Part 39
_penny-father_] “_A pennie-father_, Vn homme riche et chiche.” Cotgrave’s _Dict._ “Ranck _peny-fathers_ scud (with their halfe hammes Shadowing their calues) to saue their siluer dammes, At euery gun they start, tilt from the ground, One drum can make a thousand _Vsurers_ sownd [_i.e._ swoon].” Dekker’s _Wonderfull Yeare_, 1603, sig. B 3.
# 649:
_rounded_] i. e. whispered.
# 650:
_points_] i. e. tagged laces.
# 651:
_slops_] i. e. breeches.
# 652:
_Irish lacqueys_] See note, vol. iii. p. 131.
# 653:
_eighteenpence ordinaries_] See note, vol. i. p. 389.
# 654:
_good-fellows_] A cant term for thieves.
# 655:
_golls_] A cant term for hands,—fists, paws.
# 656:
_she that was called in_] See note on the address “To the Reader” prefixed to the following piece.
# 657:
_risse_] i. e. rose.
# 658:
_departed_] i. e. parted.
# 659:
_walked in Paul’s_] See note, vol. i. p. 418.
# 660:
_the horse_, &c.] To the wonderful horse, called Morocco, are many allusions in our old writers; nor is this the only mention of his having gone up to the top of St. Paul’s church,—a feat which, according to Dekker, took place in 1600: “Since the dancing horse stood on the top of Powles, whilst a number of Asses stood braying below,—17 [years].” _A memorial &c. untill this yeare, 1617_—_The Owles Almanacke_, 1618, p. 7.—Both the horse and his master, whose name was Banks, are said to have been burned at Rome as magicians. See more on this subject in the notes of the commentators on Shakespeare’s _Love’s Labour’s Lost_, act i. sc. 2, and in Douce’s _Illust. of Shakespeare_, vol. i. p. 212.
# 661:
_proper_] i. e. handsome.
# 662:
_polt-foot_] i. e. club-foot.
# 663:
_tiring-house_] See note, p. 526.
# 664:
_Tartary_] See note, p. 524.
# 665:
_cullion_] i. e. scoundrel, abject wretch.
# 666:
_Limbo_] See note, p. 514.
# 667:
_Tunbold-street_] Or _Turnbull-street_: see note, p. 512.
# 668:
_mazzard_] i. e. head.
# 669:
_Pict-hatch_] See note, p. 512.
# 670:
_angels_] See note, p. 20.
# 671:
_or that she goes to a woman’s labour_] Compare (see note, p. 514) our author’s _Trick to catch the Old One_;
“Feigning excuse to woman’s labours, When we are sent for to th’ next neighbour’s.” Vol. ii. p. 97.
# 672:
_The Merry Devil of Edmonton_] This comedy, which was, and deserved to be, extremely popular, may be found in Dodsley’s _Old Plays_, vol. v. last ed. Mr. J. P. Collier (_Hist. of Engl. Dram. Poet._) ascribes it unhesitatingly to Drayton, probably on some authority (besides that of Oldys) which I do not recollect.
The following passage of _The Merry Devil of Edmonton_ has puzzled the editors (who, by the by, choose to print it as verse): “How now, my old _Jenerts bank, my horse_, my castle; lie in Waltham all night, and not under the canopy of your host Blague’s house?” Steevens (Dodsley’s _Old Plays_, vol. v. p. 267, last ed.) says, “I once suspected this passage of corruption, but have found reason to change my opinion. The merry Host seems willing to assemble ideas expressive of _trust_ and _confidence_. The old quartos begin the word _jenert_ with a capital letter; and, therefore, we may suppose ‘_Jenert’s bank_’ to have been the shop of some banker, in whose possession money could be deposited with security. The Irish still say—as sure as _Burton’s Bank_; and our countrymen—as safe as the _Bank of England_. We might read ‘my _house_’ instead of ‘my _horse_,’ as the former agrees better with ‘castle.’ The services of a _horse_ are of all things the most uncertain.” Nares (_Gloss._ in v. _Jenert’s Bank_) observes, “It has been conjectured that there was a bank called _Jenert’s_, so famous as to be proverbial for security; but it remains to be shewn that any country-bank existed in the seventeenth century, much more that they were so common as for one to be famous above the rest.... Can it be a misprint for ‘_Ermen’s_ bank,’ or the old Roman road passing through Edmonton, which might have been written ‘Irmint’s?’”—I believe we ought to read; “How now, my old _jennets_ [i. e. cavaliers, for so the word is sometimes used], _bauk_ [i. e. balk] my _house_, my castle! lie in Waltham,” &c.
