ElizabethanDrama.org

presents

the Annotated Popular Edition of

THE PICTURE
A TRUE HUNGARIAN HISTORY

by Philip Massinger

Performed 1629
First Published 1630

Featuring complete and easy-to-read annotations.

Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2019.
This annotated play may be freely copied and distributed.

	THE PICTURE A True Hungarian History
	A Tragecomedie,
	As it was often presented with good allowance, at the Globe, and Blacke Friers Play-houses, by the Kings Maiesties Servants.
	DRAMATIS PERSONAE.	INTRODUCTION TO THE PLAY
	The Hungarian Court:	The Picture, by Philip Massinger, is a highly entertaining
		drama-comedy which explores what happens to people who
	Ladislaus, king of Hungary.	are unable or unwilling to control their feelings and
	Honoria, the queen.	affections: unchecked suspicion, embarrassingly
	Acanthe, maid of honour.	unrestrained adoration, and even immoderate lust, all will
	Sylvia, maid of honour.	be repaid. The Picture is likely the only Elizabethan play
	Ferdinand, general of the army.	to take place in Hungary's ancient royal capital, Alba
	Eubulus, an old counsellor.	Regalis, modern Székesfehérvár.
	Ubaldo, a wild courtier.
	Ricardo, a wild courtier.	NOTES ON THE TEXT
	Bohemian Characters:	The text of The Picture is adopted from Gifford's
		edition of our play, cited at #16 below, but with some
	Mathias, a knight of Bohemia.	of the 1630 quarto's original spellings restored.
	Sophia, wife to Mathias.
	Hilario, servant to Sophia.	NOTES ON THE ANNOTATIONS
	Corisca, Sophia's woman.
	Julio Baptista, a great scholar.	References in the annotations to Gifford refer to the
		notes supplied by editor W. Gifford to The Picture in his
	Two Boys, representing Apollo and Pallas.	1840 collection of Massinger's work, cited at #16 below.
	Two Posts, or Couriers.	The most commonly cited sources are listed in the
	A Guide.	footnotes immediately below. The complete list of footnotes
	Servants to the queen.	appears at the end of this play.
	Servants to Mathias.	1. Oxford English Dictionary (OED) online.
		2. Crystal, David and Ben. Shakespeare's Words.
	Maskers, Attendants, Officers, Captains, &c.	London; New York: Penguin, 2002.
		3. Smith, W., ed. A Dictionary of Greek and Roman
	SCENE:	Biography and Mythology. London: John Murray, 1849.
	Partly in Hungary, and partly in Bohemia.	7. no author listed. Greek Mythology. Athens: Techni
		S.A., 1998.
		15. Humphries, Rolfe, trans. Ovid. Metamorphoses.
		Bloomington: Indiana University Press, 1983.
		16. Gifford, William. The Plays of Philip Massinger.
		London: William Templeton, 1840.
	Settings, Scene Breaks and Stage Directions.
	The original quarto does not provide settings for the play; all this edition's indicated settings are adopted from Gifford. The original quarto of The Picture was divided into five Acts and multiple scenes, which organization we follow. Finally, 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 Gifford.
	ACT I.
	SCENE I.
	The Frontiers of Bohemia.
	Enter Mathias in armour, Sophia in a riding suit,	Entering Characters: Mathias is a knight and a Bohemian.
	Corisca, Hilario, with other Servants.	He is on his way to fight on behalf of the Hungarian king in
		Hungary's wars against the Turks. Mathias' wife Sophia, along with the family's servants, has accompanied him on his journey to Hungary, at least so far as it is safe for them to do so. Corisca is the couple's female servant, Hilario their male one.
1	Math. Since we must part, Sophia, to pass further
2	Is not alone impertinent, but dangerous.	= ie. "would not only be immodest of you".
	We are not distant from the Turkish camp
4	Above five leagues, and who knows but some party	= about three miles.^2
	Of his Timariots, that scour the country,	= Turkish cavalry.^16 As a historical matter, the Turkish Ottomans had been a threat to Hungary since the 1380's.
6	May fall upon us? − be now, as thy name,	= "act like your name, Sophia" - which means "wisdom" in Greek.
	Truly interpreted, hath ever spoke thee,
8	Wise and discreet; and to thy understanding	8-9: to thy…patience = ie. "join your understanding to
	Marry thy constant patience.	your fortitude."
10
	Soph. You put me, sir,
12	To the utmost trial of it.	= test.
14	Math. Nay, no melting;	= "please, no tears."
	Since the necessity that now separates us,
16	We have long since disputed, and the reasons,	= argued about.
	Forcing me to it, too oft washed in tears.
18	I grant that you, in birth, were far above me,
	And great men, my superiors, rivals for you;
20	But mutual consent of heart, as hands,
	Joined by true love, hath made us one, and equal:
22	Nor is it in me mere desire of fame,	22-28: Mathias explains the reason he must go to fight in the wars: not for fame or reputation, but for material gain, so he can support Sophia as befits her high birth. He is a bit ashamed that he, a poorer man, has not been able to do this to date.
	Or to be cried up by the public voice,	23: in order to be acclaimed by the public.
24	For a brave soldier, that puts on my armour:	= as.
	Such airy tumours take not me. You know	= immaterial and worthless concepts, ie. fame and reputation mean nothing to Mathias. airy = describes something that lacks a physical body. tumours = empty things, things of no value.^1
26	How narrow our demeans are, and what's more,	26: narrow = limited. demeans = alternate spelling for demesne, meaning possessions,^1 though Gifford suggests "means".
	Having as yet no charge of children on us,	27-28: even without children, they can barely survive,
28	We hardly can subsist.	though Mathias no doubt exaggerates.
30	Soph. In you alone, sir,
	I have all abundance.
32
	Math. For my mind's content,
34	In your own language I could answer you.	34: ie. "I feel the same way about you."
	You have been an obedient wife, a right one;
36	And to my power, though short of your desert,	= ie. "of being able to treat you as you deserve".
	I have been ever an indulgent husband.
38	We have long enjoyed the sweets of love, and though
	Not to satiety, or loathing, yet	39: "not to such a level as to cause jadedness or hatred between us"; satiety generally is used to mean "overindulgence", but as here can suggest weariness with what one has been over-exposed to.
40	We must not live such dotards on our pleasures,	40-41: We must…hug them = ie. "we must not remain
	As still to hug them, to the certain loss	satisfied with what we have". dotards = those who are excessively fond of some- thing.
42	Of profit and preferment. Competent means	= advancement. = sufficient wealth.
	Maintains a quiet bed; want breeds dissention,	= lack of material goods or wealth.
44	Even in good women.
46	Soph. Have you found in me, sir,
	Any distaste, or sign of discontent,
48	For want of what's superfluous?	= lack. = unnecessary.
50	Math. No, Sophia;
	Nor shalt thou ever have cause to repent
52	Thy constant course in goodness, if Heaven bless
	My honest undertakings. 'Tis for thee
54	That I turn soldier, and put forth, dearest,
	Upon this sea of action, as a factor,	= literally a purchasing agent; Mathias begins a commercial metaphor, describing himself as one heading out to sea with a ship of goods to trade, e.g., for silk, and other luxurious materials not locally manufactured, so as to be able to provide Sophia with the finest clothing possible.
56	To trade for rich materials to adorn
	Thy noble parts, and shew them in full lustre.	= Massinger's preferred spelling for show.
58	I blush that other ladies, less in beauty
	And outward form, but in the harmony	= looks.
60	Of the soul's ravishing music, the same age	60-61: the same…with thee = ie. "other women who
	Not to be named with thee, should so out-shine thee	should not be mentioned in the same breath as you". age = era.
62	In jewèls, and variety of wardrobes;
	While you, to whose sweet innocence both Indies	= ie. East and West Indies.
64	Compared are of no value, wanting these,	= ie. lacking jewels and rich clothing.
	Pass unregarded.	= unnoticed or unadmired.
66
	Soph. If I am so rich, or	67-68: or / In your opinion = "or at least in your opinion so rich" (ie. possessing qualities other than material ones).
68	In your opiniön, why should you borrow	= the sense is "obtain".
	Additions for me?	= accessories that if added will help indicate Sophia's
70		high rank or status.^1
	Math. Why! I should be censured
72	Of ignorance, possessing such a jewel	= ie. "for my".
	Above all price, if I forbear to give it	= "that a value cannot be set on it".
74	The best of ornaments: therefore, Sophia,
	In few words know my pleasure, and obey me,	= common phrase: "I will give you my instructions".
76	As you have ever done. To your discretion
	I leave the government of my family,	= ie. management of the household.
78	And our poor fortunes; and from these command	78-79: and from…to myself = ie. "and the servants (these)
	Obedience to you, as to myself:	should obey you just as they would obey me if I was here." You may wish to note that Mathias and Sophia live entirely commensurately with that of an early 17th century English household: the husband has absolute authority over all matters, the wife entirely passive, unless he grants her any such power.
80	To the utmost of what's mine, live plentifully;
	And, ere the remnant of our store be spent,	= "before what is left of our wealth".
82	With my good sword I hope I shall reap for you	82-84: Mathias now uses a farming metaphor to describe
	A harvest in such full abundance, as	his expectation (hope) to bring material wealth back to
84	Shall make a merry winter.	Sophia from the war.
86	Soph. Since you are not	= note that Sophia, as the wife, has been addressing her husband with the formal and respectful you, to acknowledge her lower status. She would likely be particularly careful to use you in front of other people, such as the servants, though when they are alone she might switch to thee in moments of intimacy. Mathias, as the more privileged member of the pair, can address Sophia as he chooses: you might suggest a more formal speech, thee a more intimate one, but he would be perfectly correct to use the familiar thee to his wife in front of the servants.
	To be diverted, sir, from what you purpose,
88	All arguments to stay you here are useless:	= keep.
	Go when you please, sir. − Eyes, I charge you waste not	= Sophia, in what is called an apostrophe, addresses her own eyes.
90	One drop of sorrow; look you hoard all up
	Till in my widowed bed I call upon you,	= the sense is "empty", and need not suggest Mathias is in
92	But then be sure you fail not. You blest angels,	some way dead to her.
	Guardians of human life, I at this instant
94	Forbear t'invoke you: at our parting, 'twere	94-95: Forbear…devotion = ie. Sophia will not appeal to
	To personate devotiön. − My soul	the angels to protect Mathias; to do so at this moment would have the appearance of mocking true worship.
96	Shall go along with you, and, when you are
	Circled with death and horror, seek and find you:
98	And then I will not leave a saint unsued to	= unentreated, ie. unprayed to.
	For your protectiön. To tell you what
100	I will do in your absence, would shew poorly;
	My actions shall speak for me: 'twere to doubt you
102	To beg I may hear from you; where you are	= "that I may".
	You cannot live obscure, nor shall one post,	103: You…obscure = Mathias' fame will be such that it is not possible that news of him and his exploits will not spread far and wide. post = messenger.
104	By night or day, pass unexamined by me.
	If I dwell long upon your lips, consider,	= ie. linger.
106
	[Kisses him.]	107: the couple exchange a lengthy parting kiss.
108
	After this feast, the griping fast that follows,	= gripping or squeezing feeling of starvation (from a lack
110	And it will be excusable; pray turn from me.	of Mathias' affection).
	All that I can, is spoken.	= ie. "I can say".
112
	[Exit Sophia.]
114
	Math. Follow your mistress.	115-7: Mathias addresses the servants, asking them to obey
116	Forbear your wishes for me; let me find them,	Sophia as they would obey him.
	At my return, in your prompt will to serve her.
118
	Hil. For my part, sir, I will grow lean with study	= effort: the speaker is Hilario, Mathias' male servant. His
120	To make her merry.	metaphor of growing lean is a bit of foreshadowing.
122	Coris. Though you are my lord,	122-6: the speaker is Corisca, the couple's female attendant.
	Yet being her gentlewoman, by my place
124	I may take my leave; your hand, or, if you please	124-6: your hand…for't = Corisca is bold; she asks for
	To have me fight so high, I'll not be coy,	Mathias' hand to kiss, or, if Mathias will indulge her,
126	But stand a-tip-toe for't.	his lips instead. Such a kiss on the lips was customary
		in this era in England, even between strangers, for example, who have just been introduced. The expression stand (on) tip-toes can be traced back at least to Geoffrey Chaucer in the 14th century.^1
128	Math. O, farewell, girl!
130	[Kisses her.]
132	Hil. A kiss well begged, Corisca.	132: Hilario compliments Corisca on her success in getting
		a kiss from the handsome Mathias.
134	Coris. 'Twas my fee;
	Love, how he melts! I cannot blame my lady's	= Corisca observes tears on Mathias' face.
136	Unwillingness to part with such marmalade lips.
	There will be scrambling for them in the camp;	137: the reference is to female camp followers, which attended most armies in earlier times, providing any and all services to the soldiers. Corisca suggests they will be very attentive to her attractive master.
138	And were it not for my honesty, I could wish now	= chastity; Corisca is no doubt disingenuous.
	I were his leaguer laundress; I would find	=a euphemistic expression for a camp whore,^1 though
140	Soap of mine own, enough to wash his linen,	she may also more specifically mean that she would
	Or I would strain hard for't.	gladly serve as Mathias' personal laundress. Her next line suggests she would do anything to have that job! leaguer = army camp.
142
	Hil. How the mammet twitters! −	= doll, or maybe pixie.^1 = chatters (like a bird).
144	Come, come; my lady stays for us.	= is waiting.
146	Coris. Would I had been	146-7: Corisca is shameless: she wishes she had been
	Her ladyship the last night!	in Sophia's place in Mathias' bed on his last night in
148		Bohemia!
	Hil. No more of that, wench.
150
	[Exeunt Hilario, Corisca, and the rest.]
152
	Math. I am strangely troubled: yet why I should nourish	153f: Mathias immediately begins to irrationally question
154	A fury here, and with imagined food,	his wife's fidelity during his absence.
	Having no real grounds on which to raise
156	A building of suspicion she was ever
	Or can be false hereafter? I in this	= unfaithful. = ie. "in asking this question".
158	But foolishly enquire the knowledge of
	A future sorrow, which, if I find out,	159-160: if I find out…purchase = a common dramatic
160	My present ignorance were a cheap purchase,	motif of the era: a cuckold (a husband whose wife has cheated on him) is better off if he is ignorant of his wife's affairs.
	Though with my loss of being. I have already	161-6: I have…follows = it turns out Mathias has been
162	Dealt with a friend of mine, a general scholar,	worried for a while now about Sophia's ability or willingness to remain faithful to him in his absence!
	One deeply read in nature's hidden secrets,
164	And, though with much unwillingness, have won him	= convinced.
	To do as much as art can, to resolve me	= magic or sorcery. = "inform me of".
166	My fate that follows. − To my wish, he's come.	= ie. "whether I can expect Sophia to cheat on me while I am away."
168	Enter Baptista.	Entering Character: Julio Baptista is a scholar; scholars in this era were considered competent to perform magic and engage in general sorcery.
170	Julio Baptista, now I may affirm	= the sense is, "confirm whether or not".
	Your promise and performance walk together;	171: "whether what you promise and what you do are the same".
172	And therefore, without circumstance, to the point:	172-3: "so, without speaking of trivial matters, get to the
	Instruct me what I am.	point: tell me if I am a cuckold or not."
174
	Bapt. I could wish you had
176	Made trial of my love some other way.	= "tested my friendship or loyalty to you".
178	Math. Nay, this is from the purpose.	178: ie. "stick to the point."
180	Bapt. If you can	180-1: "if you can moderate your feelings".
	Proportion your desire to any mean,	proportion = to shape or adjust. mean = a point or level of moderation.^1
182	I do pronounce you happy; I have found,
	By certain rules of art, your matchless wife	= "applications of magic".
184	Is to this present hour from all pollution
	Free and untainted.
186
	Math. Good.
188
	Bapt. In reason, therefore,	189-191: "It is only rational that you should be satisfied
190	You should fix here, and make no further search	with this knowledge, and pursue the issue no further."
	Of what may fall hereafter.
192
	Math. O, Baptista,
194	'Tis not in me to master so my passions;	194: "I cannot control my feelings"; such a failure to keep a tight rein on one's emotions was considered undesirable: such a character flaw usually led to bad results.
	I must know further, or you have made good
196	But half your promise. While my love stood by,	= ie. "I remained close by to her".
	Holding her upright, and my presence was	197-8: my presence…upon her = ie. "my very presence kept her faithful to me".
198	A watch upon her, her desires being met too	= affection. = matched.
	With equal ardour from me, what one proof	199-200: what one…untempted = "since Sophia has
200	Could she give of her constancy, being untempted?	never been in a position to be able to cheat on me, how can I know for sure of her faithfulness?"
	But when I am absent, and my coming back
202	Uncertain, and those wanton heats in women	= lusty passions; Mathias' stereotype of women as unable to control their lecherous feelings was a common one of the era's male characters, as well as its authors.
	Not to be quenched by lawful means, and she	= ie. "satisfied by their lawful husbands".
204	The absolute disposer of herself,	= ie. "controller of her own actions."
	Without control or curb; nay, more, invited
206	By opportunity, and all strong temptations,
	If then she hold out −
208
	Bapt. As, no doubt, she will.
210
	Math. Those doubts must be made certainties, Baptista,
212	By your assurance; or your boasted art	= skill in magic.
	Deserves no admiration. How you trifle,
214	And play with my affliction! I am on	214-5: on / the rack = metaphorically tortured.
	The rack, till you confirm me.	= assure.
216
	Bapt. Sure, Mathias,	217-9: Baptista acknowledges there are limitations to what
218	I am no god, nor can I dive into	his magic can accomplish.
	Her hidden thoughts, or know what her intents are;	= ie. Sophia's.
220	That is denied to art, and kept concealed
	Even from the devils themselves: they can but guess,	221: disyllable words with a medial 'v' such as even and devil were often pronounced in one syllable, with the 'v' essentially omitted: e'en, de'il.
222	Out of long observation, what is likely;
	But positively to fortell that shall be,	= ie. what.
224	You may conclude impossible. All I can,
	I will do for you; when you are distant from her
226	A thousand leagues, as if you then were with her,	= Mathias had told Sophia in the opening speech of the scene that the Turks were only a few miles away, but Baptista's assessment is more accurate: the Magyars' battles with the Turks generally took place along Hungary's southern border, the area around Belgrade in modern Serbia.
	You shall know truly when she is solicited,
228	And how far wrought on.	= worked on.
230	Math. I desire no more.
232	Bapt. Take, then, this little model of Sophia,	= portrait.
	With more than human skill limned to the life;	= painted.
234
	[Gives him a picture.]
236
	Each line and lineament of it, in the drawing	= feature.
238	So punctually observed, that, had it motion,
	In so much 'twere herself.	239: "it would be like Sophia herself in person."
240
	Math. It is indeed
242	An admirable piece; but if it have not
	Some hidden virtue that I cannot guess at,
244	In what can it advantage me?
246	Bapt. I'll instruct you:
	Carry it still about you, and as oft
248	As you desire to know how she's affected,	= ie. "what she is thinking (with respect to sex and love)".
	With curious eyes peruse it: while it keeps	= careful.^2
250	The figure it now has, entire and perfit,	= common alternative spelling for "perfect".
	She is not only innocent in fact,
252	But unattempted; but if once it vary	= ie. no man has yet even tried to seduce her.
	From the true form, and what's now white and red	= white and red were commonly paired to link the attractive paleness of a woman's skin to either its accompanying rosy hue or her lips.
254	Incline to yellow, rest most confident	= yellow, the colour of jealousy, is appropriate here.
	She's with all violence courted, but unconquered;	255-8: a common dramatic metaphor of an army trying
256	But if it turn all black, 'tis an assurance	to break into a defended fort representing a man
	The fort, by composition or surprise,	attempting to conquer a woman's resistance.
258	Is forced, or with her free consent surrendered.
260	Math. How much you have engaged me for this favour,
	The service of my whole life shall make good.
262
	Bapt. We will not part so, I'll along with you,	= common 17th century grammatical construction: in the presence of a verb of intent (here will), the verb of action (go) is omitted.
264	And it is needful: with the rising sun	= necessary.
	The armies meet; yet, ere the fight begin,	265: the armies meet = the Hungarian and Turkish armies will meet in battle this day; Baptista can only know this by means of his sorcery. ere = before.
266	In spite of opposition, I will place you	= perhaps from Hungarian generals, who would oppose an outsider being given a place of honour.
	In the head of the Hungarian general's troop,	= commanding general's army.
268	And near his person.
270	Math. As my better angel,
	You shall direct and guide me.
272
	Bapt. As we ride
274	I'll tell you more.
276	Math. In all things I'll obey you.
278	[Exeunt.]
	ACT I, SCENE II.
	Alba Regalis, Hungary.	The Scene: Alba Regalis was the ancient capital of
	A State-room in the Palace.	royal Hungary, today's Székesfehérvár.
	Enter Ubaldo and Ricardo.	Entering Characters: Ubaldo and Ricardo are nobles, and members of the Hungarian king's court.
1	Ric. When came the post?	= messenger.
2
	Ubald. The last night.
4
	Ric. From the camp?	= ie. the camp of the Hungarian army.
6
	Ubald. Yes, as 'tis said, and the letter writ and signed
8	By the general, Ferdinand.	= Ferdinand is the commanding general of the army. We may note the lack of Hungarian names amongst the Hungarian characters.
10	Ric. Nay, then, sans question,	= without.
	It is of moment.	= ie. of great importance.
12
	Ubald. It concerns the lives
14	Of two great armies.	= ie. the defending Hungarian and invading Turkish armies.
16	Ric. Was it cheerfully	16-17: ie. "did the king react well to the letter?"
	Received by the king?
18
	Ubald. Yes; for being assured
20	The armies were in view of one another,
	Having proclaimed a public fast and prayer
22	For the good success, he dispatched a gentleman	= ie. the king.
	Of his privy chamber to the general,
24	With absolute authority from him
	To try the fortune of a day.	= test the army's fortune: the king sent a message to
26		Ferdinand giving him permission to engage the Turks in battle.
	Ric. No doubt then
28	The general will come on, and fight it bravely.
	Heaven prosper him! This military art
30	I grant to be the noblest of professions;
	And yet, I thank my stars for't, I was never
32	Inclined to learn it; since this bubble honour	= Ricardo describes honour as too meaningless and
	(Which is, indeed, the nothing soldiers fight for),	abstract a concept to be pursued.
34	With the loss of limbs or life, is, in my judgment,
	Too dear a purchase.	= expensive.
36
	Ubald. Give me our court-warfare:	= humorous: Ubaldo and Ricardo prefer to fight for the
38	The danger is not great in the encounter	attention of women at the court.
	Of a fair mistress.
40
	Ric. Fair and sound together	41-43: Fair and…found out = it is hard to find a woman who is both beautiful (fair) and healthy (sound); ever- present (and ever joked about) venereal disease is always on the mind of these two experienced courtiers.
42	Do very well, Ubaldo; but such are,
	With difficulty to be found out; and when they know	43-44: when they…too high = ie. "when women who are healthy and beautiful realize how much they are desired, they become too expensive to pursue."
44	Their value, prized too high. By thy own report,	= ie. "you once told me".
	Thou wast at twelve a gamester, and since that,	= chaser of women.
46	Studied all kinds of females, from the night-trader	= prostitute.
	I' the street, with certain danger to thy pocket,	= ie. from being cheated or robbed.
48	To the great lady in her cabinet;	= high-ranking or noble lady. = bedroom.
	That spent upon thee more in cullises,	= strong broth given to the sick, but suggesting treatment for impotency; this speech gives the first indication of the slightly less-than-friendly rivalry between the two courtiers for the attention of the ladies and bragging rights over who has more success.
50	To strengthen thy weak back, than would maintain	= euphemism for impotency or general inability to satisfy a woman.
	Twelve Flanders mares, and as many running horses:	= proverbially powerful horses. = racing.
52	Besides apothecaries and chirurgeons' bills,	52: Ricardo suggests that Ubaldo frequently requires
	Paid upon all occasions, and those frequent.	treatment for various sexually transmitted diseases.
54		chirurgeons' = surgeons'; chirurgeon was more commonly used than surgeon in the 17th century, but was also pronounced as a two-syllable word.
	Ubald. You talk, Ricardo, as if yet you were
56	A novice in those mysteries.
58	Ric. By no means;	58-62: Ricardo admits his own battles with VD; but to
	My doctor can assure the contrary:	these men, venereal infections actually seem to be status symbols which speak to their success with women!
60	I lose no time. I have felt the pain and pleasure,
	As he that is a gamester, and plays often,	= Ricardo puns on gamester, which could mean a gambler
62	Must sometimes be a loser.	as well as a pursuer of women.
64	Ubald. Wherefore, then,	= why.
	Do you envy me?
66
	Ric. It grows not from my want,	= lack (of sex).
68	Nor thy abundance; but being, as I am,
	The likelier man, and of much more experience,	= ie. the one more likely to have success with the ladies.
70	My good parts are my curses: there's no beauty,	70: My good…curses = "my good looks are my curse." 70-71: there's no…summoned = women are unable to keep from throwing themselves at Ricardo before he even calls for them.
	But yields ere it be summoned; and, as nature	71-72: nature…maidenheads = nature has assigned
72	Had signed me the monopoly of maidenheads,	(signed) Ricardo the monopoly to service women, perhaps hyperbolically referring specifically to virgins.
	There's none can buy till I have made my market.	73: Ricardo continues his commercial metaphor: he has first pick or right of refusal of all women.
74	Satiety cloys me; as I live, I would part with	= Ricardo is disingenuous: overabundance of sex leaves him full or exhausted (to cloy = to satiate or weary).^1
	Half my estate, nay, travel o'er the world,
76	To find that only phoenix in my search,	= the phoenix was used as a metaphor for the perfect or
	That could hold out against me.	most excellent example (here, of a woman) of the age.
78		67-77: Ricardo Answers Ubaldo's Question: Why does Ricardo envy Ubaldo? because Ubaldo is not forced to suffer as must Ricardo from the various problems described by Ricardo in his speech from the effects of being a successful lover!
	Ubald. Be not rapt so;
80	You may spare that labour. As she is a woman,
	What think you of the queen?
82
	Ric. I dare not aim at
84	The petticoat royal, that is still excepted:
	Yet, were she not my king's, being the abstract	= epitome.
86	Of all that's rare, or to be wished in woman,	= excellent.
	To write her in my catalogue, having enjoyed her,
88	I would venture my neck to a halter − but we talk of	= ie. risk hanging (halter = noose).
	Impossibilities: as she hath a beauty
90	Would make old Nestor young; such majesty	= the famous elderly Greek general of the Trojan War.
	Draws forth a sword of terror to defend it,
92	As would fright Paris, though the queen of love	92-93: "as would frighten Paris, even if Venus (the queen
	Vowed her best furtherance to him.	of love) were to assist him;" Ricardo alludes to the famous myth of the Judgment of Paris: the Trojan prince Paris had selected Venus as the most beautiful goddess out of a field of three, and she had rewarded him by helping him to capture Helen, the most beautiful woman in the world, to be his paramour. furtherance = assistance.^1
94
	Ubald. Have you observed	95ff: Ubaldo and Ricardo prepare the audience for the
96	The gravity of her language, mixed with sweetness?	appearance of the king and queen: while the queen's
		public behavior is properly modest, the king too openly adores her, to the point where it is an embarrassment to all.
98	Ric. Then at what distance she reserves herself
	When the king himself makes his approaches to her.
100
	Ubald. As she were still a virgin, and his life	= as if.
102	But one continued wooing.
104	Ric. She well knows
	Her worth, and values it.
106
	Ubald. And so far the king is
108	Indulgent to her humours, that he forbears	108: humours = moods.
	The duty of a husband, but when she calls for't.	108-9: he forbears…for't = the king only sleeps
110		with the queen when she invites him to; this goes against everything that is expected of an omnipotent king, who should take his wife whenever he wants to! Note the implication that Ladislaus and Honoria keep separate bedrooms.
	Ric. All his imaginatiöns and thoughts
112	Are buried in her; the loud noise of war
	Cannot awake him.
114
	Ubald. At this very instant,	115-119: the king is so wrapped up in pleasing his wife, he
116	When both his life and crown are at the stake,	doesn't even seem interested in the war against the Turks, which threatens his very crown.
	He only studies her content, and when
118	She's pleased to shew herself, music and masques	= courtly staged shows, featuring music and dancing, and
	Are with all care and cost provided for her.	often gods and allegorical characters.
120
	Ric. This night she promised to appear.	= ie. make an appearance in court.
122
	Ubald. You may
124	Believe it by the diligence of the king,
	As if he were her harbinger.	= herald.^2
126
	[Enter Ladislaus, Eubulus,	Entering Characters: finally, King Ladislaus appears.
128	and Attendants with perfumes.]	Eubulus is his elderly but wise advisor.
130	Ladis. These rooms	130-1: in the days before regular bathing, fresh scents were
	Are not perfumed, as we directed.	regularly introduced into rooms to cover up the staleness
132		of the air.
	Eubu. Not, sir!
134	I know not what you would have; I am sure the smoke	= perhaps from incense.
	Cost treble the price of the whole week's provision
136	Spent in your majesty's kitchens.
138	Ladis. How I scorn	138-9: How I scorn…comparison = the king disdains the
	Thy gross comparison! When my Honoria,	coarse and unworthy comparison between the amounts of money necessarily spent to please the queen and the cost of running the king's household!
140	The amazement of the present time, and envy
	Of all succeeding ages, does descend	= descend here is used to refer to the appearance on earth
142	To sanctify a place, and in her presence	of a divine being.^1 The metaphor continues with sanctify and temple.
	Makes it a temple to me, can I be
144	Too curious, much less prodigal, to receive her?	= fastidious. = liberal in spending.
	But that the splendour of her beams of beauty
146	Hath struck thee blind −
148	Eubu. As dotage hath done you.	= infatuation; Eubulus represents a common character type, the elderly and wise (and in this case caustic) counselor who will gladly risk his life in giving his sovereign the advice he does not want to hear.
150	Ladis. Dotage? O blasphemy! is it in me	150-1: is it…merit = "do I have the ability to treat her as she deserves?" The implied answer is, "no".
	To serve her to her merit? Is she not
152	The daughter of a king?	152: like Ladislaus himself, Queen Honoria is the offspring
		of royalty.
154	Eubu. And you the son
	Of ours, I take it; by what privilege else
156	Do you reign over us? for my part, I know not	156-7: I know not…lies = ie. since both the king and
	Where the disparity lies.	queen are of equally royal blood, there is no need for Ladislaus to treat her as if she is better than he is.
158
	Ladis. Her birth, old man,
160	(Old in the kingdom's service, which protects thee),	160: Ladislaus excuses Eubulus' unwanted advice in light of his lengthy service to the state.
	Is the least grace in her: and though her beauties	= least important virtue.
162	Might make the Thunderer a rival for her,	= common appellation for Jupiter, the king of the gods, whom Ladislaus describes as a potential suitor to Honoria. Hungary had been a Christian nation since the reign of King Stephen in the 11th century, so the pagan allusions by the Hungarians are anachronistic. Massinger's characters will use both pagan and Christian imagery throughout the play.
	They are but superficial ornaments,
164	And faintly speak her: from her heavenly mind,	= ie. do little to add to her already great worth.
	Were all antiquity and fiction lost,	= myths of the past.
166	Our modern poets could not, in their fancy,	= imagination.
