  [1] Vid. Appendix. [2] Reprinted in Mrs. Bray's Tamar and the Tavy. [3] Printed in The Court and Times uf Charles the First, &c. Edited, with an introduction and notes, by the author of Memoirs of Sophia Dorothea, Consort of George I., &c. (Vol. i. p. 104. London, 1848.) 8vo. [4] Mr. Fleay thinks that Dick of Devonshire was written by R. Davenport. "The conduct of the plot," he observes, "the characterisation, the metre, the language are very like the City Nightcap." The reader must judge between us. I find it difficult to believe that Davenport could have preserved throughout five acts such clear directness of style. [5] The old form of "pop-gun." [6] Xeres. [7] Cadiz. [8] Span. picaro, a rogue or thief. Nares quotes several instances of "picaro" and "picaroon" from our early writers. [9] It would be an improvement to read "enkindled," or "kindled at the first." [10] Cf. Heywood's Faire Maid of the West: part one (Works, II. 306), "And joyne with you a ginge of lusty ladds." The meaning is "band, company." The word is not uncommon among Elizabethan writers, and is also found much earlier. [11] Span. caraca, a ship of large size. Nares quotes from Beaumont and Fletcher. [12] Halliwell quotes Minsheu: "The Spanish borachoe, or bottle commonly of a pigges skinne, with the haire inward, dressed inwardly with rozen and pitch to keepe wine or liquor sweet." Hence the word came to be applied to a drunkard. [13] A stately Spanish dance. Nares' article sub. 'Pavan' is full and interesting. [14] The repetition of the words "such a" is probably a clerical error: the Alexandrine is clumsy. [15] Skirmishers or sharpshooters. [16] Nares quotes from Taylor's Workes, 1630:—"So horseman-ship hath the trot, the amble, the racke, the pace, the false and wild gallop, or the full speed," &c. [17] Street bullies, such as are introduced in Nabbes' Bride, Middleton and W. Rowley's Fair Quarrel, &c. The exploits of a "Roaring Girl" are admirably set forth by Dekker and Middleton. [18] The full form "God refuse me" occurs in Webster's White Devil (ed. 1871, p. 7), where Dyce quotes from Taylor, the water poet: "Would so many else in their desperate madnes desire God to Damne them, to Renounce them, to Forsake them, to Confound them, to Sinke them, to Refuse them?" "Against Cursing and Swearing," Works, 1630. [19] "The Saturday Night, some sixteen sail of the Hollanders, and about ten White Hall Men (who in England are called Colliers) were commanded to fight against the Castle of Punthal, standing three miles from Cadiz: who did so accordingly; and discharged in that service, at the least, 1,600 shot." Three to One, &c. (Arber's English Garner, I. 626). [20] Sc. companions: Mids. Night's Dream, III., i.; Shirley's Wedding, k. v., &c. [21] Middleton says somewhere (in A Fair Quarrel, I think):— "The Infinity of Love [22] To "look babies in the eyes" was a common expression for peering amorously into the eyes. [23] Sc. fagot. [24] "Barleybreake" (the innocent sport so gracefully described in the first book of the Arcadia) is often used in a wanton sense. [25] A common form of expression. Everybody remembers Puck's— "I'll put a girdle round about the earth Cf. Chapman's Bussy D'Ambois, I. 1.— "In tall ships, richly built and ribd with brasse, [26] Furnished with "bosses," which seem to have been the name for some tinkling metal ornaments. Nares quotes from Sp. Moth. Hub. I. 582:— "The mule all deck'd in goodly rich array, [27] Cf. Spanish Tragedy, sc. vi.:— "A man hanging and tottering and tottering, (Quoted by Mr. Fleay in illustration of the "tottering colours" in King [28] One is reminded of Shakespeare's— "Had I as many sons as I have hairs, [29] "That e'er o'erclouded," I should prefer. [30] MS. Exit. [31] Eringoes are often mentioned as a provocative by early writers: Merry Wives, v. 5, &c. [32] Sc. mallet. [33] Sc. I lying in my trundle-bed. [34] To "make ready" is to dress; so to "make unready" is to undress. The expression was very common. [35] A large salt-cellar was placed in the middle of the table: guests of importance sat "above the salt," inferior guests below. Abundant illustrations are given in Nares' Glossary. [36] In Brand's Popular Antiquities (Bohn's Antiq. Libr., II. 70-77) there is an interesting article on "Groaning Cake and Cheese." [37] A large coach: the derivation