ACT THREE*n9336
Act Three is comprised of three scenes. The first opens with mother and son comic duo, Garrula and Geron: the former sips at her bottle while the latter peppers his speech with classical references and ‘whilom’ as a catchphrase. Geron’s lovesickness for Doris is causing his mother worry, so much so that she has decided to enlist the assistance of Thymele (who employs Doris) with the help of a little blackmail concerning their secret. There follows an exchange with the potential for great comic business between both Geron and Doris: he is both delighted by her presence but uncertain of how to proceed; she is horrified by his appearance and baffled by his words. Thymele and Garrula spectate and offer advice for Doris to be kinder and more forgiving, whilst Geron is encouraged to speak more plainly.
Scene Two sees an increasingly weakening and care-ridden King surrounded by his bickering associates: Disanius and Stratocles exchange verbal battles while Justinius attempts to rein them in. When the King chooses to exit with the latter, the former are given liberty to attack each other with bitter words. Stratocles’ soliloquy enables him poetic expression of his ambition; his interaction with Matho only serves to underline this desire for advancement to the position of king.
Scene Three opens with Thymele and Placilla attempting to cheer Eudina’s spirits by suggesting she observe Doris and Geron’s hapless wooing. Instead, like her father, Eudina is weighed down by the subject of her marriage decision. Thymele’s advice is that Eudina settles for whichever man next comes to visit her. Eudina suggests Placilla sings to help her to sleep, but experiences a vision of Philargus and Philocles embracing before threatening each other with swords. Eudina sees her dream as both ‘ominous’ (terrible) and ‘omenous’ (predicting a future event).
Philargus then enters (apparently sent for by Thymele) and Eudina again expresses her anxiety that although she can only choose one husband, she, Philargus and Philocles should be united in friendship. When Philargus and Placilla are left alone, Brome cleverly uses the arrival of a letter (delivered by Matho, in disguise) to occupy Philargus while Placilla reveals her fraternal love in an aside. The letter is supposedly from Philocles, challenging him to a fight. Placilla mistakes Philargus' anger and hasty exit as his reaction to uncovering her guilty love for him. When Philocles next enters, she tells him of Philargus’ troubled countenance, moments before Matho once again appears in disguise bearing a similar letter. This is the supposed challenge, which Philocles reads aloud, accepting that while one of them will end up dead, the other will have Eudina.
3.1
[Enter] GARRULA [and] GERON.
289GarrulaWould you thus offer, by your own
disease†gg4267
discomfort, distress
,
To shorten your mother’s days? Or can you pine
And I not grieve? Or cannot grief kill me
Do you think?
290GeronA wise philosopher,
whilom†gg3861
in times past
, did affirm
That women who have passed the fire of love
Have hearts which grief can neither pierce,
nor*n4971
] ne
move.
291GarrulaSon, your philosophy fails you, as your love
Blinds you: for
Cupid†gg3708
blind boy-god of love or infatuation, son of Venus
’s fire, I know, may be
Quenched by old age, but grief’s unquenchable.
Sips her bottle*n6429
The bottle of alcohol which hangs by Garrula's side (introduced in [LS 1.2.speech81]), and which she explains in this scene is provided for her by Thymele in order to silence her. Garrula refers to this as medicinal, and it may be an alcoholic distillation of some sort, quite common in the period. In The English Housewife (1615), Gervase Markham includes a whole chapter on 'distillations and their virtues' for the housewife to prepare 'all sorts of waters meet for the health of her household'.
.
My tongue still falters with me (there’s my grief)
And there are not so many
fathoms†gg4269
literally, a measurement that is the equivalent of the distance between the fingertips of each hand when the arms are outstretched to the full (roughly six-foot); figuratively, a great distance
’twixt
A woman’s tongue and heart, but grief may find
The bottom, but for care to keep it up
By sending down an antidote before it. Sips again.
292GeronBut
whilom†gg3861
in times past
did the love-sick poet prove
No antidote against the power of love.
293GarrulaForbear your whiloms and your old said
saws†gg4273
sayings, maxims
,
And since you are in love, and by that love
Grown sick with the concealment.
Th’ Athenian boy who stole a fox*n8017
Taken from Plutarch, Apophthegmata regum et imperatorum (where the boy is Spartan not Athenian).
did hide
Under his coat his theft from being
descried†gg4275
made known, disclosed, revealed
Until it
tore his gen’tals – his entrails*n4972
] intrals
*n6459
Geron's lovesickness for Doris causes him to mistakenly mention 'genitals' for 'entrails', a doubly comic slip since it reveals his suppressed thoughts whilst substituting a credible (comical and painful) alternative to 'entrails' in the well-known story about the Spartan (not Athenian) boy. The original printed text has 'gentals', and although the word must be 'genitals', the elision is preserved along with the metre of the line.
,
I should have said.
Of your disease, but to the cure, which is
The love of Doris. How ha’ you
tried†gs881
tested, endeavoured to seduce; have sexual experience of (Williams)
her, son?
296GeronBy
oratory†gs882
elegant, rhetorical language
,
epistles†gg4283
letters
, and by gifts
Which whilom
Ovid*n9624
From Ovid's Ars Amatoria, the Arts of Love, which gives advice on how to woo and win a woman.
said were best of
shifts†gg3164
an expedient, an ingenious device for effecting some purpose (OED n. III 3a)
.
297GarrulaYes, such a gift it might be, and so
fastened†gs883
secured (of a contract; here, of love)
.
298GeronBut she, as whilom said Anonimus,
Retorteth†gg4284
returned, rejected; answered (back)
all with scorn
injurious†gg4560
wilfully harmful
.
