ACT FOUR*n2859
Like Act 3, Act 4 is divided between two locations, focusing first on events in the countryside (4.1 and 4.2) and then on those at court (4.3 and 4.4). In the pastoral scenes, the local people attempt to execute Fabio and Strozzo on Eulalia’s behalf, but she prevents them; we see her pedagogical activities, and her powers of prophesy come into play when the Doctor and Midwife, last seen in the dumbshow at the start of Act 3, appear and try to assassinate her. The conspiracies of Alinda against Eulalia culminate in Flavello’s appearance with the forged letter that he and Alinda prepared in Act 3; again, Eulalia is altered by her powers of prophesy, and he is apprehended by the country people. In an important soliloquy in 3.2, Eulalia ponders whether she should allow the conspiracy suggested by Flavello’s letter (which she does not realise is forged) to restore her to power, or whether her loyalty to the King should lead her to reveal the conspiracy and save Alinda’s life. She decides that the latter is the proper course of action, but the country people refuse to provide her with funds to go to court. Moving to the court, 4.3 opens with Petruccio telling the King that Prince Gonzago has died suddenly in captivity. The King seems to begin to have doubts about his course of action, but he quickly suppresses them and vows to take violent action against the people of Palermo for supporting Eulalia. Horatio enters with the news that Alinda has gone mad; he is followed by Alinda, whose madness takes on a highly politicised tone. The political impact of the King’s action is also emphasised in the Act’s closing sequence, in which the King’s forces rebel against him and try to execute Petruccio, convinced that he has murdered Sforza. Sforza appears in disguise as a captain and the final revelation that he is still alive both quells the rebellion and sees his reconciliation with the King. At the end of the Act, the audience is aware that the King is wavering in his attitude towards Eulalia, but they must be unsure about what action he will take. Like Act 3, Act 4 juxtaposes large-cast scenes with relatively intimate ones. In particular the power of the rebellion, in which off-stage sound is manipulated effectively to create a sense of growing crisis, is amplified by the way in which it follows swiftly on the heels of Alinda’s deranged attack on the King. The ruler’s private and public actions are, as elsewhere, inseparably intertwined.
4.1*n11344
] ACT. IV. Scœn. I
Enter two COUNTRYMEN with EULALIA.*n2800
In the octavo text this stage direction reads ‘Enter Poggio, Lollio, two Countrey-men with Eulalia’, and the speech prefixes assign the speeches to Poggio and Lollio. However, as the play stands it is impossible for Poggio and Lollio to be talking to Eulalia at this point in time, because (as the following action makes clear) they are simultaneously attempting to hang Fabio and Strozzo offstage. I suspect that Brome originally assigned this sequence to Poggio and Lollio, but later re-wrote the play to give them a greater (and more comic) role in its presentation of justice. He therefore changed the stage direction at the head of Act 4 to indicate that ‘two Countrey-men’ were talking to Eulalia instead of Poggio and Lollio, but the compositor of the octavo text ignored the deletion and printed both the original direction and the correction. Either Brome did not revise the speech prefixes or the compositor ignored the corrections. See the Textual Introduction [ESSAY_QC_TEXT] and notes to speeches 544 [NOTE n2683] and 823 [NOTE n2851] for further discussion of revision in the extant text of The Queen and Concubine.
758EulaliaY’are welcome, friends, your prayers and good wishes
Are comforts to me yet, without danger of the proclamation.
It boasts and borrows*n2803
The country people view the court as showy but shallow, and think that its expensive festivities are paid for with borrowed money that is not returned; their genuine love for their ‘queen’ is worth more than any of the court’s public shows of affection.
cannot so rejoice
In the bright shining beauty of their Queen,
As we in your enjoying in this plainness.
Their bells, and bonfires, tilts and tournaments,
Their feasts and banquets, musics and costly shows
(Howe’er unpaid for) shall not outpass our loves.
A man among you. Therefore pray reserve
What is your own, and warrant your own safety.
In our old former health: the country’s cured,
Your
practice†gg588
habit or exercise; carrying out of a profession (OED n, 1)
at an end; unless you had
The common gift of most physicians,
To make as many sick as you make sound,†gs336
healthy
*n2804
A proverbial assumption about physicians; cf. Tilley P267A: ‘The PHYSICIAN is more dangerous than the disease’.
You will not find a patient in seven years.
In
works of several kinds,*n2805
Some women in the seventeenth century supported themselves by working as spinners, lace-makers or embroiderers, and poor women were often set to work in these trades. Patient Griselda was often portrayed spinning; see, for instance, the image used on the title page of a translation of Boccaccio's story, The Pleasant and Sweet History of Patient Grissell [...] Translated out of Italian (London, c. 1640). For further discussion see the Introduction.
the needle, loom,
The
wheel,*n2542
i.e. spinning wheel.
the
frame,†gg2382
(n) loom (OED n, 13b)
the
net-pin,†gg2383
OED glosses as ‘a pin used in net making’ and cites The Queen and Concubine as its only example (OED net n1, C 1c)
and choice of
Fingers’ works are most familiar with me.
763[Second Countryman]*n2806
] Lol.
And can you handle the
bobbins†gg2384
this term is used of a variety of implements used in weaving and sewing: the article around which thread or yarn is wound so that it can be used in weaving, sewing, etc. (OED n1, 1); a small wooden pin, with a notch, around which the thread is wound in lace-making (OED n1, 1a); a wooden or metal cylinder around which thread is wound in spinning, weaving, etc. (OED n1, 1b)
well, good woman?
Make
statute-lace?†gg2385
lace of a size regulated by law (OED statute n, 8b)
You shall have my daughter.
764[First Countryman]*n2807
] Pogg.
And mine, to make
tape-purls.†gg2386
loops or twists in narrow strips of material, a row of which were used to decorate the edge of lace, braid, ribbon, etc. (OED purl, n.)
Can you do it?
765EulaliaYes, and
teach all your children works to live on.*n2808
Teaching was a major area of paid employment for women, especially those of the middling and upper ranks. See Sara Mendelson and Patricia Crawford, Women in Early Modern England (Oxford: Oxford University Press, 1998), 321-7.
The which, together with my own labour,
May bring
sufficient†gg2381
enough
for my
maintenance†gg2387
support, means of subsistence (OED n, 3a)
Without the idle help of begging, borrowing,
Or any way infringing the King’s command.
767EulaliaSomething I have in
book†gg2388
learning, scholarship (OED n, 7)
to help their knowledge
And by practice give them literature.
Then, when these serious works and studies
toil†gg2390
(v) tire
us,
For recreation, yet with equal skill,
We’ll
practise†gg2389
regularly exercise our skills in (OED v, 2); make use of our skills in (OED v, 4a)
divers†gg406
several (OED 3)
instruments, songs and
measures,†gg2391
tunes or melodies (OED measure n, 14); dances, especially grave or stately ones (OED measure n, 15a)
That shall invite the powers above to smile
On the content
of which we them beguile.†gs338
charm from, draw (away) from
*n2810
That is: which we charm from them.
All which, or what you please of it, is yours.
Take this house, make your choice of servants;
Take our children,
make your own rates*n2812
i.e. decide your own rate of payment.
for their education.
Our purses and our lives are free to you.
Get what you can that’s your own: will this please you?
769EulaliaYes,
gentle†gs339
kind, courteous
friends, and with as much content
As e’er I found in height of
government.†gs340
rule, the political system; authority
Posterity†gs341
future generations
record that without grieving
A royal queen once traded for her living.
Enter CURATE [followed by ANDREA].*n4014
] Enter Curate. The octavo text gives no entrance for Andrea: the options are either to have him enter here, following the Curate, or to have him enter with Eulalia and the Countrymen at the start of the scene.
771CurateEho! Oh! Io!*n2814
Look here! Oh! Oh! (Latin)
Where is my learned sister?
Talis erat qualem nunquam vidi.*n2816
Alas, what sort of man was he? / He was such as I have never seen (Latin). Quoted in as an example of ‘Nouns Interrogatives and Indefinites’ in the relative case in Lily’s Eight Parts of Speech, in A Short Introduction of Grammar Generally to be Used (1632; sig. D5v); Hei mihi qualis erat is a quotation from Virgil, Aeneid, 2: 274, where it is part of Aeneas’ description of the bloodied ghost of Hector.
776Andrea
Sure, sure,
his scholars have over-mastered him, and whipped him out of his wits.*n2817
A rod or cane was often used as a symbol of the teacher’s authority. See, for example, Grammaticus in Barten Holyday's Oxford University play Technogamia: or The Marriages of the Arts (printed London, 1618), who appears in the stereotypical clothing of the schoolmaster, 'In a pair of breeches close to his thigh, his stockings garter'd above knee: a sharpe-crown'd hat with the sides pinned up; a ruff-band; and a ferula [that is, a rod or cane] at his back, &c.' (sig. C2r). Here, the Curate's supposed lack of control is symbolised by the possibility that his students may have wrested his cane from him.
777CurateCorpus inane animæ,*n2818
body void of breath (Latin). A quotation from Ovid, Metamorphoses, 2.611, quoted as an example of the construction of adjectives in the ablative case in Lily’s Eight Parts of Speech, in A Short Introduction of Grammar Generally to be Used (1632; sig. D8r).
hold thy peace.*n2819
Be quiet.
778EulaliaPray speak, what
chance†gg1405
falling out or happening of events; in this context, mischance
has happened?
779Curate
Non est narrandi locus:*n2820
It is not time nor place to tell it (Latin). A quotation from Terence, Andria, l. 354 (Barsby translates as ‘there’s no time to relate now’). The line is quoted as an example of the relative case in Lily’s Eight Parts of Speech, in A Short Introduction of Grammar Generally to be Used (1632; sig. D5v): ‘Quae nunc non est narrandi locus’, glossed as ‘Which thing at this present is no time to tell’.
go forth and see. Th’enraged rurals are in an uproar loud, each one an
Hercules Furens,*n2821
Title of a play by the Latin dramatist Seneca (The Madness of Hercules), based on Euripides’ Heracles (Oxford Companion to Classical Literature, ed. Howatson, s.v. Hercules furens); the Curate compares the country people to the maddened hero.
a
formidabilis, formidandus hostis,*n2822
The Curate means something like 'a horrible, terrifying enemy'; he is apparently adapting one of Lily's examples of constructions of adjectives in the dative case in Eight Parts of Speech, in A Short Introduction of Grammar Generally to be Used (1632; sig. D7v), ‘formidabilis, formidandus hosti’, glossed as 'To be feared of his enemy'.
and quite against the law
Of
nostrum est injuriam non inferre,*n2823
It is not for us to cause injury (Latin). Quoted as an example of the construction of verbs in the genitive case in Lily’s Eight Parts of Speech, in A Short Introduction of Grammar Generally to be Used (1632; sig. E1r), where it is glossed as ‘it is our parts not to do wrong’.
Are on the point of making themselves merry
In hanging those ill-destined men by th’ neck
That sought so late
to give your neck the check.†gs342
rebuke, reproof
*n2824
i.e. to kill you.
780EulaliaOh, let us fly†gs320
run, hasten
to rescue them!
Your haste will bring you
short†gg385
too late
to cut the rope.
[They all exit.]*n3990
] Exeunt.
4.2*n11345
] Scœn. III.
Enter LOLLIO, POGGIO and GUARD [of Palermo], with FABIO and STROZZO.
782LollioBring ’em away to
present†gg884
urgent, pressing, immediate
execution:
They have lain too long upon the country’s
charge;†gg2323
(n) cost, expense
We have given ’em bread and water
a whole fortnight.*n2825
] for-night
*n2826
This suggests the time-scale over which the events of Acts 3 and 4 have occurred.
783FabioYou dare not do’t. What law are we condemned by?
784PoggioDare we not do’t? That word’s an hanging matter here in our civil†gg2392
of the citizens (OED a, 2); orderly, well-governed (OED a, 7); civilised (OED a, 8)
government.†gs340
rule, the political system; authority
Dare not do’t, sir? We’ll do’t, and when ’tis done we’ll argue†gg2393
debate
law with you.*n2827
This speech is printed as verse in the octavo.
785Strozzo
When you have ta’en†gg2156
taken
our lives you’ll lay†gg2394
(v) prescribe (OED v1, 51h); expound, demonstrate (OED lay, v1, 56g)
the law to us? You cannot be so barbarous.*n2828
This speech is printed as verse in the octavo.
