ACT FIVE*n9338
Act Five is comprised of three scenes, the middle one extremely short. The act opens with Philargus and Philocles deciding upon the next best course of action now that the duel has failed. One offers to leave if the other stays, but they can’t decide which should do what, since both want the other to marry Eudina. Disanius suggests they solve the dispute by drawing lots for it, but even this process is not protected against their attempts to rig it on the others’ behalf. In the end, Philocles loses the lottery and calls for his horse; however Varillus, acting on behalf of Doris (who he thinks has instructed him to act decisively), poisons the bowl of wine before passing it to Philargus. The latter collapses in Philocles' arms as he attempts to leave. Once again, Brome subverts the apparently tragic nature of this scene by leaving Disanius onstage to dash between the poisoned Philargus, Philocles (intent on suicide), securing the guilty Varillus and the desire to run for help. Eupathus finally enters to help Disanius remove the body, suggesting finality to the debate which has occupied the greater part of the play to this point.
To delay the denouement and add a little light relief, Brome inserts a brief scene here which involves Geron being asked to join in the Rustics' country dance rehearsals for performance before the King.
Scene Three sees the King finally running out of patience with his daughter, and calling for Stratocles (a known abducted and attempted murderer) to be brought in for her. The King is brought two papers: one from the Rustics urging the King not to marry his daughter to Stratocles; the other causing the King to send for Garrula (and prompting Thymele’s fear that Garrula has betrayed their secret). Philocles returns with Disanius, with Philargus dead and Varillus manacled. Eudina instantly pledges her allegiance to Philargus, now dead, much to the King’s exasperation. The King is about to give Eudina’s hand to Philocles, but is delayed by Philocles' request for his brother’s killer to be punished first.
Thymele, already thinking her secret had been uncovered, is now pushed to the point at which she must unburden herself. She reveals that the late Queen gave birth during the civil wars and sent the baby (Philocles) to her for safe keeping (a secret only she and Garrula knew). Thymele pretended she had given birth to twins, although only Philargus was her own son. Thymele has had to reveal her secret since Eudina was about to be married to her true brother.
Fortunately, Doris’s poisonous potion was harmless, so Philargus recovers from his sleep-like death in time to marry Eudina. Philocles marries Placilla (who can now cease punishing herself for supposed incestuous thoughts) while Doris presumably marries Varillus. The play ends with the succession determined, the kingdom secured, the people contented, and a rustic dance in celebration.
5.1
[Enter] PHILOCLES [and] PHILARGUS.
I charge you by Eudina’s love, our friendship,
And (if there be) ought that you hold more sacred,
Move†gs1128
petition
not to alter my fixed resolution.
By the self-same respects, and all that are
Or may be
hallowed†gg5037
sacred, treated as holy
, to let me depart.
I will
remove†gg5038
relocate
but for some few days journey
Whence†gg395
from where
you shall duly hear from me. But rather
I’ll
travel*n4979
] travail
to
th’Antipodes*n7630
the other side of the world. Both The Love-Sick Court and Brome's play named The Antipodes were performed in the same year (1638) at the Salisbury Court theatre, despite being published nearly twenty years apart (in 1659 and 1640 respectively).
, than here
Linger the vain
impediment†gg5943
hindrance, obstruction
of your joys
In your Eudina.
Eudina must be yours. She is a bliss
Which heaven created for you.
Be purchased with your absence? No: ’twill torture
Equally in
fruition†gg5039
enjoyment, possession
as in
want†gg491
lack
.
Were it a kingdom only, we could part it
Without the quarrel of the
Theban*n7631
] Thebean
brothers*n7632
The most famous Theban brothers were Oedipus' sons, Eteocles and Polynices, who agreed to share the government of Thebes in alternate years; however, Eteocles refused to give up his reign after the first year, causing Polynices to attack Thebes, along with his father-in-law, Adrastus (the name shared by Philargus and Philocles' supposed father, an heroic general), and five others (dramatised in Aeschylus' play Seven Against Thebes). Because they disrespected their father, Eteocles and Polynices were cursed by him, each to die at the other's hands. Philargus suggests that he and Philocles could divide anything, including a kingdom, peacefully (unlike Oedipus' fated sons), but that Eudina cannot be divided like a parcel of land or the sharing of power. The reference also harks back to King Lear's fateful division of his kingdom between his three daughters (Shakespeare's King Lear, 1.1.37-41).
;
Or, were it heaven itself,
Castor and Pollux*n7634
In some versions of the myth surrounding these brothers, Castor is the mortal son of Tyndareus and Leda, while Pollux (the Latin form; Polydeuces in Greek) shares their mother but is fathered by Zeus and is therefore immortal. The brothers' abduction of two women resulted in a fight during which Castor was killed, but Pollux shared his immortality with his brother, so that they spent half their time in the Underworld and half on Mount Olympus with the gods. It is to this which Philargus refers: the sharing of (time in) heaven between two brothers.
Should have our imitation. But Eudina
Is only indivisible.*n7635
Philargus' reference is reminiscent of the Judgement of Solomon from 1 Kings 3:16-28, in which two women are arguing over custody of a baby boy. In his wisdom, Solomon orders that the child must be split in two with a sword, so that each may receive half the baby. The real mother relinquishes her claim, her maternal instinct preventing acceptance that her baby be divided and thus die, while the deceitful woman is prepared for the division to go ahead. Philargus recognises that, unlike land or power, Eudina cannot be shared between the brothers.
Their sentence is erroneous that deny
Partition†gg5040
division into parts, portions
to the soul. For ours do witness,
Friendship can give her a division,
And make reciprocal community
Of all her faculties. But still Eudina
Is indivisible. Why name I her,
Whom to forget must be my only task?
Brother, adieu.
Enter DISANIUS.
691DisaniusNephews, why left you so the
presence†gg242
place or space surrounding the king (OED 2a); ceremonial attendance (OED 2b); presence-chamber (OED 2c)
? I
May justly fear you were ill advised in it.
