ElizabethanDrama.org

presents

the Annotated Popular Edition of

The SCORNFUL LADY

by Francis Beaumont and John Fletcher

Performed c. 1609-1610
First published 1616

Featuring complete and easy-to-read annotations.

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

Persons Represented in the Play.	INTRODUCTION TO THE PLAY
Elder Loveless, a Suitor to the Lady.	The Scornful Lady is a "City Comedy", its scene London;
Young Loveless, a Prodigal, and brother to Elder	thus, its characters are neither royalty nor nobility, but
Loveless.	"regular" citizens. Almost plotless, our play examines the
Savil, Steward to Elder Loveless.	need some people have to manipulate their admirers. A very
	funny play, The Scornful Lady is notable for its extensive
Lady, target of Elder Loveless’ suit.	use of animal-related insults and imagery. The lecherous old
Martha, the Lady’s sister.	servant Abigail in particular is the target of a great deal of
Abigail Younglove, a waiting Gentlewoman of	entertaining abuse.
the Lady.
	NOTES ON THE TEXT
Welford, a Suitor to the Lady.
Sir Roger, Curate to the Lady.	The text of The Scornful Lady is taken from Warwick
	Bond's edition of the play, as it appears in Volume I of The
Hangers-on of Young Loveless:	Works of Francis Beaumont and John Fletcher, cited at
Captain.	#3 below.
Traveller.	The Scornful Lady was published multiple times in the
Poet.	17th century, the first time in 1616; as is the normal practice
Tobacco-man.	on this website, our edition remains faithful to the original
	1616 quarto to the greatest degree possible.
Morecraft, an Usurer.
Widow, a Rich Widow.	NOTES ON THE ANNOTATIONS
Wenches, Fiddlers, Attendants.	Mention of Bond, Dyce, Colman and Weber in the
	annotations refers to the notes provided by each of these
The Scene: London	editors in their respective editions of this play, each cited
	fully below.
	The most commonly cited sources are listed in the
	footnotes immediately below. The complete list of footnotes
	appears at the end of this play.
	Footnotes in the text correspond as follows:
	1. OED online.
	2. Crystal, David and Ben. Shakespeare's Words.
	London; New York: Penguin, 2002.
	3. Bond, R. Warwick, ed. The Works of Francis
	Beaumont and John Fletcher, Volume I. London: George
	Bell & Sons and A. H. Bullen, 1904.
	4. Dyce, Alexander. The Works of Beaumont and
	Fletcher. New York: D. Appleton and Company, 1879.
	7. Colman, George. The Dramatic Works of Beaumont
	and Fletcher. London: Printed for John Stockdale, 1811.
	9. Weber, Henry. The Works of Beaumont and Fletcher.
	Edinburgh: James Ballantyne and Company, 1812.

NOTE on the IAMBIC PENTAMETER

Most of The Scornful Lady was originally published in prose; early editors, however, recognized that much of this prose was clearly written in iambs, and many of the speeches could easily be broken up into iambic, or near iambic, pentameter.

As a result, many early editors, such as Alexander Dyce and Warwick Bond, did exactly that. And while they did not always agree on exactly how every speech should be divided, their decision to do so was the correct one. The edition you have in front of you employ's Bond's divisions.

The concerned reader, however, may still wonder why it is that so many of the lines in The Scornful Lady are irregular; after all, both Beaumont and Fletcher were perfectly capable of writing in strict iambic pentameter when they wanted to. So why do so many lines contain extra syllables, or slip momentarily into meters other than iambic? One may rightfully ask whether these speeches should really be presented in verse at all.

Editor R. Warwick Bond presents in his notes to B&F's A King and No King a solid argument for printing the questionable speeches as verse: recognizing that the lines contain too much "metrical suggestion" to believe the authors intended them to be presented as prose, Bond argues that the verse is really a hybrid of prose and pure, strict iambic pentameter, so as to make the speech less stylized than that which might be given to nobles and other higher-ranked members of society; the verse was therefore intentionally made less regular by our authors to make the speeches more fitting for the more earthy members of "ordinary" society who populate the play.

As a result, it is suggested that you generally not concern yourself terribly with following the iambic pentameter as you read The Scornful Lady. There are plenty of other challenges with respect to the play's language, numerous literary and topical allusions, and dense metaphors to keep your intellect occupied.

AUTHORSHIP.

E.H.C. Oliphant (The Plays of Beaumont and Fletcher.

New Haven: Yale University Press, 1927), in his study of

the collaborations of Beaumont and Fletcher, assigns to

our two authors the following scenes:

Beaumont: Act I.i; Act II.i; first part of Act IV.i; Act V.ii.

Fletcher: Act I,ii; Act II.ii and iii; Act III; second part of Act IV.i, and all of Act IV.ii; Act V.i, iii and iv.

The OBSSESIVE USE of the WORD CAST.

Wordsmiths will be interested to pay attention to the recurring use of the word cast, with so many of its meanings, throughout the play - a total of 17 appearances. It is employed by our authors as a verb, a noun, and an adjective, as well as in various phrases.

By itself, cast is used to mean
(1) to bestow; to scheme or contrive; to toss (present tense verbs); and schemed (past tense verb);
(2) pair; and analysis (nouns); and
(3) dismissed (adjective).

In addition, cast appears in the following expressions:
cast off (meaning to cast off; thrown away; and dismissed);
cast a fortune (to diagram the arrangement of the planets as part of an astrological forecast);
bridling cast (a parting drink);
cast up (to vomit);
cast up a reckoning (to make a calculation); and
cast one's eyes upon (to look or glance upon).

SETTINGS, SCENE BREAKS
and STAGE DIRECTIONS.

The original editions of The Scornful Lady did not identify scene settings, nor were there any scene breaks; we have adopted those suggested by Bond.
As is our normal practice, some stage directions have been added, and some modified, for purposes of clarity. Most of these minor changes are adopted from Bond and Dyce.

