Thomas Rawlins’ ‘The Rebellion’
Edited by Amy Lockwood
February 2006
Contents
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Introduction
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2 - 14 |
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Biography of Thomas Rawlins
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2 |
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Date of the Play and Brief Performance History
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3 |
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Contemporary Topical Issues
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Characterisation and Themes
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Parallels with Other Literary Works and Renaissance Ideology
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13 |
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Editorial Techniques / Decisions and Problems experienced
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16 |
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The Rebellion
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17 |
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Glossary / Notes to the Text
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81 |
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Bibliography Lists all Texts read and Websites visited whilst preparing this edition of The Rebellion |
90 |
Introduction
Biography of Thomas Rawlins
Little is known of Thomas Rawlins. The online Oxford Dictionary of National Biography (DNB) estimates that Rawlins was born around 1620 in the south of England and we know he was a relation of Robert Ducie of Aston, to whom he dedicated The Rebellion when the play was published in 1640. We know that Rawlins married Dorothea Narbona, probably after the Civil War in England finished. Rawlins moved to France after the English Civil War finished, before returning to England when the monarchy was restored, and he produced a medal for the Coronation of Charles II in 1660. Rawlins died, most likely in London, in 1670.
Rawlins’ main career throughout his life seems to be as an engraver. The Oxford DNB states that Rawlins was an apprentice goldsmith and gem-engraver in London before working at the Royal Mint under Nicholas Briot, a renowned French engraver and medallist. The Mint was moved to Oxford when the English Civil War commenced in 1643 and Rawlins was appointed graver of seals, stamps and medals. Rawlins was responsible for the 1644 ‘Celebrated Oxford Crown’, a coin which showed King Charles I riding across the hills that overlooked the city of Oxford, and consequently was appointed Chief Engraver. During the Civil War Rawlins was responsible for the production of many medals, most notably the Gold Shrewsbury Medal commissioned on January 23rd 1643 and the ‘Peace or War’ medal in July 1643, and as noted above, later the Coronation Medal for Charles II.
The Rebellion was the only play written by Rawlins to be performed during his lifetime and it is not known when his two other plays – Tom Essence and The Modish Wife – were published, though both were performed in the late 1670’s. Despite his relatively short-lived and un-noteworthy literary career Rawlins was a member of the Brome Circle along with Thomas Nabbes, John Tatham, Robert Chamberlain, Richard Brome and Humphrey Mill. In an article for Notes and Queries, Matthew Steggle details how Tatham contributed verses to Rawlins who in turn wrote verses for Chamberlain, as well as for Nathaniel Richard’s play Tragedy of Messalina. Steggle also details how Martin Butler identifies the Brome Circle as being “politically aware, and bound together by an interest in the moralizing possibilities of the popular tradition and a sense of opposition to frivolous courtly values”[1].
Therefore whilst The Oxford Dictionary of National Biography suggests that the title The Rebellion was coincidently prophetic of the English Civil War, Rawlins’ involvement with the Brome Circle suggests that the play could instead have been a calculated prediction of what the of what the tumultuous political and social atmosphere of the early seventeenth century in England would lead to. For further details please see ‘Contemporary Topical Issues’.
The Brome Circle’s “opposition to frivolous courtly values” suggests that the frequent criticism of the Colonels’ foppish and courtly behaviour in The Rebellion can be seen as true satirical commentary rather than Rawlins merely adhering to contemporary popular themes and motifs
Date of the Play and Brief Performance History
The Rebellion was performed between 1637 and 1639 by the King’s Revels (who also performed plays by Rawlins’ close friends Richards and Brome) at Salisbury Court Theatre. Salisbury Court Theatre replaced the popular Whitefriars playhouse and was a private, purpose-built playhouse built by Richard Gunnell and William Blagrove in 1629. The Theatre was destroyed by soldiers during the Civil War but was one of the first playhouses to open following the 1660 restoration of the English Monarchy. Indeed Samuel Pepys records visiting Salisbury Court Theatre in his diary in 1661.
Playhouses
offered a greater degree of comfort than the open-air inn-yards and
amphitheatres (based on the Roman Coliseum), and as playhouses were roofed
performances could be put on throughout the year and in the evenings.
Consequently admittance to private indoor theatres was much more expensive,
costing between 2 and 26d a performance, compared to public theatres where a
performance could be watched for between 1 – 3d. The greater cost meant that
the majority of the working class were prohibited from attending playhouse
performances. At Salisbury Court Theatre, as at other playhouses, prices were
highest for the more comfortable seats and those that allowed for a better view
of the performance.
It is impossible to underestimate the impact that playhouses wrought on early
modern theatre. The acoustics of indoor theatres lent themselves to music and
songs and more playwrights began to include them in their plays, as does
Rawlins in Act IV Scene 5 of The Rebellion. For the first time scenery
and sumptuous costumes were used, many of which were sold to acting troupes by
the English aristocracy. The focus of plays was now the actors’ speeches rather
than loud, crass sound effects. Plays could be more powerful, passionate, and
satirical – more thought provoking perhaps? It was only with the introduction
of playhouses that Renaissance theatre began to resemble what we understand by
the term ‘theatre’ in the twenty-first century.
Indeed it was not until playhouses were used for performances that intervals were introduced - playhouses were lit by candles and when these burnt down there had to be a way for them to be replaced without the performance being interrupted. During the interval food and drink were served to keep the audience entertained, as it still is today. Even now if you go to an open-air production it is unlikely there will be a break in the performance but every modern audience member would be surprised if there was not an interval during a theatre performance.
Contemporary
Topical Issues
i) The Political Climate in England and the Civil War
Firstly I am aware that the English Civil War did not begin until October 1642 and that this is five years after the first performance of Rawlins’ The Rebellion., but wars do not happen overnight. In this section I hope to show that events from James I’s reign contributed to the civil war that tore England apart for seven years. Thomas Rawlins was a member of the politically conscious Brome Circle – it can be no coincidence that he wrote a play about a powerful man trying to overthrow a King who in many ways, as I will show, resembles both James I and Charles I, such a short time before his own homeland was caught up in a rebellion.
The
status of the monarchy in England began to decline during the reign of James I,
Elizabeth’s heir. James I strongly believed in the idea of ‘Divine Right’.
This is where the King is God’s representative on Earth: he is born into the
position and his position and power cannot be questioned, even by parliament.
James I was constantly in need of money and in 1611 when Parliament told him
that he could not collect further custom duties he suspended Parliament, and it
was not reconvened until 1621. During this decade James I’s friends helped rule
the country and were rewarded with land and titles. This angered Members of
Parliament as they believed it was their right to run England.
When James I recalled Parliament in 1621 it was to discuss the marriage between
his son, Charles, and the Spanish princess. Parliament ferociously stressed
their displeasure about the proposed alliance between Protestant England and
Catholic Spain, who only thirty years previously had tried to attack England. The relationship between King and parliament was irreversibly damaged, even though
the marriage never took place.
When Charles became King in 1625 he proved to be even more conceited and
arrogant than his father. As a firm believer in the ‘Divine Right’ of Kings he
blamed Parliament members entirely for their tumultuous relationship
with James I. in 1629 Charles I had the doors of Westminster locked with chains
and padlocks and what is now known as the ‘Eleven Years Tyranny’ ensued. During
this time Charles’ relationship with Parliament, the old aristocracy, some
members of the newly rich and, to an extent, even with the lower classes
declined.
Charles reconvened Parliament in 1640 when he needed money after angering the
Scots to such an extent they invaded England. Parliament agreed to give Charles
the money if the Earl of Stafford, one of his advisors, was executed and if
Charles disbanded the Court of Star Chamber, which he had replaced Parliament
with in 1629. Charles agreed but just two years later, on 4 January 1642, no
longer able to tolerate having to answer to Parliament, Charles raised 300
soldiers to arrest his more vociferous critics in Parliament. The men were
forewarned and managed to escape but it was now evident that Charles and the
English Parliament could no longer rule side by side. Civil War was inevitable.
In light of the above it is possible to see The Rebellion as Rawlins’ predicting the outcome of the prevailing social and political unrest. The above shows that from 1611 England was ultimately a divided country. Increasing industrialisation, urbanisation, over-crowding and unemployment inevitably led to desire for change and Charles I represented everything that was conservative and was blind to the need for change. Please see Characterisation and Themes for further details.
ii) Puritanical England
As any reader of Renaissance Literature
will be aware England had been caught up in religious turmoil since Henry
VIII’s reign. By the 1600’s an extreme form of Protestantism had emerged – Puritanism
– which advocated a simple, un-extravagant lifestyle. Giovanno makes reference
to this in I.2.158-9 when he refers to kneeling as a ‘superstitious rite’. As
explained in the glossary, in the latter half of the sixteenth century Puritans
preached against kneeling at the altar because it was a Conformist practices.
In Act 3 Scene 1 the Old Tailor refers to ‘sinful actors’ (line 68) which
evidently is highly ironic seeing as it is an actor saying it to a playhouse
full of regular theatregoers. Rawlins was evidently mocking the Puritans who
campaigned to have all theatres shut. However, as explained above, Salisbury Court was closed in 1648 and, along with all theatres, stayed closed during
Cromwell’s reign. It was until the Restoration and Charles II’s ascension to
the throne that theatres and other public entertainments reopened. As I will
show later tailors were derided from the Elizabethan era but even more so
during Cromwell’s reign when all extravagances including fine clothes were
viewed with suspicion and contempt.
As a playwright Rawlins obviously had little sympathy with Puritanical ideologies
but in light of the above it is with little wonder that Rawlins fled to France after Cromwell – a Puritan – won the Civil War. Rawlins was not an established
playwright but he had put himself in a difficult – and indeed dangerous –
position by criticising what came to be the dominant political and religious
force in England for eleven years and he had also worked for the Royal Mint
before and during the War. Rawlins could have been seen as a very dangerous
man.
Characterisation and Themes
This section of the introduction considers the themes and ideas that Rawlins explores in The Rebellion; what it does not do is provide you with the answers. I will explore the major aspects of the play and hopefully explain any difficult ideas but my main aim is to make the reader aware of the political and theoretical ideas that exist in The Rebellion and hopefully encourage further thought and perhaps study. In this section I also examine the main characters of the play and the ways in which Rawlins employs them to develop the main ideas.
i) Machvile, King Philip and Leadership
The main action of the play revolves around Machvile’s plotting and Rawlins uses this to explore the idea of power and leadership. To me Machvile is the most powerful, complex and interesting of the characters by far. He is the only character who speaks almost constantly in perfect iambic pentameter, which makes him stand out immediately from the other characters. Not since Shakespeare’s Don John in Much Ado About Nothing have we seen a character full of such undiluted hatred make speeches full of such venom. Due to the spelling of the name it is obvious that Rawlins wanted his readers / the audience to make an immediate connection between The Rebellion’s main villain and Machiavelli, and therefore corrupt politics and ideology. Despite some modern critics, such as David Fry, who propagate the idea that Machiavelli was actually a philosophical man with advanced political ideas (for example in Discourses on the First Ten Books of Titus Livius Machiavelli seems to advocate republicanism) Machiavelli is still associated with corrupt, totalitarian politics as he was in Renaissance England. Much of the drama produced in this period featured a Machiavellian villain, for example Mortimer Junior in Marlowe’s Edward II and Edmund in King Lear by William Shakespeare.
As noted above in the biographical section of the introduction, Rawlins worked for the Royal Mint before and during the English Civil War, and fled to France when England became a republic in 1649. Can one therefore presume then that Rawlins’ “opposition to … courtly values” did not extend to an opposition of hereditary rule? In The Rebellion the King is enraged when he is referred to by his Christian name rather than his title: “Philip? Traitor, why not King? I am so.” (V.3.27). Yes, Philip is the King and, even by today’s social standards, would expect to be referred to as such. Yet later in the scene when he asks the (rhetorical) question “I’st not my right? Was not I heir to Spain?” (V.3.170) it shows that the true reason for the King’s anger was that Machvile, or indeed anyone, should dare to challenge him or his rule.
Philip sees his kingship as a ‘divine right’, which as I showed earlier was an idea propagated by both James I and Charles I. The idea of ‘Divine Right’ suggested that Kings were God’s representatives on Earth and when King Philip refers to his crown as a “balsam” (V.3.169), a flowering plant, the reader is reminded of the crown of thorns that Jesus wore whilst on the crucifix. This in turn emphasises the (supposed) link between God and Royalty. This idea was prevalent in England at this time and explains why Machvile and his co-conspirators all had to perish in The Rebellion – they were going against the natural order: in plotting against the King they were plotting against God.
In my opinion it is impossible to see Philip as anything but as a bad King. Spain is under attack from France, an army massively superior in terms of skill, position
and number, but he is absent throughout the majority of the play. The King does
not appear until Act Four Scene 5 when he is talking to the Old Tailor, Evadne
and Aurelia and neither of the ladies are aware of the identity of the person
they are speaking to. Yes, one would not expect to see the King with a tailor
but their complete oblivion suggests that Philip is not a public figure, which
during war, if not at any other time, he should be.
One could argue that Philip is away fighting during the early scenes of the play but this is never clarified. Even if this is the case, Philip leaves his country under the rule of an ineffective Governor who is easily persuaded by Machvile that the honourable Antonio is plotting against him, which suggests a gullibility and weakness of character, not characteristics one associates with a leader! When the Governor is killed, Machvile is named as his successor, as ordered by the King. One therefore has to question how a King can be so oblivious to the true characters of the people he has not only surrounded himself with, but put in positions of immense power. If Machvile represents Machiavellian politics and the corruption and treachery associated with it, then I have to argue that Philip represents all that is wrong with hereditary rule – he is an incompetent ruler, unaware of plots against him and his county and even when he witnesses Machvile’s plotting in the final scene of the play it is as if he still does not understand what he is saying. Is this because Philip is shocked that someone should challenge his rule, which suggests a level off arrogance, or rather, does it suggest a slowness of wit in Philip? Both are negative characteristics, especially in a King, but despite his failings Philip’s position is affirmed at the end of the play, unquestioned by the characters and therefore arguably by Rawlins.
ii)
What it Means to Be Female in The Rebellion
Another theme explored in The Rebellion, is the idea of female power and
sexuality, developed through the characters Evadne, Aurelia, Auristella and
Philippa. I wish to explore each character individually and how Rawlins develops
this theme though them before commenting on female roles in the play overall.
Auristella is the wife of Machvile, the play’s main villain, and there are clear parallels between their characters; Machvile says “our souls are twins” (III.2.24) and it is this idea that I wish to comment on. Auristella’s violent death can be seen as the obvious consequence of her involvement with the plot against the King; a justified punishment for violating the natural order. However, in light of the above quote, I think it is possible to see Auristella’s murder as the death sentence for being too similar to Machvile, that is, too masculine. Auristella’s ambition to be Queen is so extensive that she would kill her own family (III.2.16-23) and her speeches eloquent and intelligent. These are all characteristics that would have been associated with masculinity in the Renaissance. The best way I can explain this idea is to comment on Shakespeare’s treatment of Lady Macbeth. Lady Macbeth prompts her husband to commit murder by questioning his masculinity by saying he lacks determination and the ability to commit violent acts. She says if she were ‘unsexed’, i.e. a man, she would have no difficulty in killing Duncan. Lady Macbeth can be seen to straddle traditional gender roles – she has the ambition but not the ability to carry out actual violence like a man; going insane can be seen as being her punishment. Lady Macbeth is seen by many critics as the most vile and frightening of Shakespeare’s female characters and I believe this is because of her masculine characteristics. Auristella goes against the natural order not only by plotting against Philip, but also by trying to transgress from her ordained gender role, and it for this that she has to be punished.
This is also true for Philippa. Whilst Auristella’s soul i.e. her nature, is like Machvile’s, Phillipa is Raymond’s “twin of war” (I.3.6) – Philippa and her husband are alike in war i.e. the actual committing of violence. Philippa is constantly compared to warriors but initially always with a reference to her femininity; she is an Amazon, a Governess of Arms, a female Bradamante. Philippa is actively involved in the fighting and does kill a soldier in the course of the play (II.4.103-4). I think it noteworthy that it is at this point that the Spanish Colonels refer to her “masculine spirit” (II.4.75) – by committing actual violence she has crossed firmly over to the male world and this is why she is punished. Philippa is poisoned and also loses her sanity; is this a dual punishment because she not only thinks like a man but acts like a man – she is ambitious and she acts on her ambition? One would expect the poison Philippa is given to have purely physical effects rather than affect her mental wellbeing as well. Philippa’s insanity can also be seen as the result of the guilt she feels, as is the case with Lady Macbeth. Philippa may have entered the masculine world but her female psyche cannot deal with her male actions. Philippa punishes herself (i.e. through losing her sanity through guilt) and is punished by society because she is too masculine for the Renaissance world (i.e. by being murdered).
Whilst Lady Macbeth and Auristella straddle the gender spheres – they may think like men but they ultimately remain ‘female’. With Philippa however Rawlins explores the idea of gender roles further. Philippa becomes ‘male’, and embodies all the ambition, violence and cruelty one can associate with it. Of course Philippa is punished for this so Rawlins can be seen as supporting the status quo, but I think he should be applauded for his demonstration of Philippa. Women were always seen to act on an emotional rather than logical level. Whilst Philippa is by no means a traditionally sympathetically character, Rawlins presents us with a female character who has male characteristics, who is a successful – indeed brilliant – soldier, who is logical, brave, skilful and, when engaged in combat, acts honourably.
