ACT TWO*
n10668
The second act moves to Northumbria. Its first scene brings THEODRIC back to the Northumbrian court from his embassy to Queen Bertha's. King OSRIC sends out attendants to announce wedding festivities and then THEODWALD and EAUFRID to arrange travel for himself to the West Saxon Queen. Left alone with Theodric, Osric asks about the object of his favourite’s affections: Theodric produces Mildred’s portrait, with which the King immediately falls so enamoured that he drops Bertha’s and evinces inner turmoil. Concealing his change of heart from Theodric, Osric grows ever more distressed, and the scene ends with the Court in alarm over his condition. The second scene, set in a rural community somewhere in Osric’s kingdom, presents the consequences of the royal change of heart. Four CLOWNS and their friend JEFFREY are planning to celebrate the King’s marriage to Queen Bertha with appropriate festivities: their dialogue is dominated by discussion of ringing bells, which are already audible, and lighting bonfires, for which Jeffrey wants fuel to be sourced from all combustible tools and equipment. ALFRID arrives from court and, assisted by a local CONSTABLE, kills all joy by announcing the King’s sickness. Impressed by Jeffrey’s resistance to the suspension of festivities, Alfrid recruits him to Court as a Fool to cure the King of his melancholy. The third scene finds SEGEBERT and ANTHYNUS in the Northumbrian wilderness: Segebert intends to present himself to Osric and dissuade him from marrying Bertha. Despite being dressed as pilgrims, Segebert and Anthynus have had to fend off Outlaws. Their assailants, led by Offa in disguise, return to resume their murderous attack. While Anthynus knocks down OUTLAW 1, Offa wounds Segebert in the head, only to be disarmed by Anthynus, who beats off the other two outlaws. Offa also flees but leaves behind the sword that he has just used against his father, who recognises the weapon. Keeping this realisation, and the sword, to himself, Segebert limps off with Anthynus in search of a spring. A HERMIT and his SERVANT enter to hear the cries of Outlaw 1, whom they carry off for resuscitation in the Hermit’s cave. The fourth scene opens with Anthynus bearing Segebert in his arms, complaining of being lost and declaiming against the vicissitudes of Fortune. He sets down his father, who is in danger of bleeding to death, and sets off in search of help. Segebert, soliloquising over Offa’s sword and speaking in images of blood, reproaches himself for paternal misjudgement and then collapses. Hermit and Servant enter to find the unconscious man groaning, still clutching Offa’s sword, and looking vaguely familiar to the Hermit. He and his Servant now carry Segebert off for resuscitation in the Hermit’s cave. As they depart, Anthynus returns, misses his father, and calls for him: Anthynus’ cries produce an echo, which he pursues offstage and then back onstage again. There Anthynus vows not to eat or sleep until he finds Segebert, marks this vow by kissing and then taking some of his father’s spilt blood, and exits.
n10668
2.1
Enter OSRIC, THEODRIC, THEODWALD, EAUFRID, ALFRID, EDELBERT [and ATTENDANTS].*n10394
] Enter Osriick the King, Theodrick, Theodwald, Eaufrid, Alfrid, Edelbert, 2 Lords. (Emendation follows Wood.)
n10394
138OsricLet your dispatches instantly be sent
Through all the kingdom to incite the people
(As many as are mine, or would be thought so)
To express with me their joy, for the enjoying
Of the so long desirèd happiness
In this our beauteous and magnificent Queen.
139[Theodwald]*n10395
] 1.Lor. (Emendation follows Wood)
See that through all the cities, towns and villages,
n10395
With solemn feasts and public sign of joy,
They celebrate a day for these glad tidings.
140[Eaufrid]*n10396
] 2. Lord. (Emendation follows Wood)
Post†gg258
(as a verb) hasten, hurry
every way, that the third day from this
n10396
gg258
The general joy may sound and shine through all
The kingdom.
141AttendantThat’s with bells and bonfires.*n9642
] bonefires. This spelling, which is used consistently in the 1657 Quarto text, records the etymology of the word: it had originally meant `a great fire of bones in the open air' (OED n, 1) but in the 16th century developed its current sense as `large fire kindled in the open air for a celebration, display, or amusement' (OED n, 4).
n9642
142[Theodwald and Eaufrid]*n10397
] 1. & 2. Lor. (Emendation follows Wood)
Go.Ex[it] ATTENDANTS.
n10397
143OsricAnd now, my Lords, I must require your care
To set down a fit order for our journey
Unto this queen to perfect my world’s bliss.
I would not fail in the least article
Provide so that we may in all appear
Worthy th’achievement of our fair ambition.
And let our followers be chosen such
Whose inward worth no less than outward show
May make us glorious in this expedition.
The time hastes on.
144[Theodwald and Eaufrid]*n10397
] 1. & 2. Lor. (Emendation follows Wood)
Our duty shall prevent†gs1688
outrun, forestall (OED v. 5a and 8)
it.Ex[it THEODWALD and EAUFRID]*n10398
] Ex. Lords. (Emendation substantially follows Wood, who reads: `Exeunt Theodwald and Eaufrid'. 1657 Quarto puts the exit after the second line of Osric's speech [QE 1.2.speech145]: see [QE 2.1.line764].
n10397
gs1688
n10398
145Osric [Studying Bertha's portrait] Methinks the silent picture seems to say,
Rather than lose one minute from that light
Whose very shadow is so angel-bright.
146TheodricBut when Your Highness shall behold
n11253
Theodric's speech exemplifies his rhetorical proficiency at its most manipulative. Inviting Osric to imagine what he will do with the living original of the portrait, Theodric provides a near-pornographic text to go with the image. In workshop session on 28 June 2006, Robert Lister's delivery of the speech communicated something of its prurience .
— nay, more,†gs1689
rather; more precisely
n11253
.gs1689
Shall touch — nay, more, and nearer shall embrace —
Nay, more, and nearer yet, enfold and handle —
Nay, more, and nearest of all, enjoy —
The lively — that’s too little — heavenly substance
Of this poor imaginary,*n9628
This word refers to the portrait of Queen Bertha, Theodric's point being that the substantial reality of the queen far surpasses her painted similitude. Context, then, demands that `imaginary' here function as a noun meaning `image'. The nearest that the OED gets to this sense is `an imagination, a fancy' (OED imaginary, B 1), for which the earliest example listed dates from 1709.
which is as short,†gs1855
inadequate
n9628
gs1855
As far inferior to the life,
As a weak starlight to the midday sun.
This is a way to make each hour until
I shall enjoy my bliss, a tedious night,
Each night a death. Yet can I not desire
Did she appear so fair, so lovely?
148TheodricSir,
Suppose you seen11281
Theodric now moves from pornography into Neo-Platonism. Invited to assess Bertha's appearance, he responds with an extended image or `conceit' which progresses from a description of a woman to an assertion of royal authority. It starts as a simile in which the ladies of Bertha's court are likened to the stars at night. Then, imagining a full moon (`Cynthia in her full of lustre') coming out from behind a cloud and outshining all other lights in the sky, it makes an analogy: Bertha is to her ladies-in-waiting as the moon is to the stars around it. Theodric finally claims that although this analogy is how Bertha's beauty is perceived by mere humans like himself, the godlike eye of the King can directly comprehend that mystery. For Robert Lister's workshop performance of this rhetorical manoeuvre on 28 June 2006, see video .
a glorious firmament,†gg979
the heavens or sky
n11281
. gg979
Bedecked with heavenly stars: so shines her court
With ladies might be thought of matchless beauty,
Striking mere human*n10309
] humane (according to the OED, a possible spelling from the 15th century to the 18th century)
sight with admiration.
n10309
Imagine now you see break through a veil*n10310
] vail (according to the OED, a possible spelling from the 15th century to the 18th century)
n10310
Amidst those stars — though heavenly, lesser beauties —
The bright Cynthia*n10311
In classical Greek and Roman mythology, one of the names for Diana in her role as goddess of the moon.
in her full†gs1690
period, point or state of greatest fullness; period or state of complete illumination of the moon's disc (OED n3. B 4a and 4c)
of lustre.†gg5982
bright light; radiant beauty or splendour (OED n1 , 3 and 4)
n10311
gs1690
gg5982
So this no less to-be-comparèd queen,
Shines above beauty to an human*n10309
] humane (according to the OED, a possible spelling from the 15th century to the 18th century)
eye
n10309
That is not mixed with powerful majesty.
You may behold her: your divinity,
My King, may comprehend what can befit
Me only to confess I do admire.
149OsricOh, thou art mine!n11254
The King's exclamation of affection for his favourite initiates an exchange in which Osric induces Theodric to articulate amorous attraction to Mildred and to exhibit her portrait. Both displays are necessary for the plot; and in workshop session on 28 June 2006, the exchange proved to sustain rather more emotional interest than had been apparent on the page.
In such a queen
n11254
But are there in her court (although inferior
To her, more excellent) such special beauties,
You have made choice of one, then?
150TheodricI have seen
Above all the rest, I cannot but confess
I strove to be her servant.
