Stapleofnews00jonsuoft PDF
Stapleofnews00jonsuoft PDF
:LO
:LO
iCD
CD
CD
"CO
(IKiUDi
UHHARY
YALE STUDIES IN ENGLISH
ALBERT S. COOK, EDITOR
XXVIII
BEN JONSON
DE WINTER, PH.D.
Instructor in Rhetoric in Yale University
NEW YORK
HENRY HOLT AND COMPANY
1905
Copyright 1905 by DK WINTER
"us-
TO MY WIFE
PREFACE
In The Staple of News Jonson pushed his theory of the
purpose and method of comedy to its logical extreme. With
him the satiric purpose of comedy was always paramount.
Indeed it sometimes seems, as in the formless Cynthia's
Revels, as if he deliberately neglected the principles of
I. INTRODUCTION . . . . . . xi
. . . xviii
C. Sources . . . . . . xx
D. Early English Journalism and Nathaniel
1.
Cymbal and Nathaniel Butter . xlvi
2.
Madrigal and Jonson li
II. TEXT . . . . . . . . i
III. NOTES . . .
'
. . . . 121
IV. GLOSSARY . . . . . .
230
V. BIBLIOGRAPHY . . . . . .
265
Pp, two leaves; Qq, one leaf; three leaves without signa
ture; A-K; L, two leaves; M-R (S, T, V, X, Y, Z
omitted) ; A-P; Q, two leaves; R-V.
There is no general title-page (in some copies that of the first
volume of the 1640 Folio is inserted), (i) Title-page of Bartholo
mew Fayre, printed 1631. This is the first of five leaves, the second
'P. 78.
'2.296.
*
Notes and Queries, 4th S. 5. 573.
4
Bibliog. Coll. and Notes, p. 320.
*J, U, and
*
W
are always omitted.
For the dislocation in signatures, etc., see (3) below.
Introduction xiii
with the signature As, the others without signature, and all without
pagination. The Prologue, etc., As verso, The Persons of the
;
Play; the Induction, the next three leaves; the play itself, B-M:
pp. [i-io] and 1-88. (2) Title-page of The Staple of Newes (see
first page of text), printed 1631: As (changed after Cc2 to a single
letter)-!; two leaves: pp. [1-76]. (3) Title-page of The Dwell is
signatures and pagination show that it was intended that this play
should follow Bartholomew Fayre. Pp. 89, 90, however, are want
ing. The Masques, beginning with Christmas his Masque (no
(4)
t.p.),B-Q; R, two leaves; S-X; Y, two leaves (verso blank):
pp. i-[i6o]. P. 93 [N is numbered 87.
3] B 4 has verso blank. Only
two of the Masques have title-pages the Masque for the Enter-
tainement of Monsieur Le Baron De Tour, [C] p. 9, and The
Metamorphosed Gipsies, [G4 ] p. 47. (5) Title-page of Underwoods,
printed M. DC. XL: [Z] Aa-Oo; Pp, tzvo leaves; Qq, one leaf
;
Gentlewomen] Gentlewoman;
34 parents] parent; 5. i.
graphs ;
W = Whalley's text ; G = Gifford's text.
xvi Introduction
3. 320 a
2. making] making 1716, 3. 4. 79 venter] W;
venture 1716, W, G; 4. i. 55 You all are] You are all 1716,
W, G; 4. 2. 112 honour] honours 1716, W, G; 4. 4. 164
ghirlond] garland 1716, W, G; 5. i. 82 permit me see]
permit me to see 1716, W;
49 Stentor] Senator. In
5. 6.
some instances, too, corrects,
it or tries to correct, the assign
ment of speeches: e. g., 4. 2. 117 Pic.] P. jun. 1716, W, G;
4. 2. 123 P. Iv.] Pic. 1716, W.
Whalley's edition, 1756, purports to have been 'collated
with all the former editions and corrected.' Whalley's colla
tion must have been done hastily, however, or else he used
the results carelessly. He believed that Jonson had nothing
to do with the printing of the earliest edition, and that it
was very corrupt. In some instances he followed unneces
sary changes made by 1692 and adopted by 1716 : e. g., i. I. I
Whalley's working copy and the real basis of his text was
the edition of 1716: he often followed that to the entire
was too pointed for safety, and hence that the presentation
would have to be postponed until, from change of policy and
the passage of time, the play would be likely to meet with
greater toleration.
But, though it is certain that the general idea of the news-
satirewas born in Jonson's mind as early as the beginning
of 1621, and though, on the ground of timeliness, it seems
very likely that the elaboration of The Staple of News
began in the latter part of 1622, nevertheless the play was
receiving additions, one might say, almost up to the hour
of its presentation. First, as regards mere details and brief
allusions: in the Induction, Shrovetide and the coronation
of Charles are mentioned ;
in 3. 2. 220, Middleton's A Game
at Chess,which was acted in August 1624; in 4. 4. 170, the
plague, which is spoken of as though it were entirely over,
that the passages which occur both in the mask and in the
play were written originally for the mask, and not for the
play. It is entirely improbable that Jonson should find in a
comedy.
In short, then, Jonson certainly conceived the general idea
of the news-staple early in 1621. Probably he meant then
to promise us a play containing this as a main feature and ;
marriage was then hot upon the anvil, it would seem that
the second half of 1622 and the year 1623 must have been
the period in which the main body of the play was created.
The satire upon the latter theme explains why, if the play
was written then, its presentation was so long postponed.
However that may be, Jonson certainly worked on the play
during the closing weeks of 1625 and the first weeks of
1626, laying his recent masks under contribution, and insert
ing allusions to contemporary conditions and events, almost
to the date of the second presentation, February 19, 1626.
C. SOURCES
them he got the main idea of the allegorical part of the play,
the personification of money. He had, however, used this
idea before: Lady Argurion in Cynthia's Revels (acted
1600) also personifies money. His working out of this idea
in the action of our play has little or no resemblance to
the plot of either of his originals. Pecunia herself differs
very greatly from the deity of the Greek masterpieces: (i)
in being of the feminine gender; (2) in
having a train of
abstract personages similar to herself; (3) in having an
alchemical genealogy and significance (4) and in contain
;
Shakespeare's authorship.'
The argument of The London Prodigal is this Flowerdale :
The plan works : Sir Lancelot rejects the clothier, and forces
Luce to marry the heartless young Flowerdale. To Kester
the youth confides :
The father and the uncle now plan to have the prodigal
arrested on the way from
church, and charged with debt,
in order to try the temper of his wife, Luce. Now that he
is her husband, she
clings to him faithfully. She refuses to
go home with her enraged father, and he leaves her with her
husband and his uncle. Young Flowerdale scorns her.
The uncle puts a hundred angels (provided by Kester)
into Kester's hands for her. The young man demands it,
and, at her request, it is
given to him. The prodigal turns
upon her now:
A rattle-baby come to follow me !
Flow. Sen. Sir, she hath forsook her father and all her friends
for you.
M. Flow. Hang thee, her friends and father, all togethej.
Flow. Sen. Yet part with something to provide her lodging.
M. Flow. Yes, I mean to part with her and you; but if I part
with one angel, hang me at a post. I'll rather throw them at a
cast of dice, as I have done a thousand of their fellows.
sented in the order in which they occur in our play, the more
striking of these are as follows ( i ) In The London Prodi
:
Asotus and his beggar derive from Young Flowerdale and Kester?
2
Cf GC. 7. 263. Venus also reminds one greatly of the grocer
.
speeches.
But though, upon analysis, The Staple of News turns out
to be a vast piece of patchwork, a conglomerate of con
of the |
Princes with them, etc. |
With the preparation of the
French | King to resist him
and what great f eare Count
: Mans- |
1
Hist, of Brit. Journalism I. 34.
1
Cf Staple of News 3. 2.
.
3
The Lit. Relations of England and Germany in the i?th Century,
P- 173-
xliv Introduction
the New
World, presented early in 1621 and if we are ;
2
Andrews, Hist, of Brit. Journalism i. 30.
3
Life of Milton 3. 261.
xlvi Introduction
ever, that some time during that year Butter retired from
business. To quote DNB. 'He was then more than seventy:
E. IDENTIFICATIONS
i .
Cymbal and Nathaniel Butter
The
leading writers on the early news-system of England
identify Cymbal, head of the news-staple, with Nathaniel
Butter,
2
whose Weekly News was the most systematically
conducted and prosperous news-organ in England at the
time our play was produced. Sidney Lee also holds this
opinion. The strongest evidence contained in the play for
this identification is in the Third Intermean (12-20), where
the gossips discuss the scene (3. 2) in the Staple-office:
'Mirth. . . . But how like you the news? you are
gone from that.
Cen. O, they are monstrous! scuruy! and stale! and
too exotick ill cook'd
! and ill dish'd
! !
2
The Clerke, there.
likely that Cymbal stands for Butter? (3) The two clerks
1
1. 5. 58-62.
1
3- 3- 54-7-
1
See DNB.
Introduction xlix
1
Fas. He's my Customer, and a Wit Sir, too.
nected with the Court, and much in the public eye. Cer
tainly, though was probably the main purpose of the
it
2.
Madrigal and Jonson
Cunningham and Fleay both identify Madrigal with
1
Jonson himself. At 2. 4. 25 Shunfield says of Madrigal :
2
Putting these two passages together, Fleay says 'Madrigal :
was not a poet who began all works but finished none, and
he would never have spoken of himself as such. Careful
study of the contexts of these very passages which Cunning
ham and Fleay make the occasion of their notes of identifi
cation, and of what is said of Madrigal in other places,
reveals proof after proof that Jonson did not mean Madrigal
to stand for himself. Consider the following passages:
(1) Madrigal, in company with the jeerers, approaches
Peniboy Senior:
passage the very next line after the one which elicited his
note to see that Madrigal is so young looking that Peniboy
Senior thinks that youth explains his lack of beard: 'his
beard has time to grow,' says the miser. Jonson would not
in 1625-6 have represented himself as young looking.
Neither was he the man to be called a 'green Plover,' either
because of his appearance, or because of any lack of experi
ence nor the man to represent himself as a slavish admirer
;
Apollo Room
Madrigal has been ; silently composing a song
on the theme of Pecunia :
Or [do I] blast
The euer-liuing ghirlond, alwaies greene
Of a good Poet? when I say his wreath
Is piec'd and patch'd of dirty witherd flowers?
Away, I am impatient of these vlcers,
(That I not call you worse) There is no sore,
Or Plague but you to infect the times. I abhorre
2
Your very scent.
figure ;
not a point
for, except for his beardlessness, there is
is Wither,
(i) The phrase
'green plover,' and Peniboy
2
Senior's words, 'his beard has time to grow,' probably
allude to the general title of Wither's poems, Juvenilia, and
especially to his frequent apologetic reminders to the reader,
in the various introductory passages in that collection, that
'3.264.
'
Ct. the passages cited on page 52 above.
*
At the date of our play, however, Wither was about thirty-eight.
4
Juvenilia 3. 688.
Introduction Ivii
3
(e)in another place he devotes several pages to a criticism
of the dry and useless pedantry of the Universities. Jonson
1
Juvenilia i. 6; 8.
1
Juvenilia i. 90.
3
Cf. Juvenilia i. 175-182.
Iviii Introduction
4- 2. 93-4-
1
Juvenilia 3. 741.
'4-2.
4
4. 2. 78-9.
Introduction lix
The text here adopted is that of the original edition, dated 1631,
and found in volume 2 of the First Folio. The only alterations are
in the lining of the prose portions; in the pagination, that of the
marginal notes, which are here set into the body of the text at the
points where 1716 and Whalley placed them ; and in the substitution
phrasing of the text, including the book-holder's notes, and the scene
headings; all alterations in spelling which amount to changes of
form; all suggestive alterations in punctuation; all corrections of
verbal misprints; and all verbal misprints originating in subsequent
editions.
1692 alone follows the first edition in repeating the name of the
NEVVES.
A COMEDIE
ACTED IN THE
YEARE, 1625.
BY HIS MAIESTIES
SERVANTS.
[DEVICE OF A
WOLF'S HEAD ERASED]
LONDON,
Printed by /. B. for ROBERT ALLOT, and are
to be fold at the figne of the Beare, in Pauls
Church-yard. 1631.
THE PERSONS [2]
OF THE PLAY.
PENI-BOY. the Sonne, the heire and Suiter.
PENI-BOY. the Father, the Canter.
PENI-BOY. the Uncle. The Vfurer.
CYMBAL. Mafler of the Staple, and prime leerer.
FITTON. Emiffary Court, and leerer. 5
ALMANACK Doftor in Phyfick, and leerer.
SHVN-FIELD. Sea-captaine, and leerer.
MADRIGAL. Poeta/ler,and leerer.
PICKLOCK. Man and Emiffary Weftminfter.
o'law,
PYED-MANTLE. Purfiuant at armes, and Heraide t 10
REGISTER. Of the Staple, or Office.
NATHANEEL. Firft Clerke of the Office.
THO: BARER. Second Clerke of the Office.
PECVNIA. Infanta of the Mynes.
MORTGAGE. Her Nurfe. 15
STATVTE. FirstWoman.
BAND. Second Woman.
WAXE. Chambermaid.
BROKER. Secretary, and Gentleman v flier to her Grace.
LICK-FINGER. A Mafter Cooke, and parcell Poet. 20
FASHIONER. The Taylor of the times.
LINENER. HABERDASHER.
SHOOMAKER. SPVRRIER.
CVSTOMERS. {
Male and Female.
PORTER. DOGGES. II. 2
5
The SCENE. London.
THE PERSONS OF THE PLAY] Dramatis Personae W, G 1716,
W, G place this list of persons after the Prologue for the Court.
PROLOGVE.
to be feene: My
Goffip Tatle here, and Gofsip Expectation, 10
and my Gofsip Censure, and I am Mirth, the daughter of
Chriftmas, and fpirit of Shrouetide. They fay, It's merry
when Goffips meet, / hope your Play will be a merry one !
do the like?
EXPECTATION. I can doe that too, if I haue caufe. 35
PROLOGVE. Cry you mercy, you neuer did wrong, but
with iuft caufe. What's this, Lady?
MIRTH. Curiofity, my Lady Cenfure.
PROLOGVE. O Curiofity! you come to fee, who weares
the new
fute to day? whofe what 40
clothes are beft penn'd,
euer the part be ? which A6lor has the beft legge and foote?
what King playes without cuffes? and his Queene without
gloues? who rides poft in /lockings? and daunces in bootesf
CENSVRE. Yes, and which amorous Prince makes loue in
drinke, or doe's ouer-aft prodigioufly in beaten fatten, and, 45
hauing got the tricke on't, will be monftrous flill, in
defpight of Counfell !
TATLE. Ay me! 5
PROLOGVE
FOR
THE STAGE.
your owne fakes, not his, he bad me fay,
Would you were come to heare, not fee a Play.
FOr Though we his Aftors muft prouide for thofe,
Who are our guefts, here, in the way of fhowes,
The maker hath not fo ;
he'ld haue you wife 5
Much rather by your eares, then by your eyes :
STAPLE OF
NEVVES.
ACT. I. SCENE. I.
drop my wardlhip, 15
My pupill age,and vaffalage together.
And Liberty, come throw thy felfe about me,
In a rich fuite, cloake, hat, and band, for now
I'le fue out no mans Littery, but miny owne,
Well,
r
M
Fafhioner, theres fome muft breake
.
21 cloths W, G 30 ( )] G He is G 34 register'd G
r
41 S .]Sirf passim Mr] Master f 4711'] he G 49 Pray
1716, W, G passim 53 SN.] Om. G
14 The STAPLE of NEVVES [ACT i
THO. No,
He has a rupture, hee has fprung a leake,
Emiffarie Weftminfter's vndifpos'd of yet ; [ 10]
Then the Examiner, Regifter, and two Clerkes, 75
They mannage home, and fort, and file,
all at
And feale the newes, and iffue them. P. Iv. Thorn, deare
Thorn.
What may my meanes doe for thee, aske, and haue it,
Gods fo :
my Spurrier !
put 'hem on boy, quickly,
His Spurrier comes in.
mingle 5
Our
flrength both of foote, and horfes!
These fellowes looke fo eager, As if they would beleaguer
An Heyre in the midft of his forces \
Your flreets are pau'd with 't: there, the molten filuer
Runns out like creame, on cakes of gold. P. CA. And
Rubies 60
Doe grow like Strawberries. P. Iv. 'Twere braue being
there! [13]
Come Thorn, we'll go to the Office now. P. CA. What
Office?
P. Iv. Newes Office, the New
Staple; thou malt goe too,
'Tis here i'the houfe, on the fame floore, Thorn, fayes,
Come, Founder, let vs trade in Ale, and nutmegges. 65
41 shortly [Aside. G! 42 {they make legs to him.] G
43 Canter G !
[Exe. Shoemaker, Linener, Haber. and Hatter.
G
48 doe doe] do W, G 51 [To the Spurrier. G $2 box?
1716, W box ! G Angel :
1716, W, G (SN.) Gives . .
.]
Om. G
54 [Exit G 63 too; 1716, W, G 64 fays. 1692, 1716, W
fays ;
G 65 [Exeunt. G
2o The STAPLE of NEVVES [ACT i
ACT. I. SCENE. V.
PENIBOY. CYMBAL. FITTON. THO:
BARBER. CANTER.
troth they are dainty roomes what place is this ?;
the fa&ion.
