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THE CHANGELINGTHOMAS MIDDLETON & WILLIAM ROWLEYDirecH by DECLAN DO NELLAN and Deslgned by NICK ORmEROD - 2(Xl6
Dramatis Personae
BEATRICE [Joanna] daughter to VermanderoDIAPHANTA her waiting womanISABELLA wife to Alibius
VERMANDERO father to BeQtriceTOMMO de Piracquo a noble lord \' ALONZO de Piracquo his brother, suitor to BeatriceALSEMERO a nobleman, aftenrvards married to BeatriceJASPERINO his friendALIBIUS a jealous doctorLOLLIO his manPEDRO friend to AntonioANTONIO the changelingFRANCISCUS the counterfeit madmanDEFLORES servant to Vermandero
MADMENTWO SERVANTS to AlsemeroA SERVANT to Vermandero
The Scene: Alicant
NOTESHighlighted links in the footnotes do work if you are viewing this on a computerThe original text may be viswed at: http://www.tech.orc/-clearv/chanoe.htmlTomazo: Daalder cites William Power, "Middleton's Way with Names," Notes & Queries 205 (1960) regardingthe reasoning for certain characler names; some of the following interpretations are more convincing thanothers: e.9., 'Tomazo" may allude to a doubting Thomas.Alibius: "he who is elsewhere'Franciscus: "Frenchman, a free and thus licenlious man" 'Deflores: "deflowerer;" most editors spell his name "De Flores," but I haJe retained the quarto spelling.Beatrice: "she who makes happy' (ironic)Joanna: 'the Lord's grace" (ironic)Diaphanta: l) "the diaphanous one," 2) "the red hot one"lsabella: "God has sworn," "yellowish white," bella = beautyAlicant: Alicante is a port on the east coasl of Spain, 75 miles south of Valencia.
\
Acts and Scenes
314243243444658687685
1.11.22.12.23.13.2
A street near the harbourA room in Alibius's houseA chamber in the castleAnother chamberA nanow passageA vaultA room in Alibius's houseA chamber in the castleAlsemero's chamberA chamber in the castleA room in Alibius's houseA gallery in the castleA chamberAlsemero's chamber
93102
3.33.44.14.24.35.15.25.3Epilogue
105116a
^
NOTESThe Changeling was licensed for performance by the Lady Elizabeth's Servants at the Phoenix; it wasgranted by the Master of the Revels, Sir Henry Herbert, on May 7, 1622. One of the elements of its plot mayfind its source in a translation of Gerardo The Unfortunate Spaniard by Leonard Digges, whach was enteredfor printing less than two months earlier, on March 11. lf Digges's book was truly a source, then TheChangeling (or at least part of it) was composed very quickly. lt was first pdnted in quarto in 1653. ltsnumerous editors include Charles Dilke (1814-15), Alexander Dyce (1840), A. H- Bullen (1885), WilliamNeilson (1911), Martin Sampson (1915), Schelling & Black (1948), Hazelton Spencer (1948), N. H. Bawcutl(Revels, 1958), Matthew Black (1966), George Williams (Regents Renaissance Drama, 1966), Oavid Frost(Selected Plays of TM, Cambridge, 1978), Loughrey & Taylor (Five Plays, Penguin, 1988), and Joost Daalder(New Mermaids, 1990). Of these editions, the introductory comments of Loughrey & Taylor and especiallyFrost offer excellent starting points for critical inquiry into Middleton in general, and those of Daalder for TheChangeling in particular. As of this writing, I am reading The Changeling and the Years of Crisis, 1619-1624:A Hieroglyph of Britain by A. A. Eromham and Zaca Bruzzi, an intriguing political perspective.Of all of Middleton's plays, The Changeling is probably the one mosl oflen discussed and most highlyregarded, and deservedly so. This level of achievement, however, is made more interesting by the simple factof collaboration; that Middleton and Rowley should produce in collaboration a piece superior to most of theirindependent works testifies to their close, sympathetic relationship as writers. Deflores and Beatrice are, tomy mind, two of the most psychologically intricate characlers of this time. And even though the two plots arequite separate until the very end (when Antonio and Franciscus are accused of Alonzo's murder), the playoperates as a seamless whole in terms of theme and symbolism. (l will occasionally mention thematicelements in the separate notes below, but the mountain of available criticism will best address the play'sthematic unity.) Textual analyses assign Rowley the first act, the final scene, and the Alibius subplot (a littlemore than half the word-count), and Middleton the remainder.A changeling is variously defined as: 1) a fairy child, often ugly or mentally deficient, substituted at birth(sometimes applied to the stolen child),2) any person substituted for another in secret, 3) an inconstantperson, one given to change, 4) a fool or simpleton. As the characters at the end of the play begin todelineate for themselves, every one of them has altered him/herself or been involved in some form ofsubstitution. One might approach this play by way of our modern penChant for tales of suspense, by treatingits title (as much as it can be) as a gerund: The Changing. Doing so calls attention to not only the variousforms of transmutation, but also the ways in which these forms are intenelated (e.9., love and madness) andthe psychological motivations at work in the characters and in ourselves.
2
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ACT 1 SCENE 1: A STREET NEAR THE HARBOUR
EnteTALSEMERO
ALSEMERO:
Enter JASPERINO
JASPERINO:
ALSEMERO:
JASPERINO:
'Twas in the temple where I first beheld hef;'-
And now again the same; what omen yet
Follows of that? None but imaginary.
Why should my hopes or fate be timorous?
The place is holy, so is my intent:
I love her beauties to the holy purposel,
And that methinks admits comparison
With man's first creation, the place blest2,
The church hath first begun our interview
And that's the place must join us into one,
So there's beginning and perfection3 too.l-
Ed1 are you here? Come, the wind's fair with you;
Y'are like to have a swift and pleasant p*aage.
Sure y'are deceivdd, friend; 'ti+eontrary
ln my best judgment.
What, for Malta?
lf you could buy a gale amongst the witchesa,
They could not serve you such a lucky pennyworths
As comes a' God's name6.
lmarriage' the Garden of Eden. Paradise3 i.e., a perfect circle. This heavenly image is juxtaposed to the barley-break circle of hell which uttimatelycircumscribes them.a witches could supposedly influence the weather; cf, The Witch Lii, Macbeth l.iii, W;bster and Rowteys ACure for a Cuckold lv.ii.I bargain' in God's name, freely, as opposed to the witches' bargain
3
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ALSEMERO: Even now lobsert'd
The temple's vaneT to turn full in my face:L< "t "dn\ " I know I*against me.
JASPERINO: Against you?
Then you know not where you are.
ALSEMERO: Not well indeed.
JASPERINO: Are you not well, sir?
' ALSEMERO: Yes, Jasperino,
Unless there be some hidden malady
Within me that I understand not.
JASPERINO: And that
.'< I begin to doubts, sir; I never knew
Your inclinations to travels at a pause
At sea I have seen you weigh the anchor,
Be in continual prayers for fair winds;
And have you chang'd your orisonss?
ALSEMERO: No, friend,
I keep the same church, same devotion.
I geatner-vane, a symbol of changeability
" prayers
(/
4
JASPERINO: Lover I'm sure y'are none: the stoiclo
Was found in you long ago; your mother
Nor best friends, who have set snares of beauty,
Ay, and choice ones too, could never trap you that way.
What might be the cause?
ALSEMERO: Lord, how violent
Thou art: I was but meditating of
t;. -, 9"l?yjitl heard within the temple.
. , ; '] i \ '' The seamen call; shall we board your trunks?
ALSEMERO: No, not today.
a
\
JASPERINO: Well, your pleasure.
EnteT BEATRICE, DIAPHANTA, and SERVANTS. ALSEMERO gTEEtS BEATRICE ANd
kisses her.
Al,. ^uo''JASPERINO: [Aside] How nowl He is chang'd sure: salute a woman? He kisses too:
wonderfullWhere learnt he this? And does it perfectly too; in my
consciencel\rd ne'er rehears'd rlbetorg^ay,go on, this will be
stranger and better news at Valencia than if he had ransom'd half
Greece from the Turkl2!\-
BEATRICE: You are a scholar, sir.
ALSEMERO: A weak one, lady.
BEATRICE: Which of the sciences is this love you speak of?
'o one who represses passions and emotions, from the ancient philosophical school of Athens founded byZeno (335?-265? B.C.)" Upon my word12 Greece was part of the Ottoman Empire from '1460 to 1830.
5
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ALSEMERO:
BEATRICE:
ALSEMERO:
BEATRICE:
ALSEMERO:
BEATRICE:
t-+ las|, Sdall L 4^b- ,l.uep, J
From your tongue I take it to be music.
You are skillful in't, can sing at first
And I have shoWd you all my skill at once.
I want more words to express me further
And must be forc'd to repetition:
I love you dearly.
Be better advis'd, sir:
Our eyes are sentinels unto our judgments,
And should give certain judgment what they see;
But they are rash sometimes, and tell us wonders
Of common things, which when our judgments find,
They can then check the eyes, and call them blind.
But I am further, lady; yesterday' he-p- &na3Was mine eyes' employment, and hfther-new.
They brought my judgment, where are both agreed.
'Both housesla then consenting , ",ffi,laclsOnly there lYaf,+s the confirmation
)By the hand royal; that's your part, lady.
I A^!|.. ^ PaLaz, J'' & 4,t! r/k'+ e |]i,.oi
Teberecalfdl Sure. mine eves were mistaken: -zwr2. (,r:t t 1a., .i-., p:re-i to Aoaro dt ?.rort,to
Thigwas the man was meant me. That he should come, F.L
htj.n 4, a
So near his time. and misfil!
" ll sight-read music, 2) vow love at the first meeting; cf. Troilus and Cressida V.ii.r1 an allusion to the Houses of Parliament, Lords and Commons, representing sight and judgment15 one above me: lf Beatrice is the sovereign (the "hand royal" that makes a Parliamentary b-ill a law), then theauthority above her is her father, or God.'" five days past: Beatrice was engaged to Alonzo five days before.
6
1 C,-o- olos ;oni"o si -e-le- ,ly | #U'
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1
"*ASPERINO:
Enter DEFLORES
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
f{,d a,*
ALSEMERO:
lAsidel Yondcr's affi c bc lanl'*pr*e1l,.down.goes her topsaills!
Lady, yourfather--
ls in health, I hope.
Your eye shall instantly inshuct you, lady.
He's coming hithenivard.
What needed then
. Your duteous preface? I had rather
He had come unexpected; you must stallle
A good presence2o with unnecessary blabbing:
And how welcome for your part you are,
I'm sure you know.
To follow still whilst she me?Well,
Fates do your.worst, myself with sight
Of her, at all
lf but to
me dead than living, and yet
knows no cause fo/t but a peevish will.
You seem'd displeas'd, lady, on the sudden.
'] laMul prize: a vessel which may legally be captured'] down goes her topsail: a sign of a ship's sunender's stall: 'l ) forestall, 2) make stale] good presence: i.e., the impressive bearing of her father'' [Willt]; Wi[ (O)" One side nor other: one way or another
1
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BEATRICE:
BEATRICE:
,.Your pardon, siftis my infirmity,
Nor can I other reason render you
3 Than his or hers, [ofl23 some particular thing
ALSEMERO: This is a frequent frailty in our nature;::f: - - - --- -- ----. -:-- --- &4
They must abandon as a deadly poison,
Which to a thousand other tastes were wholesome;
Such to mine eyes is that same fellow there,
The same that report speaks of the basilisfa.
cT6era+searcea man amongst a thousandi6cnd25
pdJht.J6r b", l^rna,\ g l*p,t tEut hath his^impede€ti€+;one^dis,taetes
The scent of roses, which to infinites26
t *ttt l Most pleasing isand+deritcrcus.
A".xt-d*'6F. thsenemv of ooison.l
Anotty[winenthe cheerer of the heart'o,
And ljvely refresher of the countenance.-fi-uy ^h q.*",+ndei*thii:fault, if so it be, is general:
There's scar@ a thing but is both lot'd and loath'd;
Myself, I must confess, have the same frailty.
And what may be your poison, sir? fam boldTithyeu.
*
a lofl: or (Q)
21 basilisk: in legend, a reptile whose breath and look were thought to be fatal; it was supposed to looksomewhat like a lizard, have black and yellow skin and fiery red eyes, and be hatched by a serpent from acock's egg. Cf. Cvmbeline ll.iv, The Wintels Tale Lii, 2 Henrv Vl lll.ii, 3 Henrv Vl lll.ii. lllustration from EdwardTopsell's The History of Serpents (1608); "basilisk" is Greek for "king," hence the crown.'" sound: Some editors emend to'Tound" on the argument that Alsemero's statement is selfrontradictory,and that the f was mistaken for a long s. The quarto reading, however, makes perfect sense: the men may behealthy, but they're not perfect.
'o infinites: an infinite number of people'' oil: a medical unction28 wine, the cheerer...countenance: cf. Psalm 104:'15, "And wine that maketh glad the heart of man, and oil tomake his face to shine...".
8
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ALSEMERO:
BEATRICE:
ALSEMERO:
BEATRICE: }
What might be your desire perhapsp+he*qf.
I am no enemy to any creature 1 /
My memory has but yon g€fut. s<-,v)/U /e 41^
He does ill to tempt your sight, if he knew it.
I
He cannot be ignorant of that, sir;
I have not spadd to tell him so, and lwanlsTo help myself, since he's a ge_ntleman
ALSEMERO: He's out of his place then now. '
;
6.
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-+ASPERINO: ,
+h€€4t
Enter VERMANDERO and SERVANTS
BEATRICE: My father, sir. (.,
VERMANDERO: ' bh, Joanna, I came to meet thee.
Your devotion's ended?.+,
1. BEATRICE: For this time, sir.'
loside] I shall change my saint35, I fear me: I find
A giddy turning in me.-Sir, this while
I am beholding to this gentleman
Who left his own way to keep me company,
And in discpurse I find him much desirous
To see your castle: he hath deseMd it, sir,
lf ye please to grant it.
VERMANDERO: With all my heart, sir.
Yet there's an article betweens: I must know
Your country. We use not to give survey
Of our chief strengths to strangers; our citadels
Are pladd conspicuous to outward view
On promonts'37 tops, but within are secrets.
ALSEMERO: A Valencian, sir.
e
s saint: from lhe heavenly one of the church to an earthly one in Alsemero; cf. "lips'saint,, in V.iii..- article between: pre-condition"' promonts': promontories'
\b
10
O (L-- )( (\ aA^ c-Lr6(-/', t t -
./-O hc"n q
-
,a
q Valencian?
That's native, sir; of what name, I beseech you?
Alsemero, sir.
Alsemero? Not the son
Of John de Alsemero?
The same, sir.
My best love bids you welcome.
fsiaefte-was-wonf-
Un@truttr
Oh, sir, I knew your father.
Before our chins were worth iulan down38,
And so continued till the stamp of time
Had coin'd us into silverrWell, he's gone; i '
A good soldier went with him.
You went togethefs in that, sir.
No, by Saint Jaques4o, I came behind him;
Yet I have done somewhat too. An unhappy day
Swallowed him at last at Gibraltar
ln fight with those rebellious Hollandersal,
Was it not so?
ALSEMERO:
VERMANDERO:
ALSEMERO:
VERMANDERO:
-AE#FR+€[=
VERMANDERO:
ALSEMERO:
VERMANDERO:
t
P/
s iulan_down: the first growth of beard, coined from the name of Aeneas's young son, lulus Ascanius (AeneidItr itself derived from the Greek ioulos. first groMh of beard"" went together: were his equal* Saint Jaques: St. James the Greater, the patron saint of Spain"' An unhappy day...Hollanders: The Netherlands, under the dominion of Spain at this time, defeated them inthe Battle of Gibraltar on April 25, '1607. on Aprit 8, 1609, the Treaty of the Hague ("the tate league") began a
VERMANDERO:
-
Ve-rr, (\,
€ *(./€r.cL
ALSEMERO:
VERMANDERO: Ay, ay, 'twas time to breath.
e{q Joanna,hj bnde,
l,alrro,AWhose death [Sd reveng'd,
Or followed him in fate, had not the.leb league
Prevented me.
lot tttt-
o deJloor^ a.^1. .,nat b/o+l.t/
Lnr,,r.J.lto'[Aside] That's ill news.
He's hot preparing for this day of triumph;
Thou must be a bride within this sevennight.
{*rlidr}++*
Nay, good sir, be not so violent; with speed
I cannot render satisfaction
Unto the dear companion of my soul,
Virginity, whom I thus long have liUd with,
And part with it so rude and suddenly,
Can such friends divide never to meet again
Without a solemn farewell?
Tush, tush, there's a toya2.
[Aside] I must now part, and never meet again
With any joy on earth.-Sir, your pardon,
My affairs call on me.
1
\1-
A|s4/fl e ! O
BEATRICE:
VERMANDERO:
-*ESEMERo:-
BEATRICE:
VERMANDERO:
ALSEMERO:
t\
twelve-year truce; Spain had been suffering defeats elsewhere, and therefore desired peace ("'twas time tobreathe").'2 toy: trifle: cf. The Witch ll.i, Anvthino for a Quiet Life lll.i.
t2
O 7o..^ * A1 o /^6&
VERMANDERO:
ALSEMERO:
BEATRICE:
VERMANDERO:
ALSEMERO:
VERMANDERO:
BEATRICE:
VERMANDERO:
O
How, sir? By no means;
Not chang'd so soon, I hope? You must see my castle
And her best entertainment ere we part;
I shall think myself unkindly us'd else.
Come, come, let's on; I had good hope your stay
Had been a while w.ith us in Alicant;
I might have bid you to my daughte/s wedding.
t " / r.-,\.[Aside] He means to feast me, and poisons me beferehand.-
I should be dearly glad to be there, sir,
Did my occasions suit as I could wish.
I shall be sorry if you be not there
When it is done, _sir, but not so suddenly.
'.. 'l' ^' a )r - qI tell you, sir, the,.gentleman'/ complete,/,1?"a:'o,:'1 ra1,/r,r/A=eo#*tcfi dj.[gailad, e n rich'd
With many fair and noble ornaments; i'I would not change him for a son-in-law
For any he in Spain, the proudest he,
And we have great ones, that you know.
He's much
Bound to you, sir.
He shall be bound to me,
As fast as this tie can hold him; I'll want
My will else.
[Aside]@Nd I )^^ll l^cL ,1t^e ;{ ,1a... c{o
But come, by the way I'll tell you more of him.
9
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@ v<t,, e---ctra'cto '&t*o'
ALSEMERO: [Aside] How shall I dare to venture in his castle,Jent|. --'l ,i lto. va:' .1': " -'
When he aisctrarg€s miffderersplatthe-gate?
But I must on, for back I cannot go.
D€rLoR€s : I s[ot\ h- x,{ ,{" a.dud ;o^z lsr.rlL\f '
€ murderers: small cannon loaded with grapeshot; the word is ironically foreshadowinga serpent: Deflores, continuing the Gard;n of Eden imagery-" thy glove's fall'n: probably dropped as a token of love for Alsemero, although Daalder sees it as Beatrice'sunconscious sexual invitation to Deflores. The blocking possibilities revealing whatever motive she has arenumerous.* favour: 1) kindness, 2) love{okena7 sockets: finger-holes of the glove, with the sexual innuendo
t4
BEATRICE: [Aside] Not this serpent44 gone yet? [drops a glove]
VERMANDERO: Look, girl, thy glove's fall'nas;1) Sfqera+ Deflores, help a little. ,(c,.t At-< **c
A.'.,,tt..L l" !tr't-" .:, ..r.' ' Exeunt VERMANDERO, ALSEMERO, JASPERTNO and SERVANTS
DEFLORES: Here, lady.
[He hands Beatrice her glove]
BEATRICE: Mischief on your offlcious fonrvardness;
Who bade you stoop? They touch my hand no more:
There, for t'other's sake I part with this;
[takes off other glove and throws it down]
Take 'em and draw thine own skin off with 'em.
Exeunt. [Manet DEFLORES.]
DEFLORES: , / Here's a favoura6 come with a mischief: now' I I know she had rather wear my pelt tann'd
,, .' l
. ! , ,ln a pair of dancing pumps than I should
. , i Thrust my fingers into her socketsaT here.
I know she hates me, yet cannot choose but love her;,lL.), ,,
,, tr ,.;,.. .:,.Exit.
!"{
(''- Y c
Tc
a
^
\JASPERINO: (-^/y master seems to hold your mistress dear
How obedient were we then to serve the other well.
V DIAPHANTA: This is the strangest sense of duty, sir.
L*u* ,( /^J ,^tshpsJ
JASPERINO: I am a mad wag, wench.
DIAPHANTA: A little poppy, sir, were good to cause you sleep.
,i
JASPERINO: Poppy? l'll give you a pop l' th' lips for that first, another time l'll show
thee all. I could show tn:"*:lgn a thing tna(@0
*tlrn" the maddest blood i'th'townQ+66ap
ffiint1U*U lt ''75DIAPHANTA: For your comfort I can tell you we have a doctor in the city.tteruns a
madhouse, the wonder of all Spain.
JASPERINO: Tush, I know what physic is best for the state of mine own body.