of the word is uncertain. [38] The next word is illegible in the MS. We should have expected "Exeunt Fer., Man., & attendants." [39] Vid. vol. i. 307. [40] The schoolmen's term for the confines of hell. [41] I have followed the punctuation of the MS., though I am tempted to read, "What to doe? pray with me?" [42] A stage-direction for the next scene. [43] Sc. bravadoes. [44] The biting of the thumb is here a mark of vexation: to bite one's thumb at a person was considered an insult (Rom. and Jul., i. 1). [45] A diminutive of "cock" (Tempest, ii. 1, &c.). [46] The conceit is very common. Compare (one of many instances) Dekker's Match me in London, iv. 1— "You oft call Parliaments, and there enact [47] The reading of the MS. is "snapsance," which is clearly wrong. "Snaphance was the name for the spring-lock of a musket, and then for the musket itself. It is said that the term was derived from the Dutch snap-haans (poultry stealers), a set of marauders who made use of it" (Lilly's Dramatic Works, ed. Fairholt, II., 272). "Tarrier" must mean "a person that causes delay": cf. a passage from Sir Thomas Overbury's character of "a meene Petty fogger":—"He cannot erre before judgment, and then you see it, only writs of error are the tariers that keepe his client undoing somewhat the longer" (quoted in Todd's Johnson, sub tarrier). [48] "One being condemned to be shot to death for a rape: the maid [sic] in favour of his life was content to beg him for her husband. Which being condiscended unto by the Judge, according to the lawe of Spaine in that behalfe: in steps me the hangman all in a chafe and said unto the Judge. Howe (I pray you, sir) can that be, seeing the stake is already in the ground, the rope, the arrowes, the Archers all in a readines, and heere I am come for him." (Anthony Copley's Wits, Fits, and Fancies, 1614, p. 120.) Here is another merry tale, with rather more point in it, from the same collection:—"A fellow being to suffer, a maide came to the gallowes to beg him for her husband, according as the custome of Spaine dispenceth in that case. The people seeing this said unto the fellow: Now praise God that he hath thus mercifullie preserv'd thee, and see thou ever make much of this kinde woman that so friendly saves thy life. With that the Fellow viewing her and seeing a great skarre in her face, which did greatlie disfigure her, a long nose, thin lips and of a sowre complexion, hee said unto the Hangman: On (my good friend) doe thy duty: Ile none of her." (p. 160.) [49] Cf. Rom. and Jul., I., iii., 76, "Why, he's a man of wax," where Dr. Ingleby (who has no doubt learnt better by this time) once took the meaning to be, "a man of puberty, a proper man." Steevens happily compared Horace's "cerea Telephi brachia." [50] The old spelling for "bawbles." [51] "Slug. A ship which sails badly." Halliwell. I cannot recall another instance of the use of the word in this sense. [52] The "trundle-bed" (or "truckle-bed") was a low bed moving on castors. In the day-time it was placed under the principal or "high" bed: at night it was drawn out to the foot of the larger bed. Vid. Nares, sub "truckle bed" and "trundle bed." [53] The reading of the MS. is unintelligible. For All. I would read Alq., and for "Law you?"—by a very slight change—"Love you?" (the question being addressed to Henrico). Then what follows is intelligible. [54] "Flay" is usually, if not always, written "flea" in old authors. [55] MS. "For 3 hellish sins:" the word "For" is no doubt repeated from Fer. [56] The passage might be tortured into verse, somewhat as follows:— "Nay but [57] We ought, no doubt, to read "professed,"—a trisyllable. [58] An allusion is intended to the tailor's "hell,"—the hole under the counter. [59] Vide note on Vol. I., p. 175. [60] MS. tracning. [61] In the MS. the stage direction has been altered to "Enter Sir Gefferie & Bunche." The whole of the colloquy between Sucket and Crackby is marked as if to be omitted. Doubtless this was one of the "reformacons" made at the instance of the Master of the Revels. [62] Such would seem to be the reading of the MS., but it is not quite plain. I suspect that the true reading is "tripe-wives" (cf. oysterwives, &c.). [63] I.e., BesÁr las manos (hand-kissing). [64] MS. "will." [65] Perhaps we should rather read:— "Fie, Sister; [66] The words "I faith" have been crossed out in the MS.