786LollioImpudent traitors! How dare you say we cannot? Yet because we graciously are pleased to put the law out of our hands and make you hang yourselves, I’ll give you reason. Silence
on your lives.*n2829
i.e. on peril of losing your lives
First know,
lewd†gg733
vile, evil; worthless; lascivious
men, y’ are traitors to the King
In
offering†gg2395
presuming, daring
to be wiser than his judgement,
Which was but banishment to the good Eulalia:
Seeking most traitorously to take the life
Of (I do not say the Queen, but) the King’s wife
Of most happy memory.*n2830
most blessed: a phrase often applied to the deceased (Lollio probably means to say that Eulalia was the queen in former, happier times)
789PoggioThat was. You shall not catch us tripping,†gg2396
stumbling, erring
sir, we are more than your match.*n2831
This speech is printed as verse in the octavo.
790LollioGood I do say she is, and good again
I dare pronounce her, that by daily
pain†gg2397
effort, labour
Works for her daily bread: and for
bare†gg2398
mere, without addition (OED a, 11); paltry, insignificant, meagre (OED a, 10b)
hire,†gg2244
wages
Teacheth our children so, that we admire
The infants who have understanding more
Than we their parents have, or than
Our forefathers before us had.
791PoggioBut brother Lollio, make not your speech so long: what is’t to them? They’ll carry none
on’t†gg776
of it
to th’ other world. Let’s do what we came to do:
e’en†gs343
even now
hang ’em. Then, as I said, we’ll
argle†gg2399
argue (about), debate (OED v, 1); OED has one early citation: ‘Martin the Metropolitane’ (i.e. Martin Marprelate [pseud.]), Ha y’any Work for Cooper (London, 1589): ‘I will never stand argling the matter any more with you’ (sig. [A]3v)
it afterwards.
792LollioBut brother Poggio, better ’tis they live a minute two or three than such a speech as I am now upon†gs344
engaged in; ‘at the point of; close on, touching on’ (OED upon prep, 6d)
be lost.*n2832
This speech is printed as verse in the octavo.
Enter LODOVICO, PEDRO, CURATE, ANDREA, [and] EULALIA.
793PoggioSee what y’ have won by your delay!
If she prevent not now the good we meant her, I dare hang for ’em.*n2833
That is: if she doesn’t stop us from doing her a good turn, I’ll undertake to be hanged instead of them.
794CurateIn tempore venimus with a reprieve, quod omnium rerum est primum.*n2834
we came at the right moment with a reprieve, which is the most important thing. The Latin sections are taken from Terence, Heauton Timorumenos (in Terence, ed. Barsby, vol. 1), ll. 364-5. Barsby renders the full line as ‘in tempore ad eam veni, quod rerum omniumst primum’, but it is quoted in Lily’s Eight Parts of Speech, part of A Short Introduction of Grammar Generally to be Used, as ‘In tempore veni, quod omnium rerum est primum’ and translated as ‘I came in fashion, which is the chiefest thing of all’ (1632; sig. D4v). The same phrase is quoted three more times in the Brevissima Institutio, also part of A Short Introduction of Grammar (sigs. K8r, L2v and M8v), and it can also be found in Abraham Fraunce’s Latin academic play Victoria (1583).
795EulaliaAlas, what mean you, neighbours? Would you now
For all my labours and my prayers for you
Blast†gs345
bring infamy upon, discredit, ruin (OED v, 8b)
me with curses of expiring men?
What trespass have I done you, that for me
You put these men to death against my will?
797PoggioThere now, there – they deserve hanging for that! They call you Queen, against the proclamation. Dare you maintain†gs346
support, incite, protect
’em in’t, and now speak for ’em?*n2835
This speech is printed as verse in the octavo.
798EulaliaNo, I condemn their faults, and blame their lives,
But have
nor power nor*n2543
neither power nor
will†gg1970
in an early modern context: desire, longing, liking, inclination
to judge the men.
You have the will, but to assume the power
You take the King’s right from him, you transgress
As much his laws in spilling of their blood
As they had done in mine had they
prevailed.†gs347
succeeded
799Andrea
They do not intend to spill their blood, countrywoman; they would but strangle them – never pierce the skin, nor make ’em
an hair*n2836
An iota, the tiniest bit.
worse men, if you consider rightly what they are.
800Lollio
But to the point. This is the
all and some:†gg2400
the sum total (OED all, 12b)
we meant you a good turn, and for your sake t’ have hanged ’em right or wrong. Now since you will needs stand in your own highway of
women’s wisdom, which is wilfulness—*n2837
Women were proverbially thought to be wilful; cf. Dent W723: ‘WOMEN will have their wills’.
801CurateA most elegant
figure!†gg2401
figure of speech, piece of rhetoric
802[Lollio]*n2838
This speech prefix is omitted in the octavo.
Let ’em,
and please you,*n2839
That is: if it is agreeable to you. This is a mark of politeness often used by someone of lower social status to his or her social superior, but Lollio may use it sarcastically.
come to the gallows another day for killing you
outright.†gg2402
openly, blatantly (OED adv, 1); immediately, without delay (OED adv, 2); to ‘kill outright’ is ‘to kill in such a manner that the victim dies on the spot’ (OED adv, 4a)
Who can help it?
803CurateOraculously†gg2403
like an oracle; i.e. wisely
spoken! Which of the
sages†gg2404
wise men
could have said*n3317
] could said (corrected in the octavo's list of errata)
more?
804Lollio
’Tis not unknown to you that I can speak like a sage, and am
one of the sages of our precinct†gg2405
area of government, parish
here for the laity,*n2840
I have not been able to trace a direct source for the political system used by the country people. See the Introduction for further discussion.
though your learning lie another way among us. I am a sage, and will be a sage.
805Poggio
And so am I, and will be, and but
that wise woman, which is as much to say as a fool for her labour—*n2841
This is related to the proverb ‘A Wise WOMAN is twice a fool’ (Tilley W643).
806CurateAnother elegant
figure!†gg2401
figure of speech, piece of rhetoric
807Poggio
But that, I say, she has
gainsaid†gg2406
opposed, spoken against, refused
it, we would yet to show ourselves sages hang ’em up for scarecrows, to fright all their fellows for coming from court to kill women in the country.
808Andrea
Oh, how I love a sage! How many sages do you allow in your precinct?
809Lollio
Some three or four main
heads:†gg2407
leaders
we have now only Pedro, Poggio and myself,
but we have many powers under us. These now are powers that execute our commands; there is as much difference between a sage and a power as between a judge and a hangman.*n2842
These lines are printed as verse in the octavo.
810AndreaBut is not the learned curate a sage amongst ye?
811Lollio
No, as I said before, their learning lies another way. We allow not our clergy any
temporal†gg666
secular
offices, for reasons known unto ourselves.
812Andrea
Pray let me have a sage’s place amongst ye then; I long to be a sage.
813Lollio
Brother Andrea, you shall have my voice in your election.
815Curate [To FABIO and STROZZO] But will ye now, if
misericordially†gg2408
mercifully, compassionately (this is OED’s only citation; from misericord: compassion, pity, mercy)
This gracious
feminine†gg2409
(n) woman
preserve your lives
Ex ore lupi,*n2843
from the wolf’s mouth (Latin). A proverbial expression included in, among other texts, John Clarke’s Paroemiologia Anglo-Latina in Usum Scholarum Concinnata: Or Proverbs English and Latin (London, 1639), 250, and late editions of Erasmus’ Adages. See Adagiorum D. Erasmi Roterodami Epitome (London, 1666), 163, where it is credited to Diogenes.
from the gallow tree,
Become new men indeed?
When they consider the most
dangerous†gg2410
perilous; hurtful, injurious
sin
That threw them on their
desperate†gs348
hopeless; hazardous; reckless
attempt,
And their escape from
merited†gg2411
deserved
punishment;
They cannot be so
graceless,†gg2412
wicked, ungodly
not to turn
To a reformed life. First know, young men,
Your former act
’gainst†gg2413
against
me, an innocent,
Was perjury, by which I fell, yet flourish.
Consider there how
black†gs349
wicked, atrocious
and foul your sin
Is rendered by my
crystal†gg2414
bright, clear
innocence.
Your next attempt against me was blacker, murder:
The very word sounds horror—
Name it not then, but by your sacred mercy
Acquit us of the
doom†gg2293
sentence
which we so justly
Have drawn upon ourselves, and we will spend
Our lives in rend’ring
satisfaction†gg276
penance, compensation, atonement
To your abusèd goodness.
819FabioOr may the earth on which we kneel for favour,
Forced by the weight of our detested sins,
Open—
820[Fabio and Strozzo]*n2845
] Amb.
Quick devour us.*n2844
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, [?1615]) 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 the Third Countryman in 3.1, speech 543.
I’ll take your words.
By whom you have been wrought to these foul practices.
823FabioAll, we’ll
discover†gg1416
reveal the truth about, report or give evidence against
all,
Though justly then we pay our lives to law.*n2846
This speech is printed as prose in the octavo.
824LodovicoGood neighbours, Lollio, Poggio, and Andrea,
Conduct them to my house.*n2847
This speech is printed as prose in the octavo.
825CurateMyself also will to be their securer convoy, go
For fear the rustics may
presume†gs308
take upon ourselves; dare, take the liberty
again
To stretch these penitent necks with
halter strain.*n2848
i.e. with the pull of ropes (in hanging).
827LollioWell, since in these we are prevented thus,
Come more,*n2849
i.e. if more come.
we’ll hang ’em or they shall hang us.
828AndreaMake me but once a sage, and then fear nothing.
829PoggioThou shalt be one next
sessions,†gg2415
series of sittings or meetings of a court (OED session n, 3a); judicial sittings (OED n, 4)
without all peradventure.
[LOLLIO, POGGIO, and CURATE exit with FABIO and STROZZO.]*n2850
The dialogue suggests that the country people must exit with Fabio and Strozzo at this point, but if the additional passage is included this stage direction would have to be omitted.
830Lodovico [Aside to Pedro] When we have ta’en these men’s confessions,
I’ll write
at large†gg2416
in full, thoroughly
each
passage†gs350
event
to the King,
Against†gg2417
contrary to, without
the good Eulalia’s will or knowledge.
831PedroI’ll be your faithful messenger, my lord.
832LodovicoThanks, my good Pedro, but remember silence.
[To EULALIA] So deep in thought, good madam?
833EulaliaNever enough in contemplation of my happiness.
834PedroIt is your heavenly mind that sweetens all things.*n2851
At this point the octavo text introduces an entrance direction for ‘one of the Countreymen’ [QC 4.2.line2672], and discussion ensues between him and Poggio and Lollio about Eulalia’s arrival and the attack of Fabio and Strozzo. This passage is problematic for a number of reasons: (1) Lollio and Poggio seem to have forgotten that they already know that Eulalia is the exiled queen, despite having been on stage in Act 3, Scene 1, when her identity was revealed [QC 3.1.speech578] and when they actually comment on the danger that her presence might bring them [QC 3.1.speeches580-582]; (2) the details given here about Fabio and Strozzo contradict what we have seen on the stage in Act 3, Scene 1: they did not fall ‘palsy-struck’ to the ground, and did not accuse Eulalia of witchcraft; instead, they were disarmed by the country people, who included Lollio and Poggio themselves; (3) the dialogue above has suggested that Lollio and Poggio should exit with Fabio and Strozzo [QC 4.2.speech813]; (4) Eulalia, Lodovico and Andrea are required in the octavo text to re-enter without having exited (see [QC 4.3.line2899]); (5) at [QC 4.3.speech834.1], Poggio refers back to a statement made at 3.1, a sequence which also seems to have undergone revision (see [NOTE n2684]).
Brome seems to have drafted this sequence - in which the attack of Fabio and Strozzo is narrated rather than dramatised - before deciding to rework the earlier sequence. It is, of course, impossible to know what shape the final performance text took, but the sequence is clearly inconsistent with the play in its extant form. I suspect, therefore, that this passage was marked for omission in the manuscript used by the compositors, or that it was written on a loose sheet that had been misplaced in the manuscript. The simplest solution, which I have followed here, is to cut the anomalous passage and to resume the scene on the entrance of ‘three Countrymen more’ [QC 4.1.speech862]. Alternatively, the scene could be resumed at the shout ‘Heaven bless our holy woman!’ [QC 4.2.speech836], but this would make it necessary either to delete the octavo’s entrance direction for Lodovico, Andrea and Eulalia [QC 4.3.line2899], or to start a new scene. Both of these are problematic; in particular, starting a new scene would lead to Eulalia, Lodovico, and Andrea exiting and immediately reappearing, something that happens very rarely in early modern drama. For further discussion of revision in the play see the notes to speech 544 [NOTE n2683], the stage direction at the head of Act 4 [NOTE n2800] and the Textual Introduction.
Enter three COUNTRYMEN more.
835AndreaHere come more of our
weather-headed†gg2418
light-headed, foolish (OED ppl. a.)
wise neighbours.
836[Third Countryman]*n2852
] Pog. Poggio is unlikely to be on stage at this point because he must enter, following Flavello, later in the scene, after [QC 4.2.speech931].