299GarrulaYet will you leave your whiloms? And go seek
My lady governess? Say I would speak with her.
300GeronBut whilom said
Diogenes*n6462
Greek philosopher and founder of Cynicism, a way of life which rejected luxury and excess in exchange for a simple, self-sufficient life. Some of his actions and attitudes were considered anti-social.
(’tis true)
To one that
would†gs884
wanted (to)
,
‘I will not speak with you’.*n7891
This edition presents the line as if a quotation from Diogenes. An alternative reading would see Geron preventing himself from sharing his knowledge and refusing to speak to his mother, perhaps because of her impatience.
301GarrulaWill you say as I say, and do as
you’re*n4966
] y'are
bidden?
[Aside] It is not her great ladyship’s daughter’s
handmaid†gg2161
attendant, (female) servant
Shall scorn my son
while I know what I know.*n6466
This becomes one of Garrula's catchphrases as she threatens to reveal the secret shared with Thymele; see also [LS 1.2.speech91].
If you love Doris, run and tell her so.
302GeronFor Doris’ love, as whilom
Daedalus*n6465
Whilst attempting to escape imprisonment by King Minos on the island of Crete, Daedalus made wings for himself and his son, Icarus, out of feathers and wax, with which they flew from the tower and over the sea. Geron takes care in likening himself to Daedalus, rather than Icarus, since the former fully escaped, while the latter grew ambitious, forgot his father's advice, and flew too close to the sun, which melted the wax, causing the wings to be ineffectual for flight, and he fell into the sea. Ovid recalls the story in his Metamorphoses.
,
I will take wing.
Enter THYMELE.
But see, I am prevented.
303ThymeleOh Garrula! Well found; I was in quest of you.
304GarrulaAnd I was e’en a-sending for you, madam.
305Thymele [Aside] What an
imperious†gg4200
ruling, dominant; overbearing, dictatorial
beldam’s†gg4286
aged woman, hag
this. But I
Must
humour†gg5925
(v) indulge, soothe
her.
[Aloud] Sending for me, do you say?
For what, good Garrula.
306GarrulaSending for you?*n6468
The repetition suggests that Garrula has imbibed a little too much from the bottle and consequently is forgetful. See also the character of Nurse Closet in A Mad Couple Well Matched who has a terrible 'head' or memory, although alcohol is not mentioned as the reason [MC 2.2.speeches410-412].
Yes, madam, so I said,
And say’t again. What, what, I know what I know.
You know I do; and that there is no such
Distinction ’twixt the honours of your birth
And place, and mine of age and knowledge, but
You might
vouchsafe†gg496
'to show a gracious readiness or willingness, to grant readily, to condescend or deign, to do something' (OED v. 6b)
the summons when I send.
307Thymele [Aside] What needs this Garrula?
[Aloud] I am here you see.
308GarrulaYou know I know, and have deserved some favours;
I do not boast*n6403
] bost
for what. You know.
Who trust those secrets whereon honour rests
To custody in
mercenary†gg4287
one who works for (or is only motivated by) money or material reward
breasts
Do
slave†gg3567
reduce to the condition of a slave; enslave
nobility; and though they pay
A daily ransom, ne’er redeem’t away.
[Aloud to GARRULA] Pray, let us be more
private†gs885
secretive, away from public view (and hearing)
, though indeed
I love your son for his great care of mine.
310GarrulaOh, do you so? Go forth, son Geron, till
I call. All shall go well I’ll
warrant†gg859
assure, promise
thee.
Said a physician, meaning to restore,
And killed the patient was
but†gs29
only
sick before.
[He] exit[s].
Still in my grievèd mind ’twixt hope and fear?
Cannot so many years of my known kindness
Win yet a confidence of secrecy.
You are as deeply bound by oath too as myself.
313GarrulaI do confess my oath, and would not break it;
Yet, madam, as you are a woman, you
May know a broken oath is no such burden
As a great secret is; besides the
tickling†gg4288
itching, tingling
A woman has to in and out with’t. Oh,
The tongue itch is intolerable! And were I
A woman of tongue, as most are of my calling
(Though
midwives*n6469
Midwives had to be trustworthy and careful with their tongues, since they may well be privy to secrets in the birthing chamber which were unknown to anyone outside it; see also [NOTE n3763]. Garrula is also hinting here at the secret knowledge she possesses which resolves the play's tangled plot in Act 5.
ha’ been held the best at secret
Counsel-keeping) it had been out, I fear.
Yet there are kindnesses required on your part.
317GarrulaMy memory serves me; and but that my tongue
Now falters with me – I could recount Sips.
All the rewards I have had from time to time,
Since you
translated†gs886
to change in appearance and/or function
me from a country housewife
Into the midwife royal; what in gowns,
In gold, in jewels, chains and rings; and (which
I prize ’bove all) my syrups and my sippings. Sips.
I hope I had that before i’ the King’s favour,
As his Queen’s midwife. She is in
Elysium†gg3293
'The supposed state or abode of the blessed after death in Greek mythology' (OED).
.
Sips.
320ThymeleThen, Garrula, your learned son’s preferment,
Tutor and governor to my sons.
Hangs a tale*n6467
Another of Garrula's catchphrases (along with 'I know what I know') which also hints at her secret knowledge and is used to threaten its revelation in front of Thymele; see also [LS 1.2.speech78].
