ElizabethanDrama.org
presents the Annotated Popular Edition of |
DAMON and PITHIAS |
by Richard Edwards First Published
1571 Featuring complete and easy-to-read
annotations. Annotations
and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2019. |
Newly
Imprinted, as the same was shewed Be- |
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The Speakers’ Names: |
INTRODUCTION
to the PLAY |
|
The Foreigners: |
Damon and Pithias is the sole surviving play by |
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the well-regarded poet and
playwright Richard Ed- |
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Damon, a Gentleman of Greece. |
wards (1523?-1566). The play is
notable for being the |
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Pithias, a Gentleman of Greece. |
earliest known English tragedy
based on a classical |
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Stephano, Servant to Damon And Pithias. |
subject,3 and the first
modern play to fuse seriously |
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dramatic and earthily comic
material into a single |
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The Syracusans: |
stage-work, often in the same
scene. |
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The story explores the nature of
friendship, both |
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Dionysius, the King of Syracuse. |
genuine and false, and while the
protagonists, Damon |
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Eubulus, the King's Councillor. |
and Pithias, occasionally lapse
into dreary sermonizing |
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Aristippus, A Pleasant Gentleman. |
about the beauty of their platonic
love for each other, |
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Will, Aristippus' Lackey. |
the script actually manages to
move along briskly, and |
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Carisophus, A Parasite. |
will reward the interested reader. |
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Jack, Carisophus' Lackey. |
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Snap, the Porter. |
NOTE
on the TEXT'S SOURCE |
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Gronno, The Hangman. |
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Grim, The Collier. |
The text of the play is adopted from
John Farmer's |
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1906 edition of Damon and
Pithias, cited below at |
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#3, with some of the spelling and
wording from the |
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1571 original quarto reinstated. |
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NOTES
on the ANNOTATIONS |
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Mention of Farmer, Adams, Hazlitt,
Walker and |
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King in the annotations refers to
the notes provided |
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by these editors in their
respective editions of our play, |
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each cited fully below. |
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The most commonly cited sources are
listed in the |
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footnotes immediately below. The
complete list of |
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footnotes appears at the end of
this play. |
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1. Oxford English Dictionary (OED)
online. |
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2. Crystal, David and Ben. Shakespeare's
Words. |
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London, New York: Penguin, 2002. |
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3. Farmer, John S. The Dramatic
Writings of |
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Richard Edwards, Thomas Norton and
Thomas |
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Sackville. London: the Early English Drama Society, |
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1906. |
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4. Adams, Joseph Quincy, ed. Chief
Pre-Shake- |
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sperean Dramas. Cambridge, MA: The Riverside |
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Press, 1924. |
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5. Hazlitt, W. Carew. Old English
Plays, Vol. IV. |
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London: Reeves and Turner, 1874. |
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11. Walker, Greg, ed. The Oxford
Anthology of |
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Drama. Oxford: Oxford University Press, 2014. |
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13. King, Ros. The Works of Richard
Edwards. |
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Manchester: Manchester University
Press, 2001. |
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A.
Early Publishing History of Damon and Pithias. |
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The earliest extant edition of Damon
and Pithias is a 1571 quarto. If one carefully reads the description of
the play as it appears on the title-page (the blurb is reproduced, complete
with regularly decreasing font and line length, at the top of this edition),
one will note that it states that the 1571 edition of Damon is
"Newly Imprinted", and that the Prologue has been "somewhat
altered", which suggests there existed once an earlier edition of the
play that has been lost to history. |
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B.
The Real Aristippus. |
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Damon
and Pithias features a philosopher named
Aristippus who spends his days in King Dionysius' court making good money
entertaining the king and his courtiers with his (Aristippus') wit. |
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C.
Settings, Scenes, Asides and Stage Directions. |
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The entire play takes place in Syracuse
in Sicily. All scene settings are the suggestion of the editor. |
THE PROLOGUE. |
The Prologue: as was common in the earliest Elizabethan dramas, the
play begins with an actor (sometimes called a Chorus) who appears on
stage to introduce the story. |
|
1 |
ON every side, whereas I glance my
roving eye, |
1-2: "everywhere I look, I
discern (espy) a general |
2 |
Silence in all ears bent I
plainly do espy: |
silence, as your ears are all
turned (bent) attentively in this direction." |
But if your eager looks do long
such toys to see, |
3-12: the speaker apologizes for
the fact that the audience will be disappointed if it expects to see a
whimsical comedy or farce, but then revises his statement, and promises to
add comedy to his serious story. |
|
4 |
As heretofore in comical wise
were wont abroad to be, |
4: as were customarily seen
elsewhere (in other plays). |
Your lust is lost, and all the pleasures that you sought |
= "your desire will not be
satisfied".3 |
|
6 |
Is frustrate quite of toying plays. A sudden change is |
6: Is frustrate =
"are to be frustrated", ie. will be deprived. Note the lack of
grammatical agreement between pleasures and Is. |
For lo, our author's muse, that
maskèd in delight, |
7-8: the author's Muse
is the goddess by whom a |
|
8 |
Hath forced his pen against his
kind no more such sports |
composer of written works
traditionally was said to be inspired; there were 9 Muses, all sisters, in
Greek mythology. |
Muse he that lust (right worshipful), for chance hath made |
9: Muse he that lust
= "he who wishes may ponder or marvel (at this unexpected turn)";
note the pun with muse. |
|
10 |
For that to some he seemed too
much in young desires to |
10: "it appears that your
playwright has been viewed by some as previously having shown too great a
