856ClackI have forgiven you. Provided that my niece be safely taken, and so to be brought home. Safely, I say, that is to say, unstained, unblemished, undishonoured; that is to say, with no more faults, criminal or accusative†gg3722 accusatory, or containing an accusation or charge , than those she carried with her.

857MartinSir, I believe ―

858ClackNay, if we both speak together, how shall we hear one another? You believe her virtue is armour of proof*n5466 That is: impenetrable or inviolable condition or state. 'Proof' here means a condition of having successfully stood a test, or the capability of doing so; proven or tested power, strength, etc. (originally and chiefly of armour and arms). Hence figuratively and in extended use: impenetrability, invulnerability (OED proof 9a). Amy's virginity, in other words, cannot be forced by any assailant. , without your counsel or your guard; and therefore you left her in the hands of rogues and vagabonds to make your own peace with me. You have it. Provided, I say, as I said before, that she be safe, that is to say, uncorrupted, undefiled; that is to say ― as I said before.

859MartinMine intent, sir, and my only way —

860ClackNay, if we both speak together, how shall we hear one another? As I said before. Your intent and your only way, you would ha’ said, was to run away with her, and that by her only†gg3723 sole instigation, to avoid the tie of marriage with Master Tallboy; that is to say, to shun the match that I had made for her; that is to say, rather to disobey me than to displease herself. Wherein — although she did not altogether transgress the law — she did both offend and prejudice me, an instrument†gg3084 "a person made use of by another [...] for the accomplishment of a purpose" (OED n, 1b); an agent, tool , nay, I may say, a pillar†gs708 significant supporter of the weight (of the law) thereof. And you, in assisting her, furthering, and conveying her away, did not only infringe the law, in an unlawful departure from your master, but in a higher point; that is to say, top and topgallows*n5467 That is, a hanging threat (by analogy to the expression 'top and topgallant', short for topsail and topgallant sail of a ship); hence figuratively, with all sails set, in full array or career (OED top n1, 9c). In Justice Clack's summing up of the situation, he gives dire warning that Martin is criminally liable to the utmost penalty of the law for running away with Amy and for being derelict in his duty to his employer. Neither is a hanging offence in English law, unless it could be proved that Martin kidnapped her and stole goods or money from his employer at the same time. high. I would ha’ found a jury should ha’ found it so.*n5468 A surprising admission from a judge! By his own admission, Justice Clack states that he would criminally influence a jury (whether by bribery or fear is not clear) to hang Martin. Even if Amy did concoct the plan of running away and forced Martin to help her, he is still guilty of assisting her and of abandoning his duty to his employer. Clack's words are hypothetical, however, since Martin's return and confession mitigate his 'crimes'.

861MartinBut, sir, an’t please you —

862ClackMust we then both speak together? Have I not borne with thee to speak all thou pleasest in thy defence? Have I not broke mine own rule, which is to punish before I examine, and so to have the law the surer o’my side? And dost thou still persist? Hold your own peace, or, as I am a Justice of the King’s*n5469 That is, Justice of the King's Bench, a judge in the former court of record and the supreme court of common law in the kingdom, in which originally the sovereign presided. , I will unsay what I said before, and set a currat lex *n5470 Latin: legal term for maximum penalty; that is, the death sentence. at you, sirrah, that shall course you up the heavy hill*n5471 That is: pursue you to the gallows. Although the play takes place in Nottinghamshire, the colloquialism, "the heavy hill", is referring to London's steep ascent up which convicts travelled, usually by cart, on their way to execution at Tyburn. See, for example, Jonson's Bartholomew Fair in which Ursula warns Knockem that his criminal activities will lead him to 'groan out of a cart, up the heavy hill' (2.3.5). . Oh, is your tongue fallen into your leg now? Do not you know I have acquitted you? Provided — as I said before. Go your way in, and see that the gentlemen, who, I think, were got in sack†gg483 white wine from Spain: sack is derived from 'sec', and usually meant a dry white wine; hence Falstaff's enjoyment of 'sack and sugar' , christened in sack, nursed with sack, and fed up to gray hair with only sack; see, I say, that they want no sack.   MARTIN exits.   My son Oliver, I thank him, has brought me a pair of such guests —

Oh, Master Sentwell! Good news?

