ElizabethanDrama.org

presents

the Annotated Popular Edition of

THE GENTLEMAN USHER

by George Chapman

1606

Featuring complete and easy-to-read annotations.

Annotations and notes © Copyright ElizabethanDrama.org, 2018
This annotated play may be freely copied and distributed.

Dramatis Personae:	INTRODUCTION to the PLAY
Duke Alphonso.	The Gentleman Usher is George Chapman's crowning
Prince Vincentio, his son.	comedy achievement. It features one very lusty duke,
Medice, the duke's favourite.	an alcoholic noblewoman, a most vain usher, and a lot of
A servant of Medice.	genuine laugh-out-loud dialogue. Though the play includes
	much of Chapman's tell-tale obscurity, the comedic scenes
Strozza, a Lord.	are as entertaining today on the page as they must have
Cynanche, wife of Strozza.	been on the stage four centuries ago.
Poggio, his nephew.
Ancilla, a servant.	NOTE on the PLAY'S SOURCE
Earl Lasso, an old Lord.	The text of the play is taken from Thomas Marc Parrott's
Bassiolo, gentleman usher to Lasso.	1913 collection Chapman's Comedies, fully cited below.
Fungus, a servant of Lasso.
Cortezza, sister of Lasso.	NOTES on the ANNOTATIONS
Margaret, daughter of Lasso.
	Mention of Parrott and Smith in the annotations refers
Benevemus, a doctor.	to the notes provided by each of these editors in their
Sarpego, a pedant.	respective editions of this play, each cited fully below.
Julio, a courtier.	The most commonly cited sources are listed in the
	footnotes immediately below. The complete list of footnotes
Attendants, servants, huntsmen,	appears at the end of this play.
guards, two pages, maids.	1. Oxford English Dictionary (OED) online.
	2. Crystal, David and Ben. Shakespeare's Words.
Figures in the Masques:	London; New York: Penguin, 2002.
Enchanter, Spirits, Sylvanus,	3. Parrott, Thomas Marc. Chapman's Comedies.
A Nymph, Broom-man, Rush-man,	London: George Routledge & Sons, 1914.
a man-bug, a woman-bug.	5. Smith, John Hazel. The Gentleman Usher. Lincoln,
	NE: U. of Nebraska Press, 1970.

	ACT I.
	SCENE I.
	Before the House of Strozza.	The Scene of the Play: an unspecified duchy in Italy.
	Enter Strozza, Cynanche, and Poggio.	Entering characters: Cynanche is the wife of Lord Strozza, Poggio his nephew. Poggio is a well-meaning lad, but a mental feather-weight, who talks in excess, and much of what he says is nonsense and hilariously self-contradictory. His primary role is the bearer of bad news.
1	Stroz. Haste, nephew; what, a sluggard? Fie, for shame!	= hurry up. = common expression of disdain.
2	Shall he that was our morning cock, turn owl,	2: Strozza suggests that Poggio is not so much like the bird
	And lock out daylight from his drowsy eyes?	of the morning (cock), which is associated with leadership
4		or supremacy, as he is the bird of the night (owl), with its own connotations of drowsiness or stupidity.^1,5 Actually, the association of Poggio with an owl is even more significant: since ancient times, the screech of an owl was believed to be an omen of death or disaster: in Richard III, the king cries out, "Out on you, owls! nothing but songs of death?" (Act IV.iv). This ties in nicely with Poggio's primarily role in this play as the bearer of bad news.
	Pog. Pray pardon me for once, lord uncle, for I'll be
6	sworn I had such a dream this morning: methought one	= someone.
	came with a commission to take a sorrel curtal that was	= a warrant or order. = a horse with its tail cut short or off.
8	stolen from him, wheresoever he could find him. And
	because I feared he would lay claim to my sorrel curtal
10	in my stable, I ran to the smith to have him set on his	= (re)attach.
	mane again and his tail presently, that the commission-	= right away. = ie. so that.
12	man might not think him a curtal. And when the smith
	would not do it, I fell a-beating of him, so that I could
14	not wake for my life till I was revenged on him.
16	Cyn. This is your old valour, nephew, that will fight	= courage.
	sleeping as well as waking.
18
	Pog. 'Slud, aunt, what if my dream had been true (as it	= a variation on 'Sblood; both are short for "God's blood",
20	might have been for anything I knew)! There's never a	an oath or swear. Parliament around this time passed a
	smith in Italy shall make an ass of me in my sleep, if I	statute banning the explicit blasphemous use of God's
22	can choose.	name on stage, so such implied blasphemies became the norm.
24	Stroz. Well said, my furious nephew; but I see	24ff: note that Strozza, a lord, speaks largely in verse, while his foolish nephew Poggio speaks mainly in prose.
	You quite forget that we must rouse to-day	25-27: a hunt is planned on the estate of Earl Lasso; Duke Alphonso, the ruler of the duchy, will be the featured guest. Strozza will want his entire family to appear for the event.
26	The sharp-tusked boar; and blaze our huntsmanship	= show off.^1
	Before the Duke.
28
	Pog. Forget, lord uncle? I hope not; you think belike	= it appears.
30	my wits are as brittle as a beetle, or as skittish as your	= Poggio's prattle is difficult to make any sense of: he begins by misspeaking the common expression, "blind as a beetle"; brittle conveys the sense of "weak", or perhaps "unreliable",^1 as he is responding to Strozza's suggestion that he might have forgotten the hunt. The word beetle could refer to the insect, with its concomitant brittleness, or to an old name for what is essentially a sledgehammer, and which was used as a byword for stupidity.^1 30-31: skittish...Barbary mare = skittish could mean "fickle" or "frivolous", but also could have its modern meaning as applied to a horse, hence Poggio's use of Barbary mare. The famous horses of Barbaria, or Northern Africa, were frequently mentioned in drama of the era.
	Barbary mare; one cannot cry wehee, but straight she	31-32: one cannot…tehee = wehee is the whinny of a horse,
32	cries tehee.	tehee the laugh of a person; Poggio has gotten the two terms reversed.^3
34	Stroz. Well guessed, cousin Hysteron Proteron!	= this is the name for the rhetorical device of connecting two ideas in such a way that the one that occurs last in time is named first, to signify its greater importance. Strozza is of course teasing Poggio's confusing the order of his onomatopoeic words.
36	Pog. But which way will the Duke's Grace hunt to-day?	36: which way = the sense seems to be "where", though
		Strozza responds to the directional sense of the phrase with Toward in line 38. the Duke's Grace = ie. the duke; "His Grace" or "Your Grace" would be correct titles to use in discussing or addressing a duke.^1
38	Stroz. Toward Count Lasso's house his Grace will hunt,
	Where he will visit his late honoured mistress.	= ie. Count Lasso's daughter Margaret, whom the duke is
40		interested to marry; late = most lately or recent.
	Pog. Who, Lady Margaret, that dear young dame? Will
42	his antiquity never leave his iniquity?	42: his antiquity may be a parody of His Grace, describing the duke as an old man; iniquity refers to sinful or injurious actions.^1 Poggio is thus expressing disapproval for the old duke's desire to match with the young Margaret. Note that Iniquity was also an alternative name for Vice, a buffoonish character from the old morality plays, who was frequently alluded to in Elizabethan drama. Vice played the role of the tempter of humanity.
44	Cyn. Why, how now, nephew? Turned Parnassus lately?	= ie. poet; Parnassus is a mountain in Greece, long considered a source of inspiration for literary and poetic accomplishment; hence, it stands for the world of poetry or literature in general.^1
46	Pog. “Nassus”? I know not; but I would I had all the	46: Nassus = nassus, or nasus, is "nose" in Latin; perhaps this is what Poggio thinks he heard Cynanche say; or he may have no idea what she is talking about. would = wish.
	Duke's living for her sake; I'd make him a poor duke,	= wealth, income. = ie. by spending all his money on
48	i'faith!	Margaret.
50	Stroz. No doubt of that, if thou hadst all his living.
52	Pog. I would not stand dreaming of the matter as I do
	now.
54
	Cyn. Why, how do you dream, nephew?
56
	Pog. Marry, all last night methought I was tying her	= a mild oath, derived from the Virgin Mary.
58	shoe-string.
60	Stroz. What, all night tying her shoe-string?
62	Pog. Ay, that I was, and yet I tied it not neither; for,
	as I was tying it, the string broke, methought, and
64	then, methought, having but one point at my hose,	= a tagged cord or ribbon used to attach hose to a doublet;
	methought, I gave her that to tie her shoe withal.	hose and doublet were the basic male garments of
66		Elizabethan society: hose covered the bottom half of the body, including the legs, while a doublet was a close- fitting garment for the upper body. withal (line 65) = with.
	Cyn. A point of much kindness, I assure you.
68
	Pog. Whereupon, in the very nick, methought, the	= old form of "in the nick of time".^1
70	Count came rushing in, and I ran rushing out, with my
	heels about my hose for haste.	71: having given up his point for Margaret, Poggio's dream hose have fallen down around his ankles; but, confused again, Poggio has heels and hose backwards in this line. Note also the alliteration in this last line.
72
	Stroz. So, will you leave your dreaming, and dispatch?	= cease. = hurry up,^1 ie. get ready.
74
	Pog. Mum, not a word more, I'll go before, and	= "I'll leave first"; note the self-contradictory nature of the
76	overtake you presently.	sentence. The reader should be prepared to pick up
		Poggio's absurd conflicting assertions throughout the play!
78	[Exit.]
80	Cyn. My lord, I fancy not these hunting sports,	= Cynanche addresses Strozza, her husband.
	When the bold game you follow turns again
82	And stares you in the face. Let me behold
	A cast of falcons on their merry wings	83-84: a number of terms from falconry appear here: a cast = a pair; daring = frightening; to stoop = to swoop down on: hence, the stooped prey = the prey upon which the falcon is set to swoop down; shifting = ie. acting to avoid the hawk.^1,3
84	Daring the stoopèd prey, that shifting flies;
	Or let me view the fearful hare or hind,	85-87: Cynanche compares the baying of the hunting
86	Tossed like a music point with harmony	hounds to musical harmony, in which the mixed barkings resemble the tossing around of a musical phrase or motif (a music point),^1 as in a fugue.^3 The baying accompanies the agitated (tossed)^1 fleeing rabbit or deer (hind). Note the two senses of tossed here.
	Of well-mouthed hounds. This is a sport for princes.	= the sense is likely "strong-voiced": a 19th century poem tells us that "well-mouthed hound makes the music of the woods."
88	The other rude; boars yield fit game for boors.	88: boars would have been pronounced like boors.
90	Stroz. Thy timorous spirit blinds thy judgment, wife;
	Those are most royal sports, that most approve	= test or demonstrate.
92	The huntsman's prowess and his hardy mind.
94	Cyn. My lord, I know too well your virtuous spirit;	= courageous.
	Take heed, for God's love, if you rouse the boar,
96	You come not near him, but discharge aloof	= from a distance^1 (to remain safe).
	Your wounding pistol, or well-aimèd dart.	= arrow.
98
	Stroz. Ay, marry, wife, this counsel rightly flows
100	Out of thy bosom; pray thee take less care;	= "please (pray thee), don't worry so much."
	Let ladies at their tables judge of boars,	= ie. by judging their taste.
102	Lords in the field. And so farewell, sweet love;
	Fail not to meet me at Earl Lasso's house.
104
	Cyn. Pray pardon me for that. You know I love not	= ie. "from having to attend the event at the earl's house."
106	These solemn meetings.	= formal, ceremonial.^2
108	Stroz. You must needs for once
	Constrain your disposition; and indeed
110	I would acquaint you more with Lady Margaret
	For special reason.
112
	Cyn. Very good, my lord.	= according to the OED, this is the earliest known written use of the phrase very good to indicate assent.
114	Then I must needs go fit me for that presence.	= "prepare myself".
116	Stroz. I pray thee do, farewell!
118	[Exit Cynanche.]
120	Enter Vincentio.	Entering Character: Vincentio is the son and heir of Duke
		Alphonso, and a close friend of Strozza's.
122	Here comes my friend. −
	Good day, my lord! Why does your Grace confront	= since Vincentio is royalty - his father the duke is the ruler of his land - he may properly be addressed as your Grace.
124	So clear a morning with so cloudy looks?	= Vincentio is obviously unhappy.
126	Vinc. Ask'st thou my griefs that know'st my desp'rate love	126-7: Vincentio, the duke's son, wants to marry Margaret,
	Curbed by my father's stern riválity?	just as his father does!
128	Must not I mourn that know not whether yet
	I shall enjoy a stepdame or a wife?	129: if Margaret marries Vincentio's father, she will be his step-mother!
130
	Stroz. A wife, Prince, never doubt it; your deserts	131-3: Strozza is confident Margaret will marry Vincentio.
132	And youthful graces have engaged so far
	The beauteous Margaret that she is your own.
134
	Vinc. Oh, but the eye of watchful jealousy	135-6: Vincentio has no chance to meet with Margaret
136	Robs my desires of means t' enjoy her favour.	because the duke always seems to have his eye on her.
138	Stroz. Despair not: there are means enow for you:	= plural form of "enough".
	Suborn some servant of some good respect	139-143: Strozza's idea is that Vincentio should convince
140	That's near your choice, who, though she needs no wooing,	one of Margaret's family-servants to act as a go-be-
	May yet imagine you are to begin	tween for her and Vincentio; the servant would be led
142	Your strange young love-suit, and so speak for you,	to believe that their relationship is only just beginning,
	Bear your kind letters, and get safe accéss.	though in reality, the young couple already have an understanding (hence, she needs no wooing). That's near your choice (line 140) = "one (ie. a servant) who has access to your beloved".^5
144	All which when he shall do, you need not fear	144-6: the servant, in helping Margaret and Vincentio, could not them give them away to the duke without implicating himself.
	His trusty secrecy, because he dares not
146	Reveal escapes whereof himself is author;	146: report any transgressions (escapes)^1 which he is responsible for having arranged.
	Whom you may best attempt, she must reveal;	147: "she will have to let you know which servant is the one you should work on."
148	For, if she loves you, she already knows,
	And in an instant can resolve you that.	= "inform you of".
150
	Vinc. And so she will, I doubt not; would to Heaven	= "I wish".
152	I had fit time, even now, to know her mind!	= ie. which servant she will recommend.
	This counsel feeds my heart with much sweet hope.	= ie. "this advice of yours, etc."
154
	Stroz. Pursue it then; 'twill not be hard t' effect:
156	The Duke has none for him, but Medice,	= assisting him; = Medice is a member of the duke's court, and his most trusted advisor; Strozza points out that unlike Vincentio, who has himself and Margaret on his side, Alphonso only has the lowly Medice to help him court Margaret. Medice should be pronounced with the accent on the first syllable: ME-di-ce.
	That fustian lord, who in his buckram face	157: fustian and buckram are types of coarse fabric, the latter stiffened with gum; the terms are figuratively applied to mean "ridiculous" or "pompous" and "stiff" or "stuck-up" respectively.^1
158	Bewrays, in my conceit, a map of baseness.	= betrays, reveals. = the very image or representation.^1
160	Vinc. Ay, there's a parcel of unconstruèd stuff,	160: Medice is like a load of uninterpretable nonsense (unconstrued stuff);^1 Smith interprets otherwise, suggesting Medice is like a section of woven fabric (stuff) not yet turned into anything.
	That unknown minion raised to honour's height,	= the favourite (minion) of the duke's is unknown in that no one knows where he came from,
162	Without the help of virtue, or of art	= ie. possessing any. = skill or learning.
	Or (to say true) of any honest part.	= quality.
164	Oh, how he shames my father! He goes like
	A prince's footman, in old-fashioned silks,	165: Medice's old-fashioned apparel makes him look like a footman, a servant who ran alongside a noble's carriage when it was in motion.
166	And most times in his hose and doubtlet only;	166: perhaps making fun of Medice for not wearing a fashionable cloak or gown.
	So miseráble, that his own few men	167-8: Medice is so cheap (miserable) that his own servants
168	Do beg by virtue of his livery;	must beg on the street to survive; English laws of the
	For he gives none, for any service done him,	era banned vagrancy, but since Medice's servants are
170	Or any honour, any least reward.	in fact employed, they would not be subject to arrest for
		violating the statutes; hence, their servants' uniforms (livery) could be said to protect them by acting as evidence of their employment.^3
172	Stroz. 'Tis pity such should live about a prince:
	I would have such a noble counterfeit nailed	173-4: noble counterfeit = ie. one impersonating an aristocrat. nailed…pillory = while secured in a pillory (a kind of stocks), a prisoner might have his ears nailed onto it, with the expectation that the ears would be torn off as the prisoner moved.
174	Upon the pillory, and, after, whipped
	For his adultery with nobility.	= metaphor for Medice's illegally or improperly consorting with the nobility.
176
	Vinc. Faith, I would fain disgrace him by all means,	= truly = "like to" or "prefer to".
178	As enemy to his base-bred ignorance,
	That, being a great lord, cannot write nor read.	177-9: Vincentio would like to use Medice's illiteracy as a means to humiliate him.
180
	Stroz. For that, we'll follow the blind side of him,	= "seek out his vulnerable side".^1
182	And make it sometimes subject of our mirth.
184	Enter Poggio post-haste.	= in a hurry.
186	Vinc. See, what news with your nephew Poggio?
188	Stroz. None good, I warrant you!
190	Pog. Where should I find my lord uncle?
192	Stroz. What's the huge haste with you?
194	Pog. O ho, you will hunt to-day!
196	Stroz. I hope I will.
198	Pog. But you may hap to hop without your hope, for	= happen; = leap about, as on a horse;^1 note Poggio's very
	the truth is, Killbuck is run mad.	silly wordplay with hap, hop and hope.
200		Smith cites a thesis by Akhiro Yamada^16 which suggests Poggio is parodying or misapplying a proverb of the time, one version of which was published in a book by J. Florio in 1591: "he that lives in hope, doth dance in narrow scope." 198ff: Poggio describes how Strozza's hunting dogs have become unemployable for the hunt; Killbuck was a common name for a hound or beagle.^13
	Stroz. What's this?
202
	Pog. Nay, 'tis true, sir: and Killbuck being run mad,
204	bit Ringwood so by the left buttock, you might have	= another common hunting dog name.^13
	turned your nose in it.	205: "stuck your nose into it and rotated it."
206
	Vinc. Out, ass!
208
	Pog. By Heaven, you might, my lord! D'ye think I lie?	= ie. "you really could (turn your nose in it)".
210
	Vinc. Zounds, might I? Let's blanket him, my lord. A	211: Zounds = a euphemism for the oath "God's wounds".
212	blanket here!	blanket him = ie. "toss Poggio in a blanket"; a person who deserved humiliation for some misbehavior might be subject to this treatment.
214	Pog. Nay, good my lord Vincentio, by this rush I tell	= typical Elizabethan vow taken on an inanimate object; rushes were frequently strewn on the floor in this era.
	you for good will: and Venus, your brach there, runs so	= female hound.^1 215-6: runs so proud = is in such heat.^1
216	proud that your huntsman cannot take her down for his	= as we can see from Strozza's response to this line, Poggio
	life.	has used the wrong expression: to take (her) down is a term from falconry, meaning to recall a hawk from flight.
218
	Stroz. Take her up, fool, thou wouldst say.	= ie. handle or restrain her.
220
	Pog. Why, sir, he would soon take her down, and he	= as soon. = "as" or "if".
222	could take her up, I warrant her!	= guarantee it.
224	Vinc. Well said, hammer, hammer!	= a small bird, the yellowhammer, here meaning "fool".^1,3
226	Pog. Nay, good now, let's alone. And there's your
	horse, Gray Strozza, too, has the staggers, and has	= a disease of horses, which causes them to stagger.^2
228	strook Bay Bettrice, your Barbary mare, so that she	= struck, though Smith suggests Poggio means "mated with".
	goes halting o' this fashion, most filthily.	= "goes about limping (halting) like this": Poggio likely
230		demonstrates how the horse limps.
	Stroz. What poison blisters thy unhappy tongue,
232	Evermore braying forth unhappy news? −	= like the ass that Vincentio called him in line 207 above.
	Our hunting sport is at the best, my lord:	232: "well, our hunting plans are in great shape, my lord." 232f: having finished berating Poggio, Strozza turns to
234	How shall I satisfy the Duke your father,	Vincentio; he worries about disappointing the duke, who
	Defrauding him of his expected sport?	would expect Strozza to be an excellent hunting
236	See, see, he comes.	companion.
238	Enter Alphonso, Medice, Sarpego, with attendants.	Entering Characters: Alphonso is the duke, Medice his
		minion (favourite), and Sarpego a pedant, or scholar.
240	Alph. Is this the copy of the speech you wrote, Signor
	Sarpego?
242
	Sarp. It is a blaze of wit poetical;	243ff: Sarpego, a scholar, speaks with humorous and ridiculous rhetorical flourishes, indicating his high self-regard.
244	Read it, brave Duke, with eyes pathetical.	= ie. that would be moved or emotionally stirred.^14 Note that Sarpego's opening lines comprise a rather awkward rhyming couplet.
246	Alph. We will peruse it straight: − well met, Vincentio,	= immediately.
	And good Lord Strozza; we commend you both
248	For your attendance; but you must conceive
	'Tis no true hunting we intend to-day,	249-252: rather than go hunting, the duke decides to court Margaret instead, by means of taking part in the production of a small play (known as a masque); one of the endearing traits of Elizabethan drama is the willingness of the characters to put on plays and shows for each other.
250	But an inducement to a certain show,	= prologue;^5 the duke already has plans for an elaborate evening masque, and now intends to stage an additional earlier one as well.
	Wherewith we will present our beauteous love,	251: "at which I will formally bring the lovely Margaret (our beauteous love) to public notice".
252	And therein we bespeak your company.	= "engage your help" or "request your attendance."^1
254	Vinc. We both are ready to attend your Highness.
256	Alph. See then, here is a poem that requires
	Your worthy censures, offered, if it like,	= judgments. = "pleases you".
258	To furnish our intended amorous show:	= use in.
	Read it, Vincentio.
260
	Vinc. Pardon me, my lord.
262	Lord Medice's reading will express it better.	262: Vincentio and Strozza now fulfill their earlier intention
		to tease Medice about his illiteracy.
264	Med. My patience can digest your scoffs, my lord.
	I care not to proclaim it to the world:	265: "I don't mind announcing it to the whole world".
266	I can nor write nor read; and what of that?
	I can both see and hear as well as you.
268
	Alph. Still are your wits at war.	269: Alphonso's comment reveals that this is not the first
270	[To Vincentio] Here, read this poem.	time Medice and Vincentio have bared their fangs at
		each other.
272	Vinc. [Reads]
	“The red-faced sun hath firked the flundering shades,	= driven away.^1 = stumbling or struggling shadows (of the night).^1,5
274	And cast bright ammel on Aurora's brow.”	= enamel,^1 ie. colourful ornament. = goddess of the dawn.
276	Alph. High words and strange! Read on, Vincentio.	275: the outrageously pretentious and absurd nature of Sarpego's poetry is not lost on his listeners.
278	Vinc. “The busky groves that gag-toothed boars do shroud	= full of bushes.^1 = having prominently extending teeth.^1
	With cringle-crangle horns do ring aloud.”	= twisting;^1 lines 278-9 offer another clunky rhyming
280		couplet.
	Pog. My lord, my lord, I have a speech here worth ten
282	of this, and yet I'll mend it too.	= improve or fix.^1
284	Alph. How likes Vincentio?	284: "How did you like it, Vincentio?"
286	Vinc. It is strangely good,
	No inkhorn ever did bring forth the like.	= ink container.
288	Could these brave prancing words with action's spur,	288-290 note Vincentio's extended metaphor (with prancing, spur, ridden and managed) comparing the reciting of Sarpego's poem for an audience to riding a horse. The word action here, and in the next several lines, refers to the gestures an actor would make to accompany his speech.
	Be ridden throughly, and managed right,	= used for "thoroughly", meaning "perfectly".^1
290	'Twould fright the audience, and perhaps delight.	289-290: Vincentio mocks Sarpego's rhyming couplets by making up one of his own - actually, with fright, a rhyming triplet of sorts.
292	Sarp. Doubt you of action, sir?	292: "do you doubt I can act, sir?"
294	Vinc. Ay, for such stuff.	294: "yes, to such garbage as this."
296	Sarp. Then know, my lord, I can both act and teach
	To any words; when I in Padua schooled it,	= Padua was well-known in England for its university.
298	I played in one of Plautus' comedies,	= Plautus, who lived around the 2nd-century B.C., was the most famous of Roman comic playwrights; about 20 of his plays are extant.
	Namely, Curculio, where his part I acted,	= Curculio is the shortest of Plautus' plays, about 700
300	Projecting from the poor sum of four lines	lines; Sarpego played Curculio, a parasite or hanger-on.
	Forty fair actions.
302
	Alph. Let's see that, I pray.	303: Alphonso requests a demonstration of Sarpego's
304		portrayal of Curculio.
	Sarp. Your Highness shall command.
306	But pardon me, if in my action's heat,	306-8: Sarpego intends to act the part as realistically as possible, which may entail him tripping over the others.
	Entering in post post haste, I chance to take up	= presumably meaning "super-hurriedly". = ie. trip.^3
308	Some of your honoured heels.
310	Pog. Y' ad best leave out	310-1: Poggio suggest Sarpego leave out the part where he
	That action for a thing that I know, sir.	bumps into the others; line 311's exact meaning is unclear, but perhaps Poggio is vaguely hinting at a retaliatory beating, should Sarpego knock him down.
312
	Sarp. Then shall you see what I can do without it.	313: Sarpego agrees to leave out the collisions.
314
	[Sarpego puts on his parasite's costume.]	= the parasite, a stock character of ancient comedies, was a person who ingratiated himself through flattery to a wealthy patron, who in return would feed and support him; we may also note here how absurd is Sarpego's desire to demonstrate his acting ability to the others, complete with a costume that he just happens to have with him!
316
	Alph. See, see! He hath his furniture and all.	= costume.^2
318
	Sarp. You must imagine, lords, I bring good news,
320	Whereof being princely proud I scour the street,
	And over-tumble every man I meet.
322
	[Exit Sarpego.]
324
	Pog. Beshrew my heart if he take up my heels!	325: "damn him if he knocks me over!"
326
	Enter Sarpego, running about the stage.
328
	Sarp. Date viam mihi, noti atque ignoti, dum ego	Translation: "Known or unknown, make way for me, while
330	hic officium meum.	here I execute my commission; fly all of you, be off, and
	Facio: fugite omnes, abite, et de via secedite,	get out of the way, lest I should hurt any person in my
332	Ne quern in cursu capite aut cubito aut pectore	speed with my head, or elbow, or breast, or with my
	offendam aut genu.	knee."^15
334
	Alph. Thanks, good Signor Sarpego.
336	How like you, lords, this stirring action?
338	Stroz. In a cold morning it were good, my lord,
	But something harsh upon repletiön.	= after a full meal.^3
340
	Sarp. Sir, I have ventured, being enjoined, to eat	= ie. asked (to perform).
342	Three scholars' commons, and yet drew it neat.	342: commons = the share of food a college student was entitled to.^1
		drew it neat = the sense seems to be "performed it skillfully."
344	Pog. Come, sir, you meddle in too many matters; let us,
	I pray, tend on our own show at my lord Lasso's.
346
	Sarp. Doing obeisance then to every lord,	= bowing
348	I now consort you, sir, even toto corde.	= attend.^2 = with all my heart (Latin); Sarpego's inclination
		to speak in Latin would have been viewed as pretentious.
350	[Exit Sarpego and Poggio.]
352	Med. My lord, away with these scholastic wits,
	Lay the invention of your speech on me,	353: Medice asks the duke to let him write his speech for him.
354	And the performance too; I'll play my part
	That you shall say, Nature yields more than Art.	= in such a way that. = ie. "natural talent is superior to learned skills."
356
	Alph. Be't so resolved; unartificial truth	= decided. = natural.^1
358	And unfeigned passion can decipher best.	= genuine. = allow one to interpret (decipher)^1 a role in the best way.
360	Vinc. But 'twill be hard, my lord, for one unlearn'd.	360: Vincentio again cruelly points out Medice's lack of education and literacy.
362	Med. Unlearn'd? I cry you mercy, sir; unlearn'd?	362: Medice takes Vincentio's comment badly, perhaps interpreting unlearned in its harsher sense of ignorant or unsophisticated, as opposed to one simply lacking formal education.
364	Vinc. I mean untaught, my lord, to make a speech	364: Vincentio dissembles, pretending he only meant that Medice is untrained as an actor.
	As a pretended actor, without clothes	= ie. a costume.
366	More gracious than your doublet and your hose.	366: now Vincentio makes fun of Medice's unstylish clothes.
368	Alph. What, think you, son, we mean t' express a speech
	Of special weight without a like attire?	= important or exceptional.^1 = a costume of similar distinc-
370		tion, ie. an appropriate outfit.
	[Alphonso puts rich robes on Medice.]
372
	Vinc. Excuse me then, my lord; so stands it well.
374
	Stroz. Has brought them rarely in to pageant him.	375: the duke brought regal clothing for Medice's use to
376		honor him, as with a triumph,^3 or to exhibit him.^1
	Med. What, think you, lord, we think not of attire?
378	Can we not make us ready at this age?	378: "are we not old enough to dress ourselves?"
380	Stroz. Alas, my lord, your wit must pardon his.	380: Strozza addresses Vincentio.
382	Vinc. I hope it will; his wit is pitiful.	= pitiable.^5
384	Stroz. [To Medice]
	I pray stand by, my lord; y' are troublesome.
386
	Med. To none but you; − am I to you, my lord?
388
	Vinc. Not unto me.
390
	Med. Why, then, you wrong me, Strozza.
392
	Vinc. Nay, fall not out, my lords.	= "don't argue".
394
	Stroz. May I not know
396	What your speech is, my Liege?
398	Alph. None but myself, and the Lord Medice.
400	Med. No, pray, my lord,
	Let none partake with us.	401: ie. "don't tell anyone what we are planning."
402
	Alph. No, be assured.
404	But for another cause:	404: "but I have another matter (cause) I need to take care
	[Aside to Strozza] a word, Lord Strozza;	of."
406	I tell you true I fear Lord Medice
	Will scarce discharge the speech effectually;
408	As we go, therefore, I'll explain to you
	My whole intent, that you may second him	= support him, ie. take Medice's place.
410	If need and his debility require.	= ie. an inability to perform his role.
412	Stroz. Thanks for this grace, my Liege.
414	[Vincentio overhears.]
416	Med. My lord, your son!
418	Alph. Why, how now, son? Forbear. − Yet 'tis no matter,
	We talk of other business, Medice;
420	And come, we will prepare us to our show.	420, 424: the final two lines of the scene form, typically,
		a rhyming couplet.
422	[Exeunt Alphonso, Medice, and attendants.]
424	Stroz. and Vinc. Which, as we can, we'll cast to overthrow.	= contrive, cause.^1 = subvert or ruin.^1
426	[Exeunt.]
	ACT I, SCENE II.
	A Room in the House of Lasso.
	Enter Lasso, Bassiolo, Sarpego, two Pages;	Entering Characters: Bassiolo is a gentleman usher, and
	Bassiolo bare before.	as such he holds the second highest position in the household of Earl Lasso, after the steward, and is responsible for managing many of the important activities of the home, including overseeing the hiring, firing and work of all the household's servants, supervising the preparation of meals, announcing callers, and preceding his master or mistress as he or she moves formally about.^5 Earl Lasso is the father of Margaret, the young lady both the duke and his son Vincentio want to marry; Sarpego is our scholar, whom we met in the play's first scene. Bassiolo enters the room without a servant's hat (bare), and preceding the others (before). A fascinating handbook of instructions, written by the Viscount Montague in the late 16th century, details the duties of the household servants; it specifically outlines when his gentleman usher shall wear his hat: for example, he writes, "I will that my Gentleman Usher shall use me or my wife in all places convenient through cities, towns, &c bare-headed as well on horseback as on foot, saving that in the presence of an Earl or upwards he shall forebear to do so."^18
1	Bass. Stand by there, make place!	= "make room!"
2
	Lasso. Say, now, Bassiolo, you on whom relies
4	The general disposition of my house
	In this our preparation for the Duke,
6	Are all our officers at large instructed	= servants.^2 = altogether.^1
	For fit discharge of their peculiar places?	= particular jobs.
8
	Bass. At large, my lord, instructed.
10
	Lasso. Are all our chambers hung? Think you our house	= ie. with tapestries, etc.
12	Amply capacious to lodge all the train?	= ie. all those expected to be present.^1
14	Bass. Amply capacious, I am passing glad.	= exceedingly.
	And now, then, to our mirth and musical show,
16	Which, after supper, we intend t' endure,
	Welcome's chief dainties; for choice cates at home	17: dainties and cates both refer to delicacies
18	Ever attend on princes, mirth abroad.
	Are all parts perfect?
20
	Sarp. One I know there is.
22
	Lasso. And that is yours.
24
	Sarp. Well guessed, in earnest, lord!
26	I need not erubescere to take	= blush (Latin).
	So much upon me; that my back will bear.
28
	Bass. Nay, he will be perfectiön itself
30	For wording well and dextrous action, too.	30: ie. in reciting his lines well and gesturing appropriately.
32	Lasso. And will these waggish pages hit their songs?	= mischievous young servants. = succeed (in singing).^5
34	Both Pages. Re, mi, fa, sol, la.	34: the boys sing or warm up.
36	Lasso. Oh they are practising; good boys, well done!
	But where is Poggio? There y' are overshot,	37-38: y' are…his brain = Lasso suggests Bassiolo has made a mistake in giving an important part to Poggio. y' are overshot = "you have overshot the target" (from archery).
38	To lay a capital part upon his brain,
	Whose absence tells me plainly he'll neglect him.	= it (ie. his part).
40
	Bass. Oh no, my lord, he dreams of nothing else,	41-42: Bassiolo assures Lasso that Poggio is actually waiting
42	And gives it out in wagers he'll excel;	to perform his part with great anticipation, so much so
	And see (I told your lordship) he is come.	that he is taking bets on his success; Parrott notes that
44		it was common for people to act parts in a play on a bet.
	Enter Poggio.
46
	Pog. How now, my lord, have you borrowed a suit for	= costume.
48	me? Signor Bassiolo, can all say, are all things ready?	= ie. recite their parts properly.
	The Duke is hard by, and little thinks that I'll be an	= close by, ie. almost arrived.
50	actor, i'faith; I keep all close, my lord.	= secret.
52	Lasso. Oh, 'tis well done, call all the ladies in; −
	Sister and daughter, come, for God's sake, come,
54	Prepare your courtliest carriage for the Duke.	= bearing.
56	Enter Cortezza, Margaret, and Maids.	Entering Characters: Cortezza is Lasso's sottish sister, Margaret his daughter.
58	Cort. And, niece, in any case remember this:	58-65: Cortezza gives her niece advice on how to flirt with the duke.
	Praise the old man, and when you see him first,
60	Look me on none but him, smiling and lovingly;	= ie. "look on": this is an example of the now lost gramma- tical form known as the ethical dative; the extra pronoun me after Look suggests extra interest on the part of the speaker to have the action completed.
	And then, when he comes near, make beisance low,	= curtsy.
62	With both your hands thus moving, which not only
	Is, as 'twere, courtly, and most comely too,	= attractive, pleasing.^1
64	But speaks (as who should say “Come hither, Duke.”)
	And yet says nothing, but you may deny.	62-65: the gestures Cortezza demonstrates for Margaret
66		are intended to be seductive, but subtle enough that if anyone should accuse Margaret of coming on to the duke, she can credibly deny it.
	Lasso. Well taught, sister!
68
	Marg. Ay, and to much end;	69: "and for a great purpose"; Margaret is ironic.
70	I am exceeding fond to humour him.	70: ie. "I would be very foolish (fond) to indulge the duke."
72	Enter Enchanter, with spirits singing;	72-74: the show begins, as the performers enter the stage;
	after them Medice like Sylvanus, next the Duke	Medice is dressed as Sylvanus, a god of the woods and
74	bound, Vincentio, Strozza, with others.	fields. The duke, unusually, appears himself in the show, apparently tied up.
76	Lasso. Hark! Does he come with music? What, and bound?	= ie. the duke.
	An amorous device; daughter, observe!	= dramatic presentation or idea with a love-related theme.
78
	Vinc. [Aside to Strozza]
80	Now let's gull Medice; I do not doubt	= play a trick on.
	But this attire put on, will put him out.	= "put him out of sorts", ie. cause him to be unable to
82		recite his lines properly.
	Stroz. [Aside to Vincentio]
84	We'll do our best to that end, therefore mark.	= to achieve that goal. = "let's be attentive"
86	Enchanter. Lady or Princess, both your choice commands,	86: spoken to Margaret: "it is your choice as to whether you you remain a simple member of the nobility (Lady) or a duchess (Princess).^3
	These spirits and I, all servants of your beauty,
88	Present this royal captive to your mercy.
90	Marg. Captive to me, a subject?	90: ie. a citizen of the duchy over which the duke rules.
92	Vinc. Ay, fair nymph!
	And how the worthy mystery befell,
94	Sylvanus here, this wooden god, can tell.	= god of the woods, played by Medice; Smith notes
		Vincentio is also referring to Medice's stiff acting style.^5 Note how the members of the show's "audience" continuously interrupt and converse during the performance.
96	Alph. Now, my lord!
98	Vinc. Now is the time, man, speak!
100	Med. Peace!	= "be quiet!"
102	Alph. Peace, Vincentio!
104	Vinc. 'Swounds, my lord,	= God's wounds (alternative form of zounds)
	Shall I stand by and suffer him to shame you? −	= ie. "let him argue your cause so poorly (with his rotten acting)?"^5
106	My lord Medice!
108	Stroz. Will you not speak, my lord?	108: Strozza, following Vincentio's lead, heckles Medice,
		without giving him a chance to speak; one can imagine Medice appearing to suffer from stage-fright here.
110	Med. How can I?
112	Vinc. But you must speak, in earnest. −
	Would not your Highness have him speak, my lord?
114
	Med. Yes, and I will speak, and perhaps speak so
116	As you shall never mend: I can, I know.	= improve upon;^1 but Parrott also sees an implied threat
		here.^3
118	Vinc. Do then, my good lord.
120	Alph. Medice, forth!
122	Med. Goddess, fair goddess, for no less − no less –
124	[Medice hesitates.]
126	Alph. No less, no less? No more, no more!
	[To Strozza] Speak you.	127: Alphonso wastes no time in having Strozza take over
128		the part from the faltering Medice.
	Med. 'Swounds, they have put me out!
130
	Vinc. Laugh you, fair goddess?	131-2: Vincentio addresses Margaret, who seems to have
132	This nobleman disdains to be your fool.	to be laughing at the goings-on; note that Vincentio
		has mockingly repeated Medice's use of the phrase fair goddess.
134	Alph. Vincentio, peace!
136	Vinc. 'Swounds, my lord, it is as good a show! −	136: Medice's failure is as entertaining to watch as if he had
	Pray speak, Lord Strozza.	carried off his speech successfully.
138
	Stroz. Honourable dame –
140
	Vinc. Take heed you be not out, I pray, my lord.	141: Now Vincentio harasses his friend!
142
	Stroz. I pray forbear, my lord Vincentio. −
144	How this distressèd Prince came thus enthralled,	144f: Strozza recites his lines. The Prince is the duke. enthralled = bound, tied-up.
	I must relate with words of height and wonder:	= ie. high style.
146	His Grace this morning, visiting the woods,
	And straying far to find game for the chase,
148	At last out of a myrtle grove he roused	148-9: the myrtle was sacred to Venus, and thus became a symbol of love; more apropos, as Smith notes, is that Venus' beloved, Adonis, hunted the boar that killed him in a myrtle grove, as described by Shakespeare in his long poem, Venus and Adonis (1593).
	A vast and dreadful boar, so stern and fierce.
150	As if the fiend, fell Cruèlty herself,	150: "as if Satan, in the personified guise of malevolent
	Had come to fright the woods in that strange shape.	(fell) Cruelty, etc."
152
	Alph. Excellent good!
154
	Vinc. Too good, a plague on him!	155: Vincentio does not want Strozza, nor anyone else for that matter, to perform well, because he knows the show is intended to be a cute and clever romantic device for the duke to court Margaret.
156
	Stroz. The princely savage being thus on foot,	= ie. the boar. = on the move.^1
158	Tearing the earth up with his thundering hoof,
	And with th' enragèd Ætna of his breath	= reference to Mt. Etna, Italy's famous volcano.
160	Firing the air, and scorching all the woods,
	Horror held all us huntsmen from pursuit;	161: notice the nice alliteration in this line.
162	Only the Duke, incensed with our cold fear,	= furious at or incited by^1 the cowardice of those attending him in the hunt.
	Encouraged like a second Hercules –	= inspired with courage.^1
164
	Vinc. Zounds, too good, man!
166
	Stroz. Pray thee let me alone!
168	And like the English sign of great Saint George –	168: the reference is to the red cross on the banner or flag (sign) long associated with England, known as the Saint George's cross.
170	Vinc. Plague of that simile!	170: perhaps Vincentio is displeased because the image of the duke as St. George is too flattering to his father; George had saved a princess's life when he captured, and then slew, the dragon.^11
172	Stroz. Gave valorous example, and, like fire,	= moving as fiercely as fire.
	Hunted the monster close, and charged so fierce	= ie. the boar.
174	That he enforced him (as our sense conceived)	= forced it.
	To leap for soil into a crystal spring;	= take to the water; to take soil is a hunting term, used to describe game taking refuge in a water source (soil).^3
176	Where on the sudden strangely vanishing,
	Nymph-like, for him, out of the waves arose	= in his place.
178	Your sacred figure, like Diana armed,	= ie. meaning Margaret. = Roman goddess of the hunt.
	And (as in purpose of the beast's revenge)	179-180: a spirit in the figure of Margaret wounded
180	Discharged an arrow through his Highness' breast,	Alphonso with an arrow, as if to retaliate against the duke on behalf of the boar; the arrow may perhaps be considered to have caused the duke to fall in love with Margaret, as if it had been shot by Cupid.
	Whence yet no wound or any blood appeared;
182	With which the angry shadow left the light;	182: then the spirit of Margaret disappeared.
	And this enchanter, with his power of spirits,	= Strozza indicates the character of the Enchanter.
184	Brake from a cave, scattering enchanted sounds,
	That strook us senseless, while in these strange bands	= common variation of struck, commonly used in the 17th century. bands = chains.^2
186	These cruèl spirits thus enchained his arms,	= ie. the duke's.
	And led him captive to your heavenly eyes,	187-8: the Enchanter will next explain (report) why the
188	Th' intent whereof on their report relies.	bound duke has been brought before Margaret.
190	Enchanter. Bright nymph, that boar figured your cruèlty,	= ie. Margaret. = represented.^2
	Chargèd by love, defended by your beauty.
192	This amorous huntsman here we thus enthralled	= placed in bondage.^1
	As the attendants on your Grace's charms,
194	And brought him hither, by your bounteous hands	194-5: only Margaret can release the duke from his literal
	To be released, or live in endless bands.	chains, which also act as a metaphor for the as-yet
196		unreciprocated love he has for her.
	Lasso. Daughter, release the Duke! − Alas, my Liege,
198	What meant your Highness to endure this wrong?	198: Lasso is stunned that the duke has so lowered himself as to take such a demeaning role in the play.
200	Cort. Enlarge him, niece; come, dame, it must be so.	= free.
202	Marg. What, madam, shall I arrogate so much?	= assume a responsibility or right to which one is not
		entitled.^1
204	Lasso. His Highness' pleasure is to grace you so.
206	Alph. Perform it then, sweet love, it is a deed
	Worthy the office of your honoured hand.
208
	Marg. Too worthy, I confess, my lord, for me,
210	If it were serious; but it is in sport,
	And women are fit actors for such pageants.
212
	[She unbinds Alphonso.]
214
	Alph. Thanks, gracious love; why made you strange of this?	= "why were you so incompliant (strange)",^1 ie. "hesitant to release me?"
216	I rest no less your captive than before;
	For me untying, you have tied me more. −	216-7: note the rhyming couplet.
218	Thanks, Strozza, for your speech. −
	[To Medice] No thanks to you!
220
	Med. No, thank your son, my lord!
222
	Lasso. 'Twas very well,
224	Exceeding well performed on every part;
	How say you, Bassiolo?
226
	Bass. Rare, I protest, my lord!	= excellent. = swear.
228
	Cort. Oh, my lord Medice became it rarely;	= fit or played the part admirably; Smith suggests Cortezza's speech here (lines 229-231) is ironic, as she actually considers Medice's failure unmanly.^5 As we will see later, though, Cortezza is actually attracted to the duke's minion.
230	Methought I liked his manly being out;	= being put off (from his speech), though Smith notes that
	It becomes noblemen to do nothing well.	Cortezza is likely being bawdy as well in referring to
232		Medice's manly being out.
	Lasso. Now then, will't please your Grace to grace our house,
234	And still vouchsafe our service further honour?
236	Alph. Lead us, my lord; we will your daughter lead.
238	[Exeunt all but Vincentio and Strozza.]
240	Vinc. You do not lead, but drag her leaden steps.	240: Vincentio's comment is directed to the duke, who is out
		of hearing range; his use of leaden, referring to Margaret's unwilling and heavy steps, is intended to emphasize her unhappiness at being the target of Alphonso's attention. Smith notes that the sound of ea in both lead and leaden would have been the same in those days, sounding like a in "hate", thus intensifying the wordplay.
242	Stroz. How did you like my speech?
244	Vinc. Oh, fie upon't!	= a phrase of reproach.
	Your rhetoric was too fine.
246
	Stroz. Nothing at all;
248	I hope Saint George's sign was gross enough:	= obvious.^2
	But (to be serious) as these warnings pass,
250	Watch you your father, I'll watch Medice,
	That in your love-suit we may shun suspect;	= avoid suspicion.
252	To which end, with your next occasion urge	= opportunity.
	Your love to name the person she will choose,
254	By whose means you may safely write or meet.
256	Vinc. That's our chief business; and see, here she comes.
258	Enter Margaret in haste.	258ff: Margaret's quick visit to Vincentio confirms that they
		actually have an understanding.
260	Marg. My lord, I only come to say, y' are welcome,
	And so must say farewell.
262
	Vinc. One word, I pray.
264
	Marg. What's that?
266
	Vinc. You needs must presently devise
268	What person trusted chiefly with your guard
	You think is aptest for me to corrupt	= cause to act immorally, ie. suborn so that he will act on the young couple's behalf.
270	In making him a mean for our safe meeting.	= means.
272	Marg. My father's usher, none so fit.	= ie. Bassiolo, Lasso's gentleman usher, and the play's title
	If you can work him well; − and so farewell,	character.
274	With thanks, my good lord Strozza, for your speech.
276	[Exit.]
278	Stroz. I thank you for your patience, mocking lady.	= Strozza assumes that Margaret (like Vincentio) is not
		actually happy his recitation went so well.
280	Vinc. Oh, what a fellow has she picked us out!
	One that I would have choosed past all the rest
282	For his close stockings only.	= ie. close-fitting hose; Vincentio seems to be making fun
		of Bassiolo's old-fashioned attire (at this time, padded hose were growing more in style).
284	Stroz. And why not
	For the most constant fashion of his hat?	= perhaps meaning "most current".^5
286
	Vinc. Nay, then, if nothing must be left unspoke,	287: "well then, if we are to omit no issue from this conversation".
288	For his strict form thus still to wear his cloak.	= cloaks were worn over the doublet; Bassiolo may be wedded to wearing an old-fashioned long cloak.
290	Stroz. Well, sir, he is your own, I make no doubt;	= "he's your man!"^5
	For to these outward figures of his mind	291: "for matching these external properties of his, etc."^5
292	He hath two inward swallowing properties	292-4: Bassiolo has two personal qualities that they should take advantage of: greed (avarice) and high self-regard; if Vincentio gives him gifts and flatters him, he will surely help Vincentio out.
	Of any gudgeons, servile avarice	= a small fish used for bait,^3 hence a credulous fool. With
294	And overweening thought of his own worth,	swallowing, the phrase "swallows the bait" comes to mind.
	Ready to snatch at every shade of glory:
296	And, therefore, till you can directly board him,	= address or approach.^2
	Waft him aloof with hats and other favours	= "wave at him with your hat from far away (aloof)".^3
298	Still as you meet him.	Strozza is explaining how Vincentio should butter up
		the usher with favorable attention, in preparation for asking him directly to act as an intermediary for him and Margaret. Strozza's language in 296-7 is maritime in its meta- phor: to board is to enter a ship; to waft is to either convoy a group of ships or guide a ship; and aloof describes a ship travelling into or on course with the wind to avoid being driven into shore.^1 Still as in line 298 means "whenever".
300	Vinc. Well, let me alone:
	He that is one man's slave is free from none.
302
	[Exeunt.]
	END OF ACT I.