	THE SCORNFUL LADY
	By Francis Beaumont
	and John Fletcher
	c. 1609-1610
	ACT I.
	SCENE I.
	A Room in Lady’s House.
	Enter the two Lovelesses, Savil the Steward, and a Page.	Entering Characters: the two Lovelesses are brothers;
		Elder Loveless is courting the unnamed Lady, whose house they have entered; Savil, an elderly man dressed in old-fashioned livery, is the steward of Elder. Lady, the title character, and an obnoxious and selfish woman, has decided that if Elder wants to continue to woo her, he must travel to France for a year.
		Elder's younger brother, Young Loveless, is a spendthrift, who, by failing to make payments on his mortgage, has forfeited all of his property to the money-lender Morecraft.
1	Elder. Brother, is your last hope past to mollify
2	Morecraft’s heart about your mortgage?	= Morecraft is a money-lender, typically referred to in Elizabethan drama as a usurer.
4	Young. Hopelessly past. I have presented the usurer	4-7: Young uses an extended drinking metaphor to describe Morecraft's taking possession of all of his property, and thus his wealth, thanks to his defaulting on the loan Morecraft has made to him; in this era, a failure to make a single payment could lead to the loss of one's entire security, hence Young's allusion in line 7 to Morecraft receiving more than he paid for.
	with a richer draught than ever Cleopatra swallowed; he	5: richer draught = more powerful drink or potion. Cleopatra = Plutarch wrote in his Lives that Cleopatra enjoyed testing the effects of various poisons on condemned prisoners; she herself died by the bite of an asp, to avoid being taken prisoner by Octavian.
6	hath sucked in ten thousand pounds worth of my land,	= drawn or drunk in.
	more than he paid for, at a gulp, without trumpets.	= without a flourish of trumpets as would normally
8		accompany the drinking of healths at public functions.^3
	Elder. I have as hard a task to perform in this house.
10
	Young. Faith, mine was to make an usurer honest, or
12	to lose my land.
14	Elder. And mine is to persuade a passionate woman,
	or to leave the land. – Savil, make the boat stay.	15: leave the land = these words parallel Young's lose my land in form and alliteration. stay = wait.
16
	[Exit Page.]	17: Savil passes the instruction on to the Page, who leaves
18		to carry it out.
	I fear I shall begin my unfortunate journey this night,
20	though the darkness of the night, and the roughness of
	the waters, might easily dissuade an unwilling man.
22
	Sav. Sir, your father’s old friends hold it the sounder	23f: Savil tries to dissuade his master from taking this foolish trip to France. hold it = "maintain that it is". the sounder = meaning both more (1) healthy in body, and (2) financially secure, describing Elder's body and estate respectively in the next line (24).
24	course for your body and estate to stay at home, and	= fortune, property.
	marry and propagate − and govern in your country −
26	than to travel for disease, and return following the court	26: for disease = ie. to treat or to pick up some disease, perhaps referring specifically to venereal disease, which was often associated with France, where Elder must travel; the terms French pox and French measles appear frequently in literature of the time to refer to syphilis.^1following the court = when a once-wealthy man's own property has been consumed, he might become a follower of the court.^3
	in a night-cap, and die without issue.	27: night-cap = worn because of the chronic disease he has picked up.^3 issue = children.
28
	Elder. Savil, you shall gain the opinion of a better	= reputation for being.
30	servant in seeking to execute, not alter, my will,
	howsoever my intents succeed.
32
	Young. Yonder's Mistress Younglove, brother, the	= a little confusingly, Lady's servant, Abigail Younglove, is sometimes referred to by her last name, sometimes her first.
34	grave rubber of your mistress’ toes.	= Young appears to pun on "grave robber".
36	Enter Abigail Younglove, the waiting woman.	Entering Character: Abigail Younglove is Lady's
		servant; the OED conjectures that the word abigail came to mean "female servant" because of its use in this play.
38	Elder. Mistress Younglove −
40	Abig. Master Loveless, truly we thought your sails	40-41: your sails…hoist = ie. "you had already set sail."
	had been hoist: my mistress is persuaded you are
42	sea-sick ere this.	= "before this time", ie. "by now."
44	Elder. Loves she her ill-taken-up resolution so
	dearly? Didst thou move her for me?	= "try to persuade her on my behalf?"
46
	Abig. By this light that shines, there's no removing	47: By this…shines = typical Elizabethan oath affirming the truth of something. 47-48: there's no…the end = "there's no dissuading her once she stubbornly adheres to a position";^1 but there is a double entendre here - Abigail is prone, in the best tradition of the dirty-minded female servant, to be bawdy: according to Partridge, end could be used to refer to a man's member, so that with stiff the line takes on an entirely different - and rather indelicate - meaning.
48	her, if she get a stiff opinion by the end. I attempted her	= ie. "tried to persuade".
	to-day when they say a woman can deny nothing.	= ie. at the moment.
50
	Elder. What critical minute was that?
52
	Abig. When her smock was over her ears: but she	= ie. "she was undressing"; smock = undergarment.
54	was no more pliant than if it hung about her heels.	= perhaps meaning "when Lady was using the water closet."
56	Elder. I prithee, deliver my service, and say, I desire	= "I pray thee", ie. please. = "commend me to her".
	to see the dear cause of my banishment; and then	= ie. Lady.
58	France.	= "I'll be off to France."
60	Abig. I’ll do't. Hark hither; is that your brother?	= "listen here".
62	Elder. Yes: have you lost your memory?
64	Abig. As I live, he's a pretty fellow.	64: Abigail will readily admit her attraction to the two main
		young male characters of the play.
66	[Exit Abigail.]
68	Young. Oh, this is a sweet brach!	= bitch hound;^1 many of the characters will be quite open
		in their abuse of Abigail.
70	Elder. Why she knows not you.
72	Young. No, but she offered me once to know her.	= Young plays on the word know, which was a common term for "having sexual relations with."
	To this day she loves youth of eighteen. She heard a tale	73: youth = ie. young men. heard = as Dyce suggests, perhaps this should be had, meaning "knew" or "told".
74	how Cupid struck her in love with a great lord in the	= ie. Cupid, the god of love, caused a maiden to fall in love by shooting her with one of his arrows.
	Tilt-yard, but he never saw her; yet she in kindness,	= arena for a jousting tournament.
76	would needs wear a willow-garland at his wedding. She	76: woulds need = felt obliged to. willow = a symbol for rejected love. She = ie. Abigail.
	loved all the players in the last queen’s time once over;	77: ie. "fell in love with each of the actors (players) she saw on stage during the reign of Elizabeth I." Our play was written during the reign of James I - Elizabeth had died in 1603.
78	she was struck when they acted lovers, and forsook	78-79: she was…murtherers = she particularly fell for those actors when they played lovers, but abandoned them when they played villains.
	some when they played murtherers. She has nine	= murderers.
80	spur-royals, and the servants say she hoards old gold;	= relatively new gold coins struck during the reign of James I, worth 15 shillings; they were called spur royals because of the resemblance of the star or sun, which was pictured with its rays on the reverse side, to the rowel (revolving wheel) of a spur.^1,3
	and she herself pronounces angerly that the farmer’s	= alternate word for angrily; angerly generally went out of fashion in the 17th century.^1
82	eldest son (or her mistress’ husband’s clerk that shall	81-82: her mistress'…shall be = Abigail expects to marry the clergyman (clerk) of Lady's now-deceased husband; the reference is to Roger, a parson who seems to live in Lady's household, and a character whom we will soon meet. As will become clear, Roger and Abigail have an "understanding".
	be) that marries her, shall make her a jointure of	= a marriage settlement made by a groom to provide for his
84	fourscore pounds a year. She tells tales of the serving-	bride, should he predecease her; Abigail intends to marry
	men −	a reasonably wealthy man, whose land can provide 80 pounds a year in rent.
86
	Elder. Enough, I know her, brother. I shall entreat you	87: Elder interrupts; he can hear no more. entreat = ask.
88	only to salute my mistress, and take leave: we’ll part	= greet.
	at the stairs.
90
	Enter Lady and Abigail.
92
	Lady. Now, sir, this first part of your will is performed:	93-94: Lady's obnoxious personality is apparent from her
94	what's the rest?	first line: "ok, I performed the first thing you asked for - which was to see me; now what?"
96	Elder. First, let me beg your notice for this gentleman,	= ie. "ask you to greet or acknowledge".
	my brother: I shall take it as a favour done to me.	= the original editions print this clause as the first line of Lady's speech immediately below, but we follow Bond and Dyce in giving it to Elder.
98
	Lady. Though the gentleman hath received but an	99-100: Though…from you = ie. "although this is not the right time for you to be introducing me to your brother." untimely = at an improper time, unseasonable.^1
100	untimely grace from you, yet my charitable disposition	100-3: yet my…commendations = "yet thanks to my
	would have been ready to have done him freer	naturally generous character, I would gladly give him the
102	courtesies as a stranger, than upon those cold	warm welcome that he, as a stranger, deserves, and one
	commendations.	that is more magnanimous than your ineffective intro-
104		duction would suggest he should receive." Lady is highly unpleasant!
	Young. Lady, my salutations crave acquaintance and
106	leave at once.	= permission to be excused; the lines exchanged by Lady and Young are courteously formulaic.
108	Lady. Sir, I hope you are the master of your own	108-9: ie. "sir, I expect you may do as you wish."
	occasions.	= circumstances.
110
	[Exit Younglove and Savil.]
112
	Elder. Would I were so! Mistress, for me to praise	113: Would I were so = ie. "I wish I had control over my
114	over again that worth, which all the world and you	own circumstances!" Perhaps an aside.
	yourself can see −	113ff: Elder's flattery and formal language of courting is painfully trite and ineffective.
116
	Lady. It's a cold room this; servant.	117ff: Lady ignores Elder's wooing.
118		servant = common term for a professed or authorized lover or wooer; used here as a vocative expression for Elder.
	Elder. Mistress −
120
	Lady. What think you if I have a chimney for't, out
122	here?
124	Elder. Mistress, another in my place, that were not	124-6: another…wronged = "if you had treated anyone else the way you treat me, he would feel insulted."
	tied to believe all your actions just, would apprehend
126	himself wronged: but I, whose virtues are constancy	= loyalty.
	and obedience −
128
	Lady. Younglove, make a good fire above, to warm me
130	after my servant’s exordiums.	= (long-winded) introductory remarks.^1
132	Elder. I have heard and seen your affability to be	132-3: Lady's affability is such that she allows her servants
	such, that the servants you give wages to may speak.	to speak their minds.
134
	Lady. 'Tis true, 'tis true; but they speak to the purpose.	= "to the point (unlike you)".
136
	Elder. Mistress, your will leads my speeches from the
138	purpose. But as a man −
140	Lady. A simile, servant? This room was built for honest
	meaners, that deliver themselves hastily and plainly,	= ie. people who have something substantive to say.^1
142	and are gone. Is this a time or place for exordiums, and
	similes and metaphors? If you have aught to say, break	= anything.
144	into 't: my answers shall very reasonably meet you.	= "respond to what you say."
146	Elder. Mistress, I came to see you.
148	Lady. That's happily dispatched; the next?	148: "great, that objective has been met; what's next?"
150	Elder. To take leave of you.
152	Lady. To be gone?
154	Elder. Yes.
156	Lady. You need not have despaired of that, nor have
	used so many circumstances to win me to give you	= so much unnecessary verbiage.^2
158	leave to perform my command; is there a third?	158: "permission to follow my instructions; is there a third thing you want from me?"
160	Elder. Yes, I had a third, had you been apt to hear it.	= disposed.^1
162	Lady. I! never apter. Fast, good servant, fast.	= "speak quickly" or "get to the point". = wooer or lover.
164	Elder. 'Twas to entreat you to hear reason.
166	Lady. Most willingly: have you brought one can speak	= anyone who can.
	it?
168
	Elder. Lastly, it is to kindle in that barren heart love
170	and forgiveness.
172	Lady. You would stay at home?	= would prefer to.
174	Elder. Yes, lady.
176	Lady. Why, you may, and doubtlessly will, when you
	have debated that your commander is but your mistress,	= instructor, ie. Lady herself.
178	a woman, a weak one, wildly overborne with passions;	178: Lady is highly sarcastic. overborne = overcome.^1
	but the thing by her commanded is, to see Dover’s	179-182: Lady teases Elder regarding the supposedly dan-
180	dreadful cliff; passing, in a poor water-house, the	gerous trip across the Channel to France.^8
	dangers of the merciless channel 'twixt that and Calais,	179-180: to see...cliff = ie. to sail to France; the
182	five long hours sail, with three poor weeks’ victuals.	famous white cliffs of Dover would be visible from a
		boat sailing to Calais on the French shore. dreadful (line 180) = formidable.^1 water-house (line 180) = ie. boat.^1
184	Elder. You wrong me.
186	Lady. Then to land dumb, unable to enquire for an	= metaphorically unable to speak, since Elder does not speak French; even at this remote time, the English were well known for their lack of foreign language skills.
	English host, to remove from city to city by most	= ie. move.
188	chargeable post-horse, like one that rode in quest of his	= expensive rented horses.^1
	mother tongue.	= the phrase mother tongue has been in use at least as far
190		back as 1425.^1
	Elder. You wrong me much.
192
	Lady. And all these (almost invincible) labours	= impossible to perform;^1 Lady remains sarcastic.
194	performed for your mistress, to be in danger to forsake	194-7: to be…laughter = Lady gives Elder additional
	her, and to put on new allegiance to some French	instructions: "to risk abandoning me by taking up
196	lady, who is content to change language with you for	a relationship with some French lady, who for her own great amusement will teach you to speak French (change language)."^3 By your mistress (line 194) and her (line 195), Lady means herself.
	laughter; and after your whole year spent in tennis and
198	broken speech, to stand to the hazard of being laughed	= risk; Lady puns on hazard, which refers to the receiving side of a tennis serve.^1
	at, on your return, and have tales made on you by the	= told about.
200	chamber-maids.
202	Elder. You wrong me much.
204	Lady. Louder yet.	204: ie. "speak up;" Elder may be mumbling.
206	Elder. You know your least word is of force to make
	me seek out dangers; move me not with toys. But in this	= ie. spur on or anger. = trifles, mocking speech.^1
208	banishment, I must take leave to say you are unjust.
	Was one kiss forced from you in public by me so	209-211: Elder suggests Lady is sending him to France as
210	unpardonable? Why, all the hours of day and night have	penance for his sin of taking liberties with her in public.
	seen us kiss.
212
	Lady. 'Tis true, and so you satisfied the company that	213-4: Lady apparently reproached Elder for kissing her in
214	heard me chide.	front of his friends, but his attempts to justify the act,
		heard by his friends, only compounded his offense. satisfied = convinced, persuaded.^9
216	Elder. Your own eyes were not dearer to you than I.
218	Lady. And so you told 'em.
220	Elder. I did, yet no sign of disgrace need to have
	stained your cheek: you yourself knew your pure and
222	simple heart to be most unspotted, and free from the	= free from disgrace or moral stain.
	least baseness.
224
	Lady. I did; But if a maid’s heart doth but once think
226	that she is suspected, her own face will write her guilty.
228	Elder. But where lay this disgrace? The world that	228f: Elder pleads his case: since everyone knew of their intimate relationship, where was the harm in what he had done?
	knew us, knew our resolutions well: and could it be	229-231: could it…kissed = "can you expect (hoped = expected) that I would tie myself to you - and thus deny myself forever-after the company of other women - when you refuse to kiss me?"
230	hoped that I should give away my freedom, and venture
	a perpetual bondage with one I never kissed? or could I,	= ie. "is it possible for me to".
232	in strict wisdom, take too much love upon me from her	= true.^1
	that chose me for her husband?
234
	Lady. Believe me, if my wedding-smock were on;	235-243: Believe me...wed that year = a very long, typical Elizabethan stage sentence; the sense is, no matter how far the preparations for her hypothetical wedding have gotten, if her fiancé had bragged once that she had shown him any partiality (line 242), she would call the whole thing off. Lady's numerous examples of such wedding preparations are separated by semi-colons; the bulk of the sentence, then, is made up of premises ["were (ie. if) this and were that"], ending with the conclusion (I would not wed that year) all the way down in line 243. wedding smock = smock normally refers to a woman's undergarment, so perhaps Lady is referring to a special undergarment worn for one's wedding night. Lines 236-241 are frequently cited for their examples of some of the wedding customs of the early 17th century.
236	Were the gloves bought and given, the license come;	= were in this line, and in lines 237, 239, and 241, means "even if".
	Were the rosemary-branches dipt, and all	= rosemary, representing remembrance, commonly decorated weddings and funerals.
238	The hippocras and cakes eat and drunk off;	= a type of spiced wine that has been strained through a flannel filter.^3
	Were these two arms encompassed with the hands
240	Of bachelors, to lead me to the church;	= bachelor normally referred to an unmarried man, but it seems likely that "unmarried women" is meant here; Ben Jonson, in his 1632 comedy The Magnetic Lady, uses bachelor clearly to refer to a female.
	Were my feet in the door; were “I John” said;	= likely an assenting phrase, "ay, John", like "I do"; John
242	If John should boast a favour done by me,	was used as a generic name for any man.^1
	I would not wed that year. And you, I hope,
244	When you have spent this year commodiously,	= profitably.^1
	In achieving languages, will, at your return,
246	Acknowledge me more coy of parting with mine eyes,	246: "be a little more reserved in bragging about my regard for you".
	Than such a friend. More talk I hold not now:	= lover.
248	If you dare, go.
250	Elder. I dare, you know. First let me kiss.
252	Lady. Farewell sweet servant. Your task performed,	252: although not stated explicitly in a stage direction, Lady likely gives Elder a modest parting kiss.
	On a new ground, as a beginning suitor,	= ie. Lady will require Elder, on his return from France after
254	I shall be apt to hear you.	a year's absence, to start his courtship all over again!
256	Elder. Farewell cruèl mistress.
258	[Exeunt Lady and Abigail.]
260	Enter Young Loveless and Savil.
262	Young. Brother, you'll hazard the losing your tide	= risk.
	to Gravesend; you have a long half mile by land to	= a town east of London and on the Thames, Gravesend was the normal embarkation point for boats to France.^6
264	Greenwich.	= once the site of a great royal palace, Greenwich, on the Thames, would have been from where Elder would have sailed down to Gravesend.
266	Elder. I go. But, brother, what yet-unheard-of course	266-8: "how do you expect to live while I am gone? You
	to live doth imagination flatter you with? your	have no money left."
268	ordinary means are devoured.
270	Young. Course! Why, horse-coursing, I think.	= Young puns on course. The editors understand horse-coursing to mean horse-dealing, ie. the buying and selling of horses for profit, though Bond suggests that horse coursing is properly horse scorsing (the two phrases would sound the same), scorsing meaning trading or exchanging; we may note that coursing also meant "racing".^1
	Consume no time in this: I have no state to be mended	271-2: Consume…meditation = "don't spend a moment
272	by meditation: he that busies himself about my fortunes	worrying about me; my situation won't improve by
	may properly be said to busy himself about nothing.	thinking about it."
274
	Elder. Yet some course you must take, which, for my
276	satisfaction, resolve and open; if you will shape none, I	= determine on and declare.^9 = fashion.^1
	must inform you, that that man but persuades himself	= "is only fooling himself".
278	he means to live, that imagines not the means.	= ie. "who does actually have a plan for how to do so." Elder handsomely puns on means.
280	Young. Why, live upon others, as others have lived	= ie. "I will live off the generosity of others".
	upon me.
282
	Elder. I apprehend not that. You have fed others, and	= understand.
284	consequently disposed of 'em; and the same measure	= subsequently.^3 284-6: the same…to bear = "you should expect that
	must you expect from your maintainers, which will be	those who support you for a while will eventually cease
286	too heavy an alteration for you to bear.	to do so; when this happens, you will not be able to handle it."
288	Young. Why, I'll purse; if that raise me not, I’ll bet at	288-9: I'll purse…whores = Young itemizes, in Colman's delightful words, "three of the most despicable modes of acquiring subsistence to which mankind can be reduced" (p. 112). purse = ie. steal purses.^3 raise me not = ie. "fails to raise my fortunes". bet = ie. gamble.
	bowling-alleys, or man whores; I would fain live by	289: bowling alleys = bowling alley describes the green on which to play the oft referred-to game of bowls; bowls may be thought of as an old English version of bocce, in which larger, heavier balls are rolled to get as near as possible to a smaller ball; an interesting variation in bowls is that the larger balls were unevenly weighted, allowing a skilled bowler to take advantage of the balls' tendency to curve (a quality known as "bias"). The term bowling alley itself goes back at least to 1412.^1 man whores = be an escort or attendant for prostitutes.^3,7 fain = be happy to, prefer to.
290	others. But I’ll live whilst I am unhanged, and after the	= "so long as I have not been hanged".
	thought's taken.	290-1: after the thought's taken = "according to the
292		thought that first strikes me", or "by any means I can think of" (Weber, p. 148), or "after sentence of hanging has been passed" (Bond, who says Weber is wrong, p. 370).
	Elder. I see you are tied to no particular employment,
294	then!
296	Young. Faith, I may choose my course: they say
	Nature brings forth none but she provides for them;	297: nature produces nothing that it is not able to supply provisions for.
298	I’ll try her liberality.	= test Nature's generosity.
300	Elder. Well, to keep your feet out of base and
	dangerous paths, I have resolved you shall live as
302	master of my house. − It shall be your care, Savil, to	302-4: It shall…fortunes = Savil should supply money to
	see him fed and clothed, not according to his present	and generally provide for Young in a manner suitable for
304	estate, but to his birth and former fortunes.	his rank (a gentleman) and his former wealth, and not as would only be fitting for a poor man, which describes Young's present condition. Note that the dash in line 302 signals that the speaker will next address a different character.
306	Young. If it be referred to him, if I be not found in	306-9: if Young is forced to depend on Savil for his provisioning, then he can expect to be very poorly provided for indeed.
	carnation Jersey-stockings, blue devils’ breeches, with	307: carnation = flesh-coloured or pink.^1 Jersey-stockings = stockings made of wool, and hence inferior.^3 blue devils' breeches = close-fitting hose, as would have been worn by the character of the devil in the old morality plays;^3 such tight-fitting stockings were out of fashion by the early 17th century.
308	three guards down, and my pocket i'th' sleeves, I’ll ne'er	308: guards = ornamental trimmings or embroidered bor-
	look you i'th' face again.	ders;^1,3 Weber suggests that "waistband" is meant here. pocket i'th' sleeves = pockets could not be fitted onto the tight-fitting breeches, so they would have to be situated elsewhere.^3
310
	Sav. A comelier wear, I wus, it is than those dangling	= more agreeable. = indeed or truly; usually written iwis.^1
312	slops.	311-2: dangling slops = the more fashionable loose-fitting
		hose of the early 17th century, which Young is wearing.^3
314	Elder. To keep you ready to do him all service
	peaceably, and him to command you reasonably, I leave	= Young, as the temporary master of Elder's home, may
316	these further directions in writing, which at your best	give reasonable instructions to the steward.
	leisure, together open and read.
318
	Re-enter Abigail to them with a jewel.
320
	Abig. Sir, my mistress commends her love to you in
322	this token and these words: it is a jewel, she says,	= symbol of affection.
	which, as a favour from her, she would request you to
324	wear till your year’s travel be performed; which, once
	expired, she will hastily expect your happy return.	= impatiently.^7 Is this last clause intended to be ambiguous, suggesting
326		that it is the jewel Lady expects to be returned to her, and not Elder?
	Elder. Return my service, with such thanks, as she
328	may imagine the heart of a suddenly over-joyed man
	would willingly utter: and you, I hope, I shall, with	329-330: and you…diamond = Elder gives Abigail a jewel as well to wear in return for her doing a favour for him.
330	slender arguments, persuade to wear this diamond; that	= "slight or trifling means of persuasion" (OED),^1 ie. Elder expects he will not have to twist Abigail's arm to get her to accept the diamond.
	when my mistress shall, through my long absence and	331-4: when my…speak of me = "if Lady seems interested
332	the approach of new suitors, offer to forget me, you	in another man, then seeing this diamond will prompt you to defend my interest in Lady's affection."
	may call your eye down to your finger, and remember
334	and speak of me. She will hear thee better than those	334-335: She will…birth to her = a common notion, that one's servants are one's most trustworthy confidants.
	allied by birth to her; as we see many men much
336	swayed by the grooms of their chambers, − not that	336: swayed = ie. more influenced.
	they have a greater part of their love or opinion on them	grooms = servants.
338	as on others, but for that they know their secrets.	336-8: not that...secrets = a cynical conclusion to
		the previous thought: servants are more persuasive in influencing their masters' and mistresses' actions because they are aware of, and therefore in a position to reveal, their employers' secrets! as (line 338) = than; later editions print than here.
340	Abig. O' my credit, I swear I think 'twas made for me.
	Fear no other suitors.
342
	Elder. I shall not need to teach you how to discredit	343-6: Elder suggests ways Abigail can make a prospective suitor of Lady's appear less attractive to her.
344	their beginnings: you know how to take exception at	344: beginnings = origins, ie. their social backgrounds. 344-5: take exception…washing = Abigail should,
	their shirts at washing, or to make the maids swear they	when doing the wash, find reason to criticize the shirts, and thus all the clothing, of any suitors which may be staying at the house.
346	found plasters in their beds.	= curatives applied to the skin;^1 the appearance of such
		medical supplies would suggest a suitor is suffering from some loathsome disease.
348	Abig. I know, I know, and do not you fear the suitors.
350	Elder. Farewell; be mindful, and be happy; the night
	calls me.
352
	[Exeunt omnes praeter Abigail.]	353: all exit but for Abigail.
354
	Abig. The gods of the winds befriend you, sir!	355: Abigail wishes Elder a safe crossing over the Channel, whose contrary winds frequently interrupted travel plans.
356	a constant and a liberal lover thou art: more such	= loyal and generous.
	God send us.
358
	Enter Welford.	Entering Character: it has not taken long for Lady's first suitor, Welford, a good-natured fellow, to arrive.
360
	Wel. [To servant without] Let 'em not stand still, we	= offstage. = ie. his horses, which need to be walked to
362	have rid hard.	cool off after some hard riding.
364	Abig. [Aside] A suitor, I know, by his riding hard: I’ll
	not be seen.	= Abigail momentarily hides from the entering Welford.
366
	Wel. A pretty hall this: no servant in't? I would look	367-8: it was a convention of Elizabethan drama for
368	freshly.	characters to express their thoughts out loud, even when they are alone, to the benefit of those who are eaves- dropping nearby.
370	Abig. [Aside] You have delivered your errand to me,	370-2: Welford's speech confirms to Abigail that he has
	then: there's no danger in a handsome young fellow; I’ll	indeed arrived to woo Lady; but we will not be surprised
372	show myself. [Advances.]	to find Abigail willing to make herself available to him.
374	Wel. Lady, may it please you to bestow upon a stranger
	the ordinary grace of salutation? are you the lady of this	= ie. a kiss; it was the custom in England for even strangers
376	house?	to kiss upon greeting each other; but Welford is mis-
		taken as to Abigail's identity.
378	Abig. Sir, I am worthily proud to be a servant of hers.
380	Wel. Lady, I should be as proud to be a servant of	= devotee or lover; in this speech, Welford is courteously
	yours, did not my so late acquaintance make me	flattering: he expects other men to already have claims
382	despair.	on Abigail.
384	Abig. Sir, it is not so hard to achieve, but nature may	384: Abigail flirts more directly with Welford, taking
	bring it about.	servant to mean "lover".
386
	Wel. For these comfortable words, I remain your glad	= encouraging.^1
388	debtor. Is your lady at home?
390	Abig. She is no straggler, sir.	= vagabond, one who wanders about aimlessly.^1
392	Wel. May her occasions admit me to speak with her?	= circumstances.
394	Abig. If you come in the way of a suitor, no.
396	Wel. I know your affable virtue will be moved to	= induced.
	persuade her, that a gentleman, benighted and strayed,	= ie. finding himself without a place to stay at night;^1 there may also be a pun with "beknighted."
398	offers to be bound to her for a night’s lodging.	398: "asks from her a place to spend the night, a favour for
		which I will be indebted to her."
400	Abig. I will commend this message to her; but if you
	aim at her body, you will be deluded. Other women the	401: at her body = ie. "to see her in person", but of course suggestive as well. 401-2: Other women the house holds = "there are other women in this house"; Abigail is hinting at her own availability.
402	house holds, of good carriage and government; upon	= good bearing (in her case, possibly) and good conduct or behaviour (less likely).
	any of which if you can cast your affection, they will
404	perhaps be found as faithful, and not so coy.	= ie. not as modest (as other women in the house might be).
406	[Exit.]
408	Wel. What a skin full of lust is this! I thought I had
	come a-wooing, and I am the courted party. This is	409-410: This is…all woo = typical comment of the era on the loose morals of English court-life under James I.
410	right court-fashion: men, women, and all, woo; catch	410-1: catch that catch may = an early version of catch
	that catch may. If this soft hearted woman have infused	as catch can, a phrase which goes as far back as the 14th century, meaning "get a hold of something any way one can" (OED).^1
412	any of her tenderness into her lady, there is hope she	412: tenderness = compassion or considerateness.^1
	will be pliant. But who's here?	lady = ie. mistress. she = ie. Lady.
414
	Enter Sir Roger the Curate.	Entering Character: Roger is the household cleric; he is
416		wearing a night-cap on his head. Sir was a common title for clergymen.
	Roger. God save you sir. My lady lets you know, she
418	desires to be acquainted with your name, before she
	confer with you.
420
	Wel. Sir, my name calls me Welford.
422
	Roger. Sir, you are a gentleman of a good name.
424	[Aside] I’ll try his wit.	= a common motif in Elizabethan drama: a clever person decides to test (try) the ability of another to engage in witty conversation.
426	Wel. I will uphold it as good as any of my ancestors	= ie. "my name".
	had this two hundred years, sir.
428
	Roger. I knew a worshipful and a religious gentleman
430	of your name in the bishopric of Durham: call you him	= diocese: Roger only means that he knew a man with the
	cousin?	name Welford who lived in Durham.
432
	Wel. I am only allied to his virtues, sir.	433: a right witty response!
434
	Roger. It is modestly said: I should carry the badge of	435-6: I should…me too = Roger means he would like to
436	your Christianity with me too.	know his visitor's name, but this is unclear to Welford at the moment: Roger is being playfully enigmatic, but he will explain his joke at lines 440-1.
438	Wel. What's that, a cross? There's a tester.	= a slang term for a coin known as a teston, which first
		appeared under Henry VII, and bore the image of a cross on one face.^1,3 Welford is up to meeting Roger pun for pun!
440	Roger. I mean the name which your godfathers and
	godmothers gave you at the font.	= ie. the baptismal font.
442
	Wel. 'Tis Harry. But you cannot proceed orderly now	443-5: the catechism is a series of questions and answers
444	in your catechism; for you have told me who gave me	used to instruct those converting to or being confirmed
	that name. Shall I beg your name?	in the Christian faith. In the English Book of Common
446		Prayer, first published in 1549, the first two questions and answers of the catechism are as follows: (1) Q - "What is your name?" A - (name); (2) Q - "Who gave you this name?" A - "The Godfathers and Godmothers at my Baptism, etc." So, Welford is humorously pointing out how Roger has asked him the second question without having yet received an answer to the first!
	Roger. Roger.
448
	Wel. What room fill you in this house?	= position, office.
450
	Roger. More rooms than one.
452
	Wel. The more the merrier. But may my boldness know	= this proverbial sentiment first appeared around 1400.^1
454	why your lady hath sent you to decipher my name?	= discover.^1
456	Roger. Her own words were these: to know whether
	you were a formerly-denied suitor, disguised in this
458	message; for I can assure you she delights not
	in thalamo; Hymen and she are at variance. I shall	459: in thalamo = Latin for "in the bedroom", or "in the
460	return with much haste.	marriage bed"; as an educated man, Roger will sprinkle his
		dialogue with Latin. Hymen = the god of marriage; Roger is, in his indirect way, explains that Lady is not interested in being courted, or in marriage, at this time.
462	[Exit.]
464	Wel. And much speed, sir, I hope. Certainly I am	= success, but also punning on haste.
	arrived amongst a nation of new-found fools, on a land
466	where no navigator has yet planted wit. If I had	= Welford perhaps alludes to the colonies England had
	foreseen it, I would have laded my breeches with bells,	planted recently in Virginia, and he goes on to suggest the kinds of trinkets he should have brought with him to sell to the natives in exchange for access to their women.
468	knives, copper, and glasses, to trade with the women
	for their virginities; yet, I fear, I should have betrayed	469-470: I should…charge then = ie. "I would have spent all that money for nothing."
470	myself to a needless charge then. Here's the walking
	night-cap again.	= Roger is wearing a night-cap, which suggests he is
472		unwell in some way.
	Re-enter Roger.
474
	Roger. Sir, my lady’s pleasure is to see you; who	475-8: ie. as the host, Lady acknowledges her bad manners
476	hath commanded me to acknowledge her sorrow	in making Welford come upstairs to visit her, instead of
	that you must take the pains to come up for so bad	her greeting him downstairs.
478	entertainment.
480	Wel. I shall obey your lady that sent it, and
	acknowledge you that brought it to be your art’s master.	= Welford puns on the Master of Arts degree he expects Roger would have attained.
482
	Roger. I am but a bachelor of art, sir; and I have the	= Roger presumably puns on bachelor, referring to his unmarried status.
484	mending of all under this roof, from my lady on her	= ie. Roger, as a cleric, is responsible for the care of the souls and morals of those who live in Lady's house.
	down-bed to the maid in the pease-straw.	= ie. a bed stuffed with the straw of the pea plant; the original name for pea was pease; that is, pease was singular, and only later dropped the "s" to indicate a single pea;^1 Abigail, as a servant, would of course sleep on a coarser bed than her mistress.
486
	Wel. A cobbler, sir?	487: Welford puns on Roger's use of the word mending.
488
	Roger. No, sir; I inculcate divine service within these
490	walls.
492	Wel. But the inhabitants of this house do often employ
	you on errands, without any scruple of conscience?	= ie. other than religious errands.
494
	Roger. Yes, I do take the air many mornings on foot,
496	three or four miles, for eggs. But why move you that?	= ie. ask.
498	Wel. To know whether it might become your function	498-500: Welford is considerate: he does not want to
	to bid my man to neglect his horse a little, to attend on	offend Roger by asking him to fetch his (Welford's)
500	me.	servant (his man), who is walking the horses.
502	Roger. Most properly, sir.
504	Wel. I pray you do so, then, and whilst I will attend	= meanwhile.
	your lady. You direct all this house in the true way?	= ie. the proper spiritual journey through life.^1
506
	Roger. I do, sir.
508
	Wel. And this door, I hope, conducts to your lady?	= leads.
510
	Roger. Your understanding is ingenious.
512
	[Exeunt severally.]	= ie. through separate exits.
	ACT I, SCENE II.
	A Room in the House of the Elder Loveless.	Scene ii: we may note that while the original editions broke
		up the play into its individual Acts, scene breaks - as well as scene settings - were added by later editors.
	Enter Young Loveless and Savil, with a writing.	= written document.
1	Sav. By your favour sir, you shall pardon me.
2
	Young. I shall beat your favour, sir. Cross me no more:	3: beat = the first quarto has beat; the later editions print
4	I say they shall come in.	bear, which lose the dark the humour of the line. your favour, sir = Young mockingly repeats Savil's words; Young will of course normally use thee to address his social inferior, while the steward will always use the formal you in addressing his superiors. cross = thwart.
6	Sav. Sir, you forget me, who I am.	= the earliest editions print one here.
8	Young. Sir, I do not; thou art my brother’s steward,
	his cast off mill-money, his kitchen arithmetic.	9: Young alludes to Savil's job, as steward, to act as the
10		household bookkeeper; Young puns on cast off, meaning both (1) "to reckon up an account", and (2) "thrown-away",^1,3 while mill-money refers to coins minted in a press, rather than struck individually with a hammer.^1
	Sav. Sir, I hope you will not make so little of me?
12
	Young. I make thee not so little as thou art: for	13: a biting insult.
14	indeed there goes no more to the making of a steward
	but a fair imprimis, and then a reasonable item infused	15: Young continues his bookkeeping humor: imprimis
16	into him, and the thing is done.	refers to the first item on a list, and an item was any entry in an account book^1(these words are italicized in the original text).
18	Sav. Nay, then, you stir my duty, and I must tell you −	= "force me to do my job", referring to his instructions from Elder regarding Young.
20	Young. What wouldst thou tell me? how hops go?	= sell.^4
	or hold some rotten discourse of sheep, or when
22	Lady-day falls? Prithee, fare well, and entertain my	22: Lady-day = March 25, a festival day celebrating the Virgin Mary.^1 fare well = "live freely";^3 Young demands Savil allow him to carouse with his friends, and even encourages him to join them in their debauchery.
	friends; be drunk and burn thy table-books: and my	= notebooks or memorandum books.^1,4
24	dear spark of velvet, thou and I −	= a reference to the fine livery worn by servants.
26	Sav. Good sir, remember.
28	Young. I do remember thee a foolish fellow; one that
	did put his trust in almanacs and horse-fairs, and rose	= ie. rose in status.
30	by honey and pot-butter. Shall they come in yet?	= salted butter.^1 = ie. Young's friends and comrades.
32	Sav. Nay, then, I must unfold your brother's pleasure.	= ie. "reveal to you".
	These be the lessons, sir, he left behind him.	33: Savil indicates the written instructions left him by Elder.
34
	Young. Prithee, expound the first.
36
	Sav. [Reads] I leave, to keep my house, three	= maintain.
38	hundred pounds a-year, and my brother to dispose	38-39: dispose of it = ie. spend as he wishes.
	of it −
40
	Young. Mark that, my wicked steward, − and I
42	dispose of it.
44	Sav. [Reads] Whilst he bears himself like a	44-45: Savil finishes his sentence; Whilst = so long as.
	gentleman, and my credit falls not in him. −	= reputation, name.^2 = ie. because of.
46	Mark that, my good young sir, mark that.	= Savil mockingly repeats Young's own words.
48	Young. Nay, if it be no more, I shall fulfill it: whilst
	my legs will carry me, I’ll bear myself gentleman-like,
50	but when I am drunk, let them bear me that can.	= who.
	Forward, dear steward.	= "go on".
52
	Sav. [Reads] Next, it is my will, that he be furnished,	53-55: Elder intends that Young be dressed well and be
54	as my brother, with attendance, apparel, and the	attended by his own servants as befits Young's status
	obedience of my people.	as Elder's brother.
56
	Young. Steward, this is as plain as your old minikin-	57-58: minikin-breeches = another allusion to Savil's unfashionable tight-fitting hose;^3 minikin was a plain- weave worsted wool.^1
58	breeches. Your wisdom will relent now, will it not?	= a mock title.
	Be mollified or − You understand me, sir. Proceed.	= ie. "or else", an implied threat.
60
	Sav. [Reads] Next, that my steward keep his place
62	and power, and bound my brother's wildness with
	his care.
64
	Young. I’ll hear no more of this Apocrypha;	= a reference to the seven books of the Bible that have been viewed historically as of uncertain authenticity;^30 they were included in English Bibles until the early 19th century.^3 Young clearly considers his brother's instructions as not to be followed.
66	bind it by itself, steward.	= the Apocrypha had been published separately in the 16th century.^3
68	Sav. This is your brother’s will; and, as I take it, he	68f: in this speech, Savil sprinkles a series of military terms (company, captain, regiment) to disparage the men Young keeps as companions: company is thus used in both its regular sense and to mean "a body of soldiers".
	makes no mention of such company as you would draw
70	unto you, − captains of gally-foists, such as in a clear	= contemptuous term for pleasure boats or state barges, particularly that of London's mayor;^1,4 Savil is suggesting that Young's friends - and particularly the Captain - have never seen a day of real danger in their lives.
	day have seen Calais; fellows that have no more of God	71-72: fellows…come to = the only time God is in their lives is when they swear by his name.
72	than their oaths come to; they wear swords to reach fire	72-73: they wear…pipe = a fire of juniper was kept burning in the theaters; a man might stick the point of his sword into the fire in order to gain a light for his pipe.^3
	at a play, and get there the oiled end of a pipe for their
74	guerdon; then the remnant of your regiment are	= reward.
	wealthy tobacco-merchants, that set up with one ounce,	= ie. set up shop.^1
76	and break for three; together with a forlorn hope of	76: break = go bankrupt.^1 forlorn hope = a group of desperate men, and also a group of soldiers selected to lead an attack;^1 hope seems to be used as a word of assemblage, like a flock of birds.
	poets; and all these look like Carthusians, things	= a religious order founded by St. Bruno in the 11th century,
78	without linen. Are these fit company for my master’s	whose monks led lives of extreme asceticism, including
	brother?	wearing the poorest of clothing; Savil compares Young's
80		companions to Carthusians in the poverty reflected in their clothing.^1,8
	Young. I will either convert thee, oh, thou pagan steward!
82	Or presently confound thee and thy reckonings. −	81: confound = ruin or corrupt.^2
	Who's there? Call in the gentlemen!	reckonings = calculations as keeper of the house
84		accounts; but reckoning also refers to one's being called by God to account for his or her life,^1 which Young uses punningly with his intent to convert the pagan Savil.
	Sav. Good sir!
86
	Young. Nay, you shall know both who I am, and
88	where I am.
90	Sav. Are you my master’s brother?
92	Young. Are you the sage master-steward, with a face
	like an old ephemerides?	= ie. yellow and wrinkled like the pages of the old almanac, especially one containing astrological and astronomical predictions; ephemerides is properly the plural word, and ephemeris the singular.^1,3
94
	Enter Young's Comrades: Captain, Traveller,	Entering Characters: Young's friends, a soldier, a world-
96	Poet and Tobacco-Man.	traveller, a poet and a smoking expert, enter the stage. The Tobacco-man would have given lessons in smoking
		to the others.^3 We may note here the Tobacco-man speaks no lines in the play.
98	Sav. Then God help all, I say!
100	Young. Ay, and 'tis well said, my old peer of France.	= an allusion to Charlemagne's "Twelve Peers", the name given to the emperor's cadre of elite knights (something akin to the "Knights of the Round Table").^15
	– Welcome, gentlemen, welcome, gentlemen;
102	mine own dear lads, you're richly welcome. Know
	this old Harry-groat.	= a coin from the reign of Henry VIII, portraying the king with long hair and a long face; Young is introducing Savil to his friends with this unflattering comparison.^3
104
	Capt. Sir, I will take your love −	105: the Captain is a jolly soul, happy to make friends with
106		everyone he meets.
	Sav. [Aside] Sir, you will take my purse.
108
	Capt. And study to continue it.	= endeavor to maintain.
110
	Sav. I do believe you.
112
	Trav. Your honorable friend and master's brother	113-5: the Traveller addresses Savil.
114	Hath given you to us for a worthy fellow,
	And so we hug you sir.
116
	Sav. [Aside]
118	H’as given himself into the hands of varlets	118-9: H'as…carved out = Savil censoriously suggests
	But to be carved out. − Sir, are these the pieces?	that Young's friends are likely to take advantage of his
120		generosity. But = the original editions print Not here, corrected by all the editors. H'as = "he has". to be carved out = a reference to the practice of carving out a portion of the master's food for distribution among the servants.^3 are these the pieces = having just been introduced by the name of a cheap coin (Harry Groat), Savil returns the favour by ironically referring to Young's friends as valuable coins (pieces).^3
	Young. They are the morals of the age, the virtues,
122	Men made of gold.
124	Sav. [Aside] Of your gold, you mean, sir.	124: Savil worries that Young will spend all of his 300 pounds supporting and entertaining his friends.
126	Young. This is a man of war, and cries “Go on,”	126-7: Young introduces the Captain, a title which suggests he led a regiment of troops in war. Go on = a cry of encouragement, as if to battle.
	And wears his colours −	= battle flags or standards.^2
128
	Sav. [Aside] In's nose.	129: Savil completes Young's sentence; the notion is that the Captain's nose is red (perhaps from too much drinking), like the face and nose of Shakespeare's character Bardolph, the companion of Prince Harry, whose red countenance was continuously mocked in Henry IV, Parts I and II.^3
130
	Young. In the fragrant field.	131: Bond notes that Young is describing the Captain in "mock-heroic talk" which he has "caught" from the Captain, who himself speaks in the manner of Shakespeare's Pistol, another of Prince Harry's companions.
132	This is a traveller, sir, knows men and manners,
	And has plowed up the sea so far, till both
134	The poles have knocked; has seen the sun take coach,	134: poles have knocked = ie. "reached countries where the wildest improbabilities are fact".^3 the sun takes coach = in Greek mythology, the sun was a golden chariot driven across the sky each day by Apollo.