	But fashion a Minerva far transcending	= "help but portray or create from her an image equal to that of Minerva", the Roman goddess of arts and wisdom.
168	The imagined one whom Homer only dreamt of.	= the 8th century B.C. author, of course, of the Iliad and
	But then add this, she's mine, mine, Eubulus!	Odyssey.
170	And though she knows one glance from her fair eyes
	Must make all gazers her idolaters,	= worshipers.
172	She is so sparing of their influence,	= ie. her eyes'.
	That, to shun superstitiön in others,	= prevent idolatry.
174	She shoots her powerful beams only at me.	= ie. "looks", a common metaphor.
	And can I, then, whom she desires to hold
176	Her kingly captive above all the world,	= ie. more than.
	Whose natiöns and empires, if she pleased,
178	She might command as slaves, but gladly pay
	The humble tribute of my love and service,
180	Nay, if I said of adoration, to her,
	I did not err?
182
	Eubu. Well, since you hug your fetters,	= "embrace your (metaphoric) chains".
184	In Love's name wear them! You are a king, and that	= ie. Cupid's.
	Concludes you wise, your will, a powerful reason:	= "requires a conclusion that you are"; Eubulus is sly with his irony.
186	Which we, that are foolish subjects, must not argue.	= argue with.
	And what in a mean man I should call folly,	= base.
188	Is in your majesty remarkable wisdom:
	But for me, I subscribe.	= "I'll go along with you".
190
	Ladis. Do, and look up,	191-2: Eubulus' sarcasm is lost on Ladislaus.
192	Upon this wonder.
194	Loud music.
	Enter Honoria in state under a Canopy;	Entering Characters: Honoria is the queen; Sylvia and
196	her train borne up by Sylvia and Acanthe.	Acanthe are her servants, or maids of honour; they hold
		up the queen's train, the back of her lengthy robe or skirt. Honoria's state refers to her entrance with full pomp and splendour.^1
198	Ric. Wonder! It is more, sir.
200	Ubald. A rapture, an astonishment.
202	Ric. What think you, sir?
204	Eubu. As the king thinks; that is the surest guard	= ie. "I think whatever the king thinks". = protection.
	We courtiers ever lie at. Was prince ever	= ie. any king.
206	So drowned in dotage? Without spectacles	= ie. eye-glasses.
	I can see a handsome woman, and she is so:
208	But yet to admiration look not on her.
	Heaven, how he fawns! and, as it were his duty,	= ie. as if it.
210	With what assurèd gravity she receives it!
	Her hand again! O she at length vouchsafes	211: her hand again! = the king repeatedly kisses the queen's hand. 211-2: vouchsafes / her lip = ie. allows her lips to receive a kiss from him.
212	Her lip, and as he had sucked nectar from it,	= ie. as if. = the drink of the gods.
	How he's exalted! Women in their natures
214	Affect command; but this humility	= desire or love power or authority.
	In a husband and a king marks her the way	= shows.
216	To absolute tyranny.
218	[The king seats her on his throne.]	218: this is actually a shocking move by the king: the king's own throne, as the absolute symbol of his authority, is inviolable!
220	So! Juno's placed	= "Juno is"; Juno is the wife of Jupiter and queen of the gods.
	In Jove's tribunal: and, like Mercury,	221: Jove's = Jove is an alternate name for Jupiter, the
222	(Forgetting his own greatness), he attends	king of the gods.
	For her employments. She prepares to speak;	tribunal = throne.^1 221-3: like Mercury…employments = the king is behaving as if he were a servant of the queen's. Mercury = the messenger god, who served Jupiter.
224	What oracles shall we hear now?	224: the line is sarcastic: oracles = divine pronouncements.
226	Hon. That you please, sir,	226f: Honoria is appropriately modest as she addresses the king.
	With such assurances of love and favour,
228	To grace your handmaid, but in being yours, sir,	228-9: in being yours…queen = "I am without peer only
	A matchless queen, and one that knows herself so,	in that I have you for a husband".
230	Binds me in retribution to deserve
	The grace conferred upon me.
232
	Ladis. You transcend
234	In all things excellent: and it is my glory,
	Your worth weighed truly, to depose myself	= value reckoned accurately.
236	From absolute command, surrendering up
	My will and faculties to your disposure:
238	And here I vow, not for a day or year,
	But my whole life, which I wish long to serve you,
240	That whatsoever I in justice may	240-2: That whatsoever…challenge = whatever obedience
	Exact from these my subjects, you from me	Ladislaus as king can demand from his subjects, so
242	May boldly challenge: and when you require it,	Honoria can demand as a right (challenge) from him.
	In sign of my subjection, as your vassal,
244	Thus I will pay my homage.	244: here Ladislaus demeans himself by kissing Honoria's
		robe.
246	Hon. O forbear, sir!
	Let not my lips envy my robe; on them	= ie. her lips.
248	Print your allegiance often: I desire
	No other fealty.	= a feudal term, meaning allegiance.^2
250
	Ladis. Gracious sovereign!
252	Boundless in bounty!	252: "without limit in generosity".
254	Eubu. Is not here fine fooling!
	He's, questionless, bewitched. Would I were gelt,	= without question. 255-6: Would I…disenchant him = "I would even allow myself to be castrated (gelt) if it would remove this spell that seems to hold the king."
256	So that would disenchant him! though I forfeit	256-7: though I …life for't = "though I risk execution for speaking my mind so boldly".
	My life for't, I must speak. − By your good leave, sir –	= gracious permission.
258	I have no suit to you, nor can you grant one,	258: "I present you with no petition, nor have you (any longer) the authority to grant me any favours;" Eubulus sarcastically speaks to the king as if he really has given up his power to the queen!
	Having no power: you are like me, a subject,
260	Her more than serene majesty being present.	= an epithet for a sovereign, like "royal".^1
	And I must tell you, 'tis ill manners in you,
262	Having deposed yourself, to keep your hat on,	= the custom in England in these times required men to remove their hats in the presence of their superiors.
	And not stand bare, as we do, being no king,
264	But a fellow-subject with us. − Gentlemen ushers,	= Eubulus instructs the court attendants to force the king to
	It does belong to your place, see it reformed;	remove his crown!
266	He has given away his crown, and cannot challenge
	The privilege of his bonnet.	= bonnet could refer to any cap, or a woman's headdress
268		specifically.^1
	Ladis. Do not tempt me.
270
	Eubu. Tempt you! in what? in following your example?
272	If you are angry, question me hereafter,
	As Ladislaus should do Eubulus,
274	On equal terms. You were of late my sovereign,
	But weary of it, I now bend my knee
276	To her divinity, and desire a boon	= favour.
	From her more than magnificence.
278
	Hon. Take it freely. −
280	Nay, be not moved; for our mirth's sake let us hear him.	= "don’t be angry", spoken to Ladislaus.
282	Eubu. 'Tis but to ask a question: Have you ne'er read
	The story of Semiramis and Ninus?
284
	Hon. Not as I remember.
286
	Eubu. I will then instruct you,
288	And 'tis to the purpose: this Ninus was a king,	= ie. the story is apropos, or has a moral applicable to this situation.
	And such an impotent loving king as this was,	= ie. "as this one here (meaning Ladislaus) was".
290	But now he's none; this Ninus (pray you observe me)	= not. = please.
	Doted on this Semiramis, a smith's wife
292	(I must confess, there the comparison holds not,
	You are a king's daughter, yet, under your correction,
294	Like her, a woman); this Assyrian monarch,
	Of whom this is a pattern, to express	= ie. "Ladislaus is analogous to".
296	His love and service, seated her, as you are,
	In his regal throne, and bound by oath his nobles,
298	Forgetting all allegiance to himself,
	One day to be her subjects, and to put	= while Eubulus' telling of this mythical story is mostly accurate, Semiramis actually was given five days to rule in her own name, not just one.^3
300	In executiön whatever she	= whatever commands.
	Pleased to impose upon them: − pray you command him
302	To minister the like to us, and then
	You shall hear what followed.
304
	Ladis. Well, sir, to your story.
306
	Eubu. You have no warrant, stand by; let me know	= Eubulus is saucy, telling Ladislaus he has no right to
308	Your pleasure, goddess.	tell him to do anything.
310	Hon. Let this nod assure you.
312	Eubu. Goddess-like, indeed! as I live, a pretty idol!	= excellent image of divinity.^1
	She knowing her power, wisely made use of it;	= ie. Semiramis.
314	And fearing his inconstancy, and repentance	= fickleness, ie. Ninus might change his mind.
	Of what he had granted (as, in reason, madam,
316	You may do his), that he might never have
	Power to recall his grant, or question her
318	For her short government, instantly gave order
	To have his head struck off.
320
	Ladis. Is't possible?	321: Ladislaus can't believe Eubulus has the nerve to tell this story.
322
	Eubu. The story says so, and commends her wisdom	= applauds or approves.
324	For making use of her authority.
	And it is worth your imitation, madam:
326	He loves subjection, and you are no queen,
	Unless you make him feel the weight of it.
328	You are more than all the world to him, and that
	He may be so to you, and not seek change	329-330: and not seek…are sated = "and to ensure that Ladislaus does not exchange you for another when he grows tired of you". sated = satiated.
330	When his delights are sated, mew him up	330: mew him up = "enclose him".
	In some close prison (if you let him live,	= secluded.
332	Which is no policy), and there diet him	= ie. not a wise policy.
	As you think fit, to feed your appetite;
334	Since there ends his ambition.	323-334: though risky, even unconscionably bold, Eubulus
		is actually performing the single most important service of any royal counselor: helping the sovereign - which in this case is now the queen - to keep her throne safe from any potential usurpers.
336	Ubald. Devilish counsel!
338	Ric. The king's amazed.	= stunned.
340	Ubald. The queen appears, too, full	340-1: full / of deep imaginations: the queen appears
	Of deep imaginations; Eubulus	deep in thought - as if she were seriously considering
342	Hath put both to it.	what Eubulus has recommended to her.
344	Ric. Now she seems resolved:
	I long to know the issue.	= result (of this dramatic moment).
346
	[Honoria descends from the throne.]
348
	Hon. Give me leave,	= permission.
350	Dear sir, to reprehend you for appearing	= Honoria directs this entire speech to Ladislaus.
	Perplexed with what this old man, out of envy
352	Of your unequal graces, showered upon me,	= ie. superior. = the clause refers to the king's graces
	Hath, in his fabulous story, saucily	which he has showered on Honoria.
354	Applied to me. Sir, that you only nourish	= ie. "if you even".
	One doubt Honoria dares abuse the power
356	With which she is invested by your favour;
	Or that she ever can make use of it
358	To the injury of you, the great bestower,
	Takes from your judgment. It was your delight	= "then my estimation of your ability to judge things must be reduced."
360	To seek to me with more obsequiousness
	Than I desired: and stood it with my duty	= ie. "did I have any choice, given my duty to you".
362	Not to receive what you were pleased to offer?
	I do but act the part you put upon me,	= such theatrical metaphors within a real play are always delightful.
364	And though you make me personate a queen,	= play, portray. = here Honoria uses the word queen in its sense of an independent ruler of a realm.^1
	And you my subject, when the play, your pleasure,
366	Is at a period, I am what I was	= an end.
	Before I entered, still your humble wife,
368	And you my royal sovereign.
370	Ric. Admirable!
372	Hon. I have heard of captains taken more with dangers	372-8: like a soldier who revels more in the dangers of battle than the rewards of victory, Ladislaus seems to get more pleasure from sex with Honoria by only engaging in it when she invites him to, even though he has every right to her body whenever he wants it. Who is she to question his choice in the matter?
	Than the rewards; and if, in your approaches
374	To those delights which are your own, and freely,
	To heighten your desire, you make the passage
376	Narrow and difficult, shall I prescribe you,	= instruct.^1
	Or blame your fondness? or can that swell me	= foolishness. = ie. give her a sense of greater importance.
378	Beyond my just proportion?	= proper proportion or degree.
380	Ubald. Above wonder!
382	Ladis. Heaven make me thankful for such goodness.
384	Hon. Now, sir,
	The state I took to satisfy your pleasure,	= chair of state, ie. the throne.
386	I change to this humility; and the oath
	You made to me of homage, I thus cancel,
388	And seat you in your own.
390	[Leads the king to the throne.]
392	Ladis. I am transported
	Beyond myself.
394
	Hon. And now, to your wise lordship:	= Honoria now addresses Eubulus.
396	Am I proved a Semiramis? or hath
	My Ninus, as maliciously you made him,
398	Cause to repent the excess of favour to me,
	Which you call dotage?
400
	Ladis. Answer, wretch!
402
	Eubu. I dare, sir,
404	And say, however the event may plead	404-5: however the event…cause = "however the
	In your defence, you had a guilty cause;	outcome of this little episode worked out the right way for you, which will allow you to claim that you did nothing wrong, you were guilty of malfeasance." Note the brief legal metaphor with plead, defense and guilty.
406	Nor was it wisdom in you, I repeat it,
	To teach a lady, humble in herself,
408	With the ridiculous dotage of a lover,
	To be ambitious.
410
	Hon. Eubulus, I am so;	= ie. ambitious.
412	Tis rooted in me; you mistake my temper.
	I do profess myself to be the most
414	Ambitious of my sex, but not to hold
	Command over my lord; such a proud torrent	415-6: such…wishes = note the brief drowning metaphor
416	Would sink me in my wishes: not that I	with torrent and sink.
	Am ignorant how much I can deserve,
418	And may with justice challenge.	= demand as a right.
420	Eubu. [Aside] This I looked for;	420-2: Eubulus speaks for the audience's benefit: he knew
	After this seeming humble ebb, I knew	Honoria could not keep up her pretense of complete
422	A gushing tide would follow.	humility for very long; note also Eubulus' use of ebb and gushing tide to continue the river- or sea-related metaphor begun by Honoria at lines 415-6.
424	Hon. By my birth,	424-8: As a queen, Honoria expects to be treated with as
	And liberal gifts of nature, as of fortune,	much obeisance and obedience as any sovereign.
426	From you, as things beneath me, I expect	= ie. "you people who are inferior to me"; Honoria's true
	What's due to majesty, in which I am	personality is emerging, and it isn't pretty!
428	A sharer with your sovereign.
430	Eubu. Good again!	= Eubulus is pleased that he judged Honoria correctly.
432	Hon. And as I am most eminent in place,
	In all my actiöns I would appear so.
434
	Ladis. You need not fear a rival.
436
	Hon. I hope not;	437-9: more foreshadowing.
438	And till I find one, I disdain to know
	What envy is.
440
	Ladis. You are above it, madam.
442
	Hon. For beauty without art, discourse, and free	= ie. natural beauty.
444	From affectation, with what graces else
	Can in the wife and daughter of a king
446	Be wished, I dare prefer myself, as −
448	Eubu. I	448-453: once again, Eubulus must speak his mind, and
	Blush for you, lady. Trumpet your own praises!	advises the queen on the lack of wisdom she is showing by openly expounding on the unlimited power she can wield. A wise sovereign doesn't feel the need to point this out to his or her subjects.
450	This spoken by the people had been heard	450-1: This spoken…to you = "If the subjects of the realm, on the other hand, had spoken this way about you, it would renown to your credit."
	With honour to you. Does the court afford	451-3: Does the court…flatterer = Eubulus is really risking crossing the line here! afford = provide.
452	No oil-tongued parasite, that you are forced
	To be your own gross flatterer?	= overt.
454
	Ladis. Be dumb,	= "shut up".
456	Thou spirit of contradictiön!	= spirit is pronounced as a one-syllable word here for purposes of meter.
458	Hon. The wolf	458-9: Honoria is trying to save face: with this metaphor,
	But barks against the moon, and I contemn it.	she claims to be unaffected by the harmless chatter of the old man Eubulus. contemn = scorn.
460
	[A horn sounded within.]	= ie. from off-stage.
462
	The masque you promised?	463: "oh, is it time for the entertainment you promised?"
464
	Ladis. Let them enter.
466
	Enter a Post.	= messenger.
468
	How!
470
	Eubu. Here's one, I fear, unlooked for.	= ie. the messenger was unexpected.
472
	Ladis. From the camp?
474
	Post. The general, victorious in your fortune,
476	Kisses your hand in this, sir.
478	[Delivers a letter.]
480	Ladis. That great Power,	= ie. God or Jupiter.
	Who at his pleasure does dispose of battailes,	= battles.
482	Be ever praised for't! Read, sweet, and partake it:
	The Turk is vanquished, and with little loss
484	Upon our part, in which our joy is doubled.
486	Eubu. But let it not exalt you; bear it, sir,	486-7: Eubulus reminds the king to be modest even in
	With moderation, and pay what you owe for't.	victory; he should give thanks to the gods who brought his army success.
488
	Ladis. I understand thee, Eubulus. − I'll not now	489-490: I'll not now… particulars = to the courier: "I
490	Enquire particulars. −	won't inquire about the details of the battle right now."
492	[Exit Post.]
494	− Our delights deferred,	494: "we will postpone the show for the moment".
	With reverence to the temples; there we'll tender
496	Our souls' devotiöns to His dread might,	= awesome.
	Who edged our swords, and taught us how to fight.	496-7: the scene ends, as is common in the era's drama, with a rhyming couplet.
498
	[Exeunt.]	= here is as good a place as any to consider if there is any resemblance between Massinger's King Ladislaus and any of the five Ladislauses and two Vladislauses who ruled Hungary. As a historical matter, the only one of these monarchs whose government was forced to fight off Turks at its southern border was Vladislaus I, who lived from 1424 to 1444, and who had been originally the King of Poland, ruling there as Vladislaus III. When the Hungarian king Albert died in 1439, leaving only infant children behind, the Hungarians recruited the already famously martial king of Poland to take on the role of sovereign of the Magyars. During his brief reign, the great Hungarian nobleman John Hunyadi led the Magyars to some of their most famous victories over the Turks on Hungary's southern frontier. As a matter of personality, our Ladislaus perhaps more likely resembles the weak Hungarian king Vladislaus II, who while serving as the King of Bohemia was recruited by the nobles of Hungary, who were looking for a king they could dominate, to become their nation's sovereign in 1490. Known as "King all right", because he said "yes" to everything, Vladislaus II was, in the words of the Encyclopedia Britannica (1911), "from first to last, a puppet of the oligarchs."^17 Luckily for Hungary, Vladislaus II never had to deal with the Turks.
	ACT II.
	SCENE I.
	Bohemia.
	A Room in Mathias' House.
	Enter Hilario and Corisca.
1	Hil. You like my speech?	1ff: Hilario is planning something to help lift Sophia's spirits.
2
	Coris. Yes, if you give it action	= the appropriate gestures of one giving a performance.
4	In the delivery.
6	Hil. If! I pity you.
	I have played the fool before; this is not the first time,
8	Nor shall be, I hope, the last.
10	Coris. Nay, I think so too.	10: the bait offered by Hilario in lines 7-8 was too easy to require a more explicit response from Corisca.
12	Hil. And if I put her not out of her dumps with laughter,	= "raise her out of her depression".
	I'll make her howl for anger.
14
	Coris. Not too much
16	Of that, good fellow Hilario: our sad lady
	Hath drank too often of that bitter cup;	= ie. of the cup of anger: Sophia apparently has been quite irritable since Mathias went away.
18	A pleasant one must restore her. With what patience	18-21: With what…herself thus = "how would she react
	Would she endure to hear of the death of my lord;	if she were to learn that Mathias had died, if she is
20	That, merely out of doubt he may miscarry,	already suffering this much only from worrying about
	Afflicts herself thus?	it?"
22
	Hil. Umph! 'tis a question	= the original quarto has "Um!" here; I have adopted Gifford's emendation.
24	A widow only can resolve. There be some	24-28: There be some…no more on't = a common motif
	That in their husbands’ sicknesses have wept	or stereotype was of the widow who only briefly mourns
26	Their pottle of tears a day; but being once certain	the death of her husband before quickly running out to find
	At midnight he was dead, have in the morning	a new man. Most London widows, as a matter of fact, did
28	Dried up their handkerchiefs, and thought no more on't.	get remarried within a year of their husbands' deaths
		(Taylor, p. 25),^18 but the reality of Renaissance English life requires that we sympathize with these women more than censure them. Mortality rates in the city were high, and death an almost daily part of existence. A woman, bereft of many basic legal rights, and limited in economic opportunity, usually had no choice if she wanted to survive but to remarry if she could, unless she inherited a fair amount of money from her husband. pottle (line 26) = half-gallon drinking vessel.^2
30	Coris. Tush, she is none of that race; if her sorrow
	Be not true and perfit, I, against my sex,	= perfect. = ie. "turning against my own gender".
32	Will take my oath woman ne'er wept in earnest.	= "swear that no woman ever".
	She has made herself a prisoner to her chamber,	= bedroom.
34	Dark as a dungeon, in which no beam
	Of comfort enters. She admits no visits;
36	Eats little, and her nightly music is
	Of sighs and groans, tuned to such harmony
38	Of feeling grief, that I, against my nature,	= intense.^1
	Am made one of the consort. This hour only	= ie. one of the company (consort) that contributes to the sounds of grief. 39-41: This hour…observes = ie. once each day Sophia comes out of her room.
40	She takes the air, a custom every day
	She solemnly observes, with greedy hopes,	= the sense is "eager for".^13
42	From some that pass by, to receive assurance
	Of the success and safety of her lord.
44	Now, if that your device will take −	= scheme.
46	Hil. Ne'er fear it:	= "don't worry about it!"
	I am provided cap-à-pe, and have	= costumed appropriately from head to toe (ie. cap-à-pié).
48	My properties in readiness.	= stage props.
50	Soph. [within] Bring my veil, there.	= from off-stage.
52	Coris. Be gone, I hear her coming.
54	Hil. If I do not
	Appear, and, what's more, appear perfit, hiss me.	= perfect. = the traditional response of an unsatisfied
56		audience.
	[Exit Hilario.]
58
	Enter Sophia.
60
	Soph. I was flattered once, I was a star, but now	= "that I".
62	Turned a prodigious meteor, and, like one,	62-66: in this extended simile, Sophia compares herself to a dying comet (meteor). prodigious = an evil omen, which is what comets were believed to be.
	Hang in the air between my hopes and fears;
64	And every hour, the little stuff burnt out
	That yields a waning light to dying comfort,	= decreasing.
66	I do expect my fall, and certain ruin.
	In wretched things more wretched is delay;	67: waiting for bad news is harder than actually receiving it.
68	And Hope, a parasite to me, being unmasked,	= ie. undisguised.
	Appears more horrid than Despair, and my
70	Distraction worse than madness. Even my prayers,
	When with most zeal sent upward, are pulled down
72	With strong imaginary doubts and fears,
	And in their sudden precipice o'erwhelm me.	= "falling (about me)".
74	Dreams and fantastic visions walk the round	= keep a watch.^16
	About my widowed bed, and every slumber's
76	Broken with loud alarms: can these be then
	But sad presages, girl?	= premonitions.
78
	Coris. You make them so,
80	And antedate a loss shall ne'er fall on you.	= anticipate.^1 = which shall.
	Such pure affectiön, such mutual love,	81-94: a lovely speech: should such a perfect marriage as exists between Mathias and Sophia produce no children, then no succeeding couple, looking back on their story, will ever bother to get married either, but instead procreate like animals.
82	A bed, and undefiled on either part,	= unpolluted by cheating.^1
	A house without contention, in two bodies
84	One will and soul, like to the rod of concord,	= a metaphor for amity or agreement, an antithesis to the Bible's rod of correction of Proverbs 22:15.
	Kissing each other, cannot be short-lived,
86	Or end in barrenness. − If all these, dear madam,
	(Sweet in your sadness,) should produce no fruit,	87-88: should produce…yourselves = ie. result in no
88	Or leave the age no models of yourselves,	children.
	To witness to posterity what you were;
90	Succeeding times, frighted with the example,	90: "those who follow us in the future, frightened by your example".
	But hearing of your story, would instruct
92	Their fairest issue to meet sensually,	= best or most beautiful offspring.^1
	Like other creatures, and forbear to raise	93-94: forbear…altars = not get married.
94	True Love, or Hymen, altars.	= the god of marriage.
96	Soph. O Corisca,
	I know thy reasons are like to thy wishes;	= in conformity with.
98	And they are built upon a weak foundation,
	To raise me comfort. Ten long days are past,
100	Ten long days, my Corisca, since my lord
	Embarked himself upon a sea of danger,	101-3: Sophia uses a sailing metaphor to describe Mathias'
102	In his dear care of me. And if his life	journey to take part in the war.
	Had not been shipwracked on the rock of war,
104	His tenderness of me (knowing how much
	I languish for his absence) had provided	= grieve. = would have.
106	Some trusty friend, from whom I might receive
	Assurance of his safety.
108
	Coris. Ill news, madam,	109-110: bad news travels fast, but good news spreads
110	Are swallow-winged, but what's good walks on crutches:	slowly: if there were any bad news, Sophia would have
	With patiënce expect it, and, ere long,	received it already. Note the treatment of news as a
112	No doubt you shall hear from him.	plural word.
114	[A sowgelder's horn without.]	114: sowgelder's horn = a sowgelder was one who
		spayed sows. A gelder might have a horn he would blow to announce his arrival.^4 without = ie. is heard from outside.
116	Soph. Ha! What's that?
118	Coris. [Aside]
	The fool has got a sowgelder's horn. − A post,	119: The fool = ie. Hilario.
120	As I take it, madam.	post = messenger.
122	Soph. It makes this way still;
	Nearer and nearer.
124
	Coris. From the camp, I hope.
126
	Enter a Post, with a horn;	127: Hilario has enlisted someone to precede him and announce his arrival from the Hungarian army's camp.
128	followed by Hilario, in antic armour,	= comic.
	with long white hair and beard.
130
	Soph. The messenger appears, and in strange armour,	131: a convention of the era's drama allowed for all
132	Heaven! if it be thy will −	disguises to be impenetrable to other characters, even if obvious to the audience.
134	Hil. It is no boot	134ff: Hilario, playing a burlesque messenger, will speak
	To strive; our horses tired, let's walk on foot:	in rhymed couplets, employing mock heroic and some-
136	And that the castle, which is very near us,	what antiquated language.
	To give us entertainment, may soon hear us,	boot (line 134) = use.
138	Blow lustily, my lad, and drawing nigh-a,
	Ask for a lady which is cleped Sophia.	= named; clepe had already long been an archaic word
140		by the 17th century.
	Coris. He names you, madam.
142
	Hil. For to her I bring,
144	Thus clad in arms, news of a pretty thing,
	By name Mathias.
146
	[Exit Post.]
148
	Soph. From my lord? O sir,
150	I am Sophia, that Mathias' wife.
	So may Mars favour you in all your battailes,	= the god of war. = battles.
152	As you with speed unload me of the burthen	= burden.
	I labour under, till I am confirmed
154	Both where and how you left him!
156	Hil. If thou art,
	As I believe, the pigsney of his heart,	= sweetheart.^1
158	Know he's in health, and what's more, full of glee;	= joy.^1
	And so much I was willed to say to thee.
160
	Soph. Have you no letters from him?
162
	Hil. No more words.
164	In the camp we use no pens, but write with swords;
	Yet, as I am enjoined, by word of mouth	= instructed.
166	I will proclaim his deeds from north to south;
	But tremble not, while I relate the wonder,
168	Though my eyes like lightning shine, and my voice thunder.
170	Soph. This is some counterfeit braggart.	170: Sophia wasn't fooled for long, though Hilario's intent
		was not to trick her, but entertain her.
172	Coris. Hear him, madam.
174	Hil. The rear marched first, which followed by the van,	= the troops in the front. Hilario's absurd and sometimes self-contradictory description of the battle is quite funny.
	And winged with the battalia, no man	= the main body of the army, which would not be on the wings!^1
176	Durst stay to shift a shirt, or louse himself;	176: Durst stay = ie. dared delay even a moment. shift = change. louse = remove his lice, ie. delouse.
	Yet, ere the armies joined, that hopeful elf,	= before. = promising.^1
178	Thy dear, thy dainty duckling, bold Mathias,
	Advanced, and stared like Hercules or Golias.	= Goliath. Note again the mixed pagan and Christian imagery; note also that Hilario, in comparing Mathias to these giants of the past, had just referred to Mathias as an elf!
180	A hundred thousand Turks, it is no vaunt,	= exaggeration or boast.
	Assailed him; every one a Termagaunt:	= the name of a violent but imaginary Islamic god who appeared in the old morality plays.^19
182	But what did he, then! with his keen-edge spear	= sharp-edged spear; the image, of course, is deliberately ridiculous, as spears are pointed at the ends, and thrust or thrown, not slashed with.
	He cut and carbonated them: here and there	= slashed.^1
184	Lay legs and arms; and, as 'tis said truly
	Of Bevis, some he quartered all in three.	185: Bevis = legendary Saxon knight, and the subject of
186		several medieval epic poems. quartered = cut into four pieces, as in "drawn and quartered". The humour of the line is obvious.
	Soph. This is ridiculous.
188
	Hil. I must take breath;
190	Then, like a nightingale, I'll sing his death.
192	Soph. His death!
194	Hil. [Aside to Corisca] I am out.	194: Hilario has lost his train of thought.
196	Coris. Recover, dunder-head.	= blockhead, or the like.
198	Hil. How he escaped, I should have sung, not died;
	For, though a knight, when I said so, I lied.	= ie. a knight is bound by his honour to always tell the
200	Weary he was, and scarce could stand upright,	truth.
	And looking round for some courageous knight
202	To rescue him, as one perplexed in woe,
	He called to me, “Help, help, Hilario!
204	My valiant servant, help!”
206	Coris. He has spoiled all.
208	Soph. Are you the man of arms, then? I'll make bold	208-230: note how Sophia switches back and forth between you and thou in addressing her servants. The effect is subtle: she uses you primarily when she is speaking with mock formality and irony (to Hilario) or with formal distance (to Corisca), and thee when she is really laying into them.
	To take off your martial beard, you had fool's hair
210	Enough without it. Slave! how durst thou make
	Thy sport of what concerns me more than life,
212	In such an antic fashion? Am I grown	= grotesque.
	Contemptible to those I feed? − you, minion,	= spoken to Corisca.
214	Had a hand in it too, as it appears;
	Your petticoat serves for bases to this warrior.	215: Sophia notices that Hilario is wearing a long skirt
216		(petticoat)^2 of Corisca's; such a rich skirt, when worn ornamentally by a knight over his armor, was referred to in the plural as bases.^1
	Coris. We did it for your mirth.
218
	Hil. For myself, I hope,
220	I have spoke like a soldier.
222	Soph. Hence, you rascal!	= "get out".
	I never but with reverence name my lord,
224	And can I hear it by thy tongue profaned,
	And not correct thy folly? but you are	= punish.
226	Transformed and turned knight-errant; take your course,	= a wandering knight who searches for adventure.
	And wander where you please; for here I vow
228	By my lord's life, (an oath I will not break,)
	Till his return, or certainty of his safety,
230	My doors are shut against thee.
232	[Exit Sophia.]
234	Coris. You have made
	A fine piece of work on't! How do you like the quality?	= profession (of being an actor).
236	You had a foolish itch to be an actor,
	And may stroll where you please.	237: acting troops wandered the English countryside, putting on performances wherever they could.
238
	Hil. Will you buy my share?	= humorous reference to the corporate status of many
240		London acting companies. In 1594, Shakespeare, for example, became a share-holder, and hence a part-owner, of the Lord Chamberlain's Company. Sophia has just kicked Hilario out of the house, and the servant realizes he has no money for food.
	Coris. No, certainly; I fear I have already
242	Too much of mine own: I'll only, as a damsel,	= Corisca playfully uses this archaic term for a maiden in addressing Hilario in his role as an old-fashioned errant knight.
	(As the books say,) thus far help to disarm you;	= Gifford notes here a reference to books of knight- errantry, very popular at the time.
244	And so, dear Don Quixote, taking my leave,	= the famous mock knight-errant, whose humorous story
	I leave you to your fortune.	was told in two very famous early 17th century books written by the Spaniard Miguel de Cervantes.
246
	[Exit Corisca.]