The King expects your quick return, and will not
Let pass this
peremptory†gg5041
conclusive, decisive
day, set down
For matching of his daughter, to preserve
Life, state, or kingdom. Have you a purpose,
First having begged that villain Stratocles’ pardon,
To give him up your interest in the princess?
The kingdom too,
to boot†gg915
also
? Will you compel
The King to give him all?
693DisaniusWhat do you less in flying from the presence,
When that affair is now in
agitation†gg3463
motion, discussion
?
We left the princess in. How when she looked
Upon Philargus, she inclined to him;
And when on me, to me; when on us both
How ecstasied†gg5042
exalted, enraptured
she fell!
There is that one of us absent†gg5043
(v) to remove, withdraw (oneself)
.
You both fly off to travel
several†gg798
various
ways!
Come, let me tell you, your courtesy is foolish,
And you unworthy to have such a fortune
Hang like a pregnant cloud over your heads
Ready to be dissolved in showers upon you,
While your own madness conjures up a wind
To blow’t away.
I would remove to let that
golden shower*n7636
i.e. fortune, here referenced in meterological terms to continue Disanius' simile. There is a sense of beneficence from the gods here too, since Zeus once visited Danae as a shower of gold whilst she was imprisoned, after which she gave birth to Perseus.
Light†gs1143
fall
upon Philocles.
699Disanius [Aside] I could
even†gs1144
equally
swaddle†gs1145
beat soundly (OED v. 3)
’em both for a
brace†gg1269
pair, two
of babies.
Your folly makes me mad: will you return
Yet to the presence, both of you?
To be both there is neither to be there,
But to breed more
perplexity†gg5920
confusion, uncertainty, distress
in Eudina.
Pray, take Philargus.
It is a crown that courts you, and the name
Of friend or brother ought to stand aloof
And know a distance where such dignity
Is tendered. Take your opportunity;
I find you coming; come.
703DisaniusI’ll take him for the wiser man then.
[To PHILOCLES] Nephew!
Come, and embrace your fortune, and forget not
To thank the gods your brother has no more wit.
A kingdom and a beauteous bed-fellow
(There, nephew, there!). Do not those bear a sound
’Bove friend and brother, ha?
705Disanius [Aside] What frost has seized their blood and brains, which
Beauty nor dignity can thaw? [Aloud] Go, travel.
What stay you for? Young gentlemen sometimes neither
Wait for a gale of gold to blow ’em out
O’th’ harbour; Stratocles will furnish you,
And thank you more than for his
forfeit†gg2230
(a) forfeit to law, lost by misconduct
life.
While her Philargus stays.
While Philocles remains.
Will one of you remain?
710DisaniusThen yield to take your
lots†gg5044
specially marked object, one for each participant, to decide a dispute, presided over by a disinterested party
for’t. I will make ’em:
As you respect my love, your mother’s life,
The kingdom’s good, Eudina’s love and life,
Let it be so. Pause not upon’t, but do’t.
See, here’s ink and paper. I am inspired,
Apollo, with thy wisdom. He writes two lots. ‘Love’ – and ‘Friendship’.
See, here’s a pass for one, and a plantation
For tother†gg1195
other (of two)
.*n7644
The lot called 'Love' gives a pass for love, marriage to Eudina and remaining in Thessaly; the lot called 'Friendship' requires the recipient to leave for a plantation, suggestive of the colonies.
Love and friendship, gentlemen.
Love shall abide at home, and Friendship walk,
According to the custom of the world.
Let it be so. Come,
study not*n7645
don't think too hard about the choice
, but draw;
I’ll draw*n7646
Disanius puns on the drawing of the lots and his drawing his sword on them if they continue to delay.
upon ye both else. They draw*n7643
] drew
the lots.n7648
In the workshop, this section of the scene prompted a long and involved discussion concerning the drawing of the lots. Two possible staging options were explored: one in which the brothers draw their lots, but then swap them over, only to be chastised by Disanius who swaps the lots once again . One problem with this method was in keeping track of the lots and who had what. Alan Morrissey astutely pointed out that he (as Philocles) had to end up with 'Friendship' as he is the brother who offers to leave on his horse. If Philargus initially draws 'Friendship', has it swapped by Philocles and returned by Disanius, Philocles has 'Love' which does not work, particularly since Disanius urges the brothers to obey the lots; therefore another swap is required so that Philocles has 'Friendship'.
In the second version, Philargus pretends he has 'Friendship' but Philocles corrects him, and Disanius' advice to obey the gods is a response to what is spoken rather than the action of swapping the lots . In both of these video clips, Philargus and Philocles are seen to delay choosing their lots from Disanius' hand, each offering first choice to the other; this makes visual what the text conveys.
712PhiloclesSee, here I have it, brother. And yours is Love.
My love*n7651
The emphasis should be placed on 'My' since Philocles is making a distinction between the lot called 'Love' and his own love.
be prosperous to you. My horse, my horse!
Enter VARILLUS.
A parting cup, that by the grapes’
elixir*n8010
] Elizar. This edition follows MacLeod in emending to 'elixir' since no explanation to 'Elizar' can be found; however, the elixir of grapes is, of course, wine. The choice of 'elixir' is particularly prophetic since it can refer to a drug or essence which is believed to prolong life, exactly what Philargus will need upon ingesting Varillus' concoction (see OED n. 2a).
,
As
Jove by Acheron*n7650
Jove, the highest of the classical gods, is referred to as swearing by Acheron, the river of the Underworld, which was also known as a 'stream of woe'. This oath in part prophesies the fateful events which are about to occur, and immediately precedes Varillus' exit to fetch the wine (and poison).
, I may protest
My constancy and zeal unto my purpose.
715Varillus [Aside] And now’s my time to act thy purpose, Doris.
[He] exit[s].*n7649
As Hannah Watkins (playing Varillus) pointed out in the workshop, Varillus exits at this point thinking that his master, Philocles, is leaving. He fetches the poison in answer to Doris's statement in 4.1 that she will marry the servant of the lord who is not dead [LS 4.1.speech515].
It is most evidently their decree
That you abide and Philocles
remove†gg5038
relocate
.