predilection toward artistically enmeshing himself in affairs of young love (in
young desires)."4 |
In which, right glad to please,
seeing that he did offend, |
= "preferring to please his
audience". |
|
12 |
Of all he humbly pardon craves: his
pen that shall amend. |
= as he did in line 8 above, the
speaker personifies the |
And yet (worshipful audience) thus
much I dare avouch, |
= affirm. |
|
14 |
In comedies the greatest skill is
this, rightly to touch |
14-15: to touch…quick
= common expression meaning "to touch or reach the core or most
important part of a thing".1 |
All things to the quick; and eke
to frame each person so, |
15-16: eke…know =
ie. a good playwright should also |
|
16 |
That by his common talk you may
his nature rightly know. |
(eke) be able to
portray his characters in such a way that when they speak, their types are
immediately recognizable to the audience. |
A roister ought not preach,
that were too strange to hear; |
= braggart, swaggerer. = would be. |
|
18 |
But as from virtue he doth
swerve, so ought his words |
= ie. virtuous behaviour or
action. |
The old man is sober, the
young man rash, the lover |
19: sober = moderate
in behaviour or serious-minded. |
|
20 |
The matron grave, the harlot wild,
and full of wanton toys. |
= unchaste sport; note the rhyming
of toys with toys in |
Which all in one course they no wise
do agree; |
21: each character should be
distinct. |
|
22 |
So correspondent to their kind
their speeches ought to be. |
= in agreement with. = nature. |
Which speeches well-pronounced,
with action lively framed, |
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24 |
If this offend the lookers on, let
Horace then be blamed, |
24-26: the reference here is to
the celebrated 1st |
Which hath our author taught at
school, from whom he |
century A.D. Roman poet Horace and
his influential guide to good writing, the Ars Poetica. With
respect |
|
26 |
In all such kind of exercise
decorum to observe. |
to drama, Horace, following
Aristotle before him, preached a number of precepts to aspiring playwrights,
including one instructing dramatists to clearly delineate their characters,
whose manners of speech should be distinct; it is this quality to which the
speaker of the Prologue alludes in lines 15-22. |
Thus much for his defence (he saith), as poets erst have |
= so much for. = previously. |
|
28 |
Which heretofore in comedies the
self-same race did run. |
28: the reference here, as King
describes, is to the need dramatists have had even in classical times to
defend themselves against accusations that their works were immoral. The
prologues in the plays of the 2nd century B.C. comic dramatist Terence
similarly allude to the attacks of his plays' critics (King, p.111). |
But now for to be brief, the
matter to express, |
= "to describe the topic of
our play". |
|
30 |
Which here we shall present, is
this: Damon and Pithias. |
|
A rare ensample of
friendship true − it is no legend-lie, |
= example or precedent. |
|
32 |
But a thing once done indeed, as
histories do descry − |
=describe.1 |
Which done of yore in long time
past, yet present shall be |
||
34 |
Even as it were in doing now, so
lively it shall appear. |
|
Lo, here in Syracusae th'
ancient town, which once the |
35-36: Adams suggests that the
scenery on the stage was likely bifurcated: one-half of the stage was made to
|
|
36 |
Here Dionysius' palace,
within whose court this thing most |
represent the "city",
and the other half the royal palace, each with its own "door"
through which characters could enter and exit the stage. The Prologue actor
points to the respective sides as he speaks these lines. |
Which matter mixed with mirth
and care, a just name to |
37: mirth and care =
amusement and grief.1 |
|
38 |
As seems most fit, we have it
termed a tragical comedy, |
= the terms tragical comedy and
tragi-comedy, both of which were coined in the 1560's, describe
a type of play which was popular throughout the Elizabethan era and beyond,
one which contains elements of both tragedy and comedy; farcical scenes were
often simply interspersed between highly serious ones. Though there were no
specific rules regarding what exact elements may or may not be included in
the tragic portion of such plays, a general guideline is that in
tragi-comedies, no one dies. |
Wherein talking of courtly toys
− we do protest this flat! − |
= flatly, ie. plainly, bluntly.3 |
|
40 |
We talk of Dionysius’ court, we
mean no court but that. |
|
And that we do so mean, who wisely
calleth to mind |
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42 |
The time, the place, the author,
here most plainly shall |
39-42: the speaker assures the
audience that any portrayal of the "court" in the play refers
specifically to, and only to, that of Dionysius, and not to that of Elizabeth
I! |
Lo, this I speak for our defence,
lest of others we should |
43: of = by. |
|
44 |
But, worthy audience, we you pray,
take things as they be |
= ask, request. |
Whose upright judgment we do crave
with heedful ear |
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46 |
To hear the cause and see th'
effect of this new tragical |
|
48 |
[Exit.] |
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SCENE I. |
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In Town. |
Scene Settings: all scene settings are the suggestions |
|
of the editor. |
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Here
entereth Aristippus. |
Entering Character: Aristippus is a gentleman of |
|
Syracuse, and a self-styled
philosopher. Lately, however, Aristippus has decided to attach himself to the
court of King Dionysius, where he is able to amass material rewards in return
for his ability to entertain Dionysius with his wit. No ascetic lifestyle for
this philosopher! |
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1 |
Arist. Too strange
(perhaps) it seems to some |
|
2 |
That I, Aristippus, a courtier am
become: |
|
A philosopher of late, not
of the meanest name, |
= lately, recently. = ie. "not one with a bad reputation |
|
4 |
But now to the courtly behaviour
my life I frame. |
=conform, adopt. |
Muse he that lust; to you of good skill |
5: Muse he…lust =
"those who wish to (lust) may marvel (muse)
at this change;" this clause also appeared in the Prologue at line 9. |
|
6 |
I say that I am a philosopher still.
|
= always. |
Lovers of wisdom are termed philosophy − |
7: this line has attracted much
attention for the apparent error of defining philosophy as lovers
of wisdom; the obvious fix, it would seem, would be to emend philosophy
to philosophers, but then line 7 would no longer rhyme with
line 8. So, some editors instead change Lovers to Loving.
|
|
8 |
Then who is a philosopher so
rightly as I? |
|
For in loving of wisdom proof doth
this try, |
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10 |
That frustra sapit, qui non
sapit sibi. |
10: "He is wise to no purpose
who is not wise for himself." All Latin translations in this edition are
from Adams. |
I am wise for myself: then tell me
of troth, |
= truthfully. |
|
12 |
Is not that great wisdom, as the
world go'th? |
7-12: in a bit of sophistry,
Aristippus proves that he is a good philosopher because he has abandoned his
philosopher's lifestyle and joined Dionysius' court: |
Some philosophers in the street go
ragged and torn, |
||
14 |
And feeds on vile roots,
whom boys laugh to scorn: |
14: feeds = the
"rules" of correct subject-verb agreement were frequently, as here,
ignored in Elizabethan drama. |
But I in fine silks haunt
Dionysius' palace, |
||
16 |
Wherein with dainty fare
myself I do solace. |
= delicacies. |
I can talk of philosophy as well
as the best, |
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18 |
But the strait kind of life
I leave to the rest. |
= abstemious, ie. leading a life
of privation as many |
And I profess now the
courtly philosophy, |
= "declare my allegiance
to".1 |
|
20 |
To crouch, to speak fair,
myself I apply |
= humbly bow,1 ie.
