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A critical edition of Thomas Heywood's "The Wise Woman of Hogsdon" with introduction and notes

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A critical edition of Thomas Heywood's "The Wise Woman of Hogsdon" with introduction and notes

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Content A CRITICAL EDITION OF THOMAS HEYWOOD'S u THE WISE WOMAN OF HOGSDON WITH INTRODUCTION AND NOTES by Michael Heaton Leonard % * * A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (English) September 1967 UMI Number: DP23035 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Dissertation Publishing UMI DP23035 Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 C o p y rig h t (c) b y M IC H A E L H E A T O N L EO N A R D 1 1.9 6 8 | U N IV E R S IT Y O F S O U T H E R N C A L IF O R N IA THE GRADUATE SCHOOL UNIVERSITY PARK LOS ANGELES, CALIFORNI A 9 0 0 0 7 ?hJ> E 'lot This dissertation, w ritte n by Michael.iie.at.Q.n..Jae.QJiSLr.d................ under the direction of his.....Dissertation Com mittee, and approved by a ll its members, has been presented to and accepted by the Graduate School, in p a rtia l fu lfillm e n t of requirements fo r the degree of D O C T O R O F P H I L O S O P H Y Dean Date September,. .1.9.67. DISSERTATION COMMITTEE i PREFACE With a few exceptions the dramatic works of Thomas Heywood have been allowed that decent obscurity which they 1 deserve. As one of the most active and prolific of the Elizabethans, Heywood played a considerable part in the theater of his day, but most of his plays soon began to facie from recorded memory and have never been substantially re- i vived. By the latter part of the seventeenth century and ! the first part of the eighteenth, he was beginning to be forgotten or to be mentioned occasionally as a subject for ridicule or sarcasm. Scholars of the eighteenth and nine- i \ \ teenth centuries established Heywood as a curious sort of j dramatist: far beneath Shakespeare in vision and technique, I not as "decadent" as Massinger and Ford, incapable of the moral outrage of Jonson, hardly as vitriolic as Marston, lacking the tragic conception of Webster, and without Middleton's biting contempt for society. Heywood has. been I frequently linked with Dekker as a celebrator of middle- j class virtues, but even here, as a champion of middle-class morality, he has been judged deficient in creating the lighthearted merriment characteristic of Simon Eyre and his prentices. For the most part, The Wise Woman of Hogsdon has es caped the lengthy scrutiny of scholarship, although a number of people have briefly commented upon it, and some have contributed telling points. My concern in editing the play is chiefly to provide a more reliable text than has been i hitherto available. To the extent that the text is obscure i or requires discussion, I have attempted to supply commen tary, although I am amply aware that a good deal of further \ work remains before the perplexities of Heywood's canon, I biography, and style, as they pertain to The Wise Woman, can i be resolved with the assurance that we should like to have. ! In preparing this edition of The Wise Woman. I have j received assistance and encouragement from a great many more sources and individuals than I can adequately acknowledge. | Nevertheless, there are some whose contributions cannot go i unmentioned, and it gives me great pleasure to record my | iii obligations. To the staffs-at the Huntington Library and the Clark Library I owe an especial debt for their assistance and for the facilities made available to me. The Huntington Library; has kindly granted me permission to reproduce a quarto of j The Wise Woman. The Boston Public Library, the Houghton I Library, the Yale Library, the Elizabethan Club, the Morgan j Library, the Pforzheimer Library, with permission from the [ Carl and Lily Pforzheimer Foundation, Inc., on behalf of the Carl H. Pforzheimer Library, the University of Pennsylvania Library, the Folger Library, and the Library of Congress have generously allowed me to inspect the quartos of the play in their possession and have replied to my subsequent I i i questions with speed and exactitude. The Newberry Library, i Mrs. Donald Hyde, the Bodleian Library, the National Library \ of Scotland, the Royal Library of Sweden, and the libraries of the British Museum, the Science Museum, the University of Texas, the University of Illinois, Edinburgh University, ] Eton College, the University of London, and Worcester Col- * i lege have provided me with facsimiles of their copies of the! I i quarto and have responded to my inquiries about these copies| i promptly and specifically. i Professor Arthur Brown has provided me with information: about the text of the play and has aided me in locating copies of it that I did not know about. Professor Marjorie j Berlincourt has helped me with the Latin and Greek transla tions . Professor Samuel Schoenbaum has contributed informa tion about research in progress on Heywood. The University of Vermont permitted me a leave of ab sence during the fall semester of 1966 for research at the ' Huntington Library in order to complete the edition expedi tiously . Professor Eleazer Lecky, chairman of my doctoral com- l mittee, has dealt patiently with my efforts. His scholarly rigor and stylistic precision have provided an example that j I can try to imitate but hardly emulate. He, Professor j Aerol Arnold, and Professor James H. Butler have read my manuscript with discrimination and care and have caused it j to be much better than it otherwise would have been. Despite the assistance that I have received, there are errors and misinterpretations, but these cannot be charged v to those who have helped me. They are my own. Finally, to my wife I owe great thanks for her forti tude and faith. TABLE OF CONTENTS Page PREFACE................................................. ii Chapter I. AUTHORSHIP................................... 1 II. D A T E .......................................... 21 III. LANGUAGE AND STRUCTURE...................... 35 IV. SOURCES....................................... 60 V. THEME AND CHARACTERIZATION................. 78 VI . INFLUENCES................................... 101 VII. STAGE HISTORY................................. 109 VIII. TEXTUAL ANALYSIS............................ 114 ANNOTATED T E X T .......................................... 152 BIBLIOGRAPHY............................................ 311 CHAPTER I AUTHORSHIP Although The Wise Woman of Hogsdon is widely attributed to Heywood, there is, in point of fact, no known unimpeach able proof that he is truly the author. To be sure, the Stationers1 Register^ - connects him with the play, and his name and motto appear on the title-page of the single quarto edition which was printed during his lifetime, but such possibly false ascriptions to a popular playwright are not unknown. There is no dedicatory address printed with the play that might establish Heywood as the author, and the rhymed commendation, "To His Chosen Friend-, the learned Author Mr Thomas Heywood.1 1 written by Samuel King and 2 printed at the end of the play, although found only with ^A Transcript of the Register of the Company of Sta tioners of London. 1554-1640. ed. Edward Arber (London, 1877), IV, 385. ^See sig. I4V; all references to The Wise Woman are to 1 this work, says nothing that positively ties the play to Heywood, despite Arthur M. Clark's belief that it authenti- 3 cates it. King was a neighbor of Heywood's, a resident of Clerk- 4 enwell, and obviously intended his praise for Heywood's work, but not indisputably for this particular play. The i tenor of the verse suggests that it was written when Heywood was firmly established in his career: "Thou wants no Herald to divulge thy fame" (I4V, 1. 5), perhaps at a time when he I 1 was under attack by resentful critics or by rivals for the "honour; which to thee belongs" (1. 14)— this phrase perhaps i being King's way of referring to Heywood's appointment to 5 write the Lord Mayor Pageants --and possibly toward what 1 ! might be expected to be, as Clark suggests, the end of his j the quarto of 1638 reproduced in this edition and cited either by line number or, Where appropriate, by signature. References to the rest of Heywood's plays are to the John Pearson edition (London, 1874), by volume and page, except for plays like The Captives and How a Man Mav Choose a Good Wife from a Bad, which are separately edited and do not appear in the Pearson edition. Thomas Hevwood Playwright and Miscellanist (Oxford, 1931), p. 165; hereafter cited as Biography. ^Clark, Biography, p. 59. ^Beginning in 1631, Clark, Biography. pp. 112-118. life (p. 165). Part of the second line, "'t [Heywood1 s | "fame"] needes no Apologie," might also refer to Heywood's An Apology for Actors (1612), his defense of the stage 6 against Puritan criticism. It thus seems unlikely that the verse was composed when The Wise Woman was written, but rather at some later date, perhaps about the time the play ! was published. ; Although Samuel King's commendatory verse cannot be regarded as proof positive that The Wise Woman is Heywood1s, the appearance of his name and motto on the title-page is perhaps a more likely indication. To be sure, Heywood's Lame could have been falsely used by an entrepreneur in search of a popular author. The practice was not uncommon, ! i and we may recall that in 1612 extracts from Heywood's Troial Britanica were included in the third edition of the well- | i known Passionate Pilgrim, printed by William Jaggard and 7 1 attributed to Shakespeare. The same attribution was made again in 1640 by Thomas Cotes and John Benson, printer and 8 bookseller respectively. 1 ^Ed. Richard H. Perkinson (New York, 1941). ■ i ^Clark, Biography. pp. 82-83. j i 8A. M. Clark, "Bibliography of Thomas Heywood," Oxford But the question then arises, why choose Heywood? Cer-j tainly he was yet a popular and well-known writer, to judge 'by noting the works ascribed to him by Clark that were pub- 9 lished between 1635 and 1641. Then too, he was at that time the author of plays presented at the annual Lord j Mayor's inaugural ceremonies. Furthermore, the title-page j suggests that the play was written and performed success fully some time before it was printed: "As it hath been sundry times Acted with great Applause" ([Al]). Possibly the printer and bookseller were sufficiently aware that the I ! i style of The Wise Woman was different from that of contem- jporary works but that Heywood had, at the turn of the cen- j tury, possessed a reputation for works of this sort— al- j though such a degree of literary interest and awareness on j the part of Heywood's publishers is perhaps improbable. ' Conceivably, an unscrupulous printer or bookseller may have j had other reasons for assigning the play to Heywood, but since the play does bear Heywood's name and since any sus- ipicion of wrongdoing on the part of his publisher can, at i ■Bibliographical Society Proceedings and Papers. I (1927), 112? hereafter cited as "Bibliography." 9"Bibliography," pp. 123-138; there are thirty entries, not counting later editions. 5 j this imperfect state of our knowledge, be only conjectural, i we must examine other evidence concerning Heywood's author ship of the play. The Latin motto, "Aut prodesse solent. aut Delectare." which appears on the title-page of The Wise Woman below Heywood's name, may well be an indication of the authenti city of the work. In an article written some years ago, James G. McManaway^ reminds us of the popularity of Latin title-page mottoes and of their adoption by men such as Heywood, Middleton, Dekker, Daborn, Marston, Field, Webster, and Jonson. He notes that "Jonson's mottoes vary with the i subject matter of the play" but that Heywood consistently I I used the same motto for several of his plays and a different i one for his pageants (p. 33). The motto that Heywood used is the one found on the title-page of The Wise Woman (or a i slight variant of it), an adaptation of Horace's "aut pro- j desse volunt aut delectare poetae."^ j A brief survey of the printing history of Heywood's title-page mottoes will, I think, show a pattern that I i Latin Title-Page Mottoes as a Clue to Dramatic j Authorship," Library. XXVI (June 1945), 28-36. - ^ -Horace on the Art of Poetry, ed. Edward H. Blakeney (London, 1928), p. 34. 1 suggests his increasing desire to be recognized as the j author of his works and his consistent use of one title-page 'motto in his later plays as a kind of capsule of his dra matic beliefs and as a signal of his authorship. The earli est plays commonly attributed partly or wholly to Heywood ; i bear neither his name nor his motto. Such is the case, for I example, with I & II Edward IV (1599) and How a Man Mav Choose a Good Wife from a Bad (16 02). The first play to carry Heywood's name is A Woman Killed with Kindness (16 07). j The Rape of Lucrece (16 08), The Golden Acre (1611), The Brazen Age (1613), and The Four Prentices of London (1615) also bear his name but no motto. The Silver Age (1613) is the first play to carry both his name and the characteristic motto. Between 1615 and 1631, when I & II The Fair Maid of the West were printed (bearing only Heywood's initials) no plays of Heywood's were published, this being the time when he accomplished much of his non-dramatic writing. It was to his non-dramatic writing that he first attached the motto that appears on so many of his later plays. His Troia Britanica (1609) is the first work to bear a version of the motto: "Et prodesse solent, & Delectare Poetae.1 1 An Anol- ! I oay for Actors (1612) carries "Et prodesse solent & j delectare." and Gunaikeion (1624) has on its title-page "Autj prodesse solent aut delectare." i Beginning in 16 32 ten plays were first published, each bearing Heywood's name and the motto that we see on the title-page of The Wise Woman; I & II The Iron Age (1632), | I The English Traveller (1633), The Late Lancashire Witches i (1634), A Maidenhead Well Lost (1634), A Challenge for 'Beauty (1636), Love's Mistress (1636), Pleasant Dialogues (1637), The Royal Kina and the Loval Subject (1637), and 12 * The Wise Woman of Ho as don (1638). Thus we have a series I of plays published initially between 1632 and 16 38 bearing I both Heywood's name and motto, details that McManaway be- I i lieves to be indicative of Heywood's authorship. Concluding lis discussion of title-page mottoes, McManaway states, "if jwe may take Heywood as an example, it is, I believe, safe to i suggest that a first edition of one of Heywood's plays dated! i later than 1612 and bearing his motto may be supposed to (derive from the author's manuscript or a legitimate copy. . . ." (pp. 35-36). ' Perhaps Heywood was able to publish these plays during , -^Clark, "Bibliography," describes the above-listed plays of Heywood, listing them chronologically for refer- ; ence. 8 ' the last years of his life, when he wished to prefix to them a kind of capsule of his dramatic beliefs. This motto seems to reflect Heywood's ideas about the purposes of the drama. It accords rather well with what he stated in An Apology for Actors. his defense of plays and play-acting put forth 1 against the charges of an increasingly vociferous Puritan element, in which he bases his defenses to a large degree upon Horace's precepts: to profit or to delight. Heywood speaks of plays as being instruments to polish and refine the English language, to teach history to the j ignorant or the illiterate, and to teach the subiects obedience to their King, to shew the people the vntimely ends of such as haue moued tumults, commotions, and insurrections, to present the with the flourishing estate of such as liue in obedience, exhorting them to allegeance, dehorting them from all trayterous and fellonious stratagems. (F3V) i He further discusses the uses of tragedies, historical plays, moralities, comedies, and pastorals (F3y:-G2v) . If he emphasizes the didactic rather than the entertainment value,1 j it is probably because he was repeating current doctrines j ! and because he was defending plays against the charge that they contributed nothing "useful" and were, in fact, per nicious . When he does speak of mere entertainment or de light or comedy, he suggests that the use here is of value 1 it is pleasantly contriued with merry accidents, and intermixt with apt and witty iests, to present before the Prince at certain times of solemnity or else merily fitted to the stage. (F3V) ;He speaks also of the value of I i sportfull accidents, to recreate such of themselues are i wholly deuoted to Melancholly, which corrupts the bloud: I or to refresh such weary spirits as are tired with labour,! or study, to moderate the cares and heauiness of the minde, that they may returne to their trades and facul ties with more zeale and earnestnesse, after some small | soft and pleasant retirement. (F4) j And predictably, he supports the familiar function of comedy! to reform by ridicule: to shew others their slouenly and vnhansome behauiour, that they may reforme that simplicity in themselues. . . . (F3V-F4) i Thus, to judge from what is said in the Apology and is | i not elsewhere denied, the motto that Heywood chose is one in which he would seem strongly to believe. To find it on a I title-page may not be indisputably to mark a play as Hey wood1 s own, but it would seem to be a strong indication of 1 j his authorship. Charles Mills Gayley and Adolphus W. Ward are the most strenuous doubters of Heywood's authorship of The Wise Woman. Gayley states that the play "is not surely 1°, Heywood's," and further supposes that the play "is too j shrewd and tricky in characterization, too complex in the intrigue, and too witty in the repartee to be certainly re- 13 garded as of his sole authorship." Ward remarks that the , play is unlike Heywood's usual style, saying that "if Hey wood wrote The Wise-woman of Hogsdon . . . no more striking instance is to be found of his versatility." Ward also calls attention to Heywood's citation of A Woman Killed with Kindness in The Wise Woman but declares that this is not i i positive identification of the author, for "Heywood is hard ly likely to have introduced this half sarcastic allusion into a play of his own, and the general character of this comedy of manners is such as to make his authorship doubt- i ful, notwithstanding the mention in it . . .of his Cam- j bridge college." Ward concludes his estimate of The Wise Woman with the following statement: "Much fuller of humor- | i ously grotesque characters than any known play of Heywood's, this play, at the same time, exaggerates all the blemishes j which elsewhere he shows no similar eagerness to parade— a j profusion of doggerel, of bad puns and equivoques and 1 l ^ Representative English Comedies (New York, 1914), III, xxix. 11 14 unequivocal obscenity." The reasons, then, why Gayley and Ward are doubtful that The Wise Woman is Heywood's would seem to be two: (1) that the play is stylistically unlike Heywood's other works and (2) (Ward's belief) that Heywood would have been unlike ly to have referred to his own play, A Woman Killed, in a "half sarcastic" manner. The second of these objections is both the easiest and most difficult to consider. It is true that there is some sarcasm involved when Chartley, having pacified Luce and her Father, remarks first to the Father and then to Luce: Is your spleene downe now? Have I satisfied you? Well, I see you chollericke hasty men, are the kindest when all is done. Here's such wetting of Hand-kerchers, hee weepes to thinke of his Wife, shee weepes to see her Father cry'. Peace foole, wee shall else have thee claime kindred of the Woman kill'd with kindnesse. (11. 1265-71) The reply, however, is entirely appropriate both to the character of Chartley, "a wild-headed Gentleman" (11. 14- 15), and to the situation in which the comic pathos of Luce - ^Cambridge History of English Literature (Cambridge, 1919), VI, 99. Ward, incidentally, believes Heywood's col lege is Peterhouse from 1. 1422, spoken by Sencer, who is believed to have been played by Heywood. Clark, Biography. p. 6, believes it was Emmanuel College, Cambridge; Heywood, Apology for Actors. C3V, speaks only of his "residence in Cambridge." 12 and her Father is leavened by Chartley's ready wit. A Woman Killed is, after all, a sentimental play, and we should be doing Heywood an injustice to refuse him the wit and the right to recognize it as such. Furthermore, Heywood is at this point deliberately trying to achieve a comic effect, and he has the wit to know how to do it: by appealing to the disproportion between the two situations in the two plays, the one in which a lamentable death occurs and the other in which Luce and her Father are merely blubbering. 15 We might also remember Fleay's belief that in The Wise Woman Heywood alludes to several other plays: The Devil and His Dame (11. 612-613, 2351), Jack Drum's Enter tainment (11. 781-782), Too Good to Be True (11. 1942-1943), Mother Redcap (11. 551, 1766), and Cuttincr Dick (1. 588). Whether these allusions are to plays or to popular expres sions is difficult to determine, since the titles are either proverbial expressions or else references to notorious per- 16 sonages. Similarly, it is difficult to determine whether •^A Biographical Chronicle of the English Drama 1559- 1642 (London, 1891), I, 291-292. l^See Morris P. Tilley, A Dictionary of the Proverbs in England in the Sixteenth and Seventeenth Centuries (Ann Ar bor, 1950), pp. 150, 344-345, for the first two; William G. Smith, The Oxford Dictionary of English Proverbs. 2d ed., 13 sarcasm is intended in the allusions to Mother Redcap. Cut- 17 ting Dick (one of Heywood's collaborations), and Too Good 18 to Be True, for they have been lost. In the case of Jack 19 Drum1s Entertainment. the satiric spirit of that play fits the context of the allusion. Reference to The Devil and His 20 Dame is an expression of disgust for the Wise Woman. In alluding to these plays Heywood is not being as sarcastic or satirical as he may be in his reference to A Woman Killed. Yet this allusion to the play, the only allusion to Hey wood's work or to his person that might be termed sarcastic, fits its context rather well. Furthermore, it is difficult to imagine that this is simply a single random thrust at rev. Paul Harvey (Oxford, 1952), p. 664, for the third. See Edward H. Sugden, A Topographical Dictionary to the Works of Shakespeare and His Fellow Dramatists (Manchester, England, 1925), p. 355, for commentary on the fourth, and Clark, Biography. p. 29, about Cutting Dick. Tilley, p. 355, also includes A Woman Killed with Kindness. ^ Henslowe's Diary. ed. Walter W. Greg (London, 1904), I, 181. -^Alfred Harbage and Samuel Schoenbaum, Annals of Eng lish Drama 97 5-17 00. 2d ed. (Philadelphia, 1964). J-^The Plays of John Mars ton, ed. H. Harvey Wood (Lon don, 1939), III, 177-241. ^^Five Anonymous Plavs (Fourth Series), ed. John S. Farmer (London, 19 08), pp. 101-180. 'Heywood made by a jealous dramatist, for there is no further; satiric elaboration of any kind— certainly not like Francis 21 Beaumont's in The Knight of the Burning Pestle. It would seem, perhaps, that from the lightness of the thrust and thej fact that it is the only instance of what might be called satire on Heywood that the allusion to A Woman Killed should not be considered as a bar to Heywood's authorship of The Wise Woman. Surely it is not inconceivable that Heywood included the obvious allusion to A Woman Killed as a sort of J advertisement for himself. j I The other reason for doubting the authenticity of the play— that it is stylistically unlike Heywood's other works— is evidence of the kind of thinking that will not allow a dramatist to change or to develop. Heywood attempt ed an immense and varied quantity of literature during his rather long life, and he wrote plays that differ markedly id i style and theme. But having once said that some of Hey wood' s plays differ considerably, we must also add that many i of them are much alike, for The Wise Woman is by no means j his only venture into citizen drama. As A. M. Clark puts it, the theme of domestic tribulation was a specialty of ^Ed. Herbert S. Murch (New York, 1908). Heywood's, especially the infidelity of a husband or a wife to a loving partner with whom the erring one is reconciled j at the end of the play. In Edward IV the husband re- ( claims the wife; in How a Man may choose a good Wife the wife wins back the husband. A year or two later Heywood in A Woman Killed with Kindness gave us the classical instance of the unfaithful spouse forgiven. The English Traveller, and The Late Lancashire Witches are variations on the same theme; The Wise Woman is a lighter treatment of it; in The Rape of Lucrece it is an innocent adultery in which both husband and wife are blameless; in the sub-plot of The Captives the wife's loyalty is proof against temptation and in con sequence the action is grimly farcical; in Pick of Devonshire the husband-to-be violates his future wife; in A Challenge for Beauty the unjust suspicion cast on ! Bonavida's betrothed nearly leads to his death; lastly ' in The Iron Age and Love's Mistress the ancient stories | are domesticated to suit Heywood's homely talent. The : whole conception of A Yorkshire Tragedy and the spirit which animates the play are utterly different from the work of any other dramatist but Heywood; his plays are nearly all in one way or another domestic, for he looked at life from the family circle and to him the greatest thing in the world was the home. (Biography, pp. 317- ; 318) j i Then too, just as his themes are alike, so are many of ; his characters. Resulting from his preoccupation with the theme of the prodigal son is his depiction of this kind of character in Young Lionel of The English Traveller. Jack ! Gresham of II If You Know Not Me You Know Nobody. and ! Chartley of The Wise Woman. Not actually villains or de- | I I praved carousers, they are, more precisely, clever young j i knaves, pleasure-seekers who are only slightly individual- ized. Chartley and Jack Gresham are stronger, more forceful characters than Young Lionel, who is manipulated by Reig- nald, "the parasiticall seruing-man" of The English Travel ler (IV, 2), but aside from this slight difference they are 22 nearly the same. Heywood, unfortunately, is rather limit ed in his powers of characterizing, and he uses repeatedly the same types distinguished by minor differences. He probably intended that the two Luces of The Wise Woman be similar, but like them also are three of his other hero- f ines: Besse Bridges of The Fair Maid of the West. Susan , I Mountford of A Woman Killed with Kindness, and Bella Franca of The Four Prentices of London. In contrast with the err- i I ing wives, who form still another category, but one not in cluded in The Wise Woman, they are clever and resourceful, chaste, and undisillusioned by their succession of vicissi- 23 tudes in life. They are Heywood's perfect Englishwomen, ! i i created in a mold and garnished lightly with individualizing traits. Besides the similarities in theme and character, there 22<Dtelia Cromwell, Thomas Hevwood: A Study in the , Elizabethan Drama of Everyday Life (New Haven, 1928), pp. 85-86, makes this connection. ^^Cromwell, pp. 9 7-98, compares these three. 17 : are stylistic connections between >The Wise Woman and plays i whose author is generally recognized to be Heywood. In an ! article the principal purpose of which is to promote the i belief that Heywood is the author of the anonymous play How ! i a Man May Choose a Good Wife from a Bad (a belief shared 24 also by Fleay, A. E. H. Swaen, and others), J. Q. Adams I i cites the abundant similarities in "sentiment, style, ideas ; 25 ; and phraseology" between not only How a Man May Choose and .The Wise Woman but also among The Wise Woman. The Rape of j i Lucrece. If You Know Not Me You Know Nobody. Fortune by Land and Sea. The Roval Kina and the Loval Subject. The Fair Maid of the West. The Golden Age. The Brazen Age. The Iron Age. Love's Mistress. A Challenge for Beauty, and other plays of which Heywood's authorship is more conjectural, such as The Fair Maid of the Exchange and Edward IV. Most of these similarities involve the repetition of short phrases and ^ Biographical Chronicle. I, 29 0; How a Man Mav Choose a Good Wife from a Bad. Materialien zur Kunde des alteren Enalischen Dramas. XXXV (1912); E. K. Chambers, The Eliza bethan Stage (Oxford, 1923), IV, 20; Michel Grivelet, Thomas iHeywood et le Drame Domestique Elizabethain (Paris, 1957), !p. 362. Otelia Cromwell, pp. 198-199, and Felix E. Schel- ling, Elizabethan Drama 1558-1642 (Boston, 1908), I, 331, think otherwise, however. 25"Thomas Heywood and How a Man Mav Choose a Good Wife from a Bad." Englische Studien. XLV (1912), 43. I _____________________________________________________________ _________ is i expressions and Latin tag-ends and scraps, thus being less i than absolutely convincing in themselves of Heywood's 26 . . authorship. Nonetheless, the comparatively large number of repetitions is suggestive of a single individual— prob ably Heywood--as the author. Particularly noteworthy is the1 27 ! repeated use of bawdry in these plays, a characteristic i i that Ward, as we have seen (CHEL. VI, 99) believes to be more prevalent in The Wise Woman than in the rest of Hey- wood's plays. For this reason, among others, Ward hesitates to include it in the Heywood canon. But if, as Adams' work shows, many of Heywood's plays reveal his repeated use of bawdry, this basis for Ward's hesitation to assign the play i to Heywood seems to be seriously weakened. 1 There remains a problem of Heywood's orthography and his calligraphy that was first brought up by the late W. W. 28 Greg and which has been further treated by Arthur Brown in i i i ^Samuel Schoenbaum, Internal Evidence and Elizabethan j Dramatic Authorship (Evanston, 1966), presents abundant I cautionary examples regarding the too-hasty attribution of \ otherwise anonymous plays. | f Q " 1 I c'Adams, pp. 30-44, does not concentrate upon bawdry, ' but he presents much that Ward seems to have overlooked. i I 28"The Escapes of Jupiter; An Autograph Play of Thomas . Heywood's," Ancrlica (Palaestra). CXLVIII (1925), 211-243, j esp. 215. j •his edition of The Captives, where he writes; In spite of the fact that scribes and printers of the sixteenth and seventeenth centuries normally used 1 for the word aye. the form ey. occurs more or less consis tently in several first editions of Heywood's plays [including The Wise Woman 1. although it is extremely rare anywhere else. The form ey occurs quite regularly in the manuscript of Calisto and in the present play fThe Captives 1 (see especially 2275-92 of this edition),, and seems not improbably to have been a spelling pecu liar to Heywood and copied from his manuscripts by his compositors. Secondly, in these two manuscripts the writer soon tires of writing out act headings in full as 'Actus Secundus', &c., and often falls back on ab breviations such as '2s', '3s', and so on; in these forms he uses an ordinary English final s., which in a careless hand is indistinguishable from a 6., made, as it often is, with the loop first. It is significant, therefore, to find in the quarto of Heywood's The Wise Woman of Hocfsdon (1638) the forms 'Act [us] 46' and 'Act[us] 56* for Acts 4 and 5 respectively . . . Greg also makes the point that if the first of these two plays is accepted as Heywood's on literary grounds (and it is generally accepted), then the fact of two manu script plays by the same author being found together in the same handwriting affords some presumption that they are autograph, and that in any case no sane person would have employed a scribe whose handwriting was as bad as this. Heywood was aware of the faults of his own hand, for at the end of The Exemplary Lives and Memorable Acts of Nine the Most Worthy Women of the World (1640) he writes: 'Excusing the Compositor, who received this Coppy in a difficult and unacquainted hand, and the Cor rector who could not bee alwayes ready in regard of some ] necessary imployments, I intreate the generous Reader to i take notice of these Errata following, and to rectifie them in his reading after this manner. . . .'29 The question of Heywood's orthographic peculiarity is 2 9 (Oxford, 1953), pp. vii-viii. 20 | by no means unquestionably resolved by Brown. A study some what beyond the scope of this present paper would be re- I quired to decide Brown's theory. The QED is notably lacking in help here^ although Heywood's use of ey with its meaning of yes is the only one presented aside from Byron's use of j the form (and we can safely discount Byron as the author). j i I The calligraphic problem is still not fully resolved either;| handwriting does not point clearly to Heywood's authorship i I of all three plays. Unfortunately, there is no manuscript of The Wise Woman with which one could make a more detailed " » i comparison. Nevertheless5 these details5 when put together with the rest of the details that have been examined— the presence of Heywood's name and characteristic motto on the title-page5 the attribution to him made in the Stationers' Register. Samuel King's commendation, and the contention that much of the play is in Heywood's style— vouch rather strongly for Heywood5 at least until information as yet not known is turned up. Finally5 as Brown's unqualified ascrip-j tion of The Wise Woman in the discussion above would re- 1 I I fleet5 most scholars believe that Heywood is the author of | the play. CHAPTER II DATE Although the date of composition of The Wise Woman has not been definitely determined, the usually agreed-upon year is 16 04. The play, however, was not printed until 16 38, anc since there is no reference to it in the Stationers1 Reuis- 1 2 ter until its printing, or in Henslowe1s Diary or the 3 . . . , ■Revels Accounts at any time, it is worth an inquiry to determine why this particular date has been selected. Fleay seems to have been the first to have suggested ~ ^A Transcript of the Register of the Company of Sta tioners of London. 15 54-1640. ed. Edward Arber (London, 1877), IV, 385. ^Ed. Walter W. Greg (London, 19 04), I. ^See Mary S. Steele, Plays and Masques at Court During the Reigns of Elizabeth. James, and Charles (New Haven, 1926) . 21 22 ^ 4 . 5 6 this date. Schelling, Koeppel, and Ward accept it with : slight reservations, Ward noting that "the sceptical view of witchcraft taken in this piece [The Wise Woman 1 strongly contrasts with the orthodox tone in The Late Lancashire ( Witches. Clearly, the two plays belong to different epochs j 7 i in the author's life." Chambers gingerly agrees, "c. 1604 j 8 9 (?.)." Harbage and Schoenbaum tentatively accept the date, 10 I as do Mowbray Velte and, with reservations, Michel ^A Biographical Chronicle of the English Drama 1559- 1642 (London, 1891), I, 291-292. I i ^Elizabethan Drama 1558-1642 (Boston, 1908), I, 335, ! II, 413. j I ^Studien liber Shakespeares Wirkung auf Zeitgenossische Dramatiker (Louvain, 19 05), p. 13. History of English Dramatic Literature to the Death of Queen Anne (London, 1899), II, 575; in the Cambridge His tory of English Literature (Cambridge, 1919), VI, 99, Ward declares that The Wise Woman "cannot have been produced at a date much later than 16 04. . . ." ^The Elizabethan Stage (Oxford, 1923), III, 342. j ^Annals of English Drama 975-1700. 2nd ed. (Philadel- j phia, 1964), p . 88. I ] ^^The Bourgeois Elements in the Dramas of Thomas Hevwood- (Mysore, 1922), p . 13. ! 23 " 1 11 12 13 Grivelet, Arthur M. Clark and Otelia Cromwell, who, like Velte and Grivelet, have concerned themselves minutely with Heywood, also believe that it was written long before I lit was printed. Clark and Cromwell refer to Fleay's sug gested 16 04 but do not unequivocally settle upon that year, j both suggesting that it belongs with a group of plays writ ten before 1605. Thus, although there is a general consen sus about the date of The Wise Woman, there is not over whelming surety, a condition that is not difficult to under stand if one examines the bases for the dating of the play. I In arriving at the date of 16 04, Fleay states that The - Wise Woman "may be the same as How to learn of a woman to woo. acted before the King 1604, Dec. 30, according to the j forged, but generally truthful, document of P. Cunningham" (Biographical Chronicle. I, 291-292). Notice should be taken that Fleay is being cautious here in linking the two plays, for he has received what may be more than his share j of condemnation for the connection. To be sure, Fleay's i 11 - . I J-J -Thomas Heywood et le Drame Domestique Elizabethain ! /Paris, 1957), p. 367. -^Thomas Hevwood Playwright and Miscellanist (Oxford, ■1931), p. 243; hereafter cited as Biography. i ^ Thomas Hevwood: A Study in the Elizabethan Drama of Evervdav Li fe _(..New_Haven,.— 1928.)_._p 58________________________ 24 proposed relationship between the two plays is no more than | | conjecture, since there are no known copies of How to Learn 14 for him to have based his opinion upon. The roles of the two Luces in The Wise Woman would seem to furnish the chief j support for his belief that the plays are the same. But in ; view of the exceedingly large number of plays in which Heywood claimed "either an entire hand, or at the least a 15 maine finger" (he may not have been merely boasting? Clark fBiography. p. 39] reminds us of Francis Kirkman's remarks l about his industry: "'he not only acted almost every day, but also obliged himself to write a sheet every day for ! several years together. . . .1"), there is reason to believe i that these two plays need not be the same. Fleay, however, did not ascribe a date of 1604 to The Wise Woman merely because he thought it might be the same play as How to Learn. A more substantial reason for citing the year 16 04 derives from the allusion made in The Wise j t Woman (1. 1271) to A Woman Killed with Kindness, which was recorded five times in Henslowe1s Diary during February and : i 1 l^Harbage and Schoenbaum, p. 88, doubt the existence of the play but are not certain: "Lost (?)." \ i l^To the Reader, The English Traveller, ed. John Pear son (London, 1874), V, 5. 25] 16 i March of 16 02/03, thus providing a date before which The 1 iWise Woman is not likely to have been written, if we assume that the reference is to this play and is not merely pro verbial. The expression "to kill with kindness" is, of course, proverbial, and Tilley provides three instances of j 17 ' its use before 1604. Perhaps Shakespeare's use of the 18 ' expression in The Taming of the Shrew is best known. Yet the examples provided by Tilley, as much as they show the expression to have been a common one, do not prove conclu sively that Heywood's allusion was proverbial and not a I reference to A Woman Killed. The references to A Woman Killed in Henslowe1s Diary are all made in the early part of 1603 (N.S.), and there would seem to be nothing to prevent the play from being acted shortly after March 6, 16 02/03, when Henslowe gave Heywood three pounds as final payment for the play. If we ^1, 188-189. Fleay, Biographical Chronicle. I, 291- | 292, refers to A Woman Killed and other plays which will be ■ discussed later. j i J-^A Dictionary of the Proverbs in England in the Six- | teenth and Seventeenth Centuries (Ann Arbor, 1950), p. 355. j ISThe complete Works of Shakespeare, ed. Hardin Craig j (Chicago, 1961), IV.ii.211. ! 26 1 I assume that Heywood then began to work on The Wise Woman with his usual and celebrated industry, it seems possible that the play was completed in 16 03, not 16 04. It is, of course, merely an assumption that Heywood began work on The Wise Woman after finishing A Woman Killed. He might just as easily have commenced work upon something j no longer known to be extant. He may even have set about j getting married, for Clark (Biography. p. 58) proposes that ’ Heywood married one " ' Aenn Buttler servt. to Mr. Venn'" on j V June 13, 16 03, although accomplishing this enterprise is not likely to have taken all his time between March and June. ! Of Heywood's extant works there is a lack of any be- j sides The Wise Woman that can be assigned to the period be- i 19 tween March 6, 16 03, and July 5, 16 05, when If You Know ■Not Me. You Know Nobody was recorded in the Stationers1 20 , ! Register. E. K. Chambers (Elizabethan Stage. Ill, 343) assigns The Rape of Lucrece to the period between 16 03 and 16 08, but Clark (Biography. p. 47) prefers a later, rather j than an earlier, date of composition, more likely 16 06 or | i j l^The date in Henslowe1s Diary. I, 189, of final pay- j ment for A Woman Killed. I 27 1607, on the grounds of similarities and indebtedness to Macbeth and to the 16 07 edition of Shakespeare’s Lucrece published by Nicholas Okes . Harbage and Schoenbaum also suggest a later date, "1606-1608" (p. 92). Also to be considered are the illness and death of Elizabeth, which disorganized the theaters late in 16 02/03, and the accession of James I, in whose coronation procession Heywood took part. These events would not of themselves have prevented Heywood from writing a new play? in fact, they might have provided the leisure necessary for such an undertaking. On the other hand, they might have produced a disrupted state of affairs in which a creative effort would have been difficult or even impossible. Such is also the case with the visitation of the plague to London during the last half of 16 03 when the theaters were closed from before May 17 until April 9, 16 04, and the Earl of Worcester's Men 21 were playing in the provinces. That the plague of 16 03 made life difficult for those connected with the theaters (among others) is to put it mildly. The dramatists were especially hard hit, for the players could tour the ^-*-See F. P. Wilson, The Plague in Shakespeare's London (Oxford, 1927), pp. 110-113. 28 countryside presenting the proved successes of their reper- i toire to audiences unfamiliar with them. There was little I need for new and untried plays. That the list of plays , ascribed to 16 03 is far shorter than those of 16 02 and 16 04 j is hardly surprising, and all of the plays of 16 03 whose | publication date can be specifically ascertained were print- i ed during the early months of the year, before the plague 22 became so grave. Hence it may be that Heywood wrote The Wise Woman early in 1604, about the time Queen Anne's Men i (formerly Worcester's Men but now under a new patron) re- 1 I opened in London with the need for a new play. Then too, j the tone of The Wise Woman aeems rather too lighthearted forj a play written during the plague. There is even a jest ! about the certainty of plague (11. 1467-68), a reminder that would hardly have been written during the catastrophe. I The most substantial basis given thus far for dating The Wise Woman is its reference to A Woman Killed, but the | allusions to the other plays noted by Fleay (Biographical j ; Chronicle. I, 291-292) and discussed briefly in the previousj section may be of some help in dating The Wise Woman. | 22see the convenient tables in Harbage and Schoenbaum, pp. 80-88. Besides A Woman Killed. Fleay notes allusions made to The Devil and His Dame . Mother Redcap. Cutting Dick . Jack Drum * s Entertainment, and Too Good to Be True. to which Harbage and Schoenbaum (pp. 76, 66, 82, 16, 82) assign the following dates respectively: 1600, 1598, 1602, 1600, and 1602. It ( is perhaps significant for the dating of The Wise Woman that these plays (if indeed Heywood was referring to plays and not to proverbial expressions) were printed or produced before 1603-1604, although it is obvious that allusion to i them by Heywood is no proof that The Wise Woman was written shortly after they were. They may, however, be adduced in i support of the belief that The Wise Woman was not written until after 16 02 and probably not until after early 16 03, j when A Woman Killed was performed. There seems to be nothing in the text--nothing at least i as evident as the allusion to A Woman Killed--that might ; I provide a terminus ad quern. Yet stylistically the play seems to be a part of Heywood's earlier rather than of his. later work. Several reasons may account for this. Fleay, ' i i in his discussion of How a Man Mav Choose (c. 1601-02), i I notes that it contains passages that are strikingly similar ! to some in The Wise Woman. From this evidence he asserts I I that the anonymous How a Man May Choose belongs to Heywood , 30 (Biographical Chronicle. I, 29 0). A. E. H. Swaen and J. Q. Adams have also been thus persuaded and argue the case rather convincingly, as has been noted (supra. pp. 17-18). The point that I should like to emphasize is not so much that Heywood wrote How a Man Mav Choose but that he was strongly influenced by it, enough so for there to be many i echoes of character and phrase, particularly the latter, in The Wise Woman. To be sure, Adams notes that Heywood is | given to the repetition of ideas, phrases, and rhetorical and prosodic devices in many of his plays and that there are similarities between How a Man Mav Choose and several plays besides The Wise Woman, as well as a number of verbal simi larities among many of his plays. One striking point that comes of his discussion, however, is the number of similari- j ties between The Wise Woman. A Woman Killed. How a Man Mav | 23 Choose, and The Fair Maid of the Exchange. all early plays'. ^Heywood's authorship of The Fair Maid of the Exchange is much doubted. Velte (pp. 123-124), Cromwell (pp. 163- I 167), Clark (pp. 18-20), and Grivelet (p. 389) doubt or deny his sole authorship. Peter H. Davison and Arthur Brown in their edition of the play, Malone Society Reprints (Oxford, 1963), p. vii, declare that the play should be considered j anonymous "until more substantial evidence of authorship is forthcoming." Nevertheless, the stylistic similarities are worth notice insofar as they suggest a connection between plays written toward the beginning of Heywood's career, probably between 16 02 and 16 04. j Mams notes twenty-two similarities between The Wise Woman and How a Man Mav Choose, eleven between A Woman Killed and ; i How a Man Mav Choose. and three each between The Fair Maid ' i of the Exchancre and The Wise Woman, and The Wise Woman and A Woman Killed. Again one must remark that these statistics, cannot prove that The Wise Woman was written in any particu lar year, and any conclusions must be tempered by the know ledge that Heywood repeated many verbal expressions, scenes, and characters in many of his plays. But such a relation- i ship among these early plays cannot be ignored, and it sug- j gests to me that The Wise Woman was written about the time i of A Woman Killed. How a Man May Choose, and The Fair Maid of the Exchange. Another kind of statistical review of Heywood1s drama tic work is Otelia Cromwell's, but her efforts seem to tell us mainly that a statistical analysis of style is not the way to date Heywood's plays with much certainty. At length Miss Cromwell is forced to the admission that "all we can say is that he [Heywood] shows a tendency, more or less elastic, toward a diminishing use of prose" (p. 136), a statement that would tend to place The Wise Woman early in his career, since 54.6 per cent, or 1278 lines of the play, are prose (p. 132). As to rhyme, Miss Cromwell concedes i 32 that "the only thing that seems to be clear upon this whole * question . . . is that- the plays, known to have been written, relatively late, tend to show fewer rhymed lines proportion-! I ately than the plays of earlier dates" (p. 136). This j (Statement, like the previous one, suggests, then, that The | Wise Woman is an earlier effort, for although it is lacking 1 in rhyme (126 lines, or 11.9 per cent), it has significantly more than late plays like The Captives (1624? 178 lines, or 7.3 per cent) and The English Traveller (1621-33? 80 lines, | or 3 per cent). But any trends here, as Miss Cromwell has warned us, are "more or less elastic" and can show only a l very general pattern of progress. The Late Lancashire Witches (1634), for example, has 208 rhymed lines (1918 per cent) (pp. 132-133). Although Miss Cromwell believes that How a Man May Choose is only superficially like The Wise Woman, she will- i Lngly acknowledges that they treat a common theme, the ; prodigal son-faithful wife motif, as do several other plays written about 1603-04 (p. 199). A fuller discussion of thematic treatment is to be found in the chapters dealing with Sources, Characterization and Theme, and Influences. j What I should like to point out here is that five plays--The : Fair Maid of Bristow (16 03-04), The Dutch Courtesan (16 03- i 33 | 04), The Wise Woman (c. 1604 ? ), Measure for Measure (c. | 1603-04), and The London Prodigal (1603-05)— that treat this: I theme were written at about the same time. How a Man Mav i Choose (c. 16 01-02) and All's Well That Ends Well (c. 16 01- | t 04), other treatments of the theme, were probably written earlier. The Miseries of Enforced Marriage (1605-06) is a 24 . . . later treatment. Of the first five plays listed, Bristow. Measure, and Prodigal were performed by Shakespeare's com pany, the King's Men; Courtesan was done by the Queen's 1 Levels Company, a leading boys' company; and Hogsdon by 25 Queen Anne's Men. It may be that Heywood’s play was i written to meet competition from the other companies and i i thus perhaps belongs to 16 04, when the players were reor ganized under new patrons after the interruption of the j plague. ' The question has not been settled, but Fleay's dating of The Wise Woman seems approximately right. To be sure, his identification of it as How to Learn of a Woman to Woo ^The dates are from Harbage and Schoenbaum, p. 88 for the first five and pp. 82, 84, 92 respectively for the last three. | i 25This information is also from Harbage and Schoenbaum, found on the pages that pertain to the plays cited above. is pure conjecture, but his recognition of what may well be allusions to A Woman Killed. The Devil and His Dame. Mother i i Redcap. Cutting Dick. Jack Drum's Entertainment, and Too Good to Be True. and his citation of similarities between it and How a Man May Choose and other early plays (further developed by Adams and Swaen) suggest rather strongly an > early date for The Wise Woman, probably early 16 04, but per haps 16 03, and most likely not after 16 05, by which time the prodigal son-patient wife theme had been well exploited. j CHAPTER III LANGUAGE AND STRUCTURE Heywood, along with other Elizabethan and Jacobean dramatists, has been accused of writing weak plots, of being unable to write multiple-plot plays that are structurally sound--plays in which the subordinate plot reflects upon, or reinforces, or is even adequately sutured to, the main ^ plot.1 Yet this so-called inability to fuse two or three : 2 plots has in recent years been vigorously denied. The ^See, for example, Otelia Cromwell, Thomas Heywood: A Study in the Elizabethan Drama of Everyday Life (New Haven, 1928), pp. 116-117, 151; Norman Rabkin's defense of Hey wood1 s dramaturgy, "Dramatic Deception in Heywood1s The English Traveller," Studies in English Literature. I (Spring 1961), 1-16, cites (p. 7) several eminent scholars and critics who have found fault with Heywood's plot structures: T. S. Eliot, Madeleine Doran, F. S. Boas, and others. i 2See Rabkin, above, and Freda Townsend, "The Artistry J of Thomas Heywood's Double Plots," Philological Quarterly. j XXV (April 1946), 97-119; Patricia Meyer Spacks, "Honor and | Perception in A Woman Killed with Kindness." Modern Language Quarterlv. XX (December 1959), 321-332. 35 36 defenders of Heywood1s plotting have not, however, concerned themselves with The Wise Woman because in this play Heywood is manifestly capable of weaving three stories together into a coherent whole. In trying to connect three plots, Heywood has undeniably opted for complexity of action, yet the play is not a mere procession of episodes with little connection or interrelation among them. Deftly, Heywood has linked the three plots and connected the many separate actions con tained in each so that the abundance of action in the play is controlled and disciplined, although it is rather be wildering in its complexity. Swinburne, in a short approving study of the play, notes the complexity of action and declares that "there are not many better examples of the sort of play usually defined as a comedy of intrigue, but more properly definable as a 3 comedy of action." This is a useful distinction to make, although action and intrigue are so nicely balanced in the play that it is difficult to show a preponderance of one over the other. Yet Swinburne is undoubtedly correct in noting the considerable amount of action in the play, and 3"Thomas Heywood," The Complete Works of Algernon Charles Swinburne, ed. Edmund Gosse and Thomas James Wise (London, 1926), XI, 452. 37 I i I the structure of the play is probably its soundest attri- | bute. As Swinburne remarks, "the dramatic ability of Hey- wood, as distinct from his more poetic and pathetic faculty/ shows itself at its best and brightest" (p. 452) in this work. j This is not to say, however, that the language is un successful, but rather that it is simply not extraordinary. George Saintsbury has remarked that Heywood has a sort of tap of blank verse, not at all bad, which he can turn on at any time and the cistern whereof never runs dry or foul. But there is. something of a tap-and-cistern quality about it, and it is never the earth-born and heaven-seeking fountain of Shake speare . ^ i Such invidious comparisons with Shakespeare are not infre quently made by Heywood1s critics, and one is reminded, as is Saintsbury, of Charles Lamb's description of Heywood as 5 "a sort of prose Shakespeare." Lamb's famous distinction deserves a fuller quotation, ! for I think it has considerable bearing upon The Wise Woman. Regarding Heywood, Lamb says: ^A History of English Prosody from the Twelfth Century to the Present Day (London, 1908), II, 81. i 5"Thomas Heywood," The Works of Charles and Marv Lamb. : ed. E. V. Lucas (London, 19 03), I, 45. j 38 we miss the poet. that which in Shakspeare always ap- | pears out and above the surface of the nature: Heywood's characters in this play fA Woman Killed!. for instance, his country gentlemen, &c. are exactly what we see, but . of the best kind of what we see, in life. Shakspeare makes us believe, while we are among his lovely crea tions, that they are nothing but what we are familiar with, as in dreams new things seem old; but we awake, and sigh for the difference. (p. 45) | i i Here Lamb is extending his comparison beyond the bounds of language itself into characterization and structure. The passage is difficult, but I think we may infer that Heywood ; i is able to render life as it is with vivid detail and veri similitude, but his creations do not transcend the limita tions of the human condition to inspire us with the rever- j ence for beauty and wisdom that belongs peculiarly to great | art. Heywood's plays are filled with the realism of every- j t day life, but they do not go beyond (and occasionally fall j beneath) this day-to-day realism. i Such is the case with the language of The Wise Woman. As a play about London life, its dialogue is much in charac ter with the tradesmen, distinguished burghers, fools, and i wild young gallants who voice their hopes, frustrations, i f jealousies, and intrigues in a way that never transcends their own rather commonplace ideals. It is a serviceable, utilitarian kind of language which well fits the rather pedestrian characters of the play. It helps greatly in 39 making the characters what they are: at times sentimental, occasionally foolish, witty once or twice, and bawdy rather often. They are, in short, thoroughly human and never more I than that. : [ Heywood's affection for the London bourgeoisie is ap- | parent, for he allows them to voice the nobler sentiments of the play. Witness, for example, Luce's Father's refusal to ' “Broker to [Chartley's] lewd Lust" (1. 1229) for his daugh ter : Son, Son, had I esteem'd my profit more | Then I had done my credit, I had now ! Beene many thousands richer: but you see, Truth and good dealing beare an humble saile; That little I injoy, it is with quiet, Got with good conscience, kept with good report: And that I still shall labour to preserve. (11. 