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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 This dissertation has baen microfilmed exactly as rscslved 66-1195 LEONARD, Michael Heaton, 1933- A CRITICAL EDITION OF THOMAS HEY WOOD'S THE WISE WOMAN OF HOGSDON WITH INTRODUCTION AND NOTES. University of Southern California, FiuD., 1967 Language and Literature, general University Microfilms, Inc., Ann Arbor, Michigan C opyright © by M ICHAEL HEATON LEONARD 1968 A CRITICAL EDITION OF THOMAS HEYWOOD'S 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 UNIVERSITY O F SO U TH ER N CALIFORNIA THE ORAOUATE SCHOOL UNIVERSITY PARK LOS ANGELES, CALIFORNIA 0 0 0 0 7 This dissertation, written by ......... Micha.ei.He.atan.-Le.Qnair.d......... under the direction of his.....Disseriation Com mittee, and approved by all its members, has been presented to and accepted by the Graduate School, in partial fulfillment of requirements for the degree of D O C T O R OF P H I L O S O P H Y t & a s * e ...... Dean Date Sfep.tem bsx... 1.96.7 ..................... DISSERTATION COM M ITTEE PREFACE With a few exceptions the dramatic works of Thomas Heywood have been allowed that decent obscurity which they 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 fade from recorded memory and have never been substantially re 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 teenth centuries established Heywood as a curious sort oi dramatist: far beneath Shakespeare in vision and technique, 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 frequently linked with Dekker as a celebrator of middle- 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 Hocisdon 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 hitherto available. To the extent that the text is obscure 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, biography, and style, as they pertain to The Wise Woman, can be resolved with the assurance that we should like to have. In preparing this edition of The Wise Womanf I have 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 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 The Wise Woman. The Boston Public Library, the Houghton Library, the Yale Library, the Elizabethan Club, the Morgan 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 questions with speed and exactitude. The Newberry Library, * 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 lege have provided me with facsimiles of their copies of the iv quarto and have responded to my inquiries about these copies promptly and specifically. 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 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 mittee, has dealt patiently with my efforts. His scholarly rigor and stylistic precision have provided an example that I can try to imitate but hardly emulate. He, Professor Aerol Arnold, and Professor James H. Butler have read my manuscript with discrimination and care and have caused it 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 to those who have helped me. They are my own. Finally, to my wife I owe great thanks for her forti tude and faith. vi TABLE OF CONTENTS Page PREFACE........................................... ii Chapter I. AUTHORSHIP.............................. 1 II. DATE .............................. 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 Stationers' Register1 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." 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 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 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 was under attack by resentful critics or by rivals for the "honour; which to thee belongs" (1. 14)— this phrase perhaps being King's way of referring to Heywood's appointment to 5 write the Lord Mayor Pageants — and possibly toward what might be expected to be, as Clark suggests, the end of his 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 sure 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. 3Thomas Hevwood Playwright and Miscellanist (Oxford, 1931), p. 165; hereafter cited as Biography. 4Clark, Biography, p. 59. 5Beginning in 1631, Clark, Biography, pp. 112-118. Ilife (p. 165). Part of the second line, "'t [Heywood's "fame"] needes no Apologie," might also refer to Heywood’s An ApoIoctv for Actors (1612), his defense of the stage 0 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 Heywood's, the appearance of his name and motto on the title-page is perhaps a more likely indication. To be sure, Heywood's name could have been falsely used by an entrepreneur in search of a popular author. The practice was not uncommon, and we may recall that in 1612 extracts from Heywood's Troia Britanica were included in the third edition of the well- known Passionate Pilgrim, printed by Willi sun Jaggard and 7 attributed to Shsricespeare. The same attribution was made again in 1640 by Thomas Cotes and John Benson, printer and 8 bookseller respectively. ^Ed. Richard H. Perkinson (New York, 1941). 7Clark, Biography. pp. 82-83. ®A. M. Clark, "Bibliography of Thomas Heywood," Oxford 4 But the question then arises, why choose Heywood? Cer tainly he was yet a popular and well-known writer, to judge by noting the works ascribed to him by Clark that were pub- g lished between 1635 and 1641. Then too, he was at that time the author of plays presented at the annual Lord Mayor's inaugural ceremonies. Furthermore, the title-page 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 style of The Wise Woman was different from that of contem porary works but that Heywood had, at the turn of the cen tury, possessed a reputation for works of this sort— al though such a degree of literary interest and awareness on the part of Heywood's publishers is perhaps improbable. Conceivably, an unscrupulous printer or bookseller may have had other reasons for assigning the play to Heywood, but since the play does bear Heywood*s name and since any sus picion of wrongdoing on the part of his publisher can, at Bibliographical Society Proceedings and Papers. I (1927), 112; hereafter cited as "Bibliography." Bibliography," pp. 123-138; there are thirty entries, not counting later editions. {this imperfect state of our knowledge, be only conjectural, 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 subject matter of the play" but that Heywood consistently used the same motto for several of his plays and a different 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 slight variant of it), an adaptation of Horace's "aut pro desse volunt aut delectare poetae."^ A brief survey of the printing history of Heywood*s title-page mottoes will, I think, show a pattern that Latin Title-Page Mottoes as a Clue to Dramatic Authorship," Library. XXVI (June 1945), 28-36. ^Horace on the Art.of Poetry, ed. Edward H. Blakeney (London, 1928), p. 34. jsuggests his increasing desire to be recognized as the 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 bear neither his name nor his motto. Such is the case, for example, with I & II. Edward IV (1599) and How a Man Mav Choose a Good Wife from a Bad (1602). The first play to carry Heywood's name is A Woman Killed with Kindness (1607). The Rape of Lucrece (1608), The Golden Age (1611), The Brazen Age (1613), and The Four Prentices of London (1615) also bear his name but no motto. The Silver Aae (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." An Apol ogy for Actors (1612) carries "Et prodesse solent & 7 jdelectarefM and Gunaikeion (1624) has on its title-page "Aufc | prodesse solent aut delertarp." Beginning in 1632 ten plays were first published, each bearing Heywood's name and the motto that we see on the title-page of The Wise Woman! TheIron Age (1632), The English Traveller (1633), The Late Lancashire Witches (1634), A Maidenhead Well Lost (1634), A challenge for Beauty (1636), Love's Mistress (1636), Pleasant Dialogues (1637), The Roval King and the Loval Subject (1637), and 12 The Wise Woman of Ho9sdon (1638). Thus we have a series of plays published initially between 1632 and 1638 bearing both Heywood's name and motto, details that McManaway be lieves to be indicative of Heywood's authorship. Concluding his discussion of title-page mottoes, McManaway states, "if we may take Heywood as an example, it is, I believe, safe to suggest that a first edition of one of Heywood's plays dated 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 i a kind of capsule of his dramatic beliefs. This motto seems to reflect Heywood*s ideas about the purposes of the drama. i It accords rather well with what he stated in An Apology for Actors. his defense of plays and play-acting put forth iagainst 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 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) He further discusses the uses of tragedies, historical plays, moralities, comedies, and pastorals (F3V-G2V). If he ;emphasizes the didactic rather than the entertainment value, it is probably because he was repeating current doctrines 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 9 if ! 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 j fitted to the stage. (F3V) i He speaks also of the value of I ! sportfull accidents, to recreate such of themselues sure wholly deuoted to Melancholly, which corrupts the bloud: 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) 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) j Thus, to judge from what is said in the Apology and is not elsewhere denied, the motto that Heywood chose is one in which he would seem strongly to believe. To find it on a ; 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 his authorship. i Charles Mills Gayley and Adolphus W. Ward are the most strenuous doubters of Heywood1s authorship of The Wise |Woman. Gayley states that the play "is not surely ” i d i 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 yarded as of his sole authorship." Ward remarks that the i play is unlike Heywood's usual style, saying that "if Hey- ,wood wrote The Wise-woman of Hoqsdon ... no more striking ! jinstance is to be found of his versatility." Ward also i calls attention to Heywood's citation of A Woman Killed with Kindness in The Wise Woman but declares that this is not 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 ful, notwithstanding the mention in it . . .of his Cam- i bridge college." Ward concludes his estimate of The Wise Woman with the following statement: "Much fuller of humor ously grotesque characters than any known play of Heywood1s, this play, at the same time, exaggerates all the blemishes Which elsewhere he shows no similar eagerness to parade— a profusion of doggerel, of bad puns and equivoques and I ^Representative English Comedies (New York, 1914), III, xxix. 11 unequivocal obscenity."*^ i 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 ! 1 and (2) (Ward's belief) that Heywood would have been unlike-j ly to have referred to his own play, A Woman Killedf in a j "half sarcastic" manner. | The second of these objections is both the easiest and ; most difficult to consider. It is true that there is some | I sarcasm involved when Chartley, having pacified Luce and her Father, remarks first to the Father and then to Luce: i i Is your spleene downe now? Have I satisfied you? Well, I see you chollericke hasty men, sure 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 i 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- j 15), and to the situation in which the comic pathos of luce ! 14Cambridge 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." I 12 and her Father is leavened by Chartley1s 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 j i I plays, the one in which a lamentable death occurs and the ! I other in which Luce and her Father are merely blubbering. | 15 i We might also remember Fleay's belief that in The. Wise Woman Heywood alludes to several other plays: The | t 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 Cwttinq Pick (1. 588). j I Whether these allusions are to plays or to popular expres- j 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 j I i 15A Biographical Chronicle of the English Drama 1559- 1642 (London, 1891), I, 291-292. i i 16See 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., i 13 sarcasm is Intended in the allusions to Mother Redcap. Cut" “■ * 17 tina Dick (one of Heywood's collaborations), and Too Good 16 to Be True, for they have been lost. In the case of Jack 19 Drum's 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 j j alluding to these plays Heywood is not being as sarcastic orj 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 sarcasticJ fits its context rather well. Furthermore, it is difficult ! I 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, j . 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- 1 lish Drama 975-1700. 2d ed. (Philadelphia, 1964). j 19The Plays of John Marston, ed. H. Harvey Wood (Lon- j don, 1939), III, 177-241. 20Five Anonymous Plays (Fourth Series), ed. John S. | Farmer (London, 1908), 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 the: fact that it is the only instance of what might be called j satire on Heywood that the allusion to A Woman Killed should jnot be considered as a bar to Heywood's authorship of The Wise Woman. Surely it is not inconceivable that Heywood i . included the obvious allusion to A Woman Killed as a sort of advertisement for himself. ; | The other reason for doubting the authenticity of the j tplay— that it is stylistically unlike Heywood*s other I '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 in style and theme. But having once said that some of Hey- i wood's plays differ considerably, we must also add that many of them are much alike, for The Wise Woman is by no means 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). Heywood1s, especially the infidelity of a husband or a wife to a loving partner.with whom the erring one is reconciled at the end of the play. In Edward IV the husband re claims the wife; in How a Man mav 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. j 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 iAicrece 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 Dick 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 Acre 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 j 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) > 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 praved carousers, they are, more precisely, clever young knaves, pleasure-seekers who are only slightly individual- ized. Chartley and Jack Gresham are stronger, more forcefulj characters than Young Lionel, who is manipulated by Reig- jnald, "the parasiticall seruing-man" of The English Travel- | side from this slight difference they are ed in his powers of characterizing, and he uses repeatedly the same types distinguished by minor differences. He probably intended that the two Lucee of The Wise Woman be jsimilar, but like them also are three of his other hero ines: Besse Bridges of The Fair Maid of the West. Susan Mountford of A Woman Killed with Kindness, and Bella Franca of The Four Prentices of London. In contrast with the err ing wives, who form still another category, but one not in cluded in The Wise Woman, they are clever and resourceful, i i ; chaste, and undisillusioned by their succession of vicissi- ! t 23 jtudes in life. They are Heywood's perfect Englishwomen, I . ; I I created in a mold and garnished lightly with individualizing Besides the similarities in theme and character, there 220telia Cromwell, Thomas Hevwood:__A Study in the Elizabethan Drama of Evervdav Life (New Haven, 1928), pp. 85-86, makes this connection. Heywood, unfortunately, is rather limit' traits. 23Cromwell, pp. 97-98, compares these three are stylistic connections between The Wise Woman and plays whose author is generally recognized to be Heywood. In an I article the principal purpose of which is to promote the belief that Heywood is the author of the anonymous play How . a Man Mav Choose a Good Wife from a Bad (a belief shared | 24 also by Fleay, A. E. H. Swaen, and others), J. Q. Adams cites the abundant similarities in "sentiment, style, ideas I 25 and phraseology" between not only How_a_Man Mav Choose and I ; The Wise Woman but also among The Wise Woman. The Rape of ; j Lucrece. If You Know Not Me You Know Nobody. Egr.tung-fry. Land and Sea. The Roval King and the Loval Subject. The Fair Maid Lff the West. The Golden Age. TJlS-Brazen AgS, The Iron Aae. I ; t [Love's Mistressr A Challenge for Beauty. and other plays of j i which Heywood's authorship is more conjectural, such as The - i Fair Maid of the Exchange and Edward IV. Most of these ! similarities involve the repetition of short phrases and ^Biographical Chronicle. I, 290; How a Man Mav Choose [ a Good Wife from a Bad. Materialieg zur Kunde des aiteren Enalischen Dramasf XXXV (1912); E. K. Chambers, The Eliza bethan Stage (Oxford, 1923), IV, 20; Michel Grivelet, Thomas Heywood et le Drame Domestioue 6lizab6thain (Paris, 1957), ip. 362. Otelia Cromwell, pp. 198-199, and Felix E. Schel- fling, Elizabethan Drama 1558-1642 (Boston, 1908), I, 331, [think otherwise, however. [ 2 5''Thomas Heywood and How a Man Mav Choose a Good Wife [from a Bad,1 1 Enqlische Studien. XLV (1912), 43. expressions and Latin tag-ends and scraps, thus being less j i than absolutely convincing in themselves of Heywood's j 26 authorship. Nonetheless, the comparatively large number of repetitions is suggestive of a single individual— prob ably Heywood— as the author. Particularly noteworthy is the 27 repeated use of bawdry in these plays, a characteristic that Ward, as we have seen VI, 99) sieves to be more prevalent in The Wise Woman than in the rest of Hey wood 's plays. For this reason, among others, Ward hesitates i to include it in the Heywood canon. But if, as Adams' work ; shows, many of Heywood's plays reveal his repeated use of i bawdry, this basis for Ward's hesitation to assign the play ! i to Heywood seems to be seriously weakened. There remains a problem of Heywood's orthography and j his calligraphy that was first brought up by the late W. W. j 28 Greg and which has been further treated by Arthur Brown ini i 26Samuel Schoenbaum, Internal Evidence and Elizabethan Dramatic Authorship (Evanston, 1966), presents abundant cautionary examples regarding the too-hasty attribution of otherwise anonymous plays. 27Adams, pp. 30-44, does not concentrate upon bawdry, but he presents much that Ward seems to have overlooked. ! 28,,The Escapes of Jupiter r An Autograph Play of Thomas j Heywood's," Anclica (Palaestra). CXLVIII (1925), 211-243, 1 esp. 215. -- tils edition of The Captives, where he writes: 19 In spite of the fact that scribes and printers of the sixteenth and seventeenth centuries normally used JL for j the word ave. the form SSL 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 occurs quite regularly in the manuscript of Calisto and in the present play j [The 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 j careless hand is indistinguishable from a £., made, as j it often is, with the loop first. It is significant, therefore, to find in the quarto of Heywood's The Wise Woman of Hoosdon (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 i 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- j rector- who could not bee alwayes ready in regard of some necessary imployments, I intreate the generous Reader to 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 29(Oxford, 1953), pp. vii-viii. by no means unquestionably resolved by Brown. A study some what beyond the scope of this present paper would be re quired to decide Brown's theory. The OED is notably lacking in help here, although Heywood's use of sy with its meaning of ves is the only one presented aside from Byron's use of the form (and we can safely discount Byron as the author). The calligraphic problem is still not fully resolved either; handwriting does not point clearly to Heywood's authorship of all three plays. Unfortunately, there is no manuscript of The Wise Woman with which one could make a more detailed comparison. Nevertheless, these details, 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-page, the attribution to him made in the Stationers' Registerf Samuel King's commendation, and the contention that much of the play is in Heywood's style— vouch rather strongly for Heywood, at least until information as yet not known is turned up. Finally, as Brown's unqualified ascrip tion of The Wise Woman in the discussion above would re flect, 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 1604. The play, however, was not printed until 1638, and since there is no reference to it in the Stationers1 Reqis- 1 2 terx until its printing, or in Henslowe's 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 XA Transcript of the Register of the Company of Sta tioners of Londonr 1554-1640. ed. Edward Arber (London, 1877), IV, 385. 2Ed. Walter W. Greg (London, 1904), I. 3See Mary S. Steele, Plavs and Masques at Court Purina the Reigns of Elizabeth. James, and Charles (New Haven, 1926 ) . 21 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 fThe Wise Woman 1 strongly contrasts with the orthodox tone in The Late Lancashire Witches. Clearly, the two plays belong to different epochs 7 in the author's life." Chambers gingerly agrees, "c. 1604 8 9 (?)." Harbage and Schoenbaum tentatively accept the date, as do Mowbray Velte10 and, with reservations, Michel 4A Biographical Chronicle of the English Drama 1559- 1642 (London, 1891), I, 291-292. ^Elizabethan Drama 1558-1642 (Boston, 1908), I, 335, II, 413. 6Studieii_Ufeer Shakesoeares Wirkuncr auf Zeitgenossische Dramatiker (Louvain, 1905), p. 13. 7A 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 1604. . . ." 8The Elizabethan Stage (Oxford, 1923), III, 342. ^Annals of English Drama 975-1700, 2nd ed. (Philadel phia, 1964), p. 88. 10The Bourgeois Elements in the Dramas of Thomas Hevwood (Mysore, 1922), p. 13. 23 i 11 12 13 Qrivelet. Arthur M. Clark and Otelia Cromwell, who, like Velte and Grivelet, have concerned themselves minutely i with Heywood, also believe that it was written long before it was printed. Clark and Cromwell refer to Fleay's sug gested 1604 but do not unequivocally settle upon that year, 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 WiBe 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. In arriving at the date of 1604, Fleay states that JEhs. 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 forged, but generally truthful, document of P. Cunningham" tBiocrranhieal 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 of condemnation for the connection. To be sure, Fleay's Thomas Hevwood et le Drame Domestioue 6lizabethain (Paris, 1957), p. 367. 12Thomas Hevwood Playwright and Miscellanist (Oxford, 1931), p. 243; hereafter cited as Biography. 13Thomas Hevwood; A Study in the Elizabethan Drama of Everyday Life (New Haven. 1928), p. 58. 24 i '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 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 rBiography. p. 39] reminds us of Francis Kirkman's remarks about his industry: "'he not only acted almost every day, but also obliged himself to write a sheet every day for several years together. . . there is reason to believe 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 1604 derives from the allusion made in The Wise .Woman (1. 1271) to A Woman Killed with Kindness, which was recorded five times in Henslowe's Diary during February and l ^ H a r b a g e and Schoenbaum, p. 88, doubt the existence of the play but are not certain: "Lost (?)." 15To the Reader, The English Traveller, ed. John Pear son (London, 1874), V, 5. March of 1602/03, thus providing a date before which The wise 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 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 reference to A Woman Killed. The references to A Woman Killed in Henslowe's Diarv 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, 1602/03, when Henslowe gave Heywood three pounds as final payment for the play. If we 16I, 188-189. Fleay, Biographical Chronicle. I, 291- 292, refers to A Woman Killed and other plays which will be discussed later. Dictionary of the Proverbs in England in the Six teenth and Seventeenth Centuries (Ann Arbor, 1950), p. 355. f Iforhe Complete Works of Shakespearef ed. Hardin Craig (Chicago, 1961), IV.ii.211. 26 ^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 1603, not 1604. 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 no longer known to be extant. He may even have set about getting married, for Clark (Biographyf p. 58) proposes that Heywood married one '"Aenn Buttler servt. to Mr. Venn'" on June 13, 1603, 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 sides The Wise Woman that can be assigned to the period be- 19 tween March 6, 1603, and July 5, 1605, when If You Know Not Me r 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 1603 and 1608, but Clark (Biography, p. 47) prefers a later, rather than an earlier, date of composition, more likely 1606 or 19The date in Henslowe's Diaryf I, 189, of final pay ment for A Woman Killed. 20III, 126. 27 1607, on the grounds of similarities and indebtedness to Macbeth and to the 1607 edition of Shakespeare's Lucreee 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 1602/03, 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 1603 when the theaters were closed from before May 17 until April 9, 1604, and the Earl of Worcester's Men 21 were playing in the provinces. That the plague of 1603 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 21See F. P. Wilson, The Plague in Shakespeare's London (Oxford, 1927), pp. 110-113. Icountryside presenting the proved successes of their reper toire to audiences unfamiliar with them. There was little need for new and untried plays. That the list of plays ascribed to 1603 is far shorter than those of 1602 and 1604 is hardly surprising, and all of the plays of 1603 whose publication date can be specifically ascertained were print 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 (formerly Worcester's Men but now under a new patron) re opened in London with the need for a new play. Then too, the tone of The Wise Woman seems rather too lighthearted for 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. 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 Chronicle. I, 291-292) and discussed briefly in the previous section may be of some help in dating The Wise Woman. 22see the convenient tables in Harbage and Schoenbaum, pp. 80-88. j 29 i Besides A Woman Killed. Fleay notes allusions made to Ihfi ] Devil and His Dame. Mo_ther_Redcap. Cutting Dick. Jack Drum's Entertainment, and Too Good to Be True, to which Harbage and Schoenbaum (pp. 76, 66, 82, 76, 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 them by Heywood is no proof that The Wise Woman was written shortly after they were. They may, however, be adduced in support of the belief that The Wise Woman was not written until after 1602 and probably not until after early 1603, when A Woman Killed was performed. There seems to be nothing in the text— nothing at least as evident as the allusion to A Woman Killed— that might 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, in his discussion of How a Man Mav Choose (c. 1601-02), notes that it contains passages that are strikingly similar to some in The Wise Woman. From this evidence he asserts that the anonymous How a Man May Choose belongs to Heywood 30 (Biographical_Chronicler I, 290). A. E. H. Swaen and J. Q. Adams have also been thus persuaded and argue the case rather convincingly, as has been noted (suprar 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 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 ties between The Wise Woman, A Woman Killed. How a Man Mav 23 Chpose, and The Fair Maid pf 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- 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 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 1602 and 1604. Adams notes twenty-two similarities between The Wise Woman and How a Man Mav Choose, eleven between A Woman Killed and How a Man May Choose, and three each between The Fair Maid of the Exchange and Ihe_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 ship among these early plays cannot be ignored, and it sug gests to me that The Wise Woman was written about the time of ft.Hpman Killed, . H o w , a Man May Choose, and The Fair Maid of the Exchange. Another kind of statistical review of Heywood's 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 JMiss 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 32 I I 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 ately than the plays of earlier dates" (p. 136). This statement, like the previous one, suggests, then, that The Wise Woman is an earlier effort, for although it is lacking 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 very general pattern of progress. The Late Lancashire Witches (1634), for example, has 208 rhymed lines (19.8 per cent) (pp. 132-133). Although Miss Cromwell believes that How a Man May Choose is only superficially like The Wise Woman, she will ingly 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. What I should like to point out here is that five plays— The Fair Maid of Bristow (1603-04), The Dutch Courtesan (1603- 33 i 04), The Wise Woman (c. 1604 ?), Measure for Measure (c. 1603-04), and The London Prodigal (1603-05)— that treat this theme were written at about the same time. How a Man Mav Choose (c. 1601-02) and All's Well That Ends Well (c. 1601- 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 Revels Company, a leading boys' company; and Hogsdon by 25 Queen Anne' s Men. It may be that Heywood' s play was written to meet competition from the other companies and thus perhaps belongs to 1604, when the players were reor ganized under new patrons after the interruption of the 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. 25This information is also from__Harbage and Schoenbaum, found on the pages that pertain to the plays cited above. 34 is pure conjecture, but his recognition of what may well be i allusions to A Woman Killed. The Devil and His Dame. Mother Redcap. Cutting Dick. Jack Druml_s__Entertainment. and Too Good to Be True, and his citation of similarities between it and How a Man Mav Choose and other early plays (further developed by Adams and Swaen) suggest rather strongly an early date for The Wise Womanr probably early 1604, but per haps 1603, and most likely not after 1605, by which time the prodigal son-patient wife theme had been well exploited. 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.^ 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 Hevwood; A Study in the Elizabethan Drama of Evervdav Life (New Haven, 1928), pp. 116-117, 151? Norman Rabkin's defense of Hey wood's dramaturgy, "Dramatic Deception in Heywood's 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. 2See Rabkin, above, and Freda Townsend, "The Artistry of Thomas Heywood's Double Plots," Philological Quarterly. XXV (April 1946), 97-119? Patricia Meyer Spacks, "Honor and Perception in A Woman Killed with Kindness." Modem Language Q u a r t e r l y . XX (December 1959), 321-332. 35 36 I defenders of Heywood's plotting have not, however, concerned themselves with The Wis_e_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. jthe 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. 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 As . something of a tap-and-cistern quality about it, and it is never the earth-born and heaven-seeking fountain of Shake speare.^ Such invidious comparisons with Shakespeare are not infre quently made by Heywood's 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: 4A History of English Prosody from the Twelfth Century to the Present Dav (London, 1908), II, 81. 5"Thomas Heywood," The Works of Charles and Marv Lamb, ed. E. V. Lucas (London, 1903), I, 45. we miss the poet, that which in Shakspeare always ap- j pears out and above the surface of the.nature; Heywood's characters in this play fA Woman Killed1. for instance, his country gentlemen, &c. sure 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 sure familiar with, as in dreams new things seem old; but we awake, and sigh for the difference. (p. 45) 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 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 ence for beauty and wisdom that belongs peculiarly to great art. Heywood's plays are filled with the realism of every day life, but they do not go beyond (and occasionally fall beneath) this day-to-day realism. 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 wild young gallants who voice their hopes, frustrations, 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 making the characters what they cure: 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 ters 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) The phraseology is that of the London merchant, inescapably 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 man to continue to blubber for a few more lines about his * j f , __ 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 tation: 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. 1268-71) As Chartley's rejoinder suggests, Luce too is given some emotionally intense lines that are in keeping with a chaste maid who fears for her honor: 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, Saying, There sits shee whom yong Chartley keepes: There hath hee entred late, betimes gone forth. Where I with pride was wont to sit before, I'm now with shame sent blushing from the doore. (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 been no time in the action of the play for the events which | 41 iliuce describes to have taken place. Moreover, toward the end of the scene Luce's Father admits to Chartley that Luce is still a virgin: In private be it spoke, my Daughter tels me, Shee's both a Wife and Maid. (11. 