Chapter CXLVI: Epilogue (2)

Peele’s claims to distinction rest upon his treatment of metre, and on his humor. He did much to refine and supple the diction of the drama, and before Marlowe placed his stamp upon blank verse, Peele was writing it with great sweetness and a charming musical quality. In the present play, the realistic element in the dialogue is more notable than the decorative, and this realism is employed in the service of a new type of humor. “He was the first,” says Gummere, “to blend romantic drama with a realism which turns romance back upon itself, and produces the comedy of subconscious humor.”

ROBERT GREENE

Greene was much given to the mingling of autobiography with his fiction, and this has resulted in a much larger body of possibly true biographical details than we possess concerning most of his contemporaries. He was born in Norwich of a respectable family, probably about 1560; entered St. John’s College, Cambridge, in 1575; graduated B. A. in 1578; travelled in Spain and Italy, and, by his own account, lived up to the proverbial reputation of the Italianate Englishman; returned to Cambridge and took his M. A. in 1581; and during the rest of his short life busied himself in the production of the very considerable mass of romances, tracts, songs, and plays which to-day give him his place in literature. About 1585 he married a Lincolnshire woman, who bore him a son, and whom he deserted after spending her portion. The annals of literature hardly bear the record of a more sordid career than that of this university-bred man of letters; and his death was only too fitting a close to it. He died in 1592 in the house of a poor shoemaker, to whom he gave a bond for ten pounds, leaving the following letter to his deserted wife: “Doll, I charge thee by the love of our youth and by my soul’s rest that thou wilt see this man paid, for if he and his wife had not succoured me I had died in the streets. Robert Greene.” Following his own wish, the shoemaker’s wife crowned his head with a garland of bay.

In spite of the self-confessed wickedness of his ways, Greene was not a hardened criminal, and no themes are more frequent in his tracts than moral exhortation and repentance. It is further notable that his work is freer from grossness than that of most of his contemporary playwrights, and he is distinguished for the freshness and purity of his female creations. He seems also, to judge from his plays, to have retained a love for the country, where he often chose to lay his scenes; and he ranks high among the lyrists of the time. The vivacity and variety of his humor are well exemplified in the play here printed.

CHRISTOPHER MARLOWE

Christopher Marlowe was the eldest son of a substantial burgess of Canterbury, and he was born in that city on February 6, 1564. He entered the King’s School in January, 1579, and two years later became a scholar of Corpus Christi College, Cambridge, whence he graduated B. A. in 1584, and M. A. in 1587. As _Tamburlaine_ was acted in that year, it appears that Marlowe’s academic and his literary life overlapped. Little is certainly known of his later life, apart from the production of his plays and poems. He belonged to a circle of which Sir Walter Raleigh was the centre, and which contained men like the Earl of Oxford, and Harriot, the mathematician. These men seem to have engaged in scientific and theological speculation, and were suspected of atheism by the narrower spirits of the time. This connection was probably the basis for certain extreme charges made against Marlowe after his death; but there is little evidence worthy of consideration. Even the documents connected with Kyd, in which that author seeks to save his own reputation for orthodoxy at Marlowe’s expense, are under suspicion in point of genuineness. Marlowe died by the hand of a certain Francis Archer, at Deptford, in 1593, but the circumstances are obscure. The later reports, such as that according to which he was stabbed by a serving man in a brawl over a mistress, are inconsistent with one another, and are little worthy of credit. The prevailing impression of the dissoluteness of Marlowe’s life is not based on substantial evidence such as we have, for example, in the case of Greene.

No such uncertainty as surrounds his character and career attaches to the quality of his work. Born in the same year as Shakespeare, he left behind him at twenty-nine work which far surpasses anything his great contemporary had written by that time. In the vastness and intensity of his imagination, the splendid dignity of his verse, and the dazzling brilliance of his poetry at its best, Marlowe exhibited the greatest genius that had so far appeared in the English drama.

THOMAS KYD

The date of Kyd’s birth may with practical certainty be placed in 1558. His father was a London scrivener, and the son was educated at Merchant Taylors’ School, which he entered in 1565. Mulcaster was then headmaster, and Edmund Spenser was among his schoolfellows. He does not seem to have attended a university. A habit of anonymity has thrown a cloud over the extent of Kyd’s literary activity, and the list of his plays and translations has been compiled with difficulty and much less than complete certainty. His fame depends upon _The Spanish Tragedy_, and upon the importance of his contribution to the Senecan tragedy of revenge in this play and probably in the lost pre-Shakespearean _Hamlet_, which is now usually ascribed to him.

The later years of his life seem to have been unfortunate, and he was arrested on charges of sedition and atheism in 1593. From the latter he sought, if the letter to Puckering (Boas. p. cviii.) is genuine, to clear himself by ascribing the ownership of the incriminating documents to the dead Marlowe, and he endeavored to minimise the closeness of his intimacy with his great contemporary. These charges, it appears, lost him his patron, and perhaps in some degree his theatrical popularity. He died in 1594.

Kyd seems to have been a man of gloomy temperament, and the vividness and intensity with which he presents in his work the darker sides of human nature and experience are probably in some degree the outcome of his own disposition. In spite of tendencies to melodrama that, to the modern taste, border on the ludicrous, Kyd rises at times to the utterance of genuine passion, and even his sensationalism is frequently impressive. But his historical importance in the development of the type of tragedy of which _Hamlet_ is the climax must be granted to be greater than his intrinsic value.

GEORGE CHAPMAN

George Chapman was born in Hitchin, Hertfordshire, in 1557 or 1559, and was educated at Oxford, and perhaps also at Cambridge. His earliest extant work is _The Shadow of Night_ (1594), which was followed in 1595 by _Ovid’s Banquet of Sense_, _The Amorous Zodiac_, and other poems, works curiously obscure and contorted in style, though containing distinguished passages. In 1598, he finished Marlowe’s incomplete _Hero and Leander_, and when Meres published his _Palladis Tamia_ in that year, Chapman was already well-known as a playwright. His reputation, however, is most firmly based on his translations from Homer, issued in detachments in 1598, 1609, 1611, and 1614, and complete in folio in 1616. In this work be was encouraged by Prince Henry, to whom he was “sewer in ordinary.” He was imprisoned in 1605 along with Jonson and Marston on account of the passages against the Scots in _Eastward Ho!_ and in 1608 he again had difficulties with the authorities on account of a scene in _Charles, Duke of Byron_. He continued his work in translation and in the drama till his death in 1634.

Though one can hardly feel that Chapman’s natural gifts were those of a dramatist, the evidences of intellectual power, and the almost Shakespearean splendor of the poetry in occasional passages throughout his work, entitle him to an honorable place among the writers of the time.

BEN JONSON

Ben Jonson came of an Annandale family, and was born at Westminster in 1573. He followed his stepfather’s trade of bricklaying for a short time, and later served as a soldier in Flanders. He probably began play-writing about 1595, and two years later we find him in the Admiral’s Company of actors. In 1598 he is mentioned by Meres as a writer of tragedy, and in the same year he killed a fellow-actor in a duel. In prison he became a Roman Catholic, but returned to the Church of England twelve years later. He scored a success with _Every Man in his Humour_ in 1598, Shakespeare acting a part in the play. After several years of work on satirical drama, Jonson turned to tragedy; and on the accession of James I. he began his long series of masques and court entertainments. In 1605 he was again in prison, this time for his share in _Eastward Ho!_ From this date till about 1617 Jonson was at the height of his fame, and was the leading literary figure in London. He visited France in 1613 as tutor to Raleigh’s son; and in 1616 issued a folio edition of his works. In 1618, he visited Scotland, and held his famous conversations with Drummond of Hawthornden; and, on his return, Oxford made him an M. A. After the death of James I, Jonson was less fortunate in court favor, suffered from ill health, and was unsuccessful at the theatre. In 1628, however, he succeeded Middleton as chronologer to the city of London, and the King sent him £100 in his sickness, later raising his salary. But fortune turned against him again; he lost his city office, made further attempts to regain theatrical favor, and died August 6, 1637. Besides plays, he left an interesting prose work, _Timber, or Discoveries_, and a considerable amount of non-dramatic verse. A second folio edition of his _Works_ appeared in 1640.