151OsricDoubtless, then,
She was a fair one. Theodric, never fear:
She is thine own. Myself will be thy spokesman
If she be worthy of thee.
152TheodricFor fair virtue
With all the graces which adorn the mind,
In best opinion she’s unparalleled
By any subject, lady — I must ever
Allow supremacy unto the Queen —
And for her person, it appears in all
Most answerable to her face, of which here is[showing Mildred's portrait]
153OsricPray let me see’t.
[THEODRIC gives Mildred's portrait to OSRIC, who studies it]
Indeed it is a sweet one.
Did he that drew this of the Queen, draw that?
154TheodricWith the same hand.
Trust me, they’re much unlike. He wrongs the Queen*n10308
1657 Quarto gives this clause a line of its own; but it and the preceding sentence together constitute a regular line of iambic pentameter.
n10308
And merits her displeasure, even to death,
T’advance a servant’s beauty ’bove her own.
156TheodricWhat says your Majesty?
157OsricKeep off†gg6094
move away, stand back
a little:n11255
Through most of this speech and his next following ([QE 2.1.speech157] and [QE 2.1.speech159]), Osric speaks aside. Workshop session on 28 June 2006 experimented with having him take a particular member of the audience into his confidence, there displacing Theodric and thus demonstrating his estrangement from his favourite: see .
gg6094
n11255
. You stand just in my light. [Aside] And so he does
’Twixt me and the prime beauty of the world;
But I’ll be even with him, and cause my picturer
To set this crown upon this head, and then—
Fie, what a fancy’s this? He will perceive me.
But now I note this forehead, and this brow,
This eye, this lip—[OSRIC, studying Mildred's portrait,] lets [Bertha's] fall.*n9629
] (lets fall the other)
n9629
158TheodricYou have let fall the Queen, sir.
That I should fall in his discovery!*n10313
The sense could be either `diminish in Theodric's opinion' or `be shamed by Theodric's revelation': the ambiguity anticipates the quick slide of this speech from embarrassment into paranoia.
n10313
Are courts so fraught with fraud and flattery?
And can a king that governs such professors†gs1691
those who profess (as opposed to those who practice) something (OED n. 2a)
gs1691
No whit dissemble to obscure his passions?
I must, and thus begin to practise it.
[Aloud] Theodric, didst thou note my contemplation
Over these pictures?
160TheodricI could but perceive
Your Highness viewing them well, and I have learned
To make no search into my sovereign’s thoughts.
161OsricThou art ever modest. Thus it was, Theodric:
Protest†gs1767
I assure you (that), I declare (that)
it rapt*n9630
] rap't. The sense (OED rapt v, 2) is `enraptured', `transported'.
me bove†gg6095
above (OED prep)
the pitch†gg331
height; summit (OED n2. 19a); height to which a bird rises in its flight (OED n2. 21)
of mortals
gs1767
n9630
gg6095
gg331
First to consider what an absolute beauty
This Queen has in herself; but then to gather
(As thou affirm’st) inferior lights to her,
That shine about her, rend’ring her more glorious,
Light*n9632
] Lights. The syntax of Theodrick's speech is extremely contorted, and Wood has not emended this word. However, since it appears to be serving as a predicate which is governed by a plural pronoun (`Many'), the plural of the verb form is required.
her above affection,*n9631
That is: superior to love (OED `affection' n1, 2a), from which `adoration' in the next line is implicitly distinguished.
to an height
n9632
n9631
That claims her adoration. Then marvel notn11279
Osric's self-exculpation adverts to the earlier speech [QE 2.1.speech148] in which Theodoric had figured the Queen's court as the moon surrounded by stars, the lesser lights making the greater one more glorious. Claiming to have made an analogous comparison between the portraits of Mildred and Bertha, Osric speaks in the language of Tudor and Stuart portraiture (`effigy', `figure', `piece of craftsmanship'). For performance and discussion in workshop session on 28 June 2006, see video .
n11279
. That now when this but in effigy
Was but placed by her, by which her majesty
So much the more appeared, I could not hold
This figure of that all-to-be-commanding beauty
When my high thoughts were fled up to her presence.
Now [handing Bertha's portrait to THEODRIC] take thy piece of craftsmanship again,
Which trust me is a pretty one, whilst I [contemplating Mildred's portrait]
Devote my service to this Deity.
162TheodricSir, you have given me the Queen’s picture.
163OsricHa!†gg2643
a versatile exclamation which can express surprise, wonder, joy, suspicion, indignation, etc., depending on the speaker’s intonation (OED int, 1)
gg2643
What a mistake was here? But thou art honest,
And covetest but thy own. Take it, Theodric!
[OSRIC surrenders Mildred's portrait to THEODRIC]
Now tell me of what house or parentage
Your mistress is.
164TheodricI told you first her virtues,
Her person next, and by this [indicating Mildred's portrait] her beauty,
Which you are pleased to deem not much amiss.
165Osric’Tis such, Theodric, that had I not seen
This [indicating Bertha's portrait] so much above it [Aside] Pardon my hypocrisy!
[Aloud] I should have envied any man but thee
In such a choice; but speak her parentage.
166TheodricThat’s all her blemish.
167OsricIs she of tainted blood?*n10314
The figure of speech carries some legal significance on account of Segebert's exile and the offense which has occasioned it. Among the consequences of a judgment of death or outlawry in respect of treason or a felony was `corruption of blood, so that the condemned could neither inherit nor transmit by descent' (OED `attainder'). Despite banishing Segebert as a traitor [QE 1.1.speech 37], however, Queen Bertha has refused to seize the property which Segebert's children are to inherit [QE 1.1.speech43].
n10314
To that bold obstinate baron I informed you of,
Whom the Queen in her just displeasure banished.
169OsricThy love to her may hereafter plead for him:
But soft, I am not well!
170TheodricHeaven bless the King!
[calling to offstage] Who waits within there?
171OsricTarry,†gg4198
wait, hold on, delay
let me seen11280
In his final examination of the portraits of Bertha and Mildred, Osric loses sight of the fact of representation and addresses the visual images as if they were the women figured by them. Video material from the workshop session on 26 June 2006 is not very helpful for this speech. It does, however, include record of how director Brian Woolland and actors Alan Morrissey (Osric) and Robert Lister (Theodric)worked out Osric's transition, beginning with Theodric's production of Mildred's portrait in [QE 2.1.speech152], into the imaginary: see clip .
gg4198
n11280
. That picture once again. [Recovering Mildred's portrait from THEODRIC, OSRIC examines it alongside Bertha's] It wants†gs1768
falls short (OED want, 1b)
exceedingly
gs1768
Of this in many things.
172TheodricI should want†gg491
lack
judgement
gg491
Not to grant†gg3069
admit, acknowledge
that.
gg3069
173OsricHere it wants†gg921
is without, lacks, is lacking (something)
palpably†gg6097
noticeably; clearly (OED)
gg921
gg6097
The drooping of the brow; and here again
The dullness of the eye, which here shews deadly
But for a little squint†gg6098
permanent tendency in the eye to look obliquely or askant (OED n. 1a, for which The Queen's Exchange supplies the earliest example listed)
it has. Good Queen,
gg6098
You shall not hear me neither, cause I will not
The furious†gg6099
excessive (OED 3, where the earliest example given for this sense is 1668)
sharpness of the nose, which here
gg6099
Which the best physiognomists†gg5984
persons who read faces or other physical features to discern character and/or to foretell destiny (OED)
do tell us
gg5984
Shews women apt to lust and strong incontinence.*n11070
Just this interpretation is stated in a treatise on physiognomy which had first been printed in English in 1562 but is here quoted from its 1634 edition: `The neather Lip loose and very red, signifieth great fleshlinesse, and vnshamefastnesse in a Woman.’ (The…Booke of the famous Doctor and expert Astrologia, Arcandam, or Alcandrin…with an Addition of Phisiognomie [London: Felix Kyngston, 1634], )
n11070
Phew!†gg6100
exclamation expressive of disgust, weariness, discomfort
This is all too sweet†gg2960
pleasing, agreeable
for mortal sense,†gs1769
perception (OED n. 1e)
gg6100
gg2960
gs1769
Here, [surrendering both portraits] take’t again, and keep mine for me with it.
Lay ’em together: th’one may mend the tother.
174TheodricI have known women oft mar*n11014
] marry 1657 Quarto reading makes neither dramatic nor figurative sense. The emendation, which serves both, asssumes a easily imagined misreading of a well-worn manuscript. I am grateful to Michael Leslie for suggesting it.
one another.
n11014
Their pictures may perhaps have greater virtue.
175OsricI am not well! [Aside] What kind of changeling†gg4485
a fickle or inconstant person; a waverer, turncoat
am I?
gg4485
A wild confusion rumbles in my brain,
My thoughts are all at strife.
176TheodricHow fares Your Highness?
177OsricSick, sick, Theodric!
178TheodricRetire, sir, to your couch.