, madam. Now I come to th’ point:
My son
affects†gg2587
love, like (OED v1. 2); also means ‘to show ostentatiously a liking for' (OED v1. 5)
your daughter’s handmaid*n6775
Garrula describes Doris as serving Placilla, however, in the dramatis personae (in which there are many errors) Doris is listed as Thymele's waiting-woman.
, Doris,
Who
slights†gg1900
(v) disregard, treat with disrespect
his love. I must now by your power
Obtain her for my son.
Though I confess I hold her
worthless†gg4527
unworthy
of him.
323GarrulaI tell him so: but love has blinded him.
Ho Geron, I say! Geron, come and hear.n7729
Whilst workshopping this sequence, the actor playing Geron (Joseph Thompson) identified the difficulty of performing the learned pedant whilst also being related to drunken Garrula, played by Jennifer McEvoy with a London accent. In order to create a sense of kinship, Joseph tried playing Geron with a similar accent to his mother, which created a comical contrast between the learned content of his lines and their delivery . In the same sequence, Garrula is also observed coaching her son in his wooing, particularly giving advice on his 'postures'. The theatrical appeal of Geron's character type is acknowledged by Brome in his rewriting of the prologue to The City Wit, where the character of Sarpego is identified as a great success.
Enter GERON.
324GeronSo whilom prisoners have been called to come
From dungeon deep to hear a
blacker doom*n6470
Geron rather melodramatically compares hearing Thymele's opinion with the hearing of a legal judgement or sentence by a prisoner.
.
Doris shall be your own.
Ovid by his
Corinna*n6777
The named mistress in Ovid's book of love poetry, Amores.
sweet, said
oh*n6778
Brome milks Doris's entrance for comedy, so that Geron apparently quotes Ovid saying 'oh', when it is more likely to be his reaction to seeing Doris appear onstage.
–
Enter DORIS.
[Aside] She comes, she comes. My joys do overflow.
327ThymeleNow, Doris, what
portends†gg5926
means, is signified by (OED v1. 2)
your haste? Speak, maid,
Is it to Geron, or to me, your business?
328Doris [Aside] His ill looks*n6779
Either Geron's physical appearance, or the way he is presenting himself at this current time, perhaps still in shock at Doris's entrance, or trying to arrange his features and body in a pleasing way for her.
had almost made me miscarry’t.†gg4528
lose (message), fail (in duty)
n7728
This edition suggests that Doris's line could be delivered as an aside, as demonstrated in performance by the following workshop clip . However, it is equally possible for Doris to deliver her line aloud, so that Geron overhears .
[Aloud] Madam, the princess instantly desires
Your company.
329ThymeleBut by her grace’s favour,*n6780
This dialogue between Thymele and Doris could occur as an aside, perhaps while Garrula is instructing Geron how to woo on another part of the stage.
And your leave, Doris, I will
trench†gs1645
encroach (OED v. 7b)
so far
On both your patiences, and for your good,
As to be witness of an interchange
Of some few words ’twixt Geron and yourself.
[DORIS looks away from GERON.]
Why look you from him so? He loves you, Doris.
330DorisThat’s more than I e’er knew or read, by all
He speaks or writes to me. He clothes his words
In furs and hoods, so that I cannot find
The naked meaning of his business, madam.
333GeronMy business is the same that whilom drew
Demosthenes*n6781
MacLeod suggests that Geron means 'So I suffer pain not too grievously'. He explains that Demosthenes (a great Athenian orator, 1st century BC) was forced into exile after being accused of having misappropriated a large sum of money brought to Athens by Harpalus, the treasurer of Alexander the Great.
to Corinth: some repentance,
So I pay not too dear.
337DorisBut not so kind, good madam, as to grant
I know not what.
338GeronOh, forfeit†gg893
(v) lose
not the praise
That whilom
Aristotle*n11287
The 4th century BC Greek philosopher who studied under Plato and taught Alexander the Great, and was famous in a literary context especially for his Poetics.
gave your sex,
To be enriched with piety and pity.
339DorisI know not what to pity, but your
want†gs991
lack
Of utterance.
It is*n6782
This edition retains 'It is' rather than reversing the order of these words to 'Is it', since the original text's formulation suggests that Doris has already made her mind up about Geron's intentions.
some horrid thing
That you desire, and are ashamed to speak it?
340GeronNo, gentle Doris, nothing but the thing
Whereby great
Alexander*n6783
Alexander the Great, or Alexander II of Macedon, monarch and renowned war leader (1st century BC). MacLeod cites the Oxford Classical Dictionary which suggests that Alexander may have believed himself divine, having requested the Greek cities to treat him as a God in 324 (p.40).
whilom said
He knew himself a mortal, and no god,
Coitionn6784
Geron unfortunately compounds Doris's suspicions by using the word 'coition' to mean 'meeting', when it also can mean 'copulation' or sexual union. It is unclear whether Doris understands this word, seeming to interject because his response is too long and complicated rather than because she objects to his language and (accidental) insinuation. In workshopping this sequence, the actors experimented with the delivery of, and response to, 'Coition' . The reference appears in Diogenes Laertius, Lives of the Philosophers.
†gg4530
meeting, coming together; also, copulation
–
Give what I understand not.
You’re*n4961
] Y'are
too aloof.
342GarrulaThere’s comfort, son. And I’ll give thee instructions
To come more close to her.
And be myself his
agent†gg4532
one who exerts power to produce a particular effect
. He’s too learned.