Jonson’s artistic ideals were classical rather than romantic, and he stands, in significant respects, in opposition to some of the main literary currents of his time. The plays in the present volume include an example of the “comedy of humours” introduced by him, a typical example of his tragedy, and two of his satirical masterpieces. In these alone one can find abundant evidence that, despite a lack of charm and geniality, one is dealing with the work of a deep student of human nature, a vigorous and independent thinker, and a master of eloquent and virile expression.

THOMAS DEKKER

Dekker’s career is an extreme instance of the hazardous life led by the professional author in the time of Shakespeare. Born in London about 1570, Dekker first appears certainly as a dramatist about 1597, when we find him working on plays in collaboration with other dramatists in the pay of Henslowe. He wrote, in partnership or alone, many dramas; and when the market for these was dull, he turned to the writing of entertainments, occasional verses, and prose pamphlets on a great variety of subjects. No writer of the time gives us a more vivid picture of Elizabethan London. But all his activity seems to have failed to supply a decent livelihood, for he was often in prison for debt, at one time for a period of three years; and most of the biographical details about him which have come down to us are connected with borrowing money, or getting into jail or out of it. He disappears from view in the thirties of the seventeenth century.

In spite of the impression of gloom left by such a record, Dekker’s plays abound in high spirits, and their general tendency in plot and characterization is sane and wholesome. Evidences of hasty and careless workmanship are easily found, yet he was far from an uninspired hack, and passages of a noble and delicate poetry are frequent throughout his work.

JOHN MARSTON

John Marston came of an old Shropshire family, and was born, probably at Coventry, about 1575. His father, who bore the same name, was lecturer of the Middle Temple, and there is evidence that the son was trained for the law. He entered Brasenose College, Oxford, in 1592, and, according to Bullen, graduated B. A. in 1594. His first work in poetry was his _Metamorphosis of Pigmalion’s Image and Certain Satires_, 1598; and later in the same year appeared his _Scourge of Villany_. In the following year both books were burned on account of their licentiousness by the order of the Archbishop of Canterbury, though Marston had professed a reformatory purpose in both. In 1599 he turned to play-writing; but the turgid style of his _Antonio and Mellida_ and _Antonio’s Revenge_ brought down on him the ridicule of Jonson in _The Poetaster_. _The Malcontent_ was written during a period of reconciliation with Jonson, and in 1605 Marston collaborated with him and Chapman in _Eastward Ho_, a comedy containing a passage reflecting on the Scots, which landed all three dramatists in prison.

Marston gave up play-writing in 1607, and later became a clergyman. From 1616 to 1631 he held the living of Christ Church, Hampshire, and in 1634 died in London, and was buried in the Temple Church.

The extreme tendency to fustian which Jonson had attacked in Marston’s early work no longer appears to any great extent in _The Malcontent_, and the play exhibits favorably Marston’s capacity for the creation of well marked character and effective stage situations. An attempt has recently been made to show that he exerted a considerable influence on Shakespeare, especially in _Hamlet_.

THOMAS HEYWOOD

The early records of this, the most prolific of the dramatic writers of the time, are extremely scanty. The date of his birth is conjecturally placed about 1575, and he refers to himself as a native of Lincolnshire, and at one time resident at Cambridge. He begins to figure in Henslowe’s accounts in 1596, and he appears as a member of the Lord Admiral’s Company in 1598. He began writing plays with _The Four Prentices of London_, and in the _Address to the Reader_ prefixed to his _English Traveller_ (1633) he claims to have written or had a “main finger” in two hundred and twenty plays. Outside of the drama, he tried his hand at almost all sorts of literature, and the quality of his work is extremely uneven. He was still alive in 1648, but probably died soon thereafter.

Heywood’s characteristic power of elicting powerful emotions by a sympathetic treatment of everyday conditions and events, is well illustrated by the play here printed. While much is perfunctory in his work, one constantly finds evidences of a genuine and pious spirit moved by a keen appreciation of the pathos of human life.

FRANCIS BEAUMONT

Francis Beaumont was born 1584, the son of Sir Francis Beaumont of Grace-Dieu, Leicestershire, a judge of the common pleas. He was educated at Broadgates Hall (now Pembroke College), Oxford, which he entered in 1597. On the death of his father in 1598, he left the university without a degree, and in 1600 became a member of the Inner Temple. The law, however, if he ever really studied it, was soon abandoned for poetry; and Beaumont became an intimate of Jonson and his circle at the Mermaid. His collaboration with Fletcher began early, and seems to have been brought about by personal preference, not, like most collaboration at that time, by the exigencies of the theatrical manager. Aubrey has preserved the tradition of their domestic intimacy and similarity of tastes. Their joint-production seems to have begun about 1605, and there is no evidence that Beaumont wrote any plays after 1612. About 1613 he married, and three years later died and was buried in Westminster Abbey. He had achieved a high contemporary reputation for his non-dramatic poetry, but he survives as a dramatist.

JOHN FLETCHER

John Fletcher came of a family which has given many distinguished names to English literature. His father was Richard Fletcher, Bishop of London. Giles Fletcher the elder was his uncle, and Giles and Phineas Fletcher his cousins. The dramatist was born at Rye, Sussex, in 1579, and entered Benet College (now Corpus Christi), Cambridge, in 1591; but of the details of his life from this time till his appearance as a dramatist little is known. He collaborated with Beaumont from about 1605 till 1612; and, after Beaumont’s withdrawal, with Shakespeare, Jonson, Massinger, and others. He died of the plague in 1625.

The men who laid the foundations of the Elizabethan drama were generally of somewhat obscure origin; and though some of them had been educated at the universities, they were all poor. Beaumont and Fletcher were the first recruits to the profession of play-writing who came of distinguished families and habitually moved in wealthy circles; and this social environment was early suggested as an explanation of their power of representing naturally the conversation of high-born ladies and gentlemen. The general style of their plays has been thus admirably characterized by Thorndike: “Their plots, largely invented, are ingenious and complicated. They deal with royal or noble persons, with heroic actions, and are placed in foreign localities. The conquests, usurpations, and passions that ruin kingdoms are their themes, there are no battles or pageants, and the action is usually confined to the rooms of the palace or its immediate neighborhood. Usually contrasting a story of gross sensual passion with one of idyllic love, they introduce a great variety of incidents, and aim at constant but varied excitement.... The plays depend for interest not on their observation or revelation of human nature, or the development of character, but on the variety of situations, the clever construction that holds the interest through one suspense to another up to the unravelling at the very end, and on the naturalness, felicity, and vigor of the poetry.”

JOHN WEBSTER

The dates 1580-1625 are usually given as conjectures for Webster’s birth and death, exact information being entirely lacking. His father was a member of the Merchant Taylors’ Company, of which the son was likewise a freeman; but this does not imply that he was actually a tailor. In 1602, we find him collaborating with seven others in the production of four plays for Henslowe, and the rest of his biography consists in the discussion of the dates of his works.