DIAPHANTA:' I Wscarce
a well-gov"rn'o #-
a0 compound: with sexual innuendo; cf. "pounded" in lll.iiia' physic: medical science
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I ACr I scENE 2: A RooM rN ALTBTUS's HoUSE
Enter Alibius and Lollio.
Low r,ud or ,-, I--\ALIBIUS: -Lollio, I must trust He with a secret,
LOLLIO: I was ever close to a secret, sir.
ALIBIUS: The diligence that I have found in thee,
a Assures me of thy good loyalty.\iW,l have a wife.
LOLLIO: Fie, sir, 'tis too late to keep ne, a secret. il
ALIBIUS: Thou goest too tast,at!)ffi: that knowledge
I allow no man can be [barr'd]1 it;
lalli6, My wife is young and I am old and there's the fear,
man.
I would keep my ring on my own fingeF;
lf it be borrowed it is none of mine,
But his that useth it.
'j"^"'^:.LOLLIO: You must keep it on sir, should you neglectit someone Uelse may be thrusting into't.
ALIBIUS: Thou understand'st me, Lollio; here thy watchful eye
Must have employment. I cannot always be at home.
LoLLlo: t oaresfu?5r you cannot.
ALIBIUS: I must go out.
1 [barr'd]: bar'd (O)
'I would wear my ring on my own finger: with the sexual puns on vagina and penis; cf. YourFive Gallants ll.iv, The Familv of Love ll.iv, The Merchant of Venice V.i. This is a comicversion of an issue treated seriously later regarding Alonzo's ring.
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LOLLIO:
ALIBIUS:
LOLLIO:
ALIBIUS:
LOLLIO:
ALIBIUS:
The daily that come to seCMy brainsick I would not have
LOLLIO: Your fears may be easily esuagred, sir. lf the gallants
come to see the fools and.madmen, you and I may serve ./Y.-,"4,-rthe turn/'an++e+rfom#ebne. -i :.* -'+='-'
2,tt3 Supply my place: with the unintended sexual implication, which later Lollio aftempts torcahzea two sorts of people in the house: fools were born simple-minded, madmen went insane laterin life: daily visitants: Citizens often visited madhouses for entertainment.b shrewd: wicked, mischievous; cf. The Old Law V.i.
I know't, you must go out, 'tis like for every man.
And this must now thy new employment be.
To watch her treadings, and in my absence
Supply my place3. .)."
't- :
rs'l'll do my best, sir;ryet surely I cannot see who
you should have cause to be jealous of.
Thy reason for that, ldf,s? 'Tis a comforting
question.
We have but two sorts of people in the housea, and
both under our rule, that's fools and madmen; ///
Ay, those are all my patients, Lollio.
I do profess the cure of either sort:
My trade, my living'tis, I grow by it.
But here's the gall that poisons our good care:
To see my wife. Gallants I do observe,. fia* freov, a+1 Of quick, enticing eyes, rich in habits,
alA.r{, Jl 1/'X('d'' of stature and proportion u.ry "o*ay,ff
:'lirl l*-k* lor-,4. Thesearemostshrewdotemptations, Loltio. ^ ^
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ALIBIUS: 'Tis a good answer. lndeed, come they to see
-totEi& ffi
Enter Pedro and Antonio like an idiot.
(., PEDRO: Save you, sir, my business speaks itself;
This sight takes off the labour of my tongue. \.l -
ALIBIUS: ')Ay, ay, sir,
'Tis plain enough, you mean him for my patient.
PEDRO: [Giving Alibius money]
Our madmen or our fools: let 'em see no more
Than what they come 8rt,ii""fir",,nd"r to"t@d]ke r.
C\ni. is the costs of diet, washing, and other necessaries
fully defrayed.
ALIBIUS: Believe it, sir, there shall no care be wanting.
LOLLIO: -- Sir, an officer in this place may deserve something; \.,the trouble will pass through my hands.
PEDRO: [Giving Lollio money]
'Tis fit something should come to your hands then,
sir.
LOLLIO: Yes, sir, 'tis I must keep him sweets, and read to
him; what is his name?
7 consequent: conclusion" sweet: clean. sweeLsmelling
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PEDRO: His name is Antonio; ,"rrr?*" use but half to him,
only Tonye.
"''ou,Il:" " t't.i)!t aori
' 'l:.n,,5t' ,$ot \^an' r& su' l^^"e o* '*a! fi; "''4LOLLIO: TonylTony,'tis enough@ ,.,od rr&A
feefjwnats your name, ?ffi
ANTONIO: ()le, ne, he; well, I thank you, cousin, he, he, he.
LOLLIO: Good boy, hold up your head. He can laugh; I
perceive by that he is no beastto.
PEDRO: Well, sir,
lf you can raise him but to any degree of wit
A great family might pray for you,
ion
+4e+-+gefitl€ma*
LOLLIO:' .I"y,ry.Atfirstsightlknew him for a gentleman.ll /i
PEDRO: Let him have good attendance and sweet lodging. l
r1.,
$
\LOLLIO: s you
allow us time and means, we can raise him to the
higher degree of discretion.
PEDRO: Nay, there shall no cost want12, sir.
e Tony: This name became synonymous with "fool," due in part to the popularity of TheChanoelino.
'o Heian Lugh; I perceive by that he is no beaslr Aristotle believed that man's ability to laughdistinguished him from other animals.r1 At first sight I knew him for a gentleman: Lollio is commenting not on his politeness, but onhis social standing; he is undoubtedly poking fun at the gentry, but he may also be aware ofAntonio's disguise from the start.'' no cost want: all expenses paid
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+ettto: He will hardl'. be etretoh'd Ep to the wit of a magnificol3.
PEDRO:
ee.eneugh
a -,1
LOLLIO: lwarrant yoJ^['ll]14 make him as wise as myself.
i-lPEDRO: Why, there I would have ii afra so leave you:\_'-J
your best cares, I beseech you.
ALIBIUS: Take you none with you; leave'em all with us. -)!_,-
Exit Pedro.
ANTONIO: Oh, my cousin's gone; cousin, cousin, oh! 'l
LOLLIO: e"".", p""Sny: you must not cry, child; you
must be whipp'( if you do. Your cousin is herer,r,_..r Jo..^ d
still; I am your Cousin, Tony.
ANTONIO: He, he, then l'll not cry, if thou beest my cousin,
he, he, he.
\-/
rA . ALIBIUS: You were best try his wit a little, that we may know'/ what formls to place him in.
olwill sir.LOLLIO:
ALIBIUS: -. You must ask him easy questions at first.
LOLLIO: Tony, how many fingers have I on my right hand?
13 magnifico: a Venetian magistrate, and by extension any high-ranking person': I warrant you ['lll: lle warrant you (Q)15 form: class
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ANTONIO: As many as on your left, cousin.
ALIBIUS: This was too deep a question for the fool, Lollio.
LOLLIO: ./. Once more and you shall go play, iony.
ANTONIO: Ay, play at push-pin15 cousin, ha, he.
LOLLIO: So thou shalt; say how many fools are here.
ANTONIO: Two, cousin, thou and l.
LOLLIO: Nay, y'are too fonllrard there, Tony; mark my
question: how many fools and knaves are here? A fool
before a knave, a fool behind a knave, between every
two fools a knave, how many fools, how many knaves?
ANTONIO: I never learnt so far, cousin./ r
ALIBIUS: Thou puft'st too hard questions to him, Lollio.
Make hirn.understand it easily-
LoLLto: OJftil stand there.
ANTONIO: Ay, cousin.
LOLLIO: Master, stand you next the fool.
ALIBIUS: Well, Lollio.
LOLLIO: Here's my place. Mark now, Tony: there a fool before
16 push-pin: 1) a child's game, in which each player pushes his pin with the object ot crossingthat of another player, 2) slang for sexual intercourse
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ANTONIO:
LOLLIO:
I.tMADMAN:
2Nd MADMAN:
3,d MADMAN:
LOLLIO:
ALIBIUS:
I"tMADMAN:
ANTONIO: We three, we three, cousin.p L^rc .lla,^r-t
Madmen shout from within.
a knave.
That's l, cousin.
Here's a fool behind a knave, that's l, and between
us two fools there is a knave, that's my master;
'tis but we three17, that's all.
Put's head i'th' pillory, the bread's too littlel8!
Fly, fly, and he catches the swallowls!
Give her more onion, or the devil put the rope about
her crag2o!
You may hear what time of day it is: the chimes of
Bedlam2l goes.
Peace, peace!
r
Cat whore, cat whore, her parmasant, her parmasanP2!
17 we three: Dilke notes the allusion to the sign ot two idiots' heads with the legend "Wethree," implying that the viewer is the third.1E the bread's too little: possibly a complaint that they are not fed well enoughl] Fly, fly, and he catches the swallow: "Fly and you will catch the sparrow'' was proverbial." crao: neck
'' Bellam: St. Mary of Bethlehem Hospital, the lunatic asylum just outside London (for itslocation, consult the map in the notes for A Chaste Maid n Cheapside). Strictly speaking,Lollio is not saying that Bedlam and Alibius's asylum are one in the same; but here Alicant isa thinly veiled representation of London (as are the scenes of many Elizabethan andJacobean plays), and audiences were meant to think of Bedlam in particular. Bedlam in itsmodern sense (i.e., chaos) was actually in use in the early sixteenth century, which is why atits second mention ("the pleasures of your bedlam," lll.iii) I have made it lower-case. Thedefinition at its third mention ("You bedlam!" lV.iii) is "lunatic."
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ALIBIUS: Peace, I say! Their HX,t
come, they must be fed, Lollio.
Go to your charge, {ffi, I'll to mine.
LOLLIO: Go you to your madmen's ward, let me alone with your
fools.
ALIBIUS: And remember my last charge, Lollio. 1'-.'
LOLLIO: Of which your patients do you think I am? iI
Exit Alibius. Y
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ACT 2 SCENET: A CHAMBER IN THE GASTLE
Enter Beatrice and Jasperino severallyT6.
BEATRICE: Oh, sir, I'm ready now for that fair service
Which makes the name of friend sit glorious on you.
Good angels and this conductTT be your guide;
Fitness of time and place is there set down, sir.
[She hands him a paper.]
The joy I shall return rewards my service.JASPERINO:
Exit.
BEATRICE: How wise is Alsemero in his friend!
It is a sign he makes his choice with judgment.
Then I appear in nothing more approv'd78
Than making choie ot him;t'
+er'@;Fhat$€so@+rovesnros@rH{Gr.Methinks I love now with the eyes of judgment
And see the way to merit, clearly see it.
A true deserver like a diamond sparkles: \'ln darkness you may see him, that's in absence,
Which is the greatest darkness falls on love;
Yet is he best discern'd then
With intellectuar@"i9dJvn"tg piracauo, o,-. My father spends his breath for? And his blessing 7/
ls only mine as I rcgraCJrisrarrso, 'ali.:jtt ,:.' -' I
76 severally: separately, i.e., from different entrances" conduct: a Dass with directions
]l approv'a: proven; cf. A Trick to Catch the Old One lll.i, The Phoenix l\/.ii, A Chaste Maid in Cheapside .i./s discre€t iudiciouse regard hii name: obey his (Vermandero's) will24
;t/
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Elsef goes from me, and turns head81 against me,
Transform'd into a curse.€omespeeCy+ay
-ieinstbe-rernernberede; he's so fonirrard too, - \S0,,.,.r ln a.i-t d]la! / u;i t.d cLrs.oL ''<o'
So urgent that way^srylialfots me breath6 l},l o^.r
giTo speak to my new
D€FLo1?€5r----1
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1) 25
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Enter Deflores.
DEFLORES: [Aside]Yondefs she.
tl What ever ails me? Now alate especially
I can as well be hang'd as refrain seeing her;
Some twenty times a day, nay, not so little,
Do I force errands, frame ways and excuses
To come into her sight, and I have smal! reason fodt,
And less encouragement; for she baitss3 me still
Every time worse than other, does profess nersen f//.iThe cruelest enemy to my face in town, (
'/
At no hande can abide the sight of me,
As if danger, or ill luck, hung in ,y foofiilr\x, I must confess my face is bad enough,,l--
But I know far worse has better fortune,
l/,,e )*- Aadqptsuch pick-hai/d8s faces, chins like witches',
Here and there five hairs whispering in a corner,
As if they grew in fear one of another,
Wrinkles like troughs, where swine deformity swills
The tears of perjury that Iie there like wash86,
(p-*- F^*x
J'"'ql $ ffJT Yrt!-t*" l?sl f,vfu o/ o €car o-.-.,'' - ' t
Yc+caeha.cati[pluckftsT sweets withbut restraint,{.' i!i
t' turn head: oppose an enemyt' Some speedy way/Must be remembered: I must think of a way out of this quickly* baits: taunts* At no hand: on no accounts pick-hai/d: with a bristly but thin beards wash: watery discharge87
[plucks]: pluckt (Q)
yt)
\-/
\-.
\An
25
,,
'
Though my hard fate has thrust me out to servitude,
I tumbled into th' world a gentleman.
She turns her blessed eye upon me now,
And I'll endure all storms before I part with 't.
BEATRICE: 4qaint [Aside] This omfnous ill-fac'd fellow more disturbs me
Than all my other passions!
- A3a"' )
DEFLORES: [Aside] Now't begins egain;
l'll stand this storm of hail though the stones pelt me.
BEATRICE: Thy business? Whafs thy business? Y
-€EFL€RES:--*lft3lif,e|$otan+tair-lcannortTattg-SOUrrnOW:-
t nlt 'tcBEATRICE: " [Aside] The villain'sf*t-Thou standing toad-poolse!
!-\
.Lb
DEFLORES: [Aside] The shower falls amain now.l/
BEATRICE: Who sent thee? What's thy errand? Leave my sight!
DEFLORES: My lord your father charg'd me to deliver
A message to you.
BEATRICE: What, another since?
Do't and be hang'd then, let me be rid ot tneel
DEFLORES: True service merits mercy.
* the grace of beauty to his sweet: the blessing (i.e., that said before a meal) of her being beautiful for hisdesert8s standing toad-pool: stagnant and foul water in which the sun supposedly bred toads and other loathsome,venomous crealures. Deflores probably has a skin disease.
26
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fi[t,.cio.n a^L sois poalo lres
? TO
*/
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
What's thy message?
Let beauty settle but i
A dallying, trifling torment!
Signior Alonzo de Piracquo, lady,
Sole brother to Tomazo de Piracquo-
Slave, when wilt make an end?,' t'
Too soon I shall.
What all this while of him?
The said Alonzo,
With the foresaid Tomazo--
Yet again!
fs+ery-a$rEd . fi ^,^,ts -' ' ' .) -' '' (- LA { L
ta ' *t -tt 't't-/-
Vengeance strike the news!
Thou thing most loath'd, what cause was there in this
To bring thee to my sight?
My lord your father
Charg'd me to seek you out.
ls there no other
To send his erranii by?
^3
BEATRICE:
27
You shall
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15
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DEFLORES:
BEATRICE:
DEFLORES:
Exit Deflores.
BEATRICE:
It seems 'tis my luck
To be i' th' way still.
Get thee from me.
So.
[Aside] Why, am not I an ass to devise ways
Thus to be rail'd at? I must see her still;
I shall have a mad qualm within this hour again,
I kno#t, and like a @mmon Garden bull$,
I do but take breath to be lugg'dsl again.
What this may bode I know not; l'll despair the less
Because there's daily precedents of bad faces
Belov'd beyond all reason. These foul chopse2
May come into favour one day 'mongst his fellows:
[Wranglin$ has proVd.the mistiEss ot good pa)yme; I
As children cry themselves asleep, I ha' seenTl
Women have chid themselves abed to men
[a,I never see this fellow but I think
QL some harm towards me: dange/s in my mind still;
I scarce leave trembling of3 an hour after.
I'll get him quite discard
Lost in this small disturbance
Affliction's fiercer tonent that now comes,
To bear down all my comforts!
s Garden bull: Bull-baiting was held at lhe Paris Garden, an arena near the Globe Theater in Southwark.el lugg'd: pulled by the eai or hair. baitede2 chops: cheekse3 of: for
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28
The next good mood I find my father in
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f ) Enter Vermandero, Alonzo, Tomazo.
VERMANDERO: Y'are both welcome,
But an especial one belongs to you, sir,
To whose most noble name our love presents
The addition ofa son, ourson Alonzo. )
ALONZO: The treasury of honou# cannot bring forth
A title I should more rejoice in, sir.
d"f-'-tt I
VERMANDERO: You have improt'd it well. Daughter, prepare;
The day will steal upon thee suddenly. ,' r \_/
-€E#TR}€E ,
ffii
[Vermandero and Beatrice talk apart.]
ToMMo: A Alonzo.
ALONZO: Brother.
TOMMO: ln troth I see small welcome in her eye. V
ALONZO: Fie, you are too severe a censureff
Of love in all points; there's no bringing onsT you. l)lf loverc should mark everything a fault,
Afiection would be like an ill-set book,
Whose faultss might prove as big as half the volume.
s treasury of honour: list of honorific titless keep the night: i.e., not allow Alonzo to consummate the maniage. Frost cites various biblical allusions;Daalder remarks on the irony that Beatrice proceeds to deny herself to Alsemero.* censurer: judge; cf. A Chaste Maid in Cheapside V.iv, The Familv of Love Preface, Anvthino for a QuietLife EDilosue, Your Five Gallants ll.i, A Trick to catch the old one lll.i.
-lrin'gind on: persuadin$ *itil the p,GIiSEiGi6nEEErually e*citings faults: printing errors29
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BEATRICE:
VERMANDERO:
ALONZO:
TOMMO:
ALONZO:
TOMAZO:
ALONZO:
TOMAZO;
That's all I do entreat.
It is but reasonable; a)I'll see what my son says to't. Son Alonzo'"' '
Here's a motionss made but to repriev////A maidenhead three days longer;
Though my joys
Be set back so much time as I could wish
They had been fonivard, yet since she desires it,
I find no gladness wanting.
W"tt-')Sondid you mark the dullness of her parting now'7
What dullness? Thou art so exceptiousloo still.
Why, let it go then; I am but a fool
To mark your harms so heedfully.
Where's the oversight?
Come, your faith's cozenedrol in her, shorigly cozened;
Unseftle your affection with all speed
Wisdom can bring it to, your peace is ruin'd else.
Think what a torment tis to marry one
Whose heart is leapt into another's bosom:
vERMANDERo: y Y'are nobtywetcome,@'* *'a(^.,^11r, .., l'l oo:L *'p c,,' 1o 'L , fionn^
Exeunt Vermandero and Beatrice. (,)
.tO .
s motion: proposal, specifically a formal legal appeal; cf. A Fair Quarrel l.i.
'lo exceptilus: prone io mating obiections'"' cozened: cheated
.LO
30
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t)u^ + k^ * 1.4 ,xJ-l o."- x l" N-A-lo *'"
L5
lf ever pleasure she receive from thee,
It comes not in thy name, or of thy gift.
She lies but with another in thine arms,
He the hatf-father unto all thy children
ln the conceptionlo2; if he get 'em not,
She helps to get'em for him in his passions,
How dangerous and shameful her restraint may go in time103,
ls not to be thought on without sufferings.
You speak as if she lot'd some other then.
Do you apprehend so slowly?
Nay, and that
Be your fear only, I am safe enough;
Preserve your friendship and your counsel, brother,
For times of more Oistes{7/snould depart//
An enemy, a dangerous, deadly one
To any but thyself that should but think
She knew the meaning of inconstancy,
Much less the use and practice; yet dare friends.
ALONZO:
TOMAZO:
ALONZO:
1)
Fleumrucfrw"are-E6ffid to heaven to degartlwinglyl-
lExit.I
TOMAZO: Why, here is love's tame
Quickly steals into his vexation.
IExit.]
'02 conception: The double nature of this word, impregnation vs. ideay'concept, explains this passage, thatalthough the lover is not actually begetting the children, they are partly his because the woman is thinking ofhis love for her, and not her husband's, in the act of procreation. "ln his passions" has been variouslyexplained; Williams drops this phrase, but it provides the necessary clarification of conception,'0" how dangerous...in time to: how dangerous and shameful her behavior will eventually become if she iscontinually restrained
31
Then I am not myselFFarewell, sweet brother;
aAletrcto,. aGt /1!^]€h - \' e'\
Y n'.rth- vah Poaio i' ato
5/6J rxo.s 1t9'5
D(
-#r DC-
CALLS
D( rDL l U\L /"*rl I
i
LALLS
C^4- ^r,lL
tL
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#*
_lt-I
I
ar<o I
ACT 2 SCENE 2: ANOTHERGHAMBER
Enter Diaphanta and Alsemero.
DIAPHANTA:c^wJ.
The place is my charge; you have kept your hour,ar r"aocr^.&
And the reward of +iu€il meeting bless you.
I hear my lady coming; complete gentleman,
I dare not be too busy with my praises,
Th'are dangerous things to deal withlff.
t'L
d).,
ve Exit.le
f----l/ Thislgoes well.
These women are the ladies' cabinets;IA
Things of most precious trust are [lock'dios] idr 'em.
ALSEMERO:
Enter Beatrice.
