 |
ITHAMORE. Now am I clean, or rather foully, out of the way. [Aside.]
BELLAMIRA. Whither so soon?
ITHAMORE. I'll go steal some money from my master to make me handsome [Aside].—Pray, pardon me; I must go see a ship discharged.
BELLAMIRA. Canst thou be so unkind to leave me thus?
PILIA-BORZA. An ye did but know how she loves you, sir!
ITHAMORE. Nay, I care not how much she loves me.—Sweet Bellamira, would I had my master's wealth for thy sake!
PILIA-BORZA. And you can have it, sir, an if you please.
ITHAMORE. If 'twere above ground, I could, and would have it; but he hides and buries it up, as partridges do their eggs, under the earth.
PILIA-BORZA. And is't not possible to find it out?
ITHAMORE. By no means possible.
BELLAMIRA. What shall we do with this base villain, then? [Aside to PILIA-BORZA.]
PILIA-BORZA. Let me alone; do but you speak him fair.— [Aside to her.] But you know [152] some secrets of the Jew, Which, if they were reveal'd, would do him harm.
ITHAMORE. Ay, and such as—go to, no more! I'll make him [153] send me half he has, and glad he scapes so too: I'll write unto him; we'll have money straight.
PILIA-BORZA. Send for a hundred crowns at least.
ITHAMORE. Ten hundred thousand crowns.—[writing] MASTER BARABAS,—
PILIA-BORZA. Write not so submissively, but threatening him.
ITHAMORE. [writing] SIRRAH BARABAS, SEND ME A HUNDRED CROWNS.
PILIA-BORZA. Put in two hundred at least.
ITHAMORE. [writing] I CHARGE THEE SEND ME THREE HUNDRED BY THIS BEARER, AND THIS SHALL BE YOUR WARRANT: IF YOU DO NOT—NO MORE, BUT SO.
PILIA-BORZA. Tell him you will confess.
ITHAMORE. [writing] OTHERWISE I'LL CONFESS ALL.— Vanish, and return in a twinkle.
PILIA-BORZA. Let me alone; I'll use him in his kind.
ITHAMORE. Hang him, Jew! [Exit PILIA-BORZA with the letter.]
BELLAMIRA. Now, gentle Ithamore, lie in my lap.— Where are my maids? provide a cunning [154] banquet; Send to the merchant, bid him bring me silks; Shall Ithamore, my love, go in such rags?
ITHAMORE. And bid the jeweller come hither too.
BELLAMIRA. I have no husband; sweet, I'll marry thee.
ITHAMORE. Content: but we will leave this paltry land, And sail from hence to Greece, to lovely Greece;— I'll be thy Jason, thou my golden fleece;— Where painted carpets o'er the meads are hurl'd, And Bacchus' vineyards overspread the world; Where woods and forests go in goodly green;— I'll be Adonis, thou shalt be Love's Queen;— The meads, the orchards, and the primrose-lanes, Instead of sedge and reed, bear sugar-canes: Thou in those groves, by Dis above, Shalt live with me, and be my love. [155]
BELLAMIRA. Whither will I not go with gentle Ithamore?
Re-enter PILIA-BORZA.
ITHAMORE. How now! hast thou the gold [?]
PILIA-BORZA. Yes.
ITHAMORE. But came it freely? did the cow give down her milk freely?
PILIA-BORZA. At reading of the letter, he stared and stamped, and turned aside: I took him by the beard, [156] and looked upon him thus; told him he were best to send it: then he hugged and embraced me.
ITHAMORE. Rather for fear than love.
PILIA-BORZA. Then, like a Jew, he laughed and jeered, and told me he loved me for your sake, and said what a faithful servant you had been.
ITHAMORE. The more villain he to keep me thus: here's goodly 'parel, is there not?
PILIA-BORZA. To conclude, he gave me ten crowns. [Delivers the money to ITHAMORE.]
ITHAMORE. But ten? I'll not leave him worth a grey groat. Give me a ream of paper: we'll have a kingdom of gold for't. [157]
PILIA-BORZA. Write for five hundred crowns.
ITHAMORE. [writing] SIRRAH JEW, AS YOU LOVE YOUR LIFE, SEND ME FIVE HUNDRED CROWNS, AND GIVE THE BEARER A HUNDRED.—Tell him I must have't.
PILIA-BORZA. I warrant, your worship shall have't.
ITHAMORE. And, if he ask why I demand so much, tell him I scorn to write a line under a hundred crowns.
PILIA-BORZA. You'd make a rich poet, sir. I am gone. [Exit with the letter.]
ITHAMORE. Take thou the money; spend it for my sake.
BELLAMIRA. 'Tis not thy money, but thyself I weigh: Thus Bellamira esteems of gold; [Throws it aside.] But thus of thee. [Kisses him.]
ITHAMORE. That kiss again!—She runs division [158] of my lips. What an eye she casts on me! it twinkles like a star. [Aside.]
BELLAMIRA. Come, my dear love, let's in and sleep together.
ITHAMORE. O, that ten thousand nights were put in one, that we might sleep seven years together afore we wake!
BELLAMIRA. Come, amorous wag, first banquet, and then sleep. [Exeunt.]
Enter BARABAS, [159] reading a letter.
BARABAS. BARABAS, SEND ME THREE HUNDRED CROWNS;— Plain Barabas! O, that wicked courtezan! He was not wont to call me Barabas;— OR ELSE I WILL CONFESS;—ay, there it goes: But, if I get him, coupe de gorge for that. He sent a shaggy, tatter'd, [160] staring slave, That, when he speaks, draws out his grisly beard, And winds it twice or thrice about his ear; Whose face has been a grind-stone for men's swords; His hands are hack'd, some fingers cut quite off; Who, when he speaks, grunts like a hog, and looks Like one that is employ'd in catzery [161] And cross-biting; [162] such a rogue As is the husband to a hundred whores; And I by him must send three hundred crowns. Well, my hope is, he will not stay there still; And, when he comes—O, that he were but here!
Enter PILIA-BORZA.
PILIA-BORZA. Jew, I must ha' more gold.
BARABAS. Why, want'st thou any of thy tale? [163]
PILIA-BORZA. No; but three hundred will not serve his turn.
BARABAS. Not serve his turn, sir!
PILIA-BORZA. No, sir; and therefore I must have five hundred more.
BARABAS. I'll rather——
PILIA-BORZA. O, good words, sir, and send it you were best! see, there's his letter. [Gives letter.]
BARABAS. Might he not as well come as send? pray, bid him come and fetch it: what he writes for you, [164] ye shall have straight.
PILIA-BORZA. Ay, and the rest too, or else——
BARABAS. I must make this villain away [Aside].—Please you dine with me, sir—and you shall be most heartily poisoned. [Aside.]
PILIA-BORZA. No, God-a-mercy. Shall I have these crowns?
BARABAS. I cannot do it; I have lost my keys.
PILIA-BORZA. O, if that be all, I can pick ope your locks.
BARABAS. Or climb up to my counting-house window: you know my meaning.
PILIA-BORZA. I know enough, and therefore talk not to me of your counting-house. The gold! or know, Jew, it is in my power to hang thee.
BARABAS. I am betray'd.— [Aside.] 'Tis not five hundred crowns that I esteem; I am not mov'd at that: this angers me, That he, who knows I love him as myself, Should write in this imperious vein. Why, sir, You know I have no child, and unto whom Should I leave all, but unto Ithamore?
PILIA-BORZA. Here's many words, but no crowns: the crowns!
BARABAS. Commend me to him, sir, most humbly, And unto your good mistress as unknown.
PILIA-BORZA. Speak, shall I have 'em, sir?
BARABAS. Sir, here they are.— [Gives money.] O, that I should part [165] with so much gold!— [Aside.] Here, take 'em, fellow, with as good a will—— As I would see thee hang'd [Aside]. O, love stops my breath! Never lov'd man servant as I do Ithamore.
PILIA-BORZA. I know it, sir.
BARABAS. Pray, when, sir, shall I see you at my house?
PILIA-BORZA. Soon enough to your cost, sir. Fare you well. [Exit.]
BARABAS. Nay, to thine own cost, villain, if thou com'st! Was ever Jew tormented as I am? To have a shag-rag knave to come [force from me] Three hundred crowns, and then five hundred crowns! Well; I must seek a means to rid [166] 'em all, And presently; for in his villany He will tell all he knows, and I shall die for't. I have it: I will in some disguise go see the slave, And how the villain revels with my gold. [Exit.]
Enter BELLAMIRA, [167] ITHAMORE, and PILIA-BORZA.
