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UNIVERSITY  OF  PENNSYLVANIA 


WILLIAM  HAUGHTON'S 

ENGLISHMEN    FOR    MY    MONEY 

OR 

A  Woman  Will  Have  Her  Will 

V^°     L!(! 

f:-^ 

EDITED    WITH    INTRODUCTION   AND    NOTES 
BV 

Vfi    r///  |\Vvx 

ALBERT  CROLL  BAUGH 

£  /  f  1 1  fi         \ 


A  THESIS 

PRESENTED   TO   THE   FACULTY   OF   THE   GRADUATE    SCHOOL   IN 

PARTIAL   FULFILLMENT  OF   THE    REQUIREMENTS   FOR 

THE   DEGREE   OF   DOCTOR   OF   PHILOSOPHY 


PHILADELPHIA 
1917 


PR 


MY  FATHER  AND  MOTHER 


PREFACE 

THE  present  edition  of  Englishmen  for  My  Money  was  pre 
sented  to  the  faculty  of  the  Graduate  School  of  the  University 
of  Pennsylvania,  in  1915,  in  partial  fulfillment  of  the  require 
ments  for  the  degree  of  Doctor  of  Philosophy.  As  a  result 
of  investigations  carried  on  since  it  was  accepted,  a  few  changes 
have  been  made  in  the  introduction. 

In  the  preparation  of  the  text  no  pains  have  been  spared 
to  produce  an  absolutely  accurate  edition.  In  carrying  on 
the  work  a  number  of  obligations  have  been  incurred,  which 
it  is  a  pleasure  to  acknowledge  here.  To  Mr.  William  A. 
White,  of  New  York,  I  wish  to  express  my  gratitude  for  so 
freely  putting  in  my  hands  on  two  occasions  his  copy  of  the 
first  quarto.  To  Mr.  Henry  E.  Huntington,  of  New  York,  I 
am  similarly  indebted  for  permission  to  make  use  of  the  two 
copies  of  the  second  quarto  and  four  copies  of  the  third  quarto 
in  his  collection.  In  this  connection  I  am  indebted  to  Mr. 
George  D.  Smith  for  his  kindness  on  two  occasions;  and  to 
Mr.  George  Watson  Cole  I  am  deeply  grateful  for  his  unfail 
ing  courtesy  that  made  my  days  spent  in  the  Huntington 
library  so  pleasant.  In  matters  touching  the  introduction  and 
notes,  particular  obligations  are  recorded  in  their  special  con 
nections.  It  is,  however,  a  special  pleasure  to  acknowledge 
the  kindness  of  Professor  Charles  William  Wallace,  who  not 
only  communicated  to  me  his  discovery  of  Haughton's  will, 
but  gave  considerable  time  to  the  investigation  of  one  or  two 
points  in  which  I  was  especially  interested.  In  the  whole 
study  I  have  been  under  constant  obligation  to  the  members 
of  the  English  department  at  Pennsylvania.  To  Professor 

5 


6  PREFACE 

Clarence  G.  Child  I  am  especially  indebted  for  his  interest  in 
all  parts  of  the  work  and  for  his  constant  stimulation  and 
encouragement.  And  to  Professor  Felix  E.  Schelling  I  owe 
my  greatest  debt.  It  was  he  who  suggested  the  work;  under 
his  direction  it  was  carried  on ;  and  his  searching  and  quicken 
ing  criticism  at  all  times  has  prevented  it  from  being  more 
imperfect  than  it  is. 

A.  C.  B. 
PHILADELPHIA,  JUNE  i,  1917. 


INTRODUCTION 
I. 

The  Haughton  family — Various  William  Haughtons — William  Haughton 
the  Dramatist — Birth — The  Question  of  College — His  Dramatic  Career, 
1597-1602  — First  Period,  Nov.  1597-May,  1598 — Second  Period,  Aug. 
i599-May  1600— Third  Period,  Dec.  i6oo-Nov.  1601— Fourth  Period,  Sept. 
1602 — Imprisonment  in  the  Clink — Death  and  Will — Other  Records. 

ON  the  fifth  of  November  1597  the  theatrical  manager  Philip 
Henslowe  entered  in  his  account  book :  "  lent  vnto  Robart 
shawe ...  to  by  a  boocke  of  yonge  horton  for  the  company  of 
my  lord  admeralles  men  &  my  lord  of  penbrockes  the  some  of 
[ten  shillings]."  *  This  memorandum  is  the  first  record  we 
have  of  a  dramatist  who  was  connected  with  the  Elizabethan 
stage  for  the  brief  period  of  five  years,  who  attained  but 
little  renown  in  his  own  day,  and  who  has  remained  but  little 
noted  since.  Following  this  entry  in  the  Diary  there  occur 
from  time  to  time  many  similar  jottings  recording  advances 
of  various  sums,  mostly  as  payments  for  plays.  These  memor 
anda,  except  for  his  literary  work,  are  almost  the  only  ma 
terials  we  have  out  of  which  to  construct  the  life  and  career  of 
William  Haughton. 

To  trace  the  career  of  a  second  or  third  rate  dramatist 
is  often  attended  with  great  difficulty.  The  general  un 
importance  of  such  a  man  in  his  own  age  leaves  us  with 
few  documents  concerning  him,  and  his  inability  to  achieve 
fame  or  even  to  become  generally  known  deprives  us  of 
such  ordinarily  available  matter  as  allusions  to  him  or  his 
work.  In  most  cases  we  must  be  content  with  only  the  scan- 

1  Henslowe' s  Diary,  ed.  Greg.  I,  69. 


g  INTRODUCTION 

tiest  documentary  remains  and,  as  is  to  be  expected,  we  have 
but  the  scantiest  of  William  Haughton.  The  one  personal 
incident  in  Haughton's  life  for  which  we  have  had  direct  tes 
timony  is  that  he  was  for  a  time  in  the  Clink,  a  prison  on  the 
Bankside.  A  few  new  facts  are  here  added  from  his  will, 
hitherto  unpublished.  All  other  records  of  him  that  we  pos 
sess  concern  his  work  as  a  writer  of  plays.  We  do>  not  know 
when  he  was  born  or  the  exact  date  when  he  died,  and  his 
immediate  family  as  well  as  the  district  in  which  it  was 
situated  is  unknown. 

The  Haughton  family — the  name  is  more  often  written 
Houghton — appears  to  have  been  in  England  from  a  very  early 
date.  As.  far  back  as  the  time  of  Henry  II,  one  Adame  de 
Hoghton  (if  our  source  can  be  relied  upon)  held  a  carucate 
of  land  in  the  county  of  Lancaster.1  Lancashire  appears  to 
have  been  the  district  originally  occupied  by  the  Haughtons 
and  it  remained  the  principal  seat  of  the  family  for  a  long 
period.  The  Houghtons  of  Houghton  Tower  held  in  the  reign 
of  Elizabeth  a  position  of  considerable  prominence  in  affairs 
both  local  and  national,  and  all  those  who  bore  the  name 
Haughton  and  who  had  any  care  for  their  pedigree  attempted 
to  trace  their  descent  from  this  house.  The  family  was  not 
confined,  however,  to  Lancashire.  It  early  spread  to  other 
sections  of  the  country  and  even  into  Ireland.  The  records  of 
the  fifteenth,  sixteenth  and  seventeenth  centuries  show  Haugh 
tons  in  almost  every  county  of  England.  London  in  the 
time  of  Elizabeth  contained  a  large  number  of  them  represent 
ing  all  classes  of  society,  and  other  sections  of  the  country 
showed  them  in  almost  equal  force  if  not  of  equal  importance. 
References  to  them  in  the  documents  of  the  period  occur  with 
surprising  frequency  and  we  should  in  all  probability  be  justi- 

1  See  Burke,  J.,  Hist,  of  the  Commons,  1833,  I,  523. 


INTRODUCTION  g 

fied  in  considering  them  one  of  the  most  numerous  and  wide 
spread  families  in  Elizabethan  England.1 

In  the  sixteenth  and  seventeenth  centuries  there  appear  in 
the  record  several  Haughtons  to  whose  names  some  interest 
or  importance  is  attached  in  connection  with  their  time.  The 
first  that  may  be  mentioned  is  John  Haughton,  the  last  prior 
of  the  Carthusian  monks  of  Charterhouse,  in  London,  who  was 
executed  at  Tyburn  4  May  1535  on  the  charge  of  treason,  for 
refusing  to  acknowledge  Henry  VIII  as  the  supreme  Head  of 
the  Church  of  England.2  Frequent  contemporary  reference 
to  the  event  attests  the  notoriety  it  obtained.  Next,  perhaps, 
may  be  mentioned  the  name  of  Peter  Haughton,  who  occupied 
several  offices  in  the  government, — was  for  a  time  farmer  of 
the  imposts,  later  became  a  sheriff  of  London,  and  finally  an 
alderman  of  the  city.  His  death  occurred  in  I596.3  About 

1  The  writer  has  collected  references  to  upwards  of  five  hundred  different 
individuals  bearing  the  name  '  Haughton '  in  the  England  of  the  time  and 
the  number  can  certainly  be  increased.     Prof.  Wallace  says  in  a  letter, 
"  I  come  upon  Haughton's  by  the  hundreds  .  .  .  Few  days  of  extensive 
search  pass  without  meeting  the  name." 

2  For  a  full  account,  see  Froude,  Hist,  of  England,  1870,  II,  362-383. 

8  In  connection  with  his  being  farmer  of  the  imposts,  cf.  Cal.  State 
Papers,  Domestic,  III  (1591-4),  pp.  286-7;  Acts  of  the  Privy  Council, 
XXII,  86,  513;  XXIII,  180,  319,  321.  For  him  as  sheriff,  see  Stow,  Survey, 
ed.  Kingsford,  1908,  II,  185  and  State  Papers  as  above,  pp.  336,  423;  as 
alderman,  see  Acts  of  the  Privy  Council,  XXVI,  19,  363,  525.  Other  in 
formation  may  be  found  in  Acts,  XXIV,  330;  State  Papers,  Dotn.,  IV 
(I595-7).  J8,  19,  331  and  on  p.  57  of  the  latter  an  interesting  document 
concerning  his  income.  He  died,  as  Stow  tells  us  (I,  197),  in  1596,  and  the 
parish  register  of  St.  Michael  Cornhill  under  date  of  18  January  1596  rec 
ords  the  burial  of  "  MrPeter  Houghton,  Alderman  of  this  cittie."  (Har- 
leian  Registers,  VII,  207).  In  1591  he  was  apparently  living  in  the  parish 
of  St.  Gabriel,  Fanchurch,  Langborne  ward  (Exch.  K.  R.  Certificates  of 
Residence,  Bdl.  177,  Letter  H).  His  father  was  Thomas  Houghton  (Stow, 
T,  198).  His  wife,  Mary,  married  again  a  little  over  a  year  after  his 
death,  as  appears  from  the  marriage  license  granted  14  May  1597 
("Thomas  Vavesor,  of  London.  Esq.,  &  Mary  Hawghton,  widow  of  Peter 
Hawghton,  late  one  of  the  Aldermen  of  London;  Gen.  Lie." — Marriage 
Licenses  Granted  by  the  Bishop  of  London,  Harl.  Sot.  XXV,  238). 


I0  INTRODUCTION 

the  same  time  there  appears  in  the  records  one  Roger 
Haughton,  who  received  certain  grants  from  the  crown 
and  on  two  occasions  considerable  sums  of  money  as  re 
imbursements  for  ships  belonging  to  him  which  had  been 
sunk.  Space  does  not  permit  the  recording  of  details 
here.1  It  must  suffice  to  say  that  he  appears  as  a  man 
of  considerable  means,  more  or  less  closely  connected  with 
the  government.  Still  better  known  is  the  name  of  Sir 
Robert  Haughton  who  was  born  in  co.  Norfolk,  studied 
law  at  Lincoln's  Inn,  occupied  various  positions  in  con 
nection  with  his  profession  until  he  became  a  Member  of 
Parliament,  and  from  1613,  when  he  was  knighted,  until  his 
death  was  a  Justice  of  the  King's  Bench.2  Finally,  Haughton 
seems  to  have  been  the  name  of  Milton's  grandmother  on  his 
father's  side.3  If  this  is  so,  she  belonged  to  a  branch  of  the 
family  situated  in  Oxfordshire,  more  humble  than  the  Haugh- 
tons  of  Lancashire  and  London.  These  few  names  which  we 
have  thus  been  able  to  mention  will  serve  perhaps  to  show  the 
importance  to  which  some  members  of  the  Haughton  family 
attained  in  Elizabethan  England,  and  especially  in  Elizabethan 
London. 

It  would  be  an  interesting  discovery  if  it  could  be  shown 
that  William  Haughton,  the  dramatist,  was  connected  with  any 
of  the  persons  just  mentioned.  But  this  is  unfortunately  not 
possible.  Were  evidence  forthcoming — in  the  parish  registers, 
for  example — to  show  that  the  bearer  of  any  one  of  these 

1  Those  who  are  interested  may  consult  Devon,  F.,  Issues  of  the  Ex 
chequer  .  .  .  James  I,  London,  1836,  p.  5;  State  Papers,  Dom.,  Ill  (1591- 
4),  360;  IX  (1611-18),  109;  VI  (1601-03),  163;  VIII  (1603-10),  538,  613; 
Index  Library,  IV,  42,  50.    See  also  the  parish  register  of  St.  James,  Clerk- 
enwell,  Harleian  Registers,  XVII,  136. 

2  See  Foss,  E.,  Judges  of  England,  1851-64,  vol.  VI,  161-2. 

3Masson,  Life  of  John  Milton,  I  (1881),  21-3.    Cf.  Camden  Soc.,  voL 
75,  PP.  43-4- 


INTRODUCTION  1 1 

names  had  a  son  William,  an  identification  with  the  dramatist 
would  still  not  be  warranted,  for  our  problem  is  complicated 
by  another  circumstance.  There  were  other  William  Haugh- 
tons  than  the  dramatist  living  in  London,  and  in  other  parts  of 
England,  at  the  close  of  the  sixteenth  and  the  beginning  of  the 
seventeenth  century.  The  parish  register  of  St.  Mary,  Alder- 
mary,  London,  for  example,  records  the  burial  3 1  May  1 598  of 
a  "  William  Hawton  "  ;*  and  in  the  same  year  there  was  pro 
bated  in  the  consistory  court  at  Canterbury  the  will  of  "  Wil 
liam  Houghton,  citizen  and  merchant  tailor  of  London,  St. 
Nicholas  Cole  Abbey."  2  Several  William  Haughtons  seem 
to  have  lived  in  the  district  of  Clerkenwell,  particularly  in  the 
parish  of  St.  James.  As  early  as  1577,  in  a  will,  there  is 
mention  of  a  "  house  in  Turnmill-street,  which  one  William 
Houghton,  of  London,  saddler,  holdeth  ...  by  lease  "  ; 8  and 
in  the  early  seventeenth  century  the  parish  register  of  St. 
James,  Clerkenwell,  contains  several  records  of  William 
Haughtons.  On  19  February  1629  there  is  the  christening 
of  a  "  Dorothy  d.  of  William  Haughton  &  Isabell  vx."  *  and 
on  3  June  1633  the  burial  of  this  "  Isabell  wife  of  Will'm 
Haughton."  5  On  31  July  1623  there  was  interred  "  Drayner 
s.  of  Mr.  William  Haughton,  in  South  He,"  6  and  the  latter 
was  himself  buried  17  September  1624.*  On  23  July  1641 
"  Will.  Haughton,  a  lodger  "  was  buried,8  and  on  21  Septem 
ber  1647  there  was  interred  "  William  s.  of  Henry  Houghton, 

1  Harleian  Registers,  V,  149.  3  British  Rec.  Soc.,  XXV,  200. 

8  Pinks,  W.  J.,  The  History  of  Clerkenwell,  1881,  p.  344. 

4  Harleian  Registers,  IX,  1 13. 

*Ibid.,  XVII,  208.  «/&td.,  XVII,  160. 

T"Mr  William  Haughton,  Esq',  in  South  He"  (Ibid.,  XVII,  164).  This 
cannot  be  the  same  as  the  William  Haughton,  husband  of  the  Isabel  above 
mentioned,  who  was  buried  in  1633,  for  she  had  a  daughter  Dorothy,  also 
mentioned  above,  who  was  christened  in  1629. 

'Ibid.,  XVII,  247. 


12  INTRODUCTION 

gent."  l  The  burial  of  "  Elizabeth  d.  of  William  Haughton  " 
(probably  one  of  the  above)  is  recorded  under  date  of  23 
March  1623/4.  Numerous  other  William  Haughtons,  within 
and  without  London,  will  be  mentioned  below  or  are  referred 
to  in  the  footnote  appended  to  this  passage.2  We  have  only 
space  here  to  note  finally  that  in  Weever's  Epigrams,  pub 
lished  in  1599  (ed.  Me  Kerrow,  p.  92),  there  occurs  an  epi 
gram  addressed  to  "  Gulielmum  Houghton,"  not,  it  would 
seem,  the  dramatist.3  So  many  William  Haughtons  living  in 

1  Harleian  Registers,  XVII,  273. 

'There  is  no  need  here  to  record  in  detail  the  particulars  concerning 
the  William  Haughtons  whom  we  have  not  been  able  to  mention  in  the 
text.  It  will  be  sufficient  to  refer  the  reader  to  the  following  sources 
where  he  may  easily  find  the  material  available:  Index  Library,  IV,  6; 
Chetham  Soc.,  IV,  28-on;  Oxford  Hist.  Sot.,  XXIII,  93  J  XXXVII,  244; 
Harleian  Registers,  XIII,  72;  British  Record  Soc.,  XXITI,  6,  n;  Acts  of 
the  Privy  Council,  XXII,  546;  Pettigrew,  T.  J.,  Chronicles  of  the  Tombs, 
Lond.,  1878,  p.  476;  Index  Lib.,  I,  90,  135,  159;  Brit.  Rec.  Soc.,  XXVII, 
122;  VIII,  93;  VII,  443. 
'The  epigram  is  as  follows: 

In  Gulielmum  Houghton. 

Faine  would  faire  Venus  sport  her  in  thy  face, 
But  Mars  forbids  her  his  sterne  marching  place : 
Then  comes  that  heau'nly  harbinger  of  loue, 
And  ioyns  with  Mars  &  with  the  queen  of  Loue 
And  thus  three  gods  these  gifts  haue  given  thee, 
Valour,  wit,  fauour,  and  ciuilitie. 

Since  Me  Kerrow  in  the  notes  to  his  edition  (p.  122)  says,  "  I  can  dis 
cover  no  William  Houghton,"  it  may  be  worth  while  to  note  here  that 
the  person  referred  to  was  probably  William  Houghton,  son  of  the 
Thomas  Houghton  who  was  killed  in  a  brawl  at  Lee  Hall  (Lancashire) 
in  1590  and  who  is  possibly  the  subject  of  Weever's  epigram  '  In  tumulum 
Thomae  Houghton  Armig.'  (also  on  p.  92)!  This  Thomas  was  perhaps 
the  brother  of  the  Sir  Richard  Houghton,  to  whom  Weever  dedicates  the 
(first  half  of  the)  volume  and  who  is  the  subject  of  epigrams  on  pages 
91  and  112.  The  three  epigrams  on  Sir  Richard,  Thomas  and  William 
are  printed  consecutively  in  the  volume  except  for  a  tail-link.  (For  the 
murder  of  Thomas  Houghton,  see  Cal.  State  Papers,  Domestic,  III  (1591- 
4),  p.  188;  Chetham  Society,  vol.  99,  p.  131;  Whitaker's  History  of 
Whalley,  etc.). 


INTRODUCTION  I3 

London,  and  elsewhere  in  England,  at  this  period  make  it  quite 
impossible  to  identify  the  dramatist.  There  is  no  reason  to 
identify  or  connect  him  with  any  of  the  Haughtons  just  men 
tioned  or  with  any  of  the  more  important  members  of  the 
family  spoken  of  above,  although  that  he  was  not  connected 
with  them  is,  of  course,  in  most  cases  equally  incapable  of 
proof. 

Since  we  are  so  badly  off  for  definite  information  concern 
ing  Haughton,  our  account  of  his  life  must  needs  be  somewhat 
fragmentary.  That  his  first  name  was  William  we  may  be 
altogether  certain,  nothwithstanding  the  confusion  that  at 
times  has  existed  about  it  and  the  occasional  reference  to  him 
as  Thomas.  In  Henslowe's  Diary  he  is  on  all  occasions  save 
one,  where  the  surname  is  used,  called  William,  and  we  have 
in  the  Diary  no  less  than  eight  autograph  signatures,  all  of 
them  showing  the  name  correctly  as  William  Haughton.  The 
one  entry  l  in  which  he  is  called  Thomas  is  in  another  hand  and 
is  obviously  a  mistake.  In  the  spelling  of  his  last  name  there 
is  considerable  variation.  In  the  Diary  the  forms  Harton, 
Horton,  Hauton,  Hawton,  Howghton,  Haughtoun,  Haulton 
and  Harvghton  all  occur  beside  Haughton ; 2  but  the  latter  is 
the  only  spelling  used  in  the  autographs  and  is  thus  the  one 
preferred  by  the  dramatist  himself. 

The  date  of  Haughton's  birth  is  unknown,  but  we  can  esti 
mate  it  with  a  fair  degree  of  approximation.  When  he  first 
appears  in  the  Diary  he  is  called  "  yonge  horton,"  an  indefinite 
appellation  capable  of  a  variety  of  interpretations.  The  mean 
ing  may  be  absolute  or  relative.  Henslowe  may  have  meant 
that  Haughton  was  literally  a  youth ;  or  he  may  have  considered 
him  young  in  comparison  with  the  other  playwrights  working 

1 F.  64  line  5. 

3  Strangely  enough  the  spelling  Houghton  does  not  occur.  It  is,  how 
ever,  the  spelling  of  the  will. 


I4  INTRODUCTION 

for  him.  We  unfortunately  know  very  little  about  the  dra 
matists  who  were  in  Henslowe's  employ  in  November  1597. 
It  is  not  until  this  date  that  Henslowe  begins  to  record  the 
names  of  the  authors  who  were  writing  for  him  and  when  he 
does  Haughton's  is  the  first  that  appears.  Jonson,  though  his 
name  occurs  in  the  Diary  as  early  as  28  July  1 597,  is  not  men 
tioned  as  a  writer  until  3  December  of  that  year.  Next,  if  we 
omit  two  unnamed  young  men,  come  Drayton  and  Munday 
(22  Dec.);  on  8  January  1598  Dekker  appears,  and  Chettle 
is  first  mentioned  20  February  1 598. l  Of  all  these  men  Jonson 
was  the  youngest,  being  in  November  1597  twenty-four;  and 
if  Haughton  then  was  younger  than  the  rest  of  the  writers  in 
Henslowe's  employ,  the  evidence  at  our  disposal,  though  in 
complete  and  uncertain,2  would  lead  us  to  presume  that  Haugh 
ton  was  less  than  twenty-four.3  On  the  other  hand,  there  is 

1  The  question  whether  Dekker  was  connected  with  Henslowe's  company 
as  early  as  1590  or  1594  is  of  small  moment  in  the  present  connection,  since 
there  is  no  reason  to  suppose  that  the  association  was  a  continuous  and 
unbroken  one.  On  the  contrary  the  8  January  1598  appears  to  mark  the 
beginning  of  a  new  connection. 

We  should  not  forget  that  there  is  no  evidence  that  any  of  these  men 
were  writing  for  Henslowe  before  the  date  when  they  first  appear  in  the 
Diary,  and  that  there  may  have  been  others  not  mentioned  by  name. 

Other  suggestions,  probable  or  improbable,  which  might  be  made  to 
account  for  the  epithet  "young"  are  that  the  dramatist  was  youthful  in 
appearance,  young  for  his  years,  etc.,  or  that  he  was  a  "  young  writer  " — a 
new  man.  It  might  be  argued  that  the  designation  "young  Haughton" 
implies  on  Henslowe's  part  a  certain  familiarity  with  the  dramatist  at  the 
time  he  made  the  entry;  but  it  might  be  urged  with  equal  justice  that 
Henslowe  so  referred  to  him  because  he  was  not  very  familiar  with  him, 
perhaps  did  not  know  his  first  name.  Of  the  latter  possibility  nothing  can 
be  said.  In  the  former  case,  Haughton  may  have  been  writing  for  Hen 
slowe  before  the  records  in  the  Diary  begin ;  or  he  may  have  been  known 
to  Henslowe  through  some  other  circumstance.  Henslowe  had,  for  ex 
ample,  during  the  last  five  years  of  his  life,  a  charwoman  named  Joan 
Horton  (Cf.  Greg,  II,  19) ;  but  it  is  idle  in  the  absence  of  evidence  to 
speculate  on  the  possibility  of  any  connection  between  the  dramatist  and 
the  woman  here  mentioned. 


INTRODUCTION  I5 

reason  to  think  that  he  was  not  a  mere  boy.  His  mind  shows 
a  certain  maturity,  his  education  suggests  a  university  train 
ing,  and  his  knowledge  of  foreign  languages  seems  greater 
than  was  common  among  Elizabethan  youths.  It  is  unlikely 
that  he  was  under  twenty  when  he  began  to  work  for  Hens- 
lowe.  Gayley  has  guessed  the  date  of  his  birth  to  be  about 
1578.  Our  own  deductions  would  place  it  between  about 
1573  and  1577.  This  is  as  much  as  to  say  he  was  not  older 
than  Ben  Jonson  and  possibly  a  few  years  younger.  The  year 
1575  or  1576  is  probably  not  far  from  the  date  of  his  birth. 

Of  his  birth  place,  early  life  and  education  nothing  is  known. 
The  last,  however,  seems  not  to  have  been  neglected.  In  his 
work,  as  we  have  said,  we  not  infrequently  meet  with  things 
that  suggest  his  having  gone  to  college.  His  reference  to 
Oxford,  allusions  to  philosophy  and  classical  antiquity,  mytho 
logical,  literary,  and  historical, — all  furnish  grounds  for  the 
opinion,  which  has  several  times  been  expressed,  that  he  was  a 
university  man.  An  attempt  has  been  made  on  at  least  one 
occasion  to  connect  him  with  a  particular  university.  Cooper, 
in  his  Athenae  Cantabrigienses  (II,  399),  identifies  the  dra 
matist  with  a  "  William  Haughton,  M.  A.  of  Oxford,  [who] 
was  incorporated  in  that  degree  here  in  1604."  This  identi 
fication  has  several  times  been  doubted  1  on  general  grounds, 
but  never  disproved.  It  is,  however,  erroneous.  An  appeal 
to  the  Registrary  of  Cambridge  University,  which  was  an 
swered  most  courteously  by  his  assistant,  Mr.  C.  J.  Stone- 
bridge,  revealed  the  fact  that  Cooper's  identification  was  based 
upon  a  misreading  of  the  records.  The  words  of  Dr.  J.  Venn, 
to  whom  the  matter  was  referred,  are  as  follows :  "  Cooper's 
statement  is  wrong.  It  was  a  William  Langton  who 
incorporated  from  Oxford  in  1604.  Richardson  in  his 
MS.  Catalogue  of  incorporations,  had  misread  the  word  as 

1  Ward,  II,  606;  Bullen  in  D.  N.  D.,  etc. 


!6  INTRODUCTION 

Haughton ;  and  Cooper  followed  him.  On  Cooper's  and  Rich 
ardson's  authority,  the  mistake  was  repeated  in  the  "  Matricu 
lations  and  Degrees,"  though  the  correct  name,  William  Lang- 
ton,  there  appears  in  its  place."  This  of  course,  disposes  of 
the  whole  matter.  From  the  same  authority,  Dr.  Venn,  I  learn 
that  there  is  no  record  of  early  date  of  any  William  Haughton 
at  Cambridge  save  one  who  matriculated  at  St.  John's  College 
in  1605,  received  the  degree  of  B.  A.  1608-9  and  M.  A.  1612. 
Since  this  can  not  be  the  dramatist,  there  is  no  evidence  that 
Haughton  was  ever  at  Cambridge. 

Even  if  it  were  not  possible  to  show  the  incorrectness  of 
Cooper's  identification,  evidence  would  be  strongly  against  the 
assumption  that  Haughton  was  a  Cambridge  man.  In  the 
first  scene  of  Englishmen  for  My  Money,  Anthony,  the  school 
master,  is  made  to  say : 

When  first  my  mother  Oxford  (England*  pride) 
Fostred  mee  puple-like,  with  her  rich  store,  .  .  . 

With  a  full  recognition  of  the  qualities  of  dramatic  speech  and 
a  thorough  appreciation  of  the  danger  that  attends  attributing 
to  an  author  sentiments  and  opinions  expressed  by  the  char 
acters  in  a  play,  we  may  still  feel  perfectly  confident  in  assert 
ing  on  the  strength  of  this  passage  that  Haughton's  university 
was  not  Cambridge.  No  Cambridge  man  would  have  written 
these  lines;  they  rather  indicate  on  the  part  of  the  author  a 
certain  interest  in  Oxford,  an  interest  possibly  objective,  per 
haps  merely  local.  But  whatever  interest  Haughton  had  in 
any  university,  we  may  depend  upon  it,  was  centered  in  that 
one  which  he  calls  "  England's  pride."  There  is,  however,  no 
evidence  that  Haughton  was  at  Oxford.  The  register  of  the 
university  contains  no  William  Haughton,  of  approximately 
this  period,  that  is  earlier  than  1608  and  I6I4,1  and  there  is  no 

1  Register  of  the   University  of  Oxford,  vol.  II    (1571-1622)    Part  IV 


INTRODUCTION  !7 

other  information  forthcoming.  We  are  forced  to  leave  the 
question  without  a  final  answer,  but  we  may  venture  the  opinion 
that  if  Haughton  was  a  university  man  at  all  he  probably  re 
ceived  his  university  training  at  Oxford. 

Haughton's  dramatic  career,  so  far  as  we  know,  extends 
from  1597  to  1602.  How  continuous  and  uninterrupted  it  was 
it  is  difficult  to  say.  If  his  activity  was  confined  entirely  to 
Henslowe's  mart  it  was  interrupted  by  several  very  definite  and 
at  times  considerable  breaks,  for  his  dealings  with  Henslowe 
fall  in  point  of  time  into  four  rather  distinct  periods.  During 
the  intervals  which  separate  these  periods  we  hear  nothing  of 
him  and  he  may  have  been  working  elsewhere.  However  this 
may  be,  all  his  dramatic  activity  that  we  know  anything  about 
was  employed  in  the  service  of  Henslowe ;  and  the  periods  into 
which  it  falls  may  be  taken  as  convenient  sections  or  divisions 
by  which  to  obtain  a  rapid  survey  of  his  work. 

The  first  period  of  his  activity  extends  from  the  time  when 
he  first  appears  in  the  Diary,  5  Nov.  1597,  until  May  1598. 
Though  not  of  very  long  duration,  and  not  even  uninterrupted 
while  it  lasts,  it  is  for  us  the  most  important  portion  of  his 
career.  During  the  last  three  of  these  six  months  he  was 
writing  his  most  important  play,  if  not  his  only  extant  unaided 
piece,  Englishmen  for  My  Money,  the  play  by  which  he  is 
chiefly  known  to-day.  After  the  last  recorded  payment  on 
this  play  there  is  an  interval  of  a  year  and  three  months  during 
which  he  disappears  from  sight. 

When  he  returns  to  view  in  August  1 599,  receiving  payment 
for  The  Poor  Man's  Paradise,  the  second  period  of  his  ac- 

(Oxford  Hist.  Soc.,  vol.  14),  1889,  P-  220.  Mr.  Reginald  L.  Poole,  Keeper 
of  the  Archives,  Magdalen  College,  Oxford,  kindly  writes  me:  "The 
name  [. . .  William  Haughton]  does  not  appear  in  those  of  Oriel,  Exeter, 
or  Magdalen  Colleges.  Whether  it  could  be  found  in  those  of  the  twelve 
other  Colleges  existing  in  1597  or  the  six  academical  Halls  could  only  be 
ascertained  by  a  long  investigation  of  the  separate  records  ..." 


jg  INTRODUCTION 

tivity  begins.  At  this  time  he  began  to  work  regularly  for 
Henslowe,  and  it  is  here  that  we  have,  except  for  his  first 
period,  by  far  the  most  interesting  section  of  his  carreer.  Dur 
ing  the  ten  months  that  it  lasted  (till  May  1600)  he  was 
working  at  tremendous  speed  and  produced  either  alone  or  in 
collaboration  with  others  no  less  than  twelve  plays.1  At  times 
in  this  period  he  produced  as  many  as  three  plays  in  one  month 
and  on  occasions  must  have  had  three  and  even  four  plays  un 
der  way  at  the  same  time.  True,  only  four  (or  five)  were  his 
unaided  work,  but  with  all  necessary  allowances  such  a  burst 
of  industry  is  remarkable  and  is  safe  evidence  of  the  fertility 
and  facility  of  the  man  when  he  was  in  the  mood. 

With  the  entry  of  May  1600,  however,  for  a  play  called 
Judas,  Haughton's  work  for  Henslowe  is  again  interrupted 
and  the  next  six  months  mark  the  second  considerable  gap  in 
his  career.  His  apparent  inactivity  this  time  was  probably  an 
enforced  one.  From  the  circumstance  that  the  careers  of 
Chettle,  Dekker,  Day,  Hathway  and  Munday  suffered  a  sim 
ilar  interruption  in  July  1600  and  were  not  resumed  until  the 
following  December  and  January,  Greg  concludes  that  there 
was  a  "  suspension  of  dramatic  activity  from  July  to  Nov. 
1600" — a  conclusion  which  is  fully  justified  by  the  evidence. 
When  activities  are  resumed,  however,  Haughton  and  Dekker 
are  the  first  to  reappear  in  Henslowe's  accounts  and  with  the 
payment  of  twenty  shillings  for  a  play  called  Robin  Hood's 
Pen'orths,  12  Dec.  1600,  Haughton's  third  period  of  activity 
begins. 

In  this  term,  which  also  lasted  about  a  year,  he  was  not 
working  so  intensely  as  before,  but  he  managed  to  turn  out  nine 
plays,  all  except  the  first  in  collaboration  with  others.  In  this 
period  we  find  him  no  longer  writing  with  Dekker  and  Chettle 

1  This  number  includes  The  Devil  and  His  Dame. 


INTRODUCTION  !9 

as  his  collaborators.  Instead  he  is  very  closely  associated 
with  Day,  producing  with  him  six  plays  in  steady  succession. 
Hathway  and  Wentworth  Smith  are  his  only  other  co-workers 
in  this  period.  In  Nov.  (1601)  the  entries  once  more  cease 
and  with  them  Haughton's  last  period  of  real  activity.  It  may 
be  noted  that  from  February  to  April  1602  Henslowe  again 
suspended  operations.1  Haughton's  absence  from  the  Diary, 
however,  is  of  greater  duration,  continues  in  fact  close  to  a 
year.  When  he  finally  appears  again  for  the  fourth  and  last 
time  it  is  only  for  a  brief  period  in  September  1602  when  he 
received  fifty  shillings  from  Henslowe  for  a  play  called  William 
Cartwright.  This  is  our  last  trace  of  him  in  the  Diary. 

As  we  look  back  over  these  alternating  spells  of  activity 
and  inactivity,  the  question  immediately  presents  itself :  How 
was  Haughton  engaged  during  the  periods  when  he  appears,  so 
far  as  Henslowe's  record  is  concerned,  to  have  been  unpro 
ductive?  Few  if  any  of  Henslowe's  playwrights  could  afford 
such  periods  of  leisure  and  there  is  good  reason  to  believe 
that  Haughton  was  not  one  who  could.  On  one  occasion,2  for 
example,  when  he  was  in  prison  Henslowe  had  to  advance  him 
ten  shillings  to  procure  his  release.  Again,  that  he  was  forced 
at  times  to  appeal  to  Henslowe  for  small  loans  is  evidenced  by 
the  entries  "  lent  to  wm  hawton  .  .ijs  "  and  "  lent  more  ijs  " 
in  the  margin  of  Fol.  69  v  opposite  an  entry  dated  14  June  1600. 
It  would  seem  to  have  been  imperative  for  Haughton  to  have 
had  some  means  of  earning  a  living  during  the  breaks  in  his 
activity  for  Henslowe.  But  what  this  means  was  we  do  not 
know.  Some  of  the  dramatists,  such  as  Heywood  or  Jonson, 
were  also  actors ;  some,  like  Dekker  or  Munday,  were  general 
pamphleteers  and  hack  writers.  But  there  is  no  evidence  that 
Haughton  was  either;  as  far  as  we  know  he  was  only  a  dra- 

*  Greg,  II,  372. 
2  See  below,  p.  20. 


20  INTRODUCTION 

matist.  There  are  cases  where  it  is  certain  that  dramatists 
wrote  exclusively  for  one  company.  In  other  cases,  however, 
we  know  that  it  was  not  unusual  for  a  playwright  to  jump  from 
one  company  to  another.  Hathway,  whose  career  is  broken  up 
very  much  like  Haughton's  by  intervals  during  which  we  hear 
nothing  of  him,  was  probably  writing,  Greg  suggests,  "  for 
other  companies  of  which  we  have  no  detailed  records."  x  It 
is  not  impossible  that  Haughton  was  doing  the  same.  This 
would  mean  that  he  was  the  author  of  other  plays  than  those 
the  names  of  which  we  know  from  Henslowe.  The  fact 
that  we  know  nothing  of  such  plays  is  not  surprising.  Haugh 
ton,  like  Heywood,  was  not  in  the  habit  of  publishing  his  plays, 
but  was  apparently  careless  of  his  work  when  he  had  once 
converted  it  into  money.  To  be  brief,  while  direct  evidence 
is  lacking,  there  seems  no  more  likely  way  to  account  for  gaps 
which  certainly  ought  to  be  accounted  for  than  to  suppose  that 
during  these  intervals  Haughton  was  working  for  other  com 
panies  than  Henslowe's. 

It  has  been  mentioned  above  that  Haughton  was  at  one  time 
imprisoned  in  the  Clink.  The  evidence  for  this  detached  bio 
graphical  detail  is  to  be  found  in  an  entry  in  Henslowe  that 
runs  as  follows : 

Lent  vnto  Robarte  shaw  the  10  of  marche  1599   ~) 
to  lend  wm  barton  to  Releace  hime  owt  v  xs 

of  the  clyncke  the  some  of  2         ) 

The  date  would  of  course  be  1600,  new  style,  and  the  sum 
equivalent  to  about  fifteen  dollars  to-day.  The  Clink  was  one 
of  the  five  "  prisons  or  Gaoles  "  which  Stow  tells  us  were  situ 
ated  in  Southwark ;  and  he  further  describes  it  as  "  a  Gayle  or 
prison  for  the  trespassers  in  those  parts,  Namely  in  olde  time 

1  Diary,  II,  270. 

*  Diary,  F.  68  (Greg.  p.  119). 


INTRODUCTION  21 

for  such  as  should  brabble,  frey,  or  breake  the  Peace  on  the 
saide  banke."  It  should  be  observed  that  Stow  merely  says 
the  prison  was  put  to  such  use  "  in  olde  time."  Wheatley  and 
Cunningham  (I,  426)  are  authorities  for  the  statement  that  it 
was  also  used  for  debtors.  This  appears  to  have  been  the  case. 
We  cannot  tell  why  Haughton  was  there,  but  it  may  easily  have 
been  for  debt.  Massinger,  Chettle,  Daborne  and  others  were 
for  a  time  confined  there.  We  have  other  cases,  too,  in  which 
Henslowe  bailed  his  playwrights  out  of  prison.  On  one  oc 
casion  he  lent  Dekker  forty  shillings  to  discharge  him  from  the 
Counter  and  in  1599  he  advanced  ten  shillings  to  Chettle  to 
release  him  from  the  Clink,  the  same  sum  he  had  lent  Haugh 
ton.  On  the  whole  we  need  not  be  at  all  surprised  that  Haugh 
ton  was  in  the  Clink;  on  the  contrary  we  should  see  in  the 
incident  but  one  of  many  evidences  manifesting  how  typical  a 
member  he  was  of  Henslowe's  following. 

Within  three  years  after  the  last  appearance  of  his  name 
in  the  Diary  Haughton  died.  His  death  occurred  between  the 
sixth  of  June  and  the  twentieth  of  July  1605.  That  we  are 
able  to  state  this  fact  definitely  is  due  to  the  researches  of 
Professor  Wallace  and  to  his  kindness  in  permitting  here  the 
publication  of  the  dramatist's  will.  It  is  a  nuncupative  will, 
made  in  extremis,  and  witnessed  by  his  friend  and  collaborator, 
Wentworth  Smith,  "  and  dyuers  others  "  : 2 

1  Stow,  Survey,  ed.  Kingford,  1908,  II,  55-6.    Taylor,  the  Water-poet, 

bas  the  following  verses  on  the  prisons  of  Southwark : 
Five  jayles  or  prisons  are  in  South warke  placed, 
The  Counter  once  St.  Margaret's  church  defaced, 
The  Marshalsea,  the  King's  Bench,  and  White  Lyon, 
Then  there's  the  Clinke  where  handsome  lodgings  be. 

(Quoted  Stow,  II,  366).    But  Strype  says  the  prison  is  "of  little  or  no 

concern."    Cf.  Wheatley  and  Cunningham,  London  Past  and  Present,  I,  426. 
1  The  text  here  given  is  from  the  transcript  sent  me  by  Dr.  Wallace  in 

a  letter  dated  17  Sept.  1915.    Abbreviations  I  expand  in  italics. 


22  INTRODUCTION 

Tfestamentum]  Willelmi  Houghton  memorandum  that 
on  the  vjth  dale  of  June  1605,  William  Houghton 
of  the  parishe  of  Allhollowes  Stayning^j  London, 
made  his  last  will,  Nuncupatiue  in  manner  &  forme 
or  in  effect  followinge,  That  is  to  saie,  The  saide 
William  Houghton  beinge  demaunded  to  whome  hee 
would  giue  his  goodes,  Hee  answered  in  these  wordes 
or  like  in  effect,  viz*  I  doe  giue  all  my  good<?.r 
chattells  &  debtes  whatsoeuer  vnto  my  wief  Alice 
Houghton  towards  the  payment  of  my  dtbtes,  and 
the  bringinge  vp  of  my  children,  And  I  doe  nominate 
and  appoynte  the  saide  Alice  my  wief,  my  sole 
Executrix,  These  beinge  wittnesses :  Wentworth  Smyth, 
Elizabeth  Lewes  and  dyu^rs  others :/ 

Probatum  fuit  huiusmodi  testamentum  coram  Thoma  Creake 
leguw  doctore  Surrogate  &c  Vicesimo  die  mensz> 
Julij  Anno  Domini  1605  iuramento  Alice  'Relieve  €t 
executoris  Cui  &c  de  bene  &c  Ac  de  pleno  &c  necnon 
de  vero  &c  Jure  &c  'Saluo  iure  &c   :/ 

From  this  we  learn,  in  addition  to  the  time  of  Haughton's 
death,  that  he  was  married  and  had  children,  that  his  wife's 
name  was  Alice,  and  that  he  was  of  the  parish  of  Allhallows 
Staining  in  London.1  Unfortunately  the  parish  register  of 
Allhallows  Staining  does  not  begin  until  1642,  and  other  rec- 

JThe  history  of  the  parish  has  been  written  by  the  Rev.  A.  Povah, 
Annals  of  the  Parish  of  St.  Olave,  Hart  St.,  and  Allhallows  Staining^ 
London,  1894.  It  is  distressing  to  think  how  much  we  might  know  about 
Haughton  if  only  the  parish  records  that  once  existed  were  extant.  '  The 
heading  of  the  earliest  surviving  Register,  24th  June,  1642,  is  "  Christnings 

continued  from  the  former  parchement  booke  wch  ended  with "    That 

there  was  a  former  parchment  Register  is  proved  by  the  following  entry 
amongst  Inventory  of  Goods  belonging  to  Allhallows'  parish  in  church 
wardens'  book,  "  17*^  October  1585,  One  Booke  wherin  is  written  all 
weddings,  christnings  &  burings,  and  another  smale  Jornalle  to  write  in 
again,  and  a  gretter  booke  comonly  cauled  a  lidger  of  p[ar]chment".  This 
entry  of  1585  shows  an  ample  equipment  of  books  for  the  purposes  of 
registration,  viz.,  a  waste  book  for  rough  entries,  a  journal  into  which  to 
post  the  rough  entries  under  their  proper  headings  of  Baptisms,  Marriages 
or  Burials  (these  two  were  paper  books),  and,  finally,  the  parchment 
Register.'  (Povah,  p.  334). 


INTRODUCTION  23 

ords  of  the  parish,  so  far  as  they  are  accessible  in  print,  contain 
no  allusion  to  the  dramatist.  The  signature  of  Wentworth 
Smith  as  one  of  the  witnesses  to  the  will  throws  a  pleasant  light 
on  the  friendly  relations  that  must  have  existed  between  the 
two  former  collaborators.  Elizabeth  Lewes,  the  other  wit 
ness  whose  name  appears  in  the  document,  is  unknown,1  and 
even  imagination  cannot  supply  the  identity  of  the  "  dyuers 
others  ". 

In  the  course  of  his  researches  at  the  Record  Office  Pro 
fessor  Wallace  has  turned  up  a  number  of  references  to  Wil 
liam  Haughtons  and  forwarded  them  to  me.  While  most  of 
them,  he  is  as  fully  convinced  as  I.  have  no  connection  with 
the  dramatist,  one  or  two  may  be  quoted  here  as  possibilities. 
Strangely  enough,  in  the  Lay  Subsidies  146/396,  assessment 
of  Langbourne  ward,  London,  no  Haughton  appears  in  All- 
hallows  Staining  or  in  any  other  parish.  In  neighboring  par 
ishes,  however,  the  name  is  of  rather  frequent  occurrence.  In 
146/393,  assessment  of  Aldersgate  ward,  St.  Botolph's  parish, 
the  second  of  the  three  subsidies  lately  granted  by  Parliament 
in  39  Eliz.,  dated  i  Oct.  41  Eliz.  (1599)  occurs  the  entry: 

Wm  Houghton  . 1. .  iijli viijs 

This  may  be  the  dramatist.  The  amount  is  the  same  as  for 
many  others  in  this  and  other  parishes.  In  the  same  list,  the 
twenty-fourth  name  below,  the  entry  is  repeated;  and  Dr. 
Wallace  notes,  "  I  have  not  elsewhere  seen  a  name  duplicated 
in  any  list."  There  were  also  other  Haughtons  in  the  parish. 
The  ninth  entry  below  the  one  last  mentioned  is  for  a  "  John 
Houghton  coppersmithe."  Since  Haughtons  with  various 
Christian  names  are  found  in  parishes  all  around  Allhallows 
Staining,  the  absence  of  the  name  from  the  subsidies  from  this 
parish  where  the  dramatist  died  seems  rather  significant.  Per- 

1  Perhaps  Haughton's  wife  was  a  Lewes;  in  this  case  Elizabeth  might 
be  his  sister-in-law. 


24  INTRODUCTION 

haps  he  did  not  reside  there  until  shortly  before  his  death. 
If  so,  there  is  even  greater  possibility  that  the  record  from 
the  subsidies  just  quoted  refers  to  the  dramatist. 

From  September  1602,  when  his  name  last  appears  in  the 
Diary,  Haughton  is  lost  sight  of  until  his  death.  It  should  be 
remembered  that  Henslowe's  accounts  for  his  expenditures  on 
behalf  of  the  company*  only  continue  down  to  16  March 
1 602/3 ;  and  Haughton  may  have  continued  his  connection  with 
the  stage  until  he  died.  The  probability  is  that  he  did  so. 
This,  however,  is  a  chapter  of  his  career  that  must  remain 
unwritten.1 

II. 

Englishmen  for  My  Money — Date — Entries  in  Henslowe's  Diary — Editions 
— Title  and  Plot — Sources:  Usurer  Motive,  National  Element,  Minor 
Features — Character  of  Pisaro — Other  Characters — The  First  Comedy 
of  London  Life — 'Relation  to  the  Usurer  Play — Popularity — Allusions — 
Versification. 

Haughton' s  dramatic  career  begins  somewhat  auspiciously 
with  the  excellent  comedy,  Englishmen  for  My  Money,  or  A 
Woman  Will  Have  Her  Will,  his  only  unaided  play  that  has 
come  down  to  us.  In  the  elaborate  system  of  accounts  which 
Henslowe  began  towards  the  close  of  1597  the  first  dramatist 
whom  he  mentions  specifically  by  name  is  William  Haughton. 
The  entry,  which  is  quoted  at  the  beginning  of  this  introduc 
tion,  is  dated  5  November  1597,  and  records  the  loan  of  ten 
shillings  "  to  by  a  boocke  of  yonge  horton  for  the  company  " 
(F.  37). 2  The  reference  here  is  rather  vague,  and  since  no 
title  is  mentioned,  it  is  not  certain  to  what  play  the  entry 
refers.  Its  form  would  indicate  an  old  play,  but,  as  Mr.  Greg 

1  No  connection  is  known  between  the  dramatist  and  Robert  Haughton, 
the  actor,  who  is  mentioned  in  the  Shakespeare  Jahrbuch,  XLVIII  (1912), 
109,  and  Malone  Soc.  Coll.,  I  (1911),  385. 

2  This  entry  was  crossed  off  when  later  transferred  to  F.  43?  (Cf.  Greg, 
II,  81). 


INTRODUCTION  2$ 

says,  "  the  sum  paid  is  so  small  that  it  seems  likely  that  it  was 
really  in  earnest  of  his  Woman  will  have  her  Will."  1  This 
play  is  specifically  mentioned  in  the  next  entry  relating  to 
Haughton : 

lent  vnto  Robarte  shawe  the  18  of  febreary  1598  ~) 
to  paye  vnto  harton  for  a  comodey  called  a  (  xx» 

womon  will  have  her  wille  the  some  of 2     j 

and  in  the  undated  entry  which  occurs  between  the  2  and  9 
May  1598: 

Lente  vnto  dowton  to  paye  vnto  horton        ~\ 
in  pte  of  payemente  of  his  boocke  called       Cxx8 
a  womon  will  haue  her  wille 3     j 

These  are  the  only  entries  in  the  Diary  relating  to  Englishmen 
for  My  Money  and  the  sum  total  of  the  amounts  paid,  includ 
ing  the  ten-shilling  payment,  is  only  £2,  IDS.  This  can  hardly 
be  the  full  price  of  the  play.  If  it  is  not,  there  must  have 
been  payments  not  recorded  in  the  Diary,  for  which  conse 
quently  there  is  no  record.  That  the  play  was  completed,  the 
extant  editions  leave  no  room  for  doubt. 

In  the  Stationers'  Register  under  date  of  3  August  1601 
there  occurs  the  entry :  "  Entred  for  his  copie  vnder  the  hand 
of  master  Seton  A  comedy  of  A  woman  Will  haue  her  Will 
.  .  .  vjd."  Besides  the  entry  stands  the  name  "William  white."  4 
There  is,  however,  no  edition,  as  is  sometimes  erroneously 
said,  belonging  to  the  year  1601.  The  first  quarto  known  to 
have  been  published  was  that  issued  by  this  William  White 
in  1616  with  the  title  "English-men  For  my  Money:  or,  A 
pleasant  Comedy,  called,  A  Woman  will  haue  her  Will."  Ten 
years  later,  1626,  a  second  quarto  was  issued  by  I.  N.,  i.  e. 

1  Diary,  II,  188.  2  Diary,  F.  44*  (Greg,  I,  84). 

3  Diary,  F.  4sv  (Greg,  I,  86). 

4  Arber,  Transcript,  III,  190. 


26  INTRODUCTION 

John  Norton  II,  with  the  same  title;  and  in  1631  a  third 
quarto  was  published  by  "A.  M.  [i.  e.,  Augustine  Matthews] 
and  are  to  be  sold  by  Richard  Thrale."  In  this  edition  the 
title-page  has  been  altered  to-  read  "  A  Pleasant  Comedie 
Called,  A  Woman  will  haue  her  Will.  As  it  hath  beene 
diverse  times  Acted  with  great  applause."  1  The  relation  of 
these  editions  to  one  another  will  be  discussed  below.2  It  will 
be  sufficient  to  note  here  that  it  is  somewhat  difficult  to 
account  for  successive  editions  by  William  White,  John 
Norton  II,  and  Augustine  Matthews.  No  transfer  of  the 
rights  of  the  play  is  recorded  and  our  knowledge  of  the  three 
printers  named  does  not  suffice  to  explain  with  certainty  how 
these  rights  passed  from  one  to  the  other.  The  question  is 
only  of  bibliographical  interest  and  the  evidence  at  hand  will 
be  brought  forward  in  its  proper  place.  We  may  leave  the 
matter  for  the  present  while  noting  that  the  three  extant 
editions  are  almost  certainly  the  only  ones  ever  published. 

None  of  these  editions  of  the  play  bears  on  its  title-page 
any  evidence  of  the  authorship,  but  fortunately  the  evidence 
of  the  entries  in  Henslowe's  Diary  points  so  obviously  to  this 
play  that  no  one  has  ever  doubted  Haughton's  authorship  of 
it.  These  entries,  too,  fix  for  us  rather  accurately  the  date  of 
writing  as  the  first  few  months  of  1598,  possibly  also  the 
end  of  1597.  So  far  as  is  known  the  text  of  the  first  quarto, 
though  it  was  not  printed  till  1616,  represents  the  play  as  it 
was  originally  written;  at  all  events  there  is  nothing  to1  con* 
tradict  this  belief.  True,  in  Act  I,  Scene  II  (lines  31011), 
Frisco,  the  clown  speaks  of  "  the  Kings  English  "  and  this, 
it  has  been  said  at  various  times,  suggests  some  sort  of  re 
vision.  Mr.  Greg,  who  has  most  recently  repeated  the  state 
ment,  notes  that  it  may  be  only  a  change  introduced  by  the 

1  This  statement  appears  also  on  Q2. 

2  See  p.  92. 


INTRODUCTION 


27 


printer.  Even  this  explanation,  however,  is  unnecessary. 
"  The  King's  English  "  was  a  stereotyped  expression  familiar 
in  the  reign  of  the  Queen  as  well  as  in  the  times  of  her  mascu 
line  predecessors  or  successors.  It  is  used  by  Wilson  in  his 
Arte  of  Rhetorique  l  (1560  and  all  later  editions)  and,  what  is 
still  more  interesting,  in  the  very  year  of  Haughton's  play 
(1598)  it  is  used  by  Shakespeare  in  his  Merry  Wives  (I,  iv.  6) 
where  the  phrase  occurs,  "  abusing  of  God's  patience  and  the 
King's  English."  The  latter  instance  is  alone  sufficient  to  es 
tablish  the  currency  of  the  phrase  in  Elizabeth's  reign  ~  and  to 
make  pointless  any  argument  of  revision  in  Englishmen  for  My 
Money  based  on  the  evidence  of  this  phrase.3  A  much  more 
certain  instance  of  revision,  or  rather  alteration,  is  that  in  the 
1626  edition  which  concerns  the  repression  or  modification  of 
oaths  and  other  forceful,  but  irreverent,  expletives.  Where 
the  1616  edition  prints  "  sbloud  I  will ",  "  Swounds ", 
"  Sbloud  "  (247,  690,  1030),  the  1626  and  1631  quartos  print 
"  that  I  will  ",  "  Come  "  and  "  what  ".  One  would  be  tempted, 
from  these  changes,  to  infer  that  the  statute  against  profanity 
had  recently  been  reaffirmed,  perhaps  upon  the  accession  of  the 
new  monarch.  In  other  instances  in  the  play,  however,  the  ex 
pressions  remain  unaltered  and  the  changes  seem  to  have  been 

1 "...  yet  these  fine  English  clerkes  will  say,  they  speake  in  their  mother 
tongue,  if  a  man  should  charge  them  for  counterfeiting  the  Kings  English." 
(Ed.  G.  H.  Mair,  Oxford,  1909,  p.  162.) 

2  The  only  early  occurrence  of  the  phrase  '  the  Queen's  English '  that  I 

have  found  is  in  Nashe :  " but  still  he  must  be  running  on  the  letter, 

and  abusing  the  Queenes  English  without  pittie  or  mercie."  (Strange 
Newes  of  the  Intercepting  Certaine  Letters,  1592.  "  To  the  Gentlemen 
Readers,"  Works  ed.  McKerrow,  I,  261.) 

8  I  cannot  see  anything  in  Englishmen  for  My  Money  to  support  the 
statement  of  Mr.  R.  Bayne  (Camb.  Hist,  of  Eng.  Lit.,  V,  367)  that,  'This 
play,  in  its  general  style,  savours  so  fully  of  the  seventeenth  century  that 
we  are  inclined  to  wonder  whether  any  revision  of  it  took  place  before 
1616,  the  date  of  the  first  extant  edition/  It  has  all  the  marks  of  a  play 
written  before  1600. 


2g  INTRODUCTION 

made  merely  sporadically.  Apart  from  these  few  unimport 
ant  alterations  made  in  the  1626  edition,  the  text  as  we  have  it 
shows  no  evidence  of  revision  and  represents  probably  as  ac 
curately  as  the  average  Elizabethan  quarto,  the  play  as  the 
author  wrote  it. 

The  first  title  of  the  play  is  not  altogether  descriptive  of 
its  contents.  Englishmen  for  My  Money  was  one  form  of  a 
familiar  colloquial  expression  that  appears  in  such  variations 
as  "  London  for  My  Money  ",  "  Yorke,  Yorke,  for  my  monie  " 
or  "  Good  Ale  for  My  Money."  *  It  occurs  elsewhere  in 
Elizabethan  drama, — for  example,  in  Heywood's  2  If  You 
Know  Not  Me  (I,  i),  in  a  passage  that  perhaps  is  reminiscent 
of  Haughton's  play.2  The  second  part  of  the  title  was  still 
more  common  and  was  a  well  known  Elizabethan  proverb. 
"  Women  must  have  their  wills  while  they  live,  because  they 
make  none  when  they  die  "  was  one  of  those  saws,  as  Hazlitt 
tells  us,  "  which  legal  changes  have  deprived  of  their  truth  and 
application,"  3  The  proverb  was  recorded  by  Manningham 
in  his  diary  4  in  1602,  the  year  after  Haughton's  play  was 
entered  on  the  Stationers'  Register.  In  addition,  the  saying 
lecommended  itself  particularly  to  the  Elizabethan  wit  by  its 
punning  use  of  the  word  '  will '.  As  Sir  Sidney  Lee  notes,  the 
word  '  will ',  in  addition  to  its  general  sense  of  volition,  was  a 
synonym  "  alike  for  '  self  will '  or  '  stubbornness  '  .  .  .  and  for 
'  lust ',  or  '  sensual  passion.'  It  also  did  occasional  duty  for 
its  own  diminutive  '  wish ',  for  '  caprice'."5  In  all  these 
senses  is  the  expression  applicable  to  Englishmen  for  My 

1  See  Ballad  Soc.,  V,  411 ;  Roxburgh  Ballads,  Lond.,  1873,  p.  i. 

2  See  below  p.  44. 

8W.  Carew  Hazlitt,  English  Proverbs  and  Proverbial  Phrases,  Lond., 
1907,  P.  549- 

4  Ed.  Camden  Soc.,  vol.  99,  p.  92. 

5  Life  of  Shakespeare,  1916,  p.  690;  cf.  also  pp.  691-8. 


INTRODUCTION  29 

Money.  Elsewhere,  too,  the  saying  is  found  rather  frequently 
in  Elizabethan  drama  in  the  same  or  slightly  different  words. 
As  early  as  Ralph  Roister  Bolster  the  "  Second  Song  "  runs : 

Whoso  to  marry  a  minion  wife, 

Hath  had  good  chance  and  hap, 
Must  love  her  and  cherish  her  all  his  life, 

And  dandle  her  in  his  lap. 

If  she  will  fare  well,  if  she  will  go  gay, 

A  good  husband  ever  still, 
Whatever  she  lust  to  do,  or  to  say, 

Must  let  her  have  her  own  will.1 

In  Porter's  Two  Angry  Women  of  Abington  (Scene  I,  line 
in),  Master  Barnes  says  to  his  wife,  "  Go  to,  youle  have  your 
will";  and  in  Lyly's  Maid's  Metamorphosis  (II,  i)  there  oc 
curs  the  line :  "  Juno's  a  woman,  and  will  haue  her  will."  So 
frequently  does  the  phrase  occur  that  we  must  be  wary  of 
supposing  that  such  occurrences  are,  as  Fleay  claimed  of  the 
last,2  allusions  to  Englishmen  for  My  Money.  One  or  two 
cases  there  are  which  may  conceivably  be  allusions  to  Haugh- 
ton's  play ;  and  these  will  be  noted  in  their  proper  connection. 
It  will  suffice  here  to  observe  the  familiar  or  proverbial  char 
acter  of  the  expressions  chosen  by  Haughton,  and  the  popular 
appeal  which  they  would  make  to  an  Elizabethan  audience. 

The  plot  of  Englishmen  for  My  Money  is  easily  told. 
Pisaro,  a  rich  Portuguese  merchant,  has  come  to  England, 
married,  and  settled  in  London  where  he  plies  his  "  sweet 
loved  trade  of  usury."  He  is  the  father  of  three  lively  daugh 
ters,  Laurentia,  Marina,  and  Mathea,  whom  he  wishes  to 
marry  against  their  wills  to  three  wealthy  foreigners,  —  a 
Dutchman,  a  Frenchman  and  an  Italian  respectively.  The 
daughters  love,  and  are  loved  by,  three  English  youths,  Heig- 

1  Ed.  C.  G.  Child,  Boston,  1912,  p.  153. 

2  Shakespeariana,  IV,  551. 


30  INTRODUCTION 

ham,  Harvey,  and  Walgrave;  but  these  unfortunately  have 
been  rather  thriftless  and  have  got  into  the  clutches  of  Pisaro, 
have  pawned  their  lands  to  him  and  by  him  are  being  swindled. 
Incidentally  they  hope,  by  a  marriage  with  his  daughters,  to 
cancel  their  debts  and  get  their  property  back  again.  This, 
to  be  sure,  is  not  easily  done  and  requires  much  trickery  be 
fore  it  is  accomplished.  But  finally,  aided  by  the  concerted 
scheming  of  the  girls  and  their  intriguing  schoolmaster,  An 
thony,  the  English  youths  outwit  the  usurious  father  and 
marry  his  daughters,  while  the  three  foreign  lovers  are  left  in 
the  lurch.  When  Pisaro  learns  that  for  once  in  his  life  he  has 
been  overreached,  he  makes  the  best  of  things,  accepts  his  new 
sons-in-law,  and  is  so  far  reconciled  as  to  say  as  the  play  ends  : 

I  see  that  still, 
Do  what  we  can,  Women  will  have  their  Will. 

Come,  let  us  in ;  for  all  the  storms  are  past 
And  heaps  of  joy  will  follow  on  as  fast. 

The  haste  with  which  the  average  Elizabethan  dramatist 
produced  plays  left  little  time  for  him  to  invent  his  plots.  In 
most  cases  he  took  his  material  from  any  source  that  was  con 
veniently  at  hand  and  there  is  an  a  priori  probability  in  the 
case  of  any  Elizabethan  play  that  the  plot  is  not  original.  Con 
sequently  we  should  be  justified  in  expecting  to  find  a  source  for. 
Englishmen  for  My  Money,  or  at  least  something  capable  of 
furnishing  the  suggestion  for  its  plot.  Yet  a  rather  extended 
search  has  failed  to  reveal  anything  that  can  be  considered  a 
direct  source  of  Haughton's  inspiration.  The  play  is  clearly 
a  compound  of  more  or  less  familiar  situations  and  char 
acters.  And  yet  these  situations  are  combined  so  organically 
and  the  characters  are  woven  into  the  scheme  of  the  plot  so 
completely  that  one  is  scarcely  prepared  to  believe  that  so  in 
genious  a  combination  is  an  original  product  of  the  author's 


INTRODUCTION  3! 

imagination.  Upon  analysis  it  is  possible  to  distingush  four 
situations,  all  of  them  to  be  met  with  individually  in  other 
places.  Two  of  these  might  be  called  major  elements,  the 
other  two,  minor  elements  of  the  story.  We  may  call  the  first 
two  the  usurer,  and  the  national  motives  respectively;  these 
form  the  basis  of  the  play.  The  latter  two  we  may  designate 
the  basket  story  and  the  motive  of  disguise ;  these  are  elements 
of  less  importance,  but  essential  to  the  development  of  the 
comedy. 

The  usurer  motive  is  the  most  important  in  the  plot  of  the 
play  and  is  the  basis  of  the  action.  The  theme  is  as  old  as  the 
Middle  Ages  and  in  its  most  general  form  may  be  stated  as 
follows :  The  victim  of  a  usurer  contrives  to  marry  the  usurer's 
daughter  and  thus  regain  his  money  or  property.  Sometimes 
it  is  the  widow  of  the  usurer  whom  the  victim  marries  as  in 
Exemplwn  No.  173  of  Jacques  de  Vitry:  "A  Knight  whose 
property  had  been  absorbed  by  a  usurer  was  reduced  to  the 
greatest  straits  and  thrown  into  prison.  The  usurer  died,  and 
the  Knight  contracted  a  marriage  with  his  widow,  and  not 
only  recovered  his  own  property,  but  all  that  the  usurer  had 
possessed."  x  The  motive  is  used  in  several  Elizabethan  plays 
later  than  Haughton's  and  is  allied  to  the  Jessica-Lorenzo  story 
in  the  Merchant  of  Venice.  In  its  fully  developed  form,  how 
ever,  it  is  not  found  anywhere  in  Elizabethan  drama  before 
Englishmen  for  My  Money,2  nor  does  it  seem  to  occur  in 

1  Crane,  T.  F.,  The  Excmpla  of  Jacques  de  Vitry,  London  (Folk  Lore 
Soc.),  1890,  p.  205. 

2  In  the  Jew  of  Malta  the  daughter  of  Barabas  enters  a  monastery.    In 
the  Jessica-Lorenzo  story  Lorenzo  is  not  a  prodigal  and  has  not  borrowed 
from  Shylock.    A  Knack  to  Know  an  Honest  Man  and  Wily  Beguiled 
approach  more  nearly  to  the  fully  developed  motive,  but  fail  to  achieve  it. 
In  Wily  Beguiled  the  usurer,  Gripe,  attempts  to  marry  his  only  daughter 
for  money  to  a  common  fellow  while  she  loves  a  poor  scholar;  here  the 
resemblance  to  Englishmen  for  My  Money  ends.    We  have  simply  the 
familiar  plot  of  the  girl  forced  to  marry  against  her  choice;  in  this  case 
the  girl's  father  happens  to  be  a  usurer.    Cf.  also  the  article  by  Stonex 
cited  below. 


32  INTRODUCTION 

either  of  those  fruitful  sources  of  Elizabethan  dramatic  ma 
terial,  the  Italian  novella  and  the  Italian  drama.  Mr.  A.  C. 
Lee,  whose  excellent  book  on  the  sources  and  analogues  of  the 
Decameron  is  an  invaluable  storehouse  of  story  material,  writes 
me :  "  I  cannot  call  to  mind  any  Italian  '  novella '  bearing  on 
the  subject  although  it  is  very  possible  there  may  be  one.  I  am 
inclined,  however,  to  think  that  the  source  may  rather  be  found 
in  some  Italian  play  .  .  .  than  a  '  novella  ',  although  I  cannot 
fix  it  on  any  one."  Prof.  Toldo,  of  the  University  of  Bologna, 
the  eminent  specialist  on  the  sixteenth-century  Italian  comedy, 
knows  of  no  Italian  play  containing  the  motive.1  The  theme 
that  is  coupled  with  this  story  of  the  usurer,  the  attempt  of  a 
mercenary  father  to  marry  his  daughter  for  wealth  against 
her  inclination,  is  a  very  common  one.  It  is  the  basis  of  the 
usurer  play,  Wily  Beguiled,  the  nearest  approach  to  the  plot  of 
Haughton's  play  that  is  to  be  found  before  1598,  but  at  best 
the  resemblance  is  slight.  Thus  the  characteristic  usurer  plot, 
the  theme  of  the  trapper  trapped,  which  is  the  central  motive 
of  Englishmen  for  My  Money  and  is  here  employed  in  a 
triple  manner,  is,  notwithstanding  the  fact  that  it  goes  back 
to  the  twelfth  century,  apparently  first  found  fully  developed 
in  Elizabethan  drama  in  Haughton's  play. 

A  second  element  of  the  plot,  which  is  made  to  coincide 
with  this  first  motive,  is  what  we  have  called  the  national 
element.  The  three  suitors  whom  Pisaro  has  chosen  as  the 
future  husbands  of  his  three  daughters  are  foreigners — 
'  strangers  ',  to  use  the  Elizabethan  word  so  frequently  em 
ployed  in  the  play — a  Dutchman,  a  Frenchman  and  an  Italian 
respectively.  The  lovers  who  are  the  choice  of  the  girls  are, 
however,  English;  and  the  success  of  the  plot  depends  upon 
the  triumph  of  the  English  lovers  over  the  foreigners,  and  the 

1  This  I  learn  through  the  courtesy  of  Prof.  Ernesto  Monaci  of  the 
University  of  Rome  and  my  friend  Dr.  Vincenzo  Di  Santo. 


INTRODUCTION  33 

attendant  patriotic  appeal.  This  preference  of  an  English 
lover  to  a  '  stranger  '  is  found  elsewhere,  as  would  be  expected. 
There  is  a  ballad  mentioned  by  Hazlitt1  called  "The  Coy  Cook- 
Maid,  who  was  courted  importunely  by  Irish,  Welsh,  Span 
ish,  French,  and  Dutch,  but  at  last  was  conquered  by  a  poor 
English  Taylor  " ;  and  in  the  Roxburgh  Ballads  (1873,  p.  100) 
there  is  one  called  Blew  Cap  for  me,  which  tells  the  story  of  a 
Scotch  lass  wooed  in  Part  I  by  an  Englishman,  a  Welshman,  a 
Frenchman  and  an  Irishman,  in  Part  II  by  a  Spaniard,  a  Ger 
man,  and  a  Netherlander,  but  who  at  last  welcomed  a  Scotch 
man.  This  form  of  patriotic  appeal  was  a  familiar  one,  and 
its  appearance  in  Englishmen  for  My  Money,  though  import 
ant,  needs  perhaps  no  explanation  or  '  source '. 

The  two  features  of  the  plot  which  have  been  mentioned 
above  as  '  minor '  elements  concern  details  of  the  story  which 
have  not  as  yet  been  mentioned.  In  the  fourth  act  of  the  play 
Vandalle,  the  Dutchman,  comes  to  Pisaro's  house  by  night, 
hoping  to  gain  access  to  Laurentia,  the  daughter  of  Pisaro 
intended  for  him,  by  assuming  the  disguise  of  her  English 
lover.  His  broken  English,  however,  instantly  betrays  him, 
and  the  daughters,  when  they  have  once  seen  through  his  trick, 
determine  to  teach  him  a  lesson.  While  one  holds  him  off 
by  conversation,  the  others  procure  a  large  basket.  This 
Laurentia  lets  down  for  him  to  enter  and  be  pulled  up  to  her 
window,  telling  him  that  in  no  other  way  can  he  come  to  her 
without  waking  her  father.  Unsuspecting,  he  enters  the  bas 
ket  and  is  pulled  part  way  up.  When  the  basket  reaches  a 
point  midway  between  the  ground  and  Laurentia's  window, 
the  girls  cease  pulling  and  he  is  left  suspended  foolishly  in 
the  air  until  the  following  morning  when  he  is  discovered,  to 
his  great  confusion,  by  the  other  characters,  and  let  down. 

This  situation,  which  is  conveniently  called  the  basket-story, 

1  Handbook,  p.  376. 


34  INTRODUCTION 

is  an  old  and  widely  known  motive.  Mr.  Greg,  calls  attention  x 
to  its  occurrence  in  a  novella  of  Pietro  Fortini ; 2  but  there 
are  many  more  common  occurrences  of  the  story  than  in  this 
Italian  novelliere  whose  novels  remained  in  manuscript  until 
the  eighteenth  century.  The  most  famous  of  all  its  occur 
rences  is  in  that  body  of  popular  legend  that  grew  up  surround 
ing  Virgil  in  the  Middle  Ages.  Space  does  not  permit  a  mention 
here  of  the  many  places  in  which  the  story  is  told  of  Virgil's 
love  of  a  gentlewoman  and  "  Howe  the  gentyl woman  pulled 
uppe  Virgilius,  and  howe  she  let  hym  hange  in  the  basket  when 
he  was  halfe  way  up  to  hyr  wyndowe,  and  how  the  people 
wondered  and  mocked  hym,"  and  of  the  terrible  revenge  which 
Virgil  took  upon  the  gentlewoman.  The  story  appears, 
among  many  other  places,3  in  English  in  the  prose  romance  of 
Virgilus,  from  which  the  few  lines  just  quoted  have  been  taken,4 
which  was  printed  in  Antwerp  c.  1518  (?)  and  again  in  Eng 
land  c.  1561  (?),  perhaps  by  William  Copland.5  A  similar 
story  was  told  of  Hypocritas  and  later  of  Boccaccio.6  In  the 
Elizabethan  age  the  trick  must  have  been  a  rather  familiar  one 
for  it  is  used  or  alluded  to  in  a  number  of  places.  In  the  prose 
romance  of  Friar  Rush  7  the  priest  is  caught  in  a  basket  hung 

1  Malone  Soc.  Reprint  of  Englishmen  for  My  Money,  [1913  for]  1912, 
p.  vii. 

2 '  Un  pedante  credendosi  andare  a  giacere  con  una  gentildonna,  si  lega 
nel  mezzo  perche  ella  lo  tiri  su  per  una  finestra;  resta  appiccato  a  mezza 
via:  di  poi  messolo  in  terra,  con  sassi  e  randelli  gli  fu  data  la  corsa.' 
Novelle  di  Autori  Senesi,  vol.  I.,  Milano,  1815,  p.  252.  The  novel  is  No.  5 
in  this  reprint. 

3  The  fullest  list  of  references,  though  it  is  by  no  means  complete,  is 
to  be  found  in  Comparetti,  D.,  Vergil  in  the  Middle  Ages,  tr.  E.  F.  M. 
Benecke,  Lond.,  1895,  pp.  326  ff. 

*The  romance  is  reprinted  in  Thorns'  Early  English  Prose  Romances, 
new  ed.,  London,  n.  d.  The  basket  incident  is  found  on  pp.  219  ff. 

5  Esdaile,  A.,  English  Tales  &  Prose  Romances,  Part  I  (1912),  p.  136. 

6Cf.  Lee,  A.  C.,  The  Decameron,  Its  Sources  and  Analogues,  Lond., 
1909,  pp.  259-60.  7See  Thorns,  as  above,  pp.  436-7. 


INTRODUCTION  35 

by  a  rope  outside  a  window.  In  Chapman's  The  Widow's 
Teares  (I,  i)  Lysander  says  to  Tharsalia:  "  But  if  this  deity 
should  draw  you  up  in  a  basket  to  your  countess's  window,  and 
there  let  you  hang  for  all  the  wits  in  the  town  to  shoot  at ;  how 
then?  "  The  Widow's  Tears  belongs  to  the  year  1605  and  the 
allusion  may  perhaps  be  to  Haughton's  play;  this  possibility, 
however,  should  not  be  pressed  too  far.  Even  Jonson  alludes 
(reprehensively)  in  his  Discoveries  to  the  device  of  pulling  the 
philosopher  up  in  a  basket  to  make  the  spectators  of  a  comedy 
laugh :  The  multitude  "  love  nothing  that  is  right  and  proper. 
The  farther  it  runs  from  reason  or  possibility  with  them  the 
better  it  is.  What  could  have  made  them  laugh,  like  to  see 
Socrates  presented,  that  example  of  all  good  life,  honesty,  and 
virtue,  to  have  him  hoisted  up  with  a  pulley,  and  there  play  the 
philosopher  in  a  basket."  x  We  need  not  pursue  further  the 
track  of  this  amusing  device.2  The  frequency  with  which  it  is 
alluded  to  is  sufficient  to  show  how  well  known  it  was  and  to 
make  pointless  any  attempt  to  fix  with  definiteness  the  source 
from  which  Haughton  derived  it. 