	And can distinguish the colour of his horses,
136	And their kinds; and had a Flanders-mare leaped there.	= frequently alluded-to powerful horses bred by the
		Flemish; Young is exaggerating the experiences of the Traveller.
138	Sav. 'Tis much.
140	Trav. I have seen more, sir.
142	Sav. 'Tis even enough, o' conscience. Sit down, and rest
	you: you are at the end of the world already. − Would	143: at the end of the world already = perhaps a reference to Britain's being the most distant known land of the ancient world; Savil is humorously suggesting the Traveller should rest because he can travel no further. 143-5: Would you…gift in't = an aside directed at Young, but not so he can hear it: "I wish you had enough income to match the amount of money the Traveller's lies will persuade you to spend on him."
144	you had as good a living, sir, as this fellow could lie
	you out of! h’as a notable gift in't!	= ie. in Traveller's ability to tell lies.
146
	Young. This ministers the smoke, and this the Muses.	146: with the first this, meaning "this person here", Young gestures towards the Tobacco-man; with the second this, Young indicates the Poet. Muses = the nine goddesses who cultivated the arts.
148
	Sav. And you the cloths, and meat, and money. You	149: Savil refers again to the provisions Young will carve out to his friends.
150	have a goodly generation of 'em; pray, let them	= (1) a group of individuals of the same age, and (2) reproduction; it is this latter meaning which Savil puns with multiply in the next line.
	multiply; your brother's house is big enough, and to
152	say truth, h'as too much land, − hang it, dirt!	= a likely aside: "damn it, I meant to say dirt," a contemp- tuous term for "land"^1
154	Young. Why, now thou art a loving stinkard. Fire off	= ie. one would fire off one's hunting gun before setting it aside.^3
	thy annotations and thy rent-books; thou hast a weak	155: with annotations and rent-books, Young again alludes to Savil's role as bookkeeper; an annotation is an inventory of the household's goods that have been seized by the authorities;^1 a rent-book was a notebook listing one's properties, and the rent due from them.^1
156	brain, Savil, and with the next long bill thou wilt run	= list of great expenses (which Young will incur).^1
	mad. − Gentlemen, you are once more welcome to three
158	hundred pounds a-year; we will be freely merry, shall
	we not?
160
	Capt. Merry as mirth and wine, my lovely Loveless.
162
	Poet. A serious look shall be a jury to excommunicate	163-4: ie. "anyone who is not merry convicts himself, and
164	any man from our company.	will be banned from our company."
166	Trav. We will have nobody talk wisely neither.
168	Young. What think you, gentlemen, by all this revenue	168-9: by all…drink = "of all this money I can spend on
	in drink?	alcohol?"
170
	Capt. I am all for drink.
172
	Trav. I am dry till it be so.
174
	Poet. He that will not cry “amen” to this, let him live	175-6: let him…corum = briefly, "let him live and die like
176	sober, seem wise, and die o'th' corum.	a judge."^3
		corum = ie. a legal quorum.^3
178	Young. It shall be so, we'll have it all in drink:
	Let meat and lodging go; they are transitory,	179: so long as they have money to spend on drink, they
180	And show men merely mortal.	shall not worry about room and board.
	Then we'll have wenches, every one his wench,
182	And every week a fresh one, − we'll keep
	No powdered flesh. All these we have by warrant,	183: powdered flesh = meat that was salted to keep it from going bad; Young means they will keep no individual woman for any long period of time, but will rather rotate them regularly, ie. fresh wenches will be regularly required for these gentlemen! warrant = authorization.^2
184	Under the title of “things necessary”;	183: Young is referring to a clause in Elder's instructions requiring Young to be provided with all things necessary to maintain him properly - which Young takes to include an endless supply of alcohol and prostitutes; we may note that Savil did not read aloud any clause which included these words.
	here upon this place I ground it, “the obedience of my	= ie. "in this category I include it".
186	people, and all necessaries.” Your opinions gentlemen?
188	Capt. 'Tis plain and evident that he meant wenches.	= ie. Elder.
190	Sav. Good sir, let me expound it.	= explain the meaning of the clause.^1
192	Capt. Here be as sound men as yourself, sir.	192: ie. "we are just as capable of interpreting the clause as
		you are."
194	Poet. This do I hold to be the interpretation of it: in this
	word “necessary” is concluded all that be helps to man;	= included.^1
196	woman was made the first, and therefore here the
	chiefest.
198
	Young. Believe me, 'tis a learned one; and by these
200	words, “the obedience of my people”, you, steward,	= ie. in Elder's instructions.
	being one, are bound to fetch us wenches.
202
	Capt. He is, he is.
204
	Young. Steward, attend us for instructions.	= ie. "stand by".
206
	Sav. But will you keep no house, sir?	= ie. not take on the responsibility of managing the house.
208
	Young. Nothing but drink; three hundred pounds in drink.
210
	Sav. O miserable house, and miserable I
212	That live to see it! Good sir, keep some meat.	= ie. "please save some money to spend on food."
214	Young. Get us good whores, and for your part, I’ll board you	214-5: it is unclear whether Young considers his offer a reward or a threat.
	In an alehouse! you shall have cheese and onions.
216
	Sav. [Aside]
218	What shall become of me, no chimney smoking?	218: Bond thinks this line suggests that Savil has been able to take advantage of his position to acquire a little extra income or benefits on the side.
	Well, prodigal, your brother will come home.	= as the younger brother wasting his money, Young
220		deserves comparison to the prodigal son of Christ's parable.
	[Exit.]
222
	Young. Come lads, I’ll warrant you for wenches.
224	Three hundred pounds in drink.
226	[Exeunt omnes.]	226: all exit
	END OF ACT I.
	ACT II.
	SCENE I.
	A Bed-Chamber in Lady's House.
	Enter Lady, Welford, Sir Roger.	Entering Characters: Lady is showing Welford his room for the night.
1	Lady. Sir, now you see your bad lodging, I must bid	= Lady is being modest.
2	you good night.
4	Wel. Lady, if there be any want, 'tis in want of you.	= ie. anything missing.
6	Lady. A little sleep will ease that complement.	= "bring relief regarding that missing piece."^1 There may
	Once more, good night.	also be a pun here on compliment (referring to flattering language), though it is uncertain whether this use of compliment was current in the early 17th century.^1
8
	Wel. Once more, dear lady, and then all sweet nights.	= the sense seems to be, "one more thing".
10
	Lady. Dear sir, be short and sweet, then.
12
	Wel. Shall the morrow
14	Prove better to me? shall I hope my suit	= ie. courtship.
	Happier by this night’s rest?
16
	Lady. Is your suit so sickly, that rest will help it?
18	Pray ye, let it rest, then, till I call for it.	= a phrase used in the card game of whist,^3 punning on suit.
	Sir, as a stranger, you have had all my welcome;
20	But had I known your errand ere you came,	= "before you arrived".
	Your passage had been straiter. Sir, good night.	= narrower, more difficult to negotiate:^1 the suggestion is that had Lady known Welford was a suitor, she would not have welcomed him in her home.
22
	Wel. So fair and cruèl! Dear unkind, good night. −	23: a seeming unique use of unkind as a vocative term.
24
	[Exit Lady.]	25: Roger also starts to leave, but is called back by Welford.
26
	Nay, sir, you shall stay with me; I’ll press your zeal	= zeal is usually used to suggest religious enthusiasm.
28	So far.
30	Roger. O, Lord, sir!
32	Wel. Do you love tobacco?
34	Roger. Surely I love it, but it loves not me;	= ie. "disagrees with me"; Roger will find himself tearing up from the smoke.
	Yet with your reverence, I will be bold.	35: "but in your company, I will try it."
36
	Wel. Pray, light it, sir. How do you like it?	37: the pair are smoking pipes.
38
	[They smoke.]	Smoking: the use of tobacco for smoking in the New World was observed by the earliest explorers, including Christopher Columbus. Tobacco was first brought to Europe in 1558 by the Spanish physician Francisco Fernandes. The habit of smoking itself, however, was introduced to Europe by Virginia settlers Ralph Lane (the first governor of Virginia) and Sir Francis Drake, who brought back the first implements for smoking in 1586. Sir Walter Raleigh, in turn, was the man responsible for popularizing pipe-smoking, a fashion which quickly took hold in Elizabethan court society.^10 James I denounced the habit, and even judged a debate on the subject of smoking held at Oxford in 1605.^6
40
	Rog. I promise you, it is notable stinging gear indeed.	= business.
42	It is wet, sir; Lord, how it brings down rheum!	= tears.
44	Wel. Handle it again, sir; you have a warm text of it.	44: Handle it = ie. "work the tobacco between your fingers (to dry it)".^3 text = hand, but also referring to the Scriptures;^1 one of Welford's many jokes incorporating religious terms, as he speaks to the cleric.
46	Roger. Thanks ever premised for it. I promise you,	46: Roger gives thanks as an introduction; as Roger is an educated man, he would naturally use the word premise, a term from logic, and, true to his character, would also enjoy the wordplay of premised and promise. We may note that only the first edition has premised here; all subsequent editions print promised.
	It is very powerful, and, by a trope, spiritual;	= metaphor, figure of speech.
48	For certainly it moves in sundry places.	48: moves = stirs passions,^1 in addition to its usual meaning. sundry = various.^1
50	Wel. Ay, it does so, sir, and me, especially,	= "and it moves me", ie. "spurs me".
	To ask, sir, why you wear a night-cap?
52
	Roger. Assuredly I will speak the truth unto you.
54	You shall understand, sir, that my head is broken;	= wounded.
	And by whom? even by that visible beast,	= obvious or eminent beast,^1 or one who appears to every- one as a beast.^4 Dyce suggests Roger has "the mark of the beast" from Revelations in mind.
56	The butler.	= the butler was the servant usually responsible for the
		wine cellar, as well as the dispensing of drink.^1
58	Wel. The butler? Certainly
	He had all his drink about him when he did it.	59: "he was drunk when he did it."
60	Strike one of your grave cassock! the offence, sir?	= a loose coat or frock, as worn by clerics and others.^1
62	Roger. Reproving him at tray-trip, sir, for swearing.	62: at =ie. while playing. tray-trip = a game of dice, perhaps something like backgammon,^3 likely depending on the throw of three (ie. trey).^1
	You have the total, surely.	63: "that's the whole story".
64
	Wel. You tolled him when his rage was set a-tilt,	65: "you pulled on (tolled), ie. provoked, him when his rage was already at a tipping point (a-tilt) due to his drinking."^3
66	And so he cracked your canons. I hope he has	= canons has various religious meanings, including Church law generally, and the accepted, inspired books of the Bible; there may also be a reference to artillery, as in cannons.
	Not hurt your gentle reading. But shall we see	= ie. of the Scriptures, but also punning on the phrase gentle
68	These gentlewomen to-night?	reader, used by writers when addressing their audience.^1
70	Roger. Have patience, sir,
	Until our fellow Nicholas be deceased,	= ie. Old Nick, the devil,^1 meaning the butler.
72	That is, asleep: for so the word is taken:
	“To sleep, to die; to die, to sleep;” a very figure, sir.	73: Roger sort-of quotes from Shakespeare's Hamlet: "to die, to sleep; to sleep: perchance to dream." figure = metaphor or image;^1 see the next line for Welford's punning use of figure.
74
	Wel. Cannot you cast another for the gentlewomen?	= ie. like a fishing net, meaning "try again"; but also an astrological pun: to cast a figure meant to diagram the arrangement of the planets at a given time.^1
76
	Roger. Not till the man be in his bed, his grave:	= Roger again alludes to Hamlet: "twenty thousand men… go to their graves like beds".
78	His grave, his bed: the very same again, sir.
	Our comic poet gives the reason sweetly;	= the ancient Roman comic playwright Terence, not Shakespeare.^3
80	Plenus rimarum est; he is full of loopholes,	80: Plenus rimarum est = "I am full of holes or chinks",
	and will discover to our patroness.	from Terence's play Eunuch.
82		loopholes = usually narrow, vertical openings in a wall from which to shoot arrows, or admit light; the sense is that the butler, who cannot keep quiet, will reveal (discover) to Lady the facts of the incident with Roger, so the pair should not approach Lady until the butler has gone to bed.
	Wel. Your comment, sir, has made me understand you.
84
	Enter Martha (the Lady’s sister)	Entering Characters: Lady's sister Martha is yet another member of the household.
86	and Abigail to them with a posset.	= a sweet drink of hot milk curdled with alcohol.^3
88	Roger. Sir, be addressed; the Graces do salute you	88: be addressed = "be ready".^9 the Graces = the three beautiful daughters of Jupiter and Eurynome, referring to Martha and Abigail.
	With the full bowl of plenty. −	= Roger playfully uses a variation of the phrase "horn of plenty", referring to a cornucopia.^1
90	Is our old enemy entombed?	= ie. the butler; note that with entombed, Roger continues to connect sleep and death.
92	Abig. He's fast.	= ie. fast asleep.
94	Roger. And does he snore out supinely with the poet?	94: Roger is thinking about a phrase from the Sermonum of
		the Roman poet Horace, "stertitque supinus", meaning "snores on his back".^3
96	Mar. No, he out-snores the poet.
98	Wel. Gentlewoman, this courtesy
	Shall bind a stranger to you, ever your servant.	= tie, ie. oblige, place in debt.
100
	Mar. Sir, my sister's strictness makes not us forget	101-2: just because Lady has such a severe manner (strict-
102	You are a stranger and a gentleman.	ness) does not mean her sister Martha doesn't know the proper way to treat a house-guest.
104	Abig. In sooth, sir, were I changed into my lady,	= truth.
	A gentleman so well endued with parts	= endowed with such good qualities.
106	Should not be lost.	106: ie. "would not be forgotten or left alone;" Abigail is
		flirting again with Welford.
108	Wel. I thank you, gentlewoman,
	And rest bound to you. −
110	[Aside] See how this foul familiar chews the cud!	110: familiar = attending spirit or demon.^2 chews the cud = a disparaging suggestion that Abigail is repeating what Martha has already said;^3 cows regurgi- tate and re-chew their food after it has entered a first stomach;^1 Welford is disgusted by the repulsive Abigail's attention.
	From thee and three-and-fifty good Love deliver me!	= Welford asks personified Love to save him from the attention of old women, as represented by the age of three-and-fifty.
112
	Mar. Will you sit down, sir, and take a spoon?	= ie. eat.
114
	Wel. I take it kindly, lady.
116
	Mar. It is our best banquet, sir.	= snack or desert.^1
118
	Roger. Shall we give thanks?	= ie. say grace, but the others take this to mean simply
120		"express thanks to our hostesses".
	Wel. I have to the gentlewomen already, sir.
122
	Mar. Good Sir Roger, keep that breath to cool your
124	part o' the posset; you may chance have a scalding zeal	124: part = portion. a scalding zeal = a case of fervent religious passion, but of course referring vaguely yet humorously and metaphorically to the hot (scalding) posset.
	else: an you will needs be doing, pray, tell your twenty	125-6: an you…to yourself = "if (an) you feel compelled to pray, please do so on your own"; note the pun on pray, used to mean "please"; tell your twenty = literally means "count to twenty"; Bond suspects it refers to Roger's repetition of his prayers.^3
126	to yourself. − Would you could like this, sir!	= "I hope you like this," spoken to Welford.
128	Wel. I would your sister would like me as well, lady!
130	Mar. Sure, sir, she would not eat you. But banish that	= 128: a joke by analogy: if Welford likes the posset, he will eat it; but if Welford gets his wish, and Lady were to like him, she would not eat him.
	Imaginatiön: she's only wedded	= "idea or image (from your mind)."
132	To herself, lies with herself, and loves herself;	= ie. sleeps.
	And for another husband than herself,
134	He may knock at the gate, but ne'er come in.	= may never.
	Be wise, sir: she's a woman, and a trouble,
136	And has her many faults, the least of which is,
	She cannot love you.
138
	Abig. God pardon her! she'll do worse.	= "she could do much worse!"
140	Would I were worthy his least grief, Mistress Martha!	140: Abigail wishes she were worth the least bit of attention from Welford.
142	Wel. [Aside] Now I must over-hear her.	142: Welford wishes he didn't have to listen to Abigail, whose flattery fills him with revulsion.
144	Mar. Faith, would thou hadst them all, with all my heart!	144-5: Martha is addressing, and insulting, the maid: Abigail
	I do not think they would make thee a day older.	could take on all of Welford's griefs, and they could not age her any further than she already is. Note how Martha addresses Abigail appropriately as thee, but Welford with you, as befits a gentleman.
146
	Abig. Sir, will you put in deeper? 'tis the sweeter.	147: Abigail alludes to a proverbial sentiment; in Ben Jonson's Every Man in His Humour, for example, we find "the deeper, the sweeter"; deep and sweet were commonly paired in the literature of the era, and could be used to refer to a number of concepts, including love and sleep, or, as here, the pleasure associated with eating. put in deeper = eat more vigorously or to the bottom of the bowl.
148
	Mar. Well said, Old-sayings.	= a mock epithet for Abigail, referring to her pithy adage.
150
	Wel. [Aside] She looks like one indeed. −	151: the dash in this line is used to indicate the end of the
152	Gentlewoman, you keep your word: your sweet self	character's aside.
	Has made the bottom sweeter.
154
	Abig. Sir, I begin a frolic: dare you change, sir?	155: Abigail is desirous to exchange (change) witty
156		conversation with Welford.
	Wel. Myself for you, so please you. −
158	[Aside]
	That smile has turned my stomach. This is right,
160	The old emblem of the moyle cropping of thistles.	160: Abigail reminds Welford of a grazing mule (moyle).^3
	Lord, what a hunting head she carries! sure,	161: an unclear metaphor: perhaps Welford is comparing Abigail's head to that of a horse used for hunting.
162	She has been ridden with a martingale.	= a strap looped around the head of a horse to keep it
	Now, Love, deliver me!	from throwing its head back.^1,3
164
	Roger. [Aside]
166	Do I dream, or do I wake? surely I know not.	166f: the exact intent of Roger's speech may appear unclear at this point; but it will not harm the reader to know that Roger has had an understanding with Abigail, and now is stunned to find her obviously flirting with Welford.
	Am I rubbed off? is this the way of all	= ie. erased from the picture.
168	My morning prayers? Oh, Roger, thou art but grass,
	And woman as a flower! Did I for this
170	Consume my quarters in meditation[s], vows,	170: Roger uses a religious metaphor: he has used up all his time (quarters = the 3-hour intervals between the times appointed by church canon for praying)^1 on meditations and vows, both of which can be seen as applying to periods of both prayer and thinking about and making promises to Abigail.
	And wooed her in Heroical Epistles?	171-2: Roger suggests he was wooing Abigail by reading to her the poetry of the English poet Michael Drayton, who, having been born in 1563, was still alive at the time this play was written and performed.^3 His England's Heroical Epistles (1597), modeled on Ovid's Heroides, contained a series of composed poems pretending to be love letters of famous English couples written to each other. The Owl (1604), on the other hand, was more in the line of satire, but has been considered one of Drayton's less successful works.^11
172	Did I expound The Owl?
	And undertook, with labour and expense,
174	The re-collection of those thousand pieces,	174-6: Roger refers to the extensive output of the prolific
	Consumed in cellars and tobacco-shops,	English poet Nicholas Breton, who was born around
176	Of that our honoured Englishman, Nick Breton?	1545, and was still alive into the 1620's;^12 pieces refers to Breton's poems.
	Have I done thus, and am done thus to?
178	I will end with the wise man, and say,
	"He that holds a woman has an eel by the tail."	179: proverbial, included in John Heywood's famous
180		Proverbs of John Heywood of 1546.
	Mar. Sir, 'tis so late, and our entertainment (meaning
182	our posset) by this is grown so cold, that 'twere an	= ie. by this time, by now.
	unmannerly part longer to hold you from your rest. Let
184	what the house has be at your command, sir.
186	Wel. Sweet rest be with you, lady: − and to you	= ie. to Abigail.
	What you desire too.
188
	Abig. It should be some such good thing like yourself, then.	189: Abigail has no shame!
190
	[Exeunt Martha and Abigail.]
192
	Wel. Heaven keep me from that curse, and all my issue!	= children or descendants.
194	Good night, Antiquity.	= a parody of Iniquity, an alternative name for Vice, a buffoonish character from the old morality plays,^1 and frequently alluded to in Elizabethan drama; Antiquity is also of course another reference to Abigail's age.
196	Roger. [Aside] Solamen miseris socios habuisse doloris:	196: literally "misery is easier when one is not the only one",
	But I alone −	or more pithily "misery loves company".^13
198
	Wel. Learned sir, will you bid my man come to me?
200	and, requesting a greater measure of your learning,	200: "and, hoping to spend more profitable time with you in
	good-night, good Master Roger.	the future"; Welford expresses a polite sentiment upon
202		separating from Roger for the night.
	Roger. Good sir, peace be with you!
204
	Wel. Adieu, dear Domine.	= Lord; a polite form of address towards a clergyman.^1
206
	[Exit Roger.]
208
	Half a dozen such	209f: Welford now tells us what he really thinks of Roger!
210	In a kingdom would make a man forswear confession;
	For who, that had but half his wits about him,
212	Would commit the counsel of a serious sin	= judgment.
	To such a crewel night-cap? −	= a worsted yarn, used for making the vestments of clergy.^1
214
	Enter Welford's Servant, drunk.
216
	Why, how now?
218	Shall we have an antic? Whose head do you carry	= grotesque or bizarre entertainment.^2
	Upon your shoulders that you jowl it so	= throw.^3
220	Against the post? is't for your ease, or have
	You seen the cellar? where are my slippers, sir?	= ie. where the liquor would be kept.
222
	Serv. Here, sir.
224
	Wel. Where, sir? have you got the pot-verdugo?	= this odd and unique expression has puzzled all the
226	Have you seen the horses, sir?	commentators; the OED suggests "dizziness from
		consuming alcohol"; Dyce quotes an earlier editor who suggests "a stunning blow from drink", based on the definition of verdugo described below. pot = a drinking vessel. verdugo = all the old editors point out that verdugo is a Spanish word, meaning "executioner", or "severe stroke",^4 and not at all related to its English near-homo- nym vertigo; there is also an entry for verdugo in John Florio's 1598 Italian-English dictionary, which he defines as a "rapier, a tucke or little sword". seen (line 226) = ie. seen to.
228	Serv. Yes, sir.
230	Wel. Have they any meat?	= ie. "been fed?" (meat = fodder).^1
232	Serv. Faith, sir, they have a kind of wholesome rushes;	= an oxymoron; the servant comments on the lack of quality
	hay I cannot call it.	fodder in the house: rushes would provide a poor substitute for the cut grass that makes up hay.
234
	Wel. And no provender?	= ie. proper dry food, such as oats or hay, for a horse.^1
236
	Serv. Sir, so I take it.	237: "I believe that is correct."
238
	Wel. You are merry, sir; and why so?	239: merry = droll, amusing.
240		and why so? = "and why do you believe there is no provender available?" Welford actually finds his drunken servant entertaining, and is curious to hear him explain himself; this is an endearing characteristic of Welford's.
	Serv. Faith, sir, here are no oats to be got, unless you'll
242	have 'em in porridge; the people are so mainly given to
	spoon-meat. Yonder’s a cast of coach-mares of the	243: spoon-meat = ie. liquid food, as consumed by invalids.^1
244	gentlewoman's, the strangest cattle!	Yonder's = "and over there is".
		cast = pair.
246	Wel. Why?
248	Serv. Why, they are transparent, sir; you may see	= ie. so thin as to be see-through, due to their being so
	through them: and such a house!	ill-fed.
250
	Wel. Come, sir, the truth of your discovery.
252
	Serv. Sir, they are in tribes, like Jews: the kitchen and	253-360: this speech could easily have been converted into verse - it is clearly written in iambs - but I follow both Bond and Dyce in leaving it as printed, in prose. tribes = ie. metaphor for "factions"; the servant goes on in this speech to describe his observations of the cliques formed by Lady's various servants.
254	the dairy make one tribe, and have their faction and
	their fornication within themselves; the buttery and the	255: fornication within themselves = ie. "they only sleep around with each other"; fornication is a surprisingly ancient word, having first appeared around 1400 A.D. in a Northumbrian poem known as Cursor Mundi. buttery = store room or liquor room.
256	laundry are another, and there's no love lost; the	= ie. the members of the two cliques don't like each other.^1
	chambers are entire, and what's done there is somewhat	= ie. those who work as servants in the rooms form a full faction by themselves.^1
258	higher than my knowledge; but this I am sure, between	258-260: between…fasting = as the factions find sexual
	these copulations, a stranger is kept virtuous, that is,	comfort only amongst themselves, Welford's servant can
260	fasting. But of all this, the drink, sir −	find no bedmate, and so is "forced" to remain unstained
		by sin; copulation is another ancient word that dates back to 1400 A.D., but it originally meant simply "linking", and slightly later in the 15th century came to mean, well, "fornication".^1
262	Wel. What of that, sir?
264	Serv. Faith, sir, I will handle it as the time and your
	patience will give me leave. This drink, or this cooling	= permission.
266	julap, of which three spoonfuls kills the calenture, a	266: julap = a sweet drink.^3 three spoonfuls kills = note the not uncommon lack of concern with subject-verb agreement. calenture = a type of fever.
	pint breeds the cold palsy −	= causes.^1
268
	Wel. Sir, you belie the house.	= slander.
270
	Serv. I would I did, sir! But, as I am a true man, if	271: I would I did = "I wish I was slandering Lady's
272	'twere but one degree colder, nothing but an ass's hoof	household", ie. if he was lying, the facts would be
	would hold it.	otherwise. true = honest.^4 271-3: in a round-about way, the servant swears he is telling the truth; the learned young man alludes to a legend included by the 2nd century Roman historian Justin in his History, in which he wrote that the waters of Mt. Nonacris in Arcadia were "of a coldness mortal to the drinker (hence the servant's reference to the cold palsy in line 267), and able to penetrate everything except a horse's hoof" (Bond, p. 388).
274
	Wel. I am glad on't, sir; for if it had proved stronger,
276	You had been tongue-tied of these commendations.	276: "you would have been too drunk to express these
	Light me the candle, sir: I'll hear no more.	compliments to the house."
278
	[Exeunt.]
	ACT II, SCENE II.
	A Room in the House of Elder Loveless.
	Enter Young Loveless, Captain, Traveller, Poet,
	Tobacco-man, with Wenches and two Fiddlers.
1	Young. Come, my brave man of war, trace out thy darling.	= "dance with your girl."^1
2	And you, my learned council, set and turn boys;	= "have a seat". = turn into, ie. act like.
	Kiss till the cow come home; kiss close, kiss close, knaves;	3: till the cow come home = this still-proverbial expression (albeit with a single cow) dates back at least to 1593, when it appeared in an instructional book for conversa- tional French! close = perhaps the sense is "tightly".^1
4	My modern Poet, thou shalt kiss in couplets. −	= ordinary, ie. trite.^4 = perhaps punning, Young may be
		suggesting the Poet take two women for himself.
6	Enter Servant, with wine.
8	Strike up, you merry varlets, and leave your peeping;	= ie. spying on the amorous activities; Young is addressing
	This is no pay for fiddlers.	the musicians.
10
	Capt. Oh, my dear boy, thy Hercules, thy Captain,	= meaning himself; note the Captain addresses Young with the informal and intimate thee.
12	Makes thee his Hylas, his delight, his solace!	= after killing Hylas' father, the king of Dryopes, Hercules took Hylas with him when he, Hercules, left with the Argonauts to seek the Golden Fleece; the youthful and attractive Hylas soon became Hercules' favourite. When the ship stopped in Mysia, Hylas went to fetch some water at a spring, where he became enchanted by the water nymphs, and disappeared, never to be heard from again.
	Love thy brave man of war, and let thy bounty	= generosity.
14	Clap him in shamois. Let there be deducted	= dress him in clothing of soft, high quality leather;^1 the Captain is hoping to gain more than just drink from Young.
	Out of our main potatiön, five marks,	= ie. drinking money. = a mark was a unit of money worth 2/3 pound, though there was no mark coin.
16	In hatchments to adorn this thigh,	= silver or gold ornamentation added to the hilt of a sword, which was worn of course along the thigh.^3
	Cramped with this rest of peace, and I will fight	= without having a war to fight, the Captain's legs lack their
18	Thy battles.	proper adornment.^3
20	Young. Thou shalt have't, boy, and fly in feather. −	= "dress smartly", with an allusion to the then-fashionable wearing of feathers.^3,9
	Lead on a march, you michers.	= skulkers or loiterers, ie. knaves, meaning the fiddlers.^4
22
	Enter Savil.
24
	Sav. Oh, my head, oh, my heart! what a noise and change is here!
26	Would I had been cold i' the mouth before this day,	= ie. dead.
	And ne'er have lived to see this dissolution!
28	He that lives within a mile of this place,
	Had as good sleep in the perpetual	= ie. will have.
30	Noise of an iron mill. There's a dead sea	= ie. a large lake's worth; the OED's earliest recorded English reference to the Dead Sea is from 1325.^1
	Of drink i' the cellar, in which goodly vessels	31-33: having begun an extended nautical metaphor with
32	Lie wrecked; and in the middle of this deluge	dead sea, Savil compares the disarray caused by
	Appear the tops of flagons and black-jacks	Young's orgy to that left behind by a storm: vessels
34	Like churches drowned i' the marshes.	refers to both drinking vessels and boats; a flagon is a drinking cup with a handle and spout, a blackjack a leather beer jug.^1
36	Young. What, art thou come? my sweet Sir Amias,	= likely meaning Aeneas, a hero of the Trojans; Young is addressing to Savil.
	Welcome to Troy! Come, thou shalt kiss my Helen,	= Young seems to compare himself to Paris, the Trojan
38	And court her in a dance.	who eloped with the beautiful Helen, wife of Menelaus, precipitating the Trojan War.
40	Sav. Good sir, consider.	= ie. "please reflect on your behavior".
42	Young. Shall we consider, gentlemen? how say you?
44	Capt. Consider! that were a simple toy, i’ faith:	= weak or frivolous joke or comment.^1
	Consider! whose moral's that?
46	The man that cries "consider" is our foe:
	Let my steel know him.	= ie. sword.
48
	Young. Stay thy dead-doing hand; he must not die yet:	= hold. = death-dealing.
50	Prithee be calm, my Hector.	= yet another hero of Troy, and Paris' brother.
52	Capt. Peasant slave!	52: Captain addresses Savil; note that the Captain, probably now drunk, addresses Savil contemptuously as thee in this speech.
	Thou groom composed of grudgings, live, and thank	53: thou groom = ie. "you low-down servant"; probably insulting to a man who holds the enviable position of steward. grudgings = complaints.^1
54	This gentleman; thou hadst seen Pluto else:	54: This gentleman = ie. Young, for saving his life. hadst = would have. Pluto = god of the underworld, ie. hell.
	The next "consider" kills thee.	55: "the next time I hear you say consider (ie. the next time
56		Savil admonishes them), you will die."
	Trav. Let him drink down his word again, in a gallon
58	Of sack.	= a white wine.^2
60	Poet. 'Tis but a snuff: make it two gallons,	= sniff or taste,^3 or the leftover amount of drink remaining at
	And let him do it kneeling in repentance.	the bottom of a vessel.^1
62
	Sav. Nay, rather kill me; there’s but a layman lost.	= proverbial: a person was spiritually lost if he or she did not belong to the church;^3 Savil refers to himself as the lost one, as he won't be affiliated with the partiers.
64	Good Captain, do your office.	= "do your duty, ie. "please kill me".
66	Young. Thou shalt drink, steward; drink and dance, my steward. −
	Strike him a hornpipe, squeakers! − Take thy stiver,	67: hornpipe = a lively dance tune.^1 squeakers = the earliest citation for the word squeaker in the OED is 1650, used to refer to one who "plays on a squeaking instrument".^1 Our authors' use here predates 1650, and suggests a contemptuous term for the musicians. stiver = appears to derive from stive, which Nathan Bailey's 1731 An Universal Etymological Dictionary defines as another term for "stews", or an area occupied by prostitutes, hence a prostitute. We may note that the original editions all print striver, which all the editors emend to stiver.
68	And pace her till she stew.	68: a line dense with multiple meanings: one can pace a
		dance, but the use of her as a direct object also suggests walking her like a horse; to stew is to perspire, but stews as a noun refers to an area occupied by prostitutes, which is apropos indeed.
70	Sav. Sure, sir, I cannot
	Dance with your gentlewomen; they are too light for me.	= light was a loaded Elizabethan word: it could mean (1) nimble, as in "light on one's feet"; (2) trivial, of slight importance or value; and (3) unchaste, wanton.^1
72	Pray, break my head, and let me go.	72: Savil would still rather die than join the festivities.
74	Capt. He shall dance, he shall dance.
76	Young. He shall dance and drink, and be drunk and dance,
	And be drunk again, and shall see no meat in a year.	= take no real food, as opposed to booze.
78
	Poet. And three quarters.	79: Bond calls this a "pointless addition" of the Poet's.
80
	Young. And three quarters be it.
82
	[Knocking within.]	= from offstage.
84
	Capt. Who knocks there? Let him in.
86
	Sav. [Aside] Some to deliver me, I hope.	= someone. = save.
88
	Enter Elder Loveless, disguised.	89: an important stage convention of the era was that disguises were absolutely impenetrable to other characters, or at least until it served the plot for it to be otherwise.
90
	Elder. Gentlemen, God save you all!	= common Elizabethan greeting.
92	My business is to one Master Loveless.
94	Capt. This is the gentleman you mean; view him,
	And take his inventory; he's a right one.
96
	Elder. He promises no less, sir.
98
	Young. Sir, your business?
100
	Elder. Sir, I should let you know, − yet I am loath, −	= ie. "I hate to have to tell you this".
102	Yet I am sworn to 't, − would some other tongue	= "to do it". = "I wish".
	Would speak it for me!
104
	Young. Out with it, i' God's name!
106
	Elder. All I desire, sir, is the patiënce	107-9: Elder, slow to report his "news", asks first that
108	And sufferance of a man; and, good sir, be not	Young be prepared to accept it with fortitude.
	Moved more −	= emotionally stirred or upset.
110
	Young. Than a pottle of sack will do:	= a half-gallon drinking vessel.^1
112	Here is my hand. Prithee, thy business?	112: "I offer you my hand as a pledge not to get upset. Please, what is your business?"
114	Elder. Good sir, excuse me; and whatsoever	114-5: "forgive me for what I am about to tell you, but
	You hear, think must have been known unto you;	whatever I say, remember that someone had to tell you."
116	And be yourself discreet, and bear it nobly.	= ie. "don't do anything rash".^26
118	Young. Prithee, despatch me.	= despatch me usually means "kill me", but the sense here
		is one of "conclude your business" or "get to the point".^1
120	Elder. Your brother’s dead, sir.
122	Young. Thou dost not mean − dead drunk?
124	Elder. No, no; dead, and drowned at sea, sir.
126	Young. Art sure he’s dead?
128	Elder. Too sure, sir.
130	Young. Ay, but art thou very certainly sure of it?
132	Elder. As sure, sir, as I tell it.
134	Young. But art thou sure he came not up again?
136	Elder. He may come up, but ne’er to call you brother.
138	Young. But art sure he had water enough to drown him?
140	Elder. Sure, sir, he wanted none.	= lacked.
142	Young. I would not have him want; I loved him better.	= Young puns: to want is to live in poverty.^1
	Here I forgive thee; and, i' faith, be plain;
144	How do I bear it?
146	Elder. Very wisely, sir.
148	Young. Fill him some wine. − Thou dost not see me moved;	= upset.
	These transitory toys ne'er trouble me;	= momentary or slight trifles,^1 referring to the news of his
150	He's in a better place, my friend, I know 't.	brother's death.
	Some fellows would have cried now, and have cursed thee,
152	And fallen out with their meat, and kept a pudder;	152: fallen out…meat = ie. lost their appetites.^1 kept a pudder = made a noise or to-do.^27 The OED considers pudder an alternate spelling of pother.
	But all this helps not. He was too good for us;
154	And let God keep him!
	There's the right use on 't, friend. Off with thy drink;	= ie. "finish off".
156	Thou hast a spice of sorrow makes thee dry. −	= touch.^1 = ie. "that is making you thirsty."
	Fill him another. − Savil, your master’s dead;
158	And who am I now, Savil? Nay, let’s all bear it well:	= the answer to the question is, "your new master!"
	Wipe, Savil, wipe; tears are but thrown away.
160	We shall have wenches now; shall we not, Savil?	160: the earliest editions print the words "Drink to my friend
		Captain" at the end of this speech, but are generally omitted, as they do not make sense given the dialogue that immediately follows.
162	Sav. Yes, sir.
164	Young. And drink innumerable?
166	Sav. Yes, forsooth, sir.	= in truth.
168	Young. And you'll strain courtesy, and be drunk a little?	= the phrase means to be "over-insistent" about observing
		proper conduct or ceremony:^1 Young is suggesting with some irony that Savil should lighten up and join the party.
170	Sav. I would be glad, sir, to do my weak endeavour.
172	Young. And you may be brought in time to love a wench too?
174	Sav. In time the sturdy oak, sir −	174: Savil alludes to the proverb, "in time, (a) small wedge
		will cleave the mightiest oake", which appeared in 1582 in the Ekatompathia, or Watson's Passions, a collection of love poems.^4 The adage seems in turn to have its "roots" at least as far back as Virgil, from Book 6 of the Aeneid: "piercing wedges cleave the stubborn oak".
176	Young. Some more wine
	For my friend there.
178
	Elder. [Aside] I shall be drunk anon	= soon.
180	For my good news: but I have a loving brother,	= ie. in return for. = no doubt sarcastic.
	That's my comfort.
182
	Young. Here’s to you, sir;
184	This is the worst I wish you for your news:
	And if I had another elder brother,
186	And say it were his chance to feed more fishes,	= (bad) luck. = humorous for "drown".
	I should be still the same you see me now,
188	A poor contented gentleman. −
	More wine for my friend there; he's dry again.	= ie. thirsty or needing a drink.
190
	Elder. [Aside] I shall be, if I follow this beginning.	191: Elder puns on dry, which could mean "emotionally numb", but also "sexually impotent", from over-drinking.
192	Well, my dear brother, if I scape this drowning,	= escape. = ie. in alcohol; Elder is still speaking in an aside here.
	Tis your turn next to sink; you shall duck twice	= ie. slip under the water.
194	Before I help you. − Sir, I cannot drink more;
	Pray, let me have your pardon.	195: ie. "please excuse me, but I must go now."
196
	Young. Oh, Lord, sir, 'tis your modesty! − More wine;
198	Give him a bigger glass. − Hug him, my Captain:
	Thou shalt be my chief mourner.
200
	Capt. And this my pennon. − Sir, a full carouse	= a plume or pennant; the Captain raises his tankard.^3
202	To you, and to my lord of land here.
204	Elder. [Aside] I feel a buzzing in my brains; pray God
	They bear this out, and I'll ne'er trouble them	205-6: They bear…again = "if my brains (They) can
206	So far again. − Here's to you, sir.	manage all this alcohol, I'll never bother them again!"
208	Young. To my dear steward.
	Down o' your knees, you infidel, you pagan!	209: Young adopts the Poet's suggestion in line 61 above
210	Be drunk, and penitent.	to force Savil to kneel and drink "in penitence."
212	Sav. Forgive me, sir.	212: Savil kneels.
	And I'll be anything.
214
	Young. Then be a bawd;	= supplier of prostitutes.
216	I’ll have thee a brave bawd.	= excellent.
218	Elder. Sir, I must take
	My leave of you, my business is so urgent.
220
	Young. Let's have a bridling cast before you go. −	= originally referring to a parting drink given to a man on horseback, but used generally for "a parting drink".^1
222	Fill’s a new stoop.	= stoup, cup.^2
224	Elder. I dare not, sir, by no means.	223: note the double negative of the line.
226	Young. Have you any mind to a wench? I would	= ie. inclination or desire.
	Fain gratify you for the pains you took, sir.	= like to. = "efforts (on my behalf)".
228
	Elder. As little as to the t'other.	= the other; the phrase, though commonly used, is tech- nically redundant, as t'other means "the other"; here Elder means he has as little desire for a woman as he does for another drink.
230
	Young. If you find any stirring, do but say so.	= ie. impulse, desire.
232
	Elder. Sir, you are too bounteous: when I feel that itching,	= generous. = lustful desire.
234	You shall assuage it, sir, before another.	= alleviate.
	This only, and farewell, sir:	= "just one more thing".
236	Your brother, when the storm was most extreme,
	Told all about him, he left a will, which lies close	= hidden.
238	Behind a chimney in the matted chamber.	= carpeted; a mat was a coarse, woven floor covering.^3
	And so, as well, sir, as you have made me able,
240	I take my leave.
242	Young. Let us embrace him all. −
	If you grow dry before you end your business,
244	Pray, take a bait here; I have a fresh hogshead for you.	= refreshment.^1 = cask.
246	Sav. [Drunk] You shall neither will nor choose, sir. My	= desire; Savil seems to hearken back to Elder's mention of a will above in line 237.
	master is a wonderful fine gentleman; has a fine state, a	= estate.
248	very fine state, sir: I am his steward, sir, and his man.
250	Elder. [Aside]
	Would you were your own, sir, as I left you!	= ie. "if only you were still your own man", a common expression for one who is not controlled by others, ie. Savil should be the one in charge here.
252	Well, I must cast about, or all sinks.	252: cast about = figure out a plan, but also casting as a net in the water.^1 all sinks = all is lost; note Elder's repeated use of drowning imagery.
254	Sav. Farewell, gentleman, gentleman, gentleman!	254: Savil is hilariously drunk; the comic motif of the drunken or alcoholic servant was common in drama of the era.
256	Elder. What would you with me, sir!	= "do you want".
258	Sav. Farewell, gentleman!
260	Elder. Oh, sleep, sir, sleep!
262	[Exit Elder.]
264	Young. Well, boys, you see what’s fallen; let’s in and drink.	= taken place, happened. = ie. go in.
	And give thanks for it.
266
	Sav. Let’s give thanks for it.	267: the early editions give this line to Captain, but it is
268		clearly intended for Savil, who is drunkenly repeating everything he hears.
	Young. Drunk, as I live!
270
	Sav. Drunk, as I live, boys!
272
	Young. Why,
274	Now thou art able to discharge thine office,	= "perform the duties of your position".
	And cast up a reckoning of some weight. −	= make a calculation, again alluding to Savil's position as steward; but Young clearly also uses cast up to mean "vomit".^1
276	I will be knighted, for my state will bear it;	= "I can afford it": the allusion is to the wholesale selling of knighthoods by James I to raise money for the government; the practice was mocked mercilessly by the writers and dramatists of the day.
	Tis sixteen hundred, boys. Off with your husks;	277: sixteen hundred = Young can now expect to enjoy and spend the full annual income from Elder's estate. Off with your husks = "take off your clothes." Young's companions are no doubt coarsely attired.
278	I’ll skin you all in satin.	= dress.^1
280	Capt. Oh, sweet Loveless!
282	Sav. All in satin! Oh, sweet Loveless!
284	Young. March in, my noble compeers; −	= companions.
	And this, my countess, shall be led by two:	285: "and this guy, my dear (pointing to the Poet), shall be
286	And so proceed we to the will.	led by two women" (see line 4 above).
		countess = Young, vulgar, uses this word because its first syllable would sound like the rude name for a woman's privates.
	[Exeunt.]
	ACT II, SCENE III.
	A Room in Morecraft's House.
	Enter Morecraft and Widow.	Entering Characters: Morecraft is a money-lender, and the gentleman who has taken all of Young Loveless' forfeited property; Widow is, well, a widow, and wealthy. Since money-lenders charged interest on loans, and stood to take over the entire security if a borrower defaulted, they were understandably the target of much vicious humor on the Elizabethan stage. Unfortunately, there was a strong ethnic prejudice in the humor, as stage money-lenders were always Jewish. As would be expected, the money-hungry Morecraft is courting the wealthy Widow.
1	More. And, widow, as I say, be your own friend:	= a common expression: "do what serves your own interest best." Morecraft is trying to convince the wealthy Widow to marry him.
2	Your husband left you wealthy, ay, and wise;	= the adjectives wealthy and wise were frequently paired in the literature of the 16th and 17th centuries.
	Continue so, sweet duck, continue so.
4	Take heed of young smooth varlets, younger brothers;	4-7: Morecraft counsels Widow to avoid marrying youthful flattering rogues (smooth varlets)^1 and younger brothers - with regards to the latter, the first-born son generally inherited the entire estate of a deceased man, leaving younger siblings to fend for themselves; Widow could expect such prospective husbands, he continues, to squander all her wealth; in other words, she would do herself a favour by engaging herself to a mature and rich man like himself!
	They are worms that will eat through your bags;	= ie. money-bags
6	They are very lightning, that, with a flash or two,
	Will melt your money, and never singe your purse-strings;
8	They are colts, wench, colts, heady and dangerous,	8: colts = common term describing lads who are young, inexperienced, and unmanageable. heady = headstrong or capricious.^1
	Till we take 'em up, and make 'em fit for bonds.	= (1) mortgages, and (2) shackles; the idea is that those who default on Morecraft's mortgages will end up in debtor's prisons.
10	Look upon me; I have had, and have yet,
	Matter of moment, girl, matter of moment:	= as he is asking Widow to turn her eye to him, the sense may be "important or substantial qualities".^1
12	You may meet with a worse back; I'll not commend it.	12: back = ie. referring to his strength or ability to bear a burden; there may be some innuendo here regarding Morecraft's sexual prowess. commend it = (self) praise it.
14	Widow. Nor I neither, sir.	14ff: Widow's response indicates she is not interested in Morecraft.
16	More. Yet thus far, by your favour, widow, 'tis tough.	= ie. referring again to his back.
18	Widow. And therefore not for my diet; for I love a tender one.	18: ie. "a gentle man", with a hint of "a solicitous or gentle lover".
20	More. Sweet widow, leave your frumps, and be edified.	= "cease your jeers, ie. mocking".^1 = instructed.
	You know my state: I sell no pérspectives,	21: state = ie. circumstances. perspective = a picture or glass that when viewed or viewed through produces a distorted image;^3 Morecraft's point here and in the next line is that he doesn't waste his time trying to make money by selling trivial items; there is perhaps an extra sense that Morecraft is not presenting a false image of himself. In verse, perspective(s) is usually stressed on its first syllable.
22	Scarfs, gloves, nor hangers, nor put my trust in shoe-ties;	= a hanger is an ornamental strap, attached to the sword belt, which held one's sword.^1,3
	And where your husband in an age was rising	23-27: Morecraft compares how he has been getting wealthy in large leaps (as a usurer) while Widow's husband made his money in contemptibly small increments as a grocer, ie. selling spices, sugar, tea and coffee, etc.^1 where = whereas.^4
24	By burnt figs, dredged with meal and powdered sugar,	= sprinkled.^1 = ground grain.^1