# 673:
_A Woman killed with Kindness_] The masterpiece of Heywood; reprinted in Dodsley’s _Old Plays_, vol. vii. last ed.
# 674:
_luxurious_] i. e. lustful.
# 675:
_Combe Park_] See note, vol. ii. p. 264.
# 676:
_Derrick_] See note, p. 515.
# 677:
_red lattice_] i. e. lattice painted red; the usual distinction of an ale-house: (it was sometimes of other colours).
# 678:
_Charnico_] See note, vol. iii. p. 213.
# 679:
_Peter Bail_] In using the name “Peter” the author seems to have attempted a sort of jest, perhaps alluding to the celebrated penman, Peter Bales, who is mentioned in the next piece.
# 680:
_counter_] A play on the meanings of the word,—a false piece of money used for reckoning, and a prison.
# 681:
_noble_] See note, p. 267.
# 682:
_likes_] i. e. pleases.
# 683:
_old Rowse_] Perhaps some Cornish wrestler.
# 684:
_conveyance_] See note, p. 517.
# 685:
_black dogs of Newgate_] A tract, partly verse and partly prose, called _The Blacke Dogge of Newgate: both pithie and profitable for all Readers. London._ 4to. n. d. (reprinted with some additions and alterations in 1638), was written, or at least professes to be written, by Luke Hutton, who, for robberies and trespasses, was hanged at York in 1598. Under the title of _The Black Dog of Newgate_, it was the author’s design to “shadow the knauerie, villanie, robberie, and Cunnicatching, committed daily by diuers, who in the name of seruice and office, were as it were, attendants at Newgate.” Sig. D 2. “They will vndertake if a man be robd by the way, they will helpe the party offended to his money againe, or to the theeues at the least. Likewise, if a Purse be cut, a House broken, a peece of Plate stole, they will promise the like: mary, to further this good peece of seruice, they must haue a Warrant procured from some Justice at the least, that by the sayd general Warrant, they may take vp all suspected persons: which being obteined, then marke how notably therewith they play the knaues, how shamefully they abuse the Justices who graunted the Warrant, and how notoriouslie they abuse a great sort of poore men, who neither the Warrant mentioneth, nor the partye agreeued in any wise thought to molest or trouble.” Sig. D 3. He then proceeds to give several instances of their various knaveries.
# 686:
_ballat-places_] i. e., I suppose, places where ballads are sung.
# 687:
_cross-lays_] i. e. cheating wagers.
# 688:
_mistress_] Compare p. 66, and note.
# 689:
_ketlers_] Compare _Father Hubburd’s Tales_, which follows the present tract; “like an old cunning bowler to fetch in a young _ketling_ gamester:” but I do not understand this cant term, nor the words “couch” and “couches” which presently occur above.
# 690:
_upon stages_] Tobacco was often taken by the gallants who (as already mentioned, note, vol. ii. p. 412) used to sit on hired stools upon the stage, during the performance.
# 691:
_counterblasts_] An allusion to the celebrated work of King James, _A Counterblast to Tobacco_.
# 692:
_tobacco-Nashes_] See p. 561, line 5.
# 693:
_his_] Qy. “thy”?—A friend suggests that “his own” may be a reverential mode of expressing “God’s.”
# 694:
_thee_] Old ed. “thy.”
# 695:
_a pitiful battler_] “Though in the meanest condition of those that were wholly maintained [in the University of Oxford] by their parents, a _battler_ or semi-commoner,” &c. _Life of Bp. Kennett_, p. 4—cited by Todd (Johnson’s _Dict._) in v.
# 696:
_cue_] i. e. small portion. “Cue, halfe a farthing, so called because they set down in the Battling or Butterie Books in Oxford and Cambridge the letter q. for halfe a farthing,” &c.: see Minsheu’s _Guide into Tongues_, in v.
# 697:
_gaudy-days_] i. e. festivals.
# 698:
_vaulting-houses_] i. e. brothels.
# 699:
_Mihell_] Qy. “Michael”?
# 700:
_risse_] i. e. rose.
# 701:
_censure_] i. e. judgment, opinion.