	ACT II.
	SCENE I.
	A Room in the House of Lasso.
	Enter Medice, Cortezza,
	a Page with a cup of sack.	= a white wine, and favorite drink of Shakespeare's Falstaff.
1	Med. Come, lady, sit you here. Page, fill some sack.
2	[Aside] I am to work upon this agèd dame,	= Medice explains that he is trying to find out from Cortezza if she knows why her niece Margaret is resisting the duke's courting; Medice will do this by getting her drunk!
	To glean from her if there be any cause
4	(In loving others) of her niece's coyness	= ie. perhaps she is in love with someone else.
	To the most gracious love-suit of the Duke. –
6	Here, noble lady, this is healthful drink
	After our supper.
8
	Cort. Oh, 'tis that, my lord,
10	That of all drinks keeps life and soul in me.
12	Med. Here, fill it, page, for this my worthy love.
	Oh, how I could embrace this good old widow!
14
	Cort. Now, lord, when you do thus you make me think	= ie. act or speak this way.
16	Of my sweet husband, for he was as like you;
	E'en the same words and fashion, the same eyes,
18	Manly, and choleric, e'en as you are, just;	= hot-tempered.^2 = exactly (like you).^5
	And e'en as kind as you for all the world.
20
	Med. Oh, my sweet widow, thou dost make me proud!	21: Medice's comment is innocuous enough, but Cortezza
22		thinks he is using proud in its sense of "lustful".^1,5
	Cort. Nay, I am too old for you.
24
	Med. Too old! That's nothing;
26	Come, pledge me, wench, for I am dry again,	= "drink to my health". = a term of affection in those days.
	And straight will charge your widowhood fresh, i'faith:
28
	[She drinks.]
30
	Why, that's well done!
32
	Cort. Now fie on't, here's a draught!
34
	Med. Oh, it will warm your blood; if you should sip,	35-36: Medice encourages Cortezza to drink heartily, which
36	'Twould make you heartburned.	will warm her blood; if she only sips her booze, it will
		give her painful heartburn: warm and burn are thus paired, or opposed.
38	Cort. 'Faith, and so they say;
	Yet I must tell you, since I plied this gear,	= took up this business (gear),^3 ie. of drinking.
40	I have been haunted with a whoreson pain here,
	And every moon, almost, with a shrewd fever,	= once a month. = harsh, bad, undesirable.^1
42	And yet I cannot leave it; for, thank God!	= ie. stop drinking.
	I never was more sound of wind and limb.	43: "I have never been healthier." Cortezza, typically, is contradicting herself. wind and limb = common phrase for the body in general.
44
	[Enter Strozza behind.]	45: Strozza is spying on the two.
46
	Look you, I warrant you I have a leg,
48
	[Cortezza shows a great bumbasted leg.]	= stuffed with cotton wool, so as to appear to be grossly
50		swollen.^1 This is one of the odder stage directions we
	Holds out as handsomely –	have come across.
52
	Med. Beshrew my life,
54	But 'tis a leg indeed, a goodly limb!
56	Stroz. [Aside] This is most excellent!
58	Med. Oh, that your niece	= "if only".
	Were of as mild a spirit as yourself!	= tender or indulgent, though Smith suggests "yielding".
60
	Cort. Alas, Lord Medice, would you have a girl
62	As well seen in behaviöur as I?	62: "as accomplished in courtly behavior as I am?^3
	Ah, she's a fond young thing, and grown so proud,	= foolish.
64	The wind must blow at west still or she'll be angry.	64: the notion that a west wind brings good weather was proverbial.^17 still = ever.
66	Med. Mass, so methinks; how coy she's to the Duke!	= an oath.
	I lay my life she has some younger love.
68
	Cort. 'Faith, like enough!
70
	Med. Gods me, who should it be?	= short for "God save me".
72
	Cort. If it be any − Page, a little sack −
74	If it be any, hark now, if it be –
	I know not, by this sack − but if it be,
76	Mark what I say, my lord − I drink t'ye first.	note.
78	Med. Well said, good widow; much good do't thy heart!	= a toast; Smith adds the stage direction, "she drinks".
	So, now what if it be?
80
	Cort. Well, if it be −
82	To come to that, I said, for so I said –
	If it be any, 'tis the shrewd young Prince;
84	For eyes can speak, and eyes can understand,
	And I have marked her eyes; yet by this cup,	= it was common to swear on an inanimate object.
86	Which I will only kiss –
88	[She drinks.]
90	Stroz. [Aside] Oh, noble crone!
	Now such a huddle and kettle never was.	= huddle and kettle are synonyms, both meaning "mess" or "confusion"; the latter survives in the phrase "a kettle of fish". Such pairing of redundant words was known as a pleonasm, and occurs frequently in drama.
92
	Cort. I never yet have seen − not yet, I say –	= Cortezza contradicts herself again.
94	But I will mark her after for your sake.	= pay (closer) attention to.
96	Med. And do, I pray, for it is passing like;	= exceedingly likely.
	And there is Strozza, a sly counsellór	= Medice does not yet know Strozza is eavesdropping.
98	To the young boy: Oh, I would give a limb
	To have their knavery limned and painted out.	= portrayed (as in a picture),^2 so as to be made clearer to see.
100	They stand upon their wits and paper-learning;	100: "Strozza and Vincentio think they are so smart, just because they are educated;" Medice reveals his bitter- ness at their mocking his illiteracy.
	Give me a fellow with a natural wit	101-3: Medice, perhaps protesting too much, suggests an
102	That can make wit of no wit; and wade through	innate ability to make one's way through the world - as
	Great things with nothing, when their wits stick fast.	he possesses - is preferable to any such skill gained
104	Oh, they be scurvy lords!	through education.
106	Cort. Faith, so they be!
	Your lordship still is of my mind in all,	107: "we think alike".
108	And e'en so was my husband.	108: "just as my husband and I thought alike."
110	Med. [Spying Strozza.] Gods my life!
	Strozza hath eavesdropped here, and overheard us.	111: characters in Elizabethan drama are able to spy on each other at will without being discovered, at least until it serves the author's plot for discovery to be made.
112
	Stroz. They have descried me.	= discovered; now that Strozza has overheard Cortezza tell Medice that Vincentio is Margaret's lover; he will have to urge Vincentio to move quickly with his courtship.
114	[Advancing.] What, Lord Medice,
	Courting the lusty widow?
116
	Med. Ay, and why not?
118	Perhaps one does as much for you at home.	118: snarky: "perhaps someone is courting your wife while you are out."
120	Stroz. What, choleric, man? And toward wedlock too?	= hot-tempered. = heading toward.
122	Cort. And if he be, my lord, he may do worse.	122: "and if he is courting me, he could do worse than to take me for his wife."
124	Stroz. If he be not, madam, he may do better.	124: Smith points out that Strozza responds to Cortezza as
		if she had been answering his first question in line 120: "and if he were not hot-tempered, then he might do better!"
126	Enter Bassiolo with Servants,
	with rushes and a carpet.	= rushes (the marsh plant) were frequently strewn on the floors of Elizabethan homes, especially when guests were expected.
128
	Bass. My lords, and madam, the Duke's Grace entreats you	= ie. the duke.
130	T'attend his new-made Duchess for this night	= ie. Margaret, who will be more explicitly treated as if she
	Into his presence.	were duchess during the evening's masque.
132
	Stroz. We are ready, sir.
134
	[Exeunt Cortezza, Medice, Strozza and Page.]	135: only the servants remain on the stage.
136
	Bass. Come, strew this room afresh; spread here this carpet;
138	Nay, quickly, man, I pray thee; this way, fool;
	Lay me it smooth, and even; look if he will!	= another example of the ethical dative: "lay it smoothly".
140	This way a little more; a little there.
	Hast thou no forecast? 'Sblood, methinks a man	141: Hast thou no forecast? = forecast can mean prudence or plan, hence "don't just throw them down any which way."^2 'Sblood = God's blood, an oath.
142	Should not of mere necessity be an ass.	=complete.
	Look, how he strows here, too: come, Sir Giles Goosecap,	= strews. = a reference to the title of one of Chapman's other plays, also performed in 1606, and meaning "fool". goosecap = goose's head.^3
144	I must do all myself; lay me 'em thus,
	In fine smooth threaves; look you, sir, thus, in threaves.	= small bundles (of rushes).^1
146	Perhaps some tender lady will squat here,
	And if some standing rush should chance to prick her,	= sting; but this word has been used in its vulgar sense
148	She'd squeak, and spoil the songs that must be sung.	since the mid-16th century,^1 and thus was frequently
		used suggestively, as here, by the old dramatists.
150	Enter Vincentio and Strozza.
152	Stroz. See, where he is; now to him, and prepare	152-3: Strozza encourages Vincentio to begin cozying up
	Your familiarity.	to Bassiolo; needless to say, for a royal personage to behave so informally with a servant was highly unor- thodox! familiarity = intimacy.^1
154
	Vinc. Save you, master Bassiolo!	= common greeting, short for "God save you".
156	I pray a word, sir; but I fear I let you.	= hinder, ie. "get in your way (from doing your work)."
158	Bass. No, my good lord, no let.
160	Vinc. I thank you, sir.
	Nay, pray be covered; oh, I cry you mercy,	= upon being addressed by a superior, Bassiolo would have taken off his hat as a token of respect; Vincentio urges him to put it back on. I cry you mercy = pardon me.
162	You must be bare.	162: "I see you should be without your hat on"; Vincentio
		understands that by virtue of his position as gentleman usher, Bassiolo is required to have his hat off.^5
164	Bass. Ever to you, my lord.
166	Vinc. Nay, not to me, sir.	166-7: Vincentio wants Bassiolo to understand that he (the
	But to the fair right of your worshipful place.	usher) should not feel obliged to keep his hat off for his (the prince's) sake, but only because his job demands it.
168
	[Vincentio uncovers.]	= Vincentio removes his hat to level out their statuses.
170
	Stroz. [Aside] A shame of both your worships.	= on.
172
	Bass. What means your lordship?	173: Bassiolo is unclear as to the significance of Vincentio's
174		removing his hat.
	[Exit Strozza.]
176
	Vinc. Only to do you right, sir, and myself ease.	= ie. Vincentio is more comfortable de-hatted, or so he says.
178	And what, sir, will there be some show to-night?
180	Bass. A slender presentation of some music,
	And something else, my lord.
182
	Vinc. 'Tis passing good, sir;	= extremely.
184	I'll not be overbold t' ask the particulars.
186	Bass. Yes, if your lordship please.
188	Vinc. Oh, no, good sir;
	But I did wonder much, for, as me thought,
190	I saw your hands at work.
192	Bass. Or else, my lord,	= ie. "if I were not directing the work".
	Our busïness would be but badly done.	= business is trisyllabic.
194
	Vinc. How virtuous is a worthy man's example!
196	Who is this throne for, pray?	= a chair of state has been set out for Margaret to sit on.
198	Bass. For my lord's daughter.
	Whom the Duke makes to represent his Duchess.
200
	Vinc. 'Twill be exceeding fit; and all this room
202	Is passing well prepared; a man would swear	= exceedingly.
	That all presentments in it would be rare.	= theatrical works, play-like performances.^1 = superb.
204
	Bass. Nay, see if thou canst lay 'em thus, in threaves.
206
	Vinc. In threaves, d'ye call it?
208
	Bass. Ay, my lord, in threaves.
210
	Vinc. A pretty term!
212	Well, sir, I thank you highly for this kindness,
	And pray you always make as bold with me	213-4: Vincentio invites Bassiolo to be more familiar with
214	For kindness more than this, if more may be.	him in the future.
216	Bass. Oh, my lord, this is nothing.
218	Vinc. Sir, 'tis much!
	And now I'll leave you, sir; I know y' are busy.
220
	Bass. Faith, sir, a little!
222
	Vinc. I commend me t' ye, sir.
224
	[Exit Vincentio.]
226
	Bass. A courteous prince, believe it; I am sorry
228	I was no bolder with him; what a phrase
	He used at parting, “I commend me t' ye.”	229: Bassiolo is enchanted by Vincentio's parting phrase, and will use it repeatedly throughout the play!
230	I'll ha't, i'faith!	230: "I'll have it, in faith!"
232	[Enter Sarpego, half dressed.]
234	Sarp. Good Master Usher, will you dictate to me	= instruct, declare authoritatively.^1
	Which is the part precédent of this night-cap,	235-6: Which is…posterior = "which side of my hat is the front, and which is the back?"
236	And which posterior? I do ignorare	= "do not know", "am ignorant of".
	How I should wear it.
238
	Bass. Why, sir, this, I take it,
240	Is the precédent part; ay, so it is.
242	Sarp. And is all well, sir, think you?
244	Bass. Passing well.
246	Enter Poggio and Fungus.	= this servant's humorous name needs no comment.
248	Pog. Why, sir, come on; the usher shall be judge. −	= Bassiolo will arbitrate their dispute.
	See, Master Usher, this same Fungus here,
250	Your lord's retainer, whom I hope you rule,	250: Your lord's retainer = Fungus, like Bassiolo, is a servant of Count Lasso's. rule = "are in charge of".
	Would wear this better jerkin for the Rush-man,	= close-fitting jacket; the two are arguing over who should
252	When I do play the Broom-man, and speak first.	get to wear the jerkin in the masque.
254	Fung. Why, sir, I borrowed it, and I will wear it.
256	Pog. What, sir; in spite of your lord's gentleman usher?
258	Fung. No spite, sir, but you have changed twice already,	= ie. "changed your costume".
	And now would ha't again.
260
	Pog. Why, that's all one, sir,	= it's all the same.
262	Gentility must be fantastical.	262: as a member of the gentry (gentility), Poggio claims
		the right to be capricious!^1
264	Bass. I pray thee, Fungus, let Master Poggio wear it.
266	Fung. And what shall I wear then?
268	Pog. Why, here is one	= Poggio may be holding his own, undesirable jacket.
	That was a rush-man's jerkin, and I pray,
270	Were't not absurd then, a broom-man should wear it?	= would it not be.
272	Fung. Foh, there's a reason! I will keep it, sir.	= Fungus is sarcastic.
274	Pog. Will, sir? Then do your office, Master Usher,
	Make him put off his jerkin; you may pluck	275-6: pluck…ears = fire him.^3
276	His coat over his ears, much more his jerkin.
278	Bass. Fungus, y' ad best be ruled.	= "you better do as I say".
280	Fung. Best, sir! I care not.
282	Pog. No, sir? I hope you are my lord's retainer.	282-3: Poggio suggests that Fungus, as a servant, owes his
	I need not care a pudding for your lord:	master obedience, while he himself, unrelated to Strozza and honourably born, does not.
284	But spare not, keep it, for perhaps I'll play
	My part as well in this as you in that.
286
	Bass. Well said. Master Poggio!
288	[To Fungus.] My lord shall know it.	288: "I'm going to tell on you"
290	Enter Cortezza, with the Broom-wench and	290ff: Broom-wench... = various actors in costumes enter and exit the scene, as they prepare for the evening's show.
	Rush-wench in their petticoats, cloaks over them,	= either tight-fitting undergarments or skirts.^1
292	with hats over their head-tires.	= ie. technically any adornment worn on the head, here perhaps referring to wigs.^1
294	Cort. Look, Master Usher, are these wags well dressed?	= fellows.^1
	I have been so in labour with 'em truly.
296
	Bass. Y' ave had a very good deliverance, lady.
298	[Aside] How I did take her at her labour there;	298: Bassiolo is pleased with his punning on Cortezza's use of the word labour with deliverance.
	I use to gird these ladies so sometimes.	= ie. like to gibe.^1
300
	Enter Lasso, with Sylvanus and a Nymph,
302	a man Bug, and a woman Bug.	= bugbear, ie. bogeyman.^1
304	1st Bug. I pray, my lord, must not I wear this hair?	= wig.
306	Lasso. I pray thee, ask my usher; come, dispatch,
	The Duke is ready; are you ready there?
308
	2nd Bug. See, Master Usher, must he wear this hair?
310
	1st Bug. Pray, Master Usher, where must I come in?
312
	2nd Bug. Am not I well for a Bug, Master Usher?
314
	Bass. What stir is with these boys here! God forgive me,	= ie. "a commotion there is".
316	If 'twere not for the credit on't, I'd see	= "reputation I will gain", or "credit I will receive," for it.
	Your apish trash afire, ere I'd endure this.	= foolish.^1 = before.
318
	1st Bug. But pray, good Master Usher –
320
	Bass. Hence, ye brats!	= get out of here!
322	You stand upon your tire; but for your action	322: stand upon your tire = "make a great fuss over your costumes" (tire = attire).^3 action = accompanying gestures or movements.^1
	Which you must use in singing of your songs
324	Exceeding dextrously and full of life,
	I hope you'll then stand like a sort of blocks,	= expect.^3 = afterwards. = collection, group.^1
326	Without due motion of your hands and heads,
	And wresting your whole bodies to your words;	325-7: the boys must stand still after they have performed
328	Look to't, y' are best, and in; go, all go in!	their song.
330	Pog. Come in, my masters; let's be out anon.	= immediately.
332	[Exeunt all but Lasso and Bassiolo.]
334	Lasso. What, are all furnished well?	= costumed.
336	Bass. All well, my lord.
338	Lasso. More lights then here, and let loud music sound.
340	Bass. Sound music!
342	[Exeunt.]
344	Enter Vincentio, Strozza, bare, Margaret,	= bareheaded.
	Cortezza and Cynanche bearing her train.
346	After her the Duke whispering with Medice,
	Lasso with Bassiolo, etc.
348
	Alph. Advance yourself, fair Duchess, to this throne,
350	As we have long since raised you to our heart;
	Better decorum never was beheld,
352	Than twixt this state and you: and as all eyes	= "between this throne and you." The duke invites Margaret to sit on the chair of honour.
	Now fixed on your bright graces think it fit,	= attractive or graceful qualities.^1
354	So frame your favour to continue it.	= ie. permanently take this throne, ie. become his duchess.
356	Marg. My lord, but to obey your earnest will,	356-7: "my lord, it is only to fulfill your wish, and not to
	And not make serious scruple of a toy,	raise a serious objection of conscience over something so frivolous as this (will I take this throne)".
358	I scarce durst have presumed this minute's height.	358: Margaret is trying to resist the duke by ignoring the
		underlying meaning of his gesture; "I otherwise would dare not presume to raise myself to your status by sitting on this throne."
360	Lasso. Usher, cause other music; begin your show.
362	Bass. Sound, consort! Warn the Pedant to be ready.	362: Sound = an imperative: "play!"
		consort = band of musicians. the Pedant = ie. Sarpego.
364	Cort. Madam, I think you'll see a pretty show.
366	Cyn. I can expect no less in such a presence.
368	Alph. Lo! what attention and state beauty breeds,
	Whose moving silence no shrill herald needs.	369: whose refers to beauty; the sense is that beauty, which
370		is quietly effective or powerful, requires no herald to announce its arrival or presence.^3
	Enter Sarpego.
372
	Sarp. Lords of high degree,	373ff: the speeches of Sarpego, Poggio and Fungus will all consist of rhyming couplets.
374	And ladies of low courtesy,	= ie. respectful behaviour.
	I the Pedant here,
376	Whom some call schoolmaster,
	Because I can speak best,
378	Approach before the rest.
380	Vinc. A very good reason.
382	Sarp. But there are others coming,
	Without mask or mumming;	= disguises.^2
384	For they are not ashamed,
	If need be, to be named;
386	Nor will they hide their faces,
	In any place or places;
388	For though they seem to come,	388-9: come would sound more like broom than the other
	Loaded with rush and broom,	way around.
390	The Broom-man, you must know,	= seller of brooms
	Is Signor Poggio,
392	Nephew, as shall appear,
	To my Lord Strozza here –
394
	Stroz. Oh, Lord! I thank you, sir; you grace me much.	395: Smith suggests Strozza is mock-unhappy that Sarpego
396		has publically identified Poggio as a member of Strozza's family.
	Sarp. And to this noble dame,
398	Whom I with finger name.
400	[Pointing to Cynanche.]
402	Vinc. A plague of that fool's finger!	= on; the reason for Vincentio's sharp reaction is unclear;
		Smith wonders if Poggio has unwittingly made an obscene gesture, or maybe he is simply supporting Strozza in his last remark.
404	Sarp. And women will ensue,
	Which, I must tell you true,
406	No women are indeed,	406-9: normally on the Elizabethan stage, young men or
	But pages made, for need,	boys would play the roles of girls, presumably because
408	To fill up women's places,	their faces were more effeminate, their voices unchanged
	By virtue of their faces,	by puberty, and their facial hair still dormant.
410	And other hidden graces.
	A hall, a hall! Whist, still, be mum!	= make room! = quiet!^1
412	For now with silver song they come.
414	Enter Poggio, Fungus, with the song,
	Broom-maid and Rush-maid.
416	Sylvanus, a Nymph, and two Bugs.	= Medice had played Sylvanus in the afternoon masque,
	After which Poggio.	but unsurprisingly not for the evening performance; he
418		instead sits in the audience.
	Pog. Heroes and heroines of gallant strain,
420	Let not these brooms' motes in your eyes remain,	= specks of dust.
	For in the moon there's one bears withered bushes;	421: superstitious observers of the man on the moon saw him as carrying a bundle of sticks or brush.
422	But we (dear wights) do bear green brooms, green rushes,	= an obsolete word for "people"; Poggio's speech has a number of such deliberate archaisms.
	Whereof these verdant herbals, clepèd broom,	= used in a vague botanical sense.^1 = another archaic word, meaning "called".
424	Do pierce and enter every lady's room;
	And to prove them high-born, and no base trash,	425f: in this very cute speech, Poggio identifies a number of common objects of the world at large that behave in their own ways as brooms; them refers to brooms.
426	Water, with which your physnomies you wash,	= faces.^1
	Is but a broom. And, more truth to deliver,
428	Grim Hercules swept a stable with a river.	= Hercules' 5th labor was to clean the unimaginably large stables of King Augeas in a single day; Hercules managed this task by diverting a local river through the stables.
	The wind, that sweeps foul clouds out of the air,
430	And for you ladies makes the welkin fair,	= sky.
	Is but a broom: and oh, Dan Titan bright,	= Titan was the Roman sun god; Dan is a title of honor.
432	Most clerkly called the scavenger of night,	= "by scholars called".^5
	What art thou, but a very broom of gold
434	For all this world not to be cried nor sold?	= to cry an object was to publically hawk or announce its sale.
	Philosophy, that passion sweeps from thought,	435: ie. philosophy (which requires reason) sweeps emotion (passion) out of the thinker's mind; passion is thus the object, not the subject, of the phrase.
436	Is the soul's broom, and by all brave wits sought:	= worthy.
	Now if philosophers but broom-men are,
438	Each broom-man then is a philosopher.
	And so we come (gracing your gracious Graces)	439: the wordplay within the parentheses is pleasing.
440	To sweep Care's cobwebs from your cleanly faces.	= Care, meaning "anxiety", is personified.
442	Alph. Thanks, good Master Broom-man!
444	Fung. For me Rush-man, then,	= seller of rushes.
	To make rush ruffle in a verse of ten.	= bluster.^12 = verse of ten refers to the 10-syllable nature of most Elizabethan verse, including that of its drama, which almost always consists of five pairs of two- syllable iambs, hence iambic pentameter.
446	A rush, which now your heels do lie on here –
448	[Pointing to Vincentio.]	448: Fungus is identifying Vincentio as one who is resting his feet on the rushes!^5
450	Vinc. Cry mercy, sir!	450: "I beg your pardon!", no doubt ironic.
452	Fung. Was whilome usèd for a pungent spear,	= once upon a time.^1 = sharp.^1
	In that odd battle never fought but twice
454	(As Homer sings) betwixt the frogs and mice.	454: an ancient mock war epic, known as the Battle of Frogs and Mice (Batrachomyomachia), was attributed to Homer; in their brief fight, the frogs used sharp rushes as spears.^3 Chapman, who had already translated the Iliad in the 1590's, would have been very familiar with this work, and in fact he went on to translate it too in the 1620's.
	Rushes make true-love knots; rushes make rings;	= ornamental knots consisting of intertwined loops, representing true love.^1
456	Your rush maugre the beard of Winter springs.	456: the rush grows (springs) in spite of (maugre) the snow of winter.^1 The seasonal pun of springs with winter adds charm as well to the line.
	And when with gentle, amorous, lazy limbs,
458	Each lord with his fair lady sweetly swims	= floats,^1 used here as a euphemism for "fooling around".
	On these cool rushes, they may with these bables,	= an obsolete form of baubles,^7 meaning "things of no value."^1
460	Cradles for children make, children for cradles.	460: a pleasantly suggestive line: out of the rushes, cradles can be weaved; and while "floating" on the rushes, the couple can procreate (make children for cradles).
	And lest some Momus here might now cry “Push!”	461: Momus = the Greek god of ridicule, hence any grumbler or complainer.^1 Push! = an interjection demonstrating scorn, like pshaw!
462	Saying our pageant is not worth a rush,
	Bundles of rushes, lo, we bring along,
464	To pick his teeth that bites them with his tongue.	= ie. mocks them.^3
466	Stroz. See, see, that's Lord Medice!	466: Strozza points to Medice, who is picking his teeth
		with a rush.
468	Vinc. Gods me, my lord!
	Has he picked you out, picking of your teeth?	= "caught you", punning.
470
	Med. What pick you out of that?
472
	Stroz. Not such stale stuff
474	As you pick from your teeth.
476	Alph. Leave this war with rushes.
	Good Master Pedant, pray forth with your show.
478
	Sarp. Lo, thus far then (brave Duke) you see	479-484: the first six lines of Strozza's speech rhyme.
480	Mere entertainment. Now our glee	= pure.^1 = entertainment, ie. the masque.
	Shall march forth in morality:	481: shall identify the lesson of the show.
482	And this quaint Duchess here shall see
	The fault of virgin nicety,	483: ie. "how wrong it is to be too coy (nice) when one is courting her", an obvious allusion to the duke's growing frustration with Margaret.
484	First wooed with rural courtesy.
	Disburthen them, prance on this ground,	= "relieve the dancers of their brooms and rushes".^5
486	And make your Exit with your round.	= circle dance.^2
488	[Poggio and Fungus dance with the	488-9: a frequent occurrence in Elizabethan drama: all the
	Broom-maid and Rush-maid, and exeunt.]	action stops as the performers dance for both the stage and real audiences.
490
	Well have they danced, as it is meet,	= appropriate.
492	Both with their nimble heads and feet.
	Now, as our country girls held off,
494	And rudely did their lovers scoff,
	Our Nymph, likewise, shall only glance
496	By your fair eyes, and look askance
	Upon her feral friend that woos her,	= wild.^1 = ie. lover, ie. Sylvanus.
498	Who is in plain field forced to loose her.	= free.
	And after them, to conclude all
500	The purlieu of our pastoral,	500: purlieu = originally the outskirts or margin of the woods,^1 but as Smith indicates, here simply meaning "conclusion". pastoral = any literary work in a rural setting, especially one involving shepherds or other similar "country" characters.
	A female bug, and eke her friend,	= yet another archaic word, meaning "also".
502	Shall only come and sing, and end.
504	Bugs' Song:	504: as indicated earlier, the Bugs were bugbears, or
	Thus, Lady and Duchess, we conclude:	hobglobins.^1 Their song is directed to Margaret.
506	Fair virgins must not be too rude;
	For though the rural wild and antic
508	Abused their loves as they were frantic,
	Yet take you in your ivory clutches	= white hands. 509-510: the entire masque has been an exercise in wooing Margaret by the duke.
510	This noble Duke, and be his Duchess.
	Thus thanking all for their tacete,	= silence (Latin).
512	I void the room, and cry valete.	= leave, exit. = good-bye (Latin).
514	[Exit Sarpego with Nymph, Sylvanus,
	and the two Bugs.]
516
	Alph. Generally well and pleasingly performed.
518
	Marg. Now I resign this borrowed majesty,	519-521: Margaret loses no time in removing the crownlet that may have been placed on her head earlier, and may even step quickly from her throne.
520	Which sate unseemly on my worthless head,	= was set.^7
	With humble service to your Highness' hands.
522
	Alph. Well you became it, lady, and I know	523-4: notice how Alphonso almost, but never quite, brings
524	All here could wish it might be ever so.	himself to directly and explicitly ask Margaret to marry
		him.
526	Stroz. [Aside] Here's one says nay to that.
528	Vinc. [Aside to Strozza] Plague on you, peace!	528: "damn you, keep quiet!"
530	Lasso. Now let it please your Highness to accept
	A homely banquet to close these rude sports.	= dessert.
532
	Alph. I thank your Lordship much.
534
	Bass. Bring lights, make place!
536
	Enter Poggio in his cloak and broom-man's attire.
538
	Pog. How d'ye, my lord?	= old form of "how do you do", and direct precursor to "howdy".^1
540
	Alph. Oh, Master Broom-man, you did passing well.	= very; Poggio, we may remember, had at Act I.ii.49-50 made a point of saying he wanted to impress the duke with his acting.
542
	Vinc. Ah, you mad slave, you! You are a tickling actor.	= pleasing or amusing.^1
544
	Pog. I was not out, like my Lord Medice. −	= not put out or put off his speech.
546	How did you like me, aunt?
548	Cyn. Oh, rarely, rarely!	= very well.
550	Stroz. Oh, thou hast done a work of memory,
	And raised our house up higher by a story.	551: a cute punning metaphor, in which Strozza describes his family (house) being raised in status (and by a story) thanks to Poggio's fine acting.
552
	Vinc. Friend, how conceit you my young mother here?	553: Vincentio asks Cynanche what she thinks (how conceit you) of Margaret, whom he refers to as his mother; he is being careful to leave a paper-trail of comments demonstrating his acceptance of the duke's marrying her.
554
	Cyn. Fitter for you, my lord, than for your father.	555: Cynanche is not buying it: "she would be a better match for you than for your father."
556
	Vinc. No more of that, sweet friend; those are bugs' words.	= words that scare - because, as Smith notes, the duke might
558		overhear them^5 - but also punning on the song of the Bugs. Vincentio doesn't want anyone to even suggest Margaret should be marrying him!
	[Exeunt.]
	END OF ACT II.