Heaven bless our holy woman.
839EulaliaThis
homage†gg2419
acknowledgement of superiority (esp. in terms of rank) (OED n, 3); respectful tribute
fits not me.
And will no longer live than be your subjects.
In serving or in
succouring†gg2420
helping, assisting
me you fall
Into rebellion against the King.
Heaven bless your majesty.
844AndreaThat was
pronounced†gg2421
spoken; proclaimed
bravely.†gg141
worthily; fearlessly; splendidly, handsomely (OED)
O my
brave†gg343
splendid
new neighbours!
847AndreaAye,*n4103
] I
well said, hold her to it.
849Second Countryman*n2854
] 2.
We dare, and can prove it good and
lawful.†gg2422
permitted by law (OED a, 1); justifiable (OED a, 1b); faithful, loyal (OED a, 3)
This province is engaged unto you, madam;
The King made it your
jointure,†gg1144
marriage settlement (usually the part of a husband’s wealth or property that he elected to assign to his wife in the event of his death)
and we find
No reason but you
instantly†gg2423
at once, immediately
possess it.
These be true blades.†gg2427
good fellows, gallants
And will not live an hour amongst you more
But with this freedom, to use my
fair†gs352
virtuous; legitimate
obedience to the King.
856EulaliaOh, let that title die with my
late†gs353
former
fortune.
Remember it no more, but let me be
As one of you; nay, rather, an inferior,
Or I from this
abiding†gg2428
dwelling-place, home
must remove,
Of which I first made choice, in truth, for love.
857Third Countryman*n2856
] 3.
O
madam!†gg2780
‘a form of respectful or polite address (substituted for the name) originally used by servants in speaking to their mistress, and by people generally in speaking to a woman of high rank’ (OED n, 1a)
858EulaliaTake heed,†gg2429
be careful
good neighbours,
Beware how you give
dignity†gg296
position, honour, rank (OED n, 2)
or
title,†gg2430
right, claim; ‘an appellation of honour pertaining to a person of high rank’ (OED n, 5a)
Therein you may transgress.†gg1879
offend, disobey (a rule of conduct)
*n4015
This is printed as one line in the octavo.
Observe the
dialect†gg2432
language, manner of speaking
of France and you
Shall find ’madam’ given there in courtesy
To women of low fortunes, unto whom
’Tis held a poor
addition,†gs354
something added to a person’s name to show their rank; style of address (OED n, 4)
though great queens
Do grace†gg290
(v) show favour to; confer honours on
and make it royal.
Greatness of the person dignifies the
Titles, not it the person.*n4016
I have re-lineated these lines: in the octavo the line-break comes at 'of / The'.
861First Countryman*n2853
] 1.
And in that, madam, you are in your
content†gg2433
satisfaction, contentedness
Above†gg1344
superior; higher in rank or position
all titles
proper†gg794
exclusive, special, private (OED a, 2a); appropriate
to great princes.
But setting this aside,
how thrive†gg2434
fare, prosper
your scholars?*n2857
i.e. how do your scholars progress
Enter FIRST GIRL.*n2860
] 1. Girl.
Look you, sir,
Here’s one that knew no letter in the book
Within these ten days, can read
hitherto,†gs355
thus far, up to this point
And waits for a new lesson.
[To FIRST GIRL] Proceed
hither,†gs356
to this place (i.e. to the place where lessons take place)
And at your hour I’ll hear you.
Enter
SECOND GIRL.*n2861
] 2. Girl.
864EulaliaGood girl, well said. Nay, nay, hold up your head.
So, so, ’tis very well.
[To SECOND GIRL] Let’s see your
sampler;†gs358
a small piece of fabric embroidered with different stitches and patterns, which could be used for practice or reference
What an heartsease†gs359
a kind of flower; in the sixteenth century could refer to the pansy or the wallflower (OED 2); in context, the name of the flower has obvious relevance to Eulalia’s situation
is here!*n4017
This speech is printed as prose in the octavo.
866EulaliaNay, she’ll do well.
[To SECOND GIRL] Now
take me out*n2862
In Early Modern English, a pronoun could appear straight after the verb, without a preposition such as ‘to’, ‘by’ or ‘for’: in Present-day English this might read ‘take out for me’. The construction is used in contexts where the action implied in the verb could have some effect on the speaker (i.e. here the girl is being asked to carry out a task for Eulalia). It is used frequently in early modern drama to give speech an informal quality, and may be particularly likely to be used in scenes of instruction. The Bawd in Shakespeare and Wilkins's Pericles (King's Men, c.1607) uses a similar construction, saying of Marina, ‘When she should do for clients her fitment and do me the kindness of our profession, she has me her quirks’ (18.14-17).
this flower.
Keep your work clean†gg2437
neat
and you shall be a good maid.*n4018
This speech is printed as prose in the octavo.
[Enter THIRD GIRL.]*n2863
] 3. Girl.
[To THIRD GIRL] Now, where’s your writing-book?†gg2438
exercise book used to practice handwriting
*n4018
This speech is printed as prose in the octavo.
Pray, shall I have a join-hand†gg2439
cursive handwriting: ‘Written with a running hand, so that the characters are rapidly formed without raising the pen, and in consequence have their angles rounded, and separate strokes joined, and at length become slanted’ (OED cursive a.)
copy†gs360
specimen of handwriting/penmanship for a pupil to copy
next?*n4019
This speech is printed as prose in the octavo.
868EulaliaNo, child, you must not join-hand yet;
you must*n2864
] must your
Make*n2864
] must your
your letters and your
minims†gg2440
‘single downstroke[s] of the pen; esp. the short downstroke used in the letters m, n, u, etc., in court hand or secretary hand’ (OED minim n, 2)
better first.
Take heed, you may join-hand too soon and so
Mar†gg2441
spoil, damage
all. Still youth desires to be too
forward.†gs361
eager; precocious; premature
[Enter FOURTH GIRL.]*n4022
The octavo has a direction 'Enter 4 Girls' at the end of the speech, after the direction '[Song]'. Since three girls are already on stage, I have instead inserted an entry direction for the Fourth Girl at the point at which the text suggests she needs to enter.
Go
take your lute,*n2865
Songs were frequently sung to the lute in the early modern playhouse. One surviving version of the song that follows, ‘What if a day’, is a simple arrangement of the melody for lute (British Library, MS Egerton 2046 [Jane Pickering’s Lute Book], f. 19; see David Greer, ‘What if a day’: An Examination of the Words and Music’, Music and Letters 43.4 [Oct. 1962], 304-19 [307]).
And let me hear you sing the last*n2866
i.e. the last song.
I taught you.*n4020
This speech is printed as prose in the octavo.
869[Girls] [Singing]*n4021
The octavo has a direction for '[Song]'.
What if a day,*n2867
As C.R. Baskervill appears to have been the first to point out (in a review of The Cambridge History of English Literature, ed. A.W. Ward and A.R. Waller, vols. 5-6, ‘The Drama to 1642’, in Journal of English and Germanic Philology 11 [1912], 476-87 [485]), this is the first stanza of a song by Thomas Campion (in fact it is attributed to Campion only in Alexander Gil’s Logonomia Anglica [London, 1619], 140, but no serious objections to his authorship have been raised). For detailed accounts of the song, on which I have drawn here, see Greer, ‘What if a day’: An Examination of the Words and Music’; Edward Doughtie, ed., Liber Lilliati: Elizabethan Verse and Song (Bodleian MS Rawlinson Poetry 148) (London and Toronto: Associated University Presses, 1985), 195-200.
This song was extremely popular in both England and the Netherlands. The first appearance of the lyric is in manuscripts dated to the early 1590s, and it is first accompanied by a tune in the ‘Commonplace Book of John Lilliat’, Bodleian Library MS Rawl. poet. 148, fo. 109v (an adjacent item is dated 1599, suggesting that it was copied c. 1599-1600). (See Greer, 305, and Doughtie, 126-7, for transcriptions.) This tune appears repeatedly in manuscript and print throughout the seventeenth century. There are also two other variant tunes, each found in only one text: the five-voice setting in Richard Alison, An Hour’s Recreation (London, 1606), nos. 17-18 (Doughtie comments, ‘although the music shares some rhythmic features with the more popular tune found in L[illiat], it is not the same’ [197]), and another setting in Christ Church, Oxford, MS 439, p. 115 (Doughtie, 197). Two of the many manuscript versions (Christ Church, Oxford, MS 439, p. 115, and Paris Conservatoire, MS. Res. 1186, fo. 15-15v) date from the 1630s, and a ballad version of the lyric with ten stanzas, to be sung ‘To a pleasant new tune’, appearing under the title ‘A Friend’s Advice In an Excellent Ditty, Concerning the Variable Changes in this World’, survives in editions of around 1625 (STC 4541.5), 1628-9 (STC 4541.7), 1650-58 (Wing 408E) and 1663-74 (Wing 409). The ballad may have been first issued in the 1590s, since one of the earliest manuscript witness for the text describes it as ‘The fickle estate of our uncertain life to a pleasant new tune’ (Oxford, Bodleian Library, MS Rawl. poet. fo. 10v-11). The lyric also appears in another dramatic work, the anonymous Scottish play Philotus (published Edinburgh, 1603); Doughtie writes, ‘Apparently the play was older, and the two-stanza poem was inserted as a filler’ (196).
It seems likely that initial productions of The Queen and Concubine would have used the tune first presented in Lilliat’s commonplace book, with which the lyric is repeatedly associated. The tune was still being included in manuscript collections in the 1630s and, as Greer notes, ‘Unlike many ballad tunes, "What if a day" ... is not simply a convenient and well-known channel for the transmission of the words, but a melody closely corresponding to the forms and inflections of its text’ (312). In the first part of Hudibras (London, 1663), Samuel Butler alludes to ‘What if a day’ in a way that suggests the song’s affective power and its associations for audiences:
For though Dame Fortune seem to smile
And leer upon him for a while;
She’ll after show him, in the nick
Of all his Glories, a Dog-trick.
This any man may sing or say
I’th’ ditty call’d What if a Day.
(Canto III, 5-10; p. 77)
For a rendition of a lute arrangement possibly by John Dowland (see Doughtie, 199) see this performance by Valéry Sauvage available on You Tube. If the Elizabethan tune was still being used in the 1630s, it may have been updated with a new arrangement, but it may have been deliberately intended to evoke a by-gone age; at any rate, an alert spectator may well have recognised the lyrics and/or tune and realised that this was an old song. Steggle remarks that the inclusion of this song ‘evokes the Elizabethan, not by accident but quite deliberately’ (Richard Brome, 85).
The lyrics to this and one of the play’s other songs, ‘How blessed are they that waste their wearied hours’ are printed at the head of the octavo playtext rather than in their proper places in the play itself. This, and the fact that the lyrics to the third song are lost, may suggest that the lyrics to all the songs were on separate sheets.
The lyric as it is printed in The Queen and Concubine varies somewhat from other manuscript and print versions. See below for notes on major textual variations between The Queen and Concubine lyric and three other early sources. A more full collation can be found in Doughtie, 198-9.
or a
month,*n2868
] night (Bodleian Library, Rawlinson MS 148, fo. 109v [Greer, 305])
or a year
Crown†gg2442
(v) bless, amplify, give honour to (OED v1, 11); bring to a happy conclusion (OED crown v1, 10)
thy
delights*n2869
] desire (Bodleian Library, Rawlinson MS 148, fo. 109v [Greer, 305])
May not the*n2871
] Cannot the (Bodleian Library, Rawlinson MS 148, fo. 109v [Greer, 305]; ‘A Friend’s Advice’ [London, c. 1625]); Cannot a (Alison, An Hour’s Recreation)
chance†gg1405
falling out or happening of events; in this context, mischance
of a night or an hour
Cross†gg2445
(v) thwart, forestall; contradict; afflict, go against
thy
delights*n2872
] delight (Bodleian Library, Rawlinson MS 148, fo. 109v [Greer, 305]); desires (Alison, An Hour’s Recreation)
With
as many*n2873
] a thousand (Bodleian Library, Rawlinson MS 148, fo. 109v [Greer, 305])
sad
tormentings?†gg2446
instances of torment (OED tormenting, vbl. n.)
Fortune, honour, beauty, birth,*n2875
] youth (Bodleian Library, Rawlinson MS 148, fo. 109v [Greer, 305]; Alison, An Hour’s Recreation)
*n2874
] Fortunes in their fairest birth (‘A Friend’s Advice’)
Are but blossoms dying.
Are but
shadows†gg2448
ghosts; delusions
flying.
