ACT 2*n1346
This act introduces us to the witches, thus confirming the expressed suspicions of characters in Act 1. The witches have their own verse form (tetrameter instead of pentameter, and often rhyming couplets instead of blank verse) and a declared goal of having fun by 'practising' or playing tricks on men to spoil male 'sport' and promote their own female 'pranks'. Celebratory sessions allow them to dance, sing, laugh, and hold midnight feasts. In terms of performance, there is some leeway for performing a degree of malice in the witches' behaviour, not only to men, but also toward one another. There seems to be a degree of competition between Gillian and Goody Dickieson, for example, and between Gillian and Meg. But the lines just as easily admit to congeniality and cooperation as they do to malice. Whatever the performance choice, the result is clear: pleasure and shared laughter for the women. The other interesting relationship concept in this scene is that Meg here seems to be an assertive leader, in the absence of Mistress Generous; but by the end of the play, Meg is the witch who collapses and is unable to assert herself in the last scene. This view of Margaret Johnson is based on the actual woman's behaviour under examination by the courts.
The time is established in the second scene as after dinner (served at mid-day). The gentlemen return to the hunt while Generous arranges for his groom to fetch more wine for the household. He also arranges for a new tenant (the out-of-work soldier) at the mill, which has been plagued by cats who have frightened away the previous miller.
The other significant introduction in this act is the Boy (modelled on young Edmund Robinson, whose false testimony is echoed here, the testimony that ensured the guilty verdict against the witches in Lancashire). The Boy is skipping off school to pick wild plums and watch the gentlemen's hunt. He joins in with a hunt of his own, after he finds a stray pair of greyhounds, but these turn out to be a transformed witch and her demon-boy, who kidnap Edmund amid suggestions of sexual abuse.
The other aspect of witchcraft revealed in this scene is the sexual attachment between Robin (Generous's groom) and Mall Spencer, a young witch, formerly the girlfriend of Lawrence, old Seely's manservant. Mall promises a night of pleasure and surprise to Robin if he will stay with her for the night. He seems aware of her witchcraft activities, but (unlike the rest of the community) is not frightened off; in fact, he is titillated by the prospect of seeing more of her tricks. He has seen her make a broom sweep the house by itself, and in 2.6 sees a milk-pail take itself off to the field to prepare for work the next morning.
2.1
Four witches
[MAUD, GILL, MEG, and GOODY DICKIESON], †gg1172
not together or in a company; independently (archaic) (OED 2)
enter severally.
190All.Ho! Ho!*n1367
This edition adds a second strong-stressed 'Ho!' to regularise the scansion, which in the witches' verse-lines is tetrameter. In this line, spoken as greetings by all the witches, the sound, to the audience's ears, would be 'Ho-ho! Ho-ho!' filling in the extra syllables.
Well met! Well met!*n1147
This line has an added 'Ho!' because the witches' verse-form is a very regular 4-foot line, and here the added word fills in theatrical practice, which would share the line as greeting and reply among the four witches when they come onstage from different directions). This line is an example of apparently 'spontaneous' or 'improvised' script, like the laughter or other repeated sounds, like 'Ay, ay, ay' below, as the witches agree on a plan of action.
191Meg.What new
device†gg1174
scheme, project, often one of an underhand or evil character; a plot, stratagem, trick
, what dainty
strain†gs149
high pitch of activity (rare) (OED n2, 5a); or effort
,
More for our mirth now than our
gain†gg1173
advantage; increase in possessions (OED n1 and n2, 2a)
,
Shall we in practice put?
192Goody Dickieson.*n1148
The speaker was originally assigned to ‘Meg’ in the quarto, but cannot be correct because Meg has just spoken and this is the reply. Only three witches are named in the scene: the fourth witch may be Mall (as Egan suggested in his edition), more easily confused by the printer for Meg than either Goody Dickinson or Mrs Generous. But this decision is a production choice. The script does contain at least three unnamed witches.
Nay, dame,
Before we play another game,
We must a little laugh and thank
Our
feat†gg1175
adroit
familiars for the prank
They played us last
Us in our next plot, if for this
They find not their reward.
194Meg.’Tis right.*n3454
On the same line as Mawd's last line in Q.
Come away, and take thy
duggy†gg1363
breast (the diminutive form of 'dug', the pap or udder of female mammalia; also the teat or nipple; usually in reference to suckling; the use of the animal term is significant here in terms of the play's focus on unnatural sexuality)
.
196Maud. Come Mawsy†gg1177
something downy, soft, or furry, like a small mouse (regional, western, specifically Cheshire and Yorkshire)
, come Puckling,†gg1178
a term of endearment for a small imp or hobgoblin, like the puck or pook, sometimes spelt pug, a spirit that may take the shape of any animal or even inanimate object, at will (see Jonson's The Devil is an Ass, in which the young devil is called Pug; Jonson's Pug takes two different human shapes, but Heywood and Brome's Puckling seems to appear either as an undefined spirit, or in animal form; see also 'pug' [GLOSS gg770] and 'puggy' [GLOSS 1176] [NOTE n952])
And come, my sweet Suckling†gg1179
endearment for one that suckles at the teat (witches were thought to have a third teat or breast at which their familiars sucked blood for nourishment as part of their pact with the devil)
,
My pretty Mamilion†gg1180
like Suckling, a small familiar that nurses at the breast (Latin mamilla, breast, nipple) allegedly the name of Margaret Johnson’s familiar (The witch called Meg or Peg represents the real accused witch Margaret Johnson, one of the four who was brought down from Lancaster to have her case reheard in London. In her examination she admits to keeping a familiar, although the other so-called witches did not support her claim, and possibly she testified out of fear or derangement.)
, my joy!
Fall each to his duggy†gg1363
breast (the diminutive form of 'dug', the pap or udder of female mammalia; also the teat or nipple; usually in reference to suckling; the use of the animal term is significant here in terms of the play's focus on unnatural sexuality)
As tender as nurse over boy.
Then suck our bloods freely and with it be jolly,
While merrily we sing hey trolly-lolly†gg1182
refrain of a song, expressing careless gaiety or jollity; sometimes expressing contempt
.
We’ll dandle†gg1183
bounce (a child) lightly in one's arms or on one's knee
and clip†gg865
hug, embrace, clasp with the arms
ye,
We’ll stroke ye and leap*n1150
Spring sportively up and down, dandle, but with a secondary hint of fornication; of certain beasts: to spring upon (the female) in copulation. In this case, the females fantasise about leaping men, boys, or demons in a sexual woman-on-top scenario. Having sex with the devil was supposed to be part of the witch’s pact, and in common slang, a leaping house was a brothel.
ye,
And all that we have is your due;
The feats*n1151
Bouts of activity, sexualized by the context of stroking, clipping, and nuzzling at the breast.
you do for us
And those which you store†gs477
furnish, supply, stock (a person, place, etc.) with something (OED v, 1a); but other plausible additional meanings suggest 'provide for the continuance or improvement of (a stock, race, breed) (OED 2a, now obsolete); 'produce as offspring; also, to breed, rear (young animals) (OED 2b, also now obsolete); these meanings reinforce the odd sexuality binding witches and familiars; also 'keep in store for future use' (OED 4)
us
Withal ties us only to you.
Then suck our bloods freely and with it be jolly,
While merrily we sing hey trolly-lolly.
Four spirits [MAMILION, PUCKLING, SUCKLING, and MAWSY] enter.
197Meg.Come, my
Mamilion†gg1180
like Suckling, a small familiar that nurses at the breast (Latin mamilla, breast, nipple) allegedly the name of Margaret Johnson’s familiar (The witch called Meg or Peg represents the real accused witch Margaret Johnson, one of the four who was brought down from Lancaster to have her case reheard in London. In her examination she admits to keeping a familiar, although the other so-called witches did not support her claim, and possibly she testified out of fear or derangement.)