	ACT III.
	SCENE I.
	A Room in the House of Lasso.
	Medice after the song whispers alone with his servant.	= the theatre's orchestra usually played music between acts.^3
1	Med. Thou art my trusty servant, and thou know'st
2	I have been ever bountiful lord to thee,	2: this assertion contradicts what Strozza said about him at Act I.i.167-170.
	As still I will be; be thou thankful then,	= ever, always.
4	And do me now a service of import.
6	Serv. Any, my lord, in compass of my life.	= roughly, "within the limits (compass) of my ability."
8	Med. To-morrow, then, the Duke intends to hunt,
	Where Strozza, my despiteful enemy,
10	Will give attendance busy in the chase;
	Wherein (as if by chance, when others shoot
12	At the wild boar) do thou discharge at him,
	And with an arrow cleave his cankered heart.	= malignant.^2
14
	Serv. I will not fail, my lord.
16
	Med. Be secret, then,
18	And thou to me shalt be the dear’st of men.
20	[Exeunt.]
	ACT III, SCENE II.
	Another Room in the House of Lasso.
	Enter Vincentio and Bassiolo severally.	= from different doors or directions
1	Vinc. [Aside] Now Vanity and Policy enrich me	1-2: Vincentio apostrophizes to Vanity (either foolishness or high self-regard,^1 referring to Bassiolo) and Policy (cunning) to bring him good luck (fortune) in convincing the usher to help him communicate with Margaret; note also the slight pun of enrich with fortune.
2	With some ridiculous fortune on this usher. −
	Where's Master Usher?
4
	Bass. Now I come, my lord.
6
	Vinc. Besides, good sir, your show did show so well.	7: Vincentio begins again to praise Bassiolo; this flattery
8		will quickly reach absurd levels. Note also that the Prince uses the formal and respectful "you" in addressing the usher, when he would be well within his right to use "thee" when speaking to a servant.
	Bass. Did it, indeed, my lord?
10
	Vinc. Oh, sir, believe it!
12	'Twas the best-fashioned and well-ordered thing
	That ever eye beheld; and, therewithal,	= in addition.^1
14	The fit attendance by the servants used,	14-24: Vincentio compliments Bassiolo for the superior operation of his servants over the course of the evening.
	The gentle guise in serving every guest	= manner.^1
16	In other entertainments; everything
	About your house so sortfully disposed,	= appropriately.^1
18	That even as in a turn-spit called a jack	18-24: Vincentio compares the smooth functioning of the interlocking wheels of a turnspit (a machine that can be wound up to rotate meat over a fire on its own, also called a jack),^1 which spin so quietly, yet work together to achieve the desired end, to the successful coming off of the evening's entertainment. even = pronounced here as a one-syllable word (e'en), with the v essentially omitted. vice (line 19) = screw or similar mechanical device.^1
	One vice assists another, the great wheels,
20	Turning but softly, make the less to whirr
	About their business, every different part
22	Concurring to one cómmendable end, −
	So, and in such conformance, with rare grace,
24	Were all things ordered in your good lord's house.
26	Bass. The most fit simile that ever was.	26: Bassiolo, with unbounded self-regard, swallows the flattery.
28	Vinc. But shall I tell you plainly my conceit,	= (further) thoughts.^2
	Touching the man that I think caused this order?	29: ie. Bassiolo, of course.
30
	Bass. Ay, good my lord!
32
	Vinc. You note my simile?
34
	Bass. Drawn from the turn-spit.
36
	Vinc. I see you have me.	= "you understand me".^3
38	Even as in that quaint engine you have seen	= machine.
	A little man in shreds stand at the winder,	39-46: a mechanical device like a turnspit might have a small figure of a man (little man) built onto it, which gives the appearance of being the agent that turns the spit; Vincentio's point is that Lasso, like the little man, seemed to be the man responsible for everything going smoothly in his household that evening, but in reality he did nothing - Bassiolo was the one whose capable hands managed the whole affair. in shreds = dressed in rags; since turning a spit was about the meanest possible job a servant could have in a home, it would be appropriate for him to be dressed poorly.
40	And seems to put all things in act about him,
	Lifting and pulling with a mighty stir,	= movement or to-do.^1
42	Yet adds no force to it, nor nothing does:	= double negatives were perfectly acceptable in English in those days.
	So (though your lord be a brave gentleman	= finely dressed, contrasting with the little man in shreds.
44	And seems to do this business) he does nothing;
	Some man about him was the festival robe	45-46: Bassiolo is like a splendid robe suitable to be worn
46	That made him show so glorious and divine.	at a feast, which makes its owner appear so richly and
		brightly.
48	Bass. I cannot tell, my lord, yet I should know
	If any such there were.
50
	Vinc. Should know, quoth you;	51: Vincentio dismisses Bassiolo's modesty.
52	I warrant you know! Well, some there be	52: warrant = ie. "am sure". 52-54: some there….state = some nobles are fortunate enough to have excellent servants (rare men) working on their behalves".
	Shall have the fortune to have such rare men
54	(Like brave beasts to their arms) support their state,	= allusion to the many great animals that adorn coat-of- arms.^3
	When others of as high a worth and breed	55-56: Vincentio's point generally in this rhyming couplet
56	Are made the wasteful food of them they feed.	is that some nobles are illy served by their dependents; he also may be indirectly referring to Medice (whom, we may note, he stingingly mentions several times in this conversation) as taking advantage of the credulous duke to raise his own station.
	What state hath your lord made you for your service?	57: "what gift or property (state)^1 has your master given you for your services?"
58
	Bass. He has been my good lord, for I can spend	59-61: Bassiolo is paid enough to allow him to buy property,
60	Some fifteen hundred crowns in lands a year,	which pays a nice income in rent; the crown was an
	Which I have gotten since I served him first.	English coin worth five shillings, or a quarter of pound,
62		and was used through 1971.
	Vinc. No more than fifteen hundred crowns a year?
64
	Bass. It is so much as makes me live, my lord,	65-66: Bassiolo receives enough income to live like a
66	Like a poor gentleman.	modest member of the gentry; in such a class-conscious
		society as was England, the goal of those not born into the aristocracy was to achieve the status of gentleman, which basically meant that they made enough money to not have to depend on their own manual labour to get along. Our usher is not complaining at all!
68	Vinc. Nay, 'tis pretty well;
	But certainly my nature does esteem	= regard or estimate.^1
70	Nothing enough for virtue; and had I	= ie. indirectly, "that it is not enough compensation for your true worth."
	The Duke my father's means, all should be spent
72	To keep brave men about me; but, good sir,	= worthy.^2
	Accept this simple jewèl at my hands,
74	Till I can work persuasion of my friendship	74-75: "till I can give evidence (persuasion)^2 of my
	With worthier arguments.	friendship with tokens (arguments)^1 of greater value
76		than this simple jewel."
	Bass. No, good my lord!
78	I can by no means merit the free bounties	= generous gifts.
	You have bestowed besides.
80
	Vinc. Nay, be not strange,	= unfamiliar, distant.^2
82	But do yourself right, and be all one man
	In all your actions; do not think but some	83-86: do not…virtue = "you should believe that there
84	Have extraordinary spirits like yourself,	are indeed some people who, having the same great
	And will not stand in their society	personal qualities as yourself, will not choose who to associate with based on others' rank or wealth, but on their character."
86	On birth and riches, but on worth and virtue;
	With whom there is no niceness, nor respect	87-88: With whom…friendship = "(and also) with whom
88	Of others' common friendship; be he poor	there is no finickiness or choosiness (niceness) nor
	Or basely born, so he be rich in soul	prejudiced regard (respect) against the lower statuses
90	And noble in degrees of qualities,	of those who want to be one's friend.
	He shall be my friend sooner than a king.
92
	Bass. 'Tis a most kingly judgment in your lordship.
94
	Vinc. Faith, sir, I know not, but 'tis my vain humour.	95: "truthfully, sir, I don't know about that; rather, I think of it as just my foolish or idle inclination (vain humour)", ie. "it's just the way I am."
96
	Bass. Oh, 'tis an honour in a nobleman.	= honourable.
98
	Vinc. Y' ave some lords, now, so politic and proud,	= self-serving.^2
100	They scorn to give good looks to worthy men.
102	Bass. Oh, fie upon 'em! By that light, my lord,	= shame. = it was common to swear on a candle or torch.
	I am but servant to a nobleman,
104	But if I would not scorn such puppet lords,	= did. = imitation.^1
	Would I were breathless!	105: the sense is, "I would rather be dead", ie. literally
106		without breath.
	Vinc. You, sir? So you may;
108	For they will cog so when they wish to use men,	108f: Vincentio is scorning those who would deceive with flattery (cog) those they wish to use for their own advantage; Vincentio, of course, is doing exactly this!
	With, “Pray be covered, sir”, “I beseech you sit”,	= "please put your hat back on".
110	“Who's there? Wait of Master Usher to the door”.	= "accompany the".
	Oh, these be godly gudgeons: where's the deeds?	= fish used as bait, hence meaning "gullible people".
112	The perfect nobleman?
114	Bass. Oh, good my lord −
116	Vinc. Away, away, ere I would flatter so,	= before.
	I would eat rushes like Lord Medice!	= humorous phrase referring to Medice's using a rush to pick his teeth, as he had been caught doing back at Act II.i.466-9.^5
118
	Bass. Well, well, my lord, would there were more such princes!	119: Well, well = Smith suggests that Bassiolo himself may have been about to use a rush as a toothpick, and his "Well, well" is a hurried response covering his embarrassment. would there were = "if only there were".
120
	Vinc. Alas, 'twere pity, sir! They would be gulled	= deceived.
122	Out of their very skins.
124	Bass. Why, how are you, my lord?	= "how are you being gulled?"^3
126	Vinc. Who, I? I care not:
	If I be gulled where I profess plain love,
128	Twill be their faults, you know.	= defects, ie. "it's their problem, not mine."
130	Bass. Oh, 'twere their shames.
132	Vinc. Well, take my jewèl, you shall not be strange;	= ie. "so unfriendly with me."
	I love not many words.	132: Bassiolo fails of course to note the irony of this
134		assertion.
	Bass. My Lord, I thank you;
136	I am of few words too.
138	Vinc. 'Tis friendly said;
	You prove yourself a friend, and I would have you
140	Advance your thoughts, and lay about for state	140: "raise your expectations, and seek a position, etc".
	Worthy your virtues; be the miniön	= favourite.
142	Of some great king or duke; there's Medice
	The minion of my father − Oh, the Father!	= "Oh God!" Vincentio feigns rapture at the thought of Bassiolo occupying a position worthy of himself.
144	What difference is there? But I cannot flatter;	= ie. between Bassiolo and Medice; Vincentio's point is that Bassiolo is good enough to fill Medice's position.
	A word to wise men!	145: variation on the proverbial notion that "few words to the wise are enough", ie. a smart person doesn't need anything over-explained.
146
	Bass. I perceive your lordship,	= understand.
148
	Vinc. Your lordship? Talk you now like a friend?
150	Is this plain kindness?
152	Bass. Is it not, my lord?
154	Vinc. A palpable flatt'ring figure for men common:	154: "it is an obviously flattering phrase (figure = figure of speech) fit to be used only by ordinary men", referring to the phrase your lordship.
	O my word, I should think, if 'twere another,	= "if anyone other than you had called me that".
156	He meant to gull me.
158	Bass. Why, 'tis but your due.
160	Vinc. 'Tis but my due if you be still a stranger;
	But as I wish to choose you for my friend,
162	As I intend, when God shall call my father,	162-4: when God…not fit = ie. "after my father dies (leaving me the new duke), I could tell you what I will do for you - but let's leave that unspoken - it is not appropriate to speak of the death of the duke."
	To do I can tell what − but let that pass −
164	Thus 'tis not fit; let my friend be familiar,	= "you should".
	Use not "my lordship", nor yet call me lord,	= "don't address me as".
166	Nor my whole name, Vincentio, but Vince,	166-8: a reference to the common fashion for people to
	As they call Jack or Will; 'tis now in use	address each other with shortened first names, or
168	Twixt men of no equality or kindness.	nicknames.^3 Vincentio notes that nicknames are now
		used even between people of different classes and those who are not related to each other; kindness = relation by blood.
170	Bass. I shall be quickly bold enough, my lord.
172	Vinc. Nay, see how still you use that coy term, “lord.”
	What argues this but that you shun my friendship?	= "is this not evidence"; Vincentio feigns having his
174		feelings hurt.
	Bass. Nay, pray, say not so.
176
	Vinc. Who should not say so?
178	Will you afford me now no name at all?
180	Bass. What should I call you?
182	Vinc. Nay, then 'tis no matter.
	But I told you, “Vince”.
184
	Bass. Why, then, my sweet Vince.
186
	Vinc. Why, so, then; and yet still there is a fault
188	In using these kind words without kind deeds;
	Pray thee embrace me too.
190
	Bass. Why then, sweet Vince.
192
	[He embraces Vincentio.]
194
	Vinc. Why, now I thank you; 'sblood, shall friends be strange?	= God's blood.
196	Where there is plainness, there is ever truth;	= honest plain-speaking.
	And I will still be plain since I am true.
198	Come, let us lie a little; I am weary.	= lie down, ie. rest. Smith notes that Vincentio, with lie,
		is punning with his argument that friends like they two should always speak true to each other.
200	Bass. And so am I, I swear, since yesterday.
202	[They lie down together.]	202: while it was normal for friends in Elizabethan times to share a bed, Vincentio and Bassiolo could of course here be lying down on separate couches or even the floor; but perhaps they simply sit down to rest.
204	Vinc. You may, sir, by my faith; and, sirrah, hark thee,	204: sirrah = a common form of address to a servant; but if Vincentio is trying to push the idea of equality on the usher, was this a mistake for him to use this term? Bassiolo, however, takes no notice. hark thee = listen now; note that Vincentio has switched to using the pronoun thee in addressing Bassiolo, not as a signal of superiority, but to indicate intimacy and close friendship.
	What lordship wouldst thou wish to have, i'faith,	205-6: contradicting his earlier stated uneasiness in
206	When my old father dies?	discussing what will happen when the old duke is dead,
		Vincentio asks Bassiolo to speculate as to what title he would like bestowed on him when Vincentio is duke.
208	Bass. Who, I? Alas!
210	Vinc. Oh, not you! Well, sir, you shall have none;	= Vincentio's returning to "you" suggests a subtle break from the intimacy of his last line; Vincentio speaks with mock indignation.
	You are as coy a piece as your lord's daughter.	= specimen or person.^2 = finally, Vincentio brings the
212		conversation around to Margaret.
	Bass. Who, my mistress?
214
	Vinc. Indeed! Is she your mistress?	215: Bassiolo has used the word mistress to mean nothing
216		more than his female boss, the female equivalent of master; but Vincentio equivocates, suggesting that Bassiolo is using mistress to mean "lover". Bassiolo doesn't catch on to this right away, though.
	Bass. I'faith, sweet Vince, since she was three year old.
218
	Vinc. And are not we two friends?
220
	Bass. Who doubts of that?
222
	Vinc. And are not two friends one?
224
	Bass. Even man and wife.
226
	Vinc. Then what to you she is, to me she should be.	227: Vincentio uses tortured logic here: "if Margaret is your mistress (ambiguous sense), and you and I are equal, then she should be my mistress too."
228
	Bass. Why, Vince, thou wouldst not have her?	229: Bassiolo is uncertain as to what Vincentio is getting at.
230
	Vinc. Oh, not I!	231ff: note how in this part of the dialogue, Vincentio has
232	I do not fancy anything like you.	returned to addressing Bassiolo with "you", signaling
		respect and formality, while Bassiolo assumes to stick with the informal "thee". Needless to say, this reversal of normal social norms would horrify any of their contemporaries who should chance to overhear them!
234	Bass. Nay, but I pray thee tell me.
236	Vinc. You do not mean to marry her yourself?
238	Bass. Not I, by Heaven!
240	Vinc. Take heed now; do not gull me.	= deceive.
242	Bass. No, by that candle!	= another oath taken on an inanimate object.
244	Vinc. Then will I be plain.
	Think you she dotes not too much on my father?
246
	Bass. Oh yes, no doubt on't!
248
	Vinc. Nay, I pray you speak!	= "please speak on!"
250
	Bass. You seely man, you! She cannot abide him.	= innocent, simple (precursor to silly).^1
252
	Vinc. Why, sweet friend, pardon me; alas, I knew not!
254
	Bass. But I do note you are in some things simple,
256	And wrong yourself too much.
258	Vinc. Thank you, good friend.
	For your plain dealing, I do mean, so well.
260
	Bass. But who saw ever summer mixed with winter?	= Margaret, young, is summer; the duke, old, is winter.
262	There must be equal years where firm love is.
	Could we two love so well so suddenly,	= meaning he and Vincentio.
264	Were we not something equaller in years
	Than he and she are?
266
	Vinc. I cry ye mercy, sir,	= "I beg your pardon".
268	I know we could not; but yet be not too bitter,
	Considering love is fearful. And, sweet friend,	= timid.^2
270	I have a letter t' entreat her kindness,
	Which, if you would convey −
272
	Bass. Ay, if I would, sir!	= Bassiolo perhaps emphasizes an incredulous if.
274
	Vinc. Why, faith, dear friend, I would not die requiteless.	= "without rewarding you".
276
	Bass. Would you not so, sir?	277-280: Bassiolo chides Vincentio for (1) framing his
278	By Heaven a little thing would make me box you!	appeal to the usher to deliver a letter to Margaret as
	"Which if you would convey?" Why not, I pray,	a formal request (by using if...would instead of shalt);
280	“Which, friend, thou shalt convey?”	and (2) continuing to use you instead of the intimate
		thee.
282	Vinc. Which, friend, you shall then.
284	Bass. Well, friend, and I will then.
286	Vinc. And use some kind persuasive words for me?	286: we remember that for Vincentio's scheme to work,
		Bassiolo must believe that Vincentio is only just beginning to woo Margaret.
288	Bass. The best, I swear, that my poor tongue can forge.
290	Vinc. Ay, well said, "poor tongue!" Oh, 'tis rich in meekness;	290: Vincentio compliment's both Bassiolo's turn of a phrase and his modesty.
	You are not known to speak well? You have won	= earned.
292	Direction of the Earl and all his house,	292: management of Lasso's household; notice Chapman sometimes refers to Lasso as Earl, sometimes Count; the two titles, outside of England, were interchangeable.^1
	The favour of his daughter, and all dames	293-4: Vincentio compliments the usher on his abilities
294	That ever I saw come within your sight,	with the ladies.
	With a poor tongue? A plague o' your sweet lips!
296
	Bass. Well, we will do our best; and faith, my Vince,
298	She shall have an unwieldy and dull soul	298-300: Bassiolo is highly confident in his ability to
	If she be nothing moved with my poor tongue −	persuade Margaret to accept Vincentio's suit.
300	Call it no better, be it what it will.
302	Vinc. Well said, i'faith! Now if I do not think	302-5: "If I didn't believe you could do more than just
	'Tis possible, besides her bare receipt	deliver the letter, such as get her to write me an answer,
304	Of that my letter, with thy friendly tongue	never believe me again!" Vincentio's manipulation is
	To get an answer of it, never trust me.	hardly subtle!
306
	Bass. An answer, man? 'Sblood, make no doubt of that!
308
	Vinc. By Heaven, I think so; now a plague of Nature,	309-310: a plague…others = "it is a vexatious characteristic
310	That she gives all to some, and none to others!	of Nature that she grants to some people many skills and
		none to others." Vincentio is clearly identifying the usher with the former.
312	Bass. [rising, aside]
	How I endear him to me! − Come, Vince, rise;	= Bassiolo believes that his charms are solely responsible for Vincentio's growing affection for him.
314	Next time I see her I will give her this;	= ie. Vincentio's letter.
	Which when she sees, she'll think it wondrous strange
316	Love should go by descent and make the son	= ie. from father to son.
	Follow the father in his amorous steps.
318
	Vinc. She needs must think it strange, that ne'er yet saw	319-320: Vincentio expresses "worry" over how Margaret
320	I durst speak to her, or had scarce her sight.	will react to his letter, when he has never yet spoken to
		her, and barely ever even seen her.
322	Bass. Well, Vince, I swear thou shalt both see and kiss her.
324	Vinc. Swears my dear friend? By what?
326	Bass. Even by our friendship.
328	Vinc. Oh, sacred oath! Which how long will you keep?
330	Bass. While there be bees in Hybla, or white swans	330: Hybla = a town in ancient Sicily, famous for its honey.^3 330-1: white swans…Meander = the Meander is a river in western Asia Minor; the reference to the swans comes from the Heroides, a series of verses by the Roman poet Ovid (author of the Metamorphoses), who in Poem #7 refers to the "shallows of Meander, (where) sings the white swan".^3,9
	In bright Meander; while the banks of Po	= the Po is a river in northern Italy.
332	Shall bear brave lilies; or Italian dames
	Be called the bona-robas of the world.	= prostitutes; Italy was considered by the English to be a particularly dissolute and debauched nation. Smith notes how anti-climactic Bassiolo's final analogy is, after having spoken in such sweetly poetic terms until then.
334
	Vinc. 'Tis elegantly said; and when I fail,	= ie. to observe their friendship.
336	Let there be found in Hybla hives no bees;
	Let no swans swim in bright Meander stream,
338	Nor lilies spring upon the banks of Po,
	Nor let one fat Italian dame be found,
340	But lean and brawn-fall'n; ay, and scarcely sound.	340: brawn-fall'n = thin, with the flesh (brawn) wasted away.^1 scarcely sound = hardly healthy, ie. wracked with syphilis.
342	Bass. It is enough, but let's embrace withal.	= nevertheless.
344	Vinc. With all my heart.
346	Bass. So, now farewell, sweet Vince!
348	[Exit.]
350	Vinc. Farewell, my worthy friend! − I think I have him.
352	Enter Bassiolo.
354	Bass. [Aside]
	I had forgot the parting phrase he taught me. −
356	I commend me t'ye, sir.
358	[Exit instanter.]	= immediately, ie. hurriedly.^1
360	Vinc. At your wished service, sir. −
	Oh fine friend, he had forgot the phrase:
362	How serious apish souls are in vain form!	= foolishly copying or imitative.^2
	Well, he is mine and he, being trusted most	= ie. Vincentio has successfully recruited Bassiolo to act as his agent.
364	With my dear love, may often work our meeting,	= arrange for Margaret and Vincentio to meet on the sly.
	And being thus engaged, dare not reveal.	365: and since Bassiolo is now up to his neck in his
366		involvement in Vincentio's scheme, he cannot turn around and report it to anyone without implicating himself.
	Enter Poggio in haste, Strozza following.
368
	Pog. Horse, horse, horse, my lord, horse! Your father
370	is going a hunting.
372	Vinc. My lord horse? You ass, you! D'ye call my lord	372-3: D'ye…horse = "are you calling my lord a horse?"
	horse?
374
	Stroz. Nay, he speaks huddles still; let's slit his tongue.	= ie. confusingly.^1
376
	Pog. Nay, good uncle now, 'sblood, what captious	= fault-finding.^1
378	merchants you be! So the Duke took me up even now,	= fellows.^1 = "rebuked me".^1
	my lord uncle here, and my old Lord Lasso. By Heaven
380	y' are all too witty for me; I am the veriest fool on you	= "greatest fool of".
	all, I'll be sworn!
382
	Vinc. Therein thou art worth us all, for thou know'st	383: Therein…all = "in that respect, you are equal to the
384	thyself.	rest of us combined". 383-4: thou know'st thyself = a reference to the ancient maxim "know thyself", which was famously inscribed at the entrance to Apollo's oracle at Delphi.
386	Stroz. But your wisdom was in a pretty taking last	= ironic title, addressing Poggio. = nice situation, good
	night; was it not, I pray?	condition.^1
388
	Pog. Oh, for taking my drink a little? I'faith, my lord,
390	for that, you shall have the best sport presently, with	= regarding drinking. = entertainment. = in a moment.
	Madam Cortezza, that ever was; I have made her so
392	drunk that she does nothing but kiss my lord Medice.
	See, she comes riding the Duke; she's passing well	= exceedingly; the duke enters the stage supporting the
394	mounted, believe it.	drunken Cortezza; Poggio's use of riding and mounting
		are playfully suggestive.
396	Enter Alphonso, Cortezza leaning on the Duke,
	Cynanche, Margaret, Bassiolo first, two women
398	attendants, and Huntsmen, Lasso.
400	Alph. Good wench, forbear!	= affectionate term meaning simply "lady".
402	Cort. My lord, you must put forth yourself among	402ff: Smith notes that Cortezza's drunken speeches are filled with double entendres, such as the phrase put forth yourself, and with thumb implying a man's organ.
	ladies. I warrant you have much in you, if you would
404	show it; see, a cheek o' twenty, the body of a George,	= ie. a young man's face. = a second allusion in the play to the duke as St. George.
	a good leg still, still a good calf, and not flabby, nor
406	hanging, I warrant you; a brawn of a thumb here,	= fleshy or muscular.^1
	and 'twere a pulled partridge. − Niece Meg, thou shalt	= as if it were. = plucked.^1
408	have the sweetest bedfellow on him that ever called	= in.
	lady husband; try him, you shame-faced bable you,	= bashful.^1 = ie. bauble: a foolish person, or one who
410	try him.	trifles.^1
412	Marg. Good madam, be ruled.	= "please listen to the duke", or "please control yourself."
414	Cort. What a nice thing it is! My lord, you must	= dainty, delicate. = ie. she, meaning Margaret.
	set forth this gear, and kiss her; i'faith, you must! Get	= get this business (gear) going, ie. be the aggressor.
416	you together and be naughts awhile, get you together.	= literally "be quiet", but the phrase was also a common
		Elizabethan euphemism for having sex.
418	Alph. Now, what a merry, harmless dame it is!
420	Cort. My lord Medice, you are a right noble man, and
	will do a woman right in a wrong matter, and need be;
422	pray, do you give the Duke ensample upon me; you	= "give". = "an example (of a kiss) on me."^1 Cortezza has,
	come a wooing to me now; I accept it.	we remember, previously expressed her attraction to
424		Medice.
	Lasso. What mean you, sister?
426
	Cort. Pray, my lord, away; − consider me as I am, a	427-8: the first utterance is likely directed to Lasso; the
428	woman.	second, to Medice.
430	Pog. [Aside] Lord, how I have whittled her!	= made her drunk.^3
432	Cort. You come a wooing to me now; − pray thee,
	Duke, mark my lord Medice; and do you mark me,	= "pay attention (to how Medice does this)".
434	virgin. Stand you aside, my lords all, and you, give	= young unmarried woman, ie. Margaret.
	place. Now, my lord Medice, put case I be strange a	= suppose. = aloof.
436	little, yet you like a man put me to it. Come, kiss me,	= "force me to acquiesce."
	my lord; be not ashamed.
438
	Med. Not I, madam! I come not a wooing to you.
440
	Cort. 'Tis no matter, my lord, make as though you did,
442	and come kiss me; I won't be strange a whit.	= the least bit, at all.
444	Lasso. Fie, sister, y' are to blame! Pray will you go to
	your chamber?
446
	Cort. Why, hark you, brother.	= listen.
448
	Lasso. What's the matter?
450
	Cort. D'ye think I am drunk?
452
	Lasso. I think so, truly.
454
	Cort. But are you sure I am drunk?
456
	Lasso. Else I would not think so.
458
	Cort. But I would be glad to be sure on't.
460
	Lasso. I assure you then.
462
	Cort. Why, then, say nothing, and I'll begone. −
464	God b'w'y', Lord Duke, I'll come again anon.	464: God b'w'y' = "God be with ye": one can see how this
		abbreviated form of the full phrase became the modern "goodbye."^1 anon = soon.
466	[Exit.]
468	Lasso. I hope your Grace will pardon her, my Liege,
	For 'tis most strange; she's as discreet a dame
470	As any in these countries, and as sober,
	But for this only humour of the cup.	471: "except for this inclination (humour) of hers to drink."
472
	Alph. 'Tis good, my lord, sometimes.	473: Alphonso is very understanding!
474	Come, to our hunting; now 'tis time, I think.
476	Omnes. The very best time of the day, my lord.	= everybody.
478	Alph. Then, my lord, I will take my leave till night,
	Reserving thanks for all my entertainment
480	Till I return; − in meantime, lovely dame,	= the duke now addresses Margaret.
	Remember the high state you last presented,	481-4: the sense is, "remember how I placed you on the
482	And think it was not a mere festival show,	throne in the masque, and don't think it was just for show; but it rather symbolized exactly how I think of you."
	But an essential type of that you are	= representation or symbol.^1 = ie. "that which".
484	In full consent of all my faculties, −	481-4: the duke's continuing unwillingness to explicitly ask Margaret to marry him is a little aggravating; but it allows Margaret just enough wiggle-room to avoid having to make a direct answer.
	And hark you, good my lord.
486
	[He whispers to Lasso.]
488
	[Vincentio and Strozza have all this while
490	talked together a pretty way.]
492	Vinc. [Aside to Strozza and Cynanche]
	See now, they whisper	493-5: Vincentio worries that the duke and Lasso are secretly arranging a marriage between Margaret and Alphonso.
494	Some private order (I dare lay my life)	= bet.
	For a forced marriage 'twixt my love and father;
496	I therefore must make sure; and, noble friends,
	I'll leave you all when I have brought you forth	497-8: I'll leave…chase = Vincentio plans to sneak away from the hunt (chase) once it is in full progress to meet with Margaret to learn how things stand with her.
498	And seen you in the chase; meanwhile observe	498-502: meanwhile…being = Vincentio asks Strozza to
	In all the time this solemn hunting lasts	keep an eye on whether Vincentio's absence from the
500	My father and his minion, Medice,	hunt is noticed.
	And note if you can gather any sign
502	That they have missed me, and suspect my being;
	If which fall out, send home my page before.	503: "and if this occurs (falls out), ie. someone notices I
504		am absent, send my page to warn me."
	Stroz. I will not fail, my lord.
506
	[Medice whispers with 1st Huntsman all this while.]	507: in Act III.i, the individual to whom Medice gave instructions to shoot Strozza was identified as his servant, not a huntsman.
508
	Med. Now take thy time.	= choose (Smith).
510
	1^st Hunts. I warrant you, my lord, he shall not scape me.	= escape
512
	Alph. Now, my dear mistress, till our sports intended	513-4: till our…absence = the sense is, "until the hunt
514	End with my absence, I will take my leave.	ends, which will be when I withdraw from it, and I can
		return to you, etc."^3,5
516	Lasso. Bassiolo, attend you on my daughter.
518	[Exeunt Alphonso, Lasso, Medice, Strozza,	518-9: Vincentio, Margaret, Cynanche and Bassiolo remain
	Poggio, Huntsmen, and attendants.]	onstage.
520
	Bass. I will, my lord.
522
	Vinc. [Aside] Now will the sport begin; I think my love	523-4: Vincentio prepares the audience for the next scene,
524	Will handle him as well as I have done.	in which Bassiolo will deliver his letter to Margaret; he
		expects Margaret will be able to humorously manipulate the usher as well as he did.
526	[Exit.]
528	Cyn. Madam, I take my leave, and humbly thank you.
530	Marg. Welcome, good madam; − maids, wait on my lady.
532	[Exit Cynanche.]
534	Bass. So, mistress, this is fit.
536	Marg. Fit, sir; why so?
538	Bass. Why so? I have most fortunate news for you.
540	Marg. For me, sir? I beseech you, what are they?	= note the plural treatment of news; Elizabethan writers
		went back and forth in treating news as singular or not.
542	Bass. Merit and fortune, for you both agree;
	Merit what you have, and have what you merit.	= deserve.
544
	Marg. Lord, with what rhetoric you prepare your news!
546
	Bass. I need not; for the plain contents they bear,
548	Uttered in any words, deserve their welcome;
	And yet I hope the words will serve the turn.	= purpose.
550
	Marg. What, in a letter?
552
	[He offers her the letter.]
554
	Bass. Why not?
556
	Marg. Whence is it?	= from where.
558
	Bass. From one that will not shame it with his name,	559: "from one whose name will not discredit it".
560	And that is Lord Vincentio.
562	Marg. King of Heaven!
	Is the man mad?
564
	Bass. Mad, madam, why?
566
	Marg. Oh, Heaven! I muse a man of your importance
568	Will offer to bring me a letter thus.
570	Bass. Why, why, good mistress, are you hurt in that?
	Your answer may be what you will yourself.	571: "you can answer the letter any way you wish."
572
	Marg. Ay, but you should not do it; God's my life!	= ie. bring her such a letter.
574	You shall answer it.
576	Bass. Nay, you must answer it.
578	Marg. I answer it! Are you the man I trusted,	578ff: Margaret plays the role of the innocent perfectly;
	And will betray me to a stranger thus?	notice how she sets the blame for the delivery of the
580		the letter squarely onto Bassiolo's shoulders.
	Bass. That's nothing, dame; all friends were strangers first.
582
	Marg. Now, was there ever woman over-seen so	= overseen can mean (1) "mistaken", as Parrott believes,
584	In a wise man's discretion?	or (2) "looked after";^1 either way, Margaret appears to be bemoaning her misplaced belief in the usher's ability or wisdom to manage her affairs, though she could also be referring to Vincentio's clumsy handling of the situation.
586	Bass. Your brain is shallow; come, receive this letter.	= to be shallow-brained was to lack depth of intellect.^1
588	Marg. How dare you say so, when you know so well
	How much I am engagèd to the duke?
590
	Bass. The duke? A proper match! A grave old gentleman,	= "well, that would be a fine marriage!"
592	Has beard at will, and would, in my conceit,	592: Has beard at will = in pointing out that the duke can easily grow a full beard, Bassiolo is suggesting that Alphonso is too old for Margaret; Vincentio, in contrast, may be young enough to only have a few pubescent whiskers at this point. conceit = imagination or thinking.
	Make a most excellent pattern for a potter,	= model or example.^2 = maker of ceramic ware, and drinking vessels specifically.
594	To have his picture stampèd on a jug,
	To keep ale-knights in memory of sobriety.	= drunks.^1
596	Here, gentle madam, take it.
598	Marg. Take it, sir?
	Am I a common taker of love-letters?	= ordinary, but also base or vulgar.^1
600
	Bass. Common? Why, when received you one before?
602
	Marg. Come 'tis no matter; I had thought your care
604	Of my bestowing would not tempt me thus	= "regarding who I will marry".
	To one I know not; but it is because
606	You know I dote so much on your direction.	= guidance;^2 Margaret flatters the usher.
608	Bass. On my direction?	= Bassiolo misunderstands Margaret's phrase on your direction to mean "towards you", interpreting it as an expression of Margaret's fondness for him personally.
610	Marg. No, sir, not on yours!	610: Margaret quickly disabuses the usher! Parrott,
		however, believes this line may be an aside.
612	Bass. Well, mistress, if you will take my advice
	At any time, then take this letter now.
614
	Marg. 'Tis strange; I wonder the coy gentleman,	= ie. that the.
616	That seeing me so oft would never speak,	= Margaret here contradicts Vincentio's assertion to Bassiolo above at line 320 that he has scarcely ever even seen her.
	Is on the sudden so far rapt to write.	= driven by emotion.
618
	Bass. It showed his judgment that he would not speak,
620	Knowing with what a strict and jealous eye	= ie. the duke's.
	He should be noted; hold, if you love yourself.	= observed.^5
622	Now will you take this letter? Pray be ruled.	= "follow my advice."
624	[Gives her the letter.]
626	Marg. Come, you have such another plaguy tongue!	= vexatious or damned,^1 referring to the usher's ability
	And yet, i'faith, I will not.	to sway other's actions.
628
	[Drops the letter.]
630
	Bass. Lord of Heaven!
632	What, did it burn your hands? Hold, hold, I pray.
	And let the words within it fire your heart.	= punning with burn.
634
	[Gives her the letter again.]
636
	Marg. I wonder how the devil he found you out	= devil here is a one-syllable word: de'il.
638	To be his spokesman. − Oh, the Duke would thank you
	If he knew how you urged me for his son.	= on behalf of.
640
	[Reads the letter.]
642
	Bass. [Aside] The Duke! I have fretted her,	= "successfully worn down (fretted)^1 her resistance"
644	Even to the liver, and had much ado	= the liver was believed to be the seat of passion.
	To make her take it; but I knew 'twas sure,
646	For he that cannot turn and wind a woman
	Like silk about his finger is no man.
648	I'll make her answer 't too.	648: now that Bassiolo has gotten Margaret to finally
		receive the letter, he must convince her to answer it!
650	Marg. Oh, here's good stuff!
	Hold, pray take it for your pains to bring it.
652
	[Returning the letter.]
654
	Bass. Lady, you err in my reward a little,
656	Which must be a kind answer to this letter.
658	Marg. Nay then, i'faith, 'twere best you brought a priest,	= "you might as well bring, etc." Margaret is sarcastic.
	And then your client, and then keep the door.	= ie. keep watch at.
660	Gods me, I never knew so rude a man!
662	Bass. Well, you shall answer; I'll fetch pen and paper.
664	[Exit.]
666	Marg. Poor usher, how wert thou wrought to this brake?	= manipulated into this snare or entanglement;^2 Margaret expresses pity for Bassiolo for being deceived into becoming involved in Vincentio's scheme; but, as we noted, she plays her part perfectly.
	Men work on one another for we women,
668	Nay, each man on himself; and all in one	= ie. all in one voice,^5 ie. unanimously.
	Say, “No man is content that lies alone.”
670	Here comes our gullèd squire.	= deceived.
672	Bass. Here, mistress, write.
674	Marg. What should I write?
676	Bass. An answer to this letter.
678	Marg. Why, sir, I see no cause of answer in it;	678: "I see nothing in this letter that compels me to answer
	But if you needs will show how much you rule me,	it."
680	Sit down and answer it as you please yourself;
	Here is your paper, lay it fair afore you.	= "squarely in front of".^1,5
682
	Bass. Lady, content; I'll be your secretary.	= be satisfied.
684
	[He sits down to write.]
686
	Marg. [Aside] I fit him in this task; he thinks his pen
688	The shaft of Cupid in an amorous letter.	= ie. "is like an arrow".
690	Bass. Is here no great worth of your answer, say you?	690: "do you really think that there is nothing in this letter
	Believe it, 'tis exceedingly well writ.	which deserves a response from you?" Bassiolo is
692		responding to Margaret's assertion of line 678.
	Marg. So much the more unfit for me to answer,
694	And therefore let your style and it contend.	= humorous: "why don't you see how well your writing (style) does in competition with Vincentio's?"
696	Bass. Well, you shall see I will not be far short,	= "my writing will not appear too poorly in comparison."
	Although, indeed, I cannot write so well
698	When one is by as when I am alone.
700	Marg. Oh, a good scribe must write though twenty talk,	= "even if a score of people are talking all around him (ie.
	And he talk to them too.	so as to be great distractions)".
702
	Bass. Well, you shall see.
704
	[He writes.]
706
	Marg. [Aside]
708	A proper piece of scribeship, there's no doubt;	= OED defines the word as "the office of a scribe", but the sense here may be "writing".
	Some words picked out of proclamatiöns,	709-10: Margaret, for the audience's entertainment, details
710	Or great men's speeches, or well-selling pamphlets:	Bassiolo's expected inspirations for his writing.
	See how he rubs his temples; I believe
712	His muse lies in the back part of his brain,	= inspiration; Homer's Iliad and Odyssey, and Virgil's Aeneid, all begin with an invocation to one of the nine Muses for inspiration; the Muses were Greek goddesses who dedicated themselves to the protection of all the arts.
	Which, thick and gross, is hard to be brought forward. −	= which refers to his muse (Smith). = ie. hard-pressed.
714	What, is it loath to come?
716	Bass. No, not a whit:
	Pray hold your peace a little.	= "be silent".
718
	Marg. [Aside]
720	He sweats with bringing on his heavy style;	= serious or weighty.^1
	I'll ply him still till he sweat all his wit out. −
722	What man, not yet?	= "not finished yet?"
724	Bass. 'Swoons, you'll not extort it from a man!	= yet another variation of God's wounds
	How do you like the word endear?
726
	Marg. O fie upon't!	= a phrase expressing scornful reproach.^1
728
	Bass. Nay, then, I see your judgment. What say you
730	to condole?
732	Marg. Worse and worse!
734	Bass. Oh brave! I should make a sweet answer, if I	= great (sarcastic).
	should use no words but of your admittance.
736
	Marg. Well, sir, write what you please.
738
	Bass. Is model a good word with you?	= Parrot has cleverly figured out that endear, condole and
740		model were all words which, as of 1606, were relatively new to the English vocabulary, appearing for the first time in surviving texts in 1586, 1588, and 1570 respectively, as per the OED; Bassiolo is trying very hard to incorporate such effective and new words into his letter, and show off his learning at the same time.
	Marg. Put them together, I pray.
742
	Bass. So I will, I warrant you! [He writes.]
744
	Marg. [Aside] See, see, see, now it comes pouring
746	down.
748	Bass. I hope you'll take no exceptions to believe it.
750	Marg. Out upon't! That phrase is so run out of breath	750f: Margaret complains about how trite the phrase believe
	in trifles, that we shall have no belief at all in earnest	it has become.
752	shortly. “Believe it, 'tis a pretty feather.” “Believe it, a
	dainty rush.” “Believe it, an excellent cockscomb.”	= fool (indirectly suggesting Bassiolo).
754
	Bass. So, so, so; your exceptions sort very collaterally.	755: "your objections fall out (sort) away from the main point (collaterally).^3
756
	Marg. Collaterally! There's a fine word now; wrest	= work, with a sense of "twisting".^1
758	in that if you can by any means.
760	Bass. I thought she would like the very worst of them	= ie. of the sophisticated words.
	all! − How think you? Do not I write, and hear, and
762	talk too now?
764	Marg. By my soul, if you can tell what you write now,
	you write very readily.
766
	Bass. That you shall see straight.	= right away.
768
	Marg. But do you not write that you speak now?	= ie. that which.
770
	Bass. Oh yes; do you not see how I write it? I cannot
772	write when anybody is by me, I!
774	Marg. God's my life! Stay, man; you'll make it too	= ie. "stop already".
	long.
776
	Bass. Nay, if I cannot tell what belongs to the length	777-8: "as if I could not tell how long a lady's instrument
778	of a lady's device, i'faith!	of wooing should be", with a bawdy sense.
780	Marg. But I will not have it so long.
782	Bass. If I cannot fit you!	= satisfy, suit. Lines 780-2 are no doubt intended by
		Chapman to be double entendres.
784	Marg. Oh me, how it comes upon him! Prithee be
	short.
786
	Bass. Well, now I have done, and now I will read it:
788
	Your lordship's motive accommodating my	789-795: Bassiolo demonstrates, in this very funny attempt
790	thoughts with the very model of my heart's mature	at a love letter, that he does not really understand yet
	consideration, it shall not be out of my element to	how to use the aforementioned new words, or many
792	negotiate with you in this amorous duello; wherein	others, such as accommodating, negotiate, and
	I will condole with you that our project cannot he so	duello, as well as the phrase out of one's element,
794	collaterally made as our endeared hearts may very	all of which first appeared in the late 16th century.
	well seem to insinuate.
796
	Marg. No more, no more; fie upon this!
798
	Bass. Fie upon this? He's accursed that has to do with
800	these unsound women of judgment: if this be not good,	= ie. women of unsound judgment.
	i'faith!
802
	Marg. But 'tis so good, 'twill not be thought to come	803-4: the sense is, "oh, no, you misunderstand me: you
804	from a woman's brain.	wrote too good a letter for anyone to believe it had been composed by me, a mere woman."
806	Bass. That's another matter.	806: Margaret has mollified the momentarily upset usher.
808	Marg. Come, I will write myself.
810	[She sits down to write.]
812	Bass. O' God's name lady! And yet I will not lose this	812-4: Bassiolo will hang on to his masterpiece to use on
	I warrant you; I know for what lady this will serve as	behalf of another lady; however, Chapman never follows
814	fit.	up on this idea.
816	[Folding up his letter.]
818	Now we shall have a sweet piece of inditement.	= composition.^2 Bassiolo has low expectations for
		Margaret's letter.
820	Marg. How spell you foolish?
822	Bass. F-oo-l-i-sh.	822: in his 1578 publication, First Fruits, lexicographer John Florio, in writing out the alphabet, listed ee and oo as "letters" distinct from e and o in its alphabet.
	[Aside] She will presume t' indite that cannot spell.	823: "she, who cannot spell, will presume to compose
824		(indite)."
	Marg. How spell you usher?
826
	Bass. 'Sblood, you put not in those words together, do
828	you?
830	Marg. No, not together.
832	Bass. What is betwixt, I pray?	= ie. between the two words.
834	Marg. As the.
836	Bass. Ass the? Betwixt foolish and usher? God's
	my life, foolish ass the usher!
838
	Marg. Nay, then, you are so jealous of your wit! Now	= vigilant or protective.^1 = cleverness.
840	read all I have written, I pray.
842	Bass. [Reads] “I am not so foolish as the usher
	would make me” − Oh, so foolish as the usher would
844	make me? Wherein would I make you foolish?	= "how do".
846	Marg. Why, sir, in willing me to believe he loved me
	so well, being so mere a stranger.	= complete.
848
	Bass. Oh, is't so? You may say so, indeed.
850
	Marg. Cry mercy, sir, and I will write so too.
852
	[She begins to write, but stops.]
854
	And yet my hand is so vile. Pray thee sit thee down,	= handwriting.
856	and write, as I bid thee.
858	Bass. With all my heart, lady! What shall I write now?
860	Marg. You shall write this, sir: I am not so foolish to
	think you love me, being so mere a stranger −
862
	Bass. [Writing] “So mere a stranger” −
864
	Marg. And yet I know love works strangely −
866
	Bass. “Love works strangely” −
868
	Marg. And therefore take heed by whom you speak	869-870: "be careful regarding by whose agency (ie.
870	for love −	meaning Bassiolo) you speak of your love for me -"
872	Bass. “Speak for love” −
874	Marg. For he may speak for himself −	874ff: he again refers to the usher, and though Margaret's
		flood of pronouns makes her exact intent ambiguous, she seems to be suggesting that Vincentio must be careful because Bassiolo may use his powers of persuasion to work on her for himself, which further serves to implicate the usher in their plot. Either way, as Smith observes, Bassiolo is oblivious to the substance of her dictation, as he is too busy writing, and "cannot write and think simultaneously" (p. 70).
876	Bass. “May speak for himself” −
878	Marg. Not that I desire it −
880	Bass. “Desire it” −
882	Marg. But, if he do, you may speed, I confess.	= speed here means "fail", though it was often used to
		mean "succeed"; Margaret continues to equivocate.^1,5
884	Bass. “Speed, I confess.”
886	Marg. But let that pass, I do not love to discourage
	anybody −
888
	Bass. “Discourage anybody – “
890
	Marg. Do you, or he, pick out what you can; and	= perhaps meaning "extract whatever meaning you can
892	so, farewell!	from this letter", or "both you and he are free to try to
		obtain (my love) as best as you can"; Margaret conti- nues to be obscure.
894	Bass. “And so, farewell.” Is this all?
896	Marg. Ay, and he may thank your siren's tongue that	= the Sirens were the mythological sea creatures who
	it is so much.	lured sailors to their deaths with their singing; the
898		allusion here thus compliments Bassiolo again for his smooth tongue.
	Bass. [Looking over the letter] A proper letter, if you
900	mark it.
902	Marg. Well, sir, though it be not so proper as the
	writer, yet 'tis as proper as the inditer. Every woman	= the one who composed it; note Margaret's little rhyme.
904	cannot be a gentleman usher; they that cannot go	904-5: go before = the usher, as we have observed, would
	before must come behind.	precede his master or mistress as he or she moved about.
906
	Bass. Well, lady, this I will carry instantly: I commend
908	me t'ye, lady.
910	[Exit.]
912	Marg. Pitiful usher, what a pretty sleight	= trickery.^2
	Goes to the working up of everything!
914	What sweet variety serves a woman's wit!
	We make men sue to us for that we wish.
916	Poor men, hold out awhile, and do not sue.	914-5: in this scene-closing rhyming couplet, Margaret gives
	And, spite of custom, we will sue to you.	some heartfelt advice to men: "if you stop so obviously
918		pursuing women, the women, against tradition, will come after you."
	[Exit.]
	END OF ACT III.

