Part 40
_Will you_, &c.] I give these speeches as they stand in old ed. In whatever way the lines are divided, the metre will not run regularly.
# 1093:
_know_] Old ed. “knew.”
# 1094:
_cure’s_] Qy. “care’s”?
# 1095:
_low_] Old ed. “love.”
# 1096:
_set_] Old ed. “sets.”
# 1097:
_Sung for a hymn in heaven_] “It is needless to say that our poet here alludes to a passage in the 15th chapter of St. Luke.” Editor of 1816.
# 1098:
_and_] i. e. if.
# 1099:
_Break_] Old ed. “Breaks.”
# 1100:
_wilful murder_] After these words the editor of 1816 inserts a stage-direction “_They seize Hip._” But if they lay hands on him now, it is plain, from what follows, that they presently leave him at liberty.
# 1101:
_and_] i. e. if.
# 1102:
_breast_] See p. 583.
# 1103:
_sinquapace_] Properly _cinque-pace_: see note, vol. iii. p. 631.
# 1104:
_pillowbeers_] i. e. pillow-cases.
# 1105:
_angels_] i. e. gold coins worth about ten shillings.
# 1106:
_all’s_] So old ed.—for “all as.”
# 1107:
_resolv’d_] i. e. satisfied, convinced.
# 1108:
_thus_] Altered, unnecessarily I think, to “that’s,” by the editor of 1816.
# 1109:
_And sets ’em all in order_] “Brancha [Bianca] here evidently alludes to the 13th chapter of St. Paul’s first Epistle to the Corinthians.” Editor of 1816.
# 1110:
_caltrop_] “A Caltrop; or iron engine of warre, made with foure pricks, or sharp points, whereof one, howsoeuer it is cast, euer stands upward.” Cotgrave’s _Dict._ in v. _Chaussetrape_.
# 1111:
_triumph_] i. e. show, masque.
# 1112:
_stamp_] See vol. iii. p. 368.
# 1113:
_above_] i. e. on the upper stage: see note, vol. ii. p. 125.
# 1114:
_sake ... part_] As the rest of the dialogue is in rhyme, I suspect that something has dropt out here.
# 1115:
_antimasque_] i. e. an interlude introduced during the masque, “something directly opposed to the principal masque:” see Gifford’s note on B. Jonson’s _Works_, vol. vii. p. 251.
# 1116:
_Ay, and makes love—take that_] The editor of 1816 follows the pointing of the old ed., “Ay, and makes love take that,” remarking, in a note, “I confess I have no very clear understanding of this passage.” The difficulty lies in knowing what “that” is by which Livia destroys Isabella.
# 1117:
_have_] Old ed. “has.”
# 1118:
_Runs on a sword_, &c.] i. e. perhaps on a sword carried by one of the guard. The editor of 1816 gives “_Falls on his sword_;” but see the preceding speech of Hippolito.
# 1119:
_Drinks_, &c.] Here the editor of 1816 gives “_Stabs herself_,” observing in a note, “I have added this stage-direction, without which I cannot otherwise understand the following speech of the Lord Cardinal’s.” But it is evident, I think, from the last words of Bianca,—
“Tasting the same death in a cup of love,”— that she drains off the poisoned cup which she had prepared for the Cardinal, and which Ganymede had by mistake presented to the Duke.
# 1120:
_no enemy_] Old ed. “_no Enemy_, no Enemy.”
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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.
The footnote scheme used lettered references, repeating a-z. On numerous occasions, letters were repeated, and sometimes skipped. The numeric resequencing of notes here resolves those lapses. Footnotes are sometimes referred to directly in a footnote by its letter designation. The few direct references to a lettered note use the new numeric value.
Note 891 regarding “Familists” of Amsterdam, refers the reader to a note on p. 104 of Volume 1. No relevant note appears there, but it is likely that the reference should be to the introductory note to “The Family of Love” in Volume 2, beginning on p. 103.
The cross-reference in note 194 for the term ‘_foisting_’ refers to p. 544 of vol. iii. The reference is to note 1186 in vol. ii.