—as being irreverent. [67] MS. "whom." [68] Cf. The Ladies Privilege, i. 1. (Glapthorne's Works, ii. 99)— "For my services [69] In the MS. the word "witnes" has been crossed out and "vouchers" substituted. [70] The introductory part of this scene, up to the entrance of the steward, had been omitted by the copyist and is added on the last leaf of the play. [71] In the margin we find the words "Well said, Mr. Steward: a good observation." [72] "Pride" has been crossed out in the MS. [73] "What? does he plucke it out of his Codpeece? Yes, here lyes all his affeccon."—Marginal note in MS. [74] "A verrie politique drunkard"—"I think the barrell of Hedlebergs in his bellye."—Marginal notes in MS. [75] "Tis well his friends here to reconcile … … for assault and battery elce."—the other words in the marginal note are illegible. [76] "It were but cast away on such a beast as thou art." Marginal note. [77] To "take in" is a common phrase for "to take by storm." [78] Pappenheim fell at the battle of LÜtzen, November 16, 1632; but there had been fighting at Maestricht in the earlier part of the year. [79] MS. pdue. [80] The first reading was—"Hold, hold, good Captaine, tis our most temperate Steward." [81] 'Heere, here' is a correction (in the MS.) for 'what then?' [82] MS. Trime. [83] These words are crossed out in the MS. [84] Therefore this play would seem to have been acted at the Whitefriars, i.e. at the Salisbury Court theatre. (F.G. Fleay.) [85] The "jig" seems to have been a comic after-piece consisting of music and dancing. In Mr. Collier's Hist. of Dram. Lit., iii. 180-85 (new ed.), the reader will find much curious information on the point. The following passage from Shirley's Love in a Maze (1632) is not noticed by Mr. Collier:— "Many gentlemen —Works (ed. Gifford and Dyce), ii. 339. [86] MS. him. [87] The name of the musician, I suppose; but the reading of the MS. is somewhat illegible. [88] The passage at first ran as follows: "Umh, how long have I slept, or am I buried and walke in Elizium as the poets faine? Goe to, where are they? in the ayre? I can percieve nothing nor remember anything has been don or said!" [89] 'Grimes. Soe, now retire a little. Ile play him one fitt of mirthe on my trebble to rouse him. Ext.' These words occur in the left-hand margin. Probably they should stand here in the text 'Ext.' may mean either 'exeunt' (musicians) or 'exit' (Grimes to disguise himself). [90] 'Who are these! ha! the towne waits? why, how now, my masters, whats the matter, ha?'—Passage cancelled in MS. [91] 'Bakside' is a correction (in the MS.) for 'buttock.' [92] "Here Gent[lemen], share this amongst yee and pray for Grimes." These words (addressed to the musicians) follow in the MS. but have been scored through. [93] The MS. gives "aurescion." [94] The reading of the MS. seems to be "inuolute." Mr. Fleay suggests "invocate." [95] The repetition of 'loath' in the next line is suspicious. [96] The arrangement of the verse is not easy: perhaps we should read— 'Wishes for husband. Our author usually makes a trisyllable of "gentleman"; here it counts only as a monosyllable. [97] Between this word and the next there is a mark of omission in the MS., and the words "t'were Sir" have been written above. [98] What follows, to the entrance of Thurston, is marked to be omitted. I have thought fit to restore it to the text. "Here's Mr. Thurston," concludes Clariana's speech. [99] Cf. a similar passage in Glapthorne's Wit in a Constable (Works, I. 182):— "a limber fellow, From Shirley we learn that the apprentices took their pleasure in the mild form of treating their sweethearts to cream and prunes:— "You have some festivals, I confess, but when Pimlico seems to have been a place near Hoxton famous for its ales and custards; cf. Mayne's City Match, II. 6.