ACT THREE*
n2858
At the beginning of Act Three, our attention shifts to the exiled Eulalia and away from the court to Palermo, a region which had been her jointure when she married the King. The pastoral setting (which does not feature in Brome’s main narrative source, Penelope’s Web; Barmenissa there takes up residence in 'a little cottage adjoining to the suburbs of the city' [sig. D3v]) recalls that of The Winter’s Tale, but Brome also demonstrates his independence from Shakespeare’s narrative. Unlike Hermione in The Winter’s Tale, who disappears - supposedly dead - from the play between 3.3 and 5.3, Eulalia will not drop out of the action. Instead, she becomes the focus of the narrative and of the second and last of the play’s dumb shows. The dumb show, which recapitulates some of the action of the first two acts, is introduced by the Genius, a guardian angel figure who grants Eulalia powers of prophesy, healing and teaching. These powers enable her to escape the murderous conspirators sent by Alinda, and to make her own living first by healing the people of Palermo and then by teaching their daughters. It is not until Fabio and Strozzo have been dispatched with the aid of the country people that our attention returns to the court, where an increasingly volatile Alinda turns the King against his son and heir. Location and dramaturgy are closely associated in Act 3, which moves from the broad swathe of the pastoral 3.1, in which the onstage action ebbs and flows around Eulalia as various characters enter and exit (an example of Brome’s bravura handling of large-cast action), to the more claustrophobic setting of the court in 3.2 and 3.3.
n2858
Enter EULALIA.
n2603
A workshop reading of the whole of this sequence helps to demonstrate its rhythms and the way in which it centres the audience’s attention on Eulalia. After Eulalia’s initial speech, the stage is gradually filled as the Genius enters and introduces the dumbshow; it then empties and Eulalia speaks in soliloquy again before the entrance of Lodovico and Andrea. The sequence thus provides two moments of intense focus on Eulalia’s own words and her reactions to events, plus a stylised sequence which embodies the power of the Genius (part of which is to be donated to her) while still focusing on the sleeping queen (it is, after all, her dream vision that we see). In the workshop clip, this effect is intensified by the way in which Joseph Thompson as the Genius hovers over Eulalia (played by Kate Spiro) and, in particular, the way in which he intervenes to protect her from her future attackers. For comments on individual sections of the sequence see notes below.
n2603
helps to demonstrate its rhythms and the way in which it centres the audience’s attention on Eulalia. After Eulalia’s initial speech, the stage is gradually filled as the Genius enters and introduces the dumbshow; it then empties and Eulalia speaks in soliloquy again before the entrance of Lodovico and Andrea. The sequence thus provides two moments of intense focus on Eulalia’s own words and her reactions to events, plus a stylised sequence which embodies the power of the Genius (part of which is to be donated to her) while still focusing on the sleeping queen (it is, after all, her dream vision that we see). In the workshop clip, this effect is intensified by the way in which Joseph Thompson as the Genius hovers over Eulalia (played by Kate Spiro) and, in particular, the way in which he intervenes to protect her from her future attackers. For comments on individual sections of the sequence see notes below.
437EulaliaTurned out of all,n2604
We have not seen the former queen since Act 2, Scene 1, the scene in which she was deposed and sent into exile. Through this speech she regains some of the agency that has been stripped from her (Brome uses a similar technique to establish Alinda’s unscrupulous ambition at the opening of Act 1, Scene 5, in speech 196).
The speech is modelled on one made by Barmenissa in Greene’s Penelope’s Web, but the situation and the content differ somewhat. Barmenissa’s speech is made as she returns and looks on the court from a distance, rather than at the point when she leaves the court for the first time. In Penelope’s Web the speech runs as follows:
In this workshop version of the speech, actor Kate Spiro captures both Eulalia’s stoicism and her steely determination; her self-proclaimed ‘meek obedience’ is not a sign of weakness - as her enemies assume - but a source of strength and conviction.
and cast into the world,
n2604
Unhappy Barmenissa, why are the Destinies so inequal allotters of mishap as to appoint thy youth, which to others is a pleasant spring of good fortune, to thee a frosty winter of mishap? Art the stars so inequal in their constellation, or so uncertain in their influence, that majesty hath no privilege against misery, nor the title of a queen no assurance of good hap? Is the seat of dignity like the chariot of Phoebus, whose wheels challenge not one minute of rest? Then (Barmenissa) say with Solon, Cressus is not happy before his death. Confess with Amazias, King of Egypt, that the prosperous success of Policrates prognosticated some dire event. That Fortune standeth on the weathercock of Time, constant in nothing but in inconstancy. That no man is happy before his end, and that true felicity consisteth in a contended life and a quiet death. For I see well, that to assign happiness to him which lives (considering the alteration that Time and Fortune presents with sundry stratagems) is to allot the reward of victory before the battle be fought. The greatest misery of all, sayeth Byas, is not to hear misery, and that man is most happy (quoth Dionysius) that from his youth hath learned to be unhappy. Demetrius, surnamed the Besieger, judged none more unhappy than he which never tasted of adversity: for that Fortune accounts of them as abjects and vassals of dishonour, whom she presents not as well with bitter pills as sweet potions. Alluding to that saying of Plutarch, that nothing is evil that is necessary, understanding by the word, necessary, whatsoever cometh to a wise man by fatal destiny, because using patience in necessity he giveth a greater glory unto virtue. Sith then (Barmenissa) the fall from a crown ought to be no foil to content, grieve not at Fortune, least thy sorrow make her triumph the greater: but bear adversity with an honourable mind, that the world may judge thou art as well a princess in poverty as in prosperity: for kings are not called gods for that they wear crowns, but that they are lords over Fame and Fortune (sigs. D1v-D2r).Brome does not elaborate on the vagaries of Fortune (the main theme of Barmenissa’s speech); he instead gives to Eulalia a firm faith in the power of divine Providence and a strongly worded attack on the luxuries and indulgences of courtly life.
In this workshop version of the speech
, actor Kate Spiro captures both Eulalia’s stoicism and her steely determination; her self-proclaimed ‘meek obedience’ is not a sign of weakness - as her enemies assume - but a source of strength and conviction. And that forbidden too to pity me?
No succour,†gg1597
help
no relief†gs292
aid, help or assistance for the poor or needy or those in danger; in early modern England often refers specifically to financial assistance given to the poor from parish funds (OED n2, 3a)
to be afforded?†gg2148
granted, given
gg1597
gs292
gg2148
Heaven still is where it was, and cannot lose
The providence†gg2149
foresight, preparation for the future (OED n, 2); divine care or guidance (OED n, 3)
it ever had; let those
gg2149
And be with me converted to a faith†gg2151
confidence, trust (OED n, 1a); (religious) belief (OED n, 3); assurance, promise (OED n, 8); fidelity, loyalty (OED n, 10)
gg2151
That will proclaim†gs581
publicly declare (OED v. 1); show or prove (OED v. 4.a); Eulalia possibly also refers ironically to the proclamation against her
us happy. What’s my loss?
gs581
What was the state and glory of a court
But steps and lights through dangerous ambition
To ends†gg2153
aims, purposes
beyond ourselves,*n2605
aims/purposes that we do not understand
in whose achievements
gg2153
n2605
We make ourselves but nothing to ourselves.
And all that we are then is to the world
Which renders†gg2154
grants, delivers
us great†gg2155
important, powerful, eminent
titles,*n2606
i.e. our only identity is created by the world which gives us noble status
which ta’en†gg2156
taken
off,
gg2154
gg2155
n2606
gg2156
We then return unto ourselves again,
And all the world is ours.*n2607
i.e. all of the things that are important in the world are ours
I was not great
n2607
Till now, nor could I confidently say
Anything was mine own till I had nothing.
And all their happiness is but a dream,
When mine is real. Nay, nay, I can prove it.
Their costly fare†gs293
food (OED n1, 8); Eulalia possibly also means condition (OED n1, 7)
breeds riot,†gg2158
debauchery, extravagance (OED n, 1a); violence, disorder (OED n, 4a)
mine content;
gs293
gg2158
Their rich attire†gg2159
clothing
is but mere pageantry†gg2160
display, pomp (OED n, 2); show without substance (OED n, 3); OED’s earliest citations are from 1651 and 1662
gg2159
gg2160
Made to please their eyes, mine keeps me warm
And healthful, when a cold becomes their sickness.*n2608
i.e. when a cold turns into a more serious illness (because their clothes are too thin); possibly also when a cold is a result of - or is an appropriate reflection of - their lack of moral health
n2608
They boast of honour and gentility
For their attendants, then, when the chief honour
Of the best women, meek obedience,*n2611
Obedience to male authority was often claimed to be a cardinal virtue in women, and it was thought to have considerable biblical authority. For instance, in Of Domestical Duties (London, 1622), William Gouge draws on Genesis 3.6 and Ephesians 5.22 to write, ‘The first law that ever was given to woman since her fall, laid upon her this duty of obedience to her husband, in these words, Thy desire shall be to thine husband, and he shall rule over thee. How can an husband rule over a wife, if she obey not him? The principal part of that submission which in this text, and in many other places is required of a wife, consisteth in obedience’ (286; Gouge’s italics). Gouge also criticises ‘an ambitious and proud humour in women, who must needs rule, or else they think themselves slaves’, writing, ‘But let them think as they list: assuredly herein they thwart God’s ordinance, pervert the order of nature, deface the image of Christ, overthrow the ground of all duty, hinder the good of the family, become an ill pattern to children and servants, lay themselves open to Satan, and incur many other mischiefs which cannot but follow upon the violating of this main duty of obedience, which if it be not performed, how can other duties be expected?’ (286-7; Gouge’s italics). Brome thus follows conventional social and religious dicta in associating obedience with meekness (in Eulalia) and disobedience with pride and ambition (in Alinda).
n2611
Is my own handmaid,†gg2161
attendant, (female) servant
and my patience,*n2612
Eulalia’s comment underlines her similarity to the proverbially Patient Griselda (another wife mistreated by her husband).
gg2161
n2612
A sweeter servant than gentility,
Continually my other. *n2610
Eulalia personifies abstract qualities such as honour, gentility, obedience and patience, contrasting the pretensions of the court with the virtues that she values most.
n2610
They have the helps of worldly-wise†gg2162
knowledgeable about only earthly or mundane matters
men’s brains,
gg2162
They have tall, big-boned servants for defence,
I the strongest guard of all, mine innocence.
Birds chirp.*n2613
In Greene’s Penelope’s Web, Barmenissa hears ‘the pretty birds recording their sweet and pleasant note’ (sig. D2r). The sound effect could have been produced by various means. In Inventions or Devices Very Necessary for all Generals and Captains, or Leaders of Men (London, ?1590), William Bourne suggests ‘letting the sound or wind of [...] pipes to pass through or into water, for that will make a quavering as birds do’ (99), while John Bate includes in the enlarged edition of his book The Mysteries of Nature and Art (London, 1635) a section ‘Of Voices, Calls, Cries, and Sounds’ (82-8) in which he describes how various birds’ calls can be made with a variety of pipes and whistles. Of course, such sounds might also have been made by actors offstage; Bate describes ‘An Irishman I have seen (which I much wonder at) imitate with his mouth the whistling of a Blackbird, a Nightingale and Lark, yea almost of any small bird, as exquisitely almost as the very birds themselves; and all is by the cunning holding the artificial blade of an onion in his mouth’ (86). For further discussion of these sound effects, see Philip Butterworth, Magic on the Early English Stage (Cambridge University Press, 2005), 104-5; 110-11.
n2613
What music had the court compared to this,
Or what comparison can all their sports†gg2164
entertainments, amusements, recreations, diversions (OED sport n1, 1a)
gg2164
And revels†gs294
festivities, riotous merry-making; lively entertainment (often involving dancing, acting, masquing, etc.)
hold with those of kids and fawns,
gs294
And frisking lambs*n2614
Although these references to 'frisking lambs' and suchlike may seem sentimental to modern ears, pastoral was an important political genre in the early modern period. The use of pastoral and the contrast that Eulalia draws between country and court (characteristic of the genre) have important implications for the remainder of the play. For further discussion of the use of pastoral in a 1630s context see the Introduction.
upon the country lawns,
n2614
Which are my hourly pleasant entertainments
In all my wanderings. In which I have not
Hungered at any time, but I have found
Meat which I duly earned,*n2615
Brome stresses that Eulalia has not been begging.
nor ever thirsted,
n2615
But I have found a spring that has refreshed me,
And am no sooner weary than I find
A shelter or a shade to rest me in;
As now, in which a slumber*n2616
In Penelope’s Web Barmenissa tells Olynda, ‘although I want an imperial crown, and other crowns also: this lack I find frees me from care, that I sleep more in the cottage than ever I slumbered in the court’ (sig. D4r).
’gins†gg2165
begins
to creep
n2616
gg2165
Over mine eyes, more soft than any sleep
On down, beneath the canopy of state.†gg2166
covering or hangings suspended over a throne or a royal bed
Falls asleep.
gg2166
Enter GENIUS.