	ACT IV.
	SCENE I.
	Before the House of Strozza.
	Enter Poggio, running in,
	and knocking at Cynanche's door.
1	Pog. Oh, God, how weary I am! Aunt, Madam
2	Cynanche, aunt!
4	Enter Cynanche.
6	Cyn. How now?
8	Pog. O God, aunt! O God, aunt! O God!
10	Cyn. What bad news brings this man? Where is my lord?
12	Pog. Oh, aunt, my uncle! He's shot!
14	Cyn. Shot? Ay me!
	How is he shot?
16
	Pog. Why, with a forkèd shaft,	= barbed arrow;^3 the head of the arrow would, at its base,
18	As he was hunting, full in his left side.	have two hooks extending in the reverse direction, making
		it impossible to pull out without causing greater damage to the wounded person's insides.
20	Cyn. Oh me accursed! Where is he? Bring me; where?
22	Pog. Coming with Doctor Benevemus;
	I'll leave you, and go tell my Lord Vincentio.
24
	[Exit.]
26
	Enter Benevemus, with others,
28	bringing in Strozza with an arrow in his side.	= the others could be carrying Strozza in, or he could be
		walking with their support.
30	Cyn. See the sad sight; I dare not yield to grief,
	But force feigned patience to recomfort him. −	= hearten or console.^1
32	My lord, what chance is this? How fares your lordship?	= "what happened?" chance = occurrence.
34	Stroz. Wounded, and faint with anguish; let me rest.
36	Ben. A chair!	36: the doctor calls for a litter.
38	Cyn. Oh, Doctor, is't a deadly hurt?	= a mortal wound.
40	Ben. I hope not, madam, though not free from danger.
42	Cyn. Why pluck you not the arrow from his side?
44	Ben. We cannot, lady; the forked head so fast
	Sticks in the bottom of his solid rib.
46
	Stroz. No mean then, Doctor, rests there to educe it?	= means, ie. way. = draw it out.^1
48
	Ben. This only, my good lord, to give your wound
50	A greater orifice, and in sunder break	= into separate pieces.^1
	The piercèd rib, which being so near the midriff,	= the sense seems to be "ribcage".
52	And opening to the region of the heart,
	Will be exceeding dangerous to your life.
54
	Stroz. I will not see my bosom mangled so,
56	Nor sternly be anatomized alive;	= roughly or harshly.^2 = dissected.^1
	I'll rather perish with it sticking still.
58
	Cyn. Oh no! Sweet Doctor, think upon some help.
60
	Ben. I told you all that can be thought in art,	= knowledge or science.^2
62	Which since your lordship will not yield to use,
	Our last hope rests in Nature's secret aid,	= Nature could refer to the body's own power to heal itself.^1
64	Whose power at length may happily expel it.	= I am reminded of the wound received by Union General
		Winfield Scott Hancock during the Battle of Gettysburg on July 3, 1863, in the middle of the American Civil War; a minié ball (rifle bullet) had entered his leg, and for many months afterwards pieces of bone would be expelled by the hideous wound.
66	Stroz. Must we attend at Death's abhorrèd door
	The torturing delays of slavish Nature?
68	My life is in mine own powers to dissolve:	68-69: "since I can myself choose to end my life, can I not therefore end my pains with the same decision?"
	And why not then the pains that plague my life?
70	Rise, Furies, and this fury of my bane	70-71: Rise…conquer = Strozza invokes the Furies (classical mythology's spirits of madness) to drive him mad, and in so doing conquer his pain by making him senseless to it.^3 this fury of my bane = his pain (bane = ruin or destruction)^2.
	Assail and conquer: what men madness call	71-74: what men…reason = madness, which is not capable
72	(That hath no eye to sense, but frees the soul,	of experiencing physical sensation, stops a man's ability
	Exempt of hope and fear, with instant fate)	to reason, thus ending his hoping and fearing; and thus to choose madness is reasonable.
74	Is manliest reason; − manliest reason, then,
	Resolve and rid me of this brutish life,	= dissolve. = animal-like existence.
76	Hasten the cowardly protracted cure	76-7: Hasten…diseases = "quickly bring on death (the cure), which men hold onto in a cowardly fashion."^5
	Of all diseases. King of physicians, Death,
78	I'll dig thee from this mine of misery.	78: a brief mining metaphor, with dig and mine.
80	Cyn. Oh, hold, my lord! This is no Christian part,	= Christianity has always looked on suicide as a sin.
	Nor yet scarce manly, when your mankind foe,
82	Imperious Death, shall make your groans his trumpets	82-87: an extended military metaphor, comparing one's life
	To summon resignation of Life's fort,	to a fort that must be defended. The trumpets are the signals sent by the besiegers of a fort, summoning a parley to discuss surrender (resignation). Similarly, Death will hear Strozza's groans as a signal that he is ready to surrender his life.
84	To fly without resistance; you must force
	A countermine of fortitude, more deep	= a besieging force would often dig a tunnel (or mine) underneath a fort, hoping to cause a collapse of the walls above the tunnel, sometimes with the help of explosives; those inside a fort might dig a tunnel in the opposite direction (a countermine) to intercept the original tunnel.
86	Than this poor mine of pains, to blow him up,
	And spite of him live victor, though subdued;	= "and in spite of death, conquer it, even as it overcomes you."
88	Patience in torment is a valour more
	Than ever crowned th' Alcmenean conqueror.	88-89: patience displayed while one is tormented by pain
90		deserves more honour than was ever even showered on Hercules (the Alcmenean conqueror, whose parents were the god Zeus and the mortal Alcmene of Thebes). There may also be an allusion by Cynanche to the story of the death of the hero: his wife Deianeira, worried Hercules would fall in love with a young princess he had recently captured, sent him a charmed garment to wear in the hopes it would keep him loyal to her; the garment, which unbeknownst to Deianeira was poisoned, caused Hercules such suffering that he could not bear it, and only his death could bring him relief. If this indeed is the story Cynanche has in mind, then her point would be that Strozza has an opportunity to surpass Hercules in glory if he can keep his composure now when even Hercules, similarly situated, could not.
	Stroz. Rage is the vent of torment; let me rise.
92
	Cyn. Men do but cry that rage in miseries,
94	And scarcely beaten children become cries;	94: crying is fitting for scarcely beaten children, ie. it becomes them.^3
	Pains are like women's clamours, which the less	95-96: as with a nagging woman, pain will choose to bother you less if you ignore it.
96	They find men's patience stirred, the more they cease.
	Of this 'tis said afflictions bring to God,	= ie. bring one closer to God.
98	Because they make us like him, drinking up	98-99: drinking up…sense = ie. by taking away one's
	Joys that deform us with the lusts of sense,	pleasures with which we indulge our sensual needs, taking us away from God."
100	And turn our general being into soul,
	Whose actions, simply formèd and applied,	101-2: typically difficult Chapman lines: the soul, when
102	Draw all our body's frailties from respect.	brought into being and put into operation (applied)^1 on its own (simply),^1 removes the body's weaknesses from consideration (respect),^1,3 ie. the human soul, when existing without a body, does not suffer from the infirmities and pain that afflict the body.
104	Stroz. Away with this unmed'cinable balm	= having no curative powers.^1
	Of worded breath! Forbear, friends, let me rest;
106	I swear I will be bands unto myself.	= restraint;^1 Strozza promises not to hurt himself.
108	Ben. That will become your lordship best indeed.
110	Stroz. I'll break away, and leap into the sea,	110-2: Parrott suggests this outburst from Strozza, so emotional compared with his previous, measured utterance, must be the result of a fresh wave of agonizing pain.
	Or from some turret cast me headlong down
112	To shiver this frail carcase into dust.	= break into small pieces.^1 = carcass, body.
114	Cyn. Oh, my dear lord, what unlike words are these	114-5: Cynanche reacts to Strozza's sudden change in tone.
	To the late fruits of your religious noblesse?	= ie. "(your) previous statement". = pious nobility.^3
116
	Stroz. Leave me, fond woman!	= foolish.
118
	Cyn. I'll be hewn from hence	= severed, as with an axe;^1 the sense of the line is similar to
120	Before I leave you; − help, me, gentle Doctor.	"they will have to drag me away from you."
122	Ben. Have patience, good my lord.
124	Stroz. Then lead me in;
	Cut off the timber of this cursèd shaft,
126	And let the forked pile canker to my heart.	= arrowhead. = cause to corrode or waste away.^1
128	Cyn. Dear lord, resolve on humble sufferance.	128: "please decide to humbly accept this suffering", ie. as
		opposed to violently ranting about wanting to die.
130	Stroz. I will not hear thee, woman; be content.
132	Cyn. Oh, never shall my counsels cease to knock	132-4: Cynanche shall not cease to admonish Strozza until
	At thy impatient ears, till they fly in	Christian patience succeeds in removing her husband's
134	And salve with Christian patience pagan sin.	desire to die (his pagan sin); salve = heal.
136	[Exeunt.]
	ACT IV, SCENE II.
	A Room in the House of Lasso.
	Enter Vincentio with a letter in his hand, Bassiolo.	= based on Bassiolo's speech at 17f below, the letter Vincentio carries is the one the usher wrote on behalf of Margaret.
1	Bass. This is her letter, sir; − you now shall see	1-4: having previously given Vincentio the letter Margaret wrote, Bassiolo asks the prince to read his own missive; he cannot believe Margaret chose to send her own letter over his!
2	How seely a thing 'tis in respect of mine,	= feeble. = ie. compared to.
	And what a simple woman she has proved
4	To refuse mine for hers; I pray look here.
6	Vinc. Soft, sir, I know not, I being her sworn servant,	= "hold on there". = lover or devotee.
	If I may put up these disgraceful words,	= put up with, tolerate.
8	Given of my mistress, without touch of honour.	8: Given of = spoken about; Vincentio pretends to be
		offended by the usher's criticism of Margaret's own composition. without touch of honour = "without it tarnishing my honour."
10	Bass. Disgraceful words! I protest I speak not
	To disgrace her, but to grace myself.
12
	Vinc. Nay then, sir, if it be to grace yourself,
14	I am content; but otherwise, you know,
	I was to take exceptions to a king.	15: "I would take exception even if a king had said such
16		words."
	Bass. Nay, y' are i' th' right for that; but read, I pray;
18	If there be not more choice words in that letter
	Than in any three of Guevara's Golden Epistles,	= Antonio de Guevara (1490-1544) was a Spanish monk,
20	I am a very ass. How think you, Vince?	bishop, and writer. The book referred to is Epistolas
		familiares, an influential work which was translated into all the major European languages. A comment of the Encyclopedia Britannica (1911) on the Epistolas is worth quoting: this book is "in reality a collection of stiff and formal essays which have long ago fallen into merited oblivion."^10
22	Vinc. By Heaven, no less, sir; it is the best thing −
24	[He rends it.]	24: Vincentio tears up the letter; Smith suggests he does so accidentally.
26	Gods, what a beast am I!	26: Vincentio immediately expresses regret.
28	Bass. It is no matter,	28-29: Vincentio may have dropped the two halves of the
	I can set it together again.	letter, which Bassiolo picks up here; alternatively, the usher may simply take the pieces out of Vincentio's hands.
30
	Vinc. Pardon me, sir, I protest I was ravished;	= "I swear I was overcome with emotion." Vincentio is swept away by the power of the usher's writing!
32	But was it possible she should prefer	32-33: Vincentio says he cannot imagine that Margaret
	Hers before this?	would think her own letter better than Bassiolo's.
34
	Bass. Oh, sir, she cried “Fie upon this!”'
36
	Vinc. Well, I must say nothing; love is blind, you know,
38	and can find no fault in his beloved.
40	Bass. Nay, that's most certain.
42	Vinc. Gi'e 't me; I'll have this letter.	42: Vincentio cleverly wants to keep the letter written by
		Bassiolo; this evidence of the usher's participation in the plot will guarantee his silence! Gi'e 't me = "give it to me."
44	Bass. No, good Vince; 'tis not worth it.
46	Vinc. I'll ha't, i'faith. [Taking Bassiolo's letter.]	= have it.
	Here's enough in it to serve for my letters as long as	= ie. "serve as a model for future letters I will write".
48	I live; I'll keep it to breed on as 'twere.
	But I much wonder you could make her write.
50
	Bass. Indeed there were some words belonged to that.	51: "indeed, it took some doing on my part" (Smith, p. 54).
52
	Vinc. How strong an influence works in well-placed words!
54	And yet there must be a preparèd love	54ff: continuing to manipulate Bassiolo, Vincentio now
	To give those words so mighty a command.	suggests the usher's power to persuade Margaret must
56	Or 'twere impossible they should move so much:	have been inspired by her love for Bassiolo. The sense
	And will you tell me true?	of prepared in line 54 seems to be "pre-existing".
58
	Bass. In anything.
60
	Vinc. Does not this lady love you?
62
	Bass. Love me? Why, yes; I think she does not hate me.
64
	Vinc. Nay, but, i'faith, does she not love you dearly?
66
	Bass. No, I protest!
68
	Vinc. Nor have you never kissed her?
70
	Bass. Kissed her? That's nothing.	71: Bassiolo assumes Vincentio is referring to an innocent
72		kiss, especially as Bassiolo would likely have been in the household since Margaret was a child.
	Vinc. But you know my meaning;
74	Have you not been, as one would say, afore me?	= before; Vincentio intends this to be understood as
		suggestive.
76	Bass. Not I, I swear!
78	Vinc. Oh, y' are too true to tell.	= loyal (to Margaret).
80	Bass. Nay, by my troth, she has, I must confess,	= "I swear".
	Used me with good respect, and nobly still;	= treated. = always.
82	But for such matters −
84	Vinc. [Aside] Very little more	84-85: "if I keep pushing him, I can get him to take
	Would make him take her maidenhead upon him. −	responsibility for (take upon) the loss of Margaret's virginity (maidenhead) on himself!"
86	Well, friend, I rest yet in a little doubt,	86-87: switching tactics, Vincentio now indirectly accuses
	This was not hers.	Bassiolo of forging the letter from Margaret.
88
	Bass. 'Twas, by that light that shines!	= ie. "I swear (on that candle)!"
90	And I'll go fetch her to you to confirm it.	90: Vincentio has successfully tricked Bassiolo into fetching Margaret to meet him.
92	Vinc. O passing friend!	92: "what a good friend!"
94	Bass. But when she comes, in any case be bold,	94ff: Bassiolo now presumes to advise Vincentio how to woo Margaret.
	And come upon her with some pleasing thing,	= Bassiolo means "some clever response", but the phrase
96	To show y' are pleased, however she behaves her:	is suggestive.
	As, for example, if she turn her back,
98	Use you that action you would do before,	= gesturing.
	And court her thus:
100	“Lady, your back part is as fair to me
	As is your fore-part.”
102
	Vinc. 'Twill be most pleasing.
104
	Bass. Ay, for if you love
106	One part above another, 'tis a sign
	You like not all alike; and the worst part
108	About your mistress you must think as fair,
	As sweet and dainty, as the very best,
110	So much for so much, and considering, too,
	Each several limb and member in his kind.	= individual. = "according to its nature" (quoting Parrott).
112
	Vinc. As a man should.
114
	Bass. True! Will you think of this?	= remember.
116
	Vinc. I hope I shall.
118
	Bass. But if she chance to laugh,
120	You must not lose your countenance, but devise	= ie. composure.
	Some speech to show you pleased, even being laughed at.
122
	Vinc. Ay, but what speech?
124
	Bass. God's precious, man, do something of yourself!
126	But I'll devise a speech.
128	[He studies.]	= thinks hard.
130	Vinc. [Aside] Inspire him, Folly.	130: Vincentio apostrophizes to personified Folly.
132	Bass. Or 'tis no matter; be but bold enough,	132-4: Bassiolo cannot yet come up with another witty
	And laugh when she laughs, and it is enough;	comeback.
134	I'll fetch her to you.
136	[Exit.]
138	Vinc. Now was there ever such a demi-lance,	= literally a cavalryman carrying a short lance, but applied humorously in Chapman's time to mean "cavalier."^1
	To bear a man so clear through thick and thin?	= unharmed.^5
140
	Enter Bassiolo.
142
	Bass. Or hark you, sir, if she should steal a laughter	143-5: Bassiolo finally has come up with a clever quip for Vincentio to make should Margaret laugh at him.
144	Under her fan, thus you may say: “Sweet lady,
	If you will laugh and lie down, I am pleased.”	= the name of a card game; Vincentio, in his response, picks up on the phrase's suggestive character.
146
	Vinc. And so I were, by Heaven! How know you that?	= would be.
148
	Bass. 'Slid, man, I'll hit your very thoughts in these things!	149: the sense is, "by God, I know exactly how to fit my
150		words to your thoughts in this area!" 'Slid = God's eyelid, one of the odder Elizabethan oaths.
	Vinc. Fetch her, sweet friend; I'll hit your words, I warrant!
152
	Bass. Be bold then, Vince, and press her to it hard;	153-4: Bassiolo's last lines before exiting (albeit only
154	A shame-faced man is of all women barred.	briefly) comprise a rhyming couplet, as is sometimes
		done in Elizabethan drama; such final words often express a pithy and proverbial-sounding sentiment. of in line 154 means "from".
156	[Exit.]
158	Vinc. How eas'ly worthless men take worth upon them,	158-160: note Vincentio's repeated use of the word worth
	And being over-credulous of their own worths,	to make his point.
160	Do underprize as much the worth of others.
	The fool is rich, and absurd riches thinks	161-2: to a rich fool, the clinking of his coins are like bells
162	All merit is rung out where his purse chinks.	ringing out to proclaim all his merit.^3
164	Enter Bassiolo and Margaret.
166	Bass. My lord, with much entreaty here's my lady. −
	Nay, madam, look not back; − why, Vince, I say!	= Margaret tries to leave, which allows Vincentio at lines 173-4 to playfully use the first of the absurd flirting lines taught him by Bassiolo.
168
	Marg. [Aside] Vince? Oh monstrous jest!	169: Margaret is shocked that the usher dares call the prince by his first name!
170
	Bass. To her, for shame!	= "go to her"
172
	Vinc. Lady, your back part is as sweet to me
174	As all your fore-part.
176	Bass. [Aside] He missed a little: he said her back part	= misspoke, ie. messed up his line.
	was sweet, when he should have said fair; but see, she
178	laughs most fitly to bring in the tother. −	= ie. the other, referring to the second riposte the usher
	Vince, to her again; she laughs.	gave Vincentio to use.
180
	Vinc. Laugh you, fair dame?
182	If you will laugh and lie down, I am pleased.
184	Marg. What villanous stuff is here?
186	Bass. Sweet mistress, of mere grace embolden now	186-190: Bassiolo believes that Margaret is responding to Vincentio's lack of aggression in his wooing, rather than his quip, and nudges her to encourage (embolden) him.^5
	The kind young prince here; it is only love
188	Upon my protestation that thus daunts	= "I swear" (protestation = affirmation).^1
	His most heroic spirit: so awhile
190	I'll leave you close together; Vince, I say −	= privately, ie. alone.
192	[Exit.]
194	Marg. Oh horrible hearing! Does he call you Vince?
196	Vinc. Oh, ay, what else? And I made him embrace me,
	Knitting a most familiar league of friendship.	= tying together, uniting. = very common phrase of the era.
198
	Marg. But wherefore did you court me so absurdly?	= why.
200
	Vinc. God's me, he taught me! I spake out of him.	= ie. "I swear", a phrase of attestation to the truth of an assertion.
202
	Marg. Oh fie upon't! Could you for pity make him	203-8: Margaret feels sorry for Bassiolo, that he must be the victim of Vincentio's manipulation.
204	Such a poor creature? 'Twas abuse enough	= agent or instrument.^2
	To make him take on him such saucy friendship;	= impudent, ie. improper; Margaret rues that Vincentio insisted on shattering the difference in class between prince and servant.
206	And yet his place is great, for he's not only	206-8: one of the usher's roles, as has been described
	My father's usher, but the world's beside,	previously, is to go before, ie. precede, his master or
208	Because he goes before it all in folly.	mistress in a procession; punning nicely, Margaret suggests Bassiolo is actually usher to the world, as he goes before it in all folly, ie. is the most foolish person on earth.
210	Vinc. Well, in these homely wiles must our loves mask,	210: "well, we must disguise our loves in these artless deceptions (homely wiles)."^1
	Since power denies him his apparent right.	211: an unclear line, but based on Margaret's response,
212		perhaps Vincentio means something like, "since the powers that be are denying me of my right to openly love you."
	Marg. But is there no mean to dissolve that power,
214	And to prevent all further wrong to us
	Which it may work by forcing marriage rites
216	Betwixt me and the Duke?
218	Vinc. No mean but one,	= means.
	And that is closely to be married first,	= secretly.
220	Which I perceive not how we can perform;
	For at my father's coming back from hunting,
222	I fear your father and himself resolve	222-3: Vincentio worries that Strozza and the duke have
	To bar my interest with his present nuptials.	concluded an agreement to have Margaret marry the prince's father immediately; present = immediate.
224
	Marg. That shall they never do; may not we now	225-6: vows taken by a couple pledging themselves to be man and wife were for practical purposes as binding as if they had been officially married by a minister or priest, especially if these vows were made in front of witnesses.
226	Our contract make, and marry before Heaven?
	Are not the laws of God and Nature more	= ie. more powerful, to be respected more.
228	Than formal laws of men? Are outward rites	228-230: Are outward…within = "is the superficial acting
	More virtuous than the very substance is	out of a formal wedding ceremony more powerful, ie. legally effective (virtuous)^1 than the intent of the souls that take part in it?" The linguistic contrast is between outward and within.
230	Of holy nuptials solemnized within?
	Or shall laws made to curb the common world,	= restrain or tame. = ordinary world, ie. the masses.^2
232	That would not be contained in form without them,	232: common people's actions would not fall within the limits of moral behaviour if the laws did not exist to demarcate those boundaries.
	Hurt them that are a law unto themselves?	233: "so why should those laws be allowed to bring undesirable results to those of us who are born superior to the common people?" Smith notes that Chapman frequently commented on the superiority of the noble classes over the great unwashed (p. 81).
234	My princely love, 'tis not a priest shall let us;	= "hinder us", ie. by marrying Margaret to the duke.
	But since th' eternal acts of our pure souls
236	Knit us with God, the soul of all the world,
	He shall be priest to us; and with such rites
238	As we can here devise we will express
	And strongly ratify our hearts' true vows,
240	Which no external violence shall dissolve.
242	Vinc. This is our only mean t' enjoy each other:
	And, my dear life, I will devise a form
244	To execute the substance of our minds	= aim or goal.^1
	In honoured nuptials. First, then, hide your face
246	With this your spotless white and virgin veil;	= without stain or sin.
	Now this my scarf I'll knit about your arm,	= a broad sash-like cloth worn to ornament the prince's
248	As you shall knit this other end on mine;	presumably fine clothes.^1
	And as I knit it, here I vow by Heaven,
250	By the most sweet imaginary joys	= imagined; note how in lines 250-2 Vincentio intensifies his vow by swearing on a whole host of abstract concepts.
	Of untried nuptials, by Love's ushering fire	= ie. as yet untested or not yet experienced.
252	Fore-melting beauty, and Love's flame itself,	= melting before or in front of .^1
	As this is soft and pliant to your arm
254	In a circumferent flexure, so will I	= an encircling (circumferent) form. flexure = condition of being curved.^1
	Be tender of your welfare and your will	= solicitous.
256	As of mine own, as of my life and soul,
	In all things, and for ever; only you
258	Shall have this care in fulness, only you	= "my exclusive care" (Smith, p. 82).
	Of all dames shall be mine, and only you
260	I'll court, commend and joy in, till I die.
262	Marg. With like conceit on your arm this I tie,
	And here in sight of Heaven, by it I swear	= when used in verse, Heaven is usually pronounced as a one-syllable word, with the medial v essentially omitted: Hea'n.
264	By my love to you, which commands my life,
	By the dear price of such a constant husband	= high value.
266	As you have vowed to be, and by the joy
	I shall embrace by all means to requite you,
268	I'll be as apt to govern as this silk,	= ie. to be ruled.
	As private as my face is to this veil,	= ie. exclusive to Vincentio (Smith, p. 83).
270	And as far from offence as this from blackness.	= referring to her white veil.
	I will be courted of no man but you;	= by.
272	In and for you shall be my joys and woes:
	If you be sick, I will be sick, though well;
274	If you be well, I will be well, though sick:
	Yourself alone my complete world shall be
276	Even from this hour to all eternity.
278	Vinc. It is enough, and binds as much as marriage.
280	Enter Bassiolo.
282	Bass. I'll see in what plight my poor lover stands, −
	God's me, a beckons me to have me gone!	= he; Vincentio is waving him away.
284	It seems he's entered into some good vein;
	I'll hence; Love cureth when he vents his pain.	= get out of here. = ie. is finally able to discourse on his
286		love.
	[Exit.]
288
	Vinc. Now, my sweet life, we both remember well
290	What we have vowed shall all be kept entire	= ie. maintained, insisted on.
	Maugre our fathers' wraths, danger, and death;	= (even) in spite of. ^2
292	And to confirm this shall we spend our breath?	292: "shall we swear to keep our wedding vows no matter what our fathers do or threaten to do to us?"
	Be well advised, for yet your choice shall be	293-4: Vincentio gives Margaret the opportunity to change her mind.
294	In all things as before, as large and free.	294: large and free both mean unfettered or independent.
296	Marg. What I have vowed I'll keep, even past my death.
298	Vinc. And I: and now in token I dissolve	= symbolically.
	Your virgin state, I take this snowy veil	= unmarried condition.
300	From your much fairer face, and claim the dues
	Of sacred nuptials; and now, fairest Heaven,	301-5: fairest…respects = Vincentio asks Heaven to bless their marriage; he compares the differences in purity between their marriage and those of the general population to the differences between the essential natures of Heaven and earth.
302	As thou art infinitely raised from earth,
	Different and opposite, so bless this match,
304	As far removed from custom's popular sects,	= the customary beliefs of the general population.^3
	And as unstained with her abhorred respects.	= untainted. = properties or qualities.^1
306
	Enter Bassiolo.
308
	Bass. Mistress, away! Poggio runs up and down,
310	Calling for Lord Vincentio; come away.
	For hitherward he bends his clamorous haste.	= towards here. = turns.
312
	Marg. Remember, love!
314
	[Exit Margaret and Bassiolo.]
316
	Vinc. Or else forget me Heaven!
318	Why am I sought for by this Poggio?
	The ass is great with child of some ill news,	= pregnant; this is a great line, a fabulous metaphor!
320	His mouth is never filled with other sound.
322	Enter Poggio.
324	Pog. Where is my lord Vincentio? Where is my lord?
326	Vinc. Here he is, ass; what an exclaiming keep'st thou!