— "Nay, captain, we have brought you There is an unique tract entitled "Pimlyco or Runne Red cap, 'tis a mad world at Hoggesden," 1609. [100] I cannot find that "bob" is used as a technical term in falconry. Mr. Fleay suggests that a "bob'd hawke" merely means a "hawk cheated of her prey." I rather think the meaning is a "hawk beaten or repulsed by her prey." [101] From "A Kalendar of the English Church," p. 45 (Rivingtons: n.d., but 1865), one learns that "Marriage is restrained by Law at the following times unless with a License or Dispensation from the Bishop of the Diocese, his Chancellor, or Commissary, viz., from Advent Sunday until eight days after the Epiphany; from Septuagesima until eight days after Easter; and from the Monday in Rogation week until Trinity Sunday." [102] I venture to insert the word "poet": both sense and metre are defective without it. [103] In the MS. "thee" is corrected into "you." [104] Some words have been cut away. [105] MS. throng. [106] "Thu. And here she comes, I feare me"—crossed out in the MS. [107] Here a line follows in the MS:— "And verely she is much to blame in it." It is crossed through, and rightly. [108] "Puny" is not uncommonly spelt "puisne" (Fr. puisnÉ) in old authors. [109] The metre requires "unman[ner]ly." [110] MS. have. [111] MS. puisants. [112] The "Artillery Garden" was situated in Finsbury Fields, where also was the place of exercise for the City Trained Bands. In the "Antiquarian Repertory" (ed. 1807), i. 251-270, the reader will find an interesting account of the Trained Bands and the Artillery Company. Old writers are fond of sneering at the City warriors. The following passage is from Shirley's "Witty Fair One," v. 1:—"There's a spruce captain newly crept out of a gentleman-usher and shuffled into a buff jerkin with gold lace, that never saw service beyond Finsbury or the Artillery-Garden, marches wearing a desperate feather in his lady's beaver, while a poor soldier, bred up in the school of war all his life, yet never commenced any degree of commander, wants a piece of brass to discharge a wheaten bullet to his belly." [113] "Vinum muscatum quod moschi odorem referat, propter dulcedinem, for the sweetnesse and smell it resembles muske," &c_. Minsheu's Guide into Tongues (apud Dyce's Glossary). [114] "Mooncalf" (originally the name for an imperfectly formed foetus) was used as a term of reproach, like dodypol, nincompoop, ninny, dunderhead, &c. [115] Sc. trifling fellow, noodle. [116] The blades from Bilboa in Spain were esteem'd as highly as those of Toledo manufacture. [117] MS. two. [118] "Striker" is a cant term for a losel, a wencher. [119] "Mew" is a falconer's term for the place where a hawk is confined. [120] This passage is repeated in The Ladies Privilege, at the end of Act I. [121] "Curst" is an epithet applied to shrewish women and vicious beasts. [122] This is the prettiest passage, I think, to be found in Glapthorne. [123] MS. me. [124] "Oh me" is crossed out, and "once" written above. [125] The passage is bracketed in the MS., and was probably meant to be omitted. [126] MS. Its. [127] Throughout the scene "judge" is substituted in the MS. for "recorder." [128] MS. know. [129] This passage is bracketed in the MS. It could hardly have been expected to escape official censure. [130] MS. led. [131] Bracketed in MS. [132] Early Greek writers held up the Scythians as models of justice and simplicity (Iliad, xiii. 6, &c.). Clearchus (apud Athen., xii. 27) accuses them of cruelty, voluptuous living, and viciousness of every kind; but, in justice to the Scythians, it should be added that in his "animadversiones" to the "Deipnosophists" (when will somebody complete and print Dyce's translation?) the learned Schweighaeuser in no measured language accuses Clearchus of wanton recklessness and gross inaccuracy. [133] "What is the matter there? looke to the prisoners," was the first reading. [134] The passage is bracketed in the MS. [135] Erased in MS. [136] Before correction the passage stood "And now, madam, being your servant and Timothy I bring you newes!" The words "Stay, stay Mr. Justice," &c., were inserted afterwards. [137] Bracketed in MS. [138] The reading of the MS. appears to be "a lonly." [139] Bracketed in MS. [140] The MS. is a folio of thirty-one leaves, written in a small clear hand: it was purchased for the National Library in 1851 from the Earl of Denbigh. [141] In May, 1622, "by reason of sickness and indisposition of body wherewith it had pleased God to visit him, he had become incapable of fulfilling the duties and was compelled to resign."—Vid. Collier's "Hist. Eng. Dram. Lit." I. 402 (new ed.). [142] Mr. Warner, of the Manuscript Department of the British Museum, to whom we owe the excellent Catalogue of the Dulwich Collection, kindly drew my attention to the autograph letter. [143] In the right-hand margin we find "Jo: R: migh."