Webster’s tragedies come towards the close of the great series of tragedies of blood and revenge in which _The Spanish Tragedy_ and _Hamlet_ are landmarks, but before decadence can fairly be said to have set in. Webster, indeed, loads his scene with horrors almost past the point which modern taste can bear; but the intensity of his dramatic situations, and his superb power of flashing in a single line a light into the recesses of the human heart at the crises of supreme emotion, redeem him from mere sensationalism, and place his best plays in the first rank of dramatic writing.

THOMAS MIDDLETON

The date of Middleton’s birth is unknown, but is conjecturally placed about 1570. He came of good family, and his writings indicate that he received a good education. We know, however, nothing about his early training before his entering Gray’s Inn, probably in 1593. His plays abound in allusions to law and pictures of lawyers.

The earliest evidence of his writing for the stage is in the date of _The Old Law_, which was probably composed by Middleton about 1599, and later revised by Massinger and W. Rowley. He was much employed in the writing of pageants and masques, especially by the city, and in 1621 he obtained the post of city chronologer. In 1624 he gave expression to the popular hatred of Spain in his allegorical play, _A Game at Chess_, which scored a great success, but which was ultimately suppressed at the instigation of the Spanish ambassador, and led to a warrant for Middleton’s arrest. He died in 1627.

In his comedies Middleton shows himself a keen observer of contemporary life and manners, and few writers of the time have left a more vivacious picture of the London of James I. “His later plays,” says Herford, “show more concentrated as well as more versatile power. His habitual occupation with depraved types becomes an artistic method; he creates characters which fascinate without making the smallest appeal to sympathy, tragedy which harrows without rousing either pity or terror, and language which disdains charm, but penetrates by remorseless veracity and by touches of strange and sudden power.”

WILLIAM ROWLEY

William Rowley was born about 1585. He was an actor as well as a dramatist, and is sometimes confused with two other actors, Ralph and Samuel Rowley. In his earlier years he wrote some non-dramatic verse, mostly of a conventional kind. His most important work was done in collaboration with Middleton, with whom he worked from 1614, but he had many other literary partners. His verse is apt to be rough and irregular, his humor broad and rollicking rather than fine, his serious scenes tending to extravagance and bombast. But his constant employment to coöperate with greater men, or revise their work, points to a general serviceableness and a capacity for theatrical effectiveness. His death is conjecturally placed about 1642.

PHILIP MASSINGER

Philip Massinger was born at Salisbury, in November, 1583. His father was in the service of the Earls of Pembroke, and it has been conjectured that the future dramatist was named after the Countess’s brother, Sir Philip Sidney. He entered St. Alban Hall, Oxford, in 1602, and left four years later without a degree, having, according to Wood, “applied his mind more to poetry and romances than to logic and philosophy.” On coming to London he seems to have turned at once to writing for the stage; and, after Beaumont retired from play-writing, Massinger became Fletcher’s chief partner and warm friend. All Massinger’s relations with his fellow-authors of which we have record seem to have been pleasant; and the impression of his personality which one derives from his work is that of a dignified, hard-working, and conscientious man. He seems to have been much interested in public affairs, and he at times came into collision with the authorities on account of the introduction into his plays of more or less veiled allusions to political personages and events. He died in 1640, and was buried in St. Saviour’s, Southwark, in the same grave, it is said by Cokayne, as his friend Fletcher.

Massinger’s great merit lies in his masterly conduct of plot. His characters are usually of a somewhat conventional type, his pictures of passion tend to sheer extravagance, and his ethical quality has in it something mechanical. His verse is often eloquent, but the dialogue is often preposterously remote from life. Yet so skillful was he in the manipulation of the action that he usually holds the attention without difficulty; and in the present play this power is combined with a singularly forceful presentation of the main character and a fairly obvious didacticism that together kept the drama on the stage almost down to modern times.

JOHN FORD

John Ford was born at Ilsington in Devonshire in April, 1586, of good family. A man of his name entered Exeter College, Oxford, in 1601; but if this was our Ford, his stay was short, for he became a member of the Middle Temple in November, 1602. Of the rest of his career we know almost nothing, except the names of people to whom he dedicated his plays and verses. He disappears after the publication of his last play in 1639. He seems to have been a man of a somewhat melancholy temperament, independent in his attitude towards the public taste, and capable of espousing unpopular causes.

Ford’s dramas show a tendency to deal with illicit and even incestuous love in a peculiar mood, the dramatist frequently creating strong sympathy for the tempted and the sinner, and leaving the question of guilt open. This, along with his fondness for the theatrical and the sensational, has led to his being frequently chosen as an example of the decadence of the drama. The charge is not to be denied; but in spite of these defects, he shows a power of insight into suffering and perplexity, and writes at times poetry of such beauty and tenderness, that he remains a figure of much intrinsic interest as well as historical importance.

JAMES SHIRLEY

James Shirley, often called “the last of the Elizabethans,” was born in London in September, 1596, and was educated at Merchant Taylors’ School and St. John’s College, Oxford. Later he went to Catherine Hall, Cambridge, whence he graduated. About 1619 he took orders, and obtained a living at St. Albans, Hertfordshire; but resigned to enter the church of Rome, and became master of the St. Albans grammar school in 1623. His first play was licensed in 1625, and from this time till the closing of the theatres he devoted himself to the writing of plays and masques, gaining both popular success and the patronage of the court. With the outbreak of the Civil War, Shirley followed his patron, the Earl of Newcastle, to the field; but after Marston Moor he returned to London, published some of his earlier writings, and resumed teaching. Some of his plays were revived at the Restoration, but he wrote no more. He and his second wife were driven from their home by the fire of London in 1666, and both died from shock on the same day.

Shirley wrote many non-dramatic poems, graceful enough but conventional; few of them are read to-day. Out of nearly forty dramas, seven are tragedies, the rest chiefly romantic comedies and comedies of manners. He was a careful student of the work of his predecessors, and he reproduced many of their dramatic effects with skill. He had a distinct comic gift, and his power in tragedy may be judged by _The Cardinal_. With Shirley, more than with any of his fellow-playwrights, one feels the disadvantage of coming so late in the development of this phase of the drama that originality of conception seems almost impossible. That he is still able to amuse and to thrill with the old instruments is proof of his capacity as a literary workman; and he should not be denied the possession of passages where he displays touches of imagination all his own.

INDEX OF CHARACTERS

Abbess, 96.
Abbot, 122.
Abigail, 96.
Acton, Sir Francis, 485.
Aeolus, 568.
Afer, 247.
Agrippina, 247.
Agydas, 57.
Alexander the Great, 80.
Alexandro, 153.
Alexis, 598.
Alibius, 715.
Allworth, Tom, 741.
Allworth, Lady, 741.
Alphonso, 830.
Alsemero, 715.
Altofronto, Giovanni, 456.
Alvarez, Count d’, 830.
Amarillis, 598.
Amble, 741.
Amelus, 770.
Amintor, 568.
Amoret, 598.
Amyclas, 770.
Ananias, 325.
Andrea, Ghost of, 153.
Androgyno, 285.
Anippe, 57.
Annabelle, 185.
Anselmo, 393.
Antic, 24.
Antiphila, 568.
Antonelli, 830.
Antonio, 715, 830.
Antonio Bologna, 656.
Antonio Georgio, 425.
Aplotes, 770.
Apprentices, 367, 393, 425.
Archbishop of Canterbury, 122.
Arethusa, 539.
Aretina, 800.
Armostes, 770.
Arruntius, 247.
Arthur, 690.
Arundel, 122.
Askew, 367.
Aspatia, 568.
Astolfo, 425.
Audrey, 690.
Aurelia, 456.
Avocatori, 285.