328	Pog. 'Slud, my lord, I have followed you up and
	down like a Tantalus pig till I have worn out my hose	329: Tantalus pig = Poggio, mistaken, should have said
330	here-abouts, I'll be sworn, and yet you call me ass still,	Tantony pig. Tantony is short for St. Anthony, the patron
	but I can tell you passing ill news, my lord.	saint of swineherds.^1 According to Parrott, the pigs owned
332		by the Hospital of St. Anthony in London were sometimes fed by passing people, and the pigs would occasionally then follow their benefactors around; thus, a Tantony pig became proverbial to describe a person who followed another around.^3 Tantalus, on the other hand, was a Greek king and son of Zeus, who was punished for divulging his father's secrets by being forced to endure eternal punishment in Hades, wherein he was forever thirsty and hungry, the water and hanging fruit before him always shying away from his reach whenever he stretched out to get at them.^8 Smith notes that in line 329, Poggio means "breeches" for hose; passing in line 331 means "exceedingly".
	Vinc. I know that well, sir; thou never bring'st other;
334	What's your news now, I pray?
336	Pog. Oh, Lord, my lord uncle is shot in the side with an
	arrow.
338
	Vinc. Plagues take thy tongue! Is he in any danger?
340
	Pog. Oh, danger, ay; he has lien speechless this two	= lain.
342	hours, and talks so idly.	= crazily.^2 note the ridiculously self-contradictory nature
		of Poggio's assertions.
344	Vinc. Accursèd news! Where is he? Bring me to him.
346	Pog. Yes, do you lead, and I'll guide you to him.
348	[Exeunt.]
	ACT IV, SCENE III.
	A Room in the House of Strozza.
	Enter Strozza brought in a chair,	= litter.
	Cynanche, with others.
1	Cyn. How fares it now with my dear lord and husband?
2
	Stroz. Come near me, wife; I fare the better far	3f: Strozza's lengthy and touching speech, an encomium to wives, shows off Chapman's primary skill as a writer, the extended declamation on a single idea. You may wish also to note the several rhyming couplets tucked into the verse. Note the wordplay of fare and far in line 3, the brief dining metaphor of fare and sweet food in line 4, and the extended alliteration with the letter f in lines 3 and 4 together.
4	For the sweet food of thy divine advice.
	Let no man value at a little price	= ie. "too little a".
6	A virtuous woman's counsel; her winged spirit
	Is feathered oftentimes with heavenly words,
8	And (like her beauty) ravishing, and pure;	= strongly moving, exciting high emotion.
	The weaker body, still the stronger soul:	9: a woman may be physically weaker than a man, but she always (still) has a stronger soul.
10	When good endeavours do her powers apply,	= "put her powers to use" (Smith, p. 85).
	Her love draws nearest man's felicity.	= happiness.
12	Oh, what a treasure is a virtuous wife,
	Discreet and loving! Not one gift on earth
14	Makes a man's life so highly bound to Heaven;
	She gives him double forces, to endure	15-16: a virtuous wife doubles a man's ability to both endure
16	And to enjoy, by being one with him,	difficulties and enjoy pleasures.
	Feeling his joys and griefs with equal sense;
18	And like the twins Hippocrates reports,	= ancient sources refer to a pair of brothers whom the 5th century B.C. physician Hippocrates declared to be twins, because the same disease struck each of them at the same time and progressed at the same rate and in the same way.^3 Literature of the 16th century refers frequently to "Hippocrates' twins" who, for example, "the one suffering, both suffers: the one reioycing, both reioyce."
	If he fetch sighs, she draws her breath as short;
20	If he lament, she melts herself in tears;
	If he be glad, she triumphs; if he stir,
22	She moves his way; in all things his sweet ape:	= mimicker.
	And is in alterations passing strange,	23: a wife is, in such ability to match her mood to her husband's, quite exceptional (passing strange).^1
24	Himself divinely varied without change.	24: a difficult line, but Smith gives it a try: though united as one, the wife is divinely different from her husband (as Eve was from Adam), but they are without meaning- ful difference (p. 86).
	Gold is right precious, but his price infects	25-30: Strozza compares other valuable objects and ideas to wives; superficially they appear just as dear as wives, but at closer inspection fall short in comparison. his price infects = its (ie. gold's) value infects its owner, etc.
26	With pride and avarice; authority lifts	26-28: authority…hearts = a man in position of authority or
	Hats from men's heads, and bows the strongest knees,	power can cause others to raise their hats or bow to him out of due respect, but cannot make even the most submissive person love him.
28	Yet cannot bend in rule the weakest hearts;
	Music delights but one sense, nor choice meats;	29-30: music delights only one sense - the hearing - and
30	One quickly fades, the other stirs to sin;	furthermore, its influence fades quickly once it stops playing; and delicacies and quality foods (choice meats) give pleasure to the sense of taste, but cause licentious thoughts (a surprisingly large number of foods were believed at the time to be aphrodisiacs).
	But a true wife both sense and soul delights,
32	And mixeth not her good with any ill;
	Her virtues (ruling hearts) all powers command;	33: by nature of her virtue, a loyal wife can get anyone to do anything.
34	All store without her leaves a man but poor,	= wealth or abundance.^2
	And with her poverty is exceeding store;	35: a man in literal poverty is wealthy if he has a good wife.
36	No time is tedious with her; her true worth
	Makes a true husband think his arms enfold,
38	With her alone, a complete world of gold.
40	Cyn. I wish, dear love, I could deserve as much
	As your most kind conceit hath well expressed;	= notion or elaborate expression.^1
42	But when my best is done, I see you wounded,
	And neither can recure nor ease your pains.	= heal; this variation of "cure" was common in the 15th
44		and 16th centuries.^1
	Stroz. Cynanche, thy advice hath made me well;
46	My free submission to the hand of Heaven
	Makes it redeem me from the rage of pain.
48	For though I know the malice of my wound
	Shoots still the same distemper through my veins,	= disorder or derangement of the body.^1
50	Yet the judicial patience I embrace	= sensible, rational.^1
	(In which my mind spreads her impassive powers	= ie. its (his mind's) insensibility to pain.
52	Through all my suff'ring parts) expels their frailty;	= ie. "the weakness (of my veins)." One wonders whether Chapman's audience would really be able to clearly follow such intricate sentences with their parenthetical asides and numerous pronouns.
	And rendering up their whole life to my soul,
54	Leaves me nought else but soul; and so like her,	= ie. "nothing is left of me but my soul"; the sense of 50-55
	Free from the passions of my fuming blood.	is that Strozza has eased his own suffering by focusing on practicing patience, thereby separating himself from his violent and harmful emotions.
56
	Cyn. Would God you were so; and that too much pain	57-58: "I hope you are now free from such malignant
58	Were not the reason you felt sense of none.	emotions for the reason you state, and that your lack of pain at this moment is not caused by having too much of it"; Cynanche is hinting at her fear that Strozza has been driven out of his mind by his pain.
60	Stroz. Think'st thou me mad, Cynanche, for mad men,	60-61: Strozza touches again on his earlier idea that madness
	By pains ungoverned, have no sense of pain?	ends one's ability to sense pain.
62	But I, I tell you, am quite contrary,
	Eased with well governing my submitted pain;	= pain he has subdued or submitted to.^1
64	Be cheered then, wife, and look not for, in me,
	The manners of a common wounded man.	65: the immature and unrestrained behaviour he had previously exhibited, which was that expected of a common person, but not so acceptable in a noble.
66	Humility hath raised me to the stars;
	In which (as in a sort of crystal globes)	= collection of crystal balls.^1
68	I sit and see things hid from human sight.	68: Strozza announces he has received the gift of second sight.
	Ay, even the very accidents to come	= occurrences, events.^2
70	Are present with my knowledge; the seventh day
	The arrow-head will fall out of my side.
72	The seventh day, wife, the forked head will out.
74	Cyn. Would God it would, my lord, and leave you well!
76	Stroz. Yes, the seventh day, I am assured it will;
	And I shall live, I know it; I thank Heaven,
78	I know it well; and I'll teach my physician
	To build his cures hereafter upon Heaven
80	More than on earthly med'cines; for I know
	Many things shown me from the opened skies
82	That pass all arts. Now my physiciän	= surpass all science or knowledge.
	Is coming to me; he makes friendly haste;
84	And I will well requite his care of me.	= repay, reward.
86	Cyn. How know you he is coming?
88	Stroz. Passing well;	88: "extremely well I know it."
	And that my dear friend, Lord Vincentio,
90	Will presently come see me too; I'll stay	= hold here, keep from leaving.^2
	My good physician till my true friend come.
92
	Cyn. [Aside] Ay me, his talk is idle; and, I fear,	93-94: the foolish (idle) babbling of a sick man was believed to presage his death.^3
94	Foretells his reasonable soul now leaves him.	= the soul controlled the faculty of reason.
96	Stroz. Bring my physician in; he's at the door.
98	Cyn. Alas, there's no physician!
100	Stroz. But I know it;
	See, he is come.
102
	Enter Benevemus.
104
	Ben. How fares my worthy lord?
106
	Stroz. Good Doctor, I endure no pain at all,
108	And the seventh day the arrow's head will out.
110	Ben. Why should it fall out the seventh day, my lord?
112	Stroz. I know it; the seventh day it will not fail.
114	Ben. I wish it may, my lord.
116	Stroz. Yes, 'twill be so.
	You come with purpose to take present leave,	117: "you've come to say good-bye".
118	But you shall stay awhile; my lord Vincentio
	Would see you fain, and now is coming hither.	= "would be pleased (fain) to see you".
120
	Ben. How knows your lordship? Have you sent for him?
122
	Stroz. No, but 'tis very true; he's now hard by,	= close by.
124	And will not hinder your affairs a whit.
126	Ben. [Aside] How want of rest distempers his light brain! −	126: Strozza's inability to rest is causing derangement in his brain, which now feels no pain (is light).^1 Smith suggests "delirious" for light, which, if correct, would predate the earliest usage identified by the OED.
	Brings my lord any train?	= ie. "is anyone else with the prince?"
128
	Stroz. None but himself.
130	My nephew Poggio now hath left his Grace.	= ie. the prince.
	Good Doctor, go, and bring him by his hand,
132	(Which he will give you) to my longing eyes.
134	Ben. 'Tis strange, if this be true.
136	[Exit.]
138	Cyn. The Prince, I think,
	Yet knows not of your hurt.
140
	Enter Vincentio holding the Doctor's hand.
142
	Stroz. Yes, wife, too well.	= ie. "yes, he does"; through his clairvoyance, Strozza
144	See, he is come; − welcome, my princely friend!	knows that Poggio has reported his injury to Vincentio.
	I have been shot, my lord; but the seventh day
146	The arrow's head will fall out of my side,
	And I shall live.
148
	Vinc. I do not fear your life; −	= ie. fear for.
150	But, Doctor, is it your opinion
	That the seventh day the arrow-head will out?
152
	Stroz. No, 'tis not his opinion, 'tis my knowledge;
154	For I do know it well; and I do wish,
	Even for your only sake, my noble lord,
156	This were the seventh day, and I now were well,
	That I might be some strength to your hard state,	= grim condition.^1
158	For you have many perils to endure:
	Great is your danger, great; your unjust ill	159-160: your unjust…mortal = ie. "your life is unfairly in extreme danger"; passing = extremely. Strozza is making another prediction to his ignorant friend.
160	Is passing foul and mortal; would to God	= "I wish".
	My wound were something well, I might be with you!
162
	[Cynanche and Benevenius whisper.]	163: this stage direction was added by Smith.
164
	Nay, do not whisper; I know what I say
166	Too well for you, my lord; I wonder Heaven
	Will let such violence threat an innocent life.	167: "would allow such violence to threaten the innocent
168		Vincentio's life."
	Vinc. Whate'er it be, dear friend, so you be well,
170	I will endure it all; your wounded state
	Is all the danger I fear towards me.
172
	Stroz. Nay, mine is nothing; for the seventh day
174	This arrow-head will out, and I shall live;
	And so shall you, I think; but very hardly;	= with great difficulty, ie. only barely; the original meaning
176	It will be hardly you will scape indeed.	of many Elizabethan adverbs can be understood if the word
		is considered literally: hardly = in a hard (difficult) way. Similarly, a word like careful originally meant full of care, ie. anxious.
178	Vinc. Be as will be, pray Heaven your prophecy
	Be happily accomplished in yourself,
180	And nothing then can come amiss to me.
182	Stroz. What says my doctor? Thinks he I say true?
184	Ben. If your good lordship could but rest awhile,
	I would hope well.
186
	Stroz. Yes, I shall rest, I know,
188	If that will help your judgment.
190	Ben. Yes, it will;
	And, good my lord, let's help you in to try.
192
	Stroz. You please me much; I shall sleep instantly.
	[Exeunt.]
	ACT IV, SCENE IV.
	A Room in the House of Lasso.
	Enter Alphonso and Medice.
1	Alph. Why should the humorous boy forsake the chase,	= capricious.^1 1ff: Duke Alphonso has learned that Vincentio has disappeared during the hunt; the hunters, we must remember, would have been well spread out during the chase, so that Vincentio could easily sneak away and be gone quite for a while before anyone noticed.
2	As if he took advantage of my absence
	To some act that my presence would offend?	3: "to do something that he would not do if I were present?" offend here likely means "prevent", though it would predate the OED's first citation of this usage by more than four decades.^5
4
	Med. I warrant you, my lord, 'tis to that end;	= guarantee.
6	And I believe he wrongs you in your love.
	Children, presuming on their parents' kindness,
8	Care not what unkind actions they commit	= ie. unnatural actions, in that they are performed by children against their own parents.
	Against their quiet: and were I as you,	= their parents' peace of mind. = "if I were in your situa- tion".
10	I would affright my son from these bold parts,	= Medice suggests the duke should scare these audacious qualities (bold parts) out of Vincentio; but parts could also mean "territories", so Medice could also be hinting the duke should exile his son.
	And father him as I found his deserts.	= ie. "as he deserves."
12
	Alph. I swear I will: and can I prove he aims	13-15: Alphonso realizes Vincentio may have snuck away
14	At any interruption in my love,	to meet with Margaret.
	I'll interrupt his life.
16
	Med. We soon shall see.
18	For I have made Madame Cortezza search	18-20: Cortezza, we remember, is keen on Medice, and also favours Margaret's marriage to the duke; yet it is still surprising that she would spy on her own household for the minion.
	With pick-locks all the ladies' cabinets	= small chests or boxes in which valuables were kept.
20	About Earl Lasso's house; and if there be
	Traffic of love twixt any one of them
22	And your suspected son 'twill soon appear
	In some sign of their amorous merchandize;	= exchanges;^5 with traffic in line 21, a commercial metaphor.
24	See where she comes, loaded with gems and papers.
26	Enter Cortezza.
28	Cort. See here, my lord, I have robbed all their caskets.	= another name for the small chests or boxes used for storing valuables.^1
	Know you this ring, this carcanet, this chain?	= necklace or ornamented collar.^1
30	Will any of these letters serve your turn?	= purpose.
32	Alph. I know not these things; but come, let me read
	Some of these letters.
34
	Med. Madam, in this deed	35-43: while Medice and Cortezza speak, the duke looks over the correspondence.
36	You deserve highly of my lord the Duke.	36: "the duke is greatly indebted to you (for this service)."
38	Cort. Nay, my lord Medice, I think I told you
	I could do pretty well in these affairs.
40	Oh, these young girls engross up all the love	= amass, accumulate.^2
	From us, poor beldams; but, I hold my hand,	= old women. = "I swear", a vow.
42	I'll ferret all the cony-holes of their kindness	42: ferret = search out.^1 cony-holes = rabbit holes; but cony also referred to a woman's genitals, and so cony-holes is quite bawdy.^1 kindness = affection.
	Ere I have done with them.	= before.
44
	Alph. Passion of death!
46	See, see. Lord Medice, my trait'rous son	= perhaps Alphonso has read the original letter Vincentio
	Hath long joyed in the favours of my love;	sent to Margaret: see lines 54-55 below.
48	Woe to the womb that bore him, and my care
	To bring him up to this accursèd hour,
50	In which all cares possess my wretched life!	= ie. "all the world's anxieties".
52	Med. What father would believe he had a son
	So full of treachery to his innocent state?
54	And yet, my lord, this letter shows no meeting,
	But a desire to meet.
56
	Cort. Yes, yes, my lord,
58	I do suspect they meet; and I believe
	I know well where too; I believe I do;
60	And therefore tell me, does no creature know	= person.
	That you have left the chase thus suddenly,	= ie. hunt.
62	And are come hither? Have you not been seen	= to here.
	By any of these lovers?
64
	Alph. Not by any.
66
	Cort. Come then, come follow me; I am persuaded
68	I shall go near to show you their kind hands.	= loving (kind) hands, perhaps meaning "hands held in love."^3
	Their confidence that you are still a-hunting	69-71: Cortezza suspects that Vincentio and Margaret would be less careful in meeting at this moment, because they would believe the duke is still on his hunting trip.
70	Will make your amorous son, that stole from thence,
	Bold in his love-sports; come, come, a fresh chase!	= "a new hunt is at hand!"
72	I hold this pick-lock, you shall hunt at view.	72: I hold this pick-lock = another vow. at view = a hunting term, referring to when the pack of hunting dogs follow the prey by sight, rather than by scent.^3 Cortezza of course means she expects to lead the duke to catch Vincentio and Margaret together.
	What, do they think to scape? An old wife's eye	= escape.
74	Is a blue crystal full of sorcery.	73-74: An old wife…sorcery = Cortezza refers to her-
		self; old women were traditionally associated with the supernatural.^5 crystal = crystal ball , suggesting second sight: the metaphor is apt, considering the spherical shape of the eye.
76	Alph. If this be true the trait'rous boy shall die.
78	[Exeunt.]
	ACT IV, SCENE V.
	Another Rooom in the House of Lasso	Scene v: I follow Smith in making this a separate scene.
	Enter Lasso, Margaret, Bassiolo going before.	= as usual, the usher precedes his master as he moves around.
1	Lasso. Tell me, I pray you, what strange hopes they are	1-4: briefly, "what expectations (hopes) do you have that
2	That feed your coy conceits against the Duke,	take precedence over the assured greatness you
	And are preferred before th' assurèd greatness	would achieve by marrying the duke?"; Lasso does
4	His Highness graciously would make your fortunes?	not yet know of Margaret's relationship with Vincentio,
		but he is getting annoyed by her continued resistance to Alphonso. In line 2, coy means "standoffish".^2
6	Marg. I have small hopes, my lord, but a desire
	To make my nuptial choice of one I love;	7: "to select my own husband, based on who I actually love."
8	And as I would be loath t' impair my state,	= just as; Margaret, in 8-9, is making a comparison: "just
	So I affect not honours that exceed it.	as I would not wish to decrease or harm my status
10		(state), I would not presume to take on honours that exceed them."
	Lasso. Oh, you are very temp'rate in your choice,
12	Pleading a judgment past your sex and years.	12: sarcastic: "you are apparently wise beyond your gender and age."
	But I believe some fancy will be found	13-14: I believe…glosses = "I believe we will discover
14	The forge of these gay glosses: if it be,	the love or infatuation (fancy) that is the fashioner (forge) of these spurious (gay) explanations or excuses glosses)."^1,3
	I shall decipher what close traitor 'tis	= secret, unknown.
16	That is your agent in your secret plots −	= "who is helping you".
18	Bass. [Aside] 'Swoons!	18: God's wounds; Bassiolo realizes that Lasso has unwittingly described him!
20	Lasso. And him for whom you plot; and on you all	= "the person for whom you scheme."
	I will revenge thy disobedience
22	With such severe correction as shall fright	= punishment.
	All such deluders from the like attempts:	= trying anything similar.
24	But chiefly he shall smart that is your factor.	= suffer. = agent.
26	Bass. [Aside] Oh me accursed!
28	Lasso. Meantime I'll cut
	Your poor craft short, i'faith!	= clever plan or deceit.^1,2
30
	Marg. Poor craft, indeed,	= skill or art.^5
32	That I or any others use for me!
34	Lasso. Well, dame, if it be nothing but the jar	34-36: "if it be nothing other than a discord or derangement
	Of your unfitted fancy that procures	(jar) of an irrational whim (unfitted fancy) that causes
36	Your wilful coyness to my lord the Duke,	your headstrong aloofness (wilful coyness) towards the duke, etc."^1,5
	No doubt but time and judgment will conform it
38	To such obedience as so great desert	38-39: as so…acceptance = the sense is, "as so great an
	Proposed to your acceptance doth require. −	action (desert),^1 ie. offer, has been presented to you for you to accept."
40	To which end do you counsel her, Bassiolo. −	= ie. "I want you to".
	And let me see, maid, gainst the Duke's return,	= in preparation for.
42	Another tincture set upon your looks	= hue.^1
	Than heretofore; for, be assured, at last
44	Thou shalt consent, or else incur my curse. −
	Advise her you, Bassiolo.
46
	[Exit.]
48
	Bass. Ay, my good lord:
50	[Aside] God's pity, what an errant ass was I
	To entertain the Prince's crafty friendship!
52	'Sblood, I half suspect the villain gulled me!	= God's blood. = deceived.
54	Marg. Our squire, I think, is startled.	= servant.^2
56	Bass. Nay, lady, it is true;
	And you must frame your fancy to the Duke;
58	For I protest I will not be corrupted,	= vow.
	For all the friends and fortunes in the world,
60	To gull my lord that trusts me.	= ie. deceive Lasso.
62	Marg. Oh, sir, now
	Y' are true too late.	= loyal.
64
	Bass. No, lady, not a whit;
66	'Slud, and you think to make an ass of me,	= God's eyelid. = if.
	May chance to rise betimes; I know't, I know.	= ie. "you have to get up pretty early in the morning (betimes) to do so."
68
	Marg. Out, servile coward! Shall a light suspect,	= slight suspicion.
70	That hath no slend'rest proof of what we do,
	Infringe the weighty faith that thou hast sworn	= solemn vow, punning on light in line 69.
72	To thy dear friend, the Prince, that dotes on thee,
	And will in pieces cut thee for thy falsehood?
74
	Bass. I care not. I'll not hazard my estate	= "risk my situation or position".
76	For any prince on earth; and I'll disclose
	The complot to your father, if you yield not	= conspiracy.
78	To his obedience.
80	Marg. Do, if thou dar'st,
	Even for thy scraped-up living, and thy life;	= "just to protect the livelihood you have scraped together".
82	I'll tell my father, then, how thou didst woo me
	To love the young Prince; and didst force me, too,
84	To take his letters: I was well inclined,
	I will be sworn, before, to love the Duke;
86	But thy vile railing at him made me hate him.	= ranting or speaking abusively about.
88	Bass. I rail at him?
90	Marg. Ay, marry, did you sir;	= an oath. = a phrase of mock formality, employing the
	And said he was a pattern for a potter,	respectful you; otherwise, Margaret addresses her inferior
92	Fit t' have his picture stamped on a stone jug,	with the appropriate thou, and Bassiolo always uses you
	To keep ale-knights in memory of sobriety.	to address his mistress.
94
	Bass. [Aside] Sh'as a plaguy memory!	= the sense is "damnable" or "vexatious".
96
	Marg. I could have loved him else; nay, I did love him,
98	Though I dissembled it to bring him on,	98: "I was only pretending (dissembling) to be coy with
	And I by this time might have been a duchess;	the duke, in order to encourage him to be more forward."
100	And, now I think on't better, for revenge
	I'll have the Duke, and he shall have thy head	= ie. marry.
102	For thy false wit within it to his love.	= ie. Bassiolo's head.
	Now go and tell my father; pray begone!
104
	Bass. Why, and I will go.
106
	Marg. Go, for God's sake, go! Are you here yet?	= ie. still here.
108
	Bass. Well, now I am resolved. [Going]	= determined; Margaret and Bassiolo are playing a
110		dangerous game here: who will blink first?
	Marg. 'Tis bravely done; farewell! But do you hear, sir?
112	Take this with you, besides: the young Prince keeps
	A certain letter you had writ for me
114	(Endearing, and condoling, and mature)	= possibly an error: the third word Bassiolo had originally
	And if you should deny things, that, I hope,	struggled with was model, though mature also appears in the letter; see Act III.i.787-793.
116	Will stop your impudent mouth: but go your ways,
	If you can answer all this, why, 'tis well.	= answer for, ie. "successfully talk yourself out of".
118
	Bass. Well, lady, if you will assure me here
120	You will refrain to meet with the young Prince,
	I will say nothing.
122
	Marg. Good sir, say your worst,
124	For I will meet him, and that presently.	= ie. "immediately, too."
126	Bass. Then be content, I pray, and leave me out,
	And meet hereafter as you can yourselves.
128
	Marg. No, no, sir, no; 'tis you must fetch him to me,
130	And you shall fetch him, or I'll do your errand.
132	Bass. [Aside] 'Swounds, what a spite is this! I will resolve
	T 'endure the worst; 'tis but my foolish fear
134	The plot will be discovered − O the gods!
	Tis the best sport to play with these young dames; −	135: Bassiolo decides the best course after all is to humour Margaret.
136	I have dissembled, mistress, all this while;
	Have I not made you in a pretty taking?	137: "haven't I gotten you into a nice situation?"
138
	Marg. Oh, 'tis most good! Thus you may play on me;
140	You cannot be content to make me love	140-6: Margaret "criticizes" the usher for his responsibility
	A man I hated till you spake for him	in convincing her to fall in love with Vincentio.
142	With such enchanting speeches as no friend
	Could possibly resist; but you must use
144	Your villanous wit to drive me from my wits;
	A plague of that bewitching tongue of yours,
146	Would I had never heard your scurvy words!	141-6: in criticizing Bassiolo, Margaret actually flatters him
		for his persuasive skill.
148	Bass. Pardon, dear dame, I'll make amends, i'faith!
	Think you that I'll play false with my dear Vince?
150	I swore that sooner Hybla should want bees,	= lack.
	And Italy bona-robas, than I faith;	= prostitutes, courtesans. = loyalty.
152	And so they shall.
	Come, you shall meet, and double meet, in spite
154	Of all your foes, and dukes that dare maintain them.
	A plague of all old doters! I disdain them.	= on. = elderly lovers, but doters also had a sense of "senile old men"; the allusion is of course to the duke.
156
	Marg. Said like a friend; oh, let me comb thy coxcomb.	157: a coxcomb was a fool's head, so the mild insult to
158		Bassiolo is clear; the pun with comb is also obvious. Smith posits that Margaret, sympathetic to the usher, may even be running her fingers through his hair here.
	[Exeunt.]
	END OF ACT IV.

