Beggars bush 9783111654706, 9783111270630

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STUDIES

IN ENGLISH Volume

LITERATURE

XXXVII

JOHN FLETCHER AND PHILIP MASSINGER

BEGGARS BUSH edited by

JOHN H. DORENKAMP

1967

MOUTON & CO. THE H A G U E • PARIS

© Copyright 1967 Mouton & Co., Publishers, The Hague, The Netherlands. No part of this book may be translated or reproduced in any form, by print, photoprint, microfilm, or any other means, without written permission from the publishers.

Printed in The Netherlands by Mouton & Co., Printers, The Hague

For Erica

PREFACE

This edition attempts to present an accurate text of Beggars Bush based on the 1647 Folio edition of the plays of Beaumont and Fletcher. It is a revised version of my doctoral dissertation written at the University of Illinois under the direction of Professor G. Blakemore Evans to whom I am greatly indebted for his careful and kind supervision. I am also indebted to the librarians of the University of Illinois library especially Miss Isabelle Grant, former librarian of the rare book room, and Miss Eva Faye Benton of the English library. I should like to thank Professor T. W. Baldwin for his permission to use his personal copy of the 1647 Folio in my collation of texts and also the authorities of the Folger Shakespeare Library, the Houghton Library of Harvard University, and the British Museum who provided me with microfilms of Beggars Bush and related materials. I owe a special debt of gratitude to Professor William C. McAvoy of St. Louis University who is responsible for encouraging my interest in Renaissance drama and the textual problems connected with it. My greatest debt, however, is to my wife whose encouragement and patience have made this edition possible. Worcester, 1966

TABLE OF CONTENTS

Preface

7

Introduction

11

A. The Text

11

B. Later Editions and Adaptations

26

C. Apparatus

28

D. Authorship and Date

31

E. Stage History

39

F. Critical Examination

41

Beggars Bush

59

Emendation of Accidentals Historical Collation of Previous Editions

150 .

.

.

.

154

Notes

189

Selected Bibliography

201

INTRODUCTION

A.

THE TEXT

Beggars Bush first appeared in print, with thirty-three other plays and a masque, in the folio edition of the Comedies and Tragedies of Francis Beaumont and John Fletcher, edited by James Shirley and printed for Humphrey Robinson and Humprey Moseley in 1647. It had previously been entered in the Stationers' Register on September 4, 1646, along with thirty other plays ascribed to Beaumont and Fletcher. Moseley appears to have been the principal force behind the production of this volume. He tells us in The Stationer to the Readers . . . though another joyn'd with me in the Purchase and Printing, yet the Care & Pains was wholly mine, which I found to be more than you'l easily imagine, unlesse you knew into how many hands the Originalls were dispersed.

Moreover, his care and pains were devoted to printing only those plays of Beaumont and Fletcher that had not before appeared in print. You have here a New Booke; I can speake it clearly; for of all this large Volume of Comedies and Tragedies, not one till now, was ever printed before. A Collection of Playes is commonly but a new Impression, the scattered pieces which were printed single being then onely Republished together: 'Tis otherwise here . . . I had the Originalls from such as received them from the Authours themselves. . . .

In the 1647 Folio, a folio in fours, Beggars Bush occupies signatures 2K2-2M4*, pages 75-96. All other printed editions of the

12

INTRODUCTION

play are, as will be seen, ultimately derived from the 1647 Folio text, and it is this edition that has been employed as copy-text for the present edition. In the preparation of the text five copies of the 1647 Folio were examined; four belong to the University of Illinois; one is the personal copy of Professor T. W. Baldwin. A collation of signatures 2K2-2M4 V , comprising Beggars Bush, made using the Hinman Collator at the University of Illinois library, revealed no stop-press corrections in the five copies. Sir W. W. Greg has established that the copy for the 1647 Folio was divided among several printing houses. There are many indications that different hands were at work in different sections. The number of signed leaves in the normal gathering varies. Though the practice is nowhere very consistent, some of the sections clearly tend to the use of capitals for the head titles, others to the use of lower case. All the plays but four have ornamental initials of some sort, and these are a very miscellaneous lot. Though it is difficult to be quite certain, I do not think that any set runs through more than a single section, if we except a four-line factotum used in section five, which also appears in the middle of section eight. Sections four and five each contain some very distinctive initials not found elsewhere. It is, however, in the play endings that the sections differ most markedly. The first section has 'FINIS', followed by a perfect field of fleurs-de-lis. The second has no finis, but sometimes an ornament or row of ornaments. The third has 'FINIS', followed in one instance by an arabesque ornament. The fourth has 'FINIS' and no ornament. The fifth likewise has no ornament; in the first four plays it has 'FINIS', in the last three 'FINIS'; it is therefore not clearly distinguished from sections three and four. The sixth in place of finis has 'Here endeth' such and such a play; it has no ornament. The short seventh section is inconsistent in its endings, but is clearly distinguished by the use of roman in the running-title. The anomalous eighth section is also inconsistent: the earlier leaves are distinguished by the use of a brace in connection with the page number, but this peculiarity does not extend beyond page 24. It therefore appears quite certain that we have to do with the work of at least eight compositors, and very probably with that of at least eight printing houses.1 1

"Printing of the Beaumont and Fletcher Folio of 1647", Library, 4th Ser., II (1921), pp. 110-111.

INTRODUCTION

13

The printer of the second section - that containing Beggars Bush has been identified by R. C. Bald as Robert White.2 This identification is based primarily on headpieces and a tailpiece found in the 1676 edition of Burton's Anatomy of Melancholy printed by White which also appear on 2P3V and 2P4 of the Beaumont and Fletcher Folio. An examination of Thomas Godwyn's Romanea Historiae Anthologia printed for Henry Cripps by Robert White in 1648 further revealed the use of a tailpiece almost identical (although of a smaller size) to the tailpiece used at the conclusion of Beggars Bush. White in 1668 is listed as having three presses, three apprentices, and seven workingmen.3 The size of the shop in 1647 is unknown and no attempt has hitherto been made to study the compositors of the second section of the 1647 Folio. An examination, however, of signatures 2K2-2M4V suggests that the text for Beggars Bush was set from cast off copy by two compositors. An examination of the skeleton used on 2L1, 2L2, 2M1, and 2M2 indicates that the play was set from cast off copy. The rule beneath the headline is broken in about the center of column a; in addition the second g in Beggars in the headline is dropped slightly below the line. This indicates that the same skeleton was used for all four pages. However, on 2M1 the gap in the broken line has been almost closed. This suggests that 2M2 (page 91) was imposed before 2M1 (page 89); for if 2M2 had been imposed later, the "correction" of the broken line would also appear on that page. If 2M2 was imposed before 2M1, cast off copy must have been employed. The normal order of composing by two compositors using cast off copy was from the middle of the gathering out with compositor A setting the first half of the gathering and compositor B setting the latter half. Thus in the 2M gathering of Beggars Bush compositor A would set 2M2V, 2M2, 2M1V, and 2M1; compositor B 2

Bibliographical Studies in the Beaumont and Fletcher Folio of 1647 (Oxford, 1938), pp. 17-19. 3 Henry R. Plommer, A Dictionary of the Booksellers and Printers Who Were at Work in England, Scotland, and Ireland from 1647-1667 (London, 1907), p. 193.

14

INTRODUCTION

would set 2M3, 2M3V, 2M4, and 2M4 V . That this is the way the play was composed is borne out by an examination of 2M2. In the process described above 2M2 would be set by compositor A after he had set 2M2 T . The fount used in composing 2M2 V (page 92) seems to be short of upper case W's. In the last few lines of column b a double V ( W ) is used in place of W . Column a of 2M2 (page 91) likewise reveals the lack of the upper case W. For the entire column double V is again substituted. It is logical to assume therefore that compositor A having finished 2M2 V proceeded immediately to 2M2. If only one compositor were at work, before beginning 2M2 he would normally proceed to 2M3 which would complete the inner forme 2M2 V -2M3. It should further be noted that 2M3 regularly uses the upper case W also suggesting a second compositor using a second fount. The usual spelling tests, however, fail to discriminate two compositors. A n examination of such variants as believe - beleeve, heart - hart, onely - only, aile - ayle, neare - neere, here - heer, etc. reveals only indiscriminate variation. This indiscriminate variation can best be illustrated by a consideration of the variant spelling of three proper names which occur with some frequency throughout the text, an examination of the variants do - doe, and an examination of the pointing of speech prefixes. Florez appears 13 times with a final -ez and two times with a final -is. The name Hemskirk appears in three different spellings: 3 times as Hemskirk, 14 times as Hemskirke, and 12 times as Hemskirck.* The distribution of these variants is as follows: 2K2

2K2 V

Florez Floriz

1

2K3

2K3 V

1

1

2K4

2K4 V 1

1

Hemskirk Hemskirke Hemskirck

1

2

Another spelling "Hemskirick" occurs once on 2K2 V . This seems clearly to be a misprint and does not reflect a possible spelling of the name.

4

15

INTRODUCTION

Florez Floriz Hemskirk Hemskirke Hemskirck

2

1 2

1 1

1 1

2

2M1 2M1V 2M2 2M2V 2M3 2M3V 2M4 2M4V 1 5 Florez 1 Floriz 1 2 Floris Hemskirk 1 Hemskirke 1 1 5 Hemskirck 1 3 3 In this distribution we can observe that on 2M1 and 2M2, pages that would normally be set by the same compositor, both forms Florez and Floriz appear. The same is true on 2M3 and 2M3V. On 2K4 and 2K4V also pages which would normally be set by the same compositor the forms Hemskirke and Hemskirck appear. In the first half of the 2L gathering Hemskirke appears six times and Hemskirk once. In the latter half of that gathering Hemskirk appears once and Hemskirck three times. In the 2M gathering Hemskirke appears twice in the first half and Hemskirck once; in the latter half Hemskirk appears once, Hemskirke five times, and Hemskirck six times. The distribution of the variant spellings of the word do reveals the same lack of consistency. The spelling do occurs 81 times; the spelling doe 18 times. The following distribution indicates that, except for the absence of the doe spelling in the 2K gathering, there is no discernible pattern in the use of the two spellings.

do doe

2K2 2K2V 2K3 2K3" 2K4 2K4.V 2 3 1 3 4 6

16

INTRODUCTION

2L1 do doe

V

2L1 3

8

2L2

2L2V

2L3

2L3"

2L4

1 2

4 2

5

5

4

2L4" 1

2M1 2M1V 2M2 2M2V 2M3 2M3V 2M4 2M4V do doe

7 1

7 1

4 4

5 2

1

2 1

5

Twelve pages of the text contain numerals as part of speechprefixes on those pages. On six of these, 2K2V, 2K4V, 2L4, 2L4V, 2M1, 2M2, the numeral is always followed by a full stop; on the other six, 2K3, 2K3V, 2L1V, 2L2, 2L2V, 2M2V, the numeral is followed by no stop.5 A pattern begins to emerge here. Those pages belonging to the first half of the 2L gathering contain numerals followed by no stop; those belonging to the second half of the gathering contain numerals followed by full stops. However, the pattern is broken by the appearance of the full stop on 2K4V since 2K3 and 2K3V contain numerals followed by no stop. A similar situation exists in the first half of the 2M gathering where 2M and 2M2 exhibit the full stop but 2M2V contains numerals without the stop. The evidence here as in the spelling tests above is inconclusive and the existence of two compositors must rest upon the order in which the pages were set discussed above. Presence of the variants does suggests, however, that the compositors at work were inconsistent, or were following closely copy that was inconsistent. The copy from which the text of Beggars Bush was set presumably was a manuscript which Moseley had obtained from members of the King's Men to whom the play had belonged and some of whom signed the dedication of the 1647 Folio. Places in the text, give an indication of the nature of the copy involved. In I, ii, 108, the folio text begins a new line with the words "Despise them not". There is one exception to this. On 2L2 we find the prefix "1.2.B." There are 31 other prefixes on this page containing numerals none of which contain a full stop after the numeral. The full stop here may be an attempt to prevent misreading as a result of the two numerals following each other on the same line. 5

INTRODUCTION

17

A similar instance occurs in line 114 where the folio begins a new line with the words "Can you think". Each of these half lines completes the preceding half line. Since there is adequate space to print the lines entire, it seems that a similar arrangement obtained in the copy. If such an arrangement did obtain in the copy from which the text was set, it is likely either that the copy was a manuscript which indicated suggested cuts for acting purposes or that it was an acting version to which had been added lines originally in the play but deleted for stage presentation. This is further borne out by Bertha's speech in V, i, 85ff. In the folio text the speech reads: O I am miserably lost, thus falne Into my vncles hands from all my hopes, Can I not thinke away my selfe and dye? O I am miserably lost; thus fallen Into my Uncles hands, from all my hopes: N o matter how, where thou be false or no, Goswin, whether thou love an other better; Or me alone; or where thou keep thy vow, And word, or that thou come, or stay: for I To thee from henceforth, must be ever absent, And thou to me: no more shall we come neere, To tell our selves, how bright each other eyes were, How soft our language, and how sweet our kisses, Whil'st we made one our food, th'other our feast, Not mix our soules by sight, or by letter Hereafter, but as small relation have, As two new gon to in habiting a grave: Can I not thinke away my selfe and dye?

It seems clear that the first three lines of the speech as it appears in the 1647 Folio represent a cut version for acting - a conclusion further supported by the Lambarde MS, discussed below, an acting version of the play which contains only the first three lines of this speech. The compositor, it seems, has merely followed his copy which contained the full length version of the speech with the three line acting version inserted before the full speech. Concerning this same speech, Sir W. W. Greg comments [it] runs to 18 lines, and appears to be the conflation of two different versions, for lines 1-2 are identical with 4-5 and line 3 with line 18.

18

INTRODUCTION

Evidently to an original speech of three lines there has been appended a revised version, expanded by the insertion of twelve new lines between the second and third. The text of 1679 . . . contains only the three line version, and it would seem, therefore, that the manuscript from which it was printed represented an earlier version of the play, which lacked certain revisions.6 Greg here implies that the copy for the 1647 Folio reflected a somewhat later and somehow revised version of the play. In connection with this it is interesting to note another of Moseley's statements in the Stationer to the Readers. When these Comedies and Tragedies were presented on the Stage, the Act ours omitted some Scenes and Passages (with the Author's consent) as occasion led them; and when private friends desir'd a Copy, they then (and justly too) transcribed what they Acted. But now you have both All that was Acted, and all that was not; even the perfect full Originalls without the least mutilation; So that were the Authours living (and sure they can never dye) they themselves would challenge neither more nor lesse then what is here published; this Volume being now so compleate and finish'd, that the Reader must expect no future Alterations. Although this claim to completeness is incorrect, it reflects in general Moseley's intention to acquire not merely acting versions of the plays but the "perfect full Originalls". This taken together with the arrangement of lines in I, i, 169-175, noted above suggests that although the exact nature of the copy used in printing Beggars Bush in the 1647 Folio cannot be determined, it reflects both an original version of the play and an acting version. A quarto edition of Beggars Bush appeared in 1661 printed for Humphrey Robinson and Anne Moseley, the widow of Humphrey Moseley. The title page of some copies contains the announcement. You may speedily expect those other Playes, which Kirkman, and his Hawkers have deceived the buyers withall, selling them at treble the value, that this and the rest will be sold for, which are the onely Originall and corrected copies, as they were first purchased by us at no mean rate, and since printed by us. 6

A Bibliography of the English Printed Drama to the Restoration (London, 1951), H, p. 773.

INTRODUCTION

19

The title page of other copies has in place of this announcement a large factotum. Apart from this difference the title pages are from the same setting of type, even to the wrong fount s in Beggars and a turned S in Bush. As an examination of the collation reveals, the quarto is obviously printed from the text of the 1647 Folio. It corrects some of the errors of the Folio but preserves most. For example, Bertha's speech quoted above appears in the same form in the Quarto and in the Folio; the third song in Act III is omitted in the quarto just as it is in the Folio; the Quarto in III, ii, 80, prints "spron" for "prison" as does the Folio. Moreover, it is clear that the 1661 Quarto is printed from the 1647 Folio because it prints as a part of Beggars Bush the prologue and epilogue of The Captaine, the play immediately preceding Beggars Bush in the Folio. In the Folio the prologue and epilogue are found on signature 2K1 and the Beggars Bush begins on 2K2. Thus it seems that the printer of the Quarto had as copy signatures 2K through 2M of the Folio and by mistake incorporated the prologue and epilogue of The Captaine into Beggars Bush. A facsimile reprint of the 1647 Folio, probably a pirated edition printed by Thomas Johnson for Francis Kirkman, also appeared in 1661. In that year Kirkman, in partnership with Nathaniel Brooke, Henry Marsh, and Thomas Johnson, was drawn into pirating several Beaumont and Fletcher plays by his partners. 7 Although the warning printed on the title page of some copies of the 1661 Quarto does not specifically refer to Beggars Bush, Kirkman in an advertisement appended to a catalogue of books appearing in some copies of John Dauncy's A Compendious Chronicle of Portugal (1661) and in The English Lovers (1662) defends himself against this charge and in the process assumes that he has been charged with the unauthorized printing and publishing of Beggars Bush. Those books and playes specified in the preceding Catalogue, I acknowledge to be my own Copies, and printed by my direction and order, but whereas in the title page of a play called Beggers Bush, I 7

Strickland Gibson, A Bibliography of Francis Kirkman, graphical Society Publication, new series, I (1947), p. 52.

Oxford Biblio-

20

INTRODUCTION

am charged with printing and publishing that play and others, and to have exhausted the Prices of them, I desire notice may be taken that I printed none of them, but whosoever did, though he have printed them in a fairer Character and better Paper, yet can and will afford them as cheap as any whose Covetousness makes them print in a Character, and Paper not fit for any Gentleman to look on. 8

The catalogue preceding the advertisement also contains a denial of any responsibility for printing or publishing Beggars Bush: If any person please to repair to my shop at the Sign of John Fletchers head, on the back side of St. Clements without Templebar, they may be furnished with al Plays that were ever yet printed; as also with several sorts of Romances, and Histories; more especially with the books hereafter mentioned, of which though not printed for me, I have sufficient numbers, viz. . . . Playes. The Beggars Bush, a Comedy written by Fran. Beamont [sic] and John Fletcher, both in folio, and in quarto.®

The entry here "The Beggars Bush . . . both in folio, and in quarto" is interesting. The fact that Kirkman can advertise the play in quarto suggests that perhaps Kirkman and Robinson and Moseley had reached some sort of agreement and that Kirkman is now permitted to sell the Robinson-Moseley edition with impunity. This is further borne out by the fact that Robinson and Moseley apparently made no attempt to publish "those other Playes" as they had promised on the title page of the Beggars Bush quarto. It seems likely that if some such agreement was reached, the notice on the title page was replaced by the factotum which occurs in some copies. It is also possible that in reaching such an agreement Kirkman may have acquired Robinson's and Moseley's stock of the quarto edition. This then would be uThe Beggars Bush . . . in quarto" mentioned above. It is also possible that Kirkman acquired the remainder of the 1647 Folio from Robinson and Moseley, and that this is the folio advertised above 10; but there is no evidence for this. Despite 8 8 10

Quoted by Gibson, p. 59. Quoted by Gibson, pp. 143-144. Greg, Bibliography, III, p. 1159.

INTRODUCTION

21

Kirkman's denials it seems that the 1661 Folio is indeed a reprint of the 1647 Folio and very probably is the one advertised in Chronicle of Portugal and The English Lovers. The fact of piracy has been established by Johan Gerritsen.11 Of the several pieces of evidence which he offers to support his theory, the most conclusive is that based upon the fount used in the printing of the 1661 Folio. It is apparently one employed in printing other 1661 piracies involving the printer Thomas Johnson. The fount is notable for the fact that small capitals and titling capitals were introduced into it presumably because at some time or other the fount was deficient in capital letters. The titling caps appear in Beggars Bush on 2K2va of the 1661 Folio; the small caps are particularly evident in the speech prefixes on 2L2rb. Moreover, Gerritsen adds the King and no King [another of the 1661 piracies] uses for its act heading the same fount as does the Beggars Bush, the identity being proved by the u of Tertius on 2L1 V of the latter, which was put there by the same type that printed the second u of Secundus on B3 V of the former. 12

That the 1661 Folio is a facsimile reprint is obvious upon even the most cursory examination; the printer has taken some care to duplicate the original. The row of fleurons, for example, above the title on 2K2 r comes close to duplicating the row of fleurons on the 1647 edition. On the latter it is predominantly a row of harps with the Tudor rose and a vase appearing three and two times respectively. On the 1661 Folio the row consists primarily of harps with five pomegranates interspersed. It is interesting to note that this pomegranate although it does not occur in connection with Beggars Bush in the 1647 Folio nevertheless does occur in the 1647 Folio in conjunction with the harp, the Tudor rose, and the vase twice and with the harp, the vase, and the Tudor rose once. The initial "I" of the 1661 Folio is an obvious attempt to approximate the initial "I" of the 1647 Folio. The tailpieces, however, of the two editions are quite different. As can be seen from 11

"Dramatic Piracies of 1661", Studies in Bibliography, XI (1958), pp. 117-131. 12 Gerritsen, p. 121.

22

INTRODUCTION

the collation, the substantive variants in the 1661 Folio are relatively few. The signatures and pagination of the two are the same, except that the 1661 Folio corrects the 1647 pagination misprint "08" for "80". The catchwords are the same in both editions with two exceptions. The 1647 Folio on 2K3 r and 2M3V has respectively "3 Mar. Sixe" and "Flor. I"; the 1661 edition prints "3 Mer." and "Flo." After the death of Humphrey Robinson his rights to the Beggars Bush passed to John Martyn and Henry Herringman,13 who along with Richard Marriot in 1679 published a second Folio of Beaumont and Fletcher plays, enlarged from 34 to 52 plays. As noted above, Sir W. W. Greg suggests that the copy for Beggars Bush in this second Folio was "an earlier version of the play, which lacked certain revisions". Moreover, he says "The text of this edition differs considerably from that previously published and appears to have been printed from another manuscript." 14 It is true that the 1679 text does differ considerably at times from the 1647 text, but whether an explanation of these differences requires positing the existence of another manuscript as copy for the 1679 text is another question. The title page of the second Folio boasts "Published by the Authors Original Copies, the Songs to each Play being added." A statement in the "BookSellers to the Reader" is probably nearer the truth. The First Edition of these Plays in this Volume having found that Acceptance as to give us Encouragement to make a Second Impression, we were very desirous they might come forth as Correct as might be. And we were very opportunely informed of a Copy which an ingenious and worthy Gentleman had taken the pains (or rather the pleasure) to read over; wherein he had all along Corrected several faults (some very gross) which had crept in by the frequent imprinting of them. His Corrections were the more valued, because he had an intimacy with both out Authors, and had been a Spectator of most of 13

The Stationers' Register for Jan. 30, 1672/3 records: "Entered . . . by vertue of an Assignment under the hand and seele of Humphrey Robinson, fellow of All Soules in the University of Oxford, executor of the last will and testament of Humphrey Robinson. . . . Beggars Bush. Halfe." 14 Bibliography, II, p. 773.

INTRODUCTION

23

them when they were Acted in their life-time. This therefore we resolved to purchase at any Rate; and accordingly with no small cost obtained it. From the same hand also we received several Prologues and Epilogues, with the Songs appertaining to each Play, which were not in the former Edition, but are now inserted in their proper places. As the collation shows, the differences between the text of 1647 and that of 1679 can for the most part be explained by the existence of a revised copy of the 1647 text - one containing readings, perhaps, from another manuscript. Although there are, at times, great differences in the texts, there are also great similarities. Two examples of these will suggest a direct relationship between the the first and second folios. The first of these is concerned with a passage already cited; in I, ii, 106-120, the 1647 text splits lines 108 and 114 in half making them separate lines. The 1679 text follows this same arrangement suggesting that perhaps the text of the second folio was set directly from the first. The second instance is concerned with the speech prefixes found in III, i. In this scene are "three or four Boores", Higgen, Prig, Ferret, Gerrard, a boy, and Hemskirk. The speech prefixes used to designate Gerrard (Ger.), Hemskirk {Hem.), and Higgen (Hig.) are, as they are for most of the play, consistent. There is variation, however, in some of the other prefixes. For example, the speeches assigned to the Boores are usually prefixed by "1 B.", "2 B.", "3 B.", or "All B." as the case may be. Yet we sometimes find, in place of the above, prefixes such as "1 B.", "2 Bo.", "3 Bo.", "boors.", or "1.2. B." In addition the prefix "Pr." is used once in this scene to indicate the speaker Prig; at all other times the prefix "Prig." is used. The significance here is that the prefixes in the 1679 text correspond exactly (except for the inconsistent use of italics in the 1647 Folio) to the prefixes in the 1647 text with seven exceptions. In three of these exceptions the 1647 text uses "All b." and the 1679 text "All B." Of the other four exceptions three are corrections of obvious mistakes in the 1647 text which had misprinted "3 Boy.", "1 Boy.", and "3 Boy." for "3 B.", "1 B." and "3 B.", respectively. The remaining exception is a compositor's error in the 1679 text in which the compositor seems to have confused the prefix of the

24

INTRODUCTION

preceding line ("Boy") with that of the line he was setting ("2 B.") and mis-set "2 Boy." instead. This correspondence between the prefixes suggests that the 1647 Folio served as copy for the 1679. A manuscript of Beggars Bush is preserved in the Folger Shakespeare Library, Washington, D.C. Now bound separately, the manuscript when it was obtained by H. C. Folger was the fifth in a volume of seven manuscript plays from the Lambarde family library at Sevenoaks, Kent, and known as the Lambarde Volume or the Lambarde Collection of Plays. Originally this volume was bound "in sprinkled calf of ca. 1725, sewn on five bands, the backstrip elaborately decorated in the style of the period. All edges of the leaves were sprinkled with red." 15 In addition, Beggars Bush has gilt edges, and perforations along the fold suggest that it had been bound previously. In all, the Lambarde Volume consisted of 250 Folios and 33 stubs. Most of the stubs resulted from the removal of the first of the seven plays from the volume. Beggars Bush consisted of Folios 158-204 arranged as follows: 158-167 168-179 180-191 192-203 204

A A A A A

quire of 5 sheets quire of 6 sheets similar quire of 6 sheets similar quire of 6 sheets single leaf with very small fragments of a stub

Of these 93 pages, Beggars Bush occupies 91, two pages being left blank. The fact that two consecutive pages are blank has led R. C. Bald to conjecture that the paper had already been sewn when the transcription was made.16 The manuscript, in a secretary hand with occasional use of italics and Roman lettering for speech prefixes, act and scene headings, and stage directions, is obviously a transcript of a 15 This information, as well as the following information concerning the make-up of the Lambarde volume, is by G. Dawson and can be found bound with The Inconstant Lady, the second of the seven plays from the Lambarde Collection, now also bound separately and in the possession of the Folger Shakespeare Library. 18 Bald, p. 52.

INTRODUCTION

25

theatrical prompt-copy. This is attested to by the presence of stage directions incorporated into the manuscript: Strike musick Table out: A table kans and stooless sett out Winde a Sowgelders home within. Drum flourish Peeces discharg Enter Saylors Hubert, hollowes, within

II, i, 141 s.d. II, iii, 1 s.d. III, i, 1 s.d. Ill, i, 3 s.d.

IV, iii, 14 s.d. V, i, 41 s.d.

The manuscript is divided into acts only; however, the heading for the first act reads "Actus Primus: Scoena prima". This is the only indication of scene division in the manuscript. It is possible to see the influence of at least three persons in the manuscript. The handwriting seems to be the same as that found in the transcription of Suckling's Aglaura. This transcription, as Greg has pointed out, was made for a presentation copy for the king before the original Court performance in February 1638.17 From a comparison of the pointing of stage directions in Massinger's Believe as Ye List, most of which is believed to be in Massinger's autograph, and the pointing of some of the stage directions in the MS 18 it seems likely that part of the copy from which the manuscript was made may well have been in Massinger's hand. Thirdly, R. C. Bald has suggested that the hand of "Jhon" the prompter and bookkeeper of the King's Men during the period 1625-1630 is likewise evident in the MS. According to Bald, "Jhon" "points his stage directions with colons almost as regularly as Massinger does with full stops".19 The appearance in the manuscript of numerous stage directions pointed with colons indicates that the copy from which the 17 Sir W. W. Greg, Elizabethan Dramatic Documents pp. 332-333. 18 See below, p. 38. 19 Bald, p. 63.

(Oxford, 1931),

26

INTRODUCTION

MS was transcribed was a prompt-copy annotated by "Jhon". Bald indicates from this evidence that the prompt-copy belongs to the period 1635-1638.20 Using the date of the presentation copy of Aglaura we can very broadly date the MS ca. 1638. The authority for the MS depends, of course, on the authority of the copy behind it. There seems to be no reason to consider the MS any more authoritative than the 1647 Folio since behind both lie theatre copies of the play. But the MS is valuable in establishing a text. First it provides proper readings for heretofore puzzling lines such as II, i, 44; IV, i, 28; IV, i, 60. It corrects misreadings as "rudely" for "idly" (I, ii, 6), "granting" for "grunting" (V, i, 104), "with" for "wish" (V, i, 183), etc. It supplies lines and passages lacking in the 1647 Folio, e.g. Ill, i, 19; III, ii, 42-99; III, ii, 61b; III, iv, 5; etc. Secondly since the 1679 Folio was printed from a "corrected" 1647 text, differences between the 1647 Folio and that of 1679 can often be settled by reference to the MS. Thus a reading from the 1679 Folio differing from the 1647 reading is strengthened if it agree with the MS. In like manner a correspondence between a MS reading and a 1647 reading strengthens that reading.

B.

LATER EDITIONS AND ADAPTATIONS

The works of Beaumont and Fletcher went through three editions in the eighteenth century. In 1711 an anonymous edition was published by Jacob Tonson in seven volumes. In 1750 another edition appeared under the editorship of Theobald, Seward, and Sympson. These two editions are based primarily on the 1679 Folio. The third edition was published in 1778 by George Colman in ten volumes. The basis for this text appears from the collation to be the 1711 edition. In 1811 a three volume edition of the works of Beaumont and Fletcher was "Printed from the Text, and with the notes of the Late George Colman, Esq." This was followed in the next year, 1812, by Henry Weber's fourteen volume edition of the works 20

Bald, p. 64.

INTRODUCTION

27

based on the "old" edition, i.e. the 1647 and 1679 Folio. The years 1843-1846 saw the publication of the Reverend Alexander Dyce's edition with the "text formed from a collation of the early editions", in eleven volumes. A variorum edition was begun in 1904, but was abandoned in 1912 after the publication of only four volumes. Beggars Bush which appears in volume two, was edited by P. A. Daniel. Concerning the text, Daniel says, Our text is practically Dyce's, but all preceding editions have been carefully examined, and every variation of the slightest moment has been recorded, whether found in the old editions, Quarto and Folio, or in the work of the modern editors. . . . All the variations of F2 from F1 are duly noted and, following the example of my predecessors, for the most part adopted, though with a leaning in favour of F1 where possible.

The Cambridge edition of the works of Beaumont and Fletcher edited by A. Glover, and A. R. Waller appeared in ten volumes in the years 1905-1912. This edition is for all practical purposes a reprint of the 1679 Folio. A droll called The Lame Commonwealth based in II, i of the Beggars Bush was printed in Francis Kirkman's The Wits in 1662 and 1672. In 1706, The Royal Merchant or The Beggars-Bush was printed, in quarto, as it had been acted at the Theatre Royal in Drury Lane. Although the title has been changed, the text is that of the 1647 Folio with only slight alterations. Some obvious errors in the 1647 Folio have been corrected, e.g. "On" for "No" (II, i, 105), "hem'd" for "Kem'd" (II, i, 107); but other errors such as "Sucke" for "sink" (I, ii, 61), "sprang" for "prison" (III, ii, 80) are retained. An actor, Thomas Hull, in 1768 made several alterations in the play and added several songs, calling it The Royal Merchant: An Opera. Here Goswin is called Harrol, new songs have been introduced throughout while the original songs have been omitted, or, in the case of "Cast our Caps and cares away" (II, i, 142-152), considerably changed. Higgen's speech at Clause's election as king of the beggars (II, i, 102ff.) is omitted and in its place is a song which is much less effective dramatically than the original

28

INTRODUCTION

speech. The opening scene between Herman and the Merchant is omitted, and in Hubert's encounter with Woolfort the former accuses the usurper of having stolen Florez. There is also an ineffectual attempt to straighten out the chronology of the play. Seventeen years have elapsed since Hemskirke entrusted Bertha to the care of Van Dunk. Finally in 1815 appeared The Merchant of Bruges: or, Beggar's Bush; "with considerable alterations and additions by the Hon. Douglas Kinnaird". The most important changes consist in omitting the Herman-Merchant scene at the beginning of the play and replacing it with a scene with the beggars. In II, i, Hubert and Hemskirke arrive at Beggars Bush before Floriz arrives to choose the king. In the same scene Jaculin is given a song, and the stuttering of the beggars is omitted. The scene with the boors (III, i) is omitted as are the grosser parts throughout the play.

