The Jew of Malta, Christopher Marlowe [best classic books to read TXT] 📗

What Vice? PUG. Why, any: Fraud, Or Covetousness, or LADY VANITY, Or old Iniquity.”

<75> Katharine] Old ed. “MATER.”—The name of Mathias’s mother was, as we afterwards learn, Katharine.

<76> stay] i.e. forbear, break off our conversation.

<77> was] Qy. “was BUT”?

<78> O, brave, master] The modern editors strike out the comma after “BRAVE”, understanding that word as an epithet to “MASTER”: but compare what Ithamore says to Barabas in act iv.: “That’s BRAVE, MASTER,” p. 165, first col.

<79> your nose] An allusion to the large artificial nose, with which Barabas was represented on the stage. See the passage cited from W. Rowley’s SEARCH FOR MONEY, 1609, in the ACCOUNT OF MARLOWE AND HIS WRITINGS.

<80> Ure] i.e. use, practice.

<81> a-good] “i.e. in good earnest. Tout de bon.” REED (apud Dodsley’s O. P.).

<82> Enter LODOWICK] A change of scene supposed here,—to the outside of Barabas’s house.

<83> vow love to him] Old ed. “vow TO LOUE him”: but compare, in Barabas’s next speech but one, “And she VOWS LOVE TO HIM,” &c.

<84> made sure] i.e. affianced.

<85> Ludovico] Old ed. “Lodowicke.”—In act iii. we have, “I fear she knows—‘tis so—of my device In Don Mathias’ and LODOVICO’S deaths.” p. 162, sec. col.

<86> happily] i.e. haply.

<87> unsoil’d] “Perhaps we ought to read ‘unfoil’d’, consistently with what Barabas said of her before under the figure of a jewel— ‘The diamond that I talk of NE’ER WAS FOIL’D’.” COLLIER (apud Dodsley’s O. P.). But see that passage, p. 155, sec. col., and note �.<i.e. note 70.>

<88> cross] i.e. piece of money (many coins being marked with a cross on one side).

<89> thou] Old ed. “thee.”

<90> resolv’d] “i.e. satisfied.” GILCHRIST (apud Dodsley’s O. P.).

<91> Enter BELLAMIRA] She appears, we may suppose, in a veranda or open portico of her house (that the scene is not the interior of the house, is proved by what follows).

<92> Enter MATHIAS. MATHIAS. This is the place, &c.] The scene is some pert of the town, as Barabas appears “ABOVE,”—in the balcony of a house. (He stood, of course, on what was termed the upper-stage.)

Old ed. thus;

“Enter MATHIAS. Math. This is the place, now Abigail shall see Whether Mathias holds her deare or no. Enter Lodow. reading. Math. What, dares the villain write in such base terms?

Lod. I did it, and reuenge it if thou dar’st.”

<93> Lodovico] Old ed. “Lodowicke.”—See note *, p. 158.<i.e. note 85.>

<94> tall] i.e. bold, brave.

<95> What sight is this!] i.e. What A sight is this! Our early writers often omit the article in such exclamations: compare Shakespeare’s JULIUS CAESAR, act i. sc. 3, where Casca says,

“Cassius, WHAT NIGHT IS THIS!”

(after which words the modern editors improperly retain the interrogation-point of the first folio).

<96> Lodovico] Old ed. “Lodowicke.”

<97> These arms of mine shall be thy sepulchre] So in Shakespeare’s THIRD PART OF KING HENRY VI., act ii. sc. 5, the Father says to the dead Son whom he has killed in battle,

“THESE ARMS OF MINE shall be thy winding-sheet; My heart, sweet boy, SHALL BE THY SEPULCHRE,”—

lines, let me add, not to be found in THE TRUE TRAGEDIE OF RICHARD DUKE OF YORKE, on which Shakespeare formed that play.

<98> Katharine] Old ed. “Katherina.”

<99> Enter ITHAMORE] The scene a room in the house of Barabas.

<100> held in hand] i.e. kept in expectation, having their hopes flattered.

<101> bottle-nosed] See note �, p. 157.<i.e. note 79.>

<102> Jaques] Old ed. “Iaynes.”

<103> sire] Old ed. “sinne” (which, modernised to “sin”, the editors retain, among many other equally obvious errors of the old copy).

<104> As] Old ed. “And.”

<105> Enter BARABAS] The scene is still within the house of Barabas; but some time is supposed to have elapsed since the preceding conference between Abigail and Friar Jacomo.