Geron, you speak too learnedly, as if
You wooed a muse. And Doris understands not,
But by your
posture*n6785
If Garrula was instructing Geron earlier in the scene how to act, stand, speak etc. perhaps he has adopted a rather artificial, off-putting posture. This might be the traditional posture of the (melancholic) lover as described by Moth in Love's Labour's Lost:
'with your hat penthouse-like o'er the shop of your eyes, with your arms crossed on your thin-belly doublet like a rabbit on a spit, or your hands in your pocket like a man after the old painting' (3.1.15-19).
A similar image is featured on the frontispiece of Burton's The Anatomy of Melancholy.
It is important to note that the art of speaking or acting was divided into the two categories of speech and gesture; Cambridge University had rooms dedicated to the practice of both. In this scene, Garrula and Thymele are attempting to school Geron on how to woo both in terms of speech and posture, but he is learning his lesson as if it were a foreign language.
, what you’d have. I’ll put
Your meaning into woman’s words, and such
As shall be sure to
speed†gg4531
(v) meet with good fortune, succeed
. But first I’ll
wait†gs155
tend (upon someone); accompany as a servant
Upon the princess. Garrula, will you go?
344GarrulaAnd thank you
for my son*n6787
i.e. on his behalf
.
But still – I know.*n6788
Garrula cannot resist one final warning to Thymele of her concealed knowledge. In performance, the line could be accompanied by a knowing tap to the side of the nose, or a wink.
346GeronI thank your ladyship as much as they
Who whilom – whilom –
347DorisKnew not what to say.*n6786
Doris finishes the couplet since Geron is tongue-tied.
349ThymeleGo, Geron, lead the way.[They all exit.]*n11290
] Exeunt Omnes.
3.2
[Enter] KING, STRATOCLES, DISANIUS [and] JUSTINIUS.
350KingPray, trouble me no further. I have said
That if in five days’ space she make not choice
Of one of those whom
(I must tell you, Stratocles)*n6789
The King singles out Stratocles as the one suitor he knows Eudina does not love.
She loves, and I
prefer†gg1920
advance, promote, favour
before you, then
I’ll
weigh†gg2484
consider
your
suit†gs992
petition, specifically in the courtship of a woman (OED n. 12)
and reasons; and till then
I say’t again, you are a trouble to me.
A trouble to your enemies, not you,
When this same
lump of earth*n6790
i.e. flesh, commonly referred to as dust or earth in the Bible
(which now’s a trouble)
Stood a sole
bulwark†gg3144
a fortification
of your realm, repelling
Arms†gg4533
weapons (used in warfare)
of foes,
shrouding†gg4534
sheltering, protecting
your fearful subjects
Under my shield, guarding your fields and vineyards
From
desolation†gg4535
act of laying waste, destruction
, your palaces from ruin;
And am I now a trouble?
You lose the glory of your deeds by
blazing†gg4536
proclaiming, publishing (OED, blaze, v2. 2); celebrating
Your own renown. He that commends himself,
Speaks upon trust, and is his hearer’s slave.*n9342
Possibly proverbial.
353StratoclesPeace,
Envy*n6791
Stratocles, blinded by his own ambition, mistakes Disanius' measured words of advice for envious criticism and labels him as a personification of Envy. In Jonson's play The Poetaster the character of Envy appears on stage through the trap, wreathed in serpents.
, and be thankful for thy life
Which thy tongue forfeits.
You are irreverent before the King,
Who has not been forgetful of your worth,
Nor slow in your reward. Then moderate
Your heat with counsel, and be first assistant
Unto the public good. So shall you merit
The first regard in honours and affairs
Of private nature.
Troubles me not a little. I had thought
Thereby to have
declined†gs993
averted, turned (away) from; shrugged away
this weighty care
From my
declining†gg4537
bending down, drooping (with fatigue and age)
shoulders, and have given
My country
satisfaction†gs1646
gratification, contentment (OED 5a. 5b)
, and myself,
In choosing of a son and successor.
But I am
prisoner in the labyrinth*n6792
Another reference to the mythology of Daedalus, who created a labyrinth on the island of Crete for King Minos in which to imprison his wife's son, the Minotaur (part man, part bull). Theseus succeeded in killing the Minotaur, finding his way through the labyrinth with Ariadne's thread. The King's reference here serves as an expression of his helplessness rather than necessarily to liken himself to Theseus.
Of the gods’ verdict.
In matters of the future seldom stoops
To
human*n6407
] humane
apprehension; yet
vouchsafes†gs1641
consents, deigns
To answer our demands, but chides withal
Our too much
incense*n6406
] incenss
with obscurity.
Your grace, however, may presume, where they
Shall deign to spend a word, and take an
offering,*n9217
] offering.
It is a certain
augury†gg4539
omen, prophecy
of good.
358KingThou hast
allayed†gg756
alleviated; appeased
my fear.
Justinius’*n6409
] Justinus
come,
Lend*n6408
] Lead
me thy brain’s assistance. For in thee
I find a
temper†gs994
temperament, constitution
that accords with me.
Exit KING [and] JUSTINIUS.
359DisaniusSoldier*n6794
Disanius refers to Stratocles' boastful claims at the beginning of the scene of defending the country from its enemies in service of the King. He stands in contrast to the venerated General Adrastus, brother of Disanius, mourned by the King. 'Soldier' seems to mock Stratocles' activities in peace time, i.e. self-interested ambition in politics.