BELLAMIRA. I'll pledge thee, love, and therefore drink it off.
ITHAMORE. Say'st thou me so? have at it! and do you hear? [Whispers to her.]
BELLAMIRA. Go to, it shall be so.
ITHAMORE. Of [168] that condition I will drink it up: Here's to thee.
BELLAMIRA. [169] Nay, I'll have all or none.
ITHAMORE. There, if thou lov'st me, do not leave a drop.
BELLAMIRA. Love thee! fill me three glasses.
ITHAMORE. Three and fifty dozen: I'll pledge thee.
PILIA-BORZA. Knavely spoke, and like a knight-at-arms.
ITHAMORE. Hey, Rivo Castiliano! [170] a man's a man.
BELLAMIRA. Now to the Jew.
ITHAMORE. Ha! to the Jew; and send me money he [171] were best.
PILIA-BORZA. What wouldst thou do, if he should send thee none?
ITHAMORE. Do nothing: but I know what I know; he's a murderer.
BELLAMIRA. I had not thought he had been so brave a man.
ITHAMORE. You knew Mathias and the governor's son; he and I killed 'em both, and yet never touched 'em.
PILIA-BORZA. O, bravely done!
ITHAMORE. I carried the broth that poisoned the nuns; and he and I, snicle hand too fast, strangled a friar. [172]
BELLAMIRA. You two alone?
ITHAMORE. We two; and 'twas never known, nor never shall be for me.
PILIA-BORZA. This shall with me unto the governor. [Aside to BELLAMIRA.]
BELLAMIRA. And fit it should: but first let's ha' more gold.— [Aside to PILIA-BORZA.] Come, gentle Ithamore, lie in my lap.
ITHAMORE. Love me little, love me long: let music rumble, Whilst I in thy incony [173] lap do tumble.
Enter BARABAS, disguised as a French musician, with a lute, and a nosegay in his hat.
BELLAMIRA. A French musician!—Come, let's hear your skill.
BARABAS. Must tuna my lute for sound, twang, twang, first.
ITHAMORE. Wilt drink, Frenchman? here's to thee with a—Pox on this drunken hiccup!
BARABAS. Gramercy, monsieur.
BELLAMIRA. Prithee, Pilia-Borza, bid the fiddler give me the posy in his hat there.
PILIA-BORZA. Sirrah, you must give my mistress your posy.
BARABAS. A votre commandement, madame. [Giving nosegay.]
BELLAMIRA. How sweet, my Ithamore, the flowers smell!
ITHAMORE. Like thy breath, sweetheart; no violet like 'em.
PILIA-BORZA. Foh! methinks they stink like a hollyhock. [174]
BARABAS. So, now I am reveng'd upon 'em all: The scent thereof was death; I poison'd it. [Aside.]
ITHAMORE. Play, fiddler, or I'll cut your cat's guts into chitterlings.
BARABAS. Pardonnez moi, be no in tune yet: so, now, now all be in.
ITHAMORE. Give him a crown, and fill me out more wine.
PILIA-BORZA. There's two crowns for thee: play. [Giving money.]
BARABAS. How liberally the villain gives me mine own gold! [Aside, and then plays.]
PILIA-BORZA. Methinks he fingers very well.
BARABAS. So did you when you stole my gold. [Aside.]
PILIA-BORZA. How swift he runs!
BARABAS. You run swifter when you threw my gold out of my window. [Aside.]
BELLAMIRA. Musician, hast been in Malta long?
BARABAS. Two, three, four month, madam.
ITHAMORE. Dost not know a Jew, one Barabas?
BARABAS. Very mush: monsieur, you no be his man?
PILIA-BORZA. His man!
ITHAMORE. I scorn the peasant: tell him so.
BARABAS. He knows it already. [Aside.]
ITHAMORE. 'Tis a strange thing of that Jew, he lives upon pickled grasshoppers and sauced mushrooms. [175]
BARABAS. What a slave's this! the governor feeds not as I do. [Aside.]
ITHAMORE. He never put on clean shirt since he was circumcised.
BARABAS. O rascal! I change myself twice a-day. [Aside.]
ITHAMORE. The hat he wears, Judas left under the elder when he hanged himself. [176]
BARABAS. 'Twas sent me for a present from the Great Cham. [Aside.]
PILIA-BORZA. A nasty [177] slave he is.—Whither now, fiddler?
BARABAS. Pardonnez moi, monsieur; me [178] be no well.
PILIA-BORZA. Farewell, fiddler [Exit BARABAS.] One letter more to the Jew.
BELLAMIRA. Prithee, sweet love, one more, and write it sharp.
ITHAMORE. No, I'll send by word of mouth now. —Bid him deliver thee a thousand crowns, by the same token that the nuns loved rice, that Friar Barnardine slept in his own clothes; any of 'em will do it.
PILIA-BORZA. Let me alone to urge it, now I know the meaning.
ITHAMORE. The meaning has a meaning. Come, let's in: To undo a Jew is charity, and not sin. [Exeunt.]
ACT V.
Enter FERNEZE, [179] KNIGHTS, MARTIN DEL BOSCO, and OFFICERS.
FERNEZE. Now, gentlemen, betake you to your arms, And see that Malta be well fortified; And it behoves you to be resolute; For Calymath, having hover'd here so long, Will win the town, or die before the walls.
FIRST KNIGHT. And die he shall; for we will never yield.
Enter BELLAMIRA and PILIA-BORZA.
BELLAMIRA. O, bring us to the governor!
FERNEZE. Away with her! she is a courtezan.
BELLAMIRA. Whate'er I am, yet, governor, hear me speak: I bring thee news by whom thy son was slain: Mathias did it not; it was the Jew.
PILIA-BORZA. Who, besides the slaughter of these gentlemen, Poison'd his own daughter and the nuns, Strangled a friar, and I know not what Mischief beside.
FERNEZE. Had we but proof of this——
BELLAMIRA. Strong proof, my lord: his man's now at my lodging, That was his agent; he'll confess it all.
FERNEZE. Go fetch him [180] straight [Exeunt OFFICERS]. I always fear'd that Jew.
Re-enter OFFICERS with BARABAS and ITHAMORE.
BARABAS. I'll go alone; dogs, do not hale me thus.
ITHAMORE. Nor me neither; I cannot out-run you, constable.—O, my belly!
BARABAS. One dram of powder more had made all sure: What a damn'd slave was I! [Aside.]
FERNEZE. Make fires, heat irons, let the rack be fetch'd.
FIRST KNIGHT. Nay, stay, my lord; 't may be he will confess.
BARABAS. Confess! what mean you, lords? who should confess?
FERNEZE. Thou and thy Turk; 'twas that slew my son.
ITHAMORE. Guilty, my lord, I confess. Your son and Mathias were both contracted unto Abigail: [he] forged a counterfeit challenge.
BARABAS. Who carried that challenge?
ITHAMORE. I carried it, I confess; but who writ it? marry, even he that strangled Barnardine, poisoned the nuns and his own daughter.
FERNEZE. Away with him! his sight is death to me.
BARABAS. For what, you men of Malta? hear me speak. She is a courtezan, and he a thief, And he my bondman: let me have law; For none of this can prejudice my life.
FERNEZE. Once more, away with him!—You shall have law.
BARABAS. Devils, do your worst!—I['ll] live in spite of you.— [Aside.] As these have spoke, so be it to their souls!— I hope the poison'd flowers will work anon. [Aside.] [Exeunt OFFICERS with BARABAS and ITHAMORE; BELLAMIRA, and PILIA-BORZA.]
Enter KATHARINE.
KATHARINE. Was my Mathias murder'd by the Jew? Ferneze, 'twas thy son that murder'd him.
FERNEZE. Be patient, gentle madam: it was he; He forg'd the daring challenge made them fight.
KATHARINE. Where is the Jew? where is that murderer?
FERNEZE. In prison, till the law has pass'd on him.
Re-enter FIRST OFFICER.
FIRST OFFICER. My lord, the courtezan and her man are dead; So is the Turk and Barabas the Jew.
FERNEZE. Dead!
FIRST OFFICER. Dead, my lord, and here they bring his body.
MARTIN DEL BOSCO. This sudden death of his is very strange.
Re-enter OFFICERS, carrying BARABAS as dead.
FERNEZE. Wonder not at it, sir; the heavens are just; Their deaths were like their lives; then think not of 'em.— Since they are dead, let them be buried: For the Jew's body, throw that o'er the walls, To be a prey for vultures and wild beasts.— So, now away and fortify the town.