Errors deemed most likely to be the printer’s have been corrected, and are noted here. The references are to the page and line in the original.
26.33 Thou[l’/’l]t make me play Transposed. 118.33 _foisting_] See note, vol. ii[i]., p. 544. Removed 119.33 a very small coin.[”] Added. 193.34 [“]First, promise me Added. 466.36 _cacokenny_] Qy. [“]cacochymy” Added.
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A CHASTE MAID IN CHEAPSIDE.
Vol. iv. p. 5, last line.
_board_] The spelling of the old ed. is right—“_bord_,” i. e. size. So in Beaumont and Fletcher’s _Knight of the Burning Pestle_;
“underneath his chin He plants a brazen piece of mighty _bord_.” Act iii. sc. 2—_Works_, vol. i. p. 214, ed. Weber.
where, says M. Mason, “_bord_ means rim or circumference.”
Vol. iv. p. 32, l. 4.
_corps_] So the word is used as a plural in _Epigrams and Satyres_, by Richard Middleton, 1608;
“the Tyrants brazen bull Of Agrigentine, which being crammed full Of humane _corps_, did roare with such a maine,” &c. p. 34.
Vol. iv. p. 66, note, read
“111 _Rider’s Dictionary_] _A Dict. Engl. and Lat. and Lat. and Engl._, by John Rider, first printed at Oxford, 1589, was a work once in great repute.”
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THE SPANISH GIPSY.
Vol. iv. p. 145, last line but one.
“this she, trow;”
Read
“this she, trow?”
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A GAME AT CHESS.
Vol. iv. p. 310, l. 1.
_Roch, Main, and Petronill, itch and ague curers_] Compare Taylor the water-poet: “he must be content with his office, as ... Saint Roch with scabbes and scurfes ... Saint Petronella the Ague or any Feuer.” _A Bawd_, p. 93—_Workes_, 1630.
Vol. iv. p. 407, l. 6.
_Epistle to Nicholas the first_, &c.] Since writing the note on these words, I have found in the Κειμηλια _Literaria_ of Colomesius what he calls a confirmation of the absurd story of the six thousand infants’ heads. “Simile quid narratur a Joscelino, in Episcoporum Cantuariensium Vitis, p. 210. editionis Hanovianæ. _Anno 1309_, inquit, _Radulphus Bourn Augustinensis Ecclesiæ Abbas electus, cum ad Papam Avinioni agentem confirmandus accessisset, reversus domum, testatur se vidisse in itinere piscinam in quadam Monialium Abbatia, quæ_ PROVINES _dicebatur; in qua, cum educta aqua luto purgaretur, multa parvulorum ossa, ipsaque corpora adhuc integra reperiebantur. Unde ad criminalia judicia subeunda viginti septem Moniales Parisios ductæ et carceribus mancipatæ fuerunt, de quibus quid actum fuerit, nescivit_.” Col. _Opera_, p. 301, ed. Fabr.
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ANY THING FOR A QUIET LIFE.
Vol. iv. p. 489, l. 25.
_the new prophet, the astrological tailor_] Perhaps Ball, who is thus mentioned by Osborn: “And, if common Fame did not outstrip Truth, King James was by Fear led into this extreme; finding his Son Henry not only averse to any Popish Match, but saluted by the Puritans as one prefigured in the Apocalyps for Rome’s destruction. And to parallel this, one Ball, a Taylor, was inspired with a like Lunacy, tho’ something more chargeable; for not only he, but Ramsay his Majesty’s Watch-maker, put out Money and Clocks, to be paid (but with small Advantage, considering the Improbability) when King James should be crowned in the Pope’s chair.” _Trad. Memor. on the Reign of K. James_—_Works_, vol. ii. p. 153, ed. 1722; see also B. Jonson’s _Works_ by Gifford, vol. v. p. 242.
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WOMEN BEWARE WOMEN.
Vol. iv. p. 520, l. 20.
_To take out_] i. e. to copy—a not uncommon expression in our old writers.