, I dare yet tell thee thou art rash,
Foolish as valiant, and as easily may’st,
For all thy loftiness, be undermined
As the base bramble. Boasting weakness, thee
And promising ambition leads thee up,
An
earthly exhalation*n6795
A mote (which catches the light as it ascends) or a meteor or shooting star, which exists momentarily and then is gone.
into th’air;
Where with a little borrowed light, one moment,
Thou shin’st the
mark†gs1642
target, object
and wonder of all eyes;
But soon consumed and
darted to the centre*n9218
This suggests speed of movement, perhaps reflected in the centre of the eye (which is black) or referring to the 'centre' of the target (between the bull's eye and the outer), although this meaning is not recorded in the OED until 1887 (9a). An alternative explanation is of 'centre' as 'the centre of the earth' so the contrast is between the particle being airborne aloft before falling down to the lowest point (however this does not explain how it then becomes the plaything of men and children).
,
Becom’st the scorn of men and sport of children.
360StratoclesYou are
o’th’*n6410
] oth
sect of
Cynics*n6797
A sect of ancient Greek philosophers, founded by Antisthenes, who rejected human desires for health, wealth, power and advancement.
, and have learned
To bark philosophy*n6796
Stratocles uses the verb 'bark' meaning 'to utter' or 'burst out with' in order to pun on canine associations with Diogenes, philosopher and most extreme practitioner of the Cynics. The word 'cynic' is derived from a Greek form of the word for 'dog'; Diogenes advocated that humans should study and copy dogs' simple attitude to life.
.
Your now
adoring*n6411
] adorning
multitude
upbraid†gg4541
reproach, find fault with
Your insolence and pride, and gain the name
Of prophets by your downfall, while one swears
He had foretold it long; another dreamt it;
All jointly cry: “We never could endure him;
See what a look he has; what
brawny†gg4542
hardened, unfeeling
lips;
What poisonous eyes; and what an impudent
front†gs1647
forehead; countenance
!”
362StratoclesYou will out-run your privilege of
prating†gs995
idle talk; preaching
And suffer for’t.
363DisaniusI am too prodigal†gg3002
extravagant, recklessly wasteful
Of
seed upon so flinty soil*n6798
A biblical reference to the New Testament parable of the sower. Jesus describes how the sower scatters seed on the path, rocky ground, amongst thorn bushes, and good soil. He explains that the seed which falls on rocky ground is like the word of God being received by men who do not allow the message to sink in, so that it dies quickly. Disanius is pointing to Stratocles' inability to absorb good advice (because he is consumed by ambition) and suggests that it will doom him. In doing so, Disanius dubiously associates himself with the sower of the parable, and, by implication, presents himself as a redeeming god-figure.
as thou.
Be as thou art, and perish.[He] exit[s].
That out of all thy bookish theory
Knows not the soul to be
aerial†gg4544
of the air, airborne
And of a soaring nature; not unlike
The
noble falcon*n6801
Falconry is commonly associated with aspirational thoughts, though not always so favourably as here. In Shakespeare's Henry VI Part 2, whilst engaging in some falconry, King Henry comments 'Yea, man and birds are fain of climbing high' (2.1.8). To this, the Earl of Suffolk responds:
No marvel, an it like your majesty,
My Lord Protector's hawks do tower so well;
They know their master loves to be aloft,
And bears his thoughts above his falcon's pitch. (2.1.9-12)
Here, as in Stratocles' speech, the suggestion of aspiration is intrinsically linked with the threat of a fall (as in the frequently-referenced myth of Icarus and his wax wings).
that will never cease
To work ’bove all that tops her. The supreme
Estate on earth, and next unto the gods,
Is majesty; and that’s my
present†gs378
immediate, current
gain†gs1643
object of desire (increase of advantage)
,
Though I have all but that, yet
wanting†gg1899
lacking, needing
that
All is as none to me. And since my way
Must be upon the ruins (
sour*n6800
Stratocles comments on Disanius' apparent bitterness whilst also punning on 'sore' which, according to the OED can be a hawk in its first or second year (OED, sore, a2. 1; n2. 2), thus continuing the falconry references from the lines above.
*n6799
] sowre. An alternative modernisation of this spelling could be 'sore'.
Disanius)
Of thee, and of thy glories in thy nephews,
The King’s dear darlings, for whose precious sakes
I must
attend†gs996
wait
five days (
yet be a trouble*n6802
Stratocles refers scornfully back to the King's comment at the beginning of the scene [LS 3.2.speech350].
)
I’ll
travel*n6803
] travail. The modernisation supports the primary meaning: Stratocles will make his influence travel through their blood; the secondary meaning of 'travail' as 'work' is also present. The primary meaning is suggested by the following line's 'quicker motion'.
through your bloods. Thyself has gi’n me
The quicker motion by thy timely envy.
Thou hast set spurs to the
pale horse of death*n6804
The fourth horseman of the Apocalypse from the biblical book of Revelation 6:7-9 is referred to both as pale and pale green (depending on translation) and said to represent Death. Either Stratocles sets himself upon the horse's back, or 'this rider' refers to Matho, whom he has seen or heard entering before he speaks. Riding upon horses is a common trope in Early Modern drama for the controlling of difficult events: compare with another ambitious character, Lemot, in Chapman's An Humorous Day's Mirth: 'And he that mends my humour, take the spurs. Sit fast, for by heaven, I'll jerk the horse you ride on' (10.72-73).
,
That into dust shall trample all those
lets†gg3285
obstacles, hindrances
Which stand ’twixt me and the Thessalian crown,
Upon whose back I’ll set this rider.
Enter MATHO.
366StratoclesI like that compellation†gg1244
name by which a person is addressed (OED 2b)
:*n6805
In performance, this could be delivered as an aside to the audience.
Thou
styl’st*n9236
] stil'st. Stratocles approves of Matho giving him his 'proper' title in address.
me as thou wishest me, on whom
Depends thy consequent advancement, Matho.