FIT. As the Reformed newes, Proteftant newes,
CYM. And Pontificiall newes, of all which feuerall, 15
The Day-bookes, Characters, Precedents are kept.
Together with the names of fpeciall friends
FIT. And men of Correspondence i'the Countrey
CYM. Yes, of allranks, and all Religions.
FIT. Faclors, and Agents CYM. Liegers, that lie
out 20
Through all the Shires o'the kingdome. P. Iv. This is
fine!
And beares a braue relation but what fayes !
ha's 70
Coft fweat, and f reefing. CYM. And fome broken fleepes
Before it came to this. P. Iv. I eafily thinke it.
Office,
FIT. For his Effay, his peece. P. Iv. My man o'Law !
Sir,
That may concerne the Office. P. Iv. Keepe me faire,
Sir, 145
Still i'your Staple, I am here your friend,
On the fame flooer. FIT. Wemail be your feruants.
P. Iv. How doft thou like it, Founder? P. CA. All
is well,
P. CANTER.
meane, 10
All noyfe, that is fuperfluous! Pic. All that idle pompe,
And vanity of a Tombe-flone, your wife father
Did, by his will, preuent. Your worihip had
P. Iv. A louing and obedient father of him,
I know it: a right, kinde-natur'd man, 15
To dye foopportunely. Pic. And to fettle
All things fo well, compounded for your ward fhip
The weeke afore, and left your flate entyre [18]
Without any charge vpon't. P. Iv. I mufl needes fay,
I loft an Officer of him, a good Bayliffe, 20
And I mail want him; but all peace be with him,
I will not wifli him aliue, againe; not I,
For all my
Fortune; giue your worfhip ioy
O' your new place, your Emiffary-fhip,
I'the Newes Office. Pic. Know you, why I bought it
Sr ? 25
P. Iv. Not I. Pic. To worke for you, and carry a
myne
Againft the Mafter of it, Mailer Cymball;
Who hath a plot vpon a Gentlewoman,
Was once defign'd for you, Sir. P. Iv. Me ? Pic. Your
father,
Old Mafter Peni-boy, of happy memory, 30
And wifdom too, as any i'the County,
Carefull to finde-out a fit match for you,
In his owne life time (but hee was preuented)
Left it in writing in a Schedule here,
P. Iv. A
Cornifh Gentlewoman, I doe know her,
Miftreffe,Pecunia doe-all. Pic. A great Lady, 40
Indeede fhee is, and not of mortall race,
Infanta of the Mines her Graces Grandfather,
;
hee was a prophane Poet, and all his Playes had Diuels in
them. That he kept fchole vpo'the Stage, could coniure 50
there, aboue the Schole of Weflminfter, and DoSlor Lamb
too: not a Play he made, but had a Diuell in it. And that
he would learne vs all to make our husbands Cuckolds at
Playes: by another token that a young married wife i'the
company, faid, /hee could finde in her heart to fteale thither, 55
and fee a little o'the vanity through her mafque, and come
practice at home.
TATLE. O, it was, MiftrefTe
MIRTH. Nay, Gofsip, I name no body. It may be 'twas
my felfe. 60
EXPECTATION. But was the Diuell a proper man, Gofsip ?
MIRTH. As fine a gentleman, of his inches, as euer I faw
trufted to the Stage, or any where elfe: and lou'd the com
mon wealth, as well as ere a Patriot of 'hem all: hee would
31 It is G 36 Devil f passim 44 see it G
47 you ;
G 50 upon G 64 e'er 1716, W ever G
32 The STAPLE of NEVVES [ACT H
W, G
34 The STAPLE of NEVVES [ACT H
ants,
Or Suitors by and by ;
and 'tis not fit
They find you here. STA. 'Twill make your Grace too
cheape
To giue them audience prefently. MOR. Leaue your
Secretary, 60
To anfwer them. PEC. Waite you here, Broker. BRO. I
flial Madame.
And doe your Graces trufts with diligence.
PYED-MANTLE. BROKER.
PENI-BOY. SEN.
I hope: comes
for me
that way by her mother,
15 farther f 36 morsel, f 41 ( )] G
Sc. n] The STAPLE of NEVVES 37
BRO. Good M r
.
Pyed-mantle. PYE. Why? you could
do me,
If you would, now, this fauour of your felfe.
confeffe,
That ha'them already. P. SE. What? Lie. The pox!
P. SE. The piles,
The plague, and all difeafes light on him,
Knowes not to keepe his word. I'ld keepe my word Cure !
5
I hate that man that will not keepe his word,
found, 10
ALM. And feafon'd too, fmce he tooke fait at Sea.
P. SE. I doe not loue pickl'd fecurity,
Would I had one good Fre/h-man in for all ;
For truth is, you three ftinke. SHV. You are a Rogue,
hopes :
beard. 25
P. SE.His beard has time to grow. I haue no money :
gentlemen, [29]
I am
of that humble nature and condition,
Neuer to minde your worlhips, or take notice
Of what you throw away, thus. I keepe houfe here
129, 130 Mafter] Mr. 1692, 1716 mr. W 133 ALM.] Mad. W,
G 145 ( )] G 146 awake W 147 I'faithf passim
I'll G It is G 151 It were G
Sc. iv] The STAPLE of NEVVES '
47
And carts, and harrowes, and are bufie ftill,
In vexing the dull element. ALM. Our fweete Songster
Shall rarifie't into ayre. FIT. And you Mas. Broker
Shall haue a feeling. BRO. So it fupple, Sir,
The nerues. MAD. O
it lhall be
!
palpable, 160
Make thee runne thorow a hoope, or a thombe-ring,
The nofe of a tabacco pipe, and draw
Thy duclile bones out, like a knitting needle,
To ferve by fubtill turnes. BRO. I lhall obey, Sir,
And run a thred, like an houre-glaffe. P. SE. Where is
Broker ?
165
Are not thefe flies gone yet? pray' quit my houfe,
I'le fmoake you elfe. FIT. O the Prodigall ! !
P. Iv. Is this
45 Pecunia ?
Vouchfafe my toward kinfman, gracious Madame,
P. SE.
The fauour of your hand. PEC. Nay, of my lips, Sir,
Shce kiffeth him.
To him. She kifles like a mortall creature,
P. Iv.
Almighty Madame, I haue long'd to fee you.
not draw
That charge vpon your worfhip. P. CA. He fpeakes
modeftly, 105
And like an Vncle, P. SE. But Mas Broker, here,
Come forth of a tauerne. Pic. Not goe in, Sir, though. 120
P. CA. She muft goe in, if me came forth: the bleffed
Pokahontas (as the Hiftorian calls her
And great Kings daughters of Virginia)
Hath bin in womb of a tauerne and befides, ;
And haue her Armes fet vp there, with her Titles, 135
Aurelia Clara Pecunia, the Infanta.
And in Apollo. Come (fweete Princeffe) goe.
P. SE. Broker, be careful of your charge. BRO. I war
rant you.
115 gross !
1716, W, G SN.] Om. G [To P.jun. G
124 a] Om. G 126 That is G 138 [Exeunt. G
54 The STAPLE of NEVVES
men and women o' the time, the Vices, male and female!
Prodigality like a young heyre, and his Miflreffe Money
(whofe fauours he fcotters like counters} prank' t vp like a 20
prime Lady, the Infanta of the Mines.
CEN. I, therein they abufe an honorable Princefle, it is
thought.
MIRTH. By whom is it fo thought? or where lies the
abufe? 25
CEN. Plaine in the ftiling her Infanta, and giuing her
three names.
MIRTH. Take heed, it lie not in the vice of your interpre
tation: what haue Aurelia, Clara, Pecunia to do with any
perfon? do they any more, but expreffe the property of 3
TO THE READERS.
this following AB, the Office is open'd, and fhew'n
IN to the Prodigall, and his Princeffe Pecunia; wherein
the allegory, and purpofe of the Author hath hitherto beene
wholly miftaken, and fo fmifter an interpretation beene
made, as if the foules of moil of the Spectators had liu'd 5
The Office of the Staple. Enter FITTON, CYMBAL, Register, Clerk, and
THO. Barber. G n Enter PICKLOCK. G
58 The STAPLE of NEVVES [ACT in
BY your
I'your new Office? Princeffe, here's the Staple!
This the Gouernor, kiffe him, noble Princeffe,
is
Two doe not doe one Office well. P. Iv. 'Tis true, 10
But I am loth to lofe my curtefies.
P. CA. So are all they, that doe them, to vaine ends,
And yet you do lofe, when you pay you felues. [39]
P. Iv. No more o' your fentences, Canter, they are flale,
We come remember where you are.
for newes, 15
I pray thee my Princeffe heare fome newes,
let
notes in this scene exc. those at lines 223, 260. 13 your selves
1692, 1716, W yourselves G
60 The STAPLE of NEVVES [ACT in
thing. 35
Don Spinola made Generall of the lefuits \
More of Spinola.
A Prieft ! CYM. O, no, he is difpenc'd with all,
And the whole fociety, who doe now appeare
The onely Enginers of Chriftendome.
P. Iv. They haue bin thought fo long, and rightly too. 40
FIT. Witneffe the Engine, that they haue prefented him,
To winde himfelfe with, vp, into the Moone :
water.
The burning glaffe, by Moone-shine.
P. Iv.His flrengths will be vnrefiftable, if this hold!
Ha'you no Newes againfb him, on the contrary?
CLA. Yes, Sit, they write here, one Cornelius-Son, [40]
The Holanders Eele.
Hath made the Hollanders an inuifible Eele, 61
To fwimme the hauen at Dunkirk e, and fmke all
The fhipping there. P. Iv. Why ha'not you this, Thorn"?
CYM. Becaufe he keeps the Pontificiall fide.
Peny-boy will haue him change fides :
P. Iv. For that I'll beare the charge There's two Pieces,
:
Vp, Thorn: and th' Office mail take 'hem. Keep your
fide, Thorn.
Know your owne fide, doe not forfake your fide, Thom. 75
CYM. Read. THO. They write here one Cornelius-Son,
Hath made the Hollanders an inuifible Eele,
To fwimrne the Hauen at Dunkirk e, and finke all
The Ihipping there. P. Iv. But how is't done? CYM. I'll
mew
you Sit.
an Automa, runnes vnder water,
It is 80
With a mug nofe, and has a nimble taile
Made like an auger, with which taile me wrigles
Betwixt the coafts of a Ship, and fmkes it ftreight.
P. Iv. Whence ha'you this newes. FIT. From a right
hand I affure you,
The Eele-bozts here, that lye before Queen-Hyth, 85
Came out of Holland. P. Iv. A moft braue deuice,
To murder their flat bottomes. FIT. I doe grant you :
P. Iv. Let me haue all this Newes, made vp, and feal'd.
REG. The people preffe vpon vs, pleafe you, Sir,
Withdraw with your faire Princeffe. There's a roome
The Regifter offers him a roome.
Within, Sir, to retyre too. P. Iv. No, good Regifter,
We'll ftand it out here, and obferue your Office; 115
The Office call'd the houfe of fame.
What Newes it iffues. REG. 'Tis the houfe of fame, Sir,
Where both the curious, and the negligent;
The fcrupulous, and careleffe wilde, and ftay'd ; ;
Temple : a Cabal
Found out but lately, and fet out by Archie,
Archie mourn'd then.
Or fome fuch head, of whofe long coat they haue heard,
And being black, defire it. DOP. Peace be with them !
124, 126, 134, 136, 137, 140, 147, 149, DOP.] i Cust. G
142 penn'orth G
Sc. n] The STAPLE of NEVVES 65
That plai'd him! THO. Then, h'has loft his fhare o' the
Legacy.
Lie. What newes of Gundomar? THO. A fecond
Fiftula,
Gundomar's vfe of the game at Cheffe, or Play fo called.
Doubles it.
Layties \
ha' brought
A Gentleman to fpeake with you? P. SE. To fpeake
with me ?
You know'tis death for me to fpeake with any man. 5
What is he ? fet me a chaire. BRO. He's the Mafter
Of the great Office. P. SE. What? BRO. The Staple of
Newes,
A mighty thing, they talke Slrthoufand a yeere.
P. SE. Well bring your fixe in. Where ha'you left
Pecunia?
BRO. Sir, in Apollo, they are fcarce fet. P. SE. Bring
fixe. 10
Om. G 22 O]G 1
23 imperfect ; W, G 27 moiety,
34 hundred, 1716, W hundred ;
G 36 vnto] into W
Sc. iv] The STAPLE of NEVVES 75
CYM. You faid e'en now, it was death for you to fpeake.
P. SE. I, but an anger, a iufl anger, (as this is)
Puts life in man. Who can endure to fee 45
The fury of mens gullets, and their groines ?
He is angry.
P. SE. Why fhould I not? 70
Is it not vnder mine owne roofe? my feeling?
CYM. But I came hete to talk with you. P. SE. Why,
an'I will not
Talke with you, Sir? you are anfwer'd, who fent for you?
CYM. Nobody fent for me P. SE. But you came,
why then
Goe, as you came, heres no man holds you, There, 75
Bids him get out of his houfe.
There lies your way, you fee the doore. CYM. This's
ftrange !
He ieeres him.
FIT. I ha' mark'd him all this meale, he has done nothing
Imperfecl.
ALM. I cannot think he finifheth that. P. Iv. Let's
heare.
MAD. It is a Madrigall, I affel that kind
Of Poem, much. P. Iv. And thence you ha' the name.
FIT. It is his Rofe. He can make nothing elfe 90
MAD. I made it to the tune the F idlers play'd,
That we all lik'd fo well. P. Iv. Good, read it, read it.
MAD. The Sunne is father of all mettalls, you know,
Siluer, and gold. P. Iv. I, leaue your Prologues, fay!
SONG.
As bright as is the Sunne her Sire, 95
MADRIGAL.
Or Earth her mother, in her beft atyre,
Or Mint, the Mid-wife, with her fire,
Comes forth her Grace! P. Iv. That Mint the )
Pic. Call in the Fidlers. Nicke, the boy fhal fing it,
Sweet Princeffe, kiffe him, kiffe ''hem all, deare Madame,
And at the clofe, vouchfafe to call them Coufins.
He vrgeth her to kiffe them all.
Sir?
I am a wretch, a begger. She the fortunate.
Can want no kindred, wee, the poore know none. [55]
FIT. Nor none lhall know, by my confent. ALM. Nor
mine,
P. Iv. Sing, boy, ftand here.
The boy ftngs the fong.
P. CA. Look, look, how all their eyes 130
Dance i'their heads (obferue) fcatter'd with luft!
At fight o' their braue I doll how they are tickl'd, \
Moue, but their braine, and that Hands flill mere monfters !
tinclion !
willingly.
BAND. we knew her Grace had the leaft liking.
I, if
WAX. We
muft obey her Graces will, and pleafure.
P. Iv. I thanke you, Gentlewomen, ply 'hem, Lickfinger.
Giue mother Mortgage, there Lie. Her doze of
Sacke. 165
I haue it for her, and her diftance of Hum.
PEC. Indeede therein, I muft confeffe, deare Coufin,
Iam a moft vnfortunate Princeffe. ALM. And
You ftill will be fo, when your Grace may helpe it.
The Gallants are all about Pecunia.
The Poet muft haue wine. And he lhall haue it. 185
LlCKFINGER. &C.
BRoker?
P. SE. I am abus'd, where is my Knaue? my Broker?
Lie. Your Broker out vpon a bench, yonder,
is laid
leaue, Gentlemen.
BY your Pyed-mantle brings the Lady Pecunia her pedigree.
FIT. Her Graces Herald,
ALM. No Herald yet, a Heraldet. P. Iv. What's that?
P. CA. A Canter. P. Ivv O, thou faid'ft thou'dft fproue
vs all fo !
Mufter-Mafter
Talkes of his Taclicks, and his Rankes, and Files ;
Yes.
P. CA. And read Apicius de re culinaria
To your braue Doxie, and you! P. Iv. You, Coufin
Fitton, 9
Shall (as a Courtier) read the politicks',
Dottor Al-manack, hee mail read Aflrology,
Shunfield mail read the Military Arts.
ages. 100
P. Iv. And Pyed-mantle, mall giue vs all our Armes,
But Picklocke, what wouldft thou be ? Thou canft cant too.
Pic. In all the languages in Weftminfter-Hall,
Pleas, Bench, or Chancery. Fee-Farme, Fee-Tayle,
Tennant in dower, At will, For Terme of life, 105
By Copy of Court Roll, Knights feruice, Homage,
Fealty, Efcuage, Soccage, or Frank almoigne,
Grand Sergeanty, or Burgage. P. Iv. Thou appear'ft,
KaT e&xrjv a Canter. Thou fhalt read
All Littletons tenures to me, and indeed 1 10
All my Conueyances. Pic. And make 'hem too, Sir?
Keepe your Courts, be Steward o'your lands,
all
Let all
your Leafes, keepe your Euidences,
But firft, I muft procure, and paffe your mort-maine
You muft haue licence from aboue, Sir. P. Iv. Feare
not, 115
Pecunia's friends mall doe it. P. CA. But I mail flop it.
Here his father difcouers himfelfe.