1219-25) I The phraseology is that of the London merchant, inescapably J i bound to his counting house and his middle-class code of conduct. It is in character for Luce's Father to speak in this way, but in doing so he shows a commitment to the Lon don scene that makes it difficult for us to appreciate him as more than a kind of caricature of the troubled father. Heywood too is perhaps aware of the failure here, for al- | though he sympathizes with the ideas expressed, he neverthe less recognizes them as being sentimental. He allows the 40 rman to continue to blubber for a few more lines about his good reputation and the grief that the incident would cause his deceased wife (subjects that we respond to but which we recognize as being sentimental in this context), but he then applies the astringent of Chartley's words to end the lamen-j 1 i tation: j Here's such wetting of Hand-kerchers, hee weepes to 1 thinke of his Wife, shee weepes to see her Father cry'. | Peace foole, wee shall else have thee claime kindred of the Woman kill'd with kindnesse. (11. 1268-71) i As Chartley's rejoinder suggests, Luce too is given i some emotionally intense lines that are in keeping with a | i I chaste maid who fears for her honor: j i I have great reason [to look melancholy], when my name is toss'd In every Gossips mouth, and made a by-word Vnto such people as it least concernes. Nay, in my hearing, as they passe along, Some have not spar'd to brand my modestie, i Saying, There sits shee whom yong Chartlev keepes: i There hath hee entred late, betimes gone forth. j Where I with pride was wont to sit before, j I'm now with shame sent blushing from the doore. j (11. 1205-13) Again we note the understandable concern for reputation, the dismay of the shopgirl driven from her position by the ! | taunts of her neighbors. The effect of the speech is under cut, however, because it is not strictly true: there has i been no time in the action of the play for the events which | Luce describes to have taken place. Moreover, toward the | [ end of the scene Luce's Father admits to Chartley that Luce ' ! I is still a virgin: j In private be it spoke, my Daughter tels me, ^ Shee1s both a Wife and Maid. (11. 1275-76) I i Apparently Luce and her Father have simply been putting pressure upon Chartley to announce the marriage. The con fession is short but important. Chartley does not make much of it, and the spectators might well have overlooked it. ' Nevertheless, it reveals that Heywood was in control of the ! structure of his play by permitting no temporal impossibili ties, but it also shows that in writing these lines given toj Luce and her Father he allowed sentimentality to overcome his dramatic judgment. Yet even here the sentimentality is not gross. There is little fustian and no extravagant meta phor or conceit to mar the passage. Luce is simply feeling i j sorry for herself, as is her Father, and their self-pity is expressed in rather conventional terms. We look in vain in this play to find striking images or metaphors or the ar resting turn of phrase. The characters speak all too real- I istically. j i The foregoing are representative of Heywood1s attempts I at dialogue with emotional depth. To look at his solilo- I quies is to find little that is better. For the most part | they are little more than asides, for although they may be honest expressions of a character's thoughts, they fall short as intellectual-poetical expressions that explore with, metaphor or image the complexities of a situation or rela- j tionship. Otelia Cromwell has rightly noted, I believe, that aside from "the notable lines spoken by Master Frank- ford and Young Geraldine" in A Woman Killed. Heywood's so liloquies "are rarely the expression of subjective struggle or the voice of pent up emotions." Instead, Heywood's j usual course . . . is the shorter situation soliloquy, the few lines spoken at the beginning or the end of a scene forecasting or concluding in summary a course of action, commenting upon situation or character, ex- | plaining personal feelings, or philosophizing upon ! human affairs. (p. 120) Chartley's soliloquy, the longest single speech in the ! play, is rather more than "the shorter situation soliloquy,"' although in it we see much of what Miss Cromwell has noted. Chartley speaks of his "shittle-wits," and we are conscious of the play of his mind as it moves from one scheme to I another, punning ("poore Luce") and dealing with ideas in i conventional metaphors appropriate to the recent arriver I j from the countryside (the "Choake Peare") and the self- j i i seeker ("cope her away like a bad commoditie"): : 43 But what a Rogue am I, of a married man? nay, that have not been married this six houres, and to have my shittle- wits runne a Wool-gathering already? What would poore Luce say if shee should heare of this? I may very well call her poore Luce. for I cannot presume of five pounds to her portion: what a Coxcombe was I, being a Gentleman, and well deriv'd, to match into so beggarly a kindred? What needed I to have grafted in the stocke of such a Choake Peare, and such a goodly Popering as this to es- j cape mee? Escape mee (said I?) if shee doe, shee shall j doe it narrowly: but I am married already, and therefore it is not possible, unless I should make away my wife, I to compasse her. Married I why who knowes it? lie out- face the Priest, and then there is none but shee and her ! Father, and their evidence is not good in Law: and if they put mee in suite, the best is, they are poore, and cannot follow it. I marry Sir, a man may have some credit by such a Wife as this; I could like this marriage well, if a man might change away his Wife, still as hee is a . weary of her, and cope her away like a bad commoditie: I if every new Moone a man might have a new Wife, that's every yeare a dozen, (11. 1168-91) . Principally, however, we are aware of the advancing, rather ; I than the exploratory, quality of the soliloquy. It moves the play forward as Chartley decides upon his next course of I action, rejecting his present situation and weighing the obstacles to the success of his scheme. The action of the play pauses only slightly while Chartley considers what he should do. There is little other dimension besides plot j that is treated in the soliloquy, which is why we note its j advancing, rather than exploratory, quality. Chartley's I explorations of his mind and motives are extremely shallow. j He reflects only briefly upon the ironies of his position 44 j and considers Luce and Gratiana as objects to be manipulatedj as he can, with virtually no thoughts of the justice or ■ ! i right of his deeds or of their ultimate effects upon the girls or upon himself. He lives for the moment and for ac- , I tion, and his rapidly shifting thoughts deal with actions | i and not with the intricacies of cause and result. i Whatever comic dialogue that the play contains is found1 I I in Heywood's appropriation of proverbs, doggerel, and jin- i gles to suit his purposes. Frequently he employs Latin macaronics to exploit their potential for bawdry or other wise comic misunderstanding. The word-combat between Sencer' and Sir Boniface, "spowting Latin one against the other" j (11. 1380-81), is used for this purpose: Sencer. lie make him fret worse yet; Sir Boniface: quid est grammatica. I Sir Boniface. Grammatica est ars, i Sir Harry. Fye, fye, no more of these words good sir Boniface . (11.' 1472-76) Many more examples like this could be presented, but : i l i this is perhaps sufficient to demonstrate the farcical | crudity of most of the comic scenes in the play. To be \ I sure, most of the comic scenes involve "low comedy" charac ters, and hence the style is appropriate. Heywood was not an intentional violator of the notion of decorum. As a re- | suit, the bawdry and crudities (and the prose, to a consid erable degree) are spoken by his fools and knaves, the finer sentiments and the poetry being reserved for those who are presumably more capable of them. | I Not all the comic dialogue is bawdry, of course. Per- i I [haps the best example of wit is that which is allotted to the fastidious, well-born Gratiana: Senc. Are you angry, sweet Lady, that I ask11 your Fathers consent? I Grat. No, if you can get his consent to marry him, shall it displease mee? (11. 746-49) Although the punning is conventional, one wishes in vain for more of it. This faint echo of Beatrice, "my lady tongue," 'is heard only once. There is general agreement about the quality of Hey- | wood's language, and much truth lies in Saintsbury's remark about the "tap-and-cistern quality" of his blank verse which too often goes untended, inundating parts of his plays that i 6 ! might better have been left as prose. Fortunately there is somewhat more prose than verse in the play, a condition that ^As the examples given previously show, the speeches of Luce and her Father might better be prose. 46 : allows us (steeped as we are in "image clusters") to toler- | ate more readily Heywood's rather limited range of imagery , I and metaphorical expression. Perhaps prose is ultimately i | the most distinguishing characteristic of the play, for it ! i is the language of the proverbial London cit, forthright, j utilitarian, enthusiastic, racy often to the point of bawd- ry, and moving freely and vigorously from subject to subject i but without experiencing deeply the ironies and subtleties that a more refined idiom and individual would comprehend. As we have begun to see, the play is a comedy of action and situation rather than of wit and repartee. The scenes are nicely joined together, and we laugh at what is done in them rather than at what is said. Here perhaps is what i i distinguishes Heywood from his superiors, Shakespeare and Jonson: Heywood can make a scene or a situation, and make i it very cleverly, but aside from one or two extremely comic I situations, most of the rest of his comedy is foolish horse play or simple bawdry. Yet the bawdry and horseplay are not unrelieved. The play begins and ends with scenes that have been often re marked, especially the conclusion in which Chartley receives his deserved requital. The scene is delightfully conceived.j It brings all the characters together on stage at the end ■ of the play. It resolves all the problems of the play and i weaves together the loose threads of the three separate plots. Chartley is at last outfaced, unmasked, and claimed by his rightful sweetheart. Boyster and Luce discover them-' selves to be married, and Luce obtains a kind of revenge j i upon the faithless Chartley. Finally, Gratiana is made j somewhat arbitrarily to realize that Sencer is the man for her, that her fastidious notions of gentility cannot be sustained in the world of which she 'is a part. The audience possesses all the facts before Chartley realizes them and so is able to enjoy to the fullest the dramatic irony occa- ! sioned by his lies and other desperate attempts to extricate himself from a predicament that has entrapped him before he i realized it. The scene is extremely comic, but it involves a comedy of situation. To be certain, Luce's questioning is, i ! comically merciless, and Chartley's brazen lies and declara- i tions have a kind of outspokenness and bravado about them that are far above the pedestrian— Chartley is a gifted i liar. But the humor of the play is entirely situational. I If we did not know that all of the previous victims of j Chartley's schemes were around him ready to come down about his. ears, his speech I haue made a gull of Grace, and old sir Harry thinks mee j 48 a great way off^ I tould the Knight^ My father lay a dying^ tooke post horse^ Rid out of Ho lburne . turn'd by Is lincrton. So_, hither wench to lodge all night with thee. (11. 2236-40) would be simply a bragging account of his exploits. But with everyone there to take revenge, the speech is a fit beginning for Chartley's comic downfall. Mary Crapo Hyde has observed that The Wise Woman is. along with Twelfth Night. The Noble Soldier. The Maid1s Metamorphosis. Hamlet. All Fools. The Family of Love. Meas ure for Measure. Othello. The Honest Whore, and The Mal content. unlike most of the plays of 1600-05 in that it opens in medias res, instead of at tbe beginning.^ That isj some action that has direct bearing upon the play^ and whicJ we learn of only later, has already occurred: Chartley has deserted Second Luce in order to come up to London to lead the life of a pleasure-loving gallant. It is with a picture! of this kind of life that the play opens: the gambling scene. The scene, along with those in which the Wise Woman reveals the secrets of her craft, has been praised by a number of commentators for its realism in portraying an ^Plavwriahtina for Elizabethans (New York, 1949), p. 121. 49 1 I 8 aspect of the life of a young gallant of the time. But j this is a historical interest, and we can be fairly safe in believing that Heywood was relatively unconcerned with pre- ; i senting a realistic depiction of young men dicing and drink-' i ing in a tavern. His expose was of the Wise Woman's se- i crets. What the tavern scene does accomplish, of course, is to get the play off to a fast start by involving us in sus penseful action (the question of who is going to win the I dice game) while delivering the information by which we ; orient ourselves in the play. Yet despite the power of the scene to engross us, it accomplishes rather little that is essential to the action i of the play. True, it characterizes Chartley as a scape- | grace and a prodigal, and it reveals Boyster's and Chart- ley's potential rivalry for Luce and Sencer1s desire for Gratiana, but that is about all (perhaps enough for one j I scene). But much of this information comes out again in ' scene ii. It is not a scene without which the rest of the action would be unintelligible. Perhaps what demonstrates \ ^For example, Swinburne, p. 454; John B. Moore, The Comic and the Realistic in English Drama (Chicago, 1925), p. 183; Arthur M. Clark, Thomas Heywood Playwright and Miscel- lanist (Oxford, 1931), p. 244. ! 50 j the inutility of the first scene more than any argument is j that a prompt copy for a late seventeenth-century perfor- 9 mance of the play has the first scene completely lined out. l i t begins with scene ii . ( i But revivals of the early plays have often mangled themj (the history of Shakespeare's revivals is a sufficient case I in point), and it seems to me that to omit the first scene is to cut that which sets the spirit and tone of much of what is to follow: the riotous behavior of the young gal- lants as set against the comic ludicrousness of Taber, Sir Harry, and Sir Boniface; the intrigue first proposed by Chartley as it is further expanded by the Wise Woman and the two Luces; and perhaps the unflinching glimpse of the mix- ! ture of riches and sordidness that we see in the tavern as ai prefiguring of other such candid views of London and her citizens that Heywood will later give us at the Wise Woman's i nut and Sir Harry's house. Swinburne's belief that The Wise Woman "is more proper- I ly definable as a comedy of action" rather than of intrigue i nas been questioned previously, and it is necessary to re- I i turn to a new consideration of the statement at this point 9Copy no. 3 in the Folger Shakespeare Library. 51 | i 'because there is so much intrigue in the play. Perhaps | deception might be a more appropriate word to employ than intrigue. for as John V. Curry points out, intrigue carries with it a tinge of the sinister and "of political or other forms of machination"’ ^ that do not belong to the spirit of , j The Wise Woman. Certain it is, in any case, that deception ' is the principal device by which Heywood shapes the struc ture of the play. The forms of deception include such a simple device as Chartley's failure to inform Boyster that he (Chartley) also has designs on Luce, thus taking advan- | tage of Boyster's lack of knowledge; the slightly more com plex ploy of Taber's pretense to Sir Harry that he (Taber) j i has secret information about Gratiana's amours to be ex changed for his "quarters wages afore-hand" (1. 664); and the outright falsehoods practised by Chartley in order to conceal his betrothal to Second Luce, to woo Luce and keep 1 his supposed marriage to her a secret, and finally to try to prevent his complete exposure as one after another of his previous victims confronts him in Act V. The forged letter that he gives to Sir Harry in order to press his suit for • ^Deception in Elizabethan Comedy (Chicago, 1955), p. 3 . 52 ; Gratiana is another form of deception, as is Luce's letter : to Chartley, summoning him to a supposed assignation at the i i Wise Woman's house. j Perhaps the most frequently noted form of deception* ; however, is the use of disguise, a stage convention^ much j favored by the Elizabethans and the Jacobeans. Again, there is a range of complexity going from Sencer's impersonation of a servant, to the exchange of clothes between Luce and Second Luce after the marriage, to Sencer's disguise as Sir Timothy and his rout of Sir Boniface, to the complex 12 "retro-disguise" of Second Luce in which a boy actor con- i ventionally assumes a girl's part (Second Luce), the girl | disguises herself as a boy (Jack), and the boy is again ] 1 transmogrified into the girl who is taken in marriage by J ^Being a convention, stage disguise need not be im penetrable, although it should not be improbable unless farce is to result. In The Wise Woman, the disguises are obvious conventions; only the dullest of the audience could be deceived, for example, by Sencer's disguise as Sir Timo thy. Nevertheless, Heywood is sufficiently careful to make the various disguises plausible enough that the characters in the play cannot be branded fools for being deceived. Disguise as a convention is handled by Muriel C. Bradbrook, Themes and Conventions of Elizabethan Tragedy (Cambridge, 19 35), pp. 17-18, and Victor 0. Freeburg, Disguise Plots in Elizabethan Drama (New York, 1915). 1 p A term coined by Freeburg, p. 11. 53 Chartley. Among the forms of disguise set forth by Free- | 13 burg we find that of the "disguised lover" when Sencer i I assumes the guise of Sir Timothy, the "female page" when Second Luce pretends to be Jack, the "disguised spy" when ! Sencer impersonates a servant, and a version of the "boy | bride" when Jack is turned into a marriage partner for Chartley. Hence in the play Heywood uses four of the five types catalogued by Freeburg as prevalent on the Elizabethan stage, only "the rogue in multi-disguise" being absent. ' Despite the rather wide range and varieties of decep- i tion that Heywood employs, most of it serves an important | structural purpose in the play. Taber's gulling of Sir Harry is perhaps an unnecessary joke, although it does es tablish the old man's crotchety concern about his daughter, which becomes important as a motivation for his refusal to allow her to marry the seemingly ne'er-do-well Sencer. Sencer's disguise as a serving-man in order to enlist the Wise Woman's aid might also be thought unnecessary, since hej i confesses his identity to the old woman. Presumably, how- < ever, Sencer uses the same disguise to conceal his identity I from Chartley when delivering the letter from Luce (and when| I convenient summary is on pp. 3-4. I 54 1 i inviting Gratiana to the Wise Woman's hut), and at that point Sencer does not have to establish his true identity to( I I the audience because he has done so previously in the scene 1 with the Wise Woman. All the rest of the deception is clearly functional. Chartley does not mention his own interest in Luce to Boy ster because to do so would give Boyster an advantage. Chartley courts Luce with false jewels because he does not 1 really love her; he simply wants to possess her. When he learns that he must marry her to have her, he wants the marriage kept secret because of his previous engagement to Second Luce— and perhaps because he may later wish to dis claim the marriage. And so it goes; the plot of the play is1 moved along almost entirely by deception. In Act I Chartley pretends not to be betrothed to Sec ond Luce (a serious matter for the Elizabethans, of course) and wins Luce's consent. In Act II the Wise Woman gulls her! foolish clients and reveals herself thereby as a fraud, I I possessed of no knowledge of the black arts. In Act III j f Chartley and Boyster are deceived into marrying Second Luce | and Luce, respectively. In Act IV Sencer, disguised as Sir Timothy, defeats Sir Boniface in the word-combat in order to i get the place of tutor to Gratiana. Chartley foils Sencer's 55 plot by winning Gratiana with his boldness and by obtaining I Sir Harry's consent to marriage with the forged letter. But, before marrying Gratiana, Chartley is called away by the false letter from Luce, delivered by the disguised Sencer. In Act V Chartley is finally made to realize that deceit i$ a poor course of action when each lie that he tells is in- j stantly refuted by the person he tells it about. Then, as a final climax to the deception, Chartley discovers that he 1 I has mistakenly married his original betrothed at the same j time that the Wise Woman learns that Jack has been Second Luce in disguise. What is to be noticed, of course, is that the first j i three acts turn upon three important individual acts of deception which provide the undergirding for the rest of the iplay. Then, when the play might falter and lose its momen tum, Act IV is built upon not one but three important de ceptions in such a way as to bring the trickery to its cli max and to make Chartley's downfall inevitable by causing j 'him to go to the Wise Woman's, where he will be met by all of: his previous victims. The resolution of Act V turns upon j this overthrow of Chartley by the others as each realizes how he or she has been deceived and then confronts Chart ley 's rather desperate lies with the truth. A last fillip ] 56 to the plot is added when the Wise Woman realizes that she too has been deceived by Second Luce. Heywood has managed all this deception while at the same time allowing the audience full knowledge of all the facts, a stratagem that provides a delightful series of dramatic ironies throughout the play, especially during its resolution. The structural complexity occasioned by the rapid ac tion and numerous forms of deception in the play has one further effect: that of telescoping the time of the action The play seems to take place in one incredibly busy day, beginning with the gambling scene in the morning and con cluding at the Wise Woman's headquarters after dark on a February evening. Actually, however} the action covers 14 three days. Act I commences presumably about mid-day or -^Mable Buland.'The Presentation of Time in the Eliza bethan Drama (New York, 1912), p. 160, believes that the play takes place in "four consecutive days" instead of three, reasoning that Second Luce at the beginning of Act III "exposes the things she has seen going on at the Wise Woman's house as if she had had the benefit of several days observation." Disregarding now Miss Buland's seeming in consistency between "four consecutive days" and "several days' observation," we might scrutinize Second Luce's cru cial question: But I see comming and going, Maids, or such as goe for Maids, some of them, as if they were ready to lie downe, sometimes two or three delivered in one night; then suddenly leave their Brats behind them, and conveigh themselves into the Citie againe: what becomes of their 57 | i in the afternoon as the young gallants play at dice and planj their activities for the rest of the day. Act II begins later the same day because Second Luce, who has observed Chartley woo and win Luce in Act I, newly arrives at the i Wise Woman1s, as she (Second Luce) said she would do at the end of Act I. Act III begins the next morning, which we i i know because in Act II the Wise Woman has said that she has | made arrangements for "Sir Boniface to marry her [Luce] in the morning" (1. 531), and the wedding is about to take j place. Act IV begins the day after Act III when Sir Boni- 1 face returns to Sir Harry's home after having been told in Children? (11. 904-909) The question sounds as if Second Luce has witnessed a se quence of evenings, but she is still ignorant of the pros titution and the baby farming that also go on. Furthermore, she is at this point sworn to the secrets of the Wise Wom an's house and instructed in how to mulct information from gullible clients, all procedures that the Wise Woman would not have been likely to delay. Clearly, the phrase "two or three delivered in one night" presents ambiguities that cannot be resolved with the information that Heywood has given us. To illustrate the play's supposed confusion of time. Miss Buland cites Luce's and her Father's accusations to Chartley that he has ruined her honor, but as we have seen her Father subsequently confides that Luce is still a maid, : implying that the accusations were a kind of hoax. Hence 1 time is not a crucial factor. Finally, Miss Buland believes! that Luce's remark to Chartley in the last scene, "not three daies since are past, since wee were married" (11. 2.220-21), is to be trusted. But Luce has been careless about time before, and here too she is at least ambiguous. "Not three daies" have passed? rather, just two. ____________________ 5 - 8 ! . Act II by Sir Harry to "come to me two dayes hence" (1. ; 858). Act IV is the longest act with its multiple tricker ies. It ends at about five p.m., when Gratiana is told by ■ the disguised Sencer to be at the Wise Woman's by six.' Act V begins late in the afternoon of the same day withj Old Chartley*s arrival in London and his immediate search j for his son. Instead of Chartley, however, he meets Sir | i Harry, who is in the act of promising the disguised Sencer i to come to the Wise Woman's "at halfe an houre past sixe, or! before seaven" (1. 2044). Thus the last two acts run to- ! gether, and there follows in Act V a nice timetable of arri vals. First Boyster arrives, followed closely by Gratiana j i (presumably at six p.m.). Then, in a further telescoping of I time, Sir Harry arrives close behind his daughter (he was I I told to be present between six-thirty and seven). Then i comes Old Chartley. All have been placed in separate rooms, and the Wise Woman, Luce, Jack, and the disguised Sencer await the arrival of Chartley, who departed first on a fast 1 horse but surprisingly has not yet arrived. It is, of i l course, important that he not arrive until all the others are concealed. Chartley's late arrival is, however, deftly handled by Heywood, who has the young gallant annouce to i Luce that he "rid out of Holburne. turn'd by Islington. / , So, hither wench to lodge all night with thee" (11. 2239- j i 40). Chartley has taken the long way around, perhaps to ; i i foil any attempted pursuit or to appear to be on his way home, and thus is last to arrive, although he started first. I After Chartley's arrival, the play rapidly concludes, leav ing a soon-to-be-married Gratiana and Sencer, a happily j married Luce and Boyster, a reformed Chartley, and a trium- j | phant Second Luce at the end of the third day's action. ! CHAPTER IV SOURCES I No single specific source for The Wise Woman can be ( I cited. Its origin might possibly lie in a verse tract or a , broadside, but none has to my knowledge been brought to ; light. It does seem apparent, however, that the play, along with others of its time, owes considerable to Latin and Italian comedy and shares devices and themes with other I contemporary English comedies. Heywood was, if nothing I else, a popular playwright, having a ready appreciation of I i situations and ideas that had proved themselves popular in the literature of his time which could then be turned to use in works of his own composition. His The Rape of Lucrece. which owes much to Shakespeare's poem,'*' is just one case in point. i I i -1-See Arthur M. Clark, Thomas Heywood Playwright and ! Miscellanist (Oxford, 1931), pp. 46-47. 1 Madeleine Doran's discussion of the debt of Elizabethan t comedy to Latin and Italian forms is so widely known and readily available that it would serve no useful purpose to 2 repeat what she has said so well. Nevertheless, it may be helpful to recall briefly the themes and techniques that The Wise Woman owes to its classic predecessors. Perhaps the most obvious is the device of the plot of intrigue or deception that is intricately formed from two or three sub plots, further complicated by the widespread use of disguise and subsequent recognition or discovery, and artfully manip ulated by an intriguer who may be either a servant or, as is more frequently the case in English comedy, a principal character. The use of stock characters, scenes, and situa tions and the duplication of sets of characters are addi tional devices. Obviously, The Wise Woman utilizes these techniques. It has three subplots. Second Luce, Luce, Sencer, and Chartley are in disguise either continuously or at various times. Second Luce's discovery of herself provides the final twist to the denouement. The Wise Woman is nominally the chief intriguer, although Second Luce, Luce, Chartley, o Endeavors of Art: A Study of Form in Elizabethan Drama (Madison, 19.54.)_,_pp_._ 148^185_____________________ ________ and Sencer have important parts in the scheming. Sir Harry | i and, to some extent, Luce's Father portray the senex. and i Sir Boniface is the complete pedant. The role of Sencer, the gallant who Courts the daughter of a disapproving fath- c er, is by no means new, nor is the duplication of fathers | and pairs of lovers in complex interrelationships. j Miss Doran remarks the prevalence of these Latin and Italian techniques in a good many Elizabethan plays5 adding ; that the test of the vitality of the method is its appearance in thoroughly English plays like Porter's Two Angry Women of Abingdon. Heywood's Wise Woman of Hogsdon. Jon- j son's Alchemist. Dekker and Middleton's Roaring Girl. j Middleton's Chaste Maid or Michaelmas Term. The struc- i tural basis of all these plays is ingenious intrigue. They depend on disguise5 lies, clever excuses, manipu lation to get characters together at the right time or | to keep them separate— as Ascham puts it5 on "fine | fetches." (pp. 154-155) | Besides techniques, The Wise Woman owes one of its principal themes to Latin sources: the theme of the prodi gal young man. To be sure, there is also a Biblical origin in the parable of the prodigal son as related in the Gospel i of Luke which was used by Renaissance humanists to impart a more strongly didactic effect to the primarily entertaining works of Terence and Plautus, although the former's Adelphi addresses itself to the moral education of youth. According _____________________________________________________ i 63 3 to Madeleine Doran, the "Christianizing" of the classical theme of the prodigal son was effected by the Italian writ ers in their Sacre Rappresentazioni and further treated by Dutch and German humanists, notably Gnapheus in his Acco- lastus (1528) and Macropedius (George Langveldt) in his Asotus (c. 1510), Rebelles (c. 1535), and Petriscus (c. 1536), written in Latin. In English drama, the theme has been dealt with by the anonymous authors of Mundus et Infans (1500-22), Hick Scor ner (1513-16), Youth (1513-29), Nice Wanton (1547-53), and Misoganus (1560-77), as well as by R. Wever in his Lusty Juventus (1547-53), Thomas Ingelend in The Disobedient Chile (1559-70), and George Gascoine in The Glass of Government 4 (1575). Although the comic possibilities inherent in the scenes of loose living are developed, as in Misoganus and Nice Wanton, the prevailing tone of these various moral allegories and interludes is highly serious. They are The word is not Miss Doran's coinage, but the idea is hers, pp. 16 0-162. ^Alfred Harbage and Samuel Schoenbaum, Annals of Eng lish Drama 975-17 00 (Philadelphia, 1964), furnish the cur rently accepted dates; Henry Hitch Adams, English Domestic or. Homiletic Tragedy 1575 to 1642 (New York, 1943), pp. 69- 73, and Madeleine Doran, pp. 162-163, provide helpful dis cussion . 64 i i strongly didactic preachments about the kind of life a youngl I man should lead and the dangers of turning from the straight' I and narrow path. It remained for later dramatists to ex- ' ploit the theme in a way that often comes closer to Terence than to Luke. Generally contemporary with The Wise Woman are a number of plays that also rely in varying degrees upon the theme of the young prodigal. The ways that the theme is dealt with i are manifold. Although the wild young gallant comes to somej sort of reformation at the end of each play, the methods by which this comes about are by no means alike. Before discussing these interpretations of the young j prodigal, however, it may be helpful to call attention to j another theme that is part of The Wise Woman and which ap- ! pears in a good many other contemporary plays--the theme of | the patient wife or sweetheart, which at times appears with,i and is used as a kind of foil for, the theme of prodigality. The theme, of course, is an old one, having been treated in Boccaccio's story of Griselda in the Decameron (tenth day, tenth novel) and in Chaucer's "Clerk's Tale," to name two of the best-known sources. The first attempt, apparently, to dramatize the Gri selda story in what may have been English was the lost Rare 65 | Patience of Chaucer's Griselda (De Griseldis Chauceriane I Rara Patientia). 1546(?)-56, of Ralph Radcliffe (Harbage and Schoenbaum, p. 28). A slightly later play that has survived is John Phillip's Patient and Meek Grissil (1558-61), an 5 allegorical comedy. Chettle, Dekker, and Haughton's j 6 ' Patient Grissil (1600) is another adaptation of the theme. 1 In these plays Grissil is presented as the unjustly tested but utterly faithful wife, a stylized characterization that seems to set the pattern of conduct for the patient wives j and sweethearts of subsequent plays. I ! In an early study of the wide currency of the motif of I I the patient wife or sweetheart, Arthur Hobson Quinn has noted some sixteen Elizabethan and Jacobean plays of which 7 it is either a central theme or an important subplot. ^Ed. Ronald B. McKerrow and Walter W. Greg (London, ! 1909) . ^The Dramatic Works of Thomas Dekker. ed. Fredson Bowers (Cambridge, 1953), I, 207-298. i ^The Fair Maid of Bristow (Philadelphia, 19 02), p. 25? j the list includes Patient Grissil. The Shoemaker's Holiday. ! The Wisdom of Dr. Doddiooll. How a Man May Choose a Good [ Wife from a Bad. The Wise Woman of Hogsdon. Othello, Measure for Measure. The London Prodigal. The Miseries of Enforced j i Marriaae. The Yorkshire Tragedy. A Winter's Tale. The White | 1 Devil. The Duchess of Malfi. II The Honest Whore. The Fair I Maid of the West, and Match Me in London. ; 66 ; Refining this list to plays that deal with both the theme of the prodigal son and the patient wife or sweetheart, Quinn cites five for consideration (p. 26): How a Man Mav Choose a Good Wife from a Bad (c. 16 01-02), The London i Prodigal (16 03-05), The Fair Maid of Bristow (1603-04), The j i Wise Woman of Hogsdon (c. 1604 ?), and The Miseries of En- 1 i forced Marriage (1605-06). i I Professor Quinn has observed some similarities among ! these plays. He says that in all of them we have a rake and spendthrift who deserts his wife for gain or the love of a courtesan, maltreats the wife who remains faithful to him, and after he has sinned suffi- j ciently, is taken into grace again and even rewarded. | There are certain other characters, such as the father I of the wife, the father of the husband, and the wife's lover, who appear in at least four of the plays, and in 1 addition there are .other characters shared by two or ; three of the dramas in varying combinations. (p. 27) He also reminds us that the heroines of The Wise Woman and The London Prodigal have the same name, Luce. There is also what he calls a "general parallelism" between the plots of | ! The Wise Woman and The Miseries of Enforced Marriage, which j | 'extends to the way that Chartley and Scarborow desert their | i i betrotheds and choose others because of financial considera tions (p. 29 ) . A more recent examination of the theme of the prodigal son and the patient wife or sweetheart has been made: by 8 9 Robert Y. Turner and Robert Hapgood. Turner proposes, , . '' ■ ! besides the first four plays cited by Quinn, All's Well that i Ends Well (16 01-02). The Dutch Courtesan (16 03), and Measure for Measure (16 03-04). He rejects The Miseries of Enforced j Marriacre because it "has little relevance for a plot of purgation" (p. 180), which he considers essential to the , prodigal son motif.^ In a fine summary "of the essential similarities as : well as some of the unessential differences of these plays" (Reply, p. 179), which is still too long to reproduce here, Turner presents reasons why he believes that these seven plays ought to be considered as a group. He shows in some detail the elements of structure and theme that relate the plays, finding that ^"Dramatic Conventions in All's Well That Ends Well." PMLA, LXXV (December 196 0), 497-502, and Reply to Hapgood, PMLA, LXXIX (March 1964), 179-182. ^Critique of Turner, PMLA. LXXIX (March 1964), 177-179 . > j -^Whether we should include The Miseries of Enforced [ Marriage. as Quinn and Hapgood would do but Turner would | not, is not so important for our purposes as the recognition that these plays constitute a trend that several dramatists j observed and sought to exploit. j 6 8 I the seven comedies in question fall roughly into two j parts: the first part dramatizes prodigality, some folly > which entails the neglect of a worthy loved one; the sub sequent part dramatizes a traumatic' experience which for ces the foolish hero to change his character and return to his loved one. (Reply, p. 179) The important point for our purposes is that there are clear relationships between the plays and that The Wise I Woman stands firmly among a group of plays that present different treatments of the theme. Most probably Heywood was aware of this trend and wrote The Wise Woman in order to exploit it. Although we see that The Wise Woman is related to a group of similar plays} the task of identifying specific ; sources is made more difficult by the problem of dating many of them. As Harbage and Schoenbaum suggest, there is un certainty about many of the dates, particularly those of i How a Man Mav Choose. The Fair Maid. The Dutch Courtesan. All1s Well. Measure for Measure. The London Prodigal, and The Wise Woman, the plays singled out for special discussion i by Turner. We have observed echoes of How a Man May Choose ; in The Wise Woman, and Charles R. Baskervill^ believes that ^"Source and Analogues of How a Man Mav Choose a Good Wife from a Bad.” PMLA. XXIV (December 1909), 711-730. 69 How a Man May Choose exerted considerable influence upon the trend and that it and The Dutch Courtesan influenced in par ticular The Fair Maid of Bristow. The London Prodigal he views as being indebted to all three of these plays (pp. 718-725). But although The Wise Woman shares elements of theme, structure, and language with these plays, it differs markedly in tone, for in this respect it is like none of the other prodigal son-patient wife plays. It is the only one of the series in which the comic spirit is not joined to a more serious, potentially disastrous element. It never 12 . . threatens to become tragicomedy. There are no suicides or murders, either real or pretended, or other incidents of a potentially tragic nature (Chartley's broken troth-plight never assumes its potential import). To be brief, the rest of the plays noted by Turner and Quinn have somber overtones or possibilities that are absent from The Wise Woman. In this play calamity never threatens to overthrow the pre vailing comic spirit. Why it does not-~that is, why Heywood chose to treat the theme in an unalloyed spirit of comedy--is a question 12Frank H. Ristine, English Tragicomedy (New York, 1910), p. 97, speaks of The Wise Woman as being "untouched by tragic impulse." 70 that presents no ready answers, although some may be con- j i jectured. If Heywood wrote How a Man Mav Choose (as I think i he did), it may be that he desired to rework that play in a more purely comic spirit. It may be that Heywood, knowing i that The Wise Woman probably would be performed before an j 13 audience at the Curtain, devised the play to delight the tastes of the customary patrons of that theater, a plain i burghers' playhouse in contrast to the more fashionable 14 \ ' Globe and Blackfriars. It may also be that the play was | conceived as a kind of light satire upon the propensities j of the heroes of the other prodigal son plays for getting ^ l themselves involved with more than one female and into several misadventures, for after a series of entanglements with three girls, Chartley is astonished to discover which of them he has unwittingly married. To propose the play as satire would also be to suggest that it was written when thej i vogue was well established, perhaps after Bristol. Courte san. All's Well and Prodigal. i i l^The Curtain was regularly used by Worcester's Men, 1 according to E. K. Chambers, The Elizabethan Stage (Oxford, 1923), II, 404. i i l^Louis B. Wright, Middle-Class Culture in Elizabethan j England (Chapel Hill, 1935), pp. 608-613, thus distinguishes! [among the London theaters . 1 71 But all this is necessarily conjectural, as must also j be the attempt to find specific sources among the plays mentioned previously, since their precise dates cannot at j I present be determined. What can be said with some assurance I is5 as Turner has noted (pp. 497-499), that the prodigal ; son-patient wife or sweetheart comedies arose as the com bination of romantic comedy and comedy of intrigue, the two I principal types of comedy during the 1590's. The former (e.g. As You Like It) are concerned chiefly with the efforts' of the hero and the heroine to overcome the various obsta cles that separate them, whereas the latter (e.g. The Merrv Wives of Windsor) are much concerned with practical jokes and deception, especially disguise. The influence of Jonson and Chapman is responsible for converting the regularly encountered fool or gull of the latter type into "the pos sessor of a clearly identifiable social folly" (Turner, p. 498), to be derided or satirized. Marston, for example, ’ I linked a romantic plot to a satiric for the purgation of j l Lampatho Dorio in What You Will. Purgation is essential; i romantic comedies like Two Gentlemen of Verona and James IV involve the reform of their heroes but do not put them through a scene of purgation in the manner of the prodigal son comedies. Hence, according to Turner (p. 498), the ' 72 prodigal son comedies "superimposed the plot of purgation," | derived from the satires, "upon the traditional love story." I I Another topic of widespread contemporary interest was j witchcraft, and we find a treatment of the theme in The Wise' Woman as well as in a good many other plays of the time. To, discuss the plays and other writings that deal with witch craft * sorcery, alchemy, astrology, and other aspects of the supernatural is clearly beyond the scope of this introduc tion. Here only the female witch can be considered, leaving the sorcerer, the alchemist, and the astrologer to other ! I hands. In view of the compelling nature of the subject, it I i is not surprising to find the theme as part of the drama. | What is surprising, however, is to find that the theme is soj •much confined to the Elizabethan and Jacobean periods. Un like the themes of prodigality and patience, the theme of I witchcraft is virtually undramatized until the period of | i 15 i Elizabeth. George Buchanan's translation of Seneca's l^Again I rely upon the compilations of Harbage and Schoenbaum, as I do for the dating of the witch plays men tioned subsequently. Why the witch was not a figure in the earlier drama is a problem that is too complex for this study. The following works are informative, although they present no complete solution to the matter: Richard Warwick Bond, Early Plavs from the Italian (Oxford, 1911); Katherine' M. Briggs, Pale Hecate's Team (London, 1962); R. Trevor ! Davies, Four Centuries of Witch Beliefs (London, 1947); and j 73 Medea (1543) is the only presentation of a classical witch. I Biblical sources are similarly limited. Edmund Campion's lost Kina Saul (1577) may have contained material about the ' f Witch of Endor. j The earlier Elizabethan treatments of the theme tended j to be rather lighthearted. Of these., perhaps John Lyly's j Endvmion (1588) and Mother Bombie (1587-9 0) are best known. , 16 . Dipsas, the witch of Endymion. is m the tradition of classical witches, but she is nonetheless represented in a i comic and tolerant fashion. Although she has committed deeds of genuine witchcraft, her repentance is enough to move Cynthia to grant her amnesty. Mother Bombie is a thor oughly white witch, her only occult activities being to tell fortunes, and here she speaks without guile. Memphio's final pronouncement upon her— "In deed she is cunning and I 17 wise, neuer doing harme, but still practising good. . . ." — j Robert H. West, The Invisible World (Athens, Ga., 19 39). The studies of George Lyman Kittredge, Witchcraft in Old anc. New England (Cambridge, Mass., 1929), and Wallace Notestein, lA History of Witchcraft in England from 1558 to 1718 (Wash ington, 1911), also should be mentioned, although they deal with other aspects than the dramatic, as does Davies. •^The Complete Works of John Lylv. ed. Richard Warwick Bond (Oxford, 1902), III, 5-103. ^7Bond's edition, III, 226. 74'] is intended to be an accurate commentary. j Shakespeare could display a certain tolerance and even a comic attitude toward witches, as is the case when the 1 disguised Falstaff is thought to be a witch because of his 1 18 beard. Probably better known, however, is the use of i witches in Macbeth. where the weird sisters set an appro priate tone of impending evil and disaster. In I Henry VI Joan of Arc is also presented as a morally objectionable black witch (perhaps Shakespeare's creation). Katherine M. Briggs has noted that the seventeenth- century witch plays are less playful in spirit and tend more toward realism and satire than do the earlier plays (p. 59). Possibly the influence of James I is one of the causes. In i any case, Middleton's The Witch (c. 16 09-16) owes much to 19 Reginald Scot's descriptions of occult practices and makes ! much of the sexual aberrations of witches, although the ] - ^The Merry Wives of Windsor. The Complete Works of Shakespeare. ed. Hardin Craig (Chicago, 1961), IV.ii.202- 204. Subsequent references to Shakespeare's plays are to this edition. I -l^The Discoverie of Witchcraft by Reginald Scot. ed. Montague Summers ([London], 1930). The observation is made [by Briggs, p. 81, although it was noted earlier by Alexander Dyce in his edition of Middleton's works and included in the Mermaid Middleton, ed. Havelock Ellis (London, 1890), II, > 126 . 75 witch Hecate is not the principal character in the play. Erictho, the witch of Marston's The Wonder of Women, or Sophonisba (16 05-06) has a lust for young men similar to ; 20 Hecate's. Dekker, Ford, and Rowley's The Witch of Edmon- 21 ton (1621) and Heywood and Brome's The Late Lancashire f 22 Witches (1634) are about contemporary witches, the former ; concerning the wretched Mother Sawyer and the latter being based upon the notorious Lancaster witch trial of 1634. In I these plays witchcraft is treated as a subject of the most serious consequence. That the witch is a creature of evil, j I I deserving the punishment of society, is never to be doubted., The lost anonymous Witch of Islington (c. 1580-97) perhaps deals realistically and tragically with the theme of witch craft (Harbage and Schoenbaum, p. 74). In contrast, Jon- son's The Mask of Queens (16 04) and The Devil Is an Ass (1616) deal satirically with witchcraft, and The Alchemist is probably the best known, although not the only, expose i ^The Plavs of John Marston, ed. H. Harvey Wood (Lon don, 1938), II, 3-64. ( i ^Bowers' edition, III, 481-568. ^The Pearson edition, IV, 167-262. of the fraudulent practice of alchemy that we have. | What should be clear from this introduction is that The Wise Woman is part of a large body of dramatic literature i that in one way or another deals with the supernatural. j What serves to distinguish The Wise Woman from the rest of j i the witch dramas, however, is that this play is the only one to deal fully and satirically with the witch as a fraud and charlatan, and to suggest so directly that the practice of the false witch was common, although Heywood was clearly a ! 24 believer in witchcraft. Hence the play is a departure from the usual treatment of witchcraft as it was presented ! | in the early seventeenth century. In its jovial high jinks ' the play resembles the early witch dramas. Yet it has also | i that tincture of satire and realism which is found more i j often in the seventeenth century. One might make a case ■ for its being transitional, although I think that to do so j l l is risky because the portrait of the Wise Woman is so different from the conventional depictions of the witch. ! ^For these three plays see Ben Jons on. ed. C. H. Her- ford and Percy and Evelyn Simpson (Oxford, 1937-41), VII, 265-319, VI, 143-270, and V, 273-408, respectively. 24por evidence of Heywood's belief, see The Late Lanca shire Witches and The Hierarchie of the Blessed Angels (Lon don, 16 35) . 77 The play stands at one side of the mainstream of witch dramas. It is as if Heywood, knowing the popular interest in witchcraft and in wise women, simply exploited the idea for a play in somewhat the same way that many other topics | (e.g. The Honest Whore and The Dutch Courtesan) were ex- j ploited for dramatic purposes. Since it is a limited theme, more so than that of the prodigal son-patient wife, it could not easily be treated again by another dramatist without a , good measure of duplication. Thus Heywood1s play stands ' alone amidst the other witch dramas as the expose of the I white witch. CHAPTER V THEME AND CHARACTERIZATION Although The Wise Woman deals with London's middle- ■ l I class citizenry, it is less like Heywood's other plays aboutj this subject and more in the spirit of Jonson and Middleton.; i •For here Heywood has put aside some of the enthusiasm for * London's citizens that we observe in The Four Prentices of London (II, 159-254) and The Fair Maid of the West (II, 255- 424) for an attitude that is less uncritical than we are accustomed to associate with London's spokesman for the I i middle class. To be sure, Heywood does not evince here the contempt of Middleton or the indignation of Jonson for the foibles of London's citizens, but neither is there the ; lighthearted celebration of London life characteristic of the early Dekker. Instead, Heywood neither glosses over the defects of the play's characters nor praises them too ! roundly. We are made aware of the city's "wild-headed" (1. 422) young men, passing their days and nights in debauchery, 78 j plotting the seduction of citizens1 wives and daughters, andj contemplating the prospects of a rich marriage. Heywood ■makes clear the discomfiture of Luce the goldsmith's daugh ter as she sits in her father's shop, a bait for gallants' eyes. Her Father's ranting of his past military prowess— a citizen's feats of arms— is shown as obviously foolish be- ( side his daughter's wiles. And the patent falseness of the ( Wise Woman in mulcting her foolish London clientele is clearly revealed. Yet in presenting this society Heywood shows neither contempt nor outrage. Instead, his revela- ' i tions are made with rather little passion, as though he is showing his society as we all know it to be. Nevertheless, the play mixes the realistic with the j I romantic. Chartley, for all his incipient viciousness, re- | i forms at the play's end. Although wily, Luce is perfectly j honorable; she and Second Luce direct their schemes toward the traditionally accepted purpose of getting and keeping a husband. Even Luce's Father, the elderly goldsmith, pos sesses a kind of nobility in trying to maintain the honor I of his family. And the Wise Woman, for all her malprac- j tices, is the one who ultimately rights the affairs of all. Thus the play is a mingling of citizen satire and ro- j mantic comedy in which the seamier side of London is I [presented together with actions and characters which are i worthy, even ideal. The result is neither an indictment nor1 i a defense of the London middle class. We may say that it is; ■realistic in this respect: life is never so orderly. But , in a work of art we require a focus and shaping of theme, an organization and coherence of ideas, not found in this geni-’ al presentation of the mixture of life's good and evil. i [Hence the play lacks the power to be more than briefly amus-j ! ing despite its fine construction and its scenes of strong realism. i l In creating his mixture of satire and light comedy, ! ! Heywood has employed themes and plots noted previously in j the discussion of sources, interweaving them so that a con tinually changing succession of actions comes before the reader. The play is hardly dull, although it tends to be I i shallow because Heywood does not probe deeply into his various ideas. The theme of the prodigal son is played largely in the spirit of farce— farce rather than satire, t I for the characters lack sufficient awareness to question the validity of the proposition that the prodigal must at length reform. Characterized from the beginning as a wastrel in i 81 | the tradition of Lusty Juventus. Chartley mounts successive 'heights of disregard for others, opportunism, and falsehood l i 'before getting his final comeuppance. His repentance, how ever, is to the modern reader anything but convincing, for it comes about not so much because he is made to realize the| folly of his conduct as because he realizes that he is j i balked at every turn in his lies and plotting. He has no i other alternative except flight, and he is too calculating j for that. The result is that he performs one of the mira- j cles of conversion that are common to the Elizabethan stage,! but one that to the present-day reader, obsessed as he is l i with motivation, seems nothing more than temporary expedi ency. That Chartley will be a true and loving husband seems to the modern reader highly improbable. Yet Chartley's behavior seems to have been satisfying to the Elizabethan, who was not, of course, intrinsically less complex or demanding but who accepted the last-minute conversion as a convention which virtually all the drama- ' I tists employed. Goodlack and Roughman in I The Fair Maid ofi the West (II? 255-332) suffer sudden conversions to good. j 3-Chart ley is called Lusty Juventus by Taber, 1. 1542, after the prodigal son of R. Wever1s play. ! 82 A more familiar example perhaps is the sudden conversion of i Wendoll in A Woman Killed with Kindness (II, 89-157), and more frequently noted but equally "unmotivated" is Mistress Anne Frankford's sudden inclination for evil. Among the I prodigal son-patient wife comedies that we have looked at, there are similar- rapid conversions to virtue. Young Ar thur, Edward Vallenger, Malheureux, Young Flowerdale, Ber- 2 tram, and Angelo amend their wayward courses, having real ized at the last moment the folly of their actions. Several theories exist to explain changes of this kind. Madeleine Doran has noted that the Elizabethans1 belief that one passion drove out another combined with a tendency to view passions as detached from character— that is, a tendency to regard any man as subject, under the proper stimulus, to any passion.^ Reminding us that Elizabethan characters were nearly always types, Muriel C. Bradbrook notes the resultant necessity for them to be of one type or else its opposite, with no 4 time taken for a progressive change. Then too, there is o ^The respective prodigals of How a Man May Choose. The j Fair Maid of Bristol. The Dutch Courtesan. The London Prodi gal. All's Well That Ends Well, and Measure for Measure. ^Endeavors of Art . . . (Madison, 1954), p. 22. ^Themes and Conventions of Elizabethan Tragedy (Cam- the fact that the Elizabethans were brought up in the moral ity tradition of drama, that drama existed for a didactic purpose. The necessary conversions and changes of heart were important. They must happen and happen rapidly. Thus the Elizabethans were more concerned with the fact of change i than with the reasons underlying it. As Muriel Bradbrook I puts it, "a sudden repentance . . . is never convincing, but it is never to be questioned1 ' (p. 60). Chartley's speech of conversion furnishes us with another way of understanding his action: Then see sir, when to all your judgements I see me past j grace, doe I lay hold of Grace, and heere begin to re- | tyre my selfe, this woman hath lent mee a glasse, in I which I see all my imperfections, at which my conscience \ doth more blush inwardly, then my face outwardly, and j now I dare confidently vndertake for my selfe I am hon- ; est. (11. 