Exeunt all, leaving BARABAS on the floor. [181]
BARABAS. [rising] What, all alone! well fare, sleepy drink! I'll be reveng'd on this accursed town; For by my means Calymath shall enter in: I'll help to slay their children and their wives, To fire the churches, pull their houses down, Take my goods too, and seize upon my lands. I hope to see the governor a slave, And, rowing in a galley, whipt to death.
Enter CALYMATH, BASSOES, [182] and TURKS.
CALYMATH. Whom have we there? a spy?
BARABAS. Yes, my good lord, one that can spy a place Where you may enter, and surprize the town: My name is Barabas; I am a Jew.
CALYMATH. Art thou that Jew whose goods we heard were sold For tribute-money?
BARABAS. The very same, my lord: And since that time they have hir'd a slave, my man, To accuse me of a thousand villanies: I was imprisoned, but scap [']d their hands.
CALYMATH. Didst break prison?
BARABAS. No, no: I drank of poppy and cold mandrake juice; And being asleep, belike they thought me dead, And threw me o'er the walls: so, or how else, The Jew is here, and rests at your command.
CALYMATH. 'Twas bravely done: but tell me, Barabas, Canst thou, as thou report'st, make Malta ours?
BARABAS. Fear not, my lord; for here, against the trench, [183] The rock is hollow, and of purpose digg'd, To make a passage for the running streams And common channels [184] of the city. Now, whilst you give assault unto the walls, I'll lead five hundred soldiers through the vault, And rise with them i' the middle of the town, Open the gates for you to enter in; And by this means the city is your own.
CALYMATH. If this be true, I'll make thee governor.
BARABAS. And, if it be not true, then let me die.
CALYMATH. Thou'st doom'd thyself.—Assault it presently. [Exeunt.]
Alarums within. Enter CALYMATH, [185] BASSOES, TURKS, and BARABAS; with FERNEZE and KNIGHTS prisoners.
CALYMATH. Now vail [186] your pride, you captive Christians, And kneel for mercy to your conquering foe: Now where's the hope you had of haughty Spain? Ferneze, speak; had it not been much better To kept [187] thy promise than be thus surpris'd?
FERNEZE. What should I say? we are captives, and must yield.
CALYMATH. Ay, villains, you must yield, and under Turkish yokes Shall groaning bear the burden of our ire:— And, Barabas, as erst we promis'd thee, For thy desert we make thee governor; Use them at thy discretion.
BARABAS. Thanks, my lord.
FERNEZE. O fatal day, to fall into the hands Of such a traitor and unhallow'd Jew! What greater misery could heaven inflict?
CALYMATH. 'Tis our command:—and, Barabas, we give, To guard thy person, these our Janizaries: Entreat [188] them well, as we have used thee.— And now, brave bassoes, [189] come; we'll walk about The ruin'd town, and see the wreck we made.— Farewell, brave Jew, farewell, great Barabas!
BARABAS. May all good fortune follow Calymath! [Exeunt CALYMATH and BASSOES.] And now, as entrance to our safety, To prison with the governor and these Captains, his consorts and confederates.
FERNEZE. O villain! heaven will be reveng'd on thee.
BARABAS. Away! no more; let him not trouble me. [Exeunt TURKS with FERNEZE and KNIGHTS.] Thus hast thou gotten, [190] by thy policy, No simple place, no small authority: I now am governor of Malta; true,— But Malta hates me, and, in hating me, My life's in danger; and what boots it thee, Poor Barabas, to be the governor, Whenas [191] thy life shall be at their command? No, Barabas, this must be look'd into; And, since by wrong thou gott'st authority, Maintain it bravely by firm policy; At least, unprofitably lose it not; For he that liveth in authority, And neither gets him friends nor fills his bags, Lives like the ass that Aesop speaketh of, That labours with a load of bread and wine, And leaves it off to snap on thistle-tops: But Barabas will be more circumspect. Begin betimes; Occasion's bald behind: Slip not thine opportunity, for fear too late Thou seek'st for much, but canst not compass it.— Within here! [192]
Enter FERNEZE, with a GUARD.
FERNEZE. My lord?
BARABAS. Ay, LORD; thus slaves will learn. Now, governor,—stand by there, wait within,— [Exeunt GUARD.] This is the reason that I sent for thee: Thou seest thy life and Malta's happiness Are at my arbitrement; and Barabas At his discretion may dispose of both: Now tell me, governor, and plainly too, What think'st thou shall become of it and thee?
FERNEZE. This, Barabas; since things are in thy power, I see no reason but of Malta's wreck, Nor hope of thee but extreme cruelty: Nor fear I death, nor will I flatter thee.
BARABAS. Governor, good words; be not so furious 'Tis not thy life which can avail me aught; Yet you do live, and live for me you shall: And as for Malta's ruin, think you not 'Twere slender policy for Barabas To dispossess himself of such a place? For sith, [193] as once you said, within this isle, In Malta here, that I have got my goods, And in this city still have had success, And now at length am grown your governor, Yourselves shall see it shall not be forgot; For, as a friend not known but in distress, I'll rear up Malta, now remediless.
FERNEZE. Will Barabas recover Malta's loss? Will Barabas be good to Christians?
BARABAS. What wilt thou give me, governor, to procure A dissolution of the slavish bands Wherein the Turk hath yok'd your land and you? What will you give me if I render you The life of Calymath, surprise his men, And in an out-house of the city shut His soldiers, till I have consum'd 'em all with fire? What will you give him that procureth this?
FERNEZE. Do but bring this to pass which thou pretendest, Deal truly with us as thou intimatest, And I will send amongst the citizens, And by my letters privately procure Great sums of money for thy recompense: Nay, more, do this, and live thou governor still.
BARABAS. Nay, do thou this, Ferneze, and be free: Governor, I enlarge thee; live with me; Go walk about the city, see thy friends: Tush, send not letters to 'em; go thyself, And let me see what money thou canst make: Here is my hand that I'll set Malta free; And thus we cast [194] it: to a solemn feast I will invite young Selim Calymath, Where be thou present, only to perform One stratagem that I'll impart to thee, Wherein no danger shall betide thy life, And I will warrant Malta free for ever.
FERNEZE. Here is my hand; believe me, Barabas, I will be there, and do as thou desirest. When is the time?
BARABAS. Governor, presently; For Calymath, when he hath view'd the town, Will take his leave, and sail toward Ottoman.
FERNEZE. Then will I, Barabas, about this coin, And bring it with me to thee in the evening.
BARABAS. Do so; but fail not: now farewell, Ferneze:— [Exit FERNEZE.] And thus far roundly goes the business: Thus, loving neither, will I live with both, Making a profit of my policy; And he from whom my most advantage comes, Shall be my friend. This is the life we Jews are us'd to lead; And reason too, for Christians do the like. Well, now about effecting this device; First, to surprise great Selim's soldiers, And then to make provision for the feast, That at one instant all things may be done: My policy detests prevention. To what event my secret purpose drives, I know; and they shall witness with their lives. [Exeunt.]
Enter CALYMATH and BASSOES. [195]
CALYMATH. Thus have we view'd the city, seen the sack, And caus'd the ruins to be new-repair'd, Which with our bombards' shot and basilisk[s] [196] We rent in sunder at our entry: And, now I see the situation, And how secure this conquer'd island stands, Environ'd with the Mediterranean sea, Strong-countermin'd with other petty isles, And, toward Calabria, [197] back'd by Sicily (Where Syracusian Dionysius reign'd), Two lofty turrets that command the town, I wonder how it could be conquer'd thus.
Enter a MESSENGER.
MESSENGER. From Barabas, Malta's governor, I bring A message unto mighty Calymath: Hearing his sovereign was bound for sea, To sail to Turkey, to great Ottoman, He humbly would entreat your majesty To come and see his homely citadel, And banquet with him ere thou leav'st the isle.
CALYMATH. To banquet with him in his citadel! I fear me, messenger, to feast my train Within a town of war so lately pillag'd, Will be too costly and too troublesome: Yet would I gladly visit Barabas, For well has Barabas deserv'd of us.
MESSENGER. Selim, for that, thus saith the governor,— That he hath in [his] store a pearl so big, So precious, and withal so orient, As, be it valu'd but indifferently, The price thereof will serve to entertain Selim and all his soldiers for a month; Therefore he humbly would entreat your highness Not to depart till he has feasted you.
CALYMATH. I cannot feast my men in Malta-walls, Except he place his tables in the streets.
MESSENGER. Know, Selim, that there is a monastery Which standeth as an out-house to the town; There will he banquet them; but thee at home, With all thy bassoes and brave followers.