1275-76) 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 to 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 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 istically . The foregoing are representative of Heywood's attempts at dialogue with emotional depth. To look at his solilo- 42 ! I jquies 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 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 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 another, punning ("poore Luce") and dealing with ideas in conventional metaphors appropriate to the recent arriver from the countryside (the "Choake Peare") and the self- 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- j wits runne a Wool-gathering already? What would poore Luce say if shee should heare of this? I may very well call her poore JaiCfi, 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 cape mee? Escape mee (said I?) if shee doe, shee shall doe it narrowly: but I am married already, and therefore it is not possible, unless I should make away my wife, to compasse her. Married! 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: 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 than the exploratory, quality of the soliloquy. It moves the play forward as Chartley decides upon his next course of 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 that is treated in the soliloquy, which is why we note its advancing, rather than exploratory, quality. Chartley's explorations of his mind and motives are extremely shallow. He reflects only briefly upon the ironies of his position 44 and considers Luce and Gratiana as objects to be manipulated 'as he can, with virtually no thoughts of the justice or right of his deeds or of their ultimate effects upon the - girls or upon himself. He lives for the moment and for ac tion, and his rapidly shifting thoughts deal with actions and not with the intricacies of cause and result. Whatever comic dialogue that the play contains is found in Heywood's appropriation of proverbs, doggerel, and jin 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" (11. 1380-81), is used for this purpose: Sencer. lie make him fret worse yet; Sir Boniface: quid est grammatics. Sir Boniface. Grammatica est ars, Sir Harrv. Fye, fye, no more of these words good sir Boniface. (11. 1472-76) Many more examples like this could be presented, but this is perhaps sufficient to demonstrate the farcical crudity of most of the comic scenes in the play. To be sure, most of the comic scenes involve "low comedy" charac ters, and hence the style is appropriate. Heywood was not 45 i Ln intentional violator of the notion of decorum. As a re- l 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. Not all the comic dialogue is bawdry, of course. Per 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 ask't your Fathers consent? 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 g 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 jallows us (steeped as we are in "image clusters") to toler ate more readily Heywood's rather limited range of imagery and metaphorical expression. Perhaps prose is ultimately the most distinguishing characteristic of the play, for it is the language of the proverbial London cit, forthright, utilitarian, enthusiastic, racy often to the point of bawd ry, and moving freely and vigorously from subject to subject 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 distinguishes Heywood from his superiors, Shakespeare and Jonson: Heywood can make a scene or a situation, and make it very cleverly, but aside from one or two extremely comic situations, most of the rest of his comedy is foolish horse play or simple bawdry. Yet the bawdry and horseplay sure 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. 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 upon the faithless Chartley. Finally, Gratiana is made 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 r 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 realized it. The scene is extremely comic, but it involves a comedy of situation. To be certain, Luce's questioning is comically merciless, and Chartley's brazen lies and declara tions have a kind of outspokenness and bravado about them that are far above the pedestrian— Chartley is a gifted liar. But the humor of the play is entirely situational. If we did not know that all of the previous victims of Chartley's schemes were around him ready to come down about his ears, his speech I haue made a gull of Gracet and old sir Harrv thinks mee 48 | a great way off, I tould the Knight, My father lay a dying, tooke post horse, Rid out of Holburner turn'd by Islington, 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 TwelfthJTighfc, The Noble Soldier. The Maid’s Metamorphosis, Hamlet, All Fools, The Family of Love. Meas ure for Measure, QthellQ, The Honest Whore, and The Mal content T unlike most of the plays of 1600-05 in that it 7 opens in medias res. instead of at tbe beginning. That is, some action that has direct bearing upon the play, and which 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 7Plavwrighting for Elizabethans (New York, 1949), p. 121. i 49 ] i 8 aspect of the life of a young gallant of the time. But this is a historical interest, and we can be fairly safe in believing that Heywood was relatively unconcerned with pre senting a realistic depiction of young men dicing and drink ing in a tavern. His exposd was of the Wise Woman's se 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 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 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 Sencer's desire for Gratiana, but that is about all (perhaps enough for one 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 Hevwood Playwright and Miscel- lanist (Oxford, 1931), p. 244. j 50 ithe inutility of the first scene more than any argument is that a prompt copy for a late seventeenth-century perfor- g mance of the play has the first scene completely lined out. It begins with scene ii. But revivals of the early plays have often mangled them (the history of Shakespeare's revivals is a sufficient case 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 a prefiguring of other such candid views of London and her citizens that Heywood will later give us at the Wise Woman's hut and Sir Harry's house. Swinburne's belief that The Wise Woman "is more proper ly definable as a comedy of action" rather than of intrigue has been questioned previously, and it is necessary to re turn to a new consideration of the statement at this point ^Copy no. 3 in the Folger Shakespeare Library. 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"10 that do not belong to the spirit of 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) 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 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 10Deception in Elizabethan Comedy (Chicago, 1955), p. 3. iGratiana is another form of deception, as is Luce's letter i to Chartley, summoning him to a supposed assignation at the Wise Woman's house. Perhaps the most frequently noted form of deception, however, is the use of disguise, a stage convention^ much favored by the Elizabethans and the Jacobeans. Again, there is a range of complexity going from Sencer1s 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 ventionally assumes a girl's part (Second Luce), the girl disguises herself as a boy (Jack), and the boy is again transmogrified into the girl who is taken in marriage by H-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, 1935), pp. 17-18, and Victor 0. Preeburg, Disguise Plots in Elizabethan Drama (New York, 1915). ^A term coined by Freeburg, p. 11. Chartley. Among the forms of disguise set forth by Free- 13 burg we find that of the "disguised lover" when Sencer 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 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 he confesses his identity to the old woman. Presumably, how ever, Sencer uses the same disguise to conceal his identity from Chartley when delivering the letter from Luce (and when •^a convenient summary is on pp. 3-4. inviting Gratiana to the Wise Woman's hut), and at that point Sencer does not have to establish his true identity to the audience because he has done so previously in the scene 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 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 is 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, possessed of no knowledge of the black arts. In Act III 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 get the place of tutor to Gratiana. Chartley foils Sencer's 55 i plot by winning Gratiana with his boldness and by obtaining 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 is a poor course of action when each lie that he tells is in stantly refuted by the person he tells it about. Then, as a final climax to the deception, Chartley discovers that he has mistakenly married his original betrothed at the same 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 three acts turn upon three important individual acts of deception which provide the undergirding for the rest of the play. 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 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 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 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 three days.14 Act I commences presumably about mid-day or 14Mable 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 j jin the afternoon as the young gallants play at dice and plan 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 'wise Woman's, as she (Second Luce) said she would do at the end of Act I. Act III begins the next morning, which we 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. 597), and the wedding is about to take place. Act IV begins the day after Act III when Sir Boni 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, Hiss 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 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. 2220-21), 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. j 58 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 with Old Chartley's arrival in London and his immediate search for his son. Instead of Chartley, however, he meets Sir Harry, who is in the act of promising the disguised Sencer 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 (presumably at six p.m.). Then, in a further telescoping of time, Sir Harry arrives close behind his daughter (he was told to be present between six-thirty and seven). Then 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 horse but surprisingly has not yet arrived. It is, of 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 Luce that he "rid out of Holburne. turn'd by Islinctonr / 'So, hither wench to lodge all night with thee" (11. 2239- 40). Chartley has taken the long way around, perhaps to foil any attempted pursuit or to appear to be on his way home, and thus is last to arrive, although he started first. After Chartley's arrival, the play rapidly concludes, leav ing a soon-to-be-married Gratiana and Sencer, a happily married Luce and Boyster, a reformed Chartley, and a trium phant Second Luce at the end of the third day's action. CHAPTER IV SOURCES No single specific source for The Wise Woman can be 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 contemporary English comedies. Heywood was, if nothing else, a popular playwright, having a ready appreciation of 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 Lucrecef which owes much to Shakespeare's poem,^ is just one case in point. ^•See Arthur M. Clark, Thomas Hevwood Playwright and Miscellanist (Oxford, 1931), pp. 46-47. 60 Madeleine Doran's discussion of the debt of Elizabethan 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, ^Endeavors of Art; A Study of Form in Elizabethan Drama (Madison, 1954), pp. 148-185. 62 jand Sencer have important parts in the scheming. Sir Harry ! and, to some extent, Luce's Father portray the senex. and Sir Boniface is the complete pedant. The role of Sencer, the gallant who courts the daughter of a disapproving fath er, is by no means new, nor is the duplication of fathers and pairs of lovers in complex interrelationships. Hiss Doran remarks the prevalence of these Latin and Italian techniques in a good many Elizabethan plays, adding that the test of the vitality of the method is its appearance in thoroughly English plays like Porter's Two Angry WomeiLof Abingdon. Heywood's Wis e Woman of Hogs don. Jon- son's Alchemist. Dekker and Middleton's Roaring Girl. Middleton's Chaste Maid or Michaelmas Term. The struc tural basis of all these plays is ingenious intrigue. They depend on disguise, lies, clever excuses, manipu lation to get characters together at the right time or to keep them separate— as Ascham puts it, 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 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 Adelohi addresses itself to the moral education of youth. According 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- Hfit (1513-16), Youth (1513-29), Nice Wanton (1547-53), and Misoaanus (1560-77), as well as by R. Wever in his Lustv Juventus (1547-53), Thomas Ingelend in The Disobedient Child (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 JThe word is not Miss Doran's coinage, but the idea is hers, pp. 160-162. ^Alfred Harbage and Samuel Schoenbaum, Annals of Eng lish Drama 975-1700 (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. jstrongly didactic preachments about the kind of life a young man should lead and the dangers of turning from the straight 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 are manifold. Although the wild young gallant comes to some 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 prodigal, however, it may be helpful to call attention to 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, 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 fDe Griseldis Chauceriane 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 g Patient Grissil (1600) is another adaptation of the theme. 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 and sweethearts of subsequent plays. In an early study of the wide currency of the motif of 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. 5Ed. Ronald B. McKerrow and Walter W. Greg (London, 1909). 6The Dramatic Works of Thomas Dekker. ed. Predson Bowers (Cambridge, 1953), I, 207-298. 7The Fair Maid of Bristow (Philadelphia, 1902), p. 25; the list includes Patient_Grissil. The Shoemaker's Holiday. The Wisdom of Dr. Doddipoll. How a Man Mav Choose a Good Wife from a Bad. The Wise Woman of Hoqsdon. Othello. Measure for Measure. The Iondon Prodigal. The Miseries of Enforced Marriage, The Yorkshire Tragedy. A Winter's Tale. The White Devil. The Duchess of Malfir II The Honest Whore. The Fair Maid of the West, and Match Me in London. 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. 1601-02), The London Prodigal (1603-05), The Fair Maid of Bristow (1603-04), 3Sl£ Wise Woman of Hoqsdon (c. 1604 ?), and The Miseries of En forced Marriage (1605-06). 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 ciently, is taken into grace again and even rewarded. There are certain other characters, such as the father of the wife, the father of the husband, and the wife's lover, who appear in at least four of the plays, and in 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 extends to the way that Chartley and Scarborow desert their betrotheds and choose others because of financial considera tions (p. 29). A more recent examination of the theme of the prodigal Ison and the patient wife or sweetheart has been made by 8 9 Robert Y. Turner and Robert Hapgood. Turner proposes, i besides the first four plays cited by Quinn, All's Well that i Ends Well (1601-02), The Dutch Courtesan (1603), and Measure for Measure (1603-04). He rejects The Miseries_of Enforced Marriage because it "has little relevance for a plot of purgation" (p. 180), which he considers essential to the prodigal son motif.10 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 Wellr" PMIA. liXXV (December 1960), 497-502, and Reply to Hapgood, PHIA, LXXIX (March 1964), 179-182. ^Critique of Turner, PMIA. LXXIX (March 1964), 177-179. 10Whether 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 observed and sought to exploit. 68 j the seven comedies in question fall roughly into two partss 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 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 How a Man Mav Choose. The Fair Maid. The Dutch Courtesan. All's Well. Measure for Measure. The London Prodigal, and The Wise Woman, the plays singled out for special discussion by Turner. We have observed echoes of How a Man May Choose in The Wise Woman, and Charles R. Baskervill'*''1 ' believes that 11" Source and Analogues of How a Man May Choose a Good Wife from a Bad." PMIA. XXIV (December 1909), 711-730. How a Man Mav 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 12prank 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 jectured. If Heywood wrote How a Man May Choose (as I think he did), it may be that he desired to rework that play in a more purely comic spirit. It may be that Heywood, knowing that The Wise Woman probably would be performed before an 13 audience at the Curtain, devised the play to delight the tastes of the customary patrons of that theater, a plain 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 of the heroes of the other prodigal son plays for getting 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 the vogue was well established, perhaps after Bristolf Courte- £311, All's Well and Prodigal. l^The Curtain was regularly used by Worcester's Men, according to E. K. Chambers, The Elizabethan Stage (Oxford, 1923), II, 404. ^Louis b . Wright, Middle-Class Culture in Elizabethan England (Chapel Hill, 1935), pp. 608-613, thus distinguishes among the London theaters. 71 1 I j But all this is necessarily conjectural, as must also i i be the attempt to find specific sources among the plays mentioned previously, since their precise dates cannot at present be determined. What can be said with some assurance is, 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 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 Merry Wives of Windsor) cure 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, linked a romantic plot to a satiric for the purgation of Lampatho Dorio in What You Will. Purgation is essential; 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 I prodigal son comedies "superimposed the plot of purgation," derived from the satires, "upon the traditional love story." Another topic of widespread contemporary interest was 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- j 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 hands. In view of the compelling nature of the subject, it is not surprising to find the theme as part of the drama. What is surprising, however, is to find that the theme is so much confined to the Elizabethan and Jacobean periods. Un like the themes of prodigality and patience, the theme of witchcraft is virtually undramatized until the period of 15 Elizabeth. George Buchanan's translation of Seneca's ^5Again 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, Earlv Plays 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 Medea (1543) is the only presentation of a classical witch. 1 Biblical sources are similarly limited. Edmund Campion's lost Kina Saul (1577) may have contained material about the Witch of Endor. The earlier Elizabethan treatments of the theme tended to be rather lighthearted. Of these, perhaps John Lyly's Endvmion (1588) and Mother Bombie (1587-90) are best known. 16 Dipsas, the witch of Endymion T is in the tradition of classical witches, but she is nonetheless represented in a 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 17 wise, neuer doing harme, but still practising good. . . . " — Robert H. West, The Invisible World (Athens, Ga., 1939). The studies of George Lyman Kittredge, Witchcraft in Old and New England (Cambridge, Mass., 1929), and Wallace Notestein, A 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. 16The Complete Works of John Lyly. ed. Richard Warwick Bond (Oxford, 1902), III, 5-103. 17Bond's edition, III, 226. 74 i jis intended to be an accurate commentary. Shakespeare could display a certain tolerance and even a comic attitude toward witches, as is the case when the disguised Falstaff is thought to be a witch because of his 18 beard. Probably better known, however, is the use of witches in Macbeth. where the weird sisters set an appro priate tone of impending evil and disaster. In I Henrv 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 any case, Middleton's The Witch (c. 1609-16) owes much to 19 Reginald Scot's descriptions of occult practices and makes much of the sexual aberrations of witches, although the 18The Merrv 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. 19The Discoverie of Witchcraft bv 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 iwitch Hecate is not the principal character in ±he play. | . . . . . . . I Erictho, the witch of Marston's The Wonder of Women, or Soohonisba (1605-06) has a lust for young men similar to 1 20 Hecate's. Dekker, Ford, and Rowley's The Witch of Edmon- i 21 ton (1621) and Heywood and Brome's The Late Lancashire 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 these plays witchcraft is treated as a subject of the most serious consequence. That the witch is a creature of evil, 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 (1604) and The Devil IS an- f t B f i (1616) deal satirically with witchcraft, and The Alchemist is probably the best known, although not the only, exposd 2°The plays of John Marstonr ed. H. Harvey Wood (Lon don, 1938), II, 3-64, 21-Bower s' edition, III, 481-568. 22The Pearson edition, IV, 167-262. 23 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 that in one way or another deals with the supernatural. What serves to distinguish The Wise Woman from the rest of 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 that tincture of satire and realism which is found more often in the seventeenth century. One might make a case for its being transitional, although I think that to do so is risky because the portrait of the Wise Woman is so different from the conventional depictions of the witch. 23For these three plays see Ben Jonson. 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 Heywood1s belief, see The Late Lanca shire Witches and The Hierarchie of the Blessed Angels (Lon don, 1635) . 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 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 Heywood's play stands alone amidst the other witch dramas as the expose of the white witch. CHAPTER V THEME AND CHARACTERIZATION i Although The_Wise Woman deals with London's middle- class citizenry, it is less like Heywood's other plays about j this subject and more in the spirit of Jonson and Middleton. 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 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 . 79 plotting the seduction o£ citizens1 wives and daughters, and i 1 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 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 romantic. Chartley, for all his incipient viciousness, re forms at the play's end. Although wily, Luce is perfectly 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 of his family. And the Wise Woman, for all her malprac tices, is the one who ultimately rights the affairs of all. Thus the play is a mingling of citizen satire and ro mantic comedy in which the seamier side of London is 80 s presented together with actions and characters which are i ! worthy, even ideal. The result is neither an indictment nor a defense of the London middle class. We may say that it is ! realistic in this respect: life is never so orderly. But i in a work of art we require a focus and shaping of theme, an t organization and coherence of ideas, not found in this geni al presentation of the mixture of life's good and evil. Hence the play lacks the power to be more than briefly amus ing despite its fine construction and its scenes of strong realism. In creating his mixture of satire and light comedy, Heywood has employed themes and plots noted previously in 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 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, 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 [the tradition of Lustv Juventus. ^ Chartley mounts successive heights of disregard for others, opportunism, and falsehood 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 balked at every turn in his lies and plotting. He has no other alternative except flight, and he is too calculating for that. The result is that he performs one of the mira cles of conversion that are common to the Elizabethan stage, but one that to the present-day reader, obsessed as he is with motivation, seems nothing more than temporary expedi ency. That Chart ley 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 tists employed. Goodlack and Roughman in I The Fair Maid of the West (II, 255-332) suffer sudden conversions to good. ^Chartley is called Lusty Juventus by Taber, 1. 1542, after the prodigal son of R. Wever's play. 82 A more familiar example perhaps is the sudden conversion of 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 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 Elizabethans' 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.3 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 t 2The respective prodigals of How a Man Mav Choose. The Fair Maid of Bristol. The Dutch Courtesan, The London Prodi gal. All's Well That Ends Well, and Measure for Measure. 3Endeavors of Art . . (Madison, 1954), p. 22. 4Themes and Conventions of Elizabethan Tragedy (Cam- 83 |the face 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 than with the reasons underlying it. As Muriel Bradbrook puts it, "a sudden repentance ... is never convincing, but it is never to be questioned" (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 grace, doe I lay hold of Grace, and heere begin to re tyre my selfe, this woman hath lent mee a glasse, in which I see all my imperfections, at which my conscience doth more blush inwardly, then my face outwardly, and now I dare confidently vndertake for my selfe I am hon est. (11. 2385-90) Chartley's pun upon the name of Sir Harry's daughter in the context of this speech of repentance and reform suggests 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, 1935), p. 61. 5An observation made by Robert Y. Turner, "Dramatic plain in a quotation taken from the "Homily of Repentance," ! 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 faith, and vowed to amend his life (pp. 16-17). If he per formed these functions he could expect forgiveness and feel free from guilt. Chartley does these things in the speech quoted above, and I do not think it improbable to suppose that to the Elizabethan, imbued with the notion of grace obtained in the above manner and accustomed to the conven 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 Conventions in All's Well That Ends Well." PMIA. LXXV (De cember 1960), 498. ^Adams includes excerpts of homilies taken from Certain Sermons, or Homiliesr Appointed to Be Read in Churches, in 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), pp. 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- i es of the courtesan Francheschina in The Dutch Courtesan is 7 named Beatrice. In any case, the convention appears rather obviously in three other prodigal son-patient wife plays that we have examined. Helena is called "the herb of grace" in All1s Well for her salvation of the King of France and 0 her overwhelming love of Bertram. In How a Man Mav Choose j Mistress Arthur tells her errant husband and the others that heaven and not herself provides the means for their grace 9 and pardon — the kind of modesty that suggests the linkage between God's grace and woman's, although she disclaims her self as the direct means. In this case her denial, I think, constitutes a sort of claim, or at least a reminder of the convention. In The London Prodigal Luce is characterized by Flowerdale Sr. as "this vertuous maide, / Whom heauen ?The Plays of John Marston. ed. H. Harvey Wood (London, 1938), II, 67-137. aThe Complete Works of Shakespeare, ed. Hardin Craig (Chicago, 1961), IV.v.16. 9Materialien zur Kunde des Slteren Englischen Dramas, ed. A. E. H. Swaen, XXV (1912), 82. jhath sent to thee [Flowerdale Jr.] to saue thy soule"10 for |her rescue of Flowerdale Jr. from his villainous habits. A ! similar function, but without such obvious commentary, is i 11 performed by Anabel in The Fair Maid of Bristow and Isa- 12 be11a and Mariana in Measure for Measure. These heroines i i plead successfully for the lives of Edward Vallenger and i Angelo, and by their exemplary conduct are understood to be the redeemers of their wayward lovers. In these examples the virtuous sweetheart or wife be comes the moral redeemer and at times the physical savior of the prodigal, who recognizes her qualities and is prompt 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 ior . He requires instead a moral preceptor to inspire his sudden repentance. Although Gratiana is not the long- suffering wife or sweetheart (Second Luce having not yet 10The Shakespeare Apocrypha, ed. C. F. Tucker Brooke (Oxford, 1908), V.i.421-422. l^Ed. Arthur Hobson Quinn (Philadelphia, 1902). l^Hardin Craig's edition of Shakespeare, pp. 833-861. revealed herself), Chartley chooses Gratiana as the most ! ‘ notable lady in his not yet fully illumined vision to be the basis for his change of attitude. To credit the Eliza bethans with the acceptance of Chartley's behavior is not to i 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 bethan 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 treatment of the theme of the prodigal son, Heywood employs a similar treatment of the theme of the patient wife or sweetheart, instead of following the tradition of Patient 13 Grissil that the woman must do nothing more than endure her fate. Second Luce has no mind to wait in the country with the forsaken geese, ducks, and capons for Chartley to 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 ^3The Dramatic Works of Thomas Dekkerf ed. Fredson Bowers (Cambridge, 1953), I, 207-298. 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 means of revenge by sacrificing her father to him in a duel, 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 Patient Grissil tradition in the way that his heroines play active roles in attempting to remedy their situations, in 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 plained by the fact that, believing herself married to Chartley, she is asserting a wife's prerogatives to bring him into line. She is simply trying to make the best of a 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. With Second Luce, however, the case is more perplexing. < From the beginning she knows that Chartley is a ne'er-do- 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 an ecclesiastical bond and thus could be more easily severed by the hand of man. Hence Second Luce was not bound to Chartley 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 patient wife. I have previously discussed the origins and prevalence of this motif. Arthur Hobson Quinn, we recall, 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. 14See supra, p. 65, n. 7. I With the two Luces and Gratiana, Heywood supports the jconvention 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 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, and not for social or financial gain. Chartley is admired by three of Heywood's chaste and honorable young ladies who rapidly become charmed by his boldness, ready wit, and hand some countenance, but not for any base considerations. In the sixteenth- and seventeenth-century controversy 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 15Louis B. Wright, Middle-Class Culture in Elizabethan England (Chapel Hill, 1935), pp. 465-507, provides a most helpful discussion of the subject. 91 Woman Luce, Second Luce, and even Gratiana are good examples I i 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 are types, conventional portrayals of ideal femininity. Hence it seems that Heywood, as a champion of women, is a victim of the convention that women are completely virtuous, just as the critics of women, Middleton for example, were often caught by the opposite convention, inherited from the Middle Ages and invested with new vitality by the Puritans, namely, that women were all sisters of Eve, corrupters of mankind. With the men, the celebration of romantic love suffers. Chartley holds his trothplight lightly and considers nothing but the material advantages of love, deserting Second Luce to go up to London and then forsaking Luce for Gratiana, who has both money and a better social position. Curiously, Chartley fails to comment upon Gratiana's 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 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: Boyst. Morrow. Luce. As much to you. Boyst. I'le use few words, Canst love me? Luce. Deed Sir no. Bovst. 