C.

APPARATUS

The textual footnotes at the bottom of the pages indicate substantive emendations of the copy-text. The historical collation placed after the text has been made against the present text and not against the precise form or readings of the copy-text. It contains rejected substantive readings of previous editions as listed below plus readings suggested by Monck J. Mason in his Comments on the Plays of Beaumont and Fletcher (London, 1798) and those suggested by Benjamin Heath in an unpublished manuscript (B. M. Addit. MS. 31910) of notes on the 1750 edition of the works of Beaumont and Fletcher. The list of accidental emendations following the historical collation contains variants in spelling of proper names; changes in the accidentals made in the 1647 copy-text. Pointing in the MS is inconsistent. Ordinarily a colon follows each speech prefix; however, sometimes a period is used and sometimes no pointing at all. Consequently no attempt has been made to list varying punctuation after prefixes in the MS. Also in the MS pointing is ordinarily lacking at the end of lines even

INTRODUCTION

29

where normally it would be required. Such omissions have likewise not been recorded. In the copy-text itself punctuation has been altered as little as possible. Emendations have been made only when the copytext is obviously in error or when the reader would be more than momentarily misled. The practice of using question marks for exclamation points has been retained. The form followed in recording emendations and variants is as follows: In the case of substantive emendations at the foot of the page, the emendation is followed by a square bracket followed by the first source of the emendation followed by the reading of the copy-text, e.g. accompt] MS accop 47 If the emendation is that of the present editor no siglum follows the bracket. These substantive emendations are also recorded in the historical collation where complete information is given regarding all sources of the emendation and variant reading. Thus shape] MS shop 47-61F indicates that the MS, the source of the emendation, and all editions except 1647-1661F (which read "shop") read "shape". If no emendation has been made, the square bracket is followed by variant readings of other editions. Thus for a substantive variant: formall] former 11 Here the copy-text and all editions read "formall" except for the 1811 edition which reads "former". For an accidental Variant: Court,]

Court 61Q

Here, except for the 1661Q which reads "Court", all seventeenthcentury editions read "Court". A plus sign ( + ) indicates agreement of the edition designated by the siglum with all later editions, unless otherwise noted; thus, either] rather MS 11T+ indicates that the MS and all editions from 1711 on read "rather". The 1647, 1661Q, 1661F, and 1679 all read "either". The order followed and sigla are as follows:

30 MS 47

INTRODUCTION

Lambarde Manuscript, Folger Shakespeare Library. (1647) Copy-text. First Folio of Comedies and Tragedies of Beaumont and Fletcher, published 1647. 61Q (1661) Quarto edition of Beggars Bush published in 1661. 61F (1661) Pirated folio version of Beggars Bush printed for Francis Kirkman in 1661. 79 (1679) Second Folio of the Comedies and Tragedies published in 1679. 11T (1711) Anonymous edition of the Works of Beaumont and Fletcher published by Jacob Tonson in 1711; seven volumes; Beggars Bush is contained in v. II. 50 (1750) Theobald, Seward, Sympson edition of the Works published in 1750; ten volumes; Beggars Bush in v. II. 78 (1778) George Colman edition of the Works published in 1778; ten volumes; Beggars Bush in v. II. 11 (1811) Three volume edition printed from Colman's text published in 1811. 12 (1812) Henry Weber's edition of the Works published in 1812; fourteen volumes; Beggars Bush in v. III. 40 (1840) George Darley's edition of the Works published in 1840; two volumes; Beggars Bush in v. I. 45 (1845) Reverend Alexander Dyce's edition of the Works published 1843-46; eleven volumes; Beggars Bush in v. IX (1845). 05 (1905) P. A. Daniel's edition of Beggars Bush in the Beaumont and Fletcher variorum published 19041912 Beggars Bush in v. II (1905). 06 (1906) Glover and Waller's edition of the Works in the Cambridge English Classics, published 1905-1912; Beggars Bush in v. II (1906). H (Heath) Manuscript notes on the Works by Benjamin Heath; BM Addit. MS. 31910. M (Mason) Readings suggested by Monck J. Mason in Comments on the Plays of Beaumont and Fletcher, London, 1798.

INTRODUCTION

D.

31

AUTHORSHIP AND DATE

The first serious investigation of the shares of Fletcher and his collaborators in the production of the so-called Beaumont and Fletcher plays was undertaken by F. G. Fleay in 1874.21 The most widespread belief is that the Beaumont-Fletcher collaboration ended with the former's marriage and retirement to an estate in Kent about 1612 and that Fletcher's collaboration with Philip Massinger began the following year and continued until Fletcher's death in 1625. It is, however, known that certain of the Beaumont and Fletcher dramas were revised for re-presentation some years after they had been written. Thus some critics have seen the hands of Beaumont, Fletcher, and Massinger (as a reviser) in a number of the plays. In his attempt to sort out the contributions of Fletcher and his collaborators, Fleay noted certain peculiarities in the unaided plays of Fletcher, and used these peculiarities as criteria in determining which portions of those plays resulting from collaboration may be assigned to Fletcher. The characteristics of Fletcher's verse which Fleay noted were: 1. 2. 3. 4. 5. 6.

The The The The The The

number of double or female endings. number of end-stopped lines. moderate use of rhyme. moderate use of lines of less than five measures. absence of prose. abundance of tri-syllabic feet.22

Concerning these characteristics, Fleay notes that Massinger also admits no prose and uses even fewer lines of less than five measures than does Fletcher. Beaumont has more rhymes than either Fletcher or Massinger and in serious passages has few double endings. Although Massinger uses many double endings, he has few end-stopped lines. Thus the combination of double endings 21

"On Metrical Tests as Applied to Dramatic Poetry", Part H, Fletcher, Beaumont, Massinger, Transactions of the New Shakespeare Society, I (1874), pp. 51-72. 22 Fleay, p. 53.

32

INTRODUCTION

and end-stopped lines is peculiar to Fletcher. Fleay further contends that the number of double endings in the work of Fletcher exceeds that of any other English dramatist and is sufficient in itself to distinguish Fletcher's works.28 In his examination of the Beggars Bush, Fleay follows his usual procedure of noting first the number of end-stopped lines. This proceedure leads him to assign Act I to Massinger and the remaining acts to Fletcher. Having made this division, he tabulates the number of double endings, rhyming lines, Alexandrines, and lines of less than five measures.24 His original division was confirmed by the results of this tabulation: Double Rhyming Endings Lines F. II, III, IV, V M. I

1075 164

24 —

Alexan- Lines less drines than 5 meas. 1 —

26 —

By 1891 Fleay had revised his findings and in addition to Act I also assigned II, ii, iii, iv; and V, i (part), ii, to Massinger giving II, i; III; IV; and V, i (part) to Fletcher. 2 In an attempt to be more thorough than Fleay, R. Boyle undertook an examination of the Beaumont and Fletcher plays in 1882. As Fleay used only one important verse-test i.e. double endings (his rhyme test is by no means a general one) it seemed necessary to go over his work again, employing the additional tests of run on lines and light and weak endings.26

In his examination of the plays, Boyle rejects the criteria used by Fleay with the exception of the occurrence of double endings. For him a "metrical analysis" of the play affords adequate evidence of whether or not Massinger had a part in the composition. 23

Fleay, p. 53. Fleay, p. 57. 25 F. G. Fleay, Biographical Chronicle of the English Drama (London, 1891), I, p. 199. 29 R. Boyle, "Beaumont, Fletcher and Massinger", Englische Studien, V (1882), p. 74. 34

INTRODUCTION

33

But it would be absurd to demand agreement to my conclusions on this ground. . . . I have therefore corroborated my conclusions from metrical evidence, by various collateral proofs, the most important of which for Massinger, is his habit of repeating himself.27 Repetitions which Boyle notes pertaining to Beggars Bush are For I, that am contemner of mine own, Am master of; your life (Beggars Bush, I, i, 108-9) 28 One single arm, whose master does contemn His own life, holds a full command o'er his (Roman Actor, III, i, 40-1) You take strange licence (Beggars Bush, I, i, 115) This is strange rudeness (Little French Lawyer, I, i, 131) You take that license, Sir, Which yet I never granted. (Guardian, I, i, 204) This was a noble 29 entrance to your fortune CBeggars Bush, V, i, 73) This is a fair entrance to Our future happiness (False One, V, iv, 135) Boyle's investigations lead him to assign to Massinger I; II, iii; V, i, iia, and perhaps the epilogue. The rest of the play he assigns to Fletcher.30 E. H. C. Oliphant sees the hand of Beaumont in the play as well as those of Fletcher and Massinger. He proposes four guides to the identification of the various hands. 31 1. The language employed (vocabulary of word and phrase). 2. The form into which that language is put (construction of sentences). 3. The facture of the verse into which those sentences are molded (outward and obvious qualities of it . . . frequency of rhyme, the proportion of double endings and percentage of end-stopped lines). 4. The indefinite music that permeates it all (the rise and fall of the melody, proceeding one hardly knows whence, but mainly from the distribution of stresses). 27

Boyle, p. 210. Line references to Beggars Bush refer to the present edition. References to Massinger's plays refer to the Gifford edition. 28 "Noble" is a rejected reading in the present text. It has been retained here since Boyle accepts it. 30 Boyle, pp. 90-91. 31 The Plays of Beaumont and Fletcher (New Haven, 1927), pp. 30-31. 28

34

INTRODUCTION

The value of his rather complicated results is perhaps best indicated by his own statement. This last [number 4, above] may well be the most subtle, the most elusive, the most insecure, the most perilous, of these four means; but the importance of it is enormous . . . It is the test on which I have mainly relied; but it has one great disadvantage: its results cannot be tabulated, as can those of vocabulary and sentence building, of verse construction; and therefore, however convinced one may be of the correctness of one's judgment, one can give no proofs - at least, none that will appeal to those whose ears are differently attuned.*2 He divides Beggars Bush as follows.33 Beaumont

II, i, iia (first speech), iiia, c, iv(?) IV, vib (last speech) V, ia (to Wolfort's entry), c (from Bertha's reentry to Hubert's entry), e (last eight speeches), iib

Fletcher Massinger

II, iib; III; IV, i-via; V, ib I; II, iib (from "Gos. Ha. Ha!" to "Hem. You now grow saucy"); V, id, iia (eight speeches).

Acccording to Oliphant's theory the Massinger ''insertions" in II, iii, and V, i, are the result of revision at a later date. A. H. Cruickshank does not see the hand of Massinger in the play at all. The only evidence he gives for his contention is that Neither the plot is lucid nor the expression. The commercial scenes and the beggars slang are both unlike anything in Massinger, and alien to this courtly mind.34 Employing the tests of run on lines, double endings, rhyme, prose, verses of less than ten syllables, and the use of anapests, Maurice Chelli assigns II and IV wholly to Fletcher, I and V, ii wholly to Massinger. In II and V, i, he sees the hand of Massinger the reviser. 82

34

Oliphant, p. 31. Oliphant, p. 260. Philip Massinger (Oxford, 1920), p. 155.

INTRODUCTION

35

Il est plus probable que la piece originale fut ecrite par Fletcher et Massinger et que Massinger la revit pour la representation de 1622. Tandis que l'acte I a tous les signes de la versification de Mass., les actes II, et V, i ont des indices des deux auteurs.35 In his treatment of the authorship of Beggars Bush, Cyrus Hoy divides the play among Beaumont, Fletcher, and Massinger as follows: Beaumont Fletcher Massinger

II; V, i, iib (from entrance of Hubert to end). III; IV. I; V, iia (to entrance of Hubert).

The basis for this division is a linguistic test which tabulates the occurrence and frequency of the forms you, ye, doth, hath, them, 'em, and various contracted forms such as i'th', i'the, o'th', h'as (for he has), etc. Fletcher's preference for the form ye as opposed to you has been long known. Noting this predominance of ye and the contracted forms in the unaided plays of Fletcher, Hoy is able to distinguish the work of Fletcher from the work of Massinger in whose unaided plays ye and the contracted forms rarely appear. Thus he rightly says . . . of the 158 occurrences of ye in the folio text, 152 are found here [in Acts III and IV). When in this portion of the play, one finds no occurrences of hath (the only acts in which the form does not appear), and but a single use of them as opposed to 28 instances of the contracted 'em, the share of Fletcher is clear enough. In contrast to the linguistic pattern that emerges from Acts III and IV is that which emerges from Act I (and which can be discerned again at the beginning of V, ii). Here ye does not occur in the folio text . . . Both manuscript and folio exhibit 7 occurrences of hath-, and while, in Act I of the folio and manuscript, the contracted 'em appears but twice and a single time respectively, the expanded them is found 16 times. In neither text is any use made throughout the first act of such contractions as i'th, o'th, h'as, o r ' s for his. The linguistic pattern here, so markedly opposed to the Fletcherian one, is that of Massinger.3® 35

"Etude sur la Collaboration de Massinger avec Fletcher et son Groupe", Bibliothèque de la Faculté des Lettres, Deuxième Serie, VI (1926), p. 67. Cyrus Hoy, "The Shares of Fletcher and his Collaborators in the Beaumont and Fletcher Canon", Studies in Bibliography, XI (1958), pp. 87-88.

36

INTRODUCTION

However, when the considers what he calls a 'third linguistic pattern" in Act II, and Act V, i, iib, his conclusion regarding the hand of Beaumont in the play seems unwarranted. Hoy's arguments for Beaumont's share rest on the occurrence of ye (6 times in the Folio, 15 times in the manuscript), doth (4 times), them (9 times), 'em (16 times in the Folio, 15 times in the manuscript), and ha' for have (12 times in the Folio, 9 in the manuscript). While the occurrence of these forms may not present evidence as clear cut as that of the preceding sections neither does it indicate with any certainty the hand of Beaumont or of a third author in the play. It is Hoy's contention that the occurrence of ye six times in the Folio and 15 times in the manuscript is enough to exclude Massinger from having a hand in these sections yet is not high enough to indicate Fletcher's hand. However, the proportion of the occurrence of the form you to that of the form ye must also be taken into consideration as well as the possible changes that may have occurred in composing the Folio, or for that matter, in the manuscript from which the Folio was printed. In II, i, the form you occurs 37 times, the form ye only once. In II, ii, you occurs 3 times; ye does not occur at all. In II, iii, you occurs 64 times, ye 4 times. In V, i, you occurs 28 times, ye 1 time, In V, iib, you occurs 37 times; ye not at all. The form you obviously predominates, occurring 169 times to 6 times for ye. It seems that this hardly represents a pattern. Moreover, the fact that there is such a wide variation between the occurrence of ye in the Folio and in the manuscript suggests what may have happened in the transcription of the manuscript and the composing of the Folio. In the manuscript the forms ye occurs four times in Act I; while the form does not appear at all in the Folio. A compositor even when he is meticulously following his copy is liable to error, especially if he is composing from a manuscript. Indeed, if he does not more than unconsciously set ye for you six times out of 175 he is doing well. There is some evidence that the compositor may have deliberately set ye instead of you in II, iii. The final occurrence of ye in that scene comes at the end of a

INTRODUCTION

37

rather long line, and it is likely that the compositor chose the shorter form to fit it into a single line. It seems then that these infrequent occurrences of ye are not enough to exclude Massinger as the author of these scenes. The occurrence of doth in the scenes under consideration is even less conclusive as far as authorship is concerned. In Fletcher's The Woman's Prize, doth occurs three times as it does in Massinger's The Bashful Lover. Thus both Fletcher and Massinger use the form sparingly. Indeed the fifth occurrence of doth in Beggars Bush is in III, i, a scene which Hoy attributes to Fletcher. Massinger shows a preference for them rather than 'em but the presence of 'em is not sufficient to exclude Massinger's hand from a portion of the play. In his unaided plays Massinger employs the form 'em at least seven times in each play and usually more. In The Picture it occurs 52 times; in The Guardian, 47 times; in The City Madam, 46 times. It is true, as Hoy observes, that the form ha' for have occurs only in II and V, i, iib, however, he overlooks the use of a' for have in I, ii, which he assigns to Massinger. It does not seem safe, therefore, to conclude that a third linguistic pattern exists in II; V, i, iib. Hoy himself states: And yet to speak of a linguistic pattern for Beaumont is something of an anomaly. .. . When the Fletcherian ye gives way, and Beaumont refrains from his use of hath and doth, nothing remains to distinguish the linguistic practices of the one from the linguistic practices of the other.37 Hoy, however, does appear to be correct when he states that the absence of ye argues against the hand of Fletcher. If, therefore, we assign to Massinger the portions which Hoy assigns to Beaumont, we divide the play as follows. Massinger Fletcher

I; II, V. III; IV.

Structurally, this is a sound division of the work. Fletcher concerned himself with the complication of the plot while Massinger "

Hoy, p. 89.

38

INTRODUCTION

devoted his efforts to the preparatory material and the final resolution. In addition there is evidence of Massinger's hand throughout the play in another form. As we have noted above in our discussion of the manuscript, Massinger characteristically employed full stops in pointing stage directions. Evidence of this practice is present in the 1647 Folio version of Beggars Bush. Enter. Van-dunck. Hubert. Hemskirck. and Margaret, Boores. (II, iii) Enter Higgen. Prig. Ferret. Gynkes. and the rest of the Boores (III, iii) Enter Floriz. and Bereha [sic]. (Ill, iv) Enter Floriz. and 4 Merchants. (IV, i) Enter Higgen. and Prig, like Porter (IV, i) Enter Floriz. 4. Merchants, Higgen, and Prig. (IV, iii) Enter Huber. Higgen. Prig. Ferret. Snap. Ginckes. like Boores (V, i) It is obvious that the presence of these directions pointed with full stops does not coincide with the division of the play made above. Bald reasonably suggests that their presence involves the possibility that Massinger made the fair copy of the play.38 Whatever the explanation, these directions seem to shed little light on the problem of authorship. The question of authorship has a direct bearing on the date of the play since it is generally believed that the Beaumont and Fletcher collaboration ended in 1612 and that Fletcher's collaboration with Massinger began in the following year. If it is true that Beaumont had a hand in the play, the date of composition must be before 1613. If, however, Beaumont had nothing to do with Beggars Bush and Massinger began to work with Fletcher in 1613, then the play must be dated between 1613 and December 22, 1622, the date of the first recorded performance. The division of the play made above argues, perhaps, for a date late in the collaboration of Fletcher and Massinger. If Massinger's share in the play is I, II, and V, it seems that he would have had to know Fletcher's habits fairly well, a knowledge he would not have had at the beginning of their collaboration. However, the fixing of a date of composi38

Bald, p. 112

INTRODUCTION

39

tion, like the fixing of authorship, must at best remain rather tenuous until new evidence comes to light.

E.

STAGE HISTORY

The first recorded performance of Beggars Bush is one at court in 1622. In the Dramatic Records of Sir Henry Herbert we find the entry: 1622, December 27 "Upon St. John's daye at night was acted The Beggars Bush by the kings players." 39

Also in a list of plays acted before the king in 1636 Beggars Bush is recorded as having been performed at Hampton Court on November 19.40 A third record of performance before the king at Richmount on New Year's day 1638/9 is also to be found in Herbert's records.41 At the Restoration, members of some of the remaining theatre companies formed a new company which acted at the Red Bull and in a new theatre in Gibbon's Tennis Court in Claremarket in 1660, 1661, 1662 and part of 1663 when they built another theatre, to be known as the Theatre Royal, in Drury Lane.42 Herbert's ''List of plays acted by the Kings Companie at the Red Bull and the new house in Gibbon's Tennis Court" contains a record of two performances of Beggars Bush, one on Wednesday, November 1, 1660, and another on Tuesday, November 20, 1660.43 The 1661 Folio of Beggars Bush in the collection of the Folger Shakespeare Library has a small slip of paper pasted on the last leaf which also records the performances at the Red Bull and names the principal players: 39

J. Q. Adams, ed. (New Haven, 1917), p. 49. Gerald Eades Bentley, The Jacobean and Caroline Stage (Oxford, 1941), I, p. 51. 41 Adams, pp. 76-77. 42 John Downes, Roscius Anglicanus, ed. Montague Summers (London, 1928), p. (1). « Bentley, III, p. 314. 40

40

INTRODUCTION

Florez. Hubert. Van Dunk. Higgen. Prig. Woolfort.

At the Red Bull by Char. Hart. 1659, or, 60 by Burt. by Cartwright. by Shatterl. by Clun. (I think) by Old Theop. Byrd.

Samuel Pepys records having seen the play four times. The first of these performances was on November 20, 1660; the second on January 3, 1661, at which performance Pepys saw women on the stage for the first time. The third and fourth performances which Pepys witnessed were on October 8, 1661, and April 2, 1668.

Edward Browne records having seen Beggars Bush at "New Theatre in Lincolnes fields" by the King's Players during the season 1662-1663.44 Warrants for payment for "plays performed before royalty" include warrants for Beggars Bush for March 26, 1674, December 1, 1686, and February 13, 1687/8.« On June 12, 1705, The Royal Merchant, or Beggars Bush was acted. Although this was supposedly an adaptation of the play by "H. N." the confusion surrounding this adaptation makes it difficult to ascertain exactly what was acted. Performances of The Royal Merchant at the Haymarket are recorded for October 22, 1706, February 14, 1707, and November 14, 1707. At Drury Lane The Royal Merchant was acted on March 23, 1708, April 15, 1710, and May 2, 1710.« The editors of 1778 further tell us: Until within a few years past, the comedy now before us used to be frequently represented at Covent Garden Theatre. Kinnaird's alteration of the play appeared in the second decade of the nineteenth century at Drury Lane, where Kean appeared 44

Arthur C. Sprague, Beaumont (Cambridge, 1926), pp. 21-22. 45 Bentley, III, p. 315. 46 Sprague, pp. 108, 114, 120n.

and Fletcher

on the Restoration

Stage

INTRODUCTION

41

as Florez on December 14, 1815. There were seventeen repetitions of the play through February 10, 1816.47

F.

CRITICAL EXAMINATION

The success which Beggars Bush enjoyed up to and even into the nineteenth century is due in part to the skillfull handling of the intricacies of the plot, the plot and subplots being so artfully intertwined that they are inseparable. In fact to talk of subplots at all is misleading, for what we really have is a plot with many ramifications. To separate what at first seems a mere subplot from the whole would, in fact, remove an integral part from the main action of the play. The chief concern of the play is the efforts of Woolfort to capture and kill Gerrard and Florez and his subsequent failure to achieve this end. As a result of this failure, Woolfort himself is defeated and Florez is restored to his rightful position as ruler of Flanders. But the other concerns, such as the relationship between Florez and Bertha, between Gerrard and the beggars, between Hubert and Jaculin, between Florez and the merchants, etc. are so closely tied in with the chief concern that it is impossible to separate them. It is Hubert's determination to find Jaculin and his recognition of her that brings about the final solution. The scheme whereby Woolfort himself is captured by Gerrard is entirely Hubert's concoction, and he is the prime agent in carrying it out. Yet the success of the plot rests not on Hubert alone but on the cooperation of Vandunk and those burghers who have remained faithful to Gerrard. Thus the role played by Vandunk, certainly a minor figure, is a pivotal one. Because of Florez' ignorance of his true parentage, he is largely passive in the main action; yet the deeds which he does perform contribute substantially to bringing about his restoration as Count of Flanders. Thus his charity to Clause, his disguised father, which 47

Donald J. Rulfs, "Beaumont and Fletcher on the London Stage, 17761833", PMLA, LXIII (1948), pp. 1245-1264.

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somehow he feels is not mere charity but the performance of a duty, leads him to comply with Clause's request to choose him as king of the beggars. In that position, Clause is able to command the other beggars and thwart the plans of Hemskirke to kill Florez. Again it is Clause's position as chief of the beggars that enables him to use the beggars' treasure to save his son from financial ruin. It is Clause who is the link between the main action dealing with the political situation of Flanders and the subordinate action dealing with the beggars' world. The inhabitants of Beggars Bush actually do very little in the play in their own right. We may see them celebrating the crowning of their king, and later defrauding the boors by their tricks, or at the end resolving to remove the Bush into another climate; but no matter how interesting and entertaining these scenes may be, they are never allowed to detract from the main concern of the play. The coronation celebration is quickly interrupted by the arrival of Hubert and Hemskirke, and the presence of the beggars provides an occasion for Hubert to catch sight of Jaculin and to recognize her as his betrothed. The tricks which the beggars play on the boors in Act II make their victims ripe for Hemskirke's proposal, and it is in this scene also that Clause learns of the plan to kill Florez. It is, moreover, from the beggars, with their plans for gaining entrance to the wedding that Clause discovers that Florez is to be married. His insistence that Florez delay his marriage provides occasion for Clause, Florez, Bertha, Hemskirke, and Woolfort to be brought together for the final solution. The comic scenes with the beggars do not exist then merely for their own sake. They are intimately connected with the main action. The connection is even closer in those scenes where the characters of the main action are united with those of the minor as in II, i, where Hubert questions the beggars concerning Jaculin, or in III, iii, where the beggars extract a confession from Hemskirke, or, again, in V, ii, where "Captain" Prig and "Coronell" Higgen are instrumental in dispersing Woolfort's troops. Another "plot", that concerning the relationship of Florez to the merchants, although seemingly independent is also closely

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integrated with the main action. It is through this relationship that Florez eventually comes to rely upon Clause, for the beggar king is the only one able and willing to help him out of his financial straits. And the promise that Florez makes to Clause in return for the beggars' money enables Clause to halt the impending marriage and induce Florez to go with him, thereby setting the stage for the final solution of the play. Although the plots are closely integrated, it is likewise true that they are in a sense independent; and in Act V when the final solution comes, it brings together characters who throughout the play have been acting independently. What have Higgen and Prig had to do with Florez? What has Jaculin had to do with Hemskirke? Or Vandunk with Clause? This skilfull fusion of plots so that each retains its identity yet becomes a part of a larger whole reflects the skill in handling plot which is characteristic of the best of the plays of Beaumont and Fletcher. The skill in plot manipulation exhibited in Beggars Bush provides a striking contrast to the clumsy handling of plot in an earlier play of the canon such as Cupid's Revenge. Besides giving an organic unity to the play, this close-knit relationship among plots also serves to increase the tempo, so that more than one action can progress at the same time. Thus Hubert's recognition of Jaculin not only advances the subplot concerned with the Hubert-Jaculin relationship but also advances the main action by providing for Hubert's recognition of Gerrard and the subsequent capture of Woolfort and Hemskirke. Again, the capture of Hemskirke by the beggars leads indirectly to the resolution of the main action, for it results in Gerrard's entrusting Hemskirke to the keeping of Hubert, who then devises the plot by which Woolfort is defeated. The expository material of Act I is the slowest moving part of the entire play, but once the exposition or first part of the protasis is laid down action follows upon action swiftly. Those portions of the play wherein action is practically absent - as in II, ii; the first part of III, ii, the first part of III, iii; III, iv; the first part of V, ii; for example - are kept brief. The action is kept moving also by the shifts in scene from Ghent

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to Bruges, to the Bush, back to Bruges, to Vandunk's; to the Tavern, to the duelling place, back to the Bush, etc. No two consecutive scenes take place in the same location. It is also significant in this regard that there are few soliloquies. The few there are are brief and, with the exception of Bertha's speech in V, i, belong to Florez who reveals in them his fears concerning his ships. Beggars Bush is, therefore, primarily a play of action. There is little regard for the mental processes of characters. When such a situation obtains it is easy and rather tempting to level the charge at the playwright that his characters are not developed or are merely one-dimensional. This seems to be the case with Coleridge's criticism despite his high regard for Beggars Bush. In Beaumont and Fletcher you have descriptions of characters by the poet rather than the characters themselves; we are told, and impressively told, of their being; but we rarely or never feel that they actually are.48 The characterization in the play indeed seems somewhat deficient if we judge it by characterization in the later plays of Shakespeare. It is true that "we are told, and impressively told" about Florez before we actually see him and told also of the character of Woolfort as Hubert reveals his character to the usurper himself. However, as the action of the play progresses we are also shown those characters in action, and we see that what we have been told is certainly true. Hubert accuses Woolfort of being a ''Prince in nothing but [his] princely lusts, And boundlesse rapines", and it is just this that Woolfort shows himself to be. There is nothing princely in his use of Hubert as a "train" to lead him to Gerrard and the exiled nobles. There is nothing princely in his command to Hemskirke to poison Gerrard and his followers if they cannot be persuaded to return. There is nothing princely in his command to cut Hubert's throat. And there is certainly nothing princely in his decision to hang Hubert whom he still believes has willingly done him the service of betraying Gerrard and the others into his hands. Florez, 48

Samuel Taylor Coleridge, Lectures and Notes Other English Poets (London, 1897), p. 401.

on Shakespeare

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however, although ignorant of his true identity, does perform a princely action when he merely banishes Woolfort and Hemskirke whom Vandunk would hang "For profit of th' example". Such noble actions are prepared for by early events. The picture which the merchant in I, iii, paints of Florez is indeed a picture of a man of true nobility. We are told that he is a merchant of great renown and wealth; yet he is still a good man. Although he is wealthy, he is not prodigal or ostentatious: for his outward habit 'Tis sutable to his present course of life: His table furnish'd well, but not with dainties That please the appetite only for their rareness, Or the deare price: nor given to wine or women, Beyond his health, or warrant of a man, I meane a good one: and so loves his state He will not hazard it at play; nor lend Upon the assurance a well-pen'd Letter, Although a challenge second the denyall From such as make th' opinion of their valour Their meanes of feeding. His outward show, then, is in keeping with his state in life, but in all things he is prudent. He is also liberal, and when occasion demands His noble mind and ready hand contend Which can add most to his free curtesies, Or in their worth, or speed to make them so. Is there a Virgin of good fame wants dowre? He is a father to her; or a Souldier That in his Countreyes service, from the warre Hath brought home only scars, and want? his house Receives him, and relieves him, with that care As if what he posses'd had been laid up For such good uses, and he steward of it. Florez, even as a merchant then, is given to princely deeds. When he enters in I, iii, and bargains with a merchant for two hundred chests of candy sugars, we see his nobility of character in action. The merchant is dissatisfied with his offer of two hundred pounds below the value placed upon them. As a result Florez makes a proposal to him:

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Why looke you; I'le deale fairly, ther's in prison, And at your suite, a Pirat, but unable To make you satisfaction, and past hope To live a weeke, if you should prosecute What you can prove against him: set him free, And you shall have your money to a Stiver, And present payment. T h e merchant is amazed by this offer. H e cannot understand why Florez should be so anxious to save the life of a pirate, when he himself has many ships at sea. But Florez explains his position: You Mistake me, If you thinke I would cherish in this Captaine The wrong he did to you, or any man; I was lately with him, (having first, from others True testimony been assured; a man Of more desert never put from the shore) I read his letters of Mart from this State granted For the recovery of such losses, as He had receiv'd in Spain, 'twas that he aim'd at, Not at three tuns of wine, bisket, or beefe, Whis his necessity made him take from you. If he had pillag'd you neare, or sunke your ship, Or thrown your men o'r-boord, then he deserv'd The Lawes extreamest rigour: But since want Of what he could not live without, compel'd him To that he did (which yet our State calls death) I pitty his misfortunes; and to worke you To some compassion of them, I come up To your own price: save him, the goods are mine; If not, seeke elsewhere, I'le not deale for them. Actions such as these serve to contrast Florez with the merchants in IV, i, and IV, iii; to show the princely nature of the m a n ; and to prepare f o r the final revelation that Florez is indeed a prince. Blood will tell, as the Elizabethans believed. T h e others here exhibit the duplicity of their natures and reveal their true selves as opposed to the guise they assume when it advances their own interests. Florez's decision, albeit unwilling, to keep his promise to Clause and delay his wedding to Gertrude also reveals much about his character. I n this decision is involved his whole relationship with

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Clause. His charity to the beggar is a thing of long standing. Clause says to him: This seavne yeares have I fed upon your bounties, And but the fire of your blest charity warm'd me, And yet, good Master, pardon me, that must, Though I have now receiv'd your almes, presume To make one sute more to you.

And, of course, Florez is willing to grant that 'one sute more." The motives for Florez' charity toward Clause are not clear even to the merchant himself. Why should he single out Clause and not one of the other beggars? After Clause has revealed himself to Florez as Gerrard, his true father, Florez says O my lov'd Father, Before I knew you were so, by instinct, Nature had taught me, to look on your wants, Not as a strangers: and I know not how, What you call'd charity, I thought the payment Of some religious debt, nature stood bound for; And last of all, when your magnificent bounty In my low ebb of fortune, had brought in A flood of blessings, though my threatning wants And feare of their effects, still kept me stupid, I soone found out, it was no common pitty That lead you to it.