Your worfhips louing, and obedient father,
Your painefull Steward, and loft Officer !
gall,
Was I fo carefull for thee, to procure,
And plot wi' my learn d Counfell, Mafter Picklocke,
This noble match for thee, and dofl thou proftitute, 130
Scatter thy Miftreffe fauours, throw away
Her bounties, as they were red-burning coales,
Toohot for thee to handle, on fuch rafcalls ?
Who are the fcumme, and excrements of men ?
If thou had'ft fought out good, and vertuous perfons 135
Of thefe profeflions I'had lou'd thee, and them.
:
to the Poet.
TAT. Like enough, jor hee had the chief eft part in his
play, if you marke it.
make any parties phyficke i' the world worke, with his dif- 40
courfe.
24 height f 29 do ; f 32 doctors G 35 leer !
f
39 glyster G O' G
INTERMEAN] The STAPLE of NEVVES 99
forgiueneffe! 70
TAT. And vs too.
CEN. In two large fheetes of paper
EXP. Or to /land in a fkin of parchment, (which the
Court pleafe)
CEN. And thofe fill'd with newes! 75
MIRTH. And dedicated to the fuftaining of the Staple !
EXP. Expectation !
ACT. V. SCENE. I.
PENY-BOY. Iv. {
to him THO. BARBER.
after, PICKLOCKE.
Hee comes out in the patchd cloak his father left him.
And I am now
a thing, worth looking at !
87 Mirth !
f 90 Subsign'd, Tattle, f
SCENE I. Pennyboy's Lodgings. Enter PENNYBOY/. in the patched
and ragged eloke his father left him. G to him PlCKLOCKE.] Om. G . . .
G makes but one scene of Scenes I, II, and III. SN.] Om. G
6 these f
Sc. i]
The STAPLE of NEVVES 101
I now
begin to fee vanity, my
Shine in this Glaffe, reflected
by the foile ! 1 5
Where my is my Feather-man?
Fafhioner?
My Linnener? Perfumer? Barber? all?
That tayle of Riot, follow'd me this morning?
Not one ! but a darke folitude about mee,
Worthy my cloake, and patches as ;
I had 20
The epidemical! difeafe vpon mee :
How doe you? Why doe you fit thus o'the ground, Sir?
Heare you the newes ? P. Iv. No, nor I care to heare none.
Would I could here fit flill, and flip away 25
The other one and twenty, to haue this
Forgotten, and the day rac'd out, expung'd.
In euery Ephemerides, or Almanack.
Or if it muft be in, that Time and Nature
Haue decree'd flill, let it be a day
; 30
Of tickling Prodigalls, about the gills ;
To vfe your credit for monies. P. Iv. What thou wilt, 120
So wee be fafe, and the Truft beare it. Pic. Feare not,
'Tis heemuft pay arrerages in the end.
Wee'l milke him, and Pecunia, draw their creame downe,
Before he get the deed into his hands.
My name is Picklocke, but hee'll finde me a Padlocke. 125
Pic. O
me what times are thefe of f rontleffe carriage
! ! !
from you,
83 'em G 86 with your G 87 engine-head 1716, W, G
94 quoited G 97 have 'em G 98 Enter LICKFINGER. G
99 SN. and Scene III. 17 SN. combined here by G thus Comes forward
:
with Lickjinger while P.jun. discovers the plot, aside, to his father, and
that he is in possession of the deed.
ACT. V. SCENE. III.] Om. G LICKFINGER. (to them.} Om. G
[tothem\ LICKFINGER. 1692, 1716, W
Sc. m] The STAPLE of NEVVES 109
yeere, Sir,
P. SE. In feuen yeers, varlet ! Know'ft thou what thou
haft done?
What a confumption thou haft made of a State"?
It might pleafe heauen, (a lufty Knaue and young) [71]
To let thee Hue fome feuenty yeeres longer. 15
Till thou art fourefcore, and ten perhaps a hundred. ;
BOY sen. discovered sitting at table with papers, &*c. before him Porter, ;
and Block and Lollard (two dogs.} G 5 o'] G my] your 1716
ii2 The STAPLE of NEVVES [ACT v
fifteen ; 25
And the tenth feuen, fiue and twenty pound,
Twelue Shillings. This thou art fall'n from, by thy riot !
None, fay you fo? not that you know? or will know?
I feare me, I mall find you an obilinate Curre.
57 none? W, G
1716, You're W You are G 58 (SN.)
Lollard . .
.] Om. G 62 Who? did W Who? Did G
63 with G 66 SN.] Om. G 70 Enter CYMBAL, and . . .
While they are fat. FIT. Faith, and when they are gone,
Here's nothing to be feene beyond. CYM. Except 40
His kindred, Spiders, natiues o'the foyle.
mee,
I willpreuent 'hem all. Firft free my dogges,
Left what I ha' done to them (and againft Law) .
THE END.
The Epilogue.
HP Hus haue you feene the Makers double fcope,
To profit, and delight wherein our hope
;
TITLE-PAGE
1625. Fleay's discussion of the date in his History of the Stage
(p. 384) shows that The Staple of Newes was acted in February
1626, New Style (cf. Introd., p. 18).
His Maiesties Servants. This company of actors was licensed in
1586 as Leicester's Company, and known as such till 1589. It was
known 1589-94 as Strange's; 1594 as Derby's; 1594-6 as Chamber
lain's;1596-7 as Hunsdon's; and 1597-1603 as Chamberlain's. In
1603 King James took it under his patronage, and henceforth, till
the closing of the theatres in 1642, it was known as the King's
Company, and popularly spoken of as the King's Men. Shakes
peare was a member
of this company, and wrote all his plays for
it. He was the only great dramatist of the period who wrote for
but one company. Jonson, on the other hand, was connected with
three leading companies. He began in 1597 by writing for the
Admiral's Men (afterwards Prince Henry's Men), and wrote for
them again in 1602. For the company of boys known as Chapel
1592-1603, Queen's Revels 1603-13, Lady Elisabeth's 1613-25, and
Queen Henrietta's 1625-42, he wrote in 1598, 1600-1, 1605, 1609,
1614, 1633. For the King's Majesties Servants, or King's Men, he
wrote 1598-9, 1603-5, 1610-11, 1617-32. Of his plays, Sejanus (1603),
Volpone (1605), Alchemist (1610), Catiline (1611), Devil is an Ass
(1616), Staple of News (1626), New Inn (1629), and Magnetic Lady
(1632) were acted by this company (cf. title-pages in the Jonson
folios, 1616 and 1631-41, and Fleay's Biog. Chron. i. 356-87;
2. 403-4)-
122 The Staple of News [T. P.
fingers :therefore he that cannot lick his fingers goes not with me.'
Furness quotes Steevens: This adage is in Puttenham's Arte of
English Poesie, 1589, p. 157:
As the old cocke crowes so doeth the chick:
A bad cooke that cannot his own fingers lick.'
It is also in
Heywood's Proverbs, ed. 1874, p. 151.
Gifford's variant: 'Buz, Ambler, grooms.' Though Buz and
Ambler are mentioned several times in the play, they nowhere appear
in person, and hence do not belong in the dramatis personae.
Moreover, they are emissaries, not grooms; cf. i. 6. 52-3: 'two
Groomes Pawne, and his fellow.'
THE INDUCTION
i. For your owne sake, not ours. As Gifford points out, we
should read 'his' instead of ours (cf. Prologue for the Stage, line i).
Gifford has the Gossips enter after line i, because they interrupt
the Prologue. Cf. Dekker, Gull's Hornbook, chap. 6: 'Present not
yourself on the stage, especially at a new play, until the quaking
Prologue hath by rubbing got colour into his cheeks, and is ready
to give the trumpets their cue that he is upon point to enter; for
then it is time, as though you were one of the properties, or that
you dropt out of the hangings, to creep from behind the arras,
with your tripos or three-footed stool in one hand, and a teston
[tester =sixpence] mounted between a forefinger and a thumb in
the other; for if you should bestow your person upon the vulgar,
when the belly of the house is but half full, your apparel is quite
eaten up, the fashion lost, and the proportion of your body in
more danger to be devoured than if it were served up in the Counter
amongst the poultry.' Under Mirth's bold leadership, the gossips
emulate the practice of the gallants.
6. helpe vs to some stooles. Cf Barth. Fair 5. 3. 'Have :
you none of your pretty impudent boys now, to bring stools, fill
124 The Staple of News [!ND.
on the you may, with small cost, purchase the dear acquaint
stage,
ance of the boys; have a good stool for sixpence.' Cf. also Induc
tion of Cynthia's Revels 'What upon the stage too ?' etc.
:
from this that ladies were ordinarily provided with seats upon the
stage, as gentlemen were' (C). Quite the contrary follows. Mirth's
first words and the Prologue's question here both suggest
(line i)
that the Gossips are doing a somewhat unusual and daring thing.
Tattle is ashamed to be seen there, and shrinks behind her mask.
Ward says (Hist. Eng. Dram. Lit. i. 477) 'No respectable woman :
the face, reaching down to the bottom of the nose, so that the
mouth and chin might be seen, as also part of the forehead.' Cf.
First Intermean, line 51.
11. Mirth, . Christmas. At this time, the English were
. .
Probably the Gossips are not intended as a satire upon the female
element in the audience that was never more than a small fraction;
but rather to symbolize the shallow and 'ridiculous' (cf. To the
Readers) and especially that
part of the audience, of either sex,
part of it which sat on the stage.
probably always men
15. Noblemen graue Wits. Also seated on the stage.
. . .
Cf. Dekker, Gull's Hornbook, chap. 6 'Let our gallant, having paid :
throne of the stage; I mean not into the lords room, [the stage-
box, or first seat at the theatre] which is now but the stage's
suburbs ; But on the very rushes where the comedy is to
. . .
dance, yea, and under the state of Cambyses himself, must our
feathered estrich, like a piece of ordnance, be planted valiantly,
because impudently, beating down the mews and hisses of the
opposed For the dramatist's relations with that part of
rascality.'
his audience sat on the stage, cf. the whole of chapter 6 in
which
the Gull's Hornbook, and the induction of Cynthia's Revels.
25. find. Cf the legal phrase find guilty and see Glossary.
. ;
8. 24) :
life among playhouses and players, and that he must have frequently
1623; but it does not necessarily follow from this that Jonson
consulted the players' copy. He had no occasion to look into it for
what he already knew and if he had opened it at all, the probability
;
. . .
players introduced the alteration, it is not easy to
If the
see they should have left out the words which Jonson puts
why
into the mouth of Metellus, "Caesar, thou dost me wrong," nor
why they should have written, "Know, Caesar doth not wrong,"
instead of "Caesar did never wrong." On the whole, I
. . .
am disposed to believe that Ben Jonson loved his jest better than
his friend, and repeated a distorted version of the passage without
Jonson.'
Sidney Lee (The Life of William Shakespeare, p. 176) says:
'The most scornful criticism that Jonson is known to have passed
on any composition by Shakespeare was aimed at a passage in Julius
Caesar, and as Jonson's attack is barely justifiable on literary
grounds, it is fair to assume that the play was distasteful to him on
other considerations. "Many times," Jonson wrote of Shakespeare
in his Timber, "hee fell into those things [which] could not escape
Caesar] replyed Caesar did never wrong, but with just cause
: :
"Cry you mercy, you Mid not wrong but with just cause." Possibly
the words that were ascribed by Jonson to Shakespeare's character
of Caesar appeared in the original version of the play, but, owing
perhaps to Jonson's captious criticism, they do not figure in the
Folio version, the sole version that has reached us. The only words
that correspond with Jonson's quotation are Caesar's remark:
(III. i. 47-8). The rhythm and sense seem to require the reinsertion
after the word "wrong" of the phrase "but with just cause", which
Jonson needlessly reprobated. Leonard Digges (1588-1635), one of
Shakespeare's admiring critics, emphasises the superior popularity
of Shakespeare's Julius Caesar in the theatre to Ben Jonson's
Roman play of Catiline, in his eulogistic lines on Shakespeare (pub
lished after Digges's death in the 1640 edition of Shakespeare's
Poems} :
and said that the custom was 'so aduanced' in England 'that every
child hath them in his hat or cap many get good liuing by dying
:
and selling of them, and not a few prove themselues more than fooles
in wearyng of them.' Strutt says (Antiq. 3. 84) that the feather was
one of the chief external marks of the noble or 'gentleman of dis
tinction.' The allusion here seems to show that feathers were some
times attached to the clothes as well as to the covering of the head.
The costumes of the stage in those days made little or no
pretense at historical accuracy, but were like those of everyday men
and women, and changes of the world of fashion. I
reflected the
incline to believe Jonson includes in the allusion both the
that
gallants sitting on the stage and the actors. Gossip Censure is
indifferent to the play, provided she sees gallant costumes.
46. and, hauing got the tricke on't. 'There can be no doubt but
this is particular satire, though it is not easy to say at whom it
points'(W.).
monstrous. A Latinism (L. menstruum a prodigy). It harks
back to prodigiously in the preceding line. Censure is thinking of
the grotesque acting of the figures in the puppet-shows, or motions
(cf. note on 4. 2. 137).
curse the poor tireman, rail the music out of tune, and sweat for
every venial trespass we commit, as some author would, if he had
such fine enghles as we. Well, 'tis but our hard fortune!'
64. 'hem. See Glossary.
spurges. Whalley reads 'purges,' and Gifford follows him.
Cunningham says: 'The change is injurious in every way.' Jonson
has the word again, vol. 7, p. 117: "The spurging of a dead-man's
eyes," where the spelling is not interfered with.' It is not a question
of a change of spelling, however, but of substituting an entirely
different word. Halliwell (Diet.) quotes from Palsgrave:
'I spurge
I dense as wyne or ale dothe in the vessel.'
the flattered subject of it; but from her, and from the whole present
scene, it soon strays off into the field of society gossip.
their coaches and taking the fresh open air, and then covert when
they please, as in our Hyde-park or so?
2 Her. Above all the Hyde Parks in Christendom, far more
hiding and private; they do all in clouds there; they walk in the
clouds, they sit in the clouds, they lie in the clouds, they ride and
tumble in the clouds, their very coaches are clouds.'
This kind of thing was made easier by the feminine fashion of
wearing masks; see note on Induction, line 7. Cf. also Stubbes,
Anat. of Abuses, p. 76.
15-16. Medleyes . Phoenix. 'Medley's was an ordinary
. .
ACT I. SCENE I.
2. And thou hast fitted me. 'I apprehend that an' should be the
reading instead of and' (G).
SN. Gowne. At the date of this play, and indeed till late in
that century, the gown was a regular part of the wardrobe of a
gentleman (cf. Planche, Cyc. of Costume i. 217). Probably the
gown Peniboy wears here is a morning-gown, or dressing-gown.
Line 15 suggests that it may be a special kind of gown, which he is
obliged to wear as a sign of wardship; but I incline to think that
the symbolism he sees in the act of throwing it off is a mere fancy
of the moment.
3-5. Cf. Introduction, p. 26.
Sc. i]
Notes 133
the Epicoenes, because there under one article both kinds are
signified, for they are fashioned alike, male and female the same.'
The was reciprocal. Osborne (Sec. Hist. i. 275),
imitation, however,
says James bore himself towards his favorites 'as if he had mis
taken their sex, and thought them ladies which I have scene ;
9. will. For this use of will in the first person to form the future
tense, see Schmidt, Shak. Lex. II. under will as irregular verb, 4).
H-I2. deare watch . . .
inough. 'Nares cites this as an
early mention of a repeating watch' (C).
15. wardship. Probably Peniboy is the King's ward. All the
lands of England are supposed to be held, mediately or immediately,
of the King, who is styled the lord paramount. Those who held
immediately under him in right of his crown and dignity were
called tenants in capite, or in chief. Until the middle of the iTth c.
most of the lands of the kingdom were held by this tenure. One
of the fruits of it was the institution of wardship. When a tenant
died whoheld in capite and by Knight-service, if his heir, to use
Blackstone's words (2. 67-8), 'was under the age of twenty-one,
being a male, or fourteen, being a female, the lord was entitled to
the wardship of the heir, and was called the guardian in chivalry.
This wardship consisted in having the custody of the body and
lands of such heir, without any account of the profits, till the age
of twenty-one in males, and sixteen in females. When the
. . .
feudal revenue, most of which arose from the Court of Wards, and
to receive in return 200,000 a year' (DNB.). Nothing came of it.
He brought up the matter a second time in 1613, but again without
result. Later, he used his rights of wardship and marriage recklessly
as a means of extortion (cf. Green, Hist. 3. 92).
19. sue out no mans Liuery. Cf. Glossary, and note on line 15.
SCENE II.
22-36. Cf. the passage quoted from News from the New World
in note on I. 5. 36-50. Cf. also Introduction, pp. 18, 33, 44.
39. giue him a loaf, Thorn. 'Again! Our old writers are never
weary of this jest. In the Rebellion, by Rowlins, allusions to this
artophagous propensity of the tailors occur in almost every page'
(G.). Nares says 'it was imputed to them that they were immod
erately fond of rolls, hot or cold.' He cites Earth. Fair, 5. 3 'I think :
one tailor would go near to beat all this company of puppets with
a hand bound behind him.' In The Fair Maid of the Inn, 4. 2,
Forobosco, speaking of the cost of maintaining 'monsters,' says :
55. canst. I think, with Whalley, that this is the old independent
verb which means to know (cf. variant).
ordinaries. Cf. Volpone 5. 3 :
59. Pauls. Long before and for some time after Jonson's day, the
body, or middle aisle, of St. Paul's church, commonly called 'Paul's
Walk' or 'Duke Humphrey's Walk,' was a public resort and one
of the great news emporia of London. The literature of the time
contains many allusions to this fact. . . . Cf. Osborne, Secret
Hist, of King James, p. 209: 'It was the fashion of those times,
and did so continue till these for the principall gentry, lords,
. . .
the principal inhabitants and possessors are stale knights and cap
tains out of service men of long rapiers and breeches which after
all turn merchants here, and traffic for news.' Cf. also Dekker,
The Dead Terme (Non-Dram. Works 4. 42. ff.), particularly Paules
Steeples Complaint.