CALYMATH. Well, tell the governor we grant his suit; We'll in this summer-evening feast with him.
MESSENGER. I shall, my lord. [Exit.]
CALYMATH. And now, bold bassoes, let us to our tents, And meditate how we may grace us best, To solemnize our governor's great feast. [Exeunt.]
Enter FERNEZE, [198] KNIGHTS, and MARTIN DEL BOSCO.
FERNEZE. In this, my countrymen, be rul'd by me: Have special care that no man sally forth Till you shall hear a culverin discharg'd By him that bears the linstock, [199] kindled thus; Then issue out and come to rescue me, For happily I shall be in distress, Or you released of this servitude.
FIRST KNIGHT. Rather than thus to live as Turkish thralls, What will we not adventure?
FERNEZE. On, then; be gone.
KNIGHTS. Farewell, grave governor. [Exeunt, on one side, KNIGHTS and MARTIN DEL BOSCO; on the other, FERNEZE.]
Enter, above, [200] BARABAS, with a hammer, very busy; and CARPENTERS.
BARABAS. How stand the cords? how hang these hinges? fast? Are all the cranes and pulleys sure?
FIRST CARPENTER. [201] All fast.
BARABAS. Leave nothing loose, all levell'd to my mind. Why, now I see that you have art, indeed: There, carpenters, divide that gold amongst you; [Giving money.] Go, swill in bowls of sack and muscadine; Down to the cellar, taste of all my wines.
FIRST CARPENTER. We shall, my lord, and thank you. [Exeunt CARPENTERS.]
BARABAS. And, if you like them, drink your fill and die; For, so I live, perish may all the world! Now, Selim Calymath, return me word That thou wilt come, and I am satisfied.
Enter MESSENGER.
Now, sirrah; what, will he come?
MESSENGER. He will; and has commanded all his men To come ashore, and march through Malta-streets, That thou mayst feast them in thy citadel.
BARABAS. Then now are all things as my wish would have 'em; There wanteth nothing but the governor's pelf; And see, he brings it.
Enter FERNEZE.
Now, governor, the sum?
FERNEZE. With free consent, a hundred thousand pounds.
BARABAS. Pounds say'st thou, governor? well, since it is no more, I'll satisfy myself with that; nay, keep it still, For, if I keep not promise, trust not me: And, governor, now partake my policy. First, for his army, they are sent before, Enter'd the monastery, and underneath In several places are field-pieces pitch'd, Bombards, whole barrels full of gunpowder, That on the sudden shall dissever it, And batter all the stones about their ears, Whence none can possibly escape alive: Now, as for Calymath and his consorts, Here have I made a dainty gallery, The floor whereof, this cable being cut, Doth fall asunder, so that it doth sink Into a deep pit past recovery. Here, hold that knife; and, when thou seest he comes, [Throws down a knife.] And with his bassoes shall be blithely set, A warning-piece shall be shot off [202] from the tower, To give thee knowledge when to cut the cord, And fire the house. Say, will not this be brave?
FERNEZE. O, excellent! here, hold thee, Barabas; I trust thy word; take what I promis'd thee.
BARABAS. No, governor; I'll satisfy thee first; Thou shalt not live in doubt of any thing. Stand close, for here they come. [FERNEZE retires.] Why, is not this A kingly kind of trade, to purchase towns By treachery, and sell 'em by deceit? Now tell me, worldlings, underneath the sun [203] If greater falsehood ever has been done?
Enter CALYMATH and BASSOES.
CALYMATH. Come, my companion-bassoes: see, I pray, How busy Barabas is there above To entertain us in his gallery: Let us salute him.—Save thee, Barabas!
BARABAS. Welcome, great Calymath!
FERNEZE. How the slave jeers at him! [Aside.]
BARABAS. Will't please thee, mighty Selim Calymath, To ascend our homely stairs?
CALYMATH. Ay, Barabas.— Come, bassoes, ascend. [204]
FERNEZE. [coming forward] Stay, Calymath; For I will shew thee greater courtesy Than Barabas would have afforded thee.
KNIGHT. [within] Sound a charge there! [A charge sounded within: FERNEZE cuts the cord; the floor of the gallery gives way, and BARABAS falls into a caldron placed in a pit.
Enter KNIGHTS and MARTIN DEL BOSCO. [205]
CALYMATH. How now! what means this?
BARABAS. Help, help me, Christians, help!
FERNEZE. See, Calymath! this was devis'd for thee.
CALYMATH. Treason, treason! bassoes, fly!
FERNEZE. No, Selim, do not fly: See his end first, and fly then if thou canst.
BARABAS. O, help me, Selim! help me, Christians! Governor, why stand you all so pitiless?
FERNEZE. Should I in pity of thy plaints or thee, Accursed Barabas, base Jew, relent? No, thus I'll see thy treachery repaid, But wish thou hadst behav'd thee otherwise.
BARABAS. You will not help me, then?
FERNEZE. No, villain, no.
BARABAS. And, villains, know you cannot help me now.— Then, Barabas, breathe forth thy latest fate, And in the fury of thy torments strive To end thy life with resolution.— Know, governor, 'twas I that slew thy son,— I fram'd the challenge that did make them meet: Know, Calymath, I aim'd thy overthrow: And, had I but escap'd this stratagem, I would have brought confusion on you all, Damn'd Christian [206] dogs, and Turkish infidels! But now begins the extremity of heat To pinch me with intolerable pangs: Die, life! fly, soul! tongue, curse thy fill, and die! [Dies.]
CALYMATH. Tell me, you Christians, what doth this portend?
FERNEZE. This train [207] he laid to have entrapp'd thy life; Now, Selim, note the unhallow'd deeds of Jews; Thus he determin'd to have handled thee, But I have rather chose to save thy life.
CALYMATH. Was this the banquet he prepar'd for us? Let's hence, lest further mischief be pretended. [208]
FERNEZE. Nay, Selim, stay; for, since we have thee here, We will not let thee part so suddenly: Besides, if we should let thee go, all's one, For with thy galleys couldst thou not get hence, Without fresh men to rig and furnish them.
CALYMATH. Tush, governor, take thou no care for that; My men are all aboard, And do attend my coming there by this.
FERNEZE. Why, heard'st thou not the trumpet sound a charge?
CALYMATH. Yes, what of that?
FERNEZE. Why, then the house was fir'd, Blown up, and all thy soldiers massacred.
CALYMATH. O, monstrous treason!
FERNEZE. A Jew's courtesy; For he that did by treason work our fall, By treason hath deliver'd thee to us: Know, therefore, till thy father hath made good The ruins done to Malta and to us, Thou canst not part; for Malta shall be freed, Or Selim ne'er return to Ottoman.
CALYMATH. Nay, rather, Christians, let me go to Turkey, In person there to mediate [209] your peace: To keep me here will naught advantage you.
FERNEZE. Content thee, Calymath, here thou must stay, And live in Malta prisoner; for come all [210] the world To rescue thee, so will we guard us now, As sooner shall they drink the ocean dry, Than conquer Malta, or endanger us. So, march away; and let due praise be given Neither to Fate nor Fortune, but to Heaven. [Exeunt.]
Footnotes:
[Footnote 1: Heywood dedicates the First Part of THE IRON AGE (printed 1632) "To my Worthy and much Respected Friend, Mr. Thomas Hammon, of Grayes Inne, Esquire."]
[Footnote 2: Tho. Heywood: The well-known dramatist.]
[Footnote 3: censures: i.e. judgments.]
[Footnote 4: bin: i.e. been.]
[Footnote 5: best of poets: "Marlo." Marg. note in old ed.]
[Footnote 6: best of actors: "Allin." Marg. note in old. ed.—Any account of the celebrated actor, Edward Alleyn, the founder of Dulwich College, would be superfluous here.]
[Footnote 7: In HERO AND LEANDER, &c.: The meaning is—The one (Marlowe) gained a lasting memory by being the author of HERO AND LEANDER; while the other (Alleyn) wan the attribute of peerless by playing the parts of Tamburlaine, the Jew of Malta, &c.—The passage happens to be mispointed in the old ed. thus,
"In Hero and Leander, one did gaine A lasting memorie: in Tamberlaine, This Jew, with others many: th' other wan," &c.
and hence Mr. Collier, in his HIST. OF ENG. DRAM. POET. iii. 114, understood the words,
"in Tamburlaine, This Jew, with others many,"
as applying to Marlowe: he afterwards, however, in his MEMOIRS OF ALLEYN, p. 9, suspected that the punctuation of the old ed. might be wrong,—which it doubtless is.]