<106> pretendeth] Equivalent to PORTENDETH; as in our author’s FIRST BOOK OF LUCAN, “And which (ay me) ever PRETENDETH ill,” &c.

<107> self] Old ed. “life” (the compositor’s eye having caught “life” in the preceding line).

<108> ‘less] Old ed. “least.”

<109> Well said] See note *, p. 69.

<note *, p. 69, The Second Part of Tamburlaine the Great:

“* Well said] Equivalent to—Well done! as appears from innumerable passages of our early writers: see, for instances, my ed. of Beaumont and Fletcher’s WORKS, vol. i. 328, vol. ii. 445, vol. viii. 254.”>

<110> the proverb says, &c.] A proverb as old as Chaucer’s time: see the SQUIERES TALE, v. 10916, ed. Tyrwhitt.

<111> batten] i.e. fatten.

<112> pot] Old ed. “plot.”

<113> thou shalt have broth by the eye] “Perhaps he means—thou shalt SEE how the broth that is designed for thee is made, that no mischievous ingredients enter its composition. The passage is, however, obscure.” STEEVENS (apud Dodsley’s O. P.).—“BY THE EYE” seems to be equivalent to—in abundance. Compare THE CREED of Piers Ploughman: “Grey grete-heded quenes With gold BY THE EIGHEN.” v. 167, ed. Wright (who has no note on the expression): and Beaumont and Fletcher’s KNIGHT OF THE BURNING PESTLE, act ii. sc. 2; “here’s money and gold BY TH’ EYE, my boy.” In Fletcher’s BEGGARS’ BUSH, act iii. sc. 1, we find, “Come, English beer, hostess, English beer BY THE BELLY!”

<114> In few] i.e. in a few words, in short.

<115> hebon] i.e. ebony, which was formerly supposed to be a deadly poison.

<116> Enter FERNEZE, &c.] The scene is the interior of the Council-house.

<117> basso] Old ed. “Bashaws” (the printer having added an S by mistake), and in the preceding stage-direction, and in the fifth speech of this scene, “Bashaw”: but in an earlier scene (see p. 148, first col.) we have “bassoes” (and see our author’s TAMBURLAINE, PASSIM).

<From p. 148, this play:

“Enter FERNEZE governor of Malta, KNIGHTS, and OFFICERS; met by CALYMATH, and BASSOES of the TURK.”> <118> the resistless banks] i.e. the banks not able to resist.

<119> basilisks] See note �, p. 25.

<note �, p. 25, The First Part of Tamburlaine the Great:

“basilisks] Pieces of ordnance so called. They were of immense size; see Douce’s ILLUST. OF SHAKESPEARE, i. 425.”>

<120> Enter FRIAR JACOMO, &c.] Scene, the interior of the Nunnery.

<121> convers’d with me] She alludes to her conversation with Jacomo, p. 162, sec. col.

<p. 162, second column, this play:

“ABIGAIL. Welcome, grave friar.—Ithamore, be gone. [Exit ITHAMORE.] Know, holy sir, I am bold to solicit thee. FRIAR JACOMO. Wherein?”>

<122> envied] i.e. hated.

<123> practice] i.e. artful contrivance, stratagem.

<124> crucified a child] A crime with which the Jews were often charged. “Tovey, in his ANGLIA JUDAICA, has given the several instances which are upon record of these charges against the Jews; which he observes they were never accused of, but at such times as the king was manifestly in great want of money.” REED (apud Dodsley’s O. P.).

<125> Enter BARABAS, &c.] Scene a street.

<126> to] Which the Editor of 1826 deliberately altered to “like,” means—compared to, in comparison of.

<127> Cazzo] Old ed. “catho.”—See Florio’s WORLDE OF WORDES (Ital. and Engl. Dict.) ed. 1598, in v.—“A petty oath, a cant exclamation, generally expressive, among the Italian populace, who have it constantly in their mouth, of defiance or contempt.” Gifford’s note on Jonson’s WORKS, ii. 48.

<128> nose] See note �, p. 157.<i.e. note 79.>

<129> inmate] Old ed. “inmates.”

<130> the burden of my sins Lie heavy, &c.] One of the modern editors altered “LIE” to “Lies”: but examples of similar phraseology,—of a nominative singular followed by a plural verb when a plural genitive intervenes,—are common in our early writers; see notes on Beaumont and Fletcher’s WORKS, vol. v. 7, 94, vol. ix. 185, ed. Dyce.

<131> sollars] “i.e. lofts, garrets.” STEEVENS (apud Dodsley’s O. P.).

