[54] "Flay" is usually, if not always, written "flea" in old authors.

[55] MS. "For 3 hellish sins:" the word "For" is no doubt repeated from Fer.

[56] The passage might be tortured into verse, somewhat as follows:—

"Nay but Shall I not be acquainted with your designe? When we must marry, Faith, to save charges of two wedding dinners, Lets cast so that one day may yield us bridegroome,— I to the daughter, thou to the mother."

[57] We ought, no doubt, to read "professed,"—a trisyllable.

[58] An allusion is intended to the tailor's "hell,"—the hole under the counter.

[59] Vide note on Vol. I., p. 175.

[60] MS. tracning.

[61] In the MS. the stage direction has been altered to "Enter Sir Gefferie & Bunche." The whole of the colloquy between Sucket and Crackby is marked as if to be omitted. Doubtless this was one of the "reformacons" made at the instance of the Master of the Revels.

[62] Such would seem to be the reading of the MS., but it is not quite plain. I suspect that the true reading is "tripe-wives" (cf. oysterwives, &c.).

[63] I.e., Besar las manos (hand-kissing).

[64] MS. "will."

[65] Perhaps we should rather read:—

"Fie, Sister; 'Tis a pretty gent[leman], I know you love him."

[66] The words "I faith" have been crossed out in the MS.—as being irreverent.

[67] MS. "whom."

[68] Cf. The Ladies Privilege, i. 1. (Glapthorne's Works, ii. 99)—

"For my services Pay me with pricelesse treasure of a kisse, While from the balmy fountaynes of thy lips Distils a moisture precious as the Dew The amorous bounty of the morne Casts on the Roses cheeke."

[69] In the MS. the word "witnes" has been crossed out and "vouchers" substituted.

[70] The introductory part of this scene, up to the entrance of the steward, had been omitted by the copyist and is added on the last leaf of the play.

[71] In the margin we find the words "Well said, Mr. Steward: a good observation."

[72] "Pride" has been crossed out in the MS.

[73] "What? does he plucke it out of his Codpeece? Yes, here lyes all his affeccon."—Marginal note in MS.

[74] "A verrie politique drunkard"—"I think the barrell of Hedlebergs in his bellye."—Marginal notes in MS.

[75] "Tis well his friends here to reconcile ... ... for assault and battery elce."—the other words in the marginal note are illegible.

[76] "It were but cast away on such a beast as thou art." Marginal note.

[77] To "take in" is a common phrase for "to take by storm."

[78] Pappenheim fell at the battle of Luetzen, November 16, 1632; but there had been fighting at Maestricht in the earlier part of the year.

[79] MS. pdue.

[80] The first reading was—"Hold, hold, good Captaine, tis our most temperate Steward."

[81] 'Heere, here' is a correction (in the MS.) for 'what then?'

[82] MS. Trime.

[83] These words are crossed out in the MS.

[84] Therefore this play would seem to have been acted at the Whitefriars, i.e. at the Salisbury Court theatre. (F.G. Fleay.)

[85] The "jig" seems to have been a comic after-piece consisting of music and dancing. In Mr. Collier's Hist. of Dram. Lit., iii. 180-85 (new ed.), the reader will find much curious information on the point. The following passage from Shirley's Love in a Maze (1632) is not noticed by Mr. Collier:—

"Many gentlemen Are not, as in the days of understanding, Now satisfied without a jig, which since They cannot, with their honour, call for after The Play, they look to be serv'd up in the middle: Your dance is the best language of some comedies And footing runs away with all; a scene Express'd with life of art and squared to nature Is dull and phlegmatic poetry."

—Works (ed. Gifford and Dyce), ii. 339.

[86] MS. him.

[87] The name of the musician, I suppose; but the reading of the MS. is somewhat illegible.

[88] The passage at first ran as follows: "Umh, how long have I slept, or am I buried and walke in Elizium as the poets faine? Goe to, where are they? in the ayre? I can percieve nothing nor remember anything has been don or said!"