248
	Hil. Have I sweat
250	My brains out for this quaint and rare invention,	= excellent idea.
	And am I thus rewarded? I could turn
252	Tragedian and roar now, but that I fear
	'Twould get me too great a stomach, having no meat	= ie. "make me very hungry".
254	To pacify colon: what will become of me?	= ie. "satisfy my hunger".
	I cannot beg in armour, and steal I dare not:
256	My end must be to stand in a corn field,
	And fright away the crows, for bread and cheese;
258	Or find some hollow tree in the highway,
	And there, until my lord return, sell switches:	= the idea of a homeless or poor man selling tree shoots (switches) along the roadside to earn a penny appears also in The Scornful Lady by Beaumont and Fletcher.
260	No more Hilario, but Dolorio now,	= Hilario humorously suggests he must give up his own name, which is derived from hilarity, to one derived from dolorous, meaning doleful.
	I'll weep my eyes out, and be blind of purpose	261-2: an interesting idea: Hilario will deliberately blind
262	To move compassiön; and so I vanish.	himself by literally weeping his eyes out, for the
		purpose of eliciting pity, and thus charity, from passersby.
264	[Exit Hilario.]
	ACT II, SCENE II.
	Alba Regalis, Hungary.
	An Ante-room in the Palace.
	Enter Eubulus, Ubaldo, Ricardo, and others.	Entering Characters: Eubulus, we remember, is the Hungarian king's old and wise counselor; Ubaldo and Ricardo are younger and lewder courtiers.
1	Eubu. Are the gentlemen sent before, as it was ordered	1-3: Eubulus asks if any members of the court had been
2	By the king's directiön, to entertain	sent out to meet Ferdinand, the victorious general of
	The general?	the Hungarian army, as he makes his way home.
4
	Ric. Long since; they by this have met him,	= by this time.
6	And given him the bienvenu.	= welcome.^1
8	Eubu. I hope I need not	8-9: a theatrical metaphor: "I hope I do not have to remind
	Instruct you in your parts.	you how to behave in front of the general."
10
	Ubald. How! us, my lord!	11ff: in this dialogue, Ubaldo and Ricardo express their
12	Fear not; we know our distances and degrees	satisfaction that they are completely familiar with proper
	To the very inch where we are to salute him.	court etiquette. The courtiers offer a laundry list of terms related to court behavior: they claim full knowledge of the differing ranks of members of societies (degrees) and appropriate level of familiarity or aloofness employed during intercourse between persons of differing ranks (distances).^1 The pretentious manners, as well as loose morals, of the courts of James I and Charles I were regularly satirized by early 17th century writers.
14
	Ric. The state were miserable, if the court had none	= "would be a poor one".
16	Of her own breed, familiar with all garbs	16-17: familiar…France = the writers of the 17th century
	Gracious in England, Italy, Spain, or France;	frequently mocked the manners (garbs) of the continent that were so willingly imported by the fashion-conscious English.
18	With form and punctuality to receive	= attention to proper ceremony.^1
	Stranger ambassadors: for the general,	= foreign.
20	He's a mere native, and it matters not	20-21: "since Ferdinand is a Hungarian, and thus one
	Which way we do accost him.	of our own citizens, we can treat him with less punctiliousness than we would a foreign guest." accost = approach.
22
	Ubald. Tis great pity	23-29: Ubaldo bemoans the fact that the class of well-born
24	That such as sit at the helm provide no better	citizens sitting right below the nobility (the gentry) are
	For the training up of the gentry. In my judgment	not taught fashionable court behavior as the nobility themselves are. He suggests the building of a school to teach such manners!
26	An academy erected, with large pensions	26-29: Ubaldo would like substantial salaries or payments
	To such as in a table could set down	(pensions) be made to those who could write a comprehensive manual describing the court manners of all nations! table = notebook, or in rows and columns.^1
28	The congees, cringes, postures, methods, phrase,	28: congees = bows.
	Proper to every nation −	cringes = exaggerated or servile bows.^1 postures = affected poses.^4 methods = procedure. phrase = correct diplomatic language.
30
	Ric. O, it were	= "would be": Ricardo seconds the idea.
32	An admirable piece of work!
34	Ubald. And yet rich fools
	Throw away their charity on hospitals
36	For beggars and lame soldiers, and ne'er study
	The due regard to compliment and courtship,	= courteous behaviour and proper court manners.^1
38	Matters of more import, and are indeed
	The glories of a monarchy.
40
	Eubu. These, no doubt,
42	Are state points, gallants, I confess; but, sure,	= ie. business of the state.
	Our court needs no aids this way, since it is
44	A school of nothing else. There are some of you
	Whom I forbear to name, whose coining heads	= a numismatic metaphor for the minds of those who seem to find no other employment except to come up with new fashionable rules of behavior in the court. coining = minting.
46	Are the mints of all new fashions, that have done
	More hurt to the kingdom by superfluous bravery,	= extravagantly fine clothing.^2
48	Which the foolish gentry imitate, than a war,
	Or a long famine; all the treasure, by
50	This foul excess, is got into the merchant,
	Embroiderer, silkman, jeweller, tailor's hand,
52	And the third part of the land too, the nobility	52-53: the nobility value fine clothing so much that they
	Engrossing titles only.	sell off their land to be able to keep up with fashion,
54		and thus find themselves collecting titles, but not wealth.
	Ric. My lord, you are bitter.
56
	[A trumpet.]
58
	Enter a Servant.
60
	Serv. The general is alighted, and now entered.	= arrived, or dismounted from his horse.
62
	Ric. Were he ten generals, I am prepared,
64	And know what I will do.
66	Eubu. Pray you, what, Ricardo?
68	Ric. I'll fight at compliment with him.	68ff: Ricardo, joined by Ubaldo, actually intend to make
		a sport of outdoing the general in courtly flattery (compliment).^1
70	Ubald. I'll charge home too.
72	Eubu. And that's a desperate service; if you come off well.	72: Eubulus is ironic: the term desperate was usually used to describe a last-gasp charge in battle.
74	Enter Ferdinand, Mathias, Baptista, and two Captains.	= military commanders.
76	Ferd. Captain, command the officers to keep
	The soldier, as he marched, in rank and file,	= ie. the soldiers; the singular term soldier was frequently
78	Till they hear further from me.	used to refer to the soldiers of the army generally. The
		Hungarian army, having returned from the war, is parked outside the palace.
80	[Exeunt Captains.]
82	Eubu. Here's one speaks
	In another key; this is no canting language	= ie. slang lingo of the court; Eubulus is impressed with
84	Taught in your academy.	Ferdinand's plain speaking.
86	Ferd. Nay, I will present you	86-87: Ferdinand addresses Mathias.
	To the king myself.
88
	Math. A grace beyond my merit.
90
	Ferd. You undervalue what I cannot set
92	Too high a price on.
94	Eubu. With a friend's true heart,
	I gratulate your return.	= salute.^2
96
	Ferd. Next to the favour
98	Of the great king, I am happy in your friendship.	= blessed or fortunate.
100	Ubald. By courtship, coarse on both sides!	= an oath, such as "By God"; courtship refers to proper
		court etiquette. Ubaldo is shocked by the absence of skilfully-wielded flowery and affected language of com- pliment in the conversation so far.
102	Ferd. Pray you, receive
	This stranger to your knowledge; on my credit,	= "this foreigner", ie. Mathias.
104	At all parts he deserves it.
106	Eubu. Your report
	Is a strong assurance to me. Sir, most welcome.
108
	Math. This said by you, the reverence of your age
110	Commands me to believe it.
112	Ric. This was pretty;	112: "that was a little better."
	But second me now. − I cannot stoop too low	113: But second me now = Ricardo is ready to jump in,
114	To do your excellence that due observance	and asks Ubaldo to support or join him.
	Your fortune claims.	With I cannot stoop…, Ricardo addresses Ferdi- nand. Note that dashes are often used to indicate a change of addressee. stoop = bow.^1
116
	Eubu. He ne'er thinks on his virtue!	= of, about.
118
	Ric. For being, as you are, the soul of soldiers,
120	And bulwark of Bellona −	= the Roman goddess of war. Note Ricardo's affected use
		of alliteration in these lines and at 125-6.
122	Ubald. The protection
	Both of the court and king −
124
	Ric. And the sole minion	= favourite^1
126	Of mighty Mars −	= the Roman god of war.
128	Ubald. One that with justice may
	Increase the number of the worthies −	= Ubaldo refers to the 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.
130
	Eubu. Hoyday!	131: "Holy smokes!" Even Eubulus is stunned by the ability of the courtiers to shovel it on. Gifford prints the alternate form heyday here.
132
	Ric. It being impossible in my arms to circle	= wrap or embrace.
134	Such giant worth −
136	Ubald. At distance we presume
	To kiss your honoured gauntlet.
138
	Eubu. What reply now	139-140: Eubulus wonders, perhaps with doubt, whether
140	Can he make to this foppery?	Ferdinand will be able to hold his own against the courtiers' verbal assault. foppery = foolishness.^2
142	Ferd. You have said,	142-5: Ferdinand responds magnificently! Note the not-too-
	Gallants, so much, and hitherto done so little,	subtle insult.
144	That, till I learn to speak, and you to do,
	I must take time to thank you.
146
	Eubu. As I live,
148	Answered as I could wish. How the fops gape now!
150	Ric. This was harsh and scurvy.
152	Ubald. We will be revenged	152-3: Ubaldo expects Ferdinand will embarrass himself
	When he comes to court the ladies, and laugh at him.	with the ladies with his inability to speak in a more courtly manner.
154
	Eubu. Nay, do your offices, gentlemen, and conduct
156	The general to the presence.	= short for "presence chamber", the room in which a
		monarch receives visitors.^1
158	Ric. Keep your order.
160	Ubald. Make way for the general.
162	[Exeunt all but Eubulus.]
164	Eubu. What wise man,	164f: Eubulus, ever sagacious, recognizes the capricious
	That, with judicious eyes, looks on a soldier,	nature of the fortune which attends the lives of soldiers
166	But must confess that fortune's swinge is more	(swinge = influence): while celebrated and courted in
	O'er that profession, than all kinds else	times of danger, soldiers are ignored, even despised, as soon as peace returns.
168	Of life pursued by man? They, in a state,
	Are but as chirurgeöns to wounded men,	= "like surgeons"; chirurgeons here is presumably pro-
170	E'en desperate in their hopes: while pain and anguish	nounced CHUR-ge-ons).
	Make them blaspheme, and call in vain for death:
172	Their wives and children kiss the chirurgeon's knees,
	Promise him mountains, if his saving hand
174	Restore the tortured wretch to former strength.
	But when grim death, by Æsculapius' art,	= Aesculapius was the popular Greek god of medical healing. His art refers to medical skill in general.
176	Is frighted from the house, and health appears
	In sanguine colours on the sick man's face,	= a term of art from medieval physiology: sanguine was used to describe the predominance of blood over the other humours, or fluids, which were thought to make up the body (the others being phlegm, yellow bile and black bile); a sanguine complexion indicated health and robustness.
178	All is forgot; and, asking his reward,
	He's paid with curses, often receives wounds
180	From him whose wounds he cured: so soldiers,	= ie. "so it is with soldiers".
	Though of more worth and use, meet the same fate,
182	As it is too apparent. I have observed,	182: in the original 1630 quarto, a mysterious and brief line,
	When horrid Mars, the touch of whose rough hand	In one hue, mistakenly appears between our lines 182 and 183.
184	With palsies shakes a kingdom, hath put on
	His dreadful helmet, and with terror fills	= dread-causing.
186	The place where he, like an unwelcome guest,
	Resolves to revel, how the lords of her, like	= Mars decides to enjoy himself, a metaphor for his bringing war into a peaceful land.
188	The tradesman, merchant, and litigious pleader,	= ie. advocate or lawyer.^1
	And such-like scarabs, bred in the dung of peace,	= dung beetles. = this is one of the great all-time metaphors, and a favourite phrase of Massinger's.
190	In hope of their protection, humbly offer
	Their daughters to their beds, heirs to their service,	= soldiers'.
192	And wash with tears their sweat, their dust, their scars:
	But when those clouds of war, that menaced	= threatened.
194	A bloody deluge to the affrighted state,	= deluge continues the storm metaphor begun with clouds.
	Are, by their breath, dispersed, and over-blown,	= dispelled, blown away;^1 a term often applied to a storm.
196	And famine, blood, and death, Bellona's pages,	= the attendants of the goddess of war.
	Whipt from the quiet continent to Thrace;	= a region of eastern Greece, held by the Turks since the 14th century. As Gifford points out, the mention of Thrace is not meant to signify a geographic location different from Europe, but rather to create an image of a region infested with war-loving tribes, as opposed to a peaceful Europe.^16
198	Soldiers, that, like the foolish hedge-sparrow,	198-9: the cuckoo famously lays its eggs in the nest of the
	To their own ruin, hatch this cuckoo peace,	hedge-sparrow, who will raise the cuckoo's chicks as its own. The victorious soldier unwittingly brings his own ruin by bringing peace to his homeland.
200	Are straight thought burthensome; since want of means,	200-1: ie. in times of peace, the common soldier lacks
	Growing from want of action, breeds contempt:	means to support himself, and is considered a burden (burthensome) on society.
202	And that, the worst of ills, falls to their lot,	202-3: the end of Eubulus' long speech is signaled by its
	Their service, with the danger, soon forgot.	concluding rhyming couplet.
204
	Enter a Servant.
206
	Serv. The queen, my lord, hath made choice of this room,
208	To see the masque.
210	Eubu. I'll be a looker on:	210-1: members of the court or household often took part
	My dancing days are past.	in the entertainment.
212
	Loud music.
214	Enter Ubaldo, Ricardo, Ferdinand, Honoria,
	Mathias, Sylvia, Acanthe, Baptista, Captains, and	Entering Characters: Sylvia and Acanthe, we remember,
216	others. As they pass, a Song in praise of war.	are maids-of-honour to Queen Honoria; such were typically unmarried noble-women.^1 To serve the queen was considered a great honour.
218	Ladis. This courtesy	218-220: Ladislaus is pleased with Honoria's gracious
	To a stranger, my Honoria, keeps fair rank	treatment of Ferdinand.
220	With all your rarities. − After your travail,	= work or travels - the two meanings of travail were not always clearly distinguished. The king is now addressing Ferdinand.
	Look on our court delights; but first, from your
222	Relation, with erected ears, I'll hear	= ie. relating (the story of the battle).
	The music of your war, which must be sweet,
224	Ending in victory.
226	Ferd. Not to trouble
	Your majesties with description of a battle
228	Too full of horror for the place, and to	= ie. to be described in detail in front of the ladies.
	Avoid particulars, which should I deliver,
230	I must trench longer on your patience than	= infringe further on.^1
	My manners will give way to; − in a word, sir,
232	It was well fought on both sides, and almost
	With equal fortune, it continuing doubtful
234	Upon whose tents plumed Victory would take	= common reference to personified Victory, wearing a plumed helmet.
	Her glorious stand. Impatient of delay,
236	With the flower of our prime gentlemen, I charged	= ie. with the leading nobles of the realm in his support.
	Their main battalia, and with their assistance	237: battalia = body of the army. their assistance = ie. the assistance of the prime gentlemen.
238	Brake in; but, when I was almost assured
	That they were routed, by a stratagem
240	Of the subtile Turk, who opening his gross body,	= main or large part of the army.^1
	And rallying up his troops on either side,
242	I found myself so far engaged, for I
	Must not conceal my errors, that I knew not
244	Which way with honour to come off.	240-4: who opening…come off = Ferdinand describes a
		battle tactic used often in the ancient world: the center of the Turkish forces gave way, to be pursued by the Hungarians. The Turks on the flanks then surrounded and attacked the pursuing troops. Such a maneuver was most famously used by Hannibal to destroy an entire Roman army at the Battle of Cannae in 216 B.C.
246	Eubu. I like
	A general that tells his faults, and is not
248	Ambitious to engross unto himself	= appropriate.
	All honour, as some have, in which, with justice,
250	They could not claim a share.
252	Ferd. Being thus hemmed in,
	Their scimitars raged among us; and, my horse	= short, curved, pointed swords with a single edge, typically assigned to characters of Turkish or Middle Eastern origin.^1
254	Killed under me, I every minute looked for
	An honourable end, and that was all	= ie. to go down fighting.
256	My hope could fashion to me: circled thus	= encircled, ie. surrounded.
	With death and horror, as one sent from Heaven,
258	This man of men, with some choice horse, that followed	= ie. excellent supporting cavalry.
	His brave example, did pursue the tract	= track.
260	His sword cut for them, and, but that I see him
	Already blush to hear what he, being present,
262	I know would wish unspoken, I should say, sir,
	By what he did, we boldly may believe
264	All that is writ of Hector.	= the greatest soldier of the Trojans.
266	Math. General,
	Pray spare these strange hyperboles.	= extreme.^5
268
	Eubu. Do not blush
270	To hear a truth; here are a pair of monsieurs,	= Eubulus indicates Ricardo and Ubaldo.
	Had they been in your place, would have run away,
272	And ne'er changed countenance.	= bearing or appearance.^1
274	Ubald. We have your good word still.	274: "we trust we still have your favour."
276	Eubu. And shall, while you deserve it.
278	Ladis. Silence; on.
280	Ferd. He, as I said, like dreadful lightning thrown
	From Jupiter's shield, dispersed the armèd gyre	= circle^1 (of Turkish troops); the root is the same one that appears in gyrate.
282	With which I was environed; horse and man	= surrounded.
	Shrunk under his strong arm: more, with his looks
284	Frighted, the valiant fled, with which encouraged,
	My soldiers, (like young eaglets preying under
286	The wings of their fierce dam,) as if from him	= mother.
	They took both spirit and fire, bravely came on.
288	By him I was remounted, and inspired
	With treble courage; and such as fled before
290	Boldly made head again; and, to confirm them,	= advanced.^1
	It suddenly was apparent, that the fortune
292	Of the day was ours; each soldier and commander
	Performed his part; but this was the great wheel	293-4: but this…moved = a fabulous metaphor of inter-
294	By which the lesser moved; and all rewards	locking wheels, in which the turn of the largest wheel (Mathias) causes many smaller wheels (the mass of the common soldiers) to turn with it.
	And signs of honour, as the civic garland,	= a wreath given as a mark of honour in ancient Rome to a person who has saved the life of another in battle.^1
296	The mural wreath, the enemy's prime horse,	= wreath of honour.^1 = best.
	With the general's sword, and armour, (the old honours
298	With which the Romans crowned their several leaders,)	= various.
	To him alone are proper.
300
	Ladis. And they shall
302	Deservedly fall on him. Sit; 'tis our pleasure.
304	Ferd. Which I must serve, not argue.
306	Hon. You are a stranger,	= foreigner (spoken to Mathias).
	But, in your service for the king, a native,
308	And, though a free queen, I am bound in duty
	To cherish virtue wheresoe'er I find it:
310	This place is yours.	310: Honoria offers Ferdinand the seat of honour next to
		the king and queen.
312	Math. It were presumption in me
	To sit so near you.
314
	Hon. Not having our warrant.	315: "only if you did it without my permission"
316
	[Music within.]
318
	Ladis. Let the masquers enter: by the preparation,	= performers of the masque, entertainers.
320	'Tis a French brawl, an apish imitation	= a type of dance.^1
	Of what you really perform in battaile:	= battle.
322	And Pallas, bound up in a little volume,	322: Pallas = alternate name for Athena (the Roman Minerva), the goddess of wisdom and art. a little volume = perhaps a cute reference to the small size of the actor who would play Pallas. Note the book metaphor, with bound.
	Apollo, with his lute, attending on her,	323: Apollo was the god of music. He was usually imagined to be playing a lute, a type of early guitar.
324	Serve for the induction.	= introduction.
326	Enter two boys, dressed as Apollo with his lute
	and Pallas: a Dance; after which a Song by Pallas,
328	in praise of the victorious soldiers.
330	Though we contemplate to express	330-342: note that the song is comprised entirely of
	The glory of your happiness,	rhyming couplets.
332	That, by your powerful arm, have been
	So true a victor, that no sin
334	Could ever taint you with a blame
	To lessen your deserved fame.
336
	Or, though we contend to set
338	Your worth in the full height, or get
	Celestial singers, crowned with bays,	= ie. wreaths of laurel leaves, the traditional symbol of victory.
340	With flourishes to dress your praise:	= adorn.
	You know your conquest; but your story
342	Lives in your triumphant glory.	The Song: John Mason, an early editor of Massinger's
		work, wrote of his songs: "there are none to be found in (his) plays that has any merit, and few that are even intelligible." (quoted by Gifford, p. 263).^16
344	Ladis. Our thanks to all.
	To the banquet that's prepared to entertain them:	= banquet usually referred to an extensive course of
346		dessert. Performers were customarily fed as partial payment for their entertainment.
	[Exeunt Masquers, Apollo, and Pallas.]
348
	What would my best Honoria?
350
	Hon. May it please
352	My king, that I, who, by his suffrage, ever	= permission; Honoria asks Ladislaus for a favour.
	Have had power to command, may now entreat
354	An honour from him.
356	Ladis. Why should you desire
	What is your own? whate'er it be, you are
358	The mistress of it.
360	Hon. I am happy in
	Your grant: my suit, sir, is, that your commanders,	= request.
362	Especially this stranger, may, as I	= foreigner.
	In my discretion shall think good, receive
364	What's due to their deserts.
366	Ladis. What you determine
	Shall know no alteratiön.
368
	Eubu. The soldier
370	Is like to have good usage, when he depends	= treatment. Eubulus, ever the traditionalist, is being ironic:
	Upon her pleasure! Are all the men so bad,	"are there no men present who are capable of rewarding
372	That, to give satisfaction, we must have	Mathias appropriately?"
	A woman treasurer? Heaven help all!	Eubulus' speech is likely an aside.
374
	Hon. [To Mathias] With you, sir,
376	I will begin, and, as in my esteem
	You are most eminent, expect to have
378	What's fit for me to give, and you to take.
	The favour in the quick dispatch being double, −	379: "the honour I am bestowing on you is doubled by the fact that I am not waiting any longer to reward you for your service to the state."
380	Go fetch my casket, and with speed.	= case in which ladies kept their jewelry.
382	[Exit Acanthe.]
384	Eubu. The kingdom	384-7: a likely aside: "Mathias doesn't want jewelry; give
	Is very bare of money, when rewards	him gold and other things that he would find useful."
386	Issue from the queen's jewel-house. Give him gold
	And store, no questiön the gentleman wants it. −	= suggests household or military furnishings.^1 = lacks.
388	Good madam, what shall he do with a hoop ring,
	And a spark of diamond in it, though you take it,
390
	Re-enter Acanthe with a Casket.
392
	For the greater honour, from your majesty's finger?
394	'Twill not increase the value. He must purchase	394-8: He must purchase…for him = Eubulus explains
	Rich suits, the gay caparisons of courtship,	that Mathias needs money, not jewelry. The idea is that
396	Revel and feast, which, the war ended, is	despite the jewelry's value, Mathias can't really use it
	A soldier's glory; and 'tis fit that way	for needed purchases, since he certainly could not sell
398	Your bounty should provide for him.	off the queen's gifts.
400	Hon. You are rude,
	And by your narrow thoughts proportion mine.	401: "because your thinking is so narrow, you assume I
402	What I will do now shall be worth the envy	think in the same way."
	Of Cleopatra. Open it; see here
404
	[Honoria descends from the state.]	= ie. her throne.
406
	The lapidary's idol! Gold is trash,	= jeweler's.
408	And a poor salary, fit for grooms; wear these	= ie. form of payment. = servants.
	As studded stars in your armour, and make the sun
410	Look dim with jealousy of a greater light
	Than his beams gild the day with: when it is
412	Exposed to view, call it Honoria's gift,
	The queen Honoria's gift, that loves a soldier;	= "from she who".
414	And, to give ornament and lustre to him,
	Parts freely with her own! Yet, not to take	415-6: not to take…king = ie. "since I don't want to deny
416	From the magnificence of the king, I will	the king his share of the right to reward you"
	Dispense his bounty too, but as a page
418	To wait on mine; for other tosses, take	= the OED suggests tosses means "payments" (OED, def.
	A hundred thousand crowns: − your hand, dear sir, −	8),^1 but admits it is speculating; Gifford wonders if tosses refers to "trash to throw away."^16
420
	[Takes off the king's signet.]	= a ring with a seal, usually granting authority of some
422		kind to its possessor.
	And this shall be thy warrant.
424
	Eubu. I perceive	425-8: Eubulus realizes he has underestimated Honoria: he is pleased she is so generous in rewarding Mathias!
426	I was cheated in this woman: now she is	426-8: now she…I care not = now that Honoria is
	In the giving vein to soldiers, let her be proud,	displaying the right attitude towards Mathias, Eubulus
428	And the king dote, so she go on, I care not.	doesn't even care anymore about her arrogance or the king's idolatrous behavior towards her.
430	Hon. This done, our pleasure is, that all arrearages	= back-pay.
	Be paid unto the captains, and their troops;	= army commanders.
432	With a large donative, to increase their zeal	= in addition to their regular pay, Honoria orders a bonus
	For the service of the kingdom.	(donative) be paid to the troops.
434
	Eubu. Better still:
436	Let men of arms be used thus, if they do not	= treated.
	Charge desperately upon the cannon's mouth,
438	Though the devil roared, and fight like dragons, hang me!
	Now they may drink sack: but small beer, with a passport	439: sack = a popular, and presumably expensive, white
440	To beg with as they travel, and no money,	wine.
	Turns their red blood to buttermilk.	439-441: but small beer…buttermilk = if a soldier
442		expects to be poorly rewarded for his service, as signi- fied by being given a weak drink and a royal license (passport) granting him permission to beg, he will quickly lose his willingness to fight. small beer = weak or inferior beer.
	Hon. Are you pleased, sir,
444	With what I have done?
446	Ladis. Yes, and thus confirm it,
	With this addition of mine own: You have, sir,
448	From our loved queen received some recompense
	For your life hazarded in the late action;
450	And, that we may follow her great example
	In cherishing valour, without limit ask
452	What you from us can wish.
454	Math. If it be true,
	Dread sir, as 'tis affirmed, that every soil,	= a term of address to the king; sovereigns are often described as dreadful, meaning awe- or reverence- inspiring.^1
456	Where he is well, is to a valiant man	= "a man is happy or fortunate".^1
	His natural country, reason may assure me
458	I should fix here, where blessings beyond hope,	= ie. remain in Hungary, at the court.
	From you, the spring, like rivers, flow unto me.
460	If wealth were my ambition, by the queen
	I am made rich already, to the amazement
462	Of all that see, or shall hereafter read
	The story of her bounty; if to spend
464	The remnant of my life in deeds of arms,
	No region is more fertile of good knights,
466	From whom my knowledge that way may be bettered,
	Than this your warlike Hungary; if favour,
468	Or grace in court could take me, by your grant,
	Far, far, beyond my merit, I may make	= ie. "what I deserve".
470	In yours a free election; but, alas! sir,	= ie. "a choice to remain in your court (or country)."
	I am not mine own, but by my destiny	= common phrase for "I am not in complete or sole control of my situation."
472	(Which I cannot resist) forced to prefer
	My country's smoke, before the glorious fire	= ie. Bohemia's.
474	With which your bounties warm me. All I ask, sir,	474-7: All I ask…departure = Mathias is risking offending
	Though I cannot be ignorant it must relish	the king and queen by asking permission to go home;
476	Of foul ingratitude, is your gracious license	they would reasonably expect him to remain in Hungary
	For my departure.	to ornament their court for a while, as they have rewarded him so handsomely
478
	Ladis. Whither?	479: "to where?"
480
	Math. To my own home, sir,
482	My own poor home; which will, at my return,
	Grow rich by your magnificence. I am here
484	But a body without a soul; and, till I find it
	In the embraces of my constant wife,	= constant is used throughout the play to mean "faithful".
486	And, to set off that constancy, in her beauty	= show to advantage or enhance.^1
	And matchless excellencies without a rival,
488	I am but half myself.
490	Hon. And is she then
	So chaste and fair as you infer?
492
	Math. O, madam,
494	Though it must argue weakness in a rich man,	494-7: a common motif: extolling the beauty of a woman
	To shew his gold before an armèd thief,	may cause the men within earshot to get ideas.
496	And I, in praising of my wife, but feed
	The fire of lust in others to attempt her;	= ie. attempt to seduce.
498	Such is my full-sailed confidence in her virtue,
	Though in my absence she were now besieged	499-507: Massinger returns to the common metaphor of a woman's resistance being compared to a fortress which must be besieged to be overcome.
500	By a strong army of lascivious wooers,
	And every one more expert in his art,	= ie. the art of seduction.
502	Than those that tempted chaste Penelope;	= Penelope was the husband of Odysseus, the king of Ithaca who was away from home for twenty years, having initially departed to fight in the Trojan War. Penelope was pursued by, and had to fend off, over one-hundred suitors who wanted to marry her, they naturally assuming Odysseus was dead.
	Though they raised batteries by prodigal gifts,	503-7: gifts, love-letters and promises are the means of bombardment (batteries)^1 to conquer the fortress that represents a woman's resistance.
504	By amorous letters, vows made for her service,
	With all the engines wanton appetite	= instruments of war. = lustful desires.
506	Could mount to shake the fortress of her honour,
	Here, here is my assurance she holds out,
508
	[Kisses the picture.]
510
	And is impregnable.
512
	Hon. What's that?
514
	Math. Her fair figure.	= portrait.
516
	Ladis. As I live, an excellent face!
518
	Hon. You have seen a better.	= Honoria shows her jealousy.
520
	Ladis. I ever except yours: − nay, frown not, sweetest,
522	The Cyprian queen, compared to you, in my	= ie. Venus, the goddess of love, said to be born at the island of Cyprus.
	Opinion, is a negro. As you ordered,	= a constant in the era's drama was the notion that fair skin was considered more attractive than was darker or swarthier skin.
524	I'll see the soldiers paid; and, in my absence,
	Pray use your powerful arguments, to stay	525-6: "please (pray) try to convince Mathias to remain
526	This gentleman in our service.	in Hungary in our court."
		stay = keep.
528	Hon. I will do
	My part.
530
	Ladis. On to the camp.	531: Ladislaus appropriately goes to present himself to the army.
532
	[Exeunt Ladislaus, Ferdinand, Eubulus,	Remaining Characters: Honoria, Mathias, Ricardo and
534	Baptista, Captains and others.]	Ubaldo remain on stage.
536	Hon. [Aside] I am full of thoughts,
	And something there is here I must give form to,
538	Though yet an embryon: − You, signiors,	= ie. an embryo of an idea. = addressing Ricardo and
	Have no business with the soldier, as I take it,	Ubaldo.
540	You are for other warfare; quit the place,
	But be within call.	= "but remain close by"; Honoria is cooking up an assignment for the courtiers, which they hope will involve their favourite activity - the seduction of women.
542
	Ric. Employment, on my life, boy!	543: the OED suggests that the use of boy as an interjec-
544		tion is of American origin, and dates back to only 1894; however, the OED must be way off, since even if Massinger somehow did not intend boy to be employed so, his editor Gifford (who was English), whose punctuation I have adopted, clearly did, and he published his version of this play in 1813!
	Ubald. If it lie in our road, we are made for ever.
546
	[Exeunt Ubaldo and Ricardo.]
548
	Hon. You may perceive the king is no way tainted
550	With the disease of jealousy, since he leaves me
	Thus private with you.
552
	Math. It were in him, madam,
554	A sin unpardonable to distrust such pureness,
	Though I were an Adonis.	= Adonis was a beautiful man, beloved by Venus.
556
	Hon. I presume
558	He neither does nor dares: and yet the story	558-563: the story….meaner man = "the stories told of
	Delivered of you by the general,	your heroic actions, along with your obvious command-
