768TrymanO*n9738 In the octavo text the O is two lines high. thou varlet,†gg1100 rogue, menial thou unconscionable†gg1225 uncontrolled by conscience; harsh unbeliever, ungodly miscreant!†gg4826 reprobate Hast thou cozened†gg1611 beguiled, deceived my easy credulity? And wouldst have undone and married me, like a cony-catching†gg5706 conning, deceiving, tricking companion as thou art? Did’st not thou tell me thou hadst moderate means of life, friends of fashion, and civil†gg5707 among the citizens; in the City of London reputation? And now this virtuous, religious gentlewoman tells me thou art an arrant skipjack.†gg5429 pert shallow-brained fellow; puppy, whipper-snapper; conceited fop or dandy (OED n. 1)

769PyannetNay, and has not a hole to put thy head in but upon my courtesy.*n8762 A house to live in except through my kindness.

770TrymanBut I thank this matron’s worship,*n8763 Tryman is being very polite and playing to Pyannet's snobbery in calling Pyannet 'this worshipful matron'. her pity will not permit my easy†gg4229 compliant, credulous (OED 12a) nature to suffer under thy cozenage†gg3005 fraud, duplicity but bestows her generous†gg5708 noble, of good birth or pedigree son and heir here upon me....

771PyannetA gentleman of another sphere, another rank than you are, sirrah,†gg140 term of contempt that shall have three hundred*n8764 That is, three hundred pounds; worth £26,750 in 2009 (National Archives currency converter). a*n8765 The octavo does not have 'a' but it is needed for Pyannet to make sense. year in esse,†gg5710 in actual existence, a Latin term used in legal contexts and five*n8766 That is, five hundred pounds a year; worth £44,580 in 2009 (National Archives currency converter). in posse.†gg5712 potentially; a Latin phrase used in legal contexts

772TrymanThat is acquainted with young lords, has had the honour to make a hunting match.†gg5718 competitive hunting; a cross between a horse race and hunting

773TobyAye,*n8192 ] I (O) and a challenge to ride the wild goose chase.*n8770 This expression was proverbial for wasting time on something (Tilley W390) but Toby speaks as if he thinks he has received an invitation to a social event.

774TrymanThat hath made ladies posies*n8771 The absurd boast is that Toby has made floral decorations for ladies to put on their cheese platters. for cheese trenchers.†gg522 plate or piece of wood (flat or circular) on which food was served (OED II 2)

775TobyAnd played with countesses at shuttlecock.†gg5927 not badminton but the game (more fully battledore and shuttlecock, now played only by children) in which the shuttlecock is hit with the battledore backwards and forwards between two players, or by one player into the air as many times as possible without dropping it (OED 2) *n10041 There are possibilities here for double entendre: count/cunt-esses; and shuttle-cock. Brome has fun with the name Nestlecock in The New Academy.

776TrymanAnd to this elegant spirit and choice hope am I, and my fortunes, contracted.†gg3741 formally betrothed, or engaged (in the early modern period, this contract was as binding as a marriage, especially if accompanied by the ritual of handfasting)

777CrasyHow! contracted?

778TrymanYes, sir, contracted. Look you, I dare seal it before your face.

779CrasyAre you so?

780TobyShe is mine, sir, mine, sir. Do you mark? I dare likewise seal it, sir.

781CrasyIs there honesty in this dealing?

782PyannetYes, sir. Is there not profit in this dealing?

783Crasy’Tis very well. If there be no law upon*n8774 Law concerning or legal redress concerning. words, oaths and precontracts†gg5723 pre-existing contracts of marriage and witness, if a man may spend a hundred angels†gg4232 a gold coin worth around 10 shillings which had an image of the archangel Michael standing on and spearing a dragon *n7955 Around £50, worth £4,458 in 2009 (National Archives currency converter). upon a widow, have her affied†gg5724 affianced, betrothed before witness, and then have his nose wiped of her,*n8775 To be cheated of her or by her. Tilley (N244) indicates wiping the nose of someone means cheating or injuring someone. why, ’tis very well.

784TrymanIn truth, dear heart and sweet mother in expectation,*n8776 Soon to be mother (in-law). to speak equally,†gg5725 impartially, equitably, justly (OED adv. 3) there have some words of course*n8777 That is, intention, intended course of action. passed betwixt†gg3294 between us which may seem to impart some engagement. Surely I have been too liberal†gg5726 free, without restraint of some speech of advantage.*n8778 That is, in some speech talking about favourable occasions, beneficial opportunities. Truly it would not be amiss,†gg274 wrong considering his expense and interest, to fall to†gg5727 proceed to (OED v. 67d) some slight composition.*n8068 The sense of compromise, and wheeling and dealing here looks back to Crasy's personification and vilification of Composition in [CW 1.1.speech23]. See also later in the play [CW 5.1.speech 812]. Some hundred pounds*n9032 Worth £8,900 in 2009 (National Archives currency converter). would make the poor knave do anything.

785TobyMother, let’s be wise. Let’s be wise, mother. Fetch a hundred pieces*n8332 As a piece was worth 22 shillings, (£1 and 2 shillings), this equals £110, which would be worth £9807 in 2009 (National Archives currency converter). presently,†gg103 immediately (OED adv. 3); without delay that even upon his first consent*n8779 That is, as soon as he gives his consent. he may be satisfied and silenced.

786TrymanFor if he chance but†gg5728 only to be delayed till he ask counsel, then ...

787PyannetMum!†gg1683 be silent A word to the wise...*n8780 Proverbial: a word to a wise man is enough, or few words to the wise suffice (Tilley W781). Exit [PYANNET].

788CrasyNay, I hope, as long as I am a subject, I shall have law: I doubt not but I shall have law.

789TrymanCome, sir, you shall not deservedly†gg5729 with desert, with good cause exclaim*n8781 Tryman's indubitably prose speech is set as if it is verse in the octavo. It is possible that the lineation might be indicating that one sentence is delivered aside to Crasy and one sentence not. However, both sentences work perfectly well directed openly to Crasy-as-Footwell. of my neglecting you. For our sometimes†gg5730 former, some time in the past love, I have procured you a hun-dred pounds.

790CrasyTo disclaim my right in you, I’ll take’t. Here’s my hand, I’ll take it.

791TobyPox,†gg5873 pox on it (or her) how my mother stays.†gg4902 (v) delays

792CrasyScorn my poverty! Come, where is’t? Because I have not the muck of the world.*n8809 Money was proverbially seen as the 'muck of the world' (see Tilley M1298). Come, the money.

793PyannetHere, sir, upon this consideration,†gg5750 in law, anything regarded as recompense for what one does or undertakes for another's benefit (OED 6) that you disclaim and renounce all interest ...

794CrasyYes, most freely.

795PyannetIn this gentlewoman, and do vow never to pretend†gg3881 lay claim to, profess to have (OED v. 3); intend, plan (OED v. 10); aspire to, have pretensions to (OED v. 12) future claim to her.

796CrasyI do, marry...†gg177 a common intensifier or expletive, a contraction of 'By Mary', 'By Mary of God'

797TobyNay, no marries,*n9224 Toby is playing on two meanings of 'marry': firstly as a common expletive (a contraction of 'By Mary') here meaning 'indeed'; secondly as a verb 'to get married'. He uses the same joke later in the scene at [CW 5.1.speech953]. sir, you have received the money. You shall make no more marries here. Come, my betrothed spouse, bid a fico*n8810 That is: fig. The octavo has 'Fice', which I have treated as a misreading for 'Fico' because giving a fico, or fig, for something, proverbially indicated disrespect (see Tilley F210, 211). for him. Say black’s thine eye*n8811 To say black is anyone's eye (or eyebrow, nail, etc.) is to find fault with, to lay anything to his/ her charge (OED black III 12). who dares. Mother, I’ll be married tonight and to bed presently.†gg103 immediately (OED adv. 3); without delay

798PyannetThis night, son? ’Tis very late.

799TobyNever too late to be wise. I hope I am your son and must bear a brain.†gg5328 be cautious, thoughtful (OED brain 4b)

800PyannetIndeed, he that deals with woman must take occasion by the forelock.*n8812 That is, seize an opportunity. Occasion (or sometimes Time) was personified as a woman with a long lock of hair at the front of her head which had to be seized in order to take advantage of any occasion. There was no second chance to grasp the lock of hair as Occasion was bald on the back of her head.
Compare the personification of Occasion in [CW 1.1.speech23] [NOTE n6216]. Away...Exit [PYANNET, TOBY, TRYMAN].