[89] 'Grimes. Soe, now retire a little. Ile play him one fitt of mirthe on my trebble to rouse him. Ext.' These words occur in the left-hand margin. Probably they should stand here in the text 'Ext.' may mean either 'exeunt' (musicians) or 'exit' (Grimes to disguise himself).

[90] 'Who are these! ha! the towne waits? why, how now, my masters, whats the matter, ha?'—Passage cancelled in MS.

[91] 'Bakside' is a correction (in the MS.) for 'buttock.'

[92] "Here Gent[lemen], share this amongst yee and pray for Grimes." These words (addressed to the musicians) follow in the MS. but have been scored through.

[93] The MS. gives "aurescion."

[94] The reading of the MS. seems to be "inuolute." Mr. Fleay suggests "invocate."

[95] The repetition of 'loath' in the next line is suspicious.

[96] The arrangement of the verse is not easy: perhaps we should read—

'Wishes for husband. A proper Gent[leman]; Ime happy She has made so iuditious an election.'

Our author usually makes a trisyllable of "gentleman"; here it counts only as a monosyllable.

[97] Between this word and the next there is a mark of omission in the MS., and the words "t'were Sir" have been written above.

[98] What follows, to the entrance of Thurston, is marked to be omitted. I have thought fit to restore it to the text. "Here's Mr. Thurston," concludes Clariana's speech.

[99] Cf. a similar passage in Glapthorne's Wit in a Constable (Works, I. 182):—

"a limber fellow, Fit onely for deare Nan, his schoole-fellow, A Grocer's daughter borne in Bread-street, with Whom he has used to goe to Pimblico And spend ten groats in cakes and Christian ale."

From Shirley we learn that the apprentices took their pleasure in the mild form of treating their sweethearts to cream and prunes:—

"You have some festivals, I confess, but when They happen, you run wild to the next village, Conspire a knot and club your groats apiece For cream and prunes, not daring to be drunk." (Honoria and Mammon, v. i.).

Pimlico seems to have been a place near Hoxton famous for its ales and custards; cf. Mayne's City Match, II. 6.—

"Nay, captain, we have brought you A gentleman of valour, who has been In Moorfields often: marry it has been To squire his sisters and demolish custards At Pimlico."

There is an unique tract entitled "Pimlyco or Runne Red cap, 'tis a mad world at Hoggesden," 1609.

[100] I cannot find that "bob" is used as a technical term in falconry. Mr. Fleay suggests that a "bob'd hawke" merely means a "hawk cheated of her prey." I rather think the meaning is a "hawk beaten or repulsed by her prey."

[101] From "A Kalendar of the English Church," p. 45 (Rivingtons: n.d., but 1865), one learns that "Marriage is restrained by Law at the following times unless with a License or Dispensation from the Bishop of the Diocese, his Chancellor, or Commissary, viz., from Advent Sunday until eight days after the Epiphany; from Septuagesima until eight days after Easter; and from the Monday in Rogation week until Trinity Sunday."

[102] I venture to insert the word "poet": both sense and metre are defective without it.

[103] In the MS. "thee" is corrected into "you."

[104] Some words have been cut away.

[105] MS. throng.

[106] "Thu. And here she comes, I feare me"—crossed out in the MS.

[107] Here a line follows in the MS:—

"And verely she is much to blame in it."

It is crossed through, and rightly.

[108] "Puny" is not uncommonly spelt "puisne" (Fr. puisne) in old authors.

[109] The metre requires "unman[ner]ly."

[110] MS. have.

[111] MS. puisants.