[Footnote 8: him: "Perkins." Marg. note in old ed.—"This was Richard Perkins, one of the performers belonging to the Cock-pit theatre in Drury-Lane. His name is printed among those who acted in HANNIBAL AND SCIPIO by Nabbes, THE WEDDING by Shirley, and THE FAIR MAID OF THE WEST by Heywood. After the play-houses were shut up on account of the confusion arising from the civil wars, Perkins and Sumner, who belonged to the same house, lived together at Clerkenwell, where they died and were buried. They both died some years before the Restoration. See THE DIALOGUE ON PLAYS AND PLAYERS [Dodsley's OLD PLAYS, 1. clii., last ed.]." REED (apud Dodsley's O. P.). Perkins acted a prominent part in Webster's WHITE DEVIL, when it was first brought on the stage, —perhaps Brachiano (for Burbadge, who was celebrated in Brachiano, does not appear to have played it originally): in a notice to the reader at the end of that tragedy Webster says; "In particular I must remember the well-approved industry of my friend Master Perkins, and confess the worth of his action did crown both the beginning and end." About 1622-3 Perkins belonged to the Red Bull theatre: about 1637 he joined the company at Salisbury Court: see Webster's WORKS, note, p. 51, ed. Dyce, 1857.]
[Footnote 9: prize was play'd: This expression (so frequent in our early writers) is properly applied to fencing: see Steevens's note on Shakespeare's MERRY WIVES OF WINDSOR, act. i. sc. 1.]
[Footnote 10: no wagers laid: "Wagers as to the comparative merits of rival actors in particular parts were not unfrequent of old," &c. Collier (apud Dodsley's O. P.). See my ed. of Peele's WORKS, i. x. ed. 1829; and Collier's MEMOIRS OF ALLEYN, p. 11.]
[Footnote 11: the Guise: "i.e. the Duke of Guise, who had been the principal contriver and actor in the horrid massacre of St. Bartholomew's day, 1572. He met with his deserved fate, being assassinated, by order of the French king, in 1588." REED (apud Dodsley's O. P.). And see our author's MASSACRE AT PARIS.]
[Footnote 12: empery: Old ed. "Empire."]
[Footnote 13: the Draco's: "i.e. the severe lawgiver of Athens; 'whose statutes,' said Demades, 'were not written with ink, but blood.'" STEEVENS (apud Dodsley's O. P.).—Old ed. "the Drancus."]
[Footnote 14: had: Qy. "had BUT"?]
[Footnote 15: a lecture here: Qy. "a lecture TO YOU here"?]
[Footnote 16: Act I.: The Scenes of this play are not marked in the old ed.; nor in the present edition,—because occasionally (where the audience were to SUPPOSE a change of place, it was impossible to mark them.]
[Footnote 17: Samnites: Old ed. "Samintes."]
[Footnote 18: silverlings: When Steevens (apud Dodsley's O. P.) called this "a diminutive, to express the Jew's contempt of a metal inferior in value to gold," he did not know that the word occurs in Scripture: "a thousand vines at a thousand SILVERLINGS." ISAIAH, vii. 23.—Old ed. "siluerbings."]
[Footnote 19: Tell: i.e. count.]
[Footnote 20: seld-seen: i.e. seldom-seen.]
[Footnote 21: Into what corner peers my halcyon's bill?: "It was anciently believed that this bird (the king-fisher), if hung up, would vary with the wind, and by that means shew from what quarter it blew." STEEVENS (apud Dodsley's O. P.),—who refers to the note on the following passage of Shakespeare's KING LEAR, act ii. sc. 2;
"Renege, affirm, and turn their HALCYON BEAKS With every gale and vary of their masters," &c.]
[Footnote 22: custom them: "i.e. enter the goods they contain at the Custom-house." STEEVENS (apud Dodsley's O. P.).]
[Footnote 23: But: Old ed. "By."]
[Footnote 24: fraught: i.e. freight.]
[Footnote 25: scambled: i.e. scrambled. (Coles gives in his DICT. "To SCAMBLE, certatim arripere"; and afterwards renders "To scramble" by the very same Latin words.)]
[Footnote 26: Enter three JEWS: A change of scene is supposed here, —to a street or to the Exchange.]
[Footnote 27: Fond: i.e. Foolish.]
[Footnote 28: Aside: Mr. Collier (apud Dodsley's O. P.), mistaking the purport of this stage-direction (which, of course, applies only to the words "UNTO MYSELF"), proposed an alteration of the text.]
[Footnote 29: BARABAS. Farewell, Zaareth, &c.: Old ed. "Iew. DOE SO; Farewell Zaareth," &c. But "Doe so" is evidently a stage- direction which has crept into the text, and which was intended to signify that the Jews DO "take their leaves" of Barabas: —here the old ed. has no "EXEUNT."]
[Footnote 30: Turk has: So the Editor of 1826.—Old ed. "Turkes haue": but see what follows.]
[Footnote 31: Ego mihimet sum semper proximus: The words of Terence are "Proximus sum egomet mihi." ANDRIA, iv. 1. 12.]
[Footnote 32: Exit: The scene is now supposed to be changed to the interior of the Council-house.]
[Footnote 33: bassoes: i.e. bashaws.]
[Footnote 34: governor: Old ed. "Gouernours" here, and several times after in this scene.]
[Footnote 35: CALYMATH. Stand all aside, &c.: "The Governor and the Maltese knights here consult apart, while Calymath gives these directions." COLLIER (apud Dodsley's O. P.).]
[Footnote 36: happily: i.e. haply.]
[Footnote 37: Officer: Old ed. "Reader."]
[Footnote 38: denies: i.e. refuses.]
[Footnote 39: convertite: "i.e. convert, as in Shakespeare's KING JOHN, act v. sc. 1." STEEVENS (apud Dodsley's O. P.).]
[Footnote 40: Then we'll take, &c.: In the old ed. this line forms a portion of the preceding speech.]
[Footnote 41: ecstasy: Equivalent here to—violent emotion. "The word was anciently used to signify some degree of alienation of mind." COLLIER (apud Dodsley's O. P.).]
[Footnote 42: Exeunt three Jews: On their departure, the scene is supposed to be changed to a street near the house of Barabas.]
[Footnote 43: reduce: If the right reading, is equivalent to—repair. But qy. "redress"?]
[Footnote 44: fond: "i.e. foolish." REED (apud Dodsley's O. P.).]
[Footnote 45: portagues: Portuguese gold coins, so called.]
[Footnote 46: sect: "i.e. sex. SECT and SEX were, in our ancient dramatic writers, used synonymously." REED (apud Dodsley's O. P.).]
[Footnote 47: Enter FRIAR JACOMO, &c.: Old ed. "Enter three Fryars and two Nuns:" but assuredly only TWO Friars figure in this play.]
[Footnote 48: Abb.: In the old ed. the prefix to this speech is "1 Nun," and to the next speech but one "Nun." That both speeches belong to the Abbess is quite evident.]
[Footnote 49: Sometimes: Equivalent here (as frequently in our early writers) to—Sometime.]
[Footnote 50: forgive me—: Old ed. "GIUE me—"]
[Footnote 51: thus: After this word the old ed. has "",—to signify, perhaps, the motion which Barabas was to make here with his hand.]
[Footnote 52: forget not: Qy. "forget IT not"]
[Footnote 53: Enter BARABAS, with a light: The scene is now before the house of Barabas, which has been turned into a nunnery.]
[Footnote 54: Thus, like the sad-presaging raven, that tolls The sick man's passport in her hollow beak Mr. Collier (HIST. OF ENG. DRAM. POET. iii. 136) remarks that these lines are cited (with some variation, and from memory, as the present play was not printed till 1633) in an epigram on T. Deloney, in Guilpin's SKIALETHEIA OR THE SHADOWE OF TRUTH, 1598,—
"LIKE TO THE FATALL OMINOUS RAVEN, WHICH TOLLS THE SICK MAN'S DIRGE WITHIN HIS HOLLOW BEAKE, So every paper-clothed post in Poules To thee, Deloney, mourningly doth speake," &c.]
[Footnote 55: of: i.e. on.]
[Footnote 56: wake: Old ed. "walke."]
[Footnote 57: Bueno para todos mi ganado no era: Old ed. "Birn para todos, my ganada no er."]
[Footnote 58: But stay: what star shines yonder in the east, &c. Shakespeare, it would seem, recollected this passage, when he wrote,—
"But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun!" ROMEO AND JULIET, act ii. sc. 2.]
[Footnote 59: Hermoso placer de los dineros: Old ed. "Hormoso Piarer, de les Denirch."]