863SentwellOf beggarly news, the best you have heard.

864ClackThat is to say, you have found my niece among the beggars. That is to say ―

865SentwellTrue, Sir Oliver, I found her ―

866ClackNow if we both speak together, who shall hear one another?

867SentwellI thought your desire was to be informed.

868ClackI can inform myself, sir, by your looks.*n5668 Clack's refusal to listen to anyone else talk is an echo of Morose in Jonson's Epicoene, or the Silent Woman (1609), also a play written for a boys' company (Children of the Queen's Revels, at Whitefriars). Morose refused to let his servants speak at all; they had to bow or signal with their hands to demonstrate agreement or disagreement, a frequently inadequate mode of communication. I have taken a hundred examinations, i’my days, of felons and other offenders out of their very countenances, and wrote ’em down verbatim†gg4441 word for word; in the exact words of the original what they would have said. I am sure it has served to hang some of ’em and whip the rest.

869Sentwell   [Aside]   Justice Clack still! He must talk all. His clack*n5342 Contemptuous term for the tongue, implying noisy speech, senseless or continuous chatter (OED n8, 6; see quotation for 1641, citing this play). must only go.

870ClackBut to the point. You have found my niece. You have left her at your own house, not only to shift†gg654 change her out of her disguise, but out of her shame to come nearer me, until I send her pardon.

871SentwellMost true, sir. But the company she was in ―

872ClackAgain! Do not I know the company? Beggars, rogues, vagabonds, and hedge–birds.

873SentwellBut do you know whom, or how many we have taken? And how the rest escaped?

874ClackA needless knowledge. Why should we take more than herself? Or how could you take those that could escape?

875MartinSir, the old gentlemen within sent me to wait upon you. Without you, they say, they need not my service.

876ClackTell ’em then I’ll wait on ’em presently.Exit MARTIN.

877SentwellBut, sir, we have taken with her such beggars, such rogues, such vagabonds, and such hedge–birds, since you call ’em so, as you never knew or heard of, though now the countries†gg1959 counties; rural regions outside of London/Middlesex and Westminster; generally, neither court nor city swarm with ’em under every hedge, as if an innumerable army of ’em were lately disbanded without pay. Hedge–birds, said you? Hedge–ladybirds, hedge–cavaliers, hedge–soldier, hedge–lawyer, hedge–fiddlers, hedge–poet, hedge–players, and a hedge–priest among ’em. Such we have taken for the principals. But to see how the multitude scaped us was more sport than pity. How, upon a watchword†gg4442 password, or prearranged signal given, they in the instant vanished by more several ways than there were legs among ’em; how the cripples leaped over pales†gg3724 fences and hedges; how the blind found their way through lakes and ditches; how a doxy flew with two children at her back and two more, perhaps, in her belly ―

878ClackA hedge–priest have you taken, say you?

879SentwellYes, sir, an old patrico, an ancient prophet, to tell fortunes and cozen†gg3551 deceive, dupe, beguile, impose upon (OED 2) our poor country people of their single money†gg3820 small change .

880OliverSir, Master Oldrents, in that he enjoys not†gg3725 does not have the pleasure or benefit of (OED 4a) your company, begins to doubt of his welcome.

881ClackWho led him into that doubt? I, or you that brought him hither?

882OliverSir, his own desire and love to you brought him hither. I but showed him the way.

883ClackYou reason fairly. Tell him I come.

884OliverPray, sir, be pleased to do so: for he says ―

885ClackNay, if we both talk together ―

886Oliver— who shall hear one another.Exit OLIVER.

887ClackBut are there players among the apprehended?

888SentwellYes, sir. And they were contriving to act a play among themselves, just as we surprised ’em, and spoiled their sport.

889ClackPlayers! I’ll pay them above all the rest.

890SentwellYou shall do well in that, to put ’em in stock†gg3726 in possession of capital to set up again.