[112] The "Artillery Garden" was situated in Finsbury Fields, where also was the place of exercise for the City Trained Bands. In the "Antiquarian Repertory" (ed. 1807), i. 251-270, the reader will find an interesting account of the Trained Bands and the Artillery Company. Old writers are fond of sneering at the City warriors. The following passage is from Shirley's "Witty Fair One," v. 1:—"There's a spruce captain newly crept out of a gentleman-usher and shuffled into a buff jerkin with gold lace, that never saw service beyond Finsbury or the Artillery-Garden, marches wearing a desperate feather in his lady's beaver, while a poor soldier, bred up in the school of war all his life, yet never commenced any degree of commander, wants a piece of brass to discharge a wheaten bullet to his belly."

[113] _"Vinum muscatum quod moschi odorem referat, propter dulcedinem_, for the sweetnesse and smell it resembles muske," &c_. Minsheu's _Guide into Tongues_ (apud Dyce's _Glossary_).

[114] "Mooncalf" (originally the name for an imperfectly formed foetus) was used as a term of reproach, like dodypol, nincompoop, ninny, dunderhead, &c.

[115] Sc. trifling fellow, noodle.

[116] The blades from Bilboa in Spain were esteem'd as highly as those of Toledo manufacture.

[117] MS. two.

[118] "Striker" is a cant term for a losel, a wencher.

[119] "Mew" is a falconer's term for the place where a hawk is confined.

[120] This passage is repeated in The Ladies Privilege, at the end of Act I.

[121] "Curst" is an epithet applied to shrewish women and vicious beasts.

[122] This is the prettiest passage, I think, to be found in Glapthorne.

[123] MS. me.

[124] "Oh me" is crossed out, and "once" written above.

[125] The passage is bracketed in the MS., and was probably meant to be omitted.

[126] MS. Its.

[127] Throughout the scene "judge" is substituted in the MS. for "recorder."

[128] MS. know.

[129] This passage is bracketed in the MS. It could hardly have been expected to escape official censure.

[130] MS. led.

[131] Bracketed in MS.

[132] Early Greek writers held up the Scythians as models of justice and simplicity (Iliad, xiii. 6, &c.). Clearchus (apud Athen., xii. 27) accuses them of cruelty, voluptuous living, and viciousness of every kind; but, in justice to the Scythians, it should be added that in his "animadversiones" to the "Deipnosophists" (when will somebody complete and print Dyce's translation?) the learned Schweighaeuser in no measured language accuses Clearchus of wanton recklessness and gross inaccuracy.

[133] "What is the matter there? looke to the prisoners," was the first reading.

[134] The passage is bracketed in the MS.

[135] Erased in MS.

[136] Before correction the passage stood "And now, madam, being your servant and Timothy I bring you newes!" The words "Stay, stay Mr. Justice," &c., were inserted afterwards.

[137] Bracketed in MS.

[138] The reading of the MS. appears to be "a lonly."

[139] Bracketed in MS.

[140] The MS. is a folio of thirty-one leaves, written in a small clear hand: it was purchased for the National Library in 1851 from the Earl of Denbigh.

[141] In May, 1622, "by reason of sickness and indisposition of body wherewith it had pleased God to visit him, he had become incapable of fulfilling the duties and was compelled to resign."—Vid. Collier's "Hist. Eng. Dram. Lit." I. 402 (new ed.).

[142] Mr. Warner, of the Manuscript Department of the British Museum, to whom we owe the excellent Catalogue of the Dulwich Collection, kindly drew my attention to the autograph letter.

[143] In the right-hand margin we find "Jo: R: migh."—the names of the actors who took the Captains' parts. Further on the name "Jo: Rice" occurs in full. John Rice stands last on the list of Chief Actors in the first fol. Shakespeare. The reader will find an account of him in Collier's "Hist. of Eng. Dram. Lit.," iii. 486-88. It is curious that he should have taken so unimportant a part; but perhaps he sustained one of the chief characters besides.—"Migh" = Michael.

[144] It seems to have been no uncommon thing for officers to keep the names of soldiers on the list after their death and pocket their pay: cf. Webster's "Appius and Virginia," v. i., &c.