2385-90) j Chartley's pun upon the name of Sir Harry's daughter in the ^ context of this speech of repentance and reform suggests i i another kind of grace--God's grace— to which he can appeal and be pardoned in order to commence a better life. To be sure, his purgation prepares him not so much for heaven as 5 for married love. Nevertheless, as Henry Hitch Adams makes bridge, 19 35), p. 61. ^An observation made by Robert Y. Turner, "Dramatic 84 iplain in a quotation taken from the "Homily of Repentance," i included in a book of Protestant sermons printed in 1562 that Elizabeth ordered to be read regularly in the churches 6 of the land, for the Elizabethan wrongdoer God s grace was amply and instantly available if only he sought it with a contrite heart, freely confessed himself, declared his j faith, and vowed to amend his life (pp. 16-17). If he per- t formed these functions he could expect forgiveness and feel free from guilt. Chartley does these things in the speech I quoted above, and I do not think it improbable to suppose j that to the Elizabethan, imbued with the notion of grace obtained in the above manner and accustomed to the conven- j i tion of last-minute repentances by murderers and other criminals before execution, Chartley's punning appeal for grace would have signaled the prelude to a life of marital harmony after his career of wanton riot. The idea of woman as an instrument of God's grace is a j Conventions in All's Well That Ends Well." PMLA. LXXV (De cember 196 0), 498. 6Adams includes excerpts of homilies taken from Certain Sermons, or HomiliesT -Appointed to Be Read in Churches, in j the Time of the Late Queen Elizabeth of Famous Memory, an 1852 reprint of the sixteenth-century work, in his English : Domestic or Homiletic Tragedy 1575 to 1642 (New York, 1943),, Ipp. 7-17. convention that antedates Dante, of course, although Bea trice is probably the most notable early example. Perhaps significantly, the girl who saves Vallenger from the clutch es of the courtesan Francheschina in The Dutch Courtesan is j 7 named Beatrice. In any case, the convention appears rathen obviously in three other prodigal son-patient wife plays that we have examined. Helena is called "the herb of grace'^ in All's Well for her salvation of the King of France and t 8 ' her overwhelming love of Bertram. In How a Man May Choose j | Mistress Arthur tells her errant husband and the others that i heaven and not herself provides the means for their grace 9 and pardon — the kind of modesty that suggests the linkage i between God's grace and woman's, although she disclaims her-! i j self as the direct means. In this case her denial, I think,j constitutes a sort of claim, or at least a reminder of the ! i convention. In The London Prodigal Luce is characterized | i by Flowerdale Sr. as "this vertuous maide, / Whom heauen ^The Plays of John Marston, ed. H. Harvey Wood (London, 1938), II, 67-137. i ^The Complete Works of Shakespeare, ed. Hardin Craig i (Chicago, 1961), IV.v.16. j ^Materialien zur Kunde des alteren Encrlischen Dramas. I ed. A. E. H. Swaen, XXV (1912), 82. | 86 | hath sent to thee [Flowerdale Jr.] to saue thy soule"” ^ for her rescue of Flowerdale Jr. from his villainous habits. A similar function, but without such obvious commentary, is performed by Anabel in The Fair Maid of Bristow~ * ~ ^ and Isa- 12 bella and Mariana in Measure for Measure. These heroines plead successfully for the lives of Edward Vallenger and Angelo, and by their exemplary conduct are understood to be [ I the redeemers of their wayward lovers. i In these examples the virtuous sweetheart or wife be- 1 comes the moral redeemer and at times the physical savior I of the prodigal, who recognizes her qualities and is prompt- I I ed to reform by her good example, as well as by the humilia-| tions and degradations suffered during his wild escapades. In The Wise Woman Chartley is in no such troubles as Val lenger and Angelo and thus has no need for a physical sav- s I ior. He requires instead a moral preceptor to inspire his j i i sudden repentance. Although Gratiana is not the long- suffering wife or sweetheart (Second Luce having not yet i I I ^The Shakespeare Apocrypha, ed. C . F . Tucker Brooke ; (Oxford, 1908), V.i.421-422. ! HEd. Arthur Hobson Quinn (Philadelphia, 1902). l^Hardin Craig's edition of Shakespeare, pp. 833-861. 87 " 1 revealed herself), Chartley chooses Gratiana as the most j t notable lady in his not yet fully illumined vision to be the^ i basis for his change of attitude. To credit the Eliza- 1 'bethans with the acceptance of Chartley's behavior is not to suppose a singular "willing suspension of disbelief." The , prevalence of the convention of sudden repentance is too great for us to assume it to be as incredible to the Eliza- , ibethan as to the modern mind. Heywood has, I think, in Chartley's speech provided a sound enough basis for his reformation. Just as Chartley's escapades present a lighthearted i treatment of the theme of the prodigal son, Heywood employs I a similar treatment of the theme of the patient Wife or I sweetheart, instead of following the tradition of Patient 13 Grissil that the woman must do nothing more than endure i her fate. Second Luce has no mind to wait in the country with the forsaken geese, ducks, and capons for Chartley to j return to her. Instead, she comes up to London, disguises | herself as a boy, and does all she can to get him back ; without, however, personally confronting him and berating j ^ The Dramatic Works of Thomas Dekker. ed. Fredson 'Bowers (Cambridge, 1953), I, 207-298. j 88 " him for his lack of faith. In this last respect, then, she ' is the patient sweetheart, but she is more in the tradition of Shakespeare's Helena, operating quietly but effectively in the background. Luce the goldsmith's daughter, although not having to endure the discomforts suffered by Second Luce, is another who strives in clever manner to capture her man— Chartley again. Unwilling to take the conventional j I means of revenge by sacrificing her father to him in a duel,! i she concocts a plot to trap him. She, as much as Second ] Luce, is a designing woman, although there is nothing un savory in their designs. Hence Heywood departs from the I i Patient Grissil tradition in the way that his heroines play ' active roles in attempting to remedy their situations, in- 1 i stead of bearing their afflictions passively. Why either Luce or Second Luce should want to have de- ! signs on Chartley is, however, something of a mystery to the modern reader. To be sure, Luce's attachments are ex- | I plained by the fact that, believing herself married to | i Chartley, she is asserting a wife's prerogatives to bring j i ! him into line. She is simply trying to make the best of a j bad situation. When she realizes that she is married to | Boyster, she abandons Chartley without a word of regret, | just as Gratiana quits him for Sencer when she learns of his deceit. j With Second Luce, however, the case is more perplexing.' From the beginning she knows that Chartley is a ne'er-do- ' I well, yet she continues to pursue him, contrives the secret ; ceremony to marry him, and accepts him gladly after Gratiana and Luce have rejected him. As important as a formal troth- plight was, it did not indissolubly link two lovers, should one prove unfaithful. It was more a legal arrangement than - i an ecclesiastical bond and thus could be more easily severed by the hand of man. Hence Second Luce was not bound to Chairtley in the same way that Luce believed herself to be. Second Luce's fidelity to Chartley is explainable only by reference to the convention of the faithful sweetheart or j . | patient wife. I have previously discussed the origins and j prevalence of this motif. Arthur Hobson Quinn, we recall, | I has noted it in some sixteen plays of the times and points | 14 to Patient Grissil as a seminal influence. Such utter faithfulness, like Chartley's repentance, was thus a wide spread convention, powerful enough for Heywood to rely upon without presenting any other reasons for Second Luce's attachment. ; •^See supra. p. 65, n. 7. 90 : With the two Luces and Gratiana, Heywood supports the convention of romantic love. Second Luce, in her devoted pursuit of Chartley, is a romantic heroine. Luce the gold smith's daughter falls rapidly and completely in love with Chartley too, and she and Gratiana just as rapidly and com pletely fall out of love with him when they learn his true j ! nature. There is none of the satire upon the desire of the citizen's daughter to marry the young gallant in order to ' improve her social position that is the basis for much citizen comedy (although Luce's Father is not displeased at the prospect). Even Gratiana, pampered as she is, prefers Chartley to Sencer because the former cuts a better figure, I i and not for social or financial gain. Chartley is admired i by three of Heywood's chaste and honorable young ladies who ! rapidly become charmed by his boldness, ready wit, and hand-j some countenance, but not for any base considerations. j In the sixteenth- and seventeenth-century controversy j about the character and position of females, Heywood was mainly a champion of the virtues of womankind, rather than 15 a critic of their faults and weaknesses. In The Wise i i I ! l^Louis b . Wright, Middle-Class Culture in Elizabethan j England (Chapel Hill, 1935), pp. 465-5 07, provides a most j helpful discussion of the subject. j 91 J Woman Luce, Second Luce, and even Gratiana are good examples of the traditional female virtues. They are, however, some what too virtuous to be altogether convincing as characters. They tend to be caricatures rather than*real women. They i are types, conventional portrayals of ideal femininity. I Hence it seems that Heywood., as a champion of women, is a ! victim of the convention that women are completely virtuous,j i just as the critics of women, Middleton for example, were i i often caught by the opposite convention, inherited from the Middle Ages and invested with new vitality by the Puritans, i namely, that women were all sisters of Eve, corrupters of mankind. With the men, the celebration of romantic love suffers.j i i Chartley holds his trothplight lightly and considers nothing i but the material advantages of love, deserting Second Luce ! i to go up to London and then forsaking Luce for Gratiana, who1 has both money and a better social position. Curiously, Chartley fails to comment upon Gratiana1s superior social position— beauty and money are what he is after. In pursu ing these girls, Chartley also knowingly outwits his friends Boyster and Sencer, who are themselves worthy suitors, not ! dupes or affected fops to be gulled because they deserve no better. Chartley thus subverts the notions of unselfish j 92 love and faithful masculine comradeship that are often part of romantic comedy. There is also some ground for understanding the blunt- spoken Boyster as a satirical dig at the convention of the eloquent romantic hero, as when he woos Luce plainstyle: Bovst. Morrow. Luce. As much to you. Boyst. 11le use few words, Canst love me? Luce. Deed Sir no. Boyst. Why then farewell, the way I came, lie goe. (11. 1339-43) That Boyster is temporarily outdone by the smooth-tongued Chartley is not to be considered a decisive victory for eloquence, however, for Boyster wins Luce when Chartley is finally discomfited. If Boyster is plain-spoken, Sencer is characterized as almost a young ruffian, a progenitor of the Mohocks of later years. Sencer, of course, is not a hoodlum, merely a wild young gallant and a rather clever one at that, as his word- i i combat with Sir Boniface reveals. He is entirely capable of wooing Gratiana with eloquence and in a courtly manner, yet ' he is rejected by her and her father, Sir Harry, because of j his "hot" (1. 741) ways. Gratiana first prefers Master 93 ; i jHaringfield but is later won over by Chartley's boldness. j The point here, of course, is that Gratiana prefers the con- i ventional romantic hero, either the polished nonentity 'Haringf ield, who simply drops out of the play and who is eliminated altogether in a later production, or the glib, unscrupulous Chartley. Paradoxically, Gratiana is attracted- i by much the same kind of "hot" manners in Chartley that she i i rejects in Sencer. That she is ultimately satisfied with Sencer is a victory for realism. Much of the Chartley-Sencer rivalry is the regular stock-in-trade of romantic comedy or tragicomedy--the seem- I ing defeat of the virtuous young man by the wily scoundrel. But here the scoundrel is the hero of the play and has the ' principal male role, as is usually the case in prodigal son plays. The distinction is the elevation of Sencer to a position and role hardly inferior to Chartley's. Indeed, i I Sencer threatens to repla^e Chartley as the central male character. The effect of the rivalry is to reveal further J the defects in Chartley's character, although Heywood does not explore the questions that he raises in the way that | Shakespeare does in another mingling of romantic elements ' with a frank recognition of man's imperfections, Measure fori ! Measure. The themes of prodigality and patience touch upon ■ 94 the issue, but the play comes closer yet in its treatment of the Wise Woman herself. 16 For the Wise Woman is a witch, as her name implies. 1 To an audience that for the most part believed in the powers of witchcraft, the presentation of a witch on stage was likely to be a subject of huge interest. A play about a witch was "box office" in the seventeenth century, and Hey- wood undoubtedly knew it. What is important about this play, of course, is the way that Heywood chose to treat his witch. First, he has "domesticated" her somewhat. That is, she is a white witch, a term commonly used at the time to 17 denote a witch whose powers were not primarily malevolent. Instead of bringing death and sickness upon her fellow citi- ,zens and their domestic animals, she was more likely to be consulted by them— as the Wise Woman of Hogsdon is— to For example, the sixteenth-century sceptic, Reginald Scot, The Discoverie of Witchcraft, ed. Montague Summers ([London], 1930), p. 147, speaks of one Mother Baker, "the witch or wise woman." •^The Oxford English Dictionary says of the white witch that she is "one who uses witchcraft for beneficent purposes" and alludes to Robert Burton's Anatomy of Melan choly (1621) as its first instance of the use of the term, although it was doubtless used previously. Christina Hole, Witchcraft in England (London, 1945), pp. 98-111, devotes a chapter to the white witch. foretell the future, to find lost objects, and to cure vari-| ous ailments and diseases. Yet a white witch's inclination ' i toward more socially approved goals was not enough to pre- , I vent her condemnation by the church, for she was believed to; jbe just as surely in league with the Evil One as the black- I est hag in Macbeth or the unrepentant Mistress Generous in ’ * Heywood and Brome1 s' later play, The Late Lancashire Witch- . 18 es. Consequently, the presentation of a witch on stage— : any witch, white or black— was an event of considerable ! dramatic potential. j But Heywood has diminished much of that potential by j refusing to show the Wise Woman as being in league with the devil. Instead of being depicted as a practitioner of the black arts, she is shown to be a rather garrulous old fraud, illiterate and therefore ignorant of the great body of book- learned conjuration (in the tradition of Doctor Faustus and j Prospero) and with no great ability in the unwritten or folk magic. She is presented as a complete charlatan who gives j ^Christina Hole, p. 98, quotes William Perkins, A Dis course of the Damned Art of Witchcraft (Cambridge, 16 08) in which he states that "death, therefore, is the just and de served portion of the good witch." Perkins, pp. 173-176, concludes a passage denouncing bad and good witches alike with: "Of both these kinds of Witches the present Law of Moses [Deuteronomy xviii, 10-12] must be vnderstood." ! 96 the pretense of having magical powers simply by outwitting her gullible clients. She pretends to be able to read, and since her clients are themselves mainly illiterate there is no one to expose her hoax. She also appears to be able to read people's minds by positioning herself where she can overhear in advance their names and problems as revealed by the intensive questioning of her boy Jack. Although cun ning, she is occasionally forgetful, and she is rather easi-j ly deceived by the more intelligent Second Luce, who is a country gentlewoman rather in the tradition of Shakespeare's Viola--innocent but invincible in deception. For example, the Wise Woman forgets that one of her clients is not mar ried and fails to recall where she lives: Wisewom. You are welcome Gentlewoman.— Worn. I would not have it knowne to my Neighbours, that I come to a Wise-woman for any thing, by my truly. Wisewom. For should your Husband come and find you here . Worn. My Husband woman, I am a Widdow. Wisewom. Where are my braines? 'tis true, you are a Widdow? and you dwell, let me see, I can never remember that place. Worn. In Kentstreet. Wisewom. Kentstreet. Kentstreet' . and I can tell you wherfore you come. 97 Worn. Why, and say true? Wisewom. You are a Wagge, you are a Wagge: why, what doe you thinke now I would say? Wisewom. And if I should say so, should I say amisse? Wisewom. In, in, lie but reade a little of Ptolomie, and Erra Pater; and when I have cast a Figure, lie come to you presently. (11. 507-529) Her pose is maintained, but not without considerable scrambling. The Wise Woman's falseness is obvious to the reader, but Heywood did not want it to be lost upon the spectator , during the course of the play. Therefore, Second Luce, j whose advice can be trusted, comments to the audience upon the Wise Woman: i i I 'Tis strange the Ignorant should be thus fool'd. j What can this Witch, This Wizard, or old Trot, Doe by Inchantment, or by Magieke spell? Such as professe that Art Should be deepe Schollers. What reading can this simple Woman have? 'Tis palpable grosse foolery. (11. 480-485) j And again, after witnessing the near fiasco between the Wise Woman and the Citizen's Widow, Luce comments: If this were a Wisewoman, shee could tell that with- , out asking [with respect to the Widow's marital status, j Worn. Perhaps, to know how many Husbands I should have. Worn. I thinke you are a Witch. 98 n i her address, and her errand]. (11. 531-532) Thus Heywood makes it plain that the Wise Woman is no more than a fraud. Nor is she the exception, for in retailing a : list of her own particular cronies and of some witches found! i in literature, she suggests that all are as false as she. True, she does not call them fakers, but that would be ut- j ! ■ terly foolish, for the speech in which she names them is made to one of her clients. But we know that she is a fake, and we are meant, I believe, to suppose that the others are too. It is a case of guilt by association. As works like The Late Lancashire Witches. Gunaikeion. and The Hierarchie of the Blessed Angels reveal, Heywood 19 ! believed firmly in witchcraft. But apparently he was also sensible of the differences between the "real thing" and the1 seemingly widespread practice of pretended witchcraft. It is not likely that he would have taken such pains to illus trate the falseness of the Wise Woman and her crew if he did not suppose that most of them were frauds. Furthermore, Heywood broadens his presentation of the Wise Woman to show j j 19Arthur M. Clark, Thomas Heywood Playwright and Mis- j cellanist (Oxford, 1931), p. 146, mentions these three works] as prominent examples of Heywood's belief in witchcraft. i her to be implicated in many of the most unsavory enter- i prises of the city. She arranges clandestine marriages, I i 'keeps a brothel, and disposes of unwanted infants. Second , I Luce tells us what to think of these activities: i i Most strange, that womans brain should apprehend I Such lawless, indirect, and horrid meanes For covetous g a i n e (11. 925-927) Yet Heywood presents no such sharp satire on quackery as we find in plays like The Alchemist, although his purpose in revealing this kind of vice would seem to be Jonsonian. I i To be sure, this theme of quackery and sham is perhaps the ■ I most pointed of his remarks in this play about his contem- , porary society, but even here there is no bitterness. Al though the Wise Woman's various occupations are unsavory, i she is not heavily condemned (Second Luce perhaps overstates her condemnation for the purpose of dramatic effect). She ! I is, after all, the means by which the dilemma is at length resolved. At the play's end the redeemed Chartley gives her a benediction: Nay mother midnight theres some loue for you. Out of thy folly, beeing reputed wise, Wee, selfe conceated haue our follyes found: Beare thou the name of all these comick acts. (11. 2418-21) I She is at this point a rather ugly but somehow likable old I schemer whose existence Heywood frankly acknowledges, as he , acknowledges a good many unpleasant aspects of his London, ibut whom he cannot find in his heart to excoriate or even to1 i condemn too harshly. In his treatment of the major themes of the play, Hey- j wood exhibits a kind of good-natured tolerance, weaving to- : gether diverse thematic strands into a comedy that recog- , nizes a number of the bitterer facts of life but is not allowed to become exercised about them or to treat them very seriously. The play is perhaps disappointing because of ! this. There is more to it than simple farce (although therei i i iis plenty of that), but Heywood has done little with the serious portions of the play. He has not invested them— or le has not been able to do so--with the kind of concern that might have made the thematic content of the play as care fully worked out as the structure. j i I CHAPTER VI INFLUENCES I It is difficult to credit The Wise Woman with having had a strong influence upon subsequent plays dealing with the themes of witchcraft, prodigality, and patience. We have seen that it stands alone in its treatment of the white I witch, although other plays, notably The Alchemist, deal satirically with the magical charlatan. Of the plays con- I l cerned with prodigality and patience, it stands toward the middle of a vogue that continued for two or three years be fore going out of fashion.^ Yet it does not seem to have exerted much influence upon the plays that followed it. To be sure, The Miseries of Enforced Marriage (16 05-06), as 2 Quinn has observed, has a somewhat similar plot? and the ^Alfred Harbage and Samuel Schoenbaum, Annals of Eng- | lish Drama 975-17 00 (Philadelphia, 1964), p. 92, date The Miseries of Enforced Marriage, presumably the last of the prodigal son-patient wife plays, at 1605-06. For more discussion of this point, see supra, p. 66. 101 102 ’ faithful wife of The London Prodigal (1603-05) also bears the name Luce. But these are merely superficial similari ties and should not distract us from what I believe is a 3 | crucial difference in tone. I 4 ! Charles Mills Gayley has found in Mrs. Hanna Cowley's | iplay Who's the Dupe? (London, 1779) a close similarity to Act IV scene i of The Wise Woman, in which occurs the word- ( combat between Sencer and Sir Boniface. In Act II scene ii i i of Mrs. Cowley's play Jeremy Gradus, the pedantic young scholar from Brasenose College, is tricked into behaving like a fop by Charlotte and Elizabeth Doiley in order to find favor in Elizabeth's eyes. Elizabeth loves Sir Wilford| Granger, a young gallant who seems to love Elizabeth, al though he is not at all repulsed by the fact that she will inherit the estate of her wealthy merchant father, Mr. ; i i Doiley. In the scene in point, Granger, disguised as a j i scholar, is pitted against Gradus, the real scholar dis guised as a fop, by Old Doiley, who wants to marry his daughter to a scholar. Granger, knowing no Greek, answers i ^See supra, pp. 69-70. ^Representative English Comedies (New York, 1914), III, xxix. 103 Gradus' Greek speech with: Yon lucid orb, in aether pensile, irradiates th'expanse. ! Refulgent scintillations, in th'ambient void opake, emit ' humid splendour. Chrysalic spheroids th'horizon vivify— j astifarious constellations, nocturnal sporades, in re- ; frangerated radii, illume our orb terrene. (p. 38) 1 Gradus protests that this is merely English, but the igno- j rant Old Doiley says, " 1 Twas. no more like English, than I am; J like Whittington's cat" (p. 38), and awards his daughter to Granger. Reminiscent of Sencer1s Greek speech in The Wise Woman is Gradus' declamation: j i Panta gelos. kai panta konis kai panta to meden : Panta gar exalagon. esti ta ginomena. (p. 36) To this Old Doiley replies: Panta. tri pantry* . Why, that's all about the Pantry. What, the old Grecians lov'd Tid-bits, mayhap--but that's low'. (p. 36) I Several important differences between the word-combats of Sencer with Sir Boniface and Granger with Gradus show that Mrs. Cowley was not completely following Heywood's lead (if we assume for the present that there is more than a co- 1 incidental linkage). During the scene Granger teeters on the brink of disaster, whereas Sencer is clearly master of j the situation from the beginning and toys with Sir Boniface. | Sencer1s "Greek," however, is a mixture of nonsense, Latin, | 104 ! 5 . 1 and Greek, whereas Gradus' oration has a kind of meaning ' to it: "All things are laughter and all things are dust and; i all things nothing, for all things that exist are from j 6 'braggarts." Extended Latin double-entendre provides the | comic core of Heywood's scene. Mrs. Cowley's word-combat is1 far shorter and avoids the Latin and the bawdry of Heywood. < The two scenes share a fundamental similarity, however,' i in that they are concerned with a rivalry between a young ■ gallant and a foolish pedant (both pedants are from Brase- | nose College) in which the pedant is beaten at his own game j by his wily, more intelligent adversary. The convention of ! frustrating the pedant is, of course, not a new one. The j i 'pedant has long been a target for satire, being "derived ultimately from the Bacchides of Plautus," as G. C. Moore Smith has remarked in the introduction to his edition of i \ 7 the Latin play Pedantius (1581). In Renaissance drama i I ^See the critical notes to 11. 1145-46. ^This translation I owe to Professor Marjorie Berlin- j court. I ! ^Materialien zur Kunde des alteren Encrlischen Dramas. ! " I VIII (1905), xxv-xxvi. Plautus' pedant is the tutor Lydus, who decries the corruption of the younger generation, spe cifically that of his pupil Pistoclerus, but does not switch into the pedantic Latin diction (understandable in a Latin play) that Sir Boniface utters. Use of pretentious Latin j 105 j I Francesco Belo's II Pedante (1529) provides us with the original character (Bond, p. xxix), and Elizabethan and Jacobean plays abound with scenes and incidents in which the g pedant receives all manner of abuse. Probably Holofernes i i is the best known of the type. j The convention is so prevalent, however, and the time separating the two plays so great (17 5 years) that it is rather difficult to suppose a direct influence of Heywood upon Mrs. Cowley. Yet there is a curious sort of link. On 1 page 40 of the Huntington Library quarto of Who1s the Dupe? John Philip Kemble has written, "This is a diverting Farce; phraseology as the mark of the foolish bibliophile has been 1 traced by R. Warwick Bond, Earlv Plavs from the Italian i (Oxford, 1911), pp. xxix-xxx, to Sebastian Brant's Das Nar- j Irenschiff (1597). See Paul Nixon, ed., Plautus (London, j 1928), I, 325-457, for a Latin-English edition of the Bac- ; chides. and Edwin H. Zeydel, ed., The Ship of Fools bv f Sebastian Brant (New York, 1944), especially the section "Of juseless Books," pp. 62-63. Allen H. Gilbert, "Thomas Hey- jwood's Debt to Plautus," Journal of English and Germanic IPhiloloav. XII (October 1913), 611, mentions the Bacchides in connection with the way the love deception of Plautus' play resembles that in Heywood1s The English Traveller but j does not observe any similarities between Lydus and Sir ; Boniface. Lydus is altogether a better man than Sir Boni face, and I find it difficult to view the former as a kins- ■ man of the latter. I ^Hans Deichert, Per Lehrer und der Geistliche im Eli- j sabethanischen Drama (Halle, 1906), surveys the subject, mentioning Sir Boniface (p. 69), although he confuses Thomas jHeywood with John Heywood. j 106 ! — If I don't forget, the Hist, of it is taken from Mrs. Centlivre's Salamanca Doctor outwitted." j There is a similarity between the two plays, although in Mrs. Centlivre's play, The Stolen Heiress, or the Sala manca Doctor Outplotted (London, [17 03]), the episode in question is part of the secondary plot. Here a crotchety i I old father, Larich, desires to marry his daughter, Lavinia, j to a pedant, Sancho the Salamanca doctor. The girl loves a j I young gentleman, Francisco, however, who disguises himself i as a scholar and utters a speech rather like Granger's— and ! ! which perhaps owes something to Sencer's "Greek" declamation' --in a successful effort to dupe the old father: i Most rubicund, stilliferous, splendant Lady, the occular . faculties by which the Beams of Love are darted into j every Soul, or humane Essence, have convey'd into my j Breast the lustre of your Beauty; and I can admire no | other Object; therefore pardon me, Sir, if I only ex- j press my self in Terms Scholastick, and in Metaphors, . my Phrase to her. (pp. 24-25) Larich's reply is predictable: "Learned, Learned, Young Man, . how happy am I in thee?" (p. 25). Like Sir Harry and i Old Doiley, Larich is fooled by pretentious language. There' i is also a Greek speech delivered by the pedant, but Francis-^ co is not obliged to reply to it in kind. The word-combat is much less important in this play than in Who's the Dupe? I 107 ; in which it is the only noteworthy scene. 9 10 As Hans Strube and Gerald Eades Bentley, among others, have noted, The Stolen Heiress is an altered versionj of Thomas May's The Heir (acted 1620),^ a play in which the, secondary plot concerns a rivalry between a young gentleman,j i Francisco, and a "foolish gentlemen," Shallow, who is not I i strictly a pedant, over the hand of one Luce. There is, 'however, no word-combat here, not any scene of obvious ped antry with Latin or Greek quotations. There is just the rivalry during which Shallow is shown up as a coward and a fool. i The name Luce is a curious coincidence, especially whenl i we recall that The Heir was acted at the Red Bull by the j Company of the Revels, "a struggling continuation of Queen Anne's Men" (Bentley, IV, 836), Heywood's former company. It is tempting to suppose that May had access to the manu- ( script or prompt-book of Heywood's play, or probably saw it j ^S. Centlivre's Lustsoiel "The Stolen Heiress" und sein Verhaltniss zu "The Heir" von Thomas May (Halle, 1900). • ^The Jacobean and Caroline Stage (Oxford, 1956), IV, 837 . j HThe date is from Harbage and Schoenbaum, p. 112. I ^ refer to the quarto of 1622, printed in London. ! 108 acted, and appropriated part of it. Unfortunately, the j t closer we come to the time of The Wise Woman, the less in- | fluence is visible, May's play having the least of the word-' combat rivalry. Then too, the tone of The Heir is most un like that of The Wise Woman, for the former is tragicomedy. I Finally, the plots of The Heir and, necessarily, The Stolen j I Heiress. are quite different from that of The Wise Woman. | Only the two-act farce Who's the Dupe? resembles our play, ! i since its basis is the rivalry between the young gallant and i J the pedant for the hand of Elizabeth Doiley, there being no j subplot. Hence we may agree with Gayley that the two plays 1 share a similar scene, although we cannot discover a chain of scenes that would bind the two plays as closely together t as we might wish. And I have been unable to discover j i whether Mrs. Cowley knew of The Wise Woman or had access to I a copy of it. ! i CHAPTER VII ^ STAGE HISTORY I I Although The Wise Woman was probably first performed by, the Queen's Men (formerly the Earl of Worcester's Men but reassigned to their new patron Queen Anne upon the accession of James I) at the Curtain,^ the majority of the play's pro-( i ductions were likely made at the Red Bull, to which Queen 2 Anne's Men repaired probably in 16 05. There is, however, no recorded instance of the play's being performed in Londonj at any theater. George F. Reynolds, in his study of the RedJ Bull, says that the play "may have been acted at the Red ! •1-See E. K. Chambers, The Elizabethan Stage (Oxford, 1923), II, 229. | i ^Chambers, II, 447, presumes that the Queen's Men occu pied the Red Bull "as soon as it was built at some date be- jtween 1604 and 1606." George F. Reynolds, The Stacrinq of Elizabethan Plavs at the Red Bull Theater 1605-1625 (New jYork, 1940), p. 6, follows J. Q. Adams' (Shakespearean Play houses ) belief that the Red Bull was built and occupied in j 16 05 by Queen Anne's Men in order to compete more favorably j jwith the King's Men at the Globe and the Prince's at the j Fortune. i 109 110* ! Bull" (p. 17) and includes it in his list of fourteen plays j | "only possibly connected with the Red Bull" (p. 5) between ; ! 1605 and 1625. Reynolds is properly cautious in assigning ‘ the play to the Red Bull, since there is no documentation to support his view. Yet if the play were not performed here, one wonders where it might have been done, since the Red Bull became the home of Queen Anne's Men. i The want of any documentary evidence for the perfor- i mance of The Wise Woman during the period before the closing' of the theaters is lamentable, for one sees in the play characteristics that would seem to have ensured for it j i numerous performances. Its popularity is implied by the ■ j i I statement made on the title-page: "As it hath been sundry times Acted with great Applause" (11. 4-5), a claim that is i I probably truthful as well as being calculated to encourage I i a prospective buyer of the quarto. So far as I have been able to determine, there is but one document, aside from the claim of the title-page, to give evidence of a regular performance of the play, a prompt-book, now in the Folger Shakespeare Library, in which i I the prompter has written the names of the performing actors. The cast that can be derived from these names so closely parallels one listed in a prompt-book of Shakespeare's The Ill Comedy of Errors that it seems highly probable that the 3 same company performed both plays at about the same time. 4 Sandra A. Burner has studied the available materials pertaining to the two prompt-books and has conjectured that The Wise Woman was performed in Norwich by a touring Nur sery company, led by John Coysh, in the summer of 1672 (p. 78). The conclusion probably derives from the fact that ^The Cast of The Wise Woman as given by the Folger prompt-book is as follows: Chartley, Mr. [Thomas] Disney? Boyster, Mr. [Nathaniel] Kew [Cue]? Sencer, Mr. j[ohn] Coysh? Haringfield [part is omitted]? Luce, Mrs. Chock? Sec ond Luce, Mrs. [Sarah] Cook? Luce's Father, Mr. Wingfield? Joseph, Mr. Wm. Wall? Old Chartley, Mr. [James?] Biggs? Sir Harry, Taddy? Gratiana, Mrs. Coysh? Taber, Mr. J. Wall? Sir Boniface, Mr. James? Wise Woman, Mrs. Wall. No names are given for the actors who played Chartley's and Old Chart ley 's Men, a Countryman, a Kitchen-Maid, and two Citizen's Wives. Professor Lucyle Hook, however, has told me that perhaps Wm. Wall doubled as the servant for Chartley and 01c. Chartley. She also thinks that Taddy may have been Anthony' Turner. G. Blakemore Evans, Shakespearean Prompt-Books of the Seventeenth Century (Charlottesville, 1964), III* Part i, 1-2, records the cast of The Comedy of Errors: Antipho- lus of Ephesus, Mr. Biggs? Antipholus of Syracuse, Mr. Dis ney? Dromio of Ephesus, J. Coish? Dromio of Syracuse, J. Wall? Aegeon, Mr. James? Duke of Ephesus, Gaoler, Officer, Wm. Wall? Angelo, Mr. Wingfield? Merchant, Pinch, Tady (or Taddy)? Adriana, Mrs. Coish? Luciana, Mrs. Cook? Lady Abess, Mrs. Wall? Courtesan, Mrs. Chocke. Mr. Kew is the only ac tor in The Wise Woman who does not appear in The Comedy of Errors. A list of both casts is also given in The London Stage 166 0-1800. ed. William Van Lennep, Emmett L. Avery, and Arthur H. Scouten (Carbondale, 1965), Part I, 186-188. 4"A Provincial Strolling Company of the 167 0's," Thea tre Notebook. XX (Winter 1965/66), 74-78. 1 1 2 j Coysh, a member of the Nursery at Hatton Garden, was granted! a license for his company to perform in Norwich by the mayor i 5 ' on August 6 and a renewal on August 14, 1672. A later date; seems less probable because Coysh was a member of the King's Company from 16 73 to 16 83, and, as Evans (p. 6) and the i I editors of The London Stage believe, it is "unlikely that he would have been touring during the seasons when he was en gaged by the King's Company" (p. 187). In 1683 Coysh again toured Norwich, but Miss Burner argues that the extant rec- I I ords of the other actors in the cast suggest that they were J I more likely to have been willing to undergo the discomforts : I of touring in 1672 than in 1683, by which time they were ! either better established or retired (p. 77). As for the date of The Comedy of Errors. Evans favors 1672, although he is somewhat reticent about committing himself. Miss Burner has examined the handwriting in both j i prompt-books and has found the hand in The Wise Woman to be the same as what Evans calls Hand II in The Comedy of Errors (p. 76). Furthermore, Evans believes that the Hand II of > 5Sybil Rosenfeld, Strollincr Players & Drama in the Provinces 1660-1765 (Cambridge, 1939), pp. 38-42, discusses Coysh's association with the Nursery and provincial touring companies. I _____________________________________ J 113 i i The Comedy of Errors is the same hand found in a King's | Company prompt-book of James Shirley's The Sisters, the (production of which Evans is certain occurred between 1668 ; and 1671 (p. 7). Thus the evidence adduced by Evans and j Miss Burner supports the belief that The Wise Woman was per-: formed by a touring Nursery company. The anomaly of the appearance of Hand II in a prompt-book associated with the King's Company instead of the Nursery group may be accounted i for if we accept Evans' conjecture that after the disastrous King's Company fire in January of 1671/72 the prompter "found work with the Nursery and perhaps (since the dates ! fit in very neatly) accompanied Coysh's troupe to Norwich later [probably June] in 1672" (p. 8). The Wise Woman would have seemed old-fashioned to a Restoration audience, but may have had other performances of which I have found no record. CHAPTER VIII ; TEXTUAL ANALYSIS j j Besides this present work there are three modern edi tions of The Wise Woman: the John Pearson edition (1874),^ 2 the Mermaid edition (1888), and an unpublished edition 3 prepared by Allyne W. Landis (1939). In order to explain why yet another modern edition seems desirable, it is neces-j sary to discuss briefly these earlier treatments of the ! play. The Pearson and the Mermaid editions cannot be relied upon as valid reflections of the 1638 quarto. The Pearson edition contains numerous silent emendations, and Mermaid ^The Dramatic Works of Thomas Hevwood (London, 1874). Although the edition was compiled by R. H. Shepherd, it is j customarily referred to by the name of the publisher, John Pearson; see Arthur Brown, "Citizen Comedy and Domestic Drama," Jacobean Theatre (London, 196 0), p. 62. ^The Best Plays of the Old Dramatists: Thomas Hevwood. ed. A. Wilson Verity (London, 1888). j 31 1 The Wise Woman of Hogs don by Thomas Heywood," unpub- ; lished master's thesis (Duke University, 1939). 114 115 i I seems based solely upon Pearson with no scrutiny of the j i quarto. For example, the last word of line 742 of the 4 i quarto is "best". Pearson records this word as "mest" (p. 301), probably a typographical error. Mermaid recognizes an error but emends it to "most" (p. 274), apparently without i consulting the quarto. The list of difficulties could be . i I extended considerably beyond this one example, but it should suffice. The Landis edition is far more reliable than its two antecedents. It undoubtedly would have been more reliable yet had it been based upon collation of more than the three i I copies of the quarto owned by Harvard, Yale, and the Uni versity of Texas, especially since the Texas copy is an assembled work and is thus unreliable for certain biblio- ! i graphical tests. Numerous textual variants, some with i i interpretive value to both the literary critic and the j bibliographer, go unrecorded in the Landis edition because it is based upon too few copies of the quarto. To use i ^No attempt is made to reproduce the long "s" of the i quarto except where it is bibliographically significant, as at one point in the record of catchwords. Similarly, punc tuation of words and phrases from the quarto is enclosed | in quotation marks only when it is bibliographically sig nificant . 116 I another single example, Landis can only agree (p. 17 0) with : the emendation made by Mermaid (p. 255) of the quarto's "to I tho" (1. 108) to "todo". Knowing that "to tho" is the corrected state of "to thee".would have greatly strengthened' I the basis for Mermaid's emendation and Landis' concurrence, j To dwell exclusively upon the difficulties of my pre decessors, however, is to fail to acknowledge their many helpful contributions to my efforts, for without their work i my own attempt unquestionably would have fallen far short of whatever competence it may have attained. The distinctions j made by Mermaid between Heywood's prose and his sometimes j i i doubtful poetry have saved me much effort, and Landis 1 ; translation of Latin and his source findings have spared me : i many hours. In preparing this edition I have collated thirty-two ! copies of the 16 38 quarto, all that I know to exist, al though doubtless there are others extant. I have been able to examine the original quarto of twelve of these, as listed in the following table. Of the others, I have examined xerox, microfilm, or photostat reproductions. Twenty-four j copies have been collated with the Hinman collating machine. The others I have examined without the use of a mechanical i collating device. ' Copy Siglum Call Number Kind Method of Collation Condition 1. Bodleian Library o1 Malone 250 xerox HCM* Complete 2. O2 Malone 200 M I I I I 3. o3 Douce HH 209 i i M I I 4. Boston’ Public Library MB 149.673 original MUS** I I 5. British Museum L1 C34g 19/3 xerox HCM 1 1 6. 1 ? Ashley 890 I I I I I I 7. L3 C12f 14/4 I I I I Wants 14 8. L4 644.e.41 I I I I Wants B2, D4 9 . Edinburgh University E I I I I G3, H2, H4V imperfectly printed 10. Elizabethan Club (Yale) CtE 88 original MUS Complete 11. Eton College EC microfilm- xerox HCM Small hole in H3 12. Folger Shakespeare Library DFo1 STC 13370-1 original I I Complete ...i Copy Siglum Call Number Kind Method of Collation Condition 13. Folger Shakespeare Library DFo2 STC 13370-2 original HCM Complete 14, DFo3 STC 13370-3 I I n I I 15. Harvard University MH STC 13370 I I n I I 16. Huntington Library CSmH1 61495 I I MUS I I 17. CSmH2 61486 I I n I I 18. Hyde Collection NjSH xerox HCM I I 19. Library of Congress DLC PR 1241.L6 Readex Microprint MUS Wants A1 20. Morgan Library NNPM W4B original I I Complete 21. National Library of microfilm- Scotland EN1 Bute Copy xerox HCM I I 22. I EN2 H.28.e.3(4) I I I I I I 23. Newberry Library ICN 1355 xerox I I I I 24. Pforzheimer Library NNPf 487 original MUS I f 25. Royal Library, Stockholm SR xerox HCM 118 Copy Siglum Call Number Kind Method of Collation Condition 26 . Science Museum LVD 4459 26 xerox HCM Small hole (Victoria and Albert) Box 22 1 in 12 27 . University of Illinois IU 1 1 1 1 Complete 28. University of London LU 1 1 1 1 Wants 12, 13 29. University of Pennsylvania PU 822 H51W13370 original MUS Wants C4, HI 30. University of Texas TxU photostat HCM G3 imperfectly printed 31. Worcester College (Oxford) OW • 1 1 1 1 Complete 32. Yale University CtY Z77.102if original MUS 1 1 *HCM Hinman Collating Machine **MUS Mechanically Unassisted Collation The Pearson and Mermaid editions have not in the strict sense been collated because they are based upon no authority superior to the quarto. They have been carefully scrutinized, however, and significant emendations have been noted. The Landis edition presents as text the Harvard, Yale, and Texas copies, which have been fully collated. H 120 The preceding is a table of the copies examined, the siglum of the individual or institution possessing them, their call numbers (when available), the kind of copy ex amined, the method of collation, and the condition of each copy. The quarto reproduced for this edition belongs to the Huntington Library (CSmH2). It is not necessarily the best quarto extant— sheets C(i) and I(i), for example, are un- corrected--but it is a good one, and I have been able to consult it sufficiently to feel reasonably certain of what ■ I say about it. The following table presents a record of the corrected and uncorrected formes as I have found them in the copies of the 16 38 quarto that I have examined: SHEET A Outer Forme (This forme exists in three states). Uncorrected: 02, DFo3, EN2, ICN. Corrected: 01*3, MB, L1”4, E, CtE, EC, DFo1-2, MH, CSmH1-2, NjSH, DLC, NNPM, EN1, NNPf, SR, LVD, IU, LU, PU, TxU, OW, CtY. 121 Sig. A1 7 . 11. Sig. A2V 108. Sig. A4V 230. Uncorrected State Delectare The Bible To thee Corrected State Delectare— the Bible to tho Save,thee Save~ thee 231. you are y'are DFo^ and EN^ record the uncorrected states of A1 and A2V. On A4V they record "you are" and " Save/-.thee" , a combination of uncorrected and corrected states; hence there are three states, a fully corrected^ an uncorrected, and a combination of corrected and un- • v p ■ corrected. Sig. A4 of O and ICN is uniformly un corrected: "Savejthee" and "you are". Inner Forme 8 2 Uncorrected: DFo , EN . Corrected: 01"3, MB, L1"4, E, CtE, EC, DFo1-2, MH, CSmH1-2, NjSH, DLC, NNPM, EN1, ICN, NNPf, SR, LVD, IU, LU, PU, TxU, OW, CtY. 5 The inferior caret designates omitted punctuation. 122 Uncorrected State Corrected State Sig. A2 47. HOGSDEN Sig. A3V RT. Hoasden Sig. A4 RT. Hogsden SHEET B Outer Forme (This forme exists in three states). Uncorrected: DIG, CtY. Corrected: O1-3, MB, L1-4, E, CtE, EC, DFo1-3, MH CSmH1-2, NjSH, NNPM, EN1"2, ICN, NNPf, SR, LVD, IU, LU, PU, TxU, OW. Uncorrected State Corrected State Sig. B3 405. anden t| \ what andthen what Sig. B4V 523. I shoule I should The uncorrected state of B3 is recorded by DIG, and CtY records uncorrected B4V . Hence there are three states. Inner Forme Uncorrected: CSmH1. Corrected: O1-2, MB, L1"4, E, CtE, EC, DFo1"3, MH, HOGSDON Hogsdon Hogsdon 123 CSmH2, NjSH, DLC, NNPM, EN1 2, ICN, NNPf, SR, LVC, IU, LU, PU, TxU, OW, CtY Sig. B2 351. Sig. B4 472. 473. 487 . Uncorrected State yonr hand weaknesse on Matron of Faber Corrected State your hand weaknesse of Matron on Taber SHEET C Outer Forme (I have found just one state of this forme; see pp. 141-142, infra.) Inner Forme Uncorrected; 01, CtE, EC, DFo1"3, CSmH2, DLC, EN2, Corrected: NNPf, LVD, IU, TxU, CtY. O2-3, MB, L1-4, E, DFo2, MH, CSmH1, NjSH, NNPM, EN1, ICN, SR, LU, PU, TxU, OW. Sig. Clv 592. Sig. C2 628. Uncorrected State with my Bride; betimes Corrected State with one Bride abetimes 124 Sig. C3V 723- Watch, hit 724. Watch, went and hit 725 mee of me of Sig. C4 754. Gentlemen: : Gentlemen An assembled Quarto, TxU is in some ways unreliable for bibliographical analysis, as obtains here when an apparent conflict exists between the uncorrected states of Clv, C2, C3V and the corrected state of C4. SHEET D (I have discovered no indubitable variants. Hence I cannot determine the uncorrected and corrected states.) SHEET E Outer Forme Uncorrected: EN-*-, NNPf, IU. Corrected: 01-3, MB, L1""4, E, CtE, EC, DFo1-3, MH, CSmH1 2, NjSH, DLC, NNPM, EN2, ICN, SR LVD, LU, PU, TxU, OW, CtY. Uncorrected State Corrected State Sig. E2V 1220. I had I have 125 Inner Forme Uncorrected: CSmH1. Corrected: 1-3 1-4 O'1 , MB, IF- , E, CtE, EC, DFo1”3, MH, CSmH2, NjSH, DLC, NNPM, EN1 2, ICN, NNPf, SR, LVD, IU, LU, PU, TxU, OW, CtY. Uncorrected State Corrected State Sig. E4 1323 . Thisis This is This apparent variant of CSmH1 may be only the move- ment of type in the forme and may not represent an indubitably uncorrected state • SHEET F Outer Forme Uncorrected: CtE, NNPf. Corrected: O1”3, MB, L1"4, E, EC, DFo1”3, MH, CSmH1”2, NjSH, DLC, NNPM, EN1”2, ICN, SR, LVD, IU, LU, PU, TxU, OW, CtY. Uncorrected State Corrected State Sig. FI 1366 . Harrin as field HarrinasfieId 1368. Harrinas fi eld HarrinasfieId 1387. wee tho ght wee though 126 1394. Sencer /.discruised Sencer. discruised Sig. F2V 1468. treue true 1469 . madgick magick 147 0. him made made him 1478. animus. animus— 1483 . Sir Boniface. Sir Bonif. 1489 . ebrius; ebrius, 1491. saith/s I saith, I 1491. Hebrewe. Hebrewe ~ 1494. He*l He' 1 1496 . with, an with^an 1503 . victor . victor: CW. Si Sir Sig. F3 1509 . H > H - 1 C D I‘ le 1524. daughter, daughter ^ 1525 . tongue ^in tongue,in Sig. F4V 1612. Lnce Luce 1617 . absence, absence. 1626 . Gentleman: Gentleman. Inner Forme (Invariant; hence the forme is presumed corrected for all copies; see pp. 141-142, ______infra. ) ________________________________________ 127 SHEET G Outer Forme Uncorrected: Corrected: O2, L4, MH, NNPM. O1'3, MB, L1"3, E, CtE, EC, DFo1"3, CSmH1"2, NjSH, DLC, EN1"2, ICN, NNPf, SR, LVD, IU, LU, PU, TxU, OW, CtY. Sig. G1 1650. 1653. 1653. 1655 . 16 59 . 166 0. 1663. 1666 . 1672. 1674. Sig. G2 1751. 1752. 17 55. 1764. v Uncorrected State Whylookst grace streete. Beshrowe within^ echoing untruth. aud you: Luce? Gracescome . Gold. yet. theWorId looming Corrected State Why lookst Grace street. Beshrow within, ecchoing untruth, and you: Luce? Grace,come . Gold, yet ~ the World Looming 128 1770. be like belike 1780. in-ile in,ile 1780. Mistresse, Mistresse. Sig. G3 1803. O mee. 0 mee' . 1805 . his,make his, make Sig. G4V 1883 . Gr amercy Gramercy 1887 . of f, I off-I 1889 . 0 -Mr 0 . Mr 1911. deere-most deere,most 1911. \these these 1913. contente. contents. CW. Sence. Sencer. SHEET H (I have discovered no indubitable variants. Hence I cannot determine the uncorrected and corrected states. From the pattern established in sheets F, G, and I, however, I should suppose that inner H would be invariant and would thus represent a corrected forme. See pp. 141-142, infra. SHEET I Outer Forme Uncorrected: MB, L1 2, E, DFo2, CSmH1 2, DLC, EN1, 129 IU, TxU, CtY. Corrected: 01 3, L3 4, CtE, EC, DFo1"3, MH, NjSH NNPM, EN2, ICN, NNPf, SR, LVD, LU, PU OW. Uncorrected State Corrected State Sig. II 2189. bold bo Id 2192. |hts this Sig. 13 2356. disguised disguis'd Inner Forme (Invariant; hence the forme is presumed corrected for all copies.) W. W. Greg's bibliographical description of the 16 38 6 quarto is in almost every way complete, although as a re sult of my work I can add to his description of the uncor rected title-page two variants which apparently escaped his notice or were not reported to him. Besides the variant "The Bible1 1 (1. 11), which he has recorded, Heywood's motto exists in two states, there being in the uncorrected state a period after the last word instead of a dash: 1 1 Delec- Bibliography of the English Printed Drama to the Restoration (London, 1951), II, 535-536. 130 tare." The other previously unrecorded variant is the omission from the uncorrected title-page of the horizontal rule between the motto and the ornament. A further comment can be added to the description of the running-title: on Gl, HI^ and II of all copies that I have examined the run ning-title reads "Hoasden" instead of "Hogsdon". Greg's selection of catchwords, necessarily limited, includes two variations that should alert one to the proba bility of other similar abnormalities. There are others, and I list them below together with those on the verso of the final leaf of each gathering, after the manner recom- 7 mended by Fredson Bowers: Alv THE [The ] A4 Actus. [Actus a] A4V Bovst. I F Bov f t . i] B2 &nter [Enter] B3V Wisew. [Wisewo. ] B4V Now Cl Wisew. fWisewo . ] Clv Enter ISnter1 C3V Grat. [Qrat. ] C4V Sir D4V povvde- [powder] E4V Actus fActus 1 FI Sencer^ [Sencer.] F4 Would [I would] F4V Bovster. Glv Father * [Father.] G3V Wisewoman. [wWiseoman.] G4 Seneer- fSencer. ] G4V Sencer. HI Taber. fTabor^ 1 H4V Isaw [i saw] Ilv *7 Principles of Bibliographical Description (New York, 1962), pp. 299-300. 131 Chart. [chartlv. ] 12 Old Chartly. [chart. ] 13 Luce/ . [Luce . ] Greg, in his description of the quarto, has suggested that it was set by two compositors because the numbers of the first three acts are spelled, e.g., "Actus primus", whereas the numbers of the last two acts are set in italic numerals, "Actus 46" (see supra, p. 19 for a discussion of the "46." ), and because the last word of the running-title is spelled "Hocrsdon" on sheets A-E, but on sheets F-I it is spelled "Hogsden". I can add that on the uncorrected state of A3V and A4 the. word is also spelled "Hogsden". This in consistency on A3V and A4 seems to me, however, to strength en Greg's supposition about two compositors, for the correc tion of this variant shows a tendency toward the spelling "Hogsdon", as does the correction of the variant "HOGSDEN" of the head-title (A2) to "HOGSDON". Furthermore, several other practices that I have observed point to a change in compositors between sheets A-E and F-I. Two other words, "Chartley" and "Haringfield", are spelled differently on sheets A-E from the way they are recorded on sheets F-I. On sheets A-E they read uniformly as spelled above, but on sheets F-I they are spelled "Chartly" and "Haringsfield", save for two occurrences of 132 "Chartlevs" (11. 1648, 1651), an insignificant departure from the otherwise consistent difference in spelling between sheets A-E and F-I. There is also a consistent difference in the way "u" and 1 1 v" are used. In sheets A-E the compositor has adopted the modern distinction, then beginning to be felt in Eng land. But with sheets F-I 1 1 v" is substituted for "u" ini tially j and "u" is substituted for "v" medially. Thus sheets A-E consistently record "unto" (1. 212) and, far more frequently, "have", whereas sheets F-I record "vnto" (1. 1370) and "haue".^ Punctuation, although typically light, tends also to differ between sheets A-E and F-I. The compositor of sheets A-E uses a full stop to end every sentence or speech, whereas in sheets F-I a comma, colon, or semicolon is at times employed for this purpose instead of a period, ques tion mark, or exclamation point. That the latter practice is the choice of the compositor of sheets F-I seems clear, for the corrected sheets exhibit no change in pointing the ^Since this difference is both bibliographically sig nificant and possible to indicate on an ordinary typewriter, it is retained in subsequent textual reproductions and ci tations, in keeping with customary old-spelling practice. 133 ends of sentences or speeches. See, for example, the outer formes of F and G, which have been extensively corrected. As a last indication of a change of compositors between sheets A-E and F-I, there are the differences in the formats jof the headings for Acts I-III and IV^V. As noted previous ly, the headings for Acts I-III are set in roman type with no numerals— e .g., "Actus primus, Scena prima"--act and scene being regularly separated by a comma? but the headings for Acts IV-V are set in italic type of a larger font with numerals to designate each act--"Actus 46. Scena prima"— act' and scene separated by a period. In addition, horizontal rules enclose the headings for the first three acts but are not used to enclose the last two. Greg, in his description of the quarto, has also sug gested that perhaps sheets A-E and F-I were set with dif ferent types. Although the type used in setting all sheets of the quarto is generally of the same design and size (and thus there was no change of font), I think there may have been a change of case between sheets A-E and F-I, or else the interruption between the printing of sheets A-E and F-I (see p. 135, infra) was long enough for a sufficient number of types to be removed from the case so as to give the im pression of a change. I have been unable to trace anomalous 134 types present in sheets A-E into sheets F-I, a circumstance that points toward a change of case. I must confess, how ever, that I have experienced great difficulty tracing anomalous types from sheet to sheet within A-E and F-I. Hence the discovery of no recognizable types common to sheets A-E and F-I cannot be relied upon as sole proof for a change of cases. There are, however, styles of type found in A-E that are not to be found in sheets F-I. Such are the large italic "C" (e.g., 1. 