179[Theodwald and Eaufrid]*n10397
] 1. & 2. Lor. (Emendation follows Wood)
Where is my Lord the King?
n10397
181TheodricThe King’s not well.
182[Theodwald]*n10395
] 1.Lor. (Emendation follows Wood)
We have provided for Your Highness’ journey,
n10395
In such a sort as never king went forth.
183OsricWhither? to heaven, my Lords?
184[Eaufrid]*n10396
] 2. Lord. (Emendation follows Wood)
Yes, to the Queen.
n10396
Lovers count marriage heaven before they wed,
But afterwards I know what some have said.
Oh, this is your honeymoon. Yes, yes,*n11251
1657 Quarto prints these two words at the beginning of the following line; Wood relineates with a break after `You'.
n11251
You shall to heaven, your heaven as you call it,
In such a royal manner. See the order.
185OsricPray, peace.
186TheodricYou do not well to vex the King.
You see he’s sick.
187[Theodwald]*n10395
] 1.Lor. (Emendation follows Wood)
Sick? Marry,†gg177
a common intensifier or expletive, a contraction of 'By Mary', 'By Mary of God'
Heaven forbid.
n10395
gg177
188[Eaufrid]*n10396
] 2. Lord. (Emendation follows Wood)
Sick o’the wife before he has her.
n10396
Come, a very trothplight†gg5985
betrothal
qualm!†gg1606
sudden fit of faintness, illness, or sickness; (often associated with) fearfulness, faintheartedness (OED n3. 1 and 2a)
Into your chamber,
gg5985
gg1606
And at†gs1693
that (OED adv or conj, where the instance in The Queen's Exchange is listed as an example of this sense)
we find you we’ll ourselves bestir.
gs1693
189TheodricWho waits within there? call the King’s physicians.[THEODRIC, OSRIC, THEODWALD and EAUFRID exit.]*n10353
]Exeunt omnes.
n10353
2.2
A shout within, then musicians ring bells.*n9634
] Shout within, the Musick, sound the Bells. Wood emends to: `A shout within, the sound of music and bells.'
n9634
Enter 4 CLOWNS with [agricultural] tools.
190Clown 1And what’s the reason of all this merry glee?
191Clown 2The King, the King, man, must be married.
192Clown 3And must he have a wife?
193Clown 2A wife? A Queen, man, and all the wives in her dominion must be his commonwealth,†gg3110
state, community
and under us!
gg3110
196Clown 4That will be brave†gs1772
general epithet of admiration or praise: good, capital, fine (OED adj. 3)
indeed.
gs1772
197Clown 1Oh, but where is Jeffrey, jolly Jeffrey, now?
The prick†gs1774
height, acme, highest point (OED n. 14), with an innuendo on prick = penis (OED n. 12b)
and praise,†gg6102
object of praise (OED n. 3b)
the very†gs1651
true (truly entitled to the name or designation)
prick
and praise, and prime spark†gs603
a lively young man
of our parish,
to set our bonfires*n9642
] bonefires. This spelling, which is used consistently in the 1657 Quarto text, records the etymology of the word: it had originally meant `a great fire of bones in the open air' (OED n, 1) but in the 16th century developed its current sense as `large fire kindled in the open air for a celebration, display, or amusement' (OED n, 4).
and our mirth ablazing!
gs1774
gg6102
gs1651
gs603
n9642
198Clown 3The bells a-ringing, and the bowls a-trolling,*n9676
The phrase means `the drinking vessels being passed around': either `carousing' or `tippling' would approximate the sense.
the fiddlers fumbling and tumbling! O Jeffrey, where art thou, Jeffrey?
n9676
199Clown 2He’s at hand, I warrant you: he went but to church e’en now.
200Clown 4What, to pray at such a time as this?
201Clown 2No, but†gg5728
only
to help
to rear†gs1694
set up (OED v1. 1a)
the tenor,†gg5987
largest bell in a peal or set of bells (OED n1. B 1)
and
will come presently.†gg103
immediately (OED adv. 3); without delay
gg5728
gs1694
gg5987
gg103
202Clown 3That’s to be borne*n10354
] born The emendation to current spelling of the past participle of the verb `to bear' indicates the pun: Jeffrey's absence will be tolerated, and the bell which occasions Jeffrey's absence will be carried.
withal.†gs363
substituted for ‘with’ (OED prep.)
It is indeed a devilish lop-heavy†gg5988
heavy with a weight which causes lopping, hanging down, or drooping (OED)
bell.
I would the churchwarden†gg4384
a lay honorary officer of a parish or district church, elected to assist the incumbent in the discharge of his administrative duties, to manage such various parochial offices as by custom or legislation devolve upon him, and generally to act as the lay representative of the parish in matters of church-organization (OED)
that should have mended it when he robbed the poor, were hanged in’s place.
n10354
gs363
gg5988
gg4384
203Clown 2There said you well. The curate†gg5989
In the Church of England, a clergyman engaged for a stipend or salary, and licensed by the bishop of the diocese to perform ministerial duties in the parish as a deputy or assistant of the incumbent (OED n. 2a)
could say almost
as much when ’twas. But it makes no matter what he says: I see little amended.†gg5921
recovered, improved
gg5989
gg5921
204Clown 3Whoop,†gs1775
an exclamation expressing excitement
here comes Jeffrey, sweating in these affairs!
gs1775
Ent[er] JEFFREY [, singing].
205JeffreyThe great bells of our town,
They tingle, they tangle,†gg6218
give out a quick succession of ringing sounds (OED v2. where the instance in The Queen's Exchange is one of only two listed)
gg6218
They jingle, they jangle,
Goes merrily.
206Clown 4Oh, Jeffrey! Welcome, Jeffrey!
207JeffreyAnd shall we have a queen?
208All.So they say, Jeffrey. Oh, the bravest†gs1695
worthiest, most excellent (OED brave a, 3a)
woman!
gs1695
209JeffreyTake heed o’ that! "Woman", did you say? Take heed! I give you warning.
No man must know she is a woman but the King himself. But a brave†gs1772
general epithet of admiration or praise: good, capital, fine (OED adj. 3)
queen she is,
they say, and loves a man with all her heart. Where art, O Queen? We’ll make
thee such an holiday,*n9635
] holy day 1657 quarto preserves etymology and sustains verbal play with the notion of worktools as sacrilegious.
as shall justle†gg3954
push against, collide with
all the working days out of our almanac.†gg1376
book of tables, containing a calendar of months and days, with astronomical data and calculations, ecclesiastical and other anniversaries, besides other useful information, including astrological forecasts of good days for special occasions like weddings
It shall be said that we will work no more
till thy seventh son, O Queen, who must be born a prophet, shall foretell, the age
to come shall not have a true labourer or honest workman in it.*n11252
Jeffrey embeds prophecy within prophecy. Implicitly prophesying that Bertha will bear at least seven sons, he explicitly prophesies that he and his companions will not work until the seventh son prophesies that the future will be without true labourers and honest workmen. The response of Clown 1 indicates that he has got the point: being true and honest, Jeffrey and the Clowns will never work again. The prophecy may be alluding to the filial strike rate of King Charles I’s sister, Elizabeth Stuart. Of the numerous children she bore to Prince Frederick, the Elector Palatine and unsuccessful claimant to the Bohemian throne, between 1614 and 1632, seven were sons who survived past infancy. The eldest had, however, died a few days after his fifteenth birthday; and anyhow the number seven frequently appears in prophecies.
gs1772
n9635
gg3954
gg1376
n11252
211JeffreyLet work no more be thought on: we will revel it out of remembrance. We will
not cease our joy to sleep, for fear we dream of work again. Down with your profane†gg6103
not respectful of religious practice; irreverent (OED adj. 3)
tools,
and implements of husbandry!†gs1776
farming, agriculture (OED n. 2)
The very sight of ’em dishonours our new holiday.*n9635
] holy day 1657 quarto preserves etymology and sustains verbal play with the notion of worktools as sacrilegious.
gg6103
gs1776
n9635
212Clown 1But Jeffrey, our masters grudge to give us wood enough to make a beeking†gg5986
warming (OED beek v1, 1), Scottish or northern English dialect
bonfire.
gg5986
213JeffreyHow?
214Clown 2They say ’tis waste.
215JeffreyNot wood to make a bonfire? Your sheeplocks,*n10387
Precisely what inflammable piece of farming equipment this term designates is not clear. Cued by the OED (lock n2, 3) Wood suggests: `possibly similar to a "hobble or shackle on a horse's or other animal's foot to prevent it from straying". Another possibility would be the temporary fencing used for sheep pens.
flails,†gg6107
instruments for threshing corn by hand, consisting of a wooden staff or handle, at the end of which a stouter and shorter pole or club is so hung as to swing freely (OED flail n, 1)
spades, shovels,
rakes and pitchforks, shall all be made a bonfire.
n10387
gg6107
216Clown 2And so we may be sure to make holiday*n9635
] holy day 1657 quarto preserves etymology and sustains verbal play with the notion of worktools as sacrilegious.
till we get new ones.
n9635
217JeffreyThe maids shall bring their rocks,†gg6108
distaffs (OED rock n2, 1)
their wheels†gg6109
spinning-wheels
and reels,†gg6110
the parts of spinning apparatus onto which thread is wound
their tubs, their pails and buttocks.
gg6108
gg6109
gg6110
218Clown 4"Buckets" thou wouldst say.