Exchange. The first Royal Exchange, founded by Sir Thomas
Gresham, begun in 1566, opened in Jan. 1570-71, and burned
down in the great fire of 1666. In general plan, it was a quadrangle,
with a cloister running round the interior of the building, a cor
ridor, called the 'Pawn' (path or walk) above, and attics or
bedrooms at the top. The 'Pawn' was a vast bazaar. Foreign
merchants had booths there, each nationality being assigned a
separate space. There was a medley of costumes and tongues. 'At
every turn, 'says Dekker, 'a man is put in mind of Babel, there is
,
Sc. n] Notes 137
at the extreme end, and the Courts of Chancery and Kings at the
opposite end; and here, in certain courts built by Sir John Soane,
on the west of the hall, they continued to be held until the opening
of the New Law Courts in 1882. Besides the Law Courts,
. . .
69-70. A
fine pac'd . middle He. For middle He, cf.
. .
note on line 60 above, and note on 3. 3. 51. For the pacing there,
cf. Dekker, Gull's Hornbook, chap. 4: 'He therefore that would
strive to fashion his legs to his silk stockings, and his proud gate
to his broad garters, let him whiff down these observations for if :
he once get to walk by the book, and I see no reason but he may,
as well as fight by the book, Paul's may be proud of him Will ;
Churchyard shall fit his head for an excellent block; Whilst all the
inns of court rejoice to behold his handsome calf.'
71. A
Dutch-man. Nott, who edited The Gull's Hornbook in 1812,
says (p. 7) 'Dutchman was a generick name in Decker's day, for
:
any one belonging to the German Continent. The old writers per
petually called the German the Dutch language.' Cf. Dekker, Non-
Dram. Works 4. 188: 'There was no Spaniard (in that Age) to
Braue his enemy in the Rich and Lofty Castilian: ... no
Germaine to thunder out the high and ratling Dutch.'
Exhange. All read 'Exchange.' The word stands here as Buz,
who was a 'Dutchman,' would be likely to pronounce it.
138 The Staple of News [ACT i
88. JEsops Asse. Alluding to the fable of the ass who thought
to gain favor with his master by imitating the playful and affec
tionate behavior of the latter's dog, but gained only a sound beating.
Cf. Fuller, Gnomologia, p. 22: 'An ass was never cut out for a
lap-dog.'
99. Right Spanish perfume, the Lady Estifania's. Strutt
(Antiq. 3. 89) cites line 99 to show that 'the beaux were none
behind' the ladies in the use of perfumes. Stubbes (1585) speaks
scornfully of the use of perfumes both by 'gentlemen' and 'gentle
women' as a kind of 'sweete pride'. See note on I. 6. 69. Probably
Peniboy*s pockets were of leather. In The Devil is an Ass (4. i)
Jonson speaks of 'Spanish pumps of perfumed leather'. In The
New Inn (2. 2) Sir Glorious Tiptoe's gloves are 'the natives of
Madrid,' and highly perfumed.
The Lady Estifania seems to have been a dealer in cosmetics as
well as perfumes. In The Devil is an Ass (4. i.) we hear of 'the
water of the white hen of Lady Estifania's/ a 'new complexion.'
102. Italian prints. Cf. Cynthia's Revels 2. i : 'Phil. I'll be
sworn, most excellent for the device, and rare; 'tis after the
this is
Italian print we look'd on t'other night.' Gifford remarks on this
passage: 'Phantaste [Philautia rather] alludes, perhaps, to the
Habiti Antichi e Moderni di Cesare Vecellio, published at Venice
in 1589.'
103. Arras hangings. CD. cites Dyce, note on
See Glossary.
Ford's Lover's Melancholy 'Arras was used precisely as a
2. 2:
curtain; it hung (on tenters or lines) from the Rafters, or from
some temporary stay, and was opened, held up, or drawn aside, as
occasion required.'
Taylors Libraries. Cf. citation from Pan's Anniversary in note
on 3. 2. 128-30.
104. silk-worme. A recent thing in England. In 1609, to
encourage the manufacture of silk, King James had several hundred
thousand young mulberry-trees brought over from France and dis
tributed throughout the island (cf. Harl. Misc. 2. 218-23).
no. and thence [sir] comes your proverbe. 'Gifford inter
polated the word sir, I think unnecessarily, as in all probability the
accent was thrown on the second syllable in proverb' (C).
112-18. Cf. Dejectio aulic in Jonson's Timber.
you vp. Whalley thinks this 'got into the text by
113. fool'd
mistake,' and he suggests for the correct reading followed you up,
as 'seeming to be countenanced' by the metaphors that follow.
Gifford says: 'But he [W.] overlooks the contrast between fool and
wit. . He might have learned from Shakespeare, that to
. .
play the fool well doth ask a kind of wit. ... To fool up is a
Sc n] Notes 139
The second sentence in this line, and perhaps the first also, is
addressed to the linnener, who has just entered.
Ruffe. Cf. Stubbes' description of the 'great and monsterous
ruffes' of Elizabeth's reign, Anat. of Abuses, pp. 40-1. Blanche's
reproductions of engravings of Justices of the King's Bench show
that in 1624 the ruff was still a large affair, and probably a costly one.
132. Inprint. Cf. Glossary. Cf. Ev. Man Out 2. 2 'Pal. O, you :
are a gallant in print, now brother.' Whalley there cites All Fools:
"Tis such a pick'd fellow, not a hair
About his whole bulk, but it stands in print.
. . . Is he not madam,
A monsieur, now, in print?
but as the fashion of his hat, it ever changes with the next block.'
139. they appeare to 'hem presently. Gifford erroneously reads
'him' for 'hem. 'Hem refers to names. The whole expression
= 'they answer (appeare) to their names in person.' Cf. presently
in Glossary.
142. prime. This may mean either first in order of time, or first
in importance. It may also have the sense: Relating to the condi
tion of early manhood. All are pertinent.
140 The Staple of News [Acx i
SCENE III.
to the crown, many, nay most of the old fashions used in the days
of Elizabeth, came up again one after another In 1614, ...
the great breeches were again revived.' These were stuffed out to
an enormous size.
9. margents. The form used by Shakespeare.
10. loule of a laylor. Cf. Gipsies Met. (GC. 7. 394) :
16. Bill-men. The old quibble between a tradesman's bill and the
weapon of war so called. The word rarely suggests itself to any of
our ancient dramatists without furnishing matter for an equi
voke' (G.). .
of 500, and on the 24th he received a discharge for 2419 idi. rod.
granted him to be employed about the mines in Scotland' (C).
65. Ale, and nutmegges. A writer in Notes and Queries
(8th S. 12. 133), who signs himself C. C. B., quotes from Gerard:
'Nutmegs cause a sweet breath and amend those that do stink.
They are good against freckles, they quicken the sight, strengthen
the belly,break wind, and stay the laske.' On the same page
another correspondent (Dudley Walton) says: 'According to Dr.
Jacob Schmidius, in his Ephemerides of the Curious (quoted in
the Annual Register, 1767, p. 107), nutmegs were then used as
domestic medicine. He relates that a young man ate four nutmegs
and drank some glasses of beer for a violent attack of dyspepsia,
and in consequence went insane for several days.' From Notes
and Queries, 8th S. 12. 27, 70, it would appear that pocket nutmeg-
graters used to be carried by both men and women. Men sometimes
carried them in the heads of their canes. Probably they were often
produced when ale or beer was being drunk. Nutmeg has narcotic
properties, and perhaps this was one reason why it was used in
ale and beer. Nutmeg seems also to have been regarded as an
aphrodisiac cf. Gips. Metam. (GC. 7. 387)
: 'And I have lost an :
inchanted nutmeg, all gilded over, was inchanted at Oxford for me,
to put in my sweetheart's ale a'mornings.'
SCENE IV.
2. Carpet. The word occurs in The Silent Woman (4. 2), where
Gifford makes the following note 'Formerly these ornamental pieces
:
13-17. Butterwoman .
Captaine liu'd. 'Fletcher's Fair
. .
gallop, and wasted more harmless paper than ever did laxative
physic, yet will I make you to out-scribble him."
'Not one of the poet's editors appears to have suspected the allu
sion here, or to have understood the passage. Both Jonson and
Fletcher had in view Nathaniel Butter, who, if we may trust the
Sc. iv] Notes 143
Pauls," and the main part of whose name supplied the sobriquet.
There is evidence in a previous letter of Chamberlain's (2. 356) that
144 The Staple of News [ACT i
that letter-writer did not take Ben's part in the scrape he got into
for personating Wither as "Chronomastix" in his Time Vindi
cated. Moreover, Ben dearly loved an anagram.'
Probably Mr. Hart is right in both of his identifications. For
general information on Gainsford and Chamberlain, cf. DNB. For
Butter, cf. DNB., and Introduction, pp. 37-46.
15. Till Emissary Exchange, or Pauls send in. Cf. note on
i. 2. 60.
SCENE V.
'The law terms were formerly the great times of resort to London,
not only for business, but pleasure. They were the harvest times
of various dealers, particularly booksellers and authors, many of
whom made it a rule to have some new work ready for every term.
. . In fact, books were seldom published except in term time.'
.
(G.). It would seem that Gifford did not know that Butter pub
lished the Weekly News.
32. The publique Chronicler. Mercurius Britannicus?
36-50. Cf. News from the New World (GC. 8. 337) :
'Factor. And I have hope to erect a Staple for News ere long,
whither all and thence again vented under the
shall be brought,
name of Staple-news, and not trusted to your printed conundrums
of the serpent in Sussex, or the witches bidding the devil to dinner
at Derby news, that when a man sends them down to the shires
:
Print. Sir, that's all one, they were people made for the common ;
and why should not they have their pleasure in believing of lies are
made for them, as you have in Paul's, that make them for your
selves.
i Her. There he speaks reason
to you, sir.
Fact. I confess the printing I am offended at, I
it; but it is
would have no news printed for when they are printed they leave
;
a score of years, as the age grows forgetful, I print over again with
a new date, and they are of excellent use.
Chro. Excellent abuse rather.'
See note on i. 2. 22-36.
40. Monsters. Strutt remarks upon the fondness of the English
for seeing strange animals, 'and especially such of them as are of
the monstrous kind.' He reminds us of the Tempest 2. 4, where
Stephano, seeing Caliban, says 'Were I in England now, as once I
:
was, and had this fish painted, not a holiday fool there but would
give me a piece of silver. There would this monster make a man :
any strange beast there makes a man. When they will not give a
doit to relieve a lame beggar, they will lay out ten to see a dead
Indian.' 'Indeed,' continues Strutt (Sports and Pastimes, Introd.,
p. 49), 'we may observe that a cow with two heads, a pig with
six legs, or any other unnatural production, with proper management
are pretty certain fortunes to their possessors.' The exhibitors of
such attractions had to pay a license-fee or be subject to the law
against vagrants. Jonson alludes here to the evasion of the law,
which, no doubt, was frequent. For another application of the term
monster, cf. note on 4. 2. 137.
58-62. Cheat, etc. See Introduction, p. 48.
77-8. Mid-wife. Cf. note on Induction, line 57.
86. seuenth-night. 'Jonson, as a rule, gave the most minute
attention to spelling. This word isprinted seventh-night' (C).
This form seems to be rare. It does not appear in the dictionaries.
See variants.
88. I am here. Aside to Thorn. Peniboy imagines that, per
sonally, he is unknown to the people of the office; but no doubt
Thorn's eyes are at this very moment in correspondence with them.
89. An old Canting Begger. Cf. Cynthia's Revels, Induction:
'Look, these emmets put me out here that with this Amorphus,
there comes along a citizen's heir, Asotus or the Prodigal, who in
imitation of the traveller, who hath the Whetstone following him,
entertains the Beggar, to be his attendant.' See Introduction, p. 32.
109. Cozen. Note the double meaning (see Glossary).
no. Ambler for Pauls, and Buz, etc. Cf. note on i. 2. 68-70.
118. Gifts. Peniboy insinuates that he is willing to pay well for
Thorn's place.
120-3. A
decayed Stationer . . . Church-yard. See note on
stationers in Paul's Churchyard, Title-page. Also note on Paul's,
I. 2. 60.
122.True Paules bred. Cf. note on i. 2. 60.
126.went out Master of Arts. 'That is, when honorary degrees
were conferred, in compliment to some person of high rank, foreign
prince, &c. who visited the University' (G.).
Sc. vi] Notes 147
Cf. Knight, London i. 102 : 'The cittern was heard in every barber's
shop ; and even up it was the same
to the publication of the Tatler :
The cittern twanged then in the barber's shops in the fresh mornings
especially.'
131. euery liberall Science. "The seven liberal sciences, grammar,
logic, and rhetoric, constituting the "trivium," with arithmetic,
music, geometry, and astronomy, constituting the "quadrivium."
Also called the seven arts' (CD.).
150. Masters worship. The nick-name probably means that Pick
lock is in the habit of flattering his wealthy clients by saluting them
as Master or Your Worship at every opportunity. Stubbes in his
Anatomic of Abuses (1585), p. 134, denounced the 'flattering para
sites and glosing gnatoes' who would salute any one who had money
SCENE VI.
6-23. I should, etc. See Introduction, p. 26.
44-6. Her name is, Or rather, her three names are (for such
she is)Aurelia Clara Pecunia, A great Princesse. The "great
princess" with the "three names" was, of course, an allusion to
the Infanta [cf. note on 2nd. Intermean, lines 25-6]. She is always
called the Infanta Maria simply, and even Don Pascual de Gayangos
[1809-97. Sp. historian; lived much in London] has been unable
to supply the other two names. When the match with Charles fell
through, she married the King of Hungary, and became the ances
tress of other Marias renowned in history* (CY).
48. contracted. The primary sense is limited, but, in view of the
legal character of Pecunia's household, I suspect
Jonson is punning.
61. motions. Motion was the original name in England for a
puppet-show. Our Punch-and-Judy show is an unworthy descend
ant of the motion. The earliest puppet performances succeeded the
old Morality play, and were, in a sense, an outgrowth of it. They
were founded on Bible narratives and the lives of the saints. The
Prodigal Son, Nineveh, and Jonah and the Whale were popular
subjects in the i6th century. Encyc. Brit, quotes from a pamphlet
of 1641, describing Bartholomew Fair 'Here a Knave in a fool's
:
common in the meaning you may, you will, applied to that which is
of common occurrence, or so evident that it cannot but be seen.'
67-84. Diuines, etc. See Introduction, p. 57.
IST INT.] Notes 149
87. The Peni-boyes to Hue in't. This may mean (i) that Peni-
boy's deed will immortalize the family name or (2) that the race of
;
Peniboys will get a kind of vitality from his deed, priding and
sustaining themselves upon the memory of it.
haue
91-2. I .
right eye. 'Here Mr. Dyce notes, "Jonson
. .
FIRST INTERMEAN
i. Introducing into the play persons who, in the guise of specta
tors sitting on the stage, comment upon the action, was a favorite
device with Jonson: he used it in Every Man Out (i599)> an d m
The Magnetic Lady (1632). Our gossips have a strong family
resemblance to Venus, the deaf tire-woman in the Mask of Christmas
(1616), who is anxious to see her boy, Cupid, act before the king
and queen, and she in turn reminds one greatly of the grocer and
his wife in Beaumont and Fletcher's Knight of the Burning Pestle
(1611), who
get their man, Ralph, permission to take part in the
play, they meanwhile sitting on the stage and keeping up a running
comment on the action. Langbaine believed (Eng. Dram. Poets,
p. 297) that Beaumont and Fletcher were imitating Jonsoh's Every
Man Out. The grocer and his wife, however, are so much like our
gossips that I incline to believe that Jonson had a hand in creating
them.
8-9. with the Begger to boote. See variant. 'This is no
improvement on "With the beggar to boot" which Jonson wrote;
nor, five lines lower down, is "could have endured him" so good
150 The Staple of News [IST. INT.
27. and no man say, blacke is his eye. 'In Love's Cure Beau
mont and Fletcher (vol. ix, p. 143) have the same expression, used
by a justice to a damsel at whose evil courses he had been conniving:
I can say black's your eye, though it be grey.
wont," says good master John Geb, (Coll. Ex.) 'when an Enter-
lude was to be acted in a countrey town, the first question that
an hob-nailed spectator made before he would pay his penny to goe
in,was, Whether there bee a devile and a foole in the play? And
ifthe foole get upon the divell's backe, and beat him with his
coxcombe till he rore, the play is complete.' The foot out of the
Snare, p. 68.
'This alludes to the old Moralities : the fool or clown of the new
comedy, however, succeeded to all the celebrity of his predecessor,
and was inquired after with equal impatience. Goffe, a great admirer
of Jonson, has a pleasant passage in his Careless Shepherdess
IST INT.] Notes 151
subject.
