ElizabethanDrama.org

presents

the Annotated Popular Edition of

LOVE’S SACRIFICE

by John Ford

1633

Annotations and notes © Copyright ElizabethanDrama.org, 2017
This annotated play may be freely copied and distributed.

	DRAMATIS PERSONÆ.	INTRODUCTION TO THE PLAY
	Philippo Caraffa, Duke of Pavia.	John Ford's sprawling epic Love's Sacrifice features not a love triangle, but a love pentagon. But don't worry, our annotations will help keep things clear regarding who loves (and who hates) who. Two things in particular are worthy of the reader's notice: (1) the large number of asides, indicating a good deal of dissembling in the play; and (2) the duke's slow but relentless mental deterioration: Ford's handling of the duke's descent into madness is more subtle than what is normally seen in plays of the period.
	Bianca, the Duchess.
	Fiormonda, the Duke's Sister.
	Roderico D'Avolos, Secretary to the Duke.
	Fernando, Favourite of the Duke.
	Ferentes, a wanton Courtier.
	Roseilli, a young Nobleman.
	Paulo Baglione, Abbot of Monaco, and Uncle of the
	duchess.
		NOTES ON THE TEXT
	Petruchio, Counsellor of State, and uncle to Fernando.
	Colona, Daughter of Petruchio, and lady-in-waiting	The text of Love's Sacrifice is taken from John Ford,
	to the duchess Bianca.	edited by Havelock Ellis, as part of The Mermaid Series,
		cited at #3 below.
	Nibrassa, Counsellor of State.
	Julia, Daughter of Nibrassa, and lady-in-waiting	FOOTNOTES
	to Fiormonda.
		References in the annotations to "Dyce" refer to the
	Mauruccio, an old Buffoon.	notes supplied by editor A. Dyce to Perkin Warbeck in his
	Giacopo, Servant to Mauruccio.	1869 collection of Ford's work, cited at #12 below.
		Footnotes in the text correspond as follows:
	Morona, a Widow.	1. Oxford English Dictionary (OED) online.
		2. Crystal, David and Ben. Shakespeare's Words.
	Courtiers, Officers, Friars, Attendants, &c.	London; New York: Penguin, 2002.
		3. Ellis, Havelock, ed. The Best Plays of the Old
	SCENE:	Dramatists: John Ford. London: Viztelly & Co., 1888.
	Pavia.	4. Taylor, Gary, and Lavagnino, ed. Thomas Middleton,
		The Collected Works. Oxford: Clarendon Press, 2010.
		5. Dorius, R.J., ed. Shakespeare, William. Henry V.
		New Haven: Yale University Press, 1918.
		6. Stagebeauty.net Website. Leading Ladies. Retrieved
		7/11/2016: stagebeauty.net/ th-women.html#boys.
		7. Farmer, J. and Henley, W. A Dictionary of Slang
		and Colloquial English. London: George Routledge &
		Sons, 1912.
		8. Smith, W., ed. A Dictionary of Greek and Roman
		Biography and Mythology. London: John Murray, 1849.
		9. Chisholm, Hugh, ed. Encyclopedia Britannica (11th
		ed.). Cambridge University Press, 1911.
		10. Murray, Alexander. Who's Who in Ancient
		Mythology. New York: Crescent Books, 1988.
		11. The Encyclopedia Britannica. 11th edition. New
		York: 1911.
		12. Dyce, Alexander. The Works of John Ford, Vol. II.
		London: Robson and Son, 1869.
	ACT I.
	SCENE I.
	A Room in the Palace.
	Enter Roseilli and Roderico D’Avolos.	Entering Characters: Roseilli is a young nobleman. D'Avolos is secretary to the Duke of Pavia.
1	Ros. Depart the court?	1: the play opens with Roseilli learning that the duke is
2		sending him into exile.
	D’Av. Such was the duke's command.
4
	Ros. You're secretary to the state and him,
6	Great in his counsels, wise, and, I think, honest.
	Have you, in turning over old recórds,
8	Read but one name descended of the house
	Of Lesui in his loyalty remiss?	= Roseilli's family name; confused, Roseilli asks if any
10		member of his family has ever been disloyal to the court.
	D’Av. Never, my lord.
12
	Ros. Why, then, should I now, now when glorious peace
14	Triumphs in change of pleasures, be wiped off,	= exchange.
	Like to a useless moth, from courtly ease? −	= suggesting a parasite.^1
16	And whither must I go?
18	D’Av. You have the open world before you.
20	Ros. Why, then 'tis like I'm banished?
22	D’Av. Not so: my warrant is only to command you	22ff: D'Avolos usually speaks in prose; this suggests a
	from the court; within five hours to depart after notice	defect in his character, which will become apparent.
24	taken, and not to live within thirty miles of it, until it
	be thought meet by his excellence to call you back.	= ie. the duke
26	Now I have warned you, my lord, at your peril be it,
	if you disobey. I shall inform the duke of your
28	discontent.
30	[Exit.]
32	Ros. Do, politician, do! I scent the plot	= schemer.^2
	Of this disgrace; 'tis Fiormonda, she,	= ie. the duke's sister.
34	That glorious widow, whose commanding check	= rebuff ^1; Roseilli has been wooing the recently widowed
	Ruins my love: like foolish beasts, thus they	Fiormonda, who is the sister of the duke; and assumes that she, in rejecting his advances, has convinced the duke to exile him.
36	Find danger that prey too near the lions' den.	36: Dyce believes this line is corrupt (its meter is clearly off), and suggests it could read, "Find danger that too near the lions prey", creating a rhyming couplet.^12
38	Enter Fernando and Petruchio.	Entering Characters: Petruchio is a Counselor of State, or advisor, to the duke; he is also the uncle of Fernando, who is the duke's favorite companion.
40	Ferna. My noble lord, Roseilli!
42	Ros. Sir, the joy	42-51: Roseilli and Fernando exchange lengthy formal
	I should have welcomed you with is wrapt up	courtesies before entering the substance of their
44	In clouds of my disgrace; yet, honoured sir,	conversation.
	Howsoe'er frowns of great ones cast me down,
46	My service shall pay tribute in my lowness
	To your uprising virtues.
48
	Ferna. Sir, I know
50	You are so well acquainted with your own,	= ie. "your own virtues"
	You need not flatter mine: trust me, my lord,
52	I'll be a suitor for you.	= petitioner; Fernando promises to try to persuade the
		duke to reverse his decision to exile Roseilli.
54	Pet. And I'll second
	My nephew's suit with importunity.	= persistent entreaty
56
	Ros. You are, my Lord Fernando, late returned
58	From travels; pray instruct me: − since the voice
	Of most supreme authority commands
60	My absence, I determine to bestow
	Some time in learning languages abroad;
62	Perhaps the change of air may change in me	62-63: change in me..wrongs = "help me to forget the
	Remembrance of my wrongs at home: good sir,	wrongs done to me"
64	Inform me; say I meant to live in Spain,
	What benefit of knowledge might I treasure?
66
	Ferna. Troth, sir, I'll freely speak as I have found.	= in truth.
68	In Spain you lose experience; 'tis a climate	68-69: In Spain…arts: the extreme heat of the Spanish climate makes it difficult for one to maintain knowledge (experience) or develop scholarship (arts), and as a result knowledge is lost. Fernando's disparagement of Spain reflects the unpopularity of that country in England in the 1630's.^3
	Too hot to nourish arts; the nation proud,
70	And in their pride unsociable; the court
	More pliable to glorify itself	= the sense seems to be "likely".
72	Than do a stranger grace: if you intend	= "do a foreigner (stranger) honor".
	To traffic like a merchant, 'twere a place
74	Might better much your trade; but as for me,
	I soon took surfeit on it.	= excess, ie. "I soon had more than enough"; but surfeit also suggests "to become ill from excessive consumption".^1
76
	Ros. What for France?	= about
78
	Ferna. France I more praise and love. You are, my lord,
80	Yourself for horsemanship much famed; and there	= the first of several references to Roseilli's superior horsemanship. The French themselves were noted for their superior riding skills, e.g. Hamlet: "…the French, / And they can well on horseback."^12
	You shall have many proofs to show your skill.	= ie. opportunities to prove.
82	The French are passing courtly, ripe of wit,	= exceedingly refined, with manners fit for court.^1
	Kind, but extreme dissemblers; you shall have	= deceivers or hypocrites^1; Elizabethan authors rarely overlooked an opportunity to disparage the French.
84	A Frenchman ducking lower than your knee,	= bowing deeply with intended irony.
	At the instant mocking even your very shoe-ties.
86	To give the country due, it is on earth
	A paradise; and if you can neglect	= ignore.
88	Your own appropriaménts, but praising that	= ie. Roseilli's own particular skills; this is the only
	In others wherein you excel yourself,	citation of appropriaments in the OED, suggesting
90	You shall be much belovèd there.	no other author has ever used it!
92	Ros. Yet methought
	I heard you and the duchess, two night since,	= ago
94	Discoursing of an island thereabouts,
	Called − let me think − 'twas −
96
	Ferna. England?	97ff: the reason for this seemingly superfluous discussion
98		now becomes clear: Ford will take a bit of time to flatter the home-crowd. Such digressions to praise the English to themselves while denigrating other nationalities appears with some frequency in Elizabethan drama.
	Ros. That: pray, sir −
100	You have been there, methought I heard you praise it.
102	Ferna. I'll tell you what I found there; men as neat,	= refined, elegant^2; is there a bit of English insecurity behind Ford's need to point this out?
	As courtly as the French, but in condition	= disposition.^3
104	Quite opposite. Put case that you, my lord,	104-5: Put case…you are = the sense is, "suppose (put case) that you were not as brilliantly skillful (rare = excellent) in horseback-riding as you are".
	Could be more rare on horseback than you are,
106	If there − as there are many − one excelled	= if there was. = read as "an Englishman who".
	You in your art as much as you do others,
108	Yet will the English think their own is nothing	108-9: Yet will….with you = Fernando comments on the commendable modesty of the English.
	Compared with you, a stranger; in their habits	= foreigner. = fashion, dress.
110	They are not more fantastic than uncertain;	= ie. the English are more fickle (uncertain) than foppish (fantastic).^1 The English predilection for borrowing the latest fashions from the continent is frequently commented on.
	In short, their fair abundance, manhood, beauty,
112	No nation can disparage but itself.
114	Ros. My lord, you have much eased me; I resolve.
116	Ferna. And whither are you bent?	= to where
118	Ros. My lord, for travel;
	To speed or England.	= good fortune, success; the line is likely proverbial.
120
	Ferna. No, my lord, you must not:
122	I have yet some private conference	= communication^1
	T' impart unto you for your good; at night
124	I'll meet you at my Lord Petruchio's house:
	Till then be secret.	= hidden
126
	Ros. Dares my cousin trust me?	= Roseilli appears to be a kinsman of Petruchio and Fernando; Roseilli does not want Fernando to get in trouble if he is caught with him when Roseilli is supposed to be out of the duchy.
128
	Pet. Dare I, my lord! yes, 'less your fact were greater	= unless. = crime.^2
130	Than a bold woman's spleen.	= hot temper or ill nature^1; the spleen was considered the source of such emotions.
132	Ros. The duke's at hand,	= nearby.
	And I must hence: my service to your lordships.	= get away from here.
134
	[Exit.]
136
	Pet. Now, nephew, as I told you, since the duke
138	Hath held the reins of state in his own hand,
	Much altered from the man he was before, −
140	………	140: one or more lines have been lost; the sense of the missing line(s) is probably something like "He has fallen in with a bad crowd".^4
	As if he were transformèd in his mind,
142	To soothe him in his pleasures, amongst whom	= flatter.
	Is fond Ferentes; one whose pride takes pride	= foolish; in the cast list, Ferentes is identified as a "wanton
144	In nothing more than to delight his lust;	courtier", suggesting a lecherous and low character.
	And he − with grief I speak it − hath, I fear,
146	Too much besotted my unhappy daughter,
	My poor Colona; whom, for kindred's sake,	147-150: Petruchio asks his nephew Fernando to try to persuade his (Petruchio's) daughter Colona (Fernando's cousin) to give up her infatuation with Ferentes. Petruchio's request is based on three factors: (1) they are family (for kindred's sake), (2) Fernando is a nobleman, and (3) as Fernando is virtuous and admires virtue in others.
148	As you are noble, as you honour virtue,
	Persuade to love herself: a word from you	149-150: a word…frowns = Petruchio expects that Colona will be more willing to listen to her cousin Fernando than her father.
150	May win her more than my entreaties or frowns.	= acts of pleading or begging.
152	Ferna. Uncle, I'll do my best: meantime, pray tell me,
	Whose mediation wrought the marriáge	= brought about.
154	Betwixt the duke and duchess, − who was agent.	153-4: Fernando's question reveals that the duke had married Bianca only just before our play began.
156	Pet. His roving eye and her enchanting face,	156-168: Petruchio is not flattering in his description of the royal couple.
	The only dower nature had ordained	157: the duchess brought no dowry with her other than her good looks.
158	T' advance her to her bride-bed. She was daughter	158-160: She was…court = Bianca, the daughter of a
	Unto a gentleman of Milan − no better −	gentleman (that is, she was well-born, but not of noble
160	Preferred to serve i' the Duke of Milan's court;	lineage), was promoted (preferred) to serve, perhaps as a lady-in-waiting, in the court of the Duke of Milan.
	Where for her beauty she was greatly famed:
162	And passing late from thence to Monaco	162-6: And passing…the deer = the Duke of Pavia, while hunting, came across the beautiful Bianca as she was traveling to Monaco to visit her uncle; geographically, this makes sense, as Pavia is between Milan and Monaco.
	To visit there her uncle, Paul Baglione
164	The Abbot, Fortune − queen to such blind matches −	= Fortune is often personified. = arbitrary, suggesting
	Presents her to the duke's eye, on the way,	"mismatched".
166	As he pursues the deer: in short, my lord,
	He saw her, loved her, wooed her, won her, matched her;	= married
168	No counsel could divert him.
170	Ferna. She is fair.	= attractive
172	Pet. She is; and, to speak truth, I think right noble
	In her conditions.	= disposition^3
174
	Ferna. If, when I should choose,	175-7: Fernando would not care what a potential wife's
176	Beauty and virtue were the fee proposed,	background was, if she were beautiful and virtuous.
	I should not pass for parentage.	= care about.^3
178
	Pet. The duke
180	Doth come.
182	Ferna. Let's break-off talk. − [Aside] If ever, now,	182-3: If ever…my truth = Fernando has some need to build
	Good angel of my soul, protect my truth!	up his courage for the upcoming encounter.
184
	Enter the Duke, Bianca, Fiormonda, Nibrassa,	Entering Characters: Bianca is the new wife of the duke,
186	Ferentes, Julia, and D’Avolos.	and thus the new duchess; Fiormonda is the duke's sister, and recently widowed. Nibrassa is another Counselor of State, or advisor, and Julia his daughter; Julia serves as a lady-in-waiting for Fiormonda, a position of honour. D'Avolos, the secretary to the duke, we have met; Ferentes is the slime-ball described at line 143 above who seems to have wormed his way into the duke's friendship.
188	Duke. Come, my Bianca, revel in mine arms;
	Whiles I, wrapt in my admiration, view
190	Lilies and roses growing in thy cheeks. −	190: note that the long dash is commonly used to indicate a change in the speaker's addressee.
	Fernando! O, thou half myself! no joy	= Elizabethan expression describing a best or most trusted
192	Could make my pleasure full without thy presence:	friend.
	I am a monarch of felicity,	= happiness or good fortune.^1
194	Proud in a pair of jewèls, rich and beautiful, −
	A perfect friend, a wife above compare.
196
	Ferna. Sir, if a man so low in rank may hope,
198	By loyal duty and devoted zeal,
	To hold a correspondency in friendship
200	With one so mighty as the Duke of Pavy,	= the name used for Pavia throughout the play
	My uttermost ambition is to climb
202	To those deserts may give the style of servant.	202: "to a level where I deserve the name or title (style) of your servant"
204	Duke. Of partner in my dukedom, in my heart,	204: the duke, praising Fernando, corrects Fernando by replacing the last two words of his sentence.
	As freely as the privilege of blood	205-6: As freely…mine = the duke would share (at least in spirit) his dukedom with Fernando in much the same way his birth made Pavia his own.
206	Hath made them mine; Philippo and Fernando
	Shall be without distinction. − Look, Bianca,	= in introducing Bianca to his best friend Fernando, the
208	On this good man; in all respects to him	duke further confirms he only just got married.
	Be as to me: only the name of husband,
210	And reverent observance of our bed,
	Shall differ us in person, else in soul
212	We are all one.
214	Bian. I shall, in best of love,
	Regard the bosom-partner of my lord.
216
	Fiorm. [Aside to Ferentes] Ferentes, −
218
	Feren. [Aside to Fiormonda] Madam?
220
	Fiorm. [Aside to Ferentes] You are one loves courtship:	= proper behavior of one at court, but also the paying of acts of courtesy.^1
222	He hath some change of words, 'twere no lost labour	= ie. Fernando "is a ready talker".^3
	To stuff your table-books; the man speaks wisely!	= "write this down in your note-book".^4 Fiormonda is ironically suggesting that Ferentes could take lessons from Fernando in flattering courtly speech; she is really characterizing Fernando as a "mere man of words".^12
224
	Feren. [Aside to Fiormonda]
226	I'm glad your highness is so pleasant.	= droll: "I can appreciate your dry humor."
228	Duke. Sister, −
230	Fiorm. My lord and brother?
232	Duke. You are too silent,
	Quicken your sad remembrance, though the loss	= give life to^4; the duke encourages Fiormonda to get over
234	Of your dead husband be of more account	her mourning.
	Than slight neglect, yet 'tis a sin against
236	The state of princes to exceed a mean	= moderate level of emotion; a common refrain in the drama
	In mourning for the dead.	of the period was to criticize those who could not temper their emotions.
238
	Fiorm. Should form, my lord,
240	Prevail above affection? no, it cannot.
	You have yourself here a right noble duchess,
242	Virtuous at least; and should your grace now pay −	242-3: should…nature = euphemism for "were you to suddenly die"
	Which Heaven forbid! − the debt you owe to nature,
244	I dare presume she'd not so soon forget	244-5: "I bet the duchess would not so quickly forget the
	A prince that thus advanced her. − Madam, could you?	husband to whom she owes so much for promoting her."
246
	D’Av. [Aside] Bitter and shrewd.	= malicious; D'Avolos recognizes the cattiness behind Fiormonda's speech.
248
	Bian. Sister, I should too much bewray my weakness,	249: Sister = Bianca addresses Fiormonda, who is now her sister-in-law. bewray = reveal, betray.
250	To give a resolution on a passion	= speak decisively about.^12 = emotion: Bianca specifically
	I never felt nor feared.	means ingratitude.^4
252
	Nib. A modest answer.
254
	Ferna. If credit may be given to a face,
256	My lord, I'll undertake on her behalf;	= affirm, be surety for; Fernando flatteringly assures the
	Her words are trusty heralds to her mind.	others that Bianca should be believed.
258
	Fiorm. [Aside to D’Avolos]
260	Exceeding good; the man will "undertake"!	= Fiormonda continues to be critical of Fernando's gift for
	Observe it, D'Avolos.	flattering speech, this time to D'Avolos.
262
	D’Av. [Aside to Fiormonda] Lady, I do;
264	Tis a smooth praise.	= flattering, a "good show"^2
266	Duke. Friend, in thy judgment I approve thy love,	= "find proof of your love"
	And love thee better for thy judging mine.
268	Though my gray-headed senate in the laws	268-270: the duke complains that his advisors wanted to restrict his choice of bride - presumably, they would have liked for him to marry a woman of status equal to his.
	Of strict opinion and severe dispute
270	Would tie the limits of our free affects, −	= affection, desires.
	Like superstitious Jews, − to match with none	271-7: Ford engages in some particularly unpleasant, but
272	But in a tribe of princes like ourselves,	unfortunately typical, stereotyping of Jews.
	Gross-nurtured slaves, who force their wretched souls
274	To crouch to profit; nay, for trash and wealth	= bow down.^2 274-5: for trash…form = Jews, he says,
	Dote on some crooked or misshapen form;	would marry even the ugliest person if it gained for them more wealth; trash is a disdainful word for money or possessions.
276	Hugging wise nature's lame deformity,
	Begetting creatures ugly as themselves: −
278	But why should princes do so, that command
	The storehouse of the earth's hid minerals? −
280	No, my Bianca, thou'rt to me as dear
	As if thy portion had been Europe's riches;	= dowery^2
282	Since in thine eyes lies more than these are worth.
	Set on; they shall be strangers to my heart	= "Let us proceed."^2
284	That envy thee thy fortunes. − Come, Fernando,	= show malice towards.^2
	My but divided self; what we have done
286	We are only debtor to Heaven for. − On!
288	Fiorm. [Aside to D'Avolos]
	Now take thy time, or never, D'Avolos;
290	Prevail, and I will raise thee high in grace.	290: if D'Avolos can successfully carry out the task Fiormonda has assigned to him, she will make sure he rises in favor at the court. Though D'Avolos is the duke's secretary, he regards Fiormonda as his patroness, and discreetly works to serve her interests.
292	D’Av. [Aside to Fiormonda] Madam, I will omit no art.	= skill or cunning
294	[Exeunt all but D’Avolos, who recalls Fernando.]
296	My honoured Lord Fernando!
298	Ferna. To me, sir?
300	D’Av. Let me beseech your lordship to excuse me,	300ff: prose is easily discernible from verse: in verse, each
	in the nobleness of your wisdom, if I exceed good	new line is capitalized; prose is written in paragraphs,
302	manners: I am one, my lord, who in the admiration	without capitalization at the beginning of each line.
	of your perfect virtues do so truly honour and
304	reverence your deserts, that there is not a creature	= merits.
	bears life shall more faithfully study to do you	= ie. who bears. = strive.
306	service in all offices of duty and vows of due respect.
308	Ferna. Good sir, you bind me to you: is this all?
310	D’Av. I beseech your ear a little; good my lord, what
	I have to speak concerns your reputation and best
312	fortune.
314	Ferna. How's that! my reputation? lay aside	314-5: lay aside…ceremony = "skip the unnecessary
	Superfluous ceremony; speak; what is't?	formalities!"
316
	D’Av. I do repute myself the blessedest man alive,
318	that I shall be the first gives your lordship news of
	your perpetual comfort.
320
	Ferna. As how?
322
	D’Av. If singular beauty, unimitable virtues, honour,	323-5: D'Avolos is describing Fiormonda.
324	youth, and absolute goodness be a fortune, all those
	are at once offered to your particular choice.
326
	Ferna. Without delays, which way?	= "tell me who"
328
	D’Av. The great and gracious Lady Fiormonda loves
330	you, infinitely loves you. − But, my lord, as ever you
	tendered a servant to your pleasures, let me not be
332	revealed that I gave you notice on't.
334	Ferna. Sure, you are strangely out of tune, sir.	= not in harmony or proper working condition^1; he wonders
		if D'Avolos knows what he is saying.
336	D’Av. Please but to speak to her; be but courtly-
	ceremonious with her, use once but the language of
338	affection, if I misreport aught besides my knowledge,	338: if I…knowledge = "if I am telling you anything (aught) which is outside of what I know to be true".
	let me never have place in your good opinion. O, these
340	women, my lord, are as brittle metal as your glasses,	340: metal = probably mettle, meaning substance or character. glasses = glass; see the note below at line 342.
	as smooth, as slippery, − their very first substance
342	was quicksands: let 'em look never so demurely,	= possibly a reference to the discovery of glass by the Phoenicians when they set sand on fire.^4
	one fillip chokes them. My lord, she loves you; I know	= "one blow deprives them of breath or speech."^1
344	it. − But I beseech your lordship not to discover me;	= "do not reveal I was the one who told you". D'Avolos is
	I would not for the world she should know that you	making sure Fernando doesn't think Fiormonda sent him
346	know it by me.	to tell Fernando this, as this would be immodest of Fiormonda.
348	Ferna. I understand you, and to thank your care
	Will study to requite it; and I vow	= endeavor. = repay. = Fernando takes an oath, which
350	She never shall have notice of your news	was considered more binding than a simple promise.
	By me or by my means. And, worthy sir,
352	Let me alike enjoin you not to speak
	A word of that I understand her love;
354	And as for me, my word shall be your surety
	I'll not as much as give her cause to think	355-6: curiously, Fernando seems to suggest he intends
356	I ever heard it.	not to respond to her affection.
358	D’Av. Nay, my lord, whatsoever I infer, you may	358-362: D'Avolos' mission would be a failure if Fernando
	break with her in it, if you please; for, rather than	does not actually act on the revelation, so he encourages
360	silence should hinder you one step to such a	him to do so.
	fortune, I will expose myself to any rebuke for
362	your sake, my good lord.
364	Ferna. You shall not indeed, sir; I am still your
	friend, and will prove so. For the present I am
366	forced to attend the duke: good hours befall ye!
	I must leave you.
368
	[Exit.]
370
	D’Av. Gone already? 'sfoot, I ha' marred all! this is	371-380: D'Avolos is confused by Fernando's cold response to what he expected to be welcome news of Fiormonda's love for him. 'sfoot = God's foot, typical Elizabethan oath.
372	worse and worse; he's as cold as hemlock. If her	= Plato wrote that Socrates grew cold as he slowly succumbed to the hemlock which killed him. 372-4: If her…scurvily = D'Avolos worries how Fiormonda will respond to the failure of his mission.
	highness knows how I have gone to work she'll thank
374	me scurvily: a pox of all dull brains! I took the clean	= on. = stupid^1, referring to his inability to either complete
	contrary course. There is a mystery in this slight	this simple task, or understand what Fernando is thinking.