, like a
puggy†gg1176
term of endearment for children; but also an imp or hobgoblin, like Puck (also called Pook, Pug); possibly, a monkey (OED pug n2, 1, 5 and 6), as in The Queen and Concubine
.
198Maud.And come, my
Puckling†gg1178
a term of endearment for a small imp or hobgoblin, like the puck or pook, sometimes spelt pug, a spirit that may take the shape of any animal or even inanimate object, at will (see Jonson's The Devil is an Ass, in which the young devil is called Pug; Jonson's Pug takes two different human shapes, but Heywood and Brome's Puckling seems to appear either as an undefined spirit, or in animal form; see also 'pug' [GLOSS gg770] and 'puggy' [GLOSS 1176] [NOTE n952])
, take thy teat.
Your travels have deserved your
meat†gg376
food of any kind, not necessarily just flesh, fowl, or fish
.
199Meg.Now upon the
churl’s ground*n1153
A farmer's field. A churl was a countryman, but the term was often used contemptuously of a low-bred villain (especially since Jonson's Every Man out of his Humour, first performed 1599, which referred to a grain-hoarder who withheld grain from the market, driving up the price and causing great hardship among the poor); this view of grain-farmers explains the witches' curse of weeds in the field choking out the grain.
On which we’re met, let’s
dance a round*n1154
Like fairies, witches were thought to dance in a circle in order to open up the way to the otherworld, and establish magical power. Dancing backwards (or anti-clockwise, turning to the left) in a circle was thought to unscrew or open up the dark spirit world. In the case of the North Berwick witches, as reported in Newes from Scotland (1592), King James VI asked three of the witches to perform their coven's dance before his court. Jonson used the description to create the back-to-back gyrations and belly-to-belly squirming of the dancing hags in The Masque of Queens (1609).
;
That
cockle, darnell, poppia wild*n1155
These are all wildflowers or weeds that choke a farmer’s crop. Cockle, or corn rose, grew in cornfields, and was also known as darnel, tares, or field poppy, presumably because it was a ‘vitious graine ... which commonly groweth among wheat: if it be eaten in hot bread, it maketh the head giddie’. Florio associates it with ‘discord, strife, contention or sedition sowen among men’ (LEME). Although modern wildflower dictionaries recognise the three weeds as separate plants, it is not clear that early modern herbals did so. Thomas Johnson, in The Herbal or General History of Plants (1633), writes in chapter 55 'Of Corne-Rose or wilde Poppy'. But he refers to red poppy, as distinct from black poppy (opium poppy); and earlier herbalists refer to yellow poppy as wild poppy (LEME). Florio (1598), following Thomas Thomas, Dictionarium Linguae Latinae et Anglicanae (1587), declares that 'cockle or darnell grows among the corn, and thus is known as corn-rose'.
,
May choke his grain and fill the field.
[The witches and their familiar spirits dance.]
200Gill.Now, spirits, fly about the task
That we
projected in our masque*n1156
THe meaning is: just presented as a device in our dance. That is, the magical dance just performed represents the next act of witchcraft. Normally masque refers to revels at court: usually a courtly entertainment that includes singing and dancing, and a magical stage-display that evokes amazement or wonder in the audience. The last dance of the masque projects the next trick in a kind of dumb-show: the further escapades to take place at the Seely house, culminating in the wedding feast. The actors playing the witches here would have to choreograph the actions, based on the events of acts 3 and 4.
.
Spirits exit.
201Meg.Now let us laugh to think upon
The feat which we have so lately done,
In the
distraction†gg1366
madness, confusion caused by dissension and conflict
we have set
In Seely’s house; which shall beget
Wonder and sorrow ’mongst our foes,
Whilst we make laughter of their woes.
202All.Ha, ha ha!*n1157
This is extra-metrical laughter, an ad lib performance choice, rather than counted as part of the verse line's metrical feet. A few lines below, however, the laughter is metrical, but then the next scripted laughter is again extra-metrical.
203Meg.I can but laugh now to foresee,
The fruits of their perplexity.
205Meg.‘Ay†gg1187
ejaculation of regret, sorrow; alas
, ay, ay!’
The father to the son doth cry;*n1590
I, I, I, and printed on one line in Q. But the regularity of the verse demands the half-line to complete Gill's previous line, and then a second line. The spelling of 'I' meaning 'ay' as a groan or howl of grief was common.
The son rebukes the father old;
The daughter at the mother scold;
The wife the husband
check†gg1364
restrain, put in danger of attack in which the opponent is likely to lose (a term from chess)
and
chide†gg1365
give loud and angry expression to dissatisfaction and displeasure; scold (OED 1b)
,
But that’s no wonder, through the wide
World ’tis common.
The wedding must bring on the sport
Betwixt the
hare-brained†gg1186
having or showing no more 'brains' or sense than a hare
man and maid,
Master and dame that over-swayed*n1158
That is, old Seely and his wife, whose authority was overthrown by their servants Lawrence and Parnell.
.
207 All.*n1654
The quarto is not clear about who exactly is on stage, but it is unlikely that Mall Spencer is one. Goody Dickieson is probably the fourth witch, since she is the one who actually is interfering in the hunt, the mischief planned for the day.
Ha, ha, ha!
208Meg.Enough, enough,*n3455
This line appears on the same line as the previous speech in Q.
Our
sides†gg1188
that is, rib-cage, sides of the body
are charmed, or else this stuff
Would laughter-crack them; let’s away
About the
jig†gg1189
(a) light performance or entertainment of a lively or comical character, given at the end, or in an interval, of a play, now obssolete. which perhaps originally mainly consisted of song and dance, but evidently sometimes took on the nature of a farce; (b) sport, joke; trick or cheat
: we dance today
To spoil the hunters’ sport.
209Gill.Ay, that be now the subject of our chat.
210Meg.Then list ye well: the hunters are
This day by vow to kill a hare,
Or else the sport they will forswear,
And hang their dogs up*n1187
Traditionally, dogs were put down by hanging. Cf Nashe, The Unfortunate Traveller (1594): 'Iohn Leyden ... died like a dog, he was hanged and the halter paid for' (2.241).
.
Must the long–threatened hare be found?
212Gill.They’ll search in yonder meadow ground.
213Meg.There will I be, and like a wily
wat†gg1190
hare
,
Until they
put me up*n1159
make me start from my cover (hunting term)
, I’ll squat.
Of greyhounds be*n1162
Gill's assertion of the role she will play with her familiar is either a duplicate of Goody Dickieson's plot (as we see in 2.4), with both witches here tacitly agreeing to transform themselves and their familiars into a pair of greyhounds that will join the hunt; or Goody Dickieson sees this as an opportunity to tease Gill, or maliciously take over Gill's 'sport', and play her own game with the two Boys. This is a performance choice for the actors: whether to play the witches as prickly with one another, or as a cohesive group sharing the same jokes. See the notes on the labelling chit-chat between Gill and Meg that ends the scene: this too might be good-natured or not, depending on the actors' choice.
, fit for the race;
And linger where we may be ta’en
Up for the course in the
by-lane†gg1191
lane lying away from the main road
;
Then will we lead their dogs a course,
And every man and every horse,
Until they break their necks, and say —
215All.‘The devil
on Dun*n1160
On horseback: "Dun" was a common name for a horse, especially if its coat were dull brown (see Tilley D642 and D643).
is rid this way!’
Ha, ha, ha, ha!
216Meg.All the doubt can be but this,
That, if by chance of me they miss,
And start another hare —
But find some way how to be gone.
I shall know thee, Peg, by thy
grizzled gut*n1161
The grey belly (on the hare). Grey was the colour of the elderly Margaret Johnson’s hair.
.
218Meg.And I you, Gillian, by your gaunt thin gut.
But where will Maud bestow herself today?
219Maud.O’th’ steeple top! I’ll sit and see you play.
They exit.
2.2
MASTER GENEROUS, ARTHUR, BANTAM, SHAKESTONE, and WHETSTONE enter.