Florez sees, then, his charity toward Clause as the result of a natural instinct. Although he had no knowledge of Clause's true identity or of his own relationship to him, there was something that compelled him to look upon Clause as someone unusual, someone set apart, to whom he owed a debt. The debt, he remarks, is a religious debt, in effect a part of the virtue of justice, filial piety. It is also perhaps some sort of natural instinct that has led Florez to choose Gertrude for his wife. Although he knows nothing of her royal birth, he recognizes in her a nobility of character. And when Gerrard objects to the proposed marriage, it is this nobility of character that Florez points to as making her the equal of any who are nobly born. Ger. The fair maid, whom you chose to be your wife, Being so far beneath you, that your love

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Must grant shee's not your equall. Flo. In discent Or borrowed glories, from dead Ancestors, But for her beauty, chastity, and all vertues Ever remembred in the best of women, A Monarch might receive from her, not give, Though she were his Crownes purchase. . . . Florez has met with the question of nobility earlier. In II, ii, Hemskirke insults Florez and accuses him of being no gentleman. The merchant takes issue with him. You do not know, what a Gentleman's worth Sir, Nor can you value him. Florez' honor derives from his noble character and the actions which flow therefrom. His character is carefully but unobtrusively drawn. This can also be said of Woolfort and Gerrard, and Hubert and Hemskirke. We can best consider these four characters in pairs. Woolfort and Gerrard provide an interesting comparison and contrast. Both are rulers. Woolfort has obtained his power through deceit and trickery; Gerrard also obtains his position as King of the Beggars through a kind of trickery: He assures his selection by seeing to it that Florez will choose him as king. However, the difference between Gerrard and Woolfort as rulers is very great. Woolfort is a tyrant. Not only has he obtained his power by "impious meanes" but since he has been ruling his cruelties: So fair transcend your former bloody ills, As if compar'd they onely would appeare Essayes of mischiefe. . . . Gerrard, however, after having been chosen king, is mild with his subjects: It is our will, and every man to keep In his own path and circuite. . . . And what they get there, is their owne, besides To give good words. .. . And keep a-foote The humble, and the common phrase of begging,

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Lest men discover us. . . . We love no heapes of lawes, where few will serve. The character of Hubert is contrasted with that of Hemskirke just as Gerrard's is with Woolfort's. Hemskirke is the loyal servant of Woolfort, Hubert of Gerrard; and since they are thrown together throughout the play, the interplay of their characters is emphasized. Like Woolfort, Hemskirke is crafty and has about him something of the Machiavel. When he conspires to kill Goswin he comments: thus wise men Repaire the hurts they take by a disgrace, And piece the Lyons skyn with the Foxes case. It is Hubert, however, who seems to be more successful in piecing the "Lyons skin with the Foxes case" when he tricks Hemskirke into sending for Woolfort and then leads both of them into a trap. Throughout the play they are the "rogue Hemskirke" and the "noble Hubert". The characters of Bertha and Jaculin are not clearly drawn. Of the former we know that she is a "fine woman" and that She is such a thing, O Clause, she is such a wonder, such a mirror, For beauty, and faire vertue, Europe has not: and that . . . for her beauty, chastity, and all vertues Ever remembred in the best women, A Monarch might receive from her, not give, Though she were his Crownes purchase; Of Jaculin we know even less. Practically all we can say of her is that she loves her father and Hubert. Although they figure only indirectly in the main action, the beggars are essential to the play. Waith sees in them a pastoral element in an unexpected form. Their life in the woods is an escape from the evils of "civilized" existence to a community founded on the simple virtues. The beggars, it seems have hearts as golden as those of shepherds, and their "king" is

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a persecuted nobleman who has disguised himself as a beggar, just as Musidorus disguises himself as a shepherd.49 This judgment is true to a certain extent, but is overlooks the fact that the "beggar" with the heart of gold is in reality a nobleman in disguise. There is not much nobility about the "legitimate" beggars. Prig, for example, is a poor example of a paragon of the "simple virtues" when he brags. A very tyrant, I, an arrant tyrant If e're I come to reigne; therefore looke to't, Except you do provide me hum enough And Lour to bouze with: I must have my Capons And Turkeys brought me in, with my green Geese, And Ducklins i'th season: fine fat chickens, or if you chance where an eye of tame Phesants Or partridges are kept, see they be mine, Or straight I seize on all your priviledge, Places, revenues, offices, as forfeit, Call in your crutches, wooden legs, false bellyes, Forc'd eyes and teeth, with your dead arms; not leave you A durty clout to beg with o' your heads, Or an old rag with Butter, Frankinsence, Brimstone and Rozen, birdlime, blood, and creame, To make you an old sore; not so much sope As you may fome with i'th Falling-sicknesse; The very bag your beare, and the brown dish Shall be escheated. All your daintiest dells too I will deflowr, and take your dearest Doxyes From your warme sides; and then some one cold night I'le watch you what olde barne you goe to roost in, And there I'le smother you all i'th musty hay. If the beggars' life is an "escape from the evils of 'civilized' existence" it is by no means presented as an idyllic life for all. It suits the beggars; and although Gerrard says Many great ones Would part with halfe their States, to have the place, And credit to beg in the first file. . . . 4

* Eugene M . Waith, The Pattern of Tragicomedy Fletcher (New Haven, 1952), p. 114.

in Beaumont

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nonetheless, such a life can only be an interlude for people such as Gerrard. Their duties lie elsewhere, as he reminds his son. But now, as Florez, and a Prince, remember The countreyes, and the subjects generall good Must challenge the first part in your affection. Despite the irresponsible, at times criminal, way of life of the beggars, they are undoubtedly charming, and we perhaps remember Higgen as well as any other character in the play. It was undoubtedly the scenes with the beggars that led Coleridge to remark: "I could read the Beggar's Bush from morning to night. How sylvan and sunshiny it is!" 50 The confusion of time, as mentioned above, is one of the most perplexing problems of the play. Presumably, the time of I, i and I, iii is the same. In the latter scene the merchants offer Goswin six months to pay for the goods he purchases from them. He is confident that he will be able to pay the debt, for his ships are due in three months. Heaven grant my Ships a safe returne, before The day of this great payment: as they are Expected three moneths sooner: In I, iii Clause had asked Goswin to come to Beggars Bush the next day. Tomorrow then (dear Master) take the trouble Of walking early unto Beggars Bush And in II, i we find Goswin as Clause had asked. Thus II, i takes place on the day following I, iii. Hemskirke and Hubert also arrive at Beggars Bush this same day. It is, it seems, about a day's journey from Flanders (presumably the capital city of Ghent) to Bruges. A difficulty arises with II, ii. In II, i Hubert asks Hemskirke: If we be taken, how do'st thou imagine This Towne will use us, that hath stood so long Out, against Woolfortl " Samuel Taylor Coleridge, "Table Talk, Feb. 17, 1833", in W. G. T. Shedd, ed. (New York, 1884), V, p. 425.

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Hemskirke answers: Ev'n to hang us forth Upon their walls a sunning, to make Crowes meate, If I were not assur'd o' the Burgomaster, And had a pretty skuys, to see a neice there, I should scarce venture. It seems likely then that the two will not delay in the town but will go straightway to the Burgomaster's. In II, iii we see Vandunk, the Burgomaster, welcoming them. The time of II, iii then must be the same day as - or at least no later than the day following the time of II, i. In the intervening scene, however, we see Goswin worrying about the return of his ships: Do all my Agents sleepe? that nothing comes? Ther's a conspiracy of windes, and servants: If not of Elements, to ha' me break; What should I thinke unlesse the Seas, and Sandes Had swallow'd up my ships? or fire had spoyl'd My ware-houses? or death devour'd my Factors I must ha' had some returnes. If his ships are overdue, at least three months must have passed between I, iii and II, ii; yet II, i and II, iii take place on the day following Goswin's agreement with the merchants. To add to the confusion, in II, iii Hemskirke challenges Goswin to a duel to be fought that evening between seven and eight. When Goswin appears for the duel in III, ii, he reveals that the debt falls due the following day: There is no help, there can be now no comfort, Tomorrow with the Sun-set sets my credite. This indicates a passage of six months since I, iii. The time of III, iv seems to be the following day, for Goswin at the end of the scene sets off to see his creditors to ask for more time. In IV, i the creditors refuse his request and tell him he has but two hours to pay. Scenes ii-v of Act IV all take place on the same day as scene i. In IV, iii Vandunk tells Goswin My boy she [Gertrude] is thy wife this night,

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The merchant is to be married, then, on the very day he pays his creditors. In IV, iv which presumably does not take place before IV, iii, Hubert lets Hemskirke go, telling him to have Woolfort in Bruges "Tomorrow-night". If Hemskirke is to get word to Woolfort, who in turn must travel the distance from Ghent to Bruges, even "Tomorrow-night" is early. But Woolfort does not arrive in Bruges "Tomorrow-night", but rather on the night of the wedding. The marriage has not yet taken place. The time of Act V is in the late evening and night of the day of the wedding. The greatest incongruity here is, of course, in the time in which Goswin's debt comes due. Between the beginning of this action and its final resolution, six months must elapse. However, it is evident that a six month period cannot be justified for Hubert's searching out of his betrothed. When Hubert and Hemskirke arrive on the scene, the action must move swiftly, and it does. Thus the lesser concern of Goswin's financial difficulties is tailored to meet the demand of the more important action. Such a discrepancy in the handling of time was not something strange to the Jacobean audience. Labelling this phenomenon "double time", Miss Buland notes that it is essentially The representation of events as if they possessed a time-extension other than that which the plot presents to the audience. This inconsistency appears in two stages of complexity - on two levels, so to speak. First, we may have two stories interwoven in which the actions do not progress concurrently: they may begin together: the incidents of the second day of the subplot may then be dovetailed into the events of the eighth day in the unfolding of the main plot; and, finally both may be concluded in the last scene - one having extended over six months, and the other over a fortnight. Secondly, the illusion in time may be supplied to a play as a whole, so that hours and days of expressly stated action may be represented as having lasted for months and years.51 The first type of double time described here is what is found in Beggars Bush. Skillfully handled double time can be a virtue in drama rather than a defect if its use is unobtrusive. The combination of time passing swiftly and time standing still must not be S1 Mabel Buland, The Presentation (New York, 1912), pp. 9-10.

of Time in the Elizabethan

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too evident to the audience. It is here that we must always bear in mind that plays are composed essentially to be seen and heard and not to be read. It is much easier to detect such discrepancies when reading a play than when seeing it. There is yet another problem with time, one which may be even less obvious to the audience than that already discussed. This is a needless discrepancy, resulting very likely from the fact that Beggars Bush represents a collaboration rather than the effort of a single playwright. The confusion of chronology concerns the background of the play. The war between Flanders and Brabant, we are told, lasted seven years. Both Goswin and Gertrude were in their minority when the war began. Neither of them is aware of his or her true parentage. Gertrude, then, could not have been very old when she was stolen from her father's court. It was not until seven years later - after the war - that Gerrard and Florez fled from Flanders. Florez, like Bertha, has no remembrance of these events. Now, when the play opens, Florez and Bertha both come of age. Yet Vandunk chides Hemskirke for not having come to Bruges to see his "niece" for seven years. Not only has it been seven years but It was before the Brabander gan his w a r . . . . It seems that the present action takes place only seven years after the war began. Yet in that seven years Bertha has become a woman; Florez has become a wealthy and respected merchant; and both of them are ready now for marriage. These difficulties could be pursued, but any further examination of them could only support what these few suggestions reveal - that the discrepancies cannot be reconciled. As was suggested above, the explanation seems to lie in the fact of multiple authorship. If the expository material contained in the first act is ignored, the chronology presents little difficulty. The line dividing tragicomedy and romantic comedy is often a very fine one. Although Beggars Bush is labelled a comedy in the 1679 Folio, it exhibits many of the elements traditionally associated with tragicomedy. It brings Florez, Gerrard, Hubert,

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and the Flemish nobles into danger but keeps them from death; it mixes characters of different social classes; and it maintains that delicate balance between reality and romance which results in the "middle mood" of tragicomedy. Nonetheless, Beggars Bush is distinct from the Beaumont and Fletcher tragicomedies. In discussing the play Waith points out that As in the tragicomedies, the resources of Fletcher's rhetoric are put at the disposal of the actor, as a vehicle of impassioned declamation. There are fewer of these highly emotional scenes than in Philaster or A King and No King, but if this quantitative difference is overlooked, very little separates Beggars Bush from tragicomedy. 52

However, it is more than a shortage of "highly emotional scenes" that separates Beggars Bush from tragicomedy. The elements of tragicomedy that do exist in Beggars Bush exist in a subdued form, a minor key so to speak. The first scene wherein Hubert confronts Woolfort with his villainies sets a tone of danger which runs throughout the play. But the tone here is far from the sense of evil foreboding present in A King and No King. Florez is confronted with two dangers, financial ruin as the result of the loss of his ships and death if Hemskirke should be successful in discovering his true identity. The young merchant is aware of only the first of these. The knowledge on the part of the audience of the true identity of Clause and of his ability to aid Florez and the knowledge that Hubert suspects Hemskirke's motives in accompanying him serve to lighten the sense of impending doom and separate the tone of the play from that of tragicomedy. In A King and No King, Arbaces is confronted with an incestuous relationship with his sister, Panthea. That they are not really brother and sister is hidden not only from the lovers but also from the audience. The emotional intensity of the play is thereby heightened. The emotional intensity of Beggars Bush is of another kind. The audience is aware of what is going to happen, but not of how or when; thus the emotional involvement of the 52

Waith, p. 117.

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spectators is not so great in Beggars Bush as it is in A King and No King. Another similarity to and also a point of departure from the world of tragicomedy can be seen in the character of Beggars Bush. Tragicomedy with its own rules of decorum would see nothing indecorous in mingling noble persons such as Gerrard, Hubert, Florez, etc. with low types such as Higgen, Prig. Ferret, Gynkes, and Snap, nor even in Gerrard's becoming a beggar himself. Yet if we were to look at the characters from the standpoint of Fletcherian tragicomedy alone, we might wonder at the consistency with which they are drawn. There are none of the sudden changes which we expect from an examination of the tragicomedies and other plays which reflect tragicomic practice. Woolfort and Hemskirke though banished from Flanders at the end of the play remain the same villainous characters that they did throughout the play. The beggars themselves, given a chance to become honest members of the commonwealth prefer to remain beggars. There is no sudden repentance such as Evadne shows in The Maid's Tragedy. There are no almost miraculous transformations as there are in Lucio and Clara in Love's Cure. There is no reversal of character such as Panthea displays when in A King and No King she becomes the wooer and Arbaces the wooed. And there are opportunities for such changes. Hemskirke when he is apprehended by the beggars might well be made to recognize the error of his ways and might easily become instrumental in the capture of Woolfort. Hubert might well see an opportunity to regain his beloved Jaculin and restore himself to Woolfort's favor by actually betraying Gerrard. Woolfort himself might easily repent when he finds himself facing execution. But these changes do not occur. The characters remain consistent to the end. But, if Beggars Bush is distinct from the tragicomedies, it differs also from more typical Beaumont and Fletcher comedies such as The Mad Lover, The Wild Goose Chase, Woman's Prize, etc. by reason of the handling of its romantic material. The romantic situation which shapes the play is in many respects quite usual. The story of the noble who, having been exiled from his court by a usurper, retires to an idyllic life in the woods

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was a familiar one to the seventeenth-century audience acquainted with pastoral romance. Indeed, the romantic setting involving Gerrard, Jaculin, and the other Flemish nobles is at times reminiscent of the "court-in-the-woods" atmosphere of As You Like It, Shakespeare's adaptation of Lodge's Rosalynde. What is unusual is the introduction of characters of another sort, the real beggars. Scorning the world where they must beat hemp, and be whipt twice a weeke, Or turne the wheele, for Crab the Rope-maker! Or learne to go along with him, his course. . . . they withdraw, in the best pastoral traditional, from civilization to their own commonwealth in the woods. It is a kingdom in itself with its own ruler, its own laws, even its own language. Though it is far from being an ideal society, it contrasts favorably with the Flemish court. The evils of injustice and dishonesty present in the Bush are evident. But despite the "forc'd" eyes, the "forc'd" teeth, the false bellies, the counterfeited sores, the forged passports, and despite the knavery and deceit inherent in the beggars themselves, within their world there is no duplicity. They falsify themselves only to the outside world. This situation contrasts with the duplicity of Woolfort's court where things are not what they seem. Thus a group of vagabonds effectively reveals and underscores the corruption of court life. The masquerading of Gerrard and the other nobles as beggars and the appearance of Florez in "merchant's shape" is in keeping with the best romance tradition. Disguises are common in the plays of the Beaumont and Fletcher canon. Amaryllis in The Faithful Shepherdess assumes the form of Amoret; Euphrasia in Philaster disguises herself as a page; Alathe in The Nightwalker hides her true identity and not only poses as but actually becomes a thief; other instances are too numerous to mention. In Beggars Bush some of the hidden identities are not in the strict sense disguises. Florez and Bertha are both unaware of their true identities and it is only Gerrard, Jaculin, the Flemish nobles, and Hubert who actually disguise themselves. The handling also of romantic love in Beggars Bush differs

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from the handling in other comedies of the canon. The feminine characters are relatively colorless and their roles rather insignificant. Jaculin and Bertha are, it is true, important in the working out of the plot; it is because of his love for Jaculin that Hubert undertakes his search in the first place, and it is because of Florez' love for Bertha and Woolfort's desire to marry her himself that matters are brought to a crisis. But as characters, the two women need scarcely to exist. There are no wooing scenes; indeed there is little emphasis on love at all until the last act when Florez praises his beloved. But this is cut short by more urgent matters. These more urgent matters bring us back to the real world. The very existence of the unreal world of romance implies the existence of a real. And behind the romantic world of Beggars Bush lies a very real world indeed, a world which, to paraphrase Clause, many great men would give up for the right to beg in the first rank. But the beggar's life is an escape, a pleasant interlude, which must come to an end. It is only the real beggar who remains a beggar still.

BEGGARS BUSH

DRAMATIS PERSONAE

Woolfort, usurper of the earldom of Flanders. Gerrard, nobleman of Flanders, disguised as Clause. Florez, son of Gerrard, known as Goswin. Hemskirke, a captain of Woolfort's. Hubert, a Flemish noble, friend to Gerrard. Vandunk, Burgomaster in Bruges, friend to Gerrard. Higgen Prig Snap

Beggars.

Ferret 1 Flemish noblemen disguised as beggars. Gynkes | Herman, a courtier. Vanlock, a merchant. Merchants. Boors. Saylor. Soldiers. Servants. Jaculin, daughter of Gerrard. Bertha, daughter of Duke of Brabant, known as Gertrude. Margaret, wife of Vandunk. Frances, daughter of Vanlock.

DRAMATIS .. . Vanlock.] om 47

ACTUS PRIMUS, Scaena

Prima.

Enter a Merchant, and Herman. Mer. Is he then taken? Her. And brought back even now sir. Mer. He was not in disgrace? Her. No man more lov'd, Nor more deserv'd it, being the onely man That durst be honest in this Court. Mer. Indeed We have heard abroad sir, that the State hath suffered A great change, since the countesse death. Her. It hath sir. Mer. My ten yeares absence, hath kept me a stranger So much to all the occurrents of my Country, As you shall bind me for some short relation To make me understand the present times. Her. I must begin then with a war was made And seven yeares with all cruelty continued Upon our Flanders by the Duke of Brabant, The cause grew thus: during our Earles minority, Woolfort, (who now usurps) was employed thither To treat about a match betweene our Earle And the daughter and Heire of Brabant: during which treaty The Brabander pretends, his daughter was Stolne from his Court, by practice of our State 7 ten] MS 18 his] MS

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Though we are all confirm'd, 'twas a sought quarrell T o lay an unjust gripe upon this Earledome, It being here beleev'd the Duke of Brabant Had no such losse. This war upon't proclaim'd, Our Earle, being then a Child, although his Father

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Good Gerrard liv'd, yet in respect he was Chosen by the Countesse favour, for her Husband And but a Gentleman, and Floriz holding His right unto this Country from his Mother, The State thought fit in this defensive war, Woolfort being then the only man of marke, T o make him Generall. Mer. Which place we have heard He did discharge with honour. Her. I, so long, And with so blest successes that the Brabander Was forc't (his treasures wasted, and the choyce

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T o leave the field, and sound a base retreat Back to his Country: but so broken both In minde and meanes, ere to make head againe, That hitherto he sitts downe by his losse, Not daring, or for honour, or revenge Againe to tempt his fortune. But this Victory More broke our State, and made a deeper hurt In Flanders, then the greatest overthrow She e're receiv'd: For Woolfort, now beholding Himselfe, and actions in the flattering glasse Of selfe-deservings, and that cherish't by The strong assurance of his power, for then All Captaines of the Army, were his creatures, The common Souldier too at his devotion, Made so by full indulgence to their rapines And secret bounties, this strength too well knowne And what it could effect, soone put in practice, 44 e're] MS

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As furtherd by the child-hood of the Earle And their improvidence, that might have peirc't The heart of his designes, gave him occasion To sieze the whole, and in that plight you find it. Mer. Sir, I receive the knowledge of thus much As a choyce favour from you. Her. Onely I must add Bruges holds out. Mer. Whether sir, I am going For there last night I had a ship put in, And my horse waits me. Exit. Her.

I wish you a good journey. Exit.

Scaena Secunda. Enter Woolfort: Hubert, Hemskirk. Wool. What? Hubert stealing from me? Who disarm'd him Twas more then I commanded; take your sword, I am best guarded with it in your hand, I have seene you use it nobly. Hub. And will turne it On mine owne bosom, ere it shall be drawne Unworthily or idly. Wool. Would you leave me Without a farwell Hubert? fly a friend Unwearied in his study to advance you? What have I ev'r possessed which was not yours? Or either did not court you to command it? Who ever yet arriv'd to any grace, Reward or trust from me, but his approaches 61 s.d. Exit] 6 idly] MS

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Were by your faire reports of him prefer'd? And what is more I made my selfe your Servant, In making you the Master of those secrets Which not the rack of conscience could draw from me Nor I, when I ask mercy, trust my prayers with; Yet after these assurances of love, These tyes and bonds of friendship, to forsake me Forsake me as an enemie? Come you must Give me a reason. Hub. Sir, and so I will, If I may do't in privat: and you heare it. Wool. All leave the roome: you have your will, sit downe And use the liberty of our first friendship. Hub. Friendship? when you prov'd Traitor first, that vanish'd Nor do I owe you any thought, but hate I know my flight hath forfeited my head; And so I may make you first to understand What a strange monster you have made your selfe, I welcome it. Wool. To me this is strange language. Hub. To you? why what are you? Wool. Your Prince and Master, The Earle of Flounders. Hub. By a proper title, Rais'd to it by cunning circumvention, force Blood, and proscriptions. Wool. And in all this wisedome; Had I not reason? when by Gerrards plotts I should have first been call'd to a strict accompt How, and which way I had consum'd that masse Of money, as they terme it in the warr, Who underhand, had by his Ministers Detracted my great action, made my faith And loyalty so suspected: in which failing 23 sit] MS set 47 28 first t o understand] MS first understand 47 36 accompt] MS accop 47

ACTUS PRIMUS

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He sought my life by practice. Hub. With what fore-head, Do you speake this to me? who (as I know't) Must, and will say 'tis false, Wool. My guard there. Hub. Sir, you bad me sit, & promis'd you would heare Which I now say you shall, not a sound more, For I that am contemner of mine owne, Am Master of your life; then heer's a Sword Betweene you, and all aydes Sir, though you blind The credulous beast, the multitude, you pass not These grosse untruthes on me. Wool. How? grosse untruthes. Hub. I, and it is favourable language, They had bin in a meane man lyes, and foule ones. Wool. You take strange licence. Hub. Yes, were not those rumours Of being cal'd unto your unswers, spread By your owne followers: and weake Gerrard wrought (But by your cunning practise) to believe That you were dangerous; yet not to be Punish'd by any formall course of law, But first to be made sure, and have your crimes Layd open after, which your queint traine taking You fled unto the Campe, and there crav'd humbly Protection for your innnocent life, and that, Since you had scap'd the fury of the warr, You might not fall by treason, and for proofe, You did not for your owne ende make this danger; Some that had been before, by you subornd, Came forth and tooke their oathes they had been hir'd By Gerrard to your murther. This once heard, And easily beleev'd, th'inraged Souldier Seeing no further then the outward man, Snatch'd hastily his Armes, ran to the Court, 55 cal'd] MS called 47 57 to believe] 61Q to be believe 47

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Kill'd all that made resistance, cut in pieces Such as were Servants, or thought friends to Gerrard, Vowing the like to him. Wool. Will you yet end? Hub. Which he foreseeing, with his Sonne, the Earle, Forsooke the Citty; and by secret wayes As you give out, and we would gladly have it, Escap'd their fury: though 'tis more then fear'd They fell among the rest; Nor stand you there To let us onely mourne, the impious meanes By which you got it, but your cruelties since So farr transcend your former bloody ills, As if compar'd they onely would appeare Essayes of mischiefe; do not stop your eares, More are behind yet. Wool. O repeat them not, 'Tis hell to heare them nam'd. Hub. You should have thought, That hell would be your punishment when you did them, A Prince, in nothing but your princely lusts, And boundless rapines. Wool. No more I beseech you. Hub. Who was the Lord of house or land, that stood Within the prospect of your coveteous eye? Wool. You are in this to me a greater Tyrant, Then ere I was to any. Hub. 1 end thus The generall griefe, now to my private wrong; The losse of Gerrards daughter Jacqueline: The hop'd for partner of my lawfull bed, Your cruelty hath frighted from mine armes; And her, I now was wandring to recover. Thinke you that I had reason not to leave you, When you are growne so justly odious, That ev'n my stay here with your grace and favour, Makes my life ircksome: here surely take it, And do me but this fruite of all your friendship,

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That I may dye by you, and not your hang-man. Wool. Oh Hubert, these your wordes and reasons have As well drawne drops of blood from my griev'd hart, As these teares from mine eyes; Despise them not By all that's sacred, I am serious Hubert, You now have made me sensible, what furyes, Whips, hangmen, and tormentors a bad man Do's ever beare about him: let the good That you this day have done, be ever numberd, The first of your best actions; Can you think, Where Floriz is or Gerrard, or your love, Or any else, or all that are proscrib'd? I will resigne, what I usurpe, or have Unjustly forc'd; the dayes I have to live Are too too few to make them satisfaction With any penitence: yet I vow to practise All of a man. Hub. O that your hart and tongue Did not now differ! Wool. By my griefes they do not; Take the good paines to search them out; 'tis worth it, You have made cleane a Leper: Trust me you have, And made me once more fit for the society, 1 hope of good men. Hub. Sir, do not abuse My aptnesse to beleeve. Wool. Suspect not you A faith that's built upon so true a sorrow, Make your owne safetyes: aske them all the ties Humanity can give, Hemskirk too shall Along with you to this so wish'd discovery, And in my name profess all that you promise; And I will give you this helpe to't: I have Of late receiv'd certaine intelligence, That some of them are in or about Bruges To be found out: which I did then interpret, The cause of that Townes standing out against me;

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But now am glad, it may direct your purpose Of giving them their safety, and mee peace. Hub. Be constant to your goodnesse, & you have it.

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Exeunt.

Scaena Tertia. Enter 3 Merchants. 1. Mer. 'Tis much that you deliver of this Goswin. 2. Mer. But short of what I could, yet have the Country Confirmd it true, and by a general oath, And not a man hazard his credit in it: He beares himselfe with such a confidence As if he were the Master of the Sea, And not a winde upon the Sailers compasse, But from one part or other, was his factor, To bring him in the best commodities, Merchant e're venturd for: 1. Mer. 'Tis strange, 2. Mer. And yet; This do's in him deserve the least of wonder, Compar'd with other his peculiar fashions, Which all admire: he's young, and rich, at least Thus far reputed so, that since he liv'd In Bruges, there was never brought to harbour So rich a Bottome, but his bill would passe Unquestion'd for her lading. 3. Mer. Yet he still Continues a good man. 2. Mer. So good, that but To doubt him, would be held an injury Or rather malice, with the best that traffique; But this is nothing, a great stocke, and fortune, 140 s.d. Exeunt] Exit 47 12 Compar'd] MS Compared 47

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Crowning his judgement in his undertakings May keep him upright that way: But that wealth Should want the power to make him dote on it, Or youth teach him to wrong it, best commends His constant temper; for his outward habit 'Tis sutable to his present course of life: His table furnish'd well, but not with dainties That please the appetite only for their rarenesse, Or the deare price: nor given to wine or women, Beyond his health, or warrant of a man, I meane a good one: and so loves his state He will not hazard it at play, nor lend Upon the assurance of a well-pen'd Letter, Although a challenge second the denyall From such as make th' opinion of their valour Their meanes of feeding. 1. Mer. These are wayes to thrive, And the increase not curs'd. 2. Mer. What follows this, Makes many Ventures with him, in their wishes, For his prosperity: for when desert Or reason leads him to be liberall, His noble mind and ready hand contend Which can add most to his free curtesies, Or in their worth, or speed to make them so. Is there a Virgin of good fame wants dowre? He is a father to her; or a Souldier That in his Countreyes service, from the warre Hath brought him only scars, and want? his house Receives him, and relieves him, with that care As if what he possess'd had been laid up For such good uses, and he steward of it. But I should loose my selfe to speake him further And stale in my relation, the much good You may be witnesse of, if your remove 38 increase] MS

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From Brugis, be not speedy. 1. Mer. This report I do assure you will not hasten it, Nor would I wish a better man to deale with For what I am to part with. 3. Mer. Never doubt it, He is your man and ours, and only I wish His too much forwardnesse to embrace all bargains Sink him not in the end. 2. Mer. Have better hopes, For my part I am confident; here he comes. Enter Florez & the fourth Merchant. Flo. I take it at your own rates: your wine of Cyprus, But for your Candy sugars, they have met With such foule weather, and are priz'd so high I cannot save in them. 4. Mer. I am unwilling To seeke another Chap-man: make me offer Of something near my price, that may assure me You can deale for them. Flo. I both can, and will, But not with too much losse; your bill of lading Speakes of two hundred chests, valued by you At thirty thousand gilders. I will have them At twenty -eight; so, in the payment of Three thousand sterling, you fall only in Two hundred pound. 4. Mer. You know, they are so cheape. Flo. Why looke you; I'le deale fairly, ther's in prison, And at your suite, a Pirat, but unable To make you satisfaction, and past hope To live a weeke, if you should prosecute What you can prove against him: set him free, And you shall have your money to a Stiver, And present payment. 4. Mer. This is above wonder, 61 Sink] MS

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ACTUS PRIMUS

A Merchant of your ranke, that have at Sea So many Bottoms in the danger of These water-Theeves, should be a meanes to save 'em, It more importing you for your owne safety To be at charge to scoure the Sea of them Then stay the sword of Justice, that is ready To fall on one so conscious of his guilt That he dares not deny it. Flo. You mistake me, If you thinke I would cherish in this Captaine The wrong he did to you, or any man; I was lately with him, (having first, from others True testimony been assured, a man Of more desert never put from the shore) I read his letters of Mart from this State granted For the recovery of such losses, as He had receiv'd in Spain, 'twas that he aim'd at, Not at three tuns of wine, bisket, or beefe, Which his necessity made him take from you. If he had pillag'd you neare, or sunke your ship, Or thrown your men O'r-boord, then he deserv'd The Lawes extreamest rigour: But since want Of what he could not live without, compel'd him To that he did (which yet our State calls death) I pitty his misfortunes; and to worke you To some compassion of them, I come up To your own price: save him, the goods are mine; If not, seeke else-where, I'le not deale for them. 4. Mer. Well, Sir, for your love, I will once be lead To change my purpose. Flo. For your profit rather. 4. Mer. I'le presently make meanes for his discharge, Till when, I leave you. 2. Mer. What do you thinke of this? 1. Mer. As of a deed of noble pitty: guided By a strong judgement. 106 misfortunes] MS

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2. Mer. Save you Master Goswin. Flo. Good day to all. 2. Mer. We bring you the refusall Of more Commodities. Flo. Are you the owners Of the ship that last night put into the Harbour? 1. Mer. Both of the Ship, and lading. Flo. What's the fraught? 1. Mer. Indico, Quichinel, choise Chyna stuffs. 3. Mer. And cloath of Gold brought from Camball. Flo. Rich lading, For which I were your Chapman, but I am Already out of cash. 1. Mer. I'le give you day For the moiety of all. Flo. How long? 3. Mer. Sixe moneths. Flo. 'Tis a faire offer: which (if we agree About the prizes) I, with thanks accept of, And I will make present payment of the rest: Some two hours hence l'le come aboord. 1. Mer. The Gunner shall speake your welcome. Flo. I'le not faile, 3. Mer. Good morrow. Exeunt Merch. Flo. Heaven grant my Ships a safe returne, before The day of this great payment: as they are Expected three moneths sooner: and my credite Stands good with all the world.