438[Genius]*n2618
] the octavo includes no speech prefix here
Sleep in thy sainted†gg2167
holy, blessed
innocence*n2619
Like supernatural characters in other plays, including Brome’s own Late Lancashire Witches, the Genius speaks in regular tetrameter couplets. One of his closest analogues is the urbane River God in Fletcher’s The Faithful Shepherdess, first performed around 1607-8 but revived by the King’s Men and performed at court on 6 January 1634 (Bawcutt, ed., Control and Censorship, 186). Like the River God, the Genius appears without warning in order to protect a key female character; while the River God appears with the wounded heroine Amoret in his arms, and heals her, the Genius provides Eulalia with the means to protect herself physically and economically. Visually, the Genius may have had much in common with the Genius Urbis, played by Edward Alleyn, who appeared in the Fenchurch Pageant which formed part of the entertainment for the ceremonial entry of James I into London in 1604. Genius Urbis is represented in one of the illustrations in Stephen Harrison, Arches of Triumph (London, 1604), as a bearded figure wearing a laurel wreath.
n2618
gg2167
n2619
Whilst angels watch in thy defence;
Sleep whilst I charm these bubbling streams
With music to make sweet thy dreams,
The passages†gg2169
progresses, transitions from one state to another (OED passage n, 3a); episodes, events (OED passage n, 14)
of thy estate.†gg314
(n) condition of existence (OED n, 1a); status, position in the world (OED n, 3a); ‘condition with respect to worldly prosperity, fortune’ (OED n, 2a)
gg2169
gg314
Dumb show.n2620
Like the first dumb show, the second makes significant use of physical gesture; unlike the first, it also accompanies the physical action with narration: the action described in the stage direction is intended to be overlaid with the first part of the Genius’s speech, as the comment in the stage direction (‘All this as the GENIUS speaks’) indicates. The meaning of the sequence is therefore derived from the juxtaposition of the Genius’s words and the legible gestures employed by the actors in the dumb show. The dumb show also differs from its predecessor in that it is not a presentation of events as they happen. Instead, it recaps action from the previous acts, some of which took place on stage (e.g. the interaction between the Jailor and Sforza), the remainder taking place off-stage (e.g. the second hire of the perjurers, Alinda urging the King to have Sforza murdered, and Petruccio being given that task).
This clip from the workshop shows a run-through of the whole dumb show and demonstrates that the action can be co-ordinated in a relatively simple fashion, with fluid action that focuses the audience’s attention on the sleeping Eulalia. The Genius’s short lines suggest a certain formality and an incantatory quality to his speech, something which the juxtaposition of word and gesture heightens. The dream-like quality of the dumb show is heightened by the fact that the actual events of the play do not follow precisely the pattern established here.
As with other dumb shows, a major problem is how to arrange the characters on stage and present physical gestures clearly enough that the audience can interpret them correctly. For instance, if the Genius kneels beside the sleeping Eulalia when the dumb show starts, as he does in this version, he can mediate it for the audience without interfering with their sightlines. In an earlier read-through the Genius was placed to the side of the stage, but from this position he blocks the view of some of the audience and takes attention away from Eulalia.
The stage direction in the octavo text is relatively precise, and the dialogue gives further hints about the action. See the notes on individual parts of the stage direction for commentary on their correspondence with sections of the Genius’s voiceover. It would, of course, be possible to employ a much more exaggerated gestural style and a more elaborate use of costume, or, in the modern theatre, to use multi-media techniques such as video links or screens. For further comments on the use of dumb shows in general, see [NOTE n911].
Enter ALINDA, FLAVELLO, [FABIO and STROZZO],*n2621
] two Lieutenants
DOCTOR, MIDWIFE.
[FABIO and STROZZO], DOCTOR, [and] MIDWIFE [exit].*n3973
] Exeunt Lieutenants, Doctor, Midwife
n2622
This direction is accompanied by the first ten lines of the Genius’s voiceover. The ‘villains’ might underscore their loyalty to Alinda and Flavello through some physical gesture. See this version of the dumbshow from the workshop,, in which they salute Alinda, lowering their hands to take the money that she offers.
I was initially unsure about whether Alinda and Flavello could remain on stage throughout the dumbshow, but as the clip demonstrates, their presence - and, in particular, Alinda’s role in paying the would-be assassins and directing them towards the sleeping Eulalia - can underline their stage-manager-like involvement in all of the plots against the former queen.
Enter SFORZA at the other end raging, and the [KEEPER],*n2623
] Jailor
with mute action.n2624
This direction is accompanied by lines 10 to 19 of the Genius’ voiceover. Most of the dumb-show consists of events that have not been dramatised on stage, but this direction recalls the action of 2.4, in which Sforza tried to persuade the Jailor to tell him why he is imprisoned, and the Jailor responded only with gestures, or ‘mute action’ (the stage directions in that scene specify ‘shakes his head’ and ‘shrugs, etc.’ [QC 2.4.speech354]). The gestures used here would therefore recall those employed in the earlier sequence. In the workshop we experimented with having Sforza and the Jailor move across the stage, rather than have them enter, perform and exit, in order to increase the fluidity of the sequence. See this workshop version, in which they cross the stage from right to left; in the run-through of the whole sequence they enter and exit from the same doorway.
[SFORZA and KEEPER exit.]*n2625
The octavo gives Sforza and the Jailor no exit line, but if they remain it leads to a number of static characters on the stage and (more importantly) makes the exit of Petruccio (supposedly in order to pursue the scheme to kill Sforza) seem illogical. I have therefore added an exit direction for them.
Enter KING, PETRUCCIO;
ALINDA whispers the KING, he gives a warrant and signet to PETRUCCIO.*n2626
This direction accompanies the line ‘Who strictly for his head doth send’. In order to give enough time for Petruccio to receive the warrant and signet and exit, it is necessary for the actor playing the Genius to pause before they continue the speech. This is the warrant and signet that Petruccio was carrying when he entered at the start of 2.5; we did not see him being given them by the King, so this section of the dumbshow clarifies past events for the audience as well as for Eulalia.
Exit PETRUCCIO.
KING kisses ALINDA;n2627
The King’s kiss confirms his sexual infatuation with Alinda and his willingness to be swayed by her whims. We have seen him kiss her twice before (once on the King’s ceremonial return from war [QC 1.1.speech29], and later in the same scene, when the kiss provokes Alinda’s father, Sforza, to ‘storm’ [QC 1.1.speech 78]). This is the first time that we have seen them kiss since they have been married; I suspect, therefore, that this kiss is probably on the mouth, whatever the nature of the earlier kisses. In this workshop version, the kiss is merely on the cheek, but it nonetheless reinforces an audience's impression that the King’s actions are being unduly influenced by Alinda.
graces FLAVELLO.n2628
To ‘grace’ in this context might be either ‘To show favour or be gracious to’ (OED v. 2) or ‘To confer honour or dignity upon; to honour with a title or dignity’ (OED v. 5.a; OED’s italics). The latter would probably have been easier to signal in a physical gesture; it must be something relatively easy for the audience to ‘read’, as the Genius does not comment on it in his narration. The King might knight Flavello, or present him with a patent or lands (i.e. a scroll or another kind of document); if a production was to set the play in twentieth-century Sicily, the King could potentially hug Flavello or kiss him on each cheek, in the way that Mafiosi in the cinema stereotypically salute their lieutenants. In the workshop on this sequence the actor playing the King merely gestures towards Flavello, a gesture which Flavello acknowledges with his bow.
[They all exit.]*n3990
] Exeunt.
All this as the GENIUS speaks.
n2620
This clip from the workshop
shows a run-through of the whole dumb show and demonstrates that the action can be co-ordinated in a relatively simple fashion, with fluid action that focuses the audience’s attention on the sleeping Eulalia. The Genius’s short lines suggest a certain formality and an incantatory quality to his speech, something which the juxtaposition of word and gesture heightens. The dream-like quality of the dumb show is heightened by the fact that the actual events of the play do not follow precisely the pattern established here.As with other dumb shows, a major problem is how to arrange the characters on stage and present physical gestures clearly enough that the audience can interpret them correctly. For instance, if the Genius kneels beside the sleeping Eulalia when the dumb show starts, as he does in this version
, he can mediate it for the audience without interfering with their sightlines. In an earlier read-through the Genius was placed to the side of the stage, but from this position he blocks the view of some of the audience and takes attention away from Eulalia.The stage direction in the octavo text is relatively precise, and the dialogue gives further hints about the action. See the notes on individual parts of the stage direction for commentary on their correspondence with sections of the Genius’s voiceover. It would, of course, be possible to employ a much more exaggerated gestural style and a more elaborate use of costume, or, in the modern theatre, to use multi-media techniques such as video links or screens. For further comments on the use of dumb shows in general, see [NOTE n911].
n2621
n3973
n2622
, in which they salute Alinda, lowering their hands to take the money that she offers.
I was initially unsure about whether Alinda and Flavello could remain on stage throughout the dumbshow, but as the clip demonstrates, their presence - and, in particular, Alinda’s role in paying the would-be assassins and directing them towards the sleeping Eulalia - can underline their stage-manager-like involvement in all of the plots against the former queen.n2623
n2624
, in which they cross the stage from right to left; in the run-through of the whole sequence they enter and exit from the same doorway.n2625
n2626
n2627
, the kiss is merely on the cheek, but it nonetheless reinforces an audience's impression that the King’s actions are being unduly influenced by Alinda.n2628
the actor playing the King merely gestures towards Flavello, a gesture which Flavello acknowledges with his bow.n3990
Note, first thy foes in court conspire
Against thy life, and villains hire
To act thy tragedy.
That suggested thine offence
Are hired the second time*n2629
The Genius reminds the audience, who have seen Fabio, Strozzo, the Doctor and the Midwife in the dumbshow at the start of Act 2, Scene 1, that these are the same people who betrayed Eulalia. Having committed one kind of treachery against her, they are about to commit another, still more serious, kind.
to be
n2629
They have their fee, and now are sent
Towards thee with a vile intent.
Ill thrive their purposes!n2631
i.e. may their plans go awry. In the workshop on this scene we experimented with having the Genius make a physical intervention at this point. It is visually and dramatically effective, emphasising the Genius’ immediate desire to protect Eulalia and also foreshadowing his future protection, through the gifts that he will give her.
Now note
n2631
. It is visually and dramatically effective, emphasising the Genius’ immediate desire to protect Eulalia and also foreshadowing his future protection, through the gifts that he will give her. The wrongs that are ’gainst Sforza wrought,
Who lives from speech of all men still,
Pent†gg2171
closely confined; imprisoned
by the King’s abusèd†gs295
deceived, misguided (with the implication that the King has been deliberately misled and that his ‘will’ has thus been misused or violated)
will,
gg2171
gs295
Not knowing of the treachery
That was conspired ’gainst him and thee.
Nothing of all that’s past knows he
More than he must a prisoner be,
But the bad Queen instructs the King
How his vexation he may end,
What from these black intents shall grow,
Is not as yet for thee to know.*n2632
] thee know. The regularity of the Genius’ couplets suggests that a syllable is missing from the octavo text at this point; this emendation is also carried out in Pearson’s text, and by the later annotator of a copy of the octavo, Newberry Library Case Y 135.B779
n2632
Now, holy soul, I must thee set
A course†gg29
way of proceeding, action; also trick, way of gaining money illicitly
that must thy living get.
gg29
Thou must not beg, nor take for need
More than thy merit’s proper†gg794
exclusive, special, private (OED a, 2a); appropriate
meed.†gg2175
reward, wages (OED n, 1a)
gg794
gg2175
First, therefore, I thy brain inspire
With a divine prophetic fire;*n2633
The Genius alludes to the biblical source of prophetic power in the inspiration of the holy spirit. The gift of prophetic power to a woman may have had particular resonance for a 1630s audience. Female prophets such as Lady Eleanor Davies, Anne Fenwick and Jane Hawkins were active during the 1620s and 30s; in particular, Davies’ activities were well-known and widely discussed. Eulalia’s gift of prophecy is used in the play as a means of protecting her safety and revealing plots against herself and others; it is not the ecstatic or religio-political prophecy of Davies, Fenwick or Hawkins. However, both the power itself and, in particular, the language used by the Genius may have reminded audience members of these real-life prophets. Questions surrounding female prophesy were even more pressing when the play was published in 1658; Phyllis Mack has traced as many as 300 female prophets active in the years of the Civil War and Commonwealth (Visionary Women: Ecstatic Prophecy in Seventeenth Century England [Berkeley: University of California Press, 1992], 24).
n2633
The ends†gs296
‘latter or concluding part[s] (of a period, action, etc.)’ (OED end n, 7b); resolutions (OED end n, 11); completions (OED end n, 12); results, issues (OED end n, 13a)
of many things to come.
gs296
Into thy breast I next infuse
The skill of med’cine how to use:
Learn’d Æsculapius*n2634
Latin form of the name of the Greek god of healing, Asclepius, son of the god Apollo (who was also noted for healing) and Coronis, daughter of Phlegyas; he learned the art of healing from his tutor, the centaur Chiron (Oxford Companion to Classical Literature, ed. Howatson, s.v. Æsculapius, Asclepius).
never knew
n2634
The use of simples†gg2177
plants or herbs employed for medical purposes; remedies (OED simple n, 6)
more than you.
gg2177
Many diseased by grief and pain
Of thee shall health and strength obtain.
Next, handiworks†gg2178
work with the hands, practical work
*n2635
In Greene’s Penelope’s Web, Barmenissa tells the Souldan, ‘by parentage I am daughter to the great Chan of Tartaria, where my want was wealth, and my labour pleasure and delight: yet he knowing that principality is no privilege against Fortune, and that the highest estate is no warrant against mishap, learned me to use the needle and the wheel, that both I might eschew idleness in my youth, and (if the Destinies had so decreed) the better brook poverty in my age’ (sig. D4r). In contrast, Brome mystifies the source of Eulalia’s ability to work with her hands.
and literature;†gg2179
book-learning, letters: in this context, the ability to read; 'literature' does not take on its modern meaning until the eighteenth century
gg2178
n2635
gg2179
With education good and pure
Thou shalt be able to bestow
Upon the country’s youth, and show
Their wealths by neighbourhood and love.