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- 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 his "hot" (1. 741) ways. Gratiana first prefers Master HaringfieId but is later won over by Chartley' s boldness. The point here, of course, is that Gratiana prefers the con- I ventional romantic hero, either the polished nonentity Haringfield, 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 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 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 Chartley1s. Indeed, Sencer threatens to replace Chartley as the central male character. The effect of the rivalry is to reveal further 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 for Measure. The themes of prodigality and patience touch upon 94 j 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. 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 16 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." l^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 Anatoiqy 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 toward more socially approved goals was not enough to pre vent her condemnation by the church, for she was believed to I be just as surely in league with the Evil One as the black est hag in Macbeth or the unrepentant Mistress Generous in Heywood and Brome'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. But Heywood has diminished much of that potential by 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 Prospero) and with no great ability in the unwritten or folk magic. She is presented as a complete charlatan who gives ^Christina Hole, p. 98, quotes William Perkins, A Dis course of the Damned Art of Witchcraft (Cambridge, 1608) 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." 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 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, X am a Widdow. Wisewom. Where are my braines? ’tis true, you are a Widdow; and you dwell, let me see, X can never remember that place. Worn. In Kentstreet. jSiSfikZOm. Kentstreet. Kentstreetand X 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, He 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, whose advice can be trusted, comments to the audience upon the Wise Woman: 'Tis strange the Ignorant should be thus fool'd. What can this Witch, This Wizard, or old Trot, Doe by Inchantment, or by Magicke spell? Such as professe that Art Should be deepe Schollers. What reading can this simple Woman have? 'Tis palpable grosse foolery. (11. 480-485) And again, after witnessing the near fiasco between the Wise Woman and the Citizen's Widow, Luce comments: Worn. Perhaps, to know how many Husbands I should have. Worn I thinke you are a Witch. If this were a Wisewoman, shee could tell that with out asking [with respect to the Widow's marital status, 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 in literature, she suggests that all are as false as she. True, she does not call them fakers, but that would be ut 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 the 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 ^Arthur M. Clark, Thomas Hevwood Playwright and Mis- cellanist (Oxford, 1931), p. 146, mentions these three works as prominent examples of Heywood*s belief in witchcraft. 99 | her to be implicated in many of the most unsavory enter prises of the city. She arranges clandestine marriages, keeps a brothel, and disposes of unwanted infants. Second Luce tells us what to think of these activities: Most strange, that womans brain should apprehend Such lawless, indirect, and horrid meanes For covetous gaine1 . (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. To be sure, this theme of quackery and sham is perhaps the 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, she is not heavily condemned (Second Luce perhaps overstates her condemnation for the purpose of dramatic effect). She 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) She is at this point a rather ugly but somehow likable old schemer whose existence Heywood frankly acknowledges, as he 'acknowledges a good many unpleasant aspects of his London, but whom he cannot find in his heart to excoriate or even to condemn too harshly. In his treatment of the major themes of the play, Hey 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 there is plenty of that), but Heywood has done little with the serious portions of the play. He has not invested them— or he 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. 1 1 I CHAPTER VI INFLUENCES 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 witch, although other plays, notably The Alchemist, deal satirically with the magical charlatan. Of the plays con 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 (1605-06), as 2 Quinn has observed, has a somewhat similar plot; and the ^Alfred Harbage and Samuel Schoenbaum, Annals of Eng lish Drama 975-1700 (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 supraT p. 66, 101 . 102 {faithful wife of Thg. Tendon Prodigal (1603-05) also bears 1 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. 4 Charles Mills Gayley has found in Mrs. Hanna Cowley's play 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 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. Doiley. In the scene in point, Granger, disguised as a 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 3See .ffiUBEa, pp. 69-70. ^Representative English Comedies (New York, 1914), III, xxix. Gradus' Greek speech with: 1 J Yon lucid orb, in aether pensile, irradiates th'expanse. Refulgent scintillations, in th*ambient void opake, emit humid splendour. Chrysalic spheroids th1horizon vivify— astifcurious constellations, nocturnal sporades, in re- frangerated radii, illume our orb terrene. (p. 38) i Gradus protests that this is merely English, but the igno rant Old Doiley says, "'Twas no more like English, than I am like Whittington's cat" (p. 38), and awards his daughter to Granger. Reminiscent of Sencer's Greek speech in The Wise Woman is Gradus1 declamation: Panta crelosf kai panta konis kai panta to meden Panta gar exalacron. esti ta ginomena. (p. 36) To this Old Doiley replies: Pantar tri pantrv* . Why, that's all about the Pantry. What, the old Grecians lov'd Tid-bits, mayhap— but that's l o w '. (p. 36) 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 incidental linkage). During the scene Granger teeters on the brink of disaster, whereas Sencer is clearly master of the situation from the beginning and toys with Sir Boniface. Sencer's "Greek," however, is a mixture of nonsense, Latin, j 104 I 5 and Greek, whereas Gradus' oration has a kind of meaning i ! to it: "All things are laughter and all things are dust and all things nothing, for all things that exist are from braggarts.“ Extended Latin double-entendre provides the comic core of Heywood's scene. Mrs. Cowley's word-combat is far shorter and avoids the Latin and the bawdry of Heywood. The two scenes share a fundamental similarity, however, 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 by his wily, more intelligent adversary. The convention of frustrating the pedant is, of course, not a new one. The 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 7 the Latin play Pedantius (1581). In Renaissance drama ^See the critical notes to 11. 1145-46. ^This translation I owe to Professor Marjorie Berlin- court. 7Materialien zur Kunde des Slteren Enolischen Dramas. 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 | 105 Francesco Belo's II Pedante (1529) provides us with the f Original character (Bond, p. xxix), and Elizabethan and Jacobean plays abound with scenes and incidents in which the i 8 pedant receives all manner of abuse. Probably Holofernes j is the best known of the type. The convention is so prevalent, however, and the time I separating the two plays so great (175 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 page 40 of the Huntington Library quarto of Who's the Dune? John Philip Kemble has written, "This is a diverting Farce; phraseology as the mark of the foolish bibliophile has been traced by R. Warwick Bond, Earlv Plavs from the Italian (Oxford, 1911), pp. xxix-xxx, to Sebastian Brant's Das Nar- renschiff (1597). See Paul Nixon, ed., Plautus (London, 1928), I, 325-457, for a Latin-English edition of the Bac- chides. and Edwin H. Zeydel, ed., The Shin of Fools bv Sebastian Brant (New York, 1944), especially the section "Of Useless Books," pp. 62-63. Allen H. Gilbert, "Thomas Hay wood* s Debt to Plautus," Journal of English and Germanic Philologyf XII (October 1913), 611, mentions the Bacchides in connection with the way the love deception of Plautus' play resembles that in Heywood's The English Traveller but 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. ®Hans Deichert, Per Lehrer und der Geistliche im Eli- sabethanischen Drama (Halle, 1906), surveys the subject, mentioning Sir Boniface (p. 69), although he confuses Thomas Heywood with John Heywood. ; 106 J — If I don't forget, the Hist, of it is taken from Mrs. Centlivre's Salamanca Doctor outwitted." There is a similarity between the two plays, although in Mrs. Centlivre's play, The Stolen Heiress, or the Sala manca .Do.ctor_Q.utPlotted (London, [1703]), the episode in question is part of the secondary plot. Here a crotchety old father, Larich, desires to marry his daughter, Lavinia, to a pedant, Sancho the Salamanca doctor. The girl loves a young gentleman, Francisco, however, who disguises himself 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: Most rubicund, stilliferous, splendant Lady, the occular faculties by which the Beams of Love are darted into every Soul, or humane Essence, have convey'd into my Breast the lustre of your Beauty; and I can admire no other Object; therefore pardon me, Sir, if I only ex 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 Old Doiley, Larich is fooled by pretentious language. There 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? 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 version of Thomas May's The Heir (acted 1620),^ a play in which the l secondary plot concerns a rivalry between a young gentleman, Francisco, and a "foolish gentlemen," Shallow, who is not 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. The name Luce is a curious coincidence, especially when we recall that The Heir was acted at the Red Bull by the 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 9s. Centlivre's Lustsoiel "The Stolen Heiress"._und sein VerhSltniss zu "The Heir" von Thomas Mav (Halle, 1900). lOThe Jacobean and Caroline Stage (Oxford, 1956), IV, 837. U-The 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 i closer we come to the time of The Wise Womanr 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. Finally, the plots of The Heir and, necessarily, The Stolen Heiress. are quite different from that of The Wise Woman. Only the two-act farce Who's the Dupe? resembles our play, since its basis is the rivalry between the young gallant and the pedant for the hand of Elizabeth Doiley, there being no subplot. Hence we may agree with Gayley that the two plays share a similar scene, although we cannot discover a chain of scenes that would bind the two plays as closely together as we might wish. And I have been unable to discover whether Mrs. Cowley knew of The Wise Woman or had access to a copy of it. CHAPTER VII STAGE HISTORY s 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,1 the majority of the play's pro ductions were likely made at the Red Bull, to which Queen 2 Anne's Men repaired probably in 1605. There is, however, no recorded instance of the play's being performed in London at any theater. George P. Reynolds, in his study of the Red Bull, says that the play "may have been acted at the Red ^ee E. K. Chambers, The Elizabethan Stage (Oxford, 1923), II, 229. ^Chambers, II, 447, presumes that the Queen's Men occu pied the Red Bull "as soon as it was built at some date be tween 1604 and 1606." George F. Reynolds, The Staging of Elizabethan Plavs at the Red Bull Theater 1605-1625 (New York, 1940), p. 6, follows J. Q. Adams' (Shakespearean Play houses ) belief that the Red Bull was built and occupied in 1605 by Queen Anne's Men in order to compete more favorably with the King's Men at the Globe and the Prince's at the Fortune. 109 110 | bu11" (p. 17) and includes it in his list of fourteen plays i"only possibly connected with the Red Bull" (p. 5) between i 1605 and 1625. Reynolds is properly cautious in assigning the play to the Red Bull, since there is no documentation to t 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. The want of any documentary evidence for the perfor 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 numerous performances. Its popularity is implied by the statement made on the title-page: "As it hath been sundry times Acted with great Applause" (11. 4-5), a claim that is probably truthful as well as being calculated to encourage 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 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 3The Cast of The Wise Woman as given by the Polger 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. Win. 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 Old Chartley. She also thinks that Taddy may have been Anthony1 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, Whi. 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 1660-1800. ed. William Van Lennep, Emmett L. Avery, and Arthur H. Scouten (Carbondale, 1965), Part I, 186-188. 4"A Provincial Strolling Company of the 1670's," Thea tre Notebook. XX (Winter 1965/66), 74-78. 112 Coysh, a member of the Nursery at Hatton Garden, was granted a license for his company to perform in Norwich by the mayor 5 on August 6 and a renewal on August 14, 1672. A later date i seems less probable because Coysh was a member of the King's Company from 1673 to 1683, and, as Evans (p. 6) and the 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 ords of the other actors in the cast suggest that they were more likely to have been willing to undergo the discomforts 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 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, Strolling Players & Drama in the Provinces 1660-1765 (Cambridge, 1939), pp. 38-42, discusses Coysh's association with the Nursery and provincial touring companies. 113 The Comedy of Errors is the same hand found in a King's Company prompt-book of James Shirley's The Sistersf the production of which Evans is certain occurred between 1668 and 1671 (p. 7). Thus the evidence adduced by Evans and Miss Burner supports the belief that The Wise Woman was per- i 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 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 i Besides this present work there are three modern edi tions of The Wise Womans the John Pearson edition (1874),1 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 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 ^he Dramatic Works of Thomas Hevwood (London, 1874). Although the edition was compiled by R. H. Shepherd, it is customarily referred to by the name of the publisher, John Pearson; see Arthur Brown, "Citizen Comedy and Domestic Drama," Jacobean Theatre (London, 1960), p. 62. 2The Best Plavs of the Old Dramatists; Thomas Heywood. ed. A. Wilson Verity (London, 1888). 3"The Wise Woman of Hoasdon by Thomas Heywood," unpub lished master's thesis (Duke University, 1939). 114 115 seems based solely upon Pearson with no scrutiny of the quarto. For example, the last word of line 742 of the 4 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 consulting the quarto. The list of difficulties could be 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 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 graphical tests. Numerous textual variants, some with interpretive value to both the literary critic and the bibliographer, go unrecorded in the Landis edition because it is based upon too few copies of the quarto. To use 4No attempt is made to reproduce the long "s" of the 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 another single example, Landis can only agree (p. 170) with !the emendation made by Mermaid (p. 255) of the quarto's "to | tho" (1. 108) to "todo". Knowing that "to tho" is the i jcorrected state of "to thee" would have greatly strengthened i the basis for Mermaid's emendation and Landis' concurrence. ! 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 my own attempt unquestionably would have fallen far short of whatever competence it may have attained. The distinctions made by Mermaid between Heywood's prose and his sometimes doubtful poetry have saved me much effort, and Landis' translation of Latin and his source findings have spared me many hours. In preparing this edition I have collated thirty-two copies of the 1638 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 copies have been collated with the Hinman collating machine. The others I have examined without the use of a mechanical collating device. Copy Siglum Call Number Kind Method of Condition Collation 1. Bodleian Library o1 Malone 250 xerox HCM* Complete 2. 02 Malone 200 ■ I I I I I 3. O3 Douce HH 209 t i I I I I 4. Boston Public Library MB 149.673 original MUS** I I 5. British Museum L1 C34g 19/3 xerox HCM M 6. L2 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 63, H2, H4V imperfectly printed LO. Elizabethan Club (Yale) CtE 88 original MUS Complete LI. Eton College EC microfilm- xerox HCM Small hole in H3 L2. Folger Shakespeare Library DFo1 STC 13370-1 original 1 1 Complete Copy Siglum Call Number Kind Method of Collation Condition 13. 14. 15. 16. 17. Folger Shakespeare Library Harvard University Huntington Library 18. Hyde Collection 19. Library of Congress 20. 21. 22. 23. 24. 25. Morgan Library National Library of Scotland Newberry Library Pforzheiraer Library Royal Library, Stockholm DFo* DFo3 MH CSmH1 CSmH2 NjSH DLC NNPM EN1 EN2 ICN NNPf SR STC 13370-2 STC 13370-3 STC 13370 61495 61486 PR 1241.L6 W4B Bute Copy H.28.e.3(4) 1355 487 original xerox Readex Microprint original microfilm- xerox xerox original xerox HCM II II MUS II HCM MUS Complete HCM MUS HCM Hants A1 Complete H * H 00 Copy Siglum Call Number Kind Method of Condition 26. Science Museum LVD 4459 26 HCM i » Small hole ; (Victoria and Albert) Box 22 1 xerox in 12 i 27. University of Illinois IU I I I I Complete ! 28 • University of London LU I I I I 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 I I I I Complete 32. Yale University CtY Z77.102if original MUS I I *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,j however, and significant emendations have been noted. The Landis edition presents as text the Harvard, Yale, and Texas copies, which have been fully collated. 120 The preceding is a table of the copies examined, the siglum of the individual or institution possessing them, i I their call numbers (when available), the kind of copy ex- i i ! amined, the method of collation, and the condition of each i • i copy. j 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 | ; i consult it sufficiently to feel reasonably certain of what i 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 i the 1638 quarto that I have examined: i i 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 Uncorrected State Corrected State Sig. A1 7. Delectare. Delectare— 11. The Bible the Bible Sig. A2V 108. To thee to tho Sig. A4V 230. Save,thee Save* thee 231. you Eire y'cire DFo3 and EN2 record the uncorrected states of A1 and A2V. On A4V they record "you are" and "SaveAthee", a combination of uncorrected and corrected states; hence there are three states, a fully corrected, an uncorrected, and a combination of corrected and un corrected. Sig. A4V of 02 and ICN is uniformly un corrected: "Save,thee" and "you are". Inner Forme Uncorrected: DFo3, EN2. Corrected: O1"3, MB, L1”4, E, CtE, EC, DFo1-2, MH, CSmH1-2, NjSH, DDC, NNPM, EN1, ICN, NNPf, SR, LVD, IU, LU, PU, TxU, OW, CtY. 5The inferior caret designates omitted punctuation. Uncorrected State Corrected State Sig. A2 47. HOGSDEN HOGSDON Sig. A3V rt. Hogeden Hogsdon I Sig. A4 RT. Hoasden Hogsdon SHEET B Outer Forme (This forme exists in three states). Uncorrected: DLC, 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 DUC, and I CtY records uncorrected B4V. Hence there are three states. Inner Forme Uncorrected: CSmH1. . i Corrected: O1"2, MB, L1”4, E, CtE, EC, DFo1”3, MH, 123 CSmH2, NjSH, DIC, 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 Corrected State your hand weaknesse of Matron on Faber Taber SHEET C Outer Forme (I have found just one state of this forme; see pp. 141-142, infra.) Inner Forme Uncorrected: O1, 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, IAJ, PU, TxU, OW. Sig. Clv 592. Sig. C2 628. Uncorrected State with my Bride; betimes Corrected State with one BrideAbetimes Sig. C3V 723- Watch, hit 724. Watch, went and hit 725 mee of me of Sig. C4 j 754. , Gentlemen: : Gentlemen, j 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. j i SHEET D (I have discovered no indubitable variants. Hence I cannot determine the uncorrected and corrected states.) SHEET E Outer Forme Uncorrected: EN1, NNPf, IU Corrected 01"3, MB, L1"4, E, CtE, EC, DFo1 3, MH, CSmH1"2, NjSH, DIC, NNPM, EN2, ICN, SR, LVD, LU, PU, TxU, OW, CtY Uncorrected State Corrected State Sig. E2V 1220. I had I have Inner Forme Uncorrected s Corrected: 125 CSmH1. O1-3, MB, L1"4, E, CtE, EC, DFo1-3, MH, CSmH2, NjSH, DLC, NNPM, EN1-2, ICN, NNPf, SR, LVD, IU, LU, PU, TxU, OW, CtY. Sig. E4 1323. Uncorrected State Corrected State 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. Sig. FI 1366 . 1368. 1387. Uncorrected State flarrin g§ field Barrings fi eld wee tho ght Corrected State Harringsfield Harringsfield wee though 126 1394. Sencer-disguised Sencer r discruised Sig. F2V 1468. treue true 1469. madgick magick 1470. him made made him 1478. animus. animus— 1483. Sir Boniface. Sir Bonif * 1489. ebrius; ebrius, 1491. saith* I saith, I 1491. Hebrewe. Hebrewe a 1494. He-1 He' 1 1496. with, an with^an 1503. victor. victor: cw. Sig. F3 1509. I a le I' le 1524. daughter, daughter a 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, JJl£ra*) SHEET G Outer Forme Uncorrected: 127 O2, L4, MH, NNPM. Corrected: 01*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. Gl 1650. 1653. 1653. 1655. 1659. 1660. 1663. 1666. 1672. 1674. Sig. G2' 1751. 17 52. 1755. 1764. Uncorrected State Whylookst grace streete. Beshrowe withina echoing untruth. aud you: Luce? Graceacome Gold. yet. theWorId looming Corrected State Why lookst Grace street. Beshrow within, ecchoing untruth, and you: Luce? Grace,come Gold, yet a the World Looming 1770. be like belike 1780. in*ile in,ile 1780. Mistresse, Mistresse. Sig. G3 1803. 0 mee. 0 mee I 1805. his,make his, make Sig. G4V 1883. Gr amercy Gr amercy 1887. off,I of f aI 1889. 0*Mr O. Mr 1911. deereAmost deere,most 1911. \these these 1913. contente. contents. CW. Psnce. 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, DDC, EN1, Corrected: 129 IU, TxU, CtY. O1"3, L3”4, CtE, EC, DFo1’3, MH, NjSH, NNPM, EN2, ICN, NNPf, SR, LVD~ LU, PU, OW. Sig. II 2189. 2192. Sig. 13 2356. Uncorrected State bold Corrected State bo Id | hts this disguisAd disguis'd Inner Forme (Invariant; hence the forme is presumed corrected for all copies.) W. W. Greg's bibliographical description of the 1638 g 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 Bible" (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: "Delec- I 6A Bibliography of the English Printed Drama to the Restoration (London, 1951), II, 535-536. tare.1 1 The other previously unrecorded variant is the I i | omission from the uncorrected title-page of the horizontal i rule between the motto and the ornament. A further comment can be added to the description of the running-title: on : i j Gl, HI, and II of all copies that I have examined the run- j !ning-title reads "Hoasden1 1 instead of "Hogsdon1 * . 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, j : i and I list them below together with those on the verso of j i the final leaf of each gathering, after the manner recom- j 7 ! mended by Fredson Bowers: Alv THE [ T h e ] A4 Actus. [Actus*] A4V Bovst. I ! j [Bpy/fc. I] B2 enter rEnter 1 B3V Wisew. rwisewo. 1 | ! I B4V Now Cl Wisew. f Wise wo. ] Clv Enter f &nter 1 C3V Grat. fOr at.1 C4V Sir D4V povvde- [powder] E4V Actus rActus 1 FI Sencer- fSencer.] F4 Would [l would] F4V JBoyaifit. Glv Father* [ Father. 1 G3V Wisewoman. rwWiseoman.] G4 Seneer * f Sencer. ] G4V Sencer . HI Taber. fTabor* 1 H4V Isaw [I saw] Ilv r 7Principles of Bibliographical Description (New York, 1962), pp. 299-300. 131 Chart, rchartlv. 1 12 Old Chartlv. \ Chart. 1 13 Luce a | [Luce. ] Greg, in his description of the quarto, has suggested j I that it was set by two compositors because the numbers of ! ! ;the first three acts are spelled, e.g., "Actus primus", I whereas the numbers of the last two acts are set in italic numerals, "Actus 46" (see supra. p. 19 for a discussion of j I the "46." ), and because the last word of the running-title is spelled "Hogsdon" on sheets A-E, but on sheets F-I it is j i i spelled "Hogsden". I can add that on the uncorrected state ! of A3V and A4 the word is also spelled "Hogsden". This in- j i consistency on A3V and A4 seems to me, however, to strength-j en Greg's supposition about two compositors, for the correc- i tion of this variant shows a tendency toward the spelling j I "Hogsdon"T 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, "Chartlev" 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 1 1 Chartlevs" (11. 1648, 1651), an insignificant departure sheets A-E and F-I. There is also a consistent difference in the way "u" ' i and "v" are used. In sheets A-E the compositor has adopted ! i ithe modern distinction, then beginning to be felt in Eng- jland. But with sheets F-I "v" is substituted for "u" ini tially, and "u" is substituted for "v" medially. Thus i sheets A-E consistently record "unto" (1. 212) and, far morei i frequently, "have", whereas sheets F-I record "vnto" (1. 1370) and "haue".8 I Punctuation, although typically light, tends also to differ between sheets A-E and F-I. The compositor of sheets; j A-E uses a full stop to end every sentence or speech, ! i 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 I i '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 of the headings for Acts I-III and IV-V. As noted previous- i ly, the headings for Acts I-III sure set in roman type with no numerals— e.g., "Actus primus, Scena prima"— act and i 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 i j 3 and scene separated by a period. In addition, horizontal i rules enclose the headings for the first three acts but are j not used to enclose the last two. i i 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 i 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 I i (see p. 135, infra) was long enough for a sufficient number i I of types to be removed from the case so as to give the im- i pression of a change. I have been unable to trace anomalous 134 types present in sheets A-E into sheets F-I, a circumstance ! jthat points toward a change of case. I must confess, how- j ever, that I have experienced great difficulty tracing \ f j anomalous types from sheet to sheet within A-E and F-I. ;Hence the discovery of no recognizable types common to I sheets A-E and F-I cannot be relied upon as sole proof for i a change of cases. There are, however, styles of type found in A-E that j 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. j i 216), the swash italic "G" (e.g., 1. 169), and the swash i italic "M" (e.g., 1. 51), found with some frequency in sheets A-E that do not reappear in F-I. That the second j i compositor might have altogether eschewed these types is j 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 jtypes, than are the types in sheets A-E. It is less diffi- j ! j cult to trace anomalous types from one sheet to another. j These bits of evidence thus suggest to me that there has ■ ! probably been a change of case between the printing of ; j sheets A-E and F-I, although possibly, though I think less j 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 I each sheet, we can conclude that the quarto was printed witt^ i I i at least two different skeleton-formes, a common practice of i the times. Two sets of running-titles were used for sheets i i 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 j 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. A2V - B4 C4 D3 E4 H H • A3 B2 C2 D1 Elv III. A4V - Blv - Clv - i > C V J Q E2 IV. B3V - C3V - I > Q E3V SKELETON II Inner Outer Outer Inner Outer V. A3V - B4V - C4V - D3V - E4V • H > A4 - B1 - Cl D2 - El VII. B2V - C2V - Dlv I a t o < VIII. B3 C3 D4 - E3 There are, of course, no running-titles on Al, Alv, and A2. ! 1 ! ! f The identity of the running-titles through sheets F-I i is as follows: SKELETON III Outer Inner Inner Inner IX. FI G2 H2 12 X. i > C V J h Glv - Hlv - > H H XI. F3 G4 H4 14 XII. I > h 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 mm., 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 mm., 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 , i I was set with 36 lines instead of 37. The pages of E1-E2 have stage-directions that are set off from the main body ofj ! ^ print by leading, thereby preventing the maximum number of lines from being set on them. Hence perhaps the compositor jforgot that he had been setting a 37-line page when he I i reached E2V and set 36 lines instead. The pages of E3-E4V \ ; I also have stage-directions set off by leading, so there was I I 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- ! I nary examination of its printing made, we can begin to dis- ! I 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- l iing through sheet D to Elv. On E2 and E2V there are two i i such substitutions (11. 1171, 1213). At one point on D4 i ^ (1 • 1048), "W" is substituted for "W" . But after E2 no j i"vv" substitutions of any kind are to be found. The follow-! ! I jing table shows the incidence of "w" and "v", omitting sigs. B3, E2, and E2V and the "w" substitution, which I do not :think are numerous enough to be significant: D3 D3V D4 D4V El Elv 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 g 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. 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. 1 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 ■ I vice versa signals a change in the order of the formes 11 ' through the press, we can postulate the sequence in which ! | .the formes of sheets A-E were machined. Spelling evidence, i i I i i as we have seen, indicates that inner A went first, followed I I 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 l 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 Ouincv Adams Memorial i Studies. ed. James G. McManaway, Giles Dawson, and Edwin E. ; Willoughby (Washington, 1948), pp. 579-581. A full discus- ! sion of Bowers* 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 ; i j a variety of disturbances, as Bowers ("Proofing," p. 581) ' i I I has explained and as the numerous alternations of running- titles among the other formes would suggest. i [ 1 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 i state of outer C carries more significance than the lack of alternation in running-titles between sheets B and C. Thus, j I think inner C preceded its mate through the press. i Alternation of running-titles between sheets C and D i 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 i outer D preceded inner D. Another alternation between i I 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- j 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 I i 'been: A(i) - A(o) - B(o) - B(i) - C(i) - C(o) - D(o) - | D(i) - E(i) - E(o). s | The questions of sequence of machining and method of I composition must be raised again for sheets F-I because of j 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 : i from the evidence supplied by the running-titles (see pp. j 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 i j 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 j copies that I have examined. ' ! i Despite the alternation of running-titles between . sheets F and G, indicating that inner G followed inner F j i ! through the press, the pattern of variant and invariant j formes in sheets F, G, and I suggests to me that the outer formes of all sheets preceded their inner partners. (There ; i are other reasons besides a change in the order of the j j formes through the press that may have caused the alterna tion of running-titles between the formes of sheets F and ! 13 G.) 1 also suspect that sheet H, which has no invariant states, was printed in much the same fashion and order as i 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 13see again Bowers' discussion cited above. I 14An Introduction to Bibliography for Literary Students (Oxford, 1927), pp. 18-19, 31-32. 145 seriatim rather than by forme. More recent studies have | i i I shown that setting by forme, even for first editions in j I ^ 15 I quarto, was not uncommon. i I Whether or not sheets P-I were set by forme is diffi cult to determine, but some evidence indicates that they j 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 I had to squeeze his text into the allotted space. Lines i i : i 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 i 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 •^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 Q2." 