behave obsequiously as a good |
To feed the king's humour with
pleasant devices, |
||
22 |
For which I am called Regius
canis. |
= "King's dog." |
But wot ye who named me
first the king's dog? |
= "do you know". |
|
24 |
It was the rogue Diogenes,
that vile grunting hog. |
24-25: the popular Greek cynic
philosopher Diogenes |
Let him roll in his tub, to
win a vain praise: |
(404-323 B.C.)10 was
notorious for his life of extreme asceticism and abusive behaviour. Making
his home in Athens, Diogenes famously lived in a large open barrel (tub),
and was referred to contemptuously as a "dog".29 |
|
26 |
In the court pleasantly I will
spend all my days; |
|
Wherein what to do I am not to
learn, |
27: ie. "where I don't have
to study how to behave".13 |
|
28 |
What will serve mine own turn
I can quickly discern. |
= ie. "be beneficial to
me". |
All my time at school I have not
spent vainly, |
||
30 |
I can help one: is not that
a good point of philosophy? |
= ie. one man, meaning himself. |
32 |
Here
entereth Carisophus. |
Entering Character: Carisophus represents one of the oldest
character types, the parasite; a parasite does not hold a job, or work
per se, but depends on the largess of others to support him. Typically, a
Parasite will run errands for wealthy men, and receive a meal in return. |
34 |
Caris. I
beshrew your fine ears, since you came from |
34: beshrew = curse. |
In the court you have made many a
wise man a fool: |
||
36 |
And though you paint out
your feigned philosophy, |
= demonstrate. |
So God help me, it is but a
plain kind of flattery, |
= ie. "in reality an
obvious". |
|
38 |
Which you use so finely in so
pleasant a sort, |
= manner.2 |
That none but Aristippus now makes
the king sport. |
||
40 |
Ere you came hither, poor I was somebody; |
= "before you arrived here
(at court)". |
The king delighted in me, now I am
but a noddy. |
= fool. |
|
42 |
||
Arist. In faith,
Carisophus, you know yourself best, |
= the sense is, "I didn't say
it, you did". |
|
44 |
But I will not call you noddy, but
only in jest. |
|
And thus I assure you, though I
came from school |
45-54: Aristippus points out that
his style of service to the king is different from Carisophus': whereas the
parasite plays the clown for Dionysius, he (Aristippus) regales him with a
more sophisticated wit. |
|
46 |
To serve in this court, I came not
yet to be the king's fool; |
|
Or to fill his ears with servile squirrility.
|
= occasionally used alternate
spelling for scurrility, |
|
48 |
That office is yours, you
know it right perfectly. |
= position, job. |
Of parasites and sycophants you
are a grave bencher, |
= respected judge or magistrate.1,4 |
|
50 |
The king feeds you often from his
own trencher. |
= plate or dish, often made of
wood.1,4 |
I envy not your state, nor yet
your great favour − |
||
52 |
Then grudge not at all, if in my
behaviour |
|
I make the king merry with
pleasant urbanity, |
= sophisticated wit or sense of
humour.1 |
|
54 |
Whom I never abused to any man's
injury. |
54: Aristippus has never hurt
anyone with his brand of |
56 |
Caris. By
Cock, sir, yet in the court you do
best thrive, |
= common euphemism for "by
God". |
For you get more in one day
than I do in five. |
= ie. gold, as a reward for his service
to the king. |
|
58 |
||
Arist. Why, man, in the
court do you not see |
59-68: Aristippus defends his
position as the king's favourite: in this new era, a refined and urbane wit
is more likely to be rewarded. |
|
60 |
Rewards given for virtue to every
degree? |
= people of all ranks. |
To reward the unworthy −
that world is done: |
63: ie. no longer is baseness or
depravity recompensed. |
|
62 |
The court is changed, a good
thread hath been spun |
62-63: a good
thread…heretofore = a sewing metaphor for the improved tone of the
court: up till now, an inferior brand of entertainment, represented by the
presumed coarseness of wool made from dog's hair, has been dominant. |
Of dog's wool heretofore; and why?
because it was liked, |
= ie. enjoyed by all. |
|
64 |
And not for that it was best trimmed
and picked: |
64: the metaphor continues:
"and not because the thread of dog's hair - ie. the coarse humour of the
past - was of the best quality." |
But now men's ears are finer,
such gross toys are not set by; |
65: finer = more
sensitive.1 |
|
66 |
Therefore to a trimmer kind
of mirth myself I apply: |
= finer. |
Wherein though I please, it cometh
not of my desert, |
= "because I deserve
it". Note the absence of a rhyme |
|
68 |
But of the king's favour. |
between lines 67 and 68. |
70 |
Caris. It may so be; yet in your prosperity |
|
Despise not an old courtier:
Carisophus is he, |
71: old courtier =
Aristippus, fresh out of philosophy school, seems to be a younger man,
Carisophus somewhat older. |
|
72 |
Which hath long time fed Dionysius' humour: |
= ie. who. |
Diligently to please still at hand: there was never rumour |
73: Diligently…at hand
= "always nearby, ready to |
|
74 |
Spread in this town of any small
thing, but I |
entertain." |
Brought it to the king in post
by and by. |
73-75: there was…by and by
= Carisophus reveals his true value to the king: he is Dionysius' informer,
letting him know everything that goes on - and every suspicious thing people
say - in Syracuse. |
|
76 |
Yet now I crave your friendship,
which if I may attain, |
|
Most sure and unfeigned friendship
I promise you again: |
||
78 |
So we two linked in friendship,
brother and brother, |
|
Full well in the court may help
one another. |
||
80 |
||
Arist. By'r Lady,
Carisophus, though you know not |
= "by our Lady", a
common oath, and reference to the Virgin Mary. Various characters will use
this oath throughout the play. |
|
82 |
Yet surely you are a better
courtier than I: |
= ie. more skilled in the
behaviour expected of one |
And yet I not so evil a
courtier, that will seem to despise |
= ie. "I am not". |
|
84 |
Such an old courtier as you, so
expert and so wise. |
|
But where as you crave mine, and
offer your friendship so |
||
86 |
With heart I give you thanks for