376	carelessness of his; I must sift it, and I will find it.
	Ud's me, fool myself out of my wit! well, I'll choose	= "my God". In 1606, Parliament passed a statute banning the blasphemous use of God's name on stage, so that such implied blasphemies became the norm in drama.
378	some fitter opportunity to inveigle him, and till then
	smooth her up that he is a man overjoyed with the	= flatter; D'Avolos will lie to Fiormonda about Fernando's
380	report.	reaction.
382	[Exit.]	Our Story So Far: It may be helpful to review the complex and various story lines before continuing to the next scene:
		(1) Philippo Caraffa, the Duke of Pavia, has very recently married Bianca, who, while no peasant, is a relative nobody from Milan.
		(2) the duke has banished the young nobleman Roseilli from Pavia for some unknown reason; but Roseilli's kinsman Fernando encourages him to ignore his deadline for leaving the duchy so that Fernando can impart to him certain information that evening. Both Fernando and Fernando's uncle Petruchio promise to work on Roseilli's behalf to try to change the duke's mind about his exile.
		(3). Roseilli thinks the recently widowed sister of the duke, Fiormonda, whom he has made advances to, is ultimately responsible for recommending his exile.
		(4) though Fernando is the duke's best friend, the duke has fallen under the influence of the lecherous Ferentes, who is corrupting the duke's behavior.
		(5) Petruchio's daughter Colona is in love with Ferentes; Fernando has agreed to assist Petruchio in trying to talk some sense to the girl, his cousin.
		(6) though he is the duke's secretary, D'Avolos actually regards Fiormonda as his patroness, and works behind the scenes primarily to further her interests.
		(7) Fiormonda has sent D'Avolos on a mission to inform Fernando that she loves him; strangely, though, Fernando reacts rather passively to the news, to D'Avolos' discomfort and suspicion.
		And now, on with the show!
	ACT I, SCENE II.
	Another Room in the Palace.
	Enter Ferentes and Colona.	Entering Characters: Colona, we remember, is Petruchio's daughter; she also serves as a lady-in-waiting, a position of honor, to the duchess Bianca.
1	Feren. Madam, by this light I vow myself your servant;	1ff: Ferentes, lecherous and sleazy, speaks only in prose; servant = lover, devotee.
2	only yours, inespecially yours. Time, like a turncoat,	= especially.^1 = a reversible coat.^1
	may order and disorder the outward fashions of our
4	bodies, but shall never enforce a change on the
	constancy of my mind. Sweet Colona, fair Colona,
6	young and sprightful lady, do not let me in the best
	of my youth languish in my earnest affections.
8
	Col. Why should you seek, my lord, to purchase glory
10	By the disgrace of a silly maid.	= ie. the seduction. = defenseless or vulnerable.^2
12	Feren. That I confess too. I am every way so unworthy
	of the first-fruits of thy embraces, so far beneath
14	the riches of thy merit, that it can be no honour to thy
	fame to rank me in the number of thy servants; yet	= reputation.
16	prove me how true, how firm I will stand to thy	= make a trial of.^2
	pleasures, to thy command; and, as time shall serve,
18	be ever thine. Now, prithee, dear Colona, −	= please
20	Col. Well, well, my lord, I have no heart of flint;
	Or if I had, you know by cunning words
22	How to outwear it: − but −	= overcome or outlast; but also "wear down", used with
		her heart of flint.^1
24	Feren. But what? do not pity thy own gentleness,	= ie. temperament, but also refers to her being born into
	lovely Colona. Shall I? Speak, shall I? − say but ay,	nobility.^1
26	and our wishes are made up.
28	Col. How shall I say ay, when my fears say no?	= ie. aye, yes
30	Feren. You will not fail to meet me two hours hence,
	sweet?
32
	Col. No;
34	Yes, yes, I would have said: how my tongue trips!
36	Feren. I take that promise and that double "yes" as
	an assurance of thy faith. In the grove; good sweet,
38	remember; in any case alone, − d'ye mark, love? –
	not as much as your duchess' little dog; − you'll not
40	forget? − two hours hence − think on't, and miss
	not: till then −
42
	Col. O, if you should prove false, and love another!
44
	Feren. Defy me, then! I'll be all thine, and a servant
46	only to thee, only to thee.
48	[Exit Colona.]
50	− Very passing good! three honest women in our	= chaste; Ferentes has seduced, or is in the process of seducing, three separate women. 50-55: he does not think highly of the gentler sex in Italy, who are always so easily won over.
	courts here of Italy are enough to discredit a whole
52	nation of that sex. He that is not a cuckold or a	= a husband whose wife is cheating on him
	bastard is a strangely happy man; for a chaste wife,
54	or a mother that never stepped awry, are wonders,
	wonders in Italy. 'Slife! I have got the feat on't, and	= God's life. = knack for it.^1
56	am every day more active in my trade: 'tis a sweet	= busy.^1
	sin, this slip of mortality, and I have tasted enough	= moral fault.^1
58	for one passion of my senses. − Here comes more
	work for me.
60
	Enter Julia.	Entering Character: Julia, we remember, is the daughter of Nibrassa, and she serves as lady-in-waiting for Fiormonda.
62
	And how does my own Julia? Mew upon this sadness!	= expressing derision, as in "curses on this sadness!"^1
64	what's the matter you are melancholy? − Whither	= the Elizabethans used the term melancholy to describe what we call depression.
	away, wench?	= a term of endearment for a lover.^1
66
	Jul. Tis well; the time has been when your smooth tongue
68	Would not have mocked my griefs; and had I been
	More chary of mine honour, you had still
70	Been lowly as you were.
72	Feren. Lowly! why, I am sure I cannot be much more
	lowly than I am to thee; thou bringest me on my
74	bare knees, wench, twice in every four-and-twenty
	hours, besides half-turns instead of bevers. What must	75: besides = in addition to.^1 half-turns = military metaphor for sex.^1 bevers = midday snacks.^1 Ferentes is commenting on Julia's sexual insatiability.
76	we next do, sweetheart?
78	Jul. Break vows on your side; I expect no other,
	But every day look when some newer choice
80	May violate your honour and my trust.
82	Feren. Indeed, forsooth! how say ye by that, la? I	= in truth. = "what do you mean by that".^12 = truly.^2
	hope I neglect no opportunity to your nunquam satis,	= colloquial for lady's genitals^1; from the Latin, meaning never enough.
84	to be called in question for. Go, thou art as fretting	= rubbing, chafing.^1
	as an old grogram: by this hand, I love thee for't;	85: grogram = a garment made of grogram, a coarse fabric.^1 by this hand = it was common for Elizabethan characters
86	it becomes thee so prettily to be angry. Well, if thou	to take vows on body parts.
	shouldst die, farewell all love with me for ever! go;
88	I'll meet thee soon in thy lady's back-lobby, I will,
	wench; look for me.
90
	Jul. But shall I be resolved you will be mine?	= assured^3
92
	Feren. All thine; I will reserve my best ability, my
94	heart, my honour only to thee, only to thee. Pity of my
	blood, away! I hear company coming on: remember,
96	soon I am all thine, I will live perpetually only to thee:
	away!
98
	[Exit Julia.]
100
	Sfoot! I wonder about what time of the year I was	= God's foot; 101-3: typical Elizabethan astrological imagery; it was believed by some that the arrangement of the heavenly bodies at one's birth affected one's fate in life.
102	begot; sure, it was when the moon was in conjunction,	= properly speaking, two heavenly bodies were required to be located within the same sign of the zodiac to be described as in conjunction.^1
	and all the other planets drunk at a morris-dance:	= traditional English dance, performed on May Day, etc., usually accompanied by one dressed as a foolish charac- ter, often in a hobby horse (a figure of a horse worn about the waist).^1
104	I am haunted above patience; my mind is not as	104-5: my mind…doing = something like "I have more
	infinite to do as my occasions are proffered of doing.	opportunities (occasions) for seduction offered (proffered) to me than my brain is capable of dealing with or comprehending."
106	Chastity! I am an eunuch if I think there be any
	such thing; or if there be, 'tis amongst us men, for I
108	never found it in a woman thoroughly tempted yet. I
	have a shrewd hard task coming on; but let it pass. −
110	Who comes now? My lord, the duke's friend! I will
	strive to be inward with him.	= (more) intimate^1
112
	Enter Fernando.
114
	My noble Lord Fernando! −
116
	Ferna. My Lord Ferentes, I should change some words	= exchange
118	Of consequence with you; but since I am,
	For this time, busied in more serious thoughts,
120	I'll pick some fitter opportunity.
122	Feren. I will wait your pleasure, my lord. Good-day
	to your lordship.
124
	[Exit.]
126
	Ferna. Traitor to friendship, whither shall I run,	= Fernando is speaking to, and referring to, himself. While the widow Fiormonda is in love with him, he is in love with Bianca, the duke's wife, which causes him agony, as he recognizes how disloyal this is to his friend the duke.
128	That, lost to reason, cannot sway the float	= control the flood or rising tide.^1
	Of the unruly faction in my blood?
130	The duchess, O, the duchess! in her smiles
	Are all my joys abstracted. − Death to my thoughts!	= epitomized or embodied^1
132	My other plague comes to me.
134	Enter Fiormonda and Julia.
136	Fiorm. My Lord Fernando, what, so hard at study!	= reflection, musing.^2 Fiormonda, we remember, was
	You are a kind companion to yourself,	likely informed by D'Avolos that Fernando had a
138	That love to be alone so.	positive reaction to the news that she was in love with him.
140	Ferna. Madam, no;	140-5: Fernando dreads having to face Fiormonda, whom
	I rather chose this leisure to admire	he is not interested in, and will try to deflect her
142	The glories of this little world, the court,	advances with his clever and smooth talk.
	Where, like so many stars, on several thrones
144	Beauty and greatness shine in proper orbs;
	Sweet matter for my meditatión.
146
	Fiorm. So, so, sir! − Leave us, Julia	= Julia, we remember, is a lady-in-waiting serving
148		Fiormonda.
	[Exit Julia.]
150
	− your own proof,	= experience^1
152	By travel and prompt observatión,
	Instructs you how to place the use of speech. −	153: she refers again to Fernando's ability to speak smoothly.
154	But since you are at leisure, pray let's sit:
	We'll pass the time a little in discourse.
156	What have you seen abroad?
158	Ferna. No wonders, lady,
	Like these I see at home.
160
	Fiorm. At home! as how?
162
	Ferna. Your pardon, if my tongue, the voice of truth,
164	Report but what is warranted by sight.
166	Fiorm. What sight?
168	Ferna. Look in your glass, and you shall see	= mirror
	A miracle.
170
	Fiorm. What miracle?
172
	Ferna. Your beauty,
174	So far above all beauties else abroad
	As you are in your own superlative.	175: something like "you even surpass yourself"
176
	Fiorm. Fie, fie! your wit hath too much edge.	177: Fiormonda chides Fernando for overdoing the flattery; we must remember that both parties are aware of Fiormonda's love for him, but neither speaks of it; fie! = for shame!^2
178
	Ferna. Would that,	= ie. his wit. 179-182: "I wish my wit were great enough to fully express my desire to serve Fiormonda".
180	Or any thing that I could challenge mine,	= rightly demand as.
	Were but of value to express how much
182	I serve in love the sister of my prince!	182: Fernando is not exactly saying he loves her.
184	Fiorm. Tis for your prince's sake, then, not for mine?	184: Fiormonda recognizes that Fernando is not speaking in quite the manner of a genuine suitor, and so she deliberately misunderstands his comments.
186	Ferna. For you in him, and much for him in you.
	I must acknowledge, madam, I observe
188	In your affects a thing to me most strange,	= affections^3
	Which makes me so much honour you the more.
190
	Fiorm. Pray, tell it.
192
	Ferna. Gladly, lady:
194	I see how opposite to youth and custom	194-8: Fernando explains how much he admires Fiormonda for properly honoring her deceased husband by observing an appropriate period of mourning, a custom, he says, which few observe any longer. He is desperately trying to avoid an uncomfortable discussion of her love for him.
	You set before you, in the tablature	= a tablet on which something is written or engraved.
196	Of your remembrance, the becoming griefs
	Of a most loyal lady for the loss
198	Of so renowned a prince as was your lord.
200	Fiorm. Now, good my lord, no more of him.
202	Ferna. Of him!	202f: Fernando, perhaps awkwardly, continues to keep the
	I know it is a needless task in me	conversation focused on her dead husband.
204	To set him forth in his deservèd praise;
	You better can record it; for you find
206	How much more he exceeded other men
	In most heroic virtues of account,
208	So much more was your loss in losing him.
	Of him! his praise should be a field too large,	209-211: "I am not a powerful enough speaker to praise your
210	Too spacious, for so mean an orator	husband to the extent he deserves."
	As I to range in.	= roam about in, referring to the field.
212
	Fiorm. Sir, enough: 'tis true	213-9: Fiormonda cleverly turns the direction of the
214	He well deserved your labour. On his deathbed	discussion; since Fernando is not responding to her as
	This ring he gave me, bade me never part	she hoped he would, she decides to take the initiative.
216	With this but to the man I loved as dearly
	As I loved him: yet since you know which way
218	To blaze his worth so rightly, in return	= describe or celebrate^1
	To your deserts wear this for him and me.
220
	[Offers him the ring.]
222
	Ferna. Madam!
224
	Fiorm. ‘Tis yours,
226
	Ferna. Methought you said he charged you
228	Not to impart it but to him you loved
	As dearly as you loved him.
230
	Fiorm. True, I said so,
232
	Ferna. O, then, far be it my unhallowed hand
234	With any rude intrusion should annul
	A testament enacted by the dead!
236
	Fiorm. Why, man, that testament is disannulled
238	And cancelled quite by us that live. Look here,
	My blood is not yet freezed; for better instance,	= congealed^1
240	Be judge yourself; experience is no danger −
	Cold are my sighs; but, feel, my lips are warm.
242
	[Kisses him.]
244
	Ferna. What means the virtuous marquess?	= the title of marquess places Fiormonda one level below that of duchess.^1
246
	Fiorm. To new-kiss	247-8: she transfers the oath she had made to her husband
248	The oath to thee, which whiles he lived was his:	to Fernando by means of a kiss.
	Hast thou yet power to love?
250
	Ferna. To love!
252
	Fiorm. To meet
254	Sweetness of language in discourse as sweet?
256	Ferna. Madam, 'twere dulness past the ignorance
	Of common blockheads not to understand
258	Whereto this favour tends; and 'tis a fortune
	So much above my fate, that I could wish
260	No greater happiness on earth: but know
	Long since I vowed to live a single life.
262
	Fiorm. What was't you said?
264
	Ferna. I said I made a vow −
266
	Enter Bianca, Petruchio, Colona, and D'Avolos.
268
	[Aside] Blessèd deliverance!	269: "I am saved!"
270
	Fiorm. [Aside] Prevented? mischief on this interruption!	= "am I thwarted?" = "curses on", similar to "damn this interruption!"
272
	Bian. My Lord Fernando, you encounter fitly;	= "well met!"
274	I have a suit t'ye.	= "request to make to you"; note that Ford was fond of sprinkling ye's in with his you's in his plays.
276	Ferna. 'Tis my duty, madam,
	To be commanded.
278
	Bian. Since my lord the duke
280	Is now disposed to mirth, the time serves well	= commenting again on the change in the duke's disposition.
	For mediation, that he would be pleased
282	To take the Lord Roseilli to his grace.
	He is a noble gentleman; I dare
284	Engage my credit, loyal to the state; −
	And, sister, one that ever strove, methought,	= ie. addressing Fiormonda, her sister-in-law
286	By special service and obsequious care,
	To win respect from you: it were a part
288	Of gracious favour, if you pleased to join
	With us in being suitors to the duke
290	For his return to court.
292	Fiorm. To court! indeed,	= Fiormonda puns on court, referring to Roseilli's attempts
	You have some cause to speak; he undertook,	to woo, or court, her, which she is not interested in.
294	Most champion-like, to win the prize at tilt,	= in a jousting (or similar) competition; Fiormonda's true unpleasant character begins to display itself in this speech. Her revelation here that Roseilli fought in a competition on Bianca's behalf, rather than on hers, suggests the possibility that jealousy of Bianca caused Fiormonda to snippily reject him.
	In honour of your picture; marry, did he.	= a strong oath, derived from the Virgin Mary.
296	There's not a groom o' the querry could have matched	= equerry, ie. the royal stables.^1
	The jolly riding-man: pray, get him back;	= gallant^1; she is being sarcastic.
298	I do not need his service, madam, I.
300	Bian. Not need it, sister? why, I hope you think	300-2: "Well, I don't need him either, but this is the right
	'Tis no necessity in me to move it,	thing to do."
302	More than respect of honour.
304	Fiorm. Honour! puh!
	Honour is talked of more than known by some.
306
	Bian. Sister, these words I understand not.
308
	Ferna. [Aside] Swell not, unruly thoughts! −	308: Fernando's love for Bianca is so intense that he must
310	Madam, the motion you propose proceeds	warn himself to be careful how he speaks to her.
	From the true touch of goodness; 'tis a plea
312	Wherein my tongue and knee shall jointly strive	= ie. by kneeling in supplication
	To beg his highness for Roseilli's cause.
314	Your judgment rightly speaks him; there is not
	In any court of Christendom a man
316	For quality or trust more absolute.
318	Fiorm. [Aside] How! is't even so?	= Fiormonda is suspicious of Fernando's eager willingness
		to join Bianca.
320	Pet. I shall for ever bless
	Your highness for your gracious kind esteem	= ie. Bianca.
322	Of my disheartened kinsman; and to add	= ie. Roseilli, who previously has been mentioned to be an
	Encouragement to what you undertake,	unspecified relative of Petruchio and Fernando.
324	I dare affirm ‘tis no important fault	324-5: "I am sure he didn't do anything so bad as to deserve
	Hath caused the duke’s distaste,	exile."
326
	Bian. I hope so too.
328
	D’Av. Let your highness, and you all, my lords, take	329ff: As shall soon be clear, D'Avolos is dissembling; he has been scheming all along to keep Roseilli away from the dukedom for as long as possible.
330	advice how you motion his excellency on Roseilli's	= petition.
	behalf; there is more danger in that man than is fit to
332	be publicly reported. I could wish things were
	otherwise for his own sake; but I'll assure ye, you
334	will exceedingly alter his excellency's disposition he	334-5: alter…now is in = "change the duke's mood from
	now is in, if you but mention the name of Roseilli to	good to bad"
336	his ear; I am so much acquainted in the process of
	his actions.
338
	Bian. If it be so, I am the sorrier, sir:
340	I'm loth to move my lord unto offence;
	Yet I'll adventure chiding.	= risk; she will gladly take a chance in upsetting the duke
342		in petitioning for Roseilli's return.
	Ferna. [Aside] O, had I India's gold, I'd give it all
344	T' exchange one private word, one minute's breath,
	With this heart-wounding beauty!	= ie. Bianca
346
	Enter the Duke, Ferentes, and Nibrassa.
348
	Duke. Prithee, no more, Ferentes; by the faith
350	I owe to honour, thou hast made me laugh
	Beside my spleen. − Fernando, hadst thou heard	= "beyond my normal nature"^3; the spleen, among other attributes, was considered the source of any sudden surge of emotion.
352	The pleasant humour of Mauruccio's dotage	= senility.
	Discoursed, how in the winter of his age
354	He is become a lover, thou wouldst swear
	A morris-dance were but a tragedy
356	Compared to that: well, we will see the youth. −	= in the next scene, the duke and his entourage will go spy on the ridiculous Mauruccio; this is the sort of undignified activity which the duke has begun to engage in since he began listening to Ferentes.
	What council hold you now, sirs?	= sir was frequently used to address women as well as men.
358
	Bian. We, my lord,
360	Were talking of the horsemanship in France,
	Which, as your friend reports, he thinks exceeds	= ie. Fernando
362	All other nations.
364	Duke. How! why, have not we
	As gallant riders here?
366
	Ferna. None that I know.
368
	Duke. Pish, your affection leads you; I dare wage	= ie. bias in favor of the French. = ie. wager.
370	A thousand ducats, not a man in France
	Outrides Roseilli.
372
	Fiorm. [Aside] I shall quit this wrong.	372: Fiormonda vows revenge; she is unhappy that
374		everybody is rallying around Roseilli.
	Bian. I said as much, my lord.
376
	Ferna. I have not seen
378	His practice since my coming back.	= engaged in the act of, doing^1 (ie. riding)
380	Duke. Where is he?
	How is't we see him not?
382
	Pet. [Aside] What's this? what's this?	382: Petruchio is confused; as far as he knows, based on D'Avolos' instruction, the order for Roseilli's exile came from the duke.
384
	Ferna. I hear he was commanded from the court.
386
	D’Av. [Aside] O, confusion on this villainous	= ruin; D'Avolos had been hoping the topic of Roseilli
388	occasion!	would never come up again, or at least not so soon.
390	Duke. True; but we meant a day or two at most	390-1: the duke's comments suggest at least a few days
	Should be his furthest term. Not yet returned?	have passed between the previous scene and this one.
392	Where's D'Avolos?
394	D’Av. [Advancing] My lord?
396	Duke. You know our mind:
	How comes it thus to pass we miss Roseilli?
398
	D’Av. My lord, in a sudden discontent I hear he	399-403: D'Avolos is lying.
400	departed towards Benevento, determining, as I	= Benevento is in southern Italy.
	am given to understand, to pass to Seville, minding	= perhaps Roseilli would be understood to plan to sail to
402	to visit his cousin, Don Pedro de Toledo, in the	Seville, which is located in southern Spain.
	Spanish court.
404
	Duke. The Spanish court! now by the blessèd bones
406	Of good Saint Francis, let there posts be sent	= Francis of Assisi (1181-1226). = messengers.
	To call him back, or I will post thy head	= easy pun on post by the duke.
408	Beneath my foot: ha, you! you know my mind;
	Look that you get him back: the Spanish court!
410	And without our commission! −	= the duke is annoyed that Roseilli is (allegedly) traveling without his permission; but he is also clearly angry with D'Avolos for not having carried out his actual instruction to Roseilli.
412	Pet. [Aside] Here's fine juggling!	= deception; Petruchio recognizes that Roseilli is the victim of a ruse of some sort.
414	Bian. Good sir, be not so moved.	= ie. to anger
416	Duke. Fie, fie, Bianca,
	'Tis such a gross indignity; I'd rather
418	Have lost seven years' revenue: − the Spanish court! −	= the duke's sense is, "of all the places for him to go!"
	How now, what ails our sister?	Spain's unpopularity in England at the time this play was written is reflected in the duke's outburst.
420
	Fiorm. On the sudden	421-2: Fiormonda's dismay at Roseilli's return manifests
422	I fall a-bleeding; 'tis an ominous sign,	itself physically with a nose bleed, a sign of bad luck.
	Pray Heaven it turn to good! − Your highness' leave.	= "change to an omen of good".
424
	[Exit.]
426
	Duke. Look to her. − Come, Fernando, − come, Bianca, −
428	Let's strive to overpass this choleric heat. −	= endure.^1 = hot and dry.^1
	[To D'Avolos] Sirrah, see that you trifle not. − How we	429: Sirrah = term of address expressing contempt. trifle = delay, waste time. 429-431: How we…agents! = "It is amazing how we who
430	Who sway the manage by authority	rule (sway) can be misled (abused) by flattering
	May be abused by smooth officious agents! −	(smooth) deputies (agents) who assert their authority in minor matters in over-zealous or pompous ways (officious)."^1The duke is clearly unhappy with D'Avolos.
432	But look well to our sister.
434	[Exeunt all but Petruchio and Fernando.]
436	Pet. Nephew, please you	436-7: Petruchio reminds Fernando of their planned
	To see your friend to-night?	meeting with Roseilli. Dyce notes the inconsistency in the amount of time which supposedly passed between this scene and the last one: while Petruchio's question here clearly suggests it is the same day as the one the play opened with, the duke's earlier comment (lines 390-1) indicates several days have passed!^12
438
	Ferna. Yes, uncle, yes.
440
	[Exit Petruchio.]
442
	Thus bodies walk unsouled! mine eyes but follow	443-6: an interesting extended metaphor in which Fernando compares his own body to one that is dead and buried.
444	My heart entombed in yonder goodly shrine:	= Bianca has his heart; in medieval times and even beyond, monarchs' organs, including their hearts, were sometimes buried separately from their bodies. Richard I's heart is buried at Rouen, his body at Fontevraud; most of the Austrian Hapsburgs' bodies are buried in the Capuchin Church in Vienna, but their hearts and internal organs are encased in cylindrical urns at St. Stephen's Cathedral, which one can see during the highly-recommended crypt- tour.
	Life without her is but death's subtle snares,	445-6: the ends of scenes are frequently signaled with a
446	And I am but a coffin to my cares.	rhyming couplet, as here.
448	[Exit.]
	ACT II.
	SCENE I.
	A Room in Mauruccio's House.
	Mauruccio looking in a glass, trimming his beard;	Entering Characters: Mauruccio is the play's stock comic
	Giacopo brushing him.	character, a self-loving, older courtier, who does not realize how others perceive and mock him; Giacopo is Mauruccio's servant. glass = mirror
1	Maur. Beard, be confined to neatness, that no hair	1ff: Mauruccio, as a comic figure, generally speaks in prose; however, he will frequently, as here, lapse into self- conscious attempts at verse, which are always absurd.
2	May stover up to prick my mistress' lip,	= bristle up.^1
	More rude than bristles of a porcupine. −
4	Giacopo!
6	Gia. My lord?
8	Maur. Am I all sweet behind?	= ie. agreeable, pleasing^1 (referring his clothing)
10	Gia. I have no poulterer's nose; but your apparel	= poultry seller; Giacopo makes an easy pun on sweet
	sits about you most debonairly.	behind.