Why, I would have the fool in every act,
Be it comedy or Tragedy. I have laughed
Until I cry'd again, to see what faces
The rogue will make. O, it does me good
To see him hold out's chin, hang down his hands,
And twirle his bawble: there is never a part
About him but breaks jests.
I had rather hear him leap, or laugh, or cry,
Than hear the gravest speech in all the play.
I never saw Reade peeping thro' the curtain,
But ravishing joy enter'd into my heart.'
that a deceived husband horns from his wife/ cf. Notes and
'gets
Queries, 6th S. vol. 4, and NED. under horn.
46. can read too. Cf. Pan's Anniv. (GC. 8, 45) 'A great clerk, :
and at the assizes of the same county, in the following year, for his
invocation and entertainment of evil spirits but for both these,
;
being beaten out, and his skull fractured. The rabble were possessed
that the doctor dealt with the devil, and assisted the duke of Buck
ingham in misleading the king at which instant the parliament were
;
'As to the origin of the Vice', says Ward (Hist. Eng. Dram. Lit.
i. in), 'no reasonable doubt remains. Inasmuch as he was
ordinarily dressed in a fool's habit, and occasionally assumes the
part of a jester pure and simple, it is obvious that the invention of
this popular character was first suggested by the familiar custom
of keeping an attendant fool. Hence, while the Vice is in some
sort an attendant or serving-man of the Devil's, his function is
to twit, tease and torment the fiend for the edification of the audi
ence. The very commonly takes his revenge for having been
latter
ridden and beaten by the Vice by carrying him off on his back to
hell at the end of the play. Gradually the character was lost in,
or reverted to, that of the domestic Fool, who, as is well known,
survived as a standing figure of no small significance in the Eliza
bethan drama.'
67. Diuell of Edmonton. 'This alludes to a story told of Peter
Fabel. When the time for which he had sold his soul was expired,
and the devil came to fetch him, he begged permission to live till
the taper, then nearly finished, was burnt out: this indulgence being
granted to his earnest entreaties, he seized the candle end, and
before the devil was aware, plunged it into a vessel of holy water !
Here it was secure from the devil's clutches, who vanished in great
If you'll come
To see new
Plays, pray you afford us room,
And show this but the same face you have done
Your dear delight, The Devil of Edmonton.
There were editions of it in 1608, 1617, 1626, 1631, and 1655, all in
quarto. It was performed before the King by the King's Men, May
3, 1618 (cf. Fleay, Hist, of Stage, p. 257).
ACT ii. Sc. i]
Notes 153
15-16. A
sordid Rascall, one that neuer made Good meale in his
sleep, but sells the acates are sent him. 'Archdeacon Nares . . .
Good meal but in his sleep, sells the acates are sent him' (C.).
Cf. Poetaster i. i: 'He was a poor blind, rhyming rascal, that lived
obscurely up and down in booths and tap-houses, and scarce ever
made a good meal in his sleep, the whoreson hungry beggar.' The
expression alludes to the old saying that beggars and misers may
feast in their dreams ; but the passage in Poetaster intends a beggar
so poor that he scarcely ever does even this, and the passage in our
play a miser so sordid that he never does it.
16-18. sells the acates, etc. Tope has very happily transferred
this (for he did not find Horace) to the character of Avidienus
it in
33. They are a few. I. e. they are but few a peculiar expression.
:
And again :
. .
fidemque et atnicos,
.
SCENE II.
Probably Jonson mentions these two works, not because they were
the prime authorities, but because of the obscurity of the one and
the discursiveness of the other.
23-4. And I haue,now, vpon me a great ambition,
How to be brought to her Grace. This construction of
ambition with how is exceptional.
27. One is I do not see why Jonson says
a ludges Daughter.
Statute a judge's daughter. The leges scriptae, or statute laws,
is
have base sonnes, and they are all common Brokers those Brokers ;
likewise send a number into the world, & they are all Common
Theeues.' Cf. also Stubbes, Anat. of Abuses, p. 144.
Note the independent use of can.
Rose Waxe the Chambermaid. Named Rose, no doubt,
31.
because sealing-wax is so often vermilion. The phrase Rose Waxe
reminds us of the proverbial neatness of wax. Cf. Twelfth Night,
ed. Furness, i. 2 'My Neeces Chamber-maid.' Furness says
: :
SCENE III.
3. The pox. Nares says that with the old writers pox always
means small-pox. Usually it does, but not always here it means
;
mortality of 38,000; and 1625, the third great London plague, with
35,417 deaths. With the epidemic scarcely over, Peniboy Senior's
words are anything but a vague or meaningless malediction.
4-5. on him, Knowes not to keepe. 'The relative is frequently
omitted, especially where the antecedent clause is emphatic and
evidently incomplete. ...
In many cases the antecedent immedi
ately precedes the verb to which the relative would be the subject'
(Abbott, Shak. Gram. p. 244). Cf. Cymb. i. 6. 84 (cited by Abbott) :
19. A rosted pound of butter, etc. Cf. Fletcher, Fair Maid of the
Inn 4. 2 : 'Clown. Oh, oh, oh !
my kidneys are roasted I drop !
21. venison. Stow tells us that in 1573 the use of venison was
forbidden in cook-shops and taverns 'by act of Common Council.'
Unless this act had been repealed, probably Lickfinger could not find
venison at the meat-stalls.
25. Yonder is venison sent mee. Peniboy Senior's wealth, like
Volpone's, gets him many gifts. The choice viands, acates, etc., he
sells to Lickfinger, who uses them in his cook-shop in Ram Alley.
41-4. Peniboy Senior's tirade is an excellent example of the
'Without Ludgate, on the right hand, or north side from the said
gate lieth the Old Bayly, as I said, then the high street called
Ludgate hill down to Fleet lane, in which lane standeth the Fleet,
a prison house so called of the Fleet or water running by it, and
sometime flowing about it, but now vaulted over* (Stow, Survey,
P- 146).
61. the custard politique. 'i. e. the huge custard prepared for the
Lord Mayor's feast' (G.) In a note on Devil is an Ass i. 2, Gifford
says 'Indeed no common supply was required
: for besides what
;
or take some of it home with them for the use of their ladies.'
Whalley says that 'in the earlier days, when the city kept a fool,
it was customary for him at public entertainments to leap into a
SCENE IV.
their arms upon a day in one place, lend them to their friends in
other places, to shew them, when they have use; and this, if it be
spied, only punished with a mulct in the purse, which is the
is
officer's aim; who, for his advantage, winketh at the rest, and is
filling all men. This have I from their muster-masters and captains,
who are, of them, of our religion, or of none, and so ours,
many
ready to be bought and sold, and desirous to be any master's servants
in fee.'
24. An'he goe to't in ryme once, not a penny. That Whalley
and Gifford missed the force of once, is proved by their retaining
pare also Gipsies Met.: 'Say you so, old gipsy! 'Slid, these go
to't in rhymes; this is better than canting by the one half.'
38. fetch of. Cf. Gifford's variant, and Glossary. This use of of
is somewhat belated for Jonson's day, but probably he wrote it here
knowingly.
38-9. FIT. An odde bargaine, etc. Perhaps it is Lickfinger who
says this (cf. the next speech).
39-40. I must needs, You see who driues me, gentlemen. 'He
must needs go, whom the Devil drives' (Ray, Proverbs). Cf. Tale
of a Tub 3. 5 :
shall say unto you, seek unto them who have familiar spirits, and
unto wizards that peep and that mutter," viii. 19' (W.). 'Instead
of peep, Lowth has speak inwardly' (G.).
Jonson here alludes to the thick quilting of the doublet. 'Their
dublets are no lesse monstrous then the rest; for now the fashion
is to haue them hang down to the middle of their theighes, or
basted,and sewed, as they can neither worke, nor yet well playe in
them, through the excessiue heate thereof; and therefore are forced
to weare the lose about them for the most part, otherwise they could
very hardly eyther stoupe or decline to the grounde, so stiffe and
sturdy they stand about them' (Stubbes, Anat. of Abuses, p. 44).
Strutt tells us that most of the fashions of Elizabeth's reign were
revived one after another in that of King James.
51. worse then a Fishmonger sleeues. 'This reproach is of no
modern date. The reader remembers the spiteful reflection in
Horace, whose father is supposed by some to have been a dealer
in fish :
'
speaking of his youth, adds that then "he was so thin, that he could
have crept through an alderman's thumb-ring." i Hen. IV. 2. 4'
(Strutt, Antiq. 3. 101). Thumb-rings were often of agate cut in
cameo or intaglio. They were used as seals or signets, and probably
were worn only during business hours.
161-3. Make thee .
knitting needle. Cf. Dekker, Witch
. .
of Edmonton 5. 2 :
Subtill here has its original meaning (L. subtilis) of thin, fine,
finespun. Compare also Jonson's use of the word in I. I. 25 :
STROBILVS.
CONGRIO.
ain tandem it a esse ut diets?
STROBILVS.
tute cxistima.
quin diuom atque hominum clamat continue {idem,
suam rem perisse seque eradicarier,
de suo tigillo fumus si qua exit foras.
CONGRIO.
etiamne opturat inferiorem gutturemf
STROBILVS.
curf
CONGRIO.
ne quid animae forte amittat dormiens.
STROBILVS.
haec ut mihi te, tibi me est aequom credere.
CONGRIO.
immo equidem credo.
STROBILVS.
at scin etiam quo modof
aquam hercle plorat, quom lauat, profundere.
CONGRIO.
censen talentum magnum exorari pote
ab istoc sene ut det qui fiamus liberif
STROBILVS.
To prevent that,
Your food shall be blackberries, and upon gaudy-days
A pickled spider, cut out like an anchovas:
I'm not to learn a monkey's ordinary.
Sc. iv] Notes 165
Bullen notes :
'Compare Brome's City Wit :
"Knavery is restoratiue
to me, as spiders to monkeys." Sig. FV. (Fiue New Playes, 1653).
Dyce. A monkey was sometimes called a spider-catcher.'
to stop balls with all. I. e. to stuff tennis balls with. 'A Moham
medan cruelty therefore is it to stuff breeches and tennis balls with
that, which when 'tis lost, all the hare-hunters in the world may
sweat their hearts out, and yet hardly catch again' (Dekker, Gull's
Hornbook, chap. 3). Beard as well as hair of the head, was used
as bombast, or stuffing. Cf. Coriolanus 2. i. 97: 'And your beards
deserve not so honourable a grave as to stuff a botcher's cushion,
or to be entombed in an ass's pack-saddle.'
188. vicissitudes. A
Latinism. See Glossary.
196. 'top of our house. Cf. The Devil is an Ass 4. i :
wore them), there was of course much variety. The homeliest was
that a roelles, a plain piece of wood with an orbicular rim of iron
for a guard the next in degree was the dudgeon, in which the
:
wood was gouged out in crooked channels, like what is now, and
perhaps was then called snail-creeping' (G.). Cf. Macbeth 2. i :
his head was covered with two greasy nightcaps and a hat.' On
page 286 Thornbury tells us that clapper-dudgeons 'were generally
Welshmen.'
SCENE V.
lavishness?
England saw many fleets, great and small, furnished forth in the
later years ofJames and the first of Charles. In April 1623 James
equipped a fleet which was to fetch the Infanta to England. To
find the means for equipping fleets was a large part of the business
of Charles and his favorite, Buckingham. In the spring of 1625,
at an enormous expense, they fitted out a fleet of ninety vessels,
and in October sent them on an expedition against Cadiz. We read
in the Court and Times of Charles The First, p. 84 (letter to The
Rev. Joseph Mead, London, March 3, 1625-6) 'Captain Pennington
:
improbable surmise, time must tell us. We have some other smaller
fleets, as of sixteen ships, and others of less number, preparing forth
attire a boy like a nice gentlewoman; but there is such doing with
their looking-glasses, pinning, unpinning, setting, unsettings, form
ings, and conformings painting blue veins and bloomy cheeks
;
such
;
a stir with sticks, and combs, cascanets, dressings, purls, falls, squares,
busks, bodice, scarfs, necklaces, carcanets, rabatoes, borders, tires,
fanns, palisadoes, puffs, ruffs, muffs, pusles, fusles, partlets, frislets,
bandlets, fillets, croslets, pendulets, amulets, bracelets, and so many
lets,that yet she's scarce drest to the girdle; and now there is such
calling for fardingales, kirtles, buck points, shoe ties, etc. that seven
pedlars shops, nay all Stourbridge fair, will scarce furnish her.
A ship is sooner rigg'd by far, than a gentlewoman made ready.'
Lingua (1607, 4to) is a dramatic piece, partly morality and partly
masque, long ascribed to Anthony Brewer. See Dodsley's Old Plays,
4th ed., vol. 9. The resemblance between lines 42-3 and the closing
words of the passage quoted is remarkable. There can be little
doubt but that Jonson had those words in mind. Indeed the whole
passage is the complement of lines 42-3, and shows that they were
written in allusion to the dressing of a boy for a woman's part upon
the stage. Jonson was not given to adapting from contemporary
plays. Can it be that he wrote Lingua? To my mind, that play
savors throughout of Jonson in his more abstract moods.
50-7. And I haue my desire ...
I doe not know. 'In this
In quoting this passage Gifford silently omits the second and third
verses.
73. They all kisse close. Cf. Alchemist 3. 2: 'Kiss, like a scallop,
close.' There Gifford says: 'We had this expression in Cynthia's
83-5. Me
thinks my vncle, etc. 'This is not the first allusion
which we have had to the old proverb, A crafty knave needs no
broker" (G.). Gifford had in mind Every Man In 3. 5. Cf. also
Catiline 2. I.
101. Are you aduis'd. 'I. e. have you found out that? Has it
When the poet was gone, the words inscribed upon his tomb in
Westminster, 'O Rare Ben Jonson,' were set beneath these lines.
'At the Mermaid,' says Wheatley (ed. Ev. Man In, Introd., p. 60)
'Jonson had his rivals, but at the "Devil" in Fleet Street he
reigned omnipotent. When he started the "Apollo" Club is not
known, but it was probably not long before 1616, when the Devil
is an Ass was acted, which was written "when I and my boys
'
drank bad wine at the Devil."
The Devil Tavern was a popular resort for men of letters for a
century and a half after Jonson's death. In 'the spring of 1751,'
says Cunningham, 'we find Johnson, like his earlier namesake,
making a night of it at the Devil.' Gifford says (9. 70) 'The :
for music. It was frequently used for balls, etc., and here Dr.
Kenrick gave, about 1775, his Lectures on Shakspeare? 'In 1787,'
says LPP., 'Messrs. Child bought the freehold, pulled down the
whole of the tavern premises, and erected Child's Place [a bank
building] on the site.'
135. And have her Armes set vp there, with her Titles. 'It
was the custom for foreign princes and noblemen of high rank or
office, to set up their arms and titles in the places through which
they passed, or the inns in which they lodged. Thus our author in
his Discoveries "The German lord, when he went out of Newgate
:
into the cart, took order to have his arms set up in his last har-
borough." Nor is the custom unknown in this country. The arms
and titles of the Lord Lieutenants of Ireland are usually set up in
the inns in which they occasionally rest on their journey to the
coast' (G.).
SECOND INTERMEAN
2-3. pray God, some on vs be not a witch. King James himself
had book on witchcraft, called Demonology. The
in 1597 written a
third and last Act against witchcraft was passed soon after his
accession to the throne of England. This Act was law for more
than a century; it was repealed by George II. in 1736. The last
trial for witchcraft in England was that of Jane Wenham in Hert
ford in 1712. She was convicted, but not executed. 'Trials in
England were most numerous,' says Encyc. Brit., 'in the I7th cen
tury. In the case of the Lancashire witches in1634 seventeen
persons were condemned on the evidence of one boy. In the period
from 1645 to 1647 between two and three hundred are said to have
been indicted in Suffolk and Essex alone, of whom more than half
were convicted.' In general, witches were haggard old women.
Brand (Antiq. 3. 7) quotes from an old tract called Round about
our Coal Fire 'She must be of so dry a nature, that if you fling
:
her into a river she will not sink.' But sometimes comparatively
j'oung persons were accused of being witches. So unquestioning
was the belief in witchcraft, and so intense the feeling against it,
that those accused of being witches often came to believe in their
own guilt. Blackstone tells us (Comm. 4. 61) that 'many poor
wretches were sacrificed to the prejudices of their neighbors and
their own illusions not a few having, by some means or other,
;
common juggling words of hocus pocus are nothing else but a cor
ruption of hoc est corpus, by way of ridiculous imitation of the
priests of the Church of Rome in their trick of Transubstantiation.'
NED. says in substance that Tillotson's conjecture is the only
authority for this origin of hocus pocus. Brand says (Antiq. 3. 61) :
"I will speak of one man more excelling in that craft than others,
that went about in King James his time, and long since, who called
himself the King's Majesties most excellent Hocus Pocus, and so
was he called, because at the playing of every trick he used to say:
'Hocus pocus tontus, talontus, vade celeriter jubeo,' a dark com
'
posure of words to blinde the eyes of beholders." Hone, the editor
of Strutt, in a foot-note (Antiq. 3. 61) says of line 14: This is
the earliest mention I have found of this term.' Jonson used it,
however, in the Masque of Augurs, 1622 (GC. 7. 420) :'Hocos
Pocos! Paucos Palabros.'