this your great courtesy: |
|
Assuring of friendship both
with tooth and nail, |
= ie. in earnest; this still
familiar expression originated |
|
88 |
Whiles life lasteth, never to
fail. |
in the early 16th century.1,3 |
90 |
Caris. A thousand thanks I
give you, O friend Aristippus. |
|
92 |
Arist. O friend
Carisophus. |
|
94 |
Caris. How
joyful am I, sith I have to friend Aristippus |
= since. |
96 |
Arist. None so glad of
Carisophus' friendship as I, I make |
|
I speak as I think, believe me. |
97: ie. "I really mean what I
said." |
|
98 |
||
Caris. Sith
we are now so friendly joined, it seemeth to me |
||
100 |
That one of us help each other in
every degree: |
|
Prefer you my cause, when you are in presence, |
101: ie. "put in a good word
for me with the king when you are with him". |
|
102 |
To further your matters to the
king let me alone in your |
102: Carisophus promises to do the
same for Aristippus |
104 |
Arist. Friend Carisophus,
this shall be done as you would |
|
But I pray you tell me thus much
by the way, |
||
106 |
Whither now from this place will you take your journey? |
106: poetically, "where are
you going?" |
108 |
Caris. I will not
dissemble; that were against friendship. |
108: "I will not lie to you;
such behaviour would not accord with the precepts of friendship." |
I go into the city some knaves to nip
|
109-110: Carisophus is going into
town to try to trick |
|
110 |
For talk, with their goods to
increase the king's treasure − |
someone into saying or doing
something that would offend the king, in which case the victim could be
arrested and punished, leading to the forfeiture of his property to the
government's coffers. |
In such kind of service I set my
chief pleasure: |
||
112 |
Farewell, friend Aristippus, now
for a time. |
|
114 |
[Exit
Carisophus.] |
|
116 |
Arist. Adieu, friend
Carisophus − in good faith now, |
|
Of force I must laugh at this solemn vow. |
= of necessity. |
|
118 |
Is Aristippus linked in friendship
with Carisophus? |
|
Quid cum tanto asino talis
philosophus? |
119: "What has such a
philosopher in common with |
|
120 |
They say, Morum similitudo
consultat amicitias; |
120: "Likeness of character
cements friendship;" the quarto prints consuit for consultat,
which the editors correct: Aristippus, assuming he could speak Latin, could
be expected, I suppose, to speak it and quote it correctly. |
Then how can this friendship
between us two come to pass? |
||
122 |
We are as like in condition as Jack
Fletcher and his bolt; |
122: ie. "we are as similar
as are an arrow and the craftsman who made it." |
I brought up in learning, but he is a very dolt |
= "I am well-educated". |
|
124 |
As touching good letters; but otherwise such a crafty knave, |
= "when it comes to learning." |
If you seek a whole region, his
like you cannot have: |
125: "you can seek far and
wide, and you will not find |
|
126 |
A villain for his life, a
varlet dyed in grain, |
= a complete or pure rogue; dyed
in grain was a common expression describing something dyed in colour
to an extent that it cannot be washed out, ie. it is ingrained. |
You lose money by him if you sell
him for one knave, for |
127: for = ie. for
the price of. |
|
128 |
A flattering parasite, a sycophant
also, |
|
A common accuser of men, to
the good an open foe. |
= ie. slanderous informer. |
|
130 |
Of half a word he can make a legend of lies, |
= ie. out of. |
Which he will avouch with
such tragical cries, |
= swear to be true. |
|
132 |
As though all were true that comes
out of his mouth. |
|
Where, indeed, to be hanged by and
by, |
133-4: even if he were to be
hanged for doing so, he |
|
134 |
He cannot tell one tale but twice
he must lie. |
could not tell a tale without lying
twice.5 |
He spareth no man's life to get
the king's favour, |
135: Carisophus will falsely
accuse another man of traitorous behaviour, even if means the latter's death,
so long as he (Carisophus) gains the good opinion of Dionysius. |
|
136 |
In which kind of service he hath
got such a savour |
|
That he will never leave.
Methink then that I |
= cease (to engage in such
behaviour). |
|
138 |
Have done very wisely to join in
friendship with him, lest |
|
Coming in his way might be nipped;
for such knaves in |
= arrested. |
|
140 |
We see ofttimes put honest men to
silence: |
|
Yet I have played with his
beard in knitting this knot: |
= "deluded him".4 = "entangling him so with me." |
|
142 |
I promised friendship; but −
you love few words − I spake |
= to the audience: "you don't
like long speeches." |
Who marks this friendship
between us two |
143-4: to all outward appearances,
Aristippus will seem |
|
144 |
Shall judge of the worldly
friendship without any more ado. |
to be a perfect friend to Carisophus. |
It may be a right patron
thereof; but true friendship indeed |
= "perfect example"; patron,
a French borrowing, was used in Middle English to mean "pattern".4
However, pattern is the word that appears here in the 1582
edition, and is the word inserted here by later editors. |
|
146 |
Of nought but of virtue doth truly proceed. |
= "from nothing but",
ie. "only from". |
But why do I now enter into
philosophy |
||
148 |
Which do profess the fine kind of
courtesy? |
|
I will hence to the court
with all haste I may; |
= go. |
|
150 |
I think the king be stirring, it
is now bright day. |
|
To wait at a pinch still in sight
I mean, |
151: to be always available to the
king at a moment's |
|
152 |
For wot ye what? a new
broom sweeps clean. |
152: wot = know. |
As to high honour I mind not to
climb, |
||
154 |
So I mean in the court to lose no
time: |
|
Wherein, happy man be his dole,
I trust that I |
= "may his lot in life be one
of good fortune", usually |
|
156 |
Shall not speed worst, and
that very quickly. |
= literally "succeed
badly", ie. fail. |
158 |
[Exit.] |
|
SCENE II. |
||
In Town. |
||
Here
entereth Damon and Pithias like mariners.
|
Entering Characters: Damon and Pithias are two gentlemen from Greece;
they have just disembarked from the ship which has brought them to Syracuse.