Be you as free in love, as I from envy.
You have with me in Thessaly and Eudina?
719DisaniusWhy should that trouble you? You see he does
Forgo’t, and is a-going.
Would†gs1102
I wish that
he were gone
once†gs1149
at once
.
Like nails, abandon one another.*n7653
One nail is driven in to knock out another. Philocles hopes that travel will replace his thoughts of love and Eudina.
So
May I, by novelties of
travel,*n7500
] Travail
lose
The thought of love; and cheerfully return
Both hers and yours in a more just relation.
Enter VARILLUS with a bowl of wine.
Give me the bowl. Now, brother, to that love
You owe the fair Eudina, unto which
I give th’addition of mine own, and all
The joys that
e’er†gg5238
contraction of 'ever' (Onions)
I wished myself and her,
And to that friendship, which
nor†gg3457
neither
time nor absence
Shall ever end or alter. He drinks and gives VARILLUS the bowl.
722Varillus [Aside] Now the service that may redeem my faults
Is to be done.
724Varillus [Aside] I’ll give you more than you expect by this.
He puts in a powder.
Who, by your resolute absence will enforce
And drive me to a happiness; wherein
I must not cease in all the strength of prayers
Of sacrifice and vows; in all my goods
Of fortune, mind and body to be yours:
Which that you may return to repossess
With the more speed, this health to
auspicate†gg1011
to give a fortunate [auspicious] start to (OED auspicate v. 3)
And expedite†gs1150
hasten, help forward
your travels*n5238
] travails. This edition chooses the journeying aspect as the primary meaning, however, exertion and toil (travails) is an obvious secondary meaning.
.
Already if my ’pothecary’s skill fail not.
Of present ceremony, I now wish you
In th’arms of your Eudina –
And may
my better part of soul*n7668
Here, the soul is figured as breath which can leave the body and enter another. Some medieval paintings feature images of dying men's souls leaving their bodies like a white cloud. This is in keeping with two classical concepts of breath as the soul or spirit, both of which were current in the seventeenth century: 'psyche' (a Greek word, the equivalent of the Roman concept of 'anima'), both an 'animating principle of the universe' (OED n. 1a) and as part of the dualisitic division into mental and physical, i.e. the mind, soul or spirit (as separate from the body, OED 1b); 'pneuma' is also of Greek etymology, meaning 'spirit, soul or life force' (OED n. 2), theologically speaking, the spirit of God.
, which now
I leave in trust with you, by you be breathed
Into her breast, that she may lively find
She has my love in yours, and that in you
She has us both.
729PhiloclesHow is it with you, brother?n7654
In the workshop, the actors playing the brothers discovered an easy transition from their embrace to Philargus' collapse as he begins to react to Varillus' poison. The embrace also masks the collapse, so that Disanius believes Philargus' reaction is caused by unmanly emotion. This moment is captured in the following clip, where the embrace continues a little too long before it is discovered that Philargus is dying . It is difficult to know where to place the direction 'He falls'; in rehearsal and performance these events are flexible, however, some physical manifestation of the poison's effect must prompt Philocles' question 'How is it with you, brother?'. The fall could occur a few lines later and trigger Philocles' response: 'Too soon, I fear'.
With souls that leave the world in peace. [He falls.]
Leave
womanish ceremony*n7665
Disanius sees Philargus' reaction to the poisoned wine and misinterprets it as an abundant display of emotion. Although Philargus does sink to the ground, it might be that the brothers appear to weep at their parting.
. Will you part
Before it be too late?
Philargus! Brother! Friend! Ye gods, how comes this?*n7655
There are echoes of Romeo and Juliet here, whereby one character is holding the seemingly dead body of another (for whom he professes his love). But as in Shakespeare's play, Philargus is not dead, only unconscious after ingesting some form of sleeping potion, and he will be magically resurrected, as is Juliet; however, Brome's play results in a happier ending.
You or your man, or both, ha’ poisoned him.
734PhilargusNo, ’twas myself.*n7662
This very short line is apt from a dying man, but also points to the jarring nature of Philargus' lie.
With a lie i’ thy mouth?*n7666
Like Hamlet's father, Philargus will enter purgatory to pay penance for his sins because he dies without absolution. Othello is similarly concerned that Desdemona has prayed and confessed her sins before he smothers her (see Othello, 5.2).
Speak yet again.
Without my company.
He
offers†gg4972
attempts (to do harm or injury)
to kill himself. DISANIUS snatcheth his sword away.
738DisaniusWilt thou die mad too?n7657
The fast-paced energy of this scene is illustrated with a small example of its exploration in the workshop . Robert Lister, playing Disanius, identified the enormous challenge this scene presents to an actor in trying to control and respond to several different actions and persons successfully, as well as delivering lines to other characters and to the audience as asides. Disanius' need for assistance with Philargus' body was patently obvious in one take, when Robert ended the scene with three swords in his hand (plus script), all confiscated from Philocles (Alan Morrissey), who had successively attempted to kill himself with his own, Philargus', and Disanius' swords. Robert had no free hands with which to remove the body of Philargus, and the moment pointed to the potential comedy of the scene.
Come, sir,
let go your whiblin.*n9329
OED quotes this citation from The Love-Sick Court for 'whiblin', being slang for 'what-d'ye-call-it', of unknown origin, and here taken to refer to the sword Disanius has recently snatched from Philocles. However the OED entry also invites comparison with 'whibble' (equivocation; in context referring to Philocles' argumentative disposition) and 'quiblin' (pun or trick; in context, a possible allusion to Philocles' repeated attempts to kill himself, thus disobeying Disanius' orders).
He has yet
Some breath. Run for physicians – [To VARILLUS] No, sir, stay.
I will not
quit†gs526
free, release
you so.
[Aside] I can read guilty lines
Palpably on this villain’s
visnomy†gg5049
(physiognomy) face; appearance
.
[Aloud] Is there no more i’th’ house?*n9246
The scene is set outside in the Vale of Tempe, so Disanius question is a metatheatrical one relating to the interior of the theatre as the 'house'.