BEATRICE: ' I have within mine eye all my desires;
Requests that holy prayers ascend heaven for
And brings 'em down to furnish our defectslm
Come not more sweet to our necessities
Than thou unto my wishes.
ALSEMERO: Ware so like
ln our expressions, lady, that unless I borrow
The same words, I shall never find their equals.
BEATRICE: How happy were this meeting, this embrace,
lf it were free from envyl07! This poor kiss,
It has an enemy, a hateful one
'* Th'are dangerous things to deal with: probably because of Beatrice's jealousy, possibly because of herown attraction to Alsemero1T
!ock'dl: lock (Q)'* brings 'em down to furnish our defects: gifts from heaven that supply us with what we lack'o' envi: enmity
32
(^r--1 1
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l
)
L
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i t y4va.t*t'-t d" cl,..a.L:I i --Y
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13
v
*
ALSEMERO:
BEATRICE:
ALSEMERO;
BEATRICE:
That wishes poison to't. How well were I now
lf there were none such name known as Piracquo,
Nor no such tie as the command of parents!
M
One good service
Would strike off108 both your fears, and l'll go near it too,
Since you are so distress'd: remove the cause,
The command ceaseslm; so there's two fears blown out
With one and the same blast.
Pray let me findl1o you, sir.
What might that service be so strangely happy?
The honourablest peace 'bout man, valour.
I'll send a challenge to Piracquo instantly.
How'? Call you that extinguishing of fear
When 'tis the only way to keep it flaming?
-go-net+eu-nen-venture-in-mqctien*
-nrll.rnfj@ir-Say you prqvail'd, [you're]111 dange/s and not mine:
The law wduld claim you from me, or obscurityl12
Be made the grave to bury you alive.
I'm glad these thoughts come forth; oh, keep not one
Of this conditionl13, sir! Here was a course
Found to bring sorrow on her way to death:
The tears would ne'er'a' dried till dust had chok'd 'em.
Blood-guiltiness becomes a fouler visage,
.9/
1f strike off: remove the fetters caused by1@ remove the cause,/The command ceases: from the scholastic commonplace, "Remove the cause and theeffect ceases"110 find: understand111
[you'rel: your (Q)1t2 obscurity: i.e., as a fugitive from the law' '' one/Of this condition: one thought of this (dangerous) kind
33
(
Lx
And now I think on one-- [Aside] !was too blamella:
t ha' marr'd;S*1X#o11s with my scorn.
'T had been done questionless. The ugliest creature
Creation fram'd for some use'16, yet to see
I could not mark so much where it should be.
Lady.
[Aside]Why, men of art make much of poison,////
Keep one to expe! another; where was my art?'
Lady, you hear not me.
! do especially, sir;
The present times are not so sure of our side
^ .
As those hereafter may be; we must use'em tlp-rt'1
As thrifty folks their wealth, sparingly now 'k' i
Tillthe time opensl17.
You teach wisdom, lady.
Within there, Oi"pf/rnt, f {
Do you call, madam?
Perfect your service, and conduct this gentleman
The private way you brought him.
v
ALSEMERO:
BEATRICE:
ALSEMERO:
BEATRICE:
ALSEMERO:
BEATRICE:
Enter Diaphanta.'' ,
DIAPHANTA:
BEATRICE:
"l bhme: blameworthy; cf. The Witch ll.ii, A Trick to Catch the Old One ll.i.115 man'd so good a marl.<et spoileO a good opportunity; proverbial"o The ugliest creature/Crbation fram'd for some use: from the traditional doctrine that everything in natureserved some purpose; cf. Women Beware Women l.ii."'opens: becomes more farorable
34
O r$s led;^ttt-- 'Eno i
C , ^IG L (-,r C!-
sfl ":L..,.1
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A ltuct on
3
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14
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DIAPHANTA:
ALSEMERO:
BEATRICE:
DEFLORES:
One, ten, one hundred, one thousand, ten thousand,
Now do I look to be most richly rail'd at,
Yet I must see her.
- D.l t,,r ..' lniiael Why, put case122 I loath'd him' As much as youth and beauty hates a sepulcher,
Must I needs show it? Cannot I keep that secret,
And serve my turn upon him123?€ee;+e.+@-
Deflores.
[Aside]@,.She call'd me fairly by my name, Deflores,
@
118 sery'd: with the sexual innuendo, frequent in this play; in fact, Beatrice has iust asked Diaphanta to"perfect her service" (complete her duties), but lronically Diaphanta will later do so \rvith Alsemero onBeatrice's wedding nightrr9 point: 1) decimal point, 2) penis
ll0 sutler: 1) a camp-follower who sells supplies to an army, 2) whore''' army royal: a very large military force"2 pul case: suppose, with a possible'slxual pun (case = vagina); cf. A Chaste Maid in Cheaoside ll.i, YourFive Gallants lll.ii.
-"e.e
.y turn upon him: use him for my own purposes 3 5
\5
\ Exeunt Diaphanta and Alsemero. Enter Deflores.
DEFLORES: [Aside] lfrve watch'd this meetirf, {nd do wonder much
I shall, madam.
My love's as firm as love e'er built ,@-:
What shall become of t'other; I'm sure bop,,""-s!, s
Cannot be sery'dl18 unless she transgre{s. happilyrn .1J ho.{,-
Then I'll put in for 6ae: for if a woman
Fly from one point11e, from him she makes ahusband,/
She spreads and mounts then like arithmetic,
Proves in timeiiffi"o to "n "rrv@i!
CrrzI
I
C'.'t- ke- re-
Lr(r,6 x_lI D.o , frls e-^<,L ua; d a't
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w S(
,1.7
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ctt
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D-f ..-- a. ep<c,,A
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(f'.ly
rlr I I
-- 1""01lnA LL
-ffi r.'"*1,
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no
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
/ ._
1 What ha' you doner'
To your face alate? Y'ave met with some good physician;
Y'ave prun'd124 yourself, methinks: you were not wont
To look so amorouslyl2s.
lAsidel Not l;
@andpimpE@'fourago.-
ffi()
Come hitheinearer, man.
[Aside] I'm up to the chin in heaven! '-
Turn, let me see. l
Fah! 'Tis but the heat of the liver127, I perceive 't.
I thought it had been worse.
[Aside] Her fingers touch'd me;
She smells all amberl28.
l'll make a water, for you shall cleanse this
Within a fortnight.
With your own hands, lady?
Yes, mine own, sir; in a work of cure,
I'll trust no other.
9/
l2a orun'd: oreenedttu amorously: attractive, like a lover
ll] pnysnomy: physiognomy''' liver: traditionallv the seat of violent passionst28 all amber: of amiergris, perfumed
5u
36
...
t/,t6#1t'
' "
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t
(^r1 ]r-1 ',) \t
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j
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C W 'l'^"'r) Q'
O fr, o x 'l' bop , t d/aoL "l'*t
gtov-, 6^ do'ot^
-€EFIORES* @-ffi
BEATRICE: ) Wtren Ware us'd\-"/ r-,<v!
To a hard face, 'tis not so unpleasing;
It mends still in opinion, hourly mends:
I see it by experience.
DEFLORES: [Aside]Iwas.thstT+ligh{"{msa.ih*eminutct+1++altettee-ea+
BEATRICE; Hardness becomes the visage of a man well;
It argues service, resolution, manhood,
lf cause were of employmentl2s.
- DEFLORES: 'Twould be soon seen,
lf e'er your ladyship had cause to use it.
I would but wish the honour of a service
So happy as that mounts to.
\P/
/\BEATRICE; _,.-tAeitelf$eehe&Sryoe--
Oh, my Deflores!
DEFLORES: [Aside]M \'/She calls me hers already, my Deflores!-
You were about to sigh out somewhat, madam.
BEATRICE No, was l? lforgot. Oh!
DEFLORES: There'tisagain,
+trevery+lte*oatt""
12e employment: with the sexual innuendo, also frequent in this play3'7
O A^^ n C, Tlawt cha,- rl*
D.*'
O 6o-^ o '{" d!4u-
ct-N,J> dr-.1 d loh',^- k ka*
I
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFIORES:
You are too quick13o, sir.
Qfnere's no excuse for't, now I heard it twice, madam:
That sigh would fain have utterance. Take pig on't
And lend it a free word; 'las, how it labours
For liberty! I hear the murmur yet
Beat at your bosom.
Would creation-
//Ay, well said, that's it. //
1/
Had form'd me man131.
Nay, that's not it.
Oh, 'tis the soul of freedom !
t,
V>
:\
5r
I should not then be forc'd to marry one
I hate beyond all depths; I should have power
Then to oppose my loathings, nay, remove'em
Forever from my sight.
=ef;Uecffint-[Knqeling] Without change to your sex, you have your wishes.
Claiin-Sd much man in me.
BEATRICE; ln thee, Deflores?
There's small cause for that.
DEFLORES: Put it not from me;
It's a service that I kneel for to you.
r3o quick: perceptive'"' Had form'd me man: cf. the remarks of another Beatrice, in Much Ado about Nothinq lV.i.
38
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*-(" r
Mi>>
N
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Sp"e.ll/)^&"/'
Mc Alea-
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St [5" Lxe\ j' (
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po^P, Lrttco
C h^p, x C '{- Dz$to'*"
W+ boclt-
l"lr-, d+
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d)^*,('
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C 6^r. J S c- cJ; a."",
l)-$,{, f q, Nb S""on
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BEATRICE: You are too violent to mean faithfullyl32;
There's horror in my service, blood and danger:
Can those be things to sue for?
,?/
DEFLORES: -" .lf you knew
BEATRICE:
How sweet it were to me to be employed
ln any acl of yours, you would say then
I fail'd and us'd not reverence enough
When I receive the charge on't.
l'A6k*el+hi$is+{.€h,.Methr.,r.c; bctike his urante+e{FcldTFt€
ffi33.--Rise.
l'll have the work first.-/6; :', """^.r*, "v'r
(r.,*;!siwtt^" ^ Aa.,^l t a,'t t"""$
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
e*tt, "'^4
Ct
r1)J
f
9132 to mean faithfullv: to intend honest service133 anoels'food: minna'* forirvard: committed, courageous
lAsidelf 9sspltli=-n*O+ s1,X t-Ad F^'t;' :1.1.,'. ' !. -1.:. r !-4,, '
. [Offdring him money] There's to encourage thee;
f)n. tno, art forwardls and thy service dangerous,
Thy reward shall be precious.
That I have thought on;
I have assu/d myself of that beforehand,! And know it will be precious: the thought ravishes!
Then take him to thy fury.
I thirst for him.
Alonzo de Piracquo.
39
J--( \t'lt
&. p*^^ b^& ,[A
{5-,- +frrn x .1" dr^lL
W )( htrb'{^ 6t SL o h o'^'
&a * u&* C *i"li ca't1**-
Ooo
LJ
DEFLORES : [Rises.] His end's upon him; he shall be seen no more.
BEATRICE: How lovely now dost thou appear to me!
Never was man dearlier rewarded.
DEFLORES: ! I do think of that.
BEATRICE: Be wondrous careful in the execution.
DEFLORES: Why, are not both our lives upon the cast135?
BEATRICE: Then I throw all my fears upon thy service.
DEFLORES: They ne'er shall rise to hurt you.
BEATRICE: When the deed's done,
l'll fumish thee with all things for thy flight;
Thou may'st live bravelyls6 in another country.
DEFLORES: Ay, ay, we'll talk of that hereafter.
a)t-'/BEATRICE: [Aside] I shall rid myself of two inveterate loathings
At one time: Piracquo and his dog-tae. //,,, uExit.
DEFLORES: Oh, my bloodl37l Methinks I feel her in mine arms already,
Her wanton fingers combing out this beard,
And being pleased, praising this bad facel
Hunger and pleasure, they'll commend sometimes
rl5 cast: throw of the dice; cf. Your Five Gallants ll.iv, The Witch l.ii, lll.ii.rl bravely: splendidly; cf. The-otd Law lli, The Witchlf7i76ino for a Quiet Life t.i."7 blood:'sexual oeiire; ct. rhe-.lQ&Ltelg tv--.ii, rn. pno"ni, rr.l lll.i, A ChasteMaid in Cheaoside l.i & ll.i, A Yorkshire Traoedv ii & iv.
40
3tt
v
o
O i.o r'.DCr !( Ej1dr-.s \r+ h.o,--4
n ft]g^1;oa 1114 go'l'of -c? ' ,
l<.u-n r I
a' ( ,.4- l7'"''u Poato t'tnoi
I
I
alq Lxa rt. - 15 .lJ
nLDC
sND 1
l31dishes and feed heartily on 'em,
Nay, r daintier
Some women are odd
-Here corne*thema n
-JeteMffiornsnow-to hi+<tinne*-
Enter Alonzo.
ALONZO:
DEFLORES:
ALONZO:
DEFLORES:
ALONZO:
DEFLORES:
ALONZO:
DEFLORES:
My kind, honorable lord.
I am glad I ha' met with thee.
Sir.
Thou canst show me the full strength of the castle?
That I can, sir.
I much desire it.
And if the ways and straits of some of the passages
Be not too tediousl4 for you, I will assure
You worth your time and sight, my lord.
ALONZO: Puh, that
Shall be no hinderance.
ls Slovenly: lewd'"" supperless: i.e., he will be killed very soon, before the evening meal (it is now time for dinner,aftemoon meal)
"o tedious: troublesome
the
4L
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UK- a)
(' nr'''"i':" "J d6b-/ *;\ )os'
I
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ry:T##'--l
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L'- DEFLORES: I'm your servant then.
'tt' Sisnow-near@rislngUt(\ r(nave the keys about me.
ALONZO: Thanks, kind Deflores.
..DEFIORES:
Exeunt. ln the acttimela2 Deflores hides a naked rapier.
1al 'gainst your lordship's rising: before your lordship rises from the dinner table142 act-time: the interval between the acts, during which music was often played
*
42
O 2"4 pid-c, *,f )c;.s)'*/
("
)
ACT 3 SCENE 1: A NARROW PASSAGE
Enter Alonzo and Deflores.
DEFLORES: ,/ Yes, here are all the keys;'l was afraid, my lord,
I'd wanted for the posternla3: this is it.
' I've all, I've all, my lord: this for the ffi1{.
ALONZO: 'Tis a most spacious and impregnable fort.
DEFLORES: You'll tell me more, my lord. This descent
ls somewhat narrow we€hall {q€r,€+ pass-
:$ileltwithourreapons; theytFb,trfffile-us:-r
T\ALONZO: Thou saystkud. \
'Tt*is eo,J-tl :;a"it 1oo Jc.^-'> e /'4- 11; "3 tJDEFLORES: Pray let me help your lordship.
I
'Tis done. Thanks, *ind Deflores.ALONZO:
DEFLORES: [-Her€€rc+rooffiUang€ueh-thl€g$ee-purposff i
...>
\-/ALONZO: Lead, l'll follow thee.
Exit at one door and enter at the other.
'43 postem: side or back door"t sconce: small fort or earthwork
'P
43
S tbJ
Ak ^cio"1
Lxot( - l6'5c L/rI_ di-a- ci - sers
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Del A'o' aort
Cc* d)-e- gi -5si3 4"1L
---
As S,o;.l doa a/L-.| --= --- L-2.5fLv<- di-c - ci -seii po,'rro t,,^ - ,o +':
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ACT3 SCENE 2: A VAULT
DEFLORES:
ALONZO:
ALONZO:
DEFLORES:
ALONZO:
DEFLORES:
ALONZO:
DEFLORES:
All this is nothing; you shall see anon
A place you little dream onlas.
I am glad
I have this leisure: all your master's house
lmagine I ha' taken a gondola.
nno "o "rrfistabs
him.l
5t"
DEFLORES: All but myself, sir,
My lord, I'll place you at a casementlG frere,
Will show you the full strength of all the castle.
*+nkspenffiject.
Here's rich variety, Deflores.
Yes, sir.
Goodly munition.
Ay, there's ordnancelaT, sir;
No bastard metalls will ring you a peal like bells
At great men's funerals. Keep your eye straight, my lord;/lia ^l 9 Cc' ^oaTake special notice of thatte&ee before you,
There you may dwelllae awhile.
I am upon't.
ty'* A place you little dream on: i.e., the grave16 casement: window147 ordnance: artillery. llluslration from Robert Ward's Animadversions of War, 1639: A petard. lts head wasfilled with gunpowder and set against the defensive structure; the device was then anchored (A), and the fuselit. The fellow running away is avoiding being "hoist on his own petard" (Hamlet lll.iv).14 bastard metal: metal with impuritiesr's dwell: 1) rest your eyes upon, 2) remain in, afrer your murder
44
ql\
A> A-!, G-^"!q Alo bS
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5 trt, sN'D& lr +
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ALONZO:
DEFLORES:
ALONZO:
DEFLORES:
Deflores, oh, Deflores,
Whose malice hast thou put on?
- Do
Xol, question
. A work of secrecy?{-mt shilen€e{€u. [Stabs him.]
Oh, oh, oh!
-{.musfsieneeVeu, [Stabs him; Alonzo dies.l
4 So, h"r"'" an undertaking well accomplish'd.
This vault serves to good use now. Ha! What's that
Threw sparkles in my eye? Oh, 'tis a diamond
He wears upon his finger: it was well found,
This will approvelso the worlj,
[He tries to take the ring off.]
What, so fast on?
Not part in death151? l'll take a speedy coupe then:
Finger and all shall off. [Cuts of nis nnf,er.flSo, now l'll clear,.1
The passages from all suspect's2 or,fear.
\t7
Exit with body. /'
t'tl Lzc -&1 L,-^-..{,C
1...r,{-i'
'' approve: provide proof of"' What, so fast on?/Not part in death?: 'This emblematic detail was added by Middleton [to the originalprincipal source, The Triumphs of God's Revenge against the Crying and Execrable Sin of Murder by JohnReynoldsl. The cleaving of ring to finger attests the binding nature of the betrothal contract, which onlyunnatural murder can cut through; even then, the contract cannot be annulled" (Frost). As Daalder notes,qeflores briefly refers to the wedding ceremony.'"' suspect: suspicion
J* )
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I sruO t34 I
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o.. .\y/
\ ,',,. J\.,)I i)-' ACT3 SCENE 3: A ROOM lN ALIBIUS'S HOUSE
( '\ Enter lsabella and Lollio.
ISABELLA: Why, sirrah? Whence have you commission
To fetter the doors against me? lf you
Keep me in a cage,
Let me be doingls3 something.
-LOttiC ,Yo$shallbedoingq-if+pleaseryeu;
'" j L'ultnd':ISABELLA: ls it y'e*maste/s pleasure, or your own, \i
To keep me in this compoundls?
LOLLIO: 'Tis for my masters pleasure, lest you might be poundedlss in another
place. , .
10 . ISABELLA: \,, ' 'Tis very well, and he'll prove very wise.)//
LOLLIO: He says you have company enough in the house, if you please to be
sociable, of all sorts of people.
ISABELLA: Of all sorts? Why, here's none but fools and madmen. vLOLLIO: Verywell:#rvhere+vi{lleudnd-anyethe++eyocstrcut+ge
abroadl 59? Ihereb nryrnasterand-ttoboo{^too.-
ISABELLfl: Of either sort one, a nradrran and a f6ol.
'l'.'
LOLLIO: I would ev'n participatelsT of both then if I were aS !ou: I know y'are
half mad already; be half foolish too.
'ut doing: with the bawdy innuendors pinfold: a place for confining stray livestock; cf. Anvthino for a Quiet Life V.ii.'55 pounded: with the sexual in-nuendors abroad: out of the house
46
'l^-il ls ''L-,-r GJJ
t'l-t UrL",tls-
t 5)atl" bo-.1 s o- da.,v-
7 S.t ;o ".* - '{'* SL
LM^" 41, ag.^t dat-.
)s"Wo "lie-,t
L .-R cho,,. "a.l'
LAho / ,!., ^* Jo"|.
AA ttJa 1 eQdt
a
IS$BELLA:
LOLLIO:
ISABELLA:
LOLLIO:
Y'are a brave, saucy rascal! Come on, sir,
Afford me then the pleasure of your bedlam; '
You were cQmmending onc€ today.to me
Your last come lunatic: what a froperffi h.A'jrri've
Body there was without brains to guide it,
ffi-ln"thatdefeet'a+ifyeur.urisdom had founfA mirthin+adnees. Pray, sir, let me partake
lf there be such a pleasure.mlr.ik {, vcn sc+'a
i . .i
lf I do.not show you the handsomest, discreetest madman, one that I
may call the unffianding madman, then say I am a fool.
well, a matcl@ill say so.
[Exit.] eo "u- i I
lWithinl Come @,let me see how,harJdsomely you'll beharrc
yourself now.
b>
Enter Lollio, Franciscus.
L&lio'- ,rdtnr, s* "t"J,*-FRANCISCUS: How sweetly she lookslnOh, but there's a wrinkle in her brow as deep
as philosophy. Anacreon, drink to my mishess' health; l'll pledge it.
Stay, stay, there's a spider in the cup!
L"e c,.-
157 participate: share in the nature of'* proper: handsomet5e shooting a bolt: alluding to the proverb, "A fool's bolt is soon shot". lllustration: Woodcut from SamuelRowland's satiric pamphlet A Fool's Bott ls Soon Shot (1614).