801CrasyWhy! I am weary of money now.n10111 This speech by Crasy comes just before the final phase of action in the play and the last lines of the speech remind the audience of where the plot is heading by recapitulating the plot against Rufflit and Ticket. Before this theatrically pragmatic momnt, however, Crasy considers the subject of revenge and how completely successful he has been in using his wit to extract money from his debtors. The objective in exploring this speech in a workshop was to open up a discussion about tone and to ask how comic or tragic the mood might be: the speech can suggest real self-disgust, almost depression, and possibly that success in wit has temporarily at least poisoned Crasy’s life. A short while after this speech Crasy, in the character of Footwell, will comment on ‘the poison of wit’ [CW 5.1.speech 830]. This is also one moment in The City Wit when Shakespeare and Middleton’s play Timon of Athens might be in circulation. Of course, unlike Timon, Crasy is winning hands down, and, unlike Timon, Crasy is here, to some extent, having to work himself up to carry on with his revenge, when by contrast it is hard to imagine Timon ever relenting. Crasy is reminding himself of his wrongs, of why he embarked on a career in ‘wit’ and conning people out of money, while his conscience baulks slightly at what he is doing.
1. Sam Alexander’s first reading was exploratory and did not look for the bitterness and loathing that could be found here. Sam performed a character who was quite genial and still rather disappointed in his fellow human beings but not really bitter or corrupted by wit. It was as if this Crasy was worn out: he has, after all, been doing a lot of rushing around and if nothing else, the costume changes are enough to wear anyone out. This Crasy was not morally disgusted nor was he witty in a predatory way, nor was he enjoying using wit to extort money out of other characters and to humiliate them. Sam commented that he found change of tone as Crasy gets down to plot business at the end of the speech quite challenging. There was some discussion about the use of couplets in the verse: some are rhymes, or approach rhymes, but the overriding feeling was that what should be stressed is that Crasy is delivering a series of sententiae, even though some of the sententiae got smiles from the audience for being so self-righteous and for failing to reflect what is actually going on in the play. Sam asked if Crasy was a religious man as some of the speech could read almost as a prayer and Crasy is invoking the Ten Commandments. Although grim Old Testament justice was cited by Crasy in 1.2.speech 136, The City Wit is not noticeable for its interest in religion. Sam also felt that if he talked more directly to the audience, this would open up the speech. Crasy is the character who has talked most to the audience during the play and to carry on talking to the audience here makes good theatrical sense.
2. The second performance of the speech worked very well. Sam underlined the ‘moral’ but was able to work a transition from the thundering of ‘whips of steel’ to the ‘meanwhile let’s get on with the show’ tone of Crasy’s next line. There was a suggestion that perhaps a pause here would help, but Sam still felt that working the audience more would be a prime objective. Although the section begins with Crasy on stage, Sam also felt that to begin the speech from coming on, rather than beginning it when already onstage, would give it more impetus, and so he entered as if rushing on from completing his latest piece of exhausting wittiness. There was still little sense that Crasy might have become corrupted by his experiences but there was a much more knowing sense to the sermonising and a gesture in the direction of self parody. I have gotten more in a week’s cozenage†gg3005 fraud, duplicity than in all my days of honesty. What an easy cool†gg5751 of a thing or action: characterized by or exhibiting calmness, composure, or a lack of passionate emotion (OED adj, 2c) thing it is to be a rich knave! Gramercy†gg1450 thanks punk!†gg438 prostitute A witty wench is an excellent help at a dead lift.†gg5752 a position or juncture in which one can do no more, an extremity (OED 2) But in despite of the justice that provoked me, my conscience a little turns at these brain tricks. But they have all been ungrateful, ungrateful! ’Tis a sin that should have no mercy, ’tis the plague-spot.†gg5753 a spot on the skin symptomatic of the bubonic plague or of another plague-like illness; often believed to show that the person concerned was about to die (OED 1a) Who has it should not live.

My courtiers are the next that I must exercise upon. This night my wife expects the embraces of one of them at least, if this hasty marriage call her not from her chamber. But she being a right†gg5755 justly entitled to the name; having the true character of (OED 17) woman may prevent that with a feigned*n8817 Crasy's misogynist view is that the ability to feign, or to deceive, is what entitles Josina to be called a 'right woman'. sickness or so. Let me remember, I wrote to Rufflit to come like*n8818 Dressed like. her Doctor Pulse-Feel, to minister†gg5874 attend to to her. This will jump right†gg5756 accord well with, work well with with a counterfeit†gg3082 pretended, spurious, feigned, acted (OED adj. 2) sickness. It may, perhaps, break a urinal†gg4877 a glass vessel or phial employed to receive urine for medical examination or inspection (OED n. 1) about his coxcomb.†gg797 cap in the shape of a cock’s comb worn by a professional fool (OED 1)    Music.   How now! O perceive this great wedding goes forward.

802Crasy   [Aside]   So, this falls out pat.†gg1246 readily, opportunely She is no sooner gone sick to her chamber but here comes her physician to cover†gg5757 verb - to copulate with; usually of a stallion and mare (OED v. 1 6a) and recover*n8831 The physician's job is to help his patient recover his or her health but here, given Crasy's use of the verb 'cover', to copulate, it also carries the meaning of 'to copulate again with'. her in a trice.

803RufflitHist,†gg3747 'a sibilant exclamation used to ... call on people to listen' (OED); the predecessor of the modern interjection 'psst!' Footwell, Footwell!

804CrasySeignior*n8832 The term is synonymous with lord, indicating a person high in rank or authority (OED 1), thus contrasting with the costume of a physican that Rufflit is wearing. Rufflit! I am a fool if I took you not for a physician.

805RufflitShe*n9768 As Josina cannot write, the letter was actually written by Crasy-as-Footwell. wrote to me that I should come in this habit.†gg128 clothing

806CrasyRight, sir, to avoid suspect,*n8833 That is, being suspect, appearing suspicious. for which cause she has counterfeited herself sick and lies longing and languishing till you minister†gg5874 attend to to her.

807RufflitAnd am I come pat?†gg1246 readily, opportunely am I come i’the nick?*n8834 The primary meaning here is like the modern expression 'in the nick of time', that is, at the precise or exact point of time when something takes place or requires to be done (OED n,1 III 11a); however,'nick' could also mean vagina (OED 2d), a meaning also in play here as Rufflit is setting off, as he thinks, to have sex with Josina.

808CrasyYour fortune sings in the right clef,*n8835 The octavo has 'Cliff' a variant spelling for 'clef'. *n9235 The modern equivalent might be to sing in the right key; the musical clef is the character placed on a particular line of a stave, to indicate the name and pitch of the notes standing on that line (OED). sir, a wench as tender as a city pullet.†gg5758 a young hen but also figuratively a young or inexperienced person, especially a young woman (OED)

809RufflitBut not so rotten.*n8836 The implication is that even a relatively inexperienced young city woman might be rotten in the sense of having venereal disease.

810CrasyO sir, health itself, a very restorative. Will you in? The way lies open before you.*n8838 There's plenty of opportunity for double entendre here; Rufflit wants Josina to be open to him so he can go in or enter her.

811RufflitHold Footwell, tell†gg1675 count that*n8837 Rufflit has tipped Crasy-as-Footwell and is telling him to count the money. till I return...   [RUFFLIT] gives [CRASY] money.   ... from branching†gg5759 the act of furnishing (a cuckold's head) with branching horns the most merited cuckold,†gg1331 man with an unfaithful wife, traditionally thought of as having horns on his head Crasy. Poor snake,†gg5760 a poor, needy, or humble person, a drudge (OED snake n, 3a) that I must force thee to cast thy skin.*n8839 As a snake casts its skin as it grows larger, this image suggests that Crasy will have to cast his metaphorical skin as he is made larger in size by the addition of his cuckold's horns on his forehead. And†gg857 if he were not a citizen I could pity him.*n8840 The class hatred here is marked; the only reason Rufflit is unable to have any sympathy for Crasy is, he says, because Crasy is of citizen status. This indicates something of the extent that impoverished aristocrats such as Rufflit felt threatened by the citizen class. He is undone for ever. Methinks I see him already make earnest suit†gg773 (n) petition, supplication to wear a red cap and a blue gown;*n8854 Blue was the distinctive colour used for the clothes of servants, tradesmen and charity cases, so a blue gown would mark Crasy out as a tradesman. comely to carry a staff-torch†gg5761 a tall thick candle used for ceremonial purposes (OED staff n, 1 26) before my Lord Mayor*n10107 The Lord Mayor of London was (and is) elected for a year in October; the institution of a new Lord Mayor is at the very end of October and the next day is the Lord Mayor's Procession (hence Rufflit's reference to 'All Hallow's Even night). The procession originated in the presentation of the new Mayor to the Sovereign for approval and the swearing of allegiance; consequently the Mayor's route was (and is) from the City up to Westminster. upon All Hallow's Even*n8842 The octavo has 'Allhalloune' which today would be called 'Halloween'. I have kept 'All Hallow's Even', although the conjunction of 'Even' with 'night' is slightly clumsy, because 'Halloween' now has very different associations from the celebration of All Hallows Even (31 October), the night before All Saints Day (1 November), and an occasion for fasting and vigils in memory of departed souls. All Saints Day (and All Souls Day on 2nd November) was associated with Catholicism. night. Watch, Footwell, I mount... *n8841 While the fact that Rufflit is talking of mounting Josina as well as mounting up into the house is very clear, there is a queasy additional suggestion here that Footwell, that is, Crasy, should watch Rufflit mount Crasy's wife. Exit [RUFFLIT].

