentWhy, here’s a happiness in a husband now.
[QUICKSANDS and MILLICENT exit.]
2.3
[Enter] DIONYSIA and RAFE.
352DionysiaThou tell’st me things that truth never came near.
353Rafe’Tis perfect truth: you may believe it, lady.
354DionysiaMaintain’t but in one syllable more, I’ll tear
Thy mischievious tongue out.
355RafeFit reward for tell-troths†gg2135
people who tell the truth
.
But that’s not the reward you promised me.
For watching of your brothers actions;
You said forsooth (if’t please you to remember)
That you would love me for it.
I bade thee bring account of what he did
Against his enemy; and thou reportest
He took his enemy's danger on himself,
And helped to rescue him whose bloody father
Killed ours. Can truth or common reason claim
A part in this report? My brother do’t,
Or draw a sword to help Theophilus!
357Rafe [Aside] ’Tis not for any spite I owe my master,
But for my
itch†gg2136
lust for
at her that I do this.
I am strangely taken. Such brave-spirited women
Have cherished
strong-backed servingmen*n2510
Rafe may be thinking particularly of Middleton and Rowley's The Changeling, in which the servant De Flores gains sexual power over his mistress by drawing her into crime. But, as Levin (2005) notes, the idea of noble ladies falling in love with their virile servingmen is a recurrent trope in early modern drama.
ere now.
358DionysiaWhy dost not get thee from my sight, false fellow?
359RafeI’ll be believed first. Therefore pray have patience
To peruse that.
[RAFE] gives her a paper.
Theophilus’ sister’s name—'The brighter Lucy'
So often written? nothing but her name,
But change of
attributes†gg2138
descriptive terms
—one serves not twice.
'Blessed', 'divine', 'illustrious', 'all perfection',
And—so heaven bless me!—'powerful' in one place.
The worst thing I read yet, 'heap of all virtues',
'Bright shining', and all these ascribed to Lucy.
O! I could curse thee now for being so just.
Would thou hadst
belied†gg4251
told lies about
him still.
It shall not pass so quietly.
[As she rages, RAFE starts to leave.]
Nay, stay.
363Rafe [Aside] She’ll cut my throat, I fear.
365Rafe [Aside] It may do yet.*n2511
This may yet be my opportunity (to seduce Dionysia).
[Aloud] To you I am, sweet lady, and to my master
In true construction*n2512
If one thinks about it correctly.
: he is his friend I think
That finds his follies out to have them cured,
Which
you have only*n2513
In modern word-order: 'only you have'.
the true spirit to do.
Brave,
sprightly†gg2139
spirited
mistress, is the steeple top,
Or rather weathercock o’top of that,
To which aspires my life’s ambition.
Of his rare
twelve-months-melancholy*n2514
The melancholy has lasted twelve months, corresponding to the time since the disappearance of Arthur's father (and since the start of his and Lucy's lovesickness). The phrase has overtones of the 'twelvemonth's mind' (OED twelvemonth n. 2), a ceremony marking a year since someone's death.
works
That lie in’s study. Mistress, ’tis apparent
His melancholy all this while has been
More for her love, than for his father’s death.
In
earnest†gg504
money or sum of money paid as an instalment (OED n. 2)
of it, mistress, would be felt.
[RAFE] offers to kiss [DIONYSIA]. She strikes him.*n6417
He offers to kiss her, she strikes him O; She strikes him MS. O is more explicit than MS. The moment exemplifies the slowly changing power relations between the two characters, especially since it is claimed by Rafe as a victory: he has managed to make bodily contact with her, even if that contact takes the form of her hitting him. Rafe could be played as a sinister sexual predator, but workshopping revealed the potential for broad comedy in the sequence: see clip . The workshopping also raised other questions of performance and interpretation. Dionysia, as performed in this clip, shows no sense that she has crossed a line with Rafe in physically touching him, and that lack of awareness is an important element of a purely comic interpretation of the scene. An alternative interpretation would be to stage it more as it appears in Rafe's imagination, and to give Dionysia some inkling that she has started to compromise herself with Rafe in reacting at all to his demands for a reward. In a sense, the strength of the scene lies in the fact that it is both things at once: the intimacy between them is both a comic self-delusion on Rafe's part, and also and at the same time the early stages of the potentially life-threatening disaster which nearly comes to pass in Act Five.
And the most feeling pledge she could have given:
For she is a
virago†gg2140
'a man-like, vigorous, and heroic woman; a female warrior; an amazon' (OED n. 2)
. And I have read
That your viragoes use to strike all those
They mean to lie with: And from thence ’tis taken
That your brave active women are called
strikers*n2515
Two meanings obtain: a) one who strikes blows (OED n, 2b); b) a perjorative term for a sexually active woman (OED n, 2d).
.
375Rafe [Aside] The warm touch of my flesh
Already works in her. I shall be set
To better work immediately.
[RAFE places a chair for her.] Enter ARTHUR.
I am prevented!
377Rafe [Aside] Aha! This
clinches*n2516
Not recorded by OED in this intransitive sense, but clearly equivalent to 'this clinches it'.
. Another time I’m sure on’t.
[RAFE] exits.
[DIONYSIA] sits [on the chair, and feigns sickness].
378ArthurSister! Where are you? How now! Not well? Or sleepy?
379DionysiaSick, brother*n2522
Dionysia feigns love-sickness, in order to expose her brother's love-sickness which she has just found out about.