The  last  element  of  the  plot  which  we  have  distinguished 
scarcely  calls  for  consideration.  It  is  the  familiar  device  of 
the  disguise  in  which  the  man  dresses  in  woman's  clothes  and 
the  woman  masquerades  in  the  garb  of  a  man.  In  the  last 
act  Walgrave  gains  access  to  Mathea  by  disguising  himself 

1  Timber  or  Discoveries,  ed.  Schelling,  F.  E.,  Boston,  1892,  pp.  82-3. 
The  allusion  is  to  the  Clouds  of  Aristophanes  in  which  Socrates  is  at  one 
point  suspended  in  the  air.  Cf.  the  edition  by  W.  J.  M.  Starkie,  London, 
1911,  pp.  57  ff.  It  is  interesting  to  note,  while  speaking  of  the  Clouds, 
that  at  line  240  Strepsiades  says,  "  For,  thanks  to  usury  and  usurers  most 
curst,  I'm  spoiled  and  undone,  and  my  property  is  distrained,"  (p.  65). 

*  It  is  not  necessary  to  enter  here  into  the  possible  connection  of  this 
motive  with  Chaucer's  Miller's  Tale  or  to  notice  later  occurrences  of  it. 
It  is  found  in  a  piece  called  "  Li  vecchi  scherniti,"  acted  in  Paris  31  Dec. 
1733  (Stoppato,  L.,  La  Commedia  Popolare,  1887,  pp.  90-91)  and  is  still 
met  with  to-day,  as,  for  example,  in  Strauss's  opera,  Feuersnot. 


36  INTRODUCTION 

as  Master  Moore's  daughter,  and  Laurentia  escapes  to  Ferdin 
and  in  the  guise  of  Anthony,  her  schoolmaster.  The  device  is 
such  a  familiar  one  1  that,  as  with  the  trick  of  the  basket,  dis 
cussion  of  its  source  would  be  purposeless.  It  may  be  noted, 
however,  that  the  disguise  motive  as  here  employed  is  not  so 
artificial  as  it  is  usually  thought, — thanks  to  the  fashions  of 
Elizabethan  dress.  The  garb  of  men  and  women  in  the  Eliza 
bethan  age  was  not  always  so  dissimilar  as  it  is  to-day  and  the 
difficulty  of  distinguishing  the  one  from  the  other  was  at  times 
very  real.  In  this  connection  will  be  remembered  the  words  of 
Harrison  when  he  speaks  of  the  excesses  of  Elizabethan  dress : 
"  I  have  met  with  some  of  these  trulls  in  London  so  disguised 
that  it  hath  passed  my  skill  to  discern  whether  they  were  men 
or  women."  2 

From  the  brief  discussion  of  the  plot  of  Englishmen  for 
My  Money  it  will  be  seen  that  there  is  in  this  feature  of  the  play 
nothing  strikingly  original.  Except  in  the  main  action  of  the 
victim's  outwitting  the  usurer  and  retrieving  his  fortune  by 
marrying  the  usurer's  daughter,  Haughton  shows  little  advance 
over  his  predecessors.  Here,  indeed,  he  shows  real  creative 
ability  in  plot  construction  and  development.  But  in  general 
his  merit  lies  chiefly  in  the  skill  with  which  he  weaves  together 
into  an  organic  whole  a  variety  of  motives  and  comic  situations 
and  in  his  ability  to  employ  in  the  most  effective  way  possible 
elements  which  in  themselves  might  easily  remain  common 
place. 

The  character  of  Pisaro  is  the  most  interesting  in  the  play. 
He  is  not  what  one  can  quite  call  a  pleasant  character,  yet  he 
is  far  from  repellent.  He  is  a  usurer  and  therefore  fore 
doomed  to  dislike ;  yet,  easy  as  it  is  for  an  author  to  make  such 

1  On  the  general  subject  see  Freeburg,  V.  O.,  Disguise  Plots  in  Eliza 
bethan  Drama,  New  York,  1915. 

2  Elizabethan  England,  Camelot  Series,  p.  no. 


INTRODUCTION  37 

a  figure  a  scoundrel  or  a  monster,  Pisaro  is  neither.  He  calls 
himself  a  merchant  and  his  worst  qualities  are  to  a  certain  ex 
tent  excused  by  the  fact  that  he  is  a  Portuguese.  These  quali 
ties  are  merely  the  characteristic  vices  of  Elizabethan  usurers 
in  general,  as  they  are  represented  in  the  writings  of  the  day. 
Lodge,  in  his  Alarum  against  Usurers,  speaks  of  those  "  Mer 
chants,  who  though  to  publyke  commoditie  they  bring  in  store 
of  wealth  from  forrein  nations,  yet  such  are  their  domestricall 
practises,  that  not  onely  they  inrich  themselves  mightelye  by 
others  misfortunes,  but  also  eate  our  English  gentrie  out  of 
house  and  home."  This  description  fits  completely  the  char 
acter  of  Pisaro.  Not  only  does  Pisaro  charge  "  two  and 
twenty  in  the  hundred,  When  the  Law  gives  but  ten  "  (2322- 
3) ;  he  is  also  guilty  of  other  tricks  of  extortion.  In  the 
pamphlet  just  quoted,  Lodge  refers  to  the  practice  of  the  usurer 
or  usurer's  broker  lending  the  gallant  "  fortie  or  fiftie  poundes 
of  course  commoditie,  making  him  beleeve  that  by  other 
meanes  monie  maye  not  be  had  .  .  .  '  The  gallant,  wishing 
to  convert  it  into  money,  gets  the  broker  to  sell  it  for  him, 
and  "  if  it  be  fortie,  the  youth  hath  a  good  peniworth  if  in 
ready  money  he  receive  twentie  pound  .  .  .  '  The  broker  or 
go-between,  he  explains,  "  in  this  matter  getteth  double  fee  of 
the  Gentlemen,  trible  gaine  in  the  sale  of  the  commoditie, 
and  more,  a  thousand  thankes  of  this  devillish  Usurer."  2 
Pisaro,  as  we  see  early  in  the  play,  deals  in  cloth  and  is  no 
doubt  guilty  of  the  practice  that  Lodge  scourges.  Pisaro 
is  a  type  and  has  most  of  the  characteristics  of  the  usurer 
type.  But  he  is  not  only  a  type;  he  is  distinctly  individu 
alized.  He  is  not  a  personification  of  trickery  and  deceit; 
he  is  not  wholly  bad.  When  we  think  of  the  characters  of 
Nicholas  Breton  in  The  Good  and  The  Bad  (1616),  the  one  A 

1  Shakespeare  Society,  vol.  49  (1853),  p.  43. 

2  Ibid.,  p.  46. 


38  INTRODUCTION 

Worthy  Merchant  (24),  and  the  other  An  Usurer  (32),  we 
find  almost  more  that  fits  him  in  the  former  than  the  latter.1 
Pisaro,  usurer  that  he  is,  has  redeeming  qualities  that  show  us 
the  human  side  of  the  man.  He  thinks  in  one  or  two  places  of 
his  dead  wife  and  speaks  of  her  in  touching  terms.  So 
thoroughly  humanized  is  the  character  that  when  he  hears  of 
the  loss  of  his  ship  at  sea,  much  as  we  object  to  his  usurious 
practices,  we  find  ourselves  unconsciously  sympathizing  with 
him  in  his  grief.  In  comparison  with  the  stock  character  of 
the  usurer  in  so  many  other  Elizabethan  plays,  Pisaro  in 
Englishmen  for  My  Money  is  a  living  human  being  who  re 
mains  in  our  memories  as  a  real  personality. 

The  other  characters  in  the  play  are  in  most  cases  equally 
well  drawn.  The  three  English  lovers  are  distinguished  and 
individualized  with  care.  Walgrave,  in  the  words  of  his 
friend,  is  "  a  rash  and  giddie  headed  youth  ",  a  "  mad-man,  mad 
cap,  wild-oates".  Harvey  is  more  moderate  in  his  demeanor, 
though  merry  withal,  and  Heigham  is  obviously  the  most  quiet 
of  the  three.  The  three  daughters  are  likewise  well  distin 
guished.  Mathea,  the  youngest,  is  "  scant  folded  in  the  dozens 
at  most ",  but  claims  she  is  "  three  yeares  mo  ".  Marina  and 
Laurentia  are  older  and  correspond  more  closely  in  character 
with  their  lovers,  Harvey  and  Heigham.  The  three  foreigners 
are  admirably  distinguished.  Each  speaks  his  special  kind  of 
broken  English  and  possesses  characteristics  supposedly  typical 
of  his  race.2  Delion,  the  Frenchman,  is  proud,  forward,  and 
arrogant ;  Alvaro,  the  Italian,  is  more  amorous  and  "  can  tell 
Of  Lady  Venus,  and  her  Sonne  blind  Cupid  " ;  and  Vandalle, 

1  Cf.  Works  of  Nicholas  Breton,  ed.  Grosart,  1879,  vol.  II. 

2  The  play  is  not  treated  in  E.  Panning,  Dialektisches  Englisch  in  Elisa- 
bethanischen  Dramen,  Halle  Diss.,  Halle,  1884.    Cf.,  however,  Eckhardt, 
E.,   Die  Dialekt-   und   Auslandertypen   des   alteren   Englischen   Dramas. 
Teil   II:    Die   Auslandertypen.     Materialien   zur   Kunde,    XXXII,    1911, 
passim. 


INTRODUCTION 


39 


the  Dutchman,  though  devoted  in  his  blundering  way,  is  un- 
romantic  and,  in  his  conversation  on  the  price  of  cloth  in  Ant 
werp,  a  bit  dull  to  his  "  sout  Lady  ".  Finally,  the  characters 
of  Frisco  the  clown,  and  Anthony,  the  intriguing  schoolmaster, 
are  among  the  most  lifelike  and  interesting  persons  in  the  play. 
In  his  secondary  personages,  no  less  than  in  the  figure  of 
Pisaro,  Haughton  showed  his  ability  to  portray  character 
clearly  and  distinctly. 

Englishmen  for  My  Money  is  a  realistic  comedy  of  London 
life.  In  the  opening  speech  of  the  play  Pisaro  tells  us  that 
since  his  wife's  decease,  "  in  London  [he  has]  dwelt ",  and  a 
little  later  (11.  233-4)  there  is  mention  of  "  Croched-Fryers 
where  old  Pisaro,  and  his  Daughters  dwell."  In  the  course  of 
the  comedy  we  pass  over  Tower-hill,  converse  in  Leadenhall 
Street  where  we  are  reminded  of  its  water  standard  with  four 
spouts,  walk  through  Fanchurch  Street,  and  pause  at  "  the 
farthest  end  of  Shoreditch  "  where  the  Maypole  stands  "  on 
Ivy-bridge,  going  to  Westminster  ".  We  witness  departures 
for  Bucklersbury  and  the  Rose  in  Barking,  hear  Bow-bell  ring, 
and  catch  frequent  mention  of  well  known  streets  and  objects 
about  the  city :  Cornhill  and  Canning  Street,  Cheapside  Cross 
and  Bridewell.  The  instant  appeal  of  familiarity  which  al 
lusions  such  as  these  had,  must  have  been  singularly  effective 
in  bringing  the  play  close  to  every  Londoner  who  witnessed  it. 
The  scenes  depicted  are  those  of  the  everyday  middle-class  life 
of  the  metropolis  and  the  play  thus  belongs  to  that  type  of 
drama  which  has  been  happily  called  the  "  citizens'  drama  ". 
Of  the  two  branches  of  this  citizens'  drama,  portraying  respec 
tively  rural  life  and  London  life,  "  the  latter  [was]  by  far  the 
most  popular,  dependent  as  it  was  upon  local  color  and  typical 
allusion,  the  success  of  which  lay  in  its  familiarity  to  the  audi 
tor."  *  Consequently  the  type  when  once  attempted  was  in- 

1  Schelling,  F.  E.,  English  Drama,  1914,  p.  107. 


40  INTRODUCTION 

stantly  imitated  and  the  number  of  plays  of  this  class,  written 
from  1598  on,  is  very  large. 

In  the  development  of  this  realistic  drama  of  everyday 
London  life  the  importance  of  Haughton  has  seldom  been  fully 
appreciated.  The  treatment  of  everyday  life  on  the  stage  is 
of  course  as  old  as  the  morality  itself.  In  like  manner  the 
daily  life  of  a  small  town  or  rural  community,  had  been 
the  subject  of  a  number  of  plays  by  the  year  1597-8, — Wily 
Beguiled,  Two  Angry  Women  of  Abington  and  The  Merry 
Wives  of  Windsor,  to  mention  only  notable  examples.  But 
the  idea  of  writing  a  play  solely  on  so  familiar  a  subject  as 
the  daily  life  of  the  people  in  London  seems  to  have  occurred 
to  no  one  before  this  date.  London  had  been  the  scene  of 
occasional  chronicle  plays  or  parts  of  chronicle  plays,  but, 
though  such  scenes  may  have  suggested  the  very  natural  tran 
sition  from  the  everyday  life  of  a  rural  community  to  the 
everyday  life  of  the  capital,  the  chronicle  play  is  in  general 
far  removed  from  the  spirit  of  the  comedy  of  London  life. 
It  apparently  remained  for  Haughton  to  show  for  the  first  time 
the  full  possibilities  that  lay  ready  to  hand  in  the  familiar 
city  life  about  him.  Most  of  the  action  takes  place  in  the  im 
mediate  neighborhood  of  the  parish  in  which  he  was  living 
just  before  his  death.  Consequently,  what  he  did  was  not 
merely  to  write  about  London,  but  to  write  his  own  neighbor 
hood  into  a  play.  His  Englishmen  for  My  Money  is,  so  far  as 
we  can  tell,  the  first  regular  comedy  of  realistic  London  life 
in  the  English  drama.  To  be  the  inaugurator  of  a  type  of 
drama  destined  to  become  so  fruitful  and  so  popular  as  the 
comedy  of  London  life  became  in  the  hands  of  his  imitators 
and  successors,  is  to  have  achieved  a  position  beside  the  great 
leaders  of  dramatic  modes  in  Elizabethan  drama,  Lyly,  Jonson, 
Beaumont  and  Fletcher.  The  new  mode  pointed  out  by 
Englishmen  for  My  Money  became  instantly  popular  and  was, 


INTRODUCTION  4! 

as  said  above,  immediately  imitated.  One  of  the  most  notable 
plays  of  the  kind,  The  Shoemakers'  Holiday,  owes  its  origin 
in  all  probability  to  the  success  of  Haughton's  play.1  Many 
others  followed,  too  numerous  to  mention  2  and  the  realistic 
comedy  of  London  life  enjoyed  a  continued  popularity  for  al 
most  twenty  years  and,  in  the  case  of  some  plays,  down  to  the 
very  end  of  the  Elizabethan  period.  Only  once  has  Haughton 
been  given  the  credit  he  deserves  for  this  contribution  to  Eng 
lish  drama.  Professor  Gayley,  after  noticing  the  points  of 
similarity  between  Englishmen  for  My  Money,  Patient  Grisscl 
and  The  Shoemakers'  Holiday,  concludes :  "  But  the  fact  re 
mains  that  in  these  features  Haughton's  A  Woman  Will  Have 
her  Will  anticipates  the  realistic  comedies  of  Dekker.  It  also 
anticipates  the  portrayal  of  London  life  afforded  by  Jonson's 
Every  Man  in  his  Humour;  and  is  of  as  early  a  date  as  Porter's 
Two  Angry  Women.  It  is  probably  the  earliest  extant  effort  to 
transfer  to  London  the  comic  realism  of  Shakespeare's  Merry 
Wives  of  Windsor."  3  Haughton's  importance  as  the  success 
ful  originator  of  the  comedy  of  London  life  is  thus  deserving 
of  the  fullest  recognition. 

Englishmen  for  My  Money  is  also  of  the  first  importance 
in  the  development  of  the  usurer  play.  The  usurer  play  is  a 
drama  in  which  the  action  turns  upon  the  successful  attempt  of 
the  chief  characters  to  outwit  a  usurious  money  lender.  One 
of  the  most  frequent  devices  employed  is  that  which  forms  the 
main  action  of  Englishmen  for  My  Money, — the  situation  of 

1  The  Shoemakers'  Holiday  is  first  mentioned  15  July  1598.    Concerning 
this  date  of  the  play,  Miss  Hunt  (Thomas  Dekker,  p.  57n)  says:  "There 
seems  to  be  no  reason  for  dating  the  play  earlier  than  its  entry  in  the 
Diary.    Fleay's  date,   1597,  has  nothing  to  support  it.    Deloney's  Gentle 
Craft,  though  entered  S.R.  October  19,  1597,  does  not  seem  to  have  been 
printed  before  1598." 

2  On  the  type,  see   Professor   Schelling's   Elizabethan   Drama,  Vol.   I, 
Ch.  XI. 

8  Rep.  Eng.  Com.,  vol.  II,  Intro.,  p.  xxx. 


42  INTRODUCTION 

the  rebellious  daughter,  prodigal,  and  usurer.  While  Haugh- 
ton  was  not  the  inventor  of  this  situation,  he  carried  it  a  step 
further  than  it  had  been  carried  before  *  and  was  the  first  to 
present  it  in  its  fully  developed  form  in  Elizabethan  drama. 
But  a  situation  or  plot  once  successful  was  sure  to  be  copied 
and  imitated;  and  from  the  time  Englishmen  for  My  Money 
was  produced  there  appeared  a  succession  of  plays  having  for 
their  main  or  sub-plot  the  story  (often  showing  individual 
modifications)  of  a  gallant,  cozened  by  a  usurer,  and  succeed 
ing  in  recovering  his  wealth  by  marrying  the  usurer's  daughter 
or  relative.  It  forms  the  sub-plot  involving  Moll,  daughter  of 
the  usurer,  Berry,  in  the  Fair  Maid  of  the  Exchange  (1602) 
and  furnishes  the  main  or  sub-action  of  Michaelmas  Term 
(1604),  A  Trick  to  Catch  the  Old  One  (1606),  Greene's  Tu 
Quoque  (1609-12),  No  Wit  No  Help  Like  A  Woman's 
(1613),  The  Hog  Hath  Lost  His  Pearl  (1613),  A  Match  At 
Midnight  (1623),  The  Constant  Maid  (1638  ?).  and  other 
plays  still  later,  to  say  nothing  of  variations  such  as  in  A 
New  Way  to  Pay  Old  Debts  (before  1626).  That  three  titles 
in  this  list  should  be  connected  with  the  name  of  Middleton  is 
only  one  of  many  evidences  of  the  close  connection  between 
the  work  of  Haughton  and  Middleton  which  we  shall  discuss 
later.  The  frequency  with  which  this  usurer  plot  was  used  by 
others  as  well,  however,  and  the  closeness  with  which  some  of. 
the  plays  resemble  Englishmen  for  My  Money  are  indicative 
of  the  influence  of  Haughton's  comedy  in  the  development  of 
the  type  known  as  the  usurer  play.2 

1  See  above,  p.  31. 

2  The  Usurer  in  Elizabethan  Drama  has  been  studied  by  my  friend  Prof. 
Arthur  B.  Stonex,  of  Trinity  College,  Connecticut,  and  for  a  detailed  dis 
cussion  of  the  plays  and  question  treated  in  this  paragraph,  the  reader  is 
referred  to  his  article  in  Pub.  Mod.  Lang.  Assoc.,  XXXI  (1916),  190-210. 
In  this  paper  forty-five  dramas  in  which  the  usurer  plays  an  important 
part  are  discussed.     On  p.   196  will  be  found   a  brief   statement  of  the 
relation  of  the  usurer  play  to  the  theme  of  the  prodigal  in  Elizabethan 
drama. 


INTRODUCTION  43 

Important  as  Englishmen  for  My  Money  is  in  relation  to 
the  usurer  play  and  important  as  is  its  place  in  the  comedy  of 
London  life,  it  is  by  no  means  only  because  of  these  historical 
considerations  that  the  play  is  interesting  to-day.  Judged  by 
absolute  standards  it  is  one  of  the  sprightliest  comedies  that 
we  have.  Its  bustling  intrigue  and  somewhat  noisy  exuberance 
are,  perhaps,  its  most  characteristic  qualities.  It  is  true  that, 
as  has  been  observed,  the  characters  have  no  romantic  charm 
and  the  daughters  are  lacking  in  refinement  both  of  manners 
and  morals.1  But  the  character  of  Anthony,  the  intriguing 
schoolmaster  and  that  of  Frisco,  the  clown,  are  full  of  a  racy 
naturalness  that  sorts  well  with  the  rest  of  the  play  and  is  itself 
not  without  a  certain  attractiveness.  When  we  remember,  in 
addition,  the  amusing  nature  of  the  plot  with  its  "  unforced 
succession  of  ludicrous  incidents  "  we  are  not  surprised  to 
find  that  these  things  which  interest  us  to-day,  made  the  play 
popular  in  its  own  day.  That  it  did  appeal  to  its  time  is  evident 
from  the  circumstances  that  three  contemporary  editions  were 
issued,  to  say  nothing  of  the  statement  on  the  title-page  of  the 
last  two  that  it  had  been  "  diverse  times  acted  with  great 
applause."  Its  appeal  to  the  groundlings,  to  civic  pride 
and  national  feeling,  not  overdone;  its  ridicule  of  the 
foreigners;  its  outwitting  of  a  character  all  too  hateful 
to  Elizabethan  Londoners  and  one  whom  it  greatly  pleased 
the  audience  to  see  duped;  all  these  things  would  have 
insured  the  success  of  even  a  less  deserving  play.  As 
it  was  they  merely  augmented  the  interest  which  was 
already  inherent  in  its  lively  and  spirited  portrayal  of  the 
youth  sowing  his  wild  oats,  in  the  love  story  of  the  gentleman 
seeking  the  hand  of  a  citizen's  daughter,  and  in  its  representa 
tion  of  avarice  cheated.  We  can  see  that  the  popularity  of 
Englishmen  for  My  Money  was  reasonable  and  well  deserved. 

1  Bayne,  R.  in  the  Cambridge  Hist,  of  English  Literature,  V,  367. 


44 


INTRODUCTION 


Allusions  to  the  play  are  not  always  easy  to  fix,  because  of 
the  proverbial  character  of  the  title.  In  two  plays,  however, 
both  of  which  are  probably  Heywood's,  passages  occur  which 
are  reminiscent  not  only  of  the  title  but  of  parts  of  the  play 
itself.  In  the  second  part  of  //  You  Know  Not  Me  You  Know 
Nobody  (c.  1604?),  the  Courtesan  says  (I.  i)  : 

I  have  tried,  ere  now, 

The  sweaty  Spaniard  and  the  carousing  Dane, 
The  foggy  Dutchman,  and  the  fiery  French, 
The  brisk  Italian,  and  indeed  what  not; 
And  yet  of  all  and  all,  the  Englishman 
Shall  go  for  me:  ay,  y'are  the  truest  lovers, 
The  ablest  last  night,  and  the  truest  men 
That  breathe  beneath  the  sun. 
John.    Why,  then,  the  Englishman  for  thy  money :  x 

In  How  A  Man  May  Choose  A  Good  Wife  From  A  Bad  (V, 
i,  i  ff)  there  occurs  the  following  passage : 

Ma[ry],     Not  haue  my  will,  yes  I  will  haue  my  will, 
Shall  /  not  goe  abroad  but  when  you  please? 
Can  I  not  now  and  then  meete  with  my  friends, 
But  at  my  comming  home  you  will  controwle  me? 
Marrie  come  vp. 

Yong  Ar[thur],    Where  art  thou  patience? 
Nay  rather  wheres  become  my  former  spleene? 
/  had  a  wife  would  not  haue  vsde  me  so. 

Ma[ry].    Why  you  lacke  sawce,  you  Cuckold,  you  what  not, 
What  am  not  /  of  age  sufficient 
To  go  and  come  still  when  my  pleasure  serues, 
But  must  I  haue  you  sir  to  question  me  ? 
Not  haue  my  will?    yes  I  will  haue  my  will. 

Yong  Ar[thur].     I  had  a  wife  would  not  haue  vsde  me  so, 
But  shee  is  dead. 

Bra[bo].    Not  haue  her  will,  sir  she  shall  haue  her  will, 
She  saies  she  will,  and  sir  /  say  she  shall. 
Not  haue  her  will?  that  were  a  /east  indeed. 
Who  saies  she  shall  not,  if  I  be  disposde 
To  man  her  forth,  who  shall  finde  fault  with  it? 

1  Shakespeare  Soc.,  vol.  46  (1851),  126. 


INTRODUCTION  45 

What's  he  that  dare  say  black's  her  eie? 
Though  you  be  married  sir,  yet  you  must  know 
That  she  was  euer  borne  to  haue  her  will. 

Splay.    Not  haue  her  wil,  Gods  passion  /  say  still, 
A  woman's  no  bodie  that  wants  her  will.1 

These  lines  remind  one  strongly  of  Englishmen  for  My  Money 
and  it  may  not  be  too  daring  to  suppose  that  both  this  and 
the  preceding  passage  could  have  been  suggested  by  a  recol 
lection  of  Haughton's  play. 

Before  leaving  the  discussion  of  Englishmen  for  My  Money 
it  may  be  as  well  here  as  elswhere  to  pause  for  a  few  words 
concerning  Haughton  as  a  craftsman  in  verse.  About  two- 
thirds  of  the  play  is  in  blank  verse  and  an  exhaustive  analysis 
and  application  of  the  various  verse  tests  to  it  justify  cer 
tain  generalizations.  In  the  first  place,  the  verse  is  distinctly 
end-stopped  and  characterized  by  masculine  endings,  although 
feminine  endings  are  sufficiently  frequent  (18%)  to  give 
variety  to  the  rhythm.  Again,  for  the  first  work  of  a  dramatist 
it  is  remarkably  free  from  rime.2  The  percentage  of  rimed 
lines  is  about  fifteen,  and  when  we  remember  that  Shake 
speare's  first  play  contains  about  sixty-six  rimed  lines  in  every 
hundred,  Haughton's  relative  freedom  in  this  respect  is  rather 
noteworthy.  The  verse  is  likewise  characterized  by  the  almost 
complete  absence  of  weak  and  light  endings.  In  placing  the 
caesura  Haughton  shows  considerable  freedom,  although  a 
preference  is  observable  for  a  pause  after  the  fourth  or  sixth 
foot.  In  the  position  of  the  accents  within  the  line  and  in  the 
admission  of  incomplete  lines,  Haughton's  verse  again  is  de 
cidedly  free.  Between  speeches  in  blank  verse  he  frequently 
inserted  lines  of  two  or  three  words,  which  are  outside  the 
metrical  scheme.  Moreover,  whenever  the  blank  verse  became 

1  Farmer  Facsimile  Rpt.,  Sig.  I  2. 

2  The  proportion  of  rime  is  also  somewhat  dependent  upon  the  nature 
of  the  play. 


46  INTRODUCTION 

at  all  inconvenient,  he  had  no  hesitation  in  dropping  it  for 
more  simple  and  rapid  prose  dialogue.  These  and  other  prac 
tices  are  evidence  that  his  matter  dominated  his  form.  He 
wrote  blank  verse  freely  and  apparently  without  difficulty. 
Sometimes,  in  rapid  dialogue,  he  divided  a  blank  verse  line 
among  as  many  as  three  speakers,  even  when  the  final  syllable 
of  the  verse  was  part  of  a  rime.  On  the  whole,  while  it  cannot 
be  said  that  the  verse  of  Haughton  is  remarkable  for  its 
grace  or  variety,  it  is  in  general  smooth,  sufficiently  varied 
to  be  agreeable,  and  quite  adequate  to  the  demands  made 
upon  it. 

III. 

Resumption  of  Activity — Cox  of  Collumpton — Tragedy  of  Thomas  Merry 
— Not  to  be  Identified  with  Two  Lamentable  Tragedies — No  Connection 
with  Day's  Italian  Tragedy  or  Chettle's  Orphans'  Tragedy — Fleay  Op 
posed —  His  Fallacies  and  Inconsistencies — Contrary  Evidence — Con 
clusion  — 'Arcadian  Virgin  —  Patient  Grissel  —  Authorship  —  Haughton's 
Share — Spanish  Moor's  Tragedy — Connection  with  Lust's  Dominion — 
Seven  Wise  Masters — F  err  ex  and  Porrex — English  Fugitives — The  Devil 
and  His  Dame — Connection  with  Grim  the  Collier  of  Croydon — Strange 
News  out  of  Poland — Mr.  Pett — Judas — Summary  of  Second  Period. 

I 

After  an  interval  of  six  months  from  the  date  of  the  last 
recorded  payment  on  Englishmen  for  My  Money,  Haughton 
began  in  November  1 599  to  work  with  Day  on  some  plays'  of  a 
different  kind.  The  attention  of  the  two  dramatists  was  appar 
ently  attracted  at  this  time  by  a  temporary  return  to  popularity 
of  a  type  of  drama  which  had  been  made  notable  some  years 
earlier  by  Arden  of  Fever  sham.  In  this  piece  the  murder  play 
had  for  the  time  reached  its  greatest  height,  but  in  the  last 
few  years  of  the  sixteenth  century  it  experienced  a  new  vogue 
which  was  productive  of  more  activity  in  the  type  than  had 
been  seen  at  any  time  before.1  In  particular,  Dekker  had  just 
finished,  2  September  1599,  a  play  for  the  company  called 

i  See  Schelling,  F.  E.,  Elizabethan  Drama,  I,  345  ff. 


INTRODUCTION  47 

Page  of  Plymouth,  concerned  with  the  murder  of  one  Master 
Page  by  his  wife;  and  the  success  of  this  play  may  have  been 
the  suggestion  which  prompted  Haughton  and  Day  to  continue 
the  vogue.  Probably  the  first  play  of  the  kind  which  Haugh 
ton  had  a  hand  in  was  the  Tragedy  of  John  Cox  of  Collumpton, 
or,  as  it  is  once  called  in  Henslowe,  the  "  tragedie  of  cox  of 
collinster  ".  From  the  Diary  we  learn  that  it  was  the  work  of 
Haughton  and  Day  and  was  paid  for  between  i  and  14  No 
vember  1599.  That  it  was  a  murder  play  is  not  quite  certain, 
but  seems  likely.  Collumpton,  now  usually  spelled  Cul- 
lompton,  is  a  small  town  in  Devonshire,  not  far  from  Exeter. 
Collier  says  the  play  was  based  on  a  murder  committed 
in  that  place,  and,  since  the  conjecture  has  a  certain 
plausibility,  it  has  been  generally  accepted  by  later  writers.2 
But,  so  far  as  I  can  discover,  there  is  no  record  of  such 
a  murder.  Recently  the  statement  has  been  made  that  the 
play  dealt  with  a  "  notorious  "  crime  of  the  day,8  but  no  au 
thority  is  given  and  apparently  none  exists  beyond  the  con 
jecture  of  Collier.  We  must  leave  the  question  for  the  present 
where  it  is ;  if  we  remember  that  Collier's  view  is  not  supported 
by  evidence,  we  may  accept  it  conditionally  since  it  is  in  line 
with  what  we  shall  see  to  be  Haughton's  tendencies  in  the 
drama.  That  he  was  one  of  the  authors  of  that  peculiar  type 
of  the  journalistic  drama,  the  murder  play,  is  apparent  from 
his  next  attempt. 

Scarcely  was  Cox  of  Collumpton  finished  when  Haughton 
and  Day  decided  to  continue  the  vein  with  a  tragedy  which 
in  the  Diary,  is  variously  called  Beech's  Tragedy  or  the  Tragedy 
of  Thomas  Merry.  For  this  play  Henslowe  paid  them  five 

1  Stage,  1831,  III,  50. 

2  Halliwell,  Diet,  of  0.  E.  Plays  (1860),  p.  68;  Hazlitt,  Manual  of  O.  E. 
Plays,  p.  122;  Schelling,  F.  E.,  English  Drama  (1914),  p.  114. 

»  Tucker- Brooke,  C.  F.,  The  Tudor  Drama,  p.  354. 


48  INTRODUCTION 

pounds  (in  full)  between  21  November  and  6  December  1599; 
and  it  was  licensed  and  probably  performed  early  in  1600. 
Though  it  is  not  extant  we  may  be  quite  certain  as  to  its  subject 
matter.  On  29  August  1594  there  was  entered  on  the 
Stationers'  Register  "A  true  discourse  of  a  most  cruell  and 
barbarous  murther  committed  by  one  Thomas  Merry  on  the 
persons  of  Robt.  Beech  .and  Thorns  [sic]  Winchester  his 
seruaunt,  on  the  Fridaie  night  the  23.  of  August,  beinge  Bar- 
tlemie  Eve,  1594.  Together  with  the  order  of  his  arrayne- 
ment  and  execution  ..."  The  murder  was  a  notorious  one, 
and  was  described  in  five  other  broadsides  licensed  in  rapid 
succession,  29  August,  3,  7  (two)  and  9  September.2  A  play 
by  Day  and  Haughton  on  this  subject  should  cause  no  sur 
prise;  nor  need  the  circumstance  that  it  was  written  five  years 
after  the  event  treated  had  occurred  seem  unusual  when  it  is 
remembered  that  Arden  of  Feversham  (1586-92  ?)  is  concerned 
with  events  that  happened  in  1551.  The  piece  could  be  quickly 
dismissed  were  it  not  for  a  discussion  in  which  it  has  been 
involved  by  reason  of  another  play. 

In  1601  was  published  a  play  with  the  title  Two  Lamentable 
Tragedies  or  Two  Tragedies  in  One?  the  author  of  which  is 
given  both  on  the  title-page  and  at  the  end  as  Rob.  Yarington. 
This  piece  is  an  exceedingly  curious  production.  Its  plot,  as 
the  first  title  implies,  is  a  double  one,  consisting  of  approxi 
mately  alternate  scenes  from  two  murders.  The  one  tells  "  of 
the  Murther  of  Maister  Beech  A  Chaundler  in  Thames-streete, 
and  his  boye,  done  by  Thomas  Merry",  an  inn-keeper;  the 
other  "  of  a  Young  childe  murthered  in  a  Wood  by  two  Ruffins, 

1  Hazlitt,  Handbook,  p.  390  (§14)  ;  S.  R.  (Arber),  II,  3iib. 

2  Hazlitt,  ib.  390. 

3  This  second  title  appears  only  at  the  head  of  the  text.    The  play  is 
reprinted  by  Bullen,  Old  Plays,  vol.  IV,  and  reproduced  by  Farmer  in  his 
facsimile  series.    The  page  references  below  are  to  Bullen's  edition. 


INTRODUCTION  49 

with  the  consent  of  his  Vnckle."  The  two  plots  are  united 
by  allegorical  personages  who  comment  chorus-wise  on  the 
action.  It  is  apparent  that  the  first  of  these  two  plots  is  the 
same  as  that  of  Haughton  and  Day's  play.  The  second  is  a 
version  of  the  Babes  in  the  Wood  story  and  was  traced  con- 
jecturally  by  Bullen  to  a  ballad  on  the  Babes  in  the  Wood  which 
was  entered  on  the  Stationers'  Register  in  I595-1  But  it  is 
hard  to  believe  that  any  play  should  have  been  originally 
written  in  the  form  of  the  Two  Tragedies  in  One.  The  two 
parts  of  the  plot  are  wholly  unconnected.  There  is  no  under 
plot  or  even  a  minor  character,  common  to  both,  to  bind  them 
together.  They  are  united  only  by  the  allegorical  personages 
who  contribute  prologue  and  epilogue  and  intercalary  comment 
between  the  acts.  Moreover  the  two  parts  differ  somewhat  in 
style  and  the  play  has  a  certain  appearance  of  being  made  by 
the  combination  of  two  separate  plays.  When  this  was  per 
ceived  it  was  but  natural  that  students  should  speculate  upon 
the  identity  of  the  earlier  works.  And  here  the  circumstance 
that  Day  and  Haughton  were  at  work  on  a  non-extant  play  of 
Thomas  Merry  a  year  or  more  before  the  Two  Lamentable 
Tragedies  was  printed  made  it  easy  to  jump  to  conclusions. 

Apparently  the  first  to  suggest  that  the  Merry  part  of  the 
Two  Tragedies  in  One  and  the  Tragedy  of  Merry  were  identi 
cal  was  Collier.2  In  1881  Bullen  mentioned  Collier's  sugges 
tion,  but  queried,  '  how  are  we  to  overlook  the  fact  that  the 
name  of  Thomas  [sic]  Yarrington  appears  at  full  length  on 
the  title-pages  of  the  Two  Tragedies? ' 3  In  1885,  in  the 
introduction  to  his  reprint  of  the  Two  Tragedies  in  One,*  he 

1  Cf.,  however,  Law,  R.  A.,  Mod.  Lang.  Rev.,  V,  177,  for  the  opinion 
that  the  ballad  is  the  later  version. 

2  Henslowe's  Diary,  Shakespeare  Soc.,   1845,  p.  92.    He  only  suggests 
that  the  material  used  in  both  was  identical. 

s  Works  of  John  Day  (1881),  I,  7. 
*  Old  Plays,  Vol.  IV,  pp.  1-2. 


50  INTRODUCTION 

called  attention  in  a  footnote  to  '  a  piece  by  Chettle  called  "  The 
Orphanes  Tragedy  ",  a  title  which  at  once  reminds  us  of  the 
second  plot  of  Yarington's  play  '.  He  attached  no  importance 
to  the  coincidence  and  went  on  to  say :  ' Although  not  published 
until  1601,  the  Two  Tragedies  in  One  would  seem  from  in 
ternal  evidence  to  have  been  written  some  years  earlier.  The 
language  has  a  bald,  antiquated  look,  and  the  stage-directions 
are  amusingly  simple  '.  He  then  suggested  that  perhaps  in  this 
play  and  A  Warning  for  Fair  Women  we  have  '  early  essays 
by  the  author  whose  genius  displayed  its  full  power  in  Arden 
of  Feversham'.1  Singer  in  1891  took  the  hint  in  Bullen's 
footnote,  however,  and  suggested  the  possibility  that  Haughton 
and  Day's  Thomas  Merry  and  Chettle's  Orphans'  Tragedy, 
both  of  which  date  from  1599,  were  united  by  Yarington  two 
years  later,  adding  '  sonst  lasst  sich  die  seltsame  ineinander- 
schachtelung  zweier  handlungen  .  .  .  schwer  erklaren.' 2  In  the 
same  year  Fleay  3  stated  the  hypothesis  in  more  positive  terms 
and  called  attention  to  the  possible  connection  of  a  third  play, 
Day's  Italian  Tragedy,  which  he  would  identify  with  Chettle's 
Orphans'  Tragedy.  Fleay' s  statement  reads :  "  This  singular 
production  [Two  Lamentable  Tragedies]  is  made  up  of  alter 
nate  scenes  from  two  stories — i.  Merry's  murder  of  Beech,  a 
Thames  Street  chandler;  2.  The  murder  of  an  orphan  in  Italy, 
the  story  being  the  same  as  that  of  the  ballad  of  The  Babes  in 
the  Wood.  Still  more  curious  is  the  fact  that  in  Nov. 
1599  Chettle  began  a  play  for  the  Admiral's  men  at  the  Rose 
called  The  Tragedy  of  Orphans,  for  which  in  Sept.  1601, 
when  they  had  removed  to  the  Fortune,  he  got  a  further  pay 
ment  on  account,  but  apparently  never  finished;  and  that  at  a 

1  Ibid.,  p.  2.     A   Warning  for  Fair  Women  has  since  been  attributed 
to  Heywood.     Cf.  J.  Q.  Adams,  Jr.  in  Pub.  Mod.  Lang.  Assoc.,  XXVIII 
(1913),  594-620. 

2  Das  burgerliche  Trauerspiel  in  England,  Leipzig  Diss.,  1891,  p.  29. 
8  Chronicle,  II,  285-6. 


INTRODUCTION  5I 

very  close  date,   Nov. -Dec.    1599,   Haughton  and  Day  got 
full    payment    for   their   Tragedy   of  Merry.      This   coinci 
dence  is  sufficiently  striking;  but  when  we  find  that  in  1600  the 
Master  of  the  Revels  was  paid  for  licensing  Beech's  Tragedy, 
which  was   evidently  the   same  play,   the  connexion  grows 
stronger;  for  I  have  shown  in  my  History  of  the  Stage  that 
such  payments  in  Henslow's  Diary  were  for  licenses  to  print, 
and  not  to  perform.     This  play  was  published  by  Matthew 
Law,  who  is  only  known  as  a  play-publisher  from  this  instance 
and  that  of  [Heywood's]  How  to  choose,  &c.     I  can  see  no 
doubt  that  this  play  was  the  publication  paid  for,  made  up  out 
of  the  two  by  Chettle,  Day,  and  Haughton;  that  Yarrington 
was  a  fictitious  name;  and  that  the  IDS.  paid  in  1601  was  for 
alterations,  perhaps  for  Chettle's  pains  in  consolidating  the  two 
plays.     Moreover,  on   loth  Jan,   1600  Day  got  paid  £2  for 
his  Italian  Tragedy,  which  may  have  been  the  same  as  The 
Tragedy  of  Orphans."     Fleay's  conclusions  were  accepted  and 
reaffirmed  by  Greg  in  his  edition  of  Henslowe's  Diary. 

Though  the  theory  urged  by  Fleay  is  based  upon  a  chain  of 
assumptions  which  are  often  contrary  to  probability,  and  is  the 
result  of  contradictory  reasoning,  it  has  been  openly  opposed 
only  once.     In  an  article  in  the  Modern  Language  Review 
(V :  167-77)  Mr.  R.  A.  Law  sought  to  show  ( i )  that  the  Two 
Tragedies   in    One   is    not   an    amalgamation    of    plays    by 
Haughton,  Day  and  Chettle;  (2)  that  it  was  written  imme 
diately  after  the  murder  of  Beech  (that  is  to  say,  in  1594) ; 
and    (3)    that  it  is  the  work  of  one  man.     With  this  at 
tempt  the  present  writer  is  in  substantial  sympathy,  but  since 
there  are  some  points  in  the  article  with  which  he  cannot 
agree,  and  since  it  is  not  the  purpose  of  the  present  discussion 
to  go  into  the  whole  problem  presented  by  the  Two  Lament 
able  Tragedies,  space  will  not  be  taken  to  examine  the  paper 
in  detail  here.     The  points  that  seem  helpful  to  getting  at  the 
truth  of  the  matter  will  be  noted  in  their  place. 


52  INTRODUCTION 

It  is  safe  to  say  that  the  Two  Tragedies  in  One  would  never 
have  been  connected  with  the  name  of  either  Haughton  or 
Day  or  Chettle  were  it  not  for  the  coincidence  between  the 
subject  of  Haughton's  play  and  the  Merry  portion  of  the  Two 
Tragedies  in  One.  The  Two  Tragedies  in  One  is  indeed  a 
wretched  affair.  As  Greg  says,  "  The  Merry  part  is  written 
in  an  extraordinary  wooden  bombast  of  grotesque  common 
place,  which  it  would  be  difficult  to  parallel  except  from  some 
broadside  ballads,  and  which  one  may  well  hesitate  to  father 
on  any  one."  But  with  such  a  coincidence  as  a  starting  point 
it  was  possible  for  the  theory  of  Fleay  to  arise  and  grow  de 
spite  the  fact  that  the  obvious  character  of  the  play  makes  the 
hypothesis  on  its  very  face  highly  improbable.  The  theory  is 
fallacious  from  beginning  to  end.  Unfortunately,  space  does 
not  permit  us  to  examine  the  steps  of  the  argument  in  detail, 
but  we  may  strike  at  the  root  of  the  matter  by  scrutinizing  the 
most  fundamental  points. 

It  is  assumed  by  Fleay  that  Chettle's  Orphans'  Tragedy  and 
Day's  Italian  Tragedy  are  identical;  and  the  means  by  which 
he  justifies  this  otherwise  unsupported  assumption  may  be 
taken  as  typical  of  the  kind  of  reasoning  which  has  been  em 
ployed  in  support  of  his  theory.  It  is  assumed,  first,  that 
since  Chettle's  Orphans'  Tragedy  and  the  second  part  of  the 
Two  Lamentable  Tragedies  concern  an  orphan  (or  orphans [  ?]. 
in  Chettle's  play),  these  two  plays  are  the  same.  Now,  the 
scene  of  this  part  of  Two  Tragedies  in  One  is  Italy,  and  so, 
by  a  deduction  from  an  assumption,  the  Orphans'  Tragedy  is 
Italian.  But  this  inference,  based  on  an  assumption,  is  made 
the  basis  of  still  another  conclusion.  Day  was  the  author  of  a 
certain  Italian  Tragedy.  Chettle's  Orphans'  Tragedy  is  in 
ferred  to  be  Italian  in  setting.  Therefore  Day's  and  Chettle's 
plays  are  one  and  the  same.  It  is  needless  to  point  out  that  by 
reasoning  such  as  this  it  would  be  possible  to  prove  Romeo 


INTRODUCTION  53 

and  Juliet,  Othello  and  the  Duchess  of  Malfi  all  one  and  the 
same  play.  Italian  tragedies  —  does  it  seem  necessary  to  re 
call  ? — were  rather  numerous  in  the  Elizabethan  Age.  Went- 
worth  Smith  wrote  one  specifically  called  The  Italian  Tragedy; 
yet  we  are  told  that  this  play  (the  title  of  which  is  also  all  that 
remains)  has  no  connection  with  the  unfinished  Italian  Tragedy 
of  Day.1  In  support  of  such  reasoning  it  is  urged  that  the 
plays  identified  are  of  approximately  the  same  date  and  that 
in  the  Diary  they  are  not  fully  paid  for.  The  first  plea  may  be 
disregarded;  the  second  is  rendered  valueless  by  the  circum 
stance  that  plays  partially  paid  for  are  of  frequent  occurrence 
in  the  Diary.  In  the  meantime,  however,  it  is  forgotten  that 
the  only  thing  that  we  know  about  either  Chettle's  Orphans' 
Tragedy  or  Day's  Italian  Tragedy  is  its  title,  and  that  the  only 
thing  the  titles  have  in  common  is  the  word  '  tragedy  '.2 

In  addition  to  the  fact  that  the  reasoning  just  illustrated  is 
based  on  a  series  of  violent  assumptions,  there  is  the  circum 
stance  that  it  is  in  its  nature  circular.  The  assumption  that 
the  Babes  in  the  Wood  part  of  the  Two  Tragedies  in  One  is 
the  same  as  Chettle's  Tragedy  of  Orphans  and  Day's  Italian 
Tragedy  is  based  upon  the  assumption  that  the  last  two  plays 
are  the  same.  But  this  assumption  itself  is  based,  as  we  have 
just  seen,  on  the  Two  Tragedies  in  One. 

Apart,  however,  from  the  method  by  which  Fleay's  opinion 
is  reached,  there  are  other  serious  obstacles  in  the  way  to 
accepting  it.  To  put  the  matter  as  briefly  as  possible,  it  may 
be  urged  ( i )  that  as  the  Orphans'  Tragedy  is  but  partly  paid 
for  in  the  Diary,  there  is  no  evidence  that  it  was  ever  finished ; 

I  The  writer  may  say  that  he  agrees  fully  with  this  opinion.    Smith's 
play  seems  to  be  quite  an  independent  production. 

II  It  is  unnecessary  to  point  out  that  if  the  initial  assumption  be  ques 
tioned — that  the  Orphans'  Tragedy  and  the  Babes  in  the  Wood  part  of 
Two  Tragedies  in  One  are  identical — the  whole  fabric  crumbles  to  pieces 
at  the  beginning. 


54 


INTRODUCTION 


(2)  that  those  who  wish  to  consider  it  a  finished  play  are 
forced  to  eke  it  out  by  identifying  with  it  an  Italian  Tragedy 
by  Day;  (3)  that  even  by  so  doing  they  are  only  able  to  bring 
the  total  sum  paid  for  it  up  to  £3  io/  — ,  only  a  little  more 
than  half  the  usual  price  of  a  finished  play.  Moreover,  the 
identification  of  the  Orphans'  Tragedy  and  the  Italian  Tragedy 
is  damaged  by  the  fact  that  in  the  Diary  the  entries  for  these 
plays  are  quite  distinct  and  there  is  no  evidence  that  the  Or 
phans'  Tragedy  was  Italian  or  that  the  Italian  Tragedy  had 
anything  to  do  with  orphans. 

The  looseness  of  the  reasoning  by  which  Fleay's  theory  is 
supported  may  be  seen  in  another  of  his  arguments.     The 
payment  of  75.  which  Henslowe  made  to  the  Master  of  the 
Revels,  Jan.  1600,  for  licensing  Beech's  Tragedy,  Fleay  claims 
was  for  license  "  to  print,  and  not  to  perform  ",  and  he  adds, 
"  I  can  see  no  doubt  that  this  play  [he  is  now  speaking  of  the 
Two  Lamentable  Tragedies]   was  the  publication  paid   for, 
made  up  out  of  the  two  by  Chettle,  Day,  and  Haughton ;  that 
Yarrington  was  a  fictitious  name;  and  that  the  los.  paid  in 
1 60 1  was  for  alterations,  perhaps  for  Chettle' s  pains  in  con 
solidating  the  two  plays  'V     Such  a  complete  disregard  of 
chronology  would  be  hard  to  parallel.    If  the  two  plays  were 
not  combined  until  the  24  Sept.  1601,  the  date  when  Chettle 
received  the  IDS.  payment,  we  are  met  by  the  strange  phenom 
enon  of  a  play's  being  licensed  for  publication  a  year  and  five 
months  before  it  was  written.     If  anyone  could  be  imagined 
to  support  such  a  position,  it  may  be  pointed  out  that  Fleay's 
argument  rests  upon  a  mistaken  notion  of  the  significance  of 
the  entries  in  Henslowe  for  licensing  plays.     That  these  pay 
ments  to  the  Master  of  the  Revels  were  not  for  licenses  to 
print,  but  for  permission  to  act,  has  been  conclusively  shown 
by  Mr.  Greg.2    It  is,  however,  an  equally  untenable  assump- 

1  Fleay,  Drama,  II,  286.  2  Diary,  II,  113-6. 


INTRODUCTION  55 

tion  that  the  licensing  of  Beech's  Tragedy  in  Jan.  1600  was 
for  permission  to  act  the  Two  Lamentable  Tragedies;  for  then 
we  should  have  Henslowe  paying  the  Master  of  the  Revels 
for  license  to  act  a  play  seventeen  months  before,  on  Fleay's 
own  admission,  that  play  was  in  existence.  In  this  respect  the 
argument  of  Fleay  is  a  tissue  of  absurdities. 

When  we  have  thus  cleared  the  ground  of  the  results  of 
such  erroneous  reasoning  we  find  that  there  is  nothing  to 
support  the  identification  of  any  plays  by  Haughton,  Chettle, 
or  Day,  with  Yarington's  Two  Tragedies  in  One.  We  may 
next  note  that  such  an  identification  has  been  attended  by  a 
number  of  actual  difficulties  which  its  supporters  themselves 
are  conscious  of.  Some  of  these  have  already  been  mentioned, 
and  there  are  others  equally  great.  For  example,  even  Mr. 
Greg,  who  supports  Fleay's  theory,  is  unable  to  find  any  trace 
of  Day's  hand  in  the  Two  Tragedies  in  One,  and  since  Day 
wrote  a  part  of  each  of  the  plays  of  which  he  thinks  the  Two 
Tragedies  in  One  was  made,  he  is  forced  to  explain  the  ab 
sence  rather  fancifully:  "I  conjecture,"  he  says,  "  that  Day 
constructed  a  more  or  less  independent  underplot  to  each,  and 
that  these  were  dropt  when  the  main  plots  were  amalga 
mated."  This,  however,  is  by  no  means  convincing  and  is 
needed  only  to  explain  away  a  difficulty  which  exists  but  as  a 
result  of  Fleay's  theory.  Again,  there  is  the  name  of  the 
author,  as  given  on  the  title-page,  Rob.  Yarington.  Naturally 
this  presents  considerable  difficulty  to  those  who  wish  to  find 
in  the  Two  Tragedies  in  One  an  amalgamation  by  Chettle  of 
plays  by  Haughton,  Day  and  himself.  None  of  the  attempts 
to  explain  it  has  been  plausible.  Fleay  thinks  that  Yarington 
was  a  fictitious  name;  Greg,  that  it  was  the  name  of  the 
scribe.  But  all  such  explanations  are  likewise  attempts  to 
account  for  a  difficulty  which  in  reality  does  not  exist.  Fleay's 

1  Diary,  II,  209. 


56  INTRODUCTION 

theory  is  possible  only  by  the  employment  of  impossible  logic 
and  at  the  expense  of  difficulties  which  its  supporters  have  not 
been  able  to  explain  away. 

In  the  last  place,  all  the  evidence  that  exists  is  directly  op 
posed  to  the  theory.  Each  of  the  authors  to  whom  any  por 
tion  of  Yarington's  play  is  attributed  were  competent,  experi 
enced  dramatists  in  1599-1600.  Haughton,  to  mention  only 
pieces  still  extant,  had  already  produced  the  excellent  comedy 
edited  in  the  present  volume  and  was  at  this  very  time  sharing 
with  Dekker  and  Chettle  in  the  authorship  of  Patient  Grissel. 
Chettle  had  written  nearly  a  dozen  plays.  Of  the  quality  of 
Day's  work  alone  we  cannot  speak  with  much  certainty  at  so 
early  a  date ;  but  Mr.  Greg  is  authority  for  the  assurance  that 
there  '  is  certainly  no  trace  of  his  hand  now  remaining '  in  the 
Two  Lamentable  Tragedies.  In  direct  contrast  to  the  work 
of  these  three  experienced  dramatists  stands  the  Two  Trage 
dies  in  One.  This  play  is  conspicuous  for  its  crudity,  wooden- 
ness  and  general  amateurishness.  It  is  filled  with  undramatic 
*  talk '  and  the  author  was  so  incapable  of  appreciating  the 
dramatic  in  his  material  that  he  was  forced  in  places  to  eke 
out  with  narrative  an  action  which  the  combined  resources  of 
two  plots  failed  to  fill.  Characterization  is  reduced  to  a  mini 
mum.  The  author  repeats  ideas  and  even  rimes  1  within  a 
few  lines  of  each  other,  and  he  at  times  confuses  his  charac 
ters.2  But  perhaps  his  versification  is  the  strongest  mark  of 
his  individuality,  and  most  clearly  distinguishes  him  from 
Haughton,  Chettle  and  Day.  The  verse  of  Yarington's  play 
is  extremely  '  regular ' ;  each  line  consists  almost  invariably 
of  only  ten  syllables,  is  usually  end-stopped,  and  has  almost 
without  exception  a  masculine  ending.  There  are  only  about 

1  The  rime  'pray-clay'   occurs  twice   on   the  same  page    (17);   'dye- 
cruelly'  occurs  three  times  within  16  lines  (pp.  57-8). 

2  Cf.  the  confusion  in  the  characters  of  the  two  ruffians  in  II,  ii  and 
III,  ii.     (Both  scenes  belong  to  the  same  half  of  the  play.) 


INTRODUCTION 


57 


a  dozen  feminine  endings  in  the  whole  play.  When  one  com 
pares  this  with  the  freedom  and  at  times  irregularity  of 
Haughton's  verse,  the  difference  is  too  apparent  to  need  dis 
cussion.  Other  marks  of  inexperience  and  amateurishness 
have  been  noted  at  various  times,  such,  for  example,  as  the 
curious  stage-directions;  but  these  need  not  be  catalogued 
here.  After  all,  what  stamps  this  play  on  every  page  as  the 
work  of  a  novice  are  those  subtle  characteristics  and  qualities 
which  do  not  admit  of  brief  analysis  and  exposition,  but  which 
are  apparent  to  everyone  upon  the  first  reading  of  the  play. 
Everything  about  the  play  is  in  direct  contrast  with  what  we 
know  to  be  the  quality  and  character  of  Haughton,  Day  and 
Chettle,  and  contradicts  on  the  very  face  of  things  Fleay's 
whole  theory. 

It  has  been  thought  necessary  to  go  at  some  length  into  the 
problem  presented  by  Yarington's  Two  Lamentable  Tragedies 
in  order  to  show  that  Fleay's  theory  is  unsupported  by  a  single 
scrap  of  evidence,  and  that  it  is,  moreover,  quite  untenable. 
Of  course,  our  chief  purpose  has  been  to  remove  from  Haugh 
ton  the  responsibility  for  any  share  in  this  wretched  play ;  and 
this,  it  is  believed,  has  been  sufficiently  done.  Yet  it  is  pos 
sible  to  establish  the  case  with  still  greater  certainty  through 
evidence  of  another  sort. 

It  has  been  shown  by  Mr.  Law  in  the  article  referred  to 
above  that  the  orphan-part  of  Yarington's  play  shows  a  num 
ber  of  passages  closely  parallel  to,  or  imitating,  plays  which 
were  on  the  stage  in  1594,  and  that  one  unusual  line  in  the 
Merry  portion  is  found  likewise  in  one  of  these  early  plays.1 

1 1  do  not  wish  to  go  into  the  question  here  whether  the  Two  Tragedies 
in  One  is  the  work  of  one  man  or  two.  The  two  parts  show  on  first 
reading  a  rather  marked  stylistic  difference;  but  successive  re-readings 
leave  one  less  certain  of  the  difference,  and  when  one  attempts  to 
tabulate  the  evidence  of  rime  and  other  versification  tests,  tests  of 
vocabulary,  etc.,  the  testimony  is  conflicting.  What  may  have  been  the 


58  INTRODUCTION 

This,  together  with  certain  other  evidence,  has  been  taken  as 
establishing  a  probability  that  Yarington's  Two  Lamentable 
Tragedies  was  written  as  early  as  1594.  However  this  may 
be,  it  is  capable  of  almost  exact  demonstration  that  at  least  the 
Merry  portion  of  the  Two  Tragedies  in  One  was  written  be 
fore  November,  1599  when  Day  and  Haughton  wrote  their 
Tragedy  of  Thomas  Merry.  In  Act  IV,  Sc.  iii,  of  Yarington's 
play  there  occurs  the  only  attempt  at  comedy  in  the  whole 
piece.  Here  are  introduced  two  Thames  watermen  on  their 
way  to  their  boats,  one  of  whom  is  portrayed  with  a  manner 
ism  of  speech  that  furnishes  the  comedy.  In  their  conversa 
tion  there  arises  the  time-honored  jest  of  the  hangman's  bud 
get,  whereupon  the  First  Waterman  remarks  that  "  Bull  always 
strips  all  quartered  traitors  quite  'V  This  allusion  to  the 
hangman  is  so  casual  that  it  has  entirely  escaped  notice;  but 
since  it  is  such  a  wholly  gratuitous  one,  it  is  of  the  greatest 
value  in  determining  the  date  of  the  play.  The  common  hang 
man  of  London  in  the  early  nineties,  as  fairly  frequent  con 
temporary  allusion  shows,  was  named  Bull;  and  he  was  still 
living  and  executing  his  office  in  I597-2  About  this  time, 
however,  he  must  have  died  and  have  been  succeeded  by  one 
Derrick,  who  held  the  post  for  nearly  fifty  years.  Already  by 
the  beginning  of  the  year  1600  the  name  of  the  latter  had 
passed  into  common  use  as  a  synonym  for  hanging.3  It  is  so 

case  is  that  two  sources,  not  necessarily  plays,  differing  materially  from 
each  other  in  general  character  and  poetic  quality,  were  made  over  pretty 
thoroughly  by  one  man  of  very  mediocre  ability.  Whether  the  author 
was  'Robert  Yarington,  as  seems  most  likely,  or  some  one  else  is  of  no 
importance  in  the  present  discussion. 

1  P.  63.    The  watermen  have  just  stumbled  upon  the  sack  containing 
Beech's  head  and  legs  and  they  do  not  know  what  it  means. 

2  Bull  is  mentioned  several  times  by  Nash ;  cf .  Works  ed.  McKerrow, 
s.  v.  in  Index.    The  last  allusion  to  him  that  I  have  found  is  in  Harvey's 
The  Trimming  of  Thomas  Nashe  (1597)  ;  Works,  ed.  Grosart,  III,  70. 

3  Hence  our  word  '  derrick '.     Cf .  Oxford  Dictionary. 


INTRODUCTION  59 

used  in  Kemps  Xinc  Daies  Wonder,  licensed  22  April  1600; l 
and  such  use  implies  a  certain  lapse  of  time  for  the  develop 
ment.  It  seems  not  unlikely  that  Bull  was  dead  in  1597  or 
1598,  and  if  such  was  the  case,  Yarington's  allusion-  must  be 
long  to  a  time  prior  to  this  date.  If  the  Merry  part  of  Yar 
ington's  play  was  written  before  1597  or  1598,  it  cannot  be 
based  upon  Haughton  and  Day's  play,  which  was  not  written 
till  Nov.  1599.  Internal  evidence  thus  tends  to  confirm  the 
conclusion  already  reached  in  an  entirely  different  way. 

A  few  words  by  way  of  resume  may  conclude  the  whole 
matter.  The  attempt  to  identify  Yarington's  Two  Lamentable 
Tragedies  with  plays  by  Haughton,  Day  and  Chettle  arises 
from  a  mere  coincidence,  rests  upon  a  series  of  assumptions 
which  are  without  justification,  and  involves  illogical  reason 
ing  and  a  disregard  for  chronology  which  when  corrected  fill 
it  with  contradictions.  It  involves  several  difficulties  which  it 
has  not  been  found  possible  to  explain  away,  and  disregards 
the  most  patent  evidence  of  the  play  itself.  Finally,  as  opposed 
to  this  attempt  there  is  good  reason  to  believe  that  the  Two 
Tragedies  in  One  is  early,  perhaps  going  back  even  to  1594; 

1 '  One  that  hath  not  wit  enough  to  make  a  ballot,  that . . .  would  Pol 
his  father,  Derick  his  dad,  doe  anie  thing,  how  ill  so  euer . . .'  (ed. 
Camden  Soc.,  vol.  IX,  1840,  p.  21.) 

Derrick  is  frequently  alluded  to  in  contemporary  literature.  Collier 
(Athenaeum,  no.  1006,  p.  150,  Feb.  6,  1847)  quotes  a  ballad  representing 
Derrick  as  the  hangman  who  officiated  at  the  execution  of  the  Earl  of 
Essex  in  1601.  Whether  the  ballad  is  genuine  I  do  not  know.  Other 
allusions  will  be  found1  in  Dekker's  Wonderful  Year,  1603  (Grosart,  Non- 
Dramatic  Works  of  Thomas  Dekker,  1884-6,  I,  148),  Seven  Deadly  Sins 
of  London,  1606  (ib.  II,  27),  Jests  to  Make  You  Merry,  1607  (ib.  II, 
318),  The  Belman  of  London,  1608  (ib.  Ill,  141,  169),  and  Gull's  Horn- 
book,  1609  (ib.  II,  215);  Middleton's  Black  Book,  1604  (Works,  ed. 
Bullen,  1885-6,  VIII,  13,  38)  and  Father  Hubburd's  Tales,  1604  (ib.,  p.  70)  ; 
William  Rowley's  Search  for  Money,  1609  (Percy  Soc.,  II,  15).  On  the 
hangmen  of  London,  see  [N  &  Q],  12  Ser.  I,  486  and  previous  notes  there 
referred  to,  especially  2  Ser.  XI,  445. 


60  INTRODUCTION 

while  the  allusion  to  a  man  as  then  living  who  was  presumably 
dead  in  1597  or  1598  makes  it  almost  certain  that  the  Merry 
part  antedates  by  at  least  a  year  the  writing  of  Haughton  and 
Day's  play.  When  reduced  to  its  lowest  terms,  what  we  know 
of  Haughton  and  Day's  Tragedy  of  Thomas  Merry  is  that  in 
Nov.-Dec.  1599  these  men  wrote  such  a  play  and  were  paid  in 
full  for  it,  that  the  play  was  licensed  immediately  and  prob 
ably  acted,  and  that  it  is  not  extant  in  any  form  to-day. 

Thomas  Merry  could  hardly  have  been  finished  when 
Haughton  turned  his  attention  to  a  type  of  drama  wholly  dif 
ferent  from  his  last  two  pieces,  and  this  time  his  collaborator 
was  Chettle.  The  Arcadian  Virgin  would  seem  from  its  title 
to  be  a  pastoral,  but  since  we  know  of  it  only  from  Henslowe's 
accounts  we  cannot  be  sure  of  its  nature.  In  the  Diary  it  is 
but  partly  paid  for;  two1  payments  amounting  to  15^.  were 
made  13  and  17  Dec.  1597.  From  this  it  would  seem  that  the 
play  was  never  finished.  Greg  suggests  that  it  may  have  been 
based  on  the  story  of  Atalanta,1  but  the  title  is  so  general  that 
it  reminds  one  equally  of  the  Faithful  Shepherdess.  Its  subject 
is  of  minor  importance,  not  only  because  the  play  is  not  ex 
tant,  but  because  Haughton  seems  never  to  have  tried  the  type 
again.  Indeed  he  and  Chettle  may  even  have  given  up  writing 
the  Arcadian  Virgin  before  it  was  finished  to  devote  them 
selves  more  fully  with  Dekker  to  the  play  on  which  they  were 
meanwhile  at  work,  Patient  Grissel.2 

Between  16  Oct.  and  i  Nov.  1599  Samuel  Rowley  on  behalf 
of  the  company  borrowed  from  Henslowe  twenty  shillings  to 
pay  "  harrye  chettell  in  Earneste  of  the  playe  of  patient  Grys- 
sell  ".  Two  months  later,  19  Dec.  1599,  Robert  Shaw  author 
ized  Henslowe  to  pay  three  pounds  to  "  thomas  dickkers 

1  Pastoral  Poetry  and  Pastoral  Drama,  1906,  p.  406. 

2  Edited  by  Collier,  Shakespeare  Soc.,  1841 ;  by  Grosart  in  Non-Dramatic 
Works  of  Thomas  Dekker,  vol.  V  (1886),  pp.  109-232;  and  by  G.  Hiibsch, 
Erlanger  Beitrage,  XV,  1893. 


INTRODUCTION  6l 

harey  chettell  wm  barton  in  earnest  of  a  Boocke  called  patient 
grissell ".  One  week  later,  26  Dec.  1599,  Dekker  received 
five  shillings  of  Henslowe  "  in  earneste  of  a  playe  called 
pacyent  gresell  ",  and  the  next  day,  29  Dec.,  Haughton  re 
ceived  in  like  manner  a  similar  sum.  Both  of  these  payments 
have  been  thought  to  refer  to  a  continuation  or  second  part, 
and  this  explanation  is  a  plausible  one.  Without  these  two 
payments  the  amounts  paid  for  Patient  Grissel  total  the  un 
usual  sum  of  £10,  a  price  that  is  not  equaled  in  Henslowe  for 
so  early  a  date.  Later  the  price  of  plays  rose  considerably, 
but,  as  is  well  known,  £6  is  the  sum  usually  paid  for  a  play 
before  1600,  with  occasional  cases  of  £5  and  £7.  Since  the 
sum  of  £10  for  one  play  is  extraordinary,  it  is  often  branded 
as  impossible.  Greg  says  "  the  authors  certainly  did  not  get 
£10.10$".  in  earnest  of  the  piece,  although  it  is  clear  that  that 
is  what  Henslowe  disbursed.  I  think,  with  Fleay,  that  £6 
was  the  price  paid,  though  it  is  clear  that  the  entry  of  26  Dec. 
was  not  '  inclusive '  as  far  as  Henslowe  was  concerned  'V 
Though  improbable,  it  is  worth  remembering  that  £10  for 
one  play  is  not  impossible.  Dekker  and  Jonson  received  £8 
for  Page  of  Plimouth  (1599),  Chapman  £8  for  The  Fount  of 
New  Fashion  (1598),  and  Day  and  Chettle  received  between 
them  £914$-  for  the  Conquest  of  Brute  ( 1 598) .  Because  of  the 
sum,  the  last  is  without  other  evidence  sometimes  assumed  to 
be  two  plays.  If  the  authors  did  not  receive  £10  for  Patient 
Grissel,  there  is  as  yet  no  entirely  convincing  explanation  of 
the  entries  for  this  play  in  Henslowe. 

On  26  Jan.  1599/1600  the  sum  of  twenty  shillings  was  paid 
for  "  a  grey  gowne  for  gryssell  ",  and  the  play  was  probably 
performed  soon  after.  At  all  events,  by  18  March  1599/1600 
a  version  of  the  play  had  got  into  the  hands  of  a  printer,  for 
on  this  day  Henslowe  advanced  £2  "  to  staye  the  printing  of 

1  Greg,  II,  207. 


62  INTRODUCTION 

patient  grisell  ".  Curiously  enough,  ten  days  after  this  pay 
ment  (28  March)  the  play  was  entered  on  the  Stationers' 
Register.  If  this  entry  refers  to  the  present  play  it  is  difficult 
to  explain  it,  unless  the  registration  was  to  prevent  any  one 
else  from  obtaining  the  publishing  rights.  At  all  events,  the 
play  was  not  printed  till  1603,  when  it  appeared  with  the  title- 
page  :  The  pleasant  Comedie  of  Patient  Grissill.  As  it  hath 
beene  sundrie  times  lately  plaid  by  the  right  honorable  the 
Earle  of  Nottingham  (Lord  high  Admirall)  his  servants. 
London.  Imprinted  for  Henry  Rocker  ....  1603. 

Although  in  this  title-page  the  names  of  the  authors  are  not 
given,  there  can  be  little  doubt,  considering  the  entries  in  Hens- 
lowe,  of  the  authorship  of  the  play.  From  these  entries  it 
appears  that  Chettle  began  the  piece  and  that  Dekker  and 
Haughton  joined  him  in  the  enterprise  two  months  later.  The 
whole  play,  from  the  evidence  in  Henslowe,  belongs  to  the  end 
of  the  year  1599  and  was  the  joint  work  of  the  three  men 
named.  Yet  the  obviousness  of  this  conclusion  has  been  some 
what  disturbed  by  the  speculation  of  Prof.  Bang,1  following 
a  suggestion  of  Collier.  Prof.  Bang  argues  from  certain  in 
consistencies  in  the  text  of  Patient  Grissel  that  the  play  as  we 
have  it  is  an  earlier  piece  by  Chettle  (dating  perhaps  as  early 
as  1594)  revised  and  in  part  rewritten  by  him  in  1599  in  col 
laboration  with  Dekker,  Haughton  and  Ben  Jonson.  Without 
going  into  the  matter  here,  suffice  it  to  say  that  Prof.  Bang's 
conclusions  have  not  met  with  much  favor.  Nor  is  his  evi 
dence  convincing:  the  little  contradictions  and  inconsistencies 
upon  which  he  bases  his  theory  are  such  as  appear  everywhere 
in  Elizabethan  drama  and  in  this  play  are  easily  explained  by 
the  circumstance  that  the  piece  was  the  joint  work  of  three 
men.  Moreover,  such  a  theory  is  not  consistent  with  the  nature 
of  the  entries  in  the  Diary  and  makes  still  more  difficult  the 

1  Dekker  -Studien,  Englische  Studicn,  XXVIII  (1900),  208  ff. 


INTRODUCTION  63 

explanation  of  the  £10  paid  for  the  piece,  since  this  sum  would 
certainly  not  be  paid  for  a  mere  revision.  On  the  whole,  there 
seems  no  good  reason  for  doubting  that  the  play  was  an  orig 
inal  work  by  Chettle,  Dekker  and  Haughton,  dating  from 
1599.  What  the  respective  shares  of  the  three  playwrights 
were  will  be  the  subject  of  treatment  below. 

Our  knowledge  of  the  sources  of  Patient  Grissel  is  as 
yet  in  a  rather  unsatisfactory  state.  The  plot  is  three-fold. 
It  consists  of  the  main  story,  that  of  Patient  Griselda,  the 
submissive  and  suffering  wife,  and  of  two  sub-plots :  one,  the 
attempt  of  Sir  Owen,  a  Welsh  Knight,  to  subdue  the  widow 
Gwenthian — the  taming  of  a  shrew ;  the  other,  the  refusal  of 
Julia  to  be  won  by  any  of  her  three  suitors — a  variant  of  the 
situation  of  Muck  Ado.  The  three  plots  are  brought  into  inti 
mate  connection  with  one  another  through  the  circumstance 
that  the  main  character  of  each  is  connected  to  the  chief  char 
acter  of  the  others  by  family  relationship.  Of  the  main  plot 
alone  has  a  source  been  suggested.  The  story  of  Patient 
Grissel  was  known  in  England  from  the  time  of  Chaucer,  who 
had  it  on  his  own  account  of  Petrarch,  and  various  versions 
in  prose  and  verse  were  printed  in  the  sixteenth  century.  The 
relation  of  our  play  to  the  earlier  versions  of  the  story  has 
been  several  times  treated,1  but  the  attempts  that  have  been 
made  are  all  either  inadequate  or  marred  by  absurdities. 
Hiibsch,  for  example,  tries  to  show  that  the  English  version 
comes  from  the  German  of  Steinhowel  because  the  form  of  the 
name  "  Grissell "  is  the  same  in  both  and  because  of  certain 
vague  resemblances.  He  also  says  that  it  owes  something  to 
Petrarch.  The  immediate  sources  of  the  play,  Hiibsch's  con 
clusion  is,  are  the  English  prose  version,  which  he  thinks  is 
based  on  Steinhowel  and  Petrarch,  and  the  English  ballad, 
which  comes  out  of  the  English  prose  version.2  We  are  cer- 

1  Collier,    edition    of   play ;    Westenholtz,    F.    von,    Die    Griseldis-Sage 
in  der  Literaturgeschichte,  Heidelberg,  1888;  Hiibsch,  o.  c. 

2  Introduction,  pp.  xxiii-iv. 


64  INTRODUCTION 

tainly  not  prepared  to  accept  this  conclusion  as  final.  The 
marked  variations  in  the  play  make  it  more  probable  that  the 
source  was  a  version  of  the  story  not  at  present  known  unless 
we  accept  these  variations  as  the  invention  of  the  dramatists. 
It  is  not,  however,  unlikely  that  the  known  English  versions 
were  also  used.  Dekker's  inimitable  lyric  in  the  play,  0  sweet 
content!  may  have  owed  something  by  way  of  suggestion  to 
a  line  in  the  ballad  version,  Where  love  and  virtue  dwell  with 
sweet  content^  There  is  not  space  here  to  pursue  further  the 
queston  of  source,  but  certainly  much  work  remains  to  be  done 
on  the  originals  of  Patient  Grissel. 