All our joys
Are but
toys,†gg2449
foolish things, fancies, nonsense
Idle thoughts deceiving:
None hath power
Of an hour
In our*n2878
] yeir (Bodleian Library, Rawlinson MS 148, fo. 109v [Greer, 305]); their (Alison, An Hour’s Recreation)
lives’ bereaving*n2877
That is: in the vanishing of our lives. See Thomas Kyd, Cornelia (London, 1594): ‘Now as for happy thee, to whom sweet Death, / Hath given blessed rest for life’s bereaving’ (sig. L1v).
Enter DOCTOR and MIDWIFE.
870Lodovico
Whither†gg1313
(to whatever) place; where
do you
press?†gg1910
push insistently, advance with eagerness, intrude
Who would you speak
withal?†gs363
substituted for ‘with’ (OED prep.)
871Doctor
O sir,
for charity sake*n2879
i.e. for charity’s sake
give us access unto the holy woman.
873Doctor
We are poor pilgrims, man and wife, that are upon our way struck with sad pain and sorrow.
874Andrea
Alas, poor pilgrims! Here’s she must do you good.
875Eulalia [Aside] How divine justice throws my enemies
Into my hands! [To DOCTOR and MIDWIFE] What are your griefs?*n2880
This speech is printed as prose in the octavo.
That’s the greatest grief a woman can endure.*n2881
The misogynistic stereotype holding that women were more talkative than men is the source of many proverbs; cf. Tilley W701 (‘WOMEN are great talkers’), W675 (‘A WOMAN’S strength is in [A woman’s weapon is] her tongue’), W676 (‘A WOMAN’S tongue is the last thing abut her that dies’), W677 (‘A WOMAN’S tongue, like an aspen leaf, is always in motion’), W678 (‘A WOMAN’S tongue wags like a lamb’s tail’), and W686 (‘Many WOMEN, many words’).
But trouble not thyself to seek for cure;
Too many a man i’th’ world will
change†gg203
(v) exchange
with thee
A wife that of her language is too free,
And give good
boot.†gg2450
profit
[To DOCTOR] And where’s your pain?
Desire to show in some more privacy.
880EulaliaBecause your blow cannot be safely given here, you think.
O sinful wretch! Thou hadst no pain till now,
Nor was she dumb till divine Providence
Now at this instant struck her. It is now
Just as thou say’st, and justly are you punished
For treacherous
counterfeits.†gg2451
impostors
Lodowick,
search†gs583
investigate, examine (OED v, 5a)
his hand.
[LODOVICO grasps the DOCTOR’S hand and a knife falls out of it.]*n2883
I have added the stage direction which is implied in the text.
881LodovicoHis hand is withered, and lets fall a knife.
882AndreaAs sharp to do a mischief as e’er was felt on.
883EulaliaNow take off his false beard; see if you know him,
And let the woman be
unmuffled.†gg2452
stripped of her disguise
[The DOCTOR and MIDWIFE’S disguises are removed.]*n2884
I have added the stage direction which is implied in the text.
885AndreaO
the last couple that came out of hell!*n2885
Andrea probably alludes to the game of Barley-Break, which is played by three couples, hand-in-hand. One couple stands in a centre circle called ‘hell’ and attempts to catch the others as they run past them; if any participant is caught they have to take their turn in the centre circle. Cf. George Wilde, Love’s Hospital (John’s College, Oxford, 1636; ed. Jay Louis Funston [Salzburg: Institut für Englische Sprache und Literatur, Universität Salzburg, 1973]) ‘A fine game at Barley-break; and the first couple in hell’ (l. 1103).
886LodovicoThese are the other two that damned themselves
In perjury against you at your trial.
887AndreaHow do you, Master Doctor and Mistress Midwife?
Is this
the pen*n2886
Andrea refers to the dagger that the Doctor has just dropped.
your doctorship prescribes with?
This might soon write that might cure all diseases.*n2887
i.e. the ‘writing’ of the dagger on a human body would (by ending its life) cure all its diseases.
And are these the
labours†gs364
exersions; puns on labour: childbirth
you go to,
Mistress Midnight?*n2888
Refers to the night-time activities of midwives and of bawds, with whom midwives were often associated.
Would you bring women to
bed*n2889
childbed; the bed on which sexual activity takes place; deathbed.
this way?
888All*n2890
] Omn.
O damnable conspirators!
889EulaliaPray take ’em hence, their time’s not come for cure yet.
890AndreaCome away, pilgrims, we’ll cure ’em for you
If your own
salves†gg2454
healing ointments for wounds or sores; remedies
can cure you. O my sweet pilgrims!
891First Countryman*n2853
] 1.
Fough,†gg1963
an exclamation of abhorrence or disgust (OED)
they stink of treason damnably!
895EulaliaYou shall lose me if you do any violence to any of ’em. But let ’m be lodged with those we took today. I’ll feed ’em all.
899First Countryman*n2853
] 1.
I’ll make my barn a
spittle†gg2455
a kind of hospital generally occupied by those of low status or suffering from infectious diseases (OED n1, 1)
for your conspirators till it be
top full,†gg2456
full to the brim
and then set fire on’t, and please you.
900EulaliaDo you no harm and fear none.
Send your children.*n2902
This statement seems to be something of a non sequitur. It is possible that Eulalia intends to reassure the country people that they are to continue in their normal routine and that no harm will come to them as a result of the attacks on her. However, the country people have shown little sign of such worries since Act 3, Scene 1. Given that the text of Act 4 seems to be muddled in places, and shows signs of uncompleted revision, it is possible that this might have been a phrase marked for deletion in the manuscript, which nonetheless made it into the printed text.
902Andrea
Your Queen? Have you a mind to be hanged?
904EulaliaWe live
secure†gg2457
safe, free from anxiety
in spite of foes, and see
Where heaven protects in vain is treachery.
Who says
our*n3318
] out
state†gs365
condition, circumstances; status, rank
is low, or that I fell
When I was put from court? I did not rise
Till then, nor was
advanced†gg2458
promoted, preferred, favoured
till now. I see
Heaven plants me
’bove†gg2459
above
the reach of treachery.
905LodovicoO happy, happy saint!
[COUNTRY PEOPLE exit] with DOCT[OR] and MIDWIFE.
Enter FLAVELLO,
alias ALPHONSO,*n4023
Stage directions, speech prefixes and the dramatis personae specify that Flavello uses the alias Alphonso when he is disguised in Acts 4 and 5, but the name is used only once on stage, in [QC 5.1.speech1238], when the Curate tells Eulalia his name.
with a letter to EULALIA, POGGIO and LOLLIO following.
906LollioI would she had a council. She shall have a council, and we will be the heads†gg2407
leaders
thereof, though I be put to the pains†gs366
effort, trouble
to be president†gg2460
head (OED n, 2b)
myself.*n2905
This speech is printed as verse in the octavo.
907PoggioIt is most requisite†gg2461
needful, necessary
for her safety: her danger may be great, a good guard, then, in my opinion were more requirable.*n2906
This speech is printed as verse in the octavo.
908Lollio
’Tis well
considered†gs367
thought of, recommended
– she shall have a guard too, and we will be the
limbs†gg2462
members
thereof, though I be put to the trouble of captain on’t my self.
909Poggio
You will put on all offices, yet
count†gg2463
consider
’em
pain†gg2397
effort, labour
and trouble.
910Lollio
Yes, and perform ’em too here in our
court of conscience,*n2907
The 'Court of Conscience or of Requests' was a 'small debt court', but 'court of conscience' is used figuratively to refer to the 'conscience as a moral tribunal' (OED court n1, 11c). Lollio means that the country people will hold a court which has a proper consciousness of right and wrong, in contrast with the king's justice and that of the royal court.
for here’s no other
profit†gg2464
personal advantage; financial gain
to hinder the duty. Let them above do what they
list,†gg1119
wish, please
we will have as much care of our schoolmistress as they of their
Semiramis.*n2908
Legendary Assyrian queen whose supposed lust, power-hungriness and refusal to conform to decorous female behaviour are invoked in a number of early modern texts: see, for instance, John Mason’s The Turk (King’s Revels, 1607-8; published London, 1610), in which Mulleasses advises Timoclea, ‘Discard the timorous pity of thy sex: / Be a Semiramis: let thy husband’s death / Give thy hopes life’ (sig. H1r). Richard Rainolde includes a concise history of Semiramis in his Foundation of Rhetoric (London, 1563), in which he describes how on the death of her husband she ‘kept her son from the government, and most of all she feared that they would not obey a woman; forthwith she feigned herself to be the son of Ninus, and because she would not be known to be a woman, this queen invented a new kind of tire, the which all the Babylonians that were men used by her commandment. By this strange disguised tire and apparel she, not known to be a woman, ruled as a man for the space of two and forty years: she did marvellous acts, for she enlarged the mighty kingdom of Babylon, and builded the same city. Many other regions subdued, and valiantly overthrown, she entered India, to the which never prince came, saving Alexander the Great: she passed not only men in virtue, counsel, and valiant stomach, but also the famous counsellors of Assyria might not contend with her in majesty, policy, and royalness. For, at what time as they knew her a woman, they envied not her state, but marvelled at her wisdom, policy, and moderation of life. At the last, she desiring the unnatural lust and love of her son Ninus, was murthered of him’ (sigs. C4v-D1r). In Greene’s Penelope’s Web, the exiled queen Barmenissa mentions Semiramis as an example to be avoided when she tries to warn the concubine Olynda (sig. E1r).
I speak no treason, nor no
trifles†gg2465
trivial things
neither, if you
mark†gg2220
(v) pay attention to, observe
it. But she must never know this
care†gs368
protection; concern, attention
of ours, she’ll urge the
Statute of Relief*n2909
i.e. the proclamation read by the Crier [QC 3.1.speeches578-582]
against it.
911Poggio
This is some courtier, sure, that’s with her,
he smells ill-favouredly.†gg2466
badly, offensively
*n2910
i.e. I can perceive (as if by smell) that he is up to no good; it is possible Flavello smells unpleasant to the country people because he is wearing perfume
912Lollio
That made me
dog†gg2467
follow closely, pursue his scent like a dog
him hither.
913Poggio
He shall not have her out of sight,*n2911
i.e. we will not allow him to consult with her alone.
that’s certain.
914Lollio
Nor out of reach neither: a mischief’s quickly done.
915EulaliaNo
superscription,†gg2350
address or direction (OED 3)
nor any names unto it.
[She reads] ‘Most royal and most wronged sovereign mistress’*n2912
The way in which the letter is marked out in the octavo text is similar to that used in its earlier appearance in 3.2 [NOTE n2751], except that in this case Eulalia’s interruptions to her own reading are distinguished from the italic text of the letter by being placed in brackets, in roman type [IMAGEQC_4_2]. Intriguingly, the text of the letter does not quite match Alinda’s ‘copy’: either Flavello has written it carelessly, Eualia reads it inattentively, or Brome was not concerned with whether it matched.
(that must needs be me). ‘Be happily assured your restoration is at hand, and
by no*n4100
] byno
less means than by her death that usurps your dignity’ (a
plain†gs369
evident, obvious (OED a1, 7); unmistakeable, absolute (OED a1, 8)
conspiracy against Alinda in my behalf). ‘All shall be determined at Nicosia by your loyal servants. Nameless.’
[To FLAVELLO] You know not the contents, then, and are bound by oath, you say, not to reveal the senders of this letter?
916[Flavello]*n2913
] Alph.
It is most true. Only thus much I tell you,
They are your noble and best chosen friends.
917Eulalia
Heaven! Can it be that men in my
respect†gs370
favour; esteem
can plunge into such danger?
918[Flavello]*n2913
] Alph.
So, madam, this being all I had
in charge†gg2468
entrusted to me
I must
crave†gg2469
ask, beg
leave.†gs371
permission to depart
[Aside]*n4024
The octavo has a bracket before 'Indeed', and the direction '[aside]' in the margin at the end of the speech.
Indeed, I do not like this
Opportunity,†gs372
favourable circumstances (OED n. 1.b.; if this is meant Flavello is being sarcastic); time when there is need for something (OED n. 3: OED cites two examples, one from 1526 and the other from 1683); timeliness (OED n. 5)
nor well the
countenances†gg2471
expressions, faces, emotions
of these
hobnols.†gg2472
yokels, rustics (from Hobbinoll, the name of a shepherd in Spenser’s The Shepherd’s Calendar)
919EulaliaYou are no messenger of such ill tidings
To part so slightly.†gs373
easily; neglectfully
*n2914
i.e. that you should leave so abruptly.
Indeed you shall not.
920[Flavello]*n2913
] Alph.
[Aside] She’s
honeyed†gg2473
sweetened, made receptive
with the news.
[To EULALIA] I have already,
Madam, my reward, and will no longer stay.
921EulaliaThen I must say, ‘you shall stay’, or I’ll send
A cry as loud as treason after you.
923All*n2890
] Omn.