But we
but†gs29
only
dream of sovereignty and sleep
To the achievement: something must be done
With
wakeful eyes and ready hands*n6807
Instead of his usual tactic, which is to use words to gain political advantage, Stratocles recognises that he must now be watchful for an opportunity for action. In Richard III, the Second Murderer recognises as much:
Talkers are no good doers. Be assured,
We go to use our hands, and not our tongues. (1.3.349-350)
, my Matho.
367MathoNow my king speaks himself.*n6806
Matho flatters Stratocles by anticipating his success. Although this line could be delivered as an aside, it is more appropriate, given its toadying content, for Stratocles to be within earshot.
Let but your eye
Find out the way these ready hands shall act
The strength of your designs. I can perceive
That now the labour of your
Jove-like brain*n6808
Jove (also known as Jupiter) was the most powerful of the Roman gods, hence this is another example of Matho flattering Stratocles' intellect.
Is bringing forth the
Pallas*n6809
Also known as Pallas Athene or Athena, the patron goddess of Athens was the daughter of Zeus and, according to mythology, emerged from Zeus' head after he swallowed Athena's mother, Metis (for fear that she would bear a son stronger than him). Pallas is known as a war goddess and the personification of wisdom, hence Matho's reference to her here.
shall inspire
Me to perform the work of my advancement.
But thou shalt quickly have it. Follow me.[They] exit.
3.3
[Enter] EUDINA, THYMELE [and] PLACILLA.
369EudinaGood madam, let me be excused. The mirth
You offered to
allay†gs997
calm, repress, quell
or quench my sorrows
Might have been well received at former times,
But now it is unseasonable.
How gravely Geron goes, and with what scorn
The wanton†gs998
undisciplined, rebellious (OED a. and n. 1a)
girl†gg5979
'used as a form of address to a girl or woman' (OED n. 4; OED cites the example of The Love-Sick Court, 3.3)
recoils.
372ThymeleThen
beldam†gg4286
aged woman, hag
Garrula’s reasons urging Doris,
Showing how either of
his*n6810
Geron's
pupils’ grace
In your electing Philocles or Philargus,
Though to them doubtful, is a sure advancement
To her by Geron.
373EudinaStill you move†gg1799
persuade, convince
like thosen7730
An interpretation of the following sequence, including the dream vision, is recorded in . In this staging, Eudina sleeps in the downstage position while the dream vision involving Philocles and Philargus occurs upstage of her. The actors noted that the music could serve as a useful cue to the actor playing Eudina (here, Olivia Darnley) that the dream vision is over and it is time for her to awake.
That do in merry tales mis-spend their breath
To those that are that day marked out for death.
374ThymeleYou may not say so, madam; ’tis
in you*n6811
in your power
By taking one, to give new life to two:
Yourself, and if you’ll give me leave to name
The other, be it Philargus; or if chance
Shall favour better, Philocles; or him,
Let it be him that gives you the first visit.
375EudinaThat were to fancy in ourselves an oracle,
Or to give fortune power to execute
The judgement of the Delphian god*n6812
Apollo, at whose temple in Delphi worshippers came to put questions to the oracle
.
But that his oracle would have it so.
378ThymeleSay, shall it be so, madam; or suppose so?
379EudinaThis pleases better yet than Geron’s wooing.
Pray thee, Placilla, sing. And may thy voice
Attract him that may prove the happier choice.
380PlacillaI’ll try my best in notes, and what they
want†gg491
lack
I’ll strive to make effectual in my wishes.
381EudinaThanks, kind Placilla. But the leaden weights
Of sleep oppress mine eyelids, and I shall not hear thee.
382ThymeleYet sit, and let her sing: you’ll sleep the better.
PLACILLA sings. After a strain or two, EUDINA sleeps, and enters, as a
vision†gg4546
something seen in a dream or trance, often prophetic
at the
several†gg1695
different, separate
doors, PHILARGUS and PHILOCLES.
They meet and embrace affectionately;*n6813
This edition retains the effect of the original text's heavily punctuated stage direction, though substituting the colons with semi-colons for clarity. The 'dreamed' action requires a series of clearly separate, ritualised performed actions, so that the semi-colons in this text serve to break up the actions into distinct units whilst also signifying a pause before the next action is begun.
then whisper a while; then suddenly
start off†gg4548
move suddenly away (from someone or something)
, and draw their swords;
menace*n6817
According to Dessen and Thomson, 'an action occasionally signalled as part of a dumb show or other extended stage business' (p. 143). For another use, see The Queen and Concubine, opening stage direction to Act 2, scene 1.
†gg4547
threaten
each other, and
severally†gs999
not together, independently (through different doors)
depart.
The song ended, EUDINA affrightedly starts*n7892
According to Dessen and Thomson, 'starts' or 'starts up' is 'used in roughly sixty signals for a sudden involuntary movement linked to surprise or awakening from sleep' (p. 214).
up.*n6814
In performance, the song's ending functions as the cue to the actor playing Eudina that the dream action has been completed and 'she' can open her eyes as if waking.
383EudinaStay, Philocles; stay, Philargus.*n6815
These lines could be spoken as if Eudina is talking in her sleep, or talking as she awakes.
Let not fury
Lead you to end that difference with your swords
Which only fits my life to satisfy.
Before they meet again, or one or both
Must perish. Did you not observe their challenge,
And eithers’ daring other to the field?
How can you ask?
And saw nothing.
390EudinaIt was an ominous†gg4545
of bad omen, ill fortune
dream then.
I dare divine it, madam.