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." Studies, in Bibliography. XVI (1963), 9- 26_____ evidence is rather weak, owing to my difficulties in tracing | jlarge numbers of types from sheet to sheet. As a result of I studies of the composition of quartos, John H. Smith (p. 11) ; i believes that "under seriatim composition it would be very rare to find ... on the first or second page of a second j i ; '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 ! i positions is indicative of composition by forme. | i i In The Wise Woman we find types in these positions. j On Glv (1. 1694) a misshapen "f" exists that was used pre viously on F3 (1. 1509). On G2 (1. 1734)— only the third page of the sheet— is a damaged "u" that comes from Flv (1. j i 1413). Again on H2 (1. 1992) is a malformed "y" traceable j i i from G1 (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 JL6 in the second forme of the succeeding sheet." This we 16"The Printing of A King and No King Ol." Studies in Bibliography, x v m (1965), 258. 147 find to be the case in sheets P-H. The "f" of F3 (1. 1509) * i reappears on Glv (1. 1694), the "u" of Flv (1. 1413) reap- i f j pears on G2 (1. 1734), and a "p" with a broken descender on j | F4 (1. 1586) reappears on G3V (1. 1822). Finally, the "y" of G1 (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 I R. E. Alton, one can see that Heywood— the edition derivesl from a manuscript thought to be in Heywood's hand— was a ! villainous penman and one who intermixed lines of obvious blank verse with lines of highly irregular meter, punctuated i at times neither syntactically nor rhetorically. We also i 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 I 170xford, 1953. 148 supra, p. 19). J ; In some cases it is obvious that the compositors of j t i the quarto have mistaken blank verse for prose and prose for I blank verse. At other points the distinction is not so iobvious. Where commentary seems appropriate I have made it j ' i 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- i ed. The Pearson text presents a much less critical editor- i 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-j 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 i 1 i i glossed have seemed in some way significant to me. Simi- i i i jlarly, I have not tried to furnish examples of glossed j i | 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 similarj I expressions occurring in Heywood*s works, but the list is by| i no means complete. A Heywood concordance must be left to I 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 Mav Choose a Good i 18 Wife from a Bad. cited by page and line respectively. Emendations, variants, and translations directly fol- i lowing the lemma have not been put into quotation marks, but i they have been enclosed when they occur as a part of my commentary and might thus be misinterpreted. Except for i 18Materialien zur Kunde des alteren Enalischen Dramas. XXXV (1912). 150 asides, textual comments and stage-directions from Mermaid i land other sources have been put in quotation marks when they ! ! : | occur directly after the lemma to distinguish them from l ! emendations and variants. i ANNOTATED TEXT 151 O T H o n . D O . . A C O M E B I E . ' r • * • ' • V tA s it bath bt^fymdry tim ts jS e d * ' •La — — ^v'.yv.- 'A tv(v.?.^r~: W rirtc rib y T .# : ' 3 ’ v 5 t.-.U m . ‘_ v^wa.* t • ; 7 * • ■ ■ ' * ' * 1 * 1 1 7 ' • * V' * \ * , * * * > - • »-v ' * • ; , ' M > S f c , C- m. . . / r t * ' L O N D O N , P rin ted by SM. rV. for Henrj Shephard> and are to be fold at his Shop in Ch**cerit-La*e, at the Signe o f the TiibU, between Strjttmtt- J**t and F/m -jhfft* 14 % 8 * 7. Delect are--] fialSfifcaCfi. DPo3, EN2 11. the Bible 1 The Bible DFo3, EN2. 153 j l . Wise-woman] "A woman skilled in magic or hidden arts; ! | a female magician, soothsayer, etc.; a witch, sorceress; j ! I esp. a harmless or beneficent one, who deals in charm i ; I against disease, misfortune, or malignant witchcraft" (£EJ2). i i i !See also supraf pp. 94-100. ! t i 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.1 I The Hogsdon Fields were a favorite place for afternoon i i jaunts by the Londoners, and they were also used as a drill ing-ground for the trainbands." Now called Hoxton— Edward H. Sugden, A Topographical Dictionary to the Works of Shakespeare and His Fellow Dramatists (Manchester, 1925). : 4-5. As. . . . Applause. 1 See .SUPEA, p. 110. i 7. Aut or odes se 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 poetaer" "poets wish either to profit or to de light," Ars Poetica. 1. 333; see Edward H. filakeney, ed., Horace on the Art of Poetry (London, 1928), pp. 34, 54. See also SAEEa, PP. 5-7. Horizontal rule between motto and ornament] DFo^ and EN^ lack the horizontal rule between the motto and the ornament. 9. M. P.1 Believed to be Marmaduke Parsons, printer in London 1607-40. He probably printed "most of the works bearing the initials M. P. between 1625 and 1639. 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, 1907). Shephard sold no other works of Heywood's, although Shakerly Marmion's Cupid 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. 1637"— 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 155 Drdmmatis *Perfon*t Young Chartley, A wild- hn3edGemlemm. loyfter,* ew, Sencer, 4 em itted Gen. tltmsm. Haringficld, 4 Givh&Gub tltguw* Luce, 4 Ctld-Smithes Dmgbter. V y * '' . Luce's Father, 4 M d - Jofcph, the GtUUlmishs Apprtntice, Old Matter Chartley. Ttwtg Chartleyes mm, old Charleycs ms*. Sir Harry 9A K»lghtt whi 30 it 49piece i f sS chiller. Gradana, Sir Harryes . Dsf&hter* Taber , Sir Harry es m a m . Sir Boniface, s* ietwrsmt Pedsnt, tr Schtifmiflir* th e WiTewoman tfH tg f- " dd tfih f hesrex the tmme ifth eu xa m m i,. A Countryman, Clpent te 10 r i i Wife woman. A Kitchift-mayd, endtwd Citizens Wives, thse ctme t$ the)ffi£c woman firemmfeff. o ' V. V ' I THE ' \ » ) * \ 'Giltspur Street (Sugden). 1 |ll-12. Serieants-Inne1 "A building in London for the ilodging of the Serjeants-at-Law and the Judges, located on I the east side of Chancery Lane just north of Fleet Street" ! (Sugden). i 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] His first name is Gyles (11. 2023, 2026, 2031). 35. Sir Boniface] Sir Boniface Absee (1. 843) is his full 157 name. A pun seems intended upon his pedantry, since "absee" is an obsolete form of "ABC” (2££). 1 i 42. A Kitchin-mayd] She is also called a "Chamber-mayd" (1. 441), and again a "Kitchin-Mayd" (1. 488). On 1. 502, l her name is given as "Sisly" (Cicely?). 142-43. two Citizens Wives] On 11. 439-440 Heywood speaks i of "foure Women like Citizens wives." He appears to be nodding. i |48. Actus primus, Scena prima.] Wilfred T. Jewkes, Act i i j 1 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 bv Charles Cotton. 1674. and Lives of the Gamesters bv Theoohilus Lucas. 1714. ed. T h e W m i ^ v v o m i k O f HOGSDON. A&us primus, Sccuaprinuu iM tr, m nrmly tm * fn m p ity,fa rty mng G m lm n , M * ftr SO C km by, I | Rice o f my life: now if the DerftI hareboncq* thcfcDyceare madeot Kb. Was ever Inch a call focnc in this Age ? Gould any Gall in Eli* rope (bving my fid fc) fling fiich a call t Eye. Chart. No. 2#g/ftr« Yet. Chart. But I (ay no: I have loft an handled pound,' And I will bare my (ayine. 6 O Btyft. I bate loft an ocher bundled. He have mtnc.' Ey, yes, I flung a worfc: a worfc by oddei. Chart. I cry you mercy fir, looters may fpcakc* lie not except ‘gain ft you: but lot me fee Which o f thefe two that pocket ip oar Gafli Dares contndift me ? Stneer, Sir,not I: I fey you Have had bad calling. Haring* So fey 1. Chart. I fey this Hatt's not made o f woolfe * 7 O Which of you all dates fey die contrary > A a Sm trl 47. HOGSDON] HOGSDEN DFo^, EN^ 159 S 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. i 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 three" (J2EJ2, sb.^,4). In William Rowley's A New Wonderf a Woman Never Vexed (1624-26)— Hazlitt's Podslev (London, 1875), XII, 121-122--it refers to three. . I 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., 1955). 160 53. have] See the discussion of this form on p. 132 supra.I I j 53-56. Price . . . cast?] Mermaid prints these lines as j ; j i blank verse: "Price . . . bones, / These . . . such / A . . . gull / In . . . cast?" Chartley, however, speaks little blank verse subsequently, and the meter here is avk- j 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. i 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." T h t W ift-M M ** tf f ftg f d t* . Stwcir. It may bee *tis a Beaver. JfcrMg, Very likely fo : *tis not Wuoll , but a plane Beaver. Cb*rt. *Tis Woolli but which of you dares fay fo? I would faine pickc a quarrel I with them, to get fo neof my money agaiuc; but the (Uvea now they havegot it,aretoo w ill to part with it. I lay itisnotblaoke. Haring, So lay wee too. 9 « rl. 'Tii fallet his Cap's of W ool!, 'cisbtackc, and Woolf, and Woollsndblacke. Chan, I have nought to lay to lolera. Have I nothing fcfr roftrata Caft ? Ey finger, a Muft yoube fet tn gotdpnd rtdt a jot dffiiver in my purfc ? A Bale of fttlk Dke. Hoe; come at this King, Stm tr, Tie M. Tit time to *ive over. Chart, That's the Winners phrafe: Holim eplay, Or hee that hath uncrown’ d m e, He cake a fpoodie order with him. ; w l . Frelh.dices thislewell I will venture more, . Takq this and all. lie play irifpightof hicke. Hahtg, Sineeyou will needs; trip for ehe Dice. I fee it islanitQgoea winner from this company.^ C A rt. The Dace ate mine: ThifDiamdndT valewat twcnticmarkcs i lie venture It at a throw. Haring, 'Tisletyou. Chart. Then at all. AU'amine. Ibarr^ydu: let us workeupon die winners. .Gramcrcy Sinks s Nay,though! owe you no quarrel! ,yce you mull give mcc leave to draw. Haring, I had rather you Ihould draw yourfword^ Then draw my money thus. Chart, AgainefwectDice*nay Ibaire(wearing, Gentlemen, let's play patiently. Well,this At the Candlcfticke, lo — - ChartUy thrrwts *ttt, A#//. Now Dice at all. To tho, quoth tbo Spaniard. 5sur. 108. To tho] To thee DFo^, EN^. 162 i 93. trip for the Dice] "This means cast out the dice to l 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" (££!>, 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" (OEDf 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 supraf pp. 56-57), I doubt that the candlestick need be a functional property toward which the dice are cast in order for them to be seen more I i easily. Possibly the expression is proverbial and derives 1 I from some function similar to what 1 have conjectured, since i ■ much gaming did take place at night or in dimly-lit rooms. i : 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- j i ! i 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. Vial "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). Mote 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 W ifi’W em M H $f Hog flea. Sent, Here's precious hicke. T tjfi, Why Via. itbinketisQ iick-filver; lr got* and comea fo faft: there's iifciri this. Having. Her paflts alt with Trayct. Chart, W;thTrayes, how fay by that ? Oh ht-c‘ i old doggeat Bowles and Trayes. Sear. Lend me Come money: be my halfe one Call, He once out-brave this Cameleer with a throw. So now the Dice are mine* w ilt be my batfe ? Haring. I w ill. Sear. I hen once He play the Franck Gamcfter. Let me.: lut fee how much you both can makc^ And He call ac all, all, every CrofTe. Chart, Now blcflfc m all, what will you every Croflc? S t nr. ] will not leave my IcJfeoncCroflcto blcflc me. Bejfi. 1 let. Chart. And C o doe J. Star. Why then at all* H ow l (He fiiagt ta u Chare. Nay, fwcare nor, lees play patiently. Star, Damn'd Dice s did everGameffeer fix the like ? Bejil. Never,;never. Seat. Was ever knownc fuch Calling ^ Chart. Drttnke nor lobcr, I nt'rc fi w a man caft worfc. Star. He prove this Hat of mine an Helmet. Which of you here dares lay the contrary ? Chart, Aa fairc an Helmet as any man in Eartfe Needs to wearc. Sear. Chortle?, thy Hat ia blacke. Chart. Vpon better recolledion , ’ tit fo indeed. Seme. I lay *is made o f Wool],. Chart. True, my lofing had tooke away my Scnfcs, Both of Seeing and Feeliug: but better lucke Hath brought them to their right temper. Butcome, a pox of Dice; ’ris time to give over. Sear. All times are times for winners to give over, But not for them thatlofir. He play till midnight, But I will change my lucke. A ) Hmag. 164 no no 130 1 * 1 0 114. 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 "free from restraint" a2, lc) and another is "liberal, bounteous, generous, lavish, esp. in dealing with money" (OED, a2,2), the expression characterizes Sencer's 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. X 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 . . . wearej Mermaid prints these lines as prose, as they seem to be. 169-170. 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 7he Wife,***** tfffeg p fn . Haring. Come, come, you IKall not. Give overs to fh give ovor: doc I pray, And chufethe Fortune of Ibme other ho wer: Let’s not likedcboflit fcllowav, play oar Clothe*, Belts, Rapiers,nor ear necdfull ovmmenrs: *Tis chiIdilh,notboco*nmingGnitleiiien, Pity was atfirftordavn'd topaflethetim c; And fir, you bat AuKthcufeof Pity, To employ it ocherwift. Sneer. You mty perfwadc me— For once lie let v et loafer. Chart. Then come put on your HelmCt; let's leave this abominable Game, and find out fomebetter Excrctfir. lean* not indovc this chafing when men loofc. Sent. And thercfsnot t more tefiicvrafpifti Companion then thy fclfc when thou art a loofer, and yet thou muftbee vexing others with, Play patiently Gentlemen,and lets have nofwearing. Chart. A fignethat I can give good coqnfell better than takeits butfey,Whcrcbethcprctticftwtnches^nyhearts? Sine. Well remembrcd, this puts mce in mind o f an ap pointment I had with a Gcntlewooaan o f fomere/peft. Chart. 1 have you fir,I have you; but 1 think you will ne ver have her » 'tit gmiana the Knightt daughter in Graci ous Street. Have 1 toucht you > Sue. You have come fomewhat ncere me, but toucht me not. Mailer HaringfieU.wll you beare me company thkhct? Have you feenetheGcntlewoimn,M. t Chart. Never fir. Sneer. How have you heard of her? Chart. That thee hath,as other women have, That ihe goes for a Mayd, as others doc, dec. Seme. I can afiiire you, ihee is a proper Gentlewoman. Chart. Then it five have you, (he is like to have a proper Gentleman. Seme. You (hould tell them fo that know it not. Ad ie v v Gentlemen. Ear. Stnetr, and Haring. IS O ISO no 1 6 0 RT. Hoaaflpn 3 Hocrsden DFo3, EN2. 167 Sir Harry's house is spoken of as being near "Grace Church i by the Conduit," which is at the south end of the street j f I between Eastcheap and Lombard Street. The conduit was con- I ; I ! 1 structed in 1491 by the executors of Thorne Hill (Sugden). I ‘ 176-177. That . . . &c.] Mermaid prints these lines as | j ; prose, as X think they are. 177. &c.] 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 Sear" unpublished doctoral dissertation (University of ! J Pennsylvania), pp. 261-262, has observed this expression; 1 see FortuneJby Land and Sea (VI, 410). 189-190. 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.1 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. Tie W ife.f»$m *n ef Htgfdtx. S tjfitr, I am glad yet they gocfo lightly away. Chert* What w ill you doc M,ff<j^>rf S ttjt. Somewhat. Chart, You w ill not acquaint me with your bufinefle. N o: I am in love, my head is lull o f Proclama tions. There is a thing call'd a Virgin. Nature hath flic wed her Art in making her. Court her I cannot, but lie doeas I may. Chert. Doeyougoe,orftayfir? Stmt. Goe. Exit Stmeer, Chert. You before,lie follow. He thinkes with his blunt humour, to enter as farce as I with my taupe: No, my true Trojan, nor There is afaaefwpetmodeft rogue; her name is L etts with this Dandiprat, this pretty little Apes (ac&ii yon blunt ftUow in love; ana no marvell, for lhce hath* Browe bewitching, Eyes raviihing, and a Tongue en chanting t And indeed fhee hath no fault in the world but one, and thatia, Ifceeisboneft.: and were it not for that, fl*c were the oocly fweet Aogueih Chriltcndome. As I liv e , I love her extreamdy « and to enjoy her would give any thing: But die fbole Bands in her owne lig h t, and w ill doe nothing without Marriage: but what ihoukf I doe marrying? I can, better indure Gives, than Bauds of M atrimonii;; But in this Meditation , I am glad I have wonne rty Money againc. Nay,and Ateemaybe gladofit too: fortheGirle isbut poore, and in my pxkett I have layd up a Stocke for her, *tis put to ufe atrcadie. And if I mcete notwithaDyce-houfc, or an Ordinary, by the way, no qttcftion but I may increafeit to a gimme. AVclI, lie unto the Exchmgc tohuy her fbmeprebtieNoydtie: That done, lie vifitemy little RalalJI, and foIHcitc irilUntly. Extent. • A&US- RT. Hogsdon 1 Hogsden DFo3, EN2. 168 l 150 200 210 Troian. 2a). i '196. Dandiprat] "A small, insignificant, or contemptible fellow; a dwarf, pygmy" (£EI>, 2a). "Said of a young lad, j ! ‘ I i I little boy, urchin; rarely (quot. 1638 fThe Wise Woman 1) a j young girl" (£E£, 2b). 1196. Apes face] In this context another term of light l affection, despite the customary pejorative connotations of the word "ape." QED does not record the expression. 1 1 j 201. Rogue] "Common as a playful term of reproof or re- j I i proach, and freq. used as a term of endearment by 17th c. i dramatists" (QEI2, 3). Another word used in a similar way is "rascal" (see, for example, 1. 213). i 203. stands in her own light] A proverbial expression sig-i ! nifying that she prejudices her own chances— William G, J I i 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- i 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'" (QED. 14b). Tki Wifi-wm** $f %/Sbf. 170 Adhts primus, Sccnl fccunda. inter Luce im m femyfterefiep, *t werkf vyen * Uc*d • - Htndtgrtktr, *»A Jolcph m frem ke, Luce. Where it my Father ? U(ifk, Millrcfle, above, * And prayesyou to attend bdow a little. 220 L*c*. I do: not lovetofir thtui publikely t And yet upon the traffiqueof our Wares, Our provident Eyea and prefence muft (till wayte.' Doe you attend w e (hop, Ileplymy worke* J fee iny father iaiwt ieloiia o f me, '' That ttwamee. tothe open view o f all. . ............ Thereafonift heeknowea my thoughts arc chaft, And my care filch, as that it needes the awe O f noftri&Ovcrfocr. SntertM.'Beyfter, Bey ft. YonderaiUire.Sayc thee. 2 Jo Like, Andyoutoo,fir, y’ arcwekomj Want you ought, I pray, in which our Triuic may furnilhyou? Beylf. Yes. Letce. W ifb, flicvvthcGcntlemari. Bejft. Tia heere th iti would bqy. L*a. What doc y ’ ou mcaiiefir, fpcak,whit fit you lack ? I pray you^whereforedoeyou fixe your eyes ■ > • So firmcly in my face? wnae would youltayc ? Bejft. Thcc. L ite, Mse? • 2*tO ft. Y£s;thee. ; ■ Lice. Your pkafure is to /<^,and'(p Irakis it.! ' Pray give me leave Hr, to intend my w orte. ' Bey ft. You are fay re. Luce. You flout mce. Bey ft. You arc, go: too, you are, ■ tie vcxc hi m that Ihould lay the contrary. Luce, Well, you may fay your plcafurc. Bejtt. I 230. Save^thee] Save,thee O2, ICN 231. y'are] you are O2, DFo3, EN2, ICN. 171 212. Exchange] This is most probably the Exchange built by Sir Thomas Gresham in 1566 and located between Cornhill and j i Threeneedle Streets west of Finks Lane. Much of the Ex*- ! . ! i change was given over to small shops, many of them likely to |attract fashionable ladies. In 1609 James I opened the New | i I Exchange of Britain's Bourse located on "the site of Durham House on the south side of the Strand" (Sugden). See also :l. 1322. I 214. Exeunt.] Exit. (Mermaid). Boyster has previously I departed (1. 192)? there is no one left save Chartley. i 216. JSnfcet Luce in a Semosters shool Earlier (11. 21-24) 1 and later (11. 592-593), Luce is described as a goldsmith's | daughter, although here she is apparently the daughter of a i I I seamster, since she works in his shop. I think it probable 1 i 1 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 j 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)s "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 Tkt W i f t - w m m t f f i i g f l t i i . I q p . I lorethae; . Im u Oh Sir I • As I ftrc, I doe, t i n . Now as lam acne Maid, Itein o A tclteio aittd ith ftt derciWouc, I hold my ietfe indebted to your lave t And X am to n y there fwmaines In oboe, No power bow to requite it, Btyp, I^noeypittW noW tdoeffdM lcaiiftJ I« » . I OMKt Mtyfi. Prctbe^ifthoacinft. L m t, Indeed I cannot. Yctmltetfiinehexrt, and fee whatmayhcdoiie. I mw, In troth la ta forty you ftwaldlpcnd a tigh For my like unrequited, oratearci E y, ora word. *Tit no matter for my words* they arenoc many,’ And thofenoc veiywiicone’sncjther. iB tt. TetlbeftechyouQrtndnomoreinvaoc.' 1 fcomeyounocj Difikincftaa fine Aominor, AsiretbetwoPoles diftant: thereforeSir, Becaufe I would not hold you in fid}ftnc€^ Burrell youyrhatatfirfttotxuftuhro, * Thui in a word,Iinuft not fincieyou. Muft noc> tie * , I cannot, nor I may not.' Bstff. lam gone * Thou haft given me, Lurr, a Bone to gnaw upoiC Adfj Lmn, Alas, that Beauty faouldbefoi^btof|nore Then can in joy i t : might 1 have my w ith, I would iecme&ire hut onely-inhii eye, That fliould poffefte mec in a Nupdall tye. Snttrytmg M tjh r Chcttlcy»a id 6 tm tt, Cbtrth Morrow lo w ; In exchange ofchia kidei fee B what 173 goldsmith shop. Another similar scene, but less decorous, l |is found in The Fair Maid of the Exchange (II, 41-43) where i i i jPhillis, the fair maid, is visited by gallants in her linen ; shop. I : I , '243. intend] "Attend to" (Mermaid). i i i CW. Bovst. I] In several copies (0^“2, MB, CtE, DFo3, MH, ;EN2, ICN, LVD, UJ, PU, TxU, CtY) the "I" has slipped below jthe line, but it is not an indubitable press variant. i 265-266. 'Tis . . . neither.] Mermaid prints these lines j j 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 i the time of Edward VI, it had been increased to 10s. (QED) . , See also 11. 1522, 1806. The W ifl-tem * * * f Jfjgfa* v. what I hare brought thee from the Exchange* Lace. What mcane you Sir, by this ? C h a t. Ciueffc that by die circumttancc, here’* a Ring I wcare't for my fake; twenty Angela , pocket them you fbole; come, come, I know thou art a Maid, lay nay,and take them. £ « n . Sweet Matter C k r/^ .d o e not fatten on me, More then watheafe I can (hake offi your Gift I reverence, yet refufe j and I pray tell mcc, W hy doe you make fo many Errand* hither ? Sena me fo many Letcera ? fatten on me So many favours ? whatf• your meaning in’t t C het, Harke in thine earc,lle tell thx^ nay heare meour, ia'tpofliblefofbftabody fhouli have fo hard a foule? Nay now I know my penance, yon will beangiy^nd tthoole me for tempting your modetty t afiggefortma modefty,irhin- dera many a good man from many a good tume,& that** all thegood it doth. Ifthou but knewft,£aw#,how I lord thee, thou wouldft before more tra&abk. Nay, I barre chiding when you fpeake, He flop thy lips if thoadoft but offer an angry w ord,by thia hand lie do'r, and with thiahand too. Gocro now, what fay you ? Lace, Sir, if you love m e* as you fay you doe,. Shew me the fhiitathereoft Chert. TheftockeXcan, thou maift fee die fruitxhere after. Lac*. Can I bcleeveyou love mcc, when you fccke The (hip wrack o f mine Honour ? Chart. Honour 1 there** another word to flap in a mam mouth: Honourl what fhouldft thou and I (land upon our Houoor, that were neither of ut y et, Right W orlhip- full? Lace. I am foiry Sir, I have tent fo large an care To fuch a bad diftourC*; and I protctt After thia houre, nevertodoe the like. I mutt confcfle, of all the Gentlemen That e r a courted mcc, you lave poflctt The 174 290 300 310 320 175 289-290. thou . . . them] A proverbial expression (Tilley, ^134): "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- i : truth. Tilley, P344, 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. lack-an-Apes] "A pert forward child" fOED). 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 BawdyT rev. ed. (New York, 1955), pp. 128, 187--that require "mending." 176 The W ifc-wHM * $ f Hog f i t * . The bed part in tny thought!: but thia courfe language Exiles you quite from thence. Sir,had you come, In dead of changing thia mine honed name Into a Strumpeta, to have honoured me With the chalte Title ofa ModeftWifr, I had rc&tv*d an care for ally our fiiitsi But fince I ibe your mdencfle finds no limit, I leave you to your Ind. Chart, You (hall not, Zw*. Then keepe your tongue within more moderate bounds. Chart, I w ill, as I am vcrtuous, I w ill: I told you, the fecond word wooldbe Marriage. It make* a man forfeit his Freedome, and makes him walke ever after with a Chaine at his beeles, ora Tack-en-Apcshailing at has el bow : Marriage is likeD eietm his labyrinth, and being, once in , therefc no finding the way out. W ell, I love thia little property mod intollcrably, and I mud fist her on the L ad»though it cod me all the fihooeain my Ihop. W ell Zeca.tboulccftmy domacke is come downe | thou haft my heart already, there's my hand. Lm tt. But in what way ? Ch0 r » . Nay, I know net the way ycr, but I hope to find it hcrcaftar»by your good dircAioa. L*ct. I raeane, in what manner? in what way ? . chart. In the way o f marriage, in the way o f hencfiy, in the way that was never goueyet * I hopetnou art a Maid, la w . Lttct. Yea Sir, and I accent it j in exchange O f thia your hand, you d u ll receive my heart. C hartbj. A bargaine, and theses earned on dig lips; L o tt. lie call my Father, Sir, to wknefieit a See, here hee cornea* 351. your hand] yonr hand CSmH^. 330 3f O 350 177 Hence he is willing to give up his other women for Luce. ! 1341. my stomacke is come downe] One meaning of "stomach" | I i ; is "temper, disposition; state of feeling with regard to a j I person" (QED. 7), often "anger, irritation . . . vexation, pique" (8c). "Come down" can mean "to become reduced in ■ i size or amount" (QEE, £sios., 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." Enqlische j 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. 1573, 2412-13) and in many of his other plays: II Ed ward IV (I, 151), If You Know Not Me. You Know Nobody (I, i 1 237, 330), The Fair. Maid of the Exchange (II, 24, 50), £ Woman Killed with Kindness (II, 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 Roval King and the Ioval 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 178 Tht o f J g n u r htr Matktr, apfmm ftw x . Chart, Father, ia y yoii^yow hagchappaMdofan onto- ward Son-in-Lawt hcfQlam,howdoeyou.lUcc nee ? Fathtr, Sir»I w u d n jioa w m iw h c , And over-heard both fuouaaaod ciecandhncc. Chart, Then I perceive yon are anoIdEvcCdroppsrt Bat whatdocyottthinkoofir, Father? Fatkrr, I cntcrtidr* the motion widi ali love, Andlrcjoyccmy Daughter i« pr c ftr r ’ d, A pdw M t»(im M iiiU | Ihcafdthecoaaadl, A*d will confirm# atghdlyt but p r a y Sir, When day bc> Cl#r*i Matty,owe f c > awaew-bythatweoan fee ; nay, .wort I r ffo mow Ik # d » o r d er fettfaf. I t t k Stay,b ora momtfi. ChmK A KMtthl thdttoanftnoehtco me coot. Why Aw*, iCthonhaoft hungry, c a n f li thou flay a .n a on cth froau aw t^ N V iifl fejnpdeecibefeae me*l toveaofiJlto* what I hare a ftomeckc. Here, buy d b c o anew Smotltci Irfi have# new B o d too, andloofca kbadm gt theratea bo»o€ll i—aanrijcw fe, by thcnmy. Harura,methinkcs JthatbbcouaT .■Mwne tiW M a m a tfo t D ata* PhaoM. Ladlapi Candlcfticka, fcc. thevery nameof Wedlock hath brought me too N iglvoo ‘ ' ‘ i. T h a N T a already,oodJbaiB.arawne caeiU on the Hidden. gK K anvw yfar D ata* PhooM. Ladlaai Candl ~ tt&QnUfinfllltamfttdowno inmolrnrcmorioi Fatktr. But whom Hull wee invite unto the Wod* ding? . - M tfm x4 . Aacet aymmCttamyJStmtt m m mmda d» hahit *faP *gtt aad rvtrhtarrt ththr Aifcmrft. Chart, E y,thereby lungs aTaJe, wo w ill have no more at our marriage, but myicJfe,tolay,I takethceikwvj thou to fey, t later take thee 'Xghia . • the Vicar to put urtogcther, auAyou Father, to play tbo<£lcrkc, and cry Am**, “ • ' • * * “ Father, 360 I 370 360 179 note to 1. 216. i ;361. Then . . . Eves-dropper] An aside (Mermaid). i 369. take order] "To take measures or steps, to make ar- i rangements" (flEfi, ££ds£., 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 Westward 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" (QED. 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 I i definitely as I should like. It seems unlikely that the j j i printer should have made it, since Second Luce's name ap- j I I pears frequently in the speech tags. But it seems equally ; I improbable that Heywood should have forgotten to include thej name of one of his chief characters, if he provided the t list. To find two characters with the same name is of course not uncommon in Elizabethan and Jacobean drama. One thinks ; i i of the two Dromios and Antipholuses in Shakespeare's The ! Comedy of Errors. In the First Folio, however, they are differentiated as "S. Ant.1 1 and "E. Ant." and "S. Prom.1 1 and "E. Prom." Far more common are characters who bear the same| j 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. Luce1 1 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- j ings that there is with Gratiana's name. Chartley marries ! i Second Luce and becomes enlightened about proper behavior ! i jby the end of the play, but this could have been accom- t plished with but one Luce. j i ! To be sure, there is no reason why they must have j ' 'different names in the play as it is acted (and Heywood wrote it primarily to be acted, with probably little thought i of printing it). No confusion results. Second Luce is i i i disguised as the servant-boy Jack until the last score of : i lines are spoken, and when she is addressed for the only 1 i time as Luce (1. 2422) there is no question about whom Chartley means. Her name spoken then may possibly surprise i j the heedless in the audience; however, twice before we have < i 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 182 T in H rifi-w tm m tf U tg fiim . J*tlnr. Your reaifixifcrthit. Ckm tl. I would not fora world it fhotrfd bcrknowne to my F riW n % or c o m io m y F a h m o ia f t may' bee eeanc thonfind pounda ouc o f my way for cho prr- fcnt: therefore this is my concern: , Ear us bee marrycd privately, and Lma dial) live like a > Mayde ftiM 1 , and Ware the Name. Tta-noi l ing laur.* ir k * common thing in thia agetogoefbr » Msyd^andbcrnonc. M e * frequent rhehoufeftcrcuyx fcarrmaGitfo, tkougKlicvdf abroad a daycs, lie bee with thee to bring a nighta, m y little Whi ting Mopp. L m t, But fo I may incutrca puhlikcfcandalf, By your fo oft frequenting'to m y Chamber. Ck*rt,r Scandall ? what fcandall I Why to (tow die mouth o f alt frandall, after fome few dayes doe Tap- peare in my H k fcn ri& g flmrriWmanandheiieft bookkeeper, lndthan what b u ta jtto f yaw faaudall-^-CottBrfiudfra Mr. Tkar, and w h# we doc,lcta doe foddcoly. t.Lm*, Ccdflcotfafort fern y . Lari* I f you pjrpofe to be fb privatefy mtrried9 I know one excel la ir at fucfi anexplpyt: ate you nor acquainted w ith th elf^iram a* rfH o g 0 o n I * Clmrttn. Q the W itch, the Beldame, the Hagge o f Hocflotr* . ,f • L o r. T ftefrae, hut Ih o ld h ertb h teo f nofitcftcofib dition. I-w ill anone make a fttppr thither ( and pun- ftually acquaint her w ith alf oof proceeding* flbee k never, without a Sir Jtlm at her elbow, read y for fbch a ftntagem. • Chart, Well ,Jbccfc do then. E xnm t. a . ta c t, Heigh hoe: have I dtf^uiaM my felfc, and ‘ ftolne out of the Counrrejr tfaua farrc, and can light o f no better newer toentettainemeef Oh-thia wild-needed wicked C ktrtltj , whome nothing will tame. To thia Calient was I poorc Gentle-woman betroathed, and'the Marriage day appoyntfd: But hee outof a fimcsffrk and ft 3 giddy 405. andthen what] anden t| \ what DDC. 330 HOO HIO H20 183 identity, clandestine marriages, and disguise with the com- j | i bent, "here were even a Plot to make a play on" (11. 1040- | i j 4i). i ! i i ; 387. Robin 1 See the note to 1. 14. ; i 388. play . . . Amen 1 Chartley is making a jocular refer- j ence to "the lay officer of a parish shurch, who has charge i 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." (QED. Clerk). i 390. 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 I (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 (I, 312), I The Fair Maid of the West (II, 327, 329) and . I I . (II, 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 11 (III, 358), A Challenge for Beauty (V, 9, 33), Fortune bv Land and Sea (VI, 376), and Pleasant Dialogues and Dramas (VI, 264). 184 , I 398. lie . . . nights] "In the phrase— of which Dyce says j ! that no satisfactory explanation has been given— 'to bring* j has apparently the force of 'wholly' or 'thoroughly'" (Mer- 1 i I i maid). Laird H. Barber, Jr., "An Edition of The Late Lanca- j shire Witches by Thomas Heywood and Richard Brome," unpub- i jlished doctoral dissertation (University of Michigan, 1962), p. 189, notes the bawdy meanings of 'to bring' in that play, i 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- JfcQU, 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" (QED. Mo p , sb.^). 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" (QED). 