You wrong yourself, sir, and we charge you stay.*n2915
Massed speeches are used at various points of the play, most of them moments of heightened tension. Although such speeches are relatively common in early modern plays, there is little evidence to suggest how they might have been delivered. It is possible to deliver them in unison, which creates a powerful moment but is difficult to integrate if a production’s performance style is otherwise relatively naturalistic; longer speeches can be divided between several actors or the delivery can be staggered. In The Queen and Concubine, which rarely demands a naturalistic style, it seems likely that at least some of these speeches would have been delivered in unison. For workshop experiments with the massed speeches in Act 5, Scene 2, see the relevant commentary notes.
925LollioHow! You
choplogical†gg2474
argumentative, disputatious (OED chop-logic 3); OED cites only one other example, William Tindale, The Obedience of a Christen Man (London, 1528): ‘Where he sayeth the letter killeth but the spirit giveth life, "lo", say they, "the literal sense killeth and the spiritual sense giveth life". We must therefore say they seek out some choplogical sense’ (sig. Cxxxiii)
rascal,†gg2475
(n) wretch, villain
peasants?
927EulaliaNo violence, good friends, but if you will
Detain him till I give order for his
Liberty you do the state good service.*n4025
I have re-lineated this speech: in the octavo text the line-breaks come at 'him / Till' and 'libertie, / You'.
929PoggioThe state is
finely†gg2476
perfectly, completely
served already.
933LollioMad ass, hold your prating†gg2477
prattling, chattering
till she calls you. Meantime you are fast.†gg255
secure
[To POGGIO] ’Twas time we were a council or a guard.*n2916
This speech is printed as verse in the octavo.
[They exit with FLAVELLO.]*n4026
] Exeunt with Alphonso.
934EulaliaI thank thee Providence,*n2917
Eulalia’s speech is modelled on that of Barmenissa in Greene’s Penelope’s Web, which it follows closely at certain points (see below for closer comparisons). The speech in full reads:
Now Barmenissa, thou seest that delay in revenge is the best physic: that the Gods are just and have taken thy quarrel as advocates of thine injury. Now shalt thou see wrong overruled with patience, and the ruin of thine enemy with the safety of thine own honour. Time is the discoverer of mishap, and Fortune never ceaseth to stretch her strings till they crack; shame is the end of treachery, and dishonour ever foreruns repentance. Olynda hath soared with Icarus, and is like to fall with Phaeton; sooner are bruises caught by reaching too high, than by stooping too low. Fortune grudgeth not at them which fall, but envy bites them which climbs; now shall the lords of Egypt by revenging thine enemy work thy content. And why thy content Barmenissa? Doth content hang in revenge, or doth the quiet of the mind proceed by the fall of an enemy? Seest thou not (fond woman) that the prosperity of Olynda is the preserving of thy glory? That it is princely as well to be faithful as patient? That it is thine honour to put up causeless injury, and her shame to hear of thy unhappiness? Nay, what would Egypt, yea, the whole world say (if by treachery her bane be procured) but that it was thy trothless endeavour? So shalt thou lose more fame in a minute, than thou shalt recover in many years. Then here lies the doubt: either must I have mine honour by her mishap, or else seek the ruin of my friends by discovering their pretence. Treachery thou knowest, Barmenissa, is not to be concealed; friends have no privilege to be false; amity stretcheth no further then the altar. Saladyne is thy sovereign, she his wife and therefore thy superior; rather reveal their falsehood then ruinate thine own honour. The wife of Manlius Torquatus caused her son’s head to be smite off for killing his enemy cowardly. Sempronia slew her son for uttering speeches against the senate. Kings are gods, against whom unreverent thoughts are treachery. The head that is impasted with a crown must be prayed for, not revenged. Then, Barmenissa, be rather ingrateful to thy friends than treacherous to thy prince: rather see them die then Olynda fall into such fatal danger (sigs. D3r-v)
I dreamed not of such
ready†gg2478
eager; vigilant
help.
I am struck through with wonder at this letter;
I could not at the first but
think’t†gg2479
think it
a bait
To catch
my willingness to such an act,*n2918
i.e. my readiness to condone such a conspiracy.
Or
gullery†gg2480
trickery
to mock my hopes or wishes,
In case I had such. Therefore I desired
The messenger’s restraint from being my
relater,†gg2481
narrator, the one who told me
But now a strong belief possesses me
A noble fury has stirred up some friends
To this
high†gs374
grave, serious (OED a, 6b); proud, arrogant, angry (OED a, 14a)
enterprise, whereby I
gather†gg2482
infer, guess that
My cause is
weighed†gg2483
judged
above,†gs375
in heaven
whence I shall see
How well my patience overrules
my wrong,*n2920
i.e. the wrong done to me.
And my foes ruined with mine honour’s safety.*n2921
i.e. with no danger to my reputation/virtue.
*n2919
This paraphrases Greene, Penelope’s Web: ‘the Gods are just and have taken thy quarrel as advocates of thine injury: now shalt thou see wrong overruled with patience, and the ruin of thine enemy with the safety of thine own honour’ (sig. D3r)
But let my better judgement
weigh†gg2484
consider
those thoughts:
I do not seek revenge, why shall I
suffer†gg1030
allow, tolerate
it?
My causeless injuries have brought me honour
And ’tis her shame†gg2485
disgrace, dishonour
to hear of my mishap.*n2922
This paraphrases Greene, Penelope’s Web: ‘it is thine honour to put up causeless injury, and her shame to hear of thy unhappiness’ (sig. D3v)
And if by treachery she fall, the world
Will judge me accessory, as I were indeed
In this
foreknowledge†gg2486
knowledge in advance
of the foul intent,
Should I conceal it.
Then here’s the trembling
doubt,†gg2487
apprehension; hesitation
which way to take?
Whether to rise by her destruction
Or sink my friends, discovering their
pretence.†gg2488
intention, aim, design (OED n, 6)
Friends have no privilege†gg2489
licence, authority
to be treacherous:*n2924
This paraphrases Greene, Penelope’s Web: ‘Then here lies the doubt, either must I have mine honour by her mishap, or else seek the ruin of my friends by discovering their pretence. Treachery thou knowest, Barmenissa, is not to be concealed; friends have no privilege to be false’ (sig. D3v)
She is my sovereign’s wife, his
chief†gg2490
principal
content,
Of which to rob him were an
act of horror*n2925
a terrible deed
Committed on himself. The question’s then
Whether it be more foul ingratitude
To unknown friends, and for an act of sin,
Than to be treacherous to the
prince†gs376
ruler, monarch (i.e. the King)
I love?
It is resolved: I’ll once more see the court.
LOLLIO, POGGIO and COUNTRYMEN return.
O my good
patrons,†gg2492
protectors; supporters
I must now entreat
Means†gs377
resources (especially financial)
for my journey to attend the King
On a
discovery†gg2493
disclosure, revelation
for the*n2545
i.e. to ensure the
present†gs378
immediate, current
safety
Of his fair queen: she will be murdered else.
935Poggio
And let her go. We have shut up your
newsbringer†gg2494
deliverer of news
safe enough;
we’ll*n2926
] will
keep you, by your favour,
short*n2927
That is: confined under strict discipline. The word can mean to keep a horse tightly reined in (OED a, 6b).
enough from hindering such a work.
936Eulalia
Dear friends, a small
matter†gs379
quantity, amount
will prevent this world of dangers.
937LollioWould you have us to become traitors, to
Supply your wants against the proclamation?
If you be
well,†gs380
in good fortune; in a state of prosperity (OED a, 3a)
remain so, your
industry*n3319
] Iudustry
Can
keep†gg2495
maintain
you here. But for a journey that
Requires horses and attendants money must
be*n2928
] he
had,
Which we have not for such an
idle†gg2289
foolish, trivial
purpose.
939Poggio
Will you neglect your house and trade to meddle any more with
state-matters?†gg2496
affairs of state
940[Lollio]*n2929
] Pog.
And bring our necks in danger to assist you?
Let your own counsel advise you to stay.
Exeunt.*n2930
This stage direction is omitted in the octavo, but is added in the list of errata.
4.3*n11346
] Scœn. VI.
n2931
This scene subjects the King to a series of shocks which begin to reveal to him just how mistaken his treatment of several characters has been. At the start of the scene, Petruccio tells him that Gonzago, his son, has died in prison; Horatio then enters and tells the King that Alinda ‘has a moonflaw in her brains’ [QC 4.3.speech958]. This fear is then confirmed as Alinda enters and harangues the King for neglecting his duty to pursue Eulalia. The King only has time for a short soliloquy, in which he acknowledges his fear that he may have made mistakes in his treatment of Sforza and Gonzago, before Sforza enters, disguised as a soldier, and tells the King that Petruccio is under attack from the army, who believe him to have murdered Sforza. In dramaturgical terms, this sequence of events produces rapid shifts in tone and focus. For overlapping extracts which provide the sequence up to [QC 4.3.speech949], see these four clips from the workshop. See notes below for further discussion of each extract.
Enter KING [and] PETRUCCIO
941KingHow died the boy?*n2932
Petruccio attempts to correct the King, who continues to denigrate Gonzago in an attempt to distance himself from the boy that he fears may not be his son.
942PetruccioGonzago, sir, your son?*n2932
Petruccio attempts to correct the King, who continues to denigrate Gonzago in an attempt to distance himself from the boy that he fears may not be his son.
943KingMy son? My son? You urge the name of son
To
work†gs381
bring about; stir; urge; manipulate
remorse within me, when I ask
How died
that bastard boy,*n2932
Petruccio attempts to correct the King, who continues to denigrate Gonzago in an attempt to distance himself from the boy that he fears may not be his son.
no son of mine.
’Go, tell the King my father that his frown
Hath pierced my heart. Tell him, if all his land
Be peopled with obedient hearts like mine
He needs no laws to
second†gg2497
support
his displeasure,
To make a general
depopulation.†gg2498
reduction of population (OED 2); the term had a political charge in the early seventeenth century because it was often used to describe the effects of the enclosure of commmon land. See, for instance, Francis Trigg, To the Kings Most Excellent Majesty. The Humble Petition of Two Sisters the Church and Commonwealth: For the Restoring of their Ancient Commons and Liberties, which Late Enclosure with Depopulation, Uncharitably hath Taken Away (London, 1604) and the petitions and proclamations surrounding the Midlands anti-enclosure riots of 1607. This debate was still alive in the 1630s; see Robert Powell, Depopulation Arraigned, Convicted and Condemned, by the Laws of God and Man a Treatise Necessary in These Times (London, 1636)
But that he may not lose so much, I pray
That in my death his misplaced anger die,
And that his
wrath†gg711
anger, fury
have double force ’gainst those
That to his person and his laws are foes.’
Had only been
habitual†gg2499
inherent, native (OED a, 1); customary (OED a, 2)
in his soul,
He did implore heaven’s goodness to come down,
Lifting him
hence†gs382
away from here (i.e. to heaven)
to shine upon your crown.
Though Sforza might have wronged me by the by.†gg2501
‘as a matter of secondary or subsidiary importance’ (OED, by n2, 2b)
*n4027
This speech is printed as prose in the octavo.
In sooth I could not choose.*n4028
This speech is printed as prose in the octavo.
Returned, and found him dead in’s†gg2502
in his
bed, you say.*n2933
This speech is printed as prose in the octavo.
With best of skill, on most immaculate marble,
Could
fashion†gg233
(v) mould (OED v, 1); transform (OED v, 4)
him an image purer,
slighter.†gg2505
more smooth/glossy/sleek (OED slight a, 1)
952PetruccioI found his stretched-out fingers which so lately
Had closed his eyes, still moistened with his tears,
And
on his either cheek*n2936
i.e. on both of his cheeks
a tear undried,
Which shone like stars.
Prithee†gg262
(I) pray thee: (I) ask you; please
no more. I cannot, though, forget.
My
threat’nings†gg2506
threatenings: threats
were too
sharp.†gs383
severe
I must forget it.
I charge you that you
levy†gg2507
muster, enlist
up our army
Against those rebels that we hear give
succour†gg1597
help
Unto the wretched cause of all my
mischiefs,†gg2508
misfortunes
That hated,
ill-lived†gg2509
wicked, immoral
woman.
Enter HORATIO.
954HoratioO my dread†gg2510
honoured, held in awe; fearful
liege!†gg2511
lord, sovereign
*n2937
Horatio’s entrance breaks the mood, and may initially seem to provide some comic relief. A general problem in this scene is the extent to which Horatio’s words and actions are intended to have a comic effect, despite their generally serious content. If they are comic, one effect is to emphasise, through contrast, just how seriously Alinda’s madness should be treated, and to manipulate the degree of threat and tension conveyed in the scene.
955KingThe matter? Speak,*n3320
] speaks
how does the Queen?
956HoratioO the sweet Queen! I fear, I fear, I fear—
957KingWhat fear’st thou? Speak the worst, I charge thee.