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Enter Gerrard. Ger. Blesse my good Master, The prayers of your poor Beads-man ever shall Be sent up for you. Flo. God 'a mercy Clause, Ther's something to put thee in minde hereafter 129 your] MS you 47 130 s.d. Exeunt] MS Exit

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To thinke of me. Ger. May he that gave it you Reward you for it, with encrease, good Master. Flo. I thrive the better for thy prayers. Ger. I hope so. These seavne yeares have I fed upon your bounties, And by the fire of your blest charity warm'd me, And yet, good Master, pardon me, that must, Though I have now receiv'd your almes, presume To make one sute more to you. Flo. What is't Clause? Ger. Yet do not think me impudent I beseech you, Since hitherto your charity hath prevented My begging your reliefe, 'tis not for money Nor cloaths (good Master) but your good word for me. Flo. That thou shalt have, Clause, for I think thee honest. Ger. To morrow then (dear Master) take the trouble Of walking early unto Beggars Bush, And as you see me, among others (Brethren In my affliction) when you are demanded Which you like best among us, point out me, And then passe by, as if you knew me not. Flo. But what will that advantage thee? Ger. O much Sir, 'Twill give me the preheminence of the rest, Make me a King among 'em, and protect me, From all abuse, such as are stronger, might Offer my age; Sir, at your better leizure I will informe you further of the good It may do to me. Flo. 'Troth thou mak'st me wonder: Have you a King and Common-wealth among you? Ger. We have, & there are States are governd worse. Flo. Ambition among Beggars? Ger. Many great ones 141 these seavne] MS

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Would part with halfe their States, to have the place, And credit to beg in the first file, Master: But shall I be so much bound to your furtherance In my Petition? Flo. That thou shalt not misse of Nor any wordly care make me forget it, I will be early there. Ger. Heaven blesse my Master. Exeunt.

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ACTUS SECUNDUS, Scaena Prima.

Enter Higgen, Ferret, Prig, Clause, Jaculine, Snap, Gynkes, and others Beggars. Hig. Come Princes of the ragged regiment, You o' the blood, Prig my most upright Lord, And these (what name or title, e're they beare) Jarkman, or Patrico, Cranke, or Clapperdudgeon. Frater, or Abram-man: I speake to all That stand in faire Election for the title Of King of Beggars, with the command adjoyning, Higgen, your Orator, in this Inter-regnum, That whilom was your Dommerer, doth beseech you All to stand faire, and put yourselves in ranke, That the first Commer, may at his full view Make a free choise, to say upon the question. Fer. Pr. 'Tis done Lord Higgen. Hig. Thankes to Prince Prig, Prince Ferret. Fer. Well, pray my Masters all, Ferret be chosen; Ye'ar like to have a mercifull mild Prince of me. Prig. A very tyrant, I, an arrant tyrant If e're I come to reigne; therefore looke to't, Except you do provide me hum enough And Lour to bouze with: I must have my Capons And Turkeys brought me in, with my green Geese, 11 full] MS first 47 12 upon] MS up 47

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And Ducklings i'th season: fine fat chickens, Or if you chance where an eye of tame Phesants Or Partridges are kept, see they be mine, Or straight I seize on all your Priviledges, Places, revenues, offices as forfeit; Call in your crutches, wooden legs, false bellyes, Forc'd eyes and teeth, with your dead arms; not leave you A durty clout to beg with o' your heads, Or an old rag with Butter, Frankinsence, Brimstone, and Rozen, birdlime, blood, and creame To make you an old sore; not so much sope As you may fome with I'th Falling-sicknesse; They very bag you beare, and the brown dish Shall be escheated. All your daintiest dells too I will deflowr, and take your dearest Doxyes From your warme sides; and then some one cold night I'le watch you what olde barne you goe to roose in, And there I'le smother you all I'th musty hay. Hig. This is tyrant-like indeed: But what would Ginkes Or Clause be here, if either of them should raigne? Ger. Best aske an asse, if he were made a Camell, What he would be; or a dog, and he were a Lyon. Ginks. I care not what you are, Sirs, I shall be A Begger, still, Ime sure, findeing my selfe there. Enter

Priviledges] MS priviledge 47 smother] 61Q smoother 47 Ime] MS I am 47 calling] 79 call 47

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Snap. O here a Judge comes. Hig. Cry, a Judge, a Judge. Flo. What aile you Sirs? what means this out-cry? Hig. Master A sort of poor soules met: Gods fools, good Master, Have had some little variance amongst our selves Who should be honestest of us; and which lives Uprightest in his calling: Now, 'cause we thought 24 38 44 50

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We ne're should gree on't our selves, because Indeed 'tis hard to say: we all dissolv'd to put it To him that should come next, and that's your Mastership Who, I hope, will termine it as your mind serves you, Right, and no otherwise we aske it: which? Which does your Worship thinke is he? sweet Master Looke ore us all, and tell us; we are seven of us, Like to the seven wise Masters, or the Planets. Flo. I should judge this the man with the grave beard, And if he be not Ger. Blesse you, good Master, blesse you. Flo. I would he were: there's something too, amongst you To keep you all honest. Exit. Snap. King of heaven goe with you. Omn. Now good reward him, may he never want it. To comfort still the poor, in a good houre. Fer. What is't? see: Snap has got it. Snap. A good crown, marry: Prig. A crown of gold. Fer. For our new King: good luck. Ginks. To the common treasury with it; if't be gold, Thither it must. Prig. Spoke like a Patriot, Ferrett King Clause, I bid God save thee first, first, Clause, After this golden token of a crowne; Wher's Oratour Higgen with his gratuling speech now, In all our names? Fer. Here he is pumping for it. Ginks. H'has cough'd the second time, 'tis but once more And then it comes. Fer. So, out with all: expect now Hig. That thou art chosen, venerable Clause, Our King and Soveraign; Monarch o'th Maunders, 53 h i m ] MS 57 o r e ] MS

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Thus we throw up our Nab-cheats, first for joy, And then our filches; last, we clap our fambles, Three subject signes, we do it without envy: For who is he here did not wish thee chosen? Now thou art chosen, aske 'em: all will say so, Nay swear't: 'tis for the King, but let that passe; When last in conference at the bouzing ken This other day we sate about our dead Prince Of famous memory: (rest goe with his rags:) And that I saw thee at the tables end, Rise mov'd, and gravely leaning on one Crutch, Lift the other like a Scepter at my head, I then presag'd thou shortly wouldst be King And now thou art so: but what need presage To us, that might have read it, in thy beard, As well as he that chose thee? by that beard Thou wert found out, and mark'd for Soveraignty. Oh happy beard! but happier Prince, whose beard Was so remark'd, as mark'd him out our Prince, Not bating us a haire. Long may it grow, And thick, and faire, that who lives under it, May live as safe, as under Beggars Bush, Of which this is the thing, that but the type. Om. Excellent, excellent oratour, forward good Higgen Give him leave to spit: the fine, well-spoken Higgen. Hig. This is the beard, the bush, or bushy-beard, Under whose gold and silver raigne 'twas said So many ages since, we all should smile. No impositions, taxes, grievances, Knots in a State, and whips unto a Subject, Lye lurking in this Beard, but all kem'd out: If now, the Beard be such, what is the Prince That owes the Beard? a Father; no, a Grandfather; Nay the great Grand-father of you his people. 95 mark'd him out] MS marked out 47 105 N o ] 50 On 47 107 kem'd] MS hem'd 47

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He will not force away your hens, your bacon, When you have ventur'd hard for't, nor take from you The fattest of your puddings: under him Each man shall eate his own stolne eggs, and butter, In his owne shade, or sun-shine, and enjoy His owne deare Dell, Doxy, or Mort, at night In his own straw, with his owne shirt, or sheet, That he hath filch'd that day, I and possesse What he can purchase, backe, or belly-cheats To his own prop: he will have no purveyers For Pigs, and poultry. Ger. That we must have, my learned Oratour, It is our will, and every man to keep In his own path and circuite. Hig. Do you heare? You must hereafter maund on your own pads he saies. Ger. And what they get there, is their owne, besides To give good words. Hig. Do you marke? to cut bene whids, That is the second Law. Ger. And keepe a-foote The humble, and the common phrase of begging, Lest men discover us. Hig. Yes; and cry sometimes, To move compassion: Sir, there is a table, That doth command all these things, and enjoyns 'em; Be perfect in their crutches: their fain'd plaisters, And their torn pas-ports, with the ways to stammer, And to be dumb, and deafe, and blind, and lame, There, all the halting paces are set downe, I'th learned language. Ger. Thither I refer them, Those, you at leisure shall interpret to them, We love no heapes of lawes, where few will serve. Om. O gracious Prince, 'save, 'save the good King Clause. 133 torn] MS

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Hig. A song to crowne him. Fer. Set a Centinell out first. Snap. The word? Hig.

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A Cove comes, and fumbumbis to it. -Strike. THE SONG.

Cast our Caps and cares away; this is Beggars Holli-day At the Crowning of our King, thus we ever dance & sing. In the world looke out and see: where so happy a Prince as he Where the Nation live so free, and so merry as do we? Be it peace, or be it war, here at liberty we are, And enjoy our ease and rest; To the fields we are not prest; Nor are call'd into the Towne, to be troubled with the Gowne. Hang all Officers we cry, and the Magistrate too, by; When the Subsidie's encreast, we are not a penny sest. Nor will any goe to law, with the Beggar for a straw. All which happinesse, he brags, he doth owe unto his rags. Enter Snap, Hubert, and Hemskirke. Snap. A Cove: Fumbumbis. Prig. To your postures; arme: Hub. Yonder's the Towne: I see it. Hem. Ther's our danger Indeed afore us, if our shadows save not. Hig. Blesse your good Worships! Fer. One small piece of money. Prig. Amongst us all poore wretches: Ger. Blinde, and lame. Ginks. For his sake that gives all. Hig. Pittifull Worships! Snap. One little doyt. Enter Jaculine. 1 4 8 call'd] MS called 47 1 4 9 Officers] MS Officer 1 5 0 Sest 79 Ceast 47

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Jac. King, by your leave, where are you? Ger. To buy a little bread, Hig. T o feed so many

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Mouths, as will ever pray for you. Prig. Here be seven of us. Hig. Seven, good Master, o remember seven, Seven blessings. Fer. Remember, gentle Worship. Hig. 'Gainst seven deadly sins, Prig. And seven sleepers. Hig. If they be hard of heart, and will give nothing -

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Alas, we had not a charity this three dayes. Hub. Ther's amongst you all? Fer. Heaven reward you. Prig. Lord reward you? Hig. The Prince of pitty blesse thee. Hub. Do I see? or is't my fancy that would have it so? Ha? 'tis her face: come hither Maid. Jac. What ha' you Bells for my squirrell? I ha' giv'n Bun meat, You do not love me, do you? catch me a butter fly, And I'le love you againe; when? can you tell? Peace, we go a birding: I shall have a fine thing. Hub. Her voyce too sayes the same; but for my head I would not that her manners were so chang'd, Heare me thou honest fellow; what's this Mayden, That lives amongst you here? Ginks. A o , ao, ao, ao. Hub. How? nothing but signes? Ao, ao, ao, ao.

Gin.

Hub. Tis strange, I would faine have it her, but not her thus. Hig. H e is de-de-de-de-de-de-de-de-deafe, and du-du-dudedumb Sir. Hub. Slid they did all speak plain ev'a now me thought 179 Tis] MS

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Do'st thou know this same Maid? Snap. Why, why, why, why, which, gu, gu, gu, Gods folle She was bo-bo-bo-bo-borne at the barne younder, by be-be-be-be-Beggars Bush-bo-bo-Bush Her name is mi-mi-mi-mi-Minche, so was her Mo-mo-moMothers too-too. Hub. I understand no word she sayes; how long Has she been here? Snap. Lo-lo-long enough to be ni-ni-nigled: and she ha' go-go-go-good luck, Hub. I must be better inform'd, then by this way. Here was another face too, that I mark'd O' the old mans: but they are vanish'd all Most sodainly: I will come here againe, O, that I were so happy, as to finde it, What I yet hope it is, put on. Hem. What meane you Sir, To stay there with that stammerer? Hub. Farewell friend, It will be worth returne, to search it: Come, Protect us our disguize now, pre'thee Hemskirck If we be taken, how do'st thou imagine This Towne will use us, that hath stood so long Out, against Wooljortl Hem. Faith ev'n to hang us forth Upon their walls a sunning, to make Crowes meate, If I were not assur'd o' the Burgomaster, And had a pretty skuys, to see a niece there, I should scarce venture. Hub. Come 'tis now too late To looke back at the ports: good luck and enter. Exeunt.

185 Minche] MS match 47 195 search it] MS search 47 199 Faith] MS om 47

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Scaena Secunda. Enter Floriz. Flo. Still blow'st thou there? and from all others parts, Do all my Agents sleepe? that nothing comes? Ther's a conspiracy of windes, and servants: If not of Elements, to ha' me breake; What should I thinke unlesse the Seas, and Sandes Had swallow'd up my ships? or fire had spoyl'd My ware-houses? or death devour'd my Factors? I must ha' had some returnes;

5

Enter Merchants. 1. Mer. 'Save you Sir. Flo. 'Save you. 1. Mer. No newes, yet o' your Ships? Flo. Not any yet Sir. 1. Mer. 'Tis strange. Exit. Flo. 'Tis true Sir: what a voyce was here now? This was one passing bell, a thousand ravens Sung in that man now, to presage my ruines. 2. Mer. Goswin, good day, these winds are very constant. Flo. They are so Sir; to hurt 2. Mer. Ha' you had no letters, Lately from England, nor from Denmark? Flo. Neither. 2. Mer. This winde brings them; nor no newes over land, Though Spaine, from the Straights'? Flo. Not any. 2. Mer. I am sorry Sir. Exit 7 10 14 17

Factors] MS Facto 47 s.d. Exit] 79 om. 47 Ha 1 ] MS Ha? 47 s.d. Exit] 79 om. 47

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Flo. They talke me downe: and as 'tis said, of Vultures They scent a feild fought, and do smell the carkasses By many hundred miles: So do these, my wracks At greater distances: why they will heaven Come on, and be: yet if thou please, preserve me; But in my one adventure, here at home, Of my chast love, to keep me worthy of her, It shall be put in scale 'gainst all ill fortunes: I am not broken yet: nor should I fall, Me thinkes with lesse then that, that ruines all.

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Exit.

Scaena Tertia Enter, Van-dunck, Hubert, Hemskirck, and Margaret, Boores. Van. Captaine you are welcome; so is this your friend Most safely welcome, though our Towne stand out Against your Master; you shall finde good quarter: The troth is, we not love him: Meg: some wine, Let's talke a little treason, if we can Talk treason, gain' the Tray tor; by your leave, Gentlemen We here in Brugis, thinke he do's usurpe, And therefore I am bold with him. Hub. Sir, your boldnesse, Happely becomes your mouth, but not our eares, While we are his servants; And as we came here, Not to aske questions, walke forth on your walls, Visit your courtes of guard, view your Munition, Aske of your corne-provisions, nor enquire Into the least, as spies upon your strengthes, 19 23 25 6

scent] 61Q sent 47 o n e ] MS owne 47 'gainst] MS against 47 Traytor] MS Traitors 47

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So let's entreate, we may receive from you Nothing in passage or discourse, but what We may with gladnesse, and our honesties hear, And that shall seale our welcome. Van. Good: let's drinke then, Mage: fill out, I keep mine old pearle still Captaine. Mar. I hang fast, man. Hem. Old Iewels, commend their keeper, Sir. Van. Heer's to you with a hart, my Captaines friend, With a good heart, and if this make us speake Bold words, anon: 'tis all under the Rose Forgotten: drowne all memory, when we drinke. Hub. "lis freely spoken noble Burgomaster, I'le do you right. Hem. Nay Sir minheer Van-Dunck, is a true Statesman. Van. Fill my Captaines cup there, o that your Master Woolfort Had been an honest man. Hub. Sir? Van. Under the Rose. Hem. Heer's to you Marget. Mar. Welcom; welcom Captaine. Van. Well said my pearle still, Hem. And how does my Niece? Almost a woman; I thinke? this friend of mine, I drew along with me, though so much hazard, Only to see her: she was all my errand. Van. I, a kinde Uncle you are (fill him his glasse) That in seven yeares, could not find leizure. Hem. No, It's not so much. Van. I'le bate you nev'r an houre on't, It was before the Brabander gan his war, For moone-shine, i'th water there, his daughter That never was lost: yet you could not finde time 17 26 33 37

hear] MS here 47 minheer] 78 mine heire 47 all] MS om 47 It] MS I 47

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T o see a Kinswoman; But shee is worth the seeing Sir. Now you are come, you aske if she were a woman? Shee is a woman Sir; fetch her forth Margee.

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Exit Marg. And a fine woman, and has Suitors. Hem. ;How? What Suitors are they. Van. Bachellors: young Burgers: And one, a gallant, the young Prince of Merchants, We call him here, in Bruges. Hem. How? a Merchant? I thought Van-doncke, you had understood me better, And my Niece too, so trusted to you by me: Then t'admit of such in name of Suitors. Van. Such? he is such a such, an were she mine I'de give him thirty thousand crownes with her. Hem. But the same things Sir, fit not you and me.

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Exit. Van. Why, give's some wine, then; this will fit us all: Here's to you still, my Captains friend: All out: And still, would Woolfort were an honest man, Under the Rose, I speake it: but this Merchant Is a brave boy: he lives so, I'the town here, We know not what to thinke on him: At sometimes We feare he will be Bankrupt; he do's stretch Tenter his credite so; embraces all; And too't, the winds have been contrary, long. But then, if he should have home all his returnes We thinke he would be a King, and are halfe sure on't. Your Master is a Traytor, for all this Under the Rose: here's to you; and usurps The Earldome from a better man. Hub. I marry Sir, 61 home] MS

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Where is that man? Van. Nay soft: and I could tell you 'Tis ten to one I would not: here's my hand, I love not Woolfort: sit you still, with that: Here comes my Captaine againe, and his fine Niece, And ther's my Merchant: view him well, fill wine here. Enter Hemskirke, Bertha, and Florez. Hem. You must not only know me for your Uncle, Now, but obey me; you, goe cast youreselfe Away, upon a dunghill here? a Merchant? A petty fellow? one that makes his trade With oathes and perjuries? Flo. What is that you say Sir? If it be me you speake of; as your eye Seems to direct: I wish you would speake to me, Sir. Hem. Sir, I do say, she is no Merchandize. Will that suffice you? Flo. Merchandize good Sir, Though ye be Kinsman to her: take no leave thence To use me with contempt: I ever thought Your Niece above all price. Hem. And do so still, Sir, I assure you, her rate's at more then you are worth: Flo. You do not know, what a Gentleman's worth sir, Nor can you value him. Hub. Well said Merchant. Van. Nay, Let him alone, and ply your matter. Hem. A Genntleman? What, o' the wool-pack? or the Sugar-chest? Or lists of Velvet? which is't? pound, or yard, You vent your Gentry by? Hub. O Hemskirke, fye. Van. Come, do not mind 'em; drink, he's no Woolfort, 75 his] MS

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Captaine, I advise you. Hem. Alas, my pretty man, I think't be angry, by its looke: Come hither, Turne this way, a little: if it were the blood Of Charlemaine, as't may (for ought I know) 95 Be some good Botchers issue, here in Bruges. Flo. How? Hem. Nay: I'me not certaine of that; of this I am, If it once buy, and sell, its gentrey's gone. Flo. Ha, ha: Hem. You are angry, though ye laugh. Flo. No, now 'tis pitty Of your poor argument. Do not you, the Lords, 100 Of land (if you be any) sell the grasse, The corne, the straw, the milke, the cheese? Van. And butter: Remember butter; doe not leave out butter. Flo. The Beefs and Muttons that your grounds are stock'd with. Swine, with the very mast, beside the woods? 105 Hem. No, for those sordid uses, we have Tenants, Or else our Bayliffs. Flo. Have not we Sir, Chap-men, And Factors, then to answer these? your errour Fetch'd from the Heralds A E C. and said over With your Court faces, once an houre, shall never 110 Make me mistake my selfe. Do not your Lawyers Sell all their practise, as your Priests their prayers? What is not bought, and sold? The company That you had last, what had you fort, y'faith? Hem. You now grow sawcy. Flo. Sure I have been bred 115 Still, with my honest liberty, and must use it. Hem. Upon your equals, then. Flo. Sir, he that will 98 gentrey's] MS 104 stock'd] MS

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ACTUS SECUNDUS

Provoke me first, doth make himself my equall. Hem. Do ye heare? no more. Flo. Yes Sir, this little, I pray you, And't shall be aside, then after, as you please, You appeare the Uncle, sir, to her I love, More then mine eyes; and I have heard your scorns With so much suffring, and so much shame, As each strive which is greater: But, beleeve me I suck'd not in this patience with my milke. Do not presume, because you see me young, Or cast despights on my profession For the civility and tamenesse of it. A good man beares a contumely worse Then he would do an injury. Proceed not To my offence: wrong is not still successefull, Indeed it is not: I would approach your Kins-woman With all respect, due to your selfe and her. Hem. Away Companion: handling her? take that. Strikes him. Flo. Nay, I do love no blows, sir, there's exchange. Hub. Hold sir, Mar. O murther. Ber. Help, my Goswin. Mar. Man. He gets Hemskirke's sword and cuts him on the head. Van. Let 'em alone; my life for one. Flo. Nay come If you have will. Hub. None to offend you, I, Sir. Flo. He that had, thank himself: not hand her? yes Sir, And claspe her, and embrace her; and (would she 123 133 134 136

suffring] MS scoffing 47 due] MS done 47 s.d. strikes him.] 79 om 47 s.d. He . . . head.] 79 om 47

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Now goe with me) bear her through all her race, Her Father, Brethren, and her Uncles, arm'd, And all their Nephews, though they stood a wood Of pikes, and wall of Canon: kisse me Gertrude, Quake not, but kisse me. Van. Kisse him, girle, I bid you; My merchant Royall; feare no Uncles: hang 'em, Hang up all Uncles: Are we not in Bruges? Under the Rose here? Flo. In this circle, Love, Thou art as safe, as in a towre of brasse; Let such as do wrong, feare. Van. I, that's good, Let Wooljort looke to that. Flo. Sir, here she stands, Your Niece, and my beloved. One of these titles She must apply to; if unto the last, Not all the anger can be sent unto her, In frowne, or voyce, or other art, shall force her, Had Hercules a hand in't; Come, my Joy, Say thou art mine, aloud Love, and professe it. Van. Doe: and I drinke to it. Flo. Prethee say so, Love. Ber. 'Twould take away the honour from my blushes: Doe not you play the Tyrant, sweet: they speake it. Hem. I thanke you Niece. Flo. Sir, thanke her for your life, And fetch your sword within. Hem. You insult too much With your good fortune, Sir.

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Exit Florez. Hub. A brave cleare spirit; Hemskirke, you were too blame: a civill habit Oft covers a good man: and you may meete In person of a Merchant, with a soule a s resolute, and free, and all wayes worthy,

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As else in any file of man-kinde: pray you, What meant you so to slight him? Hem. 'Tis done now, Aske no more of it; I must suffer. Exit Hemskirk. Hub. This Is still the punishment of rashnesse, sorrow; Well; I must to the woods, for nothing here Will be got out. There, I may chance to learne Somewhat to help my enquiries further. Van. Ha? A Looking-glasse? Hub. How now, brave Burgo-master? Van. I love no Woolforts, and my name's Vandoncke, Hub. Vandrunke it's rather: Come, go sleep within. Van. Earle Florez is right heir, and this same Woolfort Under the Rose I speake it — Hub. Very hardly Van-d. Usurpes: and a ranke Traitor, as ever breath'd, And all that do uphold him. Let me goe, No man shall hold up me, that upholds him; Doe you uphold him? Hub. No. Van. Then hold me up. Exeunt.

Scaena Quarta. Enter Florez and Hemskirke. Hem. Sir, I presume, you have a sword of your owne, That can so handle anothers. Flo. Faith you may Sir. Hem. And ye have made me have so much better thoughts of you 182 up m e ] MS

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As I am bound to call you forth. Flo. For what sir? Hem. To the repairing of mine honour, & hurt here. Flo. Expresse your way. Hem. By fight, and speedily. Flo. You have your will: Require you any more? Hem. That you be secret: and come single. Flo. I will. Hem. As you are the Gentleman you would be thought. Flo. Without the Conjuration: and I'le bring Only my sword, which I will fit to yours, l'le take his length within. Hem. Your place now Sir? Flo. By the Sand-hills. Hem. Sir, nearer to the woods, If you thought so, were fitter. Flo. There, then. Hem. Good. Your time? Flo. 'Twixt seven and eight. Hem. You'l give me Sir Cause to report you worthy of my Niece, If you come, like your promise. Flo. If I do not Let no man think to call me unworthy first, l'le doe't my selfe: and justly wish to want her. Exeunt.

ACTUS TERTIUS, Scaena

Prima.

Enter three or joure Boores. 1. B. Come, English beer Hostess, English beer by th' belly. 2. B. Stark beer boy, stout & strong beer: so, sit downe Lads, And drinke me upsey Dutch: 3. B. Frollicke, and feare not. Enter Higgen like a Sow-gelder, singing. Hig. Have ye any worke for the Sow-gelder, hoa, My home goes to high to low, to high to low. Have ye any Piggs, Calves, or Colts, Have ye any Lambs in your holts To cut for the Stone? Here comes a cunning one. Have ye any braches to spade, Or e're a faire maide That would be a Nun, Come kisse me, 'tis done. Harke how my merry home doth blow, Too high too low, too high too low. 1. B. O excellent! two-pence a piece boyes, two-pence a piece: Give the boys some drink there. Piper, wet your whistle. Canst tell me a way now, how to cut off my wives Consupiscence? Shees vengeance ranck o' th' man. 2 Stark] MS Start 47 19 Shees . . . man] MS om 47

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Hig. I'le sing ye a Song for't. The Song. Take her, and hug her, And turn her & tug her, And turn her again boy, again boy, again. Then if she mumble, Or if her taile tumble, Kisse her amain boy, amain boy, amain. Do thy endeavour, To take off her feaver, Then her disease no longer will rcagn. If nothing will serve her, Then thus to preserve her, Swinge her amain boy, amaine boy, amaine. Give her cold jelly To take up her belly, And once a day swinge her again boy, again. If she stand all these pains Then knock out her brains, Her disease no longer wil reign. 1. B. 2. B. Hig. 3. B.

More excellent, more excellent, sweet Sow-gelder. Three-pence a peice, three-pence a peice. Will you heare a song how the Divel was gelded? I, I, lets heare the Divell roare, Sow-gelder. Song

I met with him first in the shape of a Ram And over and over the Sowgelder came; I caught, and I haltred him fast by the home, 22 again boy, 25 amain boy, 31 amain boy, 34 again boy, 42-59 Song . .

again boy, again] MS again boy, again 47 amain boy, amain] MS amain boy, amain, 47 amaine boy, amaine] MS amain boy, amaine 47 again] MS again 47 . Veale] MS om 47

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I pluckt out his Stones, as you would pick out a corne. Bay quoth the Devill, and forth then hee slunck, and left us a carkas of Mutton that stunck. Some halfe a yeare after in the forme of a Pigg I mett with the rogue and hee look'd very bigg; I caught att his legg, laid him downe, on a Logg, Ere a man could fart twice, I had made him a hogg. Ugh: quoth the Deuil, and forth gaue a Iirck that a Jew was conuerted, and eate of the Pirck. By that I had ridd a good mile and a halfe 1 heard where he liv'd in disguise of a Calfe; I bound, and I gelt him, ere hee did any Evill; He was here att his best, but a sucking Deuill. Baa quoth the Calfe, and forth hee did steal, and this was sould after for excellent Veale. 1. B. Groats a piece, groats a piece, groats a piece, There sweet Sow-gelder. Hig. I thanke your worshipps.

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Enter Prig, and Ferret. Prig. Will ye see any feates of activity, Some sleight of hand, leigerdemaine? hey passe, Presto, be gone there? 2. B. Sit downe Jugler. Prig. Sirha, play you your art well; draw neer piper: Looke you, my honest friends, you see my hands; Plaine dealing is no Divel: lend me some money; Twelve-pence a piece will serve. 1.2 .B. There, there. Prig. I thanke you, Thanke ye heartily: when shall I pay ye? All B. Ha, ha, ha, by th' masse this was a fine trick. Prig. A merry sleight toy: but now I'le shew your Worships A trick indeed. 56 ere] 79 where MS 61 Hig: .. . worshipps] MS

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Hig. Marke him well now my Masters. Prig. Here are three balls, these balls shall be three bullets, One, two, and three: ascentibus malentibus. Presto, be gone: they are vanish'd: faire play Gentlemen, How these three, like 3. bullets, from your three noses Will I plucke presently: feare not, no harme boyes, Titere, tu patule. 1.5. Oh, oh, oh. Prig. Recubans sub tegmine fagi. 2. B. Ye pull too hard; ye pull too hard. Prig. Stand faire then: Silvertramtrim-tram. 3. B. Hold, hold, hold. Prig. Come aloft bullets three, with a whim-wham: Have ye their moneys? Hig. Yes, yes. 1.B. Oh rare Jugler. 2. B. Oh admirable Jugler, Prig. One tricke more yet; Hey, come aloft: -sa, sa, flim, flum, taradumbis? East, west, north, south, now flye like Jacke with a bumbis. Now all your money's gone: pray search your pockets. 1.B. Humh. 2. B. He, 3. B. The Divell a penny's here. Prig. This was a rare tricke. l . B . But 'twould be a far rarer to restore it. Prig. I'le doe ye that too: looke upon me earnestly, And move not any wayes your eyes from this place, This button here: pow, whir, whiss, shake your pockets. l.B. By th' masse 'tis here againe boyes. Prig. Rest ye merry; My first tricke has paid me. All B. I, take it, take it, And take some drinke too. 79 tegmine] MS jermine 47

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Prig. Not a drop now I thanke you; away, we are discover'd else. Exit. Enter Gerrard like a blinde Aquavitae-man, and a boy singing the Song. Bring out your Cony-skins, faire maids to me, And hold 'em faire that I may see: Grey, blacke, and blew: for your smaller skins, I'le give ye looking-glasses, pins. And for your whole Coney, heer's ready ready money. Come gentle Jone, do thou begin With thy blacke, blacke, blacke Cony-skin. And Mary then, and Jane will follow, With their silver-hair'd skins, and their yellow. The white Cony-skin, I will not lay by, For though it be faint, tis faire to the eye, The grey it is warme, but yet for my money, Give me the bonny, bonny, blacke Coney. Come away faire maides, your skins will decay: Come, and take money maids, put your ware away. Cony-skins, Cony-skins, have ye any Cony-skins, I have fine brace-lets, and fine silver pins. Ger. Buy any brand wine, buy any brand wine? Boy. Have ye any Cony-skins. 2. B. My fine Canary-bird, ther's a cake for thy worship, 1. B. Come, fill, fill, fill, fill suddenly: let's see Sir, What's this? Ger. A penny Sir. 1. B. Fill till't be six-pence, And there's my pig. Boy. This is a counter Sir. 1. B. A counter? stay ye, what are these then? O execrable Jugler! O damn'd Jugler! Look in your hose, hoa: this comes of looking forward. 3. B. Divell a Dunkirke! what a rogue's this Jugler,

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This hey passe, repasse, h'as repast us sweetly. 2.B. Doe ye call these tricks.

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Enter Higgen. Hig. Have ye any ends of gold or silver. 2. B. This fellow comes to mock us; gold or silver? cry copper. 1. B. Yes my good friend, we have e'ne an end of all we have. Hig. 'Tis well Sir, you have the less to care for: gold and silver. Exit. Enter Prig. Prig. Have ye any old cloaks to sel, have ye any old clokes to sel. Exit. 1. B. Cloakes? looke about ye boyes: mine's gone. 2. B. A Plague juggle 'em? Pox o' their Prestoes: mine's gone too. 3. B. Here's mine yet. 1. B. Come, come, let's drink then: more brand wine. Boy. Here Sir. 1. B. If e're I catch your Sow-gelder, by this hand I'le strip him; Were ever fooles so ferkt? we have a cloke yet, And all our caps; the Divell take the flincher. All B. Yaw, yaw, yaw, yaw. Enter Hemskirke. Hem. Good d'en my honest fellows, You are merry here I see. 3. B. 'Tis all we have left Sir. Hem. What hast thou? Aquavitae? Boy. Yes. 131 Plague] MS 132 Pox] MS 135 a cloke] MS

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Hem. Fill out then, And give these honest fellows round. AllB. Wethankeye. Hem. May I speake a word in private to ye? AllB. Yes Sir. Hem. I have a businesse for you, honest friends, If you dare lend your help, shall get you crownes. Ger. Ha? Lead me a little nearer, boy. 1. B. What is't Sir? If it be any thing to purchase money, Which is our want, command us. All B. All, all, all Sir. Hem. You know the young spruce Merchant here in Brugis. 2. B. Who? Master Goswinl Hem. That: he owes me money, And here in towne there is no stirring of him. Ger. Say ye so? Hem. This day, upon a sure appointment, He meets me a mile hence, by the Chase side Under the row of Okes, do you know it? All B. Yes Sir. Hem. Give 'em more drinke: there if you dare but venture When I shall give the word to seize upon him, Here's twenty pound. 3 B. Beware the Jugler. Hem. If he resists, downe with him, have no mercy. 1. B. I warrant you: wee'l hamper him. Hem. To discharge you, I have a warrant here about me. 3. B. Her's our warrant, This carries fire i' the tayle. Hem. Away with me then, The time draws on; I must remove so insolent a Suitor, And if he be so rich, make him pay ransome Ere he see Bruges towres againe: thus wise men 147 here] MS

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Repaire the hurts they take by a disgrace, And piece the Lyons skyn with the Foxes case. Ger. I am glad I have heard this sport yet. Hem. Ther's for thy drink; come pay the house within boyes, And loose no time. Ger. Away with all our hast too.