The  problem  of  dividing  the  play  among  the  three  drama 
tists  concerned  is  a  difficult  one  and  one  the  solution  of  which 
must  leave  way  for  considerable  difference  of  opinion.  Fleay 
thinks  Dekker  "  mainly  wrote  the  scenes  in  which  Laureo 
[Grissell's  brother]  and  Babulo  [the  fool]  (characters  not 
found  in  the  old  story)  enter,  and  Chettle  the  Welsh  scenes; 
Haughton  the  remainder,  besides  helping  Dekker  in  his  part."  2 
With  parts  of  this  division  there  can  be  only  agreement. 
There  can  be  no  doubt  that  the  scenes  which  contain  Laureo 
and  Babulo  and  in  which  the  daily  life  of  the  tradesman  class 
is  portrayed  are  Dekker's ;  the  resemblance  to  the  Shoemakers' 
Holiday  is  striking.  But  it  is  much  more  likely  that  Dekker 
wrote  the  Welsh  scenes  than  Chettle,  since,  as  Miss  Hunt 
notes,  Dekker  had  a  considerable  liking  for  Welsh,  introduc 
ing  another  "  British  knight "  into  Satiromastix  and  an 
other  into  Northward  Ho.s  Haughton's  share,  I  believe, 
is  limited  to  the  scenes  in  which  Julia  appears.  Here  among 

1  Cf.  Collier  ed.,  p.  xiv. 

2  Drama,  I,  271. 

3  Mr.  Tucker  Brooke   (Tudor  Drama,  410)    adds:   'That  Dekker  was 
indeed  mainly  responsible  for  this  sub-plot ...  is  pretty  evident  from  the 
recurrence  of  the  identical  theme  and  figures  in  the  Mistress  Miniver  and 
Sir  Rus  ap  Vaughan  episode  in  his  "  Satiromastix." ' 


INTRODUCTION  65 

other  likenesses  is  his  characteristic  tendency  to  group  things 
in  threes.  Just  as  in  Englishmen  for  My  Money  there  are 
three  daughters,  three  English  lovers  and  three  foreign  suitors, 
so  in  Patient  Grissel  Julia  is  sought  after  by  three  admirers. 
The  part  of  these  scenes  in  which  Sir  Emulo  appears  are, 
however,  probably  by  Dekker.  This  leaves  a  rather  smaller 
share  of  the  play  to  Chettle  than  is  usually  assigned  to  him. 
Since  he  is  supposed  to  have  begun  the  play  it  is  usual  to  credit 
him  with  the  bulk  of  the  main  plot.  But  even  here  Miss  Hunt 
perceives  traces  of  Dekker's  hand.  From  my  own  analysis  of 
the  play  I  should  assign  the  largest  part  to  Dekker.  Swin 
burne  says :  "Chettle  and  Haughton,  the  associates  of  Dekker 
in  this  enterprise,  had  each  of  them  something  of  their  col 
league's  finer  qualities ;  but  the  best  scenes  in  the  play  remind 
me  rather  of  Dekker's  best  early  work  than  of  '  Robert,  Earl 
of  Huntington '  or  of  '  Englishmen  for  My  Money '." l 
Professor  Penniman  likewise  expresses  the  view  that  of 
Patient  Grissel  "  Dekker  evidently  wrote  a  considerable  part  "  2 
If  the  relative  shares  of  the  three  men  were  indicated  tabularly, 
the  result,  I  think,  would  be  roughly  as  follows : 


A.    Walter 

The  Marquess  of  Pavia 

Mario 

Lepido 

Furio 

Grissel 


>•  Chettle 


Janiculo,  father  to  Grissel 
Laureo,  brother  "        " 
Babulo,  fool 

Dekker 

B.     Sir  Owen,  Welsh  Knight 
Rice,  his  servant 
Gwenthian,  the  widow 

1  Swinburne,  Age  of  Shakespeare,  pp.  72-3. 

2  Poetaster  and  Satiromastix,  ed.  J.  H.  Penniman,  Intro.,  p.  x. 


66  INTRODUCTION 

C.    Julia  ^ 

Onophrio 

Farneze  I  Haughton 

Urcenze 
Emulo  (with  Dekker) 

The  attribution  of  the  Sir  Emulo  parts  to  Dekker  raises  the 
question  of  the  relation  of  Patient  Grissel  to  the  '  War  of  the 
Theatres '.  The  striking  similarity  of  the  Emulo-Sir  Owen 
duel  in  this  play  and  the  Brisk-Lentulo  duel  in  Jonson's  Every 
Man  out  of  His  Humor  has  long  been  noted ;  and  the  similar 
ity  in  the  characters  of  Brisk  and  Emulo  in  their  use  of  ab 
surdly  affected  language  is  equally  clear.  Fleay,  Small  and 
Penniman  are  at  one  in  believing  these  characters  to  be  take- 
offs  of  the  poet  Daniel.  Wallace  calls  the  Emulo-Owen  duel 
"  a  clear  imitation  of  Jonson's  Brisk-Lentulo  duel  "/  but,  as 
Bang 2  points  out,  the  scene  in  Patient  Grissel  is  dramatically 
more  appropriate  than  in  Jonson  and  appears  to  be  the  original. 
One  is  at  a  loss  to  explain  Tucker  Brooks's  cavil :  "  There 
appears  to  be  no  support  for  the  idea  of  Fleay  and  Penniman 
that  the  poet  Daniel  is  satirized  as  Master  Matthew  and 
Fastidious  Brisk  in  Jonson's  Every  Man  plays  and  as  Emulo 
in  Patient  Grissell."  3  The  theory  has  every  plausibility.  We 
have  the  testimony  of  Lodge  that  Daniel  was  "  choice  of 
word  ",4  and  as  Professor  Penniman  shows  "  Dekker  was  col 
laborating  with  Jonson  at  the  time  Patient  Grissel  was  being 
written  ".5  It  is  not  possible  to  decide  with  finality  upon  the 
relation  of  Patient  Grissel  to  the  War  of  the  Theatres.  Prob- 

1  Wallace,  C.  W.,  The  Children  of  the  Chapel  at  Blackfriars  1597-1603, 
(1908),    p.    170.    The    statement   is    echoed    by    Tucker    Brooke,    Tudor 
Drama,  pp.  409-10. 

2  Englische  Studien,  XXVIII,  214. 

3  Tudor  Drama,  374  n. 

*  Wits  Miserie,  quoted  in  Penniman,  Poetaster  and  Satiromastix,  p.  x. 
5  Ib.,  p.  x. 


INTRODUCTION  67 

ably  Haughton's  connection  with  the  quarrel  was  slight  and 
rather  accidental.  Yet  despite  the  fact  that  Haughton's  share 
in  the  play  is,  it  would  seem,  somewhat  less  than  has  at  times 
been  supposed,  it  is  nevertheless  significant  to  find  him  asso 
ciated  with  Dekker  and  Chettle  in  the  enterprise. 

The  eclectic  character  of  Haughton's  art  may  be  seen  from 
the  next  play  on  which  he  was  at  work.  In  Henslowe  there  is 
the  record : l 

Layd  owt  for  the  company  the  13  of  febrearye 

tragedie 
1599  for  a  boocke  called  the  spaneshe  mores  A  vnto  ; 

thomas  deckers  wm  harton  John  daye  in 

pte  of  payment  the  some  of 

There  is  no  further  record  of  the  piece  and  it  may  not  have 
been  finished.  No  play  of  this  name  is  extant  to-day;  but 
there  exists  a  play  called  Lust's  Dominion,  printed  in  1657  as 
by  Marlowe,  which  has  for  its  chief  character  a  Spanish  Moor. 
This  play,  so  far  as  subject  and  title  go,  could  easily  be  the 
Spanish  Moor's  Tragedy.  It  is  much  earlier  than  the  date 
when  it  was  printed,  strongly  resembles  Titus  Andronicus  and 
some  of  Marlowe's  plays,  and  would  seem  to  be  certainly  as 
early  as  1600.  It  shows  a  slight  indebtedness  to  a  short 
account,  printed  in  1 599,  called  A  Brief  and  True  Declaration 
of  the  Sicknesse,  Last  Wordes,  and  Death  of  the  King  of 
Spaine,  Philip,  the  Second  .  .  .  ,2  while  Fleay  perceived 
traces  of  still  earlier  work  which  he  thought  there  was  no 
reason  to  believe  "  should  not  have  been  written  by  Marlowe  "  3 
Lust's  Dominion  was  identified  by  Collier  4  and  Fleay  5  with 

1  Diary,  F.  6;v  (Greg,  I,  118).    Malone  read  the  title  as  the  'Spanish 
Morris,  tragedy'. 

2  First  noted  by  Collier.    The  tract  is  printed  in  Harleian  Miscellany 
(1809),  II,  284  ff. 

'  See  Drama,  I,  272. 

4  English  Dramatic  Poetry,  III,  96.  6  Drama,  I,  272-3. 


68  INTRODUCTION 

Haughton,  Dekker  and  Day's  play;  and  the  matter  has  been 
the  subject  of  more  or  less  comment  since. 

Since  Collier's  suggestion  was  so  confidently  reasserted  by 
Fleay,  opinion  has  until  very  recently  been  much  less  certain 
in  ascribing  Lust's  Dominion  to  the  dramatists  mentioned. 
Ward  thinks  the  identification  rests  "  on  insufficient  grounds  ", 
and  can  "  perceive  nothing  in  this  play  which  there  seems 
reason  for  assigning  to  Dekker  individually  "/  Professor 
Schelling  calls  the  identification  "  not  impossible  ",2  and  Mr. 
Greg  thinks  it  "  not  unlikely  ".3  That  Dekker  had  a  hand  in 
the  play  has  been  asserted  with  the  greatest  confidence  by  Mr. 
Swinburne,4  and  denied  with  equal  assertiveness  by  the  latest 
special  student  of  Dekker.5  It  is  strange  that  those  who  have 
studied  in  most  detail  the  work  of  the  collaborators  in  the 
Spanish  Moor's  Tragedy  usually  deny  the  presence  of  their 
particular  dramatist's  work  in  Lust's  Dominion.  Miss  Hunt, 
speaking  from  the  point  of  view  of  a  student  of  Dekker,  says : 
"  It  is  not  only  wholly  unlike  the  known  work  of  Dekker,  but 
it  is  also  for  the  most  part  unlike  that  of  his  collaborators.  .  . 
The  Queen  and  Eleazer  were  conceived  by  a  more  "  robust '* 
mind  than  that  of  Dekker,  who  never  drew  either  a  convinc 
ing  villain  or  a  bad  woman  of  imposing  presence,  or  told  in 
his  plays  a  story  of  successful  lust.  Nor  can  I  see  any  evi 
dence  in  characterization  or  in  phrasing  that  he  retouched  this 
drama,  least  of  all  the  opening  scene,  which  Swinburne  so 
positively  claims  for  him  ".6  Mr.  Bullen,  the  editor  of  Day's 
works,  says,  "  I  certainly  can  find  no  trace  of  Day's  hand  in 

1  Eng.  Dram.  Lit.,  II,  467. 

2  Elizabethan  Drama,  I,  222. 

3  Diary,  II,  211. 

*  Age  of  Shakespeare,  pp.  85-7. 

5  Hunt,  M.  L.,  Thomas  Dekker.    A  Study,  1911,  p.  63. 

6  Hunt,  op.  cit.,  p.  63. 


INTRODUCTION  69 

Lust's  Dominion  ".l  As  for  Haughton,  though  there  are  occa 
sional  similarities,  yet  there  is  nothing  that  can  be  conclusively 
proved  to  be  his. 

The  question  has  most  recently  been  discussed  by  Mr.  H. 
D.  Sykes  in  Notes  and  Queries,2  who  asserts  that  "  Miss  Hunt 
is  wrong  and  Swinburne  is  right ".  His  communication  aims 
to  establish  Dekker's  authorship  in  the  extant  Lust's  Dominion. 
"Although  '  Lust's  Dominion/  "  he  says,  "  is  unlike  most  of 
Dekker's  work,  a  comparison  of  it  with  his  early  ventures  in 
the  domain  of  tragedy,  and  especially  with  '  Old  Fortunatus  ', 
will  at  once  place  its  identity  with  '  The  Spanish  Moor's  Trag 
edy  '  beyond  a  doubt.  That  of  all  Dekker's  plays  it  should  be 
'  Old  Fortunatus  '  that,  in  its  style  and  diction,  is  most  closely 
connected  with  '  Lust's  Dominion '  is  natural,  since  the  latter 
play  (taking  it  to  be  '  The  Spanish  Moor's  Tragedy')  was 
written  immediately  after  Dekker  had  finished  working  on 
*  Old  Fortunatus '."  The  evidence  upon  which  the  identifica 
tion  is  made  consists  chiefly  of  parallel  passages  from  Lust's 
Dominion  and  other  plays  of  Dekker.  Some  of  these  are 
striking,  others  are  less  convincing,  and  still  others  are  weak 
ened  by  being  drawn  from  works  not  wholly  Dekker's.  But 
in  the  main  the  citations  are  apt.  In  addition  to  the  testimony 
of  parallel  passages,  evidence  is  drawn  from  the  similarity  be 
tween  the  scene  (III.  ii)  in  which  "Fernando  endeavors  to 
debauch  the  chaste  Maria  "  and  corresponding  scenes  in  Satiro- 
masti.v,  Westward  Ho,  Old  Fortunatus  and  The  Honest  Whore. 
The  further  occurrence  of  certain  of  Dekker's  mannerisms 
and  some  of  his  favorite  words  convinces  the  writer  of  the 
article  that  the  identification  is  sound.  And  so  far  as  Dek 
ker's  hand  in  Lust's  Dominion  is  concerned,  he  seems  to  have 
proved  his  point. 

1  Works  of  John  Day,  I,  8. 

1  '  The    Spanish   Moor's    Tragedy'    or    'Lust's   Dominion,'    N.    &    Q., 
12  Ser.  I,  81-4  (Jan.  29,  1916). 


70  INTRODUCTION 

To  admit  Dekker's  partial  authorship  of  Lust's  Dominion  is 
as  much  as  to  admit  the  identity  of  that  play  with  the  Spanish 
Moor's  Tragedy,  and  consequently  the  presence  of  Day's  and 
Haughton's  hands  in  it  as  well.  In  the  division  of  the  play, 
however,  among  the  three  collaborators,  there  is  again  dis 
agreement.  Fleay  gives  I,  Il.i  and  V  to  Dekker;  IILi-iv  and 
all  of  IV  to  Day;  ILii-v  and  IILv-vi  to  Haughton.  With  this 
division  Greg  cannot  agree.  In  his  judgment  "  Ill.i-iv  are 
certainly  by  one  hand  ( ?  Day's)  and  ILiii-iv  by  another 
(?  Haughton's),  and  the  rest  may  be  by  one  hand  (?  Dek 
ker's),  though  this  is  doubtful."  Sykes,  in  addition  to  posit 
ing  Dekker's  general  supervision  and  revision,  assigns  I,  Il.i-ii, 
Ill.ii  (to  the  entry  of  the  fairies),  iii-iv,  V.v-vi  to  Dekker; 
IILi  and  end  of  ii,  and  IV  to  Day;  V.i-iv  to  Day  and  Dekker; 
and  Il.iii-vi,  IILv-vi  to  Haughton.  My  own  concern  is  pri 
marily  with  Haughton's  share,  and  it  may  be  interesting  to 
note  that  my  determination  of  Haughton's  part,  made  before 
the  publication  of  Sykes'  article,  coincides  rather  closely  with 
his  (and  Fleay's)  division.  If  there  is  anything  of  Haugh 
ton's  whatever  in  the  play,  it  is  III.v ;  and  this  scene  so  resem 
bles  Il.iii  that  both  scenes  must  be  assigned  to  the  same  author. 
Scenes  iv-v  of  Act  II  are  by  the  same  hand  as  Scene  iii ;  but 
I  see  nothing  else  to  add.  This  would  make  Haughton's  share 
in  the  play  consist  of  but  four  scenes  (ILiii-v,  III.v).  His 
part  in  the  play  is  consequently  not  very  large.1 

Between  i  and  8  (or  10?)  March  1599/1600  Henslowe  paid 
£6  for  a  play  called  The  Seven  Wise  Masters,  the  work  of 
Chettle,  Dekker,  Haughton  and  Day.  Very  little  is  known  of 
this  play  or  of  the  relative  shares  of  the  four  dramatists  con 
cerned  in  it.  Such  evidence  as  there  is  to  be  gleaned  from 

1  My  assignment  of  these  scenes  to  Haughton  is  based  upon  resemblances 
between  them  and  Englishmen  for  My  Money.  To  Sykes'  evidence  drawn 
from  a  comparison  of  the  play  with  Grim  the  Collier  of  Croydon,  a  piece 
only  doubtfully  attributed  to  Haughton,  I  cannot  attach  great  importance. 


INTRODUCTION  ji 

Henslowe's  entries  would  suggest  that  Chettle  and  Day  were 
responsible  for  the  largest  part,  though  such  an  inference  is 
none  too  safe.1  The  story  of  the  Seven  Sages,2  which  must 
have  been  the  basis  of  this  play,  is  an  old  one  and  its  essential 
elements  are  quickly  told.  The  son  of  the  Emperor  Diocle 
tian  is  tempted  by  the  queen,  his  step-mother,  but  rejects  her 
advances.  His  rebuff  angers  her,  and  in  revenge  she  accuses 
him  of  insulting  her  and  of  plotting  against  his  father. 
Thereupon  the  emperor  condemns  him  to  death.  The  execu 
tion  of  the  sentence  is  delayed  by  seven  wise  men,  who  tell  in 
the  day-time,  for  seven  days,  seven  stories  of  the  guile  of 
women.  But  at  night  each  day's  story  is  offset  by  one  told  by 
the  queen,  until  finally,  at  the  end  of  the  seven  days,  when  the 
queen  has  apparently  prevailed,  the  young  prince  himself 
speaks,  accuses  his  step-mother  and  succeeds  in  bringing  upon 
her  his  own  threatened  punishment.  This  interesting  story 
was  extremely  popular  in  medieval  and  early  modern  times, 
existing  in  several  Middle  English  manuscripts  and  in  a  long 
series  of  printed  versions  running  through  the  fifteenth,  six 
teenth  and  seventeenth  centuries.  Of  the  latter,  one  of  the 
most  popular  was  a  metrical  version  of  John  Rolland,  first 
published  in  I578(?),  which  passed  through  seven  editions 
between  1590  and  1631.  This  may  conceivably  have  been  the 
basis  of  our  play.  If  the  stories  told  by  the  wise  men  and  the 
queen  are  suppressed  or  properly  curtailed,  the  plot  of  the 
Seven  Wise  Masters  is  sufficiently  dramatic  for  representation, 
certainly  as  capable  of  dramatization  as  the  themes  of  a  great 
many  other  Elizabethan  plays.  Whether  or  not  it  was  suc- 

1  The  first  payment  (i  March)  is  40  shillings  to  all  four  writers;  the 
second  (2  March)  is  30  shillings  to  Chettle  alone;  and  the  last  (8  March), 
50  shillings  to  '  harey  chettell  &  John  daye  in  fulle  payment  .  .  .'     (Diary, 
Ff.  67^-68.) 

2  On  this  famous  theme  see  the  excellent  introduction  by  K.  Campbell 
to  his  edition  of  the  Seven  Sages  of  Rome,  Boston,  1907. 


72  INTRODUCTION 

cessful,  surely  it  deserved  to  be.  The  production  must  have 
been  a  sumptuous  one,  since  in  three  consecutive  entries  (be 
tween  25  March  and  2  April)  Henslowe  records  the  expendi 
ture  of  £38  on  it,  chiefly  for  "  taffataes  &  sattyns  ".  Unfor 
tunately  the  name  is  all  that  we  have  left  of  a  play  which  we 
would  gladly  know  more  about. 

Still  experimental  in  his  methods  and  not  seeing  fit  to  con 
fine  his  attention  to  any  one  type  of  play,  Haughton  found 
himself  in  March  1600  working  at  a  play  on  English  pseudo- 
history,  on  no  less  a  subject  than  that  of  Gorboduc.  It  is  an 
interesting  comment  on  the  persistent  interest  in  plays  of  this 
kind  that  the  subject  which  interested  the  spectators  of  our 
"  first  regular  English  tragedy  "  should  have  remained  attrac 
tive  through  all  the  years,  to  have  been  rewritten  forty  years 
after  it  was  first  made  the  subject  of  a  play.  Ferrex  and  Por- 
rex,  as  Haughton  called  his  version  of  the  story,  is  usually 
regarded  as  a  "  revision  "  of  Sackville  and  Norton's  play ;  but 
there  is  no  reason  for  so  considering  it.  It  was  more  probably 
a  complete  reworking  of  the  story.  It  may,  of  course,  have 
been  based  on  the  old  play,  but  the  entries  in  Henslowe  seem 
to  point  to  more  than  a  mere  revamping  of  the  earlier  work. 
Henslowe' s  payments  extend  from  the  18  March  to  a  date 
well  on  in  April,  amounting  in  all  to  £4. 1 $s. ;  and  between  6 
and  10  May  the  customary  fee  was  paid  to  the  Master  of  the 
Revels  for  a  license.  Such  evidence  as  there  is  suggests  a 
new  play. 

With  his  next  play,  the  English  Fugitives,  we  are  in  the 
midst  of  that  period  of  Haughton's  activity  when  he  was 
working  at  greatest  tension  and  producing  with  great  rapidity 
a  series  of  plays  of  which  we  have  only  the  titles  to-day.  Two 
and  sometimes  three  a  month  are  paid  for  in  the  Diary  or  are 
recorded  with  a  part  payment  and  not  otherwise  mentioned. 
The  circumstance  that  some  of  these  were  only  noted  in  one 


INTRODUCTION  73 

or  two  payments,  amounting  to  but  a  small  part  of  the  price 
of  a  finished  play,  has  caused  Mr.  Greg  to  suggest  that  Haugh- 
ton  "  Either,  which  is  quite  possible,  .  .  .  received  many  pay 
ments  not  recorded  in  the  Diary,  or  else  he  was  obtaining 
money  by  a  series  of  unfulfilled  projects  "-1  It  is  quite  pos 
sible,  of  course,  that  he  did  either  or  both  of  these  things. 
There  is  reason  to  believe  that  a  piece  called  Judas  which  he 
began  was  finished  by  others,2  while  there  is  nothing  to  make 
it  certain  that  a  play  was  unfinished  because  it  is  not  fully  paid 
for  in  the  Diary.  It  is  even  possible  that  subsequent  payment 
may  have  been  made  for  some  plays  under  titles  different  from 
those  originally  used.  Identifications  based  on  this  possibility 
have  been  suggested,  but  they  are  almost  always  incapable  of 
substantiation.  We  are  not  in  a  position  to  speak  with  defi- 
niteness  concerning  most  of  the  plays  which  Haughton  was 
writing  at  this  time.  What  we  can  with  safety  conclude,  how 
ever,  leaves  us  with  the  impression  of  feverish  haste  and  prolific 
industry  as  the  characteristics  of  his  activity  during  the  early 
months  of  1600. 

For  the  English  Fugitives,  Haughton  received  two  pay 
ments,  1 6  and  24  April  1600,  amounting  to  thirty  shillings; 
and  nothing  further  is  known  of  the  piece.  Yet  here  as  else 
where  conjecture  has  not  been  idle  and  we  have  guesses  con 
cerning  its  identity,  its  subject  and  various  other  matters. 
Mr.  Greg  suggested  that  it  may  conceivably  have  been  the 
same  as  Robin  Hood's  Pen'orths;  but  this  does  not  seem  to 
the  present  writer  likely.  Collier  surmised  "  that  the  play  was 
on  the  story  of  the  Duchess  of  Suffolk,  afterwards  dramatised 
by  Drue,  and  printed  in  1631.  .  .  .  '  Greg,  however,  thinks  it 
"more  likely  that  the  ...  play  was  connected  with  two  tracts, 
'The  Estate  of  English  Fugitives  under  the  King  of  Spain 
and  his  ministers  ',  and  'A  Discourse  of  the  Vsage  of  the  Eng- 

1  Diary,  II,  212.  2  see  below,  p.  79. 


74 


INTRODUCTION 


lish  Fugitives  by  the  Spaniard ',  both  printed  in  1595."  Into 
the  relative  merits  of  these  claims  it  is  not  profitable  to  go, 
since  there  is  no  hope  of  fixing  the  matter.  All  that  we  have 
left  of  the  English  Fugitives  is  its  title. 

More  vexing  is  the  qestion  which  has  grown  up  about 
Haughton's  next  play,  The  Devil  and  his  Dame.  In  this  piece 
we  have  an  excellent  illustration  of  the  uncertainty  which 
exists  concerning  the  nature  of  Haughton's  dealings  with 
Henslowe  at  this  time.  The  entry  in  the  Diary  reads : 

Lent  vnto  wm  harton  the  6  of  maye  1600  in  earneste 
of  a  Boocke  wch  he  wold  calle  the  devell  &  his  dame.1 

This  entry  is  the  only  record  of  the  play  in  the  Diary  and  it  is 
crossed  out.  The  cancellation,  Greg  thinks,  means  that  the  sum 
was  repaid;  and  if  this  is  so  it  would  imply  that  Haughton  did 
not  complete  the  play.  Yet  another  circumstance  prevents  us 
from  being  absolutely  sure  that  the  piece  was  not  finished. 

There  was  published  in  1662  a  volume  called  "Gratiae  Thea- 
trales.  Or  a  choice  Ternary  of  English  Plays.  .  .  .  Never 
before  published."  In  this  volume  one  of  the  three  plays  is 
"  Grim  the  Collier  of  Croydon,  or  the  Devil  and  his  Dame; 
with  the  Devil  and  St.  Dunstan :  A  Comedy,  by  I  T  ".  Al 
though  not  printed  until  1662  there  can  be  no  doubt  that  the 
play  of  Grim  the  Collier  was  written  much  earlier.  Indeed  it 
has  at  different  times  been  said  that  the  piece  was  printed  in 
1599,  1600  or  i6o6;2  but  these  statements  are  all  without 
foundation.  Nevertheless  it  certainly  has  every  appearance  of 
having  been  written  by  1600.  Who  its  author  was  is  not 
known ;  the  initials  '  I.  T.'  tell  us  nothing.  It  is  strange  that 
two  plays  on  the  same  subject  and  with  the  same  title  3  should 

1  Diary,  F.  69  (Greg,  I,  121). 

2  By  Chetwood,  Ward,  and  Jacob  respectively.    See  the  summary  of  the 
matter  in  Greg,  II,  213. 

3  That  the  original  title  of  Grim  the  Collier  was  the  same  as  that  of 
Haughton's  play  is  evident  from  lines  in  Act  V,  Scene  i,  "And  after  judge,, 
if  we  deserve  to  name  This  play  of  ours,  The  de^•il  and  his  dame." 


INTRODUCTION 


75 


have  been  written  at  so  nearly  the  same  time;  and  the  sugges 
tion  has  been  made  that  in  Grim  the  Collier  of  Croydon  we 
have  the  piece  mentioned  in  Henslowe's  Diary. 

This  identification  has  been  viewed  with  varying  degrees  of 
favor.  Fleay,  as  usual,  is  very  positive  and  asserts  as  though 
a  fully  established  fact  his  opinion  that  the  two  plays  are  the 
same.1  Professor  Schelling  is  less  credulous  and  merely  calls 
Grim  "  a  play  not  impossibly  to  be  identified  with  Haughton's 
promised  comedy  ".2  Mr.  Greg  does  not  commit  himself,  but 
says  "  Haughton's  solitary  advance  of  5^.,  which  seems  to  have 
been  repaid,  is  not  much  evidence  for  his  authorship  of  the 
extant  play,  though  of  course  he  may  quite  well  have  written 
it  for  the  company  even  though  the  record  of  payment  is  not 
found  ".3  The  question  is  a  difficult  one  to  approach  and  per 
haps  not  capable  of  final  solution.  It  is  complicated  besides 
by  the  fact  that  there  were  several  earlier  plays — extant  and 
non-extant — based  in  part  upon  the  same  material,  and  that 
there  may  have  been  some  connection  between  a  non-extant 
play  and  the  existing  Grim  the  Collier  of  Croydon. 

It  is  true  that  there  are  certain  features  of  Grim  the  Collier 
that  remind  one  of  Haughton's  other  comedy,  Englishmen  for 
My  Money.  The  opening  is  in  the  same  manner, — 

.  .  .  Know  then  (who  list)  that  I  am  English  born, 
My  name  is  Dunstan;  whilst  I  liv'd  with  men,  .  .  .  etc. 

whereupon  the  abbot  proceeds  to  give  an  account  of  himself 
much  as  Pisaro  does  in  the  opening  speech  of  Englishmen  for 
My  Money.  Again  the  device  of  carrying  forward  the  plot  by 
stating  the  method  in  advance  is  characteristic  of  Haughton. 
From  Grim  it  may  be  illustrated  by  these  lines,  anticipating  the 
action : 

1  English  Drama,  I,  273.    He  also  thinks  that  Drayton  is  caricatured  as 
Robin  Goodfellow,  and  that  Belphegor  as  the  doctor  is  Lodge. 

2  Elizabethan  Drama,  I,  356.  8  Diary,  II,  213. 


76  INTRODUCTION 

Thou  shalt  this  night  be  brought  unto  his  bed 
Instead  of  her,  and  he  shall  marry  thee : 
Musgrave  shall  have  my  daughter,  she  her  will ; 
And  so  shall  all  things  sort  to  our  content.1 

The  habit,  too,  of  frequent  parenthesis,  which  is  common  in 
Englishmen  for  My  Money,  is  also  found  in  parts  of  Grim  the 
Collier  of  Croydon2  and  a  few  minor  matters  suggest  the  pos 
sible  presence  of  Haughton's  hand.  But  the  evidence  is  per 
haps  not  very  striking  or  convincing,  and  the  play  of  Grim  the 
Collier  seems  to  reveal  a  variety  of  styles  in  its  various  por 
tions.  The  serious  scenes  which  concern  the  Earl  Lacy  and 
Honorea  are  very  different  in  manner  and  versification  from 
those  that  concern  Grim  and  (later)  the  pranks  of  Robin 
Goodfellow.  The  latter  show  a  crudeness  and  irregularity  of 
metre  and  a  tendency  to  run  into  doggerel  verse  that  make 
these  parts  seem  earlier  than  the  rest  of  the  play.  There  are 
other  indications,  though  slight,  which  point  in  the  same  direc 
tion  for  the  Marian-Castiliano  scenes,  and  it  is  possible  that 
the  whole  play  is  the  making  over  of  an  old  play — perhaps  the 
"  historic  of  the  Collyer  "  which  was  performed  30  Dec.  1576 
by  Leicester's  men  at  Hampton  Court.3  At  all  events  if 
Haughton  had  anything  to  do  with  Grim  the  Collier  of  Croy 
don  it  is  probable  that  he  was  concerned  in  only  a  part  of  it ; 
and  the  part  which  shows  the  most  resemblance  to  his  manner 
is  the  first  scene  of  the  first  act.  Perhaps  he  wrote  this  and  no 
more,  or  perhaps  in  the  rest  of  the  play  he  touched  up  old 
work.  If  either  of  these  possibilities  were  true  there  would  be 
some  reason  for  Henslowe's  payment  of  five  shillings,  and  its 
cancellation  would  have  to  be  differently  accounted  for.  But 
when  all  has  been  said,  the  evidence  of  Haughton's  hand  in 
Grim  the  Collier  of  Croydon  is  slight  and  is  hardly  sufficient 

1  Dodsley,  VIII,  p.  411.  2  Cf.  ib.,  p.  394- 

3  See  Wallace,  C.  W.,  Evolution  of  the  English  Drama  up  to  Shakespeare, 
1912,  p.  205. 


INTRODUCTION 


77 


to  establish  his  authorship  of  the  play.  We  must  once  more  be 
content,  in  the  case  of  this  play,  with  the  uncertainty  that 
characterizes  the  work  of  Haughton  at  this  time. 

Two  other  plays,  Strange  News  Out  of  Poland  and  Judas, 
complete  this  second  and  extremely  busy  period  of  Haughton's 
career.  Strange  News  Out  of  Poland  has  caused  historians  of 
the  drama  considerable  difficulty  because  the  payment  of  £6 
which  Henslowe  records  17  May  1600  is  to  "  Will :  Haulton  & 
mr  Pett  ".  The  difficulty  is  caused  by  the  name  "  Mr.  Pett  ". 
No  Pett  is  known  elsewhere  to  have  written  plays,  and  Fleay 
queried,  "  Should  it  not  be  Chett.,  i.  e.,  Chettle  ?  "  *  Greg  notes 
"  Henslowe  often  has  Cett  for  Chettle,  which  is  even  nearer, 
but  only  where  he  is  crowded  for  room,  and  he  never  applies 
to  him  the  title  of  Mr."  2  The  last  mentioned  circumstance 
makes  it  somewhat  unlikely  that  Chettle  is  meant.  If  Haugh 
ton's  collaborator,  however,  really  was  a  Mr.  Pett,  then  he  is 
very  difficult  to  identify.  Hazlitt  mentions  a  John  Pett,  Gen 
tleman,  who  compiled  "  The  great  Circle  of  Easter  Containing 
A  short  Rule  To  Know  vppon  what  day  of  the  month  Easter 
day  will  fall  .  .  .  1583  ",3  and  a  Peter  Pett  who  was  the 
author  of  "  Times  iourney  to  seeke  his  Daughter  Truth  .  .  . 
1599  ",  in  verse.  The  first  of  these  individuals  is  not  likely  to 
have  been  the  Pett  in  Henslowe.  But  it  is  just  possible  that 
the  latter  was,  especially  if  he  can  be  identified  with  the  Peter 
Pett  about  to  be  mentioned.  In  a  genealogy  of  the  Pett  family 
printed  in  the  Ancestor  *  there  occurs  the  following  passage : 
"  Peter  Pett,  called  Peter  Pett  the  younger  .  .  .  [was]  after 
the  confusing  fashion  of  his  day,  one  of  two  sons  with  the 
same  name.  After  his  mother's  death  he  was  for  a  time  in 

1  Drama,  I,  273.  2  Diary,  II,  213. 

8  Collections,  II,  470. 

*  Burke,  H.  F.  and  Barren,  O.,  "  The  Builders  of  the  Navy :  A  Genealogy 
of  the  Family  of  Pett."    Ancestor,  X  (July  1904),  147-178. 


7S  INTRODUCTION 

the  cruel  hands  of  his  stepfather,  Thomas  Nunn,  who  put  him 
out  to  a  gentleman's  house  in  Suffolk  as  teacher  to  the  chil 
dren.  At  the  death  of  Thomas  Nunn  in  1 599  he  came  to  his 
good  brother  Phineas  at  Limehouse,  and  was  prenticed  by  him 
in  London.  Soon  afterwards  he  left  his  master  for  an  idle 
life,  which  he  was  not  long  to  lead,  for  on  21  June  1600  he 
died  of  small-pox  at  the  Dolphin  in  Water  Lane.  On  23  June 
he  was  buried  in  the  churchyard  of  Allhallows,  Barking."  * 
While  in  London  he  thus  lived,  it  seems,  near  Haughton. 
Whether  the  suggested  identification  be  considered  plausible 
or  not  (it  is  made  only  as  a  suggestion),  inability  to  identify 
the  collaborator  of  Haughton  is  no  evidence  that  the  entry  is 
incorrect  or  that  there  was  no  such  person.  Though  we  can 
not  fix  the  identity  of  the  "  Mr.  Pett "  in  the  Diary,  we  shall 
do  well  to  credit  Henslowe  with  knowing  whom  he  was  pay 
ing  money  to,  and  to  consider,  until  definite  evidence  to  the 
contrary  is  forthcoming,  that  the  persons  mentioned  by  him 
were  the  authors  of  Strange  News  Out  of  Poland.  The  sub 
ject  of  the  play  is  not  known.2  "  News  from  Spaine  ",  "  News 
from  Barbary  ",  "  News  from  Turkic  ",  etc.,  were  not  unusual 
titles  of  Elizabethan  prints;3  and  there  was  printed  in  1621 
"  Newes  from  Poland.  Wherein  is  Trvly  inlarged  the  Occa 
sion,  Progression,  and  Interception  of  the  Turks  formidable 
threatning  of  Europe.  And  particularly  the  inuading  of  the 

1  P.   153.    Possibly  Phineas   Pett  himself  was  the  man  mentioned  by 
Henslowe.    "  He  was  made  assistant  master  shipwright  in  March   i6o-J, 
and  in  January  i6oj  he  was  chosen  by  his  good  patron  the  Lord  High 
Admiral  to  build   for  the  young  Prince  Henry  a  little  ship  wherewith 
'to  acquaint  his  grace  with  shipping'  ..."    (p.  155).    In   1605  he  was 
appointed  master  shipwright.    An  autobiography  of  him   exists  in   MS. 
Harl.  6279. 

2  Fleay's    statement    (Drama,   I,   273)    'A   "shrew"   play'   is   as   Greg 
notes  (Diary,  II,  213-4)  due  to  a  printer's  error.    The  words  have  dropped 
out  of  their  proper  place  in  the  entry  concerning  the  Devil  and  His  Dame. 

1  Cf.  Hazlitt,  Handbook,  p.  417. 


INTRODUCTION  79 

Kingclome  of  Poland.  .  .  .  "  1  Creizenach  suggested 2  that 
the  play  might  have  been  a  historical  drama,  but  we  cannot 
well  conjecture  what  its  subject  was. 

The  play  of  Judas  is  the  last  work  of  Haughton's  to  be  re 
corded  in  Henslowe  for  over  six  months.  Its  title  is  not  abso 
lutely  certain,  since  the  entries  in  the  Diary  may  be  read  as 
either  Judas  or  Jndas.  The  former,  however,  seems  to  be  the 
correct  reading.8  On  27  May  1600  Haughton  received  ten 
shillings  in  earnest  of  the  play,  but  apparently  went  no  further 
with  it.  At  all  events,  he  seems  not  to  have  received  any  other 
payment  for  it.  A  year  and  a  half  later,  however,  December 
1601,  William  Borne  and  Samuel  Rowley  received  £6  "  for  a 
Boocke  called  Judas  ".  The  character  of  the  entries  would 
suggest  an  independent  work,  but  it  is  possible  that  these  two 
men  were  working  on  Haughton's  unfinished  undertaking.  Be 
this  as  it  may,  there  can  be  little  doubt  that  Haughton  ceased 
writing  in  the  midst  of  the  play  and  at  the  same  time  severed 
his  connections  with  Henslowe  for  the  next  six  months.  When 
we  next  hear  of  him  he  is  engaged  upon  an  entirely  new  work. 

As  we  look  back  over  the  period  of  Haughton's  career  thus 
completed,  we  are  amazed  by  the  number  and  variety  of  the 
plays  written  in  it.  In  the  nine  months  of  its  duration  Haugh 
ton  wrote  or  began  to  write  no  less  than  twelve  plays  covering 
the  widest  variety  of  subjects  and  types.  Seven  of  them  were 
in  collaboration,  five  alone;  of  them  all,  only  one,  Patient 
Grissel,  has  been  preserved.  Written  in  feverish  haste,  some 
times  three  at  a  time,  they  seem  to  have  been  produced  in  a 

1  Hazlitt,  Collections,  3rd  series,  p.  198. 

*  Gesch.  d.  neueren  Dramas,   IV,  220  note ;   English   translation,   The 
English  Drama  in  the  Age  of  Shakespeare  (1916),  p.  193  note. 

*  Mr.  Greg  (I,  229)   comments,  "It  is  either  Judas  or  Jndas,  and  re 
appears  in  the  same  form  at  95  29  and  95T  9.    There  was  a  play  distinct 
from  the  present  one  on  the  West  Indies  which  H.  always  spells  enges, 
except  in  one  solitary  case  (104  2)  where  he  has  Jndies.    We  may  there 
fore  safely  conclude  that  Judas  is  here  meant." 


80  INTRODUCTION 

vain  endeavor  to  supply  a  purse  that  appears  to  have  become 
very  easily  and  quickly  emptied.  Some  of  them  may  have 
been  written  in  prison,  for  it  was  during  this. time  that  Haugh- 
ton  was  shut  up  for  a  while  in  the  Clink.  Of  their  quality  we 
are  scarcely  able  to  judge,  but  even  the  little  we  do  know  of 
them  and  the  circumstances  attending  their  production  makes 
this  one  of  the  more  important  portions  of  Haughton's  career. 

IV. 

Third  Period :  Robin  Hood's  Pen'orths — 2  and  3  Blind  Beggar  of  Bednal 
Green — The  Conquest  of  the  West  Indies — Six  Yeomen  of  the  West 
and  2  Tom  Dough — i  and  2  Six  Clothiers — Friar  Rush  and  the  Proud 
Woman  of  Antwerp — Fourth  Period:  William  Cartwright. 

Upon  his  return,  20  December  1600,  to  the  company  for 
which  Henslowe  was  banker,  Haughton  produced  a  play  called 
Robin  Hood's  Pen'orths.  The  payments  recorded  for  it 
extend  to  13  January  and  amount  in  all  to  four  pounds.  One 
can  hardly  tell  what  story  of  Robin  Hood  it  treated,  and  Prof. 
Thorndike  says,  "Of  Robin  Hood's  Pennyworths  nothing  can 
be  even  surmised  ".  My  friend  and  former  colleague,  Dr. 
Charles  Wharton  Stork,  however,  suggests  that  the  play  may 
possibly  have  dealt  with  the  story  of  Robin  Hood  and  the 
Potter,  or  Robin  Hood  and  the  Butcher,  stories  which  tell  how 
Robin  Hood  attempted  to  collect  toll  from  the  potter  (and  the 
butcher)  and  later  in  disguise  sold  for  a  few  pence  each  his 
opponent's  pots  (or  meat)  worth  much  more,  but  how  he  made 
up  for  his  loss  by  enticing  the  sheriff  to  the  green  woods  and 
relieving  him  of  all  his  possessions.1  The  incident  is  used  in 
the  Playe  of  Robyn  Hood,  printed  by  Copland  at  the  end  of 
his  edition  of  the  Geste?  and  may  easily  have  been  the  subject 
of  Haughton's  play. 

The  same  month  Haughton  joined  Day  in  an  attempt  to 

1  Cf.  Child,  F.  J.,  English  and  Scottish  Popular  Ballads,  V,  108-120. 
*Cf.  ib.,  p.  114. 


INTRODUCTION  81 

follow  up  the  success  of  a  play  by  the  latter  and  Chettle  which 
had  just  been  performed.  This  play,  The  Blind  Beggar  of 
Bcdnal  Green,1  had  apparently  pleased  the  public  with  its 
"  merry  humor  of  Tom  Strowd  the  Norfolk  Yeoman  ".  Con 
sequently  we  find  Henslowe  between  29  January  and  5  May 
1601  paying  Day  and  Haughton  (though  Haughton  had  no 
share  in  the  first  part)  £6  for  a  "  second  pte  of  the  blinde 
beager  of  bednowle  grene  ",  or  as  he  sometimes  called  it  "  the 
second  pte  of  thome  strowd  ".  This  in  turn  was  sufficiently 
successful  to  warrant  still  a  third  part  which  Henslowe  paid 
the  same  dramatists,  Day  and  Haughton,  £6.  los.  for  from 
21  May  to  30  July.  We  know  that  the  third  part  contained  a 
fire  drake  because  Henslowe  paid  three  shillings  sixpence  I 
Sept.  "  to  bye  blacke  buckrome  to  macke  a  sewte  for  a  fyer 
drack  in  the  3  pte  of  thome  strowde  " ; 2  but  beyond  this  we 
can  judge  of  the  contents  of  the  two  later  plays  only  by  their 
being  a  continuation  of  the  extant  part.3 

While  these  two  pieces  were  in  progress  Haughton  was  at 
work  with  Day  on  several  other  plays.  The  Conquest  of  the 
West  Indies  was  the  joint  work  of  these  authors  in  collabora 
tion  with  Wentworth  Smith.  The  first  mention  of  the  play  is 
contained  in  an  interesting  note  from  Samuel  Rowley  to  Hens 
lowe  dated  4  April  1601 : 

'  Mr  hinchloe  J  haue  harde  fyue  shetes  of  a  playe  of 
the  Conqueste  of  the  Jndes  &  J  dow  not  doute  but  Jt 
wyll  be  a  verye  good  playe  tharefore  J  praye  ye 
delyuer  them  fortye  shyllynges  Jn  earneste  of  Jt 
&  take  the  papers  Jnto  yor  one  hands  &  on  easier 
cue  thaye  promyse  to  make  an  ende  of  all  the 
restei 

Samuell 

Rowlye  4 

1  Ed.  Bang,  Mater,  z.  Kunde,  Vol.  I,  1902.  *  Diary,  F.  93. 

'  On  the  subject  matter  of  the  first  part  in  its  relation  to  English 
history,  see  Schelling,  F.  E.,  The  English  Chronicle  Play,  New  York, 
1902,  p.  165. 

4  Henslowe  Papers,  Art.  32  (Greg,  Supplement,  p.  36). 


82  INTRODUCTION 

On  the  strength  of  this  note  Henslowe  advanced  to  Haughton 
and  Day  the  forty  shillings.  But  the  dramatists  did  not  fulfil 
their  promise  by  Easter.  On  the  4  June  they  were  still  work 
ing  on  the  play,  as  the  following  note  to  Henslowe  of  this  date 
and  in  Day's  hand  witnesses : 

J  have  occasion  to  be  absent  about  the  plott  of  the 
Jndyes  therfre  pray  delyver  it  [some  money]  to 
will  hamton  sadler 

by  me  John  Daye  \ 

Payments  for  the  play  continue  until  i  Sept.  No  final  pay 
ment  is  recorded  but  the  play  must  have  been  finished  within  a 
short  time  of  this  date,  for  between  i  Oct.  and  21  Jan.  follow 
ing,  Henslowe  expended  over  £14  for  properties.  Since  the 
play  is  not  extant,  its  subject  and  source  are  not  known.  Prof. 
Creizenach  2  thinks  it  may  have  dealt  with  one  of  the  expe 
ditions  of  Sir  Walter  Raleigh.  It  would  not  be  surprising, 
however,  if  it  were  connected  with  a  tract  published  first  in 
1578  and  again  in  1596,  and  having  the  title  "The  Pleasant 
Historic  of  the  Conquest  of  the  Weast  India,  now  called  new 
Spayne,  Atchieued  by  the  worthy  Prince  Hernando  Cortes 
Marques  of  the  valley  of  Huaxacat,  most  delectable  to  Reade : 
Translated  out  of  the  Spanishe  tongue,  by  T.  N.  [Thomas 
Nicholas]  ".3  However  this  may  be,  nothing  further  or  more 
definite  is  known  of  the  play. 

Another  play  belonging  to  approximately  the  same  time, 
and  likewise  the  work  of  Haughton  and  Day,  is  The  Six  Yeo 
men  of  the  West.  From  the  payments  in  the  Diary,  which 
extend  from  20  May  to  8  June  1601,  it  is  evident  that  this 
play  was  being  written  at  the  same  time  the  authors  were  also 
working  on  the  5  Blind  Beggar  and  the  Conquest  of  the  West 

tlb.,  Art.  35,  P.  57- 

2  Gesch.  d.  neueren  dramas,  IV,  220  note;  Eng.  trans.,  p.  183  note. 

3  Hazlitt,  Collections,  I,  101-2. 


INTRODUCTION  83 

Indies.  It  is  apparently  a  dramatization  of  matter  derived 
from  Thomas  Deloney's  Thomas  of  Reading,  or  The  sixe 
worthie  Yeomen  of  the  West.1  With  the  play  of  the  Six 
Yeomen  of  the  West  three  other  plays  are  very  closely  asso 
ciated,  so  closely  that  the  last  two  have  at  times  been  wrongly 
considered  identical  with  the  others.  The  three  plays  thus 
related  to  the  Six  Yeomen  of  the  West  are  2  Tom  Dough  and 
i  and  2  Six  Clothiers.  Tom  Dough  is  one  of  the  characters 
in  Deloney's  story,  and  the  play  of  the  2  Tom  Dough,  also  by 
Day  and  Haughton,  is  probably  a  continuation  of  the  Six 
Yeomen  of  the  West.  The  payments  for  it  came  between  30 
July  and  n  Sept.  1601.  The  sum  paid  for  the  Six  Yeomen 
was  £5  in  full ;  for  2  Tom  Dough  the  payments  made  amount 
to  £4.  The  other  two  plays,  /  &  2  Six  Clothiers,  followed 
soon  after  the  completion  of  these.  The  circumstance  that  the 
six  yeomen  in  the  Six  Yeomen  of  the  West  were  clothiers  has 
led  some  to  identify  the  last  two  plays  with  the  first;  but  the 
entries  in  the  Diary  leave  no  room  for  doubt  that  they  are  quite 
independent  productions.  The  first  part  of  the  Six  Clothiers 
was  paid  £5  for,  so  far  as  the  sums  are  recorded.  On  the 
second  part  Henslowe  advanced  the  sum  of  £2  between  the 
i  and  8  Nov.  (1601).  The  authors  mentioned  in  connection 
with  both  parts  are  Haughton,  Hathway  and  Wentworth 
Smith.  *  Just  what  the  subject  of  these  two  plays  was  is  not 
to  be  discovered.  It  is  possible  that  they  were  based,  like  the 
Six  Yeomen,  on  Deloney's  Thomas  of  Reading.  Certainly 
there  is  in  this  work  enough  material  to  furnish  the  basis  for 
all  four  plays.  In  any  event,  what  we  have  in  one  or  all  is  an 
attempt  to  dramatize  this  popular  *  novel '  of  the  day  just  as 

1  The  Works  of  Thomas  Deloney,  ed.  F.  O.  Mann,  Oxford,  1912,  pp. 
211-272.    The  earliest  known  edition  of  Deloney's  tale  dates  from  1623, 
but  the  work  was  certainly  known  much  earlier.    Kempe,  early  in  1600, 
alludes  to  it  in  his  Nine  Dayes  Wonder. 

2  For  the  entries  of  all  these  plays,  see  Diary,  Ff.  87-100,  passim. 


84  INTRODUCTION 

we  dramatize  novels  to-day  and  just  as  another  novel  of  De- 
loney's,  The  Gentle  Craft,  had  been  so  successfully  dramatized 
two  years  before  in  The  Shoemakers'  Holiday. 

Friar  Rush  and  the  Proud  Woman  of  Antwerp  would  seem 
to  have  been  written  by  Day  and  Haughton  at  irregular  inter 
vals  during  the  latter  half  of  1601.  The  entries  extend  from 
4  July  to  29  Nov.;  and  on  21  Jan.  1602  Chettle  was  paid  ten 
shillings  for  "  mending  "  the  piece,  presumably  for  the  court 
The  familiar  story  of  Friar  Rush  had  been  used  more  than 
once  in  Elizabethan  drama.  From  an  allusion  in  Gammer 
Gurtoris  Needle  (III,  ii)  it  would  seem  that  it  had  been 
dramatized  even  at  that  early  date,  and  later  it  was  used  by 
both  Dekker  and  Jonson.1  But  the  Friar  Rush  story  as  gen 
erally  known  has  nothing  to  do  with  a  proud  woman,  and 
Fleay  has  expressed  the  opinion  that  "  The  Proud  Woman  of 
Antwerp  was  a  separate  play  by  Chettle  alone  ",2  presumably 
meaning,  as  Greg  remarks,  "  by  Haughton  ".3  Professor 
Herford,4  however,  has  suggested  that  the  dramatists  com 
bined  with  the  Friar  Rush  plot  the  story  of  Belphegor,  which 
had  already  been  treated  on  the  stage.5  More  recently  Prof. 
Creizenach  6  has  gone  one  step  further  and  made  the  rather 
plausible  suggestion  that  a  source  of  the  play  was  a  story  told 
by  Stubbes  in  his  Anatomy  of  Abuses.1 

1  //  It  Be  Not  Good  and  The  Demi  Is  An  Ass.    For  a  discussion  of  the 
Friar  Rush  story  in  Elizabethan  drama,  see  Herford,  C.  H.,  Studies  in 
the  Literary  Relations  of  England  and  Germany  in  the  Sixteenth  Century,, 
pp.  293  ff. 

2  Drama,  I,  108. 

3  Diary,  II,  218. 

*  Lit.  Rel.,  pp.  308-9. 

5  See  above,  p.  74  and  Schelling,  Eliz.  Drama,  I,  356-7- 

6  Geschichte  des  Neueren  Dramas,  IV,  243. 

7  "And  amongest  many  other  fearfull  examples  of  Gods  wrathe  against 
Pride,  to  sett  before  their  eyes,  the  fearfull  ludgement  of  God,  shewed 


INTRODUCTION  85 

It  would  be  a  cheerful  bit  of  irony  if  Stubbes  were  used  as  a 
source  for  an  amusement  he  so  violently  attacked,  but  since 
the  play  is  not  extant  it  would  be  foolish  to  do  more  than  call 
attention  in  passing  to  this  interesting  suggestion. 

Haughton's  last  play  was  an  unaided  piece  called  William 
Cartwright,  for  which  he  received  fifty  shillings  8  Sept.  1602. 
It  has  usually  been  said  that  in  this  piece  he  returned  to  the 

upon  a  gentlewoman  of  Eprautna  [Antwerp]  of  late,  euen  the  27  of  Male 
1582,  the  fearfull  sound  whereof  is  blowen  through  all  the  worlde,  and 
is  yet  fresh  in  euery  mannes  memorie.  This  gentlewoman  beeyng  a  very 
riche  Merchaunte  mannes  daughter :  vpon  a  tyme  was  inuited  to  a  Bridall, 
or  Weddyng,  whiche  was  solemnized  in  that  Toune,  againste  whiche  daie 
she  made  greate  preparation,  for  the  plumyng  of  her  self  in  gorgious 
arraie,  that  as  her  body  was  moste  beautifull,  faire,  and  proper,  so  her 
attire  in  euery  respecte  might  bee  corespondent  to  the  same.  For  the 
accomplishment  whereof,  she  curled  her  haire,  she  died  her  lockes,  and 
laied  them  out  after  the  best  maner,  she  coloured  her  face  with  waters 
and  Ointmentes:  But  in  no  case  could  she  gette  any  (so  curious  and 
daintie  she  was)  that  could  starche,  and  sette  her  Ruffes,  and  Neckerchers 
to  her  mynde:  wherefore  she  sent  for  a  couple  of  Laundresses,  who  did 
the  best  thei  could  to  please  her  humors,  but  in  anywise  thei  could  not. 
Then  fell  she  to  sweare  and  teare,  to  cursse  and  banne,  castyng  the  Ruffes 
vnder  feete,  and  wishyng  that  the  Deuill  might  take  her,  when  she  weare 
any  of  those  Neckerchers  againe.  In  the  meane  tyme  (through  the  suffer- 
aunce  of  God)  the  Deuill,  transformyng  himself  into  the  forme  of  a  young 
man,  as  braue,  and  proper  as  she  in  euery  poincte  in  outward  appearaunce, 
came  in,  fainyng  hymself  to  bee  a  woer  or  suter  vnto  her.  And  seyng 
her  thus  agonized,  and  in  suche  a  peltyng  chafe,  he  demaunded  of  her  the 
cause  thereof,  who  straight  waie  tolde  hym  (as  women  can  conceale  no 
thyng  that  lieth  vppon  their  stomackes)  how  she  was  abused  in  the 
settyng  of  her  Ruffes,  which  thyng  beeyng  heard  of  hym,  he  promised 
to  please  her  minde,  and  thereto  tooke  in  hande  the  setting  of  her  Ruffes, 
whiche  he  performed  to  her  greate  contentation,  and  likyng,  in  so  muche 
as  she  lokyng  her  self  in  a  glasse  (as  the  Deuill  bad  her)  became  greatly 
inamoured  with  hym.  This  dooen,  the  yong  man  kissed  her,  in  the  doyng 
whereof,  he  writhe  her  necke  in  sonder,  so  she  died  miserably,  her  bodie 
beyng  Metamorphosed,  into  blacke  and  blewe  colours,  most  vgglesome  to 
behold,  and  her  face  (whiche  before  was  so  amorous)  became  moste  de 
formed,  and  fearfull  to  looke  vpon."  Stubbes,  P.,  The  Anatomic  of 
Abuses  (New  Shakspere  Soc.  Pub.,  Series  6,  No.  4,  P-  71-2). 


86  INTRODUCTION 

murder  play  and  dramatized  a  pamphlet  of  "  the  cruel  out- 
ragious  Murder  of  William  Storre,  Minister  and  Preacher  .  .  . 
by  Francis  Cartwright,  one  of  his  Parishioners."  An  account 
of  the  murder  was  published,  according  to  Hazlitt,1  in  1603 
and  another  in  1613.  Greg 2  casts  doubt  upon  the  supposition, 
pointing  out  that  the  murderer's  name  was  Francis,  not  Wil 
liam,  and  asserting  that  the  account  was  not  published  until 
1613.  The  two  editions  listed  in  Hazlitt,  however,  seem  to  be 
independent  and  different  publications ;  the  former  was  printed 
at  Oxford,  the  latter  at  London.  I  am  by  no  means  convinced 
that  the  account  was  not  published,  as  the  evidence  seems  to 
indicate,  in  1603.  Whether  or  not  there  was  any  connection 
between  these  pamphlets  and  Haughton's  play  is  another  mat 
ter  incapable,  of  course,  of  determination. 

V. 

Haughton   as   a  Dramatist — Variety  of   his    Productions — A   Forerunner 
of  Middleton — A  Typical  Playwright  of  the  Henslowe  Class. 

As  we  look  back  over  the  plays  which  Haughton  wrote  in 
the  brief  course  of  his  dramatic  career  the  list  reveals  a  sur 
prising  variety  of  subjects.  He  apparently  turned  his  hand 
with  equal  ease  to  almost  any  type  of  drama,  and  the  number 
of  types  he  tried  is  consequently  large.  He  seems  to  have 
written  in  the  fashion  of  the  moment  and  to  have  changed  as 
often  as  the  fashion  changed.  When  towards  the  end  of  1599 
the  murder  play  attained  a  renewed  vogue,  he  wrote  Thomas 
Merry  and  Cox  of  Collumpton;  when  towards  the  end  of  the 
century  the  pastoral  fad  touched  the  drama,  he  wrote  the 
Arcadian  Virgin;  after  Chettle  and  Munday  had  aroused  in 
terest  in  the  story  of  Robin  Hood,  he  produced  his  play  of 

1  Handbook,  pp.  336,  408. 

2  Diary,  II,  224. 


INTRODUCTION  87 

Robin  Hood's  Periortlis;  and  so  the  list  might  be  continued 
until  mention  had  been  made  of  his  plays  on  foreign  history, 
on  subjects  drawn  from  folk-lore  and  magic,  the  Bible,  and 
numerous  other  sources.  He  was  particularly  fond  of  the 
drama  of  contemporary  incident,  the  journalistic  drama,  and  in 
this  we  again  see  him  in  the  role  of  an  opportunist.  But 
eclectic  as  he  was  in  his  practice  and  prone  as  he  was  to  follow 
the  fashion  of  the  day,  he  was  by  no  means  incapable  of  strik 
ing  out  new  paths  for  himself  and  undertaking  types  not  yet 
attempted.  His  Englishmen  for  My  Money  not  only  gave  to 
English  drama  a  new  variation  of  plot,  but  it  added  a  new 
type  of  play,  the  comedy  of  London  life.  We  have  in  Haugh- 
ton  a  dramatist  who  tried  everything  with  apparent  careless 
ness,  who  succeeded  without  effort,  and  whose  mind  was  yet 
capable,  when  he  chose  to  give  it  free  rein,  of  work  notable 
for  its  novelty  and  originality. 

To  generalize  about  Haughton's  art  is  not  easy  since  we 
have  so  little  material  to  base  our  observations  upon.  So  far 
as  the  limitations  of  our  knowledge  permit,  however,  we  see 
in  Haughton  chiefly  the  first  notable  example  of  the  kind  of 
drama  later  so  cultivated  by  Middleton.  In  the  latter's  come 
dies,  as  Professor  Schelling  has  said,  "  recur  again  and  again 
the  young  spendthrift,  going  the  pace,  eternal  darling  of  those 
who  delight  in  the  theatre;  the  usurious  money-lender  whom 
we  laugh  to  see  hoist  with  his  own  petard ;  uncles  and  fathers 
duped,  .  .  .  fools  despoiled  and  abused;  and  wit  forever  tri 
umphant  ".*  All  this  is  to  be  found  already  present  in  Eng 
lishmen  for  My  Money.  Haughton's  art  is  not  romantic  and 
his  attitude  is  not  that  of  the  moralist.  In  this  and  other  re 
spects,  too,  he  suggests  Middleton.  His  realism,  his  worldli- 
ness,  the  absence  of  poetry  from  his  work,  his  content  to  look 
at  the  world  as  it  is  and  to  make  laughter  out  of  the  daily  life 

1  English  Literature  during  the  Lifetime  of  Shakespeare,  1910,  pp.  186-7. 


88  INTRODUCTION 

about  him — all  these  things  are  as  typical  of  Middleton  as  of 
Haughton.  Haughton  differs  slightly  from  Middleton  in  the 
absence  of  the  satirical — or  should  we  say  cynical? — purpose. 
He  portrays  simply  and  realistically  the  world  and  the  world's 
follies  because  they  are  subjects  of  laughter  and  comedy; 
Middleton  treats  the  follies  of  mankind  satirically,  not,  it  is 
true,  because  they  are  not  moral,  but  because  they  are  foolish. 
Next  to  Middleton,  Haughton  is  most  likely  to  be  thought  of 
in  connection  with  Dekker.  Yet  such  a  comparison  cannot  but 
be  to  the  former's  disadvantage.  There  was,  we  feel,  in  the 
character  of  Dekker  a  certain  grace  and  charm  and  kindliness 
which  we  cannot  perceive  in  Haughton.  It  is  possible  that  we 
are  doing  the  latter  an  injustice  in  denying  these  qualities  to 
him  on  the  strength  of  only  his  first  play.  But  in  this  play 
there  is  a  worldly  attitude,  none  too  moral  as  it  is  none  too 
sympathetic,  which  fails  to  draw  us  particularly  to  the  author. 
In  Dekker' s  plays,  especially  in  the  Shoemakers'  Holiday,  there 
is  a  spirit  which  pervades  the  work,  that  radiates  from  the 
man  and  is  responsible,  one  feels,  for  not  a  little  of  the  play's 
charm.  Leaving  such  comparisons  aside,  however,  we  recog 
nize  in  Haughton  a  briskness  and  vivacity,  a  humor  boisterous 
at  times  yet  merry  withal,  and  a  homely  realism  and  truth  to 
life  that  sorted  well  with  the  audience  for  which  he  wrote. 

In  conclusion,,  we  have  in  Haughton  a  man  in  every  way 
typical  of  the  Henslowe  class  of  playwrights.  Able,  facile 
and  business-like,  he  has  the  air  of  competence  characteristic 
of  the  professional  as  opposed  to  the  amateur.  With  an  in 
exhaustible  store  of  material  and  an  unusual  capacity  for  work, 
he  is  characteristically  the  fertile  maker  of  '  popular '  plays, 
productive  of  temporary  success  and  immediate  financial  re 
turn.  Writing  in  haste  for  the  present  and  with  no  concern 
for  the  future,  he  is  sharply  distinguished  from  such  a  man  as 
Ben  Jonson,  who  consciously  produced  '  literature ',  spent  a 


INTRODUCTION  89 

year  upon  a  play,  and  was  careful  to  publish  his  work  during 
his  lifetime  in  an  authoritative  edition  for  the  discerning.  But 
in  the  face  of  circumstances  so  destructive  of  good  work, 
Haughton  succeeded  in  producing  one  play  of  permanent  value 
and  in  influencing  considerably  the  course  of  the  drama  of  his 
day.  Together  with  Chettle,  Day  and  Dekker,  his  most  fre 
quent  collaborators,  he  completes  during  the  last  years  of  the 
sixteenth  century  the  most  characteristic  group  of  playwrights 
in  Henslowe's  employ.  In  this  group  he  is  certainly  not  the 
least  notable,  and  in  the  history  of  the  Elizabethan  drama  his 
place  must  always  remain  one  of  real  interest  and  importance. 

THE  TEXT 

Three  quartos  of  Englishmen  for  My  Money  exist,  dated  1616, 
1626  and  1631.  Gayley  is  mistaken  in  thinking  there  are  four 
old  editions  (Rep.  Eng.  Com.,  II,  xxix),  and  Baker  (I,  313)  and 
Jacob  (II,  310)  are  in  error  in  listing  editions  of  1578  and  1656 
respectively.  In  the  preparation  of  the  present  edition  two 
copies  of  the  first  quarto,  two  of  the  second  and  five  of  the  third 
have  been  used.  Of  the  1616  quarto  the  copies  collated  are:  (i) 
one  in  the  collection  of  Mr.  William  A.  White,  of  New  York  (re 
ferred  to  as  \V:  it  may  be  identified  by  the  1874  book-plate  of 
Locker-Lampson) ;  and  (2)  a  copy  in  the  Barton  collection  in 
the  Boston  Public  Library  (referred  to  as  B:  it  contains  the 
armorial  book-plate  of  William  Holgate).  Reference  has  also 
been  made  to  the  British  Museum  specimen  as  reproduced  in 
facsimile  by  Farmer  (Students  Facsimile  Series;  referred  to  as 
BM).  Of  the  1626  quarto,  both  copies  used  are  in  the  possession 
of  Mr.  Henry  E.  Huntington,  of  New  York.  The  first,  referred 
to  as  H,  is  a  large,  finely-preserved  copy  that  can  be  distin 
guished  by  the  ex-libris  of  Robert  Hoe  in  the  cover.  The  other, 
referred  to  as  H2,  is  a  smaller,  closely-trimmed  copy,  formerly 
in  the  possession  of  Mr.  C.  Bohn  Slingluff  (signature  on  fly-leaf) 
and  of  Mr.  Beverly  Chew  (ex-libris  on  inside  of  cover).  Of  the 


9o 


INTRODUCTION 


third  quarto,  most  use  has  been  made  of  the  copy  in  the  library 
of  the  University  of  Pennsylvania  (referred  to  as  P).  The 
four  other  copies  used  are  all  in  the  library  of  Mr.  Huntington : 
(i)  that  referred  to  as  H3  (containing  the  Jester  book-plate  of 
Locker-Lampson)  ;  (2)  that  cited  as  H4  (containing  the  ex-libris 
of  Robert  Hoe)  ;  (3)  one  called  H5  (containing  the  ex-libris  of 
Mr.  Beverly  Chew)  ;  and  (4)  a  copy  referred  to  as  H6  (for 
merly  in  the  possession  of  John  P.  Kemble  and  later  in  the  col 
lection  of  the  Duke  of  Devonshire).  In  this  copy  each  page  has 
been  cut  out  and  mounted  in  the  manner  common  to  books  from 
the  Kemble-Devonshire  collection.  The  copy  is  especially  useful 
because  of  its  clean  presswork.  Letters  and  punctuation  marks 
which  have  failed  to  print  in  other  specimens  are  frequently 
found  fully  impressed  in  H6.  This  is,  of  course,  due  merely  to 
the  accidental  circumstance  that  in  gathering  the  sheets  for  this 
copy  the  printer  happened  to  get  well-printed  ones. 

The  play  was  reprinted  in  the  first  volume  of  a  collection  called 
The  Old  English  Drama,  London,  Thomas  White,  1830,  and  the 
text  and  apparatus  of  this  edition  were  reproduced  in  the  1874 
Dodsley,  vol.  X.  More  recently  the  1616  quarto  has  been  re 
printed  by  the  Malone  Society,  [1913  for]  1912.  All  of  these 
editions  have  been  compared  with  the  present  text,  but  variants 
are  not  recorded.  The  first  two  are  modernized  editions  and  not 
always  trustworthy.  The  last  is  a  careful  reprint  containing  but 
few  slips.  To  justify  the  reading  of  the  text  here  presented  it 
may  be  noted  that  errors  occur  in  lines  442,  824,  1310,  1413,  1427, 
1464,  1477,  2142  and  2598  (=  Malone  Soc.  numbers  458,  848, 
1349,  1455,  1471,  1509,  1522,  2210,  2680).  Unrecorded  variants 
between  BM  and  the  Malone  Soc.  reprint  occur  at  lines  318,  351, 
2446  (=  327,  362,  2523)  and  in  the  list  of  doubtful  readings 
"  Heighun  "  should  be  "Heighun  "  (Mai.  Soc.  454). 

The  present  text  is  almost  an  exact  reprint  of  Qi  in  spelling, 
punctuation,  capitalization,  line  division,  etc.  It  has  been  made 
up  on  the  basis  of  forms.  A  comparison  of  B  and  W,  BM  and 
the  Bodleian  copy  (as  recorded  in  the  variants  of  the  Malone 
Soc.  reprint)  shows  that  B  has  an  uncorrected  outer  form  in 


INTRODUCTION  91 

sheet  B  (318,  351,  438  s.  d.,  442)  ;  and  that  W  has  an  uncor- 
rected  inner  form  in  sheet  F  (1495),  m  sneet  G  (1744),  and  in 
sheet  K  (2543).  Other  variations  between  B  and  W  occur  at 
lines  1704,  2069,  2078  and  2446,  but  they  are  due  probably  to 
faulty  impression  rather  than  to  actual  correction  by  the  printer. 
In  only  a  few  cases  have  readings  of  Q2  and  Q3  been  substituted 
for  the  readings  of  Qi.  Wherever  the  text  of  Qi  has  been  de 
parted  from,  the  departure  is  recorded  in  the  notes.  The  dis 
tinction  of  roman,  italic  and  black-letter  type  has  been  preserved 
except  in  the  punctuation.  Here,  where  the  kind  is  often  diffi 
cult  to  detect,  the  quartos  have  been  adhered  to  only  so  far  as 
was  practicable.  Long  "  s  "  has  been  replaced  by  the  modern 
form  and  the  difference  between  ornamental  and  plain  charac 
ters  of  the  italic  font  has  been  ignored.  The  line  division  of  the 
first  quarto  has  with  few  exceptions  been  kept,  but  no  at 
tempt  has  been  made  to  reproduce  the  spacing  of  the  old  copies. 
The  piece  has  been  divided  into  acts  and  scenes,  and  a  few  neces 
sary  stage  directions  have  been  added — all  in  brackets.  In  the 
full  critical  apparatus  accompanying  the  text  all  cases  in  which 
the  second  or  third  quartos  show  variation  from  the  first  have 
been  noted.  Differences  in  the  kind  of  type  have  not  been  noted 
for  the  punctuation.  In  the  references  to  the  quartos,  the  abbre 
viation  "  Q3  "  indicates  that  all  copies  of  the  third  quarto  agree ; 
the  designation  "  Q2,  etc."  signifies  that  all  copies  of  the  second 
and  third  quartos  examined  are  alike  in  the  reading  recorded. 

Finally,  the  character  and  relation  of  the  three  quartos  may  be 
easily  indicated.  Qi  represents  the  text  in  its  most  accurate  form. 
From  the  stage  directions  at  lines  772  and  1296  it  might  be  in 
ferred  that  the  original  from  which  the  printer  set  his  type  was 
a  stage  version,  but  this  evidence  is  hardly  sufficient  to  establish 
the  point.  Q2  was  set  up  from  Qi.  This  is  evident  from  the 
repetition  of  errors  in  the  original  quarto.  Although  it  offers 
many  variant  readings,  chiefly  in  spelling,  punctuation,  etc.,  it  is 
on  the  whole  a  careful  and  intelligent  reproduction.  Q3  was  set 
up  from  Q2,  as  may  be  seen  from  the  many  readings  in  which  it 
agrees  with  Q2  but  differs  from  Qi,  and  from  the  fact  that  it  is 


92  INTRODUCTION 

a  line-for-line  copy  of  Q2.  In  a  few  cases  Q3  agrees  with  Qi 
and  not  with  Q2,  but  each  of  these  cases  can  be  ascribed  to 
chance  or  can  be  otherwise  reasonably  accounted  for.  Q3  is  a 
much  less  careful  piece  of  work  than  Q2 ;  occasionally  whole 
lines  are  omitted,  to  the  detriment  of  the  sense.  The  differences 
between  the  quartos,  however,  concern  for  the  most  part  spell 
ing,  punctuation  and  typography.  None  of  the  later  editions 
presents  any  notable  textual  variation  from  the  first  quarto. 

Since  the  Stationers'  Register  does  not  record  any  transfer  of 
the  rights  of  the  play,  the  conditions  under  which  these  editions 
were  published  are,  as  Mr.  Greg  says,  somewhat  obscure,  "for 
though  Augustine  Matthews  is  known  to  have  had  dealings  with 
John  White,  the  son  and  heir  of  William,  in  1622,  and  with 
John  Norton  in  1624-6,  no  direct  connexion  is  known  between 
either  John  or  William  White  and  John  Norton."  One  may  go 
even  further  and  doubt  whether  the  1626  edition  really  was 
printed  by  John  Norton,  in  spite  of  the  statement  on  the  title- 
page.  There  is  some  reason  to  think  that  Augustine  Matthews, 
printer  of  the  1631  edition,  was  also  the  printer  of  this.  The 
device  on  the  title-page  (No.  238/2  in  McKerrow,  Publishers 
Devices  in  England  and  Scotland,  14-85-164-0,  London,  1913)  is 
one  which,  McKerrow  suggests,  probably  "  passed  by  way  of 
William  and  John  White  to  Augustine  Mathewes  in  1622". 
(On  the  relations  of  these  men,  see  McKerrow,  Dictionary,  pp. 
188,  288).  From  1624  to  1626  Matthews  printed  several  books 
for  John  Norton  (ibid.,  p.  188)  and  McKerrow  suggests  (Pub 
lishers  Devices,  p.  91)  that  since  the  two  men  seem  to  have  been 
working  in  partnership  at  about  this  date,  the  1626  edition  of 
Englishmen  for  My  Money  was  printed  for  Norton  by  Augustine 
Matthews.  The  ornamental  headpiece  is  the  same  as  that  used 
by  Matthews  in  his  1631  edition  of  the  play.  On  the  title-page 
of  this  edition  the  device  is  that  of  A.  Hart,  Edinburgh  (McKer 
row,  No.  379)  with  the  initials  voided.  It  seems  likely  that 
from  William  White,  who  originally  entered  the  play  on  the 
Stationers'  Register,  it  passed  to  his  son,  John  White,  and  from 
him  to  Augustine  Matthews,  who  issued  two  editions, — one  in 
1626  for  John  Norton,  and  the  other  for  himself  in  1631. 


ENGLISH-MEN 
For  my  Money: 

OR, 

A  pleafant  Comedy, 

called, 

A  Woman  will  haue  her  Will. 


Imprinted  at  London  by  W.  White, 
dwelling  in  Cow-lane.     1616. 


93 


ENGLISH-MEN 

For  my  Money: 
OR 

A  pleafant  Comedy 

Called, 
A  Woman  will  haue  her  Will. 

As  it  hath  beene  diuers  times  Afted 
with  great  applaufe. 


LONDON, 

Printed  by  /.  JV.  and  are  to  be  fold  by  Hugh  Perry  at  his 
Shop  in  Brittaines  Burffe  at  the  figne  of  the  Harrow.    1626. 


94 


A 

Pleafant 
COMEDIE 

CALLED, 

A  Woman  <will  haue  her  Will. 

As  it  hath  beene  diverfe  times  Aded 

with  great  applaufe. 


L  O  N  D  ON, 

Printed  by  A.  M.  and  are  to  be  fold  by  Richard 
Thrale,  at  the  Croflc-Keyes  in  Paules- Church 
yard,  neere  Cheapc-fidc.     1631. 


95 


The  A£tors  names. 

Pisaro,  a  Portingale. 

Laurentia,    \ 

Marina,        \Pisaros  Danghters. 

Mathea,        } 

Anthony,  a  Schoolemaister  to  them. 

Haruie,  \ 

Ferdinand,  or  Heigham,  >  Suters  to  Pisaros  Daughters. 

Ned,  or  Walgraue,  ) 

Delion,  a  Frenchman,     ~\ 

Aluaro,  an  Italian,          >  Suters  also  to  the  3.  daughters, 

Vandalle,  a  Dutchman,  J 

Frisco  a  Clowne,  Pisaros  man. 

M.  Moore. 

Tower  son  a  Mar  chant. 

Balsaro. 

Browne  a  Clothier 

A  Post. 

A  Belman. 

[For  variant  readings  see  notes  at  end  of  volume.] 
96 


[Acx  I.     SCENE  I.     Before  Pisaro's  House.'] 