Some help here! Ho!
PHILOCLES offers again to kill himself.*n7656
Since Disanius has taken his sword, Philocles must find alternate means to attempt suicide. Possible suggestions include snatching the bowl of poison, or removing Philargus' sword from its sheath.
Nephew, forbear. As you will have me think
You guiltless of your brother’s blood, forbear.
How am I tortured! Ho! Philargus! Rub him,
Rub him, he may live yet.
Might be so happy!
Or two in kindness will not do amiss.*n7658
In the workshop, Robert Lister (playing Disanius) suggested that boxing Philargus ears might come in response to Philocles' rather delicate rubbing of Philargus; i.e. stop stroking him and smack his face to wake him.
Stir not you, sirrah.*n7659
This edition preserves the original text's presentation of this line as an order, rather than as a question. Disanius appears to address Varillus, perhaps prompted by the latter's attempt to sneak away. This is made clear by Varillus' echoing of Disanius' 'stir' in his next line. Alternatively, Disanius could be addressing Philargus, to see whether he is awaking from his supposed faint (in which case the full stop should be replaced by a question mark).
Enter TERSULUS.
[To TERSULUS] Oh, sir, you lay hold
On that same traitor. [Indicating VARILLUS.]
741VarillusI’ll not stir, my lord.*n7660
Varillus is kept there by Philocles' (his master's) desire to kill himself.
742DisaniusI’ll hold you to your word, sir.
[To TERSULUS] Run, sir, you
And fetch physicians.
744DisaniusStay
but†gs29
only
to look upon him and I’ll swear
Thou art his murderer.Exit TERSULUS.
Fetch the King’s physicians
If not to cure him, yet to rip the cause
Out*n7661
discover the cause (rip out the cause)
of his sudden death.
[To VARILLUS] I guess they’ll find
Your handy-work in’s maw†gs1151
throat or stomach
.
It was himself that did it. I am cleared.
Enter EUPATHUS.
Has sent –*n7663
Eupathus breaks off at the sight of Philargus' body on the ground, but also because Disanius interrupts his message (without disrupting the metre).
To call this man from death, or
that*n7667
that man, i.e. Philocles
from falling
After him into th’ grave?
749DisaniusBut come, I will not cry though.
Pray, assist me*n7664
Presumably Disanius addresses this instruction to Eupathus, since Philocles is overcome with grief and Varillus must be returned to court as a prisoner (perhaps restrained in some way).
In with this body. Charity commands,
When grieved necessity entreats, your hands.[They all exit.]
5.2
[Enter] GERON [and] the four RUSTICS.
750GeronMy
Rustici amici*n7670
country friends (Latin)
, your counsel and
Your virtue have restored me. And ’tis true
As
whilom†gg3861
in times past
said the good
Antisthenes*n7902
A Greek philosopher and founder of the Cynic school. Diogenes Laertius recorded details of his life and sayings in Lives of the Philosophers, and mentioned his thoughts on virtue.
:
Virtue is armour ’gainst the very fates.
Fond love
became†gg1809
befitted, suited
you not.
Stuck in the
hindlocks†gg5052
hair growing on the rear limbs (example from The Love-Sick Court cited in OED a. (n3) C.a)
of our fleecy sheep,
Who shake their heads,
figgle†gg3438
fidget (only citation included in OED is from The Love-Sick Court, 5.2)
, and writhe their tails,
And bleat for woe;
sprinkle†gg5051
scatter, distribute (droppings, in distress)
the ground behind ’em
Sometimes,
iwis*n4980
] I wisse
†gg3439
certainly, indeed
. ’Twould make one laugh and pity ’em
All at once, but all remediless;
Till we with helping wit and hands release ’em.
753Geron*n7625
] Gar.
A wise man, then, in love is like a sheep
I’th’ briars. As whilom said –
What was that ‘Whilom’? Sir, you speak much of him,
But what was he, pray?
755GeronAn ancient
Briton*n4981
] Britain
, whom I have affected
As idly as my love. But I’ll forget it
And use that word no more.
[Aside] The
clowns†gg1009
countryfolk
have
found†gg3186
discovered, hit upon (a weakness)
me.
For th’ honour of Tempe plains, and Tempe
swains†gg2613
young men
.
7593. RusticLike so many light horses*n7673
Some period dances require performers to imitate horses by lifting up the feet (to leap) and scraping the ground, such as the Horse's Brawl.
.
Who have followed us up to court, we thank ’em.
Pray Juno we get them
honestly†gg5054
in a respectable manner; chastely
home again.
761GeronThere is no doubt. However, fear you nothing
As whi – ’tis hard to leave off an old custom.
7622. RusticThe ‘whi’ was out, but
‘lom’*n7674
A pun on 'loam' or soil.
stuck in your teeth.
763Geron’Tis well it did so. You can dance, you say.
A dance I have
projected†gg5055
planned, designed
for the princess;
Whoever marries her it shall serve. As whi –
7641. RusticAgain, ’twas
e’en†gg1926
(adv) even now (OED 6a), just now
a-coming.
And should have wit; and show’t we can i’th’ country,
In the
head vein*n7675
i.e. the type of wit which originates in the brain
, though
here*n4982
] hear
at court like courtiers
We’ll
show it in our heels*n7676
i.e. by dancing
. Pray, therefore, on.
768GeronOn, let us then to practice. King and court
Shall see, to crown their joys, some country sport.[They all exit.]
5.3
[Enter] KING, JUSTINIUS, EUDINA, THYMELE [and] Attendants.
769KingNo answer, no return? Must I entreat,
Yet have my undeservèd favours
slighted†gg1141
treated contemptuously, with indifference
?
’Twere longer to
attend†gs996
wait
. My vow is past
And registered in heaven; the minute is
At hand that calls down thunder on me, which
No tear or prayers can
mollify†gg823
appease, soften
or
avert*n7681
] aver't. The verb 'to avert' (turn away) makes better contextual sense; perhaps the compositor mistakenly added the apostrophe or misread his copy text.
,
If I upon so long deliberation
Shall falsify. So, call in Stratocles.Exit ATTENDANTS.