Now when thou from this trance dost wake,
See that thou present†gg884
urgent, pressing, immediate
practice†gg588
habit or exercise; carrying out of a profession (OED n, 1)
make
gg884
gg588
Of these thy gifts, and fear not then
The practices of fiends or men.Exit GENIUS.
439EulaliaWhat soft? What sweet? What heavenly trance was this?
I feel myself inspired with holy flame*n2636
Eulalia echoes the Genius' use of the language of divine inspiration.
n2636
Above the heat of mortals. Sure, I have
The spirit of prophecy, the gift of healing,*n2637
A number of people claiming to heal through God-given powers are known to have operated in seventeenth-century England, and the King himself claimed to heal scrofula - known as the King’s Evil - by touch alone. See Keith Thomas, Religion and the Decline of Magic: Studies in Popular Beliefs in Sixteenth and Seventeenth Century England (London: Penguin, 1991), 227-242.
n2637
And art of teaching hidden mysteries.†gg2180
religious truths (OED mystery n1, 2a); skills, techniques (OED mystery n1, 10)
gg2180
Thanks, heaven, that first didst send me patience
To sweeten my afflictions, and now
Plentiful means to live for others’ good.
Who live but for themselves are but for show,*n2638
That is: exist only for appearances’ sake; have no substance.
n2638
And stand like barren trees where good might grow.
Enter to her LODOVICO and ANDREA [in disguise].
440LodovicoFarewell, thou foolish pomp and pride of court,
Whose shine is but an ignis fatuus†gg2181
will-o’-the-wisp: ‘a phosphorescent light seen hovering or flitting over marshy ground, and supposed to be due to the spontaneous combustion of an inflammable gas (phosphuretted hydrogen) derived from decaying organic matter’ (OED). The light of the ignis fatuus appears to recede, vanish and appear in another location, leading to a belief that it was a spirit trying to lead travellers astray; the phrase was therefore applied figuratively (as here) to any deluded belief or practice
gg2181
And tracts†gg3176
paths, routes (OED tract n3, 8); (figuratively) manners of proceeding (OED tract n3, 9)
of real comforts. Thus I shake
gg3176
The ways of truth†gg2183
loyalty, fidelity, steadfast allegiance (OED n, 1a); honesty, virtue, integrity (OED n, 4); true religious belief (OED n, 10a)
and innocence.†gg2184
freedom from sin, moral purity (OED 1); guilelessness, artlessness, simplicity (OED 3)
This air
gg2183
gg2184
Breaths health upon me, peace, and perfect pleasure,
Where the swollen†gg2185
puffed up; inflated (with pride) (OED a, 2)
court’s sophisticated†gg2186
adulterated (OED a, 1); ‘altered from, deprived of, primitive simplicity or naturalness’ (OED a, 2a; citing The Queen and Concubine as figurative usage)
breath
gg2185
gg2186
441EulaliaIt is good Lodovico – though disguised,
I can no less than know him – and the poor fool
That was my servant. They come to relieve me
In these disguises, that I might not know
From whom I received comfort.
442LodovicoTo this way
And see, already, how her wants and woes
443Andrea
And look you, new master, yonder’s my old mistress; what fools were we*n2641
Andrea again makes a playful reference to his own profession.
that could not find her sooner! Alas! I can see through her: there is not so thin a queen in the cards.*n2642
That is, in a pack of playing-cards.
*n2640
This passage appears in verse in the octavo.
n2641
n2642
n2640
444LodovicoHold thee,*n2643
Lodovico here addresses Eulalia with the familiar ‘thou’, something which he only does elsewhere in asides; the use of ‘thou’ seems to be part of his pretence that he thinks Eulalia is a pauper, since he switches back to ‘you’ as soon as Eulalia makes it clear that she knows his identity.
good woman, pray thee take it quickly.[Offers EULALIA food]
n2643
I came now from a feast where we had plenty
I pray thee eat it; do not look, but eat it.
445EulaliaWhat traitor art thou, that presents me poison?
446LodovicoBy all the truth and honesty in man,
’Tis wholesome†gg2190
healthy, free from corruption
food: see, I will be thy taster,[Tastes the food]
gg2190
Of the least morsel; sure thou hast need of ’t.
Good woman eat, and let not famine be
Fearful of poison or false treachery.
447EulaliaIs it not poison to a loyal heart
To eat contrary to the King’s command?
448Andrea
No, if it were, what a many would have been poisoned the last Lent, that may live to be very good subjects, very good subjects all the year after, except a few fish-days?
449Lodovico’Las, we are plain†gs298
free from duplicity (OED a1, 12); simple, ordinary (OED a1, 15)
poor country folk, and hear no such news.
gs298
450EulaliaWhy will ye urge so much against your conscience?
Proclaiming all men traitors that relieve me?
451LodovicoWe heard indeed the King had put away
As sure as I know you for Lodovico,
And you, sir, for Andrea. Can it be
That you that have been loyal subjects should
453AndreaPray leave this fooling, mistress: eat your meat. And here’s good drink to wash it down, and then, if you have a mind*n2646
intend
to hang us, let the gallows take his due.†gg2195
(n) that which is due or owed, or that someone has a right to (OED n, 2a); fee, payment (OED n, 4a)
For my own part, I had rather hang like a man while I am good for something, than you should pine away to nothing.*n2645
This speech is printed as verse in the octavo.
n2646
gg2195
n2645
454EulaliaFear not you me, pray sir, nor neglect the care
That’s due unto yourselves to injure me.
455LodovicoO dearest heaven! Do you think we’d injure you,
That venture lives for you? No, gentle Queen.
456AndreaLo, there again – that’s treason too, to call her queen.
457LodovicoNobody hears nor sees. Pray eat a little.
So violate his laws. But let it warn ye
Off of this course,†gg29
way of proceeding, action; also trick, way of gaining money illicitly
for I’ll appeal to justice
gg29
If you persist in this rebellion.
459Andrea
Any woman but she, now, in her case, would eat such an husband’s brains without butter rather than forsake good meat, and but for this wilfulness in her I should not think her a woman,*n2648
Women were stereotypically thought to be more stubborn and determined to get their own way than men. Cf. Dent W723: ‘WOMEN will have their wills’; The Maid’s Metamorphosis (Paul’s, 1599-1600; published London, 1600): ‘Juno’s a woman, and will have her will’ (sig. C1v); George Wilkins, Miseries of Enforced Marriage (King’s Men, 1606-7; published London, 1607), ‘Like a right woman I love to have my will’ (sig. A4v).
I. But as she is, new master, we shall never do good upon*n2538
i.e. to
her, and therefore since your grace†gg2197
(n) courtesy title used to a king or queen
has not the grace†gg2198
(n) seemliness (OED n, 1b); sense of propriety (OED n, 13b); attractiveness, charm (OED n, 1a); show of willingness (OED n, 1c)
to eat this meat, mark†gg2220
(v) pay attention to, observe
with what a grace†gg2198
(n) seemliness (OED n, 1b); sense of propriety (OED n, 13b); attractiveness, charm (OED n, 1a); show of willingness (OED n, 1c)
or without grace,†gg414
(n) 'a short prayer either asking a blessing before, or rendering thanks after, a meal' (OED n, 20)
I will eat it myself. Do you fear poison?
[Eats]*n3974
This stage direction appears in the octavo text.
Now, bottle, let me play a part*n2649
That is: perform the expected/appropriate role (OED part n1, P2d [a])
with thee. Can you think this poison, that goes down so merrily?[Drinks]*n3975
This stage direction appears in the octavo text.
n2648
n2538
gg2197
gg2198
gg2220
gg2198
gg414
n3974
n2649
n3975
460EulaliaMuch good may it do thee.
462Andrea
’Tis like enough; I did but eat to get her an appetite; therefore I’ll e’en eat on, till all be done, to get her the better stomach. Now, bottle, to thee again.*n2650
Andrea may drink here, or Eulalia may prevent him.
n2650
463EulaliaSee, here come poor folks that perhaps do want
464Andrea
I’ll eat again, for that; I am as poor as they, and you never knew charity in beggars towards one another.*n2651
Sounds proverbial, but is not to be found in Dent or Tilley; it may be related to Tilley B227: ‘A BEGGAR can no beggar well abide’.
Bottle again*n2652
Again, Andrea may drink or he may be interrupted by the arrival of the country people.
for that.
n2651
n2652
Enter to them PEDRO, POGGIO and LOLLIO.
465PedroO misery! O desolation!
467AndreaWhat saints are those that they invoke so?*n2653
Andrea pretends to think that the country people are invoking misery, desolation, etc. rather than bewailing their fate. The reference to saints may also remind an audience of the Italian (and therefore Roman Catholic) setting of the play, something that will be crucial to the plot at the end of Act 5.
n2653
468EulaliaWhat is the cause of these sad cries, good people?
469PedroGo back, if you respect your safety; go,
And look not this way where the air disperseth
Nothing but foul infection, pain and sorrow.
And run not to the ruin of yourselves.
This way is filled with cries; you can meet nothing
But lamentations of a thousand souls,
Some lame, some blind, some deaf, some lunatic,
Some struck with palsy,†gg2202
paralysis
some with leprosy,†gg2203
‘An infectious bacterial disease (Elephantiasis Græcorum), which slowly eats away the body, and forms shining white scales on the skin; common in mediaeval Europe’ (OED)
gg2202
gg2203
All sighing, groaning, crying, underneath
Did the inhabitants there stand affected
To goodness or religion?*n2655
That is: how were the inhabitants disposed towards goodness or religion? Eulalia seems to assume, as many people would in Caroline England, that the outbreak of sickness in Palermo has been caused by the bad behaviour of its inhabitants. For examples see Thomas, Religion and the Decline of Magic, pp. 100-1.
n2655
471PedroWe are all sinful;
Yet no way to extenuate†gg2206
underrate, make light of (OED v, 6); seek to lessen by partial excuse (OED v, 7)
our fault
gg2206
We have been held obedient to the church,
True subjects to the King, and friendliest neighbours
Among ourselves all Sicily could boast of,
This part of it, or province, being called
’The Fair Palermian Fields‘,*n2654
Palermo is a region in Sicily, as well as being the name of its capital city. In The Estates, Empires, and Principalities of the World (London, 1615, trans. Edward Grimeston), Pierre d’Avity, sieur de Montmartin, says that ‘the pleasantness and riches’ of the territory around the city of Palermo ‘is such, as it might do honour to two Sicilies’ (161).
and is the same
n2654
Our kings have customarily laid out
For their queens’ dowry,†gg2208
as used here, dowry means the same as ‘jointure’: a piece of a husband’s estate left to the wife to sustain her during her widowhood (OED dowry n, 1; and dower n2, 1); ‘dowry’ can also mean a present or gift given by the husband to the wife (OED n, 3)
and has therefore been
gg2208
Vulgarly called ’The Paradise of Love‘.
472AndreaStay there, old man; I have heard there is neither lawyer nor physician*n2658
Physicians would not be needed if the area was blessed with good health; the lack of lawyers suggests its virtue (since the inhabitants have no inclination to sue each other) and its lack of urban sophistication. Cf. the proverbs ‘Few LAWYERS die well, few physicians live well’ (Tilley L129), ‘A good LAWYER an evil neighbour’ (L124) and ‘The PHYSICIAN gleans and the lawyer reaps’ (P266).
in all the province.*n2656
This speech is printed as verse in the octavo.
n2658
n2656
473Lodovico
None could e’er get a living amongst ’um, in all their practise. It seems they lived then civilly†gg2209
courteously (OED adv, 6); soberly (OED adv, 7)
and temperately.†gg2210
without excess, with moderation (OED adv, a); soberly (OED adv, c)
*n2657
This speech is printed as verse in the octavo.
gg2209
gg2210
n2657
474AndreaNor gentleman nor beggar in their confines.†gg1167
region (the OED takes this to be the principal meaning up to 1670)
gg1167
475LodovicoThen sure their wealth was all communicable;†gg2211
commonly applicable (OED a, 3c): OED’s earliest and only citation is from 1661: Thomas Fuller, The History of the Worthies of England (London, 1662): ‘The Engine. This general Word, communicable to all Machines or Instruments’ (2: 191)
gg2211
There could not but be excellent neighbourhood.†gg2212
neighbourly feeling, goodwill between neighbours
gg2212
476AndreaAnd, which was worth all the rest, their priests were ever the best good-fellows†gg2213
convivial companions (drinking buddies)
in all the country.*n2659
This speech is printed as verse in the octavo.
gg2213
n2659
477PedroY’are now upon the confines†gg1167
region (the OED takes this to be the principal meaning up to 1670)
of that country
gg1167
If you dare taste the air of it.
478AndreaThat shall be tried; I’ll have a whiff†gg2215
breath; burst
on’t. If I get a mischief*n2660
come to harm
by it let the fool’s harm be a warning to the wise.
gg2215
n2660
Enter four [COUNTRYMEN].*n2662
] Others
*n2661
In the octavo this stage direction appears after Pedro has said 'See more of those distressed souls that fly / The foul contagion'.
ANDR[EA] [exits].*n3976
] Exit Andr.
*n2661
In the octavo this stage direction appears after Pedro has said 'See more of those distressed souls that fly / The foul contagion'.
n2662
n2661
n3976
n2661
479PedroSee, more of those distressèd souls that fly
The dumb removes the sick and feeble. All
That can make least shift*n2663
the slightest effort
for’t fly†gg147
(v) run away from
the place;*n3977
I have re-lineated this section of the speech: in the octavo the line-breaks are at 'Contagion, / Yet', 'wants: / For', 'Blind / Supports' and 'feeble / All'.
n2663
gg147
n3977
Then do not you press toward it.