812CrasyBut now, if the agitation of my brains should work through my brows.*n8856 The concern, as usual, is with the risk of acquiring cuckold's horns; Crasy feels so agitated mentally that he feels his brains are bouncing around enough to start working through his skull and forming horns on his forehead. If my wife’s pitiful hand should fall to composition*n8857 This yet a further instance of the play's concern over composition or compromise, which began with Crasy's vilification of compromise in 1.1.23. Crasy is here concerned that instead of immediately setting about Rufflit-as-Pulse-Feel and beating him, Josina's 'pitiful hand' will refrain from violence and this will provide the opportunity for her to discover it is really Rufflit and not Pulse-Feel who is visiting her. with my doctor’s pate†gg904 head and my deceit be discovered before the bastinado†gg5525 to beat with a stick, to thrash (OED v. 1) had given charge†gg5928 (n) an impetuous attack (OED n. III 18a) to his shoulders, were not my forehead in apparent danger?*n8858 That is, would my forehead not be in danger of acquiring cuckold's horns? ’Tis done in three minutes.*n8859 Crasy's worry that Rufflit will penetrate Josina in under three minutes perhaps suggests why Josina might be interested in having sex with someone other than her husband; if Crasy thinks sex is a three minute affair then Josina might be looking for something a little more satisfying. However, Josina herself also seems to think sex is a quick business given she has booked so many assignations all in the one night: with Pulse-Feel, Rufflit and Ticket. Death, my courtier has a sanguine†gg5772 in humours physiology the state of being 'sanguine' indicated a predominance of the blood over the other three humours, and resulted in a ruddy countenance and a courageous, hopeful, and amorous disposition (OED 3a) complexion. He is like a cock sparrow,*n8861 Sparrows were proverbially lustful (see Tilley S715). chit, chit,*n9225 OED (n, 4) defines 'chit' as an obsolete name for the Tit, Titlark, or Meadow Pipit. The name comes from its short and feeble note. Crasy here imagines a cock sparrow, as it were, chitting or chirping just twice before 'away', that is, mounting the hen. and away. Heart o’ man! And†gg857 if I should be blown up in mine own mine*n8862 To be hoist with my own petard, caught in my own trap; explosives were used in opening up mines, an activity that was very dangerous. The repetition of 'mine' seems ungainly but it might work as a pun. now! Ha!

813Rufflit within.*n9832 The speech heading indicates noises off: Rufflit is yelling out offstage. However, Crasy's comment 'the hubbub's raised' suggests some abusive shouting from Josina and Bridget might also be appropriate. Hold Mistress Crasy! Dear Bridget! Help Footwell!

814CrasyHo, the hubbub’s raised and my fear’s vanished.

815JosinaOut you pisspot-caster!*n9226 Because Rufflit is disguised as a doctor, Josina is berating him as someone who 'casts' urine in order to diagnose a condition (OED cast v, VI 40) that is, he inspects the contents of the pisspot in order to determine what is wrong with his patient.

816BridgetYou suppository!

817JosinaYou glister-pipe,†gg5774 a pipe for administering enemas (listed in OED under 'clyster') think’st to dishonest*n9227 That is, to make me have a reputation for dishonesty. Josina is referring to the 'fact' that the doctor has been bragging about his conquest of her which could damage her reputation regardless of whether or not they have had sex. me?

818RufflitHold, dear lady .. I am ...

819JosinaA stinking, saucy rascal thou art. Take this remembrance.Exit [JOSINA and BRIDGET].*n8069 The octavo has a single 'exit' but both Josina and Bridget must exit here.

820CrasyHold, sweet mistress.

821RufflitO, I thank you, good Master Footwell.

822CrasyO, it is not so much worth verily.†gg5929 In truth or verity; really, truly (OED adv A)

823RufflitO, but ’tis, sir.*n9859 Rufflit appears to put two and two together during this speech and to realise that Footwell must have been involved in setting Rufflit up for the beating he has just received. Crasy-as-Footwell seems to be ready for this realisation and prepared to disarm Rufflit when he draws his sword in anger.

Rogue. Rogue. Nay prithee,†gg262 (I) pray thee: (I) ask you; please sweet rascal, pox on you, I did not mean to hurt you. My honest vagabond, tell me, tell me; come, who was’t put this trick upon me? Thou art a precious villain! Come, whose device was it? Whose plot? At whose suit†gg3494 request or petition was I cudgelled? Who made me feign myself a physician till I must be forced to go to the surgeon?*n8863 That is, he has been so badly beaten he will need his wounds and bruises dressing by a barber surgeon. And dare’st tell me?

824CrasyNay, then I will tell you. Dare! why ’twas your friend and rival, Sir Andrew Ticket.

825RufflitTicket!

826CrasyEven he, sir. His gold hired me to gull†gg5777 to dupe, cheat, deceive (OED v. 3) you. And this brain procured your beating. Yes, faith, sir, envy, bribes and wit have wrong upon you.*n8864 That is, have brought this wrong upon you.

827RufflitWell, if I revenge not ...

828CrasyBut how, sir?

829RufflitAye,*n8192 ] I (O) afore†gg5778 before heaven, that’s well thought on. Give me but the means and I will not only forgive but reward thee richly.

830CrasyCome, faith, because I would have both your shoulders go in one livery,*n8865 That is, the shoulders of both of you (Rufflit and Ticket) in the same livery, or looking the same, that is, bruised from beating. I must disclose.*n8866 That is, disclose the means (to get back at Ticket). Why, sir, knavery is restorative to me, as spiders to monkeys.*n9110 It was believed that monkeys were attracted to spiders as food and that spiders were nutritious for monkeys despite being believed to be poisonous for humans: see, for example, The Winter's Tale 2.1.41 -47 where Leontes speaks of the horror of drinking from a cup and then realising that there is a spider in the bottom, which means that the drink is poisoned. [NOTE n952] The poison of wit feeds me.*n8867 In the play's ongoing discussion of what 'wit' might be (see introduction), the notion of wit as 'poison' is a particularly significant stage. In addition, however, the poison of wit here is characterised as having an addictive element suggesting that once someone has embarked on a career of 'wit' it is hard to break free of that way of behaving.
The octavo has a turned n in 'poison'.

   [To RUFFLIT]   Look you, sir, he’s come. Stand close,*n8868 Several meanings of 'close' are in play here: 'hidden', 'nearby' and 'quiet'. take this cudgel, grasp it strongly, stretch your sinews lustily, and when you see him hang by the middle in a rope,*n8869 That is, Ticket will have a rope tied around his waist and will dangle from the upper level, providing Rufflit with an opportunity to cudgel him whilst Ticket will be completely helpless to resist in any way. This episode owes something to the carefully executed humiliation of Sir Amorous La Foole and Sir Jack Daw in Ben Jonson's Epicoene 4.5., although is it also reminiscent of the hoisting up of the French suitor in a basket in William Haughton's 1598 comedy An Englishman For My Money, or A Woman Will Have Her Will. The sequence offers a serious challenge in terms of stage management; for the performer playing Ticket to dangle helplessly and yet also safely from an appropriate height for him to be beaten by Rufflit makes significant demands on both the theatre space and the performer. A comparably dangerous (from the point of view of the actor) dangling sequence appears in Antony and Cleopatra 4.16, where the dying Antony is hoisted up by a rope to join Cleopatra 'above'. let your fist fall thick and your cudgel nimbly.

831RufflitAnd soundly.†gg1156 severely My ambitious blows*n8870 That is, the individual blows will be ambitious or strive in competition to outdo each other in violence. shall strive which shall go foremost.

832CrasyGood, sir.*n8871 That is, 'that's a good idea, sir' rather than just a polite form of address.

833RufflitDraw him up but half way.

834CrasySo, sir, I must up to receive...

835RufflitDo so.   Exit*n9229 The octavo places this exit slightly earlier, after 'receive'. This works in early modern playhouse practice if Crasy is at the front of the stage and has to, as part of his exit, travel to the back of the stage in order then to mount the offstage stairs up to the balcony Ticket is to dangle from. 'Do so' is then addressed to Crasy as he walks across the stage. [CRASY].   I shall be so revenged now! He had been better ha’†gg5779 to have been taken in bed with another man’s wife than have prevented†gg4462 hinder, thwart, forestall, frustrate (OED v. II 8) me thus.

836Ticket   [To BOY]   Vanish, sirrah,†gg5780 a term of address from a social superior to someone below them in status, marking the distance between them with the light.   [Exit BOY]*n8872 The octavo does not have an exit marked but the boy has to leave or else he ought to come to his master's rescue. Ticket actually dismisses him because he anticipates that he is about to be alone with Josina and does not want the boy around.    This I am sure is the window, which her letters called me to.

837Rufflit   [Aside]   I would you would begin once*n9230 There are two sense here: at once, with the sense of 'get on with it because I am getting cold'; but also 'once you've begun I can get going and attack Ticket' that I might be at work. I do not love to stand idle in the cold thus.