	ACT V.
	SCENE I.
	A Room in the House of Lasso.
	Enter Alphonso, Medice, Lasso, Cortezza above.	= the characters enter the balcony or gallery at the back of,
		and above, the main stage. From here they can spy on the scene between Vincentio and Margaret unfolding before them. Elizabethan drama allowed for characters to spy on each other in this way without being noticed.
1	Cort. Here is the place will do the deed, i'faith!
2	This, Duke, will show thee how youth puts down age,	= defeats.
	Ay, and perhaps how youth does put down youth.	3: we could assign a sophisticated meaning to this line of Cortezza's: for example, "youth, in the sense of immature and irresponsible behavior, will cause its own ruin"; but Smith suggests Cortezza is just being her usual bawdy self, referring to the likelihood that the duke will get to see one youth (Vincentio) lay down (put down) another youth (Margaret) in order to copulate.
4
	Alph. If I shall see my love in any sort	= my love here refers to his emotion, not Margaret.
6	Prevented or abused, th' abuser dies.	= anticipated or preceded.^1
8	Lasso. I hope there is no such intent, my Liege,
	For sad as death should I be to behold it.
10
	Med. You must not be too confident, my lord,	= Medice addresses Lasso.
12	Or in your daughter or in them that guard her.	= either.
	The Prince is politic, and envies his father;	= cunning.
14	And though not for himself, nor any good	14-16: Medice suggests Vincentio is pursuing Margaret only
	Intended to your daughter, yet because	to hurt his father, and not because he loves her.
16	He knows 'twould kill his father, he would seek her.
18	Cort. Whist, whist, they come!	= be quiet!^2
20	Enter Bassiolo, Vincentio, and Margaret.	20ff: the characters on the balcony can see and hear everything that goes on on the main stage, but Bassiolo, Vincentio and Margaret will be ignorant of the presence of the duke's party above them.
22	Bass. Come, meet me boldly, come.	= "meet boldly"; Bassiolo uses the ethical dative.
	And let them come from hunting when they dare.
24
	Vinc. Has the best spirit.	= "he (Bassiolo) has".
26
	Bass. Spirit? What, a plague!	= the sense is "fahgetaboutit!"
28	Shall a man fear capriches? − You forsooth	28: capriches = ie. foolish fancies, whims.^19 you: Bassiolo advises Margaret how to behave. forsooth = truly.
	Must have your love come t'ye, and when he comes
30	Then you grow shamefaced, and he must not touch you:
	But “Fie, my father comes!” and “Foh, my aunt!”
32	Oh, 'tis a witty hearing, is't not, think you?	= ie. "thing to hear";^1 Bassiolo is proud of how clever he is.
34	Vinc. Nay, pray thee, do not mock her, gentle friend.
36	Bass. Nay, you are even as wise a wooer too;	= ie. just as; the line is ironic.
	If she turn from you, you even let her turn,	= ie. should.
38	And say you do not love to force a lady,
	'Tis too much rudeness. Gosh hat! What's a lady?	= Parrott believes this expression is a slurred corruption of something like "God's heart", and indicates that Bassiolo is actually a bit drunk, having imbibed to fortify his courage. There will be further clues to suggest Parrott is correct.
40	Must she not be touched? What, is she copper, think you,	40-41: is she…touchstone = a touchstone was a stone used
	And will not bide the touchstone? Kiss her, Vince,	to test a material for precious metal content; copper, of course, would "fail" such a test.
42	And thou dost love me, kiss her.	= if.
44	Vinc. Lady, now
	I were too simple if I should not offer.	= would be foolish.
46
	[He kisses her.]
48
	Marg. O God, sir, pray away! This man talks idly.	49: pray away = "please get away from me," ie. "stop that!" Margaret is embarrassed that she and Vincentio must continue to humour the ridiculous usher. idly = frivolously, in vain.^1
50
	Bass. How shay by that? Now by that candle there,	= the drunk usher slurs shay for "say". = Bassiolo vows on the nearby light.
52	Were I as Vince is, I would handle you
	In rufty-tufty wise, in your right kind.	= rough and tumble.^3 Bassiolo's bold comments give
54		further evidence of his inebriation.
	Marg. [Aside]
56	Oh, you have made him a sweet beagle, ha' y' not?	56: Margaret again chastises Vincentio for what he has
		caused Bassiolo to become; here, she compares the loquacious and loud usher to the noisy little beagle.^5
58	Vinc. [Aside] 'Tis the most true believer in himself
	Of all that sect of folly; faith's his fault.	= "faith in himself is his sin (fault)"; Vincentio has used a neat religious metaphor here, with believer and sect.
60
	Bass. So, to her, Vince! I give thee leave, my lad.	= permission.
62	“Sweet were the words my mistress spake,	62-63: the Folger Library in Washington D.C. contains a
	When tears fell from her eyes.”	manuscript from 1595 of collected verse and jokes, one
64		of which is: Sweet were the words my mistress said Put off thy clothes and come to bed.^20
	[He lies down by them.]
66
	Thus, as the lion lies before his den,
68	Guarding his whelps, and streaks his careless limbs,	= strokes. = free of care or anxiety.
	And when the panther, fox, or wolf comes near,
70	He never deigns to rise to fright them hence,	= condescends, ie. it is not worth the effort.
	But only puts forth one of his stern paws,
72	And keeps his dear whelps safe, as in a hutch.	= ie. "as if they were in a pen for animals."^1
	So I present his person, and keep mine.	= represent the lion. = "keep my offspring (ie. Vincentio and Margaret) safe."
74	Foxes, go by, I put my terror forth.	74: Bassiolo speaks as if he were the lion who is not interested in the near-by fox: "move on, foxes, before I raise myself to terrify you." The phrase go by, meaning "get away", appeared in the popular play The Spanish Tragedy, written in the 1580's by Thomas Kyd, and became a stock Elizabethan catch-phrase.
76	Cantat	= a song.
	Let all the world say what they can,
78	Her bargain best she makes,
	That hath the wit to choose a man
80	To pay for that he takes.
	Belle piu, etc.	= Parrott suggests this may be the title or refrain of a song.
82
	Iterum cantat.	83: "he sings the same song again."^5
84
	Dispatch, sweet whelps; the bug, the Duke, comes straight:	85: Dispatch = ie. "wrap it up." bug = bugbear, imaginary cause of fear.^2 straight = ie. any minute.
86	Oh, 'tis a grave old lover, that same Duke,
	And chooses minions rarely, if you mark him,	= excellently (sarcastic). = note.
88	The noble Medice, that man, that Bobadilla,	= a reference to the boastful yet cowardly soldier from Ben Jonson's 1598 comedy Every Man in his Humour.
	That foolish knave, that hose and doublet stinkard.	= the basic male Elizabethan outfit: the hose were leg
90		coverings or breeches, and the doublet a close-fitting jacket; note that normally the phrase was written doublet and hose, but are reversed by Chapman here to fit the meter. A man of means or nobility would typically wear a cloak or other outer garment over the ensemble; so in referring to Medice as a hose and doublet stinkard, the inebriated Bassiolo is highlighting the minion's presumed low-birth.
	Med. 'Swounds, my lord, rise, let's endure no more!
92
	Alph. A little, pray, my lord, for I believe	= ie. "let's wait a little longer before revealing ourselves":
94	We shall discover very notable knavery.
96	Lasso. Alas, how I am grieved and shamed in this!
98	Cort. Never care you, lord brother, there's no harm done!
100	Bass. But that sweet creature, my good lord's sister,
	Madam Cortezza, she, the noblest dame
102	That ever any vein of honour bled;	102: "that any noble lineage ever produced".^5
	There were a wife now, for my lord the Duke,	= "now there is a woman who would make a fine wife".
104	Had he the grace to choose her; but indeed,
	To speak her true praise, I must use some study.	105: an ambiguous sentiment: "I need time to figure out how
106		to describe her true worth."
	Cort. Now truly, brother, I did ever think
108	This man the honestest man that e'er you kept.
110	Lasso. So, sister, so; because he praises you.
112	Cort. Nay, sir, but you shall hear him further yet.
114	Bass. Were not her head sometimes a little light,	= light is a loaded word: Bassiolo's primary meaning here is
	And so unapt for matter of much weight,	"frivolous", punning with weight (ie. serious) in the next line; but it could also mean lustful or wanton.
116	She were the fittest and the worthiest dame
	To leap a window and to break her neck	= ie. from a.
118	That ever was.
120	Cort. God's pity, arrant knave!	= absolute.^2
	I ever thought him a dissembling varlet.	= always.
122
	Bass. Well now, my hearts, be wary, for by this	= by now.
124	I fear the Duke is coming; I'll go watch
	And give you warning. I commend me t'ye.
126
	[Exit.]
128
	Vinc. Oh, fine phrase!
130
	Marg. And very timely used.
132
	Vinc. What now, sweet life, shall we resolve upon?	132: "what should we do (about our situation)?"
134	We never shall enjoy each other here.
136	Marg. Direct you, then, my lord, what we shall do,
	For I am at your will, and will endure
138	With you the cruell’st absence from the state	= a hint that they have been considering going into exile.
	We both were born to that can be supposed.
140
	Vinc. That would extremely grieve me; could myself	141-2: could myself / Only endure = "if I were the only one
142	Only endure the ill our hardest fates	forced to endure, etc."
	May lay on both of us, I would not care;
144	But to behold thy sufferance I should die.	= suffering.
146	Marg. How can your lordship wrong my love so much,	146-150: "How can you think so little of me not to realize
	To think the more woe I sustain for you	that the more I suffer on your behalf, the stronger
148	Breeds not the more my comfort? I, alas,	(comfort = strength) I am? Unfortunately, I have no
	Have no mean else to make my merit even	other way to elevate my own claim to excellence so that
150	In any measure with your eminent worth.	it even remotely approaches the same level as your own
		towering worthiness."
152	Enter Bassiolo.
154	Bass. [Aside] Now must I exercise my timorous lovers,
	Like fresh-armed soldiers, with some false alarms,	= newly-armed (ie. raw) recruits.
156	To make them yare and wary of their foe,	= alert, prepared.^1,5
	The boist'rous, bearded Duke: I'll rush upon them
158	With a most hideous cry. − The Duke! the Duke! the Duke!
160	[Vincentio and Margaret run out.]
162	Ha, ha, ha! Wo ho, come again, I say!	= a falconer shouts this to recall his hawk.
	The Duke's not come, i'faith!
164
	[Enter Vincentio and Margaret.]
166
	Vinc. God's precious, man!
168	What did you mean to put us in this fear?
170	Bass. Oh, sir, to make you look about the more:
	Nay, we must teach you more of this, I tell you;
172	What, can you be too safe, sir? What, I say,	= secure.
	Must you be pampered in your vanities?	= "indulged in your profitless behaviour".^1
174	[Aside] Ah, I do domineer, and rule the roast.	= "am completely in charge"; this phrase has been in
		use since as early as 1500; in the 18th century, roast transformed into roost.^1 Interestingly, the later-appearing rule the roost makes intuitive sense, as roost means henhouse; but the original meaning of rule the roast has long been lost to time.^1
176	[Exit.]
178	Marg. Was ever such an ingle? Would to God	178: ingle = a favorite young man or boy (though usually
	(If 'twere not for ourselves) my father saw him.	applied in a sexual sense).^1 178-9: Would to...saw him = "I wish to God my father could see him now, except for the fact that it would compromise us."
180
	Lasso. Minion, you have your prayer, and my curse,	= hussy,^2 meaning Margaret.
182	For your good huswifery.	= housewife-like behaviour, but also meaning "promis-
		cuity";^2 Lasso, still on the balcony, is out of Margaret's earshot.
184	Med. What says your Highness?
	Can you endure these injuries any more?
186
	Alph. No more, no more! Advise me what is best
188	To be the penance of my graceless son.	= immoral or pitiless,^1 but also punning on its religious
		sense of being out of God's favor, with penance.
190	Med. My lord, no mean but death or banishment
	Can be fit penance for him, if you mean
192	T' enjoy the pleasure of your love yourself.
194	Cort. Give him plain death, my lord, and then y' are sure.	194: Cortezza is a bit bold here in encouraging the duke to
		execute his own son.
196	Alph. Death, or his banishment, he shall endure,
	For wreak of that joy's exile I sustain.	= revenge for.^1 = the duke interestingly suggests his own
198	Come, call our guard, and apprehend him straight.	joy is in exile, balancing nicely with his determination to
		possibly exile (banish) his son.
200	[Exeunt Alphonso, Lasso, Medice, and Cortezza.]
202	Vinc. I have some jewèls then, my dearest life,
	Which, with whatever we can get beside,
204	Shall be our means, and we will make escape.	= means of survival.
206	Enter Bassiolo running.
208	Bass. 'Sblood, the Duke and all come now in earnest.
	The Duke, by Heaven, the Duke!
210
	Vinc. Nay, then, i' faith,
212	Your jest is too too stale.
214	Bass. God's precious!
	By these ten bones, and by this hat and heart,	215: Bassiolo's affirming the truth of his report on his fingers
216	The Duke and all comes! See, we are cast away.	(ten bones), hat and heart reveals his high level of alarm!
218	[Exeunt Bassiolo and Vincentio.]
220	Enter Alphonso, Medice, Lasso, Cortezza, and Julio.
222	Alph. Lay hands upon them all; pursue, pursue!
224	Lasso. Stay, thou ungracious girl!
226	Alph. Lord Medice,
	Lead you our guard, and see you apprehend
228	The treacherous boy, nor let him scape with life,	= the play's remaining twists of plot turn on the duke's
	Unless he yield to his eternal exile.	instruction here to Medice to kill Vincentio if need be.
230
	Med. 'Tis princely said, my lord.
232
	[Exit.]
234
	Lasso. And take my usher.	235: "and capture my usher while you are at it."
236
	Marg. Let me go into exile with my lord;
238	I will not live, if I be left behind.
240	Lasso. Impudent damsel, wouldst thou follow him?
242	Marg. He is my husband, whom else should I follow?	242, 248: note how Margaret's responses repeat words from
		the questions posed to her; this technique has the effect of intensifying the connection between the single lines of dialogue.
244	Lasso. Wretch, thou speakest treason to my lord the Duke.
246	Alph. Yet love me, lady, and I pardon all.
248	Marg. I have a husband, and must love none else.
250	Alph. Despiteful dame, I'll disinherit him,	= malicious.^2 Note also the marked alliteration in this line.
	And thy good father here shall cast off thee,
252	And both shall feed on air, or starve, and die.
254	Marg. If this be justice, let it be our dooms:	= judgments.
	If free and spotless love in equal years,	= free of stain or sin. = a biting comment on how the duke is much too old for her.
256	With honours unimpaired, deserve such ends,	= the subject of deserve is love; note the lack of grammatical agreement.
	Let us approve what justice is in friends.	257: "we will show you (approve = demonstrate) what justice is between lovers (friends)."
258
	Lasso. You shall, I swear. − Sister, take you her close	= "take her and keep her shut up, etc."
260	Into your chamber; lock her fast alone,
	And let her stir, nor speak with any one.
262
	Cort. She shall not, brother. − Come, niece, come with me.
264
	Marg. Heaven save my love, and I will suffer gladly.	= ie. Vincentio.
266
	[Exeunt Cortezza and Margaret.]
268
	Alph. Haste, Julio, follow thou my son's pursuit,	= Julio, a noble member of the court, makes his first appearance of the play here in Act V.
270	And will Lord Medice not to hurt nor touch him,	= command.
	But either banish him or bring him back;
272	Charge him to use no violence to his life.	272: the duke hopes to recall his instructions to Medice to
		kill Vincentio if necessary.
274	Jul. I will, my lord.
276	[Exit Julio.]
278	Alph. Oh, Nature, how, alas,
	Art thou and Reason, thy true guide, opposed!
280	More bane thou tak'st to guide sense, led amiss,
	Than, being guided, Reason gives thee bliss.	278-281: very difficult lines: the duke describes how a person's visceral emotions (personified Nature, whom he is specifically addressing) and logic (Reason) create contradictory impulses. When Nature guides one's mind or judgment (sense), it leads to ruin (bane), but if Reason leads, the result is bliss. Alphonso may be describing the struggle within himself regarding how to deal with his recalcitrant son - if he follows his own instinct to banish the boy, it will lead to unhappiness for all; but Smith argues that the duke is commenting on Vincentio's lack of rational thinking, in failing to follow Alphonso's reasoned guidance, and, in chasing his own desires instead, the prince has brought disaster on them both. 279: Reason is described as Nature's true guide, because the rational mind properly acts to control one's instinctive behavior and desires.
282
	[Exeunt.]
	ACT V, SCENE II.
	A Room in the House of Strozza.
	Enter Cynanche, Benevemus, Ancilla,	= Ancilla is simply Latin for maid, but she may have been a character who at some point edited out.
	Strozza having the arrow head in his hand.	= holding.
1	Stroz. Now, see, good Doctor, 'twas no frantic fancy	= insane.^2
2	That made my tongue presage this head should fall	= predict. = ie. arrowhead.
	Out of my wounded side the seventh day;
4	But an inspired rapture of my mind,
	Submitted and conjoined in patiënce	= combined with.
6	To my Creator, in whom I foresaw
	(Like to an angel) this divine event.	= ie. like.
8
	Ben. So is it plain, and happily approved
10	In a right Christian precedent, confirming	= example.
	What a most sacred med'cine patience is,
12	That with the high thirst of our souls' clear fire,
	Exhausts corporeal humour and all pain,
14	Casting our flesh off, while we it retain.	11-14: in these complex lines, Benevemus, like Cynanche earlier, expounds on the positive results when one focuses on the health of one's soul instead of one's body; the sense may be something like, "patience, combined with the desires of guiltless (clear) souls, draws out or drains (exhausts) bodily sickness (humour) and pain, thus metaphorically casting off our flesh, even as we hang on to it in a literal sense." As Smith notes, the doctor's philosophy borrows directly from Christian theology, which sees the body and soul as distinct from each other.^21 Ancient philosophy further saw the soul as a fire which nourished and gave life to the body.^22 Humour is a complex word: among its other meanings, humours referred to the four fluids of the body (blood, phlegm, choler and black bile) that determined one's health, depending on whether those humours were present in the right proportions or not.
16	Cyn. Make some religious vow then, my dear lord,
	And keep it in the proper memory
18	Of so celestiäl and free a grace.	= freely bestowed divine favour.^1,5
20	Stroz. Sweet wife, thou restest my good angel still,	= remain.
	Suggesting by all means these ghostly counsels.	= spiritual.
22	Thou weariest not thy husband's patient ears	22-26: Strozza, in praising Cynanche, lists the kinds of trivial desires she does not urge on her husband, as most wives do.
	With motions for new fashions in attire,	= suggestions.
24	For change of jewèls, pastimes, and nice cates,	= delicacies.
	Nor studiest eminence and the higher place	25: she does not seek (study) advancement of her social status.
26	Amongst thy consorts, like all other dames;	= companions. ^1 = wives of nobles.^1
	But knowing more worthy objects appertain
28	To every woman that desires t' enjoy
	A blessed life in marriage, thou contemn'st	= scorns.
30	Those common pleasures, and pursu'st the rare,	= vulgar. = exquisite.^2
	Using thy husband in those virtuous gifts	= familiarizing or treating.^1 = with.
32	For which thou first didst choose him, and thereby
	Cloy'st not with him, but lov'st him endlessly.	= cloy normally means "to become satiated with", so the sense of the clause seems to be "grow full with her husband", ie. jaded with or tired of him.
34	In reverence of thy motion, then, and zeal	= proposal. = spiritual devotion.
	To that most sovereign power that was my cure,
36	I make a vow to go on foot to Rome,
	And offer humbly in Saint Peter's Temple	= at the time of our play (1606), the construction of St. Peter's Basilica, begun in 1506, was not to be finished for another decade.
38	This fatal arrow-head: which work let none judge	= "let no man judge this pilgrimage to be, etc."
	A superstitious rite, but a right use,
40	Proper to this peculiar instrument,	40: "appropriate for this particular means or agent", meaning the arrowhead.
	Which, visibly resigned to memory,	= "displayed as a visible reminder or memorial in the church" (Parrott) or "once seen, its meaning will be committed to one's memory" (Smith).
42	Through every eye that sees will stir the soul
	To gratitude and progress, in the use
44	Of my tried patience, which, in my powers ending,	= tested. = ie. "should I die without having the arrowhead set out for the public to see".
	Would shut th' example out of future lives.	41-45: the sense of these dense lines is, "the arrowhead will serve as a memorial to, and an example of, the benefits of patience, which, when people will recall the image of it after having seen it, will cause in them a feeling of gratitude, so long as it remains visible at the church; otherwise, when I die, the example of my behavior will disappear with me."^3 Smith notes that this process of consigning an image to memory which, when recalled, leads to an emotional response, is "orthodox Renaissance psychophysics" (p. 107).
46	No act is superstitious that applies	= ascribes.
	All power to God, devoting hearts through eyes.
48
	Ben. Spoke with the true tongue of a nobleman:
50	But now are all these excitations toys,	= trivialities.
	And Honour fats his brain with other joys.	= healthily feeds. = ie. its.
52	I know your true friend, Prince Vincentio,
	Will triumph in this excellent effect
54	Of your late prophecy.
56	Stroz. Oh, my dear friend's name
	Presents my thoughts with a most mortal danger
58	To his right innocent life: a monstrous fact	= crime or deed.^1
	Is now effected on him.
60
	Cyn. Where, or how?
62
	Stroz. I do not well those circumstances know,
64	But am assured the substance is too true. −	= ie. basic idea.
	Come, reverend Doctor, let us harken out	= seek out.^1
66	Where the young Prince remains, and bear with you
	Med'cines, t' allay his danger: if by wounds,	= "if his life is in danger due to wounds received, etc."
68	Bear precious balsam, or some sovereign juice;	= carry, ie. bring. = effective (usually used referring to remedies).^1
	If by fell poison, some choice antidote;	= terrible or villainous.^1
70	If by black witchcraft, our good spirits and prayers
	Shall exorcise the devilish wrath of hell
72	Out of his princely bosom.
74	Enter Poggio running.
76	Pog. Where, where, where?
	Where's my lord uncle, my lord my uncle?
78
	Stroz. Here's the ill-tidings bringer; what news now
80	With thy unhappy presence?
82	Pog. Oh, my lord, my lord Vincentio,
	Is almost killed by my lord Medice.
84
	Stroz. See, Doctor, see, if my presage be true!	= prediction.
86	And well I know if he have hurt the Prince,
	'Tis treacherously done, or with much help.
88
	Pog. Nay, sure he had no help, but all the Duke's	89f: Poggio's relation of events is as full of hilarious
90	guard; and they set upon him indeed; and after he had	self-contradictions as ever.
	defended himself − d'ye see? − he drew, and having as
92	good as wounded the lord Medice almost, he strake at	= struck.
	him, and missed him − d'ye mark?
94
	Stroz. What tale is here? Where is this mischief done?
96
	Pog. At Monkswell, my lord; I'll guide you to him	= according to John Stow's 1598 Survey of London, a
98	presently.	street called Monkswell, named after a well at that
		location which served a local hermitage, was near Cripplegate; in Stow's time, a dozen alms-houses lined Monkswell. Note that Poggio has forgotten that the play takes place in Italy; such lapses were common in the drama of the time. presently (line 98) means "immediately".
100	Stroz. I doubt it not; fools are best guides to ill,
	And mischief's ready way lies open still.	= always.
102	Lead, sir, I pray.
104	[Exeunt.]
	ACT V, SCENE III.
	Cortezza's Chamber.
	Enter Cortezza and Margaret above.	= Margaret's appearance on the balcony is meant to convey
		a sense of her confinement in Lasso's tower.
1	Cort. Quiet yourself, niece; though your love be slain,
2	You have another that's worth two of him.
4	Marg. It is not possible; it cannot be
	That Heaven should suffer such impiety.
6
	Cort. 'Tis true, I swear, niece.
8
	Marg. Oh, most unjust truth!
10	I'll cast myself down headlong from this tower,
	And force an instant passage for my soul
12	To seek the wand'ring spirit of my lord.	= ie. soul of the deceased Vincentio.
14	Cort. Will you do so, niece? That I hope you will not;	14ff: note that Cortezza's long-winded advice to Margaret is not always helpful, usually self-contradictory, and always funny.
	And yet there was a maid in Saint Mark's street	= no such street appears in any of the contemporary published surveys of London; several, including Stow's book mentioned above, describe a Mart Street, which the author notes had over time been corrupted to Mark Street. Other plays of the era, such as Francis Beaumont's The Woman Hater, also mention Saint Marks Street. Edward Sugden's 1925 A Topographical Dictionary to the Works of Shakespeare and His Fellow Dramatists suggests the playwrights might be referring to the Piazza San Marco in Venice.^23
16	For such a matter did so, and her clothes	16-17: her clothes…no harm = the maid's petticoat or skirt,
	Flew up about her so as she had no harm;	acting as a parachute, saved her from injury.
18	And, grace of God, your clothes may fly up too,
	And save you harmless, for your cause and hers	19-20: your cause…can be = "you and the maid both suffer
20	Are e'en as like as can be.	for the same reason."
22	Marg. I would not scape;	= escape (from death).
	And certainly I think the death is easy.
24
	Cort. Oh, 'tis the easiest death that ever was;
26	Look, niece, it is so far hence to the ground
	You should be quite dead long before you felt it.
28	Yet do not leap, niece.
30	Marg. I will kill myself
	With running on some sword, or drink strong poison;
32	Which death is easiest I would fain endure.	= gladly.
34	Cort. Sure Cleopatra was of the same mind,	34-35: Plutarch, in his Lives, wrote that Cleopatra collected
	And did so; she was honoured ever since:	and tested the effects of various poisons on condemned
36	Yet do not you so, niece.	prisoners.
38	Marg. Wretch that I am, my heart is soft and faint,
	And trembles at the very thought of death,
40	Though thoughts tenfold more grievous do torment it:
	I'll feel death by degrees, and first deform
42	This my accursèd face with ugly wounds;
	That was the first cause of my dear love's death.	= her face was the first cause of Vincentio's death, in that it was his falling in love with it that set off the chain of events leading to his supposed slaughter. First Cause is also a philosophical phrase, referring impersonally to the creator of the universe.
44
	Cort. That were a cruèl deed; yet Adelasia,	45-49: the correct title of the cited work is A Petite Pallace
46	In Pettie's Palace of Petit Pleasure,	of Pettie His Pleasure, written by the English romance writer
	For all the world, with such a knife as this	George Pettie (1548-1589) and published in 1576. Pettie's
48	Cut off her cheeks and nose, and was commended	book, a collection of romance stories, was written in a vein
	More than all dames that kept their faces whole.	deliberately similar to that of William Painter's The Palace of Pleasure, a collection of about 100 stories translated from Latin, French, Greek and Italian, published in 1566-7.^4 Chapman's memory of the story is faulty: it was not Adelasia, but Florinda who harmed her own face, and she did it by striking herself with a stone, not a knife; and finally, it was Painter in his book who related this story, not Pettie. Parrott suggests Chapman seems to have written these lines based on only a vague memory of the story. (Thanks to Chapman editor Thomas Parrott for all his leg work on this reference). As a side note, Painter's Palace was hugely influential in the Elizabethan era; many of the plays of the time were inspired directly or indirectly by his collection, including Shakespeare's All Well That Ends Well and Romeo and Juliet. Pettie's book apparently also greatly influenced dramatist John Lyly, whose controversial style of writing known as Euphuism was directly inspired by Pettie.^4