12
	Maur. But, Giacopo, with what grace do my words
14	proceed out of my mouth? Have I a moving
	countenance? is there harmony in my voice?
16	canst thou perceive, as it were, a handsomeness
	of shape in my very breath, as it is formed into
18	syllables, Giacopo?
20	Enter above Duke, Bianca, Fiormonda, Fernando,	= the characters secretly enter onto the balcony at the
	Courtiers, and Attendants.	back of the stage; technically speaking, we may wonder how all these people could enter Mauruccio's house and spy on him unnoticed, but the demands of the plot outweigh Ford's need for realism. Perhaps Ferentes bribed one of Mauruccio's other servants to let them in.
22
	Gia. Yes, indeed, sir, I do feel a savour as pleasant as −
24	[Aside] a glister-pipe − calamus, or civet.	24: glister-pipe = a tube for administering enemas.^3 calamus = an eastern aromatic plant.^1 civet = a musky perfume derived from the civet cat.^2 Note that Giacopo's aside is spoken for the audience's amusement; he is likely referring back to Mauruccio's behind.
26	Duke. Observe him, and be silent.
28	Maur. Hold thou the glass, Giacopo, and mark me	28f: Mauruccio indicates that he is interested in the newly- widowed Fiormonda. 28ff: note also that Mauruccio appropriately addresses his servant as "thee", while Giacopo uses the formal and respectful "you" in addressing his master.
	with what exceeding comeliness I could court the
30	lady marquess, if it come to the push.	= ie. if push comes to shove
32	Duke. Sister, you are his aim.
34	Fiorm. A subject fit
	To be the stale of laughter!	= object of ridicule^1
36
	Bian. That's your music.	37: a snide remark from Bianca.
38
	Maur. Thus I reverse my pace, and thus stalking in	39-40: Mauruccio is practicing his courtly walk.
40	courtly gait, I advance one, two, and three. − Good!
	I kiss my hand, make my congee, settle my	= formal bow.
42	countenance, and thus begin. − Hold up the	= comportment.^1
	glass higher, Giacopo.
44
	Gia. Thus high, sir?
46
	Maur. 'Tis well; now mark me.	= pay attention to
48
	“Most excellent marquéss, most fair la-dý,	49-54: Mauruccio practices some very awkward verse with
50	Let not old age or hairs that are sil-vér	which he will address Fiormonda; the lines are in iambic
	Disparage my desire; for it may be	pentameter (stress on every second syllable), but note
52	I am than other green youth nimble-ér.	the clunkiness of many of the line-endings: the dashes
	Since I am your gracé’s servánt so true,	in the last words indicate Mauruccio is artlessly
54	Great lady, then, love me for my vir-túe.”	forcing the final syllables to be stressed.
56	O, Giacopo, Petrarch was a dunce, Dante a jig-maker,	56: Petrarch = 14th century Italian poet and humanist. Dante = poet and author of The Divine Comedy. jig-maker = composer of jigs.
	Sanazzar a goose, and Ariosto a puck-fist to me! I	57: Sanazzar = Jacopo Sannazaro (1458-1530), Italian poet. Ariosto = Ludovico Ariosto (1474-1533), Italian poet. puck-fist = empty boaster, derived from the term for the puffball fungus.^3 to = compared to.
58	tell thee, Giacopo, I am rapt with fury; and have
	been for these six nights together drunk with the
60	pure liquor of Helicon.	= Mount Helicon, located in Boeotia in central Greece, was the traditional home of the nine Muses, the goddesses who acted as the protectors of the arts. The rivers that flowed down from the mountain were thought to have the attribute of inspiration. All the major ancient epics poems - the Iliad, Odyssey, and Aeneid - all begin with an invocation by the authors to the Muse of Poetry to help them tell their stories. Mauruccio's reference to Helicon thus suggests his work on his poetry (Murray, p. 157).^10
62	Gia. I think no less, sir; for you look as wild, and
	talk as idly, as if you had not slept these nine years.
64
	Duke. What think you of this language, sister?
66
	Fiorm. Sir,
68	I think in princes' courts no age nor greatness	= neither.
	But must admit the fool; in me 'twere folly	= has any choice but to consent to keep company with.^2
70	To scorn what greater states than I have been.	70: "to reject what persons of higher rank (states) than I would eagerly accept."^3
72	Bian. O, but you are too generál −
74	Fiorm. A fool!	74: Fiormonda completes Bianca's sentence.
	I thank your highness: many a woman's wit
76	Have thought themselves much better was much worse.	= who have
78	Bian. You still mistake me.	78: by interrupting Bianca, Fiormonda has misunderstood
		Bianca's intended meaning.
80	Duke. Silence! note the rest.
82	Maur. God-a'mercy, brains! Giacopo, I have it.
84	Gia. What, my lord?
86	Maur. A conceit, Giacopo, and a fine one − down on	= idea
	thy knees, Giacopo, and worship my wit. Give me
88	both thy ears. Thus it is; I will have my picture
	drawn most composituously, in a square table of	= harmoniously.^1 = canvas.^3
90	some two foot long, from the crown of the head to
	the waist downward, no further.
92
	Gia. Then you'll look like a dwarf, sir, being cut off
94	by the middle.
96	Maur. Speak not thou, but wonder at the conceit that
	follows. In my bosom, on my left side, I will have a
98	leaf of blood-red crimson velvet − as it were part of
	my doublet − open; which being opened, Giacopo, −	= the traditional Elizabethan upper garment
100	now mark! − I will have a clear and most transparent
	crystal in the form of a heart. − Singular-admirable! –
102	When I have framed this, I will, as some rare	= excellent.
	outlandish piece of workmanship, bestow it on the	= bizarre or strange, or of foreign origin.^1
104	most fair and illustrious Lady Fiormonda.
106	Gia. But now, sir, for the conceit.	106: "so tell me the great idea."
108	Maur. Simplicity and ignorance, prate no more!
	blockhead, dost not understand yet? Why, this being
110	to her instead of a looking-glass, she shall no oftener	= ie. the crystal of line 101 may be used as, or enclose, a mirror.
	powder her hair, surfle her cheeks, cleanse her teeth,	= to paint with cosmetics.^1
112	or conform the hairs of her eyebrows, but having
	occasion to use this glass − which for the rareness
114	and richness of it she will hourly do − but she shall
	as often gaze on my picture, remember me, and
116	behold the excellence of her excellency's beauty
	in the prospective and mirror, as it were, in my heart.	= a prospective glass was a magic glass in which one could
118		see events that were occurring elsewhere or in the future.^1
	Gia. Ay, marry, sir, this is something.
120
	All above except Fiorm. Ha, ha, ha!
122
	[Exit Fiormonda.]
124
	Bian. My sister's gone in anger.
126
	Maur. Who's that laughs? search with thine eyes,
128	Giacopo.
130	Gia. O, my lord, my lord, you have gotten an
	everlasting fame! the duke's grace, and the duchess'
132	grace, and my Lord Fernando's grace, with all the
	rabble of courtiers, have heard every word; look	= mob or throng^1
134	where they stand! Now you shall be made a count
	for your wit, and I lord for my counsel.
136
	Duke. Beshrew the chance! we are discoverèd.	= "curse our (bad) luck!"
138
	Maur. Pity − O, my wisdom! I must speak to them. −
140	O, duke most great, and most renownèd duchess!
	Excuse my apprehensión, which not much is;	= understanding^1
142	'Tis love, my lord, that's all the hurt you see;
	Angelica herself doth plead for me.	= likely reference to a character in the influential chivalric romance poem Orlando Furioso, written by the Italian Ludovico Ariosto in the early 16th century. Angelica drives her beloved, the great knight Orlando, mad when she elopes with a Moor. The poem, and Angelica herself, are referenced in Cervantes' Don Quixote, which was available in English in 1620. Mauruccio is suggesting that even this famously capricious and hurtful woman pleads for his pardon.
144
	Duke. We pardon you, most wise and learnèd lord;	145ff: the duke's tone, which Mauruccio naturally does not
146	And, that we may all glorify your wit,	recognize, is gently mocking.
	Entreat your wisdom's company to-day
148	To grace our table with your grave discourse:
	What says your mighty eloquence?
150
	Maur. Giacopo, help me; 'his grace has put me	151-3: Mauruccio is at a loss for words, no doubt surprised
152	out of my own bias, and I know not what to answer	by the appearance of the duke in his private chambers!
	in form.	151-2: put me…bias = "confused or disconcerted me".^1 The term bias was used in the game of bowls (which was something like bocce) to describe the tendency of the ball to curve as it rolled, due to an asymmetrical weight contained within.
154
	Gia. Ud's me, tell him you'll come.	= "my God"
156
	Maur. Yes, I will come, my lord the duke, I will.
158
	Duke. We take your word, and wish your honour health. −
160	Away, then! come, Bianca, we have found
	A salve for melancholy, − mirth and ease.
162
	[Exit the Duke followed by all
164	but Bianca and Fernando.]
166	Bian. I'll see the jolly lover and his glass
	Take leave of one another.
168
	Maur. Are they gone?
170
	Gia. O, my lord, I do now smell news.	171: ie. "I think I know what's going on."
172
	Maur. What news, Giacopo?
174
	Gia. The duke has a smackering towards you, and	= inclination (to show favour).^1
176	you shall clap-up with his sister the widow suddenly.	= settle (a match).^1
178	Maur. She is mine, Giacopo, she is mine! Advance
	the glass, Giacopo, that I may practise, as I pass, to walk
180	a portly grace like a marquis, to which degree I am
	now a-climbing.
182	Thus do we march to honour's haven of bliss,	182-3: Mauruccio invented the first line, but borrowed the
	To ride in triumph through Persepolis.	second line from Christopher Marlowe's Tamburlaine the Great, Part I, Act II, v.^12
184
	[Exit Giacopo, going backward with the glass,
186	followed by Mauruccio complimenting.]	= ie. practicing courtly mannerisms
188	Bian. Now, as I live, here's laughter
	Worthy our presence! I'll not lose him so.
190
	[Going.]
192
	Ferna. Madam, −
194
	Bian. To me, my lord?
196
	Ferna. Please but to hear
198	The story of a castaway in love;
	And, O, let not the passage of a jest
200	Make slight a sadder subject, who hath placed	= more serious
	All happiness in your diviner eyes!
202
	Bian. My lord, the time −
204
	Ferna. The time! yet hear me speak
206	For I must speak or burst: I have a soul
	So anchored down with cares in seas of woe,
208	That passion and the vows I owe to you
	Have changed me to a lean anatomy:	= walking skeleton^1
210	Sweet princess of my life, −
212	Bian. Forbear, or I shall −
214	Ferna. Yet, as you honour virtue, do not freeze
	My hopes to more discomfort than as yet
216	My fears suggest; no beauty so adorns	216-8: no beauty…pity = "the capability to feel pity is
	The composition of a well-built mind	a better accessory to a superior mind than physical
218	As pity: hear me out.	beauty."
220	Bian. No more! I spare
	To tell you what you are, and must confess
222	Do almost hate my judgment, that it once
	Thought goodness dwelt in you. Remember now,
224	It is the third time since your treacherous tongue	224-5: the reason for Fernando's anguish earlier in the play becomes clear: he has been with both great longing and great guilt wooing the duchess regularly since she came to Pavia!
	Hath pleaded treason to my ear and fame;
226	Yet, for the friendship 'twixt my lord and you,	= in respect of.
	I have not voiced your follies: if you dare	= ie. told the duke of.
228	To speak a fourth time, you shall rue your lust;
	Tis all no better: − learn and love yourself.	= proverbial for "look to your own best interests".
230
	[Exit.]
232
	Ferna. Gone! O, my sorrows! how am I undone!
234	Not speak again? no, no, in her chaste breast
	Virtue and resolution have discharged	= ie. the sense is "removed from her disposition".
236	All female weakness: I have sued and sued,
	Knelt, wept, and begged; but tears and vows and words
238	Move her no more than summer-winds a rock.
	I must resolve to check this rage of blood,	= "restrain this violent passion"
240	And will: she is all icy to my fires,
	Yet even that ice inflames in me desires.
242
	[Exit.]
	ACT II, SCENE II.
	A Room in Petruchio's House.
	Enter Petruchio and Roseilli.
1	Ros. Is't possible the duke should be so moved?	= ie. to anger, against D'Avolos
2
	Pet. 'Tis true; you have no enemy at court
4	But her for whom you pine so much in love;	= ie. Fiormonda.
	Then master your affections: I am sorry	= "control or restrain your passion".
6	You hug your ruin so. −
	What say you to the project I proposed?
8
	Ros. I entertain it with a greater joy
10	Than shame can check.	= restrain
12	Enter Fernando.
14	Pet. You're come as I could wish;
	My cousin is resolved.	15: "my kinsman (ie. Roseilli) has decided (to go along with our plan."
16
	Ferna. Without delay
18	Prepare yourself, and meet at court anon,	= shortly.
	Some half-hour hence; and Cupid bless your joy!	= the god of love, appropriately enough.
20
	Ros. If ever man was bounden to a friend, −
22
	Ferna. No more; away!
24
	[Exeunt Petruchio and Roseilli.]
26
	Love's rage is yet unknown;	27-45: Fernando engages in a soliloquy.
28	In his − ay me! − too well I feel my own! −
	So, now I am alone; now let me think.
30	She is the duchess; say she be; a creature	30: She is…she be = "Let's say Bianca is a duchess; so what?"
	Sewed-up in painted cloth might so be styled;	= ie. covered in a disguise (of a duchess). = called.
32	That's but a name: she's married too; she is,
	And therefore better might distinguish love:	= "discern true love when she sees it"
34	She's young and fair; why, madam, that's the bait
	Invites me more to hope: she's the duke's wife;
36	Who knows not this? − she's bosomed to my friend;	36-38: she's bosomed…speak = having completed his list of reasons for optimism, Fernando now itemizes why his attempts to woo Bianca are doomed to failure. bosomed = intimate. my friend = ie. the duke, to whom she is married.
	There, there, I am quite lost: will not be won;
38	Still worse and worse: abhors to hear me speak;
	Eternal mischief! I must urge no more;	= ie. "press my suit".
40	For, were I not be-lepered in my soul,	= one of the great words of Elizabethan literature, and a
	Here were enough to quench the flames of hell.	Ford original.
42	What then? pish! if I must not speak, I'll write.
	Come, then, sad secretary to my plaints,	43-44: Fernando apostrophizes to a love letter he has written to Bianca. plaints = lamentations.
44	Plead thou my faith, for words are turned to sighs.
	What says this paper?
46
	[Takes out a letter, and reads.]
48
	Enter D’Avolos behind with two pictures.	= portraits; a convention of Elizabethan drama allowed characters to sneak up on and spy on others without being seen, as D'Avolos will do with Fernando here.
50
	D’Av. [Aside] Now is the time. Alone? reading a
52	letter? good; how now! striking his breast! what,
	in the name of policy, should this mean? tearing	= intrigue.^2
54	his hair! passion; by all the hopes of my life,	= "this suggests great emotion".
	plain passion! now I perceive it. If this be not
56	a fit of some violent affection, I am an ass in	= intense love
	understanding; why, 'tis plain, − plainer and
58	plainer; love in the extremest. O, for the party	58-59 for the party who, now: "if I could only figure out who he is in love with!"
	who, now! The greatness of his spirits is too high	59-60: The greatness…stuff = Fernando is of too noble a nature to be satisfied with any ordinary woman.
60	cherished to be caught with some ordinary stuff,
	and if it be my Lady Fiormonda, I am strangely
62	mistook. Well, that I have fit occasion soon to	= opportunity
	understand. I have here two pictures newly drawn,
64	to be sent for a present to the Abbot of Monaco,
	the duchess' uncle, her own and my lady's: I'll	= ie. one picture of the duchess and one of Fiormonda.
66	observe which of these may, perhaps, bewray	= betray.
	him − he turns about. − My noble lord! −
68
	Ferna. You're welcome, sir; I thank you.
70
	D’Av. Me, my lord! for what, my lord?
72
	Ferna. Who's there? I cry you mercy, D'Avolos,
74	I took you for another; pray, excuse me.
	What is't you bear there?
76
	D’Av. No secret, my lord, but may be imparted to
78	you: a couple of pictures, my good lord, − please
	you see them?
80
	Ferna. I care not much for pictures; but whose are they?
82
	D’Av. The one is for my lord's sister, the other is the	= of
84	duchess.
86	Ferna. Ha, D'Avolos! the duchess's?	86: perhaps Fernando jumps a bit at the mention of the
		duchess.
88	D’Av. Yes, my lord. − [Aside] Sure, the word startled
	him: observe that.
90
	Ferna. You told me, Master Secretary, once,
92	You owed me love.
94	D’Av. Service, my honoured lord; howsoever you	94-95: D'Avolos qualifies the level of obligation he feels
	please to term it.	he committed himself to Fernando, but allows it is just a matter of semantics anyway.
96
	Ferna. 'Twere rudeness to be suitor for a sight;	97: very indirectly, Fernando requests permission to see
98	Yet trust me, sir, I'll be all secret.	the portraits: "it would be ignorant or barbarous to beg to see a picture, but I won't tell anyone if you show me."
100	D’Av. I beseech your lordship; − they are, as I am,
	constant to your pleasure.
102
	[Shows Fiormonda's picture.]
104
	This, my lord, is the widow marquess's, as it now
106	newly came from the picture-drawer's, the oil yet
	green: a sweet picture; and, in my judgment, art	= noticeably fresh or recent^1
108	hath not been a niggard in striving to equal the
	life. Michael Angelo himself needed not blush	= Michelangelo (1475-1564)
110	to own the workmanship.
112	Ferna. A very pretty picture; but, kind signior,
	To whose use is it?
114
	D’Av. For the duke's, my lord, who determines to
116	send it with all speed as a present to Paul Baglione,	= full name of the duchess' uncle, the abbot.
	uncle to the duchess, that he may see the riches of
118	two such lustres as shine in the court of Pavy.
120	Ferna. Pray, sir, the other?
122	D’Av. [Shows Bianca's picture.] This, my lord, is
	for the duchess Bianca: a wondrous sweet picture,	= of
124	if you well observe with what singularity the
	artsman hath strove to set forth each limb in
126	exquisitest proportion, not missing a hair.	= harmony or relation^1
128	Ferna. A hair!
130	D’Av. She cannot more formally, or − if it may be
	lawful to use the word − more really, behold her	= ie. with a greater sense of reality - a more literal interpretation of the adverb really. But why would D'Avolos wonder if it may be lawful to use the word? A clue may be that really was frequently used to describe the real presence of Christ in the Eucharist; and so D'Avolos feels the need to excuse himself for possibly committing some kind of philological blasphemy (See OED def. 1 of really).^1
132	own symmetry in her glass than in taking a sensible	= ie. well-proportioned form.^1 = mirror.
	view of this counterfeit. When I first saw it, I verily	= common term for "portrait".
134	almost was of a mind that this was her very lip.
136	Ferna. Lip!
138	D’Av. [Aside] How constantly he dwells upon this	138ff: note that D'Avolos switches back and forth between speaking in asides, for the audience's benefit, and speaking to Fernando, to whom he dissembles.
	portraiture! − Nay, I'll assure your lordship there is
140	no defect of cunning − [Aside] His eye is fixed as if	= skill.^3
	it were incorporated there. − Were not the party	= united, in one body with.^2
142	herself alive to witness that there is a creature
	composed of flesh and blood as naturally enriched
144	with such harmony of admirable beauty as is here
	artificially counterfeited, a very curious eye might	= attentive^1
146	repute it as an imaginary rapture of some
	transported conceit, to aim at an impossibility;	= swept-away conceptualization
148	whose very first gaze is of force almost to persuade
	a substantial love in a settled heart.
150
	Ferna. Love! heart!
152
	D’Av. My honoured lord, −
154
	Ferna. O Heavens!
156
	D’Av. [Aside] I am confirmed. − What ails your	= D'Avolos' suspicions are confirmed: he can now inform
158	lordship?	Fiormonda that Fernando loves the duchess.
160	Ferna. You need not praise it, sir; itself is praise. −
	[Aside] How near had I forgot myself! − I thank you.
162	'Tis such a picture as might well become
	The shrine of some faned Venus; I am dazzled	= enshrined.^1
164	With looking on't: − pray, sir, convey it hence.	= "please get it out of here!"
166	D’Av. I am all your servant. − [Aside] Blessed,
	blessed discovery! − Please you to command me?
168
	Ferna. No, gentle sir. − [Aside] I'm lost beyond my senses. −
170	D'ye hear, sir? good, where dwells the picture-maker?
172	D’Av. By the castle's farther drawbridge, near
	Galiazzo's statue; his name is Alphonso Trinultio. –	= Galiazzo probably refers to Gian Galeazzo Visconti (1351-1402), the great Milanese leader whose father built Visconti Castle in Pavia.^11The identity of Alphonso Trinultio is unclear; of course, Ford could have made him up.
174	[Aside] Happy above all fate!
176	Ferna. You say enough; my thanks t'ye!
178	[Exit D’Avolos.]
180	− Were that picture
	But rated at my lordship, 'twere too cheap.	= valued as high as.
182	I fear I spoke or did I know not what;	182: Fernando recognizes he may have revealed his
	All sense of providence was in mine eye.	feelings to D'Avolos.
184
	Enter Ferentes, Mauruccio, and Giacopo.
186
	Feren. [Aside] Youth in threescore years and ten! −	187f: Ferentes is making fun of the elderly Mauruccio, who
188	Trust me, my Lord Mauruccio, you are now younger	is acting like a much younger man - that is, foolishly.
	in the judgment of those that compare your former
190	age with your latter by seven-and-twenty years
	than you were three years ago: by all my fidelity,	= Ferentes swears by his loyalty - which for him is an oath
192	'tis a miracle! the ladies wonder at you.	without value.
194	Maur. Let them wonder; I am wise as I am courtly.
196	Gia. The ladies, my lord, call him the green broom	= green suggests immature, inexperienced and naïve.^1
	of the court, − he sweeps all before him, − and swear he
198	has a stabbing wit: it is a very glister to laughter.	= enema (usually written as clyster)^1
200	Maur. Nay, I know I can tickle 'em at my pleasure; I
	am stiff and strong, Ferentes.
202
	Gia. [Aside] A radish-root is a spear of steel in	203-4: while Mauruccio's last comment may or may not
204	comparison of I know what.	have been intended to be dirty, Giacopo certainly has
		interpreted it to be so.
206	Feren. The marquess doth love you.
208	Maur. She doth love me.
210	Feren. And begins to do you infinite grace,
	Mauruccio, infinite grace.
212
	Ferna. I'll take this time. − [Comes forward] Good	= "I'll do what I have to do now."
214	hour, my lords, to both!
216	Maur. Right princely Fernando, the best of the	216ff: Mauruccio's attempts at high courtly language are
	Fernandos; by the pith of generation, the man I look	humorously ridiculous.
218	for. His highness hath sent to find you out: he is
	determined to weather his own proper individual
220	person for two days' space in my Lord Nibrassa's
	forest, to hunt the deer, the buck, the roe, and eke	= also: an archaic word used by Mauruccio to elevate his language.
222	the barren doe.	= ie. not pregnant.
224	Ferna. Is his highness preparing to hunt?
226	Maur. Yes, my lord, and resolved to lie forth for the
	breviating the prolixity of some superfluous	= abbreviating.^1 = protractedness.^1
228	transmigration of the sun's double cadence to the	= movement.^1 = perhaps meaning falling.^1
	western horizon, my most perspicuous good lord.	= distinguished.^1
230
	Ferna. O, sir, let me beseech you to speak in your
232	own mother tongue. − [Aside] Two days' absence,	232-3 Fernando's aside: he is happy to learn the duke will be away for two days - this will give him a good oppor- tunity to approach Bianca once again.
	well. – My Lord Mauruccio, I have a suit t'ye, −	= petition, favor to ask.
234
	Maur. My Lord Fernando, I have a suit to you.
236
	Ferna. That you will accept from me a very choice
238	token of my love: will you grant it?
240	Maur. Will you grant mine?
242	Ferna. What is't?
244	Maur. Only to know what the suit is you please to
	prefer to me.
246
	Ferna. Why, 'tis, my lord, a fool.	= while fool could mean a traditional jester, Fernando here means an idiot or simpleton.
248
	Maur. A fool!
250
	Ferna. As very a fool as your lordship is − hopeful to	251-2: Fernando likely pauses at the dash to let the insult
252	see in any time of your life.	sink in for the audience's benefit; but then continues
		the sentence so as to remove the insult.
254	Gia. Now, good my lord, part not with the fool on
	any terms.
256
	Maur. I beseech you, my lord, has the fool qualities?
258
	Ferna. Very rare ones: you shall not hear him	259f: Fernando's humorous double-talk impresses the credulous Mauruccio; rare = excellent.
260	speak one wise word in a month's converse; passing
	temperate of diet, for, keep him from meat four-and-
262	twenty hours, and he will fast a whole day and a
	night together; unless you urge him to swear, there
264	seldom comes an oath from his mouth; and of a
	fool, my lord, to tell ye the plain truth, had he but
266	half as much wit as you, my lord, he would be in
	short time three-quarters as arrant wise as your	= downright, absolutely^2
268	lordship.
270	Maur. Giacopo, these are very rare elements in a
	creature of little understanding. O, that I long to
272	see him!
274	Ferna. A very harmless idiot; − and, as you could
	wish, look where he comes.
276
	Enter Petruchio, and Roseilli dressed like a Fool.	= ie. in the outfit of an idiot, specifically referring to a long petticoat worn by the mentally defective.^12 It was a convention of the Elizabethan stage that disguises such as this were absolutely impenetrable to other characters.