I only make use of that general word,
So frequent at all feasts, and that but once;
you’re*n1368
this edition; y'are (Q.)
welcome.
You are so, all of you, and I entreat you
Take notice of that special business
Betwixt this gentleman, my friend, and I,
About the mortgage to which, writings drawn,
Your hands†gg1205
signatures
are witness.
222Whetstone.My hand is there too, for a man cannot
set to his mark†gg1204
sign a document (or mark it with an x, for an illiterate) (OED set v1, 113a)
, but it may be called his hand. I am a gentleman
both ways*n1191
Meaning uncertain. Whetstone may refer to both making his mark and signing his name, thus claiming he is not illiterate, and therefore can be considered a gentleman. Possibly he refers to both parents as gentry, although they did not marry and legitimize his birth.
, and it hath been held that it is the part of a gentleman to write a
scurvy†gg1207
contemptible, shabby or sloppy
hand.
223Bantam.You write, sir, like yourself.*n1192
An insult: you write like a contemptible illiterate person. Generous's response on the next line is a gentlemanly rebuke.
You know what I foretold you†gg1209
told you before (not a reference to prophecy)
.
225Arthur.’Tis confessed,*n1369
Not represented as a shared line in Q, but this edition follows the scansion which demands a shared line.
But for that
word†gg1210
speech or utterance (OED 2a, arch.). The reference here is to fulsome giving and receiving of compliments when a simple 'Thank you' from the guest and 'You're welcome' from the host would suffice.
by you so seldom spoke,
By us so freely
on your part*n1195
That is, for you. Arthur stresses the obligation he and his friends feel toward Generous.
performed,
We hold us much engaged.
226GenerousI pray, no compliment*n1370
flattery. Q has 'complement', a common misspelling for 'compliment'; here, the meaning 'accomplishment' or 'completeness' is not pertinent.
.
It is a thing I do not use myself,
Nor do I love’t in others.
227Arthur.For my part,*n1655
Line-break, this edition; not in Q.
Could I at once dissolve myself to words
And after turn them into matter, such
And of that strength as to attract the attention
Of all the curious and most
itching ears†gg1212
craving to hear something new, persons who crave to hear gossip, especially if scandalous (OED itching 2)
Of this our
critic†gg1214
censorious, carping, fault-finding (OED a, 2)
age, it could not make
A theme amounting to your noble worth.
You seem to me to
supererrogate†gg1213
do more than is commanded or required
,
Supplying the defects of all your kindred
To ennoble your own name.
I now have done, sir.*n1196
Arthur's apology for his encomium on Generous, who, throughout the previous lines, may show irritation, attempt to interrupt or silence Arthur, or be embarrassed. This is a performance choice, but Generous's previous speeches have made it clear that he hates flattery and superfluous compliments of any kind.
228Whetstone. [Aside] Heyday†gg800
an exclamation indicating surprise
, this gentleman speaks like a country parson that had took his text out of
Metamorphosis*n1197
Whetstone also complains of the flattery but for him Arthur sounds like a minister basing his boring sermon on verses from Ovid (43 BC - 18 AD), arguably the most popular Roman writer of his time, with a huge afterlife in the works of Chaucer, Shakespeare, Jonson, and others. Whetstone has heard enough about Ovid to mention him, but not to say the title correctly. Ovid was banished from Rome in 8 AD for writing The Art of Love, a poetic treatise on how to seduce women. This story of Ovid's banishment is retold in Jonson's The Poetaster (1603). The Metamorphoses is a kind of epic that explains the nature of the universe through constant changes and transformations of one thing into another; for example, Daphne's escape from Apollo (her would-be rapist) by being transformed into a tree. For further overview on Ovid's work, see Brown, Larry A. Ovid’s Metamorphoses. http://larryavisbrown.homestead.com/files/xeno.ovid1.htm (14/05/2007).
.
And I could chide you for’t, but whilst you connive
At†gg1216
shut one's eyes to a thing or person held in contempt; pretend to take no notice of
this my kinsman, I shall wink at you;
’Twill prove an equal match*n1198
That is, Arthur will shut his eyes to Whetstone's insufficiencies, and Generous will shut his eyes to Arthur's exaggerations.
.
230Arthur.*n1371
] Gener., a printer's error giving Generous three speeches in a row. This speaker is clearly Arthur responding to his benefactor.
Your name proclaims
To be such as it speaks you: Generous.*n1372
Plausibly, the word 'Generous' is repeated here from the speech heading that follows. It is not needed for meaning. Then Generous's response on the next line would complete the scansion of the pentameter line as a shared line, instead of an extra-metrical reply. See note on next line.
231Generous.Still in that strain?*n1199
Essentially an extrametrical line. It scans only 2 metrical feet, but Generous's verse line is not completed by Arthur's reply. The extra metrical moments may be filled by business; whether Generous turns away for a moment to recover himself, as if irritated or embarrassed; or the other gentlemen murmur kind things ad lib to take the edge off of Generous's refusal to hear nice things said about him to his face. Arthur's reply, given a little delay, is mollifying. He may look suitably repentant.
232Arthur.Sir, sir, whilst you persever to be good
I must continue grateful.
233Generous.Gentlemen, *n1373
This word completes the scansion of the verse-line begun by the previous speaker. Not presented as a shared line in Q, thus giving the next line too many syllables.
The greatest part of this day you see is spent
In reading
deeds, conveyances, and bonds*n1200
These are all terms for legal papers pertaining to a mortgage on property.
,
With
sealing and subscribing*n1201
Terms denoting the notarizing and signing of documents.
. Will you now
Take part of a bad supper*n1202
A scanty or ill-prepared meal. Generous is again being too modest, but the effect is to speed his guests on their way.
?
And
where such bait, they do not use to inn*n1203
Arthur makes a polite, if teasing, refusal: where such poor refreshment, such as a slight repast for travellers upon a journey (OED bait 4), is offered as an incitement (OED bait 2),
guests don’t usually stay or lodge there (OED inn v 2: lodge).
.
Our love and service to you.*n1204
This conventional statement is a preliminary farewell, perhaps offered with handshakes or bows from all the gentlemen. Arthur speaks for all three friends.
The last I entertain not.*n1205
That is, Generous accepts Arthur’s love, but rejects the service or debt. The comment is kindly but odd, in that they have just spent the afternoon signing legal papers that ensure the debt to Generous will be repaid. But 'service' implies Generous's prerogative and superior status.
Farewell, gentlemen.
236Arthur.We’ll try if we can find in our way home,
When hares come from their coverts to
relieve†gg1217
feed, used specifically of hares, but now obsolete (OED 2e) (It may also mean the men 'rally' in their second attempt at that day's hunting.)
,
A course or too.
237Whetstone.Say you so, gentlemen? Nay then, I am for your company still! ’Tis said hares are like hermophrodites,
one while male and another female*n1206
At some times male and at other times female. Technically, this is not the meaning of hermaphrodite, which denotes the co-existence of male and female sexual characteristics, not the alternating of sexual characteristics. However, Whetstone’s description of rabbit mutation is correct. Whetstone's delivery of such facts may offer opportunities to the actor to make this character more complex: he is not merely a fool, or merely a bastard who resents his illegitimate social position. His twitting of the gentlemen actually rests on information they may lack, despite their education.
, and that which
begets†gg1218
inseminates
this year
brings†gg1219
gives birth to
young ones the next; which some think to be the reason that witches take their shapes so oft. Nay, if I lie,
Pliny*n1207
Pliny the Elder (23-79 AD) was the author of Natural History, which contains often dubious but entertaining science.
lies too. But come, now I have
light†gg1357
met with, especially unexpectedly or by accident (OED v1, 10d)
upon you, I cannot so
lightly†gs184
Whetstone is punning on light, used earlier in this same line (LLW 1.1.speech237)
†gg1358
easily, readily (OED adv, 4)
leave you. Farewell, uncle.