'* Anacreon, drink...lift higher: The Greek poet Anacreon supposedly died by choking on a grape-stone whiledrinking wine. Spiders were believed to be poisonous.
41
A ryt,ttt
S,b tP) /t6 +/f/hL
U,Lt" @ cD
sN0 l+
(o+c. La1,^" @ Pla,Ja-/
I
I
fro-,^
DL] o (7.,. n^l
I )o orrrl<
SL -r*;i LS Lotl
/ t*D tvk
,2
ISABELLA: Alack, alack, 'tis too full of pity
To be laugh'd at! How fell he mad? Canst thou tell?
LOLLIO: For love, mistress.
a{nber'fieid. .
FRANCISCUS: HailbrightTitanial6l!
Why stand'st thou idle on these flowery banks?
Oberon is dancing with his dryads162.
@' *fldffiErse-0ff,oe3y.
LOLLIO
FRANCISCUS:
LOLLIO:
ISABELLA:
ERANG|S€US:
LgTJ.lo-
FRANCISCUS:
BfeBerPet
161 Titania: Titania and Oberon were queen and king of the fairies; cf. A Midsummer Nioht's Dream.162 dryads: wood nymphst63 great Diomed!/Thou feed'st thy horses well, they shall obey thee: The Thracian king Diomed feed hishorses on human flesh.'* Get up: mountrE5 Bucephalus: the horse of Alexander the Great, which only he could ride1s Aesculapius: the Greek god of medicine
4 g
[Showing him a whip[Not too near, you see your danger.
Oh, hold thy hand, great Diomed!
Thou feed'st thy horses well, they shall obey thee163.
You see how I awe my flock? A shepherd has not his dog at more
obedience.
His conscience is unquiet; sure that was
The cause of this. A gentleman.
@irrcr'.
ffi-)i,'
[Rising] Didst thou never hear of one Tiresiasl6], a famous poet?
\$
) {J
-r . ? a.L-q,* D5(J C /-c/n t
t *dt-,*,J
,o
\xo 4,7
LOLLIO:
FRANCISCUS:
LOLL!O:
FRANCISCUS:
LOLLIO:
FRANCISCUS:
+€E$eP
FffiN€#S€tB:
LOLLIO:
FRANCISCUS: :i
z'\\()Yesione that became a wench1ffi.
That's he; lam the man.
No.
Yes, but make no words on't; I was a man seven years ago,
Now I'm a woman, allfeminine.
I would I might see that.
Juno struck me blind.
I'llne'ertefeve'tlrat; for a woman;'they say;'heo eyeLoP morelhan, affil' r
e'And Luna made you mad170; yeu havetw@
Luna is noq big-belliedl72, and there's room
For both of us to ride with Hecate173;
I'll drao thee uo into her silver sohere- -. -- -v _y.JJ{.:+;l_c=? ;-f,-t1;.8, hne eroo
- AneFtherc welt
Ih* barksigaiftst the witches of the night.Vf,"nrrl'
167 Tiresias: the Theban soothsayer (not the poet) who was changed into a woman and then back to a mans€ven years; he was blinded by Juno for saying that women derived more enjoyment from sex.'* tame wild-oeese: orostitutes'un eve: ouderidum170 LLna made you mad: lunatics were made mad by Luna, the moon; cf. The Witch lV.i, The Phoenix lV.i("privileg'd by the moon").lll two trades: blindness and madness; cf. Edgar posing as Tom in Kinq Lear']' oig-bettied: 1) full, 2) pregnant; cf. A Midsummer Niqht's Dream ll.i.,73HLate:thejoddessofwitchcraft@ofthemoon;cf.Hecate,thetitlecharacterof The Witch174Ti;f-lh-;3og, and beat the bush: tlie Man in the Moon was represented as having a lantern, a thornbushand a dog; cf. Anvthinq for a Quiet Life lll.ii, Blurt, Master Constable lV.iii, A Midsummer Nioht's Dream V.i.
49
\,/
o,\X
r) s( 6J St''r'D 0- 15 -tT
J, uJL c)-ro-il /50^
O Las + K J- d'e,L-
[^^ x- l, t-'r S L '(, 1:o
o
6ox
( To
-tottns
irn-rtorArJx&g{€{,vs'd"dngrerous:
The swift lycanthropilTs
[Beats Lollio.] __..'
Is;n]la $c-vr<a'*'rO
@thenfny-poison comes'fo@-indeekbu€e'your"keepetr [Shovts hirn the whip]
&*OL , nn*/^get into Your hole.(r *1"str"e'-'
i s,o ! .i;i'J't/'b
6(Lr,z f ou )wr
Cousin, is it not my auntlz6?
Yes, 'tis one of 'em, Tony.
He, he, how do you,@M.q) A*A)'oo'nv *"{l"l
Fearhimnot,mistreSS,@77;youmayplaywithhim,as safely with him as with his bauble178. '- ',
How long hast thou been a fool?
LOLLIO: .x
ffrfrntc.t\cr,'"+Exit Franciscus.
LoLtr orV.-)/
v
v
'\ Enter Antonio.
ANTONIO:
LOLLIO:
ANTONIO:
LOLLIO:
ISABELLA:
ANTONIO:
rsA68-t-A
Ever since I came hither,€eitrsitr. at.r^.k
/f u,tti ("* Aa,.e- ii .tdruJ dtr"ral-
tO
m-175 lycanthropi: madmen who believe they are wolves,ru junt: bawd, prostitute177 nidoet fool
'Tt barible: 1) the baton of the court jester,2) penis;cf. Romeo and Juliet ll.iv.50
skins, and save the sheep,
L,),1i, a* cD (to2<l
SrsDq lS
G*."
Letrx
e 6*. q*L SL
A^V e-ilt S A
1g"L.tA.a ,lr S(
f..-^A y I tn sh, rV
e-ra.J.t- *!;{
- QrA ry Lotti"
cl"f,e-' , No&, fi21,
oo
p^/['.
.1'
O [&i" ;C' A* L sL cL.
Sr..0 c 16
L6ilr" at &on\t-
sNrls /? os- 6Lt9
G,.,n X
A^v __D(.
Dt--l---l
I
C
&ox
L')
ISABELLA:
-i!,^ ^
MADMAN:
ISABELLA:
LOLLIO:
ISABELLA:
ANTONIO:
ISABELLA:
ANTONIO:
ISABELLA:
ANTONIO:
ISABELLA:
ANTONIO:
.s'r 'f i'€ousifl? l'm none of thyeousins, fool17s.
[within] Bounce, bounce, he falls, he falls!
Hark you, your scholars in the upper room are out of order.
Must I come amongst you there? Keep you the fool, mistress;
IExit.]
Well, sir. " ''. I' c t"
/r* :,.t.' frrrr ' r.".'nti '. ' t
j' 'Tis opportuneful now, sweet lady! Nay,
Cast no amazingl8o eye upon this change.
Hd 0)l.ot', 1t", -
This shape of folly shrouds your dearest love,
The truest servant to your powerful beauties,
Whose magic had this force thus to transform me.
You are a fine fool indeed.
._ I
!h,'tis not.strans,: ,: , .' :, " ' . ,t,itt, .
,
?'"'- t l' ''"': " " ,': ] "
Y'are a parlous fool.
'd
No danger in me: I bring naught but love
And his soft, wounding shafts to strike you with.
Try but one arrow181; if it hurt you,
l'll stand you twenty back in recompense.
17e Cousin? I'm none of thy cousins, fool: lsabella is offended because cousin was slang for whore.1e amazino: amazedt6' anow: ile., kiss
5\
51
Mar-n l*_ L &r,io exJl_-I
I
I
O Pn,6 ral*.^t$t'* sriCt"15 f*''*'e'*
lsat-xkt.* ,{"c*, *-"
OA^l+x tor**;t' lSl
C fl^l' goe'* J.' rr€r..&*{rr*-t
L6U,o X
Zb)r'// ISABELLA:
ANTONIO:
ISABELLA:
ANTONIO:
ISABELLA:
Enter Lollio.
-TI\TFONIO:
C)A ron ard fool, too.
This was love's teaching, /'A thousand ways he182 fashion'd out my way183/
l
Profound withal. Certain you dream'd of this;
Love never taught it waking.
Take no acquaintance
Of these outward follies; there is within
A gentleman that loves you.
a. yi1t,a.o.,'
-As you arr-agentlerrran,.{ll not diseover4ou;'T-HFafl the favour.that you must expect.
i He, he, I thank you, cousin;
I'll be yourvalertine tomorrow morning. 7
-/
How do you like the fool, mistress?
Passing well, sir.
Arlr,t, i 4T ?tt <- , rousin
ls he not wiftyffifor a fool?
3 pal " '1-lf he hoE+ as he begins, he is like to come to something!
When I see himr- \ 'ld't\ o ' ?&4 u' | .- "'r)[ :f'eenwitffirh;r.sci in the meantime
t/
LOLLIO:
ISABELLA:
_ 1_ ,i'., )
LOLLIO: ^
ISABELLA:
182 he: she (Q)183 fashion'd out my way: taught me, prompted me1u habit: clothes
5Y
52
t^ . ,tI f) lr^ 'l' 7a5v-o-z 4..Je'1\-,/ J
qesrb &ot
-)
-i- I' Il- Bo.^ Ilt
Tb^: l; /"^t GLIfttss k;'a-A
/,Lrs: $,tba*:fLt ll^ro^[t- r (a,]t.a j-
t'\,r tUd-etr.slb^
*t ktt^
i I Lotl e,^v sLi
L411"_ {Int 5'h ^- 1fu;
- nil l hYs Ll)'t'a
iritL/L/'.(^,^,
*
\t1'
Nc-Y
ftu
.tb\
LOLLIO:
ANTONIO:
LOLLIO:
ANTONIO;
,. '' ) j
-
LOLLIO:
ISABELLA:
.' .1,'l-lVfADIlfAN:-
LOLLIO:
ANTONIO:
ISABELLA:
ANTONIO:
Ay, thank a good tutor. You may put him to't; he begins to answer
pretty hard questions. Tony, how many is five times six?
Five times six is six times five.
What arithmetician could have answer'd better? How many is one
hundred and seven?
One hundred and seven is seven hundred and one, cousin.(s..1 bo3 t 6^.( ), . a ",-"'''^ l' , ' / @AJ' tS 16''116r7is 8.6A
+fis-ie-ne-wifteseeale€+. Will you be rid of the fool now'?
By no means; let him stay a little. l [.,", '1. 'n'r^:r "-';- :'i rr s ''l^"\
a
IExit.]
Why should a minute of love's hour be lost?
Fie, out againl I had rather you @t t '1,1
Your other Pseture'. f, 1"./la7e
Enter Lollio above.
'uu Catch there, catch the last couple in hell!: an allusion to the children's game barley-break, in which acouple occupy a middle ground called "hell" and try to catch two other couples as they run through it tochange parlners (or "break"); if caught, players remained in "hell" until the last couple remained. Thisexclamation has thematic implications, as we'll see later.
53
t
Again? Must I come amongst you? Would my master were come
home! I am not able to govern both tnese *arus ,"t*"' "; / '' '
' '" ''
How can he freeze u l, :r-l
Lives near so sweet d watmth?!J
^
E lltJ box
4 ,l rr,-
I
I l+^ " *MfrIU
O L&,{ + , Aav /^il' c
LotUo e-x-& S€'
W c.ra-*L, -k lso- {*r
O L.,nu-" .*L rr(or--
. SV^1t \ ddDl , ^'etL"i.-4
,,O
Ant
[--_l
Ld-U,
s ro€
60/
-tett}e /
ISABELLA:
ANTONIO:
t-le
queitions r^ him Lt 'egiv?th*
You are bold without fear, too.
What should I fear,
Having alljoys about me? Do you smile,
And love shall play the wanton on your lip,
Look you but cheerfully, and in your eyes/I shall behold mine own deformity,
And dress myself up fairer; I know this shape
Becomes me not, but in those bright mirrorsi\
I shall array me/hanqsomely.
1.v\,6,/
tr"
lao }\.*r
ANIONIO:
laughagain.
imitate the beasts and birds,
Enter Lollio.
'86 Cuckoo, cuckoo: indicating Alibius is about to be cuckolded'"' some as birds, others as beasts: "There is no reason to suppose that the madmen are clothed as animals(they are certainly not wearing their costumes for the masque which Alibius has not yet announced); they'imitate the beasts and birds' bv'singing or howling, braying, barking"' Williams).1s conceit: fancy
54
I__1,
9ihgingoFhoudmg, brayuU, .barkjng; al|-./-crstfieirwilf funciespromptttryr.,
l &tl' ,w n-
e3" ".)
,('
s l4r&or
r{u(}.^ .t f"r-
LJAi> X
StDe
. ,,/-
Ad,
s,b
dN l, Wntntuto
fl *l r r''J
l'--RoYt-
ca.t, d
ANTONIO:
ISABELLA:
ANTONIO:
LOLLIO:
ANTONIO:
LOLLIO:
ISABELLA:
Exeunt Lollio and Antonio.
ISABELLA:
Enter Lollio.
LOLLIO:
ISABELLA:
LOLLIO:
fl5 lutabqn*.c t'i'^'-tsutffiaTeru€Tnqmfrrarr
It'.o"'+ X o",r f ov ! ""^
l") 4t JO^/ 'Ja :..'/ ro- t. i'\, /.\t..) tAoft,, ^r,ffiift-
-Md-nrymaster rere @file home; 'tis too much for one shepher+to-I**""***3Come,Tony.
Prithee, cousin, let me stay here still.
No, you have play'd sufficiently.
Your fool is grown wondrous witty.
+tfesr*ays)
,b
G\
l
1
I
Would a
not gad abroad to seek her sin;
It would be brought home one ways or other:
How dost thou, sweet rogue?
How now'?
Come, there are degrees; one fool may be befter than another.
""/
,9
'"" put you down: 1) outwit you, 2) overcome you sexually55
I
l" Lat^o ,sto-^-,- ,ta^' (n*^)
A^v K
D( O A"f *..t: SA
ISABELLA:
LOLLIO:
ISABELLA:
LOLLlO:
ISABELLA:
LOLLIO:
ISABELLA:
LoLu(o'.
What's the matter?
Nay, if thou giv'st thy mind to fools, flesh, have at thee!
[Tries to kiss her.]
You bold slave, you!
I could follow now as t'other fool did:
flmitating Antoniol 'What should I fear,
Having alljoys about me?€o-ytttsmile,
*nd--loveshall play the wanton on your.lip,
L^ook you but cheerfidfg$isysu+€!€slshall-beho,l*minerovwr deformiff ,
@lknowthisshapeBecomes me not--"
Come, sweet rogue, kiss me, let me feel how thy pulses
beat; thou hast a thing about thee would do a man pleasure,
l'll layleo my hand on't. '/
Sirrah, no more! ! see you have discovered
This love's knight-errant, who hath made adventure
For purchaselsl of my love; be silent, mute,
Mute as a statue, or his injunction \ ,tFor me enjoying shall be to cut thy thho{1
I'll do it, though for no other purpose, '/ \And be sure he'll not refuse it.
My share, thats all; I'll have my fool'
v
,(,w
\./
q
lv\ kql.z,.,^) ,
No more: yoUr master!t\
'* lay: 1) place, 2)wager'"' purchase: reward
a\0
Ah,g,*"
56
5 tB,
/3ol
T--l
6oX
5if,. uLl^c-
LXO2o/,ftic,o r G{- vf - '^
-+e
? -rc\I (-
a ,r//
41,t4,,.
r' ) Enter Alibius-
ALIBIUS:
ISABELLA:
ALIBIUS:
Sweet, how dost thou?
Your boundenle2 servant, sir.
Fie, fie, sweetheart,
No more of that.
You were best lock me up.ISABELLA:
ALIBIUS:
ip enl<rto, n 1^;t nout- ^,,
d1!ff? f ' A mixture of our"TjJ" "' ' A mixture of our madmen and our fools7;d: s-qt+
ISABELLA: Y'ave a fine trade on't;
*4admertard fbols are+stapb!99 eomrnedity.
ALIBIUS:
Exeunt.
.,\,{/
.v-
Al ri.a rlu,,.a,'./,t" ''\M,, ,.ol T;ob-. Wmah.eroE;.ur castle=captain,
Hi:tr#iii:'i'I *: - -tn;*uptiar to be soremnis'd, -y
,,i Ji ^^ Jr-, \ *,1 o * i .?,I',*, F"atrice li))rnq n is f a ir d a u g hte1, M.rde,
a-a r^ru c.'jot^t'J.".4o /"'i& ",oi?//.^.,^nili ** ^-l;>-an hrh x-.^^r,^r,;iTr, ; ^^i. ^"t:^1"^t,Y t"'',.1/
Forwhich the bespokels our pains:
.,'c)*,{*aa@-1 To finish,
"yr(tn"r",all the revbh,,' '*-r'4 il#ffiflr,#t \
rtt,^ LtJi) sl^dtl hL fr"4 b'*'*-*-*- --" * -- --?ifa?
d€^i urr4
'!l bounden: 1) bound by duty, 2) imprisoned'f nearly: I ) intimately, 2) closely (like a loc*)t* besooke: commissionedis staple: basic
\trA Valsacia s4"ks so aobj d, Xo '
51
I'll lock thee
We have employment, we have task in'
sifl
lhe r
'/ ,_.1
C (tf <^b
dlr&s*l,v
L.it io U
cD l","^ J-r-lr('- '
\ L e,u o.-
d,toV-
,{I,*\r"
l---fr" ,t--,fu v"n-k 4'{ ^ 'It!tqC fls-
L Jlt'
Y:rryU{L
0oo t Dto
:*4 .*-y'["'' ' '
t,rR':-- --"--_
Sl.,./
(, I{../'tt\ '+ + e.* .lOL[)..) '- 5;'^al
rtBncioa c!,^4 ue. ,h -)c poatr ''tn o
J a'^{ .J.-in-fu uJ^o
.\ l/r" LxG to.l + 2ls^tD 20
6ox
)(
v(.
&ox
D<
Lf7o.ltte-ta'ft p,.to g.no 5,---] ."0 ro ffc,.
f ffi-,!,*--+.I C^ro- ,o-; -h-
aLr -*/ t'..l I
_y_t____l
ACT3 SCENE 4: A CHAMBER ]N THE CASTLE
Enter Vermandero, Alsemero, Jasperino, and Beatrice.
VERMANDERO:
I
ALSEMERO:
VERMANDERO:
ALSEMERO:
VERMANDERO:
Exeunt. Manet Beatrice.
BEATRICE:
Valencia speaks so noblV of yor23ir,
I wish I had a daughter now for fru.
The fellow of this creature were a partner
For a king's love.
/I had her fellow once, sir, /
But heaven has manied her lo joys eternal;
'Twere sin to wish her in this valel$ again.
Come, sir, your friend and you shall see the pleasures
Which my health chiefly joys in.
t hear the beauty of this seatlsT largelyle8.
So, here's one step
lnto my fathe/s favour; time will fix him.
I have got him now the libefi of the nouse,/7'
So wisdom by degrees works out her freedom.
nna ifi#fte"v6'es be darkened tha+e#ends.me--
I wait but that eclipse-this gentleman
Shall soon shine glorious in my fathef,likinO,
Through the refulgenPm virtue of my l6ve.
;;ilff'H";":',;"i ;:"i"[*,, .r*df :-
dV\'/
,$
De ?Lo&(<1s vale: i.e., vale of tears1s7 seat: residence's largely: 1) enthusiastically praised, 2) everywhere I go
'* that eye: Alonzo's, with the scriptural allusion, 'And if thine eye offend thee, pluck it out' (Matthew 18.9).2@ refulgint: resplendent
58
s r41
Alpnu a*
ryq 2l'5cu4- \iC-in- }L t no
1: , rflj -r-L&-l exJ
o
pona" cca'ro
A[ucto^
*.4':.,/: Cue ue-il-lc utno z*t*o1 t ct)'co ,lo1i
stry LxaL? - 23
SNOXICr^L rtt- tn- le doS
cu{ ue - th -'lt &es
- C".r-: ve-ei+e- Aos + iN D 2 I
er<,,L
lf.ts , J-..r
u<i
utl
L ,.'Y"I 0""" i c\ln "tu X,-
15o
(A(-
It Dd
\^(a, . (/$('
t" -^d))Yr1,,)ra {
luu:-__1fi, ,1c-., y'
q-cl u(
.lt4
I
ft.
tvCqt ' vt-in - tt lrcS
h-
Enter Deflores. i')
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
[Aside] My thoughts are at a banquet for the deed:
I feel no weight in't; 'tis but light and cheap r-'For the sweet recompense that I set down for'tl
_ _ ,
1-e/
Deflores.
Lady.
Thy looks promise cheerfully. ,\-,
All things are answerable2ol: time, circumstance,
Your wishes and my service.
ls it done then?
elrac9uo is no more.
My joys start at mine eyes; o.-ur sweet'st delights
Are evermore born weepiny'.
' I've a token2o2 for you.
For me?
,@I could not get the ring without the finger.
Bless me! What hast thou done?