838TicketHist,†gg3747 'a sibilant exclamation used to ... call on people to listen' (OED); the predecessor of the modern interjection 'psst!' Footwell, Footwell!

839Crasy above*n8873 Dessen and Thomson (p.1) comment that 'above' was 'by far the most common term [...] for the performance area over the main platform' and 'typically one or two figures appear above'. Here sir, here. O I watched*n8874 That is, I was on watch, standing here out of my loyalty to you, waiting and watching out for the opportunity to do you a good turn and help out. to do you a good turn. Will you mount,*n8875 a series of puns on the word 'mount' follows; Ticket will not only 'mount' up to Josina's window he will 'mount' her when having sex, remount her and surmount her sir?

840TicketI will mount, remount, and surmount.*n8876 To mount upon, get on the top of (the window sill and then Josina) (OED v, 6) but also to surpass her expectations (as a lover) (OED v, 1). I wonder that there is not a solemn statute made that no citizen should marry a handsome woman, or, if he did, not to lie with her. For and†gg857 if ’twere†gg5781 it were not for gallants’ help, they would beget nothing but fools.*n8877 That is, citizens can only beget/ father fools with their wives; it is only when gallants are the real fathers of citizens' children that those children show signs of intelligence.

841CrasyRight sir, right sir. Take the rope and fasten it about your middle, sir.

842Ticket   [TICKET ties the rope around his waist]   Why, that’s Crasy,*n8878 That is, this is the case with Crasy: that he could only beget fools and not intelligent children unless the real father is a gallant. Ticket's comment does not indicate that he has suddenly seen through Crasy's disguise as Footwell, although for those in the audience looking forward to seeing a comic beating taking place, the comment could flirt with this possibility, and that the beating might not happen.

Although the octavo does not have a stage direction to indicate when Ticket ties the rope around himself this does have to happen; the main constraint is that it has to happen before Crasy says 'Now mount, sir'. a very coxcomb.†gg3016 conceited ass (the term is derived from the cap worn by professional fools, which was shaped like a cock's crest or comb, which came to be the natural substitute for the word "fool", the emblem representing the man)

843CrasyAn ass, an ass!

844TicketA mere citizen. Were’t not a shame his wife should be honest? Or is’t not pity that my own man*n8880 The sense here is almost 'my own manhood' or 'me myself as a man'. What Ticket means is 'it would be a pity if my manhood did not enjoy this exeptional woman'. should wholly enjoy a rare,†gg5782 exceptional excellent, proper†gg5783 attractive, fair, elegant (OED adj. III, 7b) but also genuine or real (OED adj. III, 7c); a 'real' woman woman, when a whole corporation*n8879 That is, a corporate body of citizens like that in the City of London; Ticket is saying that women who are worth seducing are very rare amongst London citizens' wives. scarce affords†gg939 supply or furnish from its own resources; give what is asked for two of them.

845CrasyMost true, sir. Now mount, sir. I*n8881 The octavo habitually represents 'Aye' by 'I'; here it could be 'Aye' ('yes, go on, pluck courageously, mount Josina) or 'I' (I am plucking, or pulling at, the rope as courageously/strongly as I can in order to haul you up). However, speech 847 makes it clear that 'plucking' is being used to refer to hauling in the rope, so the meaning here has to be 'I'. pluck courageously. Pray Hercules*n8882 In Roman myth Hercules was a hero with extraordinary strength and so an appropriate figure for Crasy to invoke. my strength fail me not.*n8883 This is a legitimate concern; to lift a grown man's dead weight and haul him up dangling by a rope requires a considerable degree of strength. The weight issues might not be so critical with a boys' company if Ticket is small and Crasy more robust; however, this sequence still presents a logistical challenge in the theatre.

846RufflitUp sir, up sir.   RUFFLIT cudgels him.   

847TicketPox and pain! Hold, doctor!

848RufflitSave you,*n8895 A form of greeting, (God) save you, but here also meaning, you need to try and save yourself. sir.

849TicketI am most sensible†gg5789 feeling something acutely or as markedly painful (OED adj, 6) of your salutation. Pluck,*n8896 That is, pluck at the rope, pull me up. Footwell!

850CrasyAlas, the cord sticks, sir. I’ll call some help, sir.

851TicketDeath and devils!

852RufflitFists and cudgels!

853TicketHeart, lungs, lights!†gg5790 the lungs (OED n. 1a) *n8897 Ticket may be listing where is he hurting (or being hit?), to be followed by Rufflit listing what he is aiming at, but lungs and lights are referring to the same organs.

854RufflitArms, shoulders, sides!

855TicketHelp, help, help!

856CrasyPassion of Heaven,*n8899 an oath referring to Christ's passion, or sufferings Doctor! I’ll doctor you away.*n8898 as this 'doctor' is doctoring Ticket by beating him, then Crasy is saying he will give the doctor some of his own treatment Exit RUFFLIT.

857TicketRedeem†gg5791 rescue (OED v. 4) me, dear Footwell.

858Crasy*n8070 The octavo has Tra., something clear in some copies such as the BL copy but not so clear e.g. in the Folger and Harvard copy as these two both have smudged ink. Richard Proudfoot points out to me that the mistaking of majuscule C/T is very easy in some contemporary handwriting. Yes sir, I come for the same purpose. Alas sir, methinks I even feel your blows. Are you not sore, sir?

859TicketSore? Could’st thou not pluck?

860CrasySure I was planet-struck!†gg5792 stricken or afflicted, as by paralysis as a result of the supposed malign influence of a planet (OED) The rope stuck in a slit,*n8901 Although OED lists the first usage of 'slit' to mean vulva as 1648, that meaning is probably in play here: the rope, Footwell claims, stuck in a slit in the wood around Josina's window; but when Ticket exclaims 'A pox o'the slit' he must be alluding to his hopes of having sex with Josina. sir.

861TicketA pox o’the slit, say I.

862CrasyKnow you this mad doctor? Or do you owe any doctor anything?

863TicketI know him not nor do I owe any doctor anything. I only owe my barber-surgeon for a diet†gg5793 prescribed course of food, restricted in kind or limited in quantity, especially for medical reasons (OED n1. 3) drink.

864CrasySpeedily make up your face,*n8902 Compose your face, try to look as if nothing has happened. sir, here comes company!

Master Rufflit!

865RufflitHonest Footwell! how dost? Sir Andrew! Heartily how is’t? ...

866TicketAs heartily as thou wilt, but not so hard, I prithee.

867RufflitWhy, what’s the matter?

868TicketI bruised my side e’en now against a form’s†gg5794 a long seat without a back, a bench (OED n. II 17) edge.

869RufflitSpermaceti,†gg5930 a fatty substance, found in the head of the sperm-whale and used largely in various medicinal preparations (also in the manufacture of candles) (OED 1) sir, is very good, or the fresh skin of a flayed*n8905 The octavo here, and also at line 2614 (speech 868 in the modernised text), has the spelling 'flead' which nicely evokes fleas as well as flaying, or taking the skin off. cat.

870TicketFlayed cat?

871RufflitThe fly-blows†gg5796 the eggs deposited by a fly in the flesh of an animal, or the maggots proceeding therefrom (OED 1) of a dead dog made into oil and spread upon the caul*n8906 The octavo has the spelling 'kell'; OED indicates this is the fatty membrane covering the intestines. of a meazell†gg5797 of pig or pork, infected with measles hog.

872CrasyHark, gentlemen, the wedding comes. Forget old bruises and put on sense of the lightest colour,*n8930 The lightest colour is white which was not so automatically associated with weddings in the early modern period as it is today. As the opposite of black, the sign of mourning, and, as a sign of purity, white changes the mood from the slapstick violence of the beating of Ticket and Rufflit to an ostensibly celebratory mood for the marriage of Tryman and Toby. Crasy-as-Footwell is saying the sense of the colour should be put on; Ticket and Rufflit do not start adorning themselves with white. for this house tonight vows to run giddy with mirth and laughter.

873RufflitJoy, health, love and children to this happy union!

874TicketUnbruised bones and smooth foreheads*n8931 That is, no cuckold's or cuckquean's horns sprouting on their foreheads; the wish is that neither of them will commit adultery and cause the other to grow horns.

Ticket and Rufflit bury the hatchet rapidly and by [CW 5.1.speeches910-911], it is hard to remember one was buffeting the other earlier in the scene. to you both.

875PyannetWhat, shall no device,†gg3579 entertainments; especially devised or fancifully invented for dramatic representation; ‘a mask played by private persons’ or the like (OED 11) no mirth solemnize my son’s match? Go Sneakup, call down our daughter.   [Exit SNEAKUP.]   In despite of sickness, mirth and joy shall make this night healthful.

876TrymanO mother,*n8932 As Pyannet is now Tryman's mother-in-law, Tryman calls her mother. cold sobriety and modest melancholy becomes the face of the matron. Unedifying gauds†gg4611 something gaudy; showy ornaments, pieces of finery; gewgaws (OED n2. 2) are profane vanities. Mirth is the fat*n8933 That is, food, that which fattens them up. of fools; only virtue is the nourishment of purity and unsinning sincerity.