131), the cursive italic "E" (e.g., 1. 216), the swash italic "G" (e.g., 1. 169), and the swash italic "M" (e.g., 1. 51), found with some frequency in sheets A-E that do not reappear in F-I. That the second compositor might have altogether eschewed these types is possible but not, I think, probable, when one notes that he has permitted the italic "I" instead of the roman in words calling for the latter (11. 1612, 1622). Occurring less frequently in sheets F-I is a swash italic "Q" (e.g., 1. 1427) that is not present in sheets A-E, where it might have been used in line 866. Finally, the types in sheets F-I seem on the whole to be in poorer condition, as indicated by a greater frequency of damaged risers and descenders and otherwise misshapen 135 types, than are the types in sheets A-E. It is less diffi cult to trace anomalous types from one sheet to another. These bits of evidence thus suggest to me that there has probably been a change of case’ between the printing of sheets A-E and F-I, although possibly, though I think less likely, an interruption in the printing between sheets A-E and F-I accounts for the observable differences. Because we can observe two sets of running-titles for each sheet, we can conclude that the quarto was printed with at least two different skeleton-formes, a common practice of the times. Two sets of running-titles were used for sheets A-E, and two different sets were used for sheets F-I, a fact that indicates that some interruption occurred between the printing of sheets A-E and F-I. Apparently the chases used for sheets A-E were stripped of their running-titles and furniture and used for something else after the printing of sheets A-E. Then, when sheets F-I were machined, new run- * ning-titles had to be set. The identity of the running- titles through sheets A-E is as follows: 136 SKELETON I Outer Inner Inner Outer Inner I. i > OJ < B4 C4 D3 E4 II. A3 B2 C2 D1 > I —1 Ill. I > < i > i —i m i > i —i O i > OJ Q E2 IV. B3V - C3V - l > Q E3V SKELETON II Inner Outer Outer Inner Outer V. A3V - B4V - 0 < 1 D3V - E4V VI. A4 B1 Cl D2 El VII . B2V - C2V - Dlv - E2V VIII. B3 C3 D4 E3 are, of course, no running-titles on Al^ •\ > i —1 < The identity of the running-titles through sheets F-I is as follows: SKELETON III Outer Inner Inner Inner IX. FI G2 H2 12 X. F2V - Glv - i > i —i > i —1 H XI . F3 G4 H4 14 XII. I > to G3V - H3V - I3V 137 SKELETON IV Inner Outer Outer Outer XIII . Flv - G2V - H2V - I2V XIV. F2 - G1 - HI - 11 XV. F3V - G4V - H4V - I4V XVI . F4 - G3 H3 - 13 Whether the same two chases used for the skeleton- formes of sheets A-E were used for sheets F-I is difficult to determine. Certainly they were similar? the pages of sheets F-I are very close to the same size as those of sheets A-E, a desirable attainment esthetically and biblio- graphically. The modal width of the pages of sheets A-E is 91 ram., just one mm. smaller than that of the pages of sheets F-I. Hence the same, or a similar, composing stick was used. In length a somewhat greater difference exists. The modal length (measured from the top of the running- title to the bottom of the direction-line) of the pages of sheets A-D is 161-162 mm. That of the pages of sheet E is 158-159 ini., and that of sheets F-I is 156-157 mm. The format of the pages of sheets E-I does not look squeezed or disproportionate, however, because a full page in these sheets contains 36 lines (excluding running-title and direction-line), whereas a page in sheets A-D contains 37 ( save .for _Clv.,_which_ has 36 ) . Apparently the compositor 138 who set sheets F-I took his guide from sheet E without bothering to inspect sheets A-D. I have been unable to determine precisely why sheet E was set with 36 lines instead of 37. The pages of E1-E2 have stage-directions that are set off from the main body of print by leading, thereby preventing the maximum number of lines from being set on them. Hence perhaps the compositor forgot that he had been setting a 37-line page when he reached E2V and set 36 lines instead. The pages of E3-E4V also have stage-directions set off by leading, so there was no other subsequent occasion for the compositor to set a full page of type unmixed with leading on sheet E. Now that the quarto has been described and a prelimi nary examination of its printing made, we can begin to dis cuss the method of composition and the order of formes through the press as they affect the production of the book. Since different compositors worked on sheets A-E and F-I, it may be that different methods were used for their composi tion, a supposition that we find to be true upon further inquiry. We can begin by considering the method of compo sition for sheets A-E. On B3 (1. 415) "vv" is substituted for "w" in the word "with" . No other such substitutions are found before or 139 after until D3, where the practice becomes common, continu ing through sheet D to Elv. On E2 and E2V there are two such substitutions (11. 1171, 1213). At one point on D4 (1. 1048), "VV" is substituted for "W". But after E2 no "vv" substitutions of any kind are to be found. The follow ing table shows the incidence of "w" and "v", omitting sigs. B3, E2, and E2V and the 1 1 W " substitution, which I do not think are numerous enough to be significant: D3 D3V D4 D4V El El w 8 10 18 9 15 13 vv 17 8 7 20 4 14 Apparently there was either a scant supply of "w" pieces in the case, or the standing-type used previously was not distributed so as to be available for setting D3- Elv. In any case, the shortage of "w" pieces on successive pages of both inner and outer formes of D and E indicates that these pages were composed serially rather than being 9 set by formes. One further bit of evidence suggestive of ^Had they been set by formes the substitution would have been confined either to the inner or to the outer forme of each sheet instead of occurring on both formes of each. 140 seriatim composition instead of setting by formes is the divided word "Language" between E3V and E4. For the kind of printing characteristic of this quarto it seems unlikely that such a nice calculation of space should have been made. Presumably sheets A, B, and C were also set seriatim. Apparently inner A was the first forme to be sent to the press, to judge from evidence provided by the spelling of "Hogsdon" as "Hogsden" in the uncorrected variant states of the head-title of A2 and the running-titles of A3V and A4. The word does not appear on Alv. Hence it is mis spelled wherever it appears on inner A, but is spelled correctly throughout outer A. Apparently inner A was first set with the reading "Hogsden" and sent first to the press (another suggestion, incidentally, of seriatim composi tion).^ In proofing, the mistake was detected soon enough for outer A to be corrected before it was machined, for there is no such error in the three states of outer A (and I doubt that there are other states, three being rather un usual for the hasty printing characteristic of this quarto). ■^Under seriatim composition the inner forme would be completed and ready for the press before the outer forme which includes the last page of the sheet. 141 If we accept Fredson Bowers' belief that a change in running-titles between sheets from inner to outer formes and vice versa signals a change in the order of the formes through the press,'*''*’ we can postulate the sequence in which the formes of sheets A-E were machined. Spelling evidence, as we have seen, indicates that inner A went first, followed by outer A. An alternation in running-titles (see the table on pp. 136-137, supra) between sheets A and B indicates that outer A was followed by outer B, inner B coming next. With sheet C, however, a slight difficulty arises. No alternation in running-titles between B and C indicates that outer C was imposed into the same skeleton-forme used for outer B, which preceded inner B through the press and was therefore available for the imposition of outer C. Hence we should say that outer C preceded its mate through the press. Yet outer C is invariant in all copies that I have examined, a circumstance that suggests either that I have not been able to examine enough copies (which I think im probable) or that it was machined after inner C in the Elizabethan Proofing," Joseph Quincy Adams Memorial Studies. ed. James G. McManaway, Giles Dawson, and Edwin E. Willoughby (Washington, 1948), pp. 579-581. A full discus sion of Bowers1 explanation would be too lengthy to include here. 142 12 ordinary course of affairs. Apparently something happened to upset the normal course of printing^ at best a nice bal ance between the compositor and the printer and subject to a variety of disturbances, as Bowers ("Proofing," p. 581) has explained and as the numerous alternations of running- titles among the other formes would suggest. In any case, the question of precedence between the two formes of sheet C confronts us. I have no complete answer to the problem, but I suspect that the invariant state of outer C carries more significance than the lack of alternation in running-titles between sheets B and C. Thus, I think inner C preceded its mate through the press. Alternation of running-titles between sheets C and D suggests another change in the order of formes through the press. I have found no variants for sheet D, however, that might further clarify this. Hence it seems likely that outer D preceded inner D. Another alternation between sheets D and E indicates yet another change in the order of machining; inner E probably preceded outer E. The following l^Again, a full discussion of the reason why an in variant forme is likely to have been machined after a vari ant forme is too lengthy to include here; see the discussion by Bowers mentioned in the previous note. 143 paradigm summarizes what I believe the sequence to have been: A(i) - A(o) - B(o) - B(i) - C(i) - C(o) - D(o) - D(i) - E(i) - E(o). The questions of sequence of machining and method of composition must be raised again for sheets F-I because of the evidence of interruption in the printing of the quarto brought out by the presence of new running-titles in these sheets and the presence of a different compositor. First we may consider the sequence of machining which, to judge from the evidence supplied by the running-titles (see pp. 136-137 supra), was considerably more regular than was the case with sheets A-E. There is clear evidence of alterna tion of running-titles between the formes of sheets F and G, but none subsequently. Here also is what seems to be a pattern of variant and invariant formes, a condition in dicative, in the absence of conflicting evidence, of the precedence of the variant forme through the press, as has been mentioned previously. The inner formes of sheets F, G, and I are invariant; the outer formes of these sheets have numerous variants, especially those of F and G, and exist in two states. Sheet H is invariant in both outer and inner formes, at least for the thirty-two copies that I have examined. To judge, however, from the pattern existing 144 in sheets F, G, and I, I should think that there were two states of outer H, although only one is present among the copies that I have examined. Despite the alternation of running-titles between sheets F and G, indicating that inner G followed inner F through the press, the pattern of variant and invariant formes in sheets F, G, and I suggests to me that the outer formes of all sheets preceded their inner partners. (There are other reasons besides a change in the order of the formes through the press that may have caused the alterna tion of running-titles between the formes of sheets F and 13 G.) I also suspect that sheet H, which has no invariant states, was printed in much the same fashion and order as were sheets F, G, and I. Hence I postulate the following sequence for the machining of sheets F-Is F(o) - F(i) - G(o) - G(i) - H(o) - H (i) - I(o) - I(i). This sequence is at variance with the usual progression of inner forme followed by outer proposed by R. B. McKer- 14 row, but he was assuming that compositors set pages ^See again Bowers' discussion cited above. • ^ • ^An Introduction to Bibliography for Literary Students (Oxford, 1927), pp. 18-19, 31-32. 145 seriatim rather than by forme. More recent studies have shown that setting by forme, even for first editions in 15 quarto, was not uncommon. Whether or not sheets F-I were set by forme is diffi cult to determine, but some evidence indicates that they were. For one thing, poetry set as prose in-order to con dense it on the page is evidence of cast-off copy in which the compositor performed a faulty job of counting and thus had to squeeze his text into the allotted space. Lines 1982-85, clearly poetry, are an example of this kind of error, as are lines 2032-40. Note that here the rhymes of the closing couplets are obscured by the prose format. Further examples of poetry squeezed into prose are found on lines 1573-75, 1999-2002, 2020-22, 2187-89, 2218-21. Evidence presented by the incidence of individual types also points toward cast-off copy, although admittedly this i c : See, for example, William H. Bond, "Casting Off Copy by Elizabethan Printers: A Theory," Papers of the Biblio graphical Society of America. XLII (1948), 281-291; George W. Williams, "Setting by Formes in Quarto Printing," Studies in Bibliography. XI (1958), 39-53; Robert K. Turner, Jr., "The Composition of The Insatiate Countess 02." Studies in Bibliography. XII (1959), 198-203; George R. Price, "Setting by Formes in the First Edition of The Phoenix." Papers of the Bibliographical Society of America. LVI (1962), 414-427; and John H. Smith, "The Composition of the Quarto of Much Ado About Nothing.1 1 Studies in Bibliography. XVI (1963), 9- 26_. „ _________________ 146 evidence is rather weak, owing to my difficulties in tracing large numbers of types from sheet to sheet. As a result of studies of the composition of quartos, John H. Smith (p. 11) believes that "under seriatim composition it would be very rare to find . . . on the first or second page of a second sheet a type from either forme of a first sheet," because these types would be unavailable for use when the first or second page was being set. Hence to: find types in these positions is indicative of composition by forme. In The Wise Woman we find types in these positions. On Glv (1. 1694) a misshapen "f" exists that was used pre viously on F3 (1. 15 09). On G2 (1. 1734)--only the third page of the sheet— is a damaged "u" that comes from Flv (1. 1413). Again on H2 (1. 1992) is a malformed "y" traceable from Gl (1. 1655). Another indication of composition by forme, put forth by Robert K. Turner, Jr., is that "type from the first forme of each sheet normally reappears in both formes of the succeeding sheet, but type from the second forme only in the second forme of the succeeding sheet." ^ This we 16"The Printing of A Kina and No Kina 01." Studies in Bibliography. XVIII (1965), 258. 147 find to be the case in sheets F-H. The "f" of F3 (1. 1509) reappears on Glv (1. 1694), the "u" of Flv (1. 1413) reap pears on G2 (1. 1734), and a "p" with a broken descender on F4 (1. 1586) reappears on G3V (1. 1822). Finally, the "y" of Gl (1. 1655) reappears on H2 (1. 1992). The problem of determining when Heywood intended prose and when blank verse is at times perplexing. From scrutiny of the edition of The Captives prepared by Arthur Brown and 17 'R. E. Alton, one can see that Heywood— -the edition derives from a manuscript thought to be in Heywood1s hand— was a villainous penman and one who intermixed lines of obvious 'blank verse with lines of highly irregular meter, punctuated at times neither syntactically nor rhetorically. We also find haphazard capitalization of nouns, adjectives, and other parts of speech, together with a neglect to capitalize the first words of lines that are obviously blank verse. Granted, an author in the toils of composition may not be expected to trouble himself with these niceties. A diffi culty arises, however, when such foul papers are used by the compositor as a basis for setting type, a situation that I think has occurred in the case of The Wise Woman (see 170xford, 1953. 148 supra, p. 19). In some cases it is obvious that the compositors of the quarto have mistaken blank verse for prose and prose for blank verse. At other points the distinction is not so obvious. Where commentary seems appropriate I have made it in the notes. To a considerable extent I have relied upon the judgment of A. Wilson Verity, as revealed in the Mermaid text. In places I disagree, and these differences are not ed. The Pearson text presents a much less critical editor ial consideration of the prose and poetry of the quarto. By and large Pearson reproduces the typography of the quarto but in doing so tends to treat lines that begin with a capi talized word (perhaps the result at times of the composi tor's efforts to normalize Heywood*s capitalization) as blank verse, with little regard for their meter. To be sure, the beginning of sentences and the pronoun "I" are recognized as conventions calling for capitalization and not necessarily as the signals for blank verse. Elsewhere, however, a line beginning with a capitalized word is treated as blank verse. Hence I have noted those lines in this edition where I disagree with Pearson. In preparing the notes that accompany the text, I have made no attempt to gloss all words that might be obscure. 149 As a result there are probably omissions as well as what some would consider unnecessary commentary. Needless to say, my rationale has been that the words and expressions glossed have seemed in some way significant to me. Simi larly, I have not tried to furnish examples of glossed words and phrases that are found outside the works of Hey wood. In a very few cases, however, reference to another writer has been made in order to elucidate an especially obscure point. I have furnished a limited record of similar expressions occurring in Heywood's works, but the list is by no means complete. A Heywood concordance must be left to other hands. Reference to most of Heywood's plays is to the Pearson edition by volume and page. The two exceptions are Arthur Brown and R. E. Alton's edition of The Captives and A. E. H. Swaen's edition of How a Man May Choose a Good 18 Wife from a Bad. cited by page and line respectively. Emendations, variants, and translations directly fol lowing the lemma have not been put into quotation marks, but they have been enclosed when they occur as a part of my commentary and might thus be misinterpreted. Except for 1 8 Materialien zur Kunde des alteren Englischen Dramas. XXXV (1912). 150 asides, textual comments and stage-directions from Mermaid and other sources have been put in quotation marks when they occur directly after the lemma to distinguish them from emendations and variants. 151 - w o m a f i , .* /% * ' . * **■/ ~ ^ \ * ' ■ ■ ;^'v ( * - ‘ * * ■ ' ^ ' ^ ji * ■ ■ * ■ > . '■ * /■ .'' ' i* ■0.0 S DOW. ■ ■ ’ •:> ■ ■ • ■ • ' ■ , ; _ • A C O M E D I E $As it hath been^ndry iim^s 1 . 1 1 , 1 i : * Jin vat.V^ sfoohyo: ! - ;o n^;!v,^ir/’ .•:>? • .;^u^z4lA): * , OjilI -iV.v 0 \\ \ !/:-; O l” . t .\Vr . ; L O N D O N , Printed by *T. for Henry Shephard> and . are to be fold at his Shop in Chancern-Lane, at the Sigtie o f t h e 'Bible , b e t w e e n Serjeants'- Jnne a n d Flect-ftreet, i 6 % 8 , o 2 7. Dehectare— ] Delectare. DFo° , EN 11. the Bible] The Bible DFo3, EN2 . 153 1. Wise-woman] "A woman skilled in magic or hidden arts; a female magician, soothsayer, etc.; a witch, sorceress; esp. a harmless or beneficent one, who deals in charm against disease, misfortune, or malignant witchcraft" (OED). See also supra, pp. 94-100. 2. Hogsdon] "A district north of London, west of the 'Kingsland Road and north of Old Street Road. Stow describes it in 1598 as 'a large street with houses on both sides.' The Hogsdon Fields were a favorite place for afternoon jaunts by the Londoners, and they were also used as a drill ing-ground for the trainbands." Now called Hoxton— Edward iH. Sugden, A Topographical Dictionary to the Works of Shakespeare and His Fellow Dramatists (Manchester, 1925). 4-5. As . . . Applause.] See supra, p. 110. 7. Aut prodesse solent. aut Delectare--1 "Either they are accustomed to profit or to delight." This is, of course, Heywood*s version of Horace's "Aut prodesse volunt aut de lectare poetae." "poets wish either to profit or to de light," Ars Poetica. 1. 333; see Edward H. Blakeney, ed., Horace on the Art of Poetry (London, 1928), pp. 34, 54. See also supra, pp. 5-7. Horizontal rule between motto and ornament] DFo^ and EN^ lack the horizontal rule between the motto and the ornament. 154 9. M. P .1 Believed to be Marmaduke Parsons, printer in London 16 07-40. He probably printed "most of the works bearing the initials M. P. between 1625 and 16 39. The posi tion of his printing house is unknown, as is also the date of his death"--Ronald B. McKerrow, A Dictionary of Printers ■and Booksellers . . . 1557-1640 (London, 1910). I know of nothing else written or edited by Heywood that he printed. 9. Henrv Shephard 1 A bookseller in London 1635-46, asso ciated with William Lee— Henry R. Plomer, A Dictionary of the Booksellers and Printers . . . 1641 to 1667 (London, ! I 1907). Shephard sold no other works of Heywood1s, although Shakerly Marmion's Cunid and Psyche, bearing a commendation of the author by Heywood, was according to the title-page "sold by H. Sheppard, at his shop in Chancery lane neere Serjants Inne, at the Bible. 16 37"— Arthur M. Clark, "A Bibliography of Thomas Heywood," Oxford Bibliographical Society Proceedings and Papers. I (1927), 148. 10. Chancerie-Lane1 "A street in London, running north from Fleet Street, just east of the New Law Courts, to Holborn" (Sugden). 11. Sign of the Bible 1 Refers to the sign of the bookshop. There were two other "Bible" bookshops in London at about this time: Robert Bird's in Cheapside and another in 'Drdmmatis Perfonx. Young Chartlcy, A wild- headed Gentleman. Boyftcr, a blunt fellow, Sencer, & conceited Gen tleman. Haringfield, aCiviU Gen- tlm m • Luce, a Gold-Smithes Daughter. Luce’s Father, a Gold smith. Jofcph, the Gold-Smithi Apprentice. " Old Matter Chartley. young Chartleyes man. Old Charleyes man. Sir Harry, d Knight, who is nopiece of a Sc holler. Gratiana, Sir Harry cs . Vofghfen T aber, SirH arryesman. Sir Boniface, an ignorant Pedant, or Schoolmaster* The Wife woman of Hogf- dfit^ho beares the name of the Dramma.. A Countryman, Clyent to iltfWifewoman* A'- KItchin-mayd, and two Citfeehs W ives, that come is tbe)flife woman fbraounfed. THE 156 Giltspur Street (Sugden). 11-12. Serieants-Inne 1 "A building in London for the lodging of the Serjeants-at-Law and the Judges, located on the east side of Chancery Lane just north of Fleet Street" (Sugden). 12. Fleet-street1 "A street in London running west from the bottom of Ludgate Hill across Fleet Ditch to Temple Bar" (Sugden). One of the most frequently mentioned streets in Elizabethan and Stuart drama. 14. Young Chartley] His first name seems to be Robert, for which Robin (1. 387) is a diminutive. Robert B. Sharpe, >The Real War of the Theaters (Boston, 1935), p. 228, sug gests that Chartley may be some kind of satire on Robert Devereaux, second Earl of Essex. Essex was a friend of Southampton and through him perhaps Shakespeare, and was affectionately praised by Chapman in The Tragedy of Biron (D . N . B .). Hence he was linked with two rival companies of Heywood's, and for that reason may have been a subject for slight, especially after his death, when he could not retaliate. 29. Old Charleyes man 1 His first name is Gyles (11. 2023, 2026, 2031). 35. Sir Boniface] Sir Boniface Absee(l. 843) is his full 157 name. A pun seems intended upon his pedantry, since "absee" is an obsolete form of "ABC" (OED). 42. A Kitchin-mayd ] She is also called a "Chamber-mayd" (1. 441), and again a "Kitchin-Mayd" (1. 488). On 1. 5 02, her name is given as "Sisly" (Cicely?). 42-43. two Citizens Wives] On 11. 439-440 Heywood speaks of "foure Women like Citizens wives." He appears to be nodding. 48. Actus primus, Scena prima.] Wilfred T. Jewkes, Act Division in Elizabethan and Jacobean Plavs 1583-1616 (Ham den, Conn., 1958), p. 304, believes that the act division is Heywood's since, as we have seen, the basis for the printed text is most likely Heywood's holograph. See also 11. 215, 437, 886, 1365, and 2016, noting that after 1. 215, "Actus primus, Scena secunda," there is no further division of acts into scenes. 49. play] In the following scene, Chartley and his com panions continue their play at dice. Line 112 ("Hee passes all with Trayes") suggests that they may be playing a varia tion of Passage, a popular dice game of the times that is described by Charles Cotton, Games and Gamesters of the Restoration: The Compleat Gamester by Charles Cotton. 1674. and Lives of the Gamesters bv Theophilus Lucas. 1714. ed. T h e VV i s e-vv o m a h Of H O G S D O N . 158 A&us primus, Scenaprima. Enftr, at newly come frem piaytfe9treymng Gentlemen^ M after C h a r t l e y , M a fer S e n c e r , M , B o y f t c r * a n d UWafter H a r i n g f i e l d . Chartley, i [ R i c e o f m y l i f e : n o w i f t h e D c v i l l h a v e b o n e s ^ t h c f c D y c c a r c m a d e o t h i s . W a s e v e r f i i c h a c a f t f c e n e i n t h i s A g e ? C o u l d a n y G u l l i n E u * * r o p e ( f a v i n g m y f c l f c ) f l i n g f i i c h a c a f t ? Hoyfter, E y e . Chart, N o . Tleyfter* Y e s. Chart, B u t I l a y n o : I h a v e l o f t a n h u n d r e d p o u n d , A n d I w i l l h a v e m y l a y i n g . Boyfi. I h a v e l o f t a n o t h e r h u n d r e d , l i e h a v e m i n e . 1 E y , y e s , I f l u n g a w o f f c : a w o r f c b y o d d c s . Chart. I c r y y o u m e r c y f i r , l o o f c r s m a y f p e a k c * H e n o t e x c e p t ’ g a i n f t y o u : b u t l e t m e f e e W h i c h o f t h e f e t w o t h a t p o c k e t u p o u r C a l h D a r e s c o n t r a d i f t m e ? Sencer, S i r , n o t I : I l a y y o u h a v e h a d b a d c a l l i n g . Haring, S o f a y I . Chart, I f a y t h i s H a t e ’ s n o t m a d e o f w o o l ! / W h i c h o f y o u a l l d a r e s f a y t h e c o n t r a r y ? A z S e w e r] SO n o 47. HOGSDON] HOGSDEN DFo3, EN2 . 159 J. Isaacs (London, 1930), p. 81, as follows: Passage is a game at dice to be play'd at but by two, and it is performed with three dice. The caster throws continually till he hath thrown doublets under ten, and then is out and loseth, or doublets above ten, and then he passeth and wins. Although Chartley and his friends do not follow Cotton's method of scoring, they arrange their play so that there 'are two chief players. It is difficult to determine whether they are playing with two or three dice. "Bale" (1. 86) could mean either two or three dice, "formerly usually 3 three" (OED, sb. ,4). In William Rowley's A New Wonder. a Woman Never Vexed (1624-26)--Hazlitt's Podslev (London, 1875), XII, 121-122— it refers to three. 53. Price of my life] An exclamation probably meaning "the value or worth of my life." 53. if the Devill have bones] The shapes, manifestations, and personality of the devil were questions that provoked many different opinions, among Chartley's contemporaries. One chief concern was whether the devil was spiritual or corporeal. Hence Chartley's jest reflects a serious issue. See John Ashton, The Devil in Britain and America (London, 1896), and Robert H. West, Milton and the Angels (Athens, Ga., 19 55). 16 0 53. have] See the discussion of this form on p. 132 supra. 53-56. Price . . . cast?] Mermaid prints these lines as blank verse: "Price . . . bones, / These . . . such / A . . . gull / In . . . cast?" Chartley, however, speaks little blank verse subsequently, and the meter here is awk ward . 62. Ey] Meaning "yes." The word may be an orthographic peculiarity of Heywood's. For further discussion, see supra, p. 19. The spelling is repeated on 11. 84, 264, 385, 464, 600, 876, 1163, 1804, 1970, 2274, 2348. 75-78. I . . .it.] An aside (Mermaid). 83-86. I . . . Ring.] Mermaid prints these lines as prose, as I think they are. 86. Bale] "The set of dice for any special game, formerly usually three" (OED). Mermaid, however, says that the bale is a pair. Whether it constitutes two or three dice de pends upon the game being played. In Hazard it is two, in Passage three. See the note to 1. 49. 88-90. That's . . . him.] Mermaid prints these lines as prose, as I think they are intended to be. 88-90. Hold . . . him] The meaning is obscure, but perhaps "If I'm not prevented from playing, I'll quickly recoup my losses from him who has taken my money." *fht Wife-woman of Hog [don. Sencer. I t m a y b c c * t i s a B e a v e r . Haring. V e r y l i k e l y f o : ’ t i s n o t W o o l l , b u t a p l a i n c B e a v e r . Chart. ' T i s W o o l l , b u t w h i c h o f y o u d a r e s f a y f o ? I w o u l d f a i n e p i c k e a q u a r r e l I w i t h t h e m , t o g e t f o n e o f m y m o n e y a g a i n e ; b u t t h e f l a v c s n o w t h e y h a v e g o t i t , a r e t o o w i f e t o p a r t w i t h i t . I l a y i t i s n o t b l a e k e . Haring, S o f e y w e e t o o . Hoyfi. ' T i s f a l f c " : h i s C a p ’ s o f W o o l l , ' t i s ; b l a e k e , a n d W o o l l , a n d W o o l l a n d b f a c k e . Chan. I h a v e n o u g h t t o f e y t o I o f e r s . H a v e I n o t h i n g l e f t t o f e t a t a C a f t ? E y f i n g e r , M u f t y o u b e f e t i h * ; g 6 f d ^ h d n d t a jo td ffily c r i n m y p u r f e ? A B a l e o f f V e f t i D i c c . H d e , c o i n e a t t h i s R i f i g . Sencer. F i e K l . Chartley,' t i s t i m c t b g i v ’ e o v e r . Chart. T h a t ’ s t h e W i n n e r s p ! i r a f e : H o l d m e p l a y , O r h e c t h a t h a t h u n c r o w h ’ d m e , H e t a k e a f p c c d i e o r d e r w i t h h i m * , c f : ’ . 1 F r c f h d i c e s t h i s l e w c l l I w i l l v e n t u r e m o r e , ’ ‘ T a k a t h i s a n d a l l . I l c i p l a y i n f p i g h t o f l t i c k c . . Haring. S i n c e y o u w i l l n e e d s • t r i p f o r t h e D i c e . . I fee i t i s h a r d t o g o c a w i n n e r f r o m t h i s c o m p a n y . ^ Chart. T h e D i c e a r c m i n e : T h i s t D i a m O n d T v a J c w - a t t w c n t i c m a r k c s : l i e v e n t u r e i t a t a t h r o w . Haring. ’ T i s l e t y o u . Chart. T h e n a t a 11. A l l ’ s m i n e . N a y M . Boyjterl I b a r r ^ y O u : l e t U s w o r k c u p o n t h e w i n n e r s ; . G r a m e r c y S i n k s : N a y , t h o u g h ! o w e y o u n o q u a r r e I l , y c t y o u m u f t g i v e m c c l e a v e t o d r a w . Haring. I h a d r a t h e r y o u f t i o u l d d r a w y o u r f w o r d , T h e n d r a w m y m o n e y t h u s . Chart. A g a i n e f w e c t D i c e r n a y I b a r r c f w c a r i n g , G e n t l e m e n , l e t ’ s p l a y p a t i e n t l y . W e l l , t h i s A t t h e C a n d l c f t i c k c , l o — Chartley throwes out. £eyfi. N o w D i c e a t a l l . T o t h o , q u o t h t h e S p a n i a r d . i Senc. 108. To tho] To thee DFo^, EN^. 162 93. trip for the Dice] "This means cast out the dice to see who wins the first throw"— Allyne W. Landis, ed.,"The Wise Woman of Hogsdon by Thomas Heywood," unpublished mas ter's thesis (Duke University, 1939). OED does not record this meaning of "trip." 95-97. The . . . throw.] Mermaid prints these lines as prose, as they probably are. 96. twentie markes] "A mark was worth 13 s. 4 d." (Mer maid) . 98. set] "To put (a sum) down as a stake; to stake, wager" (OED, 14). 99-100. Then . . . winners.] Chartley refuses to wager against Boyster, who has also lost heavily. Mermaid prints these lines as prose, as I think they are. 101. Sinks] Cinques. Chartley has apparently cast a pair of fives and possibly one other unspecified die. See the note to 1. 49. 102. draw] "Withdraw his winnings" (OED. 37). 105-107. Againe . . . so— ] Mermaid prints these lines as prose, as they probably are. 106-107. this At the candlestick] Since the act takes place during the daylight (see supra. pp. 56-57), I doubt that the candlestick need be a functional property toward 16 3 which the dice are cast in order for them to be seen more easily. Possibly the expression is proverbial and derives from some function similar to what I have conjectured, since much gaming did take place at night or in dimly-lit rooms. Morris Palmer Tilley, A Dictionary of the Proverbs in Eng land in the Sixteenth and Seventeenth Centuries (Ann Arbor, 1950), C51, provides a proverb, "A good candleholder proves a good gamester," which seems to link darkness and gaming. 108. To tho] Todo (Mermaid). Undoubtedly a correct emen dation since the uncorrected state of the forme reads "To thee". "To tho" simulates the soft "d" of the Spanish "todo," meaning "all." 110-111. Why . . . this.] Mermaid prints these lines as prose, as I think they are. 110. Via] "An exclamation, deriving from Italian, en couraging, inciting, or preparatory to movement or action" (OED). Here the expression is a reaction to the sudden change in Chartley's fortune. 112. Trayes] "The three at dice or cards" (OED. Trey). Note the pun on the word in 1. 114. 113-114. With . . . Trayes.] Mermaid prints these lines as prose, as I think they are intended, unless 1. 114 was taken from a current ballad. The Wife-woman of Hogfdott. Senc. H ere’s precious luckc. *Boyft. 'Why Via, I t h i n k c t i s Q j i c k - f i l v c r ; I t g o e s a n d c o m e s f o f a l l : t h e r e ' s J i f e i n t h i s . Haring . H e e p a f f e s a l l w i t h T r a y e s . Chart . W ; t h T r a y e s , h o w f a y b y t h a t ? O h h c e ’ s o l d d o g g e a t B o w l e s a n d T r a y e s . Senc. L e n d m e f o m c m o n e y : b e m y h a l f e o n e C a f t * H e o n c e o u t - b r a v e t h i s G a m e f t e r w i t h a t h r o w . S o n o w t h e D i c e a r e m i n e , w i l t b e m y h a l f e ? Haring, I w ill. Senc I h e n o n c e I l e p l a y t h e T r a n c k G a m e f t e r ; L e r m e : b u t l e e h o w m u c h y o u b o t h c a n m a k e , A n d l i e c a f t a t a l l , a l l , e v e r y C r o f f c . C hart' N o w b l e f f e u s a l l , w h a t w i l l y o u e v e r y C r o f l e ? Senc . , 1 w i l l n o t l e a v e m y f e l f e o n e C r o f f c t o b l e f f e m e „ f Bcyft. 1 l e t . Chart. A n d l o d o e J . Senc. W h y t h e n a t a l l . H o w ! (H e fling* out,* Chart, N a y , f w c a r c n o r , l e t s p l a y p a t i e n t l y . Senc. D a m n ' d D i c e : d i d e v e r G a m e f t e r f e e t h e l i k e ? Boyft. N e v e r , n e v e r . Senc. W a s e v e r k n o w n e f u c h C a l l i n g ^ Chart. D r i m k e n o r l o b c r , I n t ' r e l a w a m a n c a f t w o r f c . Senc. H e p r o v e t h i s H a t o f m i n e a n H e l m e t . W h i c h o f y o u h e r e d a r e s f a y t h e c o n t r a r y ? Chart* A s f a i r e a n H e l m e t a s a n y m a n i n Europe N e e d s t o w e a r c . Senc. Chartley. , t h y H a t i s b l a c k c . Chart. V p o n b e t t e r r c c o l l e d l i o n , * t i s l o i n d e e d . Senc. I l a y ' t i s m a d e o f W o o l L Chan . T r u e , m y J o f i n g h a d t o o k c a w a y m y S e n f c s , B o t h o f S e e i n g a n d F c e l i u g : b u t b e t t e r l u c k e H a t h b r o u g h t t h e m t o t h e i r r i g h t t e m p e r . B u t c o m e , a p o x o t D i c e ; ’ t i s t i m e t o g i v e o v e r . Senc. A l l t i m e s a r e t i m e s f o r w i n n e r s t o g i v e o v e r , B u t n o t f o r t h e m t h a t l o f e . l i e p l a y t i l l m i d n i g h t , B u t I w i l l c h a n g e m y l u c k e . A 3 Haring, 164 no izo 1 3 0 n o 16 5 114. old dogge] "To be experienced or expert" (Tilley D506): "To be old dog at it." Hence, Chartley is bragging of his capabilities at bowls and at dicing. Line 114 may be a snatch of song. 119. Franck Gamester] Since one meaning of "frank" is p "free from restraint" (OED. a , 1c) and another is "liberal, bounteous, generous, lavish, esp. in dealing with money" (OED, a^,2), the expression characterizes Sencer1s willing ness to gamble with everyone for whatever sum. Possibly too, the name was a common epithet for the compulsive gambler. 121. Crosse] "Coins bearing a cross on the reverse, hence various quibbles" (Mermaid). Note the quibble on "cross" and "coin" in 1. 123. 124. I set.] Chartley and Sencer are the principal oppo nents . Boyster takes sides with Chartley, just as Haring- field does with Sencer (11. 117-118). 132-133. lie . . . contrary?] Mermaid prints these lines as prose, as I think they are. 134-135. As . . . weare] Mermaid prints these lines as prose, as they seem to be. 169-17 0. Gracious Street] A street in London "running south from the junction of Cornhill and Leadenhall to East Cheap," now called Gracechurch Street (Sugden). On 1. 2032 166 The W ife- w an *# i f f f eg fd w . Haring, C o m e , c o m e , y o u ( K a i l n o t . G i v e o v e r : t n f h g i v e o v e r : d o c I p r a y , A n d c h u f e t h e F o r t u n e o f f o m e o t h e r h o w e r : L e t ’ s n o t l i k e d e b o f l i t f c l l o w e s , p l a y o u r C l o t h e s , B e l t s , R a p i e r s , n o t o u r n e e d f u l ! o r n a m e n t s : ’ T i s childifh, n o t b c c o m m i n g G t n t l c m c n . P l a y w a s a t f i r f t o r d a y n ’ d t o p a f f e t h e t i m e j A n d f i r , y o u b u t a b u f e t h e u f e o f P l a y , T o e m p l o y i t o t h e r w i f e . Sencer. Y o u m a y p c r f w a d c m e — F o r o n c e H e l e a v e a l o o f e r . Chart, T h e n come p u t on y o u r H e l m u t ; l e t ’ * [ c a v e t h i s a b o m i n a b l e G a m e , a n d f i n d o u t f o m e b e t t e r E x e r c i f e . I c a n n o t i n d u r e t h i s c h a f i n g w h e n men l o o f c . Seng, A w i t h e r e t o n o t a m o r e t e f t i c w a f p i f l i ’ C o m p a n i o n t h e n t h y f e l f e w h e n t h o u a r t a l o o f e r , a n d y e t t h o u m u d b e e v e x i n g o t h e r s w i t h , P l a y p a t i e n t l y G e n t l e m e n , a n d l e t s h a v e n o f v v c a r i n g . Chart. A f i g n e t h a t I c a n g i v e g o o d c o u n f e l l b e t t e r t h a n t a k e i t : b u t f a y , W h e r e b e t h e p r c t t i t f t w c n c h c s ^ n y h e a r t s ? Senc, W e l l r e m e m b r e d , t h i s p u t s m e e i n m i n d o f a n a p p o i n t m e n t I h a d w i t h a G e n t l e w o m a n o f f o m e r e / p e d h Chart• 1 h a v e y o u f i r , I h a v e y o u ; b u t 1 t h i n k y o u w i l l n e v e r h a v e h e r ; ’ t i s CfratUna t h e K n i g h t s d a u g h t e r i n G r a c i o u s S t r e e t . H a v e I t o u c h t y o u > Sere, Y o u h a v e c o m e f o m e w h a t n c e r c m e , b u t t o u c h t m e n o t . M a f t c r Haringfield,yj\l\ y o u b e a r e m e c o m p a n y t h i t h e r ? H a v e y o u f e e n c t h e G e n t l e w o m a n , M . Chartlej f Chart. N e v e r f i r . Sencer. H o w h a v e y o u h e a r d o f h e r ? Chart, T h a t f h c c h a t h , a s o t h e r w o m e n h a v e , T h a r f h e g o e s f o r a M a y d , a s o t h e r s d o e , See. Seec . I c a n a f l u r c y o u , f h e c i s a p r o p e r G e n t l e w o m a n I Chart, T h e n i f f h e h a v e y o u , f h e i s l i k e t o h a v e a p r o p e r G e n t l e m a n . Sere, Y o u f h o u l d t e l l t h e m f o t h a t k n o w i t n o t . A d i e w G e n t l e m e n . E x. Sencer. and Hartne, Ttojjtcr. I S O 160 n o 180 RT. Hogsdon 1 Hogsden DFo^, EN^. 167 Sir Harry's house is spoken of as being near "Grace Church by the Conduit," which is at the south end of the street between Eastcheap and Lombard Street. The conduit was con structed in 1491 by the executors of Thorne Hill (Sugden). 176-177. That . . . &c.] Mermaid prints these lines as prose, as I think they are. 177. & c . ] " 1 Sec. , 1 here and elsewhere, means that the actor may add more to the same effect, if he please" (Mermaid). See also 11. 283, 379. 187-188. my . . . Proclamations] A proverbial expression (Tilley, H256): "His head is full of proclamations." Herman H. Doh, Jr., "A Critical Edition of Fortune bv Land and Sea." unpublished doctoral dissertation (University of Pennsylvania), pp. 261-262, has observed this expression; see Fortune bv Land and Sea (VI, 410). 189-19 0. Court . . . may] The blunt-spoken Boyster appears to admit his inability to speak eloquently ("Court her") but declares his intent to do what he can. 192. Senc. . . . Sencer.] Pearson and Mermaid correct this textual error. Boyster, not Sencer, speaks and exits. 194-195. true Trojan] "A merry or roystering fellow; a boon companion; a person of dissolute life; a good fellow (often with the alliterative epithet true or trusty)" (OED, 168 r h t W tfe-m m an * f H tgfdon. Bojfier, l a m g l a d y e t t h e y g o e f o l i g h t l y a w a y . Chart. W h a t w i l l y o u - d o e M - . Bojfttr f Bojft. S o m e w h a t . Chart. Y o u w i l l n o t a c q u a i n t m e w i t h y o u r b u E n e f f e . Beyft. N o : I a m i n love , m y h e a d i s f u l l o f P r o c l a m a t i o n s . T h e r e i s a t h i n g c a l l ’ d a V i r g i n . N a t u r e h a t h ( h e w e d h e r A r t i n m a k i n g h e r . C o u r t h e r I c a n n o t , b u t l i e d o c a s I m a y . Chart. D oe y o u g o e , o r f t a y f i r ? Senc. G o e . E x it Sencer. Chart. Y o u b e f o r e , H e f o l l o w . H e t h i n k e s w i t h h i s b l u n t h u m o u r , t o e n t e r a s f a r r e a s I w i t h m y ( h a r p e : N o , m y t r u e T r o j a n , n o : T h e r e i s a f a k e f w ^ e t m o d c f t r o g u e * h e r n a m e i s Luce; w i t h t h i s D a n d i p r a t . , t h i s p r e t t y l i t t l e A p e s f a c e , i s y o n b l u n t f e l l o w i n lo v e ; a n d n o m a r v e l l , f o r f i i e e h a t h a B r o w c b e w i t c h i n g , E y e s r a v i i h j n g , a n d a T o n g u e e n c h a n t i n g : A n d i n d e e d ( h o c h a t h n o f a u l t i n t h e w o r l d b u t o n e , a n a t h a t i s , f h e e i s h o n e f h : a n f l w e r e i t n o t f o r t h a t , I h e c w e r e t h e o n e l y j f w e c t i t o g u e m C h t ^ f l e n d o m e . A s I l i v e , I 1 ( 5 v c h e r e x c r c a m c l y , a n d t o e n j o y h o r w o u l d g i v e a n y t h i n g : B u t t h e foole ( l a n d s i n h e r o w n e l i g h t , and w i l l d o e n o t h i n g w i t h o u t . M a r r i a g e : b u t w h a t ( h o u l d I d o c m a r r y i n g ? I c a n b c t t e r i n d u r e G i v e s , t h a n B a u d s o f M a t r i m o n i c . B u t i n t h i s M e d i t a t i o n , I a m g l a d I h a v e w o n n e m y M o n e y a g a i n e . N a y , a n d f i i c c m a y b e g l a d o f i t t o o : f o r t n e G i r l c i s b u t p o o r c , a n d i n m y p o c k e t t I h a v e I a y d u p a S t o c k e f o r h e r , ’ t i s p u t t o u f e a l r e a d i e . A n d i f I m e e t c n o t w i t h a D y c e - h o u f e , o r a n O r d i h a r y b y t h e w a y , n o q u e f t i o n b u t I m a y i n c r e a f e i t t o a f u m m e . ‘ . W e l l , l i e u n t o t h e E x c h a n g e t o h u y h e r f o m e p r e t t i e N o v e l t i e : T h a t d o n e , l i e v i E t c m y l i t t l e R a f c a l l , a n d ' f o l l i c i c c i n f t a n d y . IS O 200 ZlO E x tft f t t, • * i - ' * < . RT. Hoqsdonl Hogsden DFo3, EN2 . 169 Troian. 2a). 196. Dandiprat] "A small, insignificant, or contemptible fellow; a dwarf, pygmy" (OED. 2a). "Said of a young lad, little boy, urchin; rarely (quot. 1638 fThe Wise Woman 1) a young girl" (OED, 2b). 196. Apes face] In this context another term of light affection, despite the customary pejorative connotations of the word "ape." OED does not record the expression. 201. Rogue] "Common as a playful term of reproof or re proach, and freq. used as a term of endearment by 17th c. dramatists" (OED, 3). Another word used in a similar way is "rascal" (see, for example, 1. 213). 203. stands in her own light] A proverbial expression sig nifying that she prejudices her own chances--William G. Smith, The Oxford Dictionary of English Proverbs. 2d ed., rev, Paul Harvey (Oxford, 1952), p. 618. 210. Ordinary] "An eating-house or tavern where public meals are provided at a fixed price. . . . In the seven teenth century the more expensive ordinaries were frequented by men of fashion, and the dinner was usually followed by gambling; hence the term was often used as synonymous with 'gambling-house'" (OED, 14b). 17 0 The Wife-worn an o f Hog felon. A&iis primus, Sccna fecunda. Snter Luce in a Sempftert {hop, at reorke vpon 4 Uc*d ~ Handnercber, and Jofeph 4 Prentice. Luce. W here is my Father ?, Iefeph, lofepb, Miftreffe, above, ' And praycs you toattenjl below a little. 2 2 o Luce. I doe not love'tofit thus publikely : And yet upon the traffiqueof our W ares, Our provident Eyes and prefence tpuft ftill wayte.' D oeyou attendthe (hop ,I le ply.m ywofke* ‘ I f e e k n y f a t h e r i s ^ n p t j e l o u s o f m e , 1 ' ; ‘ I V . ' That trufts mee, £0 th e open view o f all. v The reafon is, hee knowes my thoughts arc chaft, And my care fuch,as that it needcs the aw e O f no ftri<5 l Overfeer. . inter CM.Hoyfter, ; Boy f t , Y ondtff'L u te, Sayc thee. ' „ j 2 3 0 \ L t t c e . A n d '^ u to b j ii'r, yr arcw *fcom • 'tyaht y o u6ught, I pray, in w hich our Trade may furnilh you ? Boy f t , Yes. . . Luce. Iofcph, (hzvJ thc G e n t l e m a n . Be) f t ,Tis heere th it tw q u ld bqy. 1 J ' Luce. W hat doc y ou meane fir/fpea k, w ha t ill you lack ? I pray you wherefotc doe you fixe your eyes: !"! ■■■■’> ' So firmely in my face ? w hat would you haye ? Boyft, Thee. ;t Luce. M : C ? ' ' ' • * 2 ‘ t o •Boyft, YisUhee; ■ ! r < • Luce, Y O u r p l e a s u r e f s t o , y h d ‘ i ( p I n t a k e . i t . ! : ; ' Pray give me leave fir, to intend my w orkc. ' Boyft. You arc fayre. Luce. ‘ You flout mee. You are, goe too, you are, • Tde vcxe him that (hould fay the contrary. Luce. W ell, you may fay your pleafure. Byn. I 230. Save^thee] Save,thee ofi, ICN 231. y'are] you are , DFo^, EN^, ICN. 171 212. Exchange] This is most probably the Exchange built by Sir Thomas Gresham in 1566 and located between Cornhill and Threeneedle Streets west of Finks Lane. Much of the Ex change was given over to small shops, many of them likely to attract fashionable ladies. In 16 09 James I opened the New Exchange of Britain's Bourse located on "the site of Durham House on the south side of the Strand" (Sugden). See also 1. 1322. 214. Exeunt.] Exit. (Mermaid). Boyster has previously departed (1. 192); there is no one left save Chartley. 216. Enter Luce in a Sempsters shop] Earlier (11. 21-24) and later (11. 592-593), Luce is described as a goldsmith's daughter, although here she is apparently the daughter of a seamster, since she works in his shop. I think it probable that Heywood's intent was to make her a seamster's daughter, for Chartley makes much of her relative poverty (1. 208), which would probably not be the case were she a goldsmith's daughter--unless her father had fallen upon hard times, but no mention is made of this. 242. Your pleasure is to jest] This line recalls one of several in I Edward IV (I, 64): "You are disposed to jest." The scene of Boyster's intrusion upon Luce is much like that in which King Edward IV visits Jane Shore in her husband's The W ift-w m dft p f l o v e t h e e . , Luce, Oh Sir! Boyft* A s I l i v e , 1 Luce. N o w a s l a m a t r u e M a i d , T h e m o f t r e l i g i o u s o a t h t h a t I d a r e f w c a r c , s I h o l d m y f c l r e i n d e b t e d t o y o u r l o v e : A n d I a m l o r r y t h e r e r c m a i n e s i n m e e , N o p o w e r h o w t o r e q u i t e i t . Boyft. L o v e m e e , p r c t h e f c n o w , d « c i f t h o t t c a n t ) : * Luce. I cannot. Bey f t. P r c t h c C , i f t h o U c a n f t . Luce. I n d e e d f c a n n o t . *&ojft. Y t t a s k e t h i n e h e a r t , a n d l e e w h a t m a y b e d d n c Luce. I n t r o t h I a m f o r r y y o U i h o u l d f p e n d a f i g h F o r m y f a k e u n r e q u i t e d , o r a t e a i e ; E y , o r a w o r d . Boyft. ’ T i s n o m a t t e r f o r m y w o r d s , t h e y a r c U o t m a n y , ' A n d t n o f e n o t v e r y W i f e o n e ’ s n e i t h e r . Luce, Y e t I b c f e e c h y o u f p e n d h o m o r e i n v a i n c . I f c o r n e y o u n o t ; D i f d a i n e * s a s f a r r c f r o m m e e , A s a r e t h e t w o P o l e s d i f t a n t : t h e r e f o r e S i t , B e c a u f e I w o u l d n o t h o l d y o u i n f u f f f c n e e , B u r t e l l y o u w h a t a t f i r f t t o t r i i t t u n t o , • T h u s i n a w o r d , I m u f t n o t f a n c i c y o u , Beyft, M u f t n o t ? Luce, I c a n n o t , n o r I m a y n o t .1 Boyft, I a m g o n e : T h o u h a f t g i v e n m e , Luce, a B o n e t o g n a w u p o n . Bxttm Luce, A l a s , t h a t B e a u t y f l i o u l d b e f o u g h t o f p i o r e T h e n t a n i n j o y i t : m i g h t 1 h a v e m y w i i h , I w o u l d f e e m e f a i r e b u t o n e l y - i n h i s e y e , T h a t f h o u I d p o l T e l f c m e e i n a N u p t i a l l t y c . Enter yong Mafter C h a r t l e y , with Cloves, RingyPurfe, & c. C h a r t M o r r o w Lnce 3 I n e x c h a n g e o f t h i a k i f i c , f e e ~ ~ B - - — - w h a t 172 , 2 5 0 260 2 7 0 280 173 goldsmith shop. Another similar scene, but less decorous, is found in The Fair Maid of the Exchange (II* 41-43) where Phillis, the fair maid, is visited by gallants in her linen shop. 243. intend] "Attend to" (Mermaid). CW. Bovst. i] In several copies (O^ MB, CtE, DFo^, MH, EN^, ICN, LVD, LU, PU, TxU, CtY) the "I" has slipped below the line, but it is not an indubitable press variant. 265-266. 'Tis . . . neither.] Mermaid prints these lines as prose, as I think they are. 272. fancie] "Love" (Mermaid). 276. a Bone to gnaw upon] "Meager hopes," perhaps; a proverbial expression (Smith, p. 55). 283. &c.] An indication that there was freedom to bring in whatever additional properties were thought appropriate. See also 11. 177, 379. 288. Angels] An angel was an "English gold coin, called more fully at first the Angel-Noble, being originally a new issue of the Noble [see 1. 828], having as its device the archangel Michael standing upon and piercing the dragon." When first coined by Edward IV its value was 6s. 8d. By the time of Edward VI, it had been increased to 10s. (OED). See also 11. 1522, 1806. The Wifi-woman o f ffogfa* o. w h a t I h a v e b r o u g h t t h e e f r o m t h e E x c h a n g e # Luce. W h a t m c a n e v o u S i r , b y t h i s ? Chart. G u e f l e t h a t o y t h e c i r c u m f t a n c c , h e r e ’ s a R i n g , w c a r e ’ t f o r m y f a k e ; t w e n t y A n g e l s , p o c k e t t h e m y o u f o o l e ; c o m e , c o m e , I k n o w t h o u a r t a M a i d , f a y n a y , a n d t a k e t h e m . Luce. S w e e t M a t t e r Chartley, d o e n o t f a t t e n o n m e , M o r e t h e n w i t h c a f e I c a n ( h a k e o f f y o u r G i f t I r e v e r e n c e , y e t r e f u f c ; a n d I p r a y t e l l m c e , W h y d o e y o u m a k e f o m a n y E r r a n d s h i t h e r ? S e n a m e f o m a n y L e t t e r s ? f a t t e n o n m e S o m a n y f a v o u r s ? w h a t ’ s y o u r m e a n i n g i n ’ t ? Chur. H a r k e i n t h i n e e a r e , I l e t e l l t h e e ; n a y h e a r e m e o u t , ’ i s ' t p o f l i b l c f o f o f t a b o d y t t i o u l d h a v e f o h a r d a f o u l e ? N a y n o w I k n o w m y p e n a n c e , y o u w i l l b e a n g r y , a n d f c h o o l e m e f o r t e m p t i n g y o u r m o d e t t y ; a f i g g c f o r t h i s m o d e f t y , i t h i n d e r s m a n y a g o o d m a n f r o m m a n y a g o o d t u r n e , & t h a t ’ s a l l t h e g o o d i t d o t h ' . I f t h o u b u t k n e w t t , Luce. h o w l l o v e t h e e , t h o u w o u l d t t b e f a r t c m o r e t r a t t a b l e . N a y , I b a r r e c h i d i n g w h e n y o u f b e a k e , l i e f l o p t h y l i p s i f t h o u d o f t b u t o f f e r a n a n g r y w o r d , b y t h i s h a n d l i e d o ’ t , a n d w i t h t h i s h a n d t o o . G o e t o n o w , w h a t f a y y o u ? Luce. S i r , i f y o u l o v e m e , a s y o u f a y y o u d o e , S h e w m e t h e f r u i t s t h e r e o f . Chart. T h e t t o c k e I c a n , t h o u m a i f t f e e t h e f r u i t s h e r e a f t e r . Luce. C a n I b c l e c v e y o u l o v e m e e , w h e n y o u f e e k c T h e ( h i p w r a c k o f m i n e H o n o u r ? Chart. H o n o u r ! t h e r e ’ s a n o t h e r w o r d t o f l a p i n a m a n s m o u t h : H o n o u r 1 w h a t f h o u l d f t t h o u a n d I f t a n d u p o n o u r H o n o u r , t h a t w e r e n e i t h e r o f u s y e t , R i g h t W o r l h i p - f u l l ? Luce. I a m f o try S i r , I h a v e l e n t f o l a r g e a n e a r e T o f u c h a b a d d i f c o u r f e ; a n d J p r o t e f t A f t e r t h i s h o u r c . , n e v e r t o d o c t h e l i k e . I m u t t c o n f c f T e , o f a l l t h e G e n t l e m e n T h a t e v e r c o u r t e d m c e , y o u h a v e p o f l c f t T h e 174 2 3 0 3 0 0 3 f O 320 175 289-290. thou . . . them] A proverbial expression (Tilley, M34): "Maids say nay and take it." 298. so . . . soule] Perhaps a paraphrase of the proverb "A little body does often harbor a great soul" (Tilley, B501). 300. a figge for this modesty] A proverbial expression of contempt (Tilley, F210): "A fig for him (it)." 313. word . . . mouth] Probably the phrase indicates an empty or meaningless expression or a kind of lie or half- truth . Tilley, F344, cites Every Man in His Humour. I.i. 156: "S'blood, inuent some famous memorable lie, or other, to flap thy father in the mouth withall." 315-316. Right Worshipfull] An honorific title, hence Chartley's pun. See also the note to 1. 726. 336. Iack-an-Apes] "A pert forward child" (OED). 338-340. Well . . . shop] An aside. 339-340. I . . . shop] Clearly, the first clause has a sexual meaning, but the second is not so obvious. Perhaps Chartley means "possessions" or "properties" for "shoes." ,Or possibly, since he casts himself as a shoemaker, he is thinking of shoes with holes in them--a pejorative term for women according to Eric Partridge, Shakespeare1s Bawdy, rev. ed. (New York, 1955), pp. 128, 187— that require "mending." 176 The Wife-woman of Hogfdon. T h e b e f l p a r t i n m y t h o u g h t s : b u t t h i s c o u r f e l a n g u a g e E x i l e s y o u a u i t e f r o m t h c n c c . S i r , h a d y o u c o m e , I n f t e a d o f c h a n g i n g t h i s m i n e h o n e f l n a m e I n t o a S t r u m p e t s , t o h a v e h o n o u r e d m e W i t h c h e c h a f t c T i t l e o f a M o d c f t W i f e j I h a d r e f e r v ' d a n c a r e f o r a l l y o u r f u i t s : B u t f i n c e I f e e y o u r r u d c n e f l e f i n d s n o l i m i t , I l e a v e y o u t o y o u r l u f t . Chart. Y o u f h a l l n o t , lu ce . T h e n k e e p e y o u r t o n g u e w i t h i n m o r e m o d e r a t e b o u n d s . Chart. I w i l l , a s I a m v e r t u o u s , I w i l l : I t o l d y o u , t h e f e c o n d w o r d w o u l d b e M a r r i a g e . I t m a k e s a m a n f o r f e i t h i s F r c e d o m c , a n d m a k e s h i m w a f k e e v e r a f t e r w i t h a C h a i n e a t h i s h e e l e s , o r a I a c k - a n - A p c s h a n g i n g a t h i s e l b o w : M a r r i a g e i s l i k e D adalw h i s l a b y r i n t h , a n d b e i n g , o n c e i n , t h e r e ' s n o f i n d i n g t h e w a y o u t . W e i l , I l o v e t h i s l i t t l e p r o p e r t y m o f t m t o l l e r a b l y , a n d I m u f t i e t h e r o n t h e L a f t , t h o u g h i t c o f t m e a l l t h e £ h o o c s i n m y f h o j p . W e l l Lace, t h o u f e e f t m y f t o m a c k c i s c o m e d o w n e * t h o u h a f t m y h e a r t a l r e a d y , t h e r e ’ s m y h a n d . ; Luce. B u t i n w h a t w a y ? r - Chart. N a y , I k n o w n o t t h e w a y y e r , b u t I h o p e t o f i n d i t h e r e a f t e r , b y y o u r g o o d d i r e c t i o n . Luce. I m e a n e , i n w h a t m a n n e r ? i n w h a t w a y ? r Chart. I n t h e w a y o f m a r r i a g e , i n t h e w a v o f h o n c f i y , i n t h e w a y t h a t w a s n e v e r g o n e y e t : I h o p e t n o u a r t a M a i d , Luce. Luce. Y e s S i r , a n d I a c c e p t i t ; i n e x c h a n g e O f t h i s y o u r h a n d , y o u f t i a l l r e c e i v e m y h e a r r . Chartley. A b a r g a i n e , a n d t h e r e ' s c a r n c f t o n t h v l i p s ' . Luce. H e c a l l m y F a t h e r , S i r , t o w i t n c f f c i t s S e e , h e r e h c c c o m e s . S a Enter 3 3 0 3*f O 350 351. your hand] yonr hand CSmH^. 