219JeffreyWhere was my mind? Their buckets shall they bring, wash-bowls and butter-churns,
their buckingtubs,†gg6111
wooden containers in which yarns, cloths, or garments were bleached or cleaned by being steeped or boiled in wood-lye
baskets and battledores,†gs1777
wooden bats used for washing clothes and for smoothing wrinkles out of them
and all be made a bonfire for the Queen.
gg6111
gs1777
221JeffreyWe’ll burn her for a witch,*n10357
Witchcraft on the Continent incurred the penalties for heresy, and witches were also burned in Scotland. In England, where witchcraft was a felony, convicted witches were executed by hanging: see Brome and Thomas Heywood's The Late Lancashire Witches (1634). Even under English law, however, witchcraft practised against one's monarch, master, or husband was treason (or petty treason) and as such was punished at the stake rather than the gallows.
then, with all her trash,†gg789
rubbish, dross
and
her thatched mansion†gg2569
dwelling-place, home
too about her ears,
but we will shew our zeal unto the Queen in fire sufficient.
n10357
gg789
gg2569
222[Clowns 1, 2, 3 and 4]*n10367
] All.4.
Ah, good boy!
n10367
223Jeffrey’Sfoot,†gg5990
Abbreviated oath: by God's foot! (The examples listed in the OED are all between 1600 and 1660.)
if our masters do rebel against us now majesty’s on our side,
and not give fuel when we mean to give fire as duty binds, we’ll have their carts
by th’ arses,*n10355
That is, by the tailboards. A tailboard is defined by the OED as `a board at the hinder end of a cart, barrow, van, etc.; usually one attached to the bottom by a hinge, and capable of being suspended at various angles for convenience in loading, etc.' Wood emends to `arfs', but the emendation is unnecessary; and his attempt to gloss it indicates that it resists plausible definition.
hurdles,*n9637
] hardles. The OED gives this form as a possible spelling in the 16th and 17th centuries; but emendation, which follows Wood, is required to render the word recognisable. (Another possibility would be `handles', but would not fit the context quite so well.) The sense here is `portable rectangular frame...having horizontal bars interwoven or wattled with withes of hazel, willow, etc.,...used chiefly to form temporary fences, sheep-pens' (OED hurdle n, 1a).
wheelbarrows, the ploughs and harrows,†gg6105
heavy frames of timber which are dragged over ploughed land to break clods, pulverize and stir the soil, root up weeds, or cover in the seed (OED harrow n1, 1)
and the whips — because the beasts shall play too —
only we’ll spare their racks†gg6106
vertically barred frames for holding animal fodder (OED rack n4, 1a)
and mangers. All that’s made of wood
belonging to our work besides,†gg6010
other than mentioned (OED adv. 3)
shall perish,
shall perish: I have said it. Not the politic molecatcher’s staff
shall ’scape the flame. Not low†gg6011
allow (OED v3. 1)
us wood? We’ll drink up all the drink to the Queen’s health
and burn the hogsheads,†gg5807
large cask for liquids (OED 1)
barrels, kilderkins,†gg5991
casks, the capacity of which varied at this time from 16 to 18 gallons, depending upon the commodity contained in them
firkins†gg5992
small casks, the capacity of which was half that of a kilderkin
and runlets,*n9638
] rundlets (emendation follows Wood). These were casks or vessels of varying capacity (OED). An alternative emendation is `rundles', meaning solid wheels or barrels (OED rundle 1, 6c); but the context is better served by a term designating a wooden container.
all to*n9639
everything down to and including
the wooden dish shall smoke for’t in our bonfire for the Queen.
gg5990
n10355
n9637
gg6105
gg6106
gg6010
gg6011
gg5807
gg5991
gg5992
n9638
n9639
224[Clowns 1, 2, 3 and 4]*n10359
All.
Good boy again!
n10359
225Clown 1But where shall we make this huge and monstrous*n9640
] Houge and monstrious. The spelling may signal countrified accent for the speaker.
bonfire?
n9640
226JeffreyHere, here, just here, in this very place. I come to mark the ground. Here it shall
blaze up to the heavens, and we will roast our town bull at it, with a thousand puddings in his belly.
227[Clowns 1, 2, 3 and 4]*n10367
] All.4.
Ah, good Jeffrey still!
n10367
228JeffreyNothing too dear to signify our loves to the King and Queen. Let us bestir us
therefore and enact this as a law amongst us: that he that does not gall†gg3819
make sore by chafing or rubbing
his hands today with ringing shall be hanged up in the bellrope; and he that is not
soundly liquored†gg5993
drunk
by night shall be made fuel
for our bonfire. Such dry rascals will burn better than heretics. And last of all, he
that does not keep his wench waking in the way that we wot of till tomorrow milking time,
shall either be gelt,†gg4692
castrated
or else led through the town
by that which shall be nameless in a cleft stick.*n10356
that is, a man's genitalia
And so, God save the Queen!
gg3819
gg5993
gg4692
n10356
229Clown 1And the King too!
230JeffreyThe King we make no doubt of: we have prayed for him these seven years.
231[Clowns 1, 2, 3 and 4]*n10358
] All 4.
A†gg5721
prefix which turns a proper name into a battlecry (OED int., 2)
Jeffrey! A Jeffrey!
n10358
gg5721
Enter a CONSTABLE and ALFRID.
232ConstableWhither away, my friends?
233JeffreyTo make the bravest bonfire that ever blazed since Troy,*n10400
According to classical legend and literature, the Greeks besieged Troy, a city in Asia Minor, for ten years. After the invading army finally managed, by treachery and trickery, to enter the city, Troy was sacked and set ablaze. In Book 2 of Virgil's Æneid, the fugitive Trojan Prince Æeneas vividly recounts the destruction of the city.
or that which
the tyrant emperor warmed his hands at.*n11073
The reference is almost certainly to the emperor Claudius Caesar Nero (37-68 AD). Among the crimes reported of his fourteen-year reign by Suetonius in his Lives of the Twelve Caesars was that Nero sent out his attendants to set Rome on fire. The blaze burned for six days and seven nights. Although Suetonius does not precisely say that Nero warmed his hands at it, he does say that the Emperor watched it from a tower. Suetonius also reports that while the city burned, Nero dressed himself in a tragedian's costume and recited verses about the fall of Troy.
n10400
n11073
235JeffreyWe "must forbear"? What Hebrew’s†gg6008
unintelligible speech (The earliest example listed in the OED for this colloquial sense (n, 2b) dates from 1705.)
that?
We understand not what "must forbear" means.
gg6008
236ConstableYou must forbear to make your bonfire.
237Jeffrey"Must"? that word had ne’er*n10360
nev'r
been named had all been Jeffrey.
We must forbear to set our loves on fire unto the King! Dost thou not feel thyself,
o man whate’er*n10361
] what e're
thou art, becoming a traitor? Knowst thou the words thou
speakest against the King?
n10360
n10361
238ConstableI know what I do speak, and what I am.
239Clown 1It is the constable.*n9641
Constables were responsible for keeping the peace and carrying out some administrative duties. The title was qualified according to the level and location of responsibility: this rural Northumbrian officer who accompanies the emissary from Court is probably a petty or parish constable.
n9641
240ConstableI know my office, too, by virtue whereof I charge you in the King’s name,
lay by your sports and pastimes: I’ll lay you by the heels else. [To JEFFREY] Will you,
sir, know a reason? The King is sick.
241JeffreyThen let us drink his health.
242ConstableHe is sick exceedingly.
243JeffreyThen let us drink exceedingly.
244ConstableHe’s sick even unto death.
245JeffreyThen let us ring our bells for that, and make a funeral bonfire.
246ConstableI say no drinking at all, no bells, nor no bonfires: it is His Majesty’s command.
247JeffreyI say His Majesty’s first word†gs1782
command (OED n. 6)
shall stand for bells and bonfires, though
we set the town afire, and ring the bells backwards.
gs1782
248ConstableYe will not be all hanged, will ye? See, here’s [indicating ALFRID] a gentleman and a courtier,
that so signifies His Majesty’s pleasure.
249JeffreyA gentleman and a courtier: where be they? I see but one.
250AlfridSir, I am both.
251JeffreyWhat monsters†gg6126
mythical creatures which are part animal and part human, or combine elements of two or more animal forms (OED monster n, 1a)
are bred in Africa? I take you but for one at most. Well, for
the gentleman that you are, thus I salute you. Now, for the courtier that is within you,
I must wait upon it here. This posterior posture*n10362
The phrase is a cue for the actor -- perhaps to prance about like a dog balanced on its hindlegs, to pose with his buttocks stuck out, and/or to smell another character's backside.
did I learn of a spaniel whose
name was Courtier. Now let me tell you, Master Gentleman and Courtier, that we are
sorry that sickness should make our king and master so fickle-headed as to cross†gs1897
thwart, oppose
our
sports thus, that we meant to have made him such an holiday*n9636
] holyday
as might have proved more worth to him than a wife and twenty sicknesses besides.