According to the stage direction, they are appareled like sailors, perhaps
meaning travelling outfits fit for sea-voyage. |
|
1 |
Damon. O
Neptune, immortal be thy praise, |
1-2: Damon thanks the god of the
seas for their safe |
2 |
For that so safe from Greece we
have passed the seas |
passage; note how the Greek
character refers to the god by his Roman name rather than his Greek one
(Poseidon). |
To this noble city Syracusae,
where we |
||
4 |
The ancient reign of the Romans
may see. |
4: this is the second time in the
play the Romans have been erroneously said to have already controlled
Syracuse; see the note at line 35 of the Prologue. |
Whose force Greece also heretofore
hath known, |
||
6 |
Whose virtue the shrill
trump of fame so far hath blown. |
6: whose power or courage (virtue)
the high-pitched |
trumpet (shrill trump)
has proclaimed so far and wide (so far). |
||
8 |
Pith. My
Damon, of right high praise we ought to give |
|
To Neptune and all the gods, that
we safely did arrive: |
||
10 |
The seas, I think, with contrary
winds never raged so; |
|
I am even yet so seasick that I
faint as I go; |
||
12 |
Therefore let us get some lodging
quickly. |
|
But where is Stephano? |
||
14 |
||
Here
entereth Stephano. |
Entering Character: Stephano is the loyal servant of the two
friends; he is carrying all of their luggage at once. |
|
16 |
||
Steph. Not
far hence: a pox take these
mariner-knaves; |
17-19: Stephano addresses the
audience as he enters the stage. |
|
18 |
Not one would help me to carry
this stuff; such drunken |
|
I think be accursed of the
gods' own mouths. |
= by. |
|
20 |
||
Damon. Stephano,
leave thy raging, and let us enter |
21: Syracusae =
pronounced in 4 syllables, so as to |
|
22 |
We will provide lodging, and thou
shalt be eased of thy |
22: by and by = soon
enough - but not because they |
24 |
Steph. Good
master, make haste, for I tell you plain |
= "please hurry". |
This heavy burden puts poor
Stephano to much pain. |
||
26 |
||
Pith. Come
on thy ways, thou shalt be eased, and that anon. |
= quickly, right away. |
|
28 |
||
[Exeunt.] |
||
SCENE III. |
||
In Town. |
||
Enter
Carisophus. |
||
1 |
Caris. It is a true
saying, that oft hath been spoken, |
|
2 |
The pitcher goeth so long to the
water that he cometh |
2: from Heywood's Proverbs:
"...the pot so long to the water goth, / Till at last it commeth home
broken." |
My own proof this hath taught me,
for truth, sith I |
= since. |
|
4 |
In the city have used to walk very
slyly, |
|
Not with one can I meet, that will
in talk join with me, |
||
6 |
And to creep into men's bosoms,
some talk for to snatch, |
6-7: "and be taken into
another man's confidence,4 so |
By which into one trip or
other, I might trimly them catch, |
= mistake.4 = neatly. |
|
8 |
And so accuse them −
now, not with one can I meet |
= ie. of treasonous speech. |
That will join in talk with me, I
am shunned like a devil |
||
10 |
My credit is cracked where I am
known; but yet I hear say, |
10: where people know Carisophus,
his reputation is |
Certain strangers are arrived, they
were a good prey. |
= "they would be". |
|
12 |
If happily I might meet
with them, I fear not, I, |
= ie. with a little luck. = "I have no doubt". |
But in talk I should trip them,
and that very finely. |
= cause them to stumble, ie. fall
into his trap. |
|
14 |
Which thing, I assure you, I do
for mine own gain, |
|
Or else I would not plod thus up
and down, I tell you plain. |
||
16 |
Well, I will for a while to
the court, to see |
= "I will go"; note the
common grammatical construction of this clause: in the presence of a verb of
intent (will), the verb of action (go) is often
omitted. |
What Aristippus doth; I
would be loth in favour he should |
17: doth = is doing. |
|
18 |
He is a subtle child, he
flattereth so finely, that I fear me |
= ie. "I fear", a common
expression. |
He will lick all the fat from my
lips, and so outweary me. |
19: He will…lips =
metaphorically meaning Aristippus will steal what is rightfully Carisophus'. |
|
20 |
Therefore I will not be long
absent, but at hand, |
= ie. from the court. = close by (to what is happening). |
That all his fine drifts I
may understand. |
= intentions. |
|
22 |
||
[Exit.] |
||
SCENE IV. |
||
In Town. |
||
Here
entereth Will and Jack. |
Entering Characters: Will and Jack are the servants of Aristippus and
Carisophus respectively. |
|
The boys are described as lackeys
bn the list of The Speakers' Names given at the beginning of the play;
the OED definition that most closely resembles the boys' function is
"servile follower". |
||
1 |
Will. I
wonder what my master Aristippus means |
|
2 |
That he leaveth philosophy,
and seeks to please |
= has abandoned. |
King Dionysius with such merry toys:
|
= trifles or nonsense,1
referring to Aristippus' witti- |
|
4 |
In Dionysius' court now he only
joys, |
4: Aristippus now gets his
pleasure by attending court. |
As trim a courtier as the
best, |
= fine. |
|
6 |
Ready to answer, quick in taunts,
pleasant to jest; |
|
A lusty companion to devise
with fine dames, |
7-8: basically, Aristippus is an
agreeable (lusty)1 person |
|
8 |
Whose humour to feed his wily wit
he frames. |
to have around because he is able
to shape (devise) his wit in a way that entertains the ladies
of the court. |
10 |
Jack. By
Cock, as you say, your master is a minion: |
10: By Cock = common
euphemism for "by God". |
A foul coil he keeps in
this court; Aristippus alone |
= vile or unpleasant fuss.2 |
|
12 |
Now rules the roast with
his pleasant devices, |
12: rules the roast
= is master of the situation;3 the expression morphed into the
more familiar rules the roost in the 18th century. |
That I fear he will put out of
conceit my master Carisophus. |
= out of favour, a common
expression.1 |
|
14 |
||
Will. Fear
not that, Jack; for, like brother and brother, |
||
16 |
They are knit in true friendship
the one with the other; |
|
They are fellows, you know, and
honest men both, |
||
18 |
Therefore the one to hinder the
other they will be loth. |
= would both hate to do. |
20 |
Jack. Yea,
but I have heard say there is falsehood in |
20: there is…fellowship =
a common maxim of the |
In the court sometimes one gives
another finely the slip: |
= still common expression meaning
"to elude another", here referring to one friend secretly acting in
a manner which causes detriment to the other. |
|
22 |
Which when it is spied, it is
laughed out with a scoff, |
|
And with sporting and playing quietly
shaken off: |
= some editors emend quietly
to quickly. |
|
24 |
In which kind of toying thy master
hath such a grace, |
|
That he will never blush, he
hath a wooden face. |
20-25: Jack's point is that
Aristippus is highly skilled at dissembling; he is capable of working,
deliberately or not, against the interests of others (specifically meaning
Carisophus), but if he is found out and confronted, he is a smooth-enough
speaker that he can talk himself out of trouble with his accuser, never
showing the slightest amount of embarrassment. |
|
26 |
But, Will, my master hath bees
in his head; |
= meaning either (1) is irate,
upset,3 or (2) projects schemes.12 The OED suggests
this common phrase's usual meaning to be having "a fantasy, an eccentric
whim, a craze on some point, a ‘screw loose.’", though it does not cite
this line. The expression is from Heywood's 1546 Proverbs, "their
heads full of bees." |
If he find me here prating I am
but dead. |
||
28 |
He is still trotting in the city,
there is somewhat in the wind; |
= ie. something going on. |
His looks bewray his inward
troubled mind. |
= betray. |
|
30 |
Therefore I will be packing
to the court by and by; |
= hurry. = directly, right away. |
If he be once angry, Jack shall
cry, woe the pie! |
31: an expression expressing
regret, but the exact meaning may be lost to time; woe the pie
is cited in several later collections of proverbs, but without explanation.