238Generous.Cousin†gg1220
generally used in speaking to or of kin, whether nephew or actual cousin, or any other relationship by blood or marriage outside the immediate nuclear family
, I wish you would consort yourself
With such men ever, and make them your
precedent†gg1221
model to be followed
For a more
gentle carriage†gg1222
demeanour or behaviour appropriate to the gentry, or to gentlemen
.
239Arthur.Good Master Generous ——
They exit. Generous remains on stage.*n1591
Latin stage direction indicating that Generous remains on stage.
ROBERT enters.
241Robert.*n1690
] appears at the end of the previous line in Q
Sir.*n1690
] appears at the end of the previous line in Q
243Robert.My mistress, sir? I do call her mistress, as I do call you master, but if you would have me call my mistress to my master, I may call loud enough before she can hear me.
244Generous.Why, she’s not deaf, I hope! I am sure since dinner
She had her hearing perfect.
245Robert.And so she may have at supper too, for
aught†gg1226
anything whatever
I know, but I can assure you she is not now within my call.
246Generous.Sirrah, you trifle. Give me the key o’th’ stable.
I will go see my
gelding†gg1227
castrated stallion
; i’th’ meantime
Go seek her out. Say she shall find me there.
247Robert.To tell you true, sir, I shall neither find my mistress here, nor you your gelding there.
249Robert.Whilst you were busy about your
writings*n1222
That is, business paperwork, including the mortgage for Arthur.
, she came and commanded me to saddle your beast, and said she would ride abroad to take the air.
250Generous.Which of your fellows did she take along to
wait†gs155
tend (upon someone); accompany as a servant
on her?
252Generous.None! Hath she
used it*n1223
been in the habit of doing this or behaving like this
often?
253Robert.Oftener, I am sure, than she goes to church, and
leave out Wednesdays and Fridays*n1592
That is, if she goes to church once a week on Sundays, she goes out alone on the horse at least 5 times oftener.
.
254Generous.*n1691
] appears at the end of the previous speaker's line in Q
And still alone?*n1691
] appears at the end of the previous speaker's line in Q
255Robert.If you call that alone when nobody rides in her company.
256Generous.But what times hath she
sorted†gg1228
chosen as fitting or suitable (OED 14a, citing this usage for 1634)
for these journeys?
257Robert.Commonly when you are abroad, aud sometimes when you are full of business at home.
When she takes horse, and at her
back-return*n1224
when she comes back
?
259Robert.Only
conjures me*n1225
1. conspires with me; makes me swear as her confederate (OED 1); 2. entreats me (OED 4); 3. sarcasm: invokes or effects my promise by supernatural means. Here the 'supernatural means' is money, but witchcraft becomes the issue later.
that I shall keep it from you, then
claps me in the fist with some small piece of silver*n1226
Slaps a silver coin into my hand (tone is derisive: see OED 5a).
, and then a fish cannot be more silent than I.
Of an unquestioned
carriage†gs186
morally upright behaviour
, well reputed
Amongst her neighbors,
reckoned†gg1230
estimated, valued
with
the best*n1227
Generous is thinking in social terms: the gentry, county society, people of status in the community.
.
And
o’er me most indulgent*n1228
That is: in her relations with me, disposed to gratify me by compliance with my desire or humour, or to overlook my faults or failings. The implication is that Generous thinks of his wife as the superior person who is, as he says, 'over me' within the marriage, since to have the power to indulge another is expected in the stronger partner. Her compliance or indulgence of his wishes is a favour she confers, not simply obedience given to her husband as a duty to a superior (see early modern marriage vows to 'love, honour, and obey').
; though in many
Such things might breed a doubt and jealousy,
Yet I
hatch†gg1367
bring forth from the egg, or more generally breed, to complete the idea of the previous line; figuratively, bring to maturity or full development, esp. by a covert or clandestine process; to contrive, devise, originate and develop (OED v1, 1, 4, and 6a).
no such frenzy. Yet to prevent
The smallest
jar†gg1231
discord, want of harmony, disagreement; a divergence or conflict of opinions (OED 5)
that might betwixt us happen,
Give her no notice that I know thus much.
Besides, I charge thee, when she craves
him*n1231
That is, the gelding. Mrs Generous’s desire to control her husband’s horse and even her preference for the gelded animal imply witchcraft in frustrating or destroying male authority.
next
He be denied: if she be vexed or moved,
Do not thou fear. I’ll interpose myself
Betwixt thee and her anger. As you tender
Your duty and
my service*n1229
That is, your employment with me; working for me.
, see this done.
261Robert.Now you have expressed your mind, I know what I have to do; first, not to tell her what I have told you, and next to keep her
side-saddle†gg1368
saddle that allows a woman to sit with both feet on one side (usually the left) of a horse (In use since ancient times, as witnessed by illustrations on Greek vases and Celtic stones; but becoming more common in the middle ages, and still used by some modern female riders. Sitting aside rather than astride was considered more modest.)
from coming upon your gelding’s back; but, howsoever, it is
like to hinder me of many a round tester*n1230
Likely to prevent me from gaining many extra tips. A tester or teston was silver coin created by Henry VIII, and refers especially to debased and depreciated money; thus, a colloquial or slang term for a sixpence.
.
That tester from me: ’t shall be roundly paid.
263Robert.You say well in that, sir. I dare take your word. You are an honest gentleman and my master; and now take mine as I am your true servant. Before she shall back your gelding again in your absence, while I have the charge of his keeping, she shall ride me, or I’ll ride her.
My
cellar†gg1232
wine-cellar
is drunk dry; I mean those bottles
Of sack and
claret†gg1233
red wines generally
are all empty grown
And I have guests tomorrow, my
choice†gs156
worthy
friends.
Take the gray
nag†gg1234
small horse or pony
i’th’ stable, and those bottles
Fill at Lancaster,
There where you use to fetch it.
265Robert. [Aside] Good news for me. --
[Aloud] I shall, sir.
We drunk last term in London at the
Mitre*n1232
Fleet Street tavern at Mitre Court near Ram Alley, close to the Inns of Court. The name was common, but this Mitre tavern may have been the location for 5.3 of Jonson's Every Man out of his Humour and is mentioned several times in the play as a place for good food and wine. Another Mitre Tavern was located on Bread Street near Cheapside (Chalfont 128-130).
In Fleet Street. Thou rememb’rest it? Methought
It was the very spirit of the grape,
Mere
quintessence†gg1235
the ‘fifth essence’ of ancient and medieval philosophy, latent in all things, the extraction of which, by distillation, was the object of alchemy (the term was used to describe alcoholic tinctures in early modern chemistry)
of wine.
267Robert.Yes, sir, I so remember it, that most certain it is I never shal forget it; my mouth waters ever since when I but think on’t. Whilst you were at supper above, the drawer had me down into the cellar below. I know the way in again if I see’t, but at that time,
to find the way out again, I had the help of more eyes than mine owne!*n1233
That is, Robert was too drunk to see the way by himself.
Is the taste of that
ipsitate†gg1236
very same, implying a specific extraordinary thing; bastard Latin (?)
still in your palate, sir?
268Generous.What then? But vain are wishes. Take those bottles
And see them filled where I command you, sir.
269Robert.I shall. --
[Aside, with glee] Never could I have met with such a fair opportunity: for just in the midway lies my sweetheart, as lovely a lass as any is in Lancashire, and kisses as sweetly. I’ll see her going or coming! I’ll have one
smooch†gg1369
kiss; incorrectly defined as a US colloquialism, but actually dating back to early modern England (see John Florio, A World of Words (1598) under Inbeccare, to embill or feed birds, to bill, to smouch (LEME); OED cites usage for smouch as far back as 1583; in a modern text, smooch is the more familiar term now)
at thy lips, and
be with thee to bring*n1234
Meaning uncertain, but the context suggests some mutually satisfying consequence, probably sexual, bringing the couple together for a pleasurable purpose.
, Mall Spencer!