50
	[Margaret seizes the knife and offers to cut her face.]	= attempts.
52
	Oh, do not cut it.
54
	Marg. Fie on my faint heart!	= curse, beshrew.
56	It will not give my hand the wishèd strength;
	Behold the just plague of a sensual life,	57-59: though her Reason tells her to kill herself, her innate
58	That to preserve itself in Reason's spite,	will to live prevents her from doing so, thus keeping her
	And shun Death's horror, feels it ten times more.	physical senses (sensual life) intact, which ironically cause suffering worse than death.
60	Unworthy women! Why do men adore
	Our fading beauties, when, their worthiest lives
62	Being lost for us, we dare not die for them? −
	Hence, hapless ornaments that adorned this head,	63-66: in figuring out how to disfigure herself, Margaret
64	Disorder ever these enticing curls,	begins by tearing out any accessories she has in her
	And leave my beauty like a wilderness	hair, and then messes up her hair.
66	That never man's eye more may dare t' invade.	Hence (line 64) = "Away!"
		hapless = unlucky.
68	Cort. I'll tell you, niece − and yet I will not tell you
	A thing that I desire to have you do −
70	But I will tell you only what you might do,
	Cause I would pleasure you in all I could.
72	I have an ointment here, which we dames use
	To take off hair when it does grow too low
74	Upon our foreheads, and that, for a need,
	If you should rub it hard upon your face
76	Would blister it, and make it look most vildly.	= ie. vilely; vild and vile were used interchangeably.
78	Marg. Oh, give me that, aunt!
80	Cort. Give it you, virgin? That were well indeed;
	Shall I be thought to tempt you to such matters?
82
	Marg. None (of my faith) shall know it; gentle aunt,	= no one else. = "I promise".
84	Bestow it on me, and I'll ever love you.
86	Cort. God's pity, but you shall not spoil your face!
88	Marg. I will not, then, indeed.
90	Cort. Why, then, niece, take it;
	But you shall swear you will not.
92
	Marg. No, I swear!
94
	[She seizes the box and rubs her face
96	with the ointment.]
98	Cort. What, do you force it from me? God's my dear!
	Will you misuse your face so? What, all over?	= mistreat.
100	Nay, if you be so desp'rate, I'll be gone.
102	[Exit.]
104	Marg. Fade, hapless beauty; turn the ugliest face
	That ever Æthiop or affrightful fiend	= Elizabethan term for a black person; generally in this era, the darker one's skin, the less attractive one was considered to be.
106	Showed in th' amazèd eye of profaned light;
	See, precious love, if thou be yet in air,	107: precious love = Margaret apostrophizes to the (presumed) dead Vincentio. yet in air = ie. his soul not yet arrived to Heaven.
108	And canst break darkness and the strongest towers	108: "and your soul, or conscious self, can penetrate darkness and towers like the one I am being kept in".
	With thy dissolvèd intellectual powers,
110	See a worse torment suffered for thy death	= in recompense for
	Than if it had extended his black force	= ie. personified Death.
112	In sevenfold horror to my hated life. −
	Smart, precious ointment, smart, and to my brain	= "hurt!", ie. "cause me pain!", an imperative.
114	Sweat thy envenomed fury; make my eyes
	Burn with thy sulphur like the lakes of hell,	= material known to burn easily.
116	That fear of me may shiver him to dust	= break into many pieces. = ie. the duke.
	That eat his own child with the jaws of lust.	= perhaps comparing the duke to the Greek god Cronos:
118		see the note at line 76 in Scene iv below.
	[Exit.]
	ACT V, SCENE IV.
	A Room in Lasso's House.
	Enter Alphonso, Lasso, and others.
1	Alph. I wonder how far they pursued my son
2	That no return of him or them appears;
	I fear some hapless accident is chanced	= unfortunate. = has occurred.
4	That makes the news so loath to pierce mine ears.
6	Lasso. High Heaven vouchsafe no such effect succeed	6-7: "God grant (vouchsafe) that no such results (effects)
	Those wretched causes that from my house flow,	come after (succeed) the causes that began in my home".
8	But that in harmless love all acts may end.
10	Enter Cortezza.
12	Cort. What shall I do? Alas, I cannot rule	= control, manage.
	My desperate niece; all her sweet face is spoiled,
14	And I dare keep her prisoner no more:
	See, see, she comes frantíc and all undressed.	= unkempt; Margaret no longer cares about her appearance.
16
	Enter Margaret.
18
	Marg. Tyrant, behold how thou hast used thy love!	19f: indignant, Margaret uses the contemptuous "thee" in
20	See, thief to nature, thou hast killed and robbed,	addressing the duke.
	Killed what myself killed, robbed what makes thee poor.
22	Beauty (a lover's treasure) thou hast lost,
	Where none can find it; all a poor maid's dower	= the only dowry a poor maid brings with her is her looks.
24	Thou hast forced from me; all my joy and hope.
	No man will love me more; all dames excel me.	= ie. in looks.
26	This ugly thing is now no more a face,
	Nor any vile form in all earth resembled,	27: "nor does it resemble any vile thing on earth".
28	But thy foul tyranny; for which all the pains
	Two faithful lovers feel, that thus are parted,
30	All joys they might have felt, turn all to pains;
	All a young virgin thinks she does endure	= maiden.
32	To lose her love and beauty, on thy heart
	Be heaped and pressed down till thy soul depart.	33: Margaret wishes that the duke's heart be crushed by the
34		trio of ideas described in 28-32: (1) the pain two parted lovers feel; (2) the pain caused by never getting to experience the joys they might have had; and (3) the despair experienced by a woman when her looks are gone.
	Enter Julio.
36
	Jul. Haste, Liege, your son is dangerously hurt!
38	Lord Medice, contemning your command,	= scorning. = ie. not to injure or kill Vincentio.
	By me delivered as your Highness willed,
40	Set on him with your guard, who strook him down;
	And then the coward lord with mortal wounds
42	And slavish insolency plowed up his soft breast;
	Which barbarous fact, in part, is laid on you,	43-44: Which barbarous…enjoining it = wow! Julio quite daringly heaps blame directly on the duke for having irresponsibly given Medice license to slay Vincentio in the first place! fact = deed or crime.
44	For first enjoining it, and foul exclaims	44: and foul exclaims…breathe = "the people, in pity for Vincentio, are crying out angrily, etc."
	In pity of your son your subjects breathe
46	Gainst your unnatural fury; amongst whom	= abnormal, acting against one's natural feelings of kinship.
	The good lord Strozza desperàtely raves,
48	And vengeance for his friend's injustice craves.
	See where he comes, burning in zeal of friendship.
50
	Enter Strozza, Vincentio brought in a chair,	= litter.
52	Benevemus, Poggio, Cynanche, with a guard,
	and Medice.
54
	Stroz. Where is the tyrant? Let me strike his eyes
56	Into his brain with horror of an object. −
	See, pagan Nero, see how thou hast ripped	57-61: a common Elizabethan sentiment was that a person
58	Thy better bosom, rooted up that flower	lives on through his or her descendents. Nero only killed
	From whence thy now spent life should spring anew,	his mother, but the duke has done a worse thing, because
60	And in him killed (that would have bred thee fresh)	by killing his son he has also killed his own parents, who
	Thy mother and thy father.	will no longer live through their descendent.^3
62
	Vinc. Good friend, cease!
64
	Stroz. What hag with child of monster would have nursed	= ie. by a; the monster is the father.
66	Such a prodigious longing? But a father	= monstrous.^2 66-69: But a father…entrails = the sense is, "a real father would rather eat his own flesh than allow his lustful desires to be satisfied by means of his own child's death."
	Would rather eat the brawn out of his arms	= flesh.^2
68	Than glut the mad worm of his wild desires	= worm was commonly used to describe a "maggot" of
	With his dear issue's entrails.	the brain, an entity that causes a fit of madness or
70		unnatural desires;^1 but Chapman's worm, metaphorically representing the duke's lust, also characterizes a maggot that eats the flesh (entrails) of the dead.^1 issue's = offspring's.
	Vinc. Honoured friend,
72	He is my father, and he is my prince,	= ie. king.
	In both whose rights he may command my life.
74
	Stroz. What is a father? Turn his entrails gulfs	= "one who turns his entrails into whirlpools (gulfs)".^1
76	To swallow children when they have begot them?	76: there is an allusion here to the story of Zeus's birth: Zeus' father, Cronos, was the king of the Gods; a prophecy told him one of his children would depose him, so he took to swallowing his children as soon as they were born. However, when Zeus was born, Cronos' wife Rhea gave him a stone wrapped in cloth to swallow, which he believed to be his child. Meanwhile, Zeus was hidden and raised secretly, and he did indeed return to depose his father.^8
	And what's a prince? Had all been virtuous men,	77-79: "and what is a king? If all men were virtuous, there
78	There never had been prince upon the earth,	would be no need for kings or subjects, for all men
	And so no subject; all men had been princes:	would be kings."
80	A virtuous man is subject to no prince,
	But to his soul and honour; which are laws
82	That carry fire and sword within themselves,
	Never corrupted, never out of rule;	= in disorder.^1
84	What is there in a prince that his least lusts	84-87: "why should the slightest needs or desires of a king
	Are valued at the lives of other men,	be worth more than the lives of his subjects? Instead,
86	When common faults in him should prodigies be,	such faults, which when possessed by others are
	And his gross dotage rather loathed than soothed?	considered ordinary, should be looked on as monstro-
88		sities (prodigies) in a king, and his coarse or vulgar desires (gross dotage) should be despised instead of overlooked or assented to (soothed)."^1
	Alph. How thick and heavily my plagues descend,
90	Not giving my mazed powers a time to speak!	= stunned.
	Pour more rebuke upon me, worthy lord,
92	For I have guilt and patience for them all: −
	Yet know, dear son, I did forbid thy harm;
94	This gentleman can witness, whom I sent	= indicating Julio.
	With all command of haste to interdict	= forbid.^1
96	This forward man in mischief not to touch thee: −	= "this man (ie. Medice) who was eager (forward) to do mischief, etc."
	Did I not, Julio? Utter nought but truth.	= nothing.
98
	Jul. All your guard heard, my lord, I gave your charge	= command.
100	With loud and violent iteratiöns,
	After all which Lord Medice cowardly hurt him.
102
	The Guard. He did, my princely lord.
104
	Alph. Believe then, son,
106	And know me pierced as deeply with thy wounds: −
	And pardon, virtuous lady, that have lost
108	The dearest treasure proper to your sex,	108: ie. a woman's good looks.
	Ay me, it seems by my unhappy means!	= "due to my ill-fated agency," ie. "it is my fault."
110	Oh, would to God, I could with present cure
	Of these unnatural wounds, and moaning right	111: these unnatural wounds = Vincentio's wounds are unnatural in that they were brought on by his own father. moaning right = referring to Margaret's justifiable lamentations.^5
112	Of this abusèd beauty, join you both
	(As last I left you) in eternal nuptials.
114
	Vinc. My lord, I know the malice of this man,	115-6: ie. "my lord, I know that what was done to us was caused by the malice of Medice (this man), and not from any unnatural ill-feeling of your own."
116	Not your unkind consent, hath used us thus.	= referring to feelings that are not normal between parent
	And since I make no doubt I shall survive	and child.
118	These fatal dangers, and your Grace is pleased
	To give free course to my unwounded love,	= in contrast to his wounded body.
120	'Tis not this outward beauty's ruthful loss	= pitiful; in 120-1, Vincentio notes that Margaret's mutila- tion cannot cause him to change his mind about her.
	Can any thought discourage my desires: −
122	And therefore, dear life, do not wrong me so	= Vincentio now addresses Margaret.
	To think my love the shadow of your beauty;	= "the image of", ie. dependent on: his love is not lessened because her beauty is (Smith, p. 117).
124	I woo your virtues, which as I am sure
	No accident can alter or impair,
126	So, be you certain, nought can change my love.	= nothing.
128	Marg. I know your honourable mind, my lord,
	And will not do it that unworthy wrong,	129-131: "I will not wrong you by requiring you to expend
130	To let it spend her forces in contending	energy striving (going against what you see) to love me in this deformed condition;" it in line 130 refers to Vincentio's love.
	(Spite of your sense) to love me thus deformed;
132	Love must have outward objects to delight him,	= it, ie. personified Love.
	Else his content will be too grave and sour.
134	It is enough for me, my lord, you love,
	And that my beauty's sacrifice redeemed	135-6: my beauty's…slaughter = Margaret is satisfied knowing that her face's ruin in a sense ransomed and saved Vincentio's life.
136	My sad fear of your slaughter. You first loved me
	Closely for beauty; which being withered thus,	= "secretly for my beauty."
138	Your love must fade: when the most needful rights	138-142: when the…again = Margaret's point is that they
	Of Fate and Nature have dissolved your life,	can be together again in death, when appearances no
140	And that your love must needs be all in soul,	longer matter.
	Then will we meet again; and then, dear love,
142	Love me again; for then will beauty be
	Of no respect with love's eternity.	= of no matter, ie. will no longer be an issue.
144
	Vinc. Nor is it now; I wooed your beauty first
146	But as a lover; now as a dear husband,
	That title and your virtues bind me ever.
148
	Marg. Alas, that title is of little force	149: "unfortunately, the title of "husband" by itself has little power, etc."
150	To stir up men's affections! When wives want	= lack.
	Outward excitements, husbands' loves grow scant.	= exterior stimulations for passion, ie. good looks.^1
152
	Ben. Assist me, Heaven and Art! − Give me your mask; −	153: Art = human or medical skill. Give me your mask = Smith assumes this line is addressed to Heaven and Art, and that the doctor takes a mask out of his medical kit. Parrott suggests the Benevemus has asked one of the ladies present to give him her mask; Elizabethan women often wore masks outside to protect their faces from the elements.
154	Open, thou little store-house of great Nature,	154: now the doctor addresses his medical bag, and removes from it a potion he hopes will cure Margaret's disfigurement.
	Use an elixir drawn through seven years' fire,	= extracted or distilled.^1
156	That like Medea's cauldron can repair	= in a story related by Ovid in his Metamorphoses, Medea the sorceress (and wife of Jason the Argonaut) restored the youth of Aeson, Jason's aged father.
	The ugliest loss of living temp'rature;	= temperature refers to the mixture of the four humours in the body that determine the state of one's health^1 (see the note at Act V.ii.11); the doctor's wish is to find a remedy that can fix even the worst derangement (ugliest loss) of one's constitution.^3
158	And for this princely pair of virtuous turtles	= turtledoves.
	Be lavish of thy precious influence. −
160	Lady, t' atone your honourable strife,	= to appease.^2
	And take all let from your love's tender eyes,	= obstacles.^2 = ie. Vincentio's loving or affectionate eyes.
162	Let me for ever hide this stain of beauty
	With this recureful mask.	= ie. capable of curing.
164
	[Putting a mask on Margaret's face.]
166
	Here be it fixed
168	With painless operation; of itself,
	(Your beauty having brooked three days' eclipse)	= put up with. = ie. covering, or deprivation of light;^1 Margaret must wear the mask continuously for three days.
170	Like a dissolvèd cloud it shall fall off,	170-1: in this meteorological metaphor, the doctor suggests Margaret's regained beauty will be like the sun shining forth after a covering cloud disappears (dissolves).
	And your fair looks regain their freshest rays;
172	So shall your princely friend (if Heaven consent)	172-3: Vincentio will also be cured, but it will take twice
	In twice your suffered date renew recure;	as long (six days); friend (line 172) = lover.
174	Let me then have the honour to conjoin
	Your hands, conformèd to your constant hearts.	= faithful, loyal.
176
	Alph. Grave Benevemus, honourable Doctor,	= respected.^1
178	On whose most sovereign Æsculapian hand	= Aesculapius was the Greek god of healing.^8
	Fame with her richest miracles attends,
180	Be fortunate, as ever heretofore,
	That we may quite thee both with gold and honour,	= requite, repay.
182	And by thy happy means have power to make
	My son and his much injured love amends;
184	Whose well-proportioned choice we now applaud,	= well-conceived or laid-out.^1
	And bless all those that ever furthered it. −
186	Where is your discreet usher, my good lord,	186-7: having blessed the union of the prince and Margaret,
	The special furtherer of this equal match?	Alphonso even feels warm regard for Bassiolo, the man
188		who surreptitiously, if unwittingly, assisted in their scheme.
	Jul. Brought after by a couple of your guard.
190
	Alph. Let him be fetched, that we may do him grace.	= "honour him."
192
	Pog. I'll fetch him, my lord; away, you must not go. Oh,
194	here he comes. [Enter Bassiolo guarded.] Oh, Master
	Usher, I am sorry for you; you must presently be
196	chopped in pieces.
198	Bass. Woe to that wicked Prince that e'er I saw him!
200	Pog. Come, come, I gull you, Master Usher; you are	= "I am fooling with you".
	like to be the Duke's minion, man; d'ye think I would	= likely to become. = favourite.
202	have been seen in your company and you had been out	= if.
	of favour? − Here's my friend Master Usher, my lord.
204
	Alph. Give me your hand, friend; pardon us, I pray.	= Alphonso honors Bassiolo not only by shaking his hand,
206	We much have wronged your worth, as one that knew	but by addressing the servant with the respectful "you".
	The fitness of this match above ourselves.	= "more than I did."
208
	Bass. Sir, I did all things for the best, I swear,
210	And you must think I would not have been gulled;
	I know what's fit, sir, as I hope you know now. −
212	Sweet Vince, how far'st thou? Be of honoured cheer.
214	Lasso. Vince, does he call him? Oh, fool, dost thou call
	The Prince Vince, like his equal?	= "as if you were".
216
	Bass. Oh, my lord, alas!
218	You know not what has passed twixt us two. −	= between.
	Here in thy bosom I will lie, sweet Vince,
220	And die if thou die, I protest by Heaven.	= swear.
222	Lasso. I know not what this means.
224	Alph. Nor I, my lord;
	But sure he saw the fitness of the match
226	With freer and more noble eyes than we.	= as sovereign, Alphonso uses the "royal we", meaning "I".
228	Pog. Why, I saw that as well as he, my lord. I knew
	'twas a foolish match betwixt you two; did not you think
230	so, my lord Vincentio? Lord uncle, did not I say at first
	of the Duke: “Will his antiquity never leave his
232	iniquity?”
234	Stroz. Go to, too much of this; but ask this lord	= "please get out of here!" = ie. Medice.
	If he did like it.
236
	Pog. Who, my lord Medice?
238
	Stroz. Lord Stinkard, man, his name is. Ask him: “Lord
240	Stinkard, did you like the match?” Say.
242	Pog. My lord Stinkard, did you like the match betwixt
	the Duke and my lady Margaret?
244
	Med. Presumptuous sycophant, I will have thy life!	245: the incensed Medice presumably is addressing his
246		long-time nemesis Strozza. The OED cites this line as an example of sycophant's meaning of "imposter" or "deceiver", but sycophant could also mean "slanderer", which may make more sense here.
	[Draws.]
248
	Alph. Unworthy lord, put up: thirst'st thou more blood?	= ie. "put away your sword."
250	Thy life is fittest to be called in question
	For thy most murth'rous cowardice on my son;	= murderous.
252	Thy forwardness to every cruèlty	= over-eagerness or boldness.^1
	Calls thy pretended noblesse in suspect.	253: the duke suggests that a true nobleman would be less prone to violent cruelty than Medice has been.
254
	Stroz. Noblesse, my lord? Set by your princely favour,	= the phrase set by was commonly used to mean "put aside", so that the lines 255-6 could be interpreted as an imperative: "set aside (set by) your viewing Medice with favour"; but insofar as line 256 ends with a comma, Smith's reading of Set by as "except for" may be preferable.
256	That gave the lustre to his painted state,	= counterfeited, but also punning with lustre on the
	Who ever viewed him but with deep contempt,	normal meaning of painted.
258	As reading vileness in his very looks?
	And if he prove not son of some base drudge,	= menial servant.
260	Trimmed up by Fortune, being disposed to jest	260-1: Trimmed up...state = Strozza suggests that
	And dally with your state, then that good angel	Fortune, a notoriously fickle god, has, with its usual perverse sense of humour, bestowed success and prosperity on the undeserving Medice.
262	That by divine relation spake in me,
	Foretelling these foul dangers to your son,
264	And without notice brought this reverend man	= ie. the doctor, Benevemus.
	To rescue him from death, now fails my tongue,
266	And I'll confess I do him open wrong.
268	Med. And so thou dost; and I return all note
	Of infamy or baseness on thy throat:	= down.
270	Damn me, my lord, if I be not a lord.
272	Stroz. My Liege, with all desert even now you said	= deserving.
	His life was daily forfeit for the death
274	Which in these barbarous wounds he sought your son;
	Vouchsafe me then his life, in my friend's right,	= "grant me the right to dispose of his life as I see fit".
276	For many ways I know he merits death;
	Which (if you grant) will instantly appear,
278	And that, I feel, with some rare miracle.	= exceptional.
280	Alph. His life is thine, Lord Strozza; give him death.
282	Med. What, my lord,
	Will your Grace cast away an innocent life?
284
	Stroz. Villain, thou liest; thou guilty art of death
286	A hundred ways, which now I'll execute.
288	Med. Recall your word, my lord.	= take back.
290	Alph. Not for the world!
292	Stroz. Oh, my dear Liege, but that my spirit prophetic	292-6: but that…penitence = "except for the fact my sixth
	Hath inward feeling of such sins in him	sense tells me that Medice is guilty of such sins as
294	As ask the forfeit of his life and soul,	deserve death and damnation, I would give him time to
	I would, before I took his life, give leave	confess before I kill him." Strozza prefers Medice not
296	To his confession and his penitence:	be given an opportunity to save his soul from eternal damnation by confessing and doing penance. leave (line 295) = permission.
	Oh, he would tell you most notorious wonders
298	Of his most impious state; but life and soul
	Must suffer for it in him, and my hand
300	Forbidden is from Heaven to let him live
	Till by confession he may have forgiveness.
302	Die therefore, monster!
304	Vinc. Oh, be not so uncharitable, sweet friend,
	Let him confess his sins, and ask Heaven pardon.
306
	Stroz. He must not, princely friend; it is Heaven's justice	307-8: Strozza's clairvoyance permits him to claim that he
308	To plague his life and soul, and here's Heaven's justice.	knows that God wants Medice damned forever.
310	[Draws.]
312	Med. Oh, save my life, my lord!
314	Lasso. Hold, good Lord Strozza!
	Let him confess the sins that Heaven hath told you,
316	And ask forgiveness.
318	Med. Let me, good my lord,
	And I'll confess what you accuse me of:
320	Wonders indeed, and full of damned deserts.	= fully deserving to be damned.
322	Stroz. I know it, and I must not let thee live
	To ask forgiveness.
324
	Alph. But you shall, my lord,
326	Or I will take his life out of your hand.
328	Stroz. A little then I am content, my Liege: −	= Strozza accepts Alphonso's suggestion that Medice be
	Is thy name Medice?	given an opportunity to confess.
330
	Med. No, my noble lord,
332	My true name is Mendice.
334	Stroz. Mendice? See,	334-5: Medice has dishonored the great name of Medici by assuming it for himself.
	At first a mighty scandal done to honour. −	= from the first.^5
336	Of what country art thou?
338	Med. Of no country I,
	But born upon the seas, my mother passing	= ie. on a ship.
340	Twixt Zant and Venice.	= the large Ionian island of Zante, or Zakynthos.^3
342	Stroz. Where wert thou christened?
344	Med. I was never christened,
	But, being brought up with beggars, called Mendice,	= Medice's true appellation recalls the name of the
346		Mendicant movement of the Middle Ages, which grew in reaction to the feudal organization of the greater church; the friars who took part in it lived amongst the poorest citizens, sharing their poverty, working when they could, and begging when they had to.^10 Note also the powerful alliteration of line 345.
	Alph. Strange and unspeakable!
348
	Stroz. How cam'st thou then
350	To bear that port thou didst, ent'ring this Court?	350: Strozza asks Medice how he learned to act like an
		an aristocrat; port = demeanor or bearing.
352	Med. My lord, when I was young, being able-limbed,
	A captain of the gipsies entertained me,	353: gipsies = Smith notes that there was "official concern" regarding gypsies in early 17th century England; in 1601, a woman was even hanged for consorting with gypsies (p. 123). entertained me = "took me in".
354	And many years I lived a loose life with them;
	At last I was so favoured that they made me
356	The King of Gipsies; and being told my fortune
	By an old sorceress that I should be great
358	In some great prince's love, I took the treasure
	Which all our company of gipsies had
360	In many years by several stealths collected;	360: ie. stolen over many years.
	And leaving them in wars, I lived abroad
362	With no less show than now; and my last wrong	= insult, injury.
	I did to noblesse was in this high Court.	= the notion of nobility, as one of honourable behaviour.
364
	Alph. Never was heard so strange a counterfeit.
366
	Stroz. Didst thou not cause me to be shot in hunting?
368
	Med. I did, my lord; for which, for Heaven's love, pardon.
370
	Stroz. Now let him live, my lord; his blood's least drop
372	Would stain your Court more than the sea could cleanse;
	His soul's too foul to expiate with death.
374
	Alph. Hence then; be ever banished from my rule,	= "go from here".
376	And live a monster, loathed of all the world.	= by.
378	Pog. I'll get boys and bait him out o' th' Court, my lord.
380	Alph. Do so, I pray thee; rid me of his sight.
382	Pog. Come on, my lord Stinkard, I'll play “Fox, Fox,	382-3: Fox…hole = Parrott identifies this as a Christmas
	come out of thy hole”' with you, i'faith.	game, in which "boys beat each other with gloves or bits
384		of leather tied to string."^3 However, the famed philosopher Thomas Hobbes, in a whimsical book he wrote in 1656 entitled Six lessons to the professors of the mathematiques, described a game called "Empura", in which one boy, being summoned by the call described by Poggio, begins to hop about.
	Med. I'll run and hide me from the sight of Heaven.
386
	Pog. Fox, fox, go out of thy hole! A two-legged fox,
388	a two-legged fox!
390	[Exit with Pages beating Medice.]
392	Ben. Never was such an accident disclosed.	= occurrence.
394	Alph. Let us forget it, honourable friends,
	And satisfy all wrongs with my son's right,
396	In solemn marriage of his love and him.
398	Vinc. I humbly thank your Highness: − honoured Doctor,
	The balsam you infused into my wounds
400	Hath eased me much, and given me sudden strength
	Enough t' assure all danger is exempt	= removed.^5
402	That any way may let the general joy
	My princely father speaks of in our nuptials.
404
	Alph. Which, my dear son, shall with thy full recure
406	Be celebrate in greater majesty
	Than ever graced our greatest ancestry.
408	Then take thy love, which Heaven with all joys bless,
	And make ye both mirrors of happiness.
410
	FINIS