877PyannetBy the leave of your wisdom, daughter, we’ll take the wall*n8934 That is, we'll make your preciseness, your puritanical attitudes, give way to our festivity. Taking the wall meant walking closest to the wall, that is the cleanest part of the street, away from the dirt in the gutter, making anyone else walk further from the wall, that is, nearer the dirt. Pyannet is asserting her dominance as mother-in-law over the new bride, who should be submissive to her. of your preciseness:†gg5798 puritanical behaviour for Master Sarpego has told me of a learned subject for a ballet,*n8935 This is less of a dance than a theatrical spectacle dramatizing through music and dance some myth or narrative. OED (2) cites 1668 as the earliest usage, but this is clearly the meaning here. Catherine Shaw, Richard Brome p.67 comments of Pyannet's desire to watch such an entertainment 'It is not at all out of character that Mistress Pyannet Sneakup should be the one to demand a masque for her son's wedding in spite of the apparently grave illness of the bride for masque was an aristocratic entertainment and Pyannet now feels assured of her advanced social position. For the audience, the whole performance is predetermined to be a farce'. which we shall see acted presently.

878TrymanWhat is it? some heathenish play?

879SarpegoNo certes,†gg1038 certainly but a very religious dialogue, full of nothing but moral conceits†gg5933 notions betwixt Lady Luxury, a prodigal, and a fool.

880TrymanBut who should act and personate†gg5799 to play a role in a play (OED v. 3a) these?

881SarpegoWhy in that lies the nobility of the device; it should be done after the fashion of Italy,*n8936 Such entertainments were not unknown in England, but the importance of invoking Italy is partly because in that country, as also in Spain and France, women acted. Tryman, as a woman is being asked to act, and although this is a private setting, that was still a taboo for some when The City Wit was first performed; indeed debates over the propriety of Queen Henrietta Maria's participation in such theatricals were heated and politicised. by ourselves, only the plot premeditated to what our aim must tend.*n8937 That is, the plot and conclusion will be premeditated, planned, but everything else will be improvised (rather like commedia dell'Arte). The irony is that the one thing which will surprise everyone here, including the offstage audience, is the conclusion of this entertainment. It seems churlish, given that the witty narrative is now galloping towards its comic climax to point out that, were this a realistic play, there would be a continuity problem here as Sarpego suddenly becomes an integral part of Crasy and Tryman's plotting in producing and introducing this performance. Marry the speeches must be extempore.†gg1021 improvised Mistress Bride would I have to play Dame Luxury, and Master Footwell here the prodigal.

882PyannetAnd my husband, the fool.

883SneakupAye,*n8192 ] I (O) and’t please you, wife.

884SarpegoI’ll play the Inductor,*n8938 One who introduces or initiates (OED 1 citing this instance); it is likely that Sarpego's assumption of the role of Inductor, which is a variation on a Prologue, mirrors the actual prologue to this play which was very probably delivered by the actor playing Sarpego, in character. and then we are all fitted.†gg3923 prepared

885TrymanI pray you what is Lady Luxury? A woman regenerative?*n8939 Tending to or characterized by regeneration (OED 1a, citing this instance); Tryman is expressing the pious, but unlikely, hope that a character named Lady Luxury will be working to advance moral and spiritual growth and regrowth.

886TobyA whore, wife!

887SarpegoIn sincerity not much better than a courtesan,*n8940 The 'court' element of courtesan can indicate higher class status; a court-mistress, rather than a common whore or street prostitute. However, a courtesan is still selling her body for sex and, on one level, the paying audience 'know' that this is what Tryman used to do before she started scheming to get off the game and settle down with a husband. a kind of open*n8941 Liberal with her favours, open to offers, willing to open her legs. creature.

888TrymanAnd do you think me fit to represent an open creature? Saving your modesties,*n8942 God save your sense of modesty, that is please excuse me for saying this; Tryman is pretending that she is as modest as, for example, Desdemona in Othello 4.2.121-3, and she is finding it difficult to say the word 'whore'. a whore! Can I play the strumpet,†gg762 debauched woman, whore think ye?

889JosinaTrust me, sister, as long as it is done in private, in one’s own house and for some few selected gentlemen’s pleasure, methinks the part is not altogether the displeasingst.

890TrymanModesty defend me! you think ’tis nothing to play the strumpet?

891SarpegoWhy surely, religious lady, it can be no disgrace to you to figure†gg5800 to give figure to; to form; to embody (OED v. 1a) out the part. For she that cannot play the strumpet†gg762 debauched woman, whore if she would, can claim no great honour to be chaste.*n8944 Sarpego's specious argument is that a woman can only claim the honour of being described as chaste if she has been tempted to be unchaste and resisted that temptation; put crudely an alluring woman with many suitors who is beseiged by them and remains chaste would be seen by Sarpego as more chaste than an unalluring woman who did not have to fend off suitors.

892BridgetHow gravely and sententiously†gg416 neatly, concisely; utterance of maxims (wise sayings) he speaks.*n9111 The tone of this is difficult to determine; it seems in character with the Bridget who wanted to marry Sarpego and who admired his learning; however, the audience is shortly to learn that Bridget now has her mind set on marrying Crack instead and if the performer playing Bridget has this in mind then the line might be delivered as mocking Sarpego by imitating his mode of speech.

893TobyWife, it shall be so. It is my first injunction.†gg3754 the action of enjoining or authoritatively directing; an authoritative or emphatic admonition or order (OED 1) You shall do it or disobey me. You must play it.

894TrymanWhat, the whore, sir?

895TobyAye,*n8192 ] I (O) in jest. What hurt is’t? And mother, you shall excuse my father for this once, for, since my wife plays the whore, I’ll play the fool myself. Though I know you had rather see him do it, you shall see, for a need, I can make shift to perform it as well as he, as naturally*n8952 The meanings in play here include: realistically because of my good acting; realistically because I am a fool myself and so don't need to act; in a way that indicates that I am a person of low learning ability - a 'natural' could mean someone of limited intellectual capacity. and to the life.

896SarpegoExceeding well thought on. I pray you, lady, approve of it.

897PyannetLet learning direct;*n8954 That is, I will be directed, instructed, by learning as it is represented by Sarpego. I am not to prescribe to the Muses.*n8953 In Greek mythology the Muses were the nine goddesses of the arts.

898TobyCome, sweetheart, let’s in and tire†gg5813 get dressed us and be ready to enter presently.†gg103 immediately (OED adv. 3); without delay

899SarpegoI fausto pede ...*n8955 That is, 'travel luckily' (literally travel with a lucky foot). See also [CW 2.1.speech139], where Sarpego uses a variant on this phrase.    Exit TOBY, TRYMAN    Now for the prodigal.

900CrasyO doubt not, Master Sarpego. For know, sir, I am but a poor serving creature that lives upon expectation.*n9231 That is, hope, anticipation but not actual possession of money or security etc. The poor serving creature is always dependent on the whims of his masters and mistresses. O sir my end must be husks.*n8956 Crasy-as-Footwell is comparing his lot as a serving creature to that of the Prodigal Son whose story is told in Luke 15. The son, having spent his inheritance in advance (or in expectation) is reduced to working as a swineherd and eating the pigs' food, which includes husks. Fear not my discharge of the prodigal...*n8957 That is, my playing the part of the prodigal. Exit [CRASY].

902PyannetSeat you gallants. Sit, sweet Sir Andrew, Madam, and the rest, and we’ll imagine music as Master Sarpego bids us.*n8961 This surreally comic moment has the potential to develop into a comic piece de resistance as the individual characters enact imagining the music they would like to hear.

How now! By what misrule*n8963 The upsetting of normal rules, something especially associated with particular festivities such as twelfth night. comes he to trouble us?

903Linsy-WolseyBy your leave, gallants, I have brought you music.

904PyannetYou sir, I know your purpose and it is prevented. You come after the marriage to forbid the bans. Ha ha ha ... you are short,†gg385 too late Master Wolsey, you are short.

905Linsy-WolseyGood Mistress Sneakup, you are wide.†gg4444 astray in opinion or belief, mistaken (now expressed by the full phrase, wide of the mark) (OED adj. 10b) I come to wish joy to the match and to tell you I rejoice that I missed a bridegroom’s part.*n8965 That is, missed out on playing a bridegroom's part.

906PyannetHow’s that?

907Linsy-WolseyYou see I wear no willow*n8967 Wearing willow proverbially indicated disappointment in love (see Tilley W403), so, by pointing out he is not wearing willow, Linsy-Wolsey is emphasising that he is not disappointed as Pyannet expects him to be. and am merry.   [Aside to CRACK]    All’s true you told me, boy?

908Crack   [Aside to LINSY-WOLSEY]   Yes, by my detestation to Bridewell, sir.

909Linsy-WolseySing, boy, that song. If I have any grief, it shall be all vented†gg812 give free expression to; utter in a Hymeneal*n8968 That is, pertaining to marriage; Hymen was the Greek and Roman god of marriage. song.