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Exeunt.

Scaena Secunda. Enter Florez. Flo. No winde blow faire yet? no returne of moneys? Letters? nor any thing, to hold my hopes up? Why then 'tis destin'd, that I fall, fall miserably, My credite I was built on, sinking with me. Thou boystrous North-wind, blowing my mis-fortunes, And frosting all my hopes to capes of coldnesse, Yet stay thy fury: give the gentle South Yet leave to court those sailes that bring me safety, And you auspicious fires, bright twins in heav'n Daunce on the shrowds: he blows still, stubbornly, And on his boystrous racke rides my sad ruine; There is no help, there can be now no comfort, To morrow with the Sun-set sets my credite. Oh misery! thou curse of man, thou plague, How in the midst of all our strength thou strik'st us; My vertuous Love is toss'd too: all, what I have been, No more hereafter to be seen then shadow; To prison now? well, yet ther's this hope left me, I may sinke fairely under this dayes venture And so to morrow's cross'd, and all those curses: Yet manly I'le invite my fate, base fortune Shall never say, she has cut my throate in feare. 9 heav'n] MS 15 Howe] MS

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This is the place his challenge call'd me too, And twas a happy one at this time for me, For let me fall before my foe i' the field, And not at Bar, before my Creditors, H'as kept his word: now Sir, your swords tongue only Loud as you dare, all other language -

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Enter Hemskirke. Hem. Well Sir, you shall not be long troubled: draw. Flo. 'Tis done Sir, and now have at ye. Hem. Now Enter Boores. Flo. Betray'd to villains? Slaves ye shall buy me bravely, And thou base coward. Enter Gerrard and Beggars. Ger. Now upon 'em bravely, Conjure 'em soundly boyes. Boores. Hold, hold. Ger. Lay on still, Down with that Gentleman rogue, swinge him to sirrup: Retire Sir, and take breath: follow and take him, Take all, 'tis lawfell prize. Boores. We yield. Ger. Downe with 'em Into the wood, and riffle 'em, tew'm, swinge 'em, Knocke me their braines into their breeches.

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Exeunt. Boores. Hold, hold. Flo. What these men are I know not, nor for what cause They should thus thrust themselves into my danger, Can I imagine, But sure heavens hand was in't, Nor why this coward knave should deale so basely 24 twas] MS

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To eate me up with slaves: but heav'n, I thanke thee, I hope thou hast reserv'd me to an end Fit for thy creature, and worthy of thine honour: Would all my other dangers here had suffer'd, With what a joyfull heart should I goe home then? Wher now, heaven knows, like him that waits his sentence Or heares his passing bell; but ther's my hope still.

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Enter Gerrard. Ger. Blessing upon you Master. Flo. Thanke ye; leave me, For by my troth I have nothing now to give thee. Ger. Indeed I do not aske Sir, only it grieves me To see ye looke so sad; now goodnesse keepe ye From troubles in your minde. Flo. If I were troubled What could thy comfort do? prethee Clause, leave me. Ger. Good Master be not angry; for what I say Is out of true love to ye. Flo. I know thou lov'st me. Ger. Good Master blame that love then, if I prove so sawcy To aske ye why ye are sad. Flo. Most true, I am so, And such a sadnesse I have got will sinke me. Ger. Heaven shield it, Sir. Flo. Faith thou must loose thy Master. Ger. I had rather loose my neck Sir: would I knew Flo. What would the knowledge do thee good, so miserable, Thou canst not help thy selfe? when all my ways Nor all the friends I have Ger. You do not know Sir, What I can doe: cures sometimes, for mens cares Flow, where they least expect 'em. Flo. I know thou wouldst doe, 43 heav'n] MS heaven 47 46 suffer'd] MS suffered 47

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But fare-well Clause, and pray for thy poore Master. Ger. I will not leave ye. Flo. How? Ger. I dare not leave ye, And till ye beate me dead, I must not leave ye. By what ye hold most pretious, by heavens goodnesse, As your faire youth may prosper, good Sir tell me: My minde beleeves yet something's in my power May ease you of this trouble. Flo. I will tell thee: For a hundred thousand crownes upon my credit, Taken up of Merchants to supply my traffiques, The windes and weather envying of my fortune, And no returne to help me off, yet shewing To morrow, Clause, to morrow which must come In prison, thou shalt finde me poore, and broken. Ger. I cannot blame your griefe Sir. Flo. Now, what say'st thou? Ger. I say you should not shrinck, for he that gave ye, Can give you more; his power can bring ye off Sir, When friends and all forsake ye, yet he sees you. Flo. That's all my hope. Ger. Hope still Sir, are you tide Within the compasse of a day, good Master, To pay this masse of money? Flo. Ev'n to morrow; But why do I stand mocking of my misery? Is't not enough the floods, and friends forget me? Ger. Will no lesse serve? Flo. What if it would? Ger. Your patience, I do not aske to mock ye: 'tis a great sum, A sum for mighty men to start, and stick at; But not for honest: have ye no friends left ye, None that have felt your bounty? worth this duty? 80 prison] MS

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Flo. Duty? thou know'st it not. Ger. It is a duty, And as a duty, from those men have felt ye, Should be return'd againe: I have gain'd by ye, A daily almes these seven yearess you have showr'd me. Will halfe supply your want. Flo. Why do'st thou foole me? Canst thou worke miracles? Ger. To save my Master, I can worke this. Flo. Thou wilt make me angry with thee. Ger. For doing good? Flo. What power hast thou? Ger. Enquire not: So I can do it, to preserve my Master; Nay if it be three parts. Flo. O that I had it, But good Clause, talke no more, I feel thy charity, As thou hast felt mine; but alas! Ger. Distrust not. 'Tis that that quenches ye: pull up your spirit, Your good, your honest, and your noble spirit; For if the fortunes of ten thousand people Can save ye, rest assur'd; you have forgot Sir, The good ye did, which was the power you gave me; Ye shall now know the King of Beggars treasure: And let the windes blow as they please, the Seas roare, Yet, here to morrow, you shall finde your harbour, Here faile me not, for if I live I'le fit ye. Flo. How faine I would believe thee. Ger. If I ly Master, Believe no man hereafter. Flo. I will trye thee, But he knowes, that knowes all. Ger. Know me to morrow, 106 hast] MS

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And if I know not how to cure ye, kill me; So passe in peace, my best, my worthiest Master.

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Scaena Tertia. Enter Hubert like a Huntesman. Hub. Thus have I stolne away disguiz'd from Hemskirck To try these people, for my heart yet tells me Some of these Beggars, are the men I looke for. Appearing like my selfe, they have no reason (Though my intent is faire, my maine end honest) But to avoyde me narrowly, the face too, That womans face, how neere it is: o may it But prove the same, and fortune how I'le blesse thee; Thus, sure they cannot know me, or suspect me, If to my habit I but change my nature, As I must do; this is the wood they live in, A place fit for concealement: where, 'till fortune Crowne me with that I seeke, I'le live amongst 'em.

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Exit. Enter Higgen, Prig, Ferret, Gynks, and the rest of the Boores. Hig. Come bring 'em out, for here we sit in justice: Give to each one a cudgell, a good cudgell: And now attend your sentence: that you are rogues, And mischeivous base rascalls, (ther's the point now) I take it, is confess'd. Prig. Deny it if you dare knaves. Boores. We are Rogues Sir. Hig. To amplify the matter then rogues as ye are, And lamb'd, ye shall be ere we leave ye. Boores. Yes Sir.

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Hig. And to the open handling of our justice, Why did ye this upon the proper person Of our good Master, were you drunk when you did it? Boores. Yes indeed were we. Prig. You shall be beaten sober. Hig. Was it for want you undertooke it? Boores. Yes Sir. Hig. You shall be swing'd aboundantly. Prig. And yet for all that, You shall be poore rogues still. Hig. Has not the Gentleman, Pray marke this point Brother Prig, that noble Gentleman Releiv'd ye often, found ye meanes to live by By employing some at Sea, some here; some there; According to your callings? Boores. 'Tis most true sir. Hig. Is not the man, an honest man? Boores. Yes truly. Hig. A liberall Gentleman? and as ye are true rascalls Tell me but this, have ye not been drunk, and often, At his charge? Boores. Often, often. Hig. Ther's the point then, They have cast themselves, brother Prig. Prig. A shrew'd point Brother. Hig. Brother, proceed you now; the cause is open, I am some what weary. Prig. Can you do these things? You most abhominable stincking Rascalls, You turnip-eating Rogues. Boores. We are truly sorry. Prig. Knock at your hard harts Rogues, and presently Give us a signe you feele compunction, Every man up with's cudgell, and on his neighbour Bestow such almes, 'till we shall say sufficient, For there your sentence lyes without partiality; Either of head, or hide, Rogues, without sparing,

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Or we shall take the paines to beat you dead else: Yee know your doom. Hig. One, two and three about it. Prig. That fellow in the blew, has true compunction, He beates his fellowes bravely, oh, well struck boyes,

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Enter Gerrard. Hig. Up with that blew breech, now playes he the Divell, So get ye home, drink small beere, and be honest; Call in the Gentleman. Ger. Do, bring him presently, His cause I'le heare my selfe. Enter Hemskirck. Hig. Prig. With all due reverence, We do resigne Sir. Ger. Now huffing Sir, what's your name? Hem. What's that to you Sir? Ger. It shall be ere we part. Hem. My name is Hemskirk, I follow the Earle, Which you shall feele. Ger. No threatning, For we shall coole you Sir; why did'st thou basely Attempt the murder of the Merchant Goswin? Hem. What power hast thou to aske me? Ger. I will know it. Or flea thee till thy paine discover it. Hem. He did me wrong, base wrong. Ger. That cannot save ye, Who sent ye hither? and what further villanies Have ye in hand? Hem. Why would'st thou know? what profit, If I had any private way, could rise Out of my knowledge, to do thee commodity? Be sorry for what thou hast done, and make amends foole. I'le talke no further to thee: nor these rascalls. Ger. Tye him to that tree.

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Hem. I have told you whom I follow. Ger. The Divell you should do, by your villanies, Now he that has the best way, wring it from him. Hig. I undertake it: turne him to the Sun boyes; Give me a fine sharpe rush, will ye confesse yet? Hem. Ye have rob'd me already, now you'le murder me Hig. Murder your nose a little: does your head purge Sir? To it againe, 'twill do ye good. Hem. Oh, I cannot tell you any thing. Ger. Proceed then. Hig. Ther's maggots in your nose, I'le fetch em out Sir. Hem. O my head breakes. Hig. The best thing for the rhewme Sir, That falls into your worships eye. Hem. Hold, hold. Ger. Speake then. Hem. I know not what. Hig. It lyes in's braine yet, In lumps it lyes, I'le fetch it out the finest; What pretty faces the foole makes? heigh!. Hem. Hold, Hold, and I'le tell ye all, looke in my doublet; And there within the lining in a paper, You shall finde all. Ger. Go fetch that paper hither, And let him loose for this time.

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Enter Hubert. Hub. Good ev'n my honest friends. Ger. Good ev'n good fellow. Hub. May a poore huntsman, with a merry hart, A voice shall make the forrest ring about him, Get leave to live amongst ye? true as S t e e l e , boyes? That knowes all chases, and can watch all howres, And with my quarter staffe, though the Divell bid stand Deale such an almes, shall make him roare again?

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Prick ye the fearefull hare through crosse wayes, sheepe walkes And force the crafty Reynard climb the quiksetts; Rouse ye the lofty Stag, and with my bell-horne, Ring him a knell that all the woods shall mourne him, 'Till in his funerall teares he fall before me? The Polcat, Marterne, and the rich skin'd Lucerne, I know to chase, the Roe, the winde out-stripping lsgrin himselfe, in all his bloody anger; I can beate from the bay, and the wild Sounder Single, and with my arm'd staffe, turne the Boare, Spight of his fomy tushes, and thus strike him; 'Till he fall downe my feast. Ger. A goodly fellow. Hub. What mak'st thou here, ha? Ger. We accept thy fellowship. Hub. Hemskirck, thou art not right I feare, I feare thee.

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Enter Ferret, a letter. Fer. Here is the paper: and as he said we found it. Ger. Give me it, I shall make a shift yet, old as I am To finde your knavery: you are sent here, Sirra To discover certaine Gentleman, a spy-knave And if ye finde 'em, If not by perswasion To bring 'em back, by poyson to dispatch 'em. Hub. By poyson, ha? Ger. Here is another, Hubert; What is that Hubert Sir? Hem. You may perceive there. Ger. I may perceive a villany and a ranke one, Was he joyn'd partner of thy knavery? Hem. No. He had an honest end, would I had had so, Which makes him scape such cut throates. Ger. So it seemes, For here thou art commanded, when that Hubert Has done his best and worthiest service, this way To cut his throat, for here he's set downe dangerous.

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Hub. This is most impious. Ger. I am glad we have found ye, Is not this true? Hem. Yes? what are you the better; Ger. You shall perceive Sir, ere you get your fredome: Take him aside, and friend, we take thee to us, Into our company, thou dar'st be true unto us? Hig. I, and obedient too? Hub. As you had bred me. Ger. Then take our hand: thou art now a servant to us, Welcom him all. Hig. Stand off, stand off: I'le do it, We bid yee welcome three wayes; first for your person, Which is a promising person, next for your quality, Which is a decent, and a gentle quality, Last for the frequent meanes you have to feed us, You can steale 'tis to be presum'd. Hub. Yes, venson, Or if I want Hig. 'Tis well you understand right, And shall learne dayly: you can drink too? Hub. Soundly. Hig. And ye dare know a woman from a weathercock? Hub. Yes, if I handle her. Ger. Now sweare him. Hig. I crowne thy nab, with a gage of benbouse, And stall thee by the salmon into the clowes, To mand on the pad, and strike all the cheates; To mill from the Ruffmans, commission and slates, Twang dell's i' the stromell; and let the Quire Cuffin: And Herman Becks trine, and trine to the Ruffin. Ger. Now interpret this unto him. Hig. I powre on thy pate a pot of good ale, And by the Rogues oth a Rogue thee install: To beg on the way, to rob all thou meetes; 148 Herman Becks trine]

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To steale from the hedge, both the shirt and the sheetes: And lye with thy wench in the straw till she twang, Let the Constable, Iustice, and Divell go hang. 155 You are welcom Brother. All. Welcom, welcom, welcom, but who shall have the keeping Of this fellow? Hub. Thank ye friends, And I beseech ye, if you dare but trust me; For if I have kept wilde doggs and beastes for wonder, 160 And made 'em tame too: give into my custody This roaring rascall I shall hamper him, With all his knackes and knaveryes, and I feare me Discover yet a further villany in him; O he smells ranck o'th' rascall. Ger. Take him to thee, 165 But if he scape Hub. Let me be ev'n hang'd for him. Come Sir, I'le tye ye to my leash. Hem. Away Rascall. Hub. Be not so stubborne: I shall swindge ye soundly, And ye play tricks with me. Ger. So, now come in, But ever have an eye Sir, to your prisoner. 170 Hub. He must blind both mine eyes, if he get from me. Ger. Go, get some victualls, and some drink, some good drink For this day wee'le keep holy to good fortune, Come and frollick with us. Hig. Ye are a stranger. Brother I pray lead, You must, you must, Brother. Exeunt.

167 Come] MS Roome 47 173 holy] MS holly 47 174-175 Brother . . . Brother] 79

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Scaena quarta. Enter Floriz, and Bertha. Ber. Indeed y'are welcom: I have hard your scape, And therefore give her leave, that onely loves you; (Truely and dearely loves ye) give her joy leave, To bid ye welcome: what is't makes you sad man? Here are noe enemyes, here none that hates you. Why do you looke so wilde? is't I offend ye? Be shrew my heart, not willingly. Flo. No Gertrude. Ber. Is't the delay of that ye long have look'd for, A happy marriage? now I come to urge it: Now when ye please to finish it. Flo. No newes yet? Ber. Do you heare Sir? Flo. Yes. Ber. Do you love me? Flo. Have I liv'd, In all the happinesse fortune could seat me, In all mens faire opinions? Ber. I have provided A Priest, that's ready for us. Flo. And can that Divell, In one ten dayes, that Divell chance devour me? Ber. Wee'le fly to what place you please. Flo. No star prosperous? All at a swoope? Ber. You do not love me Goswinl You will not looke upon me? Flo Can mens prayers Shot up to heaven, with such a zeale as mine are, Fall back like lazy mists, and never prosper? 1 y'are] MS yae'r 47 5 Here . . . you] MS om 47 14 that] MS the 47

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Geyves, I must weare, and cold must be my comfort; Darknesse, and want of meat; alas she weepes too, Which is the top of all my sorrowes, Gertrude. Ber. No, no, you will not know me; my poore beauty, Which has been worth your eyes. Flo. The time growes on still: And like a tumbling wave, I see my ruine, Coming rolling over me. Ber. Yet will ye know me? Flo. For a hundred thousand crownes. Ber. Yet will ye love Me? Tell me but how I have deserv'd your slighting. Flo. For a hundred thousand crownes? Ber. Farewell dissembler. Flo. Of which I have scarce ten: o how it starts me. Ber. And may the next you love, hearing my ruine Flo. I had forgot my selfe, o my best Gertred, Crowne of my joyes, and comforts. Ber. Sweet what ayle ye? I thought you had been vext with me. Flo. My minde wench, My minde o're flow'd with sorrow, sunck my memory. Ber. Am I not worthy of the knowledge of it? And cannot I as well affect you sorrowes, As your delights? you love no other woman? Flo. No I protest. Ber. You have no ships lost lately? Flo. None that I know of. Ber. I hope you have spilt no blood: whose innocence May lay this on your conscience. Flo. Cleare, by heaven. Ber. Why should you be thus then? Flo. Good Gertrude, aske not, Ev'n by the love you beare me. Ber. I am obedient. 23 Gertrude] 44 Gertrude]

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Flo. Go in my faire; I will not be long from ye, Nor long I feare me with thee, At my returne Despise me as you please. Ber. The good gods guide ye. Exit. Flo. Now for my selfe which is the least I hope for, And when that failes, for mans worst fortune, pitty. Exit.

ACTUS QUARTUS, Scaena Prima.

Enter Floriz• and 4. Merchants. Flo. Why Gentlemen, 'tis but a week more I intreat you But seven short daies, I am not running from ye, Nor, if you give me patience, is it possible All my adventures faile; you have ships abroad, Endure the beating both of winde, and weather: I am sure 'twould vex your hearts, to be protested Ye are all faire Merchants. 1. Mer. Yes, and must have faire play; There is no living here else, one howres failing Failes us of all our friends, of all our credits: For my part I would stay; but my wants tell me, I must wrong others in't. Flo. No mercy in ye? 2. Mer. 'Tis foolish to depend on others mercy: Keepe your selfe right, and even, cut your cloth Sir, According to your calling: you have liv'd here In Lordlike prodigality; high and open, And now ye finde what 'tis: the überall spending The summer of your youth, which you should gleane in, And like the labouring Ant, make use and game of, Has brought this bitter stormy winter on ye, And now you cry. 3. Mer. Alas before your poverty, We were no men, of no marke, no endeavours; 5 and] MS or 47 8 living] MS lying 47

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You stood alone, tooke up all trade, all business, Running through your hands, scarce a sayle at Sea, But loaden with your goods: we poore weak pedlers, When by your leave, and much intreaty to it: We could have stoage for a little cloth, Or a few wines, put off and thankt your worship. Lord, how the world's chang'd with ye? now I hope Sir, We shall have sea-roome. Flo. Is my misery, Become my scorne too? have ye no humanity, No part of men left? are all the bountyes in me To you, and to the Towne; turne'd my reproaches? 4. Mer. Well, get your monyes ready: t'is but two howres We shall protest ye else, and sodainly. Flo. But two dayes. 1. Mer Not an howre, ye know the hazard. Exeunt. Flo. How soone my light's put out: hard harted Bruges; Within thy walls, may never honest Merchant Venture his fortunes more: o my poore wench too; Enter Gerrard. Ger. Good fortune Master. Flo. Thou mistak'st me Clause. I am not worth thy blessing. Ger. Stil a sad man? Enter Higgen. and Prig, like Porters. No beliefe gentle Master? come bring it in then, And now believe your Beadesman. Flo. Is this certain? Or do'st thou work upon my troubled sence? Ger. 'Tis gold Sir, 27 thankt] MS 3 5 s.d. Exeunt]

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Take it and try it. Flo. Certainely 'tis treasure, Can there be yet this blessing? Ger. Cease your wonder, You shall not sinke, for nev'r a sowst Flap-dragon: For nere a pickell'd pilcher of 'em all Sir, 'Tis there your full summ, a hundred thousand crownes, And good sweet Master, now be merry; pay 'em Pay the poore pelting knaves, that know no goodnesse: And cheere your heart up handsomely. Flo. Good Clause, How cam'st thou by this mighty summ? if naughtily I must not take it of thee, 'twill undo me. Ger. Feare not: you have it by as honest meanes As though your father gave it: Sir, you know not To what a masse, the little we get dayly, Mounts in seven yeares; we beg it for .heavens charity, And to the same good, we are bound to render it. Flo. What great security? Ger. Away with that Sir, Were not ye more then all the men in Bruges; And all the money in my thoughts Flo. But good Clause, I may dye presently. Ger. Then this dyes with ye Pay when you can good Master, I'le no parchments, Onely this charity I shall intreat ye, Leave me this Ring. Flo. Alas, it is too poore Clause. Ger. 'Tis all I aske, and this with all, that when I shall deliver this back, you shall grant me Freely one poore petition. Flo. There I confirm it, And may my faith forsake mee when I shun it. Ger. Away, your time drawes on. Take up the money And follow this young Gentleman. Flo. Farewell Clause,

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And may thy honest memory live ever. Ger. Heaven blesse ye and still keep ye, farewell Master. Exeunt.

Scaena Secunda. Enter Hubert. Hub. I have lockt my youth up close enough for gadding In an olde tree, and set watch over him. Enter Jaculine. Now for my Love, for sure this wench must be she, She follows me; Come hither, pretty Minche. Jac. No, no, you'l kisse, Hub. So I will. Jac. Y'deed law? How will ye kisse me, pray you? Hub. Thus: soft as my loves lips. Jac. Oh! Hub. What's your Fathers name? Jac. He's gone to heaven. Hub. Is it not Gerrard, sweet? Jac. I'le stay no longer, My mother's an olde woman, and my Brother Was drown'd at sea, with catching Cockles. O love: O how my heart melts in me: how thou fir'st me! Hub. 'Tis certain she: pray let me see your hand, sweet, Jac. No, no, you'l bite it. Hub. Sure I should know that Gymmall; Jac. 'Tis certaine he: I had forgot my ring too. O Hubert, Hubert. Hub. Ha? me-thought she nam'd me Doe you know me Chicke? Jac. No indeed, I never saw ye,

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But me-thinks you kisse finely. Hub. Kisse againe then; By heaven 'tis she. Jac. O what a joy he brings me. Hub. You are not Minchel Jac. Yes pretty Gentleman, And I must be married to morrow to a Capper. Hub. Must ye my sweet, and doe's the Capper love ye? Jac. Yes, yes, he'l give me pye & looke in mine eys thus: Tis he: 'tis my deare Love; o blest fortune. Hub. How faine she would conceal her selfe? yet shew it, Will ye love me, and leave that man? I'le serve. Jac. O I shall loose my selfe. Hub. I'le waite upon ye, And make ye dainty Nose-gayes. Jac. And where will ye sticke 'em Hub. Here in thy bosome, and make a crown of Lillies For your faire head. Jac. And will ye love me, deed-law? Hub. With all my heart. Jac. Call me to morrow then, And we'l have brave chear, and goe to Church together: Give you good ev'n Sir. Hub. But one word faire Minche. Jac. I must be gone a milking. Hub. Ye shall presently. Did you never heare of a young Maide called Jaculinel Jac. I am discovered: hark in your eare, I'le tell ye; You must not know me: kisse and be constant ever. Hub. Heaven curse me else tis she, and now I am certain They are all here: now for my other project. Exeunt.

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Scaena Tertia. Enter Floriz. 4. Merchants, Higgen, and Prig. 1. Mer. Nay if 'twill do you courtesy. Flo None at all Sir; Take it 'tis yours; ther's your ten thousand for ye, Give in my Bills: your sixteene. 3. Mer. Pray be please'd Sir, T o make a further use. Flo. No. 3. Mer. What I have Sir, You may command; pray let me be your Servant. Flo. Put your hatts on: I care not for your courtisies, They are most untimely don, and no truth in 'em. 2. Mer. I have a frought of pepper. Flo. Rot your pepper. Shall I trust you againe? ther's your seven thousand. 4. Mer. Or if you want fine suger, 'tis but sending. Flo. No, I can send to Barbary, those people That never yet knew faith, have nobler freedoms: These carry to Vanlock, and take my Bills in T o Peter Zuten these: bring back my Iewells; Why are these peices?

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Enter Saylor. Say lor.

Health to the noble merchant,

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The Susan is return'd. Flo. Well? Say. Well, and rich Sir, And now put in. Flo. Heaven thou hast heard my prayers. Say. The brave Rebecca too: bound from the straights, With the next tide is ready to put after. Flo. What newes o'th' fly-boate? If this winde hold till midnight,

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She will be here, and wealthy, scap't fairely. Flo. How, pre'thee Saylor? Say. Thus Sir, she had fight Seven howers together, with six Turkish Gallyes, And she fought bravely: but at length was borded: And over lai'd with strength: when presently Comes boring up the winde Captaine Van-noke, That valiant Gentleman, you redeem'd from prison; He knew the Boate, set in: and fought it bravely: Beate all the Gallies off; sunk three, redeem'd her, And as a service to ye, sent her home Sir. Flo. An honest noble Captaine, and a thankfull; Ther's for thy news: go drink the Merchants health, Saylor. Say. I thanke your bounty, and I'le do it to a doyt, Sir.

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Exit Saylor. 1. Mer. What miracles are powr'd upon this fellow? Flo. This yeare I hope my friends, I shall scape prison, For all your care to catch me. 2. Mer. You may please Sir To think of your poor servants in displeasure, Whose all they have, goods, monyes, are at your service. Flo. I thank you, when I have need of you I shall forget you: you are paid I hope. All. We joy in your good fortunes. Exeunt Merchants.

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Enter Van-donck. Van. Come Sir, come take your ease you must go home With mee, yonder is one weepes and howles. Flo. Alas how does she? Van. She will be better soone I hope. Flo. Why soone sir? Van. Why when you have her in your armes, this night My boy she is thy wife Flo. With all my hart I take her. 35 yeare] MS 41 s.d. Exeunt

ye are 47 Merchants]

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Van. We have prepar'd, and all thy friends will be there, And all my Roomes shall smoake to see the revell; Thou hast been wrong'd and no more shall my service Waite on the knave her Uncle, I have hard all, All his baites for my Boy, but thou shalt have her; Hast thou dispach't thy businesse? Flo. Most. Van. By the masse Boy, Thou tumblest now in wealth, and I joy in it, Thou art the best Boy, that Bruges ever nourish'd; Thou has been sad, Fie cheere thee up with Sack, And when thou art lusty Fie fling thee to thy Mistris. Shee'l hug thee, sirha. Flo. I long to see it, I had forgot you: ther's for you my friends: You had but heavy burthens, commend my love My best love, all the love I have indeed To honest Clause, shortly I will thanke him better.

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Exit. Hig. By the masse a royall Merchant, Gold by the handfull, here will be sport, soone, Prig. Prig. It partly seemes so, and here will I be in a trice. Hig. And I boy, away a pace we are look'd for. Prig. Oh these bak'd meates, me thinkes I smell them hither. Hig. Thy mouth waters. Exeunt.

Scaena Quarta. Enter Hubert, and Hemskirck. Hub. I must not. Hem. 47 and] best MS love] om MS 47 60 My

Why? 'tis in thy power to do it, To my best love 47

indeed] MS

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And in mine to reward thee to thy wishes. Hub. I dare not, nor I will not. Hem. Gentle Huntsman, Though thou hast kept me hard: though in thy duty, Which is requir'd to do it, th'hast us'd me stubbornly; I can forgive thee freely. Hub. You the Earles servant. Hem. I sweare I am neare as his owne thoughts to him; Able to doe thee Hub. Come, come, leave your prating. Hem. If thou dar'st but try. Hub. I thanke you hartily, you will be The first man that will hang me; a sweet recompence, I could do, but I do not say I will, To any honest fellow that would thinke on't: And be a benefactor. Hem. Not recompenc'd, and to thy owne desires, If within these ten dayes I do not make thee Hub. What, a false knave? Hem. Prethee, prethee conceive me rightly, any thing Of profit or of place that may advance thee. Hub. Why what a Goosecap would'st thou make me, Do not I know that men in misery will promise Any thing, more then their lives can reach at? Hem. Beleeve me Huntsman, There shall not one short sillable that comes from me, passe Without its full performance. Hub. Say you so Sir? Have ye e're a good place for my quality. Hem. A thousand: Chases, Forrests, Parks: I'le make thee Chiefe ranger over all the games. Hub. When? Hem. Presently. Hub. This may provoke me: and yet to prove a knave too. 5 us'd] MS used 47 10 me;] me, 47 26 thousand:] MS thousand 47

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Hem. 'Tis to prove honest: 'tis to do good service, Service for him thou art sworn to, for thy Prince, Then for thy selfe that good; what fool would live here, Poore, and in misery, subject to all dangers, Law, and lewd people can inflict, when bravely And to himselfe he may be law, and credit? Hub. Shall I believe thee? Hem. As that thou holdst most holy; Hub. Ye may play tricks. Hem. Then let me never live more. Hub. Then you shall see Sir, I will do a service That shall deserve indeed. Hem. 'Tis well said, hunts-man, And thou shall be well thought of. Hub. I will do it: 'Tis not your letting free, for that's meer nothing, But such a service, if the Earl be noble, He shall for ever love me. Hem. What is't hunts-man? Hub. Do you know any of these people live here? Hem. No. Hub. You are a foole then: here be those to have 'em, I know the Earle so well, would make him caper. Hem. Any of the old Lords that rebel'd? Hub. Peace, all I know 'em every one, and can betray 'em. Hem. But wilt thou doe this service? Hub. If you'l keep Your faith, and free word to me. Hem. Wilt thou swear me? Hub. No, no, I will beleeve ye: more then that too, Here's the right heire. Hem. O honest, honest huntsman! You will be constant, 'tis no work for me else. Hem. Will the Sun shine agen? Hub. The way to get 'em. Hem. Propound it, and it shall be done.

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Hub. No sleight; (For they are Devillish crafty, it concerns 'em) Nor reconcilement, (for they dare not trust neither) Must doe this tricke. Hem. By force? Hub. I, that must doe it. And with the person of the Earl himselfe, Authority (and mighty) must come on 'em: Or else in vaine: and thus Ide have ye do it. To morrow-night be here: a hundred men will bear 'em, (So he be there, for he's both wise and valiant) And with his terrour will strike dead their forces, The houre be twelve a clock, now for a guide To draw ye without danger on these persons, The woods being thicke, and hard to hit, my selfe With some few with me, made unto our purpose, Beyond the wood, upon the plain, will wait ye By the great Oke. Hem. I know it: keep thy faith hunts-man, And such a showr of wealth Hub. I warrant ye: Misse nothing that I tell ye. Hem. No. Hub. Farewell; You have your liberty, now use it wisely; And keep your houre, goe close about the wood there, For feare they spy you. Hem. Well. Hub. And bring no noyse with ye. Hem. All shall be done to th' purpose: farewell huntsman. Exeunt.

61 Ide] MS I would 47 74 close] MS closer 47 76 s.d. Exeunt] Exit 47

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Scaena Quinta. Enter Gerrard, Higgen, Prig, Ginks, Snap, Ferret. Ger. Now what's the news in towne? Ginks. No news, but joy Sir; Every man wooing of the noble Merchant, Who has his hearty commendations to ye. Fer. Yes, this is news, this night he's to be married. Ginks. By th' masse that's true, he marryes Vandoncks daughter The dainty black-ey'd bell. Hig. I would my clapper Hung in his baldricke, what a peale could I ring? Ger. Marryed? Ginks. 'Tis very true Sir; o the pyes, The piping-hot mince-pyes. Prig. O the Plum-pottage. Hig. For one leg of a goose now would I ventur a limb boys, I love a fat goose, as I love allegiance, And plague upon the Boors, too well they know it, And therefore starve their powltry. Ger. To be married To Vandonks daughter? Hig. O this pretious Merchant: What sport he will have? but hark ye brother Prig, Shall we do nothing in the fore-said wedding? Ther's money to be got, and meate I take it, What thinke ye of a morise? Prig. No, by no meanes, That goes no further then the street, there leaves us, Now we must think of something that must draw us Into the bowels of it, into th' buttery, Into the Kitchin, into the Cellar, something That that old drunken Burgo-master loves, What think ye of a wassell? Hig. I think worthily. 12 plague]

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Prig. And very fit it should be, thou, and Ferret, And Ginks to sing the Song: I for the structure, Which is the bowle. Hig. Which must be up-sey English, Strong, lusty London beer; let's think more of it, Ger. He must not marry.