[145] The reply of 1 Cap., extending to thirteen lines, has been scored through in the MS., at the instance, I suppose, of the censorious Master of the Revels; it is, unfortunately, quite illegible.

[146] The MS. reads "Enter Barnavelt, Modes-bargen, Leidenberck, Vandermetten, Grotius, Taurinus, Utenbogart, Hogebeets." Names not in italics are scored through.

[147] MS. Tau. Hog.

[148] All the characters remain on the stage in spite of this direction.

[149] At first the line ran, "Of this proud Prince of Orange, at the worst."

[150] MS. Enter Pr. of Orange, Gr: Henrie, Gra: William, Collonells & Captaines. Gr: Henrie and Collonells are scored through. In the right-hand margin is written the name of an actor, Mr. Rob:

[151] The words "I feele too" probably belong to another speaker.

[152] Fletcher is fond of using "ye" for "you."

[153] In the MS. there is a marginal note:—"I like not this: neither do I think that the pr. was thus disgracefully used, besides he is to much presented. G.B." The initials are those of Sir George Buc, Master of the Revels.

[154] "Shellain" is a corrupted form of Dutch schelm—a rogue, villain.

[155] The stage direction in the MS. runs thus:—"Enter 1 Burger, Vandermitten, Grotius." Vandermitten finally takes the place of 1 Burger and Grotius.

[156] Beneath, in the MS., is written the name of the actor who took the part, "Mr. Gough."

[157] In the right-hand margin are written the initials "R.T." It is unknown what actor was the owner of them.

[158] "Jo: Ri:" is written above, and "migh" in the right-hand margin.

[159] "Mr. Rob." took the Captain's part.

[160] This Captain is identical with the one in the previous scene: "Jo: Rice:" took the part.

[161] In the MS. Vandermitten is scored through, and Grotius written above; but the alteration is not followed afterwards.

[162] "R.T." was responsible for the part.

[163] In the right-hand margin are the initials "T.P.," i.e. Thomas Pollard.

[164] In the right hand margin is a stage-direction, scored through,— "Droms—Enter ye Arminians: pass over."

[165] MS. Enter Bredero, Vandort and 2 Lords. The words in Roman letters are scored through in the MS.

[166] The brackets are mine: whoever excluded the 2 Lords left these words standing by an oversight.

[167] These weak endings without a pause are characteristic of Massinger.

[168] Massinger is fond of the use of parentheses.

[169] In the MS. Leiden has been corrected into Roterdam.

[170] The officer was personated by "R.T."

[171] In the right-hand margin we find "Mr. Rice."

[172] The Captains' parts were taken by "Mr. Rob." and "Mighel."

[173] The Dutch word knol signifies both a turnip and a blockhead.

[174] i.e. explain to me. (A very common expression.)

[175] "Fry" has here the unusual sense of "buzz, hiss."

[176] In the right-hand margin we find "Cap. Jo: R."

[177] Underneath is written Migh. who took the part of 1 Huntsman.

[178] "And bycause some Hares by haunting the lowe watrie places do become foule and mesled, such Hares doe never follow the hard ways nor make such pathes to their formes, but use all their subtleties and pollecies by the sides of the Ryvers, brookes and other waters." Turberville's Booke of Hunting (1575), p. 160.

[179] "R.T." took the part.

[180] MS. they.

[181] "Tho: Po:" (i.e. Thomas Pollard) is written in the right-hand margin.

[182] MS. Potents.

[183] The part was taken by "G. Lowen."

[184] The Wife's part was taken by "Nich", who may possibly be (as Mr. Fleay suggests) Nicholas Tooley; but I suspect that a younger actor than Tooley would have been chosen for the part.

[185] "Jo: Rice" took the part.

[186] A corruption of Dutch kermis (the annual fair).

[187] An ironical expression (very common) of denial or astonishment.