[Footnote 60: Enter Ferneze, &c.: The scene is the interior of the Council-house.]
[Footnote 61: entreat: i.e. treat.]
[Footnote 62: vail'd not: "i.e. did not strike or lower our flags." STEEVENS (apud Dodsley's O. P.).]
[Footnote 63: Turkish: Old ed. "Spanish."]
[Footnote 64: luff'd and tack'd: Old ed. "LEFT, and TOOKE."]
[Footnote 65: stated: i.e. estated, established, stationed.]
[Footnote 66: Enter OFFICERS, &c.: The scene being the market-place.]
[Footnote 67: Poor villains, such as were: Old ed. "SUCH AS poore villaines were", &c.]
[Footnote 68: into: i.e. unto: see note , p. 15.
[note , p. 15, The First Part of Tamburlaine the Great: " into: Used here (as the word was formerly often used) for UNTO."]
[Footnote 69: city: The preceding editors have not questioned this word, which I believe to be a misprint.]
[Footnote 70: foil'd]=filed, i.e. defiled.]
[Footnote 71: I'll have a saying to that nunnery: Compare Barnaby Barnes's DIVILS CHARTER, 1607;
"Before I do this seruice, lie there, peece; For I must HAUE A SAYING to those bottels. HE DRINKETH. True stingo; stingo, by mine honour.* * * * * * * * * * * * * * * I must HAUE A SAYING to you, sir, I must, though you be prouided for his Holines owne mouth; I will be bould to be the Popes taster by his leaue." Sig. K 3.]
[Footnote 72: plates: "i.e. pieces of silver money." STEEVENS (apud Dodsley's O. P.).—Old ed. "plats."]
[Footnote 73: Slave: To the speeches of this Slave the old ed. prefixes "Itha." and "Ith.", confounding him with Ithamore.]
[Footnote 74: Lady Vanity: So Jonson in his FOX, act ii. sc. 3.,
"Get you a cittern, LADY VANITY, And be a dealer with the virtuous man," &c.;
and in his DEVIL IS AN ASS, act i. sc. 1.,—
"SATAN. What Vice? PUG. Why, any: Fraud, Or Covetousness, or LADY VANITY, Or old Iniquity."]
[Footnote 75: Katharine: Old ed. "MATER."—The name of Mathias's mother was, as we afterwards learn, Katharine.]
[Footnote 76: stay: i.e. forbear, break off our conversation.]
[Footnote 77: was: Qy. "was BUT"?]
[Footnote 78: O, brave, master: The modern editors strike out the comma after "BRAVE", understanding that word as an epithet to "MASTER": but compare what Ithamore says to Barabas in act iv.: "That's BRAVE, MASTER," p. 165, first col.]
[Footnote 79: your nose: An allusion to the large artificial nose, with which Barabas was represented on the stage. See the passage cited from W. Rowley's SEARCH FOR MONEY, 1609, in the ACCOUNT OF MARLOWE AND HIS WRITINGS.]
[Footnote 80: Ure: i.e. use, practice.]
[Footnote 81: a-good: "i.e. in good earnest. Tout de bon." REED (apud Dodsley's O. P.).]
[Footnote 82: Enter LODOWICK: A change of scene supposed here,—to the outside of Barabas's house.]
[Footnote 83: vow love to him: Old ed. "vow TO LOUE him": but compare, in Barabas's next speech but one, "And she VOWS LOVE TO HIM," &c.]
[Footnote 84: made sure: i.e. affianced.]
[Footnote 85: Ludovico: Old ed. "Lodowicke."—In act iii. we have,
"I fear she knows—'tis so—of my device In Don Mathias' and LODOVICO'S deaths." p. 162, sec. col.]
[Footnote 86: happily: i.e. haply.]
[Footnote 87: unsoil'd: "Perhaps we ought to read 'unfoil'd', consistently with what Barabas said of her before under the figure of a jewel—
'The diamond that I talk of NE'ER WAS FOIL'D'." COLLIER (apud Dodsley's O. P.). But see that passage, p. 155, sec. col., and note . [i.e. note 70.]]
[Footnote 88: cross: i.e. piece of money (many coins being marked with a cross on one side).]
[Footnote 89: thou: Old ed. "thee."]
[Footnote 90: resolv'd: "i.e. satisfied." GILCHRIST (apud Dodsley's O. P.).]
[Footnote 91: Enter BELLAMIRA: She appears, we may suppose, in a veranda or open portico of her house (that the scene is not the interior of the house, is proved by what follows).]
[Footnote 92: Enter MATHIAS. MATHIAS. This is the place, &c.: The scene is some pert of the town, as Barabas appears "ABOVE,"—in the balcony of a house. (He stood, of course, on what was termed the upper-stage.)
Old ed. thus;
"Enter MATHIAS.
Math. This is the place, now Abigail shall see Whether Mathias holds her deare or no.
Enter Lodow. reading.
Math. What, dares the villain write in such base terms?
Lod. I did it, and reuenge it if thou dar'st."]
[Footnote 93: Lodovico: Old ed. "Lodowicke."—See note *, p. 158. (i.e. note 85.)]
[Footnote 94: tall: i.e. bold, brave.]
[Footnote 95: What sight is this!: i.e. What A sight is this! Our early writers often omit the article in such exclamations: compare Shakespeare's JULIUS CAESAR, act i. sc. 3, where Casca says,
"Cassius, WHAT NIGHT IS THIS!"
(after which words the modern editors improperly retain the interrogation-point of the first folio).]
[Footnote 96: Lodovico: Old ed. "Lodowicke."]
[Footnote 97: These arms of mine shall be thy sepulchre: So in Shakespeare's THIRD PART OF KING HENRY VI., act ii. sc. 5, the Father says to the dead Son whom he has killed in battle,
"THESE ARMS OF MINE shall be thy winding-sheet; My heart, sweet boy, SHALL BE THY SEPULCHRE,"—
lines, let me add, not to be found in THE TRUE TRAGEDIE OF RICHARD DUKE OF YORKE, on which Shakespeare formed that play.]
[Footnote 98: Katharine: Old ed. "Katherina."]
[Footnote 99: Enter ITHAMORE: The scene a room in the house of Barabas.]
[Footnote 100: held in hand: i.e. kept in expectation, having their hopes flattered.]
[Footnote 101: bottle-nosed: See note , p. 157. [i.e. note 79.]]
[Footnote 102: Jaques: Old ed. "Iaynes."]
[Footnote 103: sire: Old ed. "sinne" (which, modernised to "sin", the editors retain, among many other equally obvious errors of the old copy).]
[Footnote 104: As: Old ed. "And."]
[Footnote 105: Enter BARABAS: The scene is still within the house of Barabas; but some time is supposed to have elapsed since the preceding conference between Abigail and Friar Jacomo.]
[Footnote 106: pretendeth: Equivalent to PORTENDETH; as in our author's FIRST BOOK OF LUCAN, "And which (ay me) ever PRETENDETH ill," &c.]
[Footnote 107: self: Old ed. "life" (the compositor's eye having caught "life" in the preceding line).]
[Footnote 108: 'less: Old ed. "least."]
[Footnote 109: Well said: See note *, p. 69.]
(note *, p. 69, The Second Part of Tamburlaine the Great:
"* Well said: Equivalent to—Well done! as appears from innumerable passages of our early writers: see, for instances, my ed. of Beaumont and Fletcher's WORKS, vol. i. 328, vol. ii. 445, vol. viii. 254.")]
[Footnote 110: the proverb says, &c.: A proverb as old as Chaucer's time: see the SQUIERES TALE, v. 10916, ed. Tyrwhitt.]
[Footnote 111: batten: i.e. fatten.]
[Footnote 112: pot: Old ed. "plot."]
[Footnote 113: thou shalt have broth by the eye: "Perhaps he means—thou shalt SEE how the broth that is designed for thee is made, that no mischievous ingredients enter its composition. The passage is, however, obscure." STEEVENS (apud Dodsley's O. P.).—"BY THE EYE" seems to be equivalent to—in abundance. Compare THE CREED of Piers Ploughman:
"Grey grete-heded quenes With gold BY THE EIGHEN."
v. 167, ed. Wright (who has no note on the expression): and Beaumont and Fletcher's KNIGHT OF THE BURNING PESTLE, act ii. sc. 2; "here's money and gold BY TH' EYE, my boy." In Fletcher's BEGGARS' BUSH, act iii. sc. 1, we find, "Come, English beer, hostess, English beer BY THE BELLY!"]
[Footnote 114: In few: i.e. in a few words, in short.]