278
	Pet. Nephew, here is the thing you sent for. − Come
280	hither, fool; come, 'tis a good fool.
282	Ferna. Here, my lord, I freely give you the fool; pray
	use him well for my sake.
284
	Maur. I take the fool most thankfully at your hands,
286	my lord. − Hast any qualities, my pretty fool? wilt
	dwell with me?
288
	Ros. A, a, a, a, ay.	289ff: an Elizabethan audience would have been more entertained by Roseilli's impersonation of a retarded man than would a more sensitive modern one.
290
	Pet. I never beheld a more natural creature in my	= idiotic
292	life.
294	Ferna. Uncle, the duke, I hear, prepares to hunt;
	Let's in and wait. − Farewell, Mauruccio.
296
	[Exeunt Fernando and Petruchio.]
298
	Maur. Beast that I am, not to ask the fool's name! 'tis
300	no matter; fool is a sufficient title to call the greatest
	lord in the court by, if he be no wiser than he.
302
	Gia. O, my lord, what an arrant excellent pretty
304	creature 'tis! − Come, honey, honey, honey, come!	304: Giacopo talks to the fool as if he were a dog.
306	Feren. You are beholding to my Lord Fernando for
	this gift.
308
	Maur. True. O, that he could but speak methodically!
310	− Canst speak, fool?
312	Ros. Can speak; de e e e −
314	Feren. Tis a present for an emperor. What an
	excellent instrument were this to purchase a
316	suit or a monopoly from the duke's ear!	= in England, monopolies had been traditionally handed out to favorites or sold by the crown, and were equally traditionally resented; the Statute of Monopolies (1624) revoked most monopolies, with an important exception for new ideas – making it the first patent law. As our play takes place in Italy, Ford could suggest that an individual could "buy" a monopoly from the duke.
318	Maur. I have it, I am wise and fortunate. − Giacopo,	= ie. a great idea
	I will leave all conceits, and instead of my picture,
320	offer the lady marquess this mortal man of weak
	brain.
322
	Gia. My lord, you have most rarely bethought you;	323-6: Giacopo is also able to insult Mauruccio without the
324	for so shall she no oftener see the fool but she shall	latter being aware of it.
	remember you better than by a thousand looking-
326	glasses.
328	Feren. She will most graciously entertain it.
330	Maur. I may tell you, Ferentes, there's not a great
	woman amongst forty but knows how to make sport
332	with a fool. − Dost know how old thou art, sirrah?
334	Ros. Dud − a clap cheek for nown sake, gaffer;	= a modest title of address: OED suggests it is equal to
	hee e e e e.	"my good fellow."
336
	Feren. Alas, you must ask him no questions, but clap	= pat affectionately^2
338	him on the cheek; I understand his language: your
	fool is the tender-heartedest creature that is.
340
	Enter Fiormonda and D’Avolos in close conversation.
342
	Fiorm. No more; thou hast in this discovery	= revelation (of Fernando's infatuation with Bianca)
344	Exceeded all my favours, D'Avolos.
	Is't Mistress Madam Duchess? brave revenge!	= excellent
346
	D’Av. But had your grace seen the infinite appetite
348	of lust in the piercing adultery of his eye, you
	would −
350
	Fiorm. Or change him, or confound him: prompt dissembler!	= either. = ruin.
352	Is here the bond of his religious vow?	= Fernando, we remember, had told her he had taken a vow of celibacy.
	And that, “now when the duke is rid abroad,	353-4: it appears Fernando has (off-stage) excused himself
354	My gentleman will stay behind, is sick − or so"?	from accompanying the duke on his hunting trip by claiming his valet was ill.
356	D’Av. "Not altogether in health;" it was the excuse
	he made.
358
	Maur. [Seeing them] Most fit opportunity! her grace
360	comes just i' the nick; let me study.	= right time; but nick was also used during this period as
		slang for a woman's genitals.^1 study = undertake to do something.^1
362	Feren. Lose no time, my lord.
364	Gia. To her, sir.
366	Maur. Vouchsafe to stay thy foot, most Cynthian hue,	366-9: more absurd verse from Mauruccio; note the a-b-a-b rhyming scheme. Cynthian hue = pale as the moon; Cynthia was the poetic name of the moon, personified as a goddess.
	And from a creature ever vowed thy servant
368	Accept this gift, most rare, most fine, most new;
	The earnest penny of a love so fervent.	= ie. small sample or token
370
	Fiorm. What means the jolly youth?	= referring to Mauruccio, teasing
372
	Maur. Nothing, sweet princess, but only to present
374	your grace with this sweet-faced fool; please you to
	accept him to make you merry: I'll assure your
376	grace he is a very wholesome fool.
378	Fiorm. A fool! you might as well ha' given yourself.
	Whence is he?	= from where
380
	Maur. Now, just very now, given me out of special
382	favour by the Lord Fernando, madam.
384	Fiorm. By him? well, I accept him; thank you for't:
	And, in requital, take that toothpicker;	= toothpick; the most recent citation in the OED with the
386	'Tis yours.	word toothpicker in it was in 1707.
388	Maur. A toothpicker! I kiss your bounty: no quibble	388-9: no quibble now?= Mauruccio may be humorously
	now? − And, madam,	wondering if the toothpick is meant to suggest something unflattering about his "manhood".
390	If I grow sick, to make my spirits quicker,	= more alive.
	I will revive them with this sweet toothpicker.
392
	Fiorm. Make use on't as you list. − Here D'Avolos,	= desire
394	Take in the fool.
396	D’Av. Come, sweetheart, wilt along with me?
398	Ros. U u umh, − u u mh, − wonnot, wonnot − u u umh.
400	Fiorm. Wilt go with me, chick?	= child (term of endearment)^1
402	Ros. Will go, te e e − go will go −
404	Fiorm. Come D'Avolos, observe to-night; 'tis late:
	Or I will win my choice, or curse my fate.	= either. = ie. Fernando.
406
	[Exeunt Fiormonda, Roseilli, and D’Avolos.]
408
	Feren. This was wisely done, now. 'Sfoot, you
410	purchase a favour from a creature, my lord, the
	greatest king of the earth would be proud of.
412
	Maur. Giacopo! −
414
	Gia. My lord?
416
	Maur. Come behind me, Giacopo: I am big with	= ie. swelling, but perhaps also suggestive
418	conceit, and must be delivered of poetry in the
	eternal commendation of this gracious toothpicker:
420	− but, first, I hold it a most healthy policy to make
	a slight supper –
422	For meat's the food that must preserve our lives,
	And now's the time when mortals whet their knives −	= sharpen
424	on thresholds, shoe-soles, cart-wheels, &c. − Away,
	Giacopo!
426
	[Exeunt.]
	ACT II, SCENE III.
	The Palace.
	Bianca's Apartment.
	Enter Colona with Lights, Bianca, Fiormonda, Julia,	= ie. candles, indicating the scene takes place at night.
	Fernando, and D’Avolos; Colona places the lights
	on a table, and sets down a chess-board.
1	Bian. Tis yet but early night, too soon to sleep:
2	Sister, shall's have a mate at chess?	= ie. play a game
4	Fiorm. A mate!
	No, madam, you are grown too hard for me;
6	My Lord Fernando is a fitter match.	6: a snide comment on Fernando's attraction to the duchess.
8	Bian. He's a well-practised gamester: well, I care not	= frequenter of games, but also meaning a promiscuous person.^1 Bianca would not know that Fiormonda has made a gibe at her, but she has her own reasons to make one at Fernando herself.
	How cunning soe'er he be. − To pass an hour
10	I'll try your skill, my lord: reach here the chess-board.
12	D’Av. [Aside] Are you so apt to try his skill, madam
	duchess? Very good!
14
	Ferna. I shall bewray too much my ignorance	= reveal
16	In striving with your highness; 'tis a game
	I lose at still by oversight.	= ie. making a mistake
18
	Bian. Well, well,
20	I fear you not; let's to't.
22	Fiorm. You need not, madam.
24	D’Av. [Aside to Fiormonda] Marry, needs she not;
	how gladly will she to't! 'tis a rook to a queen she	= ie. "I'll wager", suggesting a high-probability bet. D'Avolos' double-meaning in this speech is obvious.
26	heaves a pawn to a knight's place; by'r lady, if all be	= raises.^2
	truly noted, to a duke's place; and that's beside the	27-28: that's beside the play = ie. "and I am not even
28	play, I can tell ye.	talking about the game of chess they are playing."
30	[Fernando and Bianca play.]
32	Fiorm. Madam, I must entreat excuse; I feel
	The temper of my body not in case	= good (enough) condition^1
34	To judge the strife.
36	Bian. Lights for our sister, sirs! −	36: "get Fiormonda a candle!"
	Good rest t'ye; I'll but end my game and follow.
38
	Fiorm. [Aside to D’Avolos]
40	Let 'em have time enough; and, as thou canst,
	Be near to hear their courtship, D'Avolos.
42
	D’Av. [Aside to Fiormonda] Madam, I shall observe
44	'em with all cunning secrecy.
46	Bian. Colona, attend our sister to her chamber.	= Petruchio's daughter Colona, we remember, is a lady-in-
		waiting of Bianca's.
48	Col. I shall, madam.
50	[Exit Fiormonda, followed by Colona,
	Julia, and D’Avolos.]
52
	Bian. Play.
54
	Ferna. I must not lose th’ advantage of the game:
56	Madam, your queen is lost.
58	Bian. My clergy help me!	= bishops (chess). Having first explained the meaning of clergy, the 19th century editor Alexander Dyce writes here in his edition of the play, with his usual entertaining sarcasm, "those who understand the game do not need these modicums of information, and upon all others they are thrown away."
	My queen! and nothing for it but a pawn?
60	Why, then, the game's lost too: but play.
62	Ferna. What, madam?	62: Fernando is distracted.
64	[Fernando often looks about.]
66	Bian. You must needs play well, you are so studious. −	66: there is probably a long pause after this line, as Fernando
	Fie upon't! you study past patience: −	continues to appear detached from the game.
68	What do you dream on? here is demurring	= pausing, delaying.^1
	Would weary out a statue! − Good, now, play.	= be so good as to.^2
70
	Ferna. Forgive me; let my knees for ever stick
72
	[Kneels.]
74
	Nailed to the ground, as earthy as my fears,
76	Ere I arise, to part away so cursed	= before
	In my unbounded anguish as the rage
78	Of flames beyond all utterance of words
	Devour me, lightened by your sacred eyes.
80
	Bian. What means the man?
82
	Ferna. To lay before your feet
84	In lowest vassalage the bleeding heart	= bleeding heart describes a heart in anguish; the more typical phrase used by early writers to portray feelings of agony was the adjective heart-bleeding.^1
	That sighs the tender of a suit disdained.	= offer. = ie. the petition of a wooer or suitor.
86	Great lady, pity me, my youth, my wounds;
	And do not think that I have culled this time
88	From motion's swiftest measure to unclasp	= desire's.^2 = swiftest suggests measure means music or dance.
	The book of lust: if purity of love
90	Have residence in virtue's breast, lo here,	= look, as in "direct your attention"^1
	Bent lower in my heart than on my knee,
92	I beg compassion to a love as chaste
	As softness of desire can intimate.
94
	Re-enter D’Avolos behind.	95ff: D'Avolos, while hidden, is able to watch the scene
96		between Fernando and Fiormonda, but, as his responses will suggest, he cannot hear them.
	D’Av. [Aside] At it already! admirable haste!
98
	Bian. Am I again betrayed? bad man! −
100
	Ferna. Keep in	101-4: Fernando's extreme emotional state is revealed in his
102	Bright angel, that severer breath, to cool	dense and intense mixing of metaphors.
	That heat of cruèlty which sways the temple	= controls.^2
104	Of your too stony breast: you cannot urge
	One reason to rebuke my trembling plea,
106	Which I have not with many nights' expense
	Examined; but, O, madam, still I find
108	No physic strong to cure a tortured mind,	= medicine
	But freedom from the torture it sustains.
110
	D’Av. [Aside] Not kissing yet? still on your
112	knees? O, for a plump bed and clean sheets,
	to comfort the aching of his shins! We shall
114	have 'em clip anon and lisp kisses; here's	= embrace.^3 = soon. = probably suggesting the childish language sometimes used by lovers.^1
	ceremony with a vengeance!	= perhaps slighting the formal courting Fernando appears
116		to be engaged in.
	Bian. Rise up; we charge you, rise!
118
	[He rises.]
120
	Look on our face:
122	What see you there that may persuade a hope
	Of lawless love? Know, most unworthy man,	= ie. adultery.
124	So much we hate the baseness of thy lust,	= Fiormonda, angered, switches her form of address to the
	As, were none living of thy sex but thee,	contemptuous "thee".
126	We had much rather prostitute our blood
	To some envenomed serpent than admit
128	Thy bestial dalliance. Couldst thou dare to speak
	Again, when we forbade? no, wretched thing,	= the "royal we", ie. I
130	Take this for answer: if thou henceforth ope
	Thy leprous mouth to tempt our ear again,
132	We shall not only certify our lord	= inform.^2
	Of thy disease in friendship, but revenge	= she continues the metaphor of leprous.
134	Thy boldness with the forfeit of thy life.
	Think on't.
136
	D’Av. [Aside] Now, now, now the game is a-foot!	= cf. Henry IV, Part I: I, iii: "Before the game is afoot…"
138	your gray jennet with the white face is curried,	= small Spanish horse.^2 = rubbed down or combed, applied
	forsooth; − please your lordship leap up into the	normally to a horse.^1
140	saddle, forsooth. − Poor duke, how does thy head	140-1: how does…head ache = ie. from growing the
	ache now!	traditional horns ascribed to a cuckold.
142
	Ferna. Stay; go not hence in choler, blessèd woman!
144	You've schooled me; lend me hearing: though the float	= the rise of the tide; note the extended and intense "rising
	Of infinite desires swell to a tide	tide" metaphor of lines 144-6.
146	Too high so soon to ebb, yet, by this hand,
148	[Kisses her hand.]
150	This glorious, gracious hand of yours, −
152	D’Av. [Aside] Ay, marry, the match is made;
	clap hands and to't, ho!	= clasp hands.^5 The OED, incorrectly I think, suggests clap hands here refers to a kind of Elizabethan-era high-five.^1 Henry V, while wooing Katherine in Shakespeare's Henry V, says to her, "Give me your answer, i' faith, do, and so clap hands and a bargain." It seems unlikely he wants to slap hands with her.
154
	Ferna. I swear,
156	Henceforth I never will as much in word,
	In letter, or in syllable, presume
158	To make a repetition of my griefs.
	Good-night t'ye! If, when I am dead, you rip
160	This coffin of my heart, there shall you read
	With constant eyes, what now my tongue defines,	161-2: a rhyming couplet is sometimes used to end a
162	Bianca's name carved out in bloody lines.	character's appearance in a scene.
	For ever, lady, now good-night!
164
	Bian. Good-night!
166	Rest in your goodness. − Lights there! −	= a surprisingly affectionate line, certainly spoken out of
		Fernando's hearing; Bianca may have warmer feelings toward Fernando than she is letting on.
168	Enter Attendants with lights.
170	Sir, good-night!
172	[Exeunt Bianca and Fernando sundry ways,	= separate
	with Attendants.]
174
	D’Av. So, via! − To be cuckold − mercy and	175ff: having only seen, but not heard, the scene between Fernando and Bianca, D'Avolos assumes they are actually involved in a torrid affair.
176	providence − is as natural to a married man as to eat,
	sleep, or wear a nightcap. Friends! − I will rather trust	= friends was frequently used to mean "lovers".
178	mine arm in the throat of a lion, my purse with a
	courtesan, my neck with the chance on a die, or my	= euphemism for prostitute^1
180	religion in a synagogue of Jews, than my wife with
	a friend. Wherein do princes exceed the poorest	= in what way or manner.
182	peasant that ever was yoked to a sixpenny strumpet	= cheap harlot.^1
	but that the horns of the one are mounted some
184	two inches higher by a choppine than the other?	= high clogs, especially fashionable in Venice, where they could reach absurd heights of 6 inches or more.^3
	O Actӕon! the goodliest-headed beast of the	= a mythological youth who accidentally stumbled across the goddess Diana while she was naked and bathing; she turned him into a stag, and he was torn to death by his own dogs.
186	forest amongst wild cattle is a stag; and the	= ie. the stag has the most impressive head because of its great horns, which D'Avolos cleverly ties to both Actӕon and to the cuckolded, and therefore horned, duke.
	goodliest beast among tame fools in a corporation	= a united collection of persons.^1
188	is a cuckold.
190	Re-enter Fiormonda.
192	Fiorm. Speak, D'Avolos, how thrives intelligence?	= ie. "your spying"
194	D’Av. Above the prevention of fate, madam. I saw	= "beyond the anticipation"
	him kneel, make pitiful faces, kiss hands and
196	forefingers, rise, − and by this time he is up, up,	= punning on Fernando's rising (1) from his knees, (2) in
	madam. Doubtless the youth aims to be duke,	status, and (3) in a suggestive way.
198	for he is gotten into the duke's seat an hour ago.
200	Fiorm. Is't true?
202	D’Av. Oracle, oracle! Siege was laid, parley admitted,	202-3: D'Avolos uses a common military metaphor for breaking down a woman's resistance. parley = discussion of terms for peace.
	composition offered, and the fort entered; there's no	= a truce.^1
204	interruption. The duke will be at home to-morrow,	= ie. from his hunting trip.
	gentle animal! − what d'ye resolve?	= "what are you going to do?"
206
	Fiorm. To stir-up tragedies as black as brave,	= "as they will be excellent"
208	And send the lecher panting to his grave.
210	[Exeunt.]
	ACT II, SCENE IV.
	A Bedchamber in the Palace.
	Enter Bianca, her hair loose, in her night-mantle.	= a loose cloak, like a robe.^1
	She draws a curtain, and Fernando is discovered	= revealed.
	in bed, sleeping; she sets down the candle,
	and goes to the bedside.
1	Bian. Resolve, and do; 'tis done. − What! are those eyes,	= decide
2	Which lately were so overdrowned in tears,
	So easy to take rest? O happy man!
4	How sweetly sleep hath sealed up sorrows here!	4: note the intense alliteration in this line.
	But I will call him. − What, my lord, my lord,
6	My Lord Fernando!
8	Ferna. Who calls me?
10	Bian. My lord,
	Sleeping or waking?
12
	Ferna. Ha! who is't?
14
	Bian. 'Tis I:
16	Have you forgot my voice? or is your ear
	But useful to your eye?	= ie. only
18
	Ferna. Madam, the duchess!
20
	Bian. She, 'tis she; sit up,
22	Sit up and wonder, whiles my sorrows swell:
	The nights are short, and I have much to say.
24
	Ferna. Is't possible 'tis you?
26
	Bian. 'Tis possible:
28	Why do you think I come?
30	Ferna. Why! to crown joys,
	And make me master of my best desires.
32
	Bian. 'Tis true, you guess aright; sit up and listen.
34	With shame and passion now I must confess,
	Since first mine eyes beheld you, in my heart
36	You have been only king; if there can be
	A violence in love, then I have felt
38	That tyranny: be record to my soul
	The justice which I for this folly fear!	= ie. her visit to his bedroom
40	Fernando, in short words, howe'er my tongue
	Did often chide thy love, each word thou spak'st	= Bianca again switches to "thee" to address Fernando, but
42	Was music to my ear; was never poor,	this time it is used to signal affection and intimacy.
	Poor wretched woman lived that loved like me,
44	So truly, so unfeignèdly.
46	Ferna. O, madam!
48	Bian. To witness that I speak is truth, look here!
	Thus singly I adventure to thy bed,	= ie. wearing only a single, indiscreet garment.^4 Her state
50	And do confess my weakness: if thou tempt'st	of undress is what Bianca refers to in line 48, when she
	My bosom to thy pleasures, I will yield.	says, "look here!"^12
52
	Ferna. Perpetual happiness!
54
	Bian. Now hear me out.
56	When first Caraffa, Pavy's duke, my lord,	= ie. the duke's surname.
	Saw me, he loved me; and without respect	57-58: without…dower = without any dowry.
58	Of dower took me to his bed and bosom;
	Advanced me to the titles I possess,	= promoted.
60	Not moved by counsel or removed by greatness;	60: neither heeding advice (counsel) not to marry Bianca, nor willing to abandon his intention to marry her due to his comparatively high status.
	Which to requite, betwixt my soul and Heaven
62	I vowed a vow to live a constant wife:	= loyal.
	I have done so; nor was there in the world	= this is a bit disingenuous, as it cannot be for more than a
64	A man created could have broke that truth	few months that Bianca and the duke have been married.
	For all the glories of the earth but thou,
66	But thou, Fernando! Do I love thee now?
68	Ferna. Beyond imagination.
70	Bian. True, I do,
	Beyond imagination: if no pledge	= when Fernando said "Beyond imagination", he meant, "Wow, this is unbelievable!"; when Bianca said it, she was answering her own question: "yes, this is how much I love you, beyond imagination."
72	Of love can instance what I speak is true	= illustrate^1
	But loss of my best joys, here, here, Fernando,
74	Be satisfied and ruin me.
76	Ferna. What d'ye mean?	87: Bianca's sudden change in tone confuses Fernando.
78	Bian. To give my body up to thy embraces,
	A pleasure that I never wished to thrive in
80	Before this fatal minute. Mark me now;	= "pay close attention to"
	If thou dost spoil me of this robe of shame,
82	By my best comforts, here I vow again,
	To thee, to Heavèn, to the world, to time,	= Heaven is usually pronounced as a one-syllable word for purposes of fitting the meter, but in this case it is di-syllabic.
84	Ere yet the morning shall new-christen day,
	I'll kill myself!
86
	Ferna. How, madam, how!
88
	Bian. I will:
90	Do what thou wilt, 'tis in thy choice: what say ye?
92	Ferna. Pish! do you come to try me? tell me, first,	= an expression of impatience.^1 = test.
	Will you but grant a kiss?
94
	Bian. Yes, take it; that,
96	Or what thy heart can wish: I am all thine.
98	[Fernando kisses her.]
100	Ferna. O, me! − Come, come; how many women, pray,	100-2: Fernando is tossing out for consideration the idea
	Were ever heard or read of, granted love,	that Bianca's threat to kill herself is nothing more than
102	And did as you protest you will?	the typical protestations of dissembling women.
104	Bian. Fernando,
	Jest not at my calamity. I kneel:
106
	[Kneels.]
108
	By these dishevelled hairs, these wretched tears,	109: typical Elizabethan swearing on body-parts
110	By all that's good, if what I speak my heart
	Vows not eternally, then think, my lord,
112	Was never man sued to me I denied, −
	Think me a common and most cunning whore;
114	And let my sins be written on my grave,
	My name rest in reproof!
116
	[Rises.]
118
	Do as you list.	= wish, desire
120
	Ferna. I must believe ye, − yet I hope anon,	= expect.^3 121-4: Fernando, still confused, wonders if she
122	When you are parted from me, you will say	will laugh at him after she leaves his room, having been
	I was a good, cold, easy-spirited man,	manipulating him the whole time.
124	Nay, laugh at my simplicity: say, will ye?
126	Bian. No, by the faith I owe my bridal vows!	126: Bianca vows for now the third time that she means
	But ever hold thee much, much dearer far	everything she is telling him; cf. lines 82-83 and 109.
128	Than all my joys on earth, by this chaste kiss.
130	[Kisses him.]
132	Ferna. You have prevailed; and Heaven forbid that I
	Should by a wanton appetite profane	= lust.
134	This sacred temple! 'tis enough for me	= for the second time, Fernando uses a temple metaphor while describing Bianca; cf. Act II, iii, 103.
	You'll please to call me servant.	= suggests both a devotee and lover.
136
	Bian. Nay, be thine:
138	Command my power, my bosom; and I'll write
	This love within the tables of my heart.	= tablet; the line alludes to 2 Corinthians 3:3, in which Paul tells the Corinthians they themselves are a "epistle of Christ …written …in fleshy tables of the heart" (King James version).^12
140
	Ferna. Enough: I'll master passion, and triumph	= ie. "take control of my emotions"
142	In being conquered; adding to it this,
	In you my love as it begun shall end.
144
	Bian. The latter I new-vow. But day comes on;
146	What now we leave unfinished of contént,	146: "though we leave this meeting without physical
	Each hour shall pérfect up: sweet, let us part.	satisfaction (content) of our love"
148
	Ferna. This kiss, − best life, good rest!
150
	[Kisses her.]
152
	Bian. All mine to thee!
154	Remember this, and think I speak thy words;
	"When I am dead, rip up my heart, and read
156	With constant eyes, what now my tongue defines,
	Fernando's name carved out in bloody lines."
158	Once more, good rest, sweet!
160	Ferna. Your most faithful servant!
162	[Exit Bianca − Scene closes.]
	ACT III.
	SCENE I.
	An Apartment in the Palace.
	Enter Nibrassa chafing, followed by Julia weeping.	Scene I: the harsh and angry recriminations that begin Act III contrast sharply with the tenderness that ended the previous one; Julia is Nibrassa's daughter. chafing = obviously raging.^1
1	Nib. Get from me, strumpet, infamous whore,	1ff: Nibrassa, whose emotions are largely out of control, speaks mainly in prose.
2	leprosy of my blood! make thy moan to	= lamentations.^2
	ballad-singers and rhymers; they'll jig-out thy	= verse-makers (disparaging).^2 = sing.^1In Shakespeare's Love's Labour's Lost, a character speaks the line "jig off a tune at the tongue's end" (Act III, i).