[188] Sc. merrily (Dutch lustig), "Lustick, as the Dutchman says." —All's Well, II. 3.

[189] A corruption of Dutch brui. The meaning is "A plague on his Excellencie!"

[190] In the MS. follow two and a half lines, spoken by Vandort, and a speech of Barnavelt's, twenty-four lines long. These were cancelled on revision. I have succeeded in reading some of the lines; and perhaps after a keener scrutiny the whole passage might become legible. But I have no doubt that the lines were cancelled by the author himself (Massinger?) in order to shorten the scene.

[191] Nearly forty lines of dialogue that follow are cancelled in the MS., in order to shorten the scene.

[192] Not marked in MS.

[193] This passage is marked in pencil, as for omission, in the MS.

[194] The words "Upon my soule" are crossed through in the MS.

[195] This line and the eleven lines following are marked for omission in the MS.

[196] The words "tooke that course That now is practisd on you" are crossed through in the MS., and "cutt of his opposites" substituted in the right-hand margin.

[197] In the MS. the words "you can apply this" are crossed through.

[198] The words "to a Monarchie" are corrected in the MS. "to another forme."

[199] Not marked in MS.

[200] Not marked in MS.

[201] T[homas] Holc[ombe] took the part.

[202] "Mr. Rob." took the part.

[203] In the right-hand margin we find the actor's name, "Mr. Bir.," i.e. Bir[ch].

[204] "The quantity of ten of any commodity; as a dicker of hides was ten hides, a dicker of iron ten bars. See 'Fragment. Antiq.,' p. 192. Probably from decas, Lat."—Nares.

[205] Sc. pumpkin (Fr.).

[206] "Dewse-ace. Deux et az." Cotgrave. (Cf. Love's Labour's Lost, I. 2.) The lowest cast of the dice, two aces, was called "ames ace."

[207] Among the Romans the highest cast was called Venus and the lowest canis. (Cf. a well-known couplet of Propertius, lib. iv. el. viii. l. 45—

"Me quoque per talos Venerem quaerente secundos Semper damnosi subsiluere canes.")

[208] Sc. quatre et trois.

[209] Embroidered, figured.

[210] The actors' names, "Mr. Rob." and "Mr. Rice," are written in the right-hand margin.

[211] A term of contempt, like "poor John."

[212] To set up one's rest, meant, as has been abundantly shown by Shakespearean commentators, to stand upon one's cards at primero; but the word "pull" in this connexion is not at all easy to explain. The general sense of the present passage is plain: "Is my life held in such paltry esteem that slaves are allowed to gamble for it as for a stake at cards?" We have nowhere a plain account of primero. When the "Compleat Gamester" was published (in 1674) the game had been discontinued. The variety of quotations given by Nares, under Primero and Rest, is simply distracting. There are two passages (apud Nares) of Fletcher's bearing on the present difficulty:—

"My rest is up, wench, and I pull for that Will make me ever famous." Woman's Prize, I. 2.

"Faith, sir, my rest is up, And what I now pull shall no more afflict me Than if I play'd at span-counter." Monsieur Thomas, IV. 9.

Dyce accepts Nares' suggestion that pull means to draw a card; but if a player is standing on his cards, why should he want to draw a card? There is an old expression, to "pull down a side," i.e. to ruin one's partner (by bad play); and I am inclined to think that to "pull at a rest" in primero meant to try to pull down (beat, go beyond) the player who was standing on his cards. The first player might say, "My rest is up"; the other players might either discard or say, "See it"; then the first player would either "revie" it (cover with a larger sum) or throw up his cards. At length—for some limitation would have been agreed upon—the challenger would play his cards, and the opponents would "pull at his rest"—try to break down his hand. I am not at all sure that this is the proper explanation; but pull in the text cannot possibly mean draw a card.

[213] The body of Leydenberg was not exposed until two days after Barneveld's execution.