177 Hence he is willing to give up his other women for Luce. 341. my stomacke is come downe] One meaning of "stomach" is "temper; disposition; state of feeling with regard to a person" (OED. 7), often 1 1 anger, irritation . . . vexation, pique" (8c). "Come down" can mean "to become reduced in size or amount" (OED. Come. 56f). Hence, Chartley is de claring his willingness to meet Luce's terms. 341-342. thou . . . hand.] J. Q. Adams, "Thomas Heywood and How a Man May Choose a Good Wife from a Bad." Englische Studien. XLV (1912), 40, has observed that "the alliterative phrase hand . . . heart (or head . . . heart) was almost an obsession with Heywood." It appears again in The Wise Woman (11. 157 3, 2412-13) and in many of his other plays: II Ed ward IV (I, 151), If You Know Not Me. You Know Nobody (I, 237, 330), The Fair Maid of the Exchange (II, 24, 50), A Woman Killed with Kindness (11^ 100, 136, 155), II The Fair Maid of the West (II, 372), The Golden Age (III, 49), The Brazen Age (III, 250), A Challenge for Beauty (V, 63), Love's Mistress (V, 140), The Rape of Lucrece (V, 236), The >Royal King and the Loval Subject (VI, 23), Fortune bv Land and Sea (VI, 376). 356. a plaine Citizen! This description does not particu larly suggest that Luce's Father is a goldsmith. See the The W tfe-womanof Hogfdott, Enter her Mother, ufdaine Citizen* Chert, F a t h e r , l a y e y o u , y o u h a y c h a p p e n e d * o f a n u n t o - w a r d S o n - i n - L a w ; h e r e a m , h o w d o c y o u d i k c c n c c ? Father, S i r , I w a s n e a r e r t h e n y o u w e r e a w a r e , A n d o v e r - h e a r d b o t h f u m r o e a n d c i c c u m f t a n c e . Chart. T h e n I p e r c e i v e y o u a r e a n o l d E v c f - d r o p p e r : B u t w h a t d o e y o u t h i n k c o r i f , F a t h e r ? Father. I e n t c r t a i n c t h e r m o t i o n , w i c k a l i l o v c , A n d I r c j o y c e m y D a u g h t e r i s p r e f e r r e d , A n d r a i s ' d t o T u c h a j i n a t s b j I h c a r d t h e c o u t r a f t , A * i d } w i l l c o n f i r f l f i o i t g l a d l y : b u r p r a y S t i r , W h e n l h a U t h e m e r r y d a y b e ? Charts Marry, cvcnto-morrow bythatwc can fee; m y, wcctlWoeQ more time* lie ukeordcrfbrthat. ImeK S t a y b u c a m o n e t h . Chart* A monethl thojucanfbnot hire me too’c. Why Lues, iCthouhecftthungry, caaftthouffey a^moncth'&oini Q V S t ? ! M ay,if I fee myt diet* before me*! Ibvecoftlhtoo' when 1 have a ftomackc. Hero, buythcca new Smoekcj < ; let's have a new Bed too, and look? it ba.ftrong: therofa-a box QfrlUngfiandjcwel^, lay: thconip. Hafura, mo thinkcs the very name of Wedlock hath brought me toa Nightcap: already, ^ an a grownc civili on the hidden. There's m Q re; ino»eyfbv Di&ies* Flatters, Ladles* Candlcfticks, fitc, asTJhgUfiflibthem^et downe inthclnvcntoric* Father. B u t w h o m f h a l l w e e i n v i t e u n t o t h e W e d d i n g ? . i " Agee* ayengCoumreyJGentleyeemandn the habit of a Page, and overheares their eUfcourfe. Chart. E y , t h e r e b y h a n g s a T a l e , w o w i l l h a v e ho m o r e a t o u r m a r r i a g e , b u t m y l e l f e , t o l a y , I t a k e t h e e Luce $ t h o u t o l a y , I Luce t a k e t h e e 'Robin: t h e V i c a r t o p u t u s t o g e t h e r , a u d ^ y o u F a t h e r , t o p l a y t h e t C l c r k e , a n d c r y Amen • Father. 178 3 6 0 3 70 3 8 0 179 note to 1. 216. 361. Then . . . Eves-dropper] An aside (Mermaid). 369. take order] "To take measures or steps, to make ar rangements" (OED. Order. 14). See also 1. 1554. 376-378. me thinkes . . . civill] Since Chartley is be coming engaged to a citizen's daughter, he seems to be thinking that this alliance will make him something like a married citizen, with the accompanying attributes of sobri ety and gravity. A further implication is the connection between a nightcap and cuckoldry. Dekker, for example, in iWestward Ho proposes that the nightcap hides a cuckold's horns: Immagine that I, or any other great man haue on a veluet Night-cap, and put case that this nightcap be to little for my eares or forehead, can any man tell mee where my Night-cap wringes me, except that I be such an asse to proclaime it? (I.i.212-215) See Fredson Bowers, ed., The Dramatic Works of Thomas Dekker (Cambridge, 1953), II. 378. civill] "Sober, decent, grave . . . seemly" (OED. 10) . 379. &c.] See the note to 1. 177. 383. 2d. Luce] Curiously, Second Luce is omitted from the Dramatis Personae. How this error should have occurred and 180 by whom it was made are problems that I cannot answer as definitely as I should like. It seems unlikely that the printer should have made it, since Second Luce's name ap pears frequently in the speech tags. But it seems equally improbable that Heywood should have forgotten to include the name of one of his chief characters, if he provided the list. To find two characters with the same name is of course not uncommon in Elizabethan and Jacobean drama. One thinks of the two Dromios and Antipholuses in Shakespeare's The Comedy of Errors. In the First Folio, however, they are differentiated as "S. Ant." and "E. Ant." and "S. Prom." and "E . Prom.1 1 Far more common are characters who bear the same surname, such as the four Scarborows of The Miseries of En forced Marriage. William, Sir William, Thomas, and John. And even with the first two the title of knighthood serves as adequate distinction. With the two Luces, however, no surname is provided, and only the label "2d. Luce" serves to differentiate them. [Why Heywood should have chosen the same name for the girls is difficult to explain. They are much alike in their thoughts and actions, but Heywood does not seem thereby to be saying that one girl is like another. The name means 181 "light," of course, but there is none of the play upon mean ings that there is with Gratiana's name. Chartley marries Second Luce and becomes enlightened about proper behavior by the end of the play, but this could have been accom plished with but one Luce. To be sure, there is no reason why they must have different names in the play as it is acted (and Heywood wrote it primarily to be acted, with probably little thought of printing it). No confusion results. Second Luce is disguised as the servant-boy Jack until the last score of lines are spoken, and when she is addressed for the only time as Luce (1. 2422) there is no question about whom Chartley means. Her name spoken then may possibly surprise the heedless in the audience; however, twice before we have been told it, first in an aside spoken directly to us (11. 969-971) in which Second Luce rejoices that her name will "make the marriage more firme," and second by Chartley in a soliloquy addressed to us (11. 1126-27) in which he ponders the ominous portents of being involved with two girls of the same name. As a last comment, we might think of the names as the kind of coincidence that Heywood appears to be spoofing when he has the Wise Woman dismiss the entire mixture of mistaken The W ifi-rvom att o f tte g fd w , father. Y o u r r e a f b r v f o r t h a t . Chart I, I w o u l d n o t f o r a w o r l d i r f l i o u l d b e e f e n o w u e r o m y F r i c n d e s , o r c o m e t o m y F a c e r s - e a r o . I t m a y ' b e e c c n n e t h o u f a n d p o u n d s o u r o f i n y w a y f o r t h e p r e - f c n t : t h e r e f o r e t h i s i s m y c o n c e i c c , l e t u s b e e m a r r y e d p r i v a t e l y ; a n d Luce f o a l I1 l i v e - l i k e a M a y d f e f t i l l * , a n d b e a r e t h e N a m e ; T i s n o t h i n g Luce : ■ i r i s a ' c o m m o n t h i n g i n j t h i s - a g e t o g o e f o p a * M f c y d t y a n d b e e n o n e . lie* frequent t h c h o u f c f o c r e t l y i f e a r c n o t G i r i e , t h o u g h 1 r e v e l ! a b r o a d a d a y e s , H e b e e w i t h t h e e t o b r i n g a n i g h t s , m y l i t t l e W h i t i n g M o p p . Luce . B u t f o I m a y i n c u r r e a p u h l i k c f c a n d a l l , B y y o u r f o o f t f r e q u e n t i n g ■ t o t t y C h a m b e r . Chart, S c a n d a l l ? w h a t i c a n d a l l ? W h y t o f t o p p t h e m o u t h o f a l l f c a n d a l l , a f t e r f o m e f e w d a y e s d o e T a p - p c a r c i n m y l i k e n c f & i m a r r i e d m a n a n d ' h o n e f t h o u f - k e e p e r , a t t d t h e n - w W t b e c o m e M f y o u r - ( 4 a t t d a U ? - C o t n e ^ f c n d i o r M r . Vicar, a n d w h a t w e d o e , l e t s d o e f u d d c n l y . S , ' i a u ( e * j C d f t f ^ c o r h f o r t f b f t t i f i : * * * • ‘ • Lucii I f * y o u p u r p o f e t a b e f o p r i v a t e l y m a r r i c d ^ I k n o w o n e e x c e l l e n r a t u x h a n c x p l o y t : a r c y o q n o r a c q u a i n t e d w i t h t h e Wife- w e w a ^ o f * H o g f a o n ? * (Chartley, O . t h e W i t c h , t h e B e l d a m e . , t h e H a g g c o f H b g O o n v ' }r * " ■ -1 ■ Luce. T h e r f a m e , r b u t ' I * h o l d J i e r t r o b c c o f n o f i i c h c o n ^ d i t i o n . 1 ^ w i l l a n o n e m a k e a f t c p p c t h i t h e r , a n d ' p u n c t u a l l y a c q u a i n t h e r w i t h a l t o u r p r o c e e d i n g s : ( h e e i s n e v e r w i t h o u t a S i r Jehu a t h e f e l b o w 1 , r e a d y f b r f u c h n f t r a r a g e m . . 7 1 # Chart. W e l l , ; b c c ’ t f o t h e n . Exeunt. a . Luce. H e i g h h o c : h a v e I d i f g u i s ’ d m y f c l f c , a n d f t o l n c o u t o f t h e C o u n t r e y t h u * f a r r e , a n d c a n l i g h t o f n o b e t t e r n c w e s t o e n t e r t a i n e r m e e - ? O h t h i s w i l d - h e a d e d w i c k e d Chartley , w h a m e n o t h i n g w i l l t a m e ; T o t h i s ^ G a l l a n t w a s I p o o r e G e n t l e - w o m a n b e t r o a t h e d , a n d t h e M a r r i a g e d a y a p p o y n t ^ d : B u t h c c o u t o f a f t n t a f f r t k a n d B 3 g ^ d y 405. andthen what] anden t| \ what DLC . 182 350 ioo ito H20 183 identity, clandestine marriages, and disguise with the com ment, "here were even a Plot to make a play on" (11. 1040- 41) . 387. Robin 1 See the note to 1. 14. 388. play . . . Amen 1 Chartley is making a jocular refer ence to "the lay officer of a parish shurch, who has charge of the church and precincts, and assists the clergyman [the vicar, in this case] in various parts of his duties, e.g. by leading the people in responses, assisting at baptisms, marriages, etc." (OED, Clerk). 39 0. not for a world] Woodrow W. Powell, "A Critical Edition of Thomas Heywood's A Challenge for Beauty, with Introduction and Notes," unpublished doctoral dissertation (Duke University, 1958), pp. 116-117, has found this ex pression, or variations of it, to be frequently encountered in sixteenth- and seventeenth-century drama, although it is not recorded in Tilley. For Heywood's uses see If You Know Not Me You Know Nobody (1, 312),. I The Fair Maid of the West (II, 327, 329) and II (H* 380), The Four Prentices of Lon don (II, 184, 202), The Brazen Age (III, 227), The Golden Age (III, 18), I The Iron Age (III, 291) and JEI (III, 358), A Challenge for Beauty (V, 9, 33), Fortune bv Land and Sea (VI, 376), and Pleasant Dialogues and Dramas (VI, 264). 184 398. lie . . . nights] "In the phrase--of which Dyce says that no satisfactory explanation has been given— 'to bring' 'has apparently the force of 'wholly' or 'thoroughly'" (Mer maid). Laird H. Barber, Jr., "An Edition of The Late Lanca shire Witches by Thomas Heywood and Richard Brome," unpub lished doctoral dissertation (University of Michigan, 1962), p. 189, notes the bawdy meanings of 'to bring' in that play, in Troilus and Cressida— The Complete Works of Shakespeare, ed. Hardin Craig (Chicago, 1961)— (I.ii.304-306), and in Middleton's The Family of Love--The Works of Thomas Middle ton. ed. A. H. Bullen (New York, 1964), III, 51— where the bawdiness is obvious: Lipsalve. Now, mistress Maria, ward yourself: if my strong hope fail not, I shall be with you to bring-- Shrimp. To bring what sir? some more o' your kind? 398-399. Whiting Mopp ] "A young whiting" fish; used here "as a playful appellation for a girl" (OED, Mop. sb.4). See also The Captives. p. 44. 407. Cold comfort for me.] A proverbial expression (Til ley, C542). See also A Woman Killed with Kindness (II, 126) and A Challenge for Beauty (V, 16). 416. a Sir Iohn] "A familiar or contemptuous appellation for a priest" (OED). 185 Tke Wife-woman o f H&gfdon. g i d d y h u m o u r , b e f o r e t h e t i m e p r e f i x e d , p o f t s u p f o L o n d o n . A f t e r h i m c o m e I t h u s h a b i t e d , a n d y o u f e e m y w e l c o m e , t o b e e a n e a r e - w i t n e f l e o f h i s f e c o t i d C o n t r a c t i n g . M o d e f t i e w o u l d n o t f u f l f e r m e e t o d i f c o v e r m y f c l f e , o t h e r w i f e , I f h o u l d h a v e g o n e n e e r e t o h a v e - m a r r e d t h e * t 3 O m a t c h . I h e a r d t h e m t a l k e o f H ogsdon , a n d a W ife-w o man , w h e r e t h e f e A y m e s ( h a l l b e e b r o u g h t t o A c t i o n , l i e f e e i f I c a n i n f i n u a t c m y f e l f c i n t ; o h e r f e r v i c e : t h a t ’ s m y n e x t p r o j e c t : a n d n o w g o o d l u c k o f m y f i d e . Exit. Explicit jiSlttt primus. A <T tus fecundus, Scena prima. Enter the W i f e - w o m a n ahd her Clyents , a Coun- trey-man - w i t h an XJrinall , foure Women I t k j t Citizens reives , T a b e r 4 Serving-man , HH O and 4 Cbamfrcr-mayd. Wifereoman. F i e , f i e , w h a t a t o y l e , a n d a m o y l e i t i s , F o r a w o m a n t o b e e w i f e r t h e n a l l h e r n e i g h b o u r s ? I p r a y g o o d p e o p l e , p r c f l e n o t t o o f a f t ' u p o n m e ; T h o u g h I h a v e t w o c a r e s , I c a n h e a r c b u t b n e a t o n c e . Y o u w i t h t h e V r i n c . Enter 2 . L u c e , andftands a f i d e . Countryman, H e r e f o r f o o t h M i f t r e f f e . Wifew* A n d w h o d i f t i l f d t h i s w a t e r ? * Cottntr . M y w i v e s L i m b e c k , i f i t p l c a f c y o u . H S O Wifer*. A n d w h e r e d o t h t h e p a i n e h o l d h e r m o f t ? Countr . M a r r y a t h e r h e a r t f o r f o o t h . Wifew. E y , a t h o r h e a r t , f h e e h a t h a g r i p i n g a t h e r h e a r t . (fcuntr. Y o u h a v e h i t i t r i g h t . Wifer*. 186 439-440. foure Women like Citizens wives! See the note to 11. 42-43. 441. Chamber-mayd] See the note to 1. 42. 450. Limbeck] An alembic. 457. lust . . . her.] An aside (Mermaid). 464-465. I . . . another] A proverbial "claim to acute ness, often used ironically," as it is here (Tilley, M965): "I can see as far into a millstone as another man." 465-476. Mother Notingham . . . Westminster] The wise women and the one wise man mentioned here have been most difficult, and in some cases impossible, to trace. Probabiy the reason for this difficulty is that they were not deemed sufficiently evil to be brought to trial, and thus their names have escaped the official records. For an account of witches brought to trial, see C. L‘Estrange Ewen, Witch Hunting and Witch Trials (London, 1929), Witchcraft and Demonianism (London, 1933), and Witchcraft in the Norfolk Circuit (Paignton, 1939). 465-466. Mother Notingham! I have found no information about her. Apparently ("for her time") she was not a con temporary . 467. casting of Waters] "To diagnose disease by the in spection of urine" (OED. Cast. 40). 187 The tVife-rvoman of Hogfdon. Wifcvto. N a y , I c a n f e e f o m u c h i n t h e V r i n c . a . Luce . I u f t f o m u c h a s i s t o l d h e r . Wijcvto, S h e e h a t h n o p a i n e i n h e r h e a d , h a t h f h e e ? Countyjm. N o i n d e e d , I n e v e r h e a r d h e r c o m p l a i n e o f h e r h e a d . TVifeveo. I t o l d y o u f o , h e r p a i n e l y e s a l l a t h e r h e a r t : A l a s g o o d h e a r t ! b u t h o w f e e l c s f l i c c h e r f t o m a c k c ? Cotintrym. O q i i e a f i c , a n d f i c k e a t f t o m a c k c . Wifewo. E y , I w a r r a n t y o u , I t h i n k e I c a n f e e a s f a r r c i n t o a M i l l - f t o n c a s a n o t h e r : y o u h a v e h e a r d o f M o t h e r Notingham, w h o f o r h e r t i m e , w a s p r e t t i l y w e l l s k i l l ’ d i n c a f t i n g o f W a t e r s : a n d a f t e r h e r , M o t h e r Bombje ; a i t d t h e n t h e r e i s o n e Hatfield i n P e p p s r - A l l c y , h c e d o t h p r e t t i c w e l l f o r a t h i n g t h a t ' s l o f t . T h e r e ' s a n o t h e r i n Ctrleharbour, t h a t ' s s k i l l ' d i n t h e P l a n e t s . M o t h e r Sturt on i n qgulden-lane, i s f o r F o r e f p e a k i n g : M o t h e r ' P h i l l i p s o f t h e Hanke-Jtde , f o r t h e w e a k n e f l e o f t h e b a c k e : a n d t h e n t h e r e ' s a v e r y r e v e r e n t M a t r o n o n ClarkjenweU^Green, g o o d a t m a n y t h i n g s : M i f t r i s tjliary o n t h e . Bankfi-fide , i s f o r r e f t i n g a F i g u r e : a n d o n e f w h a t d o e y o u c a l l h e r ) i n tVefiminfier, t h a t p r a & i f c t h t h e B o o k e a n d t h e K e y , a n d t h e S i v e a n d t h e S h e a r e s : a n d a l l d o e w e l l , a c c o r d i n g t o t h e i r t a l e n t . F o r m y f e l f c , l e t t h e w o r l d f p e a k e : h a r k e y o u m y f r i e n d , y o u / h a l l t a k e — (Shee wh ijj t e r s . ) 2 . Lute . * T i s f t r a n g e t h e I g n o r a n t i h o u l d b e t h u s f o p E d . W h a t c a n t h i s W i t c h , t h i s W i z a r d , o r o l d T r o t , D o e b y I n c h a n t m e n t , o r b y M a g i c k e f p e l l ? S u c h a s p r o f c / T e t h a t A r t ( h o u l d b e d e c p c S c h o l l e r s . W h a t r e a d i n g c a n t h i s f i m p l e W o m a n h a v e ? * T i s p a l p a b l e g r o f f e f o o l e r y . 9Vifewo9 N o w f r i e n d , y o u r b u f i n e / f e ? Taber. I h a v e f t o l n e o u t o f m y M a t t e r s h o u f e * , f o r f o o t h , w i t h t h e K i t c h i n - M a y d , a n d I a m c o m e t o k n o w o f y o u , w h e t h e r i t b e m y f o r t u n e t o h a v e h e r , o r n o . tvifeufo. A n d w h a t ' s y o u r f u i t , L a d y ? Kitchtn. F o r f o o t h , I c o m e t o k n o w w h e t h e r I b e a M a i d o r n o . Wifewo. iGO ¥70 ¥00 472. weaknessse of ] weaknesse on CSmH1 473. Matron on] Matron of CSmH1 487. Taber] Faber CSmH1. 467. Mother Bombye] Perhaps an allusion to the eponymous heroine of John Lyly's play. Reginald Scot, The Discoverie of Witchcraft, ed. Montague Summers ([London], 19 30), p. 97, speaks of a "mother Buncrie.1 1 who may be the original. 468. Hatfield 1 Another about whom I have uncovered no in formation . 469. Pepper-Alley ] "A passage leading from the Borough, Southwark, to Pepper Alley Stairs, a landing-place just west of Old London Bridge" (Sugden). 47 0. Cole harbour 1 The site in Upper Thames Street, Lon don, of a number of small tenements (Sugden). 47 0. skill'd in the Planets] Well able "to calculate a horoscope, practise astrology" (OED, Planet. lc). 47 0. Mother Sturton1 Again, I have been unable to trace this person. 471. Goulden-lane1 "A street in London, running north from the east end of Barbican, opposite Red Cross Street, to Old Street" (Sugden). 471. Forespeaking] "Bewitching; or, possibly, prophesying" (Mermaid). "Predictions, prophecies" (OED). 471. Mother Phillips ] G. L. Kittredge, Witchcraft in Old and New England (Cambridge, Mass., 1929), p. 206, hazards that she may be the Judith Phillips who in 1595 "was in I 189 trouble for cozening a widow in a search for money supposed to be concealed in a house: 'she told the widow she must have a turkey and a capon to give to the queen of the faire,1 which the widow provided." 472. the Banke-side1 "The district in Southwark running along the Surrey side of the Thames from St. Saviour's Church and Winchester House to the point where Blackfriar's Bridge now stands." The district was notorious for its brothels, bear gardens, and theaters (Sugden). 473. a . . . Clarkenwe11-Green 1 Heywood lived in Clerken- well, a London district notorious for its thieves and pros titutes, situated "north of Clerkenwell Road, between Gray's Inn Road and Goswell Road, so named for its well that was used by the Brothers of St. John and the Benedictine Nuns" (Sugden). A. M. Clark, Thomas Heywood Poet and Miscellanist (Oxford, 1931), p. 60, conjectures that this unknown woman ■may be the same whom Heywood mentions in Gunaikeion (London, 1624), pp. 414-415, as a "woman of good credit and reputa tion, whom I have knowne above these foure and twenty yeares and is of the same parish where I now live." Heywood quotes her tale about witchcraft. 474. Mistris Mary 1 Another about whom I have no informa tion . 190 475. recting a Figure] Erecting "a scheme or table showing the disposition of the heavens at a given time," a horoscope (OED, Figure, 14). "The practice of astrology" (Mermaid). See also "cast a Figure" (1. 528). 476. Westminster 1 A district in the neighborhood of West minster Abbey, its boundaries extending "from Temple Bar to Kensington and from the Thames to Marylebone. . . . Partly because of the privilege of sanctuary possessed by the Abbey, partly through the presence of the Court, Westminster became notorious as a haunt of bad characters, both male and female" (Sugden). 476. The Booke and the Key] A method of determining the identity of a guilty person. Scot, p. 277, describes the process thus: Popish preests doo practice with a psalter and a keie fastned upon the 49. psalme, to discover a theefe. And when the names of the suspected persons are order- lie put into the pipe of the keie, at the reading of these words of the psalme (If thou sawest a theefe thou diddest consent unto him) the booke will wagge, and fall out of the fingers of them that hold it, and he whose name remaineth in the keie must be the theefe. 477. the Sive and the Sheares] Scot, p. 149, also de scribes this practice: Another waie to find out a theefe. Sticke a paire of sheeres in the rind of a sive, and 191 The yvijr-w vm a# ofH ogfd**' W'tftreo. W h y i a r t t h o u i n d o u b t o f t h a t ? K it chin# I t m a y b e e I h a v e m o r e r c a f o n t h e n a l l t h e w o r l d k n o w e s . Taker. l N a y , i f t h o u c o m ’ f t t o k n o w w h e t h c r t h o u b e c f t a M a i d o r n o , I h a d b e f t a s k c t o k n o w w h e t h e r I h e w i t h c h i l d o r n o . Wifew. W i t h d r a w i n t o d i e P a r l o u r t h e r e , l i e b u t t a l k c w i t h t h i s o t h e r G e n t l e w o m a n . , a n d H c r c f o l v c y o u p r c - f e n d y . . Taker. C o m e S ify , I f ( h e c c a n n o t r e f o l v c t h e e , I c a n , a n d i n t h e C a f e o f a Mayden-head d o e m o r e t h e n i h e e t I w a r r a t n t t h c c . . < * Exeunt, TheWtmf. F o r f o o t h l a m b o l d , a s they ( a y . Wifew. Y o n a r c w d l c o m e G e n t l e w o m a n . — Worn. I w o u l d n o t h a v e i t k n o w n c t o m y N e i g h b o u r s ' t h a t I c o m e t o a W i f c - w o m a n f o r a n y t h i n g , b y m y t r u l y . Wifnoem, F o r f h o u l d y o u r H u s b a n d c o m e a n d f i n d y o u h e r e . from. M y H u s b a n d w o m a n , I a m a W i d d o w . Wifew om. W h e r e a r e m y b r a i n c s ? ’ t i s t r u e , y o u a r e a W i d d o w ; a n d y o u d w e l l , l e t m e i c e , I c a n n e v e r r e m e m b e r t h \ i t p l a c e . I Vom, I n Kontftreet. trifewom. Kentjbeet, Kentflreet / . a n d I c a n t e l l y o u w h c r - f o r k y o u c o m e . Worn, W h y , a n d ( a y t r u e ? Wifewom. Y o u a r e a W a g g e , y o u a r c a W a g g e : w h y , w h a t d o c y o u t h i r r k c n o w I w o u l d ( a y ? w.om. . P e r h a p s , t o k n o w h o w m a n y H u s b a n d s I ( h o u l d h a v e . Wtfevaom. A n d i f I ( h o u l d f a y f o , ( h o u l d I ( a y a m i d e ? Worn. I t h i n k e y o u a r c a W i t c h . Wtfcwam* I n , i n , l i e b u t r e a d e a l i t t l e o f Ptolom$e9 a n d Erra Pater ; a n d w h e n 1 h a v e c a f t a F i g u r e , l i e c o m e t o y o u . p r e l c n t l y . ExitW cm . Now; s o o 510 szo 523. I should] I shoule CtY. 192 let two persons set the top of each of their forefingers upon the upper part of the sheeres, holding it with the sive up from the ground steddilie, and aske Peter and Paule whether A. B. or C. hath stolne the thing lost, and at the nomination of the guiltie person, the sive will turne round. 481. Wizard] Application of the term to a woman is rela tively uncommon (OED). See also 1. 1820. i 481. Trot] "An old beldame, a hag" (OED). 485. 'Tis . . . foolery.] Mermaid indicates that the Countryman exits while Second Luce speaks this line. 488. Kitchin-Mayd] See the note to 1. 42. 5 02. Sislv1 See the note to 1. 42. 517. Kent street 1 An extremely disreputable street running "from St. George's Church in the Borough, Southwark, to the Old Kent Road" (Sugden). 521. Wagge] "Any one ludicrously mischievous, a habitual joker" (OED). 526. I thinke you are a Witch. ] "A comment made on a good guess, or the like" (Tilley, W585). See also The Late Lan cashire Witches (IV, 174). 527. Ptolomie1 There seems to be no indication that Hey- wood was satirizing the Ptolemaic system. To judge from The Hierarchy of the Blessed Angels (London, 1635), pp. 182- 185, Heywood had no mistrust of Ptolemy or knowledge of The P lr tfc-woman ofHogfdon. N o w W a g g e , w h a t w o u l d f t t h o u h a v e ? a . Luce, i f t h i s w e r e a W i f c w o m a n , T h e e c o u l d t e l l t h a t w i t h o u t a s k i n g . N o w m e t h i n k e s I ( h o u l d c o m e t o k n o w w h e t h e r I w e r e a B o y o r a G i r l e ; f o r f o o t h I l a c k c a f c r v i c e . ; fVi(ervo. B y m y F i d e l i t i e , a n d I w a n t a g o o d t r u f t y L a d . 2 . Luce. N o w c o u l d I f i g h , a n d f a y , A l a s , t h i s i s fomc B a w d t r a d e - f a l n e , a n d o u t o f h e r w i c k e d e x p e r i e n c e , i s c o m e t o b e e r e p u t e d w i f e , I l e f e r v e h e r , b e e * t b u t t o p r y i n t o t h e m y f t e r i e o f h e r S c i e n c e . " iViferre. A p r o p e r { t r i p l i n g , a n d a w i f e , I w a r r a n t h i m - h e r e ’ s a p e n i e f o r t n e e , l i e h i r e t h e e f o r a y e a r e b y t h e S t a t u t e o f Wincbefler; p r o v e t r u e a n d h o n c f t , a n d t h o u ( h a l t w a n t n o t h i n g t h a t a g o o d B o y - ^ - a . Luce. H e r e W i f e - w o m a n y o u a r e o u t a g a i u c , I ( h a l l w a n t w h a t a g o o d B o y ( h o u l d h a v e , w h i l f t I l i v c : w e l l , h e r e I l h a l l l i v e b o t h u n k n o w n e , a n d m y S e x u n i u f p e & c d . B u t w h o m h a v e w e e h e r e ? 5 ’ " * ' Enter <JMafter H a r i n g f i e l d , and C h a r t l e y balfe drunk*. Chart. C o m e Harixgficld, n o w w e e h a v e b c e r i e d r i n k i n g o f M o t h e r R e d - c a p s A l e , l e t u s . n o w g o c m a k e f o m c f p o r t w i t h t h e W i f e - w o m a n . Haring: W e e ( h a l l b e t h o u g h t v e r y w i f e m c n , o f a l l f u c h a s f h a l 1 f e e u s g o c i n t o t h e W i f ^ w o m a n ® . Chartley. S e e , h e e r c ( h e e i s ; h o w n o w W i t c h ? H o w n o w H a g g e ? H o w n o w B e l d a m e ? Y o u a r e t h e W t t c - w o r a a n , a r e y o u ? a n d h a v e w i t t o k c e p c y o u r f e l f e w a r m e e n o u g h , I w a r r a n t y o u . tv ifc w . O u t t h o u k n a v e . a . Luce. A n d w i l l t h e f e w i l d o a t c s n e v e r b e f b w n e ? Chart. Y o u I n c h a n t r c f l e , S o r c c r c f l f a , S h c e - d e v i l l j y o u M a d a m Hecate , L a d y Proferpine, y o u a r e t o o o l d , y o u H a g g e , n o w, f o r c o n j u r i n g u p S p i r i t s y o u r f e l f e ; b u t y o u k e c p c p r e t t i e y o n g W i t c h e s u n d e r y o u r r o o f e , t h a t c a n d o e t h a t * G 19 3 53 O SYO 5 5 0 560 194 Copernicus. Hence Ptolemy is mentioned for his understand ing of the heavens and of their influence upon man, although clearly Heywood is satirizing astrological charlatans. 528. Erra Pater 1 "The suppositious author of an almanack published about 1535 as The Pronostvcacion for ever of Erra Pater: a Jewe born in Jewerv. a Doctor of Astronomve and Phvsvcke. It is a collection of astrological tables, rules of health, etc., and is arranged for use in any year"— Brewer's Dictionary of Phrase and Fable. 8th ed. (London, 1963) . 529. Exit Worn.1 Probably the three other citizens' wives exit at this time also. Mermaid reads "Exeunt Citizens' Wives." 531-533. If . . . Girle] An aside (Mermaid). 536-539. Now . . . Science.] An aside (Mermaid). 541. Statute of Winchester 1 Heywood was hired as an actor by Philip Henslowe according to the terms of the Statute of Winchester, appearing in Henslowe's Diary. ed. W. W. Greg (London, 1904), I, 204: Mr^° that this 25 of marche 1598 Thomas hawoode came & hiered him seallfe w^h me as a covenante searvante for ij yeares by the Receuinge of ij syngell pence acordinge to the stature of Winshester & to begine at the daye a boue written & not to playe any wher publieke a bowt london not whille these ij yeares be expired but in my 195 howsse yf he do then he dothe forfett vnto me by the Receuinge of thes ij^ fortie powndes. . . . The statute to which Heywood and Henslowe refer is not the Statute of Winchester, which was drafted in 1285 during the reign of Edward I and provides mainly for keeping the peace, for which see The Statutes of the Realm (London, 1819; repr. 1963), I, 96-98. Many Elizabethan hiring practices were determined by the statute 5 Elizabeth, c. 4 (Statutes. IV, i, 414-422), but there is no reference to Winchester here, nor does T. W. Baldwin mention it in The Organization and Personnel of the Shakespearean Company (Princeton, 1927). I suspect that the allusion is to a local hiring practice, for "statute" in Heywood's time was a shortened form of "statute-sessions,""a fair or gathering held annually in certain towns and villages for the hiring of servants" (OED, Statute. 6). The statute 5 Elizabeth, C. 4, sec. 40 holds "that it shalbe laufull to the High Constables of Hundredes in euery Shire, to holde kepe and contynue Petie Sessions, otherwise called Statute Sessions" for the placing of ser vants . I have not been able to discover a reference to the statute-sessions for the town of Winchester, and I question whether the hiring practices of a town some fifty miles away would have been accepted in London. Perhaps the reference 196 is to a statute-sessions located near the palace of the Bishop of Winchester. 544-546. Here . . . unsuspected.] An aside. 551. Mother Red-caps Ale] Mother Redcap (1597-98) is a lost play by Drayton and Munday. She is also met with in Drayton's long satirical poem The Moone-Calfe. where she is in company with Mother Bomby, Gammer Gurton, and Mother Howlet, all gossips rather like the Wise Woman. See The iWorks of Michael Dravton. ed. J. William Hebei (Oxford, 1932), III, 166-202. Mother Redcap's tavern "still is to be found on its old site, though it has been pulled down and rebuilt at least twice. It stands in High Street, Camden Town, at the corner where it is joined by Camden Road and ‘ Kentish Town Road" (Sugden). See also 11. 1765-66. 557-558. wit . . . enough] Probably proverbial, although I have not found its source. 560. will . . . sowne] Proverbial, "To sow his wild oats" (Tilley, 06). An aside (Mermaid). 562. Madam Hecate. Lady Proserpine] Hecate, the Greek goddess of ghosts and magic, was also confused with, or associated with, Persephone (Proserpine to the Romans), the infernal goddess of death. Hence Chartley is, in a sense, talking about one figure— -Harry Thurston Pech, ed., Harper 1s 197 The Wife •woman o f Ftogfdon. Wiferro. I , o r s n y F a m i l y c o n j u r e u p a n y S p i r i t s ! I d e f i c t h e e , t h o u y o n g H a r e - b r a i n ' d — Haring. F o r b e a r e h i m t i l l h e h a v e h i s S e n f e s a b o u t h i m , a n d I f h i l l t h e n h o l d t h e e f o r a W i f e - w o m a n i n d e e d : o t h c r w i f e , I f h a l l d o u b t t h o u h a f t t h y n a m e f o r n o t h i n g , C o m e f r i e n d , a w a y , i f t h o u l o v e f t m e . Chart . A w a y y o u o l d D r o m a d a r y , l i e c o m e o n e o f t h e f e n i g b r s , a n d m a k e a r a c k e t a m o n g f t y o u r S h e e - C a t t e r w a u l l e r s . Haring. I p r e t h e e l e t ' s b e c i v i l I . Chart . O u t o f m y f i g h t , t h o u S h e c - m a f t i f l e . Exeunt. %. Luce. P a t i e n c e , f w e c t M i f t r i s . Wifewo. N o w b l c f i f e m e e , h e e h a t h p u t m c c i n t o f u c h a f e a r e , a s m a k e s a l l m y b o n e s t o d a n c e , a n d r a t t l e i n m y s k i n : l i e b e r e v e n g ’ d o n t h a t f d a g g e r i n g c o m p a n i o n . 2. Luce . M i f t r i s , I w i f h y o u w o u l d , h c e ’ s a m e c r e M a d c a p , a n d a l l h i s d e l i g h t i s i n m i f - u f i n g f u c h r e v e r e n t M a t r o n s a s y o u r f e l f c . Wtfevpo. W e l l , w h a t ' s t h y n a m e , B o y ? a . Luce. I a m e v e n . l i t t l e b e t t e r t h e n a T u f n - b r o a c h , f o r m y n a m e i s Iacke. Wifevto. H o n e f t I ache , i f t h o u c o u l d f t b u t d e v i f e h o w I m i g h t c r y q u i t t a n c e w i t h t h i s c u t t i n g Dicks > I w i l l g o e n e a r c t o a d o p t t h e e m y S o n n e a n d h e i r e . 2 . Luce. M iftris, there is a w a y , a n d this it is; T o m o rro w m orning doth this G e n t l e m a n s I n t e n d to m arry w ith m y M iftris Luce, A G o l d - f m i t h s D a u g h t e r ; d o e y o u k n o w t h e M a i d ? tVtfewo. M y D a u g h t e r , a n d a p r c t d c f m u g f a c c ’ t G i r J c . . I h a d a n o t e b u t l a t e f r o m h e r , a n d f i h e e m e a n c s T o b e w i t h m e i n t h ' e v e n i n g ; f o r 1 h a v e b e f p o k c S i r Boniface t o m a r r y h e r i n t h e m o r n i n g . 2 . Luce. D o ® b u t p r e v e n t t h i s G a l l a n t o f h i s W i f e , A n d t h e n y o u r w r o n g s f h a l l b e r e v e n g ' d a t f u l l . frifefo. H e c t o e ' t , a s I a m M a t r o n ; E y , a n d f h e w h i m a n e w t r i c k c f o r h i s l e a r n i n g . Enter 592. with my] with one O2”3, MB, L1-4, E, DFo2, MH, CSmH1, NjSH, NNPM, EN1, ICN, SR, LU, PU, OW. 5 7 0 5 8 0 5 9 0 600 198 Dictionary of Classical Literature and Antiquities (New York, 1923). 563. conjuring up Spirits] Causing a penile erection. See Eric Partridge, Shakespeare1s Bawdy. rev. ed. (New York, 1955), p. 139. 572. Dromadary] "A stupid, bungling fellow" (OED), but no more precise signification is given. Eric Partridge, Dic tionary of the Underworld (London, 1961), gives "rogue, especially a thief," and the Wise Woman is notably disrepu table. Possibly she might have been portrayed as having a humpback or as being in some way especially ungainly. Then too, the dromedary is a beast of burden, and Chartley thinks of her as being a former prostitute (11. 562-563) . !573-574. Shee-Catterwaullers ] "Cat" signifies "prosti- tute." To caterwaul is "to make the noise proper to cats at rutting time, or to quarrel like cats" (OED). Chartley, I am sure, intends the first sense, although there may be something of the second, especially among angry prostitutes. 588. cutting Pieke 1 Perhaps an allusion to Heywood's play of the same name (1602). Cutting Dick Evans was a notorious highwayman who flourished in 16 00--Clark, Biography. pp. 28- 29. "A bully of the time; cutting often has the sense of swaggering" (Mermaid). 199 The Wife-woman of Hogfdon, Enter Mafter B o y f t e r . Boyft. M o r r o w . Wifewo. Y * a r e w e l c o m e S i r , B y ft. A r t w i f e ? 2 . Luce, H e e ( h o u l d b e w i f e , b e c a u f e h e e f p e a k c s f e w w o r d s . Wifewe, I a m a s I a m , a n d t h e r e ’ s a n e n d . Boy ft. C a t f t c o n j u r e ? Wifewo. O h t h a t ’ s a f o u l e w o r d I b u t T c a n t e l l y o u y o u r F o r t u n e , a s t h e y ( a y ; I h a v e f o m e l i t t l e s k i l l i n P a l m i f t r y , £ 1 o b u t n e v e r h a d t o d o e . w i t h t h e d c v i l i . . A n d h a d t h e d c v i l i n e v e r a n y t h i n g t o d o e w i t h t h e e ? t h o u l o o k ’ f t f o m e w h a t l i k c h i s d a m m e . L o d k e o n m c c c a n f t t e l l w h a t 1 a y l e ? . * : Wifewo. C a n y o u t e i l y o u r f c l f c ? I ( h o u l d g u c f l f e , y o u b e m a d , o r n o t w e l l i n y o u r w i t s . Bo)ft. T h ’ a r t w i f c , I a m f o ; m e n b e i n g i n l o v e , a r e m a d , A n d 1 b e i n g i : i l o v e , a m f o . . ; r H'ifewo. N a y , i f I f e e y o u r c o m p l e x i o n b t i c e , I t h i n k c I c a n g u c f l e a s n c a r c a s a n o t h e r . 6 2 0 Boy ft. O n e M i f t r i s Luce I l o v e , k n o w f t t h o u h e r , G r a n - n a m ? Wifewo. A s w e l l a s t h e B e g g a r k n o w e s h i s D i f t i . W h y f h e c i s o n e o f m y D a u g h t e r s . Boy ft. M a k e h e r m y w i f e , T i c g i v e t h e e f o r t y p i e c e s . 2 . Luce, T a k e t h e m M i f t r i s , t o b e r e v e n g ’ d o n C hurt ley. Wifew. A b a r g a i n , f t r i k e m e l u c k , c c a l c a l l y o u r ( o r r o w , F a i r c Luc* ( h a l l b e y o u r B r i d e ; b e t i m e s t o m o r r o w . ^ Boy ft. T h ’ a r t a g o o d G r a n n a m ; . a n d , b u : t h a t t h y t e e t h f t a n d l i k e h e d g e - f t a k e s i n t h y h e a d , I ’ d c k i f l e t h e c . E x it, 6 J O Wifewo. P r a y w i l 1 y o u i n ; c o m e h i t h e r lacke, I h a v e A n e w t r i c k e c o m e i n t o m y h e a d , w i l t t h o u A f t i f t m c e i n ’ t ? - • 2 . Luce. I f i t c o n c c r n e t h e c r o f t i n g o f t h e m a r r i a g e w i t h M i f t r i s Luce, l i e d o * t w h a t e ' l e i t b e . Wifewo. T h o u ( h a l t b e t y r e d l i k e a w o m a n ; c a n y o u m a k e a c u r t e f i e , t a k e f m a l l f t r i d e s , ( i m p e r , a n d f c c m e m o d e f t ? m e t h i n k e s t h o u h a f t a w o m a n s v o y c e a l r e a d y * C 2 2 . Luce. 628. Bride; betimes] Bride^betimes O2"3, MB, L1"4, E, DFo2, MH, CSmH1, NjSH, NNPM, EN1, ICN, SR, LU, PU, OW. 200 592. with my] The corrected state is "with one". 594-597. My . . . morning.] Mermaid prints these lines as prose, as they seem to be. 594. smug] "Smooth, sleek" (OED). 605-606. Hee . . . words.] Proverbial (Tilley, W799): "Few words show men wise." 612-613. devill . . . damme] Either a proverbial expres sion (Tilley, D225): "The devil and his dam"; or an allu sion to Haughton's The Devil and His Dame (16 00). 619. complexion] "The combination of supposed qualities . . . in a certain proportion, determining the nature of a body, plant, etc.; the combination of the four 'humours' of the body in a certain proportion, or the bodily habit at tributed to such combination" (OED. 1). 623. As . . . Dish] A proverbial expression, the dish being the beggar's alms dish (Tilley, B234): "I know him as well as the beggar knows his dish." 628. Bride; betimes] "Bride^ betimes" is the corrected state. 628. betimes] "At an early hour, early in the morning" (OED). See also 1. 1211. 631-633. Pray . . . in't?] Mermaid prints these lines as prose, in keeping with the rest of the Wise Woman's 201 T he W ife-t voman o f H egfdon. 3 . Luce. Doubt not o f me,He aft them naturally. fVifewo. I have conceited , to have Luce married to this blimt Gentleman y fhee miftaking him for Chart ley, and Chartley fhall marry th ee, being a Boy , and take thee for Luce. W ilt not be excellent ? 3 . Luce. Oh fuper, fuper-excel lent I Wiprveo, Play but thy part, as lie a ft m ine, He fit him w ith a W ife, I w arrant bina. a. Luce, And a W ife lie w arrant him . Exeunt, Enter Old Sir Harry, and hie Taber. Sir Hay. Ha , th en th o afaw eft them w hifpering w ith my D aughter. Tab. I faw them , if it lhall plcafc you, not w hifpcr,but—- Sir Har. H ow then, thou knave ? Taber, Marry Sir K night, I law them in fad taJkc; but fo fay they w crcdireftly w hifpcring, I am not able. Sir Har, W hy Taber, that rad talkc was w hifpering. Taber. N a y , they did not greatly w hifper, for I heard w hat was (aid, and w hat was laid , I have the w it to keepe to my fclfe. Sir Har, W hat faid thcunthrift,T abert tell me knave ? J e ll me, good knave, w hat did the unthrift fay ? Taber. I am loath to be call’d in queftion about men and w om ens m atters, but as foone as ever he faw your Daugh ter , I heard w hat was fpoke.. > o > . Sir Har. Here firra, take thy ‘ Quarters wages afore-band, and tell me all their w ords, and w hat their greeting was at their firft encounter* hold thine hand. Taber. T hankes, Noble S ir, and now lie tell you. Your daughter being w alking to take the aire o f the fields, and I before her; whom fhould wee meet juft in thcnicke ? Sir Bar, Iuft in the nicke, man ? Taber• I n the high-w ay I meant, Sir. Sir Har, H a , and w hat conference paft betw ixt them , Taber f Taber, As w ell as my Pipe can utter, you {hall know Sir. This 670 6 SO 6 7 0 2 02 speeches. 653. sad] "Serious" (OED, 4d). 659-660. What . . . say?] Pearson and Mermaid print these lines as blank verse. Although Sir Harry is a low-comic figure, he often is given speeches in blank verse. 664-666. Here . . . hand.] Mermaid prints these lines as blank verse: "Here . . . afore-hand, / And . . . greeting / Was . . . hand." I think, however, they are prose. 67 0. nicke] "The female pudend"— Eric Partridge, A Dic tionary of Slang and Unconventional English (London, 19 37). 674. my Pipe] My voice, with a pun on "pipe" as a musical instrument, and having relevance to Taber's name, which signifies a kind of small drum. See also 11. 767-768. 675. full butt] OED does not list this term. Perhaps it is similar to "full bob," which has as one meaning "sudden ly" (Partridge, Slang). Perhaps, too, there is the meaning of a direct, face-to-face confrontation. 680. Be with you] "God be with you" (Mermaid). 693. Northampton-shire1 "The Midland county of England lying between Warwickshire on the east and Cambridgeshire on the west. It is chiefly occupied in agriculture and sheep-breeding" (Sugden). 203 T he W i f e-woman o f Hogfdon. This Gentleman meeting w ith my yong M iftris full butt; imagine you w ere fhc, and 1 yong Mafter<5Vw*r$.now there you come, and here I meet youj he comes;in this manner?and put off his hat in this fafhion. Sir Har. I, but w hat faid hee ? Taber,. Be w ith y o u , faire Gentlewoman ; and fo goes quite away , and fcarfc fo much as once look'c ba'cke: and if this w ere language to offer to a yong Ladie, judge you. Sir H ar, But fpake hee nothing elfe ? Taber, N othing as I am true. Sir Har, W hy man, all this was nothing, Taber, Yes S ir, it was as much as my Qiiartcrs wages afore-hand. Enter JHafter Sencer, Mafter Haringficld, and Gratiana. Or at. Here are tw o Gentlemen w ith great defire, Crave conference w ith my Father : here he is, N ow Gallants, you may freely fpeakeyour m inds. Senc, Save you Sir, my name is Sencer • la m a Northamp ton-Jh i r e G entlem an, borne to a thoufand pound Land by the ycare: I love your D aughter, and I am come to crave your good-w ill. Sir Har, Have you my Daughters, that you covet mine? Senc. N o S ir,b u tIh o p e in tim e Ifh a llh a v e . Sir Har, So hope not I. S ir, S ir, my Daughters yong, and you a Gentleman unknowne, Sencer ? ha, Sencer? O Sir, your name I now remember w e ll, Vis rank’t ’m oiigftui- th rifts, dicers, fw aggerers, and drunkards: w ere not you brought before m e, fomc moneth lince, for beating o f the W atch,by the fame token,I fentyou to the Counter? Senc. I confdfe my fclfe to have becne in that a<5tion, but note the caufe, Sir : you could not have pleafur’d mce fo much, in giving mee a piece o f go ld , as at the fame time to helpe me to that Counter, Sir Har. W hy Sir,w hat caufe had you to beat the W atch, and raile a midnight tum ult in the ftreets ? C 3 Sane* 6 8 0 €80 7 0 0 7 / 0 204 699-704. So . . . Counter?1 Mermaid prints these lines as blank verse: "So . . . young, / And . . . Sencer? / Oh . . . well; / 'Tis . . . drunkards: / Were . . . since, / For . . . token, / I . . . Counter." The contractions of "rank't 'mongst" suggest the desire for metrical regularity, but they may also be the compositor's means of justifying the line. 7 04. Counter 1 In 16 04 there were two Counter prisons in London, one on the north side of Poultry Street, "four doors west of the church of St. Mildred." The other, Wood Street Counter, was on "the east side of the street, north of Lad, or Ladle Lane" (Sugden). 712. Miter 1 "There were two famous Miter Taverns, one irt jBread Street, Cheapside, the other in Fleet Street. The Miter in Bread Street was either at the corner of Bread Street and West Cheap or had an entrance from the latter thoroughfare, as it is sometimes called the Miter in Cheap. . . . The Miter in Fleet Street was on the south side of the street at No. 39. . . .It had a passage into Miter Court and a back way into Ram Alley" (Sugden). Sencer was probably dining at the Miter in Bread Street, since it is closer to both Counter prisons than is the Miter in Fleet Street. The Counter in Wood Street is just across West 205 The Wife-woman of Hogfdon, Senc, Nay , but heare mee, fweet Sir Harry : Being fomeWhat late at Supper at the (-Miter, the doorcs were fhut at my L odging, I knock’t at three or fourc places more , all w ere a-bed, and faft : Inncs, Tavernes, none would give me entertainment. N ow , would you have had m cdifpair'd, and laync in the ftrects ? N o, I bethought me o f a tricke w orth tw o of th a t, andprelcntly devis'd, ha ving at that tim e a charge of money about me, to be lodg’d, and fafelytoo. Sir Har, As ho w , I pray you ? Senc, Marry thus : I had knockt my heeles againft the ground a good w h ile, knew not w hereto have a Bed for love nor money. N ow what did I ? but (pying the W atch, X hit the Gonftable a good fo wfc on the E arc, w ho provided mee o f a lodging prclentlyj and the next day, being brought before your W o rlh ip , J was then fent thither backe againc, where I lay three or fourc dayes w ithout controule. Sir Har. O , y’ arc a Gallant I is that Gentleman A Suitor too ? Haring, I am a Suitor in my friends bthxlfe, No other wife : 1 can atTure you, Sir, He is a Gentleman difeended w e ll, Derived from a good houfe, w ell quallify’d, And well pofleft: ; but that w hich moft (hould move you, Hee loves your Daughter. Grot. But were I to chufe, W hich o f thefc tw o fhould pleafc my fancicbeft, I fooner fhould affjft this G entlem an, For his mud carriage, and his faire difcourfe, Then my hot Suitor ; Ruffians I deteft: A linooth and fquare behaviour likes mee beft. Senc. W hat iay you to me, Lady. Gratia*, You had beft aske my Father w hat I (hould fay. Senc, Are you a n g ry , fwcet L ady, that I ask’t your Fa thers confent ? Grat. 7 2 3 - 7 2 4 . W a t c h , h i t ] W a t c h , w e n t a n d h i t 0 2 ” 3 , M B, L 1 " 4 , E , D F o2 , MH, CSmH1 , N jS H , NNPM, EN 1 , IC N , S R , LU , P U , OW. 7 2 5 . mee o f ] me o f O^” ^, MB, L 1 - 4 , E , D F o 2 , MH, CSmH1 , N jSH, NNPM, EN 1 , ICN, mo 7 3 0 7*0 SR, LU, PU, OW. 206 Cheap from the Bread Street Miter. 723-724. Watch, hit] "Watch, went and hit" is the correct ed state. 725. mee] "me" is the corrected state. 726. your worship] "With your or his: a title of honour, used in addressing or speaking to a person of note. In later use spec. as the title of a magistrate" (OED, 5). As a magistrate Sir Harry had the power to commit Sencer to the Counter. 728. without controule] "Without restraint, [without] check" (OED, 2); possibly without overmuch supervision or rigid confinement, since Sencer was a gentleman with suffi cient money to buy privileges. 734. well quallify'd] "possessed of good qualities" (OED. lb) . 735. well possest] Well endowed with material goods. 737-742. But . . . best.] An aside (Mermaid). 739. affect] "To be drawn to, have affection or liking for" (OED. v1, 2). 754. , Gentlemen:] ": Gentlemen," is the corrected state. 757. gratefull] "Agreeable, acceptable" (OED). 757. Office] A service. See also 1. 1875. 765-766. Sir . . . knave?] Mermaid prints these lines as 207 Tht Wife- woman e f Hogfdon. qrat. N o , i f y o u c a n g e t h i s c o n i e n t t o m a r r y h i m , f l u l l i t d i f p l e a i e m c c ? Haring. I n d e e d y o u t h e r e i n m u c h f o r g e t y o u r t e l f e , T o f o u n d h e r F a t h e r e ' r c y o u t a i l e d h e r . Y o u f h o u l d h a v e f i r f t f o u g h t m e a n e s f o r h e r g o o d - w i / J , A n d a f t e r c o m p a f t h i s . Sir Har, H e c a n p r e v a i l e w i t h n e i t h e r , G e n t l e m e n : i f y o u w i l l c o m c t o r e v e l l , y o u a r e w e l c o m e ; J f t o m y T a b l e , w e l c o m e ; i f t o u f e m e e I n a n y g r a t e f u l 1 O f f i c e , w e l c o m e t o o : B u r i f y o u c o m e a s S u i t o r s , t h e r e ’ s t h e d o o r e . Senc* T h e d o o r c 1 S ir Har, 1 f a y t h e d o o r e . Senc. W h y S i r ? t e l l n o t m e o f y o u r d o o r e , n o r g o i n g o u t o f i t , y o u r c o m p a n i e i s f a i r e a n d g o o d , a n d f o i s y o u r D a u g h t e r s ; H e f t a y h e r e t h i s t w c i v c * m o n e t h , e ' r c l i e o f f e r t o t r o u b l e y o u r d o o r e . Sir Har. S i r , b u t y o u f h a l l n o t . T a k e r! w h e r e ’ s t h a t k n a v e ? Senc. W h y S i r , I h o p e y o u d o c n o t m e a n e t o m a k e U s d a n c e , t h a t y o u c a l l f o r a T a b e r . Haring. N a y M a f t c r Sencer , d o e n o t u r g e t h e K n i g h t , H e e i s i n c e n f t n o w , c h u f e a f i t t e r h o u r e , A n d t e m p t h i s l o v e i n t h a t : o l d m e n a r e t e f l i e , T h e i r r a g e , i f f t o o d a g a i n f t , g r o w e s v i o l e n t ; B u t f u f f r e d a n d f b i b o r n c , c o n f o u n d s i t f c l f e . Sir Har. W h e r e ’ s Taker f Taker . A t h a n d , n o b l e M a i l e r . Sir Har, S h e w t h e m t h e d o o r e . Taker. T h a t I w i l l , a n d t a k e m o n e y t o o , i f i t p l e a f c t h e m . Senc. I s t h y name Taker ? Taker. I a m f o c c l i p ’ t S i r . Senc. A n d T a ker , a r e y o u a p p o i n t e d t o g i v e U s lacke ‘ D rum ’s e n t e r t a i n m e n t ? Taker. W h y f i r , y o u d o e n o t p l a y u p o n m e . £ Sencer. Though r c a n n o t , y e t X have knowne an H a r e that 7 5 0 7 6 0 7 7 0 7 8 0 7 54. , Gentlemen:] : Gentlemen, 02-3^ L1”4, E, DFo2, MH, CSmH1, NjSH, NNPM, EN1, ICN, SR, LU, TxU, OW. 208 blank verse— perhaps another instance of coincidental met rical regularity. 767-768. Why . . . Taber] See the note to 1. 674. 777. and take money too.] Perhaps Taber wants money as a kind of tip for the "service" of showing the door. 781-782. Iacke Drum's entertainment] Either a proverbial expression for a rough reception (Tilley, J12), or a refer ence to Marston's play of the same name (1600). 784-785. an Hare that could] I suspect that the connection between the tabor and the hare is proverbial because of the latter's long "drumming" legs. Tilley, H16 0, lists a prov erb that connects them, although not in the same way that Sencer does: "You shall as soon catch a hare with a tabor." The allusion may be topical. 800-803. Tis . . . after.] Mermaid prints these lines as prose, which they probably are. 806. Humourist] "A fantastical or whimsical person" (OED). 807. Taber . . . gone?] Mermaid indicates that Taber re enters as Sir Harry speaks this line. 813. Sir Boniface] 1 1 Sir was applied to all University men who had taken their B. A. degree" (Mermaid). 814-815. Eques . . . vircro.1 Honorable Knight: Greetings to you [oh one having been greeted]? I do not see what is 209 T h i W ifc-w ontd# o f ftvgfdon* that coiiicT . B u t Knight, thou doeft not forbid as thine - H o u f e . Sir Har. Y e s , a n d f o r c w a m e i t t o o . Sencer. B u t b y , t h y f a v o u r , w e e m a y c h u f e w h e t h e r w e w i l l t a k e a n y w a r n i n g o r n o . W e l l , f a r e w e l l o l d e K n i g h t , t h o u g h t h o u f o r b i d f t m e e t h i n e h o u f e , l i e h o n o u r t h e e , a n d e x t o l l t h e e j a n d t h o u g h t h o u k c e p f t m c c f r o m t h y D a u g h t e r , t h o u ( B a l t n o t h i n d e r m c e t o l o v e h e r , a n d a d m i r e h e r : a n d b y " t h y . f a v o u r , ( o m f t i m e s t o f e e h e r : A C a t t m a y l o o k q a t a K i r i g , a n d f o m a y I a t h e r # G i v e m e t h i n e h a n d , K n i g h t , t h e n e x t t i m e I c o m e i n t o t h y c o m p a n y , t h o u ( h a l t n o t o n e l y b i d m e w e l c o m e , b u t h i r e m e c t o f t a y w i t h t h e e , a n d t h y d a u g h t e r . ; J 7 r , fefr.. W h e n I d o c t h a t , e n j o y m y f u l l c o n f c n t , T o mixxyQraciana. Sencer. T i s a m a t c h , f t r i k e m e c l u c k c s W i f e t h a t m a y b e e , f a r e w e l l : F a t h e r i n l a v / t h a t M u ' V b e e a d i c w . T aber , p l a y b e f o t e , m y f r i e n d A n d I w i l l . d a u n c e a f t e r . , Exeunt: Sir H ar. W h e i i l r e c e i v e f j i e e g I a d l y , t o m i n e h o u f e , , A n d w a g e t h y f t a y , t h o u ( h a l t h a v e , Graciana, D o u b t n o t , t h o u m a l t . H e r e ’ s a f t r a n g e H u m o u r i f t , T o c o m e a w o o i n g . Taber, a r e . t h e y g o n e ? Tab. 1 h a v e p l a i d t h e m a w a v , i f i t p l e a f e y o u r W o r f h i p ; a n d y o n d e r a t t n e d o o r e a t t q i d s a S c n o o l s n a f t e r , y o u f e n t f o r h i m , i f y o u r e m e m b e r , t o t e a c h m y l i t t l e y o n g M a f t e r a n d M i f t r i s . Sir Har. A p r o p e r S c h o l l e r , p r a y h i m t o c o m e n e a r e # Mitftr a fcdanticaU Schoelmaftery Sir f e o n i f a c c . Sir Bonif. Eejues Honoratus: A v e fa lu ta lw : non Video quid eft in Ter,go , fe d falve bona virgo. Sir Har^S'w, y o u m a y c a l l m e n i c k - i t a m e s : i f y o u l o v e m e , f p e a k e i n y o u r M o t h e r - t o n g u e ; o r ; a t t h e k a f t , i f L e a r n i n g b e f b m u c h . a l l y ' d u n t o y o u , t h a t L a t i n e u n a w a r e s f l o w e s f r o m y o u r l i p s : t o m a k e y o u r m i n d f a m i l i a r w i t h m y k n o w l e d g e , p r a y u t t e r i f i n E n g l i f h : w h a t ’ s y o u r n a m e ? Sir ISO \ \ SO o 310 820 210 behind [you], but greetings, good maiden. 816-820. Sir . . . name?] Mermaid prints these lines as blank verse: "Sir . . . me, / Speak . . . least, / If . . . you, / That . . . lips, / To . . . knowledge, / Pray . . . name?" They may well be. 821. Sit faustum tibi omen.1 May it be a favorable omen to you. 822. Nomen 1 Name. 827. Intende vir nobilis.1 Pay attention, noble sir. 828. not for twenty Nobles] Woodrow W. Powell, p. 199, has observed that "the hyperbolical use of 'twenty' for a large number was proverbial"; e.g., Tilley, W919: "The worst of law is that one suit breeds twenty." For similar, though less emphatic, uses of the expression in The Wise Woman, see 11. 96, 288, 1806. See also The Fair Maid of the Exchange (II, 73) and A Challenge for Beauty (V, 55, 62, 63). The noble referred to here is possibly the gold coin first minted by Edward II, but more probably the George Noble of Henry VIII, which had a value of 6s. 8d.--Webster's New International Dictionary. 2d ed. (Springfield, Mass., 1955) . 830-832. 0. . . . neqlicritis . 