41 answerable: in aoreement'o' token: 'l ) proof oithe murder. 2) love{oken (cf. the "token" in Deflores's last lines)
59
fi,
,1
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O VL / a..2 )t' +" Le"'t*
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DEFLORES:
BEATRICE:
DEFLORES:
Why, is that more
Than killing the whole man? I cut his heart strings.
+rgreedf han*thrustin a distsat-€ourt ..
+n-amistaketrath had.as much as this29s.
'Tis the first token my father made me send him.
And I made him send it back again
"b,,
,/For his last tokcnf was 'oatlre to-'eave it#nousEoflewei6;
r , .-, "..,. J. He was as loath to part with't, for it stuckI ).,'*
As if the flesh and it were both one substance.
BEATRICE:
€ir=
DEFLORES:
I pray bury the finger, but the stone
You may make use on shortly/fhe true value,
Take't of my truth, is near thlL hundred ducats.
'Twill hardly buy a capcasS2os for one's c,onscience, though,
To keep it from the worm2m, as fine as 'tis.
-$lelF;beiag-my,fee+#lt{ale it;-
Gteatrnenfi rvetaughtse$af -olelse-my"medt-Uf,utmneway-en+-
BEATRICE: -lt-might i"st\L silWhy, thou mistak'st, Deflores: 'tis not given
-.h-state2o7 ot recompe{Qu.: -Y
13 A greedy hand...as much as this: i.e., sticking a hand in the way of the carving knife and having a fingeraccidentallv cut off'* At the 6tag's fatt the keeper has his fees: the keeper (warden of a game part) could claim as his rightceltain parts of a killed deer (head, skin, etc.); cf. 3 Henrv Vl lll.i.* capcase: a case or bag for traveling; cf. A Yorkshire Traoedv i, The Old Law lll.i.* *or-, ,"lnooaa7 state: way
60
S l6J Lxo 2t-"
Alt^cio,. A^'-- v c.- t r'-tc cvq-l'o
,1,d-'(J
."r'-
t-lC*t ue-.rr-tZj
i--4aa-*o @
ryo/
DEFLORES: No, I hope so, lady;
You should soon witness my contempt to't then.
BEATRICE: Prithee, thou look'st as if thou wert offended.
DEFLORES: That were strange, lady; 'tis not possible
My service ghould draw such a cause from you.
Offended? Could you think so? That were much
For one of my performance, and so warm
Yet in my service.
BEATRICE: 'Twere misery in me to give you cause, sir.
DEFLORES: I know so much; it were so, misery
ln her most sharp condition.
BEATRICE: 'Tis resolt'd then.
,.: Look you, sir, here's three thousand gdan florins;
I have not meanly thought upon thy merit.
DEFLORES: What, salary? Now you move me!
BEATRICE: How, Deflores?
DEFLORES: Do you place me in the rank of verminous fellows
To destroy things for wages? Offer gold?
The lifeblood of man! ls anything
Valued too precious for my recompense?
BEATRICE: I understand thee not.
,y
61
O fu,Y vt l'o-l^
-r$..{-rcF: r e.r^e) dt advnJ
ar,.iet J' D*tr Da,&.,,
(,./.s ^,f,rt
o'/t/
5\
DEFLORES: I could ha'hir'd
A.journeyman2os in murder at this rate,
And mine own conscience might have [slept at ease]2os
And have had the work brought home!
BEATRICE: /) tnsiOel I'm in a labyrinth;
What will content him? I would fain be rid of him.-
l'll double the sum, sir.
DEFLORES: You take a course
To double my vexation, that's the good you do.
BEATRICE: [Aside] Bless me! I am now in worse plight than I was;
I know not what will please himuFor my fear's sake,
. I prithee make away with all speed possible.
And if thou be'st so modest not to name
The sum that will content thee, paper blushes not:
Send thy demand in writing, it shall follow thee;
O Autprithee take thy fllght.
DEFLORES: You must fly too then.
BEATRICE: l?
DEFLORES: l'll not stir a foot else.
BEATRICE: What's your meaning?
,o DEFLORES: Why, are not you as guilty, in, l'm sure,
"'',," As deep as l? And we should stick together.
Come, your fears counsel you but ill: my absence
'!t loumeyman: a professional laborer: here, a hired assassin'zo' [slept at easel: added by Dilke
62
S lfu Lxe25
AlUAon . v.4- ,Je'i^ 'k c\i\-'o
/ro.2{1.;-to lljf'1
-[_,.^r,"
b;J
O (L"- o DsL
c[-^ t
O (\n- * Jo do- * ugut 'J
Would draw suspect upon you instantly;
There were no rescue for you.
BEATRICE: [Aside] He speaks home.
,. BEATRICE: pf-fo* now, sir?
9
DEFLORES: Nor is it fit we two engag'd so jointly
Should part and live asunder.
[He tries to kiss her.]
This shows not well.
DEFLORES: What makes your lip so strange?
This must not be'twixt us.
BEATRICE: [Aside]The man talks wildly.
{ DEFLORES: Come, kiss me with a zeal now!\/
BEATRICET [Aside] Heaven, ldoubt210 him!
^f
DEFLORES: I will not stand so long to beg 'em shortly
BEATRICE Take heed, OeRores, of forgetfulness;i tT*ill soon betray us.
DEFLORES: Take you heed first;you a ( rl:ltr 4i;!.-
Faith, yate grown much forgetful: traretoo blame in't.
BEATRICE:
210 doubt: fearA?
\ (i ?O
O Lr"" f"*.o u-, --? d, sL 7vr s<
) Pu ^ Y SR- ,],
,,ty
DEFLORES: I have eas'd ()You of your trouble; think on't: l'm in pain
,.\ .
And must be eas'd of you; 'tis a charity.
Justice invites your blood to understand me.
BEATRICE: ldare not.
DEFLORES: Quickly.
BEATRICE: Oh, I never shall!
Speak it yet further off that I may lose
What has been spoken, and no sound remain on't!
I would not hear so much offence again
For such another deed.
..cY/
,\
For I place wealth afier the heels of pleasure,
And were I not resolVd in my belief
That thy virginity were perfect in thee,
I should but take my recompense with grudging,
As if I had but half my hopes I agreed for.
211 spirit: 1) courage, 2) sexual desire212 lwrought myself into't: worked to be given the task
DEFLORES: Soft,lady,sot;Cl
' The last is not yet paid for. Oh, this act
Has put me into spirit2l1; I was as greedy on't
As the parch'd earth of moisture when the clouds weep.
Did you not mark I wrought myself into't212?
Nay, sued and kneel'd foit? Why was all that pains took?
You see I have thrown contempt upon your gold;
Not that I want it [not], for I do piteously:
ln order I will come unto't and make use on't.
But 'twas not held so precious to begin with,
64
O 6.- t , booo S,<
O >,+ locu-" do't
\T
BEATRICE:
DEFLORES:
BEATRICE:
Why, 'tis impossible thou canst be so wicked,
Or shelter such a cunning cruelty,
To make his death the murderer of my honour!
Thy language is so bold and vicious,
I cannot see which way I can forgive it
With any modesty.
Push, you forget yourself:
A woman dipp'd in blood and talk of modesty!
Oh, misery of sin! Would I had been bound
Perpetually unto my living hate
ln that Piracquo than to hear these words!
Think but upon the distance that creation
Set 'twixt thy blood and mine213, and keep thee there.
I DEFLORES: Look but into your conscience, read me there:(-)
'Tis a true book; you'll find me there your equal.
Push, fly not to your birth, but settle you
ln what the act has made you; y'are no more2ln now.
You must forget your parentage to me;
Y'are the deeds creature: by that n"rp,.^,_
You lost your first condition2ls, and lshallenge2l6 you,
'j. - "As peace and innocency has turn'd you out
And made you one with me.
BEATRICE:
DEFLORES:
,\With thee, foul villain?
Yes, my fair murderess. Do you urge217 me?
Though thou writ'st maid, thou whore in thy affection,
213 distance that creation/Set 'twixt thy blood and mine: i.e., the difference in their social ranks"t no more: i.e., no more than a murderess215 first condition: original innocence''" challenoe: claimt" urge: piovoke
v
65
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v('Twas chang'g| from thy first love, and that's a kind
/1
Of whoredo,ilh thy heart; and he's chang'd218 now
To bring thy second on, thy Alsemero,
Whom, by all sweets that ever darkness tasted,
BEATRICE:
DEFLORES:
BEATR!CE:
'DEFLORESi
BEATRICE:
DEFLORES:
BEATRICE:
lf I enjoy thee not, thou ne'er enjoy'st.
I'll blast the hopes and joys of marriage;
()'tl contess all, my life I rate at nothing. ,_
rL,,
/)\Deflores.(--i
I shall rest from all lovers' plagues then;
I live in pain now: that shooting eye
Will burn my heart to cindlrs. 1 -
- -{-l
(2
Oh, sir, hear me!
In-dilatffi @€he€hallher
@lmaketheemasterOf all the wealth I have in gold and jewels;
Let me go poor unto my bed with honour
And I am rich in allthings.
Let this silence mee/i'
The wealth of allVdbncia shall not buy
My pleasure from me.
Can you weep fate from its determin'd purpose?
So soon may [you]weep me.
Vengeance begins;
Murder, I see, is followed by more sins.
bv
ttt he's chang'd: i.e., Alonzo his been changed from living to dead66
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\yWas my creation in the womb so curs'd
It must engender with a viper first2ls?
DEFLORES: Come, rise and shroud your blushes in m bosom;
,
,?
Thy peace is wrought forever in this yielding.
'Las, how the turtle221 pants! Thou'lt love anon
What thou so fea/st and faint'st to venture on.d
Exeunt.
[Dumb Show]
Enter Gentlemen, Vermandero meeting them with action of wonderment at the flight of
[Alonzo de] Piracquo. Enter Alsemero with Jasperino and Gallants; Vermandero points to
him, the Gentlemen seeming to applaud the choice. [Exeunt Vermandero,] Alsemero,
Jasperino, and Gentlemen [and Gallants]; [enter] Beatrice the bride, following in great
state, accompanied with Diaphanta, lsabella, and other Gentlewomen. [Enter] Deflores
after all, smiling at the accident; Alonzo's Ghost appears to Deflores in the midst of his
smile, startles him, showing him the hand whose finger he had cut off. They pass over in
great solemnity.
21e Was my creation...a viper first?: 'Was a curse laid on me in my mother's womb, condemning me to makelove with a hideous, unnatural being before I could do so with a normal man?" (Frost), more of the Fall of Man
lT,agery predominant in this section.--- recerpts: recrpes22r turtle: turtledove
67
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[Dumb Show]
Enter Gentlemen, Vermandero meeting them with action of wonderment at the flight of
[Alonzo de] Piracquo. Enter Alsemero with Jasperino and Gallants; Vermandero points to
him, the Gentlemen seeming to applaud the choice. [Exeunt Vermandero,] Alsemero,
Jasperino, and Gentlemen [and Gallants]; [enter] Beahice the bride, following in great
state, accompanied with Diaphanta, lsabella, and other Gentlewomen. [Enter] Deflores
after all, smiling at the accident; Alonzo's Ghost appears to Deflores in the midst of his
smile, startles him, showing him the hand whose finger he had cut off. They pass over in
great solemnity.
TOMAZO:
VERMANDERO:
TOMAZO:
,l(r- lslpla loto I \
I claim a brother of vou.l
Y'are too hot;
Seek him not here.
Yes,@This is the place must yield account for him,
marn
Has too much marr'd both my abused love,
The honourable love I resery'd for him,
And mock'd my daughter's joy. This prepar'd morning ./Blushes at his infidelity; oh, 'tis most ignoble
To take his flight so unexpectedly
And throw such public wrongs on those that lov'd him!
Then this is all your answer?
&Sior
2: ;t v*t*.. *'. bu),/ ..ruaf .)9
fin/ ,1r1,a:i.r/ aot Ll r: ar " * e {'rlr';'rror here I bftffi+H#Ad i Lu li1":r{ llac'Lb'\'dty'--d-ffi
aI"l-t*,3.,u k tl.rJ 4' *2 b'a.fi.,l,a ca'rha'- ttti^ '
VERMANDERO: Certain falsehood! e,. ,,a .r ,
This is the place indeedl-his-breach of faith
a
TOMAZO:
a
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VERMANDERO:
-Io,lr AZD
A Lo r-tso e-,,t-V
xr
cs,,yU^
ft{3 e*i*"r*)
D.L + 'i3*^'
olc d oot
" So,aaVo i.ata
s.rya"l,ont
'Tis too fair
For one of his alliancelel,
-[T*L; t t.t i'1.'r. r '- fbu^ t i : ir''o'c'it 5': 'o''g''' '-t-."L-
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iDLIi--_--..--*
ACT 4 SGENE t: ALSEMERO'S CHAMBER
Enter Beakice.
BEATRICE:o
This fellow has undone me endlesslf22;
Never was bride so fearfully distress'd.
The more I think upon th' ensuing night,
n?q y!:T I am to coPe with in embraces--
,
v/
,
b,,
v
'Which may be safely call'd your great man's wisdom2u.
222 undone me endlessly: 1) ravished me again and again, 2) condemned my soul eternally"" [who's]: both (Q)
"o Stands fror: represents, brings about: the sense is, 'Alsemero's acute perception (by which he will discovermy shame) will bring abouvpresents me with a great calamity.""" by him: by by him (Q)"o precious: delicate, risky2t gamester: gambler and/or lecher; cf. The Witch ll.i, A Chaste Maid in Cheapside V.i, Your Five Gallantsll.iv, Wit at Several Weapons ll.i, No Wit. No Help like a Woman's ll.iii, Anythino for a Quiet Life l.i."t yoTlEIfEEils wisdo-iii.e., uecause it protects great men from ueing poisoned
68
One{wf66fza ennobled both in blood and mind,
So 6harin understanding, that's my plague now,
Before whose judgment will my fault appear
Like malefactors' crimes before tribunals,
There is no hiding ol't-the morc I dive\--. \lnto my own distressl
@! There'snoventuring
lnto his bed, what course soe'er I light upon,
Without my shame, which may grow up to danger.
He cannot but in justice strangle me
As I lie by him225, as a cheater use me;
'Tis apreeious2?6 erafr to play with eJalse Cb -
-Bedere a cururing gam€€teF". n"r"tlE'lrt$t,The key left inl, and he abroad i'th'park.
\/ €'rrrs'twasbrgDt j l'll be so bold as look in't. l
Bless me! A right physician's closet 'tis,
Set round with vials, every one her mark too.
Sure he does practice physic for his own use,
6e
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,)What manuscript lies hereg'fhe Book of Experiment22s,
Call'd Secrets in Nature: so 'tis, 'tis so.
[Reading] "How to know whether a woman be with child or no."
I hope I am not yet; if he should try, though-
Let me see, folio230 forty-five. Here 'tis,
The leaf tuck'd down upon't, the place suspicious.
[Reading] "lf you would know whether a woman be with child or not,
give her two spoonfuls of the white water in glass C."
Where's that glass
[Reading] 'And if she be with cNld, she sleeps full twelve hours after; if
not, not."
None of that water comes into my belly.
I'll know you from a hundred; I could break you now.Lp\c,v- * F,
Or tu+n you iato milk, and so beguile
,- The master of the mystery, but I'll look to231 you.- :_)/
Ha! That which is next, is ten times worse.
,i[Reading] "How to know whether a woman be a maid or not."
lf that should be applyd, what would become of me?
Belike he has a strong faith of my purity,
That never yet made proof; but this he calls
22e The Book of Experiment,/Call'd Secrets in Nature: De Arcanis Naturae by Antonius Mizaldus (1520-78)does not mention the following experiments; similar experiments appear in his Centuriae lX. Memorabilium."'folio: a book having pages made by folding large sheets of paper once; this is the largest size, usuallymore than eleven inches in heiqht; here, indicating the page number. Cf. Your Five Gallants l.i."' look lo: watch oui for
69
1
A ,)to'r i.L.,"
&ta X * 'th-n
O Bzo- wJ + e^FoL 0.*;^)
O Een a6t! ' onb'\ @*)
{4rY_x1," _
c
\>
ty
tD
tReadingliA merry slight232 but true experiment, The author, Antonius
Mizaldul/ftive the party you suspect the quantity of a spoonful of the
water in4he glass M, which upon her that is a maid makes three
several233 effects: 'twill make her incontinentlfs gape, then fall into a
last into a violent laughing; else235 dull, heavy, andsudden sneezing,
tumeF;l-
u/
f.; Enter Diaphanta.
DIAPHANTA:
BEATRICE:
DIAPHANTA:
BEATRICE:
DIAPHANTA:
Cffi?si, madam, are you here?
[Aside] Seeing that wench now,
232 slight: Most editors emend this Q reading to "sleight" ('trick"), although slight = trifle, which fils the contextas well.233 several: distincl2s incontinently: immediately and uncontrollably'"" else: afterwards236 Where had I been?: i.e., had I not discovered this"' Cuds: a corruption of "God;" for this oath and variations, cf. The Old Law lV.i, "Cuds foot," A Chaste Maidin Cheapside ll.i; "Cuds my life," Your Five Gallants lv.vii; and "Cuds me," The Phoenix V.i, A Trick to Catchrhe old one ll.i.
A trick comes in my mind; 'tis a nice piece238
Gold cannot purchase.-l come nitner,,iJi,To look my lord.
rAsidelWould I had sg>!r a cause
--To-look hirn toq-Why, he's i' th' park, madam.
There let him be.
Ay, madam, let him compass
Whole parks and forests, as great rangers do;
rnice piece' scrupulous girl70
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rx 3l.l I
-.1kc cAr^LS
14s u. - rr--^ ttsa.z I
Aa.. qa-)'La s\ -e-le- ?o^*o d":'4f
C"z ke-,a-to. si-c-le p"clo ^"o,lq I
t--_I r"l .
At roosting time a liftle lodge can hold 'em.
Earth-conquering Alexandel3s, that thought the world
Too narrow for him, in the end had but his pit-hole2ao.
BEATRICE: I fear thou art not modest2al, Diaphanta.
DIAPHANTA: Your thoughts are so unwilling to be known, madam;
'Tis ever the bride's fashion towards bedtime
To set light by her joys, as if she oWd2a2'em not.
BEATRICE: Her joys? Her fears, thou wouldst say.
DIAPHANTA: Fear of what?
,-)BEATRICE: Art thou a maid, and talk'st so to a maid?
@, Beshrew your heart for't.
DIAPHANTA: Do you mean good sooth, madam?
. BEATRICE: Well, if l'd thought upon the fear at first,
Man should have been unknown.
1\
IDIAPHANTA: ls't possible?
BEATRICE: f-''l will give a thousand ducats to that woman
Would try what my fear were, and tell me true
Tomorrow when she gets from 't: as she likes
I might perhaps be d rawn to 't.
23e Alexander: Alexander the Great; cf. Juvenal's Satire X 168-72, Hamlet V.i.2a0 pit-hole: Daalder, whose edition best highlights the sexual innuendo in this play, explains Diaphanta'sresponse: "Pit-hole means'grave', but there is also a definite bawdy innuendo in this context.., so Beatrice'sreaction is logical. Furiher bawdy possibilities are parks = female bodies, rangers lgamekeepers, but alsorakes, those who range for sexual conquest] = penises, lodge = vagina, end = vagina...but the effect is moresubtle if the only clear pun is at the end with f'roosting time'l providing a hint."2al modest; chaste242 oWd: owned
'71
\"p'j- |
5 h*r- bo.ol' d^
O Dr ,i. d C% ,r'q4 <a",-'
DIAPHANTA: Are you in earnest?
BEATRICE: Do you get the woman, then challenge me,
And see if I'll fly from't; btil{+sG+{dfe*
@it,
I dct,t,ttt k,rry.r )":+r lf't t^:'''l -i.iat' ,' ,.tt"!o.'lDIAPHANTA: +lay;she-tha+l-rtlouldpuffioyour{andsgaCarq
BEATRIcE: :* "'V#, i.'"* ,tiJr,o be sham'd etse,
Because she lies2a3 for me.
DIAPHANTA: 'Tis a strange humoufa:
But are you serious still? Would you resign
Your first night's pleasure and give money too?
BEATRICE: As willingly as live. tAskle*AE{hesold*tut-afif+etlo uedge inthaho,nou#s.
DIAPHANTA: *de+etknow.howthe.worldgo"s"aM- For faith or tronestfG; fi ereb^bottrrequirrd'irltris:
Madam, what say you to me, and stray no further?
,.). I've a good mind, in troth, to earn your money.
BEATRICE: Y'are too quick2a7, I fear, to be a maid.
t).
243 lies: 1) deceives,2) lies in bed2{ humour: whimlal Uy-Uet to weOge in the honour: side-bet to get her to stake her honorz'3 how the world goes abroad/For faith or honesty: "how much faith or honesty can be found in the worldlo-wadays" (Bawcutt); Diaphanta is shocked by Beatrice's lack of both."'quick: 1)eager,2) wanton, 3) with a pun on pregnant
12
7[u: ls Yu,t t",tl {'Ua"a
f<t S^*"J
(" DIAPHANTA:
"=r**TDIAPHANTA:
BEATRICE:
DIAPHANTA:
BEATRICE:
DIAPHANTA:
BEATRICE:
How'? Not a maid? Nay, then, you urge me, madam,
Your honourable setf is not a truer
With all your fears upon you-
1t+sidulf,ad$o'rrgffii6:
Then I with all my lightsome joys about me.