—the names of the actors who took the Captains' parts. Further on the name "Jo: Rice" occurs in full. John Rice stands last on the list of Chief Actors in the first fol. Shakespeare. The reader will find an account of him in Collier's "Hist. of Eng. Dram. Lit.," iii. 486-88. It is curious that he should have taken so unimportant a part; but perhaps he sustained one of the chief characters besides.—"Migh" = Michael. [144] It seems to have been no uncommon thing for officers to keep the names of soldiers on the list after their death and pocket their pay: cf. Webster's "Appius and Virginia," v. i., &c. [145] The reply of 1 Cap., extending to thirteen lines, has been scored through in the MS., at the instance, I suppose, of the censorious Master of the Revels; it is, unfortunately, quite illegible. [146] The MS. reads "Enter Barnavelt, Modes-bargen, Leidenberck, Vandermetten, Grotius, Taurinus, Utenbogart, Hogebeets." Names not in italics are scored through. [147] MS. Tau. Hog. [148] All the characters remain on the stage in spite of this direction. [149] At first the line ran, "Of this proud Prince of Orange, at the worst." [150] MS. Enter Pr. of Orange, Gr: Henrie, Gra: William, Collonells & Captaines. Gr: Henrie and Collonells are scored through. In the right-hand margin is written the name of an actor, Mr. Rob: [151] The words "I feele too" probably belong to another speaker. [152] Fletcher is fond of using "ye" for "you." [153] In the MS. there is a marginal note:—"I like not this: neither do I think that the pr. was thus disgracefully used, besides he is to much presented. G.B." The initials are those of Sir George Buc, Master of the Revels. [154] "Shellain" is a corrupted form of Dutch schelm—a rogue, villain. [155] The stage direction in the MS. runs thus:—"Enter 1 Burger, Vandermitten, Grotius." Vandermitten finally takes the place of 1 Burger and Grotius. [156] Beneath, in the MS., is written the name of the actor who took the part, "Mr. Gough." [157] In the right-hand margin are written the initials "R.T." It is unknown what actor was the owner of them. [158] "Jo: Ri:" is written above, and "migh" in the right-hand margin. [159] "Mr. Rob." took the Captain's part. [160] This Captain is identical with the one in the previous scene: "Jo: Rice:" took the part. [161] In the MS. Vandermitten is scored through, and Grotius written above; but the alteration is not followed afterwards. [162] "R.T." was responsible for the part. [163] In the right-hand margin are the initials "T.P.," i.e. Thomas Pollard. [164] In the right hand margin is a stage-direction, scored through,— "Droms—Enter ye Arminians: pass over." [165] MS. Enter Bredero, Vandort and 2 Lords. The words in Roman letters are scored through in the MS. [166] The brackets are mine: whoever excluded the 2 Lords left these words standing by an oversight. [167] These weak endings without a pause are characteristic of Massinger. [168] Massinger is fond of the use of parentheses. [169] In the MS. Leiden has been corrected into Roterdam. [170] The officer was personated by "R.T." [171] In the right-hand margin we find "Mr. Rice." [172] The Captains' parts were taken by "Mr. Rob." and "Mighel." [173] The Dutch word knol signifies both a turnip and a blockhead. [174] i.e. explain to me. (A very common expression.) [175] "Fry" has here the unusual sense of "buzz, hiss." [176] In the right-hand margin we find "Cap. Jo: R." [177] Underneath is written Migh. who took the part of 1 Huntsman. [178] "And bycause some Hares by haunting the lowe watrie places do become foule and mesled, such Hares doe never follow the hard ways nor make such pathes to their formes, but use all their subtleties and pollecies by the sides of the Ryvers, brookes and other waters." Turberville's Booke of Hunting (1575), p. 160. [179] "R.T." took the part. [180] MS. they. [181] "Tho: Po:" (i.e. Thomas Pollard) is written in the right-hand margin. [182] MS. Potents. [183] The part was taken by "G. Lowen." [184] The Wife's part was taken by "Nich", who may possibly be (as Mr. Fleay suggests) Nicholas Tooley; but I suspect that a younger actor than Tooley would have been chosen for the part. [185] "Jo: Rice" took the part. [186] A corruption of Dutch kermis (the annual fair). [187] An