480EulaliaThere will I
Take up my habitation.†gg2219
residence
gg2219
481LodovicoY’are not desperate?†gg300
driven to despair or reckless action
gg300
482EulaliaMark†gg2220
(v) pay attention to, observe
me, good Lodovico, note my reasons:*n3978
Eulalia's speech seems to be directed only to Lodovico, but by the end of his response [QC 3.1.speech482] Lodovico is speaking loudly enough for Pedro to overhear its final line.
gg2220
n3978
This poor afflicted†gg2237
troubled (OED ppl. a, 1); affected by disease of body or mind, suffering (OED ppl. a, 2; the first citation is dated 1680-90, but the context here suggests that this meaning is possible); downcast (OED ppl. a, 3)
province was my dowry,
gg2237
According to the censure passed on me,
My trespass†gg319
(n) offence (OED n, 1); minor violation of the law (OED n, 2); crime
drew this evil on the land.
gg319
483Lodovico’Tis better that the world should judge so,
And perish for it in its ignorance,
Than you so wilfully be cast away.
You hear that none escape.*n3979
I have re-lineated this speech: in the octavo text the line-breaks are at 'perish / For' and 'wilfully / Be'.
n3979
484PedroNone, old nor young,
Man, woman, child: all in one kind or other
Do feel affliction.*n3980
I have re-lineated this speech: in the octavo text the line-break is at 'all / In'.
n3980
485EulaliaDo any die?
486PedroNone,
Of their sad sufferings.*n3981
I have re-lineated this speech: in the octavo text the line-break is at 'wish / They'.
n3981
487EulaliaAnd whither†gg1313
(to whatever) place; where
now
gg1313
Do you intend your travel*n2664
] travail (the spelling of 'travel' and 'travail' were interchangeable in Early Modern English, and both words could be understood here)
with your griefs?*n3982
This is printed as one line in the octavo.
n2664
n3982
488PedroWe hope a better air will cure us. But
By the best means we can, to make our journey
Unto the King.
489Eulalia [Aside to LODOVICO*n2665
The octavo places the speech and speech prefix in brackets to indicate the aside.
] Hear now what he will say.
n2665
Is fall’n upon this province by the sin
Of the adulterous Queen whose dowry ’twas.
491Eulalia [Aside to LODOVICO] Did not I tell you?
492PedroAnd that until his justice take away
Her loathèd life this evil will not cease.*n3983
I have re-lineated this speech: in the octavo text the line-breaks come at 'until / His' and 'life, / This'.
n3983
493LodovicoWhat, the Queen Eulalia’s life?
494PedroYes, sir; we hear
She’s banished and forbid relief. But nothing
In expiation of†gg2227
to atone for; to purify from
her sin and shame.*n3984
I have re-lineated this speech: in the octavo text the line breaks come at 'forbid / But' and 'flame / In'.
gg2227
n3984
496EulaliaWhy then you think me guilty, Lodovico.
497LodovicoI know not what to think, but that I will not.
498EulaliaWas that your priests’ opinion and advice?
499PedroYes, and thus grounded,†gg2228
established, fixed; based, on these grounds, on this basis
that our pains began
gg2228
Released her forfeit†gg2230
(a) forfeit to law, lost by misconduct
life.
gg2230
500Eulalia’Twas ever so;*n2666
] everso
n2666
Priests are but apes†gg2231
imitators, mimics
to kings, and prostitute†gg2232
sacrifice or debase for profit, defile, dishonour (OED 2b)
gg2231
gg2232
Religion to their ends. Might you not judge*n3985
I have re-lineated this part of the speech: in the octavo text the line break comes at 'Kings, / And'.
n3985
As well, it was th’ injustice and the wrongs
The innocent Queen hath suffered, that has brought
Sense†gg2233
feeling for, liability to feel pain (on behalf of) (OED n, 5)
of her injuries upon her province?
gg2233
And that if she had died her dowry here
With her had also suffered death, to make
It nothing to the King, as he made her?*n2667
This part of the speech is printed as prose in the octavo.
n2667
501LodovicoAye,*n4103
] I
mark†gg2220
(v) pay attention to, observe
ye that, and that your false surmise†gg2234
allegation; suspicion; conjecture
n4103
gg2220
gg2234
Against the Queen has brought this evil on you.
502PedroOh, now my pain increases!
503First Countryman*n2853
] 1.
Oh, mine eyes!
n2853
504Second Countryman*n2854
] 2.
My brain!
n2854
505Third Countryman*n3986
] 3.
My bones!
n3986
506Fourth Countryman*n3987
] 4.
My limbs are on the rack!
n3987
507Lodovico’Tis plain, your foul mistrust is the infection
That rages in you.*n3988
This speech is printed as prose in the octavo.
n3988
508EulaliaLodovico, peace.
Where is thy pain, good man?
509PedroHere, in this arm
Shrunk up as it were seared with fiery irons.†gg2235
branding irons
*n3989
This speech is printed as prose in the octavo.
gg2235
n3989
510EulaliaBlessed Providence†gg2236
God (‘applied to the Deity as exercising prescient and beneficent power and direction’: OED n, 4); divine care or guidance (OED n, 3)
*n2669
Like contemporary healers in the 1630s, Eulalia uses prayer as part of a healing process. In the ceremony to cure scrofula, for instance, each patient would approach and kneel before the King, who would touch them lightly on the face while a chaplain read out a verse from St Mark’s Gospel: ‘They shall lay hands on the sick and they recover’. In 1632, a Frenchman named Boisgaudre was accused of healing scrofula himself: ‘His method was to spit on his hands and rub the patient’s sores, making the sign of the cross, and giving the sufferer a paper to hang round his neck on which was inscribed In nominee Jesu Christi, ipse sanctur’. Five years later James Leverett was investigated by the Royal College of Physicians after claiming to heal scrofula and other diseases by touching his patients and declaring ‘God bless; I touch; God heals’, while in the same year Richard Gilbert was ‘holding healing sessions every Monday at his home, where he touched sufferers from wens, swellings and the Evil, declaring sanctimoniously, "I touch; God heals"’ (Thomas, Religion and the Decline of Magic, 227, 238).
assist me, whilst with prayers
gg2236
n2669
I use the gift thou gav’st me for the cure
Of these afflicted†gg2237
troubled (OED ppl. a, 1); affected by disease of body or mind, suffering (OED ppl. a, 2; the first citation is dated 1680-90, but the context here suggests that this meaning is possible); downcast (OED ppl. a, 3)
people. Give me thine hand:
gg2237
511PedroA precious cooling balm†gg2238
aromatic ointment used to sooth pain or heal wounds (OED n, 1)
that has extinguished
gg2238
The scorching heat I felt, and has reduced
My flesh, my sinews and my arteries
Into their natural temper†gs300
regulation, adjustment (OED n, 2); constitution, character (OED n, 4a); ‘The relative condition of a body in respect of warmth or coldness’ (OED n, 7); bodily constitution, condition (OED n, 8)
and true use.†gg2239
(n) employment, application (OED n, 1); habit, practice (OED n, 8); purpose (OED n, 16a); benefit, usefulness (use, n, 20a)
gs300
gg2239
512EulaliaJoin that hand to thy other, and thank heaven then
That made thee whole.†gg2240
sound, healthy, well again
gg2240
513PedroI do, I do.
514LodovicoMiraculous!
515PedroOh, sure you are some heavenly saint or goddess!
516EulaliaBeware idolatry,†gg2241
worship of a created thing as if it were God (OED n, 1); immoderate admiration (OED n, 2)
and only send
gg2241
All praise to th’ power whose mercy hath no end.
Only do this for me: inform the rest
How you have sped†gg1263
fared; managed
and win†gg2242
persuade, prevail upon (OED win v1, 9a)
them back again
gg1263
gg2242
Whilst I make holy prayers for their help.
Which shall be cheap, believe me.
517PedroAll we have
Will be too slight†gg558
mean, insubstantial, lowly, small, trifling
reward. First take my store.†gg2245
things with which a household, camp or other base of activities is stored (with food, clothing and other amenities) (OED n, 1a); sufficient or plentiful supply (of something needful) (OED n, 4a); plenty, abundance (OED n, 4b); things owned by someone, or the goods/money they have accumulated (OED n, 5a)
gg558
gg2245
518EulaliaI will but take my next competent†gg2246
adequate, sufficient (OED a, 3a); moderate, sufficient but not excessive (OED a, 3b)
meal;*n2670
Many seventeenth-century healers were paid in kind and refused to take money for their activities, such as Henry Baggalie, active in Lancashire in 1634, who ‘received meal or cheese or commodities of the like nature, but never did take silver or any other reward’ (Thomas, Religion and the Decline of Magic, 221-2, 245).
gg2246
n2670
I hope this will be thought but valuable.†gg2247
a reasonable sum (OED a, 1b); valid, sound (OED a, 5: first citation 1647)
gg2247
519PedroI pray, take more.
And comfort them with news of your success
And a full hope of cure to everyone
That’s partner†gg2249
associate, companion (i.e. those who suffer with Pedro)
in this sad affliction.
gg2249
521PedroWith happy feet I shall spread it through the country.[All of the COUNTRY PEOPLE exit.]*n2671
] Exeunt omnes Rustici
n2671
522LodovicoO happy woman, now no more a queen,
But holy saint! I see how Providence
Means to advance thy injured innocence.
For perfect health I think dwells only where
Good Eulalia remains. I have enough
To buy a farm for me and poor Andrea.
But what’s become of him?
523EulaliaI’ll tell you, Lodovico: the poor fellow
Is gone to taste†gg2251
test; check the wholesomeness of, act as a taster for
the country air for me,
gg2251
524LodovicoAnd that was honest love.
Enter ANDREA.
526EulaliaHow now, Andrea?
527AndreaA surgeon! Oh, twenty surgeons – bone-setting*n2672
Andrea’s comments about his malady suggest the symptoms of venereal disease. As Williams (1:128-9) writes, syphilis (the pox) is referred to as the ‘boneache’ because it causes severe bone damage. Compare the comment in Shakespeare’s Measure for Measure (King’s Men, c. 1603-4): ‘thy bones are hollow; impiety has made a feast of thee’ (1.2.54-5); in Davenant’s Love and Honour (King’s Men, 1634; published London, 1649), Lelia is said to be fit to ‘serve for an hospital, when the sins / Of the camp are retir’d into your bones’ (sigs. B2v-B3r).
†gg2254
those who (1) set broken or dislocated bones; or (2) apply remedies for venereal disease, which attacks the bones
surgeons!
n2672
gg2254
528EulaliaWhat’s the matter, man?
529AndreaI am out of joint!*n2673
(1) my bones are dislocated (literally); (2) I am out of order (figuratively): compare Shakespeare’s Hamlet: ‘The time is out of joint. O cursèd spite / That ever I was born to set it right!’ (1.5.189-90).
n2673
Oh, surgeons and bone-setters,†gg2256
(1) barber surgeons who set broken or dislocated bones; (2) people who apply remedies for venereal disease, which attacks the bones; (3) Williams (1: 130-1) notes that ‘bone-setter’ could mean ‘bawd’
bone-setters and surgeons; all my bones, all my bones for a penny. I have not a finger nor a toe in joint: my legs, my thighs, my arms, my neck, my back and crupper-bone†gg2257
tail-bone, coccyx (crupper: buttocks); The Queen and Concubine is OED’s only citation, but it also appears in John Hilton, Catch That Catch Can, or, A Choice Collection of Catches, Rounds and Canons for 3 or 4 Voices (London, 1652), p. 43, and in Nicholas Culpepper's translation of Jean Riolan's A Sure Guide, or, The Best and Nearest way to Physic and Chirurgery (London, 1657), pp. 19, 77, 250-1, 276, 285
is out of joint. Oh, for a sow-gelder†gg2258
someone who makes a living by gelding or spaying sows (OED)
– a surgeon I would say.*n2674
Williams compares this passage with a similar conjunction of terms for castrators in Middleton and Rowley, Wit at Several Weapons (Prince Charles’s Men, 1613), in which Sir Gregory brings the Niece an ‘entire ruby, cut into a heart, / And this the word: Istud amoris opus’ (‘A labour of love, for you’) that he has been given by Cunningame. He comments, ‘Yes, yes; / I've heard him [i.e. Cunningame] say that love is the best stone-cutter’, but she retorts, ‘Why, thou saucy issue of some travelling sow-gelder, / What makes love in thy mouth?’ (4.2.21-6).
Out a joint, out a joint, I am all out a joint!*n3992
This section of the speech is printed as verse in the octavo.
gg2256
gg2257
gg2258
n2674
n3992
530EulaliaThy tongue’s not out a joint.
531AndreaNo, nor a thing I have that has no bone in’t.*n2676
i.e. the only things that are not ‘out of joint’ are the parts of his body that have no bones: his tongue and his penis; the innuendo underlying this speech suggests that Andrea thinks that his malady has made him impotent.
All else is out a*n2539
i.e. of
joint.*n2675
This speech is printed as verse in the octavo.
n2676
n2539
n2675
532EulaliaThis came of tempting Providence: were not you
The blind man made the way, the dumb man sung,
The deaf kept time to his notes, the lame led on
The dance to all the rest, whilst I can go
No further. [Lies down*n3993
This stage direction appears in the octavo text.
] ’Twas for you I ventured.†gg2261
dared, took this risk
n3993
gg2261
534EulaliaAnd now you repent you meant me so much good.