891ClackYes, I’ll put ’em in stocks*n5472 The use here is punning on the obsolete instrument of punishment, consisting of two planks set edgewise one over the other (usually framed between posts), the upper plank being capable of sliding up and down. The person to be punished was placed in a sitting posture with his ankles confined between the two planks, the edges of which were furnished with holes to receive them. Sometimes there were added similar contrivances for securing the wrists (OED 8a). , and set ’em up to the whipping–post. They can act justices, can they? I’ll act a justice among ’em; that is to say, I will do justice upon them; that is to say ―

892SentwellPray, sir, be not severe. They act kings and emperors, as well as justices. And justice is blind, they say. You may therefore be pleased to wink†gg2702 shut one's eyes; fail to see, connive (OED v1, 5a) a little. I find that you have merry old gentlemen in your house that are come far to visit you. I’ll undertake that these players, with the help of their poet, in a device which they have already studied, and a pack of clothes which I shall supply ’em with shall give your guests much content and move compassion in you towards the poor strolls†gg3727 (n) strollers or ramblers .

893ClackBut you know my way of justice —and that’s a sure way — is to punish ’em first and be compassionate afterwards, as I find ’em upon their examination†gs680 judicial inquiry. .

894SentwellBut for your guests’ sakes, who, I know, do favour and affect the quality of actors very much, permit ’em, sir. It will enlarge your entertainment†gg3729 hospitality exceedingly.

895ClackAnd perhaps save me the expense of a runlet†gg3728 cask or vessel of varying capacity; or the quantity of liquor contained therein of sack the while. Well, sir, for that respect, and upon your undertaking that they shall please, I will prorogue†gg3730 defer, postpone my justice on the rogues. And so to my merry gentlemen, whom I will prepare to see their interlude against after supper†gg3731 as soon as supper is over, or shortly after supper . But pray, Master Sentwell, as you have found my niece, look to her and see her decently brought home.

896SentwellIn her own best apparel. But you must prorogue your displeasure to her too.

897ClackI will do so, until my scarce welcome*n5473 That is: barely welcomed. Not a criticism of his guests, this statement shows that Clack wants to entertain them properly and spend time with them. guests be gone.

898RandallSir, my master sends you word, and plainly, that without your company, your entertainment stinks. He has commanded me saddle his nag†gg1234 small horse or pony s and away to night. If you come not at once, twice, thrice, he’s gone presently before supper. He’ll find an host at an inn worth a hundred o’you.

899ClackGood friend, I will now satisfy your master, without telling him he has a saucy knave to his man.CLACK exits.

900RandallThank your worship.

901SentwellDo you hear, friend, you serve Master Oldrents.

902RandallI could ha’ told you that. And the best housekeeper my master is of any gentleman in the county he dwells in; and the best master to a man, as I, the worst of twenty, can say for him, and would be ashamed to say less.

903SentwellYour name is Randall.

904RandallForgi’ me! Are you so wise? You are too young to be my godsire. And I hope not old enough to be a witch. How know you that I am Randall? Were you ever at my master’s house i’ Nottinghamshire, or at Dunghillford where I was born?

905SentwellNo. But I have notes†gs681 intelligence, warning, information (OED n2, 11b) to know you by.

906RandallI was never twelve mile from thence i’ my life before this journey. God send me within ken†gg3838 range of sight or vision (OED n1, 2) of our own kitchen smoke again.

907SentwellYour master’s steward’s name is Springlove.

908RandallMaster Springlove, an’t please you. There is not an honester gentleman between this*n5669 Randall makes a gesture here, possibly to his heart, which he mentions in the next sentence. He may point to his own head before mentioning Springlove's, but he's giving Springlove credit for brains, and himself credit for loyalty. His point is that, aside from Randall himself, no man more honest than Springlove exists. and the head of him. And my heart’s with him, where’er he is. Know you him too?

909SentwellYes, and your master’s daughters too.

910RandallWhaw.*n5474 This comment suggests one of two performance choices. (1) A mocking sound, used progressively by Randall in subsequent speeches to indicate that Sentwell talks too much, seems too 'knowing' for Randall's taste, and is making Randall very impatient to get to the point of this conversation. (2) A yokel's surprise at what Sentwell knows about Randall and the family he works for. In Lancashire Witches, this same sound uttered by Parnell indicates shrieks of unexpected delight at the prospect of her marriage to Lawrence. [LW 1.2.speeches179-189]

911SentwellAnd that they are all from home, your master knows not where.