Aurelia may be the most minor of the female characters but I find her rather interesting. Aurelia saves Antonio, the play’s hero, twice; initially in Act Three Scene 3 when she saves him, literally, from Death, and then again in Act 4 Scene 3 when she helps him escape from Filford Mill, where he was to be executed. Aurelia loves Antonio because of his honourable reputation which she has learned of from her brother. Antonio loves her because he believes her to be an angel who has saved him. Their love is the most pure of all the relationships in the play but yet both characters are ultimately punished. Antonio dies and Rawlins uses Christian reasoning to justify Antonio’s death: “Blood/ Must have blood; so speaks the law of Heaven” (V.3.144-5) and Aurelia is ordered join a convent and spend her life in “religious prayer” (V.3.205). Aurelia is seen to be honourable and dutiful when she readily agrees saying it was “a fault/ To break the bonds of duty and law” (V.3.206-7) by helping Antonio escape from the Mill. I think it interesting to note that the word duty comes before law. Antonio’s death was ordered by Machvile, the acting Governor of Spain, yet Aurelia acknowledges her duty to her father first. In Renaissance literature the private (domestic) sphere was the female one, whilst men belonged in the public sphere of politics, war and, for the lower classes, employment. Aurelia betrays her father by not killing Antonio but, like Machvile and the other conspirators, she has also betrayed the natural order; she entered the public world of politics and violence and, like Philippa and Auristella, ultimately has to be punished for it.
At this point I wish briefly to look at how religion is portrayed in The Rebellion, where there are two characters whose ‘punishment’ is either justified by religion or, in the case of Aurelia, whose punishment is religion. The play opens with three characters discussing Antonio’s positive attributes – his honour, his bravery, his ability as a soldier; arguably Antonio is the Renaissance ideal of positive manhood, yet his death is portrayed as inevitable and justified because the Bible dictates it; an eye for an eye. Aurelia who is chaste, virtuous and loyal to her love for Antonio, is punished because she went against her father’s will and is forced to become a nun. Petruchio believes she has done wrong so how can it be possible to see his ordering her to join a convent as anything but the consequence of her wrong doing? Earlier in the play Sebastiano refers to kneeling at the altar as a “superstitious / Rite” (I.2.158-9), a reference to the Puritan campaign against conformist practices, but Evadne challenges him for kneeling before her saying it is a “ceremony due to none but Heaven” (I.2.162). I think this exchange between Sebastiano and Evadne can be seen as a concentrated reference to the internal religious struggle present in Renaissance England.
Is Rawlins using The Rebellion to argue that the religious turmoil that had existed in England since Henry VIII’s reign is actually eroding religion in England? That Christianity was ultimately being torn into two (if not more) separate belief systems and consequently destroying social unity and people’s belief systems? In The Rebellion we have a couple divided by their religious beliefs (one has to question how this will affect the upbringing of their children) and another couple punished because religious beliefs dictate that they must be. I think one could convincingly argue that religion is portrayed as a negative thing in The Rebellion, but if this is your interpretation you would also have to argue that Philip is portrayed as a weak King to challenge the idea of Divine Right. As I stated above I do think that would be a valid reading of the play but remember that Rawlins was an employee of the Crown and therefore would have been putting himself in a very difficult and potentially dangerous position. It could just be that only a modern, less overtly religious, audience could argue that Antonio’s death cannot be justified using just religious ideology, or that joining a convent can be seen as a negative experience but I think it is possible to read The Rebellion as a subversive critique of religion during the Renaissance and that one should not disregard this whilst reading the play.
Evadne is the only female character in The Rebellion who is not seen to be punished. As a well-born and beautiful lady she is wooed ineffectually by several Spanish aristocrats. Instead she fall in love with her tailor, ‘Giovanno’, despite the fact that as his true self i.e. Sebastiano, he was one of the many she said no to. I think that one therefore has to question what this says about Evadne and also the validity of Evadne and Sebastiano’s later marriage. Firstly, does Evade love ‘Giovanno’ because she knows that she should not, or because in this relationship, as his social superior, she would be the one with power? Neither are positive reasons, and the latter suggests that Evadne craves power in a similar way as Philippa and Auristella, who are punished by death for this ‘crime’. It is impossible to have a definite and ultimate answer as to why Evadne is so infatuated with ‘Giovanno’, but ultimately the question is fruitless because ‘Giovanno’ is revealed to be Sebastiano and this is why Evadne goes unpunished. Her ‘crimes’ of falling in love with a social inferior, betraying her duty to her family and her brother’s wishes become non-existent when ‘Giovanno’ reveals his true identity.
As in a comedy, Sebastiano and Evadne’s marriage represents the restoration of social harmony and social continuity. But how stable is their union? As his true self Sebastiano was unable to win Evadne’s heart so their union is threatened from the beginning. As shown in the section entitled ‘Contemporary Topical Issues’ the partnership between Charles I and Parliament was unstable from the start of Charles’ reign. I think it is possible to see Evadne and Sebastiano’s relationship as a reflective commentary on the relationship between King and Parliament at the time when Rawlins was writing. Evadne, as an aristocrat, represents royalty and the old feudal system whilst Sebastiano, in his ready friendship with the tailors and as ‘Giovanno’, represents Parliament and republicanism. Evadne and Sebastiano’s unsteady union represents a threat to social harmony just as the relationship between Charles and Parliament threatened social harmony in England. Remember that just five years after the play was written England was engaged in Civil War – there was no continuity in England anymore: the union between King (Evadne) and Parliament (Sebastiano) has irrevocably split.
The character of Evadne is also used to comment on sexuality. There are references to sexual acts from the onset of the play, as seen in the references to Syphilis in the first scene of the play and the sexual connotations of Sebastiano’s speech when he says he will be punished by Clap because of his lustful thoughts (I.2.95) There is no doubt in the audience’s mind that Evadne is chaste yet her brother asks her “are your favours grown prostitute to all” (II.2 65-6) when he sees her kissing Antonio. When Evadne is kidnapped by the Bandits in Act 4 Scene 1, Sebastiano is quick to believe she is “fly-blown” (IV.2.82), i.e. Evadne is no longer a virgin. A modern audience would most likely be outraged by Sebastiano attitude but remember the prevailing fear of being humiliated by being cuckolded by one’s wife and the epidemic proportions of Syphilis during the sixteenth century.
Whilst carrying out research for this project however I found some information about rape trials carried out in England in the seventeenth century. In Shakespeare Without Women: Representing Race and Gender on the Renaissance Stage Callaghan quotes from Making Sex: Body and Gender from the Greeks to Freud, where Laqueur explains how during the sixteenth and seventeenth centuries it was believed that female orgasm was thought to be necessary for conception[2]. Consequently if a woman conceived during rape she must have reached orgasm and therefore must have consented. In his book Laqueur quotes from Quaife’s Wanted Wenches and Wayward Wives, which explains how the above idea was used by magistrates during rape trials, leading to many acquittals[3]. This inevitably had an effect on people’s perception of rape i.e. it could be a pleasurable experience for women. Sebastiano believes Evadne was raped but it is his inability to know whether or not she was a ‘willing victim’ that causes his emotional turmoil. In her book Women and the English Renaissance: Literature and the Nature of Womankind 1540 – 1620 Woodbridge explains “chastity was the absolute demand made on virtuous womanhood[4]”. Even if Sebastiano believes Evadne was a victim she is no longer chaste and therefore no longer virtuous and it is that that Sebastiano struggles to forgive her for. The play suggested and my research confirmed that there was a fine line during the Renaissance between being chaste and being unchaste; by kissing Antonio and being a ‘willing’ rape victim Evadne could easily have been classified as the latter.
Therefore in The Rebellion I believe it is impossible to see the female characters as anything but victims. They are punished for being ambitious, for being brave, for being in love, for being victims. A woman cannot live in the male world without being destroyed by guilt or punished by society and she cannot exist in the private sphere without the potential of being a victim and being punished for that. In her book Woodbridge quotes from An Apologie for Women-Kinde published in 1605, where I.G. says that “Those mannish queans are most degenerate” when he is discussing female soldiers[5]. Woodbridge explains how “scenes set in wartime in the drama of the 1590’s are permeated with a sense of sexual chaos. Women have become associated with war[6]”, - for example in Shakespeare’s King John. The negative connotations contained in the dramas and the confused feelings that this new idea invoked in the audience and society inevitably led to feelings such as those expressed by I.G.
In this context it perhaps understandable why Rawlins felt that Philippa had to perish. Woodbridge goes onto explain how during the Renaissance it was feared that “armed with the governing skills acquired in their own households, they (i.e. women) might advance into the political arena[7]”. John Knox, writing in the mid sixteenth century made a direct link between the number of female European rulers and “widespread failure to heed biblical injunctions towards wifely subjection”[8] , explaining why Philippa, Auristella and, to an extent, Aurelia have to be seem to be published – by entering the public sphere they threaten the natural order and encourage all women to step out of the domestic sphere. James I was a pacifist meaning that many soldiers had no relevant social role anymore. Men were being emasculated at a time when women were being seen to be entering the public world. In seventeenth century England this alarmed many people from all social groups and Rawlins can be seen to be responding to that i.e. if a woman strays from the domestic sphere she will be punished and therefore is it not better for her to do as God intended and stay in the domestic, female world. Many conduct books published in this era advocate the same idea as do other literary works, and The Rebellion can be seen to be adhering to this trend.
iii)
Background Information On What It Meant To Be A Tailor In Elizabethan and
Jacobean England
Just before concluding this section I wish to give some information which may
help you understand the opinions of tailors conveyed by the other characters. Throughout
The Rebellion there is the prevailing idea of things not being as they
seem – Sebastiano is in disguise throughout the play as Giovanno and later as a
French tailor, Aurelia and Antonio dress as hermits, Antonio dresses as a
physician, Machvile tricks the Governor into challenging Antonio and pretends
to be in alliance with Raymond whilst secretly plotting to kill him as well as
the King, the Brave hides under a table cloth and this all links to fashion /
clothing. In their book Renaissance Clothing and the Materials of Memory,
Jones and Stallybrass explain how the cliché ‘clothes make the man’ was
truly a frightening idea in the Renaissance. They quote from Stephen Orgal who
said “what allows boys to be substituted for women in the theatre…[is]
precisely the costume, and more particularly, cultural assumptions about
costumes” (Jones and Stallybrass: 2). One must remember at this time different
social classes wore different colours and different materials, and there was a
genuine fear that a member of the lower classes could pretend to be of a higher
social class, a fear that one could never be truly certain that people really
were who they said they were. The obvious people to blame for this were
tailors; they made it possible for people to disguise themselves. Puritans also
propagated the idea that an interest in fashion meant that one was proud and
vain and therefore evil. During the Renaissance tailors were seen as being
sexually ambiguous and this idea can be seen in Sebastaino’s speech in Act 1
Scene 2, lines 45-67, and as go-betweens as seen when Raymond asks Philippa if Sebastiano,
when he is disguised as her tailor, is an “eavesdropper” (IV.7.24) There
was also the popular idea that tailors were much weaker than the average man,
that they were small and thin. Apparently when eighteen tailors attended Queen
Elizabeth, she welcomed them by saying ‘good morning, gentleman both’, a
reference to the proverb ‘nine tailors make a man’.
I hope that this information helps explain why the colonels are so disgusted when Sebastiano captures Raymond and why they refer to him as a “mechanic slave” (II.4.125) and so on. Also as to why the tailors are so eager to make their name as brave soldiers and later as skilled actors, and why the Old tailor is so honoured that the King is going to make it know that he has been a guest of the tailors: they want their trade to be seen as a skill, for them to be seen as equal to other traders and not derided by society. The play closes with a speech by the King saying he would be poor if it was not for his loyal subjects. As a playwright tailors would have provided an invaluable service for Rawlins – upper class people sold their clothes to acting troupes, costumes had to be altered or made so perhaps Rawlins was just perhaps paying them a lip-service, but alternatively perhaps he wanted the audience, and society as a whole, to see how irrational this stereotype was and that is why he made a tailor the hero of the play.
This section is by no means an exhaustive exploration of the play’s major themes – I do not have room for that here – but I hope it ignites your imagination and helps you see possible ways in which it is possible to read the play – as a commentary on the social turmoil facing England, the internal religious battle resulting from the determination to split one religion into different factions for political, social and arguably petty reasons, as a conduct book for women – a warning what to happen to them if they try to move out of their ordained sphere. I am also inclined to argue that as the only characters who speak predominantly in verse, who are eloquent and passionate, who make the audience sit up and take notice are the conspirators, that the play is a celebration of the villain. They are all punished, there is no escaping from that, but ask yourself when you finish the play who your favourite character is and I guarantee it will be one of the conspirators. Again, does this mean that Rawlins is criticising the King and the status quo? Only you can decide what you personally believe. I have my opinion, but it is now time for you to read and the play and form your opinion – after all that is what the study of literature is all about.
Parallels with Other Renaissance Literary Works and Traditions
The Renaissance saw a departure from religious ideology dominating, and repressing, intellectual and creative thought and production, and a return to classical learning and a revival of the arts, including drama which followed Aristotle’s principles, and contained frequent references to classical Gods and mythology, which often provided the plots for Early Modern plays. The Rebellion is littered with reference to a mixture of Greek and Roman Gods – an error made by several Renaissance writers – as well as classic mythology such as the stories of Hercules. This was a simple and easy way for Renaissance writers to associate their works with classic, great, literature. Rawlins sometimes appears to overly rely on classical mythology and in some instances it is ill-applied, for example when Philippa refers to Raymond waving to the city’s axletree (III.4.5); does Rawlins think it is an actual tree that Atlas used to hold up the Heavens and that there was more than one or is the verse simply poorly written, creating confusion as to what Rawlins means?
The return to classical teachings led to the production of the first English tragedies (they were preceded by morality and miracle plays in the Medieval Age), which explored the themes of murder, cruelty, lust for the first time on the English stage. Tragedies consisted of five acts, were written in blank verse and traditionally the violence was not acted onstage, merely referred to. The Rebellion is in five acts and is written mainly in, albeit not perfect, iambic pentameter. Prose first appeared on the English stage in 1566 in George Gascoigne’s play Supposes and Rawlins employs both styles with a mixture of success. Antonio is honourable, brave and eloquent like the average Renaissance hero whilst, as noted above, Machvile is the typical Renaissance Machiavellian villain.
Towards the end of James I’s reign Spanish literature became better known in England and other popular writers drew on Spanish sources or based their plays in Spain, such as Thomas Kyd’s The Spanish Tragedy. Setting their plays in France or Spain allowed writers to safely comment on the religious tensions gripping England or discuss contemporary political and social topics without the risk of having their work censored or worse, being classed as a traitorous. Some critics say that Rawlins sets his play in Spain merely because it was what was popular at the time[9] and Rawlins does make a reference to The Spanish Tragedy in Act V Scene 2 so he was obviously aware of other popular works set abroad. However as I have shown it is possible to read The Rebellion as a commentary on both the political and religious atmosphere of early modern England and Rawlins would have been foolish to not set it abroad. How could one, in Renaissance England, even contemplate writing a play about the overthrowing of a King and set it in England? The play would never have made it to the stage and Rawlins could have taken before Council to explain and perhaps plead for his life.
It is possible to see comparisons with other popular Renaissance plays but I am going to focus on making parallels with plays by William Shakespeare, which most people will be familiar with.
Othello, which was written around 1604 and published in 1622, sees Shakespeare employing a black protagonist to explore the themes of otherness and alienation but why is Raymond black in The Rebellion, other than for the reason that the protagonist of a popular play, written by the most significant playwright the English stage had ever seen, was? There are only three references to Raymond being a Moor in the play and none of them are made to comment on his physical attributes or his strength as a soldier, as in Othello. Both Othello and Raymond are brave and prestigious warriors and like Shakespeare’s Othello who, despite saying he “have not those soft parts of conversations” (III.3.268), makes many eloquent speeches, Raymond too makes passionate speeches to his soldiers and emotive ones to his wife. Rawlins evidently respected many of the qualities that Othello has but there is no apparent reason why he made Raymond black; Raymond’s race has no effect on the plot or the play’s themes.
Macbeth, written around 1606 and first published in 1623, like The Rebellion, considers the idea of things not being as they seem, with the witches declaring in the first act that you cannot trust anything or anyone; everything has a hidden element. In The Rebellion Machvile is the King’s right-hand man, but is plotting against him, Antonio, Aurelia and Sebastiano are all in disguise during the course of the play and there are several instances of characters hiding in order to eavesdrop.
Like Shakespeare’s Coriolanus, Macbeth deals with the issues of gender and violence. Lady Macbeth questions her husband’s masculinity because he hesitates when she tells him to kill Duncan and she says if she were ‘unsexed’ i.e. not a woman, she would kill Duncan herself. A powerful, violent and ambitious female character obviously has links with The Rebellion, but in Rawlins’ play femininity is not a barrier to achieving one’s ambition; Rawlins’ female characters transcend gender. As in Macbeth and Coriolanus the ‘masculine’ females in The Rebellion are seen as degenerate and abnormal and like Lady Macbeth they are punished for it.
There are also minor comparisons with other Shakespeare plays. Antonio makes a casual reference to the enmity between his and Sebastiano’s family (IV.4.51-6), but it was never given as a reason as to why Sebastiano did not successfully woo Evadne. Antonio also says it was his father’s last wish that his and Sebastiano’s family never be joined through marriage yet he promptly dismisses the idea, which is a great contrast to his reaction to Evadne and Sebastiano’s embrace when he accuses her of slighting their dead parent’s memory. It almost seems like an afterthought, as if Rawlins suddenly remembered Romeo and Juliet and the hostility between the Capulets and the Montagues. The hostility between the families was the foundation of Shakespeare’s play but there was no need for Rawlins to divide Sebastiano and Evadne by yet another factor.
In Act II Scene 1 of The Rebellion, when Antonio refuses to say anything at counsel, one should be reminded of Cordelia and King Lear’s exchange in Act I Scene 1 in Shakespeare’s King Lear. Cordelia, unlike her sisters Regan and Goneril, refuses to make an extravagant speech detailing her love for her father, because she believes this demeans not only herself but also her love for Lear. Regan and Goneril’s speeches are so opulent that, to a reader, they are overtly false. Cordelia’s love is pure, the genuine result of the sense of honour and duty she feels towards her father, and she refuses to use her love as a bargaining tool to secure her share of the kingdom. In The Rebellion Antonio’s sense of duty and love is towards his country and his King and that is why he refuses to respond to Machvile’s appalling war plan. Machvile’s plan would lead the Spanish soldiers to almost certain death but if the Spanish Colonels have realised the false nature of Machvile’s speeches, Antonio certainly will have. Machvile’s speech are so evidently “studied” (II.1.58), and therefore his sense of loyalty to Spain so obviously false, that Antonio’s honour will not allow him to respond to them. This is parallel to why Cordelia refuses to match the tone of Regan and Goneril’s speeches.