560	With your heroic courage, which sinks deeply	ing presence, which are enough to seduce the heart of any perceptive woman, might cause a lesser man than the king to hesitate to leave me alone with you."
	Into a knowing woman's heart, besides
562	Your promising presence, might beget some scruple	= hesitancy.
	In a meaner man; but more of this hereafter.	= baser.
564	I'll take another theme now, and conjure you	= entreat.
	By the honours you have won, and by the love
566	Sacred to your dear wife, to answer truly
	To what I shall demand.
568
	Math. You need not use
570	Charms to this purpose, madam.	= magic spells or incantations.^2
572	Hon. Tell me, then,
	Being yourself assured 'tis not in man
574	To sully with one spot th' immaculate whiteness	574: spot = the quarto has sport printed here, properly emended to spot by Gifford. whiteness = white was the symbol of innocence and purity.
	Of your wife's honour, if you have not, since
576	The Gordian of your love was tied by marriage,	= reference to the Gordian knot: Gordius, the king of Phrygia, had tied a knot so complex no one could unravel it. An oracle had predicted that the person who could undo the knot would become the king of all of Asia. When Alexander the Great visited the city in 333 B.C., he became impatient in trying to untie the knot by conventional methods, and so he took out his sword and cut it in two, thus solving the puzzle. The Gordian knot thus represents something almost impossible to break asunder.^6
	Played false with her?	577: Honoria asks if Mathias ever cheated on Sophia.
578
	Math. By the hopes of mercy, never.
580
	Hon. It may be, not frequenting the converse	581-2: not frequenting…ladies = "never having had the
582	Of handsome ladies, you were never tempted,	opportunity to talk with other attractive women".
	And so your faith's untried yet.	= untested.
584
	Math. Surely, madam,
586	I am no woman-hater; I have been	= The Woman Hater was the title of a 1607 play by Francis Beaumont and John Fletcher.
	Received to the society of the best
588	And fairest of our climate, and have met with	= ie. Bohemia.
	No common entertainment, yet ne'er felt	= ordinary.
590	The least heat that way.	= passion or lust.
592	Hon. Strange! and do you think still,
	The earth can show no beauty that can drench	= dip, bathe.
594	In Lethe all remembrance of the favour	= legendary river of Hades, in which one lost his or her
	You now bear to your own?	entire memory if one drank from it.
596
	Math. Nature must find out
598	Some other mould to fashion a new creature
	Fairer than her Pandora, ere I prove	= Pandora, the first woman in the world, was originally a
600	Guilty, or in my wishes or my thoughts,	statue made by the smith-god Hephaestus (called Vulcan
	To my Sophia.	by the Romans); she was so beautiful that Zeus (Jupiter)
602		gave her life. Other gods gave her gifts, such as beauty, intelligence and grace. Unfortunately, she also received the gift of deceit from Hermes (Mercury) and insatiable curiosity from Zeus' wife Hera (Juno), which led to her opening the famous box she wasn't supposed to open - which allowed all the evils and afflictions of the world to be released. Mathias' choice of heroine to which to compare Sophia is an ominous one.^7
	Hon. Sir, consider better;
604	Not one in our whole sex?
606	Math. I am constant to
	My resolutiön.
608
	Hon. But dare you stand	609-611: "do you think you can withstand a truly tempting
610	The oppositiön, and bind yourself	lady, and are you willing to promise to make a test of
	By oath for the performance?	it?" Honoria is setting a trap for Mathias.
612
	Math. My faith else
614	Had but a weak foundation.
616	Hon. I take hold
	Upon your promise, and enjoin your stay	= ie. "command you to remain" (though stay is a noun).
618	For one month here.
620	Math. [Aside] I am caught!	620: "Rats! She tricked me!"
622	Hon. And if I do not
	Produce a lady, in that time, that shall
624	Make you confess your error, I submit
	Myself to any penalty you shall please
626	To impose upon me: in the mean space, write	= mean time.
	To your chaste wife, acquaint her with your fortune:
628	The jewèls that were mine you may send to her,
	For better confirmation; I'll provide you
630	Of trusty messengers: but how far distant is she?	= with.
632	Math. A day's hard riding.
634	Hon. There is no retiring;	= "going back (on your word)."
	I’ll bind you to your word.
636
	Math. Well, since there is
638	No way to shun it, I will stand the hazard,	= risk it.
	And instantly make ready my dispatch:	= letter (to Sophia).
640	Till then, I'll leave your majesty.
642	[Exit Mathias.]
644	Hon. How I burst
	With envy, that there lives, besides myself,
646	One fair and loyal woman! 'twas the end	= beautiful. = goal.
	Of my ambitiön to be recorded
648	The only wonder of the age, and shall I
	Give way to a competitor? Nay, more,
650	To add to my affliction, the assurances	650-1: the assurances…deceived me = "I am forced to
	That I placed in my beauty have deceived me:	question my belief in my own irresistibility."
652	I thought one amorous glance of mine could bring
	All hearts to my subjection; but this stranger,	= foreigner.
654	Unmoved as rocks, contemns me. But I cannot	= scorns.
	Sit down so with mine honour: I will gain	= ie. "accept this affront to".
656	A double victory, by working him	656-7: by working…honour = not only will Sophia work
	To my desire, and taint her in her honour,	to break down Mathias' resistance, but she will arrange for Sophia to be tempted to cheat on him too.
658	Or lose myself: I have read that sometime poison	= "or I am lost."
	Is useful. − To supplant her, I'll employ,	= bring down, cause the downfall of.^1
660	With any cost, Ubaldo and Ricardo,
	Two noted courtiers, of approvèd cunning	= wooers of women. = proven skill.
662	In all the windings of lust's labyrinth;	= twists and turns.
	And in corrupting him, I will outgo	= out-do.
664	Nero's Poppӕa: if he shut his ears	= Poppea was the emperor Nero's notoriously cruel wife.
	Against my Siren notes, I'll boldly swear	= the Sirens were mythological sea creatures whose irresistible singing lured sailors to their deaths. In Book XII of the Odyssey, Odysseus (in Latin Ulysses) actually had his sailors stop their ears with wax (hence the use of shut his ears in line 664), so they would not hear the Sirens' song, but had himself lashed to a mast without stopping his ears, so that he could listen to their music without throwing away his life.
666	Ulysses lives again; or that I have found
	A frozen cynic, cold in spite of all	= Honoria means one who resists emotional responses to events. Gifford wonders if Honoria means stoic instead of cynic - both were Greek philosophical movements.^16 While both schools embraced virtue, the cynics were anti-materialistic and anti-social, neither of which describes Mathias, while the stoics accepted and lived within the norms of society.
668	Allurements; one whom beauty cannot move,
	Nor softest blandishments entice to love.	668-9: Act II ends with a rhyming couplet; move and love
670		would have rhymed in the 17th century, when love probably sounded much like it does today, and move likely sounded much like love.^8 A very helpful online resource is www.paulmeier. com/OP.pdf, which provides both textual explanations and audio sound-bites of Elizabethan language. We should note that Paul Meier's work is based much on the previous efforts of David and Ben Crystal in this area.
	[Exit Honoria.]
	ACT III.
	SCENE I.
	Bohemia.
	A Space near the Entrance to Mathias’ House.
	Enter Hilario, with a pitcher of water, and a wallet.	= bag.^2
1	Hil. Thin, thin provision! I am dieted	= ie. "very little food!" = fed.
2	Like one set to watch hawks; and, to keep me waking,	2: watch hawks = one method used to tame hawks was to not let them sleep. watch = keep another awake.^1 waking = awake.^1
	My croaking guts make a perpetual larum.	= raise a continuous alarm or warning.^1
4	Here I stand sentinel; and, though I fright	= frighten (away).
	Beggars from my lady's gate, in hope to have
6	A greater share, I find my commons mend not.	= ie. of the household's food. = "my rations are not improving".
	I looked this morning in my glass, the river,	= mirror.
8	And there appeared a fish called a poor John,	= a dried fish, usually hake;^16 Hilario means himself.
	Cut with a lenten face, in my own likeness;	9: Cut…face = thinned out as if he had been fasting during Lent. in my own likeness = the image in the water seemed to resemble him.
10	And it seemed to speak, and say, Good-morrow, cousin!
	No man comes this way but has a fling at me:	= "makes a joke at my expense".
12	A chirurgeon passing by, asked at what rate	= surgeon, pronounced with two syllables.
	I would sell myself; I answered, For what use?
14	To make, said he, a living anatomy,	= a living skeleton.
	And set thee up in our hall, for thou art transparent
16	Without dissection; and, indeed, he had reason,
	For I am scoured with this poor purge to nothing.	17: I am scoured = ie. the contents of his digestive tract have been cleansed out, as by a flush of water. purge = laxative.
18	They say that hunger dwells in the camp; but till
	My lord returns, or certain tidings of him,	= definitive or reliable news that Mathias is safe.
20	He will not part with me: − but sorrow's dry,	= ie. personified Hunger. = ie. thirsty.
	And I must drink howsoever.
22
	Enter Ubaldo, Ricardo, and a Guide.
24
	Guide. That's her castle,
26	Upon my certain knowledge.
28	Ubald. Our horses held out	28-29: Ricardo and Ubaldo drove their horses hard to get
	To my desire. I am afire to be at it.	to Sophia's as quickly as possible!
30
	Ric. Take the jades for thy reward: before I part hence,	= Ricardo offers their horses to their guide as payment for his services; jade is a term for a worthless, broken- down horse.
32	I hope to be better carried. Give me the cabinet:	32: better carried = suggestive, meaning he hopes he will
	So; leave us now.	have a "ride" superior to the one he had on his horse.
34		Give me the cabinet = "lead me to her bedroom!"
	Guide. Good fortune to you, gallants!
36
	[Exit Guide.]
38
	Ubald. Being joint agents, in a design of trust too,
40	For the service of the queen, and our own pleasure,
	Let us proceed with judgment.	= carefully, with a plan.
42
	Ric. If I take not	43-45: "let me have first crack at seducing Sophia, and if
44	This fort at the first assault, make me an eunuch,	I don't succeed, you can castrate me."
	So I may have precedence.
46
	Ubald. On no terms.
48	We are both to play one prize; he that works best	= ie. for the same.
	In the searching of this mine, shall carry it,	= contemporary literature occasionally expressed the idea of searching for a mine of gold or silver.
50	Without contention.	= argument.
52	Ric. Make you your approaches
	As I directed.
54
	Ubald. I need no instruction;
56	I work not on your anvil. I'll give fire	56-58: I'll give fire…touch-hole = Ubaldo uses a rather silly, and vaguely dirty, metaphor of firing a cannon to describe his intended assault on "fortress" Sophia: the reference to his own linstock is a suggestive one, a linstock being a stick with a fire on it used to light the fuse.
	With mine own linstock; if the powder be dank,	= wet or moist (so it cannot be lit).
58	The devil rend the touch-hole! Who have we here?	= the sense is "to hell with it!"
	What skeleton's this?	rend = destroy.
60		touch-hole = the hole in a firearm through which the powder was lit; but touch-hole was also a slang word used to refer to a woman's privates;^1 the highly suggestive nature of the line is obvious, regardless.
	Ric. A ghost! or the image of famine!
62	Where dost thou dwell?
64	Hil. Dwell, sir! my dwelling is
	In the highway: that goodly house was once
66	My habitatiön, but I am banished,
	And cannot be called home till news arrive
68	Of the good knight Mathias.
70	Ric. If that will
	Restore thee, thou art safe.
72
	Ubald. We come from him,
74	With presents to his lady.
76	Hil. But are you sure	= note that Hilario addresses the courtiers with the proper
	He is in health?	and formal you. Ubaldo and Ricardo, speaking to an
78		obvious commoner, address Hilario, as would be ex- pected, with thou, signaling their superior social status.
	Ric. Never so well: conduct us
80	To the lady.
82	Hil. Though a poor snake, I will leap
	Out of my skin for joy. Break, pitcher, break!
84	And wallet, late my cupboard, I bequeath thee	= "and my little bag, which has served until now as the
	To the next beggar; thou, red herring, swim	holder of my provisions"
86	To the Red Sea again: methinks I am already
	Knuckle deep in the fleshpots; and, though waking, dream	= Hilario pictures himself attacking the pots of boiling
88	Of wine and plenty!	meat (fleshpots).^1
90	Ric. What's the mystery	90-91: Ricardo asks Hilario to explain the reason for this
	Of this strange passiön?	unusual display of emotion (passion).
92
	Hil. My belly, gentlemen,
94	Will not give me leave to tell you; when I have brought you
	To my lady's presence, I am disenchanted:	= ie. the spell of hunger, which keeps Hilario from telling his story, will be removed.
96	There you shall know all. Follow; if I outstrip you,	= outrun.
	Know I run for my belly.
98
	Ubald. A mad fellow.
100
	[Exeunt.]
	ACT III, SCENE II.
	A Room in Mathias' House.
	Enter Sophia and Corisca.
1	Soph. Do not again delude me.
2
	Coris. If I do,
4	Send me a-grazing with my fellow, Hilario.	4: Corisca offers an amusing image of Hilario feeding on
	I stood, as you commanded, in the turret,	grass to stay alive.
6	Observing all that passed by; and even now,
	I did discern a pair of cavaliers,
8	For such their outside spoke them, with their guide,	= their clothing signaled their rank.
	Dismounting from their horses; they said something
10	To our hungry sentinel, that made him caper	= dance or leap about with joy.
	And frisk i' the air for joy: and, to confirm this,	= the quarto prints frish'ith here; the emendation is from
12	See, madam, they're in view.	Gifford.
14	Enter Hilario, Ubaldo, and Ricardo.
16	Hil. News from my lord!
	Tidings of joy! these are no counterfeits,	= imposters.
18	But knights indeed. Dear madam, sign my pardon,
	That I may feed again, and pick up my crumbs;
20	I have had a long fast of it.
22	Soph. Eat, I forgive thee.
24	Hil. O comfortable words! Eat, I forgive thee!
	And if in this I do not soon obey you,
26	And ram in to the purpose, billet me again	= assign housing or quarters to.^1
	In the highway. Butler and cook, be ready,	= the butler formerly referred to the servant in charge of
28	For I enter like a tyrant.	the wine-cellar.^1
30	[Exit Hilario.]
32	Ubald. Since mine eyes
	Were never happy in so sweet an object,
34	Without inquiry, I presume you are	= the quarto prints eniury here; the emendation is from Gifford.
	The lady of the house, and so salute you.	= though not in the stage directions, Ubaldo likely kisses
36		Sophia on the lips, as was the custom in England when strangers met.
	Ric. This letter, with these jewèls, from your lord,
38	Warrant my boldness, madam.	= "give me authority to also be so bold as to kiss you".
40	[Delivers a letter and a casket.]	= box or case containing Sophia's gifts.
42	Ubald. In being a servant	42ff: the courtiers now address Corisca, then kiss her on
	To such rare beauty, you must needs deserve	the lips.
44	This courtesy from a stranger.
46	[Salutes Corisca.]	= kisses.
48	Ric. You are still	= always.
	Beforehand with me. − Pretty one, I descend	= ahead of. = likely meant literally, in that Ricardo must
50	To take the height of your lip; and, if I miss	bend down to kiss the shorter Corisca.
	In the altitude, hereafter, if you please,
52	I will make use of my Jacob's staff.	= an astronomical instrument used to determine the altitude
		of the sun.
54	[Salutes Corisca.]
56	Coris. These gentlemen
	Have certainly had good breeding, as it appears
58	By their neat kissing, they hit me so pat on the lips,
	At the first sight.
60
	[In the interim, Sophia reads the letter,
62	and opens the casket.]	= the quarto prints gend here.
64	Soph. Heaven, in thy mercy, make me
	Thy thankful handmaid for this boundless blessing,
66	In thy goodness showered upon me!
68	Ubald. I do not like	68-70: Ubaldo is concerned: he is not used to seeing his
	This simple devotion in her; it is seldom	mistresses pray!
70	Practised among my mistresses.	simple =genuine or unaffected.^1
72	Ric. Or mine.
	Would they kneel to I know not who, for the possession	73-75: Ricardo is amazed that Sophia is thanking some
74	Of such inestimable wealth, before	unknown entity for her gifts ahead of those who ac-
	They thanked the bringers of it? the poor lady	tually delivered them to her!
76	Does want instruction, but I'll be her tutor,	= ie. has not been taught proper manners; note the dense
	And read her another lesson.	teaching metaphor in 76-77.
78
	Soph. If I have
80	Shown want of manners, gentlemen, in my slowness	= lack.
	To pay the thanks I owe you for your travail,	= efforts.
82	To do my lord and me, howe'er unworthy
	Of such a benefit, this noble favour,
84	Impute it, in your clemency, to the excess
	Of joy that overwhelmed me.
86
	Ric. She speaks well.
88
	Ubald. Polite and courtly.
90
	Soph. And howe'er it may
92	Increase the offence, to trouble you with more
	Demands touching my lord, before I have	= husband.
94	Invited you to taste such as the coarseness
	Of my poor house can offer; pray you connive	95-96: pray you...tenderness = "please (pray you) shut
96	On my weak tenderness, though I entreat	your eyes to (connive on) my bad manners, and con-
	To learn from you something he hath, it may be,	sider it as a weakness stemming from my sensitivity
98	In his letter left unmentioned.	or feminine regard for my husband (tenderness)."^1
100	Ric. I can only
	Give you assurance that he is in health,
102	Graced by the king and queen.
104	Ubald. And in the court
	With admiration looked on.
106
	Ric. You must therefore
108	Put off these widow's garments, and appear	= Sophia has been dressing down, or even dressing in
	Like to yourself.	black, since Mathias went away.
110
	Ubald. And entertain all pleasures
112	Your fortune marks out for you.
114	Ric. There are other
	Particular privacies, which on occasion	= the plural word privacies meant a private message.^1
116	I will deliver to you.
118	Soph. You oblige me
	To your service ever.
120
	Ric. Good! "your service"; mark that.	121: Ricardo is likely both pleased by Sophia's ability to speak in courtly phrases, and reading some double- entendre into her remark.
122
	Soph. In the mean time, by your good acceptance make	= meantime seems to have been written primarily as two words until the late 19th century.
124	My rustic entertainment relish of	= provide a taste of.
	The curiousness of the court.	= exquisiteness.^2
126
	Ubald. Your looks, sweet madam,
128	Cannot but make each dish a feast.
130	Soph. It shall be
	Such, in the freedom of my will to please you.
132	I'll shew you the way; this is too great an honour,
	From such brave guests, to me so mean an hostess.	= excellent. = humble.
134
	[Exeunt.]
	ACT III, SCENE III.
	Alba Regalis, Hungary.
	An Outer-room in the Palace.
	Enter Acanthe, and four or five Servants in vizards.	Entering Characters: Acanthe, we remember, is Queen Honoria's servant; she is putting into effect one of the queen's schemes. vizards = masks.
1	Acan. You know your charge; give it action, and expect	= instruction or duty.
2	Rewards beyond your hopes.
4	1st Serv. If we but eye them,	= "see them", referring to Mathias and Baptista.
	They are ours, I warrant you.
6
	2nd Serv. May we not ask why	7-8: "can we ask why we are doing this?"
8	We are put upon this?
10	Acan. Let that stop your mouth;
12	[Gives them money.]
14	And learn more manners, groom. 'Tis upon the hour	= servant.
	In which they use to walk here: when you have them	= ie. usually.
16	In your power, with violence carry them to the place
	Where I appointed; there I will expect you:
18	Be bold and careful.
20	[Exit Acanthe.]
22	Enter Mathias and Baptista.
24	1st Serv. These are they.
26	2nd Serv. Are you sure?
28	1st Serv. Am I sure I am myself?
30	2nd Serv. Cease on him strongly; if he have but means	30: Cease = alternative form of seize.
	To draw his sword, 'tis ten to one we smart for't:	strongly = bravely or forcefully,^1 and quickly, before
32	Take all advantages.	Mathias has a chance to draw his sword on his abduc- tors.
34	Math. I cannot guess	34-60: the servants, hidden, wait for their chance to attack.
	What her intents are; but her carriage was	= behavior or bearing.^1
36	As I but now related.
38	Bapt. Your assurance
	In the constancy of your lady is the armour	= faithfulness.
40	That must defend you. Where's the picture?
42	Math. Here,
	And no way altered.
44
	Bapt. If she be not perfit,	= perfect.
46	There is no truth in art.	= magic.
48	Math. By this, I hope,	= ie. by this time.
	She hath received my letters.
50
	Bapt. Without question:
52	These courtiers are rank riders, when they are	= meaning they will drive their horses rapidly or even reck-
	To visit a handsome lady.	lessly, if their target is a woman. But rank has an added meaning of "lusty".
54
	Math. Lend me your ear.	= though most famously spoken by Marc Antony in
56	One piece of her entertainment will require	Shakespeare's Julius Caesar, the phrase lend an ear
	Your dearest privacy.	goes back to the 15th century.^1 Mathias and Baptista stop walking so Mathias can whisper something to his companion.
58
	1st Serv. Now they stand fair;	59-60: with Mathias and Baptista finally standing still, the
60	Upon them.	servants have their chance!
62	[They rush forward.]
64	Math. Villains!
66	1st Serv. Stop their mouths. We come not
	To try your valours; kill him if he offer	= test.
68	To ope his mouth. − We have you: 'tis in vain
	To make resistance. Mount them and away.
70
	[Exeunt with Mathias and Baptista.]
	ACT III, SCENE IV.
	A Gallery in the same.	= hallway or corridor.
	Enter Servants with lights,
	Ladislaus, Ferdinand, and Eubulus.
1	Ladis. 'Tis late. Go to your rest; but do not envy	1-2: Ladislaus is immature and coarse: he tells his guests
2	The happiness I draw near to.	to not be jealous of the fact that he will be sleeping
		with the beautiful queen.
4	Eubu. If you enjoy it
	The moderate way, the sport yields, I confess,
6	A pretty titillation; but too much of’t
	Will bring you on your knees. In my younger days
8	I was myself a gamester; and I found	= ie. chaser of women.^1
	By sad experience, there is no such soaker	9-14: Eubulus cynically expounds on how women drain
10	As a young spongy wife; she keeps a thousand	the life out of men. soaker (line 9) = one who exhausts another.^1
	Horse-leeches in her box, and the thieves will suck out
12	Both blood and marrow! I feel a kind of cramp	= in addition to its literal meaning, blood also refers to
	In my joints, when I think on't: but it may be queens,	lusty passion; marrow is a metaphor for vitality^1
14	And such a queen as yours is, has the art −
16	Ferd. You take leave	16-17: to Eubulus: "you speak too boldly to the king."
	To talk, my lord.
18
	Ladis. He may, since he can do nothing.	19: ouch! Ladislaus suggests the elderly Eubulus is impotent!
20
	Eubu. If you spend this way too much of your royal stock,	21-22: line 21 is a humorous reference to Ladislaus' too
22	Ere long we may be pewfellows.	frequently expending his seed, if you will. Eubulus' point is, if Ladislaus continues on the path he is on, he may find himself suffering from the same condition which he suggests affects Eubulus. To spend one’s stock = a common expression for using up all of one’s capital.
24	Ladis. The door shut! −	24-25: Ladislaus tries and fails to open the door to Honoria's
	Knock gently; harder. So here comes her woman.	bedroom, so he instructs his attending servant to knock.
26	Take off my gown.	= a loose garment for the upper body.^4 Ladislaus is already
		starting to undress in anticipation.
28	Enter Acanthe.
30	Acan. My lord, the queen by me
	This night desires your pardon.
32
	Ladis. How, Acanthe!
34	I come by her appointment; 'twas her grant;	= "but she told me to come visit her this evening!"
	The motion was her own.
36
	Acan. It may be, sir;
38	But by her doctors she is since advised,
	For her health's sake, to forbear,
40
	Eubu. I do not like
42	This physical letchery, the old downright way	= physical meant medical or therapeutic;^1 Eubulus is
	Is worth a thousand on't.	saying that sex is better for one's health than being
44		treated by a doctor.
	Ladis. Prithee, Acanthe,
46	Mediate for me.	= the quarto prints meditate here, emended by Gifford.
48	[Offering her a ring.]
50	Eubu. O the fiends of hell!
	Would any man bribe his servant, to make way
52	To his own wife? if this be the court state,	= ie. how things are in the court.
	Shame fall on such as use it!
54
	Acan. By this jewel,	55-57: Acanthe hesitates to take the ring.
56	This night I dare not move her, but to-morrow
	I will watch all occasiöns.	= ie. for an opportunity.
58
	Ladis. Take this,	59-60: Acanthe now accepts the ring.
60	To be mindful of me.
62	[Exit Acanthe.]
64	Eubu. 'Slight, I thought a king	= "God's light", an oath. In 1606 Parliament passed a statute banning the jesting use of God's name on stage, so such implied blasphemies became the norm.
	Might have ta'en up any woman at the king's price.
66	And must he buy his own, at a dearer rate	= greater cost.
	Than a stranger in a brothel?
68
	Ladis. What is that
70	You mutter, sir?
72	Eubu. No treason to your honour:
	I'll speak it out, though it anger you; if you pay for	73-77: if you pay…grant = Eubulus again risks crossing the line: if the king has to pay like a customer at a brothel for a woman's service, doesn't that make the queen a whore?
74	Your lawful pleasure in some kind, great sir,
	What do you make the queen? cannot you clicket	75: queen = queen was homophonous with quean,
76	Without a fee, or when she has a suit	which meant "whore".
	For you to grant?	clicket = copulate, originally applied to foxes.^1
78
	[Ladislaus draws his sword.]
80
	Ferd. O hold, sir!
82
	Ladis. Off with his head!
84
	Eubu. Do, when you please; you but blow out a taper	= candle.
86	That would light your understanding, and, in care of’t,
	Is burnt down to the socket. Be as you are, sir,	= the cavity in the candlestick in which a candle was inserted.^1 Eubulus is suggesting that he has been worn- out in trying to enlighten Ladislaus for all these years.
88	An absolute monarch: it did show more king-like	88-91: it did show…lusts = the emperors of Rome
	In those libidinous Caesars, that compelled	(Caesars) acted the way sovereigns are supposed to
90	Matrons and virgins of all ranks to bow	behave, by taking women whenever they wanted them.
	Unto their ravenous lusts; and did admit
92	Of more excuse than I can urge for you,
	That slave yourself to the imperious humour	= this interesting use of slave as a verb to mean "enslave"
94	Of a proud beauty.	was common in the 17th century.^1
96	Ladis. Out of my sight!
98	Eubu. I will, sir,
	Give way to your furious passion; but when reason
100	Hath got the better of it, I much hope
	The counsaile that offends now will deserve	= counsel.
102	Your royal thanks. Tranquillity of mind
	Stay with you, sir! − [Aside] I do begin to doubt	= suspect.
104	There's something more in the queen's strangeness than
	Is yet disclosed; and I will find it out,
106	Or lose myself in the search.
108	[Exit.]
110	Ferd. Sure he is honest,	110-3: Ferdinand defends the ancient counselor from the
	And from your infancy hath truly served you:	king's wrath.
112	Let that plead for him; and impute this harshness
	To the frowardness of his age.	= perversity or unmanageability.
114
	Ladis. I am much troubled,
116	And do begin to stagger. Ferdinand, good night!
	To-morrow visit us. Back to our own lodgings.	= the king no doubt speaks this line with great dejection.
118
	[Exeunt.]
	ACT III, SCENE V.
	Another Room in the same.
	Enter Acanthe and the vizarded Servants,	= masked.
	with Mathias and Baptista blindfolded.
1	Acan. You have done bravely. Lock this in that room,	= excellently. = this one, ie. Baptista.
2	There let him ruminate; I'll anon unhood him:	= shortly.
4	[They carry off Baptista.]
6	The other must stay here. As soon as I
	Have quit the place, give him the liberty	= ie. left the room.
8	And use of his eyes; that done, disperse yourselves
	As privately as you can: but, on your lives,	= secretly, ie. quickly and quietly, without being seen.
10	No word of what hath passed.
12	[Exit Acanthe.]
14	1 Serv. If I do, sell
	My tongue to a tripe-wife. − Come, unbind his arms: −	= female who prepares tripe for cooking.^4
16	You are now at your own disposure; and however
	We used you roughly, I hope you will find here	= treated.
18	Such entertainment as will give you cause
	To thank us for the service: and so I leave you.
20
	[Exeunt Servants.]
22
	Math. If I am in prison, 'tis a neat one.	= elegant.^2
24	What Oedipus can resolve this riddle? Ha!	= allusion to the famous myth of the riddle of the Sphinx: this monster sat at the edge of the ancient city of Thebes, devouring any passerby who could not answer his riddle: What living creature has four legs first, then two legs, then three, and is weaker the more legs it has? Oedipus, the son of the former king of Thebes, answered successfully: it is man to whom the Sphinx refers, man who crawls as a baby, walks on two legs when he is older, and with a cane walks with three "legs" when he is elderly.^7
	I never gave just cause to any man
26	Basely to plot against my life: − but what is
	Become of my true friend? for him I suffer	= "my loyal friend", ie. Baptista.
28	More than myself.
30	Acan. [within] Remove that idle fear;	= offstage.
	He's safe as you are.
32
	Math. Whosoe'er thou art,
34	For him I thank thee. I cannot imagine
	Where I should be: though I have read the tales
36	Of errant-knighthood, stuffed with the relations	= stories.
	Of magical enchantments; yet I am not
38	So sottishly credulous to believe the devil	= stupidly.^2
	Hath that way power.
40
	[Music above.]
42
	Ha! Music!
44
	[Singing from above, a song of pleasure.]	47-59: note the rhyme scheme of the song's stanzas,
46		ababcc, a pattern known as English sestet, a form popularized by Shakespeare through his sonnets.^20
	The blushing rose, and purple flower,
48	Let grow too long, are soonest blasted;	= withered.
	Dainty fruits, though sweet, will sour,
50	And rot in ripeness, left untasted.
	Yet here is one more sweet than these:
52	The more you taste the more she'll please.
54	Beauty that's enclosed with ice,
	Is a shadow chaste as rare;
56	Then how much those sweets entice,
	That have issue full as fair!
58	Earth cannot yield, from all her powers,
	One equal for dame Venus' bowers.
60
	Math. A song too! certainly, be it he or she
62	That owes this voice, it hath not been acquainted	= owes was frequently used, as here, to mean "owns".
	With much affliction. Whosoe'er you are
64	That do inhabit here, if you have bodies,
	And are not mere aërial forms, appear,	= ethereal.
66
	Enter Honoria, masked.	67: as always in the era's theatre, a character's disguise was impenetrable to the other characters.
68
	And make me know your end with me. Most strange!	= purpose.
70	What have I conjured up? sure, if this be	= note Mathias' constant references to magic. As the possessor of the enchanted picture of Sophia, he is most susceptible to superstition.
	A spirit, it is no damned one. What a shape's here!
72	Then, with what majesty it moves! If Juno	= wife of Jupiter and queen of the gods.
	Were now to keep her state among the gods,
74	And Hercules to be made again her guest,
	She could not put on a more glorious habit,	= outfit.
76	Though her handmaid, Iris, lent her various colours,	= Iris was Juno's messenger, though she was more well- known in her role as goddess of rainbows - hence the reference to her various colours.
	Or old Oceanus ravished from the deep	77-78: or old…in it = "of if the great god of the river
78	All jewèls shipwracked in it. − As you have	Oceanus (which was believed by the ancients to surround the whole world) had plundered (ravished) all the jewels lost in all the shipwrecks in all the seas, and given them to her."
	Thus far made known yourself, if that your face
80	Have not too much divinity about it
	For mortal eyes to gaze on, pérfit what	81: For mortal…gaze on = it was believed by the ancients
82	You have begun, with wonder and amazement	that to look directly at a god would lead to one's in-
	To my astonished senses.	stant destruction.
84		perfit = perfect.
	[Honoria pulls off her mask.]
86
	How! the queen!
88
	[Kneels.]
90
	Hon. Rise, sir, and hear my reasons, in defence
92	Of the rape (for so you may conceive) which I,	= abduction.
	By my instruments, made upon you. You, perhaps,	= agents.
94	May think what you have suffered for my lust
	Is a common practice with me; but I call
96	Those ever-shining lamps, and their great Maker,	= reference to all the heavenly bodies in the sky.
	As witnesses of my innocence: I ne'er looked on
98	A man but your best self, on whom I ever
	(Except the king) vouchsafed an eye of favour.	= granted.
100
	Math. The king, indeed, and only such a king,
102	Deserves your rarities, madam; and, but he,	= exceptional features.^2
	'Twere giant-like ambitiön in any,	= it would be. = ie. existing in any other person.
104	In his wishes only, to presume to taste
	The nectar of your kisses; or to feed	= the drink of the gods.
106	His appetite with that ambrosia, due	= the food of the gods.
	And proper to a prince; and, what binds more,
108	A lawful husband. For myself, great queen,
	I am a thing obscure, disfurnished of	109-113: Mathias is playing this properly: in thanks for