# 702:
_gamashoes_] Are variously explained—short spatterdashes, and coarse cloth stockings that button over other stockings.
# 703:
_have_] Eds. “hath.”
# 704:
_Poultry_] i. e. the Counter prison in the Poultry.
# 705:
_John of Paul’s Churchyard_] Was, it appears from this passage, a haberdasher: he is again mentioned in the present tract. That he sold hats, we are informed by more than one old writer: so Dekker; “John in Paul’s churchyard shall fit his head for an excellent block [_i. e._ hat].” _The Gull’s Hornbook_, 1609, p. 94, reprint.
# 706:
_honest-minded_] First ed. “_honest_-stitching,”— perhaps the better reading.
# 707:
_Bushel_] An allusion to Thomas Bushell, for whom the first ed. of this tract was printed, see p. 549, and title-page of _Micro-cynicon_, p. 481.
# 708:
_Tale of Mother Hubburd_, &c.] In the _Bridgewater-House Catalogue_ this passage is quoted by Mr. J. P. Collier, who observes, “If it do not shew that Spenser’s ‘Mother Hubberd’s Tale’ was ‘called in again,’ it proves that obstruction was offered by public authorities to some subsequent production under the same name,” p. 200.—Assuredly the allusion is not to Spenser’s poem: in it the “ape” indeed figures conspicuously, but there is no mention of “rugged bears,” or “the lamentable downfal of the old wife’s platters.”
# 709:
_entreat_] i. e. treat.
# 710:
_rugged_] So first ed. Sec. ed. “Ragged.”
# 711:
_the quarter-jacks in Paul’s, that are up with their elbows_] Compare Dekker’s _Gull’s Hornbook_, 1609, “If Paul’s jacks be once up with their elbows, and quarrelling to strike eleven,” p. 96, reprint. The figures which in old public clocks struck the bell on the outside were called _Jacks of the clock_ or _clockhouse_: many readers will recollect those which a few years ago were to be seen at St. Dunstan’s Church, Fleet-street.
# 712:
_Kit_] A friend queries if there be not here an allusion to Kit Marlowe?
# 713:
_Sat sapienti; and I hope_, &c.] So our author (see note, p. 514) in the Induction to _Michaelmas Term_; “_Sat sapienti_: I hope there’s no fools i’ th’ house,” vol. i. p. 418.
# 714:
_Companies_] So first ed. Sec. ed. “Companie.”
# 715:
_hallow’d_] Eds. “hollowed.”
# 716:
_worm_] Equivalent to—wretch, poor creature.
# 717:
_judgment’s seat_] So first ed. Sec. ed. “Judgement _seate_.”
# 718:
_I am_, &c.] Eds. “Trust me: _I am_,” &c.
# 719:
_rail_] Seems to mean here—some sort of ruff
# 720:
_byss_] i. e. fine linen.
# 721:
_They that forget a queen soothe with a king_] By “a queen” is meant, I presume, Elizabeth; by “a king,” James, who had recently ascended the throne: and see the fourth stanza after this.
# 722:
_morning’s_] So first ed. Sec. ed. “morning.”
# 723:
_Sith_] i. e. Since.
# 724:
_sad_] i. e. grave, sober.
# 725:
_Euphuize, which once was rare_] i. e. use the unnatural affected style, which was once accounted excellent. It was rendered fashionable by the two famous productions of Lyly, _Euphues, the Anatomy of Wit_, and _Euphues and his England_.
# 726:
_Trigemini_] i. e. Gabriel Harvey and his two less distinguished brothers, Richard and John. For various particulars concerning this memorable “strife” (which was terminated in 1599 by an order of the Archbishop of Canterbury), see my Memoir of R. Greene, prefixed to his _Dramatic Works_, D’Israeli’s _Calamities of Authors_, vol. ii., Sir E. Brydges’s _Archaica_, vol. ii., and Collier’s _Bridgewater-House Catalogue_.
# 727:
_improve_] i. e. prove.
# 728:
_humorous theft_] At p. 317 of a copy of Ritson’s _Bibliographia Poetica_, Malone has appended the following MS. note to the title of Samuel Rowlands’s _Letting of humours blood in the head-vaine, &c._; “Stolen from Nash’s papers after his death in 1600. So says T. Middleton.”—What the “_humorous theft_” was, I know not; but the expression certainly has not the meaning which Malone chose to make it bear: Nash did not die till 1604 (see note, p. 527), and _The Letting of humours blood in the head-vaine, &c._ was first printed in 1600.