4	wretchedness and abominations to new tunes:
	as for me, I renounce thee; thou'rt no daughter
6	of mine; I disclaim the legitimation of thy birth,
	and curse the hour of thy nativity.	= birth^2
8
	Jul. Pray, sir, vouchsafe me hearing.	= grant
10
	Nib. With child! shame to my grave! O, whore,
12	wretched beyond utterance or reformation, what
	wouldst say?
14
	Jul. Sir, by the honour of my mother's hearse,	= hearse referred to a framework built over and around the bier at a funeral, which was used to hold candles, decorations, and momentos of the achievements of the deceased; but it could also refer to the shroud, the bier, the tomb, or even the corpse itself. The modern sense of hearse, meaning a vehicle used to carry a coffin, did not enter the language until around the mid-17th century.^1
16	He has protested marriage, pledged his faith;	= ie. Ferentes. = vowed to marry her; such a promise was
	If vows have any force, I am his wife.	considered more binding then than it is today.
18
	Nib. His faith! Why, thou fool, thou wickedly-
20	credulous fool, canst thou imagine luxury is	= lust^3
	observant of religion? no, no; it is with a
22	frequent lecher as usual to forswear as to swear;	= break a vow.
	their piety is in making idolatry a worship; their	23-25: their hearts…virgin = "what they feel and what they
24	hearts and their tongues are as different as thou,	say are as different from each other as you (you whore!)
	thou whore! and a virgin.	and a virgin are."
26
	Jul. You are too violent; his truth will prove	= extreme in emotions. = troth, vow to marry.
28	His constancy, and so excuse my fault.
30	Nib. Shameless woman! this belief will damn thee.
	How will thy lady marquess justly reprove me for
32	preferring to her service a monster of so lewd and	= offering.
	impudent a life! Look to't; if thy smooth devil	= ie. Ferentes.
34	leave thee to thy infamy, I will never pity thy
	mortal pangs, never lodge thee under my roof,	= ie. of childbirth
36	never own thee for my child; mercy be my witness!
38	Enter Petruchio, leading Colona.
40	Pet. Hide not thy folly by unwise excuse,	40ff: interestingly, Petruchio, whose speech is not as unrestrained as Nibrassa's, speaks in verse, though his daughter Colona is similarly situated to Nibrassa's daughter Julia.
	Thou art undone, Colona; no entreaties,	= ruined.
42	No warning, no persuasion, could put off
	The habit of thy dotage on that man
44	Of much deceit, Ferentes. Would thine eyes
	Had seen me in my grave, ere I had known	= before
46	The stain of this thine honour!
48	Col. Good my lord,
	Reclaim your incredulity: my fault	= restrain or recall.^1 = disbelief or lack of faith.^1
50	Proceeds from lawful compositión	= contract.
	Of wedlock; he hath sealed his oath to mine
52	To be my husband.
54	Nib. Husband! hey-day! is't even so? nay, then, we
	have partners in affliction: if my jolly gallant's long	55-56: if my…all is well = Nibrassa employs an unusual bell metaphor; the reference to Ferentes' long clapper is obviously suggestive, and both sides refers to his impregnating both Julia and Colona. Additionally, clapper may suggest one who passes venereal disease (the clap) on to his partners.
56	clapper have struck on both sides, all is well. −
	Petruchio, thou art not wise enough to be a paritor:	= an officer who summoned delinquents, including prosti-
58	come hither, man, come hither; speak softly; is thy	tutes, to ecclesiastical court.^3
	daughter with child?
60
	Pet. With child, Nibrassa!
62
	Nib. Foh! do not trick me off; I overheard your	= "trifle with me" or "try to fool me by pretending you don't know what I am talking about."^1
64	gabbling. Hark in thine ear, so is mine too.	= chattering.^1 = "listen (hark) to me".
66	Pet. Alas, my lord, by whom?
68	Nib. Innocent! by whom? what an idle question is	= "stop playing dumb!"
	that! One cock hath trod both our hens: Ferentes,	= obvious double-entendre (cock was indeed used in the
70	Ferentes; who else? How dost take it? methinks	vulgar sense in the early 17th century).^1
	thou art wondrous patient: why, I am mad, stark
72	mad.
74	Pet. How like you this, Colona? 'tis too true:
	Did not this man protest to be your husband?	= profess
76
	Col. Ay me! to me he did.
78
	Nib. What else, what else, Petruchio? − and,
80	madam, my quondam daughter, I hope h'ave	= former. = he have (has).
	passed some huge words of matrimony to you
82	too.
84	Jul. Alas! to me he did.
86	Nib. And how many more the great incubus of hell	= evil male spirit who descends on women in the night
	knows best. − Petruchio, give me your hand; mine
88	own daughter in this arm, − and yours, Colona, in
	this: − there, there, sit ye down together.
90
	[Julia and Colona sit down.]
92
	Never rise, as you hope to inherit our blessings,
94	till you have plotted some brave revenge; think	= worthy.
	upon it to purpose, and you shall want no seconds	= "lack no support (from us)"
96	to further it; be secret one to another. − Come,
	Petruchio, let 'em alone: the wenches will demur	= young ladies.^1 = ruminate.^1
98	on't, and for the process we'll give 'em courage.	= Dyce suggests courage here means "support" or "aid".^12
100	Pet. You counsel wisely; I approve your plot. – Think
	on your shames, and who it was that wrought 'em.	= worked or brought^2
102
	Nib. Ay, ay, ay, leave them alone. − To work,
104	wenches, to work!
106	[Exeunt Nibrassa and Petruchio.]
108	Col. We are quite ruined.
110	Jul. True, Colona,
	Betrayed to infamy, deceived, and mocked,
112	By an unconstant villain: what shall's do?	= unfaithful^1
	I am with child.
114
	Col. Heigh-ho! and so am I:
116	But what shall's do now?
118	Jul. This: with cunning words
	First prove his love; he knows I am with child.	= test; the girls will first see how Ferentes will respond
120		when they confront him.
	Col. And so he knows I am; I told him on't
122	Last meeting in the lobby, and, in troth,	= passage or waiting-room
	The false deceiver laughed.
124
	Jul. Now, by the stars,
126	He did the like to me, and said 'twas well
	I was so happily sped.	= brought to a prosperous end (past tense of speed).^1
128
	Col. Those very words
130	He used to me: it fretted me to the heart:
	I'll be revenged.
132
	Jul. Peace! here's a noise, methinks.	= ie. they hear someone approaching.
134	Let's rise; we'll take a time to talk of this.	134: note the nice alliteration in this line.
136	[They rise, and walk aside.]
138	Enter Ferentes and Morona.	= Morona, a widow, makes her first appearance in the play.
140	Feren. Will ye hold? death of my delights, have ye	= ie. "get a hold of yourself".
	lost all sense of shame? You're best roar about the	= "it would be best if you" (sarcastic). = shout.
142	court that I have been your woman's-barber and
	trimmed ye, kind Morona.	= beat or thrash^1, with obvious pun with barber.
144
	Mor. Defiance to thy kindness! thou'st robbed me of
146	my good name; didst promise to love none but me,
	me, only me; sworest like an unconscionable villain,
148	to marry me the twelfth day of the month two months
	since; didst make my bed thine own, mine house	= ago
150	thine own, mine all and everything thine own. I will
	exclaim to the world on thee, and beg justice of the	151-2: beg justice….himself = she will ask the duke to
152	duke himself, villain! I will.	punish Ferentes.
154	Feren. Yet again? nay, an if you be in that mood,	= if.
	shut up your fore-shop, I'll be your journeyman no	= shop in the front. = hired worker, no longer an apprentice.^1
156	longer. Why, wise Madam Dryfist, could your mouldy	= a stingy person.^1
	brain be so addle to imagine I would marry a stale	= past marrying age, but also "worn out".^1
158	widow at six-and-forty? Marry gip! are there not	= an exclamation expressing contempt.^1
	varieties enough of thirteen? come, stop your	= yikes - a bit young, no?
160	clap-dish, or I'll purchase a carting for you. − By this	160: clap-dish = a wooden alms dish with a lid that a leper could clap together to warn others of his or her approach^3; used humorously for a chattering mouth.^1 carting = transportation of prostitutes in carts to or from prison, exposing them to public ridicule.
	light, I have toiled more with this tough carrion	161-3: I have…feathers = "this old woman (she is 46)
162	hen than with ten quails scarce grown into their	requires more effort from me than would 10 young girls."
	first feathers.
164
	Mor. O, treason to all honesty or religion! − Speak,
166	thou perjured, damnable, ungracious defiler of
	women, who shall father my child which thou	= raise as a father^1
168	hast begotten?
170	Feren. Why, thee, countrywoman; thou'st a larger	= "thou hast"
	purse to pay for the nursing. Nay, if you'll needs
172	have the world know how you, reputed a grave,
	matron-like, motherly madam, kicked up your	173-4: kicked up your heels = clearly suggestive.
174	heels like a jennet whose mark is new come into	174: jennet = small Spanish horse. D'Avolos has previously also compared a woman (Bianca) to a jennet (Act II, iii, 138). 174-5: mark…mouth = mark refers to the depression in a horse's incisor; the degree to which the mark, through use, has worn away can give an observer a sense of the horse's age.^1 D'Avolos' suggestion that Morona kicked up her heels like a horse whose mark was new come to her mouth implies she was behaving like a younger woman than she is.
	her mouth, e'en do, do! the worst can be said of
176	me is, that I was ill advised to dig for gold in a	176-7: I was…coal-pit = a horrid insult from a despicable
	coal-pit. Are you answered?	man.
178
	Mor. Answered!
180
	Jul. Let's fall amongst 'em.
182
	[Comes forward with Colona]
184
	− Love, how is't, chick? ha?	= term of endearment, addressed to Ferentes
186
	Col. My dear Ferentes, my betrothèd lord!
188
	Feren. [Aside] Excellent! O, for three Barbary
190	stone-horses to top three Flanders mares! − Why,	190: stones refer to testicles, so stone-horses are uncastrated horses^1; Ferentes continues with the insulting horse comparisons. top = cover, ie. have sex with.^1
	how now, wenches! what means this?
192
	Mor. Out upon me! here's more of his trulls.	= damn. = whores.
194
	Jul. Love, you must go with me.	195, 197: each girl addresses Ferentes.
196
	Col. Good love, let's walk.
198
	Feren. [Aside] I must rid my hands of 'em, or they'll
200	ride on my shoulders. − By your leave, ladies; here's
	none but is of common counsel one with another; in
202	short, there are three of ye with child, you tell me,
	by me. All of you I cannot satisfy, nor, indeed,
204	handsomely any of ye. You all hope I should marry
	you; which, for that it is impossible to be done, I
206	am content to have neither of ye: for your looking
	big on the matter, keep your own counsels, I'll not	= ie. grown larger with child. = keep it a secret.
208	bewray ye! but for marriage, − Heaven bless ye, and	= betray, expose.
	me from ye! This is my resolution.
210
	Col. How, not me!
212
	Jul. Not me!
214
	Mor. Not me!
216
	Feren. Nor you, nor you, nor you: and to give you
218	some satisfaction, I'll yield ye reasons. − You, Colona,
	had a pretty art in your dalliance; but your fault was,	= "skill in your flirtation"^1
220	you were too suddenly won. − You, Madam Morona,
	could have pleased well enough some three or four-	221-2: three…years ago = Ferentes again expresses his
222	and-thirty years ago; but you are too old. − You, Julia,	preference for young teenagers; Morona has been previously identified as being 46 years old.
	were young enough, but your fault is, you have a
224	scurvy face. − Now, everyone knowing her proper	= contemptible, pitiful.
	defect, thank me that I ever vouchsafed you the	= granted, deigned.
226	honour of my bed once in your lives. If you want
	clouts, all I'll promise is to rip up an old shirt or	= swaddling clothes (restrictive clothing worn by babies).^1
228	two. So, wishing a speedy deliverance to all your	= successful.
	burdens, I commend you to your patience.	= ie. the babies they are carrying.
230
	[Exit.]
232
	Mor. Excellent!
234
	Jul. Notable!
236
	Col. Unmatchèd villain!
238
	Jul. Madam, though strangers, yet we understand
240	Your wrongs do equal ours; which to revenge,
	Please but to join with us, and we'll redeem
242	Our loss of honour by a brave exploit.
244	Mor. I embrace your motion, ladies, with gladness,
	and will strive by any action to rank with you in	= form ranks with, ie. stand together
246	any danger.
248	Col. Come, gentlewomen, let's together, then. −
	Thrice happy maids that never trusted men!
250
	[Exeunt.]
	ACT III, SCENE II.
	The State-room in the Palace.
	Enter the Duke, Bianca supported by Fernando,
	Fiormonda, Petruchio, Nibrassa,
	Ferentes, and D'Avolos.
1	Duke. Roseilli will not come, then! will not? well;
2	His pride shall ruin him. − Our letters speak
	The duchess' uncle will be here to-morrow, −	= ie. Paulo Baglione, the Abbot of Monaco
4	To-morrow, D'Avolos.
6	D’Av. To-morrow night, my lord, but not to make
	more than one day's abode here; for his Holiness	= ie. the pope
8	has commanded him to be at Rome the tenth of
	this month, the conclave of cardinals not being
10	resolved to sit till his coming.
12	Duke. Your uncle, sweetheart, at his next return
	Must be saluted cardinal. − Ferentes,	= the abbot is expected to be promoted.
14	Be it your charge to think on some device	= show, performance.^2
	To entertain the present with delight.	= ie. (the abbot's) presence.^1
16
	Ferna. My lord, in honour to the court of Pavy
18	I'll join with you. − Ferentes, not long since
	I saw in Brussels, at my being there,
20	The Duke of Brabant welcome the Archbishop	= the duchy of Brabant comprised of lands which now mostly lie in Belgium, and included, along with Brussels, the city of Antwerp.^11
	Of Mentz with rare conceit, even on a sudden,	= modern Mainz. = an excellent idea.
22	Performed by knights and ladies of his court,
	In nature of an antic; which methought −	= a humorous parody of a masque, in which the characters were particularly grotesque.^3
24	For that I ne'er before saw women-antics −	= female performers; in England, it was illegal for women to perform on stage until after the theaters were reopened around 1660; at which time, King Charles granted a charter to what became called the King's Own Company, in which women were actually required to play women's parts.^6
	Was for the newness strange, and much commended.
26
	Bian. Now, good my Lord Fernando, further this
28	In any wise; it cannot but content.	= "any way (you can)"^1
30	Fiorm. [Aside] If she entreat, 'tis ten to one the man	30-31: a catty remark: anything Bianca asks, Fernando
	Is won beforehand.	will do.
32
	Duke. Friend, thou honour'st me:
34	But can it be so speedily performed?
36	Ferna. I'll undertake it, if the ladies please,
	To exercise in person only that:
38	And we must have a fool, or such an one
	As can with art well act him.
40
	Fiorm. I shall fit ye;
42	I have a natural.	= idiot^3
44	Ferna. Best of all, madam:
	Then nothing wants. − You must make one, Ferentes.	= is lacking. = play a part in the show.
46
	Feren. With my best service and dexterity,
48	My lord.
50	Pet. [Aside to Nibrassa]
	This falls out happily, Nibrassa.	51-54: a bit of foreshadowing: that Ferentes will play a part
52		helps their daughters with their plans of revenge.
	Nib. [Aside to Petruchio] We could not wish it better:
54	Heaven is an unbribed justice.	54: Heaven is always just (it cannot be bribed).
56	Duke. We'll meet our uncle in a solemn grace	= ie. his wife's uncle, the abbot.
	Of zealous presence, as becomes the church:	= specifically religious zeal.
58	See all the choir be ready, D'Avolos.
60	D’Av. I have already made your highness' pleasure
	known to them.
62
	Bian. Your lip, my lord!
64
	Ferna. Madam?
66
	Bian. Perhaps your teeth have bled: wipe't with my
68	handkercher: give me, I'll do't myself. −	= alternative term for handkerchief, both words entering
	[Aside to Fernando] Speak, shall I steal a kiss?	the language in the early 16th century.
70	believe me, my lord, I long.
72	Ferna. Not for the world.
74	Fiorm. [Aside] Apparent impudence!
76	D’Av. Beshrew my heart, but that's not so good.	= curse; D'Avolos' speech is not quite an aside, as the duke
		hears him - it is more like he is muttering to himself.
78	Duke. Ha, what's that thou mislikest, D'Avolos?
80	D’Av. Nothing, my lord; − but I was hammering a	80-81: hammering a conceit = trying to work out an idea.
	conceit of my own, which cannot, I find, in so
82	short a time thrive as a day's practice.
84	Fiorm. [Aside] Well put off, secretary.
86	Duke. We are too sad; methinks the life of mirth	= serious
	Should still be fed where we are: where's Mauruccio?
88
	Feren. An't please your highness, he's of late grown	= if it.
90	so affectionately inward with my lady marquess's	= close, intimate.^1
	fool, that I presume he is confident there are few
92	wise men worthy of his society, who are not as
	innocently harmless as that creature. It is almost
94	impossible to separate them, and 'tis a question
	which of the two is the wiser man.
96
	Duke. 'Would he were here! I have a kind of dulness	= sluggishness^1
98	Hangs on me since my hunting, that I feel
	As 'twere a disposition to be sick;
100	My head is ever aching.
102	D’Av. A shrewd ominous token; I like not that neither.	= "malicious and ominous sign"; D'Avolos is referring to the duke's headache - a sign that he is already wearing the horns of the cuckold!
104	Duke. Again! what is't you like not?
106	D’Av. I beseech your highness excuse me; I am so
	busy with this frivolous project, and can bring it to
108	no shape, that it almost confounds my capacity.	= "strains or exceeds my mental abilities"
110	Bian. My lord, you were best to try a set at maw.	= ie. game of maw, a card game played in Ireland and Scotland.^1
	I and your friend, to pass away the time,	= ie. Fernando; he is repeatedly referred to as the "duke's friend" to indicate his intimacy with the duke.
112	Will undertake your highness and your sister.	= take on; Bianca suggests she and Fernando should play together on one side against the duke and Fiormonda.
114	Duke. The game's too tedious.	= wearisome or disagreeable^1
116	Fiorm. 'Tis a peevish play;	= silly game.^1
	Your knave will heave the queen out or your king;	= jack (face card)^1, with perhaps a glancing reference to Fernando as a scoundrel.
118	Besides, 'tis all on fortune.	= based on luck.
120	Enter Mauruccio with Roseilli disguised
	as before, and Giacopo.
122
	Maur. Bless thee, most excellent duke! I here present
124	thee as worthy and learned a gentleman as ever I − and
	yet I have lived threescore years − conversed with.
126	Take it from me, I have tried him, and he is worthy	= tested
	to be privy-counsellor to the greatest Turk in
128	Christendom; of a most apparent and deep
	understanding, slow of speech, but speaks to the
130	purpose. − Come forward, sir, and appear before his
	highness in your own proper elements.
132
	Ros. Will − tye − to da new toate sure la now.
134
	Gia. A very senseless gentleman, and, please your
136	highness, one that has a great deal of little wit, as
	they say.
138
	Maur. O, sir, had you heard him, as I did, deliver
140	whole histories in the Tangay tongue, you would
	swear there were not such a linguist breathed again;	= spoke.
142	and did I but perfectly understand his language, I	= "if I could only".
	would be confident in less than two hours to
144	distinguish the meaning of bird, beast, or fish
	naturally as I myself speak Italian, my lord. Well,
146	he has rare qualities!	= excellent
148	Duke. Now, prithee, question him, Mauruccio.
150	Maur. I will, my lord. –
	Tell me, rare scholar, which, in thy opinion,
152	Doth cause the strongest breath, garlíc or onion.
154	Gia. Answer him, brother-fool; do, do; speak thy
	mind, chuck, do.	= term of endearment
156
	Ros. Have bid seen all da fine knack, and de, e,
158	naghtye tat-tle of da kna-ve, dad la have so.
160	Duke. We understand him not.
162	Maur. Admirable, I protest, duke; mark, O, duke,	= assert.^1 = pay attention.
	mark! − What did I ask him, Giacopo?
164
	Gia. What caused the strongest breath, garlic or
166	onions, I take it, sir.
168	Maur. Right, right, by Helicon! and his answer is,	= this is the second time Mauruccio has invoked the legendary Greek river.
	that a knave has a stronger breath than any of 'em:	= disreputable man.^1
170	wisdom − or I am an ass − in the highest; a direct	170: wisdom = "this is wisdom". 170-1: direct figure = something like a "logical piece of
	figure; put it down, Giacopo.	rhetoric".^1
172
	Duke. How happy is that idiot whose ambition
174	Is but to eat and sleep, and shun the rod!	= avoid punishment.
	Men that have more of wit, and use it ill,	= ie. illy.
176	Are fools in proof.
178	Bian. True, my lord, there's many
	Who think themselves most wise that are most fools.
180
	D’Av. Bitter girds, if all were known; − but −	= biting comments^1
182
	Duke. But what? speak out; plague on your muttering, grumbling!
184	I hear you, sir; what is't?
186	D’Av. Nothing, I protest, to your highness pertinent	186-7: "I'm saying nothing relevant to this conversation."
	to any moment.
188
	Duke. Well, sir, remember. − Friend, you promised study. −	= to Fernando. = to take pains^1(to put on a good show).
190	I am not well in temper. − Come, Bianca. −
	Attend our friend, Ferentes.
192
	[Exeunt all but Fernando, Roseilli,
194	Ferentes and Mauruccio.]
196	Ferna. Ferentes, take Mauruccio in with you;
	He must be one in action.	= ie. one of the performers
198
	Feren. Come, my lord,
200	I shall entreat your help.
202	Ferna. I'll stay the fool,	= remain behind with
	And follow instantly.
204
	Maur. Yes, pray, my lord.
206
	[Exeunt Ferentes and Mauruccio.]
208
	Ferna. How thrive your hopes now, cousin?
210
	Ros. Are we safe?	211ff: Roseilli, we remember, has been given as a gift to
212	Then let me cast myself beneath thy foot,	Fiormonda, who, believing Roseilli to be a retarded
	True, virtuous lord. Know, then, sir, her proud heart	person, does not hesitate to speak her plans in front of
214	Is only fixed on you, in such extremes	him; an Elizabethan character's disguise was always
	Of violence and passion, that I fear,	impenetrable to the other characters.
216	Or she'll enjoy you, or she'll ruin you.	= either. = destroy.
218	Ferna. Me, coz? by all the joys I wish to taste,	= term of address for any kinsman
	She is as far beneath my thought as I
220	In soul above her malice.
222	Ros. I observed
	Even now a kind of dangerous pretence	= design.^3
224	In an unjointed phrase from D'Avolos.	= incoherent, referring to D'Avolos' mutterings that Roseilli overheard.
	I know not his intent; but this I know,	225-230: Roseilli has not been able to discern exactly what
226	He has a working brain, is minister	D'Avolos and Fiormonda are plotting, but he senses Fernando is in danger.
	To all my lady's counsels; and, my lord,	= secrets.
228	Pray Heaven there have not anything befall'n
	Within the knowledge of his subtle art
230	To do you mischief!
232	Ferna. Pish! should he or hell
	Affront me in the passage of my fate,
234	I'd crush them into atomies.	= atoms
236	Ros. I do admit you could: meantime, my lord,
	Be nearest to yourself; what I can learn,	= proverbial: "be most concerned for you own well-being."
238	You shall be soon informed of: here is all
	We fools can catch the wise in, − to unknot,
240	By privilege of coxcombs, what they plot.	= those whom jesters and fools serve often speak
		carelessly in front of them, allowing them to learn what is going on - and in Roseilli's case, to frustrate their plans. coxcombs = fool's caps.^3
242	[Exeunt.]
	ACT III, SCENE III.
	Another Room in the Palace.
	Enter Duke and D’Avolos.
1	Duke. Thou art a traitor: do not think the gloss	1ff: the duke has been suspicious of D'Avolos since he learned his instructions for Roseilli's exile were mishandled.
2	Of smooth evasion, by your cunning jests
	And coinage of your politician's brain,	= fabrications.^2 = schemer's.^2
4	Shall jig me off; I'll know't, I vow I will.	= "fool me" or "put me off".^1
	Did not I note your dark abrupted ends
6	Of words half-spoke? your "wells, if all were known"?
	Your short "I like not that"? your girds and "buts"?	= biting comments^1
8	Yes, sir, I did; such broken language argues
	More matter than your subtlety shall hide:
10	Tell me, what is't? by honour's self I'll know.	1-10: the duke's worrying here begins to approach paranoia, and perhaps signals the beginning of his mental decline.
12	D’Av. What would you know, my lord? I confess
	I owe my life and service to you, as to my prince;
14	the one you have, the other you may take from
	me at your pleasure. Should I devise matter to	15-17: Should I…appearance = "Do you want me to make
16	feed your distrust, or suggest likelihoods without	something up to feed your suspicions, or suggest
	appearance? what would you have me say? I	goings-on without evidence?"
18	know nothing.
20	Duke. Thou liest, dissembler! on thy brow I read
	Distracted horrors figured in thy looks.	= expressed
22	On thy allegiance, D'Avolos, as e'er
	Thou hop'st to live in grace with us, unfold	= my favor.
24	What by the parti-halting of thy speech	= hesitation.
	Thy knowledge can discover. By the faith	= reveal.
26	We bear to sacred justice, we protest,
	Be it or good or evil, thy reward
28	Shall be our special thanks and love untermed:	= unbounded^1
	Speak, on thy duty; we, thy prince, command.
30
	D’Av. O, my disaster! my lord, I am so charmed
32	by those powerful repetitions of love and duty,
	that I cannot conceal what I know of your
34	dishonour.
36	Duke. Dishonour! then my soul is cleft with fear;	= split in two, divided^1: used with half in the next line.
	I half presage my misery: say on,	= predict.^2
38	Speak it at once, for I am great with grief.
40	D’Av. I trust your highness will pardon me; yet I
	will not deliver a syllable which shall be less
42	innocent than truth itself.