912RandallWhaw, whaw. Know you that too?

913SentwellYes, and the two young gentlemen that are with ’em, Master Vincent and Master Hilliard.

914RandallWhaw, whaw again. You know ’em all, I think. But know you where they all are?

915SentwellEven hereby, at my own house.

916RandallWhaw ―――

917SentwellAnd they knowing that your master is here, and Master Hearty too ―

918RandallWhaw, whaw.

919SentwellAnd yourself too. They directed me to find you, Randall, and bring you to ’em.

920RandallWhaw, whaw, whaw, whaw ―― Why do we not go then?

921SentwellBut secretly. Not a word to anybody.

922RandallMum†gg1683 be silent ― Will you go then?

923MartinOh, Master Oldrent’s man. Pray let me entreat you into the buttery.

924Randall   [Ignoring MARTIN, he speaks to SENTWELL.]   Will you go, master gentleman?

925MartinIndeed it is my master’s desire, and he commanded me.

926Randall   [To MARTIN, indignantly]   Now, when it’s suppertime, did he? To fill my belly with thin drink to save his meat? It’s the manner in churls’*n5475 That is: rustics' or peasants', but used as a term of disparagement or contempt: appropriate for base or mean-minded people. houses. —   [To SENTWELL]   Will you go, master gentleman?

927MartinIn troth, my master is so merry with yours within ―

928RandallShite o’ your master. My master’s steward’s a better man. I’ll to him at this gentleman’s house, and all the rest. Whaw, whaw.

929Sentwell   [Aside to RANDALL]   Randall, you forget.

930RandallMum again then. Why would you not go then?SENTWELL and RANDALL exit.

931MartinThe man’s as mad as his master. The strangest strangers that ever came to our house!

932TallboyWell, Martin, for confessing thy fault and the means thou madest whereby she is taken, I am friends with thee. But I shall never look upon her or thee ―― but with grief of mind, however I bear it outwardly. Oh ―――

933MartinYou bear it very manfully, methinks.

934TallboyAy, you think so, and I know so ―― But what I feel, I feel. Would one of us two had never both seen one another ――― Oh ―――

935MartinYou speak very good sense, sir. But does my master continue his merry humour with the old gentlemen within?

936TallboyYes. Justice Clack’s clack goes as merrily as any.

937MartinWell said, sir. Now, you speak merrily too. But I could say somewhat that would still†gg4443 (v) silence him. And for your comfort, I’ll tell you. Mistress Amy is fallen in love with one of the beggars.

938TallboyThen have I nothing else to do, but to laugh at thee as long as I live. Ha, ha, ha ――― To let a beggar cozen thee of her. Ha, ha, ha! A beggar! I shall die merrily yet. Ha, ha, ha!

939ClackA hey†gs963 or 'A hey', an exclamation of approval or excitement, frequent as a musical refrain , boys, a hey! This is right; that is to say, as I would have it; that is to say ―

940TallboyA beggar! Ha, ha, ha! ―――

941MartinHa, ha, ha ―

942Clack   [Singing]   A hey, boys, a hey. They are as merry without as we were within. A hey, Master Oldrents, and Master Hearty! The virtue of your company turns all to mirth and melody,   [Singing]    with a hey trololly lolly lolly. Is’t not so, Master Hearty?

943OldrentsWhy, thus it should be. How was I deceived! Now I see you are a good fellow.

944OliverHe was never so before. If it be a lightening*n5670 ] This edition; lightning Q1. Haaker follows Q1 by retaining this spelling, but the reference is not to weather. before death*n4385 This refers to an exhilaration or revival of the spirits which is supposed to occur in some instances just before death (OED lightening, vbl. n.2, 1b). The old-spelling text has lightning, and the word is taken over into Haaker's modern text, but this expression does not refer to a thunderstorm. , the best is, I am his heir.

945Tallboy [and] MartinHa ha ha ―――

946ClackAgain, boys, again; that is to say,   [Singing]    a hey, boys, a hey ―

947HeartyWhat is the motive of your mirth, nephew Martin? Let us laugh with you.