1 Mermaid prints these lines as prose, which I think they are. The W ife-wom an o f Hegfdo*. Sir So ft if. Sit faufi/tm tiki omen. l i e t e l l y o n m y Nomen. S ir Har, W i l l y o u t e l l i t t o n o m e n . H e e n t c r t a i n c n o n e e * r e I k n o w t h e i r n a m e s : M a y , i f y o u b e f o d a i n t y o f y o u r n a m e , Y o u a r e n o t f o r m y f c r v i c e . ( - Sir Bonif. Jntende vir nobilit. _ Sir Har. N o t f o r t w e n t y N o b l e s : T r u f t m e , I w i l t n o t b u y y o u r n a m e f o d c a r c . S % r Bon .0 Ignorant ia! w h a t i t i s t o d c a l c w i t h f t u p i d i t y ? S i r Henry, SirHenrj, h c a r c m c o n e w o r d , I (ec.Preceftor legit >vot vtro negligitis. Tab. I t h i n k c h e f a i t h w e a r c a c o m p a n i e o f f o o l e s , a n d N i g i c s , b u t I h o p e y o u ( h a l l n o t H a d u s f u c h , M a f t c r S c h o o l - m a t t e r . Sir Har. F r i e n d , f r i e n d , t o c u t o f f a l l v a i n e c i r c g m f t a n c e . T e l l m e y o u r n a m e , a n d a n f w e r m c d i r c & i y , i P l a i n l y , a n d t o m y u n d e r f t a n d i n g t o o , O r I m a l l l e a v e y o u : h e r e ' s a d e a l e o f g i b b c r i f l i . Sir Bonif. Vir bone. Sir H ar . N a y , n a y , m a k e m e n o b o n e s y b u t d o * t . Sir 'Bonif, T h e n i n p l a i n e v u l g a r E n g l i f t i l a m c a l l ' d , Sir Bonif ace jibfee. Sir H ar. W h y t h i s i s f o m c w h a t l i k e , Sir Bonifaeo% G i v e m e t h i n e h a n d , t h o u a r t a p r o p e r m a n , . A n d i n m y j u d g e m e n t , a g r e a t , S c h o l i e r t o o : W h a t f h a l l I g i v e t h e e b y t h e y e a r c ? Sir Bonif. 1 1 c t r u f t , S i r , t o y o u r g e n c r o f i t y ; I w i l l n o t b a r g a i n c , b u t a c c o u n t m y f c l f c * * MiUe &miUe mo die. b o u n d t o y o u . Sir Har. I c a n n o t ' l e a v e m y M i l s , t h c y * r f a r m ' d a l r e a d y , T h e f t i p e n d t h a t I g i v e , f b a l l b e i n m o n e y . Taber. S u r e S i r , t h i s i s f o m c M i l l e r t h a t c o m c s t o u n d e r m i n e y o u , i n t h e f h a p e o f a S c h o o l m a f t e r . Crat. Y o u b o t h m i f t a k c t h e S c h o l i e r , Sir Har. I u n d e r f t a n d m y E n g l i f h , t h a t I k n o w ; W h a t ’ s m o r e t h e n M o d e r n e , d o t h f u r p a i f e m y r e a c h . D Sir 211 83 0 S f O 6 5 0 212 832. Preceptor legit, vos vero neqliaitis.1 The teacher reads; you truly are indifferent. The plural 1 1 vos" suggests that this may be a quotation, but I have not been able to trace it. 834. Nigits] "Idiots" (OED). 840. Vir bone. 1 Good man. 841. make me no bones] Proverbial (Tilley, B527): "He made no bones of it." "No difficulties" (Mermaid). 843. Sir Boniface Abseel See the note to 1. 35. 850. Mille & mille modis1 In a thousand and a thousand ways . 851. farm'd] "To let to another during a specified term on condition of receiving a specified payment" (OED, Farm. vb., 2 ) . 861. dispatch't] Dismissed with the conditions of employ ment settled (OED, Dispatch. 3). 863. Familist] Probably a satiric allusion to the Family of Love, the English followers of the Dutch mystic, Henry Nicholas. The word came to be a term of contempt for any eccentric and schismatic mystic, although Taber is not usinc it precisely this way. He may be playing upon the popular opinion that Familists were indecent or sexually promiscu ous at their meetings. It is a cheap joke, an easy laugh. 213 The Wife-worn an o f Hogfdo#.. Sir Bonifaee, c o m e t o m e t w o d a y e s h e n c e , Y o u f h a l l r e c e i v e a n a n f w e r ; I h a v e n o w , M a t t e r s o f f o m e i m p o r t t h a t t r o u b l e m e , i T h o u ( h o u l d f t b e c l f e d i f p a t c h ’ t . • Taber. Sir Boniface* i f y o u c o m e t o l i v e i n o u r h o u f c , a h d b e a F a m i l i f t a m o n g f t u s , I f h a l l d e f i r c y o u b e t t e r a c q u a i n t a n c e , y o u r N a m e a n d m y P h i f h o m y f h o u l d h a v e f o m e c o n - f a n g u i n i t i e , g o o d Sir 'Boniface. S ir Bonif Qnomedo valesquomodo vafirr. Taber. G o e w i t h y o u t o t h e A l c - h o u f e ? I l i k e t h e m o t i o n w e l l ; l i e m a k e a n e x c u l e o u t o f d o o r c s a n d f o l l o w y o u . 1 a m g l a d y e t , w e f h a l l h a ^ e a G o O d - f e l l o w ' c o m e i n t o t h e l i o l i i b a m o n g f t u s . ; ; \ Sir Bonif. Vale vir magne. Sir Har. Y o u ( h a l l n o t h a v e m e a t S a i n t <JM*gnes% m y h o u f e i s h e r e i n Gracioui-flrtet. ' \ Sir ’ Bonif. \ k n o w i t , f w e e t K n i g h t , I k n o w i t . T h e n virgo formofa>& Domine gratiefe valete. Sir lia r. E y , i n Gracious.ftreet y o u f h a l l h e a r e o f m e , . Sir Bonif. H e ( h a l l i n f t r u f t m y c h i l d r e n ; a n d t o t h e e , F a i r c Gratia**, r e a d e t h e L a t i n e t o n g u e . . . . < Taber. W h o , ( h a l l S i r B a w d y > f a c e ? - Sir Har . Sir Boniface, y o u f o o l e . Taber . H i s n a m e i s f o h a r d t o h i t o n . Sir Har. C o m e D a u g h t e r , i f t h i n g s f e l l o u t a s I i n t e n d ^ M y t h o u g h t s . f h a i l p m c ^ a v e , a n d , t h c f c t r o u b l e s e n d . ; . ... . \ ''€'xplicii'erfRiu'fccandiU+ 4 A ii tftys« tertius, Scena prima. , JBrAer ib'efecondtLcc, wbichveAf l a c k in woman* appqreff, and the W i f e - w o m a n . Wifereo. la ck a t h o u a r t m y B o y a : . » . a. Lute. ib&ktitlr w.r*h: ,. • . . . Wifewo'. 86 O 8 7 0 8 6 0 890 214 See William Haller, The Rise of Puritanism (New York, 1938), pp. 205-206, and Barber, p. 232. 866. Ouomodo vales. quomodo vales.] How do you do, how do you do? The expression also appears in The Fair Maid of the Exchange (II, 56). 869. Good-fellow] "A boon companion, a convivial person, a reveller" (OED). 871. Vale vir magne.1 Farewell, great man. 872. Saint Magnes1 "A church in London at the bottom of Fish Street Hill, just at the foot of old London Bridge" (Sugden). 873. Gracious-street1 See the note to 11. 169-170. 875. virgo . . . valete1 Beautiful maiden and gracious master, farewell. 877. Sir Bonif.1 The name is not a speech-prefix and should be spelled out fully. Nor is it a metrical part of the rest of the line, which is in decasyllables. Mermaid suggests that Sir Boniface exit as his name is being spoken by Sir Harry. 894. 2 Luce.1 Two other copies (L^, IU) show no period after "2". Others reveal a faint period or a clear period. Hence I think the phenomenon is one of faulty inking rather than being an indubitable press variant. The tVife-w tm dn t f hogfddtf. W ife m , l i e b e a i ^ o t t i e r t 6 t b e ^ ) i o ; ^ i f t H ^ : f : c o f l ^ l . a d > I m u f t h a v e t h e e f w o r n e t o t h e o r d e t s o f m y h o u f c , a r i d t h e f e c r e t s t h e r e o f . * a Luce. A s I a m a n h o n e f t L a d , I a i n y o u r s t o c o m m a n d . B u t M i f t r i s , w h a t r r i e a h e a l l t h e f e / W b m e n s p i c t u r e s , b a n g ’ d h e r c l r i y o u r w i t h d r a w i n g r o o r r i e ? ' , ’ Wtfewo. l i e t e l l t h e e , B o y ' ; m a r r y t h b r i t p u f t b e f e c r e t . ' W h e n a n y C i t i z e n s , o r y o n g G e n t l e m e n c o m e h i t h e r , u n d e r a c o l o u r t o k n o w t h e i r F o r t u n e s , t h e y I o o k e u p o n t h e f e p i c t u r e s , a n d w h i c h o f t h e i t j t h e y b t f t / i k c , { h e i s r c a d y . w i t h a w e t f t n g b r : h e r e t h e y h a v e a i f ^ h e 1 f u t m t i i r e b e l o n g i n g t o a p r i v a t - c K a m b e r , b e d a e , b e d - f e l l b w 4 n c N l l ; b u t 1 m u r i i , . t h Q U k n o w e f t m y m e a n i n g , Iacke. , * . > ’ ’ 2 . Luce. B u t I f e e c o m m i n g a n d g o i n g , M a i d s , o f f u c h a s g o c f o r M a i d s , ' f o r i i c d f t h e m , a s i f t h e y \ y e f e r e a d y t o l i e d o w n e , f p m e f i r n c S t w o o r t f y r $ d e l i v e r e d i n o n e r i i g h j f * t h e n f u d d c n l y l e a V c t h e i r B t a t s b d h i i t d t h e m , a n d c o n v c i g h t h e m f e l v e s i n t o t h e C i t i e a g a i n e : w h a t B e c o m e s o f t h e i r C h i l d r e n ? ; . ’ fPi/ewo, T h o f c b e K i t c h i n - m a i d s , a n d C h a m h e r - m a i d s , a n d f o m e t i m C s J g p o a . i r i e f t e b a r i g h t c i s • ; W h b h a V l r ^ c a t b h c a c l a p , , a r i d g r o w i n g n c a r e t h C l r t i i r i e / ^ e t l e a v e t b f c e t h e i r . f r i e n d s i n t h e C o u n t f e j r , ‘ f o t ; a f N ^ e e k ^ o r f o ' : t h e n . l i i c f e r t h e y c o m b , a n d f i o r a m a t t e r o f i n b r i c y J l h $ r e t h ^ v a t e d e l i v e r e d . 1 h a v e a M i d w i f e o r t w o ' b e l o n g i n g ' t o t h e n d u f t u a b d o h c Sir Bortifttfe a D e a c o n , t h a t m a k e s a ( h i f i t o c ^ r i f f c c r t i h c i n f a n t s 1 : W e h a Y e p o b r c > . M i f t a r i d f o r c o m m o n G o f l i p s . B u t d o f t r i o t t h o u k n o w t h i s ? 2. Luce. Y e s , r i o w I d o e : b u t w h a t a f t e r b e c o m e s o f t h e p o o r e I n f a n t s ? fVlfewo. W h y , i n t h e n i g h t w e f e n d t h e m a b r o a d , a n d l a y o n e a t t h i s m a n s d o b r e , a n d a n o t h e r a t t h a t , f u c h a s a r e a b l e t o k e e p e t h e m ; a n d w h a t a f t e r b e c o m e s o f t h e m , w c i n q u i r e n o t . A n d t h i s i s a n o t h e r f t r i n g t o m y B o w e . 2 . J & # c r . M o f t f t r a n g c , t h a t W o m a n s b r a i n f h o u l d a p p r e h e n d S u c h l a w l c f T e , i n d i r e f t , a n d h o r r i d m e a n e s F o r c o v e t o u s g a i n c I H o w m a n y u n k n o w n c T r a d e s D 2 W o m e n 215 300 3/0 320 216 898-899. under a colour] "Under pretext or pretense" (QED. 12d). See also 1. 1932. 9 00-9 01. with a wet finger] "Without any trouble, with the greatest ease that can be" (Tilley, F234): "With a wet finger." "With as much ease as any light substance is caught up by moistening one's finger" (Mermaid). 911-912. catcht a clap] The common meaning is "to have contracted gonorrhea," but here Heywood seems to intend it to mean "to have been made pregnant." Possibly there is the sense of having met with a "stroke . . . of misfortune" (QED. Clap. 6), in this case pregnancy. 916. makes a shift] "To attain one's end by contrivance or effort" (QED, Shift, 6b). There is also the idea of "shift" as "a fraudulent or evasive device, a stratagem" (QED. 4), but the context implies a genuineness to Sir Boniface's efforts. 917. secret] "Not given to indiscreet talking or the revelation of secrets" (OED, A2). 918. common] "Free to be used by every one" (OED, 6); "generally accessible" (OED. 9). 918. Gossips] "A godfather or godmother; a sponsor" (OED, t t la) . 924. another string to my Bowe] Proverbial (Tilley, S937): The W tfe-teom tn %f Hogfdon. W o m e n a n d m e n a r e f r e e o f , w h i c h t h e y n e v e r H a d C h a r t e r f o r ? b u t M i f t r i s , a r c y o u f o C u n n i n g a s y o u m a k e y o u r f e l f c : y o u c a n N e i t h e r w r i t e n o r r c a d e , w h a t d o e y o u w i t h t h o i c B o o k e s y o u f o o f t e n t u r n e o v e r ? fVifew. W h y t e l 1 t h e 1 c a v e s ; f o r t o b e i g n o r a n t , a n d f e e m c i g h o r a n t , w h a t g r e a t e r f o l l y ? 2 . Lnce. B e l e e v c m e , t h i s i s a c u n n i n g W o m a n ; n e i t h e r h a t h f t i c e h e r n a m e f o r n o t h i n g , w h o o u t o f h e r i g n o r a n c e , c a n f o o l c f b m a n y t h a t t h i n k c t h c m f e l v e s w i f e . B u t w h e r e f o r e h a v e y o u b u i l t t h i s l i t t l e C l o f e t c l o f e t o t h e d o o r e , w h e r e f i t t i n g , . y o u m a y h e a r e e v e r y w o r d f p o k e n , b y a l l f i l c h a s a s k e f o r y o u . Wifew*. T r u e , a n d t h e r e f o r e I b u i l t i t : i f a n y k n o c k , y o u m u f t t o t h e d o o r e a n d q u e f t i o n t h e m , t o f i n d w h a t t h e y c o m e a b o u t , i f t o t h i s p u r p o f e , o r t o t h a t . N o w t h e y i g n o r a n t l y t e l l i n g t h e e t h e i r e r r a n d , w h i c h I f i t t i n g i n m y C l o f e t , o v c r - h e a r e , p r e f e r i t l y c o m e f o r t h , a n d t e l l t h e m t h e c a u f e o f t h e i r c o m m i n g , w i t h e v e r y w o r d t h a t h a t h p a f t b e t w i x t y o u i n p r i v a t e : w h i c h t h e y a d m i r i n g , a n d t h i n k i n g i t t o h p m i r a - ’ c u l b u s , b y . t h e i r r c p p ' r p I b e c o m e t h u s f a m o u s . , , ; . Lnci. T h i s i s ' n o ^ r a j d c , b u t a M y f t e r i c ; a n d w e r e I a \ V i f e - w o m a n , a s i n d e e d 1 a m b u t a f b o l i i f h B o y * , I n e e d n o t l i v e b y y o u r f c r v i c c . , B u t M i f t r i s , w e l o f e o u r f e l v e s i n t h i s d i f c o u r f e , i s n o t t h i s t h e m o r n i n g i n w t i c h I f h o u l d b e s p a r r i e d ^ . , , ‘ ' " , , ’ ‘ Wifewo. N o w , h o \ y h a d I f o r g o t m y l e l f e ? M i f t r i s Lxco p r o i p i f t t o b e w i t h i r i e e b a l f e a n h o u r c a g o c b u t m a s k ’ t a n d a i f g u i s ’ d , a n d f o ( h a f t t h o u b e t o o : h e r e ' s a b l a c k c V a i l e t ® , h i d e t h y f a c e a g a i n f t t h e r e f t c o m e . E a t e r S i r B o n i f a c e . ’ 4 * * * * 1 • J \ k ' Sir Bonif. S it tibi bon* dies: folds & qnies. Wife wo. I n t o t h e w i t h d r a w i n g r o o m e , Sir Bwifacd. ' Sir Bonif W i t h o u t f a n y c o m p u n c t i o n * I w i l l m a k e t h e C o n j u n f t i o n . /E x i t . ivifcwo . 217 3 3 0 9Vo 3 5 0 3G 0 218 "It is good to have two strings to one's bow." See also The Captives. p. 63. 925-929. Most . . . for?] An aside (Mermaid). 928-929. free . . . for] Do freely what they never have had authority to do. 929-932. but . . . over?] Mermaid prints these words as prose, in the belief, apparently, that the aside is poetry but that the ragged metrics of the words addressed to the Wise Woman should be prose, as are the rest of Second Luce's speeches here. 933. tell] "Count over" (Mermaid). 935-937. Beleeve . . . wise.] An aside (Mermaid). 949. Mysterie] "An action or practice about which there is, or is supposed to be, some secrecy . . . or highly technical operation" (OED, Mystery- * - . 8). There is the sug gestion of art as well. "Art and mystery" was, "a formula usually employed in the indentures by which apprentices were bound to a trade," as, for example, [To] instruct the saic. John Wormell in the said science mistery and trade of a woollen draper'— Boroucrh Deeds Maldon (Essex) Bundle 148 No. 5, 1627," and "'The Accomplisht Cook, or the art and mystery of cookery'— R. May (title), 1660" (OED. Mystery^. 2b). 959. Sit . . . CTuies.] May it be a good day to you, safe The W ifc-nem an e f HogfJo*. ry ife v . N o w k e e p e t h y c o u n t e n a n c e , B o y . a . Luce, F e a r c n o t m e c , I h a v e a s g o o d a f a c e i n a M a s k e , a s a n y L a d y i n t h e L a n d c o u l d w i i " h t o b a r e : b u t t o m y h e a r t , h c e c o m e s , o r h e c o m e s n o t ; n o w a m I i n a p i t t i f u l l p e r p l e x i t y , u n t i l l I f e e t h e e v e n t o f all, fVifcvre, N o m o r e Jacke n o w , b u t M i f t r i s Luce, a,Luce, I w a r r a n t y o u M i f t r i s : t h a t i t h a p p e n s f o l u c k i l y , t h a t m y n a m e f h o u l d b e Luce t o o , t o m a k e t h e m a r r i a g e m o r e f t r m e ! Enter C h a r t l e y difguis*dy and in a Vtfurd. Chart, M y h o n e y f v v c e t H a g g c , w h e r e ' s Luce ? trifervo. H e r e f v v c e t h e a r t , b u t d i f g u i s ’ d a n d v a i l ' d , a s y o u a r e v i i a r d e d . Chart, B u t w h a t ’ s t h e r e a f o n w e e a r e t h u s H o o d - w i n k t ? ■ « Wiftre. N o d i f c o v c r y o f y o u r ( e l v e s f o r a m i l l i o n , t h e r e ' s Sir Boniface w i t h i n , ( h a l l n e e b l a b w h o y o u a r c ? B e f t d c s , t h e r e ' s a y o n g H e i r c t h a t h a t h f t o l n e a L o r d s D a u g h t e r f r o m t h e C o u r t . , a n d w o u l d n o t h a v e t h e i r f a c e s f e e n c f o r a W o r l d t c a n n o t y o u b e c o n t e n t i d f e r e w e l h a n d k e e p e y o u r o v v n c c o n n f c l l , a n d f e c v y o n d c r t h e y c o m e . Enter at feveraff places , B o y f t e r viforded , and . L u c e masl£t« . i. 1 1 ;ii i . r Chart, G r a m a r c i e m y S u g a r - c a n d i e ( v y c e t T r o t . tvlfewe , , M u m , n o m o r e W o r d s . J ? Chart, I f t h e g r e a t H c i r e a n d t h e y o n g L a d y b e f o d a i n r y o f t h e i r C o m p l e x i o n s , t h e y (hall fee (m y f v v e e t Luc i f v v e e c a n v i i a r d i t w i t h t h e b e f t o f t h e m . . : ; ^ . i > Luce-, T h a t G e n t l e m a n , b y t h e W i f e v v o m a n s d e s c r i p t i o n , I h o u l d i b c M a f t c r Cbariity. ■ . v > -(M ean in g B o y f t e r . ) Bcjft.s T h a t g a l l a n t W e n c h , . i f m y i G r a n n a m ( a b l e n o t , S h o u l d b e Luce : b u t v v h a t b e t l i o f c o t h e r ? Wife*** Y o i i w r o n g , m e t b u t t o a s k c ^ w h o ' b u t a y o n g 219 9 1 0 9Q O 3 9 0 220 and quiet. 962. Conjunction] The word is probably capitalized to emphasize the bawdy joke and should not be taken for blank verse. See also The English Traveller (IV, 8). 963. keepe thy countenance] Do not become disconcerted. 964. good . . . Maske] A double pun: "good a face" sug gests an attractive countenance as well as not becoming dis concerted; "Maske" suggests a vizard as well as the popular Elizabethan and Jacobean revel. 965-967. but . . . all.] Probably an aside. 969-971. that . . . firme'. ] An aside. 976-977. Hoodwinkt] Masked, their faces "cover[ed] up from sight" (OED). Ironically, they are also being deceived. 988. be . . . Complexions] Be so disinclined to expose their faces. 992. (Meaning Boyster.)] Jewkes, p. 304, has observed the several marginal directions enclosed in brackets and be lieves them— especially this one which explains "an inten tional confusion in the plot"--to be probably Heywood's. 'Hence Jewkes believes that this is more evidence that the play was set from Heywood's manuscript rather than from a prompt copy, since there are "no directions which undeniably [originated in the preparation for actual performance; no . » • ‘ 1 ..... i * ' ' J v ' ■ 7 he Wifc-wOMd# tftfo g fa o n . H c i r ^ / a n d a L a d y i o f t h e C o u r t \ t h a t * s Luce, t a k e h e r , a n d k e e p e y o u r p r o m i f e . • • « - • » • > , • ; Bpyfl. I3 oca* paiafrras. ' ; tVtfewo. T h a t ’ s Cb'artley, r a k e l i l r r i Lace. Luce, Bur w h o be they!? ; v \ f , W ifcwo: A- Lord and Lady. ("hall S ir/B m ifact ftuy, ‘ R a t h e r t h e n f o , f t r i v c r w h o i h o t i l d l e a d c t h e w a y . . Exeunt Chartley w ith lack, ^ B o y f t e r with L u c e * Wifewo. N o w lack. m y B o y , , k e e p e t h i n e o w n e c o u n f c l / , a n d c o u n t e n a n c e ^ a n d I ( h a l l S c r j n q u i t t a n c e w i t h , m y y b n g G a l l a n t . W e l l , b y t h i s t i m e j S / r ' S o w / i i c f i s a t h i s B o o k e . B a t b e c a u f e t h e r e i s a m i f t a k e , k n o w n e o n e l y t o m y B o y . a n d m y f c l f e ; . t h e M a r r i a g e I ( h a l l b e n o f o o n e r e n d e d , b u t l i e d i f t u r b e t h e m b y f o m e l u d d e n o u t * c r y , a n d t h a t C o o , b e f o t e t f t e y ; h a v d l e a f u r e ' t o u n m a s k e * a n d - m a k e k n o w n e ' t h e m f e l v e s o n e - t o a h o t h e r ■ f o r i f ’ t h e d c c e i t e w e r e k r t o w n e , l i h o u l d f e l l i n t o t h e d a n g e r o f t h a t y o n g m a d R a f c a l i l . A n d n o w . t h i s d o u b l e a p p r e h c n f i o n ; o f t h e L o r d / a n d t h e L a d y , ( h a l l f e t c h : m c c o f f f r o m a l l ; I k n o w i t i s Sir Bonifae e h ii c u f t o m c ; ; t Q m a k e i h b r c w o r k e , a n d h a t h d i f p a t c h t b y t h i s : A n d n o w W i f c - v v o m a n , t r y i f t h o u c a n f t b e f t i r t h y f e l f e l i k e t o a M a d - W o m a n — i h i f t f o r y o u r f e l v e s , W a r r a n t s a n d P u r f e v a n t s ! A w a y , W a r r a n t s a n d P u r f e v a n t s I f h i f t f o r y o u r f e l v e s . » W ? i i ' . ' * ? f ' S ' i > . • ’ ’ > E nter, at affrightedandamazad yC hzrttey, B o y f t e r , B o n i f a c e , and others. Chart. l l e t a k e ^ h i s w ^ r . ‘ L 1 1 d . : Ttoyfl. I t h i s ; " T v . . 7 . . d : - Exeunt. Bonif. Currd Currii Cucarri . v f l v f y c h c c k s i t e a l l M u r r y , A n d 1 a m g o n e i n a n h u r r y . E x it. Luce. O H e a v e n ! w h a t f h a l l b c c o m e o f m e ? a. Luce. I k n o v v w h a t l h a l l b e c o m e o f 1 m e a l r e a d y . WiftVfo* o f v v c e t D a u g h t e r , i h i f t e l o a t h e s w i t h t h i s L a d y 1 221 lOOO 101 o 10 20 222 notations for stage property, or warnings to be ready, or early entrances." 993-994. That . . . other?] Mermaid prints these lines as prose, which they may be. 993. gallant] "Fine-looking, handsome" (OED, 2). 998. Pocas palabras.1 Few words (Spanish). 1014. Rascall] "A rogue, knave, scamp" (OED). Compare 1. 2253, where "sweete raskall" is "used without serious im plication of bad qualities" (QED. 3b). 1019. Warrants] "A writ or order issued by some executive authority empowering a ministerial officer to make an ar rest, a seizure, or a search" (OED). There is a suggestion that the word may refer to the agent who bears the warrant, but OED gives no such meaning, and "Pursevants" adequately accounts for the bearer of the warrant. 1019. Pursevants] "A royal or state messenger with power to execute warrants" (OED). 1022. others 1 Luce and Second Luce. 1025. Curro Curris Cucurril I run, you run, I have run. A fragment from a conjugation, illustrative of the pedantry of Sir Boniface, whose very exclamations smack of the Latin grammars of his day. See also 1. 1397 and the notes to 11. 1429-35. 223 The, Wifc'tvoman oftjlegfdw. , L a d y f N a y , a s t h o u l o v ’ f t t h y c r e d i t a n d m i n p ? c h a n g e H a b i t s — S o , i f t h o u b e e * f t t a k e n i n h e r G a r m e n t s , f i n d i n g t h e m i f t a k e , w i l l l e t t h e e p a f f c ; a n d f t i o u l d t h e y , m e e t h e r i n t h i n e , , n o t , k n o w i n g h e r , w o u l d . n o w a y d u e f t i o n h e r : a n d t h i s p r o / c t o b o t h y o u r f e c u r i t i e s a n d m y f i f e t y . Luce, A s f a f t a s I c a n , g o o d M o t h e r : S o " M a a a m f a t e - ' w e l l . 2 . Luce, A l l h a p p y j o y e s b e t i d e y o u . E xit, fVifeiv, H a , h a , I d t m e h o l d m y ’ f i d e s , a n d l a u g h : H e r e w e r e e v e n a I 5 l o t t o m a k e a p l a y o n , b u t t h a t Chart ley is f o f o o l ' d b y ’ m y Boy lack*: W e l l , h e c l c m a k e a n o t a b l e W a g g e , l i e w a r r a n t h i m . A l l t h e l e f t w i l l b £ e , i f ’ Boyfter f h o u l d m e c t e w i t h h i m i n Lucc*s h a b i t t , w h i c h h e c h a t h n o w o n , h e e w o u l d t h i n k e h i m f e l f e m e c r c l y g u l l ’ d a n d c h e a r e d ; a n d f h o u l d Chart ley m e e t w i t h Luce a s l h c c i s n o w R o a b * d , h e e w o u l d b e e c o n f i d e n t h e e h a d m a r r y e d h e r . L e t m c e f e e h o w m a n y T r a d e s h a v e I t o l i v e b y i F i r f t , I a m a V V i f e - v v o m a n , a n d a F o r t u n e t e l l e r , a n d u n d e r t h a t I d e a l e i n P h y f i c k e a n d F o t e - f p e a - k l n g , i n P a l m i f t r y , a n d r e c o v e r i n g b f t h i n g s l o f t . N e x t , I u n d e r t a k e t o c u r e M a d d f o l k e s ; T h e n I k e e p e G c n t l c - w o m e n L o d g e r s , t o f u r n i f h f u c h C h a m b e r s a s I l e t o u t b y t h e n i g h t s T h e n I a m p r o v i d e d f o r b r i n g i n g y o u n g W e n c h e s t o b e d • a n d f o r a n e e d , y o u f e e I c a n p l a y t h e M a t c h - m a k e r . S h c c ' t h a r i s b u t o n e , a n d p r o f e f l e t h f o . m a n y , m a y w e l l b e e t e a r m c d a W i l e - w o m a n , i f t h e r e b e e a n y . E x it , Enter *Bojfter, 'Eeyft* W h y , r u n n e a w a y , a n d l e a v e m y W e n c h b e h i n d ? H e b a c k e : w h a t h a v e W a r r a n t s a n d P u r f e v a n t s t o d o c w i t h m c e ? w i t h m e e ? w h y f h o u l d I b u d g e ? w h y f h o u l d I w c a r c M a s k e o r . V i l a r d ? i f L o r d s o r L a d i e s o f f e n d , l e t L o r d s a n d L a d i e s a n f v y e r ; l e t m e e b e t t e r b e t h i n k e m e e . W h y f h o u l d I p l a y a t H o b - m a n b l i n d e ? H u m ; w h y j n a r r y i n Ttnebris , h a L i s t h e r e n o t r i c k e i n i t ? I f m y G r a n n a m : 1 0 3 0 IO*f O i 1 0 5 0 tOBO 224 1025. Murry] "A dark red colour" (Mermaid). 1029. 0 sweet Daughter] Presumably the Wise Woman is ad dressing Luce, who elsewhere is called the same name (1. 594) and addresses the Wise Woman as "Mother" (1. 1809). 1035-36. So Madam farewell.] With these words Luce exits, as Mermaid indicates. 1044. meerely] "Absolutely, entirely; quite altogether" (OED). See also 1. 1631. 1064. Hob-man blinde] "Blind man's buff" (Mermaid). 1065. in Tenebris] In darkness. 1065-66. If . . . Brother] Proverbial (Tilley, B686): "He has made a younger brother of him." 1075. Heyday] "An exclamation denoting frolicsomeness, gaiety, surprise, wonder, etc." (OED). See also 1. 2288. 1075. Hoberdehoy] OED does not list this exact form of the word, although the definition of "Hobbledehoy" seems satisfactory: "a youth at the age between boyhood and man hood, a stripling." 1082. woe] "Sorrowful" (Mermaid). The use of "woe" as a nonpredicative adjective is rather unusual, although the expression "woe case" is not peculiar to Heywood (OED. Woe. C2) . 1085. so you are like] So you are like to do. 225 The Wife-woman o f fiogfdon. G r a n t i a n i f l i o u l d m a k e m e e a y o n g e r B r o t h e r n o w , a n d i n f t e a d o f Luce , p a p m e e o f f w i t h f o m e b r o k e n c o i n - m o d i t i e j I w e r e f i n e l y f e r v ’ d : m o f t f u r e I a m , t o b e i n f o r b e t t e r a n d w o r l e , b u t w i t h w h o m , H e a v e n a n d m y G r a n n a m k n o v v e s . Enter half tread] and mask!> 2. L u c e . a . Luce. I a m f t o l n e o u t o f d o o r c s , t o f e e i f I c a n m e e t m y H u s b a n d ; w i t h w h o m I p u r p o l e t o m a k e f o m e f p o r t , e r e I f u d d e h l y d i f c i o f c m y f e l f c : w h a t ’ s h e e ? *Boyft. H e y d a y , w h a t h a v e v V e e h e r e , a n H o b e r d e h o y ? c o m e h i t h e r y o u . 1. Luce. * T i s M i f t r i s Luces H u s b a n d , l i e n o t l e a v e h i m t h u s . W h a t a r t t h o u > S . Luce. D o c y o u n o t k n o w m e e ? T h a t M a s k e a n d R o b e I k n o w . a . Luce. I h o p e f o , o r c l f e I w e r e i n a W o e c a f e . Hoyfi. T h a t M a s k e ; t h a t G o w n e I m a r r i e d . , a . Luce. T h e n y o u h a v e . n o r e a f o n , b u t t o i n j o y . b o t H t h e m a n d m e t o o , a n d l o y o u a r e l i k e ; I f h o u l d b e l o a t h t o d i v o r c e M a n a n d W i f e . Boy ft. j a m f o o l ’ d , b u t v v h a t c r a c k t w a r e a r c y o u , f o r f o o t h ? 2. Luce. I b e l o n g t o t h e o l d G e n t l e w o m a n o f t h e h o u l e . Boyfl. l i e f e t h e r h o u f e o n f i r e : I a m f i n e l y b o b b ' d . a . Luce. B u t I h o p e . y o u w i l l n o t b o b b m e . N o l ' f c w a r r a n t t h e e : v v h a t a r t t h o u ? G i r l c o r B o y ? 2 . Luce. B e t h , a n d n e i t h e r ; I w a s a L a d d l a f t n i g h t , b u t i n t h e m o r n i n g I w a s c o n j u r e d i n t o a L a f f e : A n d b e i n g a G i r i c n o w , I f h a i r b e t r a n f l a t c d t o a B o y a n o n . H e r e ’ s a l l I c a n a t t h i s t i m e f a y f o r m y f c l f e : F a r e w e l l . Y e s , a n d b e h a n g ’ d v v i t h a l J . O f o r f o m e G u n p o v i f d c - 10 7 0 1060 10 9 0 m 1100 226 The Wife-woman of IIegfden. p o w d e r t o b l o w u p t h i s . W i t c h , t h i s , S h e s ^ o a t t , t h i s d a m n ’ d S o r c e r e l f b I O I c o u l d t e a r ' e h e r f o f i t t e r s w i t h m y t e e t h • Y e t I m u f t b e ' p a t i e n t , a r i d p u t u p a l l , l e f t £ b e e m a d e a j e c r e t o f u c h a s k n o w m e e ; f o o l ’ d b y a B o y I G o e t o o , o f a l l t h e r e f t , t h e G i r l e Letce 'Wu f t n o t k n o w i t . ' , E xit, / * ■** * * ’ in te r C h a r t l e y and hit man , meet- f ing L u c e . . Chars. S o , n o w a m I t h e d a m e n l a t i j f W a * y ’c f t c r d a y ; w h o c a n ( a y I w a s d i f g u i s ’ d ? o r w h o c a n d i f t i n | £ u i l h m y c o n d i t i o n n o w ? o r r e a d c i n m y f a c e , w l i - t h e r I b e a m a r r i e d m a n , o r a B a t c h e l o r ? Luce. W h o ’ s t h a t ? , 1 ; , • Chart. Luce. e ‘ ' * ' ' " Luce. S w e e t H u s b a n d . , i s i t y o i i ? . \ ‘ . ' ; ' , - Chart, T h e n e w e s ? ■ ° Luce. N e v e r f o f r i g h t e d i n m y d a y c s . , ’ . Chart• W h a t ’ s b e c o m e o f j t h c L o r d a n d t h c L a d y ? . - Luce, T h e ' L o r d f l e d a f t e i - y o u , t h e , L a d y f t a i d ^ ' w h o m a s k t , a n d h a l f c u n r e a d y , f a t f & f t ' a & c r h e r p o o E c ’ d ^ r j ^ t e d H u s b a n d : n o w a l l ’ s q u i e t . ! Chart. T h i s f t o r m c i s t h e n W e l l p a f t , a n d n o w c b n v e i g h y o u r f e l f e h o m e a s p r i v a t e l y a s y o q c a n : > r i d f e e y o u p j a k e • t h i s k n o w n e t o n b r r e b u t y b u r F a f h ' e i * . ' f . Luce. I a m y o u r W i f c a n d S e r v a n t . . , • ; ^ f xIfT Chart. This n a m e o f LuceM ith b c e r i c o m i n o u s t o - m c e ; o n e L u cel f h o u l d h a v e m a r r i e d i n t h e C o u n t r e y 9 a n d j u f t t h e n i g h t b e f o r e , a t o y t o o k e m e i n . a i } d m o u n t i n g m y H o r f e , I l c f t C a p O f e , D u c k s i P q t u t r y , W i l d - f o w l c . F a t h e r , a n d B r i d e a n d a l l ^ a h d - p . o f t c d u p ! t o L o n d o n , w h e r e I h a v e e v e r f i n c c c o n t i n u e d B a t c h e l o r , t i l l h o w . A n d h o w ‘ * > • - ' *' £ ' ’ * M , ‘ ' £mcr mo 1120 1130 ^ 227 1091. bobb'd] "Tricked" (Mermaid). 1092. bobb] "To strike with the fist, to pommel, buffet" (OED. v.2). 1093. I'se] The earliest use of this form given by QED is 1796, in the same phrase used here, "Ise warrant." 1100-01. Gun powder] The words suggest the Gunpowder Plot (discovered November 4, 16 05), an allusion that is impos sible, of course, unless the words are a subsequent addition to the play or unless the play was written later than is generally believed. Possibly the extensive use of mines anc. artillery at the siege of Ostend lies behind these words. For a suggestion of England's interest in the siege, see G. B. Harrison, A Jacobean Journal 16 03-16 06 (London, 1941), pp. 10, 71, 131, 142, 153, 159-60, 161, 177-78, 342. 1102. fitters] "Pieces" (Mermaid). 1119-21. The . . . quiet.] Mermaid prints these lines as blank verse, apparently in keeping with the rest of Luce's speeches: "The . . . stayed, / Who . . . after / Her . . . quiet." The meter is rather awkward, however. 1128. Toy] "A foolish or idle fancy; a fantastic notion, odd conceit; a whim, crotchet, caprice" (OED). 1133. a Serving-man] Not listed in "Drammatis Personae" (Alv). t i t W ife ^ w m w ofH ogfdott. Snttr G r a t i a n a in hajle. 4 Serving-m*n before far, *nd T a b e r after her. Grat. N&y o n , I p r c t h e c f e l l o w o n , m y F a t h e r w i l l w o n d e r . w h e r e I h a v e b c c n e v i f i t i n g . N o w , v v h a t h a d I f o r g o t ? Taber, t h e r e ' s m o n e y , g o c t o t h c G o l d - l m i t h s , b i d h i m f e n d m c e m y F a n n c ; a n d m a k e , a q u i c k e r c t u r n c : o n , f e l l o w o n . E x it. Taber. H e r F a n n e a t t h e G o l d - f m i t h s ! n o w h a d I f o r g o t t o a s k e h e r h i s n a m c , o r h ( i . f i g n c : , b u t I w i l l a f t e r c o k n o w > ■ >*. ' . r • * > • • ' Chart.. S i r r a h , c a l l m c e b a c k c t h a t S c r v i n g - m a n , A n d h s k c h i m w h a t ’ s t h e G c n t l c - v v o m a n s n a m e . Serviagman. I f h a l l ; h o , y o u : F r i e n d , y o u . , . Taber, W h o ’ s t h a t c a l l s ? i V * Servingman. * T w a s . I v , ^ . 6\ ur::- K • ' , v ‘ v Taber. Y o u r b u f i n c f l e ^ y o u H i o u l d b e o n e t h o u g h - n o t o f m y c o g n i f a n c e , y c t o f m y . c o n d i t i o n t a S c r v i n g - c r c a m r c , a s I t a k e i t : p r a y y v h a t ’ s y o u r w i l l v v i t h m c e ? , Serving***. ' p r a y Sic w h a t , m i g h t I c a l j t h a t . G c n t l e - v v b m a h ^ y v h b i i y o u w c ^ c a t t e n d a n t ? - j ; , , ; 1 r ‘ Taber. Y o u r i t t a y c a l l h e r v v h a t y o u p l c a d i , b u t , i f y o u c a l l h e r o t h e r w i f e t h e n i n t h e . w a y o f h o n e f t i c , y o u m a y p c r t b a n c e h e a r e o n * t . Servingman. N a y , b e h o t ^ o f l f e h d ^ s 1 f e y . 9 c v v h a t d o e y o u c a y h e r ? * . \ Taber. W h y S i r , I c a l l . h e r a s l t m a U b e f t p l c a f c m e e , f c m c t i m c s y o n g L a d y , f o m e t i m e s y o n g M i f t r i s y a n d V v h a t l i a t h a n y m a n t o d o b w i t h t h a t . 3 < - r . ; , Are voufo ^ 4 d k o , a h a & e b y r e i f e V ' " \ ; ' r ^ B y | i S r ^ S k , y o u I p g a f y f r o J p u r p o f e , a n d J c a n r e f o l v c y b u ' : h e r n a m e i s gratiana, B u t a l l t h i s w h i l e ! h a v e f o r g o t m y M i f t r i s F a n n c . E x it. Chart* Gratiana f o f t h a v e I h e a r d o f h e r , b u t f e w h e r -- n f.f 228 IlHO 1150 1160 229 ThcWtfe-mmanof Ffogfdott. n o t t i l l n o w : ’ t i s a p r c t t i c w e n c h , a very p r e t t i c W e n c h * n a y , a v e r y , v e r y , v e r y p r e t t i c w e n c h . B u t w h a t a R o g u e a m I , o f a m a r r i e d m a n ? n a y , t h a t h a v e n o t b c c n c m a r r i e d t h i s f i x h o u r e s , a n d t o h a v e m y f h i c t l c » w i t s r u n n e a W o o l l - g a t h e r i n g a l r e a d y ? W h a t w o u l d p g o r e Luce fty i f f l i e c f h o u l d h c a r c o f t h i s ? I m a y v e r y w e l l c a l l h e r p o o r e Luce , f o r I c a n n o t p r e f u m e o f f i v e p o u n d s t o h e r p o r t i o n : w h a t a C o x c o m b c w a s I , b e i n g a G e n t l e m a n , a n d w e l l d e r i v ’ d , t o m a t c h i n t o f o b e g g a r l y a k i n d r e d ? W h a t n e e d e d I t o h a v e g r a f t e d i n t h e . f t o c k e o f f u c h a C h o a k e P e a r e , a n d i n c h , a : g o o d l y P o p c r i n g a s t h i s t o c f t a p c m c e ? E f c a p c m c e ( l a i d I ? ) i f f h e e d o e , ( h e e f h a l l d o e i t n a r r o w l y b u t l a m m a r r i e d a l r e a d y , a n d t h e r e f o r e i t i s n o t p o f l i b l c , u n l c f T e I f h o u l d m a k e a w a y m y w i f e , t o c o m p a f l c h e r . M a r r i e d 1 . w h y , w h o k n o w e s i t ? l i e o u t - f t c c t h e P r i e f t , . a n d t h e n t h e r e i s n o n e b u t f h e e a n d h e r F a t h e r , a n d t h e i r e v i d e n c e i s n o t g o o d i n L a w : a n d i f t h e y p u t m e e i n f i i i t c , t h e b e f t i s , t h e y a r e p o o r e , a n d c a n n o t f o l l o w i t . I m a r r y S i r , a m a n m a y h a v e f o m e c r e d i t b y , f u c h a W i f e a s t h i s • 1 c o u l d l i k e t h i s m a r r i a g e w e l l , i f a m a n m i g h t c h a n g e a w a y h i s W i f e , f t i l l a s h e e i s a w e a r y o f h e r , a n d c o p e h e r a w a y l i k e a b a d c o m m o d i t i e : i f e v e r y n e w M o o n e a m a n m i g h t h a v e a n e w W i f e , t h a t ' s e v e r y y e a r e a . d o z e n , B u t t h i s , TiH Death m defart 3 it t e d i o U s : 1 w i l l g o e a w o o i n g t o h e r , I w i l l b u t h o w f h a l l I d o c f o r j c w e l s a n d t o k e n s ? Luce h a t h m i n e i n h e r c u f t o d i c , m o n e y a n d a l l i t u f h , l i e j u g g l e t h e m f r o m h e r w e l l e n o u g h * f e e , h e r e f h e e c o m e * . 8nter L u c e , andher Father, Luce, H e r e i s m y H u s b a n d , I p r a y m o v e him i n i t . Father, It touchcth both our reputations nearly; For by his oft repaire, now whilft. die Marriage , I s k e p t f r o m p u b l i k c k n o w l e d g e , y o u r g o o d n a m e < » . E 2 M a y y/?o 1/80 1130 tzoo 230 1170. shittle-wits] "Fickle or flighty wits" (OED). 117 0-71. shittle-wits runne a Woo11-gathering] Proverbial (Tilley, W582): "His wits go a woolgathering." Chartley reproaches himself for absent-mindedly forgetting that he is married. 1177. Popering] "A variety of pear; from Poperinghe, a town in west Flanders" (QED. Poppering). "A pear brought from Poperingues in Flanders; the choke-pear was a coarse variety" (Mermaid). 1183-84. their . . . Law] Chartley does not say why he believes them to have insufficient proof of the marriage, but perhaps he is thinking of the canons of 16 03 regulating the government of the church, the clergy, marriage, etc., which had the king's approval but which did not become a part of civil law because they were not confirmed by Par liament. Among other stipulations, these canons required the crying of banns, the use of a license, and the presence of two competent witnesses; they also forbade clandestine marriages. Although it appears that Chartley might appeal on any of these grounds, marriage by a priest was neverthe less recognized as valid without banns, license, witnesses, even though clandestine, because common law held that "the want of completeness in the manner of solemnization did not The W ift- w m m o f Hogfdon, M a y - b t b y N e i g h b o u r s h a r d l y c e n f u r ’ d o f . Chart* T h ’ a r t G d , t h ’ a r t f a d Lace: w h a t , m d a r . c h o l l y a l r c a d y 3 c i e t h o u h a f t h a d g o o d c a u f c t o b e m e r r y , a n d k n e w l i w h a t f p o r t w a s * Luce. I h a v e g r e a t r e a f o n , w h e n m y n a m e i s t o f s ' d I n e v e r y G o f f i p s m o u t h , a n d m a d e a b y - w o r d ’ V n t o f u c h p e o p l e a s i t l e a f t c o n c e r n e s . N a y , I n m y h e a r i n g , a s t h e y p a f l c a l o n g , S o m e h a v e n o t f p a r ' d t o b r a n d m y m o d e f t i e , S a y i n g , T h e r e f i t s { h e e w h o m y o n g Chartley k c e p c s : T h e r e ^ h a t h h e e e h t r e d l a t e y b e t i m e s g o n e f o r t h . ? W h e r e I w i t h p r i d e w a s w o n t t o ' f i t b e f o r e , I ' m n o w w i t l f f h a m c j c n t b l u f h i n g f r o m t h e d o o r e . Chart. A l a s p O o r c f o O l c , J a m ( b r i y f o r t h e e , b u r y e t c a n n o t h e l p e t h e e , ^ T a f h a ' G O n t i e m a r i . W h y f a y Latce , t h o u l o f e f t n O w f o r t y { h i l K n g i : w o r t h o f C r e d i t f r a y b u t a t i m e , a n d i t f h a l l b r i n g t h e e i n a t h o u f a n d p o u n d s w o r t h o f c o m - m o d i t i e . t - ' • ' ; - , Fathers S o n , S o n j . h a d l e f t c c m ’ d m y p r o f i t ’ m o r c T h e n I h a v e d o n t m y f c r d d i t f , P h a d n o w \ ‘ B e e n e m a n y r h o t t f a i l d f c r i c h e r : b u t y o U f c e , T r u t h a n d g o o d d e a l i n g b c a r e a n h u m b l e l a i l c ; ' T h a t l i t t l e I i n j o y , i t i s w i t h q n i e f , - G o t - w i t h g o o d c O n f c i f c r t t e , k e p t w i t h g o o d r e p o r t : A n d t h k t i f t i I l l h a l l l a b o U r t x > ’ p r e f c ^ V e . r : ‘v ] : /C h a rt) f e u t d o O y d u h e a r s m c e ? • ; 1 V J ' L ‘ Father* N o t h i n g l i e h c a r e , t h a t t e f i d s u n t o t h e j r u i n c O f m i n e , o r o f m y D a u g h t e r s h o n c f t i e . S h a l l I b e h e l d a B r o k e r t o l e w d L u f t , - • ' N o w i n m y w a i n c o f y c a r c s ? • Chart. W i l l y o u b u t h e a i r c r m e e ? i : * v , v Father. N o t i n t h i s c a f e . I t h a t h a v e l i v ' d t h u s l o n g , R e p o r t e d w c H ^ e f t e e m M a w e l c o m e G u e f t " A t e v e r y f y i r c h e n ' d T a b l e , , t h e r e r e l p e f l h c d * ! N o w t o b e h c k l a ^ i d c i - t o m y D a n g h t e ^ ? T h a t I t l i o u i d l i v c t o t f e ! ‘ • i Chart, 1220. I have] I had NNPf, EN^"3 IU. 231 IZIO I 220 IZZO 232 render the contract less binding"— James T. Hammick, The Marriage Law of England (London, 1887), p. 10. 1188. cope] "To exchange, barter" (OED). 1191. Till Death us depart 1 The Book of Common Prayer of Edward VI (1549 and 1552) and Elizabeth I (1559) records "till death us depart." The Book of Common Prayer of Charles II (1662) gives "till death us do part," as do succeeding revisions. Hence the quarto reading is not a misprint, as Pearson and Mermaid appear to suppose, for they both give "do part." According to the OED (Depart. 3), the words have substantially the same denotation, for "to put asunder, sunder, separate, part" is given for "depart" as it was used in The Book of Common Prayer before 1662, at which time it was presumably deemed sufficiently obsolete to be altered to "do part." Heywood uses the "depart" form also in II If You Know Not Me (I, 330). See The First and Second Prayer Books of Edward VI (London, 1949), pp. 253, 411; The Prayer-Book of Queen Elizabeth. 1559 (Edinburgh, 1911), p. 123; The Book of Common Praver. 1662 (London, 1844), sec. 437. 1222. Truth . . . saile] The expression is probably pro verbial, although I have not found it recorded. OED (Sai1. 3) lists the expression "to bear a low sail," meaning "to T ie W ifc-M m an o f Mogfdon. Chart* B u t h a r k e y o u F a t h e r ? Father. A B a w d t o m i n e o w n c c h i l d ! Chart. F a t h e r ? Father• T o m y f w e c t Luce ! fh a rt. F a t h e r ? Father. D e a l s w i t h m e l i k e a S o n , t h e n c a l l m e F a t h e r ; I t h a t h a v e h a d t h e t o n g u e s o f e v e r y m a n R e a d y t o c r o w n e m y R e p u t a t i o n : T h e h a n d s o f a l l m y N e i g h b o u r s t o f h b f c r i b c T o m y g o o d l i k e • a n d f u c h a s c o u l d h o t w r i t e , R e a d y w i t h P a l f i e a n d u n l e t t c j r e d f i n g e r s , T o f c t t h e i r f c r i b l i n g m a r k e s . Chart. W h y F a t h e r i n L a w ? Father* . T h o i i h a d f t a M p t h c r X ^ e ; * t i s w o e w i t h m e T o f a y t h o u h a d l V j b u t h a f t . p o f - a k i n d W , i f c > . « . ' '! A n d a g o o d N u r f c ( h e w | s V i h c ^ h a d i h c l i v ’ d . ' J ' , ' ' T o h e a r e m y n a m e t h u s c a h v a f t , a n d f f r u s ' t o f s ' d , f / S e v e n y e a r e s b e f o r e f h e d y ’ d , 1 h a d b i e e n e a W i d o w c r S e v e n y e a r e s b e f o r e I w a s : H e a v e n r e f t h e r C w fc,. , S h e e i s i n H e a v e n I t o p e . . / - W V (H ie ypifet hit eyes.) Chert, W h y f o n o w , t h e f e b e g o o d w o r d s , 1 k n e w t h e f e . 11 o r m e s w o u l d h a v e a . f h o w r e , a n d t h e n t h e y w o u l d c e a f e . N o w i f y o u r a n g e r b e o y e r , b c a r e m e . Father. W e l l , f a y o n S e n . Chart. S t a y b u t a M o n c t h , ’ t i s b u t f o u r e W c e k c s $ n a y , 3 t i s February , t h e f h o r t e f t M o n c t h o f t h e y e a r e , a n d m t h a t t i m e 1 f h a l l b e a t f u l l a g e ; a n d t h e L a n d b e i n g i n - t a i l ’ d , m y F a t h e r c a n d i l - i n h e r i t m e e o f n o t h i n g . I s y o u r f p l c e n c d o w n e n o w 7 ? H a V e 1 f a t i s f i e d y o u ? W e l l , , 2 f e e y o u c h o l l e r i c k e h a f t y m e n , a r e t h e k i n a e f t w h e n a l l i s d o n e . H e r e ’ s f u c h w e t t i n g o f H a n d - k c r c h e r s ^ h c c w e e p e s t o t h i n k c o f h i s W i f e , f h e e w e e p e s t o f e e h e r F a t h e r e t y I P e a c e f e o l e , w e e f h a l l c l f c h a v e r h e c c l a i m s k i n d r e d o t t h e W O m a n k i l l ’ d w i t h k i n d n e f l c . E g Father# 233 I2YO I 2 SO 1260 12 70 234 demean oneself humbly; to live at a modest rate." 1246. like] life (Mermaid). The emendation is plausible. 1262. 1 tis] Nine copies (L1"2, DFo2, NjSH, NNPM, EN1, NNPf, IU) show the apostrophe closer to the word: "'tis", but because there is no clear pattern of variance I cannot be certain that this is a press variant. 1263.. 'tis February 1 Possibly the play was written in February 16 03/04. See supra, pp. 27-28. 1271. the Woman kill'd with kindnesse] Either a proverbial expression (Tilley, K51), "To kill with kindness," or a reference to Heywood1s play of 16 03. See also supra, pp. 13-14. 1273. slight it off] OED does not list the expression but for "slight" gives "to pay little or no attention or heed to; to disregard, disdain, ignore." 1274. no] Mermaid would emend the word to "in" but "to" seems just as likely. 1289-9 0. Bristowe stone] Bristol "stones were rock- crystals found in the Clifton limestone and used as gems, and often passed off on the unwary as diamonds" (Sugden). 1296. Fetch it] Mermaid indicates that with this command Luce exits. 1296-97. branch'd Sattin] Satin "adorned with a figured The Wife-woman o f Hogfdett. Father. W e l l S o n , m y a n g e r ’ s p a f t ; y e t I m u f t t c l l y o u , - 11 g r i e v e s m e e t h a t y o u - f h o u l d t h u s f l i g h t i t o f f , C o n c e r n i n g u s , n o f u c h a d e e r e d e g r e e . I n p r i v a t e b e i t f p o k e , m y D a u g h t e r c e l s m e , S l i c e ’ s b o t h a W i f e a n d M a i d . Chart. T h a t m a y b e h c l p ' t . N o w Luce , y o u r F a t h e r s p a c i f i ’ d , w i l l y o u b e p l e a s ’ d ? I w o u l d i n d u r e a Q u a r t e r s p u n i f h m c n t f o r t h e e , a n d w i l t n o t t h o u f u f f e r a p o o r e M o n e t h s p e n a n c e f o r m c e ? ’ T i s b u t e i g h t a n d t w e n t y d a y c s , W e n c h ; t h o u ( h a l t f a r e w e l l a l l t h e t i m e , d r i n k c w e l l , e a t c w e l l , l i e w e l l : c o m e , o n e w o r d o f c o m f o r t a t t h e l a t e r e n d o f t h e d a y . Luce. Y o u r s i s m y f a m e , m i n e h o n o u r , a n d m y h e a r t L i n k ’ c t o y o u r p l e a f u r e , a n d f h a l l n e v e r p a r r . Chart. G r a m c r c i c W e n c h , t h o u f h a l r w c a r e t h i s c h a i n c n o l o n g e r f o r t h a t w o r d , H e m u l t i p l y t h e I i n k c s i n f u c h o r d e r , t h a t i t f h a l l h a v e l i g h t t o f l i i n e a b o u t t h y n e c k e , o f f e n c r t h e n i t d o t h : t h i s j e w e l 1 , a p l a i n e Briftowc f t o n e , a c o u n t e r f e i t . H o w b a l e w a s I , t h a t c o m m i n g t o t h e e i n t h e w a y o f M a r r i a g e , c o u r t e d t h e e w i t h c o u n t e r f e i t f t o n c s ? T h o u f h a l t w c a r e r i g h t , o r n o n e : t h o u h a f t n o m o n e y a b o u t t h e e , Luce ? Luce. Y c s S i r , I h a v e t h e h u n d r e d p o u n d s t h a t y o u g a v e m e t o l a y u p l a f t . Ch*rt. F e t c h i t 5 l e t m e e f e e , h o w m u c h b r a n c h ’ d S a t - t i n g o e s t o a P e t t i c o a t ? a n d h o w m u c h w r o u g h t V e l v e t t o a G o w n c ? t h e n f o r a B c v e r f o r t h c C i t i e , a n d a B l a c k - b a g g c f o r t h e C o u n t r y : l i e p r o m i f c h e r n o t h i n g , b a t i f a n y f u c h t r i f l e s b e e b r o u g h t h o m e , l e t h e r n o t t h a n k c m : c f o r t h e m . Enter Z u c c with the Bagge. G r a m e r c i e Luce. N a y , g o c i n , G r a v i t i e a n d M o d c f t i e , t e n r o o n e b u t y o u f h a l l h c a r e o f m e e , e ’ r e y o u f e e m c e a g a i n « . Father. I k n o w you kindc, impute my haftid Lan guage 235 1230 nso uoo 236 pattern in embroidery" (OED). 1297. wrought Velvet] Velvet that has been "decorated or ornamented, as with needlework; elaborated, embellished, embroidered" (OED. 2b). 1298-99. Black-bagge] The context of 11. 1298-99 suggests that a "Black-bagge" is a, kind of hat or cap, although I have been unable to trace the word. If a hat, it seems to be for Chartley, since beaver hats were worn by gentlemen, and the sentence links the two; see M. Channing Linthicum, Costume in the Drama of Shakespeare and His Contemporaries (Oxford, 1936), pp. 216-236. It might possibly be some sort of purse (note the "Bagge" that Luce carries in, 1. 1302), although I doubt it. 1299-1301. lie . . . them.] Probably an aside. 1306-07. I . . . mee.] Mermaid prints these lines as blank verse; "I . . . language / Unto . . . me." I am not so certain. 1309-10. I . . . you] An aside. 1312-13. My . . . vowes. ] Mermaid prints these lines as blank verse, divided as they appear here. Again, I am un certain. Mermaid, incidentally, prints the singular "vow" as the last word. 1314-20. What . . . Wonder.] An aside. 237 The Wife-woman o f Hogfdon. g u a g c u n t o m y r a g e , n o t m e e . Chart. W h y , d o c n o t I k n o w y o u , a n d d o e n o t I k n o w h e r ? I d o u b t y o u * ] w i f h f h o r t l y , t h a t I h a d n e v e r k n o w n e c i t h e r o f y o u : n o w , w h a t f a y f t t h o u , m y f w e e t Ltte* $ Lucti M y w o r d s . a r c y o u r s , f o k m y l i f e : I a m n o w p a r t o f y o u r f c l f c , f o m a a e b y N u p r i a l l v o w e s * , Chart. W h a t a P a g a n a m I , t o p r a d t i f e f u c h v i l l a n y a - g a i n f t t h i s h o n c f t C h r i f t i a n ! I f Gratiana d i d c o m e i n t o m y t h o u g h t s , I f h o u l d f a l l i n t o a v a i n e t o p i t t i e h e r : b u t n o w t h a t I t a l k o f h e r , I h a v e a t o n g u e t o . w o o c h e r , T o k e n s t o w i n h e r ; a n d t h a t d o n e , i f I d o e n o t f i n d tt t r i c k e , b o t h t o w c a r e h e r , a n d w e a r i c h e r , i t m a y p r o v e a p i e c e o f a W o n d e r . T h o u f e e f t , Z . / w v , I h a v e f o m e f t o r c o f C r o w n e s a b o u t m e , t h e r e a r e b r a v e f h t n g s t o b e b o u g h t i n t h e C i - r i e ; C h e a p f i d e , a n d t h e E x c h a n g e , a f f o r d v a r i e t i e a n d r a - r i r i c . T h i s i s a l l I w i l l f a y n o w , b u t t h o u m a y e f t h e a r t ; m o r e o f m c c h e r e a f t e r . Exit. Luce. H e a v e n i p e e d y o u w h e r e y o u g o e S i r - ( h a l l w o i n ? T h o u g h n o t f r o m f c a n d a l l , w e e l i v e f r e e f r o m S i n . . i Father. l i e i n b e f o r e . E x it,. Enter tJMafitr Boyfter, Eojfi. I a m f t i l l i n l o v e w i t h Lmce, a n d I w o u l d k n o w A n a n f w e r m o r e d i r e d t l y : f i e , f i c , t h i s L o v e H a n g s o n m e l i k e a n A g u e , m a k e s m c t u r n c f o o i c , C o x c o m b e a n d A f T e : w h y f h o u l d 1 l o v e h e r , w h y •; A R a t t l e - B a b y , P u p p i t , a f l i g h t t o y , A n d n o w I c o u l d g o e t o b u f f e t s w i t h m y f c l f e , A j a d c u f f e t h i s L o v e a w a y : b u t f e e , t h a t ’ s Lnc*. L ute. I c a n n o t f h u n h i m , b u t l i e f h a k c h i m o f f * 'Eojft. Morrow. " Into. 1310 132 o 1 3 3 0 1323. This is] Thisis CSmH^. 238 1316. fall . . . her] Find it useless or ineffectual to pity her. 1320. Crownes] Chartley refers either to the gold Crown of the Rose first issued in 1526 or to the silver crown worth five shillings first issued in 1551. Since Luce has just returned him one hundred pounds, he may well mean the gold crown. See QED. Crown. 8. 1321. brave] "Splendid, showy, grand, fine, handsome" (OED, 2). See also 1. 1354. 1321-22. the Citie] The reference applies to what we think of as the City today, that is, within the former walls of London and, in this context, cloqe by Cheapside and the Exchange. 1322. Cheapside] "The old Market Place of London, extend ing from the northeast corner of St. Paul's Churchyard to the Poultry" (Sugden). 1322. the Exchange] See the note to 1. 212. 1335. Rattle-Baby] "A rattling doll, fig. a young child" (QED. 10). 1335. Puppit] "A contemptuous term for a person (usually a woman)" (OED, 1). 1335. toy] "Applied to a person . . . slightingly or con temptuously as someone of little or no value or importance" (OED. 5, 8). 239 The Wife-wom<ttt o f Hogfdo*. Luce. A s m u c h t o y o u . Boy ft. Vic ufc few words,Canft love me ? Luce, D e e d S i r n o . Boy f t. Why then farewell ,ths way I came, He goe. E x it, Luce. This i s no tedious Courtftiip, hee's foone anfwer’d, So fhould all Sutors elfe bee, were they wife ; Tor being rcpulft, they doc but wafte their dayes In thank Idle fuitcs, and fuperficiaH praifc. Enter B o y f t e r agnine* Bejf t . S wcare that thou wilt not love me. Luce. Not Sir, for any hate I ever bare you, Or any foolifh pride, or vaine conccite - O r that your feature doth not pleafe mine eye, Or that you are not a brave Gentleman: But for concealed reafbns I am forc'd To give you this cold anfwer; and to fwe^rc I jmft not, then with patience pray fbrbeare. Bejft. Evcnfarcwell then. E xit. Luce. The like to you,and lave your hopes in me. Heaven grant you your beft wilhcs; all this ftrife Will end it felfc, when I am khb^nb a Wife. Exeunt* ExfUsit A&m ter tint. I3HO 1 3 5 0 1 3 6 0 A&us 240 The tYifc.womsM of Hogfdtnl A B u s 4<f, S e e n * p r i m a l \Bnter Sir Harry, M% Harrittgsfield G ra tia n a w itb others. 1 S ir H arry. I am (atiffied good M . H arringtfield touch ing your friend,aad fince I fee you haue left his dangerou* company, I limit you to bee a welcome gueft rnco mjr [Table. ‘'" • ‘ • ‘ H arring. You haue bin alwayes hoble*' • ■ < . * E n ter Tether. ! , S ir H arry, Tether \ the neW CS With theei ' . * 1 T aher. May it pleafe( the right worfhipfull to vnderftand that there are fome at the ©ate Who dance a turhe or tw6 without, and defire to bee admitted tofpeake with[you Within. ! Sir Harry. The Scholler Is it Qo?. Taher. Nay fir,there are two 5choIlers,and they arefpow- ting Latin one againftthe other 5 Andin m^ fimpl^iudjje- mcnt the ftrangcr is the better Scholler* and is ldm‘ e\#hat too hard for B oniface: For he fpeakes lowder, and’ thac you koow is ever the figne of the moft learning, and hee alfo hath a great defire to ferue your Worfhip. Sir Hurry. T w o f c h o l l c r s ; M y h o u f e h a t h n o t p l a c e f o r t W O j t h u s i t i h a l i b e e . T aber a d m i t t h ^ m b r a r l Y . W e ^ t h o u g h v n l e a r n e d w i l l h e a r e t h e m t w o d i f p u c c , a h d h e e t h a t o f t h e t w o f e e m e s t h e b e f t r e a d , f l i a l l b e e r c c e i u e d , r f i e q t h e r q u i t e c a f i i e i r e d . ’ Harring. in that you fhowe but Iuflice , in all peirfons ingrit fhould bae regarded. ! u - ‘. [ V , . 'j .5- % . ' • • • * < r i E'Hter Taber 'vfhering fir Boniface and?.' \ Sencer fiifgu ifed like a fe d tint. .« S jf Bemfaccij Yenerabilis magijftr«Abfintvobiscapiftri- 7 7 * 7 f ■ f 7 •; ■ > : : . 7 ' T 7 T . Sense * 1366. Harrinasfield 1 Harrin qs field CtE , NNPf 1368. Har r incf s fie Id 1 Harrinqs fi eld CtE, NNPf 1387. wee though] wee tho ght CtE, NNPf 1394. Sencer.disguised 1 Sencera disguised CtE, NNPf. 1370 13dO I3S>0 241 1354. brave] See the note to 1. 1321. 1363. Exeunt. 1 Exit (Mermaid). Only Luce remains. 1365. Actus 46 . 1 This should read "Actus Quartus1 1 ; for a discussion of why it does not, see supra, p. 19. 1367. others 1 The others are perhaps some unnamed house hold servants of Sir Harry. 1368-71. I . . . Table.] Mermaid prints these lines as blank verse: "I . . . Haringfield, / Touching . . . left / His . . . you / To . . . table." I am dubious, although Sir Harry often speaks verse, and it is conventional to begin an act with verse. 137 0. limit] "Appoint" (Mermaid). 1386-90. Two . . . casheired.] Mermaid prints these lines as blank verse: "Two . . . two. / Thus . . . both; / We . . . dispute, / And . . . read / Shall . . . cashiered." 1387. both, wee] both, [Exit Taber] wee. . . . 1391-92. In . . . regarded.] Mermaid prints these lines as blank verse: "In . . . persons /Merit . . . regarded." Elsewhere Haringfield speaks poetry (e.g., 11. 146-154). 