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Enter Hubert. Hub. By your leave in private, One word Sir, with ye; Gerrard: do not start nay, I know ye, and he knows ye, that best loves ye: Hubert speakes to ye, and you must be Gerrard, The time invites you to it. Ger. Make no show then, I am glad to see you Sir; and I am Gerrard. How stands affaires? Hub. Faire, if ye dare now follow, Hemskirke I have let goe, and these my causes, I'le tell ye privately, and how I have wrought him, And then to prove me honest to my friends, Looke upon these directions; you have seen his. Hig. Then will I speak a speech, and a brave speech In praise of Merchants; where's the Ape? Prig. Plague take him, A gowty Beare-ward stole him the other day. Hig. May his Beares worry him, that Ape had paid it, What dainty tricks? plague o' that whorson Bear-ward: In his french doublet, with his baster'd bullions, In a long stock ty'd up; o how daintily Would I have made him waite, and change a trencher, Cary a cup of wine? ten thousand stinks Waite on thy mangy soule, thou lowzy Bear-ward. Ger. Tis passing well, I both beleeve and joy in't And will be ready; keepe you here the meane while, 30 nay] MS m e 47 41 Plague] MS 44 plague] MS

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And keepe this in, I must a while forsake ye, Upon mine anger no man stir, this two houres. Hig. Not to the wedding sir? Ger. Not any whither. Hig. The wedding must be seene sir; we want meat too, We be monstrous out of meat. Prig. Shall it be spoken, Fatt Capon shak't their tailes at's in defiance: And turkey toombs such honorable monuments, Shall piggs, sir, that the Persons selfe would envy, And deintie Ducks? Ger. Not a word more, obey me. Exit Ger. Hig. Why then come dolefull death, this is flat tyrany And by this hand Hub. What? Hig. Ile goe sleepe upon't. Exit Hig. Prig. Nay, and there be a wedding, and we wanting Farewell our happie daies: we doe obey sir. Exeunt.

Scaena Sexta. Enter two young Merchants. 1. Mer. Well met sir, you are for this lusty wedding. 2. Mer. I am so, so are you I take it. 1. Mer. Yes, And it much glads me, that to doe him service Who is the honour of our trade, and luster, We meet thus happily. 2. Mer. He's a noble fellow, And well becomes a bride of such a beauty.

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1. Mer. She is passing faire indeed, long may their loves Continue like their youths, in spring of sweetnesse. 2. Mer. All the young Merchants will be here. 1. Mer. No doubt on't, For he that comes not to attend this wedding The curse of a most blind one fall upon him, A lowd wife, and a lazie: here's Vanlock.

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Enter Vanlock and Francis. Vanl. Well overtaken gentlemen: save ye. 1. Mer. The same to you sir; save ye faire Mistris Francis, I would this happie night might make you blush too. Vanl. She dreames a pace, Fran. That's but a drowsie fortune. 2. Mer. Nay take us with ye too; we come to that end, I am sure ye are for the wedding. Vanl. Hand and heart man: And what there feet can doe; I could have tript it Before this whorson gout.

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Enter Gerrard. Ger. Blesse ye Master. 20 Vanl. Clause? How now Clause; thou art come to see thy Master, (And a good master he is to all poore people) In all his joy, tis honestly done of thee. Ger. Long may hee live sir, but my businesse now is: If you would please to doe it, and to him too. 25 Enter FlorezVanl. He's heere himselfe. Flo. Stand at the doore my friends? I pray walke in: welcome faire Mistris Francis, See what the house affords, ther's a young Lady 9 2Mer] MS om 47 19 there] MS their 47 24 is:] MS is 47

1 Mer.] MS

ont 47

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Will bid you welcome, Vanl. We joy your happinesse. Exeunt. Flo. I hope it will be so: Clause nobly welcome, My honest, my best friend, I have been carefull To see thy monys Ger. Sir, that brought not me, Do you know this Ring againe? Flo. Thou hadst it of me. Ger. And do you well remember yet, the boone you gave me Upon returne of this? Flo. Yes, and I grant it, Be it what it will: aske what thou can'st, I'le do it; Within my power. Ger. Ye are not married yet Flo. No, Ger. Faith I shall aske you that that will disturb ye, But I must put ye to your promise. Flo. Do, And if I faint or flinch in't Ger. Well said Master, And yet it grieves me too: and yet it must be. Flo. Prethee distrust me not. Ger. You must not marry, That's part of the power you gave me: which to make up, You must presently depart, and follow me. Flo. Not marrry Clause? Ger. Not if you keep your promise, And give me power to aske. Flo. Pre'thee thinke better. I will obey, by heaven. Ger. I have thought the best Sir. Flo. Give me thy reason, do'st thou feare her honesty? Ger. Chaste as the yce, for any thing I know, Sir. 29 s.d. Exeunt] MS 4 0 or] MS and 47

Exit

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Flo. Why should'st thou light on that then? to what purpose? Ger. I must not now discover. Flo. Must not marry? Shall I breake now when my poore hart is pawn'd? When all the preparation? Ger. Now or never. Flo. Come, 'tis not that thou would'st: thou dost but fright me. Ger. Upon my soule it is Sir, and I binde ye. Flo. Clause, can'st thou be so cruell? Ger. You may breake Sir, But never more in my thoughts, appeare honest. Flo. Did'st ever see her? Ger. No: Flo. She is such a thing, 0 Clause, she is such a wonder, such a mirror, For beauty, and faire vertue, Europe has not: Why hast thou made me happy, to undo me? But looke upon her; then if thy heart relent not, H e quit her presently, who waites there? Servant, within. Sir. Flo. Bid my faire love come hither, and the company, Pre'thee be good unto me; take a mans hart And looke upon her truly: take a friends hart And feele what misery must follow this. Ger. Take you a noble hart and keep your promise; 1 forsooke all I had, to make you happy. Enter Bertha, Van-donck, and the rest, Merchants. Can that thing call'd a woman, stop your goodnesse? Flo. Looke there she is, deale with me as thou wilt now Did'st ever see a fayrer? Ger. She is most goodly. Flo. Pray ye stand still. Ber. What ayles my love? Flo. Did'st thou ever, By the faire light of heaven, behold a sweeter? O that thou knew'st but love, or ever felt him, Looke well, looke narrowly upon her beauties.

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1. Mer. Sure h'as some strange designe in hand, he starts so. 2. Mer. This Beggar has a strong power ore his pleasure Flo. View all her body. Ger. 'Tis exact and excellent. Flo. Is she a thing then to be lost thus lightly? Her mind is ten times sweeter, ten times nobler, And but to heare her speak, a Paradise, And such a love she beares to me, a chaste love, A vertuous, faire, and fruitfull love: 'tis now too I am ready to enjoy it; the Priest ready: Clause, To say the holy words shall make us happy; This is a cruelty beyond mans study. All these are ready, all our joyes are ready, And all the expectation of our friends, Twill be her death to do it. Ger. Let her dye then. Flo. Thou canst not: 'tis impossible. Ger. It must be. Flo. 'Twill kil me too, 'twil murder me: heaven Clous I'le give thee halfe I have; come thou shalt save me. Ger. Then you must goe with me: I can stay no longer If ye be true, and noble. Flo. Hard heart, I'le follow: Pray ye all goe in againe, and pray be merry, I have a weighty businesse, give me my cloake there.

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Enter Servant (with a Cloake.) Concerns my life, and state; make no enquiry, This present houre befaln me: with the soonest I shall be here againe: nay pray goe in Sir, And take them with you, tis but a night lost, Gentelmen. Van. Come, come in, we will not loose our meat yet, Nor our good mirth, he cannot stay long from her I am sure of that. 78 ore] MS over 47 97 me] 79 om 47

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Flo.

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I will not stay; beleeve Sir. Exit.

Gertrud a word with you; Ber. Why is this stop, Sir Flo. I have no more time left me, but to kisse thee, And tell thee this, I am ever thine: farewell wench. Ber. And is that all your ceremony? Is this a wedding? Are all my hopes and prayers tumd to nothing? Well, I will say no more, nor sigh, nor sorrow; oh me, Oh me, till to thy face I prove thee false. Exit.

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ACTUS QUINTUS, Scaena Prima.

Enter Bertha, and a Boore. Ber. Lead, if thou thinkst we are right: why dost thou make These often stands? thou saidst thou knewst the way. Boor. Fear nothing, I doe know it: would twere homeward. Ber. Wrought from me, by a Beggar? at the time That most should tye him? Tis some other Love That hath a more command on his affections, And he that fetcht him, a disguised Agent, Not what he personated; for his fashion Was more familiar with him, and more powerfull Then one that ask'd an almes: I must finde out One, if not both: kind darknesse be my shrowd And cover loves too curious search in me, For yet, suspition, I would not name thee. Boor. Mistris, it grows some-what pretty and dark. Ber. What then? Boor. Nay, nothing; do not thinke I am afraid, Although perhaps you are. Ber. I am not, forward. Boor. Sure but you are: give me your hand, fear nothing. There's one leg in the wood, do not pull backward: What a sweate one on's are in, you or I? Pray God it do not prove the plague; yet sure It has infected me; for I sweat too, It runs out at my knees, feele, feele, I pray you. Ber. What ailes the fellow?

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Boor. Hark, hark I besech you, Doe you heare nothing? Ber. No. Boor. Lyst: a wilde hog, He grunts: now 'tis a beare: this wood is full of 'em, And now, a wolfe Mistris, a wolfe, a wolfe, It is the howling of a wolfe. Ber. The braying Of an asse, is it not. Boor. Oh, now one has me; Oh, my left ham, farewell. Ber. Looke to your shankes, Your breech is safe enough, the wolfe's a Fern-brake. Boor. But see, see, see. There is a serpent in it, It has eyes as broad as platters; it spits fire; Now it creeps towards us; help me to say my prayers: It hath swallowed me almost, my breath is stopt, I cannot speake; do I speake Mistris? tell me. Ber. Why, thou timerous Sot, canst thou perceive Anything i'the bush, but a poore glo-worme? Boor. It may be tis but a glo-worm now, but 'twill Grow to a fire-drake presently. Ber. Come thou from it: I have a pretious guide of you; and a courteous That gives me leave to lead my selfe the way thus.

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[Hubert, hollowes within] Boor. It thunders, you heare that now. Ber. I heare one hollow. Boor. 'Tis thunder, thunder: see, a flash of Lightning: Are you not blasted Mistris? pull your maske off, It has plaid the barber with me here: I have lost My beard, my beard, pray God you be not shaven, 'Twill spoile your marriage Mistris. Ber. What strange wonders, 41 s.d. [Hubert ... within] MS om 47

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Feare fancies in a Coward? Boor. Now, the earth opens. Ber. Prethee hold thy peace. Boor. Will you on then? Ber. Both love and jealousie have made me bold, Where my fate leads me, I must goe.

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Exit. Boor.

God be with you then. Enter Wooljort, Hemskirke, Guard, and Attendants.

Hem. It was the fellow sure, he that should guide me, The hunts-man that did hollow us. Wool. Best make a stand And listen to his next: ha? Hem. Who goes there? Boor. Mistris, I am taken. Hem. Mistris? look forth souldiers. Wool. What are you sirha? Boor. Truly all is left Of a poore Boore, by day-light, by night no body, You might have spar'd your drum, and guns, & pikes too, For I am none that will stand out Sir, I. You may take me in with a walking sticke Even when you please, and hold me with a pack-threed. Hem. What woman was't you call'd to. Boor. Woman? none Sir. Wool. None? did you not name Mistris? Boor. Yes, but shee's No woman yet! she should have been this night, But a Beggar stole away her Bridegroome, Whom we were going to make hue and cry after; I tell you true Sir, she should ha' bin maried to day, And was the Bride, and all; but in came Clause, The old lame Beggar, and whips up Goswin; 51 s.d. guard] MS

om 47

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Under his arme; away with him as a Kite, Enter

Enter Bertha.] MS om 47 notable] MS noble 47 shape] MS shop 47 others] 61Q other 47

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Bertha

Or an old Fox, would swoope a way a gosling. Hem. 'Tis she, 'tis she, 'tis she, Niece? Ber. Ha? Hem. She Sir, This was a notable entrance to your fortune, That being on the point thus to be married: Upon her venture here: you should surprise her. Wool. I begin Hemskirck, to believe my fate, Works to my ends. Hem. Yes Sir, and this adds trust, Unto the fellow our guide, who assur'd me Floris, Liv'd in some Merchant's shape, as Gerrard did: I'the old beggars, and that he would use Him for the traine, to call the other forth, All which we finde is done - That's he againe - Holla againe Wool. Good we sent out to meet him. Hem. Heer's the Oke. Ber. O I am miserably lost; thus fallen Into my Uncles hands, from all my hopes: No matter now, where thou be false or no, Goswin, whether thou love an other better; Or me alone; or where thou keep thy vow, And word, or that thou come, or stay: for I To thee from henceforth, must be ever absent, And thou to me: no more shall we come neere, To tell our selves, how bright each others eyes were, How soft our language, and how sweet our kisses, Whil'st we made one our food, th'other our feast, Not mix our soules by sight, or by a letter Hereafter, but as small relation have, 70 73 79 92

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As two new gon to inhabiting a grave: Can I not thinke away my selfe and dye? Enter Hubert. Higgen. Prig. Ferret. Snap. Gincks. like

Boores.

Hub. I like your habits well: they are safe, stand close. Hig. But what's the action we are for now? ha? 100 Robbing a Ripper of his fish? Prig. Or taking, A poultrer prisoner, without ransome, Bullyes? Hig. Or cutting off a convoy of butter? Per. Or surprising a Boores ken, for grunting cheates? Prig. Or cackling cheates? Hig. Or mergery-praters, Rogers, 105 And Tibs o'th the Buttry? Prig. O I could drive a Regiment Of geese afore me, such a night as this Ten leagues with my hatt, and staff, and not a hisse Heard, or a wing of my troopes disordered. Hig. Tell us, If it be milling of a lag of duds, 110 The fetching of a back of clothes or so; We are horribly out of linnen. Hub. No such matter. Hig. Let me alone for any Farmers dog, If you have a minde to the cheese-loft: 'tis but thus: And he is a silenc'd Mastiff, during pleasure 115 Hub. Would it would please you to be silent. Hig. Mum. Wool. Who's there? Hub. A friend, the Huntsman. Hem. O 'tis he. Hub. I have kept touch Sir, which is the Earle of these? Will ye know a man now? Hem. This my Lord's the friend, Hath undertooke the service. Hub. If't be worth 120 104 grunting] MS

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His Lordships thanks anon, when 'tis done Lording, I'le looke for't, a rude woodman, I know how to pitch my toyles, drive in my game: And I have don't. Both Floriz and his Father Old Gerrard, with Lord Arnold of Benthuisen, Costin, and Jaqueline, young Floriz Sister; I have 'em all. Wool. Thou speak'st too much, too happy, To carry faith with it. Hub. I can bring you Where you shall see, and finde 'em. Wool. We will double, What ever Hemskirck then hath promis'd thee. Hub. And I'le deserve it treble; what horse ha' you? Wool. A hundred. Hub. That's well: ready to take Upon surprise of 'em? Hem. Yes. Hub. Devide then, Your force into five Squadrons; for there are So many outlets, wayes, thorough the wood, That issue from the place: where they are lodg'd; Five severall wayes, of all which passages We must posses our selves, to round 'em in, For by one starting hole, they'll all escape else; I and four Boores here to me, will be guides, The Squadron, where you are, my selfe will lead: And that they may be more secure, I'le use My wonted whoopes, and hollowes, as I were A hunting for 'em; which will make them rest, Careles of any noyse, and be a direction To the other guides, how we approch 'em still. Wool. 'Tis ordered well, and relisheth the Souldier, Make the division Hemskirck-. you are my charge Faire one, I'le looke to you. Boor. 126 Costin]

Shall no body need Cozen

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To looke to me? I'le looke unto my selfe. Hub. 'Tis but this, remember. Hig. Say 'tis don boy.

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Exeunt.

Scaena Secunda. Enter Gerrard and Floriz. Ger. By this time Sir I hope you want no reasons Why I broke off your marriage, for though I Should as a Subject study you my Prince In things indifferent, it will not therefore Discredit you, to acknowledge me your Father, By harkning to my necessary counsells. Flo. Acknowledge you my Father? Sir I do, And may impiety, conspiring with My other Sinnes, sinck me, and sodainly When I forget to pay you a Sonnes duty In my obedience, and that help'd forth With all the cheerefullnesse Ger. I pray you rise, And may those powers that see and love this in you, Reward you for it: Taught by your example Having receiv'd the rights due to a Father, I tender you th' allegance of a Subject: Which as my Prince accept of. Flo. Kneele to me? May mountaines first fall down beneath their valleys, And fire no more mount upwards, when I suffer An act in nature so preposterous; I must o'recome in this, in all things else The victory be yours: could you here read me, You should perceive how all my faculties Triumph in my blest fate, to be found yours;

5

10

15

20

ACTUS QUINTUS

I am your son, your son Sir, and am prouder To be so, to the Father, to such goodnesse (Which heaven be pleas'd, I may inherit from you) Then I shall ever of those specious titles That plead for my succession in the Earldome (Did I possesse it now) left by my mother. Ger. I do beleeve it: but Flo. O my lov'd Father, Before I knew you were so, by instinct, Nature had taught me, to look on your wants, Not as a strangers: and I know not how, What you call'd charity, I thought the payment Of some religious debt, nature stood bound for; And last of all, when your magnificent bounty In my low ebb of fortune, had brought in A flood of blessings, though my threatning wants And feare of their effects, still kept me stupid, I soone found out, it was no common pitty That lead you to it. Ger. Thinke of this hereafter When we with joy may call it to remembrance, There will be a time, more opportune, then now To end our story, with all circumstances; I add this only: when we fled from Woolfort I sent you into England, and there placed you With a brave Flanders Merchant, call'd rich Goswin, A man supplyed by me unto that purpose, As bound by oath never to discover you, Who dying, left his name and wealth unto you As his reputed Son, and yet receiv'd so; But now, as Florez, and a Prince, remember The countreys, and the subjects generall good Must challenge the first part in your affection: The faire maid, whom you chose to be your wife, Being so far beneath you, that your love 45 our] MS

your 47

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BEGGARS BUSH

Must grant shee's not your equall. Flo. In discent Or borrowed glories, from dead Ancestors, But for her beauty, chastity, and all vertues Ever remembred in the best of women, A Monarch might receive from her, not give, Though she were his Crownes purchase; In this only Be an indulgent Father: in all else, Use my authority.

60

Enter Hubert, Hemskirke, Woolfort, Bertha and Souldiers. Hub. Sir, here be two of 'em, The Father and the Son, the rest you shall have As fast as I can rouze them. Ger. Who's this? Woolfort? Wool. I Criple, your faigned crutches wil not help you, Nor patch'd disguise that hath so long conceal'd you, It's now no halting: I must here finde Gerrard, And in this Merchants habit, one called Florez Who wou'd be an Earl. Ger. And is, wert thou a subject. Flo. Is this that Traitor Woolfort? Wool. Yes, but you Are they that are betraid: Hemskirke-, Ber. My Goswin Turn'd Prince? o I am poorer by this greatnesse, Then all my former jealousies or misfortunes. Flo. Gertrudl Wool. Stay Sir, you were to day too neare her, You must no more ayme at those easy accesses, Lesse you can do't in aire, without a head, Which shall be sodainly tri'de. Ber. O take my heart, first, And since I cannot hope now to enjoy him, Let me but fall a part of his glad ransome. Wool. You know not your own value, that entreat -

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ACTUS QUINTUS

143

Ger. So proud a fiend as Woolfort. Wool. For so lost A thing as Florez. Flo. And that would be so Rather then she should stoop againe to thee; There is no death, but's sweeter then all life, When Woolfort is to give it: O my Gertrude, It is not that, nor Prince-dome that I goe from, It is from thee, that losse includeth all. Wool. I, if my young Prince knew his losse, hee would say so, Which that he yet may chew on, I will tell him This is no Gertrude, nor no Hemskirks Niece, Nor Vandoncks daughter; this is Bertha, Bertha, The heir of Brabant, she that caus'd the warr, Whom I did steale, during my treaty, there, For your minority, to raise my selfe; I then fore-seeing 'twould beget a quarrell. That, a necessity of my employment, The same employment, make me master of strength, That strength, the Lord of Flanders, so of Brabant, By marrying her: which had not been to doe Sir, She come of years, but that the expectation First of her Fathers death, retarded it, And since the standing out of Bruges, where Hemskirke had hid her, till she was neer lost: But Sir, we have recover'd her: your Merchantship May breake, for this was one of your best bottoms I thinke. Ger. Insolent Devill!

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105

Enter Hubert, with Jaqueline, Gynks and Costin. Wool. Who are these, Hemskirke? Hem. More, more, Sir. Flo. How they triumph in their treachery? Hem. Lord Arnold of Benthusin, this Lord Costin, This Jaqueline the sister unto Florez.

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Woolf. All found? why here's brave game, this was sport-royall, And puts me in thought of a new kind of death for 'em. Hunts-man, your horn: first wind me Florez fall, Next Gerrards, then his daughter Jaquelins, Those rascalls, they shall dye without their rights; Hang 'em Hemskirke on these trees; I'le take The assay of these my selfe. Hub. Not here my Lord, Let 'em be broken up, upon a scaffold, Twill shew the better when their arbour's made. Ger. Wretch art thou not content thou has betraid us But mocke us too? Ginks. False Hubert, this is monstrous. Woolf. Hubert? Hem. Who, this? Ger. Yes, this is Hubert, Woolfort, I hope he has helpt himselfe to a tree. Woolf. The first, The first of any, and most glad I have you Sir, I let you goe before, but for a traine; Is't you have done this service? Hub. As your Hunts-man, But now as Hubert; save your selves, I will, The Woolfs a foote, let slip; kill, kill, kill, kill.

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130

Enter with a drum Vartdonck, Merchants, Higgen, Prig, Ferret, Snap. Woolf. Betray'd? Hub. No, but well catch'd: and I the Huntsman. Van-d. How do you Woolfort? Rascall, good knave Woolfort. I speake it now without the Rose, and Hemskirck, Rogue Hemskirck, you that have no neice, this Lady Resign'd by me, to the right owner here: Take her my Prince. Flo. Can this be possible, Welcom my love, my sweet, my worthy love.

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ACTUS QUINTUS

145

Van-d. I ha' giv'n you her twice: now keep her better & thanke Lord Hubert, that came to me in Gerrards name, And got me out, with my brave Boyes, to march Like Caesar when he bred his Comentaryes, So I, to breed my Chronicle, came forth Caesar Van-donck & veni, vidi, vici. Give me my Bottle, and set downe the drum; You had your tricks Sir, had you? we ha' tricks too, You stole the Lady? Hig. And we led your Squadrons Where they ha' scratch'd their leggs a little with brambles, If not their faces. Prig. Yes, and run their heads Against trees. Hig. 'Tis Captaine Prig, Sir. Prig. And Coronell Higgen. Hig. We have fill'd a pitt with your people some with leggs Some with armes broken, and a neck, or two I think be loose. Prig. The rest too, that escap'd, Are not yet out o' the briars, Hig. And your horses, Sir, Are well set up in Bruges all by this time: You looke as you were not well Sir, and would be Shortly let blood; do you want a scarfe? Van-d. A halter. Ger. 'Twas like your selfe, honest, and noble Hubert: Can'st thou behold these mirrors altogether, Of thy long, false, and bloody usurpation? Thy tyrranous proscription, and fresh treason: And not so see thy selfe, as to fall downe And sincking, force a grave, with thine owne guilt, As deep as hell, to couer thee and it? Woolf. No, I can stand: and praise the toyles that tooke me And laughing in them dye, they were brave snares. Flo. 'Twer truer valour, if thou durst repent 144 breed] MS

end 47

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155

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BEGGARS BUSH

The wrongs th' hast don, and live. Woolj. Who, I repent? And say I am sorry? yes, 'tis the fooles language And not for Wooljort. Van-d. Woolfort thou art a Divell, And speaks his language, oh that I had my longing Under this row of trees now would I hang him. Flo. No let him live, untill he can repent, But banish'd from our State, that is thy doome. Van-d. Then hang his worthy Captaine here, this Hemskirck For profit of th' example, Flo No let him, Enjoy his shame too: with his conscious life, To shew how much our innocence contemnes All practise from the guiltiest, to molest us. Van-d. A noble prince. Ger. Sir, you must helpe to joyne A paire of hands, as they have don their heartes here, And to their loves wish joy. Flo. As to mine owne, My gratious Sister, worthiest Brother: Van-d. I'le go afore, and have the bon-fire made, My fire-workes, and flap dragons, and good backrack, With a peck of little fishes, to drink downe In healthes to this day. Hig. Slight, here be changes, The Bells ha' not so many, nor a dance, Prig. Prig. Our Company's growne horrible thin by it, What think you Ferretl Fer. Marry I do thinke, That we might all be Lords now, if we could stand for't. Hig. Not I if they should offer it: I'le dislodge first, Remove the Bush to another climat. Ger. Sir, you must thanke this worthy Burgomaster; Here be friends aske to be look'd on too: 183 wish] MS

with 47

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175

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185

190

195

ACTUS QUINTUS

147

And thank'd, who though their trade, and course of life Be not so perfect, but it may be betterd, Have yet us'd me with curtesy, and bin true Subjects unto me, while I was their King, A place I know not well, how to resigne. Nor unto whom: But this I will entreat Your grace, command them, follow me to Bruges; Where I will take the care on me, to finde Some manly, and more profitable course To fit them, as a part of the Republique. Flo. Do you heare Sirs? do so. Hig. Thankes to your good grace. Prig. To your good Lordship. Fer. May you both live long. Ger. Attend me at Van-donks, the Burgomasters.

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205

Ex. all but Beggars. Hig. Yes, to beat hemp, and be whipt twice a weeke, Or turne the wheele, for Crab the Rope-maker: Or learne to go along with him, his course; That's a fine course now, i' the Common-wealth, Prig, What say you to it? Prig. It is the backwardst course, I know i'the world. Hig. Then Higgen will scarce thrive by it, You do conclude? Prig. 'Faith hardly, very hardly. Hig. Troth I am partly of your minde, Prince Prig; And therefore farewell Flanders, Higgen will seek Some safer shelter, in some other Clymat: With this his tatterd Colony: Let me see Snap, Ferret, Prig, and Higgen, all are left O' The true blood: what? shall we into Englandi? Prig. Agreed, Hig. Then beare up bravely with your Brute my lads; Higgen hath prig'd the prancers in his dayes, And sold good peny-worthes; we will have a course,

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BEGGARS BUSH

The spirit of Bottom, is growne bottomlesse. Prig. I'le mand no more, nor cant. Hig. Yes, your sixpenyworth In private, brother, sixpence is a summ, I'le steale you any mans dogg for. Prig. For Sixpence more, You'l tell the owner where he is. Hig. 'Tis right, Higgen must practise, so must Prig to eat; And write the Letter: and gi' the word; but now No more, as either of these. Prig. But as true Beggars, As ere we were. Hig. We stand here, for an Epilogue; Ladyes; your bountyes first; the rest will follow, For womens favours, are a leading almes, If you be pleas'd look cheerely: throw your eyes Out at your maskes. Prig. And let your beauties sparkle. Hig. So may you ne'er want dressings, Iewells, gownes Still i' the fashion. Prig.

Nor the men you love,

Wealth nor discourse to please you. Hig. May you Gentlemen, Never want good fresh suites nor liberty. Prig, May every Merchant here see safe his ventures. Hig. And every honest Citizen his debts in. Prig. The Lawyers gaine good Clyents. Hig. And the Clyents good Councell. Prig. All the Gamesters here good fortune. Hig. The Drunkards too good wine. Prig. The eaters meate Fit for their tasts and pallats. Hig. The good wives kind Husbands. Prig. The young maides choyce of Sutors. Hig. The widdowes, merry hearts. 1 5 2 widdowes] MS

Midwives 47

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235

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ACTUS QUINTUS

Prig. And all good cheere. Hig. As you are kinde unto us and our Bush, We are the Beggars and your dayly Beadsmen, And have your money, but the Almes we aske And live by, is your Grace, give that and then Wee'l boldly say our word is, Come agen.