772EudinaO my dread father. Yet one hour’s patience
Till Eupathus or Disanius return.
One short, short hour: I may not live so long.
His wife you named, though you may force me take him.
773KingI’ll leave that to the gods.
774EudinaThey will forgive. Give them your imitation
In mercy, as in power on earth. I know Disanius
Went not in vain to call ’em to your presence.
And him that he brings first into this room
Of Philocles or Philargus I will take,
Though he precede the other but one foot;
I have it by inspiration from the gods.
In trial.
On those ingrateful†gg2337
ungrateful
men.
Enter STRATOCLES.
Oh Stratocles,
You have from your
late†gg162
recent
errors, which your then
Headstrong ambition hurried and cast you in,
With that humility purged yourself, that I
Conceive you now a
temperate†gg5944
restrained, moderate
man; and am
Instructed by the clemency of the gods
To cherish and reward your virtue. Therefore
From their divine appointment, at my hands –
778EudinaO mighty sir*n4983
This is a complex sequence of speeches in the original text, in which Eudina's and the King's appear on the same line, enclosed in parentheses, with 'Receive Eudina' below.
–
Mistake not so the pleasure of the gods.
My forfeit life you have forgiven me:
Your kingly power and grace might do it. You
Have given it freely, but I took’t with caution,
By future service to make good your gift.
But for my
forfeit†gg2230
(a) forfeit to law, lost by misconduct
love to fair Eudina,
And my lost honour to the twin-born brothers,
There can be no redemption if I add
By
acceptation†gg5058
acceptance
of your bounteous offer
A second
trespass†gg1111
an infringement of the law or one’s duty
, greater than the former.
My pardon to your grace.
784EudinaThe gods have wrought†gg1029
(literally) moulded, shaped; (in context) persuaded
Effectually for me.
Enter PLACILLA with a petition, kneels.
Are you become a
suppliant†gg5059
humble petitioner
, Placilla?
The swains of Tempe.
News from your
unkind†gg5060
undutiful, ungrateful
brothers.
[Reads petition.] See, Justinius,
The
Commons†gg3460
common people, community; also those who represent them (in England, the Lower House of Parliament)
, rather than I shall bestow
My daughter upon Stratocles, do beseech me
To take a further time.
In his refusal and in their request.
They are fair predictions of ensuing joys
To you, your daughter, and the kingdom, if
I may be worthy to divine so much.
789KingHowe’er thy divination proves, thy wish
Is worth our thanks.
Enter EUPATHUS [with a paper].
And we may have
Glad tidings presently. Now, Eupathus,
Where is Disanius, Philocles, and Philargus?
Why come they not?
This paper may excuse their stay.
[Handing the KING a paper.]
They plead excuse then?
The KING reads the paper.
The King has struck his breast, and seems perplexed.
795KingJustinius, Stratocles, read here this paper.
Go, Eupathus, and let them enter. Stay.
Yet go, bring them in their
prescribed†gg5061
laid down, fixed (in writing beforehand)
manner.
[Exit EUPATHUS]
I’ll send the woman off, whose sudden grief
May be a bar to our proceedings. [To THYMELE] Madam –
796Thymele [Aside] I fear that Garrula has
detected†gg5062
exposed, discovered, revealed (secret)
me.
797KingI must entreat a while your absence, lady.
799KingMy will has been above your question. Pray,
Let me request you go.
801KingAnd go, Placilla, send old Garrula to me.
802Thymele [Aside] Now ’tis most evident.
[Aloud] O mighty sir,
Conceive not worse of me than Garrula.
Let us appear together.
More weight upon your breast than you can bear,
By your impertinent stay. Go, I command you.
To change the resolution of my fate.Exit THYMELE [and] PLACILLA.
807KingI have not known her thus. I fear
distraction†gg5247
disorder or confusion, caused by internal conflict or dissension; disturbance of mind or feelings
Fore-runs the voice of grief, as to prevent it.
Heaven knows I called for Garrula but to send her
With best directions to prepare and arm
Her tender soul against the sting of sorrow
Before it should approach her. But, Eudina,
You must be valiant, and not let the sight
Of death in others shake your confidence.
Your fatal lovers, Philocles and Philargus,
Slept in the caves of death.
811KingSuppose his destiny had cut off one,
And, in him, all the impediments, that
crossed†gg613
frustrated, jinxed; (literally) run across (one's path)
You in th’enjoying of the other, say
Which could you wish survivor? But you have
Declared your constant purpose to possess
The first Disanius brings into this
presence†gg242
place or space surrounding the king (OED 2a); ceremonial attendance (OED 2b); presence-chamber (OED 2c)
.
Come, one is dead. There is a strict necessity
You know it. Now collect your reason. For ’tis not
Your passion for the dead, nor your dislike
Of Stratocles; no, though my subjects yield you
A longer time, shall make me tempt the gods
By breaking of my vow. Be steadfast then,
As you respect a father, and take courage.
Recorders.*n7687
In annotating a similar stage direction in The Queen and Concubine, Lucy Munro notes: 'Recorders are often linked with 'sad' or 'solemn' music in play-texts' and references The Second Maiden's Tragedy and Davenant’s The Cruel Brother [NOTE n3210].
Enter DISANIUS before a hearse, PHILOCLES after [with Attendants]. VARILLUS manacled, and led by TERSULUS. EUPATHUS supports PHILOCLES, as ready to sink with grief.
See, Philocles lives.
Is brought in dead before him by Disanius;
And unto him the first to be brought in
My faith was vowed; and he is now my choice.
813KingWhat, being dead? Could you
affect†gg2587
love, like (OED v1. 2); also means ‘to show ostentatiously a liking for' (OED v1. 5)
’em so
Equally, both alive, that you forbore
To choose, because you could not have ’em both;
And now seek only him cannot be had?
The hearse set down, EUDINA kneels to it. PHILOCLES kneels on the other side.
What love, what madness call you this? Good gods,
Throw not your wrath upon me in destruction.