# 729:
_three-quarter sharer_] See note, vol. ii. p. 406.
# 730:
_decimo sexto_] An expression frequently applied by our old writers to diminutive personages: see Massinger’s _Works_, vol. i. p. 176, ed. 1813, and B. Jonson’s _Works_, vol. ii. p. 232 (by Gifford).
# 731:
_were_] Eds. “was.”
# 732:
_fair-conditioned_] i. e. of good disposition.
# 733:
_marmoset_] i. e. ape.
# 734:
_New-fangle_] This word is printed in both eds. with a capital letter: there seems to be some allusion, which I am unable to explain.
# 735:
_beholding_] See note, p. 36.
# 736:
_approve_] i. e. prove.
# 737:
_the great rider of horse_] “But if like a restie Jade thou wilt take the bitt in thy mouth, and then runne over hedge and ditch, thou shalt be broken as Prosper broke his horses, with a muzzoule,” &c. Lyly’s _Pappe with an hatchet_, n. d. sig. D 4.
# 738:
_booted_] In allusion to the dress of the various persons who rode up to London on law-business during that term.
# 739:
_the_] So first ed. Not in sec. ed.
# 740:
_wings_] See note, p. 524.
# 741:
_were_] Eds. “was.”
# 742:
_hose_] i. e. breeches.
# 743:
_gascoynes_] i. e. galligaskins.
# 744:
_sir-reverence_] See note, vol. ii. p. 175.
# 745:
_hangers_] See note, vol. ii. p. 227.
# 746:
_bost_] i. e. embossed.
# 747:
_Derrick_] See note, p. 515.
# 748:
_king Philip’s_] i. e. Spanish.
# 749:
_gingle_] Caused by the large loose rowels, which are presently mentioned: they were commonly of silver.
# 750:
_shape_] i. e. dress.
# 751:
_approached_] So first ed. Sec. ed. “approach.”
# 752:
_put to_] Eds. “_to put_.”
# 753:
_neck-verse_] See note, p. 126.
# 754:
_jigs_] i. e. ballads.
# 755:
_like a sow-gelder_] “Hark, how my merry horn doth blow,” is part of Higgen’s song, when he enters “like a sow-gelder:” see Beaumont and Fletcher’s _Beggars’ Bush_, act iii. sc. 1.
# 756:
_marmoset_] See note, p. 564.
# 757:
_gear_] i. e. matter, business.
# 758:
_Peter Bales_] A particular account of this person may be found in Wood’s _Athenæ Oxon._ vol. i. p. 655, ed. Bliss, and in Chalmers’s _Biog. Dict._ I need only state that he was unrivalled, during his day, in the various branches of the art of penmanship, (occasionally producing specimens of extraordinary minuteness); that in 1590, when he published his _Writing Scholmaster_, he kept a school situated at the upper end of the Old Bailey; and that he is supposed to have died about 1610.
# 759:
_trunks_] i. e., I suppose, trunk-hose,—round swelling breeches.
# 760:
_royal_] A gold piece current for fifteen shillings.
# 761:
_for_] So first ed. Not in sec. ed.
# 762:
_angels_] See note, p. 20.
# 763:
_legs_] i. e. bows.
# 764:
_the Horn, the Mitre, or the Mermaid_] The first of these has been already mentioned in this tract, see p. 565; the Mitre was in Bread-street, Cheapside; the Mermaid in Cornhill: see notes, vol. ii. p. 240.
# 765:
_the Bankside_] In Southwark, where the Globe and other theatres were situated.
# 766:
_breaking-up_] i. e. carving.
# 767:
_the Blackfriars_] The theatre so named, which stood near the present Apothecaries’ Hall, and which was occasionally occupied by the Children of the Revels (_a nest of boys_): see Collier’s _Hist. of Engl. Dram. Poetry_, vol. iii. p. 275.
# 768:
_hangers_] See note, vol. ii. p. 227.
# 769:
_they_] So first ed. Sec. ed. “the.”