958HoratioI fear she has a
moonflaw†gg2512
disability attributed to the moon’s influence (this is OED’s only citation); flaw can also mean fragment or detached piece, so it could mean that Alinda has a piece of the moon in her brain (the moon was often associated with madness)
in her brains;
She
chides†gg2513
scolds; fights; rebukes
and fights
that*n2546
i.e. to the extent that
none can look upon her.
Her father’s
ghost is in*n3321
] Ghost, in (corrected in the octavo's list of errata)
her, I think: here she comes.
[Enter ALINDA.]*n2938
Although the octavo text has no entry direction for Alinda, Horatio’s ‘here she comes’ suggests that he sees her approaching.
959AlindaWhere’s this King?n2939
Alinda has an immediate impact on the scene, which she dominates until her exit nearly 100 lines later. For two overlapping extracts covering this sequence, see videos,. In these clips, Hannah Watkins, reading Alinda, moves quickly around the stage area to suggest Alinda’s agitation and aggression, circling the King (Adam Kay), and reacting aggressively to Horatio (Beth Vyse) and Petruccio (Michael Leslie) when they get in her way. It is noticeable that Alinda consistently invades the King’s personal space - see, for example, the way that she spits the line ‘and for yourself, you’re past it’ [QC 4.3.speech970] into his face. On occasion she touches him - for instance when she says that she will ‘writhe ... off’ the King’s cuckold’s horns [QC 4.3.speech986] - but she refuses to let the King touch her. The King attempts to make physical contact when he calls her ‘gentle love’ [QC 4.3.speech967] and ‘sweet’ [QC 4.3.speech985] and [QC 4.3.speech992]); he thus attempts to placate her through word and gesture and Alinda rejects both overtures.
Alternatively, in this extract from an earlier point in the workshop, Alinda is less mobile, forcing the King to come to her: this gives her a different kind of power over him, and her physical stillness creates a disturbing contrast with her verbal aggression.
We also experimented with seating the King, making him more immobile. In this extract Alinda actually sits on the King’s lap as she berates him, moving off when he attempts to gesture towards Petruccio. The King remains seated until Alinda actually pushes him from his chair on the line ‘I’ll take thee by the horns, and writhe thine own off’ [QC 4.3.speech986]. Later in the extract, Alinda does not shy away from the King’s touch as she does in the earlier extract. Instead, she allows the King to make physical contact on ‘Sweet, thou shalt have his head’ [QC 4.3.speech992], leading in her next long speech to a more controlled aggression which is maintained into her exit line. For further discussion of the representation of Alinda’s madness see the Introduction.
This
King of clouts?†gg2514
rags, patches
*n2940
Proverbial (Dent, C447.11: ‘A husband [lord, etc.] of CLOUTS’), and often used as a synonym for beggar; see, for instance, John Taylor’s Taylor's Motto (London, 1621): ‘I am full of fears and dangerous doubts, / And poorer far than is a King of Clouts’ (sig. C6v). This phrase is also used in the first quarto of Hamlet, in which Hamlet describes Claudius as ‘a king of clouts, of very shreds’ (G2v), and in George Chapman’s An Humorous Day’s Mirth (Admiral’s Men, 1598), scene 7:
They mock me boldly,
And every other thing that makes me known,
Not telling what I am, but what I seem:
A king of clouts, a scarecrow, full of cobwebs,
Spiders and earwigs, that sets jackdaw’s long tongue
In my bosom and upon my head.
(7.4-9)
The image of the cobweb and the spider also appear in this scene when Alinda calls the King ‘A cobweb’ [QC 4.3.speech977] and Horatio comments ‘And she the spider in’t, I fear’ [QC 4.3.speech978], suggesting that Brome was familiar with Chapman’s play. As Eleanor Lowe notes, the concern in all three plays is with ‘the false outside show of kingship’ (‘A Critical Edition of George Chapman’s The Comedy of Humours, Later Printed as An Humorous Day’s Mirth’ [unpublished PhD thesis, Shakespeare Institute, University of Birmingham, 2005], 221). The quotation above is also taken from this edition, and I am very grateful to Dr Lowe for sharing her work with me.
960PetruccioFearful effect†gs384
result, consequence; sign, mark
of pride!n2941
This line, and Petruccio’s later comment in [QC 4.3.speech993], could be delivered in various ways: as an aside to the audience (as it is in this extract from the workshop on this scene), as Petruccio’s self-directed comment, or as a comment to the King or Horatio.
961AlindaThis shadow†gg2515
imitation (and thus actor); ghost
of a King,*n2942
Alinda recalls, unconsciously, the King’s fear in [QC 1.1.speech36], that he was merely Sforza’s ‘shadow’.
that stands set up
As in a press†gg2516
(n) large cupboard, usually with shelves, often used for clothes (OED n, 15)
among the rags and visors†gg2517
front parts of helmets, covering the face; masks
*n2943
Alinda imagines the King as an empty suit of clothes hanging in a cupboard along with his equally flimsy and hollow forebears. The image is similar to Chapman’s description of a king as a scarecrow, cited in [NOTE n2940].
That represent his deceased ancestors.
Where is the preparation that you promised
Of
strength†gg252
a body (of men); military strength
to tear in pieces that vile witch
That lives*n2547
i.e. that lives to be
my soul’s
vexation?†gg840
trouble, harassment, affliction
Your love?
You are a
load†gg2518
burden, weight
of torment; your delays
To my desires*n2944
i.e. your delays in fulfilling my desires.
are hellish cruelties.
Are these your promises?
HORATIO holds up his hands.n2946
Horatio’s gesture can indicate both his sense of helplessness in the face of Alinda’s madness, and his desire to disassociate herself from her. In the workshop on this scene we experimented with various ways of performing it. In this version Horatio’s withdrawal is caused by the anxiety that watching Alinda insult the King provokes in him. In this version Alinda’s movements towards and away from the King mean that she is in danger of backing into him. Another alternative, discussed in this extract is to have the King look pointedly at Horatio, who then holds up his hands and withdraws. It is also possible, as in this version for Alinda, expecting an immediate answer to her question ‘Are these your promises?’ and not receiving it from the King, to wheel around to Horatio, who holds up his hands to signal his inability to answer on the King’s behalf.
It is possible that the stage direction is misplaced, and that it may originally have belong to an earlier or later line, but this position seems to hold more possibilities than placing it within Alinda’s speech (which is, after all, directed squarely at the King) or after the King’s next line, ‘I have given order with all speed I could’. I have therefore left it in its original position.
964KingI have given order with all
speed†gg2519
(n) quickness, promptness, dispatch
I could.
965AlindaYou could
cut off†gg2520
put to death
an old man in a prison,
That could make no resistance, and you could
Vex†gg301
trouble, irritate, torment
a poor boy to death, that could but cry
In his defence. That you could do, but this,
That has so much
show†gs385
display, appearance
of fear, or hardness,
As a few peasants
to maintain*n2548
i.e. who are maintaining.
a
strumpet†gg762
debauched woman, whore
Against your dignity, is too much to do
For a poor
coward†gg2521
(a.) cowardly
King.
966PetruccioWhat a
tyrannous ambition*n2947
Implies that Alinda’s ambition leads her to tyrannous behaviour and also that her ambition behaves like a tyrant towards her, controlling her behaviour.
Has the devil
puffed up this bladder†gg2522
prepared bladder of an animal, inflated and used as a float, or as the wind-bag of a simple bagpipe (OED n, 3); anything inflated and hollow
*n2948
Compare Cardinal Wolsey’s comment in Shakespeare and Fletcher’s Henry VIII or All is True (King's Men, 1613): ‘I have ventured, / Like little wanton boys that swim on bladders’ (3.2.359-60). As elsewhere in The Queen and Concubine, ambition is described in terms of inflation.
with!
967KingI fear her wits are crazed indeed. Alinda,
Hear me,
gentle love.*n2949
The King’s attempts to placate Alinda lead him to address her in this incongruous fashion – Alinda in this scene is anything but gentle.
969Horatio
As I am true to the crown, I know not what to say to this. She’s falling†gg2523
becoming (OED v, 40); also used in The New Academy, Act 1: ‘He’s falling mad. / Stark staring mad’ [NA 1.1.speech137]; compare also John Harington’s comment in his translation of Orlando Furioso (London, 1591): ‘But in the manner of [Orlando's] falling mad, my author hath (in mine opinion) showed himself his craft’s master’ (185)
mad, sure.†gs316
certainly, doubtlessly
n2950
With this line, Horatio takes over Petruccio’s role in commenting on Alinda’s behaviour. Like Petruccio’s lines, they might be delivered as asides (either directed to the audience or self-directed), or as comments to another character on stage. In this extract from the workshop, Horatio’s lines are directed to the audience; having withdrawn on the stage direction ‘Horatio holds up his hands’ (after [QC 4.3.speech963]), he takes up a position down stage right, enabling him to communicate directly with them. In this extract from an earlier part of the workshop, Horatio is positioned at the back of the stage, making it harder for him to articulate the comments clearly.
970AlindaNo, no, you dare not do’t: your army may
Perhaps i’th’ dangerous
action†gs386
campaign, military action
break a shin
Or get a bloody nose. It now appears
My father (as ’twas
voiced)†gg2524
said, rumoured
was all your valour.
Y’ have never
a Mars or cuckold-making general*n2951
Alinda’s comparison of Sforza to Mars recalls that of Horatio in [QC 1.4.speech 191], when he asks Eulalia ‘do you know / What Mars and Venus meant, when injured Vulcan / Had ’em in’s net?’.
Now left, and for yourself, you’re
past†gs387
incapable of (the implication is that the King is impotent in military and sexual terms)
it.
971HoratioHis t’other wife would not have used†gg2526
treated
him thus. Quiet cuckoldry†gg2527
adultery: the act of making a man a cuckold
is better than scolding chastity all the world over.*n2953
That is: it is better to have a decorous wife, even if she is unfaithful to you, than a raucous but faithfu one.
*n2952
This speech appears as verse in the octavo.
972KingI see distraction†gs388
agitation, frenzy; madness, insanity, derangement
in her face.n2954
This line might be delivered as an aside, or it might be delivered to Petruccio. If the latter is adopted, it has the effect of preparing for Petruccio’s intervention on ‘By the King’s favour’. In this extract the King gestures to Petruccio when Alinda first suggests that his current general is inadequate, then reinforces his involvement of Petruccio in the quarrel by delivering ‘I see distraction in her face’ as an aside to him.
973AlindaDid all your brave commanders die
in Sforza?*n2955
i.e. in the person of Sforza.
974PetruccioBy the King’s
favour,†gs389
pardon, leave
madam (not to stir
The dust of your dead father), he has soldiers
That know
to lead*n2956
i.e. how to lead
and
execute†gg2528
fulfil, discharge (an office or duty) (OED v, 4a)
no less
Than did victorious Sforza.
Have moved his blood in me unto a justice
That claims thy*n3322
] they (corrected in the octavo's list of errata)
traitorous head.*n2957
This speech is printed as prose in the octavo.
I do appeal unto the King.*n4029
This speech is printed as prose in the octavo.
A cobweb.*n4030
This is printed as one line in the octavo.
My loyalty knows not how to look upon her.
979AlindaIf
thoun2959
This is the first point at which Alinda addresses the King by the familiar pronoun ‘thou’. Brome modulates the forms of address to suggest Alinda’s instability - this line might either be delivered with a greater degree of intimacy, as it is in this version from the workshops on this sequence, or with greater aggression.
be’st King, thou yet art but that King
That owes me love and life, and so my subject.
981AlindaYes indeed, Gonzago,*n2960
Alinda’s progressive loss of control and/or departure from a properly wifely submissiveness is also signalled in her use of the King’s forename.
Life by inheritance:*n2961
That is: I own your life because I have inherited it.
for my valiant father,
Whose life thou took’st, gave thine,
and so ’tis mine.*n2962
Alinda claims that she owns the King’s life because her father saved his life: the King’s life belonged to Sforza; she has now inherited it from him on his death.
And for your love, you dare not wrest it from me.
Therefore deny not now my just demand
In*n2963
i.e. in the shape of.
that proud traitor’s head.
983KingExamine his offence, my dear Alinda.
984AlindaIs’t not enough
Alinda doth command it?*n2964
Alinda’s reference to herself in the third person again suggests her derangement.
Are these the
articles†gs391
heads or points of an agreement or treaty (OED article n, 6a); terms, conditions (OED article n,6b); concerns, matters of business (OED article n,10a); items coming under a particular heading (OED article n, 10.b)
you gave me grant of?
Is this the nothing that you would deny me?
985KingSweet,
weigh†gg2484
consider
but his offence.