Modern editors attempt to interpret this expression, but none do so
convincingly. |
|
32 |
||
Will. By'r
Lady, if I tarry long here, of the
same sauce |
33: By'r Lady =
"by our Lady", a common oath, |
|
34 |
For my master sent me on an
errand, and bade me make |
= instructed. |
Therefore we will depart together.
|
||
36 |
||
[Exeunt.]
|
||
SCENE V. |
||
In Town. |
||
Here
entereth Stephano. |
1-48: unusually, Stephano's speech
is not written in two-syllable feet (ie. the ubiquitous iambs, whose
pattern is bah-BUM bah-BUM); rather, the lines are comprised of ten
syllables, which are broken up into two groups of five syllables, each with
the stress pattern buh-BUM-buh-buh-BUM (though in many of the lines an extra
sixth unstressed syllable appears either at the end of the first group of
five syllables or the end of the line). |
|
|
||
1 |
Steph. Ofttimes I have
heard, before I came hether, |
= ie. hither, to here; throughout
this edition, we employ the modern spelling for hither and thither;
however, we will use the quarto's alternate 16th century spelling - hether
- when it is required to complete a rhyme, as here. |
2 |
That no man can serve two masters
together; |
2: commonly cited proverb, from
Matthew 6:24: "No ma[n] can serue two masters. For ether he shall
hate the one and loue the other: or els he shall leane to the one, and
despise the other: Ye can not serue God and mammon." (Coverdale
Bible, 1935). |
A sentence so true, as most
men do take it, |
= maxim.2 |
|
4 |
At any time false that no man can
make it: |
4: "no one can prove this
proverb false;" an awkward |
And yet by their leave, that first
have it spoken, |
5-6: "yet if those who first
spoke this maxim will per- |
|
6 |
How that may prove false, even
here I will open: |
mit me, I will prove right now that it
is not true." |
For I, Stephano, lo, so named by
my father, |
||
8 |
At this time serve two masters
together, |
|
And love them alike: the one and
the other |
||
10 |
I duly obey, I can do no other. |
|
A bondman I am, so nature hath
wrought me, |
11: "I am a slave by
birth". |
|
12 |
One Damon of Greece, a gentleman,
bought me. |
12-13: though Stephano serves both
Damon and |
To him I stand bound, yet serve I
another, |
Pithias, he is technically owned by the
former. |
|
14 |
Whom Damon my master loves as his
own brother: |
|
A gentleman too, and Pithias he is
named, |
||
16 |
Fraught with virtue, whom vice never defamed. |
= filled, infused. = sullied the reputation of. |
These two, since at school they
fell acquainted, |
||
18 |
In mutual friendship at no time
have fainted. |
= weakened.3 |
But lovèd so kindly and friendly
each other, |
||
20 |
As though they were brothers by
father and mother. |
|
Pythagoras' learning these two
have embraced, |
21: the 6th century B.C. Greek
philosopher Pythagoras was believed to have left his followers a number of
maxims which prescribed rules to live by in order to lead a superior life;
amongst these were instructions emphasizing the importance of demonstrating
loyalty to one's friends.14 |
|
22 |
Which both are in virtue so
narrowly laced, |
22: Damon and Pithias are united (laced)1
in virtue. |
That all their whole doings do
fall to this issue, |
23: "that their entire code
of conduct comes down to |
|
24 |
To have no respect but only to
virtue: |
|
All one in effect, all one in
their going, |
25-26: Damon and Pithias do
everything together. |
|
26 |
All one in their study, all one in
their doing. |
|
These gentlemen both, being of one
condition, |
||
28 |
Both alike of my service have all
the fruition: |
|
Pithias is joyful, if Damon be
pleased: |
||
30 |
If Pithias be served, then Damon
is eased. |
= comforted, ie. without worry. |
Serve one, serve both (so near),
who would win them: |
31: if anyone wants to win their
friendship, treat one |
|
32 |
I think they have but one heart
between them. |
|
In travelling countries we three
have contrived |
= spent (in time).3,6 |
|
34 |
Full many a year, and this day
arrived |
|
At Syracusae in Sicilia, that
ancient town, |
||
36 |
Where my masters are lodged; and I up and down |
= ie. Damon and Pithias are
relaxing in their lodgings. |
Go seeking to learn what news here
are walking |
= circulating.1 |
|
38 |
To hark of what things the
people are talking. |
= listen. |
I like not this soil, for as I go
plodding, |
||
40 |
I mark there two, there
three, their heads always nodding, |
= note. |
In close secret wise, still whispering together. |
= in a secretive manner. |
|
42 |
If I ask any question, no man doth
answer: |
|
But shaking their heads, they go
their ways speaking; |
||
44 |
I mark how with tears their wet
eyes are leaking; |
|
Some strangeness there is, that breedeth
this musing. |
= causes this thinking or
pondering. |
|
46 |
Well, I will to my masters,
and tell of their using, |
= ie. will go. = this treatment or behaviour. |
That they may learn, and walk
wisely together: |
||
48 |
I fear we shall curse the time we
came hether. |
= hither, ie. to here. |
50 |
Exit. |
|
SCENE VI. |
||
The Palace. |
||
Here
entereth Aristippus and Will. |
Entering Characters: Will is the servant of our gen- |
|
tleman-philosopher Aristippus. |
||
1 |
Arist. Will, didst thou
hear the ladies so talk of me? |
|
2 |
What aileth them? from their nips
shall I never be free? |
= sharp remarks, sarcasms.1,4 |
4 |
Will. Good
faith, sir, all the ladies in the court do plainly |
4-5: it turns out that Aristippus
is not as popular with the ladies in the court as he thought; they believe
Aristippus is too dependent on his ability to make fun of them to entertain
the king. |
That without mention of them you
can make no sport: |
||
6 |
They are your plain-song to
sing descant upon; |
6: literally, "they are the
simple musical theme to which you provide the harmony", meaning
"they are subject on which you choose to remark or comment."4 |
If they were not, your mirth were
gone. |
||
8 |
Therefore, master, jest no more
with women in any wise; |
= manner. |
If you do, by Cock, you are like
to know the price. |
||
10 |
||
Arist. By'r
Lady, Will, this is good counsel: plainly to jest |
||
12 |
Of women, proof hath taught me, it
is not the best: |
|
I will change my copy,
howbeit I care not a quinch; |
= theme, model.2 = "not a bit."1 |
|
14 |
I know the galled horse
will soonest winch: |
= a horse afflicted with sores or
painful swellings |
But learn thou secretly
what privily they talk |
= find out. = "people are privately saying". |
|
16 |
Of me in the court: among them slyly walk, |
= about. |
And bring me true news thereof. |
||
18 |
||
Will. I
will sir, master thereof have no doubt, for I |
||
20 |
Where they talk of you will inform
you perfectly. |
|
22 |
Arist. Do
so, my boy: if thou bring it finely to pass, |
|
For thy good service thou shalt go
in thine old coat at |
23: Walker notes this apparent