-J
I'm glad to hear 't; then you-dare put your honesty
Upon an easy trial.
Easy? Anything.
.' [Going to the closet] l'll come to you straighttr' t
t^hr*! yoch'x ':i,c tatt OnS c^ ,r.q. I .b,.n-r ,rol,rl [Aside] She will not search me, will she,
Like the forewoman ot atemateiutfas?//
] efasstvt-irfthi.i.,(. Look, Diaphanta,
You take no worse than I do.
[She drinks and hands Diaphanta the glass.]
(,
v-DIAPHANTA: And in so doing
lwill not question what'tis, but takfllshe drinks.l i"-l-
BEATRICE: [AsideFtout-i1156-sxpe+iffi ,
-nrnagive-rne-noU [Diaphantagapes.]Beginsalready,There's the first symptom. [Diaphanta sneezes.] And what haste it
makes
To fall into the second, there by this time:
2a8 She will not search me, will she,/Like the forewoman of a female jury?: an allusion to the divorce trial ofthe Countess of Essex in '1613, who alleged that her marriage had not been consummated and wasexamined by a group of matrons; cf. the second chapter of Bromham and Bruzzi's The Changeling and theYears of Crisis.
73
.ic
1$e#1cf4,*--a^4-A'-zLe^'L*'
&^ X, ,ei*^
,HAtrr/
S l6y Axe g+.5
AP^ar^ c,l)L ..t'< -;J^sieJ'c fondo liuo
a-"*i A , -'-**rrtt.?,*Ly
!." *''" ::ll:::l ".r,U
7t";s i s 7a,-t ,"A pho-r<
f{' t$^,.n"'
N/ {l idolbsl'o'n
r,fl
t qlr'\)'
O $"o- )r.L. q.\^*\1 Q- ' Dr* C(;r^ )< .\ Aa*-4\, , un&t
O {* 4a'- zn! 'v1oul JL " H "
f--y s ,L fr,*-
I D)'{t D'i
-i,htadmirablssecret! On-tlretorttrary,
. l+stir+set-mee#rihwhichrnostroneer+eit
DIAPHANTA: Ha, ha, ha!
\\". BEATRICE: [Aside] Just in all things and in order,
As if 'twere circumscrib'd2as, epe,gcciae,rfso
eivectafunto-anotfte, .
DIAPHANTA: Ha, ha, ha!
, BEATRICE: How now, wench?I
DIAPHANTA: Ha, ha, ha, I am so, so light
At heart, ha, ha, ha. so pteasur{Utell, -But one swig more, sweet madam.
BEATRICE: Ay, tomlnow; r'-^ '
We shall have time to sit bv't.//' //
DIAPHANTA: Now I'm sad again.
BEATRICE: [Aside] lt lays itselFsl so gently too.-{Come, wench),/Most honest Diaphanta I dare call thee now.
DIAPHANTA: Pray tell me, madam, what trick call you this?
BEATRICE: l'll tell thee all hereafter; we must study
The carriage of this business.
2as circumscrib'd: written down for her to follow250 accident: svmolom251 lays itself: iubsides
l
'74
I'
I
5(k)
4k"ao^q
^7(c38- 31
SNDG 3q..33
6ct(
c*4 ,ke',tt -l^ 6-cho
C.^( .|.r^t - ttr-l-rt ^qt--v(
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QSvP.bJ) de-:n
ars^ y * ,^1,+,
C u-. ("L c{^) d,-a--)
t-
3 t"-do,
Lx 36 I
DIAPHANTA:
BEATRICE:
DIAPHANTA:
I
er"Ifi(^8edfir-{ e,r tv.
I shall canfs2't w,ell .._,c * t,,-tt,dl e. *a n)
Because I love thetu*he'nn ,r<^,.t.t I -
?out mionigtrt
You must not fail to steal forth gentlyI oLr r o^-,,
That I may#e place.
Oh, fear not, madam;
I shall be cool by
And with a thousi
I f rt( l,',cc-- l. " "- ^\ ! ko^eJ.-z I :, *i^
Covwt qo^, wqrl5I T;t ^o^,
"!.,i1 t,)- sw:(t&ra.,
l$M e',r'Q,/ u\P-a fke"s ? aLk2g '
1-:,,NY.
w
1'"
"'carry: perform, with the bawdy innuendo15
$", Di" X
(3..o --^bG a chr-1r^{
- Aro- c,r*
str
'r.l'
Qlr,.|r- "y- > 766rr
r) o6J clo!2zSNU 5J
c
CJ -;lDi.r- " . // r,"* r"*r.[---t $o*/6,--,lre-...-I- n*.* d7l//n "."** r. ^ 7.-rri"l[ - ^.-*--
l-"oafVe,"r. I De4
50)
-JL\o'
ACT4 SCENE 2: A CHAMBER IN THE CASTLE
i. r f.r; ;,,"
'-\ Enter Vermandero and Servant.
VERMANDERO:
!e{tir<€ER\IANT:
VERMANDERO:
De i I:,rc:,EERVAT{?
See, I am set on again.': f "''
Upy rrc,rdr >
Exit.Celqlt.
TOMAZO:
VERMANDERO:
rJ
3
I tellthee, knave, mine honour is in question,
A thing till now free from suspicion,
Nor ever was there muse.'Who of my gentlemen are absent?
Tell me and truly how many andwho//
Antonio, sir, and Franciscus.
When did they leave the castle? *,{r*/
Somele+rdays since, sir, the one intending to Briamata2s3, th'other for
Valencia.
VERMANDERO: The time accuses'um: a
ls brought within my
Provide me winged warrants for the purpose.
' Enter Tomazo.
rb
I afarrn Yd' t t\(,,!o nar!- J€.e J^' v
4ltv O
I claim a brother of you.
Y'are too hot;
Seek him not here.
2s3 Briamata: the location of Vermandero's house in the Reynolds source16
)
tt"'-'
"kJ
11 Xat-
,rerr
f'o*,rJ*\
{e-r,z'a t D,-lto,uan
./
-Trrrr., p_L
h6 t"^'-
en} ,rf*'^
s((5j DAsND 3q - 35
S<{ do-tl, ,u*J*-l
d", vJa^jlta,,*
O \IQz,a^ exi),r,*,, f uc
Tofiq2-o
-gA O,,*.rL
TOMAZO:
VERMANDERO: Certainfalsehood!
TOMAZO:
Yes, 'mongst your dearest bloods;
This is the place must yield account for him,
For here I left him, and the hasty tie
Of this snatch'd marriage gives strong
Of his most certain ruin.
Has too much marr'd both my abusld love,
The honourable love I reserVd for him,
And mock'd my daughter's joy. Ihe prepa/d morningP" 'l ,:
BlushEat his infidelity; oh, 'Srvas most ignoble
To take so unexpectedly
And public wrongs on those that lov'd him!
this is all your answer?
'Tis too fair
For one of his alliance2s,ead l-$ram-you
@
' There.isrnors Oi6[ rxfio heGl?Thari"srwengaon.
Honest Deflores.
That's my name indeEd.
Saw you the bride? Good sweet sir, which way took she?
I have blest mine eyes from seeing such a false one.
such
I
TOMAZO:
DEFLORES:
TOMAZO:
1*
29 alliance: family11
hl / 1,')r
|hou canst guess, sirrah,
erie honest friend has an instinct of 1pebusfss
I
Worse than myself. You did not see the bride then?
I prithee name her not. ls she not wicked?
10
l\No, no, a pretty, easy, round-pack'd Eh*ft, \As your most ladies are, else you mtEfth-#- -
DEFLORES: lAside] fd-fain-9#fihismads notformyrcrnpary:
)
TOMAZO:
DEFLORES:
TOMAZO:
DEFLORES:
im:-+-]@-:1sftr,r-1iltFf;;-AiT e1 ,w*
^eo-L t''''- f
4 Come hither, kind and true one; I remember
My brother lot'd thee well.
r/Oh, purely, dear sirl ////-" FAsidFllvbttinlg+€m netv again a-kiH'ng.on hinr,
@
f*some foul guilty person.
'Las, sir,/oL, a,< too-l ams+charitable, lthink none7,/
TOMAZO:
DEFLORES:
I flafter'd her; but, sir, at no hand wicked
Till th'are so old their sins and vices257 meet,
]]l leatousy: suspicion"o easy, round-pack'd sinner: a vessel of insignificant sins in a curvaceous form'"' sins and vices: Most editors follow Dyce and print "chins and noses," which is consistent with Deflores'ssarcasm, but the quarto reading can nonetheless be explained a couple of ways. First, one might distinguishbetween vice and sin as the concept of an evil and its realization--a subtlety, for example, lhat Angelo refuseslsabella in Measure for Measure ll.ii ('Why, every fault's condemn'd ere it be done")--so Deflores may besaying that women are by no means wicked until vices they have had all their lives manifest themselves assins. But I prefer another interpretation, one that builds on the mention of "easy sin" three lines earlier:women are by no means wicked until their easy (i.e., slight or insignificant) sins of the flesh (the peccadilloesof their youth) begin to include or turn into vices, the malevolence associated with witches. The particular viceis probably their continued, if not intensified, libidinal appetite (cf. The Witch Lii); for Deflores, the sin hasbecome wicked only because the women are no longer youthful and the hunted have.become the hunters.
18
tc
Sr6J 49 DC-
BorO i",. ,* 3(o>i *n,L.^ '{".,-
\./
fr,k^^o- "*e *t{-U/ r\"/\
S /fo +aa++'-t-Srsu 36 - 37
/lL\L-'J a-
r.,.AO
/ts.
c,tt( a box?'ro&.Dc_
*rndthe1rs-dlutewitctres.'fam callq fimnk-sir:
-{nsiOe}+ie-eempanfe+n-666ye?"5.9 myconscien..e
lE rt'/o , t.'<, yd sc/ ,Hataennrrs-tas a wondrous honest heart.
tu of,
TOMAZO:
Enter Alsemero.
ALSEMERO:
TOMAZO:
ALSEMERO:
TOMAZO:
ALSEMERO:
TOMAZO:
lAsidel Oh, here's the glorious master of the day'9.j_oy.
['Twill]2ss not be long till he and t do reckon.-Sir. ] \
You are most welcome.
You may call that word back;
I do not think I am, nor wish to be.
'Tis slrange you found the way to this house then.
Would l'd ne'er known the cause. l'm none of those,
That come to give you joy and swill your wine;
'Tis a more precious liquor that must laf60
The fiery thirst I bring.
Your words and you
Appear to me great strangers.
Time and our €NYsCs
x"/
^rq
se
I
May make us more ""qrrint"d)'i,
the business:
I should have a brother in your place;
How treachery and malice have dispos'd of him,
's o'erlavs: oDoresses
'?se [rwitti: twiti (e)* lay: ailay
You wilt r ncoullq ll ;.l i,^<
19
Do"J n-LJ +-ffi&@#D4X
Ylly-At>____ __
prArN
Bodtt-
, b')C 6"rrr rtls ,^ri{I" bortk-
l^l.u. A'*- "t &'/tt {l^^
le!Q5"'" *rf
O 'lo"^ 1c^nch--. At'"'^^-"
Cu* /rvu,,,.-fo ,l,i
1,>
I'll have it ready drawn261 at our next meeting.
Keep your day solemn. Farewell, I disturb it not;
l'll bear the smart wit
IExit.]
ALSEMERO: 'Tis somewhat ominous, this, a quarrel entered
Upon this day; my innocence relieves me,
I should be wondrous sad/else
1t Enter Jasperino.
JASPERINO:
Jasperino,
I have news to tell thee, strange
I ha' some too,
I think as strange as yours;
ALSEMERO:
TOMAZO:
ALSEMERO:
JASPERINO:
ALSEMERO:
I'm bound to enquire of him which holds his right,
Which never could come fairly.
You must look
To answer for that word, sir.
Fear you not;
This puts me on262,
And blames thee for thy slowness.
All may prove nothing,
Only a friendly fear,that leapt from me, sir.
No question it may prove nothing; let's partake it, though.
O
'u' l'll have it ready drawn: his sword, with the continued imagery of legal documents'"' puts me on: makes me curious
r0
BO
T---1t..____-,
3 t% @DLLx& +o
6ov5r.:o 36-31 t"*"to
A*^A,"^ ut4- b.,,-rn- rcl"-L VL -+Bol
fd,.. "( C '(.),..n ..Jt, ,^^.o*.
n/--UooJ | -hnP -. ,,,rj- ; )^"" ('\ -:* - "^L s,J(*
-: RoY * t:-o-| /s"ro3l_l - _i- fri>.t ,o,t^,)
=:?tt s* .L.; d C-
r.,t.lt t ,-.1
cJl '"L| - LYe+o II
-'
cvl f,,q- rEn-ta 'ly 1 r"-L-i
71u", ls '1-' Gtt /bo'zt' I Aiss l.fcNwPr $arl'Lr ttooPtt
I
N( /4 cQiattn.J;
JASPERINO:'TwasDiaphanta'schance-.{er{e{hatcleneh
''r'v7 To leave me in a back part of the house,
@lonfufcncq-She was no sooner gone, but instantly
I heard your bride's voice in the next room to me
And, lending more attention, found Deflores
Louder then she.
ALSEMERO: Deflores? Thou art ouf now.
JASPERINO: You'll tell me more anon.
ALSEMERO: Still l'll prevent thee:
The very sight of him is poison to her.
JASPERINO: That made me stagger too, but Diaphanta
At her return confinn'd it.
ALSEMERO: Diaphanta!
JASPERINO: Then fell we both to listen, and words pass'd
Like those,n"1"#i#lgeinterest265 in a woman. l-,
v
t6\
r\ALSEMERO: Peace, ciuench thy zeal; 'tis dangerous to thy bosom
JASPERINO: Then truth is full of peril.
ALSEMERO: Such truths are.
Oh, were she the sole glory of the earth,
Had eyes that could shoot fire into kings' breasts,
263 pretend: proffer2s out: mistaken265 challenge interest: claim a right
81
CA*'l' no
s\4
a -(h^, l: 'la'^t c*il
f<-r CWtadtq
O 3:-f L-^^a. NLk 'fo *lu
O I** alys /b.
O Pb ,"|,nn T*-/' tr(J Jct') f
\ 7 And touch'd2s, she sleeps not here; yet I have time,
Though night be near, to be resolv'd hereof,f,
And prithee do not weigh me by my passionS.
JASPERINO: I never weigh'd friend so.
ALSEMERO: Done charitably.
[Giving him a key] ThaiJ<ey-will lead thee to a pretty secret
-By+Chaldean-297.taught me, and I've [made]
My sfudy upon some; bring from my closet
A glass inscrib'd there with the letter M,
And question not my purpose.
JASPERINO: lt shall be done, sir.
' ' Exit.
,y
\x
ALSEMERO: tto* ""nffihrng
togetherffid-an+eursince----) (-
+lerwonmn carnefleading her ladyts 6sa€,
&ivedd-her-for the most timorous virgin
That ever shrunk at man's name, and so.modest
'She.charg'd her weep out her request to me
That she might come obscurely26s to my bosom. i)
nter Beatrice.
BE{TREE-- lAstfelTl,nffiiJ4mFjl;:rfiyl^Eftran\rpreparinln rrldrrtulg"sweEtwyfgf6,-vitriclr grieves m€rtofu6-:
$le4e€sitf€ompeh.iti-I-lose.all ehe.
266 touch'd: tainted^t Chaldean: an astrologer: the term derives from the Chaldeans, a tribe of wizards in the Bible (Daniel 2.2)'* obscurely: in darkness
82
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\l$J bxSnr D 0o + +l
t.tul
T*rr /DA
StBJ }(
f*f e*,I -l <
o &,^ e^Y na^LI MA rx/
sNDho I sNDrh)
9""
{;
ALSEMERO: [Aside] Push, modesty's shrine is set in yonder forehead.
{!,."} I cannot be too sure th€E+t-My Joanna.
BEATRICE:
Pardon my modest fears.
ALSEMERO: [Aside]
She's- abus'd, questionless.
- \ Enter Jasperino.
Oh, are you come, sir?
[Aside] The glass, upon my lifel I see the lefter.
Sir, this is M.
'Tis it.
[Aside] I am suspected.
How fitly our bride comes to partake with us!
What is't, my lord?
No hurt.
Sir, pardon me,
I seldom taste of any composition2Ge.
vBEATRICE:
JASPERINO:
ALSEMERO:
BEATRICE:
ALSEMERO: O
BEATRICE:
ALSEMERO:
BEATRICE:
^F/
ALSEMERO: But this upon my warrant you shall venture on.
x5
26e composition: mixture83
I
L
l
fl^fil",, S lb ls,.b+Vo'n
$-i clc eka-^-2,c--
a
C h'ssL-^ b*<.h. fl<
T*, "-k 3R.
t-z 'fu f^ry,
f*l )",ts c.h o^,,,2
B--^ Jr'
J*nr{ "
O t\ fu*- ?r-^ { Jl
iT"'tr i b(I
,
ffiJlrrput-nowlo-rny cunnhg; th! efus{"knon,--tf t-cantow{ecSf a€dem hand9gm._e-1y,"--
Az't/.,/) --ALSEMERO--- tFrsidetoJasperinol.lt.has that secret virtue.ifireir*d,-sir,
-Uesn-attzgin.
- JASPERINO:---- {Aeide{o,Alsemerol.Trcble qualitied.
IBeatrice gapes, then sneezes.]
BEATRICE:
ALSEMERO:
BEATRICE:
ALSEMERO:
BEATRICE:
ALSEMERO:
$ararce :
Exsunl. 4a-S6^t (ru -
(,(A'4\ce :
ALSbt€e o :A
I fear'twill make me ill.
Heaven forbid that.
Ha, ha, hal
You have given me joy of heart to drink, my lord.
No, thou hast given me such joy of heart
That never can be blasted.
What's the matter, sir?
ALSEMERO: [Aside to Jasperino] By all that's virtuous, it takes there, proceeds!
JASPERINO: [Aside to Alsemero] This is the strangest trick to know a maid by.
^\,,/
*7[Aside to Jasperino] See, now 'tis settled in a melancholy,
Keeps both the time and method.-My Joanna,
Chaste as the breath of heaven or morning's womb//
That brings the day forth, thus my love encloses thee.
[He embraces hef.l';v;";::-;;"i|l,t,^ {ea,5 si "nL im.^ e^ <t,to'tt3"t*1, *X- I c,.l.,nt a la,u o.,t .{,.0 J@Co&
^ad.lot ,t lodL1-
' ,J g^" bt ;L ue'l r"'y {+ot5 "-t dcrkatL)
Tr.attt *,^, l;;a,;:r,,t,2 tt ga,.r ,L;t?lIV staall 'et doe,fintn.n
84
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(1rra- eXJ"
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ex.'rl. rnQ"-
o)L
ACT 4 SCENE 3: A ROOM lN ALIBIUS'S HOUSE
I ) Enter Lollio and Alibius.
ALIBIUS: Lollio! A'rk .I]/'rf,!
LOLLIO: l'm here, sir.
ALIBIUS: Will all be pe(ect, think'st thou?A-S€+aC(o.. ---=Jf (L^xi<<'." i*,i\ -'Tisalmost night, and Vermandero expects us.
l. LOLLIO: a 5,6,7,8 r
ALIBIUS: The citadel is furnished for the revels
And ill it were to seal his daughter's nuptial
With lunacy untamed.
LOLLIO: I have taken pains, sir
ALIBIUS: But will they pass before the gentlemen, Lollio?1
41) sl,^,-r. e(tlLOLLIO: The fools will do well enough sir, but lseene*apcaerthe madmen-ra'l-
ivALIBIUS: I will see them caper once before they go.
LOLLIO: I'll instruct them and you may see the whole measure.
ALIBIUS: Do so.
LOLLIO: a 5,6,7,8.
IALIBIUS: But, Lollio, by the way, how dods my wif{ brook her restraint?
fu8s
3( $J t LSnrP +3 - +5
DonY s{o,-'fi
SruD !-J
? To
kail*
cAO fti|t x
LJ,fio el,
c;l,.a) Jol ttt/
IL-i s,,
LOLLIO So, so.
She takes some pleasure in the house223; she wouldl,
abroad else. You must allow her a little more length;/she's i
kept too short. But hefe she iq, sir.
Exit Lollio Enter lsabella.
ISABELLA: My husband.
ALIBIUS: Dear wife, thou lookst kinder than thou was wont.
ISABELLA: lndeed I do, husband.
ALIBIUS: Will you along to Vermandero's with us;
To see the bridal pair applaud the revels.
That will serve you for a month's liberty.
ISABELLA: Thanks, gentle husband.
ALIBIUS: I must to the rehearsal. Stay, sweet and think on my kisses.