44	Duke. By all our wish of joys, we pardon thee.
46	D’Av. Get from me, cowardly servility! − my service	= with this apostrophe, D'Avolos tries to pump up his
	is noble, and my loyalty an armour of brass: in short,	courage to tell the duke what he knows; of course, he
48	my lord, and plain discovery, you are a cuckold.	could be dissembling his anxiety, and may be actually
		very eager to cause trouble for the duke.
50	Duke. Keep in the word, − a “cuckold!"
52	D’Av. Fernando is your rival, has stolen your
	duchess' heart, murdered friendship, horns your
54	head, and laughs at your horns.
56	Duke. My heart is split!
58	D’Av. Take courage, be a prince in resolution: I
	knew it would nettle you in the fire of your
60	composition, and was loth to have given the first	= mental condition^1
	report of this more than ridiculous blemish to all
62	patience or moderation: but, O, my lord, what
	would not a subject do to approve his loyalty to	= prove
64	his sovereign? Yet, good sir, take it as quietly as
	you can: I must needs say 'tis a foul fault; but
66	what man is he under the sun that is free from
	the career of his destiny? May be she will in time	= ie. path; typical allusion to man's life being predetermined
68	reclaim the errors of her youth; or 'twere a great	by fate.
	happiness in you, if you could not believe it;
70	that's the surest way, my lord, in my poor counsel.
72	Duke. The icy current of my frozen blood	72-74: Ford's second use of an ice and heat metaphor to
	Is kindled up in agonies as hot	indicate a contrast of emotions; cf. Act II, i, 240-1.
74	As flames of burning sulphur. O, my fate!
	A cuckold! had my dukedom's whole inheritance
76	Been rent, mine honours levelled in the dust,	= torn apart^1
	So she, that wicked woman, might have slept
78	Chaste in my bosom, 't had been all a sport.
	And he, that villain, viper to my heart,
80	That he should be the man! death above utterance!	80: the meter is imperfect here, suggesting an error in the
	Take heed you prove this true.	printing of the line.^12
82
	D’Av. My lord, −
84
	Duke. If not,
86	I'll tear thee joint by joint. − Phew! methinks
	It should not be: − Bianca! why, I took her
88	From lower than a bondage: − hell of hells! −	= slavery; the duke, in his emotion, exaggerates a bit.
	See that you make it good.
90
	D’Av. As for that, 'would it were as good as I would
92	make it! I can, if you will temper your distractions,	= mental agitation^1
	but bring you where you shall see it; no more.
94
	Duke. See it!
96
	D’Av. Ay, see it, if that be proof sufficient. I, for
98	my part, will slack no service that may testify my
	simplicity.	= sincerity^1
100
	Duke. Enough.
102
	Enter Fernando.
104
	What news, Fernando?
106
	Ferna. Sir, the abbot
108	Is now upon arrival; all your servants
	Attend your presence.
110
	Duke. We will give him welcome
112	As shall befit our love and his respect.
	Come, mine own best Fernando, my dear friend.
114
	[Exit with Fernando.]
116
	D’Av. Excellent! now for a horned moon.	= the steady diet of jokes about the horns of the cuckold continues.
118
	[Music within.]
120
	But I hear the preparation for the entertainment
122	of this great abbot. Let him come and go, that
	matters nothing to this; whiles he rides abroad
124	in hope to purchase a purple hat, our duke shall	= a swipe at the Catholic practice of simony - the sale of religious offices. The purple hat refers to the red hats worn by cardinals.
	as earnestly heat the pericranion of his noddle	= brain (humorous usage).^1 = head.^1
126	with a yellow hood at home. I hear 'em coming.	= yellow was the color signifying jealousy.
128	Loud music.
	Enter Servants with torches; then the Duke,
130	followed by Fernando, Bianca, Fiormonda,
	Petruchio, and Nibrassa, at one side; two Friars,
132	the Abbot and Attendants at the other. The Duke and
	Abbot meet and salute; Bianca and the rest salute,
134	and are saluted; they rank themselves, and pass
	over the stage; the Choir singing.
136
	On to your victuals; some of ye, I know, feed
138	upon wormwood.	= a plant used in medicine, known for its bitter taste; hence,
		anything that is bitter.
140	[Exit.]
	ACT III, SCENE IV.
	Another Apartment in the Palace.
	Enter Petruchio and Nibrassa with napkins,
	as from supper.
1	Pet. The duke's on rising: are you ready? ho!
2
	[Within] All ready.	3: Colona, perhaps with Julia and Morona, call out from
4		off-stage.
	Nib. Then, Petruchio, arm thyself with courage and
6	resolution; and do not shrink from being stayed on	= supported by; Nibrassa tries to build up Petruchio's
	thy own virtue.	courage to face what is about to happen.
8
	Pet. I am resolved. − Fresh lights! −I hear 'em coming.
10
	Enter Attendants with lights, before the Duke, Abbot,
12	Bianca, Flormonda, Fernando, and D’Avolos.
14	Duke. Right reverend uncle, though our minds be scanted	= deficient^1; ie. the duke is being appropriately modest,
	In giving welcome as our hearts would wish,	claiming an inability to provide the abbot with as mag-
16	Yet we will strive to show how much we joy	nificent a ceremonial welcome as his heart desires.
	Your presence with a courtly show of mirth.	= comic performance.
18	Please you to sit.
20	Abbot. Great duke, your worthy honours
	To me shall still have place in my best thanks:
22	Since you in me so much respect the church,
	Thus much I'll promise, − at my next return
24	His holiness shall grant you an indulgence	= another slight on the Catholic church, referring to its
	Both large and general.	liberal granting of indulgences, ie. the reduction of the expected after-life penalties for sins in return for cash or gifts to the church.
26
	Duke. Our humble duty! −
28	Seat you, my lords. − Now let the masquers enter.
30	Enter, in an antic fashion, Ferentes, Roseilli, and	30ff: it is important to note that the performers all wore
	Mauruccio at several doors; they dance a short time.	masks.
32	Suddenly enter to them Colona, Julia, and Morona
	in odd shapes, and dance: the men gaze at them, and	= costumes
34	are invited by the women to dance. They dance together
	sundry changes; at last Ferentes is closed in, −	= various rounds of dancing^1
36	Mauruccio and Roseilli being shook off, stand at
	different ends of the stage gazing. The women join
38	hands and dance round Ferentes with divers
	complimental offers of courtship; at length
40	they suddenly fall upon him and stab him; he falls,
	and they run out at several doors. The music ceases.
42
	Feren. Uncase me; I am slain in jest. A pox upon	= "remove my costume" (uncase = undress^2).
44	your outlandish feminine antics! pull off my visor;	= foreign female performers: Ferentes curses their unusual use of female performers, which idea Fernando, we remember, had discovered originally in Brussels.
	I shall bleed to death ere I have time to feel where
46	I am hurt. − Duke, I am slain: off with my visor; for	= mask
	Heaven's sake, off with my visor!
48
	Duke. Slain! − Take his visor off −
50
	[They unmask Ferentes]
52
	we are betrayed:
54	Seize on them! two are yonder: hold Ferentes:
	Follow the rest: apparent treachery!
56
	Abbot. Holy Saint Bennet, what a sight is this!	= Bennet of Nusria (c. 480-c. 543), founder of the
58		Benedictine rule, a set of instructions for how monks should live communally.
	Re-enter Julia, Colona, and Morona unmasked,
60	each with a child in her arms.
62	Jul. Be not amazed, great princes, but vouchsafe	= "grant us"
	Your audience: we are they have done this deed.
64	Look here, the pledges of this false man's lust,
	Betrayed in our simplicities: he swore,
66	And pawned his truth, to marry each of us;	= promised to marry^1 (truth = troth)
	Abused us all; unable to revenge
68	Our public shames but by his public fall,
	Which thus we have contrived: nor do we blush
70	To call the glory of this murder ours;
	We did it, and we'll justify the deed;
72	For when in sad complaints we claimed his vows,
	His answer was reproach: − Villain, is't true?
74
	Col. I was "too quickly won," you slave!
76
	Mor. I was "too old," you dog!
78
	Jul. I, − and I never shall forget the wrong, −
80	I was "not fair enough"; not fair enough
	For thee, thou monster! − let me cut his gall −	= perhaps meaning to cut out his liver, which produced
82	Not fair enough! O, scorn! not fair enough!	a secretion called gall, which was believed to be the source of bitterness.^1
84	[Stabs him.]
86	Feren. O, O, O! −
88	Duke. Forbear, you monstrous women! do not add
	Murder to lust: your lives shall pay this forfeit.
90
	Feren. Pox upon all cod-piece extravagancy! I am	= the well-known fashion appendage to the male frontal- area; Ferentes may be cursing his own abnormal or immoral sexual behavior.
92	peppered − O, O, O! − Duke, forgive me! − Had I	= punished.^7
	rid any tame beasts but Barbary wild colts, I had	93-97: Ferentes returns to his horse metaphors for the women.
94	not been thus jerked out of the saddle. My forfeit
	was in my blood; and my life hath answered it.	= lust.
96	Vengeance on all wild whores, I say! − O, 'tis true −	= pun on "horse", which would sound the same.
	farewell, generation of hackneys! − O!	= simple riding horses.^1
98
	[Dies.]	88-99: a common, but not universally observed, convention of Elizabethan drama granted even the most evil characters a chance to repent their sinful ways before they die, as Ferentes - to some degree - did here in his last speech.
100
	Duke. He is dead.
102	To prison with those monstrous strumpets!
104	Pet. Stay;
	I'll answer for my daughter.	= assume responsibility for; the girls will be kept in private house-arrest rather than be forced to endure prison.
106
	Nib. And I for mine. −
108	O, well done, girls!
110	Ferna. I for yon gentlewoman, sir.	110: Fernando will take responsibility for Morona.
112	Maur. Good my lord, I am an innocent in the business.
114	Duke. To prison with him! Bear the body hence.	= ie. Mauruccio; for some unknown reason, the duke has Mauruccio arrested; it may be a manifestation of his peevishness since he learned Bianca was cheating on him.
116	Abbot. Here's fatal sad presages: but 'tis just
	He dies by murder that hath lived in lust.
118
	[Exeunt.].	End of Act III: the bitter comments provided at the end of Act III by the prudish editor Alexander Dyce are worth quoting here: "Few third acts can be found so uniformly reprehensible and disgusting as this: the only thing to praise in it is the promptitude with which the author has freed himself, in part, from the loathsome encumbrance of such a worthless rabble."^12
	ACT IV.
	SCENE I.
	An Apartment in the Palace.
	Enter Duke, Fiormonda, and D’Avolos.
1	Fiorm. Art thou Caraffa? is there in thy veins	1ff: Fiormonda berates the duke for not being man enough
2	One drop of blood that issued from the loins	to punish those who have disgraced him. Note that she
	Of Pavy's ancient dukes? or dost thou sit	addresses him with the scornful "thou".
4	On great Lorenzo's seat, our glorious father,
	And canst not blush to be so far beneath
6	The spirit of heroic ancestors?
	Canst thou engross a slavish shame, which men	7-9: "is it possible for you tolerate this disgrace, which
8	Far, far below the region of thy state	even men of lower status (region) would take pains to revenge with a passion that matches their level of loathing of the shame?" engross = possess.^3
	Not more abhor than study to revenge?
10	Thou an Italian! I could burst with rage	= "and you call yourself an Italian!"
	To think I have a brother so befooled	= made a fool of.^1
12	In giving patience to a harlot's lust.
14	D’Av. One, my lord, that doth so palpably, so	14ff: perhaps feeling he is protected by Fiormonda's presence, D'Avolos recklessly taunts the duke.
	apparently make her adulteries a trophy, whiles
16	the poting-stick to her unsatiate and more than	16: poting-stick = "a slender rod of bone or steel, for setting the plaits of rum, cuffs, &c. after starching" (Dyce, p.74)^12; clearly suggestive. unsatiate = insatiable.
	goatish abomination jeers at and flouts your
18	sleepish, and more than sleepish, security.	= sleepy, ie. inattentive. = complacency or over-confidence.^1
20	Fiorm. What is she but the sallow-coloured brat	= sickly yellow.^1
	Of some unlanded bankrupt, taught to catch	= having no lands.
22	The easy fancies of young prodigal bloods	= spirited or lustful youths.^2
	In springes of her stew-instructed art?	= snares.^2 = brothel.
24	Here's your most virtuous duchess! your rare piece!
26	D’Av. More base in the infiniteness of her sensuality	26-27: More base…infect = the sense is something like
	than corruption can infect: − to clip and inveigle	"Bianca's lust is so great that it cannot be tainted (infected) any worse by any further depravity". corruption = depravity or dissolution.^1 clip = embrace or grasp.^1 inveigle = seduce.^1
28	your friend too! O, unsufferable! − a friend! how	= ie. Fernando.
	of all men are you most unfortunate! − to pour out
30	your soul into the bosom of such a creature as	= person, despicable person, or one who owes his or her
	holds it religion to make your own trust a key to	position to a patron^1, ie. Fernando.
32	open the passage to your own wife's womb, to
	be drunk in the privacies of your bed! − think	= note that D'Avolos, even as he is mocking the duke,
34	upon that, sir.	still uses the formal "you" in addressing him, because for him to use "thee" would be too explicitly insulting.
36	Duke. Be gentle in your tortures, e'en for pity;	36-37: the duke's response is timid and weak.
	For pity's cause I beg it.
38
	Fiorm. Be a prince!
40	Th'adst better, duke, thou hadst, been born a peasant.	= "it would have been better for you"
	Now boys will sing thy scandal in the streets,
42	Tune ballads to thy infamy, get money
	By making pageants of thee, and invent	= plays or shows
44	Some strangely-shaped man-beast, that may for horns
	Resemble thee, and call it Pavy's Duke.
46
	Duke. Endless immortal plague!
48
	D’Av. There's the mischief, sir: in the meantime you	= with sir, D'Avolos hangs on to a thread of formality,
50	shall be sure to have a bastard − of whom you did	even as he twists the knife deeper.
	not so much as beget a little toe, a left ear, or half
52	the further side of an upper lip − inherit both your
	throne and name: this would kill the soul of very
54	patience itself.
56	Duke. Forbear; the ashy paleness of my cheek	= ashen, deadly pale^1
	Is scarleted in ruddy flakes of wrath;
58	And like some bearded meteor shall suck up,	= ie. comet (bearded = with a tail)
	With swiftest terror, all those dusky mists
60	That overcloud compassion in our breast.
	You've roused a sleeping lion, whom no art,
62	No fawning smoothness shall reclaim, but blood.	= flattery. = call back.
	And sister thou, thou, Roderico, thou,	= this is the first time in the play that D'Avolos is addressed by his first name.
64	From whom I take the surfeit of my bane,	= excessive dose of poison.
	Henceforth no more so eagerly pursue
66	To whet my dulness: you shall see Caraffa	= "render more painfully acute to me my inactivity (dulness^1) in this matter"; the duke warns D'Avolos to cease his taunting.
	Equal his birth, and matchless in revenge.	= ie. behave the way a duke should.
68
	Fiorm. Why, now I hear you speak in majesty.	= Fiormonda reverts to "you", indicating a more respectful
70		tone.
	D’Av. And it becomes my lord most princely.
72
	Duke. Does it? − Come hither, sister. Thou art near
74	In nature, and as near to me in love:
	I love thee, yes, by yon bright firmament,	= sky or heavens
76	I love thee dearly. But observe me well:
	If any private grudge or female spleen,
78	Malice or envy, or such woman's frailty,
	Have spurred thee on to set my soul on fire
80	Without apparent certainty, − I vow,
	And vow again, by all our princely blood,
82	Hadst thou a double soul, or were the lives
	Of fathers, mothers, children, or the hearts
84	Of all our tribe in thine, I would unrip
	That womb of bloody mischief with these nails
86	Where such a cursèd plot as this was hatched. −
	But, D'Avolos, for thee − no more; to work
88	A yet more strong impression in my brain
	You must produce an instance to mine eye	= example; the duke wants to see proof of Bianca's cheating.
90	Both present and apparent − nay, you shall − or −
92	Fiorm. Or what? you will be mad? be rather wise;
	Think on Ferentes first, and think by whom
94	The harmless youth was slaughtered: had he lived,
	He would have told you tales: Fernando feared it;	95-97: Fernando…him off = Fiormonda's revenge on Fernando takes an unexpected turn: she blames him for arranging Ferentes' murder.
96	And to prevent him, − under show, forsooth,	= anticipate Ferentes telling the duke tales (ie. keep
	Of rare device, − most trimly cut him off.	Ferentes from telling the duke what he (Fernando) has been doing). 96-97: under show…device = under the pretense or guise of putting on a show with an unusual idea, ie. using female performers. rare device = excellent idea.
98	Have you yet eyes, duke?
100	Duke. Shrewdly urged, − 'tis piercing.	= maliciously, or sharply^1 (punning with piercing)
102	Fiorm. For looking on a sight shall split your soul,	= which shall
	You shall not care: I'll undertake myself
104	To do't some two days hence; for need, to-night,	= ie. "present you with evidence"
	But that you are in court.
106
	D’Av. Right. Would you desire, my lord, to see
108	them exchange kisses, sucking one another's lips,
	nay, begetting an heir to the dukedom, or practising
110	more than the very act of adultery itself? Give but
	a little way by a feigned absence, and you shall	= the duke should pretend to leave town; the duke could
112	find 'em − I blush to speak doing what: I am mad	then expect Bianca and Fernando will take advantage of his absence to come together.
	to think on't; you are most shamefully, most
114	sinfully, most scornfully cornuted.	= horned, ie. cuckolded
116	Duke. D'ye play upon me? as I am your prince,	= take advantage of, but play also can mean to "ridicule".^1
	There's some shall roar for this! Why, what was I,	= weep, or cry out in pain.^1
118	Both to be thought or made so vile a thing? −
	Stay, madam marquess, − ho, Roderico, you, sir, −
120	Bear witness that if ever I neglect	120-135: the duke makes a long and intense vow of revenge.
	One day, one hour, one minute, to wear out
122	With toil of plot or practice of conceit	= labor in the creation of schemes.^1 = planning of ingenious plots^1; the parallel phrases essentially mean the same thing.
	My busy skull, till I have found a death
124	More horrid than the bull of Phalaris,	= Phalaris, a ruler of Sicily during the 6th century B.C., was famous for his cruelty. History remembers him for his alleged use of a hollow bronze statue of a bull, in which victims were locked and roasted over a fire; the scream of the victims were intended to simulate the bellowing of the bull.^8
	Or all the fabling poets' dreaming whips;
126	If ever I take rest, or force a smile
	Which is not borrowed from a royal vengeance,
128	Before I know which way to satisfy
	Fury and wrong, − nay, kneel down, −	= by kneeling, Fiormonda and D'Avolos participate in the duke's vow as solemn witnesses.
130
	[They kneel.]
132
	let me die
134	More wretched than despair, reproach, contempt,
	Laughter, and poverty itself can make me!
136	Let's rise on all sides friends: −
138	[They rise.]
140	now all's agreed:
	If the moon serve, some that are safe shall bleed.	141: medical bleeding of patients was believed to be more efficacious if performed when the moon was in certain phases.^3
142
	Enter Bianca, Fernando, and Morona.	= Fernando, we remember, took responsibility for Morona's person until her punishment for participating in Ferentes' murder is worked out.
144
	Bian. My lord the duke, −
146
	Duke. Bianca! ha, how is't?
148	How is't, Bianca? − What, Fernando! − come,
	Shall's shake hands, sirs? − 'faith, this is kindly done.
150	Here's three as one: welcome, dear wife, sweet friend!
152	D’Av. [Aside to Fiormonda] I do not like this now;	152-3: D'Avolos is concerned that the duke, who just
	it shows scurvily to me.	so mightily swore vengeance, is treating Bianca and Fernando so kindly.
154
	Bian. My lord, we have a suit; your friend and I −	= petition
156
	Duke. [Aside]
158	She puts my friend before, most kindly still.	158: "I notice that Bianca said 'your friend and I', instead of 'me and your friend'."
160	Bian. Must join −
162	Duke. What, "must"?
164	Bian. My lord! −
166	Duke. Must join, you say −
168	Bian. That you will please to set Mauruccio
	At liberty; this gentlewoman here	= ie. Morona
170	Hath, by agreement made betwixt them two,
	Obtained him for her husband: good my lord,
172	Let me entreat; I dare engage mine honour
	He's innocent in any wilful fault.
174
	Duke. Your honour, madam! now beshrew you for't,	= curse
176	T' engage your honour on so slight a ground:
	Honour's a precious jewèl, I can tell you;
178	Nay, 'tis, Bianca; go to! − D'Avolos,
	Bring us Mauruccio hither.
180
	D’Av. I shall, my lord.
182
	[Exit.]
184
	Mor. I humbly thank your grace,
186
	Ferna. And, royal sir, since Julia and Colona,
188	Chief actors in Ferentes' tragic end,
	Were, through their ladies' mediatión,	= Julia and Colona were granted a pardon for the murder by
190	Freed by your gracious pardon; I, in pity,	the duke, thanks to the intercession of the women they
	Tendered this widow's friendless misery;	serve, Fiormonda and Bianca respectively.
192	For whose reprieve I shall, in humblest duty,
	Be ever thankful.
194
	Re-enter D’Avolos with Mauruccio in rags,
196	and Giacopo weeping.
198	Maur. Come you, my learnèd counsel, do not roar;	= weep^1
	If I must hang, why, then, lament therefore:
200	You may rejoice, and both, no doubt, be great
	To serve your prince, when I am turnèd worms'-meat.
202	I fear my lands and all I have is begged;	= Mauruccio fears his property has been taken possession of by a formally appointed ward (a process known as begging) due to his status as a condemned man.^3 Set up by Henry VIII, the Court of Wards was a special administrative office to which a person could apply to take wardship of an orphan or a mental incompetent, and thus control the ward's property; though the guardian was supposed to do nothing with the property to harm the ward's interests, abuse of the responsibility was likely common enough to be referred to regularly in the literature of the period. Successive Tudor governments took advantage of the law to sell wardships, or give them as gifts to favorites. The Court was finally abolished by Charles II in 1660.^1
	Else, woe is me, why should I be so ragged?
204
	D’Av. Come on, sir; the duke stays for you.	= is waiting
206
	Maur. O, how my stomach doth begin to puke,	206-7: one of the great rhyming couplets in all of literature.
208	When I do hear that only word, the duke!	puke = puke was originally used as a hawking term, referring to the passing of food from the gullet to the stomach (first recorded use in 1586); by 1607, puke had gained its present meaning.^1
210	Duke. You, sir, look on that woman: are you pleased,
	If we remit your body from the gaol,	= jail
212	To take her for your wife?
214	Maur. On that condition, prince, with all my heart.
216	Mor. Yes, I warrant your grace he is content.
218	Duke. Why, foolish man, hast thou so soon forgot
	The public shame of her abusèd womb,
220	Her being mother to a bastard's birth?
	Or canst thou but imagine she will be
222	True to thy bed who to herself was false?
224	Gia. [To Mauruccio] Phew, sir, do not stand upon	223-4: Giacopo urges his master Mauruccio to overlook
	that; that's a matter of nothing, you know.	Morona's episode with Ferentes, and her resulting pregnancy, as minor matters.
226
	Maur. Nay, an't shall please your good grace, an it	= if it. = if.
228	come to that, I care not; as good men as I have lain
	in foul sheets, I am sure; the linen has not been
230	much the worse for the wearing a little: I will have
	her with all my heart.
232
	Duke. And shalt. − Fernando, thou shalt have the grace
234	To join their hands; put 'em together, friend.
236	Bian. Yes, do, my lord; bring you the bridegroom hither;
	I'll give the bride myself.
238
	D’Av. [Aside] Here's argument to jealousy as good	238-9: as good as drink to the dropsy = additional liquid
240	as drink to the dropsy; she will share any disgrace with	(drink) would be superfluous to one already suffering
	him: I could not wish it better.	from dropsy (a condition marked by the build-up of excess fluid); D'Avolos is commenting on the seemingly endless evidence of a special relationship between the duchess and Fernando.
242
	Duke. Even so: well, do it.
244
	Ferna. Here, Mauruccio;
246	Long live a happy couple!
248	[Fernando and Bianca join their hands.]
250	Duke. 'Tis enough;
	Now know our pleasure henceforth. 'Tis our will,
252	If ever thou, Mauruccio, or thy wife,
	Be seen within a dozen miles o' the court,
254	We will recall our mercy; no entreat	= ie. "begging on your part or behalf".
	Shall warrant thee a minute of thy life:	= "get you an extra minute".
256	We'll have no servile slavery of lust
	Shall breathe near us; dispatch, and get ye hence. −
258	Bianca, come with me. − [Aside] O, my cleft soul!
260	[Exeunt Duke and Bianca.]
262	Maur. How's that? must I come no more near the court?
264	Gia. O, pitiful! not near the court, sir!
266	D’Av. Not by a dozen miles, indeed, sir. Your only
	course, I can advise you, is to pass to Naples, and set	= Naples seems to have been associated with syphilis (Taylor, p. 139).^4
268	up a house of carnality: there are very fair and	= D'Avolos recommends Mauruccio set up a brothel.
	frequent suburbs, and you need not fear the	= area outside the city walls, the traditional location of the whorehouses in a traditional Renaissance city.
270	contagion of any pestilent disease, for the worst
	is very proper to the place.	= fitting^1
272
	Ferna. 'Tis a strange sentence.	273: the exile of Mauruccio confuses the other characters, but the duke is likely using this episode as an indirect warning to Bianca and Fernando regarding how he feels about those who give in to their lust.