814JustiniusNor let your passion master
you, great*n7626
] you^ great,
sir,
As sudden grief does her. But give a little
Scope to her sorrow. She will soon return
And meet her reason in obedience
To your desires.
815KingI thank thee, good Justinius.
A song*n7689
This is the second song (the first occurring during Eudina's dream vision), serving as music which accompanies mimed action.
, during which
DISANIUS etc. discourse with the KING.*n7688
The 'etc.' perhaps includes Justinius and Disanius.
DISANIUS seems to acquaint the KING with the manner of
PHILARGUS’ death, pointing at VARILLUS. The KING seems much troubled; but at the end of the song, (as by the KING’S appointment)
DISANIUS raiseth PHILOCLES, and JUSTINIUS raiseth EUDINA, and bring them to the KING while EUPATHUS with the ATTENDANTS go forth with the
hearse, the recorders playing, which done:
816KingYour virgin tears and vows o’er your lost love
I did
attend†gs1155
listen to
with pardon, my Eudina;
In hope you are now compliant to my will.
817DisaniusGrieve†gg4670
harass, trouble, vex, hurt (OED v. 2)
not your father, madam.
And as the gods direct him to command me,
I must and will obey.
820KingThe gods have pleased, Eudina, to determine
Your doubtful choice, reserving Philocles
Unto your love without competitor.
Therefore it now remains that he be taken
Into your liking whom I have decreed
My successor.
Me and this land, in which what interest
My birth hath given me, I resign to him.
Only let me beseech a further respite.
822KingFor what? The celebration? I consent.
But for the
contract†gg5064
marriage contract, engagement
, this immediate hour
Shall see it knit beyond all dissolution.
824KingGive me your hands. EUDINA gives her hand.
Yours, Philocles.
Dare you not trust the King with’t? [Aside] Should he now
Show a jade’s trick*n7690
impetuous action of a vicious or badly-behaved horse; see also Beatrice in Much Ado About Nothing, who ends her first onstage verbal battle with Benedick: 'You always end with a jade's trick. I know you of old' (1.1.138-39.)
and fly back?
Under your highness’ pardon, yet, a respite.
827Disanius [Aside] More respites yet? Was ever hopeful match
Driven so round about?*n7691
i.e. delayed
Which must be executed on his murderer
Before I safely can, or dare, possess
His interest in the faith of fair Eudina.
830DisaniusOh, is that all? That may be soon dispatched.
Come forwards, poisoner.
[VARILLUS moves forward.]
Good your majesty,
For
expedition†gs633
haste in getting business settled
, make me his judge
And hangman too (I care not)*n7692
Disanius has to justify his offer to become Varillus' hangman since this was the lowest kind of (honest) work and not in keeping with his status as the King's advisor.
rather than
Suffer this match hang o’ the
tenters†gg5065
(literally) hooks (tenterhooks) or bent nails set into a frame (tenter) on which cloth is stretched to ensure that it dries evenly; something causing anxious suspense or suffering
thus.
I beat it out of him. Quickly, good King.
833KingYour patience, good Disanius. Sirrah, speak.
Upon my love in it unto my lord.
835King.Your lord shall be your judge then.
To sharp but ling’ring tortures (for his death
Alone can yield no satisfaction);
Tortures that may draw in, by his confession,
As accessories with him, all the
homicides†gg5066
murderers, man-killers (see OED n1. a)
That are i’th’ kingdom.
838PhiloclesNor can I think
his only*n7693
i.e. only his
brain and hands
Composed the poison.
And uses
aquafortis†gg5067
nitric acid, a solvent and corrosive
,
oil of vitriol†gg5068
concentrated sulphuric acid
,
Mercury, and suchlike, to cleanse his razors.
840Justinius’Tis good that you, Varillus, clear your conscience
And, if you had confederates in the fact,
Give up their names.
Doris joined hand with you in my lord’s death.
The handmaid Doris, put him on’t; I know’t
By what she said to us both, we being her lovers.
He cannot have the wench himself, he’ll hang her.
847KingFind her and drag her hither.Exit TERSULUS.*n7627
] This exit direction originally appears at the end of Varillus' speech, "Of her I had the poyſon, tis confeſt" [LS 5.3.line2535], two lines above its current placement, "Find her and drag her hither"; however, Tersulus' exit is in response to the King's command.
Enter THYMELE [and
PLACILLA].
848ThymeleWhere’s my Philargus? Give me yet his body,
That with a mother’s tears I may embalm it.
849DisaniusYou have heard the woeful news then; but, my sister,
Could grief recall Philargus, we would weep
A
second deluge*n7697
The first deluge was the Flood of the Bible (Genesis 6-9), in preparation for which Noah assembled the animals in the ark. Disanius' metaphor suggests that they would shed a great quantity of water in tears in return for Philargus' life.
for his
reparation†gs1158
restoration (of a person to life); OED cites this example (2c)
;
Renew his breath by sighing, and awake him
With groans out of his sepulchre.
Have you interred him then? You made strange haste.
[To KING] Was it your
subtlety†gg5072
craftiness, cunning
to send me hence,
Fearing my cries might have revived him, King?
And so again delayed your daughter’s marriage?
I have enough to cross
it*n7699
i.e. the marriage (between Philocles and Eudina)
yet, Philargus.
854ThymeleYou are deceived, for from my depth of sorrow,
Through this thick film of tears, I can perceive
You are about to join the hands and faiths
Of Philocles and Eudina.
Enough to dry your tears, and show you that
The gods were rather merciful in leaving
This son, than rigorous in taking tother?
856DisaniusOr would you now, ’cause you have lost Philargus,
Kill Philocles too by crossing of this contract?
857ThymeleIt is the pleasure of the gods I cross it.
Enter GARRULA.
858DisaniusOf devils it is. What can she mean? Go, sleep.
860DisaniusWhat says old Suck-bottle†gs1160
tippler (OED 2 cites this example as a quasi-proper name)
now?
And now will tell the long-hid secret for you.
And if I err†gg1776
make a mistake, fail, go astray
in it, disprove me.
My falt’ring tongue will fail me. I can hear though. Drinks.