ironical expression (very common) of denial or astonishment. [188] Sc. merrily (Dutch lustig), "Lustick, as the Dutchman says." —All's Well, II. 3. [189] A corruption of Dutch brui. The meaning is "A plague on his Excellencie!" [190] In the MS. follow two and a half lines, spoken by Vandort, and a speech of Barnavelt's, twenty-four lines long. These were cancelled on revision. I have succeeded in reading some of the lines; and perhaps after a keener scrutiny the whole passage might become legible. But I have no doubt that the lines were cancelled by the author himself (Massinger?) in order to shorten the scene. [191] Nearly forty lines of dialogue that follow are cancelled in the MS., in order to shorten the scene. [192] Not marked in MS. [193] This passage is marked in pencil, as for omission, in the MS. [194] The words "Upon my soule" are crossed through in the MS. [195] This line and the eleven lines following are marked for omission in the MS. [196] The words "tooke that course That now is practisd on you" are crossed through in the MS., and "cutt of his opposites" substituted in the right-hand margin. [197] In the MS. the words "you can apply this" are crossed through. [198] The words "to a Monarchie" are corrected in the MS. "to another forme." [199] Not marked in MS. [200] Not marked in MS. [201] T[homas] Holc[ombe] took the part. [202] "Mr. Rob." took the part. [203] In the right-hand margin we find the actor's name, "Mr. Bir.," i.e. Bir[ch]. [204] "The quantity of ten of any commodity; as a dicker of hides was ten hides, a dicker of iron ten bars. See 'Fragment. Antiq.,' p. 192. Probably from decas, Lat."—Nares. [205] Sc. pumpkin (Fr.). [206] "Dewse-ace. Deux et az." Cotgrave. (Cf. Love's Labour's Lost, I. 2.) The lowest cast of the dice, two aces, was called "ames ace." [207] Among the Romans the highest cast was called Venus and the lowest canis. (Cf. a well-known couplet of Propertius, lib. iv. el. viii. l. 45— "Me quoque per talos Venerem quaerente secundos [208] Sc. quatre et trois. [209] Embroidered, figured. [210] The actors' names, "Mr. Rob." and "Mr. Rice," are written in the right-hand margin. [211] A term of contempt, like "poor John." [212] To set up one's rest, meant, as has been abundantly shown by Shakespearean commentators, to stand upon one's cards at primero; but the word "pull" in this connexion is not at all easy to explain. The general sense of the present passage is plain: "Is my life held in such paltry esteem that slaves are allowed to gamble for it as for a stake at cards?" We have nowhere a plain account of primero. When the "Compleat Gamester" was published (in 1674) the game had been discontinued. The variety of quotations given by Nares, under Primero and Rest, is simply distracting. There are two passages (apud Nares) of Fletcher's bearing on the present difficulty:— "My rest is up, wench, and I pull for that "Faith, sir, my rest is up, Dyce accepts Nares' suggestion that pull means to draw a card; but if a player is standing on his cards, why should he want to draw a card? There is an old expression, to "pull down a side," i.e. to ruin one's partner (by bad play); and I am inclined to think that to "pull at a rest" in primero meant to try to pull down (beat, go beyond) the player who was standing on his cards. The first player might say, "My rest is up"; the other players might either discard or say, "See it"; then the first player would either "revie" it (cover with a larger sum) or throw up his cards. At length—for some limitation would have been agreed upon—the challenger would play his cards, and the opponents would "pull at his rest"—try to break down his hand. I am not at all sure that this is the proper explanation; but pull in the text cannot possibly mean draw a card. [213] The body of Leydenberg was not exposed until two days after Barneveld's execution. [214] Charles I. was particularly anxious that these trained bands should be made as efficient as possible, In the "Analytical Index to the Series of Records known as the Remembrancia" (printed for the Corporation of the City of London, 1878) there are several letters from the Lords of the Council to the Lord Mayor on this subject (pp. 533-9). The Directions sent round to the Lord Lieutenants (An. 1638) concerning the Trained Bands of the several counties are given in Rushworth's Historical Collections, Part 2, vol. i. p. 790. [215] An allusion, of course, to Bardolph's famous definition of "accommodated" (2 Henry IV., iii. 2). [216] Fox was a cant term for a sword of English make. At Hounslow Heath there was a sword-blade manufactory:—"Nov 30 (1639). Benjamin Stone, blade maker, Hounslow Heath, to the Officers of the Ordnance. Will always be ready to deliver 1,000 swords of all fashions every month throughout the year, and will put in such security as the office shall desire. Has now ready at the Tower and in his own house 2,000 swords to deliver when the officers shall please."