Enter  PISARO. 

Pisaro. 

HOw  smugge  this  gray-eyde  Morning  seemes  to  bee, 
A  pleasant  sight ;  but  yet  more  pleasure  haue  I 
To  thinke  vpon  this  moystning  Southwest  Winde, 
That  driues  my  laden  Shippes  from  fertile  Spaine : 
But  come  what  will,  no  Winde  can  come  amisse,  5 

For  two  and  thirty  Windes  that  rules  the  Seas, 
And  blowes  about  this  ayerie  Region; 
Thirtie  two  Shippes  haue  I  to  equall  them : 
Whose  wealthy  f  raughts  doe  make  Pisaro  rich : 
Thus  euery  Soyle  to  mee  is  naturall :  10 

Indeed  by  birth,  I  am  a  Portingale, 
Who  driuen  by  Westerne  winds  on  English  shore, 
Heere  liking  of  the  soyle,  I  maried, 
And  haue  Three  Daughters :  But  impartiall  Death 
Long  since,  depriude  mee  of  her  dearest  life:  15 

Since  whose  discease,  in  London  I  haue  dwelt : 
And  by  the  sweete  loude  trade  of  Vsurie, 

Q2  begins:  A  /  PLEASANT  COMEDIE  /  called,  /  A  Woman  will 
haue  her  Will.  /  Enter  PISARO.    Q3  begins :  A  /  PLEASANT  COMEDIE  / 
called,  /  A  Woman  will  haue  her  will.  /  Enter  PISARO. 
I  The  '  H '  covers  only  two  lines  in  Q2  etc.    bee]  be :  Q3 
4  Spaine]  Spaine  Q3    7  ayerie]  ayrie  Q2  etc. 
8  Thirtie]  Thirty  63    10  euery]  every  Q3    Soyle]  soyle  Q2  etc. 
10  mee]  me  Q2  etc.     n  Portingale]  Portugale  Q2    Portugale  Q3 
12  driuen]  driven  Q3    winds]  windes  Q2  etc. 
12  English]  English  Q3     13  soyle]  Soyle  Q2 
14  Three]  three  Q3    Death]  death  Q3     15  mee]  me  Q2  etc. 

16  London]  London  Q3 

17  sweete]  sweet  Q2  etc.    Vsurie]  Vsurie  Q3 

97 


98  ENGLISHMEN  FOR  MY  MONEY,  OR 

Letting  for  Interest,  and  on  Morgages, 

Doe  I  waxe  rich,  though  many  Gentlemen 

By  my  extortion  comes  to  miserie :  20 

Amongst  the  rest,  three  English  Gentlemen, 

Haue  pawnde  to  mee  their  Liuings  and  their  Lands : 

Each  seuerall  hoping,  though  their  hopes  are  vaine, 

By  mariage  of  my  Daughters,  to  possesse 

Their  Patrimonies  and  their  Landes  againe :  25 

But  Gold  is  sweete,  and  they  deceiue  them-selues ; 

For  though  I  guild  my  Temples  with  a  smile, 

It  is  but  ludas-like,  to  worke  their  endes. 

But  soft,  What  noyse  of  footing  doe  I  heare  ? 

Enter  Laurentia,  Marina,  Mat  he  a,  and  Anthony. 

Laur.     Now  Maister,  what  intend  you  to  read  to  vs  ?      30 
A  nth.    Pisaro  your  Father  would  haue  me  read  mo  rail  Phi- 
Marl.    What's  that?  (losophy. 
Anth.     First  tell  mee  how  you  like  it  ? 
Math.     First  tell  vs  what  it  is. 
Pisa.    They  be  my  Daughters  and  their  Schoole-maister,    35 

Pisaro,  not  a  word,  but  list  their  talke. 

Anth.     Gentlewomen,  to  paint  Philosophy, 

Is  to  present  youth  with  so  sowre  a  dish, 

18  Interest]  interest  Qj    20  comes]  come  Q3 

20  miserie]  misery  Q3    21  rest,]  rest  Q3    English]  English  Q3 

22  mee]  me  Q3    Liuings  . . .  Lands]  livings  . . .  lands  Q3 

23  seuerall]  severall  Q3    24  Daughters,]  Daughters  Q3 

25  Landes]  Lands  Q2  lands  Q3    26  sweete]  sweet  Q2  etc. 

26  them-selues]  themselues  Q3    27  guild]  gilde  Q3 
28  endes]  ends  Q2  etc.    29  But]  B  cut  off  in  W 

30  Maister]  Master  Q3    read]  reade  Q2  etc.    vsf]  vs:  Q3 

31  read]  reade  Q2  etc.    32  Philosophy]  Philosophy  Q3 
33  mee]  me  Q3 

35  Daughters]  daughters  Q3     Schoole-maister]  'Schooleemaister 'Q2 
Schoolemaster  Q3    37  Philosophy]  Philosophy  Q3    38  Is]  I  cut  off  in  W 


A  WOMAN  WILL  HAVE  HER  WILL  99 

As  their  abhorring  stomackes  nill  digestes. 

When  first  my  mother  Oxford  (England*  pride)  40 

Fostred  mee  puple-like,  with  her  rich  store, 

My  study  was  to  read  Philosophy: 

But  since,  my  head-strong  youths  vnbridled  will, 

Scorning  the  leaden  fetters  of  restraint, 

Hath  prunde  my  fea[t]hers  to  a  higher  pitch.  45 

Gentlewomen,  Morall  Philosophy  is  a  kind  of  art, 

The  most  contrary  to  your  tender  sexes ; 

It  teacheth  to  be  graue :  and  on  that  brow, 

Where  Beawtie  in  her  rarest  glory  shines, 

Plants  the  sad  semblance  of  decayed  age :  50 

Those  Weedes  that  with  their  riches  should  adorne, 

And  grace  faire  Natures  curious  workmanship, 

Must  be  conuerted  to  a  blacke  fac'd  vayle, 

Grief es  liuerie,  and  Sorrowes  semblance : 

Your  food  must  be  your  hearts  aboundant  sighes,  55 

Steep'd  in  the  brinish  licquor  of  your  teares : 

Day-light  as  darke-night,  darke-night  spent  in  prayer : 

Thoughts  your  companions,  and  repentant  mindes, 

The  recreation  of  your  tired  spirits  : 

39  stomackes]  stomacks  Q2  etc.    nill]  ill  Q3 

39  digestes]  digests  Q2  etc.   40  mother]  Mother  Q2    Oxford]  Oxford  Q3 

40  Englands]  Englands  Q3    41  mee  puple-]  me  pupil-  Q3 
42  study]  studie  Q2  etc.    read]  reade  Q2  etc.    Philosophy] 
Philosophy  Q3    45  prunde]  prund  Q3    feahers]  feathers  Q2  etc. 
pitch.]  pitch,  Q3 

46  Morall  Philosophy]  morall  Philosophy  Q3    kind]  kinde  Q2  etc. 
49  Beawtie]  Beautie  Q2    Beauty  Q3    SiWeedes]  VVeed«s  Q2 

52  workmanship]  workemanship  Q2  etc.    53  conuerted]  converted  Q3 

53  blacke  fac'd]  blacke-fac'd  Q2    blacke-fac'd  Q3 

54  liuerie,]  livery  Q3    55  food]  foode  Q2  etc. 

55  aboundant]  aboudant  Q2    abundant  Q3 

56  brinish  licquor]  briuish  lyquor  Q2    brinish  liquor  Q3 

57  All  hyphens  except  first  omitted  Q2  etc.    59  tired]  tyred  Q2  etc. 


I0o  ENGLISHMEN  FOR  MY  MONEY,  OR 

Gentlewomen,  if  you  can  like  this  modestie,  60 

Then  will  I  read  to  you  Philosophy. 

Laur.     Not  I. 

Marl.     Fie  vpon  it. 

Math.     Hang  vp  Philosophy,  He  none  of  it. 

Pisar.     A  Tutor  said  I ;  a  Tutor  for  the  Diuell.  65 

Anth.     No  Gentlewomen,  Anthony  hath  learn'd 
To  read  a  Lector  of  more  pleasing  worth. 
Marina,  read  these  lines,  young  Haruie  sent  them, 
There  euery  line  repugnes  Philosophy : 

Then  loue  him,  for  he  hates  the  thing  thou  hates.  70 

Laurentia,  this  is  thine  from  Ferdinande : 
Thinke  euery  golden  circle  that  thou  see'st, 
The  rich  vnualued  circle  of  his  worthe. 
Mathea,  with  these  Gloues  thy  Ned  salutes  thee ; 
As  often  as  these,  hide  these  from  the  Sunne,  75 

And  Wanton  steales  a  kisse  from  thy  f aire  hand, 
Presents  his  seruiceable  true  harts  zeale, 
Which  waites  vpon  the  censure  of  thy  doome : 
What  though  their  Lands  be  morgag'd  to  your  Father ; 
Yet  may  your  Dowries  redeeme  that  debt :  80 

Thinke  they  are  Gentlemen,  and  thinke  they  loue ; 
And  be  that  thought,  their  true  loues  aduocate. 

60  Gentlewomen,]  Gentlewomen  Q3    modestie]  Modesty  Q2    modesty  Qs 

61  read]  reade  Q2  etc.    Philosophy]  Philosophy  Q3 
64  Philosophy]  Philosophy  Q3    65  Diuell]  Divell  Q3 

66  Gentlewomen]  Gentiewomen  Q3    67  read]  reade  Q2  etc. 

67  worth]  wo  th  Q3    68  Haruie]  Haruy  Q2    Haruy  Q3 

68  them,]  them.  Q2  etc.    69  euery]  every  Q3 

69  Philosophy]  Phylosophy  Q2    Philosophy  Q3     72  euery]  every  Q3 

72  see'st]  seest  Q2  etc.    73  vnualued]  vnvalued  Q3 

73  worthe]  worth  Q2  etc.   75  these,]  these  Q3   76  Wanton]  wanton  Q2  etc., 
77  seruiceable]  serviceable  Q3    harts]  hearts  Q2  etc. 

79  Lands]  lands  Q3    80  debt]  dept  Q3    82  aduocate]  Aduocate  Q2 
Advocate  Q3 


A  WOMAN  WILL  HAVE  HER  WILL  IOI 

Say  you  should  wed  for  Wealth ;  for  to  that  scope 
Your  Fathers  greedy  disposition  tendes, 
The  world  would  say,  that  you  were  had  for  Wealth,  85 

And  so  faire  Beawties  honour  quite  distinct : 
A  masse  of  Wealth  being  powrde  vpon  another, 
Little  augments  the  shew,  although  the  summe ; 
But  beeing  lightly  scattred  by  it  selfe, 

It  doubles  what  it  seem'd,  although  but  one :  90 

Euen  so  your  selues,  for  wedded  to  the  Rich, 
His  stile  was  as  it  was,  a  Rich  man  still : 
But  wedding  these,  to  wed  true  Loue,  is  dutie : 
You  make  them  rich  in  Wealth,  but  more  in  Beawtie : 
I  need  not  plead,  that  smile  shewes  hearts  consent ;  95 

That  kisse  shew'd  loue,  that  on  that  gift  was  lent : 
And  last  thine  Eyes,  that  teares  of  true  ioy  sendes, 
As  comfortable  tidings  for  my  friends.  (procure, 

Marl.     Haue  done,  haue  done ;  what  need'st  thou  more 
When  long  ere  this  I  stoop'd  to  that  faire  lure :  100 

Thy  euer  louing  Haruie  I  delight  it : 
Marina  euer  louing  shall  requite  it. 
Teach  vs  Philosphy  ?    He  be  no  Nunne ; 

83  Wealth]  wealth  Q2  etc.    scope]  scope,  Q2  etc. 

84  tendes]  tends  Q2  etc.    85  Wealth]  wealth  Q3 

86  Beawties]  Beauties  Q2    beauties  Q3    87  powrde]  pour'd  Q2  etc. 

87  another]  an  other  Q2  etc.    88  summe;]  summe:  Q2  etc. 

89  beeing]  being  Q2  etc.    91  Euen]  Even  Q3    92  Rich]  rich  Q3 

94  Beawtie]  Beautie  Q2    Beauty  Q3 

95  All  Qq  read :  I  need  not  plead  that  smile,  that  smile  shewes .... 

95  In  Qi  '  consent*  is  divided,  '  con-'  concluding  1.  95  and  '  sent; '  appearing 
on  the  line  below. 

97  Eyes,]  Eyes  P  H4    sendes,]  sends.  Q2  etc. 

98  procure]  procures  Q2  etc.     101  euer  louing]  euer-louing  Q2 
ever-loving  Q3    Haruie]  Haruie  Q3     102  euer  louing]  ever  loving  Q3 
102  Qi  reads:  Marina  euer  louing  shall  requite  it  young,    it.]  it  Q2 

102  young.]  Omitted'  Q2  etc.     103  Philosphy}  Philosophy  Q3 

103  Nunne]  Nunne  Q3 


I02  ENGLISHMEN  FOR  MY  MONEY,  OR 

Age  scornes  Delight,  I  loue  it  being  [young]  : 

There's  not  a  word  of  this,  not  a  words  part,  105 

But  shall  be  stamp'd,  seal'd,  printed  on  my  heart ; 

On  this  He  read,  on  this  my  senses  ply : 

All  Arts  being  vaine,  but  this  Philosophy. 

Laur.     Why  was  I  made  a  Mayde,  but  for  a  Man? 
And  why  Laurentia,  but  for  Ferdinand?  no 

The  chastest  Soule  these  Angels  could  intice  ? 
Much  more  himselfe,  an  Angell  of  more  price : 
were't  thy  selfe  present,  as  my  heart  could  wish, 
Such  vsage  thou  shouldst  haue,  as  I  giue  this. 

Anth.     Then  you  would  kisse  him  ?  115 

Laur.     If  I  did,  how  then? 

Anth.     Nay  I  say  nothing  to  it,  but  Amen. 

Pisa.     The  Clarke  must  haue  his  fees,  He  pay  you  them. 

Math.     Good  God,  how  abiect  is  this  single  life, 
He  not  abide  it;  Father,  Friends,  nor  Kin,  120 

Shall  once  disswade  me  from  affecting  [him]  : 
A  man's  a  man ;  and  Ned  is  more  then  one : 
Yfayth  lie  haue  thee  Ned,  or  He  haue  none; 
Doe  what  they  can,  chafe,  chide,  or  storme  their  fill, 
Mathea  is  resolu'd  to  haue  her  will.  125 

Pisa.     I  can  no  longer  hold  my  patience. 
Impudent  villaine,  and  laciuious  Girles, 
I  haue  ore-heard  your  vild  conuersions : 
You  scorne  Philosophy :     You'le  be  no  Nunne, 

104  Delight]  delight  Q3    young  inserted  Q2  etc 

107  read]  reade  Q2  etc.     108  Philosophy]  Philosophy  Q3 

in  Soule]  soule  Q3     113  were't]  Weer't  Q2  etc 

114  this.]  this,  Q2    117  I]  I,  Q3    Amen]  Amen  Q3 

121  him  inserted  Q2  etc.     123  Yfayth]  Yfaith  Q3 

123  none;]  none:  Q3.    Q2  has  turned;     124  can]  cau  Q3 

127  villaine]  So  Q2  etc.    Qi  has  villanie 

127  laciuious]  lascivious  Q3     128  conuersions]  conversions  Q3 

129  Philosophy]  Philosophy  Q3     130  needes]  needs  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

You  must  needes  kisse  the  Pursse,  because  he  sent  it.          130 

And  you  forsooth,  you  flurgill,  minion, 

A  brat  scant  folded  in  the  dozens  at  most, 

Youle  haue  your  will  forsooth;  What  will  you  hauef 

Math.  But  twelue  yeare  old  ?  nay  Father  that's  not  so, 
Our  Sexton  told  mee  I  was  three  yeares  mo.  135 

Pisa.     I  say  but  twelue :  you'r  best  tell  mee  I  lye. 
What  sirra  Anthony.  Anth.     Heere  sir. 

Pisa.  Come  here  sir,  &  you  light  huswiues  get  you  in : 
Stare  not  vpon  me,  moue  me  not  to  ire :  Exeunt  sisters. 
Nay  sirra  stay  you  here,  He  talke  with  you :  140 

Did  I  retaine  thee  (villaine)  in  my  house, 
Gaue  thee  a  stipend  twenty  Markes  by  yeare, 
And  hast  thou  thus  infected  my  three  Girles, 
Vrging  the  loue  of  those,  I  most  abhord ; 
Vnthrifts,  Beggers;  what  is  worse,  145 

And  all  because  they  are  your  Country-men  ? 

Anth.  Why  sir,  I  taught  them  not  to  keepe  a  Marchants 
Booke,  or  cast  accompt:  yet  to  a  word  much  like  that 
word  Accounte. 

Pisa.     A  Knaue  past  grace,  is  past  recouerie.  150 

Why  sirra  Frisco,  Villaine,  Loggerhead,  where  art  thou? 

Enter  Frisco,  the  Clowne. 

Frisc.  Heere's  a  calling  indeed ;  a  man  were  better  to 
Hue  a  Lords  life  and  doe  nothing,  then  a  Seruing  creature, 
and  neuer  be  idle.  Oh  Maister,  what  a  messe  of  Brewesse 

130  Pursse]  Purse  Q2  etc.    133  Youle]  You'le  Q2  etc. 

134  nay]  nay,  Q3    yeare]  yeere  Q3     135  mee]  me  Q3    yeares]  yeres  Q3 

136  mee]  me  Q2  etc.     138  &]  and  Q3     139  moue]  mooue  Q3 

142  yeare]  yeere  Q3    Gaue]  Giue  Q2  etc.     149  Accounte]  Account  Q2 

account  Q3     150  recouerie]  recovery  Q3 

151  Loggerhead]  Logger  head  Q3     152  Frisc.]  Fra.  Q3 

153  Seruing]  seruing  Q2    serving  Q3     154  neuer]  never  Q3 

154  Maister]  Master  Q3 


I04  ENGLISHMEN  FOR  MY  MONEY,  OR 

standes  now  vpon  the  poynt  of  spoyling  by  your  hasti-  155 
nesse;  why  they  were  able  to  haue  got  a  good  Stomacke 
with  child  euen  with  the  sight  of  them ;  and  for  a  Vapour, 
oh  precious  Vapour,  let  but  a  Wench  come  neere  them 
with  a  Painted  face,  and  you  should  see  the  Paint  drop  and 
curdle  on  her  Cheekes,  like  a  peece  of  dry  Essex  Cheese  160 
toasted  at  the  fire. 

Pisa.   Well  sirra,  leaue  this  thought,  &  minde  my  words, 
Giue  diligence,  inquire  about 
For  one  that  is  expert  in  Languages, 

A  good  Musitian,  and  a  French-man  borne;  165 

And  bring  him  hither  to  instruct  my  Daughters, 
He  nere  trust  more  a  smooth-fac'd  English-man. 

Frisc.  What,  must  I  bring  one  that  can  speake  Langua 
ges  ?  what  an  old  Asse  is  my  Maister ;  why  he  may  speake 
flaunte  taunte  as  well  as  French,  for  I  cannot  vnderstand 

him.  170 

Pisa.  If  he  speake  French,  thus  he  will  say,  Awee  awee : 
What,  canst  thou  remember  it? 

Frisc.     Oh,  I  haue  it  now,  for  I  remember  my  great 
Grandfathers  Grandmothers  sisters  coosen  told  mee,  that 
Pigges  and  French-men,  speake  one  Language,  awee  awee ;  I   175 
am  Dogg  at  this :     But  what  must  he  speake  else  ? 

Pisa.     Dutch.  Frisc.     Let's  heare  it? 

Pisa.     Haunce  butterkin  slowpin. 

155  standes]  stands  Q2  etc. 

155  poynt]  point  Q2    157  child]  child,  Q2  etc.    euen]  even  Q3 

159  Painted Paint]  painted paint  Q3 

162  minde]  mind  Q2  etc.     165  French-man]  French-man  Q3 

167  nere]  ne're  Q2  etc.    English-man]  Englishman  Q2    English-man  Qa 

169  Maister]  Master  Q2  etc.    he]  hee  Q2  etc. 

170  French]  French  Q3    him.]  him  Q3     171  French]  French  Q3 

171  he]  hee  Q3     175  French-men]  French  men  H.    French-men  Q3 
awee]  awee,  Q$    177  Dutch.]  Dutch,  Q2    Dutch.  Q3    Frisc.]  Frisc,  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

Fris.    Oh  this  is  nothing,  for  I  can  speake  perfect  Dutch 
when  I  list.  180 

Pisa.     Can  you,  I  pray  let's  heare  some  ? 

Frisc.     Nay  I  must  haue  my  mouth  full  of  Meate  first, 
and  then  you  shall  heare  me  grumble  it  foorth  full  mouth, 
as  Haunce  Butter  kin  slowpin  fro  kin:  No,  I  am  a  simple  Dutch 
man:  Well,  He  about  it.  185 

Pisa.  Stay  sirra,  you  are  too  hastie ;  for  hee  must  speake 
one  Language  more. 

Frisc.   More  Languages  f   I  trust  he  shall  haue  Tongues 
enough  for  one  mouth :  But  what  is  the  third  ? 

Pisa.     Italian.  190 

Fris.     Why  that  is  the  easiest  of  all,  for  I  can  tell  whether 
he  haue  any  Italian  in  him  euen  by  looking  on  him. 

Pisa.     Can  you  so,  as  how? 

Frisc.  Marry  by  these  three  poynts;  a  Wanton  Eye, 
Pride  in  his  Apparell,  and  the  Diuell  in  his  Countenance.  195 
Well,  God  keepe  me  from  the  Diuel  in  seeking  this  French 
man  :  But  doe  you  heare  mee  Maister,  what  shall  my  fel 
low  Anthony  doe,  it  seemes  he  shall  serue  for  nothing  but  to 
put  Lattin  into  my  young  Mistresses.  Exit  Frisco. 

Pisa.     Hence  asse,  hence  loggerhead,  begon  I  say.  200 

And  now  to  you  that  reades  Philosophy, 
Packe  from  my  house,  I  doe  discharge  thy  seruice, 

179  Fris.]  Frisc.  Q2.    Dutch]  Dutch  Q3 

181  you,]  you?  Qs    some?]  some.  Q3     182  Nay]  Nay,  Q2  etc. 

182  Meate]  meate  Q3    183  me]  mee  Q3    184  Dutch-]  Dutch  Q2    Dutch  Q3 
185  man]  man  Q3    In  Qi  the  m  is  turned.     186  hee]  he  Q2 

188  he]  hee  Q3    190  Italian]  Italian  Q3     192  Italian]  Italian  Q3 
192  euen]  even  Q3     195  Diuell]  Divell  Q3     196  keepe]  keep  Q2  etc. 

196  Diuel]  Divel  Q3     196-7  French-man}  French-man  Q3 

197  Maister]  Master  Q3    mee]  me  Q2  etc.     198  he]  hee  Q2  etc. 

109  Lattin}  Latine  Q3     young]  yongue  Q3     Mistresses.]  Mistresses :  Q2  etc. 
Frisco.]  Frisco  Q2  etc.    201  Philosophy]  Philosophy  Q3 


I06  ENGLISHMEN  FOR  MY  MONEY,  OR 

And  come  not  neere  my  dores;  for  if  thou  dost, 
He  make  thee  a  publike  example  to  the  world. 

Antho.     Well  crafty  Fox,  you  that  worke  by  wit,  205 

It  may  be,  I  may  Hue  to  fit  you  yet.  Exit  Antho. 

Pisa.     Ah  sirra,  this  tricke  was  spide  in  time, 
For  if  but  two  such  Lectures  more  they'd  heard, 
For  euer  had  their  honest  names  been  marde  : 
He  in  and  rate  them :  yet  that's  not  best,  210 

The  Girles  are  wilfull,  and  seueritie 
May  make  them  carelesse,  mad,  or  desperate. 
What  shall  I  doe?     Oh/     I  haue  found  it  now, 
There  are  three  wealthy  Marchants  in  the  Towne, 
All  Strangers,  and  my  very  speciall  friendes,  215 

The  one  of  them  is  an  Italian: 
A  French-man,  and  a  Dutch-man,  be  the  other : 
These  three  intyrely  doe  affect  my  Daughters, 
And  therefore  meane  I,  they  shall  haue  the  tongues, 
That  they  may  answere  in  their  seuerall  Language :  220 

But  what  helpes  that  ?  they  must  not  stay  so  long, 
For  whiles  they  are  a  learning  Languages, 
My  English  Youths,  both  wed,  and  bed  them  too: 
Which  to  preuent,  He  seeke  the  Strangers  out, 
Let's  looke :  tis  past  aleauen,  Exchange  time  full,  225 

203  dores;]  doores:  Q2  etc.    dost]  doest  Q2  etc. 

207  sirra]  sirrah  Q2  etc.    208  they'd]  theyd  Q2  etc. 

209  been]  beene  Q2  bin  Q3    211  seueritie]  seueritie,  Q2  seuerity  Q3 

212  mad]maddeQ2  214  Marchants] Merchants Q2etc.  Towne,] Towne. Q2 etc. 

215  friendes]  friends  Q2  etc.    216  Italian:]  Italian:  Q3 

217  French-man]  French-man  Q3    Dutch-man]  Dutch-man  Q3 

218  intyrely]  intirely  Q3     Daughters]  daughters  Q3 

219  I,]  I  Q3    221  helpes]  helps  Q2  etc.    long,]  long:  Q2  etc. 

222  Languages]  languages  Q2  etc. 

223  Youths,]  Youthes,  Q2    Youthes  Q3    wed,]  wed  Q2  etc. 

224  preuent,]  preuent  Q2  etc.    225  aleauen]  a  leauen  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

There  shall  I  meete  them,  and  conferre  with  them, 

This  worke  cranes  hast,  my  Daughters  must  be  Wedde, 

For  one  Months  stay,  sayth  farrewell  Mayden  head. 

Exit. 

[SCENE  II.     The  Same.] 

Enter  Haruie,  Heigham, 
and  Walgraue. 

Heigh.     Come  Gentlemen,  w'are  almost  at  the  house, 
I  promise  you  this  walke  ore  Tower-hill,  230 

Of  all  the  places  London  can  afforde, 
Hath  sweetest  Ayre,  and  fitting  our  desires. 

Haru.     Good  reason,  so  it  leades  to  Croched-Fryers 
Where  old  Pisaro,  and  his  Daughters  dwell, 
Looke  to  your  feete,  the  broad  way  leades  to  Hell :  235 

They  say  Hell  standes  below,  downe  in  the  deepe, 
He  downe  that  Hill,  where  such  good  Wenches  keepe, 
But  sirra  Ned,  what  sayes  Mathea  to  thee  ? 
Wilt  f  adge  ?     wilt  f  adge  ?    What,  will  it  be  a  match  ? 

Walg.     A  match  say  you  ?     a  mischief e  twill  as  soone :  240 
Sbould  I  can  scarce  begin  to  speake  to  her, 
But  I  am  interrupted  by  her  father. 
Ha,  what  say  you  ?     and  then  put  ore  his  snoute, 

226  meete]  meet  Q2  etc.    227  Wedde]  Wed  Q3     Months]  monthes  Q2  etc. 
228  sayth  farrewell  Mayden  head]  then  farewell  Mayden-head  Q2  etc. 
228  head.]  head  Q2 

228  s.  d.  Haruie]  Haruy  Q3     Walgraue]  Walgraue  Q3 

229  Heigh]  Hoigh  Q2    230  ore  Tower-hill]  ore  the  Tower-hill  Q2  etc. 
231  afforde]  affoord  Q2  etc.    233  Croched-Fryers]  Croched  Fryers,  Q2  etc. 
234  Daughters]  daughters  Q3    dwell,]  dwell;  Q2  etc. 

236  standes]  stands  Q2  etc. 

237  Hill]  Hell  Q3    Wenches]  wenches  Q2  etc.    240  you?]  you;  Q2  etc. 

241  Sbould  I  can  scarce]  For  I  can  scarse  Q2  etc. 

242  father]  Father  Q2  etc.    243  snoute]  snout  Q2  etc. 


108  ENGLISHMEN  FOR  MY  MONEY,  OR 

Able  to  shaddow  Powles,  it  is  so  great. 

Well,  tis  no  matter,  sirrs,  this  is  his  House,  245 

Knocke  for  the  Churle  bid  him  bring  out  his  Daughter ; 
He,  sbloud  I  will,  though  I  be  hanged  for  it, 

Heigh.     Hoyda,  hoyda,  nothing  with  you  but  vp  &  ride, 
Youle  be  within,  ere  you  can  reach  the  Dore, 
And  haue  the  Wench,  before  you  compasse  her :  250 

You  are  too  hastie,  Pisaro  is  a  man, 
Not  to  be  f  edde  with  Words,  but  wonne  with  Gold. 
But  who  comes  heeref 

Enter  Anthony. 

Walg.     Whom,  Anthony  our  friend  ? 

Say  man,  how  fares  our  Loues?     How  doth  Mathea?        255 
Can  she  loue  Ned?     how  doth  she  like  my  sutef 
Will  old  Pisaro  take  me  for  his  Sonne ; 
For  I  thanke  God,  he  kindly  takes  our  Landes, 
Swearing,  Good  Gentlemen  you  shall  not  want, 
Whilst  old  Pisaro,  and  his  credite  holds :  260 

He  will  be  damn'd  the  Roage,  before  he  do't? 

Haru.  Prethy  talke  milder :  let  but  thee  alone, 
And  thou  in  one  bare  hower  will  aske  him  more, 
Then  heele  remember  in  a  hundred  yeares : 

244  Powles]  Panics  Q2  etc.    245  sirrs]  sirs  Q2  etc.    House]  house  Q3 

246  Churle]  Churle,  Q2  etc.    Daughter]  Daughters  Q3 

247  He,  sbloud  I  will]  He,  that  I  will  Q2  etc.    it,]  it.    Q2  etc. 

248  Heigh.]  Heig.  Q3    &  ride,]  and  ride ;  Q3 

249  Dore]  doore  Q2  etc.    251  too]  to  Q2    hastie]  hasty  Q2  etc. 

252  fedde]  fed  Q3    Words]  words  Q3    wonne]  won  Q3 

253  heere]  here  Q2    254  Whom,]  Whom  Q2  etc.    256  sute]  suit  Q2  etc. 

257  Sonne]  sonne  Q3 

258  Landes]  Lands  Q2  etc.    259  Good  Gentlemen]  good  Gentlemen,  Q2  etc. 

260  credite]  credit  Q2  etc.    holds]  hold  Q3 

261  damn'd  the  Roage,]  damn'd,  the  Rogue  Q2  etc. 

263  hower]  houre  Q2  etc.    will]  wilt  Q3    264  a]  an  Q2  etc. 

264  hundred]  hundrd  Q3    yeares]  yeeres  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 


109 


Come  from  him  Anthony,  and  say  what  newes?  265 

Antho.     The  newes  for  me  is  badd;  and  this  it  is: 
Pisaro  hath  discharg'd  me  of  his  seruice. 

Heigh.     Discharg'd  thee  of  his  seruice ;  for  what  cause  ? 

Anth.  Nothing,  but  that  his  Daughters  learne  Philosophy. 

Haru.     Maydes  should  reade  that,  it  teacheth  modestie.  270 

Antho.     I,  but  I  left  out  mediocritie, 
And  with  effectuall  reasons,  vrgd  your  loues. 

Walg.    The  fault  was  small,  we  three  will  to  thy  Maister 
And  begge  thy  pardon. 

Antho.     Oh,  that  cannot  be,  275 

Hee  hates  you  f arre  worser,  then  he  hates  me ; 
For  all  the  loue  he  shewes,  is  for  your  Lands, 
Which  he  hopes  sure  will  fall  into  his  hands  : 
Yet  Gentlemen,  this  comfort  take  of  me, 
His  Daughters  to  your  loues  affected  be :  280 

Their  father  is  abroad,  they  three  at  home, 
Goe  chearely  in,  and  cease  that  is  your  owne : 
And  for  my  selfe,  but  grace  what  I  intend, 
He  ouerreach  the  Churle,  and  helpe  my  Frend. 

Heigh.     Build  on  our  helpes,  and  but  deuise  the  meanes.  285 

Antho.     Pisaro  did  commaund  Frisco  his  man, 
(A  simple  sotte,  kept  onely  but  for  myrth) 

266  Antho.]  Anth.  Q2  etc.    badd]  bad  Q2  etc. 

267  seruice.]  service,  Q3    Heigh.]  Heig.  Q2  etc.    seruice]  service  Q3 

269  Daughters]  daughters  Q3    learne]  learn  Q2 

270  Qi  and  Q2  read  should  reade,  that  it . . .  Q3  as  above. 

271  Antho.]  Anth.  Q2  etc.    273  Maister]  Master  Q2    Master,  Q3 
274  begge]  beg  Q3.    275  Antho.]  Anth.  Q2  etc. 

276  Hee]  He  Q2  etc.    farre]  far  Q3    277  Lands]  lands  Q3 

279  Gentlemen,]  Gentlemen ;  Q2  etc.    280  Daughters]  daughters  Q3 

281  father]  Father  Q2  etc.    abroad,  they]  abroad ;  They  Q2  etc. 

282  chearely]  cheerely  Q2  etc.    cease]  ceaze  Q3 

284  ouerreach]  overreach  Q3    Frend]   friend  Q2  etc, 

285  Heigh.]  Heig.  Q3    deuise]  devise  Q3 

286  commaund]  command  Q2  etc.    287  sotte]  sot  Q3    myrth]  mirth  Q2  etc. 


IIO  ENGLISHMEN  FOR  MY  MONEY,  OR 

To  inquire  about  in  London  for  a  man, 

That  were  a  French-man  and  Musitian, 

To  be  (as  I  suppose)  his  Daughters  Tutor :  290 

Him  if  you  meete,  as  like  enough  you  shall, 

He  will  inquire  of  you  of  his  affayres ; 

Then  make  him  answere,  you  three  came  from  Paules, 

And  in  the  middle  walke,  one  you  espide, 

Fit  for  his  purpose ;  then  discribe  this  Cloake,  295 

This  Beard  and  Hatte :  for  in  this  borrowed  shape, 

Must  I  beguile  and  ouer-reach  the  Foole : 

The  Maydes  must  be  acquainted  with  this  drift. 

The  Doore  doth  ope,  I  dare  not  stay  reply, 

Least  beeing  discride :  Gentlemen  adue,  300 

And  helpe  him  now,  that  oft  hath  helped  you.     Exit. 

Enter  Frisco  the  Clowne. 

Wai.     How  now  sirra,  whither  are  you  going? 

Fris.  Whither  am  I  going,  how  shall  I  tell  you,  when  I 
doe  not  know  my  selfe,  nor  vnderstand  my  selfef 

Heigh.     What  dost  thou  meane  by  that  ?  305 

Frisc.  Marry  sir,  I  am  seeking  a  Needle  in  a  Bottle  of 
Hay,  a  Monster  in  the  liknesse  of  a  Man :  one  that  in  stead 
of  good  morrow,  asketh  what  Porrage  you  haue  to  Din 
ner,  Parley  vous  signiour  ?  one  that  neuer  washes  his  fingers, 
but  lickes  them  cleane  with  kisses;  a  clipper  of  the  Kings  310 

288  London]  London  Q3  289  French-man]  French-man,  Q2  French-man,  Q3 
290  Daughters]    daughters  Q3    291  meete]   meet  Q2  etc. 
292  inquire]  enquire  Q2  etc.     affayres]  affaires  Q3 

295  discribe]  describe  Q2  etc.    296  Beard]  Beard,  Q2    beard,  Q3 

296  Hatte]  Hat  Q3    297  beguile]  beguile,  Q2  etc.    ouer-reach]  over-reach  Q3 
298  Maydes]  Maides  Q3    299  Doore]  doore  Q3 

300  Least]  Lest  Q3    beeing]  being  Q2  etc.    301  now,]  now  Q2  etc. 

302  Wai]  Walg,  Qz  etc.    whither]  whether  Q3 

303  Whither]  Whether  Q3  304  selfef]  selfe:  Q3   307  Monster]  monster  Q3 
307  liknesse]  likenesse  Q2  etc.    309  Parley]  Parlee  Q2  etc. 

309  neuer]  never  Q3    fingers,]  fingers  Q2  etc.    310  lickes]  licks  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL  IXI 

English :  and  to  conclude,  an  eternall  enemie  to  all  good 
Language. 

Haru.     What's  this?     what's  this f 

Fris.  Doe  not  you  smeil  me  ?  Well,  I  perceiue  that  witte 
doth  not  always  dwei  in  a  Satten-dublet :  why,  tis  a  French-  315 
man,  Bassimon  cue,  how  doe  you? 

Haru.     I  thanke  you  sir,  but  tell  me  what  wouldest  thou 
doe  with  a  French-man? 

Fris.  Nay  fayth,  I  would  doe  nothing  with  him,  vn- 
lesse  I  set  him  to  teach  Parrets  to  speake :  marry  the  old  320 
Asse  my  Maister,  would  haue  him  to  teach  his  Daughters, 
though  I  trust  the  whole  world  sees,  that  there  be  such  in 
his  house  that  can  serue  his  Daughters  turne,  as  well  as  the 
proudest  French-man :  but  if  you  be  good  laddes,  tell  me 
where  I  may  finde  such  a  man?  325 

Heigh.     We  will,  goe  hye  thee  straight  to  Paules, 
There  shalt  thou  find  one  fitting  thy  desire ; 
Thou  soone  mayst  know  him,  for  his  Beard  is  blacke, 
Such  is  his  rayment,  if  thou  runn'st  appace, 
Thou  canst  not  misse  him  Frisco.  330 

Fris.     Lord,  Lord,  how  shall  poore  Phrisco  rewarde 

311  enemie]  enemy  Q3    314  Fris.]  Frisc.  Q3    witte]  wit  Q2    wit  Q3 

315  always]  alwaies  Q2    alwayes  Q3    dwel]  dwell  Q2  etc. 

315  dublet]  doublet  Q2  etc.    why]  why  Q3 

315-6  French-man]  French  man  Q2    French  man  Q3 

317  Haru.]  Heigh.  Q3    but]  But  Q2  etc. 

318  French-man]  French  man  Q2    French  man  Q3     The  punctuation  at 
the  end  of  this  line  varies:     ?  in  W.     :  in  B    .  in  Q2  etc. 

319  Fris.]  Frisc.  Q3    fayth]  faith  Q2  etc. 

320  old]  olde  Q2  etc. 

321  Maister]  Master  Q2  etc.    324  French-man]  French  man  Q3 

324  laddes]  Laddes  Q2  etc.    where]  where  Q3    326  Paules]  Paules  Q3^*~ ' 
327  find]  finde  Q2  etc.    331  Fris.]  Frisc.  Q3 
331  Phrisco  rewarde]  Frisco  reward  Q2  etc. 


H2  ENGLISHMEN  FOR  MY  MONEY,  OR 

your  rich  tydings  Gentlemen :  I  am  yours  till  Shrouetew- 
esday,  for  then  change  I  my  Coppy,  &  looke  like  nothing 
but  Red-Herring  Cobbes,  and  Stock-Fish;  yet  He  doe 
somewhat  for  you  in  the  meane  time:  my  Maister  is  a-  335 
broad,  and  my  young  Mistresses  at  home :  if  you  can  doe 
any  good  on  them  before  the  French-man  come,  why  so? 
Ah  Gentlemen,  doe  not  suffer  a  litter  of  Languages  to 
spring  vp  amongst  vs :  I  must  to  the  Walke  in  Paules,  you 
to  the  Vestrie.  Gentlemen,  as  to  my  selfe,  and  so  foorth.  340 

Exit  Frisco, 

Haru.     Fooles  tell  the  truth  men  say,  and  so  may  he : 
Wenches  we  come  now,  Loue  our  conduct  be. 
Ned,  knocke  at  the  doore :  but  soft  f orbeare ; 

Enter  Lawrentia,  Marina,  and  Mathea. 

The  Cloude  breakes  vp,  and  our  three  Sunnes  appeare. 

To  this  I  fly,  shine  bright  my  Hues  sole  stay,  345 

And  make  griefes  night  a  glory ous  summers  day. 

Mari.     Gentlemen,  how  welcome  you  are  here, 
Guesse  by  our  lookes,  for  other  meanes  by  f eare 
Preuented  is :  our  fathers  quicke  returne 
Forbidds  the  welcome,  else  we  would  haue  done.  350 

Walg.     Mathea,  How  these  faythfull  thoughts  obey. 

Mat.     No  more  sweet  loue,  I  know  what  thou  would'st 

332-3  Shrouetewesday]  Shroue-tewesday  Q3    333  &]  and  Q2  etc. 

334  Red-Herring  Cobbes]  Red-Herr ring- Cobbes  Q2  iRed-Herring-Cobbes  Q3 

335  Maister]  Master  Q2  etc.    337  French-man]  French  man  Q2    French 
man  Q3    Paules]  Paules  Q3    340  foorth]  forth  Q2  etc. 

340  s.d.  Frisco,]  Fris.  Q2    Frisc.  Qs    341  truth]  truth,  Q2  etc. 

342  be.]  be,  Q2  etc.    343  soft]  soft,  Q2  etc. 

343  s.d.  Lawrentia]  Laurentia  Q2  etc.    and]  and  Q2  etc. 

345  fly]  flye  Q2  etc.    346  gloryous  summers]  glorious  Summers  Q2  etc. 

349  Preuented]  Prevented  Q3    350  Forbidds]  Forbids  Q2  etc. 

351  Walg.]  Walg.  Qs    faythfull]  faithfull  Q2  etc. 

351  obey.]  So  in  W    obey,  B  Q2  etc.    352  would'st]  wouldst  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL  II3 

You  say  you  loue  me,  so  I  wish  you  still,  (say : 

Loue  hath  loues  hier,  being  ballancst  with  good  will : 

But  say;  come  you  to  vs,  or  come  you  rather  355 

To  pawne  more  Lands  for  mony  to  our  father  ? 

[Laurentia  &  Heigham 
talk  apart. 

I  know  tis  so,  a  Gods  name  spend  at  large : 

What  man?  our  mariage  day  will  all  discharge; 

Our  father  (by  his  leaue)  must  pardon  vs, 

Age  saue  of  age,  of  nothing  can  discusse :  360 

But  in  our  loues,  the  prouerbe  weele  fulfill : 

Women  and  Maydes,  must  alwayes  haue  their  will. 

Heigh.     Say  thou  as  much,  and  adde  life  to  this  Coarse, 
Law.    Your  selfe  &  your  good  news  doth  more  enforce : 

How  these  haue  set  forth  loue  by  all  their  witte,  365 

I  sweare  in  heart,  I  more  then  double  it. 

Sisters  be  glad,  for  he  hath  made  it  playne, 

The  meanes  to  get  our  Schoole-maister  againe : 

But  Gentlemen,  for  this  time  cease  our  loues, 

This  open  streete  perhaps  suspition  moues,  370 

Fayne  we  would  stay,  bid  you  walke  in  more  rather, 

But  that  we  f eare  the  comming  of  our  father : 

Goe  to  th'Exchange,  craue  Gold  as  you  intend, 

354  loues]  Loues  Q3    hier]  hire  Q2  etc.    ballancst]  ballanc'st  Q2  etc. 

356  mony]  money  Q2  etc.    father]  Father  Q2 

358  mariage]  marriage  Q2  etc.    359  father]  Father  Q2  etc. 

360  Age]  Age,  Q2  etc.    361  prouerbe]  Prouerbe  Q2  etc. 

362  alwayes]  alwaies  Q2  etc.    363  Coarse,]  Coarse.  Q3 

364  Law.}  Lawr.  Q2    Laur.  Q3    Your]  You  Q3 

365  forth]  foorth  Q2  etc.    witte]  wit  Q2  etc. 

367  playne]  plaine  Q2  etc. 

368  Schoole-maister]  Schoolemaster  Q2    Scoolemaster  Q3 

370  streete]  street  Q2  etc.    371  Fayne]  Faine  Q2  etc. 

371  would]  would  Q3    372  father]  Father  Q2  etc. 
373  intend]  inteud  Q2 


II4  ENGLISHMEN  FOR  MY  MONEY,  OR 

Pisaro  scrapes  for  vs ;  for  vs  you  spend : 

We  say  farewell,  more  sadlier  be  bold,  375 

Then  would  my  greedy  father  to  his  Gold : 

Wee  here,  you  there,  aske  Gold ;  and  Gold  you  shall : 

Weele  pay  the  intrest,  and  the  principall.       Exeunt  Sisters 

Walg.     That's  my  good  Girles,  and  He  pay  you  for  all. 

Haru.     Come  to  th' Exchange,  and  when  I  feele  decay,  380 
Send  me  such  Wenches,  Heauens  I  still  shall  pray.  Exeunt. 

[SCENE  III.     The  Exchange.] 

Enter  Pisaro,  Delion  the  Frenchman,  Vandalle  the  Dutchman, 
Aluaro  the  Italian,  and  other  Marchants,  at  seuerall  doores. 

Pisa.     Good  morrow,  M.  Strangers. 

Strang.     Good  morrow  sir. 

Pisaro.    This  (louing  friends)  hath  thus  emboldned  me, 
For  knowing  the  affection  and  the  loue  385 

Maister  Vandalle,  that  you  beare  my  Daughter : 
Likwise,  and  that  with  ioy  considering  too, 
you  Mounsier  Delion,  would  f aine  dispatch : 
I  promise  you,  mee  thinkes  the  time  did  fit, 
And  does  bir-Lady  too,  in  mine  aduice,  390 

This  day  to  clap  a  full  conclusion  vp : 
And  therefore  made  I  bold  to  call  on  you, 
Meaning  (our  businesse  done  here  at  the  Burse) 

375  sadlier]  sadlier,  Q2  etc. 

377  Wee]  We  Q3    378  intrest]  int'rest  Q2  etc. 

378  Sisters]  Sisters.  Q2  etc. 

381  Heauens]  Heavens,  Q3    Exeunt.]  Exeunt  Q2 

381  s.d.  Aluaro]  Alvaro  Qz    seuerall]  severall  Q3 

384  Pisaro.]  Pisa.  Q3    louing]  loving  Q3    385  loue]  loue,  Q2  etc. 

386  Maister]  Master  Q2  etc.    Daughter]  daughter  Q3 

387  Likwise]  Likewise  Q2  etc.    388  you]  You  Q2  etc. 

389  mee]  me  Q2  etc.    390  aduice]  advice  Q3    393  Burse]  Burse  Q3 


A  WOMAN  WILL  HAVE  HER  WILL  n$ 

That  you  at  mine  intreaty  should  walke  home, 

And  take  in  worth  such  Viands  as  I  haue :  395 

And  then  we  would,  and  so  I  hope  we  shall, 

Loosely  tye  vp  the  knot  that  you  desire, 

But  for  a  day  or  two ;  and  then  Church  rites 

Shall  sure  conforme,  confirme,  and  make  all  fast. 

Vand.     Seker  Mester  Pisaro,  mee  do  so  groterly  dancke 
you,  dat  you  macke  mee  so  sure  of  de  Wench,  datt  ic  can  400 
neit  dancke  you  genough. 

Delio.  Monsieur  Pisaro,  mon  pere,  mon  Vadere,  Oh  de 
grande  ioye  you  giue  me  (econte)  mee  sal  go  home  to  your 
House,  sal  eat  your  Bakon,  sal  eat  your  Beefe,  and  shal 
tacke  de  Wench,  de  fine  Damoysella.  405 

Pisa.     You  shall,  and  welcome ;  welcome  as  my  soule : 
But  were  my  third  Sonne  sweete  Aluaro  heere, 
Wee  would  not  stay  at  the  Exchange  to  day, 
But  hye  vs  home  and  there  end  our  affayres. 

Enter  Moore,  and  Towerson. 

Moore.     Good  day  maister  Pisaro.  410 

Pisa.  Maister  Moore,  marry  with  all  my  heart  good 
morrow  sir;  What  newes?  What  newesf 

Moore.  This  Marchant  heere  my  friend,  would  speake 
with  you. 

Tower.    Sir,  this  iolly  South-west  wind  with  gentle  blast,  4 1 5 

394  intreaty]  entreatie  Q2    entreaty  Q3    399  do]  doe  Qz 

400  mee]  me  Q3    402  Delio.]  Delion.  Q2  etc.    Pisaro,]  Pisaro  Q3    pere] 

Pere  Q2  etc. 

404  shal]  shall  Q2  etc.    407  Sonne  sweete  Aluaro]  Sonne,  sweet 

Aluaro,  Q2  Sonne,  sweet  Alvaro,  Q3  408  Wee]  We  Q3   at  the]  at  the  the  Qa 

408  day,]  day.  Q2  etc.    409  home]  home,  Q2  etc. 

410  day]  day,  Q2  etc.    maister]  Master  Q2     M.  Q3 

411  Maister]  Master  Q2  etc.    412  sir;]  sir:  Q3 

413  heere]  heere,  Q2  etc.    415  Tower.]  Tow.  Q3    wind]  wind,  Q2  etc. 


Il6  ENGLISHMEN  FOR  MY  MONEY,  OR 

Hath  driuen  home  our  long  expected  Shippes, 
All  laden  with  the  wealth  of  ample  Spaine, 
And  but  a  day  is  past  since  they  ariude 
Safely  at  Plimmouth,  where  they  yet  abide. 

Pisa.     Thankes  is  too  small  a  guerdon  for  such  newes.  420 
How  like  you  this  Newes  friends  ?     Maister  Vandalle, 
Heer's  somewhat  towards  for  my  Daughters  Dowrie : 
Heer's  somewhat  more  then  we  did  yet  expect. 

Tower.     But  heare  you  sir,  my  businesse  is  not  done ; 
From  these  same  Shippes  I  did  receiue  these  lines,  425 

And  there  inclosde  this  same  Bill  of  exchange, 
To  pay  at  sight;  if  so  you  please  accept  it. 

Pisa.     Accept  it,  why  ?     What  sir  should  I  accept, 
Haue  you  receiued  Letters,  and  not  I  ? 

Where  is  this  lazie  villaine,  this  slow  Poast?  430 

What,  brings  he  euery  man  his  Letters  home, 
And  makes  mee  no  bodie;  does  hee,  does  heef 
I  would  not  haue  you  bring  me  counterfeit; 
And  if  you  doe,  assure  you  I  shall  smell  it: 
I  know  my  Factors  writing  well  enough.  435 

Tower.     You  doe  sir;  then  see  your  Factors  writing: 
I  scorne  as  much  as  you,  to  counterfeite, 

Pisa.     Tis  well  you  doe  sir. 

416  driuen]  driven  Q3     Shippes]  Ships  Q3    417  Spaine}  Spaine  Q3 
418  ariude]   arriude  Q2  arriu'de  Q3    419  Plimmouth]   Plimmouth  Qj 
421  Newes]  newes,  Q2  etc. 

421  friends]   friend  Q3    Maister]   Master  Q2  etc. 

422  Dowrie]  dowry  Q3    424  done]  doue  Q2 

425  Shippes]  Ships  Q3    lines]  Lines  Q2  etc. 

426  inclosde]  inclos'd  Q2  etc.    exchange]  Exchange  Q2  etc. 

427  please]  please,  Q2  etc.    428  accept,]  accept  ?  Q2  etc. 

429  receiued]  received  Q3    43°  slow]  ssow  Q3     Turned  ?  in  Qi 

431  euery]  every  Q3    432  mee]  me  Q2    bodie;]  bodie?  Q2 

432  And  makes  me  no?    body  does  he,  does  he?  Q3 

436  doe]  doe,  Q2  etc.     sir;]  sir?  Q3    writing:]  writing,  Q3 

437  counterfeite,]  counterfeit.  Q2  etc. 

438  Pisa.]  Pisa,  Q3    Tis]  'Tis  Q2    doe]  doe,  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 


117 


Enter  Haruie,  Walgraue,  and  Heighan. 

What  Maister  Walgraue,  and  my  other  f rindes : 

You  are  growne  strangers  to  Pisaros  house,  440 

I  pray  make  bold  with  me. 

Walg.     I,  with  your  Daughters 
You  may  be  sworne,  weele  be  as  bold  as  may  be. 

Pisa.  Would  you  haue  ought  with  me,  I  pray  now  speak. 

Heigh.     Sir,  I  thinke  you  vnderstand  our  sute,  445 

By  the  repayring  we  haue  had  to  you : 
Gentlemen  you  know,  must  want  no  Coyne, 
Nor  are  they  slaues  vnto  it,  when  they  haue : 
You  may  perceiue  our  minds ;  What  say  you  to't  ? 

Pisa.     Gentlemen  all,  I  loue  you  all :  450 

Which  more  to  manifest,  this  after  noone 
Betweene  the  howers  of  two  and  three  repaire  to  mee ; 
And  were  it  halfe  the  substance  that  I  haue, 
Whilst  it  is  mine,  tis  yours  to  commaunde. 
But  Gentlemen,  as  I  haue  regard  to  you,  455 

So  doe  I  wish  you'll  haue  respect  to  mee : 
You  know  that  all  of  vs  are  mortall  men, 
Subiect  to  change  and  mutabilitie; 
You  may,  or  I  may,  soone  pitch  ore  the  Pearch, 

438  s.d.    Haruie}    Haruy    Q3    and]    and    Q2    etc.    Heighan]    So    in   W 

Heighun   B    Heigham   Q2   etc.    439  What   Maister]    What,    Master   Q2 

Pisa.    What,  M.  Walgraue,  Q3    f  rindes:]  friends,  Q2  etc. 

440  Pisaro  house,]  Pisaro's  house:  Q2  etc.    441  with]  with  Q3 

442  Walg.]  So  in  W    Walsg.  B  and  Q2    VValg-  Qz 

442  with]  with  Q3    your]  y  our  Qi    443  weele]  weele  Q3 

447  Gentlemen]  Gentlemen,  Q2  etc.    448  when]  when  Q3 

449  minds]  mindes  Q2  etc.    What]  What  Q2 

450  which]  Which  Q2    manifest,]  manifest  Q2  etc. 
452  howers]  howres  Q2  etc.    mee]  me  Q2  etc. 

454  Whilst]  Whilest  Q2    Whilest  Q3    commaunde]  commande  Q2 
command  Q3    456  you'll]  youle  Q2  etc.    mee]  me  Q2  etc. 


ng  ENGLISHMEN  FOR  MY  MONEY,  OR 

Or  so,  or  so,  haue  contrary  crosses :  460 

Wherefore  I  deeme  [it]  but  meere  equitie, 
That  some  thing  may  betwixt  vs  be  to  shew. 

Heigh.  M.  Pisaro,  within  this  two  months  without  faile, 
We  will  repay. 

Enter  Browne. 

Browne.     God  saue  you  Gentlemen.  465 

Gentlemen.     Good  morrow  sir. 

Pisa.     What  M.  Browne,  the  onely  man  I  wisht  for, 
Does  your  price  fall?     what  shall  I  haue  these  Cloathes? 
For  I  would  ship  them  straight  away  for  Stoade : 
I  doe  wish  you  my  Mony  fore  another.  470 

Brow.     Fayth  you  know  my  price  sir,  if  you  haue  them. 

Pisa.     You  are  to  deare  in  sadnesse,  maister  Heigham : 
You  were  about  to  say  somewhat,  pray  proceede. 

Heigh.     Then  this  it  was:  those  Landes  that  are  not 
morgag'd  475 

Enter  Post. 

Post.     God  blesse  your  worship. 

Pisaro.     I  must  craue  pardon ;  Oh  sirra,  are  you  come? 

Walg.     Hoyda,  hoyda;  Whats  the  matter  now; 

461  Wherefore]  Wherefore  Q2    equitie]  equity  Q3 

462  some  thing]  something  Q3    463  within]  within  Q3 

463  months]  monthes  Q2  moneths  Q3    without]  without  Q3 

464  We]  We  Q2    466  Gentlemen.}  Gentel.  Q3    467  What]  What  Qz 

469  away]  omitted  Q2  etc.    Stoade:}  Stoade.  Q2    Stoade:  Q3 

470  Mony]  money  Q2  etc.    471  Brow}  Browne  Q2 

471  Fayth]  Faith  Q2  etc.    you]  y  ou  Q2 

472  maister]  master  Q2    M.  Q3    474  Landes]  Lands  Q2  etc. 
475  morgag'd]  morgag'd.  Q2  etc. 

475  s.d.  Post.]  Post,  Q3    477  Pisaro.]  Pisa.  Q3 
pardon;]  pardon:  Q2  etc.    478  hoyda;]  hoyda:  Q2  etc. 
Whats]  What's  Q2  etc.    now;]  now?  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL  ug 

Sure,  yonder  fellow  will  be  torne  in  peeces.  (about: 

Haru.     Whats  hee,  sweete  youths;  that  so  they  flocke  480 
What  old  Pisaro  tainted  with  this  madnesse  ? 

Heigh.  Vpon  my  life,  tis  some  body  bringes  newes; 
The  Courte  breakes  vp,  and  wee  shall  know  their  Coun- 
Looke,  looke,  how  busely  they  fall  to  reading.  (sell : 

Pisa.     I  am  the  last,  you  should  haue  kept  it  still :  485 

Well,  we  shall  see  what  newes  you  bring  with  you; 
Our  duty  premised,  and  we  haue  sent  vnto  your  worship 
Sacke,  siuill  Oyles,  Pepper,  Barbery  sugar,  and  such  other 
commodities  as  we  thought  most  requisite,  we  wanted 
mony  therefore  we  are  fayne  to  take  vp  200.  1.  of  Maister  490 
Towersons  man,  which  by  a  bill  of  Exchange  sent  to  him, 
we  would  request  your  worship  pay  accordingly. 
You  shall  commaund  sir,  you  shall  commaunde  sir, 
The  newes  here  is,  that  the  English  shipes,  the  Fortune, 
your  shipe,  the  aduenture  and  good  lucke  of  London  coa-  495 
sting  along  by  Italy  Towards  Turky,  were  set  vpon  by  to 

470  peaces]  pieces  Q2  etc. 

480  Whats]    What's   Q2   etc.    hee]    he   Q2   etc.    sweete]    sweet   Q2   etc. 

youths;]  youths,  Q2  etc. 

about:]  about?  Q2  etc.    481  What]  What,  Q2  etc.    482  tis]  'tis  Q2  etc. 

bringes  newes;]  brings  newes:  Q2  etc.    483  Courte]  Court  Q2  etc. 

wee]  we  Q2  etc.    484  busely]  busily  Q2  etc.    485  last,]  last:  Q2  etc. 

still:]    still.   Q2   etc.    486  you;]    you:    Q2   etc.    487  duty]    dutie   Q2 

premised,]  premised ;  Q2  etc.    488  siuill]  Siuill  Q2  Sinill  Q3 

Barbery  sugar]  Barbary  Sugar  Q2  etc.    489  we]  wee  Q2 

requisite,  we]  requisite.  Wee  Q2  etc.    490  mony]  money,  Q2  etc. 

fayne]  faine  Q3    200.  1.]  200.  li.  Q2    230.  li.  Q3    Maister] 

Master  Q2  etc.    491  bill]  Bill  Q2  etc.    492  we]  We  Q3  accordingly.] 

accordingly  Q3 

493  commaund]  command  Q2  etc.    commaunde  sir,]  command  sir.  Q2  etc 

494  shipes]  ships  Q2  etc.    495  shipe]  ship  Q2  etc. 

495  aduenture]  Aduenture  Q2  etc.    good  lucke]  Good  Lucke  Q2 
Good-Lucke   Q3    London]    London,    Q2   etc.    496  Italy]    Italy   Q3 
Towards]  towards  Q2  etc.     Turky]  Turkie  Q2    Turkic  Q3 

to]  two  Q2  etc. 


I2o  ENGLISHMEN  FOR  MY  MONEY,  OR 

Spanish-g  allies,  what  became  of  them  we  know  not,  but 
doubt  much  by  reason  of  the  weathers  calmnesse. 

Pisa[.]     How  ist  six  to  one  the  weather  calme, 
Now  afore  God  who  would  not  doubt  their  safety,  500 

A  plague  vpon  these  Spanish-g  alii  Pirattes. 
Roaring  Caribdis,  or  deuo-wring  Scilla, 
Were  halfe  such  terrour  to  the  anticke  world, 
As  these  same  anticke  Villaines  now  of  late, 
Haue  made  the  Straights  twixt  Spaine  and  Barbary.  505 

Tower[.]   Now  sir,  what  doth  your  Factors  letters  say? 

Pisa.     Marrie  he  saith,  these  witlesse  lucklesse  doults, 
Haue  met,  and  are  beset  with  Spanish  Gallies, 
As  they  did  saile  along  by  Italy : 

What  a  bots  made  the  dolts  neere  Italy,  510 

Could  they  not  keepe  the  coast  of  Barbary, 
Or  hauing  past  it,  gone  for  Tripoly, 
Beeing  on  the  other  side  of  Sicily, 

497  Spanisli-gallies]  Spanish-galleis  Qi 

Spanish-galley es:  Q2    Spanish-galleyes :  Q3    them]  them,  Q2 
not,]  not;  Q2  etc. 

498  much]  much,  Q2  etc.    calmnesse]  calmenesse  Q2  etc. 

499  Pisa]  Pisa.  Q2  etc.    ist]  ist?  Q2  etc.    six]  sixe  Q3 

one]  one,  Q2  etc.    calme,]  calme:  Q2  etc.    500  God]  God,  Q2  etc. 
safety,]  safetie?  Q2    safety?  Q3    501  vpon  these]  So  Q2  etc.    vponthese 
Qi    Spanish-galli]  iSpanish-galli  Q3    Pirattes]  Pyrates  Q2  etc. 

502  Caribdis]  Carybdis  Q2  etc.     douowring]  deuouring  Q2  etc. 

503  terrour]  terror  Q2  etc. 

503  Were  halfe]  Were  but  halfe  Q2  etc.    terrour]  terror  Q3 

504  late,]  late  Q2  etc. 

505  Straights  twixt]  Straits  'twixt  Q2    Straits 'twixt  Q3    Spaine]  Spaine  Q3 
Barbary]  Barbaric  Q2    Barbaric  Q3    Tower]  Tower.  Q2  etc. 

506  letters]  Letters  Q2  etc.    507  Marrie]  Marry  Q2  etc. 
doults,]  doults  Q2  etc.    508  Spanish]  Spanish  Q3 

509  saile]  sayle  Q2  etc.    Italy:]  Italy.  Q2  Italy.  Q3 

510  dolts]  doults  Q2  etc.    Italy,]  Italy?  Q2    Italy?  Q3 

511  coast]  Coast  Q2  etc.    Barbary,]  Barbary f  Q2    Barbary?  Q3 

512  hauing]  having  Q3     Tripoly]  Tripoly  Q3    513  Beeing]  Being  Q2  etc. 
Sicily]  Sicily  Q3 


A  WOMAN  WILL  HAVE  HER  WILL  I2i 

As  neere,  as  where  they  were  vnto  the  Straights: 

For  by  the  Gloabe,  both  Tripoly  and  it,  515 

Lie  from  the  Straights  some  twentie  fiue  degrees ; 

And  each  degree  makes  three-score  english  miles ? 

Tower.     Very  true  sir :  But  it  makes  nothing  to  my  Bill 
of  exchange:  this  dealing  fits  not  one  of  your  account. 

Pisa.    And  what  fits  yours  ?    a  prating  wrangling  toung,  520 
A  womans  ceaselesse  and  incessant  babling, 
That  sees  the  world  turnd  topsie  turuie  with  me ; 
Yet  hath  not  so  much  witte  to  stay  a  while, 
Till  I  bemone  my  late  excessiue  losse. 

Walg.     S'wounds  tis  dinner  time,  He  stay  no  longer:  525 
Harke  you  a  word  sir. 

Pisa.     I  tell  you  sir,  it  would  haue  made  you  whine 
Worse  then  if  shooles  of  lucklesse  croking  Rauens, 
Had  ceasd  on  you  to  feed  their  f amisht  paunches : 
Had  you  heard  newes  of  such  a  rauenous  rout,  530 

Ready  to  cease  on  halfe  the  wealth  you  haue. 

Wai.     Sbloud  you  might  haue  kept  at  home  &  be  hangd, 
What  a  pox  care  I.  Enter  a  Post. 

Post.     God  saue  your  worship,  a  little  mony  and  so  forth. 

514  Straights]  Straits  Q2  Straits  Q3  515  Gloabe]  Globbe  Q3 

Tripoly]  Tripoly  Q3    516  Lie]  Lye  Qaetc.    Straights]  Straits  Q2    Straits  Q3 

twentie]  twenty  Q3    degrees;]  degrees,  Q2  etc. 

517  three-score]    threescore   Q2    etc.    english]    English    Q2    etc.    miles  f] 
miles.  Q2  etc. 

518  exchange]  Exchange  Q2  etc.    520  toung]  tongue  Q2  etc. 
522  turnd]  turn'd  Q2  etc.    topsie  turuie]  topsie-turuie  Q2 
topsie-turvie  Q3    me;]  me,  Q2  etc.    523  witte]  wit  Q2  etc. 

525  Walg.]  Walg.  Q3    S'wounds]  'Swounds  Q2  etc.    tis]  'tis  Q2  etc. 

527  whine]  whine,  Q2  etc.    528  croking]  croaking  Q2  etc. 

Rauens,]  Rauens  Q2    Ravens  Q3    529  ceasd]  seiz'd  Q2  etc. 

you]  you,  Q2  etc.    paunches :]  paunches,  Q2  etc. 

530  rauenous]  ravenous  Q3    531  cease]  seize  Q2  etc. 

532  Sbloud]  'Sbloud  Q2  etc.    &]  and  Q2  etc.    hangd]  hang'd  Q2  etc. 

534  little  mony]  littlemony  Qi     little  mony,  Q2  etc. 


122  ENGLISHMEN  FOR  MY  MONEY,  OR 

Pisa.     But  men  are  sencelesse  now  of  others  woe,  535 

This  stony  age  is  growne  so  stony  harted, 
That  none  respects  their  neighbours  miseries, 
I  wish  (as  Poets  doe)  that  Saturnes  times 
The  long  out  worne  world  weare  in  vse  againe, 
That  men  might  sayle  without  impediment.  540 

Post.  I  marry  sir  that  were  a  merry  world  indeede,  I 
would  hope  to  gette  more  mony  of  your  worship  in  one 
quarter  of  a  yeare,  then  I  can  doe  now  in  a  whole  twelue- 
moneth.  Enter  Balsaro. 

Balsa.     Maister  Pisaro  how  I  haue  runne  about,  545 

How  I  haue  toyld  to  day  to  sinde  you  out, 
At  home,  abroade,  at  this  mans  house,  at  that, 
Why  I  was  here  an  hower  agoe  and  more, 
Where  I  was  tould  you  were,  but  could  not  finde  you. 

Pisa.     Fayth  sir  I  was  here  but  was  driuen  home,  550 

Heres  such  a  common  hant  of  Crack-rope  boyes, 
That  what  for  f eare  to  haue  m'apparell  spoyld, 
Or  my  Ruffes  durted,  or  Eyes  strucke  out : 
I  dare  not  walke  where  people  doe  expect  mee : 

535  senceless]  senselesse  Q2  etc.    woe,]  woe:  Q2  etc. 

536  stony  age]  stonie  age  Q2  etc.     stony]   stonie  Q2 
harted]  hearted  Q2  etc.    537  miseries,]  miseries.  Q2  etc. 

538  I]   turned  Qi     Saturnes]  Saturnes  Q2  H4  HS  H6    Saturnei  H3  P 
times]  times,  Q2  etc.    539  out  worne]  out-worne  Q2  etc. 
world]  world,  Q2  etc.    weare]  were  Q2  etc.    541  sir]  sir,  Q2  etc. 
indeede,]  indeede:  Q2  indeed:  Q3    542  gette]  get  Q2  etc. 
mony]  money  Q2  etc.    543  yeare]  yeere  Q3 

545  Maister  Pisaro]  Master  Pisaro,  Q2  etc. 

546  toyld]  toyl'd  Q2  etc.    sinde]  finde  Q2  etc.    out,]  out/  Q2  etc. 

547  abroade]  abroad  Q2  etc.    that,]  that.  Q2  etc. 

548  hower]  houre  Q2  etc.    agoe]  agoe,  Q2  etc.    549  tould] 
told  Q2  etc.    550  Fayth]  'Fayth  Q2  etc.     here]  here,  Q2  etc. 
driuen]  driven  Q3    home,]  home:  Q2  etc.    551  Heres]  Here's  Q2  etc. 
hant]  haunt  Q2  etc.    boyes]  Boyes  Q2  etc.    552  apparell]  apparrell  Q2 

spoyld]  spoyl'd  Q2  etc.    553  out :]  out,  Q2  etc.    554  mee]  mee.  Q2    me.  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

Well,  things  (I  thinke)  might  be  better  lookt  vnto,  555 

And  such  Coyne  to,  which  is  bestowde  on  Knaues, 

Which  should,  but  doe  not  see  things  be  reformd, 

Might  be  imployde  to  many  better  vses : 

But  what  of  beardlesse  Boyes,  or  such  like  trash ; 

The  Spanish  Gallies:     Oh,  a  vengeance  on  them.  560 

Post.  Masse,  this  man  hath  the  lucke  on't,  I  thinke  I  can 
scarce  euer  come  to  him  for  money,  but  this  a  vengeance 
on,  and  that  a  vengeance  on't,  doth  so  trouble  him,  that  I 
can  get  no  Coyne :  Well,  a  vengeance  on't  for  my  part ;  for 
he  shall  fetch  the  next  Letters  him  selfe.  565 

Browne.  I  prethee,  when  thinkst  thou  the  Ships  will  be 
come  about  from  Plimmouthf  Post.  Next  weeke,  sir. 

Heigh.     Came  you  sir  from  Spaine  lately  ? 

Post.     I  sir;  Why  aske  you  that? 

Ha.   Marry  sir,  thou  seemes  to  haue  bin  in  the  hot  countries,  570 
thy  face  looks  so  like  a  peece  of  rusty  Bacon  :  had  thy  Host 
at  Plimmoth  meat  enough  in  the  house,  whe  thou  wert  there  ? 

Post .  What  though  he  had  not  sir  ?  but  he  had,  how  then  ? 

Haru.  Marry  thanke  God  for  it;  fc«r  otherwise,  he 
would  doubtles  haue  Cut  thee  out  in  Rashers  to  haue  eaten  575 

555  vnto,]  vnto:  Q2  etc. 

556  bestowde]  bestow'd  Q2  etc.    Knaues]  knaues  Q3 

557  reformd]  reform'd  Q2  etc.    558  imployde]  imploy'd  Q2  etc. 
vses:]  vses.  Q2  etc.    559  trash;]  trash?  Q2  etc.    560  Spanish] 
Spanish  Q3    Gallies]  Gallyes  Q2  etc.    561  on't,]  on't :  Q2  etc. 
562  euer]  ever  Q3    but  this  a  vengeance]  but  the  avengeance  Q3 
564  Coyne:]  Coyne.  Q2  coyne.  Q3    565  he]  hee  Q3 

him  selfe]  himselfe  Q2  etc.    566  Ships]  ships  Q3     thinkst]  think'st  Q2  etc. 
567  weeke]  weeke  Q3    568  Spaine]  Spaine  Q3    569  I]  I,  Q2  etc. 
sir;]  sir:  Q2    570  Ha.]  Haru.  Q2  etc.    seemes]  seem'st  Q2  etc. 
bin]  beene  Q2  etc.    countries]  Countries  Q3    571  looks]  lookes  Q2  etc. 
peece]  piece  Q2  etc.    rusty]  rustic  Q2  etc.    572  Plimmoth] 
Plimmouth  Q2  Plimmoth  Q3    whe]  when  Q2  etc.    573  not]  not,  Q2  etc. 
but  he  had,]  but  he  had:  Q2    574  it;]  it:  Q2  etc.    575  doubtles] 
doubtlesse  Q2  etc.    Cut]  cut  Q2  etc.    Rashers]  Rashers,  Q2  etc. 


124  ENGLISHMEN  FOR  MY  MONEY,  OR 

thee;  thou  look'st  as  thou  weart  through  broyld  already. 

Post.  You  haue  sayd  sir ;  but  I  am  no  meate  for  his  mo- 
ing,  nor  yours  neither :  If  I  had  you  in  place  where,  you 
should  find  me  though  enough  in  disgestion,  I  warrant  you. 

Walgr,  What  will  you  swagger  sirra,  will  yee  swagger  ?  580 

Brow.  I  beseech  you  Sir,  hold  your  hand ;  Gette  home 
yee  patch,  cannot  you  suffer  Gentlemen  lest  with  you? 

Post.  Ide  teach  him  a  Gentle  tricke  and  I  had  him  of  the 
burse;  but  He  watch  him  a  good  turne  I  warrant  him. 

Moor.  Assure  yee  maister  Towerson,  I  cannot  blame  him,  585 
I  warrant  you  it  is  no  easie  losse ; 
How  thinke  you  maister  Stranger?     by  my  fayth  sir, 
Ther's  twentie  Marchants  will  be  sorry  for  it, 
That  shall  be  partners  with  him  in  his  losse. 

Stra.     Why  sir,  whats  the  matter.  590 

Moor.  The  Spanish-gallies  haue  besette  our  shippes, 
That  lately  were  bound  out  for  Siria. 

March.     What  not?     I  promise  you  I  am  sorry  for  it. 

Walg.     What  an  old  Asse  is  this  to  keepe  vs  here : 
Maister  Pisaro,  pray  dispatch  vs  hence.  595 

Pisa.     Maister  Vandalle  I  conf esse  I  wronge  you ; 

576  weart]  wert  Q2  etc.    broyld  already]  broyl'd  alreadie  Q2  etc. 

577  sayd]  said,  Q2  etc.    sir;]  sir,  Q3    meate]  meat  Q2  etc. 
577-8  moing]  mowing  Q2  etc.    578  neither]  neyther  Q2  etc. 
If]  if  Q2  etc. 

580  Walgr,]  Walg.  Q2    Walg.  Q3 

What]  What,  Q2  etc.    swagger]  swagger,  Q2  etc.    sirra,]  sirra?  Q2  etc. 

yee]  ye  Q3    581  you]  you,  Q2  etc.    hand;]  hand.  Q2  etc. 

582  yee  patch]  ye  Patch  Q2  etc.    583  Gentle]  gentle  Q3    tricke] 

tricke,  Q2  etc.    584  burse]  Burse  Q2  etc.    585  Moor.]  Moore.  Q2  etc. 

yee]  ye  Q2  etc.    maister]  Master  Q2  etc.    587  maister]  master  Q2  etc. 

fayth]  faith  Q3    588  Ther's]  There's  Q2  etc.    twentie]  twenty  Q2  etc. 

Marchants]  Merchants  Q2  etc.    590  matter.]  matter?  Q2    matter:  Q3 

591  besette]  beset  Q2  etc.    shippes]  Shippes  Q2  Ships  Q3    592  Siria] 

Syria  Q2  Syria  Q3    594  Walg.]  Walgr.  Q2    595  Maister]  Master  Q2  etc. 

596  Maister]  Master  Q2  etc.    wronge]  wrong  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

But  He  but  talke  a  word  or  two  with  him,  and  straight 

turne  to  you. 

Ah  sir,  and  how  then  y fayth  ? 

Heigh.     Turne  to  vs,  turne  to  the  Gallowes  if  you  will,  600 

Ham.     Tis  Midsomer-Moone  with  him :  let  him  alone, 
He  call's  Ned  Walgraue,  Maister  Vandalle.  (Pisaro. 

Walg.     Let  it  be  shrouetide,  He  not  stay  an  ynche  maister 

Pisa.    What  should  you  f eare :  ende  as  I  haue  vow'd  be- 
So  now  againe ;  my  Daughters  shalbe  yours :  (  fore,  605 
And  therefore  I  beseech  you  and  your  f riendes, 
Def erre  your  businesse  till  Dinner  time ; 
And  what  youd  say,  keepe  it  for  table  talke. 