535AndreaAnd now again I do repent that ever I did repent. Oh, for a stone-cutter†gg2262
(1) a surgeon who cuts for gall-stones (OED stone-cutter, 2: first citation is 1655, but the use of ‘stone’ to mean gall-stone goes back to c. 1000); (2) a castrator (Williams, 3: 1321). Cf. Edward Sharpham, Cupid’s Whirligig (King's Revels, c. 1607; printed London, 1607), in which Sir Timothy Troublesome pledges to geld himself, telling his servant Wages to fetch the ‘operator’; when Wages asks ‘What’s he sir’, Troublesome replies ‘The stone-cutter’, to which Wages responds ‘Oh you mean the sow-gelder’ (sig. E2v).
– a bone-setter I would say.
gg2262
536EulaliaWell, sir, give me your hands: stand up.
537Andrea
With as good a will as ever I stood†gg2263
stood up, with sexual innuendo (to stand is to have an erection)
to woman.
gg2263
538Eulalia
Now, how do you feel yourself?
539AndreaIn very pretty†gg229
pleasing; good, excellent
plight;†gg2264
health
I feel I am sufficient!†gg2265
able, capable
Haugh,†gg2266
exclamation expressing joy, wonder or surprise (OED ha, int.)
heigh†gs301
exclamation expressing exultation or surprise (OED hey, int.)
— [Capers and turns*n3994
This stage direction appears in the octavo text.
]
’Twill do again, and if I durst venture into that unlucky country again I would now teach the clowns†gs302
rustics, country people (Andrea probably also puns on his own occupation as a professional clown or fool)
how to dance for joy.
gg229
gg2264
gg2265
gg2266
gs301
n3994
gs302
540EulaliaYes, you shall venture, sir, and by the way
I’ll teach you to teach them to work and pray.
541AndreaTo work and play, I pray you.
542LodovicoIf there be heaven on earth, it is this woman.
543AndreaThen if there be a purgatory†gg2267
place of spiritual purging and purification; in Roman Catholic doctrine a place 'in which souls who depart this life in the grace of God suffer for a time, because they still need to be cleansed from venial sins, or have still to pay the temporal punishment due to mortal sins, the guilt and the eternal punishment of which have been remitted' (OED n, 1a)
on earth,
gg2267
I’ll venture through it for her. Heigh-oh-ho.†gg2268
exclamation, usually indicating sighing or languor, but here expressing joy and relief (OED heigh-ho, int.)
gg2268
Enter three or four COUNTRYMEN.
544First Countryman*n2853
] 1.
Health and joy; health and joy!
n2853
545Second Countryman*n2854
] 2.
O happy woman that ever she came hither!
n2854
546First Countryman*n2853
] 1.
Nay, happy we that e’er she came among us!
n2853
547Second Countryman*n2854
] 2.
What shall we render†gg2111
give back, return
her in recompense?†gg2269
reward, payment
All that we have is too little for this woman, this good woman, this holy woman, this she-saint, if there be one above ground.*n2680
i.e. living
*n2678
This speech is printed as verse in the octavo.
n2854
gg2111
gg2269
n2680
n2678
548Third Countryman*n3986
] 3.
Oh, do not make an ‘if’ at her,*n2681
i.e. do not cast doubt upon her; do not call her existance into question.
neighbour, lest†gg1854
for fear that
the ground swallow thee quick†gg2270
alive
*n2682
The idea that the ground might open up and swallow a liar or faithless person is found in many early modern texts. It has biblical and classical precedent: sinners are swallowed by the earth in Numbers 16:30-3 (‘if the LORD make a new thing, and the earth open her mouth, and swallow them up, with all that appertain unto them, and they go down quick into the pit; then ye shall understand that these men have provoked the LORD’), and Agamemnon in Chapman’s translation of Homer’s Iliad (London, 1611) pledges: ‘When this brave breaks in their hated breath; / Then let the broad earth swallow me, and take me quick to death’ (54). The idea is also used by Fabio and Strozzo in [QC 4.2.speeches819-820].
in thy infidelity.
n3986
n2681
gg1854
gg2270
n2682
549Second Countryman*n2854
] 2.
Now doubtless, and without all adventure,*n2683
i.e. without hazard. Variations of the phrase ‘without (all) (per)adventure’ are frequently given to Poggio elsewhere in the play. It is therefore possible that he was originally intended to be part of this scene and that the dialogue was not revised when the speech was reassigned. The same is true in 4.3, in which a group of countrymen appear, one of whom says ‘they shall die forty times without peradventure’ [QC 4.2.speech894]. In both cases, the dialogue is followed by the entrance of Poggio less than twenty lines later, meaning that it is impossible for him to be one of the participants. Elsewhere in his plays, Brome often assigns characteristic tags or catchphrases to individual characters. Compare, for instance, Trainwell’s consistent references to her ‘discretion’ in The Northern Lass, or Tom Saleware’s repetition of the phrase ‘Sapientia mea mihi stultitia tua tibi’ in A Mad Couple Well Matched. For further discussion of signs of revision in the extant text of The Queen and Concubine see the notes to speech 834 [NOTE n2851], the stage direction at the head of Act 4 [NOTE n2800] and the Textual Introduction.
she is an unknown†gg2271
strange, unfamiliar
woman.
n2854
n2683
gg2271
550Third Countryman*n3986
] 3.
And therefore a good woman,*n2684
In the additional passage in Act 4, Scene 3, Poggio recalls this exchange, saying to Lollio, ‘Did not I tell you she was an unknown woman? And therefore a good one, quoth you.’ [QC 4.3.speech834.13]. Together with the Second Countryman’s use of the ‘without all adventure’ catchphrase, this further suggests that Brome originally intended Poggio and Lollio to be part of this scene.
for ’tis too true, all those that are well known are e’en†gg2272
even: fully
bad enough, and known she will not be for all our entreats.†gg2273
entreaties, pleas
No, not so much as from whence she came, we see.*n2679
This speech is printed as verse in the octavo.
n3986
n2684
gg2272
gg2273
n2679
551Second Countryman*n2854
] 2.
And that counsel she may keep still for me, for doubtless, and without all peradventure,*n2687
That is: without doubt, beyond question (peradventure: uncertainty, doubt, risk).
if we had need of another such it were in vain to seek her.*n2685
This speech is printed as verse in the octavo.
n2854
n2687
n2685
552First Countryman*n2853
] 1.
Sure, ’twas from heaven she came, where the whole stock†gs303
family, kindred (OED n1, 3c.); quantity, store (OED n1, 55a; earliest citation is 1638)
of good women were placed long ago.*n2686
This speech is printed as verse in the octavo.
[The COUNTRYMEN exit.]
n2853
gs303
n2686
Enter FABIO and STROZZO [in disguise].
553Fabio
’Tis she, I’m confident.
554Strozzo
Our work lies fairly†gs304
legitimately (OED adv, 4b); clearly, plainly (OED adv, 6: earliest citation is 1661); actually (OED adv, 7)
then before us.
gs304
556EulaliaWhat can they take from us?
557LodovicoYour life, I fear.
558Andrea
I have e’en dined, let ’em take away when they please.
559LodovicoTheir looks†gg2275
appearances, expressions
are murderous.
gg2275
560EulaliaFear not, Lodovico.
561Fabio
No, we ha’ found our way, ’tis to you we seek. We dare come roundly†gs305
plainly, bluntly; openly, frankly; straight; unsparingly; promptly
to you, for all your guard, your old fool and your young,*n2689
This statement suggests that Fabio recognises Andrea despite the fact that he is not wearing his professional fool’s costume.
here.
gs305
n2689
562Lodovico
O my unhappy†gg1539
(1) causing misfortune or trouble; (2) unlucky or ill-fated; (3) mischievous; evil; naughty (obsolete; OED a, 1a, 2a and 5)
fears!
gg1539
563Eulalia
You will not murder me?
565Eulalia
Just heaven protect me.
566Fabio
Call upon heaven as you go thitherward;†gg2277
towards it, in that direction
we may not stay long invocations.†gg2278
entreaties, prayers; spells
gg2277
gg2278
567Andrea
Pray take me in your way, and run me through her, if you be honest murderers. Help! Murder, murder!
Enter to them CURATE, CRIER, PEDRO, LOLLIO [and] POGGIO.
569Curate
Silence, crier, suspend the proclamation to prevent abomination.†gg2279
outrage, hateful acts
*n3310
] preventa bomination.
n2690
The Curate’s extravagant, Latinate vocabulary, his propensity for speaking in couplets and his tendency to lapse into Latin mark him out from the other country people; however, his Latin is of a questionable standard, much of it consisting of quotations from grammar school texts. His dramatic forebears include Holofernes in Shakespeare’s Loves Labour’s Lost and Gerald in Fletcher and Shakespeare’s The Two Noble Kinsmen, both of whom are schoolmasters. In particular, he closely resembles the pedant Sarpego, who features prominently in Brome’s The City Wit, performed at Salisbury Court around 1630 by a cast that included some actors still active with the King’s Revels company in 1636. For an example of Sarpego in action, complete with Latin tags, see this reading of the prologue from The City Wit; like those of Sarpego, the Curate's lines lend themselves to a pompous, slightly self-satisfied tone. He could also, like Sarpego, be played as a more severe disciplinarian, or as slightly incompetent and bumbling; for the latter, see this alternative reading of part of Sarpego's prologue by Hannah Watkins. For further comment see Introduction.
gg2279
n3310
n2690
; like those of Sarpego, the Curate's lines lend themselves to a pompous, slightly self-satisfied tone. He could also, like Sarpego, be played as a more severe disciplinarian, or as slightly incompetent and bumbling; for the latter, see this alternative reading of part of Sarpego's prologue by Hannah Watkins. For further comment see Introduction.
570Lodovico
Heaven has sent us aid.
571Fabio
Oh, we are prevented!
572Curate
On, on; sa, sa!†gg2280
a hunting cry
Down with their weapons, up with their heels, till we insect†gg2281
cut into (OED v1,); The Queen and Concubine is OED’s only citation, but the earliest I have found is in Thomas Powell's poem 'The Bay', in The Passionate Poet (London, 1601), in which Powell compares himself with contemporary satirists, saying,
and rip up the entrails*n2691
The Curate imagines that they are hunting Fabio and Strozzo, and uses appropriate language.
of the cause. What an assassinate†gg2282
assassination, murder
was here attempted? O infausta dies!*n2692
unlucky day (Latin)
Two swords against the naked womb of a woman!*n2693
The Curate uses the rhetorical figure of synecdoche, in which a part is used to represent the whole: here Eulalia’s womb represents her whole body in an image that is so exaggerated as to make the speaker seem ridiculous.
And none but weaponless men to assist her, viz.†gg26
videlicet: that is to say (Latin)
senex et ineptus.*n2540
an old man and a fool (Latin); the senex was a stock character in the comedies of Roman dramatists such as Terence and Plautus and, as Linda Green has pointed out to me, the name carries imputations of impotence which may be relevant here.
gg2280
gg2281
May others make the ears evaporate,
When they unmask the times and world's estate:
I will admire, yet never will insect,
I am not prone but only to reflect. (sig. F2v)
n2691
gg2282
n2692
n2693
gg26
n2540
573Andrea
That is to say, give me their swords under my fool’s coat, I’ll hurt nobody.*n2694
Picking up the Curate's comment that Fabio and Strozzo have presented 'Two swords against the naked womb of a woman' [QC 3.1.speech572], Andrea’s comment seems to allude to either the incompetence of fools with weapons or their sexual impotence. Compare Black Will’s comment in Arden of Faversham (auspices uncertain, c. 1585-91): ‘He like a fool bears his sword-point half a yard out of danger’ (The Tragedy of Master Arden of Faversham, ed. Martin White [London: A&C Black, 1982], 14.59-60).
n2694
574Curate
Upon my facundity,†gg2283
eloquence
an elegant construction†gg2284
arrangement of words (OED 5a); translation (OED 6); interpretation (OED 7)
by the fool. So I am: cedunt arma togæ.*n2695
let arms yield to the toga: i.e. let war yield to peace; let violence give place to law (Latin). The Curate quotes from Cicero, De Officiis, 1.22.77). The phrase originally refers to the overthrow of Catiline, and so may inspire the Curate’s later comment that Fabio and Strozzo are ‘Catilinarian traitors’ [QC 3.1.speech588].
gg2283
gg2284
n2695
575Fabio
For our attempt, sir, we will answer†gg1762
defend; take responsibility for; justify
it. We are for the King.
gg1762
576Curate
Then we are for the King, sir, and in nomine majestatis*n2696
In the name of the king (Latin).
we command you to attend†gg2285
wait for; listen to
our present†gg884
urgent, pressing, immediate
office,†gg352
service, duty, employment, responsibility
and then we will examine†gg2286
investigate
yours.
n2696
gg2285
gg884
gg352
gg2286
577Lollio
And then if you deserve the gallows, you shall be sure on’t;†gg776
of it
a short breathing-while†gg2287
breathing space, short space of time
shall be no hindrance to you. So, Crier, lift up your voice and proceed.
gg776
gg2287
578Crier
Oyez, Oyez, Oyez! By the King’s most excellent majesty, a proclamation*n2697
This is the proclamation mentioned in [QC 2.1.speech258], when the King said, ‘And let it be proclaimed according to th’ extremity of law our censure be observed’.
prohibiting, upon pain of death, any relief to be given unto the banished Eulalia.
n2697
579Curate
Now say, ‘whereas upon just and lawful trial—’
581Curate
‘The said Eulalia—’
582Crier
The said Eulalia—
583Eulalia
I am that hapless†gg2288
unfortunate
she, that for relief will not beg, nor borrow, nor take of ye.LODOVICO and CURATE [talk] aside
gg2288
584Pedro
[Aside]*n2700
The octavo places the aside direction in the right hand margin.