Bagoa, 1.
Bajazeth, 57.
Baldock, 122.
Balthazar, 153.
Barabas, 96.
Barber, 509.
Barnardine, 96.
Barrisor, 185.
Bashaw, 153.
Bassanes, 770.
Bassoes, 57, 96.
Bazardo, 153.
Beatrice-Joanna, 715.
Beaumont, 122.
Beaupre, 185.
Behemoth, 185.
Bel-Imperia, 153.
Bellafront, 393, 425.
Bellamira, 96.
Bellario, 539.
Belleur, 625.
Belzebub, 80.
Benedict, Doctor, 393.
Beraldo, 425.
Berkeley, 122.
Bianca, 456.
Bilioso, 456.
Bishop of Coventry, 122.
Bishop of Winchester, 122.
Bobadill, Captain, 214.
Bonario, 285.
Bornwell, Lady, 800.
Bornwell, Sir Thomas, 800.
Bosola, Daniel De, 656.
Bots, 425.
Bountinall, Catharina, 425.
Brainworm, 214.
Brickbat, Roger, 485.
Bridewell, Masters of, 425.
Bridget, Mistress, 214.
Brisac, 185.
Bryan, 425.
Burden, Doctor, 35.
Bussy D’Ambois, 185.

Calantha, 770.
Calypha, 24.
Calianax, 568.
Caligula, 247.
Candido, 393, 425.
Candido’s Bride, 425.
Capolin, 57.
Captain, 539.
Cardinal, 656, 830.
Cardinal of Lorrain, 80.
Cariola, 656.
Carolo, 425.
Carpenters, 96.
Cartophylax, 185.
Cash, Thomas, 214.
Castile, Cyprian, Duke of, 153.
Castile, King of, 35.
Castrone, 285.
Castruccio, 656.
Castruchio, 393.
Catharina Bountinall, 425.
Celanta, 24.
Celestina, 800.
Celia, 285.
Celinda, 830.
Celso, 456.
Ceneus, 57.
Chambermaid, 741.
Champion, 122.
Charlotte, 185.
Christophil, 153.
Christalla, 770.
Churchwarden, 24.
Cicely, 485.
Citizen, 509.
Citizen’s Wife, 509.
Clement, Doctor, 35.
Clement, Justice, 214.
Cleon, 568.
Cleremont, 539.
Cloe, 598.
Clorin, 598.
Clowns, 35, 80.
Clunch, 24.
Cob, Oliver, 214.
Columbo, 830.
Colonels, 830.
Commandadori, 285.
Constables, 1, 35, 425.
Corbaccio, 285.
Cordus, 247.
Corebus, 24.
Cornelius, 80.
Cornwall, Earl of, 367.
Corsites, 1.
Corvino, 285.
Cosroe, 57.
Cotta, 247.
Country Fellow, 539.
Courtesan, 690.
Crambo, 393.
Cranwell, 485.
Creditors, 690, 741.
Crotolon, 770.
Cynthia, 1, 568.
Cyprian, Duke of Castile, 153.

D’Alvarez, Count, 830.
Dame Kitely, 214.
Dame Pliant, 325.
Dampit, Harry, 690.
Daniel De Bosola, 656.
Daphnis, 598.
Dapper, 325.
Dares, 1.
Decoy, 800.
De Flores, 715.
De Gard, 625.
Delia, 24.
Delio, 656.
Deputy, 153.
Devils, 35, 80.
Diagoras, 569.
Diaphanta, 715.
Dion, 539.
Diphilus, 568.
Dipsas, 1.
Doctor, 656.
Dodger, 367.
Dol Common, 325.
Don Bazulto, 153.
Don Lodowick, 96.
Don Mathias, 96.
Don Pedro, 153.
Dorothea Target, 425.
Downright, George, 214.
Dragon, 35.
Drugger, 325.
Drusus Junior, 247.
Drusus Senior, 247.
Duchess of Vanholt, 80.
Duchess Rosaura, 830.
Duke of Guise, 185.
Duke of Vanholt, 80.
Dula, 568.
Dumb Show, 1, 153.
Dutch Skipper, 367.

Earl of Kent, 122.
Ebea, 57.
Edward Knowell, 214.
Edward, Prince, 122.
Edward, Prince of Wales, 35.
Edward the Second, 122.
Elenor, Duchess of Guise, 185.
Elinor of Castile, 35.
Emilia, 456.
Emperor of Germany, 35, 80.
Endymion, 1.
Epiton, 1.
Equato, 456.
Erastus, Knight of Rhodes, 153.
Erestus, 24.
Ermsby, 35.
Eudemus, 247.
Eumenides, 1, 24.
Euphranea, 770.
Euphrasia, 539.
Evadne, 568.
Evil Angel, 80.

Face, 325.
Fairies, 1.
Falconers, 485.
Fantastic, 24.
Faustus, 80.
Favilla, 1.
Ferdinand, 656.
Ferneze, 96, 456.
Ferrardo, 456.
Fingerlock, Mistress, 393.
Firk, 367.
First Brother, 24.
Flamen, 247.
Floscula, 1.
Fluello, 393.
Fontinell, 425.
Foot-Boy, 625.
Formal, Roger, 214.
Foxtone, 690.
Franciscus, 715.
Frankford, John, 485.
Frankford, Mistress Anne, 485.
Frederick, Master, 800.
Freedom, Sam, 690.
Friars, 24, 80.
Friar Bacon, 35.
Friar Bungay, 35.
Friar Comolet, 185.
Friscobaldo, Orlando, 425.
Frolic, 24.
Froth, 741.
Furies, 24.
Furnace, 741.
Fustigo, 393.

Galatea, 539.
Gallus, 247.
Gasparo Trebazzi, 393, 425.
Gaveston, 122.
Gentleman-usher, 830.
Georgio, Antonio, 425.
George, 393, 509, 690.
Geron, 1.
Ghost of Andrea, 153.
Ghost of Friar, 185.
Ghost of Jack, 24.
Giovanni, Altofronto, 456.
God of the River, 598.
Good Angel, 80.
Governor of Damascus, 57.
Grausis, 770.
Greedy, 741.
Greengoose, George, 509.
Grege or Mob, 285.
Grisolan, 656.
Groneas, 770.
Guerrino, 456.
Guise, Duchess of, 185.
Guise, Duke of, 185.
Gulf, 690.
Gurney, 122.
Gyptes, 1.

Haircut, 800.
Hammerton, William, 509.
Hammon, 367.
Hangman, 153.
Hans, 367.
Harvest-men, 24, 367.
Haterius, 247.
Helen of Troy, 80.
Hemophil, 770.
Henry III of England, 35.
Henry III of France, 185.
Herald, 122.
Hercules, 35.
Hernando, 830.
Hieronimo, 153.
Hippolito, 393, 425.
Hoard, Onesiphorus, 690.
Hoard, Walkadine, 690.
Hodge, 367.
Horatio, 153.
Horse-Courser, 80.
Horseleech, Mistress, 425.
Host, 509, 690.
Hostess, 24.
Hostess of the Bell, 35.
Huanebango, 24.
Humphrey, 509.
Hunters, 367.
Huntsmen, 485.
Hymen, 153.

Infelice, 393, 425.
Isabella, 153, 715, 800.
Ithamore, 96.
Ithocles, 770.

Jack, 24.
Jack Slime, 485.
Jacomo, 96.
Jacques, 153.
James, 122.
Jane, 367.
Jaques, 830.
Jaques Vandermast, 35.
Jasper, 509.
Jasperino, 715.
Jenkin, 485.
Jews, 96.
Joan, 35.
Joyce, 690.
Julia, 656.
Justice Clement, 214.