948OldrentsWas that spoke like my friend, Hearty? Lack we motives to laugh? Are not all things, anything, everything to be laughed at? And if nothing were to be seen, felt, heard, or understood, we would laugh at it too.

949ClackYou take the loss of your mistress merrily, Master Tallboy.

950TallboyMore merrily than you will take the finding of her. Ha, ha, ha ――― A beggar! Ha, ha, ha ―――

951ClackCan I be sad to find her, think you?

952MartinHe thinks you will be displeased with her and chide her.

953ClackYou are deceived, Master Tallboy; you are wide†gg4444 astray in opinion or belief, mistaken (now expressed by the full phrase, wide of the mark) (OED a, 10b) , Master Tallboy; above half your length†gg4445 more than half the extent of space within which it is possible to reach or act upon something (playing here on the name Tallboy, suggesting the extent by which he has missed Clack's meaning) , Master Tallboy. Law and justice shall sleep, and mirth and good fellowship ride a circuit†gg4446 circle around on horseback; ride at regularly recurring times, as a judge does when he travels on circuit to assizes held in various localities here tonight. A hey, Master Oldrents, a hey, Master Hearty, and a hey, son Oliver, and a hey, nephew Tallboy that should ha’ been, and a hey, my clerk Martin, and a hey for the players. When come they? Son Oliver, see for†gg3839 look for, try to find (OED see v, 19) Master Sentwell, that is no readier with his new company.

954TallboyPlayers! Let us go see too. I never saw any players.TALLBOY [and] MARTIN exit.

955OliverThis is the first fit that ever he had of this disease. And if it be his last, I say, as I said before, I am his heir.He exits.

956OldrentsBut is there a play to be expected and acted by beggars?

957ClackThat is to say, by vagabonds; that is to say, by strolling players. They are upon their purgation*n5477 This refers to the action of clearing themselves from an accusation or suspicion of crime or guilt (OED 6). . If they can present anything to please you, they may escape the law, that is, a hey! If not, tomorrow, gentlemen, shall be acted Abuses Stripped and Whipped*n5479 This refers to a satire by George Wither, printed in 1613. among ’em. With a hey, Master Hearty, you are not merry.

And a hey, Master Sentwell, where are your Dramatis Personae*n5671 Latin: Cast List; literally, the Persons of the Play. In effect. Clack is asking where the actors are. , your Prologus†gg3841 Latin: the actor who gives the Prologue to the play. On the early modern stage, he usually wore a black cloak to cover his costume for the role he performs next in the play proper. , and your Actus Primus†gg3842 Latin: Act One. , ha? Ha’ they given you the slip†gg4447 evaded or escaped from you; eluded, stolen off or slipped away from you unperceived , for fear of the whip? A hey!

958SentwellA word aside, an’t please you ―

959OldrentsI have not known a man in such a humour.

960HeartyAnd of his own finding! He stole it, indeed, out of his own bottles, rather than be robbed of his liquor. Misers use to tipple themselves so.*n5672 Clack's eccentric behaviour arises from his over-consumption of his own wine, drinking it himself instead of generously supplying his guests. Misers often get drunk on that avaricious basis.

961Oldrents He does so outdo us, that we look like staid†gg1794 free from flightiness, serious in conduct men again, Hearty, fine sober things.

962HeartyBut how long will it last? He’ll hang himself tomorrow for the cost we have put him to.

963OldrentsI love a miser’s feast dearly. To see how thin and scattering†gg3843 placed far apart the dishes stood, as if they feared quarrelling.

964HeartyAnd how the bottles, to scape breaking one another, were brought up by one at once*n5673 That is: one at a time. !

965OldrentsHow one of the serving-men, untrained to wait, spilled the white broth*n5480 This refers to a light-coloured broth, like a vegetable or chicken broth. !

966HeartyAnd another, stumbling at the threshold, tumbled in his dish of rouncivals†gg3736 large type of garden or field pea, thought to originate in the foothills of the Pyrenees before him.

967OldrentsAnd most suitable to the niggardliness of his feast, we shall now have an entertainment, or play, presented by beggars.