More reason than I find you have.
Can never make it. You will sooner join
The
wolf and lamb*n7702
In the Bible's book of Isaiah, the wolf dwelling with the lamb is seen metaphorically as an harmonious consequence of peace reigning on earth (Isaiah 11:6 and 65:25). Although no similar reference to the falcon and dove has been found in the Bible, their pairing functions similarly to the wolf and lamb, one being the natural predator of the other. Away from the biblical world, this is seen as an impossible feat, comparable to King's request of Thymele.
, falcon and dove together.
866KingNo trifling, I command you, Thymele.
In this suspense.
Of Thessaly be stained with an incestuous match.*n9501
Hamlet articulates a similar concern about the marriage of his mother to his father's brother, now King of Denmark, in Shakespeare's play, pointing out that his mother's recent marriage makes Gertrude 'the Queen, your husband's brother's wife' (and is therefore incestuous; 3.4.14). Hamlet's references to his uncle, Claudius, as a 'mildew'd ear' (line 64) lead Gertrude to acknowledge 'black and grained spots' within her soul (line 90), i.e. dye or staining, such as Thymele warns against.
870GarrulaShe says right. They are both your lawful children
By your own virtuous queen now
in — Elysium†gg3293
'The supposed state or abode of the blessed after death in Greek mythology' (OED).
*n7703
Garrula's pause (signified by two short dashes in the original text) could be caused either by her forgetfulness or by catching Thymele's angry eye.
.
871KingWhat dreams are these of your
distempered†gg5076
disordered, ill, deluded
heads?
872ThymeleThis is no dream or fable. But
unfeigned*n7704
] unfain'd
†gg5077
not pretended, genuine, true
[GARRULA] sip[s].
As truth itself: which with your gracious leave
I shall demonstrate, humbly craving pardon
For my so long concealment, as I’ll yield
Due reason for it.
(Those cruel wars, as I may justly
style†gg287
(v) call, term
’em)
In which my husband fell –
876ThymeleWhen open rebels and
domestic traitors*n7705
i.e. those committing treason against their own country and its government
Pursued your crown and life, your gracious queen
To have been brought to bed, and was believed
To have miscarried by an abortive birth.
877KingTrue. In her flight she was
constrained†gg688
forced, compelled
to take
A neighbouring cottage, and use the help
Of the swain’s wife.
878GarrulaThat swainess†gg5078
female country person; female lover (OED cites this example from The Love-Sick Court)
was myself,
Though my deserts have glorified me since.
And by my help (and somewhat of the gods)
She then made you the father of that prince.
879Disanius [To GARRULA] Take up thy bottle.
[To THYMELE] Sister, speak you on.
880ThymeleTh’affrighted queen (yet wise in that extremity)
Suspecting that the innocence of her babe,
Born to a kingdom could not be secured
In those
combustions†gs1162
disorders, commotions (OED 5b)
from apparent danger,
Sent him to me in private – then in
travail*n4984
] travel
Of my Philargus – charging me to
feign*n7707
] fain
†gg5079
invent, fake
A second labour, with the midwife’s aid,
For Philocles: I did, and was reputed
Mother of both.
Would keep us ignorant of so good a fortune.
882ThymeleI
moved†gs1163
urged, asked
her
oft†gg5081
often
to tell you. But she answered,
‘All is not
sound†gs1164
safe, stable
; there’s danger, yet’. And when,
After Eudina’s birth, she felt herself
At point of death, she strictly did
enjoin†gg5083
bind together by order
Me and this woman only conscious with her
By oath of which she had prepared this copy
[She produces] a paper.
In her own
hand†gg2040
handwriting (OED n. 16)
, to keep it silent, till
Philocles should be able to secure
Himself from treachery; or that your term
Of life expiring, or some accident
Of no less consequence, required
detection†gg5945
discovery, the finding out of what had been concealed
.
For further proof –
883KingMy joy forbids more questioning;
Give me my flesh and blood into my bosom.
Thrice†gs1165
three times
happy fathers if your children were
Born to you thus of
perfect age*n7708
i.e. already grown up and matured into adults
. But where
Is now a match for my Eudina, I
Have here a successor.
A shout within and crying ‘PHILARGUS! PHILARGUS!’ etc.
884KingHah! Voices i’th’ air that cry ‘Philargus’?
885EudinaVoices that do tell me I must follow him
Up to the heavens, and there be married to him.
886DisaniusHere’s the she-devil now.*n7709
Doris must either be visible or audible to Disanius before her formal entrance point.
Enter
TERSULUS*n7628
] Turs.
with DORIS.
For that man’s love, I laid thy lord to sleep.
Had I loved thee best, then his lord had slept.
888DisaniusHow does he sleep? Speak, impudent baggage; how?
889DorisHow? With a powder, sir, which my own father,
A skilful ’pothecary, prepared; who, if
Philargus die, shall hang with us for company.
891DorisYes, but now the peril’s passed.
Enter PHILARGUS [and] EUPATHUS.
See, if he sleep, ’tis walking*n7711
i.e. sleep-walking
.
Or but the
shade†gg5085
'The visible but impalpable form of a dead person, a ghost' (OED n. 6a)
, the spirit of my friend.
894ThymeleDoth my son live? Oh, then I have enough.
895DisaniusCome
hither†gg1268
here (to this place)
,
come hither, you three*n7712
i.e. Varillus, Tersulus and Doris
. I will discharge
The scene of you.*n7713
i.e. Disanius will dismiss them from the stage, and from their accusations (since Philargus lives).
[To VARILLUS] Thy love unto thy lord
(Though somewhat unadvisedly employed)
Deserves reward; I’ll see it given thee,
Thy lord and King shall thank thee. Take thy wench;
She has love in her wit, and wit in her anger.
I like the luck of things that
ill†gs1167
harmful, immoral
intents
Should bring forth good events. [To TERSULUS] Thy faithfulness
To thy lord too was happy. Go, I’ll see you
All royally rewarded.Exit. VARILLUS, TERSULUS [and] DORIS.
Enter GERON.