185 The Wife.wtmxtt c f Hegfdsn. giddy humour, before the time prefixed, ports up ro Lon don. After him come I thus habited , and you fee my welcome, to bee an caro-wicncflc of his fecond Conrra- fting. Modeftie would not (offer meetodifcovcr my fclfe, othcrwife, I fhould have gone neere to have marred the match. I heard them talke o f Heetdm , and a Wif+mt- mm , where thefc Aymes fltall bee brought to Adtion. lie fee if I can infinuate my iclfe into her .fervice: dutfa my next projeft: and now good luck o f myfide. E xit. Expfieit jiB m primm. Adtus fecundus, Scena prima. Enter the Wife-woman mwi her Cljem et * Ceum- trtj»m*» with *» Vrimnil, fettre w em e e n likf.. C i t t K M M S wives, Taber s Servinpmm* emd a Cheumher*ms)i. trifew tm m . Fie,he, what a toyle, and a tnoyleitis, For a woman to bee wifcr then all her neighbours ? I pray good people, prcfle not too faft*nponmcj Though I have tw o caret, I can heart but one at once.' You with the Vrioe. Enter *. Luce, euUftmis nftds, Cetmtrymnm. Here forfooth Miftrcife. Wiftw,, And who dirtiird this water ? * Ceeentr. My wives Limbeck,* if iepfcafeyou. tvifew. Ana where doth the rainc noldhermoft? Ceuwtr, Marry at her heart forfooth. M /ew, £ y , at her heart, fhe: hath a griping at her heart, Cemntr, You have hit it right. m few . *30 HHO I S O 186 |439-440. foure Women like Citizens wives 1 See the note to j ill. 42-43. J I 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 Notinoham . . . Westminster 1 The wise j ' women and the one wise man mentioned here have been most difficult, and in some cases impossible, to trace. Probably the reason for this difficulty is that they were not deemed sufficiently evil to be brought to trial, and thus their j names have escaped the official records. For an account of witches brought to trial, see C. L1Estrange Ewen, Witch Hunting and Witch Trials (London, 1929), Witchcraft and Pemgnianism (London, 1933), and Witchcraft in the Norfolk Circuit (Paignton, 1939). 465-466. Mother Notincham1 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" (QED. Cast. 40). 187 Tht Wife-vHMA* •fH t& pto. W ifntr, Nay, I can fee fo much in the Vrinc. i. Lac*. lull fo much it is cold her. H'i/fWf, Sbee hath no paine in her head, hath flioc? CtHHtrjm. No indeed, I never heard her couiplaine of her head. trifio r, 1 told you fo, her paine lyea all at her heart: Alai good heart 1 but how feeJea (hee her ftomacke? C ttntrjm , o queafie, and (kke at ftomacke. Iwifiwt, E y, I warrant you, I thinkc I can fee asfcrre into a Mill-ttonc at another s yon have heard of Mother N»ti*th*m, who for her tim e, was prettily well akU I*d in catting of Waters: and after her, Mother B m ahri arid then there is one H ttfitld in Peppcr-AUey , hee doth prettie well for a thing that’* loft. Tbcrea another in C«Mked«ar, that's skill'd in the Planeta* Mother Start** in Gmldnt-Um, is for Fordpeaking a Mother V kitips o f the for the woknefle o f the backet and then there** a very reverent Matron on CUrkrnwtt- Grit*, good at many things t Miftri* «JHan on the ia for refting a Figure: and ene f what doe you call her) in W t fm m j t m r, that pradifeth the Booke and the Key, and the Shre and the Sheares: and all doc well, according . i - • et^ewor| l > < ' a. £m t /. *T i« ftrange the Ignorant ihould What can thia Witch, thia Wizaid,or old Trot, Doe by Inchantment, or by Magicke fpell ? Such aa profefle that Art Inoukfbedeepe Schollera. What reading can thia Ample Woman have * T is palpable groflc foolery. fV iftw t, Now friend, your buiincfle? T ahr. I haveftolne out of my Matters houle*, forfooth, with the Kitchin>Mayd, and I am come to know o f you, whether it be my fortune to have her, or no. Jtf/hrs. And wliat's your fuic, Lady ? Kitchi*. Forlooth, I come to know whether I be a Maid or no. ¥70 vou mv friend, you /hall take ( Sk/e mbt&trt.) 472. weaknesse of ] weaknesse on CSmH^ 473. Matron on] Matron of CSmH^ 487. Taber 1 CSmH^. 467. Mother Bombye] Perhaps an allusion to the eponymous heroine of John Lyly's play. Reginald Scot, The Diseoverie of Witchcraftr ed. Montague Summers ([London], 1930), p. 97, speaks of a "mother Buncie.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). 470. Cole harbour] The site in Upper Thames Street, Lon don, of a number of small tenements (Sugden). 470. skill’d in the Planets] Well able "to calculate a horoscope, practise astrology" (QED. PlanetT lc). 470. Mother Sturton 1 Again, I have been unable to trace this person. 471. Goulden-lanel "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" (QED). 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 189 jtrouble for cozening a widow in a search for money supposed i 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 i faire,' which the widow provided." ;472. the Banke-sidel "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 Hevwood 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. 475. recting a Figure] Erecting "a scheme or table showingj ; I t the disposition of the heavens at a given time," a horoscope i (QSLL, FigureT 14). "The practice of astrology" (Mermaid). ! i : i See also "cast a Figure" (1. 528). i j 476. Westminster 1 A district in the neighborhood of West- ] i i minster Abbey, its boundaries extending "from Temple Bar to i ■ t 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! I 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 I I process thus: ! i 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 7kt Wiji-wtm** tffftg filtx, W ifiwt, W hy,artdiouindoubt of that? Kitebim, it may bee 1 hive more rcafon then ell the world knowes. T bhr, th y , ifthou confft to know wherhertbou beeft a Maid or no, lhad bed take to know whether 1 be with child orno. W iftw, Withdraw into die Parlour there, lie bat mike with thif other Gentlewoman, and Dercfofve you fee- Tenrty. ‘ . T tfrr, Come S iJlj, if Ihee cannot rcfolre thecal cag and in the O b Of a Mayden-hcad doe more then Haee, I wamntthee. * X xtxm , TktW tm . FcrfoothlatnboTd,uthey lay* W iftw. Yon are wdcoznc Gentlewoman.— Wtm. I would nothnreit knownctonay N e^hbooa; that I come to a Wife-woman/for any thing, by a y truly. frfftw tm , For flioutd your Ha&and come and find yon here. Wtm. My ffcuband woman, I am a Widdow. w ifm tm . Where are my brainea ? *tiatrue( you arc a Widdow i and you dwell, let me ice, I can never remember that place. tfM». In K tm flrttt. w iftw tm , K tntjhrttt,K tm ftr*it /.and I can tell you wher* fore you come. Wtm, Why, and lay true? W iftwtm. You are a W agge,yon area Waggc* w h y * what doe you thinke now I would lay ? Wtm, JPerhaps, to know how many Huabandalflaould have. W iftwtm, And if I Ihould (ay fo, (hoold I lay amide ? Wtm, I thinke you are a Witch. Wiftwtm. In , in , He but rcade a little o f Ftt/tm i*, and £rrm F m tr; and w hai 1 have call a Figure, lie come to yon prcfciuly. E xit Wtm, No w 900 910 910 523. I should] 1 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 j will turne round. ! 481. Wizard] Application of the term to a woman is rela- ; I tively uncommon (OED). See also 1. 1820. 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. | 502. Sisly1 See the note to 1. 42. 517. Kent street] An extremely disreputable street running “from St. George's Church in the Borough, Southwark, to the Old Kent Road" (Sugden). j 521. Wagge] “Any one ludicrously mischievous, a habitual joker" (2EH2) . 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. Ptolomiel 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 193 The frifc-m em a* efH egfiU *'. Now W aggr, what wouldft thou have f s. Lace. I f this were a Wifewoman, Ihee could cell that without asking. Now methinkea I Ihoohi come to know whether I wcrcaBoy oraG irlc; forfooch I lacke a fcrvice. , Wifew*. By my Tidelitie, and I wane a good tntftv Lad. s. Luce. Now could I figh, and fay , Alas, dm u fane Bawd trade-falne, and out of her wicked experience, is come to bee reputed wife. Ilefcrvehcr,bee*tbuttopry in to the my fterie of her Science. Wipne*. A proper (tripling, and a wife, I warrant him; here's a penic for thee, He hire thee for a yea re by the Statute of w iache/ler: prove true and honeft, and thou /halt want nothing that a good Boy— s. Lae*. Here Wifc-woman you. are outagaiuc, I Hull want what a good Boy fhould rave, whilft Iliv e : Well, here I (hall live both unknowne, and my Sex unfuipcAcd. But whom have wee here? Cater C tfaflrr Haring field, and Cbartlcy hatfe drunks* Chart, Come W ariatfetd, now wee have beene drink ing of Mother Red-caps A le, let us now goe make fane fport with the Wifc-woman. Horinri Wee (hall bethought very wifemen,of all f a b as fhall lee us goe in to the W ifrwoirana. C htrtlej. See, heere Ihee is; how now Witch? How now Hagge? How now Beldame? You ate the WKe- woroan, are you ? and have w it to keepe your fclfe warms enough, I warrant you. W iftw , Out thou knave, a . Luce. And willtbefe wild oates never be fowne ? Chart. You InchantrclTc , SorccreHs , ShceKlevill; you M .vdam Hecate i lady Prefirfine , you are too old , you Hagge', now, for con/Uring up Spirits your felfc; but you keepe prcttie yong Witches under your roofc, that can doe that, C Wifew\ 530 S t 0 S50 5 * 6 0 194 | Copernicus. Hence Ptolemy is mentioned for his understand- I ! i i jing of the heavens and of their influence upon man, although' 1 i clearly Heywood is satirizing astrological charlatans. 528. Erra Pater 1 "The suppositious author of an almanack l . published about 1535 as The Pronostvcacion for ever of Erra | f Paters 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"— i 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." ( I 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 i Winchester, appearing in Henslowe's Diarv. ed. W. W. Greg (London, 1904), I, 204i Mrdo 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 publicke 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 j Receuinge of thes ij^ fortie powndes. ... I i The statute to which Heywood and Henslowe refer is not the ! j ' Statute of Winchester, which was drafted in 1285 during the : i ' t reign of Edward I and provides mainly for keeping the peace,; i I for which see The Statutes of the Realm (London, 1819? repr. il963), 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, j 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" (J2EJ2#: 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 j j Bishop of Winchester. 1 _ i 544-546. Here . . . unsuspected.] An aside. i ; 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 t Works 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 1 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., Harper1s 197 The \Tifc-w tm aa » f Hcgfdca] W iftw , J ,or my Family conjure up any Spirits I Idcfie dice, thou yonc Hare*brain\l— Hiring, Forbeare him till he hive hisSenfcs about him, and I (hill then hold thee for a Wifc-woman indeed : other wife, I (hall doubt thou haft thy name for nothing. Come friend, away, ifthou lovcft me. Chart. Away you old Dromedary, He come one of thefc nights * end make a racket amongft your Shcc- Catterwaullers. Harimg, Iprethcelet'sbecivill. Chart, Out of my fight, thou Shee-maftiffc. E xtant, a. Lact. Patience,fwcct Miftris. Wiftw*. Now blefte mee, hoc hath put mee into (itch a fearers makes all my bones todance^uid rattle in my skin: lie be reveng'd on that fwaggcring companion. t.L a c *, Miftris, J wi(h you would, beefs a meerc Mad cap, and all his delight is in mif-ufing filch reverent Ma tron* as your fclfe. Wtftw*. Well, what's thy name, Boy ? a. Lact. f am crenlittlc better then a Tufn-broach, for myna me is lacks* Wiftw*, Honcft laakf. if thoucouldft but devifehowl might cry quittance with this cutting D icks, I will goe neare to adopt thee my Sonneand heirc. a. Lact. Miftris, there is a way, and this itii; To morrow meriting doth this Gentleman v Intend to many With my Miftris Lmet, A Gold-fmiths Daughter; doe you know the Maid? Wiftw*. My Daughter, arid a prcttie (mug facc’t Girle.. 1 had a note but late from her, and (hee meanes To be with me in rh'cvcning; for I have befpokc Sir Btmfact to marry her in khe morning. a. Lac*, Doobut prevent this Gallant of his Wife, And then your wrongs (hall be reveng'd at full. Ilc'Joc'r, as I am Matron; Ey,and (hew him a pew tricke for bis learning. Eater 592. with my] with one O2”3, MB, L1"4, E, DFO2, MH, CSmH1, NjSH, NNPM, EN1, ICN, SR, LU, PU, OW. 570 580 550 COO 198 Dictionary of Classical Literature and Antiquities (New York, 1923). i , ! 563. conjuring up Spirits] Causing a penile erection. See| | ! Eric Partridge, Shakespeare's Bawdv. rev. ed. (New York, t 1955), p. 139. j 572. Dromadary] "A stupid, bungling fellow" (QEfi), but no i \ more precise signification is given. Eric Partridge, Dic tionary of the Underworld (London, 1961), gives "rogue, especially a thief," and the Wise WQman is notably disrepu- i • 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 Dicke1 Perhaps an allusion to Heywood1s play of the same name (1602). Cutting Dick Evans was a notorious highwayman who flourished in 1600— Clark, Biography, pp. 28- 29. "A bully of the times cutting often has the sense of swaggering" (Mermaid). 199 Tht $f Ntgfdm. €mttr M tfitr Boyftcr. * v fl- Morrow. W iftw . Y'arc welcome Sir.' Btyfk. Art wife? 2 . L*ct, Hce Ihould be wife, bectule bee fpcakes few word*. W iftw . I am as I am, and there’s an end. Cai.ft con/urc ? tytftw t. Oh that’ s a foule word 1 but lean tell you your Fortune,a* they lay ; I have fomc little skill In Palmiftry, but never had todoe with thedcviH. Btyft. And had thedevill never any thing to doe with thee? thou look'ft 'ftmewhat like his damme. Lobkeo* mee caiiltcU what I ayle? W iftw . Can you tell your fcWc? I ihouldguefte,you be mad, or nor well in your wits. E tji. Th*art wife, lam fi>; men being in love, are mad. And I being ri love, am fo. W iftw . Nay, if 1 foe your comylcxionotKe, i thinke I . can R ucfle as neate as another. B n f. Oi»e Miftris Lmtt Hove, knowftthou her, Gran- namr W iftw . A* well as the Beggar knowcs bis Dilfa. Why Ihee is one of my Daughters. E tyfi. Makcner m y wife, Uegive thee forty pieces. a . Lact. Take them Miftris, tone reveng’ d on Ckmrtltj. w iftw . A bargain, ftrike me lack, ceale all your ibrrow, Faire Lmet lhall be your Bride; betimes ro morrow. B tjf. ThVrta good Gnnnami*nd,bu; that thy teeth ftand like iKcfgc-ftakcs in thy head, Tde kiflc thee. E xit. W iftw . Fray will you in; come hither Atrfo lhavc A new tricke come into my head, wilt thou AITift mcein’t? a. Lmet. If ir conccrnc the crofting o f the marriage with Miftrii Lmet, He do’t what c*ie it be. W iftwt. Thou (halt be tyred like a woman ; can you make a curtcfie,rakc fmall ftrides,(imper,and fee me modefll uts thinkcs thou haft a womans voyce already, C a a.Istfr.* 610 6 20 630 628. 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". j I 594-597. My . . . morning.] Mermaid prints these lines as j i | prose, as they seem to be. | i 594. smug] "Smooth, sleek" (OED). £05-606. Hee . . . words.] Proverbial (Tilley, W799): i i "Few words show men wise." i 612-613. devill . . . damme] Either a proverbial expres- 1 sion (Tilley, D225): "The devil and his dam"; or an allu- I sion to Haughton's The Devil and His Dame (1600). 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." t 628. Bride; betimes] "Bride* betimes" is the corrected state. 628. betimes] "At an early hour, early in the morning" (£££). 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 Tht Wife~wnmm$ffftgfib*. t . Lute. Doubt not of me,He aft them naturally.' trifevi. I have conceited » to have Em* married to this bhmt Genrleman ; ihee miftaking him for Ctmrtln t and ChmtUj Ihall marry thee, being a Boy , and take thee for Lm c 9. Wilt not be excellent? a. Lmet, Oh fuper, fuper* excellent I trifew t. Play but thy part, aa lie aft mine, lie fit him with a Wife, I warrant hua. a. Im u And a Wife He warrant him* £x* m *$. Enter Old Sir Harry, stulkis Taber. Sir Her. Ha, then thou faweft them whiijiering with my Daughter. T *k. 1 law them, if it Bull plcafe yon, not whifper,bur— • Sir Her. How then, thou knave? TV afor. Many Sir Knight, 1 faw them in fad talke; but ro fay they wete direftly whifpering, I am not able. S ir tim . Why T n itr, that fad talke was whifpering. T d h r. Nay, they did not greatly whifper, For 1 heard what was (kid, and what waa laid, I havethe wit to keepe to my fclfe. S tr Hmr. What faid theunthrift,T4*#r, tell me knave ? |FelI me, good knave, What did the unthrift fay ? T tlrtr, I am loath to be call'd in quHlion about men and womens matters, butasfoone as ever he law your Daugh ter, 1 hcaidwhatwasfpoke. . Sir Her. Here firra, take thy Quarters wages afbrc-hand, and tell me all their words, and wnat their greeting was at their f c r f t encounter j hold thine hand* T*ktr, Thankes, Noble Sir, and now lie tell you. Your - daughter being walking to take rheaircof the fields, and 1 before her; whom fiiould wee meet juft in tbenicke ? Sir Her, Iuft inthenicke,man? Tdkrr, In the high-way 1 meant, Sir. SirH*r, Ha, and what conference pad betwixt them, T * M T titr , As well as my Pipe can utter, yoa (hall know Sir. This 201 670 650 660 670 202 speeches. 653. sad] "Serious" (£££, 4d). ! | (559-660. What . . . say?] Pearson and Mermaid print these ! I l I I ! lines as blank verse. Although Sir Harry is a low-comic ! ! figure, he often is given speeches in blank verse. j 664-666. Here . . . hand. ] Mermaid prints these lines as j blank verse: "Here . . . afore-hand, / And . . . greeting / Was . . . hand." I think, however, they are prose. i ! ,670. nicke] "The female pudend"— Eric Partridge, A Dic- | j tionarv of Slang and Unconventional English (London, 1937). 674. my Pipe] My voice, with a pun on "pipe" as a musical instrument, and having relevance to Taber's name, which j signifies a kind of small drum. See also 11. 767-768. . i 675. full butt] OED does not list this term. Perhaps it ! is similar to "full bob," which has as one meaning "sudden- 1 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 Tie tf H t g f i U m . This Gentleman meeting with my yong Miftris full butt; imagine you were foe, and 1 yong M atbim nrgiow there you come, and here 1 meet you; he comct in this nunncr^nd put off his hat in this fifoion. Sir H r , I, but what laid bee? T rier, Be with you, faire Gentlewoman; and to goes S uite away, and fcarfc C o much as once look'c Iwckc: and this were language to offer to a yong Ladie, judge you. Str H r , But fpake hee nothing elfe ? T rier. Nothing as I am true. Sir H r , Why man, all this was nothing. T rier, Yes Sir, it was as much as my Quarters wages afore-hand. Bmter JM W Jbr Sencer, M sfter Haringfield, n d Gratiana. Crat. Here an two Gentlemen with great defur, Crave conference with my Father: here he is, Now Gallants, you may freely fpcakcyour minds. Stttc, Save you Sir, my name is S t«wr • lam a Nerti/mp* ttn.jbirt Gentleman, borne to a thoufand pound Land by the ycare: I love your Daughter, and I am come to crave your good-will. Sir H r; Have you my Daughters, that you covet mine? Seme, No Sir, but I hope in time I fiiall nave. Sir H r . So hope not I. Sir, Sir, my Daughters yong, and you a Gentleman unknowne, S e m c e r I ha, Semcerl O Sir, your name I now remember well, Vis rank’c ’mo.igftui- tl iritis, dicers, fwaggcrcrs, and drunkards: were not you brought before me, tome moncth fince, for beating of the Watch,by th: fame token,J fern you to the Cemmtrf Sem e, 1 confcffe my felfe to have beene in that adHon , but note tlie caufe, Sir: you could not have pleafur’ d mee to much, in giving mee a piece of gold, as at tlis fame time to helpe me to tliat C enter, Sir H r. Why Sir,\vliat caufe had you to beat the Watch, and raile a midnight tumult in the ftreets ? C 3 Sem e. 480 700 710 204 699-704. So . . . Counter? 1 Mermaid prints these lines as i blank verse: "So . . . young, / And . . . Sencer? / Oh ■ i | . . . well; / 'Tis . . . drunkards: / Were . . . since, / i j For . . . token, / I . . . Counter." The contractions of i j"rank't 'mongst" suggest the desire for metrical regularity,, I i I but they may also be the compositor's means of justifying I the line. 704. Counter ] In 1604 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 in i Bread 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 Wifc-wemd* i f Higfden, Stnc, N ay, but hcare mee, fweet Sir Harry j Being fomeWhac late at Supper at the c&ftrsr, the doorea were (hut at my Lodging, I knock'r at three or foure placet m ore, all were a-bed, and fall: Innet, Tavcmes, none would give me entertainment. Now, would you have had medifpair'd, and laync in theftreets ? No, I bethought me o f atncke-worthtwo of that, andpretemly devis'd, ha ving at that time a charge of money about me, to be lodg’d, and fafcly too. Sir Har, As how , I pray you ? Sere. Marry thus > I had knockt my heelet againft the ground a good while, knew not whereto have a Bed for love nor money. Now what did I ? but (pying the Watch, > hit the Confbble a good (owle on the Bare, who provided . mee o f a lodging prelcnrlyt and the next day, being brought before your W orlhip, I wat then lent thither backeagaine, where 1 lay three or foure dayes without controule. SirH nr, Q ,y’ are a Gallant 1 it that Gentleman A Suitor too? H*ri*g* 1 am a Suitor in my friends bthdfc, No othcrw ifj: 1 can allure you, Sir, He is a Gentleman difcendcd w ell, Deriv’d from a good houfr, well quaUify'd, And well potfjft; but chat which raoft (hould move you, Hoc loves your Daughter. G rit. But were I to clvufe, Which of tittle tw o fhould pleafe my fanciebcft, I (boner Humid affjft this Gentleman, For his mud carriage, and his fairedilcourle, Then my hot Suitor; Ruffians I detcft * A linooth and fquare behaviour likes mce beft. Stnc. What lay you to me, Lady. Grtuiam. You had beft aske my Father what I tim id fay. Stnc, Are you angry, fwecc Lady, that T ask'c your Fa thers confcnt ? G rot, 723-724. Watch, hit] Watch, went and hit 02"3, MB, L1"4, E, DFo2, MH, CSmH1, NjSH, NNPM, EN1, ICN, SR, LU, PU, OW. 725. mee of] me of 0^“3, MB, L1"4, E, DFo2, MH, CSmH1, NjSHi NNPM, EN1, ICN, SR, LU, PU, OW. 720 730 7 Y O Cheap from the Bread Street Miter. 723-724. Watch, hit] "Watch, went and hit" is the correct ed state. j725. 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 I a magistrate Sir Harry had the power to commit Sencer to i jthe Counter. I I i j728. without controule] "Without restraint, [without] I check" (flEfi, 2); possibly without overmuch supervision or i rigid confinement, since Sencer was a gentleman with suffi cient money to buy privileges. j ;734. well quallify'd] "possessed of good qualities" f OED. i 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" (QED. s.1, 2). 1754. , 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 T it W ifi-w tm sm tfH e g fd tn . Grot. No, if yoa'can gee hi* confent to marry l;tm, (hill it aifplcatc mee ? Harine. Indeed you therein much forget your fidfc, To founahcr Father eVe you tailed her. You (hould have fir ft fought meanea for hcrgood-wifl, And after compaft hit. Sir Har. He can prcvaile with neither. Gentlemen: if you willcometo revel!, you are welcome;. Jf to my Table, welcome; iftoufemce In any grateful! Office, welcome too: . * ‘ Bur if you come at Suitor*, there** the doore. Stnct The doore 1 S ir Har, 1 fay the doore. S t tie. Why Sir ? tell not me of your doore, nor going out of it, your comoanie is faireand good, and fo is your Daughters; lie (by here this twclve-moncth , e're lie offer to trouble your doore. Sir H ut. Sir , but you (hall not. Taker I where** that knave ? Seme. Why S ir,I hope you doe not meaneto make ua dance, that you call fora Taber. H*ring. Nay Mailer Stnetr, doe not urge the Knight, Hee is incenft now, chufe a fitter houre, And tempt his love in that s old men are teftie, Their rage, if ftoodagainft,growes violent; But fiiftred and (oiborne, confounds it fclfc. Sir Har. Where’s Taker f Taktr. At hand,noble Matter. Sir Hit. Shew them the doore. Taker, H ut I will, and take money too, if it plcafe them. Seme. Is thy name T a te rf Taker. Iamfoeclip’ tSiir. Stnc. And Taker, are you appointed to give us laekg Dram's entertainment ? Taker. Why fir, you doe not play upon me. t Stnetr, Though f cannot, yet 1 haveknowne an Hare that 7 5 0 760 7 70 760 754. , Gentlemen;] : Gentlemen, 02" * 3, MB, L1”4, E, DFo2, MH, CSmH1, NjSH, NNPM, EN1, ICN, SR, IAJ, TxU, OW. 208 blank verse— perhaps another instance of coincidental met rical regularity. 767-768. Why . . . Taber] See the note to 1. 674. j i 1 777. and take money too.] Perhaps Taber wants money as a i i kind of tip for the "service" of showing the door. j 781-782. Iacke Drum's entertainment] Either a proverbial [expression for a rough reception (Tilley, J12), or a refer- j j ;ence to Marston's play of the same name (1600). i j [784-785. an Hare that could] I suspect that the connection ! ! i i between the tabor and the hare is proverbial because of the [ j i latter*s long "drumming" legs. Tilley, H160, lists a prov- [ i - t erb that connects them, although not in the same way that Sencer does: "You shall as soon catch a hare with a tabor." ' j The allusion may be topical. ! j : I j 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] "Sir was applied to all University men i who had taken their B. A. degree" (Mermaid). i [814-815. Eques . . . virgo. 1 Honorable Knight: Greetings to you [oh one having been greeted]; I do not see what is 1 T ie Wifcwm** tffTrgfim* that could. Bat Knights thaa doeft not forbid at thine - Houle. Sir Har. Yes, and focewaroe it too, S tn ttr, Butby thjr favour, wee may chafe whether we wilt take any warning or no. W ell* • tacwell olde Knight* though thouforbidft mee thine houfe, lie honour thee* and extol 1 thee j end though thou kcenft mee from thy Daughter, thoufealt not binder mee to love her* aod ad mire her i and by'tty favour* fenKttmes to fee hert A Catt may lookeat a'King» and (o may I at her* Give me thine hand,Knight,the next eimel come into thy company, thou (halt not oncly bid me welcome* but hiicmeeto flay With t))cc*andthy daughter. Sir, H rr. When I doc that* enjoy my full content* To marry CrerfeM. Stnetr, T it a match* ftrikemeeluckes Wife that may bee, farewell: Father in law that N ut bee, adicw. T tto r * play before* my friend And I will daunce after. a Sir N *r. Wheul receive thee gladly to mine houfe* And wage thy flay * thou (halt have, Qrneimn, Doubt not* thou (halt* Here’s a ftrange Humourifl* To come a wooing. tre.they gone? 7Vi*. I have plaid them away* if it ploafeyour Worlhip; and yonder attnedoore attends a Schoolmaftcr, youfit* for him, if you remember* to teach my little yong llafter and Miftris. Sir H m . A proper Schollcr*pray him to come neare* tm etrs ptdm tk n i Stimfmmjhr, Sir Boniface. Sir Brnif. £ qua H tm ratm t Jvtfnlm tM M i mm vide* quid tfi in Tnsgr, fed f* iv t t»un virgr. ■ ^ ^ f e r r -Sir*youmaycaUmenic,lHOIve«: if you love me/fpeaKe m your Mothcr-tonguej or at the lea A, if Lear ning be fo much ally’d Unto you * that Latine unawares flowcs from your lips.: to malce your mind familiar with my knowledge,pray utter ft in Englifli: what’s your name? Sir 209 790 900 Sio 620 210 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 . . . j 1 i name?" They may well be. j 821. Sit faustum tibi omen.1 May it be a favorable omen to you. |822. Nomen 1 Name. |827. Xntende vir nobilis.1 Pay attention, noble sir. | I |828. not for twenty Nobles] Woodrow W. Powell, p. 199, ! I ! has observed that "the hyperbolical use of 'twenty* for a j ! ; jlarge number was proverbial"? e.g., Tilley, W919: "The ! i : I | Iworst of law is that one suit breeds twenty." For similar, ; | ! though less emphatic, uses of the expression in The Wise j Woman. see 11. 96, 288, 1806. See also The Fair Maid of j the Exchange (II, 73) and A Challenge for Beauty (V, 55, 62, ! j 63). The noble referred to here is possibly the gold coin I < i j jfirst minted by Edward II, but more probably the George S ' i Noble of Henry VIII, which had a value of 6s. 8d.— Webster1 s | I New International Dictionary. 2d ed. (Springfield, Mass., 1955). ; I 830-832. Q. . . . nealiaitis.1 Mermaid prints these lines ! ; jas prose, which I think they are. 211 The W ife-w m ne # / B egfdm . Sir Motif. S it f otjhtm tihi w w . He rdl yon my N ooot. Sir Hm1 . Will yoa tell it to no men. He entertalne none rtc I know their namei: Nay, if yonbclodaimy of your name. You are not for my tcrvice. Sir im m U w nth ilit. . Sir Har. Not for twenty Nobles: Truft me, I will not buy your name (b fare. S ir Mot.O lenrraoutl whatitia todeale with Rapidity? Sir IfM?, Sir mwj,hcammeanc word, • . I Ccc,Prt*rfttr U fk.trtt vtr* •rtfig u it. T s t. I thinkehe fiith we are a comnudeof fooler, and Nigits, but 1 hopeyou Hull not Bad ua W eb, Mafter School* maitcr. Sir H i*. Friend,friend, to cut offal I vainecirqpaftance, Tell me your name, and anfwer mcdircAIy, Plainly, and to my under (landing coo, O rl lhallleaveyou: here'a a deale of gibberifti. Sir Motif. V irlm t. Sir H er. Nay, nay, makeme no boncajbue dot. ■ S* M otif. Then in plainc vulgar Sngli&I am call'd. SirM tniftct A hftt. Sir H er. Why thia is fomewhat like, Sir M otif**, Give me thine band 9 thou art a proper man. And in my judgement,a (aot.Scnollercoos What ihall I give thee by the yearc ? Sir Mtnif. lie ttuft, Sir, to your generality} I will not bargaine, but account my fclfc • * MiUe & m iie trndit. bound toyou. Sir Her. 1 cannot leave my Mila,they*r firm'd already, Theftipcndthatlgive,(hallbcin money. Trktr. Sure Sir, thia ulomc Miller that comes to under mine you, in the ftiape ofa Schoolhaaftcr. C m . You both miftakctbeSchollcr. Sir Har. I underftand myEnglifti, that I know; What's mote then Modcrnc, doth furpafie my reach. D Sir 630 QiO as o 212 832. Preceptor legit, vos vero neqliqitis.1 The teacher j reads; you truly are indifferent. The plural 1 1 vos1 1 suggests! | j jthat this may be a quotation, but I have not been able to f , jtrace it. i ! 1834. Nigits] "Idiots” . j f I 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. i 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. Xh., 2). 861. dispatch't] Dismissed with the conditions of employ ment settled (QEI2, Dispatch. 3). 863. Familist] Probably a satiric allusion to the Family j 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 using 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 TJk WifwHmm if f f f c f d i * * iirlm l/tfiicom eto notWodijreilKtic^ You (hill receivetnanfwertIhavenow, Matter* of fomc import that trouble me. • Thou fhouldftbe clfedifpatch’r. T tln r. H r B ni/ncr, ff you come ro live in our hou(e»and boaFamiliftamongftiu, I (halldefire feu better acquain tance, your Name and ray Phifcomy ibouWhtve foxne con? fimguinitie, % oaiSirt Bm lfm r, S ir Btnif, Qntmrdr vnits, f tm r dr wft/, Tnkrr, Goewkhyou tothe Ale-houle? I like the mo tion well; He makeaneacufcroutofdaorca and follow you. Iam glad yet* wefittllhaveaGoocMctlo^coroe into the houftamongftm. - SirM m if, VnUwirmagm, ' l i r H r . You (hall not have me at S aintlM im /i my hoole it here in Oradmm-firrm, S ir lm tf, I know k, fwect Knight, I know it. Then virt»f§rm rfn,& Dtmimgrmmf* vain#. H iram , £y,in Grmim$»0rmvonIhallhcareofme, SirS rn tf, He ihall inftruft my children} and to choc, . FaircC rm im ^xadctheLatinetongue. • Tofrr. Who, Hull Sir l*wdy> face b . Sir Hm, Sir B m iftct, you fooJe. TnStr. Hia name ia fohtrd to hit on. Sir H m , Come Daughter,if tbinga All out at I intend, My thoughtafltail peiact^reyarKUhcic troublca end. . * * 1 ‘ E x itm ti CxflieU'tAfhrnftimitk, v; lA^uitcrtius, Score prima. I ■ > I . • < ! < ■ I * —I j 1 ■ ■ I I . E rl'tr thepcrndjlxce, wkickwm lack in wtmmt nffm rS,m dtht Wilc*woman. W ifim , thou art my Bou* . i.£ m r .’ M i t e l Wiftw, £6 O Q 70 860 690 214 See William Haller, The Rise of Puritanism (New York, 1938), ! : ! ! Ipp. 205-206, and Barber, p. 232. I j 866. Ouomodo vales. cmomodo vales.1 How do you do, how do i i j you do? The expression also appears in The Fair Maid of the j j Exchange (II, 56). j j ; 869. Good-fellow] "A boon companion, a convivial person, ia reveller" (OED). 871. Vale vir maone.l Farewell, great man. 872. Saint Maanes1 "A church in London at the bottom of ; j Fish Street Hill, just at the foot of old London Bridge" (Sugden). 873. Gracious-street1 See the note to 11. 169-170. 875. virgo . . . valetel 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. 215 T h e Vrlfe-wmin efffegpto*. W ifr0 », ]le bea Mother to thee, iwMifttfs': come Lad, I mult have thee iwornc to the orders o f ihy bdufe , and the fccrets thereof. a Lttce, As I am an honcft Lad, I am yoars to com mand. Rut Miftris, whit nieane all tnqfe hrOloent pictures, hangvl here in your withdrawing rodirief , H'iftw*. He .tell thee, Boy'; many thbdmuftbc fecrer. When any Citizens, or yong Gentlemen come hither, under a colour to know their Fortunes, they lodkc upon thefe pi ctures, and which ofthem they beft rfke.tfttis ready w icn a wet finger r here they have all' ttte ftifhrcure belonging to a privat-chambcr, b^&.b^-fellbw tm fill;but mum,tlio'4 Knowcft: my meaning, Im kf. . a. L h c $ , But I irecomming and going, Maids, or fuch as goe fm Maids,Tome O f tfiem,a*ifthey were readyto lie downe, fometimeitwoor three ddSveredin one nfehg then fuddenly IcaV c their Brats bdbiitl them, and conveigh themfelves into the Citie againe > what Becomes of their Children? W i f * w 9 % Thole be KiKhin-maifU, and Chamhcr-|ntlda,' and iometimesgood.mi^Daitita^ hsWngcatchc a d an , ahdgrowingnearcthdr nth£,gecleayetoftetheir friends in thcCountrey, for a vfceltt'orioi that hither they ’ come a and ftjr a matter of mortey /here thw are delfoetaf. I have a Midwife or two belorigingto the naUfeu and one makes a IhifttodnilEenthe fn- ttmhboui^chat itxi tor common uomps, tJttt dott not tixm khowtnis ? a. Zaw#. Yet,now I doe: but what after becomes of dm poore Infants ? tviffw s. Why, in the night.we find them abroad, and lay one at this m m doore; and another it that, fiich as arc able to keepe them; and what after becomes of them, wc inquire not. And this is another ftring to orf BowC. a.