968ClackSend ’em in, Master Sentwell.   SENTWELL exits.   Sit, gentlemen, the players are ready to enter.n10497 The final scene in A Jovial Crew is a play-within-a-play. Our central interests in trying to stage this in the workshop was to explore the pacing of the scene and to consider how the play within the play might be directed in relation to the theatre audience and the onstage audience of Oldrents (played by Keith Bartlett), Hearty (Mike Burrell) and Clack (Joseph Thompson). We were also interested, as so often in these workshops, in exploring possible shifts of tone. Given the very large cast required, two actors had to take on two or more roles: Lachlan McCall played the Lawyer (habited like Oldrents) and Tallboy; Jenny McEvoy played the Poet, the Soldier and Randall. Editors (Michael Leslie and Eleanor Lowe) and visitors to the workshop (Libby Worth and Kate Napier) also had to take on some roles. For the sake of clarity, we also decided that some basic costuming would be useful, partly to signify the different characters that Lachlan and Jenny played, and also to distinguish between characters playing themselves and playing a role in The Merry Beggars, the play-within-the-play.

Structurally, a key moment in the scene comes when Randall enters and is paralysed by stage fright. This is the point at which the play-within collapses; and the tone of the scene shifts away from being predominantly comic. Finding an appropriate playing style for this was crucial in our development of the scene. To whom are Randall’s questions addressed? (“What is that I must say? And how must I act now?”) To himself? As asides to the onstage audience? To the theatre audience? Or a combination of these? In this video clip from an early run-through, Randall refers to the onstage audience, and then voices his internal anxieties before addressing the theatre audience. Although this creates an interesting dynamic between on-stage and off-stage audiences, it still does not mark the moment as pivotal. Brian Woolland, the director, asked Jenny to make much more of the character’s nervousness. This clip shows Jenny trying this out for the first time. Here, the character’s references to on-stage and off-stage audiences become a manifestation of his internal struggle with the difficulties of performance. Randall’s crippling anxiety is painful enough to trigger Oldrents’ decision to put an end to the performance. Jenny’s pacing of this marks an important transition in the scene, and also breaks the rhythm most effectively. Immediately after this, Patrico abandons his role as patriarch of the beggars and reveals himself as Wrought-on. Thereafter the revelations come thick and fast.

Teasing out Randall’s embarrassment at being asked to take on a role in the play-within-the-play also proved to be very useful in developing an appropriate playing style for other characters who perform in The Merry Beggars. We wanted to create a sense of amateurishness about the play within the play; but also to distinguish between different levels and styles of performance and self-consciousness. As Brian said to Alan Morrissey, playing Springlove, for example, “He’s a great actor when he’s improvising, but he’s a hopeless actor when he’s got a script.” This is exemplified in an inventive piece of comic business developed between Springlove and The Lawyer. Springlove and Patrico are the characters who change most noticeably as they shift from the roles they take in The Merry Beggars to their ‘real’ selves. The following video clips show the change in Patrico. The first is taken from his first appearance in The Merry Beggars. The second shows his confidential exchange with Oldrents soon after he has revealed himself as the ‘unhappy Wrought-on’.

In many of our workshops, we found that a scene which had looked relatively straightforward on the page proved far more complex in the workshop situation than we had anticipated. In the case of this scene, we were very pleasantly surprised to find that the opposite applied: on paper it had seemed logistically very difficult and dominated by convoluted plot revelations. In practice, once we had established clarity of meaning, and experimented with the levels of performance, we discovered that it had a delightful rhythm, in which Brome uses a range of comic devices to punctuate the complex dénouement. The video clip which follows is taken from our final run-through of the scene. It gives a good sense of Clack's interruptions and the relationship between the play-within-the-play and the onstage audience.

We now know (though the original audience and performers could not) that this was one of the last plays to be staged before the closing of the theatres and the outbreak of civil war. We wondered in our preparations for this workshop whether it would be possible for our enactment to hint at the imminence of devastating social upheaval. It may be that an alert reader can indeed see allusions to the world about to be turned upside down in the exchange between Oldrents and the Patrico, or in Springlove’s sudden change of status; but the question remains open. It is, however, not hard to imagine a fully realised theatrical production of the play in which many of the earlier scenes (with their remarks about ‘the court going a-begging’ and references to the violent oppression of those in extreme poverty) hint at something far darker than is suggested by this witty and light-hearted conclusion. And here’s a bill of their plays*n5674 That is: the list of plays the actors are prepared to perform. The guests are to choose the one they want to see. The mechanicals in A Midsummer Night's Dream are also part of a list of plays to be presented before Theseus as part of the wedding celebrations of Act 5. . You may take your choice.