Haru.     Marrie  and  shall ;  a  right  good  motion : 
Sirrs,  old  Pisaro  is  growne  kind  of  late,  610 

And  in  pure  loue,  hath  bid  vs  home  to  dinner. 

Heigh.  Good  newes  in  truth :  But  wherf  ore  art  thou  sad? 

Walg.     For  feare  the  slaue  ere  it  be  dinner  time, 
Remembring  what  he  did,  recall  his  word : 
For  by  his  idle  speaches,  you  may  sweare,  615 

His  heart  was  not  confederat  with  his  tongue. 

Haru.     Tut  neuer  doubt,  keepe  stomacks  till  anone, 
And  then  we  shall  haue  cates  to  f  cede  vpon. 

Pisa.     Well  sir,  since  things  doe  fall  so  crosely  out, 
I  must  dispose  my  selfe  to  patience :  620 

598  you.]  you  Q3    599  y  fayth]  y  faith  Q2  etc.    600  will,]  will.  Q3 

602  call's]  calles  Q2    calls  Q3     Maister]  master  Q2  etc. 

603  Walg.]  Walg.  Q3    be]  bee  Q3    maister]  master  Q2    M.  Q3 

604  ende]  end  Q2  and  Q3     vow'd]  vowd  Q2  etc.     605  shalbe]  shall  be  Q2  etc. 
fore,]  fore  Q2  etc.    606  friendes]  Friendes  Q2    friends  Q3 

608  table]  Table  Q2    609  Marrie]  Marry  Q2  etc.    610  Sirrs]  Sirs  Q2  etc. 
kind]  kinde  Q2    611  loue,]  Loue  Q2  etc.    dinner]  Dinner  Q2  etc. 

612  wherf  ore]  wherefore  Q2  etc.    sad.?]  sad.  Q2  etc. 

613  Walg.}  Walgr.  Q2    Walg.  Q3    time,]  time  Q2  etc. 
616  confederat]  confederate  Q2  etc.    tongue.]  tongue  Q3 
619  crosely]  crossely  Q2  etc. 


126  ENGLISHMEN  FOR  MY  MONEY,  OR 

But  for  your  businesse,  doe  you  assure  your  selfe, 
At  my  repayring  home  from  the  Exchange, 
He  set  a  helping  hand  vnto  the  same. 

Enter  Aluaro  the  Italian. 

Alua.  Bon  iurno  signeour  Padre,  why  be  de  malancollie  so 
much,  and  graue  in  you  a:  wat  Newes  make  you  looke  625 
so  naught ? 

Pisa.     Naught  is  too  good  an  epithite  by  much, 
For  to  distinguish  such  contrariousnesse : 
Hath  not  swift  Fame  told  you  our  slow  sailde  Shippes 
Haue  been  ore-taken  by  the  swift  saile  Gallies,  630 

And  all  my  cared-for  goods  within  the  lurch 
Of  that  same  Catterpiller  brood  of  Spaine. 

Alua.  Signor  si,  how  de  Spaniola  haue  almost  tacke  de 
Ship  dat  go  for  Turkic :  my  Pader,  harke  you  me  on  word, 
I  haue  receiue  vn  lettre  from  my  Factor  de  Vennise,  dat  after  635 
vn  piculo  battalion,  for  vn  halfe  howre  de  come  a  Winde 
f  ra  de  North,  &  de  Sea  go  tumble  here,  &  tumble  dare,  dat 
make  de  Gallies  run  away  for  feare  be  almost  drownde. 

Pisa.     How  sir ;  did  the  Winde  rise  at  North,  and  Seas 
waxe  rough :  and  were  the  Gallies  therefore  glad  to  flyf  640 

Alu.    Signior  si,  &  de  Ship  go  drite  on  de  Iscola  de  Candy. 

624  malancollie]  malancholy  Q2  etc.    625  you]  you,  Q2  etc. 

wat]  what  Q3    627  epithite]  Epithite  Q2  etc. 

628  contrariousnesse:]    contrariousnesse?   Q3    629  Shippes] 

Ships  Q2  etc.    630  been]  beene  Q2  etc.    saile]  sayld  Q2  etc. 

631  cared-for]  cared-for  H2  cared  for  H    632  Spaine]  Spaine  Qj 

633  Alua.]  Alva.  Q3    Signor]  Signior  Q2  etc.     si]  cy  Q2  etc. 

634  go]  goe  Q3    me]  mee  Q2    on]  one  Q2  etc.    635  Vennise] 
Vennise  Q3    637  &  de]  and  de  Q3    go]  goe  Q2  etc. 

639  sir;]  sir,  Q2  etc.    640  waxe]  waxe  Q3    were]  were  Q3 

641  Alu.]  Al.  Q2  etc.     Signior  si]  Signieur  cy  Q2  etc. 

Ship]  ship  Q3    on  de]  on  the  Q3    Candy.]  Cande.  Q2    Cande  Q3 


A  WOMAN  WILL  HAVE  HER  WILL  127 

Pisa.     Wert  thou  not  my  Aluaro  my  beloued, 
One  whom  I  know  does  dearely  count  of  mee, 
Much  should  I  doubt  me  that  some  scoffing  lacke, 
Had  sent  thee  in  the  middest  of  all  my  griefes,  645 

To  tell  a  feigned  tale  of  happy  lucke. 

Alua.   Wil  you  no  beleuue  me?  see  dare  dan,  see  de  lettre. 

Pisa.     What  is  this  world  ?    or  what  this  state  of  man, 
How  in  a  moment  curst,  in  a  trice  blest? 
But  euen  now  my  happie  state  gan  fade,  650 

And  now  againe,  my  state  is  happie  made, 
My  Goods  all  safe,  my  Ships  all  scapt  away, 
And  none  to  bring  me  newes  of  such  good  lucke, 
But  whom  the  Heauens  haue  markt  to  be  my  Sonne : 
Were  I  a  Lord  as  great  as  Alexander,  655 

None  should  more  willingly  be  made  mine  Heyre 
Then  thee  thou  golden  tongue,  thou  good-newes  teller 
loy  stops  my  mouth.  The  Exchange  Bell  rings. 

Balsa.     M.  Pisaro,  the  day  is  late,  the  Bell  doth  ring: 
Wilt  please  you  hasten  to  perf orme  this  businesse  ?  660 

Pisa.   What  businesse  sir  ?   Gods  mee,  I  cry  you  mercie : 
Doe  it,  yes  sir,  you  shall  commaund  me  more. 

Tower.     But  sir,  What  doe  you  meane,  doe  you  intend 
To  pay  this  Bill,  or  else  to  palter  with  mee? 

642  Aluaro]  Aluaro,  Q3    643  mee]  me  Q2  etc.    645  middest]  midst  Q3 

647  Alua.]  Alu.  Q2    Wil]  Will  Q2    Will  Q3    beleuue]  beleeue  Q2  etc. 

me]  mee  Q3    see]  See  Q2  etc,    648  Pisa.]  Pisa,  Q3    What] 

What  Q2    what]  what  Q3    650  happie]  happy  Q2  etc. 

651  state]  State  Q2    happie]  happy  Q2  etc.    652  Goods]  goods  Q2  etc. 

all]  turned  a  Q3 

654  Heauens]  heauens  Q3    markt]  mark'd  Q2  etc.    Sonne]  sonne  Q3 

655  Were]  Were  Q2  Alexander]  Alexander  Q$  656  Heyre]  Heyre,  Q2  etc, 
657  teller]  teller,  Q2  etc.    658  mouth,]  mouth  Q2  etc. 

66 1  mee,]  me  Q2  etc.    mercie:]  mercie.  Q2    mercy.  Q3 

662  commaund]  command  Q2  etc. 
664  mee]  me  Q2  etc. 


I2g  ENGLISHMEN  FOR  MY  MONEY,  OR 

Pisa.     Marry  God  sheild,  that  I  should  palter  with  you :  665 
I  doe  accept  it,  and  come  when  you  please ; 
You  shall  haue  money,  you  shall  haue  your  money  due. 

Post.     I  beseech  your  worship  to  consider  mee. 

Pisa.     Oh,  you  cannot  cogge :     Goe  to,  take  that, 
Pray  for  my  life :     pray  that  I  haue  good  lucke,  670 

And  thou  shalt  see,  I  will  not  be  thy  worst  maister. 

Post .  Marry  God  blesse  your  Worship ;  I  came  in  happy 
time :  What,  a  French  crowne  ?  sure  hee  knowes  not  what 
he  does :  Well,  He  begon,  least  he  remember  himself  e,  and 
take  it  away  from  me  againe  •  Exit  Post.  675 

Pisa[."\  Come  on  my  lads,  M.  Vandalle,  sweet  sonne  Aluaro : 
Come  don  Balsaro,  lets  be  iogging  home 
Bir  laken  sirs,  I  thinke  tis  one  a  clocke. 

Exit  Pisaro,  Balsaro,  Aluaro,  Delion,  and  Vandalle. 
Brow.     Come  M.  Moore,  th'Exchange  is  waxen  thin, 
I  thinke  it  best  we  get  vs  home  to  dinner.  680 

Moor.     I  know  that  I  am  lookt  for  long  ere  this : 
Come  maister  Towerson,  let's  walke  along. 

Exit  Moore,  Browne,  Towerson,  Strangers,  &  Mar  chant. 
Heigh.     And  if  you  be  so  hot  vpon  your  dinner, 
Your  best  way  is,  to  haste  Pisaro  on, 

665  Marry]  Mary  Q2  etc.    sheild]  shield  Q2  etc. 
668  mee]  me  Q2  etc.    671  maister]  master  Q2  etc. 

672  Marry]  Mary,  Q2  Marry,  Q3    Worship]  worship  Q2  etc. 

673  What.]  What  Q2  etc.    674  begon]  be  gone  Q2    bee  gone  Q3 
least]  lest  Q3    675  againe-]  againe.  Q2  etc. 

Post.]  Post  Q2    676  Pisa]  Pisa.  Q2  etc.    sonne]  son  Q2  etc. 
Aluaro]  Alvaro  Q3     677  Balsaro]  Balsaro  Q2  etc.     home]  home,  Q2  etc. 
678  clocke]  Clocke  Q2  etc.    678  s.d.  Exit}  Exit  Q2  etc. 
Aluaro]  Alvaro  Q3     Vandalle.]  Vandalle:  Q3 

681  Moor.]  Moore.  Q2  etc. 

682  Come  maister  Towerson,  let's]  Come  M.  Towerson,  lets  Q2  etc. 
682  s.d.  Browne,  Towerson,]  Browne,  Towerson,  Q2  etc. 

6-  Marchant]  and  Merchant  Q2  etc.    684  is,]  is  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 


129 


For  he  is  cold  enough,  and  slow  enough ;  685 

He  hath  so  late  digested  such  cold  newes. 

Walg.     Mary  and  shall :     Heare  you  maister  Pisaro. 

Haru.     Many  Pisaros  heere :     Why  how  now  Ned ; 
Where  is  your  Matt1  your  welcome,  and  good  cheare? 

Walg.     Swounds,  lets  follow  him ;  why  stay  we  heere  ?  690 

Heigh.  Nay  prethee  Ned  Walg.  lets  bethinke  our  selues, 
There's  no  such  haste,  we  may  come  time  enough : 
At  first  Pisaro  bade  vs  come  to  him 
Twixt  two  or  three  a  clocke  at  after  noone? 
Then  was  he  old  Pisaro  :     but  since  then,  695 

What  with  his  griefe  for  losse,  and  ioy  for  finding, 
Hee  quite  forgat  himselfe,  when  he  did  bid  vs, 
And  afterward  forgat,  that  he  had  bade  vs. 

Walg.     I  care  not,  I  remember't  well  enough : 
Hee  bade  vs  home ;  and  I  will  goe,  that's  flat,  700 

To  teach  him  better  witte  another  time. 

Haru.     Heer'le  be  a  gallant  iest,  when  we  come  there, 
To  see  how  maz'd  the  greedie  chuffe  will  looke 
Vpon  the  nations,  sects,  and  factions, 

That  now  haue  borne  him  company  to  dinner :  705 

But  harke  you,  lets  not  goe  to  vexe  the  man ; 
Prethee  sweet  Ned  lets  tarry,  doe  not  goe. 

687  Walg.]  Walg  Q3    Mary]  Marry  Qa    maister]  master  Q2  etc. 

688  heere]  here  Q2  etc.    Why]  why  Q3 

689  The  mark  before  your  is  a  turned  comma.    Q2  etc.  read  Matt,  your 
cheare]  Cheare  Q2    690  Walg.]   Walg.  Q3     Swounds,  lets] 

Come,  lets  Q2  etc.    why]  Why  Q2  etc.    heere]  here  Q2  etc. 

691  Nay]  Nay,  Q2  etc.    selues,]  selues  Qa  etc. 

693  bade]  bad  Q2  etc.    694  clocke]  Clocke  Q2  etc.    695  was]  was  Q3 

697  Hee]  He  Q2  etc.    quite]  quit  Q2    698  bade]  bad  Qa  etc. 

699  remember't]  remember  it  Q2  etc.    700  Hee  bade]  He  bad  Q2  etc. 

home;]  home,  Q2  etc.    701  witte]  wit  Q2  etc.    702  iest]  lest  Q2 

when  we]  when  we  Q3    703  greedie]  greedy  Q2  etc. 

704  nations,  sects,  and  factions]  Nations,  Sects,  and  Factions  Q2  etc. 

705  dinner]  Dinner  Q2    706  lets]  let  vs  Q3 


ENGLISHMEN  FOR  MY  MONEY,  OR 

Walg.    Not  goe  ?    indeed  you  may  doe  what  you  please ; 
He  goe,  that's  flat :     nay,  I  am  gon  alreadie, 
Stay  you  two,  and  consider  further  of  it.  710 

Heigh.     Nay  all  will  goe,  if  one:     I  prethee  stay; 
Thou'rt  such  a  rash  and  giddie  headed  youth, 
Each  Stone's  a  Thome:    Hoyda,  he  skips  for  haste; 
Young  Haruie  did  but  iest ;  I  know  heele  goe. 

Walg.     Nay,  he  may  chuse  for  mee :     But  if  he  will,       715 
Why  does  he  not?     why  stands  he  prating  still? 
If  youle  goe,  come:  if  not,  fare- well? 

Haru.     Hier  a  Poast-horse  for  him  (gentle  Francke) 
Heer's  haste,  and  more  haste  then  a  hastie  Pudding : 
You  mad-man,  mad-cap,  wild-oates ;  we  are  for  you,  720 

It  bootes  not  stay,  when  you  intend  to  goe. 

Walg.    Come  away  then.  Exeunt. 

• 

708  Walg.]  Walg.  Q3    what]  what  Q3    709  goe,]  goe  Q2  etc. 

gon  alreadie]  gone  already  Q2  etc.    711  Heigh.]  Heigh:  Q2 

Nay]  Nay,  Q2  etc.    will]  will  Q3    I  prethee]  prethee  Q2  etc. 

712  giddie  headed]  giddy-headed  Q2  etc.    713  Stone's]  Sone's  H2 

Stone's  H    stone's  Q3    Thorne]  thorne  Q2  etc. 

714  Haruie]  Haruy  Q3    715  Walg.]  Walg.  Q3.    mee]  me  Q2  etc. 

716  why]  why  Q3    prating]  pratling  Q3 

717  fare-well?]  farewell.  Q2  etc.    718  Hier]  Hire  Q2  etc. 
horse]  hoarse  Q2  etc.    Francke]  Franke  Q2  etc. 

719  hastie]  hasty  Q2  etc.    720  mad-man]  madd-man  Q2    mad  man  Q3 

wild-oates]  wilde-oates  Q2    wilde-oates  Q3    we]  we  Q3 

721  when]  when  Q3    722  Walg.]  Walg.  Q3    Exeunt.]  omitted  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

[AcT  II.     SCENE  I.     Pisaro's  House.] 
Enter  Pisaro,  Aluaro,  Delion,  and  Vandalle. 

Pisa.    A  thousand  welcomes  f  riendes :    Monsier  Delion, 
Ten  thousand  Ben-venues  vnto  your  selfe. 
Signior  Aluaro,  Maister  Vandalle;  725 

Proude  am  I,  that  my  roofe  containes  such  Friends. 
Why  Mall,  Larentia,  Matth',  Where  be  these  Girles? 

Enter  the  three  Sisters. 

Liuely  my  Girles,  and  bid  these  Strangers  welcome ; 
They  are  my  friends,  your  friends,  and  our  wel-willers : 
You  cannot  tell  what  good  you  may  haue  on  them.  730 

Gods  mee,  Why  stirre  you  not  ?     Harke  in  your  eare, 
These  be  the  men  the  choyse  of  many  millions, 
That  I  your  care  full  Father  haue  prouided 
To  be  your  Husbands :     therefore  bid  them  welcome. 

Math.     Nay  by  my  troth,  tis  not  the  guyse  of  maydes,  735 
To  giue  a  slauering  Salute  to  men :  (aside, 

If  these  sweete  youths  haue  not  the  witte  to  doe  it, 
Wee  haue  the  honestie  to  let  them  stand. 

Vanda.     Gods  sekerlin,  dats  vn-fra  meskin,  Monsieur 

723  welcomes]  welcomes,  Q2    welcomes,  Q3    friendes]  friends  Q2  etc. 

Monsier]  Mounsier  Q2  etc.    725  Signior]  Seignior  Q2  etc. 

Aluaro]  Alvaro  Q3    Maister]   Master  Q2  etc. 

Vandalle',]  Vandalle t  Q2  etc.    726  Proude]  Prowd  Q2  etc. 

727  Why]  Why  Q2    Larentia]  Laurentia  Q3    Matth;]  Matth:  Qa 

Matth.  Q3    Where]  Where  Q2    728  welcome]  welcome  Q3 

729  wel-]  wel-  Q3    730  what]  what  Q3    731  mee]  me  Q2  etc. 

Why]  why  Q2    why  Q3    732  men]  men,  Q2  etc.  except  H 

733  Father]  father  Q3    prouided]  provided  Q3 

734  Husbands]  husbands  Q3    735  Math.]  Matth.  Q2    Matth  Qj 
tis]  'tis  Q2  etc.    guyse]  guise  Q2  etc.    maydes,]  maids  Qa  etc. 
736  aside,]  aside.  Q2  etc.    737  sweete]  sweet  Q2  etc. 

witte]  wit  Qa  etc.    738  Wee]  We  Qa    We  Q3 

739  Vanda.]  Vand.  Q3    vn-fra]  vn  fra  Q2  etc.    meskin,]  meskin  H 


I32  ENGLISHMEN  FOR  MY  MONEY,  OR 

Delion  dare  de  Grote  f  reister,  dare  wode  ic  zene,  tis  vn-f  ra  740 
Daughter,  dare  heb  ic  so  long  loude,  dare  Heb  my  desire 
so  long  gewest. 

Alua.  Ah  Venice,  Roma,  Italia,  Frauncia,  Anglitera,  nor  all 
dis  orbe  can  shew  so  much  belliza,  veremante  de  secunda, 
Madona  de  granda  bewtie.  745 

Delio.  Certes  me  dincke  de  mine  depeteta  de  little  An- 
gloise,  de  me  Matresse  Pisaro  is  vn  nette,  vn  becues,  vn  f  ra, 
et  vn  tendra  Damosella. 

Pisa.    What  Stocks,  what  stones,  what  senceles  Truncks 

be  these  ?  750 

When  as  I  bid  you  speake,  you  hold  your  tongue : 
When  I  bid  peace,  then  can  you  prate,  and  chat, 
And  gossip:     But  goe  too,  speake  and  bid  welcome; 
Or  (as  I  Hue)  you  were  as  good  you  did. 

Man.     I  cannot  tell  what  Language  I  should  speake :     755 
Yf  I  speake  English  (as  I  can  none  other) 
They  cannot  vnderstand  mee,  nor  my  welcome. 

Alua.  Bella  Madona,  dare  is  no  language  so  duke ;  duke, 
dat  is  sweete,  as  de  language,  dat  you  shall  speake,  and  de 
veil  come  dat  you  sal  say,  sal  be  well  know  perfaytemente.  760 

Man.     Pray  sir,  What  is  all  this  in  English  ? 

Alua.  De  vsa  sal  veil  teash  you  vat  dat  is ;  and  if  you  sal 
please,  I  will  teash  you  to  parler  Italiano. 

Pisa.     And  that  mee  thinkes  sir,  not  without  need : 

740  dare  wode]  dore  wode  Q3    743  Alua]  Alua  Q3    Anglitera] 
Anglitera  Q3    746  Delio.]  Delion.  Q2    749  What]  What  Q2 
Stocks]  Stockes  Q2  etc.    what . . .  what]  what . . .  what  Q3 
senceles]  sencelesse  Q2  etc.    751  When]  When  Q2 
tongue:]  tongue;  Q2  etc.    752  When]  When  Q2    welcome;] 
welcome,  Q2  etc.  754  were]  were  Q3  756  Yf  ]  If  Q2  etc.  English]  Englis 
other]  other.  Q3    757  mee]  me  Q2  etc.    758  duke,}  duke  Qa  etc. 

759  sweete]  sweet  Q2  etc. 

760  veil]  vel  Q2  etc    sal]  sail  Q2  etc.    sal  be]  sail  be  Q3 

well]  veil  Q2  etc.    761  What]  what  Q2  etc.    English]  English  Q3 
762  veil]  vel  Q2  etc.    763  teash]  teach  Q3    764  mee]  me  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

And  with  Italian,  to  a  Childes  obedience,  765 

With  such  desire  to  seeke  to  please  their  Parents, 

As  others  farre  more  vertuous  then  them  selues, 

Doe  dayly  striue  to  doe:     But  tis  no  matter, 

He  shortly  pull  your  haughtie  stomacks  downe : 

He  teach  you  vrge  your  Father;  make  you  runne,  770 

When  I  bid  runne :     and  speake,  when  I  bid  speake : 

What  greater  crosse  can  caref  ull  parents  haue  ( knock  within 

Then  carelesse  Children.     Stirre  and  see  who  knocks f 

Enter  Haruie,  Walgraue,  and  HeigJwm. 

Walgr.     Good  morrow  to  my  good  Mistris  Mathea. 

Mathe.     As  good  a  morrow,  to  the  morrow  giuer.  775 

Pisa.  A  murren,  what  make  these?  What  do  they  heere? 

Heigh.     You  see  maister  Pisaro,  we  are  bold  guestes, 
You  could  haue  bid  no  surer  men  then  wee. 

Pisa.     Harke  you  Gentlemen ;  I  did  expect  you 
At  after  noone,  not  before  two  a  clocke.  780 

Haru,  Why  sir,  if  you  please,  you  shall  haue  vs  heere  at 
two  a  clocke,  at  three  a  clocke,  at  f  oure  a  clock ;  nay  till  to 
morrow  this  time :  yet  I  assure  you  sir,  wee  came  not  to 
your  house  without  inuiting. 

Pisa.     Why  Gentlemen,  I  pray  who  bade  you  now  ?         785 
Who  euer  did  it,  sure  hath  done  you  wrong : 

765  Italian]  Italian  Q3    767  them  selues]  themselues  Q2  etc. 
769  haughtie]  haughty  Q2  etc.    771  speake,]  speake  Q2  etc. 

772  carefull]  careful  Q3    parents]  Parents  Q2  etc. 

773  s.d.  Haruie]  Haruy  Q2  etc.    Walgraue]  Walgraue  Q3 

774  Walgr.]   VValg.  Q3    775  Mathe]  Math  Q2    Math.  Q3 
morrow,]  morrow  Q2  etc.    giuer]  giver  Q3 

776  heere]  here  Q2  etc.    777  maister]  master  Q2  etc. 
778  wee.]  we,  Q2  we.  Q3 

780  after  noone]  afternoone  Q2  etc.    clocke]   Clocke  Q2  etc. 

781  Haru,]  Haru.  Q2  etc.    heere]  here  Q2 

782  clock;  nay]  clocke;  nay,  Q2  etc.    784  inuiting]  inviting  Q3 
785  bade]  bad  Qa  etc.    786  it,]  it  Q2  etc. 


I34  ENGLISHMEN  FOR  MY  MONEY,  OR 

For  scarcely  could  you  come  to  worser  cheare. 

Heigh.      It  was  your  owne  self  e  bade  vs  to  your  cheare, 
When  you  were  busie  with  Balsaro  talking ; 
You  bade  vs  cease  our  suites  till  dinner  time,  790 

And  then  to  vse  it  for  our  table  talke : 
And  wee  I  warrant  you,  are  as  sure  as  Steele. 

Pisa.     A  murren  on  your  selues,  and  surenes  too : 
How  am  I  crost:     Gods  mee,  what  shall  I  doe, 
This  was  that  ill  newes  of  the  Spanish  Pirats,  795 

That  so  disturb'd  mee :     well,  I  must  dissemble, 
And  bid  them  welcome;  but  for  my  Daughters 
He  send  them  hence,  they  shall  not  stand  and  prate. 
Well  my  Maisters,  Gentlemen,  and  Friends, 
Though  vnexpected,  yet  most  heartily  welcome;  800 

(Welcome  with  a  vengeance)  but  for  your  cheare, 
That  will  be  small :  [aside]  yet  too  too  much  for  you. 
Mall,  in  and  get  things  readie. 

Laurentia,  bid  Maudlin  lay  the  Cloth,  take  vp  the  Meate : 
Looke  how  she  stirres ;  you  sullen  Fife,  you  Callet,  805 

Is  this  the  haste  you  make  ?     Exeunt  Marina  &  Laurentia. 

Alua.  Signer  Pisaro,  ne  soiat  so  malcontento  de  Gentle 
woman  your  filigola  did  parler  but  a  litella  to,  de  gentle 
homa  y  our  graunde  amico. 

787  scarcely]  scarsely  Q2  etc.    788  your  cheare]  this  cheare  Q2  etc. 

790  suites]   suits  Q2  etc.    792  wee]   we  Q2  etc.    I]   /  Q3 

you,]  you  Q2  etc.    are]   omitted  Q2  etc.    793  surenes]   surenesse 

Q2  etc.    794  mee,]  me  Q2  etc.    doe,]  doe?  Q3 

795  Spanish]  Spanish  Q3    796  mee]  me  Q2  etc.    I]  /  Q3 

797  And]  Aud  Q2    welcome;]  welcome,  Q3    Daughters]  daughters  Q3 

798  He]  lit  Q3    799  Maisters]  Masters  Q2  etc. 
801  cheare]  cheere  Q2  etc. 

803  readie]  ready  Q2  etc.     804  Laurentia,]  belongs  metrically  with  line  803 
Cloth]  cloarh  Q2    cloath  Q3     Meate]  meate  Q2  etc. 

806  Is]  Is  Q3  Marina]  Marina,  Q2etc.  807  Alua]  Alva.  Q3  Signer]  Signior 
Q2  etc.    ne  soiat]  ne  soi  at  Q3    808  did]  dit  Q2  etc.    parler]  parler,  Q2  etc. 
809  homa  y  our  graunde]  homa  our  grande  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

Pisa.     But  that  graunde  amico,  is  your  graunde  inimico:  810 
One,  if  they  be  suffred  to  parlar, 
Will  poll  you,  I  and  pill  you  of  your  Wife : 
They  loue  togeather:     and  the  other  two, 
Loues  her  two  Sisters :     but  tis  onely  you 
Shall  crop  the  flower,  that  they  esteeme  so  much.  815 

Alua.     Do  dey  so ;  veil  let  me  lone,  sal  see  me  giue  dem 
de  such  graund  mocke,  sal  be  shame  of  dem  selues. 

Pisa.     Doe  sir,  I  pray  you  doe ;  set  lustily  vpon  them, 
And  He  be  ready  still  to  second  you. 

Walg.     But  Matt,  art  thou  so  mad  as  to  turne  French?  820 

Math.     Yes  marry  when  two  Sundayes  come  together ; 
Thinke  you  He  learne  to  speake  this  gibberidge, 
Or  the  Pigges  language?     Why,  if  I  fall  sicke, 
Theyle  say.  the  French  (et-cetera)  infected  mee. 

Pisa.  Why  how  now  Minion ;  what,  is  this  your  seruice?  825 
Your  other  Sisters  busie  are  imployde, 
And  you  stande  idle :  get  you  in,  or.  Exit  Mathea. 

Walg.     Yf  you  chide  her,  chide  me  (M.  Pisaro: 
For  but  for  mee,  she  had  gon  in  long  since. 

Pisa.    I  thinke  she  had :    for  we  are  sprights  to  scare  her ;  830 
But  er't  be  long,  He  driue  that  humor  from  her. 

811  suffred]  suffered  Q2  etc.    812  I]  /  Q3    Wife]  wife  Q2  etc. 
813  togeather]  together  Q2  etc.    816  veil]  vel  Q2  etc. 
818  I]  /  Q3    819  He]  /le  Q3    820  Matt]  Mat  Q2  etc. 
French}  French  Q3 

821  marry]  marry,  Q2  etc.    together;]  together?  Q3 

822  Thinke  you  He  learne]  Thinke  you  I  learne  Q2    Thinke  you  / 
learne  Q3    823  I]  7  Q3    824  French}  French  Q2    French  Q3 
et-cetera]  et  ccetera  Q2  etc.    mee]  me  Q2  etc. 

825  what,]  what  Q2  etc. 

826  imployde]  implode  Q2    827  stande]   stand  Q2  etc. 

or.]  or  Q2  etc.     We  should  print  or—    Mathea.}  Mathea  Q2 

828  Yf]  If  Q2    li  Q3     (M.  Pisaro:]  (master  Pisaro:)  Q2  etc. 

829  mee]  me  Q2  etc.    gon]  gone  Q2  etc.    830  Pisa.]  Pisar.  Q3 
her;]  her:  Q3    831  er't]  ere't  Q2  etc. 


ENGLISHMEN  FOR  MY  MONEY,  OR 

Alua.  Signer,  me  thincks  you  soud  no  macke  de  wenshe 
so  hardee,  so  disobedient  to  de  padre  as  ditt  madona  Matt. 

Walg.     Signor,  me  thinkes  you  should  learne  to  speake, 
before  you  should  be  so  foole-hardy,  as  to  woe  such  a  835 
Mayden  as  that  Madona  Matt? 

Delio.  Warrent  you  Monsieur,  he  sal  parle  wen  you  sal 
stande  out  the  doure. 

Haru.  Harke  you  Monsieur,  you  would  wish  your  self  e 
halfe  hang'd,  you  were  as  sure  to  be  let  in  as  hee.  840 

Van.  Macke  no  doubt  de  signor  Alua.  sal  do  vel  enough 

Heigh,  perhaps  so :  but  me  thinks  your  best  way  were  to 
ship  your  self  e  for  Stoad,  and  there  to  batter  your  self  e  for  a 
commodity ;  for  I  can  tell  you,  you  are  here  out  of  liking. 

Pisa.     The  worst  perhappes  dislike  him,  but  the  best  845 
esteeme  him  best. 

Haru.     But  by  your  patience  sir,  mee  thinks  none 
should  know  better  who's  Lord,  then  the  Lady. 

Alua.     Den  de  Lady,  vat  Lady? 

Haru.     Marry  sir,  the  Lady  let  her  alone :  one  that          850 
meanes  to  let  you  alone  for  feare  of  trouble. 

Pisa.     Euery  man  as  he  may :    yet  sometimes  the  blinde 

832  Signor]  Signior  Q2  etc. 

thincks]  tincks  Q2  etc.    macke]  make  Q2  etc.    wenshe]  wenche  Q2  etc. 

833  disobedient]  disobedient,  Q2  etc.    Matt]  Mat  Q2  etc. 

834  Walg.]  Walgr.  Q3     Signor]  Signior  Q2  etc.    speake,]  speake  Q3 

835  foole-j  foole  Q2    836  Mattf]  Matt.  Q2  etc. 

838  stande]  stand  Q2  etc.    the]  de  Q2  etc. 

839  would]  wonld  Q3    840  hang'd]  hanged  Q2  etc.    hee]  he  Q2 
841  Van.}  Vau.  Q2    signor  Alua.]  signior  Alua  Q2  etc. 

vel]  wel  Q2  etc.    enough]  enough.  Q3    842  Heigh.}  Heig.  Q2  etc. 
perhaps]  Perhaps  Q2  etc.    thinks]  thinkes  Q3 

843  there]  ther  Q2    batter]  barter  Q2  etc. 

844  commodity;]  commoditie;  Q2     commoditie:  Q3    845  Pisa.]  Pisa,  Q2 
Pisar.  Q3   perhappes]  perhaps  Q3   847  mee]  me  Q2  etc.   thinks]  thinkes  Q3 

848  who's  Lord]  who's  is  Lord  Q2    who's  the  Lord  Q3 

849  Lady?]  Lady.  Q3    850  Marry]  Mary  Q3    852  Euery]  Every  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

may  katch  a  Hare. 

Heigh.     I  sir,  but  he  will  first  eate  many  a  Fly : 
You  know  it  must  be  a  wonder,  if  a  Crab  catch  a  Fowle.     855 

Vand.  Maer  hort  ens ;  if  he  &  ic  &  monsier  Delion  be  de 
Crab,  we  sal  kash  de  Fowle  wel  genough,  I  warrent  you. 

Walg.     I,  and  the  Foole  well  enough  I  warrant  you ; 
And  much  good  may  it  doe  yee. 

Alua.    Mee  dincke  such  a  piculo  man  as  you  be,  sal  haue  860 
no  de  such  grande  lucke  madere. 

Delio.  Non  da  Monsieur,  and  he  be  so  granda  amorous 
op  de  Damosella,  he  sal  haue  Mawdlyn  de  witt  Wenshe  in 
de  Kichine  by  maiter  Pisaros  leaue. 

Walg.  By  M.  Pisaros  leaue,  Monsieur  He  mumble  you,  ex-  865 
cept  you  learne  to  know,  whom  you  speake  to :     I  tell  thee 
Francois,  He  haue  (maugre  thy  teeth)  her  that  shall  make 
thee  gnash  thy  teeth  to  want. 

Pisa.  Yet  a  man  may  want  of  his  will,  and  bate  an  Ace 
of  his  wish :  But  Gentlemen,  euery  man  as  his  lucke  serues,  870 
and  so  agree  wee;  I  would  not  haue  you  fall  out  in  my 
house :  Come,  come,  all  this  was  in  iest,  now  lets  too't  in 
earnest;  I  meane  with  our  teeth,  and  try  who's  the  best 
Trencher-man.  Exeunt. 


853  katch]  catch  Q2  etc.    854  Fly]  Flye  Qj    856  ens;]  ens:  Q3 
monsier]  monsieur  Q2  etc.    857  genough,]  genough  Q2  etc.    warrant] 
warrent  Q2    858  you;]  you.  Q2    you:  Q3    860  Mee]  Me  Q2  etc. 

862  and]  &  Q2  etc. 

863  he]  hee  Q2    Mawdlyn]  Maudlin  Q2    Maudelin  Q3    864  Pisaros 
leaue]  Pisaroes  leave  Q3 

865  Pisaros]  Pisaroes  Q3    leaue]  leane  Q2    Monsieur]  Monsieur  Q3 
you,]  yon  Q2    you  Q3    866  know]  knowe  Q3    870  wish:]  wish.  Q2  etc. 
euery]  every  Q3    871  wee;]  wee:  Q2    we:  Q3    872  house:]  house.  Q2 
iest,]  iest;  Q2  etc.    lets]  let's  Q2  etc.    873  earnest;]  earnest,  Q2  etc. 
try]  trye  Q2    trie  Q3 


l^S  ENGLISHMEN  FOR  MY  MONEY,  OR 

[SCENE  II.     Paul's  Walk.] 
Enter  Frisco. 

Frisc.     Ah  sirra,  now  I  know,  what  manner  of  thing  875 
Powles  is ;  I  did  so  marie  afore  what  it  was  out  of  all  count : 
For  my  maister  would  say,  Would  I  had  Powles  full  of 
Gold.     My  young  Mistresses,  and  Grimkin  our  Taylor, 
would  wish  they  had  Powles  full  of  Needles :  I,  one  askt 
my  maister  halfe  a  yard  of  Freeze  to  make  me  a  Coate  and  880 
hee  cride  whoope  holly-day,  it  was  big  enough  to  make 
Powles  a  Night-gowne.    I  haue  been  told,  that  Duke  Hum- 
frie  dwelles  here,  and  that  he  keeps  open  house,  and  that  a 
braue  sort  of  Cammileres  dine  with  him  euery  day;  now 
if  I  could  see  any  vision  in  the  world  towards  dinner,  I  885 
would  set  in  a  foote :    But  the  best  is,  as  the  auncient  Eng 
lish  romaine  Orator  saith,So-lame-menf  Misers,  Howsewiites, 
and  so  f  oorth :  the  best  is,  that  I  haue  great  store  of  compa- 
nie  that  doe  nothing  but  goe  vp  and  downe,  and  goe  vp 
and  downe,  and  make  a  grumbling  togeather,  that  the  890 
meate  is  so  long  making  readie:     Well,  if  I  could  meete 

874  s.d.  Enter]  Enter  Qi     Enter  Q2  etc. 

875  Frisc.]  Frisco  Q3    know,]  know  Q2  etc.    876  was]  was,  Q2  etc. 
877  maister]  master  Q2  etc.    878  Gold.]  Gold;  Q2  etc. 

My]  my  Q2  etc.    879  Needles]  needles  Q3 

880  maister]  master  Q2    Master  Q3    yard]  yeard  Q3 
Coate]  Coat,  Q2  etc. 

881  hee]  he  Q3     cride]  cry'de  Q2    cryde  Q3    big]  bigge  Q2  etc. 

882  been]  beene  Q2  etc.    told]  tolde  Qj    882-3  Humfrie]  Humfrey  Q2 
Humphrey  Q3    883  dwelles]  dwels  Q2    dwells  Q3    here,]  here:  Q3 
he]  hee  Q3    keeps]  keepes  Q2  etc.    884  euery]  every  Q3 

day;]  day:  Q3    886  foote:]  foot.  Q2    foote.  Q3    as  the]  a  the  Qi 
auncient]  ancient  Q2  etc.    887  romaine]  Romane  Q2  etc.    Misers]  Mi  ers  HS 
Misers  P  etc.    Howsewiues]  House-wiues  Q2  etc.    888  foorth]  forth  Q3 
888-9  companie]  Companie  Q3    889  downe,]  downe :  Q3 
890  togeather]  together  Q2  etc.    891  meate]  meat  Q3 
readie:]  readie.  Q2    ready.  Q3    Well,]  Well  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

this  scuruie  Frenchman,  they  should  stay  mee,  for  I  would 
be  gone  home. 

Enter  Anthony. 

Antho.     I  beseech  you  Monsieur,  giue  mee  audience. 

Frisc.  What  would  you  haue  ?  What  should  I  giue  you  ?  895 

Antho.  Pardon,  sir  mine  vnciuill  and  presumptuous  in 
trusion,  who  indeauour  nothing  lesse,  then  to  prouoke  or 
exasperat  you  against  mee. 

Frisc.  They  say,  a  word  to  the  Wise  is  enough :  so  by 
this  litle  French  that  he  speakes,  I  see  hee  is  the  very  man  I 
seeke  for :  Sir,  I  pray  what  is  your  name  ?  901 

Antho.  I  am  nominated  Monsieur  Le  Mouche,  and  rest  at 
your  bon  seruice. 

Frisc.  I  vnderstand  him  partly ;  yea,  and  partly  nay : 
Can  you  speake  French  ?  Content  pore  vous  monsieur 

Madomo.  905 

Antho.  If  I  could  not  sir,  I  should  ill  vnderstand  you : 
you  speake  the  best  French  that  euer  trode  vpon  Shoe  of 
Leather. 

Frisc.  Nay,  I  can  speake  more  Languages  then  that : 
This  is  Italian,  is  it  not?  Nella  slurde  Curtezana.  910 

Antho.     Yes  sir,  and  you  speake  it  like  a  very  Naturall. 

Frisc.     I  beleeue  you  well :     now  for  Dutch: 

892  stay  mee]  stay  me  Q2    stay  for  me  Q3    893  s.d.  Anthony] 

Anthonie  Q2  etc.     894  you]  you,  Q2  etc.     Monsieur]  Monsieur  Q2  etc. 

giue]  give  Q3    mee]  me  Q2  etc.    896  sir]  sir,  Q2  etc. 

vnciuill]  vncivill  Q3    898  exasperat]  exasperate  Q2  etc. 

900  litle]  little  Q3     hee]heQ2     901  for :]  for.  Q3     pray]  pray,  Q2  etc. 

902  Monsieur  Le  Mouche]  Monsieur  Le  ^louche  Q2     904  Frisc.]  Fris.  Q2 

vnderstand]  Vnderstand  Q2    I  vnderstand  him  partly;  yea,  and 

partly  nay:]  I  vnderstand  him;  partly  yea,  and  partly  nay:  Q3 

905  French]  French  Q3    Madomo]  madamo  Q2  etc. 

907  French]  French  Q3    910  Nella]  Nelle  Q2  etc. 

912  Frisc.]  Frisco.  Q2  etc.    I]  /  Q3    beleeue]  belieue  Q2 

Dutch:]  Duch:  Q2    Duth.  Q3 


140  ENGLISHMEN  FOR  MY  MONEY,  OR 

Ducky  de  doe  watt  heb  yee  ge  brought. 

Antho.     I  pray  stop  your  mouth,  fot  I  neuer  heard  such 
Dutch  before  brocht.  915 

Frsc.     Nay  I  thinke  you  haue  not  met  with  no  pezant : 
Heare  you  M.  Mouse,  (so  your  name  is  I  take  it)  I  haue 
considered  of  your  learning  in  these  aforesaid  Languages, 
and  find  you  reasonable :     So,  so,  now  this  is  the  matter ; 
Can  you  take  the  ease  to  teach  these  Tongues  to  two  or  920 
three  Gentlewomen  of  mine  acquaintance,  and  I  will  see 
you  paide  for  your  labour. 

Antho.     Yes  sir,  and  that  most  willingly. 

Fris.  Why  then  M.  Mouse,  to  their  vse,  I  entertaine  yee, 
which  had  not  been  but  for  the  troubles  of  the  world,  that  925 
I  my  selfe  haue  no  leasure  to  shew  my  skill :     Well  sir,  if 
youle  please  to  walke  with  me,  He  bring  you  to  them. 

Exeunt. 

[SCENE  III.     A  Room  in  Pisaro's  House.] 
Enter  Laurentia,  Marina,  and  Mathea. 

Lauren.     Sit  till  dinners  done ;  not  I,  I  sweare : 
Shall  I  stay  ?     till  he  belch  into  mine  eares 
Those  rusticke  Phrases,  and  those  Dutch  French  tearmes,  930 
Stammering  half e  Sentences  dogbolt  Elloquence : 
And  when  he  hath  no  loue  f  or-sooth,  why  then 

913  ge]  9?*  Qz  etc. 

914  I]  /  Q3     fot]  for  Q2  etc.    I]  /  Q3    916  Frsc.]  Frisc.  Q2  etc. 
I]  I  Q3    pezant]  Pezant  Q2  etc.    917  Mouse]  Mouse  Q2 

I]  I  Q3  (both  occurrences) 

921  I]  /  Q3    922  paide]  paid  Q3    924  Fris.]  Frisc.  Q3 
M.]  M-  H  M  H2    I]  /  Q3.  yee]  ye  Q2  etc.    926  I]  /  Q3 
927  me]  mee  Q3    He]  71e  Q3    927  s.d.  Marina  . . .  Mathea] 
Marina . . .  Mathea  Q2    928  dinners]  Dinners  Q2  etc.     I,  I]  /,  /  Q3 
929  I]  I  Q3    930  rusticke]  Rusticke  Q2  etc.    tearmes]  termes  Q2  etc. 
931  Elloquence:]  Eloquence  Q2  etc.    932  loue]  loue,  Q2  etc. 
then]  then,  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 


141 


Hee  tels  me  Cloth  is  deare  at  Anwerpe,  and  the  men 

Of  Amsterdam  haue  lately  made  a  law, 

That  none  but  Dutch  as  hee,  may  trafficke  there:  935 

Then  standes  he  still  and  studies  what  to  say; 

And  after  some  halfe  houre,  because  the  Asse 

Hopes  (as  he  thinkes)  I  shall  not  contradict  him, 

Hee  tels  me  that  my  Father  brought  him  to  me, 

And  that  I  must  performe  my  Fathers  will.  940 

Well  good-man  Goose-cap,  when  thou  woest  againe, 

Thou  shalt  haue  simple  ease,  for  thy  Loues  paine. 

Mathe.     Alas  poore  Wench,  I  sorrow  for  thy  hap, 
To  see  how  thou  art  clog'd  with  such  a  Dunce : 
Forsooth  my  Sire  hath  fitted  me  far  re  better,  945 

My  Frenchman  comes  vpon  me  with  the  Sa,  sa,  sa\ 
Sweete  Madam  pardone  moye  I  pra: 
And  then  out  goes  his  Hand,  downe  goes  his  Head, 
Swallowes  his  Spittle,  f rissles  his  Beard ;  and  then  to  mee : 
Pardone  moy  mistresse  Mathea,  950 

//  /  be  bold,  to  macke  so  bold  met  you, 
Thinke  it  go  will  dat  spurres  me  dus  vp  yow. 
Dan  cast  neit  off  so  good  ande  true  Louer, 
Madama  celestura  de  la,  (I  know  not  what) 
Doe  oft  pray  to  God  dat  me  woud  loue  her:  955 

And  then  hee  reckons  a  catalogue  of  names 

933  tels]  tells  Q2  etc.    Anwerpe]  Antwerpe  Q2  etc. 

men]  men,  Q3    934  law]  Law  Q2  etc.    935  Dutch]  Dutch,  Q2  etc. 

hee]  he  Q3    trafficke]  traffique  Q2  etc.    there:]  there.  Q2  etc, 

936  standes]  stands  Q2  etc.    still]  still,  Q2  etc.    say;]  say:  Q3 

939  Hee  tels  me]  He  tells  me,  Q2  etc.    943  Mathe.]  Math.  Q2  etc. 

Wench,]  Wench  Q3    944  clog'd]  clogg'd  Q3    945  farre]  much  Q3 

better,]  better;  Q2  etc.    946  sa;]  sa,  Q2  etc.    947  Sweete]  Sweet  Q2  etc. 

Madam]  Madame  Q2  etc.    moye]  moy  Q3    949  f  rissles]  frizzles  Q2  etc. 

950  mistresse]  Mistresse  Q2  etc.    952  go]  goe  Q3    you.]  you :  Q2  etc. 

953  ande]  arde  Q3    954  la,]  la  Q3 

956  hee]  he  Q2  etc.    catalogue  of  names]  catalogue  ofnames  Qi 

Catalogue  of  Names,  Q2  etc. 


1 42  ENGLISHMEN  FOR  MY  MONEY,  OR 

of  such  as  loue  him,  and  yet  cannot  get  him. 

Man.    Nay,  but  your  Monsieur's  but  a  Mouse  in  cheese, 
Compard  with  my  Signor ;  hee  can  tell 

Of  Lady  Venus,  and  her  Sonne  blind  Cupid:  960 

Of  the  faire  S cilia  that  was  lou'd  of  Glaucus, 
And  yet  scornd  Glaucus,  and  yet  lou'd  King  Minos ; 
Yet  Minos  hated  her,  and  yet  she  holp'd  him; 
And  yet  he  scorn'd  her,  yet  she  kild  her  Father 
To  doe  her  good ;  yet  he  could  not  abide  her :  965 

Nay,  hele  be  bawdy  too  in  his  discourse; 
And  when  he  is  so,  he  will  take  my  Hand, 
And  tickle  the  Palme,  wincke  with  his  one  Eye, 
Gape  with  his  Mouth,  and 

Laur.  And,  hold  thy  tongue  I  prethee :  here's  my  father.  970 

Enter  Pisaro,  Aluaro,  Vandalle,  Delion,  Haruie, 

Walgraue,  and  Heigham. 

Pisa.     Vnmannerly,  vntaught,  vnnurtred  Girles, 
Doe  I  bring  Gentlemen,  my  very  friends 
To  feast  with  mee,  to  reuell  at  my  House, 
That  their  good  likings,  may  be  set  on  you, 
And  you  like  misbehaud  and  sullen  Girles,  975 

Turne  tayle  to  such,  as  may  aduance  your  states : 

957  of]  Of  Qa  etc.    loue  him]  him  omitted  Q3    958  Monsieur's} 
Mounsieur's  Q2    Monsieurs*  Q3    cheese]  Cheese  Q2  etc. 
959  Compard]  Compar'd  Q2  etc.    Signor;]  Signior:  Q2  etc. 
hee]  Hee  Q2    He  Q3    960  Cupid:]  Cupid;  Qz  etc. 

961  Scilla]  S  cilia,  Q2  etc. 

962  scornd]   scorn'd  Q2  etc.    964  her,]   her:  Q2  etc.    kild]   kill'd 
Q2  etc.    Father]  Father,  Q2 

965  To  doe  her  good]  To  doe  him  good  Q2  etc.    her:]  her.  Q2  etc. 

966  hele]  heele  Q2  etc.    bawdy]  bawdie  Q2    discourse;]  discourse,  Q3 
968  wincke]  winke  Q2    970  And,]  And  Q3    tongue]  tongue,  Q2  etc. 
prethee:]  prethee,  Q3    971  vnnurtred]  vnnurtur'd  Q2  etc. 

972  friends]  friends,  Q2  etc.    973  mee]  me  Q2  etc.    House]  house  Q3 

974  likings,]  likings  Q2  etc.    you,]  you;  Q2  etc. 

975  you]  you,  Q2  etc.    misbehaud]  misbehau'd  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

I  shall  remembert,  when  you  thinke  I  doe  not. 

I  am  sorrie  Gentlemen,  your  cheare's  no  better ; 

But  what  did  want  at  Board,  excuse  me  for, 

And  you  shall  haue  amendes  be  made  in  Bed.  980 

To  them  friends,  to  them ;  they  are  none  but  yours : 

For  you  I  bred  them,  for  you  brought  them  vp: 

For  you  I  kept  them,  and  you  shall  haue  them : 

I  hate  all  others  that  resort  to  them : 

Then  rouse  your  bloods,  be  bold  with  what's  your  owne:     985 

For  I  and  mine  (my  friends)  be  yours,  or  none. 

Enter  Frisco  and  Anthonie. 

Frisc.  God-gee  god-morrow  sir,  I  haue  brought  you 
M.  Mouse  here  to  teach  my  young  Mistresses :  I  assure  you 
(for-sooth)  he  is  a  braue  Frenchman. 

Pisa.     Welcome  friend,  welcome:  my  man  (I  thinke)   990 
Hath  at  the  full,  resolu'd  thee  of  my  will. 
Monsieur  Delion,  I  pray  question  him : 
I  tell  you  sir,  tis  onely  for  your  fake, 
That  I  doe  meane  to  entertaine  this  fellow, 

Antho.    A  bots  of  all  ill  lucke,  how  came  these  heere?     995 
Now  am  I  posde  except  the  Wenches  helpe  mee : 
I  haue  no  French  to  flap  them  in  the  mouth, 

977  remembert]  remember't  Q2    sorrie]  sorry,  Q2    sorry  Q3 
Gentlemen,]  Gentlemen  Q3    980  amendes]  amends  Q2  etc. 
982  you  brought]  you  I  brought  Q2  etc.    vp :]  vp,  Q2  etc. 
984  them:]  them.  Q2  etc.    985  rouse]  rowse  Q2  etc. 
owne :]  owne,  Q2  etc.     986  s.d.  Frisco]  Frisco,  Q3     Anthonie]  Anthonio  Q3 
987  gee  god]  gee-god  Q2  etc.    988  here]  here,  Q2    heere,  Q3 
Mistresses]  mistresses  Q3    989  for-sooth]  forsooth  Q2  etc. 
Frenchman]  Frenchman  Q3    991  full,]  full  Q2  etc. 

992  Monsieur]  Mounsieur  Q2  etc.    him :]  him ;  Q2  etc. 

993  tis]  'tis  Q2  etc.    fake]  sake  Q2  etc. 

994  fellow,]  fellow.  Q2  etc.    995  heere]  here  Q3 

996  posde]  pos'd,  Q2  etc.    mee]  me  Q3    997  I]  /  Q3 

French]  French  Q3    flap]  slap  Q3,  possibly  Q2    mouth,]  mouth.  Q2  etc. 


ENGLISHMEN  FOR  MY  MONEY,  OR 

Haru.  To  see  the  lucke  of  a  good  fellow,  poore  Anthony 

Could  nere  haue  sorted  out  a  worser  time : 

Now  will  the  packe  of  all  our  sly  deuises  1000 

Be  quite  layde  ope,  as  one  vndoes  an  Oyster : 

Franc ke,  Heigham,  and  mad  Ned,  fall  to  your  muses, 

To  helpe  poore  Anthony  now  at  a  pinch, 

Or  all  our  market  will  be  spoyld  and  marde. 

Walg.  Tut  man,  let  vs  alone,  I  warrant  you.  (vous.  1005 
Delio.  Monsieur,  Vous  estes  tresbien  venu,  de  quell  pais  estes 
Anth.  Vous,  thats  you :  sure  he  saies,  how  do  men  call  you 

Monsieur  le  Mottche? 

Mart.     Sister,  helpe  sister;  that's  honest  Anthonie, 

And  he  answers,  your  woer  cuius  contrarium.  1010 

Delio.  Monsieur,  Vous  n'entens  pas,  le  ne  demaunde  puit, 

vostre  nom? 

Math.  Monsieur  Delion,  he  that  made  your  Shooes,  made 

them  not  in  fashion :     they  should  haue  been  cut  square  at 

the  toe.  1015 

Delio.     Madame,  my  Sho  met  de  square  toe,  vat  be  datf 
Pisa.    Why  sauce-box ;  how  now  you  vnreuerent  mincks 

Why?     in  whose  Stable  hast  thou  been  brought  vp, 

To  interrupt  a  man  in  midst  of  speach? 

Monsieur  Delion,  disquiet  not  your  selfe,  1020 

998  fellow,]   fellow;  Q2    1000  sly]  slye  Q2  etc.    deuises] 

deuices  Q2    devices  Q3    1001  Oyster:]  Oyster.  Q2  etc. 

1002  Francke]  Franke  Q2  etc.    muses]  Muses  Q2  etc. 

1004  marde.]  marde,  Q3     1005  Walg.]   Walg.  Qa 

1006  Monsieur]  Monsiur  Q3     Vous]  Voas  Q3     1007  saies]  sayes  Q2  etc. 

do]  doe  Q2  etc.     1008  Mouche]  mouche  Q2  etc.     1009  Mari] 

Man  Q2    sister;]   sister:  Q3    that's]  thats  Q2  etc. 

Anthonie,]  Anthony.  Q2  etc.    1010  answers,]  answers  Q2  etc. 

woer]  woer,  Q2  etc.     ion  Vous  n'entens]  Vous'n  entens  Q3 

1012  nom?]  nom.  Q2  etc.     1013  Math]  Math  Q2    Shooes]  shooes  Q2  etc. 

1014  been]  beene  Q2  etc.    1016  Madame]  Madame  Q2  etc. 

square]  sqare  Q3     1018  been]  beene  Q2  etc.     1019  midst]  middst  Q2  etc. 


A  WOMAN  W ILL  HAVE  HER  WILL  145 

But  as  you  haue  begun,  I  pray  proceed 
To  question  with  this  Countriman  of  yours. 

Delio.     Dat  me  sal  doe  tres  beien,  but  de  bella  Madona 
de  iune  Gentlewoman  do  monstre  some  singe  of  amour  to 
speake  lot  me,  epurce  monsieur,  mee  sal  say  but  two  tree  1025 
fowre  fiue  word  to  dis  francois:  or  sus  Monsieur  Le 
mouche  en  quelle  partie  de  Fraunce  esties  vous  ne? 

Haru.     Fraunce. 

Heigh.    Ned. 

Walg.     Sbloud,  let  mee  come.  1030 

Maister  Pisaro,  we  haue  occasion  of  affaires, 
Which  calles  vs  hence  with  speed ;  wherefore  I  pray 
Deferre  this  businesse  till  some  fitter  time, 
And  to  performe  what  at  the  Exchange  we  spoke  of. 

Antho.     A  blessing  on  that  tongue,  saith  Anthony.         1035 

Pisa.     Yes  marry  Gentlemen,  I  will,  I  will. 
Aluaro  to  your  taske,  fall  to  your  taske, 
lie  beare  away  those  three,  who  being  heere, 
Would  set  my  Daughters  on  a  merry  pin : 
Then  chearely  try  your  luckes;  but  speake,  and  speed,       1040 
For  you  alone  (say  I)  shall  doe  the  deed. 

1021  But  as]  So  Q2  etc.  Qi  reads  Bu  tas  begun,]  begun  Q3     pray]  Pray  Q2 

1022  Countriman]  Countreman  Q2  etc.     1023  Delio.]  Delion.  Q2  etc. 

tres  beien]  tresbeien  Q2  tresb  ien  Q3  bella]  Bella  Q2  etc.  1025  me]  mee  Q2  etc. 
sal]  sail  Q3     1026  francois]  Francois  Q2  etc.    Monsieur]  monsieur  Q2 
monsier  Q3   1027  partie]  party  Q3  Fraunce]  fraunce  Q3   esties]  est  its  Q3 

1030  Walg.]  Walg  Q3    Sbloud,  let  mee]  What,  let  me  Q2  etc. 

1031  Maister]  Master  Q2  etc.    1032  calles]  calls  Q3 
1033  Deferre]  D  ferre  Q3 

1035  Anthony.]  Anthony,  Q2  etc.     1037  Aluaro]  Alvaro  Q3 

1038  heere]  here  Q2  etc. 

1039  Daughters]  daughters  Q3  1041  s.d.  Walgraue]  VValgraueQz  Higham] 
Heighatn  Q3 


I46  ENGLISHMEN  FOR  MY  MONEY,  OR 

Exeunt  Pisaro,  Haruy,  Walgraue,  and  Higham. 

Frisc.  Heare  you  M.  Mouse,  did  you  dine  to  day  at 
P aides  with  the  rest  of  the  Gentlemen  there  ? 

Antho.     No  sir,  I  am  yet  vndined. 

Frisc-    Mee  thinkes  you  should  haue  a  reasonable  good  1 045 
stomacke  then  by  this  time,  as  for  me  I  can  seel  nothinge 
within  me  from  my  mouth  to  my  Cod-peece  but  all  Em- 
ptie,  wherefore  I  thinke  [it]  a  peece  of  wisdome  to  goe  in  and 
see  what  Maudelin  hath  prouided  for  our  Dinner  maister 
Mouse  will  you  goe  in?  1050 

Antho.    With  as  good  a  stomacke  and  desire  as  your 

Frisc.     Lett's  passe  in  then  (selfe. 

Exeunt  Frisco,  and  Anthonie. 

Vanda.  Han  seg  you  Dochtor,  vor  vat  cause,  voer  why 
bede  also  much  grooterlie  strange,  Ic  seg  you  wat,  if  datt 
ghy  speake  to  me,  is  datt  ghy  loue  me.  1055 

Lauren.  1st  that  I  care  not  for  you,  ist  that  your  breath 
stinckes,  if  that  your  breath  stinckes  not,  you  must  learne 
sweeter  English  or  I  shall  neuer  vnderstand  your  suite. 

Delion.     Pardone  moy  Madame. 

1042  you]  you,  Q2  etc.     1043  Paules]  Paules,  Q2    Paules,  Q3 

1045  Frisc ']  Frisc.  Q2  etc.    Seemingly  Frise'  in  W 

1046  time,]  time:  Q2  etc.    me]  me,  Q2    mee,  Q3 

nothinge]  nothing  Q2  etc.     1047  me]  me,  Q2  etc.    mouth]  Mouth  Q2  etc. 
Cod-peece]  Cod-peece,  Q2  etc.    Em-]  em-  Q3     1048  ptie,]  ptie:  Q2  etc. 
it]  inserted  Q2  etc.    peece]  piece  Q3    wisdome]  wisdome,  Q2 
wisedome,  Q3    1049  Maudelin]  Maudelin  Q2  etc.    prouided] 
provided  Q3    Dinner]  Dinner.  Q2    dinner.  Q3    maister]  Master  Q2 
M.  Q3     1050  Mouse]  Mouse,  Q2  etc. 

1051  stomacke]  stomacke,  Q2  etc.    desire]  desire,  Q2  etc. 

1052  Lett's]  Let's  Q2  etc.    then]  then.  Q2  etc. 

1053  Dochtor]  Doctor  Q3     1054  wat]  war  Q3    datt]  dart  Q3 

1055  datt]  dart  Q3    1057  stinckes,]  stinckes;  Q2 

1056  moy]  moy,  Q2  etc.    Madame]  Madam  Q3 
1058  English]  English,  Q2  etc.    neuer]  never  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

Math.     Withall  my  heart  so  you  offend  no  more.  1060 

Delio.  Is  dat  an  offence  to  be  amorous  di  one  belle  Gen- 
tleavvoman. 

Math.  I  sir  see  your  Belle  Gentle-woman  cannot  be  a- 
morous  of  you. 

Mar.   Then  if  I  were  as  that  belle  Gentle womans  louer,   1065 
I  would  trouble  her  no  further,  nor  be  amorous  any  longer. 

Aluar.  Madona  yet  de  Belleza  of  de  face  beutie  def orme 
of  all  de  Corpo  may  be  such  datt  no  perriculo,  nor  all  de 
mal  shaunce,  can  make  him  leaue  hir  duke  visage. 

Laur.  But  signor  Aluar o  if  the  periculo  or  mal  shaunce  1070 
were  sutch,  that  she  should  loue  and  Hue  with  an  other, 
then  the  dulce  visage  must  be  lefte  in  spite  of  the  louers 
teeth,  whilst  he  may  whine  at  his  owne  ill  fortune. 

Vanda.  Datts  waer  matresse,  for  it  is  vntrue  saying,  dey 
wint  he  taught  dey  verleift  lie  scrat  sin  gatt.  IO75 

Math.  And  I  thinke  to  are  like  to  scratch  there  but  ne- 
uer  to  claw  any  of  my  Sisters  loue  away. 

Vand.  Dan  sal  your  sistree  do  gainst  her  vaders  will, 
for  your  vader  segt  dat  ick  sal  heb  har  vor  mine  wife. 

Laur.    I  thinke  not  so  sir,  for  I  neuer  heard  him  say  so,   1080 
but  He  goe  in  and  aske  him  if  his  meaning  be  so. 

1060  Withall]  With  all  Q2  etc.    heart]  heart,  Qa  etc. 

1061  dat]   dar  Q3    offence]  offence,  Q2  etc.     1062  tleawoman.] 
tleawoman  ?  Q2  etc.  1063  belle]  Belle  Q2  etc.  be]  bee  Qa  1065  belle]  Belle  Q2 
1066  longer.]  longer  Q3     1067  Aluar.]  Alua.  Q2  etc. 

face]  Face,  Q2  etc.    beutie]  beuty  Q3     1068  such]   such,  Q2  etc. 

1070  signor]   Signior  Q2  etc.    Aluaro]  Aluaro,  Q2  etc. 

periculo]  perriculo  Q2  etc.     1071  sutch]  such  Q3    she]  shee  Q2  etc. 

an  other]  another  Q2  etc. 

1072  be]  bee  Q2  etc.    louers]  lovers  Q3     1073  whilst]  whilest  Q2  etc. 

1074  Vanda.]  Vand.  Q2  etc.     1075  he]  de  Q2  etc. 

1076  are]  y'are  Q2  etc.    there]  there,  Q2  etc.     1077  Sisters] 

sisters  Q2  etc.     1078  do]  doe  Q2  etc.    vaders]  Vaders  Q2  etc. 

1079  vader]  Vader  Q3     1080  neuer]  never  Q3 


I48  ENGLISHMEN  FOR  MY  MONEY,  OR 

Mart.  Harke  sister  signer  Aluaro  sayth,  that  I  am  the 
fayrest  of  all  vs  three, 

Laur.     Beleeue  him  not  for  heele  tell  any  lie. 
If  so  he  thinkes  thou  mayst  be  pleasd  thereby,  1085, 

Come  goe  with  me  and  neere  stand  pratinge  here, 
I  haue  a  iest  to  tell  thee  in  thine  eare, 
Shall  make  you  laugh :     come  let  your  signer  stand, 
I  know  there's  not  a  Wench  in  all  this  Towne, 
Scoffes  at  him  more,  or  loues  him  lesse  then  thou.  1090 

Maister  Vandalle,  as  much  I  say  for  you ; 
If  needes  you  marry  with  an  English  Lasse, 
Woe  her  in  English,  or  sheele  call  you  Asse. 

Math.     Tut  that's  a  French  cogge ;  sure  I  thinke, 
There's  nere  a  Wench  in  Fraunce  not  halfe  so  fond,  1095 

To  woe  and  sue  so  for  your  Mounsership. 

Delio.  Par  may  foy  Madame,  she  does  tincke  dare  is 
no  Wenche  so  dure  as  you :  for  de  Fillee  was  cree  dulce, 
tendre,  and  amarous  for  me  to  loue  hir ;  now  me  tincke  dat 
I  being  such  a  fine  man,  you  should  loua  me.  noo 

Mathe.     So  thinke  not  I,  sir. 

Delio.     But  so  tincke  esh  oder  Damosellas. 

Mathe.     Nay  He  lay  my  loue  to  your  commaunde, 

1082  sister]  sister,  Q2  etc.      signer]  signior  Q2  etc.     1083  three,]  three.  Qa 
1084  not]  not,  Q3    lie]  lye  Q2  etc.     1085  mayst]  mayest  Q3 
pleasd]  pleas' d  Q3     1086  neere]  nere  Q2  etc.     pratinge]  prating  Q2  etc. 
here]  heere  Q3    1088  come]  com  Q3    signer]  signior  Q2  etc. 
1091  Maister]  Master  Q2  etc.     Vandalle]  Vandalc  [?]  Q3 
say  for  you]  say  to  you  Q2  etc.     1092  needes]  nedes  Q2    English] 
English  Q3     1093  English]  English  Q3     1094  Math]  Math  Q2 
French]  Franch  Q2    French  Q3    cogge]  cog  Q3     1095  Fraunce] 
Frence  Q2    France  Q3     1097  may]  ma  Q2  etc.    she]  shee  Q2  etc. 
tincke]  tinke  Q2  etc.     1098  Wenche]  Wench  Q3    Fillee]  Fille  Q2  etc. 
1099  amarous]  amorous  Q2  etc.    hir;]  hir:  Q2  etc.    me]  mee  Q3 
noo  should]  shold  Q2  etc.    me.]  me,  Q2  etc.     noi  Mathe]  Math  Q2 
Math  Q3    1103  Mathe]  Math  Q2    Math  Q3    Nay]  Nay,  Q2  etc.     He 
lay]  I  lay  Q3    commaunde]  commande  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

That  my  Sisters  thinke  not  so:  How  say  you  sister  Mall? 

Why  how  now  Gentlemen,  is  this  your  talke?  1105 

What  beaten  in  plaine  field  :     where  be  your  Maydes  ? 

Nay  then  I  see  their  louing  humor  fades, 

And  they  resigne  their  intrest  vp  to  mee ; 

And  yet  I  cannot  serue  for  all  you  three : 

But  least  two  should  be  madd,  that  I  loue  one,  mo 

You  shall  be  all  alike,  and  He  loue  none: 

The  world  is  scant,  when  so  many  lacke  Dawes, 

Houer  about  one  Coarse  with  greedy  pawes : 

Yf  needes  youle  haue  me  stay  till  I  am  dead, 

Carrion  for  Crowes,  Mathca  for  her  Ned:  IJI5 

And  so  farewell,  wee  Sisters  doe  agree, 

To  haue  our  willes,  but  nere  to  haue  you  three.     Exeunt. 

Delio.  Madama  attendez,  Madama:  is  she  allef  doe  she 
mockque  de  nows  in  such  sortf 

Vand.  Oh  de  pestilence,  noe  if  dat  ick  can  neite  dese  En-  1 1 20 
glese  spreake  vel,  it  shal  hir  Fader  seg  how  dit  is  to  passe 
gecomen. 

Enter  Pisaro. 

Aluar.     Ne  parlate,  see  here  signors  de  Fader. 

Pisa.  Now  Friends,  now  Gentlemen,  how  speedes  your 
worke;  haue  you  not  found  them  shrewd  vnhappy  girls ?  1125 

1104  Sisters]  sisters  Q2  etc.    Mall]  Mall  Q2    1105  Why]  Why,  Q2  etc. 

1105  talke?]  talkei  Qi    talke;  Q2  etc.     1106  Maydes]  maydes  Q2  etc. 
1107  Nay]  Nay,  Q2  etc    their]  there  Q2    1108  mee]  me  Q3 

i  no  least]  lest  Q3    madd]  mad  Q3     1112  lacke  Dawes]  lackes-Dawes  Q3 
1114  Yf]  If  Q2  etc.    1115  for]  So  Q2  etc.    sor  Qi 
1116  wee]  we  Q2  etc.    Sisters]  sisters  Q3     1117  Exeunt.]  Exeunt  Q2 
1118  attcndes]  z  doubtful  Q3    she]  shee  Q2    1119  mockque]  mocqueQ2etc. 
nows]  uous  Q2  etc.     1120  noe]  possibly  hoe  with  broken  h  Qi 
hoe  Q2    ho  Q3    dat  ick]  datick  Q2  etc.    neite]  neit  Q2  etc. 
dese]  de  se  Q2  etc.    1121  it]  ick  Q2  etc.    shal]  sal  Q2  etc. 
hir]  her  Q2  etc.    dit]  omitted  Qi  etc.     1123  Aluar]  Alua  Q2  etc. 
here  signors]  heere  signiors  Q2  etc.     1124  speedes]  speeds  Q2  etc. 
1125  girls]  Girles  Q2  etc. 


I50  ENGLISHMEN  FOR  MY  MONEY,  OR 

Vand.  Mester  Pisaro,  de  Dochter  maistris  Laurentia  calle 
me  de  Dyel,  den  Asse,  for  that  ic  can  neit  englesh  spreken. 

Alua.  Ande  dat  we  sal  no  parler,  dat  we  sal  no  hauar 
den  for  de  wiue. 

Pisa.     Are  they  so  lusty?     Dare  they  be  so  proude?  1130 
Well,  I  shall  find  a  time  to  meete  with  them : 
In  the  meane  season,  pray  frequent  my  house. 

Enter  Frisco  running. 
Ho  now  sirra,  whither  are  you  running/* 

Frisc.     About  a  little  tiny  businesse. 

Pisa.     What  businesse,  Asse?  1135 

Frisc.  Indeed  I  was  not  sent  to  you :  and  yet  I  was  sent 
after  the  three  Gen-men  that  din'd  here,  to  bid  them  come 
to  our  house  at  ten  a  clocke  at  night,  when  you  were  abed. 

Pisa.     Ha,  what  is  this?     Can  this  be  true  ? 
What,  art  thou  sure  the  Wenches  bade  them  come?  1 140 

Frisc.  So  they  said,  vnlesse  their  mindes  be  changed 
since :  for  a  Woman  is  like  a  Weather-cocke  they  say,  &  I 
am  sure  of  no  more  then  I  am  certaine  of :  but  lie  go  in  and 
bid  them  send  you  word,  whether  they  shall  come  or  no. 

Pisa.     No  sirra,  stay  you  heere;  but  one  word  more:  1145 
Did  they  appoint  the  come  one  by  one,  or  else  al  together? 

Frisc.  Altogether :  Lord  that  such  a  young  man  as  you 

1126  Vand.]  Vanda.  Q3    Laurentia]  Laurentia,  Q2  etc. 

1127  me]  omitted  Q2  etc.    that]  dat  Q2  etc.    ic]  ick  Q2  etc. 
englesh  spreken]  English  spreaken  Q2  etc.     1128  dat]  dot  Q3 
we  sal]  we  sail  Q2  etc.    we  sal]  wee  sal  Q3     1129  wiue.]  wiue  Q2 
1131  find]  finde  Q2  etc.    meete]  meet  Q2  etc. 

1133  Ho]  Ho,  Q2  etc.    1135  businesse]  bussinesse  Q2 

1136  Frisc.]  Frisc  H2    1137  din'd]  din'de  Q2  etc. 

1140  bade]  bede  Q2  etc.     1141  be]  bee  Q2  etc.     1142  &]  and  Q2  etc. 

1143  go]  goe  Q2  etc.     1144  whether]  whether  Q3    come]  com  Q3 

1145  heere]  here  Q2  etc. 

1146  the]  them  Q2  etc.    al  together]  altogether  Q2  etc. 

1147  a  young]  a  yoong  Q2  an  old  Q3 


A  WOMAN  WILL  HAVE  HER  WILL  I5I 

should  haue  no  more  witt :  why  if  they  should  come  toge 
ther,  one  could  not  make  rome  for  them ;  but  comming  one 
by  one,  theyle  stand  there  if  there  were  twenty  of  them.  1150 

Pisa.  How  this  newes  glads  me,  and  reuiues  my  soule : 
How  say  you  sirs,  what  will  you  haue  a  iest  worth  the 
telling;  nay  worth  the  acting:  I  haue  it  Gentlemen, 
I  haue  it  Friends. 

Alua.    Signor  Pisaro,  I  prey  de  gratia  watte  maneire  sal  1155 
we  haue?     wat  will  the  parlerf     wat  bon  doe  you  know 
Signor  Pisaro,  dicheti  noi  signor  Pisaro. 

Pisa.  Oh  that  youth  so  sweete,  so  soone  should  turne 
to  age ;  were  I  as  you,  why  this  were  sport  alone  for  me  to 
doe.  1 1 60 

Harke  yee,  harke  yee ;  heere  my  man, 
Saith,  that  the  Girles  haue  sent  for  Maister  Heigham 
And  his  two  friends ;  I  know  they  loue  them  dear, 
And  therefore  wish  them  late  at  night  be  heere 
To  reuell  with  them :     Will  you  haue  a  iest,  1 165 

To  worke  my  will,  and  giue  your  longings  rest : 
Why  then  M.  Vandalle,  and  you  two, 
Shall  soone  at  midnight  come,  as  they  should  doe, 
And  court  the  Wenches ;  and  to  be  vnknowne, 
And  taken  for  the  men,  whom  they  alone  1 1 70 

So  much  affect ;  each  one  shall  change  his  name : 

1148  witt]  wit  Q2  etc.     1149  ther,]  ther  Q3 

1151  me]  mee  Q3    1152  sirs,]  sirs;  Q2  etc.    1153  nay] 

nay,  Q2  etc.     1155  Signor]  Signior  Q2  etc.    watte]  wat  Q2  etc. 

1156  wat  will]  wat  will  Q3    1157  Signor]  Signior  Q2  etc. 

signor]  signior  Q2  etc.     1158  sweete]  sweet  Q2  etc.     1159  were]  were  Q3 

why]  why  Q3    me]  mee  Q2     1161  yee]  he  Q3  in  both  instances.  ' 

heere]  here  Q2  etc.    man,]  man  Q2  etc.     1162  Saith,]  Saith  Q3 

Maister  Heigham]  master  Heigham,  Q2  etc.     1163  dear]  deare  Q2  etc. 

1164  heere]  here,  Q2  etc.     1165  with]  with  Q3     1166  worke] 

worke  Q3    will]  will  Q3     1167  then  M.]  then,  master  Q2  etc. 

Vandalle,]  Vandalle  Q3     1170  whom]  whom  Q3 


ENGLISHMEN  FOR  MY  MONEY,  OR 

Maister  Vandalle,  you  shall  take  Heigham,  and  you 

Younge  Haruie,  and  monsieur  Delion  Ned, 

And  vnder  shadowes  be  of  substance  sped : 

How  like  you  this  deuice  ?     how  thinke  you  of  it  ?  1 175 

Delio.  Oh  de  brane  de  galliarde  deuise :  me  sal  come  by  de 
nite  and  contier  faire  de  Anglois  Gentlehomes  dicte  nous 
ainsi  monsieur  Pisaro. 