£iw#.Moft Orange, that Womansbrain fhoold apprehend Suchlawlefte, indireft, and horrid meanea For covetous gaine 1 How many unknowne Trades D a Women 900 3 /0 920 216 898-899. under a colour] "Under pretext or pretense" (QED. 12d). See also 1. 1932. i 900-901. with a wet finger] "Without any trouble, with i i i the greatest ease that can be" (Tilley, F234): "With a wet i finger." "With as much ease as any light substance is j 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 i ! t to mean "to have been made pregnant." Possibly there is the i sense of having met with a "stroke ... of misfortune" :(2E12, 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 I "shift" as "a fraudulent or evasive device, a stratagem" i (QED. 4), but the context implies a genuineness to Sir Boni face1s e fforts. 917. secret] "Not given to indiscreet talking or the revelation of secrets" (OEDT A2). 918. common] "Free to be used by every one" (QEDr 6); "generally accessible" (QED. 9). 918. Gossips] "A godfather or godmother; a sponsor" <OED. la). 924. another string to my Bowe] Proverbial (Tilley, S937): 217 The Wtfe-mmsn §f F f t g p b t i . Women and men are free of, which they never Had Charter for ? butMiftris,areyoufo Cunning as you make your felfe: you can Neither write nor reade, what doc you with thole Bookea you fo often tumc over ? Wifrw. Why tell the leave*; for to be ignorant, and fceme ignorant, what greater folly ? i.Lm ct. Beleeve me, this ia a cunning Woman; neither hath fliee her name for nothing, who out of her ignorance, can foolc fo many that thinke tncmfclves wife. But where fore have you miilt this little Clofet clofe to the doore, where fitting ,.you may heare every word fpoken, by all foch as aske for you. W iftms. True, and therefore I built it: if any knock, you mull to the doore and queftion them, to find what they come about, if to this porpofc, or to that. Now they ignorantly telling thee their errand, which I fitting in my Clofet, over hears, prcfently come foith , and rell them the caufe of their comming, with every word that hath pad betwixt you in private: which they admiring, and dunking ittohemira- cOJoua, by. dieir rqj.orj: I become thus fltmous. .I f.tm . !This is1 nofrade, but a Myfteric; and were I a Wi(^woman,a« indeed lam but a foolifoBoy, I need not live by your fcrvice. But Miftri* , welofe our felves in this difcoitne, is not this die morning ih Which I fbould be married? , ( .Wfjpwi. Now.bow had I forgot my felft ? Miftris b in promidtobe with mochalfeanhdureagoe,' but inasktand difaii**d, and fo fhalt thou be too i here's a blackc Vailc to hide thy faceagaind die red come, JEasar.Sir Boniface. j t Sir Rm if. S it tibiktm d itt: f*hu & fair*. Into the withdrawing roome, SwBrm ber. ' Sir Staff. Without any compun&ian, I 'will make the Conjunftion. £ x it. m ftw t* 930 9 Vo 3 5 0 2X8 "It is good to have two strings to one's bow." See also ! I The Captives, p. 63. ! ! ■925-929. Most . . . for?] An aside (Mermaid). ; ! 1 | | j928-929. free . . . for] Do freely what they never have jhad authority to do. | I ; j ; (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 1 j speeches here. 933. tell] "Count over" (Mermaid). 935-937. Beleeve . . . wise.] An aside (Mermaid). i 949. Mysterie] "An action or practice about which there I ] is, or is supposed to be, some secrecy ... or highly ■ i technical operation" (OEDr 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 said John Wormell in the said science mistery and trade of a i (woollen draper'— Borough Deeds Maldon (Essex) Bundle 148 No. 5, 1627," and "'The Accomplisht Cook, or the art and mystery of cookery'— R. May (title), 1660" (QED. Mvsterv^r 2b). 959. Sit . . . quies.1 May it be a good day to you, safe 219 T il a f H t g f i n t , W ifare, Now keepetby countenance, Boy. g.Laee. Fcarenotmec* J have as good a w e in a M asked at any Lady ia tbc Land coaid wifli to hare: bat to my heart* hce comet, or he comet not | now am I in a pitdfuU perplexity, untill 1 Ice the event ofall. H'iftwt, No more laekf now* but MHlrit Z w i, Silwr. 1 warrant yon Miftriss that it happcnt G > luckily* that my name Ihould be Laee too, to make the marriage mere firmc 1 Enter Chartley difcnit'd, end ia a fifard. Chart, My honey finreet Htgge* vvhercTt Lace f trifnre, Here fv veer heart * but difguiVd and vail*d * as youarcvilardcd. Chart, But what's the realbn wee are that Hood w inks Wife*, No di&ovcry ofyour lelvet for a million* there1 ) ! Sir Beni/ate within* (n il nee blab who you are? Bcftdcs* r here’ s a yong Heire that hath ftolne a Lords Daughter from the Court* and would not have their facts (eene for a World t cannot you be content to fore well* and keepci your ownccoonidl, and fixt yonder day come. Enter at feveraiplaces, Boyfter aifarded, and Luce au/J^r, . . . . . : J.; . j: . . Chare, Gramticie my Sugar-candie Ivveet Trot. We/ewe. Muin* no more words. Chart, If the great Hcireand theyong Lady be fo dainty of their Complexions, they fhall fee (my fvveet Lttee) vvee canvifaiditvvithrhebeftofthm. ^ - > Should be Late t but what be thofeothcr k w ifm e. You wrong oweboa to take* w hobor a yong 1 > iWac* 9 70 £80 390 and quiet. >962. Conjunction] The word is probably capitalized to ! i i ! emphasize the bawdy joke and should not be taken for blank | I verse. See also The English Traveller (IV, 8). I i | . i 963. keepe thy countenance] Do not become disconcerted. I ! | j 964. good . . . Maske] A double pun: "good a face" sug- i 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" (QEH) . 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 i prompt copy, since there are "no directions which undeniably originated in the preparation for actual performance; no 7he W ife-vttm d* ifU i& fd t* . HtSrCiindt lid y o f the Court vtbat*aL*h ,take her*and kecpeyour promife. 1 •' * P e c m fxU h /tt. iFi/inra. riut’s Chkrtltf, take him fares. L w t, Uur wlto be they!? •. . . t W if % w a . A Lord and Lady (lull Sir Bmnifdtt ftay, lUthcr then fo» ftrivcwho ihoukl kade the way. Ext*at Clurtley nitb lark, Boy Iter with Luce. Wifrrnt. Now Atfimy Boy .kcepc thine ownc coun&H, and counteninle , and I (hall cryquittance with myybng Gallant. Well, by this time * W r B m iftct ia at hit Bookc. Bit beeaufe there is a miftakc, knowne oncly to my Boy and my ieUet the Marriage* Hull be no (boner ended, but lie difturbe them by Com e hidden ouc-cry, and that C oo* before d to ih n ri ktfiuetounraaskc, and make knbwtitf themfclrei one to ahocher; for if the deceite were knowne, llhould & 1I into the danger of that yong mad RafeaU. • And noW.thia double araccherifion o f die Lord and die Lady (hall fetch mocotf trom alfol know it is Sir Bm rifw his cnAookt, to makclhoct vvorke, and hath difpatcht by this t And now Wifc-woman, try if thou canft befttr thy fclfe like to a Mad-woman— ihift for your (elves, Warrants and Furievants 1 Away, Warrants and Furievants 1 (hilt ior your (elves. . . . i • - * 7 t . i ' j I . ' • ' E ttttr, m nffH tkttd tmd MMcsd.Chartlcy, Boyfter, Boniface,mdsfivr/. Ckxrt. lie take this wqr» ! ;I ' • V tjf* I this. £xt*wtt B tttif, Cmt+Cxrrit Cattwr* rfcfychetkstKall Murry, And lam gonein an hurry. Bark. L*c*. o Heaven 1 what (hall become of me? a.fawr. I know what (lull become of me already. Wifiw% O fwcct Daughter, Ihift eloathes w ith this Lady 1 221 IOOO 10IO 10 to 222 notations for stage property, or warnings to be ready, or early entrances." i ] i j | 993-994. That . . . other?] Mermaid prints these lines as ! I prose, which they may be. i : I 993, gallant] "Fine-looking, handsome" f QED. 2). j : i | 998. Pocas palabras.1 Few words (Spanish). i 1014. Rascall] "A rogue, knave, scamp" (QED). Compare 1. i 2253, where "sweete raskall" is "used without serious im plication of bad qualities" (QED. 3b). I 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" (QED). There is a suggestion | that the word may refer to the agent who bears the warrant, : i but £££ 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 " (QEfi). 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 Tfje{ Wift»w$m*n . Lady f Nay, aa thou lov'ft thy credit and mine, change Habit*— So, if thou bee'ft taken in her Garment* /finding the miftake, w ill let thee palTs; and fhould they, meet her in thine, not knowing her, would noway queftion her: and this pro/e to both your fecurities and my ufety* Luct. As fad as I can, good Mothers So Madam fare* well. s. Lmtt. All happy joyet betide you. Exit. Wifir#. Ha , ha, Idt me hold my‘ fide*, and.laugh 2 Here were even a Plot to make a play on, but that C bsrtitj ia lo Fool'd by my Boy t W ell, heele make a nota ble Wagge, He warrant him. All the left will bte, if Beyjftr fhould ineece with him in habitt, which hee hath now on , hee would thinke himfelte meercly gull’d and cheated; and fhould C h m k j meet with Lmee as fhee ia now Roab’ d , hee would bee confident hee had marryed her. Let mee fee how many Trade* have I to live by t Firft, I am a VVifc-woman , and a Fortune teller, and under that Idetle in Phyfckfc and Foto-f^ea* king, in Palmiftry,’and recovering of thing* loft. Next, I undertake to cure Madd folkca. Then I keepe Gentle women Lodgers, to fumifti fuch Chamber* aa I let out by the nights Then I am provided'for bringing young Wenches to bed • and for a need, you fee l ean play the Mitch-maker. Sheethat is but one, and profefTsth foma- ny, may well bee tcarmed a Wilb* woman , if there bee any. • ■ ■ B xiim Emttr V tjjttr. 7 ty jf. Why, tunne away, and leave my Wench behind? He backe : what have* Warrants and Purfevants to doe with mee ? with mee ? why fhould I budge? why fhould I weare Maske or Vitard ? i f Lords or Ladies offend, let Lord* and Ladies anfvvcr \ let mee better bethinke mee. Why fhould 1 play at Hob-man blinde ? Hum; why marry in T*»*l>ru, ha I is there no trickc in it? I f my Grannam 1050 10*0 1050 1060 1025. Murry] "A dark red colour" (Mermaid). 1029. O sweet Daughter] Presumably the Wise Woman is ad- i dressing Luce, who elsewhere is called the same name (1. 594) and addresses the Wise Woman as "Mother" (1. 1809). j 1035-36. So Madam farewell.] With these words Luce exits, ! as Mermaid indicates. i '1044. meerely] "Absolutely, entirely? quite altogether" (QED). See also 1. 1631. 1064. Hob-man blinde] "Blind man's buff" (Mermaid). 1065. in Tenebris1 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." fOED). See also 1. 2288. 1075. Hoberdehoy] ££E 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 (QED. Woe. C2). 1085. so you are like] So you are like to do. The W ift.w m * * Graimam fhould nuke owe a youger Brother now t and inftnd Lmct, pop mee off vvidt lome broken coin* raoditie, I were finely fcrv'J: moft fiirc I am, to be in tor better and word*, but wirh whom , Heavenand my Crannam kuowcs* Enttr ihttfrrnulj M tdm ukl, a. Luce. e .£#?*• I am (lolneoutofdoores, to fee if I can meet my Hmband; with whom I purpofc to make fane fporr, ere I fuddehly difclofe my felfe t what's hee ? *•*/ff. Heyday, what have wee here, anNobcrdehoy? come hither you. a. Lmtt. ‘fit Miftris L m tt Husband* lie not leave him thus. B tjfi. What art thou > a. L m t. Doe you not know mee? That Maake and Kobe 1 know* 1 hope fin or elfcl were in a woe cafe. That Maske, that Gowne I married, s . L * f, Then youhave.no rcafon,but to in joy both them and me too, and ip you axe like; I fhould be loath to divorce Man and Wife. I am fool’ d , but what crackt ware are you, (orfooth? a. Lmct, I belong to the old Gentlewoman of Ac houfc. He fct her houfc on fire: 1 am finely bobbtL ft.Xorr. Butlhopc.youwillnotbobbme. B q ft. No ITe warrant thee a what art thou? Girle or Boy ? a. £atr. Both, and neither; I waaa Laddlaft night, but in the morning I war confuted into a LalTc: And being a Girle now, I (hag be tranflated to a Boy anon. Hert's all I can at this time fay for my felfe: Fare well. Yet, and be bang'd withaU. Ofor fomeGim povvfe- 225 10 70 1000 too O I t 00 the fVifi.jvemett« / /legflfat. powder to blow up this. Witch, this, Shec-OfCt» this damn’ d Sorcereflr 1 O I could teare her ro fitters w ith my teeth 1 Yet 1 mud be'patient, and put up all, led I bee made a jeere to fiich aa know mee: fool'd by a Boy 1 Goe too, of all the reft $ the Girle law/mud not know it. B eit, £nttr Chaitley emk hit mm, meet* i* l Luce. Chert. So, now am I th e (atncimh 1 viral ycftcrday; who can lay I was dilguU’ d ? or who can dtfUftgbjjh my condition now *or rode in my face, WHlxlherloca mar ried nun, ora Batchelor? lu ce. Who’ s that? • ' C hert. L e tt. ' '• Lnee. Sweet Husband, isttyooP Chert, Thfcnewest L tu e. Never fi» frighted in my daycsi hi Husband : no# all's quiet. Chert. This ftorme is then Well pad , and now comrdgh your fcifc home as privately a* you can :.ahd foe you, puke •this kno wne to none but ybur Fafhcf,' Lnee. I am your Wife and Servant. , ' $ x k . CW r.This name of 'Lnee Hath bderie ominous to meet oncL erttl fhoutd havemarricd in the Countrey. and juft now. And now— ------ 226 ifio II 20 (130 «>Mrr, vynars uccymc w ,inc i.oiaimuiG u ay r .. la w . -The fold fled after’vou. the Ladv Jbid i who t ■n^naiK, iR K u p a n , sjucks, v » osw., rw u ry , vvtas* fbwlc. Father, and Bride and all ^ ahdoaftea unto Lon- inter 227 1091. bobb'd] "Tricked" (Mermaid). |1092. bobb] "To strike with the fist, to pommel, buffet" ‘ I j ( f l E f i , i . 2 ) . j |1093. I'se] The earliest use of this form given by QED is i | j f I 1796, in the same phrase used here, "Xse warrant." j | | 1 1100-01. Gun powder] The words suggest the Gunpowder Plot | (discovered November 4, 1605), an allusion that is impos- i sible, of course, unless the words are a subsequent addition ! i to the play or unless the play was written later than is ! i generally believed. Possibly the extensive use of mines and artillery at the siege of Ostend lies behind these words. For a suggestion of England's interest in the siege, see I G. B. Harrison, A Jacobean Journal 1603-1606 (London, 1941), ! pp. 10, 71, 131, 142, 153, 159-60, 161, 177-78, 342. ! 1102. fitters] "Pieces" (Mermaid). 1 1 1119-21. The . . . quiet.j 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" tOEDl. 1133. a Serving-man] Not listed in "Drammatis Personae" (Alv). 228 T h tfM tg fd iit. g ttr Gratiam *• M '« * Stp>iapmm t*f"» b r , W Taber x fttr k ir . Gr*t\ Nay on, I prethee fellow on, my Father will won der, whoc I have bccne vi/king. Now,vyhat had I forgot? T af «r, there** money, goe to tncGold-fimthi, hid him find mee my Ftnne ; end make a quicke rwumes on, fel low on. E x it. T tftr . Her Fanoe at theGold-fmithi I now had I for got to askchec bu name,.orhfaiignes but I will after to know, , Cttrr. Sirrah, call meebackc that Scmng-mao, And atkehim what** the Gcnclc-woman* name. Strvimtmm. Xftiall j ho,you t Frief>dtyou» . T sktr? Who** chat call* ? Strvm pum , 'Twa*Iv . i -• 7hfcr. Your bufm efTe > you fhould be oue* though * not of m y cognilance, yet of my condition i a Scrvmg-creaturc, asl taken t peay what*a your w ill vvkbmec? S tr v itm m ,' PraySir , what might I caMthatjGcatfe- vvbni^m^hdidyouw^'actcn^m?: . 1 ; . . T M r. You tftty call her what you pfaajc, but i f you a ll her otherwise then in the way of boneftic, you nay perchance heart on*t. ■ S trviu p * * . Nay • benaoffended* 1 % .,, w hat doit you call her ? r: * • . T x itr . Why Sir; IcaH tiaaatt.& U b& pfetem ee, ftmerimeayong Lady, fometitne* yong Miftri* l and what hathtny iriahtodoe with that? / ' iMHaKC, ail(7KWlwC; , , , :v ' 'J . . . Ey man^Srr ,you fj^cco p arp o k , aiidjcan rcfolvcyoo: her "name ia Butafl thiaw hilcl have forgot my Mifci* Fame. E xit. Cfntrt* G r M t U m * I oft have 1 heard of her, but law her - - ---*»** «■- ' " ' • • " ’ not tj** m o 1150 1/fiO TA t W ifu w m m tffftg fd n tl not till now : ’ tit a prcttic wench, a very prettie Wench, nay, a very, very, very prettie wench. But what a Rogue am I f of a married man ? my. that hare not beetle mar* ried thia fix bourea, and to rare my fhfctlo*wirt ranne a WoolUgathering already ? What rrould poorc Lm* fay if fhee fhoula heare of thia ? I may very well call her poore Lmc* » for t cannot prefume of five pounds to tier portion: what a Covonbe waa I , being a Gentle man, and well deriv'd, to match into fo beggarly a kin dred ? What needed I to law grafted w jbeftockeof fuch a Choake Pcare , and fbcb a goodly iM nine at thia to eftaps mee* B b p e mee (ftid I ?j if fhee doe. fhee fhall doc it narrowly a bnt I am married already,and therefore it ia not pofliblc, unlcffc I fhould make away my wife, tocompafle her. Maniad f why,who knowea it ? He out-ftce this Prieft, and then there ia none but fhee and her Father, aid cheir evidence ia not good in Law s and if they put mee in fiiite, the beft ia, they are poore, and cannot follow it. I marry Sir, a man may rare fbme credit by fuch a Wife aa chit; 1 could like thia marriage well • if a man might change away hie W ife, (till aa nee ia a weary-of her, and cope her away like a bad commodities i f every new Moone a man might have a new Wife, chart every yean a do zen, Blit thia, T ii T > * m h m d tfm t, a tedious: f will goe a wooing to her, I wiltf, But how fhall I doe for jewelsand tokens* t one hath mine in hercqftodie, mo ney and alii cufh, lie juggle them from her well enoughs fee,here fhee comer. dinar Luce, m dlttr Fm ktr. Xmv. Here is my Huaband,Ipray awvehim inc. f* h tr . It touc&ch both our reputations nearly a Forbyhuoft repairs now whilft the Mamisge . . Ia kept from publike knowledge,your good name E a May 229 m o II60 u s o 1200 230 1170. shittle-wits] "Pickle or flighty wits" (QED) . i 1170-71. shittle-wits runne a Woo11-gathering] Proverbial j i I (Tilley, W582): "His wits go a woolgathering." Chartley reproaches himself for absent-mindedly forgetting that he is married. i | ! 11177. Popering] "A variety of pear; from Poperinghe, a town in west Flanders" (£££, Popperina) . "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 1603 regulating ; the government of the church, the clergy, marriage, etc., j t I which had the king's approval but which did not become a ■ j 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, i even though clandestine, because common law held that "the want of completeness in the manner of solemnization did not 231 TUt Wift-wmmtf May be by Neighbours hardly cenfiir’ d of. Ckirt. Th'ait fid , W ait fid L m tt w hat, melancholly alreadVyCfetbou haft had good caufetobe merry>and kncwlt w h t$ o itw it» Lmct. I have great Ctafoti, when my name is eoft'd In <*eryCoflip*motiW and made a by-word Vnto fnch people aait leaft concernea. Nay, in my hairing ac they paflealong, Some have not (parti to brand my modkftie, Saying, There ft* <h« whom yongClfcmrAry keeper: There hath hee ehtvtd late^Winlel gone forth. Where I with pride wai wont to’ fie before^ I'm now w itH fhomeJCentblufhing fromthedoore. Chert, A lu p o o ttfto k , lam forty for thee, bar yet can- not hclpc thee ,a i 1 amWGfcnricrtan. Why fay Lm #. thoa lo&ft now forty lhilH n^w orth of Crcdk,ftaybtira time, and it ftull bring thee hi a thoufindpounda worth o f cora- modirie. , * Fathtr. fan, Sonyhad I cfteem*d my profit mote Then I have dene any Credit , Fhadnow 1 1 Beene many tfcoafctfdt richdr i bat ybo fee, • Truth and good dealing beare an humble laifc; That little I in joy, it k with qtder. Got with good confdtrtce, kept yrith good report: And thfct I (Hll flalllabourto prtfttve. *' CkmtJ Bat doeyOu heart mee? * . Fdtbrr, Nothing Ueheare,rhatttyidi unto the ruine O f mine, or o f my Daughter* boncftk. Shall I be held a Broker to lewd Luft,. - Now in my waineofyeare*?- c k m . WiHyoobmhearcihee ? ■ ' Fdtktr. Notinthiacafi. I that have liv'd thin long* Reported wdfcefteonMa wdcomeGueft Ac every Incbetfd Table, there tcfpeAedj Now to bchdiatHridtr toaay paagharf? r That I Ihould livttothia 1 C bm , 1220. I have] I had NNPf, En\ IU. 12 to 1220 1230 232 render the contract less binding"— James T. Hammick, J E h f i . Marriage Law of England (London, 1887), p. 10. i I ' j 1188. cope] "To exchange, barter" (QEJ2). : 1191. Till Death us depart1 The BOOK Of Cfliompn Prayer Of I ; i Edward VI (1549 and 1552) and Elizabeth I (1559) records j I l "till death us depart." The Book of Common Praver of j i Charles II (1662) gives "till death us do part," as do succeeding revisions. Hence the quarto reading is not a J I misprint, as Pearson and Mermaid appear to suppose, for they i I both give "do part." According to the £££ (Depart, 3), the | words have substantially the same denotation, for "to put ! t asunder, sunder, separate, part" is given for "depart" as it was used in The Book of Common Praver before 1662, at j : i 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 Fir.St and Second Praver Books of Edward VI (London, 1949), pp. 253, 411; The Praver-Book of Queen Elizabeth, 1559 (Edinburgh, 1911), p. 123; The Book of Common Praver. 1662 (Iondon, 1844), sec. 437. 1222. Truth . . . saile] The expression is probably pro verbial, although I have not found it recorded. QED (Sail. 3) lists the expression "to bear a low sail," meaning "to 233 ^ The Wife-rvtmtn of Higfden. Cbtre* But harke you Father? F*tktr, A Bawd to mineowne child 1 Cbmt, Father? F ttbtr, To my fwcet Lmtt t Quort. Father? Fmtker. Dcale with me like a Son, then call me Father; I that have had the tongues o f every man Ready tocrowne my Reputation s . The hands ot all my Neighbours to ftbtcribe To my good like ^ and lochia could hoe write; Ready with FaUie and unletterod fingers,. To ice their fmMingmarkes.. Cbmt* Why Father in Law ? • Fmberi Thou hadft a Mocher Xavrx ’ (is woe with me To fiy tirohadftft*tthafti)otf.a kind Wi&> , And a good Nurifefiwwfs Ufcty bad ihe liv'd Toheane my name thus canvaft, and thus tofa’ d, Seven yearcs before ihedy'd, l hadfaieene a Widower Seven yearcs before I w as: Heaven rcfthcr fwJc, Sfice is in Heaven I hope,. (He» trip ?/ kit tjtt.) Cktrn Why fo now, thefebegood words, I knew thde (tonnes would have a ihow ra, and then they would caalc. Now if your anger be over, heme me. Fdker, Well, lay on Sou. a Ckmt. Stay but a Moocth,' tisbotfturcW cekes j navt . 'tit F th ttm j, the (hottcft Moocth of the yeare, and in that time 1 (hall be at lull age i and the Luid being in - tail'd, my Father can disinherit mee of nothing. Ia your iptcene downc now ? Have 1 latiified you ? Well,. I lee you chollcrickc baity men, are the kuweft when all ia done. H ere*# fitch wetting of Haad-kcrcbcrs, hee. weepesto tbinkeof his Wife, (hccweqpcs to fee her Es ther civ 1 Peace foole, wee fhall diehavetheeclaimckin dred cl theWomanklU'd with kindncflb. " B j Fttktr, M o 1250 1260 1270 234 i {demean oneself humbly; to live at a modest rate." ! I 1246. like] life (Mermaid). The emendation is plausible. j j . | 1262. ' tis] Nine copies (L1-2, DFo2, NjSH, NNPM, EN1, {NNPf, IU) show the apostrophe closer to the word; "'tis", i i 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 1603/04. See supra. pp. 27-28. f ! j 1271. the Woman kill'd with kindnesse] Either a proverbial i expression (Tilley, K51), "To kill with kindness," or a reference to Heywood's play of 1603. See also supra, pp. 13-14. 1273. slight it off] QED does not list the expression but i ; i 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. 1289-90. 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 235 Tie Wift.vtmi* tffftgfdm. Fmktr. Well Son, my anger’s paft;yct I mull cell you,' ‘ I t grieves moethat youfnould thus flight it off. Concerning us, no fiidiadceredegree. In p riv a te b e itfp o k c, m y D a u g h te r c e ll m e , Shoe’s bofo a Wife and Maid. Clnrt. T hatm aybehdp't. Now tuff, your Fathers pacifi’ d , will you be pleat'd ? I would iodine a Quarters punifhmenc fix * thee, and wile not thou fuffcr a poore Moneths pemncc ior mee ? ’Tie but eight and twenty day os, Wench; thou (halt fare well all the time,drmkcwell£ace well,lie w elli come, one woid of comfort at the later end o f die day. Im u Yours is my fame, mine honour, and my heart Link'c to your pleafure, and fhall never pan. C km t. Gramercic Wench, thou fhatc wear* this chaine no longer for that w ord, lie multiply die linkesin Inch order, that it fhall have Kghc to fhme about thy necke, ofrcner then it doth s this Jcw di , a plaine Briftawt ft one, a counterfeit. How hue was I , that comming to thee in die way o f Marriage, courted thee with counter* fa t (tones? Thoufhalt weare right, or none: thou haft no money about thee, Lma t Lata. Yes Sir,I have the hundred pounds that you gave me to lay up left. ( retch it; let mee fee, how much branch’ d Sac- tin goes to a Petticoat? and bow much wrought Velvet to a Gowne? then for a Bever forthe€itie,and a Black* bagge for the Country: He promife her nothing, but if any fuch ttifles.bee brought home, let her not tfaanke mee for them. Bmtr luce with tk t B*jggs. Gramercic lac*, Nay,goe in , G ra vide and Modcftic, ten to one but you fhall ncare o f mee, e*re you fee mee again*. A rfcr. I know you kindc, impute my haftia Lan- guage 1280 1230 1300 pattern in embroidery" (QED). i i 1297. wrought Velvet] Velvet that has been "decorated or j j ornamented, as with needlework; elaborated, embellished, j ! : embroidered" (QED. 2b). i I |l298-99. Black-bagge] The context of 11. 1298-99 suggests j j : jthat a "Black-bagge" is a kind of hat or cap, although I I I have been unable to trace the word. If a hat, it seems to ' i ; be for Chartley, since beaver hats were worn by gentlemen, and the sentence links the two; see M. Channing Linthicum, ! J I I 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. i ! 1299-1301. lie . . . them.] Probably an aside. 1306-07. I . . . mee.] Mermaid prints these lines as blank1 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 T keW ifi-m m M § f Jlogfdon. guage unto my rage, not met. C k*t. "Why, doe not 1 know you, and doe not t know her? I doubt you*! with (hoitly, that I had ne ver knowne either o f you: now, w n t fayft thou , my fwcct L m tt L m t, My woidf are yours, fo is my life: I am now pan o f your felfe,fo made by Nuptial] vowes. Chart.' What a Fagan am I , to pnuftife Inch villany a- gainft this honcft Chriftian 1 I f Gratium did come into my thoughts,! fhould fall into a vaine to pittie her s but r.ow that I talk of her,I have a tongactowooe her,Tekcns to w inheri and that done, if I doe not findatrickc,both to weare her, and wcaric Her, it may prove a piece of a Wonder. Thou fecit,law, I hive fbme (lore o f Crowncs about m e, there are brave things to be bought in the Ci- tic j Cheapfide, and the Exchange, afibidvarictie andrt- ririe. This is all I w ill fty now, but thou mayeft heare mote of mee hereafter. E xit. lm t. Heaven fpeed you where you goe Sirjfiull we it) f Though not fiomicandalt, wee live free from Sin.. Ftuhtr. lie in Wfbcc. E xit; Bnttr ?oyfter, Mtyfi. I am ftill in love with I s l a n d 1 would know Ananftoer moredircAly: fie, fie, this Love Hangs on me like an Ague; makes metumefoole. Coxcombe and Afie: whv fhould 1 love her, y/hy ? A Rattlc>Baby, Puppit, a flight toy, And now I could goe to bullets w ith my felfe, A p d j c u f i e th is L o v e away: b u t fe e , th a t's Z * rv J Lmtt. I cannot Aon him, but He (hake him of? ? « » /. Morrow. X«rt. 1310 1320 1330 1323. This is] Thisis CSrnH1. 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 QBE, Crown. 8. 1321. brave] "Splendid, showy, grand, fine, handsome" (QEJQ, 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, close 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" (QB&, 10). 1335. Puppit] "A contemptuous term for a person (usually a woman)" (QED. 1). 1335. toy] "Applied to a person . . . slightingly or con temptuously as someone of little or no value or importance" (QE£, 5, 8). Tht Wife-vttmin tfllogfd**. t» tt. As much to you. Btjft. Tie ufe few words,Canft love me > I m i. Deed Sir no. B tjft. Why then fare well, the way I came, He goe. E xit, L tu t, This Is no tedious Court/hip, hoe's fooncanfwer’ d, So&ouldallSucorselfe bee, were they w ile; Tor being rcpulft, they doe but waftcttteirdaycs In thanklcflc iiiicm, and lupafkiall paile. £mttr Boyfter B qfi. S weite that tbou wile not love m e* ' Zw». Not Sir, for any hate lever bareyou, Or any foolilh prid^ or vaine conceicc ; Or that your feature doth not pfade mine eye. Or that you are not a braveGentlcmam But for concealed realbas I am forc'd To give you this cold anfwet; and to fwcare I aouft not, d m with patience pray forbeare. B tjfi, Even farewell then. Exit, I***, The liketoyou,and lave your hopes in me. Heaven grant you your beft w ifhet; all this Arifc yTillcnditfcJfc, whenlamltnfrWnea Wife. Ext**'. M «r tmim, . A& hs 239 I3HO 1350 1360 240 The frifc-wmtMif Hegfftn. ABus^.6* Sctttoffrimdi Enter Sir Hairy, M* Htrrirtgtfitte Cr4tinn* wit i t ethtrt. Sir Harr/. IamfatifiicdgoodM. HArrinetfeU toach- ' ing your friend,and fincc I tee you baue leftlus dangerous company, I limit you to bee e welcome eueftrnto mr ■ T able. # Herring. You haue bin alwaye* hoblf.1 Enter T Alter.' Sir HArry. Tafori the newes with theeS T After* May it plcafetbe right worfhipfidl to vhderftand chat there arc fome at the Cace who dance a turne or fw6 without! and defire to bee admitted tof^eakc with you .within. Sir HArry. The Scholter is it cot. Taber. Nay Hr,there arc two SchoKerSjtnd they are/pow* ting Latin one againft the other; And in » y iimple fodbe- menc the ftranger lathe betterSchoflcr* and is toihewinac too hard for Gx Eenifnce: For he fpeakca lo wderf and'that you kcow is ever the figne of the mod learning, and hes alfo hath g great defirc to fcrueyour W or/hip. Sir HArry. Two fcbollersi My houfc hath nor place'for two,thus it fhall bee. *tniter admit them htfrb.ww* Though vnlearncd will heare them two difpute ,and hee that oF the twofeemes thebeft read* fhall bee recciued, the other quite cafhetrcd; Hnrring. in that yeufhowe butlullice, in all pcrforts anprit fhould bee regarded. ' 1 JTkter Taber i > (Iter ing fr Boniface Stnctrylifguifek like a fttinnt. , t . • . Sjr Etni/Acek Vcaerabilis magpftmAbfint vobie capiftri. **.' “7‘ ! . F • • ’ T fencer 1366. Harrinasfield! flftCTin 3S. field CtE, NNPf 1368. Harrinasfield! Harrincts JLL eld CtE, NNPf 1387. i though] wee tho ght CtE, NNPf 1394. Sencer . discruised ! SsnSSE.^ disguised CtE, NNPf. 13 70 1360 1320 241 1354. brave] See the note to 1. 1321. 1363. Exeunt.1 Exit (Mermaid). Only Luce remains. j 1365. Actus 46.1 This should read "Actus Ouartus"; for a I : ; I 'discussion of why it does not, see supra, p. 19. | i 1367. others 1 The others are perhaps some unnamed house- i I hold servants of Sir Harry. i _ ; 1368-71. I . . . Table.] Mermaid prints these lines as ; j ! blank verse: "I . . . Haringfield, / Touching . . . left / I ! ' l His . . . you / To . . . table." I am dubious, although I i ! t jSir Harry often speaks verse, and it is conventional to i begin an act with verse. j 1370. limit] "Appoint" (Mermaid). j i 1386-90. Two . . . casheired.] Mermaid prints these lines j i ■ ! as blank verse: "Two . . . two. / Thus . . . both? / We i i i ... dispute, / And . . . read / Shall . . . cashiered." 1387. both, wee] both, rExit 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) i 1 notes that the correct form of the first word is "Venera- biles" and that the last word should be "capistra"— but 242 St*ctr. E n d donufu ^corum fcM uct iteruin f«Ire» Am» mmm *mkvi'9 { W r i t e Tidy H tiuea liue"ytc. you whofc wc*lth!yi\in ybnroriinet; Not in your bud- f « f hcercmr<t B rit f a f f *1 *,.my bOufoiCon^roqcne FotoaeScnooicMDUMhbut not' tor wore. And I la* thuk W # ? W* ^ fa R9fr fcnc you tlut*' . , Hl c* ®f y°° 1 iubfcrjbc ire yoo agr^tfi/ < ; Sir B tm ftcu j% c iM |ftn w corde* m o vermin* £*•;.No S^>; he “ . .... .* * T W J L W * “ 'c r w f T M T C f fiw '^ T KT'.nrs: * : . : m v . . $j>eake doe youuicmee well. Sir B on \f*ct. P f N tw . f i r r i ------- " r r * wereybaofw ■ f . . ,, ' - a , . i ibtfof e r o t place q*oe you.* ; JWir. Ptirwdtrm itfhwrm j Sir ’ B n iftc i. N ttm trim,isi ty o k fb ^u £ lffleq afd cd I ^ S * ' ■.;• w Girtm- fo r my part fir H«r/^IcaoKMoc Serukeind Mirry , <»eufj» Igoe iagenei Fuf- tion, M ftS u m * u W m I w tf ooctroufbtvpac PJowe Sc cart, I can teach <£**««(% and neytber faugh nor tee-bce» fed m i»/htfafiW ffikgiwafiii#>afifblfpatfijfrbffifrffii willdoe o u c u jlo o d , to giuemccAx***/'™ in Gold Woo m o m o W30 243 j that, of course, would not rhyme. j 1396. Et . . . salve,] And you, pure lord, greetings againj i and again. The third word should be vocative: "domine." i i I J1397. Amo amas amavi1 I love, you love, I have loved. ; i Another fragment of a conjugation. | I 1399-1406. you . . . agreed.] Mermaid prints these lines as blank verse: "You . . . brains, / Not . . . known, / My ! . . . schoolmaster, / But . . . resolved: / Take ... I Boniface, / And . . . that. / He . . . best, / To . . . I i | j agreed?" I 1400-01. budgets] "A pouch, bag, wallet, usually of j i leather" fOED. 1). 1407. Nec . . . utroque.] Not in mind, nor in heart, nor i | in either [of them], 1412. Domine cur roaas: 1 Master, why do you ask? 1413-14. Is . . . Asse.] Probably poetry. Mermaid is 1 ambiguous. ,1416-18. Yet . . .of.] Pearson and Mermaid print these lines as prose, probably rightly. 1422. Petrus dormit securus;] 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 |X423. Natus eraml I was born. J1423. Woxford] "X have not been able to find any such j place; perhaps the name is invented for the sake of the i | * i |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 f ! i expression may be Sencer's way of expressing preference for ; j 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. Gotaml "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 i preposterous folly" (Sugden). See also Tilley, M636: "As wise as a man of Gotham." 