969OldrentsAre they ready†gg1036 dressed for them all in the same clothes*n5481 That is, without costume-changes. Oldrents seems astonished that a company of actors can put on several different plays without wardrobe assistance. ? Read ’em, good Hearty.

970HeartyFirst, here’s The Two Lost Daughters.

971OldrentsPut me not in mind of the two lost daughters, I prithee. What’s the next?

972HeartyThe Vagrant Steward.

973OldrentsNor of a vagrant steward. Sure some abuse is meant me*n5675 That is: some particular satire is intended against me. The question of whether plays were attacking or mocking particular members of the state or church establishment was frequently the reason for interrogation in the Star Chamber or arresting actors and/or playwrights, as Jonson knew to his cost. .

974HeartyThe old Squire and the Fortune–teller.

975OldrentsThat comes nearer me. Away with it!

976HeartyThe Beggar’s Prophecy.

977OldrentsAll these titles may serve to one play of a story that I know too well. I’ll see none of them.

978HeartyThen here’s The Merry Beggars.

979OldrentsAy, that, and let ’em begin.

980TallboyThe players are coming in. And Mistress Amy and your man Martin are to be actors among ’em.

981ClackA hey then for that too. Some merry device, sure.   A flourish†gg1096 a burst of horns or trumpets, a fanfare of shawms†gg3737 mediæval musical instruments of the oboe class, having a double reed enclosed in a globular mouthpiece .   Hark! The beggars’ oboes! Now they begin.

982OldrentsSee, a most solemn prologue.

984OldrentsTrue stories and true jests do seldom thrive on stages.

985ClackThey are best to please you with this though, or a hey with a whip for them tomorrow.

986OldrentsNay, rather than they shall suffer, I will be pleased, let ’em play their worst.

See our patrico among ’em.

987HeartyThat offered you a doxy in the barn.

989ClackJustice, ha! Are you meddling with justices already?

991LawyerThat was no fault of mine, nor of my children.

993OldrentsDost note this, Hearty?

994HeartyYou said you would be pleased, let ’em play their worst.

995OldrentsIt begins my story, and by the same fortune–teller that told me my daughters’ fortunes, almost in the same words. I know him now. And he speaks in the play to one that personates me, as near as they can set him forth.

996ClackHow like you it, sir? You seem displeased. Shall they be whipped yet? A hey, if you say the word.

997OldrentsOh, by no means, sir! I am pleased.

999OldrentsWhom does he talk or look like now?

1000HeartyIt is no matter whom. You are pleased, you say.

1003SoldierWill you abroad then? But here comes your steward.

1004OldrentsBless me! Is not that Springlove?

1005HeartyIs that you that talks to him, or that coxcomb I, do you think?*n5677 That is, is the Lawyer playing the role of 'Oldrents' and the Soldier playing the part of 'Hearty'? Hearty is apparently being sarcastic: can Oldrents not distinguish between play-acting and real life? Pray let ’em play their play. The Justice will not hinder ’em, you see; he’s asleep.

1008OldrentsMy own very words at his departure!

1009HeartyNo matter. Pray attend.

1021HeartyBut take no notice yet. See a whim†gs964 excentric reference to fanciful creation more of it. But the mad rogue that acted me, I must make drunk anon.

1025OldrentsI must commend their act in that. Pray thee let’s call ’em and end the matter here. The purpose of their play is but to work my friendship or their peace with me; and they have it.

1026HeartyBut see a little more, sir.

1027OldrentsMy man Randall too! Has he a part with ’em?

1028RandallThey were well set a work, when they made me a player. What is that I must say? And how must I act now? Oh! that I must be steward for the beggars in master steward’s absence, and tell my master he’s gone to measure land for him to purchase.

1029OldrentsYou, sir. Leave the work you can do no better — I can forbear no longer — and call the actors back again to me.

1030RandallWith all my heart. And glad my part is so soon done.He exits.