270Generous.Go, hasten your return.ROBERT exits.*n1374
This edition moves the note down to the actual point of exit. In Q, the exit is attached to the end of Robin's last line above.
What he hath told me
Touching my wife is somewhat strange. No matter.
Be’t as it will, it shall not trouble me.
She hath not lain so long so near my side
That now I should be jealous.
A SOLDIER enters.
271Soldier.You seem, sir, a gentleman of quality, and no doubt but in your youth have been acquainted with affairs military. In your very looks there appears bounty, and in your person humanity. Please you to vouchsafe the
tender†gs158
offer, especially an offer of money (OED n2, 1b)
of some small courtesy to help to bear a soldier into his
country†gg1237
countryside, including the idea of home town or county area, not necessarily a foreign nation
.
For begging ’gainst the statute in that name*n1236
The English statutes against begging, 1576, 1597, and 1610, all criminalized begging and vagrancy. The Poor Law Act, consolidated by Elizabeth in 1601, based on earlier statutes, and remaining in force until 1834, asserted the responsibility of the parish to care for its own indigents: the aged or infirm poor were supported by local taxation, and children were apprenticed, but so-called 'sturdy vagabonds' (like this soldier) caught begging would be punished by whipping or being placed in the stocks for 3 days and nights before being returned to their birthplace and put to labour. The scheme was supervised by the Privy Council and administered locally by justices of the peace.
,
Yet I have ever been of that compassion,
Where I see
want†gg1238
(n) need, poverty
, rather to pity it
Than to use power. Where hast thou served?
273Soldier.With the Russian against the Polack*n1237
A very current reference to the Russo-Polish war of 1632-1634: on March 1, in the Battle at Smolensk, King Ladislaus IV of Poland defeated the Russian army. This soldier is evidently a mercenary who worked for the Russians, and was probably released from being a prisoner of war because he was English.
,
a heavy war*n1266
This particular engagement was part of the Thirty Years’ War, 1618-1648, which raged through most of Europe, with complicated alliances not simply governed by supporters of the Protestant Reformation on the one side and Catholic supporters of the Counter-Reformation on the other. Between 1625-1630, the English formed a league with the Dutch, the Danes, and the French against the Hapsburgs, but the league was defeated.
, and hath brought me to this hard fate. I was took prisoner by the Pole, and after some few weeks of
durance†gg1239
imprisonment
, got both my freedom and
pass†gg1241
document giving permission to leave, enter, or travel somewhere; equivalent to 'passport'
. I have it about me to show; please you to vouchsafe the
perusal†gg1240
act of reading through or over something, whether thorough or cursory reading
.
274Generous.It shall not need. What countryman?*n1235
What part of the country are you from?
*n1375
Although Q indicates Generous continues to speak in verse, it is not verse that scans in pentameter lines. It seems more likely that, once Generous recognises the Soldier as an honest man, he speaks more sympathetically and gets off his high horse of verse that was marking the class distance.
275Soldier.Yorkshire*n1267
This soldier has taken a meandering route home, since Lancashire is west of Yorkshire, and one would think that from Poland he would have reached Yorkshire first, before ending up in Lancashire.
, sir. Many a sharp battle by land, and many a sharp storm at sea, many a long mile, and many a short meal, I have travelled and suffered ere I could reach thus far. I beseech you, sir, take my poor and wretched case into your worship’s noble consideration.
276Generous.Perhaps thou lov’st this wandering life, to be an idle loitering beggar than to eat of thine own labour.*n1376
Set as verse in Q, but the verse does not scan in a balanced way. As indicated in the earlier note, Generous demonstrates his generosity by speaking in prose with a man he recognises as honest.
277Soldier.I, sir! Loitering I defy, sir. I hate laziness as I do leprosy: it is the next way to breed the
scurvy†gs159
(n.) a disease characterized by general debility of the body, extreme tenderness of the gums, foul breath, subcutaneous eruptions and pains in the limbs, induced by exposure and by a too liberal diet of salted foods, and now recognized as caused by insufficient vitamin C in the diet
. Put me to
hedge†gg1242
construct a boundary with hedge or fence; or maintain a hedge by trimming or tying branches
, ditch, plough,
thresh†gg1255
separate grains of wheat or corn from the husks or straw
, dig,
delve†gg1243
dig with a spade, especially preparing for crops (in northern dialects, more specific than ‘dig’); in conjunction with ‘hedge’, used of maintaining hedges and ditches along country roads (Barber)
, anything! Your worship shall find that
I love nothing less than loitering*n1268
I like to work; I don’t like wasting time hanging about doing nothing.
.
The MILLER enters, his hands and face scratched and bloody.
279Miller.Your mill,
quoth he!†gg1256
the phrase 'said he?', used with contemptuous or sarcastic force in repeating a word or phrase used by another; hence meaning indeed! forsooth!
If ever you
take†gs164
find (someone in a specific place)
me in your mill again,
I’ll give you leave to cast my flesh to the dogs*n1271
I'll allow you to feed the dogs with my flesh. The implication is that if the miller is found in the mill again, he’ll be dead, and if so, the owner can use the meat on his bones for dogfood, since, if he is fool enough to return, he must be less than human and won’t deserve decent burial.
, and
grind my bones to powder betwixt the millstones*n1269
Instead of the more appropriate 'bones', the quarto repeats ‘flesh’, but this seems to be a printer’s error. Cf tale of Jack the Giant-Killer, who hears the giant’s threat, ‘Be he alive or be he dead, I’ll grind his bones to make my bread’.
The Miller unwittingly responds to the witches' tactic of turning men into tractable boys by slipping back into children's fairy-tales for his oath.
. ‘Cats’ do you call them? For their hugeness they might be
cat-a-mountains†gg1258
wildcats
, and for their claws, I think I have it here
in red and white*n1272
That is, in blood and scratched skin, as opposed to the black and white of a legal document.
to show. I pray look here, sir. A
murrain†gg1259
plague-like disease afflicting domestic animals
take them, I’ll be sworn they have
scratched where I am sure it itched not!*n1274
Proverbial: Tilley M49 and M205.
280Generous.How cam’st thou in this pickle?*n1273
How did you get into this disagreeable condition, plight, or predicament? The question is common: the same wording occurs in The Tempest, 5.1.284.
281Miller.You see, sir, and what you see, I have felt, and am come to give you to understand I’ll not endure such another night if you would give me your mill for nothing.
They say we millers are thieves*n1275
Proverbial: Tilley M955. This prejudice also explains why the witches do not see scratching a miller as a criminal or harmful act; for the locals who have been cheated by millers, it is simply pay-back time.
, but I could as soon be hanged as steal one
piece of a nap*n1593
A short sleep, snooze (OED n, 3); punning on woolly material removed from the surface of cloth by shearing, especially considered as the stuffing of pillows or mattresses. (OED n, 2). The miller plays on the reputation of millers for theft, a crime for which he'd rather be hanged than endure any further sleepless nights in the mill.
all the night long. Good landlord, provide yourself of a new tenant; the noise of such
caterwauling*n1276
The cry of cats at rutting time; their rutting or heat; going after the opposite sex; lecherous motions or pursuits. By transference, any hideous, discordant howling noise. The sexual implications of the word describing the attack on the miller are repeated in subsequent scenes of the witches' molestation of boys and men generally.
and such scratching and clawing, before I would endure again, I’ll be tied to the
sail†gg1260
one of the arms of a windmill
when the wind blows sharpest and
they*n1277
That is, the sails or arms of the windmill.
fly swiftest, till I be torn into as many
fitters†gg1261
tatters
as I have toes and fingers.
282Soldier.I was a miller myself before I was a soldier. What, one of my own trade should be so
poorly spirited†gg1262
cowardly
, frighted with cats?
Sir, trust me with the mill that he forsakes.*n1278
At this point, the soldier rises to verse lines, emphasising his dignity as a man to be reckoned with. He wants to separate himself from the whining miller, and to impress Generous with his merit as fearless and undaunted by the challenges presented by the mill. Generous follows suit by responding in verse, including shared lines.