Act V Scene 1 of The Rebellion also has a startling resemblance to the carnage we see in the last scene of Shakespeare’s Hamlet. As stated above it was not the classical tradition for violence to be acted on the stage yet Rawlins clearly favoured Shakespeare’s popularity over literary tradition!
There is a startling resemblance between Virmine and A Midsummer Night’s Dream’s Bottom, especially in the language Virmine uses, his self-aggrandizing speeches and nature, his desire to fill all the parts in the tailor’s play in Act V Scene 2, and the overt, slapstick humour he introduces to the play. However Virmine’s ready willingness to let the tailors have the minor part as long as he can play the King suggests a sly intelligence that Bottom did not have. Obviously there is the link between the tailors in The Rebellion forming an amateur acting troupe and the craftsmen in A Midsummer’s Night Dream doing the same. Unfortunately we never see the tailors’ play in The Rebellion but as the tailors say very little perhaps, with the exception of Virmine and the Old Tailor (who has not involved in the play anyway) they were not accomplished enough to be the play’s focus for a significant period of time.
The thematic comparisons with Shakespeare are evident but it does not mean that Rawlins was simply trying to mimic the most prolific writer of the time. In Renaissance England politics, gender and religion were important contemporary issues and explored by many dramatists and writers – we cannot accuse them all of copying Shakespeare. It is aspects such as unnecessarily having a black character or a grudge between the two main characters that I find disheartening. Rawlins, whether rightly or wrongly, did not have enough confidence in his own writing to feel that his play could stand on its own merit, without having unnecessary similarities to the plays by the period’s major playwright. Rawlins obviously wanted to comment on important social issues but I am not convinced that he had the artistic ability to do so well.
Another parallel with a popular, contemporary play, is that Evadne shares her name with the heroine of The Maid’s Tragedy by Beaumont and Fletcher. The Maid’s Tragedy was written around 1610, after the assassination of Henry IV of France in 1610, but not published until 1619. The play, a revenge tragedy with many parallels to Shakespeare’s Hamlet (as emphasised by Sandra Clark), was hugely successful and popular, until it was banned by Charles II, presumably because of the scene where Evadne kills the King as he lies in bed[10]. The Maid’s Tragedy’s Evadne bears little similarity to Rawlins’ chaste, mostly passive, heroine. Why, therefore, did Rawlins decide to call his heroine Evadne? Is it a further example of Rawlins willingness to try and take advantage of another playwright’s success and of his inability to produce a remotely original piece of drama? However I think one should remember that there are numerous references to Greek and Roman Gods and myths throughout the play and in Greek mythology there is a woman named Evadne, whose husband, Capaneus, is killed in the Trojan War. Evadne throws herself onto her husband’s funeral pyre and burns with him[11]. I think it is more likely that Rawlins wanted his Renaissance audience to make comparisons with this example of virtuous, obedient womanhood, rather than the murderous, adulterous and corrupt female that Fletcher and Beaumont portray in The Maid’s Tragedy.
Editorial Techniques / Decisions and Problems Experienced.
v I have silently standardised and modernised all spellings and punctuation i.e. the accidentals, to help the modern readers. However words such as thee, thou and hath etc have been retained as The Rebellion is a Renaissance play and should be read as such. Any words that are now obscure or rare are explained in the Glossary and Notes.
v
All
words have been left in the original order. However the play is described as
being “partly in verse” and through the play I have tried to create iambic
pentameter where appropriate through re-lineation. Iambic pentameter is verse
that is ten beats per line, with a pattern of stressed and unstressed
syllables. Iambic Pentameter should be used when a romantic or intelligent
though is being conveyed and always by the upper classes, except if they are
talking to or pretending to be working class or their departure from verse
signals an unstable state of mind.
Rawlins does not seem to understand or is not interested in this literary rule
so as an editor it has been a difficult and sometime impossible task to create
perfect verse. I have tried to create the illusion of verse where it should
have been employed but the lines do not always consist of ten beats as they
should. Therefore I ask the reader to remember the principles of when iambic
pentameter should be used and not let the imperfect verse hinder their
enjoyment of the play.
The only time I have not employed re-lineation is where Rawlins has used
rhyming couplets as this would obviously remove the impact that Rawlins had
tried to create, for example Cupid’s speech (III.3.23-44).
v
Throughout
the play I have used the spellings of the characters’ names as it appears in
the Dramatis Personae. For example in the original text Machvile is also spelt
Machville and Machvil. It is likely that Rawlins meant Machiavelli, or at least
wanted the reader to make the connection between his villain and the
arch-villain of the period.
v
In
the original text Sebastiano is referred to as Giovanno in all the stage
directions etc. I have changed them all to Sebastiano as that is his real name.
When he enters I have stated whether he is dressed as Giovanno or the French
tailor.
v
I
have added or modified stage directions where necessary to enable the reader or
any potential performers to be able to visualise how the play would have been
performed in 1637.
v In the later scenes of the play Virmine is referred to as either Tailor 2 or Tailor 3 in the stage directions. I have amended this to Virmine when the language used / topic of conversation suggested that it was Virmine speaking rather than one of the other, minor Tailors.
The Rebellion
By Thomas Rawlins
To the Worshipful, and his honoured kinsman, Robert Ducie of Aston, in the County of Stafford Esquire: Son to Sir Robert Ducie, Knight and Baronet Deceased
Dramatis Personae
King of Spain
Governor of Spain
Antonio, a Count
Machvile, a Count
Alerzo, a Spanish Colonel
Fulgentio, a Spanish Colonel
Pandolpho, a Spanish Colonel
Evadne, Antonio’s
sister
Auristella, Machvile’s wife
Nurse, Evadne’s attendant
Raymond, Moore General of the French Army
Firenzo, a French Colonel
Gilberty, a French Colonel
Leonis, a French Colonel
Philippa, Raymond’s wife
Petruchio, Governor of Filford
Sebastiano, Petruchio’s son, disguised as a tailor called Giovanno
Old Tailor
Virmine, Old Tailor’s man
Three Tailors
Aurelia, Petruchio’s daughter
Attendants
Captain of the Bandetty
Cupid
A Brave
A Judge
Two Ruffians
Officers
Soldiers
Setting
Seville, Spain
|
Alerzo
Fulgentio
Alerzo Alerzo
Pandolpho
Evadne Evadne Evadne Evadne
Evadne
Nurse
Sebastiano
Nurse
Evadne
Evadne Sebastiano
Antonio
Evadne
Raymond
Leonis
Gilberty
Firenzo
Raymond
Philippa
Colonels
Raymond
Sebastiano
Old Tailor
Virmine
Tailor 1
Virmine
Old Tailor
Sebastiano
Old Tailor
Sebastiano
Tailor 2
Virmine
Sebastiano
Governor Governor
Governor
Alerzo
Alerzo Machvile
Antonio
Fulgentio
Alerzo
Governor
Governor
Antonio
Machvile
Fulgentio
Alerzo
Fulgentio
Governor
Antonio
Governor Machvile
Antonio
Alerzo
Fulgentio
Alerzo
Antonio
Machvile
Sebastiano
Nurse
Sebastiano
Nurse
Sebastiano
Evadne
Sebastiano
Nurse
Sebastiano
Evadne
Nurse
Sebastiano
Nurse
Sebastiano
Evadne
Sebastiano
Evadne
Sebastiano
Evadne
Sebastiano
Antonio
Evadne
Antonio
Sebastiano
Antonio
Sebastiano
Antonio
Machvile
Evadne
Sebastiano
Machvile
Antonio
Machvile
Evadne
Officer 1
Machvile
Sebastiano
Antonio
Sebastiano
Antonio
Sebastiano
Antonio
Sebastiano
Antonio
Sebastiano
Old Tailor
Antonio
Old Tailor
Sebastiano
Old Tailor
Antonio
Old Tailor
Raymond
Gilberty
Raymond
Gilberty
Raymond
Gilberty
Leonis
Raymond
Leonis
Raymond
Soldier 1
Raymond
Soldier 2
Raymond
Soldier 2
Raymond
Machvile
Philippa
Alonzo
Fulgentio
Pandolpho
Raymond
Sebastiano
Raymond
Philippa
Raymond
Philippa
Raymond
Philippa
Raymond
Machvile
Raymond
Machvile
Sebastiano
Alerzo
Sebastiano
Alerzo
Sebastiano
Fulgentio
Sebastiano
Fulgentio
Sebastiano
Alerzo
Sebastiano
The colonels
Sebastiano
The colonels
Machvile
Raymond
Tailors
Sebastiano
Alerzo
Fulgentio
Machvile
Sebastiano
Machville
Sebastiano
Machvile
Sebastiano
Alerzo
Sebastiano
Fulgentio
Sebastiano
Fulgentio
Alerzo
Sebastiano
Machvile
Fulgentio
Old Tailor
Virmine
Tailor 1
Virmine
Old Tailor
Virmine
Old Tailor
Machvile
Auristella
Machvile
Auristella
Machvile
Auristella
Machvile
Auristella
Machvile
Auristella
Machvile
Auristella
Machvile
Auristella
Machvile
Antonio
Cupid
Sebastiano
Old Tailor
Sebastiano
Antonio
Sebastiano
Antonio
Old Tailor
Antonio
Old Tailor
Sebastiano
Old Tailor
Antonio
Old Tailor
Sebastiano
Old Tailor
Antonio
Sebastiano
Antonio
Old Tailor
Philippa
Raymond
Philippa
Raymond
Philippa
Raymond
Philippa
Judge
Antonio
Aurelia
Petruchio
Aurelia
Antonio
Petruchio
Aurelia
Sebastiano
Evadne
Captain
Sebastiano
Evadne
Sebastiano
Sebastiano
Captain
Trotter
Captain
Evadne
Captain
Bandit 1
Trotter
Captain
Trotter
Sebastiano
Evadne
Sebastiano
Evadne
Sebastiano
Evadne
Sebastiano
Evadne
Sebastiano
Evadne
Sebastiano
Evadne
Sebastiano
Evadne
Sebastiano
Evadne
Sebastiano
Evadne
Sebastiano
Evadne
Sebastiano
Petruchio
Aurelia
Petruchio
Aurelia
Petruchio
Aurelia
Petruchio
Aurelia
Antonio
Aurelia
Antonio
Aurelia
Antonio
Aurelia
Antonio
Aurelia
Antonio
Aurelia
Antonio
Aurelia
Antonio
Aurelia
Antonio
Petruchio
Evadne
Antonio
Sebastiano
Evadne
Sebastiano
Antonio
Evadne
Aurelia
Antonio
Evadne
Aurelia
Antonio
Sebastiano
Antonio
Aurelia
Evadne
Sebastiano
Antonio
Tailor 1
Virmine
Tailor 2
Tailor 1
Virmine
Tailor 1
All tailors
Old Tailor
Antonio
Sebastiano
Old Tailor
Antonio
Old Tailor
The King
Aurelia
The King
Evadne
The King
Old Tailor
The King
Antonio
Machvile
Antonio
Machvile
Antonio
Machvile
Antonio
Machvile
Antonio
Auristella
Antonio
Machvile
Antonio
Machvile
Auristella
Machvile
Auristella
Machvile
Antonio
Machvile
Antonio
Machvile
Auristella
Antonio
Auristella
Antonio
Auristella
Antonio
Auristella
Antonio
Auristella
Antonio
Auristella
Antonio
Sebastiano
Philippa
Sebastiano
Philippa
Sebastiano
Philippa
Raymond
Sebastiano
Philippa
Sebastiano
Raymond
Sebastiano
Raymond
Sebastiano
Fulgentio
Raymond
Sebastiano
The King
Old Tailor
The King
Old Tailor
The King
Antonio
The King
Antonio
Evadne
Sebastiano
Evadne
Sebastiano
The King
Sebastiano
The King
Antonio
The King
Old Tailor
Virmine
Old Tailor
Tailor 1
Virmine
Tailor 2
Tailor 3
Virmine
Tailor 2
Tailor 1
Tailor 2
Virmine
Tailor 2
Virmine
Tailor 2
Tailor 1
Virmine
Tailor 1
Virmine
Tailor 1
Tailor 2
Virmine
Tailor 2
Virmine
Tailor 1
Virmine
Tailor 1
Virmine
Tailor 1
Virmine
Tailor 2
Virmine
Tailor 1
Tailor 2
Virmine
Tailor 2
Virmine
Tailor 1
Virmine
Tailor 2
Virmine
Tailor 2
Virmine
Tailor 1
Virmine
Brave
Machvile
Raymond
Philippa
Aurelia
Antonio
Philippa
The King
Antonio
Fulgentio
Alerzo
Pandolpho
Auristella
Philippa
Aurelia
Machvile
The King
Antonio
Machvile
The King
Fulgentio
Alerzo
Auristella
Fulgentio
Antonio
Auristella
Raymond
Sebastiano
French Colonels
The King
Machvile
Raymond
Sebastiano
Machvile
Raymond
Auristella
Raymond
Alerzo
Fulgentio
Pandolpho
Philippa
Auristella
Philippa
The Brave
Philippa
Auristella
Machvile
Antonio
Machvile
The King
Evadne
Sebastiano
Aurelia
Antonio
Machvile
The King
Petruchio
The King
Petruchio
The King
Petruchio
The King
Aurelia
The King
Petruchio
Sebastiano
Petruchio
The King
Petruchio
Aurelia
The King
Aurelia
Petruchio
The King
Virmine
The King
Virmine
Old Tailor
Virmine
Old Tailor
Virmine
Old Tailor
Sebastiano
Everyone
The King
Old Tailor
The King
|
Act One, Scene 1
Colonel!
Signor Alerzo!
Here.
You
are merry. (pointing
off stage)
Count Antonio Count Antonio
enters Though
he appear fresh as a bloom that newly
(as they salute Antonio Machvile enters unnoticed)
Each
ambitious were to lose his life so Or
any else but young Antonio. Swell
me revenge, till I become a hill That
I might fall and crush them into air. (Machvile exits behind hangings)
The
fleeting clouds, dash all our hopes of payment: Modesty
commands. No
superstitious cringe. Adieu. Exit Antonio Is
it not a hopeful* Lord? Nature to him has chained the people’s hearts. Each
to his Saint offers a form of prayer for young Antonio. Exit all
except Machvile who walks to centre stage Heart
wilt not burst with rage to see these slaves Confusion and the list of all diseases Wait upon your lives till you be ripe for Hell,
which when it gapes may it devour you all. Monopoly. Be more a man. Think. Think. In thy brain’s mint coin all thy thoughts to mischief That may act revenge at full. Plot. Plot. Tumultuous thoughts incorporate. Beget A lump how e’er deformed that may at length Like to a cub licked by the careful dam Become like to my wishes perfect vengeance. Antonio,
aye Antonio; nay all Death sit[s] upon my brow; let every frown Banish
a soul that stops me of a crown. Exit Machvile
Act One, Scene 2 Enter Evadne
and Nurse The
tailor yet returned, Nurse? Keep
passionate time with mine? Or has she Beams of thirsty love upon a tailor, Being
myself born high? I must know more. Oh
‘tis a youth jocund* as sprightly May; one that will do discreetly* with a
wife, bord* her without direction from the stars or counsel her from the moon
to do for physic*. No he’s a back … Oh ‘tis a back indeed. A knock
Leave
your talk. One knocks – go see. Exit Nurse A
Tailor! Fie, blush my too tardy* soul! To that our House boasts great. I’d fly into His arms with as much speed as an air cutting Arrow to the stake. But oh he comes! My Fortitude
is fled! Enter Nurse and Sebastiano, as Giovanno, holding a gown
(aside)
Yonder
she is and walks* – yet in sense strong enough to maintain argument she’s
under my cloak, for the best part of a lady, as this age goes, is her
clothes. In what reckoning ought we tailors to be esteemed then that are the
master workmen to correct Nature? You shall have a Lady in a dialogue with
some Gallant*, touching his suit, the better part of a man, so suck the
breath that names the skilful tailor as if it nourished her. Another Dona*
fly from the close embracement of her Lord to be all over measured by her
tailor. One will be sick forsooth* and bid her maid deny her to this Don,
that Earl, the other Marquise, nay to a Duke, yet let her tailor lace and
unlace her gown, so round her skirts to fit the fashion. Here’s one has in my
sight made many a noble Don to hang the head. Dukes and Marquises, three a
morning break their fasts on her denials. Yet I, her tailor, blessed be the
kindness of my loving stare, am ushered. She smiles and says I have stayed
too long and then finds fault with some slight stitch, that eye-let hole’s
too close, then must I use my Bodkin*, ‘twill never please else; all will not
do, I must take it home for no cause but to bring it her again next morning.
We tailors are the men, spite of the Proverb, Ladies cannot live without. It
is we that please them best, in their commodity: there’s no magic in our
habits. Tailors can prevail ‘bove him: honour styles best of man.
What
mean you Madam?
Leave us.
I
go. Duck* I’ll be here anon. I will Dove*. Exit Nurse At
your best leisure. Was the reward. And yet, dull-daring sir, By your favour no. He must be more than Savage
can attempt to injure so much Thought of such offence.