Chapman's Invented Words

Like all of the writers of the era, George Chapman made up

words when he felt like it, usually by adding prefixes and

suffixes to known words, combining words, or using a word

in a way not yet used before. The following is a list of words

from The Gentleman Usher that are indicated by the OED as

being either the first or only use of a given word, or, as

noted, the first use with a given meaning:

conformance

cringle-crangle (used as an adjective)

crystal globe

dictate (meaning to declare authoritatively)

formelting (as an adjective)

huddle (meaning confusion)

pageant (as a verb)

recureful

sortfully

stooped (as an adjective)

substance (meaning aim or purpose)

threave (meaning a bundle)

turnspit (meaning roasting jack)

unfitted (meaning not provided with something suitable)

unmedicinable (meaning "no power to cure")

very good (phrase used to indicate assent)

well-selling

wooden (meaning "of the woods")

FOOTNOTES

The footnotes in the annotations correspond as follows:

1. Oxford English Dictionary (OED) online.

2. Crystal, David and Ben. Shakespeare's Words.

London; New York: Penguin, 2002.

3. Parrott, Thomas Marc. Chapman's Comedies.

London: George Routledge & Sons, 1914.

4. Stephen, L. and Lee, S. ed. Dictionary of National

Biography. London: Smith, Elder, and Co., 1885-1900.

5. Smith, John Hazel. The Gentleman Usher. Lincoln,

NE: U. of Nebraska Press, 1970.

6. Farmer, J. and Henley, W. A Dictionary of Slang

and Colloquial English. London: George Routledge &

Sons, 1912.

7. A New English Dictionary. London: Trubner and

Co., 1859.

8. Smith, W., ed. A Dictionary of Greek and Roman

Biography and Mythology. London: John Murray, 1849.

9. Ovid, Heroides and Amores. Showerman, Grant,

translator. London: William Heinemann, 1914.

10. The Encyclopedia Britannica. 11th edition. New

York: 1911.

11. Herbermann, Charles G., et al., ed. The Catholic

Encyclopedia. New York: Robert Appleton Co., 1917.

12. Onions, Charles T. A Shakespeare Glossary.

Oxford: The Clarendon Press, 1911.

13. Cox, Nicholas. The Gentlemen's Recreation in Four

Parts, etc. London, 1686.

14. Bailey, Nathan. An Universal Etymological English

Dictionary. London: Printed for T. Osborne etc., 1763.

15. Riley, Henry Thomas, trans. The Comedies of

Plautus. London: George Bell and Sons, 1894.

16. Yamada, Akihiro. An Edition of George Chapman's

A Gentleman Usher. M.A. Thesis, U. of Birmingham, 1962.

17. Dent, R.W. Proverbial Language in English Drama

Exclusive of Shakespeare, 1495-1616. Berkeley: University

of California Press, 1984.

18: Elizabethan.org website. Anthony Viscount

Montague's Book of Orders and Rules. Retrieved 2/1/2018:

http://elizabethan.org/book-of-orders-and-rules/index.html.

19. Gordon G. et al. Dictionarium Britannicum. London:

The Lamb, 1730.

20. Folger Library Manuscript MS X.d.177. From the

University of Warwick website. Retrieved 3/7/2018:

web.warwick.ac.uk/english/perdita/html/ms__msitem5.7.htm.

21. The Catholic Encyclopedia Website. Dualism.

Retrieved 3/8/2018: www.catholic.org/encyclopedia/view.

php?id=4041.

22. The Catholic Encyclopedia Website. Soul.

Retrieved 3/8/2018: www.catholic.org/encyclopedia/view.

php?id=10963.

23. Sugden, Edward. A Topographical Dictionary to the

Works of Shakespeare and His Fellow Dramatists.

Manchester: The University Press, 1925.