245 |1427. Oue genus et flexum.1 Perhaps "sfc" should be "est." 1 i ! i in which case the expression might be translated, "as the j ! ! knee is bent." ; i i 1427-28. genes Fustian] Genoese fustian fOED. Geane). "a j kind of coarse cloth made of cotton and flax" fQEDT Fus- | i j iian) y-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 i Ulm was coarsest and cheapest, usually l£.. to Is.. 5^. a yard; Milan, the most expensive, 3s. to 5s., and Naples, 'Jean' or Genoa, 'osbrow' or 'osborough' from Antwerp, Is. to 4s." : . I 1428. scalnellum et chartal Another difficult phrase pos- i sibly translated as "penknife and paper." I understand that a small knife was used to scrape the paper to remove an error. 1429. Qui mihil 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. i | I The poem, "a didactic poem in elegiac couplets, full of ad*- ! vice for the schoolboys of Pauls," is "his best known piece"j f i j — Vincent J. Flynn, Introduction to A Shorte Introduction of i i Grammar (New York, 1945), p. iii. The expression also ap- | ; pears in How a Man.Mav Choose a Good Wife_from a Bad (11. 645-649). 1430. sed as in presente 1 But as. in the present. A por- t tion of the Latin part of Lily's Grammar. Brevissima Insti- ; i ; tutio. is called "De Etymologie" (C6) and contains a poem which begins: > As in oraesenti perfectum format in avi: Utr no nas navi, vocito vocitas vocitavi. I As in the present forms the perfect in sYi.> 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 May Choose a Good Wife from a Bad. 1. 1257. 247 Tht Gold or in moni«<Fifrr4t^mefHMturt rJejdcfaaeit'W ftb myfcbour. -V H*rrin£. Bat when foe youeodJftUfer SirB»*if*ct. Nomnaciro hie predKUlaiti bit word* ire croft ridiattaast But r« than, f * m the winch* dtrUefi tbofc chat bee rich, tmfttrmt fame fnu»tUm% conftrne owe this fcntence* Eft modus in rebotfart cm i dC q iqne fiqe* t Stme*r, Eft mbdut in rebut i Tbere-ia mod in tberirerr* Juntcerti dcniqoe fine*» and ceruioc little FHhec. Sir Htrry* I warrant you he hath hiiaaitocrready* Sir B»mface» Dij boni bani. - • H*rri*i. Heat* giue you in ert bonectntn f td e to knaw on Sir Bmttfscr* Stmc. K trtcit l i eefofronoa N w M te tt pfrilepoctitii Tea Loeike* retoon, onch elaftiifte (opboon.; That ia aa much at to fay, in our mmterm*Khj»* I will make yoiiftr£««e#tf* 1 * i < colroi0bftiir ftlfe an Alft in Engliflt, ff eake open and broad wotdt* for wane o f Latin, and D em f*f indraft aaae to refolne fciebqaeftion* at I fhallaikeyoainoar modernetoogn*. ' Sir Hurry, confefle him act A fttfpnke obfceanc word* after increatc tbre to rcfolre tby q«w iM tj Doc that, podcfletfte place. -•*; Settcir. Dl doaoddum i Net more wordibuc mum: Sir B •**[*", Nobletir H*rrj; NUnouaai 0c pofii 1 1 Sir Harry, it fickc already tfldcalUfbra noflir, no mareell# being fo {hrc*m«du- StHcqt. Yca A n i/k rj declM etvirfton ano after the firftcoaiugation.auwamwijrodtoooeitari. Titubo citatum ? Sir j|to#Smr.. Iani noctbe preceptor ooayatoilL BmCmdecUiw%iiarkerir TM«td; i n; • • la m a no, Scnctr, Bene beat* StrM**if*a. Iaaa a n a l/ Sf*c. Maft treuc maft tncuay *tJ ttjfir, F a That m o IYSO . if 60 248 1430-31. Ister Ista Istudl That— masculine, feminine, and neuter. These forms are found in Lily <B1). i | 1431. Leoem ponel Teach [thy] law. "The first two words j ! j ( forming the heading) of the fifth division of Psalm CXIX, ' j i which begins the psalms at Matins on the 25th day of the I j ; month; they were consequently associated with March 25th (quarter day), and hence used as an allusive expression for: Payment of money; cash down" fOED). i i 1432. Piper ataue paoauer1 Pepper and poppy. In the Latin ■part of William Lily's A Shorte Introduction of Grammar. j 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 maoister. Genituo huis maaistri" 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): O oedicuius a Louse, I knew not how it came. jl436. deridestl The word should not be in italics. j j | |1437. consterue hanc sententiaml The correct form for the J I (first word is "construe." •1437. constrne] Construe. ! j 1 i 1438. Est . . . fines:] Landis (p. 229) has traced this > ♦ quotation to Horace's Satires. Book I, Satire i, 1. 106: i {"There is moderation in things. There are finally fixed •limits." See The Works of Horace, ed. E. C. Wickham (Ox- i I I 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 linqnal Mother tongue. As it stands, the phrase is probably a compositorial error and not a pun on "materna lingua." 1450. Denioue1 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.1 1 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 same kind of pattern: "vocito vocitas vocitavi." 1460-61. amo . . . titubavi] 1 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 egosum 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 a T H W ift-m tm s* iftiiyfiat* •» o tit M th ep tB u .' Sir H w j. T bu Schotfcr workct by ougiclt hee.nat^ mack him confe(fe,hilledi*A fic. 7 ” IHlo ?. s ir B n ific t. tyu- m i m t i w m rir*ni€iinfanur»\ “ Ss/Ktr. lie ajdtshuD fret worfe yet jS ir "Mt^ifmc*» quidjlftjramavUici. , ! . 1 - ; : ; Sir art, . 1 , yn, ly e, «q nerc o f thefc WQfdlgood fit. Btmifmc*. . . 3t*ctr, AtteM*C*ine, proceed mee w ith th it vtrfp. ofrevcreatCV>r0 .*Si deueftm im m - ; t ; 2“ *wr. Di quoth ha. oat on hioi forebcaftly map* l*f8o Sir H m ttj. I w ad* m e bane him teech wy.childrcft fo foe mere the* I u p w en*. • SirJBimtf' 0 1 fee* rdff^end SyvHmry yom quid (iibindu u to e ty efim ae M m *.-:? •• .v ;* • SirBtmif4**.X}\ Propria qux euribes » Sir Harry.~%y Btmf+et, K jc thtfc aMrib6|e%' . Sir B*mfacet YcaafaMivvir ho** iHe eft ebciuf. : SirHmrry* W hacdettheemctneby'dttC'I (i /*f90 Stmt*r*. Hec fiutb,.I:canfp*akc H o rtw c * Sir H arry,. JBclcou'tt H e V p ttt c tl e f a n d m y i iydifcit. l . o-. .. ■ V Jflftr*! Nm i i t k J i f t ti4 m kt$ t\B * m if* t£ but with an cafte q*eft>an»lTcll ■ cefyr.r • r Whaej Latin for this Earth ? Sir B^fifite*. . M l c f d caT y more fit fiot thm jptU thin cbepreceptmt w h M d b m f tir fh tflq tltf v t: TtU kt. Stm*«r. Tell youj uo firr,itbcIong» to you cot.tall ate< sir Btmiftce. I fey TtUm if Latin for the U rth . St»c*r, And I fry. I will noutUyea whacULttiafor the Earth* ra id * you ycild mm jrifter' f " i&s iso o All of the following variants are recorded on CtE and NNPf. 1468. true] treue 1469. magick] madgick 1470. made him] him made 1478. animus— ] ani mus. 1483. Sir Bonif.] Sir Boniface. 1489. ebrius,] ebriusy 1491. saith, l] saith*I 1491. Hebr ewe - ] Hebr ewe. 1494. He' 1 ] He * 1 1496, with*an] with, an 1503. victor:] victor. CW. Sir 1 252 1471. Per . . . insanus,] By these my hands, man, you are j i . I insane. i I I 1473-74. quid . . . ars,] What is grammar? Grammar is an i I art. In the notes to How a Man Mav Choose a Good Wife from j a Bad, where the question also appears (1. 669), A. E. H. j 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- i ■ : thonis Grammatica Latina begins: Quid est grammatica?" In : f } | 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 ijest is used in How_a Han _Mav Choose a Good Wife from a Bad j(l. 2255). ! 1486. Propria quae maribus:] Those things peculiar to ! males. Woodrow W. Powell (p. 215) has observed Heywood's i apparent borrowing from Lily's Grammar (A6V), in which a ! I ; fuller rendition of the fragment appears: | Propria quae maribus tribuuntur, mascula’dicas, j Ut sunt diuorum, Mars, Bacchus, Apollo. | I i The characteristics which are attributed to males you I call masculine, j As are [the characteristics] of male gods: Mars, Bacchus,; Apollo. ; | 1 j The phrase also appears in How a Man May Choose a Good Wife J from a Bad (1. 680), A Challenge for Beauty (V, 64), and love's Mistress (V, 114). I ■ I 1487-88. Ey . . . broadly?] Pearson and Mermaid print these lines as blank verse, divided as they appear in the i quarto. The choice of these as verse and lines 1484-85 as i ; i prose is to me perplexing. I prefer them all as prose. j _ i 1487. maribones J Partridge (Dictionary of Slang) states ! that "marrowbone ... is low for the penis." This inter pretation would seem to follow from the preceding Latin quotation. Shakespeare's Bawdy also suggests such an 254 interpretation. i i 1489. Venerabilis . . . ebrius. ] Venerable sir, that man j is drunk. ■ i ; ! I jl492-94. I . . . per fit.] Mermaid prints these lines as j i blank verses "I believe *t: / But . . . lessons, / He*11 j j ! j . . . perfect." i ! ;1495-97. Now . . . Earth?] Pearson and Mermaid print jthese lines as blank verse, divided as they appear in the I quarto. They seem to be such. j I j 1499. Tellus.1 Earth. ' 1514. Quid ais domine Timothy. 1 What do you say, Master j ' | Timothy? :1518. nose] According to Partridge (Shakespeare1s Bawdv) ; ; I 1 "nose" has phallic overtones and is thus a suitable concomi-1 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. i 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 : j icompositorial error here, for Lily in his Brevissima Insti- tutio (E4) has a section called "Opvs et Vsvs" which Sir 255 5 T it lrlfi+ m m tfB ttfeit*: Sir Harry. You bane Aoreafont good fyr Timthyl TbcpUcc is yours* • Harriag. Hee hath defetVd It w dl. Scnftr. But lie defame it better, wby this fellow Is Franricke* you Aaljbccremce make him fpcake /defy and without ft nee. I * Ie make him 6y» His Nofe was Husband to a Queoue, f He whifpert te Sir Harry. Sir Timtkr not polfible* . c fir Harry, Taker. Hee will not fpeake it for fhame* Stater. TbttyoU All! hccre; Maeifier Btniface. Sir Btniface. &aid ah deaeiae Ttatttby. Seatn. W howa*J’*J?/&«'husband Quceneof Creete'. Sir^fearfaee. Who knowes not th a t, why Mines wa» her Husband* Stater. Thae bianoTe w as; did I not tell you T o . Sir Btaifae*. I fty that Miate was s • Stater. That Us Nofe was ha has* J k l f m lkao tW M N i& Sir Beaifaeefimt are a braceof Augds* Youare not for a y tome A Timothy. Yea am tba man Aahreadevato my daughter The Latin tongue9 tn which I am igaorant x Confeflfefcraor fcife anAfle j fpeakebawdy words • And after to talkeiddy* Hence away x .You flutlhaue my good word, but n o ta y pay f Sir Btniface, O f as efi vftu; fir Timtthy yoo abufe U s ? I ftoeaie by a oowac * had I thy bofe dowue, 1 1 ** qaed, iw ould fo fmoake theewichthe rod t M r lila Iliad, vutili I fetch blood. But Ntiiltt vtitttfCBO/ane in qaiete. Bait. Sir Harry. Six Timtthy, there is.fome Goldlnoarneft,' I like you wail take into your tuition. My daughter Gratiaaa; the ncwas T d<r, (Bnter Taker* Y*fo.OfaaotbergaHaiicnoblefirthit pretends cobaue bufinefle.both w ith you and my miftrcde> Sir Harry. Admit him* 1509. I'le] IAle CtE, NNPf 1524. daughter*] daughter, CtE, NNPf 1525. tongue,in] tongue*in CtE, NNPf. 1510 IS 20 1330 256 Boniface may be recalling. j i j il531. Qui cue cmod. 1 Who or what— masculine, feminine, and 1 v ! neuter. These forms are found in Lily (B1 ). |1532, Ilie Ilia lllud.1 That or that one— masculine, femi- ] I 'nine, and neuter. j I i i I |1533. Nobiles valete. remaine in auiete.1 Farewell, noble men; remain in quiet. >1540. gallant] See the note to 1. 993. 1542. Lustv luventus1 The allusion may be to the prodigal j i l in R. Wever's 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. 1560. Ioynter] Money or other property limited to the 257 Th* Enter Chnrtij vtrjgnUe»tt in kit bend m Lndj• Tnbtr. LnJlj Invent* $ will it picafe yon todraw neerc. Cbnrt. Noble Knight»wbil’ ft you pcfufetbat fwcete Lsdyttell ace bow you like this t • ( kiffeth hen (t retie, YouprdfelbfuddiiDly vjKXinet f/r . I know not what toanfwer. Stnctr. Mad Chnrtij • what makes defperstk>nhetre. Chnn.Toxht word wooer let aaee add the name fpccdcr my father hath written to yourfatber» tod thecaufe of lui writing at thisprefent > i t to let yon vndcrftaad v that hee featts you hauc U u ’ d a aside too long t and therefore to prevent all difeafet incident to the a m tt .as the greeae lickncfle and others* Hee Cent ease like a tkilfull Phy fititn» to takeorder with you agaioftaUfacbaMtadiee.lf.you will not credit mce % iiu hut bow fervently my father w ritetin mybchalfo. SirH nrrj. Hee is myooely fendfrf jfheeItakeea your ooe’ y daughtcr»wbat fhoukl hinder thciv To eaake a match betweene them , (w ell tic weU tisgood 1 like it J 1 will aaafce her foyntcr three hundred-pouwla ayeire. . • Chert. How fay you by that fwaete Lady three hundred pounds a ycare and a proper aaan to boote* SirH nrrj, AJl'sgpod, Mike it* WSlcoaoeM. Chnrtij. Thou Grntenmn art no child o f wine Vnlefle thou bidft him wdeooic/Fhts I prcfusae To bee your fathers haodt Chert. Bat ile bee fworne be never w rit ir» Sir H ern. And this bis lesleat Arams* Chnrt. Or elfe 1 vnderftand it very poordy* but Lady ' In eameft o f further acquaiatanoe • recciuc this Chiyne, Thefe Iswels*faand and heart* SirHnrrj. RcfufenoChaine nor Iewds»heare nor hand, but in exchange of thefe beftowe thy fclfe thine owne deere fclfe vpon him. Crntin. 15*0 IS So 15 6 0 IS 7 0 258 T k t t f rttgftlt*. GrMi*. My felfeon him , whom I tell oow I ncerefaw ? W ell fince I n u ll, your .will's to tnee alaw# Stnc. Nay chin d ir im e to fpeake, (hall Iftand heeie wavting like* €oxoemt>#j«ad fce kcrgiuen away before my face ? (lay your hand fyr Htrrj; tad let mee claims my promife. Sir Hmrrj. My prom ife ite perform* fyr T$m*thy% you (hall haueallyoorw agw duly paid. s**e„i daimeYak* (fratoufy yew prom ife. No more fyr Timtthy, hue Stnctr p0w , • You prom ifd mce w befiyouteeeined my fervice, And w ith y ear liberall hand did Wage my ftsy : To endowoaacefaety wlthyoar daughter aLore. : : That promife now I'tW o*. ' Sir Mciw oo i w dge, km jrtry, i ride my fclfe to aa conditions. * • • * la whichfuch guile is praA ifobceiDe fonne Cbnrtly. T o cue ofaltdiTaftcra iacadeatv T o ehefe proceeding! w ecw til (oUtmhKe Thefe Nuptiall rites w ithell/pcedc pcfllble. Chtrt. Farewell good fyr Timothy, farewell leara‘ 4 fyr Timtthy. Ext***. Stnctr, W hy t and farewell learned fyr Timtthy* For now (ft Timtthy and I ana-two *: ’ Bead on» bragge on, exalt exalt thy felfe, Swim in a Sea ofpteafare and content W hilft my Barlcc fu ftre w rack ale bee rerenged, CbMrtiyi lie cry vimiiSx for this Hom e, NexcttmetbM igotcft, it m aft bee w ith cby borne, E xit. Emttr M . Boyftcr Boyfttr. lam m ad*aedknow notatw hat. I could fwaggcr butkaow not w ith whom, I am atoddcf with my frifo; and know not why s Iflullbcc pacified* and cannot tell wham W oald tsao iSSO 1600 t tsto 259 wife, to be hers "in the event of her widowhood" (OEDr Jointure, 4). i 11565. no child of mine] Woodrow W. Powell (p. 144) has j observed Heywood's frequent adaptation of the proverbial i phrase "no child of mine," as in A_Challenge for Beauty (V, j i : ;21, 60) and The Rape of Lucrece (V, 171), although Tilley i 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 Roval King and the Loval Subject. (VI, 26), The Captives (98), Pleasant Dialogues and Dramas (VI, 304), The Hierarchy of the Blessed Angels (433), and Troia Britannica (393). 1578-80. Nay . . . face?] An aside. i . 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. I 1 16 03. vindicta] Vengeance. | 1603. Horne] Scorn (Pearson and Mermaid). ;1604. horne] Sencer's thoughts of revenge— "vindicta" (1. 1603)— appear to involve cuckolding Chartley, or perhaps he Ibelieves that Chartley is certain to be cuckolded by some- : one. 1608. swagger] "To talk blusteringly; to hector" (QED, lb). 1610. pacified] In several copies (0^-3, L3”4, 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 j © position, thus: "pacific". This condition does not, I 1 |think, represent an error of composition but constitutes |damage caused during the machining, perhaps during the ink- Tktrifi+mmifSigfdt* Iw o u ld fainebaueaw ifebutaaitaotttU w bcrtf J would frftc n a i^ * * * but canaotteJl bow. Hour jw b e re j when {.why t whumytohtt* Feeding fiue mtkca mce le M and fatting f a t - ■ .) • • Enter Lucf /•fcph. Luce'. Hotattthiawhilenee fee n u i i:< lefeph. fffipccafipaat perbapa iefu m hiaabftac* Cec*. HUoccafiona* u-. ■ •• * ■ « V n lcfeh w lik liw ftw fliaew lw il . Whatcouldfofbrce fucta abffnee ftembii (jMMfet i.. Am I g rew jafo w lean d blacka. Once a ir efoeuftU* S efhoitldim trc«aM fotForcbeak0pwdc»rjr, * Caftom ’ d wicb ftore ofCb»p-na«fc w ebeaaw ne . Tocbcapcn Lora. O n o JI a m m y ialfet B u e C W /h e e ic changed. • ; J - Von know that tSentlcm ifl. Luce* Bfcapetuaalfcbpncanft. B ejfttr. Heecaenb^I:iR if r ^ tt | ■ L »ct. Aewfcoftfnxec. B tjfter, Not at naineowae, tbatt diliilf l loda thee hfttr Thou ait • Sf0*i4rJ^ fitfe ft *m t*teBU uk*m rt: Again*, I fty Iloueebcener..; i Luce, KBUck;mcret^Gifj(j t . • . • Sure lam chang'diadcedf.andchatatbecaufe.' ' M y Husband left m ee fo ,th i# ff cotkm an , Once te tra d mee M H # (tb Q w lo a k e I lefeth'. . « > J j f t p h i A t w d la$ere ytgbdadt b rt ft* & ,« a l% r& .: s Youljre boy»packet thtcf and now be g o * And w ta flu ty tfcea becdme of my Mi ftrc!Tc« "V/'"* ICS on.lucna ‘ t s * 9 t*** uim ty e fk . Abide fir./ott fc*dc o#c fcare a i t I hart rto1 purposed leather. 'V v r:sVmi•/ ■ Boyjltr. 1612. Luce 1 Lnce CtE, NNPf 1617. absence.] absence, CtE, NNPf 1626. Gentleman.] Gentleman: CtE, NNPf. 261 1 6 2 0 1 6 3 0 I6HO 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, | ! I 77-78), and A Challenge for Beauty (V, 40). j j i j 1614. Feeding . . . fat. ] The statement expresses Boy- ; I i j | ster's frustration. It may be proverbial, but I have not i 1 been able to trace it. 1617. His . . . absence.] Pearson and Mermaid print this ! ’ ) i line as blank verse: "His occasions / Perhaps . . . ab- I i ; sence." Apparently the first two words complete the pre- j ! vious line, and Luce's first two words (1. 1618) complete ! 'the line started with "perhaps inforce". 1617. occasions] "Affairs, business" (OED. 6). j ! 11623. Chap-men ] Customers (2£E, 4). ; i 1631. meere] "Pure, unmixed" (OED. lb). 1642. abi abi1 Go away, go away. : i 1644-45. Abide . . . her. ] Joseph seems to misunderstand 1 I iChartley'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 I . . . neither?" Pearson prints the last line as verse, to j i I which I can agree. ; 263 Enter fir Harry nnd Karinu*field,CkartIy Itndinj ffratiani tj the Arms, fib e r nndnttendnnts. 1650 *« T h Wift-wmmt # / titfcdt*. Bejfier. Now you are going to the wedding-boufe. You are bjd to be a Bride maid* are too not. L»ce, W hat wedding fir» or wbofet Eejfier. Wby Chnrttejes j Lnce bath h«e bin thy friend C o long, and would not bid tbee to waite on his Bride* Why lookfl tbeu red and pale, andboch»and neither. Luce. To Mr. Chnrtlejet Bridals, why, to whom. Should bee be married. Bejfier, To Grnee of Grntient ftrtct* Emee. To Grntinnn ? Bcflirow you fir you doc not uft mee well* Tobuze into mine earea thefe ftrangc Tutrotht: I tell you fir, ’ tis as impoffibfe That they two fiioold match: as Earth end Heauen to meet* Eejfier. You’ lnotbdeeue it,-pray then harke witbins The Nuptiall muftcke ecchoing to their ioyes. 1660 Butyougiuecredittono ccrtaintyea: I told you but a tale* a lye, a fable t A monftrous*a notorious idle untruth. That you were blacke, and that I lou'd you not* And you could credit that. W boa telUtrothnow. Know you that man, or know you that fine Virgin * Wbombythcarmehecleades* 1610 Ltue. J'Jenoe indura't: Heauengiucyou joy fir: Chnrr. I thlnkeyou: Lnce I (fieefnints. SirH nrrj. Leokc totbeMafdfhee faints. % Bejfi.htld Chnrtij. Grnee, comt ootnccre her Grnee. 4 her vp. Father keepe off, on Gentlemen apace. Sheet troubled with tbe filling fickaeffe* for Oft hath fliee fallen before mee* SirHnrrj. Nay ifitbeenootbawiTc,on gentlemen*^ o 4 All of the following variants are recorded on Oe, L , EC, MH, and NNPM. 1650. Why lookst] Whylookst 1653. Grace 1 grace 1653. street.] streete. 1655. Be- shrow] Beshrowe 1659, within,] within* 1660. ecchoing] echoing 1663. untruth,] untruth. 1666. and 1 aud 1672. you: Luce? 1 you: Luce? 1674. Grace.come ] Grace*come 264 L et th o fe w ith h e r ftriu e to reco u er h e r. K e c p e o f f * th e d ife a fe if infectio u s: .. , ■ Chnrtij, If it w ere in a m a n , itw erentrthiiig.onttnq fa llin g fic k n c fle in a w o m a n it d a n g e ro u s < i • Enter L u c e * Father, M y to c h e r fa th e r I n L a w e » n o w ( h a ll I b e e v tterly flw n'd, Ifhcc a tfu ic to know m e e , H e ou t f a c e h i m * Father. S o n n e y o u r w e ll m c c . Chnrtij. H o w f e llo w * Father, I cry you mercy fir. Chart, N o b a rm e d o n e F rie n d , n o b arm ed o n e. Exeunt* Fntb, If h e e f b e e c o u ld n o t b u t h a u e k n o w n m e e th ere. Y e t h ew as w o n d ro e a lik e h im . Mejfi, H o w c b e a rc y o u Late .w h e n c e g rew this p a flio n . Lnce, P a rd o n m e e Hr* I d o e not k n o w m y fclfe: lam apt to fw o u n d ,ao d now the fit is p elt m e e . I tb a n k e y o u fo r y o u r hclpe; ia m a tte r Chnrtij yanilhtfo foone: bejfier. Y e s t e n d to fu p p ly hit p l a c e * fe e w h ere thy fa ther c o m e s . Father, H e e h ath n o t fitc h a (h it, b e f id c s this g a lla n t L e d b y th e.arm ea B r id e * alu tty B rid e ? H ow m u c h m ig h t I h a u e w rong'd th e G e n tle m a n . B y c ra v in g h ts a o q u a in ta n c c » th is it i s , T o h a u e d u n m e E y e s . W h y lo o k c sm y d jiu g k te r fa d . I c ry y o u m e rc y . S ir I (a w not y o u . FejJf, I w o u ld I h a d not fc e n e y o u at th is tim e neither, fa re w e ll. E xit, Lute, if h e e b eg o n e ? th en c a ll o w e v e n t m y g ricfci I F a th e r I a m v n d o n e , • Father, F o rb id it H e a u e n . Lace, D ifgract, d e fp ifd ,d ifc a rd c d * a n d c a tt o f f . Fatheri H o w ,m ln e o w n e c h ild .* Lnce, My Husband,O wy husband f Father IC8Q 1690 1*100 mo 1648, 1651. Chartleves1 The only departure from the custo mary spelling of "Chartlv." in sheets P-I? possibly occa sioned by the possessive form, although elsewhere (11. 1834, 2345, 2349) the possessive appears as "Chartlyes". See also the discussion of compositors, supra, pp. 131-133. 1653. Gratious street] See the note to 11. 169-170. 1656. buze] £££ does not list this form, but clearly the meaning is "to tell in a low murmur or whisper" (OEDf 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, Hes£, 4b). 1719. base villain Zewe] 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 Thi Wife.vtom*$f fftgfdea. Father, W bit of him. Lace. Shall | the (bower of ill oaygriefe at once] Power out before you t cbartfyt once a y husband Hath left ace to ntyflianc. Him and his Bride* I met within few minutes. Father. Sure t’was they. I met them two, t‘was hee; bafe villaine Iewe. J'le to the Weddingboord, and tell him fo s lie doo't aa l a a a man / ^.B teaotlbnlh. Father. lie liue and dye vpon him • Hec's a bafc fellow* fo 1 le prooue him too* loftfh my Sword. u This ralhncfle will vndoc us. Lace. lie heue my Sword* Father, it hath bui twice in France,and once in Spain?, Vtith John a Gaaat, when I wse young like him I had my wvds»and foynes* and quarter-blowt* i And knew the way intoSt. Getreee fields* Twiceln a morniigl7 '« ^ l Ft weary t 1 knew them allt ile too him, wfaer'e my fword. Or leaue thin fpleene, or you willooertnrow. Our fortunes quite, let us confide together, .What wee were beft to doe. Father, l'/cmake him play at Leap-frog* well 1 heire thee Luce, I cannot prooue our marriage,it was fccrer, And hee may find fotnecavellin the la w . . Father. Tletoo him with no Law, but StaffeedlAWC, l ie ferret the falfe boy,nay on good Luce, Lace. Part of your Queene^fyou wouldchange to counfel, Wee might revenge us better* Father. Well I heare thee* Late, Todaimeapublicke marriage at his hands; Wee want fufticient proofe, and then the fworld Will but deride our felly, and fo adde Dubble difgrace vnto my former wrong. G a k To 266 nzo 17 30 l7*to 267 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- i iforced by injunctions of Edward VI and Queen Elizabeth, and ! ! jalso by one of the canons of 1603" (the 70th canon)— I ! I j i [Hammick, pp. 166-167. i I 1723. lie . . . him;] The meaning here is, I think, that ! Luce's Father, recognizing at heart the inequality of the ! I {contest, believes that he will die in the duel, but in dying I i ihe will preserve the honor of his name, which will live un- i | ' j tarnished in the memory of his fellows. I 1726. This rashnesse will vndoe us.] Pearson and Mermaid i .give this line to Luce, which clearly is correct. j ; I i ■ I 1727-33. lie . . . sword,] Pearson and Mermaid correctly j I ! 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 ; i the setting of the play is much earlier than Elizabethan or ; Jacobean. Probably the former is more likely to be correct,. i . \ 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 j 1 i jto 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 steeple, I however, are rather common (see Sugden) in Elizabethan and Jacobean plays. I | {1729. him] More likely a reference to Chartley than to i ! i I John of Gaunt. I 1 I ; 11730. wards . . . quarter-blowes ] These terms are, of ! ■ i icourse, part of the vocabulary of fencing. A ward is "a {defensive posture of movement? a mode of parrying" fOED. 8).' | ! A foin is "a thrust or a push with a pointed weapon" (OED>. ! ! ! jA quarter-blow is "some kind of stroke or blow" (OEDr Ouar- ; terf 26a), perhaps a stroke delivered with a rapier inside | the sword arm of one's opponent— Egerton Castle, Schools I j and Masters of Fence (London, 1892), p. 154. That Luce's J I Father uses the word "foin" also suggests a familiarity with i ! 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 j 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 j I I Thames, south of Tothill Street" (Sugden). i 1734-36. Or . . . doe.] Pearson and Mermaid correctly | i assign this speech to Luce. 1737. play at Leap-frog] Presumably Chartley will be j i hopping about in order to avoid the sword of Luce1s Father. j i 1738-39. I . . . Law.] See the note to 11. 1183-84. I 1740. Stafford Lawe] "'He has had a trial in Stafford Court* was a way of saying 'he has been beaten or ill- i treated,' Cotarave" (Mermaid). "Stafford law is club law, i with a pun on staff" (Sugden). Tilley (S808) also lists ! i the expression: "Stafford Law." See also The Captives (p. i | 63). I i I 1745-46. To . . . proofe,] See the notes to 11. 1183-84. ' I i j 1751. damask'd kirtle] "A man's tunic or coat . . . usu ally worn with a skirt beneath and a cloak or mantle above" | (OED), and in this case decorated with elaborately woven | ! designs after the fashion of Damascus. 270 Thi Wife t f ttigfit*. To Law with him hee hath a greater pnrfc, And nobler fricnds,hew then tomake irknowne ? 1750 Fnthtr, la this his damask'd kittle frendgc with Gold* His blackc baggc,and his Bcataer, ris well yce 1 haue a Sword: Luce. And I bane a pro/eft in my Braiae begot. To make his owne mouth witne* to the World My innocence,and his incontinence? Leaue it to mce, ile clcare my felfe from blame, Though 1 the wrong, yet hee ftaall reape the lhaoie* Exeunt. Enter Scnccr tikg 4 Scrminpmn n. 1760 Senc. Now or never, looke about thee Stncertto morrow ia the Marriage day which to prcuent, lyes not within the couipaflc of my apprehension, therefore I hane thus difgui- fedmy fclfe»to gocto die; Looming womans, the Fortune tellers. The anything, the nothing* tbieoreragaind mo ther Red-caps is her houfe,iIe Icnocke* Enttr I. Luce in her teyet fhafe, a. Lmet. Whole there ? What wooldyou haue. Stncer, I would fpeake with the wife gentlewoman of a. Lmet. O beJike you haue loft fomewbat. (tbeboufe. 1770 Stncer. You are in the wrong fweete youth* a* Luce, I am fomewbat tbicke of hearing,pray fpcak our. Stncer. I fay I haue not loft any thiog>ut w it and time. And neitfaerof tbofe (hee can belpe mce too: i.Lttee, Then you belike are croft in Looc, and come to know what (Uccefie you fliall haue* Stncer, Thou haft bit it fweete ladde; thou bad hit it. a. What it it,you fry fir: Sencer. Thou haft hit it? a, Lnce, J pray come in,itcbring you to myMiflrefle* 1780 E xit. Enter All of the following variants are recorded on O2, EC, MH, and NNPM. 1751. Gold,] Gold. 1752. yet.] yet. 1755. the World] theWorld 1764. Looming] looming 1764. Fortune] fortune 1770. belike] be like 1780. in,ile] in^ile 1780. Mistresse.] Mistresse, 271 Tki Wft.mm*m t f Htgtftn, Enter Lace ttnd Xofeph. L nee. This i« the boufe,knock loftph , m y bufincffe craues difparch. J efep b . Now am I as angry, at tbou are timerous, and now to vent the next thing I mcete>Otit the doore. (knock*. Enter ». Luce. a, L » ce+ Wbo't there, what are you. Lnee. A maid and a wife. a :Lnce. And that would grieue any wench to bee fo,. I know that by my felfe,uot Luce, Luce, Boy ,where's your Uiftreflfe. a. Lnee. In foeaeprivate talkc with a Gentleman f lie fetch her to you jprefently. Emit. Lnee. If Owe and you fee mec not, 1 am but dead, 1 fhall be made,a by-word to the World: The fcomcof women j and toy Fatbera fltame: Enter Wife-woman mufgencer. tvifevetm en. You tell mee your name ie S en eert\ knew it before, and that C hnrtly it to bee married* 2 could haue told it you. a. Lnee. M arried to morrow,0 mec 1 Stncer. By but you tell mee,that Chertly before to morrow fliallbcedifappeintcdofhit, make that good, Tbou flialc haue twenty Angela. W iftm em en. Iledoo'tyiUnd afidc, ile haue but a word or two with tbit Gentle woman tand I am f e u : you presently. Lnee. OI Mother,mother. ( They whifper, a * Luce. M y husband m arry another wife tomorrow ? 0 changeable deninie.no fooner married to him • but in- ftahtly to loofebim. Nor death it gricucemeefo much thae 1 am a wife* but that I am a m a t'd too, to carry one of them G j well 1803. O meel] O mee. O2, L4, EC, MH, NNPM. 1805. his, make] his,make O2, L4, EC, MH, NNPM. 1790 1600 laio 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. j i 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. j 1781. Exit. 1 Exeunt. (Mermaid). Mermaid is correct, for j both Sencer and Second Luce go offstage. 1791-92. And . . . Luce.1 An aside. 1799. Enter Wise-woman and Sencer.] "Enter the Wise-woman I ! land Sencer, followed bv 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". jl820-21. mumble] "To maul, handle roughly, maltreat" (fiEfi, 5). I ____________ ____________ 273 7bi w ift‘*m *n tfftqfdt*, well is aii mucli as soy is bound to doc, boc to be tid*e;to bothi is more then flefti and blood can indtirc. tviftxvtman. Well tritH to mee, and I will fell all things ftr eight* Enttr Boyftcr. . T yjler. Wber’ a this Witch,this haggc, this beldan, this wifard»and haue I found thee«t bus then will I tearc, mum ble and maulethee. fviftwm nn. Hefpe, helps, and if you be a gentleman. Stncer. f orbesre this rudencflc* bee that touches her, Drawee againft mec. . . . . . . Boifttr. Again ft you fir, apply thou, that mall bet ride. -dll* Hclpe>helpe> part them belpe- Sencer. With patience beare bar fpeakci Bojfitr. Now Trot, now Granam, wbatcanft thou lay for thy fclfew hat Luce beare be patient and put vpthem, free mud not fee the end. Stncer. Thsntrioceof all fidct,if wee come for counfcll. Let us with patience beare i t : Luce. Thenfirftcomcc. • . /v!few. You would pncuenc young Chartlyes marriage, you (lull: harke in your care* Luce. It plcafetn mee. wifew. You-foreftall Gratianet wedding,'tisbuttbus« Sencer. Iledoo’ t, fViftw. You would inioy Luce al your wife,and lye with her to morrow night.Harkc in your care. Bojfitr. Put. JVifevtomnn. Away, you (hall in/oy him,you are married , Luce away, you (hall fee Cbartiy difcarded from Gentian*, Sencer bcegon, and if I fayle in any of thefe or the red, I lay my fclfe open to all your difpleafurcs. Boy (ter. Farewell till foone: wifeweman. You know your meeting place* AU. Wee doc ? jyifcwoman. ieao 1 6 3 0 ISHO 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. I i 1841. Fiat.] Let it be done. ! j 1849. wiser] Pearson and Mermaid emend the word to "wise",j i making it parallel to "cunning". |l850. Exit.] "Exeunt all except 2nd Luce" (Mermaid). i i ! |1858-59. The . . . proface.] Mermaid prints these lines sol I ! las to emphasize their doggerel quality: "The . . , grace, / j |And . . . proface." j |1859. proface] "A formula of welcome or good wishes at a i i dinner or other meal, equivalent to ‘may it do you good,1 ‘may it be to your advantage'" (OED). See also How a Man i Mav 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 I rhyming with the line above. The earliest incidence of the ] y/ord that OED records is in 1680. 275 tin WlJi-wmvttfBttf**: wtrifam**. You (ball report a te wifcr and dinning COO* Exit. ‘ * . Luce. Ite'addcone night more to the time, I haue faid, I haue not many I hope to line a maid.. • E xit, Enter Taber nndfir Boniface a Trencher, with brokfn mtntt nnd * Nnfkjm. Trier, Fye/yciWbata time of trouble it this to morrow tomorrow is my miftrcflctobc married, and wccfcruing- men are fo pallid. v Sir B*nif*cct The dinner's halfe done, and before I fay Gracc.and bid the old Knight and his gueft proface • A medicine from your trencher, good M * T rier, As good a man as ere was i . Well tbinkc it nolheoMiaien of learning and wit, Ay flu-' dy gets a ftomacke, friend T rier a bit. T rier. Lick deane good fir Benifacet and fiue the fcra- per a labour* Enter Sencer Hks * Seryinfftutn, 0 4 Sir Bonifae. But foft let mee ponder: Know you him that comes yonder ? Trier. Mod heartily welcome, would you fpeakewith any heerc. ' Sene. Bray it tbeyoag gentleman of the hoiife at I tifure. Trier, Mane you toe orideerboae M * Chnrtlj. Sencer. I bauea Letter for him. Youfccme to be agen- tleanan vour (clfe, acquaint bias with my attendance, and L flull reft yours in allgood offices* Trier, sir Teniface, pray kcepc the gentleman company I will firft acquaint your lippes with the vertue of the Seller. - ■ Sir Boniface. Adefdtm come neerc,tQd taft of you heerc*' Welcome^/?