Kastrill, 325.
Katherine, 96.
Keeper of Fressingfield, 35.
Keeper of Prison, 485.
Kickshaw, Alexander, 800.
King, 367, 568.
King Henry III, 35.
King of Arabia, 57.
King of Argiers (Algiers), 57.
King of Castile, 35.
King of Fez, 57.
King of Morocco, 57.
King of Navarre, 830.
King of Sicily, 539.
King of Spain, 153.
Kitely, 214.
Kitely, Dame, 214.
Kix, 690.
Knight, 80.
Knights, 96.
Knowell, 214.

Laco, 247.
Lacy, Earl of Lincoln, 35.
Lacy, Rowland, 367.
Lacy, Sir Hugh, 367.
La Castre, 625.
L’Anou, 185.
Lambert, 35.
Lamprey, 690.
Lampriscus, 24.
Lancaster, 122.
Latiaris, 247.
Launcelot, 690.
Leicester, 122.
Lepidus, 247.
Levune, 122.
Lictores, 247.
Lightborn, 122.
Lillia Bianca, 625.
Limber, 690.
Lincoln, Earl of, 35.
Littleworth, John, 800.
Livia, 247.
Lodovico Sforza, 425.
Lollio, 715.
Lord ——, 800.
Lorenzo, 153.
Lovell, 367.
Lovell, Lord, 741.
Lovewit, 325.
Luce, 509.
Lucifer, 80.
Lucre, Mistress, 690.
Lucre, Pecunius, 690.
Lugier, 625.
Lysippus, 568.

Machiavel, 96.
Macro, 247.
Madge, 24.
Madmen, 393, 656, 715.
Maffe, 185.
Magnetes, 57.
Maid, Isabella’s, 153.
Malatesti, Count, 656.
Malby, 485.
Malevole, 456.
Malfi, Duchess of, 656.
Mammon, Sir Epicure, 325.
Maquerelle, 456.
Margaret, 741.
Margaret of Fressingfield, 35.
Margery, 367.
Maria, 456.
Mariana, 625, 800.
Marrall, 741.
Martin Del Bosco, 96.
Mason, Doctor, 35.
Masquers, 568.
Matheo, 393, 425.
Mathew, 214.
Matrevis, 122.
Meander, 57.
Megra, 539.
Melantius, 568.
Melynell, 185.
Menaphon, 57.
Mendoza, 456.
Mephistophilis, 80.
Mercatori, 285.
Merchants, 96.
Merrythought, 509.
Merrythought, Mistress, 509.
Michael, 509.
Miles, 35.
Ministri, 247.
Minutius, 247.
Mirabel, 625.
Mistress Fingerlock, 393.
Moneylove, 690.
Monks, 122.
Monsieur, 185.
Montsurry, 185.
Moors, 57.
Mortimer, the elder, 122.
Mortimer, the younger, 122.
Mosca, 285.
Mountford, Old, 485.
Mountford, Susan, 485.
Mountford, Sir Charles, 485.
Mower, 122.
Murderers, 185.
Mycetes, 57.

Nano, 285.
Nantolet, 625.
Natta, 247.
Navarre, King of, 830.
Nearchus, 770.
Neptune, 568.
Nero, 247.
Nicholas, 483.
Niece to Edward II, 122.
Night, 568.
Notario, 285.
Nuntius, 185, 247.

Oately, Sir Roger, 367.
Old Man, 1, 80.
Old Shepherd, 598.
Olympias, 568.
Opsius, 247.
Order, 741.
Orgilus, 770.
Oriana, 625.
Orlando Friscobaldo, 425.
Ortygius, 57.
Overreach, Sir Giles, 741.

Page, Lorenzo’s, 153.
Panelion, 1.
Paramour of Alexander the Great, 80.
Passarello, 456.
Pedringano, 153.
Pedro, 153, 715, 830.
Pembroke, 122.
Penelope Whorehound, 425.
Penthea, 770.
Peregrine, 285.
Perigot, 598.
Pero, 185.
Perseda, 153.
Pescara, Marquis of, 656.
Petella, 625.
Pharamond, 539.
Philaster, 539.
Philema, 770.
Philemus, 57.
Phulas, 770.
Pietro Jacomo, Duke of Genoa, 456.
Pilia-Borsa, 96.
Pinac, 625.
Pioratto, 393.
Piracquo, Alonzo De, 715.
Piracquo, Tomaso De, 715.
Placentia, 830.
Poli, 393.
Pompiona, 509.
Pomponius, 247.
Poor Man, 122.
Pope, 80.
Porter, 393.
Portuguese Ambassador, 153.
Portuguese, Two, 153.
Posthumus, 247.
Praecones, 247.
Prepasso, 456.
Priest, 625.
Priest of Pan, 598.
Prince Edward, 122.
Prologue, 509.
Prophilus, 770.
Pyra, 185.
Pyrrhot, 185.
Pythagoras, 1.

Queen Isabella, 122.

Ralph, 80, 367,509.
Ralph Simnell, 35.
Reader, 96.
Regulus, 247.
Revenge, 153.
Rice ap Howel, 122.
Richard, 35.
Robin, 80.
Roder, 485.
Roger, 367, 393.
Roger Brickbat, 485.
Roderigo, 656.
Rosalura, 625.
Rosaura, Duchess, 830.
Rose, 367.
Rufus, 247.

Sabinus, 247.
Sacrapant, 24.
Samias, 1.
Sandy, 485.
Sanquinius, 247.
Satrius, 247.
Satyr, 598.
Scentlove, Sir William, 800.
Scholars, 35, 80.
Scintilla, 1.
Scott, 367.
Scrivener, 690.
Sea Gods, 568.
Second Brother, 24.
Secretary to Lord ——, 800.
Sejanus, 247.
Selim Calymath, 96.
Semele, 1.
Serberine, 153.
Serlsby, 35.
Servitore, 285.
Servus, 247.
Seven Deadly Sins, 80.
Sexton, 24.
Sforza, Lodovico, 425.
Shafton, 485.
Shepherds, 598.
Shepherdesses, 598.
Sheriff, 485.
Shoemakers, 367.
Silius, 247.
Silvio, 656.
Simon Eyre, 367.
Sinezi, 393.
Singing Boy, 625.
Sir Epicure Mammon, 325.
Sir John of Hainault, 122.
Sir Politic Would-Be, 285.
Sir Tophas, 1.
Slaves, 96.
Slime, Jack, 485.
Soldan of Egypt, 57.
Soliman, 153.
Sosia, 247.
Spanish General, 153.
Spenser, the elder, 122.
Spenser, the younger, 122.
Spichcock, 600.
Spigot, 485.
Spirit of Hercules, 35.
Stephen, 214.
Steward to Lady Aretina, 800.
Steward to Lady Celestina, 800.
Stato, 508.
Subtle, 325.
Sullen Shepherd, 598.
Surgeon, 830.
Surly, Pertinax, 325.
Susan Mountford, 485.
Sussex, Earl of, 35.
Sybil, 367.

Tamburlaine, 57.
Tamyra, Countess of Montsurry, 185.
Tapster, 509.
Tapwell, 741.
Target, Dorothea, 425.
Techelles, 57.
Tecnicus, 770.
Tellus, 1.
Terentius, 247.
Thelea, 24.
Thenot, 598.
Theridamas, 57.
Thomas, 35.
Thrasiline, 539.
Thrasus, 770.
Tib, 214.
Tiberius, 247.
Tibicines, 247.
Tidy, 485.
Tim, 509.
Tophas, Sir, 1.
Trebazzi, Gasparo, 393.
Tribune, 247.
Trio, 247.
Tribulation Wholesome, 325.
Trussel, 122.
Tubicines, 247.
Two Nuns, 96.