’Tis she, and at the price of life*n2699
i.e. at the cost of my life.
I will relieve her.
n2700
n2699
585Poggio
How? What have we done? In relieving her from killing*n2701
i.e. saving her from being murdered.
we are all become traitors.
n2701
586LollioThat’s an idle†gg2289
foolish, trivial
fear: we knew her not, which now we do we may again reliver†gg2290
give up again, restore (OED v.); cf. Shakespeare, Measure for Measure (King’s Men, 1603-4): ‘And why meet him at the gates and reliver our authorities there?’ (4.4.5). Many editors of Shakespeare amend 'reliver' to 'redeliver'; N.W. Bawcutt, for instance, writes 'the other recorded uses of reliver and relivery date from the mid 15th c., and it is more probable that in splitting the word [it appears as re-/liuer] the compositor accidentally omitted a syllable' (Bawcutt, ed., Measure for Measure [Oxford: Oxford University Press, 1991], 199). However, there are additional seventeenth-century uses of the word not recorded by OED; see, for instance, the titlepage of The Honest Welsh Cobbler (London, 1647), who will 'endeavour herself to reliver herself in as cood tialect as her can for her hait plood'.
her into their hands for them to kill her yet, and then there’s no harm done.*n3996
This speech is printed a verse in the octavo.
gg2289
gg2290
n3996
587Poggio
So let us give them their swords again, and when they have done their work, to make all sure, we’ll hang them for their pains,†gs306
efforts, endeavours (Poggio is being slightly sarcastic)
and so keep the law in our own hands*n2702
Throughout Acts 3 to 5, the country people insist on their right administer justice for themselves. For further comment see the Introduction.
while we have it.
gs306
n2702
588CurateO homines insani!*n2703
Madmen (Latin).
Quomodo erravistis?*n2704
how have you wandered from the truth? (Latin)
n2703
n2704
The woman must be saved a manubus istis.*n2705
This is possibly a misprint, or a mistake on the Curate's part, for ‘a manibus istis’, 'from those hands'. He may be misremembering a famous passage from Persius, Satires, 1:38-9:
n2705
nunc non e manibus illis,translated as 'will violets not spring from those remains, from that tomb and from that blessed ash now?' In some editions of Persius 'nunc non e manibus illis' appears as 'Non nunc è manibus istis'.
nunc non e tumulo fortunataque favilla nascentur violae?
Juvenal and Persius, ed. and trans. Susanna Morton Braund (Cambridge, MA: Harvard University Press, 2004)
They are Catilinarian†gg2292
conspiratorial, treacherous: after the Roman politician Catiline, who was implicated in the so-called Catilinarian conspiracy attempting to overthrow the Roman Republic in the first century BCE and was ‘sometimes taken as the type of a profligate conspirator’ (OED Catiline, a.)
traitors.
gg2292
589LodovicoYou, sir, have reason. You have found her life
The King has pardoned,*n2706
i.e. you have concluded that the King has pardoned her life.
and although her doom†gg2293
sentence
n2706
gg2293
Good soul, she works and labours for her food,
You find not yet ’tis lawful any kill her.
You that are for the King, as you pretend,
Show us th’ imperative†gg2295
in grammar, the form or ‘mood’ of a verb which indicates that the speaker or writer is expressing a command, request, or exhortation (OED a, 1a)
mood,†gg2296
in grammar, one of a variety of forms that a verb can take in an inflected language (such as Latin); the mood of a verb indicates whether it expresses fact, command, wish, conditionality, etc. The principal moods are known as indicative (expressing fact), imperative (command), interrogative (question), optative (wish), and subjunctive (conditionality) (OED mood n2, 1a)
or warrant for her death,
gg2295
gg2296
Or we shall put you into the optativa†gg2297
in grammar, the optative form or ‘mood’ of a verb, which indicates that the speaker or writer is expressing a wish or desire (OED optative a, 1)
mood –
gg2297
Or more times than bona fide†gg2299
in good faith, genuinely (Latin)
there be tenses
gg2299
In all the moods of all my accidences.†gg2300
inflections of (Latin) grammar, e.g. the forms or ‘moods’ that verbs can take to indicate particular modes of expression (commands, wishes, questions, conditionality, etc.)
gg2300
591EulaliaFor my part,†gg2301
for my share in the business: i.e. in my opinion
I’ll forgive them if they will
gg2301
Deliver truly who corrupted them
To rid the world of this weary burden,
That I may pray for them.
592Pedro
Can such a goodness deserve so foul a censure?†gg362
judgement (especially, though not always, adverse judgment)
gg362
593EulaliaBut first tell me. Are not you two the men
594Fabio
We gave no evidence, nor false nor true.
595Andrea
No, countrywoman, they had no such beards. But I will try if I can make ’em like ’em. [Removes their false beards] Oh, rare! What a nimble†gg2303
quick-witted, clever
barber am I?*n2711
It may be relevant that Palermo was famous in the sixteenth and seventeenth centuries for its razors (Edward H. Sugden, A Topographical Dictionary to the Works of Shakespeare and his Fellow Dramatists [Manchester: Manchester University Press, 1925], 386, s.v. Palermo).
gg2303
n2711
596LodovicoThey are the self-same men, the two cashiered†gg3276
dismissed; in the army this generally involved 'disgrace and permanent exclusion' (OED cashier v, 2)
lieutenants that Sforza should have hanged for mutinies in the late†gg162
recent
wars.
gg3276
gg162
597Pedro
What hinders now their execution?
598CurateDigito compesce labellum.*n2713
Put a finger to your lips (Latin). (A quotation from Juvenal, Satires, 1: 160.)
Silence, good Pedro. I do commend your zeal,†gg2304
eagerness, loyalty
but periculum est in via;*n2714
Danger lies that way. (Latin)
we will walk safely. For this time, therefore, we’ll do only thus: double our guards upon ’em, and away to prison with them. Est locus in carcere quod tullianum appellatur.*n2715
there’s a place in the jail called the Tullianum (Latin). The Tullianum was a 'dungeon in the state-prison in Rome, built by King Servius Tullius’ (John T. White and J.E. Riddle, Latin-English Dictionary [London: Longmans, Green and Co., 1876], 1996). Sugden describes it as ‘The most ancient building in Rome. It was originally the well-house of the Capitol, but was in later times used as a prison. Here St. Peter was said to have been confined’ (Topographical Dictionary, 527). The phrase is a quotation from Sallust, Catilina, 55, which is quoted in William Lily’s Brevissima Institutio, part of A Short Introduction of Grammar Generally to be Used (London, 1632), sig. L2v. The Short Introduction, also known as ‘Lily’s Grammar’, was published in over 300 editions from 1548; its use was compulsory in grammar schools. These lines are also quoted in the academic plays Laelia (printed 1595), Abraham Fraunce’s Victoria (1583) and Abraham Cowley’s Naufragium Ioculare (1638).
We will presume†gs308
take upon ourselves; dare, take the liberty
to know who ’twas that set you a work, before you go.*n2712
This section of the speech is printed as verse in the octavo.
n2713
gg2304
n2714
n2715
gs308
n2712
599[Fabio and Strozzo]*n2710
] Ambo.
You will be made to answer it.
n2710
600Curate
A word more, we’ll hang you presently,†gg103
immediately (OED adv, 3); without delay
and answer that too. Abite hinc in malam rem:*n2716
Go to hell (Latin). The phrase is used in classical texts including Terence’s Andria (in Terence, ed. John A. Barsby, Loeb Classical Library, 2 vols [Cambridge, MA: Harvard University Press, 2001], vol. 1), l. 317 (the Loeb text reads ‘abin hinc in malam rem’).
away with ’m.
gg103
n2716
602Poggio
Kill a woman ’cause she was a queen?
603Lollio
We’ll hamper†gg2305
obstruct, impede
ye, and halter†gg2306
fetter, bridle; hang
ye, and – do ye hear? – hang ye.
gg2305
gg2306
LOLLIO and POGGIO [exit] with FABIO and STROZZO.*n3997
] Exeunt Lollio and Poggio, with Fabio and Strozza
LODOVICO, EULALIA and PEDRO*n3311
] Petro
talk aside.*n3998
In the octavo text this stage direction appears after Andrea's line [QC 3.1.speech604] [QC 3.7.line1967].
n3997
LODOVICO, EULALIA and PEDRO*
n3311
n3998
604Andrea
Abi hinc et malam rem:*n2717
Andrea uses the singular form of the imperative (‘abi’) rather than the Curate’s plural; part of the joke may be that he therefore appears to be telling the Curate to ‘go to hell’
away with ’m.
n2717
605Curate
As I am erudite,†gg2307
learned
idoneus adolescens;*n2719
(A) proper/deserving/capable young man (Latin): the ‘adolescens’ was also a stock character in Roman comedy; the Curate’s phrasing may also suggest that he is applying this epithet to himself, which would be comically inappropriate.
a very towardly†gg2308
promising, eager to learn
juvenis†gg2309
youngster (Latin)
, cupis atque*n2721
] atq
doceri.*n2720
who desires to be taught (Latin). Taken from ‘Qui mihi discipulus puer es, cupis atque doceri’ ('You who are my pupil, boy, who desires to be taught'), the first line of William Lily’s ‘Guilielmi Lilii ad suos Discipulos Monita Paedagogica, sev Carmen De Moribus’, in An Introduction of the Eight Parts of Speech, and the Construction of the Same (London, 1542), sig. H4v. This poem was included, with the rest of the Introduction of the Eight Parts of Speech, in A Short Introduction of Grammar Generally to be Used (1548). ‘Qui mihi discipulus puer es, cupis atque doceri’ is quoted in a number of other early modern texts, including Marlowe’s Doctor Faustus (?Strange’s Men, c. 1588), in which Wagner says to Robin ‘wilt thou serve me, and I’ll make thee go like Qui mihi discipulus?’, using the Latin tag in an attempt to mimic Faustus’ style (Doctor Faustus: A- and B-Texts, ed. David Bevington and Eric Rasmussen [Manchester: Manchester University Press, 1993], A-Text, 1.4.15-16).
*n2718
This speech is printed as verse in the octavo.
gg2307
n2719
gg2308
gg2309
n2721
n2720
n2718
606AndreaWhat’s that?
607CurateWilt thou be a scholar?
Be but my pupil, I will make thee one,
And dip thy caput†gg2311
head
in pure Helicon.*n2722
The largest mountain in Boeotia in Greece; supposedly a home of the Muses, to whom it was sacred, and the site of the fountains of Aganippe and Hippocrene, which were supposed to inspire those who drank from them. By the seventeenth century the name of the mountain was often confused with those of the fountains, and ‘Helicon’ was therefore used in reference to poetic inspiration (OED Helicon; Oxford Companion to Classical Literature, ed. Howatson, s.v. Helicon).
gg2311
n2722
611CurateStill a desire to learn! This is no fool,
And by the company he’s in I do suspect
Simile non est idem;*n2723
Seeming is not the same. (Latin: a proverbial expression comparable with ‘all that glistens is not gold’.)
he’s too wise
n2723
To be the thing he seems but in disguise.
Some lord of court, his outside non obstante.*n2724
Notwithstanding (OED n, 2b). The term was also used in legal contexts to refer to ‘A clause in a statute or letter patent conveying a dispensation from a monarch or other executive to perform an action notwithstanding any statute to the contrary’ (OED n, 1a). Brome also uses the phrase in The Northern Lass, [NL 5.1.speech892].
n2724
612LodovicoIt is confessed, sir, I am Lodovico,
Sometimes a lord of court when this was queen.
613CurateO Oedipus!*n2725
Son of Laius, king of Thebes, in Greek myth; the Curate refers to the legend that Oedipus vanquished the Sphinx, a monster who killed those who could not answer her riddle, by guessing the answer (Oxford Companion to Classical Literature, ed. Howatson, s.v. Oedipus).
I meant this juvenal.†gg2312
youngster (Latin)
n2725
gg2312
614AndreaNo, truly, sir, your simile non est idem.
I am no lord, whate’er you like me to.
At court I was a fool when she was queen.
615LodovicoWe dare not call her queen now, but while we
We are the King’s true subjects. And with your leave,
We’ll live amongst ye.
616PedroO gracious woman, so I may safely call you,
Who once preserved my life!
617EulaliaMention not that.
618PedroI ought not to conceal it. Therefore know
That some years past being employed to court
To render†gs310
deliver
the King’s rents†gg2315
revenues; taxes; payments made by tenants
for this province,
gs310
gg2315
Which though I duly did, there was a lord,
A strange,†gg2316
aloof, distant
officious†gs311
interfering, overzealous; diligent (the latter sense would be sarcastic here)
one, that charged me deeply,†gg2318
extremely; seriously
gg2316
gs311
gg2318
Of our allegiance. At which my rage
I struck him there in court, and was adjudged
To suffer death for’t till you won my pardon.
619LodovicoWere you that man?
I warrant, that you boxed.*n3999
This speech is printed as prose in the octavo.
n3999
621Pedro’Tis he that brags so much
622CurateSed nunc quid sequitur?*n2729
But now what follows; but now what is to follow. (Latin)
Pray mark the issue†gs312
result, consequence
n2729
gs312
Of this court-quarrel. By the way, ’tis well
You have renounced all quality†gs121
rank, station, status (OED n, 3a)
of court;*n4001
These lines are printed as prose in the octavo.
gs121
n4001
Since this man’s trouble not a gentleman,
Much less a courtier, dares breath amongst us.