Yet can we not be so sorry for his sickness as that it was his mishap to play
mock holiday*n9636
] holyday
with us.
gg6126
n10362
gs1897
n9636
n9636
252AlfridThe King shall know your loves; and for your part,
Master Speaker —*n11093
1657 puts the verse line break after `Master'. Wood may be correct in presenting the entire scene as prose, but this speech appears to initiate a brief exchange of verse dialogue between Alfrid and Jeffrey. Although that appearance could be entirely fortuitous, its coincidence with the former's invitation of the latter to Court has seemed to warrant keeping the exchange in verse but improving the scansion.
n11093
253JeffreyYour friend and Jeffrey.*n11093
1657 puts the verse line break after `Master'. Wood may be correct in presenting the entire scene as prose, but this speech appears to initiate a brief exchange of verse dialogue between Alfrid and Jeffrey. Although that appearance could be entirely fortuitous, its coincidence with the former's invitation of the latter to Court has seemed to warrant keeping the exchange in verse but improving the scansion.
n11093
254AlfridThen Jeffrey be it. I’ll promise you preferment
255JeffreyUp to the gallows, shall I not?
256AlfridMy life for thine; and thou shalt not deny me.
Here’s gold in earnest:†gs1216
money paid as an instalment or pledge: a deposit (OED n. 2)
take it. The King’s disease
gs1216
Is melancholy, and thou mayst do him
More good *n10385
1657 Quarto puts the line break after `good'. Wood may be correct in presenting the entire scene as prose.
than a whole college of physicians.*n11072
Alfrid here evinces an opinion which recurs often enough in other of Brome's plays for it to appear to have been the playwright's own. His physicians get mocked for professional doctrine and methods which had been derived from classical medical texts (notably Galen's) and were being challenged in Brome's day by the teachings of Paracelsus and the practices of apothecaries and herbalists. See, elsewhere in this edition: Richard Cave's notes [NOTE n10256] and [NOTE n1463] to his edition of The Antipodes; Julie Sanders's note [NOTE n7183] to her edition of The Sparagus Garden; and Marion O'Connor's note [NOTE n7967] to her edition of The Court Beggar.
n10385
n11072
257Jeffrey [Aside] He takes me for a fool, I’ll make a venture on’t. The best is, many
a fool has thrived at Court; and the worst is, I am not the first that has forsaken
his country. [To ALFRID] I’ll along with you, sir, and if I rise by you, I shall quickly
learn courtship†gg284
behaviour fitting a courtier
enough to forget to thank you.
[To CLOWNS] And for your parts, my old friends, what need soever you may have of me, you must
be sure I’ll be a stranger to you.
gg284
258[Clowns 1, 2, 3 and 4]*n10358
] All 4.
Wilt thou forsake us, Jeffrey? Then who shall dance the hobby-horse†gg5994
a figure of a horse, deployed in a morris-dance, made of wickerwork, or other light material, furnished with a deep housing, and fastened about the waist of one of the performers, who executed various antics in imitation of the movements of a skittish or spirited horse; also, the name of this performer in a morris-dance (OED n. 1)
at our next revel-rout?†gg5995
occasion of festivity
n10358
gg5994
gg5995
259JeffreyThe hobby-horse†gs1899
a figure of a horse, deployed in a morris-dance, made of wickerwork, or other light material, furnished with a deep housing, and fastened about the waist of one of the performers, who executed various antics in imitation of the movements of a skittish or spirited horse
of preferment†gg5263
advancement to an office or position, promotion (OED n. 4)
gallops
me from you. If you chance to see me in my robes hereafter,
when I come to be the Fool Royal, you may admire my garments, and whisper to your
acquaintance, very softly, that you knew me once; but on your allegiance
look†gs1898
expect (OED v. 5g)
not that I should know you then.
gs1899
gg5263
gs1898
260Clown 1Nay, we are not such clowns but we have heard that courtiers in favour will know nobody.
261Jeffrey’Tis true, for when they are in disgrace the silliest clown will not know them.
262ConstableYou were best look to your fast footing, then, when you are high in favour.
263JeffreyHigh in fooling, thou wouldst say, silly Constable. Yet there’s no great
danger: one fool may outstand†gg6012
endure longer than (OED v. 2)
six favourites.†gs1778
persons who stand unduly high in the favour of a prince (OED favourite n, 2)
gg6012
gs1778
264AlfridAway, then, as thou art.
265JeffreyAye, sir, I’ll take no shift†gg5996
change of clothes (OED n. 9a); linen or cotton undergarment worn next to the skin (OED n. 10a)
with me.
I shall shift†gg5997
manage, succeed, get on (OED v. 4a)
the better when I come there.
gg5996
gg5997
266[Clowns 1, 2, 3 and 4]*n10358
] All 4.
Well, farewell, Jeffrey: thy like will ne’er*n10360
nev'r
come here.
n10358
n10360
267JeffreyCommend me to all the lasses, and let not them, nor do not you, grieve for my departure,
nor for the holiday*n9636
] holyday
that here is lost; instead of which,
that you may have a new one, I wish that one of you, even he that loves me best,
as speedily as may be would deserve hanging, that the rest may make holiday for him.
Sic valete valetote.*n9682
`Thus farewell, farewell!' The second Latin word (valete) is a plural imperative verb, of which the third word (valetote) is an intensified form. Jeffrey's parting shot to his country friends, then, is to give a command and repeat it with bells on: his speech enacts his sudden acquisition of courtiership. Brome uses the same, somewhat pretentious, formula in The City-Wit, near the end of the Epilogue, which is spoken by the pedant Sarpego.
[JEFFREY, CONSTABLE and ALFRID exit through one stage doorway.]*n10363
1657 Quarto does not assign a separate exit to the trio who are heading for court. Jeffrey's last words in the scene, however, are an obvious exit line. Moreover, as he and his new companions are heading for a destination that differs from the Clowns', they should use a different door -- most likely the one through which the Constable and Alfrid entered.
n9636
n9682
n10363
268Clown 1Now the Deil*n10366
] Dee'l
brast†gg6113
Northern form of `burst', here in obsolete sense (OED burst v, 1a) as `break', `snap'
crag†gg6112
neck (OED n2. 1 which describes this usage as regional, including Northumbria)
of him.*n10365
Responding to the pretentious Latin of Jeffrey's farewell, the Clown abuses him in monosyllabic Northern dialect, meaning: `Now may the Devil break his neck!'
n10366
gg6113
gg6112
n10365
269Clown 2He’s a right courtier already.
270Clown 4I’m glad he used us no better. If he had, I should have cried out mine eyes for him.[CLOWNS 1, 2, 3 and 4 exit through the other stage doorway.]*n10364
] Exeunt omnes.
n10364
2.3
Enter SEGEBERT [and] ANTHYNUS [disguised as pilgrims].
271Segebert’Twas a miraculous escape. Good Heaven
Is with me still. I have not heard
These home-bred†gg5998
native, domestic, indigenous (OED adj. 2)
monsters†gg6126
mythical creatures which are part animal and part human, or combine elements of two or more animal forms (OED monster n, 1a)
in humanity,
gg5998
gg6126
These outlaws, these detested thieves and robbers,
To set with such a violence on men
When I did offer them to shun their blows,
All that we had even to our bare†gs1696
paltry, worthless (OED adj. 10b); simple, rude (OED adj. 10d)
apparel.
gs1696
And doubtless they were some that knew our persons
Through our disguises, and pursued us hither
In this wild desert.†gg6001
wilderness (OED n2. 1))
gg6001
273SegebertWas it not enough,
Thou impious Queen, and more unnatural country,
To banish me unjustly, but thou must
Pursue my life by treacherous cruelty?
Art thou not hurt at all, my son?
274AnthynusNot touched†gg6002
injured or hurt in any or the least degree (OED touch v, 12b)
gg6002
To the least danger of one drop of blood.
275SegebertThey are three sturdy†gg6115
solidly built; strong (OED adj. 7)
knaves†gg4107
rogues, scoundrels
and strongly weaponed.
gg6115
gg4107
276AnthynusHad they been forty, sir, while I was armed
By your white innocence and holy prayers,
Heaven’s justice lent me hands to beat them off.
Yet give me leave, dear sir, to ask you now
Why you have bent your pilgrimage this way,
Leading into a country of more danger
Unto your life and safety, than your own —
Northumberland, whose King cannot but rage
In greater heat against you than the Queen,
That so unjustly banished you? You may fall
(Though you escape the danger of this forest)
Into the reach of his revengeful fury.