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255

EMENDATION O F ACCIDENTALS

I, i 5 suffered] 61Q suffered, 47 38 ere] MS er'e 47 I, ii 57 122 123 130

cunning] 61Q cunnig 47 do not;] 61Q do not 47 Take] 61Q Nake 47 Hemskirk] MS Hemskirick 47 I, iii

85 'em,]

'em 47

II, i 14 chosen;] 61Q chosen 47 16 tyrant] tyrant. 47 30 Brimstone,] MS Brimstone 47 creame] 61Q creame, 47 52 dissolv'd] 61Q dissolv'd, 47 76 Maunders,] 61F Maunders. 47 85 rest] 61Q rest, 47 90 presage] 79 presage, 47 92 well] MS well, 47 94 beard] 61Q beard, 47 104 smile;] smile 47 152 happinesse,] MS happinesse 47 157 lame.] 61Q lame, 47 158 Worships!] MS Worships; 47

EMENDATION OF ACCIDENTALS

168 Lord] 61Q Lord, 47 193 is,] MS is 47 11, iii 11 20 27 59 60 66 121 179

walls,] walls; 47 fast,] fast 47 Woolfort] 61Q Woolfort. 47 stretch,] stretch 47 all;] all, 47 from] 61Q ftom 47 Sir] 61Q siir 47 it] it.- 47 III, i

1 by th'] MS bi' th 47 belly.] 61Q belly 47 3 3 B . ] M S om 47 8 Stone] 61Q Stone 47 61 worshipps.] worshipps: MS 70 by th'] 79 by' th 47 92 pockets.] 61Q pockets 47 93 By th'] 79 By' th 47 129 'Tis] 79 'Ts 47 silver.] 61F silver, 47 160 on;] on, 47 III, ii 27 H'as] 79 ha's 47 74 thee:] thee 47 III, iii 3 16 69 147 165

for.] for 47 sentence:] MS sentence, 47 foole.] foole 47 stromell] MS stiromell 47 o'th'] 79 'oth 47

III, iv 4 is't] 61Q

'ist 47

152

EMENDATION OF ACCIDENTALS

8 ye] 61Q ye' 47 25 eyes-] eyes. 47 32 ruine-] mine. 47 IV, i 6 7 27 29

protested.] protested 47 Merchants.] 61Q Merchants, 47 worship.] 61Q worship 47 sea-roome.] sea-roome 47 IV, ii

5 y'deed] MS

y'ded 47

IV, iii 32 33 45 54

news] MS Sir.] 61F night] MS nourish'd:]

new's 47 Saylor.] 61Q Sir, 47 night, 47 61Q nourish'd 47

Saylor 47

IV, iv 10 me;] me, 47 76 to th'] 61Q to' th 47 IV, v 8 9 19 21

Sir;] 61Q Sir, 47 here.] here 47 doe;] doe, 47 into th'] 61Q into 'th 47

41 Merchants;] MS

Merchants, 47

IV, vi 8 9 19 46 54 67 86 87

sweetnesse.] sweetnesse, 47 here.] here 47 doe;] 61Q doe, 47 better.] better, 47 me.] me 47 this.] 61F this, 47 happy;] happy, 47 study.] study, 47

Ape?] 61Q

Ape 47

EMENDATION OF ACCIDENTALS

V, i 2 26 33 58 140 12 45 83 126 133 145 179 192 195 223 229 232 237 257

way.] MS way 47 wolfe,] a wolfe MS wolfe a wolfe 47 us;] us, 47 too,] too 47 here to me,] MS here, to me 47 V, ii cheerefullnesse-] cheerefullnesse. 47 circumstances;] circumstances, 47 entreat-] entreat 47 has] MS ha's 47 Woolfort.] 61Q Wool: 47 vici.] vici, 47 contemnes] 61Q contemnes; 47 for't.] 61F for't 47 Burgomaster;] MS Burgomaster, 47 lads;] 79 lads 47 for.] 61Q for 47 word;] MS word, 47 cheerely:] cheerely 47 eyes] 79 eyes: 47 Wee'l] 61Q W'eel 47

153

HISTORICAL COLLATION OF PREVIOUS EDITIONS

/, i 1 even] ev'n 11T 50 5 We have] We've 11-40 suffered] suffer'd 11T-05 6 countesse] Countesses 79 1 IT 50 06 countess' 11-05 7 ten] MS five 47+ 8 the] th' MS 11-40 12 seven] sev'n 11T 50 continued] continu'd MS 45 15 employed] employd MS 11T 50 11-05 18 his] MS this 47+ 26 chosen] chos'n 50 Countesse] Countesses 79 1 IT 50 06 countess' 11-05 31 we have] we've 50-40 32 I] Ay 11T-05 40 Not] Nor 50 41 to tempt] t'attempt 61Q 44 e're] MS ever 47+ 46 that] om MS 47 power] Pow'r 1 IT 50 11-40 50 full] free MS 54 peirc't] pierced 05 59 Whether] Whither 79 1 IT+ 61 s.d. Exit] Exeunt 11T-78 i, a 4 I have]

I've 11-40

HISTORICAL COLLATION O F PREVIOUS EDITIONS

5 mine] my 79-11 05 6 idly] MS rudely 47+ you] yee MS 9 ev'r] ever MS 61F e're 61Q+ 10 either] rather MS 11T-05 H 11-17 Who ever . . . prayers with] om MS 11 arriv'd] arrived 05 13 Were] Wherel IT 23 sit] MS 61Q 79-06 set 47 61F 25 prov'd] proved 05 28 first to understand] MS first understand 47 33 to it] to't 50 11 34 proscriptions] prescriptions MS 36 to a strict] to strict MS accompt] MS 61Q 61F 79 accop 47 account 11T+ 37 consum'd] consumed 05 40 action] Actions 50 11-05 41 loyalty so suspected] loyalty suspected MS 79 11T-45 loyalty suspended 05 45 promis'd] promised 05 47 I that] that I MS 52 I] Ay 11T-05 it is] tis a MS it is a 50 55 cal'd] MS called 47+ answers] answer 79-05 57 to believe] 61Q-06 to be beleeve 47 om MS 58 That . . . dangerous] om MS 59 formall] former 11 62 there] their 79 crav'd] craved 05 68 hir'd] hired 05 70 beleev'd] believed 05 71 further] farther MS 75 Vowing] Vowed 1 IT And vow'd 50 you] yee MS 78 give out] give it out 61F 80 among] amongst 79 stand] stai'd H 84 compar'd] compared 05 87 heare] have MS

155

06

156

HISTORICAL COLLATION OF PREVIOUS EDITIONS

nam'd] named 05 89 princely] beastlie MS 97 hop'd] hoped 05 99 wandring] wandering 45 05 102 ev'n] even MS 45 e'en 78 12 40 103 surely] Sir, freely 50 securely 78 11 107 griev'd] grieved 05 108-114 Despise . . . actions] om MS 115 Floriz] Goswin 79 1 IT 50 06 116 proscrib'd] prescrib'd MS 124 Leper] Leaper MS me you] mee yee MS 131 wish'd] wished 61F 05 discovery] discovr'y 11T 133 to't] too't MS 134 receiv'd] received 05 140 you] you'll 50 140 s.d. Exeunt] Exit 47+ 1, iii 4 8 10 12 14 17 18 24 27 30

in it] in't MS was] has MS venturd] ventured 05 Compar'd] MS UT-45 Compared 47+ liv'd] lived 05 Unquestion'd] Unquestionlesse 61F Continues] continue MS power] Pow'r 11T 78-40 sutable] suited 50 the] their 79-05 nor] not 50 34 the assurance] th' assurance MS 36 th'] the 12 40 38 And the increase] MS And the meanes 47-79 12+ And yet the meanes 50 78 11 38-39 What follows this,/Makes] What follows, this/Makes

HISTORICAL COLLATION OF PREVIOUS EDITIONS

45 48 58 59 60 61 62 65 68 71 75 76 85 93 94 97 98 100 102 106 109 110 118 119 120 121 126 127 129 130 131

157

79 12 40 06 What follow, this/Makes 11T What follow? This/Makes 50M dowre] dowrie MS him] home 79+ am] want MS and] om 11-05 His] hees MS to] t' 50 Sink] MS Sucke 47-61F he] h' 50 priz'd] prized 05 my] om 79 1 IT 06 the 50 valued] valu'd 45 are so] so are MS you] yee MS 'em] them 61Q was] w's 50 assured] assurde MS recovery] recov'ry 11T 78-40 receiv'd] received 05 aim'd] aimed 05 necessity] necessities MS deserv'd] deserved 05 misfortunes] MS misfortune 47+ for] with MS lead] led 79-11 06 last night put] last put MS the fraught] her Fraught MS the Fraight 11 50 the freight 78-40 Indico] Indigo 12-05 Quichineel] Cochineel 79+ Rich lading] om MS prizes] prices MS 79+ I] om 11T 50 your] MS you 47+ s.d. Exeunt] MS Exit 47+ Heaven] Heav'n 11T-40

158

HISTORICAL COLLATION O F PREVIOUS EDITIONS

136 'a] o' 79-11 06 140 prayers] pray'rs 11-40 141 These seavne] MS this three 47-1 IT 78 50 11-06 have I] I have MS 144 receiv'd] received 05 145 sute more] more suite MS 154 my] mine MS 155 like best] like the best 11T among] amongst MS 159 'em] them MS 163 mak'st] makest MS 05 167 States] 'states 61Q 172 Heaven] Heav'n 78-40

these three

II, i 4 Patrico] Patrin MS 11 full] MS first 47+ 12 say upon the] MS say up the 47-1 IT 78-06 save us further 50 15 ye'ar] yare MS Y'are 61Q of] a MS 16 arrant] errant 6IF 18 you] yee MS 21 Chickens] Cheates MS 27 teeth] Tongues 50 11 M you] om MS 28 o'] a MS 35 deflowr] deflower 79+ 38 you] yee MS musty] misty MS 42 and he were] were hee MS an he were 78-05 48 amongst] mongst MS 50-40 51 ne're] never MS 52 dissolv'd] resolv'd 50 dissolved 05 57 of] on MS 59 the man] man 61Q

HISTORICAL COLLATION OF PREVIOUS EDITIONS

61 62 63 64 66 68 71 72 73 74 75 80 81 84 87 88 89 95 101 105 106 107 110 112 114 118 120 124 126 129 132 133 136

159

you] yee MS heaven] Heav'n 11T-40 never] ne'er 50 to comfort] t' comfort 50 of] a MS Ferret] Ginks 50-05 gratuling] gratulating 50-11 for it] for't MS H'has] has MS He has 12 40 it] hee MS That thou] Thou that 61Q thee] the MS chosen?] MS chosen 47 61F 11T-06 chosen, 61Q 79 chosen,] MS chosen? 47+ 50-11 about] 'bout MS mov'd] moved 05 the other] thother MS t'other 50-11 presag'd] presaged 05 mark'd him out] MS marked out 47-76 12-06 mark'd out 11 Give] Gf MS No . . . grievances] om MS No] 50 On 47-1 IT 06 a Subject] the Subiect MS kem'd] MS hem'd 47-79 you] yee MS ventur'd] ventured 05 stolne] stolen MS 79 1] ay 11T-05 he will have no purveyers] om MS on] oMS give] give give 61F bene] been 79-11 06 Lest] Least MS in] om MS torn] MS true 47-61F them] 'em 50-40

160

HISTORICAL COLLATION OF PREVIOUS EDITIONS

137 141 142 144 145

them] 'em 50-11 Hig.] om MS Holliday] Holy-day 61Q-05 Where] Where's 79 78-40 06 Nation] Nations 11T 50 live] Lyves MS are] or MS call'd MS called 47-61F Officers] MS Offices 47-61F 11-45 05 are] were MS Sest] 79 ceast MS-61F sess'd 11-05 s.d. Enter . . . Hemskirke] om MS Cove] Cove comes 79 06 Yonder's] Yonders MS 61F see it] see't MS Ther's] Theres MS Fer.] Pr. 61F Ger.] Clau. 79 by] be MS Ger.] Fer. 79 Remember] O Remember 50 'Gainst] Against 79 this] theis MS Ther's] Theres MS Heaven] The king of heaven MS Heav'n 50-40 what's] whats MS Tis] MS This 47 61F This is 79-06 Hig.] Snap: MS she] he 79+ and] an 78-45 ha'] had MS mark'd] marked MS O] Of 79 50 11-40 06 Oh 45 05 I will] but lie MS search it] MS search 47+ Faith] MS om 47+ sunning] succing MS

148 149 150 152 153 154

156 157 159 160 163 164 166 167 111 179 181 186 187 189 190 191 195 199 200

HISTORICAL COLLATION OF PREVIOUS EDITIONS

161

201 the] thee MS 202 skuys] excuse 79-11 06 II, ii 6 ships] ship 61F 7 Factors] MS Facto 47 Factor 61F 8 ha'] a MS returnes] return MS 10 s.d. Exit] 79 om 47-61F 12 ruines] ruine 61Q 14 hurt] heart MS Ha'] MS Ha? 47 61F+ 17 Not any] neither MS 17 s.d. Exit] 79 Exeunt MS om 47-611 19 scent] 61Q sent MS 47 21 heaven] Heav'n 11T 78-12 23 my] mine 61Q one] MS owne 47+ 25 'gainst] MS against 47-61F 11T+ ill fortunes] misfortunes MS 27 Me] my MS II, iii s.d. MS adds in left margin Table out: You are] you'r 50-40 Meg:] Margee MS Margaret 11 50 06 Traytor] MS Traitors 47+ lam] I'm50-40 Happely] happly 50 12-05 We are] we're 50-40 hear] MS here 47 61F 79 06 And that . . . welcome.] om MS Mage:] Margee, MS omllT50 06 minheer] 78 mine here MS mine heire 47-61F heer 79 Mynheer 45 05 27 my] m' 50 29 Marget] Margee MS Margaret 11T 50 1 4 6 8 9 10 17 18 19 26

mine

162

33 34 34 36 37 39 41 42 47 49 62 66 67 70 71 73 74 75 76 78 81 84 85 88 91 92 93 96 98 99 100 101 104

HISTORICAL COLLATION OF PREVIOUS EDITIONS

errand] errand here 50 I] Ay 11T-05 seven] sev'n 1 IT 50 nev'r] nere MS It] MS I 47-61F never] ne'er 50-40 you aske] y aske MS Margee] Margaret 1 IT 50 06 s.d. Exit Marg.] om MS you had] y'ad MS t'admit] to admit 61Q 61F 78-05 home] MS om 47+ I] Ay 11T-05 and] an 78-05 my] m' JO here] om MS your selfe] away MS Away] your selfe MS his] MS this 47 61Q What is] What's 50 you would] you'd 78-40 ye] you MS 11T 50 11-05 rate's] rates MS 79 1 IT 06 at] are 79-50 06 do not] don't 50 11 o'] a MS he's] he is 50-06 advise] 'dvise 50 alas] 'las MS looke] lookes MS issue, here in Bruges] sonne in Bruges here MS Gentrey's] MS Gentry is 47-1 IT 78-06 ye] you MS the] om MS land] lands MS stock'd] MS stor'd 47+

HISTORICAL COLLATION OF PREVIOUS EDITIONS

107 Chap-men] Factors MS 108 Factors] Chapmen MS these] those MS errour] honour 79+ 115 Sure] Sir 50 119 ye] you MS 120 after] oft MS 123 suffring] MS scoffing 47+ 131 my] myne MS 132 I would] I'd 50 133 respect] respects MS due] MS done 47-79 78-06 134 s.d. Strikes him] 79 om MS-61F 136 s.d. He . . . head] 79 om MS-61F 138 H om MS 143 they] theire MS 147 we not] not we 50 06 148 circle] circle here MS 150 I] Ay 11T+ that's] that is 12 40 152 beloved] belov'd 11T-45 153 to] too MS 155 art] Act 50-11 160 you] om 61Q 162 You] Yo' 50 163 s.d. Exit Florez•] Exeunt Gos. and Ger. 79 167 all wayes] alwayes 61F 169 slight] sleight MS 174 further] farther MS 180 ever] e're 50 11-40 184 you have] y'ave MS 186 ye have] you have MS 45 05 you've 78-40 so] s' 50 192 you are] you're MS 78-40 thought] thought to bee MS 201 me] m' 50

164

HISTORICAL COLLATION OF PREVIOUS EDITIONS

111, i s.d. After Enter three or foure Boores MS adds A table kans, sette out 1 belly] Barrel 50-40 2 Stark] MS Start 47-61F 3 s.d. singing] singing: and Piper MS opposite Enter Higgen etc. MS adds Winde a Sowgelders horn within. 4 hoa] ho MS 10 braches] branches 61Q 13 done] dun MS 17 boys] Boy 11T 50 11-05 18 off] om MS 19 Shees . . . man] MS om 47+ s.d. The Song] Song MS ye] you 78-45 22 turn her] turn MS 22 again Boy, again boy, again] MS again boy, again 47 25 amain Boy, amain Boy, amaine] MS amain boy, amain 47 boy] hoy 06 28 Then] And then MS 31 amaine boy, amaine boy, amaine] MS amain boy, amaine 47 33 take] make 61Q 34 swinge] swing 61F againe Boy againe] MS again 47 37 Her] And her MS 40 you] yee MS 41 I, I,] I, MS Ay, ay 11T-05 42-59 Song . . . Veale] om 47-61F The text of the song given here is that found in MS except as noted. It appears in the following form in 79 11T-06 1. He ran at me first in the shape of a Ram, And over and over the Sow-Gelder came; I rise and I halter'd him fast by the horn, I pluckt out his Stones as you'd pick out a Corn.

HISTORICAL COLLATION OF PREVIOUS EDITIONS

Baa, quoth the Devil, and forth he slunk And left us a Carcase of Mutton that stunk. 2.

The next time I rode a good mile and a half, Where I heard he did live in disguise of a Calf, I bound and I gelt him, ere he did any evil; He was here at his best, but a sucking Devil. Maa, yet he cry'd, and forth he did steal, And this was sold after, for excellent Veal. 3. Some half a year after in the form of a Pig, I met with the Rogue, and he look'd very big; I catch'd at his leg, laid him down on a log, Ere a man coud fart twice, I had made him a Hog. Owgh, quoth the Devil, and forth gave a Jerk, That a Jew was converted, eat of the Perk. 56 ere] 79 where MS 60-61 \.B. Groates a piece . . . Sow-gelder] 61 Hig. . . . worshipps] MS om 47+ 63 sleight] sleightes MS 66 you see my hands;] om MS 68 you] yee MS 78-40 77 Will . . . boyes,] om MS 78 Titere] Tityre 45 05 79 tegmine] MS jermine 47+ 80 Ye . . . ye] You . . . you 78-05 85 flum] flam MS 86 bumbis] oumbis 61Q 88 He,] ha! MS 89 a far rarer] a rarer MS 91 move] turne MS 92 whiss] whig MS shake] snake 79 pockets] pockett MS

om 12 40

166

HISTORICAL COLLATION OF PREVIOUS EDITIONS

93 boyes] boye 61Q om MS 94 I] Ay 111-05 96 s.d. singing the Song.] Singing: MS followed on next line by Song. 100 ye] you MS looking-glasses] Laces, glasses MS 104 Mary] Marie MS 105 skins] skin MS 113 I .. . pins.] I have fine braceletts, Rings, and I have silver Pinns MS 117 fill, fill, fiü, fill] fill, fill fill 61Q 120 ye] yee bully MS you 45 122 hoa] ho MS 123 rogue's] rogues MS 124 h'as] has MS 61Q he has 12 40 125 ye] you MS 126 ye] you MS 128 e'ne] even MS 131 ye] om MS plague] MS 47-1 IT 50 Pox 78+ 132 Pox] MS 47-1 IT 50 their] they're 79 133 wine] wine boy MS your] yee MS 134 strip] strick MS 135 Were] O were MS a cloke] MS two cloakes 47+ 137 d'en] MS do'n 47-1 IT 06 140 ye] you 45 141 to yee] to 'ee MS 142 you] yee MS 143 If you] if yee MS get you] get yee MS 144 nearer] neer MS 146 command] commands 79 147 you] yee MS here] MS om 47+

HISTORICAL COLLATION OF PREVIOUS EDITIONS

148 150 151 152

153 155 159 158 165

me] the 05 ye] y' 50 you 78 45 05 a] om 61Q Okes] oak 05 do] d' 50 you] yee MS you] yee MS Jugler.] Jugler, Lads 50 wee'l] we will 05 Her's] Here's MS 61Q79+ 1am] I'm 78 50 I have] I've MS III, ii

3 5 9 10 11

15 16 20 22 23 24 21 30 31 32 33 34 36 37

fall, fall] fall MS boystrous] boysterous MS 61Q 45 heav'n] MS heaven 47+ on] ore MS boystrous] boysterous MS 61Q 61F 45 Sun-set] Suns sett MS Howe] MS om 47+ of] MS om 47-61F strik'st] strikest 50-05 toss'd] lost MS 79+ to morrow's cross'd] to morrowes crosse MS she has] sh'as MS she'as 50+ too] to 79 twas] MS was 47-79 Ha's] has MS Aa's 61Q H'has 11 He has 12 40 ye] you MS 78-45 Betray'd] Betrayed 05 'em] them MS 'em] them MS that] th' 50 swinge] swindge MS lawfell] lawfull MS 61Q+ swinge] swindge MS

167

168

40 43 44 45 46

48 50 51 52 53 57 59 61 69

70 71 73 74 75 76 78 80 82 83

HISTORICAL COLLATION OF PREVIOUS EDITIONS

themselves] 'emselves MS heav'n] MS heaven 47+ reserv'd] reserved 05 thine] thy 61Q heaven] Heav'n 11T-40 my] mine MS had] I'd H suffer'd] MS suffered 47+ heaven knows] heavns knowe MS ye] you 11-45 I have] I've MS do not] don't 50-11 see ye] see you 61Q 61F UT-45 keepe ye] keep 'ee MS keep you 11-45 ye] you MS 78-45 lov'st] lovest 05 aske ye] ask 'ee MS ask you 11-45 ye are] yare MS Heaven] heavn MS 11T-40 I dare not leave ye] I dare not leave ye, Sir, I must not leave ye 79-78 05 06 I dare not leave you, Sir, I must not leave you 11-45 must] will 79 45-06 ye] you MS 78 45 heavens] heavns MS 11T-40 something's] something MS power] pow'r 50-40 you] ye MS a] an MS Taken] Ta'en 50-40 off] of MS prison] MS spron 47-61F should] shall 61F ye] you 78-45 power] Pow'r 11T-40 ye] you 45 off] of MS

HISTORICAL COLLATION OF PREVIOUS EDITIONS

84 forsake ye] forsake you 61Q 61F 78-45 sees you] sees ye MS 85 That's] There's 79 11-06 you] yee MS tide] ty'd 61Q 79 11T 50 06 87 Ev'n] even MS 45 05 the floods] that floodes MS 91 ye] you 78-45 92 stick] kick 61F 93 ye . . . ye] you . . . you 78-45 96 men have] men that have 61Q ye] you 78-45 97 ye] you 78-45 98 seven] sev'n 11T 50 you have] have ye 61F showr'd me] shewrd mee MS showr'd on me 79+ 101 Thou wilt] Thou'lt 78 with] wi' 78 102 power] pow'r 11T-40 107 ye] you 78-45 110 ye] you 78 11 45 you] ye MS Sir,] om MS 111 ye] you 78-45 you] ye MS power] pow'r 11T-40 me;] om MS 112 Ye] You 78-45 113 please] list 79+ the Seas] Seas MS 115 ye] you 78-45 119 ye] you MS 78-45 111, iii

1 disguiz'd] disguised 05 2 'em] 'um MS

170

HISTORICAL COLLATION OF PREVIOUS EDITIONS

16 your] our 50 you] ye MS 11-40 19 you] ye 78 knaves] Rascalls MS 20 then] om 50 as] om 50-40 21 lamb'd] lam'd MS lamm'd 45 24 were you] were ye MS 78-40 when you] when ye MS 78-40 25 you] ye MS 78-40 26 you] ye MS 78-40 27 You] Ye 78-40 swing'd] swinged 45 05 28 You] Ye 78-40 30 reliev'd] relieved 05 37 They have] They've 50-40 38 cause] Case MS 39 I am] I'm 50-40 you] ye 78-40 40 you] ye 78-40 41 You] Ye 78-40 We are] We're 11-40 44 with's] with his 61Q 46 lyes] is MS 48 you] ye MS 49 Yee] MS You shall 47-50 06 You 78-05 and] om MS 61Q 61F s.d. Beat one another added 79 51 Oh] Ah MS fellowes] fellow 50-45 s.d. Enter Gerrard.] om MS 52 Hig.] om MS 58 Earle] Earles MS 59 threatning] threatening 45 05 64 ye] you MS 78-45 65 ye] you MS 11T-45

HISTORICAL COLLATION OF PREVIOUS EDITIONS

66 69 71 75 76 78 79 90 98 99 104 106

109

110

121 122 126 130 131 132 134 136 138 139 140 141 142

171

ye] you MS 11T-45 thou hast] tha'st MS thou'st 50-40 you] ye MS ye] you 78-05 Ye have] y'ave MS You have llT^O ye] you MS 78-45 Oh] om MS you] ye MS ev'n] even MS 12-45 ev'n] even MS 12-45 Reynard] MS Reimald 47 lofty] lusty MS Isgrim] Isgrim 78-40 arm'd staffe, turne the Boare] Boar-staff arm'd thus turn 50 turne] tew MS the Boare] om H mak'st] makest 05 thou] thee MS 1 IT 50 s.d. [aside] 79 on MS-61F 1 feare, I feare thee] I fear thee 05 s.d. Ferret, a letter] Ferret, with a Letter. 79 Ferrett: Paper MS s.d. [aside] 79 om MS-61F had] MS have 47 61F 79 makes] make MS we have] we've 50-40 ye] you 11-45 unto] to 50 I] Ay 11T-05 thou art] thou'rt 50-40 yee] you 61F 78-45 and a] and 61Q 61F presum'd] presumed 05 Or if I] and if you 79-78 06 learne] practise 79-11 45-06 ye] you MS 78-05 Yes,] om 79 11T 50 06

172

HISTORICAL COLLATION O F PREVIOUS EDITIONS

143 stromell] MS stiromell 47-50 06 145 on] oMS 146 Ruffmans] Fuffmans MS commission] and Commission 11T 50 147 Quire] queere 78-05 148 Herman Becks trine] harman, beck trim MS Herman Beck strine 47-1 IT 06 Herman Becktrine 06 harmanbecks trine 78-05 151 oth] o'th' 79 1 IT 154 And] to MS 156 You are] y'are MS You're 50-40 158 Thank ye friends,] om 79 06 159 And I beseech ye,] om 79-50 06 I do beseech ye 78 11 beseech ye] beseech you 61Q if] Sir, if 79 06 you] ye 45-05 160 if] om 50-05 162 I] and I MS 163 knaveryes] knavery 61Q 166 me be ev'n hang'd] mee even hang MS 167 Come] MS Roome 47-61F ye] you 11-45 my] the 11T 50 168 ye] you 78-45 169 And] An 78 45 171 me] hee MS 173 holy] MS holly 47 174 ye] you 45-06 174-175 Brother . . . Brother.]

om MS-61F

111, iv 1 y'are] MS yae'r 47 ye are 61Q 3 ye] you 61Q-45 4 ye] you 61Q 79-40 06 is't makes] ist' that makes MS 5 Here . . . you] MS om 47+

ye'ar 61F

you're 79+

HISTORICAL COLLATION OF PREVIOUS EDITIONS

6 you] yee MS ye] you MS 79-78 45 06 1 Gertrude ME Jertred 47-61F 8 ye] you 78-45 9 a] our MS 10 ye] you 61Q-45 11 Do you heare] D'you hear 50-11 Do you love] doe ye love MS D'you love 50-11 14 that] MS the 47+ 16 to what] t'what 50 you] yee MS 19 heaven] heavne MS Heav'n 11-40 23 Gertrude] MS Jertred 47-61F ye] you MS 78-455 ye] you MS 78-45 29 deserv'd] deserved 05 your] this MS 34 ayle] ails 79-40 06 35 you] ye MS 36 flow'd] flowne MS 37 Am I not] am not I MS 42 you have] y'have MS 43 heaven] Heav'n 11T-40 44 Gertrude] MS Jertred 47-61F 45 Ev'n] even MS 45 05 46 ye] you 78-45 47 feare me] feare 12 40 48 Despise] Dispose MS 79+ gods guide] god guides MS ye] you 11-45 49 my selfe] last MS his help H 50 pitty] pittie mee MS IV, i 2 seven] seavn MS 3 you] yee MS

173

174

HISTORICAL COLLATION OF PREVIOUS EDITIONS

5 Endure . . . of wind] upon the beating of, by winde, MS and] MS or 47-61F 6 I am] I'me MS 11-40 7 Ye are] Ye're 50-40 8 living] MS lying 47-61F 9 of all our friends,] om MS 13 even] e'en 50-11 16 ye] you 11-40 liberall] lib'ral 11T-11 19 ye] you 78-40 20 you] ye MS 21 endeavours] Endeavour 11T-40 24 loaden] laden MS 61F 27 thanke] thankt MS 50-40 28 world's] worldes MS ye] you 78-40 29-32 Flo. . . . reproaches?] om MS 34 ye] you 78-40 35 ye] you 78-40 s.d. Exeunt] MS Exit 47-61F 36 soone my light's] soone's my light MS 40 s.d. Porters] Boores MS 47 pilcher] pilcherd MS 'em] them MS 52 summ] some MS naughtily] naughtly MS 54 you] ye MS 56 get dayly] dayly get 61Q 57 seven] sev'n 50 heavens] heavns MS 11T-40 60 ye] you MS 78-40 62 ye] you MS 78 63 you] yee MS 64 ye] you 79-78 68 confirm] MS confesse 47-61F 70 drawes] growes MS 11 live ever] live for ever 79 45-06

HISTORICAL COLLATION OF PREVIOUS EDITIONS

175

73 Heaven] heavn MS 11T-40 blesse ye] bless you 79-40 keep ye] keep you 79-40 IV, ii 4 Minche] Menche MS 5 kisse] kisse mee MS Y'deed law] I'deed la 12-45 05 6 ye] you 78-45 7 heaven] heav'n MS 11T-40 10 with] om 05 Cockles. O love] Cockles o' love MS 11 fir'st] firest 05 16 ye] you 78A5 17 you] ye MS 18 heaven] heav'n MS 11T-40 19 are] be MS pretty] indeed fine MS 20 Capper] Cupper MS 21 Capper] cupper MS ye . . . ye] you . . . you 78-45 23 'tis] it is MS 24 shew] shews 50-05 25 ye] you MS 79-45 06 serve] serve you 50-11 26 ye] you MS 79-45 06 27 And] omMS ye dainty] you dainty 79-45 06 ye sticke] you stick 79-45 06 28 in thy bosome] MS in bosome 47-61F in my bosom, Sweet, and in thy bosome 79 in thy bosom, Sweet 11T 11-06

29 your] iky MS ye] you 11T-45 06 law] la 12-05 32 you] yee MS ev'n] even 45

176

HISTORICAL COLLATION O F PREVIOUS EDITIONS

33 Ye] You 78-45 34 you] ye MS never] ne're 50-40 heare] here MS called] cal'd MS 50-05 35 discovered] discover'd UT-11 ye] you 78-40 37 Heaven] heavn MS 11T-40 I am] Ime MS

45-06

IV, iii 1 if] if't MS 'twill] MS 't would 47-61F 'twould 79+ 2 ye] you 78-45 3 please'd] pleased 12 40 05 6 courtesies] courtesie MS 1 They are] they'r MS 50-40 'em] them MS 8 fraught] freight 78-40 13 These] This MS 14 back] om MS 15 s.d. Enter Saylor] Drum, flourish/Peeces discharg/Enter Saylors MS 17 Heaven] heavn MS 11T-40 prayers] Pray'rs 11T-11 19 tide] om MS 20 this] om MS 21 scap't] she scap'd 50-40 escap'd 45 escaped 05 22 she had] shad MS 23 Seven] Sev'n 11T 30 ye] you 78-45 33 to] t' 50 35 yeare] MS ye are 47 here 79 11T 06 36 care] cares UT-11 45-06 38 they] wee MS are at your] all our MS

HISTORICAL COLLATION OF PREVIOUS EDITIONS

177

39 you] ye MS of you] om MS 40 forget you] forgett yee MS you are] You're 50-40 41 s.d. Exeunt Merchants] MS om 47-79 42 Come Sir, come] Come, come sir, MS must go home] must home MS 43 yonder is] yonders MS 50-40 45 Why] om MS 46 My boy] my best boy MS 47 prepar'd] prepared 61Q 12 40 05 and] MS om 47+ will] shall MS 48 my] the MS smoake] reeke MS the] thee MS 54 Thou are] Thou'rt 50-40 56 Thou art] th'art MS 50 He] om MS 57 thee] the MS I long] I even long MS 58 you my] your rewards MS 59 had but] have had MS 60 My best love] MS To my best love 47-1 IT 05 Command my best love 50 To my best friend, my best love 78 11 To Clause; my best love 43 05 61 honest] honest, honest MS I will] I'le MS 50-40 better] om MS 63 handfull] handfulls MS 66 bak'd] baked 05 them] 'em MS IV, iv 1 'tis] it is MS power] powre MS

178

HISTORICAL COLLATION OF PREVIOUS EDITIONS

2 in mine] mine MS reward] recompence MS 5 do it] dost MS th' hast] thou hast 12 40 thou'st 45 us'd] MS used 47 61Q 79 7 I am] I'me 50-40 9 If] and if MS dar'st] darest 05 you will] youl MS 10 man that will] shall MS 11 do] do't 50-06 13 be a benefactor] knowe a benefitt MS 14 if it] I f t 11 recompenc'd] recompenced 05 to] t' 50 thy] thine MS 15 if within . . . dayes] Within . . . dayes if 50 17 Prethee, prethee] Prithee 50-11 20 that] omMS do not] don't 50-40 in misery] in thy miserie MS 22 Beleeve] B'lieve 50 me] it MS 23 That comes] come MS that comes now 50 25 ye] you 78-05 26 thousand:] MS thousand 47+ 30 thou art] th'art MS 32 misery] Mis'ry 50 35 holdest] holdst 50 36 Ye] You 78-45 40 letting] setting 79-50 45-06 44 You are] You're 11-40 'em] them MS 47 every] ev'ry 11T-40 50 ye] you 78-05 58 I] Ay UT-05 61 Ide] MS I would 47+

HISTORICAL COLLATION OF PREVIOUS EDITIONS

64 65 66 71 72 74 75 76

And . . . forces] om MS be] by MS these] those 78-40 showr] show MS shower 11-05 ye] you 45 ye] you 78-45 close] MS closer 47+ you] yee MS ye] you 78-05 Exeunt] Exit 47-79 IV, v

3 ye] you 11-45 has] sends 50 4 to be] om MS 6 bell] Dell 50 45 06 M 7 what] ah what 11T-40 a what 79 Ob 8 Marryed] Marry'd 11T 50 9 mince-] minc'd MS Plum-pottage] plumb-porridge MS 10 boys] om MS 12 plague] MS 47-50 06 Pox 78-05 15 he will] will hee MS he'll 50-40 ye] you 79 11-45 16 the] this MS fore said] aforesaid 78 11 18 ye] you 78-05 20 must] may 50-40 24 ye] you 78-05 28 think more] think no more 61F 29 s.d. Hubert] Hubert, a letter MS 30 ye] you 78-45 nay] MS me 47-11T 78-06 Man 50 31 ye . . . ye . . . ye] you . . . you . . . you 78-45 32 ye] you 78-45 33 you] ye MS 34 you] ye 1 IT 50

180

HISTORICAL COLLATION OF PREVIOUS EDITIONS

35 stands] stand 7 9 + ye] you 78-05 37 ye] you 78-45 I have] I've 11-40 41 Plague] MS 47-50 06 Pox 78-05 42 Beare-ward] Beareheard MS the other] tother MS 44 plague] MS 47-50 06 Pox 78-05 whorson] bursen MS 79-50 06 45 baster'd] blister'd MS 79 + 46 O] om MS 47 change] shift 79-50 06 48 stinks] sinckes MS 49 soule] hide 79+ 51 you] yee MS here] heare MS 52 this] theres MS om 79 1 IT you 50 ye] you 11-40 53 this] these MS 56 We be monstrous] we are monstrous MS We are horrible 79 1 IT 06 We're horrible 50-40 57 Capon] Capons 61Q+ at's] at us 12 40 63 and] an 78-05 IV, vi s.d. Merchants.] Merchants severallie MS 4 luster] lustie MS 7 She is] shees MS 9 2. Mer.] MS om 47+ 1. Mer.] om 47+ 9-12 1. Mer. No . . . Vanlock.] om MS 12 s.d. Vanlock] Vand: MS Francis] Mistress Fran: MS 13 ye] you 78-40 14 ye] you 78-05 17 ye] you MS