[Footnote 115: hebon: i.e. ebony, which was formerly supposed to be a deadly poison.]
[Footnote 116: Enter FERNEZE, &c.: The scene is the interior of the Council-house.]
[Footnote 117: basso: Old ed. "Bashaws" (the printer having added an S by mistake), and in the preceding stage-direction, and in the fifth speech of this scene, "Bashaw": but in an earlier scene (see p. 148, first col.) we have "bassoes" (and see our author's TAMBURLAINE, PASSIM).
(From p. 148, this play:
"Enter FERNEZE governor of Malta, KNIGHTS, and OFFICERS; met by CALYMATH, and BASSOES of the TURK.")]
[Footnote 118: the resistless banks: i.e. the banks not able to resist.]
[Footnote 119: basilisks: See note , p. 25.
(note , p. 25, The First Part of Tamburlaine the Great:)
"basilisks: Pieces of ordnance so called. They were of immense size; see Douce's ILLUST. OF SHAKESPEARE, i. 425."]
[Footnote 120: Enter FRIAR JACOMO, &c.: Scene, the interior of the Nunnery.]
[Footnote 121: convers'd with me: She alludes to her conversation with Jacomo, p. 162, sec. col.
(p. 162, second column, this play:
"ABIGAIL. Welcome, grave friar.—Ithamore, be gone.
Exit ITHAMORE.
Know, holy sir, I am bold to solicit thee. FRIAR JACOMO. Wherein?")]
[Footnote 122: envied: i.e. hated.]
[Footnote 123: practice: i.e. artful contrivance, stratagem.]
[Footnote 124: crucified a child: A crime with which the Jews were often charged. "Tovey, in his ANGLIA JUDAICA, has given the several instances which are upon record of these charges against the Jews; which he observes they were never accused of, but at such times as the king was manifestly in great want of money." REED (apud Dodsley's O. P.).]
[Footnote 125: Enter BARABAS, &c.: Scene a street.]
[Footnote 126: to: Which the Editor of 1826 deliberately altered to "like," means—compared to, in comparison of.]
[Footnote 127: Cazzo: Old ed. "catho."—See Florio's WORLDE OF WORDES (Ital. and Engl. Dict.) ed. 1598, in v.—"A petty oath, a cant exclamation, generally expressive, among the Italian populace, who have it constantly in their mouth, of defiance or contempt." Gifford's note on Jonson's WORKS, ii. 48.]
[Footnote 128: nose: See note , p. 157. [i.e. note 79.]]
[Footnote 129: inmate: Old ed. "inmates."]
[Footnote 130: the burden of my sins Lie heavy, &c.: One of the modern editors altered "LIE" to "Lies": but examples of similar phraseology,—of a nominative singular followed by a plural verb when a plural genitive intervenes,—are common in our early writers; see notes on Beaumont and Fletcher's WORKS, vol. v. 7, 94, vol. ix. 185, ed. Dyce.]
[Footnote 131: sollars: "i.e. lofts, garrets." STEEVENS (apud Dodsley's O. P.).]
[Footnote 132: untold: i.e. uncounted.—Old ed. "vnsold."]
[Footnote 133: BARABAS. This is mere frailty: brethren, be content.— Friar Barnardine, go you with Ithamore: You know my mind; let me alone with him.]
FRIAR JACOMO. Why does he go to thy house? let him be gone
Old ed. thus;
"BAR. This is meere frailty, brethren, be content. Fryar Barnardine goe you with Ithimore. ITH. You know my mind, let me alone with him; Why does he goe to thy house, let him begone."]
[Footnote 134: the Turk: "Meaning Ithamore." COLLIER (apud Dodsley's O. P.). Compare the last line but one of Barabas's next speech.]
[Footnote 135: covent: i.e. convent.]
[Footnote 136: Therefore 'tis not requisite he should live: Lest the reader should suspect that the author wrote,
"Therefore 'tis requisite he should not live," I may observe that we have had before (p. 152, first col.) a similar form of expression,— "It is not necessary I be seen."]
[Footnote 137: fair: See note , p. 15. ('15' sic.)
(note , p. 13, The First Part of Tamburlaine the Great:)
"In fair, &c.: Here "FAIR" is to be considered as a dissyllable: compare, in the Fourth act of our author's JEW OF MALTA, "I'll feast you, lodge you, give you FAIR words, And, after that," &c."]
[Footnote 138: shall be done: Here a change of scene is supposed, to the interior of Barabas's house.]
[Footnote 139: Friar, awake: Here, most probably, Barabas drew a curtain, and discovered the sleeping Friar.]
[Footnote 140: have: Old ed. "saue."]
[Footnote 141: What time o' night is't now, sweet Ithamore?
ITHAMORE. Towards one: Might be adduced, among other passages, to shew that the modern editors are right when they print in Shakespeare's KING JOHN. act iii. sc. 3,
"If the midnight bell Did, with his iron tongue and brazen mouth, Sound ONE into the drowsy ear of NIGHT," &c.]
[Footnote 142: Enter FRIAR JACOMO: The scene is now before Barabas's house,—the audience having had to SUPPOSE that the body of Barnardine, which Ithamore had set upright, was standing outside the door.]
[Footnote 143: proceed: Seems to be used here as equivalent to—succeed.]
[Footnote 144: on's: i.e. of his.]
[Footnote 145: Enter BELLAMIRA, &c.: The scene, as in p. 160, a veranda or open portico of Bellamira's house.
(p. 160, this play:)
" Enter BELLAMIRA. (91) BELLAMIRA. Since this town was besieg'd," etc.]
[Footnote 146: tall: Which our early dramatists generally use in the sense of—bold, brave (see note , p. 161), [i.e. note 94: is here perhaps equivalent to—handsome. ("Tall or SEMELY." PROMPT. PARV. ed. 1499.)]
[Footnote 147: neck-verse: i.e. the verse (generally the beginning of the 51st Psalm, MISERERE MEI, &c.) read by a criminal to entitle him to benefit of clergy.]
[Footnote 148: of: i.e. on.]
[Footnote 149: exercise: i.e. sermon, preaching.]
[Footnote 150: with a muschatoes: i.e. with a pair of mustachios. The modern editors print "with MUSTACHIOS," and "with a MUSTACHIOS": but compare,—
"My Tuskes more stiffe than are a Cats MUSCHATOES." S. Rowley's NOBLE SPANISH SOLDIER, 1634, Sig. C.
"His crow-black MUCHATOES." THE BLACK BOOK,—Middleton's WORKS, v. 516, ed. Dyce.]
[Footnote 151: Turk of tenpence: An expression not unfrequently used by our early writers. So Taylor in some verses on Coriat;
"That if he had A TURKE OF TENPENCE bin," &c. WORKES, p. 82, ed. 1630.
And see note on Middleton's WORKS, iii. 489, ed. Dyce.]
[Footnote 152: you know: Qy. "you know, SIR,"?]
[Footnote 153: I'll make him, &c.: Old ed. thus:
"I'le make him send me half he has, & glad he scapes so too. PEN AND INKE: I'll write vnto him, we'le haue mony strait."
There can be no doubt that the words "Pen and inke" were a direction to the property-man to have those articles on the stage.]
[Footnote 154: cunning: i.e. skilfully prepared.—Old ed. "running." (The MAIDS are supposed to hear their mistress' orders WITHIN.)]
[Footnote 155: Shalt live with me, and be my love: A line, slightly varied, of Marlowe's well-known song. In the preceding line, the absurdity of "by Dis ABOVE" is, of course, intentional.]
[Footnote 156: beard: Old ed. "sterd."]
[Footnote 157: give me a ream of paper: we'll have a kingdom of gold for't: A quibble. REALM was frequently written ream; and frequently (as the following passages shew), even when the former spelling was given, the L was not sounded;
"Vpon the siluer bosome of the STREAME First gan faire Themis shake her amber locks, Whom all the Nimphs that waight on Neptunes REALME Attended from the hollowe of the rocks." Lodge's SCILLAES METAMORPHOSIS, &c. 1589, Sig. A 2.
"How he may surest stablish his new conquerd REALME, How of his glorie fardest to deriue the STREAME." A HERINGS TAYLE, &c. 1598, Sig. D 3.
"Learchus slew his brother for the crowne; So did Cambyses fearing much the DREAME; Antiochus, of infamous renowne, His brother slew, to rule alone the REALME." MIROUR FOR MAGISTRATES, p. 78, ed. 1610.]
[Footnote 158: runs division: "A musical term [of very common occurrence]." STEEVENS (apud Dodsley's O. P.).]