986AlindaHis head is my
offence,*n2549
i.e. the thing that offends me
and give me that
Now, without pause, or
by*n2965
i.e. with
the strength of Hercules
I’ll take thee
by the horns,*n2966
i.e. by the cuckold’s imaginary horns, worn by the King as a symbol of his former wife’s supposed infidelity
and writhe
thine own*n2967
i.e. the King’s own head
off.
987King [To PETRUCCIO] Go from her sight, Petruccio. Levy up our forces,
And let the boy Gonzago be
embowelled†gg2529
disembowelled
And sent as a
forerunner†gg668
harbinger sent before to prepare the way and herald the approach of great men (OED 1a)
of our fury
Unto that witch, contriver of these woes.
989AlindaWas ever woman barred her will*n2969
denied her wishes/desires
as I am?n2968
It is possible to deliver this line as an aside, as in this extract from the workshop on this scene. Depending on the delivery, it might provoke laughter in the middle of a very tense, angry scene, but this would be in keeping with the uneasily comic quality of Horatio’s comments, such as ‘His t’other wife would not have used him thus’ [QC 4.3.speech971].
990HoratioHere’s a fine woman spoiled now, by humouring her at first and
cherishing†gg2530
fostering, sustaining; nourishing
her pride.
991AlindaSure you have but mocked me all this while.
I am no wife, no Queen, but
silly†gs392
helpless; foolish; humble; trivial
subject.
992King [Aside] ’Tis a disease in her that must be soothed:
Sweet, thou shalt have his head.
994KingGo in, it shall be brought thee.
995AlindaMark what I say to
bind†gg2531
hold
you to your word:
Do it, or I’ll not love you. I can change
Love into hate, hate into love most
sweetly.†gs393
pleasurably (OED adv. 3); delightfully (OED adv. 4); smoothly, easily (OED adv. 5); lovingly (OED adv. 6)
Let that man live tomorrow, I’ll love him,
And do fine
feats†gg2532
deeds, actions (i.e. sexual acts)
with him, such as your
t’other†gg2533
other
wife
And Sforza did, but make much better
sport†gs394
fun (OED n1, 1a) sexual play (OED n1, 1b)
on’t;
They were an old
dry†gs395
barren; withered; lacking sexual potency (see Williams, 1: 421-2: the majority of examples refer to men, but Thomas Dekker in The Owl’s Almanac [London, 1618] refers to ‘frozen-blooded bawds and dried up pandresses’ [33])
couple.
996HoratioTake this, take all.*n2970
i.e. if you tolerate this, you will tolerate anything
997AlindaI leave all to your kingly consideration.
998KingWhat wild†gs396
savage; uncontrolled, unrestrained; reckless; unruly, wayward; wanton, dissolute; savage, violent; passionate; furious; demented
affections†gg2534
mental states, emotions; inclinations
n2974
Although he has often communicated with the audience in asides, this is the first, and only, time in the play when the King is given an extended soliloquy. After his humiliation at Alinda’s hands, the King is given a chance to express his doubts about the situation that he has created, preparing the audience for his actions in Act 5. The speech may pose a challenge for an actor playing the King, depending on the production's approach to dramatic character, as around 100 lines previously he was demanding that Petruccio have Gonzago’s body disembowelled and sent to Eulalia in a vindictive and threatening gesture. In dramaturgical terms, it thus has a function much like that of Claudius’s soliloquy in Shakespeare’s Hamlet: a previously unsympathetic character is given the chance to complicate the audience’s view of them. In particular, the appeal to heaven at the end of the speech seems deliberately to recall Claudius’s guilty attempt at prayer.
Horatio’s question, ‘How fares your majesty’ [QC 4.3.speech999] suggests that he does not hear the speech and that it might be delivered either directly to the audience, or as an interior monologue (depending on the conventions established elsewhere in a production). In this extract from the workshop on this sequence, the speech is delivered to the audience, and the King retreats to the safety of his ‘throne’ to deliver the speech. In a full production this could create a productive irony, as the tyrannous monarch begins to question his actions while seated on a symbol of the authority that he has misused. The sound of the rebellious soldiers which breaks in not long after would heighten this irony. Here Adam Kay (reading the King) conveys the agitation of the first lines of the speech, and the shift of tone on the final lines as the King makes his plea to heaven.
do in women reign,
But this a
passion†gg2535
suffering, affliction, disorder; overpowering emotion; fit of madness or anger
past all precedent!*n2975
surpassing all previous examples
Oh, ’tis
mere†gs397
pure, complete
madness, mixed with devilish cunning,
To hurl me upon more and endless
mischiefs.†gg2508
misfortunes
It has awaked me to the sight of those
My fury (sprung from
dotage†gg337
folly; excessive love, infatuation; senility
*n2976
The King probably means that he was infatuated with Alinda, but the remark also implies his folly and possibly his senility; he also repeats Alinda’s judgement of him in 1.5, speech 196 [QC 1.5.speech197], when she remarked on his ‘raging dotage to obtain [her] love’.
) hath already
Laid in my path — grim spectacles of horror:
The blood of Sforza and
that tender†gs398
young; meek; mild
boy.*n2978
This indicates the shift in the King’s feelings towards Gonzago, despite his command to Petruchio only twenty lines earlier.
Oh, let me think no further, yet stay there;
To plunge at first into too deep a sense
Of soul-afflicting terrors drowns the reason
And
stupefies†gg2536
deadens, deprives of feeling, makes insensible (OED stupefy v, 1); stuns with amazement or fear, etc. (OED stupefy v, 2)
the conscience, which delivers
Us over to an insensibility
Of our misdeeds and of ourselves. Just heaven!
Afford me light to see I am misled,
But let it not as lightning blast mine eyes,
Confound my senses, make me further stray,
Forever coming back to know my way.
999HoratioHow fares your majesty?n2979
Horatio’s interruption signals a further shift of tone in the scene. As the workshop clip of this sequence shows, the courtier provides some comic relief before Brome renews the tension with the approach of the rebel soldiers.
1000KingO Horatio! She’s lost, she’s lost, Horatio.
1001HoratioI would my wife*n2980
Horatio’s wife never appears in the play and seems to be mentioned here only as the butt of his misogynistic comment.
were with her then: and so would any good subject say, I think.*n2981
Horatio echoes the insistence in qualifying his words which he displayed at the start of the sequence when he told the King that Alinda’s ‘father’s ghost is in her, I think’ [QC 4.3.speech958].
*n4032
This speech is printed as verse in the octavo.
1003HoratioMarry, I think (and so would any good subject think, I think) as your majesty thinks.
1004KingWhat dost thou think of loyalty now?
1005HoratioTruly, I think there’s now not any
warrantable†gs399
assured, guaranteed
loyalty left but in Petruccio and myself.
The Queen is now out of my catalogue,†gg2537
list, register
n2983
Throughout the play, Horatio has been periodically forced to reformulate his list of those he believes to be loyal to the King. The comic effect of these lines is evident even in the workshop version of the scene; in a full production the cumulative effect of the constantly shifting lists would make him seem increasingly ludicrous.
and my
creed,†gg2538
set of articles of belief (compare to OED n, 1: ‘A form of words setting forth authoritatively and concisely the general belief of the Christian Church, or those articles of belief which are regarded as essential’)
too.
1006[Soldiers] [A Shout Within Crying] Kill him, kill him! For Sforza, Sforza! Kill him for the blood of Sforza, Sforza! Etc.*n2984
The off-stage sound here contrasts with the off-stage shouts of victory and praise for the King and Sforza at the beginning of the play, and with the shouts of praise for Eulalia in the additional passage in 4.2. For further discussion of Brome’s use of off-stage sound in the play, see the Introduction.
*n4033
This speech is printed as a stage direction in the octavo: '[A shout within] crying, Kill him, kill him: for Sforza, Sforza: kill him for the blood of Sforza, Sforza, &c.', preceding [QC 4.8.line3225].
1007KingWhat terrible, what
hideous†gg2539
terrifying, horrible
noise is this?
1008[Soldiers]*n4034
The octavo text uses 'Within' as the speech prefix.
[Within] Kill him for Sforza, Sforza! Kill him, kill him!
1009HoratioMy loyalty defend me! I know not what to make
on’t.†gg776
of it
Enter a Captain
distractedly,*n2986
That is: looking agitated.
SFORZA disguised.
1010KingWhat art thou? Speak. Hadst thou the voice of hell,
Denouncing all the
Furies*n2987 in’t, I dare yet hear thee. Speak.
1013[Sforza]*n2988
] Capt.
O Petruccio! I tremble but
to speak*n2989
i.e. to speak of
him.
1014KingShall I then with the prophetic spirit of a king
Speak*n2990
] Speaks
of Petruccio? He is turned traitor
And
animates†gg2540
encourages, inspirits (OED animate v, 5); stirs up, incites (OED animate v, 6)
the soldiers against me,
Upon the
discontent†gg2541
feeling of dissatisfaction (OED n1, 1c); cause of discontent, grievance (OED n1, 2)
Alinda gave him
Now in her fury. Is’t not so?
1015Horatio’Tis so, ’tis so. Ne’er ask him for the
matter.†gs400
grounds, reason, cause (OED n1, 11)
I thought so, just, just as your majesty thought it,
And find,
withal,†gg1607
along with the rest
that now you have not left
A loyal heart but in Horatio’s bosom
Now that Petruccio fails. I fear’d ’twould come
To that: nay,
knew’t.†gg2542
knew it
Oh, hang him, hang him,
False hearted villain! He was never right,
And so I always told your majesty.
Shout [within].*n2991
] Shout.
*n2992
The soldiers within presumably again shout things such as ‘Kill him for Sforza, Sforza! Kill him, kill him’.
1016KingThe cry
comes nearer still.*n2993
The King’s comment suggests that the company were expect to increase the volume of their off-stage shouts to give the illusion that the army are closing in. Compare the manipulation of sound in Fletcher’s Bonduca (King’s Men, 1610), which includes directions for ‘Drums within at one place afar off’, ‘Drums in another place afar off’ and ‘Alarms, drums and trumpets in several places afar off, as at a main battle’ (Bowers, gen. ed., Dramatic Works in the Beaumont and Fletcher Canon, vol. 4, 3.3.22SD, 3.3.25SD, 3.4.14SD).
What, does he mean
To bring my army on to massacre
Me in my house?
Petruccio is loyal: ’tis his loyalty
And most
sincere†gg2543
genuine, pure; real, true
obedience to your will
That brings him to the
ruin†gg2544
destruction, downfall
of his life
Unless your
awful†gg2545
awe-inspiring
presence
make prevention.*n2550
Make it impossible, keep it from happening (OED prevention n 1).
1018KingIs then his loyalty become his danger?
1019[Sforza]*n2988
] Capt.
As thus, great sir, in the
late†gg162
recent
execution
Of
death-doomed†gg2546
sentenced to death
Sforza, which
the soldier*n2995
i.e the soldiers in general
(Not
looking on your justice,*n2997
Paying regard to, holding in esteem (OED look v, 17).
but the feud
That was betwixt Petruccio and him)
Resents as if it were Petruccio’s act
Not yours that
cut him off.*n2998
put to him death
And still, as madly
Bewitched with Sforza’s love as ignorant
Of the desert of brave Petruccio,
They all
turn head upon*n2999
turn to face, show a bold face to (OED turn v, 57)
him, and as if
’Twere in his power to new create him to them,
They cry to him for ‘Sforza, Sforza’. Or if not,
Petruccio’s life must answer Sforza’s
blood.†gs330
murder, death (OED n, 3a)
With much entreaty, by some private reasons,
Upon their fury for an hour’s respite,
In which
dear†gs401
precious
time ’tis only you may save
Guiltless Petruccio from a
timeless†gg2547
untimely, premature
grave.
1023[Sforza]*n2988
] Capt.
And have commanded in your highness’ wars.
1024KingMethinks I should remember, but I’ll trust thee.
1025HoratioI hope you’ll be
advised,†gg2548
warned
though,
how†gs402
in what manner
you run
Into this
wildfire†gg2549
furious or destructive fire (OED 1), used figuratively to refer to a destructive force (OED 5a); also used for a mixture of highly inflammable substances set on fire and used in warfare (OED 3)
of rebellion.
1026KingMy fortune is more desperate than his:
I am
beset†gg2550
set upon, besieged
and
circled in†gg2551
encircled, surrounded
with mischiefs,
Waylaid†gg2552
impeded (OED waylay v, 3); blockaded (OED waylay v, 4)
with
heaps†gg2553
multitudes, hosts (OED heap n, 3)
of dangers everywhere.
Yet I will on: kings were not made to fear.