Umbra of Friar, 185.
Usumcasane, 57.

Valdes, 80.
Valeria, 830.
Vandermast, Jaques, 35.
Varro, 247.
Venelia, 24.
Venturewell, 509.
Vermandero, 715.
Viceroy of Portugal, 153.
Villuppo, 153.
Vintner, 80.
Viola, 393.
Virgins of Damascus, 57.
Volpone, 285.
Voltore, 285.

Wagner, 80.
Waiting Woman, 741.
Warner, 367.
Warren, Earl of Sussex, 35.
Warwick, 122.
Watchall, 741.
Watchmen, 1, 153.
Wellborn, Frank, 741.
Wellbred, 214.
Wendoll, 485.
Wholesome, Tribulation, 325.
Whorehound, Penelope, 425.
Wiggen, 24.
Willdo, 741.
Winds, 568.
Witgood, Theodorus, 690.
Woodmen, 539.
Would-Be, Madame, 285.
Would-Be, Sir Politic, 285.

Zabina, 57.
Zantippa, 24.
Zenocrate, 57.
Zontes, 1.

INDEX OF SONGS

Alack, alack, 386.
All ye that lovely lovers be, 26.
All ye woods, and trees, and bowers, 624.
And some they whistled, and some they sung, 537.
And where is your true love? Oh, where is yours, 536.
Arms and honours deck thy story, 674.
As you came from Walsingham, 522.

Begone, begone, my juggy, my puggy, 528.
Better music ne’er was known, 538.
But yet, or ere you part (oh, cruel!), 516.

Can you paint a thought, or number, 782.
Cold’s the wind, and wet’s the rain, 389.
Come, my Celia, let us prove, 306.
Come, my Daphne, come away, 853.
Come no more there, boys, 536.
Come, shepherds, come, 603.
Come, you whose loves are dead, 532.
Comforts lasting, loves increasing, 786.
Cynthia, to thy power and thee, 572.

Der was een bore van Gelderland, 371.
Do not fear to put thy feet, 612.
Down, down they fall, 522.

Fools, they are the only nation, 288.
For Jillian of Berry, she dwells on a hill, 533.
From the honour’d dead I bring, 654.

Give him flowers enow, palmer, 522.
Glories, pleasures, pomps, delights, and ease, 798.
Go from my window, love, go, 528.

Had old Hippocrates, or Galen, 296.
_Hans’s Song_, 371.
Hark, now everything is still, 680.
_Harvest-men’s Song_, 29.
He set her on a milk-white steed, 522.
He that doth his youth expose, 690.
Heigh-ho, farewell, Nan!, 516.
Ho, ho, nobody at home!, 533.
Hold back thy hours, dark Night, 572.

I come not hither for thee to teach, 529.
I could never have the power, 574.
I’d set mine old debts against my new driblets, 370.
I would not be a serving-man, 533.
If such danger be in playing, 537.
If you will sing, and dance, and laugh, 528.
It was a lady’s daughter, 537.

Lay a garland on my hearse, 574.
Lo, here we come a-reaping, 29.

Maids of England, sore may you mourn, 133.
My Savoy lord, why dost thou frown on me? 644.

Nose, nose, jolly red nose, 615.

O, let us howl some heavy note, 678.
O, no more, no more, too late, 793.
O, the month of May, the merry month of May, 379.
Oh, the Mimon round, 536.

She cares not for her daddy, nor, 522.
Sing his praises that doth keep, 600.
Sing we, and chant it, 536.
Sweet love, pity me, 725.

Tell me, dearest, what is love? 523.
The courtier’s flattering jewels, 410.
The Dutchman for a drunkard, 478.
_The First Three-men’s Song_, 379.
_The Second Three-men’s Song_, 389.
Thou art welcome from Stygian lake so soon, 536.
’T is mirth that fills the veins with blood, 521.
To bed, to bed! Come, Hymen, lead the bride, 572.
Troul the black bowl to me, 521.

Was never man, for lady’s sake, 522.
Well met, pug, the pearl of beauty, 401.
When earth and seas from me are reft, 516.
When it was grown to dark midnight, 521.
When as the rye reach to the chin, 25.
Who can sing a merrier note, 533.
Who would fear that may destroy, 481.
Why, an if she be, what care I, 522.
Why, farewell he! 536.
With hey, trixy, terlery-whiskin, 537.
With that came out his paramour, 537.

You are no love for me Margaret, 529.
You that would last long, list to my song, 297.

INDEX OF AUTHORS

Beaumont, Francis, 509, 539, 568, 872.
Chapman, George, 185, 870.
Dekker, Thomas, 367, 393, 425, 871.
Fletcher, John, 509, 539, 568, 598, 625, 872.
Ford, John, 770, 874.
Greene, Robert, 35, 869.
Heywood, Thomas, 485, 872.
Jonson, Ben, 214, 247, 285, 325, 871.
Kyd, Thomas, 153, 870.
Lyly, John, 1, 869.
Marlowe, Christopher, 57, 80, 96, 122, 870.
Marston, John, 456, 871.
Massinger, Philip, 741, 873.
Middleton, Thomas, 690, 715, 873.
Peele, George, 24, 869.
Rowley, William, 715, 873.
Shirley, James, 800, 830, 874.
Webster, John, 456, 656, 873.

INDEX OF PLAYS

A New Way to Pay Old Debts, 741, 859.
A Trick to Catch the Old One, 690, 859.
A Woman Killed with Kindness, 485, 858.
Bussy D’Ambois, 185, 856.
Doctor Faustus, 80, 855.
Edward the Second, 122, 856.
Endymion, the Man in the Moon, 1, 855.
Every Man in His Humour, 214, 856.
Friar Bacon and Friar Bungay, 35, 855.
Philaster, or Love Lies a-bleeding, 539, 858.
Sejanus, His Fall, 247, 857.
Tamburlaine, Part I, 57, 855.
The Alchemist, 325, 857.
The Broken Heart, 770, 859.
The Cardinal, 830, 860.
The Changeling, 715, 859.
The Duchess of Malfi, 656, 859.
The Faithful Shepherdess, 598, 858.
The Honest Whore, Part I, 393, 857.
The Honest Whore, Part II, 425, 857.
The Jew of Malta, 96, 856.
The Knight of the Burning Pestle, 509, 858.
The Lady of Pleasure, 800, 860.
The Maid’s Tragedy, 568, 858.
The Malcontent, 456, 857.
The Old Wives Tale, 24, 855.
The Shoemakers’ Holiday, 367, 857.
The Spanish Tragedy, 153, 856.
The Wild-Goose Chase, 625, 859.
Volpone, or The Fox, 285, 857.

FOOTNOTES:

[1] Interpret the play as referring to political or other events.

[2] In the Gardens of Cynthia’s Palace.

[3] So Bond. Old edd. _love_.

[4] Infatuated with.

[5] Foolish.

[6] Swaddling-clothes.

[7] The same.

[8] Plot.

[9] Caught with poisoned dough-balls.

[10] The same.

[11] Blunt arrows.

[12] Wool of Seres, Chinese silk. Old edd. read _Ceres_. Bond _Seres_.

[13] Old edd. _confound_.

[14] Drake.

[15] The same.

[16] Plot.

[17] Abated.

[18] Overcome.

[19] The same.

[20] “The fish _Scolopidus_ in the flood _Araris_.”—_Anat. of Wit_, p. 89, Arber. (Baker.)