Here is a blade that hangs upon this belt
That, spite of all these rats, cats, weasles, witches
Or dogs, or devils, shall so conjure them,
I’ll quiet my possession*n1279
That is, establish peaceful possession of a property (legal usage), but also punning on his soldierly control instead of the apparent demonic possession.
.
I like thy resolution. [To the MILLER] Fellow, you then
Have given the mill quite over?*n1280
Have given up the mill entirely?
284Miller.Over and over! Here I utterly renounce it, nor would I stay in it longer, if you would give me your whole estate. Nay, if I say it, you may take my word, landlord.
285Soldier. [To GENEROUS] I pray, sir, dare you trust your mill with me?
For many months, scarce anyone hath lain there
But have been strangely frighted in his sleep,
Or from his warm bed drawn into the floor,
Or clawed and scratched, as thou see’st this poor man,
So much that it stood long untenanted
Till he
late†gg162
recent
undertook it. Now thine eyes
Witness how he hath
sped†gg1263
fared; managed
.
287Soldier.Give me the keys.
I’ll stand it all danger.*n1281
I'll cope with any perils.
288Generous.’Tis a match.*n1282
It's a deal.
[To the MILLER] Deliver them.
289Miller. [Handing the keys to the SOLDIER] Marry, with all my heart, and I am glad, I am so rid of ’em.
They exit.
2.3
A BOY with a
switch enters.†gg1317
thin flexible shoot cut from a tree, used as a whip
290Boy.Now I have gathered
bullies†gg1265
wild plums from the bullace tree (the local term appears in Edmund Robinson Jr.’s testimony in 1633)
, and filled my belly pretty well, I’ll go see some sport. There are gentlemen coursing in the meadow hard by; and ’tis a game that I love better than going to school, ten to one.
An invisible spirit (
J. Adson*n1284
Probably John Adson (1587-1640) flute and cornet player, who joined the theatre in 1633 and might well have been conscripted to play this mute role (Barber, citing Bentley 2.343). As Egan points out (135), Adson was also a composer, and his 'new airs' are mentioned in 4.1 of Cavendish's The Country Captain, another King's Men play.
) enters with a
brace†gg1269
pair, two
of greyhounds.
What have we here? A brace of greyhounds broke loose from their masters: it must needs be so, for they have both their collars and
slips†gg1271
leashes for dogs, so contrived that the animals can readily be released; especially ones used for a couple of greyhounds in coursing, by which they can be let go simultaneously (OED n3, 3a)
about their necks. Now I look better upon them, methinks I should know them, and so I do: these are
Master Robinson’s dogs*n1285
In naming Master Robinson, the playwrights draw in one of the few specific references to witnesses involved in the 1633 Lancaster trial of the witches. Robinson, father of Edmund Robinson, the boy whose false testimony convicted several witches in the 1633 trials, subsequently profitted from his son's lies by travelling to other parishes and offering witch-finder services after getting Edmund to retell his story of finding the greyhounds and being abducted by a witch. The details of that abduction are related in 2.5 and later in 4.1 in the experience
of Robin at the witches' feast.
, that dwells some two miles off. I’ll take them up and lead them home to their master;
it may be something in my way*n1286
That is, there may be a tip or reward for the boy.
, for he is
as liberal a gentleman as any is*n1287
The comment is more ironic for subsequent audiences than for 1634 audiences, who did not yet know that the Robinsons would be exposed as liars by the London judges. The boy equates Master Robinson with Generous in calling him a 'liberal' or generous 'gentleman'. Robinson was a farmer, but not a member of the local gentry. His witch-finding activities between the Lancashire trial and the London hearing were mercenary and distinctly ungenerous to the women involved in the Lancaster trial and others accused by him in other parishes. His status equates rather with Master Doughty, who also becomes a witch-finder by mid-play.
in our country.
[To one greyhound] Come, Hector, come.
Now if I could but start a hare by the way, kill her, and carry her home to my supper*n1288
The boy demonstrates here that he is a practical child; his interest in hunting is partly for the sport, but mostly for the result: pleasure in the prospect of meat and praise at home for bring back a hare for dinner.
, I should think I had made a better afternoon’s work of it than gathering of bullies. Come, poor curs, along with me.
He exits.
2.4
ARTHUR, BANTAM, SHAKESTONE, and WHETSTONE enter.
291Arthur.My dog as yours.*n1290
My dog against yours. Arthur is betting that his dog will be the first to locate game. As in the opening scene of the play, Arthur behaves like a 'gentleman' in that, although he is now more in debt than before because he now owes money to Generous as well as to the man who holds his mortgage, he is still willing to gamble with money he does not really have.
293Arthur. A piece†gs166
coin (possibly a Charles I sovereign worth 20 shillings)
.
295Bantam.I say the
pied†gg1283
multicoloured, usually with patches of colour
dog shall outstrip the brown.
296Whetstone.And I’ll take the brown dog’s part against the pied.
297Bantam. [Sarcastically] Yes, when he’s
at his lap†gg1284
eating; licking up liquid dog food
, you’ll take his part.
298Arthur. [Aside to BANTAM] Bantam, forbear†gs167
put up with, tolerate (Obs.)
him, prithee.
299Bantam. [Aside to ARTHUR] He talks so like an ass,
I have not patience to endure his nonsense.
300Whetstone. [Defiantly raising the stakes] The brown dog for two pieces.
302Whetstone.Of what*n1377
Whetstone's lines, beginning with this completion of the previous two speakers' verse-line, can be scanned, with some relineation. The printer apparently tried to lineate as verse, and perhaps the playwrights wanted to show that Whetstone, try as he might, is simply unworthy of verse. Nevertheless, with very little effort, his lines scan respectably, even if his effort to join the gentlemanly class does not work out so well. The gentlemen in the dialogue following Whetstone's speech refuse to speak in verse.
You dare. Name them, from the last farthings
With the double rings*n1291
Farthings were, before the 17th century, small silver coins worth a quarter of a penny; later they were made of copper, brass, or lead, or merchants issued tokens worth a farthing; hence, in the transferred sense, worth little or nothing at all (OED 1a, 2; Egan). See note on 'eight double-ringed tokens' in Act 1 Scene 2.
to the late coined
Pieces which they say are all
counterfeit*n1292
Falsification of weight and counterfeiting of gold coinage led to a proclamation on 5 May 1634 aimed at halting these abuses (Barber). But Whetstone's challenge to Bantam is that the amount of the bet can be anything Bantam cares to name, from a worthless farthing to a worthless counterfeit coin of higher apparent value. The implication is that Bantam would only lay bets in coin so devalued that it wouldn't cost him anything if he lost.
.
303Bantam.Well sir,
I take you*n1334
I accept your wager.
.
[Showing coins] Will you
cover these*n1300
Match the money shown.
, give them into the hands of either of these two gentlemen?
304Whetstone.What needs that? Do you think my word and my money is not
all one†gg1306
both the same thing
?
305Bantam.And weigh alike: both many grains*n1307
That is, Bantam is mean-minded to accuse Whetstone of illegitimacy.
too light.*n1301
In other words, Bantam calls Whetstone a liar who makes bets without having the money to cover them.
306Shakestone. [Aside to BANTAM] Enough of that.
[To WHETSTONE] I presume, Master Whetstone, you are not ignorant what belong to the sport of hunting?
307Whetstone.I think I have reason, for I have been at the death of more hares —
308Bantam. [Interrupting] More then you
shed*n1302
Bantam is punning on 'hare' and 'hair'. Deliberate insult: loss of hair was a sign of venereal disease.
the last fall of the leaf.
309Whetstone.More than any man here, I am sure. I should be loath at these years to be ignorant of
haring or whoring*n1303
The pun shifts to the sexual. Whetstone defends his manliness against Bantam's jeering.