277SegebertIt was and is my purpose to appear
Which I am no more fond of than my country
Is of my truth. And when I have made known
Th’ unfitness of the match, by the dishonour
He’ll run into if he proceed in it,
If then he take my life, I am at home,
Eternally at home.
278AnthynusBut made you none
Acquainted that you meant to travel this way?
279SegebertNone
But my dear son Offa.
280AnthynusThen sure the Queen
They could not be mere thieves.
Enter OFFA disguised and [three] OUTLAWS.*n10368
1657 Quarto places this stage direction at [QE 2.3.1431, after the speech ([QE 2.3.speech281]) in which Segebert reacts to the return of the Outlaws. Their number has been inferred from subsequent plot developments and confirmed by the dramatis personae list.
n10368
281SegebertGood angels guard us!
They have made head†gg6116
advanced, pressed forward (OED head n1, 29 and 57a)
again in greater numbers.
gg6116
282AnthynusTake greater courage then!
283OffaFaint-hearted slaves!
Must I give hire and do the task myself?
285[Offa]*n10382
] All. The speech heading in 1657 makes no sense in context, and neither does Wood's expansion of it to `All Outlaws': one of the outlaws has spoken in the immediately preceding speech, and Offa is trying to incite his team to get on with their dirty work.
Upon ’em all at once!
n10382
They fight. ANTHYNUS knock[s] down OUTLAW 1. OFFA wounds
SEGEBERT in the head, [and] he sinks. ANTHYNUS disarms OFFA. OFFA runs off whilst ANTHYNUS speaks.*n9649
In 1657 Quarto, the whole of this stage direction is set as verse dialogue, with a line break after `sinks'; and it is printed in the typeface used for the dialogue rather than that used elsewhere for stage directions.
n9649
286Anthynus [To OFFA] This sword thou never handlest more.
[To SEGEBERT] Take you it and fresh courage, sir.*n10369
1657 Quarto prints these two sentences as prose, which may be correct. (As Wood points out, `The fighting coincides with a disruption to the verse.') They have been changed here for consistency with the rest of the speech which they begin.
n10369
(ANTH[YNUS] beats off the other [two OUTLAWS, who exit,] and speaks on)
May you not cease your flight till you reach hell,
That bred ye villains: to pursue ye further
Were to neglect a nearer duty.
[To SEGEBERT] Dear honoured sir, look up! Father, how do you?*n9651
] two verse lines: Dear honoured sir, look up! / Father, how do you? (Relineation follows Wood.)
n9651
287SegebertEven almost well, I hope.
288AnthynusHe means with death,
Alas, he’s deeply wounded and bleeds much.
But what do I in this? I have not tears
Enough to wash these wounds, although some linen
To bind them up.
[Tearing fabric from his own garments, ANTHYNUS binds SEGEBERT's head wound]
But merely to bewail him
With looks and lamentations is as fruitless
As here to leave him languishing to death,
And run in pursuit of his enemies
To work revenge: neither of these bring ease.
Mount up my thoughts to Heaven, then, for a blessing
Of mine as prompt to works and prayers be.
[To SEGEBERT] How is it now, sir? Do I not bind it too hard?
Pray, sir, speak to me.
289SegebertOffa, oh son Offa!
290AnthynusOffa is not here, sir, ’tis I, your son Anthynus.
Why look you on that sword so?
291SegebertOh son Offa!
292AnthynusPray, sir, look on me. [Aside] I fear his memory fails him.
And as his mind was ever on Offa
Before unfortunate me, so now he gives
The merit that belongs (if any be)
Due to the duty of a son in this
From me to him; but, envy, be thou from me!
[To SEGEBERT] Why look you on that sword, and not on me?
’Twas I that won it for you.
293SegebertOh Anthynus!
294AnthynusThat’s well said, sir. Speak though but faintly to me,
I had rather hear your groans than find you speechless.
Better will come, I hope.
295SegebertHelp me to rise.
296AnthynusThat’s comfortably spoken.
[ANTHYNUS brings SEGEBERT to his feet but continues to support him.]
So, well done!
Like a strong man again!
297SegebertOh, I am weak!
298AnthynusRest upon me, my strength, my all is yours.
Æneas, that true Trojan son whose fame
For piety ever crowns his name,*n9656
The piety which earned Æneas the epithet pius was a matter of filial devotion. In Book II of Vergil's Æneid, Æneas recounts the Greeks' destruction of his native Troy. In flight from the burning city, Æneas carried his father, Anchises, on his own shoulders and held fast the hand of his son, Iulus Ascanius. His wife Creusa, following behind her husband, father-in-law and son, promptly perished. Old Anchises, however, not only survived the first part of Æneas' wanderings but was posthumously reunited with his son when, as recounted in Book VI of the Æneid, Æneas visited the underworld.
n9656
Had not a will (although my means be poor)
Exceeding mine to answer nature more.
[SEGEBERT moves to pick up the sword lying where he fell.]
I see, apace. Give me your sword: it troubles you.
299SegebertNo, not this sword.
300AnthynusThat’s the best sign of all.
Keep it and hold it fast, sir. We will back
A little to the spring we came by, where
Heaven, which men’s honest pains doth ever bless,
Will when we least can hope afford redress.[SEGEBERT and ANTHYNUS exit.]*n9657
] Exeunt.
n9657
301Outlaw 1Oh, oh, some help, oh.
Enter an HERMIT and [HERMIT’S] SERVANT with a Basket.
302HermitHark, didst thou not hear a cry?
303[Hermit’s] ServantOf nothing but
My guts that cry within me, sir, for meat.
I hear no other cry, nor have not done – – –
304Outlaw 1Ohhhhhhhh.
305[Hermit's] Servant– – – almost these five years.
306HermitPeace, thou belly-god, ’twas there again.
307[Hermit's] ServantIt is a belly-devil, rather, that has tormented
me e’er*n10370
] E're
since I served you under
ground hereby.†gg6117
in this neighbourhood (OED 1)
No man above ground*n10376
Picking up his own mention of subterranean servitude `under ground' (in the Hermit's cave), the Servant plays with different senses of `above ground' as `above the surface of the earth' and `[alive anywhere] on earth'.
could
have fasted like me.*n10371
1657 Quarto sets this speech ([QE 2.3.speech307]) as three verse lines, with breaks after: me; man. Wood resituates the break between second and third lines, moving the first two words of the latter back to the former, but leaves the first line untouched, all fifteen syllables of it. I think the speech is prose, which suits the social status as well as the personal style of its speaker.
n10370
gg6117
n10376
n10371
308HermitHast thou not daily food, thou caterpillar?*n10372
The Hermit uses the word figuratively, to mean `rapacious person' (OED n, 2): scansion permitting, he might have said `piller' instead. The Servant responds to the word as meaning `larva of an insect'.
n10372
309[Hermit’s] ServantYes, such as caterpillars eat: blossoms and buds,
many green growing things, such as you make your medicines of, and roots. Would
I could get some of the caterpillars! A dish of caterpillars fried — let me
see: in what? in usurer’s grease, if one knew where to get it — might
serve to feast an emperor. But we live out o’th’ world by prayer and fasting.*n10373
1657 Quarto sets this speech as verse, with breaks after: eats; things; get; fried; one; Emperor; fasting. Wood relineates the first three lines, with breaks after: buds; make. Another possibility would be to put breaks after: blossoms; as; I; caterpillars; see; where; and emperor. Content and context, however, suggest that the speech is prose.
n10373
310HermitThou farest as I fare, feedest as oft as I.
311[Hermit’s] Servant But, sir, there’s difference in our
exercises. If I could spend my time, whole days, in prayer as you do, this kind of
fare — or fasting, rather — would not be so bitter to me.*n10374
1657 Quarto presents this speech (No. 309) as four verse lines, with breaks after: I; as; fasting. It would be possible both to improve the scansion and make a better match with sense by resituating the first two line breaks after: exercises; prayer. That the result would be quite regular blank verse, however, seems to me fortuitous.
n10374
312Outlaw 1Ohhhhhhhhhh.
313HermitDidst thou not hear it now?
314[Hermit’s] ServantYes, something like the croaking of a frog, methought. If it were one, I would
wade up to the waist*n10389
] waste
for’t for my supper. [Discovering OUTLAW 1] Here, here, sir! Here ’tis!
Here’s more work for you. Once a week we are commonly troubled either to cure
or bury: one or other, thank the outlaws. They make us work for nothing here,
as if we dwelt here for the purpose, nor do I know other indeed.*n10375
1657 Quarto presents this speech (No. 314) as verse, with line breaks after: it; for't; more; trouble; the; dwelt. Wood relineates, with breaks after; frog; to; sir,; week; or; make; dwelt; other. To this editor, the speech is prose.
n10389
n10375
315Hermit [To OUTLAW 1] Look up, man, canst thou speak?
316Outlaw 1Oh, no.
317[Hermit’s] ServantThere’s*n10377
1657 Quarto prints these clauses as two lines of verse, broken after the first third-person singular masculine pronoun. Wood prefers prose.
great hope of recovery: you hear he says he cannot speak.
n10377
318HermitCanst thou hold up thy hands, and lift up thine eyes?