<132> untold] i.e. uncounted.—Old ed. “vnsold.”

<133> BARABAS. This is mere frailty: brethren, be content.— Friar Barnardine, go you with Ithamore: You know my mind; let me alone with him.

FRIAR JACOMO. Why does he go to thy house? let him be gone]

Old ed. thus; “BAR. This is meere frailty, brethren, be content. Fryar Barnardine goe you with Ithimore. ITH. You know my mind, let me alone with him; Why does he goe to thy house, let him begone.”

<134> the Turk] “Meaning Ithamore.” COLLIER (apud Dodsley’s O. P.). Compare the last line but one of Barabas’s next speech.

<135> covent] i.e. convent.

<136> Therefore ‘tis not requisite he should live] Lest the reader should suspect that the author wrote, “Therefore ‘tis requisite he should not live,” I may observe that we have had before (p. 152, first col.) a similar form of expression,— “It is not necessary I be seen.”

<137> fair] See note �, p. 15.<‘15’ sic.>

<note �, p. 13, The First Part of Tamburlaine the Great:

“In fair, &c.] Here “FAIR” is to be considered as a dissyllable: compare, in the Fourth act of our author’s JEW OF MALTA, “I’ll feast you, lodge you, give you FAIR words, And, after that,” &c.”>

<138> shall be done] Here a change of scene is supposed, to the interior of Barabas’s house.

<139> Friar, awake] Here, most probably, Barabas drew a curtain, and discovered the sleeping Friar.

<140> have] Old ed. “saue.”

<141> What time o’ night is’t now, sweet Ithamore? ITHAMORE. Towards one] Might be adduced, among other passages, to shew that the modern editors are right when they print in Shakespeare’s KING JOHN. act iii. sc. 3, “If the midnight bell Did, with his iron tongue and brazen mouth, Sound ONE into the drowsy ear of NIGHT,” &c.

<142> Enter FRIAR JACOMO] The scene is now before Barabas’s house,—the audience having had to SUPPOSE that the body of Barnardine, which Ithamore had set upright, was standing outside the door.

<143> proceed] Seems to be used here as equivalent to—succeed.

<144> on’s] i.e. of his.

<145> Enter BELLAMIRA, &c.] The scene, as in p. 160, a veranda or open portico of Bellamira’s house.

<p. 160, this play:

” Enter BELLAMIRA.<91> BELLAMIRA. Since this town was besieg’d,” etc.>

<146> tall] Which our early dramatists generally use in the sense of—bold, brave (see note �, p. 161),<i.e. note 94> is here perhaps equivalent to—handsome. (“Tall or SEMELY.” PROMPT. PARV. ed. 1499.)

<147> neck-verse] i.e. the verse (generally the beginning of the 51st Psalm, MISERERE MEI, &c.) read by a criminal to entitle him to benefit of clergy.

<148> of] i.e. on.

<149> exercise] i.e. sermon, preaching.

<150> with a muschatoes] i.e. with a pair of mustachios. The modern editors print “with MUSTACHIOS,” and “with a MUSTACHIOS”: but compare,—

“My Tuskes more stiffe than are a Cats MUSCHATOES.” S. Rowley’s NOBLE SPANISH SOLDIER, 1634, Sig. C.

“His crow-black MUCHATOES.” THE BLACK BOOK,—Middleton’s WORKS, v. 516, ed. Dyce.

<151> Turk of tenpence] An expression not unfrequently used by our early writers. So Taylor in some verses on Coriat; “That if he had A TURKE OF TENPENCE bin,” &c. WORKES, p. 82, ed. 1630. And see note on Middleton’s WORKS, iii. 489, ed. Dyce.

<152> you know] Qy. “you know, SIR,”?

<153> I’ll make him, &c.] Old ed. thus: “I’le make him send me half he has, & glad he scapes so too. PEN AND INKE: I’ll write vnto him, we’le haue mony strait.” There can be no doubt that the words “Pen and inke” were a direction to the property-man to have those articles on the stage.

<154> cunning] i.e. skilfully prepared.—Old ed. “running.” (The MAIDS are supposed to hear their mistress’ orders WITHIN.)

<155> Shalt live with me, and be my love] A line, slightly varied, of Marlowe’s well-known song. In the preceding line, the absurdity of “by Dis ABOVE” is, of course, intentional.

<156> beard] Old ed. “sterd.”

<157> give me a ream of paper: we’ll have a kingdom of gold for’t]