—Calendar of State Papers, Domestic Series, 1639-40, p. 134. [217] Ticktacks was a game somewhat similar to backgammon. It is described in the Compleat Gamester, 1674. [218] The Pacification of Berwick took place in June, 1639. [219] Tobacco-pipefuls; but no doubt a pun was intended. For Bermudas tobacco Nares quotes from Clitus's Whimz., p. 135, "Where being furnished with tinder, match, and a portion of decayed Bermoodus they smoke it most terribly." [220] Our forefathers esteemed the March brewing; we the October. [221] To "build a sconce" means, I suppose, to fix a candle in a candle-stick. [222] This speech of Sir Richard's is very much in Shirley's style: cf. Lady of Pleasure (I. 1). [223] Galley-foist was the name given to long many-oared barges, particularly the Lord Mayor's barge of state. Foist is also a term for a sharper; and gallifoist was intended to be pronounced here gullifoist. [224] An account of the way to play Gleek is given in the Compleat Gamester, 1674. [225] Ambergrease was not uncommonly used for culinary purposes. [226] Father-in-law is often used by old writers for step-father. Perhaps "by a" is a correction for "to a." [227] Title, mark of distinction (Hamlet, I. 4, &c.). [228] A head-covering worn by women. "A night-rail (for a woman) pignon, pinon," Sherwood's Engl.-French Dict. 1650. [229] To be "in the suds" was an expression for to be "in the dumps." [230] Vid. Notes of the Commentators on Henry V., iii. 7 ("strait trossers"). [231] Regals were a kind of small portable organ: vide Nares. [232] Cf. a passage in Shirley's Witty Fair One (IV. 2): "What makes so many scholars then come from Oxford or Cambridge like market-women with dorsers full of lamentable tragedies and ridiculous comedies which they might here vent to the players, but they will take no money for them?" [233] The Theorbo was a kind of lute. [234] On June 20, 1632, a royal proclamation was made "commanding the Gentry to keep their Residence in at their Mansions in the Country, and forbidding them to make their habitations in London and places adjoining." The text of the proclamation is in Rushworth's Historical Collections (1680), Pt. II. vol. i. p. 144. In a very interesting little volume of unpublished poems, temp. Charles I. (MS. 15,228, British Museum), there is an "Oade by occasion of his Maiesties Proclamatyon for Gentlemen to goe into the Country." It is too long to quote here in full, but I will give a few stanzas:— Nor lett the Gentry grudge to goe The smoaky gloryes of the Towne, Free from the gripeing Scriv'ners bands The Country, too, eene chops for rayne: And you, bright beautyes of the time, Lett no dark corner of the Land And, trust mee, Ladyes, you will find Nor Cupid there less blood doth spill, There may you heare the Nightingale, Plant trees you may and see them shoot And learne to use their sev'rall gumms. [235] The Galliard, a lively French dance described in Sir John Davies' Orchestra (st. 67). [236] Sc. good-bye. Cf. Shirley's Constant Maid, i. 1, "Buoy, Close, buoy, honest Close: we are blanks, blanks." [237] Can the reference be to Troilus and Cressida? [238] Ben Jonson's Alchemist. [239] Puisne (i.e. puny) was the term applied to students at the Inns of Court; also to Freshmen at Oxford. [240] Cf. Shirley's Honoria and Mammon, i. 2: "Go to your Lindabrides [241] The first edition of this well-known book was published in 1628. Parsons Resolutions is a fictitious book. [242] The "lamentable ballad of the Lady's Fall" has been reprinted by Ritson and Percy. [243] In the MS. follows a line, scored through:— "And while my footman plaies sigh out my part." [244] Shirley delights in ridiculing the affectation in which the gallants