[OUTLAW 1 visibly responds.]
319[Hermit’s] ServantHe does, he does. Hang’t, he’ll do well enough.
320HermitHelp up his body, then down into my cave.
321[Hermit’s] ServantAnd tomorrow up with him again, and then down into a grave. Better let him
lie now, sir. You’ll ne’er*n10276
] ne're
do
good on him, I doubt: he looks so damnably as if the Devil were at my elbow for him.*n10379
1657 Quarto sets this speech ([QE 2.3. speech321]) as five verse lines, with breaks after: down; Sir; looks; elbow. The stresses, however, do not fall into anything like regular iambics, and the penultimate line has fourteen syllables.
n10276
n10379
322HermitPeace, knave, in charity I’ll do my best.
Heaven hitherto my labours well has blessed.
323[Hermit’s] Servant [Lifting OUTLAW 1] Nay, had I his weight in venison so near killed, and might
be allowed to eat it, I would ask no more flesh while I lived.*n11092
1657 Quarto presents the two lines of this speech ([QE 2.3.speech323]) as verse, broken (after 18 syllables!) between `to' and `eat'. Wood relineates with line breaks after `so' and `eat'. This editor thinks the speech to be prose.
[HERMIT and HERMIT’S SERVANT exit carrying OUTLAW 1.]*n10378
An exit for the Hermit, his Servant and Outlaw 1 is obviously necessary here, but 1657 Quarto does not give one. What it gives instead is a stage direction: `(Here enter Offa and the Outlaws assuring him they are dead)'. Wood's note to the direction -- `This is done without scripted dialogue' -- fails to rescue it. The direction for the entry of Offa and his criminal companions does not belong here in Act 2 but rather in Act 4, which starts with an entrance for Offa and 2 Outlaws, and then an opening question from Offa: `You are sure they are both dead and buried?' [QE 4.1.speech517]. In 1657 Quarto the misplaced stage direction has been printed on signature D1r (right hand column) but belongs on signature E2 r (again, right hand column): the compositor[s] may have confused formes, and/or the confusion may have lain in the copy.
n11092
n10378
2.4*n10388
No scene division is indicated in 1657 Quarto, and Wood does not insert one. However, the stage has been completely cleared; and, unless Anthynus can be thought to have been carrying Segebert around in circles, the fictional place has certainly changed. (Time is not indicated.) The Quarto misplaces a stage direction at this point (see [NOTE n10378]), and its omission of a scene division is but further evidence of confusion.
n10388
Enter ANTHYNUS carrying SEGEBERT in his arms.
324AnthynusCan no release be had? Is this the place,
That cursèd piece of ground which Nature meant
Should be called hell on earth? Where outrage reigns,
Murder and cruelty beyond it, deep despair,
To a poor remnant of distressèd life,
Of all reviving comforts, food, or medicine?
325SegebertOh, set me down!
326AnthynusAnd must we needs be set
By the malicious ignorance of Fortune
On this infernal way?
327SegebertPatience, good son.
328AnthynusWhere ill abounds, and every good is wanting,
Was’t not enough that so much blood was spilt
From this white reverend head, from which hath flowed
Counsels that have preserved the blood of nations?
And fitter now to wear a diadem
Itself, than thus be stained with his own wrong.
Had it not been enough to have left him so,
Thou Tyrant Fortune, but to take away
All means of succour? no relief? no comfort?
329SegebertGood son, be not impatient.
330AnthynusAnd see, see,
Accursèd Fate! He bleeds afresh again,
As if his blood I now but washed away
Cried for the rest to follow it.
331SegebertIndeed,
Son, this impatience hurts thyself and me.
Better let me bleed still (bleeding’s an easy death)
By chiding at the feigned ones, good take heed.*n10380
At his re-entry with Segebert in his arms, Anthynus began speaking about moral personifications (outrage, murder and cruelty, despair)[QE 2.4.speech324]. Thereafter he has been speaking to divinities in Greek and Roman classical mythology -- Fortune and Fate. Sebegert's rebuke recalls his son to his senses, which are monotheistic, even (as the word `Heaven' hints) Christian.
n10380
Pardon of Heaven and you; and now methinks
I am inspired unto a further duty
Of seeking remedy. I’ll leave no way untried
To find it, if I may; and though my absence
Will sore perplex me, I will with your grief
Leave you a while to forage for relief;
But first pray let me change a sword with you, sir:
Not that I think yours better, but because
I fear some charm is in’t, or secret ill
‘Gainst you, you sigh so when you view it still.
333SegebertGood Son, forbear†gg5547
refrain from enforcing, pressing, or demanding (OED v. 9)
’t, and me unto my thoughts,*n10381
This phrase is governed by the verb `forbear', in the sense `leave'.
gg5547
n10381
Till thou returnst. Heaven’s and my blessing with thee.
334AnthynusSo strengthened, I shall sure find remedy
To raise you out of this calamity.Exit ANTHYNUS.
This sword as I do, it would raise thy fury
Would shake me in my grave. This sword,
Which now I cannot but with tears remember,
Was once mine own. I gave it to thy brother —
I will not call him so! but, to my son —
Why should I him call him so? but, to Offa —
And so I fear I name my murderer.
For when I gave it him, I charged him never
To part with it. He firmly vowed the same,
And that whilst I or he should live, no man
Should ever give it motion but himself.
To snatch it from me thus? Whenas†gg6118
whereas (OED 2b); although; while on the contrary
the wounds
gg6118
Thy parricidal*n10383
] parricidial (OED lists examples of this form of the adjective from 1605 to 1815.)
hands has given me
n10383
Are not so bitter as the wrongèd thoughts,
Though they are deep and overflow their brinks.
I have two wounds within me that are deeper,
A troubled*n9660
]trebbled. Wood does not emend, but the change is necessary. At this point the speaker is setting up an extended metaphor of two streams of blood (one good, the other bad), and the dualism will be sustained for two dozen lines. The image of a `troubled' -- disturbed, stirred up, agitated -- spring fits well with the larger metaphor. To retain `trebbled', however, would be to introduce the concept of a triad and thereby entangle the metaphor into nonsense.
spring of dearer blood than this.
n9660
One pricks me with compassion for thee,
Be ever thy companion, till thou art crowned
‘Mongst sons of men the pattern of true piety.†gs1783
faithfulness to the duties naturally owed to one's parents (OED n. 3), and particularly those owed by a son to his father
gs1783
What foul mistrusts, puddles of jealousy,
Were lodged in this dark bosom against thee?
And of affection what a pure stream did run
By a false current to my second son?
Who by thy truth appears not now thine own.
Which makes my other wound, in that so long
I cherished him by doing of thee wrong.
Now from my heart issue two streams of blood,
In the gross blood I vent†gs1698
discharge, expel (OED v2. 2a)
the wrong conceit†gs1699
opinion, estimation (OED nII, 4)
gs1698
gs1699
I swallowed against thee, my good Anthynus;
And in the clear I see Offa’s falsehood.
In both my blood runs forth apace. Oh, may
My thick blood, Anthynus, be forgiven by thee
And the clear cleanse my Offa’s treachery!*n11069
] And in the clear I see Offa's falsehood may/ In both my blood runs forth apace. O/ My thick blood Anthynus be forgiven by thee./ And the cleare cleanse my Offa's treachery
1657 Quarto has evidently carried up the word `may' from the second line but (quite unusually) has neglected to mark the carried-up word with an open-parenthesis sign: see [QE 2.4. line1712]. Wood, leaving the word where it is in 1657 Quarto, glosses it as follows: `maybe; ie. Segebert speculates that "Offa's falsehood" could be in both "streams of blood", because of his rapid bleeding.' I think this explanation requires Segebert to be speculating against the logic of his own extended image, and it does nothing to rescue the grammatical errors of the second and third verbs in the quotation as printed.
n11069
Ohhhh —([SEGEBERT] sinks.)
Enter HERMIT and [HERMIT’S] SERVANT.
336HermitDidst thou not hear a groan? a dying groan?
337[Hermit’s] ServantNot I, sir: I heard nothing.*n11094
Wood presents this sentence as a verse part-line completed by the first sentence in the Hermit's next speech. Wood has contrived to relineate the 1657 Quarto text so as to preserve verse throughout the ensuing exchange between the Hermit and his Servant ([QE 2.4 speech336] through [QE 2.4 speech351]), as he also did throughout the dialogue between them in the preceding scene ([QE 2.3.speech302] through [QE 2.3.speech323]). The case for adopting Wood’s relineation here is stronger than it was for that earlier exchange: it produces fewer seriously hypermetrical lines; many of the successive speeches end/begin in part-lines which can be joined in reasonable iambic pentameter; and it matches the somewhat more serious context of this exchange. Nevertheless, Wood’s relineation of this exchange still seems to be going against the grain of the Servant’s speeches, in which it produces lines of up to 15 syllables, breaks lines in defiance of English syntax, and appears incongruous with the speaker’s tone. Brome’s versification is notoriously difficult to call: the on-balance decision for this exchange, as for most of the corresponding one in the previous scene, has been to present the dialogue as verse from the Hermit met by prose from his Servant but to record Wood's relineation of the 1657 Quarto text in notes.
n11094
338HermitHark, look about! I am sure I heard a groan.