(aside) When Sebastiano, clad in conquering Steel and in a phrase able to kill, or From a coward’s heart banish the thought of Fear, wooed me, won not so much upon my Captive soul as this youth’s silence does. Help Me some power out of this tangling maze: I
shall be lost else. ‘Pon
their soft hearts; Mine must not be thy slave. Even
with adoration deified*. Denies
my body warmth. You breath Evadne faints. Rather
let me lose all external being. Sebastiano
gently shakes Evadne You
say you love her. Set
by some curious artist in a ring, Steady
hand of careful Nature into such Bow the worship of the thankful pays the Preserver of his life and grows? But thou, Unthankful man, in scorn of me, to love A
Calendar of many years. Rite the heathens used to pay their Gods*, I Offer up a life, that until now ne’er Knew
a price, made dear because you love it. Devout vow humbly upon my knees, that Though the thunder of my brother’s rage should Force divorce, yet in my soul to love you; Witness all the winged inhabitants of The
highest Heaven. Enter Nurse
Be thyself again.
Madam,
your brother. Exit Sebastiano. He and Antonio cross paths.
What’s
he that passed? My tailor.
There’s
something in his face I sure should know. Commands
me fight for my loved Country’s cause. Exit Antonio
Love
bids me pray and on his altar make
Exit Evadne
Act One Scene 3
Alarm. Enter
Raymond, Philippa, Leonis, Gilberty and Fyrenzo Stand.
Stand. Stand. Cries of stand offstage
Bid
the drum cease whilst we embrace our love.
Raymond embraces and kisses Philippa
My honoured Lord! Duty commands I pay it back again, It
will waste me into smoke else. Can my
Restore
back mine. (They kiss). So go pitch our tent. We’ll A
friendly enemy! How say you Lords? Issue of the brain of Jove, Governess of Arms and Arts, Minerva, or a selected Beauty
from a troop of Amazons? She is a mine of valour.
Lords
spare your praises ‘til like Bradamante *, The heaving of his Master’s hand. My heart Runs through my arm and when I deal a blow it Sinks a soul. My sword flies nimbler than the Bolts of Jove and wounds as deep. Spain, thy proud host, Shall feel death has bequeathed his office to my steel.
All exit
Act One Scene 4
Enter Sebastiano as Giovanno, Old Tailor, Virmine and two tailors
Come
bullies*, come. We must forsake the use of nimble shears and now betake us
to our Spanish needles, stiletto* blades, and prove the proverb lies, lies in
his throat: one tailor can erect sixteen, nay more, of upstart Gentleman
known by their clothes and leave enough materials in hell to damn a broker.
Aye,
to the wars, Virmine. What says thou to that? Nothing but that I would rather stay at home. Oh the good penny breakfast that I shall lose! Master, good Master, let me alone to live with honest John, noble John Black*.
Will thou disgrace thy worthy calling, Virmine?
No,
but I am afraid my calling will disgrace me! I shall be gaping* for my
morning loaf and dram of Ale. Aye, I shall! And now and then look for a
cabbage leaf or an odd remnant to clothe my bashful buttocks.
Yes marry*; why I hope poor Virmine must be fed and will be fed or I’ll torment you.
Master, I take privilege from your love to hearten on my fellows.
Aye, Aye do, do good boy.
Exit Old Tailor
Come
my bold fellows, let us eternalise* And
as the years renew, so shall our fame
Come Virmine, come.
Nay if Virmine slip from the back of a tailor, spit him with a Spanish needle or torment him in the louses*. Engin*: your two thumb nails*.
Exit all but Sebastiano
The city seiged and thou thus chained in airy Fetters of a Lady’s love. It must not Be. Stay. ‘Tis Evadne’s love: Her life is With the city ruined if the French become Victorious. Evadne must not Die. Her chaste name that once made cold, now Doth my blood inflame.
Sebastiano exits.
Act Two Scene 1
A table and chairs in the centre of the stage. Enter (after a shout crying Antonio) Governor and Machvile
Hell
take their spacious throats, we shall ere long Him
by a number higher. Master's
substitute? Then why should he At
the Counsel board* he'll break into a Enter Antonio, Alerzo, Fulgentio and Pandolpho.
Never
more need, my worthy partners, in That
haughty Moor, upon whose sword sits Like the Army of another Xerxes* Make
the o'er burdened earth grown at their weight. Service with loss, 'tis good to deal with Policy. He's no true soldier that deals Headless blows with the endangering of His life; [and] may walk in a shade of safety, Yet o'erthrow his towering enemy. Great Alexander* made the then known world Slave to his powerful will, more by the Help of political wit than by the Rough compulsion of the sword. Troy*, that Endured the Grecians' ten years siege, by policy Was fired, and became like to a lofty Beacon
on a flame. Has
with the breath of policy been blown As yet their ships have not o’erspread the sea - We
send a regiment that may with speed Whilst
we open our Gates, and with a strong assault What says Antonio?
Nothing. (aside) It takes:
Revenge I hug thee.
Speak,
Antonio! Your counsel. From
yon tribunal, I would crave, my senses
Less
a soul guarded with subtle sinews. Wondered at, as can applaud or lend a Willing ear to that my blushes do betray I've
been tardy to hear? Your childish policy. Liberty! To abuse a man of so much Merit is not seemly in you. Nay, I'll Term
it sauciness. My
prophetic fear whispered in my heart: From the sun like diamonds, or as the Glorious gilder of the day*, should deign A lower visit. Then my warm blood, that Used to play like summer, felt a change. Gray-bearded winter froze my very soul, Till I became like the Pyrenean Hills*, wrapped in a robe of ice. My attic Fear
froze me into a statue. Patience;
your counsel? And I, poor I only, survived to threat Defiance in the monsieur's
teeth*, and stand And unarmed, I'd through their bragging host and Pay my life a sacrifice to death, for My loved Country's safety.
Fulgentio, thou hast not lost thy faith?
No, I’m reformed. He’s valiant.
Antonio your counsel.
Aye, your counsel.
Our
foes increase to an unreckoned number: Half their Army. ‘Tis my counsel we strike A league*. ‘Tis wisdom to sue peace where powerful Fate
threatens ruin, lest [we] repent too late. ‘Tis God-like counsel.
And becomes the tongue of young Antonio.
Antonio,
let me tell you, you have lost Term you a coward.
Ha!
Nay more, since by your oratory you Strive to rob your country of a glorious Conquest, that may to after times beget A fear, even with the thought, should awe The trembling world. You are a traitor.
Ha, my Lord? Coward and traitor? ‘Tis a Damned lie and in the heart of him dares say It again I’ll write his error.
(aside) ‘Tis as I’d have it.
Noble Antonio.
Brave spirited Lord.
The mirror of a Soldier.
Oh
are you moved first? Has the deserved name
Deserved?
Yes.
Yes.
Machvile,
thou liest. Had thou a heart of
They all fight in a confused manner. Antonio kills the Governor and injures Machvile.
The Governor! Killed by Antonio’s hand?
No, by the hand of justice. Fly, fly my Lord.
Send
for a surgeon to dress Count Machvile.
Exit Attendant
Now
I repent too late my rash contempt.
Exit Antonio
I’m
wounded, else, coward Antonio, Heavy
as thunder. May thou die burdened Thee
down to Hell, beneath the reach of Someone shouts for Antonio
Confusion
choke your rash officious throats. Sue
to that shrine our liking shall erect. Exit Machvile
Act Two Scene 2
Enter Sebastiano as Giovanno, Evadne and Nurse
‘Tis a neat gown and fashionable, Madam; is it not, love?
Upon my virginity, wonderful handsome. Dear, when we are married I’ll have such a one. Shall I not chicken? Ha.
What else, kind nurse?
Truly you tailors are the most sanctified members of a Kingdom. How many crooked bodies and untoward bodies have you set upright, that they go now so straight in their lives and conversation as the proudest of them all.
That’s certain; none prouder.
How mean you sir?
Faith, Madam, your crooked movables* in artificial bodies that rectify the deformities of nature’s over-plus as bunching banks, or scarcity as scanty shoulders, are the proudest creatures. You shall have them jet it* with an undaunted boldness; for the truth is what they want in substance they have in air. They will scold the tailor out of his art and impute the defect of nature to his want of skill though his labour make her appearance pride worthy.
Well said my bird’s-eye*. Stand for the credit of tailors whilst thou livest; wilt thou not chuck? Ha, sayst thou my dear?
I were ungrateful else.
Nurse
pray leave us; your presence makes your sweet Pray be won to leave us here.
Madam,
your will’s obeyed. Yet I can hardly pass from thee, my love, at such a
sudden warning. Your eager love may be termed dotage; for shame confess your self to less expressions! Leave my Lady.
A
kiss and then I go; so. Farewell my duck*. Nurse kisses Sebastiano and then exits
Death,
she has left a scent to poison me. Image
than Pygmalion’s*? Or play with the
Come, you are loath to part with’t, ‘tis so sweet.
Sweet,
say you, Madam? A muster of Teeth. Excuse my boldness to defer your Longing; thus I am new created with Your breath.
Sebastiano and Evadne kiss
My gaping pores will never be Satisfied. Again – they are still hungry.
My
dear friend, let not thy lovely person
I’ll
smother that harsh breath. They kiss
Again I counter-check it.
They kiss again. Enter Antonio pursued; seeing them and stands amazed
Oh sister, ha! What killing sight is this! Cannot be she. Sister!
Oh my dear friend; my brother. We’re undone!
Degenerate
girl! Lighter than wind or air! Grieves
me not half so much as thee forgetful. Sir, if on me this language, I must tell you, you are too rash to censure. My unworthiness, that makes her seem so ugly in your eyes, perhaps hangs in these clothes; and is shifted off with them. I am as noble, but that I hate to make comparisons, as any you can think worthy to be called her husband.
Shred of a slave, thou liest!
Sir I am hasty too; yet in the presence of my mistress can use a temper.
Brave; your mistress!
Enter Machvile with officers.
Lay
hold on him! Here we presume to meet The
wrath of Heaven fall heavy on us. Capital treason ‘gainst the King and Realm. To
prison with him.
(aside) ‘Tis but an error: treason do you call it, to kill the Governor in heat of blood and not intended? For my Evadne’s sake, something I’ll do shall save his life.
Sebastiano exit
To prison with him.
Farewell, Evadne. As thou lovest the peace Of our dead ancestors, cease to love so Loathed a thing: a tailor. Why, ‘tis the scorn Of all! Therefore be ruled by thy departing Brother:
do not mix with so much baseness.
Exit Antonio with officers
Lady we here enjoin you to Your chamber as a prisoner to wait A further censure: you brother’s fault has Pulled a punishment upon your head, which You
must suffer. E’en
what you please, your tyranny can’t bear Whose
constancy shall tyranny control. Exit Machvile and Evadne left as Antonio and officers enter right. Cries of rescue offstage as Sebastiano, as Giovanno, and Tailors storm the officers and, after a scuffle, rescue Antonio.
Enter Machvile and he is approached by Officer 1
A
troop of Tailors have by force taken Unto some secret place: we can’t find him.
Screech-owl*,
dost thou know what thou has said?
Exit officers
Oh my crossed stars! But die, though he had no fault but innocence.
Exit Machvile
Act Two Scene 3
Enter Sebastiano as Giovanno, Antonio and the Old Tailor
Can this kindness merit your love? Do I deserve your sister?
My
sister! Worthy tailor; ‘tis a gift
Have not I…
(interrupting)
Speak
no further! I confess you have been
Sir, this may, but…
(interrupting) My sister, thou would say, most worthy Tailor. She is not mine to give. Honour Spoke in my dying Father: ‘tis a Sentence that’s registered here, in Antonio’s heart. I must not wed her but To one in blood calls honour Father. Prithee* Be my friend, forget I have a sister; In love I’ll be more than a Brother; though Not to mingle blood.
May I not call her mistress?
As a servant: far from the thoughts of wedlock.
I’m your friend, and proud of it. You shall find that though a tailor, I’ve an honest mind. (to Old Tailor) Pray, Master, help my Lord into a Suit; his life lies at you mercy.
I’ll warrant you.
But for thy men –
Oh
they are proud in that they rescued you. Upon
our needful calling shall be answered: A noble practitioner in our mystery*.
Cheer up Antonio. Take him in – the rest will make him merry. I’ll go try the temper of a sword upon some shield that guards a foe. Pray for my good success.
Exit Sebastiano
Come, come my Lord. Leave melancholy to Hired slaves that murder at a price. Yours
was… (interrupting) No more, flatter not my sin.
You are too strict a convertite*, let’s in.
Exit Antonio and Old Tailor
Act Two Scene 4
After a confused noise enter Raymond, Leonis, Gilberty hastily
What means this capering* echo? Or from Whence
did this so lively counterfeit of
‘Tis from the city.
It
cannot be! Their voice should out-roar Jove*.
A shout offstage
‘Tis certainly from thence.
You’re
deceived, poor Spaniards’ fear has changed their They’re planet struck.
‘Tis from a jocund* fleet, my genius Prompts me. They have already ploughed the Unruly seas and with their breasts*, proof ‘gainst The battering waves, dashed the big billows Into angry froth and ‘spite of the Contentious full mouthed gods of sea and wind, Have reached the city frontiers and Begirt* her navigable skirts.
(shout offstage)
Again ‘tis so.
My
creed’s another way: I have no faith
Alarm offstage. Enter a bloodied soldier.
Here’s one, now we shall know. Ha! He appears like one composed of horror.
What speaks thy troubled front?
Speak, crimson Meteor.
Speak, Prodigy, or on my sword thou fallest.
The
bold Spaniards, setting aside all cold Notice
of the number our Army is Than great Jove* affrights the crimson world With when the air is turned to mutiny.
Villain, thou liest; ‘twere madness to believe Thee. Foolish Spain may like those Giants that Heaped hill on hill, mountain on mountain to Pluck
Jove* from Heaven who with a hand of Strength
of their ambitious arms became their Rubbish of their ruined cities.
Enter another soldier
What! Another? Thy hasty news.
The daring enemies have through their gates Made
a victorious sally*; all our troops Made a dishonoured flight: Hark!
Alarm offstage
The conquering Foe makes hitherward.
Run to my tent, fetch my Philippa. Slave why mov’st thou not?
The enemy’s upon us.
Raymond strikes Soldier 2
Shall I send thy coward soul down the vaults Of Horror? Fly, villain, or thou diest.
Alarm offstage. Enter Machvile, Spanish Colonels with Philippa as prisoner. Enter Sebastiano as Giovanno, and Tailors
Let
one post to my castle and conduct To
wait upon her beauty. Fly, let not
Can
thou think proud man that Philippa’s heart Bring all the rough tortures from the world’s childhood To this hour invented, and on my Resolute body, proof against pain, Practised Sicilian tyranny, my Giant thoughts should like a cloud of wind, Contemning*
smoke, mingle with heaven and Shall give you cause of triumph.
Before Heaven, a fiery girl.
A masculine spirit.
An Amazon.
See
my Philippa: her rich colour’s fled Have made an anvil to forge diseases On,
she’s lost herself with her fled beauty. To our churlish foe than bashful Titan To the Eastern world. Spaniards, she is a Conquest Rome, when her two-necked Eagles awed The world, would have swum through their own blood to Purchase! Nor must you enjoy that gem, the Superstitious Gods would quarrel for, but Through
my heart. This Moor speaks truth wrapped in a voice of thunder.
Speak
my Philippa, what untutored slave
‘Twas
the epitome of Hercules*: No
What pains thou takest to praise thine enemy.
‘Twere
sin to rob him that has wasted so Made me captive. Nor can he boast ‘twas In an easy combat; for my good sword, Now ravished from mine arm, forced crimson drops, That
like a gory sweat, buried his That
were skilled in his effigies, as drunk Drawing of the rueful curtain they saw In
him their error. A
common soldier owner of a strength
My Lord, you must strike quick and sure…
Why pause you? My Philippa must not stay; Captivity’s infection.
We have the day.
Not
till you conquer me, which if my arm Shall spin your labour to an ample length.
Upon him then!
Odds
is dishonourable combat: My
Thee!
Tailor, you are too saucy.
Saucy?
Untutored groom! Mechanic slave*!
You have protection by the Governor’s presence, else my plumed ostriches, ‘tis not your feathers, more weighty than your heads, should stop my vengeance, but I’d text* my wrong in bloody characters upon your pampered flesh.
You would?
By heaven I would.
You’d be advised and render up your life a sacrifice to patience.
Musk-cat,* I’d make your civet* worship stink first in your perfumed buffe*.
Phlegmatic* slave!
Bloodless commanders.
How!
So.
Let’s reward his boldness.
Whence this rashness?
The colonels attack Sebastiano
Blessed occasion: let’s on ‘em.
The French whisper and make to attack the Spanish, who turn on their guard and beat them off.
Act Three Scene 1
Enter Machvile, Spanish Colonels, Sebastiano as Giovanno with Raymond and Philippa as prisoners. Enter all Tailors
A tailor, a tailor, a tailor!
Raymond, you're now my prisoner: Blind chance has favoured where your thoughts and hope she meant to ruin from our discord, which Heaven has made victorious, you meant to strike a harmony should glad you.
Machvile, Fulgentio and Alerzo whisper amongst themselves
'Tis not to be borne: a tailor!
'Twas an affront galls to me think of. Besides his saucy valour might have ruined all our forward fortunes had the French been stronger. Let him be banished!
It
shall be so. My fears are built on grounds Antonio, whose sister we will banish In
pretence of love to justice. 'Tis a Her goods I'll give the poor, whose tongues are in Their bellies, which being full is tipped* with Heartless
prayers; but empty a falling For
curses.
My Lord?
Deliver up your prisoner.
You're obeyed.
So. Now we command on forfeit of thy Life you be not seen in any ground our Master title circles within three days. Such
a factious spirit we must not nourish: Your conceited worth, you sting your country's Breasts that nursed your valour.
This my reward?
More than thy worth deserves
Pomander box,* thou liest.
Go purge yourself: your Country vomits you.
Slaves, you're not worth my anger.
Go vent your spleen 'mongst satirists - pen a pamphlet and call it 'The Scourge of Greatness'.
Or 'Spain's Ingratitude'.
Ye are not worth my breath, else I should curse You. But I must weep, not that I part from Thee,
unthankful Spain, but my Evadne. Temper 'spite of woe.