[214] Charles I. was particularly anxious that these trained bands should be made as efficient as possible, In the "Analytical Index to the Series of Records known as the Remembrancia" (printed for the Corporation of the City of London, 1878) there are several letters from the Lords of the Council to the Lord Mayor on this subject (pp. 533-9). The Directions sent round to the Lord Lieutenants (An. 1638) concerning the Trained Bands of the several counties are given in Rushworth's Historical Collections, Part 2, vol. i. p. 790.

[215] An allusion, of course, to Bardolph's famous definition of "accommodated" (2 Henry IV., iii. 2).

[216] Fox was a cant term for a sword of English make. At Hounslow Heath there was a sword-blade manufactory:—"Nov 30 (1639). Benjamin Stone, blade maker, Hounslow Heath, to the Officers of the Ordnance. Will always be ready to deliver 1,000 swords of all fashions every month throughout the year, and will put in such security as the office shall desire. Has now ready at the Tower and in his own house 2,000 swords to deliver when the officers shall please."—Calendar of State Papers, Domestic Series, 1639-40, p. 134.

[217] Ticktacks was a game somewhat similar to backgammon. It is described in the Compleat Gamester, 1674.

[218] The Pacification of Berwick took place in June, 1639.

[219] Tobacco-pipefuls; but no doubt a pun was intended. For Bermudas tobacco Nares quotes from Clitus's Whimz., p. 135, "Where being furnished with tinder, match, and a portion of decayed Bermoodus they smoke it most terribly."

[220] Our forefathers esteemed the March brewing; we the October.

[221] To "build a sconce" means, I suppose, to fix a candle in a candle-stick.

[222] This speech of Sir Richard's is very much in Shirley's style: cf. Lady of Pleasure (I. 1).

[223] Galley-foist was the name given to long many-oared barges, particularly the Lord Mayor's barge of state. Foist is also a term for a sharper; and gallifoist was intended to be pronounced here gullifoist.

[224] An account of the way to play Gleek is given in the Compleat Gamester, 1674.

[225] Ambergrease was not uncommonly used for culinary purposes.

[226] Father-in-law is often used by old writers for step-father. Perhaps "by a" is a correction for "to a."

[227] Title, mark of distinction (Hamlet, I. 4, &c.).

[228] A head-covering worn by women. "A night-rail (for a woman) pignon, pinon," Sherwood's Engl.-French Dict. 1650.

[229] To be "in the suds" was an expression for to be "in the dumps."

[230] Vid. Notes of the Commentators on Henry V., iii. 7 ("strait trossers").

[231] Regals were a kind of small portable organ: vide Nares.

[232] Cf. a passage in Shirley's Witty Fair One (IV. 2): "What makes so many scholars then come from Oxford or Cambridge like market-women with dorsers full of lamentable tragedies and ridiculous comedies which they might here vent to the players, but they will take no money for them?"

[233] The Theorbo was a kind of lute.

[234] On June 20, 1632, a royal proclamation was made "commanding the Gentry to keep their Residence in at their Mansions in the Country, and forbidding them to make their habitations in London and places adjoining." The text of the proclamation is in Rushworth's Historical Collections (1680), Pt. II. vol. i. p. 144. In a very interesting little volume of unpublished poems, temp. Charles I. (MS. 15,228, British Museum), there is an "Oade by occasion of his Maiesties Proclamatyon for Gentlemen to goe into the Country." It is too long to quote here in full, but I will give a few stanzas:—

Nor lett the Gentry grudge to goe Into the places where they grew, Butt thinke them blest they may doe so: Who would pursue

The smoaky gloryes of the Towne, That might goe till his Native Earth And by the shineing fyre sitt downe Of his own hearth;

Free from the gripeing Scriv'ners bands And the more biteing Mercers bookes, Free from the bayte of oyled hands And painted lookes?

The Country, too, eene chops for rayne: You that exhale it by your pow'r, Let the fatt drops fall downe again In a full show'r.