HISTORICAL COLLATION OF PREVIOUS EDITIONS

18 I am] I'me 50 78 ye are] yare MS 19 there] MS their 47-40 06 these 45-05 H M could have] co'od a' MS 20 Master] Masters 11T+ 21 thou art] thart MS 29 you] ye MS s.d. Exeunt] MS Exit 47-61F 34 do you] doe yee MS boone you] boone yee MS 35 Upon returne] Upon the return 61Q 79 1 IT turn 50 36 Be it] Be't 50 78 12 40 37 power] powre MS pow'r 11T-11 Ye] You 78-45 38 You] ye MS ye] you 78-45 39 ye] you MS 78-45 40 or] MS and 47+ 43 power] pow'r 11T-11 44 must presently] presentlie must MS 46 power] pow'r 11T-11 heaven] Heav'n UT-11 Al I have] I've MS 50-40 55 ye] you 78-45 58 She is] She's 50-40 59 she is] she's 50-40 63 s.d. within.] om MS 72 Did'st . . . fayrer?] om MS She is] She's 50-40 73 Pray ye] prithee MS Pray you 78-06 thou] om 50 74 heaven] Heav'n 11T-11 76 beauties] beautie 61F 77 h'as] has MS he has 12 40 78 power] Pow'r 11T-11 ore] MS over 47+

181

On the re-

182

HISTORICAL COLLATION O F PREVIOUS EDITIONS

pleasure] Pleasures MS 85 I am] I'm 50-40 Priest ready] Priest is ready 6 IF 87 cruelty] a Crueltie MS 92 'Twill] 'Till 61Q heaven] Heav'n 11 T-l 1 95 ye] you 78 96 ye all] y'all 50 97 give my] give me my 61F 97 s.d. Enter ... Cloake.)] orn MS 101 them] 'em MS you] ye MS 102 we will] we'll 50-40 104 I am] I'm 50-40 104 s.d. Exit.] Exit Gerrard MS 107 I am] I'm 50-40 110 oh me,] om MS 79-11 06 111 false.] false. Ah me! 79-11 06 V, i 1 3 9 12 15 18 19 25 26 28 29 32 33 34

we are] we're 50-60 twere] it were MS powerfull] pow'rfull 11T-40 And] to MS afraid] affeard MS do not] don't 50 pull backward] pull me backward 79-50 on's] a us MS grunts] grins MS 'em] them MS And] a MS is it] ist MS ham] haunch MS 79+ arm 61F It has] 'tas MS 50-40 towards] tow'rds 50-40 It hath] 'thath MS 50-40 swallowed] swallow'd MS 11T-05

HISTORICAL COLLATION OF PREVIOUS EDITIONS

183

36 thou timerous] thou strange timerous MS 79-78 39 to a] to be a MS 41 gives] give MS s.d. [Hubert ... within.] MS om 47-79 Within Holla. 12-05 44 you] yee MS off] of MS 45 It has] 'tas MS 50-40 41 'Twill] It will 61Q 49 you on] ye goe on MS 51 God] good MS with] wi MS s.d. Guard] MS om 47+ 52 he] om MS me] us MS 56 sirha?] sir: ha? MS 61 Even] Ev'n 11TA0 63 you not] not you MS 67 Sir,] om MS 69 whips] whipt 45 05 70 s.d. Enter Bertha] MS om 47+ 71 swoope] sweep MS 72 'Tis she, 'tis she, 'tis she,] 'Tis shee, 'tis shee, 61Q 73 notable] MS noble 47+ 79 shape] MS shop 47-61F 80 I'the] in the MS 50 78 I'th the 61Q 82 s.d. Holla againe] Holla MS Within Holla! 12-05 83 sent] set M 84-97 This speech in 47-61F is preceded by the lines: O I am miserably lost, thus falne Into my uncles hands from all my hopes, Can I not thinke away my selfe and dye? These lines seem to represent an acting version of the play and are followed by the full version of the speech given in the text here. MS 79-11 06 have only the acting version

184

HISTORICAL COLLATION OF PREVIOUS EDITIONS

84 I am] I'm 11 fallen] fain 61F 11T-05 86 where] wh'er 12-05 88 where] wh'er 12-05 99 they are] they're 50-40 101 Ripper] ripier 78-11 102 poultrer] Powlter MS Poulterer 79+ 103 off] of MS convoy] Convey MS 104 grunting] MS granting 47-1 IT 06 106 Buttry] Buttery 61Q 79 50-06 109 or] nor MS disordered] disorder'd 78 11 45 05 111 of] off 11-05 back] buck 50-05 113 for any] with any MS with the 1 IT 50 06 114 you] ye MS 115 he is] he's 78-40 116 you] ye MS 118 have] ha MS the] th' 78-40 119 ye] he MS 11T+ Lord's] lords MS 120 Hath] that MS If't] if it MS 12 40 121 'tis] it is 12-45 122 l'le] I MS 126 Costin] Cozen 47+ 130 ever] ere MS promis'd] promised 61Q 131 you] yee MS 132 That's well . . . 'em?] given to Woolfort 11T 50 06 That's well] That is well 45 'tis well MS 133 'em] them MS 135 thorough] through MS 79 11 06 wood] woodes MS 140 me] ye MS H

HISTORICAL COLLATION OF PREVIOUS EDITIONS

144 them] 'em MS 146 the other] th'other 50-40 how] bow 61Q 147 ordered] order'd 11T+ 148 division] divisions MS V, ii 1 reasons] reason MS 2 off] of MS 5 you,] om MS to] t' 50 6 harkning] harkening MS 61Q 61F 45 05 11 that help'd] that too held 50 13 powers] Pow'rs 11T-11 16 th'] the 11T 17 my] a MS 24 blest] best MS 26 to such] of such H 27 heaven] Heav'n 11T-11 pleas'd] pleased 12 40 05 28 specious] speciall 61Q 31 lov'd] loved 05 39 threatning] threatening 45 05 40 effects] offers MS 42 lead] led 61F 79 45 our] MS your 47-61F 11-05 47 placed] plac'd MS 11T-78 05 06 50 never] nere MS 50 40 52 receiv'd] received 61Q 05 59 borrowed] borrow'd 11T-05 63 only] one MS 65 my] your 61F+ 'em] them MS 67 them] 'em MS 68 I] Ay UT-40 faigned] feign'd 78 71 called] cald MS 11-06

185

186

72 75 79 84 89 95 97 108 109 110 114 118 119 120 124 126 131 134 136 144 145 151 152 154 158 162 163 165 167 169 170

HISTORICAL COLLATION OF PREVIOUS EDITIONS

an] om MS Turn'd] turne MS Lesse] Lest I IT fiend] frend MS It . . . from] om MS he would] he'ed MS 50^0 caus'd] caused 05 For] In 79+ of] a MS Ger.] Costin: MS these] those MS here's] heares MS rights] Rites 50 78 45 05 'em] 'em up 50 the] the' 50-40 betraid] betray 50 helpt] helps MS a] om MS I . . . Hemskirck,] om MS stolen] stolne MS 61Q-45 breed] MS end 47-61F bread 79 06 vici] visi MS And] omMS Coronell] Collonell MS 11T+ have] om 61Q with your people] om MS loose] lost MS escap'd] escaped 05 want] lacke MS proscription] prescription MS so see] to see MS deep] deed 11 laughing] tangling MS th'hast] thou hast 12 40 thou'st 45 live] evil 05 I am] I'm 50-40

HISTORICAL COLLATION OF PREVIOUS EDITIONS

187

171 Woolfort thou art a] Wolfortes a MS Wolfort, thou'rt a 78-40 172 speakes] speakest 11-45 06 speak'st 05 179 contemnes] can contemne MS 182 their] of 11-40 here] there MS 183 wish] MS with 47-1 IT 06 184 Brother] brother take her MS 185 the bon-fire] the first Bonfire MS 189 ha'] have MS 191 you] ye MS 192 we could] we would MS we'd 50 193 Not I] Not 11T No not 50 194 Bush to] bush first to MS Bush unto 50 Bush into 78 11 195 worthy] om MS 196 friends] more friends 50 aske] asked 40 203 me] you MS 79-50 207 you] yee MS 208 you] yee MS 218 Flanders] banish Flaunders MS 223 Brute] brutes M my lads] om MS 225 peny-worthes] pen-worthes MS we will have] we have 1 IT 50 226 Yes] om 61F 227 sixpenyworth] six pence worth MS 228 summ] somme MS 229 for] omMS 233 these] theires MS 234 an] old MS 237 pleas'd] pleased 12 40 05 throw] through 61F 239 ne'er] om MS 240 you] yee MS 241 nor] or MS you Gentlemen,] you wa MS

188

HISTORICAL COLLATION OF PREVIOUS EDITIONS

242 good] gold MS nor] and MS 244 his] get his MS 245 Lawyers] Lawyer MS gaine] again 79 1 IT 06 248 Drunkards] drinkers MS 251 The] And the MS of] om MS 252 widdowes] MS Midwives 47+ 255 we] I MS

NOTES

I, i 1 My ten yeares absence All copies except the MS read "My five yeares absence". The chronology here is not at all clear, but "ten" seems a better reading since the war lasted seven years, and the merchant apparently knows nothing of its origin. 39 Hitherto he sitts downe by his losse This statement is contradicted by V, ii, 104, where the Duke of Brabant is spoken of as having died. 67 idly (MS) The reading "rudely" (47-79) in this context makes little sense. I, ii 10 either The MS and all texts since 11T with the exception of 06 read "rather". Both are possible readings and there seems to be no reason to emend. 36 accompt (MS) The reading "accop" (47) is an obvious error. The present reading is that of the MS and all editions until the editors of 78 adopted "account". 47-48 For I that am contemner of mine owne/Am Master of your life. Compare Massinger's Roman Actor, III, i, 40-41: One single arm, whose master does contemn His own life, holds a full command o'er his. 51 grosse untruthes 250:

Compare Shakespeare's 1 Hen. IV, II, iv,

These Lyes are like the Father that begets them, grosse as a Mountaine, open, palpable.

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NOTES

57 to believe (MS) The reading "to be beleeve" (47) is obviously a compositorial error. 61 queint Cunning, crafty, given to scheming or plotting (NED). 110-112 You now have . . . about him Dyce has pointed out a similar passage in Juvenal, Satire XIII, 192ff: Cur tamen hos tu Evasisse putes, quos diri conscia facti Mens habet attonitos, it surdo verbere acedit, Occultum quatiente animo tortore flagellum? I, iii 8 factor Agent. 38 increase (MS) "meanes" (47-79), which makes little sense in this context, is probably a compositorial error, a repetition of that word caught from the preceding line. Cf. I, iii, 139. 96 letters of Mart "Properly 'letters of marque'. Originally a licence granted by a sovereign to a subject, authorizing him to make reprisals on the subjects of a hostile state for injuries alleged to have been done to him by the enemy's army. In later times this became practically a licence to fit out an armed Vessel and employ it in the capture of the merchant shipping belonging to the enemy's subjects, the holder of letters of marque being called a privateer or corsair, and entitled by international law to commit against the hostile nation acts which would otherwise have been condemned as piracy" (NED). 106 misfortunes (MS) The plural form, rather than "misfortune" (47+), seems to be required here for the sense. Florez says in effect, "I do not condone his act of piracy, but I pity his misfortunes that led him to it." 120 Indico Indigo. Quichineel Cochineal, "a dye stuff consisting of the dried bodies of the insect Coccus cacti, which is found on several species of cactus in Mexico and elsewhere. It is used for making carmine, and as a brilliant scarlet dye" (NED). 121 cloath of Gold "A tissue consisting of threads, wires or strips of gold, generally interwoven with silk or wool; also applied to gilded cloth" (NED).

NOTES

141 seavne (MS) IV, i, 57.

191

"three" is contradicted by Gerrard's speech in

II, i 2 Prig In rogues' cant a tinker; also a thief. For a more complete discussion of rogues' cant the reader is referred to John Awdeley's Fraternitye of Vacabondes (1575) and Thomas Harman's Caveat for Common Cursetors. (1567). upright Big, strong, or sturdy. "Applied to one of the higher classes of vagabonds" (NED); "An Upright man is one that goeth wyth the trunchion or a staffe" (Awdeley). 4 Jarkman "An educated beggar, who fabricates counterfeit passes, licenses, and certificates for others" (NED): "A Iarkman is he that can write and reade, and sometime speake latin. He useth to make counterfaite licences which they call Gybes, and sets to Seales, in their language called Iarkes" (Awdeley). Patrico A hedge-priest. Cranke A rogue who feigns the falling sickness. Clapperdudgeon A cant name for a "beggar born" (NED). 5 Frater "A Frater goeth with a like Liscence to beg for some Spittlehouse or Hospital" (Awdeley). A bram-man "An Abraham man is he that walketh barearmed and bare-legged and feigneth hymselfe mad" (Awdeley). 9 Dommerer Cant name for a beggar who pretends to be dumb (NED). 10-12 All stand ... question A similar situation occurs in Peele's Arraignment of Paris where the three goddesses are unable to determine which of them should receive the golden apple: Juno. Then, if you will, t'avoid a tedious grudge, Refer it to the sentence of a judge; Whoe'er he be that cometh next in place, Let him bestow the ball and end the case. (II, i, 90-93) 11 full (MS) "first" (47+) is not consistent with the action. When Florez appears he is asked to "Looke ore us all". Higgen here charges the beggars to put themselves in rank, evidently that the "first commer" may have a full view in order to make a choice. 12 upon (MS) "up" (47) has given previous editors considerable

192

NOTES

difficulty with this passage. The MS reading, however, makes it clear. 18 hum Strong drink. 19 Lour to bouze with Money to drink with. 34 dells "A Dell is a yonge wenche, able for generation, and not yet knowen . . . by the upright man" (Harman). 35 Doxy The unmarried mistress of a beggar (NED). 44 jindeing (MS) This is another passage which has given editors considerable difficulty. "Find" (47) is an obvious error. "I find" (79) does little to clear up the difficulty. The MS reading here makes the meaning clear. 45 Snap "A Cloyer. One who intruded on the profits of young sharpers, by claiming a share" (NED). 58 Seven Wise Masters A cycle of stories of Oriental origin. The Latin version Historia septem sapientium was frequently printed in the fifteenth century. An edition of a MS (Cambridge Dd. i, 17) version has been printed by the Percy Society (vol. 16). 68 Ferret The emendation here of Ferret to Ginks suggested by some editors is uncalled for. Ferret is the one who speaks like a patriot when he advocates giving the gold to Clause, the new king. 77 Nab-cheats Caps, "head things". Nab signifies "head"; cheat a thing or article perhaps stolen (NED). 78 filches "Staffs with hooks at one end, used to steal articles from hedges, open windows, etc." (NED). jambles Hands. 83 bouzing ken "A low ale-house" (NED). 96 bating From "bate" to cast down, humble. 113-115 under him ... sun-shine Compare Cranmer's prophecy concerning Queen Elizabeth in Shakespeare's Henry VIII, V, v, 34-36: In her days every man shall eat in safety, Under his own vine, what he plants, and sing The merry songs of peace to all his neighbors. 116 Mort A harlot. 119 back, or belly-cheates

Coats or aprons.

NOTES

193

126 to cut bene whids "To cutte bene whydds, to speake or geve good words" (Harman). 133 torn (MS) "true" (47) is unacceptable. It is not likely that the beggars would have "true pas ports". 135-136 There . . . language A reference to a kind of "Rogues' Handbook" is made in Jonson's The Gipsies Metamorphosed, Parti, 11. 185-188: If we have deem'd that mutton, lamb, or veal, Chick, capon, turkey sweetest we did steal As being by our Magna Charta taught To judge no viands wholesome that are bought. 141 Cove "A fellow, 'chap', 'customer' " (NED). 142-152 The Song This song with a contemporary musical setting by John Wilson may be found in Songs and Lyrics from the Plays of Beaumont and Fletcher, ed. E. H. Fellowes, London, 1928, pp. 49-50. It is printed from a manuscript collection of songs belonging to Col. W. G. Probst, FSA. of Suffolk. Concerning this song, W. D. Briggs has pointed out an indebtedness to Erasmus: It is clear, however, that one of [the authors] probably Fletcher, had been looking into Erasmus, for the song sung by Higgen in II, i is a versification of some passages in the colloquy entitled jtxtovo^oyia: Ir. Ego hanc miseriam ne cum Regum quidem fortuna commutatim. Nihil enim regno similius, quam mendicitas . . . Die mihi, qua re potissimum beati sunt reges? Me. Quia faciunt quod animo collubitum est. Ir. Ista libertas, qua nihil suavius nemini ergum magis adest, quam nobis. Nec dubito, quin multi reges sint, qui nobis invideant. Sive bellum est, sive pax, nos tuto vivimus: non describimus ad militiam, non vocamur ad munia publica, non censemur cum populus expilatur exactionibus, nullus inquit in vitam nostram: si quid admissum est etiam atrocius, quis dignetus in jus vocare mendicum? Etiam si pulsamus hominem, pudet pugnare cum mendico. Regibus nec in pace, nec in bello licet suaviter agere; et quo majores sunt, hoc plures metuunt. Nos, veluti Deos sacros, etiam religione quadam metuit vulgus offendere. Me.

194

NOTES

Sed interim sordescitis in pannis et casulis. Ir. Quid isto faciunt ad veram felicitatem? Extra hominem sunt, quare narras. His pannis debemus nostram felicitatem. 149 Officers (MS) This is clearly a better reading than "Offices" (47). "Officers" in this context is coordinate with "Magistrates". 150 Sest Assessed. 164 Seven Sleepers of Ephesus Seven Christian youths who according to legend hid in a cave during the Decian persecution (A. D. 250). Their hiding place was discovered and the entrance to the cave sealed. Having fallen asleep they awakened two hundred years later when the cave was discovered. 171 Bun "A name given sportively to the squirrel or the rabbit" (NED). 187 nigled "To nygle, to have to do with a woman carnally" (Harman). 202 skuys Excuse. II, ii 1 Factors (MS) The reading "Facto" (47) is an obvious misprint. The plural as opposed to "Factor" (61F) is necessary from the reference to "Agents" in 1. 2. 18 Vultures Pliny in his Natural History says of vultures: "Also that the manner of the Geires [i.e. vultures] is to fore-see a carnage, and to flie two or three dayes before unto the place where there will be any carions or dead carkasses." (Bk. X, Chap. VI) 23 one (MS) "owne" (47) is unacceptable. Florez here contrasts his "adventure" at home with his "adventure" depending on the fate of his ships. They are all, however, his "owne" adventures. He is here speaking primarily of his "one" adventure, his love for Gertrude. 25 'gainst (MS) This reading as opposed to "against" (47) improves the meter and is strengthened by the agreement between MS and 79. II, Hi 6 Traytor (MS) The singular seems the proper form since it becomes clear that Vandunk is speaking of Woolfort.

NOTES

195

37 It (MS) "I" (47) is an obvious misprint. 38 moone-shine, i'th water "Something unsubstantial or unreal" (NED). 89-90 which is't ... your Gentry by Compare Ralph's speech in The Knight of the Burning Pestle, V, ii, 63-66: "Gentlemen, countrymen, friends and my fellow-soldiers, I have brought you this day, from the shops of security and the counter of content, to measure out in these furious fields honour by the ell, and prowess by the pound." 108 errour "honour" (79) is a possible reading; however, the concurrence of MS and 47 lends authority to the reading of the copy-text. 175 Looking-glasse The editors of 78 ask: "Does not Vandunk here, now grown quite fuddled, call for an utensil at this day known among drinkers by the name of lookingglass?" P. A . Daniel in turn cites a passage from Jonson's The New Inn: Pru.

It is not now as when plain Prudence lived, And reached her ladyship Host. The Chamber-pot Pru. The looking-glass, mine host. 182 up (MS)

This reading preserves the word play in this scene.

Ill, i 1 by th' belly In abundance (Dyce). 2 Stark Strong, potent. 3 upsey Dutch After the Dutch fashion (NED). 18 vengeance ranck Extremely lustful. "Vengeance" in this usage means "extremely". Cf. Shakespeare's Coriolcmus, II, ii, 6, "That's a brave fellow: but he's vengeance proud." 42 Song This song with a musical setting of a latter date is recorded in Thomas Durfey's Wit and Mirth or Pills to Purge Melancholy, vol. V. 62ff. The scene wherein the beggars trick the boore may be compared with a similar scene in Jonson's The Gipsies Metamor-

196

NOTES

phosed. There the gypsies while reading palms steal the townspeople's purses: Pair.

Yet look to yourself: you'll ha' some ill luck; And shortly - [aside] for I have his purse with a pluck. . . . Pup. What, are they gone? flown all of a sudden? This is fine, i' faith. A covey, call ye 'em? They are a covey seen scattered, methinks. Who sprung 'em, I marie? Town. Marry, yourself, Puppy, for aught I know. You quested last. Clod. Would he had quested first for me, and sprung 'em an hour ago! Town. Why, what's the matter man? Clod. 'Slid, they ha' sprung my purse and all I had about me. (Part II, 197-220). 97 Song This song with a musical setting of a later date is recorded in Durfey's Wit and Mirth, vol. V. 114 brand wine Brandy. 119 pig A sixpence. counter An imitation coin of brass or inferior metal (NED). 135 ferkt Cheated (NED). a cloake (MS) "two Cloakes" (47) is a possible reading if four boors are present. Cf. Ill, i, s.d. 136 jlincher "One who abstains from drinking" (NED). 164 And piece . . . case A characteristic of the successful ruler described by Machiavelli in Chapter XVIII of The Prince. Ill, i 78-71 Titere .. . Silvertramtrim-tram the first eclogue of Virgil's Bucolics:

Cf. the opening lines of

Tityre, tu patulae recubans sub tegmine fagi Silvestrem tenui musam meditaris avena . . . . Ill, ii 34 swinge Beat (NED). 37 riffle Despoil, rob (NED). 80 prison "spron" (47) is an obvious misprint.

NOTES

197

III, iii 21 lamb'd Beaten soundly (NED). 49 yee know (MS) "You shall know" (47) is not as clear in this context. 102 Marterne Marten. (NED). Lucerne Lynx (NED). 104 Isgrin Wolf. Isgrim is the name of the wolf in Reynard the Fox and other beast fables (NED). 105 Sounder Herd of wild swine. 143 gage (MS) "gag" (47) may be a misprint. The correct form is "gage". 147 Quire Cuff in A justice. 148 to the Ruff in To the devil. Herman Becks Constables. trine March. 167 Come (MS) This reading as opposed to "Roome" receives support from the agreement of MS and 79. IV, i 16-20 the liberall spending . . . now you cry The story of the industrious ant is a familiar and an old one. Cf. Proverbs, VI, 6-8: "Go to the ant, thou sluggard; consider her ways and be wise; Which having no guide, overseer, or rules, Provideth her meat in the summer, and gathereth her food in the harvest." Cf. also the fable of the ant and the cricket in the Fables of Esop in English "Printed for Thomas Adams" in 1596: "It is good for euerie man to puruey himselfe in summer season of such things whereof hee shall haue neede in winter, as thou maist see by this present fable. Of the cricket which in the winter time went and demanded of the Ant some corne to eate. And then the ant said to the Crekit, what hast thou done al the sommer last past? And the crekit answered, I haue sung. Then said the ant to her, of my corne thou gettest none: for if thou hast sung all the summer, go dauce [sic] all the winter. And therefore there is a time ordained for labour, and a time for rest. For he that worketh not, shall haue cleane teeth and lacke at his neede". (Bk. IV, p. 127).

198

NOTES

27 put off Pulled off our hats (Mason). 46 Flap-dragon "A raisin, a plum, etc., made to float in a shallow dish, or glass, of brandy or other liquor, from which, when set on fire, it was to be snatched by the mouth, and swallowed" (Dyce). 47 pitcher The exact meaning is doubtful. It is, perhaps, the equivalent of "pilchard", a small fish closely allied to the herring. It was also a term of abuse frequent at the beginning of the seventeenth century meaning "One who wears a pilch, or leathern jerkin or doublet", or "One who pilches, a thief" (NED). 50 pelting Paltry, petty. IV, ii 1 for For the prevention of (Daniel) 13 Gymmal "A finger ring . . . so constructed as to admit of being divided into two (sometimes into three) rings (NED). 28 in thy bosome (MS) "in bosome" (47) is obviously faulty; "in my bosom, Sweet, and in thy bosome" (79) is awkward and by the addition of an extra half line is metrically unsound. The MS seems to be correct. IV, iii 6 Put your hatts on Cf. IV, i. p. 27. 11 Barbary Heathen or Saracen nation. 35 yeare (MS) "ye are (47) is an obvious misprint; "here" (79) is an unfortunate attempt to correct the error of 47. 60 My best love (MS) The MS here gives the best reading of a difficult passage. IV, iv 19 Goosecap A fool. IV, v 21 buttery Place for storing liquor. 27 upsey-English After the fashion of the English. 45 baster'd bullions Counterfeit coins. 58 turkey toombs Turkey pies (Seward). IV, vi 49 Chaste as the yce, for any thing I know, Sir Cf. Philaster, III, i, 232-233:

199

NOTES

She is (for aught I know) by all the gods, As chaste as ice! 81-82 Her mind . . . a Paradise II, iii;

Cf. Great Duke of Florence,

And I must add, If your discourse and reason parallel The rareness of your more than human form, You are a wonder. V, i 14 pretty and Equivalent to the adverbial use of "pretty". To a considerable extent; in a fair or moderate degree (NED). 39 fire-drake A "fiery dragon"; mythical creature of Germanic superstition (NED). 79 shape (MS) "shop" makes little sense here. The MS and 79 agree. 104 Boores ken Boor's house. grunting cheates Pigs. The reading "granting" (47) is an obvious error which perhaps arose from the compositor's ignorance of the beggar's cant. 105 cackling cheates Chickens (NED), mergery-praters Hens (NED). Rogers Geese (NED). 106 Tibs o' the Buttry Geese (NED). 110 milling Stealing (NED). lag of duds A tub or "wash" of clothes (NED). 111 back A tub, through, vat, etc. (NED). 126 Costin "Cozen" (47) is closer to MS "Cosein", but the form "Costin" is found elsewhere in 47 and MS.

v, a 45 our (MS) The reading "your" (47) is also possible, but "our" is strengthened by the agreement of MS and 79. 58ff. This discussion of Bertha's worth cut short by the entrance of Woolfort and Hemskirke reflects a popular subject for discussion and debate in the Renaissance, the source of nobility. It is Gerrard's contention here that Bertha (or Gertrude as she is still known) is not good enough for Florez. Florez contends that while

200

NOTES

she lacks nobility of birth she more than makes up for it by the nobility of her character. This theme is found in English drama as early as Thomas Medwall's Fulgens and Lucrece (c. 1497). 122 when their arbour's made In explaining the term "arbour" Dyce quotes a Jewell for Gentrie (by T. S.), ed. 1614, where under the heading "How you shall undoe, or breake up a Hart", the following directions are given: " . . . then spreading the skin abroad, let the bodie be laid upon the same, very open, and begin first to make the Arbor, which is the conduit which leadeth unto the stomacke, guts and bag, and must be made fast and close by a round k n o t . . ." The term is appropriate here for Hubert who is still disguised as a huntsman. 131 let slip "To liberate, loose (a hound) from the leash in order to begin the chase" (NED). 144 breed (MS) Cf. preceding line. 145 Veni, vidi, vici Inscription displayed in Caesar's Pontic triumph, or according to Plutarch, written in a letter by Caesar, announcing the victory of Zela which concluded the Pontic campaign. 183 wish (MS) "with" (47) is an obvious misprint. 186 backrack Wine which took its name from Bacharach, a town on the Rhine. 223 Brute The legendary great-grandson of Aeneas who having killed his father took refuge in Greece and then fled to Britain where he became the first king of the Britons. His story is told in Geoffrey of Monmouth's Chronicles, Drayton's Polyolbion, and Spenser's Faerie Queene. 224 Hath prig'd the prancers Has stolen horses. 225 good peny-worthes "Good return for one's payment or trouble" (NED). 226 Bottom Cf. Shakespeare's Midsummer Night's Dream, IV, i, 219ff: "I will get Peter Quince to write a ballad of this dream. It shall be called Bottom's Dream, because it hath no bottom . . ." 252 widdowes (MS) The MS reading here fits the context better than the reading "Midwives" (47).

SELECTED BIBLIOGRAPHY

(For editions of Beggars Bush consulted see introduction) Adams, J. Q., ed., The Dramatic Records of Sir Henry Herbert (New Haven, 1917). Bald, R. C., Bibliographical Studies in the Beaumont and Fletcher Folio of 1647 (Oxford, 1938). Bentley, Gerald Eades, The Jacobean and Caroline Stage, 5 vols. (Oxford, 1941-1956). Boyle, R., "Beaumont, Fletcher and Massinger", Englische Studien, V (1882), pp. 74-96; IX (1886), pp. 209-239; X (1887), pp. 383-411. Briggs, W. D., "The First Song in Beggars Bush", Modern Language Notes, XXXIX (1924), pp. 379-380. , "The Influence of Jonson's Tragedy in the Seventeenth Century", Anglia, XXXV (1912), pp. 277-337. Buland, Mable, Presentation of Time in the Elizabethan Drama (New York, 1912). Chelli, Maurice, "Etude sur la collaboration de Massinger avec Fletcher et son groupe", Bibliothèque de la Faculté des Lettres, deuxième serie, vol. VI (Paris, 1926). Coleridge, Samuel Taylor, Lectures and Notes on Shakespere and Other English Poets (London, 1897). , "Table Talk, Feb. 17, 1833", Works, ed. W. G. T. Shedd (New York, 1884). Cruickshank, A. H., Philip Massinger (Oxford, 1920). Cunningham, Peter, Extracts from the Accounts of the Revels at Court in the Reign of Queen Elizabeth and King James I (London, 1842). Downes, John, Roscius Anglicanus, ed. Montague Summers (London, 1928). Dyce, Reverend Alexander, Cursory Notes on Various Passages in the Text of Beaumont and Fletcher (London, 1856). Ellis-Fermor, Una, The Jacobean Drama (London, 1953). Fellowes, E. H., Songs and Lyrics from the Plays of Beaumont and Fletcher (London, 1928). Fleay, F. G., Biographical Chronicle of the English Drama (London, 1891). , "Chronology of the Plays of Fletcher and Massinger", Englische Studien, IX (1886), pp. 12-35.

202

SELECTED BIBLIOGRAPHY

Fleay, F. G., "On Metrical Tests as Applied to Dramatic Poetry", Transactions of the New Shakespeare Society, I (1874), pp. 51-72. Gayley, Charles M., Beaumont the Dramatist (New York, 1914). Genest, John, Some Account of the English Stage from the Restoration in 1660 to 1830, 10 vols. (Bath, 1832). Gerritsen, Johan, "The Dramatic Piracies of 1661", Studies in Bibliography, XI (1958), pp. 117-131. , "The Printing of the Beaumont and Fletcher Folio of 1647", Library, 5th Series, III (1949), pp. 233-264. Gibson, Strickland, A Bibliography of Francis Kirkman (Oxford Bibliographical Society Publications, New Series, vol. I) (Oxford, 1947). Greg, W. W., A Bibliography of the English Printed Drama to the Restoration, 4 vols. (London, 1939-1959). , Elizabethan Dramatic Documents (Oxford, 1920). , "Printing of the Beaumont and Fletcher Folio of 1647", Library, 4th Series, II (1921), pp. 109-115. Hatcher, Orie L., John Fletcher, a Study in Dramatic Method (Chicago, 1905). Hoy, Cyrus, "The Shares of Fletcher and his Collaborators in the Beaumont and Fletcher Canon", Studies in Bibliography, VIII (1956), pp. 129-146, XI (1958), pp. 85-106. Lawrence, W. J., Those Nut-Cracking Elizabethans (London, 1935). Oliphant, E. H. C., The Plays of Beaumont and Fletcher (New Haven, 1927). Plommer, Henry R., A Dictionary of the Booksellers and Printers Who were at Work in England, Scotland and Ireland from 1647-1667 (London, 1907). Potter, A. C., A Bibliography of Beaumont and Fletcher (Cambridge, 1890). Rulfs, Donald J., "Beaumont and Fletcher on the London Stage", Publications of the Modern Language Association, LXIII (1948), pp. 12451264. Sprague, Arthur Colby, Beaumont and Fletcher on the Restoration Stage (Cambridge, 1926). Stamp, A. E., The Disputed Revels Accounts (Oxford, 1930). Tannenbaum, Samuel, Shakspere Forgeries in the Revels Accounts (New York, 1928). Thompson, E. N. S., "Elizabethan Dramatic Collaboration", Englische Studien, XL (1909), pp. 30-46. Viles, Edward, and F. J. Furnivall, eds., The Rogues and Vagabonds of Shakspere's Youth (London, 1880). Waith, E. M., "Characterization in John Fletcher's Tragicomedies", Review of English Studies, XIX (1943), pp. 141-164. , Pattern of Tragicomedy in Beaumont and Fletcher (New Haven, 1952). Wallis, L. B., Fletcher, Beaumont and Company (Morningside Heights, 1947). Wilson, John H., The Influence of Beaumont and Fletcher on Restoration Drama (Columbus, 1928).