	Sanders and grains, worm-seed, and rotten raisins,	25: Sanders = ie. sandalwood, a wood from India whose fragrant oil was used for perfuming.^10 worm-seed = a generic name for various plant which were used to kill or expel intestinal worms.^1
26	And such vile tobacco that made the footmen mangy;	26: footmen = servants who ran alongside a wealthy person's coach or carriage; mangy = a metaphor or exaggerated allusion to the skin disorders one might get from smoking or exposure to tobacco smoke.
	I, in a year, have put up hundreds;
28	Enclosed, my widow,	28-29: Morecraft uses the image of fencing in a meadow to describe his success in gaining much property via the failure of his borrowers to pay back his loans.
	Those pleasant meadows, by a forfeit mortgage;
30	For which the poor knight takes a lone chamber,	30-31: Morecraft describes the ruined fortunes of once
	Owes for his ale, and dare not beat his hostess.	wealthy men who have lost their property to Morecraft.
32	Nay, more −	takes a lone chamber = rents a single room; lone
		probably puns with loan.
34	Widow. Good sir, no more. Whate’er my husband was,
	I know what I am; and, if you marry me,
36	You must bear it bravely off, sir.	36: the sense is, "you must take me as I am."
38	More. Not with the head, sweet widow.	= an example of the ubiquitous joke about the horns a
		cuckolded husband was said to wear on his forehead.^3 Morehead is, with weak humour, suggesting he hopes that his burden will not be to be cheated on.
40	Widow. No, sweet sir,
	But with your shoulders: I must have you dubbed;	= Widow requires that her next husband become a knight; another reference to notorious practice of selling knighthoods during the reign of James I.
42	For under that I will not stoop a feather.	= ie. below that status. = not did not appear in the very earliest quartos.
	My husband was a fellow loved to toil,	= who loved.
44	Fed ill, made gain his exercise, and so	= ate poorly (because he was too cheap to consume or pay for quality food).
	Grew costive; which, for that I was his wife,	45: costive = Widow uses costive to mean (1) miserly, and (2) with fed ill, constipated.^1 45-46: for that…way to = as a wife, Widow was obliged to live in as miserly a fashion as her husband demanded.
46	I gave way to, and spun mine own smocks coarse,	= Widow's image of her sewing her own undergarments
	And, sir, so little − but let that pass:	(smocks), or repairing them continuously instead of ever getting new ones, graphically demonstrates the poverty of her personal possessions and her mean lifestyle; but the mention of her unmentionables causes Widow in line 47 to break off this train of slightly embarrassing thought.
48	Time, that wears all things out, wore out this husband;
	Who, in penitence of such fruitless five years marriage,	= meaning both (1) unsuccessful and (2) barren or childless.^1
50	Left me great with his wealth; which, if you'll be
	A worthy gossip to, be knighted, sir.	= friend or sponsor to, as a godparent at a baptismal.
52
	Enter Savil.
54
	More. Now, sir, from whom come you? whose man are you, sir?	= servant.
56
	Sav. Sir, I come from young Master Loveless.
58
	More. Be silent, sir;
60	I have no money, not a penny for you:
	He's sunk, your master's sunk; a perished man, sir.	61: Morecraft is referring to Young, who is completely
62		broke, so Morecraft will lend him no more money; in using sunk and perished to refer to Young's financial ruin, however, he inadvertently uses words which obviously can apply to Elder, as Savil's response shows.
	Sav. Indeed, his brother’s sunk, sir; God be with him!
64	A perished man, indeed, and drowned at sea.
66	More. How saidst thou, good my friend? his brother drowned?
68	Sav. Untimely, sir, at sea.
70	More. And thy young master
	Left sole heir?
72
	Sav. Yes, sir.
74
	More. And he wants money?
76
	Sav. Yes;
78	And sent me to you, for he is now to be knighted.
80	More. Widow, be wise; there’s more land coming, widow;	80: as Young is now once again propertied, Morecraft will
	Be very wise, and give thanks for me, widow.	gladly lend him money, fully expecting him to default, thus forfeiting to Morecraft his inherited fortune.
82
	Widow. Be you very wise, and be knighted, and then	83-84: Widow reminds Morecraft that she will not marry
84	give thanks for me, sir.	him without his getting knighted.
86	Sav. What says your worship to this money?
88	More. I say,
	He may have money, if he please.
90
	Sav. A thousand, sir?
92
	More. A thousand, sir, provided any wise, sir	= way.
94	His land lie for the payment; otherwise −	= his property stands in security for.
96	Enter Young Loveless, Captain, Traveller,
	Poet, and Tobacco-man.
98
	Sav. He’s here himself, sir, and can better tell you.
100
	More. My notable dear friend, and worthy Master Loveless,
102	And now right worshipful, all joy and welcome!	= an honorific title for man of importance.^1
104	Young. Thanks to my dear incloser, Master Morecraft:	= one who fences in common land in order to signal his taking possession of it.^1
	Prithee, old angel-gold, salute my family;	105: angel-gold = an allusion to the English gold coin bearing the image of the archangel Michael. salute = greet. family = ie. his companions.
106	I’ll do as much for yours. −	106: Young has noticed the attractive Widow; since
	This, and your own desires, fair gentlewoman.	salute can also more specifically mean "to greet with
108		a kiss", and as it was the custom in England for newly- introduced strangers to exchange a kiss, Young suggests he will gladly salute the Widow. Elizabethan drama is full of characters who look forward to taking advantage of this custom when introduced to attractive members of the opposite sex.
	[Kisses Widow.]
110
	Widow. And yours, sir, if you mean well. –
112	[Aside] 'Tis a handsome gentleman.
114	Young. Sirrah, my brother’s dead.	= a familiar form of address.
116	More. Dead!
118	Young. Dead;
	And by this time soused for ember-week.	119: soused = pickled for preservation, but also with the
120		secondary meaning of "soaked".^1 ember weeks = four different weeks of the year during which fasting is observed on Wednesday, Friday and Saturday.^1 The sense, per Weber, is that Elder's body has been preserved to be eaten in ember week.
	More. Dead!
122
	Young. Drowned, drowned at sea, man; by the next fresh conger	123: conger = a frighteningly large species of eel (up to ten feet in length) found off the coast of Britain.^1 Young
124	That comes, we shall hear more.	humorously talks of the conger as if it were a ship delivering news from afar, or a messenger in itself.
126	More. Now, by the faith of my body,	= it was common for a character to swear by his or her body or body parts.
	It moves me much.	127: at this point, Morehead begins to weep - but are they
128		only crocodile tears?
	Young. What, wilt thou be an ass,
130	And weep for the dead? why, I thought nothing but
	A general inundation would have moved thee.	= large flood, which, as Bond states, would swallow up
132	Prithee, be quiet; he hath left his land behind him.	Morecraft's land.^3
134	More. Oh, has he so?
136	Young. Yes, faith, I thank him for 't; I have all, boy.
	Hast any ready money?
138
	More. Will you sell, sir?
140
	Young. No, not outright, good Gripe; marry, a mortgage.	= vulture.^3 = a mild oath, derived from the Virgin Mary.
142	Or such a slight security.
144	More. I have	144-6: Morecraft decides he wants to buy the Loveless
	No money, sir, for mortgage: if you will sell,	estate outright.
146	And all or none, I’ll work a new mine for you.	= ie. provide him with a fresh source of funds.
148	Sav. Good sir, look afore you; he'll work you out of all	148f: in this difficult speech, Savil appears to be explaining to Young the consequences of selling his land to Morecraft, who Savil expects will cheat Young in some way; Young will then have no choice but to go to sea, perhaps joining the navy (hence the reference to the poor diet he would expect to have), and expect to be sunk by an enemy ship.
	else. If you sell all your land, you have sold your	= sold out, betrayed^1
150	country; and then you must to sea, to seek your brother,	= ie. go to. = ie. who is already underwater.
	and there lie pickled in a powdering-tub, and break your	= a vat used for pickling fish, but tub could also humorous- ly describe a boat.^1 It is worth noting that powdering tub was also used to describe a sweating treatment for venereal disease.
152	teeth with biscuits and hard beef, that must have	= representative food from a British sailor's diet.
	watering, sir: and where’s your three hundred pounds a-	= ie. soaked in water, they are so dry.^1
154	year in drink, then? If you'll tun up the Straits, you may;	154: tun up the straits = Bond suggests the meaning to be, "the only drink you will get is salt-water." tun up = store in casks;^1 later editions print turn up, while Dyce wonders if the correct wording should have been run up; these alternatives do seem to make more sense. the Straits = usually this refers to the Straits of Gibraltar, but could also refer to the Straits of Dover.^1
	for you have no calling for drink there but with a
156	cannon, nor no scoring but on your ship's sides; and	= the tallying up with marks of one's tab at a tavern, but also suggesting an enemy cannon wrecking or marking his ship's sides.
	then, if you scape with life, and take a faggot-boat and a	= get rescued or picked up by a passing timber ship.^3
158	bottle of usquebaugh, come home, poor man, like a type	158: usquebaugh = whiskey. type = image or symbol.^1
	of Thames-street, stinking of pitch and poor-John. I	159: Thames Street parallels the Thames River. Also known
160	cannot tell, sir; I would be loath to see it.	informally as Stockfishmonger's Row, its south side contained all the old walled city's wharfs.^14 pitch = a type of tar used to calk ships. poor-john = salted and dried hake (a fish).^3
162	Capt. Steward, you are an ass, a measled mongrel; and,	= leprous.^1
	were it not against the peace of my sovereign friend	= a play on the phrase "king's peace", which referred to the sovereign's guarantee of public order.
164	here, I would break your forecasting coxcomb, dog, I	164: coxcomb = head. dog = the Captain's use of canine-related name-calling is highly insulting.
	would, even with thy staff of office there, thy pen and	= a rod that symbolized certain officials' positions, used metaphorically here by the Captain.
166	inkhorn. − Noble boy, the god of gold here has said	= "supplied your needs";^3 the first two quartos print sed here, the subsequent ones fed.^4
	thee well:
168	Take money for thy dirt. Hark, and believe;	= humorous term for "land" or "property". = "listen to me".
	Thou art cold of constitution, thy seat unhealthful;	= ie. house.
170	Sell, and be wise: we are three that will adorn thee,	= the Captain may have meant to say "we are four" here, as we presumably includes the Poet, the Traveller, and the Tobacco-Man, as well as himself; on the other hand, there may be a continuity error here, and either Traveller or Tobacco-Man may not supposed to be on stage right now - neither one of the pair appears again in our play after this scene; indeed, the Poet's assertion at line 178 below that the four of them - the Captain, the Poet, Young, and one other person - will form a family, necessarily excludes one of the two.
	And live according to thine own heart, child;
172	Mirth shall be only ours, and only ours
	Shall be the black-eyed beauties of the time.	= black eyes were considered evidence of great beauty.^1
174	Money makes men eternal.
176	Poet. Do what you will, it is the noblest course:
	Then you may live without the charge of people;	= having to support other people, such as the servants
178	Only we four will make a family;	necessary to manage the household; the Poet of course
	Ay, and an age that shall beget new annals,	exempts himself and Young's other drinking companions.
180	In which I'll write thy life, my son of pleasure,
	Equal with Nero or Caligula.	= perhaps an odd choice of heroes to emulate, but no doubt
182		the Poet is focusing on their pleasure-seeking lifestyles.
	Young. What men were they, Captain?
184
	Capt. Two roaring boys of Rome, that made all split.	185: roaring = rowdy, boisterous; a very common adjective in this period. made all split = made all go to pieces, ie. upset the status quo.
186
	Young. Come, sir, what dare you give?	187: Young asks Morecraft how much he will offer for
188		the Loveless lands.
	Sav. You will not sell, sir?
190
	Young. Who told you so, sir?
192
	Sav. Good sir, have a care.
194
	Young. Peace, or I'll tack your tongue up to your roof. −	195: Peace = "quiet!" tack = fasten or nail.^1 roof = ie. of his mouth
196	What money? speak.
198	More. Six thousand pound, sir.	= the value of a property was typically calculated by
		multiplying its annual income by 12;^5 Young has mentioned that the income of his property is 1600 pounds per year, thus its value is more like 19,000 pounds; Morecraft's offer is clearly low - not that Young or his friends would know that.
200	Capt. Take it; h' as overbidden, by the sun!
	Bind him to his bargain quickly.
202
	Young. Come, strike me luck with earnest, and draw the writings.	203: strike me luck = to strike someone luck means to offer the seller a "luck-penny" on closing a deal;^1 More- craft accedes to Young's request in the next line below. writings = ie. the legal documents necessary to effect the sale of the property.
204
	More. There’s a God's penny for thee.	= a small amount of money serving as a symbolic down payment on a deal.^1
206
	Sav. Sir, for my old master's sake, let my farm be excepted:	= Savil appears to live with his family on a farm located on the Loveless' property.
208	If I become his tenant, I am undone,	= ruined.
	My children beggars, and my wife God knows what.
210	Consider me, dear sir.
212	More. I'll have all in	= the entire property.
	Or none.
214
	Young. All in, all in. Despatch the writings.
216
	[Exit Young Loveless with Comrades.]
218
	Widow. [Aside] Go, thou art a pretty fore-handed	= prudent or thrifty;^1 she is being ironic.
220	fellow! would thou wert wiser!	= "if only"; Widow is disappointed that Young does not possess greater financial acumen.
222	Sav. Now do I sensibly begin to feel	= acutely;^1 the word sensible was used more literally then, relating directly to the physical senses.
	Myself a rascal. Would I could teach a school,	= vagabond or beggar.^3 = "I wish".
224	Or beg, or lie well! I am utterly undone. −	= ruined.
	Now, he that taught thee to deceive and cozen,	= ie. Morecraft. = cheat.
226	Take thee to his mercy! so be it!
228	[Exit Savil.]
230	More. Come, widow, come, never stand upon a knighthood;	230: ie. "don't let your marriage to me be held up by a trivial detail - your requirement that I purchase a knighthood."
	'Tis a mere paper honour, and not proof	231-2: not proof…sergeant = not enough to even gain him
232	Enough for a sergeant. Come, come, I'll make thee −	the appointment of a sergeant-at-law^3 (a feudal status
		appointed by the crown).^1
234	Wid. To answer in short, 'tis this, sir, − no knight, no widow.
	If you make me anything, it must be a lady;	235: a woman's husband must attain the rank of at least
236	And so I take my leave.	knight in order for her to be called "my lady".^28
238	More. Farewell, sweet widow,
	And think of it.	= on.
240
	Widow. Sir, I do more than think of it;
242	It makes me dream, sir.
244	[Exit Widow.]
246	More. She's rich, and sober if this itch were from her:	246: sober = ie. "could be considered moderate in tempera- ment". itch = ie. the desire to have a knight for a husband.
	And say I be at charge to pay the footmen,	247f: Morecraft is unwilling to pay the burdensome costs
248	And the trumpets, ay, and the horsemen too,	and fees required for one to purchase and maintain a knighthood. Lines 247-8 refer specifically to the expenses he must incur for the ceremonial ride to be knighted at Windsor Castle.^3
	And be a knight, and she refuse me then;	249: "and what if I pay out all this money for a knighthood, only to have her decide in the end not to marry me?"
250	Then am I hoist into the subsidy,	= become liable for the special taxes levied on knights.^3
	And so, by consequence, should prove a coxcomb:	= fool.
252	I'll have a care of that. Six thousand pound,
	And then the land is mine: there's some refreshing yet.
254
	[Exit.]
	END OF ACT II.
	ACT III.
	SCENE I.
	A Room in Lady's House.
	Enter Abigail.	Entering Character: Abigail has dropped her glove off- stage, hoping Welford will gallantly retrieve it for her.
1	Abig. If he but follow me, as all my hopes	= expectations.
2	Tell me he’s man enough, up goes my rest,	= an expression from cards, meaning to "stand on one's
	And, I know, I shall draw him.	hand";^3 draw in line 3 continues the gaming metaphor; man enough and up are likely intended to be vaguely dirty.
4
	Enter Welford, with Abigail's glove.	5: Welford has taken the bait!
6
	Wel. [Aside] This is the strangest pampered piece of
8	flesh towards fifty, that ever frailty coped withal. What	8: towards fifty = a comment on Abigail's age. frailty = moral vulnerability. withal = with.
	a trim l’envoy here she has put upon me! These women	= a kind of post-script attached to a poem, usually to bring the poem to the attention of a particular person,^4 here metaphorically describing the glove.
10	are a proud kind of cattle, and love this whoreson doing	10-11: love...directly = women of this type love to flirt in a very obvious way, which Welford, as a gentleman, disapproves of - at least from the repulsive Abigail.
	so directly, that they will not stick to make their very	= hesitate or scruple.^1
12	skins bawds to their flesh. Here’s dog-skin and storax	12: dog-skin = meaning the glove; the leather made from the skin of canines was used to make gloves, caps, etc.^1 storax = a pleasant-smelling extract from the sweet- gum tree, used as a perfume;^3 Welford's point is that the glove is drenched in perfume.
	sufficient to kill a hawk: what to do with it, beside
14	nailing it up amongst Irish heads of teer, to shew the	14: Irish heads of teer = the heads of the extinct great Irish elk, which were prominently displayed by those lucky enough to own them; Dyce quotes an earlier editor who suggests teer may be the Irish pronunciation of deer. shew = ie. show off.
	mightiness of her palm, I know not. There she is: I must	15: mightiness = great size.
16	enter into dialogue − Lady, you have lost your glove.	palm = the part of the antlers of certain deer, such
		as the moose, that is filled in between the branches, resulting in a broad flat surface.
18	Abig. Not, sir, if you have found it.
20	Wel. It was my meaning, lady, to restore it.
22	Abig. 'Twill be uncivil in me to take back
	A favour fortune hath so well bestowed, sir:
24	Pray, wear it for me.	24: it was a custom for a woman to give her lover a token to wear or keep about him.
26	Wel. [Aside]
	I had rather wear a bell, − But, hark you, mistress,	= as worn on the cap of a jester,^1 hence, "be a professed
28	What hidden virtue is there in this glove.	fool" (Weber, p. 187).
	That you would have me wear it? Is it good
30	Against sore eyes, or will it charm the tooth-ache?
	Or these red tops, being steeped in white wine, soluble,	= ie. red tips^1 (on the fingers of the glove).
32	Will 't kill the itch? or has it so concealed	= scabies, or a general dermatological scabbing condition.^1
	A providence to keep my hand from bonds?	32-33: has it so…bonds? = "does it have the foresight or capability of guidance (providence) to keep me from prison (bonds = shackles)?"
34	If it have none of these, and prove no more	= ie. "these beneficial properties". = ie. "prove to be nothing more".
	But a bare glove of half-a-crown a pair,	= than.
36	'Twill be but half a courtesy; I wear two always.
	Faith, let's draw cuts; one will do me no pleasure.	36: Welford disingenuously suggests they draw lots to see
38		who should get both gloves, since having only one is worthless; he refuses to acknowledge the significance of Abigail's offer that he should wear the one as a favour.
	Abig. [Aside]
40	The tenderness of his years keeps him as yet in ignorance:	40: Abigail assumes Welford is too young to understand the flirting significance of the glove - but she is only fooling herself.
	He’s a well-moulded fellow, and I wonder	= well-built.
42	His blood should stir no higher: but 'tis his want	41: his blood...higher = that his passion is not aroused to
	Of company: I must grow nearer to him.	a greater degree; higher is of course suggestive. 42-43: but tis…company = ie. Welford's lack (want) of amorousness is only a function of his loneliness.
44
	Enter Elder Loveless, disguised.	Entering Character: having delivered the news of his own
46		death to his brother, Elder now arrives at Lady's house to check on whether she has remained faithful to him during his absence.
	Elder. God save you both!
48
	Abig. And pardon you, sir! this is somewhat rude:	49-50: Abigail is annoyed that the stranger has interrupted
50	How came you hither?	her attempt to seduce Welford.
52	Elder. Why, through the doors; they are open.
54	Wel. What are you? and what business have you here?	= who.
56	Elder. More, I believe, than you have.
58	Abig. Who would this fellow speak with? Art thou sober?	= Abigail shows her contempt for the intruder by addressing him as thou.
60	Elder. Yes; I come not here to sleep.	= ie. to sleep off his drunkenness.
62	Wel. Prithee, what art thou?	62ff: Elder and Welford also begin to address each other
		with the disrespectful thou.
64	Elder. As much, gay man, as thou art; I am a gentleman.
66	Wel. Art thou no more?
68	Elder. Yes, more than thou dar'st be, − a soldier.
70	Abig. Thou dost not come to quarrel?
72	Elder. No, not with women.
	I come to speak here with a gentlewoman.
74
	Abig. Why, I am one.
76
	Elder. But not with one so gentle.	= noble or well-born; Elder is deliberately ambiguous: he
78		could mean (1) his mission is to speak to one who is not as gentle as Abigail (complimentary), or (2) she is with someone who is not particularly gentle, ie. Welford (insulting).
	Wel. This is a fine fellow.
80
	Elder. Sir, I am not fine yet; I am but new come over:	81: fine = well-dressed (punning); Elder arrives in rather distressed garb, and he will comment repeatedly and sarcastically about Welford's well-tailored dress. new come over = newly arrived in England.
82	Direct me with your ticket to your tailor,	= IOU; Elder implies that Welford cannot actually afford his
	And then I shall be fine, sir. − Lady, if there be	clothing, but has taken delivery of his outfit on credit.
84	A better of your sex within this house,
	Say I would see her.
86
	Abig. Why, am not I good enough for you, sir?
88
	Elder. Your way, you'll be too good. Pray, end my business. −	89: Your way = likely suggestive. end my business = ie. "let me complete my errand."
90	[Aside] This is another suitor: oh, frail woman!	90: This = ie. Welford. frail woman = morally weak; Elder assumes that Lady
		has already accepted Welford as a suitor.
92	Wel. [Aside]
	This fellow, with his bluntness, hopes to do	93-5: Welford assumes in turn that Elder is also a suitor for
94	More than the long suits of a thousand could:	Lady's hand; Welford prefers the old-fashioned, indirect
	Though he be sour, he’s quick; I must not trust him. −	style of courtly wooing (long suits), but recognizes the possible efficacy of Elder's more direct approach.
96	Sir, this lady is not to speak with you;
	She is more serious. You smell as if
98	You were new calked: go, and be handsome, and then	98: calked = ie. like a ship that has been calked with pitch.
	You may sit with her serving-men.	be handsome = behave appropriately.^1
100
	Elder. What are you, sir?	= who.
102
	Wel. Guess by my outside.	= ie. outfit, clothing.
104
	Elder. Then I take you, sir,	105-8: Elder suggests Welford is a country boor who has
106	For some new silken thing, weaned from the country,	tried to buy his way into society.
	That shall, when you come to keep good company,
108	Be beaten into better manners. − Pray,
	Good proud gentlewoman, help me to your mistress.
110
	Abig. How many lives hast thou, that thou talk'st thus rudely?	110: Abigail suggests that Elder is risking his life too casually in being so openly insulting to Welford, who presumably would be expected to defend his honour against Elder.
112
	Elder. But one, one; I am neither cat nor woman.	= Elder alludes to the still-popular adage that was first mentioned in English literature by John Heywood in his influential collection of Proverbs of 1546, in which he wrote "a woman hath nyne lyues lyke a cat."
114
	Wel. And will that one life, sir, maintain you ever	= "always sustain you", ie. "always keep you alive".
116	In such bold sauciness?
118	Elder. Yes, amongst a nation of such men as you are,	118-9: Elder has no reason to fear for his life, if England
	And be no worse for wearing. − Shall I speak	contains only men as presumably weak as Welford.
120	With this lady?
122	Abig. No, by my troth, shall you not.	= in truth.
124	Elder. I must stay here, then.
126	Wel. That you shall not, neither.
128	Elder. Good fine thing, tell me why?	= another reference to Welford's fine dress.
130	Wel. Good angry thing, I’ll tell you:
	This is no place for such companiöns;	= fellows.
132	Such lousy gentlemen shall find their business	= covered with lice, ie. filthy.
	Better i' the suburbs; there your strong pitch-perfume,	133: the suburbs = traditional location of the brothels of a Renaissance city. pitch-perfume = Welford again notes that Elder smells of pitch.
134	Mingled with lees of ale, shall reek in fashion:	134: lees of ale = the sediment at the bottom of a cup of ale; Welford hints that Elder likely drinks a lot. reek in fashion = the idea is that Elder's peculiar odour will allow him to fit right in with those who frequent the less desirable part of town.
	This is no Thames-street, sir.	= another reference to the street that would have been
136		populated by those who make their living from the sea.
	Abig. This gentleman informs you truly;
138	Prithee, be satisfied, and seek the suburbs:
	Good captain, or whatever title else
140	The warlike eel-boats have bestowed upon thee,	= a clever oxymoron by Abigail.
	Go and reform thyself; prithee, be sweeter;	= please. = ie. sweeter-smelling.
142	And know my lady speaks with no such swabbers.	= low ranking sailors, such as those who swab the deck.^2
144	Elder. You cannot talk me out with your tradition
	Of wit you pick from plays: go to, I have found ye. −	= Bond suggests that Elder is accusing Abigail of stealing her insults from Shakespeare's Twelfth Night, which would have been performed earlier in the 1600's: in Act I.v of that play, there is a dialogue similar to the present one, in which Maria is encouraging Viola to depart, but she refuses, calling Maria a swabber.
146	And for you, tender sir, whose gentle blood	= noble.
	Runs in your nose, and makes you snuff at all	= sniff, out of a feeling of superiority.
148	But three-piled people, I do let you know,	= ie. except at those who wear the finest clothing, especially the finest velvet;^1 three-pile refers to a method of producing velvet "in which the loops of the pile-warp (which constitutes the nap) are formed by three threads, producing a pile of treble thickness" (OED, three-pile, adj.).
	He that begot your worship's satin suit,	149-150: He that…no men = the idea is that clothes don't
150	Can make no men, sir: I will see this lady,	make one a man; begot means "furnished", but is also humorously used to mean "gave birth to", along with make no men.
	And, with the reverence of your silkenship,	= a mock title for Welford.
152	In these old ornaments.	= ie. his old and worn outfit (ornaments = attire).^1
154	Wel. You will not, sure?
156	Elder. Sure, sir, I shall.
158	Abig. You would be beaten out?
160	Elder. Indeed, I would not; or, if I would be beaten,
	Pray, who shall beat me? this good gentleman
162	Looks as he were o' the peace.	= ie. an officer of the peace, one who is sworn to maintain
		order.^1
164	Wel. Sir, you shall see that.
	Will you get you out?
166
	Elder. Yes; that, that shall correct	167: that = ie. Elder's sword; Elder is responding to
168	Your boy's tongue. Dare you fight? I will stay here still.	Welford's question: "I will get out that thing that will
		punish (correct) your tongue."
170	[They draw their swords, and fight.]
172	Abig. Oh, their things are out! − Help, help, for God's	= typical, and in this case exceptionally funny, double entendre from Abigail.
	sake! − Madam! − Jesus! They foin at one another! −	= lunge or thrust with a sword, no doubt also bawdy.^1
174	Madam! why, who is within there?	= ie. "is anyone out there?"
176	[Exit.]
178	Enter Lady.
180	Lady. Who breeds this rudeness?
182	Wel. This uncivil fellow:
	He says he comes from sea; where, I believe,
184	H'as purged away his manners.	184: "he has eliminated his manners from his body;" the
		the word purge was used to describe vomiting or evacuation of the bowels.^1
186	Lady. What of him?
188	Wel. Why, he will rudely, without once "God bless you,"
	Press to your privacies, and no denial	= "intrude on your privacy"
190	Must stand betwixt your person and his business:	= between.
	I let go his ill language.	= the sense seems to be "took exception to".
192
	Lady. Sir, have you
194	Business with me?
196	Elder. Madam, some I have;	196-201: Elder allows that Lady may be pleased to keep such ruffians as Welford about her, but at what cost to her reputation?
	But not so serious to pawn my life for't.	= ie. trade or sell.
198	If you keep this quarter, and maintain about you	= maintain this posture or attitude.^3
	Such Knights o' the Sun as this is, to defy	= meaning Welford: Bond suggests this is a reference to a well-known Spanish romance, which had been translated into English under a very long title, part of which read Knight of the Sunne.^3
200	Men of employment to you, you may live;	= ie. better use. = ie. "sure, you can live this way".
	But in what fame?	= ie. "but with what affect to your reputation?"
202
	Lady. Pray, stay, sir: who has wronged you?	= "hold on a moment".
204
	Elder. Wrong me he cannot, though uncivilly
206	He flung his wild words at me: but to you,
	I think, he did no honour, to deny
208	The haste I come withal a passage to you,	= with. = ie. in visiting or traveling to.
	Though I seem coarse.
210
	Lady. Excuse me, gentle sir; 'twas from my knowledge,	= "(done) unknown to me".
212	And shall have no protection. − And to you, sir,	= ie. Welford.
	You have shewed more heat than wit, and from yourself	= "unbridled emotion than intelligence".
214	Have borrowed power I never gave you here,	= assumed authority.
	To do these vild unmanly things. My house	= despicable;^1 vild was a commonly-used alternative for vile.
216	Is no blind street to swagger in; and my favours	216: blind street = ie. dead end street, with the sense of
	Not doting yet on your unknown deserts	having no traffic, so that one could bluster or assault
218	So far, that I should make you master of my business:	another (swagger)^1,3 without being interrupted; the phrase survives today in the expression blind alley.^1 216-8: and my...business = "and since I don't know anything about you, I of course have given you no authority to make any decisions regarding my business." deserts (line 217) = merits.
	My credit yet stands fairer with the people	= reputation.
220	Than to be tried with swords; and they that come	= put to the test, ie. fought over.
	To do me service must not think to win me	= "become my lovers or courters".^3
222	With hazard of a murder: if your love	= risk.
	Consist in fury, carry it to the camp,	= ie. a soldiers' camp.
224	And there, in honour of some common mistress,	= prostitute.^1
	Shorten your youth. I pray, be better tempered;	= ie. by being killed in a fight over the woman.
226	And give me leave a while, sir.	226: Lady asks Welford to excuse himself.
228	Wel. You must have it.
230	[Exit Welford.]
232	Lady. Now, sir, your business?
234	Elder. First, I thank you for schooling this young fellow,	= the verb "to school", meaning to educate, has been used at least as far back as the mid-15th century.^1
	Whom his own follies, which he’s prone enough
236	Daily to fall into, if you but frown,
	Shall level him a way to his repentance.	= direct.^2
238	Next, I should rail at you; but you are a woman,	= rant, complain.
	And anger’s lost upon you.
240
	Lady. Why at me, sir?
242	I never did you wrong; for, to my knowledge.
	This is the first sight of you.
244
	Elder. You have done that,	= that which.
246	I must confess, I have the least curse in,	= "I am the least cursed by" or "I suffer the least by".^3
	Because the least acquaintance: but there be	= "I know you the least".
248	(If there be honour in the minds of men)
	Thousands, when they shall know what I deliver,
250	(As all good men must share in't), will to shame
	Blast your black memory.	252: ie. "ruin your reputation forever."
252
	Lady. How is this, good sir?
254
	Elder. 'Tis that, that if you have a soul, will choke it:	= "it is such a thing that".
256	You've killed a gentleman.
258	Lady. I killed a gentleman!
260	Elder. You, and your cruèlty, have killed him, woman!
	And such a man (let me be angry in't)
262	Whose least worth weighed above all womens' virtues	= more than.
	That are; I spare you all to come too: guess him now.	= ie. further details. = ie. "who it is (I am talking about)."
264
	Lady. I am so innocent, I cannot, sir.
266
	Elder. Repent, you mean. You are a perfect woman,	= Elder finishes Lady's sentence. = "the epitome of a".
268	And, as the first was, made for man's undoing.	= the first woman, ie. Eve. = ruin.
270	Lady. Sir, you have missed your way; I am not she.	= "you have lost your path", ie. he is mistaken.^1
272	Elder. Would he had missed his way too, though he had wandered
	Farther than women are ill-spoken of,
274	So he had missed this misery, − you, lady!	= "yes, it is you".
276	Lady. How do you do, sir?	276: perhaps ironic: "are you alright?"
278	Elder. Well enough, I hope,
	While I can keep myself from such temptations.	= ie. getting involved with a woman.
280
	Lady. Pray, leap into this matter; whither would you?
282
	Elder. You had a servant, that your peevishness	= lover.
284	Enjoined to travel.	= ie. caused or forced.^1
286	Lady. Such a one I have still,
	And should be grievèd it were otherwise.	287, 289: note how grieved is disyllabic in line 287, but monosyllabic in line 289, to fit the meter.
288
	Elder. Then have your asking, and be grieved; he’s dead!	= wish or desire.
290	How you will answer for his worth I know not;
	But this I am sure, either he, or you, or both,
292	Were stark mad, else he might have lived to have given	= must be. = or else.
	A stronger testimony to the world
294	Of what he might have been. He was a man
	I knew but in his evening; ten suns after,	= ie. "at the end of his life". = "ten days after we met".
296	Forced by a tyrant storm, our beaten bark	= ship.
	Bulged under us: in which sad parting blow	= caved in, broke apart.^1
298	He called upon his saint, but not for life,
	On you, unhappy woman; and, whilst all	= but on. = unfortunate.
300	Sought to preserve their souls, he desperately
	Embraced a wave, crying to all that saw it,	= ie. submitted to be drowned.
302	"If any live, go to my Fate, that forced me	= allusion to the mythical three Fates, the goddesses who determined how long one lived, but meaning Lady.
	To this untimely end, and make her happy."	= premature death.
304	His name was Loveless; and I scaped the storm;	= escaped.
	And now you have my business.
306
	Lady. ‘Tis too much.
308	Would I had been that storm! he had not perished.	= "I would have preferred that". = "then he would not have".
	If you’ll rail now, I will forgive you, sir;
310	Or if you'll call in more, if any more	= ie. any other survivors of the shipwreck.
	Come from this ruin, I shall justly suffer
312	What they can say: I do confess myself
	A guilty cause in this. I would say more,
314	But grief is grown too great to be delivered.	314: ie. "my grief prevents me from saying more"; note also
		the fabulous alliteration with gr in this line.
316	Elder. [Aside]
	I like this well: these women are strange things. −
318	Tis somewhat of the latest now to weep;	= ie. latest fashion.
	You should have wept when he was going from you,
320	And chained him with those tears at home.
322	Lady. Would you had told me then so! these two arms	322-3: these two arms…his sea = a neat metaphor: rather
	Had been his sea.	her arms had embraced him than did the sea.
324
	Elder. Trust me, you move me much: but, say he lived,	= affect, touch. = suppose.
326	These were forgotten things again.	326: ie. "if he had lived, you would forget your repentance,
		and return to your cruel ways"
328	Lady. [Aside] Ay, say you so?
	Sure, I should know that voice: this is knavery;	= an Elizabethan character's disguise was impenetrable, at least until it suited the plot to have it be otherwise; Lady finally recognizes Elder by his voice.
330	I'll fit you for it. − Were he living, sir,	= punish.^1
	I would persuade you to be charitable,
332	Ay, and confess we are not all so ill	= ie. women.
	As your opinion holds us. Oh, my friend,
334	What penance shall I pull upon my fault,
	Upon my most unworthy self for this?
336
	Elder. Leave to love others; 'twas some jealousy	= "forsake loving other men"; Elder, not too subtly, plants
338	That turned him desperate.	the idea that Lady should not pursue other men, before Elder has a chance to "return".
340	Lady. [Aside] I'll be with you straight:	337: ie. she will get back at him immediately (straight).^1
	Are you wrung there?	= ie. in anguish.
342
	Elder. [Aside] This works amain upon her.	= speedily, or with full force;^2 Elder expects his strategy is succeeding.
344
	Lady. I do confess there is a gentleman	= ie. another man; Lady has Welford in mind for the part;
346	Has borne me long good will.	now her revenge begins!
348	Elder. [Aside] I do not like that.
350	Lady. And vowed a thousand services to me;
	To me, regardless of him: but since fate,	= without regard for Elder's existence as her present lover.
352	That no power can withstand, has taken from me
	My first and best love, and to weep away
354	My youth is a mere folly, I will shew you	= show.
	What I determine, sir; you shall know all. −
356	[To a servant within]
	Call Master Welford, there! − That gentleman
358	I mean to make the model of my fortunes,	358: ie. Lady means to share Welford's fortunes.^3
	And in his chaste embraces keep alive
360	The memory of my lost lovely Loveless:	= note the interesting combination alliteration and wordplay
	He is somewhat like him too.	in this clause.
362
	Elder. Then you can love?	= ie. "love again", or "still love another".
364
	Lady. Yes, certain, sir:
366	Though it please you to think me hard and cruel,
	I hope I shall persuade you otherwise.
368
	Elder. [Aside] I have made myself a fine fool.	366: Elder realizes his plan has backfired.
370
	Re-enter Welford.
372
	Wel. Would you have spoke with me, madam?
374
	Lady. Yes, Master Welford; and I ask your pardon,
376	Before this gentleman, for being froward:	= contrary or obstinate,^2 ie. when she was so rude to him
	This kiss, and henceforth more affection.	before.
378
	[Kisses Welford.]
380
	Elder. [Aside] So; it is better I were drowned indeed.	= would have been better.
382
	Wel. [Aside] This is a sudden passiön; God hold it!	383-5: Welford seems to think Elder has, out of his fear of
384	This fellow, out of his fear, sure, has	Welford, convinced Lady - either intentionally or not -
	Persuaded her: I'll give him a new suit on't.	to turn her affection to him, and he will reward Elder by
386		buying him new clothes!
	Lady. A parting kiss; and, good sir, let me pray you
388	To wait me in the gallery.	= hallway.^1
390	[Kisses Welford again.]
392	Wel. [Aside] I am
	In another world! − Madam, where you please.
394
	[Exit.]
396
	Elder. [Aside] I will to sea.	= ie. go to.
398	And 't shall go hard but I’ll be drowned indeed.	= ie. for real.
400	Lady. Now, sir, you see I am no such hard creature
	But time may win me.
402
	Elder. You have forgot your lost love?
404
	Lady. Alas, sir, what would you have me do?
406	I cannot call him back again with sorrow:
	I’ll love this man as dearly; and, beshrow me,	= "beshrew me", ie. "the devil take me", or the like.
408	I’ll keep him far enough from sea. And 'twas told me,	= "to me".
	Now I remember me, by an old wise woman,	409: I remember me = "I remember": this is an example of
410	That my first love should be drowned; and see, 'tis come about.	the grammatical form known as the ethical dative; the me after the verb indicates extra interest on the part of the
		speaker. wise woman = witch or sorceress.^1
412	Elder. [Aside]
	I would she had told you your second should be hanged too,	= wish.
414	And let that come about! –
	[Aloud] But this is very strange.
416
	Lady. Faith, sir, consider all, and then I know
418	You'll be of my mind: if weeping would redeem him,	418: of my mind = "in agreement with me."
	I would weep still.	redeem = bring him back, as if weeping were a ransom
420		for his return.^1
	Elder. But, say, that I were Loveless,
422	And scaped the storm; how would you answer this?	= escaped.
424	Lady. Why, for that gentleman I would leave all
	The world.
426
	Elder. This young thing too?	423: ie. "would you leave Welford too?"
428
	Lady. That young thing too,
430	Or any young thing else: why, I would lose my state.	= ie. "give up all my wealth".
432	Elder. Why, then, he lives still; I am he, your Loveless.
434	[Throws off his disguise.]
436	Lady. Alas, I knew it, sir, and for that purpose
	Prepared this pageant! Get you to your task,	= performance.
438	And leave these players' tricks, or I shall leave you;	= actors'.
	Indeed, I shall. Travel, or know me not.	= a threat: "go to France, or I shall leave you."
440
	Elder. Will you then marry?	= ie. "marry me?"
442
	Lady. I will not promise: take your choice. Farewell.	= ie. Elder must either go to France, and possibly lose Lady,
444		or stay in England, and definitely lose Lady.
	Elder. [Aside]
446	There is no other purgatory but a woman.	446: like purgatory, which Christians must visit and suffer
	I must do something.	punishment in for a fixed period of time to purge their
448		sins before they can be admitted to Heaven, living with a woman also constitutes a temporary, though earthly, punishment.
	[Exit.]
450
	Re-enter Welford.
452
	Wel. Mistress, I am bold.
454
	Lady. You are, indeed.
456
	Wel. You have so overjoyed me, lady!
458
	Lady. Take heed, you surfeit not; pray, fast and welcome.	459: surfeit = overindulge. pray = please. fast = an imperative: "abstain"; a dining metaphor: fast is contrasted with surfeit.
460
	Wel. By this light, you love me extremely.	= a common oath.
462
	Lady. By this, and to-morrow's light, I care not for you.
464
	Wel. Come, come, you cannot hide it.
466
	Lady. Indeed I can, where you shall never find it.
468
	Wel. I like this mirth well, lady.
470
	Lady. You shall have more on 't.
472
	Wel. I must kiss you.
474
	Lady. No, sir.
476
	Wel. Indeed, I must.
478
	Lady. What must be, must be.
480
	[He kisses her.]
482
	I will take my leave:
484	You have your parting blow. I pray, commend me
	To those few friends you have, that sent you hither,	= to here.
486	And tell them, when you travel next, 'twere fit	= ie. "it would be better for you".
	You brought less bravery with you and more wit;	= fine clothing.
488	You'll never get a wife else.
490	Wel. Are you in earnest?
492	Lady. Yes, faith. Will you eat, sir? your horses will be	492-4: at least Lady will feed Welford before sending him
	ready straight: you shall have a napkin laid in the	on his way.
494	buttery for you.	= store room, where provisions were kept.^2
496	Wel. Do not you love me, then?
498	Lady. Yes, for that face.
500	Wel. It is a good one, lady.
502	Lady. Yes, if it were not warpt; the fire in time may	502-3: Bond explains that face was used to describe the
	mend it.	wooden façade of a house. Lady expects a fire would improve it!
504
	Wel. Methinks, yours is none of the best, lady.	505: oh dear! Petulant, Welford unchivalrously returns
506		the insult.
	Lady. No, by my troth, sir; yet o' my conscience, you
508	could make shift with it.	= make do.
510	Wel. Come, pray, no more of this.
512	Lady. I will not: fare you well. – Ho! who’s within	512-3: Ho…within there = Lady calls offstage for a servant.
	there? Bring out the gentleman's horses; he’s in haste;
514	and set some cold meat on the table.
516	Wel. I have too much of that, I thank you, lady:	= Welford alludes to the cold treatment he is receiving.
	Take your chamber when you please, there goes	517: Take your chamber = "go back to your bedroom".
518	A black one with you, lady.	517-8: there goes…with you = an obscure line, but the
		sense may be that even as Lady returns to her chamber alone, she is really two people, herself and a villainess (A black one). This line is cited in a footnote in an 1813 edition of Othello, to support this interpretation of a similar line in that play, "You that way, and you this, but two in company."
520	Lady. Farewell, young man.
522	[Exit.]
524	Wel. You have made me one. Farewell; and may the	= Welford puns on young man, which also means a dupe or fool,^3 or that she has left him "inexperienced".^1
	curse of a great house fall upon thee, − I mean, the
526	butler! The devil and all his works are in these women.	526: Welford may be recalling Roger's comparison of the butler to the devil, back in Act II.i.71.
	Would all of my sex were of my mind! I would make	527-9: ie. Welford would require all men (my sex) to refrain from sex, as if they had given it up for an extended period of Lent, to wean them off their dependence on women.
528	'em a new Lent, and a long one, that flesh might be in	528-9: be in reverence = held in awe, as something not to
	more reverence with them.	be trifled with.
530
	Re-enter Abigail.
532
	Abig. I am sorry, Master Welford −
534
	Wel. So am I, that you are here.
536
	Abig. How does my lady use you?	= treat.
538
	Wel. As I would use you, scurvily.
540
	Abig. I should have been more kind, sir.	= would.
542
	Wel. I should have been undone then. Pray, leave me,	= ruined.
544	And look to your sweet-meats. Hark, your lady calls.	= candied fruit or sugary cakes;^1 Welford is telling Abigail to get back to her duties - or her snacking.
546	Abig. Sir, I shall borrow so much time, without offending.	546: ie. "I can wait a bit, Lady won't mind."
548	Wel. You're nothing but offence; for God's love, leave me.
550	Abig. 'Tis strange, my lady should be such a tyrant.
552	Wel. To send you to me. Pray, go stitch; good, do:	= "get back to your embroidering", a typical activity for women to pass the time.
	You are more trouble to me than a term.	= one of the four periods of the year when the law courts
554		were in session.^1
	Abig. I do not know how my good will, − if I said love,
556	I lied not, − should any way deserve this.
558	Wel. A thousand ways, a thousand ways. Sweet creature,
	Let me depart in peace.
560
	Abig. What creature, sir? I hope I am a woman.
562
	Wel. A hundred, I think, by your noise.	= ie. "you are a hundred creatures".
564
	Abig. Since you are angry, sir, I am bold to tell you that
566	I am a woman, and a rib −	= Abigail begins a reference to the notion that woman is formed from a man's rib.
568	Wel. Of a roasted horse.	= the obscure phrase, tale of a roasted horse, seems to refer to an improbable or tedious tale;^1Welford's point, in finishing Abigail's sentence, may simply be to let Abigail know he finds her presence and conversation tiresome. Bond offers an alternative interpretation, that Welford means Abigail is "tough and old"; Bond further notes that roasted horse can also refer to a whore.
570	Abig. Conster me that.	= explain (the word is related to construe).
572	Wel. A dog can do it better. Farewell, Countess; and	572: A dog…better = Welford vaguely alludes to the practice of feeding horse-meat to dogs.^3 Countess = (1) Countess is identified as a common name for a hound in a 1721 publication, The Gentleman's Recreation; (2) the first syllable of Countess would have sounded the same as the rude word for a woman's private parts; the use of the word is intentional.
	commend me to your lady; tell her she’s proud and
574	scurvy: and so I commit you both to your tempter.	= ie. the devil.
576	Abig. Sweet Master Welford!
578	Wel. Avoid, old Satanas! Go daub your ruins;	578: Avoid = away! Satanus = ancient name for Satan.^1 daub your ruins = a contractor's metaphor: "plaster (daub)^1 your fallen or decayed building", meaning to cover over her face. Welford's cruelty would have been appreciated as quite funny by the Elizabethan audience.
	Your face looks fouler than a storm:
580	The footman stays you in the lobby, lady.	580: Welford is being rudely suggestive. stays = waits for. lobby = hallway or anteroom.
582	Abig. If you were a gentleman, I should know it by	= would.
	your gentle conditions. Are these fit words to give a	= noble qualities or habits.^2,4
584	gentlewoman?
586	Wel. As fit as they were made for you. −