Enter PHILARGUS.
And now see
Whom fortune first hath sent to be your choice.
Philargus, you have won the glorious prize.
392PhilargusBut does
the glory of the world*n6818
Philargus regularly refers to Eudina in such exaggerated phrases; see also [LS 1.2.speech150] and [LS 1.2.speech152], where he refers to her as 'the life of goodness' and 'the world'.
, Eudina, grant it?
Oh my Philargus, I am now inspired
Sure by a vision from the gods with knowledge
That, in my choice of you or Philocles,
I shall become the ruin of you both.
394Philargus’Tis not in fate to wound our common friendship.
395Eudina’Tis better in myself to kill the danger.
396PhilargusThe gods
avert†gs1000
oppose; turn away (from a course of action)
such purposes. If you
Deprive the world of your fair self, then we
Both fall by necessary consequence.
But what are we?
This Thessaly must suffer.*n6819
i.e. Thessaly must suffer this.
The King must yield, to see a new and strange
Succession appointed to his crown,
And by his subjects, not himself.
Deters me: yet let me prevail, Philargus,
(To quit me of my fears) that
ere†gg1781
before
I pass
My faith unto a husband,
you*n6413
] your
and Philocles,
Before the gods, your mother and myself,
Once more, do celebrate your vow of friendship.
And let me be excused in this: for I
Must tell you, dear Philargus, that though now
My love be fixed on one of you (albeit
I name not which) I will not take him with
Least
scruple†gs50
refers to a small unit of time (OED n1. 3), but puns on alternative meaning: 'a doubt, uncertainty or hesitation in regard to right and wrong, duty, propriety, etc.' (OED n2. 1)
of a fear of losing him
Again by th’other’s
spite*n6414
] spight
; nor leave that other
Less loved by me, than now he is, forever;
And though but one can be possessed of me
One friendship, yet, must marry us all three.
Divine
injunction†gg3754
the action of enjoining or authoritatively directing; an authoritative or emphatic admonition or order (OED 1)
. Madam, I obey it,
And dare
engage†gg3817
pledge
as much for Philocles.
399ThymeleThis is most fair: now, till you meet, ’tis fit
You fall on
lighter purposes*n6820
i.e. merrier activities
for your health.
Son, here was mirth today, although the princess
Relished it not.
To his fair Doris. We are now become
His tutors*n6821
A role reversal, in that Philargus and Philocles are to become tutors in love to their tutor, Geron.
, madam, to be amorous.
401ThymelePlacilla, come you
hither†gg1268
here (to this place)
. I observe
A change in you of late, and do suspect
The reason. What! Do you blush at my suspicion?
Nay, then you mak’t my knowledge. You are in love.
I’ll yet
come nearer†gg4550
get close to the truth
you. I guess with whom:
And at fit†gs938
suitable
time I’ll school†gs1001
instruct; teach a disciplinary lesson
you for’t.
Now if you please we’ll take some air. Philargus
Craves leave to seek his brother.
404ThymeleI
wait o’†gs1003
watch for
your
grace†gs1002
seemliness, sense of propriety
. Nay, do not look displeased:
I tell you, girl, there is danger in it.Exit EUDINA [and] THYMELE.
What! Has my mother
chid†gg3968
scolded
you? I’ll not question
Her reason, nor your fault; but pray thee, sister,
If Philocles approach to see the princess
Ere my return, tell him I stay
at’s†gg4551
at his
lodging,
First, to confer with him.
407PhilargusIn†gg4108
truly
troth*n6420
] Introth
thou weep’st. Therefore, to comfort you,
Because I know by some infallible signs
You are more tender of his love than mine.
He stands in equal competition yet
With me for fair Eudina. And if fortune
Allots her me, I’ll be as kind a brother
And still the same to you as Philocles.
I pray thee, dry thine eyes.
Enter MATHO disguised with a letter.
408Matho [Aside] If a disguised face and a
counterfeit†gs1644
forged (writing), imitated, false
hand
Ever prevailed, may these in this plot
speed†gg4531
(v) meet with good fortune, succeed
.
[Aloud] My lord, I had this
in charge†gg4552
entrusted to one's care or management, duty of responsibility; in trust
to
render†gs310
deliver
to you.
[MATHO hands over the letter and] PHILARGUS reads.
Exit MATHO.
409Placilla [Aside] I am discovered in my
lawless*n6822
because it is the romantic love for a supposed brother
love.
Remember, Cupid, whom thou makest thy anvil:*n6823
Placilla seems to confuse two Roman gods: Vulcan, god of fire and blacksmithing, and Cupid, the boy-god of love; however, Cupid is also supposedly Vulcan's son, so perhaps Placilla's reference to the blacksmith's anvil is intentional. She protests against the pain of being used to shape another purpose. Placilla's speech occurs while Philargus reads the letter and Matho exits (unseen by him).
A poor weak virgin. If thou art a god,
Be just and reasonable. It savours not
Of justice to provoke incestuous flames,
Nor reason to enforce an
ardency†gg4553
warmth of feeling, eagerness, zeal
Of things impossible. Let me not burn
With neighbouring fire, which, to enjoy, I must
Therefore despair
because it is so near.*n9238
Placilla laments that the object of her affection is both 'near' in physical proximity and in blood, as he is thought to be her brother.
A challenge, and to me, his friend and brother.
Now Oracle, where’s your riddle? Answer me,
Apollo’s
fiddlestick†gs1004
something insignificant; tool (used to play upon something else to produce an outcome)
. O ye Delphian priests,
You hang religion up, like painted
cloths*n6825
Painted hangings used as a cheaper way than woven tapestry to cover or brighten up interior walls.