1395. Venerabilis . . . capistri.] Venerable masters: may these halters be absent from you. Allyne W. Landis (p. 225) notes that the correct form of the first word is "Venera- biles" and that the last word should be "capistra"— but 242 » % Senceff d p n a i { ^ e a h f e , j i t c r u m a ^ u c , i t e r u m f a l v e , Amo am atamavi't t w e e r e t , a d y H i a u e n t a u e y c e . Str Harry ^ ^ T h i . S , . a f ? p j o u e s h i m t o b f t ^ x ^ l j e n t , b u t I t h a n k m y b r e e d l t r f j t o n 8 ’ m c r l y o u w h o f e w e a l t h l y e V i n y o u r o r a i n V s ; N o t i n y o u r b u d g e t s , h f e r e J ^ a > v n e , n i y h o u f e a f f o r d s r o o a i c b p r . o i i e S c h o U l c ^ m a f t c r j b u t r r o t ; f o r m o r e . A a d l a m , t h u s f i r r l o f r r e l f e y o u t h a t * “ . ^ ' r j i V H e e © F y o u t T a A w i r w i l l I f u b f c r j b e a r e y o u a g r q c 4 ^ \ ; . . V Sir BoMface.y NfQ*mpQQ*ntc c o r d e , u e o v t r o q u e . ; > : N o f c e !K im M « « :vr ^ p e a k e d o e y o u u r e m e e w e l l . . " r Sir Boniface. Domijtjr cnrrpgajt,t^ - r .,jv . - - • ' * - . I . •',; i Dray Itr;f ^ •'' ;;;’ ‘ Wcreybu(^^>V-^/r: j i ; ; ? t / l ' / ’ . V > r J - „ .Sir Bflniffct. ; 1 ' : ! .M './ij •,,«•* J.Lvi • ' ¥«•, . £ enpy. Petrm dormtt fecurus ; I Wat ; Sr.oF Pceter bouFe Sir THoniface. Naths eramfm WoxFord^ fltid l.prnc^d . ‘ ; ?;ivi 3' d XJts» . Z up t : ■ s . . ’ j *.l ,W*v . . ' * 1 Stnc. Eft mtht bene H°ftrHm>. maa woumeEt{aybj: •,, > in Got a m ; For my part firH^rr^ltVnreade Scruicc and Marry , SZfffif*** though I goc id genes F u f - t i o n , f '.alpeUum etchart* I w£3 n o t b r o u g l l t vp a t P J o w e & cart, I can reach £ * } m i h 't , and neyther laugh nor tee-hec, f e d &Mprf*2*fhi i i F V f o t t ^ w o r f i u p s a D t b l f p c t & f i tg&fit-Jft* will doe met any good, to giiic mee 'kgem pone in Gold I too mo IH20 H 3 o 243 that, of course, would not rhyme. 1396. Et . . . salve,] And you, pure lord, greetings again and again. The third word should be vocative: "domine." 1397. Amo amas amavi1 I love, you love, I have loved. Another fragment of a conjugation. 1399-1406. you . . . agreed.] Mermaid prints these lines as blank verse: "You . . . brains, / Not . . . known, / My . . . schoolmaster, / But . . . resolved: / Take . . . Boniface, / And . . . that. / He . . . best, / To . . . agreed?" 1400-01. budgets] "A pouch, bag, wallet, usually of leather" (OED, 1). 1407. Nec . . . utroque.] Not in mind, nor in heart, nor in either [of them]. 1412. Domine cur roaas:1 Master, why do you ask? 1413-14. Is . . . Asse.] Probably poetry. Mermaid is ambiguous. 1416-18. Yet . . . of.] Pearson and Mermaid print these lines as prose, probably rightly. 1422. Petrus dormit securus;1 Peter sleeps secure. 1422. Peeter house] Tradition has it that Heywood was of Peterhouse or St. Peter's College, Cambridge, and that he played the part of Sencer. See also supra, p. 11, n. 14. 244 1423. Natus eraml I was born. 1423. Woxford] "I have not been able to find any such place; perhaps the name is invented for the sake of the rhyme. Possibly it may be meant for Wixford, a town two miles south of Alcester in Warwickshire; or Yoxford . . . a village in Suffolk, twenty-three miles northeast of Ipswich" (Sugden). 1425. Est mihi bene nostrum.1 Ours is well for me. The expression may be Sencer1s way of expressing preference for Cambridge instead of Oxford and especially Gotham (see the note to 1. 1426), the proverbial residence of fools, where by all evidence Sir Boniface belongs. 1426. Gotam1 "A village in Nottinghamshire, about seven miles south of Nottingham in the Leake Hills. According to the legend, when King John was about to pass through the town in order to buy a castle in the neighbourhood, the people, not wishing him to do so, industriously played the fool when he came; so arose the proverb of the Wise Fools of Gotham. Properly therefore a man of Gotham is one who plays the fool for some wise object, and is not such a fool as he looks, but the name came to be applied to anyone of preposterous folly" (Sugden). See also Tilley, M636: "As wise as a man of Gotham." 245 1427. Oue aenus et flexum.] Perhaps "et" should be "est." in which case the expression might be translated, "as the knee is bent." 1427-28. genes Fustian] Genoese fustian (OED. Geane). "a kind of coarse cloth made of cotton and flax" (OED. Fus tian ). perhaps, unlike fustian of Naples which was "appar ently a kind of cotton velvet" (OED). However, Linthicum, p. 107, believes that Naples and Genoa Fustian were of a similar quality: "Of the imported fustians, 'Holmes' or Ulm was coarsest and cheapest, usually Is. to Is. 5,d. a yard; Milan, the most expensive, 3s.. to 5s.., and Naples, 'Jean' or Genoa, 'osbrow1 or 'osborough' from Antwerp, Is., to 4s.." 1428. scalpellum et chartal Another difficult phrase pos sibly translated as "penknife and paper." I understand that a small knife was used to scrape the paper to remove an error. 1429. Oui mihi1 The phrase may well refer to the opening words of William Lily's verse, Carmen de Moribus. printed at the end of his Shorte Introduction of Grammar (Dv): Qui mihi discipulus puer es, cupis atque doceri, Hue ades, haec animo concipe dicta tup. You who [as a] boy are a pupil to me, and you desire to be taught. ________________________________________ _______ 246 You are present here, keep these words in your mind. The poem, "a didactic poem in elegiac couplets, full of ad vice for the schoolboys of Pauls," is "his best known piece" --Vincent J. Flynn, Introduction to A Shorte Introduction of Grammar (New York, 1945), p. iii. The expression also ap pears in How a Man May Choose a Good Wife from a Bad (11. 645—649). 1430. sed as in presente 1 But .as in the present. A por tion of the Latin part of Lily's Grammar. Brevissima Insti- tutio, is called "De Etymologie" (C6) and contains a poem which begins: As in praesenti perfectum format in avi? Ut. no nas navi, vocito vocitas vocitavi. As in the present forms the perfect in avi, As I swim, you swim, I have swum, I shout, you shout, I have shouted. Laird H. Barber, Jr., "An Edition of The Late Lancashire Witches by T. H. and Richard Brome," unpublished doctoral dissertation (University of Michigan, 1962), p. 149, has observed the expression in the Witches (IV, 175) and con nects it with Lily's poem, which "helped beginners to re member verb forms, but also provided the pretext for numer ous puns." See also How a Man Mav Choose a Good Wife from a Bad. 1. 1257 . ______________________________________ ___________ The Wifi-mmdn o f tiegfden. Sir Boniface. Nomnativo hie predicUlus*, his words are moft ridiculous: But tn thou, f m the which* deridefl thofe that bee rich, conftcrue hanc fcntentiami cbriftrne meethis fentencc. Eft modus in rebusrumcertid6nique fines ‘ Sett Ur * Eft modus inrebus : There-ismud in the rivers. «Tuntcerti denique fines, and certaine little Fifties. Sir Harry. i warrant you he hath hisanfwer ready* Sir Boniface. D i / b o n i b o n i * ' ? • H*rring% H e c l e g i u e y o u 1 m e r e b o n e O t f i i r i f t i o f e t o k n a w o n S i r Boniface. ^ r;; ; > Senc. Kar tereMoofbtr opos Poluphiltate phile poetatis Tcs Logikes rctoon, onch elaftiiftefophbon.' That is as much as to fay, in* our mater n o , li»gna I will make yoh&vBomface^ < co iv fe f i f e your felfe an A fle in Engliflt, fpeakeopen and broad wotds/for wan t of Latin, and Denique inftru&mec to refolue fuebqueftions as X (hall aske you in our moderne tongue* ^ •" Sir Harry, confefle hini an Afle/peakcobfeeane words after intreatc thee co reftrtve thy qucftions* Doe that, pofleffcDhc place* ■ ^ ;; ! ' Sencer. Di do and dum: N o, ioiore words but muoi: Sir Boniface. N o b l c f i r Harry • N u n q u a m f t c p o f f i t ? Sir Harry • S i r £onifacc {$ f i c k e a l r e a d y a n d c a l l s f o r a p o f l i t , n o m a r v e l l * b e i n g f p t h r e j * t n e d h - V « ^ ’ : / '* Sencex. Y o\i:B v$faeci d e c l i n e n # 4 e T * m a h o a f t e r t h e f i r f t c o n i u g a t i o n , a m o a t u a v i , v o c i t o v o c i u v i . ^ r T i t u b o t i t u b a v i ? ; ; „ S ir Boniface.. Iam not the preCepcor-coapcfpilL But C an d e c l i n e Ity&atke X i r W ym tik) V ; : K ‘" - * * ' I.ataano, ''!■ = ' y • 3 ;lr-^co \y:\ : \ * ' S e n c e r . B t i n c b e n e i ' ■ - • ; Sir Boniface. I am an as ? Senc. Moft trcue moft treue, *#/. f i t egdf urn teftkr , 247 I H O l i S O neo m y i a o o u r . ■ ‘ V - V Harrinq. B u t w h e n g o e v o u t o d f t f e u t c V F a T h a t 248 1430-31. Iste. Ista Istudl That— masculine, feminine, and neuter. These forms are found in Lily (Bl). 1431. Leaem pone 1 Teach [thy] law. "The first two words (forming the heading) of the fifth division of Psalm CXIX, which begins the psalms at Matins on the 25th day of the month; they were consequently associated with March 25th (quarter day), and hence used as an allusive expression for: Payment of money; cash down" (OED). 1432. Piper atque papauer1 Pepper and poppy. In the Latin part of William Lily's A Shorte Introduction of Grammar. Brevissima Institutio (Biiv), part of the chapter "Nomen" presents a list of neuter words: "sunt neutra cadauer . . . tuber & vber . . . piper, atque papauer. . . ." Probably Sir Boniface remembers this list and utters a couple of words to demonstrate his erudition. 1435. Nomnativo hie prediculus] Lily, in the portion of his grammar given over to nouns and pronouns (A5-B2), pre sents declensions such as the following for the masculine singular: "Nominatiuo hie maaister. Genituo huis macristri" etc. (A6V). "Prediculus" is apparently a word coined for illustration. It does not appear in Lily. Possibly it is a misprint for "pediculus," which appears in How a Man May Choose a Good Wife from a Bad (1. 644): 249 O pediculus a Louse, I knew not how it came. 1436. deridest1 The word should not be in italics. 1437. consterue hanc sententiaml The correct form for the first word is. 1 1 construe . " 1437. constrne] Construe. 1438. Est . . . fines:] Landis (p. 229) has traced this quotation to Horace's Satires. Book I, Satire i, 1. 106: "There is moderation in things. There are finally fixed -limits." See The Works of Horace, ed. E. C. Wickham (Ox ford, 1891), I, 27. 1442. Dij boni boni.] The good, good gods. 1443-44. bones . . . knaw] Again there is the idea of difficulty or of scant promise, as in 1. 276. 1445-46. Kartere . . . sophoon.] Sencer1s speech may be considered a gibe at Sir Boniface, translated as follows: "Oh mighty, much beloved friend of poetry, of logic, of words, not the least of the wise." 1447. muterna linana] Mother tongue. As it stands, the phrase is probably a compositorial error and not a pun on "materna lingua." 1450. Denicrue 1 Finally. 1452-54. confesse . . . place.] Mermaid prints these lines as blank verse, emending the second word to "himself" in order partially to justify the awkward meter: "Confess him self . . . words? / After . . . questions? / Do . . . place." I think the passage was intended as prose. 1455. Di do and dum:] Uttered apparently for the rhyme \ with "mum" and perhaps to impress Sir Harry. 1456. Numquam sic possit? ] Never may it be thus1 . 1459. decline mee I am a no ] Sir Boniface means "conju gate" instead of "decline." The expression "a no" probably refers to the conjugational pattern of suffixes. See, for example, the note to 1. 1430, where Lily presents much the 1 same kind of pattern: "vocito vocitas vocitavi." 1460-61. amo . . . titubavi ] I love, I have loved; I call, I have called; I stagger, I have staggered. 1462-64. I . . .no,] Mermaid prints these lines as blank verse: "I . . . pupil, / But . . . Timothy. / I . . .no." Observe Sir Boniface's confusion of "preceptor" and "pu- pill." 1465. Bene bene.] Well, well. Sencer is voicing approval. 1467. vos estis. ut eaosum testis 1 You are, as I am wit ness . 1468. pestis ] Plague. This may be an allusion to the plague of 1603. See supra, pp. 27-28. 251 T k eW ift-M m * * tf tf tg f lim l t f e l W f i a f j h e c o n f ? 0 i s * , a s t r u e a s t h e p e f t i s * - ; : ; > 'Sir Harry" T h i s S c h o l f e r w o r k e s b y m a g i c k h e e . h a t h m a d e h i m c o a f p l f e h i t n f e i f e a n A f F e . : : 7 / : ■ \ . . ■ H 7 0 r , Sir Boniface. i ? e r h a $ m e a s m a a u s v i r , t u e s i n ( a n u s * ; ~ .$encer. I l e m a k e h i n n f r e t w o r f e y e t ; $ i r Boniface ; q i t i d M h - . , i . k > • > 1 ; • : - 1 - : ' < i - , ,S ir ifap-j.r'fP y h iy c , n o m o r e o f t h c f e w o r d s g o o d h r Boniface. ^ i , < \ j . . y ■ ; Since* # , A t t e n d . a g a i n c j p r o c e e d r p e e w i t h t h i s v « r f c \ o F r e v e r e n t Cato: S i d e n s e f t a n k n j i i s - 1 w , . \ , j ^ c a j r & i n a o - ; ‘ ' ; Taher, D i q u o t h f o , o u t o n h i m f o f a b e a f t t y m a p - r . i f i 3 0 , . S ir Harry - 1 w o u l d ; n o t h i u e h i m t e a c h m y : - c h i l d r e n f q f o r m o r e t h e n I a a ^ ; W o r c h * I . n j . A ir A , wif- O i h u t r e v e r e n d [yr-Harry y o u o a u f t f e b a u d u Sir Hayry. } 1 q f e f i p T o ^ t u d y v W h i l e f t i I ; J i u e * i 1 : ; T v 1 bhii'j ,<r- : S ir Boniface. O ! P r o p r i a q u a ? , n a a r i b u s : ; . S ir Harry." B y Bomfacey i t i s t h o f e m a r i b O f t e s i , t h a t , m a M C 5 J 0 ^ t a l ^ r « J % o a < J l y ? : * i — Sir Boniface* Y e j ^ f a t j } i ? v i r h o m o i l i e e f t e b r i u s ? s ::- ' Sir Harry. W h a t d o t h h e e m e a n e b y ’ t h a t . ; * , , ^ v - r < i IHOO Settee^ H e C f a i t h , I : C a n f p e a k e H e o r e w e i ; . Sir Harry. JBcleeu't t ' ' ; ^ t. f i u t i f j ( y r ^ ^ » ( / ? « ^ f t t l l c o n t h e f e l e f l b t i s j , . . H c 1 , f p e a k e t h e f r e n c h t o n g U f i p e r f i f c i i . 3 1 \? j% a nor, < ? . ; * , ’ N o W ' t f e t h c , l a f t > i l f i j f a s k e f y r 'Boniface^ b l i t w i t h a n e a f i e q t o e f t i a n i l T e l l m c c f y r ; ? r , , jV W h a t s L a t i n f o r t h i s E a r t h ? ! ! 1 1 Sir B otfiface. , F a c i l e ^ o d e a f y m o r e f i t f o t t h e p u p i l l t h e n t h e p r e c e p t o r : w h a t s L l t i n f o r t h i s E a iiyy. ? - T tllk s. Seneen T e l l y o u 5 n o f y r , i t b e l o n g s t o y o u t o ? t e l l m € c « / S o o Sir Boniface. 1 f a y Telites i s L a t i n f o r t h e E £ r t h . Sencer• A n d I f a y , T w i l l n o t t e l l y o u w h a t i s L a t i n f o r , the E w t h j v a l e f l e y Q u y e i l d w w C i Y M a o r v V j 7 ‘ ;;;; 'i£*i All of the following variants are recorded on CtE and N N P f . 1468. true] treue 1469. magick] madgick 147 0. made him] him made 1478. animus---] ani mus. 1483. Sir Bonif.1 Sir Boniface. 1489. ebrius,] ebrius; 1491. saith, i] saith^I 1491. Hebrewe-] Hebrewe. 1494. He11] He-1 1496. with-an] with, an 1503. victor:] victor. CW. Sirl Si 252 1471. Per . . . insanus,] By these my hands, man, you are insane. 1473-74. quid . . . ars,] What is grammar? Grammar is an art. In the notes to How a Man May Choose a Good Wife from a Bad. where the question also appears (1. 669), A. E. H. Swaen observes that "this and similar questions are from the old Latin grammars, in use at that time. They were written on the question and answer system. Thus Philipi Melanch- thonis Grammatica Latina begins: Quid est grammatica?" In William Lily's Brevissima Institutio a more lengthy reply appears: "Grammatica, est recte scribendi atque loquendi ars" (A2). 1478-79. Si . . . dicunt.] If God is a spirit, as poems tell us. Landis finds that the quotation comprises the first line of Book I of the Disticha Catonis. ed. Marcus Boas and Henry J. Botschuyver (Amsterdam, 1952), p. 34. The full quotation is as follows: Si deus est animus, nobis ut carmina dicunt, Hie tibi praecipue sit pura mente colendus. If God is a spirit, as poems tell us, Let him be worshiped by you especially with a pure heart. 1480. Di quoth ha,] Apparently Sir Harry misconstrues the last word spoken by Sir Boniface in the line above. 253 1483. you must subaudi] You must understand. A similar jest is used in How a Man Mav Choose a Good Wife from a Bad (1. 2255). 1486. Propria quae maribus:] Those things peculiar to males. Woodrow W. Powell (p. 215) has observed Heywood's apparent borrowing from Lily's Grammar (A6V), in which a fuller rendition of the fragment appears: Propria quae maribus tribuuntur, mascula"dicas, Ut sunt diuorum, Mars, Bacchus, Apollo. The characteristics which are attributed to males you call masculine, As are [the characteristics] of male gods: Mars, Bacchus, Apollo. The phrase also appears in How a Man May Choose a Good Wife from a Bad (1. 680), A Challenge for Beauty (V, 64), and Love's Mistress (V, 114). 1487-88. Ey . . . broadly?] Pearson and Mermaid print these lines as blank verse, divided as they appear in the quarto. The choice of these as verse and lines 1484-85 as prose is to me perplexing. I prefer them all as prose. 1487. maribones] Partridge (Dictionary of Slang) states that "marrowbone . . . is low for the penis." This inter pretation would seem to follow from the preceding Latin quotation. Shakespeare1s Bawdy also suggests such an 254 interpretation. 1489. Venerabilis . . . ebrius.] Venerable sir, that man is drunk. 1492-94. I . . . perfit.] Mermaid prints these lines as blank verse: "I believe 't: / But . . . lessons, / He'll . . . perfect." 1495-97. Now . . . Earth?] Pearson and Mermaid print these lines as blank verse, divided as they appear in the quarto. They seem to be such. 1499. Tellus.1 Earth. 1514. Quid ais domine Timothy.1 What do you say, Master Timothy? 1518. nose] According to Partridge (Shakespeare's Bawdy) "nose" has phallic overtones and is thus a suitable concomi tant to the myth of Minos (11. 1516, 1519) and Pasiphae (1. 1515) in the crudely farcical way that it is used here. 1522. Angels] See the note to 1. 288. 1523. You are not for my turne sir Timothy.] As punctuated the line may be confusing. Read instead: "You are not for my turne. Sir Timothy, / You are . . ." 1529. Opus est vsus;1 Work is use. Possibly there is a compositorial error here, for Lily in his Brevissima Insti- tutio (E4) has a section called "Op vs et Vsvs" which Sir 255 ? ThiWlft-mmd* oflhgpsktfl Sir Harry. Y o u h a u e n o r e a f o n : g o o d f y r Timothy^ .The p l a c e i s y o u r s . Harrihg. H e e h a t h d e f e r v ’ d i t w e l l . Senfer. B u t i l e d e f e r u e i t b e t t e r , w h y t h i s f e l l o w I s F r a n t i c k e , y o u i h a l l h e e r e m e e m a k e h i m f p e a k e A l e l y a n d w i t h o u t f e n c e . I ’ I e m a k e h i m f a y , H i s N o f e w a s H u s b a n d t o a Q u e e n e , T He tvhifpcrs to Sir Harry. Six Timothy n o t p o f H b l c - \ fir Harry* Taber. H e e w i l l n o t f p e a k e i t f o r f h a m e . Seneer . T h a t y o u f h a l l h e e r e ; Magifter Boniface . > Sir Boniface. Quid ais domine Timothy. < Sencer. W h o w a s Pafipbaihu&b&nd Q u e e n e o f Creete'. • Sir *$onifaee. W h o k n o w e s n o t t h a t * w hy M inos w a a t h e r H u s b a n d . ' Sencer. T h a t h i ^ n o f e w a s ; d i d I n o t t e l l y o u f o . Sir Boniface. I f a y th&tMinos w a s : ’ Sencer. T h a t h i s N o f e w a s h a h a s . Sir Harry.ilenotbcletueit. * S i r B outfacefihittt a r e a b r a c e o f A n g e l s . . : Y o u - a r e n o t f o r m y t u r n e RrTimothy. Y o u a r e t h e m a n f h a l l r e a d e v n t o m y d a u g h t e r T h e L a t i n t o n g u e , m w h i c h I a m i g n o r a n t : C o n f c f l e y o u r f e l f e a n A f f e ; f p e a k e b a w d y W O r d s ; A n d a f t e r t o t a l k e i d e l y . H e n c e a w a y : Y o u f h a l l h a u e m y g o o d w o r d , b u t n o t m y p a y ? Sir Boniface. Opus eftvfus • f i r Timothy y o u a b u f e US. I f w e a r e b y a n o w n e , h a d I t h y h o f e d o w n e , > Q u i que quod, f w o u l d f o f m o a k e t h e e w i t h t h e t o d : : , llle Ilia Jliud, v n t i l l I f e t c h b l o o d . B u t Nobiles valete$tm *m e i n quieted JBxit. Sir Harry. S i r Tim othy , t h e r e i s . i b m e G o l d i n e a r n e f l v I l i k e y o u w e l l t a k e i n t o y o u r t u i t i o n * M y d a u g h t e r Gratiana ; t h e n e w e s Tahir. ( E n t e r Taber* Taber. O f a n o t h e r g a l l a n t n o b l e f i r t h a t p r e t e n d s t o h a u e b u f i n e f f e > b o t h w i t h y o u a n d m y m i f t r d T e > Sir H arry. A d m i t h i m * ... " F 3 £ n t e L 1509. I'le] IAle CtE, NNPf 1524. daughter/v] daughter, CtE, NNPf 1525. tongue,in] tongue^in CtE, NNPf. 1510 I5 Z O 1530 256 Boniface may be recalling. 1531. Oui que quod.1 Who or what— masculine, feminine, and neuter. These forms are found in Lily (Blv). 1532. Ilie Ilia Illud.1 That or that one— masculine, femi nine, and neuter. 1533 . Nobiles valete . remaine in cruiete. ] Farewell, noble men; remain in quiet. 1540. gallant] See the note to 1. 993. 1542. Lusty Iuventus1 The allusion may be to the prodigal in R. Wever1s play of the same name (1547-1553). See also supra. pp. 63-64. 1547. Mad . . . heere.] An aside (Mermaid). 1547. desperation] The idea of recklessness rather than of despair seems to predominate. 1552-53. greene sicknesse] "Chlorosis--an anoemic sickness of young women (with consequent greenish complexion). The Elizabethan dramatists emblemized it as a sign of a girl's love-sickness, or of a vague desire, for a man" (Partridge, Shakespeare1s Bawdv). 1557-61. Hee . . . yeare ] Sir Harry reads from the letter; the words in parentheses are, of course, his own reaction to the proposal. 156 0. Ioynter] Money or other property limited to the 257 The Wifc-mmMofMffgfdca* Enter Chart l y very gallant , in his hand a Lady, Taher. Lufly Juve'ntm ; w i l l i t p l e a f e y o u t o ^ d r a w n e e r e . Chart. N o b l e K n i g h t , w h i l ' f t y o u p e r u f c t h a t f w e e t e L a d y , t e l l m e e h o w y o u l i k e t h i s : (kifeth hen Gratia, Y o u p r e f l e ( o f u d d a i n l y v p o n m e e f y r . I k n o w n o t w h a t t o a n f w c p . . Sencer. ; M a d Chart l y ; w h a t m a k e s d e f p e r a t i o n h e e r c c Chan. T o t h e w o r d w o o e r l e t m e e a d d t h e n a m e f p e e d e r m y f a t h e r h a t h w r i t t e n t o y o u r f a t h e r , a n d t h e c a u f e o f h i s w r i t i n g a t t h i s p r e f e n t , i s t o l e t y o u v n d e r f t a n d , t h a t h e e f e a r e s y o u h i u e l i u ' d a m a i d e t o o l o n g : a n d t h e r e f o r e t o p r e v e n t a l l d i f c a f e s : i n c i d e n t t o t h e f a m e ; a s t h e g r c e n c f i c k n e f l e a n d o t h e r s * H e e f e n t m e e l i k e a s k i l f u l ! P h y ( m a n , t o t a k e o r d e r w i t h y o u a g a i n f t a l l f i i c b m a l a d i e s . I f y o u w i l l n o t c r e d i t m e e , l i f t b u t n o w f e r v e n t l y m y f a t h e r w r i t e s i n • m y b e h a l f e * . - l ‘ :v . , , * . Sir Harry. H e e i s m y o n e l y . . f p n n e ^ a o d ( h e e I t a k e a s y o u r o n e ' y d a u g h t e r , w h a t f t i o u k l b i n d e r t h e n , T o m a k e a m a t c h b e t w e e n e t h e m , ( w e l l t i s w e l l t i s g o o d 1 l i k e i t J 1 w i l l s n a k e h e r J o y n t c r t h r e e h u n d r e d : p o u n d s a y e a r e . , Chart, f l o w f a y y o u b y t h a t f w e e t e L a d y t h r e e h u n d r e d p o u n d s a y e a r e a n d a p r o p e r m t n r o b o o t e . Sir Harry, A l l ' s g o o d , I l i k e i t , w e l c o m c M . Chartly. T h o u a r t n o c h i l d o f m i n e V n l e f f c t h o u b i d f t h i m w e l c o m e - T h i s 1 p r e f u m c ’ . T o b e e y o u r f a t h e r s h a n d , : Chart. B u t H e b e e f w o r n e be n e v e r W r i t i t v Sir Harry. A n d t h i s h i s i e a l e a t A r m e s * Chart. O r e l f e I v n d e r f t a n d i t v e r y p o o r e l y , b u t L a d y '1 . I n e a r n c f t o f f u r t h e r a c q u a i n t a n c e , r e c c i u c t h i s C h a y n e , T h e f e I s w e l s . h a n d a n d h e a r t . Sir Harry. R e f u f c n o C h a i n e n o r l e w e l s . h e a r t n o r h a n d , b u t i n e x c h a n g e o f t h e f e b e f t o w e t h y f e l f e t h i n e o w n e d e e r c f e l f e v p o n h i m * Gratia, 15*0 ISSo 1560 IS 7 0 T ke ffift-tp m a * tto g fd w . Gratia * M y f e l f e o n h i m , w h o m I t e l l n o w I n c c r e T a w ? W e l l f i n c e I m u f t * y o u r . w i l l ' * t o m e e a l a w # Sane# N a y t h e f t t i f i d m c t o f p e a k e > f h a l l T f t a n d h e e r e w a v t i n g l i k e a C o x c o m b e . a n d f e e h e t g i u e n a w a y b e f o r e m y f a c e ? f t a y y o u r h a n d f y r H arry ; a n d l e t m e e c l a i m e m y p r o m i f e . Sir Harry . M y p r o m i f e i l e p e r f o r m ^ f y r Timothy , y o u f h a l 1 h a u e a l l y o u r w a g v s d u l y p a i d . Senc., I c l a i r n e i a i r e G ra n a n a ^ y o u r p f o i n i f i S > N o m o r e f y r Timothy , b u t Sencer n o W , J l - ' Y o u p r o m i f d m e e w h e f t y d u r e t e i u e d m y f e r v i c e , A n d w i c h y o u r i i f e c r a l l h a n d d i d w a g e m y f t a y : T o e n d o w o m c e f r e e l y w i t h y o u r d a u g h t t r s k o V e , ■ / ' T h a t p r o m i f e a o w l c t a i r t i e # - 5 J ! ‘ , Sir /fwrry i'MeeW'COfmdge/knsiv'ery,; f I t i d e m y f e l f e t o n o c o n d i t i o n s ; * ? ' r ; : ; • : ' I n w h i c h f u c b g u i l e i s p r a f t i f e d , c o m e f o n n e Chart ly, T o c u t o f a l l d i f a f t c r s i n c i d e n t . ' f . T o t h e f e p r o c e e d i n g s w e e w i i l f o l l e m h i f c , ' ‘ ‘ T b e f e N u p t i a l l r i t e s w i t h a l l f p e e d c p o f l i b l e - Chart . F a r e w e l l g o o d f y r Timvtbyy f a r e w e l l l e a m M f y r Timothy, Exeunt, Sencer ♦. W h y : a n d f a r e w e l l l e a r n e d f y r Timothy* F o r n o w f y r Timothy a n d I a m t w o ; • J B o a f t O R } b r a g g e o n , e x a l t e x a l t t h y f e l f e , S w i m i n a S e a o f p l e a f u r e a n d c o n t e n t W h i l f t m y B a r k e f o f f e r s w r a c k i l e b e e r e v e n g e d , Chartly • i l e c r y vinMSka f o r t h i s ; H o m e , N e x t t i m e t h o u g o r c f t , i t m u f t b t e w i t h t h y h o m e , ■ ■ . •. '■ * '■ ' ■ Exit.. Enter A£* B o y f t e r Eoyjfer. I a m m a d , a n d k n o w n o t a t w h a t - 1 c o u l d f w a g g e r b u c k n o w n o t w i t h , w h o m , 2 a n v a t o d d e s w i t h m y f e l f e ; a n d k n o w n o t w h y s I d i a l l b e e p a c i f i e d , a n d c a n n o t t e l l w h e n # W o u l d 258 15 30 1 5 3 0 1600 IC/O 259 wife, to be hers "in the event of her widowhood" (OED. Jointure. 4). 156 5. no child of mine] Woodrow W. Powell (p. 144) has observed Heywood's frequent adaptation of the proverbial phrase "no child of mine," as in A Challenge for Beauty (V, 21, 60) and The Rape of Lucrece (V, 171), although Tilley does not record the expression. 1568. But . . .it.] An aside (Mermaid). 1570-72. Or . . . heart.] Mermaid, probably following Pearson, takes these lines for blank verse since they are set as such. Aside from the last clause, however, the meter is quite awkward and irregular. 1573-75. Refuse . . . him.] Pearson and Mermaid print these lines as poetry: "Refuse . . . hand, / But . . . thyself, / Thine . . . him." I agree. 1576. I . . . saw?] Pearson and Mermaid omit the second "I" in order to normalize the meter of the line*. 1577. your . . . law] Powell (pp. 171-172) believes that "this much-repeated idea seems to be peculiarly Heywood's; it does not appear in Shakespeare and Tilley does not list it as proverbial." See also The Silver Age (III, 95), A Challenge for Beauty (V, 38), The Royal King and the Loyal Subject, (VI, 26), The Captives (98), Pleasant Dialogues 26 0 and Dramas (VI, 304), The Hierarchy of the Blessed Angels (433), and Troia Britannica (393). 1578-80. Nay . . . face?] An aside. 1582-83. My . . . paid. ] Pearson and Mermaid print these lines as blank verse, divided as in the quarto. They seem to be such. 1585. No . . . now] With these words Sencer removes his disguise. 16 03. vindicta ] Vengeance. 1603. Horne] Scorn (Pearson and Mermaid). 16 04. horne ] Sencer ' s thoughts of revenge— 1 1 vindicta" (1. 16 03)--appear to involve cuckolding Chartley, or perhaps he believes that Chartley is certain to be cuckolded by some one . 1608. swagger] "To talk blusteringly; to hector" (OED. lb) . 1610. pacified] In several copies (0^“^, CtE, EC, MH, NjSH, EN2, ICN, NNPf, SR, LVD, IU, PU, 0W) the last two letters of the word have been pulled out of their normal CD position, thus: "pacific". This condition does not, I think, represent an error of composition but constitutes damage caused during the machining, perhaps during the ink ing . 261 The. rvife-mmm t f Uftgfitn. 1 would faine haue a wife but cannot tell vvherfci 1 would fallen on Luce but cannot tell how*' How ;whfrc*; when ;_why:; whom ; < W hat* * ■ V ■ ' Feedingfore makes mee learie* -and falling far : . . • ■ . j 1 . - \ : . i i . . o . i . - 1 , , v Enter Luce**^ofeph. - 'Luce', Not aUthis while oncefeemcc. jit* V - : 1 lo/efh, Hisocca{ioia.Si perhaps utfoc^e hkUbftncei > L»ce, H isOCCafoinS,?,n • < • • ■ ' • * ; * . V* ^ V nlefle hee findoccafion of new -L ove* \ ; r W hat could inforce fuch abiipnee from his IpOttfe* • i: A m I g r o w n f r i o w l e a n d b l a c k e * f o i c c s l y e f p o u & l s * • : . . I t foould notYecme fo; For the (hop isdaily, i : r \ C uftosn’ d with ftore, ofQbap-tne^ fuchas < X *ne > . ' To cheapen Love. O no,I am my fclft £ - • : But CW*/? hee is changed. ^ lofiph . You know that iS.e&tleman.. Luce. Efcapehimifthpu canfo . , i ’ 1 Boyfter. Hee cannot,! ;arrpft you; . ,v .; r . . , ' , 'i Luce. Atwhofe fuite. .... i y \ [, ., Boyfter. N o t a t m i n e o w n e , t h a t s d a f h t , I l o u e t b e e t i o t b T h o u a r t a Spfpprd^£*/>/<?,% m & re Bfackumotc A g a i n e , ! f a y I l o u e t i i e < ; j i o t . t T - I! r: 5 ' ! ; 1 :j : - ' Luce . A BUckgmvre.faGifJy ? \ « , t . ; : j : s r r > . ' - i S u r e l a m c h a n g ’ d i n d e e d ^ a n d t h a t s t h o c a u f e ' f M y H u s b a n d l e f t m e e f b * t h i p G e n t l e m a n O n c e r e a r m d m e e b e a u t i f u l h , h o w l o o k e I Ufepkl- , ■ '} lofephi A * w e l f a s c r c y p f t f d i d j f a t , f e f h j a n d r f a y r w : ■ . I Boyftbf. Y o u l y e b o y , p o c k e t t h a t , a n d n o w be g o o - 2 ofeph. A n d w h a t f h a l l t h e n b e c o m e o f m y M i f t r e f f e ^ Boyfter. I l e w a i t e v p o n y o u r M i k r e l T e . Luce . I k n o w you w i l l n o t w a i t e on fcchzG ipfie. - Boyfter. Y e s Luce O f t ; f u c h a Gipfte: \ Boy^ dbt. - b f ) - • i UfepK A b i d e i i r ^ o t i h c c d c n o t f e a r c that ! h & je tifrr,! } purpote t o ' l c a u ^ h c f . * : f\: b i - ' V v:^ ;t >1 - • * Boyfter. 1612. Luce 1 Lnce CtE, NNPf 1617. absence.] absence, CtE, NNPf 1626. Gentleman.] Gentleman: CtE, NNP f. 16 20 96 3 0 16^0 262 1613. How . . . what.] Powell (p. 175) finds variations upon this series in II If You Know Not Me (I, 260), The Fair. Maid of the Exchange (II, 6 ), The English Traveller (IV, 77-78), and A Challenge for Beauty (V, 40). 1614. Feeding . . . fat.] The statement expresses Boy- ster's frustration. It may be proverbial, but I have not been able to trace it. 1617. His . . . absence.] Pearson ^and Mermaid print this line as blank verse: "His occasions / Perhaps . . . ab sence." Apparently the first two words complete the pre vious line, and Luce's first two words (1. 1618) complete the line started with "perhaps inforce". 1617. occasions] "Affairs, business" (OED, 6 ). 1623. Chap-men ] Customers (OED, 4). 1631. meere ] "Pure, unmixed" (OED. lb). 1642. abi abi1 Go away, go away. 1644-45. Abide . . . her.] Joseph seems to misunderstand Chartley's Latin (1. 1642), mistaking "abi" for "abide" and further believing that "abide" is a command to depart. 1648-50. Why . . . neither.] Mermaid prints these lines as blank verse: "Why . . . long, / And . . . bride? / Why . . . neither?" Pearson prints the last line as verse, to which I can agree. 263 The fVife-wematt e f fftfgde#. Boyfter* N o w y o u a r e g o i n g t o t h e W e d d i n g - h o u f e . Y o u a r e b i d t o b e a B r i d e m a i d , a r e y o u n o t * Luce, W h a t w e d d i n g f i r , o r w h o f e ? Boyfter. W h y Char t fey es ; Luce h a t h h e e b i n t h y f r i e n d f o l o n g , a n d w o u l d n o t b i d t h e e t o w a i t c o n h i s B r i d e * W h y l o o k f t t h o u r e d a n d p a l e , a n d b o t h , a n d n e i t h e r * /6 5 o Luce . T o M r . Ckartleyes &rifa\s, w h y , t o w h o m , S h o u l d h e e b e m a r r i e d . Boyfter * T o Grace o f Gratious f t r c e t . Luce* T o Gratiana ? B e f l i r o w y o u f i r y o u d o c n o t u f e m e e w e l l / T o b u z e i n t o m i n e e a r e s t h c ( e f t r a n g c v n t r u t h s ; I t e l l y o u f i r , ’ t i s a * i m p o f l i b l e T h a t they t w o i h o u l d m a t c h : a s E a r t h n o d Hczuen to m e e t # ' Boyfter, Y o u * l n o t b e l e e u e i t , - p r a y t h e n h a r k c w i t h i n , T h e N u p t i a l l m u f i c k e e c c h o i n g t o t h e i r i o y e s * / 6 6 O B u t y o u g i u e c r e d i t t o n o c e r t a i n t y c s : I t o l d y o u b u t a t a l e , a l y e , a f a b l e ? A m o t i f t r o u s , a n o t o r i o u s i d l e u n t r u t h , T h a t y o u w e r e b l a c k e , a n d t h a t I l o u d y o u n o t * A n d y o u c o u l d c r e d i t t h a t . Enter ftr H a r r y and H a r i n g S - f i e l d , C h a r t l y leading C S r a t i a n a by the Arme, T a b e r and attendants. W h o ’ s t e l l - t r o t h n o w . K n o w y o u t h a t m a n , o r k n o w y o n t h a t f i n e V i r g i n : W h o m b y t h e a r m e h e e l e a d e s . I B i o Luce. I ’ l e n o t i n d u r c ’ t : H c a u e n g i u e y o u joy f i r s Chart. I t h a n k e y o u ; Luce I ( jheefaints. Sir Harry. L o o k e t o t h e M a i d f t i e e f a i n t s . J Boy ft. h e l d Chartly . Grace, c o m e n o t n e e r e h e r Grace• 4 h e r v p * F a t h e r k e e p e off, o n G e n t l e m e n a p a c e * S h e c s t r o u b l e d w i t h t h e f a l l i n g f i c k n e f l e , f o r O f t h a t h f i i e e f a l l e n b e f o r e m C e * S ir Harry . N a y i f i t b e e n o o t h e r w i f c , o n g e n t l e m e n ® 6 let 2 4 All of the following variants are recorded on O , L , EC, MH, and NNPM. 1650. Why lookst] Whylookst 1653. Grace] grace 1653. street.] streete. 1655. Be- shrow] Beshrowe 1659. within, ] within^ 1660. ecchoing] echoing 1663. untruth,] untruth. 1666. and ] aud 1672. you: Luce?] you: Luce? 1674. Grace,come ] Graces come 264 The Wifewpmtn of tiogftm L e t t h o f e w i t h h e r f t r i u e t o r e c o u e r h e r . K e e p e o f f , t h e d i f e a f e i s i n f e c t i o u s : _ Chart l y . I f i t w e r e i n a m a n , i t w e r e n o t h i . n g » b t i t t h e f a l l i n g f i e k n e f f e i n a w o m a n i s d a n g e r o u s - . . • Enter Laces Father, M y t o t h e r f a t h e r i n L a w e , n o w f t i a l l I b e e v t t e r l y i l i a t n ' d y I f h e e a f f u i e t o k n o w m e e , i ’ i e o u t f a c e h i m * Father. S o n n e y o u r w e l l m e t . Chartly. H © W f e l l o w * Father, I c r y y o u m e r c y H r . Chart. N o h a r m e d o n e f r i e n d , n o h a r m e d o n e . Exeunt• Fath . i f h e e ? h e e c o u l d n o t b u t h a u e k n o w n m e e t h e r e , Y e t h e w a s w o n d r o u s l i k e h i m . . Boy ft. H o w c h e a r e y o u w h e n c e g r e w t h i s p a f t i o n . Luce „ P a r d o n m e e f i r , I d o e n o t k n o w m y f e l f e : I a m a p t t o f w o u n d , a n d n o w t h e f i t i s p a f t m e e . I t h a n k e y o u f o r y o u r h e l p e ; i s m a t t e r Chartly ; V a n i f t i t f o f o o n e : . ■ f Hoyftcr. Y e s : a n d t o f u p p l y h i s p l a c e , f e e w h e r e t h y f a t h e r c o m e s . Father , H e e h a t h n o t f i i c h a f u i t , h e f i d e s t h i s g a l l a n t L e d b y t h e a r m e a B r i d e > a l o f t y B r i d e ? H o w m u c h m i g h t I h a u e w r o n g ' d t h e G e n t l e m a n * B y c r a v i n g h i s a c q u a i n t a n c e , t h i s i t i s , T o h a u e d i m m e E y e s . W h y l o o k e d m y d a u g h t e r f a d . I c r y y o u m e r c y . S i r I f a w n o t y o u . Boy f t, I w o u l d I h a d n o t f e e n e y o u a t t h i s t i m e n e i t h e r j f a r e w e l l . _ E xit. Luce. I f h e e b e g o n e ? t h e n c a l l m e e v e n t m y g r i e f e * I F a t h e r I a m v n d o n e , - Father. F o r b i d i t H e a u e n . Luce. D i f g r a c t , d e f p i f ’ d , d i f c a r d c d , a n d c a f t o f f . Father. H o w , m i n e o w n e c h i l d . * Luce, My H u s b a n d , O my husband f Fat her l€8o 16 9 0 / 7 0 0 /7/0 265 1648, 1651. Chartleves1 The only departure from the custo mary spelling of "Chartlv.1 1 in sheets F-I? possibly occa sioned by the possessive form, although elsewhere (11. 1834, 2345, 2349) the possessive appears as "ChartIves1 1 . See also the discussion of compositors, supra, pp. 131-133. 1653. Gratious street] See the note to 11. 169-17 0. 1656. buze ] OED does not list this form, but clearly the meaning is "to tell in a low murmur or whisper" (OED, Buzz. 4) . 1676. falling sicknesse] Here Chartley ostensibly means that Luce has epilepsy, although the invocation of the sexual double standard in 11. 1681-82 suggests that "fall ing sicknesse" means "promiscuity." 1685. out face] See the note to 1. 1182. 1686. your well met] "An expression of welcome" (OED. Meet, 4b). 1719. base villain Iewe] Woodrow W. Powell (p. 151) re marks upon Heywood's strong anti-Semitism as evidenced in The Hierarchie of the Blessed Angels (498, 529-530), The Exemplary Lives (14), The Fair Maid of the Exchange (II, 24), and A Challenge for Beauty (V, 26). 1720. Wedding boord] OED does not list this word, nor have I been able to trace it elsewhere. Luce's Father may be referring to the registry of marriages. An injunction of The W ife -m m ah o f tfeg fd w • father. W h a t o f h i m . Luce, S h a l l I t h e f t i o w e r o f a l l m y g c i e f e a t o n c e ] P o w e r o u t b e f o r e y o u : Chartlyy o n c e m y h u s b a n d H a t h l e f t m e e t o m y (ha m e . H i m a n d h i s B r i d e , I m e t w i t h i n f e w m i n u t e s . Father, S u r e t * w a s t h e y . I r n e t t h e m t w o , t * w a s h e e ; b a f e v i l l a i n e I c w e « I ’ l e t o t h e W c d d i n g b o o r d , a n d t e l l h i m f o : l i e d o o ' t as I a m a m a n . ? Luce* B e e n o t f o r a f h . Father, H e h u e a n d d y e v p o n h i m • H e e ’ s a b a f e f e l l o w * f o f i e p r o o u e h i m t o o * Jofeph m y S w o r d . ' T h i s r a f i i n e f t e w i l l v n d o e u s . Luce, l i e h a u e m y S w o r d . Father . I t h a t h b i n t w i c e i n France^ a n d Oftce i n Spaine, A i t i t h John a Gaunt, w h e n I w a s y o u n g l i k e h i m I h a d m y w a r d s , a n d f o y n e s , a n d q u a r t e r - b l o w c s : A n d k n e w t h e w a y i n t o S t . Georges f i e l d s . T w i c e i n a m o r n i n g , Tuttle, Finsbury ? I k n e w t h e m a l l , i l e t o o h i m , w h e r ' s m y f w o r d , O r l e a u e t h i s f p l e e n e , o r y o u w i l l o u e r t h r o w . O u r f o r t u n e s q u i t e , l e t u s c o n f u l t t o g e t h e r , y v h a t w e e w e r e b e f t t o d o e . Father, f i e m a k e h i m p l a y a t L e a p - f r o g , w e l l I h e a r e t h e e Luce, I c a n n o t p r o o u e o u r m a r r i a g e , i t w a s f e c r c t , A n d h e e m a y f i n d f o r a e c a v e l l i n t h e L a w * - Father, f i e t o o h i m w i t h n o L a w , b u t StajfoodLtWQ* T i e f e r r e t t h e f a l f e b o y , n a y o n g o o d Luce, Luce, P a r t o f y o u r f p l e e n e , i f y o u w o u l d c h a n g e t o c o u n f e l , W e e m i g h t r e v e n g e u s b e t t e r . r Father. W e l l I h e a r e t h e e - Luce. T o d a i m e a p u b l i c k e m a r r i a g e a t b i s h a n d s ; W e e w a n t f u f f i c i e n t p r o o f e > a n d t h e n t h e f w o r l d W i l l b u t d e r i d e o u r f o l l y , a n d f o a d d e D u b b l e d i f g r a c e y n t o m y f o r m e r w r o n g . G i T o 266 II ZO 1 1 3 0 mo 26 7 1558 "ordained that every officiating minister should keep a book wherein he should register every marriage, christen ing, and burial. The keeping of parish registers was en forced by injunctions of Edward VI and Queen Elizabeth, and also by one of the canons of 16 03" (the 7 0th canon)— Hammick, pp. 166-16 7. 1723. lie . . . him;] The meaning here is, I think, that Luce's Father, recognizing at heart the inequality of the contest, believes that he will die in the duel, but in dying he will preserve the honor of his name, which will live un tarnished in the memory of his fellows. 1726. This rashnesse will vndoe us.] Pearson and Mermaid give this line to Luce, which clearly is correct. 1727-33. lie . . . sword,] Pearson and Mermaid correctly assign all of this speech to Luce's Father. 1728-29. It . . . Gaunt,] The statement suggests either that the sword is antique (John of Gaunt, 1340-99) or that the setting of the play is much earlier than Elizabethan or Jacobean. Probably the former is more likely to be correct, since Luce's Father does not say that he was with John of Gaunt but that his sword was. Furthermore, such a cumber some two-handed battle sword would be so old-fashioned as to be ridiculous in the heyday of the rapier. Hence 268 reference to the sword helps to characterize Luce's Father as a foolish old man. Heywood tends to be somewhat careless about chronological accuracy,, for on 1. 2022 Old Chartley speaks of seeing Paul's steeple (destroyed by fire in 1561) and on 11. 212 and 1322 the Exchange (built in 1566) is mentioned. References to the destroyed Paul's steeple5 however, are rather common (see Sugden) in Elizabethan and Jacobean plays. 1729. him] More likely a reference to Chartley than to John of Gaunt. 1730. wards . . . quarter-blowes] These terms are, of course, part of the vocabulary of fencing. A ward is "a defensive posture of movement; a mode of parrying" (QED. 8). A foin is "a thrust or a push with a pointed weapon" (QED). A quarter-blow is "some kind of stroke or blow" (QED. Quar ter . 26a.), perhaps a stroke delivered with a rapier inside the sword arm of one's opponent--Egerton Castle, Schools and Masters of Fence (London, 1892), p. 154. That Luce's Father uses the word "foin" also suggests a familiarity with the rapier incongruous with the heavy sword from the time of John of Gaunt (Castle, pp. 24-39). 1731-32. St. Georges fields . . . Tuttle. Finsbury 1 These are the names of open fields close by London that were used 269 for dueling, archery practice, training troops, and by Lon don citizens for holiday strolling. St. George's Fields were "on the Surrey side of the Thames between Southwark and Lambeth" (Sugden). Finsbury Fields were north of London just beyond Moor Fields and northwest of Bethlehem Hospital. Tuttle Fields were "in Westminster on the left bank of the Thames, south of Tothill Street" (Sugden). 1734-36. Or . . . doe.] Pearson and Mermaid correctly assign this speech to Luce. 1737. play at Leap-frog] Presumably Chartley will be hopping about in order to avoid the sword of Luce's Father. 1738-39. I . . . Law.] See the note to 11. 1183-84. 1740. Stafford Lawe] "'He has had a trial in Stafford Court' was a way of saying 'he has been beaten or ill- treated, ' Cotgxave" (Mermaid). "Stafford law is club law, with a pun on staff" (Sugden). Tilley (S808) also lists the expression: "Stafford Law." See also The Captives (p. 63) . 1745-46. To . . . proofe,] See the notes to 11. 1183-84. 1751. damask'd kirtle] "A man's tunic or coat . . . usu ally worn with a skirt beneath and a cloak or mantle above" (QED), and in this case decorated with elaborately woven designs after the fashion of Damascus. 270 TkeW ife woman$f tttgfdt*. T o L a w w i t h h i m h e e h a t h a g r e a t e r p u r f c , A n d n o b l e r f r i e n d s , h o w t h e n t o m a k e i t k n o w n e ? 1 7 5 0 Father, I s t h i s h i s d a m a s k ’ d k i t t l e f r e n d g c w i t h G o l d * H i s b l a c k e b a g g e , a n d h i s B e a u e r , d s w e l l y e t I h a u e a S w o r d : Luce. A n d I h a u e a p r o / e & i n m y B r a i a e b e g o t , T o m a k e b i s o w n e m o u t h w i t n e s t o t h e W o r l d M y i n n o c e n c e , a n d h i s i n c o n t i n e n c e ? L e a u e i t t o m e e , i l e d e a r i e m y f e l f e f r o m b l a m e , T h o u g h I t h e w r o n g , y e t h e e ( h a l l r e a p e t h e f h a m c . E xeunt. Enter S e n c e r like a Serning- man. 1 7 6 0 Senc. N o w O r n e v e r , I o o k e a b o u t t h e e Sencer, t o m o r r o w i s t h e M a r r i a g e d a y w h i c h t o p r e u e n t , l y e s n o t w i t h i n t h e c o u i p a f f c o f m y a p p r e h e n f i O n , t h e r e f o r e I h a u e t h u s d i f g u i - f e d m y f e l f e , t o g o e t o t h e ; L o o m i n g w o m a n s , t h e F o r t u n e t e l l e r s * T h e a n y t h i n g , t h e n o t h i n g , t h i s o v e r a g a i n f t m o t h e r R e d - c a p s i s h e r h o u f e , i l e k n o c k e * Enter 2 * L u c e in her boyes fht tf e , a . Luce. W h o f c t h e r e ? W h a t w o u l d y o u h a u e . Sencer * I w o u l d f p e a k e w i t h t h e w i f e g e n t l e w o m a n o f 2. Luce. O 6 e l i k c y o u h a u e l o f t f o m e w b a t . ( t h e h o u f e . 1170 Sencer. Y o u a r e i n t h $ w r o n g f w e e t e y o u t h , a . Luce. I a m f o m e w h a t t h i c k e o f h e a r i n g , p r a y f p e a k o u t . Sencer. I fay I h a u e n o t l o f t a n y t h i n g , b u t w i t a n d t i m e * A n d n e i t h e r o f t h o f e ( h e e c a n h e l p e m e c t o o : 2 .Luce. T h e n y o u b e l i k e a r e c r o f t i n L o u e , a n d c o m e t o k n o w w h a t f u c c e f t e y o u f t i a l l h a u e . Sencer . T h o u h a f t b i t i t f w e e t e l a d d e ; t h o u h a f t h i t i t . a . Lnce. W h a t i s i t , y o u f a y f i r : Sencer. T h o u h a f t h i t i t ? 2, Luce, I pray come in,ile bring you to my MiftrelTc. 1780 E x it. Enter O A All of the following variants are recorded on O , L , EC, MH, and NNPM. 1751. Gold,] Gold. 1752. yet-] yet. 1755. the World] theWorld 1764. Looming] looming 1764. Fortune] fortune 177 0. belike] be like 1780. in,ile] in-ile 1780. Mistresse.] Mistresse, 271 The Wifi* worn** o f Meg fden. Enter L a c e nnd I o f e p h . Luce. T h i s i s t h e h o u f e , k n o c k lojeph , m y b u f i n e l T e c r a u e s d i f p a r c h . Iofeph. ^ o w a m I a s a n g r y , a s t h o u a r t t i m e r o u s , a n d n o w t o v e n t t h e n e x t t h i n g I m e e t e , O t i s t h e d o o r e . (knock?. E nter % . L u c e . 2* Luce * W h o ' s t h e r e , w h a t a r e y o u . ? v , Luce . A m a i d a n d a w i f e . a :Luce. A n d t h a t w o u l d g r i e u e a n y w e n c h t o b e e f o , I k n o w t h a t b y m y f e l f e , n o t Luce. Luce . B o y , w h e r e ' s y o u r M i f t r c f f e * a . Luce. I n f o m e p r i v a t e t a | k c w i t h a G e n t l e m a n ? l i e f e t c h h e r t o y o u p r e f e n t l y . . E x it. Luce . I f ( h e e a n d y o u f e e n a e e n o t , I a m b u t d e a d , I ( h a l l b e m a d e , a b y . w o r d t o t h e W o r l d : T h e f c o m e o f w o m e n ; a n d m y F a t h e r s f h a m e : E nter W i f e - w o m a n S e n c e r . PVifewomnn. Y o u t e l l m e e y o u r n a m e i s Sencer ^ I k n e w i t b e f o r e , a n d t h a t Chartly i s t o b e e m a r r i e d * I c o u l d h a u e t e > M i t y o u . 2 . Luce. M a r r i e d t o m o r r o w , O m e e ! Sencer. E y b u t y o u t e l l m e e , t h a t Chartly b e f o r e t o m o r r o w l h a l l b e e d i f a p p o i n t e d o f h i s , m a k e t h a t g o o d , T h o u ( h a l t h a u e t w e n t y A n g e l s . JVifervoman. I l e d o o ’ t , ( l a n d a f i d e , i l e h a u e b u t a w o r d o r t w o w i t h t h i s G e n t l e w o m a n $ a n d I a m f o r y o u p r e f e n t l y . Luce • 0 1 M o t h e r , m o t h e r . ( They rrhifper. a . Luce , M y h u s b a n d m a r r y a n o t h e r w i f e t o m o r r o w ? 0 c h a n g e a b l e d e f t i n i e , n o f o o n e r m a r r i e d t o h i m , b u t i n - f t a F r t l y t o l o o f e h i m . N o r d e a t h i t g r i e u e s m e e f o m u c h t h a t 1 a m a w i f e , b u t t h a t I a m a m a i d t o o , t o c a r r y o n e o f t h e m G 3 w e l l 1803. O mee'.] O mee. O^ y , EC, MH/ NNPM. 1805. his, make] his,make 0^, L4, EC, MH, NNPM. 1730 1800 leio 272 1764. Looming womans] The sense here, I believe, is more that the Wise Woman looms or weaves together the threads of one's fortune or destiny, rather than that she is a literal weaver. To be sure, the invented "admirable suite. / Of costly needle worke" (11. 2001-03) that Gratiana goes to view suggests that the Wise Woman has some skill with a needle— or as a receiver of stolen merchandise. 1765-66. mother Red-caps] See the note to 1. 551. 1772. I . . . out.] Second Luce says this in order that the Wise Woman, concealed in her closet (see 11. 937-948), may better hear the conversation. 1781. Exit.1 Exeunt. (Mermaid). Mermaid is correct, for both Sencer and Second Luce go offstage. 1791-92. And . . . Luce.1 An aside. 1799. Enter Wise-woman and Sencer.] "Enter the Wise-woman and Sencer, followed by 2nd Luce" (Mermaid). 1803. Married . . . mee'.] An aside. 1806. Angels] See the note to 1. 288. 1810-15. My . . . indure.] An aside. 1816. sell] Pearson and Mermaid emend this obvious error to "set". 1820-21. mumble] "To maul, handle roughly, maltreat" (QED. 5). 7ho wift-mmdn of tfogfdeth w e l l i s a s m u c h a s a a y i s b o u n d t o d o c , b u t t o b e t i d ’ e ^ t o b o t h , i s m o r e t h e n f l e f h a n d b l o o d c a n i n d u r e . fvifewoman. W e l l t r i i f t t o m e e , a n d [ w i l l f e l l a l l t h i n g s f t r e i g h t . Enter B o y f l e r . * SBoyfl cr. W h e r ’ s t h i s W i t c h , t h i s h a g g e , t h i s b e l d a n , t h i s w i f a r d ^ a n d h a u e I f o u n d t h e c » t h u s t h e n w i l l l t c a r e , m u m b l e a n d m a u l e t h e e . tvifcwoman, H e l p e , h e l p e * and i f you b e a g e n t l e m a n . Sencer. F o r b e a r e t h i s r u d e n e f l e , h e e t h a t t o u c h e s h e r , D r a w e s a g a i n f t m e e . - Boyft cr, A g a i n f t y o u f i r , a p p l y t h o u , t h a t f h a l l b e t r i d e . AIL H e l p e , h e l p e , p a r t t h e m h e l p e . Sencer. W i t h p a t i e n c e h e a r e h e r f p e a k e i Boyfler. N o w T r o t , n o w G r a n a m , w h a t c a n f t t h o u f a y f o r t h y f e l f e : w h a t Luce h e a r e b e p a t i e n t a n d p u t v p t h e m , f h e e m u f t n o t f e e t h e e n d . Sencer. T h a n t r i n c e o f a l l f i d e s , i f w e e c o m e f o r e o u n f d l . L e t u s w i t h p a t i e n c e h e a r e i t : Luce. T h e n f i r f t t o m e e . . w ifew . Y o u w o u l d p r e u e n t y o u n g C hm lyes m a r r i a g e * y o u f l i a l l : h a r k e i n y o u r e a r e * Luce. I t p l e a f e t h m e e . w ifew . Y o u - f o r e f t a l l Gratianet w e d d i n g , t i s b u t t h u s . ’ Sencer. I l e d o o ’ t , • Wifew. Y o u w o u l d i n i o y Luce a S y o u r w i f e , a n d l y e w i t h h e r t o m o r r o w n i g h t . H a r k e i n y o u r c a r c . Boyfler. F i a t . jvifetvoman. A w a y , y o u f h a l l i n / o y h i r h , y o u a r e m a r r i e d , L « r f f a w a y , y o u f t i a l l f e e Chartly d i f c a r d e d f r o m Gratiana , Sencer b e e g o n , a n d i f I f a y l e i n a n y o f t h e f c o r t h e r e f t , I l a y m y f e l f e o p e n t o a l l y o u r d i f p l e a f u r c s . B o y fle r. F a r e w e l l t i l l f o o n e : ' Trifewoman, Y o u k n o w y o u r m e e t i n g p l a c e * All* W e e d o e ? JVifewomm . 273 i e z o 16 3 0 IB iO 274 1829. them] Then (Pearson); thou (Mermaid). These emenda tions are perhaps unnecessary, since "them" may refer to the swords. 1829-30. what . . . end.] The passage is clarified by additional light punctuation: "what Luce heare, be patient and put up them, shee must not see the end." 1831. Than trince] Than truce (Pearson); Then truce (Mer maid). The latter emendation seems more likely. 1841. Fiat.] Let it be done. 1849. wiser] Pearson and Mermaid emend the word to "wise", making it parallel to "cunning". 1850. Exit.] "Exeunt all except 2nd Luce" (Mermaid). 1858-59. The . . . proface.] Mermaid prints these lines so as to emphasize their doggerel quality: "The . . . grace, / And . . . proface." 1859. proface] "A formula of welcome or good wishes at a dinner or other meal, equivalent to 'may it do you good,' 'may it be to your advantage'" (OED). See also How a Man May Choose a Good Wife from a Bad (1. 1599). 1861. sir Saber 1 I have been unable to trace this allu sion, assuming that it is an allusion and not a means of rhyming with the line above. The earliest incidence of the word that OED records is in 1680. T ht •aWifetmM, Y o u I h a l l . r e p o r t m e e w i f e r a n d t u n n i n g t o o . Exit., • z. Luce. l i e a d d c o n e n i g h t m o r e t o t h e t i m e , I h a u e ( a i d . I h a u e n o t m a n y I h o p e t o l i u e a m a i d . - : Exit. Enter T a b e r andfir B o n i f a c e with a Trencher, vpith broken meate and a Napkin. Taber . F y e , f y e i w h a t a t i m e o f t r o u b l e i s t h i s t o m o r r o w t o m o r r o w i s m y m i f t r e f l e t o b e m a r r i e d , a n d w e e f e r u i n g - m e n a r e f o p i d l e d . . . . . v * . I . Sir Bonifaces T h e d i n n e r ’ s b a l f e d o n e , a n d b e f o r e I f a v G r a c e , a n d b i d t h e o l d , K n i g h t a n d h i s g u e f t p r o f a c e • A m e d i c i n e f r o m y o u r t r e n c h e r , g o o d M . Taber, A s g o o d a m a n a s e r e w a s f l y Sdber W e l l t h i n k e i t n o ( f r a m e s o f l e a r n i n g a n d w i t , f a y H u ^ d y g e t s a f t o r a a c k e * f r i e n d T*b*r a b i t . Taber. L i c k d e a n e g o o d f i r Boniface, a n d i a u c t h e f c r a - p e r a l a b o u r . Enter Sencer liks a Servingtnan. , f ' Sir Boniface. B u t f o f t l e t m e e p o n d e r : K n o w y o u h i m t h a t c o m e s y o n d e r ? Taber. M o f t h e a r t i l y w e l c o m e * w o u l d y o u f p e a k e w i t h a n y h e e r e . " , * . . . _ Senc. P r a y i s t h e y o n g g e n t l e a i a n o f t h e h o i i f e a t l e i f u r e . ' Taber . M e a n e y o u t h e B r i d e g r o o r a e M . Chartly. Sencer. I h a u e a L e t t e r f o r h i m . Y o u f e e m e t o b e a g e n t l e m a n y o u r f e l f e , a c q u a i n t h i m w i t h m y a t t e n d a n c e , a n d L f h a l l r e f t y o u r s i n a l l g o o d o f f i c e s . Taber ♦ S i r Boniface, p r a y k e e p e , t h e g e n t l e m a n c o m p a n y I ‘ w i l l f i r f t a c q u a i n t y o u r i i p p e s w i t h t h e v e r t u e o f t h e S e l l e r . Sir Boniface. Adefdem c o m e n e e r e , a n d t a f f o f y o u r beere* i W e l c o t n e ^ # dote, forpufitis te votei , Exit. Senter 275 1850 I8 6 0 1 8 7 0 1880 276 1862-63. study gets a stomacke] Although Sir Boniface alleges that the expression is proverbial, I have not been able to trace it. What one finds instead are proverbs ex pressing a contrary idea: "A belly full of gluttony will never study willingly" and "A fat belly does not engender a subtle wit" (Tilley, B285, 293). 1879. Adesdem] Come hither or welcome. In The Fair Maid of the Exchange (II, 75) the conventional spelling "adesdum" is used, but the "-dem" ending is an intensifier. 1880. sine dole, for puntis te volel Without deceit for I wish a few words with you. The passage is much corrupted. The English "for" was apparently thought to be Latin. The word "dole" should be 1 1 dolo." the ablative of "dolus ." and the last three words should be "oaucis te volo." Landis (p. 246) has observed a similar passage in Terence's Andria: Simo: Sosia, Adesdum: paucis te uolo. Sosia, Come here; I want a few words with you. See the edition by H. H. Fairclough (New York, 1901), I.i.1-2 . 1881. Exit. 1 There seems no reason why Sir Boniface shoulc leave the stage at this point. Mermaid gives no such 277 The W tfe-wmAn ofHegfdm* Sencer, W h e n I t a f t o f y o u r l i q o u r . Q r a m e r c y m a f t e r V i c a r * EnterTzbet with a borele of Seert and 4 Napkine. Taber . M o f t h e a r t i l y w e l c o m e : y o u r c u r t e f i e I b e f e e c h y o u , p l y i t o f f I i n t r e a t e y o u , ' p r a y f i r Boniface k e e p e t h e ( g e n t l e m a n c o m p a n y ; t i l l I a c q u a i n t m y y o n g m a f t e r w i t h h i s b u f i n e f f e . Exits' Sir Bonif. Taber, 1 ( h a l l befslas mantts, C They diffembfe 1 8 3 0 Sencer, A voftre feruitor. one to another E nter H a r i o g s f i e k l . Harring. H e e w h a t a r t t h o u , - -■ Sencer * A h a n g e r o n , i f i t p l e a f c y o u s Harring. A n d I a ( h a k e r o f f , i l e n o t h e a r e y o u r g a l l o w c s , Y o u ( k a i l n o t h a n g o n m e e . Enter C h a r t l y with his 'Napkin as front Dinner. O . M r B r i d e g r o o m e * Chartly. G e n t l e m e n , t h e L a d i e s ' c a l l v p o n y o u t o d a n c e , 13 0 O t h e y w i l l b e o u t o f m e a f i i r e d i f b l e a f e d , i f d i n n e r b e e i n g d o n e , y o n b e e n o t r e a d y t o l c a d c t h e m a n a e a f u r e : Harring. I n d e e d e t o o m e n l o v e ' h o t ' t o b e e ( c a n t e d o f t h e i r m e a t u r e . Chartly. F i e f i r Boniface * h a u e y o u f o r g o t f o u r f e l f e , W h i l f t y o n a r e i n t h e H a l l , t h e r e ' s n e v e r a w h e t f t o n e f o r t h e i r w i t s i n t h e P a r l o r ' Sir Boniface; I w i l l e n t e r a n d ' f e t a n e d g e v p o n t h e i r I n g e n i e s . Chartly . T o m e e f i r , f r o m w h o m J a l e t t e r t o h e r m o f t 1 3 1 0 d e e r e , m o f t l o u r n g , m o f t k i n d f r i e n d M r . ' Chartly t f a e f e b e e d e l i u e r c d : f u r e f r o m f e m e w e n c h o f o t h e r I l o n g t o k n o w | t h e c o n t e n t s . Sencer . ? 