And you, bright beautyes of the time, That spend your selves here in a blaze, Fixe to your Orbe and proper Clime Your wandring Rayes.

Lett no dark corner of the Land Bee unimbellisht with one Gemme, And those which here too thick doe stand Sprinkle on them.

And, trust mee, Ladyes, you will find In that sweet life more sollid joyes, More true contentment to the minde, Then all Towne-Toyes.

Nor Cupid there less blood doth spill, Butt heads his shafts with chaster love, Not feath'red with a Sparrow's quill Butt of a Dove.

There may you heare the Nightingale, The harmeless Syren of the wood, How prettily shee tells a tale Of rape and blood.

Plant trees you may and see them shoot Up with your Children, to bee serv'd To your cleane Board, and the fayr'st fruite To bee preserved;

And learne to use their sev'rall gumms. Tis innocente in the sweet blood Of Cherrys, Apricocks and Plumms To bee imbru'd.

[235] The Galliard, a lively French dance described in Sir John Davies' Orchestra (st. 67).

[236] Sc. good-bye. Cf. Shirley's Constant Maid, i. 1, "Buoy, Close, buoy, honest Close: we are blanks, blanks."

[237] Can the reference be to Troilus and Cressida?

[238] Ben Jonson's Alchemist.

[239] Puisne (i.e. puny) was the term applied to students at the Inns of Court; also to Freshmen at Oxford.

[240] Cf. Shirley's Honoria and Mammon, i. 2:

"Go to your Lindabrides I'the new brothel; she's a handsome leveret."

[241] The first edition of this well-known book was published in 1628. Parsons Resolutions is a fictitious book.

[242] The "lamentable ballad of the Lady's Fall" has been reprinted by Ritson and Percy.

[243] In the MS. follows a line, scored through:—

"And while my footman plaies sigh out my part."

[244] Shirley delights in ridiculing the affectation in which the gallants of his time indulged. Cf. a very similar passage in The Lady of Pleasure, v. 1.

[245] The cant language of thieves. In Harman's Caveat for Cursitors, or some of Dekker's tracts, "Pedlars' French" may be found in abundance.

[246] I print this passage exactly as I find it in the MS. With a little trouble it might be turned into good law.

[247] Aut Shirley aut Diabolus. Cf. Duke's Mistress, iv. 1:

"You shall lead destiny in cords of silk, And it shall follow tame and to your pleasure."

[248] Sc. swaggering.

[249] A Chrisome child was one that died within a month after birth, at the time of wearing the Chrisome cloth (i.e. the cloth formerly wrapt round a child after baptism). Device implies that his rival is perfectly helpless among ladies, a mere child.

[250] "In the City of London," says Nares, "young freemen who march at the head of their proper companies on the lord mayor's day, sometimes with flags, were called whifflers or bachelor whifflers, not because they cleared the way but because they went first as whifflers did.—'I look'd the next Lord Mayor's day to see you o' the livery, or one of the bachelor whifflers. City Match.'"

[251] These words are scored through in the MS.

[252] To "bear a brain" means to have understanding. The expression is very common.

[253] Not marked in the MS.

[254] The earliest reference I have yet found to the "Cup at Newmarket" is in Shirley's Hyde Park, v. 1.

[255] The exact date of his death is unknown; he was dead before the performance of Ben Jonson's Bartholomew Fair (1614).

[256] "Merlin. The falco aesalon of Linnaeus, a small species of hawk; sometimes corrupted into murleon. It was chiefly used to fly at small birds, and Latham says it was particularly appropriated to the service of ladies."—Nares.

[257] Thomas Heywood gives an account of the "great ship" in his "True description of his Majesties Royall Ship built this yeare 1637 at Wool-witch in Kent," &c. 1637. 4to.

[258] "Back side" = back yard.

[259] A wild cat.

[260] This scene was added, as an afterthought, at the end of the MS. In the body of the MS. we find only "A song ith taverne. Enter Thomas."