	Sirrah, my horses! − Farewell, old adage!	587: Sirrah = address form used for servants. old adage = Martha has earlier called Abigail Old sayings.
588	Keep your nose warm; the rheum will make it horn else.	= moisture in the air.^1 = turn it to.
590	[Exit Welford.]
592	Abig. The blessings of a prodigal young heir be thy	592-3: The blessings…companions = Abigail wishes on Welford a son who will spend all his wealth.
	companions, Welford! Marry come up, my gentleman,	= an expression of surprise or contempt.^1
594	are your gums grown so tender they cannot bite?
	A skittish filly will be your fortune, Welford, and fair	595-7: Abigail develops a plan: although it is unclear exactly what she means, Bond suggests that she has decided to play match-maker between Martha and Welford, expecting she would be a poor match for him. Note that Abigail uses an extended horse metaphor to unflatteringly describe Martha. A skittish filly = Abigail describes Welford's prospective mate as a weak or nervous woman, as opposed to a strong female like herself; filly describes a lively young girl as well as a horse.^1 595-6: fair enough...pack-saddle = attractive enough to be a pack-animal or bear a burden; a pack-saddle was a saddle capable of being loaded.^1
596	enough for such a pack-saddle: and I doubt not,
	if my aim hold, to see her made to amble to your hand.	597: if my aim hold = "if my plan works out".
598		amble to your hand = like a horse approaching its owner; Abigail's equine imagery is not flattering to Martha.
	[Exit.]
	ACT III, SCENE II.
	A Room in the House of Elder Loveless.
	Enter Young Loveless, Captain, Poet,	Entering Characters: the money-lender Morecraft arrives
	Morecraft, Widow, and Savil.	at the Loveless home to arrange the purchase of the Loveless estates. Note that Widow has decided to tag along as well - though her presence doesn't really make sense; perhaps she is interested to see Young Loveless once again.
1	Capt. Save thy brave shoulder, my young puissant knight!	1: Save thy brave shoulder = humorous greeting, similar to "God save you". puissant = mighty or powerful.^2 knight = Young has successfully acquired a knight- hood.
2	And may thy back-sword bite them to the bone	= a sword with only one sharp edge.^1
	That love thee not! Thou art an errant man;	= who. = ie. a knight-errant.
4	Go on; the circumcised shall fall by thee:	= ie. Muslims; the Captain alludes to the still familiar image of the Christian knights of the west fighting their enemies, the Turks of the Ottoman Empire; the Ottomans were very much still viewed as an existential threat to Europe at this time, as they had besieged Vienna in 1529, and would do so again in 1683.
	Let land and labour fill the man that tills;	5-6: the Captain draws a contrast between those who farm, and are fulfilled (filled) by working the land, and Young, from whom great martial adventures are expected. Note both the alliteration and rhyme of line 5; the Captain has a penchant for using alliterative expressions.
6	Thy sword must be thy plough; and Jove it speed!	6: Thy sword...plough = the Captain reverses the Bible's admonition to turn one's "swords to ploughshares". Jove it speed ="God grant you success (speed)"; the name of the Roman king of the gods was often used to mean the Christian God. Note the poetical construction of this brief sentence, in which the object it is placed before the verb speed, to fit the meter.
	Mecca shall sweat, and Máhomet shall fall,	= Muhammad, meaning Islam in general.^1
8	And thy dear name fill up his monument.	= ie. Muhammad's tomb.
10	Young. It shall, Captain; I mean to be a worthy.	= Young intends to deserve to be included among the oft
		referred-to nine worthies, a collection of nine heroes from the past whose lives were worthy of admiration; they included (a) 3 pagans: Hector of Troy, Alexander the Great and Julius Caesar; (b) 3 Jews: Joshua, David and Judas Maccabeus; and (c) 3 Christians: King Arthur, Charlemagne, and Godfrey of Boullion, a leader of the First Crusade, and first sovereign of the Kingdom of Jerusalem. Bond suggests Young is making a model specifically of Godfrey de Boullion, the crusader who fought the Muslims in the Holy Land.
12	Capt. One worthy is too little; thou shalt be all.
14	More. Captain, I shall deserve some of your love too.	14: Morecraft wishes to make the Captain's acquaintance.
16	Capt. Thou shalt have heart and hand too, noble Morecraft,
	If thou wilt lend me money.
18	I am a man of garrison; be ruled,	= ie. war. = "take my advice".
	And open to me those infernal gates,	19: the Captain asks Morehead to lend him money; the infernal gates refer to his purse-strings, which, as Bond describes them, close "as fast as the gates of hell upon the lost" (p. 417).
20	Whence none of thy evil angels pass again,	20: "from which never let your evil angels exit again". angel = a gold coin with the image of archangel Michael imprinted upon it, worth about 10 shillings; Morecraft's angels are evil because they were earned sinfully, through usury and forfeiting of property;^3 the Captain thus is recommending to Morecraft to abandon his sinful ways. evil angels = also a reference, of course, to the fallen angels who occupy hell. We may note that Weber interprets evil angels to mean bad or counterfeit money, which the Captain would not want, but otherwise he would be delighted to take money from Morecraft.
	And I will style thee noble, nay, Don Diego;	21: style = call. noble = another gold coin of the era: nobles were first minted during the reign of Edward III, and were worth 3s. 8d.^1 Don Diego = a derisive name for a Spaniard; several plays of the era refer to one Don Diego who revolted society by passing wind in St. Paul's Cathedral in 1600.^16
22	I’ll woo thy infanta for thee, and my knight	= the Captain perhaps alludes to the Spanish princess (infanta) Catherine of Aragon (daughter of the famous sovereigns Ferdinand and Isabella of Aragon), who had married the English Prince Arthur in 1501; Arthur died, and she went on to marry Arthur's brother, the future Henry VIII. Later, after our play was written, James I pursued various Spanish marriages on behalf of his children, most famously the multi-year negotiations for James' heir Charles to marry the infanta Maria Anna. The potential match was unpopular in England, and the subject of dramatist Thomas Middleton's controversial (and therefore popular) play A Game at Chess of 1624; the infanta the Captain alludes to is the Widow, the target of Morecraft's coarse wooing.
	Shall feast her with high meats, and make her apt.	= luxurious food.^1 = suitable or disposed (to be wooed).^1
24
	More. Pardon me. Captain, you’re beside my meaning.	= "you misunderstand me": Morecraft has neither the
26		intention to lend the Captain money nor a desire for the Captain's assistance in courting Widow.
	Young. No, Master Morecraft, 'tis the Captain's meaning,
28	I should prepare her for you.
30	Capt. Or provoke her. −	= ie. rouse or cause her to love Morecraft.^1
	Speak, my modern man; I say, provoke her.	= ordinary;^3 the Captain addresses the Poet in this line.
32
	Poet. Captain, I say so too; or stir her to it:
34	So say the critics.	= ie. those who are skilled in textual interpretation.^1
36	Young. But howsoever you expound it, sir,	= interpret.^1
	She’s very welcome; and this shall serve for witness. –
38
	[Kisses Widow.]	39: as described previously, strangers often greeted each other with a kiss on the lips.
40
	And, widow, since you're come so happily,	= "your arrival is so fortuitous".
42	You shall deliver up the keys, and free	= ie. to Morecraft, to conclude the sale of the property.
	Possession of this house, whilst I stand by
44	To ratify.
46	Wid. I had rather give it back again, believe me;	46-47: Widow wisely advises Young to reconsider selling his lands.
	'Tis a misery to say, you had it. Take heed.	47: "it will bring you despair to have to say in the future, 'I owned property'; be cautious!"
48
	Young. 'Tis past that, widow. Come, sit down. − Some wine there! −	= "it's too late for that".
50	There is a scurvy banquet, if we had it. −	= "there would also be a wretched course of dessert".^2
	[To Morecraft.] All this fair house is yours, sir. − Savil!
52
	Sav. Yes, sir.
54
	Young. Are your keys ready? I must ease your burden.	= the steward wore a chain with keys on them as a symbol of his office;^5 Savil is being relieved of his position.
56
	Sav. I am ready, sir, to be undone, when you	= ruined.
58	Shall call me to 't.
60	Young. Come, come, thou shalt live better.	60: ie. by entering a state of endless carousal with the boys.
62	Sav. [Aside] I shall have less to do, that’s all:
	There’s half-a-dozen of my friends i' the fields,	63-65: Savil expects to join his friends in their poverty.
64	Sunning against a bank, with half a breech	64: bank = ie. of a river; breech = an undergarment reaching down to cover a
	Among 'em; I shall be with 'em shortly. −	portion of the thighs.^1
66	The care and continual vexation
	Of being rich, eat up this rascal!	= ie. Morecraft.
68	What shall become of my poor family?
	They are no sheep, and they must keep themselves.	69: ie. unlike sheep, his family will have no one else to look
70		after them, so they will have to fend for themselves.
	Young. Drink, Master Morecraft. Pray, be merry all.
72	Nay, an you will not drink, there’s no society.	= if. = (true) fellowship.^1
	Captain, speak loud, and drink. − Widow, a word.
74
	[Retires with Widow.]	75: Young steps aside with Widow.
76
	Capt. Expound her throughly, knight. −	= thoroughly.
78	Here, god o' gold, here’s to thy fair possessions!	78: the Captain drinks a toast to Morecraft, and refers to him as the god of gold, alluding to Plutus, the Greek god of wealth; in this speech the Captain encourages the usurer to be more generous, especially to him!
	Be a baron, and a bold one;	79: note the nice alliteration in this line.
80	Leave off your tickling of young heirs like trouts,	= it was believed that one could catch a trout by tickling it in the gills;^5 the meaning here is that Morecraft should leave the sinful life of snaring the property away from the heirs of wealthy men, who were often considered likely to waste away the wealth passed on by their fathers.
	And let thy chimneys smoke; feed men of war;	81: "have a smoke, and lend a soldier (meaning himself) some money."
82	Live, and be honest, and be savèd yet.	= ie. save his soul by rejecting his sinful occupation.
84	More. I thank you, worthy Captain, for your counsel,	84f: Morecraft responds sarcastically to the Captain.
	You keep your chimneys smoking there, your nostrils;
86	And, when you can, you feed a man of war:
	This makes you not a baron, but a bare one;	87: note the wordplay of baron and bare one.
88	And how or when you shall be savèd, let
	The clerk of the company you have commanded	89-90: Morecraft mocks: he suggests letting the chaplain
90	Have a just care of.	(clerk) of the company that the Captain commands (perhaps only his imagination) take responsibility for saving his soul.^3
92	Poet. The man is much moved. − Be not angry, sir;	= ie. moved to anger; after the dash, the Poet addresses the money-lender.
	But, as the poet sings, let your displeasure	93-94: as the poet…go out = the Poet cites the 1st century
94	Be a short fury, and go out. You have spoke home,	B.C. Roman poet Horace,^3 who wrote in his Epistles, Book I, Epistle 2, line 62, "anger is a brief madness".^17 go out = expire, like a flame.
	And bitterly to him, sir. − Captain, take truce;	= originally me; I follow Dyce and Bond's emendation to him.
96	The miser is a tart and a witty whoreson.	= derisive term for usurers. = sour or biting.^1 = bastard.
98	Capt. Poet, you feign, perdie: the wit of this man	98: you feign = "you lie", or "you don't mean that"; perdie = "by God" (from the French par Dieu), ie. "truly".^1,4
	Lies in his fingers' ends; he must tell all;	= "count", alluding to Morecraft's presumed penchant for counting his money, which is why his intelligence lies in his fingertips.
100	His tongue fills but his mouth like a neat's tongue,	100: Morecraft "can make no more use of his tongue than an ox (neat)" (Bond, p,. 419), ie. he has no ability to speak wittily.
	And only serves to lick his hungry chaps	= ie. greedy jaws.^2
102	After a purchase: his brains and brimstone are	102: after a purchase = ie. whenever he adds to his wealth.
	The devil's diet to a fat usurer's head. −	102-3: his brains…head = Bond interprets this difficult line to mean that Morecraft's brains serve only as a side-dish for when the devil comes to eat off of his head;^3 a very early editor interprets diet to mean "sauce".^4 brimstone = burning sulfur, a means used to punish the soul in hell.^1
104	To her, knight, to her! clap her aboard, and stow her. −	104: clap her aboard = switching to a maritime metaphor,
	Where’s the brave steward?	the Captain suggests Young board the Widow, like a ship. We may note that the Captain, who earlier had offered to help Morecraft win the Widow, now en- courages Young to take her for himself.
106		stow her = confine her under the hatches.^1
	Sav. Here’s your poor friend and Savil, sir.
108
	Capt. Away, thou art rich in ornaments of nature:
110	First, in thy face; thou hast a serious face,
	A betting, bargaining, and saving face,
112	A rich face, − pawn it to the usurer, −
	A face to kindle the compassiön	= to incite or stir up, but also used in metaphor with frozen in the next line.
114	Of the most ignorant and frozen justice.	= ie. it cannot be moved to sympathy.
116	Sav. Tis such, I dare not show it shortly, sir.	116: ie. for shame in his poverty
118	Capt. Be blithe and bonny, steward. − Master Morecraft,	= merry and pleasing.^1,2
	Drink to this man of reckoning.	= an easy pun on Savil's status as steward, who kept the
120		household accounts; the Captain keeps Morecraft occupied with drinking, allowing Young time to court Widow.
	More. [Drinks.] Here’s e'en to him.
122
	Sav. [Aside]
124	The devil guide it downward! would there were in 't	= "I wish". = in it, ie. in Morecraft's drink.
	An acre of the great broom-field he bought,	125-6: Savil wishes there were an acre of the Loveless land
126	To sweep your dirty conscience, or to choke you!	in Morecraft's drink, to either excite his conscience or choke him. broom-field = derisive term for land. broom = a plant with a yellow flower found in abun- dance in England.^1 sweep = Savil puns on broom.
	Tis all one to me, usurer.	= ie. the same.
128
	Young. [to Widow]
130	Consider what I told you; you are young,	130f: in this speech, Young tries to persuade Widow of the reasons she should not marry Morecraft the usurer.
	Unapt for worldly business. Is it fit,	= unsuited.^2
132	One of such tenderness, so delicate,
	So contrary to things of care, should stir,	= ie. not made to have to worry.
134	And break her better meditatiöns,	134-5: note the extended alliteration in these two lines.
	In the bare brokage of a brace of angels?	135: colloquially, "in order to make an extra buck?" brokage = engaging in commercial transactions.^1 brace of angels = pair of angels (coins).
136	Or a new kirtle, though it be of satin?	= ie. just to be able to buy a new gown (kirtle).
	Eat by the hope of forfeits and lie down	137: eat...forfeits = to be able to eat thanks only to the expectation (hope) of borrowers forfeiting their property to Morecraft.
138	Only in expectation of a morrow,	= ie. new day.
	That may undo some easy-hearted fool,	= ruin; Young relentlessly drives home the unsavouriness of the means by which Widow, in marrying the usurer, would be getting money to live an easy life.
140	Or reach a widow's curses? let out money,	= lend.
	Whose use returns the principal? and get,	141-2: and get…heir = "your only reward for all your pains
142	Out of these troubles, a consuming heir;	will be a son who will no doubt wastefully consume all you have worked for."
	For such a one must follow necessarily?
144	You shall die hated, if not old and miserable;
	And that possessed wealth, that you got with pining,	= causing suffering in others.^1
146	Live to see tumbled to another's hands,	146: "you will live to see your wealth passed on to others (thanks to your son's predicted prodigality)."
	That is no more a-kin to you than you	= who. = in familial relation.
148	To his cozenage.	= deception; but with a-kin, also punning on "cousinage", meaning kinship.
150	Wid. Sir, you speak well: would God, that charity	150-1: Widow clearly alludes to the phrase charity begins
	Had first begun here!	at home; the expression found its modern form in John Marston's play Histrio-mastix, first published in 1610, "True charity beginneth first at home."
152
	Young. 'Tis yet time. − Be merry!	= "there's time for that!"
154	Methinks, you want wine there; there’s more i' the house. −	= lack or need; Young is addressing Morecraft, continuing to keep him busy with drinking.
	Captain, where rests the health?	= he refers to a drink that is being passed around.
156
	Capt. It shall go round, boy.
158
	Young. [To Widow]
160	Say, you can suffer this, because the end	160-1: Say…profit = "let's suppose you could tolerate being married to Morecraft, because of the wealth you will have in compensation". end = result.
	Points at much profit, − can you so far bow	161-2: bow below your blood = "consent to marry one of
162	Below your blood, below your too-much beauty,	Morecraft's rank (blood), which is so far below yours." Note also the impressive alliteration from bow to beauty.
	To be a partner of this fellow's bed,
164	And lie with his diseases? If you can,	= Young's next line of argument is to suggest Morecraft is suffering from a variety of wasting - and loathsome - ailments.
	I will not press you further. Yet look upon him:
166	There’s nothing in that hide-bound usurer,	= "miserly", but also meaning "emaciated", so that his skin clings to his bones;^1 in this and the next line, Young refers repeatedly to Morecraft's spindly physical condition, wasted away by presumed disease.
	That man of mat, that all-decayed, but aches,	= man of straw, ie. without substance.
168	For you to love, unless his perished lungs,
	His dry cough, or his scurvy; this is truth.
170	And so far I dare speak it: he has yet,
	Past cure of physic, spaw, or any diet,	171: physic = medicine. spaw = generic reference to a spa, derived from the Spaw, a Belgian town 16 miles south of Liège, famous for its mineral springs, which were popular with invalids attracted to their curative powers.^29
172	A primitive pox in his bones; and, o' my knowledge,	= ie. early stages of venereal disease, which was said to cause pain in the bones.
	He has been ten times rowelled; − you may love him; −	= a term from veterinary medicine, in which a small wheel of leather was inserted into an incision to encourage fluid discharge.^1,3
174	He had a bastard, his own toward issue,	= promising son.^1
	Whipped and then cropped,	175: piling on, Young suggests Morecraft's illegitimate son is also a criminal. The cropping of the ears was an occasional punishment in the 16th and 17th centuries.
176	For washing out the roses in three farthings,	176-7: the suggestion is that his son filed away the roses
	To make 'em pence.	engraved on 3-farthing coins so that they would be taken for 1-penny coins, which had a higher value;^3 however, Bond points out that there was no three-farthing coin with a rose on it, though James I had recently introduced a gold coin, the Rose Rial, with a rose on the reverse. The obverse of the coin features a spectacularly detailed image of James on his throne.^18
178
	Wid. I do not like these morals.	= ie. Morecraft's morals - or maybe Young's moralizing.^1
180
	Young. You must not like him, then.
182
	Enter Elder Loveless.
184
	Elder. By your leave, gentlemen.
186
	Young. By my troth, sir, you are welcome; welcome, faith.	187: Young does not seem particularly surprised to see his brother!
188	Lord, what a stranger you are grown! Pray, know	= meet, be introduced to.
	This gentlewoman; and, if you please, these friends here.
190	We are merry; you see the worst on's;	= on us.
	Your house has been kept warm, sir.
192
	Elder. I am glad
194	To hear it, brother; pray God, you are wise too!	= Elder alludes to another of Heywood's proverbs: "ye are
		wise enough, if ye keepe ye warme."
196	Young. Pray, Master Morecraft, know my elder brother; −
	And, Captain, do your compliment. − Savil,	= "formally greet my brother".
198	I dare swear, is glad at heart to see you.
	Lord, we heard, sir, you were drowned at sea,
200	And see how luckily things come about!
202	More. This money must be paid again, sir.	= since Elder is alive, Morecraft's purchase of the property
		from Young was without effect; so he asks Young for his money back.
204	Young. No, sir;
	Pray, keep the sale; 'twill make good tailors' measures:	= deed of sale,^3 now a worthless piece of paper.
206	I am well, I thank you.
208	Wid. [Aside] By my troth, the gentleman	208-9: Widow is impressed by Young (the gentleman)
	Has stewed him in his own sauce; I shall love him for 't.	finally showing some ability to make money, and not just
210		spend it; of course, the legality and morality of his profit are somewhat dubious. Unfortunately, part of the humour, as well as the audience's expected easy acceptance of Young's defrauding Morecraft, is the fact that money-lenders such as Morecraft were invariably Jewish, and hence not liable to receive much sympathy.
	Sav. I know not where I am, I am so glad!
212	Your worship is the welcom'st man alive:
	Upon my knees I bid you welcome home.
214	Here has been such a hurry, such a din,
	Such dismal drinking, swearing, and whoring,
216	'T has almost made me mad:
	We have all lived in a continual Turnball-street.	= originally Turnmill Street, located in central London;
218	Sir, blest be Heaven, that sent you safe again!	Sugden writes "it was the most disreputable street in
	Now shall I eat, and go to bed again.	London, a haunt of thieves and loose women."^29
220
	Elder. Brother, dismiss these people.
222
	Young. Captain, be gone a while;
224	Meet me at my old rendezvous in the evening;
	Take your small poet with you.	= thin.^2
226
	[Exeunt Captain and Poet.]
228
	Master Morecraft,
230	You were best go prattle with your learnèd counsel;	230: "it would be best for you to go talk to your lawyer."
	I shall preserve your money: I was cozened	231: preserve = keep. cozened = cheated, ie. by being paid much less than the house was worth.
232	When time was; we are quit, sir.	= all even.
234	Wid. [Aside] Better and better still.
236	Elder. What is this fellow, brother?	= who.
238	Young. The thirsty usurer that supped my land off.
240	Elder. What does he tarry for?	= "is he waiting".
242	Young. Sir, to be landlord of your house and state:
	I was bold to make a little sale, sir.
244
	More. Am I over-reached? If there be law, I’ll hamper ye.	245: over-reached = outwitted.^2 I'll hamper ye = the sense is Morecraft will use the law to obstruct the Loveless' free enjoyment of the property.^1
246
	Elder. Prithee, be gone, and rail at home; thou art	= Elder uses the contemptuous thou to address Morecraft.
248	So base a fool, I cannot laugh at thee.
	Sirrah, this comes of cozening: home, and spare;	249: Sirrah = an address form used to express contempt. cozening = cheating. home, and spare = "go home and live frugally."
250	Eat raddish till you raise your sums again.	= money, wealth.
	If you stir far in this, I’ll have you whipped,	= ie. pursue this matter any further.
252	Your ears nailed for intelligencing o' the pillory,	252: ears nailed o' the pillory = there was a form of punishment in which a prisoner was secured in a kind of stocks attached to a post, and an ear nailed to the post, with the expectation that the ear would be torn off when the prisoner invariably moved his head; intelligencing = telling tales, slandering;^1 the earliest case of criminal prosecution in England (as opposed to suits for civil damages) appears to have taken place around this time, during the reign of James I.^10
	And your goods forfeit. You are a stale cozener:	253: your goods forfeit = if convicted he would lose all his property. stale = ie. he has lost his novelty, though there also could be a sense of "being stalemated".^1
254	Leave my house. No more!
256	More. A pox upon your house! −	256: the quintessential Elizabethan imprecation; the earliest use of pox in this manner occurred in Robert Greene's play Friar Bacon and Friar Bungay, published in 1594.
	Come, widow; I shall yet hamper this young gamester.	= gambler.
258
	Wid. Good twelve i' the hundred, keep your way;	= a vocative expression, alluding to the extortionate but hypothetical 12% interest a usurer might earn on a loan; a 1571 statute limited the interest rate to 10%,^19 and a later statute passed in 1623 limited it to 8%.^10
260	I am not for your diet:
	Marry in your own tribe, Jew, and get a broker.	= a marriage match-maker.^1
262
	Young. 'Tis well said, widow. − Will you jog on, sir?
264
	More. Yes, I will go; but ‘tis no matter whither:	= to where.
266	But when I trust a wild fool, and a woman,	= "should I ever again".
	May I lend gratis, and build hospitals!	267: gratis = ie. interest-free.
268		build hospitals = a well-known civic gesture by the wealthy was to sponsor the building of a new hospital; this is not something a stereotypical usurer would do.
	[Exit Morecraft.]
270
	Young. Nay, good sir, make all even:	271-3: Young asks his brother to put in a good word for
272	Here is a widow wants your good word for me;	him with the Widow.
	She's rich, and may renew me and my fortunes.
274
	Elder. I am glad you look before you. − Gentlewoman,	= in front of.
276	Here is a poor distressèd younger brother.	= vexed by problems.^2
278	Wid. You do him wrong, sir; he’s a knight.
280	Elder. I ask you mercy: yet, 'tis no matter;	= "pardon me."
	His knighthood is no inheritance, I take it:	= ie. a man cannot live on his title alone.
282	Whatsoever he is, he’s your servant, or would be, lady.	= courter or wooer.
	Faith, be not merciless, but make a man:
284	He’s young and handsome, though he be my brother,
	And his observances may deserve your love;	= attentiveness.^2
286	He shall not fail for means.	285: Elder will ensure Young will not fail to pull his own
		financial weight in a marriage.
288	Wid. Sir, you speak like a worthy brother:
	And so much I do credit your fair language,
290	That I shall love your brother; and so love him −
	But I shall blush to say more.	290: for the second time in the play, Widow is embarrassed to continue her speech.
292
	Elder. Stop her mouth. –	293: "kiss her already!"
294
	[Young Loveless kisses her.]
296
	I hope you shall not live to know that hour,	= ie. Widow; note how Elder has been addressing her with
298	When this shall be repented. − Now, brother, I should chide;	the respectful "you".
	But I’ll give no distaste to your fair mistress.
300	I will instruct her in 't, and she shall do 't:
	You have been wild and ignorant; pray, mend it.	= ie. "mend your ways."
302
	Young. Sir, every day, now spring comes on.	303: "sir, I will do so every day, now that spring has
304		arrived"; spring here represents ground that has been left barren for the winter, but will be cultivated when the warmer weather returns - a metaphor for Young's renewed good fortune.^3
	Elder. To you, good Master Savil, and your office,
306	Thus much I have to say. You're, from my steward,	306-7: You're…bawd = "from my steward you have turned
	Become, first your own drunkard, then his bawd;	into a drunkard and a procurer of prostitutes."
308	They say, you’re excellent grown in both, and perfect:
	Give me your keys, Sir Savil.	309: Elder, perhaps unfairly, dismisses Savil from his office;
310		his keys are a symbol of the position of steward.
	Sav. Good sir, consider whom you left me to.
312
	Elder. I left you as a curb for, not to provoke,	= restraint.
314	My brother's follies. Where’s the best drink, now?
	Come, tell me, Savil, where’s the soundest whores?	315: where's...whores = note the typical lack of concern for proper subject-verb agreement. soundest = healthiest, least affected by venereal disease.
316	You old he-goat, you dried ape, you lame stallion,	= goat was a common term of abuse used to describe a lecherous man.
	Must you be leaping in my house! your whores,	= ie. like a stallion. I have adopted the punctuation for lines 317-9 from Bond and Dyce, who also substituted leaping for the original word leading; but the lines as they appeared in the earliest editions are acceptable as well: "Must you be leading in my house your whores, Like fairies dance their night-rounds, without fear Either of king or constable, within my walls?"
318	Like fairies, dance their night-rounds, without fear	= dances performed in a circle, typically holding hands.
	Either of king or constable, within my walls?
320	Are all my hangings safe? my sheep unsold yet?	= draperies or tapestries.^1
	I hope my plate is current; I ha' too much on 't.	320: plate = vessels made of gold and silver.^1
322	What say you to three hundred pounds in drink now?	current = genuine; Elder's mock concern is that Savil
		has allowed Young to sell off the valuable possessions, and in the case of his dinner ware, replace them with cheaper ones, in order to raise funds to procure women.
324	Sav. Good sir, forgive me, and but hear me speak.
326	Elder. Methinks, thou shouldst be drunk still, and not speak;	326-7: the offense of drunkenness on the part of Savil would be more forgivable than what he has actually done.
	'Tis the more pardonable.
328
	Sav. I will, sir, if you will have it so.
330
	Elder. I thank you: yes, e'en pursue it, sir. Do you hear?
332	Get a whore soon for your recreation;
	Go look out Captain Broken-breech, your fellow,	333: look out = seek out. Captain Broken-breech = "Captain Bankrupt-pants". fellow = companion.
334	And quarrel, if you dare. I shall deliver	= ie. "pick a fight with him".
	These keys to one shall have more honesty,
336	Though not so much fine wit, sir. You may walk,	= ie. "as clever as you are".
	And gather cresses, sir, to cool your liver;	337: gather cresses = collect edible plants, like watercress, for consumption. liver = frequently referred to organ which was believed to be the seat of emotions, especially sexual passion.
338	There’s something for you to begin a diet,
	You'll have the pox else. Speed you well, Sir Savil!	339: have the pox = catch venereal disease (if he doesn't cool off his lust). Speed you well = "I wish you success".
340	You may eat at my house to preserve life;	340: at least Elder won't let Savil go hungry.
	But keep no fornications in the stables.	= ie. women.
342
	[Exeunt Elder and Young Loveless with the Widow.]
344
	Sav. Now must I hang myself; my friends will look for't.
346	Eating and sleeping, I do despise you both now:
	I will run mad first, and, if that get not pity,	347: Savil suggests he may appear in public pretending to be mad, in order to elicit pity and alms; there are frequent allusions in the literature of the day to such faux-mad- men, who were known as Abraham-men.
348	I’ll drown myself to a most dismal ditty.	347-8: scenes sometimes end with a rhyming couplet. 347-8: previous editors have noted a parody here of
		Shakespeare's Ophelia, from Hamlet, who after going mad, sang strange songs, and then drowned herself. ^3
350	[Exit.]
	END OF ACT III.
	ACT IV.
	SCENE I.
	A Room in Lady's House.
	Enter Abigail.	Entering Character: in her opening speech, Abigail recites the play's longest soliloquy, ruing her advancing years; once upon a time she was the lover of aristocrats, but her standards have been forced to drop gradually over the decades, with a concomitant increase in difficulty in procuring any lovers at all.
1	Abig. Alas, poor gentlewoman, to what a misery hath	= Abigail addresses herself.
2	age brought thee, to what a scurvy fortune! Thou, that
	hast been a companion for noblemen, and, at the worst
4	of those times, for gentlemen, now, like a broken	4: gentlemen = those well-born, but a step below nobility. broken = ruined or bankrupt.^2
	serving-man, must beg for favour to those, that would
6	have crawled, like pilgrims, to my chamber but for	= the sense is that seeing Abigail's bedroom once had the aura of visiting a holy site.
	an apparition of me.	= a vision, typically said of a ghost or star.^1
8	You that be coming on, make much of fifteen,	8-11: Abigail, switching to verse, advises the young ladies
	And so till five-and-twenty: use your time	of the audience to take advantage of their youth's beauty while they still have it. 8-9: fifteen…till five-and-twenty = presumably the ages between which a woman is most beautiful.
10	With reverence, that your profits may arise;	= suggestive, as is usual with Abigail.
	It will not tarry with you; ecce signum!	11: It will not tarry with you = proverbial: "time and tide tarry for no man" (It refers to time); variations of this expression can be traced back to the 15th century. ecce signum = Latin for "behold the proof";^21 the pitiable Abigail points to her own face as she says this.
12	Here was a face!
	But Time, that like a surfeit eats our youth,	13: ie. personified Time feasts on our youth.^3
14	(Plague of his iron teeth, and draw 'em for 't!)	14: "a plague on Time's iron teeth! pull them out for this!" -
	Has been a little bolder here than welcome;	perhaps a reference to the beast with iron teeth seen by Daniel in Daniel 7:7.
16	And now, to say the truth, I am fit for no man.
	Old men i' the house, of fifty, call me grannam;	= grandmother.^1
18	And when they are drunk, e'en then when Joan and my lady	18-19: even when men are so drunk that all women should be equally attractive to them, none will have her.
	Are all one, not one will do me reason.	Joan = generic name used to represent any female rustic.^1 Are all one = are all the same.
20	My little Levite hath forsaken me;	= slightly derisive term for a clergyman,^1 meaning Roger; her flirtations with Welford have caused Roger to break up with her.
	His silver sound of cittern quite abolished;	21-23: Roger no longer serenades Abigail with music. cittern = an early guitar.
22	His doleful hymns under my chamber-window
	Digested into tedious learning.	= dissipated into,^1 ie. exchanged for.
24	Well, fool, you leapt a haddock when you left him:	= "let slip an opportunity";^3 Abigail has replaced the original fish used in the phrase, a whiting, with what she considers a superior fish.^3
	He’s a clean man, and a good edifier,	= ie. a saver or supporter of souls.^1
26	And twenty nobles is his state de claro,	26: Roger's net income (state de claro) from private sources is twenty nobles, a noble being worth 6 shillings, 8 pence.^3
	Besides his pigs in posse.	= potential (in posse)^3 income in tithe-pigs; if Roger had his own parish, he might receive additional income in the form of animals donated by farmers to satisfy their tithing requirement.
28	To this good homilist I have been ever stubborn,	28: ie. she should have married him when he her wanted to.
	Which God forgive me for, and mend my manners!
30	And, Love, if ever thou hadst care of forty,	30-31: Abigail asks personified Love to help her. forty = ie. forty years of age; not to be taken literally, as forty was used to mean "an indefinite but large number".^1
	Of such a piece of lay ground, hear my prayer,	31: Abigail refers to herself, in this bawdy metaphor, as an uncultivated or unploughed piece of land; the original edition prints lape, without doubt an error for laye (lay).
32	And fire his zeal so far forth, that my faults,	= zeal usually refers to religious passion.
	In this renewed impression of my love,
34	May shew corrected to our gentle reader!	34: corrected = mended. gentle reader = a reader, here meaning Roger, was a minor office in post-Reformation England, applied to one who led church services;^1 Abigail also plays on the phrase gentle reader, which is usually used as an address of courtesy by an author to the readers of his or her work.
36	Enter Roger.	36: Roger enters the stage and walks by Abigail, deliberately
		ignoring her.
38	[Aside] See how neglectingly he passes by me!
	With what an equipáge canonical,	39: Roger may be dressed in his full ecclesiastical garb, or perhaps Abigail refers to his religious bearing.
40	As though he had broke the heart of Bellarmin,	40: broke the heart = the still common expression, "to break a person's heart", for bringing crushing sorrow on another, dates back to at least 1530. Robert Bellarmine (1542-1621), Archbishop of Capua, and an important figure in the Catholic church hierarchy in his day; in 1606, the year after the Gunpowder Plot, in which a conspiracy of Catholics planning to blow up Parliament was discovered, Parliament promulgated an oath which required Catholics to swear primary allegiance to James I over the pope and their church. Bellarmine was one of those involved in the back and forth of controversy regarding the oath, and wrote a treatise attacking it. Weber observes that it was believed to have added to one's prestige to have participated in the debate against the outsider. Thus, Abigail suggests that Roger, as a good Protestant, would have taken sides against the archbishop.^8
	Or added something to the singing brethren!	= ie. written a hymn to be used by the despised Puritans.^3
42	Tis scorn, I know it, and deserve it. − Master Roger −
44	Roger. Fair gentlewoman, my name is Roger.	44: Roger, with biting formality and self-conscious modest- ly, declines the title Master, which suggests he is of high social rank.^1
46	Abig. Then, gentle Roger −	= an alternative polite form of address.^1
48	Roger. Ungentle Abigail!	48: Roger's mask quickly slips: ungentle = unkind.^1
50	Abig. Why, Master Roger, will you set your wit	50-51 we remember that Roger is known for enjoying a
	To a weak woman's?	clever exchange of banter.
52
	Roger. You are weak, indeed;	= lacking self-restraint.^1
54	For so the poet sings.	54: an unclear reference, not illuminated by any of the early
		editors; the phrase the poet sings appears often in 17th century literature, and was used to refer to any of a number of ancient versifiers, including Homer, Ennius, and Juvenal. Juvenal's Satire VI was an invective against women, and included complaints about their lack of virtue and self-restraint.
56	Abig. I do confess
	My weakness, sweet Sir Roger.
58
	Roger. Good my lady's	59-61: even in this difficult moment of confrontation, Roger endearingly cannot help but play with words.
60	Gentlewoman, or my good lady's gentlewoman,
	(This trope is lost to you now,) leave your prating.	= figure of speech,^1 ie. word-play. = pointless chatter.^1
62	You have a season of your first mother in you:	62: ie. Abigail has some of Eve's deceiving qualities in her.
	And, surely, had the devil been in love,	63-64: had the devil…abused too = "you would have de- ceived (abused) the devil himself if he had been in love with you."
64	He had been abused too. Go, Dalida;	= ie. Delilah, the woman who in the book of Judges betrayed Samson by letting the Philistines cut off his hair; her name was proverbial for a temptress.^1
	You make men fools, and wear fig-breeches.	65: fig-breeches = ie. loin-covering garments made of fig-leaves; the reference is to Adam and Eve covering up their nakedness by sewing together fig leaves; Roger's point is that Abigail has shamed Roger in the same way that Eve, by inciting Adam to taste the forbidden fruit, brought shame on the first man by revealing to Adam his nakedness. breeches = the ubiquitous article of clothing resembling short trousers; the improbable creation of breeches made of fig-leaves is another of Roger's jests.
66
	Abig. Well, well, hard-hearted man, dilate	= discourse.^1
68	Upon the weak infirmities of women;
	These are fit texts: but once there was a time −	= "these are appropriate words you use on me"; but texts also referred specifically to Scripture.^1
70	Would I had never seen those eyes, those eyes,
	Those orient eyes!	= bright or radiant, used to describe pearls, metaphorically
72		applied to Roger's eyes.^1
	Roger. Ay, they were pearls once with you.
74
	Abig. Saving your reverence, sir, so they are still.	= a very polite phrase, meaning "if I may say so".^1
76
	Roger. Nay, nay, I do beseech you, leave your cogging:	= deceiving.^1
78	What they are, they are;
	They serve me without spectacles, I thank 'em.	= the word spectacles, meaning "glasses" had entered the language by the early 15th century, and appeared in both singular (spectacle) and plural forms.^1
80
	Abig. Oh, will you kill me?	81: ie. by spurning her.
82
	Rog. I do not think I can;
84	You're like a copyhold, with nine lives in 't.	84: copyhold = a form of land tenure in the manor system; a manor could be thought of as a self-contained village, under the political and economic control of a lord. A freeman might have a freehold interest in a portion of the land, which gave him the rights to the land similar to those of full ownership; a copyhold interest was a lesser interest, sort of like a lease, in which the lord owned the land, and had the right to the timber and minerals on the land; however, unlike in a lease, the copyholder could transfer his interest in the copyhold, by inheritance or sale, and the lord was obliged to accept the copyholder's nominee.^10 The copyhold is called such because the rights and obligations of the parties are written down in the court roll of the manor.^10 nine lives = an allusion to the proverbial nine lives of a cat; a copyhold may be said to have nine lives perhaps because of its never-terminating transferability.
86	Abig. You were wont to bear a Christian fear about you:	= in the habit of bearing.
	For your own worship's sake −
88
	Rog. I was a Christian fool then.
90	Do you remember what a dance you led me?
	How I grew qualmed in love, and was a dunce?	= sick or nauseous.^1 = perhaps more wordplay with dance and dunce.
92	Could expound but once a quarter, and then was out too?	= interpret Scripture.^1 = put out; the idea is that Roger was too dizzy with love to perform his duties properly.
	And then, at prayers once,	= these words appeared in the original and second printing only, and are normally omitted.
94	Out of the stinking stir you put me in,	= emotional tumult.
	I prayed for my own royal issue? You do	= ie. children; the phrase royal issue refers specifically
96	Remember all this?	to the heir of a sovereign; when a king or queen was
		childless, as had been Elizabeth I, the people of the realm would pray for her to bear a child, as political instability could result if no definitive heir existed when the sovereign died. (We note that royal was omitted in most of the early editions).
98	Abig. Oh, be as then you were!
100	Rog. I thank you for it:
	Surely, I will be wiser, Abigail;
102	And as the ethnick poet sings,	= pagan poet, alluding to Plautus, the 3rd century B.C. Roman comic playwright.^3
	I will not lose my oil and labour too.	103: Roger reasonably translates a line from Plautus' play
104	You're for the worshipful, I take it, Abigail.	Poenulus.
106	Abig. Oh, take it so, and then I am for thee!	106: by now, Abigail has begun to tear up.
108	Rog. I like these tears well, and this humbling also;
	They are symptoms of contrition, as a father saith.	= a confessor or other spiritual leader.^1
110	If I should fall into my fit again,	= fever or seizure of love.
	Would you not shake me into a quotidian coxcomb?	111: quotidian = daily;^1 quotidian was used to describe a malarial fever which attacked every day; Roger uses fit and shake to complete the metaphor; coxcomb = fool.
112	Would you not use me scurvily again,	= treat.
	And give me possets with purging comfits in 't?	113: posset = a medicinal drink made of curdled milk and a bit of alcohol, usually spiced or sweetened.^1 purging comfits = candied fruits or nuts that would act as a laxative.
114	I tell thee, gentlewoman, thou hast been harder to me	= ie. "treated me more severely".
	Than a long chapter with a pedigree.	115: perhaps Roger means a chapter of the Bible containing a long family tree.^1
116
	Abig. Oh, curate, cure me!	117: Abigail engages in her own little play on words.
118	I will love thee better, dearer, longer:
	I will do any thing; betray the secrets
120	Of the main household to thy reformation.	= ie. for Roger to address in his role as the household religious advisor; with reformation, Abigail continues her religious punning.
	My lady shall look lovingly on thy learning;
122	And when true time shall 'point thee for a parson,	= "appoint you to your own parsonage".^3
	I will convert thy eggs to penny-custards,	123: she will bake custards that she can sell for a penny to supplement their income.
124	And thy tithe-goose shall graze and multiply.	= a goose that Roger might receive as a tithe in kind.
126	Rog. I am mollified,
	As well shall testify this faithful kiss:
128	And have a great care, Mistress Abigail,
	How you depress the spirit any more
130	With your rebukes and mocks; for certainly
	The edge of such a folly cuts itself.	131: a neat little aphorism from Roger. edge = ie. sharp edge.
132
	Abig. Oh, sir, you have pierced me thorough! Here I vow	= Abigail picks up on Roger's cutting metaphor. = through.
134	A recantatiön to those malicious faults
	I ever did against you. Never more
136	Will I despise your learning; never more	136: despise = scorn. learning = advanced education, which was generally limited to members of the clergy.
	Pin cards and cony-tails upon your cassock;	= rabbit tails. = a coat or long tunic worn by clergymen.^1
138	Never again reproach your reverend night-cap,	= Roger's night-cap has been the target of a lot of mockery in this play.
	And call it by the mangy name of murrin;	= a brimmed, visor-less helmet worn by common soldiers;^3 murrin was similar to the word murrain, which describes the flesh of an animal that has died from disease,^1 hence Abigail's use of mangy.
140	Never your reverend person more, and say,	= ie. never reproach.
	You look like one of Baal's priests in a hanging;	141: one of Baal's priests = allusion to the story of Elijah in 1 Kings 18: having shown the priests who worshiped the idol Baal that his (Elijah's) God could bring fire to burn his sacrifice, while Baal could not, Elijah had all the priests killed. Abigail's simile, comparing Roger to one of the executed pagan priests, would have been particularly hurtful to Roger! hanging = a tapestry on which the story might be pictured, and not a hanging as on a gallows.^3
142	Never again, when you say grace, laugh at you,
	Nor put you out at prayers; never cramp you more	143: put you out at = "disconcert you during your".
144	With the great Book of Martyrs; nor, when you ride,	143-4: never cramp…Martyrs = The Book of Martyrs was an immensely influential book written by John Foxe and published in 1565; the book bitterly described the Catholic church's persecution against all those who turned from it, focusing especially on the trials and deaths of Protestantism's victims in Britain.^10 The book was apparently prodigious in size: a 1583 copy on sale at greatsite.com measures 14x10x4 inches;^22 Bond understands Abigail to mean that she will never again crowd up his chapel stall with the volume. (We note that the entire clause, "With a...Martyrs", is omitted by most of the quartos after the first).
	Get soap and thistles for you. No, my Roger,	= ie. as remedies for soreness; the implication is that Roger cannot ride a horse.^3
146	These faults shall be corrected and amended,
	As by the tenor of my tears appears.	= nature or character;^1 Abigail's tears, she suggests, demon- strate the genuineness of her expressed intent to reform.
148
	Rog. Now cannot I hold, if I should be hanged; I must cry too.	= "I cannot keep from crying either".
150	Come to thine own beloved, and do even
	What thou wilt with me, sweet, sweet Abigail!
152	I am thine own for ever; here’s my hand:
	When Roger proves a recreant, hang him i' the bell-ropes!	= unfaithful or false.^1
154
	Enter Lady and Martha.
156
	Lady. Why, how now, Master Roger, no prayers
158	down with you to-night? did you hear the bell ring?	= ie. "in your memorandum book".^3 = ie. the church bell which signaled a time for prayer.
	You are courting; your flock shall fat well for it.	= Lady is humorously using a phrase normally associated with sheep to refer to the expected increase in the size of Roger's congregation, thanks to the children the couple will have.
160
	Rog. I humbly ask your pardon. – I’ll clap up prayers,	= quickly concoct.^1
162	But stay a little, and be with you again.	= "wait a little bit", addressed to Abigail.
164	[Exit Roger.]
166	Enter Elder Loveless.
168	Lady. How dare you, being so unworthy a fellow,
	Presume to come to move me any more?	= persuade.
170
	Elder. Ha, ha, ha!
172
	Lady. What ails the fellow?
174
	Elder. The fellow comes to laugh at you. −
176	I tell you, lady, I would not, for your land,	= "even for all your land".
	Be such a coxcomb, such a whining ass,	= fool.
178	As you decreed me for when I was last here.
180	Lady. I joy to hear you are wise, sir; 'tis a rare jewel	180-1: 'tis…brother = elder brothers, as the primary heirs of
	In an elder brother: pray, be wiser yet.	rich men, were stereotyped as squanderers of their