19. I have had better newes, etc. All omit had, and to the
detriment of the sense.
26-7. in the styling her Infanta, and giving her three names.
'I cannot give the reader the three names of the Infanta Maria of
but found eventually that Gifford had put me on the wrong track.
When Jonson calledimaginary personage Aurelia Clara Pecunia,
his
the Infanta whom he had in view was not the lady whom prince
Charles had sought to win, but her far more celebrated aunt, the
daughter of Philip the Second, and governess of the Netherlands,
whose names of Isabella Clara Eugenia, so exactly chiming in with
those of Jonson's ideal princess, I discovered in the notes of the
"Discourses held between the Sieurs Rubens and Gerbier," Saints-
2D INT.] Notes 173
So also in Mirth's words in lines 24-5 'Do they any more, but :
to be objected to.
45. to say she came foorth of a Tauern was said
like a paltry Poet. 'This is said, however, by the writers of
her life. The blessed Pocahontas was in womb of tavern both at
Deptford and Gravesend' (G.).
52. Butter. An allusion to Nathaniel Butter. See Introduction.
54. butter-box. 'A Dutchman, from the great quantity of butter
eaten by the people of that country' (Grose, Lexicon). 'Dutchmen,
who were ludicrously called butter-boxes, from their traffick in
salted butter' (Nott, note on Gulfs Hornbook, chap. 7). 'Butter-
mouth, a contemptuous epithet for a Dutchman = Butter-box'
(NED.).
66. Or to the time of yeer. I. e. contrary to (cf. line 61).
TO THE READERS
'This Act, appears, gave offence, and therefore Jonson thought
it
proper to prefix the following notice to it, before the play was given
to the press. It argues very little for the good sense of the audience
to take offence at a piece of satire so just and well timed, as this
evidently was. Not one part in a thousand of the ridiculous stories
ACT in. Sc. i] Notes 175
folly, line n.
had before used the adjective migniard. See The Devil is an Ass
[2. i : "Love
is brought up with those soft migniard handlings"]' (C).
32. Thou
seem'st Courtier. 'Alluding to Picklock's use
. . .
Jonson's time, the roads or rather lanes, had no other barriers than
these, which every one opened for himself (G.).
48. And hard,
but, etc. Elliptical for and it shall go hard. Gifford
'
cites from Gent. Recreat. "Retrieve is when partridges having been
:
SCENE II.
24. And
trailes a pike now vnder Tilly. Johann Tzerklas, or
Tserclaes (1559-1632), Count Tilly, a Belgian by birth, was the great
leader of the Imperial forces, or forces of the Catholic League,
during the first fourteen years of the Thirty Years' War, i. e. from
1618 to 1632, See Schiller's Wallenstcin.
Traile. Cf. the modern military phrase, trail arms, to grasp a rifle
with the right hand a little in front of the balance-point, so that
the piece hangs with the butt near ground in the rear, and the
muzzle in front, pointing obliquely upward.
A
pike consisted of a long shaft with a sharp iron head. 'It
continued in use, although reduced in length, throughout the I7th c.,
and was replaced by the bayonet as the latter was improved' (CD.).
26. Spinola. Spinola, Marquis of Ambrosio (1570-1630), an
Italian in the service of Spain. He was the leader of the Spanish
army in Netherlands. He conquered the Palatinate in 1620.
the
In May 1625 he took Breda, after a siege of ten months.
27. All are alike true, and certaine. They [the Corantoes] have
used this trade so long, that now every one can say "It's even as
true as a couranto"; meaning that it's all false' (Harl. Misc. 9. 331)-
Cf. line 94.
28. fifth Monarchy. The monarchy which, according to a literal
Rudolf II. (1576-1612) a strong reaction, due for the most part to
the Jesuits, set in. In 1608 the Evangelical Union, and in 1609 the
Catholic League, were formed to protect their respective interests.
The Emperor Matthias gave certain guarantees of liberty, but in
Sc. n] Notes 177
by the Hollanders, and this too from British waters. Another, dated
1614, estimates the number of Hollanders then engaged in the indus
try at 20,000 (cf. Harl. Misc.
3. 395 ff 4. 212-231). Probably the
.
;
called Ripa reginae, the Queen's bank, or Queen's hithe, and great
profit thereof was made to her use" (Stow, Survey, p. 134).
88. But what if Spinola haue a new Proiect. '"Spinola and
Gundomar, between them, had, in 1620, completely succeeded in
mystifying James as to the move upon the Palatinate." Spedding's
Bacon 7. 112" (C).
90. Harwich. A seaport town of Essex, situated on a small
peninsula which projects into the estuary of the Stour and Orwell,
seventy miles north-east of London.
98-102. They write from Libtzig . . . tincture. jibe at A
the users of perfume. This art is mentioned in Devil is an Ass
also. For the 'Brotherhood of the Rosie-Crosse,' see note on
4- 2. 34-
(and not improbably, the person whom Jonson had in view) was so
far over-run with this lunacy, "as to put out money on adventure,
i. e. to receive it back, double or treble, when James himself should
prophets, he's quashed too.' Cf. Pan's Anniv. 'We have a prophet
:
Laud, has been blamed for noticing his attacks. "As Laud was
who
at the state," says the author of the Discourse on Irony,
head of
p. 71, "he should have despised the jests of a fool, and not been
hurried on to speak against him, (in the Privy Council,) but left it
to others who would have been glad, upon the least intimation, to
pay their court, by sacrificing a fool to his resentment." This has
been repeated a thousand times but there is neither truth nor
;
the favourers of the puritans about the court, and they hastened
to avail themselves of his prejudices, by secretly instigating him to
scurrilous jests upon Laud, as the readiest means of bringing the
hierarchy into contempt. Not to know this, argues a very imperfect
acquaintance with the history of those disastrous times. Even
Osborne, who neither loved Laud nor his cause, has the candor to
acknowledge that Archy not only "carried on the contention against
the prelates for divers years, but received such encouragement, that
he often, in his own hearing, belched in his face such miscarriages
as he was really guilty of, and might, but for this foul-mouth'd Scot,
have been forgotten adding such other reproaches of his own, as
:
place on the I7th of February, 1624, and the news of it did not
reach England till the commencement of 1625.' Johnson's Encyclo
pedia gives the year as 1623. Dryden wrote a play upon this theme.
164. And making them good, eating Christians. Gifford deletes
the comma after good, thereby hiding Jonson's jest.
161-4. a colony of cookes, etc. Probably these lines contain an
allusion to the popular belief that cooks were atheists. This, as
Knight tells us (London i. 383), 'was supposed to be the result of
their knowledge from the world abroad for travel was then neces
sary to make an accomplished cook.'
1 82 The Staple of News [ACT HI
165. Colonell. 'In the I7th c. colonell was trisyllabic, and was
often accented (in verse) on the last syllable. But by 1669 it began
to be reduced in pronunciation to two syllables' (NED.).
178. old laphets. Whalley quotes from Underwoods 41 : An Ode
To Himself:
Then take in hand thy lyre,
Strike in thy proper strain,
With Japhet's line, aspire
Sol's chariot for new fire.
To give the world again.
with this remark 'He means Prometheus, the son of Japetus, who,
:
asks the question, Have you no news of the stage? and I have
accordingly reformed the speeches in that manner' (W.). 'There
was no need of change but I have not disturbed Whalley's reforma
:
neglect, and died miserably. The reader now sees the drift of the
satire in noticing his bequest to players, for their dexterity in shifting
the scene, which does not, as Mr. Malone supposes, allude to the
use of what is now called scenery, but simply to a change of
place' (G.).
218. Gundomar. 'Gondomar, Diego Sarmiento de Acuna, Mar
quis de, Spanish ambassador in England from 1613 to 1621. He
acquired great influence over King James I., and plied him with all
'This play, as the margin of the old folio tells us, was the Game at
'Chess. The game is played, as Langbaine says, between one of the
church of England, and one of the church of Rome, in the presence
of Ignatius Loyola. It does not promise much amusement, and yet
a MS. note taken by Capell from an old copy of this play, describes
it as exceedingly popular. "After nine days (the writer adds)
wherein have heard the actors say they took fifteen hundred pounds,
I
(this an incredible sum) the Spanish faction got the play sup
is
prison, where he lay some time, and at last got out upon this petition
to King James :
passing over the Stage.' On this Bullen gives Dyce's note : "As he
[Gondomar] was carried in his litter or bottomless chair (the easiest
seat for his fistula)," etc. Wilson's Life and Reign of James, p. 146,
ed. 1653.' I have little doubt but that share is either a misprint for
chair, or an old colloquial form of the word ; probably the first.
people with our wealth and pomp, is the thing! what a wretchedness
is this, to thrust all our riches outward and be beggars within; to
contemplate nothing but the little, vile, and sordid things of the
world, not the great, noble, and precious?' Cf. ib., De stultitia
(9. 182) 'Nor is it only in our walls and ceilings
: but all that ;
we call happiness is mere painting and gilt; and all for money:
what a thin membrane of honour that is? and how hath all true
reputation fallen, since base money began to have any?'
261. by description. Beyond or above description.
270. him. Fitton. So also he (273), his (274), and he (275).
271. State of yeeres. 'An estate of years is a contract for the
possession of lands or tenements for some determinate period.
. . .These estates were originally granted to mere farmers 'or
husbandmen, who every year rendered some equivalent in money,
provisions, or other rent, to the lessors or landlords; but, in order
to encourage them to manure and cultivate the ground, they had a
permanent interest granted them, not determinable at the will of
the lord' (Blackstone, Comm. 2. chap. 9).
'We have before remarked, and endeavored to assign the reason
of, the inferiority in which the law places an estate for years, when
compared with an estate for life, or an inheritance observing, that :
an estate for life, even if it be pur anter vie, is a freehold but that ;
'It is but fair/ says Gifford, 'to give the remainder of this stanza,
in which the thought is woefully wire-drawn :
There was no great kindness between Daniel and our poet; but I
know not the cause of their mutual dislike. Both were patronized
by Lucy, countess of Bedford, and Jonson tells her noble friend, the
countess of Rutland, that Daniel "envied him, though he bore him
no ill will on his part." He could not have hazarded this to such
a personage, unless the fact had been notorious; and this circum
stance serve to admonish us, when we find an occasional reflec
may
tion Jonson, not to set it down immediately to the score of
in
adding, however, that "he was a good honest man, had no children,
Cf. Ev. Man Out 3. i
'
but no poet." 'You shall see sweet silent
:
especially with the good citizens of London, who had the happiness
of enjoying some of their favourite processions on it. The trite
allusion in the next line may be best explained by a quotation from
Akenside :
SCENE III.
'It appears from the elegant rules drawn up by Jonson for the regula
tion of his Club, that women of character were not excluded from
attending the meetings.
Careless. I am full
Of oracles, I am come from Apollo
Emilia. From Apollo!
Careless. From the heaven
Of my delight, where the boon Delphic god
Drinks sack, and keeps his Bacchanalia,
And has his incense, and his altars smoaking,
And speaks in sparkling prophecies, thence I come,
And braines perfum'd with the rich Indian vapour,
And heighten'd with conceits. From tempting beauties,
From dainty music, and poetic strains,
From bowls of nectar, and ambrosiac dishes,
From witty varlets, fine companions,
And from a mighty continent of pleasure
Sails thy brave Careless.
-Fine Companion'
27-8. He'lldraw . .
lulips. This means that Lickfinger is
.
4. 5. 150: 'Come we'll in here; tarry for the mourners, and stay
dinner.' Furness cites Singer on Rom. and Jul. 4. 5. 87-8: 'The
usage was derived from the Roman caena funeralis, and is not yet
disused in the North, where it is called an arvel supper.'
1 90 The Staple of News [Acx HI
'In the third Course was Porpoise, an'd in this Course was a subtlety
of a Tiger looking into a Mirror, with a man on horseback fully
armed, grasping a Tiger's whelp.' Again from the same source: .
'There was a subtlety both before and after this Course [the third],
the last one representing the Virgin and Child, with St. George and
St. Denis kneeling on either side, and presenting to the Queen a
Arion, a Greek poet and musician, best known by the story of his
escape from drowning on the back of a dolphin, which he attracted
by his music. Chambers' Book of Days (i. 563) tells us that among
the pageants devised by Anthony Munday in 1616 for the mayoralty
of Sir John Leman, of the Fishmonger's Company, there was a
'
51. This, and the next two speeches headed Cla., Gifford assigns
to Nathaniel. This, of course, is right but two clerks of the office
;
For the most recent information about the death of Humphrey, Duke
of Gloucester, cf. Notes and Queries, 9th S. 3. 264 (April 8, 1899).
53. obsonare famen ambulando. 'obsonare ambulando famem,
phr: Lat. to purvey an appetite by walking. Cic., Tusc., 5. 34, 97'
(Stanford Diet.). Cites line 53.
54-7. brother, etc. See Introd., p. 48.
55. I ha'the wine for you. 'A proverbial expression. I have the
perquisites (of the office) which you are to share' (G.).
SCENE IV.
3. charge. Pecunia.
8. they talke Six-thousand a yeere. Note the modern tang of
this colloquialism one may hear its like any day among tradesmen.
;
34. The trade of money, is fall'n, two i'the hundred. Cf. note
on 2. i. 4.
have silke scarffes cast about their faces, and fluttering in the wind
with great tassels at euery ende, eyther of gold, silver, or silke. But
I know wherefore they wil say they weare these scarffes, namely, to
keep them from sunne burning.' Speaking of dress in the early days
of Elizabeth's reign, Howe says (Con. of Stow's Chron., quoted by
Strutt, Antiq. 3. 91) : 'Nor were scarfs above the value of four
nobles, or thirty shillings at most, worn by any persons whatsoever.
But at this day [towards the end of James' reign] some . . .
wear scarfs from ten pound apiece to thirty, nay and more.'
192 The Staple of News [ACT in. Sc. iv
THIRD INTERMEAN
3. Siluer-streete. 'Silver Street, Cheapside, from Wood street to
pal streets, some others in the northern suburbs, and the springs in
the neighborhood of the Fleet River, were all they had at their
service. The Cheapside conduits were the most used, as they were
the largest and most decorative of these structures. The Great
Conduit in the centre of this important thoroughfare, was an erection
like a tower, surrounded by Statuary; the Little Conduit stood in
West cheap, at the back of the church of St. Michael, in the Querne,
at the northeast end of Paternoster Row. Except where
. . .
was divided into two parts called respectively the Great Almonry
and the Little Almonry' (LPP.).
ip4 The Staple of News |JRD INT.
late as Henry VI. the King had "six wool-houses within the Staple
at Westminster, which he granted to the Dean and Canons of St.
Stephen at Westminster"' (LPP.).
23. Kings-street. 'King-Street, Westminster, originally extended
from Charing Cross, through or past Whitehall, to the King's Palace
at Westminster' (LPP.).
Chanon-row. "Twas the old way when the King of England
had his House, there were canons to sing service in his chapel; so
at Westminster in St. Stephen's Chapel (where the House of Com
mons sits) from which canons the street called Canon Row has its
name, because they liv*d there." Selden, Table Talk: Kings of
England, p. 56, ed. 1716. In the time of Edward VI. it was called
Chanon' (LPP.).
24-5. what fine slips grew in Gardiners-lane. 'Gardiner's Lane,
Westminster, between King Street and Duke Street' (LPP.).
'Jonson's minute knowledge of Westminster localities has never been
sufficiently appreciatedby London historians. "Why I had it from
my maid Joan Hearsay, and she had it from a limb of the school,
she says, a little limb not nine years old," which we may suppose
to have been Jonson's age when the great Camden first took him
in hand. "The mill" which he mentions has its memory still pre
served in M7/-bank. The stream which turned it ran where Great
College Street now stands. . .
"Slips" were false coins, and
.
3RD INT.] Notes 195
apparelled like honest and substanciall Citizens, who came into the
sport, then for any gaines, protesting they care not whether they win
or loose.'
27. what bettes wonne and lost. In a note in Secret History of
King James (i. 264), Sir Walter Scott tells us that 'the custom of
betting rose to great height in the reigns of Queen Elizabeth and
James.'
27-8. how much griest went to the Mill. Cf. note on lines 24-5.
28. and what besides. Intended, perhaps, to suggest love-affairs
or intrigues.
28-9. who coniur'd in Tutle-fields. Tothill Fields (particularly
so called) comprised that portion of land between Tothill Street,
Pimlico, and the river Thames this is a somewhat uncertain boun
;
dary but the best that can be given, or, as Jeremy Bentham
it is
'As long as they remained unbuilt on,' says LPP., 'Tothill Fields
were used for military musters and as public Playing-Ground . . .
This scene and the next represent what seems to have been a
favorite method among the sharpers of old London. Cf. Dekker,
Non-Dram. Works 3. 127 'If the Cozen be such an Asse to go into
:
wore a special costume, usually a long grey gown with a hood drawn
over the face, and carried a wooden clapper to give warning of their
approach. They were forbidden to enter inns, churches, mills, or
bake-houses, to touch healthy persons or eat with them, to wash in
198 The Staple of News [Acx iv
SCENE II.
prose.
6. Celler. See Glossary. Cf. Magnetic Lady 3. i :
good general:
AyaOov ffrpariryov diafiepttv ovStv
to join it, sure that it had found the philosopher's stone and could
heades, in laying out their haire to the shewe, whiche of force must be
curled, fristed, and crisped, laid out (a world to see) on wreathes
and borders, from one eare to an other. And least it should fall
down, it is vnder propped with forks, wiers, and I cannot tell what,
like grim sterne monsters, rather then chaste Christian matrones.