witticism of Aristippus: that Will will not receive the traditional
Christmas gift |
|
24 |
this year of a new coat, ie. the
servant will not be rewarded for performing this task for his master. |
|
[Exeunt.] |
||
SCENE VII. |
||
In Town. |
||
Enter
Damon, Pithias, Stephano. |
||
|
||
1 |
Damon. Stephano,
is all this true that thou hast told me? |
|
2 |
||
Steph. Sir, for lies
hitherto ye never controlled me. |
3: "you have never had to
rebuke me for having ever |
|
4 |
O, that we had never set foot on
this land, |
told a lie.1,4 |
Where Dionysius reigns with so
bloody a hand! |
||
6 |
Every day he showeth some token
of cruelty, |
= evidence.2 |
With blood he hath filled all the
streets in the city: |
||
8 |
I tremble to hear the people's
murmuring, |
|
I lament to see his most cruel
dealing: |
||
10 |
I think there is no such tyrant
under the sun. |
|
O, my dear masters, this morning
what hath he done! |
||
12 |
||
Damon. What
is that? tell us quickly. |
||
14 |
||
Steph.
As I this morning passed in the street, |
||
16 |
With a woful man (going to his
death) did I meet. |
|
Many people followed, and I of one
secretly |
= ie. one of the people. |
|
18 |
Asked the cause, why he was
condemned to die. |
|
[Who] whispered in mine
ear, nought hath he done but thus, |
= added by Hazlitt. = "(the condemned man) had done |
|
20 |
In his sleep he dreamed he had
killed Dionysius: |
|
Which dream told abroad, was
brought to the king in post, |
= speedily.2 |
|
22 |
By whom, condemned for suspicion,
his life he hath lost, |
|
Marcia was his name, as the people
said. |
||
24 |
||
Pith. My dear friend Damon, I blame not Stephano |
||
26 |
For wishing we had not come hither,
seeing it is so, |
= to here. |
That for so small cause such cruel
death doth ensue. |
||
28 |
||
Damon. My
Pithias, where tyrants reign, such cases are |
||
30 |
Which fearing their own state for
great cruelty, |
= appears as with,
which works a little better, in the |
To sit fast as they think,
do execute speedily |
= ie. as securely. |
|
32 |
All such as any light suspicion
have tainted. |
29-32: it is common for tyrants,
who by their nature are suspicious of everyone, to summarily put to death
anyone they believe may be a danger to their persons or power. |
34 |
Steph. [Aside]
With such quick carvers I list not be |
34: carvers =
usually used to refer to either sculptors or those who cut meat at the table.
Walker suggests "butchers". |
36 |
Damon. So
are they never in quiet, but in suspicion still, |
= possessed with peace of
mind. = always. |
When one is made away, they
take occasion another to kill: |
= put to death. |
|
38 |
Ever in fear, having no trusty
friend, void of all peoples' |
|
And in their own conscience a
continual hell they prove. |
||
40 |
||
Pith. As
things by their contraries are always best proved, |
= contrasting positions, reasoning
from the opposing |
|
42 |
How happy are then merciful princes,
of their people |
= kings. = by. |
Having sure friends everywhere, no
fear doth touch them: |
= ie. merciful kings. |
|
44 |
They may safely spend the day
pleasantly, at night securè |
44: "they sleep securely on
either ear;" untramque |
O my Damon, if choice were offered
me, I would choose |
||
46 |
As I am (Damon's friend) rather
than to be King Dionysius. |
|
48 |
Steph. And good cause
why; for you are entirely beloved |
48: of = by. |
And as far as I hear, Dionysius is
beloved of none. |
= by. |
|
50 |
||
Damon. That
state is most miserable; thrice happy are we, |
= condition. = a common
intensifier. |
|
52 |
Whom true love hath joined in
perfect amity: |
|
Which amity first sprung −
without vaunting be it spoken, |
53-54: a probable planting
metaphor: "our friendship began - without bragging (vaunting)
I can tell this, |
|
54 |
Of likeness of manners,
took root by company, and now is |
because it is true - from our
similarity in behaviour and morals (manners), grew in strength
as we spent more time together, and now is firmly maintained (conserved,
which also has the sense of "kept alive") by virtue." |
Which virtue always through
worldly things do not frame, |
55: the sense seems to be,
"virtue does not bring about |
|
56 |
Yet doth she achieve to her
followers immortal fame: |
= ie. personified Virtue. |
Whereof if men were careful for
virtue's sake only, |
||
58 |
They would honour friendship, and
not for commodity. |
= self-interest.1 |
But such as for profit in
friendship do link, |
= ie. "those who". |
|
60 |
When storms come, they slide away
sooner than a man will |
60: those who profess to be your
friend only out of self-interest will disappear faster than thought itself
when you are in trouble, and in need of their support. |
My Pithias, the sum of my
talk falls to this issue, |
= summary. = conclusion.1 |
|
62 |
To prove no friendship is sure,
but that which is grounded |
= secure. |
64 |
Pith. My
Damon, of this thing there needs no proof to me, |
|
The gods forbid, but that Pithias
with Damon in all things |
||
66 |
For why is it said, Amicus
alter ipse, |
66: "A friend is a second
self;" this Latin expression appears frequently in the 16th century;
references to one's friend being a second self became common in
Elizabethan drama. |
But that true friends should be
two in body, but one in mind? |
||
68 |
As it were, one transformed into
another? which against kind |
= nature. |
Though it seem, yet in good faith,
when I am alone, |
||
70 |
I forget I am Pithias, methinks I
am Damon. |
|
72 |
Steph. [Aside]
That could I never do, to forget myself; full |
|
Wheresoever I go, that I am pauper
Stephano: − |
= poor;4 a very early
use of the Latin word pauper in |
|
74 |
But I pray you, sir, for all your
philosophy, |
an English language text. |
See that in this court you walk
very wisely. |
||
76 |
You are but newly come hither;
being strangers, ye know |
= foreigners. = plural form of you. |
Many eyes are bent on you
in the streets as ye go: |
= directed at. |
|
78 |
Many spies are abroad, you can not
be too circumspect. |
|
80 |
Damon. Stephano,
because thou art careful of me, thy |
= anxious for. |
Yet think this for a surety:
no state to displease |
81: for a surety =
ie. "as a way to reassure yourself". |
|
82 |
By talk or otherwise my friend and
I intend: we will here, |
|
As men that come to see the soil
and manners of all men of |
83: degree = rank in
society. |
|
84 |
Pythagoras said, that this world
was like a stage, |
84-85: there is no authority for
suggesting that the common trope of the world being a stage, etc., derived
from Pythagoras. |
Whereon many play their parts: the
lookers-on, the sage. |
= those who observe are the wise
ones. |
|
86 |
Philosophers are, saith he, whose
part is to learn |
|
The manners of all nations, and
the good from the bad to |
||
88 |
||
Steph. Good faith, sir,
concerning the people they are |
89: the people = ie.