Pisa.     You  are  in  the  right  sir. 

Alua.   And  I  sail  name  me  de  signer  Haruy,  ende  mon-  1 180 
sieur  Delion  sail  be  piculo  signor  Ned,  ende  when  mado- 
na  Laurentia  sail  say,  who  be  dare  ?  mister  Vandalle  sail  say, 
Oh  my  sout  Laide,  hier  be  your  loue  Mestro  HeigJwm :  Is 
no  dis  de  brauissime,  maister  Vandalle  ? 

Vanda.     Slaet  vp  den  tromele,  van  ick  sail  come          1185 
Vp  to  de  camerken,  wan  my  new  Wineken 
Slaet  vp  den  tromele,  van  ick  sail  come. 

Pisa.     Ha,  ha,  ha,  maister  Vandalle, 
I  trow  you  will  be  merrie  soone  at  night, 
When  you  shall  doe  in  deed,  what  now  you  hope  of.  1 190 

Vanda.     I  sail  v  seg  vader,  Ick  sail  tesh  your  Daughrer 
such  a  ting,  make  her  laugh  too. 

1172  Maister]  Master  Q2  etc. 

1173  Younge]  Young  Q2  etc.    Haruie]  Haruy  Q3 
monsieur  Delion]  Monsieur  Delion,  Q2  etc.     1174  shadowej] 
shadowes,  Q2    1175  deuice]  device  Qs    1177  and]  &  Q2  etc. 
1177  contier]  countier  Q2  etc.     faire]  faite  Q3 

1180  signor]  signior  Q2  etc.    1181  sail]  sal  Q2  etc.    signor] 
signior  Q2  etc.     1182  sail]  sal  Q2  etc.    who]  who  Q3 
mister]  M.  Q2  etc.    sail]  sal  Q2  etc.     1184  maister]  master  Q2  etc. 
Vandalle  1}  Vandalle.  Q2  etc.     1185  sail]  sal  Q2  etc. 
'  1186  wan]  wan  Q3     1187  sail]  sal  Q2  etc.     1188  maisterl  master  Q2  etc. 
1189  will]  will  Q3    merrie]  meery  Q2    merry  Q3     1190  doe]  do  Q2 
in  deed]  indeed  Q2  etc.    what]  what  Q3     1191  sail]  sal  Q2  etc. 
v  seg]  vseg  Q2  etc.    sail]  sal  Q2  etc.    Daughrer]  Daughter  Q2 
daughter  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 


153 


Pisa.     Well  my  Sonnes  all,  (for  so  I  count  you  shall) 
What  we  haue  heere  deuis'd,  prouide  me  for: 
But  aboue  all,  doe  not  (I  pray)  forget  1195 

To  come  but  one  by  one,  as  they  did  wish. 

Vanda.  Mar  hort  ens  vader,  ick  veite  neite  de  wecke  to 
your  houis,  hort  ens  sail  maister  Frisco  your  manneken 
come  to  calle  de  me,  and  bring  me  to  v  house. 

Pisa.     Yes  marry  shall  hee:     see  that  you  be  ready,   1200 
And  [To  Frisco]  at  the  hower  of  eleuen  sone  at  night: 
Hie  you  to  Bucklersburie  to  his  Chamber, 
And  so  direct  him  straight  vnte  my  house : 
My  Sonne  Aluaro,  and  monsieur  Delion, 
I  know,  doth  know  the  way  exceeding  well :  1205 

Well,  weele  to  the  Rose  in  Barken  for  an  hower : 
And  sirra  Frisco,  see  you  proue  no  blabbe. 

Exeunt  Pisaro,  Aluaro,  Delion,  and  Vandalle. 
Frisc.     Oh  monstrous,  who  would  thinke  my  Maister 
had  so  much  witte  in  his  old  rotten  budget:     and  yet 
yfayth  he  is  not  much  troubled  with  it  neither.  Why  what  1210 
wise  man  in  a  kingdome  would  sende  me  for  the  Dutch 
man?    Does  hee  thinke  He  not  cousen  him :    Oh  fine,  He 

1193  Sonnes]  sonnes  Q3     1194  we]  we  Q3    deuis'd]  deuisde  Q2  etc. 
1196  wish]  wish  Q3     1197  wecke]  weye  Q2  vveye  Q3 
1198  sail]  sal  Q2  etc.    maister]  master  Q2  etc.     1199  calle] 
call  Q2  etc.     1200  Pisa.]  Pisa  P  H3    hee]  he  Q2  etc. 

1201  eleuen]  a  eleuen  Q2  etc.    sone]  soone  Q2  etc. 

1202  Bu£klersburie]  Bucklersbury  Q3     1203  house]   House  Q2 
Aluaro]  Aluaro  Q3    monsieur]  Monsieur  Q2     1205  know,]  know  Q2  etc. 
way]  way  Q3    well]  well  Q3     1206  weele]  weel  Q2    vveel  Q3 
Barken]  Barken  Q3    hower]  howre  Q2    houre  Q3     1207  sirra] 

sira  Q2  etc.    blabbe]  blab  Q2  etc.     1207  s.d.  Pisaro]  Pisa  Q3 
Aluaro]  Aluaro  Q3    and]  &  Q2  etc.     1208  who]  who  Q3    would] 
would  Q3    Maister]  Master  Q2    master  Q3     1209  witte]  wit  Q2  etc. 

1210  yfayth]  yfaith  Q2  etc.    he]  hee  Q2    with]  with  Q3 

121 1  kingdome]  Kingdome  Q2  etc.    would]  would  Q3  sende] 
send  Q2  etc.    me]  mee  Q2  etc.     1211-2  Dutchman]  Dutchman  Q3 

1212  hee]  he  Q3    him:]  him?  Q2    him,;  Q3 


I54  ENGLISHMEN  FOR  MY  MONEY,  OR 

haue  the  brauest  sport :  Oh  braue,  He  haue  the  gallentest 
sport :  Oh  come ;  now  if  I  can  hold  behinde,  while  I  may 
laugh  a  while,  I  care  not:  Ha,  ha,  ha.  1215 

Enter  Anthonie. 

(tily/ 

Antho.  Why  how  now  Frisco,  why  laughest  thou  so  har- 

Frisc.  Laugh  M.  Mouse :  Laugh,  ha,  ha,  ha.    ( merry  f 

Antho.  Laugh,  why  should  I  laugh  f  or  why  art  thou  so 

Frisc.  Oh  maister  Mouse,  maister  Mouse,  it  would  make  1220 

any  Mouse,  Ratte,  Catte,  or  Dogge,  laugh  to  thinke,  what 

sport  we  shall  haue  at  our  house  sone  at  night :   He  tell  you, 

all,  my  young  Mistresses  sent  me  after  M.  Heigham  and  his 

friendes,  to  pray  them  come  to  our  house  after  my  old 

Maister  was  a  bed :  Now  I  went,  and  I  went ;  and  I  runne,  1225 

and  I  went:  and  whom  should  I  meete,  but  my  Maister 

and  M.  Pisaro  and  the  Strangers ;  so  my  Maister  very  wor- 

shipfully  (I  must  needs  say)  examined  me  whither  I  went 

now  ?  I  durst  not  tell  him  an  vntruth,  for  f eare  of  lying,  but 

told  him  plainely  and  honestly  mine  arrande :     Now  who  1230 

would  thinke  my  Maister  had  such  a  monstrous  plaguie 

1213  gallentest]  gallantest  Q2  etc.    1214  come;]  come:  Q3 
behinde]  behind  Q3     1217  Antho.]  Antho.  Qs    Why]  WWhy  Q3 
hartily]  heartily  Q2  etc.     1218  Laugh]  Laugh,  Q2  etc. 
Mouse:]  Mouse]  Q2  etc.    Laugh,  ha]  Laugh:  Ha  Q2  etc. 
1219  Antho.]  Antho.  Q3    Laugh,]  Laugh :  Q2  etc.     1220  maister] 
Master  Q2  etc.  (both  occurrences)     would]  would  Q3 
1221  iRatte,  Catte]  Rat,  Cat  Q2  etc.     1222  we]  we  Q3    night:] 
night.  Q2  etc.    sone]   soone  Q2  etc.    you,]  you:  Q2  etc. 

1223  all,]  all  Q2  etc.    me]  mee  Q3    Heigham]  Heigham,  Q2  etc. 

1224  old]  olde  Q2    1225  Maister]  Master  Q2  etc.    bed :]  bed.  Q2  etc. 
1226  went:]  went;  Q2  etc.    Maister]  Master,  Q2  etc.     1227  M.] 
Master  Q3    Pisaro]  Pisaro,  Q2  etc.     Strangers;]  Strangers:  Q2  etc. 
Maister]  Master  Q2  etc.     1228  needs]  needes  Q2  etc.    me]  mee  Q2 
went]  went?  Q2    went:  Q3     1229  now?]  now  Q2  etc.    lying,] 
lying;  Q2  etc.     1230  arrande:]   arrand.  Q2  etc.     1231  Maister] 
Master  Q2  etc.    monstrous]  mostrous  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

witte,  hee  was  as  glad  as  could  be ;  out  of  all  scotch  and 
notch  glad,  out  of  all  count  glad  ?  and  so  sirra  he  bid  the 
three  Vplandish-men  come  in  their  steades  and  woe  my 
young  Mistresses:  Now  itmade  mee  so  laugh  to  thinke  1235 
how  they  will  be  cousend,  that  I  could  not  follow  my  Mai- 
ster :  But  He  follow  him,  I  know  he  is  gone  to  the  Tauerne 
in  his  merry  humor :  Now  if  you  will  keepe  this  as  secret 
as  I  haue  done  hitherto,  wee  shall  haue  the  brauest  sport 
soone,  as  can  be.  I  must  be  gone,  say  nothing.  [Exit.  1240 

Antho.     Well,  it  is  so : 

And  we  will  haue  good  sport,  or  it  shall  go  hard ; 
This  must  the  Wenches  know,  or  all  is  marde. 

Enter  the  three  Sisters. 

Harke  you  Mis.  Moll,  M*s.  Laurentia,  M's-  Matt, 
I  haue  such  newes  (my  Girles)  will  make  you  smile.  I24S 

Mart.     What  be  they  Maister,  how  I  long  to  heare  it  ? 

Antho.     A  Woman  right,  still  longing,  and  with  child, 
For  euery  thing  they  heare,  or  light  vpon : 
Well,     if  you  be  mad  Wenches,  heare  it  now, 
Now  may  your  knaueries  giue  the  deadliest  blow  1250 

To  night-walkers,  eauese-droppers,  or  outlandish  loue, 
That  ere  was  stristen. 

Math.     Anthony  Mowche, 

1232  witte,]  wit?  Q2  etc.     was]  was  Q3    be]  bee  Q2  etc. 

1233  glad?]  glad:  Q2  etc.    and]  And  Q2  etc.    he]  hee  Q2  etc. 

1234  steades]  steads,  Q2  etc.    woe]  woe  Q3    1235  Mistresses:] 
Mistresses.  Q2  etc.    itmade]  it  made  Q2  etc.    laugh]  laugh,  Q2  etc. 
1236  be]  bee  Q3    cousend]   cousen'd  Q2  etc.     1236-7  Maister] 
Master  Q2  etc.     1237  he]  hee  Q2  etc.     1238  humor:]  humour.  Q2  etc. 
1240  be]  bee  Q3  (both  occurrences)     gone,]   gone:  Q2  etc. 

Exit.]  added  Q2  etc.    1241  Antho.]  Antho.  Q3    so:]  so,  Q2  etc. 

1242  go  hard;]  goe  hard:  Q2  etc.    1243  marde.]  mar'd*  Q2    mar'd.  Q3 

1244  M's.  Mis-  Mis-]  Mis  Mis.  Mis.  Q2 

Mi.  Ml.  Ml.  Q3    Matt,]  Matt.  Q2  etc.     1247  Antho.]  Antho.  Q3 

Woman]  woman  Q3     1248  euery]  every  Q3     1249  Well.]  Well,  Q2  etc. 

1252  stristen]  stricken  Q2  etc.     1253  Anthony]  Anthony  Q3. 


I56  ENGLISHMEN  FOR  MY  MONEY,  OR 

Moue  but  the  matter ;  tell  vs  but  the  iest, 

And  if  you  find  vs  slacke  to  execute,  1255 

Neuer  giue  credence,  or  beleeue  vs  more.  (loues, 

Antho.     Then  know :    The  Strangers  your  Outlandish 
Appoynted  by  your  Father,  comes  this  night 
In  stead  of  Haruie,  Heigham,  and  young  Ned, 
Vnder  their  shaddowes  to  get  to  your  bed :  1260 

For  Frisco  simply  told  him  why  he  went : 
I  need  not  to  instruct,  you  can  conceiue, 
You  are  not  Stockes  nor  Stones,  but  haue  some  store 
Of  witte  and  knauerie  too. 

Mathe.     Anthony,  thankes  1265 

Is  too  too  small  a  guerdon  for  this  newes ; 
You  must  be  English :    Well  sir  signer  sowse, 
He  teach  you  trickes  for  comming  to  our  house. 

Laur.     Are  you  so  craftie,  oh  that  night  were  come, 
That  I  might  heare  my  Dutchman  how  hee'd  sweare         1270 
In  his  owne  mother  Language,  that  he  loues  me : 
Well,  if  I  quit  him  not,  I  here  pray  God, 
I  may  lead  Apes  in  Hell,  and  die  a  Mayde ; 
And  that  were  worser  to  me  then  a  hanging. 

Antho.     Well  said  old  honest  huddles;  here's  a  heape  1275 
Of  merrie  Lasses :     Well,  for  my  selfe, 
He  hie  mee  to  your  Louers,  bid  them  maske 
With  vs  at  night,  and  in  some  corner  stay 
Neere  to  our  house,  where  they  may  make  some  play 

1257  Antho.]  Antho.  Q3     1258  Appoynted]  Appointed  Q3 

1259  Haruie]  Haruy  Q3     1264  knauerie]   knauery  Q3 

1265  Mathe.]  Math.  Q3    Anthony]  Anthony  Q3 

1267  signor]   siginor  Q2  etc. 

1269  craftie]  chaftie  Q2    crafty  Q3     1270  Dutchman]  Dutchman  Q3 

1273  Mayde;]  Mayde:  Q2  etc. 

1275  Antho.]  Antho.  Q3    huddles;]  huddles:  Q2  etc. 

1276  merrie]  merry  Q3     1277  mee]  me  Q2  etc.    Louers]  Lovers  £>3 


A  WOMAN  WILL  HAVE  HER  WILL 


157 


Vpon  your  riuals,  and  when  they  are  gon,  1280 

Come  to  your  windowes. 

Mart.     Doe  so  good  Maister. 

Antho.     Peace,  begon;  for  this  our  sport, 
Some  body  soone  will  moorne.  Exeunt. 


[Acx  III.     SCENE  I.     A  Room  in  Pisaro's  House.} 
Enter  Pisaro[,  Anthony,  and  the  three  Sisters]. 

Pisa.     How  fauourable  Heauen  and  Earth  is  scene,       1285 
To  grace  the  mirthfull  complot  that  is  laide, 
Nights  Candles  burne  obscure,  and  the  pale  Moone 
Fauouring  our  drift,  lyes  buried  in  a  Cloude : 
I  can  but  smile  to  see  the  simple  Girles, 

Hoping  to  haue  their  sweete-hearts  here  to  night,  1290 

Tickled  with  extreame  ioy,  laugh  in  my  face : 
But  when  they  finde,  the  Strangers  in  their  steades, 
Theyle  change  their  note,  and  sing  an  other  song. 
Where  be  these  Girles  heere  ?     what,  to  bed,  to  bed : 
Mawdlin  make  fast  the  Dores,  rake  vp  the  Fire;  1295 

Gods  me,  tis  nine  a  clocke,  harke  Bow-bell  rings :    Knocke. 

1280  riuals,]  'Riuals;  Q2    riuals:  Q3    gon]  gone  Q2  etc. 

1282  Mart.]  Mari,  Q3    so]  so,  Q2  etc.    Maister]  Master  Q2  etc. 

1283  Antho.]  Antho.  Q3    begon]  be  gone  Q2  etc. 

1284  moorne]  mourne  Q2  etc. 

1285  Heauen]  heauen  Q3    Earth]  earth  Q3     1286  laide]  layd  Q2  etc. 
1288  Cloude:]  Cloud.  Q2  etc.     1290  sweete-]  sweet-  Q2  etc. 

1292  finde,]  finde  Q2  etc.    Strangers]  strangers  Q3    steades] 

steads  Q2  etc.     1293  an  other]  another  Q2  etc.     1294  heere]  here  Q2  etc. 

1295  Mawdlin]  Maudlin  Q2  etc.    Dores]  Doores  Q2    doores  Q3 

Fire;]  Fire.  Q2    fire.  Q3     1295-6  Q2  etc.  insert  Enter  the  three 

Sisters.    1296  tis]  'tis  Q2  etc.    a  clocke,]  aclock ;  Q2  etc. 

harke]  harke,  Q2  etc.    Bow-bell]  Bow-bell  Q3    Knocke]  Knocks  Q2  etc. 


I58  ENGLISHMEN  FOR  MY  MONEY,  OR 

Some  looke  downe  below,  and  see  who  knockes : 

And  harke  you  Girles,  settle  your  hearts  at  rest, 

And  full  resolue  you,  that  to  morrow  morne, 

You  must  be  wedd  to  such  as  I  preferre;  1300 

I  meane  Aluaro  and  his  other  f riendes : 

Let  me  no  more  be  troubled  with  your  nayes. 

You  shall  doe  what  He  haue,  and  so  resolue. 

Enter  Moore. 

Welcome  M.  Moore,  welcome, 

What  winde  a-gods  name  driues  you  foorth  so  late?         1305 

Moore.     Fayth  sir,  I  am  come  to  trouble  you, 
My  wife  this  present  night  is  brought  to  bed. 

Pisa.     To  bed,  and  what  hath  God  sent  you? 

Moor.     A  iolly  Girle,  sir. 

Pisa.     And  God  blesse  her:    But  what's  your  will  sir?  1310 

Moor.     Fayth  sir,  my  house  being  full  of  Friends, 
Such  as  (I  thanke  them)  came  to  see  my  wife? 
I  would  request  you,  that  for  this  one  night, 
My  daughter  Susan  might  be  lodged  here. 

Pisa.     Lodge  in  my  house,  welcome  withall  my  heart,   1315 
Matt  harke  you,  she  shall  lye  with  you, 
Trust  me  she  could  not  come  in  fitter  time. 
For  heere  you  sir,  to  morrow  in  the  morning, 
All  my  three  Daughters  must  be  married, 

1297  knockes:]  knocks.  Q2  etc.     1299  morne,]  morne  Q2  etc. 
1300  wedd]  wed  Q2  etc.     1301  Aluaro}  Aluaro,  Q2  etc. 
f  riendes]  friends  Q2  etc.     1302  nayes.]  Nayes;  Q2  etc. 
1304  welcome,]  welcome:  Q2  etc.     1305  a-gods]  a  gods  Q3 
1306  Moore.}  Moore,  Q3    Fayth]  'Fayth  Q2    Faith  Q3 
1308  bed,]  bed;  Q2  etc.     1309  Moor,}  Moore.  Q2  etc. 

1311  Fayth]  Faith  Q3     Friends]  friends  Q3 

1312  wife?]  wife,  Q2    Wife,  Q3     1314  Susan]  Susan  Q3 

here]  heere  Q3    1315  withall]  with  all  Q3    heart,]  heart.  Q2  etc. 
1316  lye]  lie  Q3     1318  heere]  heare  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

Good  maister  Moore  lets  haue  your  company,  1320 

What  say  you  sir ;  Welcome  honest  friend. 

Enter  a  Seruant. 

Moor.     How  now  sirra  whats  the  newes  with  you? 

Pisa.     Mowche  heare  you,  stirre  betimes  to  morrow, 
For  then  I  meane  your  Schollers  shall  be  wed : 
What  newes,  what  newes  man  that  you  looke  so  sad,          I325 

Moor.  Hee  brings  me  word  my  wife  is  new  falne  sicke, 
And  that  my  daughter  cannot  come  to  night : 
Or  if  she  does,  it  will  be  very  late. 

Pisa,     Beleeue  me  I  am  then  more  sorry  for  it. 
But  for  your  daughter  come  she  soone  or  late,  1330 

Some  of  vs  will  be  vp  to  let  her  in, 
For  heere  be  three  meanes  not  to  sleepe  to  night : 
Well  you  must  be  gone  ?     commende  me  to  your  wife, 
Take  heede  how  you  goe  downe,  the  staires  are  bad, 
Bring  here  a  light.  1335 

Moor.     Tis  well  I  thanke  you  sir.  Exit. 

Pisa.  Good  night  maister  Moore  farwell  honest  friend, 
Come,  come  to  bed,  to  bed  tis  nine  and  past, 
Doe  not  stand  prating  here  to  make  me  fetch  you, 
But  gette  you  to  your  Chambers.  Exit  Pisaro.   1340 

Antho.     Birlady  heres  short  worke,  harke  you  Girles, 
Will  you  to  morrow  marry  with  the  strangers. 

1320  maister]  master  Q2  etc.    company,]  company.  Q2  etc. 

1321  Welcome]  welcome  Q3     1321  s.d.  Seruant]  Servant  Q3 

1322  sirra]  sirra,  Q2  etc.    whats]  what's  Q2  etc. 

1325  man]  man,  Q2  etc.    sad,]  sad.  Q3     1326  Moor.]  Moor.  Q2 
Hee]  He  Q3    wife]  Wife  Q3     1327  daughter]  daughter,  Q2 
1329  Pisa,]  Pisa.  Q2  etc.     1333  gone?]  gone;  Q3    wife]  Wife  Q3 
commende]  commend  Q2  etc.     1335  here]  heere  Q3 
1336  Moor.]  Moor.  Q2    1337  maister]  master  Q2  etc. 
Moore]  Moore,  Q2  etc.     1338  bed]  bed,  Q2  etc. 
1339  here]  heere  Q3     1340  gette]  get  Qs 
1342  strangers.]  strangers?  Q2    strangers:  Q3 


:6o  ENGLISHMEN  FOR  MY  MONEY,  OR 

Mall.     Yfayth  sir  no  He  first  leape  out  at  window, 
Before  Marina  marry  with  a  stranger, 

Antho.  Yes  but  your  father  sweares,  you  shall  haue  one.   1 345 

Ma.  Yes  but  his  daughters,  swears  they  shall  haue  none, 
These  horeson  Canniballs,  these  Philistines, 
These  tango  mongoes  shall  not  rule  Ore  me, 
He  haue  my  will  and  Ned,  or  He  haue  none. 

Antho.   How  will  you  get  him  f  how  will  you  get  him  ?  1350 
I  know  no  other  way  except  it  be  this, 
That  when  your  fathers  in  his  soundest  sleepe, 
You  ope  the  Dore  and  runne  away  with  them, 

All  sisters.     So  wee  will  rather  then  misse  of  them. 

Antho.     Tis  well  resolude  yfayth  and  like  your  selues,  1355 
But  heare  you  ?     to  your  Chambers  presently, 
Least  that  your  father  doe  discry  our  drift,    Exeunt  Sisters. 
Mistres  Susan  should  come  but  she  cannot, 
Nor  perhaps  shall  not,  yet  perhaps  she  shall, 
Might  not  a  man  conceipt  a  prettie  iest?  1360 

And  make  as  mad  a  Riddle  as  this  is, 
If  all  thinges  fadge  not,  as  all  thinges  should  doe, 
Wee  shall  be  sped  y'fayth,  Matt  shall  haue  hue. 

1343  no]  no,  Q2  etc.    window]  Window  Q3 

1344  stranger,]  stranger.  Q2  etc. 

1345  Antho.}  Antho.  Q3    1346  daughters,]  daughters  Q2  etc. 
swears]  sweares,  Q2    sweare,  Q3    none,]  none  Q2 

none?  Q3     1347  Philistines]   Philistines  Q3 

1348  Ore]  ore  Q3    1350  Antho.]  Antho.  Q3     1351  way]  way,  Q3 

1352  fathers]  father's  Q3     1353  Dore]  doore  Q3    them,]  them.  Q3 

1354  All  sisters]  All  Sisters  Q2    All  Sisters  Q3    wee]  we  Q2  etc. 

1355  Antho.]  Antho.  Q3     resolude]  resolued  Q2  etc.     yfayth]  yfaith,  Q3 

1357  Least]  Lest  Q3    Sisters.]  Sisters  Q2  etc. 

1358  Mistres]  Mistris  Q2  etc.    Susan]  Susan  Q3 
1360  prettie]  pretty  Q3 

1362  thinges]  things  Q2  etc.  (both  occurrences)     1363  Wee]  We  Q2  etc. 
sped]  sped,  62  etc.    y']  omitted  Qz  etc.    Matt]  Matt  Qz 
hue)  her  due  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

[SCENE  II.     Cornhill.] 
Enter  Vandalle  and  Frisco. 

Vand.     Wear  be  you  mester  Frisco. 

Frisc.  Here  sir,  here  sir,  now  if  I  could  cousen  him,  take  1365 
heede  sir  hers  a  post. 

Vand.     Ick  be  so  groterly  hot,  datt  ick  swette,  Oh  wen 
sal  we  come  dare. 

Frisc.     Be  you  so  hotte  sir,  let  me  carry  your  Cloake,  I 
assure  you  it  will  ease  you  much.  1370 

Vand.     Dare  here,  dare,  tis  so  Darke  ey  can  neit  see. 

Frisc.  I,  so  so :  now  you  may  trauell  in  your  Hose  and 
Doublet :  now  looke  I  as  like  the  Dutchman,  as  if  I  were 
spit  out  of  his  mouth :  He  straight  home,  &  speake  groote 
and  broode,  and  toot  and  gibrish;  and  in  the  darke  He  1375 
haue  a  fling  at  the  Wenches.  Well,  I  say  no  more ;  farewell 
M.  Mendall,  I  must  goe  seeke  my  fortune.  Exit  Frisco. 

Vanda.    Mester  Frisco,  mester  Frisco,  wat  sal  you  no  speak ; 
make  you  de  Foole  ?  Why  mester  Frisco ;  Oh  de  skellum, 
he  be  ga  met  de  Cloake,  me  sal  seg  his  mester,  han  mester  1380 
Frisco,  waer  sidy  mester  Frisco.  Exit  Vandal. 

[SCENE  III.     Before  Pisaro's  House.] 

Enter  Haruief  Heigham,  and  Walgraue. 
Haruy.     Goes  the  case  so  well  signer  bottle-nose  ? 
It  may  be  we  shall  ouerreach  your  drift; 

1366  sir]  sir,  Q3    hers]  heres  Q3 

1367  swette]  sweette  Q2  etc.    wen]  when  Q3 

1371  Vand.]  Vand  H    1372  so  so]  so,  so  Q2    so  so,  so  Q3    1373  Dutchman] 

Dutchman  Q3    were]  were  Q3     1374  &]  and  Q2  etc. 

1377  Mendall]  Kendall  Q2    1378  Vanda.]  Vand.  Q3 

1381  Frisco]  Frico  Q3     1381  s.d.  Haruie]  Haruy  Qz 

Walgraue]  VValgraue  Q3     1382  Haruy.]  Haru.  Q$    well]  well  Q3 

signor]  signior  Q3     1383  drift;]  drift?  Q3 


1 62  ENGLISHMEN  FOR  MY  MONEY,  OR 

This  is  the  time  the  Wenches  sent  vs  word 

Our  bumbast  Dutchman  and  his  mates  will  come. 

Well  neat  Italian,  you  must  don  my  shape : 

Play  your  part  well,  or  I  may  haps  pay  you. 

What,  speechlesse  Ned?     fayth  whereon  musest  thou? 

Tis  on  your  French  coriuall,  for  my  life : 

Hee  come  ete  vostre,  and  so  foorth, 

Till  he  hath  foysted  in  a  Brat  or  two? 

How  then,  how  then? 

Walg.     Swounds  He  geld  him  first, 
Ere  that  inf  estious  loszell  reuell  there. 

Well  Matt,  I  thinke  thou  knowst  what  Ned  can  doe;  13 95 

Shouldst  thou  change  Ned  for  Noddy,  mee  for  him, 
Thou  didst  not  know  thy  losse,  yfayth  thou  didst  not. 

Heigh.     Come  leaue  this  idle  chatte,  and  lets  prouide 
Which  of  vs  shall  be  scar-crow  to  these  Fooles, 
And  set  them  out  the  way?  1400 

Walg.     Why  that  will  I. 

Haru.     Then  put  a  Sword  into  a  mad-mans  hand : 
Thou  art  so  hasty,  that  but  crosse  thy  humor, 
And  thou't  be  ready  crosse  them  ore  the  pates : 
Therefore  for  this  time,  He  supply  the  rome.  1405 

Heigh.     And  so  we  shall  be  sure  of  chatt  enough ; 
Youle  hold  them  with  your  floutes  and  guiles  so  long, 
That  all  the  night  will  scarcely  be  enough 

1384  word]  word  Q3     1385  Dutchman]  Dutchman  Q3    come.]  come,  Qa 
1386  Italian]  Italian  Q3     1387  well,]   well  Q3 

1388  What]  What  Q2     1389  French]  French  Q3    coriuall]  corriuall  Q3 
1390  Hee]  He  Q3    come]  comes  Q2  etc.     1393  Wa}g.}  Walg.  Qj 
Swounds]  Nay  Q2  etc. 

1394  infestious]  infectious  Q3     1395  Well]  Well  Q2 
knowst]  knowest  Q3     1396  mee]  me  Q3 

1397  yfayth]  yfaith  Q3     1398  chatte,]  chatte  Q3    prouide]  provide  Q3 
1399  Which]  Which  Q2     1401  Walg.}  Walg.  Q3    Why]  Why,  Q2 
,  Q3     1402  Sword]  sword  Q3     1405  rome]  roome  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

To  put  in  practise,  what  we  haue  deuisde : 

Come,  come,  He  be  the  man  shall  doe  the  deed.  1410 

Haru.     Well,  I  am  content  to  saue  your  longing. 
But  soft,  where  are  we?     Ha,  heere's  the  house, 
Come  let  vs  take  our  stands :    Fraunce  stand  you  there, 
And  Ned  and  I  will  crosse  t'other  side. 

Heigh.    Doe  so :    But  hush,  I  heare  one  passing  hither.   1415 

Enter  Aluaro. 

Aluar.  Oh  de  fauorable  aspect  of  de  heauen,  tis  so  ob 
scure,  so  darke,  so  blacke  dat  no  mortalle  creature  can 
know  de  me :  I  pray  a  Dio  I  sal  haue  de  reight  Wench :  Ah 
si  I  be  recht,  here  be  de  huis  of  signer  Pisaro,  I  sail  haue  de 
madona  Marina,  and  daruor  I  sail  knocke  to  de  dore.  1420 

He  knockes. 

Heigh.     What  a  pox  are  you  mad  or  druncke ; 
What,  doe  you  meane  to  breake  my  Glasses  ? 

Alua.     Wat  be  dat  Glasse?     Wat  druncke,  wat  mad? 

Heigh.  What  Glasses  sir ;  why  my  Glasses :  and  if  you 
be  so  crancke,  He  call  the  Constable;  you  will  not  enter  1425 
into  a  mans  house  (I  hope)  in  spight  of  him? 

Horn.  Nor  durst  you  be  so  bold  as  to  stand  there, 
Yf  once  the  Maister  of  the  House  did  know  it. 

Alua.   Is  dit  your  Hous  ?  be  you  de  Signor  of  dis  Cassa? 

Heigh.     Signor  me  no  signers,  nor  cassa  me  no  cassas :  1430 
but  get  you  hence,  or  you  are  like  to  taste  of  the  Bastinado. 

Haru.    Do,  do,  good  Ferdinand,  pummell  the  logerhead. 

1411  Well]  Well  Q2     1412  heere's]  heer's  Q3 

1415  s.d.  Aluaro]  Alraro  Q3     1416  Aluar.]  Alva.  Q3 

fauorable]   favorable  Q3    heauen]  heaven  Q3     1417  blacke] 

blacke,  Q2  etc.    1420  Marina]  Marina  Q2     1421  druncke;]  drunke;  Q2 

drunke?  Q3     1423  Glasse]  Glasses  Q2  etc.    druncke]  drunke  Q2  etc. 

1424  Glasses]  Glasse  Q2  etc.  (both  occurrences)     why]  why  Q3 

1428  Maister]  Master  Q2  etc. 

House]  house  Q3   1432  Haru.]  Heigh.  Qi  etc.   logerhead]  loggerhead  Q2  etc. 


164  ENGLISHMEN  FOR  MY  MONEY,  OR 

Alua.     Is  this  neit  the  Hous  of  mester  Pisarof 

Heigh.  Yes  marry  when  ?  can  you  tell :  how. doe  you  ? 
I  thanke  you  heartily,  my  finger  in  your  mouth.  !435 

Alua.     Wat  be  dat? 

Heigh.  Marry  that  you  are  an  Asse  and  a  Logerhead, 
To  seeke  maister  Pisaros  house  heere. 

Alua.     I  prey  de  gratia,  wat  be  dis  plashe? 
Wat  doe  ye  call  dit  strete  ?  1440 

Heigh.  What  sir ;  why  Leaden-hall,  could  you  not  see 
the  foure  Spoutes  as  you  came  along? 

Alua.  Certenemento  Leden  hall,  I  hit  my  hed  by  de  way, 
dare  may  be  de  voer  Spouts :  I  prey  de  gratia,  wish  be  de 
wey  to  Croche friers?  1445 

Heigh.  How,  to  Croched- friers'?  Marry  you  must  goe 
along  till  you  come  to  the  Pumpe,  and  then  turne  on  your 
right  hand. 

Alua.     Signer,  adio.  Exit  Aluaro. 

Haru.     Farewell  and  be  hang'd  Signor :  1450 

Now  for  your  fellow,  if  the  Asse  would  come. 

Enter  Delion. 

Delia.  By  my  trot  me  doe  so  mush  tincke  of  dit  Gentle 
woman  de  fine  Wenshe,  dat  me  tincke  esh  houer  ten  day, 
and  esh  day  ten  yeare,  till  I  come  to  her :  Here  be  de  huise 
of  sin  vader,  sail  alle  and  knocke.  He  knocks.  1455 

1433  neit]  ne  it  Q3    Hous]  hous  Q3     1434  marry]  marry,  Q2  etc. 

tell:]  tell?  Q3 

1437  Logerhead]  Loggerhead  Q2  etc.    1438  maister]  master  Q2  etc. 

1439  dis  plashe]   displashe  Q2  etc.     1441  why]  why  Q3 

1442  the]  The  Q3    Spoutes]  spoutes  Q3     1443  Alua.]  Alua,  Q3 

Certenemento]  Certemento  Q3    Leden  hall]  Leden-hall  Q2  etc. 

1444  de  voer]  do  voer  Q2    doe  voer  Q3    be  de]  bee  de  Q3 

1449  Signor]  Signior  Q3     1450  Signor]  .Signior  Q3 

1454  esh]  each  Q3    her:]  her.  Q2  etc.     1455  knocks]  knockes  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

Heigh.     What  a  bots  ayle  you,  are  you  madd? 
Will  you  runne  ouer  me  and  breake  my  Glasses  ? 

Delio.  Glasses,  wat  Glasses  ?  Prey  is  monsieur  Pisaro  to 
de  mayson  ? 

Haru.     Harke  Ned,  there's  thy  substaunce  1460 

Walg.     Nay  by  the  Masse,  the  substannce's  heere, 
The  shaddow's  but  an  Asse. 

Heigh.     What  Maister  Pisaro  ? 
Logerhead,  heere's  none  of  your  Pisaros  f 

Delio.     Yes  but  dit  is  the  houis  of  mester  Pisaro.         1465 

Walg.  Will  not  this  monsieur  Motley  take  his  answer? 
He  goe  and  knocke  the  asse  about  the  pate. 

Har.    Nay  by  your  leaue  sir,  but  He  hold  your  worship. 
This  sturre  we  should  haue  had,  had  you  stood  there. 

Walg.     Why,  would  it  not  vexe  one  to  heare  the  asse,  1470 
Stand  prating  here  of  dit  and  dan,  and  den  and  dog? 

Haru.     One  of  thy  mettle  Ned,  would  surely  doe  it  : 
But  peace,  and  harke  to  the  rest. 

Delio.     Doe  no  de  fine  Gentlewoman  matresse  Mathea 
dwell  in  dit  Plashe?  1475 

Heigh.  No  sir,  here  dwels  none  of  your  fine  Gantle-wo- 
man :    Twere  a  good  deed  sirra,  to  see  who  you  are ; 
You  come  hither  to  steale  my  Glasses. 
And  then  counterfeite  you  are  going  to  your  Queanes. 

Delio.   I  be  deceu  dis  darke  neight ;  here  be  no  Wenshe,  1480 

1456  madd]  mad  Q3     1457  runne  ouer]  run  over  Q3 
1460  substaunce]  substance.  Q2  etc.     1461  Walg.]   Walg.  Q3 
substannce's]  substance's  Q2  etc.    1463  Heigh.]  Heigb.  [  ?]  Q3 
Maister]  Master  Q2  etc. 

1464  Logerhead]   Loggerhead  Q2    Loggerhed  Q3    heere's] 
heer's  Q2    heeer's  Q3    Pisaros]  Pisaros  Q2  etc. 

1465  Delio.]  Delie.  H3  HS     1466  Walg.]  Walg.  Q3 

1470  Walg.]  Walg.  Q3    would]  should  Q3     1472  Haru.]  Harv.  Q3 
1475  dit]  d  t  Qi     1476  Gantle]  Gentle  Q2  etc. 
1478  Glasses.]  Glasses  B 


ENGLISHMEN  FOR  MY  MONEY,  OR 

I  be  no  in  de  right  plashe :    I  prey  Monsieur,  wat  be  name 
dis  Streete,  and  wishe  be  de  way  to  Croshe-friers? 

Heigh.     Marry  this  is  Fanchurch-streete, 
And  the  best  way  to  Crotched-friers,  is  to  follow  your  nose 

Delia.  Vanshe }  streete,  how  shaunce  me  come  to  Vanshe.   1485 
streete?     veil  monsieur,  me  must  alle  to  Croche-friers. 

Exit  Delion. 

Walg.     Farewell  fortipence,  goe  seeke  your  Signor, 
I  hope  youle  finde  your  selues  two  Dolts  anone : 
Hush  Fredinand,  I  heare  the  last  come  stamping  hither. 

Fnter  Frisco. 

Frisc.  Hasirra,  I  haue  left  my  fatte  Dutchman,  andrunne  1490 
my  selfe  almost  out  of  breath  too :  now  to  my  young  mis 
tresses  goe  I,  some  body  cast  an  old  shoe  after  me :  but  soft, 
how  shall  I  doe  to  counterfeite  the  Dutchman,  be  cause 
I  speake  English  so  like  a  naturall;  Tush,  take  you  no 
thought  for  that,  let  me  alone  for  Squintum  squantum :  so  ft,  1 495 
her's  my  Maisters  house, 

High.     Whose  there. 

Frisc.  Whose  there,  why  sir  here  is :  Nay  thats  too  good 

1481  Monsieur]   Monsier  Q3     1482  Streete]   streete  Q3    Croshe-] 
Croshe  Qz    1484  Crotched-friers]  Crotehed-Friers  Q2    Crotched- 
friers  Q3    1485  Vanshe,  streete}  Vanshe-street  Q2    Vanshe-street  Q3 
1485-6  Vanshe  streete.]  Vanshe-streete  Q2    Vanshe-street  Q3 
1486  veil  monsieur]  vel  Monsieur  Q2  etc.     Croche-friers.] 
Croche-friers:  Q2    Croche-friers:  Q3     1487  your]  you  Q2 
Signor]   Signior  Q2  etc.     1489  Fredinand]   Ferdinand  Q2  etc. 

1489  s.d.  Enter]  Fnter  Qi    Frisco.]  Frisco,  Q2 

1490  Dutchman]   Dutchman  Q3    runne]   run  Q2  etc. 

1491-2  mistresses]  Mistresses  Q2  etc.     1492  some  body]  somebody  Q2  etc. 
soft,]  soft:  Q2  etc. 

1493  Dutchman]  Dutchman  Q3      be  cause]  because  Q2  etc. 

1494  English]  English  Q3     1495  me]  mee  Q3     soft]  sost  W 
1496  her's]   here's  Q2  etc.    Maisters]    masters   Q2   etc.    house,] 
house.   Q3     1497  High.]    Heigh.   Q2   etc.     1498  here]    heere   Q3 
Nay]  Nay,  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

English ;  Why  here  be  de  growtte  Dutchman. 

Heigh.     Then  theres  not  onely  a  growte  head,  but  an  1500 
Asse  also. 

Frisc.  What  be  yoo,  yoo  be  an  English  Oxe  to  call  a  gen 
tle  moan  Asse. 

Haru.     Harke  Ned  yonders  good  greeting. 

Frisc.     But  yoo,  and  yoo  be  Maister  Mouse  that  dwell  1505 
here,  tell  your  matressa  Laurentia  datt  her  sweete  harte 
Maister  Vandall  would  speake  with  horde, 

Heigh.  Maister  Mendall,  gette  you  gon,  least  you  get 
a  broken  Pate  and  so  marre  all :  heres  no  entrance  for  mis- 
stres  Laurcntios  sweete  heart.  1510 

Frisc.     Gods  sacaren  watt  is  the  luck  now. 
Shall  not  I  come  to  my  friend  maister  Pisar  Hoose? 

Heigh.  Yes  and  to  maister  Pisar os  Shoes  too,  if  hee  or 
they  were  here. 

Frisc.  Why  my  groute  friend,  M.  Pisar o  doth  dwel  here.   1515 

Heigh.  Sirra,  you  lye,  heere  dwells  no  body  but  I,  that 
haue  dwelt  here  this  one  &  forty  yeares,  and  sold  Glasses. 

Walg.     Lye  farder,  one  and  fifty  at  the  least. 

Fris.    Hoo,  hoo,  hoo ;  do  you  giue  the  Gentleman  the  \yf 

1499  English]  English  Q3    here]  heere  Q3 

growtte]  growrte  Q2  etc.    Dutchman]  Dutchman  Q3     1502  be]  bee  Q3 

yoo  be]  yoo  bee  Q2  etc.    English]  English  Q3    gentle]  gentile  Q2  etc. 

1505  be  Maister]  bee  master  Q2  etc.     1506  matressa]  Matressa  Q2  etc. 

sweete  harte]  sweet  heart  Q2  etc.     1507  Maister]  master  Q2  etc. 

harde,]  horde.  Q2  etc.     1508  Maister]  Master  Q2  etc.    gette] 

get  Q2  etc.    gon]  gone  Q2  etc.    least]  lest  Q2  etc.    get]  gett  Q2  etc. 

1509  Pate]  pate  Q3     1509-10  misstres]  mistresse  Q2  etc. 

1510  sweete]   fweete  Qi     1511  the  luck]  de  lucke  Q2  etc. 

1512  maister]  master  Q2  etc.    Hoose]  hoose  Q3 

1513  Yes]  Yes,  Q2  etc.    maister]  master  Q2  etc.     Shoes]  Shooes  Q2  etc. 
hee]  he  Q2    1515  dwel]  dwell  Q2  etc. 

heere]  here  Q2    1517  &]  and  Q2  etc.    yeares]  yeeres  Q3     forty] 

fortie  Q2    1518  fifty]  fiftie  Q2     1519  Fris.]  Frisc.  Q2  etc. 

do]  doe  Q2  etc.    Gentleman]  gentleman  Q2  etc.    ly]  lye  Q2  etc. 


!68  ENGLISHMEN  FOR  MY  MONEY,  OR 

Haru.     I  sir,  and  will  giue  you  a  licke  of  my  Cudgell,  if  1 520 
yee  stay  long  and  trouble  the  whole  streete  with  your 
bawling:     hence  dolt,  and  goe  seeke  M.  Pisaros  House. 

Frisc.     Goe  seeke  M.  Pisaros  House; 
Where  shall  I  goe  seeke  it? 

Hegh.     Why,  you  shall  goe  seeke  it  where  it  is.  J525 

Frisc.     That  is  here  in  Crodched-friers. 

Heigh.     How  Loger-head,  is  Crocked-friers  heere? 
I  thought  you  were  some  such  drunken  Asse, 
That  come  to  seeke  Crocked-friers  in  Tower-streete: 
But  get  you  along  on  your  left  hand,  and  be  hang'd ;  1530 

You  haue  kept  me  out  of  my  Bedd  with  your  bangling, 
A  good  while  longer  then  I  would  haue  been. 

Frisc.  Ah,  ah,  How  is  this?  Is  not  this  Crocked- friers? 
Tell  mee,  He  hold  a  Crowne  they  gaue  me  so  much  Wine 
at  the  Tauerne,  that  I  am  druncke,  and  know  not  ont.  1535 

Haru.     My  Dutchman's  out  his  Compasse  &  his  Card ; 
Hee's  reckning  what  Winde  hath  droue  him  hither : 
He  sweare  hee  thinkes  neuer  to  see  Pisaros. 

Frisc.  Nay  tis  so,  I  am  sure  druncke :  Soft  let  mee  see, 
what  was  I  about?  Oh  now  I  haue  it,  I  must  goe  to  my  1540 

1521  yee]  ye  Q2  etc.     1522  bawling]  brawling  Q3    House]  house  Q3 
1523  M.]  master  Q2  etc.    House]  house  Q3     1525  Hegh.]  Heig.  Q2  etc. 
is.]  is,  Q2  etc.     1526  here]  heere  Q3    Crodched-friers.] 
Crotched  Fryers?  Q2    Crotched-Fryers  ?  Q3     1527  Heigh.]  Heig.  Q2 
Croched-friers]  Crotched  Fryers  Q2     Crotched-Fryers  Q3    heere] 
here  Q2  etc.    1529  Croched-friers]  Crutched-fryers  Q2    Crutched- 
fryers  Q3     Tower-streete]  Tower-street  Q2    Tower-street  Q3 
1531  Bedd]  Bed  Q3    bangling]  brangling  Q3     1532  been]  beene  Q2  etc. 
1533  ah,]   ah.  Q3    Croched-friers]    Crutched-fryers  Q2    Crutched- 
fryers  Q3    1534  mee]  me  Q2    Crowne]  crowne  Qz  etc.    me]  mee  Q3 
Wine]  wine  Q2  etc.     1535  druncke]  drunke  Q2  etc. 

1536  Dutchman's]  Dutch-man's  Q2    Dutchman's  Q3    &]  and  Q3 

1537  Winde]  winde  Q2  etc.     1538  hee]  he  Q2  etc.    neuer]  never  Q3 
1539  Nay]  Nay,  Q2  etc.    druncke]  drunke  Q2  etc.    Soft]  soft  Q3 
mee]  me  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL  ify 

Maisters  house  and  counterfeite  the  Dutchman,  and  get 
my  young  Mistresse :     well,  and  I  must  turne  on  my  left 
hand,  for  I  haue  forgot  the  way  quite  and  cleane : 
Fare  de  well  good  frend,  I  am  a  simple  Dutchman  I. 

Exit  Frisco. 

Heigh.  Faire  weather  after  you.  And  now  my  Laddes,  1545 
Haue  I  not  plide  my  part  as  I  should  doe  ? 

Haru.  Twas  well,  twas  well :  But  now  let's  cast  about, 
To  set  these  Woodcocks  farder  from  the  House, 
And  afterwards  returne  vnto  our  Girles. 

Walg.  Content,  content;  come,  come  make  haste.  Exeunt.  1550 


[Acx  IV.     SCENE  I.     A  Street.} 

Enter  Aluaro. 

Alua.  I  goe  and  turne,  and  dan  I  come  to  dis  plashe,  I 
can  no  tell  waer,  and  sail  doe  I  can  no  tell  watt,  turne  by 
the  Pumpe ;  I  pumpe  it  f aire. 

Enter  Delion. 
Delio.  Me  alle,  ende  alle  &  can  no  come  to  Croche-friers. 

Enter  Frisco. 

Frisc.  Oh  miserable  Blacke-pudding,  if  I  can  tell  which  1555 
is  the  way  to  my  Maisters  house,  I  am  a  Red-herring,  and 
no  honest  Gentleman. 

Alua.     Who  parlato  daerf 

1541  Maisters]  Masters  Q2  etc.    counterfeite]  counterfeit  Q2  etc. 
Dutchman]  Dutchman  Q3     1542  well,]  well  Q2  etc. 

1544  frend]  friend  Q2  etc.    Dutchman]  Duchman  Q2    Duchman  Q3 

1545  you.]  you,  Q2  etc.    And]  and  Q2  etc.     1546  plide]  playde  Q2  etc, 
1547  let's]  lets  Q2  etc.     1548  farder]  farther  Q2  etc.    House] 

house  Qa 

1552  sail]  sal  Q2  etc.     1554  &]  and  Q3    friers]  Fryers  Q2  etc. 

1556  Maisters]  masters  Q2  etc. 


ENGLISHMEN  FOR  MY  MONEY,  OR 

Delio.     Who  be  der?     who  alle  der? 

Frisc.  How's  thisf  For  my  life  here  are  the  Strangers :  1560 
Oh  that  I  had  the  Dutchmans  Hose,  that  I  might  creepe 
into  the  Pockets ;  they'le  all  three  fall  vpon  me  &  beat  me. 

Alua.     Who  doe  der  ander? 

Delio.     Amis  ? 

Frisc.     Oh  braue;  it's  no  body  but  M.  Pharoo  and  the  1565 
Frenchman  going  to  our  House,  on  my  life :  well,  He  haue 
some  sport  with  them,  if  the  Watch  hinder  me  not. 
Who  goes  there? 
Delia.  Who  parle  der,  in  wat  plashe.  in  wat  streat  be  you  ? 

Frisc.     Why  sir,  I  can  tell  where  I  am ;  I  am  in  Tower-  1 570 
streete:     Where  a  Diuell  be  you? 

Delio.     lo  be  here  in  Lede-hall. 

Frisc.  In  Leaden-hall  ?  I  trow  I  shall  meete  with  you  a- 
none :  in  Leaden-hall  ?  What  a  simple  Asse  is  this  Frenchman. 
Some  more  of  this :     Where  are  you  sir?  I575 

Alua.     Moy  I  be  here  in  Vanshe-streete. 

Frisc.  This  is  excellent  ynfayth,  as  fit  as  a  Fiddle :  I  in 
Tower-streete,  you  in  Leaden-hall,  and  the  third  in  Fanchurch- 

1559  who]  Who  Q2  etc. 

1561  Dutchmans  Hose]  Dutchmans  hose  Q3     1562  Pockets]  pockets  Q3 

&  beat]  and  beate  Q2  etc.     1563  doe]  goe  Q2  etc. 

1564  Amis?]  Amis.  Q2  etc.     1565  braue;]  braue:  Q3    it's]  tis  Q2  etc. 

M.  Pharoo]  Master  Phareo  Q2  etc. 

1566  Frenchman]  Frenchman  Q3    House]  house  Q3     1567  me]  mee  Q3 

Watch]  Watch  Q2     1568  Who]  Who  Q2     1569  Who]  Who  Q2 

wat]  watt  Q2  etc.    wat]  watt  Q2  etc.    be]  bee  Q3    streat] 

street  Q2  etc.     1570  Why]  Why  Q2     1570-71  Tower-streete] 

Tower  streete  Q2   Tower-streete  Q3    Diuell]  Divell  Q3    Where]  Where  Q2 

1572  Lede-hall]  Leden-hall  Q2    Leden-hall  Q3     1573  Leaden-hall] 

Leaden-hall  Q3     1574  Leaden-hall]  Leaden-hall  Q3    What]  What  Q2 

Frenchman]  Frenchman  Q3     1575  Where]  Where  Q2 

1576  Vanshe-streete]  Vanshe-street  Q2    Vanshe-street  Q3 

1577  ynfayth]  yfaith  Q2  etc.     1578  Tower-streete]   Towerstreet  Q2 
Towerstreet  Q3    Leaden-hall]  Leadenhall  Q3    and]  &  Q3 
Fanchurch-streete]  Fanchurch-street  Q2    Fanchurch-street  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

streete ;  and  yet  all  three  heare  one  another,  and  all  three 
speake  togeather :  either  wee  must  be  all  three  in  Leaden-  1 580 
hall,  or  all  three  in  Tower-sir eete,  or  all  three  in  Fanchurch- 
streete ;  or  all  three  Fooles. 

Alua.     Monsieur  Gentle-home,  can  you  well  tesh  de 
wey  to  Croshe-frier? 

Frisc-  How  to  Crocked-friers?  I,  I  sir,  passing  well  if  1585 
you  will  follow  mee.  (tanks. 

Delio.   I  dat  me  sal  monsier  Gentle-home,  and  giue  you 

Frisc.  And  monsiur  Pharo,  I  shall  lead  you  such  a  iaunt, 
that  you  shall  scarce  giue  me  thankes  for.     Come  sirrs 
follow  mee :    now  for  a  durtie  Puddle,  the  pissing  Condit  1 590 
or  a  great  Post,  that  might  turne  these  two  from  Asses  to 
Oxen  by  knocking  their  Homes  to  their  Fore-heads. 

Alua.     Whaer  be  de  now  signer ? 

Frisc.     Euen  where  you  will  signer,  for  I  know  not : 
Soft  I  smell :     Oh  pure  Nose.  1 595 

Delio.     Wat  do  you  smell  ? 

Frisc.  I  haue  the  scent  of  London-stone  as  full  in  my  nose, 
as  Ab church-lane  of  mother  Walles  Pasties  :  Sirrs  feele  a- 
bout,  I  smell  London-stone. 

Alua.     Wat  be  disf  1600 

Frisc.  Soft  let  me  see ;  feele  I  should  say,  for  I  cannot  see : 
Oh  lads  pray  for  my  life,  for  we  are  almost  at  Crocked-friers. 

1580  togeather]  together  Q2  etc.    wee]  we  Q2  etc.     1581  hall]  hal  Q2 
streete]  street  Q3     1582  streete]  street  Q3    Fooles]  fooles  Q3 
1584  frier]  Fryer  Q2  etc.     1585  Frisc-]  Frisc.  Q2  etc. 
Croched-fricrs]  Croctched-friers  Q2  PH3  H4  H6     Crotched  fryers  Us 
1586  mee]  me  Q2  etc.   tanks.]  tanks  Q3    1587  monsier]  monsieur  Q2  etc. 

1588  monsiur]  Monsieur  Q2    monsieur  Q3    iaunt,]  iaunt  Q2  etc. 

1589  me]  mee  Q3    sirrs]  sirs  Q3     1590  mee]  me  Q2  etc.    durtie] 
durty  Q2  etc.    Condit]  Conduit  Q2  etc.     1593  signer]  Signior  Q2  etc. 
1594  signor]  Signior  Q2  etc.   Soft]  Sost  Q2    1596  What  do]  What  doe  Q2  etc 

1598  Abfhurch-lane]  Abchurch  lane  Q3     Walles]  Walles  Q3 

1599  London-]  London  Q2  etc.     1600  Wat]  What  Q3     1602  Oh]  oh  Q3 


ENGLISHMEN  FOR  MY  MONEY,  OR 

Delio.     Dats  good:     but  watt  be  dis  Post? 

Frisc.  This  Post ;  why  tis  the  May-pole  on  luie-bridge 
going  to  Westminster.  1605 

Delio.    Ho  Wesmistere,  how  come  we  tol  Wesmistere  f 

Frisc.  Why  on  your  Legges  fooles,  how  should  you 
goe?  Soft,  heere's  an  other :  Oh  now  I  know  in  deede 
where  I  am ;  wee  are  now  at  the  f ardest  end  of  Shoredich, 
for  this  is  the  May-pole.  1610 

Delo.  Sordiche ;  O  dio,  dere  be  some  nautie  tinge,  some 
Spirite  do  leade  vs. 

Frisc.  You  say  true  sir,  for  I  am  af eard  your  French  spirt 
is  vp  so  far  alredy,  that  you  brought  me  this  way,  because 
you. would  finde  a  Charme  for  it  at  the  Blew  Bore  in  the  1615 
Spittle:     But  scfft,  who  comes  heeref 

Enter  a  Belman. 

Bel.  Maydes  in  your  Smocks,  looke  wel  to  your  Locks, 
Your  Fier  and  your  Light ;  and  God  giue  you  good  night. 

Delia.  Monsieur  Gentle-home,  I  prey  parle  one,  too, 
tree,  fore,  words  vore  vs  to  dis  oull  man.  1620 

Frisc.  Yes  marry  shall  I  sir.  I  pray  honest  Fellow,  in 
what  Streete  be  wee? 

Bel.  Ho,  Frisco,  whither  f  riske  you  at  this  time  of  night  f 

Delio.     What,  Monsieur  Frisco  f 

1603  Delio.}  Delia,  Q2    watt]  wat  Q3     1604  Frisc.]  Frisc  H5 

1605  Westminster]  Westminster  Q$     1606  Wesmistere}  WestmistereQz 

Westmistere  Q2     (both  occurrences)     tol]   to  Q3    1607  Frisc.] 

Fris.  Q2    1608  goe]  go  Q3    in  deede]  indeede  Q2    indeed  Q3 

1609  Shoredich]  Shoreditch  Q2  etc.     1611  Delo.]  Delio.  Q3 

nautie]  natie  Q2  etc.     1612  do]  doe  P     1613  Frisc.]  Frisc  Q3 
spirt]  spirit  Q2  etc.     1614  alredy]   already  Q2  etc.     1615  finde] 
find  Q2  etc.     1617  wel]  well  Q3    Locks,]  Locks;  Q2  etc. 

1618  Fier]  fier  Q3    Light]  light  Q3     1619  Delia.]  turned  i  Qi 
Delio.  Q2  etc.    Monsieur]  Monsier  Q3     1620  fore,]  fore  Q2  etc. 
1621  Fellow]  fellow  Q3     1622  wee]  we  Q2  etc.     1623  Bel]  Bel,  Q2 


A  WOMAN  WILL  HAVE  HER  WILL 

Alua.     Signer  Frisco?  1625 

Frisc.  The  same,  the  same :  Harke  yee  honesty,  mee 
thinkes  you  might  doe  well  to  haue  an  M.  vncler  your 
Girdle,  considering  how  Signer  Pisaro,  and  this  other 
Monsieur  doe  hold  of  mee. 

Bell.  Oh  sir,  I  cry  you  mercie;  pardon  this  fault,  and  He  1630 
doe  as  much  for  you  the  next  time. 

Fris.  Well,  passing  ouer  superfluicall  talke,  I  pray  what 
Street  is  this ;  for  it  is  so  darke,  I  know  not  where  I  am  ? 

Bell.     Why  art  thou  druncke,  Dost  thou  not  know 
Fanch  urch-streete  ?  1 63  5 

Frisc.  I  sir,  a  good  Fellow  may  sometimes  be  ouerseene 
among  Friends;  I  was  drinking  with  my  Maister  and 
these  Gentlemen,  and  therefore  no  maruaile  though  I  be 
none  of  the  wisest  at  this  present :  But  I  pray  thee  Good 
man  Buttericke,  bring  mee  to  my  Maisters  House.  1640 

Bel.  Why  I  will,  I  will,  push  that  you  are  so  strange  now 
adayes :  but  it  is  an  old  said  saw,  Honors  change  Manners. 

Frisc.  Good-man  Buttericke  will  you  walke  afore: 
Come  honest  Friends,  will  yee  goe  to  our  House  ? 

Delio.     Ouy  monsieur  Frisco.  1645 

Alua.     Si  signor  Frisco.  [Exeunt. 

1625  Alua.]  Alva.  Q3 

1626  yee]  ye  Q3    mee]  me  Q3    1628  Girdle]  girdle  Q3 

Pisaro]  Pifaro  Qi    Alvaro  Q3    1629  doe]  do  Q3    1630  Bell]  Bel.  Q3 

mercie]  mercy  Q3     1632  Fris.]  Frisc.  Q2  etc.    ouer]  over  Q3 

1634  Bell.]  Bel.  Q3   druncke]  drunke  Q3    1635  Fanchurch-]  Fanthurch  Q2 

1636  ouerseene]  overseene  Q3     1637  Friends]   friends  Q3     Maister] 

Master  Q2  etc.     1638  maruaile]  marvaile  Q3    1639  Goodman] 

goodman  Q3     1640  mee]  me  Q2  etc.    Maisters]  Masters  Q2  etc. 

House]  house  Q3     1641  Bel.]  Bell.  Q2    will]  wil  Q2 

(second  occurrence}  now]  now,  Q3 

1642  Manners]  manners  Q3     1644  Friends]  friends  Q3    yee]  ye  Q3 

House]  house  Q3 

1646  Alua.]  Alva.  Q3    signor]  signior  Q2  etc. 


ENGLISHMEN  FOR  MY  MONEY,  OR 

[SCENE  II.     Before  Pisaro's  House.] 
Enter  Vandalle. 

Vand.  Oh  de  skellam  Frisco,  ic  weit  neit  waer  dat  ic  be, 
ic  goe  and  hit  my  nose  op  dit  post,  and  ic  goe  and  hit  my 
nose  op  danden  post ;  Oh  de  villaine :  Well,  waer  ben  ic 
now  ?  Haw  laet  syen  is  dut  neit  croshe  vrier,  ya  seker  so  ist  1 650 
and  dit  M.  Pisaros  huis  :  Oh  de  good  shaunce,  well  ic  sail 
now  haue  de  Wenshe  Laurentia,  mestris  Laurentia. 

Enter  Laurentia,  Marina,  Mathea,  aboue. 

Marl.     Who's  there,  Maister  Haruief 

Math.     Maister  Walgraue?. 

Laur.     Maister  Heighamf  1655 

Vand.     Ya  my  Louue,  here  be  mester  Heigham  your 
groot  f  rinde. 

Man.     How,  Maister  Heigham  my  grot  vrindef 
Out  alas,  here's  one  of  the  Strangers. 

Lauren.     Peace  you  Mammet,  let's  see  which  it  is ;  wee  1660 
may  chaunce  teach  him  a  strange  tricke  for  his  learning : 
M.  Heigham,  what  wind  driues  you  to  our  house  so  late? 

Vand.  Oh  my  leif  Mesken,  de  loue  tol  v  be  so  groot,  dat 
het  bring  me  out  my  bed  voor  you. 

Math.    Ha,  ha,  we  know  the  Asse  by  his  eares ;  it  is  the  1665 
Dutchman:     what  shall  we  doe  with  him? 

1647  Oh]  O  Q3    ic  weit]  it  we  it  Q2    it  wee  it  Q3    dat]  omitted  Q2  etc. 

be]  bee  Q3    1650  dut]  duit  Q3     1653  Man'.]  Man',  Q3 

Maister]  Master  Q2    master  Q3    Haruie]  Haruy  Q3 

1654  Maister]  Master  Q2  etc.     1655  Maister]  Master  Q2  etc. 

1657  frinde.j  frinde,  Q2    1658  Man'.]  Mary  Q3    How,]  How  Q2  etc. 

Maister]  Master  Q2  master  Q3     1659  alas,]  alas;  Q2  etc. 

here's]  heer's  Q3     Strangers]  strangers  Q3 

1665  Math.]  Math,  Q3     1666  Dutchman]  Dutchman  Q3 


A  WOMAN  WILL  HAVE  HER  WILL  175 

Laure.  Peace,  let  him  not  know,  that  you  are  heere :  M. 
Hcigham,  if  you  will  stay  awhile  that  I  may  se,  if  my  Father 
be  a  sleepe,  and  He  make  meanes  we  may  come  togeather 

Vand.   Dat  sal  ick  my  Loua.    Is  dit  no  well  counter fett  1670 
I  speake  so  like  mester  Heigham  as  tis  possible. 

Laure.     Well,  what  shall  we  doe  with  this  Lubber? 
(Louer  I  should  say.) 

Math.     What  shall  wee  doe  with  him? 
Why  crowne  him  with  a —  1675 

Marl.  Fie  Slutt :  No,  wele  vse  him  clenlier ;  you  know 
we  haue  neuer  a  Signe  at  the  dore,  would  not  the  iest  proue 
currant,  to  make  the  Dutchman  supply  that  want. 

Laure.  Nay,  the  f oole  wil  cry  out,  &  so  wake  my  father. 

Mat.     Why,  then  wele  cut  the  Rope  &  cast  him  downe.  1680 
Lawr.  And  so  iest  out  a  hanging ;  let's  rather  draw  him  vp 
in  the  Basket,  and  so  starue  him  to  death  this  frosty  night. 

Mari.  In  sadnesse,  well  aduisde :  Sister,  doe  you  holde 
him  in  talke,  and  weele  prouide  it  whilst. 

Lawr.  Goe  to  then.  M.  Heigham,  oh  sweete  M  Higham,  1685 
doth  my  Father  thinke  that  his  vnkindnes  can  part  you  & 
poore  Laurentia  ?  No,  no,  I  haue  found  a  drift  to  bring  you 
to  my  Chamber,  if  you  haue  but  the  heart  to  venter  it. 

Van d.  Ventre,  sal  ick  goe  to  de  see,  and  be  de  see,  and  ore 
de  see,  and  in  de  see  voer  my  sweete  Louue.  1690 

1667  Laure.}  Laure  H    Peace,]  Peace  Q3    1668  will]  wil  Q2  etc. 

se]  see  Q2  etc.    Father]  father  Q3     1669  togeather]  together.  Q3 

1670  Loua.]  Loua,  Q3    Is]  is  Q3    1672  Lubber?]  Lubber;  Q3 

1673  Louer]  Lover  Q3     1674  wee]  we  Q3     1676  Mari.]  Mari,  Qz 

1677  neuer]  never  Q3     Signe]  signe  Q3     1678  Dutchman]  Dutchman  Q3 

1679  Laure.]  Laur.  Q3    &]  and  Q2  etc.    father.]   father  Q2 

1680  Rope  &]  rope  and  Q3    him]  him  Q2    1681  let's]  apostrophe 
doubtful  Qi 

1684  prouide]  provide  Q3    it]  it  the  Q2  etc.     1685  then.]  then,  Q3(?) 
M  Higham]  M.  Heigham  Q2  etc.     1686  &]  and  Q3     1689  Vand.] 
Vand-  Qi     Vand.  Q2  etc. 


ENGLISHMEN  FOR  MY  MONEY,  OR 

Laur.  Then  you  dare  goe  into  a  Basket ;  for  I  know  no 
other  meanes  to  inioy  your  companie,  then  so :  for  my  Fa 
ther  hath  the  Keyes  of  the  Dore. 

Vand.  Sal  ick  climb  vp  tot  you  ?  sal  ick  fly  vp  tot  you  ? 
sal  ick,  wat  segdy  ?  1695 

Math.    Bid  him  doe  it  Sister,  wee  shall  see  his  cunning. 

Laur.  Oh  no,  so  you  may  catch  a  f  al.  There  M.  Heigham, 
Put  your  selfe  into  that  Basket,  and  I  will  draw  you  vp : 
But  no  words  I  pray  you,  for  feare  my  Sister  heare  you. 

Vand.  No,  no ;  no  word :  Oh  de  seete  Wenshe,  Ick  come,  1 700 
Ick  come. 

Laur.     Are  you  ready  maister  Heigham? 

Vand.     la  ick  my  sout  Lady. 

Man.     Merily  then  my  Wenches. 

Laur  How  heauie  the  Asse  is :  Maister  Heigham,  is  there  1 705 
any  in  the  Basket  but  your  selfe? 

Vand.     Neit,  neit,  dare  be  no  man. 

Laur.     Are  you  vp  sir?  Vand.     Neit,  neit. 

Mari  Nor  neuer  are  you  like  to  climbe  more  higher : 
Sisters,  the  Woodcock's  caught,  the  Foole  is  cag'd.  1710 

Vand.     My  sout  Lady  I  be  nuc  neit  vp,  pul  me  tot  v. 

Math.     When  can  you  tell ;  what  maister  Vandalle, 
A  wether  beaten  soldier  an  old  wencher, 
Thus  to  be  ouer  reach'd  by  three  young  Girles : 
Ah  sirra  now  weele  bragge  with  Mistres  Moore,  I7I5 

To  haue  as  fine  a  Parret  as  she  hath, 

1692  companie]  company  Q3     1694  tot]  to  Qs 

1696  wee]  we  Q3     1697  so  you  may]  so  he  may  Q2  etc. 

fal]  fall  Q3    Heigham,]  Heigham  Q2  etc.     1700  Wenshe]  Wenche  Q3 

1702  maister]  master  Q2  etc.     1704  Mari.]  Mari  B 

1705  Laur]  Laur.  Q2  etc.    Maister]  Master  Q2  etc. 

1709  Mari]  Mari.  Q2  etc.    1711  pul]  pull  Q3     1712  Math.] 

Matt  Q2    Matt.  Q3    When]  When,  Q2  etc.    maister]  master  Q2  etc. 

1713  wether]  weather  Q3    soldier]  soldier,  Q2  etc. 

1715  weele]  weele-  Q2    Moore]  Moore  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

Looke  sisters  what  a  pretty  f  oole  it  is : 

What  a  greene  greasie  shyning  Coate  he  hath, 

An  Almonde  for  Parret,  a  Rope  for  Parret. 

Vand.     Doe  you  moc  que  me  seger  seger,  1 720 

I  sal  seg  your  vader. 

Laur.    Doe  and  you  dare,  you  see  here  is  your  fortune, 
Disquiet  not  my  father;  if  you  doe, 
He  send  you  with  a  vengeance  to  the  ground, 
Well  we  must  confesse  we  trouble  you,  X725 

And  ouer  watching  makes  a  wiseman  madde, 
Much  more  a  foole,  theres  a  Cusshon  for  you. 

Mar.     To  bore  you  through  the  nose. 

Laur.     To  lay  your  head  on. 

Couch  in  your  Kennell  sleape  and  fall  to  rest,  1 730 

And  so  good  night  for  London  maydes  skorne  still, 
A  Dutch-man  should  be  scene  to  curbe  their  will. 

[Exeunt  Sisters. 

Vand.  Hort  ye  Daughter,  hort  ye  ?  gods  se  ker  kin  ?  will 
ye  no  let  me  come  tot  you?  ick  bid  you  let  me  come  tot  you 
watt  sal  ick  don,  ick  woud  neit  vor  vn  hundred  pounde  1735 
Aluaro  &  Delion,  should  see  me  ope  dit  maner,  well  wat  sal 
ick  don,  ick  mout  neit  cal :  vor  de  Wenshes  wil  cut  de  rope 
and  breake  my  necke ;  ick  sal  here  bleauen  til  de  morning, 
&  dan  ick  sal  cal  to  mester  Pisaro,  &  make  him  shaf  e  &  shite 
his  dauctors :  Oh  de  skellum  Frisco,  Oh  des  cruell  Hores.  1740 

1718  Coate]  Coat  Q3  shyning]  shining  Q3 

1719  Rope]  rope  Q3    1722  here]  heere  Qa 

1724  with]  omitted  Q3    1725  you,]  you.  Q3    1727  Cusshon]  Cushon  Q3 
1728  Mar.]  Mat.  Q2    Matt.  Q3     1730  Kennell]  Kennell,  Q3 
sleape]  sleepe  Q2  etc.     1732  Dutch-man]  Dutchman  Q2  etc. 
will.]  will,  Q2  etc.     1733  ye?]  turned  ?  Qi    ye;  Q2  etc. 
se]  see  Q3    1734  me]  mee  Q3    me]  mee  Q3    you]  you,  Q3 

1735  watt]  wat  Q2  etc.    woud]  would  Q2  etc 

1736  Aluaro]  Aluaro,  Q$    maner,  well]  manner,  wel  Q3 

1737  vor]  ver  Q2  etc.    1738  til]  till  Q3    1739  Pisaro,]  Pisaro  Q2  etc. 


I78  ENGLISHMEN  FOR  MY  MONEY,  OR 

[SCENE  III.     The  Same.] 

Enter  Pisaro. 

Pisa.     He  put  the  Light  out,  least  I  be  espied, 
For  closely  I  haue  stolne  me  foorth  a  doares, 
That  I  might  know,  how  my  three  Sonnes  haue  sped. 
Now  (afore  God)  my  heart  is  passing  light, 
That  I  haue  ouerreach'd  the  Englishmen:  1745 

Ha,  ha,  Maister  Vandalle,  many  such  nights 
Will  swage  your  bigg  swolne  bulke,  and  make  it  lancke : 
When  I  was  young ;  yet  though  my  Haires  be  gray, 
I  haue  a  Young  mans  spirit  to  the  death, 
And  can  as  nimbly  trip  it  with  a  Girle,  1750 

As  those  which  fold  the  spring-tide  in  their  Beards : 
Lord  how  the  verie  thought  of  former  times, 
Supples  these  neere  dried  limbes  with  actiuenesse : 
Well,  thoughts  are  shaddowes,  sooner  lost  then  scene, 
Now  to  my  Daughters,  and  their  merrie  night,  1755 

I  hope  Aluaro  and  his  companie, 
Haue  read  to  them  morrall  Philosophie, 
And  they  are  full  with  it :     Heere  He  stay, 
And  tarry  till  my  gallant  youths  come  foorth. 

Enter  Haruie,  Walgraue,  and  Heigham. 

(thouf 

Heigh.     You  mad-man,  wild-oats,  mad-cap,  where  art  1760 
Walg.     Heere  afore. 

1741  least]  lest  Q3    espied,]  espied.  Q2  etc. 

1742  doares]   doores  Q2  etc.     1744  light,]   light.  W 

1746  Maister]  Master  Q2  etc.     1747  bigg]  big  Q3     1748  young;] 
young,  Q3     1749  Young]  young  Q3     1752  verie]   very  Q3 

1755  merrie]  merry  Q3 

1756  companie]  company  Q3     1757  morrall  Philosophic]  morall 
Philosophy  Q2  etc.     1758  Heere]  Here  Q2     1759  youths]  youthes  Q2 
foorth]  forth  Q2     1759  s.d.  Haruie]  Haruy  Q3 

1760  wild-]  wilde-  Q2  etc.     1761  Walg.]  Walg,  Q2     Walg.  Q3 


A  WOMAX  II' ILL  HAVE  HER  WILL 

Haru.  Oh  ware  what  loue  isf  Ned  hath  found  the  scent ; 
And  if  the  Connie  chaunce  to  misse  her  Burrough, 
Slice's  ouer-borne  yfayth,  she  cannot  stand  it. 

Pisa.     I  know  that  voyce,  or  I  am  much  deceiued.          1765 

Heigh.     Come,  why  loyter  weef     this  is  the  Dore : 
But  soft,  heere's  one  asleepe. 

Walg.    Come,  let  mee  f  eele : 
Oh  tis  some  Rogue  or  other ;  spurne  him,  spurne  him. 

Haru.     Be  not  so  wilfull,  prethee  let  him  lie.      (house,   1770 

Heigh.     Come  backe,  come  backe,  for  wee  are  past  the 
Yonder's  Matheas  Chamber  with  the  light. 

Pisa.     Well  fare  a  head,  or  I  had  been  discride. 
Gods  mee,  what  make  the  Youngsters  heere  so  late? 
I  am  a  Rouge,  and  spurne  him :     well  lacke  sauce,  1775 

The  Rogue  is  waking  yet,  to  marre  your  sport. 

Walg.    Matt,  Mistris  Mathea;  where  be  these  Girlesf 

Enter  Mathea  alone. 

Math.     Who's  there  below? 

W.alg.     Thy  Ned,  kind  Ned,  thine  honest  trusty  Ned. 