[Footnote 159: Enter BARABAS: The scene certainly seems to be now the interior of Barabas's house, notwithstanding what he presently says to Pilia-Borza (p. 171, sec. col.), "Pray, when, sir, shall I see you at my house?"]
[Footnote 160: tatter'd: Old ed. "totter'd": but in a passage of our author's EDWARD THE SECOND the two earliest 4tos have "TATTER'D robes":—and yet Reed in a note on that passage (apud Dodsley's OLD PLAYS, where the reading of the third 4to, "tottered robes", is followed) boldly declares that "in every writer of this period the word was spelt TOTTERED"! The truth is, it was spelt sometimes one way, sometimes the other.]
[Footnote 161: catzery: i.e. cheating, roguery. It is formed from CATSO (CAZZO, see note *, p. 166 i.e. note 127), which our early writers used, not only as an exclamation, but as an opprobrious term.]
[Footnote 162: cross-biting: i.e. swindling (a cant term).—Something has dropt out here.]
[Footnote 163: tale: i.e. reckoning.]
[Footnote 164: what he writes for you: i.e. the hundred crowns to be given to the bearer: see p. 170, sec. col.
p. 170, second column, this play:
"ITHAMORE. [writing: SIRRAH JEW, AS YOU LOVE YOUR LIFE, SEND ME FIVE HUNDRED CROWNS, AND GIVE THE BEARER A HUNDRED. —Tell him I must have't."]
[Footnote 165: I should part: Qy. "I E'ER should part"?]
[Footnote 166: rid: i.e. despatch, destroy.]
[Footnote 167: Enter BELLAMIRA, &c.: They are supposed to be sitting in a veranda or open portico of Bellamira's house: see note *, p. 168. [i.e. note 145.]
[Footnote 168: Of: i.e. on.]
[Footnote 169: BELLAMIRA.: Old ed. "Pil."]
[Footnote 170: Rivo Castiliano: The origin of this Bacchanalian exclamation has not been discovered. RIVO generally is used alone; but, among passages parallel to that of our text, is the following one (which has been often cited),—
"And RYUO will he cry and CASTILE too." LOOKE ABOUT YOU, 1600, Sig. L. 4.
A writer in THE WESTMINSTER REVIEW, vol. xliii. 53, thinks that it "is a misprint for RICO-CASTELLANO, meaning a Spaniard belonging to the class of RICOS HOMBRES, and the phrase therefore is—
'Hey, NOBLE CASTILIAN, a man's a man!' 'I can pledge like a man and drink like a man, MY WORTHY TROJAN;' as some of our farce-writers would say." But the frequent occurrence of RIVO in various authors proves that it is NOT a misprint.]
[Footnote 171: he: Old ed. "you".]
[Footnote 172: and he and I, snicle hand too fast, strangled a friar] There is surely some corruption here. Steevens (apud Dodsley's O. P.) proposes to read "hand TO FIST". Gilchrist (ibid.) observes, "a snicle is a north-country word for a noose, and when a person is hanged, they say he is snicled." See too, in V. SNICKLE, Forby's VOC. OF EAST ANGLIA, and the CRAVEN DIALECT.—The Rev. J. Mitford proposes the following (very violent) alteration of this passage;
"Itha. I carried the broth that poisoned the nuns; and he and I— Pilia. Two hands snickle-fast— Itha. Strangled a friar."]
[Footnote 173: incony: i.e. fine, pretty, delicate.—Old ed. "incoomy."]
[Footnote 174: they stink like a hollyhock: "This flower, however, has no offensive smell. STEEVENS (apud Dodsley's O. P.). Its odour resembles that of the poppy.]
[Footnote 175: mushrooms: For this word (as, indeed, for most words) our early writers had no fixed spelling. Here the old ed. has "Mushrumbs": and in our author's EDWARD THE SECOND, the 4tos have "mushrump."]
[Footnote 176: under the elder when he hanged himself: That Judas hanged himself on an elder-tree, was a popular legend. Nay, the very tree was exhibited to the curious in Sir John Mandeville's days: "And faste by, is zit the Tree of Eldre, that Judas henge him self upon, for despeyt that he hadde, whan he solde and betrayed oure Lorde." VOIAGE AND TRAVAILE, &c. p. 112. ed. 1725. But, according to Pulci, Judas had recourse to a carob-tree:
"Era di sopra a la fonte UN CARRUBBIO, L'ARBOR, SI DICE, OVE S'IMPICCO GIUDA," &c. MORGANTE MAG. C. xxv. st. 77.]
[Footnote 177: nasty: Old ed. "masty."]
[Footnote 178: me: Old ed. "we".]
[Footnote 179: Enter Ferneze, &c.: Scene, the interior of the Council- house.]
[Footnote 180: him: Qy. "'em"?]
[Footnote 181: Exeunt all, leaving Barabas on the floor: Here the audience were to suppose that Barabas had been thrown over the walls, and that the stage now represented the outside of the city.]
[Footnote 182: Bassoes: Here old ed. "Bashawes." See note Sec., p. 164. [Footnote i.e. note 117.]]
[Footnote 183: trench: A doubtful reading.—Old ed. "Truce."—"Query 'sluice'? 'TRUCE' seems unintelligible." COLLIER (apud Dodsley's O. P.).—The Rev. J. Mitford proposes "turret" or "tower."]
[Footnote 184: channels: i.e. kennels.]
[Footnote 185: Enter CALYMATH, &c.: Scene, an open place in the city.]
[Footnote 186: vail: i.e. lower, stoop.]
[Footnote 187: To kept: i.e. To have kept.]
[Footnote 188: Entreat: i.e. Treat.]
[Footnote 189: Bassoes: Here old ed. "Bashawes." See note Sec., p. 164. [Footnote i.e. note 117.]]
[Footnote 190: Thus hast thou gotten, &c.: A change of scene is supposed here—to the Citadel, the residence of Barabas as governor.]
[Footnote 191: Whenas: i.e. When.
[Footnote 192: Within here: The usual exclamation is "Within THERE!" but compare THE HOGGE HATH LOST HIS PEARLE (by R. Tailor), 1614; "What, ho! within HERE!" Sig. E 2.]
[Footnote 193: sith: i.e. since.]
[Footnote 194: cast: i.e. plot, contrive.]
[Footnote 195: Bassoes: Here and afterwards old ed. "Bashawes." See note Sec., p. 164. [i.e. note 117.]—Scene, outside the walls of the city.]
[Footnote 196: basilisk[s: See note , p. 25.
[note , p. 25, The First Part of Tamburlaine the Great: " basilisks: Pieces of ordnance so called. They were of immense size; see Douce's ILLUST. OF SHAKESPEARE, i. 425."]
[Footnote 197: And, toward Calabria, &c.: So the Editor of 1826.—Old ed. thus:
"And toward Calabria back'd by Sicily, Two lofty Turrets that command the Towne. WHEN Siracusian Dionisius reign'd; I wonder how it could be conquer'd thus?"]
[Footnote 198: Enter FERNEZE, &c.: Scene, a street.]
[Footnote 199: linstock: "i.e. the long match with which cannon are fired." STEEVENS (apud Dodsley's O. P.).]
[Footnote 200: Enter, above, &c.: Scene, a hall in the Citadel, with a gallery.]
[Footnote 201: FIRST CARPENTER.: Old ed. here "Serv."; but it gives "CARP." as the prefix to the second speech after this.]
[Footnote 202: off: An interpolation perhaps.]
[Footnote 203: sun: Old ed. "summe."]
[Footnote 204: ascend: Old ed. "attend."]
[Footnote 205: A charge sounded within: FERNEZE cuts the cord; the floor of the gallery gives way, and BARABAS falls into a caldron placed in a pit.
Enter KNIGHTS and MARTIN DEL BOSCO
Old ed. has merely "A charge, the cable cut, A Caldron discouered."]
[Footnote 206: Christian: Old ed. "Christians."]
[Footnote 207: train: i.e. stratagem.]
[Footnote 208: pretended: i.e. intended.]
[Footnote 209: mediate: Old ed. "meditate."]
[Footnote 210: all: Old ed. "call."]
SQUARE BRACKETS: The square brackets, i.e. [ ] are copied from the printed book, without change, except that the stage directions usually do not have closing brackets. These have been added.
FOOTNOTES: For this E-Text version of the book, the footnotes have been consolidated at the end of the play.
Numbering of the footnotes has been changed, and each footnote is given a unique identity in the form [XXX].
CHANGES TO THE TEXT: Character names were expanded. For Example, BARABAS was BARA., FERNEZE was FERN., etc. |
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