the men and women of Syracuse. |
|
90 |
And as far as I see, they be mummers;
for nought they say, |
90-91: Stephano comments on the
unwillingness of the Syracusans to speak in his presence. |
For the most part, whatsoever you
ask them. |
||
92 |
The soil is such, that to live
here I cannot like. |
|
94 |
Damon. Thou
speakest according to thy learning, but I say, |
|
Omnis solum fortis patria, a wise man may live |
95: properly omne solum forti
patria est: "every soil is a father land to a brave man." From
Ovid's Fasti, Bk. I.493. |
|
96 |
Therefore, my dear friend Pithias,
|
|
Let us view this town in every
place, |
||
98 |
And then consider the people's
manners also. |
|
100 |
Pith. As
you will, my Damon; − but how say you, |
|
Is it not best, ere we go
further, to take some repast? |
= before. = get something to eat. |
|
102 |
||
Steph. In faith, I like
well this question, sir: for all your |
103-5: the perpetually hungry
servant was a recurring |
|
104 |
To eat somewhat I pray you think
it no folly; |
|
It is high dinner time, I know by
my belly. |
||
106 |
||
Damon. Then
let us to our lodging depart: when dinner is |
||
108 |
We will view this city as we have
begun. |
|
110 |
[Exeunt.] |
|
SCENE VIII. |
||
In Town. |
||
Here
entereth Carisophus. |
||
1 |
Caris. Once again in hope
of good wind, I hoise up my sail, |
1-2: Carisophus employs a sailing
metaphor to describe his desire for better luck in finding a new victim for
his schemes. |
2 |
I go into the city to find some
prey for mine avail: |
= advantage, benefit.1 |
I hunger while I may see these
strangers that lately |
= recently. |
|
4 |
Arrived: I were safe, if once I
might meet them happily. |
4: I were…happily =
"my position would be more |
Let them bark that lust
at this kind of gain, |
5: ie. "those who want to (lust)
complain about the |
|
6 |
He is a fool that for his profit
will not pain: |
= exert himself. |
Though it be joined with other
men's hurt, I care not at all: |
= combined. = harm to others. |
|
8 |
For profit I will accuse any man, hap
what shall. |
= happen. |
But soft, sirs, I pray you hush: what are they that comes |
= "hold on, people, I beg of
you, please be quiet!" - Carisophus directly addresses the audience,
even suggesting that its members might be "heard" by the other
characters, a flagrant breaking down of the "fourth wall". |
|
10 |
By their apparel and countenance
some strangers they |
= bearing. = foreigners. |
I will shroud myself secretly,
even here for a while, |
||
12 |
To hear all their talk, that I may
them beguile. |
11-12: a common convention of
Elizabethan drama |
allowed for a character to hide
and eavesdrop unnoticed on others. |
||
14 |
Here
entereth Damon and Stephano. |
|
|
||
16 |
Steph. A short horse
soon curried; my belly waxeth thinner, |
16: A short…curried
= according to the Oxford Reference website,28 the meaning
of this 14th century proverb is "A slight task is soon completed."
Stephano is referring to his meal, which was over before it had barely begun. |
I am as hungry now, as when I went
to dinner: |
||
18 |
Your philosophical diet is so fine
and small |
|
That you may eat your dinner and
supper at once, and not |
18-19: King notes that Damon and
Pithias, as followers of Pythagoras, eat frugally as the philosopher
recommends; those who in literature appear as servants of philosophers (or
would-be philosophers such as Damon and Pithias) were forced to suffer the
same minimal fare as did their masters, to their perpetual disenchantment. |
|
20 |
||
Damon. Stephano,
much meat breeds heaviness: thin diet |
21: Walker notes that heaviness
and light mean "dullness" and "bright"
respectively. Stephano, in his humorous response, takes these words in their
more physical meaning. |
|
22 |
||
Steph. I may be lighter
thereby, but I shall never run the |
23: a heavy man who loses weight
would grow more |
|
24 |
from starvation, he will be too weak to
move quick- |
|
Damon. I
have had sufficiently discourse of amity, |
||
26 |
Which I had at dinner with
Pithias; and his pleasant company |
|
Hath fully satisfied me: it doth
me good to feed mine eyes |
||
28 |
||
Steph. Course or discourse,
your course is very coarse; |
29-30: the puns come on fast and
furious: course is used in line 29 to mean (1) the act of
running, and |
|
30 |
You had but one bare course,
and that was pike, rise, and |
(2) behaviour or custom; discourse
is "conversation", (referring to Damon and Pithias' philosophical
discussion) and coarse is "inferior" or
"base".1 |
And surely, for all your talk of
philosophy, |
||
32 |
I never heard that a man with
words could fill his belly. |
|
Feed your eyes, quoth you? the
reason from my wisdom |
33-34: the reason…starveth
= Damon's reasoning and assertions are not in accord with Stephano's under- |
|
34 |