# 770:
_squalls_] Equivalent here, it would seem, to—wenches: vide note, vol. iii. p. 55. Taylor, the water-poet, uses the word as a term of endearment;
“The rich Gull Gallant calls her Deare and Loue, Ducke, Lambe, _Squall_, Sweet-heart, Cony, and his Doue.” _A Whore_, p. 112—_Workes_, 1630.
and Kempe as a term of reproach; “Swearing it did him good to haue ill words of a hoddy doddy, a habber de hoy, a chicken, a squib, a _squall_.” _Humble Request_, &c., appended to his _Nine daies Wonder_, 1600.
# 771:
_still_] So first ed. Not in sec. ed.
# 772:
_luxurious_] i. e. lustful.
# 773:
_vaulting-houses_] i. e. brothels.
# 774:
_White-Friars’ nunnery_] Compare (see note, p. 514) our author’s _Game at Chess_;
“Here’s from his daughter Blanch and daughter Bridget, From their safe sanctuary in the White-Friars; * * * * * * * * These from the nunnery in Drury Lane.” Vol. iv. p. 335.
# 775:
_whereas_] i. e. where.
# 776:
_noise_] See note, p. 529.
# 777:
_blue coats_] See note, p. 109.
# 778:
_cockatrice_] A cant term for a harlot.
# 779:
_three halfpenny ordinary_] See note, vol. i. p. 389.
# 780:
_boarded_] A play on words—accosted.
# 781:
_wassail-bowls ... shoeing the mare_] Compare _The Inner Temple Masque_, p. 143 of this vol.
# 782:
_Sellenger’s round_] “i. e. St. Leger’s round ... was an old country-dance, and was not quite out of knowledge at the beginning of the present century, there being persons now living who remember it.” Sir J. Hawkins’s _Hist. of Music_, vol. iii. p. 288, where the notes of it are given from a collection of country-dances published by Playford in 1679.
# 783:
_like Thomas Nash_, &c.] See note, p. 561.
# 784:
_John of Paul’s_] See note, p. 553.
# 785:
_cogged_] The same pun occurs in Shakespeare’s _Love’s Labour’s lost_, “Since you can cog, I’ll play no more with you,” act v. sc. 2; where Johnson remarks, “To _cog_ signifies to _falsify the dice_, and to _falsify a narrative_ or _to lie_ [or _to cheat_].”
# 786:
_passage_] See note, vol. iv. p. 548.
# 787:
_hangers_] See note, vol. ii. p. 227.
# 788:
_down came fencing_] Qy. “_down came_ the host _fencing_”? see what precedes and follows.
# 789:
_not_] So first ed. Not in sec. ed.
# 790:
_conies_] i. e. rabbits—dupes: see note, vol. i. p. 290.
# 791:
_i’faith_] First ed. “than _yfaith_.”
# 792:
_peeps_] i. e. eyes (spots): compare p. 531, l. 18-20.
# 793:
_grown as_] So first ed. Not in sec. ed.
# 794:
_Greene’s books_, &c.] See note, vol. i. p. 290.
# 795:
_where_] i. e. whereas.
# 796:
_vaulting-houses_] i. e. brothels.
# 797:
_Pict-hatch, and Turnboll-street_] See note, p. 512.
# 798:
_angels_] See note, p. 20. There seems to be an allusion to fireworks running on lines: see vol. ii. p. 531.
# 799:
_remorseful_] i. e. compassionate.
# 800:
_peeps_] See note, p. 581.
# 801:
_luxur_] i. e. lecher.
# 802:
_worms_] See note, p. 556.
# 803:
_All_] So first ed. Sec. ed. “And _all_.”
# 804:
_agen_] See note, p. 192.
# 805:
_prickle-singing_] Compare p. 556, line 4.
# 806:
_prick-song_] See note, vol. iii. p. 626.
# 807:
_mazzard_] i. e. head.
# 808:
_other_] So first ed. Not in sec. ed.
# 809:
_the Curtain_] i. e. the theatre so called, in Shoreditch.
# 810:
_garden tenements_] See note, vol. i. p. 162.
# 811:
_a_] So first ed. Not in sec. ed.
# 812:
_stall_] Shops being at that time open: see note, vol. iii. p. 54.
# 813:
_purls_] i. e. borders, fringes.
# 814:
_gear_] i. e. stuff.
# 815:
_conster_] i. e. construe.
# 816:
_like_] i. e. please.
# 817:
_conveyances_] See note, p. 517.
# 818:
_Tamburlaines_] See note, p. 526.
# 819:
_Anon, anon, sir_] See note, vol. iv. p. 177.