110	All merit that can raise me higher than,	Honoria's generosity, he, Mathias, a nobody, has as
	In my most humble thankfulness for your bounty,	his only ambition the desire to risk his life for her in
112	To hazard my life for you; and, that way,	some way.
	I am most ambitious.	thing (line 109) = person.
114
	Hon. I desire no more	115-130: Honoria takes Mathias at his word: she desires
116	Than what you promise. If you dare expose	him to risk his life by daring him to be intimate with
	Your life, as you profess, to do me service,	her - the king's wife!
118	How can it be better employed than in
	Preserving mine? which only you can do,
120	And must do, with the danger of your own;	= ie. "by risking your own life."
	A desperate danger too! If private men
122	Can brook no rivals in what they affect,	= tolerate. = desire.
	But to the death pursue such as invade	= those who trespass on.
124	What law makes their inheritance; the king,
	To whom you know I am dearer than his crown,	= more valuable.
126	His health, his eyes, his after hopes, with all	= ie. hope or expectation of joy in the future or in the
	His present blessings, must fall on that man,	hereafter.
128	Like dreadful lightning, that is won by prayers,
	Threats, or rewards, to stain his bed, or make	= disgrace (by committing adultery).
130	His hoped-for issue doubtful.	130: ie. raise a question as to the legitimacy of the king'
		future children, should the queen sleep with another man.
132	Math. If you aim
	At what I more than fear you do, the reasons
134	Which you deliver, should, in judgment, rather
	Deter me, than invite a grant, with my
136	Assurèd ruin.
138	Hon. True; if that you were
	Of a cold temper, one whom doubt, or fear,
140	In the most horrid forms they could put on,
	Might teach to be ingrateful. Your denial
142	To me, that have deserved so much, is more,	= worth more.
	If it can have addition.
144
	Math. I know not
146	What your commands are.
148	Hon. Have you fought so well
	Among armed men, yet cannot guess what lists	= tournament grounds.
150	You are to enter, when you are in private
	With a willing lady: one, that, to enjoy
152	Your company this night, denied the king
	Access to what's his own? If you will press me
154	To speak in plainer language −
156	Math. Pray you, forbear;
	I would I did not understand too much!
158	Already, by your words, I am instructed
	To credit that, which, not confirmed by you,	= ie. "if it had not come from your own mouth"
160	Had bred suspicion in me of untruth,	= ie. would have.
	Though an angel had affirmed it. But suppose	161-5: But suppose…vicious lust = "but suppose you
162	That, cloyed with happiness, which is ever built	really do want to test (make trial) whether you can be
	On virtuous chastity, in the wantonness	made happier by experiencing the deceptive delights
164	Of appetite, you desire to make trial	which may be gained by acting on your lust, when you
	Of the false delights proposed by vicious lust;	are clearly satiated (cloyed) with the joy that comes from living a sin-free life? wantonness = lasciviousness, looseness. appetite = sexual craving.
166	Among ten thousand, every way more able	166-9: "with so many more willing men from your own
	And apter to be wrought on, such as owe you	country available to you, why do you choose me?"
168	Obedience, being your subjects, why should you	wrought on = worked on.
	Make choice of me, a stranger?	stranger = foreigner.
170
	Hon. Though yet reason	171-2: a common conceit: rationality has no place in the
172	Was ne'er admitted in the court of love,	affairs of the heart.
	I'll yield you one unanswerable. As I urged,	= "I'll give you one reason you cannot deny."
174	In our last private conference, you have
	A pretty promising presence; but there are	= attractive;^2 note the impressive alliteration in this clause.
176	Many, in limbs and feature, who may take,
	That way, the right-hand file of you: besides,	= ie. precedence;^1 in ancient armies, to be positioned on the right side of the battle-line was to be in the position of honour. Honoria is admitting that there are better-looking men than Mathias. In fact, her whole speech is intended to remove any suspicion from Mathias' mind that he is anything special!
178	Your May of youth is past, and the blood spent
	By wounds, though bravely taken, renders you
180	Disabled for love's service: and that valour
	Set off with better fortune, which, it may be,
182	Swells you above your bounds, is not the hook
	That hath caught me, good sir. I need no champion,
184	With his sword, to guard my honour or my beauty;
	In both I can defend myself, and live
186	My own protection.
188	Math. If these advocates,	188-9: "if what I believe to be my best features are unable
	The best that can plead for me, have no power,	to persuade you".
190	What can you find in me else, that may tempt you,
	With irrecoverable loss unto yourself,
192	To be a gainer from me?
194	Hon. You have, sir,
	A jewèl of such matchless worth and lustre,
196	As does disdain comparison, and darkens
	All that is rare in other men; and that	= excellent.
198	I must or win or lessen.	= either. = reduce (its luster).
200	Math. You heap more
	Amazement on me: What am I possessed of
202	That you can covet? make me understand it,
	If it have a name.
204
	Hon. Yes, an imagined one;	205-211: Honoria's reasoning is arguably self-contradictory: while Mathias' faithfulness is an ethereal character trait, without tangible value, as well as long out of fashion, she still wants to take it from him.
206	But is, in substance, nothing; being a garment
	Worn out of fashion, and long since given o'er	207-8: long since…country = a comment on the loose
208	By the court and country: 'tis your loyalty	morals of court life. given o'er = given up.
	And constancy to your wife; 'tis that I dote on,
210	And does deserve my envy: and that jewel,
	Or by fair play or foul, I must win from you.	= either.
212
	Math. These are mere contraries. If you love me, madam,	= contradictions; Mathias recognizes the lack of logic in
214	For my constancy, why seek you to destroy it?	Honoria's position.
	In my keeping it, preserve me worth your favour.
216	Or, if it be a jewèl of that value,
	As you with laboured rhetoric would persuade me,
218	What can you stake against it?	218: "what would you risk to get it if you think it is so valuable?"
220	Hon. A queen's fame,	= reputation.
	And equal honour.
222
	Math. So, whoever wins,
224	Both shall be losers.
226	Hon. That is that I aim at:
	Yet on the die I lay my youth, my beauty,	= "on the roll of this die do I bet"; the quarto prints by, emended by Gifford to die, since lay means "bet".
228	This moist palm, this soft lip, and those delights	= common expression suggestive of passion.
	Darkness should only judge of.	= ie. allusion to the lights being out during love-making.
230
	[Kisses him.]
232
	Do you find them	233-5: Honoria's lines here suggest Mathias has recoiled after perhaps initially accepting Honoria's kiss.
234	Infectious in the trial, that you start,	= testing; but perhaps also a legal metaphor with judge.
	As frighted with their touch?
236
	Math. Is it in man
238	To resist such strong temptations?
240	Hon. [Aside] He begins
	To waver.
242
	Math. Madam, as you are gracious,
244	Grant this short night's deliberation to me;	243: "give me the night to think this over."
	And, with the rising sun, from me you shall
246	Receive full satisfaction.
248	Hon. Though extremes	= ie. strong emotions or passions.
	Hate all delay, I will deny you nothing;
250	This key will bring you to your friend; you are safe both;	= ie. Baptista.
	And all things useful that could be prepared
252	For one I love and honour, wait upon you.
	Take counsaile of your pillow, such a fortune	= counsel.
254	As with affection's swiftest wings flies to you,
	Will not be often tendered.	= offered.
256
	[Exit Honoria.]
258
	Math. How my blood	= blood often referred to sexual passion.
260	Rebels! I now could call her back − and yet
	There's something stays me: if the king had tendered	= "that prevents me from doing so". = offered.
262	Such favours to my wife, 'tis to be doubted	262-3: 'tis to be…refused = "I suspect (doubt) they would not have been refused".
	They had not been refused: but, being a man,	263-5: being a man…frailty = "as a man, I should not yield to temptation before my wife does; I should be an example for her, should she claim she is too weak to hold out against a man's attempts to seduce her."
264	I should not yield first, or prove an example
	For her defence of frailty. By this, sans question,	= by this time. = without.
266	She's tempted too; and here I may examine
268	[Looks on the picture.]
270	How she holds out. She's still the same, the same
	Pure crystal rock of chastity. Perish all
272	Allurements that may alter me! The snow
	Of her sweet coldness hath extinguished quite
274	The fire that but even now began to flame:
	And I by her confirmed, − rewards nor titles,
276	Nor certain death from the refusèd queen,
	Shall shake my faith; since I resolve to be
278	Loyal to her, as she is true to me.	= Sophia.
280	[Exit Mathias.]
	ACT III, SCENE VI.
	Bohemia.
	A Gallery in Mathias' House.	= hallway.
	Enter Ubaldo and Ricardo.
1	Ubald. What we spake on the volley begins to work;	1: What we spake = ie. "the lines we spoke to Sophia". on the volley = "at random" or "without considera- tion".^9,16
2	We have laid a good foundation.	2: ie. in preparing Sophia for seduction.
4	Ric. Build it up,	4: Ricardo picks up on Ubaldo's construction metaphor, before returning to the military metaphor.
	Or else 'tis nothing: you have by lot the honour	5-6: you have…assault = chosen by lot, Ubaldo will get
6	Of the first assault; but, as it is conditioned,	the first shot at Sophia. as it is conditioned = ie. "as we agreed".
	Observe the time proportioned: I'll not part with	= "don't exceed your agreed-to time limit".
8	My share in the achievement: when I whistle,
	Or hem, fall off.	= "clear my throat".^1
10
	Enter Sophia.
12
	Ubald. She comes. Stand by, I'll watch
14	My opportunity.
16	[They walk aside.]	16: the courtiers hide; a convention of the stage was that characters could hide without being discovered, even if their hiding places were transparent to the audience.
18	Soph. I find myself	18f: Sophia speaks to herself, effectively a soliloquy.
	Strangely distracted with the various stories,
20	Now well, now ill, then doubtfully, by my guests	= ie. filling her with doubt or suspicion.
	Delivered of my lord: and, like poor beggars	= "told about my husband".
22	That in their dreams find treasure, by reflection
	Of a wounded fancy, make it questionable
24	Whether they sleep or not; yet, tickled with
	Such a fantastic hope of happiness,
26	Wish they may never wake. In some such measure,
	Incredulous of what I see and touch,
28	As 'twere a fading apparition, I	= "if it were".
	Am still perplexed, and troubled; and when most
30	Confirmed 'tis true, a curious jealousy	30-33: a curious jealousy…steals into me = Sophia is beginning to get strange notions regarding just what exactly Mathias has done to deserve such rich gifts.
	To be assured, by what means, and from whom,
32	Such a mass of wealth was first deserved, then gotten,
	Cunningly steals into me. I have practised,	33-35: I have practiced…to either = Sophia has been leading Ricardo and Ubaldo on in the hopes of getting them, in return, to share any more information they may have about Mathias' behavior at the court; she has even promised to meet each of them individually.
34	For my certain resolution, with these courtiers.
	Promising private conference to either,	= meeting or conversation.
36	And, at this hour: if in search of the truth,	36-38: if in search…my Mathias = Sophia asks for forgiveness ahead of time should she say something inappropriately forward or suggestive to the courtiers in her course of flattering them into giving her more information.
	I hear, or say, more than becomes my virtue,
38	Forgive me, my Mathias.	18-38: Sophia's monologue: scholar Frank Kermode, in
		his book Shakespeare's Language, writes about the interesting shift in styles of monologues from earlier in the golden age of English drama (the late 16th century) to the later years of the period (the early 17th century): specifically, early monologues tended to be formal rhetorical exercises, full of declamation and imagery, all used to make very clear and static points; later on, monologues became more subtle, giving a character an opportunity to work out his or her thoughts and feelings, to the point where the character may express uncertainty or even self-contradiction regarding his or her shifting emotions. Sophia's speech here is an excellent example of this latter sort of speech. See Kermode, pp. 7-17.^10
40	Ubald. Now I make in. −
42	[Comes forward.]
44	Madam, as you commanded, I attend
	Your pleasure.
46
	Soph. I must thank you for the favour.
48
	Ubald. I am no ghostly father; yet, if you have	= spiritual (ghostly) man of religion.
50	Some scruples touching your lord you would be resolved of,	50-51: "any doubts or questions regarding Mathias you would like for me to address, I will gladly do so."
	I am prepared.
52
	Soph. But will you take your oath,
54	To answer truly?
56	Ubald. On the hem of your smock, if you please,	56-58: Ubaldo swears on Sophia's underwear (smock) that
	A vow I dare not break, it being a book	he will tell the truth; his comparing her undies to a
58	I would gladly swear on.	Bible (book) demonstrates Ubaldo' lack of conscience.
60	Soph. To spare, sir, that trouble,
	I'll take your word, which, in a gentleman,
62	Should be of equal value. Is my lord, then,
	In such grace with the queen?	= favour.
64
	Ubald. You should best know,
66	By what you have found from him, whether he can
	Deserve a grace or no.
68
	Soph. What grace do you mean?
70
	Ubald. That special grace, if you will have it, he
72	Laboured so hard for between a pair of sheets,
	Upon your wedding night, when your ladyship
74	Lost you know what.
76	Soph. Fie! be more modest,	= "shame on you!"
	Or I must leave you.
78
	Ubald. I would tell a truth
80	As cleanly as I could, and yet the subject	= artfully or completely.^1
	Makes me run out a little.	= ie. run off at the mouth.^1
82
	Soph. You would put, now,
84	A foolish jealousy in my head, my lord
	Hath gotten a new mistress.
86
	Ubald. One! a hundred;
88	But under seal I speak it: I presume	= "I am forced by my promise to tell you this"; obviously Ubaldo is disingenuous here; he gladly undermines Mathias' position at home. The phrase under seal suggests a covenant attested to with a wax seal.
	Upon your silence, it being for your profit.	= benefit.
90	They talk of Hercules' fifty in a night,	= the story is told in the ancient collection of myths known as The Library: Thespius, the king of Thespiae (naturally), wanted all of his 50 daughters to be impregnated by Hercules. The king entertained Hercules for 50 days, and each night sent a different daughter to his bed (to his credit, Hercules thought he was getting the same girl every night). Needless to say, they were all impregnated by the mighty hero, and each eventually gave birth to a son.^11 In some other versions of the story, Hercules was given each of the girls in succession in one night. The sons of Hercules went on to found Sardinia.
	Twas well; but yet to yours he was a piddler:	= "compared to your husband, Hercules was an amateur
92	Such a soldier and a courtier never came	(piddler)."^1
	To Alba Regalis; the ladies run mad for him,
94	And there is such contentiön among them,
	Who shall engross him wholly, that the like	= monopolize.^1
96	Was never heard of.
98	Soph. Are they handsome women?	= attractive.
100	Ubald. Fie! no; coarse mammets: and what's worse, they are old too,	= dolls or puppets.^1
	Some fifty, some threescore, and they pay dear for't,	= ie. 50 or 60 years old.
102	Believing that he carries a powder in his breeches	= ie. a medicine comprised of powder. = highly rude!
	Will make them young again; and these suck shrewdly.	= the sense is that the older ladies suck or draw out with great intensity the medicinal nourishment from Mathias.^1
104
	[Ricardo whistles]	105: Ricardo signals that it is his turn.
106
	Ric. [Aside to Ubaldo]
108	Sir, I must fetch you off.
110	Ubald. I could tell you wonders
	Of the cures he has done, but a business of import
112	Calls me away; but, that dispatched, I will
	Be with you presently.
114
	[Steps aside.]	115: ie. Ubaldo, pretending he has left the room, moves
116		back to the hiding place, outside of Sophia's vision.
	Soph. There is something more
118	In this than bare suspicion.	= mere.^2
120	Ric. [Comes forward] Save you, lady;	= common greeting, short for "God save you."
	Now you look like yourself! I have not looked on	= ie. Sophia is dressed in some of the fine clothes Mathias has sent her; see line 152 below.
122	A lady more complete, yet have seen a madam	= woman of high rank.^1
	Wear a garment of this fashion, of the same stuff too,
124	One just of your dimensions: sat the wind there, boy!	= "that's how things were"; the quarto prints sate for sat.
126	Soph. What lady, sir?
128	Ric. Nay, nothing; and methinks
	I should know this ruby: very good! 'tis the same.	129-130: Ricardo is of course letting Sophia know that he
130	This chain of orient pearl, and this diamond too,	has seen her clothes and jewelry on other women at the Hungarian court.
	Have been worn before; but much good may they do you!
132	Strength to the gentleman's back! he toiled hard for them	= colloquialism: "I wish Mathias the endurance to continue
	Before he got them.	to sexually gratify his women;" the phrase strong back
134		was used to suggest sexual prowess.
	Soph. Why, how were they gotten?
136
	Ric. Not in the field with his sword, upon my life;
138	He may thank his close stiletto. −	= concealed dagger: highly suggestive!
140	[Ubaldo hems.]	= clears his throat to get Ubaldo's attention.
142	− [Aside] Plague upon it!
	Run the minutes so fast? − Pray you, excuse my manners;
144	I left a letter in my chamber window,
	Which I would not have seen on any terms; fie on it,	= exclamation of disgust.
146	Forgetful as I am! but I'll straight attend you.
148	[Steps aside.]
150	Soph. This is strange. His letters said these jewèls were
	Presented him by the queen, as a reward
152	For his good service, and the trunks of clothes	= Mathias has sent to Sophia the fine clothing he had promised her, which he either received as gifts or purchased with his new-found wealth.
	That followed them this last night, with haste made up	= packed.
154	By his direction.	= instruction.
156	Ubald. [Comes forward] I was telling you
	Of wonders, madam.
158
	Soph. If you are so skilful,
160	Without premeditation answer me;
	Know you this gown, and these rich jewèls?
162
	Ubald. Heaven,
164	How things will come out! But that I should offend you,
	And wrong my more than noble friend your husband,
166	(For we are sworn brothers,) in the discovery	= revelation.
	Of his nearest secrets, I could −
168
	Soph. By the hope of favour	169-170: oh my! Sophia is clearly offering herself to him
170	That you have from me, out with it.	if he tells all he knows!
172	Ubald. 'Tis a potent spell
	I cannot resist; why, I will tell you, madam,
174	And to how many several women you are	= various or individual.
	Beholding for your bravery. This was	= fine clothes.
176	The wedding gown of Paulina, a rich strumpet,
	Worn but a day, when she married old Gonzaga,
178	And left off trading.	= ie. prostituting herself.
180	Soph. O my heart!
182	Ubald. This chain
	Of pearl was a great widow's, that invited
184	Your lord to a masque, and the weather proving foul,
	He lodged in her house all night, and merry they were;
186	But how he came by it, I know not.
188	Soph. Perjured man!	188: "you are a liar!" - but does she mean Ubaldo or Mathias?
190	Ubald. This ring was Julietta's, a fine piece,	= piece may at first seem to refer to the ring, but the next line demonstrates Ubaldo used piece to mean Julietta!
	But very good at the sport: this diamond	= obvious euphemism for sex.
192	Was madam Acanthe's, given him for a song
	Pricked in a private arbour, as she said,	= Acanthe gave Mathias the diamond for a song he wrote out (pricked) in a private garden or bower (arbour).^1 The double entendre of prick is unmistakable.
194	When the queen asked for't; and she hard him sing too,	= heard.
	And danced to his hornpipe, or there are liars abroad.	= a hornpipe was both (1) a clarinet-shaped instrument, making the line highly suggestive, and (2) a lively dance.
196	There are other toys about you the same way purchased;	= trifles, baubles (ironic).
	But, paralleled with these, not worth the relation.	= ie. of no greater value than.^1 = relating or describing.
198	You are happy in a husband, never man
	Made better use of his strength: would you have him waste
200	His body away for nothing? if he holds out,
	There's not an embroidered petticoat in the court,	= meaning both a skirt and a woman's underwear.
202	But shall be at your service.
204	Soph. I commend him,
	It is a thriving trade; but pray you leave me
206	A little to myself.
208	Ubald. You may command
	Your servant, madam. −
210
	[Steps aside.]
212
	She's stung unto the quick, lad.	= emotionally wounded; the quick referred to any sensitive
214		part of the flesh.^1
	Ric. I did my part; if this potion work not, hang me!
216	Let her sleep as well as she can to-night, tomorrow
	We'll mount new batteries.	217: ie. "we will load the cannon for a fresh assault."
218
	Ubald. And till then leave her.
220
	[Exeunt Ubaldo and Ricardo.]
222
	Soph. You Powers, that take into your care the guard
224	Of innocence, aid me! for I am a creature
	So forfeited to despair, hope cannot fancy
226	A ransom to redeem me. I begin
	To waver in my faith, and make it doubtful,
228	Whether the saints, that were canónized for
	Their holiness of life, sinned not in secret;
230	Since my Mathias is fallen from his virtue
	In such an open fashion. Could it be, else,
232	That such a husband, so devoted to me,
	So vowed to temperance, for lascivious hire
234	Should prostitute himself to common harlots!
	Old and deformed too! Was't for this he left me,
236	And on a feigned pretence, for want of means
	To give me ornament? − or to bring home
238	Diseases to me? Suppose these are false,	= ie. referring to Ricardo and Ubaldo; Sophia considers the
	And lustful goats; if he were true and right,	question of their reliability.
240	Why stays he so long from me, being made rich,	= ie. "does he stay away".
	And that the only reason why he left me?
242	No, he is lost; and shall I wear the spoils
	And salaries of lust! they cleave unto me	= wages or rewards;^1 Sophia refers to the dress she is wearing, the one supposedly given to Mathias by the former prostitute.
244	Like Nessus' poisoned shirt: no, in my rage	= Nessus was a centaur, one of the well-known half-horse half-humans of myth. One day, Hercules and his wife Deianeira were looking to cross the river Euenus, for which Nessus was serving as ferryman. After first carrying Hercules over to the other side, Nessus returned to bring Deianeira over. Mid-stream he tried to rape her; Hercules stopped Nessus by shooting him with a poisoned arrow. Nessus, in revenge, told Deianeira that should she ever fear losing Hercules to another woman, she should touch or smear him with a magic potion made out of his currently dripping blood. Some time later, having successfully fought in a war in which he captured a daughter of a king and made her his concubine, Hercules sent for some new clothes from Deianeira. She, jealous, dipped his tunic into the blood of Nessus she had been secretly holding on to, and sent it along for Hercules to wear. The blood was poisonous, however, and when Hercules put on the tunic, it burned him fiercely, tearing away his flesh as he tried to remove it. In unbearable pain, Hercules climbed the nearby Mt. Oete, where he convinced a friend of his to burn him to death in a funeral pyre as the only way to end his suffering.^7
	I'll tear them off, and from my body wash
246	The venom with my tears. Have I no spleen,	= spirit or temper.^1
	Nor anger of a woman? shall he build
248	Upon my ruins, and I, unrevenged,
	Deplore his falsehood? no; with the same trash	= contemptuous term for the gifts Sophia has received.
250	For which he had dishonoured me, I'll purchase
	A just revenge: I am not yet so much
252	In debt to years, nor so mis-shaped, that all	= ie. old.
	Should fly from my embraces: Chastity,
254	Thou only art a name, and I renounce thee!
	I am now a servant to voluptuousness.
256	Wantons of all degrees and fashions, welcome!	= ie. lewd men.
	You shall be entertained; and, if I stray,	257-8: Act III closes with a rhyming couplet.
258	Let him condemn himself, that led the way.
260	[Exit.]
	ACT IV.
	SCENE I.
	Alba Regalis, Hungary.
	A Room in the Palace.
	Enter Mathias and Baptista.
1	Bapt. We are in a desperate strait; there's no evasion,	1-4: Baptista suggests Mathias must at least pretend to
2	Nor hope left to come off, but by your yielding	give in to Honoria's advances, if they are to escape
	To the necessity; you must feign a grant	from their imprisonment.
4	To her violent passion, or −
6	Math. What, my Baptista?
8	Bapt. We are but dead else.
10	Math. Were the sword now heaved up,	= "if the (executioner's) sword was now lifted up".
	And my neck upon the block, I would not buy
12	An hour's reprieve with the loss of faith and virtue,
	To be made immortal here. Art thou a scholar,
14	Nay, almost without parallel, and yet fear
	To die, which is inevitable! You may urge	= "remind me of", or "bring to my attention".
16	The many years that, by the course of nature,
	We may travel in this tedious pilgrimage,	= ie. life.
18	And hold it as a blessing; as it is,
	When innocence is our guide: yet know, Baptista,
20	Our virtues are preferred before our years,	= ie. "considered more important than our ages".
	By the great Judge: to die untainted in
22	Our fame and reputation is the greatest;
	And to lose that, can we desire to live?	= ie. "if we".
24	Or shall I, for a momentary pleasure,
	Which soon comes to a period, to all times	= an end.
26	Have breach of faith and perjury remembered
	In a still-living epitaph? no, Baptista,
28	Since my Sophia will go to her grave
	Unspotted in her faith, I'll follow her
30	With equal loyalty: −
32	[Takes out the picture.]
34	But look on this,
	Your own great work, your masterpiece, and then,
36	She being still the same, teach me to alter! −	= "instruct me to do differently".
	Ha! sure I do not sleep! or, if I dream,
38	This is a terrible vision! I will clear
	My eyesight; perhaps melancholy makes me
40	See that which is not.
42	Bapt. It is too apparent.
	I grieve to look upon't: besides the yellow,
44	That does assure she's tempted, there are lines
	Of a dark colour, that disperse themselves
46	O'er every miniature of her face, and those	= line or feature.^1
	Confirm −
48
	Math. She is turned whore!
50
	Bapt. I must not say so.
52	Yet, as a friend to truth, if you will have me
	Interpret it, in her consent and wishes
54	She's false, but not in fact yet.	= "while Sophia is unfaithful in her mind, she has not yet
		acted on her impulses."
56	Math. Fact, Baptista!
	Make not yourself a pander to her looseness,	= pimp.
58	In labouring to palliate what a visor	58-59: In labouring…cover = Baptista should not try to make excuses to cover over or mitigate (palliate)^1 the sin that Sophia's mask (visor) of shamelessness (impudence) cannot cover.
	Of impudence cannot cover. Did e'er woman	59-61: Did e'er woman…fuel? = the sense is, "has any
60	In her will decline from chastity, but found means	woman who in her desires deviated (declined) from
	To give her hot lust fuël? It is more	chastity ever failed to act to satisfy her lust?"; will was used to mean "sexual desire" as well as in its usual senses related to "determination".
62	Impossible in nature for gross bodies,	= heavy.^2
	Descending of themselves, to hang in the air;	= falling.
64	Or with my single arm to underprop
	A falling tower; nay, in its violent course
66	To stop the lightning, than to stay a woman	= ie. "it is easier to stop". = stop or prevent.
	Hurried by two furies, lust and falsehood,	67: hurried = driven forward. furies = the Furies were mythological creatures with the appearance of monsters, whose job it was to punish those who committed certain crimes, such as murder or disobedience to one's parents, by bringing perpetual misery to them. Hence the term fury was used to describe any force that harries or worries a person.
68	In her full career to wickedness!	= course.^2
70	Bapt. Pray you, temper	= moderate; the quarto prints tempter here.
	The violence of your passion.
72
	Math. In extremes
74	Of this condition, can it be in man
	To use a moderation? I am thrown
76	From a steep rock headlong into a gulf
	Of misery, and find myself past hope,
78	In the same moment that I apprehend
	That I am falling: and this, the figure of	= picture.
80	My idol, few hours since, while she continued	= ie. just a few hours ago.
	In her perfection, that was late a mirror,
82	In which I saw miraculous shapes of duty,	= ie. appearance or figure of reverence or proper attitude.^1,2
	Staid manners with all excellency a husband	= dignified.
84	Could wish in a chaste wife, is on the sudden
	Turned to a magical glass, and does present	= mirror.
86	Nothing but horns and horror.	= horns were said to grow on the foreheads of cuckolded
		men.
88	Bapt. You may yet,
	And 'tis the best foundation, build up comfort
90	On your own goodness.
92	Math. No, that hath undone me;	= "been my ruin".
	For now I hold my temperance a sin
94	Worse than excess, and what was vice, a virtue.
	Have I refused a queen, and such a queen,
96	Whose ravishing beauties at the first sight had tempted	= would have.
	A hermit from his beads, and changed his prayers	= prayer beads, ie. prayers.
98	To amorous sonnets, to preserve my faith	= love poems.
	Inviolate to thee, with the hazard of	99: thee = Mathias is addressing the absent Sophia, in a figure of speech known as an apostrophe. hazard = risk.
100	My death with torture, since she could inflict	100-1: she could…contempt = Mathias expects the queen
	No less for my contempt; and have I met	to extract fatal revenge on him (death with torture) for the insult of refusing her.
102	Such a return from thee! I will not curse thee,
	Nor, for thy falsehood, rail against the sex;
104	Tis poor, and common: I'll only, with wise men,	= as wise men do.
	Whisper unto myself, howe'er they seem,
106	Nor present, nor past times, nor the age to come,
	Hath heretofore, can now, or ever shall,
108	Produce one constant woman.	= faithful.
110	Bapt. This is more
	Than the satirists wrote against them.	= a reference probably to the famous and misogynistic
112		Satire VI, written by the Roman poet Juvenal, in which he skewered what he perceived to be the decline of women's morals.^12
	Math. There's no language
114	That can express the poison of these aspics,	= asps.
	These weeping crocodiles, and all too little	= allusion to the insincere tears shed by the croc as it
116	That hath been said against them. But I'll mould	eats its victims.
	My thoughts into another form; and, if
118	She can outlive the report of what I have done,	= Sophia.
	This hand, when next she comes within my reach,
120	Shall be her executioner.
122	Enter Honoria and Acanthe.
124	Bapt. The queen, sir.
126	Hon. Wait our command at distance: −
128	[Exit Acanthe.]
130	− Sir, you too have
	Free liberty to depart.
132
	Bapt. I know my manners,
134	And thank you for the favour.
136	[Exit Baptista.]
138	Hon. Have you taken
	Good rest in your new lodgings? I expect now
140	Your resolute answer; but advise maturely,
	Before I hear it.
142
	Math. Let my actions, madam,
144	For no words can dilate my joy, in all	= describe or expand upon.^1
	You can command, with cheerfulness to serve you,
146	Assure your highness; and, in sign of my
	Submission and contrition for my error,
148	My lips, that but the last night shunned the touch
	Of yours as poison, taught humility now,
150	Thus on your foot, and that too great an honour	= which he now kisses.
	For such an undeserver, seal my duty.
152	A cloudy mist of ignorance, equal to
	Cimmerian darkness, would not let me see, then,	= the land of the people known as the Cimmerians was
154	What now, with adoratiön and wonder,	proverbial for its darkness.
	With reverence I look up to: but those fogs
156	Dispersed and scattered by the powerful beams
	With which yourself, the sun of all perfection,
158	Vouchsafe to cure my blindness; like a suppliant,	= condescend.
	As low as I can kneel, I humbly beg	= since ancient times, the traditional pose taken by a
160	What you once pleased to tender.	supplicant was to kneel and clasp the knees or legs
		of the one he or she was seeking a favour from.
162	Hon. [Aside] This is more
	Than I could hope! − What find you so attractive
164	Upon my face, in so short time to make
	This sudden metamorphosis? pray you, rise;
166	I, for your late neglect, thus sign your pardon.
168	[Kisses him.]
170	Ay, now you kiss like a lover, and not as brothers
	Coldly salute their sisters.
172
	Math. I am turned
174	All spirit and fire.
176	Hon. Yet, to give some allay
	To this hot fervour, 'twere good to remember
178	The king, whose eyes and ears are everywhere;
	With the danger too that follows, this discovered.
180
	Math. Danger! a bugbear, madam; let me ride once	= ie. bug-word, a word intended to cause fear.^1
182	Like Phaeton in the chariot of your favour,	182-3: Like Phaeton...thunder = Phaeton was the son