182		inheritances, and thus not wise.
	Elder. Methinks I am very wise: I do not come a-wooing;
184	Indeed, I'll move no more love to your ladyship.	= propose or plead.
186	Lady. What make you here, then?	= "are you doing".
188	Elder. Only to see you, and be merry, lady;
	That’s all my business. Faith, let’s be very merry.
190	Where’s little Roger? he is a good fellow:
	An hour or two, well spent in wholesome mirth,
192	Is worth a thousand of these puling passions.	= whimpering displays of emotion.
	'Tis an ill world for lovers.
194
	Lady. They were never fewer.
196
	Elder. I thank God, there is one less for me, lady.
198
	Lady. You were never any, sir.	199: harsh! "you were never a lover, sir."
200
	Elder. Till now; and now I am the prettiest fellow!	201: Elder means that now that he is indifferent to women, he is more popular with them than ever.^3
202
	Lady. You talk like a tailor, sir.	= ie. absurdly;^3 tailors were held in general contempt in
204		Elizabethan society, and were the target of much mockery from our playwrights.
	Elder. Methinks, your faces are no such fine things now.
206
	Lady. Why did you tell me you were wise? Lord, what
208	a lying age is this! Where will you mend these faces?
210	Elder. A hog's face soused is worth a hundred of 'em.	= pig's cheek salted for preservation;^3 the insults are growing crueler.
212	Lady. Sure, you had some sow to your mother.	= for.
214	Elder. She brought such fine white pigs as you,	214-5: ie. "the sow was actually your mother, who begot
	fit for none but parsons, lady.	such pigs as you, fit only to be tithe-pigs."
216
	Lady. 'Tis well you will allow us our clergy yet.
218
	Elder. That shall not save you. Oh, that I were in love	219: save you = ie. from damnation.
220	again with a wish!	219-220: that I were…a wish = Bond interprets this
		to mean "I'd come to the rescue if I could revive that passing fancy I had."
222	Lady. By this light, you are a scurvy fellow! pray, be
	gone.
224
	Elder. You know, I am a clean-skinned man.	= Lady has, in line 222, used scurvy in its common sense
226		of "contemptible", but Elder has chosen to take it more literally, meaning "scabby", or "suffering from some disease of the skin".
	Lady. Do I know it?
228
	Elder. Come, come, you would know it; that’s as
230	good: but not a snap, never long for ‘t, not a snap, dear	= "not a morsel for you". = "don't bother pining for it".
	lady.
232
	Lady. Hark ye, sir, hark ye, get you to the suburbs;	= "listen closely". = the traditional location for a town's brothels.
234	There’s horse-flesh for such hounds. Will you go, sir?	234: literally referring to horse-meat as common food for
		hounds, but horse-flesh suggests the flesh of whores, and Elder is the hound.
236	Elder. Lord, how I loved this woman! how I worshipped
	This pretty calf with the white face here! As I live.	= in the 17th century, pale skin was considered attractive.
238	You were the prettiest fool to play withal,	= with.
	The wittiest little varlet! It would talk;	= she, ie. Lady, referring to her in the third person.
240	Lord, how it talked! and when I angered it,
	It would cry out, and scratch, and eat no meat,	= food.
242	And it would say, "Go hang!”
244	Lady. It will say so still, if you anger it.
246	Elder. And when I asked it, if it would be married,
	It sent me of an errand into France;
248	And would abuse me, and be glad it did so.	= mistreat.
250	Lady. Sir, this is most unmanly; pray, be gone.
252	Elder. And swear (even when it twittered to be at me)	= quivered with excitement.^1
	I was unhandsome.
254
	Lady. Have you no manners in you?
256
	Elder. And say my back was melted, when, the gods know,	257: say my back was melted = suppose Elder's strength - and perhaps also sexual prowess - (symbolized by a strong back) was dissipated".^1
258	I kept it at a charge, − four Flanders mares	258: at a charge = under a load or burden.^1 Flanders mares = large Flemish horses, but the term was used to refer derisively to big and strong women.^1
	Would have been easier to me, and a fencer.	= "for me to handle". = leaping horse.^3
260
	Lady. You think all this is true now?
262
	Elder. Faith, whether it be or no, 'tis too good for you.
264	But so much for our mirth: now have at you in earnest.	= "now I will really attack you."
266	Lady. There is enough, sir; I desire no more.
268	Elder. Yes, faith, we’ll have a cast at your best parts now;	268: cast = (1) reckoning, (2) analysis, specifically of the
	And then the devil take the worst!	urine, to determine one's health, and (3) an astrological calculation. best parts = best qualities.
270
	Lady. Pray, sir, no more; I am not much affected
272	With your commendatiöns. 'Tis almost dinner:	= compliments.
	I know they stay you at the ordinary.	273: "I know people are waiting for you at the ordinary." ordinary = a tavern where meals could be purchased for a fixed price.
274
	Elder. E'en a short grace, and then I am gone. You are	= "first I'll say a brief grace", responding to Lady's suggestion it is dinner time, but meaning "just a few words more".
276	A woman, and the proudest that ever loved a coach;	= carriage, a status symbol.
	The scornfullest, scurviest, and most senseless woman;	= without feeling.
278	The greediest to be praised, and never moved,	= ie. touched or affected (by Elder's praise).
	Though it be gross and open; the most envious,	= obvious, flagrant.
280	That, at the poor fame of another's face,	280-2: That…belonging to it = "one who, in envy of
	Would eat your own, and more than is your own,	another woman's reputation for great beauty, would
282	The paint belonging to it; of such a self-opinion,	destroy her own face, out of spite."
	That you think none can deserve your glove;	= usually replaced by no one. = ie. as a token or favour to be worn.
284	And for your malice, you are so excellent,
	You might have been your tempter's tutor. Nay,	= ie. the devil's.
286	Never cry.	286: Lady's mask cracks: she can take no more, and breaks
		down weeping.
288	Lady. Your own heart knows you wrong me.
	I cry for you!
290
	Elder. You shall, before I leave you.
292
	Lady. Is all this spoke in earnest?
294
	Elder. Yes, and more,
296	As soon as I can get it out.
298	Lady. Well, out with 't.
300	Elder. You are − let me see −
302	Lady. One that has used you with too much respect.	302: hardly! used = treated.
304	Elder. One that hath used me, since you will have it so,
	The basest, the most foot-boy-like, without respect	= a young assistant to the footman, suggesting the most
306	Of what I was, or what you might be by me;	menial of servants.
	You have used me as I would use a jade,	= worn-out horse.
308	Ride him off’s legs, then turn him into the commons;	= release him to graze in the commonly-owned pasture; in most of the editions after the first, into is changed to to for the sake of the meter.
	You have used me with discretion, and I thank you.	309: Elder is sarcastic; discretion = courtesy, civility.^1
310	If you have many more such pretty servants,
	Pray, build an hospital, and, when they are old,	= endow the construction of a hospital, a familiar act of public service by a wealthy citizen.
312	Keep 'em, for shame.	312: ie. "house them there, to your shame."
314	Lady. I cannot think yet this is serious.
316	Elder. Will you have more on 't!
318	Lady. No, faith, there’s enough,
	If it be true; too much, by all my part.
320	You are no lover, then?
322	Elder. No, I had rather be a carrier.	322: Elder would rather be a messenger or porter (carrier),^1
		as his burden would be less.^3
324	Lady. Why, the gods amend all!
326	Elder. Neither do I think	326f: Elder couldn't be more pleased to be free of his ob- ligations to Lady.
	There can be such a fellow found i’ the world,
328	To be in love with such a froward woman:	= impossible to please.^1
	If there be such, they’re mad; Jove comfort em!	= the name of the Roman king of the gods was often used
330	Now you have all; and I as new a man,	to refer to the Christian God.
	As light and spirited, that I feel myself
332	Clean through another creature. Oh, 'tis brave	= excellent.
	To be one's own man! I can see you now
334	As I would see a picture; sit all day
	By you, and never kiss your hand; hear you sing,
336	And never fall backward; but, with as set a temper	336: fall backward = Bond suggests this means "fainting in ecstasy", but the expression also carries more than a hint of "submit sexually". set = fixed or even.
	As I would hear a fiddler, rise and thank you:
338	I can now keep my money in my purse,
	That still was gadding out for scarfs and waistcoats;	339: still = always, continuously. gadding out for = wandering around in search of .^1 waistcoats = ie. waistcoats to buy for Lady; a waist- coat was an expensive upper-body garment worn by women underneath a gown, but still visible.^1
340	And keep my hand from mercers' sheep-skins finely:	= a mercer was a dealer in textiles. = ie. used for gloves.^3
	I can eat mutton now, and feast myself	= commonly-used term for a whore, so Elder is likely being particularly vulgar - his overall point is that he is now free to spend his money on his own leisurely pursuits.
342	With my two shillings, and can see a play	342-3: can see a play…again = 18 pence (ie. 18 pennies,
	For eighteen-pence again: I can, my lady.	or one-and-a-half shillings)^1 would have bought Elder the most expensive seat in one of London's more costly indoor theaters.^3
344
	Lady. [Aside] The carriage of this fellow vexes me. −	= bearing.
346	Sir, pray, let me speak a little private with you. −
	[Aside] I must not suffer this.	= tolerate; Lady is thinking of a way to get back at Elder.
348
	Elder. Ha, ha, ha! What would you with me?
350	You will not ravish me? Now, your set speech.
352	Lady. Thou perjured man!
354	Elder. Ha, ha, ha! this is a fine
	Exordium: and why, I pray you, perjured?	= introduction (to her set speech).^1
356
	Lady. Did you not swear a thousand thousand times,
358	You loved me best of all things?
360	Elder. I do confess it: make your best of that.
362	Lady. Why do you say you do not, then?
364	Elder. Nay, I’ll swear it.
	And give sufficient reason, − your own usage.	= ie. "treatment of me".
366
	Lady. Do you not love me now, then?
368
	Elder. No, faith.
370
	Lady. Did you ever think I loved you dearly?
372
	Elder. Yes; but I see but rotten fruits on 't.
374
	Lady. Do not deny your hand, for I must kiss it,
376	And take my last farewell.
378	[Kisses his hand.]
380	Now let me die,
	So you be happy!	381: "so long as you are happy!"
382
	Elder. I am too foolish. − Lady! speak, dear lady!	383: Lady begins to faint.
384
	Lady. No, let me die.
386
	[She swoons.]
388
	Mar. Oh, my sister!
390
	Abig. Oh, my lady! Help, help!
392
	Mar. Run for some rosa solis!	= a spiced cordial, used as a stimulant.^1,9
394
	Elder. I have played the fine ass! − Bend her body. − Lady,	= raise.
396	Best, dearest, worthiest lady, hear your servant!
	I am not as I shewed. − Oh, wretched fool,	= ie. "I was not presenting myself as I really feel."
398	To fling away the jewel of thy life thus! −
	Give her more air. See, she begins to stir. −
400	Sweet mistress, hear me!
402	Lady. Is my servant well?
404	Elder. In being yours, I am so.
406	Lady. Then I care not.
408	Elder. How do you? − Reach a chair there. − I confess
	My fault not pardonable, in pursuing thus,
410	Upon such tenderness, my willful error;
	But had I known it would have wrought thus with you,	= "worked this way upon you".
412	Thus strangely, not the world had won me to it:	= "I would not have behaved this way for the world", or "the
	And let not, my best lady, any word,	whole world could not have persuaded me to behave this
414	Spoke to my end, disturb your quiet peace;	way."
	For sooner shall you know a general ruin
416	Than my faith broken. Do not doubt this, mistress;	= loyalty, constancy (to her).
	For, by my life, I cannot live without you.
418	Come, come, you shall not grieve: rather be angry,
	And heap infliction on me; I will suffer.	= pain, aggravation.^1
420	Oh, I could curse myself! Pray, smile upon me.
	Upon my faith, it was but a trick to try you,	= test.
422	Knowing you loved me dearly, and yet strangely
	That you would never shew it, though my means	423: shew = show.
424	Was all humility.	423-4: though my…humility = "even though I used the humblest means to induce you to show your love for me" (Dyce, p. 441).
426	All. Ha, ha	426: everyone - but Elder - begins laughing; perhaps Lady
		does something cheeky, like open one eye widely; Lady's fainting had been a subterfuge.
428	Elder. How now?
430	Lady. I thank you, fine fool, for your most fine plot:	= excellent plan.
	This was a subtle one, a stiff device	= formidable scheme.^2
432	To have caught dotterels with. Good senseless sir,	= a dotterel is a type of plover (ie. a bird) that is proverbi-
	Could you imagine I should swoon for you,	ally easy to catch.^1
434	And know yourself to be an arrant ass,
	Ay, a discovered one? 'Tis quit; I thank you, sir.	= revealed.^1 = "I have repaid you", or "we are even".
436	Ha, ha, ha!
438	Mar. Take heed, sir; she may chance to swoon again.
440	All. Ha, ha, ha!
442	Abig. Step to her, sir; see how she changes colour!
444	Elder. I’ll go to hell first, and be better welcome.
	I am fooled, I do confess it, finely fooled;
446	Lady-fooled, madam; and I thank you for it.
448	Lady. Faith, ‘tis not so much worth, sir:
	But if I know when you come next a-birding,	= bird-hunting.
450	I’ll have a stronger noose to hold the woodcock.	= a proverbially foolish bird, also considered easily caught.
452	All. Ha, ha, ha!
454	Elder. I am glad to see you merry; pray, laugh on.
456	Mar. H'ad a hard heart, that could not laugh at you, sir.	= ie. "he has". = who.
	Ha, ha, ha!
458
	Lady. Pray, sister, do not laugh; you'll anger him;
460	And then he'll rail like a rude costermonger,	= apple-seller.
	That school-boys had cozened of his apples,	= cheated or tricked.
462	As loud and senseless.
464	Elder. I will not rail.
466	Mar. Faith, then, let’s hear him, sister.
468	Elder. Yes, you shall hear me.
470	Lady. Shall we be the better for it, then?
472	Elder. No; he that makes a woman better by his words,
	I’ll have him sainted: blows will not do it.
474
	Lady. By this light, he'll beat us.	475: sarcastic: "ooh, I'm afraid!"
476
	Elder. You do deserve it richly, and may live
478	To have a beadle do it.	= an officer charged with handing out punishment for
		minor offenses.
480	Lady. Now he rails.
482	Elder. Come, scornful folly, if this be railing, you
	Shall hear me rail.
484
	Lady. Pray, put it in good words, then.
486
	Elder. The worst are good enough for such a trifle,	= small or inconsequential person, such as Lady.
488	Such a proud piece of cobweb-lawn.	= a fine, transparent linen,^1 scornfully referring to Lady by
		her fine clothing.
490	Lady. You bite, sir.
492	Elder. I would till the bones cracked, an I had my will.	= ie. "your". = if.
494	Mar. We had best muzzle him; he grows mad.	494: Martha picks up on Lady's use of bite to speak about Elder as if he were a dog.
496	Elder. I would 'twere lawful in the next great sickness,	496-9: I would…infectious = Elder refers to the practice
	To have the dogs spared, those harmless creatures,	of killing off dogs during the plague epidemics which
498	And knock i' the head these hot continual plagues,	regularly swept London, in the belief that dogs were
	Women, that are more infectious. I hope	carriers of infection; he expresses a wish that during the
500	The state will think on 't.	next such epidemic (great sickness), it would be legal to
		spare the lives of the canines and instead snuff those of the women, who are a plague in themselves. state (line 500) = government or administration.
502	Lady. Are you well, sir?
504	Mar. He looks
	As though he had a grievous fit o' the colic.	= a type of stomach disorder.
506
	Elder. Green-ginger, will you cure me?	= ginger root, used as a cure for upset stomach;^1,10 green
508		was also used to describe an inexperienced maiden,^1 and ginger was considered an aphrodesiac;^5 thus Elder's addressing Martha by this name is somewhat suggestive.
	Abig. I’ll heat
510	A trencher for him.	= a wooden platter;^1 Abigail is faux-volunteering to prepare a little something to soothe Elder's stomach.
512	Elder. Dirty December, do;	= alluding to Abigail's advanced age.
	Thou with a face as old as Erra Pater;	= the name of an unknown astrologer whose name was used in the title of a 17th century almanac; hence the reference to Abigail's prognosticating nose.^3
514	Such a prognosticating nose; thou thing,
	That ten years since has left to be a woman,	= ceased.
516	Out-worn the expectation of a bawd;	516: perhaps meaning that she either outlasted or exhausted (out-worn)^1 the patience of a pimp that she could perform satisfactorily as a prostitute; the general sense of the speech, however, is clear.
	And thy dry bones can reach at nothing now,	= ie. are good for.
518	But gords or nine-pins; pray, go fetch a trencher, go.	= "but to be used to make false-dice (gords)^3 or the pins used in nine-pins", ie. a game that resembles a smaller version of bowling.^1
520	Lady. Let him alone; he's cracked.	= mad.
522	Abig. I'll see him hanged first: he's a beastly fellow,
	To use a woman of my breeding thus;	523: as she did in the scene's opening lines, when she referred to herself as a gentlewoman, Abigail hangs doggedly on to her memory, or impression, of once having been a woman of consequence and status. use = treat.
524	Ay, marry, is he. Would I were a man,	= an oath. = "I wish".
	I'd make him eat his knave's words!
526
	Elder. Tie your she-otter up, good Lady Folly,
528	She stinks worse than a bear-baiting.	= a long-popular entertainment, in which a bear was tied
		to a post and tormented by dogs, with injury usually occurring to all the animals involved.
530	Lady. Why, will you be angry now?
532	Elder. Go, paint, and purge;	= "put on your make-up and vomit or empty your bowels".^1
	Call in your kennel with you. You a lady!	= referring to Martha and Abigail as Lady's pack of dogs;^1 there is a great deal of dog and animal imagery in this scene!
534
	Abig. Sirrah, look to't against the quarter-sessions:	535: Abigail suggests Elder watch his words, as he may need
536	If there be good behaviour in the world,	to defend himself in a courtroom (quarter sessions were
	I'll have thee bound to it.	those criminal and civil courts that met quarterly).^1
538		Sirrah (line 535) = Abigail's addressing Elder by Sirrah, which was usually used as a form of address to a servant, demonstrates her intense contempt for him; such a form of address would be highly inappropriate under normal circumstances.
	Elder. You must not seek it in your lady's house, then. −
540	Pray, send this ferret home, − and spin, good Abigail: −	= an imperative, telling her to get back to her domestic duties.
	And, madam, that your ladyship may know
542	In what base manner you have used my service,	= "responded to my attentions to you".
	I do from this hour hate thee heartily;
544	And though your folly should whip you to repentance,
	And waken you at length, to see my wrongs,	= "to recognize the injuries you have done to me".
546	'Tis not the endeavour of your life shall win me, −	546: the second half of this sentence occurs in line 551; in between this line and that - between the two dashes - Elder lists all the ways Lady might try, but fail, to win him back.
	Not all the friends you have in intercession,	= ie. "to intercede on your behalf".
548	Nor your submissive letters, though they spoke
	As many tears as words; not your knees grown
550	To the ground in penitence, nor all your state, −	= wealth.
	To kiss you; nor my pardon, nor will
552	To give you Christian burial, if you die thus:
	So farewell. −
554	When I am married and made sure, I'll come	= betrothed.^16
	And visit you again, and vex you, lady:	= torment.
556	By all my hopes, I’ll be a torment to you,
	Worse than a tedious winter. I know you will
558	Recant and sue to me; but save that labour:	= appeal to, beg.
	I’ll rather love a fever and continual thirst,
560	Rather contract my youth to drink, and safer	560: contract…drink = engage, as in a marriage contract, his youth to drinking, ie. bind himself to a life of alco- holism. safer = ie. with greater safety.
	Dote upon quarrels,	= ie. take to dueling.
562	Or take a drawn whore from an hospital,	562: drawn = perhaps meaning shrunken or wasted away by venereal disease. hospital = where a prostitute would be treated for syphilis.
	That time, diseases, and mercury had eaten,	= used for the treatment of syphilis.
564	Than to be drawn to love you.	= Elder puns on drawn in line 562.
566	Lady. Ha, ha, ha! Pray, do; but take heed though.
568	Elder. From thee, false dice, jades, cowards, and plaguy summers,	568: Elder, picking up on Lady's use of heed, lists a number of items he should take heed of - including Lady herself,
	Good Lord, deliver me!	as indicated by his saying from thee.
570		jades = worn out, and therefore worthless, horses that an unscrupulous salesman might offer. plaguey = plague-filled.
	[Exit Elder.]
572
	Lady. But hark you, servant, hark ye! − Is he gone?	= "listen to me".
574	Call him again.
576	Abig. Hang him, paddock!	= toad.^1
578	Lady. Art thou here still? fly, fly, and call my servant;	578-9: addressed to Abigail; for the first time, Lady actually
	Fly, or ne'er see me more.	worries that she might lose Elder. fly = ie. hurry.
580
	Abig. [Aside] I had rather knit again than see that rascal;	= per Bond, Abigail would rather be demoted to her lowly
582	But I must do it.	former position of needle-worker than go after Elder;^3
		but as Lady's employee, she knows she has no choice.
584	[Exit Abigail.]
586	Lady. I would be loath to anger him too much.
	What fine foolery is this in a woman,	= ie. in women generally.
588	To use those men most frowardly they love most?	= treat. = perversely.^1
	If I should lose him thus, I were rightly served.
590	I hope he's not so much himself to take it	590-1: Lady hopes Elder's anger is not genuine.
	To the heart.	take it…heart = the expression to take (something) to heart can be traced back at least to the late 14th century.
592
	Re-enter Abigail.	593: here we find a good example of the dramatic technique
594		of compression of time: note that Abigail appears to have chased down Elder and had a whole conversation with him, and then returned, all in the time it took Lady to recite a mere 6-line speech (586-591); the technique speeds up the apparent action and increases the drama of the scene.
	How now? will he come back?
596
	Abig. Never, he swears, whilst he can hear men say
598	There's any woman living: he swore he would ha' me first.	= ie. he would rather have Abigail before he takes back Lady!
600	Lady. Didst thou entreat him, wench?	= implore, beg.
602	Abig. As well as I could, madam.
	But this is still your way, to love being absent,	= always. = "love him when he's not here".
604	And when he's with you, laugh at him and abuse him.
	There is another way, if you could hit on 't.	605: Abigail's idea is never revealed, but it likely involves
606		sex - perhaps she is thinking Lady can win Elder back by giving herself over to him; Lady, for her part, realizes there is something she can do - but not what Abigail is thinking.
	Lady. Thou sayst true; get me paper, pen, and ink;
608	I'll write to him: I’d be loath he should sleep in’s anger.	= "in his".
	Women are most fools when they think they're wisest.
610
	[Exeunt.]
	ACT IV, SCENE II.
	A Street.
	Music.
	Enter Young Loveless and Widow,
	going to be married: with them Captain and Poet.
1	Widow. Pray, sir, cast off these fellows, as unfitting	1-2: the Widow asks Young to disassociate himself from
2	For your bare knowledge, and far more your company.	his friends, as it is unfitting for him to even know them, never mind keep company with them. bare = mere or simple. far more = ie. even more unfitting for.
	Is 't fit such ragamuffins as these are,	= the word ragamuffin appeared first as the name of a demon around 1400 A.D., before it began to be used to refer to an unkempt person in the late 16th century.
4	Should bear the name of friends, and furnish out
	A civil house? you’re to be married now;	= respectable, sober, grave.^1,4
6	And men, that love you, must expect a course	6-7: a course …career = a metaphor for Young to change
	Far from your old career. If you will keep 'em,	his lifestyle; course and career both refer to a gallop of a horse.^1
8	Turn 'em to the stable, and there make 'em grooms:	8: if Young doesn't want to get rid of his comrades, then he should send them to occupy the stable, where they can work as servants attending the horses (grooms).
	And yet, now I consider it, such beggars
10	Once set o' horse-back, you have heard, will ride −	9-10: the full proverb is "set a beggar on horse-back, and
	How far, you had best to look to.	he will ride like the devil", ie. when a poor man gains
12		wealth suddenly, he quickly becomes arrogant or corrupt; Widow is offering an ironic warning about the Captain and Poet receiving a benefit greater than they merit.
	Capt. Hear you, you
14	That must be lady: pray, content yourself,	= who. = ie. the wife of a knight.
	And think upon your carriage soon at night,	15-16: the Captain suggests Widow should concern herself with preparing for her wedding night. carriage = bearing or conduct.
16	What dressing will best take your knight, what waistcoat,	16: dressing = outfit. waistcoat = an expensive garment worn by a woman on her upper body, and normally worn underneath a gown; a woman who wore a waistcoat without any garment over it was understood to be a courtesan or prostitute; hence the Captain may have a vaguely bawdy meaning in mind.
	What cordial will do well i' the morning for him.	= restorative, which would be needed after a long night of romping.
18	What triers have you?	= by trier, the Captain could mean a judge, an examiner,
		one who tests something out,^1 or even one who shows off a horse at a sale, as Bond suggests;^3 Widow asks him to clarify.
20	Widow. What do you mean, sir?
22	Capt. Those that must switch him up. If he start well,	22-26: the Captain explains: the triers are those who will drive Young during his love-making, as with a switch; in this speech, the Captain, in a rather dirty and lengthy metaphor, compares the newly-weds' love-making to Widow's riding a horse; note the use of hard, down and stands as typical double-entendres.
	Fear not, but cry, "Saint George," and bear him hard:	= a common English battle cry.^1
24	When you perceive his wind grows hot and wanting,
	Let him a little down; he’s fleet, ne'er doubt him,	= swift, agile.^1
26	And stands sound.
28	Widow. Sir, you hear these fellows?
30	Young. Merry companions, wench, merry companions.	= an affectionate name for a sweetheart.^2
32	Widow. To one another let 'em be companions,
	But, good sir, not to you: you shall be civil,	= respectable.
34	And slip off these base trappings.	= release or cut off.^1 = ornaments.^2
36	Capt. He shall not need, my most sweet Lady Grocer,	36f: the Captain alludes back to how Widow's now de- ceased husband made his fortune as a grocer; his point is to remind her of her own humble roots, and hence that she has no right to be snobbish.
	If he be civil, not your powdered sugar,	= the Captain and Poet will keep using the word civil, which was first used by Widow, in a mocking tone.
38	Nor your raisins, shall persuade the captain
	To live a coxcomb with him: let him be civil,	39: To live…with him = ie. to play the fool and join him in
40	And eat i’ the Arches, and see what will come on 't.	living a respectable life.^3 let him be civil…Arches = the Arches was the Ecclesiastical Court of Appeal for the province (an administrative district made up of several dioceses) of Canterbury, so-called because it was located at the old Church of St. Mary Arcusbus, or St. Mary Bow Church, which was known for its arches;^3,29the Captain puns on civil, using it to mean "respectable" and "Canonical", so that eat i' the Arches means "eat his words in the Arches",^29 ie. "let him change his behaviour".^3,29
42	Poet. Let him be civil, do: undo him; ay, that’s the next way.	= ruin.
	I will not take, if he be civil once,	= would.
44	Two hundred pounds a year to live with him.
	Be civil! there's a trim persuasiön.	= a fine argument.^1
46
	Capt. If thou be'st civil, knight, (as Jove defend it!)	= God forbid.^3
48	Get thee another nose; that will be pulled	= "yourself". = that one, ie. "your nose".
	Off by the angry boys for thy conversion.	= ie. rowdy types. = on account of.
50	The children thou shalt get on this civilian	50: get on = beget by or with. civilian = ie. Canonist, by which he means Widow; a civilian, or Canonist, is one who practices Roman civil law, from which Canonical law (see the note at lines 39-40 above) is derived; the Captain is revisiting his religion-related metaphor of his previous speech.^29
	Cannot inherit by the law; they're ethnicks,	= aliens.^3 William Blackstone, in his Commentaries of English Law (7th Edition, 1775, p. 249), explains that in English common law, aliens could not inherit property.
52	And all thy sport mere moral lechery:	= euphemism for "sex". = absolute, nothing but.
	When they are grown, having but little in 'em,	= ie. they will not be particularly manly or distinguished.^1
54	They may prove haberdashers, or gross grocers,	= dealer in hats.^1 = fat;^1 note the wordplay of gross grocer.
	Like their dear dam there. Prithee, be civil, knight:	= contemptuous term for mother.^1
56	In time thou mayst read to thy household,	= ie. read prayers.^3
	And be drunk once a-year; this would shew finely.	= ie. thanks to Widow's gracious permission; with once, the Captain means "but once".
58
	Young. I wonder, sweetheart, you will offer this;	= ie. "why you speak this way".
60	You do not understand these gentlemen.
	I will be short and pithy; I had rather	= to the point.
62	Cast you off, by the way of charge. These are creatures,	62-65: These are…two hens = Young's argument for not dispensing with his friends is that they will cost next to nothing to support! creatures = people.
	That nothing goes to the maintenance of
64	But corn and water. I will keep these fellows	= this will be explained at lines 72-73.
	Just in the competency of two hens.	65: ie. his two friends will require no more provisioning than would be needed by two hens (which generally need no more than corn and water to keep them alive). competency = sufficiency.^23 two hens = Young's entourage is down to two, the Captain and the Poet.
66
	Widow. If you can cast it so, sir, you have my liking:	= contrive.^3 = consent.^1
68	If they eat less, I should not be offended.
	But how these, sir, can live upon so little
70	As corn and water, I am unbelieving.
72	Young. Why, prithee, sweetheart, what’s your ale?	= ie. "what is".
	Is not that corn and water, my sweet widow?
74
	Widow. Ay; but, my sweet knight, where’s the meat to this,	= food.
76	And clothes, that they must look for?
78	Young. In this short sentence, ale, is all included;	= ie. "in the following maxim or pithy adage".^1
	Meat, drink, and cloth. These are no ravening footmen,	79: meat, drink, and cloth = apparently proverbial: "ale is meat, drink and cloth", though I have not found an earlier instance of it than this. ravening = ravenous. footmen = servants who ran alongside a wealthy employer's carriage, which activity would presumably increase their appetites.
80	No fellows that at ordinaries dare eat	= taverns.
	Their eighteen-pence thrice out before they rise,	81: ie. the sense is, they will not be foolish enough to spend their money on food first thing in the morning.
82	And yet go hungry to a play, and crack	82-83: crack more nuts = cracking nuts was a common activity of early theater-goers.^3
	More nuts than would suffice a dozen squirrels,
84	Besides the din, which is damnable:	= noise. = many modern editions print most damnable for the sake of the meter.^4
	I had rather rail, and be confined to a boat-maker,	= ie. perhaps meaning "be apprenticed to".
86	Than live among such rascals. These are people
	Of such a clean discretion in their diet,
88	Of such a moderate sustenance, that they sweat
	If they but smell hot meat; porridge is poison;
90	They hate a kitchen as they hate a counter;	= prison.^3
	And shew 'em but a feather-bed, they swound.	= swoon.
92	Ale is their eating and their drinking surely,
	Which keeps their bodies clear and soluble.	= in good digestion.^3
94	Bread is a binder, and for that abolished,	= ie. it causes constipation.
	Even in their ale, whose lost room fills an apple,	95-96: Young describes a traditional drink known as a
96	Which is more airy, and of subtler nature.	"wassail", in which warmed and spiced ale or wine was topped with toast to act as a sop;^3 roasted crab-apples were also often added to such drinks; the idea here is that the apples would take the place of the bread in the drinks (line 94).
	The rest they take is little, and that little
98	As little easy; for, like strict men of order,	= ie. men who belonged to a monastic order, and so lived lives of strict ascetecism.^3
	They do correct their bodies with a bench	99: correct = punish. 99-100: bench…table = a reference to the simplest, and perhaps most uncomfortable, of furniture.
100	Or a poor stubborn table; if a chimney	= rigid.^1
	Offer itself, with some few broken rushes,
102	They are in down: when they are sick, that’s drunk,	102: They are in down = ie. to his friends, lying on rushes in front of a fire is like lying on luxurious down. that's = ie. "which is to say".
	They may have fresh straw; else they do despise
104	These worldly pamperings. For their poor apparel,
	'Tis worn out to the diet; new they seek none;	105: 'Tis worn…diet = ie. their clothing corresponds in its poor nature to their spare diets.^3 new = new clothes.
106	And if a man should offer, they are angry,	106-7: they would rather lose the friendship of one who
	Scarce to be reconciled again with him:	offered them clothing than accept the clothing.
108	You shall not hear 'em ask one a cast doublet	= ie. "from anybody". = tossed-away close-fitting jacket.
	Once in a year, which is a modesty
110	Befitting my poor friends: you see their wardrobe,
	Though slender, competent; for shirts, I take it,	= poor, scanty.^1 = adequate.^1
112	They are things worn out of their remembrance.
	Lousy they will be when they list, and mangy,	113: lousy = filthy. list = wish it. mangy = shabby or sparse, but also suffering from the mange.^1
114	Which shews a fine variety; and then, to cure ‘em,	= both (1) repair, and (2) heal.^1
	A tanner's lime-pit, which is little charge;	115: tanner's lime pit = hides were soaked in a lime solution to remove the hair and epidermis; the loss of hair is a symptom of mange; charge = cost.
116	Two dogs, and these two, may be cured for threepence.	116: dogs = alludes back to mangy (line 113), completing
		the densely metaphoric nonsense Young is spewing. these two = ie. the Captain and Poet.
118	Widow. You have half persuaded me; pray, use your pleasure: −
	And, my good friends, since I do know your diet,
120	I’ll take an order meat shall not offend you;	120: Widow will make sure not to offend the guests by
	You shall have ale.	offering them any food.
122
	Capt. We ask no more; let it be mighty, lady,
124	And, if we perish, then our own sins on us!
126	Young. Come, forward, gentlemen; to church, my boys!	= ie. where Elder and Widow will get married.
	When we have done, I’ll give you cheer in bowls.	= food and drink generally;^1 Young is saying that all of his
128		guests' provender will be in the form of alcohol, which would be served in bowls, as opposed to food, which would be served on platters.
	[Exeunt.]
	END OF ACT IV.
	ACT V.
	SCENE I.
	A Room in the House of Elder Loveless.
	Enter Elder Loveless.
1	Elder. This senseless woman vexes me to the heart;	= lacking sense, foolish.^2
2	She will not from my memory: would she were	= be gone from.
	A man for one two hours, that I might beat her!	= ie. one or two.
4	If I had been unhandsome, old, or jealous,
	'T had been an even lay she might have scorned me;	= bet.
6	But to be young, and, by this light, I think,	= an oath.
	As proper as the proudest; made as clean,	= handsome. = well-built.^2
8	As straight, and strong-backed; means and manners equal	8: straight = strong, muscular.^2 strong-backed = strong, but also suggesting that he is able to satisfy women sexually, especially with straight.
	With the best cloth-of-silver sir i' the kingdom −	= ie. the wealthiest knight.
10	But these are things, at some time of the moon,	10-11: But these…canvass = canvass, a coarse cloth of hemp,^1 is contrasted with cloth-of-silver; metaphorically, Young means that women prefer a rougher sort of man over a more refined one.^3
	Below the cut of canvass. Sure, she has	= "certainly"; in the following lines, Young drives himself crazy with jealousy, imagining Lady entertaining a physically powerful man of no standing.
12	Some meeching rascal in her house, some hind,	= skulking, with amorous intent.^3 = boor or peasant.^2
	That she hath seen bear, like another Milo,	13: bear =carry. Milo = famous Olympic wrestling champion of ancient Greece, proverbial for his strength; he once carried an ox on his shoulders around the Olympic stadium, hence Elder's comparison; Milo is said to have died when he, in trying to tear apart a partially-cleaved tree, got his hand caught when the tree closed up, and he was torn apart by wolves.^10
14	Quarters of malt upon his back, and sing with 't;	= a quarter of grain equaled eight bushels, or about 290 liters,^1 an obvious but pointed exaggeration.
	Thrash all day, and i' th' evening, in his stockings,	= thresh grain, ie. work hard all day.
16	Strike up a hornpipe, and there stink two hours,	16: hornpipe = a dance performed to the accompaniment of a hornpipe,^3 an ancient instrument that was sort of a cross between a clarinet and a recorder; stink = smell or be offensive generally.^1
	And ne'er a whit the worse man: these are they,	= the worse for it.
18	These steel-chined rascals, that undo us all.	= strong-backed (chine = back). = ruin everything for.
	Would I had been a carter, or a coachman!	= one who drives a cart, ie. a commoner.^1
20	I had done the deed ere this time.
22	Enter Servant.
24	Serv. Sir, there’s a gentleman without would speak with you.	= in an outer room or anteroom.
26	Elder. Bid him come in.
28	[Exit Servant.]
30	Enter Welford.
32	Wel. By your leave, sir.	= "with your permission"; a polite apologetic phrase.
34	Elder. You are welcome: what’s your will, sir?
36	Wel. Have you forgotten me?
38	Elder. I do not much remember you,
40	Wel. You must, sir.
	I am that gentleman you pleased to wrong	= insult.
42	In your disguise; I have inquired you out.
44	Elder. I was disguised indeed, sir, if I wronged you.	= ie. drunk, a secondary meaning for disguised.^3
	Pray, where and when?
46
	Wel. In such a lady's house, sir,
48	I need not name her.
50	Elder. I do remember you:
	You seemed to be a suitor to that lady.
52
	Wel. If you remember this, do not forget
54	How scurvily you used me: that was	= treated.
	No place to quarrel in; pray you, think of it:
56	If you be honest, you dare fight with me,	56-57: Welford is essentially challenging Elder to a duel, to
	Without more urging; else I must provoke ye.	preserve his honour.
58
	Elder. Sir, I dare fight, but never for a woman;
60	I will not have her in my cause; she's mortal,	60: cause = a formal grounds for fighting a duel. mortal = deadly.^2
	And so is not my anger. If you have brought
62	A nobler subject for our swords, I am for you;	= ie. "then I will be happy to oblige you."
	In this I would be loath to prick my finger:	= ie. "but in this matter", ie. over a woman.
64	And where you say I wronged you, 'tis so far	= whereas.^4
	From my profession, that, amongst my fears,	= nature.^1
66	To do wrong is the greatest. Credit me,	= Elder would never consciously offend another.
	We have been both abused, not by ourselves	= mistreated or deceived. = not by each other.
68	(For that I hold a spleen, no sin of malice,	68-69: when men insult each other, any offense can be
	And may, with man enough, be left forgotten),	written off as having been brought on by an excusable sudden emotion; the spleen was believed to be the source of high emotion or temper.
70	But by that willful, scornful piece of hatred,
	That much-forgetful lady: for whose sake,	= neglectful.^1
72	If we should leave our reason, and run on	72-73: run on…rams = Elder compares himself and
	Upon our sense, like rams, the little world	Welford to two rams butting heads over a woman.^3
74	Of good men would laugh at us, and despise us,
	Fixing upon our desperate memories	= lasting reputations.
76	The never-worn-out names of fools and fencers.	= those who fence for public amusement in shows;^1 the sense seems to be that Elder and Welford would be like those who fight for no better end than to entertain others.
	Sir, 'tis not fear, but reason, makes me tell you,
78	In this I had rather help you, sir, than hurt you.
	And you shall find it, though you throw yourself	= "you'll find out", or "you'll discover".
80	Into as many dangers as she offers,
	Though you redeem her lost name every day,	= ruined reputation.
82	And find her out new honours with your sword,
	You shall but be her mirth, as I have been.	= ie. nothing more than a source of amusement for Lady.
84
	Wel. I ask you mercy, sir; you have ta'en my edge off;
86	Yet I would fain be even with this lady.	= "desire to get even with".
88	Elder. In which I’ll be your helper: we are two;
	And they are two, − two sisters, rich alike,	89: Elder refers to Lady and Martha. rich alike = meaning that both are rich, but not necessarily equally.^3
90	Only the elder has the prouder dowry.
	In troth, I pity this disgrace in you,	91-92: Elder means that he feels Welford's pain and dis-
92	Yet of mine own I am senseless. Do but	grace, but for himself, he feels nothing; senseless had a more literal meaning of "not feeling anything". troth = truth.
	Follow my counsel, and I’ll pawn my spirit,	= the modern equivalent would be "bet my life".
94	We'll over-reach 'em yet: the means is this −	= outwit. = "here's how".
96	Re-enter Servant.
98	Serv. Sir, there’s a gentlewoman will needs speak with you;
	I cannot keep her out; she’s entered, sir.
100
	Elder. It is the waiting-woman: pray, be not seen. −
102	Sirrah, hold her in discourse a while.	= form of address for a servant.
104	[Exit Servant.]
106	Hark in your ear [whispers]: go, and despatch it quickly:	= Elder whispers to Welford: he has a plan!
	When I come in, I’ll tell you all the project.
108
	Wel. I care not which I have.
110
	Elder. Away; 'tis done;
112	She must not see you.
114	[Exit Welford.]
116	Enter Abigail.
118	Now, Lady Guinever, what news with you?	= obviously ironic comparison to the legendary woman of great beauty.
120	Abig. Pray, leave these frumps, sir, and receive this letter.	= mocks.
122	[Gives letter.]
124	Elder. From whom, good Vanity?	= another insulting name, meaning "worthless".^1
126	Abig. 'Tis from my lady, sir: alas, good soul,
	She cries and takes on!
128
	Elder. Does she so, good soul?	129f: an Elizabethan audience would have found Elder's extreme abuse of the old servant woman very funny.
130	Would she not have a caudle? Does she send you	= a warm, sweetened alcoholic drink, given especially to the sick; Elder bitterly takes Abigail's description of Lady to mean she is not well.^1
	With your fine oratory, goody Tully,	131: goody = a title of courtesy for women of low status, here used ironically. Tully = Cicero, the ancient Roman senator famous for his oratory.
132	To tie me to belief again? − Bring out the cat-hounds! −	= hounds that would chase cats.
	I’ll make you take a tree, whore; then with my tiller	133: take a tree = ie. as a cat would be forced to do. tiller = the wooden beam of a cross-bow which has been notched to hold the arrow in place; hence the cross-bow itself.^1
134	Bring down your gibship, and then have you cased,	134: gib = cat, but also an abusive term for an old woman.^1 your gibship = parody of your ladyship. cased = skinned.
	And hung up i' the warren,	= a section of land reserved for breeding animals, but also
136		a brothel.^1
	Abig. I am no beast, sir; would you knew it!
138
	Elder. Would I did! for I am yet very doubtful.	= suspicious (that she is a beast); we remember that Welford
140	What will you say now?	had practically called Abigail an animal at Act III.i.563.
142	Abig. Nothing, not I.
144	Elder. Art thou a woman, and say nothing?	144: a common sentiment, that a woman who remained
		silent was a miracle.
146	Abig. Unless you'll hear me with more moderation.
	I can speak wise enough.
148
	Elder. And loud enough. Will your lady love me?	= "your mistress", ie. Lady.
150
	Abig. It seems so by her letter and her lamentations;
152	But you are such another man!	= ie. such a changed man.^3
154	Elder. Not such another as I was, mumps;	= a derisive form of address for an old woman.^1
	Nor will not be. I'll read her fine epistle.
156
	[Reads.]
158
	Ha, ha, ha! is not thy mistress mad?
160
	Abig. For you she will be. 'Tis a shame you should
162	Use a poor gentlewoman so untowardly:	= treat. = wretchedly.^2
	She loves the ground you tread on; and you, hard heart,
164	Because she jested with you, mean to kill her.
	'Tis a fine conquest, as they say.
166
	[Weeps.]
168
	Elder. Hast thou so much moisture
170	In thy whit-leather hide yet, that thou canst cry?	170: "left in your skin (hide), which is as dry as leather". whit-leather = leather made pliant by treatment with alum and salt.^1
	I would have sworn thou hadst been touchwood five year since.	= ie. wood so dry as to catch fire easily.^1
172	Nay, let it rain; thy face chops for a shower,	172: let it rain = ie. "go ahead and cry."
	Like a dry dunghill.	chops = cracks or cleaves open, like dried ground.^1,3
174
	Abig. I’ll not endure
176	This ribaldry. Farewell, i’ the devil's name!	= coarseness, though usually applied to lewd behavior.^1
	If my lady die, I’ll be sworn before a jury,
178	Thou art the cause on 't.	= having failed in her mission, and now the target of Elder's abuse, Abigail switches pronouns, addressing Elder with the contemptuous thou.
180	Elder. Do, maukin, do.	= a slovenly, lower-class woman.^1
	Deliver to your lady from me this:
182	I mean to see her, if I have no other business;	= "if I have nothing else to do."
	Which before I’ll want, to come to her, I mean	183: want = lack (ie. any other business).
184	To go seek birds' nests. Yet I may come, too;	183-4: I mean…nests = an example of the most trivial of errands Elder must do before he would see Lady again.
	But if I come,
186	From this door till I see her, will I think	186: "from the moment I leave my door till I see her I will be thinking about"; Dyce logically wonders if door should be hour.
	How to rail vildly at her; how to vex her,	= vilely, ie. meanly.^2
188	And make her cry so much, that the physician,	188-191: it was a common medical practice for a physician
	If she fall sick upon it, shall want urine	to diagnose an illness by studying a person's urine; Elder is suggesting that he will cause Lady to cry so much that she won't have enough water remaining in her body to provide a urine sample; consequently, if the physician is unable to provide a diagnosis, she will die.
190	To find the cause by, and she remediless
	Die in her heresy. Farewell, old adage!	= Welford had previously called Abigail by this name, back at Act III.i.587.
192	I hope to see the boys make pot-guns on thee.	192: Bond interprets the line to mean that Abigail is so dried up, like a hollow stick, that boys can use her as a pot-gun. pot-guns = pea-shooters, from which children shot chewed paper;^3 from pot-gun is derived the word pop- gun. on = of.
194	Abig. Thou 'rt a vile man: God bless my issue from thee!	= "protect my children".
196	Elder. Thou hast but one, and that’s in thy left crupper,	196-8: Elder, more vulgar than ever, takes issue to mean an
	That makes thee hobble so: you must be ground	outlet from which a liquid flows; he suggests Abigail
198	I’ the breech like a top; you'll never spin well else.	has one such outlet, located in her buttocks (crupper); then says her buttocks (breech) need to be sharpened (ground) in order for her to be able to spin properly like a top; but crupper can also refer to the strap on a horse that is attached to a saddle and runs behind the horse and through its legs to keep the saddle from falling off; such a strap would hobble Abigail.^1
	Farewell, fytchock!	= ie. fitchew, ie. a polecat, a term used to describe a loose woman.^1
200
	[Exeunt severally.]	= ie. in different directions.
	ACT V, SCENE II.
	A Room in Lady's House.
	Enter Lady.	Entering Character: Lady begins the scene with a
		soliloquy in which she decries the uncontrollable urge that drives women generally, and herself particularly, to act perversely against their own best interests.
1	Lady. Is it not strange that every woman's will
2	Should track out new ways to disturb herself?	= drive out from shelter by hunting, ie. hunt out.^1
	If I should call my reason to account,	3-7: If I should…still go on = Lady rues the inability of her