1762  Haru.]  Haru.  Q2    scent;]  scent,  Q3 

1763  Connie]  Conny  Q2  etc.    Burrough]  Borough  Q2  etc. 

1764  ouer-borne]  ouerborne  Q2    overborne  Q3    yfayth]  yfaith  Q2  etc. 

1765  Pisa.]  Pisa,  Q2    deceiued]  deceived  Q3 

1766  Heigh.]  Heiga.  Q3    wee]  we  Q2  etc.    Dore]  doore  Q3 

1767  heere's]  here's  Q2     1768  Walg.}  Walgr.  Q2    Walg.  Q3 

mee]  me  Q2  etc.     1769  other;]  other,  Q2  etc.     1770  Haru.]  Haru.  Q2 
lie]  lye  Q2  etc.     1771  wee]  we  Q2     1772  Matheas]  Matheas  Q2 
Chamber]  chamber  Q3    1773  been]  bene  Q2    beene  Q3 
1774  mee]  me  Q2  etc.    make]  makes  Q2  etc.    Youngsters]  youngsters  Q3 
heere]  here  Q2     1775  Rouge]  Rogue  Q2  etc.     1776  iRogue]  rogue  Q3 
yet,]  yet  Q2  etc.    marre]  spoyle  Q2  etc.    1777  Walg.]   Walg.  Q3 
Matt]  Matt  Q2    Mathea;]  Mathea,  Q2    Mathea,  Q3 
1777  s.d.  Mathea]  Mathea  Q2    1778  Math.]  Math.  Q2 
Who's]  Who's  Q2  etc.    1779  Walg.]   Walg.  Q3 


ENGLISHMEN  FOR  MY  MONEY,  OR 

Math.     No,  no,  it  is  the  Frenchman  in  his  stead,  1780 

That  Mounsieur  motlicoate  that  can  dissemble : 
Heare  you  Frenchman,  packe  to  your  Whores  in  Fraunce ; 
Though  I  am  Portingale  by  the  Fathers  side, 
And  therefore  should  be  lustf till,  wanton,  light ; 
Yet  goodman  Goosecap,  I  will  let  you  know,  1 785 

That  I  haue  so  much  English  by  the  Mother, 
That  no  bace  slauering  French  shall  make  me  stoope: 
And  so,  sir  Dan-delion  fare  you  well. 
Walg.  What  speachlesse,  not  a  word :  why  how  now  Ned? 

Har.     The  Wench  hath  tane  him  downe,  J79° 

He  hanges  his  head. 

Walg.     You  Dan-de-lion,  you  that  talke  so  well : 
Harke  you  a  word  or  two  good  Mistris  Matt, 
Did  you  appoynt  your  Friends  to  meete  you  heere, 
And  being  come,  tell  vs  of  Whores  in  Fraunce,  J795 

A  Spanish  lennet,  and  an  English  Mare, 
A  Mongrill,  half e  a  Dogge  and  half  e  a  Bitch ; 
With  Tran-dido,  Dil-dido,  and  I  know  not  what  ? 
Heare  you,  if  you'le  run  away  with  Ned, 
And  be  content  to  take  me  as  you  find  me,  1800 

Why  so  law,  I  am  yours :  if  otherwise, 
Youle  change  your  Ned,  to  be  a  Frenchmans  Trull  ? 

1780  Math.]   Math.  Q2   Math  Qa     1781  Mounsieur]   Mounser  Q3 
1782  Fraunte]  France  Q3   sidej  side.  Q2 

1787  bace  slauering  French]  base  slavering  French  Q3 

1788  Dan]  'Dan  Q3     1789  speachlesse]  speechlesse  Q2  etc. 
1790  Wench]  Wench  Q2    wench  Q3    1791  hanges]  hangs  Q3 
1792  Dan-de-lion]  Don-delion  Q3     1793  Mistris]  mistris  Q3 

Matt,]  Matt.  Q2  etc.     1794  meete]  meet  Q3    1795  Whores]  Whores  Qz 
Fraunce]   Fraunce  Q3 

1796  Spanish]   Spanish  Q3    English]  English  Q3 

1797  Dogge]  Dogge,  Q3    Bitch;]  Bitch,  Q2  etc.     1798  With]  With  Q3 
1801  Why]  Why  Q3     1802  Frenchmans]  Frenchmans  Q3     Trull]  trull  Q$ 


A  WOMAN  WILL  HAVE  HER  WILL 

Why  then,  Madame  Delion,  le  vous  lassera  a  Dio,  et  la 
bon  fortune. 

Math.     That  voyce  assures  mee,  that  it  is  my  Loue :       1805 
Say  truly,  Art  thou  my  Ned  ?  art  thou  my  Loue? 

Walg.     S wounds  who  should  I  be  but  Ned? 
You  make  me  sweare. 

Enter  aboue  Marina. 

Man.     Who  speake  you  to?    Mat  he  a  who's  below  f 
Haru.     Marina.  1810 

Mari.    Young  maister  Haruy  ?    for  that  voyce  saith  so. 

Enter  Laurentia. 

Laur.     Speake  sister  Matt,  is  not  my  true  Loue  there? 

Math.     Ned  is. 

Laur.     Not  maister  Heigham? 

Heigh.     Laurentia,  heere.  1815 

Laur.     Yfayth  thou'rt  welcome. 

Heigh.     Better  cannot  Fall. 

Math.     Sweete,  so  art  thou. 

Mari.     As  much  to  mine. 

Laur.     Nay  Gentles,  welcome  all.  1820 

Pisa.     Here's  cunning  harlotries,  they  feed  these  off 
With  welcome,  and  kind  words,  whilst  other  Lads 
Reuell  in  that  delight  they  should  possesse : 
Good  Girls,  I  promise  you  I  like  you  well. 

Mari.     Say  maister  Haruy,  saw  you,  as  you  came,         1825 

1803  Why]  Why  Q2  etc.    then,]  then  Q3    Delion]  Delia  Q2  etc. 

*t]  &  Q3     1805  mee]  me  Q3     1806  truly]  truely  Q3 

1809  speake]  spake  Q3    below?]  below,  Q2  etc. 

1811  Mari.]  Man.  Q2    maister]  master  Q2  etc.     1812  Laur.]  So  Q2  etc. 

Alua.  Qi    Matt]  Matt  Q2    1813  Math.]  Math.  Q2 

1814  maister]  master  Q2  etc.     1816  Yfayth]  Yfaith  Q3    thou'rt] 

thou'art  Q2    thou  art  Q3     1817  Heigh.]  Heigh.  Q2    Fall]  fall  63 

1818  Math.]  Math.  Q2    Mari.]   Mari.  Q2 

1824  Girls]  Girles  Q2  etc.     1825  maister]  master  Q3 


1 82  ENGLISHMEN  FOR  MY  MONEY,  OR 

That  Leacher,  which  my  Sire  appoynts  my  man; 

I  meane  that  wanton  base  Italian, 

That  Spannish-leather  spruce  companion : 

That  anticke  Ape  trickt  vp  in  fashion  ? 

Had  the  Asse  come,  Tde  learne  him,  difference  been  1830 

Betwixt  an  English  Gentleman  and  him. 

Heigh.     How  would  you  vse  him  (sweete) 
If  he  should  come? 

Mart.  Nay  nothing  (sweet)  but  only  wash  his  crowne : 
Why  the  Asse  wooes  in  such  an  amorous  key,  I^35 

That  he  presumes  no  Wench  should  say  him  nay : 
Hee  slauers  not  his  Fingers,  wipes  his  Bill, 
And  sweares  infayth  you  shall,  inf ayth  I  will ; 
That  I  am  almost  madd  to  bide  his  woeing. 

Heigh.     Looke  what  he  said  in  word,  He  act  in  doing.   1840 

Walg.    Leaue  thought  of  him,  for  day  steales  on  apace, 
And  to  our  Loues :     Will  you  perf orme  your  words ; 
All  things  are  ready,  and  the  Parson  stands, 
To  ioyne  as  hearts  in  hearts,  our  hands  in  hands ; 
Night  fauours  vs,  the  thing  is  quickly  done,  1845 

Then  trusse  vp  bagg  and  Bagages,  and  be  gone : 
And  ere  the  morninge,  to  augment  your  ioyes, 
Weele  make  you  mothers  of  sixe  goodly  Boyes. 

Heigh.  Promise  them  three  good  Ned,  and  say  no  more. 

Walg.     But  He  get  three,  and  if  I  gette  not  foure.       1850 

Pisa.     Theres  a  sound  Carde  at  Maw,  a  lustie  lad, 

1826  man;]  man?  Q2  etc.     1828  Spannish]  Spanish  Q2  etc. 
1829  fashion?]  fashion:  Q2  etc.     1832  he]  hee  Q3 
1835  Why]  Why,  Q2  etc.     1838  sweares]  sweares,  Q2  etc. 
1839  woeing]  woing  Q£    wooing  Q3     1842  Will]  will  Q3 
1844  hands;]  hands:  Q3    1845  fauours]  favours  Q3 

1846  Bagages]  Baggage  Q2    baggage  Q3    gone]  gon  Q2 

1847  ere]  ete  [?]  H    morninge]  morning  Q2  etc.    ioyes,]  ioyes  Q3 

1848  Weele]  Weele  Q2    mothers]  Mothers  Q2    1850  gette]  get  Q2  etc. 
1851  Theres]  There's  Q3     Carde]  Card  Q2    card  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

Your  father  thought  him  well,  when  one  he  had, 

Heigh.    What  say  you  sweetes,  will  you  performe  your 
wordes  ? 

Matt.     Loue  to  true  loue,  no  lesser  meede  affordes?  1855 
Wee  say  we  loue  you,  and  that  loues  fayre  breath 
Shall  lead  vs  with  you  round  about  the  Earth : 
And  that  our  loues,  vowes,  wordes,  may  all  proue  true, 
Prepare  your  Armes,  for  thus  we  flie  to  you.    they  Embrace. 

Walg.  This  workes  like  waxe,  now  ere  to  morrow  day,  1860 
If  you  two  ply  it  but  as  well  as  I, 
Weele  worke  our  landes  out  of  Pisaros  Daughters : 
And  cansell  all  our  bondes  in  their  great  Bellies, 
When  the  slaue  knowes  it,  how  the  Roge  will  curse. 

Matt.     Sweete  hart.  1865 

Walg.    Matt. 

Mathe.     Where  art  thou. 

Pisa.     Here. 

Mathe.     Oh  lesus  heres  our  father. 

Walg.     The  Diuell  he  is.  1870 

Har  u  Maister  Pisaro,  twenty  times  God  morrow. 

Pisa,     Good  morrow?    now  I  tell  you  Gentlemen, 
You  wrong  and  moue  my  patience  ouermuch, 
What  will  you  Rob  me,  Kill  me,  Cutte  my  Throte : 

1852  father]  Father  Q2  etc.    well,]  well  Q2  etc.    had,]  had.  Q2    had  Q3 

1853  What]  What  Q2    sweetes]  sweets  Q2    sweete  Q3 

1855  Matt.]  Maf.  Q2    Mat.  Q3    affordes?]  affordes;  Q2  etc. 

1856  Wee]  Wee  Q2    We  Q3    1857  lead]  leade  Q2  etc. 

1858  wordes]  words  Q3    proue]  prooue  Q3     1859  Armes]  armes  Q2  etc. 
you.]  you  Q3    they  Embrace.]  They  embrace.  Q2  etc.     1860  day,]  day  Q3 
1862  landes]  lands  Q3     1863  cansell]  cancell  Q3 

1864  Roge]  iRogu  e  Q2    Rogue  Q3    curse.]  curse,  Q3 

1865  hart]  heart  Q2  etc.     1868  Here]  Heere  Q3     1869  father.] 
father  Q3     1870  he]  hee  Q3     1871  Har  u]  Horn.  Q2  etc. 
Maister]  Master  Q2  etc.    God]  Good  Q3    morrow.]  morrow,  Q2  etc. 
1872  Pisa,]  Pisa.  Q2  etc.    Good]  good  Q3     1874  Rob]  rob  Q3 


ENGLISHMEN  FOR  MY  MONEY,  OR 

And  set  mine  owne  bloud  here  against  me  too,  1875 

You  huswifes?     Baggages  f     or  what  is  worse, 

Wilfull,  stoubborne,  disobedient: 

Vse  it  not  Gentlemen,  abuse  me  not, 

Newgate  hath  rome,  theres  law  enough  in  England, 

Heigh.     Be  not  so  testie,  heare  what  we  can  say.  1880 

Pisa.   Will  you  be  wiu'de ?   first  learne  to  keepe  a  wife, 
Learne  to  be  thriftie,  learne  to  keepe  your  Lands, 
And  learne  to  pay  your  debts  to,  I  aduise,  else. 

Walg.     What  else,  what  Lands,  what  Debts,  what  will 
you  doe?  1885 

Haue  you  not  Land  in  Morgage  for  your  mony, 
Nay  since  tis  so,  we  owe  you  not  a  Penny, 
Frette  not,  Fume  not,  neuer  bende  the  Browe : 
You  take  Tenn  in  the  hundred  more  then  Law, 
We  can  complayne,  extortion,  simony,  1890 

Newgate  hath  Rome,  thers  Law  enough  in  England. 

Heigh.     Prethe  haue  done. 

Walg.     Prethy  me  no  Prethies. 
Here  is  my  wife,  Sbloud  touch  her,  if  thou  darst, 
Hearst  thou,  He  lie  with  her  before  thy  face,  1895 

Against  the  Crosse  in  Cheape,  here,  any  where, 
What  you  old  craftie  Fox  you. 

Heigh.     Ned,  stop  there. 

Pisa.    Nay,  nay  speake  out,  beare  witnesse  Gentlemen, 

1875  owne]  owne  Qj    bloud]  blood  Q3 

1876  worse,]  worse.  Q2  etc.     1877  stoubborne]  stubborne  Q3 
1879  theres]  thers  Q2    ther's  Q3     1880  Heigh.]  Heigh,  Qz 
we]weeQ3    1881  Pisa.    Will  you  be  wiu'de  ?    first]  Pisa.    Wiu'de?  first  Q3 
learne]  learue  Q2 

1884  Lands]  Land  Q3     1886  not]  our  Q2  etc.    mony]  money  Q3 
1889  Tenn]  Ten  Q3     1890  complayne]  complaine  Q2  etc.     1891  Rome] 
rome  Q3    thers]  theres  Q2     1892  Prethe]  Prethee  Q2  etc. 
1896  where,]  where.  Q3     1899  speake]  fpeake  Qi     Gentlemen,] 
Gentlemen.  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

Whers  Mowche,  charge  my  Musket,  bring  me  my  Bill,        1900 
For  here  are  some  that  meane  to  Rob  thy  maister. 

Enter  Anthony. 

I  am  a  Fox  with  you,  well  lack  sawce, 
Beware  least  for  a  Goose,  I  pray  on  you. 

Exeunt  Pisaro  and  Daughters. 

In  baggages,  Mowche  make  fast  the  doore. 

Walg.     A  vengeance  on  ill  lucke,  1905 

Antho.     What  neuer  storme, 
But  bridle  anger  with  wise  gouernment. 

Heigh.  Whom?  Anthony  our  friend,  Ah  now  our  hopes, 
Are  found  too  light  to  ballance  our  ill  happes. 

Antho.     Tut  nere  say  so,  for  Anthony  1910 

Is  not  deuoyde  of  meanes  to  helpe  his  Friends. 

Walg.    Swounds,  what  a  diuell  made  he  f oorth  so  late? 
lie  lay  my  life  twas  hee  that  fainde  to  sleepe, 
And  we  all  vnsuspitious,  tearmde  a  Roage : 
Oh  God,  had  I  but  knowne  him;  if  I  had,  19IS 

I  would  haue  writt  such  Letters  with  my  Sword 
Vpon  the  bald  skin  of  his  parching  pate, 
That  he  should  nere  haue  liude  to  crosse  vs  more. 

Antho.    These  menaces  are  vaine,  and  helpeth  naught : 
But  I  haue  in  the  deapth  of  my  conceit  1920 

Found  out  a  more  materiall  stratagem: 
Harke  Maister  Walgraue,  yours  craues  quicke  dispatch, 

1900  Whers]  Wheres  Q2  etc.    Bill]  bill  Q2  etc. 

1901  here]  heere  Qs    Rob]  rob  Q3    maister]  master  Q2    Master  Q3 

1902  sawce,]  sawce.  Q2  etc.     1903  least]  lest  Q3    pray]  prey  Q2  etc. 
1908  Heigh.]  Heig.  Q2    hopes,]  hopes  Q3     1909  happes.]  happes-  Q3 
1910  Anthony}  turned  t  Qi     1912  he]  hee  Q3     1914  we]  wee  Q3 
Roage:]  Rouge.  Q2    Rogue.  Q3     1916  writt]  writ  Q3     Sword]  Sword  Q3 
1918  Omitted  Q3     1919  Antho.]  Antho  H2 

1922  Maister]  Master  Q2  etc.    quicke]  quick  Q2  etc. 


!86  ENGLISHMEN  FOR  MY  MONEY,  OR 

About  it  straight,  stay  not  to  say  farewell.    Exit  Walgraue. 

You  Maister  Heigham  >  hie  you  to  your  Chamber, 

And  stirre  not  foorth,  my  shaddow,  or  my  selfe,  1925 

Will  in  the  morning  earely  visit  you; 

Build  on  my  promise  sir,  and  good  night.      Exit  Heigham. 

Last,  yet  as  great  in  loue,  as  to  the  first : 

Yf  you  remember,  once  I  told  a  iest, 

How  feigning  to  be  sicke,  a  Friend  of  mine  I93° 

Possest  the  happy  issue  of  his  Loue : 

That  counterfeited  humor  must  you  play ; 

I  need  not  to  instruct,  you  can  conceiue, 

Vse  maister  Browne  your  Host,  as  chief e  in  this : 

But  first,  to  make  the  matter  seeme  more  true,  I935 

Sickly  and  sadly  bid  the  churle  good  night; 

I  heare  him  at  the  Window,  there  he  is. 

Enter  Pisaro  aboue. 

Now  for  a  tricke  to  ouerreach  the  Diuell. 

I  tell  you  sir,  you  wrong  my  maister  much, 

And  then  to  make  amends,  you  giue  hard  words :  1940 

H'ath  been  a  friend  to  you ;  nay  more,  a  Father : 

I  promise  you,  tis  most  vngently  done. 

Pisa.     I,  well  said  Mouche,  now  I  see  thy  loue, 
And  thou  shalt  see  mine,  one  day  if  I  Hue. 

1923  farewell]  farewell  Q3    Exit]  Exit.  Q2     Walgraue.]   Walgraue,  Q3 

1924  Maister]  Master  Q2  etc.    Heigham]  Heihgham  Q3 

1925  shaddow,]  shaddow  Q3     1926  earely]  early  Q2  etc. 

1927  and]  and  so  Q2  etc.    Exit]  Exit.  Q2     1930  How]  How  Q3 
1932  play;]  play  Q3     1934  maister]  master  Q2  etc. 
1935  But]  But,  Q3    first,]  first  Q3     1937  Window]  Window  Q3 
1938  Now]  Now  Q3    tricke]  trick  Q2  etc.     1939  wrong]  wrong  Q3 
maister]  master  Q2  etc.     1940  words]  words  Q3     1941  been] 
beene  Q2  etc.    Father:]   Father,  Q3 

1943  well]  well  Q3    Mouche]  Mowche  Q2  etc.    now]  now  Q3 

1944  if]  If  Q2 


A  WOMAN  WILL  HAVE  HER  WILL  jg; 

None  but  my  Daughters  sir,  hanges  for  your  tooth :  J945 

I'de  rather  see  them  hang'd  first,  ere  you  get  them. 

Hani.     Maister  Pisaro,  heare  a  dead  man  speake, 
Who  singes  the  wofull  accents  of  his  end. 
I  doe  confesse  I  loue;  then  let  not  loue 
Proue  the  sad  engine  of  my  Hues  remooue :  1950 

Marinaes  rich  Possession  was  my  blisse? 
Then  in  her  losse,  all  ioy  eclipsed  is : 
As  euery  Plant  takes  vertue  of  the  Sunne; 
So  from  her  Eyes,  this  life  and  beeing  sprung: 
But  now  debard  of  those  cleare  shyning  Rayes,  1955 

Death  for  Earth  gapes,  and  Earth  to  Death  obeyes : 
Each  word  thou  spakst,  (oh  speake  not  so  againe) 
Bore  Deaths  true  image  on  the  Word  ingrauen ; 
Which  as  it  flue  mixt  with  Heauens  ayerie  breath, 
Summond  the  dreadfull  Sessions  of  my  death:  1960 

I  leaue  thee  to  thy  wish,  and  may  th'euent 
Prooue  equall  to  thy  hope  and  hearts  content. 
Marina  to  that  hap,  that  happiest  is ; 
My  Body  to  the  Graue,  my  Soule  to  blisse. 
Haue  I  done  well?  Exit  Haruie.  1965 

Antho.     Excellent  well  in  troth. 

Pisar.     I,  goe;  I,  goe:  your  words  moue  me  as  much, 
As  doth  a  Stone  being  cast  against  the  ayre. 
But  soft,  What  Light  is  that?  What  Folkes  be  those  ?  Oh  tis 
Aluaro  &  his  other  Friends,  He  downe  &  let  them  in.    Exit.   1970 

1946  hang'd]  hanged  Q3     1947  Haru.]  Haru,  Q$ 
Maister]  Master  Q2  etc.     1948  wofull]  wofull  Q3 

1951  Marinaes]  turned  j  Qi     Possession]  possession  Q3    was]  was  Q3 

1952  eclipsed]  ecclipsed  Q2  etc.     1954  beeing]  being  Q3 

1955  now]  now  Q3    shyning]  shining  Q3     1957  word]  word  Q3 

1959  flue]  flew  Q3    with]  with  Q3 

1961  wish]  wish  Q3     1962  Prooue]  Proue  Q2  etc. 

1965  Exit]  Exit.  Q2    Haruie.}  Haruy.  Q2  etc.     1966  troth.]  troth :  Q3 

1970  &  his]  &his  Qi     and  his  Q2  etc.    &]  and  Q2  etc. 

1970  s.d.  Delion,]  Delion  Q2  etc.     &]  and  Q2  etc.    Aluaro]  Aluare  Q2 


T88  ENGLISHMEN  FOR  MY  MONEY,  OR 

Enter  Belman,  Frisco,  Vandalle,  Delion,  &  Aluaro. 

Frisc.     Where  are  we  now  gaffer  Buttericke  f    (wits? 

Bell.    Why  know  you  not  Crocked-friers,  where  be  your 

Aluar.  Wat  be  tis  Crosh-viers?  vidite  padre  dare ;  tacke 
you  dat,  me  sal  treble  you  no  farre.        [Gives  him  money. 

Bell.     I  thanke  you  Gentlemen,  good  night :  197S 

Good  night  Frisco.  Exit  Belman. 

Frisc.     Farewell  Buttericke,  what  a  Clowne  it  is : 
Come  on  my  maisters  merrily,  He  knocke  at  the  dore. 

Antho.     Who's  theere,  our  three  wise  Woers, 
Blockhead  our  man?     had  he  not  been,  1980 

They  might  haue  hanged  them-selues, 
For  any  Wenches  they  had  hit  vpon : 
Good  morrow,  or  good  den,  I  know  not  whether. 

Delio.     Monsieur  de  Mowche,  wat  macke  you  out  de 
Houis  so  late?  1985 

Enter  Pisaro  below. 

Pisa.  What,  what,  young  men  &  sluggards  ?  f y  for  shame 
You  trifle  time  at  home  about  vaine  toyes, 
Whilst  others  in  the  meane  time,  steale  your  Brides : 
I  tell  you  sir,  the  English  Gentlemen 

Had  wel-ny  mated  you,  and  mee,  and  all;  I99° 

The  Dores  were  open,  and  the  Girles  abroad, 
Their  Sweet-hearts  ready  to  receiue  them  to : 

1972  Where]  Where  Q2    wits?]  wits  Q3     1972  Bell.]  Bell  Q3 

Crocked-]  Crocked  Q2  etc.     be]  bee  Q3     1973  viersf]  viers.  H3-6 

viers:  P    vidite]  vidite,  Q3     1974  treble]  trouble  Q3 

1977  Buttericke]  Butterike  Q2    Eutterike  Q3     1978  maisters] 

masters  Q2    Masters  Q3     1979  theere]  there  Q3     1980  been] 

beene  Q2  etc.     1981  them-selues]  them  selues  Q2    themselues  Q3 

1982  Wenches]  Wenches  Q2     1986  What]  What  Q2    shame]  shame,  Q3 

1988  Whilst]  Whilst  Q2    1989  Gentlemen]  Gentlemen,  Q3 

1990  mated]  mared  Q2  marred  Q3    mee]  me  Q3     1991  Dores]  dores  Q3 

1992  Sweet-]  sweet-  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

And  gone  forsooth  they  had  been,  had  not  I 

(I  thinke  by  reuelation)  stopt  their  flight : 

But  I  haue  coopt  them  vp,  and  so  will  keepe  them.  1995 

But  sirra  Frisco,  where's  the  man  I  sent  for? 

Whose  Cloake  haue  you  got  there? 

How  now,  where's  Vandalle? 

Frisc.     For-sooth  he  is  not  heere : 
Maister  Mendall  you  meane,  doe  you  not?  2000 

Pisar.  Why  logerhead,  him  I  sent  for,  where  is  he? 
Where  hast  thou  been  ?  How  hast  thou  spent  thy  time? 
Did  I  not  send  thee  to  my  Soone  Vandalle? 

Frisc.   I  M.  Mendall\  why  forsooth  I  was  at  his  Cham 
ber,  and  wee  were  comming  hitherward.  and  he  was  very  2005 
hot,  and  bade  me  carry  his  Cloake ;  and  I  no  sooner  had  it, 
but  he  (being  very  light)  firkes  me  downe  on  the  left  hand, 
and  I  turnd  downe  on  the  left  hand,  and  so  lost  him. 

Pisa.     Why  then  you  turnd  togeather,  Asse. 

Frisc.     No  sir,  we  neuer  saw  one  another  since.  2010 

Pisa.     Why,  turnd  you  not  both  on  the  left  hand? 

Frisc.     No  for-sooth  we  turnd  both  on  the  left  hand. 

Pisa.     Hoyda,  why  yet  you  went  both  togeather. 

Fris.     Ah  no,  we  went  cleane  contrary  one  from  another. 

Pisa.     Why  Dolt,  why  Patch,  why  Asse,  2015 

On  which  hand  turnd  yee  ? 

1993  forsooth]  for-sooth  Q3    been,]  beene,  Q2    beene  Q3    I]  I,  Q3 

1995  them.]  them,  Q3 

1997  Whose]  Whose  Q3    there?]  there  .  Q3     1999  For-]  For  Q3 

he]  hee  Q3    2000  Maister]  Master  Q2  etc.    2001  Pisar.]  Pisa.  Q2  etc. 

Why]  Why  Q2  etc.    logerhead]  loggerhead  Q2  etc. 

2002  Where]  Where  Q2  etc.    time?]  time  Q2 

2004  forsooth]  for  sooth  Q3    2008  and]  And  Q3   2009  Why]  Why  Q2  etc. 

togeather]  together  Q3    2010  since.]  since;  Q2  etc. 

201 1  Why]   Why  Q3    2013  togeather.]  together,  Q3 

2014  Fris.]  Frisc.  Q2  etc.    another.]  another  Q2  etc. 

2015  Why]  Why  Q2  etc.    2016  yee?]  yee:  Q2 


I0,o  ENGLISHMEN  FOR  MY  MONEY,  OR 

Frisc.  Alas,  alas,  I  cannot  tell  f  or-sooth,  it  was  so  darke 
I  could  not  see,  on  which  hand  we  turnd :  But  I  am  sure  we 
turnd  one  way. 

Pisa.     Was  euer  creature  plagud  with  such  a  Dolt?  2020 
My  Sonne  Vandalle  now  hath  lost  himselfe, 
And  shall  all  night  goe  straying  bout  the  Towne; 
Or  meete  with  some  strange  Watch  that  knowes  him  not ; 
And  all  by  such  an  arrant  Asse  as  this. 

A  nth.  No,  no,  you  may  soone  smel  the  Dutchmans  lodg-  2025 
Now  for  a  Figure:    Out  alas,  what's  yonder  f          (ing: 

Pisa.     Where? 

Fris.     Hoyda,  hoyda,  a  Basket :     it  turnes,  hoe. 

Pisa.     Peace  ye  Villaine,  and  let's  see  who's  there  ? 
Goe  looke  about  the  House ;  where  are  our  weapons  ?        2030 
What  might  this  meane  ? 

Frisc.  Looke,  looke,  looke ;  there's  one  in  it,  he  peeps  out : 
Is  there  nere  a  Stone  here  to  hurle  at  his  Nose. 

Pisa.     What,wouldst  thou  breake  my  Windowes 
with  a  Stone?     How  now,  who's  there,  who  are  you  sir?  2035 

Frisc.   Looke,  he  peepes  out  againe :   Oh  it's  M.  Mend- 
all,  it's  M.  Mendall:     how  got  he  vp  thither? 

Pisa.  What,  my  Sonne  Vandalle,  how  comes  this  to  passe? 

Alua.     Signor  Vandalle,  wat  do  yo  goe  to  de  wenshe  in  de 
Basket?  2040 

2018  But]  but  Q3    2019  turnd]  tunrd  Q2    2020  Was]  Was  Q3 
2021  Sonne]  sonne  Q3    2022  Towne;]  Towne:  Q3 
2023  knowes]  know  Q3    2025  Anth.]  Antho.  Q2  etc.    Dutchmans] 
Duchmans  Q2  etc    2026  ing:]  ing  Q3    2027  Where]  Where  Q2  etc. 
2028  Fris.]  Frisc.  Q2  etc.    2031  What]  What  Q2  etc. 

2032  Frisc.]  Frisc,  Q3    Looke,]  Looke  H2    out:]  out,  Q3 

2033  here]  heere  Q3    2034  Pisa.]  Pisa,  Q3    What]  What  Q2  etc. 
Windowes]  Windowes  Q2  etc.    2036  Looke[  Look  Q3    he]  hee  Q3 
it's]  its  Q2  etc.    Mendall,]  Mendal  Q2    Mendal  Q3 

2037  it's]  its  Q2  etc.    2038  What,]  What  Q2    What  Q3 
comes]  comes.  Q2    2039  Signor]  Signior  Q2  etc.    goe]  go  Q3 
de]  dit  little  Q2  etc. 


A  W OMAN  WILL  HAVE  HER  WILL  l^l 

Vand.  Oh  Vadere,  Vadere,  here  be  sush  cruell  Dochter- 
kens,  ick  ben  also  wery,  also  wery,  also  cold ;  for  be  in  dit 
little  Basket :  Ic  prey  helpe  dene. 

Frisc.     He  lookes  like  the  signe  of  the  Mouth  without 
Bishops  gate,  gaping,  and  a  great  Face,  and  a  great  Head,  2045 
and  no  Body. 

Pisa.  Why  how  now  Sonne,  what  haue  your  Adamants 
Drawne  you  vp  so  farre,  and  there  left  you  hanging 
Twixt  Heauen  and  Earth  like  Mahomets  Sepulchre? 

Antho.     They  did  vnkindly,  who  so  ere  they  were,          2050 
That  plagu'd  him  here,  like  Tantalus  in  Hell, 
To  touch  his  Lippes  like  the  desired  Fruite, 
And  then  to  snatch  it  from  his  gaping  Chappes. 

Alua.  A  little  farder  signor  Vandalle,  and  dan  you  may 
put  v  hed  into  de  windo  and  cash  de  Wensh.  2055 

Vand.  Ick  prey  Vader  dat  you  helpe  de  mee,  Ick  prey 
Goddie  Vader. 

Pisa.     Helpe  you,  but  how? 

Frisc.     Cut  the  Rope. 

Antho.     Sir,  He  goe  in  and  see,  2060 

And  if  I  can,  He  let  him  downe  to  you.         "Exit  Anthony. 

Pisa.     Doe  gentle  Mouche:     Why  but  here's  a  iest; 
They  say,  high  climers  haue  the  greatest  falles: 
If  you  sHould  fall ;  as  how  youle  doe  I  know  not, 

2042  also]  al  so  Q3  in  all  occurrences ',  Q2  in  last. 
wery]  weary  Q2  etc.  (both  occurrences}  cold;]  cold,  Q3 

2043  Ic]  Ick  Q2  etc.    dene]  de  me  Q2  etc.    2044  He]  Hee  Q2  etc. 
2045  Face]  face  Q3 

2048  hanging]  hanging,  Q3    2049  Mahomets]  Mahomets  Q2 

2050  Antho.]  Antho,  Q3    They]  they  Q3    who  so  ere]  whosoere  Q2  etc. 

2051  That]  They  Q3    2052  Lippes]  lips  Q2  etc.    2053  from]  srom  Qi 
2054  and]  aud  Q2    signor]  signior  Q2  etc.    dan]  den  Q2  etc. 

you]   omitted  Q2  etc.    2055  Wensh]   wensh  Q2  etc.    2056  Vand.] 
turned  a  Q2    Vand,  Q3    mee]  me  Q2  etc.    2057  Goddie]  goodie  Q2  etc. 
2060  goe]  go  Q2    2062  Mouche]  Mouche  Q2    here's]  heer's  Q3 
iest;]  iest?    Q3    2064  fall;]   fall?  Q3 


ig2  ENGLISHMEN  FOR  MY  MONEY,  OR 

Birlady  I  should  doubt  me  of  my  Sonne :  2065 

Pray  to  the  Rope  to  hold :     Art  thou  there  Mouchef 

Enter  Anthony  aboue. 

Antho.  Yes  sir,  now  you  may  chuse,  whether  youle  stay 
till  I  let  him  downe,  or  whether  I  shall  cut  him  downe  f 

Frisc.  Cut  him  downe  maister  Mowse,  cut  him  downe, 
And  let's  see,  how  hele  tumble.  2070 

Pisa.     Why  sauce,  who  ask'd  your  counsaile? 
Let  him  downe.  [The  basket  is  lowered. 

What,  with  a  Cusshion  too  ?     why  you  prouided 
To  lead  your  life  as  did  Diogines', 
And  for  a  Tubb,  to  creepe  into  a  Basket.  2075 

Vanda.  Ick  sail  seg  v  Vader,  Ick  quame  here  to  your 
Huise  and  spreake  tol  de  Dochterken. 

Frisc.  M.  Mendall,  you  are  welcome  out  of  the  Basket : 
I  smell  a  Ratt,  it  was  not  for  nothing,  that  you  lost  me. 

Vand.     Oh  skellum,  you  run  away  from  me.  2080 

Pisa.     I  thought  so  sirra,  you  gaue  him  the  slip. 

Frisc.  Faw,  no  f  or-sooth ;  He  tell  you  how  it  was :  when 
we  come  from  Bucklers-Burie  into  Corn-Wale,  and  I  had 
taken  the  Cloake,  then  you  should  haue  turnd  downe  on 
your  left  hand  and  so  haue  gone  right  forward,  and  so  2085 

2066  Mouche]   Mouche  Q2 

2067  Antho.]  Anthony.  Q3    2069  maister]  master  Q2  etc. 
downe,]  So  in  W    downe  B     downe,  Q2  etc.    2070  let's]  lets  Q2  etc. 
see,]  see  Q2  etc.    hele]  heele  Q2  etc.    2071  counsaile] 

counsell  Q2  etc.    2073  What,]  What  Q2  etc.    2074  lead]  leade  Q2  etc. 

Diogines]  turned  ^  Qi    Diogenes  Q2  etc.    2075  Tubb]  Tub  Q3 

2076  Vanda.]  Vand.  Q2  etc.    sail]  sal  Q2  etc.    2077  Huise]  Huis  Q2  etc. 

2078  Frisc.]  Frisc  B     M.]  Master  Q2  etc.    2079  Ratt]  Rat  Q3 

me]  mee  Q2  etc.    2080  skellum]  skellam  Q2  etc.    2082  when]  when  Q3 

2083  we]  we  Q3    Bucklers-Burie]  Bucklers-Bury  Q2  etc. 

Corn-Wale]  Cornwalle  Q2  etc.    2084  Cloake]  Cloke  Q3    turnd] 

turn'd  Q2  etc.    downe]  down  Q2    downe  Q3 

2085  hand]  hand,  Q2  etc.     forward]  forward  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

turncl  vp  againe,  and  so  hatie  crost  the  streate ;  and  you  like 
an  Asse. 

Pisa.  Why  how  now  Rascall;  is  your  manners  such? 
You  asse,  you  Dolt,  why  led  you  him  through  Corn-hill, 
Your  way  had  been  to  come  through  Canning  streete.  2090 

Frisc.     Why  so  I  did  sir. 

Pisa.     Why  thou  seest  yee  were  in  Corn-Hill. 

Fris.  Indeed  sir  there  was  three  faults,  the  Night  was 
darke,  Maister  Mendall  drunke,  and  I  sleepy,  that  we  could 
not  tell  very  well,  which  way  we  went.  2°95 

Pisa.     Sirra  I  owe  for  this  a  Cudgelling : 
But  Gentlemen,  sith  things  haue  faulne  out  so, 
And  for  I  see  Vandalle  quakes  for  cold, 
This  night  accept  your  Lodginges  in  my  house, 
And  in  the  morning  forward  with  your  marriage,  2100 

Come  on  my  sonnes,  sirra  fetch  vp  more  wood. 

Exeunt. 

[SCENE  IV.     Pisaro's  House.] 
Enter  the  three  Sisters. 

Laur.     Nay  neuer  weepe  Marina  for  the  matter, 
Teares  are  but  signes  of  sorrow,  helping  not. 

2086  streate]   streete  Q2    street  Q3    like  an]  likean  Q3 

2088  Why]  Why,  Q2  etc. 

how  now]  how  now  Qa  'Rascall ;]  Raskall  Q2  etc.   2089  asse]  Asse  Q2  etc. 

why]  why  Q3    2090  way]  way  Qa    streete.]  street.  Q2    street,  Qa 

2091  Why]  Why,  Q2  etc.    2092  Why]  Why,  Q2  etc.    seest]  sayst  Q2  etc, 

were]  were  £>3     Corn-Hill]  Corne-hill  Q2    Corn-hill  Q3 

2093  Fris.]  Frisc.  Q2  etc.    was]  was  Q3  (both  occurrences) 

2094  Maister]  M.  Q2  etc.    we]  wee  Q3    2095  well,  which  way  we  went] 
well,  wich  way  we  went  Q3    2096  owe]  owe  Q3    a]  omitted  Q3 

2097  faulne]  falne  Q2     fallen  Q3    2099  Lodginges]  lodgings  Q2  etc. 

2100  forward]  forward  Q3    with]  with  Q3    2101  wood]  wood  Q3 

2101  s.d.  Exeunt.]  Exeunt:  Q2    Exeunt  Q$    Sisters.]  Sisters,  Q3 

2102  Nay]  Nay,  Q2  etc. 


ENGLISHMEN  FOR  MY  MONEY,  OR 

Mari.     Would  it  not  madde  one  to  be  crost  as  I, 
Being  in  the  very  hight  of  my  desire ?  2105 

The  strangers  frustrate  all :     our  true  loue's  come, 
Nay  more,  euen  at  the  doore,  and  Haruies  armes 
Spred  as  a  Rayne-bow  ready  to  receiue  me, 
And  then  my  Father  meete  vs :     Oh  God,  oh  God. 

Math.     Weepe  who  that  list  for  me,  y'fayth  not  I,       2110 
Though  I  am  youngest  yet  my  stomack's  great : 
Nor  tis  not  father,  friends,  nor  any  one, 
Shall  make  me  wed  the  man  I  cannot  loue : 
He  haue  my  will  ynfayth,  y'fayth  I  will. 

Laur.     Let  vs  determine  Sisters  what  to  doe,  2115 

My  father  meanes  to  wed  vs  in  the  morning, 
And  therefore  something  must  be  thought  vpon. 

Mari.     Weele  to  our  father  and  so  know  his  minde, 
I  and  his  reason  too,  we  are  no  f  ooles, 
Or  Babes  neither,  to  be  fedde  with  words.  2120 

Laur.  Agreede,  agreede :  but  who  shall  speake  for  all? 

Math.     I  will. 

Mari.     No  I. 

Laur.     Thou  wilt  not  speake  for  crying. 

Mari.     Yes,  yes  I  warrant  you,  that  humors  left,  2125 

Bee  I  but  mou'de  a  little,  I  shall  speake, 
And  anger  him  I  f  eare,  ere  I  haue  done. 

2105  hight]  height  Q2  etc.  2106  true]  rrue  Q3  2107  armes] 
armes,  Q3  2108  iRayne-bow]  Raine-bowe  Q2  Raine-bow  Q3 
Spred]  Spread  Qa  me,]  me.  Q3  2109  Father]  father  Q3  oh]  Oh  Q3 

21 10  Math.]  Mat.  Q2  etc.    2110  y'fayth]  y faith  Q2    y  faith  Q3 

2111  Though]  ThonghQ2    stomack's]  stomackes  Q2  etc.    great:]  great!  Q2 
2113  loue:]  loue;  Q3    ynfayth]  in  fayth  Q3    2117  omitted  Q3 

2119  I]  I,  Q3    we]  wee  Q3    2121  Agreede,  agreede]  Agreed,  agreed  Q3 
2123  omitted  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

Enter  Anthony. 

All.    Whom  Anthony  our  friend,  our  Schoole-maister ? 
Now  helpe  vs  Gentle  Anthony,  or  neuer. 

Antho.  What  is  your  hastie  running  chang'd  to  prayer,  2130 
Say,  where  were  you  going? 

Laur.     Euen  to  our  father, 
To  know  what  he  intendes  to  doe  with  vs. 

Antho.     Tis  bootlesse  trust  mee,  for  he  is  resolu'd 
To  marry  you  to.      .  2I35 

Mari.     The  Strangers. 

Antho.     Yfayth  he  is. 

Math.     Yfayth  he  shall  not. 
Frenchman,  be  sure  weele  plucke  a  Crow  together, 
Before  you  force  mee  giue  my  hand  at  Church.  2140 

Mari.     Come  to  our  Father  speach  this  comfort  finds, 
That  we  may  scould  out  griefe,  and  ease  our  mindes. 

Anth.     Stay,  Stay  Marina,  and  aduise  you  better, 
It  is  not  Force,  but  Pollicie  must  serue : 

The  Dores  are  lockt,  your  Father  keepes  the  Keye,  2145 

Wherefore  vnpossible  to  scape  away : 
Yet  haue  I  plotted,  and  deuis'd  a  drift, 
To  frustrate  your  intended  manages, 
And  giue  you  full  possession  of  your  ioyes : 
Laurentia,  ere  the  mornings  light  appeare,  2150 

You  must  play  Anthony  in  my  disguise. 

2128  maister]   master  Q2  etc.    2130  hastie]  hasty  Q3 
2131  going?]  going:  Q2  etc.    2132  Laur.]  Laur.  Q3 

2135  To]  dropped  to  next  line  Q2 

2136  Mari.]  Mari  Q3    2137  omitted  Q3 

2138  Yfayth]  Yfaith  Q2    Y  faith  Q3    2139  Frenchman]  Frenchmen  Q3 
2140  mee]  me  Q2  etc.    2141  Father]  Fathers  Qz  etc. 

2142  out]  our  Q3    griefe,]  comma  doubtful  B  omitted  Q2  etc. 

2143  Anth.]  Antho.  Q2  etc.    Stay]    Stay,  Q3 

2144  Force]    force  Q3    2145  Dores]    Doores  Q3 


j96  ENGLISHMEN  FOR  MY  MONEY,  OR 

Math.  \ 

v  Anthony,  what  of  vsf     What  shall  we  wearef 

Mari.  J 

Anth.   Soft,  soft,  you  are  too  forward  Girles,  I  sweare, 
For  you  some  other  drift  deuisd  must  beef 
One  shaddow  for  a  substance :     this  is  shee.  2155. 

Nay  weepe  not  sweetes,  repose  vpon  my  care, 
For  all  alike,  or  good  or  bad  shall  share : 
You  will  haue  Haruie,  you  Heigham,  and  you  Ned ; 
You  shall  haue  all  your  wish,  or  be  I  dead : 
For  sooner  may  one  day  the  Sea  lie  still,  21 60 

Then  once  restraine  a  Woman  of  her  will. 

All.     Sweete  Anthony,  how  shall  we  quit  thy  hire? 

Anth.     Not  gifts,  but  your  contentments  I  desire : 
To  helpe  my  Countrimen  I  cast  about, 

For  Strangers  loues  blase  fresh,  but  soone  burne  out:       2165. 
Sweete  rest  dwell  heere,  and  f rightfull  f eare  obiure, 
These  eyes  shall  wake  to  make  your  rest  secure : 
For  ere  againe  dull  night  the  dull  eyes  charmes, 
Each  one  shall  f  ould  her  Husband  in  her  armes : 
Which  if  it  chaunce,  we  may  auouch  it  still,  2170 

Women  &  Maydes  will  alwayes  haue  their  will.       Exeunt. 

[SCENE  V.     A  Room  in  Pisaro's  House.] 
Enter  Pisaro  and  Frisco. 

Pisa.     Are  Wood  &  Coales  brought  vp  to  make  a  fire  ? 
Is  the  Meate  spitted  ready  to  lie  downe : 

2153  Anth.]  Antho.  Q2  etc.    2155  shee.]  shee,  Q3 
2156  sweetes,]  sweetes  Q3      2157  alike]  a  like  Q3 
2162  AIL]  All,  Q3    2163  Anth.]  Antho.  Q2  etc.    2166  heere]  here  Q3 
obiure]  abiure  Q3    2167  your]  you  Q2  etc.    2170  chaunce,] 
chaunce  Q2  etc.     auouch]  a  uouch  Q3     2171  s.d.  Frisco.]  Frisco,  Q3 
]  and  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL 

For  Bakemeates  He  haue  none,  the  world's  too  hard : 

There's  Geese  too,  now  I  remember  mee;  2175 

Bid  Mawdlin  lay  the  Giblets  in  Past, 

Here's  nothing  thought  vpon,  but  what  I  doe. 

Stay  Frisco,  see  who  ringes :     looke  to  the  Dore, 

Let  none  come  in  I  charge,  were  he  my  Father, 

He  keepe  them  whilst  I  haue  them :     Frisco,  who  is  it?     2180 

Frisc.     She  is  come  ynfayth. 

Pisa.     Who  is  come? 

Frisc.     Mistris  Sushaunce,  Mistris  Moores  daughter. 

Pisa.     Mistris  Susan,  Asse?     Oh  she  must  come  in. 

Frisc.     Hang  him,  if  he  keepe  out  a  Wench :  2185 

Yf  the  Wench  keepe  not  out  him,  so  it  is. 

Enter  Walgraue  in  Womans  attire. 
Pisa.     Welcome  Mistris  Susan,  welcome ; 

I  little  thought  you  would  haue  come  to  night ; 

But  welcome  (trust  me)  are  you  to  my  house : 

What,  doth  your  Mother  mende?     doth  she  recouer?      2190 

I  promise  you  I  am  sorry  for  her  sicknesse. 

Walg.    She's  better  then  she  was,  I  thanke  God  for  it, 
Pisa.     Now  afore  God  she  is  a  sweete  smugge  Girle, 

One  might  doe  good  on  her ;  the  flesh  is  f rayle, 

Man  hath  infirmitie,  and  such  a  Bride,  2195 

Were  able  to  change  Age  to  hot  desire : 

Harke  you  Sweet-heart, 

To  morrow  are  my  Daughters  to  be  wedde, 

2174  Bakemeates]  Bake  Meates  Q2  etc. 

2175  mee]  me  Q2  etc.    2178  ringes:]  ringes,  Q3    2179  he]  hee  Q3 
2180  them:]  them,  Q3    2181  ynfayth]  ynfaith  Q3 

2183  Sushaunce]   Sushaucne  Q3    daughter.]   daughter,  Q3 

2185  he]  hee  Q3    2186  s.d.  Walgraue]   Walgraue  Q3     Womans] 

Womans  Q3    attire]  atire  Q2  etc.    2192  she]  shee  Q3    it,]  it.  Q2  etc. 

2193  Pisa.]  Pisa,  Q2    2195  Bride,]  Bride  Q3 

2197  Sweet]  sweet  Q3 


I98  ENGLISHMEN  FOR  MY  MONEY,  OR 

I  pray  you  take  the  paines  to  goe  with  them. 

Walg.     If  sir  youle  giue  me  leaue,  He  waight  on  them.  2200 

Pisa.     Yes  marry  shall  you,  and  a  thousand  thankes, 
Such  company  as  you  my  Daughters  want, 
Maydes  must  grace  Maydes,  when  they  are  married : 
1st  not  a  merry  life  (thinkes  thou)  to  wed, 
For  to  imbrace,  and  be  imbrac'd  abed.  2205 

Walg.     I  know  not  what  you  meane  sir. 
Heere's  an  old  Ferret  Pol-cat. 

Pisa.     You  may  doe,  if  youle  follow  mine  aduice; 
I  tell  thee  Mouse,  I  knew  a  Wench  as  nice : 
Well,  shee's  at  rest  poore  soule,  I  meane  my  Wife,  2210 

That  thought  (alas  good  heart)  Loue  was  a  toy, 
Vntill  (well,  that  time  is  gon  and  past  away) 
But  why  speake  I  of  this :     Harke  yee  Sweeting, 
There's  more  in  Wedlocke,  then  the  name  can  shew ; 
And  now  (birlady)  you  are  ripe  in  yeares:  2215 

And  yet  take  heed  Wench,  there  lyes  a  Pad  in  Straw ; 

Walg.     Old  Fornicator,  had  I  my  Dagger, 
Ide  breake  his  Costard. 

Pisa.     Young  men  are  slippery,  fickle,  wauering; 
Constant  abiding  graceth  none  but  Age :  2220 

Then  Maydes  should  now  waxe  wise,  and  doe  so, 
As  to  chuse  constant  men,  let  fickle  goe, 
Youth's  vnregarded,  and  vnhonoured : 
An  auncient  Man  doth  make  a  Mayde  a  Matron : 
And  is  not  that  an  Honour,  how  say  youf    how  say  you  ?  2225 

Walg.     Yes  forsooth. 
(Oh  old  lust  will  you  neuer  let  me  goe.) 

2200  waight]  waite  Q2  etc.    2206  Walg.]  Walg.  Q3 

sir.]  sir,  Q3    2208  aduice;]  aduise:  Q3    2213  Sweeting]  sweeting  Q3 

2215  ripe  in]  in  ripe  Q3    2217  Walg.]  Walg.  Q$ 

2224  auncient]  ancient  Q3    Mayde]  mayde  Q3    2226  Walg.]  Walg.  Q3 

forsooth.]  forseoth,  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL  lgg 

Pisa.    You  say  right  well,  and  doe  but  thinke  thereon, 
How  Husbands,  honored  yeares,  long  card-for  wealth, 
Wise  stayednesse,  Experient  gouernment,  .  2230 

Doth  grace  the  Mayde,  that  thus  is  made  a  Wife, 
And  you  will  wish  your  selfe  such,  on  my  life. 

Walg.     I  thinke  I  must  turne  womankind  altogeather, 
And  scratch  out  his  eyes : 
For  as  long  as  he  can  see  me,  hele  nere  let  me  goe.  2235 

Pisa.    But  goe  (sweet-heart)  to  bed,  I  doe  thee  wrong, 
The  latenesse  now,  makes  all  our  talke  seeme  long. 

Enter  Anthony. 
How  now  MowcJie,  be  the  Girles  abed.? 

Anth.     Mathca  (and  it  like  you)  faine  would  sleepe, 
but  onely  tarrieth  for  her  bed- fellow.  2240 

Pisa.  Ha,  you  say  well :  come,  light  her  to  her  Chamber, 
Good  rest  wish  I  to  thee ;  wish  so  to  mee, 
Then  Susan  and  Pisaro  shall  agree : 
Thinke  but  what  ioy  is  neere  your  bed-fellow, 
Such  may  be  yours ;  take  counsaile  of  your  Pillow :  2245 

To  morrow  weele  talke  more ;  and  so  good  night, 
Thinke  what  is  sayd,  may  bee,  if  all  hit  right. 

Walg.  What,  haue  I  past  the  Pikes :  knowes  he  not  Ned? 
I  thinke  I  haue  deseru'd  his  Daughters  bed. 

Anth.     Tis  well,  tis  well :     but  this  let  me  request,        2250 
You  keepe  vnknowne,  till  you  be  laide  to  rest: 

2229  Husbands,]  Husbands  Q3     honored]   honoured  Q3 

2231  Mayde,]   mayde  Q3    2233  Walg.] 

Walg.  H3  H4  H6    Walg  P  HS    womankind  altogeather]  womankinde 

altogether  Q3    2235  he]  hee  Q3    hele]  heele  Q3 

2238  Mowche]  Mo  wche  Q2    2239  Anth.]  Antho.  Q2  etc, 

2241  Pisa.]  Pisa.  Q3    you  say]  say  you  Q2  etc.    come,]  come  Q2  etc. 

2242  mee]  me  Q2    2243  Susan]  Susan,  Q3    2245  counsaile] 
counsell  62  etc.    2247  bee]  be  Q2  etc.    2248  What,]  What  Q2  etc, 
Ned?]  Ned,  Q2  etc.    2249  deseru'd]  deseru'de  Q2  etc. 

2250  Anth.]  Antho.  Q2  etc.    well,]  well  Q3    2251  laide]  layde  Q2  etc. 


200  ENGLISHMEN  FOR  MY  MONEY,  OR 

And  then  a  good  hand  speed  you. 

Walg.     Tut,  nere  feare  mee, 
We  two  abed  shall  neuer  disagree.  Exeunt  Antho.  &  Walg. 

Frisc.     I  haue  stood  still  all  this  while,  and  could  not  2255 
speake  for  laughing :  Lord  what  a  Dialogue  hath  there  bin 
betweene  Age  and  Youth.    You  do  good  on  herf    euen  as 
much  as  my  Dutchman  will  doe  on  my  young  Mistris : 
Maister,  follow  my  counsaile ;  then  send  for  M.  Heigham 
to  helpe  him,  for  He  lay  my  Cappe  to  two  Pence,  that  hee  2260 
will  be  asleepe  to  morrow  at  night,  when  he  should  goe  to 
bed  to  her :  Marry  for  the  Italian,  he  is  of  an  other  humor, 
for  there'le  be  no  dealings  with  him,  till  midnight ;  for  hee 
must  slauer  all  the  Wenches  in  the  house  at  parting,  or  he  is 
no  body :  hee  hath  been  but  a  litle  while  at  our  House,  yet  2265 
in  that  small  time,  hee  hath  lickt  more  Grease  from  our 
Mawdlins  lippes,  then  would  haue  seru'd  London  Kitchin- 
stuffe  this  tweluemonth.  Yet  for  my  money,  well  fare  the 
Frenchman,  Oh  hee  is  a  forward  Lad,  for  heele  no  sooner 
come  from  the  Church,  but  heele  fly  to  the  Chamber;  why  2270 
heele  read  his  Lesson  so  often  in  the  day  time,  that  at  night 

2253  Walg.]  Walg  Q3    mee]  me  Q2  etc.    2254  disagree.]  disagree:  Q3 

Antho.]  Antho  H4    Walg.]  Walgr.  Q2  etc.    2255  and]  &  Q2  etc. 

2256  speake]   speak  Q3    bin]   beene  Q2  etc.    2258  Dutchman] 

Duchman  Q2  etc. 

2259  Maister]  Master  Q2  etc.     follow]  Follow  Q2  etc.    counsaile;] 

counsell;  Q2    counsell:  Q3    M.]  Master  Q2  etc.    2260  helpe] 

help  Q2  etc.    Cappe]  Cap  Q2  etc.    2261  be]  bee  Q2  etc.    he]  hee  Q2  etc. 

2262  an  other]  another  Q2  etc.    2263  there'le]  there  will  Q2  etc. 

till]  til  Q2    hee]  he  Q2  etc.    2264  parting,]  parting  Q3 

2265  hee]  he  Q2  etc    been]  bene  Q2  etc.    litle]  little  Q2  etc.    House,] 

House  Q2  etc.    2266  small]  smal  Q2  etc.    hee]  he  Q2  etc.    Grease] 

grease  Q3    2267  Mawdlins  lippes,]  Maudlins  lips  Q2     Maudlins  lips  Q3 

2268  tweluemonth.]  tweluemonth  Q3    2269  hee]  he  Q2  etc.    Lad] 

lad  Q2  etc.    heele]  heel  Q3    2270  Church,]  Church  Q2  etc.     from] 

fro  Q2    2271  Lesson]  lesson  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL  2OI 

like  an  apt  Scholler,  heele  be  ready  to  sell  his  old  Booke  to 
buye  him  a  new.  Oh  the  generation  of  Languages  that 
our  House  will  bring  f  oorth :  why  euery  Bedd  will  haue  a 
propper  speach  to  himself e,  and  haue  the  Founders  name  2275 
written  vpon  it  in  faire  Cappitall  letters,  Heere  lay,  and  so 
foorth. 

Pisa.    Youle  be  a  villaine  still :    Looke  who's  at  dore  ? 

Frisc.    Nay  by  the  Masse,  you  are  M.  Porter,  for  He  be 
hang'd  if  you  loose  that  office,  hauing  so  pretty  a  morsell  2280 
vnder  your  keeping :  I  goe  (old  huddle)  for  the  best  Nose 
at  smelling  out  a  Pin-fold,  that  I  know :    well,  take  heede, 
you  may  happes  picke  vp  Wormes  so  long,  that  at  length 
some  of  them  get  into  your  Nose,  and  neuer  out  after :  But 
what  an  Asse  am  I  to  thinke  so,  considering  all  the  Lodg-  2285 
inges  are  taken  vp  already,  and  there's  not  a  Dog-kennell 
empty  for  a  strange  Worme  to  breed  in. 

[Acx  V.     SCENE  I.     A  Room  in  Pisaro's  House.} 
Enter  Anthony. 

Antho.     The  day  is  broke;  Mathea  and  young  Ned, 
By  this  time,  are  so  surely  linckt  togeather, 
That  none  in  London  can  forbid  the  Banes.  2290 

Laurentia  she  is  neere  prouided  for : 
So  that  if  Haruies  pollicie  but  hold, 
Elce-wheare  the  Strangers  may  goe  seeke  them  Wiues : 
But  heere  they  come. 

2272  heele]  hele  Q2  etc.  Booke]  booke  Q2  etc.    2273  buye]  buy  Q2  etc. 

generation]  generations  Q2  etc.    2274  Bedd]   Bed  Q2  etc.    2275  propper] 

proper  Q2  etc.    2276  Cappitall]   Capital  Q2    Capitall  Q3    Heere] 

Here  Qz  etc.    2277  foorth]  forth  Q2  etc.    2279  be]  bee  Q3 

2282  Pin-fold]  Pin  fold  H2    2284  into]  in  Q3 

2289  time,]  time  H3456    togeather]  together  Q3    2293  Elce-wheare] 

Else-where  Q2  etc.    Wiues:]  Wiues ?  Q3 


202  ENGLISHMEN  FOR  MY  MONEY,  OR 

Enter  Pisaro  and  Browne  [and  Frisco]. 

Pisa.    Six  a  clocke  say  you ;  trust  mee,  forward  dayes :  2295 
Harke  you  Mowche,  hie  you  to  Church, 
Bid  M.  Bewford  be  in  readinesse : 
Where  goe  you,  that  way  ? 

Anth.     For  my  Cloake,  sir. 

Pisa.     Oh  tis  well :     and  M.  Browne,  2300 

Trust  mee,  your  earely  stirring  makes  me  muse, 
Is  it  to  mee  your  businessef 

Brown.     Euen  to  your  selfe: 
I  come  (I  thinke)  to  bring  you  welcome  newes, 

Pisa.     And  welcome  newes,  23°5 

More  welcome  makes  the  bringer : 
Speake,  speake,  good  M.  Browne,  I  long  to  hear  them. 

Brow.    Then  this  it  is.    Young  Haruie  late  last  night, 
Full  weake  and  sickly  came  vnto  his  lodging, 
From  whence  this  suddaine  mallady  proceedes:  2310 

Tis  all  vncertaine,  the  Doctors  and  his  Friends 
Affirme  his  health  is  vnrecouerable : 
Young  Heigham  and  Ned  Walgraue  lately  left  him, 
And  I  came  hither  to  informe  you  of  it. 

Pisa.     Young  M.  Haruie  sicke;  now  afore  God  23X5 

The  newes  bites  neere  the  Bone :     for  should  he  die, 
His  Liuing  morgaged  would  be  redeemed, 
For  not  these  three  months  doth  the  Bond  beare  date : 
Die  now,  marry  God  in  heauen  defend  it; 

2295  clocke]  cloke  Q3 

2299  Anth.]  Antho.  Q2  etc.     (Period  omitted  Q2)     For]  for  Q3 

Cloake,]  Cloake  Q3    2300  Pisa.]  Pisa  H2 

2306  omitted  Q3    2307  M.]  M  Q2  hear]  heare  Q2  etc.    2308  night,] 

night.  Q3    2309  lodging,]  lodging:  Q3    2310  proceedes:]  proceedes,  Q3 

2313  Walgraue]  Walgraue  Q3    2315  Haruie}  Haruy  Q2  etc. 

2317  redeemed]  redeem'd  Q2  etc.    2318  Bond]  bond  Q3 

2319  heauen]  Heauen  Q3 


A  WOMAN  WILL  HAVE  HER  WILL  203 

Oh  my  sweete  Lands,  loose  thee,  nay  loose  my  life:  2320 

And  which  is  worst,  I  dare  not  aske  mine  owne, 

For  I  take  two  and  twenty  in  the  hundred, 

When  the  Law  giues  but  ten :     But  should  he  Hue, 

Hee  carelesse  would  haue  left  the  debt  vnpaide, 

Then  had  the  Lands  been  mine  Pisaros  owne,  2325 

Mine,  mine  owne  Land,  mine  owne  Possession. 

Brow.     Nay  heare  mee  out. 

Pisa.     You'r  out  too  much  already, 
Vnlesse  you  giue  him  life,  and  mee  his  Land. 

Brow.     Whether  tis  loue  to  you,  or  to  your  Daughter,  2330 
I  know  not  certaine;  but  the  Gentleman 
Hath  made  a  deed  of  gift  of  all  his  Lands, 
Vnto  your  beautious  Daughter  faire  Marina. 

Pesa.     Ha,  say  that  word  againe,  say  it  againe, 
A  good  thing  cannot  be  too  often  spoken :  2335 

Marina  say  you,  are  you  sure  twas  shee, 
Or  Mary,  Margery ;  or  some  other  Mayde  ? 

Brow.     To  none  but  your  Daughter  faire  Marina; 
And  for  the  gift  might  be  more  forcible, 

Your  neighbour  maister  Moore  aduised  vs,  2340 

(Who  is  a  witnesse  of  young  Haruies  Will)1 
Sicke  as  hee  is,  to  bring  him  to  your  house : 
I  know  they  are  not  farre,  but  doe  attende, 
That  they  may  know,  what  welcome  they  shall  haue. 

Pisa.     What  welcome  sir;  as  welcome  as  new  life          2345 
Giuen  to  the  poore  condemned  Prisoner : 

2325  mine]  mine,  Q2  etc.    2326  Possession]  possession  Q3    2327  mee] 
me  Q2  etc.    2329  mee]  me  Q2  etc.    2332  Lands,]  Lands.  Q2 
2333  Daughter]  Daughter,  Q3    2334  Pesa.]  Pisa.  Q2  etc. 
2338  Marina;]  Marina.  Q2  etc.    2340  maister]  master  Q2  etc. 
vs,]  vs.  Q2    2342  hee]  he  Q2  etc.    2343  farre,]  farre  H$    attende,] 
attende  Q3    2345  What]  What  Q2 


204  ENGLISHMEN  FOR  MY  MONEY,  OR 

Returne  (good  maister  Browne)  assure  their  welcome, 

Say  it,  nay  sweare  it;  for  they'r  welcome  truly: 

For  welcome  are  they  to  mee  which  bring  Gold. 

See  downe  who  knockes ;  it  may  be  there  they  are :  2350 

Frisco,  call  downe  my  Sonnes,  bid  the  Girles  rise : 

Where's  Mowche\  what,  is  he  gon  or  no? 

Enter  Laurentia  in  Anthonies  attire. 

Oh  heare  you  sirra,  bring  along  with  you 
Maister  Balsaro  the  Spanish  Marchant. 

Laur.     Many  Balsaros  I ;  He  to  my  Loue :  2355 

And  thankes  to  Anthony  for  this  escape.         {Exit  Laur. 

Pisa.    Stay,  take  vs  with  you.    Harke,  they  knocke  againe, 
Come  my  soules  comfort,  thou  good  newes  bringer, 
I  must  needes  hugge  thee  euen  for  pure  affection. 

Enter  Haruie  brought  in  a  Chair  e,  Moore,  Browne, 
Aluaro,  Vandalle,  Delion,  and  Frisco. 

Pisa.     Lift  softly  (good  my  friends)  for  hurting  him.  2360 
Looke  chearely  sir,  you'r  welcome  to  my  house. 
Harke  M.  Vandalle,  and  my  other  Sonnes, 
Seeme  to  be  sad  as  grieuing  for  his  sicknesse, 
But  inwardly  reioyce.     Maister  Vandalle, 
Signor  Aluaro,  Monsieur  Delion,  2365 

Bid  my  Friend  welcome,  pray  bid  him  welcome : 
Take  a  good  heart;  I  doubt  not  (by  Gods  leaue) 

2347  maister]  master  Q2  etc.    welcome,]  welcome:  Q3 

2348  nay]  nay,  Q2    they'r]  they'r  Q3    2349  mee]  me  Q2  etc. 
2350  are:]  are.  Q3    2351  Frisco,]  Frisco  Q2    Frisc.  Q3    In 
Q3  the  word  is  indented  as  though  to  indicate  the  speaker. 
2352  Where's]  Where's  Q2    2354  Maister]   Master  Q2  etc. 

2359  s.d.  Aluaro,]  Aluaro  Q2  etc.    Delion,]  Delio.  Q2    Delio  Q3 

2360  Pisa.]  Pisa  Q3     2362  Harke]   Harke,  Q2  etc. 

2364  reioyce.]   reioyce,  Q3      Maister]   M.  Q2  etc. 

2365  Monsieur]  Monsieur  Q3    2366  Friend]  friend  Q3 


A  WOMAN  WILL  HAVE  HER  WILL  205 

You  shall  recouer  and  doe  well  enough : 

(Yf  I  should  thinke  so,  I  should  hange  my  selfe.) 

Frisco,  goe  bid  Marina  come  to  mee.  Exit  Frisco.  2370 

You  are  a  Witnesse  sir,  of  this  mans  Will : 

What  thinke  you  M.  Moore,  what  say  you  to't? 

Moor.     Maister  Pisaro,  follow  mine  aduice : 
You  see  the  Gentleman  cannot  escape, 

Then  let  him  straight  be  wedded  to  your  Daughter;          2375 
So  during  life  time,  she  shall  hold  his  Land, 
When  now  (beeing  nor  kith  nor  kin  to  him) 
For  all  the  deed  of  Gift,  that  he  hath  seald, 
His  younger  Brother  will  inioy  the  Land. 

Pisa.     Marry  my  Daughter :     no  birlady.  2380 

Heare  you  Aluaro,  my  Friend  counsaile  mee, 
Seeing  young  M.  Haruie  is  so  sicke, 
To  marry  him  incontinent  to  my  Daughter. 
Or  else  the  gift  he  hath  bestowde,  is  vaine : 
Marry  and  hee  recouer;  no  my  Sonne,  2385 

I  will  not  loose  thy  loue,  for  all  his  Land. 

Alua.  Here  you  padre,  do  no  lose  his  Lands,  his  hun 
dred  pont  per  anno,  tis  wort  to  hauar ;  let  him  haue  de  ma- 
tresse  Marina  in  de  mariage,  tis  but  vor  me  to  attendre  vne 
day  more :  if  he  will  no  die,  I  sal  giue  him  sush  a  Drincke,  2390 
sush  a  Potion  sal  mak  him  giue  de  Bonos  noches  to  all  de 
world. 

Pisa.     Aluaro,  here's  my  Keyes,  take  all  I  haue, 

2369  hange]  hang  Q2  etc.    2371  Witnesse]  Witnesse  Q2 
Will]  Will  Q2    2372  Moore]  Moore  Q2    2373  Moor.]  Moor.  Q2 
Maister]  Master  Q2  etc.    aduice]  aduise  Q3    2377  When]  When  Q2 
beeing]  being  Q3    nor  kith]  not  kith  Qa  etc.    2378  seald]  sealed  Q3 
2381  counsaile]  counsailes  Q2  etc.    mee,]  mee.  Q2  etc. 
2383  Daughter.]  Daughter,  Q2  etc.    2386  loue,]  loue  Q2  etc. 
2387  lose]  loose  Q3    2389  Marina]  Marina  Q2    vor]  vot  Q3 
mariage]  marriage  Q2    2390  sush]  such  Q3    2391  sush]  such  Q3 
sal]  sail  Q3    mak]  make  Q3 


2o6  ENGLISHMEN  FOR  MY  MONEY,  OR 

My  Money,  Plate,  Wealth,  Jewels,  Daughter  too : 

Now  God  be  thanked,  that  I  haue  a  Daughter,  2395 

worthy  to  be  Aluaroes  bedfellow : 

Oh  how  I  doe  admire  and  prayse  thy  wit, 

He  straight  about  it:     Heare  you  Maister  Moore. 

Enter  Marina  and  Frisco. 

Frisc.    Nay  fayth  hee's  sicke,  therefore  though  hee  be 
come,  yet  he  can  doe  you  no  good ;  there's  no  remedy  but  2400 
euen  to  put  your  selfe  into  the  hands  of  the  Italian,  that  by 
that  time  that  he  hath  past  his  grouth,  young  Haruie  will 
be  in  case  to  come  vpon  it  with  a  sise  of  fresh  force. 

\Exit  Frisco. 

Mari.  Is  my  Loue  come,  &  sicke ?  I,  now  thou  loust  me, 
How  my  heart  ioyes  :     Oh  God,  get  I  my  will,  24O5 

He  driue  away  that  Sicknesse  with  a  kisse : 
I  need  not  faine,  for  I  could  weepe  for  ioy.  [aside] 

Pisa.     It  shall  be  so ;  come  hither  Daughter. 
Maister  Haruie,  that  you  may  see  my  loue 
Comes  from  a  single  heart  vnfaynedly,  2410 

See  heere  my  Daughter,  her  I  make  thine  owne : 
Nay  looke  not  strange,  before  these  Gentlemen, 
I  freely  yeeld  Marina  for  thy  Wife. 

Haru.     Stay,  stay  good  sir,  f  orbeare  this  idle  worke, 
My  soule,  is  labouring  for  a  higher  place,  2415 

Then  this  vaine  transitorie  world  can  yeeld : 
What,  would  you  wed  your  Daughter  to  a  Graue  ? 

2396  worthy]  Worthy  Q2  etc. 

Aluaroes  bedfellow]  Aluaros  bed-fellow  Q3    2398  Maister]  Master  Q2 

master  Q3    Moore]  Moore  Q2    2398  s.d.  Marina]  Marina  Q2 

2399  fayth]  faith  Q3    2400  remedy]  temedy  [  ?]  Q3 

2404  Mari.]  Mari.  Q2    I,]  I  Q2  etc.    me,]  me  Q3 

2406  Sicknesse]  sicknesse  Q3    2407  ioy.]  ioy,  Q3    2409  Maister] 

Master  Q2  etc.    2414  Haru.]  Harn.  Q2    2415  soule,]  soule  Q2  etc. 

2416  transitorie]  transitory  Q2  etc.    2417  What,]  What  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL  2O/ 

For  this  is  but  Deaths  modell  in  mans  shape : 

You  and  Aluaro  happie  Hue  togeather: 

Happy  were  I,  to  see  you  Hue  togeather.  2420 

Pisa.     Come  sir,  I  trust  you  shall  doe  well  againe : 
Heere,  heere,  it  must  be  so ;  God  giue  you  ioy, 
And  blesse  you  (not  a  day  to  Hue  togeather.) 

Vand.     Hort  ye  broder,  will  ye  let  den  ander  heb  your 
Wiue?     nempt  haer,  nempt  haer  your  selue?  2425 

Alua.   No,  no ;  tush  you  be  de  f oole,  here  be  dat  sal  spoyle 
de  mariage  of  hem :    you  haue  deceue  me  of  de  fine  Wensh 
signor  Harney,  but  I  sal  deceue  you  of  de  mush  Land. 

Haru.    Are  all  things  sure  Father,  is  all  dispatch'd  ? 

Pisa.     What  intrest  we  haue,  we  yeeld  it  you :  2430 

Are  you  now  satisfied,  or  restes  there  ought  ? 

Haru.    Nay  Father,  nothing  doth  remaine,  but  thankes : 
Thankes  to  your  selfe  first,  that  disdayning  mee, 
Yet  loude  my  Lands,  and  for  them  gaue  a  Wife. 
But  next,  vnto  Aluaro  let  me  turne,  2435 

To  courtious  gentle  louing  kind  Aluaro, 
That  rather  then  to  see  me  die  for  loue, 
For  very  loue,  would  loose  his  beawtious  Loue. 

Vand.     Ha,  ha,  ha. 

2418  but]  omitted  Q2  etc.    shape:]  shape,  Q3    2419  happie] 
happy  Q2  etc.    togeather:]  together:  Q2    togetker.  Q3 
2420  togeather]  together  Q2  etc. 

2422  Heere,  heere]  Here,  here  Q2  etc.    so;]  so:  Q3    ioy,]  ioy  Q3 

2423  togeather]  together  Q2  etc.    2424  ye]  the  Q3    ye]  yee  Q3 
2425  nempt  haer,]  omitted  Q3    2426  Alua.]  Alua  H  Q3    spoyle] 
spoile  Q2  etc.    2427  mariage]  marriage  Q2    deceue]  deceiue  Q2  etc. 
de]  the  Q3    2428  signor]  signior  Q2  etc.    Haruey]  Haruie  Q2  etc. 
deceue]  deceiue  Q3    2430  intrest]  interest  Q2  etc.    haue,]  haue  Q2  etc. 
2431  restes]  rests  Q2  etc.    2433  mee]  me  Q2  etc. 

2434  loude]  lou'd  Q2  etc.     2436  courtious  gentle]  courteous,  gentle,  Q2  etc. 
louing]  louing;  Q2    louing,  Q3    2438  loose]  lose  Q2 
beawtious]  beauteous  Q2  etc.    2439  ha.]  ha  H 


208  ENGLISHMEN  FOR  MY  MONEY,  OR 

Deli.  Signer  Aluaro,  giue  him  de  ting  quickly  sal  make  2440 
hem  dy,  autremant  you  sal  lose  de  fine  Wensh. 

Alua.    Oyime  che  hauesse  allhora  appressata  la  mano  al  mio 
core,  o  suen  curato  ate,  I  che  longo  sei  tu  arriuato^  o  cieli,  o  terra. 

Pisa.     Am  I  awake  ?     or  doe  deluding  Dreames 
Make  that  seeme  true,  which  most  my  soule  did  fearef       2445 

Haru.     Nay  fayth  Father,  it's  very  certaine  true, 
I  am  as  well  as  any  man  on  earth : 
Am  I  sicke  sirresf     Looke  here,  is  Haruie  sickef 

Pisa.     What  shall  I  doe  ?     What  shall  I  say  ? 
Did  not  you  counsaile  mee  to  wed  my  Childe  ?  2450 

What  Potionf     Where's  your  helpe,  your  remedy. 

Haru.     I  hope  more  happy  Starres  will  reigne  to  day, 
And  don  Aluaro  haue  more  company. 