274
	Fiorm. 'Tis, and sudden too,
276	And not without some mystery.
278	D’Av. Will you go, sir?
280	Maur. Not near the court!
282	Mor. What matter is it, sweetheart? fear nothing,
	love; you shall have new change of apparel, good
284	diet, wholesome attendance; − and we will live	= attention.^2
	like pigeons, my lord.	= lovebirds, sweethearts.
286
	Maur. Wilt thou forsake me, Giacopo?
288
	Gia. I forsake ye! no, not as long as I have a whole
290	ear on my head, come what will come.
292	Fiorm. Mauruccio, you did once proffer true love
	To me, but since you are more thriftier sped,	= prosperous or successful, referring to Mauruccio's success in finding a wife in Morona.
294	For old affection's sake here take this gold;	294-5: Fiormonda finally shows a bit of human kindness.
	Spend it for my sake.
296
	Ferna. Madam, you do nobly, −
298	And that's for me, Mauruccio.
300	[They give him money.]
302	D’Av. Will ye go, sir?
304	Maur. Yes, I will go; − and I humbly thank your
	lordship and ladyship. − Pavy, sweet Pavy,
306	farewell! − Come, wife, − come, Giacopo:
	Now is the time that we away must lag,
308	And march in pomp with baggage and with bag.	= bag and baggage is an old military phrase, referring to the entirety of an army's property^1; note that Mauruccio's military metaphor began with march in pomp.
	O poor Mauruccio! what hast thou misdone,
310	To end thy life when life was new begun?
	Adieu to all; for lords and ladies see
312	My woeful plight and squires of low degree!	= followers or attendants^2
314	D’Av. Away, away, sirs!
316	[Exeunt all but Fiormonda and Fernando.]
318	Fiorm. My Lord Fernando, −
320	Ferna. Madam?
322	Fiorm. Do you note
	My brother's odd distractions? − You were wont	= mental disturbance. = accustomed.
324	To bosom in his counsels: I am sure
	You know the ground of it.	= ie. the duke's distractions
326
	Ferna. Not I, in troth.	= truth
328
	Fiorm. Is't possible? What would you say, my lord
330	If he, out of some melancholy spleen,	= the spleen was believed to be the source of melancholy feelings.^1
	Edged-on by some thank-picking parasite,	= with parasite, referring to a sycophant of the duke, one who gathers (picks^1) gratitude any way he can.
332	Should now prove jealous? I mistrust it shrewdly.	= suspicious.^1
334	Ferna. What, madam! jealous?
336	Fiorm. Yes; for but observe,
	A prince whose eye is chooser to his heart	337-340: a king who falls in love based on a woman's looks is rarely loyal to his wife unless she is equal to him in rank.
338	Is seldom steady in the lists of love,	= arenas or stages for jousting tournaments.
	Unless the party he affects do match	= loves.
340	His rank in equal portion or in friends:
	I never yet, out of report, or else	341-4: I never yet…in him = "if the duke is not suspicious
342	By warranted description, have observed	now, then I don't know what suspicion is."
	The nature of fantastic jealousy,	= fanciful, imagined.
344	If not in him; yet, on my conscience now,
	He has no cause.	345: Fiormonda dissembles.
346
	Ferna. Cause, madam! by this light,
348	I'll pledge my soul against a useless rush.	= the marsh plant, often used to cover the floor in a home.
350	Fiorm. I never thought her less; yet, trust me, sir,
	No merit can be greater than your praise:
352	Whereat I strangely wonder, how a man
	Vowed, as you told me, to a single life,
354	Should so much deify the saints from whom
	You have disclaimed devotion.	= renounced love
356
	Ferna. Madam, 'tis true;
358	From them I have, but from their virtues never.
360	Fiorm. You are too wise, Fernando. To be plain,	359ff: Fiormonda's indirect approach is not getting to
	You are in love; nay, shrink not, man, you are;	Fernando, so she has no choice but to be blunt.
362	Bianca is your aim: why do you blush?
	She is, I know she is.
364
	Ferna. My aim!
366
	Fiorm. Yes, yours;
368	I hope I talk no news. Fernando, know
	Thou runn'st to thy confusion, if in time	369: thou = Fiormonda, in switching to "thou", signals her attempt at a more intimate conversation; she will try one more time to win Fernando over. confusion = ruin.
370	Thou dost not wisely shun that Circe's charm.	= Circe was an enchantress who in Book X of the Odyssey turned Odysseus' men into swine after feeding them food laced with magic potions. She changed them back to men only when Odysseus agreed to remain with her for a year.
	Unkindest man! I have too long concealed
372	My hidden flames, when still in silent signs
	I courted thee for love, without respect	= consideration.
374	To youth or state; and yet thou art unkind.	374: youth or state = Fiormonda refers to the differences in their ages and ranks. unkind = ie. he is unkind to her, because he fails to respond to her advances.
	Fernando, leave that sorceress, if not	= ie. alluding to Bianca again as Circe.
376	For love of me, for pity of thyself.
378	Ferna. [Walks aside].	378-385: Fernando's speech is not heard by Fiormonda.
	Injurious woman, I defy thy lust.
380	Tis not your subtle sifting that shall creep	= scrutinizing or searching.^1
	Into the secrets of a heart unsoiled. −	= referring to his own innocent heart.
382	You are my prince's sister, else your malice
	Had railed itself to death: but as for me,	= would have ranted
384	Be record all my fate, I do detest
	Your fury or affection: − judge the rest.	= Fernando has no interest in what Fiormonda thinks of him - whether she feels anger or love.
386
	[Exit.]
388
	Fiorm. What, gone! well, go thy ways: I see the more	389f: from Fiormonda's perspective, Fernando simply
390	I humble my firm love, the more he shuns	walked out on her without responding to her last speech.
	Both it and me. So plain! then 'tis too late
392	To hope; change, peevish passion, to contempt!	= in an apostrophe, Fiormonda asks peevish passion (foolish or obstinate love^1) to convert itself into contempt.
	Whatever rages in my blood I feel,
394	Fool, he shall know I was not born to kneel.	= ie. to beg or to signify submission; a woman scorned, Fiormonda will get her revenge!
396	[Exit.]
	ACT IV, SCENE II.
	Another Room in the Palace.
	Enter D’Avolos and Julia.
1	D’Av. Julia, mine own, speak softly. What, hast
2	thou learned out any thing of this pale widgeon?	= fool or simpleton.
	speak soft; what does she say?	= while it is not explicitly stated who Julia is supposed to be spying on for D'Avolos, Colona is the likely target. D'Avolos hopes to learn what plans Bianca has to meet with Fernando during the duke's "absence", and naturally assumes Colona, who serves Bianca, will gladly share her gossip with Julia - after all, they did team up to commit a murder together!
4
	Jul. Foh, more than all; there's not an hour shall pass
6	But I shall have intelligence, she swears.
	Whole nights − you know my mind; I hope you'll give	= the meaning of this, as Dyce suggests, is unclear.
8	The gown you promised me.
10	D’Av. Honest Julia, peace; thou'rt a woman worth a
	kingdom. Let me never be believed now but I think
12	it will be my destiny to be thy husband at last: what
	though thou have a child, − or perhaps two?
14
	Jul. Never but one, I swear.
16
	D’Av. Well, one; is that such a matter? I like thee
18	the better for't! it shows thou hast a good tenantable	= affectionately humorous, if a bit disrespectful, description
	and fertile womb, worth twenty of your barren, dry,	of Julia's womb as capable of inhabitation.^1
20	bloodless devourers of youth. − But come, I will
	talk with thee more privately; the duke has a
22	journey in hand, and will not be long absent:
	see, he has come already − let's pass away easily.	= quietly slip away^1
24
	[Exeunt.]
26
	Enter Duke and Bianca.
28
	Duke. Troubled? yes, I have cause. − O, Bianca!
30	Here was my fate engraven in thy brow,
	This smooth, fair, polished table; in thy cheeks	= tablet (ie., Bianca's brow, on which the duke's fate was engraved).
32	Nature summed up thy dower: 'twas not wealth,	= dowry, ie. Bianca's countenance or beauty was her own
	The miser's god, or royalty of blood,	dowry.
34	Advanced thee to my bed; but love, and hope
	Of virtue that might equal those sweet looks:
36	If, then, thou shouldst betray my trust, thy faith,
	To the pollution of a base desire,
38	Thou wert a wretched woman.
40	Bian. Speaks your love	40-41: "are you telling me this out of love or fear?"
	Or fear, my lord?
42
	Duke. Both, both. Bianca, know,
44	The nightly languish of my dull unrest
	Hath stamped a strong opinion; for, methought, −
46	Mark what I say, − as I in glorious pomp	46-54: as I…horns = the duke describes an alleged dream
	Was sitting on my throne, whiles I had hemmed	he had.
48	My best-beloved Bianca in mine arms,
	She reached my cap of state, and cast it down	= also called a "cap of maintenance", a red velvet cap that is worn as a sign of authority or royalty. The king of England wears one on his way to his coronation.^9
50	Beneath her foot, and spurned it in the dust;	= kicked.
	Whiles I − O, 'twas a dream too full of fate! −	= ie. his dream was ominous.
52	Was stooping down to reach it, on my head
	Fernando, like a traitor to his vows,
54	Clapt, in disgrace, a coronet of horns.
	But, by the honour of anointed kings,	55f: the duke returns to the present.
56	Were both of you hid in a rock of fire,	= ie. "even if both of you were to be".
	Guarded by ministers of flaming hell,
58	I have a sword − 'tis here − should make my way
	Through fire, through darkness, death, and hell, and all,
60	To hew your lust-engendered flesh to shreds,
	Pound you to mortar, cut your throats, and mince	= a paste made of lime, sand and water, used to cement stones, bricks, etc. together.^1
62	Your flesh to mites: I will, − start not, − I will.	= tiny pieces.^1
64	Bian. Mercy protect me, will ye murder me?
66	Duke. Yes. − O, I cry thee mercy! − How the rage	66f: the duke returns to his senses; his breakdowns are
	Of my own dreamed-of wrongs made me forget	becoming more palpable.
68	All sense of sufferance! − Blame me not, Bianca;	= endurance.
	One such another dream would quite distract
70	Reason and self-humanity: yet tell me,
	Was't not an ominous vision?
72
	Bian. Twas, my lord,
74	Yet but a vision: for did such a guilt
	Hang on mine honour, 'twere no blame in you,
76	If you did stab me to the heart.
78	Duke. The heart!
	Nay, strumpet, to the soul; and tear it off
80	From life, to damn it in immortal death.
82	Bian. Alas! what do you mean, sir?
84	Duke. I am mad. −
	Forgive me, good Bianca; still methinks
86	I dream and dream anew: now, prithee, chide me.	= "I pray" (polite).^1
	Sickness and these divisions so distract	= ie. discord in the court.^1
88	My senses, that I take things possible
	As if they were; which to remove, I mean	= ie. were real.
90	To speed me straight to Lucca, where, perhaps,	= a city in Tuscany, about 120 miles from Pavia as the crow
	Absence and bathing in those healthful springs	flies.
92	May soon recover me; meantime, dear sweet,
	Pity my troubled heart; griefs are extreme:
94	Yet, sweet, when I am gone, think on my dream. −
	Who waits without, ho!
96
	Enter Petruchio, Nibrassa, Fiormonda, D’Avolos,
98	Roseilli disguised as before, and Fernando.
100	Is provision ready,
	To pass to Lucca?
102
	Pet. It attends your highness,
104
	Duke. Friend, hold; take here from me this jewèl, this:
106
	[Gives Bianca to Fernando.]
108
	Be she your care till my return from Lucca,
110	Honest Fernando. − Wife, respect my friend. −
	Let's go: − but hear ye, wife, think on my dream.
112
	[Exeunt all but Roseilli and Petruchio.]
114
	Pet. Cousin, one word with you: doth not this cloud	115-6: doth not…novelties = the sense is "don't you have
116	Acquaint you with strange novelties? The duke	any knowledge as to the nature or cause of these
	Is lately much distempered: what he means	unusual and previously unseen goings-on?"
118	By journeying now to Lucca, is to me
	A riddle; can you clear my doubt?
120
	Ros. O, sir,
122	My fears exceed my knowledge, yet I note
	No less than you infer; all is not well;
124	Would 'twere! whosoe'er thrive, I shall be sure
	Never to rise to my unhoped desires.	= desires (to marry Fiormonda) which he expects to never be fulfilled.
126	But, cousin, I shall tell you more anon:	= shortly.
	Meantime, pray send my Lord Fernando to me;
128	I covet much to speak with him.
130	Pet. And see,
	He comes himself; I'll leave you both together.
132
	[Exit.]
134
	Re-enter Fernando.
136
	Ferna. The duke is horsed for Lucca. How now, coz,
138	How prosper you in love?	= Roseilli, we remember, is in love with Fiormonda, but is currently serving her in disguise as a fool.
140	Ros. As still I hoped.	= expected.^3
	My lord, you are undone.	= (in the process of being) destroyed.^1
142
	Ferna. Undone! in what?
144
	Ros. Lost; and I fear your life is bought and sold;
146	I'll tell you how. Late in my lady's chamber
	As I by chance lay slumbering on the mats,
148	In comes the lady marquess, and with her
	Julia and D'Avolos; where sitting down,
150	Not doubting me, "Madam," quoth D'Avolos,	= suspecting
	"We have discovered now the nest of shame."
152	In short, my lord, − for you already know
	As much as they reported, − there was told
154	The circumstance of all your private love
	And meeting with the duchess; when, at last,
156	False D'Avolos concluded with an oath,
	"We'll make," quoth he, "his heart-strings crack for this."	= the anatomical seat of intense love^1
158
	Ferna. Speaking of me?	= 159: Fernando has no idea of Fiormonda's scheming
160		to bring him down.
	Ros. Of you; "Ay," quoth the marquess,
162	"Were not the duke a baby, he would seek	= a reference to the duke's timidness.^1
	Swift vengeance; for he knew it long ago."
164
	Ferna. Let him know it; yet I vow
166	She is as loyal in her plighted faith	= ie. faithful to her wedding vows.
	As is the sun in Heavèn: but put case	= suppose.
168	She were not, and the duke did know she were not;
	This sword lifted up, and guided by this arm,
170	Shall guard her from an armèd troop of fiends
	And all the earth beside.
172
	Ros. You are too safe	173-4: "you are over-confident (too safe) in your feeling
174	In your destruction.	safe from destruction"
176	Ferna. Damn him! − he shall feel −
	But peace! who comes?
178
	Enter Colona.
180
	Col. My lord, the duchess craves
182	A word with you.
184	Ferna. Where is she?
186	Col. In her chamber.
188	Ros. Here, have a plum for ie'ee −
190	Col. Come, fool, I'll give thee plums enow; come, fool.	= plural form of enough^1
192	Ferna. Let slaves in mind be servile to their fears;	192-3 and 198-9: note the pair of rhyming couplets that end Act IV.
	Our heart is high instarred in brighter spheres.	= made into a star. = an allusion to the Ptolemaic view of the universe, in which the stars and heavens are encased in concentric spheres, each revolving around the earth.
194
	[Exeunt Fernando and Colona.]
196
	Ros. I see him lost already.	197: Roseilli recognizes that Fernando is doomed, since
198	If all prevail not, we shall know too late	he refuses to take steps to protect himself.
	No toil can shun the violence of fate.	= avoid or evade.^1
200
	ACT V.
	SCENE I.
	The Palace.
	The Duchess's Bedchamber.
	Bianca discovered in her night-attire, leaning on
	a cushion at a table, holding Fernando by the hand.
	Enter above Fiormonda.	= once again, a character is able to enter the private room
		of another to secretly observe what is happening.
1	Fiorm. [Aside]
2	Now fly, Revenge, and wound the lower earth,	= Fiormonda addresses personified Revenge.
	That I, insphered above, may cross the race	3: insphered = a second allusion to what were believed to be the revolving, concentric spheres of the universe containing all the heavenly bodies. cross = thwart.
4	Of love despised, and triumph o'er their graves
	Who scorn the low-bent thraldom of my heart!	5: low-bent = suggesting a humbling or subservient position. thraldom = captivity.
6
	Bian. Why shouldst thou not be mine? why should the laws,	7ff: Bianca and Fernando have no idea Fiormonda is spying on them.
8	The iron laws of ceremony, bar	= the inviolable vows of marriage (ceremony = a religious
	Mutual embraces? what's a vow? a vow?	rite held sacred^1).
10	Can there be sin in unity? could I	= "if I could".
	As well dispense with conscience as renounce
12	The outside of my titles, the poor style	= highest.^1 = name or title.
	Of duchess, I had rather change my life
14	With any waiting-woman in the land
	To purchase one night's rest with thee, Fernando,
16	Than be Caraffa's spouse a thousand years.
18	Fiorm. [Aside]
	Treason to wedlock! this would make you sweat.
20
	Ferna. Lady of all…..as before,	21-22: the ellipses (…) represent missing fragments,
22	.....what I am,....	known as lacuna, of an author's work.
	To survive you, or I will see you first	23-28: Fernando vows to have himself buried alive with
24	Or widowéd or buried: if the last,	Bianca, should she predecease him.
	By all the comfort I can wish to taste,
26	By your fair eyes, that sepulchre that holds
	Your coffin shall incoffin me alive;
28	I sign it with this seal.
30	[Kisses her.]
32	Fiorm. [Aside] Ignoble strumpet!
34	Bian. You shall not swear; take off that oath again,	= cancel or recall^1; Bianca is responding playfully.
	Or thus I will enforce it.
36
	[Kisses him.]
38
	Ferna. Use that force,
40	And make me perjuréd; for whiles your lips	40: perjured = describes one who breaks a vow. 40-42: for whiles…forswear = "it is fun (sport) to take
	Are made the book, it is a sport to swear,	vows and then break them on the Bible (book) that is
42	And glory to forswear.	your lips."
44	Fiorm. [Aside] Here's fast and loose!
	Which, for a ducat, now the game's on foot?	= a gold coin of Venice. = the game is on or in motion.^1
46
	[Whilst they are kissing, the Duke and D’Avolos,	= the duke, remember, was supposed to be visiting the
48	with their swords drawn, appear at the door,	spa at Lucco; of course, this was a ruse, as he expected
	followed by Petruchio, Nibrassa, and a Guard.]	to catch Bianca and Fernando taking advantage of his presumed absence.
50
	Col. [Within] Help, help! madam, you are betrayed,	= offstage
52	madam; help, help!
54	D’Av. [Aside to Duke] Is there confidence in credit,	54: "do you believe me now?" confidence = trust, faith.
	now, sir? belief in your own eyes? do you see? do you
56	see, sir? can you behold it without lightning?	= striking with a weapon^1
58	Col. [Within] Help, madam, help!
60	Ferna. What noise is that? I heard one cry.
62	Duke. [Comes forward] Ha, did you?
	Know you who I am?
64
	Ferna. Yes; thou'rt Pavy's duke,
66	Dressed like a hangman: see, I am unarmed,
	Yet do not fear thee; though the coward doubt	= though outwardly formal, Fernando's use of "thee" in addressing the duke signifies his lack of respect for him in this situation. 67-69: though the…time = "your cowardly suspicion of what I have been doing with Bianca has led you to come at me with a sword when you knew I would be unarmed."
68	Of what I could have done hath made thee steal
	Th’ advantage of this time, yet, duke, I dare
70	Thy worst, for murder sits upon thy cheeks:
	To't, man!
72
	Duke. I am too angry in my rage
74	To scourge thee unprovided. − Take him hence;	= punish, implying divine judgment.^1 = unprepared to
	Away with him!	enter the afterlife by means of making confession.
76
	[The Guard seize Fernando.]
78
	Ferna. Unhand me!
80
	D’Av. You must go, sir.
82
	Ferna. Duke, do not shame thy manhood to lay hands
84	On that most innocent lady.
86	Duke. Yet again! −
	Confine him to his chamber.
88
	[Exeunt D’Avolos and the Guard with Fernando.]
90
	Leave us all;
92	None stay, not one; shut up the doors.
94	[Exeunt Petruchio and Nibrassa.]
96	Fiorm. Now show thyself my brother, brave Caraffa.	96: "now prove you are man enough to be my brother", ie.
		by killing the duchess.
98	Duke. Woman, stand forth before me; − wretched whore,
	What canst thou hope for?
100
	Bian. Death; I wish no less.
102	You told me you had dreamt; and, gentle duke,
	Unless you be mistook, you're now awaked.
104
	Duke. Strumpet, I am; and in my hand hold up
106	The edge that must uncut thy twist of life:	= ie. his sword. = thread or cord; the three Fates of Greek
	Dost thou not shake?	mythology spun and then cut the thread of every person's life.
108
	Bian. For what? to see a weak,
110	Faint, trembling arm advance a leaden blade?	= heavy, suggesting the duke's inability to effectively wield his sword.
	Alas, good man! put up, put up; thine eyes	= "resheathe your sword".
112	Are likelier much to weep than arms to strike:
	What would you do now, pray?
114
	Duke. What! shameless harlot!
116	Rip up the cradle of thy cursèd womb,	116-8: a graphic description of Fernando's impregnating of
	In which the mixture of that traitor's lust	Bianca.
118	Imposthumes for a birth of bastardy.	= swells (like a tumor).^1
	Yet come, and if thou think'st thou canst deserve
120	One mite of mercy, ere the boundless spleen
	Of just-consuming wrath o'erswell my reason,	= justifiably.^1 = spills over, as a liquid^1, suggesting "overtakes" or "subsumes".
122	Tell me, bad woman, tell me what could move
	Thy heart to crave variety of youth.
124
	Bian. I'll tell ye, if you needs would be resolved;	= explained or clarified.^1
126	I held Fernando much the properer man.	= better looking.
128	Duke. Shameless, intolerable whore!
130	Bian. What ails you?
	Can you imagine, sir, the name of duke
132	Could make a crooked leg, a scambling foot,	= a sprawling way of walking.^1,3
	A tolerable face, a wearish hand,	= endurable, or of middling quality.^1 = withered.^3
134	A bloodless lip, or such an untrimmed beard	= pale, suggesting lack of health.
	As yours, fit for a lady's pleasure? no:	132-5: there has been no indication in the play to this point
136	I wonder you could think 'twere possible,	that the duke was deformed in any way.
	When I had once but looked on your Fernando,
138	I ever could love you again; fie, fie!
	Now, by my life, I thought that long ago
140	Y' had known it, and been glad you had a friend
	Your wife did think so well of.
142
	Duke. O my stars!	143ff: the duke blusters, but his inability to act only serves
144	Here's impudence above all history.	to increase both his humiliation and the scorn of those
	Why, thou detested reprobate in virtue,	around him.
146	Dar'st thou, without a blush, before mine eyes
	Speak such immodest language?
148
	Bian. Dare! yes, 'faith,
150	You see I dare: I know what you would say now;
	You would fain tell me how exceeding much	= like to.
152	I am beholding to you, that vouchsafed	= beholden. = deigned (to raise).
	Me, from a simple gentlewoman's place,
154	The honour of your bed: 'tis true, you did;	= to the
	But why? 'twas but because you thought I had
156	A spark of beauty more than you had seen.
	To answer this, my reason is the like;
158	The self-same appetite which led you on
	To marry me led me to love your friend:
160	O, he's a gallant man! if ever yet
	Mine eyes beheld a miracle composed
162	Of flesh and blood, Fernando has my voice.
	I must confess, my lord, that for a prince
164	Handsome enough you are, and − and no more;	164: Bianca implicitly takes back what she said about the
	But to compare yourself with him! trust me,	duke's deformed physical appearance.
166	You are too much in fault. Shall I advise you?
	Hark in your ear; thank Heaven he was so slow	= "listen (hark) closely;"
168	As not to wrong your sheets; for, as I live,
	The fault was his, not mine.	= Fiormonda is not passing moral blame on Fernando; it
170		is quite the opposite: "the only reason I have not slept with Fernando yet is that he was being was too deliberate."
	Fiorm. Take this, take all.
172
	Duke. Excellent, excellent! the pangs of death
174	Are music to this. −
	Forgive me, my good genius; I had thought	= guardian spirit.^1
176	I matched a woman, but I find she is	= married.^1
	A devil, worser than the worst in hell. −
178	Nay, nay, since we are in, e'en come, say on;	= ie. "we have come this far"
	I mark you to a syllable: you say
180	The fault was his, not yours; why, virtuous mistress,
	Can you imagine you have so much art	= artifice, ability to deceive.
182	Which may persuade me you and your close markman	= secret. = ie. marksman, meaning victim or target.^1
	Did not a little traffic in my right?	= ie. his exclusive right, as husband, to enjoy Bianca.
184
	Bian. Look, what I said, 'tis true; for, know it now, −
186	I must confess I missed no means, no time,	186f: Bianca twists the facts to protect Fernando.
	To win him to my bosom; but so much,
188	So holily, with such religión,
	He kept the laws of friendship, that my suit	= Fernando rejected her advances, out of respect for his
190	Was held but, in comparison, a jest;	friendship with the duke.
	Nor did I ofter urge the violence	= extremity.
192	Of my affection, but as oft he urged
	The sacred vows of faith 'twixt friend and friend:
194	Yet be assured, my lord, if ever language	194-7: "be assured I tried every tactic and entreaty I could
	Of cunning servile flatteries, entreaties,	think of to seduce Fernando." Bianca is exaggerating
196	Or what in me is, could procure his love,	a bit here, both to protect Fernando and hurt the duke.
	I would not blush to speak it.
198
	Duke. Such another
200	As thou art, miserable creature, would
	Sink the whole sex of women: yet confess
202	What witchcraft used the wretch to charm the heart	= a common Elizabethan motif, suggesting the aggressor in love used supernatural means to seduce the victim.