Then, on the edges of their boulstered hair (for it standeth crested
rounde about their frontiers, and hanging ouer their faces like pen-
dices or uailes, with glasse windowes on euery side) there is laied
great wreathes of golde and siluer, curiously wrought, and cunningly
applied to the temples of their heades.' Strutt tells us that the
fashions of the reign of Elizabeth were revived one after another in
that of James.
73. A front too slippery, etc. 'Literally from Horace,' says
Whalley [C. i] :
In the old suite, the saraband was the distinctively slow movement,
and was usually placed before the gigue [the last movement of the
suite]' (CD.). See Glossary. Cf. also Strutt, Sports and Pastimes,
p. 223 'Sir John Hawkins observes that, within the memory of
:
the powers of one-and-twenty are in full tide, and this lavish speech
is in keeping with his mood; moreover, it is this speech which calls
Francklin's translation (i. 67) it stands thus: 'For I would ask you,
Jupiter, whether if a man were to marry a young and beautiful wife,
and afterwards should never watch or be jealous of her, but give her
leave to go wherever she would, night and day, and keep company
with whom she pleased, nay, should open his doors, invite every
body in, and expose her to prostitution, would you believe this man
loved her?'
128. want. Note the double meaning.
137. mere monsters. Absolute automata, machines, dancing
engines. As we saw in a previous note (i. 5. 40), monster was the
general name given to any animal, whether deformed or only strange,
which was kept and exhibited as a curiosity. The way the term is
used here shows that monster was also applied to any mechanical
contrivance made to resemble man or animal. Here it means
puppets. This is what Shakespeare means in Hamlet 3. i 'For :
wise men know well enough what monsters you make of them.'
138. subtill feet. Cf. Conversations with Drummond 19 :
141-2. cry vp And downe mens wits. The phrases cry up credit
and cry down credit are of military origin. On the latter, James
Hooper says in Notes and Queries, 9th S. 12. 352: This ancient
custom was observed in Norwich on Thursday, 6 November, 1902.
I quote from the Eastern Daily Press of the following day: "A
couple of the Dragoon Guards stationed at the Barracks rode through
the streets, one sounding a bugle, and the other reading the proclama
tion, warning citizens against contracting debts with the private
soldiers of the 3rd and 4th Dragoon Guards. The custom is
Sc. n] Notes 205
mob of gentlemen who wrote with ease," about half a century later,
verified his observation' (G.). Cf. Fortunate Isles, 1626 (GC. 8. 71) :*
Are now-a-days.
would I had some hum !" Wild Goose Chace.' Nares cites Hey-
'
wood's Drunkard, p. 48 "Notwithstanding the multiplicity of wines,
:
yet there be stills and limbecks going, swetting out aqua vitae and
strong waters, deriving their names from cinnamon, balm, and ani
'
repeat their peg, led to results quite the opposite of those Edgar
intended. From this practice of 'drinking to pegs' we get our
phrase peg out, meaning originally to be overcome by too many
pegs of liquor (cf. Barrere and Leland, Slang Diet.). That Mother
Mortgage pegs out when she gets her distance of hum, is suggested
by the fact that though Statute, Band, and Waxe often speak in this
scene and the next, she is not heard from in either. Doze, in line
164, is not a misspelling, as Whalley and Gifford thought it (cf.
variant).
175. Scatter your selfe. Scatter, in this sense, is still a loose
colloquialism.
178. Claret. 'A name originally given (like F. vin clairet) to
wines of yellowish or light red colour, as distinct alike from "red
wine" and "white wine" the contrast ceased about 1600, and it
;
was apparently then used for red wines generally, in which sense
it still, or was recently, dial.' (NED.).
SCENE III.
79. Bane o'. The meaning is plain, woe or curse on, but the
phrase seems to be rare. There is no mention of it in any of the
principal dictionaries or glossaries. Eng. Dial. Diet, gives bane as
'a mild expletive' used in Yorkshire, and cites: 'Bane! Ah'll gan,
whativver comes on't.'
every night they [the Prince's retainers] could meet him tossed
like a dog in a blancket.' Yet I suspect that the specific application
in the side-note is a mistake. Within the play itself nothing has
been said or done to which line 80 could be an allusion.
SCENE IV.
current. The Royall, commonly called Ryal, was a gold piece first
coined by Edward IV., and worth then about ten shillings. The
Rose-royal, worth about $7.50, and the Spur-royal, worth about $375,
were first coined by James I.
15. a Sunne proper, beamy. The disk of the sun, when it occurs
in heraldic devices, is usually filled with the features of a human
face. When
anything is substituted for this, it is mentioned in the
blazon: as, Sun, etc., charged in the centre with an eye.' It is
'the
gi. the politicks. Probably not the science, but the policy of the
government at the time.
92. Astrology. The whole subject of Practical Astronomy, or
Astrology (cf. note on line 43).
95. Horace, etc. Cf. Introd., p. 51.
100. Fit for a Chronicle. An allusion to Anthony Munday, and
the work he then had in hand of amplifying Stow's Survey. He
was a friend of Stow's, and had in 1618 brought out the first edition
of the Survey. Munday died in 1633, and a few months after his
death the Survey was reprinted, with additions.Jonson alludes here
to the trivial matters which Stow and Munday often included in
their record (cf. the Chronologer in News from the New World,
1620). Jonson had satirized Munday long before in the character of
Antonio Balladino in The Case in Altered (pub. 1609). Possibly
he also had in mind here Edmund Howes, who was then engaged
in continuing Stow's Chronicle or Annals. See i. 6. 93; and also
the Chronicler in News from the New World.
106. Copy of Court Roll. See Glossary under copyholder.
107. Escuage. The personal attendance of knight-service being
irksome, tenants found means of compounding for it; first by send
ing others in their stead, and in process of time making a pecuniary
satisfaction to the lords in lieu of it. This pecuniary recompense
was called escuage (L. scutagium, scutum money) which in time
became scutage (cf. Blackstone, Comm. 2. 73-4)-
no. Littletons tenures. The Tenures of Sir Thomas Littleton,
written in Law-French, was printed some time near the end of the
I5th century. Fitzherbert cites it as early as 1534. Coke (1552-
'
1634) pronounced it the most perfect and absolute work that ever
was written in any human science. The Tenures with Coke's com
ment was for a long time the chief authority on English real-
property law.
in. And make 'hem too, Sir. Peniboy means that Picklock
shall explain tohim all his transfers of property. Picklock means
that he will so completely control the prodigal as to make all his
bargains for him.
112. Keepe all your Courts. Keep all your manor-houses in
repair and order.
113. Let all your Leases. Leases refers neither to contracts nor
to writings, but to the things leased. Compare our real-estate-office
for a
phrase, a good rent, meaning a piece of property well adapted
tenant's use, or one easily rented.
122. Leave you my
Cloak. 'A Palliard comes next into my
minde, & he likewise is cal'd a Clapperdugeon: his vpper garment
is an olde cloake made of as many pieces patch'd together, as there
justice; whereby such falsity and confusion have crept into their
records (which ought to be the standing evidence of families,
descents, and coat-armor,) that, though formerly some credit has
been paid to their testimony, now even their common seal will not
be received as evidence in any court of justice in the kingdom. But
their original visitation books, compiled when progresses were
solemnly and regularly made into every part of the kingdom, to
inquire into the state of families, and to register such marriages
and descents as were verified to them upon oath, are allowed to be
good evidence of pedigrees.'
155. Were he. Even if he were.
160. compile. Used in the sense of pile up, or heap together. At
the mildest, Jonson means by it 'collect and put together.'
: Certainly
he has not in mind the sense 'compose as original work'
: for the ;
but regret that Gifford followed 1716 and Whalley in changing the
beautiful old form, ghirlond into 'garland.' Jonson chose this form
deliberately (cf. Glossary). Perhaps these lines are an allusion to
Fletcher, who died in August, 1625. He and Jonson had been friends
and collaborators. He had for several years been the chief poet
of the King's Men. See Introd., p. 54.
168. witherd. See Introd., pp. 55-9.
170. (That I not call you worse). Cf. 2 Hen. IV. 4. i. 98: 'It
not belongs to you' and ib. 107 'It not appears to me.' See Abbott.
;
:
FOURTH INTERMEAN.
5. warrant him. When used in this emphatic way, warrant is now
usually followed by you.
a kin. Whalley reads a-kin and Gifford akin. No change is
needed (cf. Glossary, under kin).
Mirth is right; nowhere in his dramas did Jonson speak more
truly in his own person, or with a more eager and eloquent indigna
tion, than in some of the utterances of Peniboy Canter.
had
9-10. huge ouergrowne Playmaker. Jonson, always large,
now grown very stout.
13-14. set a beggar on horse-backe, hee'll neuer linne till
hee be a gallop. 'To linne is to stop. Swift used the word in his
Journal to Stella, and says "lins is leaves off" (C). Cf. Dekker,
Non-Dram. Works 2. 281 'Be thou a beagle to them all, and never
:
ein Bettler aufs Pferd kommt, so kann ihm kein Teufel tnehr
voreilen. Set a beggar on horseback, and he'll outride the devil.'
Cf. Hislop, Scottish Proverbs 'Set a beggar on horseback, he'll ride
:
to the deil.'
4TH INT.], Notes 213
19. And shew'd her to 'hem all! was not iealous. Cf. the pas
sage from Lucian's Timon quoted in note on 4. 2. 123.
28. water his Lectures. Compare our modern commercial phrase,
to water stock.
Doctors?
32-3. . . . Neither Whalley nor Gifford
Courtiers.
makes any change Doctors or Courtiers. Both words are
in either
possessive singular. There is but one person in the play whom the
rest call Doctor, and that is Almanach (cf. 4. 4. 37). Likewise there
is but one courtier in the play, Fitton (cf. 4. 4. 62).
Cf. also Fastidious Brisk's recital of his duel in Every Man Out, 4. 4.
or herself like them, shall remain in the same one month, at one or
several times, it is felony without benefit of clergy" and Sir :
and fraternities were all given to the crown, some demeans here
and there pertaining thereunto were still privily retained, and pos
sessed by certain private persons or corporations or churches. This
4TH INT.] Notes 215
concealment' ;
also Every Man In 4. 2: 'You'll be begged else shortly
for a concealment' ;
also Poetaster 5. I :
'Ay, and remember to beg
their lands betimes; before some of these court-hounds scent it out.'
On this last, Gifford cites from Jack Drum's Entertainment 'I have :
your house had been begg'd by this time else.' There Gifford says :
man.' A
writer in Notes and Queries, Qth S. 3. 394-5, says: This
is "rote rhyme," or a monotonous jingle, kindred in spirit and
movement, no doubt, to the butter-woman's rank to market. Gavin
Douglas, in the prologue to JEneid 8. st. 12, has "rote rane" (black
"ratt rime") which is equivalent to "rote jargon."
letter ed. of 1553,
... To this day in Scotland, a "rane" is a weary harping on a
.
trivial theme.'
for whoever studieth the laws of the realm, who studieth in the
universities, who professeth the liberal sciences, and to be short,
who can live idly, and without manual labor and will bear the
port, charge, and countenance of a gentleman, he shall be called
master, and shall be taken for a gentleman'" (ib. 406). gentle A
man ranks next below an esquire, and next above a yeoman. This
whole intermean is an extended allusion to the insecurity of fortune
and rank in those suspicious and mercenary times. Money could
buy honor and position, but quite as often it was the cause of losing
both.
62-3. to make a probation dish of. As a trial of skill.
65. disinherited. I can find no authority for this broad use of
ACT V. SCENE I.
22. sit downe with it. It refers to solitude. For the phrase sit
veyances the grant is usually made "for the term of a man's natural
life" which can only determine by his natural death.'
;
218 The Staple of News [Acr. v
defendant pleads nil debet, and concludes his plea with this formula,
"And this he is ready to defend against him the said A B and his
is then
suit, as the court of our lord here shall consider," etc., he
SCENE II.
though his right arm might purchase his own time and be in debt
to none yet, more to move you, take my deserts to his.'
52. periure. Blackstone tells us (Comm. 4. 138) that by the
statute of Elizabeth against perjury, the punishment of that crime is
six months' imprisonment, perpetual infamy, and a fine of 20 pounds,
or to have both ears nailed to the pillory.
54. An Egge o' the same nest. Cf. Macbeth 4. 2. 83 :
'What, you
egge? Yong fry of treachery.' See Glossary.
57. witnes. Here witnes means testimony; in line 62 it means
one who bears testimony in line 65, testimony again and
; ;
in line 67
it seems to mean personal knowledge or witnessing.
and Hamlet 4. I. 10 :
tenance of the early stage. One of their chief uses was to serve as
a hiding-place. Cf. Silent Woman 4. 2 'You two shall be the :
chorus behind an arras, and whip out between the acts and speak.'
84-6. Here, as in many other places in this play, the moods of
caustic satire and verbal banter are combined the thoughtful and
the careless the serious and the entertaining.
maintenance.
87. Maintenance and perjury were both prime
Star-Chamber offenses in the days of Henry VIII., and probably they
were still so in the days of James and Charles (cf. Green, Hist.
3- 147).
88. hole with. The primary meaning of hole is : Go into
a hole, hole up, retire to a hole for hibernation. NED. cites line 88
as an example under this definition. But, as shown by trundle, line
go, Jonson is also alluding to the game called Hole, or Trunks. Cf.
NED. 'An old game in which balls were rolled through little
:
trundling little balls into eleven holes at the end of a bench, answer
ing to the old French game of Trou Madame.' Jonson also alludes
to The Hole, 'one of the worst apartments of the Counter Prison,
Woodstreet, London' (NED.). Cf. also NED. 'To hole a person, :
SCENE III.
Glossary.
ii. a seal'd Porter. A certificated member of the guild of
shown by his wearing the badge or livery.
porters, as
15. Or you may be. Peniboy plays on the phrase trussed up.
Picklock means tied, or pinioned; Peniboy means hanged as a
criminal.
20. Carriage. See Introd., p. 27.
23. good Peniboy Junior has proved
affection. Right feeling.
himself to be on the side of what is just and decent.
32. bed-staues. See Glossary. Wheatley, in a note on Every
Man In i. 5. 128, cites line 32, and says 'The bedstaff appears to
:
might."
37. worme of the peace. Probably a justice of the peace was
sometimes so called, though I have found no other instance of the
phrase. The name of worm might have been suggested by the
justice's method of screwing or cork-screwing, i. e. examining closely
or eliciting under pressure.
41. Lollard's tower. As to the origin of the name Lollard, NED.
says that it was adapted from the Middle Dutch lollaerd, a 'mumbler/
or 'mutterer/ which in turn came from lollen, to mutter or mumble.
The name originated in the I4th century in Holland, where it was
applied to a semi-monastic sect. During the same century it was
adopted in England as a term of contempt for those who followed
Wyclif, or sympathized with his views. The Lollards were severely
persecuted in the reigns of Henry IV. and Henry V., and at the same
time in Scotland.
As to the Tower, Stow says {Survey, p. 138) 'At either corner :
of this west end [of old St. Paul's] is, also of ancient building, a
strong tower of stone, made for bell towers in one of them, to wit,
:
next to the palace, is, at present to the use of the same palace; the
other, towards the south, is called Lowlarde's Tower, and hath been
used as the bishop's prison, for such as were detected for opinions
of religion, contrary to the faith of the church.'
222 The Staple of News [Acx v
44. subiect.
Peniboy Senior.
49. and my
simples take. Simples, of course, is used figuratively.
Possibly take is used in the sense of blast or infect, so common in
Jonson's day. Cf. Lear 2. 4 :
SCENE IV.
Gifford points out that Jonson got the idea of this scene from
the scene in the Wasps of Aristophanes where Philocleon puts his
dog, Labes, on trial for stealing a Sicilian cheese. Except for two
or three small details, the resemblance is only general (cf. Hickie's
translation, pp. 16-22). It was hardly necessary, however, for Jonson
the I2th till the middle of the I7th century the lower animals were,
on the Continent, considered to be in all respects amenable to the
laws. Domestic animals were tried with strict formality in the
common criminal courts, and wild animals in the ecclesiastical courts
(cf. Book of Days i. 126-7; Notes and Queries, 3d S. 5. 218).
'Coleridge notes here "I dare not, will not, think that honest Ben
:
The Stage 'I drink this good draught to your health here. Canary,
:
the very elixir and spirit of wine.' Cf. also note on Induction,
line 74.
6. your Badge. Nares says: 'In the time of Shakespeare, etc.,
all the servants of the nobility wore silver badges on their liveries,
on which the arms of their masters were engraved. The color of
the coat was universally blue, which made this further distinction
necessary. It was also called a cognizance and vulgarly corrupted ;
but let him be whipped well and his tongue (which he doubles in
his mouth, and so makes a horrid strange noise in stead of speech)
will walke as fast, as his handes doe when hee comes where any
booty is.' Grose says {Lexicon) 'A. beggar pretending that his
:
tongue has been cut out by the Algerines, or cruel and blood-thirsty
Turks, or else that he was born deaf and dumb. Cant.' Dekker,
Non-Dram. Works 3. 86 'In another troope are Cabling Domerers.'