Exit Sebastiano
(to Raymond) My house shall be your prison. Attend him, Colonels.
Please you walk?
Exit all except the Tailors
My servant banished!
Famished, master? Nay, faith! And a tailor come to be famished! 'Tis a hard world: no bread in this world here hoe, to save the renowned corpse of a tailor from famishing. 'Tis no matter for drink, give me bread!
Thou hast a gut would swallow a peck* loaf.
Aye marry would; with vantage; I tell truth, and as the proverb says, shame the Devil - if our Hell afford a Devil, but I see none unless he appear in a delicious remnant of nimmed* satin, and by my faith that's a courteous devil that suffers the brokers* to hang him in their ragged wardrobe; and used to sell his devilship for money. I tell truth. A tailor and lie? Faith, I scorn that!
Leave your discovery.
Master, a traveller you know is famous for lying and having as travelled as far as Hell, may I not make a description of the unknown land?
My brain is busy. Sebastiano must not tread an unknown land to find out a grave. Unfortunate Sebastiano: first to lose thyself in a disguise unfitting for thy birth, and then thy country for thy too much valour. There's danger in being virtuous in this Age led by those sinful actors. The plunged stage of this vice-bearing world would headlong fall but charitable virtue bears up all. I must invent. I have it! So: as he's a tailor he is banished [from] Spain, as Sebastiano is revoked again.
Exit all.
Act Three Scene 2
Enter Machvile
How
subtle are my springes*: they take all. With Laugh at you folly. I have a wire set For
the Moor and his ambitious consort
Enter Auristella
What must she second?
Art thou there, my love? We're in a path that Leads us to a height; we may confront the Sun and with a breath extinguish common Stars; be but thou ruled, the light that does create Day to this city must be derived from us.
You fire my soul and to my airy Wings add quicker feathers. What tasks would not I
run to be called Queen? Did the life blood Stand as a quick* wall to stop my passage To a throne, I'd with a poniard open Their azure* veins and squeeze their active blood Up into clods till they become as Cold as winter's snow, and as a bridge Upon their trunks I'd go.
Our souls are twins and thirst with equal heat For
deity: Kings are in all things Gods
To
be a Queen what danger would I run? So I might sit above the lesser stars Of small nobility but for a day.
'Tis to be done, love, a nearer way*. I Have already with the sugared baits of Justice,
liberality and all the Catch the hearts o'th giddy multitude - which If it fails, as cautious policy Forbids, I bid too strongly on their drunk Uncertain
votes - I'd have thee break with my Himself shall rule; so that if need compel Us to take arms we may have forces From the realm of France to seat us in the Chair of Government.
I n'er shall endure to walk as equal With proud Philippa. No. My ambitious Soul boils in a thirsty flame of Total glory: I must be all, without A second flame to dim our lustre.
Still my very soul. Thinkest thou I can endure [A] competitor, or let an Ethiope Sit by Machvile’s side as partner in his Honour? No, as I have seen in the Commonwealth
of players, one that did act the Became ravished, and on Raymond mean to Plot what he did one the cavilling* boys of Oedipus, whilst we grasp the whole dignity.
As how, sweet Machvile?
It
is not ripe, my love. The King, I hear, Order that Count Antonio, once Being taken, be sent to Filford Mill; There ground to death.
What for his wife?*
Thy envy? She I have banished and her goods, To
guard a shower of curses from my head,
Good
policy. Let’s home to our designs: Shall be dissolved to flattery for a crown.
Attend your Lady.
Exit Auristella
So her forward spleen, Tickled with the thought of greatness, makes the Scene’s attempts run smooth. The haughty Moor shall Be the lader* on whose servile back I’ll Mount to greatness. If calm peace deny me Easy way, rough war shall force it. Which done, Raymond and his Philippa must go seek An Empire in Elysium*: For To rule predominance belongs alone To me: slaves are unworthy of rule. What State would set a crown upon a mule?
Exit Machvile
Act Three Scene 3
Antonio centre
stage, disguised sitting in a closet My soul is heavy and my eyelids feel The
weighty power of Morpheus*: Each Weak supporters of my inward man crack As beneath the weight of Atlas’* burden. A sudden change! How my bleared* eyelids Strive to force a sleep ‘gainst nature. Oh yon Powers that rule the better thoughts, if you have Ought to act on my frail body, let it Be with eagle’s speed, or if your Wills so Please let my fore past and undigested Wrongs o’erwhlem my thoughts, and sink me to the Ground with their no less than death’s remembrance. Cease, bastard slave, to clog my senses with The leaden weights of an unwilling sleep, Unless your raw-boned brother joins his force And makes a separation twixt my airy Soul and my earthly body. I am O’ercome. Heaven work your wills; my breath Submits to this as it would submit to death.
Antonio sleeps. Soft music plays as Cupid descends until he is in mid-air.
Sleep entranced man, but be Wakeful in thy fancy: see Love hath left his palace fair And beats his wings against the air To ease thy panting breasts of ill. Love is a physician, our will Must be obeyed. Therefore with haste To Flanders fly; the echoing blast Of fame shall usher thee along And leave thee pestered in a throng Of searching troubles, which shall be But bug-bears* to thy constancy.
Enter Death from left and Aurelia from right. Death strikes three times at Antonio but Aurelia diverts them. Exit Death and Aurelia.
What
this same shadow seems to be The
maid that seemed to conquer Death Dotes on thy air; reports hath been Lavish in praising thee unseen. Make haste to Flanders: time will be Accused of slothfulness if she Be longer tortured. Do not stay, My power shall guide thee on thy way.
Cupid ascends. Enter Sebastiano as Giovanno, and the Old Tailor
He is asleep.
See how he struggles, as if some visions Had assumed a shape fuller of horror Than his troubled thoughts.
His conscience gripes him to purpose: see he Wakes: Let us observe.
Stay gentle power, leave hostage that thy Promise thou’lt perform, and I will offer To thy deity more than my lazy Heart
has offered yet. But stay, Antonio: Dream? An airy vision framed by strangling Fancy,
to delude weak sense with a gay By thy fears, it may force hence this Midnight’s shade of grief and gild it with a Morn as full as joy as does bright Phoebus* to Our eastern world, when blushing he arises From the lap of sea-green Thetis* to give A
new day birth. Why, how now friend? What, talking to yourself?
Oh Giovanno, ‘tis my impartial thoughts That
rise in war ‘gainst my guilty conscience.
Be more a man! Shrink not beneath a weight so light a child may bear it. For believe me, if my prophetic fear deceive me not, you had done an act Spain should forever praise had you killed Machvile too.
As how good Master? I must call you so; This is your livery.
Oh you’re a noble tailor. But to Machvile: it was my chance, being sent for by his wife to take the measure of their noble prisoner, who when I came was busy being placed into a room where I might easily hear them talk of crowns and kingdoms and of two that should be partners in this end of Spain.
Who were they?
Machvile and Raymond. At last Machvile laughed saying, ‘for this I made the Governor to cross Antonio at the Counsel Board, knowing that one, if not both, should die’.
Did he say this?
He did, and added more under a feigned show of love to justice: Banished your sister!
Is Evadne banished?
She is, and as I guess, to Flanders. Her woman too has left her.
Nay, droop not, friend. Host, pray tell proud Machvile I have a sword left to chastise a traitor. Come, let’s go seek Evadne.
Oh Antonio, the sudden grief almost distracts thy friend, but come, let’s go each several* and meet at Filford. If thou findest Evadne bear her unto the castle.
Exit Sebastiano
Farewell good Master.
Exit Antonio
Oh
you honour me. I’ll to the King. This treason may become Like to a disease out of the reach of physic* And may infect past cure if let alone.
Exit Old Tailor
Act Three Scene 4
Enter Raymond and Philippa
Erect thy head my Raymond, be more tall Than daring Atlas, but more safely wise. Sustain no burden but the politic Care of being great till thou obey the City’s Axeltree* and wave at it as thou list*.
Has
thou no skill in magic, that thou hits Like nature’s miracle that draws the steel With unresisted violence. I cannot Keep a secret to myself, but thy Prevailing rhetoric ravishes and Leaves my breast like to an empty casket, That once was blessed with keeping of a jewel I dare not trust the air with, it was so Precious: pray be careful.
You do not doubt me?
No. Were you a woman made of such coarse Ingredients as the common, which in Our trivial phrase we call mere, woman, I Would
not trust thee with a cause so weighty This hair, that when ‘tis gone a lynx cannot Miss it*. But you are … I want expressions! ‘Tis not common words Can speak you truly. You are more than woman.
My
Lord you know my temper, and how to I must be gone and post a messenger. France must supply what wants to make thee great: An army, my Philippa, which these people, Snoring in pride of their last victory, Do not so much as dream on. Nor shall, till They
be forced to yield their voices at our
Exit Raymond Oh ‘tis an age! I’d rather have it said Philippa than a prisoner were dead.
Exit Philippa
Act Three Scene 5
Enter Judge and Officers with Antonio, Petruchio and Aurelia meet him with servants
Captain Petruchio, take this condemned Man into your charge: it is Antonio, Once a Spanish Count, till his rash folly; With his life made forfeit with his honour, He was found travelling to your castle. ‘Twas Heaven’s will that his own feet should with a Willing pace conduct him to his ruin. For the murder he must be ground to death In Filford Mill, of which you are the Governor. Here’s my Commission, in its end Gives strength to yours; he’s your charge. Farewell. His Death must be with speed.
Exit Judge and Officers
Deceive me not, good glasses. Your lights in My esteem never till now was precious; ‘tis The same, aye ‘tis the very same I sleeping saw.
Is
this the man Fame speaks so nobly of? Could say he knew thee. I must dissemble it.
Come, Sir, to my castle.
Fie on you, Sir! To kill a Governor! It is a fact death cannot appear too horrible to punish.
Can
this be truth? Oh shallow, shallow man! Substance in a cloud of thickened smoke, as Truth hid in a dream. Yes, there is truth, that Like
a scroll fetched from an Oracle Dreams that speak all of joy do turn to grief And such bad Fate deludes my light belief.
Away with him!
Exit all except Aurelia
Oft have I heard my brother, with a tongue Proud of the Office, praise this lovely Lord. And my trapped soul did with as eager haste Draw in the breath, and now: Oh Aurelia, Buried with him must all thy joy thou hast Forever sleep, and with a pale consumption Pitying him, will thou thy self be ruined? He must not die. If there be any way Revealed
to the distressed I will find it. And lead her to a path whose secret track May guide both him and me unto our safety. Be
kind, good Wits. I never until now To
help at need this little world you live I hav’t, blessed brain; now shall a woman’s wit Wrestle
with Fate, and if my plot but hit. I must forsake lest my Antonio fall.
Exit
Act Four Scene 1
Enter Sebastiano as Giovanno, mad
Not find Evadne! Sure some wanton wind Has snatched her from the earth into the air; Smooth zephyrs* faines* the tresses of her hair, Whilst slick Favonions* plays the fawning slaves And hourly dies*, making her breasts his grave. Oh false Evadne! Is Giovanno’s love, That has out-done all merit for thy sake, So light that wind out-weighs it? No, no, no. Evadne is all virtue, sweet as the Breath of roses and as chaste as virgin Lilies in their infancy. Down you Deluding Ministers of Air: Evadne Is not light though she be fair; Dissolve that Counterfeit. Ha, ha, ha, ha. See how they Shrink? Why so. Now I will love you. Go search Into the hollows of the earth and find My love, or I will chain you up to Eternity.
See, see; who’s this? Oh I Since his father’s death, into a cloak of Gold out-shines the sun. The headstrong horses Of licentious youth have broke their reigns and Drawn him through the signs of all libidinousness, See from the whorish front of Capra*; He’s tumbling down as low as beggary. Oh, are you come grim tartor*? Radamonte*, Go ask of Pluto* if he have not ta’en Evadne to his smoky commonwealth And
ravished her? Be gone. Why stir you not?
(from offstage) Help! A rape!
(from offstage) Stop her mouth!
Who calls for help? ‘Tis my Evadne! Aye, It was her voice that gave the echo life, That cried a rape: Devil, dost love a wench? Who was thy Pander*, ha? What saucy fiend Dared lay his unpared fangs on my Evadne? Come, I’ll swim unarmed over Acheron* And sink grim Charon* in his fiery boat.
(from offstage) Murder! A rape!
I come, I come!
Sebastiano exits left as the Bandits enter right dragging Evadne by her hair, she drops a scarf centre stage. Bandits and Evadne exit left as Sebastiano enters right.
I cannot find her yet: the King of Flames Protests she is not there, but hang him, rogue! They say he’ll lie. Oh, how my glutted spleen Tickles to think how I have the paid the slave; I made him lead me into every hole. Ha, ha, ha, what crying was there there? Here On a wheel, turned by a Fury’s hand, Hangs a distracted statesman, that had spent The little wit Heaven to strange purpose Lent him, to suppress rights, make beggars and Get
means to be a traitor, ha, ha, ha. Curses of so many heirs his extortion Had
undone, sate to the chin in a warm A draught passed through his throat; he fed upon His God, but being angry scalded his Chops. Right against him stood a fooled Gallant, Chained unto a post and lashed by Folly For his want of wit. The reeling drunkard And plump glutton stood making of faces Close by Tantalus*, but drank and fed on Air. The whore-master, tied to a painted Punk*, was by a Fury termed insatiate Lust, whipped with a blade of fire, and here – What’s here? ‘Tis my Evadne’s veil , ‘tis hers I know’t. Some slave has ravished my Evadne! Well, there breathes not such an impious slave in Hell. Nay, it’s hers; I know it too, too plain. Your breath is lost; ‘tis hers. You speak in vain.
Exit Sebastiano
Act Four Scene 2
Thunder and Lightning. Enter Bandits dragging Evadne by her hair
Come, bring her forward. Tie her to that tree; each man shall have his turn. Come minion*, you must quench the raging flames of my concupiscence*. What, do you weep? You puritanical punk*! I shall tickle mirth into you by and by. Trotter, good Trotter, post unto my cell, make compound of muscadine* and eggs. For the truth is I am a giant in my promises but in the act a Pigmy: I am old and cannot do as I have done. Good Trotter, make all convenient speed.
Faith Master, if you can’t, here’s them that can ferret in a cunny* burrow without a provocative, I’ll warrant you. Good Master, let me begin the health.
No more I say: it is a parcel of excellent mutton, I’ll cut it up myself. Come minion.
Exit Trotter The Captain takes out his dagger, winds Evadne’s hair round it and sticks it into the ground. Thunder and Lightning
Kill me, oh kill me. Rather let me die Than live to see the jewel that adorns the Souls of virtuous virgins ravished from Me. Do not add sin to sin, and at a Price that ruins me and not enriches you, Purchase damnation. Do not, do not do’t. Sheath here your sword, and my departing soul, Like your good angel, shall solicit Heaven To dash out your offences. Let my flight Be pure and spotless. Do not injure that Manhood would blush to think on; it is all A maid’s divinity. Wanting her life She’s a fair corpse, wanting her chastity A spotted soul of living infamy.
Hang chastity!
A very voice.
Enter Trotter
Oh Captain, Captain, yonder’s the mad Orlando* the furious, and I think he takes me for – what do you call him?
What, Meder*?
Aye, Aye, Meder – the Devil Meder. He was so noodled!* Me – oh here he comes! I’ll be gone.
Exit Trotter Enter Sebastiano as Giovanno
Stay Satyr*, stay. You are too light of foot. I cannot reach your paces, prithee stay. What goddess have you there? Sure ‘tis Evadne! Are you the dragons that ne’er sleep but watch The
golden fruit of the Hesperides*?
He beats them off and unbinds Evadne
Oh
thou preserver of near lost Evadne!
(aside) ‘Tis, ‘tis she. She must not know I’m mad.
(aside) Assist me some good Power, it is my friend. Make me but wise enough to resolve myself.
(aside) It may be ‘tis not she; I’ll ask her name.
What are you called, sweet goddess?
They that know me mortal, term me Evadne.
‘Tis she! Aye, aye, ‘tis she.
Pray you Sir, unto the bond of what I Owe you, which is the poor distressed virgin’s Life, add this one debt: what are you?
Not worth your knowledge: I am a poor, a Very, very, poor despised thing. But Say, I pray, are you sure your name’s Evadne?
(aside) ‘Tis questionless my tailor.
I am she. Receive me to your arms, Not altered in my heart though in my clothes.
I do believe you, indeed I do. But Stay
- I don’t! Are you a maid, a virgin? Tell a lie. Speak. I shall love you though that Jewel’s gone.
I am as spotless, thank your happy self That saved me from the robbers, as the child Which yet is but a jelly ‘tis so young.
No more, no more! Trust me I do believe You. So many slaves, whose flaming appetites Would in one night ravish a throng of virgins And never feel degression in their heat - Heh, after and murder all!
How do you?
Well,
very well. Believe you think I’m mad.
‘Tis but your thoughts! Indeed I’m wondrous well.
(aside) How fair she looks after so foul a deed. It
cannot be that she should be false to me? Would
not be shooting? Yes, they would. They have!
What say you, sweet?
(aside) The innocence that sits upon that face Says she is chaste; the guilty can’t speak so Evenly as she does. Guilty, said I? Alas it were not her fault were she ravished. Oh madness, madness, whither will thou bear me?
His senses are unsettled. I’ll go seek Some holy man to rectify his wits. Sweet, will you go unto some hermit’s cell? You look as you lack rest.
(aside) She speaks like to an angel; she’s the same As when I saw her first, as pure, as chaste. Did she retain the substance of a sinner, For she is none, her breath would be sour And betray the rankness of the act, but Her chaste sighs beget as sweet a dew as That of May.
Why weeps Evadne? Truly I’m not mad! See? I am tame. Pray lead me where you please.
Act Four Scene 3
A Banquet. Enter Petruchio, Aurelia and two servants bringing Antonio asleep in a chair and set him to the table.
The drink has done its part effectively. ‘Twas a strong powder that could hold his senses So fast that this removing, so full of Noise, had not the power to wake him.