How now, Geron?
896GeronMy lord, I see here’s joy towards, as whi –
897Disanius’Slife†gg1915
abbreviation for 'God's life' used as an oath or exclamation
, stand not whiloming now man, but be brief.
898GeronCry mercy. I had
left†gs1168
stopped, left off (saying)
it. But, my lord,
To celebrate the flowing joys in court,
I and my country heads have framed a
masque†gg5086
symbolic courtly entertainment, usually involving elaborate music, dancing, costumes and scenery
,
Rather an
antic†gg5087
grotesque, comic
dance, rather a country
toy†gs1169
(trivial) entertainment
,
Rather a rustic round†gs1170
circular dance
, rather a –
899DisaniusHoyday!†gg3015
an exclamation of annoyance, anger and exasperation (akin to 'Heyday!', which is more expressive of surprise or delight)
Thy ‘rather’s’ worse than thy ‘whilom’. Dost know
What time o’ day ’tis?
To be presented at the princess’ wedding
And, if you think it
meet†gg5088
suitable, fitting, proper
, I will
induce†gs1171
bring about, instruct
The practice of it presently. As whi –
901DisaniusGo fetch
the heads and heels*n7714
Disanius is quoting, but also mocking, the Rustics in 5.2 [LS 5.2.speech767]. Given that he is not present in this scene, perhaps the quotation is unwitting.
; I’ll
stay†gs1104
delay
the King
To see and laugh at ’em. That’s grace enough.Exit GERON.
902KingPhilargus, you have much to know, the which
We
will†gg5089
order, wish, desire
Eudina tell you, now she’s yours.
Receive her and our blessing.
(As I was thought to be) your name pronounced
Over my grave, beyond all
necromancy†gg5090
'The art of predicting the future by supposed communication with the dead; (more generally) divination, sorcery, witchcraft, enchantment (OED n. 1a)
,
Would call fresh blood into my veins again,
Strengthen my nerves to break the
iron gates*n9508
In 'To His Coy Mistress', the persona of Andrew Marvell's poem urges his mistress to challenge the constant movement of the sun (and thus, time) by tearing 'through the iron gates of life'. See also Matthew 7: 13-14: 'strait is the gate, and narrow is the way, which leadeth unto life, and few there be that find it' (King James Bible). Philargus' speech suggests that the reverse of the gates of life are the gates of death, which he would gladly burst through from the afterlife in order to join Eudina (were he dead). It is a surprisingly energetic expression of desire to be with the Princess, after the neoplatonic statements made by both him and Philocles in the previous acts.
Of death, and force my joyful spirit from
Th’ Elysian paradise*n9327
pertaining to Elysium, 'the supposed state or abode of the blessed after death in Greek mythology' (OED, Elysium, 1).
to live with you.
904KingYou shall not be a loser, Thymele:
Philocles shall be yours, and, in exchange,
Placilla mine.
Thou art as
Juno*n7715
Queen of the gods in classical mythology, Juno was both sister and wife to Jupiter; also goddess of marriage. Philocles' wife, Placilla, is also his sister (in law) because she and Philargus are siblings, and he is to marry Philocles' sister, Eudina.
to her Jupiter,
Sister and wife.
Now at so happy leisure to
perpend†gg5091
ponder, reflect upon, investigate
The oracle, which truly hath effected
Each word of the prediction.
907KingWho can repeat the answer? I ha’ lost it.
Contend not for the jewel, which
Ere long shall both of you enrich.
Shall make ye what you seem to be.
912PhiloclesShe has done that too, for now indeed
we’re*n4985
] w'are
brothers.
King Apollo, thou hast filled us all with joy.
Loud music is here.*n7716
In annotating The Queen and Concubine, Lucy Munro cites Julia Wood's argument that 'evidence from Caroline plays suggests that 'loud music' may have been 'theatrical shorthand' for 'powerful-voiced' instruments such as the hoboy, trumpet or cornet and that it may have been expected to be produced by more than one instrument'. See Music in Caroline Plays, pp. 103-4, and [NOTE n1258]
But has our joy already filled our court
With music?
And see the practice of a presentation
Against†gs1080
in anticipation of, in preparation for, in time for (OED 19)
the marriages by your swains of Tempe
With thanks, and give it all the grace we may?
Enter GERON and the Swains [RUSTICS] and Nymphs for the dance.
914GeronFrom Tempe plains, the Tempe swains
With mirth and melody,
With dance and song do hither throng
To greet your Majesty.
915GarrulaOh there, look there, madam, my son, and all
My old Temperian neighbours.
916GeronWe cannot hope in all our scope,
To gain much praise for skill,
But it shall be enough, if ye
Accept of our good will.
The dance.
919KingThanks to Apollo. Let his temple be
The place of our solemnity. His altars
Let them be laden with Arabian spices;
Let his priests lead, in a devout procession,
The horned sacrifice,
mantled†gg5950
covered, dressed
with
garlands*n4986
] Ghirlonds
And we (our temples crowned with
laurel*n11288
laurel crowns or wreaths were traditionally as a symbol of distinction, especially in poetry
) follow
With music,
sounding†gg5092
declaring, proclaiming, praising (see OED, sound, v1. 10)
Hymen*n11289
In classical mythology and lore, Hymen was the god of marriage, usually represented as a young man carrying a torch and veil.
and
Apollo*n7717
In classical mythology, god of the sun, arts, poetry, music and health. It was Apollo's oracle which predicted the true course of events.
.
[They all exit.]
EPILOGUE.*n9625
There are startling similarities between this Epilogue to The Love-Sick Court and to the next play in the collection of Five New Playes (1658-59), Covent Garden Weeded.
Epilogue’Tis not the poet’s art, nor all that we
By life of action can present unt’ye
Can justly make us to presume a play
Is good till you approv’t: which that you may
It cannot misbecome†gg5093
be unsuitable for
us, since our gains
Come by your favour more than all our pains.
Thus to submit us unto your commands
And humbly ask that favour at your hands*n7718
i.e. in clapping
.
Edited by Eleanor Lowe