:
Cf. Notes and Queries, 5th S. 5. 99: 'Skitting Dealers was a Slang
SCENE V.
8-9. A
bated vserer will be good flesh. FIT. And tender, we
are told. F. A. Russell, in Notes and Queries, 9th S. 9. 255, says
224 The Staple of News [Acr v
says: The comparatively low price of the two Turkeys and four
Turkey-chicks served at a feast of the serjeants-at-law in 1555
(Dugdale, Origines, p. 135) points to their having become by that
time abundant, and indeed by 1573 Tusser bears witness to the part
they had already begun to play in "Christmas husbandlie fare."
'
27. Swans. 'In England it [the Swan] was far more abundant
'
are vastly agreeable to the fleets that meet them in their course"
(Knight, London I. 8).
28. Keepe your Capitol. Alluding to the legend that the cackling
of geese roused the guards of the Capitol, and saved Rome from the
Gauls. Cf. Catiline 3. 2:
31-32. Pyke . . .
poore lacks. The English pike is a
peculiarly voracious fish, and preys upon the young of its own as
well as of other species. Jacks means here young pikes. Cf. Cleve
land, Works (1677), p. 97: The Jack may come to swallow the Pike,
as the Interest often eats out the principal.'
34. poore lohn. On Rom. and
Jul. i. i. 28, Furness quotes
and salted, was probably the staple fare of servants and the indigent
during Lent; and this sorry dish is perpetually ridiculed by the old
writers as poor John. Cf. Tempest 2. 2: 'a fish, hee smels like a
fish;
a very ancient and fish-like smell a kind of not of the newest
:
poore- John.'
44. thin as a lanterne. Cf. Plautus, Aulularia 3. 6:
57. flye. See variant. Gifford's change of him into 'them' takes
much of the vigor out of the line. If we retain him, the figure is
that of a falcon giving chase, or perhaps of a falconer flying his
bird at a quarry. Still, it is to be said that this reading implies
that Lickfinger had a kind of admiration for the Canter, but of this
we have had no intimation until now.
SCENE VI.
10. wretched: or with buffon licence. 'Here Jonson, as usual,
prints buffon, which is necessary for the rhythm, and ought on every
account to be preserved' (C.). See variants.
Jonson was thinking here of Carlo Buffone in Every Man Out.
He is the prototype of the whole covey of jeerers. In The Character
of the Persons he is described as 'a public, scurrilous, and prophane
jester . . His religion is railing, and his discourse ribaldry.'
.
And again (GC. 2. 26) 'He will sooner lose his soul than a jest,
:
rather exceptions than rules, being those which only operate upon
particular persons. Thus, to show the distinction, the statute 13
Eliz. c. 10, to prevent spiritual persons from making leases for
only the parties and the bishop's successors and is a private act.'
;
17. Without your Broker. The broker's calling was often repro
bated (cf. note on 2. 2. 29).
31-33- Cf. Introd., p. 28.
35-6. decreed, From whence you came. There is an ellipsis of
the place between decreed and from.
39-40. forfeitures Of whole estates, if they be knowne, and
taken. This, no doubt, is an allusion to Charles' methods of replen
ishing the Exchequer. They refers to estates, Taken means bor
rowed (see Glossary) in the sense of forcibly appropriated. 'The
possession of such a weapon [i. e. the Star Chamber],' says Green
228 The Staple of News [ACT v. Sc. vi
(Hist. 3. 147), 'would have been fatal to liberty under a great tyrant;
under Charles it was turned simply to the profit of the Exchequer.
EPILOGUE
3. though the clout we do not alwaies hit. 'The metaphor is
humidity which affected the elasticity of the string and high winds
which diverted the course of the shaft' (G.). Cf. Glossary.
5. Tree. A bow. Cf. Lytell Geste of Robyn Hode (Child's
Ballads 5- 57) :
GLOSSARY
It my aim to include in this Glossary all obsolete, archaic, and
has been
dialectalwords, phrases, and meanings in our play; all obsolete and
archaic forms which are not merely old spellings; all technical terms
which are not likely to be readily understood and, in general, all words ;
which, though still current in the senses defined, are obscure from their
context or from their occurrence in the play in different senses. At
least one instance is cited under every meaning. Where but one is cited,
however, it does not necessarily mean that this is the only instance in
the play. My main resource in this work has been the New English
Dictionary (NED.), and where this is wanting, The Century Dictionary
(CD.), the Standard Dictionary, and the Lexicons of Nares, Halliwell,
Grose, etc.
Interrogation after a definition =
Is this the sense in the instance
cited ?
When two or more definitions are given under one reference it means
that the word defined is there used equivocally.
SN. =
Side-note, or bookholder's note.
t before a word or a meaning == obsolete.
The other abbreviations are in common use in Dictionaries, and need
no explanation.
delicacies. 2. i. 16.
4- 3-. 2.
Abuse, n. An imposture; an
i
the S. 26.
error, i. 5. 57.
Ad soluendum. [L. gerundial
2. A wrong. 2 Int. 25. phr.] To payment' (Stanford
Glossary 231
Aduised, f Aware. To be
pp. a. parallel of altitude. (The horizon
advised: to perceive a fact or truth. itself was reckoned the first alma-
2. 5. 101. cantor)' (NED.). 2. 4. 78.
Affect, v. i. To take to, or like Alter, v. fTo change the mind
(a thing). Arch. 2. 4. 155. or attitude of (a person). 5.
and in aspect with that planet when was last coined by Charles I. i. 3.
(CD.). 4. 4. 46.
232 The Staple of News
4- 45- 70.
cence ;
an act of kindness, i. 2. 81 ;
istrate. 2. 5. 102.
2. 32; 2. 5. 35, 92.
i. Burst, pp. a. fFinancially ruined,
2. A gift. i. 3. 54; 4. 4. 132? i. 2. 72.
Brauery, .
Finery, showiness. 2. Through? To see by (a per
3- 4- 63- son) : to understand his thought
Bring, v. Phr. Bring about: To by his face or actions. 4. 2. 82.
win over ; convince. Obs. ? 3. i. By andby, adv. phr. fAt once ;
4- 2.
Cause, n. Law. A subject of
Celebration, n. fCelebrity, re
5- 2. 53-
4- 30. 4. 4. 66.
just. 2. 5. 9. 69.
Conceive, v. fTo become pos Coozen, v. [Form of cozen.]
sessed with. Used with temporary To cheat. I Int. 69; 4. 3. 78; 4
states, as anger, etc., obs. or arch. Int. 50 ; 5. 2. 23.
5- 6. 15. Coozening, vbl. n. Cheating.
Conclude, v. i fTo reason, or i. 3- 47-
argue. I. 6. 58. fCoranto, n. [Form of courant.]
2. To infer. f3- To demonstrate, A newspaper. I. 5. II.
22. 2. 54-
Dress, v. fi- To train or break Element, n. Earth, soil; with
in (a horse or other animal) ? 2. reference to the doctrine of ancient
To groom or curry (a horse) ? I and mediaeval philosophy, that all
rel, tub, case, box, etc.) used to hold 3. Formerly. Obs. exc dial. 5.
From, prep. fOut of. 4 Int. 51. tion of rank. Now chiefly hist"
Front, n. fExpression of coun (NED.). 3. 3- 6.; 4. 2. 148; 5- 5-
2. Gentrie, n. fGood-breeding. 2.
5- 43-
4. 61, 66.
the i6th and I7th c. the spellings Good morrow, phr. saluta A
ghir , gir , guirland are freq. tion used at meeting in the morning,
used by English writers, in imita equivalent to the later good morn
tion of the Fr. and It. forms.]' ing. The original phrase was :
An exclamation of surprise or en i. i.
48. 119.
Gratitude, n. fA gratuity, re Haire 1
, a Scottish spelling of hare.
ward. 5. I. 112. 2. 4. 34-
Gratuitie, n. A
gift of money in Haire, n.
1
Coiffure. Rare? 4.
Horroscope, 'An
n. Astrol. or business ;
most commonly, as
observation of the sky and the con here, good husband. Now rare or
figuration of the planets at a certain arch. 3. 4. 36.
2. 27.
lacke, n. fA low-bred fellow, a
'knave'. 2. 3. 53, 85 32.
Induction, n. A scene serving as
; 5. 5.
Ingine-head, n. A scheme-head ;
leerer, n. A low order of man
a head for scheming or plotting. of wit. 2. 4. 43; 3. 3. 2. passim.
Nonce. 5. 2. 87. lerkin, n. 'A close-fitting jacket,
Inginer, n. See Enginer. 4. 2. jersey, or short-coat often made of
36. leather, worn by men during the
Inprint, odvbl. phr. [In print.] i6th and I7th centuries. (In lit
f2. Of persons :
Prompt, exact. Last, a. Extreme, utmost. Now
2. 3. 10. rare exc. in phr. of the last impor
3. Exact as regards the truth. 2. tance. 4. i. 28.
System : The military service which f2. To neglect to perform (an act
a knight was bound to render as a or duty). 2. 3. 45.
condition of
holding his lands; Leere, v. fTo look obliquely; to
hence the tenure of lands under the cast side glances. (Free from the
condition of performing a military modern senses of slyness, immod
service' (NED.). 4. 4. 106. esty, or malice.) 4 Int. 35.
ship a sea-captain. 2. 4. 7.
; wholly or in part, and serving to
Marchant, form of merchant, i. retain such viscus in its proper posi
2. 72. tion in the abdominal cavity' (CD.).
fMargent, n. [Form of margin.] 4. 4. 41.
Milit. Outskirt, flank, i. 3. 9 Meseraick, same as mesentery.
(fig.). 4. 4. 41.
8.By. ^rc/i. 5. 2. 12; 4 Int. 23. Or, conj. Either. Arch, or poet.
Of, adv. [The original form, of 2. 2. 51.
which off was at first a mere variant Orbe, n. i. 'Old Astron. Each
spelling. 'Off appears casually from of the hollow spheres
concentric
c 1400, but of and off were not com supposed to surround the earth and
pletely differentiated till after 1600.'] carry the planets and stars with
(NED.). Away. 2. i. 4; 2. 4. them in their revolution. Obs. exc.
38- Hist.' (NED.). f2. fig. A sphere
Offer, v. With of: To make an of activity. 2. 2. 56 (with immedi
attempt at. Now rare or obs. I. ate ref. to i).
6.82. Order, v. To put in order.
Oldman, n. A man advanced in Arch. 3. 2. 330.
years. As single word, obs. 5. I. Ordinary, n. i. public meal A
101. regularly provided at a fixed rate
Olla Podrida. [Sp., lit, rotten or in a tavern; hence, a tavern where
Part, n. Merit or demerit. Obs. ? as, she is a bold piece, i Int. 10.
in imprecative phrases :
as, a pox Rare? 3. 2. 101.
on; a pox of; pox on. 2. 3. i ; 3. Proper, a. i. Fine; pretty; iron
Pyoner, of pioneer.]
n. [Form Quote, v. fTo speak of. 3. 3. 18.
Milit. One of a party or company Quoth, preterite of fverb quethe.
of foot-soldiers who march before Said. Arch. I Int 41.
or with an army, and are furnished
with digging and cutting implements Race, v. [Form of rase, rase.}
to clear the way of obstructions, To erase. (Often with out). Obs.
repair roads, dig intrenchments, etc. or arch. 5. I. 27.
i. 3- 30. Ranke, v. fTo classify. I. 5. 121.
fShrouing, n. A
revelling at Solicitously, adv. Painstakingly,
Shrovetide. Ind. 66 (attrib.). zealously. Obs. ? 4. 2. 144.
Shut-face, n. A wise look? A Some, pron. fA certain person,
non-committal look? Nonce word? i. i. 34-
cattle ; more fully called blind stag t3- To cease. 4. i 58; 4 InL 90.
gers' (CD.). I Int. 77. Sterued, pp. of sterve, a ME. form
Stand, v .
fTo confront. 5. 6. 3. of starve, i Int. 20.
(3) Stand upon: fTo observe, keep Stile, n. [Obs. but more correct
to, be faithful to. 2. 3. 9. |
sp. of style.] A title. 2. i. 43.
Staple, n. A general market or Still, a. fConstant, permanent.
exchange. Now chiefly attrib., as in ! 5- i. 79-
staple article. Title of the Play ; Still, adv. fi- Always; habitu
passim. ally. Ind. 46; i Int. 36; 3. 2. 135;
Startle, v. To start. Arch. 5. 3. 4. 51; 5. i. 30; 5. 3. 47.
46. i
4- 36.
which the hose or slops (the loose Vrinall, n. M>rf. A glass vessel
breeches) were drawn' (Gifford). used in urinalysis. 2. 4. 74.
i. i. I (SN.) I. 2. 2. ; Vse, n. fi- Interest; usury. 3.
3. A
deed of trust 5. 2. 4. 3. To act toward; treat. 4. 3. 31,
Condition of one placed in a
4. 32 ; 5- 6. 22.
Vena porta, phr. 'The portal Wage, v. Phr. Wage law : 'In
the liver. Also called vena portac 2. With upon: (a) To escort.
or portarum (CD.). 4. 4. 40. Colloq. 2.
327; 4. 3. 15.
3. (b)
Vent 1
, v. [ <vent a sale <F. To attend as a servant or follower.
vente.} To vend, or sell. i. 2. 27. 4- 3- 20.
Vent2 v ,
.
[ (vent a hole or open Wake, n. fThe state of being
ing.] i. intr. To discharge; erupt. awake. 2. 5. 51.
FIELDING, HENRY. The Miser. A Comedy. (Works, ed. Henley, vol. 3.)
N. Y. 1902.
FLEAY, FREDERICK CARD. A
Biographical Chronicle of the English Drama.
1559-1642. 2 vols. Lond. 1891.
A Chronicle History of the London Stage, 1559-1642.
Lond. 1890.
FLETCHER, JOHN. The Fair Maid of the Inn. (Works of Beaumont
and Fletcher, ed. Dyce, vol. 10.) Lond. 1846.
Rollo Duke of Normandy, or The Bloody Brother.
(Works of Beaumont and Fletcher, ed. Dyce, vol. 10.) Lond. 1846.
FULLER, THOMAS. Gnomologia. Lond. 1732.
GRANT, JAMES. The Newspaper Press. 2 vols. Lond. 1871. [vol. i.]
HALLIWELL, J. O. A Dictionary of Old English Plays. Lond. 1860.
HARLEIAN MISCELLANY (2d edit.) 10 vols. Lond. 1808-13.
HAZLITT, WILLIAM CAREW. Handbook. Lond. 1867.
HERFORD, C. H. Studies in the Literary Relations of England and
Germany in the Seventeenth Century. Camb. 1886.
HEYWOOD, JOHN. Proverbs, (ed. Julian Sharman.) Lond. 1874.
JONSON, BEN. Complete Works, (ed. Gifford-Cunningham.) 9 vols.
Lond. 1875. [For other editions, see Introduction, p. n.]
Alchemist, (ed. C. M. Hathaway.) N. Y. 1903.
Bartholomew Fair. (ed. C. S. Alden.) N. Y. 1904.
=
INDEX
acates, 153. beggars, 168.
acme, 132. Beggars-bush, 211.
advance, 186. begging lands, etc., 214.
advised, 168. benevolences, 130.
yEsop, 138. Benson, J. (I. B.), 122.
affection, 221. besant, 209.
aldermanity, 193. bescumber, 223.
Allot, R., 122. Bethlem Gabor, 186.
Almanach, 203, 211. Betlem, 197.
almond butter, 174. betting, 195.
Almonry, 193. billmen, 140.
amber, 140. black is his eye, 150.
ambition, 155. block, 139.
Ambler, 143. blood-royal, 208.
Amboyna, 181. blushet, 225.
Andrews, A., Hist, of Brit. Journal Bolton, Elements of Armories, 154.
ism, xliii. Bourne, Fox, Eng. Newspapers,
Apicius, 209. xxxviii, xxxix, xliii.
Apollo, 207. Bowling Alley, 195.
Apollonius, 167. breeches, 140.
Apollo Room, 169-70. bringers-up, 209.
Archie, 180. broken sleeve, etc., 139.
Argurion, xxxii. broker, 227.
Arion, 190. Buff one, Carlo, 227.
Aristophanes, Plutus, xx-i. xxxii, Bullion, Sir Bevis, 141.
154, 207. burgess, 168.
Wasps, xxi, 222. Burton, Anatomy of Melancholy,
arms, set up, 171. xxxvi.
arras, 138. Butter-box, 174.
Assinigo, 224. butter, mad, 174.
astrology, 209, 210. roasted, 157.
Athenaeus. 189, 200. Butter N., xviii, xxiii, xxxvii seq.
attributes, 161. xlvi seq.
ayre, 156. Specimen of his news, xli.
by description, 185.
Baal, Prophet. 180.
call 160.
badge, 222. together.
baiting bulls, 223-4. Camden, 21 1.
bane o', 207. Canary sack, 222.
barbers, 135, 144. H7- candle-rents, 161.
Bates, K. L., xii. canter. 166.
Bavier, 186. canting, 149.
bawd, 161. Capitol, 226.
beamy. 208. Captain, 142, 161.
Bear, The, 122. carpet, 142.
Beaumont and Fletcher. Knight of casamates, 140.
the Burning Pestle, xxxiii. castril, 156.
bed-staff, 221. celler, 199.
269