** dele,far funfit te vrie% E xit, Seneer iaso le g o 1670 I860 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 j ! I never study willingly" and "A fat belly does not engender a | 'subtle wit" (Tilley, B285, 293). ! i ' jl879. Adesdeml Come hither or welcome. In The Fair Maid i of the .Exchange (II, 75) the conventional spelling "adesdum" jis used, but the "-dem" ending is an intensifier. i 1880. sine doler for puntis te vole! Without deceit for I Iwish a few words with you. The passage is much corrupted. The English "for" was apparently thought to be Latin. The jword "dole" should be "jflflLla," the ablative of "dolus." and * ■ the last three words should be "paucis te volo." Landis i (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. i I j i I 1881. ] There seems no reason why Sir Boniface should l I lleave the stage at this point. Mermaid gives no such 277 rkt w ift-wm 4 9 9 fB ig fd im - Sneer. When I tall of your liqmtr. Qnmeicy matter V icar • 2: frTaber with e t hewle efBe ere nnd m N tfkixe. Tether. Moil heartily welcome * your cur tefie I bcfccch you, ply it off I intreateyou,-pray fir Bnifnce keepc the Gentleman company • tnl 1 acquaint my yong matter with hiibnlincft. JB xie* Sir Benif. Tnbtr, I (hall befeleu mnnut, KThey diftmhU 1630 Setteer.fi veflre fernitor. \* n e te etnether •HftfrrHarlogattctd* Hnrring. Hee what art tbou, Sneer. Ahaitgeron.if itpktTcyou t Herrin*, And I a (haker of,ile not beneyour g«Uowar. You flulfnoc bang on awe. Enter Ghartly wkh hit Netyhin ettfrtm Dinner. O. Mr Bridegroome. Chnrtly. Gentlemen,theLadtetfcall vponyoa todancc» 13 0 0 they will be out oFmeafare difpleafed, if dinner becing done, you bee not ready toleadecbemamcaTure: Hnrrinjr. Indcede women love ifdt'to bee ftanted of their meature. chnrtly. Fie fir Benifete* t haue you forgotyoUr fclfe, Whitftyouarein the Hill, there** never a wbct&onc for their wita in the Farler t Sir Benifhee. I will enter and Tet an edge vpon their 1 ngeniet. Chnrtly. To mee fir, from whom f a letter to her moft 1510 dcerr/noft faring, moft kindfriehdMr.' Chnrtly cbefe bm deliuered: C ure from feme wcnchot other I long to know , the contend. Sneer. All of the following variants are recorded on O^, L4, EC, MH, and NNPM. 1883. Gramercy] Gr amercy 1887. off-l] off,I 1899. O. Mr] O-Mr 1911. deere, most] deere^most 1911. these] \these 1913. contents.] contente. CW Sencer.1 Sence. ; 278 stage-direction. 1890. besolas manual 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 bv Land and Sea (VI, 383). 1891. A vostre servitor. 1 Sencer probably means "At your service." 1895-96. And . . . mee.] Perhaps HaringfieId 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 joke 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 this reading, and Mermaid as well. 1914-15. Now . . . Timothy.1 An aside (Mermaid). 279 T i t Wife- wtmtm t f B tfo k * . Sencer* Now cocry quittance with you for' my Arc W ell (earn'd fir Timethy. Chnrtly« Goodnewes,as I line,there's for thy piines my good CnPnninmtx Hadft tbou brought nee word a y ft* therbadturndvp his heclcs. TboucotUdft fearcety haue pleaftdmeeb otters ( Hee readcs) though? difctaimc the name of wife* of which I account a y feife altogether vn- worthv*yet let aceclaine fome fmall intereft in your loue. tbit night I lyeat the houfe where wee were married, (the Wifewoaans 1 mcane ) where my maiden-head is to bee rifled* bid fayro for It, and tnioy it, fee mee th if night or ne ver, fo may you marrying GrttU**, and lotting mee.baue a fwccte wile and a true friend :Thia night or never, your tjHonlum wife (Hereafter yonr poore fwcct-hcart no other: Luc* . So when I am tyr'd with Gmtinnn, that it when I am pad grace. With her I can Bake my rendevowz* ile not flip this occafion,norileepe till I lee her, thou art an honeft lidde, and maift prooue a good Pimpe in time. Canfttbon adrift mee what colour. I may haue to compafle this com modity. StMter. Sir, (hee this night expeft* youf and prepares a coftly banquet for you. Chnrtly. lie goc,*ltbough tbcDevill and mifcbancelooke feigge. Stncer. Feyne fome ne wes that fuch a peecc of Lind is falne to you, and you mull inftantly ride to take pofleflion of it, or which is more probable,cannot you pcrfwade them you haue ccceiu d a letter that your Father lyes a dying. Chnrtly. Y ou rogue, J would hee didbnt the name of chit newcs is cal'd,too good to be true. Stncer And that if ever you will fee himaliue, you muft ride poll into the Country. Chnrtly. Enough . * if ever I prooue Knight errant thou lhaltbce mine ownC proper fquire, for this thou ball fitted mee witbaplotfdoeont waitc beerc note bow 1 will man- 0 2 0 1 3 3 0 I9VO I 280 T in W ifiw m m Tahr my horft, for I imft ride to night* Taber. To night fir* . „ Chnrtly. So tell my Bride and Father, I haue newes that quite confounds my fences. Enter Sir Harry, C ntiM i W Harringtndd. Gratiana. How ride to niglu,tbe marriage day to morrow. And all things well provided for the feaft. O tell mee fweeteB why doe yeulooke fo pale* Chartly. My Father, O my Father t. Grace. Wkatofhim. Sir Harry. What of your hther,SoBae t Chartly. Ifcrerl willbeere his aged tongue. Preach to mee coonfcU, or hisjpalPy band, --7 . 1 Stroake my wild head* and bleflfe mee# ot hia eyes x Dropcaarcby teare which they haueofcen done, At my milgorcrrid rioting youth. What faould f more# if ever I would fee* The good old manaUuc. Oh, Oh? Stnctr* Goe thy wayes for thou (halt ha't. Grace. But doe youmeane to ride* Chanty. Ey <7r*rs, all this night. Sencer. Not all the night without alighting fore t You l Bade mote in’c then to get vp and ride, Harrinr* The Gentlemans riding, bootea and fpurict* W hyTmbtri Chanty* Nay Grace% now s no rime. Joftaud onfcrapulous parting. Kneweft thou my buHneffe. Stnctr* AsfoecihallJcaoweit: Charily. And how I meanc this, night toroyfemy fcttc, Stnctr. Many hang you brodr. Chanty* Thouwowdbeaoaneiuy tnwcll. Sencer. I know c'woutdgrieue her: Charily* You father,<7r«t/fgoodMr HarringtfUU* You fir, and all pray for mec Gentlemen, that lathis darke night* journey I raay fiadefmoothway, fweccerpcedaod allthiogs to mynunde- Sir 195*0 1360 19*70 I 9 6 0 281 I jl932. compasse this commodity] Accomplish this enterprise. i >1932. colour] See the note to 11. 898-899. 1936-37. the . . . bigge] Perhaps a proverbial expression, although 1 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). 1968. 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 j 282 i jof the wedding. |l977. As . . . it:] An aside (Mermaid). i !1979. Marry . . . brock] An aside (Mermaid). "Brock" here I 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 . . . HaringfieId, / 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" (fi£I2, 19). Seemingly the reference is to women's garments, although the OED records no use of the expression to designate women's attire until 1761, some 340 years after its recorded use to designate men's apparel. 283 Sir Hnrry. W eci fee my fonnetakehorfe.1 J?*> '*»»* Grntinnn. Bat I wiUJUy. I want the heart to fee him port away t Sencer. Satie you gentlewoman , Ibaaeamefbgetode^ liver to one MiftrdTe Gr*tUn*t chit ftould bee the Koifbtt fcoafe her father. Gentians. It i t : The meflage thMt yon bane tober. Yon may acquaint mee with, for I am ooc [That knowct the iafide of her tbooghtt* Sencer. Are you the lad /i Grntinnn. sir lean the poore gentlewoman. Sencer. There isaconningwomaadweUanocfan* 'At Hegfden Lady, famona for her skill. Befidca fome private calke that much conccrnce yeor for- tuneainyour lore. Shce hath te&ewc yen ehif night ifie AaUpUafc you walkefofirivtt to b e houfi*aa admirable fnite. Ofceftly needle work* which if yon plcafc. You may by vnder-ratefor balfethcvalew, ' I t cefttne making, about fixe adocke. Yonauy bane view thereof batotbcrwiTe. A lady that bath cran'd the fight thereof* Muft bane the firft icfofall. Grntinnn. lie not fayle her. My huabaad beeiag due Aiy rid from bom* My leafiirefithrferoeemeeathankeyouMiftrdfof Sencer. Atuxcadocke. Grntinnn. 1 will not ftyle the hourc. E/tit: Sencer. Now to fir Harry,)u» lathe nem place. [To meete at Hegfden ||« fry re daughter Grace. E xit A8tu 16 . Seatsfrims. Enter eld M . Chartly nt new cent* ent eftbe Cenntrj Te inqnire After hie Senne^tnd three er fenre frr~ vine menwith Hew Centette Attend him. ........ H e old 1 9 9 0 2000 2010 284 Tin IV ifi-m m * t/HagJdea, 'Old Chart, Good hcauen ; This Lrmdtn is a ftringer g rowne,and out of my acquaintance, this firauen yearcs I sue not feene Panic ftceplc,or Cbeafeicrolfc* Gy It s. Sir. # Old Chart. Haft tbou not made inquiry fee my Sonne* GjUi. Yes Hr, I haosaakt about cucry where for him* ; But cannot hcsre of him. o id Chart. Difpcrfe yoor fduet, inquire about theTo- remei,Oi‘ dirur/es. Vnrle-aUjtt% Trniflenrtr, Gaminy-hen*. fit. For there ( ifcne ) bee wilt be found* Gyltu But w here (hall w ee heare o fy eer w orffiip againe. Old Chart, A t Grace Church by the Conduit, neere fir Harry* hut ftey,Icaue offs w hile yoor bootleffe {catch, had e 'te s m (acb s w M b n in e e s h it ( M O r of fiicbfmaB boos.w ho w hso hs t fltould haue married efsyrg, i m a t f , aodavertuousm aide, rich and revenew edw dl, and even th e night before the marriage day, toofae borferoad thence w hether H eavenhaow es, fioce thedtfbefted virgin hath left her Fathers boafi^but aeather feuadfyet in their feaith w ee haue aacalhrsd o u t much Grounds Enter Sir Harry uWSencer.. Sencer. Your Worfhip will bee them. Sir Harry. Yes, not to fey le. At halfean bourcpaft fixe, or before feaveti* Sencer. YoufbalL not node us at fixe and at fear eft, ife Warrant you: good health to your werflnp. E xit, Sir Harry. F«rcwdtfOOdf«Ue’ W, Ac thefrijewemant honfe I know te well t Perhaps fhee koowesfoBasdaager toochiugttte. I le kcepe aunehoui*. Old Chare t Sir Harry, a ] fiun. l.fbiUbebotdtoaukcyour houfemine Inner - > binds hand to balk yonit Were Sir 2020 2 0 3 0 2010 2050 I 285 2011. thanke you Mistresse?] Pearson and Mermaid assign jthis speech to Sencer instead of Gratiana. Since Sencer (1. 1990) speaks of "Mistresse Gratianaf" 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 men! 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 266 i " 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. 169-170. 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" (OED. 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. 287 Tht ffift-mtma* i f N$g(dtm, Sir Harry* Brother Chartly ; I lot glfd to fee you* Old Chart* Mee ehinkes fir Harry you looke ftrwifefy on mee. And doe not bid me welcome with an heart. Sir Harry. And blame mcc not to lookc amazedly» To fee you heart. Old Chart. Why mee f Sir Harry. Come come, y*are welcome. And now ile turnc my ftrangeneffc to true ;oy» I am glad to Tee yon well, and fafe rccomtdi Of your late grievous ficknefc. Old Chart. The ftrangeamascd lookca that yon cift off You put on met, and blame mee not to wonder, That you (hould talke offickncfTe to found men* I thanlcemyftancfcl did sot tail the grief e Of inward paine o r outward malady* This feavenyeeretday. Sir Harry. But by your favour brother. Then let mee haue my wonder back# againe. Old Chart. Before 1 qnitc pmt with it, M atte knowe, Why you the name of brother y e vpoo mee. Iaerety clanfc, a name as ftrangc to met . * As my recovered fickneft. Sir Harry* You are plcfant, And it becomes you well, welcome againe, Therathcr you arccomejuffcotbeWeddiog. old chart. W bat wedding fir. Sir Harry* Tbatyou Aoutd aike ehatqueBion . * Why of my daughter Grmt. Old Chart* Is frarrbeftow’ d / Ofwhomt pray. Sir Harry. Ofwhoro,butofyourfoime. I wonder brother Chartly, m i my friend* You (hould thus play on mee. o ld Chart. Butby your favour, Were you ttnnc Kntfht* Sir Harry, (cafce mee with you \ My fonne match with your daughter, myconfcet, H j Not 20€0 2 0 7 0 2 0 6 0 288 The IVife-wmsn $f fhtfdin* Noe worth/ to betcrau'd. Sir Harry. Nay.thenf fee: c — i.* You I ftirrc my patience* know this forw*rd mirch topw its firft birth from you* Oid Chart, From mee? Sir Harry, From you* Peiufe this fetter (know you your owneMnd* T* was well that I refero d,your hand • witnelTe Agai nft your tongue, you had beftdenie the loynter, * Of the three hundred pounds made to my daughter, Tis that J know youayme at,but your (bale* Old Chart. Shall not make mee approuc i t , I dcnye This Seale for mine, nor doe I vouch that hand* Your daughter and the dower, letter and all I quite ditclaime, fir Harry you much wrong mee.’ Sir Harry, I can beare more then this , Eespe wrong oft wrong,and ile fupport it all, I for this time Will cift my rpleenebehindmec# and yet hearemcrf This letter your foane Chartly as from you. Delivered mee* Hike the motion well* . . . Old Chart, My fpleeo is Airthcr throwae afide then yoors* And 1 am full as patient, and yet beare mee; My fonne's contra&ed to another maid, Nay I am patient ftUI, yet that I writ Jhis letter (eald, this imprefleldenye. ( Sir Harry, Why then toe jack your hand did counterfeit. Old Chart, Why then hee did fo, where’s that vnthrift fpeake? Sir Harry, Some houreagoe, hee mouuted and rid poll* To giue you vifit whoa hee faidlay ficke Vpon your death'bed* old Chart. Youamate mee fir. I t is an ill prcfage, hereon I fee* Your former falutation tooke its mound: To fee mee fafc recovered of ayfickncffc. Sir Harry. Indeed it did • your welcome is a fubje& 2 cannot 2000 2(00 2110 2120 289 T it Wif*>W*Md»$ftt$£p6H' I canbotyfe too of c, welcome againe, I am ftrry you this night mod (up alone t For I am eue-wbere cald about fome bufinefle, Concerning wbat I know not, howerarunon* I mud to Htgfdtn, high time I were gon. E x it. Old Chart. Perhaps to the W ifrmtmantfi^z may tell mec. The fortunes of ow Tonne, this accident. Hath bred in meeuifoition, and Grange feares* I will not Tup alone, but I proteft, !roongft Tome this night. He play the intruding gueft# E xit with hufervirtg-men. Enter the Wifewomas, Sencer, Luce an / ktr Father, i. Luce* fVifitw. But will Gr Harry come. Stnctr. Prefame bea will) and Chartly too* Father. He haue the knaue by the eares* tn c u (fay patience fir, leaueyour revenge to race* Enter M . Boyfter. s • , Bey/fer. Granam I amcoaaeaccording to pronaife? m fevt. And welcome to the beft hole that I haue in Beyfier. Good even. ( Htgfdenl Lnee. Thanks fir, a good even may it proue, Thateach may reape the bruits of their owue Love t %.Luce. That mall bee my prayer too. BeyRtr. Come what ftulTs doo* wtfew. Withdraw. lie place you all in fcvcrall roomes.'. Wherefit, lee, but fay nothing. • Exeunt, Enter T a b e r vfhenkg Gratiana. < T aitr. Hecre TwetteMiftrefle,I know the place Welle Tier Since I was heereto know my fortune. Gratiana, Cali owe femc‘halft m boure hence* E « > . ’ Enter 213 0 m o 2150 290 12077. piesant] “Humorous, jocular, facetious" (OED. 3). 12088. 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 "loynter" (11. 1560, 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 1605-1625 (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 other but can observe Chartley and Luce in the fourth cham ber (probably the main stage). All were probably visible 291 T in tr ifw m d * o f Enter the Wifeweman and s . Luce* wife** Your Ladifhip it moft lovingly welcome. A tow ftoolefor the Gentlewoman b o y :1 made bold to fend to you to take view of foch a peace of workr, aa I prcfume you faaoefcldomc feenethe like* Gratia, O f whofc doing, I pray. rri/ew. A friend of youra and mine*Meafe you withdraw lie bring youtoo’t. %*Lm»» M iftreflc. tvifew* Onecalla fweetLady*! (hall doc you wrong, But pray you thinke my little day not long: Enter Scnccr, fir Harry **4 Luce* Sewer. Here fir iu this rcey ring Cbimhcr* Sir Harry, Gramercy friend,bow nowi whatf here to do A pretty wench and a ctofe chaa*bertoo. Luce, That you haue fo muehgrae'e my Mother* houfe* W ithyour dcftred prefence worthy Knight. Rccciuea poore Maide# thanks* who’ s tnereta chayre Andcufliio for fir Harry, Sir Harry* Thank* moftfayrr, Luce. Pleafe you but a few minutes hcerc to flay: Till my returns,ilc not bee long away* Seneer, The gentlewoman w »U wake on you by and by H r. Sir Harry, And ile attend her friend. Of all thofe doubts I long to know tuc end:: Enter % , Luce andeldChardy. a. L ace. The Knight you feeke wee heere, or will bee freight, and if you bee the man you name your feif e. You are mod wekofpe, and you (hail notbackc. Till you hauefcenefif Harry, old chart, Gcntleyouth- .. Ifaw 2160 2110 2180 j 292 i 1 |to the audience, Chartley and luce continuously, and the i 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 I 2X79. The . . . sir.] "Exeunt Luce and Sencer" (Mermaid). i Lines 2177-78, spoken by Luce, suggest that she is leaving i 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 Chart ley, 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. 2180. 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 f I f W i f rm m m tflhfilm, I fw hl*w »rlw tre,eftfui^prielifdgf of W e acquaint IIJKCmadelbold toilay. Aw) you are welcome fir, B e downc I pray* irifiw . Now they areplac't in fevcraU roomes# that lookc ) ntofhca onci Were Chdrth come, w c had all our company. •• Itftrrr. ffarkei there* one knock* *ti, CW s/jrdninylife, l# r* . One o f you lec him in whilft I prepare m et To entcttaine hi* coam ing E n ttr jn * i Chortly. V fitrdi* t j Seoctr. Gkmrtlj, • IVhat t old acquaintance £*rr. Not aword / Yet foaw lip labour iftbou loecft mce. Gv*ti*n*. My Husband > S ir fin n y , W hat young Ch/trth ! Old Churt, How ? My fonne. Chdrth* Come,cmbc away w ith this wailing in woe, if thouputft finger Inf be eye a little longer, 1 (hall plunge in paint too prcttntly. Z u tr, O hutband.tosband, Ammr, Husband! Chmrtty, W hat fay ft thou myfWcetfc wife, Grd*id*d. W ifeIO m y hart. ■ : s.Z>«rr. In thataaaae wife! claiiitc a poorcchilda p u t. Lmct. O husband; How haue you uPd mee ! . 5 . Q hm . Nay how doe Im eaneho ufa thee f But u tw a a Should ufchia wife* “ Grdtkms, I hope hee doth not mean# to ufe her fc« 1 hope fo too, My gcanam is a Witch* ., Ghmu Nay Zmct, fwcete wife leaue weeping if thoo fou'ft ante* Lucr* O can you blame mee* knowing that the fountains of all thefe Springs tooke their f rft bold, from you, you know, yoo too will know, not tbrccd& s fincc arepaft,. fihce wee were married. Grdtiddd, Married* leanindntfno longer. 1 Sir 2190 2200 2210 2220 Both of the following variants Eire 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 j 295 jyourself, / You . . . back / Till . . . Harry." They seem I 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- j 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 sire 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. 2360 the Wise Woman speaks unmistakably to her. Hence Second Luce must have entered previously, perhaps with the Wise Woman and Sencer at 1. 2332. 2191-92. Now . . . company.] Mermaid prints these lines as prose, as they seem to be. 2192. jhts] The corrected state is "this". 2194-95. One . . . comming.] Stage-directions supplied by Mermaid indicate that with these words the Wise Woman exits, i 296 |and Sencer retires after ushering in Chartley. Obviously, I Luce must have what seems like privacy for her interview i with Chartley. The Wise Woman is not called back on stage until 1. 2332, when she returns escorted by Sencer and per haps accompanied by Second Luce. 2196. Enter . . . Sencer.] nEnter Young Chartley, ushered in bv Sencer, who retires* 1 (Mermaid). 2199. My Husband? ] 1 1 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 Mav 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 Aminadab's 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 Delightsr Arber's Reprints, pp. 57-59." See also Fortune bv 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. 1 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. O . , . 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 supraT p. 56, n. 14. 298 Tht Wift-wtman *fMijfit** Sir Harry, Itcannot bee. Oid Chart. I t if not pofllbfc. Myfttr. He bee even with thee* foe thi* old granam. ^ L uct. And though wee wanted witaeflevpooEvtb* Yet HeaVenbearmrecofd ©Four NaptiallTye. • ,, Chart. Ttttowben Wceipeetcin heaven of that. May cone you affe,you Joole, what* ptft if paft* . . Though man and wife* yet 1 muift marry npwe. Another gallant* hcere's thy letter I* w .,. s And thia night! intend to lodge with thee. % .Latt. I ’lekratch bet eyes out although I M her. • Charily. Prethe bee merry f 1 haue nudcagull of G ra tt« and old fir Harry think* mcc agrcatway 00,1 tould the K night I T < My father l«r a dying, toolm poft herftfc Rid oat o f fftlhtr**, turn'd by JfU*it»*f So, hither w enthto lodge all night w ith thee. Uteres onelaithnay to tb u , ' oUckart, Wat that your journey . * C hanlj. Why I haue toomuch o f already* Tayjlir. Thou halt no grace at a ll... , Chart lj. Nay let* to bed* it thou conldft betimagin bo#, I lone thee £*rr. . iv* lo u t. How i* it po&ble you can tout mee, and goe about to marry another. Chartly. Doft thou dot know f lic tlik b / W hy you fooleaarabheasl haue got her dower* it is but giaing her ndram, or a ptU topurge eadanvcboly to make her turner* her hcaka.ind then w ith all that wrtlth*eomeI to Muowiflh fbeemy fwcete raakall. Gratiana* Shcc thank* rotund i* much beholding to you." C hart/j. 1 im b ttn ip Gratiana. Art thim my fiiiterf would'ft thou marrymef. 'Anethy firft wife aUuo, then poyfon m e^ : TopwchaTc my poorcdowto C han', 2 2 3 0 22*fO 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 suprar 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 975-1700 (Philadelphia, 1964). 300 C k m ty .W h tt fhall I fajri or thlnke, or do^ I aaa ar i Honjpluf. GrttUn*. Haft thou the face, thoubruen impudence, {To loofcerponntce pall grace. Ckmrt. Thou canit nor properly call meepaft grace, far' 1 never inioyd thee yet.' I cannot trtl, whether Jblufhor noibntl haue now at thi* time, More G rtct, then I a n tell w hit to doe with. GrstuMM. W ho drew thee to this folly f C h m lj. W ho hoe the old dotard thy Father, gr.ho when Z wa» boodHy warned to a d rill maide, hee perfwadcd a c e to lease her, Iwasloethat fir/tyweafter intreatfog, vr- fin g ,an d o M n g wee luge profforc, I nuftconfcfle I wae lcdac’c tocMM a wooing to thee. Gr*cu l|y father, eiuafte. Chart. By thy father C w i, And w en hcheeraZ would teftifie it to the old dotard* face. S ir Harry, Vil’ d boy ebou dar'ft not bw fo impudent* .When did 1 meete tbee*feclcc or (be to thee: t W ben f Name th e day, the ua»qth,thc boocf jtbeyearb. C barth, Plot*. plot*. I On butctyyoaaercy both, . Say that I haue ooneyou w rong,! a n h a but forty for it, hutiadeedc todcareyou, and lay the fault where it ought to bce> Ail thiecoMca from mine ©wne father in the coun trey* who hearing 1 had married with Lm e, Sendsoee Word of hifl blcffiogto b a divorfk from ber, aodtocoOe a foicer to your daughter, I tbinfce you haue Up hand and ftaic to flow - ' O ld Chart* If y hand and feale, when wa* tfbar letter w r& Chart. Heyda.if you get one word more or me* tonight; but fcunry lookee, ilegiae you lease to hang n o * , S ir H arrjt Vildehoy • q U Chart. Vngradouarittaine. Gratiana, Trecberostyaoth? . , dYryftrry. Nogreccatall? v C W r. Ne grace* l a OU Cbartly* 2260 i 2270 2260 2290 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 (L^, E, CSmH1, EN^, IU, TxU) the "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" (£££). 2261. face] "Impudence, effrontery" (OEDf 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 stage. 2287, My . . . writ,] Mermaid indicates that Old Chartley enters while uttering these words. 2289. scurvy] "Discourteous" (OED). rhi Charts T W iif b a d c o m p a n y w h o h a th fednc'trheef- sjeike o n m y b le flin g , w h o 'h ath th u s m ille d thee? But no morf lyes 1 charge thee* . c ' Chart. B a d c o m p a n y h athb m the flta m e < * F m e e ,I w as w v c rtu o u A y g iu e n as a n y youth in Burt f t t till I fe ll into one Brjftert c o m p a n y * ; tti b e e that hath d o n e a ll the h arw e o p * o n m e e . c ttr tT And ifheefliouW deny it f Brtfirr. W hat th en y o u ’ d c ry h u n o te n c y . " Chart, Ihadbellbiteoutm y to n g u e ,a u d fp a n k e n t o n a o rd w hatfhall’ ldoe.'orwbatlhalll la y , th e re it n o o u r* fsc itig th e m id ): G e n tle m e n , F a tb e rfc w iu e t, o r w hatelfc. I b a n e w ro o g d y o u all. I c o n f e f f c it that I h a p e . w hacw ou ld yo a aorc,will a n y of y o u ra y le of nee t U p b e a r # it; w ill a n y of y o u b ^ atem ce? S o th ey ftrik c not c o o h u d * Itc fo ffc r if * w ill a n y of y o u c h a lle n g e m e e ? tlean fw er it. W hat w o « r td y o u h a u e m e e fa y , or d o o .f O ne ofthefe I h a v e n a a rrie d itb e otherl h a u e b e tro th ig h y e t both m a id e t for m ee; W ill y o u h a u e m e e tak e o n e, a n d le a u e tbetotbpff I will, w ill y o u h iu e ib e e k e c o te thttabofb Mwiii. Fathtrl P c rtu re a n o rm in e . Ch&rt. W hat you hetre too? Nay tfaenMceaUaay good friends ary mee together, wilt thou haue mee h u n t la m thy Niobafid' and had lo o t loud thee better thctiGracr. !• hid^MrtdiCippointed thaafarriageday tomorrows - • h u c t . Lafciulous do. Charity. W ile th o u h a u e m e e C ran, fo r h a d I not t o u * d » th e e b etter th en X err. 1 w o u ld n e v e r after 1 b a d W a rn e d herb in con traftedco thce* . . Grat*. Inconftantno,. ' , Chart. T h e rtn ie ith e r m a rrie d m iH jW id d o w n u rb e td b e fle r, w hats to b e e d o n e ? U e e re s o v e n the p ro v etb e rcrifi‘ d > b c - tw e e n e to o (to o le s, the te y le g o es to g ro u n d . . S ir Harry. &>w I bethihkemcc chisour meeting heere it wondrous flrange, cad in the Gentlewoman that ownes thuthouTco E nttr 302 2 3 0 0 2310 2320 2 3 3 0 2295. Chart.1 The cafcch-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 '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. 304 TM Mfhmm— $fM^gfdm§ M *trrSt*Ctt **dth$ Wifewomaot H r/ like * pntltm **. * i i * * * J tijjitr. Old trot, ilc trounce thee. Here it the Marriage prou'd twixt LuU and CW//y,wicch this wai not your promife. M'ifi w. Haue patience*and in, the end wee*! pay you all. Your worihipiju'e moft kartily welcome. 1 made bold to fend For you, and you may fee to w h it and.w bichw ai to dtfcovcr vnco you, the wilde vagaryesofthis, o f this wan* ton wag pafty, a wil-doatcs 1 warrant him , and fir Harry chatyour/Uughttr ba*h fcap'c tfcia iIcouring, thanke this gentleman. andthenmakcor b in as becdetcnme. Sir Horn* O ,1 remember him. Gr*c*. Hee navcrpleaPd mine eve fo well at now. I know hi* Love,and bee in Cbmrtljtt place My favour fhall pefleffe.. S$*ctK Thaoka m ylw ^te Gr+t*. Sir H*r. By andthemoce the tnconrtant youth. tt> fpighr. S ttu tr, I gaue her thee in Cburtlyt* fight. i ’ ) • Ch*rt. There'* one gone already, butchiaiamy wife and birile keep* iu fpight both of thsDcvilUnd kisdam. - tTifiw . NMfmtnberJawfull Husband. Ch*rt, T hitaail,." ffG ftw . TbttistbeGentlemfftiaeccpt himLuc*, And you then tikcof her, nay iltm akeit.good, TbU gentleman married you..vifarded , you him diTgnifd: tnlfuking him for Ch*rtlj+ which none but m fb ey I*ck wtiprivy too; after Oiee chang'd her habit w ith him , a t you with lick* And you in miSttttftZfUc** habit. Luce. May I bcleeue you mother. rvifrm.. This bee your token. . Byfi. Her that Vmarried, I wrong twiceby the finger. Luce. O f that token, my hand wacfcnfiblc. And ere the clamorous and loud noife bee gone. 1 wmfperd to her thus* 1 j Luce 2356. disguised] disguis'd 0^“^, L3-^, CtE, EC, DFo1*3, MH, NjSH, NNPM, EN2, ICN, NNPf, SR, LVD, LU, PU, OW. 2 3 i 0 Z 3 5 0 2 3 6 0 305 i Tin Wifvvnum #/ ffij'fM', Y d i r e t b e n u i ‘ 1 * Byfter, Thanks granam, what thou proraifcthoU hall done* Father, And feauing him, I rakeydufor my fonne. Chart. T wo gone,then wbercatbe third,tb s nydccs n ef mad, where is my wife thou, fair ewifeFWd. Hftftw. Not fee thy wife. CotMf hither jack my boy. Nay take bin to tbee,andwithhim all jofr. O ldchart. Well art choufcrtfMcdbte agtnertUfcofne, Toallthybtaid t and ifnocfor our fakefc ' „ For thy foulm health and credit Ofthe world, Hauefone regarded to meoiob mee thy^idivr*1 Cbartij. Enough fir: if i Atoutd (ay I woefii ftaBeme A new man j You would not take'my w£rd. ; Iflfliouldfwcare. I would amend my lift* . . You would not take mine oath, if I flioud hied itty felfe. • to become an honcft man yeawobWicttdfc take my bond. OtdChm<% Atoulddoe none of theft. ' Chartlj. Then lee fir, when totfl your judgemental fee me paft grace » doe/lay boldofO*cr, and heere begin to retyre m y X elfe, this woman hath lent mee • gla&,ih which £ (eeallmy tmyerfedkiont, ac whknmy'confcitDCt doth snoreblufli inwardly, then my face outwardly,1 and now L dareeonfidently vndtrtake for my fdfe X am honcft. n* Luce. Then I dare confidently rndertaketo help.epou to a wife whodefireato haue in honcft manpr none, looke on mee wetLfimple choogb I ftand heercl am your wife, blulh notat yourfoUy man, perhaps I haue more in mee, then you cxpeft from mcc* Cbartlj. Knavery and riot both which* are now to mee ' meanefbrigc. » * Lm t. You and I haue bin better acquainted aad yet fearch mee not too ftrre lead you flume meciloekc oa moe w ell, nay better, better yet, ale allure you I left ofa petti- coate when I put on thefit breeches, What fay you now, iheeskattert hef hayre. Chart, 2 3 7 0 2 3 8 0 2 3 3 0 2 7 0 0 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 "give." 2355. then like] the like (Pearson, Mermaid). 2356. disguised] The corrected state is "disguis'd". 2358. after] "Subsequently, at a later time; afterwards" (fiEfi, 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. 307 T4t Chart > Virftloneitod bed beloved ? a* Lace, Let aebce.bothor neither* frt/ew . M y b t f turn'd girlc V ' hope Ihee’ I Ireepe m y counfcil from henceforth, ile never entertain© any fervent but ile baue her fetiche. . . . O ld chart. Her Imre hath dnwne bcr hither after him* My loving dingbter welcome tbou haft ranne, A.nappy coarfc to fee my fonnethui chang’ d. • Chart lj. Father., call a c e once againe your forme, a d fir Barry nee your friend: Seaeir at) hind t aod miltrefle Grace an hart, in honourable loua. Where I haue wrong'd you Lac* foreiue. Impute a y crrours to a y youth not mec» w ith Grace 1 interchange, an imbrace w ith you L*e*$ a parting bu(Te I wilhyouafljey* deride my heart aaongft you, tnoomy foole* Nay mother midnight therce fane loue for you* One o f thy folly, beemf reputed wife* Wee.fdfe conceited b a a oar foUyeafouod: Bctre tbou the naac^ef all tbefiiooauck n fta Lncr, Luce Grace A QcoTitOUiaan) Ifcc^ . I fo u g h t to in g ro ffc v v n a t now fuficeth th re e * Yet each one wife#enougb, one NuptfaU Feafl: Shall feme three Bridalu where* bcc thou chicfc gueft.‘ . Eteeuat em atsi. 2*HO 2 ¥20 Explicit A B t u 14. 2387. lent mee a glasse] Woodrow W. Powell (pp. 238-239) cites instances of Heywood's fondness for this figurative use of "glass," "crystal," 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- f wife" and also "bawd," both professions of the Wise Woman (OED. Midnightf 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 supraT pp. 1-3. I have discovered nothing certain about the identity of Samuel King beyond what A. M. Clark has recorded (Biographyr pp. 59, 165). 309 ik i MfrwtwH* /ft** H IS c h o s e t n f r i e n d , the learned Author Mr T bw tuu H ty w w d . T ften wM H ti at Herald te divnlge thyfam e; ’ tneedet n tA ftlty ie ; Only thy name • ln t9 jn d kitm Readerxt detb in fn ft j A w id : ttadde'a Gawrell t t thy m n ft; W ar an* MttcCRM living. Hew weald hee S n fftr i thy learned wit I Whefe indafry IO H athfam hafdfacha hgeewmg *t£H • That theft fyhe read admire th te j teffefeme G nticfo fhewet Hie Ignorance infetking With new fea rt0 T e gatne the benenr • Wh eh te thee'bnengt. B at let fa it envie M ehforth a ll her /fir m Thy Candid faa$e/bn/ljN llletiti*new m tt- * : Voff et ted, fnrtt andfhtrr, tUl m eiiH eiyt ' < ■ '• Be ta m 'd oblimtont er a D eity,' • *- Treuem ertell% And when hitopoajhatdee * Thefatalle]ficet her bt&tagt v n tt • 2 0 Apollo w iltrA rta tb * life im thee. In length teetf matt all eternitye where in Btysian \*y** hte w ill fe raife Thy worth where myer; wither (hall the bayet Wherewith bee crewnes thte j S t thy werkt w illy lew. The D eht / fay 'erne mere bnt what I ewe. * Sa m v il K in g . FINIS. % BIBLIOGRAPHY 310 BIBLIOGRAPHY Adams, Henry Hitch. English Domestic or Homiletic Tragedy 1575 to 1642. New Yorks Columbia University Press, 1943. Adams, Joseph Quincy. Shakespearean Playhouses. Boston: Houghton Mifflin, 1917. ___________________ . "Thomas Heywood and How a Man Mav 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. 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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 Plavs 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. Themes and Conventions of Elizabethan Tragedy. Cambridge: Cambridge University Press, 1935. Brant, Sebastian. The Ship of FoolsT ed. Edwin H. Zeydel. New York: Columbia University Press, 1944. Brewer's Dictionary of Phrase and Fable. 8th ed. 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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

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Literature, General,OAI-PMH Harvest

Language English

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Advisor Lecky, Eleazer (committee chair), Arnold, Aerol (committee member), Butler, James H. (committee member)

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