Good father, let Aurelia, your Daughter,
do this same act of justice; let A maid, such fortitude.
Thou hast thy wish, do’t boldly. ‘Tis a deed That in the ignorance of elder ages Would be thought full of merit: Be not daunted.
I have a thought tells me it’s religious To sacrifice a murderer to death, Especially one that did act a deed So generally accounted odious.
By holy Jacques* I’m a governor and Should my life (though by the hand of him my Duty does call King) be stroke i’th air, my Injured corpse should not forsake the earth till I did see’t revenged. Be resolute; thy Foot is guided by a power, that though unseen, Is still a furtherer of good attempts.
Pray Sir, lend me the key of the back ward* For though my conscience tells me ‘tis an act I may hereafter boast of, yet I’ll pass Unto our Lady’s* chapel when ‘tis done To be confessed ‘ere I am seen of any.
I am proud to see thee so well given. Take them, girl, and with them take my prayers.
He wakes; pray leave me, Sir.
Exit Petruchio
So, I’ll make fast the door. Goodness bear witness, ‘Tis a potent power out-weighs my duty.
Amazement! On what tenters* do you stretch? Oh how this alteration wracks my reason, I’m to find the Axeltree* on which it Hangs. Am I asleep?
Shake thy wonder off and leave that seat, ‘twas Set to sink thy body forever from The eyes of human sight. To tell thee how Would be a fatal means to both our ruins – Briefly, my love has broke the bands of nature With my father to give you being.
Happy, happy vision, the blessed preparative To this same hour; my joy would burst me else.
Receive me to thy arms.
I would not wish to live but for thee, life Were a trouble. Welcome to my soul.
Antonio and Aurelia embrace
Stand. I have a ceremony to Offer to our safety ‘ere we go.
She takes a dog and ties it to the chair, she stamps. The chair and dog fall, a pistol shot within.
Had not my love, like a kind branch of some O’erlooking tree, caught thee, thou’dst fallen Never to look upon the world again.
What shall I offer to my life’s preserver?
Only thy heart, crowned with a wreath of love Which I will ever keep, and in exchange Deliver mine.
Thus I deliver; in this kiss receive it
Antonio kisses Aurelia
In the same form Aurelia yields up hers.
Aurelia kisses Antonio
A noise offstage
What noise is that?
I fear, my father.
What’s to be done?
Through the back ward, of which I have the key, We’ll suddenly make escape; then in two Gowns of which I am provided, we’ll clothe Ourselves till we be past all fear.
Be’t as you please, ‘tis my good genius’ Will thee I obey. Command, I’ll follow still.
Exit Antonio and Aurelia
Enter Petruchio with servants
She’s gone unto her prayers; may every bead Draw down a blessing on her, that like seed May grow into a harvest. ‘Tis a girl My age is proud of; she’s indeed the model Of her dead mother’s virtue, as of shape. Bear hence this banquet.
Exit with the Banquet.
Act Four Scene 4
Sebastiano as Giovanno is discovered sleeping in Evadne’s lap
Thou silent God, that with the leaden Mace* Arrest all, save those prodigious birds, that Are Fate’s heralds to proclaim all ill. Deaf Giovanno, let no fancied noise of Ominous screech-owls* or night raven’s voice Affright his quiet senses. Let his sleep Be free from horror, or unruly dreams, That may beget a tempest in the streams Of his calm reason. Let them run as smooth And with as great a silence as those do That never took an injury, where no Wind had yet acquaintance, but like a smooth Crystal dissolved into a water that Never frowned or knew a voice but music.
Enter Aurelia and Antonio dressed as hermits.
Holy hermits, for such your habits speak You, join your prayers with a distressed virgin’s, That the wits of this distracted young man May be settled.
Sure, it is my sister, and that sleeping Man Giovanno. She loves him still!
Sebastiano wakes.
Oh what a blessedness am I bereft Of! What pleasure has the least part of a Minute stolen from my eyes? Methought I Did embrace a brother and a friend; and Both Antonio.
Blessed be those gentle powers that –
(interrupts) What, Evadne? Have deceiv’d my eyes? Take heed, Evadne, worship not a dream: ‘Tis of a smoky substance and will shrink Into the compass of report, that ‘twas, And not reward the labour of a word Were it substantial. Could I now but see That man of men I’d, by my practice of Religious prayers, add to the calendar One holy day and keep it once a year.
Antonio pulls down his hood to reveal his face
Behold Antonio.
Brother!
(to Sebastiano) Brother!
What earthquake shakes my heart; with what a speed She flew in’t his arms.
Some Power that hearkens to the prayer of Virgins has been distilled to pity at My fortunes and made Evadne happy.
Now my longing that was grown big, is with Your sight delivered of a joy, that will Become a giant and overcome me. Welcome, thrice welcome brother!
Ha! Her brother! Fortune has bound me so Much in their debts I must despair to pay Them. Twice has my life been by these twins of Goodness plucked from the hand of death. That Fatal enmity between our houses Here shall end though my father, at his death, Commanded me to eternity of Hatred. What tie binds stronger than reprieve From death? Come hither friend, now brother, take Her. Thou hast been a noble tailor.
Be moderate, my joys: do not o’erwhelm Me. Here, take Aurelia. May you live Happy. Oh, Antonio, this was the cause Of my disguise: Sebastiano could Not win Evadne’s love but Giovanno Did. Come now to our father’s castle.
Pardon me; there is a bar that does Concern my life, forbids you as a friend To think on going to any place But to the tailors’ house, which is not far. Come, as we go I will relate the cause.
Do, good brother.
Go, good Sebastiano.
Sebastiano is your Page and bound To follow. Lead on.
Oh noble temper; I admire thee. May The world bring forth such tailors every day.
Exit all
Act Four Scene 5
Enter three tailors on a shop-board
Come, come let’s work. For if my guesses point the right we shan’t work long.
I care not how soon for I have a notable stomach to bread.
Dost hear? I suspect that courtier my Master brought in last night to be the King. Which if it be, bullies*, all the bread in the town shan’t satisfy us, for we will eat cum privilegio*.
Come, let’s have a device, a thing, a song! Boy.
Come, an air.
The Song
‘Tis a merry life we live All our work is brought into us Still are getting, never give, For their clothes all men do woo us, Yet unkind they blast our name With
aspirations of dishonour: When we take our measure on her.
For which we etc.
Enter Antonio, Sebastiano as Giovanno and the Old Tailor
You see the life we lead! Cease.
Oh ‘tis a merry one.
It is no news to me; I have been used to it.
Now for discovery – the King as yet Is ignorant of your names and shall be Till your merits beg your pardon. My Lord you are for Machvile; take this gown.
Pray for success.
Exit Antonio
You in this French gown for Philippa; This is her garment. I hear the King, begone. The French man’s folly sits upon your tongue.
Exit Sebastiano Enter the King of Spain, Evadne and Aurelia
Believe me tailor, you have out-stripped the Court, for such perfections lives not everywhere. Nature was vexed as she’s a very shrew*, She made all others in an angry mood; These only she can boast for masterpieces The rest want something or in mind or form, These are precisely made; a critic jury Of cavilling* Arts can’t condemn a scruple.
But that your entrance in this formal speech Betrays you’re a Courtier I had been angry At your rank flattery.
Can you say so?
Sir, she has spoke my meaning.
(aside to the Old Tailor) Friend, what are these beauties called?
(to The King)) Your Grace’s pardon.
(to Old Tailor) Are they Oracle, or is the knowledge Fatal? But that I know thy faith, this denial Would conjure a suspicion in my breast. Use thy prerogative, ‘tis thy own house In which you are a king and I your guest.
Come ladies.
Exit All
Act Four Scene 6
Enter Antonio disguised as a physician
This
habit will do well and less suspected. They kill with licence. Machvile’s proud dame ‘Tis famed is ficke. Upon my soul, howe’re Her health may be the agues commons cry; She’s a disease they groan for. This disguise Shall sift her ebon* soul and if she be Infectious like a megrim* or rot limb The sword of justice must divide the joint That holds her to the state’s endangered body. She comes.
Enter Machvile with Auristella leaning on his arm and two servants.
Look up my Auristella. Better the Sun forsake his course to bless with his Continuing beams the Antipodes, and We grovel forever in eternal Night, than death eclipse thy rich and stronger Light.
Seek some physician, horror to my
(aside) Issue of his hopes? Strange?
The crown’s enjoyment can yield no content Without the presence of my Auristella.
(aside) Crown’s enjoyment! Oh villain!
Why stir you not? Fetch me some skilful man. My kingdom shall reward him if his art Chain her departing soul unto her flesh, But for a day, till she be crowned a Queen. Fly bring him unto this walk.
Stay, most honoured Count!
(aside) Now for a forged link Of flattery to chain me to his love.
Having with studious care gone o’er the Art folly terms magic, which more sublime Souls skilled in’t stars know is above that Mischief, I find your born to be above Vulgar greatness, even to a throne. But Stay, let’s fetch this Lady.
All greatness without her is slavery.
Use modest violence.
Machvile shakes Auristella awake
Oh!
Stand wider, give her air.
God-like physician, I and all that’s mine Will at thy feet offer a sacrifice.
Forefend it goodness; I, nay all, before Many hours makes the now young day a Type of sparkling youth, shall on their knees Pray for your highness.
Look up, my Aristella, and be great. Rise with the sun, but never to decline.
What have you done?
Waked thee to be a Queen.
A Queen! Oh don’t dissemble; you have robbed Me of greater pleasure than the fancied Bliss Elysium* owns. Oh for a pleasure Real that would appear in all unto my Dream; that I may frown, and then kill, smile and Create again. Were there a Hell, as Doting age would have, to fright from lawless Courses headless youth, for such a short lived Happiness as that, I would be lost unto Eternity.
The day grows old in hours. Come,
Auristella, to the capital: Pay a religious sacrifice of praise Unto thy demi-deity; the stars Have in a general senate made thee Queen Of this our world: great master of thy art Confirm my love.
Madam -
Auristella makes to speak
Nay, hear him, love. Believe me he’s a man That may be secretary to the Gods. He is alone in art, ‘twere sin to name A second; all are dunces to him.
(aside) How Easy is the faith of the ambitious.
Follow me to the counsel.
Exit Machvile
Are you the man my husband speaks so high of? Are you skilled in the stars?
Yes, Madam.
Your habit says, or you abuse the custom, You’re a physician.
Madam, I’m both.
And d’ee* find no let that stops me rising?
Not any.
Away! Your skill is dull, dull to derision. There is a star fixed i’th heaven of greatness That sparkles with a rich and fresher light Than our sick and defective taper.
It may be so; the horoscope is troubled.
Confusion take your horoscope and you. Can You,
with all your art, advise my fears
(aside) Death, how she conjures!
Madam, I must search into the planets.
Planet me no planets! Be a physician And from your study of industrious poisons Fetch me the best experienced speedy one And bring it to me straight. What ‘tis to do Like unresolved riddles, hid from you.
Exit Auristella
Planet said I; upon my life no planet Is so swift as her ne’er resting evil That’s her tongue. Well, I’ll not question what the Poison’s for: if for herself – the common Hangman’s eased the labour of a blow for If she lived her head must certain off. The Poison I’ll go get and give it her, then To the King if Sebastiano’s Frenchified disguise purchase the like Discovery. Our eyes will be too scanty; We had need to be all eye, to watch such Haughty villainy.
Exit Antonio
Act Four Scene 7
Enter Sebastiano, as a French tailor, and Philippa
(aside) Begar* Madam: me make the gown so brave*. Oh, de nole vorle vorke be me patron, me ha vorke for le grand Duchess le Shevere, le Royne de Francia, Spanea de Angleter an all d’ fine Madamsels*.
Nay monsieur. To deprive desert of praise is unknown. Language, truth, I use it not; nay it is very well.
Be me trot a Madam mener do ill. De English man do ill, de Spanare do, de Duch de all do ill. But your French man, and begar he doe incomparable brave.*
You’re too proud on’t.
Begar me no proud I’d vorle, me speak be me trot de trut, and me noe lye; metra madam begar you have de find bode a de vorle. O de fine brave big ting in me have ever measure, me waire it fit so pat.*
Enter Raymond
Welcome my Lord. Shall I still long, yet lose my longing still? Is
there no art to mount the lofty seat? Must we be still styled* subjects, and for fear Our closet whispers reach the a wing care, Not trust the wind?
Be
calm, my love.
Me Signior, be povera jentle homa a Franch a votre commandement.
My tailor.
Yes monsieur, the Madam’s tailor.
Some happy genius does attend my Wishes, or [a] spirit, like a Page, conducts Unto me the Ministers, whose suite must Seat me easy. Come hither French man, can’st Thou rule thy tongue? Art not too much a woman?
No, begar, me show something for the man.
Or canst thou be like a perverse one: professe Doggedness? Be as a dead man? Dumb? Briefly Be this: a friend to France and with a silent Speed post to our now approaching armed friends. Tell them Raymond, ere the hasty sand Of a short hour be spent, shall be impaled And on his brow a deputy for France Support a golden wreath of Kingly cares. Bid them make haste to pluck my partner down Into his grave. Be gone, as thou nursest In thy breast thoughts that do thirst for Nobleness. Be secret and thou’rt made; if Not thou’rt nothing. Mark ‘tis Raymond says it, And as I live, I breathe not if my deeds Appear not in a horror ‘bove my words.
Begar me, no need threaten; me be as close to your secret, or my Lady’s secret as the skin to the flesh, the flesh to the bone; if me tell call me the…what do you call the Modero?* The dog, the bitch; call me son of the bitch.
Enter Fulgentio.
Count Machvile waits your honour in the hall.
Do it and be more than common in our Favour. Here, take this ring for thy more Credit. Farewell; be quick and secret.
Exit Raymond, Fulgentio and Philippa
Folly go from my tongue: the French so nigh And thou half ruined Spain, so wretchedly Provided. Strange, yet not, all countries have Bred monsters. ‘Tis a proverb as plain as True, and aged as ‘tis both: one tainted sheep Mars a whole flock. Machvile, that tainted beast, Whose spreading ills infecteth all and by Infecting kills. I’ll to the French what he Intends to be our ruin; shall confound their villainy.
Exit Sebastiano
Act Five Scene 1
Enter the King, Antonio, Old Tailor, Evadne and Aurelia. The King and Antonio are whispering as they walk on stage.
For this discovery be still* Antonio. The frowning law may with a furrowed face Hereafter look upon but ne’er shall touch Thy condemned body. Here, from a King’s hand, Take thy Aurelia. Our command shall smooth The rising billows of her father’s rage And charm it to a calm. Let one be sent To certify our pleasure; we would see him.
Your Grace’s will shall be in all obeyed.
Thy loyal love makes thy King poor.
Let not your judgment, Royal sir, be questioned, To term that love – was but a subject’s duty.
Exit Old Tailor
You sent the poison, did you?
Yes, and here like your Grace; the Apothecary Called it a strong provocative to madness.
Did he not question what you used it for?
Oh, my disguise saved him from that labour sir. My habit, that was more physician than Myself, told him to dispatch some Property that had been tortured with some Five thousand drugs to try experiment. Another man shan’t buy the quantity Of so much rats-bane shall kill a flea, but Shall be had forsooth* before a Justice, Be questioned, nay perhaps be confined to Peep through an iron gate, when your Physician may poison, who not, cum Privelgio*; it’s his trade.
Enter Sebastiano as Giovanno
Oh my Sebastiano!
My brother has already made you known.
Will it please your Highness?
What, Sebastiano? To still be a King Of universal Spain without a rival? Yes it does please me, and you ministers Of my still growing greatness shall ere long Find I am pleased with you that boldly durst Pluck from the fixed arm of sleeping justice Her long sheathed sword and wet the rusty blade Upon Machvile and his confederate rebels.
That, my Lord, is yet to do. Let him mount Higher that his fall may be too deep for A resurrection. They’re gone to the Great Hall, whither wil’t please your Grace disguised to Go, your person by our care shall be secure. Their French troops I have sent useless into France by virtue of Raymond’s ring, which he Gave me to bid the General, by that token, To march to this city.
What say the colonels? Will they assist me?
Doubt not, my Lord.
Come then, let’s go guarded; with such as you ‘Twere sin to fear were all the world untrue.
Exit all
Act Five Scene 2
Enter tailors
Now for the credit of tailors.
Nay master, and* we do, not act, as they say, with any players in the globe of the world, let us be baited like a bull for a company of strutting coxcombs*: nay we can act I can tell you.
Well, I must to the King. See you be perfect; I’ll move it to his highness.
Exit Old Tailor
Now my masters we are to do – do mark me – do…
Do! What do? Act, act! You fool, you. Do, said you? What do? You a player, you are a plasterer, a mere dirt dauber and not worthy to be mentioned with Virmine, that exact actor. Do! I am ashamed on’t, fie!
Well said, Virmine. Thou tickles* him y‘faith*.
Do, pha*.
Play a play a play, ha ha ha. Oh egregious* nonsensical widgeon*, thou shame to our cross-legged corporation, thou fellow of a sound. Play a play. Why forty pounds golding* of the beggars’ theatre speaks better, yet has a mark for the sage audience to exercise their dexterity in throwing rotten apples, whilst my stout actor pockets and then eats up the injury. Play a play: it makes my Worship laugh y‘faith*.
To him, Virmine, thou bites* him y‘faith*.
We’ll act a play before the King.
What play shall we act?
To fret the French the more we will act strange but true, of the straddling monsieur with the Neapolitan gentleman between his legs.
That won’t act well.
Oh giant of incomparable ignorance: that won’t act well, ha ha, that won’t do well. You ass, you!
You bit him for saying ‘do’: Virmine leave biting, you’d best.
What say you to our Spanish Bilbo*?
Who, Jeronimo*?
Aye.
That he was a mad rascal to stab himself.
But shall we act him?
Aye, let us do him.
Do again! Ha.
No, no; let us act him.
I am content.
Who shall act the ghost?
Why marry, that will I, I Virmine.