910TicketI have not known him in this humour.†gg222 mood, temper, attitude, frame of mind

911RufflitSure ’tis a merry madness for the loss of the widow.

912PyannetSince you come friendly, you are welcome, Master Wolsey. Pray sit with us and hear your Hymeneal song.

PyannetThis begins well.

915PyannetHe sings ’Hymen’ and ’Hymen’ but methinks the song is scandalous to the marriage.*n8982 That is suggests scandal in relation to, brings scandal to.

916Linsy-WolseyExcuse me, lady, though I was cozened†gg1611 beguiled, deceived of the bride, I have no such malice. ’Tis a song that the boy could sing by chance and made by a couple that were lately married in Crooked Lane.*n8983 Prokter and Taylor indicate that Crooked Lane ran north west from New Fleet Street into St. Michael's Lane. The name is as important as the geography in suggesting something crooked is going on.

917PyannetO is it so, sir? I knew not what to make of it.

918TicketLet us attend I pray. The Prologue enters.

920TrymanOut†gg3883 an exclamation expressing grief, abhorrence, or indignant reproach: alas!, woe is me!; get out!, curses upon you! (OED out int, 1) you base†gg295 contemptible, degraded, unworthy rascal, you muddy*n9000 OED (II 4a) offers the definition of being not clear in mind, being confused or muddled; however, given that both 'base rascal' and 'slave' attach Toby's class status as well, 'muddy' may also imply low statuts, or a slave who has to deal with the mud and dirt on behalf of his master or mistress. slave! thou*n9002 Tryman's use of 'thou', 'thee' and 'thy' are impolite and indicate contempt. hast married me and I will drink a health to thy cuckoldmaker...*n9001 That is, to my lover-to-be who will make you into a cuckold.

921Toby’Sfoot†gg578 an oath, short for ‘God’s foot’ I am afraid she’ll play the whore better than I shall act the fool.

922TrymanThou under-hearted,*n9003 That is, lacking in heart in the sense of being cowardly and generally lacking in traditional manliness. dull-blooded*n9004 The term suggestive of a lack of liveliness, not 'full-blooded', and so unable to control, let alone satisfy his wife. pantaloon!*n9005 This is a commedia dell'arte term for a character representing authority and the older generation, typically depicted as a lean, foolish old man (OED 1a). The main function of the pantaloon is to be outwitted by everyone. Thou whose utmost honour is to be made so good a thing as a cuckold!†gg1331 man with an unfaithful wife, traditionally thought of as having horns on his head Thou son of a copyholder*n9006 The insult here is that Toby's father does not own land freehold but only copy-hold. That is, he has tenure of lands which are part of a manor and so his tenure is subject to the whim of the lord of the manor (OED copyhold 1a). and the pudding-pie woman’s daughter,*n9007 That is, the daughter of a woman who makes and sells pudding pies for a living (not a socially exalted profession). dost thou think, dar’st thou but imagine, that I shall ever vouchsafe†gg496 'to show a gracious readiness or willingness, to grant readily, to condescend or deign, to do something' (OED v. 6b) to love to do anything but laugh at thee?*n9834 Tryman really piles the insults on here; there is not only no question of her ever loving Toby but the only thing she will really enjoy doing is laughing at him. Hence, you poltroon!†gg5834 an utter coward, a mean-spirited person, a worthless wretch (OED n. 1) Thy voice sounds not so far as thy breath stinks...*n9008 The insult here is that Toby has such a weak voice that he cannot be considered a manly creature as his voice carries only the same distance as the smell of his bad breath. [TRYMAN] Kicks [TOBY].

923TobyNay but, nay but, do you hear, wife? I do not very well like this. Methinks you play too much in earnest.

924TrymanIn earnest? Why goodman*n9009 This was normally a polite term of address but combined with 'fool' it turns into something on the lines of 'Master Fool'. fool, you coxcomb,†gg3016 conceited ass (the term is derived from the cap worn by professional fools, which was shaped like a cock's crest or comb, which came to be the natural substitute for the word "fool", the emblem representing the man) you ninnyhammer,†gg5835 a blockhead, a fool or braggart (OED) you clotpold*n9232 The octavo does not use a comma to separate 'clotpold' and 'country gentleman' although it does use a comma after 'fool', 'coxcomb' and 'ninnyhammer'; this suggests some attention to separating out the items in Tryman's list of nouns. This raises the possibility that clotpold is not a noun - meaning a blockhead - but a participle. The meaning would then be: a country gentleman who is a 'clot', or dull fellow, who has been 'polled', that is he has his hair cut short or even shaven (OED poll v, I 1a and b). Short hair, when The City Wit was written, could be read as a sign of uncourtliness as many courtiers sported long, flowing hair, sometimes accompanied by the newly fashionable fringe; by contrast short hair suggested rusticity or someone who had to work for a living or someone of puritanical sensibilities.
Clotpoll is a character in The Weeding of Covent Garden. country gentleman,*n9010 Another instance of the town versus country hostility in the play. thou dirty greediness....*n9016 The ellipsis may indicate further violence by Tryman against Toby.

925PyannetWhy how now, daughter?*n9011 That is, daughter-in-law. Are you well? Methinks you overdo it too much.

926TrymanThou dreamest, my good husband, that thou hast married the rich widow, ha ha ha ...

927SarpegoNow enters Prodigality.

928CrasyWhen the truth is, dear brother, you have married the rank*n9015 There are several meanings in play here: the whore is loathsome as a wife, indecent (OED III, 11); she is licentious (OED III, 16); she is also the source of rankness, the corruption of disease. whore. Ha ha ha!

929TobySir! ... who, brother Crasy?

930JosinaSweet husband!

931PyannetDear son!

932Ticket, RufflitPrecious friend!

933Linsy-WolseyNeighbour Crasy!

934SarpegoDii boni!*n9017 'Good gods!' Domine*n9018 Master Crasy!

935CrasyAnd how do you wife? When comes your doctor Pulse-Feel? But a kiss and so forth?*n9019 Crasy starts a series of comments where he quotes words back at different characters, often quoting what he said to them or what they said to him. This quotes Pulse-Feel's speech and Josina's agreement with it in [CW 2.3.speeches192-193]. And would not one of these free†gg5836 liberal, generous, but also with overtones of being too free and easy, morally speaking gallants, these proper*n9020 That is, handsome young men, distinguishing Ticket and Rufflit from the clearly more mature (in terms of age) characters such as Sneakup and Sarpego. youths have served the turn? I pray pardon mine incivility, mother;*n9021 That is, mother-in-law. I was bold to retain mine own jewels. Ha’†gg4039 have you not forgot your singles and your doubles, your fallings back, and your turnings up,*n9022 This refers back to [CW 4.1.speech554], although the only dance step listed here that is actually mentioned then is 'falling back'. As in Act 4 there is plenty of opportunity for double entendre around the names of the dance steps. wife?

936JosinaWhy i’faith, dear heart, dost think me so simple that I did not know thee all the while?*n9024 Josina's timely (and witty) riposte has a classic comic ancestry and looks back to, among others, May in Chaucer's The Merchant's Tale and Falstaff in Shakespeare's 1 Henry IV. 2.5.270.
The octavo has a turned 'n' in 'know'. Alas man, I did but counterfeit,*n9233 That is, to act or pretend. Josina's claim is unlikely, although not impossible, but she deserves credit for her quick wit and improvisational skills in offering this response. However, if Josina is telling the truth about seeing through Crasy's disguises, she is shortly, like Crasy, to be genuinely startled, and outwitted, by the revelations about Jeremy's activities. See [CW 5.1.speech964]. as you did, to maintain the jest. Kiss me, sweet duck ...*n9023 The ellipsis posibly indicates Josina kisses Crasy. only to maintain the jest i’faith.

937CrasyYes, yes, yes, we are friends. I heartily thank these kind gentlemen for their loves to you, yes faith, heartily. I am better by it five hundred*n9025 That is, five hundred pounds, worth £44,580 in 2009 (National Archives currency converter). at least.   [To LADY TICKET]   Be not you jealous, madam, they had nothing for it,*n9833 Crasy is suggesting Lady Ticket should not get jealous because although her husband attempted to have sex with Josina he didn't manage it. This focuses entirely on the technicality of penetration (or not) and does not take into account the possibility that an emotional betrayal, or the attempt to have sex with another woman, might concern Lady Ticket as much as an actual penetration of another woman. However, Lady Ticket is given no lines to indicate how she might respond to this; she might clobber her husband; she might shrug her shoulders with worldly weariness; she might (very unlikely) seem distressed. not a bit, by this light.*n9026 Given Rufflit's reaction, it is possible that Crasy may hold up gold or jewels at this point.

938RufflitDeath o’ my fortune! That was my gold.

939TicketPlague of a villain, that was my jewel.

940CrasyTrue, gentlemen, and your bounty likewise lies in this bag.

941Ticket*n9027 The octavo erroneously has La. T. but it is clearly her husband who is speaking here. Sir, we sent these things to your wife.