4	It cannot answer why I keep myself	reason to control her urge to treat Elder the way she does.
	From mine own wish, and stop the man I love
6	From his; and every hour repent again,
	Yet still go on. I know 'tis like a man	7-12: I know…repose = in this analogy, Lady compares her proud self to a man who, though desperate for sleep, will rather stay awake than admit to being as fatigued as another equally sleepy man; this is an excellent bit of psychological insight from our authors.
8	That wants his natural sleep, and, growing dull,	= lacks.
	Would gladly give the remnant of his life
10	For two hours' rest; yet, through his frowardness,	= perversity.
	Will rather choose to watch another man,	= ie. remain awake with.^1
12	Drowsy as he, than take his own repose.
	All this I know; yet a strange peevishness,
14	And anger not to have the power to do
	Things unexpected, carries me away
16	To mine own ruin: I had rather die
	Sometimes than not disgrace in public him
18	Whom people think I love; and do 't with oaths,
	And am in earnest then. Oh, what are we?	= ie. women.
20	Men, you must answer this, that dare obey	20-21: men are just as guilty as women are, because they
	Such things as we command.	acquiesce to the perverse demands women make on
22		them. answer = ie. answer for.
	Enter Abigail.
24
	How now? what news?
26
	Abig. Faith, madam, none worth hearing.
28
	Lady. Is he not come?
30
	Abig. No, truly.
32
	Lady. Nor has he writ?
34
	Abig. Neither. I pray God you have not undone	= brought ruin on.
36	yourself.
38	Lady. Why, but what says he?
40	Abig. Faith, he talks strangely.
42	Lady. How strangely?
44	Abig. First, at your letter he laughed extremely.
46	Lady. What, in contempt?
48	Abig. He laughed monstrous loud, as he would die; −
	and when you wrote it, I think, you were in no such
50	merry mood, to provoke him that way; − and having
	done, he cried, "Alas for her!" and violently laughed
52	again.
54	Lady. Did he?
56	Abig. Yes; till I was angry.
58	Lady. Angry! why?	58-65: Lady actually has more respect for Elder now than
	Why wert thou angry? he did do but well;	if he had immediately given in to her pleading letter and
60	I did deserve it; he had been a fool,	come running over to see her.
	An unfit man for any one to love,
62	Had he not laughed thus at me. You were angry!
	That shewed your folly: I shall love him more
64	For that, than all that e'er he did before.
	But said he nothing else?
66
	Abig. Many uncertain things. He said, though you had
68	mocked him, because you were a woman, he could
	wish to do you so much favour as to see you: yet, he
70	said, he knew you rash, and was loath to offend you	70-72: was loath…leave = Elder has a new sweetheart,
	with the sight of one whom now he was bound not to	and would not want to offend Lady by appearing with
72	leave.	her by his side.
74	Lady. What one was that?
76	Abig. I know not, but truly I do fear there is a making	76-77: a making up = a match, a marital arrangement.
	up there; for I heard the servants, as I passed by some,
78	whisper such a thing: and as I came back through the
	hall, there were two or three clerks writing great
80	conveyances in haste, which, they said, were for their	= legal contracts.^2
	mistress' jointure.	= a material provision for the wife, should the husband pre-decease her.
82
	Lady. 'Tis very like, and fit it should be so;	83-86: Lady acknowledges that Elder has done the right
84	For he does think, and reasonably think,	thing in finding another woman to be his wife, as he
	That I should keep him, with my idle tricks,	reasonably could expect Lady to continue to string him
86	For ever ere he married.	along and avoid marrying him indefinitely. like (line 83) = likely.
88	Abig. At last, he said it should go hard but he	= not be easy to do.
	Would see you, for your satisfactiön.
90
	Lady. All we, that are called women, know as well
92	As men, it were a far more noble thing
	To grace where we are graced, and give respect
94	There where we are respected: yet we practise
	A wilder course, and never bend our eyes
96	On men with pleasure, till they find the way
	To give us a neglect; then we, too late,	= neglect us.
98	Perceive the loss of what we might have had,
	And dote to death.	= "until we die."
100
	Enter Martha.
102
	Mar. Sister, yonder’s your servant,	= lover, ie. Elder.
104	With a gentlewoman with him.
106	Lady. Where?
108	Mar. Close at the door.
110	Lady. Alas, I am undone! I fear he is betrothed.
	What kind of woman is she?
112
	Mar. A most ill-favoured one, with her mask on;	= ugly. = Elizabethan women frequently wore masks
114	And how her face should mend the rest, I know not.	when going out, to protect their complexions from the elements.
116	Lady. But yet her mind is of a milder stuff	116-7: Lady appreciates that Elder's new fiancée, unattrac-
	Than mine was.	tive as she might be, no doubt treats him better than she
118		did.
	Enter Elder Loveless
120	and Welford in woman's apparel.
122	[Aside] Now I see him, if my heart	122-5: a typical complex sentence: "don't let me live if I
	Swell not again − away, thou woman's pride! −	cannot control my pride enough to speak civilly to him."
124	So that I cannot speak a gentle word to him,
	Let me not live.
126
	Elder. By your leave here.
128
	Lady. How now? what new trick invites you hither?
130	Ha' you a fine device again?	= another great scheme.
132	Elder. Faith, this is the finest device I have now. −
	How dost thou, sweetheart?
134
	Wel. Why, very well, so long as I may please
136	You, my dear lover: I nor can nor will	= neither.
	Be ill when you are well, well when you are ill.
138
	Elder. Oh, thy sweet temper! What would I have given,
140	That lady had been like thee! See'st thou her?	= "for Lady to have been like you".
	That face, my love, joined with thy humble mind,
142	Had made a wench indeed.	142: "would have made a fine woman indeed".
144	Wel. Alas, my love.
	What God hath done I dare not think to mend!	= fix, improve upon.
146	I use no paint nor any drugs of art;	= cosmetics. = dyes used to deceive (art = artifice).
	My hands and face will shew it.
148
	Lady. Why, what thing have you brought to shew us there?
150	Do you take money for it?	150: despite her good intentions, Lady can't help but insult
		Elder and his ugly "girlfriend"; she is asking if he would take money to sell her, or for exhibiting her, like a freak.
152	Elder. A godlike thing,
	Not to be bought for money; 'tis my mistress,
154	In whom there is no passion, nor no scorn;	= unseemly displays of emotion.
	What I will is for law. Pray you, salute her.	= "my word is law with her". = greet with a kiss.
156
	Lady. Salute her! by this good light, I would not kiss her
158	For half my wealth.
160	Elder. Why? why, pray you?
	You shall see me do 't afore you: look you.
162
	[Kisses Welford.]
164
	Lady. Now fie upon thee! a beast would not have done 't. −	= an expression of disgust or reproach.^1
166	I would not kiss thee of a month, to gain	= once a month.^3
	A kingdom.
168
	Elder. Marry, you shall not be troubled.
170
	Lady. Why, was there ever such a Meg as this?	= an allusion to Long Meg, an unusually tall woman who
172	Sure, thou art mad.	appears to have lived during the reign of Henry VIII; her exploits were the topic of plays and ballads, which por- trayed her as a boisterous amazon.^24
174	Elder. I was mad once, when I loved pictures;	174-5: Elder is comparing loving Lady to loving a picture of
	For what are shape and colours else but pictures?	her, in the sense that his attraction was based solely on looks.
176	In that tawny hide there lies an endless mass	= ie. in Welford's yellow-brown (tawny)^1 hide.
	Of virtues, when all your red and white ones want it.	= ie. Lady's blood and flesh. = lack a single virtue.
178
	Lady. And this is she you are to marry, is't not?
180
	Elder. Yes, indeed, is't.
182
	Lady. God give you joy!
184
	Elder. Amen.
186
	Wel. I thank you, as unknown, for your good wish.	= ie. "as one who is still a virgin".^2
188	The like to you, whenever you shall wed.
190	Elder. Oh, gentle spirit!
192	Lady. You thank me! I pray,
	Keep your breath nearer you; I do not like it.
194
	Wel. I would not willingly offend at all;
196	Much less a lady of your worthy parts.	= qualities.
198	Elder. Sweet, sweet!
200	Lady. I do not think this woman can by nature
	Be thus, thus ugly: sure, she’s some common strumpet,	= likely meaning "so, so", ie. an intensifier.
202	Deformed with exercise of sin.
204	Wel. [Kneeling] Oh, sir,
	Believe not this! for Heaven so comfort me,	= "don't believe a word she says!"
206	As I am free from foul pollutiön	= moral corruption or sin.
	With any man! my honour ta'en away,	207-8: my honour…no woman = "without my honour, I
208	I am no woman.	am not a true woman"; in a man's world, one expected one's wife to be a virgin.
210	Elder. [Raising Welford]
	Arise, my dearest soul;
212	I do not credit it. − Alas, I fear	= believe.
	Her tender heart will break with this reproach! −
214	Fie, that you know no more civility
	To a weak virgin! − 'Tis no matter, sweet;	= maiden.
216	Let her say what she will, thou art not worse
	To me, and therefore not at all; be careless.	= literally "without care", free from anxiety.
218
	Wel. For all things else I would; but for mine honour,
220	Methinks −
222	Elder. Alas, thine honour is not stained!−
	Is this the business that you sent for me	223-4: Elder now addresses Lady; note how he addresses
224	About?	his sweetheart with the affectionate thou, but Lady
		with the formal and distant you.
226	Mar. Faith, sister, you are much to blame
	To use a woman, whatsoe'er she be,	= treat.
228	Thus. I'll salute her. − You are welcome hither.
230	[Kisses Welford.]
232	Wel. I humbly thank you.
234	Elder. Mild still as the dove,	= always.
	For all these injuries. Come, shall we go?
236	I love thee not so ill to keep thee here,	= illy.
	A jesting-stock. − Adieu, to the world's end!	= laughing stock; both expressions entered the written language in the 1530's.^1
238
	Lady. Why, whither now?	= to where, ie. "where are you going".
240
	Elder. Nay, you shall never know.
242	Because you shall not find me.
244	Lady. I pray, let me speak with you.
246	Elder. 'Tis very well.− Come.
248	Lady. I pray you, let me speak with you.
250	Elder. Yes, for another mock.
252	Lady. By Heaven, I have no mocks: good sir, a word.
254	Elder. Though you deserve not so much at my hands,
	yet, if you be in such earnest, I’ll speak a word with
256	you: but, I beseech you, be brief; for, in good faith,
	there’s a parson and a license stay for us i' the church	= waiting.
258	all this while; and, you know, 'tis night.	= Elder would naturally be looking forward to his wedding
		night.
260	Lady. Sir, give me hearing patiently, and whatsoever
	I have heretofore spoke jestingly, forget;
262	For, as I hope for mercy any where.
	What I shall utter now is from my heart,
264	And as I mean.
266	Elder. Well, well, what do you mean?
268	Lady. Was not I once your mistress, and you my servant?
270	Elder. Oh, 'tis about the old matter.
272	[Going.]	272: Elder begins to exit.
274	Lady. Nay, good sir, stay me out:	= "let me speak my mind before you go."
	I would but hear you excuse yourself,
276	Why you should take this woman, and leave me.
278	Elder. Prithee, why not? deserves she not as much
	As you?
280
	Lady. I think not, if you will look	281-2: Lady asks Elder to objectively compare the two
282	With an indifferency upon us both.	women's looks.
284	Elder. Upon your faces, 'tis true; but if judicially we
	shall cast our eyes upon your minds, you are a thousand
286	women off her in worth. She cannot swound in jest, nor	= pretend to faint, as Lady did.
	set her lover tasks, to shew her peevishness and his	= like when she sent him to go to France!
288	affection; nor cross what he says, though it be	288-9: cross…canonical = thwart his word, even if it were as good as Scripture; note the possible pun on cross.
	canonical. She's a good plain wench, that will do as I
290	will have her, and bring me lusty boys, to throw the	290: bring = bear, beget. to = ie. "who will be strong enough to". 290-1: throw the sledge = ie. toss a sledge hammer, a popular sport of the era, in which participants competed to see who could throw a heavy object, like a stone or sledge hammer, the farthest, an entertainment more generically called "casting of the bar".^1,9
	sledge, and lift at pigs of lead. And for a wife, she’s far	= to lift bars (pigs) of lead that have solidified after coming out of a smelter.^1,3
292	beyond you: what can you do in a household to provide
	for your issue, but lie a-bed and get 'em? your business	= children.
294	is to dress you, and at idle hours to eat; when she can do	= yourself.
	a thousand profitable things; − she can do pretty well in	295-6: she can do…pastry = ie. she can cook or bake. pastry = the place where pastry is made.^1
296	the pastry, and knows how pullen should be crammed;	= how to fatten up (cram) poultry (pullen).^1
	she cuts cambric at a thread, weaves bone-lace, and	297: cuts cambric…thread = Bond suggests this refers
298	quilts balls: and what are you good for?	to the skillful cutting of cambric in a pattern as it is
		stretched upon a frame of some kind.^3 bone-lace = linen lace knitted upon a pattern marked by pins, and utilizing bobbins made of bone.^1,3
300	Lady. Admit it true, that she were far beyond me in
	all respects; does that give you a license to forswear	= perjure: Lady will explain in a moment.
302	yourself?
304	Elder. Forswear myself! how?
306	Lady. Perhaps you have forgot the innumerable oaths	306-7: vows to marry were considered inviolable, but Elder reasonably understands that to be meaningful, the vows must be reciprocal.
	you have uttered, in disclaiming all for wives but me:
308	I’ll not remember you. God give you joy!	= remind.
310	Elder. Nay, but conceive me; the intent of oaths is	310: conceive = understand. 310-1: the intent…understood = the sense and good faith behind a vow is more important than its literally being followed.^3
	ever understood. Admit I should protest to such a friend	= suppose. = assert, promise.
312	to see him at his lodging to-morrow; divines would	= priests or theologists.^1
	never hold me perjured, if I were struck blind, or he hid
314	him where my diligent search could not find him, so	= himself.
	there were no cross act of mine own in 't. Can it be	= ie. "no deliberate failure on my part to fulfill my promise."
316	imagined I meant to force you to marriage, and to have
	you, whether you will or no?
318
	Lady. Alas, you need not! I make already tender of	319-320: by offering herself definitely to marry Elder, Lady
320	myself, and then you are forsworn.	obliges Elder to follow through on his vow to marry her; which, if he fails to do, invites damnation.
322	Elder. Some sin, I see, indeed, must necessarily
	Fall upon me; as whosoever deals
324	With women shall never utterly avoid it.
	Yet I would choose the least ill, which is to
326	Forsake you, that have done me all the abuses	= who has.
	Of a malignant woman, contemned my service,	= scorned.
328	And would have held me prating about marriage
	Till I had been past getting of children	= ie. ie. beyond the age when he could actually father children.
330	Than her, that hath forsook her family,	= ie. Welford.
	And put her tender body in my hand,	= delicate or inexperienced.^1
332	Upon my word.	332: "depending on my word".^3
334	Lady. Which of us swore you first to?
336	Elder. Why, to you.
338	Lady. Which oath is to be kept, then?
340	Elder. I prithee, do not urge my sins unto me,	= "keep reminding me of".
	Without I could amend 'em.	= ie. "as I am in no position to".
342
	Lady. Why, you may,
344	By wedding me.
346	Elder. How will that satisfy
	My word to her?
348
	Lady. It is not to be kept,
350	And needs no satisfaction: 'tis an error
	Fit for repentance only.	= Lady suggests Elder's breaking his vow to Welford
352		would constitute something like a venial sin, that is, a lesser sin, that can be purged with penance (compare a venial sin to the more serious mortal sin, which constitutes a complete break with God).
	Elder. Shall I live
354	To wrong that tender-hearted virgin so?
	It may not be.
356
	Lady. Why may it not be?
358
	Elder. I swear I had rather marry thee than her;
360	But yet mine honesty −	= honour.
362	Lady. What honesty?
	Tis more preserved this way. Come, by this light,	= a common oath.
364	Servant, thou shalt: I’ll kiss thee on't.	= ie. "you shall marry me".
366	Elder. This kiss,
	Indeed, is sweet: pray God, no sin lie under it!
368
	Lady. There is no sin at all; try but another.
370
	Wel. Oh, my heart!
372
	Mar. Help, sister! this lady swoons.	= now Welford is fainting!
374
	Elder. How do you?
376
	Wel. Why, very well, if you be so.
378
	Elder. Such a quiet mind lives not in any woman.
380	I shall do a most ungodly thing.
	Hear me one word more, which, by all my hopes,
382	I will not alter. I did make an oath,
	When you delayed me so, that this very night	= Elder is addressing Lady.
384	I would be married: now if you will go
	Without delay, suddenly, as late as it is,
386	With your own minister, to your own chapel,
	I’ll wed you, and to bed.
388
	Lady. A match, dear servant.	= "it’s a deal", or "agreed, it’s a marriage".
390
	Elder. For if you should forsake me now, I care not:
392	She would not though, for all her injuries;
	Such is her spirit. If I be not ashamed
394	To kiss her now I part, may I not live!	= "that I am breaking up with her".
396	Wel. I see you go, as slyly as you think
	To steal away; yet I will pray for you:
398	All blessings of the world light on you two,
	That you may live to be an agèd pair!
400	All curses on me, if I do not speak
	What I do wish indeed!
402
	Elder. If I can speak	403-4: speak to purpose = speak plainly or to the point.
404	To purpose to her, I am a villain.
406	Lady. Servant, away!	= "lover, let's go!"
408	Mar. Sister, will you marry that inconstant man?	408ff: Martha sympathizes with the forsaken Welford.
	Think you he will not cast you off to-morrow?
410	To wrong a lady thus, looked she like dirt,
	'Twas basely done. May you ne'er prosper with him!
412
	Wel. Now God forbid!
414	Alas, I was unworthy! so I told him.
416	Mar. That was your modesty; too good for him. −	= "you were actually too good for him".
	I would not see your wedding for a world.	= ie. to Elder.
418
	Lady. Choose, choose. − Come, Younglove.	= ie. Abigail.
420
	[Exeunt Lady, Elder Loveless, and Abigail.]
422
	Mar. Dry up your eyes, forsooth; you shall not think	= Welford, crying, is playing his part well!
424	We are all uncivil, all such beasts as these.
	Would I knew how to give you a revenge!
426
	Wel. So would not I: no, let me suffer truly;	= "not me".
428	That I desire.
430	Mar. Pray, walk in with me;
	'Tis very late, and you shall stay all night:
432	Your bed shall be no worse than mine. I wish	432: sharing a bed was common amongst friends in those
	I could but do you right.	days, and not necessarily sexual.
434
	Wel. My humble thanks:
436	God grant I may but live to quit your love!	= requite, ie. repay; Welford's role-playing has earned him a
		place in Martha's bed!
438	[Exeunt.]
	ACT V, SCENE III.
	A Room in the House of Elder Loveless.
	Enter Young Loveless and Savil.
1	Young. Did your master send for me, Savil?
2
	Sav. Yes, he did send for your worship, sir.	= a title used by Savil to show his new-found respect for Young, as well as to acknowledge Young's new status as a knight.
4
	Young. Do you know the business?	= ie. "why he sent for me?"
6
	Sav. Alas, sir, I know nothing!
8	Nor am employed beyond my hours of eating.
	My dancing days are done, sir.
10
	Young. What art thou now, then?	11: Young is inquiring into Savil's exact status in the house-
12		hold; after all, he had been fired by Elder, though he is still permitted to eat there.
	Sav. If you consider me in little, I
14	Am, with your worship’s reverence, sir, a rascal;
	One that, upon the next anger of your brother,	15-6: Savil expects to get kicked out of the house at any moment.
16	Must raise a sconce by the highway, and sell switches.	16: sconce = a small earthen fortification: Savil means he must build a pile of dirt to use as a vendor's stall.^1,9 sell switches = ie. sell slender, flexible shoots cut from a tree by the side of the road.^1
	My wife is learning now, sir, to weave inkle.	= linen strips or tape, or white thread.^1,4
18
	Young. What dost thou mean to do with thy children, Savil?
20
	Sav. My eldest boy is half a rogue already;	= beggar.^3
22	He was born bursten; and, your worship knows,	= probably meaning "ruptured", suggesting "deformed",
	That is a pretty step to men's compassions.	which may more likely attract men's compassions.^3
24	My youngest boy I purpose, sir, to bind	= ie. as an apprentice.^1
	For ten years to a gaoler, to draw under him,	= jailer.
26	That he may shew us mercy in his function.	26: if Savil and his family are tossed into prison at some point, they may receive better treatment if his son is working as an apprentice jailer!
28	Young. Your family is quartered with discretion.	= housed: Elder is punning on drawn and quartered (draw appeared in line 25).
	You are resolved to cant, then? where, Savil,	= literally meaning to "use the jargon or whining voice of a beggar", here meaning simply to beg.^1,3
30	Shall your scene lie?	30: a bit of self-reference to the stage.
32	Sav. Beggars must be no choosers;	32: this ubiquitous proverb seems to have first appeared
	In every place, I take it, but the stocks.	in Heywood's 1546 Proverbs: "beggers shuld be no choosers."
34
	Young. This is your drinking and your whoring, Savil;	= ie. "what happens when you turn to".
36	I told you of it; but your heart was hardened.	= ie. warned; Young is being a bit disingenuous here.
38	Sav. 'Tis true, you were the first that told me of it;	38-44: Savil reverses Young's meaning, bitterly suggesting
	I do remember yet in tears, you told me,	that it was Young who talked him into such dissolute behavior.
40	You would have whores; and in that passion, sir,
	You broke out thus; “Thou miserable man,	= ie. spoke.
42	Repent, and brew three strikes more in a hogshead:	= the proportion of malt in ale.^1 = cask.
	Tis noon ere we be drunk now, and the time	43: ere = before.
44	Can tarry for no man.”	43-44: the time…no man = this is the second time
		this popular adage has been used in our play; see Act IV.i.9-11.
46	Young. You're grown a bitter gentleman. I see,
	Misery can clear your head better than mustard.	= mustard could be applied externally to relieve pain.^10
48	I’ll be a suitor for your keys again, sir.	= Young agrees to ask Elder to give Savil his job back.
50	Sav. Will you but be so gracious to me, sir,
	I shall be bound −
52
	Young. You shall, sir, to your bunch again;	= ie. Savil's family.
54	Or I’ll miss foully.	54: ie. Young is confident he can get Savil's job back.
56	Enter Morecraft.
58	More. Save you, gentlemen, save you!	= "God save you", a customary greeting.
60	Young. Now, polecat, what young rabbit's nest have you to draw?	60: polecat = a carnivorous animal resembling a weasel; Young is basically calling Morecraft a predator. to draw = a hunting term, meaning to trace the steps of a given prey.^20
62	More. Come, prithee, be familiar, knight.	62: prithee = "I pray thee", ie. please. familiar = sociable.^1
64	Young. Away, fox!	64-65: Young continues his hunting references: now Morecraft is a fox.
	I’ll send for terriers for you.	= ie. "to chase you away."
66
	More. Thou art wide yet:	= ie. "wide of the mark", from archery: Young fails to
68	I’ll keep thee company.	understand Morecraft's intent.
70	Young. I am about some business.
	Indentures, if you follow me, I'll beat you:	= contracts or deeds;^1 Young is using Indentures voca- tively, as a name for Morecraft.
72	Take heed; as I live, I'll cancel your coxcomb.	= another legal term, meaning "to annul". = head.
74	More. Thou art cozened now; I am no usurer.	= deceived. = Morecraft has given up his profession.
	What poor fellow’s this?	75: Morecraft indicates Savil.
76
	Sav. I am poor indeed, sir.
78
	More. Give him money, knight.
80
	Young. Do you begin the offering.	= "why don't you".
82
	More. There, poor fellow; here’s an angel for thee.	= a coin worth 10 shillings.^3
84
	Young. Art thou in earnest, Morecraft?	85: Young is stunned that the usurer would give someone
86		money.
	More. Yes, faith, knight; I'll follow thy example:
88	Thou hadst land and thousands; thou spent'st,	= an early editor suggested adding which before thou, for the sake of the meter; Dyce agrees something dropped out.
	And flung'st away, and yet it flows in double:	= ie. Young's wealth.
90	I purchased, wrung, and wire-drawed for my wealth,	= literally to draw out or elongate something like metal, a metaphor for "behaved parsimoniously";^1 the idiom "stretch one's dollar" comes to mind.
	Lost, and was cozened; for which I make a vow,
92	To try all the ways above ground, but I’ll find	= ie. "all possible means to get wealthy".
	A constant means to riches without curses.	= ie. being cursed by other people.
94
	Young. I am glad of your conversion, Master Morecraft:	= a religious pun on "converting", applied to the Jewish Morecraft, who has converted to a life away from usury.
96	You’re in a fair course; pray, pursue it still.	96: a hunting metaphor: as a greyhound would pursue
		game (coursing), Morecraft is encouraged to continue his new chosen path.
98	More. Come, we are all gallants now; I’ll keep thee company. −
	Here, honest fellow, for this gentleman's sake,
100	There's two angels more for thee.
102	Sav. God quit you, sir, and keep you long in this mind!	= reward. = ie. frame of mind.
104	Young. Wilt thou perséver?	= ie. keep to his new course of behavior; persever was normally stressed on the second syllable.
106	More. Till I have a penny.	= whilst, so long as.^9
	I have brave clothes a-making, and two horses:	= fine.
108	Canst thou not help me to a match, knight?	= a wife, ie. a rich wife, like Widow.
	I’ll lay a thousand pound upon my crop-ear.	109: lay = bet. my crop-ear = back at Act III.ii.251-2, Elder threatened to have the usurer criminally punished if he persisted in trying to recover his money from the Lovelesses, by whipping and having his ears nailed to a pillory; this line suggests that Elder's threats were not idle, and that Morecraft was indeed punished for slander.
110
	Young. 'Foot, this is stranger than an Afric monster!	= "by God's foot"; an act of Parliament in 1605 banned the blasphemous use of God's name on stage; hence such implied blasphemies became the norm in Elizabethan drama.
112	There will be no more talk of the Cleve wars	= in 1609, the Duke of Cleves, John William, died heirless and insane; an obscure little war over his duchy commenced between Catholic and Protestant factions, and was not settled until England and France intervened in 1614.^10Young suggests that the conversion of Morecraft into a generous gallant will replace the Cleve Wars as a topic of conversation.
	Whilst this lasts. Come, I'll put thee into blood.	= ie. get Morecraft a wife that will enter him into gentility
114		(blood).^1
	Sav. [Aside]
116	Would all his darned tribe were as tender-hearted! −	116: unfortunate but typical Jewish stereotyping.
	I beseech you, let this gentleman join with you
118	In the recovery of my keys; I like
	His good beginning, sir: the whilst, I'll pray
120	For both your worships.
122	Young. He shall, sir.
124	More. Shall we go, noble knight? I would fain be acquainted.	= like to.
126	Young. I’ll be your servant, sir.
128	[Exeunt.]
	ACT V, SCENE IV.
	A Room in Lady's House.
	Enter Elder Loveless and Lady.	The Time: Elder and Lady were married; it is now the
		morning after their wedding night.
1	Elder. Faith, my sweet lady, I have caught you now,
2	Maugre your subtilties and fine devices.	= in spite of .^2 = intricate schemes.
	Be coy again now.	3: "go ahead and be disdainful of me now;" Elder seems to
4		still hold a grudge against Lady.
	Lady. Prithee, sweetheart, tell true.
6
	Elder. By this light,	7-9: in this elaborate oath, Elder swears on a trio of concepts.
8	By all the pleasures I have had this night,
	By your lost maiden-head, you are cozened merely;	= completely tricked.
10	I have cast beyond your wit: that gentlewoman	= devised, schemed.^3
	Is your retainer Welford.	= follower.^1
12
	Lady. It cannot be so.
14
	Elder. Your sister has found it so, or I mistake:
16	Mark how she blushes when you see her next.
	Ha, ha, ha! I shall not travel now; ha, ha, ha!	= ie. to France.
18
	Lady. Prithee, sweetheart,
20	Be quiet: thou hast angered me at heart.
22	Elder. I’ll please you soon again.	22: likely suggestive.
24	Lady. Welford!	24: Lady is not calling for Welford, but simply repeating his
		name in disbelief.
26	Elder. Ay, Welford. He’s a young handsome fellow,
	Well-bred, and landed: your sister can instruct you	= an owner of property.
28	In his good parts better than I, by this time.	= qualities, again suggestive.
30	Lady. Ud's foot, am I fetched over thus?	= God's foot. = gotten the better of .^1
32	Elder. Yes, i' faith;
	And over shall be fetched again, never fear it.	33: Elder is risqué again.
34
	Lady. I must be patient, though it torture me.
36	You have got the sun, sir.	= gotten the upper hand or the advantage; the phrase derives from the advantage an army had when the sun was to its back, shining into the enemy's eyes.^1
38	Elder. And the moon too; in which I'll be the man.	= ie. the man in the moon.
40	Lady. But had I known this, had I but surmised it,
	You should have hunted three trains more, before	41-42: "you would have needed (hunted here means
42	You had come to the course;	"employed in hunting") three more snares or lures (trains) before you would have captured the target of your hunt (course, meaning herself)."^1
	You should have hanked o' the bridle, sir, i' faith.	43: "you would have been entangled or caught (hanked) in your own bridle".^1
44
	Elder. I knew it, and mined with you, and so blew you up.	45: Elder employs the image of secretly digging a mine under one's enemy, as in a siege, and blowing it up.
46	Now you may see the gentlewoman: stand close.	= "let's hide."
48	[They retire.]
50	Enter Welford in his own apparel, and Martha.
52	Mar. For God's sake, sir, be private in this business;	52-53: Martha worries for her reputation: what if it becomes known that she had spent the night with a man before she was married? private = secret.
	You have undone me else. Oh, God, what have I done?	= ruined. Note that while Welford will address Martha with the intimate and familiar thou, Martha, a nervous wreck, uses the formal you in addressing Welford to signal her need to keep a formal distance from her new lover, at least until her fears have been assuaged.
54
	Wel. No harm, I warrant thee.	= assure.
56
	Mar. How shall I look upon my friends again?
58	With what face?
60	Wel. Why, e'en with that;
	Tis a good one, thou canst not find a better.
62	Look upon all the faces thou shalt see there,	62-65: Welford explains that most women have slept with a man while unmarried, but no one can tell just by looking at them.
	And you shall find 'em smooth still, fair still, sweet still,	= pleasant.^2
64	And, to your thinking, honest: those have done	= "as far as you would know". = chaste.
	As much as you have yet, or dare do, mistress;	= ie. also slept with a man while unmarried.
66	And yet they keep no stir.	= make no fuss.^1
68	Mar. Good sir, go in, and put your woman's clothes on:
	If you be seen thus, I am lost for ever.
70
	Wel. I’ll watch you for that, mistress; I am no fool:	= "protect or guard you against such a possibility".
72	Here will I tarry till the house be up,	72-73, 77-87: Welford gives Martha several options:
	And witness with me.	(a) go back to bed with him;
74		(b) agree to marry him; or (c) face scandal if she doesn't. The one thing he will not do is go back into his disguise. By witness, Welford means he wants their vows to marry to be heard by others, so as to make their betrothal more binding.
	Mar. Good dear friend, go in!
76
	Wel. To bed again, if you please, else I am fixed here	= "or else I will not budge from here".
78	Till there be notice taken what I am,
	And what I have done.
80	If you could juggle me into my womanhood again,	80-83: if he were to change back into his woman's outfit, then Martha could credibly carry on as if Welford never existed, and leave Welford single again. juggle = change or transform, as by magic or trickery.^1
	And so cog me out of your company,	= cheat.
82	All this would be forsworn, and I again
	An asinego, as your sister left me.	= ass or fool.^1
84	No; I'll have it known and published: then,	= proclaimed.
	If you'll be a whore, forsake me, and be shamed;	= ie. for sleeping with him without marrying him.
86	And, when you can hold out no longer, marry
	Some cast Cleve captain, and sell bottle-ale.	= cashiered soldier of the Cleve Wars; it is odd that Welford should refer to the Cleve Wars so soon after Young had done so in just the previous scene.
88
	Mar. I dare not stay, sir: use me modestly;	= "treat me with decency."^1
90	I am your wife.	90: Martha chooses option (b) above; they have likely made vows of marriage to each other, which in those days created a bond stronger than a mere engagement; indeed, they could call themselves man and wife; such a vow was even stronger if made in front of witnesses, making the vow legally and morally binding.
92	Wel. Go in; I’ll make up all.	92: make up all = fix everything. The Engagement of Martha and Welford: the entire episode of Welford's tricking Martha raises a whole host of questions; for example, how exactly did Welford reveal himself to be a man - which presumably occurred as he was removing his female disguise - without Martha screaming or running from the room? did Martha resist him at all? also, Welford's demand that she marry him, or else risk ruining her reputation by having her fornication become public knowledge, contains a sniff of blackmail. While we are on the subject, a modern student of gender relations could write an entire thesis on all the kissing between Elder and Welford in the previous scene; after all, all the actors on the pre-Restoration stage were men (or boys);
		I think we can accept that an actor of the era would just know that it was a part of his job to kiss other males when they are portraying members of the opposite sex; such kisses are necessarily part of the relationships between the genders, and the audience would easily and regularly suspend belief in seeing such acts of affection between males and females. But in the case of Elder and Welford, the two characters "knew" they were both men as they nuzzled each other throughout the previous scene. We may end this discussion with the following observation, which is that the weird obsession with "gender issues" is a modern construct, and probably not one that came to mind all those centuries ago; in other words, we must be careful of imposing our contemporary ideas and biases on the unknowable men and women who populated England half a millennium ago.
94	[Exit Martha.]
96	Elder. [coming forward with Lady.]
	I’ll be a witness of your naked truth, sir. −	= obviously humorously suggestive.
98	This is the gentlewoman; prithee, look upon him;	98f: Elder addresses Lady.
	This is he that made me break my faith, sweet;	= ie. vows to marry Lady.
100	But thank your sister, she hath soldered it.	= ie. united the faith that had been broken in the previous line.
102	Lady. What a dull ass was I, I could not see	= tell.
	This wencher from a wench! Twenty to one,	= womanizer.
104	If I had been but tender, like my sister,	= ie. as sympathetic or solicitous to Welford.
	He had served me such a slippery trick too.	105: "he would have seduced me too"; slippery trick is perhaps suggestive.
106
	Wel. Twenty to one I had.	= Welford is confident!
108
	Elder. I would have watched you, sir, by your good patience,	= guarded against.
110	For ferreting in my ground.	= hunting with or like a ferret.^1
112	Lady. You have been with my sister?
114	Wel. Yes; to bring.	= Bond commented on the uncertain meaning of this line;
		perhaps he means "to produce progeny", as Elder's response suggests.
116	Elder. An heir into the world, he means.
118	Lady. There is no chafing now.	118: ie. there is no point in getting angry (chafing) now.
120	Wel. I have had my part on 't;
	I have been chafèd this three hours, that’s the least:	= Welford puns suggestively: chafe also means "to heat"
122	I am reasonable cool now.	and "to excite".^1
124	Lady. Cannot you fare well, but you must cry roast meat?	124: "must you actually boast (cry roast meat)^1 of your success?"
126	Wel. He that fares well, and will not bless the founders,	= allusion to the Catholic custom of praying for the souls of those who founded charities, monasteries, etc.^3
	Is either surfeited, or ill taught, lady.	= ie. jaded or wearied with excess good fortune^1
128	For mine own part, I have found so sweet a diet,
	I can commend it, though I cannot spare it.
130
	Elder. How like you this dish, Welford? I made a	= ie. meaning Lady; Elder punningly takes up Welford's
132	supper on 't, and fed so heartly, I could not sleep.	dining metaphor.
134	Lady. By this light, had I but scented out your train,	= scheme.^2
	You had slept with a bare pillow in your arms,
136	And kissed that, or else the bed-post, for any wife
	You had got this twelvemonth yet: I would have vexed you
138	More than a tired post-horse, and been longer bearing	138: post-horse = messenger's horse.
	Than ever after-game at Irish was.	138-9: been longer…Irish was = ie. "it would be a
140	Lord, that I were unmarrièd again!	long time before I relented." Irish was a game similar to backgammon; after-game was a difficult strategy in which one forbore attacking early in the game, awaiting a more favourable opportu- nity; bearing referred to the removing of one's pieces after they have circled the board.^1
142	Elder. Lady, I would not undertake you, were you	142-5: in this extended metaphor, Elder uses various terms
	Again a haggard, for the best cast of	from falconry; he would not take Lady up in marriage
144	Sore ladies i' the kingdom: you were ever	(undertake)^1 if she were once again single (haggard =
	Tickle-footed, and would not truss round.	wild adult female hawk) for a pair (cast) of young maidens (sore describes a young hawk that has not yet molted), since she is unable to keep hold of what she has (tickle-footed describes a hawk that does not have a secure grasp of its prey; to truss is to grasp and fly off with the prey).^1,3
146
	Wel. Is she fast?	147: Welford joins in the metaphoric fun: "is she held fast
148		now?"
	Elder. She was all night locked here, boy.
150
	Wel. Then you may lure her, without fear of losing:	151: lure her = "recall her with a lure"; a lure is a feathered apparatus attached to the end of a cord, used to recall a hawk.^1 losing = ie. her flying away.
152	Take off her cranes −	= common plural form creance, the cord attached to a
	You have a delicate gentlewoman to your sister:	hawk to keep it from flying away while it is being
154	Lord, what a pretty fury she was in,	trained.^1,4
	When she perceived I was a man!
156	But, I thank God, I satisfied her scruple,	= appeased Martha's uncertainty or unease regarding their
	Without the parson o' the town.	status, or the immorality of what they have done, or her
158		reputation, with a likely extra meaning of "satisfied her sexually."
	Elder. What did ye?
160
	Wel. Madam, can you tell what we did?	161: Welford addresses Lady.
162
	Elder. She has a shrewd guess at it, I see by her.
164
	Lady. Well, you may mock us: but, my large gentlewoman,	= lewd or coarse.^2 = ie. Welford, alluding to his disguise.
166	My Mary Ambree, had I but seen into you,	= Mary Ambree was an English heroine of the liberation of Ghent from the Spanish in 1584; as described in ballads, she disguised herself as a soldier to be with her lover, also a volunteer soldier; when he was killed, she was made an officer, and led her men bravely.^25 Her name became proverbial for a woman of "heroic spirit".
	You should have had another bed-fellow,
168	Fitter a great deal for your itch.	= ie. lust.
170	Wel. I thank you, lady;
	Methought it was well. You are so curious!	= fastidious, delicate.
172
	Elder. Get on your doublet; here comes my brother.	= ie. "get dressed".
174
	Enter Young Loveless, his Lady, Morecraft,
176	Savil, and Serving-men.
178	Young. Good morrow, brother; and all good to your lady!
180	More. God save you, and good morrow to you all!
182	Elder. Good morrow. − Here’s a poor brother of yours.	= "brother-in-law of yours" (addressing Lady).
184	Lady. Fie, how this shames me!
186	More. Prithee, good fellow, help me to a cup of beer.
188	1st Serv. I will, sir.
190	[Exit 1st Servant.]
192	Young. Brother, what make you here? will this lady do?	= "what are you doing here?"
	Will she? is she not nettled still?	= angry.^1
194
	Elder. No, I have cured her. −
196	Master Welford, pray, know this gentleman; he is my brother.	= ie. make the acquaintance of Young.
198	Wel. Sir, I shall long to love him.
200	Young. I shall not be your debtor, sir. − But how is't	= ie. "I will not be remiss to return your love (ie. friend-
	with you?	ship)".
202
	Elder. As well as may be, man: I am married.
204	Your new acquaintance hath her sister; and all’s well,	= ie. "your new friend Welford has married Lady's sister"
206	Young. I am glad on't. − Now, my pretty lady sister,	= sister, like brother, could be used to refer to one's in-law.
	How do you find my brother?
208
	Lady. Almost as wild as you are.
210
	Young. He'll make the better husband: you have tried him?	= tested; probably suggestive.
212
	Lady. Against my will, sir.	213: Lady is still resentful.
214
	Young. He'll make your will amends soon, do not doubt it. −	= ie. Young puns on will, meaning (1) "he will change your mind", and (2) "he will put you in a position to change your will soon, ie. by giving you children."
216	But, sir, I must entreat you to be better known
	To this converted Jew here.	= Young repeats his conversion joke.
218
	Re-enter First Serving-man, with beer.
220
	1st Serv. Here’s beer for you, sir.
222
	More. And here's for you an angel.	223-4: Morecraft again gives a monetary gift to the servant,
224	Pray, buy no land; 'twill never prosper, sir.	and a bit of advice.
226	Elder. How’s this?	226: Elder is stunned by Morecraft's transformation.
228	Young. Bless you, and then I’ll tell. He’s turned gallant.	= "bless yourself", ie. "cross yourself", the customary thing
		to do upon seeing a wonderful or miraculous thing.^3,9
230	Elder. Gallant!
232	Young. Ay, gallant, and is now called Cutting Morecraft:	= swaggering.^3
	The reason I’ll inform you at more leisure.
234
	Wel. Oh, good sir, let me know him presently.	235: "please introduce me to him right away".
236
	Young. You shall hug one another.
238
	More. Sir, I must keep
240	You company.
242	Elder. And reason.
244	Young. Cutting Morecraft,
	Faces about; I must present another.	= military command: "about face", ie. "turn around".^1
246
	More. As many as you will, sir; I am for 'em.
248
	Wel. Sir, I shall do you service.
250
	More. I shall look for 't, in good faith, sir.
252
	Elder. Prithee, good sweetheart, kiss him.	= as described earlier, a kiss was usually exchanged by
254		strangers of the opposite sex meeting formally for the first time.
	Lady. Who? that fellow!
256
	Sav. Sir, will it please you to remember me?	257-8: Savil asks Young not to forget to ask Elder for his
258	My keys, good sir!	job back.
260	Young. I'll do it presently.	= right away.
262	Elder. Come, thou shalt kiss him for our sport-sake.
264	Lady. Let him come on, then; and, do you hear, do not	264-5: a vague threat to Elder not to so cavalierly introduce
	Instruct me in these tricks, for you may repent it.	her to other men, as she may become interested in them; the English custom of greeting new acquaintances with a kiss certainly could lead to potential embarrassment or confusion of feelings.
266
	Elder. That at my peril. − Lusty Master Morecraft,	= merry.^1
268	Here is a lady would salute you.	= greet with a kiss.
270	More. She shall not lose her longing, sir. What is she?	= who.
272	Elder. My wife, sir.
274	More. She must be, then, my mistress.	274: Morecraft is being playful.
276	[Kisses her.]
278	Lady. Must I, sir?
280	Elder. Oh, yes, you must.
282	More. And you must take	282-3: Morecraft gives Lady what may be described as a
	This ring, a poor pawn of some fifty pound.	wedding gift.
284
	Elder. Take it, by any means; 'tis lawful prize.	= the phrase describes the legally sanctioned appropriation of the equipment and goods of a captured enemy's ship, or of the ship itself.
286
	Lady. Sir, I shall call you servant.	= Lady is playful in return; she designates Morecraft as one licensed to pay her extra attention, though she is also playing on servant's meaning "lover".
288
	More. I shall be proud on 't. − What fellow's that?	= Morecraft gestures to one of the servants whose livery
290		may be fancier than that of the rest of the help.
	Young. My lady's coachman.
292
	More. There’s something, my friend, for you to buy
294	whips; and for you, sir; and you, sir.
296	[Gives money to the Servants.]
298	Elder. Under a miracle, this is the strangest
	I ever heard of.
300
	More. What, shall we play, or drink? what shall we do?
302	Who will hunt with me for a hundred pounds?
304	Wel. Stranger and stranger! − Sir, you shall find sport	304-5: Welford advises Morecraft that he will find enter-
	After a day or two.	tainment with the others in due time.
306
	Young. Sir, I have a suit unto you,	= request or petition.
308	Concerning your old servant Savil.
310	Elder. Oh, for his keys; I know it.
312	Sav. Now, sir, strike in.	= Savil reminds Morecraft of his promise to add his voice
		to the petition for his job.
314	More. Sir, I must have you grant me.
316	Elder. 'Tis done, sir. − Take your keys again:
	But hark you, Savil; leave off the motions	= impulses.
318	Of the flesh, and be honest, or else you shall graze again;	= chaste. = ie. go hungry, so as to be forced to dine on grass to survive.
	I'll try you once more.	= test, ie. give another chance to.
320
	Sav. If ever I be taken drunk or whoring,	= caught.
322	Take off the biggest key i' the bunch, and open
	My head with it, sir. − I humbly thank your worships.
324
	Elder. Nay, then, I see we must keep holiday:
326
	Enter Roger and Abigail.
328
	Here's the last couple in hell.	329: an allusion to a game called barley-break, in which a
330		couple, while holding hands, had to catch either of two other couples, something like a game of tag; the couple they caught would then have to enter the area in between the other two, which location was called hell.^1,3
	Roger. Joy be amongst you all!
332
	Lady. Why, how now, sir,
334	What is the meaning of this emblem?	= the customary epigram at the end of a pastoral poem.^3
336	Roger. Marriage,
	An 't like your worship.	337: "if it please your worship", a deferential remark.
338
	Lady. Are you marrièd?
340
	Roger. As well as the next priest could do it, madam.
342
	Elder. I think the sign’s in Gemini, here’s such coupling.	= Gemini is a constellation, whose stars comprise the Greek twin brothers Castor and Pollux, and is hence used to mean "couple":^1 Elder's point is to emphasize all of the new couples that have been formed. Gemini is also the third sign of the zodiac. With this in mind, Bond suggests sign's should be sun's.
344
	Wel. Sir Roger, what will you take to lie from your	= apart; Welford is being playful.
346	sweet-heart to-night?
348	Roger. Not the best benefice in your worship's gift, sir.	348: "I wouldn't accept even the best benefice you could grant me to give up spending tonight (Roger's wedding night!) with Abigail." benefice = an appointment of an ecclesiastical position, such as vicar, with concomitant income from property.^1
350	Wel. A whoreson, how he swells!	= ie. with pride, but also dirty.
352	Young. How many times to-night, Sir Roger?	352: the dialogue is reaching its raunchiest level yet!
354	Roger. Sir, you grow scurrilous. What I shall do, I
	shall do: I shall not need your help.
356
	Young. For horse-flesh, Roger.	357: "to find you a whore, Roger."^3
358
	Elder. Come, prithee, be not angry; 'tis a day
360	Given wholly to our mirth.
362	Lady. It shall be so, sir.
	Sir Roger and his bride we shall entreat	363-4: Lady and Elder will entertain the new bride and
364	To be at our charge.	groom.
366	Elder. Welford, get you to the church:
	By this light you shall not lie with her again
368	Till y’ are married.
370	Wel. I am gone.
372	More. To every bride I dedicate, this day,
	Six healths a-piece; and it shall go hard,	= toasts. = "it will be difficult to accomplish this" (ie. 6
374	But every one a jewèl. Come, be mad, boys!	drinks for each of the 4 new brides).
376	Elder. Thou'rt in a good beginning. − Come, who leads? −
	Sir Roger, you shall have the van: lead the way.	= go first; when an army marched, the soldiers in the front were called the van.
378	Would every doggèd wench had such a day!	378: a final pun, on the proverb "every dog has his day",
		originally in Heywood's Proverbs: "a dog hath a day".
380	[Exeunt.]
	FINIS.