Thou dost not look like a ghost.
A
little player’s deceit: flour will do’t. Mark me, I can rehearse, mark me
rehearse some: I was a tailor in the Court of Spain.”
Courtier, Virmine, in the Court of Spain.
Aye, there’s a great many Courtiers Virmine indeed: Those are they beg poor man’s living; but I say tailor Virmine is a Court tailor.
Who shall act Jeronimo*?
That will I. Mark if I do not gape wider than the widest mouthed fowler* of them all, hang me*: “Who call Jeronimo from his naked bed?” Ha. Now for the passionate part: “Alas it is my son Horatio”.
Very fine, but who shall act Horatio?
Aye, who shall do your son?
What, do, do again? Well, I will act Horatio.
Why, you are his father!
Pray who is fitter to act the son than the father that begot him?
Who shall act Prince Balthazar and the King?
I will do Prince Balthazar too, and for the King who but I? Who of you all has such a face for a king, or such a leg to trip up the heels of a traitor?
You will do all I think?
Yes marry will I. Who but Virmine? Yet I will leave all to play the King, pass by Jeronimo.
Then you are for the King?
Aye, bully*, aye.
Let’s go seek our fellows and to this gear*.
Come on then
Exit all.
Act Five Scene 3
Table and stool are centre stage. Enter a Brave
Men of our needful profession, that deal in such commodities as men’s lives, had need to look about ‘em ere they traffic*. I am to kill Raymond, the Devil’s cozen german*, for he wears the same complexion. But there is a right devil that hath hired me; that’s Count Machvile. Good table conceal me – here will I wait my watch word, but have I not forgot it, then, aye then, is my arm to enter. I hear them coming.
Brave hides
under the table. Enter the
King, Antonio, Old Tailor, Evadne and Aurelia above.
Pray take your seats.
(to Philippa) [You are] Not well. Prithee retire.
Sick, sick at heart.
Well wrought poison. Oh how joy swells me.
You see my Lord the poison is boxed* up.
Health wait upon this royal company.
Knows she we are here?
Oh
no my Lord, ‘tis to the twins of treason:
(to other colonels) Royal! There’s something in’t.
(to other colonels) It smells rank o’th traitor,
(to other colonels) Are you i’th wind on’t?
Will you leave us?
I cannot stay. Oh, I am sick to death.
Exit Philippa
Or I’ll ne’er trust poison more.
Pray seat yourselves gentlemen. Though your deserts Have merit and your worth’s have deserved nobly, But ingratitude, that should be banished From a Prince’s breast, is Philip’s favourite.
Philip? Traitor, why not King? I am so.
Patience, my good Lord. I’ll down.
Exit Antonio
It lives too near him. You that have ventured with expense of blood And danger of your lives to rivet him Unto his seat with peace; you, that in war He termed his Atlases* and pressed with praise Your brawny shoulders, called you his Colossuses* And said your looks frightened tall war out of His territories; now in peace, the issue Of your labour, this bad man, Philip I Mean, made of ingratitude won’t afford A name that may distinguish your worthy Selves from cowards: civet cats spotted with Rat’s dung, or a face like white broth strewed o’er With curranco* for a stirring caper Or itching dance to please my Lady Vanity Shall be made a smock* knight.
Villain! Must our disgrace mount thee?
To
what tends this?
Enter Antonio below
To be your King; fie on this circumstance My longing will not brook it: say will you Obey us as your Kings and Queens?
(aside) My Lord Antonio!
(to Spanish Colonels) Confine yourselves. The King is within hearing. Therefore make show of liking Machvile’s plot, Let him mount high; his fall will be the deeper. My life, you shall be safe.
Are you agreed?
If not we’ll force you to’t. Speak Frenchman, are Our forces i’th city?
Oui monsieur.
We acknowledge you our King.
More traitors.
Why then…
The Brave stabs Raymond.
Ha, from whence this sudden mischief? Did you not see a hand armed with the fatal ruin of my life?
None paw* signor.
Ha ha ha. Lay hold on those French soldiers, away with them.
Exit Guard with the French Colonels
Was’t thy plot Machvile? Go laughing to thy grave.
Raymond stabs Machvile
Alas my lord is wounded.
Come hither Frenchman, make a dying man Bound to thy love. Go to Philippa, Sickly as she is, bring her unto me Or my flying soul will not depart in Peace else. Prithee make haste. Yet stay; I have Not breath to pay thy labour. Shrink you, you Twin-born Atlases*, that bear this, my near Ruined world. Have you not strength to bear a Curse, whose breath may taint the air, that this globe May feel a universal plague. No, yet Bear
up, till with a vengeful eye I Pluck my impartial star. Oh my blood is Frozen in my veins. Farwell revenge – me Dies.
Raymond collapses and dies
They need no law.
Nor hangman.
They condemn and execute without a jury.
Enter Philippa mad
I come, I come. Nay fly not, for by Hell I’ll pluck thee by the beard and drag thee thus Out of thy fiery cave. Ha, on yonder hill Stand troops of devils waiting for my soul, But I’ll deceive them and instead of mine Send this same spotted tiger’s.
Philippa stabs Auristella
Oh!
So whilst they to Hell are posting with their Prize I’ll steal to Heaven. Wolf dost thou grin? Ha, is my Raymond dead? So ho, so ho. Come back you sooty fiends that have my Raymond’s soul and lay it down, or I will Force you for’t. No, won’t you stir? By Styx* I’ll Bait you for’t. Where is my Crown? Philippa Was a Queen, was she not? Ha! Where is my Crown?
Oh you have hid it … Philippa overturns table.
Ha, wast thou that robbed Philippa of her Raymond’s life? Nay I will nip your wings, you Shall not fly. I’ll pluck you by the guarded Front and thus sink you to Hell before me.
Philippa stabs the Brave
Oh, oh!
What, down? Ho, ho, ho. Laugh, laugh, you sould that fry in endless flames. Ha, whence this chillness? Must I die? Nay then I come, I come. Nay, weep not, for I come. Sleep injured shadow, oh death strikes [me] dumb.
Philippa dies My burdened conscience sinks me down to Hell.
Auristella dies
I cannot tarry long, farewell. We’ll meet Where we shall ne’er part. If here be any My life has injured, let your charity Forgive declining Machvile: I am sorry.
His penitence works strongly on my temper. Off disguise, see falling Count, Antonio forgives you.
Antonio!
Oh my shame! Can you whom Betrays thee to thy death! Ha, ha, ha.
Machvile stabs Antonio
So weeps the Egyptian monster* when it kills, Washed in a flood of tears. Couldst ever think Machvile’s repentance could come from his heart? No, down Colossus, author of my sin, And bear the burden mingled with thine own To finish thy damnation.
Enter the King, Aurelia, Evadne and the Old Tailor.
Accursed villain, thou hast murdered him That holds not one small drop of loyal blood But what is worth your life.
Oh my brother!
Give him some air, the wound cannot be mortal.
Alas, he faints. Oh my Antonio! Cursed Machvile, may thy soul…
Peace,
peace Aurelia; be more merciful. Thy passion, call it madness and say thou Want’st religion. Nay, weep not, sweet, for Everyone must die. It was thy love, for To deceive the law and give me life; but Death you see has reached me. Oh I die. Blood Must have blood; so speaks the Law of Heaven. I slew the Governor, for which rash deed Heaven, fate and man thus make Antonio bleed.
Antonio dies
Sleep, sleep, great heart, thy virtue made me ill. Authors of vice; ‘tis fit the vicious kill. But yet forgive me. Oh my great heart Dissolves like snow and lessens to a rheum*, Cold as the envious blasts of northern wind World, how I loved you, ‘twere a sin to boast. Farewell, I now must leave you: My life grows empty within my veins, I Cannot stand, my breath is as my strength – weak, And
both seized by death. Farewell ambition: Headlong threw me down.
Machvile dies
So falls an exhalation* from the sky And never mist because unnatural, a Birth begotten by incorporate ill, whose Usher to the gazing world is wonder.
Enter Petruchio
Alas, good man, thou’rt come unto a sight Will try thy temper, whether joy or grief Shall conquer most within thee. Joy lies here Scattered in many heaps: these, when they lived, Threatened to tear this balsam* from our brow And rob our Majesty of this Elixir*.
The King points to his crown
Is‘t not my right? Was I not heir to Spain?
You are our Prince and may you live long to enjoy your right.
But now look here: ‘tis plain grief has a hand Harder than joy; it presses out such tears.
Petuchio makes
to kneel before the King Nay rise.
I do beseech your Grace not to think me Contriver of Antonio’s ‘scape from death; ‘Twas my disloyal daughter’s breach of duty.
That’s long since pardoned.
You’re still merciful.
Antonio was thy son: I sent for thee For to confirm it, but he is dead. Be merciful and do not curse the hand That gave it him, though it deserves it.
Oh my grief, are you not strong enough to Break my heart? Pray tell me, tell me true, can It be thought a sin? Or is it so by My own hand to ease my breast of woe?
Alas, poor Lady. Rise, thy father’s here.
Look up, Aurelia. Ha, why do you kneel?
For a blessing.
Why, she is not Aurelia! Do not mock me.
But he is Sebastiano and your son, Late, by our hand, made happy by enjoying The fair Evadne, dead Antonio’s sister, For whose sake he became a tailor And so long lived in that mean disguise.
My joy had been too great had he lived. The Thrifty heavens mingle our sweets with gall, Lest being glutted with excess of good We should forgive the giver. Rise, Sebastiano, with thy happy choice. May Thou live crowned with the enjoyment of those Benefits my prayers shall beg for. Rise, Aurelia, and in some place blessed with Religious prayers, spend thy life remnant.
You advise well. Indeed it was a fault To break the bonds of duty and of law, But love, oh Love, thou whose all conquering power Builds castles on the hearts of easy maids And makes ‘em strong unto attempt those dangers That but rehearsed before would fright their souls Into a jelly. Brother, I must leave You, and father, when I send unto you A note, that shall desire a yearly Stipend to that holy place my tired Feet has found to rest in, pray confirm it. And now great King, Aurelia begs of you To grace Antonio in the mournful march Unto his grave, which be where you think fit: We need not both be entered in one vault.
Blessed Virgin, thy desires I will perform.
I leave you; my prayers shall still attend you, As I hope yours shall accompany me. Father, your blessing; and ere long expect To hear where I am entertained a nun. Brother and sister, to you both, adieu. Antonio dead, Aurelia marries new.
Farewell, girl. When I remember thee, The beads I drop shall be my tears.
Exit Aurelia
Enter Virmine in a cloak, ready to perform the prologue to the tailor’s play
She’s to all virgins a true mirror; they That would behold true love reflect on her. There ‘tis engrossed.
Great King, our Grace…
The king is sad; you must not act.
How? Not act? Shall not Virmine act?
Yes you shall act, but not now; the King is indisposed.
Well then, some other time. I, Virmine the King, shall act before the King.
Very good. Pray make your exit.
I’ll muster up all the tailors in the town and so tickle their sides.
The King and Sebastiano whisper to one another
Nay, thou’rt a right Virmine. Go be not troublesome.
Exit Virmine
Sebastiano kneels before the King
Upon my truth and loyalty great King What they did was feigned, merely words Without a heart; ‘twas by Antonio’s counsel.
Thou art all truth: rise.
The Colonels kneel
Long live King Philip in the calm of peace To exercise his regal clemency.
Take up Antonio’s body, and let the Rest find Christian burial ; mercy befits A King. Come trusty tailor, and to all Countries let swift Fame report King Philip Made a tailor’s house his Court.
Your Grace honours me.
We can’t enough pay thy alone deserts; Kings
may be poor when all subjects are like thee, March with the body, we’ll perform all rites Of sable ceremony. That done we’ll To Court, since all our own is won.
Exit All
Finis |
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Notes and Glossary
Act One Scene 1
|
SD |
Severally |
Enter separately / individually; successive in turn. |
|
5 |
Trim’d |
Prepared |
|
7 |
Tincture |
Hue / colour |
|
13 |
Colony of oaths |
i.e. marriage vows |
|
13 |
Embroidered belt |
Chastity belt |
|
14 |
Laid your sword at mortgage |
Reference to the frequency of duels between gentleman due to supposed slights. |
|
15 |
Traffic |
Trade / commerce |
|
19 |
Cornucopias |
A goat’s horn i.e. she has cuckolded her husband |
|
20 -1 |
Pox |
Pandolpho puns on Fulgentio’s use of the word pox. He is referring to Syphilis which was rife in the sixteenth and seventeenth centuries. |
|
27 |
Mars |
Roman God of war |
|
30 |
Strike |
Distance. Machvile means that the Colonels are standing close to Antonio |
|
34 |
Engenders |
Copulate; join |
|
41 |
Centaur’s shirt |
Hercules’ wife, tricked by a Centaur, gave Hercules a shirt covered in poison. |
|
65 |
Vassals |
Servants |
|
68 |
Table Books |
Memorandum book or diary |
|
68 |
Board |
Table |
|
76 |
Hopeful |
Promising |
Act One Scene 2
|
5 |
In Sooth |
Truly |
|
5 |
Stripling |
Young man, a boy just entering manhood |
|
16 |
Jocund |
Cheerful, light-hearted |
|
17 |
Discreetly |
Prudently, wisely |
|
17 |
Bord |
i) address (i.e. talk to her) ii)To come up close to iii) to enter |
|
18 |
Physic |
Medical knowledge |
|
23 |
Maiden-head |
i.e. one’s virginity |
|
25 |
Uncivil |
Ill-mannered / vulgar |
|
32 |
Brimstone |
Sulphur |
|
36 |
Tardy |
Slow / un-acting |
|
45 |
|
Giovanno changes topic mid-sentence here. It is likely that Giovanno originally intended to comment on her elegant appearance, which is vastly superior to his own, but instead goes off at a tangent as Rawlins wanted to comment on the idea that ‘clothes make the man’ and the contemporary perception of tailors. |
|
50 |
Gallant |
Well-dressed gentleman |
|
52 |
Dona |
Spanish or Portuguese meaning a well-born lady |
|
53 |
Forsooth |
In truth / certainly, usually used by the lower classes. |
|
62 |
Bodkin |
A large-eyed, blunt needle |
|
71 |
Speed |
Succeed / prosper |
|
72 |
Sue |
i) Follow / chase ii) comply |
|
81 |
Glass |
Mirror |
|
82 |
Venus |
Goddess of Love and Beauty |
|
88 |
Duck |
Term of affection |
|
88 |
Dove |
Term of affection |
|
95 |
Clap |
i) Blow / strike ii) Gonorrhoea (from 1582 onwards) iii) To infect with Gonorrhoea |
|
123 |
Anchorites |
A person who has secluded themselves from the world, usually for religious reasons |
|
126 |
Jove |
i.e. Jupiter, used in verse when the metre called for a word of 1 syllable |
|
128 |
Deified |
i) Treated as divine ii) Made into a deity |
|
158 - 9 |
Upon my . . . Gods |
In the latter half of the sixteenth century Cambridge colleges led the Puritan revolt against Conformist practices including kneeling at the altar. |
|
166 |
Hermits |
A person who has secluded themselves from the world, usually for religious reasons |
|
173 |
Jove |
See not for I.2.126 |
|
178 |
Hags |
An evil spirit in female form, applied in early use to the Furies, who in Greek Mythology were the Goddesses of Vengeance, who punished social crimes, in this case ‘Giovanno’s’ love for a social superior. |
|
186 |
Votress |
A female votary i.e. one who makes a (religious) vow |
Act One Scene 3
|
7 |
Cornets |
i) Musical instrument ii) Headdress iii) a company / troop of cavalry. In the context the word is used, the second definition is the most suitable. A cornet was a headdress worn by ladies, but Philippa’s is ‘steely’, once again emphasising how she is different from an ‘average’ Renaissance lady. |
|
27 |
Bradamante |
a maiden warrior |
Act One Scene 4
|
1 |
Bullies |
A term of endearment and familiarity. From the 1590’s applied to men only and meant ‘fine fellow’, as seen in Shakespeare’s Midsummer Night’s Dream: ‘bully Bottom’. |
|
2 |
Stiletto |
A short dagger with a thick blade |
|
11 |
John Black |
The Oxford DNB details how the Dominican Friar was murdered on 9 March 1566 by a group of Edinburgh men, due to Black being regarded as a “dangerous Catholic influence”. Please see the Bibliography for the web address. |
|
13 |
Gaping |
Opening his mouth wide |
|
18 |
Marry |
Used to give emphasis to the following speech. Virmine is reminding the Old Tailor of his responsibilities as an employer |
|
22 |
Eternalise |
To be made immortal i.e. to live on in people’s memories because of their bravery during the war. |
|
31 |
Louses |
A louse is a nit found in the human hair or skin. Virmine could mean kick me in the head or perhaps the genitals |
|
31 |
Engin |
Wit / genius, here used ironically |
|
32 |
Thumb nails |
Virmine is ‘biting his thumb’ at Tailor 2. This was an insult in the sixteenth and seventeenth century as seen in Shakespeare’s Romeo and Juliet when Abraham and Samson are arguing in Act One Scene 1 |
Act Two Scene 1
|
4 |
Cipher |
The mathematical quantity of zero |
|
15 |
Troop |
Machvile means many but note troop also means a body of soldiers. |
|
20 |
Board |
Table |
|
24 |
Hot-reigned |
Passionately led |
|
27 |
Xeres |
A town in Andalucia, Spain |
|