I’ll
fetch him off,†gs39
deliver him, rescue him
and the more
readily†gg2554
promptly, eagerly, willingly
For my
misprision†gg2555
misconception, misunderstanding (OED n1, 2b); mistaken or unjust suspicion (OED misprision n1, 3: the earliest citation is John Trapp, A Commentary or Exposition Upon the Books of Ezra, Nehemiah, Esther, Job and Psalms (London, 1657): ‘neither did he command her to the block, as Henry the Eighth did his Anne Bullen, upon a mere misprision of disloyalty’ [147])
of his loyalty.
Could I think that man
false?†gg2556
disloyal, treacherous
By all means
fetch him off.†gs39
deliver him, rescue him
That loyal general
Is
tenfold worth*n3000
Worth ten times.
the whole rebellious army;
Save him and hang them all.[Exeunt.]
4.4*n4035
The octavo text has no scene division here, but I have inserted one as the stage is cleared and the notional location changed.
Enter PETRUCCIO with a
rabble†gg2557
crowd, mob
of SOLDIERS and two CAPTAINS.
1028[Captains and Soldiers]Come, come, away with him, away with him!*n4036
] Enter Petruccio with a Rabble of Souldiers, and two Captains, crying, Come, come, away with him, away with him.
1029PetruccioHave you no
faith,†gg2151
confidence, trust (OED n, 1a); (religious) belief (OED n, 3); assurance, promise (OED n, 8); fidelity, loyalty (OED n, 10)
nor
due†gg212
proper, rightful, fitting
obedience
Unto the King? This
outrage†gg2559
violent injury, indignity, affront (OED n, 2a); excessively proud, foolish or presumptuous action (OED n, 3b)
is ’gainst him,
In me he suffers.
And ’tis his justice that we cut your throat
For doing such outrage in the death of our brave general,
That had you
lives more†gg2560
more lives
than false drops of blood
They were not all
sufficient†gs403
enough, adequate
satisfaction†gg276
penance, compensation, atonement
for his loss.
1031Second CaptainYour
limited†gg2558
appointed, designated
hour†gg2561
hour of death
draws on
apace:†gg158
quickly
prepare.
Enter a SERVANT.
Where is he? Is he come?
He’s fled and gone: no such man to be found.
Why should I wish to live now honour’s dead?
Now take your bloody course, and in my fall
Martyr the man that saved your general.
Trusting unto his honour to secure me,
In which I did
abuse†gs404
transgress; scorn
the King’s authority
To th’
forfeit†gg2562
(n) loss, penalty
of my life.
1039SoldiersThis
sounds,†gg2563
resounds (OED sound v1, 1b); conveys a certain impression or idea by the sound (OED sound v1, 4a); used frequently by Brome: see The Novella: ‘This sounds yet well’; ‘This sounds most strangely!’ [NV 5.1.speech721]; The English Moor: ‘This sounds well.’ [EM 2.2.speech321]; The Late Lancashire Witches: ‘This sounds well.’ [LW 5.5.speech999]
this sounds.
1040First CaptainBut does this sound
well†gs405
good, appropriately
from a soldier’s mouth?
He be well whipped for lying.
How
bravely†gg141
worthily; fearlessly; splendidly, handsomely (OED)
we will do justice for him.
[Enter KING and SFORZA.]
1044KingHow comes this fury raised amongst ye soldiers?
Have you forgot my laws and
person†gg2564
the king’s self as opposed to his rank; also used as a way of referring respectfully to a monarch, as in the use of ‘the king’s person’ for ‘the king’ (OED n, 3a)
too?
1045First CaptainWe honour both thus low.
[Bows] Now
give*n3323
] gives
us
leave†gg885
permission
To look like men and give your highness welcome
To see a general of your
election†gg828
choice, preference
Die with a lie
in’s†gg2502
in his
mouth. Your soldier here,
None of the good Queen’s old ones.
1046KingDare you both judge and execute this man?
And think it fits our office best, though you
Have law enough to
waive†gs406
cast aside, reject, disregard
our
care†gs407
duty, responsibility
and
pain†gg2397
effort, labour
And hang him up yourself, for he
affirms†gg2565
maintains, claims
That he let Sforza live ’gainst your command,
And that’s the lie we treat of.
1048KingI’ll give you all your pardons and him
honour†gg2566
glory, renown; positions of dignity (i.e. further advancement)
To make that true.
1049SforzaYour kingly word is taken.
Discovers himself.
Noble Petruccio, thou art
disengaged,†gg2567
set free from obligation, at liberty (OED ppl. a, a)
And if the
temper†gs408
constitution, character (OED n, 4a); prevailing weather conditions; condition of the atmosphere in terms of heat, cold, etc. (OED n, 6)
of the King’s
high†gs409
great
anger
Blow†gg2568
(v) storm, rage
still above his justice, let it crush
This cloud that holds a shower of innocent blood,
Willing to fall and calm his violent fury.
1053KingI am all
wonder.†gs187
amazement
Now this man appears
The
mansion†gg2569
dwelling-place, home
and
habitual†gg2499
inherent, native (OED a, 1); customary (OED a, 2)
seat†gg2570
estate; habitat
of honour,
Of which he seems so full, there cannot be
An
angle†gg922
nook, corner
in his breast to
lodge†gg315
harbour
so base
An
inmate†gg2571
fellow inhabitant (OED n, 1a); stranger (OED n, 1b)
as disloyalty. If so,
How was Eulalia
false?†gs410
sexually disloyal, treacherous
Or how Gonzago,
That tender boy, the fruit of lawless lust?
There I am lost again. Great power, that knowest
The subtlety of hearts, show me some light
Through these Cimmerian mists of doubts and fears,
In which I am perplexed even to
distraction.†gs388
agitation, frenzy; madness, insanity, derangement
Show me, show me yet the face of glorious
truth,†gs411
'true religious belief or doctrine' (OED n, 10a); 'That which is true, real, or actual (in a general or abstract sense); reality; specifically in religious use, spiritual reality as the subject of revelation or object of faith (often not distinguishable from 10)' (OED n, 11a); 'The fact or facts; the actual state of the case; the matter or circumstance as it really is' (OED n, 12a)
Where I may read, if I have
erred,†gg2572
gone astray
which way
I was misled.*n4038
I have changed the lineation in these lines: in the octavo text the line-break comes at 'read / if.
HORATIO enters.
1057KingArt thou distracted†gg2573
maddened, deranged
too?
1058HoratioNo sir. The Queen, the Queen, the Queen’s distracted,
And I am
like†gg2574
(adv) likely
to be, and you, and any man
That loves the King, unless some
conjurer†gg2575
exorcist
Be found to lay the devil, I mean Sforza.
Sforza, sir (would you think?), that monstrous traitor
Sforza walks in the court without a head,
Appeared unto the Queen. I found her talking with him,
Kneeling and praying him to give her pardon,
Told him indeed ’twas she that sought his head,
And that she thought that being now a queen
She might by her
prerogative†gg2576
royal privilege
take heads,
Whose and as many as she
listed.†gg2577
liked, desired
But
She promised she would send it him again,
Or else Petruccio’s first, or if he would
Forgive her this time, she’d do so no more.*n4039
I have amended the lineation in these lines: in the octavo text the line-break comes at 'her / This'.
He seemed he would not hear her; then she beat
Herself against the walls and floor, and flies
To free her self by th’ windows, calls for poison,
Knife, rope, or anything whereby to follow
Her most
abusèd†gs412
misused, ill-treated
father. What to make on’t,
As I am true to th’ crown, I must
refer†gg2578
commit, entrust
Only unto your majesty.
1060PetruccioMy lord, you saw not th’
apparition,†gg2579
spirit
did you?
Power in a traitor’s shadow to appear
Unto a loyal subject. [Sees SFORZA] Hah! My loyalty
And truth unto the crown defend me!
See, the very
foresaid†gg2580
aforesaid
devil at my elbow,
Head and all now.
Avoid,†gg2581
be gone, go away
attempt me not, Satan,
I do
conjure†gs413
command, constrain
thee by all the virtues of a loyal courtier.
1062SforzaThey are all too weak to charm a devil, sir,
But me they may, your friend.
Beelzebub.*n4040
This is printed as one line in the octavo.
As like the traitor Sforza when he lived
As devil can be like a devil — Oh!
1066PetruccioFear not. He lives,
and loyal*n4041
i.e. and is loyal.
to the King.
The King will say so, if this be flesh and blood.
1069Horatio
Aye,*n4103
] I
if thou be’st flesh and blood. But how to believe that I know not, when my
touch†gg2582
act or action of touching (OED n, 1a); ‘an impression upon the mind or soul; a feeling, sense’ (OED n, 13b)
makes me sweat out a whole shower of pure loyalty.
1070KingNo more, Horatio. I find that my
credulity†gg2583
belief, faith; naivety, readiness to believe
Has been wrought on unto my much abuse,
And Sforza now appears an honest man.
Could he in
nature†gs414
character, disposition
appear less than loyal?
O my right noble lord, I weep thy welcome.
1072KingBack, soldiers, to your duty. Learn of me
Hereafter how to judge with
equity.†gg2584
justice, impartiality
1073SoldiersLong live the King!
CAPT[AINS] and SOLDIERS [exit].*n4042
] Exeunt Capt. and Souldiers.
1074KingNow in the midst of my
soul-frighting†gg2585
terrifying
objects†gg2586
persons or things to which something has been done, or towards which particular thoughts are directed (OED object n, 3); cf. Robert Johnson, The Second Part of the Famous History of the Seven Champions of Christendom (London, 1597): ‘My daughter, whose perfect image lyeth here carved in fine crystal as the continual object of my grief’ (sig. H1r)
I cannot but applaud your mutual friendship.
1075HoratioYes, and how equally I
affect†gg2587
love, like (OED v1, 2); also means ‘to show ostentatiously a liking for' (OED v1, 5)
them both.
1076KingOh, that
mischance†gs415
misfortune, mishap
propitiously†gg2588
graciously, mercifully (if God will grant a favourable outcome)
might be
A
light†gg2589
(n) source of illumination or enlightenment (OED n, 6); a beacon-light (as in a lighthouse, etc.) that could be followed (OED n, 5d)
to reconcile my thoughts and me.
1077SforzaMay you be pleased, sir, then to let the cause
In which your injured Queen, your son and I,
And truth itself have suffered be reviewed?
The
mischievous†gg2274
vicious, wicked
creature that was
drunk†gg2590
intoxicated
now’s mad
With
brain-confounding†gg2591
destroying or overthrowing the brain; confusing the brain
strong†gg2592
powerful; severe
ambition;
She whom your ill-placed love graced as a wife,
Whom now I am not fond of to call daughter,
It seems is past
examination.†gs416
judicial inquiry; inspection, scrutiny; formal interrogation
1079SforzaBut let those hell-bred witnesses be called
And re-examined.
These ten days.*n4043
This is printed as one line in the octavo.
If I do not
fetch out†gg2593
find the origin of
the poisonous corruption
Of all this
practice,†gs417
conspiracy, plot; treachery
let me yet be guilty.
Post-Horn.*n4044
The sound of a brass horn, used to announce the arrival of a messenger. OED cites The Queen and Concubine as its earliest recorded usage, and I have not been able to trace an earlier example.
Enter PEDRO
[with
] letters.
Thus low submits in duty to your highness,[Bows]
The service and the lives of whose inhabitants
So truly are
subjected†gg2594
abased, submitted, obedient
to your power
That needless is the preparation
Which with much grief we hear you make against us,
By hostile force to root up a rebellion
Bred merely out of rumour.
I find the province loyal.
I’ll undertake to find more toads in Ireland
Than rebels in Palermo, were the Queen –
Queen did I call her? – that disloyal woman
And that sly traitor Lodovico out on’t.
1088KingSee Sforza, see Petruccio, what Lodovico,
That trusty and
true-hearted†gg2595
loyal
lord, has wrote me:
He has ended all my doubts, good man.
I thought I would put your highness to’t for once
To try what you would say. When Lodovico
Does not prove trusty, then let me be
trussed.†gs418
tied up
1091KingAye,*n4103
] I
do you note the
passages?†gs419
remarks or observations made in speaking or writing (OED passage n, 13b); episodes, events (OED passage n, 14); interchange of communications or negotiations (OED passage n, 16)
1092Sforza’Tis indeed worthy a king’s
regard:†gg2596
attention
you see
Your way.†gg2597
course of action
1093KingYes, yes, I know now what to do,
And mean to put it
presently†gg103
immediately (OED adv, 3); without delay
in act.
1094HoratioThis I foresaw would prove an hour of
comfort;†gg2598
happiness, joy
The stars themselves
ne’er†gg2599
never
saw events more plainly.
1095KingHow full of April-changes is our life?
Now a
fit†gs420
suitable, proper
shower of sad,
distilling†gg2600
trickling; gently falling
rain,
And by and by the sun breaks forth again.
[They all exit.]*n4045
] Exeunt Omnes.
Edited by Lucy Munro