942CrasyI thank you for it. We have but one capacity in the law,*n9028 As man and wife Crasy and Josina are viewed as one unit in terms of contemporary property law. you know. What’s hers must be mine.   [To JOSINA]*n9034 This is the first of many stage directions I have added to this speech to try to make it immediately clear to a reader which character Crasy is speaking to at any one time, as he works through everyone who slighted and insulted him and reminds them of how successfully he has outwitted them. The more he exults and triumphs over those who let him down, the more comic the release when he finds out that he (along with, probably, most of the audience) has also been outwitted, or surpassed in wit, by Jeremy.    I know thou would’st have it so, sweetheart.   [To RUFFLIT and TICKET]   I am only sorry, gentlemen, that you were so well favouredly beaten. That the fool citizen, the ass citizen, the cuckold citizen should procure such a sound swaddling†gg5837 beating, cudgelling (OED vbl n, 3) to your wise, valiant and substantial shoulders. Is’t not a sore matter? But rest, salves†gg2454 healing ointments for wounds or sores; remedies and warm oils may in time recover it.   [To PYANNET]   How do you, kind mother?   [To RUFFLIT, TICKET, TOBY]   Gentlemen, if any of you want money, gentlemen, here stands a city wit*n9767 Crasy identifies himself as the eponymous hero of the play, the supreme wit amongst London citizens, just as he is about to find out he has been outdone in wit by Jeremy. that has it. I have it, if you want any. Speak, I have it, and will keep it.   [To RUFFLIT]   How does your costard,†gg5838 applied humorously or derisively to the head (OED 2); literally an apple sir?   [To TICKET]   A pox o’th’ slit,*n9030 See [CW 5.1.speeches860-861]. sir.    [To SARPEGO]*n9112 This refers back to the language used in the sequence between Sarpego and Crasy as a lame soldier in 2.1.    Beloved of Phœbus,*n5927 Apollo, who was the Greek and Roman god of, among other things, poetry and music. minion†gg254 favourite (of the king or queen) (OED n. I 1a); popular favourite (OED n. I 1c) of the muses,†gg4259 the nine Greek goddesses of the arts who inspired poets, musicians, artists etc. dear water-bayley of Helicon,*n5932 This Greek Mountain was sacred to the Muses. Poetic inspiration was supposed to be derived from its streams. be not proud of your preferment,†gg5263 advancement to an office or position, promotion (OED n. 4) though you are his Highness’ tutor.   [To PYANNET]   Mother, I take the restoring of my rich jewels very kindly.   [To TOBY]   O my kind brother, you have got the rich widow,   [To PYANNET]   and you have borne a brain,*n9234 Crasy is mocking Pyannet who thought she was bearing a brain, being thoughtful and careful in her plotting, when she planned to outwit Footwell and deprive him of his rich bride (see [CW 4.1.speech572]; this is an aside but Crasy-as-Footwell is onstage). mother.   [To TOBY]   Your hundred pound,*n9032 Worth £8,900 in 2009 (National Archives currency converter). brother, was most thriftily and opportunely bestowed.   [To PYANNET]   I could ha’ procured her to you at an easier rate, mother.   [To LINSY-WOLSEY]   I am only sorry for you Master Wolsey, that you had her not, because you very honourably released me of your bond before it was due and are in shrewd danger to be laughed at among your neighbours.*n9033 This is picking up on Linsy-Wolsey's speech [CW 1.2.speech123].    [To SNEAKUP]   How does good Master Crasy, the prince’s jeweller?   [To PYANNET]   Mother, did not my father look too wise for a citizen?   [To TRYMAN]   How dost, honest punk?†gg438 prostitute I am as much beholden†gg935 grateful to thee as to the rest o’ them.

943PyannetMy son and my heir is utterly undone.

944TobyO! I am quite cast away.†gg5931 ruined (OED v. XIII 72d)

945CrasyO no, you shall be no loser by me. You shall be a gainer by me, brother. Get wit, brother, mark you, wit.*n9037 This refers back fairly precisely to Toby's speech in [CW 1.2.speech110]: 'But, brother, you shall be no loser by me. Purchase wit, get wit, look you, wit.' Good faith I pity the poor citizen, he has no wit; a handsome young fellow with a pretty beard and a proper bodied woman to his wife and cannot bear a brain!*n9036 This looks back to Rufflit's speech in [CW 1.2.speech116], which is quoted fairly precisely: 'A handsome straight young fellow, grown into a pretty beard, with a proper bodied woman to his wife, and cannot bear a brain!' where bearing a brain means to be cunning, careful, thoughtful, to use one's brain.

946TrymanWhy dost hear, modestly mumping†gg5843 grumbling (OED 1c); grimacing (OED 1a); also chewing as if with toothless gums (OED 3a) mother-in-law, with thy French-hood,*n9039 Willet and Cunnington includes an image of a French-hood (p.109) which they comment was in use by women 1530-1630 but 'after 1600 unfashionable and chiefly worn by widows and the elderly' (p.108). It consisted of a small, closely fitted hood, which was worn at the back of the head with a flap falling below to at least shoulder level. gold chain, and flagon-bracelets,†gg5844 chain-bracelets to which a smelling-bottle could be attached (OED flagon, 4) advance thy snout.*n9040 Tryman is being rude to Pyannet in a variety of ways: she is saying she is ugly (mumping whether in the sense of grimacing or chewing as if one has no teeth cannot be done beautifully); she wears an old-fashioned French-hood; and the implication of 'advance thy snout' is that she is pig-like; this could imply ugliness, or greediness. If the fool, thy son, the idiot my husband here, have but as much brains as a battledore,†gg5845 an instrument like a small racket used in playing with a shuttlecock (OED n. 2) he may make a fair revenue of me. Has he not a place at court? Can he not lodge me there and prove weak-sighted, thick of hearing, sleepy after dinner, and snort*n9041 That is, snore, or sleep while Tryman is having sex with her lovers, who will give her gifts that she and Toby can live on. when others entertain and court me? Can he not survey the hangings,*n9042 That is, stand gazing at the tapestry hangings (to occupy the time while his wife is having sex with a lover). read Cupid’s Cony-burrow,*n9043 The octavo has Cony-bery, a variant spelling for Cony-burrow, which literally means a rabbit burrow but also has associations with cony-catching or conning people out of money. A whole range of ballads and pamphlets on the theme of Cupid's ... exist such as Cupid's Revenge; Cupid's Academy; Cupid's Courtesy; however, the title Cupid's Cony-burrow is probably invented here, as are the suggestive titles The Park of Pleasure and Christian Love-Letters. The Park of Pleasure, Christian Love-Letters, or some other pamphlet, or feign some errand into the town whilst his brows are turning into gold?*n9044 The cuckolded husband is acquiring horns as his wife has sex with another man but because the man is giving the wife presents, which both husband and wife live off, the horns are a source of wealth or gold.

947PyannetO impudence beyond woman’s apprehension! Son Crasy, we have all wronged thee, thou know’st it. Thou hast revenged it, we feel it, only do not undo my heir. Save him, bring him but off o’this match†gg5846 marriage with any loss.*n9045 Pyannet is willing to pay dearly for the chance of terminating the marriage and will countenance 'any loss' to achieve this end.

948CrasyWhy mother, is your son grown such a saucy knave as he thinks scorn to*n9046 That is, he does not deign to, he will not stoop to (being made a cuckold). be a cuckold?†gg1331 man with an unfaithful wife, traditionally thought of as having horns on his head I cannot clear him. In truth I cannot. He has paid for her deeply and ’tis pity they should be parted, yes faith is’t.

949PyannetWoman, we do pray thee, we do beseech thee, even upon our knees ...   PY[ANNET] and TOB[Y] kneel.   Have pity on the house of the Sneakups. Quit my son, relinquish thy right, make frustrate this marriage*n9047 That is, annul this marriage; this is possible, as the marriage has not been consummated. and, look thee, before these able witnesses, we heartily forgive all, and forget, and withal, freely bestow this chain upon thee ...

950TrymanI do receive it.

951TobyShe does receive it. Bear witness all, she does receive it.

952TrymanMarry, on this condition ...

953TobyNo. I’ll no more marries*n9048 Toby employed a very similar wordplay at [CW 5.1.speech797]; he is playing on two meanings of the word 'marry'; firstly as a common intensitive or expletive (a contraction of 'By Mary'); secondly as a verb 'to get married'. nor conditions. You have received it.

954PyannetAye,*n8192 ] I (O) you must make frustrate the marriage. For, look you, you have received it.