[21] The same.

[22] A thief.

[23] Dolls.

[24] Loose shoes.

[25] Show his style.

[26] The trout which Epiton is carrying.

[27] Uncombed.

[28] Paltry.

[29] Reproached.

[30] In a Grove.

[31] Moonwort. “I have heard of an herb called Lunary that being bound to the pulses of the sick cause nothing but dreams of weddings and dances.” Act III, Sc. 3, _Sapho and Phao_. (Baker.)

[32] _Dumb show._ Omitted in first edition. Given by Blount in 1632.

[33] Blount reads _readeth_.

[34] In the Gardens of the Palace.

[35] Wranglings.

[36] A crooked tree.

[37] Matters.

[38] Before a castle.

[39] In the Gardens of the Palace.

[40] Here, and below, the allusions are to W. Lilly’s Latin Grammar.

[41] Disclose.

[42] Cicero, _De Officiis_, i. 22, 76.

[43] Adapted from Ovid, _Heroides_, xvii. 254.

[44] Ovid, _Her._ iv. 10.

[45] These lines seem to be Lyly’s own.

[46] Ovid, _Amores_, i. 9. 1.

[47] Ovid, _Ars Amatoria_, ii. 123.

[48] Ovid, _Tristia_, iv. 10, 26.

[49] Simpleton.

[50] Take off.

[51] The Song appears first in Blount’s edition.

[52] Grow fat.

[53] To untie the laces.

[54] So Baker. Old edd. _Travice_.

[55] Terence, _Andria_, 1. i. 144.

[56] A desert place, with a fountain.

[57] Foolish.

[58] Foolish.

[59] Before Corsites’ Castle.

[60] Bond emends to _customary_.

[61] That.

[62] In the Gardens of the Palace.

[63] Irritable humour.

[64] Move.

[65] Black Sanctus, a hymn to Saint Satan.

[66] So Baker. Old edd. read _No_.

[67] Quoted by Cicero in _Paradoxa Stoicorum_, i. 1, as from Bias (Baker).

[68] So Baker. Old edd. read _Now_.

[69] Lucan, vii. 819.

[70] Fellows.

[71] Rumbles.

[72] Let me understand.

[73] This song appears first in Blount’s edition.

[74] Fool.

[75] Swagger.

[76] In the Grove, till v. 54.

[77] Languor.

[78] Appears first in Blount’s edition.

[79] A country dance.

[80] Now the Gardens.

[81] Again in the Grove.

[82] Overcome.

[83] In the Grove.

[84] Or _here_. Old edd. read _heere_.

[85] Appearance.

[86] In the Gardens of the Palace.

[87] So Baker. Old edd. read _love lappe_.

[88] Grove.

[89] An unfledged bird.

[90] Virgil, _Æneid_, iv. 23.

[91] A sucking rabbit.

[92] Old edd. _be_.

[93] Adapted from Ovid, _Ars Amat._ i. 244.

[94] Terence, _Adelphi_, v. 9. 9.

[95] Girls.

[96] Ovid, _Ars Amat._, ii. 535.

[97] Pale blue.

[98] The same.

[99] Wickeder.

[100] Unheard of.

[101] Bond transposes _scar_ and _wound_; and _seen_ and _felt_.

[102] Mean, base.

[103] Worms. A comic execration.

[104] Q _Franticke_.

[105] Dejected.

[106] A gay fellow.

[107] With a pun on _wood_, mad.

[108] Long wide trousers.

[109] The scene is now at the cottage.

[110] Madge is called _old woman_ in the speech-tags throughout in Q.

[111] A drink made of ale and the pulp of roasted crab-apples.

[112] A common card game.

[113] Handsome.

[114] [The young man] lives.

[115] Erestus is called _old man_ in the speech-tags throughout in Q.

[116] Later, _Corebus_.

[117] The clown appears to be priding himself on his finery—his plume and long stockings.

[118] Care.

[119] Abundance.

[120] However hard the times may be.

[121] Sings.

[122] Called.

[123] Previously, _Booby, the clown_.

[124] Q. _Simon_.

[125] That’s flat.

[126] In Q. _Wiggen ... pike-staff_ appears as part of Sexton’s speech.

[127] Open the argument from my side. (Bullen).

[128] On.

[129] Where the ale-house often stood.

[130] Vile.

[131] Well done.

[132] Diggers.

[133] Ugly.

[134] Plague take you!

[135] With a vengeance. The origin of the phrase is uncertain.

[136] Used as a love charm.

[137] Apparently a parody of Stanyhurst’s hexameters.

[138] Pig’s eye, darling.

[139] A quotation from Harvey’s _Encomium Lauri_.

[140] Chaucer’s phrase for alliteration.

[141] Quoth he.

[142] “Lob’s pound” meant “the thralldom of a henpecked married man.” (Bullen.)

[143] This stage direction occurs in Q after _tree_.

[144] Well done!

[145] Qy. Read _life’s_ for _life his_?

[146] This and the next three lines are found, with slight variations, in Greene’s _Orlando Furioso._ (Dyce.)

[147] Separate.

[148] Framlingham.

[149] Of late.

[150] Outstripped.

[151] Dogs that roused the game.

[152] A woollen cloth.

[153] Dejected.

[154] Pearls.

[155] Rare appearance.

[156] Tint.

[157] Would have made that woman blush whom art, etc.

[158] Placket, slit in a woman’s skirt.

[159] Because.

[160] July 25.

[161] Outstrip.

[162] Overmaster.

[163] Friar Bacon’s cell at Brazenose.

[164] Be assured.

[165] Pentagram, the five-rayed star supposed to have magical properties.

[166] Aims, tries to shoot with.

[167] Pick-a-back, on your shoulders.

[168] Care not for.

[169] Impulse.

[170] Cast down.

[171] Be abashed.

[172] Harleston Fair.

[173] Bargain.

[174] In the face of it.

[175] Fastidious.

[176] Qq. give these words to Mar.

[177] A term of contempt.

[178] _I. e._ shepherd’s garb.

[179] Hampton Court.

[180] Definitions, statements of scientific principles.

[181] Till.

[182] Q₁ _fit_; Q₂ _sit_. Qy. _flit_?

[183] Oxford: a street.

[184] At hand, at any instant.

[185] Trick.

[186] Swaggering.

[187] A student who received free board and tuition, and, formerly, performed menial services.

[188] Tied by love.

[189] Entreat.

[190] Leathern wine jugs.

[191] Friar Bacon’s Cell.

[192] This stage-direction shows that the change of scene took place only in the minds of the audience.

[193] Qq. _bright-sunne_. Gayley suggests _sunne-bright_.

[194] The Prince does not hear the following dialogue.

[195] Excuse.

[196] So Gayley. Qq. _cape_. Other edd. _rape_.

[197] Check, overmaster.

[198] Nearer (to your purpose).

[199] Prematurely.

[200] Because.

[201] Portable breviary.

[202] Gayley _scale_, as Q.

[203] From.

[204] The Regent-house at Oxford.

[205] Visit.

[206] Worthless fellow.

[207] Trim(?) (Cent. Dict.)

[208] Darling.

[209] From the soles of the slippers.

[210] Qq. _Bartlets_, perhaps rightly, as Greene may have intended Miles to corrupt the name of the author of _The Ship of Fools_.

[211] The old north gate of Oxford, used as a prison.

[212] Fressingfield.

[213] Love.

[214] Sharer.

[215] Shittim.

[216] Get rid of.

[217] Overturned.

[218] Oxford.

[219] Fattening.

[220] Compared.