	Of the once spotless temple of thy mind?	= yet another comparison of Bianca to a temple.
204	For without witchcraft it could ne'er be done.
206	Bian. Phew! − an you be in these tunes, sir, I'll leave;	= expressing disgust.^1 = if. = say no more.^3
	You know the best and worst and all.
208
	Duke. Nay, then,
210	Thou tempt'st me to thy ruin. Come, black angel,	210-1: black angel, fair devil = an interesting pair of oxymorons.
	Fair devil, in thy prayers reckon up
212	The sum in gross of all thy veinèd follies;	= full number of. = in the blood^1, ie. innate.
	There, amongst others, weep in tears of blood
214	For one above the rest, adultery!	= ie. the one folly
	Adultery, Bianca! such a guilt
216	As, were the sluices of thine eyes let up,	= gates of a dam^1, which could be raised to release water.
	Tears cannot wash it off: 'tis not the tide
218	Of trivial wantonness from youth to youth,
	But thy abusing of thy lawful bed,
220	Thy husband's bed; his in whose breast thou sleep'st,
	His that did prize thee more than all the trash	= contemptuous term for money.^1
222	Which hoarding worldlings make an idol of.	= those people who are devoted to the pleasures of the world.^1
	When thou shalt find the catalogue enrolled	223-4: catalogue…misdeeds = an allusion to the "books" of Revelation 20:12, which record all the good and bad works of those about to be judged.
224	Of thy misdeeds, there shall be writ in text	= ie. text-hand: fine, large handwriting appropriate for books.^1
	Thy bastarding the issues of a prince.	225: the duke vocalizes the greatest fear of a ruler, that his heirs won't actually be his own flesh and blood. issues = off-spring.
226	Now turn thine eyes into thy hovering soul,
	And do not hope for life; would angels sing	= ie. if angels were to.
228	A requiem at my hearse but to dispense	228-9: but to…on thee = "in exchange for my promise not to take revenge on thee".
	With my revenge on thee, 'twere all in vain:
230	Prepare to die!
232	Bian. [Opens her bosom] I do; and to the point
	Of thy sharp sword with open breast I'll run
234	Half way thus naked; do not shrink, Caraffa;
	This daunts not me: but in the latter act	= last.
236	Of thy revenge, 'tis all the suit I ask	= request.
	At my last gasp, to spare thy noble friend;	= ie. Fernando.
238	For life to me without him were a death.
240	Duke. Not this; I'll none of this; 'tis not so fit −
	Why should I kill her? she may live and change,
242	Or −
244	[Throws down his sword.]
246	Fiorm. Dost thou halt? faint coward, dost thou wish	= vacillate^1; Fiormonda is frustrated by the duke's continued
	To blemish all thy glorious ancestors?	inability to act.
248	Is this thy courage?
250	Duke. Ha! say you so too? −
	Give me thy hand, Bianca.
252
	Bian. Here.
254
	Duke. Farewell;
256	Thus go in everlasting sleep to dwell!
258	[Draws his dagger and stabs her.]
260	Here's blood for lust, and sacrifice for wrong.	= ie. in exchange for
262	Bian. Tis bravely done; thou hast struck home at once:
	Live to repent too late. Commend my love
264	To thy true friend, my love to him that owes it;	= owns
	My tragedy to thee; my heart to − to − Fernando.
266	O − O!
268	[Dies.]
270	Duke. Sister, she's dead.
272	Fiorm. Then, whiles thy rage is warm
	Pursue the causer of her trespass.
274
	Duke. Good:
276	I'll slack no time whiles I am hot in blood.
278	[Takes up his sword and exit.]
280	Fiorm. Here's royal vengeance! this becomes the state	= is fitting for
	Of his disgrace and my unbounded hate.
282
	[Exit above.]
	ACT V, SCENE II.
	An Apartment in the Palace.
	Enter Fernando, Nibrassa, and Petruchio.
1	Pet. May we give credit to your words, my lord?	1: "can we believe you?" Petruchio addresses Fernando.
2	Speak, on your honour.
4	Ferna. Let me die accursed,
	If ever, through the progress of my life,
6	I did as much as reap the benefit
	Of any favour from her save a kiss:
8	A better woman never blessed the earth.
10	Nib. Beshrew my heart, young lord, but I believe
	thee: alas, kind lady, 'tis a lordship to a dozen	11-12: tis a lordship…points = "it's a safe bet", as in "I'll bet 10 to 1."
12	points but the jealous madman will in his fury	= tagged laces used to tie clothes together.
	offer her some violence.
14
	Pet. If it be thus, 'twere fit you rather kept	15-18 'twere fit…revenge: a bit unclear speech, but perhaps something like, "you would be better off being prepared to defend yourself than to rely on your confidence (or overconfidence, both definitions of security) in your safety."
16	A guard about you for your own defence
	Than to be guarded for security
18	Of his revenge; he is extremely moved.	= ie. to anger
20	Nib. Passion of my body, my lord, if he come in
	his odd fits to you, in the case you are, he might
22	cut your throat ere you could provide a weapon	= ie. "before you could get your hands on"
	of defence: nay, rather than it shall be so, hold,
24	take my sword in your hand; 'tis none of the
	sprucest, but 'tis a tough fox will not fail his	= old word for a sword. = which will.
26	master, come what will come. Take it; I'll
	answer't, I: in the mean time Petruchio and I	= be accountable for it, take responsibility for it
28	will back to the duchess' lodging.
30	[Gives Fernando his sword.]
32	Pet. Well thought on; − and, despite of all his rage,
	Rescue the virtuous lady.
34
	Nib. Look to yourself, my lord! the duke comes.
36
	Enter the Duke, a sword in one hand,
38	and a bloody dagger in the other.
40	Duke. Stand, and behold thy executioner,
	Thou glorious traitor! I will keep no form
42	Of ceremonious law to try thy guilt:
	Look here, 'tis written on my poniard's point,	= dagger's
44	The bloody evidence of thy untruth,
	Wherein thy conscience and the wrathful rod
46	Of Heavèn's scourge for lust at once give up	46-47: give up / The verdict of = pass judgment on or
	The verdict of thy crying villainies.	condemn
48	I see thou'rt armed: prepare, I crave no odds
	Greater than is the justice of my cause;
50	Fight, or I'll kill thee.
52	Ferna. Duke, I fear thee not:	= Fernando continues to address the duke with the
	But first I charge thee, as thou art a prince,	contemptuous "thee".
54	Tell me how hast thou used thy duchess?	= treated.
56	Duke. How!
	To add affliction to thy trembling ghost,
58	Look on my dagger's crimson dye, and judge.
60	Ferna. Not dead?
62	Duke. Not dead! yes, by my honour's truth: why, fool,
	Dost think I'll hug my injuries? no, traitor!
64	I'll mix your souls together in your deaths,
	As you did both your bodies in her life. −
66	Have at thee!
68	Ferna. Stay; I yield my weapon up.
70	[He drops his sword.]
72	Here, here's my bosom: as thou art a duke,
	Dost honour goodness, if the chaste Bianca
74	Be murdered, murder me.
76	Duke. Faint-hearted coward,
	Art thou so poor in spirit! Rise and fight;
78	Or, by the glories of my house and name,
	I'll kill thee basely.
80
	Ferna. Do but hear me first:
82	Unfortunate Caraffa, thou hast butchered
	An innocent, a wife as free from lust
84	As any terms of art can deify.
86	Duke. Pish, this is stale dissimulatión;	= hackneyed, old
	I'll hear no more.
88
	Ferna. If ever I unshrined
90	The altar of her purity, or tasted
	More of her love than what without control
92	Or blame a brother from a sister might,
	Rack me to atomies. I must confess	= tear, as by the instrument of torture. = atoms, ie. tiny
94	I have too much abused thee; did exceed	pieces.
	In lawless courtship; 'tis too true, I did:
96	But, by the honour which I owe to goodness,
	For any actual folly I am free.	97: though he did try to seduce Bianca, Fernando is free
98		from the sin of actually and successfully doing so.
	Duke. 'Tis false: as much in death for thee she spake.
100
	Ferna. By yonder starry roof, 'tis true. O duke!
102	Couldst thou rear up another world like this,
	Another like to that, and more, or more,
104	Herein thou art most wretched; all the wealth
	Of all those worlds could not redeem the loss
106	Of such a spotless wife. Glorious Bianca,	= free from stain, ie. sin
	Reign in the triumph of thy martyrdom;
108	Earth was unworthy of thee!
110	Nib. and Pet. Now, on our lives, we both believe him.
112	Duke. Fernando, dar'st thou swear upon my sword
	To justify thy words?	= affirm, attest to^1
114
	Ferna. I dare; look here.
116
	[Kisses the sword.]	= as a sword, with its hilt or handle, resembles a cross, it was thought to be an appropriate object upon which to make a binding vow.
118
	'Tis not the fear of death doth prompt my tongue,
120	For I would wish to die; and thou shalt know,
	Poor miserable duke, since she is dead,
122	I'll hold all life a hell.
124	Duke. Bianca chaste!
126	Ferna. As virtue's self is good.
128	Duke. Chaste, chaste, and killed by me! to her
	I offer up this remnant of my −
130
	[Offers to stab himself, and is stayed by Fernando.]	= tries. = stopped or prevented.
132
	Ferna. Hold!
134	Be gentler to thyself.
136	Pet. Alas, my lord,
	Is this a wise man's carriage?	= manner of behavior or conduct^1
138
	Duke. Whither now	= to where
140	Shall I run from the day, where never man,
	Nor eye, nor eye of Heaven may see a dog	= in comparing himself to an animal, the duke reveals how
142	So hateful as I am? Bianca chaste!	basely he views himself.
	Had not the fury of some hellish rage
144	Blinded all reason's sight, I must have seen
	Her clearness in her confidence to die.	= innocence^1
146	Your leave −
148	[Kneels, holds up his hands, and,	148-9: the duke makes a private vow.
	after speaking to himself a little, rises.]
150
	'Tis done: come, friend, now for her love,
152	Her love that praised thee in the pangs of death,
	I'll hold thee dear. − Lords, do not care for me,	= "don't worry anymore about me"
154	I am too wise to die yet. − O, Bianca!
156	Enter D'Avolos.
158	D’Av. The Lord Abbot of Monaco, sir, is, in his
	return from Rome, lodged last night late in the city,
160	very privately; and hearing the report of your	160-1: hearing...journey = the abbot was in receipt of
	journey, only intends to visit your duchess to-morrow.	the official story that the duke had gone to visit the spas at Lucca.
162
	Duke. Slave, torture me no more! − note him, my lords;	= ie. D'Avolos
164	If you would choose a devil in the shape
	Of man, an arch-arch-devil, there stands one. −
166	We'll meet our uncle. − Order straight, Petruchio,
	Our duchess may be coffined; 'tis our will
168	She forthwith be interred, with all the speed
	And privacy you may, i' the college-church	= ie. collegiate church: a self-governing church managed
170	Amongst Caraffa's ancient monuments:	by a college of non-monastic priests.
	Some three days hence we'll keep her funeral. −
172	Damned villain! bloody villain! − O, Bianca! −
	No counsel from our cruèl wills can win us;
174	But ills once done, we bear our guilt within us.
176	[Exeunt all but D'Avolos.]
178	D’Av. Good b'wi'ye! "Arch-arch-devil!" why, I am	= the phrase captures an altered form of the common parting wish God be with ye, in which God was at some point replaced with good, eventually mutating into the modern good-bye.
	paid. Here's bounty for good service! beshrew my	= ie. rewarded (sarcastic). = a gift or generosity.^1
180	heart, it is a right princely reward. Now must I say
	my prayers, that I have lived to so ripe an age to
182	have my head stricken off. I cannot tell; 't may be	= "I don't know what to think"^12
	my Lady Fiormonda will stand on my behalf to
184	the duke: that's but a single hope; a disgraced	= feeble^12
	courtier oftener finds enemies to sink him when
186	he is falling than friends to relieve him. I must
	resolve to stand to the hazard of all brunts now.	187: "be determined to risk or face all attacks or charges."^1
188	Come what may, I will not die like a coward;
	and the world shall know it.
190
	[Exit.]
	ACT V, SCENE III.
	Another Apartment in the Palace.
	Enter Fiormonda, and Roseilli discovering himself.	= Roseilli removes his disguise.
1	Ros. Wonder not, madam; here behold the man
2	Whom your disdain hath metamorphoséd.
	Thus long have I been clouded in this shape,	= obscured, ie. disguised, as by a cloud^1
4	Led on by love; and in that love, despair:
	If not the sight of our distracted court,
6	Nor pity of my bondage, can reclaim	= restrain or subdue^1
	The greatness of your scorn, yet let me know
8	My latest doom from you.	= judgment
10	Fiorm. Strange miracle!	10-16: Fiormonda, contrite, behaves sympathetically for
	Roseilli, I must honour thee: thy truth,	only the second time in the play (the first was when she
12	Like a transparent mirror, represents	gave some money to Mauruccio when he was exiled).
	My reason with my errors. Noble lord,
14	That better dost deserve a better fate,
	Forgive me: if my heart can entertain
16	Another thought of love, it shall be thine.
18	Ros. Blessed, for ever blessèd be the words!
	In death you have revived me.
20
	Enter D'Avolos.
22
	D’Av. [Aside] Whom have we here? Roseilli,	= D'Avolos, who had been responsible for giving Roseilli the impression he had been exiled permanently, realizes his chickens have come home to roost; he must also reckon that Roseilli, in his disguise, has heard all of D'Avolos' scheming conversations with Fiormonda.
24	the supposed fool? 'tis he; nay, then, help me
	a brazen face! − My honourable lord! −	= D'Avolos calls on his dissembling abilities to help him
26		once again; brazen = made of bronze, suggesting a mask of hardness, but also meaning shameless.^1
	Ros. Bear off, bloodthirsty man! come not near me,
28
	D’Av. Madam, I trust the service −
30
	Fiorm. Fellow, learn to new-live: the way to thrift	31-32 and 34-35: Fiormonda and Roseilli deliver a pair of pithy and adage-like warnings to D'Avolos by means of successive rhyming couplets; thrift = prosper.
32	For thee in grace is a repentant shrift.	= ie. "for you to thrive in grace".^12 = confession.
34	Ros. Ill has thy life been, worse will be thy end:
	Men fleshed in blood know seldom to amend.
36
	Enter Servant.
38
	Serv. His highness commends his love to you, and	= Fiormonda
40	expects your presence; he is ready to pass to the
	church, only staying for my lord abbot to associate
42	him. − Withal, his pleasure is, that you, D'Avolos,	= additionally. 42-44: his pleasure…private man = D'Avolos is relieved
	forbear to rank in this solemnity in the place of	of his position as secretary, but may attend the funeral
44	secretary; else to be there as a private man. –	as a private citizen.
	Pleaseth you to go?
46
	[Exeunt all but D’Avolos.]
48
	D’Av. As a private man! what remedy? This way	= "what can I do?"
50	they must come; and here I will stand, to fall
	amongst 'em in the rear,
52
	[A solemn strain of soft music. The Scene opens, and
54	discovers the Church, with a tomb in the background.]	= reveals
56	Enter Attendants with torches, after them two Friars;
	then the Duke in mourning manner; after him
58	the Abbot, Flormonda, Colona, Julia, Roseilli,
	Petruchio, Nibrassa, and a Guard. −
60	D'Avolos follows. When the procession
	approaches the tomb they all kneel.
62	The Duke goes to the tomb, and lays his hand
	on it. The music ceases.
64
	Duke. Peace and sweet rest sleep here! Let not the touch
66	Of this my impious hand profane the shrine
	Of fairest purity, which hovers yet
68	About those blessèd bones enhearsed within.	= entombed^1; one of the great Elizabethan words.
	If in the bosom of this sacred tomb,
70	Bianca, thy disturbèd ghost doth range,	= wander about
	Behold, I offer up the sacrifice
72	Of bleeding tears, shed from a faithful spring,	= used to suggest the heart is weeping, though it weeps blood for tears.^1
	Pouring oblations of a mourning heart	= offerings.^1
74	To thee, offended spirit! I confess
	I am Caraffa, he, that wretched man,
76	That butcher, who, in my enragèd spleen,
	Slaughtered the life of innocence and beauty.
78	Now come I to pay tribute to those wounds
	Which I digged up, and reconcile the wrongs
80	My fury wrought and my contrition mourns.
	So chaste, so dear a wife was never man
82	But I enjoyed; yet in the bloom and pride
	Of all her years untimely took her life. −
84	Enough: set ope the tomb, that I may take
	My last farewell, and bury griefs with her.
86
	[The tomb is opened, out of which rises Fernando
88	in his winding-sheet, his face only uncovered;	= shroud, or sheet in which a body is wrapped for burial.^1
	as the Duke is going in he puts him back.]	= ie. Fernando physically pushes the duke back.
90
	Ferna. Forbear! what art thou that dost rudely press
92	Into the confines of forsaken graves?	= "what should be desolate^1 (or left alone) graves"
	Has death no privilege? Com'st thou, Caraffa,
94	To practise yet a rape upon the dead?
	Inhuman tyrant! −
96	Whats'ever thou intendest, know this place
	Is pointed out for my inheritance;
98	Here lies the monument of all my hopes:
	Had eager lust intrunked my conquered soul,	99-100: Had eager...death = "if lust had not taken control of my soul, than I would not have lost my joys in life (ie. Bianca) to death". intrunked = another great word, and likely Ford original; the OED defines it as "enclosed in a trunk", but that is not particularly helpful.
100	I had not buried living joys in death.
	Go, revel in thy palace, and be proud
102	To boast thy famous murders; let thy smooth,	= flattering.
	Low-fawning parasites renown thy act:	= ie. sycophants of the court. = make famous^1; Fernando's
104	Thou com'st not here.	sarcasm is extreme.
106	Duke. Fernando, man of darkness,
	Never till now, before these dreadful sights,
108	Did I abhor thy friendship: thou hast robbed
	My resolution of a glorious name.
110	Come out, or, by the thunder of my rage,
	Thou diest a death more fearful than the scourge
112	Of death can whip thee with.
114	Ferna. Of death! − poor duke!
	Why, that's the aim I shoot at; 'tis not threats −	= a metaphor from archery.
116	Maugre thy power, or the spite of hell −	= notwithstanding.^1
	Shall rend that honour: let life-hugging slaves,	117: rend that honour = "tear away that honour I seek". life-hugging slaves = those persons who love their lives above all else.
118	Whose hands imbrued in butcheries like thine
	Shake terror to their souls, be loth to die!
120	See, I am clothed in robes that fit the grave:	120: Fernando already has his winding-sheet about him.
	I pity thy defiance.
122
	Duke. Guard, lay hands,
124	And drag him out.
126	Ferna. Yes, let 'em; here's my shield;	= protection, referring to something small he suddenly holds up in his hand.
	Here's health to victory!	= a toast.
128
	[As the Guard go to seize him,
130	he drinks-off a phial of poison.]	= ie. vial
132	Now do thy worst. −
	Farewell, duke! once I have outstripped thy plots;	= for once. = run ahead of.
134	Not all the cunning antidotes of art	= knowledge or skill, ie. medicine.
	Can warrant me twelve minutes of my life:	= guarantee, ie. grant. = ie. twelve more.
136	It works, it works already, bravely! bravely!	= excellently.^1
	Now, now I feel it tear each several joint.
138	O royal poison! trusty friend! split, split
	Both heart and gall asunder, excellent bane!	= poison, or causer of death generally^1
140	Roseilli, love my memory. − Well searched out,
	Swift, nimble venom! torture every vein. −
142	I come, Bianca − cruèl torment, feast,
	Feast on, do − Duke, farewell. − Thus I − hot flames! −
144	Conclude my love, − and seal it in my bosom!
	O!
146
	[Dies.]
148
	Abbot. Most desperate end!
150
	Duke. None stir;
152	Who steps a foot steps to his utter ruin. −
	And art thou gone, Fernando? art thou gone?
154	Thou wert a friend unmatched; rest in thy fame. −
	Sister, when I have finished my last days,
156	Lodge me, my wife, and this unequalled friend,
	All in one monument. − Now to my vows.	= made by the duke in lines 148-9 of the previous scene.
158	Never henceforth let any passionate tongue	= sorrowful.^3
	Mention Bianca's and Caraffa's name,
160	But let each letter in that tragic sound	= unless
	Beget a sigh, and every sigh a tear;
162	Children unborn, and widows whose lean cheeks
	Are furrowed up by age, shall weep whole nights,
164	Repeating but the story of our fates;
	Whiles in the period, closing up their tale,	= end (of the story)
166	They must conclude how for Bianca's love
	Caraffa, in revenge of wrongs to her,
168	Thus on her altar sacrificed his life.
170	[Stabs himself.]
172	Abbot. O, hold the duke's hand!
174	Fiorm. Save my brother, save him!
176	Duke. Do, do; I was too willing to strike home
	To be prevented. − Fools, why, could you dream	= thwarted.
178	1 would outlive my outrage? − Sprightful flood,	178: outrage = mental confusion or anger, instigated by his disgrace.^1 178-183: Sprightful flood…unvessel life = note the duke's extended metaphor comparing his blood to a stream of water.
	Run out in rivers! O, that these thick streams
180	Could gather head, and make a standing pool,
	That jealous husbands here might bathe in blood!
182	So! I grow sweetly empty; all the pipes
	Of life unvessel life. − Now heavens, wipe out	= remove liquid from a vessel^1, his life being the liquid.
184	The writing of my sin! − Bianca, thus	= ie. from his book of life (Revelation 20:12), which
	I creep to thee − to thee − to thee, Bi−an−ca.	registers his every act.
186
	[Dies.]
188
	Ros. He's dead already, madam.
190
	D’Av. [Aside] Above hope! here's labour saved; I	191-2: D'Avolos realizes the duke's death might save him
192	could bless the destinies.	yet.
194	Abbot. 'Would I had never seen it!
196	Fiorm. Since 'tis thus,
	My Lord Roseilli, in the true requital
198	Of your continued love, I here possess
	You of the dukedom, and with it of me.
200	In presence of this holy abbot.
202	Abbot. Lady, then,
	From my hand take your husband; long enjoy
204
	[Joins their hands.]
206
	Each to each other's comfort and content!
208
	All. Long live Roseilli!
210
	Ros. First, thanks to Heaven; next, lady, to your love;
212	Lastly, my lords, to all: and that the entrance
	Into this principality may give
214	Fair hopes of being worthy of our place,
	Our first work shall be justice. − D'Avolos,
216	Stand forth.
218	D’Av. My gracious lord! −
220	Ros. No, graceless villain!
	I am no lord of thine. − Guard, take him hence,
222	Convey him to the prison's top; in chains
	Hang him alive; − whosoe'er lends a bit
224	Of bread to feed him dies. − Speak not against it,
	I will be deaf to mercy. − Bear him hence!
226
	D’Av. Mercy, new duke; here's my comfort, I make	'= ie. "at least I can take comfort in the fact that"
228	but one in the number of the tragedy of princes.
230	[He is led off.]
232	Ros. Madam, a second charge is to perform
	Your brother's testament; we'll rear a tomb
234	To those unhappy lovers, which shall tell
	Their fatal loves to all posterity. −
236	Thus, then, for you; henceforth I here dismiss
	The mutual comforts of our marriage-bed:
238	Learn to new-live, my vows unmoved shall stand;
	And since your life hath been so much uneven,	239-40: while this rhyming couplet does not rhyme in
240	Bethink in time to make your peace with Heaven.	modern English, the pronunciations of the stressed
		syllables of uneven and Heaven would have been more similar in the 17th century, perhaps sounding halfway between the ai of bait and the e of bet.
242	Fiorm. O, me! is this your love?
244	Ros. 'Tis your desert;	= "what you deserve"
	Which no persuasion shall remove.
246
	Abbot. 'Tis fit;
248	Purge frailty with repentance.
250	Fiorm. I embrace it:	250: Fiormonda, genuinely (if rather suddenly) repentant, accepts Roseilli's judgment.
	Happy too late, since lust hath made me foul,	251-2: the rhyming couplet: while in modern English foul
252	Henceforth I'll dress my bride-bed in my soul.	and soul don't sound anything alike, in the Elizabethan era the ou vowel combination would have been a true diphthong, pronounced as a sliding oh-oo sound: foh-ool, soh-ool. The result is surprisingly unforeign sounding!
254	Ros. Please you to walk, lord abbot?
256	Abbot. Yes, set on.
	No age hath heard, nor chronicle can say,
258	That ever here befell a sadder day.
260	[Exeunt.]
	FINIS
	Ford's Invented Words
	Like Shakespeare, John Ford used his artistic license to invent words when necessary, either by adding prefixes or suffixes to known words, using known words in new ways, or creating new compound words. Love's Sacrifice contains the following words which the OED cites Ford as either the first or only user:
	appropriament
	bastarding (meaning begetting a bastard)
	be-lepered
	bosom (meaning to engage in social contact)
	bosom-partner
	breviating (as a noun)
	champion-like
	composituously
	dry-fist
	easy-spirited
	faned
	fore-shop
	grogram (meaning a garment made of grogram)
	intrunked
	jig (meaning to fool)
	jig off
	just-consuming
	low-fawning
	lust-engendered
	man-beast
	nunquam satis (as a euphumism for a lady's genitals)
	parti- or party-halting
	scamble (as a description of a way of walking) and scambling (as an adjective)
	shape (as used in phrases such bring to shape, take shape, and put into shape)
	stew-instructed
	stover (as a verb)
	strangely-shaped
	surfle (meaning to paint with cosmetics)
	thank-picking
	unvessel
	veined (meaning innate)
	Finally, if Act V, ii, line 78, some editions have nome instead of house; nome, meaning "social class", would be another word cited by the OED as having been first used in the English language by Ford,