ISABELLA: I will be waiting nusOanO./
'vExitAlibius n
tpsrld a ri?tr, ar Sf'1i st^o 6Lt-i/. adt 1.d obac'd 1o taeLdut-_)
ISABELLA:
Of shapes or shadoYvs that hi#are" hcCi's forth
ti, yv *Jtt h" ';.r^6r^r' t^ii-;"t ;4.5 ar o'aoll,.t
Enter Franciscus.f ')
FRANCISCUS: [Throwing off hisdisguiset [-1:" ., '. t- oo
2" She takes some pleasure in the house: with the sexual innuendoNS6
LS),io 1ra- \ d 6r-/ lsq f Lotl .
I ,^, *n/*, * I
s lBs BoX
5ND +6- +1
(f, ^ ^f)
{ra..^ y a-b: l1a
8oX + JND +8
7 ro
Lo(l'o
I dllio X
6 o..^ X r"Ls
l5o Jct'p.at -/S^ Lr"ttY *t
lsa '^ t""/r-^^J
M 4rN
u'
l$*
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lnu Y
i rtA r r.r
I
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i r-ru.
J IU E
)
ISABELLA:
LOLLIO:
Exit Franciscus
ISABELLA:
LOLLIO:
ISABELLA:
LOLLIO:
ISABELLA:
LOLLIO:
ISABELLA:
LOLLIO:
ISABELLA;
LOLLIO:
Sweet lady, having now cast off this
counterfeit cover of a madman, I appear to your best
judgment a true and faithful lover c*f*astt.
Av I (r.*" cl ^-;cl "lco .
,, Begone sirrah!
How now, Lolliol
I see Madam, my master and I may give over our professions; You can
cure fools and madmen faster than we.dffi
'Tis none of my doing, Lollio. Oh, Lollio,
b t,r,l'll abuse the madman: Fear nomore of him.
I am ever grateful, gentle Lollio.
how may this fadge?
' Tcl ao-l- .t r."r[J.
atot- 4.,.t oa*<,.|i",^.
Fs+
51ffi. One thing I must tell you, mistress: you perceive that I am
privy to your secret.
Gentle Lollio.
lf lfind you stray once, and fall upon the madmen...
Believe it Lollio.
lwi
['"'€',?-,,i, * "no
o,i,5 Ll'1' 1"'-' :
r-).l
h-W ,${ , Lotuu, r^ b3
, J^i" -
v47-b"/
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ftti * Ar.,b nt , ,AN
6RrrrJ
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rtrA rP
-- S ruo 5r
r IA-J(t"*- vt" 6^r
Look to't, Lollio. Prithee wife, stay and see our rehearsal,
'twill ease thy care.
I will obey thee, husband, but'tis a mean distraction to
see fools disport.
Now, Lollio, put them to their measure once more.
,.-* I , ,1._
.^- t I -2 t. "?-.1,-^-; ;'?*1.c^r
Here sirrah. Here, ,6,7,8. I,2,3,4,5,6,7,8 (etc). NoN, ATD N.
sirrah! Yeu-.lese . Do you want the gentlemen to take you for
aroot().fi.-t.
It is us that will be fools 'ere long.
1) His habit will not serve neither.
Give me the key to thy wardrobe, husband, to shape better the fool.
[Aside] And with the bitter mask of lunacy
l'll put this antic lover to the proof.
[Exit]&/ *^',:? ::-:::f'
* ?r'A' t+r'
v^ (r'^ ) ^1t Lt -?t
r.u*> )*
ALIBIUS:
ISABELLA:
4;6rurS -'
Ca,"{
ALIBIUS:
Lilln-{€ttlO: - - -+lt bewithyou straight.
ALIBIUS:
ISABELLA:
ALIBIUS:
[They dance]
LOLLIO:
ANTONIO:
tl*a hkzc YL:,aorrli
$.JWhatnthing art thou?
(J.tio,l^;t'll go ,!,., l.< ,ehloAal a.r\d ,$!V o1e mare
' eek to the rnaCmen; tellie let the feel be, 'l'({ 6r/$,r jM r s1, , [, - yu l^ .\-,4-
t!-
4
I
?lt r^*r,.r*Jptto^r
" ftol
6t C-J*:
/^ ) 1,J&tst*
e-^6 ^?^Noadzr
"L {La}un 0.{*
€€watdtfffi{o?u+Fan affi e.*.u.,ri ol tripn'"iai v:[['n U !:!-t t-;1 ,,,4. t ,2 .ed..r"r{k) / ,,);t f ".rt" t
Enter lsabella dressed as a madwoman. I
l^t a11Ott-
'A!- -
(u-lrtt"a-rt^v ' U** To^*
i1* $$ a1o'c ,u".e x-i{*4t //
ANTONIO:
F ad"
Exit Lollio and Alibius
I
l<o @ cD
iND5t
Jo-L.l - qJ-_ J
(J./ --. .l o-
lotlio @ cD
< trl. .\ tt)r.,v,)
o La't-^-o )/ DSA
)(
is" (
D(' 1lt, , yo1, '4
br
-/io. "Dk
rA lro. orJ,lvI]
I
IIIIIII
I
1-
l
SNDE 55 I
I
y$
rft+{:Fg+{+g tEerelsia.
LOLLIO: Come, Tony, the footmanship I taught you.
ANTONIO: I had rather ride2, cousin.
LOLLIO: Look you, Tony: [dancing] fa, la la lala. L ll [qhar
ANTONIO : [Dancing] Fa, la la la la.
v
ALIBIUS : Look to the madmen. Lollio let the fool be.itJL-,n:- Tn'"'a';i;'F':T;:;ii '-- "'-..--'--' , t ) tt - Va,.i",.io: Shnr(
"l fr,nc^'""ntr. '1",u,-l^ {i.c- fI '1"^'d d, lhL
Exit Lollio and Alibius Ae )f r:c'\ aL- r.nj c"*^)c(" do rt "i' \' o"u '" ' '7/rEnter lsabella dressed as a madwoman.
n N ror.r r o : irr^^ li';t,, tu,. 'ISABELLA: Let us tread the lower labyrinth3;
ANTONIO: Prithee, *,letme alone.
ISABELLA: Let me suck out those billows in thy bellya;
lAttempts to kiss him.l
7,1 n/ c.1 cr,vr.'^
ANTONIO: Pox upon Vouif"i r" alone! c.M.r' ) &u: II'll kick thee if again thou touch me,
Thou wild unshapen antics; I am no fool,
You ted*n! r^\'v oA
ISABELLA: But you are as sure as I am, Antonio,. mad.
... ' , ..r\t, THave I put on this habit of a frantico /
,y *"' ' 1' 2w2 ride: with the sexual innuendo3 lower labyrinth: with the sexual innuendo4 suck out those billows in thy belly: with the sexual innuendo" antic: clown, grotesque figure" frantic: lunatic
t(
I*1v
-/'
Tl^, t: '/r/ Gtt fln*o
Futc Cor PfrN)'/
ttu 8cx
With love as full of fury to beguile
The nimble eye of watchful jealousy,
And am I thus rewarded? -
ANTONIO: Ha, dearest beautyl
ISABELLA: No, I have no beauty ngw, ,
You a quick-sighteO bverZ(gome not near me.t-'
lExit.l
LoLLro : Q ,k'l.o,c n ov.r ,'t6^9 ? 0o goo lta*c yau- ^ao: *r- ?-
ANTONIO: Stay, or I shall change condition
And become as you are.
Enter Lollio.
LOLLIO:
Why, Tony, whither now?
ANTONIO: You coxcomb! I have fool'd too much.
I am, stark mad.
And will beat thee like a fury.
LOLLIO: Do not, do not!
Come, I can give you comfort: my mistress loves you. I
know all the secrets of this^house, there is a madman l,within, your rival, whom she abhors. But he, sir, is a
tedious pursuer. lf you can rid her of him, you earn her
love, she says.
ANTONIO: May I believe thee?
LOLLIO: Yes.
v
,a,5
2
81
{,ANTONIO: Tell her I will deserve her love. :
lsa K
O (s o "&l.rcl;s' cr.-€JJ r-l) ,or^rr1 .
L&ir-, d-o.,-n ? cLcrA DJK
-D(()
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LOLLIO:
Fr"^ oi>""'o
Enter Franciscus.
LotL' o
FRANCISCUS:
LOLLIO:
FRANCISCUS:
LOLLIO:
FRANCISCUS:
LOLLIO:
And you are like to have your desire.
S,.^.c9 lai:"t5;'
l\.r t ', , '.1,''r.r
Down, down, down a-down-;;{--T;;^t<
l-r , be--li-].----4.
The poor mad poet ne'er wrote so well as your earlier
speech. "Sweet lady, having now cast off this counterfeit
coverbf a maOma), I appear to your best judgment a true
and faithful love(of your beautyi" }=erlrpd. This wasII
pretty well for a madrtran.l
-FR*P.lGtSGtlS- @
tott{e: --l-sav*througrh yourfox-skin'befofe-nffi.
FRANCISCUS: Give me thy hand.
[Giving him money] Take for thy pains past.
Art thou of counsel with thy mistress?
LOLLIO:
\>
Next her apron strings.
So, if you love my mistress so well, you are like to be
cur'd of Your m36g5g r irz .
And none but she can cure it.
I shall deserve more, sir, I hope.
,-)[Giving him money] Soundly, soundly.
ft:t't '': L'
My mistress lovelyou, but must have some proof of your
love to her.
Y
1o
5 rDe
l-''-
(l,kt Ad,'
I seu'
o
C 61J
t-<6-+t 2^
FRANCISCUS: There I meet my wishes.
LOLLIO: That will not serve; you must meet her enemy and yours.
FRANCISCUS: He's dead already. Show me the man.
LOLLIO: Ay, that's a right course now: see him before you kill him,
'tis but the fool that haunts my mistress in the shape of an
idiot. She'll none of him, but he will be always at her. T"y
FRANCISCUS: Bring the villain forth.
Zcs*,r,^r- tq & n s.-/ dnt(o 3 ' tto"^ '
LOLLIO: Soft, soft sir. 'Tis but the sirhple foolnTony, Tony!
hi,a Q3 ^J,
;^,^J?ANTONIO: Here cousin, Wha@e do?
A,^f.' Tsn^o-(t i GLOLLIO: This is the man. Q"ltt ,h-). 6 !,or, ,foal,r,orkn L/ t_y t
\-,
o
\azt,/
' lFranciscus and Antonio fight]
Enter Alibius and lsabella and the other madmen. A dance.
---l,,o, t l_-;
1t
One slr..^c[ o-^d Jrt sf'q lrU
Akn iu,.
3 l6s LXe. GL- ft+
SrvDO 56
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SND 58
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a
,,/ ACT 5 SCENE I: A GALLERY IN THE CASTLE
Enter Beatrice. A clock strikes one.
BEATRICE:
A clock strikes two. Enter Deflores.
One struck, and yet she lies by't. Oh, my fears,
This strumpet serves her own ends, 'tis apparent now,
Devours the pleasure with a greedy appetite,
And never minds my honour or my peace,
Maked hri
my
No husting of her life with such a secret,
That cannot rule her blood to keep her promise.zt ".,u1Beside, I have some slrspfqrn of her faith to me,
Because I was suspecteddmy lord,
0
^"){,
V" -z
--BEFIORES
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
Pist, where are yo#-
Deflores? 1.t
Ay. ls she not come from him yet?
As I am a living soul, not.
Sure the devil
Hath sodd his itch within her; who'd trust
A waiting-woman?
I must trust somebody.
)5
,r/
And it must come from her. Hark, by my horrors,
Another clock strike[sl.thAror,---
BEATRICE:
93
s1
S iI\" DA'r sr.rD6o-t5LX6- +tb.+ - +5
Atgrcaon c\r{- 6.^1a-rcrdr Cta-'lro Tondos\ - e-te q c\[ L*la-ran-ta cvt -co
I
tDkl-'U.Pf*.- L(6 *:-lC*- h"ra-re^-|"- t,,ra4o rwrlo si-a-h j
f---'- '! _6(,
7 T O (
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*
fin^ * '{u do*
DEFLORES: Push, they are termagants2s.
Especially when they fall upon their masters
And have their ladies' first fruits, th'are mad whelps;
You are so harsh and hardy, ask no counsel;
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
You cannot stave 'em ofF ' fromfgame royal2ss then.Lr
+
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
2e6 termagants: fierce, shrewish women, from the name of god the Muslims were believed to haveworshipped2e7 stave 'em off: a term to describe the method of holding dogs back at bear- and bull-baitingsl!! game royat: the game in royal parks, the hunting of which was forbidden to commoners"' [Phosphorusl: the Moming-star: Bosphorus (Q)*o to fall upon some ruin: i.e., to devise a plot for Diaphanta's death*' force a risino: wake the entire households2 reach: plan
-94
q\t
i '. c-
And I could have help'd you to {nl apothecary's daughter
Would have fall'n off before eleven, and thank['d] you too. , - - -L.
Oh me, not yet? This whore forgets herseffif-7
The rascal fares so well.
The day-star, by this hdqd; der.
Advise me now to fall upon some rui300n;
There is no counsel ."fd "1.".i
Peace, +.harffirv:
For we must force a rising3ol; there's no remedy.
How'? Take heed of that.
Tush, be you quiet
Or else give over all.
Prithee, I ha' done then.
- f,( t'This is my reach302: lf set €6m€+adafiss
4Diaphanta's chamber.
-I{,.t /a.,or,r cr1\( 51.,-*"lo* ,t*-v" DiaPha-"la t^ l'vrl 6tJ
As 0'l ,"o,u (,ro.l--...........-..C'* L"ca-na-lro gs a,ko ToAo o -e-,(o
sND6)f)
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PrtSc
f*trb. '."a,, t3ND 63
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SND 6+
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Sa,,*''(
Anan^
5ND 62_
1,Y,.'"
t"^ E
I M-r^
J.,J r L
SrrrD /5
BEATRICE:
For buckets, hooks, ladder3, Fei{,not you;\<=]7--_-. -The deed shall find its time, and l've thought since
Upon a safe conveyance for the body too.
\.,\, How this fire purifes wit! \rffityo*yot flninute.
Enter Alonzo's Ghost.
f 'or<//
\)
DEFLORES:
BEATRICE:
DEFLORES:
BEATRICE:
DEFLORES:
DEFLORES:
Exit Deflores.
1L(," i :r t
Hou/? Fire, sil?roil\
Thatrnefendanger the whole house.
You talk of danger when your fame'ss3 on fire?
That's true. Do what thou wilt now. I'm forc'd to love thee now,
'Cause thou provid'st so carefully for my nonour.ffl
'S[d3o1, it @ncerns the safety of us both,
Our pleasure and continuance.
gmre*rcw,Prithee: how for the servants?
() l'll dispatch them,
Some one way, some another, in the hurry
HalWhat art thou that tak'st away the iignt.'l
'Twixt that star and me? I dread thee hotl J-'Twas but a mist of conscience. All's clear again.
\,Jn-! ci-. ",dt )r'.-, or*,^,. L(-
(ter ltt4>*U s.n 1'aa'trr lcoa'ndl sfl ,[*.t
s3 fame: reputation; cf. Your Five Gallants ll.i, The Witch lll.ii, The Familv of Love Prologue, Blurt. MasterConstable V.iii.s lid' by Goa's (eye)lid: cf. A Trick to Catch the Old One l.iii.
95
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sNDc-Lb - ,668
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D), t B-^ * .L do--/
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t^V
BEATRICE:
i Exit Ghost.:
0.,r. tUd
WITHIN:
Who's that, DefloresZQt""s me! lt slides bV)
tiSome illthing haunts the house;/'t hqs left behind it
A shivering sweat upon me: I'm afraid now.
This night hath been roffir. -o.-h,
this strumpet!
Had she a thousand lives, he should not leave her
ril! he had destroy'o tn4G-itJ -
Fire, fire, fire!
Already! How rare is that man's speed!
How heartily he serves me! His face loathes306 one,
But look upon his care, who would not love him?
dr,}'
BEATRICE:
WITHIN:
;Fllerastis not
Fire, fire, fire!
Enter Deflores. Servants pass over, ring
DEFLORES:
v
buckets, ladders; that's well said!
fire bell rings,
thepiece is ready.
1305 three a'clock.
Exit.
8&7RtCe ldrgj , /t d"r ra .q
fl.',- ht f'rb t4-
r'J {l^,ts !'t^
gavb $k
f"*,t]r-_---
l] lStnresl: Struck (Q)* loathes: disgusts
qb
96
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SND 67
SND 6I
SNDG 61
1
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W,Ar\4- ,
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BEATRICE:
DIAPHANTA:.l*r
-=-{/nv / BEATRICE:
l--(r,orHANrA:(
\,l'_t.
S€Ar&rC e .
-4=\. Enter Alsemero.
-6I t\ct" ALSEMERO:
dtA 7(lce/ d€tr€{'o
BEATRICE:
nL:C/,(r:oEnter Diaphanta.
DIAPHANTA:
BEATRICE:
ALSEMERO:
Here's a man worth bv[91
--Otrry-are-aiewet+
LJLoi noi:[ is 'tf.;s ?
Pardon frailty, madam;
ln troth, I was so well, I ev'n forgot myself.
Y'have made trim work.
What? _
Hie quickly to your chamber; .
-retrrrewert,-tuilowryu.
lnevermade
So sweet a bargain.
lExit.I
|,r,t ru.totol io" >"t s j ttr
1"^&'Yl
(6*Ja ty lr''u'ba^J
( 9l'f,Y9:1'Joanna! ru!,. ^- ro tul416g, art thou risen too?^l was coming,
treasure.
BEATRICE: When I miss'd you,
I could not choose but follow.
ALSEMERO: Th'art all sweetness.
The fire is not so dangerous.
qa
Think you so, sir?
I prithee, kemble not believe me,'tis@97
Lxg t+ g
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*f'Enter Vermandero, Jasperino.
VERMANDERO:
ALSEMERO:
Oh, bless my house and me!
My lord your father.
Enter Deflores with a piece.
VERMANDERO:
DEFLORES:
VERMANDERO:
BEATRICE:
BEATRICE:
Knave, whither goes that piece?
To scour the chimney,
IExit.]
Oh, well said, well said;
That felloWs good on all occasions.
A wondrous necessary man, my lord.
wiMy heart will find no quiet till I hear,,/.
How Diaphanta, my poor woman, fares;
It is her chamber, sir, her lodging chamber.
v
VERMANDERO: He hath a ready wit; he's wbrth 'e(fl-he piece goes off.l
Ha, there he goes!
{((MAr'/rt'rdD'- .,r,,r A('1i -r+ErirR{eE '''.tjfoon"l r.s: ll s'"', -.
1€,-rf+t Jr,C*i 1.lt=b*--^.lll^!A+.* I \I fr- vvr rs., _ I -\
J€-rf+t Jr,e*)- T't--b*-^.ll.u^!r?+.* I \1*- -JALSEMERO: Come, sweet, to bed now;
ThousT wilt get cold.(
u7
o,t
307 Thou: Alas, thou (Q)9B
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VERMANDERO: How should the fire come there?
fBEATRICE: A Rs good a soul as ever lady countenanCd3o8,
But in her chamber negligent and heavy3m.
she scap'd "
H{}'o t*i"".
VERMANDERO: Twice?
BEATRICE:
VERMANDERO: Those sleepy sluts ari
And312 they be ne'er
" "r Enter Deflores.
-DEFI€RES €tr,poorvirgiinity!
strangety3ll t*i*["4
'Thou hast paid dearly fo/t.
Bless us! What's that?
.*--- - .v-
tVERMANDERO:
DEFLORES:
BEATRICE:
DEFLORES:
)+-thing you all knew once: Diaphanta's burnt.
My woman, oh, my woman!
Mw the flames are
Eurnt to death, sir.
Oh, my presaging soul!BEATRICE:
s8 countenanc'd: emoloved* heavy: slovenly, siugiish]ll mine: a buried explosive, e.g. a contact mine, therefore an unspecified hidden danger"' Strangely: miraculously''' And: even if
q1
99
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ALSEMERO: Not a tear more,
I charge you by the last embrace I gave you
!n bed(before this rais'd us,,
th/ BEATRICE: -lrtowyotrtisnre;
Were it my sister now she gets no more.
VERMANDERO: How noW?
AL36MCFO I ,lt,r- .-,qj-r.:, l. i i ,*-t:
DE FLORES: AII dange/s past; you may now take
Your rests, my lords: the fire is throughly quench'd.
Ah, poor gentlewoman, how soon was she stifled!
^i BEATRICE: Deflores, what is left of her inter,
And we as mourners allwillfollow her: ,/
I will entreat that honour to my servant, /Ev'n of my lord himself.
ALSEMERO: Command it, sweetness.
't-e-:nzuc'.L
BEATRICE: Which of ycr spied the fire first?
DEFLORES: 'Twas !, madam.
BEATRICE: And took such pains in't too? A double goodness!
fo.r\.oz'Twere well he were rewarded.
VERMANDERO: He shall be.
Deflores, call upon me.
E/
I
\..irh'
100
ALSEMERO:
k,uud,ta7 ?,<Jo7[L*r"', o,lnck &.1.ari l&,,';Exeunt. [Manet Deflores.] 1- -'J - ' >J YY\L lA-
^
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l- l't DEFLoRES:l{iv.,i
'
a'
Rewarded? Precious, here's a trick beyond me;
I see in all bouts both of sport and wit
Always a woman strives ror tne rasfnit.l;
w
rO\
101
Exit.