But be as you pretend and write but yeoman,*n2730
That is: sign yourself as a yeoman (in, for instance, legal documents), and not as a gentleman or a knight.
n2730
You shall live jovially with us and welcome,
Enter LOLLIO and POGGIO.
623LollioWe have laid up
The murderous-minded men in dungeon deep,
Clogged†gg2325
impeded
them with plough-chains,†gg2326
chains used to pull a plough
fetters†gg2327
chains or shackles for the feet of a human being or animal (OED fetter n, 1); restraints (OED fetter n, 2)
and horse-locks.†gg2328
shackles for a horse’s feet
gg2325
gg2326
gg2327
gg2328
624PoggioWe’ll teach ’em to kill queens.
Enter ALINDA and FLAVELLO.
627AlindaFor all the feasts, the triumphs†gg2329
public celebrations, pageants, processions
and the glories
gg2329
To crown my happiness. All’s not safe hereafter:
I cannot safely say I am his wife
While th’other seems contented with a life.
Flavello!
628FlavelloMost mighty sovereign.
629AlindaOh, most
Celestial†gg2334
heavenly
sound! Here’s all your business†gs314
affairs, concerns
granted.*n4003
I have re-lineated this speech: in the octavo the line break comes at 'sound! / Here's'.
gg2334
gs314
n4003
630FlavelloGreatest and best of queens! All?
632FlavelloI only look for the poor woman’s pardon
That killed her husband for his gelding†gg2335
(v) castrating
the priest.*n2733
This bawdy joke about the propensity of priests for having sex with their parishioners’ wives may be given additional force by the play’s Sicilian setting: Roman Catholic priests were, unlike Church of England clergy, supposed to be celibate.
gg2335
n2733
633Alinda
If you but manage the profits of my favours with a discreet†gg2336
judicious
hand now, you may soon find the difference between a minion†gg254
favourite (of the king or queen) (OED n, I 1a); popular favourite (OED n, I 1c)
and the son of a dish-maker.*n2734
Alinda hints at Flavello’s lowly background and the extent of his rise to power through her influence.
gg2336
gg254
n2734
634FlavelloI find it in your gifts, my bounteous goddess.*n2735
Both Eulalia and Alinda are described as sacred by their followers, but the courtly flattery to which Flavello subjects Alinda pales in comparison with the genuine wonder that Eulalia’s miracles inspires.
n2735
635AlindaOh, divine!
636FlavelloAnd would presume that I myself were worthy
A place i’th’ calendar,*n2736
Flavello seems to allude to the calendar or list of canonised saints (OED calendar, n. 4.b): he has done enough to envision himself in the list of those favoured or blessed.
might I do you service
n2736
That merited the smallest of your graces.
637AlindaDo you know the village where that woman lives?
638FlavelloWho, sacred deity?
639AlindaI’m very sick to name her or her son.
640Flavello
Oh, Eulalia! Yes, the very house: ’tis in your majesty’s way now as you pass to Nicosia.*n2737
Nicosia is a town in Sicily, 65 miles south-east of the city of Palermo (Sugden, Topographical Dictionary, 366, s.v. Nicosia).
The King is ready, madam, and calls away; he longs to be at the end of his journey, to perform his duty in the three grants*n2738
In Penelope’s Web, the grant to the second wife is not part of an established tradition. Instead, the Souldan gives Olynda ‘free liberty to make choice of three things without denial whatsoever she would crave’ as part of his plan to ‘counter[feat] a more deeper affection than ever he did’; the scheme then turns into a public event: ‘Olynda [...] desired this grant to be solemnly given before the peers of Egypt. Upon this request the Souldan made proclamation throughout all his empire, that the nobility should within fifteen days appear at Memphis, where then he kept his court, with notice also that upon that day the queen should freely ask three things of the Souldan without denial’ (sig. D4v).
belong to you.
n2737
n2738
641AlindaOh, but that woman, and that hated boy!
642FlavelloEulalia, madam?
Thou hear’st me say I dare not speak her name,
Yet thou dar’st stab mine ears*n2739
In this rather hyperbolic statement, Alinda connects Flavello’s failure to commit violence towards Eulalia and his expression of that failure to her. The violence of her language also perhaps hints at her gradual loss of control during the second half of the play.
again with it.
n2739
Had some received the favours thou hast done,
Or could but dream of half thou’rt like to have,
But the King comes. I am enough inspired.Exit FLAV[ELLO].
Enter KING and GONZAGO.
645KingI will not only have you guiltless, sir,
Of discontent appear upon your look,
I’ll rip the hollow cave*n2740
The King’s violent diction echoes Alinda’s, and his behaviour also mimics her increasing lack of moderation.
that holds the fire,
n2740
And with death quench it.
646GonzagoI beseech your highness,
If any alteration in my looks
It grows but from a filial fear t’offend.
I have forgot I had another mother,
And humbly at the feet of this I honour
I beg her aid to win your favour towards me.
Most gracious madam, if you knew the truth,
The fair sincerity I bear in duty
Towards your highness—
My father’s love, and but to wrong or grieve you
Were stripes†gg2343
strokes from a whip (they left long red weals like stripes across the body)
or wounds to his affection.
gg2343
And shall forever.*n4004
These lines are printed as one line in the octavo.
n4004
Meaning have you? Do you bring your son to mock me?*n4005
I have re-lineated this speech: in the octavo the line-break comes at 'you? / Do'.
n4005
650KingHa! My Alinda,*n2741
The King addresses his new wife as ‘my Alinda’ and ‘my dear Alinda’ throughout Acts 3 and 4.
he’s no son of mine
n2741
That with less adoration dares look up
On thy divinity than the Egyptians*n2742
Sun-worship was common in ancient Egypt; this is perhaps also an intertextual reference to the original setting of Greene’s Penelope’s Web, in which the equivalent of the King is the Souldan of Egypt.
n2742
Gave to the sun itself, but an outcast bastard,
And of the daring giants’ ignorant nature
That warred against the gods.*n2743
According to Hesiod, the Giants were the children of Gaia (Mother Earth) conceived from the blood of her husband Uranus when he was castrated by Cronus (father of Zeus). The best-known legend concerning the Giants tells of their rebellion against Zeus and the other Olympian gods. The Oxford Companion to Classical Literature, ed. Howatson, s.v. Giants, notes that the myth ‘was sometimes thought of as symbolizing the fight of civilisation against barbarism’ (251).
n2743
651AlindaI would not move
Your anger. Pray let this win your reconcilement.Kisses*n2745
It seems most likely that Alinda kisses the King, recapitulating the kisses that they have already exchanged, but she might also kiss Gonzago to indicate her (feigned) goodwill towards him.
*n2744
This speech is printed as prose in the octavo.
n2745
n2744
652KingO thou art gentle, and the life of sweetness.
Come, my Alinda, I was calling you*n2746
The King begins the scene by addressing Alinda as ‘thou’, signalling the intimacy between them. He then switches to formal or respectful ‘you’ as he describes the scheme to grant her three boons and seal her political power as queen, perhaps suggesting her dominance, before switching back to ‘thou’ in his final compliment to her.
n2746
To our intended journey to Nicosia,
Where solemnly I will perform my vow
To grant the three demands I promised you
In the full view of our nobility,
Which by the custom of my predecessors
To ask things worthy of your dignity
Wherein I fully may declare my bounty?†gg1062
kindness, generosity, munificence (but with possible sexual overtones)
gg1062
653AlindaI, sir, shall be so reasonable, that
I doubt not upon the way, or there at very instant,
To crave past my desert.
655AlindaAnd by the way, sir, let it be my suit
We give a visit to distressed Eulalia,
[Aside] We may perhaps give order for her burial.
656KingThou art all goodness. Come, all friends, Gonzago,
657AlindaAn earldom be thou sure of, wise Flavello,
To add to thy improvements. Though it be
No full discovery,*n2747
That is: of the conspiracy of Horatio and Lodovico (seen in 2.2).
I’ll make it serve,
n2747
‘Poison or sword’ thou heard’st him speak?
658Flavello*n3312
] Elav
And in a menacing way. Now what may be
n3312
Conjectured by such words from men whose looks
Show discontent against your mightiness
659AlindaWrite, Flavello, write,
Write by that copy†gg2349
model, example, master-copy
in a statesman’s hand.†gg2040
handwriting (OED n, 16)
*n2749
i.e. a style of handwriting that could be taken for that of a senior politician
[Gives him a letter.*n2748
I have added a stage direction here, as the dialogue implies that Alinda hands Flavello a draft of the letter that he must write up and take to Eulalia.
]
gg2349
gg2040
n2749
n2748
Alas, good men! I dare even swear for them,
Howe’er those words might fall in their discourse
They had no thought of me.*n2750
The audience know that Alinda’s confidence is misplaced, as Lodovico and Horatio were indeed plotting against her.
Yet this surmise†gg2234
allegation; suspicion; conjecture
n2750
gg2234
Gives me an hint to try her loyalty
Or make her once more guilty, for my state
Stands by the King as unto her his hate.
Read it, Flavello.
660[Flavello] [Reads.] ‘Most royal and most wronged sovereign mistress, be happily assured that the time of your restoration is at hand; and that by no less means than the death of that she-monster that usurps your dignity. All shall be determined at Nicosia by your devoted servant unto death. Nameless.’*n2751
In the octavo text, the letter is printed in italics, is inset on the left and is justified on both sides [IMAGEQC_3_2] The tendency to differentiate letters from other parts of a printed text is found in many plays: see, for instance, Arden of Faversham (London, 1592), sigs. C4v-D1r; Beaumont, The Knight of the Burning Pestle (London, 1613), sig. H3v; Massinger, The Great Duke of Florence (London, 1636), sig. G4r. I am very grateful to Marta Straznicky for these references and for discussion of these issues.
n2751
661Alinda’Tis well.
And think of your directions and disguise.
’Tis but your half-day’s journey, and be sure
We are not far behind you.
662FlavelloI fly,†gs320
run, hasten
my sovereign.[FLAVELLO exits.]
gs320
663AlindaNow to the King,
Enter KING and HORATIO.
664KingNo news of Lodovico yet, Horatio?
665HoratioNone since he stole from court upon the banishment
Of that false wicked woman, whom I cannot
Name to your face or forehead but I tremble.
666KingBecause you fear all horned beasts.*n2752
It seems unlikely that Horatio intends his reference to the King’s forehead to allude to cuckoldry, but the King picks it up to make a bitter joke about the metaphorical horns that he wears as a result of Eulalia’s (supposed) infidelity. A ballad, L.P.’s Rock the Cradle, John (London, 1625), includes a picture of a horned cuckold.
n2752
667HoratioMy loyalty forbid,
And my infallible truth†gg2183
loyalty, fidelity, steadfast allegiance (OED n, 1a); honesty, virtue, integrity (OED n, 4); true religious belief (OED n, 10a)
unto the crown,
gg2183
668KingI know thy loyalty. But as for Lodovico,
How was my judgement wronged in him!*n2753
i.e. he betrayed my good opinion of him (the sexual connotations of 'wronged' suggest the high emotional charge to the King’s language here)
n2753
669HoratioAnd mine.
670KingI thought myself as safe in that man’s counsel—
671HoratioAnd so did I,
By my loved loyalty, think myself safe
In his advices—
672KingYet methought he had
673HoratioYes, he had ever a kind of a sly look.
That he would prove disloyal, and for that cause,
To speak plain truth, I never loved him truly.
675HoratioWill your majesty believe me? I would I might never rise
Into your favour (and that I would not say
For all the traitors’ lands in your kingdom,
Which were no small reward) if that were not
My*n3313
] Mine (corrected in the octavo's list of errata)
very own conceit†gg302
notion
of Lodovico.
n3313
gg302
That traitor; hang him! What should I call him less?
676KingYet ’twas given out you loved him.
677HoratioSo ’twas thought your highness did.
678KingAnd that he was your yoke-fellow†gg2352
comrade, partner; derives from ‘a contrivance, used from ancient times, by which two animals, esp. oxen, are coupled together for drawing a plough or vehicle; usually consisting of a somewhat curved or hollowed piece of wood fitted with "bows" or hoops at the ends which are passed round the animals’ necks, and having a ring or hook attached to the middle to which is fastened a chain or trace extending backward by which the plough or vehicle is drawn’ (OED yoke n, 1)
in the state.
gg2352
679HoratioYes, when he’s hanged he shalt.*n3314
] shall be King. (corrected in the octavo's list of errata: 'shalt, King.')
*n2754
Horatio responds to the King’s description of Lodovico as his ‘yoke-fellow’ with a punning equation between the noose put around someone’s neck when they are hanged and the yoke fastened around the neck of a domesticated animal. The use of ‘yoke’ to mean subjection, restraint or humiliation (OED v. 3) may also be relevant.
n3314
n2754
680King*n3314
] shall be King. (corrected in the octavo's list of errata: 'shalt, King.')
How,†gg2353
what
Horatio?
n3314
gg2353
681HoratioYour majesty knows my thoughts.
Nay, I thank my creation,†gg2354
i.e. the way I was created by God
I was ever*n4007
This is printed as one line in the octavo text.
gg2354
n4007
Just of your majesty’s mind from my nativity,†gg2355
birth
*n2755
There is something ridiculous in Horatio’s eager assertion that he has spent his life agreeing with the King, but it also encapsulates the relationship between them: Horatio’s long-standing, unquestioning loyalty is a habit, not the product of thought or reflection.
gg2355
n2755
And in that faith I’ll die.