Enter  Anthonie. 

Antho.     Now  Anthony,  this  cottens  as  it  should, 
And  euery  thing  sorts  to  his  wish'd  effect :  2455 

Haruie  ioyes  M oil :     my  Dutchman  and  the  French, 
Thinking  all  sure,  laughs  at  Aluaro s  hap; 
But  quickly  I  shall  marre  that  merrie  vaine, 

2440  Deli.]  Deli,  Q3     Signer]  Signior  Q2  etc.    him]  me  Q3 
ting]  ring  Q3     quickly]  quickely  Q2  etc.     sal]  sail  Q2  etc. 

2441  lose]  loose  Qa    2442  Alua.]  Alua,  Qa 
Oyime]  Oyme  Q2  etc.    allhora]  al  hora  Q2  etc. 

2443  core,  o]  coro,  o  Q2  etc.    sei]  sci  Q3    arriuato,  6  ...o] 
ariuato,  o  . . .  o  Q2  etc. 

2444  awake?]  awake  Q2    awake,  Q3    Dreames]  Dreames,  Q2  etc. 
2446  Haru.]  Haru  B  Q3     fayth]  faith  Q2  etc.    2448  sirres]  sirs  Q2  etc. 
Haruie}  Haruy  Q2    2449  What]  What  Q2    What]  what  Q2  etc. 

2450  counsaile  mee]  counsell  me  Q2  etc.    Childe]  childe  Q2  etc. 

2451  Potion]   Portion  Q3    helpe,]  helpe  Q3    2452  Starres] 
starres  Q2  etc.    reigne]  raigne  Q2  etc.    day,]  day.  Q2  etc. 
2453  don]  Don  Q2  etc.    2453  s.d.  Anthonie]  Anthony  Q2  etc. 
2456  Haruie]  Haruy  Q2  etc.    2457  laughs]  laughes  Q2  etc. 
2458  merrie]  merry  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL  209 

And  make  your  Fortunes  equall  with  your  Friends. 

Pisa.  Sirra  Mowche,  what  answere  brought  you  backe  ?  2460 
Will  maister  Balsaro  come,  as  I  requested? 

Anth.     Maister  Balsaro ;  I  know  not  who  you  meane. 

Pisa.  Know  you  not  Asse,  did  I  not  send  thee  for  him  ? 
Did  not  I  bid  thee  bring  him,  with  the  Parson  ? 
What  answere  made  hee,  will  hee  come  or  no?  2465 

Anth.     Sent  me  for  him :     why  sir,  you  sent  not  mee, 
I  neither  went  for  him,  nor  for  the  Parson : 
I  am  glad  to  see  your  Worship  is  so  merrie.          Knocke. 

Pisa.     Hence  you  forgetfull  dolt: 
Looke  downe  who  knockes  ?  Exit  Ant  ho.  2470 

Enter  Frisco. 

Frisc.  Oh  Maister,  hange  your  selfe :  nay  neuer  stay  for 
a  Sessions :  Maister  Vandalle  conf esse  your  selfe,  desire  the 
people  to  pray  for  you ;  for  your  Bride  shee  is  gone :  Lau~ 
rentia  is  run  away. 

Vanda.     Oh  de  Diabolo,  de  mal- fortune :     is  matresse  2475 
Laurentia  gaen  awech  ? 

Pisa.     First  tell  mee  that  I  am  a  liuelesse  coarse ; 
Tell  mee  of  Doomes-day,  tell  mee  what  you  will, 

2460  answere]  answer  Q2  etc.     2461  maister]  master  Q2  etc. 

2462  Anth.]  Antho.  Q2  etc.     Maister]  Master  Q2  etc. 

2463  Asse,]  Asse;  Q2  etc.    did  I  not]  did  not  I  Q2  etc. 

2464  Did  not  I]  Did  I  not  Q2  etc.    2465  answere]  answer  Q2  etc. 
hee]  he  Q2  etc.  (both  occurrences)     2466  Anth.]  Antho.  Q2  etc. 
him:]  him;  Qj    mee]  me  Q2  etc.    2468  Worship]  worship  Qa 
merrie]  merry  Q2  etc.    Knocke]  knocke  Q2  etc.    2469  Pisa.] 
Pisa  Q3    dolt]  Dolt  Q3    2470  knockes]  knocks  Q2  etc. 

Antho.]  Anthony.  Q2  etc.    2471  Maister,  hange]  Master,  hang  Q2  etc. 
nay]  nay,  Q2  etc.    2472  Maister]   Master  Q2  etc.     Vandalle] 
Vandalle,  Q3    2473  shee]  she  Q2    2474  run]  runne  Q2  etc. 
2475  Vanda.]  Vand.  Q2  etc.    2476  awech?]  awech.  Q2  etc. 
2477  mee]  me  Q2  etc.    2478  mee]  me  Q2  etc.    day,]  day,,  Q3 
mee]  me  Q2  etc. 


2io  ENGLISHMEN  FOR  MY  MONEY,  OR 

Before  you  say  Laurentia  is  gone. 

Mari.  Maister  Vandalle,  how  doe  you  feele  your  selfef  2480 
What,  hang  the  head  ?     fie  man  for  shame  I  say, 
Looke  not  so  heauie  on  your  marriage  day. 

Haru.    Oh  blame  him  not,  his  grief  e  is  quickly  spide, 
That  is  a  Bridegroome,  and  yet  wants  his  Bride. 

Enter  Heigham,  Laurentia,  Balsaro,  &  Anthony. 

Bals.    Maister  Pisaro,  and  Gentlemen,  good  day  to  all :  2485 
According  sir,  as  you  requested  mee, 
This  morne  I  made  repaire  vnto  the  Tower, 
Where  as  Laurentia  now  was  married : 
And  sir,  I  did  expect  your  comming  thither ; 
Yet  in  your  absence,  wee  perf  orm'd  the  rites :  2490 

Therefore  I  pray  sir,  bid  God  giue  them  ioy. 

Heigh.     He  tels  you  true,  Laurentia  is  my  Wife; 
Who  knowing  that  her  Sisters  must  be  wed ; 
Presuming  also,  that  you'le  bid  her  welcome, 
Are  come  to  beare  them  company  to  Church.  2495 

Haru.     You  come  too  late,  the  Mariage  rites  are  done : 
Yet  welcome  twenty- fold  vnto  the  Feast. 
How  say  you  sirs,  did  not  I  tell  you  true, 
These  Wenches  would  haue  vs,  and  none  of  you. 

Laur.     I  cannot  say  for  these;  but  on  my  life,  2500 

This  loues  a  Cusshion  better  then  a  Wife. 

Mall.     And  reason  too,  that  Cusshion  fell  out  right, 
Else  hard  had  been  his  lodging  all  last  night. 

2480  Maister]  Master  Q2  etc.   2482  heauie]  heauy  Q2  etc.    day.]  day,  Q3 
2483  Haru.]  Haru,  [  ?]  Q2    2484  Bridegroome]  Bridegrome  Q2  etc. 
Bride.]  Bride,  Q2    2484  s.d.  &]  and  Q2  etc.    Anthony.]  Anthony,  Q3 
2485  Maister]  Master  Q2  etc.    2488  Where  as]  Whereas  Q3 
2489  sir,]  sir  Q3    2490  wee]  we  Q2  etc.    2492  true,]  true  Q3 
Wife;]  Wife,  Q2  etc    2494  also,]  also  Q3    welcome,]  welcome.  Q2  etc. 
2496  too]  to  Q2  etc.    2498  did  not  I]  did  I  not  Q2  etc. 
2500  Laur.]  Laurentia.  Q3    2501  Cusshion]  Cushion  Q3 
2502  Cusshion]  Cushion  Q2  etc.    2503  been]  beene  Q2  etc. 


A  WOMAN  WILL  HAVE  HER  WILL  2II 

Bals.    Maister  Pisaro,  why  stand  you  speachlesse  thus  ? 

Pisa.     Anger,  and  extreame  griefe  enforceth  mee.         2505 
Pray  sir,  who  bade  you  meete  mee  at  the  Tower  ? 

Bals.     Who  sir ;  your  man  sir,  Mowche ;  here  he  is. 

Anth.  Who  I  sir,  meane  you  mee  ?  you  are  a  iesting  man. 

Pisa.     Thou  art  a  Villaine,  a  dissembling  Wretch, 
Worser  then  Anthony  whom  I  kept  last:  2510 

Fetch  me  an  Officer,  He  hamper  you, 
And  make  you  sing  at  Bride-well  for  this  tricke : 
For  well  he  hath  deserude  it,  that  would  sweare 
He  went  not  f  oorth  a  dores  at  my  appoyntment. 

Anth.     So  sweare  I  still,  I  went  not  f  oorth  to  day.         2515 

Bals.     Why  arrant  Iyer,  wert  thou  not  with  mee? 

Pisa.     How  say  you  maister  Browne,  went  he  not  f  oorth  ? 

Brow.     Hee,  or  his  likenesse  did,  I  know  not  whether. 

Pisa.     What  likenesse  can  there  be  besides  himself ef 

Laur.  My  selfe  (  forsooth)  that  tooke  his  shape  vpon  me,  2520 
I  was  that  Mowche  that  you  sent  from  home : 
And  that  same  Mowche  that  deceiued  you, 
Effected  to  possesse  this  Gentleman : 
Which  to  attaine,  I  thus  be  guil'd.  you  all. 

Frisc.  This  is  excellent,  this  is  as  fine  as  a  Fiddle :  you 
M.  Heigham  got  the  Wench  in  Mowches  apparell ;  now  let  2526 
Mowche  put  on  her  apparell,  and  be  married  to  the  Dutch 
man:    How  thinke  you,  is  it  not  a  good  vizef 

2504  Maister]  Master  Q2    master  Q3    2505  mee]  me  Q2  etc. 

2506  mee]  me  Q2  etc.    2507  Bals.]   Bals  Qa    sir,]   sir  P 

2508  Anth.]  Antho.  Q2  etc.    mee]  me  Q2  etc.    2511  an]  no  impression 

of  n  in  H5    Officer]  officer  Q3    2513  well]  we  1  H5  P 

deserude]   deseru'de  Q3    2514  dores]   doores  Q3    appoyntment]   appiont- 

ment  Q3    2515  Anth.]  Antho.  Q2  H3  H6  P    Antho  H4  H5 

2516  mee]  me  Q2  etc.    2517  maister]  master  Q2  etc. 

2518  Hee,]  Hee  Q3    2520  me,]  me:  Q3 

2524  attaine,]  attaine  Q3    be  guil'd]  beguil'd  Q3    all.]  all  Q3 

2525  Fiddle:]  Fiddle;  Q3    2526  M.]   M,  Q3    2527  Dutch-]  Duch-  Qa 
2528  Maister]  Master  Q2  etc.    shake]  shafe  Q2 


212  ENGLISHMEN  FOR  MY  MONEY,  OR 

Moor.     Maister  Pisaro,  shake  off  melancholy, 
When  thinges  are  helpelesse,  patience  must  be  vs'd.  253° 

Pisa.   Talke  of  Patience  ?  He  not  beare  these  wronges : 
Goe  call  downe  Matt,  and  mistris  Susan  Moore, 
Tis  well  that  of  all  three,  wee  haue  one  sure. 

Moor.    Mistris  Susan  Moore,  who  doe  you  meane  sir? 

Pisa.     Whom  should  I  meane  sir,  but  your  Daughter ?  2535 

Moor.     You'r  very  pleasant  sir:     but  tell  me  this, 
When  did  you  see  her,  that  you  speake  of  her? 

Pisa.     I,  late  yester-night,  when  she  came  heere  to  bed. 

Moor.     You  are  deceiu'd,  my  Daughter  lay  not  heere, 
But  watch'd  with  her  sicke  mother  all  last  night.  2540 

Pisa.     I  am  glad  you  are  so  pleasant  M.  Moore, 
You'r  loth  that  Susan  should  be  held  a  sluggard : 
What  man,  t'was  late  before  she  went  to  bed, 
And  therefore  time  enough  to  rise  againe. 

Moor.     Maister  Pisaro,  doe  you  floute  your  friends ;      2545 
I  well  perceiue  if  I  had  troubled  you, 
I  should  haue  had  it  in  my  dish  ere  now : 
Susan  lie  heere  ?     'am  sure  when  I  came  f  oorrh, 
I  left  her  fast  asleepe  in  bed  at  home ; 
Tis  more  then  neighbour-hood  to  vse  me  thus.  255° 

Pisa.     Abed  at  your  house  f    tell  me  I  am  madd, 
Did  not  I  let  her  in  adores  my  selfe, 
Spoke  to  her,  talk'd  with  her,  and  canuast  with  her ; 
And  yet  she  lay  not  heere  ?    What  say  you  sirra  ? 

2530  thinges]  things  Q2  etc.    2531  Patience]  patience  Q3 

2533  wee]  we  Q2  etc.    2535  sir,]  sir :  Q2  etc.    2538  Pisa.]  Pisa  Qj 

deceiu'd]   deceiued  Q3    2541  Moore]   Moore  Q2 

2542  be  held]  beheld  Q3    2543  t'was]  t  was  Q2    twas  Q3 

2543  before]  defore  W 

2545  Moor.]  Moor.  Q2    Maister]  Master  Q2  etc.    Pisaro]  Pisaro  Q3 
2548  'am]  I  am  Q3    foorrh]  foorth  Q2  etc.    2550  neighbour-] 
neighbour  HS    2551  madd]  madde  Q3    2552  selfe]  se  fe  H 
2553  canuast]  canuest  Q2    conuerst  Q3    her;]  her:  Q3 


A  WOMAN  WILL  HAVE  HER  WILL 

Antho.    She  did,  she  did ;  I  brought  her  to  her  Chamber.  2555 

Moor.     I  say  he  lyes  (that  sayth  so)  in  his  throat. 

Antho.     Masse  now  I  remember  me,  I  lye  indeed. 

Pisa.    Oh  how  this  frets  mee :    Frisco,  what  say  you? 

Frisc.  What  say  I  ?   Marry  I  say,  if  shee  lay  not  heere, 
there  was  a  familiar  in  her  likenesse ;  for  I  am  sure  my  Mai-  2560 
ster  and  she  were  so  familiar  togeather,  that  he  had  almost 
shot  the  Gout  out  of  his  Toes  endes,  to  make  the  Wench 
beleeue  he  had  one  tricke  of  youth  in  him.    Yet  now  I  re 
member  mee  shee  did  not  lye  heere ;  and  the  reason  is,  be 
cause  shee  doth  lye  heere,  and  is  now  abed  with  mistris  2565 
Mathea;  witnesse  whereof,  I  haue  set  to  my  Hand  &  Seale, 
and  meane  presently  to  fetch  her.  Exit  Frisco. 

Pisa.     Doe  so  Frisco.     Gentlemen  and  Friends, 
Now  shall  you  see  how  I  am  wrong'd  by  him. 
Lay  shee  not  heere?     I  thinke  the  world's  growne  wise,  2570 
Plaine  folkes  (as  I)  shall  not  know  how  to  Hue. 

Enter  Frisco. 

Frisc.     Shee  comes,  shee  comes :     a  Hall,  a  Hall. 
Enter  Mathea,  and  Walgraue  in  Womans  attire. 

Walg.    Nay  blush  not  wench,  f eare  not,  looke  chearf ully. 
Good  morrow  Father;  Good  morrow  Gentlemen: 
Nay  stare  not,  looke  you  heere,  no  monster  I,  2575 

But  euen  plaine  Ned :    and  heere  stands  Matt  my  Wife. 
Know  you  her  Frenchman?     But  she  knowes  me  better. 
Father,  pray  Father,  let  mee  haue  your  blessing, 

2556  Moor.]  Moor  H    he]  hee  Q3 

2559  Frisc.]  Frisc  Q2    Marry]  marry  Q3    2560  Mai-]  Ma-  Q2    ma-  Q3 

2561  she]  shee  Q3    togeather]  together  Q3    he]  hee  Q2  etc. 

2563  beleeue]  beleene  Q2    2564  shee]  she  Q2    2565  mistris] 

Mistris  Q2    mistrisse  Q3 

2568  Frisco.]  Frisco  W  Q2    Frisco,  Q3    2569  see]  see,  Q2  etc. 

2570  shee]  she  Q2  etc.    world's]  World's  Q3 

2571  s.d.  Frisco.]  Frisco,  Q3    2573  Walg.]  Walg  P  H3  H4 
2575  I,]  I.  Q2  etc.    2577  her]  her,  Q3    2578  mee]  me  Q2  etc. 


214 


ENGLISHMEN  FOR  MY  MONEY 


For  I  haue  blest  you  with  a  goodly  Sonne; 

Tis  breeding  heere  yfayth,  a  iolly  Boy.  2580 

Pisa.     I  am  vndone,  a  reprobate,  a  slaue ; 
A  scorne,  a  laughter,  and  a  iesting  stocke : 
Giue  mee  my  Child,  giue  mee  my  Daughter  from  you. 

Moor.     Maister  Pisaro,  tis  in  vaine  to  fret, 
And  fume,  and  storme,  it  little  now  auayles :  25^5 

These  Gentlemen  haue  with  your  Daughters  helpe, 
Outstript  you  in  your  subtile  enterprises : 
And  therefore,  seeing  they  are  well  descended, 
Turne  hate  to  loue,  and  let  them  haue  their  Loues, 

Pisa.     Is  it  euen  so;  why  then  I  see  that  still,  2S9° 

Doe  what  we  can,  Women  will  haue  their  Will. 
Gentlemen,  you  haue  outreacht  mee  now, 
Which  nere  before  you,  any  yet  could  doe : 
You,  that  I  thought  should  be  my  Sonnes  indeed, 
Must  be  content,  since  there's  no  hope  to  speed :  2595 

Others  haue  got,  what  you  did  thinke  to  gaine ; 
And  yet  beleeue  mee,  they  haue  tooke  some  paine. 
Well,  take  them,  there ;  and  with  them,  God  giue  ioy. 
And  Gentlemen,  I  doe  intreat  to  morrow, 
That  you  will  Feaste  with  mee,  for  all  this  sorrow :  2600 

Though  you  are  wedded,  yet  the  Feast's  not  made : 
Come  let  vs  in,  for  all  the  stormes  are  past, 
And  heapes  of  ioy  will  follow  on  as  fast.  2603 

FINIS. 

2580  yfayth]  yfaith  Q3    2581  vndone,]  vndone  Q3 

2582  stocke:]  stocke.  Q3 

2583  mee]  me  Q2  etc.  (both  occurrences}     2584  Maister]  Master  Q2  etc. 
2589  Loues,]  Loues.  Q3    2590  still,]  still.  Q2 

2591  we]  you  Q3    Will.]  Will,  Q2    2592  Gentlemen,]  Gentlemen  Q3 
mee]  me  Q2  etc.    2593  Which]  Which  Q2    2595  content,]  content  Q3 
2596  thinke]  rhinke  Q3    gaine;]  gaine:  Q3    2597  mee,]  me,  Q2    me  Qs 
paine.]  paine,  Q2    2598  Well,]  Well,  Q2    Well  Q3 
them,]  Black-letter  m  in  Qi    them,  Q2    them  Q3 


NOTES 

Englishmen  for  My  Money  offers  a  few  interesting  examples 
of  Elizabethan  stage  technique.  The  play  was  written  for  the 
Admiral's  Men  at  the  Rose.  For  convenience  of  reference  the 
main  features  of  the  action  are  here  epitomized: 

I.i.  The  action  begins  before  Pisaro's  house.  Pisaro  solilo 
quizes;  the  first  few  lines  show  he  is  out-doors.  His  daughters 
and  their  tutor  "  enter  "  discussing  their  studies.  At  line  138 
Pisaro  says  to  the  daughters  "  Get  you  in  ",  and  at  line  210  he 
continues  "  He  in  and  rate  them  ",  showing  that  he  is  still  out 
side.  "  Exit." 

I.ii.  The  same.  "  Enter  Haruie,  Heigham,  and  Walgraue  " 
walking  outside  on  their  way  to  Pisaro's  house.  At  line  282  An 
thony  bids  them  "  Goe  chearely  in  ",  showing  that  the  scene  is 
before  Pisaro's  house;  this  is  confirmed  at  line  299  when  he  re 
marks  "The  Doore  doth  ope  ",  whereupon  Frisco  enters.  Later 
when  Frisco  has  gone  out  and  Harvy  has  bidden  "Ned,  knocke 
at  the  doore  ",  the  three  daughters  "  Enter  "  and  welcome  the 
youths.  The  action  is  still  in  front  of  the  house,  for  Laurentia 
says,  "  This  open  streete  perhaps  suspition  moues,  Fayne  we 
would  stay,  bid  you  walke  in  more  rather"  (370-1).  Hereupon 
the  sisters  go  in  ("  Exeunt  Sisters  ")  and  the  three  lovers  "  Ex 
eunt  "  to  the  Exchange. 

I.iii.  The  scene  represents  the  Exchange,  as  appears  from 
several  remarks — "here  at  the  Burse"  (393),  "  Th'  Exchange 
is  waxen  thin"  (679),  etc.  The  stage  direction  reads,  "Enter 
Pisaro,  Delion  the  Frenchman,  Vandalle  the  Dutchman,  Aluaro 
the  Italian,  and  other  Marchants,  at  seuerall  doores  ".  Alvaro 
does  not  enter  till  622.  "  Exeunt." 

II. i.  The  scene  is  in  Pisaro's  house.  "  Proude  am  I,  that  my 
roofe  containes  such  Friends"  (726).  During  the  scene  the 
stage  direction  "Knock  within"  occurs  (772),  and  Pisaro  says, 

215 


2l6  NOTES 

11  Stirre  and  see  who  knocks  ".  Immediately  follows  the  stage 
direction,  "  Enter  Haruie,  Walgraue,  and  Heigham ".  Pisaro 
bids  "Mail,  in  and  get  things  readie"  (803),  and  says  to  Mathea, 
"  get  you  in  ".  "  Exeunt  "  to  dinner. 

II. ii.  Paul's  Walk.  This  is  evident  from  Frisco's  remark  in 
I.ii.  339,  "  I  must  to  the  Walke  in  Paules  ",  and  from  the  open 
ing  speech  of  this  scene.  "  Enter  Anthony."  "  Exeunt." 

Il.iii.  The  scene  is  a  room  in  Pisaro's  house.  The  characters 
enter  the  stage  from  the  dining-room  after  dinner.  Successively 
most  of  them  "  exeunt  "  to  other  parts  of  the  house.  Some  come 
back  again.  Later  Pisaro,  Alvaro,  Delion  and  Vandalle  "  Ex 
eunt  "  "  to  the  Rose  in  Barken  for  an  hower  ",  leaving  probably 
by  a  different  door  from  that  used  during  most  of  the  scene.  At 
the  end  of  the  scene  the  stage  direction  reads  "  Exeunt "  for 
Anthony  and  the  girls,  but  they  appear  in  the  next  scene  without 
any  direction  for  their  entrance. 

Ill.i.  Pisaro's  opening  words  suggest  outdoors,  but  everything 
else  m  the  scene  proves  conclusively  that  it  takes  place  in  his 
house  ("  Mawdlin  make  fast  the  Dores,  rake  vp  the  Fire" 
(1295),  etc.).  At  1296  the  stage  direction  reads  "  Knocke  ", 
and  Pisaro  says,  "  Some  looke  downe  below,  and  see  who 
knockes  " ;  whereupon  "  Enter  Moore  "  and  later  "  Enter  a  Ser- 
uant ".  As  Moore  leaves,  Pisaro  says,  "  Take  heede  how  you 
goe  downe,  the  staires  are  bad,  Bring  here  a  light  ".  Pisaro  then 
bids  his  daughters  "  Gette  you  to  your  Chambers  ". 

IILii.  A  street  (Cornhill).  The  words  "take  heede  sir  hers 
a  post  "  probably  refer  to  one  of  the  pillars  on  the  stage  ( 1365-6) . 

Ill.iii.  Before  Pisaro's  house.  "  Ha,  heere's  the  house,  Come 
let  vs  take  our  stands"  (1412-3).  Alvaro  enters  saying,  "Ah, 
.  .  .  here  be  de  huis  of  signer  Pisaro.  ...  I  shall  knocke  to  de 
dore  ",  and  the  stage  direction  reads,  "  He  knockes  ".  He  prob 
ably  enters  by  the  door  on  one  side,  crosses  the  stage,  and  now 
knocks  at  the  opposite  door.  After  he  has  gone  off,  Delion  en 
ters,  saying  and  doing  what  Alvaro  did.  When  he  in  turn  has 
gone  out,  Frisco  enters  and  is  sent  on  his  way  by  the  three  lovers. 
"  Exeunt." 


NOTES 


217 


IV.i.  A  street.  Frisco  and  two  of  the  strangers  wander  about 
in  the  dark,  lost.  Frisco  agrees  to  guide  the  strangers,  saying 
aside,  "  I  shall  lead  you  such  a  iaunt,  that  you  shall  scarce  giue 
me  thankes  for.  Come  sirrs,  follow  mee:  now  for  a  durtie 
Puddle  ...  or  a  great  Post."  They  apparently  walk  around  on 
the  stage  till  Delion  asks,  "watt  be  dis  Post?"  and  Frisco  an 
swers,  "  why  tis  the  May-pole  on  luie-bridge  going  to  West 
minster",  and  (a  moment  later)  "wee  are  now  at  the  fardest 
end  of  Shoredich  ".  At  the  end  of  the  scene  they  depart,  led  by 
a  bellman,  though  no  "  exeunt  "  is  noted. 

IV.ii.  Before  Pisaro's  house.  In  this  scene  the  balcony  is 
used  or  at  least  an  upper  window.  Vandalle  enters,  announcing 
that  he  is  before  Pisaro's  house.  Then  follows  the  stage  direc 
tion,  "  Enter  Laurentia,  Marina,  Mathea,  aboue  ".  A  conversa 
tion  ensues.  Laurentia  suggests  aside  to  her  sisters,  "  let's  .  .  . 
draw  him  vp  in  the  Basket,  and  so  starue  him  to  death  this  frosty 
night ".  Mathea  holds  him  in  conversation  while  Laurentia  and 
Marina  go  for  the  basket  ("  Sister,  doe  you  holde  him  in  talke, 
and  weele  prouide  it  whilst",  1683-5).  Upon  their  return  they 
apparently  lower  the  basket  (no  stage  direction),  for  Laurentia 
says,  "There  M.  Heigham  [Vandalle  pretends  he  is  Heigham], 
Put  your  selfe  into  that  Basket,  and  I  will  draw  you  vp " 
(1697-8).  Vandalle  gets  into  the  basket  and  they  pull  him  half 
way  up,  leaving  him  suspended  between  the  ground  and  the 
window.  No  "  exeunt  "  noted. 

IV.iii.  The  scene  is  the  same,  without  interval.  Pisaro  enters, 
saying,  "  For  closely  I  haue  stolne  me  foorth  a  doares  "  (1742), 
and  supposing  his  favorites  are  in  his  house,  "  Heere  He  stay, 
And  tarry  till  my  gallant  youths  come  foorth  "  ( 1758-9) .  "  Enter 
Haruie,  Walgraue,  and  Heigham."  Heigham  announces  "  this 
is  the  Dore "  (1766),  and  later,  when  they  have  passed  on, 
"  Come  backe,  come  backe,  for  wee  are  past  the  house,  Yonder's 
Matheas  Chamber  with  the  light"  (1771-2).  "Enter  Mathea 
alone  ",  probably  a  mistake  for  "  above  ",  since  she  says,  "  Who's 
there  below?"  After  a  few  speeches,  "Enter  aboue  Marina", 
who  asks,  "  Mathea  who's  below?  "  (1809).  Then  "  Enter  Lau- 


2i8 

rentia  "  to  her  sisters.  The  English  youths  ask  the  sisters  to  run 
away  with  them.  After  six  lines  of  dialogue  by  the  men,  Mathea 
speaks  five  lines,  ending  "  Prepare  your  Armes,  for  thus  we  flie 
to  you"  (1859),  and  the  stage  direction  opposite  the  line  is, 
"  they  Embrace  ".  No  direction  is  given  or  hint  in  the  text  as  to 
how  the  sisters  are  to  get  from  the  balcony  to  the  stage.  Possibly 
during  the  six  lines  of  dialogue  between  the  men  they  exeunt 
from  above  and  enter  below.  From  this  point  on,  the  action  is 
certainly  below  on  the  front  stage,  for  when  all  are  together, 
Pisaro,  who  has  been  a  witness  to  the  preceding  scene,  joins  in 
the  action.  "  Exeunt  Pisaro  and  Daughters  ",  Pisaro  saying,  "  In 
baggages,  Mowche  make  fast  the  doore  "  ( 1904) .  The  English 
youths  and  Anthony  remain  on  the  stage.  Anthony  dispatches 
Walgrave  and  Heigham  in  turn,  and  the  stage  directions  confirm 
the  conversation  ("Exit  Walgraue  ",  etc.).  Anthony  then  says, 
"  I  heare  him  at  the  Window,  there  he  is  ",  and  the  stage  direc 
tion  reads,  "  Enter  Pisaro  aboue ".  After  an  interchange  of 
speeches,  "Exit  Haruie "  and  "Exit  [Pisaro]".  Anthony  re 
mains  on  the  stage.  "  Enter  Belman,  Frisco,  Vandalle,  Delion, 
&  Aluaro  ".  "  Exit  Belman."  "  Enter  Pisaro  below."  Anthony 
asks,  "what's  yonder?"  Frisco  answers,  "a  Basket".  It  con 
tains  Vandalle  and  is  hanging  by  a  rope  from  the  window.  An 
thony  says,  "  He  goe  in  and  see,  And  if  I  can,  He  let  him  downe 
to  you  ".  "  Exit  Anthony."  "  Enter  Anthony  aboue."  The  dia 
logue  shows  that  the  basket  is  let  down.  Vandalle  gets  out. 
"  Exeunt  "  (into  the  house). 

IV.iv.  The  scene  is  in  Pisaro's  house.  "  The  Dores  are  lockt, 
your  Father  keepes  the  Keyes,  Wherefore  vnpossible  to  scape 
away  "  (2145-6).  "  Enter  the  three  Sisters."  "  Enter  Anthony/' 
"Exeunt." 

IV. v.  This  scene  is  also  in  the  house.  "  Enter  Pisaro  and 
Frisco."  Pisaro  says,  "  see  who  ringes :  looke  to  the  Dore,  Let 
none  come  in  I  charge  ".  "  Enter  Walgraue  in  Womans  attire.'^ 
"Enter  Anthony."  "Exeunt  Antho.  &  Walg."  Pisaro  and 
Frisco  talk.  At  the  end  of  the  scene  there  is  no  "  exeunt ",  but 
they  must  go  out. 


NOTES  2I9 

V.i.  The  scene  is  the  same.  "  Enter  Anthony."  "  Enter 
Pisaro  and  Browne  [and  Frisco]."  Pisaro  bids  Anthony  "  hie 
you  to  church".  Although  there  is  no  stage  direction,  Anthony 
must  go  out,  for  later  "  Enter  Laurentia  in  Anthonies  attire  ". 
She  also  goes  out  (without  stage  direction).  "Enter  Haruie 
brought  in  a  Chaire,  Moore,  Browne,  Aluaro,  Vandalle,  Delion, 
and  Frisco."  This  may  be  either  a  discovery  made  by  drawing 
the  curtains  of  the  inner  stage  or  a  genuine  entry  as  in  King  Lear, 
IV.vii  ("Enter  Lear  in  a  chair  carried  by  servants").  Appar 
ently  Harvy  is  carried  in,  for  Pisaro  says,  "  Lift  softly  (good  my 
friends)  for  hurting  him"  (2360).  "Exit  Frisco."  "Enter 
Marina  and  Frisco."  Frisco  goes  out  (without  stage  direction). 
"  Enter  Anthonie."  "  Knocke."  Pisaro  says,  "  Locke  downe 
who  knockes".  "Exit  Antho."  "Enter  Frisco."  "Enter 
Heigham,  Laurentia,  Balsaro,  &  Anthony."  "  Exit  Frisco." 
"  Enter  Frisco."  "  Enter  Mathea,  and  Walgraue  in  Womans 
attire."  The  play  ends  with  Pisaro's  speech,  "  Come  let  us  in", 
etc. 

The  Actors  names.  The  following  variants  occur  in  Q2  and 
Q3:  The  Actors  names.]  The  Actors  names.  Q3.  Portingale] 
Portugale  Q2  etc.  Daughters  ]  Daughters  Q2  etc.  Schoole- 
maister]  Schoolemaster  Q2  etc.  Haruie]  Harvy  Q3.  or 
Heigham]  or  Heigham  Q3.  Aluaro]  Alvaro  Q3.  3.  daughters] 
three  Daughters  Q3.  M.]  M.  Q3.  Marchant]  Merchant  Q2 
etc.  Balsaro]  Balsaror  Q3.  a  Clothier]  a  Clothier  Q2  etc. 

i.  smugge.  The  word  is  usually  used  of  persons  and  has  the 
meaning  "trim,  neat,  smooth,  fair",  etc.  See  below,  1.  2193. 
Cf.  however,  Dekker,  Wonderful  Year  (Wks.,  ed.  Grosart,  I, 
84),  "The  skie  .  .  .  lookte  smug  and  smoothe.  .  .  ." 

45.  prunde.  Prune  is  to  preen,  to  dress  or  trim,  as  birds  their 
feathers.  So  in  Shakespeare,  /  Henry  IV,  Li.  98. 

60.  modestie,  moderation,  dullness (?). 

64.  Hang  vp  Philosophy.  To  hang  up  is  to  put  aside  in  disuse. 
The  1830  editor  quotes  Rom.  &  Jut.,  IILiii. 


220  NOTES 

Hang  up  philosophy! 
Unless  philosophy  can  make  a  Juliet . . . 

71.  this  is  thine  from  Ferdinand.  The  gift  is  a  purse  contain 
ing  some  coins. 

75.  As  often  as  these,  etc.,  i.  e.,  as  often  as  the  gloves  hide  her 
hands. 

86.  distinct.  The  sense  seems  to  demand  "  extinct "  or  "  ex 
tinguished  ". 

109.  Why  was  I  made  a  Mayde,  but  for  a  Man?  Cf.  Ballad 
Soc.,  VIII  (Supl.),  p.  i,  "  Why  was  I  borne  to  Hue  and  dye  a 
Maid?" 

127.  villaine.    In  Qi  the  letters  in  have  been  transposed. 

128.  conuersions,  conversations?    This  meaning  is  not  in  NED. 
131.  flurgill,  a  light  woman.     Cf.   Rom.  &  Jul.,   II. iv.    162, 

"  Scurvie  knaue,  I  am  none  of  his  flurt-gils  ".  See  NED.  s.v. 
flirt-gill. 

131.  minion,  saucy  woman. 

141.  Did  I  retaine  thee  (villaine)  in  my  house,  etc.  Cf.  A 
Knack  to  Know  An  Honest  Man,  Malone  Soc.  Rpt.,  1.  27, 
"  Haue  I  retaind  thee  caitife  in  my  house  ",  etc. 

154.  Brewesse,  a  kind  of  (thickened)  broth;  or,  "  bread  soaked 
in  boiling  fat  pottage,  made  of  salted  meat  ".  NED.  and  N.  &  Q., 
5th  Ser.  IV.  316. 

1 60.  Essex  Cheese.  This  variety  of  cheese  does  not  occur  in 
the  exhaustive  monograph  by  C.  F.  Doane  and  H.  W.  Lawson, 
Varieties  of  Cheese:  Description  and  Analyses.  Washington, 
Gov.  Printing  Office,  1908  (U.  S.  Dept.  of  Agriculture,  Bureau 
of  Animal  Industry,  Bulletin  105). 

175.  /  am  Dogg  at  this,  experienced  in  or  adept  at.  Grim  the 
Collier  of  Croydon  (Dodsley,  VIII,  p.  418)  has,  "  I  am  an  old 
dog  at  it ".  Cf .  the  present  English  "shark  ". 

213.  now.  This  would  indicate  that  the  foreigners  were  simply 
a  device  to  prevent  a  match  with  the  three  English  lovers.  But 
Pisaro  has  already  sent  for  a  tutor  to-  teach  them  the  strangers' 
languages. 

215.  stranger,  foreigner.  The  misunderstanding  of  this  word 
has  led  to  some  idle  comments.  Cf .  below,  1.  382. 


NOTES 


221 


225.  Exchange.  The  Royal  Exchange,  founded  by  Sir  Thomas 
Gresham  and  opened  Jan.  1571;  called  the  "  burse  "  in  1.  583. 
The  1830  editor  quotes  from  Hey  wood's  //  You  Know  Not  Me, 
Part  II: 

Proclaim  through  every  high  street  of  this  city 
This  place  be  no  longer  called  a  Burse, 
But  since  the  building's  stately,  fair  and  strange, 
Be  it  for  ever  call'd  the  Royal  Exchange.     (Sig.  H2) 

It  was  the  natural  place  for  Pisaro  to  meet  the  foreigners. 
Thither  merchants  congregated  from  all  quarters  of  the  earth. 
Dekker  alludes  to  this  circumstance  when  he  says,  "At  every  turn 
a  man  is  put  in  mind  of  Babel,  there  is  such  a  confusion  of  lan 
guages  ". 

230.  Tower-hill,  the  high  ground  to  the  northwest  of  the 
Tower. 

233.  Crocked-Fryers,  between  Jewry  Street,  Aldgate  and 
Mark  Lane. 

239.  fadge,  succeed,  thrive,  "  come  off  ". 

250.  compasse,  meaning  both  to  embrace  and  get  within  one's 
grasp. 

251.  mediocritie,  used  in  the  double  sense  of  (i)  moderation, 
temperance,  and  (2)  "  a  quasi- technical  term,  with  reference  to 
the  Aristotelian  theory  of  '  the  mean '  "  (NED.). 

314.  smell.  The  NED.  defines,  "to  detect,  discern,  or  dis 
cover  by  natural  shrewdness,  sagacity,  or  instinct ;  to  suspect,  to 
have  an  inkling  of,  to  divine  ".  Cf .  1.  434. 

334.  Red-Herring  Cobbes.  Cob  is  defined  in  the  NED.  as 
"  The  head  qf  a  (red)  herring".  Cf.  Nashe,  Unf.  Trav.  (Wks, 
ed.  McKerrow,  II,  209),  "Lord  high  regent  of  rashers  of  the 
coles  and  red  herring  cobs  ".  Red-herring  is  also  slang  for  sol 
dier.  Cf.  below,  1.  1556. 

334.  stock-Fish,  dried  codfish,  etc.  Used  by  Shakespeare  (/ 
Henry  IV,  II. iv.  275)  as  a  contemptuous  epithet  for  a  thin  person. 

340.  and  so  foorth.  This  is  probably  a  cue  for  improvisation. 
Other  cases  occur  probably  at  lines  534  and  1575  ("  and  so 
forth",  "  Some  more  of  this  "). 


222  NOTES 

381.  s.d.    Aluaro  does  not  enter.    This  is  evident  from  I.  407. 
He  enters  at  line  623. 

382.  Good  morrow,  M.  Strangers.    Cf.  note  to  line  215.    The 
1830  editor  has  a  mistaken  note,  p.  17,  suggesting  that  Pisaro  is 
here  "  probably  addressing  the  '  other  merchants ',  as  he  knows 
Delion  and  Vandal  ".    He  is,  of  course,  addressing  the  foreigners. 

413-4.  Printed  as  prose  in  all  editions,  but  really  verse. 

420.  This  "  good  news  "  idea  occurs  frequently.  Cf .  lines  657, 
1266,  2305-6,  etc. 

459.  pitch  ore  the  Pearch,  die.  The  NED.  quotes  from  Hak- 
luyt's  Voyages,  "  Some  drugge  that  should  make  men  pitch  over 
the  perch". 

472.  in  sadness,  really,  seriously. 

528.  shooles.  For  "  shoal  "  used  for  a  flock  of  birds,  see  quo 
tations  in  NED. 

534.  and  so  forth.     See  note  to  line  340. 

551.  Crack-rope  boyes.  Crack-rope  is  gallows-bird,  rogue. 
"  There  was  a  crack-rope  boy  ",  Tarleton's  Jests,  Shakes.  Soc.. 
vol.  44,  p.  19.  The  word  also  occurs  in  Wily  Beguiled,  Malone 
Soc.  Rpt.,  1.  313. 

578.  in  place  where.  Cf.  Love's  Labours  Lost,  Li.  240,  "  But 
to  the  place  where  ". 

582.  patch,  fool  or  clown. 

583.  and  I  had  him  of  the  burse.    The  primary  sense  of  "  of  " 
was  "  away,  away  from  ". 

591.  besette,  surround  (with  hostile  intent),  assail. 

601.  Tis  Midsomer-Moone  with  him.  Olivia  in  Twelfth  Night, 
IILiv.  61,  says  to  Malvolio,  "  Why  this  is  verie  Midsommer  mad- 
nesse  ".  The  NED.  gives  a  quotation  from  the  Marprel.  Epit. 
(1589),  "  Whether  it  be  midsommer  Moone  with  him  or  no  ". 

616.  His  heart  was  not  con-federal  with  his  tongue.  A  note  on 
the  fly-leaf  of  B  directs  attention  to  Richard  II,  V.iii.  53,  "  My 
heart  is  not  confederate  with  my  hand  ". 

631.  within  the  lurch  of,  in  the  power  of. 

632.  Catterpiller  brood  of  Spaine.    "  Catterpillers  "  as  a  term 
for  rogues  and  vagabonds  is  used  by  Rowlands  in  Martin  Mark- 


NOTES  223 

All,  1610:  "The  congregation  of  catterpillers  gathered  together"; 
it  also  occurs  in  the  titles  to  two  anonymous  seventeenth-century 
pamphlets.  See  Chandler,  F.  W.,  Lit.  of  Roguery,  1907,  I,  115. 

658.  The  Exchange  Bell  rings.  "On  the  south  or  Cornhill 
front  [of  the  Exchange]  was  a  bell-tower.  .  .  .  The  bell,  in 
Gresham's  time,  was  rung  at  twelve  at  noon  and  at  six  in  the 
evening."  Wheatley  and  Cunningham,  London  Past  and  Present, 
III,  182-3. 

669.  cogge,  employ  fraud  or  deceit ;  cheat. 

691.  If  Ned  is  omitted  the  line  would  read,  "  Nay  prethee 
Walgraue  lets  bethinke  our  selues  ".  This  would  be  a  good  blank 
verse  line.  With  Ned  in  it  the  line  will  not  scan.  Perhaps 
Haughton  wrote  Ned  and  then,  seeing  that  a  two-syllable  word 
was  needed,  inserted  Walgrave  instead.  The  printer  copied  both. 

700.  that's  Hat.    The  expression  occurs  in  Wily  Beguiled,  1.  433. 

735.  guyse,  custom,  habit,  fashion. 

736.  slauering.     The   word   probably   has   here   its  ordinary 
meaning,  as  the  sense  "  kissing  "  is  rare. 

746.  depeteta  =  de  (the)  petite;  becues  =  ?    fra  =  frele? 

769.  stomachs,  pride. 

777-785.  Cf.  11.  451  and  605-8. 

805.  you  sullen  Elfe,  you  Collet.  Elfe  is  here  used  as  a  term 
of  reproach  not  exactly  paralleled  by  any  use  recorded  in  the 
NED.  Collet  as  a  term  of  abuse  is  equivalent  to  "  strumpet ", 
perhaps  sometimes  "  scold  ". 

812.  Will  poll  you,  I  and  pill  you.  ...  To  "poll  and  pill  (lit. 
to  make  bare  of  hair  and  skin  too) ;  .  .  strip  bare  .  ."  (NED., 
s.v.  Pill,  z/1.,  9).  Stubbes,  Anatomy  of  Abuses  (New  Shakspere 
Soc.,  1882,  Part  II,  p.  46)  says:  "The  monie  which  they  have 
vniustlie  got  with  the  polling  and  pilling  of  the  poore,  shall  rise 
vp  in  Judgment  against  them.  .  .  ." 

843.  Stood,  Stade(?)  on  the  Elbe,  22  miles  below  Hamburg. 
Cf.  "At  Hamburg  the  19.  of  November,  and  at  Stoad  the  ninth 
of  December  .  .  ."  in  an  account  of  a  traveler  from  Constan 
tinople  to  London,  printed  by  Hakluyt,  Voyages,  12  vols.,  1903-5, 
VI,  58. 


224 


NOTES 


853-4.  sometimes  the  blind,  etc.  Two  proverbs  are  combined. 
Skeat,  Early  English  Proverbs,  p.  87,  quotes  "  as  a  blind  man 
stert  an  hare"  from  Chaucer's  House  of  Fame  (681)  and  the 
Scotch  proverb,  "  By  chance  a  cripple  may  catch  a  hare  ".  The 
Blind  Eats  Many  A  Fly  was  the  title  of  a  lost  play  by  Thomas 
Heywood,  1602. 

869-70.  bate  an  Ace  of  his  wish.  "  To  bate  an  Ace  of  "  is  ex 
plained  by  the  NED.  (s.v.  Ace)  as  "  To  abate  a  jot  or  tittle,  to 
make  the  slightest  abatement  ". 

880.  Freeze,  a  kind  of  coarse  woolen  cloth  with  a  nap  on  one 
side. 

883.  Duke  Humfrie.    "  The  phrase  of  dining  with  Duke  Hum 
phrey,  which  is  still  current,  originated  in  the  following  manner : 
Humphrey,  duke  of  Gloucester,  though  really  buried  at  St.  Al- 
ban's,  was  supposed  to  have  a  monument  in  old  St.  Paul's,  from 
which  one  part  of  the  church  was  termed  Duke  Humphrey's 
Walk.    In  this,  as  the  church  was  then  a  place  of  the  most  public 
resort,  they  who  had  no  means  of  procuring  a  dinner,  frequently 
loitered  about,  probably  in  hopes  of  meeting  with  an  invitation, 
but  under  pretence  of  looking  at  the  monuments."    Nares"  Glos 
sary,  ed.  Halliwell  and  Wright,  London,  1859,  I,  262. 

884.  Cammileres.    Ital.  camerale,  belonging  to  the  chamber,  or 
cameriere,  valet,  groom  (?).     Possibly  a  mistake  for  cavaliers. 
See  spellings  and  quotations  in  NED. 

887.  So-lame-men  .  .  .  etc.  The  1830  editor  notes  "  Solamen 
miseris  socios  habuisse  doloris  ",  but  I  cannot  locate  the  quota 
tion. 

896-8.  Anthony  contrives  by  his  use  of  ink-horn  terms  to  let 
Frisco  know  he  is  a  pedant.  And  Frisco  does,  for  he  remarks, 
"  They  say,  a  word  to  the  wise  ",  etc. 

910.  Nella  slurde  Curtezana.  Slurde  may  be  a  mistake  for 
lurda  (for  lorda),  foul,  impure,  lewd. 

933-5.  Several  efforts  were  made  towards  the  close  of  the  six 
teenth  century  to  unite  certain  East  India  trading  companies  and 
form  a  monopoly,  but  I  cannot  find  any  such  attempt  before  1598. 
See  Blok,  P.J.,  Hist,  of  the  People  of  the  Netherlands,  Eng.  tr., 
vol.  Ill  (1900),  pp.  289  ff. 


NOTES  225 

944.  clog'd,  encumbered.  A  clog  is  a  clumsy  piece  of  wood 
(sometimes  tied  to  the  leg  of  an  animal  to  impede  its  motion). 

958.  a  Mouse  in  cheese.  The  expression  is  found  in  the  phrase 
"  to  speak  like  a  mouse  in  cheese  ",  i.  e.,  with  a  muffled  voice ; 
but  such  a  sense  hardly  applies  here. 

983-4.  For  you  I  bred  them,  etc.  Gripe,  the  usurer  in  Wily 
Beguiled,  says  under  somewhat  similar  circumstances :  "  My 
daughters  mine  to  command,  haue  I  not  brought  her  vp  to  this? 
She  shal  haue  him:  He  rule  the  roste  for  that.  .  .  ."  (Malone 
Soc.Rpt.,  11.  373-6). 

989.  braue.  Here  =  handsome  or  finely  dressed ;  in  line  1239 
it  means  excellent. 

997.  posde,  placed  in  a  difficulty  with  a  question  or  problem ; 
nonplussed. 

1002.  muses.  The  meaning  of  this  line  is  clear,  but  the  use  of 
muse  is  unusual. 

1025.  epurce,  et  pour  ce. 

1039.  on  a  merry  pin,  in  a  merry  humor  or  frame  of  mind. 

1131.  meet,  be  even  with. 

1142.  a  Woman  is  like  a  Weather-cocke.  Field's  comedy  with 
a  form  of  this  proverbial  phrase  as  a  title  belongs  to  the  year  1611. 

1176.  galliarde,  "valiant",  lively,  gay. 

1 202.  Buckler 'sburie,  a  street  noted  in  Haugh ton's  time  for  its 
grocers  and  apothecaries.  Cf.  also  1.  2083. 

1206.  the  Rose  in  Barken.  The  Rose  Tavern  in  Barking  was 
destroyed  in  1649  by  an  explosion  of  gunpowder  two  doors  away. 
The  accident  is  described  by  Strype  (quoted  in  Wheatley  and 
Cunningham,  I,  31). 

1209.  budget,  head,  mind. 

1232-3.  out  of  all  scotch  and  notch,  excessively.  (Cent,  and 
NED.) 

1247-8.  A  Woman  right,  still  longing,  and  with  child,  For 
euerything  they  heare,  or  light  upon.  With  child  =  "  Eager, 
longing,  yearning  (to  do  a  thing)".  (NED.  s.v.  child,  I7c.)  Cf. 
the  quotation  from  Udall,  "  The  man  had  of  long  tyme  been  with 
chylde  to  haue  a  sight  of  lesus  ".  These  two  lines  in  modern 


226  NOTES 

English  would  be :  A  very  woman,  always  longing  and  yearning 
for  everything  she  hears  of  or  lights  upon. 

1249.  mad,  "Carried  away  by  enthusiasm  or  desire;  ...  in 
fatuated  ".  Cf.  1.  1361. 

1272.  quit,  requite. 

1273.  /  may  lead  Apes  in  Hell,  and  die  a  Mayde.     For  this 
fanciful  notion,  cf.  London  Prodigal  (Sig.  I,  2)  : 

'  Tis  an  old  proverb,  and  you  know  it  well, 
That  women  dying  maids  lead  apes  in  hell.' 

1275.  huddles,  ordinarily  means  "A  miserly  old  person;  a 
hunks"  (NED.). 

1275.  a  he  ape  of  merrie  Lasses.  This  use  of  "  heap  "  is  as  old 
as  Beowulf. 

1287.  Nights  candles  burne  obscure.  Cf.  Rom.  and  JuL,  III.v. 
9,  "  Night's  candles  are  burnt  out ". 

1296.  Bow-bell  rings.  The  bell  of  the  church  of  St.  Mary  Le 
Bow  (commonly  called  "Bow  Church")  on  the  south  side  of 
Cheapside,  in  Cordwainers'  Ward.  Stow  (p.  96)  says,  "  In  the 
year  1469  it  was  ordained  by  a  Common  Council  that  the  Bow 
Bell  should  be  nightly  rung  at  nine  of  the  clock  ".  Cf .  1.  1338. 

1316.  she  shall  lye  with  you,  Trust  me  she  could  not  come  in 
fitter  time.  Pisaro  seems  to  forget  that  this  would  interfere  with 
his  plot  concerning  the  foreigners. 

1381.  waer  sidy,  where  are  you. 

1396.  Noddy,  fool,  simpleton. 

1406-7.  chattt  idle  talk;  floutes,  mocking  speech  or  action; 
guiles,  tricks,  deceptions,  false  reports. 

1425.  cranke,  bold,  forward  (aggressively).     (NED.) 

1431.  Bastinado,  a  stick  or  cudgel;  a  blow  with  one. 

1440.  Leadenhall  Street  runs  from  Cornhill  to  Aldgate. 

1442.  the  four  Spoutes.  At  the  junction  of  Cornhill  and  Lea 
denhall  Streets  a  water-standard,  with  four  spouts,  was  erected 
in  1 582  for  water  brought  from  the  Thames  by  an  artificial  forcer. 
It  was  "  an  object  of  such  mark  that  distances  throughout  Eng 
land  were  measured  from  it  as  the  heart  of  the  City ".  See 
Wheatley  and  Cunningham,  I,  457-8. 


NOTES 


227 


1455.  die,  Fr.  aller,  go. 

1483.  Fanchurch-streete,  runs  from  Gracechurch  Street  to  Aid- 
gate.  This  is  approximately  where  Peter  Houghton  lived.  Cf. 
Intro.,  p.  9. 

1494.  natural.  Perhaps  a  play  upon  the  meanings  "  native  " 
and  "  fool ". 

1507.  Frisco  has  not  heard  all  of  Pisaro's  plot  and  does  not 
know  that  the  foreigners  were  to  come  pretending  to  be  the  Eng 
lish  lovers.  Consequently  he  says  Master  Vandal  when  he  should 
have  said  Master  Heigham. 

1531.  bangling,  petty,  frivolous  contention.  Altered  in  Q3  to 
br angling  (noisy  and  turbulent  disputing). 

1534.  hold,  bet,  wager. 

1536.  out  his  Compasse  &  his  Card,  has  lost  his  bearings. 
"  The  Mariners  Card  ...  is  none  other  thing  but  a  description 
...  of  the  places  that  be  in  the  Sea  or  in  the  land  next  adioyning 
to  the  Sea,  as  Points,  Capes,  Bayes."  (T.  Blundeville,  Exercises, 
1594,  quoted  NED.) 

1548.  Woodcocks,  fools,  because  the  woodcock  was  supposed 
to  have  no  brains. 

1555.  Blacke-pudding,  "A  kind  of  sausage  made  of  blood  and 
suet,  sometimes  with  the  addition  of  flour  or  meal ".     Cf .  Ful- 
wel's  Like  Will  to  Like,  "  Who  comes  yonder  puffing  as  whot  as 
a  black  pudding  ".     (NED.) 

1556.  I  am  a  Red  Herring.    Cf.  note  to  1.  334,  but  the  sense 
here  seems  somewhat  peculiar. 

1562.  ander,  It.  andare,  go. 

1565.  M.  Pharoo,  Alvaro. 

I575-  Some  more  of  this.     See  note  to  line  340. 

1597-8.  London-stone.  "  On  the  south  side  of  this  high  streete 
[Canning  Street],  neare  vnto  the  channell  is  pitched  vpright  a 
great  stone  called  London  stone,  fixed  in  the  ground  verie  deepe, 
fastned  with  bars  of  iron,  and  otherwise  so  strongly  set,  that  if 
Cartes  do  run  against  it  through  negligence,  the  wheeles  be 
broken,  and  the  stone  it  selfe  vnshaken.  The  cause  why  this 
stone  was  there  set,  the  time  when,  or  other  tnemorie  hereof,  is 
none.  .  .  ."  Stow,  ed.  Kingsford,  I,  224. 


228  NOTES 

1604-5.  thg  May -pole  on  luie-bridge  going  to  Westminster. 
"  Ivie  bridge  [Strand]  in  the  high  street,  which  had  a  way  under 
it  leading  down  to  the  Thames,  ...  is  now  taken  down,  but  the 
lane  remaineth  as  afore  or  better,  and  parteth  the  liberty  of  the 
Duchy  and  the  City  of  Westminster  on  that  South  side."  ( Stow, 
quoted  Wheatley  and  Cunningham,  II,  270-1.)  The  May-pole  in 
the  Strand  stood  on  the  sight  of  the  present  church  of  St.  Mary- 
le-Strand.  (Ib.  II,  517.)  Cf.  11.  1609-10. 

1615.  Blew  Bore  in  the  Spittle.  A  "  Cookes  house  called  the 
blew  Boore"  is  mentioned  by  Stow  as  in  "Queene  Hithe  Warde" 
(Survey,  ed.  Kings  ford,  II,  2). 

1647.  ic  weit  neit  waer  .  .  .  ,  I  know  not  where. 

1660.  Mammet  =  Maumet,  literally  "  an  idol  ".  As  a  term  of 
abuse  applied  to  persons,  cf.  Rom.  &  JuL,  III.v.  186,  "A  wretched 
puling  foole,  A  whining  mammet ". 

1682.  starve.  In  England  "  starve  "  is  still  used  in  the  sense 
of  "  to  kill  with  cold;  benumb  ". 

1719.  An  Almond  for  Parret,  Nashe's  An  Almond  for  a  Par 
rot,  was  first  published  1590.  Rptd.  in  the  invaluable  edition  of 
Nashe  by  McKerrow,  vol.  Ill,  pp.  339  ff. 

1740.  skellum.    (Dutch  schelm)  a  scoundrel. 

1769.  spume,  kick.  Cf .  Com.  of  Er.,  ILL  83,  "  That  like  a 
football  you  do  spurn  me  thus  ?" 

1789.  Walg.     Should  be  Heigham. 

1851.  Theres  a  sound  Card  at  Maw.  Maw,  "An  old  game  at 
cards.  It  was  played  with  a  piquet  pack  of  thirty-six  cards,  and 
any  number  of  persons  from  two  to  six  formed  the  party ". 
(Halliwell,  quoted  NED.) 

1859.  we  Hie  to  you.  For  staging,  see  discussion  at  the  head 
of  these  notes. 

1889.  You  take  Tenn  in  the  hundred  more  then  Law.  The 
legal  rate  of  interest  at  this  time  was  ten  per  cent.  Cf .  11.  2322-3. 

1896.  the  Crosse  in  Cheape.  "Cheapside  Cross  (one  of  the 
twelve  crosses  .  .  .  erected  by  Edward  I.  to  Eleanor,  his  queen) 
stood  in  the  middle  of  the  street,  facing  Wood  Street  End." 
(Wheatley  and  Cunningham,  I,  372.) 


NOTES  229 

1970.  Vandalle  does  not  enter  with  the  rest.  He  is  in  the 
basket. 

1987.  vaine  toyes,  trifles. 

2007.  firkes,  go  off  or  fly  out  suddenly.  Qy:  used  elsewhere 
in  this  sense  with  a  non-reflexive  object? 

2026.  Figure,  a  ridiculous  person  or  matter (?),  the  appear 
ance  of  some  one  in  a  ludicrous  condition ( ?).  (See  NED.  s.v., 
senses  5b  and  7b). 

2044-6.  the  signe  of  the  Mouth  without  Bishops  gate,  etc.  "A 
seventeenth-century  trade  token  was  issued  from  a  house  with 
the  sign  of  the  Mouth  in  Bishopsgate  Street,  and  the  Mouth  ap 
pears  in  the  rhyming  list  of  taverns,  which  is  to  be  found  in 
Heywood's  "  Rape  of  Lucrece  "  [Mermaid  Ed.,  p.  365.]"  Nor 
man,  P.,  London  Signs  &  Inscriptions,  Lond.,  1893,  P-  64. 

2049.  Mahomets  Sepulchre.  "  It  is  said  that  Mahomet's  coffin, 
in  the  Hadgire  of  Medina,  is  suspended  in  mid-air  without  any 
support  .  .  .  the  coffin  is  not  suspended  at  all."  (Brewer,  E.  C, 
Diet,  of  Phrase  &  Fable,  s.v.)  It  is  alluded  to  in  Nashe's  Unf. 
Trav.  (Wks.,  ed.  McKerrow,  II,  249). 

2090.  Canning  streete,  originally  Candlewright  or  Candlewick 
Street,  later  Canwick,  Canning  and,  ultimately,  Cannon  Street. 
See  Stow,  ed.  Kingsford,  II,  313. 

2173.  spitted,  roasted  on  a  spit. 

2174.  Bakemeats,  pastry,  pies.     Cf.  Genesis,  40:  17. 

2176.  Past,  a  doughy  substance.  Shakespeare  has  (Lear,  II. iv. 
124)  "  as  the  Cockney  did  to  the  Eeles,  when  she  put  'em  i'th' 
Paste  aliue  ". 

2207.  Ferret,  "  a  half-tamed  variety  of  the  common  polecat, 
kept  for  the  purpose  of  driving  rabbits  from  their  burrows,  de 
stroying  rats,  etc  ".  (NED.) 

2216.  a  Pad  in  Straw,  a  lurking  or  hidden  danger.    (NED.) 

2247.  Something  seems  to  have  dropped  out  after  this  line. 

2267.  London  Kitchinstuffe.  Nashe  uses  "  kitchin  stuffe  "  as 
"  refuse  of  the  kitchen,  dripping ".  (Wks.,  ed.  McKerrow, 
Index.) 

2284.  Pin-fold,  place  for  confining  stray  cattle,  etc. 


230 


NOTES 


2290.  See  note  to  line  2496. 

2403.  Exit  Frisco.    Added  1830  ed. 

2442-3.  Oyime  che  hauesse  allhora  appressata  la  mano  al  mio 
core,  o  suen  curato  ate,  I  che  longo  sei  tu  arriuato,  o  deli,  b  terra. 
These  two  lines  of  obscure  Italian  are  very  difficult.  The  1830 
editor  changed  suen  to  suem,  and  arriuato  to  avinato,  succeeding 
only  in  making  matters  worse.  For  an  admirable  emendation 
and  explanation  of  the  passage  I  am  indebted  to  Prof.  Ern. 
Monaci,  of  the  Univ.  of  Rome,  and  to  the  courtesy  of  my  friend, 
Dr.  Vincenzo  di  Santo.  Prof.  Monaci  writes :  "  II  passo  oscuro 
.  .  .  credo  che  sia  dovuto  alia  imperizia  del  tipografo  inglese 
nella  lingua  italiana,  e  sospetto  che  la  lesione  originaria  sia  stata 
suppergiu  questa :  '  Oime,  chi  avesse  allora  appressato  la  mano 
al  mio  c'uore  [q  suenturato  a  te  (oh  te  sventurato)],  i  (in)  che 
luogo  sei  tu  arrivato!  oh  cieli!  oh  terra!'"  The  longo  he  ex 
plains  is  for  lougo,  and  the  order  of  the  letters  is  not  an  error  of 
pronunciation  but  is  due  to  a  transposition  of  the  two.  The  lines 
might  be  Englished :  Alas !  [Thou]  who  might  have  then  drawn 
thy  hand  near  my  heart,  Oh  thou  luckless  one,  into  what  place 
art  thou  come  (arrived)  !  Oh  Heavens!  Oh  Earth! 

2454.  cottens,  prospers,  succeeds. 

2496.  the  marriage  rites  are  done.  In  the  Elizabethan  Age  a 
betrothal  before  witnesses  and  with  the  consent  of  the  parent  (s) 
or  a  trothplight  sealed  by  the  parties  living  together  (or  its  equiv 
alent)  was  as  binding  as  an  actual  marriage  ceremony  and  was 
often  loosely  referred  to  as  a  marriage.  Cf .  1.  2601  and  Shakes 
peare,  passim.  On  this  whole  subject,  see  Howard,  G.  E.,  A  Hist, 
of  Matrimonial  Institutions,  3  v.,  Chicago,  1904,  vol.  I,  Ch.  vm 
and  ix. 

2512.  Bride-well.  Of  this  famous  prison,  see  the  description 
in  Dekker,  II  Honest  Whore  (Wks.,  II,  167),  too  long  to  quote 
here. 

2553.  canuast.  So  Qi.  The  reading  is  not  quite  free  from  a 
suspicion  of  corruption,  though  the  NED.  gives  as  meanings  of 
canvass  (4d  and  5)  "  To  debate;  to  discuss"  and  "  ?  To  bar 
gain  or  deal  with ;  to  sound  or  try  as  to  their  expectations  ".  The 


NOTES  231 

last  sense  would  especially  suit  the  passage  in  the  text.  The  word 
may,  however,  be  an  error  for  "conuerst"  to  which  Q3  changes  it. 

2560.  familiar,  spirit,  demon. 

2562.  the  Gout.  A  characteristic  ailment  of  the  Elizabethan 
usurers.  Why  usurers  should  be  especially  subject  to  this  disease 
is  not  clear  unless  it  be  because  of  high  living  and  little  exercise. 
Nicholas  Breton  in  his  Crossing  of  Proverbs,  Part  II,  says: 

"  Q.    How  doth  ease  breed  the  Gout  ? 
A.    By  lack  of  motion  of  the  members." 

(Works,  ed.  Grosart,  Chertsey  Worthies'  Library,  2  vols.  (1879), 
vol.  II  (page  ii  of  this  text). 


INDEX 


Allhallows  Staining,  22 

Anatomy  of  Abuses,  84 

Arcadian  Virgin,  60,  86 

Arden  of  Feversham,  46,  48,  50 

Aristophanes,  Clouds,  35 n 

Atalanta,  60 

Babes  in  the  Wood,  story  of,  49, 

SO,  53 

Basket  story,  31,  33-5 
Bayne,  R.,  2/n,  43 
Beech's  Tragedy,  47-60 
Belman  of  London,  59*1 
Black  Book,  59» 
Blew  Bore  in  the  Spittle,  228 
Blew  Cap  for  me,  33 
Blind    Beggar    of    Bednal    Green, 

81-82 

Borne,  W.,  79 
Bow-bell,  226 
Breton,  N.,  The  Good  and  The  Bad, 

37-8 

Bull,  the  hangman,  58-9 
Cambridge,   15,   16 
Chapman,  G.,  35,  61 
Chaucer,  G.,  35 n,  63 
Chettle,  H.,  14*1,  18,  21,  50-2,  55-7, 

59-65,  70-1,  77,  81,  84,  86,  89 
Child,  C.  G.,  29 
Clink,  prison,  8,  20,  21,  80 
Collier,  J.  P.  47,  49  et  passim 
Comedy  of  London  life,  39-41,  87 
Conquest  of  the  West  Indies,  81-82 
Conqueste  of  Brute,  61 
The  Constant  Maid,  42 
Cox  of  Collumpton,  47,  86 


The  Coy  Cook  Maid,  33 

Crack-rope  boyes,  222 

Creizenach,  W.,  79,  82,  84 

Croched-Fryers,  221 

Daborne,  R.,  21 

Daniel,  S.,  66 

Day,  J.,  18-19,  46-52,  S5-6i,  67-8, 
70-71,  80-4,  89 

Dekker,  T.,  I4»,  18-19,  41,  46,  56, 
60-70,  84,  88-9 

Deloney,  T.,  83-4 

Derrick,  the  hangman,  58-9 

The  Devil  and  His  Dame,  i8n,  74-7 

De  Vitry,  J.,  31 

Disguise,  31,  35-6 

Drayton,  M.,  14 

Duchess  of  Malfi,  53 

Earl  of  Essex,  59 

English  Fugitives,  72-74 

Englishmen  for  My  Money,  17,  24; 
entries  in  Henslowe,  24-5,  et 
passim;  entered  on  Stationers' 
Register,  25;  editions,  25-6;  date, 
26;  question  of  revision,  26-7; 
title,  28;  plot,  29;  sources,  30-6; 
characters,  36-9;  first  realistic 
comedy  of  London  life,  39-41;  a 
usurer  play,  41-2;  critical  esti 
mate,  43;  allusions,  44-5;  versi 
fication,  45 ;  staging,  215-9 

Essex  Cheese,  220 

Every  Man  in  His  Humor,  41 

Every  Man  out  of  His  Humor,  66 

Fair  Maid  of  the  Exchange,  42 

Faithful  Shepherdess,  60 

233 


234 


INDEX 


Fanchurch  Street,  227 

Ferrex  and  Porrex,  72 

Fleay,  F.  G.,  29,  50,  55,  etc. 

Fortini,  P.,  34 

Fount  of  New  Fashion,  61 

Friar  Rush,  34 

Friar  Rush  and  the  Proud  Woman 

of  Antwerp,  84 
Gammer  Gur ton's  Needle,  84 
Gayley,  C.  M.,  41,  92 
The  Gentle  Craft,  84 
Good  Ale  for  My  Money,  28 
Gorboduc,  72 
Gout,  230 

Gratiae  Theatrales,  74 
Greene's  Tu  Quoque,  42 
Greg,  W.  W.,  18,  52,  54-5,  60-1,  70, 

73-5,  77,  84,  86,  92 
Grim  the  Collier  of  Croydon,  7on, 

74-7 

Gull's  Hornbook,  59-n 

Hangman,  of  London,  58-9 

Hart,  A.,  92 

Harvey,  G.,  58w 

Hathway,  R.,  18-20,  83 

Haughton,  Alice,  wife  of  dramatist, 
22 

Haughton,  Dorothy,  n 

Haughton,  Drayner,  n 

Haughton,  Eliz.,  12 

Haughton,  Isabell,  n 

Haughton,  John,  9 

Haughton,  Peter,  9 

Haughton,  ,Sir  Robert,  10 

Haughton,  William,  dramatist,  earl 
iest  reference  to,  7 ;  imprisoned  in 
Clink,  8,  20;  first  name,  13; 
spelling  of  last  name,  13 ;  date  of 
birth,  13-4;  Cambridge,  16;  dra 
matic  career,  17  ff. ;  periods  of 
inactivity,  19;  death,  21;  will,  21- 
22;  other  records,  23.  For  plays, 
see  under  separate  titles. 


Haughton,    various    Williams,     ur. 

12,  16 

Haughton  family,  8 
Henslowe,  P.,  7,  17,  47,  89,  etc. 
Henslowe's  Diary,  7,  17,  etc. 
Hey  wood,  T.,  19,  20 
Historie  of  the  Collyer,  76 
The  Hog  Hath  Lost  His  Pearl,  42 
Hoghton,  Adame  de,  8 
Honest  Whore,  69 
Horton,  Joan,  141* 
Houghton,  Henry,  n 
Houghton,  J.,  23 
Houghton,   Mary,  gn 
Houghton,  'Sir  Richard,  I2n 
Houghton,  Thomas,  gn,  I2n 
How  A  Man  May  Choose,  etc.,  44^ 

51 

Hunt,  M.  L.,  64,  68 
Hypocritas,  34 
//  You  Know  Not  Me  You  Know 

Nobody,  Part  II,  28,  44 
Improvization,  221 
Ink-horn  terms,  224 
Interest,  legal  rate  of,  37,  228 
Italian  Tragedy  (Day),  50-4 
Italian  Tragedy  ('Smith),  53 
Jessica-Lorenzo  story,  31 
Jests  to  Make  You  Merry,  59^ 
Jew  of  Malta,  3in 
Jonson,   B.,    14,    19,   35,  40,   61,  62,,, 

84,  88 

Journalistic  drama,  87 
Judas,  1 8,  73,  79 
Kemps    Nine   Daies    Wonder,    59,, 

83M 

King's  English,  26-7 
A  Knack  to  Know  an  Honest  Mant 

3iw 

Langton,  Wm.,  15-6 
Law,  Matthew,  51 
Lay  Subsidies,  23 
Leadenhall  Street,  226 


INDEX 


235 


Lee,  A.  C.,  32 

Lee,  Sir  S.f  28 

Lee  Hall,  I2» 

Lewes,  Eliz.,  22,  23 

Lodge,  T.,  37,  66 

London  for  My  Money,  28 

London-stone,  227 

Lust's  Dominion,  67-70 

Lyly,  J.,  29,  40 

McKerrow,  R.  B.,  12,  92,  etc. 

Maid's  Metamorphosis,  29 

Manningham,  Diary,  28 

Marlowe,  C.,  67 

Marriage  customs,  230 

Massinger,  P.,  21 

A  Match  At  Midnight,  42 

Matthews,  Augustine,  26,  92 

May-pole,  228 

Merchant  of  Venice,  31 

Merry  Wives  of  Windsor,  27,  40,  41 

Michaelmas  Term,  42 

Middleton,  T.,  42,  sgn,  87,  88 

Midsomer-Moone,  222 

Milton,  his  grandmother,  10 

Monaci,  E.,  32*1,  230 

Much  Ado  About  Nothing,  63 

Munday,  A.,  14,  18-9,  86 

Murder  play,  46,  47 

Nash,  T.,  27n,  s8« 

National  Motive,  31-3 

A  New  Way  to  Pay  Old  Debts,  42 

Northward  Hoe,  64 

Norton,  John,  II.,  26,  92 

Old  Fortunatus,  69 

Orphans'  Tragedy,  50,  52-4 

Othello,  53 

Oxford,  15 

Page  of  Plymouth,  47,  61 

Pastoral,  60 

Patient  Grissel,  41,  56,  607,  79 

Penniman,  J.  H.,  65-6 

Pett,  Mr.,  77-78 

Pett,  John  77 


Pett,  Peter,  77-78 

Pett,  Phineas,  78 

Pisaro,  29,  30,  33,  36-9 

Poor  Man's  Paradise,  17 

Porter,  H.,  29,  41 

Povah,  A.,  22n 

Raleigh,  Sir  W.,  82 

Ralph  Roister  Doister,  29 

Realistic  comedy,  39-41 

Robert,  Earl  of  Huntington,  65 

Robin  Goodfellow,  76 

Robin  Hood,  86 

Robin  Hood,  Playe  of,  So 

Robin  Hood's  Pen'orths,  18,  73,  80, 

87 

Romeo  and  Juliet,  52-3 
Rose,  in  Barken,  225 
Rowley,  S.,  60,  79,  81,  etc. 
Rowley,  W.,  59*1 
Sackville  and  Norton,  72 
Satiromastix,  64-5,  69 
Schelling,    F.    E.,   35,    39,   41,   46*1, 

47«,  68,  75,  8i«,  87 
Search  for  Money,  59n 
Seven  Deadly  Sins  of  London,  59;* 
Seven  Wise  Masters,  70-72 
Shakespeare,  W.,  27 
Shaw,  R.,  20,  25,  60,  etc.. 
The  Shoemakers'  Holiday,  41,  64,  88 
Six  Clothiers,  I  and  II,  83 
Six  Yeomen  of  the  West,  82-83 
Smith,  Wentworth,  19,  22,  81,  83 
Spanish  Moor's  Tragedy,  67-70 
Stage  technique,  215-9 
Stoad,  223 

iStonebridge,  C.  J.,  15 
Stonex,  A.  B.,  3in,  42*1 
Stow,  J.,  20,  et  passim 
Strange  News  Out  of  Poland,  77-79 
Stranger,  220 
Stubbes,  P.,  84,  85 
Swinburne,  A.  C.,  65,  68 
Thomas  Merry,  Tragedy  of,  47-60,  86 


INDEX 


Thomas  of  Reading,  83 

Thrale,  R.,  26 

Titus  Andronicus,  67 

Toldo,  Prof.,  32 

Tom  Dough,  83 

Tom  Strowd,  81 

Tower-hill,  221 

Tragedy  of  Orphans,  50 

A  Trick  to  Catch  the  Old  One,  42 

Two  Angry   Women  of  Abington, 

29,40 

Two  Lamentable  Tragedies,  48-60 
Two  Tragedies  in  One,  48-60 
Usurer  play,  31,  41 
Vavesor,  Thomas,  9« 
Virgilius,  34 

Wallace,  C.  W.,  9,  21,  23,  66n 
War  of  the  Theatres,  66 


Ward,  A.  W.,  68,  et  passim 

A  Warning  for  Fair  Women,  50 

Weever's  Epigrams,  12 

Westward  Ho,  69 

Wheatley  and  Cunningham,  London 

Past  and  Present,  21,  etc. 
White,  J.,  92 

White,  William,  printer,  25,  26,  92 
The  Widow's  Tears,  35 
William  Cartwright,  19,  85-6 
Wilson,  Arte  of  Rhetorique,  27 
Wily  Beguiled,  31  n,  32,  40 
A  Woman  Will  Have  Her  Witt,  see 

Englishmen  for  My  Money 
Wonderful  Year,  59*1 
Yarington,  R.,  48,  49,  50,  55-8 
Yorke,  Yorke,  for  my  monie,  28 


PR     Haughton,  William 

2549      Englishmen  for  my  money 

H6E5 

1917 


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