1042Vincent [and] HilliardWe are agreed on that.

1043RachelLong since. We only stood till you shook off your sadness.

1044MerielFor which we were fain to go a–begging, sir.

1045OldrentsNow I can read the justice of my fate, and yours —

1046Clack   [Aside, awakening]   Ha! Justice? Are they handling of justice?

1047OldrentsBut more applaud great providence in both.

1048Clack   [To HEARTY]   Are they jeering of justices? I watched for that.

1049Hearty   [To CLACK]   Ay, so methought. No, sir. The play is done.

1050SentwellSee, sir, your niece presented to you.

1051ClackWhat, with a speech by one of the players? Speak, sir, and be not daunted. I am favourable.

1052SpringloveThen, by your favour, sir, this maiden is my wife.

1053ClackSure you are out o’your part*n5482 That is, forgetting or mixing up one's lines; not following the script accurately. . That is to say, you must begin again.

1054SpringloveShe’s mine by solemn contract, sir.

1055Clack   [To AMY]   You will not tell me that. Are not you my niece?

1056AmyI dare not, sir, deny’t; we are contracted†gg3741 formally betrothed, or engaged (in the early modern period, this contract was as binding as a marriage, especially if accompanied by the ritual of handfasting) .

1057ClackNay, if we both speak together, how shall we hear one another?

1058MartinI must disprove†gg3742 invalidate the contract.

1059TallboyThat is my part to speak.

1060SentwellNone can disprove it. I am witness to it.

1061ClackNay, if we all speak ― as I said before.

1062OldrentsHear me for all then. Here are no beggars — you are but one, patrico*n5680 That is, you, patrico, are the only beggar. — no rogues, nor players, but a select company to fill this house with mirth. These are my daughters; these their husbands*n5483 That is, betrothed husbands. ; and this that shall marry your niece, a gentleman, my son. I will instantly estate him in a thousand pound a year to entertain his wife, and to their heirs for ever. Do you hear me now?

1063ClackNow I do hear you. And I must hear you. That is to say, it is a match. That is to say ― as I said before.

1064TallboyAnd must I hear it too ――― Oh ―――

1065OldrentsYes, though you whine your eyes out.

1066HeartyNephew Martin, still the child with a suck–bottle†gg4449 bottle with a nipple on it, as an infant or orphaned animal like a lamb, calf, or colt might be given; also, a tippler of sack.   [To TALLBOY]   Peace, lamb*n6683 This is a mocking endearment. It is likely that Hearty addresses Tallboy, still weeping like a child over the loss of his bride; but Martin has also lost a bride, and is drinking far too much for solace, as Hearty points out. , and I’ll find a wife for thee.

1069ClackAnd now, Clerk Martin, give all the beggars my free pass*n6684 That is: my warrant to go free. In effect, it's a 'get out of jail' card, allowing the beggars to leave the area without penalty or record. , without all manner of correction; that is to say, with a hey, get ’em gone.

1070Oliver   [To VINCENT]   Are not you the gentleman that challenged me in right of your friend here?[Indicating HILLIARD]

1071VincentYour inspection’s good, sir.

1072Rachel   [To OLIVER]   And you the gentleman, I take it, that would have made beggar–sport with us, two at once.

1073MerielFor twelvepence apiece, sir.

1074OliverI hope we all are friends.

1076OldrentsExcept it be at court, boy, where if ever I come, it shall be to beg the next fool–royal’s place*n5485 That is, to petition the Court of Wards (established by Henry VIII, and suppressed under Charles II) to take custody of an idiot (or a minor or an heiress). Although the keeping of fools was considered a charitable practice, the allowances and financial rights could lead to abuses. The acquisition of minors or heiresses under the Court of Wards certainly led to many abuses, since the guardian had to power to arrange the marriage of the ward, and if the ward refused the spouse on offer, the guardian was entitled to keep a significant part of the inheritance (as perhaps was Clack's hope in his attempt to force Amy to marry Tallboy). Because Oldrents thinks he has been a fool in his treatment of Springlove and his daughters, he is suggesting that he be placed as a fool-royal himself in the Court of Wards. But his real object here is to safeguard his own estate for his heirs, and keep his distance from political matters at court. that falls.