682KingHere’s a true statesman now!*n2756
i.e. Horatio is behaving like a true politician in his equivocation. The King also seems to allude to Horatio’s assertion about the role of a ‘true statesman’ in [QC 1.1.speech45]. This line could be delivered as an aside or directly to Horatio; if it is the latter, the King is mocking Horatio directly to his face, something which would affect the way in which a production portrayed the relationship between the two men.
n2756
Go, send Gonzago to me.
Of the sweet Prince Gonzago: if ever king
Was happy in a son, you are in him.
684KingGo, call him to me.
685HoratioCherish him, good my lord;
And prove a statesman quickly. I cannot think,
Except in him and your undoubted Queen,
Petruccio and myself, true loyalty lives.
And here he comes, obedience in his face
Most brightly shining.
Enter GONZAGO.
Gonzago?
687GonzagoMy dread lord.
688KingDid you attempt
Against my strict command to visit Sforza?
689GonzagoIt is most true, I did.
690KingYou are a traitor.
691GonzagoGracious heaven forbid it.
692KingWhat was your purpose?
693GonzagoFirst, on my knees let me implore your royal pardon.
694KingWell, sir.
Into the secrets of his heart by questions,
Treason against your highness, as it is
Presumed he did, for which he was committed.
696KingMyself for that was his accuser;
697GonzagoStill relying on your pardon, I had thought
T’ have won confession of it from himself.
698KingSuppose he had confessed it?
699GonzagoI had then
Concluded there had been a probability
That question to him next.
700KingAnd say
He had confessed that too?
701GonzagoThen had I saved
Your laws a needless labour in his death,
And with the same hand made that mother childless*n4009
Gonzago says that after killing Sforza he would have committed suicide, leaving his mother childless
n4009
702KingWas that your resolution? But suppose
He had denied all?
703GonzagoAll had then been nothing
But a scandal to my mother and himself:
So good a soldier would not be a liar
To save an abject†gg334
degraded; despicable, contemptible
life.
gg334
704KingSirrah,†gs324
sir (authoritatively or contemptuously); often addressed to a boy or servant
you are
gs324
His bastard, not my son, in doing this.
705GonzagoYou are my king, would I could say my father.*n2758
i.e. I wish I could say you were my father. Gonzago seems to mean ‘I wish you would acknowledge that you were my father’: as his later address to ‘My king, and father’ in [QC 3.3.speech715] indicates, he refuses to indulge the King’s paranoid fears.
n2758
706KingWithin there!
Enter HORATIO.
707HoratioDoes your grace think so?
708KingThink so? I know it.
709HoratioThen I know it too. Think, did you say? I think
’Twas time to think it.*n2759
refers back to the King’s ‘Horatio, would you think it?’ in [QC 3.3.speech706]
n2759
710KingI knew it not till now.
711HoratioAs I am true to th’ crown, just now I knew it too.
712GonzagoO do not so interpret, royal sir.
713HoratioWhat can be said against it? Has not his grace spoke it?
What must be done with him to please your majesty?
714KingConvey him from my sight, and let our marshal
Petruccio take him to safe custody
Till our further pleasure.*n2760
i.e. until we have additional demands (OED pleasure n, 2: ‘that which is agreeable to or in conformity with the wish or will of the person specified; will, desire, choice’)
n2760
715GonzagoMy king, and father.
716KingHence with him, I say.
717GonzagoGreat sir, your mercy.
718HoratioDid not I tell your majesty there was not,
But in the Queen, Petruccio, and myself,
True loyalty in the court? Away, you traitorling.†gg2363
petty or contemptible traitor (OED); young traitor (this appears to be an invention of Brome’s; I have not found any examples elsewhere)
gg2363
720HoratioWhat? In being true to th’ crown? O my loyalty![HORATIO exits] with GONZAGO*n4010
] Exeunt with Gonzago.
n4010
Enter ALINDA [and] FLAVELLO.
721AlindaNo news yet? No return?
722FlavelloWe shall have, madam.
723AlindaYou made not choice of men of resolution.
724FlavelloThey were the same exasperate†gg2364
incensed, angered
cashiered†gg3276
dismissed; in the army this generally involved 'disgrace and permanent exclusion' (OED cashier v, 2)
soldiers
gg2364
gg3276
That swore so valiantly against Eulalia.
725AlindaMany that pass for soldiers dare swear valiantly*n2762
Alinda picks up Flavello’s ‘swore’ (i.e. testified) to refer to boastful soldiers whose actions do not live up to their words; ‘swore’ may also suggest that the soldiers’ bad language is not matched by courage in battle.
n2762
That dare not fight.
726FlavelloMany that dare not fight
Dare do a murder,*n2763
] murther
madam, such a tame†gs325
insipid, weak (OED a. 5.a.): in this context seems to mean ‘easily achievable’
n2763
gs325
One too; I am confident they have killed her.
However, I have done my best.*n4011
I have re-lineated this section of the speech: in the octavo the line break comes at 'too / I'.
n4011
727AlindaThou*n2764
Alinda’s forms of address to Flavello switch abruptly from anger (‘thou’) to frosty distain (‘your [...] sir [...] you [...] negligent fellow’).
hast done nothing whilst that woman lives.
n2764
The work was not so coarse†gg2366
rough, unrefined
that your*n2764
Alinda’s forms of address to Flavello switch abruptly from anger (‘thou’) to frosty distain (‘your [...] sir [...] you [...] negligent fellow’).
own hand
gg2366
n2764
Could have disdained it, sir,*n2764
Alinda’s forms of address to Flavello switch abruptly from anger (‘thou’) to frosty distain (‘your [...] sir [...] you [...] negligent fellow’).
if you had loved me.
n2764
So leave me, negligent fellow.*n2764
Alinda’s forms of address to Flavello switch abruptly from anger (‘thou’) to frosty distain (‘your [...] sir [...] you [...] negligent fellow’).
n2764
728Flavello [Aside] Her first month’s majesty hath wiped out
The memory of all her former days.
I must not lose her though, this hand then soon
729KingHow cheers my love?*n2765
That is: what is your state of mind, how do you feel? (See OED cheer v, 1a)
What ominous aspect†gs326
sight; may also pun on aspect as an astrological term meaning the relative positions of the stars, planets, etc. as they appear to an observer on earth at a particular time (OED n, 4)
*n2766
The King’s hyperbolic language suggests his enduring infatuation with Alinda.
n2765
gs326
n2766
Hath wrought this sad eclipse upon that beauty
Whose radiancy†gg2368
radiance (OED); OED’s earliest citation is 1646, but the earliest example I have found is in John Davies, Mirum in Modum: A Glimpse of God’s Glory and the Soul’s Shape (London, 1602): ‘They must, with wings display’d, defend their eye, / From being confounded with his radiancy’ (sig. G1r)
only is my life?
gg2368
And from my brows wipe off a score of years.*n2767
Here, as elsewhere, Brome stresses the difference between the ages of the King and Alinda.
n2767
No? What must then remove it? Or dispel
These clouds that from the anguish of thy heart
Do cast this shadow o’er my happiness?
730AlindaI must not, will not name it, but you said
You would do something which it seems
Your wavering†gg2369
inconstant, fickle
love neglects.
gg2369
731KingCan I neglect
A duty that belongs to my Alinda?
Speak it again, and by my first night’s bliss*n2768
Brome is careful to indicate that the King and Alinda have consummated their marriage: this has important implications for the way in which the play ends. For further comment see Introduction.
n2768
I had with thee, by this kiss, and by this, [Kisses ALINDA twice.]*n2769
I have added the stage direction which is strongly implied here.
n2769
732AlindaY’are dull in your performances. I will
Not name a request the second time, although my life,
Your dignity, and your kingdom’s safety
Lie on the rack*n2771
‘In a state of acute physical or mental suffering’ (OED rack n3, 1c).
for’t.†gg2370
for it
n2771
gg2370
733King [Aside] She will not name’t again.
Her last request was for the head of Sforza,
Checked at†gg2372
tried to restrain/hold back
her due†gg212
proper, rightful, fitting
promotion, and whose life,
gg2372
gg212
Swol’n up with popularity,*n2774
This phrase restates the play’s consistent association between ambition and inflation.
was my danger,*n2773
i.e. whose continued existence put me in danger.
n2774
n2773
Threat’ning no less than ruin on my state.†gs328
health of mind or body (OED n, 1d); possessions, means of livelihood (OED n, 1e); high rank, status, power (OED n, 16); country (OED n, 29a)
gs328
She will not name’t again,*n2772
We did not see Alinda request Sforza’s death in Act 2, but the off-stage action was recapitulated in the dumb-show at the start of Act 3.
poor tender soul,
n2772
Of an unnatural child. Yet for my safety
I know Petruccio, his antagonist,
Who had my warrant and signet for it,
Would not be slack in th’ execution.
[Aloud] Come, sweet, be fearless, that which your mild goodness
734AlindaIs she pursued and put to death?
735KingWhat she?
737KingSforza, my dearest life, th’ unnatural homicide
That sought thy life and mine, is put to death.
738AlindaWhat, my dear father?
739KingWas it not your desire?
Enter PETRUCCIO.
How Sforza died.
740PetruccioA self-willed, obstinate man:
Such as he lived he died, and, gracious madam,
That a more bloody spectacle should not move
But this inseparate†gg2376
inseparable
adjunct†gg2377
attachment
of his malicious head[Presents] a jewel
gg2376
gg2377
Against you, the King, and the whole kingdom’s good.
741Alinda [Aside] *n4012
In the octavo text the direction, '[side]' , appears in the right hand margin of the line 'That must confirm my safetie: Pray my Lord'.
This is a token most infallible,
n4012
The jewel that none but the cold hand of death
Is like a storm blown o’er. ’Tis done, but this is
That must confirm my safety. [To PETRUCCIO] Pray my lord,
Let me not look upon you.[PETRUCCIO exits.]*n4013
] Exit Petruccio. In the octavo this stage direction appears in the margin after the King's 'Nay Alinda'.
n4013
742KingNay, Alinda,
You must not be so sad. Your gentle sorrow,
In those obsequious†gs331
dutiful; appropriate after a death (OED adj, 1b)
tears expressed, show nature
gs331
And filial piety as he was your father,
But think upon your wrongs, my dangers, and your own.
Is not so early forgot. But sorrow leave me,
And do you give me leave to think*n2778
That is: allow me to think. ‘Do you’ is used as an intensifier.
that now
n2778
It is no less a child’s part to embrace
Revenge than sorrow for a father’s loss.
744KingHow means my love?
745AlindaShe lives that was his ruin.
You may remember whom I mean: Eulalia.
Till now I had no plea against her life,
Only my care of you might wish her death
For your security. Her foul adultery
And secret practices against your crown
Were nothing unto me compared with this.
Now I have lost a father, she the cause;
He suffers, she survives: where are your laws?
746KingSweet, be content.
747AlindaContent yourself, great sir,
With your black infamy; sit down content
On your majestic throne, the president
Of capital†gs333
chief, head (OED a, 6); punishable by death (OED a, 2a); of or relating to the head or top (OED a, 1); deadly (OED a, 3); most serious, radical (OED a, 4)
contented cuckolds,†gg2379
men whose wives have been unfaithful to them
do,
gs333
gg2379
Till all your subjects dance the hornpipe*n2779
Williams (2: 690) notes that the hornpipe is associated with copulation and cuckoldry, via the idea that a cuckold wears invisble horns; he cites Richard Brathwaite, Ar’t Asleep, Husband? (London, 1640), who refers to ‘These can play the merry mates with their wives, and never laugh till their hearts ache: and hear a hornpipe played, and never rub their brow antlers’ (107-8), and Dekker and Webster, Northward Ho (Paul’s, 1605-6), in which the citizen Mayberry accuses his apprentice of acting as a pimp to his wife, only to be rebuked by Bellamont: ‘Oh Master Mayberry! Before your servant to dance a Lancashire hornpipe!’ (Bowers, ed., vol. 2 [1955], 1.3.26-7). The hornpipe is a lively and vigorous dance usually performed by one person and often associated with sailors (OED 2).
too.
n2779
748KingNay, dear Alinda, do but think—
749AlindaThink what?
What? On a course to be revenged on you?
To serve you in that kind†gs334
manner, fashion; with a pun on 'sexual action'
myself?
gs334
750KingOh, torment!
751AlindaOr, rather, let me think your lustful purpose
Was but to rob me of my virgin honour,
Until my youth had quenched your appetite,
Then to recall her home to your embraces.
She is your wife it seems then, still, not I.
752KingYou have awaked me from a lethargy
In which I was confounded;†gs335
stunned, thrown into confusion (OED confound v, 4); can also mean ‘put to shame’ (OED confound v, 3), though this is generally used in ecclesiastical contexts
now I see
gs335
She and mine honour*n2781
Compare the King’s statement in his set speech to the Parliament in [QC 2.1.speech219], that his divorce is ‘the great change honour compels me to’.
cannot live at once.
n2781
She dies, Alinda.
753AlindaAnd you may consider
A little further yet, sir, if you please,
You father and maintain a son (your own
I cannot safely say, and therefore more
Not towards me like one that were your wife.
754KingHe’s also doomed already, my Alinda.
755AlindaIt may prevent a greater strife hereafter,
Should he but live t’ inherit lands and titles
That must belong to yours and my succession.*n2782
That is, to the children that Alinda thinks she and the King will have (to which Prince Gonzago could be a threat even if he were disinherited).
n2782
756KingThy wisdom has inspired*n3315
] inspir’d (corrected in the octavo's list of errata)
me: all shall be
n3315
(Be thou but my Alinda) ruled by thee.
757AlindaSeal you that grant: with this kiss I seal mine.[Kisses him.]
My glories were eclipsed, but now they shine.[They exit]
Edited by Lucy Munro