	And I contemn Jove's thunder: though the king,	of Helios, the sun god. As an adolescent, Phaeton begged his father to let him drive for one day the chariot that pulled the sun across the sky. After much begging, Helios reluctantly acquiesced, but warned his son to be careful. Phaeton could not control the horses, and would have crashed onto the earth, had not Jupiter (ie. Jove) killed him first with a thunderbolt.^7 contemn = scorn.
184	In our embraces stood a looker on,	= early form of onlooker, though both were used in the
	His hangman, and with studied cruelty, ready	17th century.^1
186	To drag me from your arms, it should not fright me
	From the enjoying that a single life is	= that which.
188	Too poor a price for. O, that now all vigour
	Of my youth were re-collected for an hour,
190	That my desire might meet with yours, and draw
	The envy of all men, in the encounter,
192	Upon my head! I should − but we lose time;	= there may be a double-entendre here, as head could refer
	Be gracious, mighty queen.	to the end of a man's member, though Mathias is not in
194		the habit of speaking so vulgarly.
	Hon. Pause yet a little:
196	The bounties of the king, and, what weighs more,	= ie. "the rewards the king has bestowed on you"
	Your boasted constancy to your matchless wife,
198	Should not so soon be shaken.
200	Math. The whole fabric,
	When I but look on you, is in a moment
202	O'erturned and ruined; and, as rivers lose	202-6: as rivers…forgotten = a nice metaphor of a river
	Their names when they are swallowed by the ocean,	losing its identity when it enters a larger one. It seems
204	In you alone all faculties of my soul	that thoughts of the king and Sophia, as well as of his
	Are wholly taken up; my wife and king,	own identity, are all lost to Mathias when Honoria
206	At the best, as things forgotten.	appears before him.
208	Hon. [Aside] Can this be?
	I have gained my end now.	= goal.
210
	Math. Wherefore stay you, madam?	= "why do you hesitate".
212
	Hon. In my consideration what a nothing	= of how worthless.
214	Man's constancy is.	= fidelity.
216	Math. Your beauties make it so
	In me, sweet lady.
218
	Hon. And it is my glory:
220	I could be coy now, as you were, but I
	Am of a gentler temper; howsoever,
222	And in a just return of what I have suffered	222-4: now Honoria asks, as Mathias did the night before,
	In your disdain, with the same measure grant me	for time to think things over before committing herself.
224	Equal deliberation: I ere long
	Will visit you again; and when I next
226	Appear, as conquered by it, slave-like wait	= an imperative: when she sees him next, she will expect
	On my triumphant beauty.	him to behave in the most fawning and obsequious
228		manner he can manage, like a slave.
	[Exit Honoria.]
230
	Math. What a change
232	Is here beyond my fear! but by thy falsehood,
	Sophia, not her beauty, is't denied me
234	To sin but in my wishes? what a frown,
	In scorn, at her departure, she threw on me!
236	I am both ways lost; storms of contempt and scorn
	Are ready to break on me, and all hope
238	Of shelter doubtful: I can neither be
	Disloyal, nor yet honest; I stand guilty	= chaste.
240	On either part; at the worst, Death will end all;	240-2: Death…too long = Mathias considers suicide.
	And he must be my judge to right my wrong,
242	Since I have loved too much, and lived too long.
244	[Exit Mathias.]
	ACT IV, SCENE II.
	Bohemia.
	A Room in Mathias' House.
	Enter Sophia, with a book and a note.	= ie. piece of paper.
1	Soph. Nor custom, nor example, nor vast numbers	1-4: Nor custom…exacted = no matter (1) how traditional
2	Of such as do offend, make less the sin.	adultery is, (2) what examples of adulterers from history might serve to mollify its effects, and (3) how common it is, all sin is punished in the end.
	For each particular crime a strict account
4	Will be exacted; and that comfort which	4-6: that comfort…torments = adulterers may expect
	The damned pretend, fellows in misery,	to feel better when they are able to share their torments
6	Takes nothing from their torments: every one	in hell with others, but the truth is, such company does not really allay their suffering.
	Must suffer in himself the measure of
8	His wickedness. If so, as I must grant,
	It being unrefutable in reason,
10	Howe'er my lord offend, it is no warrant	10-11: just because Mathias has cheated on her does not
	For me to walk in his forbidden paths:	make it acceptable for her to do the same. It is a common motif in Elizabethan drama for the women to be considered more highly susceptible to sins of the flesh than are men, but in reality to be more virtuous. warrant = authorization or sanction.
12	What penance then can expiate my guilt,
	For my consent (transported then with passion)	= ie. when she was desperate to information about Mathias.
14	To wantonness? the wounds I give my fame	14-15: the wounds…recover his = "harming my own
	Cannot recover his; and, though I have fed	reputation cannot recover that of Mathias."
16	These courtiers with promises and hopes,
	I am yet in fact untainted, and I trust	17-22: I trust…from me = in the last scene (Act IV.i.67), Mathias imagined Sophia as being harried by the furies of lust and falsehood, but Sophia sees her actions as being fueled by the fury of jealousy; and, in this perhaps Catholic metaphor, expects her own virtuous feelings of repentance or regret (sorrow), her innocence in fact (purity) and her love of virtue itself to exorcise the fury from her.
18	My sorrow for it, with my purity,
	And love to goodness for itself, made powerful,
20	Though all they have alleged prove true or false,	= no matter whether all the tales.
	Will be such exorcisms as shall command
22	This fury, jealousy, from me. What I have
	Determined touching them, I am resolved	= ie. regarding Ricardo and Ubaldo.
24	To put in execution. − Within, there!	= her soliloquy done, Sophia calls for her servants.
26	Enter Hilario, Corisca, with other Servants.
28	Where are my noble guests?
30	Hil. The elder, madam,
	Is drinking by himself to your ladyship's health,
32	In muskadine and eggs; and, for a rasher	= the foods mentioned in this paragraph were all considered aphrodisiacs in the early 17th century; muskadine is a type of wine, and frequently appears in the literature to be taken with eggs. rasher = food taken to stimulate thirst.^1
	To draw his liquor down, he hath got a pie
34	Of marrowbones, potatoes, and eringos,	= sweet potatoes. = the roots of the sea-holly.^13
	With many such ingredients; and, 'tis said,
36	He hath sent his man in post to the next town	= ie. his man-servant.
	For a pound of ambergris, and half a peck	37: ambergris = a toxic secretion of the intestines of the sperm whale, once used in food preparation.^4 It may be found floating on the ocean surface.^14 peck = a quarter of a bushel, or about two dry gallons.^1
38	Of fishes called cantharides.	= actually a species of beetle known as the Spanish fly.^4
40	Coris. The younger
	Prunes up himself, as if this night he were
42	To act a bridegroom's part; but to what purpose,
	I am ignorance itself.	= no doubt Corisca is a bit disingenuous here.
44
	Soph. Continue so.
46
	[Gives the servants the note.]
48
	Let those lodgings be prepared as this directs you:
50	And fail not in a circumstance, as you	= any detail.
	Respect my favour.	= ie. "favourable treatment of you".
52
	1st Serv. We have our instructions.
54
	2nd Serv. And punctually will follow them.
56
	[Exeunt Servants.]
58
	Enter Ubaldo.
60
	Hil. Here comes, madam,
62	The lord Ubaldo.
64	Ubald. [To Corisca] Pretty one, there's gold	= it was customary for household guests to tip the servants
	To buy thee a new gown;	for any good deeds performed on their behalves.
66	[To Hilario] and there's for thee;
	Grow fat, and fit for service. − I am now,
68	As I should be, at the height, and able to	= quite suggestive!
	Beget a giant. O my better angel!	= father.
70	In this you shew your wisdom, when you pay
	The letcher in his own coin; shall you sit puling,	= whining.
72	Like a patient grizzle, and be laughed at? no:	= one who sulks.^1
	This is a fair revenge. Shall we to't?
74
	Soph. To what, sir?
76
	Ubald. The sport you promised.
78
	Soph. Could it be done with safety?	= ie. "without anyone seeing us?"
80
	Ubald. I warrant you; I am sound as a bell, a tough	= "I guarantee it".
82	Old blade, and steel to the back, as you shall find me	= another reference to the "strong back" which signifies
	In the trial on your anvil.	sexual prowess.
84
	Soph. So; but how, sir,
86	Shall I satisfy your friend, to whom, by promise,
	I am equally engaged?
88
	Ubald. I must confess,
90	The more the merrier; but, of all men living,
	Take heed of him; you may safer run upon
92	The mouth of a cannon when it is unlading,	= firing.^1 The sexual image of a cannon firing is
	And come off colder.	unmistakable!
94
	Soph. How! is he not wholesome?	= healthy.
96
	Ubald. Wholesome! I'll tell you, for your good: he is
98	A spittle of diseases, and, indeed,	= variation on hospital, though the suggestion is of a hospital for those specifically with venereal disease.
	More loathsome and infectiöus; the tub is	= those suffering from VD took hot baths to cure themselves.
100	His weekly bath: he hath not drank this seven years,	= ie. "drank anything in the last seven years".
	Before he came to your house, but compositions	= except for.
102	Of sassafras and guiacum; and dry mutton	102: sassafras and guiacum = trees whose bark and resin respectively were used medicinally.^1 mutton = commonly used to refer to a prostitute or women's genitalia.
	His daily portion; name what scratch soever	= disease, but specifically a certain disease of horses.^1
104	Can be got by women, and the surgeons will resolve you,	= assure.
	At this time or at that Ricardo had it.
106
	Soph. Bless me from him!
108
	Ubald. 'Tis a good prayer, lady,
110	It being a degree unto the pox	110-1: It being…mention him = humorous hyperbole: "you might catch VD just by saying Ricardo's name."
	Only to mention him: if my tongue burn not, hang me,	= perhaps a symptom of VD, and its painful burning.
112	When I but name Ricardo.
114	Soph. Sir, this caution
	Must be rewarded.
116
	Ubald. [Aside] I hope I have marred his market, −	= ie. "ruined Ricardo's chances"; Ubaldo revives the
118	But when?	commercial metaphor used by Ricardo back at Act I.ii.71-72 of his having a monopoly on women, and his right to make his market.
120	Soph. Why, presently; follow my woman,	= right away. = servant.
	She knows where to conduct you, and will serve
122	To-night for a page. Let the waistcoat I appointed,	= a short coat.^1
	With the cambric shirt perfumed, and the rich cap,
124	Be brought into his chamber.
126	Ubald. Excellent lady!
	And a caudle too in the morning.	= a warm, sweet gruel served to the old and infirm, likely meant by Ubaldo to serve as a sexual restorative after what he expects to be an exhausting night of entertain- ment.
128
	Coris. I will fit you.	= supply, but with an extra sense of "giving you what is
130		appropriate", ie. "what you deserve".
	[Exeunt Ubaldo and Corisca.]
132
	Enter Ricardo.
134
	Soph. So hot on the scent! Here comes the other beagle.
136
	Ric. [To Hilario]
138	Take purse and all.
140	Hil. If this company would come often,	140-1: Hilario is pleased by the gifts of money the courtiers
	I should make a pretty term on't.	have given him.
142		141: a term was a period of time, usually a quarter of a year, related to the four terms of the legal calendar, or the end of the four periods of the year at which time wages, rents, etc. were due;^1 the sense of the line seems to be the equivalent of the modern financial summary, "I would have a good year", ie. make a fair amount of money.
	Soph. For your sake
144	I have put him off; he only begged a kiss,
	I gave it, and so parted.
146
	Ric. I hope better:
148	He did not touch your lips?
150	Soph. Yes, I assure you.
	There was no danger in it?
152
	Ric. No! eat presently
154	These lozenges of forty crowns an ounce,	= Ricardo offers Sophia medicated tablets (lozenges) which he claims to be ridiculously expensive.
	Or you are undone.	= ruined.
156
	Soph. What is the virtue of them?
158
	Ric. They are preservatives against stinking breath,	159-160: other symptoms of VD.
160	Rising from rotten lungs.
162	Soph. If so, your carriage	= carrying
	Of such dear antidotes, in my opinion,
164	May render yours suspected.	= ie. "your lungs": Sophia is teasing.
166	Ric. Fie! no; I use them
	When I talk with him, I should be poisoned else,
168	But I'll be free with you: he was once a creature,	= "I will tell you all".
	It may be, of God's making, but long since
170	He is turned to a druggist's shop; the spring and fall
	Hold all the year with him; that he lives, he owes	171-2: that he lives…nature = the fact that he is still alive at all is due more to the efficacy of medicine (art) than to his body's own ability to keep itself healthy (nature). The two terms art (generally referring to human creations) and nature (generally alluding to anything occurring naturally) were frequently opposed in the era's literature.
172	To art, not nature; she has given him o'er.	172: she…o'er = personified Nature has given up on Ricardo.
	He moves like the fairy king, on screws and wheels,	173-5: Ricardo mocks Ubaldo's being barely able to move
174	Made by his doctor's recipes, and yet still	around, due to the effects of disease.
	They are out of joint, and every day repairing.	The reference to the fairy king may be an allusion to the fanciful poem Nymphidia written by Michael Drayton and published in 1627, a delightful tale of fairy-land; the miniature fairy king and queen own a tiny chariot, which is described as being comprised of a "snail's fine shell" and "wheels composed of crickets’ bones" screws (line 173) = mechanical devices for lifting heavy objects.^1
176	He has a regiment of whores he keeps
	At his own charge in a lazar-house; but the best is,	177: charge = expense.
178	There's not a nose among them. He's acquainted	lazar-house = home for those with leprosy, hence not a nose among them; but lazar-house also could refer more generally to a home for those with any nasty disease, such as syphilis, one of whose symptoms was the disintegration of cartilage, causing the nose to collapse.
	With the green water, and the spitting pill's	179: green water = a green liquid medicine, used to treat VD.^1 spitting pill = medicine used to induce the produc- tion of saliva.^1
180	Familiar to him: in a frosty morning
	You may thrust him in a pottle-pot; his bones	= half-gallon tankard. = the harmful effects of VD on one's bones were frequently alluded to.
182	Rattle in his skin, like beans tossed in a bladder.	= dried beans in a bladder would make an effective rattle.
	If he but hear a coach, the fomentation,	183-5: If he but…chine-evil = Ubaldo is so prone to ill-
184	The friction with fumigation, cannot save him	ness that simply hearing a coach go by will cause him to
	From the chine-evil. In a word, he is	develop symptoms of chine-evil (a disease of horses), from which no remedy can save him. fomentation = application of warm medicine on a sponge or warm liquid in a bag to the body for healing purposes.^14 friction = massage.^1 fumigation = exposure to fumes created by spreading medicinal leaves on hot coals.^14
186	Not one disease, but all; yet, being my friend,
	I will forbear his character, for I would not	187-8: I would not…opinion = of course not!
188	Wrong him in your opiniön.
190	Soph. The best is,
	The virtues you bestow on him, to me
192	Are mysteries I know not; but, however,
	I am at your service. − Sirrah, let it be your care	= common form of address to a servant; here Sophia is
194	To unclothe the gentleman, and with speed; delay	speaking to Hilario.
	Takes from delight.
196
	Ric. Good! there's my hat, sword, cloak:
198	A vengeance on these buttons! off with my doublet,	198: A vengeance…buttons! = in his excitement, Ricardo is having trouble disrobing. doublet = close-fitting garment for the upper-body.
	I dare shew my skin; in the touch you will like it better. −
200	Prithee cut my codpiece-points, and, for this service,	= Ricardo is wearing a cod-piece, the infamous appendage
	When I leave them off, they are thine.	attached to the front of a man's hose to "enhance" his
202		appearance; his cod-piece is attached to his hose by means of points, or tagged laces. Ricardo continues to have difficulty undressing, and asks Hilario to simply cut the laces of the points. Ricardo promises to give Hilario the points when he (Ricardo) is done with them in return for his (Hilario's) help.
	Hil. I'll take your word, sir.
204
	Ric. Dear lady, stay not long.
206
	Soph. I may come too soon, sir.
208
	Ric. No, no; I am ready now.	209: as Ubaldo did earlier in the scene, Ricardo suggests
210		he is sexually "ready" to perform.
	Hil. This is the way, sir.
212
	[Exeunt Hilario and Ricardo.]
214
	Soph. I was much to blame to credit their reports	215-6: "the fact that Ricardo and Ubaldo are so willing to
216	Touching my lord, that so traduce each other,	slander (traduce) each other proves I should never have believed the stories they told me about Mathias".
	And with such virulent malice, though I presume
218	They are bad enough: but I have studied for them	= "worked hard to find".
	A way for their recovery.
220
	[A noise of clapping a door;	= knocking.^1
222	Ubaldo appears above, in his shirt.]	= Ubaldo appears out on the "balcony" at the back of the
		stage, signifying he is in a room on an upper floor or in the tower of Sophia's castle.^16
224	Ubald. What dost thou mean, wench?
	Why dost thou shut the door upon me? Ha!
226	My clothes are ta'en away too! shall I starve here?
	Is this my lodging? I am sure the lady talked of
228	A rich cap, a perfumed shirt, and a waistcoat;
	But here is nothing but a little fresh straw,
230	A petticoat for a coverlet, and that torn too,	= skirt. = blanket.
	And an old woman's biggin for a night-cap.	= linen cap.^13
232
	Re-enter Corisca below.
234
	'Slight, 'tis a prison, or a pigsty. Ha!	= God's light, an oath.
236	The windows grated with iron! I cannot force them,
	And if I leap down here, I break my neck;
238	I am betrayed. Rogues! Villains! let me out;
	I am a lord, and that's no common title,	= ordinary.
240	And shall I be used thus?	= treated.
242	Soph. Let him rave, he's fast;	= "he is secured", ie. "he cannot escape".
	I'll parley with him at leisure.	= speak.
244
	Ricardo entering with a great noise above, as fallen.
246
	Ric. Zounds! have you trapdoors?	= "God's wounds", another oath; written as Zoones in the
248		quarto.
	Soph. The other bird's i' the cage too, let him flutter.
250
	Ric. Whither am I fallen? into hell!
252
	Ubald. Who makes that noise, there?	253: the balcony may have a partition in it, to indicate two
254	Help me, if thou art a friend.	separate compartments or rooms; Ricardo and Ubaldo
		can hear and speak to, but cannot see, each other.
256	Ric. A friend! I am where
	I cannot help myself; let me see thy face.
258
	Ubald. How, Ricardo! Prithee, throw me
260	Thy cloak, if thou canst, to cover me; I am almost
	Frozen to death.
262
	Ric. My cloak! I have no breeches;	= hose or pants.
264	I am in my shirt, as thou art; and here's nothing
	For myself but a clown's cast suit.	= peasant's discarded outfit.
266
	Ubald. We are both undone.	= ruined.
268	Prithee, roar a little − Madam!	= "let's make some noise".
270	Re-enter Hilario below, in Ricardo's suit.
272	Ric. Lady of the house!
274	Ubald. Grooms of the chamber!	= servants.
276	Ric. Gentlewomen! Milkmaids!
278	Ubald. Shall we be murdered?
280	Soph. No, but soundly punished,
	To your deserts.	= "as you deserve".
282
	Ric. You are not in earnest, madam?
284
	Soph. Judge as you find, and feel it; and now hear
286	What I irrevocably purpose to you.	= intend for.
	Being received as guests into my house,
288	And with all it afforded entertained,
	You have forgot all hospitable duties;	= ie. behavior appropriate for guests in another's home.
290	And, with the defamation of my lord,
	Wrought on my woman weakness, in revenge	= worked.
292	Of his injuries, as you fashioned them to me,
	To yield my honour to your lawless lust.
294
	Hil. Mark that, poor fellows.	= note.
296
	Soph. And so far you have	= to the extent that.
298	Transgressed against the dignity of men,	298: ie. failed to behave as is appropriate for men of honour.
	Who should, bound to it by virtue, still defend
300	Chaste ladies' honours, that it was your trade
	To make them infamous: but you are caught
302	In your own toils, like lustful beasts, and therefore	= snares.
	Hope not to find the usage of men from me:	303: "don't expect to be treated as men by me".
304	Such mercy you have forfeited, and shall suffer
	Like the most slavish women.
306
	Ubald. How will you use us?	= treat.
308
	Soph. Ease, and excess in feeding, made you wanton.	= lustful.
310	A pleurisy of ill blood you must let out,	= excess. = the letting of blood was the most common treatment for illness.
	By labour, and spare diet that way got too,	311-2: By labour…hunger = to cure themselves, the courtiers will have to work and go on a severe diet. If they refuse to work, they will get no food.
312	Or perish for hunger. − Reach him up that distaff	= Sophia instructs Hilario to hand the distaff (a spindle for weaving)^2 up to Ubaldo on the floor above them.
	With the flax upon it; − though no Omphale,	313-4: though no...Hercules = Hercules, attacked with a
314	Nor you a second Hercules, as I take it,	severe illness, was told by the Delphic oracle that his health would be restored if he sold himself as a slave and worked for three years for wages; Hercules subsequently was purchased by Omphale, the queen of Lydia; it was written by later Roman authors that he frequently did women's work while dressed in women's clothes, while Omphale wore the lion-skin normally associated with Hercules.^3
	As you spin well at my command, and please me,
316	Your wages, in the coarsest bread and water,
	Shall be proportionable.
318
	Ubald. I will starve first.
320
	Soph. That's as you please.
322
	Ric. What will become of me now?
324
	Soph. You shall have gentler work; I have oft observed
326	You were proud to shew the fineness of your hands,
	And softness of your fingers; you should reel well	= wind thread or yarn.
328	What he spins, if you give your mind to it, as I'll force you. −
	Deliver him his materials. − Now you know
330	Your penance, fall to work; hunger will teach you:
	And so, as slaves to your lust, not me, I leave you.
332
	[Exeunt Sophia and Corisca.]
334
	Ubald. I shall spin a fine thread out now!
336
	Ric. I cannot look
338	On these devices, but they put me in mind
	Of rope-makers.	= ie. those who make ropes for hanging.
340
	Hil. Fellow, think of thy task.
342	Forget such vanities; my livery there,	= trivial notions.^2 = servant's outfit; Hilario has given his
	Will serve thee to work in.	own livery to Ricardo, even as he has appropriated the
344		latter's fine clothing for himself.
	Ric. Let me have my clothes yet;
346	I was bountiful to thee.	346: Ricardo reminds Hilario of the generous amounts of
		money he has given him.
348	Hil. They are past your wearing,
	And mine by promise, as all these can witness.	= we remember that Ricardo had promised his points to
350	You have no holidays coming, nor will I work	Hilario in line 201 above, but the servant has decided
	While these and this lasts; and so when you please	to appropriate Ricardo's entire suit!
352	You may shut up your shop windows.
354	[Exit Hilario.]
356	Ubald. I am faint,
	And must lie down.
358
	Ric. I am hungry too, and cold.
360	O cursèd women!
362	Ubald. This comes of our whoring.
	But let us rest as well as we can to-night,
364	But not o'ersleep ourselves, lest we fast tomorrow.
366	[Exeunt.]	366: the original stage direction is "they dr[a]w the cur- taines."
	ACT IV, SCENE III.
	Alba Regalis, Hungary.
	A Room in the Palace.
	Enter Ladislaus, Honoria, Eubulus, Ferdinand,
	Acanthe, and Attendants.
1	Hon. Now you know all, sir, with the motives why	1-2: Honoria has explained her scheme to Ladislaus.
2	I forced him to my lodging.
4	Ladis. I desire
	No more such trials, lady.
6
	Hon. I presume, sir,
8	You do not doubt my chastity.
10	Ladis. I would not;
	But these are strange inducements.	= grounds or reasons^1 (for conducting such an experiment).
12
	Eubu. By no means, sir.	13-20: Eubulus is doubtful of Honoria's story, and ex- presses his suspicions quite sarcastically.
14	Why, though he were with violence seized upon,
	And still detained, the man, sir, being no soldier,	= Eubulus is describing Mathias.
16	Nor used to charge his pike when the breach is open,	16: an obviously suggestive metaphor for taking advantage
	There was no danger in't! You must conceive, sir,	of a willing woman.
18	Being religious, she chose him for a chaplain,
	To read old homilies to her in the dark;
20	She's bound to it by her canons.	= ie. church laws or rules.
22	Ladis. Still tormented	= ie. "I am always".
	With thy impertinence!
24
	Hon. By yourself, dear sir,
26	I was ambitious only to o'erthrow
	His boasted constancy in his consent;	= faithfulness. = union, marriage.
28	But for fact I contemn him: I was never	= as a matter of fact. = disdain.
	Unchaste in thought; I laboured to give proof
30	What power dwells in this beauty you admire so;
	And when you see how soon it hath transformed him,	31-33: Honoria's plan now becomes clear: she wants
32	And with what superstition he adores it,	Ladislaus to be a witness to what she expects will be
	Determine as you please.	a sorry scene of shameless groveling when she next
34		meets Mathias.
	Ladis. I will look on
36	This pageant, but −
38	Hon. When you have seen and heard, sir,
	The passages which I myself discovered,	39: "events which I myself revealed to you".
40	And could have kept concealed, had I meant basely,	= ie. "actually had disgraceful or dishonourable intentions".
	Judge as you please.
42
	Ladis. Well, I'll observe the issue.	= outcome; but Ladislaus is obviously uncomfortable with the whole set-up.
44
	Eubu. How had you ta'en this, general, in your wife?	45: Eubulus asks Ferdinand how he would react if his wife had behaved in this fashion.
46
	Ferd. As a strange curiosity; but queens	47-48: queens…subjects = basically, queens are privileged
48	Are privileged above subjects, and 'tis fit, sir.	to do what they please.
50	[Exeunt.]
	ACT IV, SCENE IV.
	Another Room in the same.
	Enter Mathias and Baptista.
1	Bapt. You are much altered, sir, since the last night,
2	When the queen left you, and look cheerfully,	= ie. Mathias looks cheerful now.
	Your dulness quite blown over.	= lethargy.^2 = passed away, like storm clouds.^1
4
	Math. I have seen a vision	5-6: I have…good = Mathias refers to the picture of Sophia, which has returned to its original and normal color. Gifford notes the extreme beauty of this scene.
6	This morning makes it good; and never was	= "I never before".
	In such security as at this instant,
8	Fall what can fall: and when the queen appears,	= ie. "no matter what happens"; the expression was a
	Whose shortest absence now is tedious to me,	favourite of Massinger's, appearing in at least five of
10	Observe the encounter.	his plays.
12	Enter Honoria: Ladislaus, Eubulus, Ferdinand,
	and Acanthe, with others, appear above.	= Honoria enters the stage, while the other listed characters
14		appear on the balcony, from which they can secretly observe Honoria's anticipated encounter with Mathias.
	Bapt. She already is
16	Entered the lists.	= phrase used to describe a knight entering the tournament
		grounds.
18	Math. And I prepared to meet her.
20	Bapt. I know my duty.	20: ie. which is to remove himself!
22	[Going.]
24	Hon. Not so, you may stay now,
	As a witness of our contract.
26
	Bapt. I obey
28	In all things, madam.	28: after this line, there may be a pause, as Honoria stands
		before Mathias expectantly, waiting for him to fall to his knees again in adoration.
30	Hon. Where's that reverence,
	Or rather superstitious adoration,	= a word used to describe excessive adulation.^2
32	Which, captive-like to my triumphant beauty
	You paid last night? No humble knee, nor sign
34	Of vassal duty! sure this is the foot
	To whose proud cover, and then happy in it,	= ie. its shoe.
36	Your lips were glued; and that the neck then offered,
	To witness your subjection, to be trod on:
38	Your certain loss of life in the king's anger
	Was then too mean a price to buy my favour;	= small.
40	And that false glow-worm fire of constancy	= the suggested image is of a fire of faithfulness that is
	To your wife, extinguished by a greater light	only an illusion, or so small as to be worthless.
42	Shot from our eyes − and that, it may be, (being	= "my", ie. the royal "we".
	Too glorious to be looked on,) hath deprived you
44	Of speech and motion: but I will take off
	A little from the splendour, and descend
46	From my own height, and in your lowness hear you
	Plead as a suppliant.
48
	Math. I do remember
50	I once saw such a woman.
52	Hon. How!	52: "What the…"
54	Math. And then
	She did appear a most magnificent queen,
56	And what's more, virtuóus, though somewhat darkened
	With pride, and self-opinion.
58
	Eubu. Call you this courtship?
60
	Math. And she was happy in a royal husband,
62	Whom envy could not tax unless it were	= censure.^1
	For his too much indulgence to her humours.	= moods or whims.
64
	Eubu. Pray you, sir, observe that touch, 'tis to the purpose;
66	I like the play the better for't.	= Eubulus is pleased by the way Mathias is talking to the
		queen. Eubulus, we remember, is not a fan of Honoria's self-indulgent character.
68	Math. And she lived
	Worthy her birth and fortune: you retain yet
70	Some part of her angelical form; but when
	Envy to the beauty of another woman,	= ie. Sophia.
72	Inferior to hers, one that she never
	Had seen, but in her picture, had dispersed
74	Infection through her veins, and loyalty,	74-75: loyalty…nourished = as a great queen, Honoria
	Which a great queen, as she was, should have nourished,	should have been inspired by and admired Mathias'
76	Grew odious to her −	fidelity to his wife.
78	Hon. I am thunderstruck.
80	Math. And lust in all the bravery it could borrow	= fine clothing.
	From majesty, howe'er disguised, had ta'en
82	Sure footing in the kingdom of her heart,
	The throne of chastity once, how, in a moment,
84	All that was gracious, great, and glorious in her,	= note the fine alliteration in this line.
	And won upon all hearts, like seeming shadows
86	Wanting true substance, vanished!	= lacking.
88	Hon. How his reasons	= Honoria begins to feel genuinely ashamed of her beha-
	Work on my soul!	viour. Such transformational scenes are common in Massinger's work.
90
	Math. Retire into yourself;	91: the literal sense is "withdraw into yourself", perhaps a plea for introspection.
92	Your own strengths, madam, strongly manned with virtue,
	And be but as you were, and there's no office	= "become the person you used to be".
94	So base, beneath the slavery that men
	Impose on beasts, but I will gladly bow to.
96	But as you play and juggle with a stranger,	= deceive a foreigner.
	Varying your shapes like Thetis, though the beauties	= a sea nymph with the power to change her shape into any other form at will. Thetis married the human Peleus and became the mother of Achilles.^3
98	Of all that are by poets' raptures sainted
	Were now in you united, you should pass
100	Pitied by me, perhaps, but not regarded.	= esteemed or admired.^2
102	Eubu. If this take not, I am cheated.	= "fails to have an effect on her conscience".
104	Math. To slip once	104-5: a variation of the common trope expressed more familiarly as "to err is human".
	Is incident, and excused by human frailty;	= normal.^2
106	But to fall ever, damnable. We were both	= continuously.
	Guilty, I grant, in tendering our affection;	= offering.
108	But, as I hope you will do, I repented.
	When we are grown up to ripeness, our life is
110	Like to this [magic] picture. While we run	= the word magic was added by Gifford, as the original word here seems to have been lost from the quarto.
	A constant race in goodness, it retains
112	The just proportion; but the journey being	= ie. its proper balance.
	Tedious, and sweet temptation in the way,
114	That may in some degree divert us from
	The road that we put forth in, ere we end
116	Our pilgrimage, it may, like this, turn yellow,
	Or be with blackness clouded: but when we
118	Find we have gone astray, and labour to	118-122: labour…pureness = if we work to return to the
	Return unto our never-failing guide,	path of righteous living, being led by virtue (our never-
120	Virtue, contrition, with unfeignèd tears,	failing guide), then genuine contrition will restore our
	The spots of vice washed off, will soon restore it	lives (metaphorically a road or path) to its original
122	To the first pureness.	unstained state.
124	Hon. I am disenchanted:	124: the spell or illusion is removed: Honoria sees the truth.
	Mercy, O mercy, heavens!
126
	[Kneels.]
128
	Ladis. I am ravished	= transported with high emotion.
130	With what I have seen and heard.
132	Ferd. Let us descend,
	And hear the rest below.
134
	Eubu. This hath fallen out
136	Beyond my expectation.
138	[They descend.]	138: they exit the balcony.
140	Hon. How have I wandered
	Out of the track of piety! and misled
142	By overweening pride, and flattery
	Of fawning sycophants, (the bane of greatness,)	= destroyer.^1
144	Could never meet till now a passenger,	= traveler.^2
	That in his charity would set me right,
146	Or stay me in my precipice to ruin.	= stop or save. = great fall.
	How ill have I returned your goodness to me!	= ie. illy.
148	The horror, in my thought of’t, turns me marble:
	But if it may be yet prevented −
150
	Re-enter Ladislaus, Eubulus, Ferdinand,
152	Acanthe, and others, below.
154	O sir,