of his time indulged. Cf. a very similar passage in The Lady of Pleasure, v. 1. [245] The cant language of thieves. In Harman's Caveat for Cursitors, or some of Dekker's tracts, "Pedlars' French" may be found in abundance. [246] I print this passage exactly as I find it in the MS. With a little trouble it might be turned into good law. [247] Aut Shirley aut Diabolus. Cf. Duke's Mistress, iv. 1: "You shall lead destiny in cords of silk, [248] Sc. swaggering. [249] A Chrisome child was one that died within a month after birth, at the time of wearing the Chrisome cloth (i.e. the cloth formerly wrapt round a child after baptism). Device implies that his rival is perfectly helpless among ladies, a mere child. [250] "In the City of London," says Nares, "young freemen who march at the head of their proper companies on the lord mayor's day, sometimes with flags, were called whifflers or bachelor whifflers, not because they cleared the way but because they went first as whifflers did.—'I look'd the next Lord Mayor's day to see you o' the livery, or one of the bachelor whifflers. City Match.'" [251] These words are scored through in the MS. [252] To "bear a brain" means to have understanding. The expression is very common. [253] Not marked in the MS. [254] The earliest reference I have yet found to the "Cup at Newmarket" is in Shirley's Hyde Park, v. 1. [255] The exact date of his death is unknown; he was dead before the performance of Ben Jonson's Bartholomew Fair (1614). [256] "Merlin. The falco aesalon of Linnaeus, a small species of hawk; sometimes corrupted into murleon. It was chiefly used to fly at small birds, and Latham says it was particularly appropriated to the service of ladies."—Nares. [257] Thomas Heywood gives an account of the "great ship" in his "True description of his Majesties Royall Ship built this yeare 1637 at Wool-witch in Kent," &c. 1637. 4to. [258] "Back side" = back yard. [259] A wild cat. [260] This scene was added, as an afterthought, at the end of the MS. In the body of the MS. we find only "A song ith taverne. Enter Thomas." [261] The stage direction is my own. [262] All that I know at present of Mr. Adson is that he published in 1621 a collection of "Courtly Masquing Ayres." [263] A corruption of "save-reverence": we usually find the form "sir-reverence." [264] i.e. drunk. [265] An allusion to Webster's "Vittoria Coromborea, or the White Devil." [266] Not marked in MS. We have, instead, a note:— "And then begin as was intended." [267] Old authors constantly allude to the riotous conduct of the 'prentices on Shrove Tuesday. [268] This is a correction (in the MS.) for "to a Beggars tune." [269] So in Dekker & Middleton's First Part of the Honest Whore (IV. 3):— "A sister's thread i' faith had been enough." Dyce was no doubt right in thinking that the expression is a corruption of sewster's thread. In Ford's Lady's Trial, Gifford altered "sister's thread" to "silver thread." Shirley has "sister's thread" in Hyde Park (V. 1). [270] With this abuse cf. a very similar passage in Shirley's Duke's Mistress (IV. 1). [271] The Woman Hater in Beaumont and Fletcher's play. [272] "Canaries" was the name of a quick, lively dance. Cf. Middlemen's Spanish Gipsy (IV. 2): "Fortune's a scurvy whore if she makes not my head sound like a rattle and my heels dance the canaries." [273] Cf. a similar passage in Shirley's Brothers (iii. 1). [274] In Sidney's Arcadia. [275] Cf. Jonson's Every Man out of his Humour, II. 1: "They say there's a new motion of the city of Niniveh with Jonas and the whale to be seen at Fleet bridge." (A motion, of course, is a puppet-show.) [276] This line occurs, word for word, in Shirley's Bird in a Cage (IV. 1):— … "A bird to be made much on. She and the horse [277] An allusion to the game of "barley-break." [278] In the MS. the speaker's name is omitted. I have chosen Courtwell at a venture. [279] Holland's Leaguer was the name of a notorious brothel in Southwark. [280] The Tell-Tale. Through the courtesy of the Master, Dr. Carver, I have had an opportunity of examining this play. It is of no particular interest. The comic part is very poor, suggesting William Rowley at his worst. Here are some fair lines, the best I can find:— Fide[lio]. How? dead in prison? Duke. Dead, Fidelio: |
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