. I knew a hare, close hunted, climb a tree —
310Bantam. [Jeering] To find out
birds’ nests*n1304
A slang reference to female pudenda (Partridge). Reginald Scot tells a funny story of a witch who stole the townsmen's 'privy members' and put them in a nest up a tree, challenging any man missing a penis (or claiming that the witch caused him to be impotent) to climb up and retrieve it.
.
311Whetstone.Another leap into a river, nothing appearing above water, save only the tip of her nose to take breath.
312Shakestone.Nay, that’s very likely, for no man can fish with an
angle†gs172
fishing rod
but his Line must be made of
hair*n1305
This is continuing the pun on 'hare'. Whetstone, to judge from his answer, does not get the joke.
.
313Whetstone.You say right. I knew another who, to escape the dogs, hath
taken†gg1308
made use of, appropriated; also legally entered into possession of (OED 15a and b)
a house and
leaped in at a window*n1306
The upper half of a Dutch door or hatch-way was the sign of the brothel, and associated with the London ‘red-light’ district of Pict Hatch. A bastard child was associated with window-leaping, the sign of illicit sex. Leaping itself was an exercise associated with sexual games or virility. But Whetstone is speaking literally of a hare; Bantam's reply interprets the colloquialism.
.
314Bantam.It is thought you came into the world that way.
317Whetstone.Bastard!
Oh, base!*n1307
That is, Bantam is mean-minded to accuse Whetstone of illegitimacy.
319Arthur. [Aside to BANTAM] Needs must I now condemn your indiscretion.
To set your wit against his?
320Whetstone.Bastard? That shall be
tried†gg1333
proved or tested by examination
. Well, gentlemen, concerning hare-hunting,
you might have
heard*n1824
Barber; hard Q.
more, if he had had
the grace to have said less. But, for the word ‘bastard’, if I do not tell my uncle, ay, and my aunt too,
either when I would speak aught, or
go off the score*n1308
Pay off a debt. The 'score' or tally was usually kept on a chalkboard in taverns, or otherwise indicated by marks or notches. In this case, the score Whetstone wants to pay off is metaphorical.
for anything, let me never be trusted!
They are older than I, and what know I but they might be by when I was begot. But if thou, Bantam, dost not hear of this
with both thine ears —
if thou hast them still, and not lost them by scribbling*n1309
Clipping or cutting off ears was a 'warning' punishment for certain offences; William Prynne had his ears clipped, one on 7 May 1634 and the other on 10 May 1634, for writing offensive puritan tracts against the government and the Church of England.
— instead of Whetstone, call me
Grindstone*n1335
Whetstone may be thinking here of the ancient proverb 'The mills of the gods grind slowly, but they grind exceedingly small', with the implication that, no matter how long it takes, Whetstone will be even with Bantam for the insult.
, and for By-blow,
Bulfinch*n1336
This choice of new name is a mystery: the bird is a common songbird, easily trained as a pet, but with no apparent folk meaning. At least it is a legitimate breed, not a by-blow. Egan suggests that Whetstone will 'sing' or complain to his aunt and uncle. See the character of Bullfinch in The Northern Lass and corresponding note.
. Gentlemen, for two of you, your company is fair and honest; but for you, Bantam,
remember and take notice also, that I am a ‘bastard’*n3387
Whetstone echoes Dogberry's frequent request in Shakespeare's Much Ado About Nothing, 4.2, that all the witnesses remember that he is an ass, and must be recorded as such.
, and so much
I’ll testify to my aunt and uncle.
He exits.
321Arthur. [To BANTAM] What have you done? ’Twill grieve the good old gentleman to hear him
baffled†gg1334
unworthily handled, injuriously used , abused (LEME)
thus.
322Bantam.I was in a cold sweat ready to faint the time he stayed amongst us.*n1692
] set as verse in Q
323Shakestone.But come, now the hare is found and started,
she shall have law*n1337
That is, the hare will be subject to the rules of the hunt, be tried in the chase, and executed, if the hunters succeed. The gentlemen assume the hare is female, and thus in gender terms it becomes the assertion of patriarchal order over female bodies, something the witches are out to subvert in their 'sports' with neighbourhood males.
. So, to our sport!*n1378
Although Q sets these lines as verse, they do not scan as iambic pentameter. This edition offers them as prose.
They exit.
2.5
Enter BOY with the greyhounds.
324BoyA hare, a hare!
Halloo†gg1315
exclamation to incite dogs to the chase
, halloo! The devil take these curs!
Will they not stir? Halloo, hallo! There, there, there! What, are they grown so
lither†gg1316
slothful, sluggish
and so lazy? Are Master Robinson’s
dogs
turned tykes*n1312
That is, transformed into mongrels without hunting skills (that is, no longer greyhounds). The phrasing echoes 'turned Turk', the Christian fear of (enforced) conversion to Islam when travelling in Muslim countries; or possibly enforced and unnatural sexual activity, especially buggery. This was one joking fear affecting travel wagers on Puntarvolo's greyhound in Jonson's Every Man Out of his Humour. Cf Revels edition 4.3.16 and note.
,
with a wanion†gg1122
with a plague, with a vengeance
? The hare is yet in sight. Halloo, halloo!
Marry, hang you for a couple of mongrels (if you were worth hanging), and have you served me thus? Nay then,
I’ll serve you with the like sauce: you shall to the next bush, there will I tie you, and
use†gs178
treat, with implication of treat harshly
you like a couple of curs as you are, and though
not lash you, yet lash you*n1313
Not leash you, but whip you.
whilst my
switch†gg1317
thin flexible shoot cut from a tree, used as a whip
will hold. Nay, since you have left your speed, I’ll see if I can put spirit into you, and put you in remembrance
what ‘halloo, halloo’ means.
As he beats them, there appears before him GOODY DICKIESON and BOY 2,
upon the dogs’ going in*n1314
Problematic stage direction. The actors who worked on this scene for the Brome editors suggested that there might be a stage bush over the trapdoor in the stage, through which the dogs might 'disappear' while the yipping sound of beaten dogs could be picked up by the actors who appear through the trap as Goody Dickieson and Boy 2. This effect would be more 'magical' than having actors play the dogs from the start, a less likely option on the early modern stage, where dogs (presumably pets of company members) were not infrequently used as supernumeraries. On the other hand, an actor does play a dog in Rowley, Dekker, and Ford's The Witch of Edmonton.
.
325Goody Dickieson.Sirrah, you have served me well to
swinge†gs173
whip, flog, thrash (OED v1, 1)
me thus.
You young rogue, you have used me like a dog.
326Boy.When you had put yourself into a dog’s skin, I pray how could I help it? But, Gammer, are not you a witch? If you be, I beg upon my knees you will not hurt me.
[He kneels.]
Be silent, speak of nothing thou hast seen,
And here’s a
shilling*n1317
This is rather a large sum for an elderly village woman. On the other hand, the request, from an adult to a child, for secrecy and willingness to pay for it creates a certain audience discomfort, as it raises the spectre of child abuse, perhaps already signalled by Boy 2.
for thee.
328Boy. [Standing up and backing away] I’ll have none of your money, Gammer, because you are a witch.
[Aside] And now she is out of her four-legged shape, I’ll see if
with my two legs I can outrun hern1318
The workshop here focused on what is another problematic stage action: the actors' solution was to have the boy run as fast as he could but be unable to move more than a short distance before Dickieson pulled him back on an invisible thread. The following clips record two attempts to realise this sequence in performance.
.
[He runs as fast as he can but cannot move very far.]
329Dickieson.Nay,
sirrah†gs174
address to a young boy or servant
, though you be young, and I old, you are not so nimble nor I so lame but I can overtake you.
[She reels him in on an invisible line.]
330Boy.But Gammer, what do you mean to do with me, now you have me?*n1379
Q sets these lines as verse, but this edition sets as prose: more likely, since Goody Dickieson does not share the boy's incomplete line.