The Authors' Invented Words

Like all of the writers of the era, Francis Beaumont

and John Fletcher made up words when they 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 Scornful

Lady 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:

courted (as an adjective, meaning a wooed party)

annotation (meaning an inventory of goods
seized by authorities)

faggot-boat

filly (applied to a young girl)

fitchock or fytchock

gibship

gulp (as a noun, applied figuratively, ie. to anything
other than a swallow)

hatchment

homilist

long bill

meeching (as an adjective)

out-snore

over-bid (meaning to bid more than something is worth)

paper (as an adjective describing something as theoretical)

pot-butter

purse (as a verb, meaning to steal)

rent-book

snap (as a noun, meaning fragment);
also the phrase not a snap.

spa (as a generic term, as opposed to the original
geographical location of Spa in Belgium)

strike (as a noun, meaning a unit of measure of malt in ale)

switch (as a noun, meaning a shoot from a tree)

tickle-footed

tickling (as a noun, describing the catching of a trout
by tickling it)

twitter (as a verb, meaning to quiver or tremble)

van (describing the foremost part of a moving
group of persons)

verdugo (first to use this Spanish word in English literature)

water-house (meaning a boat)

wedding-smock

well-moulded

wire-draw (as a verb, meaning to behave parsimoniously)

The OED currently (November 2018) indicates that the word hopelessly also made its first appearance in English letters in this play, but research indicates that the word appeared earlier, in 1602.

Complete List of Footnotes.

Footnotes in the text correspond as follows:

1. Oxford English Dictionary (OED) online.

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

London; New York: Penguin, 2002.

3. Bond, R. Warwick. The Works of Francis Beaumont

and John Fletcher, Volume I. London: George Bell & Sons

and A. H. Bullen, 1904.

4. Dyce, Alexander. The Works of Beaumont and

Fletcher. New York: D. Appleton and Company, 1879.

5. Holden, William P., ed. The Yale Shakespeare: The

Twelfth Night. New Haven: Yale University Press, 1922.

6. Parrott, Thomas Marc. Chapman's Comedies. London:

George Routledge & Sons, 1914, p.786.

7. Colman, George. The Dramatic Works of Beaumont

and Fletcher. London: Printed for John Stockdale, 1811.

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

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

9. Weber, Henry. The Works of Beaumont and Fletcher.

Edinburgh: James Ballantyne and Company, 1812.

10. The Encyclopedia Britannica. 11th edition. New

York: 1911.

11. Great Books Online Website. The English Poets.

New York, London: MacMillan and Co., 1880–1918; New

York, Bartleby.com, 2013. Michael Drayton. Written by

George Saintsbury. Retrieved 9/19/2016: www.bartleby.

com/214/1009.html.

12. Stephen, Leslie and Lee, Sydney, eds. Dictionary of

National Biography, Vol. 6. London: Smith, Elder & Co.,

1885-1900.

13. Glosbe Website. Latin-English Dictionary. Retrieved

9/19/2016: https://glosbe.com/la/en/Solamen%20miseris%

20socios%20habuisse%20doloris.

14. Timbs, John. Curiosities of London. London:

Longman, Green, Reader and Dyer, 1868.

15. Timeless Myths Website. Twelve Peers. Retrieved

9/17/2016: www.timelessmyths.com/arthurian/peers.html.

16. Cleary, Chris, ed. The Roaring Girl. Retrieved

9/22/2016: http://www.tech.org/~cleary/roar.html.

17. Poetry in Translation Website. Horace the Epistles.

Retrieved 9/23/2016: www.poetryintranslation.com//PITBR/

Latin/HoraceEpistlesBkIEpII.htm#anchor_Toc98156392.

18. M&H Coins Website. Retrieved 9/24/2016:

www.mhcoins.co.uk/coins/hammeredgold/james-i-1603-25_

rose-ryal/.

19. Harding, Davis., ed. The Yale Shakespeare: Measure

for Measure. New Haven: Yale University Press, 1926.

20. Nares, Robert et al. A Glossary, etc. London: Reeves

and Turner, 1888.

21. Dictionary.com Website. Retrieved 9/25/2016:

http://www.dictionary.com/browse/ecce-signum.

22. Greatsite.com Website. Retrieved 9/25/2016:

http://greatsite.com/ancient-rare-bibles-books/bibles/fx1583/.

23. Browne, R. (1719) and Bullokar John (1626). The

English Expositor, 12th Ed. Printed for W. Churchill,

London: 1719.

24. Lostplays.org Website. Long Meg of Westminster.

Retrieved 9/26/2016: www.lostplays.org/lpd/Long_Meg_of

Westminster.

25. fresnostate.edu Website. Mary Ambree. Retrieved

9/30/2016: www.fresnostate.edu/folklore/ballads/OBB165.

html.

26. Johnson, Samuel. A Dictionary of the English

Language, 6th Ed. London: Printed for J.F. and C.

Rivington, etc., 1785.

27. Bailey, Nathan. An Universal Etymological English

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

28. Elizabethan.org Website. Tiltes and Forms of

Address. Retrieved 11/04/2018: http://elizabethan.org/

compendium/13.html.

29. Sugden, Edward. A Topographical Dictionary to

the Works of Shakespeare and His Fellow Dramatists.

Manchester: The University Press, 1925.

30. Catholic News Agency Website. The Apocrypha?

Retrieved 9/15/2016: www.catholicnewsagency.com/

resources/apologetics/bible/the-apocrypha/.