955TrymanI will, and freely do. Only the condition I would have made is this: that if you intend longer to be master of your husband, now that you have seen how well it became me, you will henceforward do as I do ... look you, wear breeches.   [TRYMAN] pulls the coats*n9049 the coats of her skirts. Many fashions at the time included petticoats that were intended for display and skirts were worn open over the top of the petticoat, rather like a coat. If Tryman were wearing a coat style skirt, but wearing it as if closed, it would only take a deft flick open of the coats to reveal the breeches underneath. up and shows the breeches   

956PyannetO horrible!*n9050 All the characters presumably react with shock, if not horror, when confronted with this iconic image evoking the subtitle of the play: 'the woman wears the breeches'. However, it is important to note that the characters initially believe they are confronted with an unbecomingly mannish woman, and nobody realises that the person in question is a young man, Jeremy, in woman's clothing. The longstanding debate over so-called mannish behaviour in women and womanish behaviour in men is well represented in the 1620 pamphlets Hic Mulier (the mannish woman) and Haec Vir (the womanish man). Hic Mulier in particular fulminates against women wearing items of clothing that the author deems to be masculine; the title page to Haec Vir has an illustration of a woman wearing masculine dress and a man wearing feminine clothing. However, even the mannish woman does not appear to be wearing breeches. A woman who wore man's clothing, of course, was issuing a more serious challenge to patriarchal power structures which privileged men comprehensively at the expense of women, especially if that woman could realistically pass as a man. Wearing mannish clothing was also something associated with whores, which is something Tryman has just been revealed to be.

957TobyHow! do you wear breeches?

958TrymanYes, sir,*n9055 The deferential 'sir' signals clearly the change away from the character of Tryman as foul-mouthed whore. breeches, and as good lining and stuffing*n9052 This cues Toby's subsequent action in checking out that Tryman really is physically a man. Stuffing could mean simply the materials used to stuff out padded breeches; however, in the context of trying to assess the virility or otherwise of Tryman, the stuff, or the body, contained within the breeches is what is at stake, especially as, on one level, Jeremy is saying 'I'm as good a man as you are'. The name 'Tryman' has generally operated in the play in terms of trying out or testing men and women; at this point, however, the meaning includes 'try out or test if I am a man'. in them, I hope, as yours have, though they be of satin.*n9053 Breeches of expensive and difficult to maintain cloth such as satin would mark out a high class ranking; breeches made of everyday, functional cloth, such as wool, would indicate someone who has to work for a living.

959TobyI’ll feel that.   [TOBY feels TRYMAN'S crutch]   ’Sfoot, mother, this is a man. Come and feel else.†gg5847 if it is not believed; if you don't believe me (OED adv. 4b) *n9054 Toby's suggestion is that his mother should come and grope Tryman in order to check out Toby's claim that Tryman really does have a penis.

960TrymanA young one, sir.   [[TRYMAN / JEREMY] puts off his headdress.]*n9057 The headdress might simply be the wig, or dressed hair, that Jeremy is wearing as Tryman in the character of Lady Luxury, a courtesan-like figure. This probably indicates that Jeremy takes off a wig of long, flowing hair, creating a spectacular visual moment. Dessen and Thomson list 'Plucks off his headtire' from a comparative moment in Nathan Field's c.1610 play Amends for Ladies.    See, master,*n9058 Jeremy was freed from his apprenticeship by Crasy in Act 1 and yet, when not in character as Tryman, he always calls Crasy 'Master'. your poor servant Jeremy, if he has performed his part, desires to be admitted into the livery of wit*n9059 Jeremy was initially apprenticed to Crasy to learn to become a jeweller; Crasy freed Jeremy from this apprenticeship, but Jeremy has reconfigured this action as Crasy taking him on as an apprentice in city wittiness. Jeremy's performance as Tryman is his masterpiece, the piece of work that demonstrates he has mastered his trade, and that he need not be an apprentice any more as he needs no further training. He thus is entitled to be viewed as a free man and to wear the livery (or suit of clothes or badge indicating which company he belongs to) of the company of wits; indeed Jeremy has actually far outperformed Crasy in terms of wittiness. and to wear this chain as his ensign†gg5239 sign, token, characteristic mark (OED n. 2) of freedom.*n9060 freedom means here: becoming a freeman of a company; being released from apprenticeship; being able to practise a trade; being able to take on apprentices himself; being able to take advantage of the privileges that went with membership of a guild etc.

961AllJeremy!

962TobyJeremy! O Jeremy! thou wert ever†gg68 always too hard for ...*n9063 That is, difficult to deal with, manage, control, or resist (OED a, 7); presumably Toby was about to say 'too hard for us' or 'too hard for me'. The Eton copy has 'me' added here in black ink.

963Jeremy*n9062 The octavo continues to use the speech heading Tryman for the rest of the play but this edition uses Jeremy because this is the character the actor now needs to play. Except at spoon-meat,†gg1456 custard, made of milk, sugar, and flavouring sir.*n9064 spoon-meat was used for invalids, as it was nutritious but very easy to eat and digest, and it is soft in contrast to the 'hard' of Toby's 'too hard'.

964JosinaJeremy!

965JeremyYes, mistress, indeed, forsooth.*n9065 Like Crasy, Jeremy uses words which will evoke moments earlier in the play; here he is evoking Josina's attempt to seduce him in 1.1, the repetition of the word 'forsooth', and [CW 1.1.speeches78-82].

966Crasy   [To JEREMY]   Well, give me thy hand. I will love thee*n9066 This must be addressed to Jeremy ; Crasy is telling Jeremy he will love him/ appreciate him (presumably) for his wit, loyalty etc. as long as there is swiftness in meditation, smoothness in flattery or constancy in malice.*n9067 The tone is kept astringent by Crasy's choice of words which gets progressively more cynical; while it is neutral for meditation to be swift, as thought is swift (see Tilley T240), it is less positive to be looking for smoothness in flattery, as this involves not telling the truth (and so Crasy may not be telling the truth when he says that he will 'love'; he may be flattering); and it is even worse to use constancy in malice as a marker rather than constancy in love.

970BridgetWould you that have taught Greek, and whipped great boys, come back to your horn-book,†gg5850 a leaf of paper containing the alphabet (often with the addition of the ten digits, some elements of spelling, and the Lord's Prayer) protected by a thin plate of translucent horn, and mounted on a tablet of wood with a projecting piece for a handle, much used for teaching in schools (OED) and let down your gaskins*n9075 The octavo has 'Gascoines'; gaskins are the lower part of a horse's thigh and here the meaning is transferred to refer to breeches or hose. What Bridget means by 'let down your gaskins' refers to the way in which a schoolboy would be expected to drop his breeches or hose in order that his schoolmaster could inflict more pain when beating the child. Bridget is suggesting that Sarpego would be regressing, as if to childhood, if he returned to her. to me, that would, if I had you, be more tyrannous than any pedant that ever reigned since the days of Dionysius?*n9076 presumably Dionysius of Halicarnassus a 1st century BC historian and rhetorician who taught in Rome. Bridget's range of reference has suddenly become very learned. Besides here is my choice, with my master and mistress’s leave,†gg885 permission    [pointing at CRACK]    Jeremy’s brother.*n9077 This is a surprise for the audience as Bridget and Crack have not been given any lines to indicate they have even met, let alone decided to marry. It is crucial not to over-psychologise characters in a play which is always driven primarily by plot rather than coherent or realistic characterisation; however, Bridget's relationship with Crack might raise the possibility that she has been party to Crack's and Jeremy's plot, or that she has known at least some of the truth well in advance of the supposedly witty Crasy. This could complement the fact that play is very grounded in the wittiness and cleverness of servants (Jeremy, Crack) and their ability to be wittier than their masters. Alternatively this announcement could just be another enjoyably implausible moment in the denouement of a farce.

971Crasy   [To JEREMY]   But is he seriously thy brother?

972JeremyYes, and no more a pimp, sir, than I am a wench.

973CrasyWell, Master Sarpego, I’ll help you to a fitter match,†gg5846 marriage and Crack, I will give thee something*n9078 That is, a dowry of some kind. with her. Take the security of my hand.*n9079 This is the equivalent of shaking hands on an agreement; Crasy is saying his hand (shake) is a pledge of his good faith, despite the fact that such informal agreements were precisely what had got him into trouble at the beginning of the play.

974CrackI only desire to be secure from this man’s*n9080 Linsy-Wolsey's fury and so consequently from Bridewell.*n1859 A former palace on the west side of the Fleet Ditch near the River Thames, originally bequested by Edward IV as a workhouse for the poor, it was by the Caroline period a prison for women and with a particular association with punishment relating to sex crimes and prostitution.

975CrasyHe shall have nothing to say to thee.

976Linsy-WolseyI will have nothing to say to man, woman, or child, while I live again.*n9081 The tone of this last speech by Linsy-Wolsey might be light-hearted, with an element of 'nothing will ever surprise me in my life again'. However, the tone seems rather darker, and indeed darker than might be expected given that Linsy-Wolsey, compared with most other characters, hasn't lost that much in terms of money. It is important to remember that Linsy-Wolsey is the stock character of the miser, and so any financial loss will hit him hard pyschologically. There may also be a somewhat unassimilated echo of the end of Ben Jonson's Epicoene here; there Morose is similarly embittered but he has rather more reason than Linsy-Wolsey to feel completely misanthropic towards the whole world.

977SarpegoFortuna nihil aufert sapienti:*n9082 'Fortune brings nothing to the wise'. fools and fiddlers are her favourites.

980SarpegoGratias vel ingentes, Domine Crasy.*n9086 Sarpego is translating what everyone has said in the previous line: 'or enormous thanks Master Crasy'.