[221] _I.e._ Paris. Qq. _Lutrech_.

[222] Love-kindling looks.

[223] See note on I. 5.

[224] A servant who sets the table.

[225] Chopped meat in broth(?) (N. E. D.)

[226] Wonder.

[227] Qq. _with such_.

[228] Spices.

[229] A variety of plums.

[230] Confectionery.

[231] Lamprey(?) (Ward).

[232] Fressingfield.

[233] Pitchers.

[234] Jointure, or jointress.

[235] Estate (Gayley).

[236] Degree.

[237] Till.

[238] Qq. _Lempster_ (phonetic).

[239] Strutting, swelling.

[240] Hang loosely (N. E. D.).

[241] Qq. _forward_.

[242] Ephemera.

[243] Premature.

[244] Friar Bacon’s cell.

[245] Halbert.

[246] Till.

[247] With a pun on _coursed_ and _fares_, goes.

[248] At Court.

[249] Excessively.

[250] Friar Bacon’s cell.

[251] Venture.

[252] Bout.

[253] Britons(?) bloods(?)

[254] Doomed.

[255] Freesingfield.

[256] A lewd woman.

[257] Foolishly.

[258] Friar Bacon’s cell.

[259] Trimmings or facings.

[260] Pack.

[261] Of froth.

[262] The Court.

[263] This prophecy refers, as usual, to Elizabeth.

[264] Lower.

[265] So Dyce. Qq. _first_.

[266] Uncivilized.

[267] Forthwith.

[268] Viceroy.

[269] Confounded.

[270] Care.

[271] Rule.

[272] Dissolve.

[273] Persons of state.

[274] May Jove.

[275] Investiture.

[276] Early edd. read _of Medea_.

[277] The curtle-axe (Fr. _coutelasse_) was not an axe, but a short curved sword, the modern cutlass.

[278] Invaluable.

[279] Valuable.

[280] Fine.

[281] Trunks.

[282] Merchantmen.

[283] Lower their flags.

[284] Partner.

[285] Early edd. _noble_.

[286] Originally the height to which a falcon soared; hence for height in general. Here it means the shoulders.

[287] So Dyce. Early edd. read _snowy_.

[288] Gate.

[289] Scurvy.

[290] Spies.

[291] Surpass. Early edd. read _stop_.

[292] Nemesis, who had a temple at Rhamnus in Attica. (Bullen.)

[293] The white mark in the target at which the archers aimed.

[294] The peg in the centre which fastened the clout.

[295] Ed. of 1605, _apeece_.

[296] Booty.

[297] Requite.

[298] Dyce emends to _fate_.

[299] Artery.

[300] Rule.

[301] Preys.

[302] Algiers.

[303] Pashas.

[304] Christians who have abjured their faith.

[305] The Mediterranean.

[306] The Black Sea.

[307] Subjection.

[308] Deeds.

[309] Astonished.

[310] Sticks. Ital. _bastone_.

[311] Seraglio.

[312] Huge.

[313] Dash to pieces.

[314] Floating.

[315] Qq. _our_.

[316] Perhaps in the sense of “decoy.” Ellis suggests “light” from Fr. _lueur_. Dyce conj. _air_.

[317] Contemptuously used of a woman.

[318] Early edd. add _and slay_.

[319] Defeat. Early edd. read _soile_.

[320] Plundering.

[321] Zante. (Bullen.)

[322] Gibraltar.

[323] Biscay.

[324] Pieces of ordnance, so called from their fancied resemblance to the fabulous serpent of that name. (Cunningham.)

[325] Trisyllabic here.

[326] Demogorgon.

[327] Vain-glorious, boastful.

[328] Early edd. read _stature_.

[329] Dyce conj.

[330] Slices for broiling.

[331] Hinder.

[332] Until.

[333] Band.

[334] Holding out his sword.

[335] Expecting.

[336] Free.

[337] Shore: Fr. _plage_. Early edd. read _place_.

[338] First two edd. read _hower_.

[339] Early edd. _value_.

[340] Pity.

[341] Prayers.

[342] Moderate.

[343] Frightened.

[344] Later edd. emend to _Reflexed ... their_.

[345] Early edd. read _submissions_.

[346] Court.

[347] An antidote distilled from poisons. (Bullen.)

[348] Sorrow.

[349] Dissolved.

[350] Idea of defeat.

[351] Distil.

[352] Emend. Dyce. Early edd. read _stopt the tempest_.

[353] Conj. Collier. Early edd. read _lonely_.

[354] Early edd. _martch_.

[355] Emend. Dyce. Early edd. read _weeds_.

[356] Emend. Dyce. Early edd. _aie_. Qy. _die_?

[357] Bent back.

[358] Vomit.

[359] _I. e._ eyes.

[360] Slave.

[361] Dissolve.

[362] Early edd. read _our celebrated_.

[363] Confound. But Hannibal was victorious at Lake Trasumennus, B.C. 217.

[364] For applause.

[365] Roda, in the Duchy of Saxe-Altenburg, near Jena.

[366] The garden of scholarship being adorned by him.

[367] Knowledge.

[368] An allusion to the myth of Icarus, who flew too near the sun.

[369] Teach publicly.

[370] Aim.

[371] Logic.

[372] This is Mr. Bullen’s emendation of Q₁ _Oncaymaeon_, a corruption of the Aristotelian phrase for “being and not being.”

[373] “Where the philosopher leaves off, there the physician begins.”

[374] This and the previous quotation are from Aristotle.

[375] Medical maxims.

[376] Announcements.

[377] “If one and the same thing is bequeathed to two persons, one gets the thing and the other the value of the thing.”

[378] “A father cannot disinherit the son except,” etc.

[379] Of Justinian, under whom the Roman law was codified.

[380] Q₁, _Church_.

[381] Its.

[382] The Vulgate.

[383] Excels.

[384] Q₃, _tire my_.

[385] Idea.

[386] Emend. Dyce. Qq. _skill_.

[387] The Netherlands, over which Parma re-established the Spanish dominion.

[388] A ship filled with explosives used to blow up a bridge built by Parma in 1583 at the siege of Antwerp.

[389] The famous Cornelius Agrippa. German Valdes is not known.

[390] Cf. Virgil, _Aeneid_, vi. 667.

[391] American Indians.

[392] Q₄, _spirits_.

[393] Troopers. Germ. _Reiters_.

[394] Versed.

[395] Roger Bacon.

[396] Perhaps Pietro d’Abano, a medieval alchemist; perhaps a misprint for Albertus (Magnus), the great schoolman.

[397] Fine point.

[398] Before Faustus’s House.

[399] “Thus I prove”—a common formula in scholastic discussions.

[400] “‘_Corpus naturale seu mobile_’ is the current scholastic expression for the subject-matter of Physics.” (Ward.)

[401] Puritan.

[402] A Grove.

[403] Every star belonging to.

[404] Planets.

[405] “Be propitious to me, gods of Acheron! May the triple deity of Jehovah prevail! Spirits of fire, air, water, hail! Belzebub, Prince of the East, monarch of burning hell, and Demogorgon, we propitiate ye, that Mephistophilis may appear and rise. Why dost thou delay? By Jehovah, Gehenna, and the holy water which now I sprinkle, and the sign of the cross which now I make, and by our prayer, may Mephistophilis now summoned by us arise!”

[406] “For indeed thou hast power in the image of thy brother Mephistophilis.”

[407] Twist in anagrams.

[408] Heaven and hell are indifferent to him.

[409] Sorrowful.

[410] Inform.

[411] Study.

[412] A street.

[413] Beards cut to a sharp point (Fr. _pic-à-devant_).