—sick at heart, oh—
380ArthurPassion of heart*n4245
Heart palpitations: a loosely-used medical term (cf. OED cardiac a, 1).
! Where are our servants now
To run for doctors? Ho!†gg3217
a shout to summon help
Here’s no work for
them*n2517
Dionysia means the doctors.
. They’ll find a master here
Too powerful for the strength of all their knowledge.
Too scornful to be dispossessed by them.
384ArthurWhat may that
proud†gg2141
vigorous (OED adj. 6)
grief be? Good sister, name it.
385DionysiaIt grieves me more to name it, than to suffer’t.
Since I have endured the worst on’t, and proved constant
To sufferance and silence*n2518
Since I have up to now not wavered from suffering in silence.
, ’twere a weakness
Now to betray a sorrow, by a name,
More fit to be severely felt than known.
Than so afflict your understanding, sir.
390ArthurIndeed you wrong me now. Can I chide you?
And heartily.
392Arthur [Aside] You tax†gg1085
censure, accuse
me nearly there.
393DionysiaAnd that’s the physic must help me, or nothing.
394ArthurWith grief I go about to cure a grief then.
Now speak it boldly, sister.
396ArthurIt is! What is it? If you love me, speak.
397Dionysia’Tis—love, and I beseech thee, spare me not.
398ArthurAlas dear sister, canst thou think that love
Deserves a chiding in a gentle breast?
That tremblest but at opening of a wound!
What hope is there of thee to
search†gs583
investigate, examine (OED v. 5a)
and dress it?
But I am in thy hands, and forced to try thee.
I love—Theophilus—
400ArthurHa!†gg2643
a versatile exclamation which can express surprise, wonder, joy, suspicion, indignation, etc., depending on the speaker’s intonation (OED int, 1)
His son that slew our father. There’s a love!
O more than time ’twere
looked*n2519
To 'look' a wound is to inspect it, looking for foreign matter in it (OED v, 6).
, for fear it festers.
402Arthur Aside*n9205
] MS. The only line in this scene specially marked as an aside in MS or O (although many others are clearly, by modern definitions, asides).
She has put me to’t indeed*n2520
She has put me in a quandary. Arthur is entirely taken in by her story, and instantly thinks how it would impact his proposed match with Theophilus's sister Lucy.
. What must I do?
She has a violent spirit; so has
he*n2521
Theophilus.
;
And though I wish most seriously the match,
Whereby to work mine own with his fair sister,
The danger yet, in the negotiation
May quite destroy my course, spoil all my hopes.
I’ll therefore
put her off on’t*n4246
Put her off from it.
if I can.
I love you not so slightly. Pardon me.
A rough hand must be used, for here’s a wound
Must not be gently
touched†gs289
(of a wound) medically examine by feeling (OED v. 2d)
;
you perish then*n4247
If I pity you, and treat you gently, you will perish from the disease.
,
Under a brother’s pity. Pray sit quiet,
For you must suffer all.
406ArthurTo love the son of him that slew your father!
To say it shews unlovingness of nature,
Forgetfulness in blood, were all but shallow
To the great depth of danger your fault stands in.
It rather justifies
the act itself*n2523
That is, the killing of their father.
,
And commends that down to posterity
By your blood-cherishing embraces. Children,
Born of your body, will, instead of tears,
By your example, offer a thankful joy
To the sad memory of their grandsire's slaughter.
Quite contrary! How fearful ’tis to think on’t!
What may the world say too? There goes a daughter,
Whose strange desire leaped from her father’s ruin;
Death gave her to the bridegroom; and the marriage
Knit fast and cemented with
blood*n2524
] MS; blood. O. In either case, the phrase is grammatically incomplete, but the MS makes it an aposiopesis, a deliberate trailing off, rather than the uncharacteristic Latinate-sounding ellipsis implied by O's punctuation.
. O sister—
[DIONYSIA] rises*n6352
] She rises MS; no SD in O. MS gives a vivid clue to the movement of the characters.
.
411DionysiaTh’hast played with fire; and like a cunning fellow
Bit in†gg2142
restrained (OED bite v, 7)
thy pain o’purpose to deceive
Another’s tender touch. I know thy heart weeps
For what’t has spoke against. Thou that darest love
The daughter of that fiend that slew thy father,
And plead against thy cause! unfeeling man,
Can not thy own words melt thee? To that end
I wrought and raised ’em. ’Twas to win thy health
That I was sick; I played thy disease to thee,
That thou mightst see the loathed complexion on't,
Far truer in another than one's self.
And, if thou canst, after all this, tread wickedly,
Thou art a rebel to all natural love
And filial duty; dead to all just counsel;
And every word thou mockedst with vehemence
Will rise a wounded father in thy conscience,
To scourge thy judgement.
She tears and throws the paper to him.
There’s thy saint crossed out*n2526
Dionysia imagines Lucy as a saint whose saint's day is being deleted from the calendar.
,
And all thy memory with her. I’ll ne’er trust
Revenge again with thee, so false is manhood,
But take it now into mine own power fully,
And see what I can do with my life’s
hazard;†gs880
risk (that is: I will see what I can achieve, although I risk my life in doing so)
Your purpose shall ne’er thrive. There I’ll make sure work.[DIONYSIA] exit[s].
412ArthurHow wise and cunning is a womans malice!
I never was so cozened.[ARTHUR] exit[s].
Edited by Matthew Steggle