[261] The stage direction is my own.

[262] All that I know at present of Mr. Adson is that he published in 1621 a collection of "Courtly Masquing Ayres."

[263] A corruption of "save-reverence": we usually find the form "sir-reverence."

[264] i.e. drunk.

[265] An allusion to Webster's "Vittoria Coromborea, or the White Devil."

[266] Not marked in MS. We have, instead, a note:—

"And then begin as was intended."

[267] Old authors constantly allude to the riotous conduct of the 'prentices on Shrove Tuesday.

[268] This is a correction (in the MS.) for "to a Beggars tune."

[269] So in Dekker & Middleton's First Part of the Honest Whore (IV. 3):—

"A sister's thread i' faith had been enough."

Dyce was no doubt right in thinking that the expression is a corruption of sewster's thread. In Ford's Lady's Trial, Gifford altered "sister's thread" to "silver thread." Shirley has "sister's thread" in Hyde Park (V. 1).

[270] With this abuse cf. a very similar passage in Shirley's Duke's Mistress (IV. 1).

[271] The Woman Hater in Beaumont and Fletcher's play.

[272] "Canaries" was the name of a quick, lively dance. Cf. Middlemen's Spanish Gipsy (IV. 2): "Fortune's a scurvy whore if she makes not my head sound like a rattle and my heels dance the canaries."

[273] Cf. a similar passage in Shirley's Brothers (iii. 1).

[274] In Sidney's Arcadia.

[275] Cf. Jonson's Every Man out of his Humour, II. 1: "They say there's a new motion of the city of Niniveh with Jonas and the whale to be seen at Fleet bridge." (A motion, of course, is a puppet-show.)

[276] This line occurs, word for word, in Shirley's Bird in a Cage (IV. 1):—

... "A bird to be made much on. She and the horse That snorts at Spain by an instinct of nature Should have shown tricks together."

[277] An allusion to the game of "barley-break."

[278] In the MS. the speaker's name is omitted. I have chosen Courtwell at a venture.

[279] Holland's Leaguer was the name of a notorious brothel in Southwark.

[280] The Tell-Tale. Through the courtesy of the Master, Dr. Carver, I have had an opportunity of examining this play. It is of no particular interest. The comic part is very poor, suggesting William Rowley at his worst. Here are some fair lines, the best I can find:—

Fide[lio]. How? dead in prison?

Duke. Dead, Fidelio: Things of theire nature, like [a] vipers brood, Kill their owne parents. But having sett the Court In some good order, my next busines Ys thus disguis'd to overlooke the Camp; For a rude army, like a plott of ground Left to yt selfe, growes to a wildernes Peopled with wolves & tigers, should not the prince Like to a carefull gardner see yt fenct, Waterd & weeded with industrious care, That hee ithe time of pruning nether spare Weeds for faire looks and painted bravery, nor Cut downe good hearbs and serviceable for Theire humble growth: the violet that is borne Under a hedg outsmells the blossomd thorne That dwells fare higher.

Fide. Yare full of goodnes & have layd out much In provision for the whole state.

Duke. My place: I am overseer And bound to seet provided for by pattent. For as the sunn, when lesser plannets sleep, Holds his continued progresse on and keepes A watchful eye over the world, so kings (When meaner subjects have their revillings And sports about them) move in a restless herde; The publique safty is theyr privat care. But now farewell; the army once surveighd Expect mee here.

Fid. Your pleasure bee obaid.

[281] A few years ago I suggested in "Notes and Queries" that this unknown author was Cyril Tourneur. Afterwards I discovered that I had been anticipated by Thomas Lovell Beddoes. Curiously enough Mr. Fleay had independently arrived at the same conclusion. Mr. Swinburne (Essay on Chapman) is inclined to attribute the Second Maiden's Tragedy to Middleton.

[282] The next scene is marked Act 2, Scene 1.

THE END