331Goody Dickieson.To hug thee, stroke thee, and embrace thee thus,
[She fondles the Boy.]*n1320
This action isn't strictly speaking necessary, provided that the witch uses her voice to caress and croon to the boy. The actors tried this moment without any touching, or very little touching, and the boy's cringing and disgusted reaction was enough to make the 'unnatural' point of the old woman's sexual designs on him. See film clip.
And teach thee twenty thousand pretty things,
So thou tell no tales; and, boy, this night
Thou must along with me to a
brave†gg343
splendid
feast.
332Boy.Not I, Gammer, indeed–la, I dare not stay out late. My father is a
fell†gg323
dreadful, terrible; cruel, savage
man, and if I be out long, will both chide and beat me.
333Goody Dickieson.‘Not’, sirrah? Then
perforce†gg1323
forcibly, violently; by force or threat of force
thou shalt along.
This bridle [The bridle appears suddenly.] helps me still at need,
And shall provide us of a steed.
Now, sirrah, take your shape and be
Prepared to hurry him and me.*n1338
In these four lines, the witch reverts to 'witch-speak', verse-lines of four feet instead of five, and rhyming couplets instead of blank verse. The lines here have the effect of a magic charm, making it impossible for the boy to escape.
BOY 2 exits.n1319
The exit of Boy 2 and the appearance of the horse are simultaneous. The actors in the workshop chose to have Boy 2 turn into a horse on stage by gradually taking on horse-like characteristics: pawing the ground, shaking the head, snorting, whinnying, and chewing the bit. The effect was extraordinary
Now look and tell me where’s the lad become?
334Boy.The boy is vanished, and I can see nothing in his stead
but a white horse ready saddled and bridled.*n1380
In Q, the obvious prose lines are set as verse; in this edition, they are set as prose.
On which both thou and I must ride,
The earth we tread not, but the wind,
For we must progress through the air,
And I will bring thee to such fare
As thou ne’er saw’st. Up and away,
For now no longer we can stay!
She catches him up and, turning round, exits [with Boy and horse].
336Boy. [Crying as he is carried off] Help, help!
2.6
Enter ROBERT and MALL.
337RobertThanks my sweet Mall for thy courteous entertainment,
thy cream, thy cheesecakes, and every good thingn1339
Mall's job is dairy-maid, thus giving her access to such delicacies, but in feeding Robin's appetites, they are also euphemisms for sexual pleasures. A workshop with the actors explored this play with meanings.
: this, this, and this for all.
Kisse[s her three times.]
338Mall.But why in such haste, good Robin?
339RobertI confess my stay with thee is sweet to me, but I must spur
Cut*n1340
Interesting choice of name for Robin's horse: generally, Cut was a common name for a curtailed horse; that is, one who had its tail docked. Specifically, it might refer to (a) an animal that has been castrated (OED v, 26); (b) horse whose gait, when running, strikes or bruises the inside of the fetlock with the shoe or hoof of the opposite foot, often without noticing or reacting to pain -- possibly an explanation for Robin's insensitivity to Mall's witchcraft (OED v, 27); (c) (one's) lot, fate, fortune; fate or fortune as a ruler of events (OED 2).
the faster for’t, to be at home in the morning. I have yet to Lancaster to ride tonight, and this my
bandoleer†gg1324
broad belt, worn over the shoulder and across the breast, with loops by which bottles or implements might be suspended (Obs.)
of bottles to fill tonight, and then
half a score mile*n1322
That is, 10 miles. The singular was often used in early modern English, especially when reckoning amounts (weights, sums, distances).
to ride by
curry-comb time†gg1325
the time at which horses are groomed for the day with an iron comb
i’the morning, or
the old man*n1323
That is, Generous. Robin here suggests he is much younger than his master, but their shared memories of drinking in London indicate they are probably much of an age.
chides, Mall.
340Mall.He shall not chide thee. Fear it not.
341Robert.Pray
Bacchus†gg1335
god of wine
, I may please him with his wine, which will be the hardest thing to do; for since he was last at London and tasted the divinity of the Mitre, scarce any liquor in Lancashire will go down with him. Sure, sure,
he will never be a Puritan, he holds so well with the Mitre*n1324
Puritans were fundamentalist Christians, dissenting from the standard Anglican or Church of England dogma. Aside from being the name of the tavern, a mitre is the tall deeply-cleft headdress worn by a bishop (occasionally an abbot) as a symbol of episcopal office; also, in the Roman Catholic church by cardinals and popes. The northern counties of England were thought to be Catholic strongholds in early modern England.
!
342Mall.Well, Robert, I find your love by your haste from me. I’ll undertake you shall be at Lancaster, and twice as far, and yet at home time enough, an be ruled by me.n11373
Mall is toying with Robin to ensure her power is stronger than Robin's employer's power over him,, as she makes him swear to be ruled by her authority.
343Robert.Thou art a witty rogue, and thinkst to make me believe anything, because I saw thee make thy broom sweep the house without hands tother day.
344Mall.You shall see more than that presently, because you shall believe me. You know the house is all abed here, and I dare not be missed in the morning. Besides, I must be at the wedding of Lawrence and Parnell tomorrow.
345Robert.Ay, your old sweetheart, Lawrence? Old love will not be forgotten.
346Mall.I care not for the loss of him, but
if I fit him not*n1341
If I don't serve my turn on him (OED v1, 4) or settle my account with him (OED v1, 9)
, hang me! But to the point: if I go with you tonight, and help you to as good wine as your master desires, and you keep your time with him, you will give me a
pint†gg1337
pint (approx. half a litre) of ale or beer
for my company.
347Robert.Thy belly full*n1325
Quite as much (of anything) as you want or care to take. OED adds 'Now rather coarse', but the context here clearly has a coarse sexual code embedded in it.
, wench.
348Mall.I’ll but take up my milk-pail and leave it in the field till our coming back in the morning, and we’ll away.
350Mall.No, Robert, rather than leave your company so long, it shall come to me.
The pail goes.n1326
This stage effect is easily enough created with thin string or wire and a pail; it requires one person at either side of the stage, each holding one end of the wires attached to the pail, and thus able to pull it back and forth without risk of the pail's falling over. Having the pail back up if Robin attempts to come too close to see how it works creates a good comic effect by endowing the pail with magical intelligence.
352Mall.Look yonder. What do you think on’t?
353Robert.’Light†gg1326
mild abbreviated oath, 'by God's light'
, it comes! And I do think there is so much of the devil in’t as will
turn all the milk*n1342
make all the milk turn sour
shall come in’t these seven years, and
make it burn too, till it stink worse than than the proverb of the bishop’s foot*n1343
A common proverb: 'The bishop's foot has been in it', based on the belief that bishops spoil whatever they meddle in. (see Notes and Queries, Fifth Series V, 49 and 333-4). It also appears in the Yale edition of Milton's Animadversions at the end of the tract in 'To the Postscript' (Complete Prose Works, 1:733). A Scottish and north-country proverb, in use since at least 1523, links the bishop's foot directly to milk that is burnt in the boiling. The smell of burnt milk is particularly foul.
.
354Mall.Look you, sir, here I have it. Will you get up and away?
357Robert.There stands a black long-sided
jade†gs179
sometimes used without depreciatory sense, playfully, or in generalized sense, horse
; mine was a
trussed†gg1336
compactly framed or formed (Obs.)
gray.
358Mall.Yours was too short to carry double such a journey. Get up, I say. You shall have your own again i’th’ morning.
360Mall.Nay,
an*n1381
] and. In early modern English, 'an' meant 'if', but was frequently spelled 'and'.
you stand butting now, I’ll leave you to
look†gs180
look for (colloquial)
your horse. Pail, on
afore†gg1338
in advance (dialect)
to the field, and stay till I come.
[The pail exits.]
361Robert.Come away then. Hey for Lancaster!
Stand up†gg1339
mount (the horse)
!
They exit.
Edited by Helen Ostovich