*n6824
] cloaths
Before unseemly walls, to cloak their filth
And
palliate†gs1005
hide, conceal (OED v. 3)
their wicked mysteries.
You’ll hear more of his kindness to you shortly.[He] exit[s].
Unreasonable love to Philocles.
But why should we be reason’s followers
With loss of liberty? Which of the
creatures†gs1006
animals
Allays†gs1007
calms, represses
his
heat†gs1008
lust
toward any of his kind,
’Cause the same
belly†gg4554
uterus (OED n. 7)
gave them being? They
Observe no difference of
sire†gg1542
father
or
dam†gg4555
mother (of animals)
,
Brother or sister, being
mature for love*n6826
i.e. sexually mature
.
Ah,
whither†gs926
where, to what place
am I going?
Bestial thoughts*n6827
Placilla uses the vocative here, addressing her thoughts directly.
,
Forth†gs1009
out
of my bosom. Leave me not, my soul,
Or my soul’s better part, my reason. Oh —
Enter PHILOCLES.
It was returning, but a flaming shaft
Of love has set its mansion afire
And frights it back again.*n6828
Placilla describes how her reason (rational faculty) was returning to her, but when Philocles (the object of her affection) enters he reignites the feelings of love in her, so that her rational thought disappears again. Here love is likened to a 'flaming shaft', a burning arrow sent by Cupid which sets alight the 'mansion' or dwelling place of reason.
417Placilla [Aside] That name of ‘sister’, like a violent cold
Upon an extreme heat, fevers my blood
To death.
Why thus alone? Or have you entertained
That troublesome companion, love? Come tell me,
I can advise you very learnedly:
For Cupid’s scholars are more
exquisite†gg3800
consummate, excellent, perfect
In giving counsel than in using it.
419Placilla [Aside] How shall I answer
him I dare not look on?*n9239
] him? I dare not look on. Emending the punctuation makes more sense grammatically and dramatically so that the question mark falls at the end of the complete sentence rather than in the middle of two shorter statements.
Unto the present
garb†gs1010
style, fashion
: I have assumed
Only a veil of sadness.
Whose sorrow is but outward, as a stranger
Called to be present at a funeral
Clads himself like the rest, is serious
And silent with a countenance dejected
And
testudineous†gg4556
slow, like a tortoise
pace, but has not tears,
Nor groanings for a loss to him unknown;
The
obsequies†gg4557
funeral rites
performed, unclothes himself
Of grief and
weeds†gg1079
clothes
together. But, my sister,
You are not pleased to talk upon this subject.
Where is the princess?
423Placilla [Aside] He has given me now a colour for my sadness.
[Aloud] The princess is retired. She has been troubled
With a most fearful dream of a
duello†gg4558
duel
Betwixt you and Philargus to be fought.
She told her fears,
enjoining†gg4559
prescribe authoritatively, order (OED, enjoin, v. 2a)
him that both
Of you should come, and jointly before her
Declare your constant friendship.
429PlacillaBut trust me, sir, I fear Philargus took not
All as she meant it; for at his departing,
He looked displeasedly; and, when I demanded
His health’s condition, he said he was sick
In Philocles.
As I am in his. That was his meaning, sister.
431PlacillaPardon my fear; which is, that he’s not friends wi’ ye.
[Aside] It is my love, in that black horror clad,
Which will, before it leaves me, make me mad.[She] exit[s].
Enter MATHO disguised, [with] a letter.
To convey these into your lordship’s hands.
The man that
moved†gs1011
persuaded
me (for I know him not)
But the reward.*n9498
In delivering an innocent-seeming letter, Matho's words are a reminder of the usual inner conflict between conscience and payment of those ordered to carry out unpleasant tasks. In Richard III, the two murderers intructed to kill Clarence articulate similar concerns:
1 Murderer How dost thou feel thyself now?
2 Murderer Some certain dregs of conscience are yet within me.
1 Murderer Remember our reward, when the deed's done.
2 Murderer Zounds, he dies! I had forgot the reward. (1.4.116-120)
Matho has no such crisis of conscience, citing the reward as his prime motivation in delivering the letter. Of course, accepting a fee for undertaking an errand on another's behalf is not so unusual, but Matho's apparent lack of interest in the errand (only in the money) demonstrates he is capable of the sinister undertaking which this mission involves (i.e. the goading of the two brothers to fight one another to the death).
I humbly take my leave.
[He] exit[s].
Thou art no prophetess, Placilla, art thou?
He reads.
Brother Philocles, we are the laughing stock of the nation, and injurious†gg4560
wilfully harmful
both to the King, our country, the divine Eudina, and ourselves, by our childish love. The time is short: meet me, (I conjure†gg811
entreat (OED v. 4)
you by our friendship) within three hours, in the north vale of Tempe*n7895
A valley in Thessaly, between Mount Olympus in the north and Ossa in the South, through which the river Peneus flows into the Aegean. Commonly referenced as an idyllic haven of verdant walks and pleasing birdsong by classical poets, and honoured by the presence of the gods.
; where it shall be the gods’ election to take one of us, and leave the other for Eudina. Expostulate†gg4561
argue
not with yourself, much less with me otherwise than by weapon, or never expect to
see — your brother, Philargus.
O gods and men! Where shall we go to find
Friendship and truth? Be’t so. For in th’event,
We may be happy both. But with this odds:
One with Eudina,
tother†gg1195
other (of two)
with the gods.
[They] exit.
Edited by Eleanor Lowe