42 |
Alexander |
Alexander the Great, King of Macedon 336–323 BC, was arguably the most successful military commander of ancient history, conquering most of the known world before his death |
|
45 |
Troy |
Location of the Trojan War (as detailed in Homer’s Iliad and Odyssey) which, in Greek mythology, occurred in the thirteenth or twelfth century BC. |
|
49 |
Hum Hum |
An inarticulate expression meant to convey hesitation, disagreement or embarrassment |
|
52 |
Prodigious |
Ominous / potent |
|
53 |
Taper |
Wax candle |
|
62 |
Work |
Fortress / defence |
|
65 |
Begirt |
Surround |
|
70 |
Oracle |
i) In Ancient Rome and Greece the agent through which the Gods spoke ii) Utterance of great wisdom |
|
78 |
Nothing |
Compare to Cordelia and Lear’s exchange in Shakespeare’s King Lear Act 1 Scene 1. Please see the section entitled ‘Parallels with other Literary Works and Traditions’ for further details. |
|
83 |
Lethe |
An infernal river whose water when drunk causes forgetfulness |
|
107 |
Gilder of the Day |
i.e. the sun |
|
111 – 2 |
Pyrenean Hills |
Mountain range dividing France and Spain |
|
117 |
Rack |
i) Torture ii) Temp |
|
122 |
Teeth |
Language |
|
135 |
League |
A military or political agreement made between parties for their mutual protection and assistance against a common enemy, the prosecution or safeguarding of joint interests etc. |
|
187 |
Gripe |
i) The act of gripping / clutching ii) To seize tenaciously |
Act Two Scene 2
|
11 |
Moveables |
This word is not in the OED but Giovanno is means to people with physical deformities. |
|
14 |
Jet |
To assume a pompous gait i.e. to strut or swagger |
|
19 |
Bird’s - eye |
A plant that has small, round, bright flowers. Here the Nurse is using it as a term of affection |
|
29 |
Duck |
Term of affection |
|
33 |
Pygmalion’s |
Pygmalion was a sculptor who lived on the island of Cyprus. After refusing to marry all the women on the island the goddess Aphrodite visited him and told him that in response to the women’s prayers he was to take a wife. She told him he could have any woman he chose. He begged Aphrodite to let him make one more statue and then he would marry. She agreed to that and also to posing for the statue. When Pygmalion had finished, so impressed was he with his work, that he told Aphrodite that he chose his statue. Aphrodite was touched and made the statue a real women called Galatea. |
|
34 |
Bird…antiquity |
Unfortunately I have been unable to find an explanation / reference for this phrase. |
|
35 |
Pest-house |
Hospitals for people suffering from infectious diseases, in particular the Plague. |
|
62 |
Under-shrub |
Here meaning one who is low-born |
|
108 |
Screech-owl |
Barn owl known for its discordant cry, seen as a bad omen. |
Act Two Scene 3
|
22 |
Prithee |
Archaic colloquial form of ‘pray thee’ |
|
37 |
Shop-board |
i) A counter where a tradesman business is transacted / where his goods are displayed for sale ii) Table / raised platform where tailors sit whilst sewing |
|
41 |
Mystery |
Occupation |
|
49 |
Convertite |
Archaic, meaning one who is a professed convert to a religious faith / opinions etc. |
Act Two Scene 4
|
1 |
Capering |
Leaping |
|
5 |
Jove |
See not for I.2.126 |
|
6 |
Basilisk |
Mythical creature that can kill people with its vision |
|
15 |
Jocund |
Sprightly |
|
17 |
Breasts |
Breastplate i.e. armour that coves a soldier’s chest |
|
22 |
Begirt |
Surround / enclose |
|
35 |
Jove |
See not for I.2.126 |
|
40 |
Jove |
See not for I.2.126 |
|
41 |
Centure |
i.e. to the ground |
|
42 |
Contemning |
To treat as being small value. Mount Olympus’ top was supposed to surpass the clouds |
|
49 |
Sally |
This is where soldiers rush out from a besieged place upon the enemy |
|
71 |
Contemning |
To treat as small value |
|
94 |
Hercules |
Please see the Introduction |
|
95 |
Colossus |
The Colossus of Rhodes was a giant statue of the god Helios, erected on the Greek island of Rhodes by Chares of Lindos in the 3rd century BC. It was one of the Seven Wonders of the Ancient World. |
|
106 |
Lethe |
An infernal river whose water when drunk causes forgetfulness |
|
125 |
Mechanic Slave |
A manual worker |
|
128 |
Text |
Inscribe |
|
133 |
Musk-cat |
i) Courtesan / prostitute ii) Foppish man |
|
133 |
Civet |
A yellowish substance obtained from the anal pouch from the civet cat used in perfume |
|
134 |
Buffe |
In ancient armour a chin piece pierced with breathing holes |
|
135 |
Phlegmatic |
Someone who has a slow, sluggish disposition |
Act Three Scene 1
|
11 |
Atlas |
God of weightlifting and heavy burdens |
|
17 |
Tipped |
Inclined towards |
|
34 |
Pomander Box |
Pomander is a mixture of aromatic substances made into a ball shape and usually carried in a bag or box. Giovanno is criticising Alerzo’s foppish appearance and lifestyle |
|
53 |
Peck loaf |
i) Dry ii) Peck is also slang for 'grub' or snack. Both meanings suggest that Virmine would eat anything. |
|
56 |
Nimmed |
Stolen |
|
57 |
Brokers |
i) Second-hand dealer ii) Pawn-broker |
Act Three Scene 2
|
1 |
Springes |
A snare for catching small game, especially small birds |
|
2 |
Chaff |
Husks of corn / grain |
|
18 |
Quick |
Of flesh or body parts |
|
20 |
Azure |
Blue – Auristella could be referring literally to the colour of her veins but azure is also the shade of blue used in coats of arms and also there is the well-known idea of aristocrats having ‘blue blood’. |
|
31 |
Nearer |
i.e. soon |
|
34 |
Gins |
Traps |
|
55 |
Theban Creon |
Creon was the King of Thebes and brother to Jocasta, Oedipus’ wife. Creon forbade the burial of his nephew Polyneices because he initiated the fight which killed both him and his brother Eteocles. Antigone defied her uncle and gave Polyneices a token burial. As punishment Creon had Antigone entombed alive. |
|
57 |
Cavilling |
To quarrel over frivolous faults. |
|
65 |
What for his wife? |
This appears to be an error as it is Evadne, Antonio’s sister, that Machvile has banished and whose goods he has distributed amongst the poor |
|
76 |
Lader |
One who loads up the ship |
|
80 |
Elysium |
In Greek mythology the place where the blessed go after dying |
Act Three Scene 3
|
2 |
Morpheus |
The Greek God of Dreams |
|
5 |
Chaos |
The most ancient of the Gods |
|
7 |
Atlas |
God of weightlifting and heavy burdens |
|
8 |
Bleared |
Dimmed with tears |
|
34 |
Bug-bears |
Nuisance |
|
61 |
Phoebus |
An erroneous form of Apollo the Sun God |
|
63 |
Thetis |
Mother of Achilles, a sea nymph. Often used in poetry, as it is here, to personify the sea |
|
122 |
Several |
i) Separately / individually ii) Successive in turn |
|
128 |
Physic |
Medical knowledge |
Act Three Scene 4
|
5 |
Axeltree |
Piece
of timber on which a wheel turns. The term is used in Ovid’s Metamorphoses
and in Shakespeare’s Henry IV Part 1 and Troilus and Cressida. |
|
5 |
List |
i) Leave ii) Deceive |
|
1-5 |
Erect…list |
This is a rather puzzling speech. The only explanation I can offer is that Philippa means that once Raymond is ruler of Spain he will hold up the Heavens and support the God’s because he will be their representative on Earth, i.e. the idea of Divine Right. |
Act Four Scene 1
|
3 |
Zephyrs |
God of the West Wind. Used in poetry to personify wind. |
|
3 |
Faines |
Pretended kindness. |
|
4 |
Favonions |
Favonius was the Roman Good of the West Wind, perhaps an erroneous form of the plural of Favonius |
|
5 |
Dies |
Orgasms |
|
20 |
Phaeton |
Phaeton was the son of Helios the Sun God. Phaeton asked to drive his father's solar chariot for a day, but being unable to control the immortal horses the chariot plunged too near the earth until Zeus killed Phaeton with a thunderbolt to prevent the Earth from being destroyed. |
|
23 |
Would not…miss it |
Raymond is saying that if Philippa was a ‘typical’ woman he would not trust her even with a lynx’s hair. A lynx is a wild cat with a very thick coat of fur, i.e. it would not miss one hair. Though this speech demonstrates Raymond’s low opinion of women as a whole, it shows how highly he values his wife. |
|
25 |
Capra |
A Female goat, a sign of promiscuousness |
|
27 |
Tartor |
Presumably a mistake for Tartar, which is an obscure form of Tartarus which means the infernal regions. Giovanno is saying ‘oh are you come grim Devil’ |
|
27 |
Radamonte |
Possibly an erroneous form of Bradamante, meaning female warrior. I have not been able to find another possible interpretation of this word. |
|
28 |
Pluto |
God of the Underworld |
|
37 |
Pander |
Trojan archer who procured Cressida’s love for Troilus, therefore meaning a pimp |
|
39 |
Acheron |
River in Hell |
|
40 |
Charon |
In Greek and Roman mythology Charon is the ferryman who conveys the dead over the River Styx |
|
54 |
Usurer |
A money lender who charges extortionate interest rates |
|
64 |
Tantalus |
Mythical God of Phygian who, after revealing the secrets of the Gods, was forced to stand in the River Taratus up to his neck in water. Each time he stopped to take a drink the river receded and branches of fruit trees were just out of his reach. It is also said that a rock balanced on a ledge of Tantalus’ head, threatening to fall |
|
66 |
Punk |
Prostitute |
Act Four Scene 2
|
2 |
Minion |
Slave / servant, it is a term of abuse |
|
3 |
Concupiscene |
Desire |
|
4 |
Punk |
Prostitute |
|
5 |
Muskadine |
Wine made from Muscat grapes |
|
9 |
Cunny |
i) Obscure form of cony meaning rabbit ii) slang for cunt |
|
30 |
Mad Orlando |
Reference to Ariosto’s poem Orlando Furioso, published in its final version in 1532. Orlando goes insane after hearing that Angelica, whom he is in love with, has married Medoro |
|
32 |
Meder |
Erroneous form of Medoro. When Trotter goes on to call him the devil it could be because he can be blamed for Orlando’s insanity but also possibly because he was a Moor. |
|
33 |
Noodled |
Confused |
|
35 |
Satyr |
Greek God with the legs, ears and horns of a goat |
|
39 |
Hesperides |
a group of nymphs who were guardians, with the aid of a watchful dragon, of a tree of golden apples in a garden located beyond the Atlas Mountains at the western border of Oceanus, the river encircling the world. One of the labours of Hercules was to fetch the golden apples. |
|
82 |
Fly-blown |
Tainted |
Act Four Scene 3
|
17 |
Jacques |
i.e. James, who is the Patron Saint of Spain |
|
24 |
Back ward |
Apparently meaning the rear exit of either a building or a walled garden. |
|
27 |
Our Lady’s |
i.e. the Virgin Mary. |
|
34 |
Tenter |
A woodedn frame on which cloth is stretched after being made to prevent it from stretching |
|
36 |
Axeltree |
Piece
of timber on which a wheel turns. The term is used in Ovid’s Metamorphoses
and in Shakespeare’s Henry IV Part 1 and Troilus and Cressida. |
Act Four Scene 4
|
1 |
Mace |
A metal weapon with a spiked head |
|
5 |
Screech-owls |
A Barn owl, known for its discordant cry which seen as a bad omen |
Act Four Scene 5
|
5 |
Bullies |
A term of endearment and familiarity. From the 1590’s applied to men only and meant ‘fine fellow’, as seen in Shakespeare’s Midsummer Night’s Dream: ‘bully Bottom’. |
|
6 |
Cum Privelgio |
Latin meaning ‘with privilege’ |
|
31 |
Shrew |
Mischievous, wicked, evil-disposed |
|
36 |
Cavilling |
Frivolous |
Act Four Scene 6
|
7 |
Ebon |
Black |
|
8 |
Megrim |
i) Migraine ii) Low spirits |
|
54 |
Elysium |
In Greek mythology the place where the blessed go after dying |
|
84 |
D’ee |
Eatly spelling of d’ye meaning do you |
Act Four Scene 7
|
1 |
Begare |
A comical foreign exclamation. |
|
1 |
Brave |
Fine |
|
1-4 |
|
Giovanno is pretending to be French. The general gist of the speech is that he has worked for well-born ladies across Europe. |
|
7-9 |
|
Giovanno is saying that unlike the English, Spanish and Dutch French tailors always make high-quality dresses. |
|
11-4 |
|
Giovanno says he is not proud, he is simply speaking the truth. |
|
18 |
Engine |
Artfulness / trickery. |
|
19 |
Styled |
Called. |
|
51 |
Modero |
Possibly an erroneous form of Medoro. Again seen as an figure of insult because he can be blamed for Orlando’s insanity but also possibly because he was a Moor. |
Act Five Scene 1
|
1 |
Still |
Calm |
|
24 |
Forsooth |
In truth / certainly, usually used by the lower classes. |
|
27-8 |
Cum Privelgio |
Latin meaning ‘with privilege’ |
Act Five Scene 2
|
2 |
And |
Meaning If |
|
4 |
Coxcombs |
Foolish / conceited person |
|
12 |
Tickles |
Beat / chastise, here used ironically |
|
12 |
Y’faith |
In faith |
|
13 |
Pha |
Expression of disgust / disdain |
|
14 |
Egregious |
Remarkable |
|
15 |
Widgeon |
Applied to a person in reference to the bird’s stupidity i.e. a fool |
|
16 |
Golding |
A coin |
|
20 |
Y’faith |
In faith |
|
21 |
Bites |
i) To speak sharp / injuriously against a person ii) to cause a sharp pain |
|
21 |
Y’faith |
In faith |
|
31 |
Bilbo |
i) a ruffian ii) a swaggering brave |
|
32 |
Jerenimo |
Version of Hieronimo, the chief character in Kyd’s Spanish Tragedy. After his son Horatio is murdered he goes insane but does revenge his son’s death before biting out his tongue and killing himself. |
|
52 |
Jerenimo |
See note for V.2.32 |
|
54 |
Fowler |
One who catches birds |
|
54 |
Hang me |
i) Mark of impatience ii) watch me |
|
70 |
Bully |
Term of endearment |
|
71 |
Gear |
Business |
Act Five Scene 3
|
2 |
ere they traffic |
Conduct their business |
|
3 |
Cozen german |
Close relative |
|
12 |
Boxed |
Within i.e. Philippa has taken the poison |
|
33 |
Atlas |
God of Weightlifting and Heavy Burdens |
|
34 |
Colossus |
Something great that inspires awe |
|
42 |
Curranco |
I have not been able to find a plausible modern spelling/ explanation for this word. Presumably Rawlins is referring to the fashion of people at Court (both male and females) wearing white foundation and a vivid red blush on their cheeks. |
|
44 |
Smock |
Effeminate |
|
65 |
None paw |
i.e. ‘n’entends pas’, meaning ‘I don’t understand’ in French. |
|
75 |
Atlas |
God of Weightlifting and Heavy Burdens |
|
99 |
Styx |
River in Hades |
|
125 |
Egyptian Monster |
i) Crocodile ii) A reference to Apep, an Egyptian monster who lived in perpetual darkness. The snake god is the chief of the antagonist of the sun god and each night he tries to stop the sun god's barque on his journey through the underworld. In the struggle between light and darkness, the monster is wounded by the divine entourage of Re with knives and spears. Apep, the personification of darkness, evil, and chaos was eventually killed by Re, who cut up his body and burned it. Machvile represents all that is evil in the play – treachery, violence and the refusal to accept the King as the rightful heir whilst Antonio is all that is good (i.e. light).
|
|
151 |
Rheum |
i) Tears ii) Moisture |
|
160 |
Exhalation |
Vapour, in reference to Machvile saying his heart has dissolved |
|
168 |
Balsam |
i) Flowering plant. Perhaps an illusion to the crown of thorns worn by Jesus whilst on the crucifix |
|
169 |
Elixir |
A substance that was believed to have the power of transmuting base metal into gold |
Bibliography
TEXTS
Callaghan, D. (2000) Shakespeare Without Women: Representing Gender and race on the Renaissance Stage. London: Routledge
Davenport-Hines, R. Sex, Death and Punishment: Attitudes to Sex and Sexuality in Britain Since the Renaissance. London: Fontana Press
Jones, A. and Stallybrass, P. (2000) Renaissance Clothing and the Materials of Memory. Cambridge: The Press Syndicate of the University of Cambridge
Woodbridge, L. (1984) Women and the English Renaissance: Literature and the Nature of Womankind 1540-1620. Brighton: Harvester Press
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[1] Matthew Steggle, “C, G: A Member of the Brome Circle,” Notes and Queries 49: 2 ( June 2002): 79-81
[2] Dympna Callaghan, Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage. (London: Routledge, 2000), 40.
[3] Callaghan, Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage, p40
[4] Linda Woodbridge, Women and the English Renaissance: Literature and the Nature of Womankind 1540-1620. (Brighton: Harvester Press, 1984), 136
[5] Woodbridge, , Women and the English Renaissance: Literature and the Nature of Womankind 1540-1620, p75
[6] Woodbridge, , Women and the English Renaissance: Literature and the Nature of Womankind 1540-1620, p160
[7] Woodbridge, , Women and the English Renaissance: Literature and the Nature of Womankind 1540-1620, p197
[8] Woodbridge, , Women and the English Renaissance: Literature and the Nature of Womankind 1540-1620, p197
[9]‘The Indebtedness of Beaumont and Fletcher, and of other Dramatists, before and after the Restoration, to Spanish Novels, and to Spanish Plays, Examined and Summarised’ Bartleby.com: Great Books Online, Bartelby.com, 2005 [http://www.bartleby.com/218/0515.html, accessed 14/11/2005
[10] Sandra Clark, ‘The Maid's Tragedy’ in The Literary Encyclopedia [online database] (2003) [http://www.litencyc.com/php/sworks.php?rec=true&UID=259, accessed 20/12/2005]
[11]Ailia Athena, ‘Human Women in Greek Myths: Acacallis to Evadne’, Women in Greek Myths [http://www.paleothea.com/HumansA-E.html, 20/12/2005]