	What can I do to shew my sorrow, or
156	With what brow ask your pardon?	= countenance; Honoria kneels to Ladislaus.
158	Ladis. Pray you, rise.	158ff: Honoria remains kneeling.
160	Hon. Never, till you forgive me, and receive	160-4: it was a notable strength of Massinger's to write
	Unto your love and favour a changed woman:	beautiful speeches and scenes of contrition such as this.
162	My state and pride turned to humility, henceforth
	Shall wait on your commands, and my obedience
164	Steered only by your will.
166	Ladis. And that will prove
	A second and a better marriage to me.
168	All is forgotten.
170	Hon. Sir, I must not rise yet,
	Till, with a free confession of a crime
172	Unknown to you yet, and a following suit,	= then a request right after the confession.
	Which thus I beg, be granted.
174
	Ladis. I melt with you:	= yield to compassion, or shed tears.^1
176	'Tis pardoned, and confirmed thus.
178	[Raises her.]
180	Hon. Know then, sir,
	In malice to this good knight's wife, I practised
182	Ubaldo and Ricardo to corrupt her.
184	Bapt. [Aside]
	Thence grew the change of the picture.	= from there.
186
	Hon. And how far
188	They have prevailed, I am ignorant: now, if you, sir,
	For the honour of this good man, may be entreated
190	To travaile thither, it being but a day's journey,	= "to travel to there".
	To fetch them off −
192
	Ladis. We will put on to-night.	= hasten to go.^1
194
	Bapt. I, if you please, your harbinger.	195: Baptista asks permission to ride ahead to announce
196		their arrival to Sophia's.
	Ladis. I thank you. −
198	Let me embrace you in my arms; your service	= the king is now addressing Mathias.
	Done on the Turk, compared with this, weighs nothing.
200
	Math. I am still your humble creature.
202
	Ladis. My true friend.
204
	Ferd. And so you are bound to hold him.
206
	Eubu. Such a plant
208	Imported to your kingdom, and here grafted,
	Would yield more fruit than all the idle weeds	= Eubulus refers to the usual parasites, and perhaps to
210	That suck up your rain of favour.	Ricardo and Ubaldo in particular, who attach themselves to a sovereign's court.
212	Ladis. In my will	= desire (to do right).
	I’ll not be wanting. Prepare for our journey.	= lacking.
214	In act be my Honoria now, not name,
	And to all aftertimes preserve thy fame.	= reputation.
216
	[Exeunt.]
	ACT V.
	SCENE I.
	Bohemia.
	A Hall in Mathias’ House.
	Enter Sophia, Corisca, and Hilario.
1	Soph. Are they then so humble?
2
	Hil. Hunger and hard labour
4	Have tamed them, madam; at the first they bellowed
	Like stags ta'en in a toil, and would not work	= taken. = snare or trap.
6	For sullenness; but when they found, without it
	There was no eating, and that to starve to death
8	Was much against their stomach; by degrees,
	Against their wills, they fell to it.
10
	Coris. And now feed on
12	The little pittance you allow, with gladness.
14	Hil. I do remember that they stopped their noses	= ie. held their noses, out of snobbery.
	At the sight of beef and mutton, as coarse feeding
16	For their fine palates; but now, their work being ended,
	They leap at a barley crust, and hold cheese-parings,	= consider. = thin slices of the rind of a cheese.^1
18	With a spoonful of palled wine poured in their water,	= stale.^1
	For festival-exceedings.	= "to be like extra rations given at a festival." The term
20		applies specifically to the extra commons served to the students at college festivals.^1
	Coris. When I examine
22	My spinster's work, he trembles like a prentice,	= ie. Ubaldo's. = ie. an apprentice.
	And takes a box on the ear, when I spy faults
24	And botches in his labour, as a favour	= flaws, imperfections.^1 = as if it were.
	From a curst mistress.	= ill-tempered.^1
26
	Hil. The other, too, reels well
28	For his time; and if your ladyship would please
	To see them for your sport, since they want airing,	= need.
30	It would do well, in my judgment; you shall hear
	Such a hungry dialogue from them!
32
	Soph. But suppose,
34	When they are out of prison, they should grow
	Rebellious?
36
	Hil. Never fear't; I'll undertake
38	To lead them out by the nose with a coarse thread
	Of the one's spinning, and make the other reel after,
40	And without grumbling; and when you are weary of
	Their company, as easily return them.
42
	Coris. Dear madam, it will help to drive away
44	Your melancholy.
46	Soph. Well, on this assurance,
	I am content; bring them hither.
48
	Hil. I will do it
50	In stately equipage.	= ie. attire. Hilario is proud of his new clothes!
52	[Exit Hilario.]
54	Soph. They have confessed, then,
	They were set on by the queen, to taint me in
56	My loyalty to my lord?
58	Coris. 'Twas the main cause,
	That brought them hither.
60
	Soph. I am glad I know it;
62	And as I have begun, before I end
	I'll at the height revenge it; let us step aside,	= to the greatest extent possible.
64	They come: the object's so ridiculous,	= sight is.
	In spite of my sad thoughts, I cannot but
66	Lend a forced smile to grace it.	= Sophia will observe the ensuing scene between the
		courtiers and her servants without herself being visible to them.
68	Re-enter Hilario, with Ubaldo spinning,
	and Ricardo reeling.
70
	Hil. Come away:
72	Work as you go, and lose no time, 'tis precious;
	You'll find it in your commons.	= meals or rations.
74
	Ric. Commons, call you it!	75-77: Ricardo is bitter.
76	The word is proper; I have grazed so long
	Upon your commons, I am almost starved here.
78
	Hil. Work harder, and they shall be bettered.
80
	Ubald. Bettered!
82	Worser they cannot be: would I might lie
	Like a dog under her table, and serve for a footstool,	= ie. waiting for scraps.
84	So I might have my belly full of that	= ie. those scraps which.
	Her Iceland cur refuses!	= a small working dog of the spitz family.^1
86
	Hil. How do you like
88	Your airing? is it not a favour?
90	Ric. Yes;
	Just such a one as you use to a brace of greyhounds,	= pair.
92	When they are led out of their kennels to scumber;	= relieve themselves of feces.^1
	But our case is ten times harder, we have nothing
94	In our bellies to be vented: if you will be
	An honest yeoman-fewterer, feed us first,	= a favourite phrase of Massinger's, meaning an attendant who acts as the dog keeper or who holds the dogs on their leashes during a hunt.^9
96	And walk us after.	= ie. like a dog that will need to relieve itself.
98	Hil. Yeoman-fewterer!
	Such another word to your governor, and you go	= ie. Sophia, as one who governs or manages.
100	Supperless to bed for't.
102	Ubald. Nay, even as you please;
	The comfortable names of breakfasts, dinners,
104	Collations, supper, beverage, are words	= basically snacks.^1
	Worn out of our remembrance.
106
	Ric. O for the steam
108	Of meat in a cook's shop!
110	Ubald. I am so dry	= ie. dehydrated.
	I have not spittle enough to wet my fingers
112	When I draw my flax from my distaff.
114	Ric. Nor I strength
	To raise my hand to the top of my reeler . Oh!
116	I have the cramp all over me.	= ie. cramps.
118	Hil. What do you think
	Were best to apply to it? A cramp-stone, as I take it,	= ie. as a cure or palliative. = "a stone used as a charm
120	Were very useful.	against a cramp" (OED).^1
122	Ric. Oh! no more of stones,	122-3: during training, hawks were attracted to a lure with
	We have been used too long like hawks already.	specific foods which would cause constipation, due to hardening of the feces (stones). Then, the keeper would induce vomiting (as Ubaldo alludes to in the next speech at 124-5) in the bird to cleanse its system.^16 used = treated.
124
	Ubald. We are not so high in our flesh now to need casting,	125: high in our flesh = a phrase from falconry, which seems to mean "full with food", though in the 17th century it picked up another sense, describing one who was overly sexually active. need = require. casting = vomiting.^1
126	We will come to an empty fist.	126: a reference to a hawk returning to its perch on the wrist of its keeper; Ubaldo is suggesting they are so tame, they don't even need food to lure them back to their keeper.
128	Hil. Nay, that you shall not.	128: ie. fly to an empty fist.
	So ho, birds! −	129: the call of the falconer at feeding time.^16
130
	[Holds up a piece of bread.]
132
	− How the eyasses scratch and scramble!	= young hawks taken from the nest for training.^16
134	Take heed of a surfeit, do not cast your gorges;	134: a surfeit = ie. overdoing it. cast your gorges = "vomit the contents of your sto- machs;" more vocabulary from falconry.^1
	This is more than I have commission for; be thankful.	= "more than my instructions permit me to give you".
136
	Soph. Were all that study the abuse of women	137-8: Were all…used thus = "If every man who took
138	Used thus, the city would not swarm with cuckolds,	advantage of women was treated this way"; the OED cites abuse here to mean "rape" or "sexually mistreat" (OED def. 6a).^1
	Nor so many tradesmen break.	= go bankrupt.
140
	Coris. Pray you, appear now,
142	And mark the alteration.
144	[Sophia comes forward.]
146	Hil. To your work,
	My lady is in presence; shew your duties:
148	Exceeding well.
150	Soph. How do your scholars profit?
152	Hil. Hold up your heads demurely. Prettily,	= in a subdued manner.^2 = very well, not bad.
	For young beginners.
154
	Coris. And will do well in time,
156	If they be kept in awe.
158	Ric. In awe! I am sure
	I quake like an aspen leaf.	= a common literary simile.
160
	Ubald. No mercy, lady?
162
	Ric. Nor intermission?
164
	Soph. Let me see your work:
166	Fie upon't, what a thread's here! a poor cobbler's wife
	Would make a finer to sew a clown's rent startup;	= ie. would do a better job. = peasant's torn shoes. startups = high shoes worn by country folk, some- times worn on stage by rural characters for comic effect.^1
168	And here you reel as you were drunk.	= Sophia puns on reel, referring both to Ricardo's reeling
		of the thread, and reeling, or staggering, as a drunk person might do.
170	Ric. I am sure
	It is not with wine.
172
	Soph. O, take heed of wine;
174	Cold water is far better for your healths,
	Of which I am very tender: you had foul bodies,	= solicitous (of their health).
176	And must continue in this physical diet,	= healthful or beneficial.^1
	Till the cause of your disease be ta'en away,
178	For fear of a relapse; and that is dangerous:
	Yet I hope already that you are in some
180	Degree recovered, and that way to resolve me,	= assure.
	Answer me truly; nay, what I propound
182	Concerns both; nearer: what would you now give,	= "come nearer".
	If your means were in your hands, to lie all night
184	With a fresh and handsome lady?
186	Ubald. How! a lady?
	O, I am past it; hunger with her razor	= ie. accompanying sharp pains, but perhaps also suggest- ing an instrument used to castrate a man, with eunuch in the next line.
188	Hath made me an eunuch.	= ie. a man without interest in sex or ability to perform sexually.
190	Ric. For a mess of porridge,	= serving.
	Well sopped with a bunch of radish and a carrot,	= ie. soaked.
192	I would sell my barony; but for women, oh!
	No more of women; not a doit for a doxy,	= a doit was a small Dutch coin, worth half a farthing;^1
194	After this hungry voyage.	doxy is cant for a mistress or prostitute:^1 hence, "I
		wouldn't spend the smallest amount for a woman."
196	Soph. These are truly
	Good symptoms; let them not venture too much in the air,
198	Till they are weaker.	198: Sophia, with good humour, suggests the courtiers
		may still have too much strength to trust them with any freedom.^16
200	Ric. This is tyranny.
202	Ubald. Scorn upon scorn.
204	Soph. You were so
	in your malicióus intents to me,
206
	Enter a Servant.
208
	And therefore 'tis but justice − What's the business?
210
	Serv. My lord's great friend, signior Baptista, madam,
212	Is newly lighted from his horse, with certain	= dismounted.
	Assurance of my lord's arrival.	= ie. Mathias' impending arrival.
214
	Soph. How?
216	And stand I trifling here? Hence with the mongrels	= ie. out.
	To their several kennels; there let them howl in private;
218	I'll be no further troubled.
220	[Exeunt Sophia and Servant.]
222	Ubald. O that ever
	I saw this fury!
224
	Ric. Or looked on a woman
226	But as a prodigy in nature.	226: ie. "as anything but as a monster or freak of nature
		(prodigy)."
228	Hil. Silence;
	No more of this.
230
	Coris. Methinks you have no cause
232	To repent your being here.
234	Hil. Have you not learnt,
	When your states are spent, your several trades to live by,	= estate, wealth. = individual.
236	And never charge the hospital?
238	Coris. Work but tightly,	= vigorously or properly.^1
	And we will not use a dish-clout in the house,	= dish-cloth.
240	But of your spinning.	= except for those.
242	Ubald. O, I would this hemp
	Were turned to a halter!	= noose.
244
	Hil. Will you march?	= get going.
246
	Ric. A soft one,
248	Good general, I beseech you.	= Ricardo picks up on Hilario's use of march in line 245.
250	Ubald. I can hardly
	Draw my legs after me.
252
	Hil. For a crouch, you may use	= crutch, an alternate spelling.
254	Your distaff; a good wit makes use of all things.
256	[Exeunt.]
	ACT V, SCENE II.
	A Room in the same.
	Enter Sophia and Baptista.
1	Soph. Was he jealous of me?	= suspicious.
2
	Bapt. There's no perfit love	= perfect.
4	Without some touch of’t, madam.
6	Soph. And my picture,
	Made by your devilish art, a spy upon
8	My actiöns! I ne'er sat to be drawn,
	Nor had you, sir, commission for't.	= authorization, permission.
10
	Bapt. Excuse me;
12	At his earnest suit I did it.
14	Soph. Very good: −
	Was I grown so cheap in his opinion of me?
16
	Bapt. The prosperous events that crown his fortunes	= results.
18	May qualify the offence.	= temper, moderate.
20	Soph. Good, the events: −	20: "oh, right, the outcomes (events)": Sophia is sarcastic. Good = the quarto prints an incomprehensible Rood here, emended by Gifford.
	The sanctuary fools and madmen fly to,	21-22: Sophia is critical of those who fall back on happy
22	When their rash and desperate undertakings thrive well:	outcomes to justify or excuse ill-conceived means to achieve those results.
	But good and wise men are directed by
24	Grave counsels, and with such deliberation
	Proceed in their affairs, that chance has nothing	= luck or good fortune.
26	To do with them: howsoe'er, take the pains, sir,
	To meet the honour (in the king and queen's
28	Approaches to my house) that breaks upon me;	= descends.
	I will expect them with my best of care.
30
	Bapt. To entertain such royal guests −
32
	Soph. I know it;
34	Leave that to me, sir.
36	[Exit Baptista.]
38	What should move the queen,
	So given to ease and pleasure, as fame speaks her,	= "her reputation proclaims her to be".
40	To such a journey! or work on my lord	= to make such. = manipulate or work on.
	To doubt my loyalty, nay, more, to take,	= "suspect my faithfulness".
42	For the resolution of his fears, a course	42-43: a course…Christian = ie. dabbling in magic, which
	That is by holy writ denied a Christian?	Christians are admonished to avoid.
44	'Twas impious in him, and perhaps the welcome
	He hopes in my embraces, may deceive
46
	[Trumpets sounded.]
48
	His expectatiön. The trumpets speak
50	The king's arrival: − help a woman's wit now,	= an invocation to Providence to assist her to teach
	To make him know his fault, and my just anger!	Mathias to understand his misbehavior.
52
	[Exit Sophia.]
	ACT V, SCENE III.
	A Hall in the Same.
	A Flourish. Enter Ladislaus, Ferdinand,	= the quarto prints "Loud musicke" here, but Gifford
	Eubulus, Mathias, Baptista, Honoria,	properly emends it to A Flourish, a fanfare of horns
	and Acanthe, with Attendants.	used to announce the arrival of persons of distinction.^1
1	Eubu. Your majesty must be weary.
2
	Hon. No, my lord,
4	A willing mind makes a hard journey easy.
6	Math. Not Jove, attended on by Hermes, was	= alternate name for Jupiter. = the messenger god. Note how Massinger here uses the messenger god's Greek name Hermes - perhaps for purposes of meter - rather than his Roman name Mercury, as he typically does with his gods; our dramatists were not overly concerned with consistency in such matters.
	More welcome to the cottage of Philemon	7-8: Philemon and Baucis = an allusion to one of the
8	And his poor Baucis, than your gracious self,	gentlest of ancient myths: Jupiter and Mercury, disguised
	Your matchless queen, and all your royal train,	as mortals, went searching for good people, but the doors
10	Are to your servant and his wife.	of a thousand houses were shut in their faces; the impover-
		ished elderly couple Philemon and Baucus, however, invited the gods in and served them as much as their means permitted. In return for their kindness, Jupiter granted the couple any wish; they asked to be made priests of Jupiter and to die together. After drowning all their neighbors, Jupiter turned their home into a temple, and when the couple died, turned them into intertwining oak and linden trees (Humphries, 200-4).^15 Note that Mathias is implicitly comparing the king and queen to the gods, and his own home to that of Baucis and Philemon.
12	Ladis. Where is she?
14	Hon. I long to see her as my now-loved rival.	= Honoria means she herself now loves, rather than scorns, Sophia.
16	Eubu. And I to have a smack at her; 'tis a cordial	16-18: the elderly Eubulus looks forward to receiving a kiss
	To an old man, better than sack and a toast	from Sophia. It was customary in England in this era
18	Before he goes to supper.	for strangers to exchange a kiss on the lips upon being introduced. smack = kiss. cordial = restorative. sack = a white wine. toast = commonly used as a sop in one's drink.
20	Math. Ha! is my house turned
	To a wilderness? Nor wife nor servants ready,	= Mathias wonders at the absence of anyone to greet
22	With all rites due to majesty, to receive	the arriving party.
	Such unexpected blessings! − You assured me	= Mathias addresses Baptista.
24	Of better preparatiön; hath not
	The excess of joy transported her beyond
26	Her understanding?
28	Bapt. I now parted from her,
	And gave her your directions.
30
	Math. How shall I beg
32	Your majesties' patience! sure my family's drunk,
	Or by some witch, in envy of my glory,
34	A dead sleep thrown upon them.
36	Enter Hilario and Servants.
38	Serv. Sir.
40	Math. But that
	The sacred presence of the king forbids it,
42	My sword should make a massacre among you.
	Where is your mistress?
44
	Hil. First, you are welcome home, sir:
46	Then know, she says she's sick, sir. −
	[Aside] There's no notice
48	Taken of my bravery!	= fine clothes.
50	Math. Sick at such a time!
	It cannot be: though she were on her death-bed,
52	And her spirit e'en now departed, here stand they	= "those who" (meaning the king and queen).
	Could call it back again, and in this honour,
54	Give her a second being. Bring me to her;
	I know not what to urge, or how to redeem
56	This mortgage of her manners.
58	[Exeunt Mathias, Hilario, and Servants.]
60	Eubu. There's no climate
	On the world, I think, where one jade's trick or other	= broken-down horse; Eubulus wistfully regrets that
62	Reigns not in women.	women are always up to a bit of manipulation or another.
64	Ferd. You were ever bitter
	Against the sex.	= ie. women.
66
	Ladis. This is very strange.
68
	Hon. Mean women	= ie. women of lower status.
70	Have their faults, as well as queens.
72	Ladis. O, she appears now.
74	Re-enter Mathias with Sophia;
	Hilario following.
76
	Math. The injury that you conceive I have done you
78	Dispute hereafter, and in your perverseness	= "we can argue about later". = irrationality, contrariness.^1
	Wrong not yourself and me.	79: ie. "just because you are upset, don't do anything to
80		embarrass both of us, or harm both of our reputations in the eyes of the king and the queen."
	Soph. I am past my childhood,
82	And need no tutor.
84	Math. This is the great king,
	To whom I am engaged till death for all	= indebted.
86	I stand possessed of.
88	Soph. My humble roof is proud, sir,
	To be the canopy of so much greatness
90	Set off with goodness.
92	Ladis. My own praises flying
	In such pure air as your sweet breath, fair lady,
94	Cannot but please me.
96	Math. This is the queen of queens,
	In her magnificence to me.
98
	Soph. In my duty
100	I kiss her highness' robe.
102	Hon. You stoop too low	102-3: Honoria indicates that she is meeting Sophia as
	To her whose lips would meet with yours.	a complete equal.
104
	[Kisses her.]
106
	Soph. Howe'er	107-9: Sophia comments on the apparent oddness of two
108	It may appear preposterous in women	women kissing on the lips.
	So to encounter, 'tis your pleasure, madam,
110	And not my proud ambition. –
	[Aside to Mathias] Do you hear, sir?
112	Without a magical picture, in the touch	= ie. "in touching the queen's lips with mine".
	I find your print of close and wanton kisses	= secret and lewd.
114	On the queen's lips.
116	Math. Upon your life be silent:
	And now salute these lords.	= greet.
118
	Soph. Since you will have me,	119-121: now Sophia is being really saucy: she suggests
120	You shall see I am experienced at the game,	that she too can be willing and generous in spreading
	And can play it tightly.	around her favours! tightly = properly or vigorously.^1
122	[To Ferdinand] You are a brave man, sir,
	And do deserve a free and hearty welcome:
124	Be this the prologue to it.
126	[Kisses him.]
128	Eubu. An old man's turn
	Is ever last in kissing. − I have lips too,
130	However cold ones, madam.
132	Soph. I will warm them
	With the fire of mine.
134
	[Kisses him.]
136
	Eubu. And so she has! I thank you,
138	I shall sleep the better all night for't.
140	Math. [Aside to Sophia] You express
	The boldness of a wanton courtezan,	= loose whore.
142	And not a matron's modesty; take up,	= "control yourself".
	Or you are disgraced for ever.
144
	Soph. How? with kissing
146	Feelingly, as you taught me? would you have me
	Turn my cheek to them, as proud ladies use
148	To their inferiors, as if they intended
	Some business should be whispered in their ear,
150	And not a salutation? what I do,
	I will do freely; now I am in the humour,
152	I'll fly at all: are there any more?
154	Math. Forbear,
	Or you will raise my anger to a height
156	That will descend in fury.
158	Soph. Why? you know
	How to resolve yourself what my intents are,	= satisfy, dispel doubts about.
160	By the help of Mephostophilus, and your picture:	= a demon who, in a German legend, made a deal with the scholar Faust, in which Faust, in return for his soul, was given a sorcerer's magic powers for a number of years. Mephostophilus entered English literature in The Tragical History of Doctor Faustus, a popular play written by Christopher Marlowe around 1590. The name became associated with one who tempts another to pursue a self-destructive course of action.^1 Here, of course, Sophia is referring to Baptista.
	Pray you, look upon't again. I humbly thank
162	The queen's great care of me while you were absent.
	She knew how tedious 'twas for a young wife,
164	And being for that time a kind of widow,
	To pass away her melancholy hours
166	Without good company, and in charity, therefore,
	Provided for me: out of her own store,	= "supplied me," ie. "made arrangements for me."
168	She culled the lords Ubaldo and Ricardo,	= selected.
	Two principal courtiers for ladies' service,
170	To do me all good offices; and as such
	Employed by her, I hope I have received
172	And entertained them; nor shall they depart
	Without the effect arising from the cause	= probably intended to be suggestive: Sophia no doubt
174	That brought them hither.	is hoping to even further Mathias' horror.
176	Math. Thou dost belie thyself:	= ie. Mathias knows Sophia is not being truthful.
	I know that in my absence thou wert honest,	= chaste.
178	However now turned monster.
180	Soph. The truth is,
	We did not deal, like you, in speculations
182	On cheating pictures; we knew shadows were
	No substances, and actual performance
184	The best assurance. I will bring them hither,
	To make good in this presence so much for me.
186	Some minutes space I beg your majesties' pardon. −
	You are moved now: champ upon this bit a little,	= ie. moved to anger.
188	Anon you shall have another. − Wait me, Hilario.	= in a moment. = attend.
190	[Exeunt Sophia and Hilario.]
192	Ladis. How now? turned statue, sir!
194	Math. Fly, and fly quickly,
	From this cursed habitation, or this Gorgon	= the Gorgons were three sisters, the most well-known of whom was Medusa. They were famous for their hair of snakes, and anyone who looked at them directly was turned to stone.
196	Will make you all as I am. In her tongue
	Millions of adders hiss, and every hair
198	Upon her wicked head a snake more dreadful
	Than that Tisiphone threw on Athamas,	= Athamas was the husband of Ino, the daughter of Cadmus, the founder and king of Thebes. The couple were devoted to worshiping Bacchus, to the point where it caused Juno to become furious with jealousy. She ordered one of the Furies, Tisiphone, to punish them by driving them mad. Tisiphone, wearing a "dress of serpents", proceeded to cause Athamas and Ino to go insane by throwing snakes, whose poison worked on their minds but not their bodies, upon them. Now mad, Athamas smashed their son against a wall, and Ino threw herself into the sea, while Juno laughed at the whole scene. Ovid told the tale in Book 4 of Metamorphoses (Humphries, pp. 94-99).^15
200	Which in his madness forced him to dismember
	His proper issue. O that ever I	= ie. his own offspring.
202	Reposed my trust in magic, or believed
	Impossibilities! or that charms had power
204	To sink and search into the bottomless hell
	Of a false woman's heart!
206
	Eubu. These are the fruits
208	Of marriage! an old bachelor as I am,	= ie. confirmed bachelor.^1
	And, what's more, will continue so, is not troubled
210	With these fine fagaries.	= "whims", a commonly-used corruption of vagaries.
212	Ferd. Till you are resolved, sir,	= ie. learn for sure what has happened.
	Forsake not hope.
214
	Bapt. Upon my life, this is	215-6: this is / Dissimulation = ie. "I believe she is only
216	Dissimulation.	pretending (to have engaged amorously with Ricardo
		and Ubaldo)."
218	Ladis. And it suits not with
	Your fortitude and wisdom to be thus
220	Transported with your passion.	= "carried away by your emotions."
222	Hon. You were once
	Deceived in me, sir, as I was in you;
224	Yet the deceit pleased both.
226	Math. She hath confessed all;	226-7: Mathias implies that Sophia is not in fact lying; no
	What further proof should I ask?	one would confess to evil they have not actually
228		committed.
	Hon. Yet remember
230	The distance that is interposed between
	A woman's tongue and her heart; and you must grant,
232	You build upon no certainties.
234	Re-enter Sophia, Corisca, and Hilario,
	with Ubaldo and Ricardo in rags,
236	spinning and reeling, as before.
238	Eubu. What have we here?
240	Soph. You must come on, and shew yourselves.
242	Ubald. The king!
244	Ric. And queen too! would I were as far under the earth	= "I wish".
	As I am above it!
246
	Ubald. Some poet will,	247-250: Gifford notes the delightfulness of these sorts of
248	From this relation, or in verse or prose,	self-references by our dramatists (all of whom were
	Or both together blended, render us	poets) to their anticipated future fame.
250	Ridiculous to all ages.
252	Ladis. I remember
	This face, when it was in a better plight:
254	Are not you Ricardo?
256	Hon. And this thing, I take it,
	Was once Ubaldo.
258
	Ubald. I am now I know not what.
260
	Ric. We thank your majesty for employing us
262	To this subtle Circe.	= cunning, deceiving. = Circe was the witch who in the
		Odyssey turned Odysseus' sailors into swine.
264	Eubu. How, my lord! turned spinster!
	Do you work by the day, or by the great?	= a commercial phrase: by the bulk or in quantity.^1
266
	Ferd. Is your theorbo	= a large lute-like musical instrument.^1
268	Turned to a distaff, signior? and your voice,
	With which you chanted, Room for a lusty gallant!	= ie. "Make room…"
270	Tuned to the note of Lachrymae?	= title of a popular musical work by the lutanist John
		Dowland; lachrymae is Latin for "tears."
272	Eubu. Prithee tell me,
	For I know thou'rt free, how oft, and to the purpose,	= ie. "speak to the point".
274	You've been merry with this lady.
276	Ric. Never, never.
278	Ladis. Howsoever, you should say so for your credit,	278-9: Ladislaus uses some interesting psychology: as
	Being the only court-bull.	the famous stud of the court, Ricardo would actually
280		enhance his reputation if he admitted to a dalliance with Sophia!
	Ubald. O, that ever
282	I saw this kicking heifer!
284	Soph. You see, madam,
	How I have cured your servants, and what favours	= ie. sexual favours, of course spoken ironically.
286	They with their rampant valour have won from me.
	You may, as they are physic’d, I presume,	= medically treated or cured.
288	Trust a fair virgin with them; they have learned	= beautiful.
	Their several trades to live by, and paid nothing	= individual trades, ie. spinning and reeling.
290	But cold and hunger for them: and may now
	Set up for themselves, for here I give them over. −	= set up shop. = "let them go" or "turn them over".^1
292	And now to you, sir; why do you not again	292f: Sophia now addresses Mathias.
	Peruse your picture, and take the advice
294	Of your learnèd consort? these are the men, or none,	= partner or companion,^1 ie. Baptista.
	That made you, as the Italian says, a becco.	= the OED defines becco as a cuckold,^1 but Gifford
296		suggests a becco is more of a wittol, or a man who knowingly accepts his "disgrace".^16
	Math. I know not which way to entreat your pardon,
298	Nor am I worthy of it. My Sophia,
	My best Sophia; here before the king,
300	The queen, these lords, and all the lookers on,
	I do renounce my error, and embrace you,
302	As the great example to all aftertimes,	= future times.
	For such as would die chaste and noble wives,
304	With reverence to imitate.
306	Soph. Not so, sir;
	I yet hold off. However I have purged
308	My doubted innocence, the foul aspersions,	= suspected.
	In your unmanly doubts, cast on my honour,
310	Cannot so soon be washed off.
312	Eubu. Shall we have
	More jiggobobs yet?	= stuff going on.^1
314		Eubulus could play this line in a number of ways: he could speak in a nervous or concerned manner, or as one who is thoroughly enjoying the scene, and is tickled to see it continuing.
	Soph. When you went to the wars,
316	I set no spy upon you, to observe
	Which way you wandered, though our sex by nature
318	Is subject to suspiciöns and fears;
	My confidence in your loyalty freed me from them.
320	But, to deal as you did, 'gainst your religion,	= as a Christian, Mathias is forbidden from engaging in or making use of magic.
	With this enchanter, to survey my actions,
322	Was more than woman's weakness; therefore know,	= showed a weakness in Mathias that is worse than a woman's.
	And 'tis my boon unto the king, I do	= request or petition.
324	Desire a separation from your bed;
	For I will spend the remnant of my life	325-6: Sophia actually intends to join a convent!
326	In prayer and meditation.
328	Math. O take pity
	Upon my weak condition, or I am
330	More wretched in your innocence, than if
	I had found you guilty. Have you shown a jewel
332	Out of the cabinet of your rich mind,
	To lock it up again? − She turns away.
334	Will none speak for me? shame and sin hath robbed me
	Of the use of my tongue.
336
	Ladis. Since you have conquered, madam,
338	You wrong the glory of your victory,
	If you use it not with mercy.
340
	Ferd. Any penance
342	You please to impose upon him, I dare warrant
	He will gladly suffer.
344
	Eubu. Have I lived to see
346	But one good woman, and shall we for a trifle,
	Have her turn nun? I will first pull down the cloister.
348	To the old sport again, with a good luck to you!
	‘Tis not alone enough that you are good,
350	We must have some of the breed of you: will you destroy	350-1: We must…goodness = a common poetic concern
	The kind and race of goodness? I am converted,	was that good people have a duty to produce children, almost as if they were mementos of their parents. The first of Shakespeare's sonnets were largely concerned with encouraging the young man to whom the sonnets were addressed to procreate.
352	And ask your pardon, madam, for my ill opinion
	Against the sex; and shew me but two such more,	= ie. "two more such examples of women as yourself".
354	I'll marry yet, and love them.
356	Hon. She that yet
	Ne'er knew what 'twas to bend but to the king,
358	Thus begs remission for him.
360	Soph. O, dear madam,
	Wrong not your greatness so.
362
	Omnes. We are all suitors.
364
	Ubald. I do deserve to be hard among the rest.	= heard.
366
	Ric. And we have suffered for it.
368
	Soph. I perceive
370	There's no resistance: but, suppose I pardon
	What's past, who can secure me he'll be free
372	From jealousy hereafter?
374	Math. I will be
	My own security: go, ride, where you please;
376	Feast, revel, banquet, and make choice with whom,
	I'll set no watch upon you; and, for proof of it,
378	This cursèd picture I surrender up
	To a consuming fire.
380
	Bapt. As I abjure
382	The practice of my art.
384	Soph. Upon these terms
	I am reconciled; and for these that have paid	= ie. Ricardo and Ubaldo.
386	The price of their folly, I desire your mercy.
388	Ladis. At your request they have it.
390	Ubald. Hang all trades now!
392	Ric. I will find a new one, and that is, to live honest.	= chastely.
394	Hil. These are my fees.
396	Ubald. Pray you, take them, with a mischief!
398	Ladis. So, all ends in peace now.
	And, to all married men, be this a caution,
400	Which they should duly tender as their life,
	Neither to dote too much, nor doubt a wife.	= suspect.
402
	[Exeunt Omnes.]
	FINIS