4 . All of the following variants are recorded on O , L , EC, MH, and NNPM. 1883. Gramercy] Gr amercy 1887. off^l] off,I 1899. O. Mr] O^Mr . 1911. deere, most] deere /anost 1911. these] \ these 1913. contents.] contente. CW Sencer.] Sence. 278 stage-direction. 1890. besolas manus1 beso las manus: I kiss the hands. "Your" is perhaps implied for the article "the." The cor rect form for "manus" is "manos." See also Fortune by Land and Sea (VI, 383). 1891. A vostre servitor. ] Sencer probably means "At your service." 1895-96. And . . . mee.] Perhaps Haringfield is supposed to recognize Sencer. If so, these lines can be construed as a warning to Sencer that he will get no more aid from Haringfield, although he does not reveal Sencer1s identity. 1906-07. a whetstone for their wits] The proverbial pas sage implies that Sir Boniface is a fool (Tilley, W299). ■Laird H. Barber (p. 143) has observed a repetition of the ijoke in The Late Lancashire Witches (IV, 173). 1909. Ingenies ] "Cleverness, ingenuity" (OED, Inaenv). 1910-12. to . . . delivered] Chartley is reading from the letter. 1913. contents.] contente. (Pearson)? content. (Mermaid). The uncorrected state reads "contente." Pearson followed ihis reading, and Mermaid as well. 1914-15. Now . . . Timothy.1 An aside (Mermaid). 279 The Wife- woman o f Uofgden. Sencer, Now to cry quittance with you for my farewell l e a r n ’ d f i r Timothy . Chartly ♦ G o o d n e w e s , a s I I i u c , t h e r e ' s f o r t h y p a i n e s m y g o o d f i r P andartts: H a d ft t h o u b r o u g h t m e e w o r d n a y f a t h e r h a d t u r n d v p h i s h e e l e s . T h o u c o u l d f t f c a r c e l y h a u e p l e a f e d m e e b t t t e r : ( H e e r e a d c s ) t h o u g h T d i f c l a i m e t h e n a m e o f w i f e * o f w h i c h I a c c o u n t m y f e i f e a l t o g e t h e r v n - w o r t h y w e t l e t m e e c l a i m s f o m e f m a l l i n t e r c f t i n y o u r l o u e , t h i s n i g h t I l y e a t t h e h o u f e w h e r e w e e w e r e m a r r i e d , ( t h e W i f e w o m a n s I m e a n s ) w h e r e m y m a i d e n - h e a d i s t o b e e r i f l e d * b i d f a y r e f o r i t , a n d i n i o y i t , f e e m e e t h i s f l i g h t o r n e v e r , f o m a y y o u m a r r y i n g Graeiana9 a n d l o u i n g m e e > h a u e a f w e e t e w i f e a n d a t r u e f r i e n d : T h i s n i g h t o r n e v e r , y o u r quondam w i f e : H e r e a l c e r y O u r p o o r e f w e e t - h c a r t n o o t h e r ; Luce . S o w h e n I a m t y r ’ d w i t h G ratiana , t h a t i s w h e n I a m p a i l g r a c e . W i t h h e r I c a n m a k e m y r e n d e v o w z / i l e n o t f l i p t h i s o c c a f i o n , n o r f l e e p e t i l l I f e e h e r , t h o u a r t a n h o n e d l a d d c , a n d m a i f t p r o o u e a g o o d P i m p e i n t i m e * C a n f t t h o u a d v i f e m e e w h a t c o l o u r , I m a y h a u e t o c o m p a f l e t h i s c o m m o d i t y . Sencer. S i r , i h e e t h i s n i g h t c x p e f t s y o u , a n d p r e p a r e s a c o f l l y b a n q u e t f o r y o u . Chartly . l i e g o e , a l t h o u g h t h e D e v i l l a n d m i i c h a n c e l o o k e b i g g f , Sencer. F e y n e f o m e n e w e s t h a t f u c h a p e e c e o f L a n d i s f a l n e t o y o u , a n d y o u t n u f t i n f t a n t l y r i d e t o t a k e p o f l e f l i o n o f i t , o r w h i c h i s m o r e p r o b a b l e , c a n n o t y o u p e r f w a d e t h e m y o u h a u e r e c e i u ’ d a l e t t e r t h a t y o u r F a t h e r l y e s a d y i n g . Chartly * Y o u r o g u e , I w o u l d h e e d i d b u t t h e n a m e o f t h a t n e w e s i s c a l ’ d , t o o g o o d t o b e t r u e * Sencer A n d t h a t i f e v e r y o u w i l l f e e h i m a l i u e , y o u m u f t r i d e p o d i n t o t h e C o u n t r y . Chartly . E n o u g h . * i f e v e r I p r o o u e K n i g h t e r r a n t t h o u ( h a l t b e e m i n e o w n e p r o p e r f q u i r e , f o r t h i s t h o u h a f t f i t t e d m e e w i t h a p l o t , d o e b u t w a i t e b e e r e n o t e h o w I w i l l m a n - H Taber. 13 20 1330 I S i O The Wift-tHMM efHpgfde* T *bw m y h o r f e , f o r I m o f t r i d e t o n i g h t ; Taber. T o n i g h t f i r # Chartly. S o t e l l m y Bride a n d F a t h e r , I h a u e newes t h a t ^ q u i t e c o n f o u n d s m y f e n c e s * Enter Sir H a r r y * ( S r a t i a n a and H a r r i n g s f i e l d . Gratiana. H o w r i d e t o n i g h t , t b e m a r r i a g e d a y t o m o i T Q W , A n d a l l t h i n g s w e l l p r o v i d e d f o r t h e f c a f t . Q t e l l m e e f w e e t e , w h y d o e y o u l o o k e f o p a l e * Chartly. M y F a t h e r , O m y F a t h e r ; Grace, W h a t o f h i m . SHr Harry. W h a t o f y o u r f a t h e r , S o n n e t Chartly. I f e v e r I w i l l h e e r e b i s a g e d t o n g u e * P r e a c h t o m e e c o u n f e l l , o r h i s p a l f y h a n d , 7 ^ ' S t r o a k e m y w i l d h e a d * a n d b l e f l e m e e , o r h i s e y e s : D r o p t e a r e b y t e a r e w h i c h t h e y h a u e o f t e n d o n e , A t m y m i f g o v e r n ' d r i o t i n g y o u t h . W h a t f h o u l d I m o r e , i f e v e r I w o u l d f e e 5 T h e g o o d o l d m a n a l i u e . O h , O h ? : Sencer. G o e t h y w a y e s f o r t h o u f h a l t h a ' t * Grace. B u t d o e y o u m e a n e t o r i d e * Chartly. Ey Grace, a l l t h i s n i g h t . Sencer. N o t a l l t h e n i g h t w i t h o u t a l i g h t i n g f a r e i Y o u ’ l f i n d e m o r e i n * t t h e n t o g e t v p a n d r i d e , Harring. T h e G e n t l e m a n s r i d i n g , b o o t e s a n d f p u r r e s * W h y T aler ? Chartly. N a y Grace\ n e w s n o t i m e . [ T o f t a n d o n f c r u p u l o u s p a r t i n g . K n e w e f t t h o u m y b u f m e f l e * Sencer. A s f k e e i h a l l k n o w e i t : Chartly . A n d h o w I m e a n e t h i s n i g b t t o t o y l e m y f e l f e # Sencer. M a r r y h a n g y o u b r o c k . Chartly. T h o u w o u l d b e m o a n e m y c r a v e l l . S.encer. I k n o w t ’ w o u l d g r i e u e h e r : Chartly. Y o u f a t h e r , Grace, g o o d M r Harringsfield. Y o u f i r , a n d a l l p r a y f o r m e e G e n t l e m e n , t h a t i n t h i s d a r k e n i g h t s j o u r n e y I m a y f i n d e f m o o t h w a y , f w e e t e f p c c d a n d a l l t h i n g s t o m y m i n d c . Sir 280 1 5 ) 5 0 |S>60 1970 1960 281 1932. compasse this commodity] Accomplish this enterprise. 1932. colour] See the note to 11. 898-899. 1936-37. the . . . bigge ] Perhaps a proverbial expression,, although I have not been able to trace it. 1943. too good to be true] Either an allusion to the play of the same name by Chettle, Hathway, and Wentworth Smith (1601-02) or to the proverb "This news is too good to be true" (Tilley, N156). 196 8 . Goe . . . ha't] An aside (Mermaid); "ha't" is prob ably a contraction for "have it," although perhaps the mean ing is "halt." 1971-72. Not . . . ride,] An aside (Mermaid). 1973. Gentlemans riding, bootes] Elsewhere the compositor uses an apostrophe for contractions but not for possessives. Hence "Gentlemans" is probably adjectival and possessive, although the comma after "riding" suggests the contraction "gentleman is." 1975-76. Nay . . . businesse.] Mermaid prints these lines as prose, which I think they are. 1976. scrupulous] "Minutely exact or careful (in non- moral matters)" (OED. 5). Because of the supposed illness of Chartley's father, there is no time to heed the niceties of departure or to be concerned about departing on the eve 282 of the wedding. 1977. As . . . it:] An aside (Mermaid). 1979. Marry . . . brock] An aside (Mermaid). "Brock" here means "one who is given to 'dirty tricks'; a 'skunk'" (OED). -The word also means "badger," which was pejorative in much the same way as "skunk" is today. "Stinking brock" was a common epithet. 1981. I . . . her:] An aside (Mermaid). 1982-85. You . . . minde.] Pearson and Mermaid correctly print these lines as verse: "You . . . Haringfield, / You . . . gentlemen, / That . . . find / Smooth . . . mind." 1983. You sir] Probably addressed to the disguised Sencer. 1999-2002. Besides . . . suite.] Pearson and Mermaid print these lines as blank verse: "Besides . . . concerns / Your . . . you, / This . . . far / As . . . suite." I think they are such. 2002-03. suite . . . worke ] Presumably the phrase refers to "a set of garments . . . intended to be worn together at the same time" (OED. Suit. 19). Seemingly the reference is to women's garments, although the OED records no use of the jexpression to designate women's attire until 1761, some 340 years after its recorded use to designate men's apparel. Tfa W 'tfe-m wA* tf&0gfdith Sir Hurry. Wee’l fee m y fonnetakehorfe. Exenntr Grattan** But I will f l a y . I want the heart to fee him poft away ? Sencer. Saue you gentlewoman, I haue a meftage to de liver to one M iftrefTe GratUna, this fliould bee the Knights houfe her father. GratUna. It is: The tneflage that you haue to her. You may acquaint mee with, for I am one [That knowes the infide of her thoughts* Sencer. Are you the Lady, GratUna. Sir I am the poore gentlewoman. Sencer. There is a conning woman dwells not farre- At Hogfden Lady, famous for her skill. Befides fome private talke that much concerncs your for tunes in your love* Shee hath to fticwe you this night if it {hall pleafe you walke fo farre as to her houfe, an admirable faite. Ofcoftly needle worke, which if you pleafe. You may by vnder-rate for halfe the valew, It coft the making, about fixe a clocke. You may haue view thereof, but otherwife. A Lady that hath crau’ d the fight thereof: Muft haue the fir f t r e f u f a i l . Grattana. lie not fayle her. Idy husband beeing this day rid from home, jjdy leafure fitly ferues mcea thankc you M iftreflp ? Sencer. At fixe a clocke. GratUna. I will not fayle the houre. E x it. Sencer. Now to fir Harry M il is the next place* JT o mcctc at Hogfden his fayre daughter Grace. Exit* A 3 us 56. Scene prima. Enter old M . Chartly at new come one of the Country „ To inquire after hit Sonnetand three erfour e fer- ving men with blew Coates to attendhim. 283 1390 2000 2010 284 The WipS'Womat) $f Hogfdcn. “O ld Chart, G o o d h e a u e n ; T h i s L o n d o n i s a f t r a n g e r g r o w n e , a n d o u t o f m y a c q u a i n t a n c e * t h i s f c a u e n y e a r e s I h a u e n o t f e e n e Fault f t e e p l e , o r Cheape9 croiTe> Gyles. . . O Id Chart. H a f t t h o u n o t m a d e i n q u i r y f o r m y S o n n e . Gyles. Y e a f i r , I h a u e a s k t a b o u t e u e r y w h e r e f o r h i m * B u t c a n n o t h e a r e o f h i m . O Id Chart. D i f p e r f e y o u r f e l u e s , i n q u i r e a b o u t t h e T a - r e r n e s , O r d i n a r y e s , Hcrvle-allyes, Tenifconrts, Gaming-houm. /}*• F o r t h e r e ( i f e a r c ) h e e w i l l b e f o u n d - Gyles.. B u t w h e r e f h a l l w e e h e a r e o f y o u r w o r f f c i p I g a i n e . Old Chart, At Grace C h u r c h b y t h e C o n d u i t * n c c r e f i r Harry, b u t f l a y , l e a u e o f f a w h i l e y o u r b o o t l c f f e f e a r c h , h a d e ' r e m a n f u c h a w i l d b r a i n e t o h i s f c m b W , - o f f u c h f i r n a l l h o p e , w h o w h e n h e e f i i o u i d h a u e m a r r i e d * f f c y r e * a * i r t O d e f t ; a n d a v e r t u o u i t n a i d e , r i c h a n d r e v e n e w e d w e l l , a n d e v e n t h e n i g h t b e f o r e t h e m a r r i a g e d a y , t o o k e h o r f e , r o * d t h e n c e w h e t h e r H e a v e n h e i o w e s , f i n c e t h e d i f t r a f t e d v i r g i n h a t h l e f t h e r F a t h e r s h o n f c ^ b u t n c a t h e r f e u m d , y e t i n t h e i r f c a r c h w e e h a u e m e a f u r e d o u & m u c h G r o u n d s Enter Sir H a r r y . * » d S t n e c r * Sencer. Y o u r w o r f i i i p w i l l b e e t h e r e - Sir Harry, Y c s , ; n o r t a f e y k ? . A t h a l f e a n h o u r e p a f t f i x e , o r b e f O F e f e a v e n # Sencer. Y o u f h a l L n o t f i n d e u s a t f i x e a n d a t f e a v e t i , i l e W a r r a n t y o u : g o o d h e a l t h t o y o u r w o r f h i p . E x it, Sir H arry. F a r c w c t t g o o d i e U o w , A t t h e trifwomans h o u f e I k n o w i t well: P e r h a p s ( h e e k n e w c s f o n a e d a c t g g r t o u c h i n g n a t e . I ’ l e k e e p e m i n e h o u r e . old chart. S i r Marry, a h a n d a h a n d t o b a l k y o u i t w e r e n u n . ' Khali he bold to make your houfe mine Irane r Sit 2020 2030 ZOHO 2050 285 2011. thanke you Mistresse?] Pearson and Mermaid assign this speech to Sencer instead of Gratiana. Since Sencer (1. 1990) speaks of "Mistresse Gratiana.1 1 the assignment is probably correct, although possibly the compositor mistaken ly set "you" instead of "your! ." 2016. Actus 56.1 See the note to 1. 1365. 2018-19. three or foure serving menl These characters are omitted from the dramatis personae. 2020-22. Good . . . crosse. ] Pearson and Mermaid print these lines as blank verse: "Good . . . grown, / And . . . years / I . . . Cross." One would expect blank verse here. 2022. Pauls steeple] The steeple of St. Paul's Cathedral, destroyed by fire in 1561 and never rebuilt. See also the note to 11. 1728-29. 2022. Cheape. crosse] In West Cheap Street "opposite the end of Wood Street was the Cross, one of those set up by Edward I at the place where the body of Queen Elinor rested on its way from Lincoln to Westminster. . . . On May 2, 1643, the Cross was pulled down by order of Parliament to the sound of drums and trumpets, and amid the shoutings of the Puritan crowd" (Sugden). 2023. Gyles.1 Old Chartley's chief manservant. See the note to 1. 29. Mermaid unnecessarily emends the name to 286 "1st Serv." 2026-27. Yes . . . him.] Mermaid prints these lines as prose, as they were probably intended to be. 2032. At . . . conduit] See the note to 11. 169-17 0. 2032-40. At . . . Ground.] Pearson and Mermaid print these lines as blank verse: "At . . . Harry. / But . . . search. / Had . . . sorrow, / Of . . . married / A . . . maid, / Rich . . . night / Before . . . thence, / Whither . . . virgin / Hath . . . found, / Yet . . . ground." I think they are such. 2039. feumd] found (Pearson and Mermaid). The rhyme sup ports the emendation. 2045-46. You . . . worship.] Pearson and Mermaid print these lines as prose, as they seem to have been intended. 2045. at sixe and at seaven] A proverbial expression (Tilley, A208) designating here a state of disorder or con fusion; originally a phrase used in dicing: "To set all at six and seven." 2051. to balk] "To pass by (a place), to avoid in passing; to shun" (QED. 2a); "to pass over, overlook, refrain from noticing (what comes in one's way)" (2b). 2052. siun] sinn (Pearson); sin (Mermaid). Undoubtedly a compositorial error. The fftfi-m m * # of Hog (den. Sir Harry. B r o t h e r Chartly ; I a i n g l a d t o f e e y o u # Old Chart. M e e t h i n k e s f i r Harry y o u l o o k e f t r a n g e l y o n m e e . A n d d o c n o t b i d m e w e l c o m e w i t h a n h e a r t . Sir Harry. A n d b l a m e m e e n o t t o l o o k e a m a z e d l y , T o f e e y o u h e a r e . Old Chart. W hy mee ? Sir Harry. C o m e c o m e , y ’ a r e w e l c o m e . A n d n o w i l e t u r n c m y f t r a n g e n e f l e t o t r u e / o y , I a m g l a d t o f e e y o u w e l l , a n d f a £ e r e c o v e r e d # O i c y o u r l a t e g r i e v o u s l i c k n e f f e . Old Charts The G r a n g e a m a z e d l o o k e s t h a t y o u c a f t o f f Y o u p u t o n m e e , a n d blame m e e n o t t o w o n d e r . T h a t y o u f h o u l d t a l k e o f f i c k n c f f c t o f o u n d m e n , I t h a n k e m y f t a r r e s « I d i d n o t t a l l t h e g r i e f e O f i n w a r d p a i n e o r . o u t w a r d m a l a d y , T h i s f e a v e n y e e r e s d a y . Sir Harry. B u t b y y o u r f a v o u r b r o t h e r # T h e n l e t m e e h a u e m y w o n d e r b a c k e a g a i n e . Old Chart. B e f o r e ! q u i t e p a r t w i t h i t , l e t r a t e k n o w e , W h y y o u t h e n a m e o f b r o t h e r p u t v p o n m c e . I n e v e r y c l a a f e , a n a m e a s G r a n g e t o m e e • * A s m y r e c o v e r e d l i c k n e f i e , Sir Harry. Y o u a r e p l e f a n t # A n d i t b e c o m e s y o u w e l l , w e l c o m e a g a i n e # T h e r a t h e r y o u a r e c o m e j u f t t o t h e - W e d d i n g . O ld Chart. W h a t wedding hr. Sir Harry . T h a t y o u I h o u l d a s k c t h a t q u e f t i o h * W h y o f m y d a u g h t e r Grace. O ld Chart. I s ^ 4 « b e f t o W ’ d / O f w h o n v T p r a y i Sir Harry. O f w h o m , b u t o f y o u r f o n n c . I w o n d e r b r o t h e r Chartly , a n d m y f r i e n d . Y o u f h o u l d t h u s p l a y o n m e e # Old Chart. B u t - b y y o u r f a v o u r , W e r e y o u t t n a e K n i g h t s Sir Harry , ( t a k e m e e w i t h y o u ) M y f o n n c m a t c h w i t h y o u r d a u g h t e r , m y c o n t e s t , H 3 N o t 287 2060 2070 2080 288 7 he wife-mmm »f fftgfdtti. N o e w o r t h y t o b e e c r a u ’ d . Sir Harry. N a y , t h e n I f e e : Y o u ’ l f t i r r e m y p a t i e n c e ? k n o w t h i s f o r w a r d m a t c h t o p k c i t s f i r f t b i r t h f r o m y o u . O ld Chart, F r o m m e e ? Sir Harry. F r o m y o u . P e r u f e t h i s l e t t e r , k n o w y o u y o u r o w n e h a n d . T ’ w a s w e l l t h a t I r e f e r u ' d , y o u r h a n d a w i t n e f f e A g a i n f t y o u r t o n g u e , y o u h a d b e f t d c n i e t h e I o y n t e r , * O f t h e t h r e e h u n d r e d p o u n d s m a d e t o m y d a u g h t e r , T i s t h a t I k n o w y o u a y m e a t , b u t y o u r f e a l e # Old Chart . S h a l l n o t m a k e m e e a p p r o u e i t , I d e n y e T h i s S e a l e f o r m i n e , n o r d o e I v o u c h t h a t h a n d ? Y o u r d a u g h t e r a n d t h e d o w e r , l e t t e r a n d a l l I q u i t e d i f c l a i m e , f i r Harry y o u m u c h w r o n g m e e # Sir Harry. I c a n b e a r e m o r e t h e n t h i s , h e a p e w r o n g o i l w r o n g , a n d i l e f u p p o r c i t a l l , I f o r t h i s t i m e W i l l c a l l m y f p l e e n e b e h i n d m e e , a n d y e t h e a r e n a e e , T h i s l e t t e r y o u r f o n n e Chartly a s f r o m y o u , D e l i v e r e d m e e . H i k e t h e m o t i o n w e l l . old Chart . M y f p l e c n i s f u r t h e r t h r o w n e a f i d e t h e n y o u r s # A n d I a m f u l l a s p a t i e n t , a n d y e t h e a r e m e e ; M y f o n n e ' s c o n t r a & e d t o a n o t h e r m a i d ? N a y I a m p a t i e n t f t i l l , y e t t h a t I w r i t T h i s l e t t e r ( e a l d , t h i s i m p r e f i e I d e n y e . Sir Harry . W h y t h e n t h e j a c f e y o u r h a n d d i d c o u n t e r f e i t # Old Chart . W h y t h e a h e e d i d f o , w h e r e ’ s t h a t v n t h r i f t f p e a k e ? Sir Harry. S o m e h o u r e a g o e , . h e e m o u n t e d a n d r i d poft. T o g i u e y o u v i f i t w h o m h e e f a i d l a y f i c k e V p o n y o u r d e a t h - b e d . Old Chart. Y o u a m a z e m e e f i r # I t i s a n i l l p r e f a g c , h e r e o n I f e e * Y o u r f o r m e r f a l u t a t i o n t o o k e i t s g r o a n d : T o f e e m e e f a f e r e c o v e r e d o f r a y f i c k n c f f e . Sir Harry. I n d e e d i t d i d , y o u r w e l c o m e i s a f u b / e # . 2 cannot 2030 2100 2 MO The W ife-m m im tftiegfXetii I c a n t i o t v f e t o o o f t , w e l c o m e a g a i n e , I a m ferry y o u t h i s n i g h t m u f t f u p a l o n e : F o r I a m e l f e - w b e r e c a l d a b o u t f o m e b u G n e f l e , C o n c c r n i n g w h a t I k n o w n o t , h o w e r s r u n o n . I m u f t t o Hogfden , h i g h t i m e I w e r e g o n . Exit. Old Chart. P e r h a p s t o t h e tvifewomansfiizt m a y f e l l m c e . T h e f o r t u n e s o f m y f o n n e , t h i s a c c i d e n t , H a t h b r e d i n m e e f u f p i t i o n , a n d f t r a n g e f c a r e s # I w i l l n o t f u p a l o n e , b u t I p r o t e f t , ’ m o n g f t f o m e t h i s n i g h t . T i e p l a y t h e i n t r u d i n g g u e f t # Exit with his J'erving-men. Enter the W i f c w o r w a H , S e n c e r , L u c e and her F a t h e r , 2. L u c e . trifew. B u t w i l l f i r Harry c o m e . Sencer . P r e f b m e h e e w i l l , a n d Chartly t o o - Father. l i e h a u e t h e k n a n e by t h e e a r e s . Luce. ) S a y p a t i e n c e f i r , l e a u e y o u r r e v e n g e t o m e e * Enter M. B o y f t e r . n . . J . Boyfler. ( g r a n a t n I a m c o m e a c c o r d i n g t o p r o m i f e ? wifew. A n d w e l c o m e t o t h e b e d h o l e t h a t 1 h a u e i n Boyfler. G o o d e v e n . ^ ^ ( Hogfdeni Lnce. T h a n k s f i r , a g o o d e v e n m a y i t p r o a e , . T h a t e a c h m a y r e a p e t h e f r u i t s o f t h e i r o w n e L o v e : s . Luce. T h a t m a l l b e e m y p r a y e r t o o . Boyfter. C o m e w h a t ( h a l l ' s d o o * tvifeve. W i t h d r a w * H e p l a c e y o u a l l i n f e v e r a l l r o o m e d . W h e r e f i t , l e e , b u t f a y n o t h i n g . • Exeunt. Enter T a b e r vfhering G r a t i a n a . J Taber. H e e r e f w e e t e M i f t r e f f e J k n o w t h e p l a c e w e l t e T e r S i n c e I w a s h e e r e t o k n o w m y f o r t u n e . Gratiana. C a U m c e f o m e . h a l f e a n h o u r e h e n c e ; Exit ' . Enter 289 2 / 3 0 2/Yo 2 / 5 0 290 2077. plesant] "Humorous, jocular, facetious" (OED. 3). 2088. take mee with you] "To take (a person with one: to speak so that (he) can 'follow' or apprehend one's meaning? to enable (him) to understand one? to be explicit. (Usu. in imper.)" (OED, Take. 59b). "Let me understand" (Mermaid). 2103. dower] Here "dower" is used in the same sense as "Ioynter" (11. 156 0, 2098) instead of as money or property brought into the marriage by the bride or given to the bride's parents by the husband. 2115. jack] "Crafty fellow" (Mermaid). 2140. Presume . . . too.] Mermaid prints this line as blank verse: "Presume he will / And Chartley too." These ■may have been intended as divided lines, beginning with 1. 2139 and ending with 1. 2141: "But . . . will, / And . . . ears." 2151. Ile . . . roomes] A note about the staging might be added here. George F. Reynolds, The Staging of Elizabethan Plavs at the Red Bull Theater 16 05-1625 (New York, 1940), p. 109, calls attention to the problem of finding separate "rooms" for Gratiana, Sir Harry, and Old Chartley in the last scene of Act V. The three are concealed from each i Lther but can observe Chartley and Luce in the fourth cham ber (probably the main stage). All were probably visible The Wife-woman of Hog [den* Enter the Wjfereoman and 2 . L u c e * Wifew, Y o u r L a d i f h i p i s m o d l o v i n g l y w e l c o m e . A l o w f t o o l e f o r t h e G e n t l e w o m a n b o y : I m a d e b o l d t o f e n d t o y o u t o t a k e v i e w o f f i i c h a p e e e e o f w o r k c * a s I p r e f u m e y o u h a u e f e l d o m c f c e n e t h e l i k e * Gratia • O f w h o f e d o i n g , I p r a y . Wifew. A f r i e n d o f y o u r i a n d « n i n c * P l e a f c y o u w i t h d r a w H e b r i n g y o u t o o * t . 2 . Lucet M i f t r e f l e . tvifew. O n e c a l l s f w e c t L a d y * I ( h a l l d o e y o u w r o n g , B u t p r a y y o u t h i n k e m y l i t t l e f l a y n o t l o n g : JEnter S e n c e r , fir H a r r y and L u c e . Sencer, H e r e f i r i n t h i s r e t y r i n g f h a m p e r . Sir Harry, G r a m e r c y f r i e n d , h o w n o w ; w h a t s h e r e t o d o A p r e t t y w e n c h a n d a c l p f e c h a m b e r t o p . Luce, T h a t y o u h a u e f o m u c h g r a c ’ t m y M o t h e r s h e u f e . W i t h y o u r d e f i r c d p r e f e n c e w o r t h y K n i g h t . R c c e i u e a p o o r e M a i d c s t h a n k s , w h o ' s t h e r e ? a c h a y r e A n d c u / h i n f o r f i r Harry, Sir Harry. T h a n k s m o f t f a y r c * Luce, P l e a f e y o u b u t a f e w m i n u t e s h e e r e t o f l a y : T i l l m y r e t u r n s , i l e n p t b e e l o n g a w a y . Sencer, T h e g e n j d e w o f f i a n w i l l w a i t e o n y Q u b y a n d b y f i r * Sir Harry, A n d i l e a t t e n d h e r f r i e n d * O f a l l t h o f e d o u b t s I l o n g t o k n o w t h e e n d : : Enter 1 , L u c e and *ld C h a r t l y . ( 2, Luce, T h e K n i g h t y o u f e e k e w a s h e e r e , o r w i l l b e e f t r c i g b t , a n d i f y o u b e e t h e m a n y o u n a m e y o u r f e l f e . Y o u a r e p i p f t w e l c o g u ? , a n d y o u l h s J l n p c b a c k e , T i l l y o u h a u e f c e n e f i r Harry, Old Chart, ffcntleypush. ; ; . I f a w 291 2160 2 no 2180 292 to the audience, Chartley and Luce continuously, and the other three when they spoke their lines. Reynolds conjec tures that perhaps Gratiana, Boyster, Sir Harry, and Old Chartley were concealed behind the "ends and the middle opening of the curtain" (p. 109) that concealed the space at the back of the stage below the balcony (p. 188). Perhaps they stuck their heads out from behind the curtain, or in some such way made themselves visible when speaking the lines about Chartley when he is attempting to seduce Luce. 2154-55. Heere . . . fortune.] Mermaid prints these lines as prose. Elsewhere Taber speaks prose. 2163-64. A . . . too 't.] Pearson and Mermaid print these lines as blank verse, dividing the lines as they appear in the quarto; but I doubt that they were intended as such. |2167. But . . . long;] A necessary stage-direction seems to have been omitted after this speech in order to clear the stage for Sencer, Sir Harry, and Luce. Mermaid supplies it; "Gratiana withdraws, exeunt the others." -2169. this retyring Chamber] Reynolds believes that below the balcony there was "some space which could be concealed by a curtain" (p. 188). Here, probably, Sir Harry is seat ed. See also the note to 1. 2151. 293 2179. The . . . sir.] "Exeunt Luce and Sencer" (Mermaid). Lines 2177-78, spoken by Luce, suggest that she is leaving the stage, although Sencer's speech (1. 2179) is not so clearly an exit line. On the other hand, it may well be that Sir Harry is seated in the "retyring Chamber" (see the note to 1. 2169) and the curtain is pulled, concealing him from Second Luce, Old Chartley, and the Wise Woman and mak ing it unnecessary for Luce and Sencer to leave the stage. >If such is the case, the Mermaid stage-direction given above is unnecessary. 218 0. her friend] The Wise Woman. 2182. Enter 2. Luce and old Chartly.] "Enter the Wise- woman, Sencer and Luce. To them enter 2nd Luce and Old Chartley" (Mermaid). The Wise Woman has not been present on stage since 11. 2166-67; apparently the necessary stage- direction for announcing her entry was forgotten in the quarto among the complex entries and exits of this act. Whether the portion of the stage-direction pertaining to Luce and Sencer is necessary depends upon whether they have left the stage (see the note to 1. 2179). It may well be that they have not. 2183-86. The . . . Harry.] Pearson and Mermaid print these lines as blank verse: "The . . . straight, / And . . . 294 fki ifWfgd*** I few him in te r herre* end under privilege of fall aequaln* W B C C m a d e I b o l d r o f l a y , z,L u ceP A n d y o u a r e w e l c o m e f i r * f i t d o w n e I p r a y , 2 f S o W t/hr- N o w t h e y a r c p l a c t i n f e v e r a l l r o o m e s # t b a t l o o k s J n t o j h t s o n e ; W e r e C h artlj c o m e , w e h a d a l l o u t c o e n p a n y . * - Sencer, H a r k e i t h e r e s o n e k n o c k s * t i a Chartlj o n m y l i f e * Luce, O n e o f y o u l e t h i m i n w h i l f t X p r e p a r e m e e T o e n t e r t a i n e h i s c o m m i n g . Enter young C h a r t l y , fjherdin by S c u c e r . * - > . v Chartly, ' ■ W h a t ? o l d a c q u a i n t a n c e Luce, N o t a w o r d f Y e t f a m e l i p l a b o u r i f t h o u l o v e f t m c e . Gratiana, M y H u s b a n d ? Sir Harry, W h a t y o u n g Chartlj) 2 ZOO O Id Chart, H o w I M y l o n n c . ■ , J Chartlj, C o m C j C o m e a w a y w i t h t h i s w a i l i n g i r i w o e , i f t h o u p u t f t f i n g e r i n t h c e y e a l i t t l e l o n g e r * I ( h a l l p l u n g e i n p a i n e t o o p r e f c n t l y . Luce. O h u s b a n d , h u s b a n d , • Anne, H u s b a n d ? , Chart ly. W h a t f a y f i t H o u m y f t o e e t e w i f e , ' Craeiana, W i f e ? 0 m y h a r t , ‘ * . *,L**ce, l a t h a t n a m e w i f e I c l t i m c a p o o r e c h i l d s p a r t . L u c e O h u s b a n d ; H o w h a u e y o u u P d m e c ) , y . 2ZIO 2. Charts N a y h o w d o e I m e a n e to u f e t h e c ? B u t a s a . m a n S h o u l d u f e h i s w i f e , ■ / Gratiana, I h o p e h e c d o t h n o t m e a n e t o u f e h e r f r , a . Lace, I h o p e f o t o o , M y g r a n a m i s a W i t c h . ; _ , I Chart N a y L uce , f w c e t e w i f e I c a i i c w e e p i n g i f t f i o a , l o u ’ f t m e e , Luce, O c a n y o u b l a m e m e e , k n o w i n g t h a t t h e f e u n t a i n e o f a l l t h e f e S p r i n g s t o o k e t h e i r f i r f t h e a d y f r o m y o u * y o u k n o w * y o u t o o w i l l k n o w , n o t t h r e e d ^ i e s f i n c e a r e p a f t « . , 2 2 2 0 f i h c e w e e w e r e m a r r i e d . ; 1 ’ ’ "‘ T , ; , . Gratiana, Married* I can indnre no longer, I Sir Both of the following variants are recorded' on O1”3, L3"4, CtE, EC, DFo1'3, MH, NjSH, NNPM, EN2, ICN, NNPf, SR, LVD, LU, PU, and OW. 2189. bold] bo Id 2192. |hts] this 295 yourself, / You . . . back / Till . . . Harry." They seem to be such. 2187-89. Gentle . . . stay.] Pearson and Mermaid print these lines as blank verse: "Gentle youth, / I . . . privi lege / Of . . . stay." They seem to be such. 2189. bold] The corrected state is "bo Id"; hence an acci dent in the correcting. 2190. And . . . pray.] Mermaid's stage-directions indicate that with these words Second Luce leads Old Chartley into one of the inner rooms, where Gratiana and Sir Harry are also concealed (see the note to 1. 2151). Presumably Second Luce remains with Old Chartley until he returns to the stage (1. 2287). Her entrance is not given as a stage-direction, however. At 1. 2373 the Wise Woman summons Second Luce, but I do not think that this speech marks her entrance, for at 1. 236 0 the Wise Woman speaks unmistakably to her. Hence Second Luce must have entered previously, perhaps with the i iWise Woman and Sencer at 1. 2332. 2191-92. Now . . . company.] Mermaid prints these lines as prose, as they seem to be. 2192. |hts] The corrected state is "this". 2194-95. One . . . comming.] Stage-directions supplied by Mermaid indicate that with these words the Wise Woman exits, and Sencer retires after ushering in Chartley. Obviously, Luce must have what seems like privacy for her interview with Chartley. The Wise Woman is not called back on stage until 1. 23 32, when she returns escorted by Sencer and per haps accompanied by Second Luce. 2196. Enter . . . Sencer.] "Enter Young Chartley, ushered in by Sencer, who retires" (Mermaid). -2199. My Husband?] "It is to be understood that the occu pants of the various inner rooms [Boyster, Old Chartley, Sir •Harry, Second Luce, and Gratiana] see and hear all that transpires between Young Chartley and Luce without being themselves seen or heard" (Mermaid). Those who are hidden are of course seen and heard by the audience when they speak (11. 2199, 2200, 2201, 2206, 2208, 2209, 2213, 2214, 2215, 2222, 2223, 2224, 2225, 2233-34, 2241, 2242, 2244, 2302). 2202-04. wailing in woe . . . plunge in paine] In How a Man May Choose a Good Wife from a Bad (1. 1068), Sir Amina- dab the pedant cries out, "I waile in woe, I plunge in paine." In the notes to the play A. E. H. Swain includes the comment that Sir Aminadab1s line "is the first line of "A sorrowfull sonet, made by M. George Mannington, at Cam bridge Castle. To the tune of Labandala Shot,' Clement Robinson, A Handful of Pleasant Delights. Arber1s Reprints, pp. 57-59." See also Fortune by Land and Sea (VI, 392). 2203. putst finger in the eye] A proverbial expression for weeping (Tilley, F229): "To put finger in the eye." 2206. Anne.] Grat. (Mermaid). Possibly the compositor was thinking of the last part of Gratiana's name when he set "Anne." 2209. In . . . part.] An aside (Mermaid). To label this speech as an aside, when those made by Gratiana, Sir Harry, Old Chartley, and Boyster are described as being made from an inner room, suggests that Second Luce is present with Luce and Chartley. Although Second Luce is here disguised as Jack the servant boy, whose presence might be tolerated by Chartley, I think it more likely that Second Luce is also speaking from the inner room. See also 11. 2214, 2233-34, 2241, 2302. 2211-12. Nay . . . wife.] Mermaid prints these lines as prose, which I think they are. 2218-21. 0 . . . married.] Pearson and Mermaid print these lines as blank verse: "Oh . . . fountain / Of . . . you? / You . . . since / Are . . . married." Elsewhere Luce speaks blank verse. 2220. will] well (Mermaid). The emendation seems correct. 2220-21. not . . . married] See supra, p. 56, n. 14. The W ife-m m an ofH ogfitn* S irH arrj* I t c a n n o t b e e * ! . : ' OJd Chart. I t i s n o t p e f l i b l e . . S o jfi er. H e b e e e v e n w i t h t h e e * f o r t h i s o l d g r a n a m . Luce. A n d t h o u g h w e e w a n t e d w i t a e f l e v p o n E a r t h , Y e t M e a v e n b e a r e s r e c p f d o f o u r N u p t i a l ! T y e . M ; ; c Chart. T u ) f h , w h c n w ' e r m e e t c i n h e a v e n l e t ? , t a l k o f t h a t . N a y c o m e y o u a { f e , y o u l o o l e , w h a t s p a f t i s p a f t * . , T h o u g h m a n a n d w i f e * y e t I m u f t m a r r y n p w e . A n o t h e r g a l l a n t , h e e r e ’ s t h y l e t t e r Lucer \ v A n d t h i s n i g h t I i n t e n d t o l o d g e w i t h t h e e . a . Luce. T ’ l e l c r a t c h h e r e y e s o u t f i r f t , , ( a l t h o u g h I l O v p h e r . “ ) i > : a - . x a . . . . . Chartlj. P r e t h e b e e m e r r y ? ■ 1 h a u e m a d e a g u l l o f Grace 9 a n d o l d Harry t h i n k s m e e a g r e a t w a y o f f , I t o u l d t h e K p i g h t # : ; ; r M M y f a t h e r l a y a d y i n g , t o o k * p o f t h o r f c , , R i d O U t o f 'nvlburrpHt u r n ' d b y Iflington, t S o , h i t h e r w e n f e h t o l o d g e a l l n i g h t w i t h , t h e e . , i . Luce. H e e r e s o n e f a i t h n a y t o c h a t , ’ ' Old Chart. W a s t h a t y o u r j o u r n e y • C hartlj. W h y I h a u e t o o m u c h o f Grace a l r e a d y * " Hojfter. T h o u h a f t n o g r a c e a t a l l . , , Chartlj. N a y l e t s t o b e d , f t t h o u couldft b n t i m a g i n h o w j I i o u e t h e e Z w c e . . . ' . . , ; i u - Luce. H o w i s i t p o f t i b l e y o u c a n l o u e m c e , a n d goc about t o m a r r y a n o t h e r . Chartlj. D o f t t h o u n o t k n o w f h e c ’ s r i c h ? W h y y o u f o o l e a s f o o i i e a s I h a u e g o t h e r d o w e r , i t i s b u t g i u i n g h c r a d r a m , o r a p i l l t o p u r g e m e l a n c h o l y t o m a k e h e r t u r n e v p h e r h e e l e s , a n d t h e n w i t h a l l t h a t w c a l t h , c o m e I t o I i u e w i t f i t h e e m y f w e e t e r a s k a l l . Gratiana. S b e e t h a n k s y o u , a n d i s m u c h b e h o l d i n g t o y o a £ C hartlj. I a m b c c r a i d e . Gratiana. A r t t h o u m y i h i t e r f w o u l d ’ f t t h o u r a a r r y m e c i A n d t h y f i r f t w i f e a l i u e , t h e n p o y f o n m e e , : , T o p o r c h a f e m y p o q r c d o w r e * Chart* 298 2 2 3 0 22^0 2 2 5 0 2226-27. And . . . Tye.] See the note to 11. 1183-84. 2235-37 . Prethee . . . Knight, ] Pearson and Mermaid print these lines as blank verse: "Prithee be merry. / I . . . Harry / Thinks . . . knight." The rest of the speech is, of course, blank verse. 2237-40. I . . . thee.] For discussion of Chartley's route to the Wise Woman's house, see supra. pp. 58-59. 2239. Holburne 1 Holborn was "one of the main thoroughfares of London, running west from the corner of Newgate Street and Old Bailey to Drury Lane" (Sugden). 2239. Islington 1 "One of the north suburbs of London, lying north of Clerkenwell as far as Highgate and west of Hackney as far as St. Pancras, and covering about 3,000 acres" (Sugden). 2243. Why . . . already.] Mermaid asks if a speech is not lost here. If so, I have found no quarto that supplies it. There does seem a rough transition, although at 1. 2236 Chartley has been speaking of Gratiana. 2251. a pill to purge melancholy] Possibly the title of a lost play--Fleay, Biographical Chronicle of the English Drama 1559-1642 (London, 1891), I, 292--but Alfred Harbage and Samuel Schoenbaum do not include it in their Annals of English Drama 97 5-17 00 (Philadelphia, 1964). J*hi W ife- m m tn efH dgfde*, Chartly. What (hall I fay, or thinkc, or doc, I am *t £ Nonplus/ • ; ' Gratiana, Haft thou the face, thou brazen impudence, {To looke rpon mee paft grace. Chart, Thou canft nor properly call mee paft grace,for' I never inioyd thee yet i t cannot t e ' l l , whether 1 blulh or no, but I haue now at this time* 'More Grace, then I can tell what to doe with* Gratiana, W ho drew thee to this folly ? Chartlj, Who but the old dotard thy Father, tjrbo when 2 was honeftly married to a civill maide, hee'perfwaded mee toleaue her, I wasloathat firft,but after intrearing, vr- giag, and offering mee large proffers, T muft confefle I was feduc'c to come a wooing to thee. £r*^.My father, villaine. Chart. By thy lather Grace, And were heheerel would Iuftifie it to the old dotard* face. S ir Harry, Vil*d boy thou dar’ f t not bee fo impudent# When did I meete thee,feeke or fue to thee: L Wben f Name the day, the moi}th,the houre,theyeare. C hartlj, Plots, plots.T can butcry youmcircy both, \ Say that I haue d o n e you wrong;! can bee bat forry for it, but indecde to deare you, and lay the fault where it ought CO bee- All this comes from mine owne father in the coun trey , who hearing I had married with Lute, Sends mee word of his blefting to bee divorft from her , and to CQjne a fuiter to your daughter, I thinke you haue his hand and i f e al c to (how. ? O ld Chart, M f hand and feale, when was that letter writ* Chart, Heyda,if you get one word more of mee to night, but (curvy lookes, ilcgiae you Icaueto hang mee*'; S ir Harry, Vildeboy, O ld Chart, Vngratious villtine. Gratiana, TrecbcroHS youth ? S ir Harry; Nogrtceat all? ^ ,()1. ' , ; , - Chart* No grace* ■ ' ' ,:i' ~ It Old Cbsrtly* 300 2 2 6 0 i 2270 2280 2 2 9 0 301 2253. raskall] See the note to 1. 201. 2254. Shee . . . you.] Mermaid supplies a stage-direction indicating that with these words Gratiana comes on stage from her place of concealment. 2258. purchase] "To procure for oneself, acquire, obtain, get possession of" (OED, 4). 2259. at a ] In several copies (L1, E, CSmH1, EN1, IU, TxU) the 1 1 a" is level with "at", but it is not an indubitable press variant. 2260. Nonplus] "A state in which no more can be said or done" (OED). 2261. face] "Impudence, effrontery" (OED, 7). 2263-66. Thou . . . with.] Mermaid prints these lines as prose, as I think they were intended. 2274-75. Ey . . . fare.] Pearson and Mermaid print these lines as prose, as I think they are. 2276. Vil'd] OED indicates that the word spelled thus with an apostrophe is a regular seventeenth-century form. 2276-78. Vil'd . . . yeare.] Mermaid indicates that with these words Sir Harry comes on stagie. 2287. My . . . writ.] Mermaid indicates that Old Chartley enters while uttering these words. 2289. scurvy] "Discourteous" (OED). Tht Wtft- ***>*» tffitgfdtn. Chart. ’ J b i s i s b a d c o m p a n y w h o h a t h f e d u c ’ c t h e * ? i S j i e a & c o n m y b l e f l i n g , w h o h a t h t h u s m i f f e d t h e e *? • B u t no morf lyes I c h a r g e thee. ' 'Chart. Bad company hathbin the lhame Q t mce,X was as vertuoufty giueii as any youth in Ettrope , till I fell into one B offlen company# ;tis hee that hath done all the harme \ r p ^ on mee. s Boyfter. ! ' • . ^ Chart. And if hee fhould deny it ? , Boyfier. W hat then you’ d cry him mercy. < j \ v . < » : Chart. I hadbeft bite out my tongue^wd fpeake no more what ihall-ldoe, orwhat&alt I fay, there i s no out-facing them all: Gentlemen, Fathers,wiues, or whateJfc. I haue wrongdyou a l l . I cohfeffe i t that I haue, what would you- more, will any of you rayle of mee/Jlc bears io#will any of you beate mee ■ So,they ftrikc ncvt too hard* lie fuffcr it, will any of you challenge mee ? Ileanfwer i t * What would you haue mee fay, or doo ? One ofthefe Ihaue married>the oth^rl haue betrothed,yet both maides for mee; Will you haue Biee take one* ah^Teaiiethe toth^f. I will , will yob hiuemcektepe thembo^h wilt* j j: \v. • • • Father. Peri urea not mine. ‘ , f : . ' Chart. Whac you heere too * ? Kay then I fee all nay good1 friends are met together, wilt thou haue mee l»H ce I I am thy Husband,; and had I , not lou’ d thee better cheti Grace.\> had *nbt difappointed che marriage day to rftorroww ^ * ‘ 'ifitce* L a f c i b i o u s n o * : > * ^ Chartly'. W i l t t h o u h a u e m e e Grace, f o r h a d I n o t t o u * & : t h e e b e t t e r t h e n , Lnce. J w o u l d n e v e r a f t e r ! b a d m a r r i e d h t t b i n c b n t r a % d t © , i ; h e e * . . H • ' > * • Grace. I n c o n f e h t n o * . . ■ \ . r t ; » ■ > ; h Chart. T h e n n e i t h e r m a r r i e d m k n , w i d d o W n o r b a t c h e f l c r , w h a t s t o b e e d o n e ? H e c r e s e v e n t h e p r o v c r b e v c r i f i d j b e - t w e e n e t o o ( l o o l e s , t h e t a y l e g o e s t o g r p u n d . . S ir H arry. Now L bechinkemee this ourmeeting heere is wondrous Hrange, call in the Gcntlewomanfhat owncs this houfe. Enter 302 2 3 0 0 2 3 1 0 2 3 2 0 2 3 3 0 303 2295. Chart.1 The catch-word on 12 indicates that the speech properly belongs to Old Chartley. 2302. I.] An aside (Mermaid). Previously Mermaid has had Boyster speak from an inner room (1. 2215). To label his speech here as an aside is to liken it to Second Luce's, a comment on which is given in the note to 1. 2209. 2304. What . . ■ . mercy.] Mermaid gives an entrance for Boyster as he utters this line. 2316. Periured not mine.] Mermaid indicates that Luce's' Father enters just before or while speaking this line. 2327-28. betweene . . . ground] A proverbial:expression (Tilley, S900): "Between two stools the tail (ass) goes (comes) to ground." 2332. Enter . . . gentleman.1 Very likely Second Luce enters with them. See the note to 1. 2190. 2337. worships] See the note to 1. 726. 2340. wag pasty] OED does not record this word. In Web ster 1 s New International Dictionary of the English Language. 2d ed. (Springfield, Mass., 1956), "wagpastie" is defined as a "rogue." 2340. wil-doates] OED lists no such form. Hence probably a compositorial error or idiosyncrasy. TM # / M egfJm , Mater S c n c c r And the W i f e w o m a n , Hee like a gentleman, $ o yjt er. J O l d t r o r , i l e t r o u n c e t h e e . H e r e i s t h e m a r r i a g e p r o u ’ d t w i x t Luie a n d Chartly % w i t c h t h i s w a s n o t y o u r p r o m i f e . jviferr. H a u e p a t i e n c e , , a n d i n t h e e n d w e e * I p a y y o u a l l . Y o u r w o r i h i p s a r e r a o f i h a r t i l y w e l c o m e , 1 m a d e b o l d t o f e n d f o r y t i u , a n d y o u m a y f e e t o w h a t e n d , w h i c h w a s t o d i f c o v e r v n t o y o u , t h e w i l d e v a g a r y e s o f t h i s , o f t h i s w a n - t o n w a g p a f l y , a w i l - d o a t e s I w a r r a n t h i m , a n d f i r H a r r y c h a t y o u r j d a u g h t e r h a t h f c a p ’ t t h i s s k o u r i n g , t f a a n k e t h i s g e n t l e m a n , a n d t h e n m a k e o f h i m a s h e e d e f e n s e s . Sir Harry k . O , I r c m e m b e r h i m . Grace. f r e e n c v c r . p l e a f ’ d m i n e e y e f o w e l l a s n o w . I k n o w h i s L o v e , a n d h e e i n Chart lyes p l a c e M y f a v o u r f l i a U p o i J e f T e . ^ ; . Sencer. T h a n j k s G r& e. , Sir War. E y a n d t h c m o r c t h e i n c o n f t a n t y o u t h - r o f p i g h t . Sencera I g a u e h e r t h e e i n Chartlyes f i g h t . . ^ 1' Chart. T h e r e * s o n e g O n e a l r e a d y , h u t t h i s i s m y w i f e a n d h e r i l e k e e p e i n j p i g h t b o t h o f t h e p e v i l l a n d h i s d a m . fVifew. H o t f f o i n h e r l a w f u l l H u s b a n d . Chart. T h a t a m 1 , 7 ‘ tViferp. T h a t i s t h e G e n t l e m a n , a e c e p t him Luce, A n d y o u t h e n l i k e o f h e r , n a y i l e m a k e i t ^ g o o d , T h i s g e n t l e m a n m a r r i e d y o u y i f a r c k d , y o u h i m d i f g a i f d m i f t a k i r i g h i m . f o r " C h a r t l y w b i c h n o n e b u t m y b o y lack^ w a s p r i v y t o o ; a f t e r f l i e e c h a n g ’ d h c r h a b i t w i c h h i m * - a s y o u w i t h lack. A n d y o u i n m i f t r c f j e I<?ces h a b i t . Luce. M a y I b e l e e u e y o u m o t h e r . fvifew.- T h i s b e e . y o u r t o k e n * , ' • - Boyfl\ H e r t h a t 1 m a r r i e d , X w r o n g t w i c e b y t h e f i n g e r . Luce. O f t h a t t o k e n , m y h a n d w a s f e n f i b l e . Boy ft, A n d e r e t h e c l a m o r o u s a n d l o u d n o i f e b e e g o n e , I w h i f p e r d t o h e r t h u s . i 3 Luce 2356. disguised] disguis'd , CtE, EC, DFo1^3, MH, NjSH, NNPM, EN2, ICN, NNPf, SR, LVD, LU, PU, OW. 3 04 2 3 Y 0 2 3 5 0 2 3 6 0 The W ifew om an r f B tg fie * . Luce, Y o u a r c t h e m a n * : s o ; • ‘ ^ B e y ft e r * T h a n k s g r a n a m ^ w h a t t h o u p r o m i & t h o u h a f t d o n e * . Father.. A n d f e a u i n g h i m , I t a k e y d u f o r m y f o n n e . Chart. T w o g o n e , t h e n w h e r e s t h e t h i r d , t h i s m ^ k c i m c p m a d , w h e r e i s my w i f e t h e n , f o r a w i f e 1 h i d . • ' . * - / jVifew. N o t f e e t h y w i f e . C o m e ' h i t b c r j a c k m y b o y . N a y t a k e h i m t o t h e e , a n d w i t h h i m a l l j o ^ . ' s ! O Id Chart. W e l l a r t t h o u f e r u * d t o B e e a g e n e r a l ! f c o r n e , T o a l l t h y h l o u d ; a n d i f n o t f o r o u r f a k e $ , '•''/.!*'ft ' ^ ( ! : F o r t h y f o u l e s h e a l t h a n d c r e d i t 0 f t h e w b r l d , . 1 1 ' ' 1 ' ' ' H a u e f o m e r e g a r d e d t o m e e j t b m e e t h y ’ f a t h e r * ’ Chartlj. E n o u g h f i r : i f I f h o u l d f a y I w o a f d h j c b o m c A n e w m a n ; Y o u w o u l d n o t t a k e m y w ' d r d . ' ; : I f I f h o u l d f w e a r e * I w o u l d a m e n d m y l i f e , Y o u w o u l d n o t t a k e m i n e o a t h , i f I f h o u l d b i n d t h y f e l f e . " t o b e c o m e a n h o n e f t m a n y o u w o u l d f e a r t t e t a k e m y b o n d * 0 / < s / C ^ 4 « t . f 5 . i h o n l d r d o c n o n e o f f h e f e - Chartlj. T h e n f e e f i r , w h e n t o i l l y o u r j u d g e m e n t a l f e e m e p a f t g r a c e , d o e / l a y h o l d o f Grace} a n d h e e r e b e g i n t o , r e t y r e m y f e l f c , t h i s w o m a n h a t h l e n c m e e a g | a ( f c , i h w h i c h I f e e a l l m y i m p e r f e & l o n s , a t w h i c n m y ! c o t l ( C i e n c e d o t h > m o r e b l u l h i n w a r d l y , t h e n m y f a c e o u t w a r d l y , a n d n o w L d a r e c o n f i d e n t l y v a d c r t a k e f o r m y f e l f e I a m h o n e f t * a . Lttce* T h e n I d a r e c o n f i d e n t l y v n d e r t a k e t o h e l p e y o i i t o a w i f e w h o d e f i r e s t o h a u e a n h o n c f t m a n p r n o n e , l o o k e e n m e e w e l f , f i r a p l e t h o u g h I f t a n d h e e r e l a m y o u r w i f e , b l u l h n o t a t y o u r f o l f y m a n , , p e r h a p s I h a u e m o r e i n m e e , t h e n y o u e x p e f t f r o m m e e * C h a rtlj. K n a v e r y a n d r i o t b o t h w h i c h ) a r e n o \ y t o m e e m e a n e f o r i g e . ' x . Luce. Y o u a n d I h a u e b i n b e t t e r a c q u a i n t e d a n d y e t f c a r c h m e e n o t t o o f a r r e l e a f t y o u ( h a m e t n e c , l o o k c o n m e e w e l l , n a y b e t t e r , b e t t e r y e t , i l e a l f u r e y o u I l e f t o f a p e t t i - c o a t e w h e n I p u t o n t h e f e b r e e c h e s , W h a t f a y y o u n o w , f h e e s k a t t c r s h e ? h a y r e * ‘ - Chan . 305 2 3 7 0 2 3 8 0 2330 2 i O O 3 06 2341. skouring] "The action of beating, drubbing, or chas tising" is as close as OED (6 ) comes to the meaning. How ever, I think Heywood intends something closer to "victimi zation ." 2349. gaue] Pearson and Mermaid rightly emend the tense to "give5 ." 2355. then like] the like (Pearson, Mermaid). 2356. disguised] The corrected state is "disguis'd". 2358. after] "Subsequently, at a later time; afterwards" (OED. 2). 2362. This bee your token] Perhaps with this speech the Wise Woman joins the hands of Luce and Boyster. 2363. I . . . finger] A similar expression comprises part of a song sung by Master Fuller in How a Man Mav Choose a Good Wife from a Bad (1. 405). 2371-72. Two . . . had.] Pearson and Mermaid print these lines to emphasize their rhyme: "Two . . . . mad. / Where . . . had." 2378. regarded] regard (Pearson and Mermaid). Old Chart ley is speaking to his son, so the imperative is in order. 2379-83. Enough . . . bond.] Pearson and Mermaid print these lines as prose, which I think they are. 3 07 Tkt Wijewtmantf tiogfa'ttt* Chart. F i r f t I o u e , a n d b e f t b e l o v e d ? a * Luce. L e t m e b e e : b o t h o r n e i t h e r # wlfew. M y boy t u r n ' d g i r l e I " h o p e f h e e ’ l I c e e p e m y c o u n f c l l f r o m h e n c e f o r t h , i l e n e v e r e n t e r t a i n e a n y f e r v a n t b u t i l e h a u e h e r f e a r c b t . O ld Chan. H e r l o v e h a t h d r a v v n e h e r h i t h e r a f t e r h i m * 1 M y l o v i n g d a u g h t e r w e l c o m e t h o u h a d r u n n e , A . h a p p y c o u r f e t o ( e e m y f o n n e t h u s c h a n g ' d . Chart l y . F a t h e r , c a l l m e e o n c e a g a i n e y o u r f o n n e , a n d fir Harry m e e y o u r f r i e n d : Sencer a n h a n d j a n d m l f t r e f l f e Grace a n h a r t , i a h o n o u r a b l e I o u e . W h e r e I h a u e w r o n g ’ d y o u Luce f o r g i u e - I m p u t e m y e r r o u r s t o m y y o u t h n o t m e e » w i t h Grace I i n t e r c h a n g e , a n i m b r a c e w i t h y o u Lucef a p a r t i n g b u f f o I w i f t i y o u a l l j o y » d e v i d e m y h e a r t a m o n g f t y o u , t h o u m y f o u l e * N a y m o t h e r m i d n i g h t t h e m f o m e I o u e f o r y o u # O u t o f t h y f o l l y , b e e i n g r e p u t e d w i f e # W e e , f c l f e c o n c e a t e d h a u e p u r f o U y e s f o u n d : B e a r e t h o u t h e n a m e p f a l l t h e f c c o o i i c k a & * » Luce, Luce a n d Graced Q c o v e t o u s m a n ) I f e e * I f o u g h t t o i n g r o f f e w h a t n o w f u d i i c c t h t h r e e * Y e t e a c h o n e w i f e # e n o u g h , o n e N u p t i a l l F e a f l : , S h a l l f e r u e t h r e e B r i d a l l s w h e r e # b e e t h o u c h i e f e g u e f t . s Exeunt omnest 2*tlO 2 4 2 0 Explicat ABm 16, 308 2387. lent mee a glasse] Woodrow W. Powell (pp. 238-239) cites instances of Heywood's fondness for this figurative use of "glass," "crystal/ 1 and "mirror": Edward IV (I, 129), The Fair Maid of the Exchange (II, 67), The English Traveller (IV, 19), and A Challenge for Beauty (V, 77). 2397. meane forige] Pearson and Mermaid omit the first word and emend the second to "foreign." Landis doubts the emendation but offers no substitute. Perhaps "meane forage" (suggested by Professor Eleazer Lecky) was intended, or possibly "maine (or most) foreign." 2402. shee skatters her hayre] As Pearson and Mermaid indicate, the passage is a stage-direction. 2418. mother midnight] The term carries the sense of "mid wife" and also "bawd/ 1 both professions of the Wise Woman (OED. Midnight. 3). 2425. Thou] The Wise Woman, presumably. 2427. Actus 561 Actus Quintus. See the note to 1. 1365. 1-2. TO HIS CHOSEN FRIEND] For a brief discussion of this commendatory verse, see supra, pp. 1-3. I have discovered nothing certain about the identity of Samuel King beyond what A. M. Clark has recorded (Biography. pp. 59, 165). 309 f k t W ifb w tm * TO HIS C H O S E N F R I E N D , the learned Author Mr Thomas Hcymod. T Hou wants no Herald t o divulge thy fame * V r t t e d e s noApologie •Only thy name • Intv judicious Readers , doth infufe* A i v i f l • to aide ' a tiawrell to thy mufe • War now Maecenas living. Howwould hee Support thy learned wit ? Whoft indufiry I o Ha tkp/ufchAfidfuclia knowing s k i l l * That thofe TVhoread admire thee j lejfefome Critickefhowet His Ignorance in forking 'with new fongs, To gaine the honour • wh ch to thee belongs . . ■ But l e t pale envie helehforth aUheirfpigbt Thy Candid fantdfhattjNltlontiude wmio f - * : Vnfpotted, purei dndf*iret Hit f h e Q o i y ^ ' \ « ■ Be turn'd ehliuiony or a Deity ‘ Froue mortall; And when AtrOpOl fhai dve ‘ ' J Thefatallojfice, herhelongsvnto j 2 0 Apollo willrekreatha l i f e in thee% Jn length to eyuallall eternitye Where in Elyzian joyes hee willforaife Thy worth where never{witherjhallthe I f ayes Wherewith hee crownes thee - t So thy works willfhew, TbeDebty 1 pay ’ sno more hut what I owe, S a m v e l K i n g . FINIS. * BIB LI OG R AP H Y 310 BIBLIOGRAPHY Adams, Henry Hitch. English Domestic or Homiletic Tragedy 157 5 to 1642. New York: Columbia University Press, 1943 . Adams, Joseph Quincy. Shakespearean Playhouses. Boston: Houghton Mifflin, 1917. ______________________ . "Thomas Heywood and How a Man May Choose a Good Wife from a Bad." Englische Studien. XLV (1912), 30-44. Andrews, E. A., ed. Harper's Latin Dictionary. New York, 1879 . Anon. The Faire Maide of Bristow, ed. Arthur Hobson Quinn. Philadelphia: Ginn, 19 02. . The Fair Maid of the Exchange, ed. Arthur Brown and Peter H. Davison. Oxford: Malone Society, 1963. . The London Prodigal. The Shakespeare Apocrypha, ed. C. F. Tucker Brooke. Oxford: Clarendon Press, 19 08. Arber, Edward, ed. A Transcript of the Register of the Company of Stationers of London. 1554-1640. 5 vols. London, 187 5-77; Birmingham, 1894. Ashton, John. The Devil in Britain and America. London, 1896 . Baldwin, Thomas W. The Organization and Personnel of the Shakespearean Company. Princeton: Princeton Univer sity Press, 1927. 311 312 Baskerville, Charles R. "Source and Analogues of How a Man Mav Choose a Good Wife from a Bad." PMLA. XXIV (Decem ber 1909), 711-730. Beaumont, Francis. The Knight of the Burning Pestle, ed. Herbert S. Murch. New York: Henry Holt, 19 08. Benham, William, ed. The Praver-Book of Queen Elizabeth. 1559. Edinburgh: John Grant, 1911. Bentley, Gerald Eades. The Jacobean and Caroline Stage. 5 vols. Oxford: Clarendon Press, 1941-56. Blakeney, Edward H., ed. Horace on the Art of Poetry. London: Scholartis Press, 1928. Bond, Richard Warwick, ed. Early Plays from the Italian. Oxford: Clarendon Press, 1911. Bond, William H. "Casting Off Copy by Elizabethan Printers: A Theory," Papers of the Bibliographical Society of America. XLII (1948), 281-291. The Book of Common Prayer. 1662. London, 1844. Bowers, Fredson T. "Elizabethan Proofing," Joseph Quincy Adams Memorial Studies, ed. James G. McManaway, Giles Dawson, and Edwin E. Willoughby. Washington: Folger Shakespeare Library, 1948. ___________________ . Principles of Bibliographical Descrip tion . New York: Russell and Russell, 1962. Bradbrook, Muriel C. 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Creator Leonard, Michael Heaton (author)

Core Title A critical edition of Thomas Heywood's "The Wise Woman of Hogsdon" with introduction and notes

Degree Doctor of Philosophy

Degree Program English

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