Lx So
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ACT 5 SCENE 2: A CHAMBER
Enter Tomazo.
TOMAZO:
DEFLORES:
TOMAZO:
I cannot taste the benefits of life
With the same relfihr I was wont to do.
Man I grow weary ofl anA hold his fellowship
A treacherous, bloody friendship, and because
I am ignorant in whom my wrath shpuld gettle,
I must think all merl villahs: \ -'4
\ ) ana tnlO\I meet, whoe'er he bEthe murderer
9
f
jL
Of my most worthy brother.
Enter Deflores, passes over the stage.
HalWhat's he?
Oh, the fellow that some call honest Deflores;
But methinks honesty was hard bested313
To come there for a lodging, as if a queen
Should make her palace of a pest-house3la. --
Enter Deflores.
DEftORE.
He walks a' purpose by, sure, to choke me up,
To infect my blood.
My worthy noble lord.
tl^Dost offer to come near and breath upon mef / ,
[Strikes him.]
Abffi313 hard bested: hard out to it3'a pest-house: a house of pestilence, i.e., hospital for infectious diseases, especially plague
702
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[Deflores draws his weapon.]
TOMAZO:
DEFLORES:
TOMAZO:
DEFLORES:
Exit.
TOMAZO:
Yea, are you so prepafd?
' )'ll rather like a soldier die by th' sword
Then like a politician3ls by thy peiiarn. L Es
Hold, my lord, as you are honourable.
All slaves that kill by poison are still cowards.
[Aside] I cannot strike: I see his brother's wounds
Fresh bleeding in his eye, as in a crystal316.-
[Aside] \{hy this from him that yesterday appeafd
So strangely loving to me? Gh5rhhrgbi*i
All league withthiS
For in b state of ignorance I live,
..-i ;
-+t*terlqf iniuqlr.w+U+$ank&@
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Enter Vermandero, Alibius and lsabella.
VERMANDERO: NoblePiracquo.
31s politician: schemer316 crvstal: crvstal ball3r7
1nia4: neie 1e;
my brotheis murde/er,
t)
103
:*s€H*6fler€ei{ guilt must not walk
So near his lodge "gfn, dr" came [near]317 ," no*J
\/
Ort Unl.s 7t$..-r- d.--r-Jats,g
Crn-C,ru-la,,.ao poab c,; - - St'$]f
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Can search this ulcer soundly: I fear you'll find itI
Full of corruptioh. 'Tis fit I leave you.
Did my fate wait for this unhappy stroke
At my first sight of womanZ 1 ,
Exit Jasperino.
ALSEMERO:
Enter Beatrice.
ACT 5 SCENE 3: ALSEMERO'S CHAMBER
Enter Alsemero and Jasperino.
JASPERINO: Your confidence31e,
BEATRICE:
ALSEMERO:
BEATRICE:
She's herel
Alsemero!
How do you?
How do l?l.)"'"' Alasl How do you? You look not well.
You read me well enough; I am not well.
Not well, sir? ls't in my power to befter you?
Yes.
Nay, then y'are cur'd again.
ALSEMERO:
BEATRICE:
ALSEMERO:
BEATRICE:
7ke 1at:Vc-V f"'* li'.4 Ba;d.e^ l'oi sT o^r
r'l
Qt*^n\ d1 d,aap t,r'ipic;o^l'm sure, is now of proo#j 'tis not a shallow probe
-le r. " "l aP-{-
l\).1
l]l confidence: i.e.. in Jasperino's allegations against Beatrice"' of proof: 1) able to withstand attack, 2) supported by irrefutable evidence
105
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fr.Sr"tto SV*b, 4o-r
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k/""
ALSEMERO:
BEATRICE:
ALSEMERO:
BEATRICE:
ALSEMERO:
BEATRICE:
ALSEMERO:
BEATRICE:
ALSEMERO:
Pray resolve me one question, lady.
lf I can.
None can so sure. Are you honest321?
Ha, ha, ha, that's a broad322 question, my lord.
But that's not a modest answer, my lady:
Do you laugh? My doubts are strong upon me
'Tis innocence that smilgs, anct-no r'ouoa b'*^ti;; "i;'k L;,,i^'=- ,;;';"-./i,r f :," , " c r' cc 4'
Say I shbuld sirain a ieai to fiil the vault323,
Which would you give the befter faith to?
Neither your smiles nor tears
Shall move or flatter me from my belief:
You are a whore.
What a horrid sound it hath!
It blasts a beauty to deformity;
Upon what face soever that breath falls,r\It strikes it ugly;ih, you have ruin'd
What you can ne'er repair again!
l'll all demolish and seek out truth within you,
If there be any left: let your sweet tongue
Prevent32a your heart's rifling; there I'lt ransack
And tear out my suspicion.
\-
+7
)z
321 honest: chastet'2 broad: 1) wide, 2) coarse323 vault: heavens324 Prevent: anticipate
106
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froJn,o -f, fio , 3.iri l,-rs-
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L, c- | ft oj." . L *,t '1, l.</ /^ n!a". a-r c,l'^o b-'l<
C fi. /*,Lu 8o* olo.^
BEATRICE: You may, sir,
)/"Tis an easy passage; yet if you please,
Show me the ground whereon you lost your love.
My spotless virtue may but tread on that
Before I perish.
ALSEMERO: 'Twas witness'd
By the counsel ofyour bosom, Diaphanta.
BEATRICE: ls your witness dead then?
ttu ticklish: lascivious326 visor: mask"27 impudence: immodesty"'" arms' supporter: 1) i.e., holding her in an embrace, 2) an allusion to the figures who supported the familycrest on a coat of arms, 3) possibly an ironic reference to Deflores being Beatrice's henchman
1 0 7
ALSEMERO: .rUnanswerable;
A ground you cannot stlnd on: you fall down
Beneath all grace andloodness when you set
Your ticklish32s heel on't. There was a visof26
O'er that cunning face, and that became you;
Now impudence32T in triumph rides upon't.
How comes this tender reconcilement else
'Twixt you and your despite, your rancourous loathing,
Deflores? He that your eye was sore at sight of,
He's now become your arms' supportef2s, your
Lips' saint.
BEATRICE: ls there the cause?
, L{ ALSEMERO: Worse: your lust's devil,
''/ Your adultery.
, AE*fRteE: $buld-arfbut yorirsElf saythah
.Iurould tum"him to a villairi.
#
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/1>7
ALSEMERO: 'Tis to be fear'dll
It was the wages of her knowledge, poor $oul; I
She liVd not long after the discovery. ' --J
BEATRICE: Then hear a story of not much less horror
Than this your false suspicion is beguil'd with.
To your bed's scandal I stand up innocence32e,
Which even the guilt of one black other deed
Will stand for proof of: your love has made me
A cruelmurderess.
ALSEMERO: Ha!
BEATRICE: A bloody one.
I have kiss'd poison fo/t, strok'd a serpent,
That thing of hate, worthy in my esteem
Of no better employment, and him most worthy
To be so employ'd I caus'd to murder
That innocent Piracquo, having no
Better means than that worst, to assure
Yourself to me.
ALSEMERO: 'Twas in my fears at first: 'twill have it now330.
Oh, thou art alldeform'd!
BEATRICE: Forget not, sir, it for your sake was done.
ALSEMERO: Oh, thou shouldst have gone
A thousand leagues about to have avoided
This dangerous bridge of blood; here we are lost. .,/
32e stand up innocence: plead innocence, as in a court of law; some editors emend to "innocent," but cf.Antonv and Cleopatra l.i.s t"irr-rr nare n norar i^e., the terirple will have its vengeance
108
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..' BEATRICE: Remember I am true unto your bed.\./
I
\, ' ALSEMERO: The bed itselfs a chamel331, the sheets shrouds
/\?, For murdered carcass€s; it must ask pause332'/
What I must do in thh-ileantime you shall
Be my prisoner only; enter my closet333.
, Exit Beatrice.
Enter Deflores.
Ha! This same fellow has put me in3s.
Deflores.
DEFLORES: Noble Alsemero!
ALSEMERO: Q I can tell you
News, sir: my wife has her commended to you.
DEFLORES: That's news indeed, my lord;1 think she would
Commend me to the gallows if she could,
She ever lov'd me so well. I thank her.
ALSEMERO: What's this blood upon your band335, Deflores?
DEFLORES: Blood? No, sure 'twas wash'd since.
,,
""' chamel: a vault for the remains of the dead* pause: time to consider a course of actionB closet: small private room
] ort." in: given me the idea (where to begin)* band: collar
0'
109
TI'll be your keeper yetf 0h, in what part
ll--Of this sad story shall I first begin?
O A> r-<n^-a-4 8,o-. ^*,-."L2 sLoJ ar{--)
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ALSEMERO:
DEFLORES:
ALSEMERO:
DEFLORES:
ALSEMERO:
DEFLORES:
ALSEMERO:
DEFLORES:
BEATRICE:
DEFLORES:
Since when, man?
Since t'otfer day I got a knock.! 2-s. ,1 7':.
ln a€$r€rd€frdd€gg€r school; I think'tis out.
Yes,'tis almost out, but'tis perceiv'd, though.
! had forgot my message; this it is:
What price goes murder?
How, sir?
l ask you,*sir: .. ,., , .- , r,J.-1 '*
-'
My wife's-behip?ha+dgeqwitfryw, she te lls me,
For a brave, bloody blow you gave for her sake
Upon Piracquo. 'i
Upon?'Twas quite through him, sure.
Has she confess'd it?
As sure as death to both of you,
And much more than that.
v,It could not be much mofeil
_ _ Ie 'Twas but one thing, and that she's a whdr.g-
[within] He lies, the villain does belie me!
l: s fr< t,:,','it" r,^ 1
-Iet-megteffiefsir.
7/
. \,,
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r urLt /L
r\O
* behindhand: indebted to110
6 Aluc."^[r<- cr,.'cutr,- ]at si-a-lc pontu 'lv'cs
y cuL c;-c!r'--[a sl-e'tz-y'oa{t c'h-ro
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frs Gd-L,- dk kcxsTs
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ALSEMERO:
)€ aco P l1S "-
frLsc.^'^e{o.'
Exit Deflores.
.-Ifaffiorrc,hall+e-hs.
PrtrTi."yji.s *"ogl?tt', vour sounds are heard;
"Take youi prey to you! Get you into her, sir.
Ilc1 1.^-^r" 'rr F' t"-/
&4tnr.or, "0, rt"1"g. UdW
,,+I'll be your pander now; rehearse again
Your scene of lust, that you may be perfect
When you shall come to act it to the black audience3s
Where howls and gnashingq.shall be music to you.
,y
Will guide you to the Mare Mo=rtuumso,
Where you shall sink to fathoms boftomless.
Oh, Alsemero. I have a wonder for you.
No, sir, 'tis l$have a wonder for you.
I have suspicion near as proof itself
For Piracquo's murder.
Sir, I have proof
Beyond suspicion for Piracquo's murder.
Beseech you hear me: these two have been disguis'd
E'er since the deed was done.i'/
s7 crying crocodile: an image of hypocrisy, from the belief that a crocodile shed tears as it ate its victim* black audience: devils; Oaalder cites Matthew 13.42, "wailing and gnashing of teeth"""" clip: embracem Mare Mortuum: the Dead Sea, thought to be bottomless; Beatrice would take the place of Charon, the pilotwho ferried souls across the River Styx to Hades.
111
'--.. Enter Vermandero, Alibius, lsabella ,ItlffiFranciscus, and Antonio. . ..'
VERMANDERO:
ALSEMERO:
VERMANDERO:
ALSEMERO:
VERMANDERO:
CDq
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ALSEMERO: I have two other
That were more close disguis'd then your two could be,
E'er since the deed was done.
VERMANDERO: You'll hear me: these mine own servants-
ALSEMERO: Hear me: those nearer than your servants
That shall acquit them and prove them guiltless.
. FRANCISCUS: ) f,nat ffiay Ue Oone wittr eas[tnrth, sir. -
,+t/ 062 r..r I N,De€o '- 6robk- (t,ocou,, , t"o,r,{or }" ".rr.1- roo
'TOMAZO: How is my cause bandiedvl through your delays!
'Tis urgent in blood, and calls for haste;
Give me a brother alive or dead:
BEATRICE: [within] Oh, oh, oh!
ALSEMERO: Hark, 'tis coming to you.
DEFLORES: [within] ]+aA++alongrfo+Gornpath ).- ,,,h t.
BEATRICE: [within] Oh, oh!
VERMANDERO: What horrid sounds are these?
ALSEMERO: Come forth, you twins of mischief.
Enter Deflores bringing in Beatrice [wounded].
v-
A recompense for murder and adun6+- -. -.. -__ -_-\l
s1 bandied: tossed back and forths2 adultery: Tomazo regards Beatrice's marriage to Alsemero as adultery because she was betrothed toAlonzo first. (He is not referring to her adultery with Deflores against Alsemero, which Tomazo could notknow about )
ll2
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DEFLORES:
VERMANDERO:
BEATRICE:
ALSEMERO:
DEFLORES:
VERMANDERO:
Here we are; if you have any more
To say to us, speak quickly.
Joanna, Beatrice Joanna!
Oh, come not near me, sir; I shall defile you.
I am that of your blood was taken from you
For your better healths3; look no more upon't,
But cast it to the ground regardlessly:
Let the common sewefa take it from distinctionss.
Beneath the stars, upon yon meteor
I ne'er could pluck it from him. My loathing
Was prophet to the rest but ne'er believ'd;
Mine honour fell with him, and now my life.
Alsemero, I am a stranger to your bed;
Your bed was coz'ned on the nuptial night,
For which your false bride died.
Diaphanta!
Yes, and the while I coupled with your mate
At barley-break; now we are left in hell.
We are all there; it circumscribes [us] heres8
v
*
s3 I am that of your blood was taken from you/For your better health: i.e., Vermandero has undergone blood-
letting, Beatrice being the infected blood. lt could also mean "'l am one of your own blood that was taken fromyou', i.e. that Beatrice is regarding herself as a 'changeling', a child stolen from its parents by fairies, i.e.Deflores or the Devil" (Loughrey).* sewer: shawer (Q)tu distinction: state of being distinct, i.e., let it become mixed with the selvagell [hungl: hang 1a)-' Beneath the stars...conuptible: The meteor she refers to is Deflores. According to medieval astrology, thestars that controlled men's fate (cf. "star-crossed lovers") were lixed and incorruptible; on the other hand,meteors, which are sublunary, were corruptible and subject to change, and heralded or were provoked by evilevents on earth. Cf. Julius Caesar l.iii & ll.i.s8 We are all there; it circurnscriUes lusl here: Cf. the note above on barley-break; there is an echo ofMarlowe's Dr. Faustus ll.i.
113
Ever [hung]s6 my fate, 'mongst things corruptiblesT;
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DEFLORES :
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DEFLORES:
DEFLORES:
BEATRICE:
ALSEMERO:
TOMAZO:
I loVd this woman in spite of her heart;
Her love I earn'd out of Piracquo's murder.
heds murderer{-
Yes, and her honour's prize
Was my reward; I thank life for nothing
But that pleasure: it was so sweet to me I
That I have drunk up al!, left none behind ,1'
For any man to pledge me.
VERMANDERO: Horrid villain! t
Keep life in him for furtlier tortures.v
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Ol\
No,
I can prevent you; here's my penknife still.
It is but one tnreaofJb, fstabbing himse!fl and now'tis cut.
Make haste, Joanna, I would not go to leave thee far behind.
IDies.]
Forgive me, Alsemero, allforgive;
'Tis time to die when 'tis a shame to live./
IDies.]
Sir, you are sensible of what truth hath done;
'Tis the best comfort that your grief can find.
Sir, I am satisfied; my injuries
Lie dead before me. I can exact no more,
pnless my soulwere loose and could o'ertake
hose black fugitives3ae .
hlao* a,a oPo""4wile black fugitives: the souls of Beatrice and Deflores on their way to hell
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.{-\'7 ALSEMERo: what an opacoustuo bggX had that moon
y,\ That last chang'd onfusl ["r"', beauty chang'd| -_)
To ugly whoredom, here servant obedience
To a master sin, imperious murder.
l, a suppos'd husband, chang'd embraces
With wantonness, but that was paid before3s1;
Your change is come too, from an ignorant wrath
To knowing friendship. Are there any more on's?
ANTONIO: Yes, sir, I was chang'd too, from a little ass as I was to a great fool as I
am.
vFRANCISCUS: I was chang'd from a little wit to be stark mad, almost for the same
purpose.
!. ISABELLA: [To Alibius]Your change is still behind3s2,\,"./'' But deserve best your transformation.
You are a jealous coxcomb.l"/,1
ALIBIUS: I see allapparent, wife, and willchange now
lnto a better husband.
AL8EMEROT ivingti.*Pf easeTolrEu€ptltl rcttffi youreornovrry*
i- Maft.end, hiseonowat.the gnaao.must"par&.*"
.,t AuiL \i r' t-, '. Al( r"-e co^t olo +-- r 6;:['' i (, t 6 n "i
*o opacous: opaque, darkened, and therefore ominous-' that was paid before: i.e., Diaphanta paid with her life*' still behind: still to come
115
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EPILOGUE
ALSEMERO: All we can do to comfort one another,
rs to no purposef**Syr murtipries.
Your only smiless3 have power to cause relive
The dead again, or in their/r&to give
. Brother a new brother, falher a child:
4o.,' Exeunt omnes.
r: f- 'ilf these appear, all griefs are reconcil'd. ' i
ffi Your only smiles: only your smiles116
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THE CHANGELINGSOUND STARTUP AND RUNNING INSTRUCTIONS
START UP AND TEST THE SOUND SYSTEM AS SOON AS YOU POSSIBLYCAN!
I Ensure allamplifiers are powered up and that the power sLrpply to the desk ancl rack is turnedon.
2 Turn on the computer (rocker switch behind the right hand flap). It will start up.
3 Turn on the sampler.
I When the sampler has started up and is displaying its'available disks (the floppy and hard
drive icons), press LOAD on the bottom row of buttons. \-,
5 The screen will now display the available folders.
6 Use the black data scroll wheel to select the CHANGELING RUN PT I fblder.
7 Press LOAD FOLDER (fl4)
8 [nsure the MtJI-TIS. PROGRAMS and SAMPt.ES dialog boxes are ticked (they should be
by default)
9 Press CLEAR MEMORY (fl5)
l0 The machine asks for confirmation. Press YES (il6)
I I CHECK THAT THE FOLDER NAME IS CORRECT then press EXECUTE (fl6). Theloading process will take several minutes. Watch the screen for a f.ew seconds to ensure theload is progressing. Vlf the folder name is not correct press CANCEL LOAD. select the correct fblder and repeatthe process.
12 Ensure the computer has loaded the windows desktop. :
l3 Load the show control program by double clicking the G-Type icon (CHANGELING TOUR06) on the desktop.
l5 The show cue list should appear.
14 Use the NEXT and PREVIOUS keys on the remote control to check that it is working.
l5 When the sampler has loaded press the MULTI key on the bottorn row of'buttons.
I6 IT IS IMPERATIVE THAT THE SAMPLER IS IN MULTI MODE FOR RUNNINCSHOWS. CHECK, CHECK AND CHECK ACAIN. CHECK ACAIN BEFORE YOU RUNTHE FIRST CUE. lf the sampler is not run in this mode then peculiar and irrelevant noises
may result!
l7 't'he AKAI screen should now display CHANGEI-lNG PART I on the top line o1'
in lilrrnation
l8 Run the test sequence using the remote control. Check each speaker in turn and confirm theyare working with a third party.
l9 Run as many cues of the shorv as you can bear. Note that as part one is loaded. only cues in
the tlrst parr of the show will run correctly.
l0 When you have satisfied yourself that all is well, press stop on the remote control to stop any
cues running.
2l Run the FREE PARKINC DESK MUTE cue on the computer. The desk should go into its' Umute state.
2.2 BEFORE YOU RUN ANY CUES IN THE SHOW. perhaps.just befbre beginnerr, run theDESK OPEN FOR SHOW cue on the computer and check that the faders fly open. Thenpress the stop button on the remote control and check that the green MULTI light on thesampler face panel f'lashes for a few seconds. If either of these things does not happen then donot start the show. and seek help.
RELOADING
I Reload the sampler immediately the interval stafts by re-running the load sequence i.e....
2 LOAD (bottom button on the right), select CHANGELING RUN PT 2 folder using ihe datawheel. LOAD FOLDIR (fl4), CLEAR MEMORY (fl5), confirm YES (fl6). EXECUTE1ll 6).
,
i Wait fbr the sampler to load (again a f-ew minutes) and then press MULTI on the bottom row Vof buttons. CHANGELING PART 2 should be displayed. L'heck this ven' c'ure./ull.v.
4 You are now ready to run again.
5 Press the stop button and run the DESK OPEN FOR PART 2 cue. checking the MULTI lightflashes and the desk faders fly open. as befbre.
NOTEIn the unlikely event of remote control failure the F3 button on the computer keyboard fires cues andthe Fl2 key is the equivalent of the stop button. Alternatively. use the mouse to activate the icons onthe top of the C-type screen.