# 820:
_ketling_] See note, p. 543.
# 821:
_action of one arm, like old Titus Andronicus_] See the tragedy so called, which, though now printed among the works of Shakespeare, was assuredly written by some other dramatist,—probably, by Marlowe. In act iii. sc. 1, Aaron cuts off the hand of Titus; and in act v. sc. 2, the latter says,
“How can I grace my talk, _Wanting a hand to give it action_?”
# 822:
_it_] So first ed. Not in sec. ed.
# 823:
_Pierce_] See note, p. 511.
# 824:
_the motion_, &c.] i. e. the puppet-show: that of Nineveh, which was very celebrated, has been mentioned before, vol. i. p. 229, and vol. iv. p. 166. In _Euerie Woman in her Humour_, 1609, Getica observes, that she had seen “the Cittie of new Niniuie and Iulius Cæsar acted by the Mammets, [_i. e._ puppets],” sig. H.; and Dekker somewhere calls the latter exhibition a villanous motion.
# 825:
_entreated_] i. e. treated.
# 826:
_my_] So first ed. Not in sec. ed.
# 827:
_Cole-harbour_] See note, vol. ii. p. 58.
# 828:
_nonce_] i. e. occasion.
# 829:
_have_] Eds. “hath.”
# 830:
_unpleased_] i. e. unpaid.
# 831:
_marry-muff_] See notes, vol. i. p. 258, vol. iii. p. 36.
# 832:
_warm_] So first ed. Not in sec. ed.
# 833:
_virginal-jacks_] See note, vol. iii. p. 112.
# 834:
_the bear-baiting_] At Paris Garden, in Southwark.
# 835:
_passionate_] i. e. pathetic, sorrowful.
# 836:
_are_] Eds. “is.”
# 837:
_turns_] First ed. “fortunes.”
# 838:
_tweering_] Or _twiring_—equivalent here, it seems, to—prying, peeping: on the word _twire_, see Gifford’s note, B. Jonson’s _Works_, vol. vi. p. 280, and Richardson’s _Dict._ in v.
# 839:
_brown-bill-men_] See note, p. 513.
# 840:
_of_] Equivalent to _on_: see note, vol. iii. p. 556.
# 841:
_slipt_] So first ed. Sec. ed. seems to have “slint.”
# 842:
_the_] So first ed. Sec. ed. “thy.”
# 843:
_worms_] See note, p. 556.
# 844:
_agen_] See note, p. 192.
# 845:
_Hobson’s waggon_] See note, vol. iv. p. 7. I ought to have said there, that Milton composed _two_ copies of verses on Hobson; and I may add here, that they are printed (one of them very imperfectly) in _Wit Restored_ (p. 185, ed. 1817), where they are preceded by an enlarged copy of what forms the third epitaph on Hobson in _Wit’s Recreations_.
# 846:
_points_] i. e. tagged laces by which the breeches were attached to the doublet.
# 847:
_battler’s_] See note, p. 544.
# 848:
_angels_] See note, p. 20.
# 849:
_where_] i. e. whereas.
# 850:
_angels_] See note, p. 20.
# 851:
_royal_] See note, p. 572.
# 852:
_sovereign_] See note, vol. i. p. 110.
# 853:
_liberal_] i. e. free to excess, licentious.
# 854:
_penny-fathers_] See note, p. 530.
# 855:
_first epistle_] See p. 551.
# 856:
_sounded_] i. e. swooned.
# 857:
_Bowles_] Written “Bolles” by Stow and others.
# 858:
_guess_] i. e. guests: see note, vol. i. p. 326.
# 859:
_Jacob Challoner_] In the document before cited are various payments “to Jacob Challoner, painter,” for ornamenting banners, &c. Heath, &c., p. 333.
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Transcriber’s Note
The author shifted between prose speech and blank verse, sometimes in mid-speech. In this rendering, verse sections are given without blank lines between speeches, with an indentation for each speech.
Stage directions, except for entrances, can be:
in-line in the middle of a line and delimited with ‘[ ]’,
end of line right-justified on the same line (where there is room), with only the leading ‘[’,
next line right-justified on the following line, where there is insufficent room, with a hanging indent, if necessary.
The same convention is followed here. Since this version is wider than the original, most directions are on the same line as the speech.
Entrances were centered and separated slightly from lines above and below. This is rendered here as a full blank line.