339[Hermit’s] Servant [Discovering SEGEBERT] Here, sir, here’s something that perhaps has groaned, but it’s out of hearing now.*n11095
1657 Quarto presents this sentence as verse, broken after `groaned'. Wood relineates by making the first three words complete a line with the last seven in the preceding speech and then breaking after `here's' and `out'.
n11095
340HermitAnd so is pity amongst men. Ay me!
Innocent old man; and yet he holds a sword.
341[Hermit’s] ServantSo, more work still! Whilst we are gathering simples†gg2177
plants or herbs employed for medical purposes; remedies (OED simple n, 6)
to
cure one, here’s another John Simple*n10468
Dramatic context requires this name to designate a person of humble social class (OED simple n, 1b) and unknown personal identity. It may also allude to the role of the simpleton (or `natural fool') John of the Hospital in Robert Armin's play The Two Maids of More-clacke: with the life and simple maner of IOHN in the Hospitall (printed 1609). See R.A.Foakes, Illustrations of the London Stage (London: Scolar, 1985), 96-7.
laid in our way to bury.*n11096
1657 Quarto presents this speech as verse, broken after `still' and `one'. Wood preserves those line breaks and makes the first four words complete a line with the last six words in the previous speech,
gg2177
n10468
n11096
342HermitHe is yet warm.
343[Hermit’s] ServantAye, but he has no breath, not so much, I’ll undertake, as a scolding wife
that has been nine days in the grave.*n11097
1657 Quarto presents this speech as verse, broken only before `scolding'. Wood relineates with breaks after `breath' and `scolding' and makes the first six words form a part line with the four words of the previous speech.
n11097
344HermitAlas, he’s gone indeed! What ruthless villains
Could have done this on such an agèd man,
In this so harmless habit?
345[Hermit’s] ServantGood master, let it warn you, though we have hitherto passed by these man-tigers,
these wolvish outlaws safely, early and late, as not worth their malice. Yet pray,
sir, now, since they begin to kill men of this coat, and these years, let us forsake
this savage*n9661
] Salvage (a possible spelling in the 16th-19th centuries)
habitation, and live in the world of meat again.*n11098
1657 Quarto presents this speech as verse, broken after: hitherto; not; they; us; live. Making the first two words in the speech complete a line with the last five in the preceding speech, Wood relineates with breaks after: master; hithero; safely; malice; kill; us; habitation.
n9661
n11098
346HermitHow ill are these white hairs bestained with red?
Methinks I should have known this face.*n10390
In half recognising the disguised and injured Segebert, the Hermit gives a faint hint of his own identity as Alberto, Segebert's former rival and fellow courtier.
Nothing to wipe
n10390
The blood off? Come, help away with him.
347[Hermit’s] ServantHe’s holp†gg6006
helped. OED gives `holp' as a possible form for the past participle of the verb `to help' in the 16th and 17th centuries.
away, and made away enough already methinks.*n11100
1657 Quarto, followed by Wood, presents this speech, all fifteen syllables of it, as a line of verse.
gg6006
n11100
348HermitWhy dost not lift?
349[Hermit’s] ServantSure they have blown their sins into him that killed him, he’s so heavy,
he’s deadly heavy. Pray, Sir, let me fetch my grave instruments and your book
and bestow†gs1780
dispose of (OED v. 1)
him here. You will not bury him in your cave, I’m sure.*n11099
1657 Quarto presents this speech as verse, broken after: killed him; me; here. Making the first six words in the speech complete a line with the four words of the preceding speech, Wood relineates with breaks after: sins; heavy, he's; grave; here; sure.
gs1780
n11099
350HermitI say I’ll have him down. Perhaps the wounded man
351[Hermit’s] ServantI would I had but this fellow’s weight in buttock†gg6007
rump
beef.*n11102
1657 Quarto presents this speech as a single line of verse. Wood relineates putting a line break after `would' and making the first two words continue a line from the end of the preceding speech.
gg6007
n11102
Enter ANTHYNUS [through the other stage doorway].
In which I was more tardy, I confess,
Where are you, sir? Ha!†gg2643
a versatile exclamation which can express surprise, wonder, joy, suspicion, indignation, etc., depending on the speaker’s intonation (OED int, 1)
This was sure the place,
gg2643
And this the very oak at which I left him.
Even to the number of my steps in my
Departure, how to make my back return,
He could recover strength to shift his ground.
I wish it were so well with him. My Lord,
My father, what a mist of doubts stand I
Amazed in; and my unspeakable amazement
Is such, that I begin to call my sight
And memory in question, whether*n9663
] whither: a possible spelling in the 16th and 17th centuries
this place?
n9663
Or whether*n9663
] whither: a possible spelling in the 16th and 17th centuries
he? or I? or anything
n9663
Be, or be not. Good senses, do not leave me!
My search will be in vain if you forsake me.
Father, my Lord! Where are you? how? or where?
353EchoHere.*n10401
The best known example of an offstage voice repeating part of an onstage utterance is probably to be found in Act 5 scene 3 of John Webster's The Duchess of Malfi, performed by the King's Men at the Blackfriars and Globe Theatres ca. 1612-1623 (when the playtext was printed) and at Court in 1630. Other examples of the use of this device from the 1630s include Thomas Randolph's Amyntas (1630) and Walter Mountfort's The Launching of the Mary (1633). In their invaluable Dictionary of Stage Directions in English Drama 1580-1642 (Cambridge University Press, 1999), Alan Dessen and Leslie Thomson distinguish between instances of such repetitions appearing to answer the questions of the onstage figure, and of their confusing or comforting the onstage figure: although both occur here in The Queen's Exchange, it is cited as an example only of the former, `most common use of the device' (p 99).
n10401
354AnthynusThat was well said, speak on.
(ANTHYNUS ex[its].)Now where?
355EchoNow here.
356Anthynus(within)*n9664
] (Anth. within). The stage direction is placed to the right of the echo to which Anthynus is responding.
Now here? Where is that here?
n9664
357EchoHere.
(Ent[er] ANTH[YNUS].)
358AnthynusI hear and follow, but I know not where.
359EchoHere.
360AnthynusAt the same place again?
If there be place, or I know anything,
How is my willingness in search deluded?
It is the wood that rings with my complaint,
And mocking echo makes her merry with it.
Cursed be thy babbling, and mayst thou become
Or stay, perhaps it was some gentle spirit
Hovering i’th’ air, that saw his flight to Heaven,
And would direct me thither after him.
Good reason, leave me not, but give me leave
A little to consider nearer home.
Say his diviner part be taken up
To those celestial joys, where blessed ones
Find their inheritance of immortality:
So soon could find the passage to that height.
His body would be here, poor martyred body,
That though it yet did live, could not part hence
Without the help of others’ legs and hands,
And here haunt none, but such whose cruelty
Would toss him into further misery.
Wild beasts (if here were any half so ravenous
As those inhuman†gg6124
brutal, cruel (OED 1)
*n10391
] inhumane. Either spelling is possible in the 17th century: the modern one has been chosen because, stressing the second syllable, it better suits the scansion.
mankind monsters†gg6126
mythical creatures which are part animal and part human, or combine elements of two or more animal forms (OED monster n, 1a)
were,
gg6124
n10391
gg6126
That drew his blood and these unusual tears)
Could not devour him all: some particle,
Some remnant would be left to bless a son with.
But here is none but that too sure a sign
For me to know the place by where I left him:
Part of the blood I saw run from him. O
[ANTHYNUS kneels to kiss the stage floor, imagined to be wet with blood]*n10392
1657 Quarto provides no stage direction for the business which the speech implies. Wood adds `(kisses the ground)'.
n10392
Dear hallowed blood, inspire me with this kiss
To find the fountain whence this stream did flow.
I will not eat nor sleep until I know.
No? canst thou tell me nothing?
[Again tearing fabric from his own garments, ANTHYNUS dips it in the imaginary blood]*n10393
1657 Quarto provides no stage direction for the business which the speech implies. Wood adds `(removes some of the blood-stained earth)' -- a direction which overlooks the fact that this action is being performed on the stage of a theatre. In the previous scene [QE 2.3.speech288], Anthynus bound his father's head with linen which he produced from somewhere about his own person. The actor playing Anthynus has not changed costume since then, so the supply is still at hand. Wood construes the blood-staining business as reminiscent of Roman Catholics gathering relics from their martyrs' execution sites, and as indicative that Anthynus is of that belief.
n10393
Then I’ll take
A sample of the precious store was spilt,
To keep me still in memory of the guilt
And of my vow, never to feed or rest,
Until I find him here, or with the blest.Exit [ANTHYNUS].
Edited by Marion O'Connor