MASSINGER'S INVENTED WORDS

Like all writers of the era, Philip Massinger made up words when he felt like it, usually by adding prefixes and suffixes to known words, combining words, or using a word in a way not yet used before. The following is a list of words and expressions from The Picture that research suggests may have been first used, or used in a certain way, by Massinger in this play.

the expression and what's more

chine-evil

court-bull

court-warfare

cramp-stone

the expression a doit for a doxy

dunderhead

errant knighthood

exceedings (meaning extra rations)

festival-exceedings

the expression is not here fine fooling?

keen-edge (an adjective; as opposed to the already common keen-edged)

leaguer laundress

miniature (as a noun meaning line or feature)

night-trader

the adjective now-loved

oil-tongued

the expression on the volley (a variation of at the volley)

rod of concord

spitting pill

tumour (meaning a thing of no value;
from the OED, too many to check)

twitter (verb, meaning to chatter like a bird)

the expression wonder of the age (though wonder of his/this/our age etc. appear earlier)

NOTES ON THE ANNOTATIONS

The footnotes correspond as follows:

1. Oxford English Dictionary (OED) online.

2. Crystal, David and Ben. Shakespeare's Words. London; New York: Penguin, 2002.

3. Smith, W., ed. A Dictionary of Greek and Roman Biography and Mythology. London: John Murray, 1849.

4. A New English Dictionary of Historical Principles. Oxford: Clarendon Press, 1888-1928.

5. Cleary, Chris, ed. The Second Maiden's Tragedy.

Retrieved 9/21/2016: http://www.tech.org/~cleary/2mt.html.

6. Myth Encyclopedia website. Gordian Knot. Retrieved 3/10/2017: www.mythencyclopedia.com/Fi-Go/Gordian-Knot.html.

7. no author listed. Greek Mythology. Athens: Techni S.A., 1998.

8. www.paulmeier.com/OP.pdf.

9. Halliwell, James O. A Dictionary of Archaic and Provincial Words. London: John Russell Smith, 1878.

10. Kermode, Frank. Shakespeare's Language. New York: Farrar, Straus and Giroux, 2000.

11. Theoi Texts Library Website. Apollodorus, The Library 2. Retrieved 3/14/2107: http://www.theoi.com/Text/Apollodorus2.html#7.

12. Ancient Literature Website. Ancient Rome - Juvenal - Satire VI. Retrieved 3/15/2017: http://www.ancient-literature.com/rome_juvenal_satire_VI.html.

13. Bailey, Nathan. An Universal Etymological English Dictionary. London: Printed for T. Osborne etc., 1763.

14. Browne, R. (1719) and Bullokar John (1626). The English Expositor, 12th Ed. London: Printed for W. Churchill, 1719.

15. Humphries, Rolfe, trans. Ovid. Metamorphoses. Bloomington: Indiana University Press, 1983.

16. Gifford, William. The Plays of Philip Massinger. London: William Templeton, 1840.

17, The Encyclopedia Britannica. 11th edition. New York: 1911.

18. Taylor, Gary. Thomas Middleton: Lives and Afterlives, pp. 25-58. From Thomas Middleton, The Collected Works, edited by Gary Taylor and John Lavagnino. Oxford: Clarendon Press, 2010.

19. Daniel, P. A., ed. The Works of Francis Beaumont and John Fletcher. London: George Bell & Sons, 1904.

20. The Poet's Garret Website. English Sestet. Retrieved 2/20/2018: www.thepoetsgarret.com/2014Challenge/form05.html.